Full text of "1924-1925 Season Programs"

See other formats

Sik let NAS ; Reet ?
rs Se pa het an <i eee vile e Pe ee eee aoe. 3 : Dy ae
see gine gs ste gris Se ay ta aS Be
2 aes ie Rie a se a ;

: ~ oe a a ae t >
a dats SY te iy irae ter ida _ a
he oe A nD ey ih cee iets a
sy S38 Se aye Ow oe

p> hes 3 +

apd
. ’
hw oe a” ee
7 a, ‘
« ‘
Pe +

©
i
Uy c
‘ “hay. Ky
ts af
‘>
: { =
‘Se .
’ teas
u ¢ »
4 4
tan -
. 1 .
ns : 4
- vt @: ¢ Ns
* af *~
ol - Lait
1.
‘YY
ia
= : .
: Y \ ™
a ie .
te. ar
Th ok . .
. ‘ Pe
v) b ‘ »
ey enn
| de - . G
> So oe “p+
i bm ey? <
4 “ :
. je én"
¢ ? «
é ca “6
*
' 4 +e ad
- | ~« >
Thi TV le
at > * 4. a
a. @ ve
; Lar? =
7 ae ne
per +
q, oa rt
r =
‘ . a) ~
ey
: 2
“ i ;
he ee 26 Oe ae
“>.
binky:
4 v. ~ «
es
ea c 3
. I,
ft -
ye *
¢ *
r

3
F
ta

J ” ar
. af = 2) ee ‘im
po ey om —S_ —- =
> &
t - ey

WN odoeds |

Hot TCR

yet
es
zt >
PN 3
7 + + <
re

£ f 4
> PO . * . of .
. * - % 2
, s - 5 awe a
ee A a Wi
bd — S) t. -~/¢s A ul] " 4 aw)
oe f ‘
de,

vie wa
Gs sats

eye sees
ace spcierns ie ate

5
.
3
y
4
4

———wse |

a a a el ee

ac?

INDEX
1924—FOURTEENTH SEASON—1925

* Indicates First Performance at these Concerts.
**_[Tndicates First Performance in San Francisco.
+—Indicates First Performance anywhere.

Page
AUBER—: | e :
Overture 10: ShracDia volo. eee See. eee 205, 213, 403
BACH—- =
Air from: Demiajor= Suite: ee ee Eee 153
BACH-STEINBERG—-.
zach Ct OVEN GLO) Uh ote Soe = det SC ae aE PRR Chet ar Aree” aetnd ree aR Te BAD Wows Ee PRY I NoSE SANS YE bas oy! ese 1 KG)
BEETHOVEN— . :
Sy pNony. Nes. Crminore tore te ge eae hee ee oh eau 233
PetECL AT LAE OTT A OVC ences oo ence Sco tat cy ch agence SS Ee yea at ae se 455
Sock p Wohive aN. 0. EAStOral cos 6 ska. oe oe oop eee een Pee 129, 140, 180
Overtice, -weonore,”” (NO 6 Bree ae a a a a 111, 120, 200, 244, 265
Concerto. for Violin, Damajor=(Cecilia, Hansen) <2. .2 2... 2. eee 145
BIZET—
Carmen-outte 2.5.2.2 en Soe ae ee ed ee
BLOCH, ERNEST—
ae Three Jewasn. POeniS.255.es se <b kd sececsnsd ese eee 269, 324
BOCCHERINI—
IDG TUG bn. ee heater pe a ee a gu ae cl a ies sy She aa nS ee
BOELLMAN—
Symphonic Variations for se lbioclie (Max Waeon a) 2300 3 ks es eee. 384
BORODIN—
AEE MUSICAERON PeMCe LO OR coon ce a cn eat ee ene emcee 379
BOTTESINI— |
**kConcerto for Violin and Double Bass (Louis Persinger, Waldemar
(Sele tier. Seater a ee 290, 301
BRAHMS—. |
SYMPLGH Mi One. BD GAOL eee en he ee ly ee 87
SAA i Eo Nig oie wits pineal Slee ae Oia ae aaa le, ae. De Auailed Breet ntinc tang ro ceded 432, 445
Concerto for Viole: mayors CG@eorees EMESCO):.-:-- eras eso 393
Academic Festival Overture Ly ee ak ERs A SRR Rae CRE SPER BT 269, 324
**Rhapsody for Contralto Solo and Male Chorus (Mme. Charles Cahier) 551
Four Hungarian, (Dancestuinietect. thud J \ stor whore ee apie 254
BRUCH—
Concerto for Violin, Gennnor “CLouts Persingzer) i io Ot esis. 170, 244
Kol Nidrei for Violoncello (Walter. Ferner)..23.3OIS 2G 3 5..t 112, 265
CHABRIER— |
RAD SOCY MUG Die ot Ae rk coh: Aina shint es ee ee ee 27, 225
CHAMINADE— |
*Concertino for Flute and Orchestra (Anthony hinden) =< 34 333, 385
CHOPIN—
Goneerto tor Piano; EF minor (Muri Silda)... ea ee 121, 135
CLOKEY, JOSEPH—.
BEET iy oi (eee eae ORR SAO crate emer een ee aie 373, 437
COTTENET—
Chanson-Meditation, for Violin Solo (Louis Persinger) .u...-.:c.:cc00-c0c0----- 376

19224—FOURTEENTH SEASON—1925

Page
CRIST— f
*Chinese Mother Goose Rhymes (Eva Gauthier) 000.0... ee eceeteeeeeeeeeeeeneee 76
DELIBES—
Balléoutte,. COppelia: Se SR ee eee en EF Pe SP ene Re oe 65, 225
DE GREEF—
: owe Cid Tlentisn: Ol. SONS Sesctsrs. sot esata eae eee ee BAe ae
| DOHNANYI— :
Orcenmestra ouite, Opus Oo" an oe a ie a te ae ene ge ft oe ee
DVORAK-STOCK—.
PATROMES UHI ke Ane see re Se ae ee oe ue ee ae 374, 385, 437
EICHHEIM—
**Oriental Impressions (Conducted by the composer) .u0.....--..--cc--eeececeneeeeneees 89
ENESCO— 7
**Symphony, E flat major (Conducted by the composer) ..0...........--e--c0eeceee-- 396
FRANCK—
*Symphonic Variations for Piano and Orchestra (E. Robert Schmitz)
pat SNS ce ich Beier ee ona eee ER 181, 190
SE TTL IPO TAY ed TN) EO f= eg es et ee ee ee ee SS 273, 365
GLUCK—
Riveriure.-1l PRIS ene 1k ANS. eae op ae a te ee erm 109, 264
GLUCK-GEVAERT—
LN a oe 5 es apap a eee ee OR Pe rare auntie te Met ee OS. eet Nf 253, 364
GOLDMARK, RUBIN—
De AN CAMPER TIA SO CINE: ican ae Poe Piaas Meee LN ie dao ee a ee a Od eee S17
GOOSENS—
| POET. C= Fee, O: Lah COL aoa teen eg ee ge et ae eee ee 449
| GRIEG—
Goneerto- for Piano; A minor: (Percy Graincer). te A AS 35
POUL + DI SULG POTSAallal 2 cick tee eee, step oan noe eara none nk pts noe Ee eID
WUlicge ee eet eV, > INO. Ba oN ah pe SA ee einer eg ee 155, 200
HADLEY— ‘
PORTER ea E PSOMCUIEA coivcegi scree Sete ih esas trea ae eg ST
HANDEL— ‘
Largo, for Orchestra and Organ (Theodore J. Irwin)............................-.. 456
HAYDN— .
Royo airs ANA FOL <LOMUL pPTIS® oc aces ee ee ee ee 189, 204, 264
PREG AREL CORT ON0T OMICS oc ces oc act gest eat et IN on Ee Sn ORO An
**Concerto for Harpsichord and Orchestra (Lewis Richards)......324, 345, 356
HUBAY— ;
vfieire: atl. Violin. Solo. CY chidi..Menuhinja..0 3 oes ae ee 404
IPPOLITOW-IVANOW—
“In the Village,” from Caucasian Sketches.............. 156, 200, 204, 225, 290, 404
JACOBI, FREDERICK—
Ry OY op a a ch ed ten Se Gag eh Lee a ee Oe 44
KREISLER—.
PERLITE A WRCTITIOIS 5 ieee Ech SE ceo Ue a 100, 157, 201, 205, 225
LALO—
Concerto for Violin, F minor (Eugenia Argiewicz Bem)............-.......-...- 154
Concerto for Violoncello, D minor (Walter Ferner).......................... 314
LEKEU—
Sea etOLOS iting Orehestrac. cies Oa en eee epee ate gee i)
LISZT—
OC SO SE hae tae a rn sk sine NE ea MBN eee at Ps Neen 63, 99, 204

ReQLOUMANSE: Pik 1, AN AION Pa eases 2 Sot Zine BSR e ease TI ee ee eRe 340, 434

1924—F OURTEENTH SEASON—1925

Page
MAHLER— :
Symphony No. 2 (Resurrection) (Helen Stanley, Mme. Cahier).......... 553
MASSENET—
Alsatian SC@MmeS ......------..--:c--ecceecceeeceeecneseceeceeceseneccenecnnnrennnnaennesnnnannansnansesccnaecssseses 25, 99
Oe Pek AE epee Ge 5X7 Aig One eect pina Secs IB a te ieee ia Bod Seip arene REET ee 63, 140, 144, 437
MENDELSSOHN— | ‘
Concerto for. Vion. © minor Cerna RupiNnSstein)22- 234
Spring Sone and > pin TInS ao ONe ea tee sores ccartnn: ot. ore ren taeeeeae aie pee 99, 113, 403
MEYERBEER— oe
Aria, “O Paradiso,” from “L’Africaine” (Rudolf Laubenthal)............... 527
MONASTERIO—. : 7
Serenata Andaluza ey olin Solo -GLouise PersHimen) =. ae eee ae: 376
MOZART—
STII D FRO ELV seer SEIT) Oe oe tr meade Se eee ccna Due 313, 408
PERSINGER, LOUIS— |
Baoatelle-“Vi16lin Solo sGouis ak ersit Ge) oe ae ee haere terrae tg 376
PIERNE—
RAVEL—
tite; “Ma - Mere Owe (Mother! Goose) ao. ete acter eee eee 213
AT wovHebtew-stelodses: (Ewa Gantnier) ac. = eee ae ee ee 76
RESPIGHI—
TEBaliade Oli thes Crone St. osteo eee ae ee 132
se Antique Dances Toratne tatec as see gn eee ee Ae eee 344, 353
RIMSKY-KORSAKOW— !
Symphonic: Suite -cScheheraza@e se 2 eek te eee, ee eee 34, 215
Overtiires = tar an SSiat Sea SEOE oer eee nia er ee eee 526
**Scherzo... phe: Bumple Beer “trom; Sar Satan oo... n5 ee 376, 385, 437
ROSSINI—
Overture.to. Wittiani Tel (ce ea eet eee 255, 285, 404
Overture=to sha sGazzae labs entt ema ieee ee emer te ee eye. Meck 67
: Aria, Una Voce Poco Fa, from “The Barber of Seville” (Eva Gauthier) 78
SAIN T-SAENS—
CAEN Val Oh THE TIALS acs ac eee ae ee eng ce ee a, eee et et nee eG
Ballet Sites Onme tren rye Vil tk et eee ee en ee ee eee ee ee oe 23: 225
PEUGEOT a NO Cie Cis ee ek ee ee 65, 99, 204, 225, 437
SCHUBERT—
Sym photiy.1n ss miner. WAlmiShed 1s ee ees 98, 110, 120, 144
Military Mamel cit arth See, teak nd oer aeon hce aie ams eae ee 455
SCHUBERT-STOCK—
ie Be sy otael nf oy = elke ia a ar nar Aas ac Teta Mag ah ols oe Fb arte oie ay A Std te Memcaite Ke 300
SCHUMANN— .
Sani pbony INO: 3k PROTEGE. Soot asa He ee artre e t eee 171
(Transcribed for modern orchestra by Frederick Stock)
“The Pilgrimage of the Rose” (Helen Stanley, Mme. Cahier, Rudolf
Laupenthal. Alexander Wapnis) a2 eee os he a Wee SE oe 523
SCRIABIN—
BL ec DET MerO ©” Lal scta Sze peer eee RL tees | Te ae ee oe ee eee 531
SIBELIUS—
NeaSes Teri Stent. SSS a St ES eee Na re ep Nata deus MR Veter east oae SD 337
SMETANA— :
DVM pHOnicaorm,-.- tne Mioldal cf he oy an eee ne eee ane: Cece 66, 141
Overture tor ene: bartered: Bride on ee ee ree 23
SOWERBY—

** The Irish Washerwoman

19224—FOURTEENTH SEASON—1925

Page
STRAUSS, JOHANN—
Onesitive tos BHeAG rps aaron the et he tia eo 2) 157
Watt Onethe. Beautiful Bluey Danuber acs. -c5e-.-oca een 100, 113, 437
| STRAUSS, RICHARD—
| PONE Ce OCT WON 9 Wai i eB a ioe er 236, 244, 266
| Rondo, “Til Entel eres DAC eons cccat non aner etn dscendtc eedaseseorerinntates ee ees Sink Seg 45, 120
: ** Burleske, in D minor for Pina and Orchestra (E. Robert Schmitz). 180, 190
| STRAVINSKY—
Sliite: FPOt © mb Her IEG AvING. 2c tse AS ccna c eee een ee eT ES 345, 357
SVENDSEN—
BOC HOTA MAV UA Sus 58 ois ae scat ate ek, sche ecu Aue ec 297, 409, 449
| TAYLOR, DEEMS—
‘aries a nrouch the Iaoowing Glass 232s ak Se ee 9, 54, 77, 289
|
TSCHAIKOWSKY—
H SIEUPUNOMI NE, RU. Dy HES SEPT O NG eee eae eee ee a eee hee ee ew 1, 4s CO
SP Cy NOL, 6, Pa tCUIGUE. cots res cree nw ener Oe eee nee 421
¥ Pontasia.~~ i SanCeSca da WeMnlitnt: scene sy ai Zensen 93, 141, 144
! | EET Gye CCW By a) 4 Opti ak A et ee te eee eet PR rscpenn ck IK Al eee 204, 214, 284
i EEE. GSES SSNS eee Se re Santa Se Rant de ero | od RENE NEN RIN et, teary Se OER CIO! 427
Concerto: fon Violin.«D majora( Mischa -Elman).....cte oe ee ees 201
PEL bys <n 11S UNUIECEAC ROL rove sureties REA IA, C8 404, 425
VERDI—
' Requiem (Helen Stanley, Mme. Cahier, Rudolf Laubenthal, Alexander
i POMPE Re es it aoe abs < teaacae ae Se AER ee aE ie ae 465
{
VIVALDI—
e*Concerto for otrins Orchestra; A minors cialee tosis cpecales itt 43
WAGNER—
: PU AMLIA TES EF, §) CNUEE CCC nese OR oe UR EE Eo hye ene lnsec ease cece nits 412, 495
ECVE CEO Orpel? (ONO EUS.) aoa Sa cccrieta av bveli seasons ncaa Ri Be 505
PROG RAAT RO akacrcc aie cents abel incvstinntnis boebectinieab eed SALINAS 2 APS PT ee 280
| wratl,.-ai-of song (Florence Hast6n)iL Assen 6 oe SP ee 281
CWomenpriny UP relide? ci) APR a I BS 0 Soe Bie 253, 284
! PREC OCUCTIONs LOAN CTE hi gor 15.s2ss oa eee nad, pe = 280, 385
| Lohenegrin’s Narrative (Rudolf Laubenthal).....4. 23 ae 497
| Elisa's Dreanr (Florence aston yc 3 54.20 dR ek eee ioe kd 280
“Die Meistersinger,” Prelude RS eee paren ae (Es BPE oy, ee Se, 409, 451
Introduction to Act III, Dance of the Apprentices and Procession
a5 a oa OO a I a ed ee ee RN GRD SMH LARS Arete Gegen SE | 34, 54
| ci A SOs Of 2 1° ee et CRON 9 3208S STs {mnie 552 2) 5 at OS ey cr 280, 379, 384
“Die Walkure,” Act I (Helen Stanley, Rudolf Laubenthal)........00000000 505
Wotan’s Farewell and Magic Fire Spell (Alexander Kipnis)............ 507
) “Pristamaned.lsolde,.’ ‘Preludeand. Love Deathaecw chee Sh: 191, 245
Same as above (Isolde, PLOTCNCE aaAS(OR }s 355, once nee Men ee ee 2 ee 281
“Das Rheingold,” Entrance of the Gods into Walhalla.....0- 281
: SEAT ST h PD’ PELUG Co cssscic: senatcccxspqsspahteszsscnctaeteetenslg ee oe 169, 181, 280, 364
“Parsifal,” Good Friday Spells. fei sti, ATA OIN 3s) Tyee ee a) 8 > 254
Ovevtire OM Relais... CAE SE EO Sth tht Iu BI eas 2 25, 98
he F atts t. Ov rire sn cxccortecceccectea ise AELUG IAS ESE SGN te 393
] Songs with Orchestra, “Traume” and “Schmerzen” (Mme. Charles
aT Oo) eae een eel pane ee ie einen armors: b. B68, SS ysl Yas 499
| WEBER— |
. ONEPritREe tO OBERG IN 352 el Ben kh ee Pd pe ee DE 153, 204
d WEBER-WEINGARTNER—
Pa StatLOme LO tC: LIAN CC eon So ancnen cic ig Sto Be cgmsss SEAL GEER ak uss ge OE TODS
| WIENIAWSKI— }
Souvenir de Moscow, Violin Solo (William F. Laraia)........0..0000000. 285

m@ [RAS

SAN F FRANC

SYMPHONY =

i ORCrEE are Ve
CNS} The Musical z

Assoctation of |
som Trancisco

~2>4] pete
FIRST PAIR

“eq bee

L924 1925

Fourteenth Season

ALFRED HERTZ CONDUCTOR

| ae Soa _]

Wi, Yet

hip YY GY,

VELL fy
SLE

ce —

The
RADIO PIANO

flason & Hamlin

THREE out of the four broadcasting stations
about the Bay own Mason & Hamlin pianos!
KLX owns one; so does KPO—and the new
station, KFRC. The reason? The clear, pure
tone of the Mason & Hamlin pianovhas the
quality of holding clear and pure through all
the miles of air—through all the mechanics of
broadcasting and receiving! Such proof of ton-
al purity is an overwhelming argument in favor

of the Mason & Hamlin.

Wiley B Allen ©

135 KEARNY STREET, SAN FRANCISCO
1323 WASHINGTON STREET, OAKLAND

€ Receive your radio
programs through the
Brunswick Radiola! “al: | * i
New—a talking ma-
chine or aradioat thes '
turn of a lever!

: ffl;
{tie

im tN
\ }'!
4d ads | AD
4, >
i
' '
{} . '
H
| Cae
Dy ula

|
fe 3 Ike i

[Sak NS
MOT CCT iirran

Sant ane

The San Francisea Symphony Orchestra

ALFRED HERTZ, Conductor

1924—Season—1925

FIRST PAIR OF SYMPHONY CONCERTS
484th and 485th Concerts

CURRAN THEATRE

Friday Afternoon, October 31, 3:00 o’clock
Sunday Afternoon, November 2, 2:45 o’clock

| PROGRAMME
1. Symphony No. 5, E Minov..........------------------ 1 schaikowsky

Andante—Allegro con anima

Andante cantabile con alcuna licenza
Valse—Allegro moderato

Finale: Andante maestoso—Allegro—Allegro vivace

Intermission
2. Adagio for. String, Orchestra: 222 nic. 21-0..- 255 -52-3252------ Lekeu
(First time in San Francisco)
3. Suite, “Through the Looking Glass’’.............. Deems Taylor

(First time at these concerts)
I. (a) Dedication
I. (b) The Garden of Live Flowers

Il. Jabberwocky
If. Looking Glass Insects
IV. The White Knight

Illuminating talks by Victor Lichtenstein on the pro-
grammes of the San Francisco Symphony Orchestra, illustrated
by artists of the orchestra, Friday at noon on concert days,
Sorosis Hall, Sutter near Powell. Management, Alice Seckels.

Notice.—Patrons desiring programmes sent to them
in advance of each concert may secure same upon pay-
| ment of $1.00, which will cover the entire season. Names
and remittance may be sent to A. W. Widenham, 457
Phelan Building, or to the Symphony Box Office,
Sherman, Clay & Co.

(Quarg Music Co.)

onegraph. Shon

109 Stockton Street

VICTROLAS and VICTOR RECORDS

BRUNSWICK PHONOGRAPHS and RECORDS

BRUNSWICK RADIOLAS

We carry the most complete stock of
records by the following leading European
and American Symphony Orchestras,
directed by famous Conductors:

Boston Symphony Orchestra.
Philadelphia Symphony Orchestra.
New York Philharmonic Orchestra.
St. Louis Symphony Orchestra.
Cleveland Symphony Orchestra.
Minneapolis Symphony Orchestra.
Chicago Symphony Orchestra.
New York Symphony Orchestra.
Cincinnati Symphony Orchestra
Berlin Philharmonic Orchestra.
Royal Albert Hall Orchestra, London.
London Symphony Orchestra.
French Symphony Orchestia, Paris.
New Queen’s Hall Orchestra, London.
German State Opera House Orchestra,
Berlin.

Beecham Symphony Orchestra, London.

Complete Stock se nee Victor Red Seal Records

QUARG MUSIC CO.

206 Powell St. - - 198 O’Farrell St.

For your convenience

Open Evenings

Symphony No. 5, E Minor : ~ “ Tschaikowsky

In the Fifth Symphony of Tschaikowsky we seem to see whole
nations in revolt, mourning, rejoicing, conquering. The first move-
ment suggests the surging of a great mass of people—perhaps the
Russian nation at work and at play, vital and free-souled, but sub-
merged and unhappy. The second movement, one of the most
popular compositions Tschaikowsky ever wrote, is a passionate and
sensuous andante, although shortly before the movement's end the
theme of the symphony appears as a sort of rumble of cannon amid
the pathos of a people's suffering. The third movement is a beau-
tiful piece of delicate tracery, perhaps the aristocracy of the people,
dancing in its ballroom, oblivious of the groaning of the workers out-
side. Toward the close of the movement the threatening motive is

again heard as though the guests heard the first mutterings of the mob
n the streets below. With the opening of the fourth movement the
armies of the people seem to be approaching for battle. This is one
of the most remarkable depictions in all music of that peculiar sensa-
tion known as mob-emotion. Here it inevitably means the triumph
of a great popular cause. The armies of liberty have fought and won.

ESTABLISHED 1852

9 U ALI +

CONSISTENT
PRICES

Shreve and Company

Jewelers and Silversmiths

Post and Grant Avenue
San Francisco

“The Happiest Homes in All Creation

Are Homes Surrounded by Recreation”

The “Carmel” of the Peninsula

“BELLE MONTT?’

Beautiful Pine Knoll—the most attractive spot at
the Belle Monti Country Club at Belmont has been
allotted to us for an exclusive Artist and Musicians’
Center. Every home and week-end cabin site
entitles the purchaser to full membership in the

~ Belle Monti Country Club se

Now Building
for which $250,000 has been directed to be set aside for club house,

swimming pool, courts, links, etc.

Nine Hole Golf Course Now Open

Pine Knoll has both marine and foothill view and overlooks the city
and surrounding country for miles.

Write, call or phone for complete information. ev
Artist Center Division © >

sh
BELLE a SALES CO. Heh CXS
are % othe

212 Sutter Street
San Francisco

Artist Center Division
BELLE MONTI SALES CO.
212 Sutter Street, San Francisco
Please send airplane view in colors and complete information regard-

ing “Belle Monti’ and Belle Monti Country Club to

SS EE EEE EERE ERO eee eewenee
ew ee ee ee eee ene

Adagio for String Orchestra - o - - - Lekeu

Guillaume Lekeu was born near Verviers, Belgium, January 20,
1870. Although possessed of musical gifts, they did not receive
development until he was fourteen years of age, his artistic spirit
having been suddenly awakened by some pieces of Beethoven. After
thoroughly acquainting himself with the masters, Lekeu removed to
Paris in 1889 and studied under Gaston Villan. He completed the
study of harmony in two months and Villan then introduced him to
Cesar Franck, who was struck with his talent and consented to give
him lessons in composition. After twenty lessons the death of the
master left Lekeu without counsel in his work, but Vincent d’Indy took
up the instruction of the composer. In January, 1894, Lekeu con-
tracted typhoid fever, from which he died at the age of twenty-four.

The title page of the score of the Adagio bears the following
motto, ‘Ihe pale flowers of memory,’’ quoted from a poem by
Georges Vanor. In this work the strings are divided into solo violin,
first, second, third and fourth violin; first and second violas; solo
’cello, first and second ‘cello. The basses alone remain undivided.

Suite, ‘“Through the Looking Glass” - - - Deems Taylor

Deems Taylor, born in New York December 22, 1885, was
educated at the Friends’ School, New York public schools, Ethical
Culture School, and at New York University, from which he received

Manheim, Bihbern & Co.

Established 1869
~oed] fea

Our LIFE INSURANCE experience
will assist you in providing for

your LIFE INSURANCE needs.

Ground Floor California Commercial Union Building

Montgomery Street at Pine Telephone Sutter 2945 —

the degree of Bachelor of Arts in 1906. From 1912 to 1916 he was
assistant editor of the ‘“Western Electric News’; in 1916, assistant
Sunday editor of the New York “‘Tribune’’; correspondent in France
for the same paper during 1916 and 1917; associate editor of
“Collier's Weekly,” 1917 to 1919. In 1921, Mr. Taylor was ap-
pointed music critic on the New York ‘‘World,’’ a position which he
is still holding. His principal orchestral works are “The Siren Song,”
a symphonic poem; a cantata, ‘“The Chambered Nautilus’; a cantata,
“The Highwayman”; “Through the Looking Glass’; “Portrait of a

Lady,” rhapsody for orchestra; also numerous choral pieces, piano
compositions, songs, etc.

‘Through the Looking Glass’’ was originally written for flute,
oboe, clarinet, bassoon, horn, pianoforte and strings, and in that form
was produced by the New York Chamber Music Society, February 18,
1919. The following season the same organization performed the
work in San Francisco, while on tour. In September, 1921, Mr.
Taylor began a revision of his work for full orchestra and, the first
version having been in three movements, he added the “Garden of
Live Flowers,” which is now the second division of the opening move-
ment of the suite.

When the suite was first performed by the New York Symphony
Orchestra, March 10, 1923, the following description was provided by
Mr. Taylor:

Tue San Francisco Savines ano Loan Society

(THE SAN FRANCISCO BANK)
SAVINGS COMMERCIAL
INCORPORATED FEBRUARY 10th, 1868.

One of the Oldest Banks in California,
the Assets of which have never been increased
by mergers or consolidations with other Banks.

Member Associated Savings Banks of San Francisco
526 California Street, San Francisco, Cal.

JUNE 30th, 1924

Aseeteos 7 ier ls ct eee ohh nes eae bees etek $93,198,226.96
Capital, Reserve and Contingent Funds....... 3,900,000.00
Employees’ Pension Fund.............+++++:: 446,024.41
MISSION: BRANGHE siidecwnr «beac ks peewee er rerem as as Mission and 21st Streets
PARK-PRESIDIO DISTRICT BRANCH........... Clement St. and 7th Ave.
HAIGHT STREET BRANCH.........-++-e0005 Haight and Belvedere Streets
WEST PORTAL BRANCH 06.0 i .0:0is ec estis see 0 se West Porta] Ave. and Ulloa St.

Interest paid on Deposits at the rate of
FOUR AND ONE QUARTER (414) per cent per annum,

COMPUTED MONTHLY and COMPOUNDED QUARTERLY,
AND MAY BE WITHDRAWN QUARTERLY

‘The Suite needs no extended analysis. It is based on Lewis
Carroll’s immortal nonsense fairy-tale. “Through the Looking Glass
and What Alice Found There,’ and the five pictures it presents, will,
if all goes well, be readily recognizable to lovers of the book. There
are four movements, the first being subdivided into two connected
parts.

I. (a) Dedication

Carroll precedes the tale with a charming poetical foreword, the
first stanza of which the music aims to express:
Child of the pure, unclouded brow
And dreaming eyes of wonder!

Though time be fleet, and I and thou
Are half a life asunder,

Thy loving smile will surely hail
The love-gift of a fairy-tale.

A simple song theme, briefly developed, leads to

I. (b) The Garden of Live Flowers

‘“‘O Tiger-Lily,’’ said Alice, addressing herself to one that was
waving gracefully about in the wind, “I wish you could talk.”

“We can talk,’’ said the Tiger-Lily, ‘““when there’s anybody worth
talking to.” .

‘‘And can the flowers talk>”’

‘As well as you can,” said the Tiger-Lily, “and a great deal
- louder.”

ALFRED METZGER—

In his conducting Mr.
Linden impresses by dis-
pensing with the score,
making a fine appearance,
revealing magnetism and
distinct personality and

REDFERN Mason—

He played admirably.
There was no_ self-con-
scious virtuosity; it was
the pure bel canto of the

obtaining uniform and in-
stant response from his

flute, every note round
and perfect as a pearl.—
San Francisco Examiner.

musicians.—Pacific Coast
Musical Review.

Mm. Anthony Linden

Orchestral Conductor and Flute Virtuoso
Soloist—Teacher—Lecturer
Solo Flutist, San Francisco Symphony Orchestra
Formerly Solo Flutist, Minneapolis Symphony Orchestra
Director Linden School of Flute Playing

Address all communications to

457 Phelan Building, San Francisco

ANNOUNCEMENT

SECOND PAIR OF SYMPHONY CONCERTS
Curran Theatre

Friday, November 14, 3:00 P. M.
Sunday, November 16, 2:45 P. M.

PROGRAMME

1. Concerto for String Orchestra, A Minor............-..--- Vivaldi
Arranged for concert use by S. Franko
(First time in San Francisco)
Allegro moderato
Adagio
Allegro |
DSTA DONT” NOG Mieke sen ae repe pe te teu siet sewer Frederick Jacobi
(First performance anywhere)
Furioso—Ma non troppo—Presto
Lento non troppo
Allegro amabile
3. Rondo, “Till Eulenspiegel’s Merry Pranks’’............-..-
SS epee A SST SAE 2 LRN gg pe ee OE ae Richard Strauss

ANNOUNCEMENT

FIRST POPULAR CONCERT
Curran Theatre
Sunday, November 9, 2:45 P. M.

PROGRAMME
be Overtire <Phedre is fore ie ee oe eee Massenet
2S Ballet Suites. 5 bbenry: Vili ee Soe eg Saint-Saens
Introduction and Entrance of the Clans
Scotch Idyl
Dance of the Gypsy
Gigue and Finale

B “O\wertuvey Gsleng tee a soccer ioe ook acta ete ato: eee Wagner
AeA \satianys DC OTES oot esse cae eee co oyee es ene eae eee Massenet
Sunday Morning Sunday Evening
At the Tavern Under the Linden Trees

5. Rhapsody, ~ ‘Espana’ Seon aa e EON ee ce agen teen Chabrier

Tickets on sale at Sherman, Clay & Co., on Monday
preceding concert, hours 9 to 5; and at Curran Theatre from
10 A. M. on day of concert.

Shortly after Alice had entered the looking-glass country, she
came to a lovely garden in which the flowers were talking — in the
words of the Tiger-Lily, ‘‘as well as you can, and a great deal louder.”
The music, therefore, reflects the brisk chatter of the swaying, bright-
colored denizens of the garden.

II. Jabberwocky

’Twas brillig, and the slithy toves ‘‘Beware the Jabberwock, my son!
Did gyre and gimble in the wabe. The jaws that bite, the claws that catch!
All mimsy were the borogoves Beware the Jubjub bird, and shun
And the mome raths outgrabe. The frumious Bandersnatch!”’
He took his vorpal sword in hand: And as in uffish thought he stood,
Long time the manxome foe he sought— The Jabberwock, with eyes of flame,
So rested he by the Tumtum tree, Came whiffling through the tulgey wood,
And stood awhile in thought. And burbled as it came.
One, two! One two! And through and “‘And hast thou slain the Jabberwock?
through Come to my arms, my beamish boy!
The vorpal blade went snicker-snack! O frabjous day! Callooh! Callay!”
He left it dead, and with its head He chortled in his joy.

He went galumphing back.

CE Als Popa Tuesday, Wednesday, Saturday Phone Douglas 1678
Afternoons—2-5

KAJETAN ATTL

Solo Harpist
San Francisco Symphony Orchestra

Using Lyon & Healy Harps, The World’s Standard
FOR ENGAGEMENTS

AS SOLO ARTIST, ACCOMPANIST, OR

PLAYER IN ENSEMBLE MUSIC,
ADDRESS

KAJETAN ATTL, BOHEMIAN CLUB
SAN FRANCISCO, CALIFORNIA
RES. PHONE FRANKLIN 7847

Orley See

Violinist and Teacher
Concert and Recital

Se
48 Wildwood Avenue, Piedmont

Phone Piedmont 8140-J (Tuesday) Douglas 1678

a short and rather repellant fugue, the double-basses bringing up the
subject and the hero fighting back in the interludes. Finally his vorpal
blade (really a xylophone) goes “snicker-snack’’ and the monster,
impersonated by the solo bassoon, dies a lingering and convulsive
death. The hero returns to the victorious strains of his own theme—
“O frabjous day! Callooh! Callay!’’ The whole orchestra rejoices
—the church bells are rung—alarums and excursions. Conclusion.
Once more the slithy toves perform their pleasing evolutions, undis-
turbed by the uneasy ghost of the late Jabberwock.

II. Looking-Glass Insects

The score contains extracts from the dialogue of Alice and the
gnat ‘about the size of a chicken’’ about various insects, among them
the bread-and-butter-fly.

‘‘And what does it live on?’”’

“Weak tea with cream in it.”’

‘Supposing it couldn't find any>?”’

‘“Then it would die, of course.’’

“But that must happen very often,” said Alice thoughtfully.

“Tt always happens,”’ said the gnat.

Here we find the vociferous diptera that made such an impression
upon Alice—the Bee-elephant, the Gnat, the Rocking-horse-fly, the
Snap-dragon-fly, and the Bread-and-butter-fly. There are several
themes, but there is no use trying to decide which insect any one of
them stands for.

IV. The White Knight

The score contains extracts from the conversation of the White
Knight, and an account of his leave-taking.

He was a toy Don Quixote, mild, chivalrous, ridiculous, and
rather touching. He carried a mouse-trap on his saddle-bow, “be-
cause, if they do come, I don’t choose to have them running about.’
He couldn’t ride very well, but he was a gentle soul, with good inten-
tions. There are two themes; the first, a sort of instrumental prance,
being the Knight’s own conception of himself as a slashing, dare-devil
fellow. The second is bland, mellifluous, a little sentimental—much
more like the Knight as he really was. The first theme starts off
bravely, but falls out of the saddle before very long, and has to give
way to the second. The two alternate, in various guises, until the
end, when the Knight rides off, with Alice waving her handkerchief—
he thought it would encourage him if she did.

THE
MARGARET MARY MORGAN (CO.

Gngraving- Printers - Publishing

619 CALIFORNIA STREET
DOUGLAS 4633

We are now ready to serve you from a most complete selection of engraved

_ Christmas Greeting Cards

for personal and commercial use.
Our most inexpensive cards, along with the more exclusive ones, have been designed with

the same thorough good taste.
Order while stock is complete.

Elwyn Artist Series

At Scottish Rite Hall—Season 1924-1925

10 SUPREME EVENTS

Subscription Tickets for Entire Series

$7.00, $10.00, $15.00

(Plus 10% Tax)

MORIZ ROSENTHAL Monday Eve., Nov. 17

‘‘A Pianistic Giant Accomplishing the Superlative”

CECILIA HANSEN Thursday Eve., Dec. 4

‘‘The Sensation of the Concert Season’ —
Chicago “‘Herald-Examiner”’

ISA KREMER Friday Eve., Dec. 12

Russian Singer of Folk Songs

*JASCHA HEIFETZ Sunday Mat., Jan. 18

‘‘The Incomparable”

MARIA IVOGUN Monday Eve., Jan. 26

Europe’s Greatest Coloratura Soprano

ALBERT SPALDING Friday Eve., Feb. 20

America’s Supreme Violinist

*ROLAND HAYES Sunday Mat., Feb. 22

Phenomenal Negro Tenor—The Sensation of Recent Years

MABEL GARRISON Weiaedee Eve., Mch. 18

One of America’s Most Gifted and Gracious Singers

LONDON STRING QUARTET

Tuesday Evening, April 7

‘Unsurpassed as a Perfect Ensemble”’

REINALD WERRENRATH
Monday Evening, April 20

‘*An American Institution”

MERLE ALCOCK Early May

Leading Contralto Metropolitan Opera Co.

*Patrons may have their choice of one of these two great
artists, or, by paying $1.00, $1.50, or $2.00 extra, may enjoy the
additional concert on the season ticket. Single tickets for these
artists are $1.00 to $3.00. The Heifetz and Hayes concerts are
both at the Casino Theatre; all others will be held at Scottish
Rite Hall. (Save 3314% on Season Tickets.)

Season Tickets Now on Sale—Sherman, Clay & Co.

Steinway
For qualities that endure

Pees is usually bought but once in
a lifetime. It will remain in your
home from now henceforth—a monument
to your judgment, a witness to your taste.

As the years go on, associations will
gather thick about this instrument. Little
fingers will learn to play on it. Lovers will
grow tender above it. Songs, old and new,
will come from it mellow and familiar.
During these years, your piano should come
to be the very heart of your Home.

So choose this piano carefully. Choose
it as you would choose an intimate member
of your family circle. Choose it for the
qualities that will endure.

Let the choice, if possible, be a STEIN-
way. There is no other piano of qualities
more enduring —of distinction so immedi-
ately recognized.

ih
Sherman,|@lay & Co.

Kearny & Sutter Streets
Oakland , Fourteenth and Clay

SAN FRANCISCO
SYMPHONY)
= ORCHEST RA

eo
“di Maintained by (G
Of as

Cs XE) Sy
Deke The Musical 4
Assoctation of kk
San Francisco | |W 5
as
“aed feae-

FIRST POPULAR

“ed fheae-

1924 1925
Fourteenth Season

ALFRED HERTZ CON DUCTOR

ees

Alfred Hertz
RECOMMENDS
CONN INSTRUMENTS

The San Francisco

Symphony

uses

CONN
INSTRUMENTS

No Higher Endorsement

can be given to a musical
“I take great pleasure in

instrument, hence if the recommending Conn instru-

experience of great artists ments for symphony

; orchestra work.”
means anything to you, your

choice will be CONN.

DIN IN

WORLD'S
LARGEST MANUFACTURERS
OF HIGH GRADE BAND AND
ORCHESTRA INSTRUMENTS

ALFRED HERTz.

Repairing

Conn San Francisco Co. Conn Oakland Co.
47 Kearny St. 531-16th St.

Musical Association of San Francisco

Founded December 20, 1909 Incorporated February 3, 1910

OFFICERS
Joun D. McKzsz, President
J. B. Levison, Vice-President E. R. Dimonp, Treasurer
A. W. WipenHaAm, Secretary-Manager

BOARD OF GOVERNORS
J. K. Armsby A. B. C. Dohrmann John D. McKee
E. D. Beylard John S. Drum Seward B. McNear
Miss Lena Blanding Milton H. Esberg L. F. Monteagle
Miss Louise A. Boyd Herbert Fleishhacker Robert C. Newell
George T. Cameron J. D. Grant J. C. Raas
Selah Chamberlain E. S. Heller F. R. Sherman
C. H. Crocker W. E. Creed Wm. T. Sesnon
Mrs. Templeton Crocker J.B. Levison M. C. Sloss
Wm. H. Crocker - Walter S. Martin William Sproule
E. R. Dimond John A. McGregor Sigmund Stern

EXECUTIVE COMMITTEE
John D. McKee, Chairman

E. D. Beylard E. R. Dimond J. B. Levison
Wm. H. Crocker E. S. Heller William Sproule

MUSIC COMMITTEE
J. B. Levison, Chairman

E. S. Heller E. D. Beylard Robert C. Newell

WOMEN’S AUXILIARY
Mrs. M. S. Koshland, Chairman
Miss Lena Blanding, Vice-Chairman
Mrs. M. C. Porter, Vice-Chairman

EXECUTIVE OFFICES

457 Phelan Building, San Francisco
A. W. WIDENHAM, Secretary-Manager

Hours 10 to 12 A. M., 2 to 4 P. M. Telephone Garfield 2819

The
RADIO PIANO

flason & Hamlin /

THREE out of the four broadcasting stations ii
about the Bay own Mason & Hamlin pianos! ;
KLX owns one; so does KPO—and the new
station, KFRC. The reason? The clear, pure

tone of the Mason & Hamlin piano has thes
quality of holding clear and pure through all

the miles of air—through all the mechanics of
broadcasting and receiving! Such proof of ton-

al purity is an overwhelming argument in favor

of the flason & Hamlin.

Wiley B.Allen ©.

135 KEARNY STREET, SAN FRANCISCO
1323 WASHINGTON STREET, OAKLAND ;

€ Receive your radio 4 :
programs through the bf

Brunswick Radiola! “a.
New—a talking ma-
chine or aradioat thes '
turn of a lever!

vj ftl y [=

te ifas
Plate Miata TT fj
= wv! = i
ST) r st ~* are

Che San Francisco Sumphony Orchestra

ALFRED HERTZ, Conductor

1924—Season—1925
FIRST POPULAR CONCERT
486th Concert °
CURRAN THEATRE
Sunday Afternoon, November 9, 2:45 o’clock

PROGRAMME
1. Overture to “The Bartered Bride’ ..............-.2.-...:. Smetana
2S Ballet oulte. entry. Villas eee ee ee Saint-Saens

Introduction and Entrance of the Clans
Scotch Idyl

Dance of the Gypsy

Gigue and Finale

3. jOverture,. Rienzi. <5... Rae ee eee Wagner
Intermission

4 Alsatian= Scenes... .22.6.602 cee ees ae be eee Massenet
|] Sunday Morning 3 Under the Linden Trees
2 At the Tavern ("Cello Solo, Walter Ferner)
(Clarinet Solo, H. B. Randall)

4 Sunday Evening ean eg

5, wivhapsedywispanas <b yk ee. Ey ac, Bee Chabrier

FIRST AUDITORIUM “POP” CONCERT
Tomorrow Night — 8:20 P. M.

Soloist: PERCY GRAINGER, Pianist

Reserved Seats: 50c, 75c, $1, at Sherman, Clay & Co.

jade

109 Stockton Street

The Newest and Most Remarkable

Achievement in Radio

THE BRUNSWICK RADIOLA— Combining the
world-noted Brunswick Phonograph with the super-
lative in Radio, the Radiola Super-Heterodyne.

: 3

if
ill
=
=
=
—
——|
—
bol
="

BUA

TET |

sr
LNA PAT HUTT

ir Wag

Brunswick Radiola
No. 360

Combining the world-noted
Brunswick phonograph with
the superlative in radio—the
Radiola SupereHeterodyne,

The
Brunswick Radiola
Super-Heterodyne

—some remarkable

features

] —Requires no _ outside

antenna — no. ground
wires. You can move it
from room to room— plays
wherever you place it,

At Amazing selectivity

permitting you sto: {cut
out’’ what you don’t want
to hear and pick out
instantly what you do.

—Combines the super-
lative in radio with the
superlative in phono-
graphic reproduction—a
phonograph and a radio
in one.

Brunswick Radiolas, ranging in price from
$190 to $660. Sold on easy payment plan

QUARG MUSIC CO.

206 Powell Street

Open Evenings

Overture to “‘The Bartered Bride”’ - - “ ~ Smetana

The ‘“‘Bartered Bride’”’ was the second of Smetana s eight operas.
Its great popularity in Prague is attested by the fact that it has had
almost four hundred performances. The work was intended by its
composer to be typical of Bohemian life and character — to be a
national opera, and so it really is. ‘‘The charm of Smetana to the
outside world lies in the fact that while the national character remains
the foundation of his thoughts, he knew how to clothe the national
Bohemian music in modern and high art forms, and at the same time
remain truly original, always himself, always Smetana.” The story of
the opera illustrates Bohemian village life and is full of mirth. ‘The
work is a great favorite on continental stages and is included in the
repertoire of the Metropolitan Opera in New York.

The music of the overture is characteristic of the opera, though
‘n form it is rather unconventional. The fugue which follows the
short introduction has a coursing theme that never loses the charm of
dance and jingle, and has a flavor of rustic festivity.

Ballet Suite from “‘Henry VIII.” - ~ - - Saint-Saens

‘Tenry VIII,” an opera in four acts and six scenes, written by
Admand Silvestre and Leonce Detroyat, with music by Saint-Saens,
was produced at the Opera, Paris, on March 5, 1883, and performed
thirty-three times during the year following. This was six years after
the production of the same composer's much more popular opera,

“Samson and Delilah.”” The book of “Henry VIII." is founded on

ESTABLISHED 1852

Ce Cae, OY ES Av aD Gg

CONSISTENT
PRICES

Shreve and Company

Jewelers and Silversmiths

Post and Grant Avenue
San Francisco

Opening Event

Elwyn Artist Series

SCOTTISH RITE HALL

Monday Evening
November 17

MORIZ

ROSENTHAL

PIANIST

Management

~ELWYN CONCERT BUREAU

Reserved Seat Sale
: SHERMAN, CLAY & CO.
$2.00, $1.50, $1.00, 50c. (Plus Tax)

ELWYN ARTIST SERIES--10 Supreme Events

At Scottish Rite Hall—Season 1924-1925
Subscription Tickets for Entire Series $7, $10, $15 (Plus 10% Tax)
MORIZ ROSENTHAL ALBERT SPALDING

Monday Eve., Nov. 17 Friday Eve., Feb. 20

““\ Pianistic Giant Accomplishing the America’s Supreme Violinist

Superlative’’ *ROLAND HAYES
CECILIA HANSEN Sunday Mat., Feb. 22
Thursday Eve., Dec. 4 Phenomenal Negro Tenor—

“The Sensation of the Concert Season’’— MABEL GARRISON
Chicago ‘‘Herald-Examiner”’ a NS nese Eves Mch. 18 .
I America’s Most Gifted ar
ISA KREMER oO" Gracious Singers
Friday Eve., Dec. 12 London String Quartet
Russian Singer of Folk Songs ee Tuesday Eve., Apr. 7 ;
% ASCHA HEIFETZ JInsurpassed as a Perfect Ensemble
sat Wako Jane 18 REINALD WERRENRATH

Monday Eve., Apr. 20

*“An American Institution”

MARIA IVOGUN MERLE ALCOCK
Monday Eve., Jan. 26 Early May

Europe’s Greatest Coloratura Soprano Leading Contralto Metropolitan Opera Co.

“The Incomparable”

*Patrons may have their choice of one of these two great artists, or, by paying
$1.00, $1.50, or $2.00 extra, may enjoy the additional concert on the season ticket.
Single tickets for these artists are $1.00 to $3.00. The Heifetz and Hayes concerts
are both at the Casino Theatre; all others will be held at Scottish Rite Hall. (Save
33'44% on Season Tickets.)

Season Tickets Now on Sale—Sherman, Clay & Co.

the political and domestic troubles of the muchly-married King of
England. As was customary in French operas at that time, the ballet
was an essential part of every performance, the suite provided by
Saint-Saens consisting of four movements, the titles of which explain
themselves.

Overture to ‘‘Rienzi’’ - - =: w= - - Wagner

Wagner, while conductor of a small orchestra at Riga, Russia, in
the midst of terrible privations, began his opera “‘Rienzi,’’ based on
Bulwer Lytton’s novel of the same name, with a libretto versified by
himself. He took the unfinished work with him on his first and ill-
fated visit to. Paris, where he sought to have it performed at the
Grand Opera. But the opera was rejected and he took it back to
Germany. It was not until three years later, in 1842, that it was
produced at Dresden. Wagner frankly admitted his purpose of “‘out-
Meyerbeering Meyerbeer,”’ then at the height of his fame as a con-
cocter of ‘‘grand historic opera.’’ He succeeded in doing so. ‘Rienzi’
achieved a success that made the unknown composer famous; had he
wished, he could have become wealthy and popular with a series of
such works. But one attempt in the Meyerbeer genre amply sufficed
him; after “Rienzi” he turned from it forever, to follow the path
which was to lead through frightful toil, almost universal obloquy and
bitter penury, at last to immortality.

Suite, ‘‘Alsatian Scenes’”’ ~ - - - - Massenet
This suite was written after the war of 1870-72, which deprived

Manheim, Dihbern & Co.

Established 1869

Our LIFE INSURANCE experience
will assist you in providing for

your LIFE INSURANCE. needs.

Ground Floor California Commercial Union Building
Montgomery Street at Pine Telephone Sutter 2945

France of her provinces of Alsace and Lorraine, a war in which
Massenet took part. The following is a translation of the composer's
preface to the score:

Especially now that Alsace is enclosed by a wall, do
all of my former impressions of the country return tome, That which
I recall with happiness is the Alsatian village, the Sunday morning at
the hour of service; the church bells, the deserted streets, the empty
houses with some old people sunning themselves before their doors,
the filled church, and the religious songs heard at intervals by the
passer-by.

“And the Tavern, in the principal street, with its little leaded
windows, garlanded with hops and roses. ‘Oho there, Schmidt,
some wine!’ And the song of the foresters as they lay aside their guns.
Oho! the joyous life and the gay companions.

“Again, further on, "twas always the same village, but with the
great calm of a Sunday afternoon, at the edge of the country, a long
avenue of linden trees, in whose shadows a loving pair walks quietly,
hand in hand, she leaning toward him and murmuring softly, “Wilt
thou love me always?’

“Also Sunday evening, in the public square, what noise, what
commotion! Everybody out of doors, groups of young beaux in the

Tue San Francisco Savings ano Loan Society

(THE SAN FRANCISCO BANK)
SAVINGS COMMERCIAL
INCORPORATED FEBRUARY 10th, 1868.

One of the Oldest Banks in California,
the Assets of which have never been increased
by mergers or consolidations with other Banks.

Member Associated Savings Banks of San Francisco
526 California Street, San Francisco, Cal.

JUNE 30th, 1924

Assete sees parker EAs Eo SDE eo eee $93,198,226.96
Capital, Reserve and Contingent Funds.,..... 3,900,000.00
Employees’ Pension Fund.......,...........- 446,024.41
NEISSION BRANCH 2. gales dons VS eeee coe be ae Mission and 21st Streets
PARK-PRESIDIO DISTRICT BRANCH........... Clement St. and 7th Ave.
TIATOH ES ER ESE. ae RAING Ee o codivieis v.ciowic ane cies Haight and Belvedere Streets
WEST PORTAL BRANGH.. i. caeude sbrbades West Portal Ave. and Ulloa St.

_ Interest paid on Deposits at the rate of
FOUR AND ONE QUARTER (414) per cent per annum,
COMPUTED MONTHLY and COMPOUNDED QUARTERLY,
AND MAY BE WITHDRAWN QUARTERLY

street, and the dances which rhythmize the songs of the country.
Eight o'clock. The noise of the drums, the sound of bugles, it was
the retreat. The French retreat! Alsace! Alsace! And when in
the distance the last roll of the drums was silenced, the women called
the children from the street, the old folks relighted their pipes, and to
the sound of the violins the joyous dance recommenced in more lively
circlings by more crowded couples.’

Rhapsody, “Espana’”’ - Bil ca a : c : Chabrier

Emmanuel Chabrier, the French composer, visited Spain with his
wife in 1882, and wishing to know the true Spanish dances, he went
at night to ball-rooms where the company was mixed. Chabrier took

notes from Seville to Barcelona, passing through Malaga, Cadiz,
Grenada, Valencia. The Rhapsody ‘Espana’ is only one of two or
three versions of these souvenirs, which he first played on the piano
to his friends. Lamoureux heard Chabrier play the piano sketch of
“Espana” and urged him to orchestrate it. At the rehearsals no one
thought success possible. The score with its wild originality, its
novel effects, frightened the players. The first performance was at
a Lamoureux concert in Paris, on November 4, 1883, and met with
instantaneous success.

Writing to a friend from Seville, Chabrier described a ball-room
scene: ““The gypsies sing their malaguenas or dance the tango, and the

ALFRED METZGER—

In his conducting Mr.
Linden impresses by dis-
pensing with the score,
making a fine appearance,
revealing magnetism and
distinct personality and
obtaining uniform and in-
stant response from his
musicians.—Pacific Coast
Musical Review.

M. Anthony Linden

Orchestral Conductor and Flute Virtuoso
Soloist— I eacher—Lecturer
Solo Flutist, San Francisco Symphony Orchestra
Formerly Solo Flutist, Minneapolis Symphony Orchestra
Director Linden School of Flute Playing

REDFERN Mason—

He played admirably.
There was no_ self-con-
scious virtuosity; it was
the pure bel canto of the
flute, every note round
and perfect as a pearl.—
San Francisco Examiner.

Address all communications to

457 Phelan Building, San Francisco

ANNOUNCEMENT

SECOND PAIR OF SYMPHONY CONCERTS
Curran Theatre

Friday, November 14, 3:00 P. M.
Sunday, November 16, 2:45 P. M.

PROGRAMME

1. Concerto for String Orchestra, A Minor.................. Vivaldi
Arranged for concert use by S. Franko
(First time in San Francisco)
Allegro moderato
dagio
Allegro
Pe SUED ROI Ue te, Bail Acar ee cane es Tn el A Frederick Jacobi
(First performance anywhere)
Furioso—Ma non troppo—Presto
Lento non troppo
Allegro amabile

Ee Rondo, “Till Eulenspiegel’s Merry Pranks’’..............

ANNOUNCEMENT

SECOND POPULAR CONCERT
Curran Theatre
Sunday, November 23, 2:45 P. M.

PROGRAMME
rt Overttire? “Phitdre 5. os see ee at gee a Massenet
7. Daler. suite, *;GCOPpela «... os an aka ee Delibes
o.. .Prelude-to.< thes Deluge tcc nd re oe Saint-Saens
(Violin Solo, Louis Persinger)
2. Symphonic Poem, “The Moldaw”......2.....2.2..0000.ccc0eceec-- Smetana
BLO WOig OEGAM ee ghee ea ae eso SE or ed OS Liszt

—$$$_—

Tickets on sale at Sherman, Clay & Co., on Monday
preceding concert, hours 9 to 5; and at Curran Theatre from
10 A. M. on day of concert.

manzanilla is passed from hand to hand and every one is forced to
drink it. These eyes, these flowers in the admirable heads of hair,
these shawls knotted about the body, these feet that strike an infinitely
varied rhythm, these arms that run shivering the length of a body
always in motion, these undulations of the hand, these brilliant
smiles, and all this to the cry of “Olle, Olle, anda la Maria! Anda la
Chiquita! Eso es! Baile la Carmen! Anda! Anda!’ shouted by the
other women and the spectators. However, the two guitarists, grave
persons, cigarette in mouth, keep on scratching something or other in
three time. es vee

THE
MARGARET MARY MORGAN (CO.

Gngraving . Printers . Publishing

619 CALIFORNIA STREET
DoucLas 4633

We are now ready to serve you from a most complete selection of engraved

Christmas Greeting (ards

for personal and commercial use.

Our most inexpensive cards, along with the more exclusive ones, have been designed with
the same thorough good taste.

Order while stock is complete.

Sia dios ours ‘Tuesday, Wednesday, Saturday Phone Douglas 1678
Afternoons—2-5

KAJETAN ATTL

Solo Harpist
San Francisco Symphony Orchestra

Using Lyon & Healy Harps, The World’s Standard
FOR ENGAGEMENTS

AS SOLO ARTIST, ACCOMPANIST, OR

PLAYER IN ENSEMBLE MUSIC,
ADDRESS

KAJETAN ATTL, BOHEMIAN CLUB
SAN FRANCISCO, CALIFORNIA
RES. PHONE FRANKLIN 7847

Orley See

Violinist and Teacher
Concert and Recital

ibd] ei
48 Wildwood Avenue, Piedmont

Phone Piedmont 8140-J (Tuesday) Douglas 1678

“The Happiest Homes in All Creation

Are Homes Surrounded by Recreation”

The “Carmel” of the Peninsula

SEA | See a

“BELLE MONTY”

Belle Monti Country Club ws

Now Building

for which $250,000 has been directed to be set aside for club house,
swimming pool, courts, links, etc.

Nine Hole Golf Course Now Open

Pine Knoll has both marine and foothill view and overlooks the city
and surrounding country for miles.

Write, call or phone for complete information. oS

\
Artist Center Division eit
BELLE MONTI SALES CO. s$ & Yos®
Garfield 2157 sy
212 Sutter Street Co ee
San Francisco yP

Artist Center Division
BELLE MONTI SALES CO.
212 Sutter Street, San Francisco
Please send airplane view in colors and complete information regard-

ing “Belle Monti’ and Belle Monti Country Club to. eee cee eee

JJersonnel

The San Francisea Sumphony Orchestra

FIRST VIOLINS

Persinger, Louis

Concert Master and
Assistant Conductor

Argiewicz, Artur
Assistant Concert
Master

Ford, Louis
Assistant Concert
Master

Meriz, E.

Mendelevitch, R.

Laraia, W. F.

Gluschkin, M.

Gordohn, R.

Hofmann, W. F.

Bem, Eugenia

Koenig, H.

See, Orley

Mortensen, Modesta

Amsterdam, M.

Pasmore, Mary

Ruiz, R.

SECOND VIOLINS
Jensen, T.

Principal
Callinan, W. G.
Manchester, W.
Hidden, R. L.
Gold, J.
Paterson, J. A.
Blaha, A.
Purt, B.
Atkinson, Helen
Dunn, H. A.
Gough, W.
Hoffman, H. H.
Dabelow, W.

VIOLAS

Fenster, Lajos

Principal
Hahl, E.
Baker, F. A.
Wismer, H.
Weiler, E.
Lichtenstein, V.
Patchook, S.
Dierich, F.
Kolb, R.
Lewis, A.

CEOS

Ferner, Walter
Principal

Dehe, W.

King, O.
Villalpando, W.
Weiss, A.

Kirs, R.

Geena, M.
Pasmore, Dorothy

Hranek, C.

BASSES

Lahann, J.
Principal

Greene, S.
Bell, W.
Storch, A. E.
Cassetta, L. R.
Guterson, A.

Annarumi, A.

FLUTES
Linden, Anthony

Newbauer, Louis

Oesterreicher, Walter

Orchestral Manager

PICCOLO

Oesterreicher, Walter

OBOES
Addimando, C.
Shanis, Julius
Schipilliti, V.

ENGLISH HORN
Schipilliti, V.

CLARINETS
Randall, H. B.
Zannini, N.

Fragale, F.

ALFRED HERTZ, CONDUCTOR

BASS CLARINET
Fragale, F.

BASSOONS
Kubitschek, E.
La Haye, E. B.
Hranek, C.

CONTRA BASSOON
Kolb, R.

HORNS
Hornig, W.
Tryner, C. E.
Roth, P.
Huske, F. E.
Rocco, R.

TRUMPETS
Ditzel, E.
Arriola, A.

Kegel, Otto

TROMBONES
Tait, F. W.
Clark, O. E.
Bassett, F. N.

TUBA
Murray, R.

HARP
Attl, Kajetan
Schipilliti, Annette

TYMPANI
Wagener, R.E.

PERCUSSION
Nickel, M.
Vendt, A., Jr.

PIANO AND CELESTA

Ormay, Gyula

LIBRARIAN
Kegel, Otto

A. W. WIDENHAM, Secretary-Manager

Steinway
For qualities that endure

7 nes is usually bought but once in
a lifetime. It will remain in your
home from now henceforth—a monument
to your judgment, a witness to your taste.

As the years go on, associations will
gather thick about this instrument. Little
fingers will learn to play on it. Lovers will
gtow tender above it. Songs, old and new,
will come from it mellow and familiar.
During these years, your piano should come
to be the very heart of your Home.

So choose this piano carefully. Choose
it as you would choose an intimate member
of your family circle. Choose it for the
qualities that will endure.

Let the choice, if possible, be a STEIN-
way. [here is no other piano of qualities
more enduring—of distinction so immedi-
ately recognized.

i ~)

Clay & Co.

Sherman,

Kearny & Sutter Streets
Oakland , Fourteenth and Clay

CF ae a

a7 ‘THE CITY OF SAN FRANCISCO PRESENTS

SAN FRANCISCO ==+
SYM HONY ORCHESTRA

Alfred Hertz ««Conductor

IN A

POPULAR CONCERT

EXPOSITION. AUDITORIUM

MONDAY, NOVEMBER 10, 1924
8:20 P.M.

WITH

Bais GRAINGER, Pianist

GUEST ARTIST
(By Arrangement with Selby C. Oppenheime r)

—

The Piano is the Stcinway
Percy Grainger makes rolls for the Duo-Art
Colunvbia Records

—__———

AUSPICES
Nawon JAMES RoOLPH, JR.. AND BOARD OF
SUPERVISORS
DiIrRECTION—AUDITORIUM COMMITTEE
J. EmMmMer HaypDEN, CHAIRMAN
ANGELO J. Rossi EpwIn G. BATH

PROGRAM

NATIONAL ANTHEM

Symphonie Suite, ‘‘Scheherazade’ wu... Rimsky-Korsakow

I. The Sea and Sinbad’s Ship
II. The Narrative of the Kalendar Prince
III. The Young Prince and the Young Princess

IV. Festival at Bagdad—The Sea—The Ship Goes
to Pieces on a Rock Surmounted by the
Bronze Statue of a Warrior—Conclusion.

This opulent, richly melodic and flamingly colored oriental suite is a daring
and brilliant attempt to translate into music some of the tales told the Sultan
Shahriar by the Sultana Scheherazade, in the “‘Arabian Nights.’’ It will be
remembered that these thousand-and-one tales, each taking one night to relate,
were made so interesting by the Sultana that Shahriar spared her life, despite
his oath to put to death each one of his wives after the first night. The
stories chosen by the composer are the ones indicated above, a single theme,
that of Scheherazade, which is mostly assigned to the solo violin and represents
the Sultana in the narrative, links the four movements together.

The first movement opens with a theme and accompanying figure suggest-
ive of the sea. Then follows the Scheherazade theme, introducing the story-
teller. The elaboration of these themes, and an additional one which might be
termed, ‘“‘The Ship,’’ constitutes the contents of this movement. In the second
movement, after the Scheherazade motive, the bassoon over a drone bass begins
the Kalendar Prince’s narrative, the same subject closing the movement. The
third movement begins with a charming romanza, while the second theme,
brought forth by the clarinet, is one of the most ingratiating in the whole
work. A new episode presents the most bizarre effects, and is given an oriental
coloring by the fantastic use of the triangle, tambourine, cymbals and drum.
The final movement opens with a suggestion of the original sea motive, fol-
lowed by the Scheherazade motive, played by the solo violin, which then leads
into the revels of the festival, beginning with a dance figure played by two
flutes. This figure, together with themes from the earlier parts of the work,
develops into a wild dance, which waxes more and more furious until at last
the trombones thunder forth the sea motive in ominous tones. But that does
not stop the merry-making and dancing which continues until the vessel, storm
driven, crashes on the magnetic rocks. When all is serene once more, the
motive of the Scheherazade again appears. The Sultana is ready to go on with
another story, but the Sultan has relented his vow and all is peaceful.

EN ERM LS Son

Introduction to Act III, Dance of the “Apprentices
and Procession of the Guilds from
‘“The Mastersingers’’

The prelude begins and closes with the expressive theme (in the ’cellos)
intended to be typical of the emotions of Hans Sachs, which, according’ to
Wagner, expresses the bitter moan of the resigned man, who presents to the
world a strong and serene countenance. Following this the wind brings for-
ward a hymn-like motive which first had been introduced in the third scene of
the second act. The music of the remaining selections belongs to the fifth
scene of the act. This takes place in a meadow through which winds the river
Pegnitz. The town of Nurnberg is visible in the distance, and there is much
bustle on the field for a singing contest is to be held, with the hand of the
fair Eva, daughter of Veit Pogner, the goldsmith, as the prize. Here follows
the Dance of the Apprentices, at the conclusion of which the approach of the
Mastersingers is signaled, and all the people range themselves on the river
bank to let the stately procession pass between the ranks.

Sp SS ai et ee a na Se Wagner

PROGRAM

(Continued)
2 Concerto for Piawo, Wr A WMO ene enneeeeeceecencceenceenneeeeeteccetenstee Grieg
Allegro
Adagio—

Allegro marcato
PERCY GRAINGER

If Norway had produced no other composer, Grieg’s music alone would have
made her musically famous. Grieg’s music owes much of its success to the
skill with which he has adapted the classical structure to themes so nearly

allied to actual traditional tures as to be hardly distinguishable from genuine
folk-music.

Grieg married in June, 1867, but his finances did not permit of a real
honeymoon trip. However, a remunerative winter in Christiania enabled him
to enjoy this pleasure a year later in the modified form of a vacation at
Sollerod, Denmark, and it was there that he composed his A minor piano con-
certo, his only one. The work embraces the customary three movements, of
which the first is a brilliant sonata form, the second an expressive Adagio, and
the last, which follows the one preceding without pause, an elaborate Rondo.

COMING!
MONDAY, DECEMBER 1, 8:20 P.M.

Exposition Auditorium

CHARLES M. COURBOIN
Famous Belgian-American Organist

Formerly of Antwerp. Chevalier of the Order of the Crown of Belgium.
Guest Soloist Famous Wanamaker Organ.

Admission Free

SINGERS WANTED!
SECOND SPRING MUSIC FESTIVAL CHORUS
ALFRED HERTZ, Director General

For details apply at Community Service, 317 Flood Building.
Telephone Douglas 4293.

Next Auditorium Symphony Concert

WEDNESDAY, NOVEMBER 26, 8:20 P.M.
Soloist: EVA GAUTHIER, Soprano

Reserved Seats $1, 75c, 50c. On Sale Thursday, November 14th,
Sherman, Clay & Co.

Sherman,

Grainger!
Steinway artist, by
Duo-Art immortalized

His piano, as always, will
be the STEINWAY.

And Grainger’s person-
ality and exact playing
will remain in your home,
if you have a DuUO-ART re-
producing piano. Of the
Duo-ART he states:

‘When I myself hear the Duo-Art
records which I have played at my
best and then edited and corrected
until they are my fullest musical
expressions, I think to myself—‘Ah,
on the days when I play like that I
am very well pleased.’

“T sincerely think that the Duo-
Art Piano is going to do great
things for music. Artistic interpret-
ations by great musicians make
musical classics clear and compre-
hensible — and entertaining to. the
layman.”’

Come to this store and hear
Grainger’s exact recordings
- on the Duo-Art

ziN

NS
SS
i
VS
be
V5

Kearny and Sutter Streets

Oakland - 14th & Clay Sts.

, i 4 Hy
} } taf aie
} {il | | i t | | jake
| it H | |
ill all } We
: |

ENS

= rc
SC pe ewe ae ed
“ut wk poy seb se: ae N

Bre

uit KAN \

SNE AL TUT Ea wi
HT Dae ut |! ; $7

1 ore as Pa
| i

)

SR oe
SO OMPHONY 22
VO be ong RA

i Vata neo. AL
1 The Musical z 7
Association of |k
Hoan TrAancisco iF

~obed] fear
SECOND PAIR

1924 1925

‘Fourteenth Season

ALFRED HERTZ CONDUCTOR

ears oe] |

Alfred Hertz

RECOMMENDS
CONN INSTRUMENTS

The San Francisco
Symphony

CONN
INSTRUMENTS

No Higher Endorsement

can be given to a musical
“T take great pleasure in

instrument, hence if the recommending Conn instru-

experience of great artists ments for symphony

orchestra work.”
means anything to you, your

choice will be CONN.

DIN IN

WORLD'S
LARGEST MANUFACTURERS
OF HIGH GRADE BAND AND
ORCHESTRA INSTRUMENTS

‘ALFRED HERTZ.

Repairing

Conn San Francisco Co. Conn Oakland Co.
47 Kearny St. 531-16th St.

Opening Event

Elwyn Artist Series

SCOTTISH RITE HALL
Monday Evening, November 17
PIANO es

yy:
MORIZ ROSENTHAL
PROGRAM

A. Eight Preludes
B. Nocturne, Opus 9, Number 2
C. Chant Polonaise

IV.
7 Ne LCE RC oe BRI so Pat case pe SS eee ee lal a M. De Falla
Boa Miisatrelenmiecc-a toe. ero ce al nce ga ge eee re Debussy
GP epillotes esi k cot nce cen eee aa a ae ge cata Rosenthal
D. Rhapsody Hongroise—Number 7 hi a A pe le a Pst emai dy RES Liszt

Knabe Piano
Reserved Seat Sale, SHERMAN, CLAY & CO., $2.00, $1.50, $1.00, 50c (Plus Tax)

ELWYN ARTIST SERIES--10 Supreme Events

At Scottish Rite Hall—Season 1924-1925
Subscription Tickets for Entire Series $7, $10, $15 (Plus 10% Tax)
MORIZ ROSENTHAL ALBERT SPALDING

Monday Eve., Nov. 17 Friday Eve., Feb. 20

‘A Pianistic Giant Accomplishing the America’s Supreme Violinist

Superlative’ *ROLAND HAYES

CECILIA H ANSEN Sunday Mat., Feb. 22
Thuredae Bene aes a Phenomenal Negro Tenor—
“The Sensation of the Concert Season’’— MABEL GARRISON
Chicago ‘‘Herald-Examiner”’ 6 Wednesday Eve., Mch. 18
ne of America’s Most Gifted and
ISA KREMER Gracious Singers om
Friday Eve., Dec. 12 London String Quartet
Russian Singer of Folk Songs Tuesday Eve., Apr. 7
*JASCHA HEIFETZ ‘Unsurpassed as a Perfect Ensemble”

REINALD WERRENRATH
Monday Eve., Apr. 20

“An American Institution”’

MARIA IVOGUN MERLE ALCOCK
Monday Eve., Jan. 26 Early May

Europe’s Greatest Coloratura Soprano Leading Contralto Metropolitan Opera Co.

Sunday Mat., Jan. 18

“The Incomparable”

*Patrons may have their choice of one of these two great artists, or, by paying
$1.00, $1.50, or $2.00 extra, may enjoy the additional concert on the season ticket.
Single tickets for these artists are $1.00 to $3.00. The Heifetz and Hayes concerts
are both at the Casino Theatre; all others will be held at Scottish Rite Hall. (Save
33!/s% on Season Tickets.)

Season Tickets Now on Sale—Sherman, Clay & Co.

=
My
mtg

WOE ee

RADIO PIANO ©

Mason & Hamlin

THREE out of the four broadcasting stations
about the Bay own Mason & Hamlin pianos!
KLX owns one; so does KPO—and the new
station, KFRC. The reason? The clear, pure
tone of the Mason & Hamlin piano has the
quality of holding clear and pure through all
the miles of air—through all the mechanics of
broadcasting and receiving! Such proof of ton-
al purity is an overwhelming argument in favor

| : of the Mason & Hamlin.

Wiley B Allen ©.

135 KEARNY STREET, SAN FRANCISCO
1323 WASHINGTON STREET, OAKLAND i

€ Receive your radio F
programs through the sf ‘a
Brunswick Radiola! Addy | oA

New—a talking ma- : ae a ‘al ‘yn Le
: chine or aradioat the \« ' TR :

turn of a lever!

| The San Francisca Symphony Orchestra

ALFRED HERTZ, Conductor

1924—Season—1925
SECOND PAIR OF SYMPHONY CONCERTS
488th and 489th Concerts
CURRAN THEATRE

Friday Afternoon, November 14, 3:00 o’clock
Sunday Afternoon, November 16, 2:45 o’clock

PROGRAMME

1. Concerto for String Orchestra, A Minor............------ Vivaldi
(First time in San Francisco)
Allegro moderato
Adagio
Allegro
Ze Svan PhO nw Sees oe eee ee ea ence tee Frederick Jacobi
(First performance anywhere)
Furioso—Ma non troppo Presto
Lento non troppo
Allegro amabile

Intermission
3. Rondo, ‘“‘Till Eulenspiegel’s Merry Pranks’’............-...
Pelee, Dane ay uae rake cae 1 ARS EF a epee Richard Strauss

Next Auditorium Concert, Wednesday Eve., November 26

Soloist: EVA GAUTHIER, Soprano
Tickets Now on Sale at Sherman Clay & Co.

TO SYMPHONY SUBSCRIBERS

It has been suggested that subscribers who for any
reason find themselves unable to attend the Symphony
Concerts send their tickets to the Community Music
School, 544 Capp Street, and thus make it possible for
worthy and appreciative students to hear the concerts,
who would not otherwise be able to do so. _ Tickets
should be mailed as early as possible each week to Com-
munity Music School, 544 Capp Street, San Francisco. .

109 Stockton Street

The Newest and Most Remarkable

Achievement in Radio

i THE BRUNSWICK RADIOLA—Combining the
world-noted Brunswick Phonograph with the super-
lative in Radio, the Radiola Super-Heterodyne.

The
Brunswick Radiola
Super-Heterodyne |

(hae
1 HL” ge RN 5

2] | —some remarkable
Hl ee alll Nh ed iF nat
SS li He ' i iar features
th Peery hea 1d px!

ees no outside
antenna — no ground
nT = a wires. You can move it
CNG Tats pa from room to room— plays
EET i aa vale wherever you place it.
1 a SILK os you p
a AN) | VS Amazing selectivity
permitting you to ‘cut
out’’ what you don’t want
to hear and pick out
instantly what you do.

oe the super-

lative in radio with the
superlative in phono-
graphic reproduction—a
phonograph and a radio
in one.

Brunswick Radiola
No. 360
Combining the world-noted
Brunswick phonograph with
the superlative in radio—the
Radiola SupereHeterodyne,

Brunswick Radiolas, ranging in price from
$190 to $660. Sold on easy payment plan

QUARG MUSIC CO.

206 Powell Street Open Evenings

42 |

Concerto in A Minor, for String Orchestra - - ° Vivaldi

During Vivaldi's time (1680-1734) the word ‘“‘Concerto” had a
meaning different from that of today. It signified a series of move-
ments for instruments much in the nature of a suite, of which, in part,
it was a direct development. Philip H. Goepp has supplied informa-

tion on this subject as follows:

“We find in Vivaldi’s concertos the simplicity of theme, familiar
to us in Bach’s Brandenburg concertos, as well as the abundant
sequences and harmonies. The concerto in A minor 1s scored, in the
modern edition by Sam Franko, for groups of solo and of tutti instru-
ments. The first movement, Allegro moderato, A minor, 2-4 time,
has two solo violins against a full body of strings; the second, Adagio,
D minor, 2-4 time, has a solo violin, viola and ‘cello; in the third,
Allegro, A minor, 4-4 time, reappear the two solo violins of the

beginning.

‘‘As against the Suite, where all the movements are in the same
key, it is interesting to see the approach towards the symphony in the
contrast of keys in the Adagio in D minor. But in the separate move-
ments, with an abundance of counterpoint and even of tonal modula-
tion, there is in the main a single group of themes, entering in various

ESTABLISHED 1852

Dil) ih Pod hs to

Shreve and Company
Jewelers and Silversmiths

Post and Grant Avenue
San Francisco

related keys. In the Finale is a free digression in the manner of the
fantasy or toccata.

“Comparatively few of Vivaldi’s compositions have been pub-
lished and those that are, are mainly for string instruments in various
combinations. Original manuscripts are found in several private and
public collections; in Dresden alone there are over eighty manuscript
concertos. He wrote in all about eighty concertos, thirty-five operas,
and many sonatas, cantatas and arias.”’

Symphony - - - - - - ~ Frederick Jacobi
Frederick Jacobi was born in San Francisco, May 4, 1891. At

a very early age he displayed musical tendencies, and at the age of
eight his musical education was seriously commenced. He later studied
in New York with Rubin Goldmark and Rafael Joseffy. In 1911 he
went to Berlin and continued his studies under Paul Juon for two
years. On returning to this country, Mr. Jacobi became, in 1913,
assistant conductor at the Metropolitan Opera House under Alfred
Hertz.

Among his compositions for orchestra are the “Pied Piper,’ given
its initial performance here March 24, 1916; ‘“‘A California Suite,”’
produced here December 6, 1917; and a Symphonic Prelude, ““The
Eve of St. Agnes,’’ performed here January 26, 1923.

The Symphony played today was sketched during the summer of
1922 in Blue Hill, Maine, and finished the following year in Colorado
Springs.

The mood of the first movement was suggested by the Assyrian
bas-relief, The Lion Hunt, which is described in Elie Faure’s ‘History
of Art’: “My war chariots crush men and beasts and the bodies of my
enemies. The monuments which I erect are made of human corpses
from which I cut the heads and the limbs. I cut off the hands of all
those whom I| capture alive.

‘Assyrian art is of a terrible simplicity. Although an almost flat

THE
MARGARET MARY MORGAN Co.

Gngraving- Printers - Publishing

619 CALIFORNIA STREET
DouGcLas 4633

We are now ready to serve you from a most complete selection of engraved

Christmas Greeting (Cards

for personal and commercial use.

Our most inexpensive cards, along with the more exclusive ones, have been designed with
the same thorough good taste.
Order while stock is complete.

silhouette (one that is barely shadowed by undulation) alone marks
out the forms, that form is bursting with life, movement, force, savage
character. One might say that the sculptor ran a knife over the course
of the nerves which carry the murderous energy to the back, the limbs,
and the jaws. The bones and muscles stretch the skin to the breaking
point. Hands clutch paws, close upon necks, and draw the bowstring;
teeth tear, claws rend; the blood spouts thick and black.

Here a lion vomits blood because his lungs are run through by a spear.
There a lioness in fury, her teeth and claws out, drags towards the
hunter her body paralyzed by the arrows that have pierced the marrow
of her spine. . . . It is the poem of strength, of murder and of
hunger.

The second movement is a sort of nocturne—a Nocturne in
Nineveh. Bathed in the cool moonlight, stretched across the fertile
plain, lies the city asleep. A solitary priest, perhaps, stands upon the
rampart, gazing at the stars. He stops; from the distance comes the
sound of a flute.

The last movement is warmer. It is less remote. Weary of the
nightmare of ancient times, we turn gladly toward the picture of a
happier day.

‘‘Till Eulenspiegel’s Merry Pranks” is z Richard Strauss
This work was composed in 1894-95 and first performed at

Manheim, Bibbern & Co.

Established 1869

Our LIFE INSURANCE experience

will assist you in providing for

your LIFE INSURANCE needs.

Ground Floor California Commercial Union Building

Montgomery Street at Pine Telephone Sutter 2945

Cologne, November 5, 1895, under the baton of Franz Wullner. With

the exception of the title, the score contains no clue as to the meaning
of the music. However, the following interesting analysis has been

made by William Klatte:

“A strong sense of German folk feeling pervades the whole
work. The source from which the tone poet drew his inspiration is
clearly indicated in the introductory, which to some extent stands for
the ‘once upon a time’ of the story books. That which follows is not
to be treated in the pleasant and agreeable manner of narrative poetry,
but in a more sturdy fashion, is at once apparent by the characteristic
bassoon figure which breaks in upon the piano of the strings. Of equal
importance for the development of the piece is the horn theme imme-
diately following.

‘He wanders through the land as a thoroughgoing adventurer.
The rogue, putting on his best manners, slyly passes through the gate,
and. enters a certain city. It is market day; the women sit at their
stalls and prattle. Hop! Eulenspiegel springs on his horse, gives a
smack of the whip, and rides into the midst of the crowd. A confused
sound of broken pots and pans, and the market women are put to
flight. In haste the rascal rides away and secures a safe retreat.

‘This was his first merry prank; a second follows immediately.

Tue San Francisco Savings ano Loan Society

(THE SAN FRANCISCO BANK)
SAVINGS COMMERCIAL
: INCORPORATED FEBRUARY 10th, 1868.

One of the Oldest Banks in California,
the Assets of which have never been increased
by mergers or consolidations with other Banks.

Member Associated Savings Banks of San Francisco
526 California Street, San Francisco, Cal.

JUNE 30th, 1924
$93,198,226.96

Capital, Reserve and Contingent Funds 3,900,000.00
Employees’ Pension Fund 446,024.41

ve.

HAIGHT STREET BRANCH Haight and Belvedere Streets
WEST PORTAL BRANCH West Portal Ave. and Ulloa St.

Interest paid on Deposits at the rate of
FOUR AND ONE QUARTER (414) per cent per annum,

COMPUTED MONTHLY and COMPOUNDED QUARTERLY,
AND MAY BE WITHDRAWN QUARTERLY

Eulenspiegel has put on the vestments of a priest and assumes a very
unctuous mien. Though posing as a preacher of morals, the rogue
peeps out from the folds of his mantle (the Eulenspiegel motive on the
clarinet points to the imposture). He fears for the success of his
scheme. A figure played by the muted violins, horns and trumpets
makes it plain that he does not feel comfortable in his borrowed
plumes. But soon he makes up his mind. Away with all scruples.
He tears them off.

‘Again the Eulenspiegel motive is brought forward in the previ-
ous lively tempo, but is now subtly metamorphosed and chivalrously
colored. Eulenspiegel has become a Don Juan, and he waylays pretty
women. And one has bewitched him; Eulenspiegel is in love. Hear
him now, glowing with love the violins, clarinets and flutes sing. But
in vain. His advances are received with derision, and he goes away
ina rage. Howcan one treat him so slightingly? Is he not a splendid
fellow? Vengeance on the whole human race. He gives vent to his
rage, and strange personages suddenly draw near. A troop of honest,
worthy Philistines. In an instant all his anger is forgotten. But it is
still his chief joy to make fun of these lords and protectors of blameless
decorum, to mock them. Now that Eulenspiegel has had his joke, he
goes away and leaves the professors and doctors behind in thoughtful

ALFRED METZGER—

M. Anthony Linden

Orchestral Conductor and Flute Virtuoso
Soloist— Teacher—Lecturer

REDFERN Mason—

He played admirably.
There was no _ self-con-
scious virtuosity; it was
the pure bel canto of the
flute, every note round
and perfect as a pearl.—
San Francisco Examiner.

Solo Flutist, San Francisco Symphony Orchestra
Formerly Solo Flutist, Minneapolis Symphony Orchestra
Director Linden School of Flute Playing

Address all communications to

457 Phelan Building, San Francisco

ANNOUNCEMENT

THIRD PAIR OF SYMPHONY CONCERTS
Curran Theatre

Friday, November 28, 3:00 P. M.
Sunday, November 30, 2:45 P. M.

PROGRAMME
Li WYIOPUGHVGNG,: cick) MAIO i ee Brahms

Allegro non troppo

Adagio non troppo

Allegretto gracioso

Allegro con spirito

Ze rieiitale Sure ose ork eek Reo ete oe eS Stes hae Eichheim
(Conducted by the composer)

Korean Sketch

Siamese Sketch

Entenraku, Chinese Ceremonial Music
Japanese Nocturne

Chinese Sketch

(First time in San Francisco)
3. Fantasia, “Francesca da Rimini’’.................... Tschaikowsky

ANNOUNCEMENT

SECOND POPULAR CONCERT
Curran Theatre
Sunday, November 23, 2:45 P. M.

PROGRAMME
¥. Overture: phedreseee ee ee, a a te Massenet
Pe DANCE Suites: COP DOI ac.. cies esheets ao ae teres Delibes
3, -Prelade tos i he Deluge: sei ce ee Saint-Saens

(Violin Solo, Louis Persinger)

2. Symphonic Poem, “The Moldau”.........................-........-. Smetana

Fob OMe Sean io eed io es ee ee eae Liszt

Tickets on sale at Sherman, Clay & Co., on Monday
preceding concert, hours 9 to 5; and at Curran Theatre from
10 A. M. on day of concert.

meditation. (Fragments of the typical theme of the Philistines are

here treated canonically. )

“Alas! There is a sudden jolt to his wanton humor. The drum
rolls a hollow roll; the jailer drags the rascally prisoner into the crim-_
‘nal court. The Eulenspiegel theme replies calmly to the threatening
chords. Eulenspiegel lies. Again the threatening tones resound; but
he does not confess his guilt. On the contrary, he lies for the third
time. His jig is up. Fear seizes him; the fatal moment draws near;

he is strung up. The last struggle (flutes), and his soul takes flight.

‘After sad, tremulous pizzicati of the strings, the Epilogue begins.
At first it is almost identical with the introductory measures, which are
repeated in full; then the most essential parts of the second and third
chief theme passages appear, and finally merge into a soft chord.

Eulenspiegel has become a legendary character. The people tell their

tales about him: ‘Once upon a time But that he was a merry

rogue and a real devil of a fellow seems to be expressed by the final

eight measures, full orchestra, fortissimo. ”

Studio Hours: Tuesday, Wednesday, Saturday Phone Douglas 1678
) Afternoons—2-5

KAJETAN ATTL

Solo Harpist
San Francisco Symphony Orchestra

Using Lyon & Healy Harps, The World’s Standard
FOR ENGAGEMENTS

AS SOLO ARTIST, ACCOMPANIST, OR

PLAYER IN ENSEMBLE MUSIC,
ADDRESS

KAJETAN ATTIL, BOHEMIAN CLUB
SAN FRANCISCO, CALIFORNIA
RES. PHONE FRANKLIN 7847

Orley See

Violinist and Teacher
Concert and Recital

48 Wildwood Avenue, Piedmont

Phone Piedmont 8140-J (Tuesday) Douglas 1678

/
it
it}
|

:
it;
1

FIRST VIOLINS
Persinger, Louis
Concert Master and.
Assistant Conductor
Argiewicz, Artur
Assistant Concert
Master
Ford, Louis
Assistant Concert
Master
Meriz, E.
Mendelevitch, R.
Laraia, W. F.
Gluschkin, M.
Gordohn, R.
Hofmann, W. F.
Bem, Eugenia
Koenig, H.
See, Orley
Mortensen, Modesta
Amsterdam, M.
Pasmore, Mary
Ruiz, R.

SECOND VIOLINS
Jensen, T.

Principal
Callinan, W. G.
Manchester, W.
Hidden, R. L.
Gold, J.
Paterson, J. A.
Blaha, A.
Purt, B.
Atkinson, Helen
Dunn, H. A.
Gough, W.
Hoffman, H. H.
Dabelow, W.

VIOLAS

Fenster, Lajos

Principal
Hahl, E.
Baker, F. A.
Wismer, H.
Weiler, E.
Lichtenstein, V.
Patchook, S.
Dierich, F.
Kolb, R.
Lewis, A.

ersomel

Che San Francisea Sumphony Orchestra

ALFRED HERTZ, CONDUCTOR

‘CELLOS

Ferner, Walter
Principal

Dehe, W.

King, O.
Villalpando, W.
Weiss, A.

Kirs, R.

Gegna, M.
Pasmore, Dorothy
Hranek, C.

BASSES

Lahann, J.
Principal

Greene, S.
Bell, W.
Storch, A. E.
Cassetta, L. R.
Guterson, A.
Annarumi, A.
Giese, W.

FLUTES
Linden, Anthony
Newbauer, Louis

Oesterreicher, Walter
Orchestral Manager

Benkman, H.

PICCOLO

Oesterreicher, Walter

OBOES
Addimando, C.
Shanis, Julius
Schipilliti, V.
Utschig, H.

ENGLISH HORN
Schipilliti, V.

CLARINETS
Randall, H. B.
Zannini, N.
Fragale, F.
Greenbaum, A. A.

BASS CLARINET
Fragale, F.

BASSOONS
Kubitschek, E.
La Haye, E. B.
Hranek, C.

CONTRA BASSOON
Kolb, R.

HORNS
Hornig, W.
Tryner, C. E.
Roth, P.
Huske, F. E.
Rocco, R.

TRUMPETS
Ditzel, E.
Arriola, A.

Kegel, Otto
Kress, V.

TROMBONES
wait, £ «WwW.
Clark; O. E.
Bassett, F. N.

TUBA
Murray, R.

HARP
Attl, Kajetan
Schipilliti, Annette

TYMPANI
Wagener, R. E.

PERCUSSION
Nickel, M.
Vendt, A., Jr.
Kundy, E.

PIANO AND CELESTA

Ormay, Gyula

LIBRARIAN
Kegel, Otto

A. W. WIDENHAM, Secretary-Manager

“The Happiest Homes in All Creation

Are Homes Surrounded by Recreation”

The “Carmel” of the Peninsula

“BELLE MONTT”’

There are so many natural features which add to the
attractiveness of “Belle Monti” as an Artist and Musician
Center that its appeal is instantaneous.

Live oak, pine and eucalyptus trees planted. years ago by men who
foresaw the future demand for suburban homes; hillside locations
with marine and mountain view; sheltered level lots—macadamized
streets, electricity, water, phone and strict sanitary requirements.
Marvelous home and cabin sites averaging in price $475—some as Lewes
low as $300, including permanent membership in the ;

Belle Monti Country Club

Now Building

for which $250,000 has been directed to be set aside for club house,
swimming pool, courts, links, etc.

Nine Hole Golf Course Now Open

Write, call or phone for complete information. ev
Le Center ee as OF?
BELLE MONTI SALES CO. gXRbS

Garfield 2157 SY
212 Sutter Street C gQ@®
yY

‘San Francisco

Artist Center Division
BELLE MONTI SALES CO.

212 Sutter Street, San Francisco

Please send airplane view in colors and complete information regard-

ing “Belle "Monti: and Belle Monti: Country. Club to.222:2 a ee

Choose your piano carefully.
Choose it as you would
choose an intimate member
of your family circle. Choose
it for qualities that will en-
dure.

Let your choice, if possible,
be a STEINWAY. There is no
other piano of qualities more
enduring —of distinction so
immediately recognized,

Sherman, |

Kearny and Sutter Streets
Mission at Seventeenth St.
Oal:land— Fourteenth and Clay Sts.

San Francisco Symphony Orchestra

Fe)
;

ALFRED HERTZ, Conductor

SEASON 1924-25

FIRST BERKELEY CONCERT

HARMON GYMNASIUM

WEDNESDAY EVENING, NOVEMBER 19, 1924
8:15 O'CLOCK

PROGRAMME

SIVIMPHONDCONG Re EM Oradea OE ssa Tae oe es Tschatkowsky
Andante—Allegro con anima
Andante cantabile con alcuna licenza
Valse—Allegro moderato
Finale: Andante maestoso—Allegro—Allegro vivace
INTERMISSION
Inrropuction ro Acr III, Dance of the Apprentices and Procession of

the<Guilds from: —.) he Miasters(ers: 5-035 castes hele cio eh ectsess Wagner
g

SUITES v= L-hroughatiie: booking (olass 2k ti dicta nc mci aise a Deems Taylor

I. (a) Dedication
(6) The Garden of Live Flowers

Il. Jabberwocky
III. Looking Glass Insects
IV. The White Knight

SYMPHONY No. 5, E Minot........ 00.00... PA ee Ree ay hae Syrah ener a Tschaikowsky

In the Fifth Symphony of Tschaikowsky we seem to see whole nations in revolt,
mourning, rejoicing, conquering. The first movement suggests the surging of a
great mass of people—perhaps the Russian nation at work and at play, vital and
free-souled, but submerged and unhappy. The second movement, one of the most
popular compositions Tschaikowsky ever wrote, is a passionate and sensuous
andante, although shortly before the movement’s end the theme of the symphony
appears as a sort of rumble of cannon amid the pathos of a people’s suffering. The
third movement is a beautiful piece of delicate tracery, perhaps the aristocracy of
the people, dancing in its ballroom, oblivious of the groaning of the workers out-
side. Toward the close of the movement the threatening motive is again heard
as though the guests heard the first mutterings of the mob in the streets below.
With the opening of the fourth movement the armies of the people seem to be
approaching for battle. This is one of the most remarkable depictions in all music
of that peculiar sensation known as mob-emotion. Here it inevitably means the
triumph of a great popular cause. The armies of liberty have fought and won.

Inrropuction To Act III, Dance of the Apprentices and Procession of the

Guilds from“ he; Mastersingers: aia ease Pes ene wetmon ee Wagner

The prelude begins and closes with the expressive theme (in the ’cellos) intended
to be typical of the emotions of Hans Sachs, which, according to Wagner, expresses
the bitter moan of the resigned man, who presents to the world a strong and serene
countenance. Following this the wind brings forward a hymn-like motive which
first had been introduced in the third scene of the second act. The music of the
remaining: selections belongs to the fifth scene of the act. This takes place in a
meadow through which winds the river Pegnitz. The town of Nurnberg is visible
in the distance, and there is much bustle on the field for a singing contest is to be
held, with the hand of the fair Eva, daughter of Veit Pogner, the goldsmith, as
the prize. Here follows the Dance of the Apprentices, at the conclusion of which
the approach of the Mastersingers is signaled, and all the people range themselves
on the river bank to let the stately procession pass between the ranks.

SUITE, Through the Looking Glass?) 23 sae et eee oe ee Deems Taylor

Deems Taylor, born in New York, December 22, 1885, was educated at the
Friends’ School, New York public schools, Ethical Culture School, and at New
York University, from which he received the degree of Bachelor.of Arts in 1906.
From 1912 to 1916 he was assistant editor of the “Western Electric News’; in
1916, assistant Sunday editor of the New York “Tribune”; correspondent in
France for the same paper during 1916 and 1917; associate editor of “Collier’s
Weekly,” 1917 to 1919. In 1921, Mr. Taylor was appointed music critic on the
New York “World,” a position which he is still holding. His principal orchestral
works are “The Siren Song,” a symphonic poem; a cantata, “The Chambered

Nautilus”; a cantata, “The Highwayman”; “Through the Looking Glass”:
; > g y ; ;
“Portrait of a Lady,” rhapsody for orchestra; also numerous choral pieces, piano
compositions, songs, etc.

“Through the Looking Glass” was originally written for flute, oboe, clarinet,
bassoon, horn, pianoforte and strings, and in that form was produced by the New
York Chamber Music Society, February 18, 1919. The following season the
same organization performed the work in San Francisco, while on tour. In
September, 1921, Mr. Taylor began a revision of his work for full orchestra and,
the first version having been in three movements, he added the “Garden of Live
Flowers,” which is now the second division of the opening movement of the suite.

When the suite was first performed by the New York Symphony Orchestra,
March 10, 1923, the following description was provided by Mr. Taylor:

“The Suite needs no extended analysis. It is based on Lewis Carroll’s im-
mortal nonsense fairy-tale. ‘Through the Looking Glass and What Alice Found
There,’ and the five pictures it presents, will, if all goes well, be readily recognizable
to lovers of the book. There are four movements, the first being subdivided into
two connected parts.

I. (a) DepicaTion

Carroll precedes the tale with a charming poetical foreword, the first stanza of
which the music aims to express:

Child of the pure, unclouded brow
And dreaming eyes of wonder!
Though time be fleet, and I and thou

Are half a life asunder,
Thy loving smile will surely hail

The love-gift of a fairy-tale.

A simple song theme, briefly developed, leads to

I. (6) THe Garven or Live FLowers

“O Tiger-Lily,” said Alice, addressing herself to one that was waving grace-
fully about in the wind, “I wish you could talk.”

“We can talk,” said the Tiger-Lily, “when there’s anybody worth talking to.”
“And can the flowers talk?”

~ As well as you can,” said the Tiger-Lily, “and a great deal louder.”

Shortly after Alice had entered the looking-glass country, she came to a lovely
garden in which the flowers were talking—in the words of the Tiger-Lily, “as well
as you can, and a great deal louder.” The music, therefore, reflects the brisk
chatter of the swaying, bright-colored denizens of the garden.

II. JasBerwocky

Twas brillig, and the slithy toves “Beware the Jabberwock, my son!
Did gyre and gimble in the wabe. The jaws that bite, the claws that catch!
All mimsy were the borogoves Beware the Jubjub bird, and shun.
And the mome raths outgrabe. The frumious Bandersnatch!”’
He took his vorpal sword in hand: And as in uffish thought he stood,
Long time the manxome foe he sought— The Jabberwock, with eyes of flame,
So rested he by the Tumtum tree, Came whiffling through the tulgey wood,
And stood awhile in thought. And burbled as it came.

One, two! One two! And through and through “And hast thou slain the Jabberwock?

The vorpal blade went snicker-snack! Come to my arms, my beamish boy!
He left it dead, and with its head O frabjous day! Callooh! Callay!”
He went galumphing back. He chortled in his joy.

This is the poem that so puzzled Alice, and which Humpty-Dumpty finally
explained to her. The theme of that frightful beast, the Jabberwock, is first
announced by the full orchestra. The clarinet then begins the tale, recounting
how, on a “brillig” afternoon, the “slithy toves did gyre and gimble in the wabe.”
Muttered imprecations by the bassoon warn us to “beware the Jabberwock, my
son.” A miniature march signalizes the approach of our hero, taking “his vorpal
sword in hand.” Trouble starts among the trombones—the Jabberwock is upon
us! The battle with the monster is recounted in a short and rather repellant
fugue, the double-basses bringing up the subject and the hero fighting back in the
interludes. Finally his vorpal blade (really a xylophone) goes “snicker-snack”
and the monster, impersonated by the solo bassoon, dies a lingering and convulsive
death. The hero returns to the victorious strains of his own theme—“O frabjous
day! Callooh! Callay!” The whole orchestra rejoices—the church bells are
rung—alarums and excursions. Conclusion. Once more the slithy toves perform
their pleasing evolutions, undisturbed by the uneasy ghost of the late Jabberwock.

III. Looxinc-Giass Insects

The score contains extracts from the dialogue of Alice and the gnat “about
the size of a chicken” about various insects, among them the bread-and-butter-fly.

“And what does it live on?”’

“Weak tea with cream in it.”

“Supposing it couldn’t find any?”’

“Then it would die, of course.” |

“But that must happen very often,” said Alice thoughtfully.
“Tt always happens,” said the gnat.

Here we find the vociferous diptera that made such an impression upon Alice—
the Bee-elephant, the Gnat, the Rocking-horse-fly, the Snap-dragon-fly, and the

Bread-and-butter-Ay. There are several themes, but there is no use trying to
decide which insect any one of them stands for.

lV. THe Wuire KNIGHT

The score contains extracts from the conversation of the White Knight, and
an account of his leave-taking.

He was a toy Don Quixote, mild, chivalrous, ridicuous, and rather touching.
He carried a mouse-trap on his saddle-bow, “because, if they do come, I don’t
choose to have them running about.” He couldn't ride very well, but he was a
gentle soul, with good intentions. There are two themes; the first, a sort of instru-
mental prance, being the Knight’s own conception of himself as a slashing, dare-
devil fellow. The second is bland, mellifluous, a little sentimental—much more
like the Knight as he really was. The first theme starts off bravely, but falls out
of the saddle before very long, and has to give way to the second. The two alter-
nate, in various guises, until the.end, when the Knight rides off, with Alice waving
her handkerchief—he thought it would encourage him if she did.

UNIVERSITY OF CALIFORNIA

Committee on Music and Drama

SECOND BERKELEY CONCERT

THURSDAY EVENING, DECEMBER 18, 1924

PROGRAMME
OVERTURE © IphivenidiincAulis,. 2 5.5.15 i cotee we Agia au eiets Rep ehakel hea haere Gluck
SympHonic Poem, “Vitava” (The Moldau)........../00.00 hi thtshiens Smetana
COVER TURE.“ UCOMOEEGS. INOw dy GOING) oot sce naeo ces tse his hose aes cages aed atk ON eee Beethoven

BY MBHON YS EMA MON: (bis, cade bik ats Rute Risa (kts actrees Sees eae Cesar Franck

Subscription rates for the remaining three concerts:

Repulat ste {fo 8x i ope cece eo per oe
Sfucents 3.34. Se Ee 2:25

The second concert of the California Music League, Modeste Alloo, Conductor,
will be given on December 2nd in Harmon Gymnasium. Subscription for three
concerts; reserved seats, $5.25; unreserved, $3.75; student reserved, $1.90; student
unreserved, $1.50.

ANNOUNCEMENT

The Adoration Cycle of the “Chester Mysteries”? will be presented by the
Mask and Dagger Society under the auspices of the Little Theatre on December
Sth and 6th, in Wheeler Hall. The only other times that this cycle has been
modernly produced were the productions by the Greenwich Village Theatre,
New York, and by Mr. Everett Glass at the Players Club, in San Francisco.
The three plays to be given are “The Shepherd’s Watch,” “The Adoration of
the Magi,’ and “Offerings of Shepherd’s.”’

SAN FRANCISCO
SYMPHONY

(ORCHESTRA Dy
Wiihe Musteal
Assoctation of |
oan Francisco

~1>4] fee
SECOND POPULAR

eq] ex

1924 — 1925
Fourteenth Season

ALFRED HERTZ CONDUCTOR |
[_ eee eae —_

Alfred Hertz

RECOMMENDS
CONN INSTRUMENTS

The San Francisco

Symphony

uses

CONN
INSTRUMENTS

No Higher Endorsement

can be given to a musical
“IT take great pleasure in

recommending Conn instru-

instrument, hence if the

experience of great artists ments for symphony
orchestra work.”

means anything to you, your

Expert choice will be CONN.

Repairing

WORLD'S

LARGEST MANUFACTURERS
OF HIGH GRADE BAND AND
ORCHESTRA INSTRUMENTS

ALFRED HERTz.

Conn San Francisco Co. Conn Oakland Co.
47 Kearny St. 531-16th St.

ww
df

Musical Association of San Francisco

Founded December 20, 1909 Incorporated February 3, 1910

OFFICERS
JOHN D. McKezs, President

J. B. Levison, Vice-President E. R. Dimonp, Treasurer

A. W.:-WiIDENHAM, Secretary-Manager

BOARD OF GOVERNORS

J. K. Armsby A. B. C. Dohrmann John D. McKee

E. D. Beylard John S. Drum Seward B. McNear
Miss Lena Blanding Milton H. Esberg L. F. Monteagle
Miss Louise A. Boyd Herbert Fleishhacker Robert C. Newell
George T. Cameron J. D. Grant J. C. Raas

Selah Chamberlain E. S. Heller F. R. Sherman

C. H. Crocker W.E. Creed Wm. T. Sesnon
Mrs. Templeton Crocker J. B. Levison M. C. Sloss

Wm. H. Crocker Walter S. Martin William Sproule
E. R. Dimond John A. McGregor ~ Sigmund Stern

EXECUTIVE COMMITTEE
John D. McKee, Chairman

E. D. Beylard E. R. Dimond J. B. Levison
Wm. H. Crocker E. S. Heller William Sproule

MUSIC COMMITTEE

J. B. Levison, Chairman

E. S. Heller E. D. Beylard Robert C. Newell

WOMEN’S AUXILIARY
Mrs. M. S. Koshland, Chairman
Miss Lena Blanding, Vice-Chairman
Mrs. M. C. Porter, Vice-Chairman

EXECUTIVE OFFICES

457 Phelan Building, San Francisco
A. W. WIDENHAM, Secretary-Manager

Hours 10 to 12 A. M., 2 to 4 P. M. Telephone Garfield 2819

4
7

jj ipa
! Y Ii) hs
» nay YN SBZ i
\ Bk ‘ Ny Wt; Gy y
tit {((iYVifZZZZ
\3 VM Gq \

The
RADIO PIANO

HMason & Hamlin ia

THREE out of the four broadcasting stations
about the Bay own flason & Hamlin pianos!
KLX owns one; so does KPO —and the new
station, KFRC. The reason? The clear, pure
tone of the Mason & Hamlin piano has the
quality of holding clear and pure through all
the miles of air—through all the mechanics of
broadcasting and receiving! Such proof of ton-

al purity is an overwhelming argument in favor

of the flagon & Hamlin.

WieBAlenG@ |

135 KBARNY STREET, SAN FRANCISCO
1323 WASHINGTON STREET, OAKLAND /

€ Receive your radio if :
programs through the Be oo
Brunswick Radiola! | pil
New—atalkingma- ; |
chine oraradioat the \* '
turn of a lever!

Che San Francisco Sumphony Orchestra

ALFRED HERTZ, Conductor

1924—Season—1925
SECOND POPULAR CONCERT
491st Concert
CURRAN THEATRE

Sunday Afternoon, November 23, 2:45 o’clock

PROGRAMME

L.: (Owertire:-: Phedre so. 25222 eee ete eee: Massenet
22 AZO VES TOTCADN. 6 cocker ee Liszt
$4 7Dalletoulte, \Oppelial< meee te tie eee Delibes

Slavonic Theme with Variations

Festive Dance and Waltz

Nocturne

Dance of the Automatons and Waltz

Czardas
4 2Prelude toi the-Deluce: ote ae Saint-Saens

(Violin obbligato, Louis Persinger)
5 Symphonic: Poem: The Mahdai go ese aes Smetana _
» Overture'to “La Gazza Ladra --ieee eee Rossini

Auditorium Symphony Concert, Next Wednesday 8:20

Soloist: EVA GAUTHIER, Soprano
Tickets Now on Sale at Sherman Clay & Co.

TO SYMPHONY SUBSCRIBERS

It has been suggested that subscribers who for any
‘reason find themselves unable to attend the Symphony
Concerts send their tickets to the Community Music
School, 544 Capp Street, and thus make it possible for
worthy and appreciative students to hear the concerts,
who would not. otherwise be able to do so. Tickets
should be mailed as early as possible each week to Com-
munity Music School, 544 Capp Street, San Francisco.

The Newest and Most Remarkable

Achievement in Radio

THE BRUNSWICK RADIOLA—Combining the
world-noted Brunswick Phonograph with the super-
lative in Radio, the Radiola Super-Heterodyne.

The
Brunswick Radiola
Super-Heterodyne

—some remarkable

features

NA UC

1 — Requires no outside

antenna — no ground
wires. You can move it
from room to room— plays
wherever you place it.

Agnes ald :
Moats
Soe

hs me iy es
‘ PPT Ay
~ = | wi EN SL, Nee

—Amazing selectivity
permitting you to “‘cut
out’’ what you don’t want
to hear and pick out
instantly what you do.

—Combines the super-
lative jn radio with the
superlative in phono-
graphic reproduction—a
phonograph and a radio
in one.

Brunswick Radiola
[o.

Combining the world-noted
Brunswick phonograph with
the superlative in radio—the
Radiola SupereHeterodyne,

Brunswick Radiolas, ranging in price from
$190 to $660. Sold on easy payment plan

QUARG MUSIC CO.

206 Powell Street Open Evenings

Overture, ‘‘Phedre”’ - - - = - Massenet

This overture, based upon a mythological legend, has been
described as having for its subject ‘“‘the power of love, and its inexora-

ble fate when disregarding the commands of duty.”

Phedre, it will be recalled, was the daughter of Minos, King of
Crete; after the death of Antiope she became the wife of Theseus.
Subsequently she had the misfortune to become desperately enamored
of Theseus’ son, Hippolytus, who failed to reciprocate her advances—
whereupon she substituted hatred for love and revenged herself by
making the father jealous of the son. Theseus committed Hippolytus
to the vengeance of Neptune, who caused a monster to come up out
of the sea as the youth was driving along the shore and to so terrify
his horses that they demolished his chariot. Hippolytus was killed
in the accident, but Aesculapius brought him back to life, and Diana
frustrated Phedre’s malicious designs by removing him to Italy, where
he enjoyed the protection of the nymph Egeria.

‘“‘Love’s Dream” - = . . - = - = Liszt

Liszt’s familiar and popular “‘Love’s Dream,”’ the third of a group
of nocturnes, is a musical reflection of the following poem by

ESTABLISHED 1852

QUALITY

CONSISTENT
PRICES

Shreve and Company
Jewelers and Silversmiths

Post and Grant Avenue
San Francisco

Elwyn Artists Series

At Scottish Rite Hall—Season 1924-1925

11 SUPREME EVENTS

Subscription Tickets for Entire Series

$7.00, $10.00, $15.00

All Attractions Included
EVA GAUTHIER Thursday Eve., Dec. 4

Mezzo-Soprano “The High Priestess of Modern Song”

ISA KREMER Friday Eve., Dec. 12

Russian Singer of Folk Songs

CECILIA HANSEN Monday Eve., Dec. 22

“The Sensation of the Concert Season’’—
Chicago ‘‘Herald-Examiner”’

JASCHA HEIFETZ Sunday Mat., Jan. 18 (Casino Theatre)

‘“‘The Incomparable”

MARIA IVOGUN Monday Eve., Jan. 26

Europe’s Greatest Coloratura Soprano

ALBERT SPALDING Friday Eve., Feb. 20

America’s Supreme Violinist

ROLAND HAYES Sunday Mat., Feb. 22 (Casino Theatre)

Phenomenal Negro Tenor—The Sensation of Recent Years

MABEL GARRISON Wednesday Eve., March 13

One of America’s Most Gifted and Gracious Singers

LONDON STRING QUARTET Tuesday Eve., April 7

‘‘Unsurpassed as a Perfect Ensemble”’

REINALD WERRENRATH Monday Eve., April 20

‘‘An American Institution’’

MERLE ALCOCK Early May

Leading Contralto Metropolitan Opera Co.

ALL OF ABOVE ATTRACTIONS INCLUDED

SALE OF SEASON TICKETS POSITIVELY CLOSES
DECEMBER 4th.

SAVE 3714% ON SEASON TICKETS

Season Tickets Now on Sale—Sherman, Clay & Co.

F. Freiligrath, which is printed on the fly-leaf of the piano score:

““O love, O love, so long as e’er thou canst, or dost on love believe;

The time shall come, when thou by graves shalt stand and grieve;

And see that still thy heart doth glow, doth bear and foster love divine,
So long as e’er another heart shall beat in warm response to thine.

And, whoso bares his heart to thee, O, show him love where in thy power,
And make his every hour a joy, nor wound his heart at any hour,

And keep a guard upon thy tongue—an unkind word is quickly said:

Ah me—no ill was meant—and yet

The other goes and weeps thereat.”

Ballet Suite, ‘““Coppelia” - ~ - - ~ ~ Delibes

‘““Coppelia,’’ which with ‘Sylvia’? brought Delibes into popularity
as a modern composer, is one of the most beautiful ballets in the entire
modern repertoire.

The story of the ballet is concerned with a maker of dolls in a
little French village, one of his dolls being very beautiful and life-size.
He places this doll in an open window, where it is much admired by
the youths of the village, who believe it to be real, and a great deal of
jealousy on the part of the village maidens results.

The fourth number in the suite played today, the ‘‘Dance of the
Automatons,” in a very effective picture of the metronomic steps of
the dancing dolls, ending with the well-known “Valse Lente.”’

Prelude to ‘“‘The Deluge” - -. - - - Saint-Saens

Camille Saint-Saens was born October 9, 1835, and died Decem-
ber 16, 1921. He began the study of the piano at the age of two

Manheim, Dibbern & Un.

Established 1869

Our LIFE INSURANCE experience
will assist you in providing for

your LIFE INSURANCE needs.

Ground Floor California Commercial Union Building

Montgomery Street at Pine Telephone Sutter 2945

and a half years, entered the Conservatoire in 1848 and in 1858 was

‘appointed organist of La Madeleine, the most fashionable parish in
France. This position he filled with distinction until 1877, establish-
ing a world-wide reputation as one of the greatest of organ virtuosi
and masters of improvisation. Saint-Saens visited the United States
for the first time in 1906 and his second visit in 1915 was made as
representative of the French government at the Panama-Pacific Inter-
national Exposition in San Francisco. For this occasion he wrote a new
orchestral work, “Hail California,’ the first performance of which he
conducted in Festival Hall at the Exposition on June 19.

The prelude to “The Deluge,’’ with the solo violin part, is one of
Saint-Saens’ most popular works. It is the prelude to his Biblical
cantata, “The Deluge,’’ which was composed in 1876 and is based
upon the Biblical narration of the Flood. It is a short, expressive
movement in the free form for the string orchestra—a slow intro-
ductory passage, leading to a quasi-fugal treatment of a sustained
subject given out by the violas, following which the solo violin intro-
duces a melodious obligato, which holds the foreground to the end.

Symphonic Poem, ‘‘The Moldau”’ _ - " - - Smetana

“The Moldau,’’ written more than a month after Smetana had
become stone deaf, is the second of a cycle of six similar works. It
was begun November 20, and completed December 8, 1874 (just fifty

Tue San Francisco Savincs ano Loan Society

(THE SAN FRANCISCO BANK)
SAVINGS COMMERCIAL
INCORPORATED FEBRUARY 10th, 1868.

One of the Oldest Banks in California,
the Assets of which have never been increased
by mergers or consolidations with other Banks.

Member Associated Savings Banks of San Francisco
526 California Street, San Francisco, Cal.

JUNE 30th, 1924
$93,198,226.96

Capital, Reserve and Contingent Funds 3,900 ,000.00
Employees’ Pension Fund 446,024.41

ve.

HAIGHT STREET BRANCH Haight and Belvedere Streets
WEST PORTAL BRANCH West Portal Ave. and Ulloa St.

Interest paid on Deposits at the rate of
FOUR AND ONE QUARTER (414) per cent per annum,

COMPUTED MONTHLY and COMPOUNDED QUARTERLY,
AND MAY BE WITHDRAWN QUARTERLY

years ago). The score of the work is prefixed by the following
explanatory program:

wood and water nymphs hold their revels, and in these waves are
reflected many a fortress and castle—witnesses of bygone splendor of
chivalry and the vanished martial fame of days that are no more. At
the Rapids of St. John the stream speeds on, winding its way through
cataracts and hewing the path for its foaming waters through the rocky
chasm into the broad river-bed, in which it flows on in majestic calm
toward Prague, welcomed by time-honored Vysehrad, to disappear in
the far distance from the poet's gaze.’

Overture to “La Gazza Ladra”’ - - ~ - - Rossini
“Ta Gazza Ladra’’ (The Thieving Magpie) is one of Rossini's

ALFRED METZGER—

Mm. Anthony Linden

Orchestral Conductor and Flute Virtuoso
Soloist—TI eacher—Lecturer

REDFERN MAson—

He played admirably.
There was no _ self-con-
scious virtuosity; it was
the pure bel canto of the
flute, every note round
and perfect as a pearl.—
San Francisco Examiner.

Solo Flutist, San Francisco Symphony Orchestra
Formerly Solo Flutist, Minneapolis Symphony Orchestra
Director Linden School of Flute Playing

Address all communications to

457 Phelan Building, San Francisco

ANNOUNCEMENT

THIRD PAIR OF SYMPHONY CONCERTS
Curran Theatre

Friday, November 28, 3:00 P. M.
Sunday, November 30, 2:45 P. M.

PROGRAMME

2 he OVINONONYKING. 2, 1 Nlalbis ee a ee Brahms
Allegro non troppo
Adagio non troppo
Allegretto gracioso
Allegro con spirito

ZieOriental Suite: «2%. 75 Sie ae Re eRe eee a) Eichheim
(Conducted by the composer)

Korean Sketch
Siamese Sketch
Entenraku, Chinese Ceremonial Music
Japanese Nocturne

Chinese Sketch

(First time in San Francisco)
3. Fantasia, “Francesca da Rimini’’......:............. Tschaikowsky

ANNOUNCEMENT

THIRD POPULAR CONCERT

Curran Theatre
Sunday, December 7, 2:45 P. M.

Soloist: WALTER FERNER, ’Cellist

| PROGRAMME
|. Overture, “Iphigenie in Aulis? .27.10220220.00..) ee. Gluck
Z.. Symphony im 6 mmmor, - Wnfiinishéas..---... 7, Schubert
Allegro moderato
Andante con moto
3, Overture: oLeenote;: Nowe st hfe ee Beethoven
4. UOLANIGTeL. TOL: VIOIONCENO.. ...- ck ee Bruch
Walter Ferner
5. “The Irish’ Washerwontan)...¢o..-..0.0:0.0000i oc Sowerby
(First time in San Francisco)
6. (a) Spring Song | Mendelssohn

(b) Spinning Song |
7. Overture,-7 Phe’ Gypsy Baron se inok eee Johann Strauss
Tickets on sale at Sherman, Clay & Co., on Monday

preceding concert, hours 9 to 5; and at Curran Theatre from
10 A. M. on day of concert.

forty operas and was first produced at Milan, italy, in 1817. It had
but fair success and was soon forgotten, but the overture became a
popular concert number and has remained so to this day. The story
revolves around Fernando, a fugitive soldier; his daughter Ninetta;
Gianetto, her sweetheart; I] Podesta, the village magistrate, and last,
but not least, a magpie whose thieving habits create the most compli-

cated situations, one of which almost leads to Ninetta’s being executed.
While the overture fails to compare with Rossini’s masterpiece in the
same form, his overture to “William Tell,” it still is one of the best
works of the period when his writings were in the purely Italian style.

THE
MARGARET MARY MORGAN (CO.

Engraving ° Printers ° Publishing

619 CALIFORNIA STREET
DouGLAS 4633

We are now ready to serve you from a most complete selection of engraved

Christmas Greeting Cards

for personal and commercial use.

Our most inexpensive cards, along with the more exclusive ones, have been designed with
the same thorough good taste.

Order while stock is complete.

Ryaio tours: Tuesday, Wednesday, Saturday Phone Douglas 1678
Afternoons—2-5

KAJETAN ATTL

Solo Harpist
San Francisco Symphony Orchestra

Using Lyon & Healy Harps, The World’s Standard
FOR ENGAGEMENTS

AS SOLO ARTIST, ACCOMPANIST, OR

PLAYER IN ENSEMBLE MUSIC,
ADDRESS

KAJETAN ATTL, BOHEMIAN CLUB
SAN FRANCISCO, CALIFORNIA
RES. PHONE FRANKLIN 7847

Orley See

Violinist and Teacher
Concert and Recital

~atba] Poet
48 Wildwood Avenue, Piedmont

Phone Piedmont 8140-J (Tuesday) Douglas 1678

FIRST VIOLINS

Persinger, Louis
Concert Master and
Assistant Conductor

Argiewicz, Artur
Assistant Concert
Master

Ford, Louis
Assistant Concert
Master

Meriz, E.

Mendelevitch, R.

Laraia, W. F.

Gluschkin, M.

Gordohn, R.

Seiger, R.

Bem, Eugenia

Koenig, H.

See, Orley

Mortensen, Modesta

Amsterdam, M.

Pasmore, Mary

Ruiz, R.

SECOND VIOLINS
Jensen, T.

Principal
Haug, J. A.
Callinan, W. G.
Hidden, R. L.
Gold, J. |
Paterson, J. A.
Blaha, A.
Manchester, W.
Atkinson, Helen
Dunn, H. A.
Gough, W.
Hoffman, H. H.
Dabelow, W.

VIOLAS

Fenster, Lajos

Principal
Hahl, E.
Baker, F. A.
Wismer, H.
Weiler, E.
Lichtenstein, V.
Patchook, S.
Dierich, F.
Kolb, R.
Lewis, A.

Jersonnel

Che San ¥ rancisen Sumphony Orchestra

ALFRED HERTZ, CONDUCTOR

"CELLOS

Ferner, Walter
Principal

Dehe, W.

King, O.
Villalpando, W.
Weiss, A.

Kirs, R.

Gegna, M.
Pasmore, Dorothy
Hranek, C.

BASSES
Lahann, J.

Principal
Greene, S.
Bell, W.
Storch, A. E.
Cassetta, L. R.
Guterson, A.
Annarumi, A.

Giese, W.

FLUTES
Linden, Anthony
Newbauer, Louis

Oesterreicher, Walter
Orchestral Manager

Benkman, H.

PICCOLO

Oesterreicher, Walter

OBOES
Addimandao, C.
Shanis, Julius
Schipilliti, V.

Utschig, H.

ENGLISH HORN
Schipilliti, V.

CLARINETS
Randall, H. B.
Zannini, N.
Fragale, F.
Greenbaum, A. A.

BASS CLARINET
Fragale, F.

BASSOONS
Kubitschek, E.
La Haye, E. B.
Hranek, C.

CONTRA BASSOON
Kolb, R.

HORNS
Hornig, W.
Tryner, C. E.
Roth, P.
Huske, F. E.
Rocco, R.

TRUMPETS
Ditzel, E.
Arriola, A.

Kegel, Otto
Kress, V.

TROMBONES
Tait, F. W.
Clark, O. E.
Bassett, F.N.

’ TUBA
Murray, R.

HARP
Attl, Kajetan
Schipilliti, Annette

TYMPANI
Wagner, R. E.

PERCUSSION
Nickel, M.
Vendt, A., Jr.
Kundy, E.

PIANO AND CELESTA
Ormay, Gyula

LIBRARIAN
Kegel, Otto

A. W. WIDENHAM, Secretary-Manager

“The Happiest Homes in All Creation

Are Homes Surrounded by Recreation”

The “Carmel” of the Peninsula

ERE Vy | ged Se

“BELLE MONTY”

There are so many natural features which add to the
attractiveness of “Belle Monti” as an Artist and Musician
Center that its appeal is instantaneous.

Live oak, pine and eucalyptus trees planted years ago by men who
foresaw the future demand for suburban homes; hillside locations
with marine and mountain view; sheltered level lots—macadamized
streets, electricity, water, phone and strict sanitary requirements.
Marvelous home and cabin sites averaging in price $475—some as Lewes,
low as $300, including permanent membership in the ‘

Belle Monti Country Club

Now. Building
for which $250,000 has been directed to be set aside for club house,

swimming pool, courts, links, etc.

Nine Hole Golf Course Now Open

Write, call or phone for complete information. zz
Artist Center Division © W

Av
BELLE MONTI SALES CO. ea GF
Garfield 2157 SY RY 2
212 Sutter Street Co ©
San Francisco LS

Artist Center Division

BELLE MONTI SALES CoO.
212 Sutter Street, San Francisco
Please send airplane view in colors and complete information regard-

ing “Belle Monti” and Belle Monti Country Club to....------------sse--se-

Choose your piano carefully.
Choose it as you would
choose an intimate member
of your family circle. Choose
it for qualities that will en-
dure.

Let your choice, if possible,
be a STEINWAY. Thete is no
other piano of qualities more
enduring —of distinction so
immediately recognized.

Sherman, |Z

Kearny and Sutter Streets
Mission at Seventeenth St.
Oakland— Fourteenth and Clay Sts.

NZ THE CITY OF SAN FRANCISCO PRESENTS

SAN FRANCISCO ===
SYMPHONY ORCHESTRA

IN A

POPULAR CONCERT

EXPOSITION AUDITORIUM

WEDNESDAY, NOVEMBER 26, 1924

8:20 P.M.

WITH

EVA GAUTHIER, Mezzo-Soprano

GUEST ARTIST

The Piano is the Steinway
Eva Gauthier makes Victor Records exclusively

AUSPICES

Mayor JAMES ROLPH, JR., AND BOARD OF
SUPERVISORS

DIRECTION—AUDITORIUM COMMITTEE
J. EMMET HAaypEN, CHAIRMAN
ANGELO J. Rossi Epwin G. Batu

COMING!
MONDAY, DECEMBER 1, 8:20 P.M.

Exposition Auditorium
CHARLES M. COURBOIN

Famous Belgian-American Organist

Formerly of Antwerp. Chevalier of the Order of the Crown of Belgium.
Guest Soloist Famous Wanamaker Organ.

Admission Free

ees SINGERS WANTED ! ee ee
SECOND SPRING MUSIC FESTIVAL CHORUS
ALFRED HERTZ, Director General

For details apply at Community Service, 317 Flood Building.
Telephone Douglas 4293.

Next Auditorium Symphony Concert

FRIDAY, DECEMBER 19, 8:20 P.M.

Soloist: CECELIA HANSEN, Violinist
“Peer of the Auer Clan.”

Reserved Seats $1, 75c, 50c. On Sale Monday, December Ist,
Sherman, Clay & Co.

EVA GAUTHIER IN RECITAL
Scottish Rite Hall
THURSDAY EVENING, DECEMBER 4
Tickets 50c to $2.20, at Sherman, Clay & Co.

San RaFAEL REcITAL—TUESDAY Eve., DECEMBER 9th

Next Friday SYMPHONY Next Sunday
3 P.M. ORCHESTRA 2:45 P.M.

CURRAN THEATRE

SV PEDO TA IN Os esa cas occ res ceca ones veusdvsiescesenawe Brahms
Oriental Impressions............2.-...2222..000-+- Henry Eichheim
(Conducted by the composer)

(First time in San Francisco)

PraxCos CAG BR arcsec Tschaikowsky
(First time in San Francisco)

Tickets at Sherman, Clay & Co.

Program

NATIONAL ANTHEM
UpA WALDROP at the Organ

2 SYMPHONY NO 0-H minors a Se Tschakowsky
Andante—Allegro con anima
Andante cantabile con aleuna licenza
Valse—Allegro moderato

Finale: Andante maestro—Allegro—Allegro vivace

In the Fifth Symphony of Tschaikowsky we seem to see whole nations
in revolt, mourning, rejoiciig, conquering. The first movement suggests
the surging of a great mass of people—perhaps the Russian nation at work
and at play, vital and free-souled, but submerged and unhappy. The second
movement, one of the most poptlar compositions Tschaikowsky ever
wrote, is a passionate and sensuous andante, although shortly before the
movements end the theme of the symphony appears as a sort of rumble
of cannon amid the pathos of a people’s suffering. The third movement
is a beautiful piece of delicate tracery, perhaps the aristocracy of the
people, dancing in its ballroom, oblivious of the groaning of the workers
outside. Toward the close of the movement the threatening motive is
again heard as though the guests heard the first mutterings of the mob in
the streets below. With the opening of the fourth movement the armies
of the people seem to be approaching for battle. This is one of the most
remarkable depictions in all music of that peculiar sensation known as
mob-emotion. Here it inevitably means the triumph of a great popular
cause. The armies of liberty have fought and won.

INTERMISSION

2. (a)— Two “HEBriw: MELODINS.2 5 ee _...deavel
Mme. GAUTHIER

Kaddisch
L’Enigme Eternelle

These settings of Hebrew melodies were composed in May, 1914, and
published in the following year, with Hebrew and French text. The first,
Kaddisch, is a prayer of consolation and atonement—a prayer for the dead.

(b) CutnesE MotHEerR GoosE— RHYMES................... Bainbridge Crist
Mme. GAUTHIER

The “Chinese Mother Goose Rhymes” were published in 1917. The
text consists of translations from the Chinese by Isaac Taylor Headland
of Peking University. The music is based upon Chinese themes.

LADY BUG

Fly to the mountain, and feed upon dew,
Feed upon dew, and sleep on a rug,

| Lady-bug, lady-bug, fly away, do,
| And then run away, like a good little bug.

| BABY IS SLEEPING

My baby is sleeping, my babe’s asleep,

My fiow’r is resting, I’ll give you a peep.
How cunning he looks, as he rests upon my arm.
My flow’r’s most charming of all that charm.

WHAT THE OLD COW SAID

| A sad old cow to herself once said,
| While the north wind whistled through her shed,
|
|
|

“To head a drum they will take my skin,
And they’ll file my bones for a big hairpin.
The scraps of bone they will make into dice,
And sell them, off at a very low price.

My sinews they’ll make into a whip, I wot,
And my flesh they’ll put in a big soup pot.”

OF WHAT USE IS A GIRL?

We keep a dog to watch the house,

And a pig is useful, too;

We keep a cat to catch a mouse,

But what can we do with a little girl like you?

THE MOUSE

He climbed up the candlestick,
The little mouse brown

To steal and eat tallow,

And he couldn’t get down.

He call’d for his grandma,
But his grandma was in town,
So he doubled up into a wheel
And roll’d himself down.

3. Sure, ‘‘ THROUGH THE LOOKING GLASS 7.0.0. Deems Taylor

1 (a) Dedication
(b) The Garden of Live Flowers

II. Jabberwocky
IIT. Looking Glass Insects

IV. The White Knight

This suite, by Deems Taylor, the eminent New York critic, needs no
extended analysis. It is based on Lewis Carroll’s immortal nonsense
fairy-tale, “Through the Looking Glass and What Alice Found There,”
and the five pictures it presents will be readily recognizable to lovers of
the book. There are four movements, the first bing subdivided into two
connected parts. The first is a dedication to the “child of the pure, un-
clouded brow and dreaming eyes of wonder,” which goes without pause
into “The Garden of Live Flowers,” a movement which reflects the brisk
chatter of the swaying, bright-colored denizens of the garden. Then
comes the story of the battle with the Jabberwock. The theme of the

frightful beast is first announced by the full orchestra. The clarinet then
begins the tale, recounting how, on a “brillig’” afternoon, the “slithy toves
did gyre and gimble in the wabe.’” Muttered imprecations by the bas-
soon warn us to “beware the Jabberwock, my son.” A miniature march
signalizes the approach of our hero, taking “his vorpal sword in hand.”
Trouble starts among the trombones—the Jabberwock is upon us! The
battle with the monster is recounted in a short and rather repellant
fugue, the double-basses bringing up the subject and the hero fighting
back in the interludes. Finally his vorpal blade (really a xylophone)
goes “snicker-snack” and the monster, impersonated by the solo bassoon,
dies a lingering and convulsive death. The hero returns to the victorious
strains of his own theme. The whole orchestra rejoices—the church
bells are rung—alarums and excursions. Conclusion. Once more the.
slithy toves perform their pleasing evolutions, undisturbed by the uneasy
ghost of the late Jabberwock. In the third movement, “Looking Glass
Insects,” we find the Bee-elephant, the Gnat, the Rocking-horse-fly, the
Snap-dragon-fly, and the Bread-and-butter-fly. There are several themes,
but there is no use trying to decide which insect any one of them stands
for. In the “White Knight” we have a toy Don Quixote, mild, chival-
rous, ridiculous, and rather touching, but who couldn’t ride very well.
There are two themes; the first a sort of instrumental prance, being the
Knight’s own conception of himself as a slashing, dare-devil fellow. The
second is bland, mellifluous, a little sentimental—much more like the
Knight as he really was. The first theme starts off bravely, but falls out
of the saddle before very long, and has to give way to the second. The
two alternate, in various guises, until the end, when the Knight rides off,
with Alice waving her handkerchief—he thought it would encourage him
if she did.

4, Arta, ‘‘UNA VOCE POCO FA’’
fron The Barer 01 Seve. Se ee Rossina

Mme. GAUTHIER

“The Barber of Seville” was first presented at the Argentina Theatre
in Rome, February 5, 1816, and was first produced in the United States
at the Park Theatre, New York, November 29, 1825, the role of Rosina
being sung by Maria Felicita Garcia, afterwards famous as Malibran. The
aria, “Una voce poco fa” which is sung by Mme. Gauthier in the original
key of E with cadenzas written for Mme. Marietta Alboni, comes in the
second scene of the first act of the opera and is in the form generally
adhered to by Italian composers of that period—a slow opening section
succeeded by a quicker movement culminating in a brilliant coda.

TT Tn,
——<———s = >
oe ——

Fs oe
=<
- =
—
.%
poiest
-

_———

>
i TL PT

1 sid
Al
J gti

one # \
rg h 3 :
} A «a
fs wht Sail, Wr mal ES peers UAT ETA \\ Bates rae | Ne
| 4 HTS a wy RAPP UT Ls} Vea AeA = =. ‘
Lill (le) i ae wt ae Mt
MTL ae j HN —_— a pag aes
INCITS! Te ie Vda
We x :

Ht Bey, fia
i te bes
hi } (i "Bd
. er
—_—-—_—_— 163} > mann THT mt : — 2 sy et!
3 aoe ted
a F SESS ines
is :' perry. Wie hG =
EOE oe
ae

7 4d :
‘ i i ‘ol fw ath
% — ;
\ =

?
AB ibaa |! il eyes
ee NS ol gfe \ \
= :

Waiting for you

Here is Victrola No. 400, a mahogany
console instrument, priced $250. It too,
as with all instruments sold here, can be
bought on terms convenient to you.
Your Victrola is waiting for you here.
Come in and claim it.

Kearny and Sutter Streets
Oakland » Fourteenth & Clay Sts.

a ee:

weT Mp

=
een eco
u
‘

Wet

“4 ,
Ta ay, TAS
ie:
=
TS "

ter, Mexzo-Soprano

FIO

Gauth

SSS =>

oe. Ad BLK: aoR Ce ACAD PCO ve; Se Spit at

SF) ARI eed tn oe ES os ONS A
tS ae *% “=

2 ee Ee my

Hva

uses the Steinway

3 bp
Oo 8
ane
ZY

Be
see
a |

ge
“ho
2D
a wv
KS

ust

deur ontheconcertstage,j
as you will some day

choose
home.

for its glory in the

Kearny and Sutter Streets

Sherman, lay & Co,

Oakland 7 Fourteenth & Clay

OAGESR 0

SAN FRANCISCO
SYMPHONY Ez
ORCHESTRA

a Marntamea by
ONE

‘i The Mustcal zs
: Assoctation of
i oan Francrsco

THIRD PAIR

ved] fied

. 1924 1925
Fourteenth Season

ALFRED HERTZ CON DU CTOR

[eRe

Alfred Hertz

‘RECOMMENDS
CONN INSTRUMENTS

The San Francisco
Symphony

CONN
INSTRUMENTS

No Higher Endorsement

can be given to a musical
“T take great pleasure in

instrument, hence if the recommending Conn instru:

experience of great artists ments f or symp hon y
orchestra work.”

means anything to you, your

Ea seen choice will be CONN.

Repairing

WORLD'S
LARGEST MANUFACTURERS
OF HIGH GRADE BAND AND
ORCHESTRA INSTRUMENTS.

ALFRED HERTZ.

Conn San Francisco Co. Conn Oakland Co.
47 Kearny St. 531-16th St.

Jlersontel

Che San Hrancisen Sumphony Orchestra

FIRST VIOLINS

Persinger, Louis
Concert Master and
Assistant Conductor

Argiewicz, Artur
Assistant Concert
Master

Ford, Louis
Assistant Concert
Master

Meriz, E.

Mendelevitch, R.

Laraia, W. F.

Gluschkin, M.

Gordohn, R.

Seiger, R.

Bem, Eugenia

Koenig, H.

See, Orley

Mortensen, Modesta

Amsterdam, M.

Pasmore, Mary

Ruiz, R.

SECOND VIOLINS
Jensen, T.

Principal
Haug, J. A.
Callinan, W. G.
Hidden, R. L.
Gold, J.
Paterson, J. A.
Blaha, A.
Manchester, W.
Atkinson, Helen
Dunn, H. A.
Gough, W.
Hoffman, H. H.
Dabelow, W.

VIOLAS

Fenster, Lajos

. Principal
Hahl, E.
Baker, F. A.
Wismer, H.
Weiler, E.
Lichtenstein, V.
Patchook, S.
Dierich, F.
Kolb, R.
Lewis, A.

‘CELLOS

Ferner, Walter
Principal

Dehe, W.

King, O.
Villalpando, W.
Weiss, A.

Kirs, R.

Gegna, M.
Pasmore, Dorothy
Hranek, C.

BASSES

Lahann, J.
Principal

Greene, S.
Bell, W.
Storch, A. E.
Cassetta, L. R.
Guterson, A.
Annarumi, A.
Giese, W.

FLUTES
Linden, Anthony
Newbauer, Louis

Oesterreicher, Walter
Orchestral Manager

Benkman, H,

PICCOLO

Oesterreicher, Walter

OBOES
Addimando, C.
Shanis, Julius
Schipilliti, V.
Utschig, H.

ENGLISH HORN
Schipilliti, V.

CLARINETS
Randall, H. B.
Zannini, N.
Fragale, F.
Greenbaum, A. A.

ALFRED HERTZ, CONDUCTOR

BASS CLARINET
Fragale, F.

BASSOONS
Kubitschek, E.
La Haye, E. B.
Hranek, C.

CONTRA BASSOON
Kolb, R.

HORNS
Hornig, W.
Tryner, C. E.
Roth, P.
Huske, F. E.
Rocco, R.

TRUMPETS
Ditzel, E.
Arriola, A.

Kegel, Otto
Kress, V.

TROMBONES
Tait, F. W.
Clark, O. E.
Bassett, F. N.

TUBA
Murray, R.

HARP
Attl, Kajetan
Schipilliti, Annette

TYMPANI
Wagener, R. E.

PERCUSSION
Nickel, M.
Vendt, A., Jr.
Kundy, E.

PIANO AND CELESTA
Ormay, Gyula

LIBRARIAN
Kegel, Otto

A. W. WIDENHAM, Secretary-Manager

eg oe
LAS \ Dy yh, ye |2 = st
fa US a) V9) 2 AN
' SS TIN A ewer =
’ = * fA\ Soe SORE :
a) MY)

Those to whom music is a gift or
an artora great privilege hold one
piano at the pinnacle—the Mason
& Hamlin. For they know it to be
wrought byskilled artisans—men
who build with infinite pains that
the final product will be. worthy
the hands of an artist. So does it
deserve a place in your home.

WileyBAllenG.

135 KEARNY STREET, SAN FRANCISCO
1323 WASHINGTON STREET, OAKLAND

Che San Francisco Sumphony Orchestra
ALFRED HERTZ, Conductor

1924—-Season— 1925
THIRD PAIR OF SYMPHONY CONCERTS
493d and 494th Concerts
CURRAN THEATRE

Friday Afternoon, November 28, 3:00 o’clock
Sunday Afternoon, November 30, 2:45 o’clock

PROGRAMME

lI Symphony,.No-2, > Wiajors: a a eee Brahms
Allegro non troppo
Adagio non troppo
Allegretto gracioso
Allegro con spirito
Intermission
2, Oriental impressions .-2 4 -<2 sae srat ose (ia see Eichheim
(Conducted by the composer)
Korean Sketch
Siamese Sketch
Entenraku, Chinese Ceremonial Music
Japanese Nocturne
Chinese Sketch
(First time in San Francisco)
3. Fantasia, “Francesca da Rimini’’...................- Tschaikowsky

(First time at these concerts)
(The Piano is a Steinway)

Next Auditorium Concert, Friday Eve., December 19

Soloist: CECILIA HANSEN, Violinist
Tickets Now on Sale at Sherman Clay & Co.

TO SYMPHONY SUBSCRIBERS

It has been suggested that subscribers who for any
reason find themselves unable to attend the Symphony
Concerts send their tickets to the Community Music
School, 544 Capp Street, and thus make it possible for
worthy and appreciative students to hear the concerts,
who would not otherwise be able to do so. Tickets
should be mailed as early as possible each week to Com-
munity Music School, 544 Capp Street, San Francisco.

pT ES

109 Stockton Street

We take pleasure in announcing a series of Masterworks recorded

by famous European Orchestras in albums.

Beethoven:

Dvorak:

Mozart:

achaikowalest

Beethoven:

Haydn:

Mozart:

Symphony No. 7, in A Major, Opus 92, in nine parts, ei
five records. Set complete in album form.............. $8.75

Symphony No. 8, in F, Opus 93, in seven parts, on four
FE COLOR. fosoice tera anal cas ne eae SI eae hee $7.00

By Weingartner and London Symphony Orchestra.

Symphony in E Minor, No. 5, Opus 95, from the New
World, 10 parts, five records.................-.. $8.75 complete

By Halle Orchestra, London.

Symphony No. 39, in E flat, Opus 543, in six parts, on
three records... eee ek $5.25 complete
By Weingartner and London Symphony Orchestra.

Symphony Pathetique, in eight parts, on four records,
Complete pInca tery ool cite ope ch oat a oe ee ee $7.00

By Sir Henry Wood and New Queen’s Orchestra.

Quartet in C Sharp Minor, in ten parts, on five records,
Complete’ in el bunnies ee et ee eee a $8.75

By Lener String Quartet, of Budapest.
Quartette in D Major, in six parts, on three records,
COM Petes ast BD UT decker eee Sees I ee I oe $5.25
By Lener String Quartet, of Budapest.

Quartet in C Major, eight parts, on four records, com-

Peter Alou Lk eT ae te ea PE tee $7.00
By Lener String Quartet, of Budapest.

Send for our historical catalog of ‘‘Musical Masterworks,”’ free.

QUARG MUSIC CO.

206 Powell Street Open Evenings

Symphony No. 2in D Major_ - - - - - Brahms

Brahms spent more than ten years upon the writing of his First
Symphony, which was produced in 1876, and then brought forth his
Second Symphony only about a year later. The work was completed

at Lichtenthal during the summer of 1877 and had its first public
performance in orchestral form at a Philharmonic concert in Vienna,

December 30, 1877, under the direction of Hans Richter.

This symphony has been described by Hanslick “‘as peaceful,
tender, but not effeminate serenity, which on the one side is quickened
to joyous humor and on the other is deepened to meditative serenity.
The first movement begins immediately with a mellow and dusky
horn theme. It has something of the character of a serenade, and this
impression is strengthened still further in the Scherzo and the Finale.
The first movement immerses us in a clear wave of melody, upon
which we rest, swayed, refreshed, undisturbed by two slight Mendels-
sohnian reminiscences which emerge before us. A broad singing
Adagio follows. The Scherzo is thoroughly delightful in its graceful
movement in minuet tempo. It is twice interrupted by a Presto,
which flashes, spark-like, for a moment. The Finale, more vivacious,
but always agreeable in its golden serenity, is widely removed from
the stormy finales of the modern school. Mozartian blood flows in its
veins. This symphony is a contrast rather than a companion to the
first symphony of Brahms, and thus it appears to the public.”

The main theme of the first movement is introduced at the very

ESTABLISHED 1852

I ih Eo Ss Sa Cae

CONSISTENT
PRICES

Shreve and Company
Jewelers and Silversmiths

Post and Grant Avenue
San Francisco

Elwyn Concert Bureau Presents

EVA

GAUTHIER

MEZZO-SOPRANO

ONE RECITAL ONLY

SCOTTISH RITE HALL, Thur. Eve., Dec. 4

Tickets 50c to $2.00, at Sherman, Clay & Co.

Two Recitals by

ISA KREMER

RUSSIAN SINGER OF INTERNATIONAL FOLK SONGS

SCOTTISH RITE HALL ALCAZAR THEATRE
Friday Eve., Dec. 12 Sunday Aft., Dec. 14

Season tickets for the ELWYN ARTIST SERIES, including, Eva
Gauthier, Isa Kremer, Cecilia Hansen, Jascha Heifetz, Maria Ivogun,
Albert Spalding, Roland Hayes, Mabel Garrison, The London String
Quartet, Reinald Werrenrath, and Merle Alcock, may still be purchased
at Sherman, Clay & Company.

Season tickets for the eleven attractions, $15.00, $10.00 and $7.00
(Plus 10% Tax).

HAs IT EVER OCCURED To You

WHEN YOU SIT HERE THE FEW CAN NOT AND
COMFORTABLY ENJOYING SHOULD NOT

A CONCERT BE EXPECTED TO CARRY
THAT THE BURDEN ALONE

HAD IT NOT BEEN

FOR THE EFFORTS IT IS YOUR ORCHESTRA

OF A FEW ITS EXISTENCE
PUBLIC-SPIRITED CITIZENS DEPENDS UPON YOUR DECISION
_ THIS ORCHESTRA— ee
YOUR ORCHESTRA WE ALL PULL AN OAR
WOULD HAVE BEEN THE BURDEN WILL BE LIGHT
A MATTER OF HISTORY AND THE ORCHESTRA ASSURED |
SEVERAL YEARS AGO FOR 3 YEARS .
THIS IS NOT SUBSCRIBE IN PROPORTION .
A COMPLAINT TO YOUR ENJOYMENT
IT IS AN APPEAL BUT SIGN CARD NOW .
a ae gt oe ee a eS gee en ee eee j
|
INOS Sah: Francisco, Califormtia: =< a 192 |

The undersigned, for the purpose of supporting the objects of the MUSICAL
ASSOCIATION OF SAN FRANCISCO, and maintaining

“The San Francisco Symphony Orchestra”
agrees to pay for a period of THREE (3) consecutive years on each first day of September, |

commencing September 1, 192... the sum of

RFE, AGERE ak 2S AA ROR TOD Stee ENE aaNet MRE PBE Dee Shee id ing ARON Be, eae ae Re Hundred Dollars

to said Association. |
This is also to act as an application for membership in said Association.

In the event of my death this guarantee shall lapse and same shall not be a
claim against my estate.

(eignanires 3. ak oS Re eee /
;
PR CeDHONG ca. Se Address /

Return to Musical Association of San Francisco, 457 Phelan Building, San Francisco,

Ee ne © AE NESS CC NEPSESSOESERESESSS CHER Sn my Seed Eatnsteebon noun dbpieervesdsseebeocecse. wr eee

California.

Subscriptions are deductible from Income in same way as contributions to
organized charities.

Se OR ne eo ee IN IT eo

Soloist with

SAN FRANCISCO SYMPHONY |
| ORCHESTRA

ALFRED HERTZ, Conductor

riday, December 12, 3:00 P. M.
unday, December 14, 2:45 P. M.

CURRAN THEATRE

“Muri Silba, the wonderful little pianist, who created such pleased surprise
and admiration at her first New York appearance, renewed her right to be con-
sidered as one of the really great artists of the piano.""—-New York **Telegraph.”

“The young artist made an immediate impression. Miss Silba displayed
qualities which entitle her to a place in the first rank among the younger genera-
tion of pianists.’'—-Chicago “Journal.”

, : :
.
iY
‘
.
. ' |
.
‘
-
e . . :
“
=” . +=
; P " os
. a . ;
a . % . 3

outset by the horns; the second subject is a lyric theme for the ‘cellos.
The second movement opens with the main theme announced by the
‘cellos. The second subject is presented by the flutes and oboes, and
is followed by a new theme in the strings. The third movement is in
the form of an intermezzo with two episodes or trios. Its principal
theme is stated by the oboe, clarinets and bassoons, with a pizzicato
figure in the ‘cellos. The fourth movement is in sonata form. The
principal subject appears in the strings, and after a long transitional
passage the second subject is announced, also by the strings. The
movement ends with a long and elaborate coda.

Oriental Impressions - - - “ - Henry Eichheim

Henry Eichheim was born in Chicago, January 3, 1870, and
studied violin with Carl Becker, S. E. Jacobsohn and Leopold Lichten-
bere. He was a member of Theodore Thomas’ Orchestra in New
York for one year and was one of the first violins of the Boston
Symphony Orchestra from 1890 to 1912, when he left to devote
himself to composition, concert work and teaching.

In 1915 and 1919 he journeyed to the Far East, visiting Korea,
Japan and China; and in 1922, India, Java and Burma. He studied
with enthusiasm various types of Oriental music in these countries,
returning with invaluable notes and a large collection of Oriental
instruments.

In 1921, upon invitation of Mrs. Frederick 5. Coolidge, Mr.
Eichheim composed five Oriental Sketches, scored for a’small group
of instruments, corresponding in size with that of a Chinese orchestra,

Manheim, Dihbern & Co.

Established 1869

Our LIFE INSURANCE experience
will assist you in providing for

your LIFE INSURANCE needs.

apd] [fgae-

Ground Floor California Commercial Union Building

Montgomery Street at Pine Telephone Sutter 2945

and the group was performed at Pittsfield, October 1, 1921, under
the composer's direction. After rescoring the ‘‘Impressions” for full
orchestra, Mr. Eichheim conducted the first performance of the work
in its new form by the Boston Symphony Orchestra, March 24, 1922.
It was later performed by the Chicago Symphony, Philadelphia Sym-
phony, Cleveland Orchestra, and in London by the London Symphony.
It has also been performed under the composer's baton by the Los
Angeles Philharmonic Orchestra.

Mr. Eichheim’s compositions include a symphonic poem after
Lafcadio Hearn’s ““The Soul of the Great Bell’’; a Sextet and Quartet
for strings; a Violin Sonata, ‘Cello Sonata, Violin pieces, Piano pieces
and many songs.

Upon the occasion of the first performance of the ‘Oriental
Impressions’ by the Boston Symphony Orchestra, the following
analysis was supplied by Mr. Philip Hale:

I. Korean Sketch. ‘This sketch is based on themes heard and
noted by Mr. Eichheim at Seoul, the capital of Korea, which he visited
in 1915. At first is the street laborers’ song, sung during working
hours. There are usually five men. One, the leader, sings a refrain,
to which the other four answer. They work when it occurs to them
to do so. The song, as a rule, is of a humorous nature. This song is
here given to the English horn. There is a contrasting motive played

Tue San Francisco Savines ano Loan Society

(THE SAN FRANCISCO BANK)
SAVINGS COMMERCIAL
INCORPORATED FEBRUARY 10th, 1868.

One of the Oldest Banks in California,
the Assets of which have never been increased
by mergers or consolidations with other Banks.

Member Associated Savings Banks of San Francisco
526 California Street, San Francisco, Cal.

JUNE 30th, 1924
$93,198,226.96

Capital, Reserve and Contingent Funds 3,900,000.00
Employees’ Pension Fund 446,024.41

ve.

HAIGHT STREET BRANCH Haight and Belvedere Streets
WEST PORTAL BRANCH West Portal Ave. and Ulloa St.

Interest paid on Deposits at the rate of 3
FOUR AND ONE QUARTER (414) per cent per annum,

COMPUTED MONTHLY and COMPOUNDED QUARTERLY,
AND MAY BE WITHDRAWN QUARTERLY

by a street musician (flute). Other motives are from the theater.
The closing theme is the love song (oboe) of a Geisha girl, sung to
Mr. Eichheim in Seoul. He photographed her, and her portrait was
published in “‘Asia’’ (February, 1922). The Korean Sketch is orches-
trated for two flutes, two oboes, two bassoons, four horns, a Chinese
drum (double headed and without snares), antique cymbals, a large
tam-tam, two harps, pianoforte, twenty violins, eight violas, eight
violoncellos, eight double basses. ’’

Il. Siamese Sketch. ‘‘The Sketch begins with the irregular
sounding of the four bells that, waved by the wind, hang on the
Emerald Buddhist Temple, the place where the King of Siam worships

in Bangkok. The next motive is a chant of a Buddhist temple priest
(English horn). The racket in a theater follows. A street musician
plays on a beautiful toned Siamese instrument called the ekeh, which
is a reed instrument of bamboo. The cry of a female peddler, a street
singer, is for viola and English horn. The four temple bells bring the
close. The score calls for flute, oboe, English horn, harp, pianoforte,
marimba, xylophone, a cymbal struck with a hard metal stick, antique
cymbals, a large brass bell, four bells (C, F, G, B), a large tam-tam,
twenty violins, and eight violas.”’

lll. Entenraku. ‘‘This is authentic ceremonial music of the
eighth century, and is used only at the Japanese imperial court.”

IV. Japanese Nocturne. ‘‘It is based on motives heard at night

ALFRED METZGER—

M. Anthony Linden

Orchestral Conductor and Flute Virtuoso
Soloist—T eacher—Lecturer
Solo Flutist, San Francisco Symphony Orchestra
Formerly Solo Flutist, Minneapolis Symphony Orchestra
Director Linden School of Flute Playing

REDFERN MAson—

He played admirably.
There was no _ self-con-
scious virtuosity; it was
the pure bel canto of the
flute, every note round
and perfect as a pearl.—
San Francisco Examiner.

Address all communications to

457 Phelan Building, San Francisco

ANNOUNCEMENT
FOURTH PAIR OF SYMPHONY CONCERTS
Curran Theatre

Friday, December 12, 3:00 P. M.
Sunday, December 14, 2:45 P. M.

Soloist: MURI SILBA, Pianist

PROGRAMME
1. Symphony No. 6, “‘Pastoral’’ Beethoven
Allegro ma non troppo (Awakening of Joyful
Feelings on Arrival in the Country)
Andante molto moto (By the Brook)
Allegro (Village Festival) —
Allegro (The Storm)—
Allegretto (Shepherd’s Song. Thanksgiving
after the Storm)
2. Ballade of the Gnomides Respighi
(First time in San Francisco)
3. Concerto for Piano, No. 1, E Minor Chopin
Allegro maestoso
Romanze

Rondo
MURI SILBA

ANNOUNCEMENT

THIRD POPULAR CONCERT
Curran Theatre
Sunday, December 7, 2:45 P. M.
Soloist: WALTER FERNER, ’Cellist

PROGRAMME

. Overture, “Iphigenie in Aulis’’
. Symphony in B minor, “Unfinished’’

Allegro moderato

Andante con moto
. Overture, ““Leonore,’’ No. 3
. Kol Nidrei, for Violoncello

alter Ferner

. ‘The Irish Washerwoman’’ Sowerby

(First time in San Francisco)

. (a) Spring Song
(Sb Spuninon Sonprycuy sweat ean ee ata eh eee ee ied een
. 7. Overture, ““The Gypsy Baron’’ Johann Strauss
Tickets on sale at Sherman, Clay & Co., on Monday

preceding concert, hours 9 to 5; and at Curran Theatre from
10 A. M. on day of concert.

in Ikao, Matsushima, Yokohama, and Tokio, played by blind mas-
seurs, with the shrill piping of food venders, the playing of a koto and
the chanting of a prayer by an old man beating a small wooden bell.
Piccolo, two oboes, English horn, bass clarinet, four horns, two harps,
ancient cymbals, fish-head (a wooden drum to accompany prayers),
twenty violins, six violas, six violoncellos, six double basses (two
tuned down to E flat).”’

V. Chinese Sketch. ‘‘This sketch contains music heard in Buddhist
temples, theaters, tea houses, at weddings and funeral processions, also

street cries and other sounds of city and country life heard in Peking,
Hang-Chow, Buddhistic temples in the western hills, Shanghai, Hong-
kong, Canton, and various villages. Piccolo, two flutes, two oboes,
English horn, two bassoons, four horns, two harps, pianoforte, fluctu-
ating tam-tam, large tam-tam, a Chinese wooden block, xylophone,
two small temple bells, small cymbals, antique cymbals, twenty violins,
eight violas, eight violoncellos, eight double basses.”

Fantasia, ‘‘Francesca da Rimini’ - - - Tschaikowsky

The score of Tschaikowsky’s work contains the following quota-
tion from the fifth canto of the “Inferno”:

‘Dante, coming into the second circle of Hell, witnesses the
punishment of carnal sinners, who are tossed about ceaselessly in the
dark air by the most furious winds. Amongst these he meets with

Studio stlours: a ee Wednesday, Saturday Phone Douglas 1678
Afternoons—2-5

KAJETAN ATTL

Solo Harpist
San Francisco Symphony Orchestra

Using Lyon & Healy Harps, The World’s Standard
FOR ._ENGAGEMENTS

AS SOLO ARTIST, ACCOMPANIST, OR

PLAYER IN ENSEMBLE MUSIC,
ADDRESS

KAJETAN ATTL, BOHEMIAN CLUB
SAN FRANCISCO, CALIFORNIA
RES. PHONE FRANKLIN 7847

Orley See

Violinist and Teacher
Concert and Recital

apd] oe
48 Wildwood Avenue, Piedmont

Phone Piedmont 8140-J (Tuesday) Douglas 1678

Francesca of Rimini, who relates her story:

‘" “No greater grief than to remember days
Of joy, when misery is at hand. That kens
Thy learn’d instructor. Yet so eagerly
If thou art bent to know the primal root,
From whence our love gat being. I will do
As one who weeps and tells his tale. One day
For our delight we read of Lancelot,
How him love thrall’d. Alone we were, and no
Suspicion near us. Oft-times by that reading
Our eyes were drawn together, and the hue
Fled from our alter’'d cheek. But at one point
Alone we fell. When of that smile we read
The wished-for smile so rapturously kissed
By one so deep in love, then he who ne’er
From me shall separate at once my lips
All trembling kiss’'d. The book and writer both
Were love's purveyors. In its leaves that day
We read no more. Thus while one spirit spake
The other wailed so sorely, that heart-struck
I, through compassion fainting, seem’d not far
From death, and like a corse fell to the ground.’ ”’

(Translation by Henry Francis Cary. )

Felix Borowski has analyzed the piece as follows:

“The piece begins with a tonal description of the awesome scene
which meets the eyes of Dante and of Virgil as they entered the second
circle, or the real entrance of Hell, at the portal of which sits Minos,
the infernal judge, and crowding before him the souls of sinning spirits
awaiting the word which shall dispose of their fate. The whole first
part of the work is devoted to the delineation of the fierce winds by
which the souls are driven about incessantly, the poignant wailing of
the damned, the unutterable terror of the place. After the hubbub
has died down, a new section is introduced in which the clarinet sings
a plaintive subject over a pizzicato accompaniment in the strings. This
may be taken to represent the narrative of Francesca. After this has
been worked over at considerable length, the material of the first part
is given further presentation.”’

THE
MARGARET MARY MORGAN (CO.

Engraving: Printers - Publishing

619 CALIFORNIA STREET
DOUGLAS 4633

We are now ready to serve you from a most complete selection of engraved

Christmas Greeting (ards

for personal and commercial use.

Our most inexpensive cards, along with the more exclusive ones, have been designed with
the same thorough good taste.

Order while stock is complete.

“The Happiest Homes in All Creation

Are Homes Surrounded by Recreation”

The “Carmel” of the Peninsula

Lay iE SRE

“BELLE MONTY”

There are so many natural features which add to the
attractiveness of “Belle Monti” as an Artist and Musician
Center that its appeal is instantaneous.

Live oak, pine and eucalyptus trees planted years ago by men who
foresaw the future demand for suburban homes; hillside locations
with marine and mountain view; sheltered level lots—macadamized
streets, electricity, water, phone and strict sanitary requirements.
Marvelous home and cabin sites averaging in price $475—some as Leu
low as $300, including permanent membership in the :

Belle Monti Country Club

Now Building
for which $250,000 has been directed to be set aside for club house,

swimming pool, courts, links, etc.

Nine Hole Golf Course Now Open

Write, call or phone for complete information. zz
Artist Center Division es OE

BELLE MONTI SALES CO. Sc Og
SaSogs

Garfield 2157
212 Sutter Street Sotto

San Francisco

Artist Center Division
BELLE MONTI SALES CO.
212 Sutter Street, San Francisco
Please send airplane view in colors and complete information regard-

ing “Belle Monti’ and Belle wont: Gountry (GluD tose oko cccai tan eaeeectencs

ese ON ey ee oo ee nig wewatbensnaemeaaeennonens an see aenpuce=osetME rane en OR rm y nae aaat eek eM aceitg abe ah yo cei.

Choose your piano carefully.
Choose it as you would
choose an intimate member
of your family circle. Choose
it for qualities that will en-
dure.

Let your choice, if possible,
be a STEINWAY. Thete is no
other piano of qualities more
enduring—of distinction so

immediately recognized,

Sherman, |Z
| SS
Kearny and Sutter Streets
Mission at Seventeenth St.
Oakland— Fourteenth and Clay Sts.

LOMAS A OROM LIS U&

SAN FR FRANCISCO
SYMPHO Ee cred
= AW ORCHESTRA

oe Matntameda oy COKE
ac The Musical 2 ma

iy | dasociation of aay
| San Francisco NE

* Stockton

December 5, 1924

| #0
STOCKTON occa CLUB

fort nd ee a CTOR

—

Symphony in B Minor, “Unfinished” - - - Schubert
Allegro moderato

Andante con moto

Only the first two movements of Schubert's Eighth Symphony,
universally known as the “Unfinished,” are complete. There are
nine bars of a Scherzo, and with them the symphony stops; and
yet among all the composer's works not one is more beautiful in
ideas or perfect in form than this. No more of it has ever been
found, and no one knows why Schubert should have left it incom-
plete. As would be expected from Schubert's sentimental tem-
perament, his music is essentially lyric and found its most natural
expression in the songs for single voice, of which he wrote over
eight hundred in all. His symphonies have been characterized as
‘‘expanded song, delightful, as songs are delightful, for their
directness of feeling, their beauty of detail, their warmth of color,
and their sensuous charm.’ Although the Unfinished Symphony
was written in 1822, it was not produced until 1865, thirty-seven
years after the composer's death. Since then it has become one

of the most popular symphonic works in all musical literature.

Overture to “Rienzi” - - - - - ‘ Wagner

The palmy days of the historical romance have long since
gone, and with them the days of the monumental historical drama
and opera. Their great era was nearly a century ago, in the time
of Scott and Bulwer-Lytton, of Victor Hugo and Manzoni, of
Meyerbeer’s ‘““The Huguenots’ and Wagner's ‘Rienzi.’ With
Bulwer-Lytton’s novel as the basis for the libretto, ‘Rienzi’ was
produced October 29, 1842, at Dresden, winning immediate
popularity. The overture is about one-third Bulwer-Lytton, one-
third Meyerbeer, and one-third Wagner; in its use of definite
themes from the opera itself—the third act trumpet call, Rienzi's
prayer, the chorus at the end of the first act, and the battle hymn
——and in the variety and fullness of its orchestration, it fore-

shadows the later Wagnerian music-dramas.

Intermission

Prelude to “The Deluge” a “ : - Saint-Saens
(Violin obbligato, Louis Persinger)

The prelude to “The Deluge,” with the solo violin part, is
one of Saint-Saens’ most popular works. It is the prelude to his
Biblical cantata, ““The Deluge,”’ which is based upon the narration
of the Flood. It is a short, expressive movement in the free form
for the string orchestra—a slow introductory passage, leading to
a quasi-fugal treatment of a sustained subject given out by the
violas, following which the solo violin introduces a melodious
obbligato, which holds the foreground to the end. |

Spinning Song - ~ - - - - Mendelssohn

Of the many brief pieces written by Mendelssohn under the
general designation “Songs Without Words,’ one of the most
popular is the “Spinning Song.”’ It is a gem of descriptive writ-
ing, the whirring accompaniment supporting the melody and

giving the song its title.

‘“T.ove’s Dream” - - - - - - - Liszt

Liszt’s familiar and popular “Love's Dream,” the third of a
group of nocturnes, is a musical reflection of the following poem
by F. Freiligrath, which is printed on the fly-leaf, of the piano
score:

“© love, O love, so long as e’er thou canst, or dost on love believe;
The time shall come, when thou by graves shalt stand and grieve;
And see that still thy heart doth glow, doth bear and foster love divine,
So long as e’er another heart shall beat in warm response to thine.
And, whoso bares his heart to thee, O, show him love where in thy power,
And keep a guard upon thy tongue—an unkind word is quickly said:
Ah me—no ill was meant—and yet
The other goes and weeps thereat.”

“Under the Lindens,’”’ from “Alsatian Scenes” : Massenet
(‘Cello obbligato, Walter Ferner)
(Clarinet obbligato, H. B. Randall)

The ‘Alsatian Scenes” were written after the war of 1870 and
describe the composer's recollections of a peaceful Alsatian vil-
lage. The movement played this evening pictures the great calm

of a Sunday afternoon, at the edge of the country; a long avenue

of linden trees, in whose shadows a loving pair walk quietly, hand
in hand, she leaning toward him and murmuring softly, ‘‘Wilt
thou love me always?” |

Caprice Viennois - = - - - - Kreisler

The Caprice Viennois (Cradle Song), by Fritz Kreisler, the
eminent violinist, is one of his best known violin compositions,
possessing the touch of sadness and graceful rhythm characteristic
of his other Viennese pieces. Although originally a violin solo,
the composer has also arranged it for piano solo, while the

orchestration played this evening was arranged by Alfred Hertz.

Waltz, ‘‘On the Beautiful Blue Danube”’ . Johann Strauss

Johann Strauss, composer of this famous and popular waltz, is in
a class by himself, with his nearest relatives as his only rivals.
His works in dance form are very numerous, his waltzes alone
reaching the number of one hundred and fifty-two, and of these
the “Blue Danube”’ is the most celebrated.

Coming Attractions

To be presented by the Stockton Musical Club

December 15—A concert of Christmas Carols to be given by

the A Cappella Choir of the Department of
Music of the College of the Pacific, assisted by
Esther Hornaday, Harpist.

February 9—MARIA IVOGUN, Coloratura Soprano.
March 17—MYRA HESS, Pianist.
April 27—MERLE ALCOCK, Contralto.

\ FRANCISCO
SYMPHONY EE
a 0 ORCHESTRA
athe mires a :

Assoctation of ld
aon PTrancisco

THIRD POPULAR

1924 1925
Fourteenth Season fee

ALFRED HERTZ CONDUCTOR —

a OS I

Alfred Hertz

‘RECOMMENDS
CONN INSTRUMENTS

The San Francisco
Symphony

- CONN
INSTRUMENTS

No Higher Endorsement
can be given to a musical
instrument, hence if the

experience of great artists

means anything to you, your

Expert choice will be CONN.
Repairing

ORCHESTRA

Conn San Francisco Co.
47 Kearny St.

104

O} IN
id
" . < -

WORLD'S
LARGEST MANUFACTURERS
OF HIGH GRADE BAND AND

&
“I take great pleasure ‘in
recommending Conn instru-

ments for symphony
orchestra work.”

ALFRED HERTz.

INSTRUMENTS

Conn Oakland Co.
531-16th St.

Musical Association of San Francisco

Founded December 20, 1909 Incorporated February 3, 1910

OFFICERS
JOHN D. McKess, President
J. B. Levison, Vice-President E. R. Dimonp, Treasurer

A. W. WIDENHAM, Secretary-Manager

BOARD OF GOVERNORS

J. K. Armsby A. B. C. Dohrmann John D. McKee

E. D. Beylard John S. Drum Seward B. McNear
Miss Lena Blanding Milton H. Esberg L. F. Monteagle
Miss Louise A. Boyd Herbert Fleishhacker Robert C. Newell
George T. Cameron J. D. Grant J. C. Raas

Selah Chamberlain E. S. Heller F. R. Sherman

C. H. Crocker W.E. Creed Wm. T. Sesnon
Mrs. Templeton Crocker J. B. Levison M. C. Sloss

Wm. H. Crocker Walter S. Martin William Sproule
E. R. Dimond John A. McGregor Sigmund Stern

EXECUTIVE COMMITTEE
John D. McKee, Chairman

E. D. Beylard E.R. Dimond J. B. Levison
Wm. H. Crocker E. S. Heller William Sproule

MUSIC COMMITTEE

J. B. Levison, Chairman

E.. S. Heller E. D. Beylard Robert C. Newell

WOMEN’S AUXILIARY
Mrs. M. S. Koshland, Chairman
Miss Lena Blanding, Vice-Chairman
Mrs. M. C. Porter, Vice-Chairman

EXECUTIVE OFFICES

457 Phelan Building, San Francisco
A. W. WIDENHAM, Secretary-Manager

Hours 10 to 12 A. M., 2 to 4 P. M. Telephone Garfield 2819

105

eZ | | ‘i Ny ip th ee SIM tt

a RS ‘\@ yee : 3
eS t, WA, 77 = =
0S MS th 13
IAS a Re

fflason & Hamlin Btanos

Those to whom music is a gift or
an art ora great privilege hold one
piano at the pinnacle—the Mason
& Hamlin. For they know it to be
wrought byskilled artisans—men
who build with infinite pains that
the final product will be worthy
the hands of an artist. So does it
deserve a place in your home.

Wiley B.Allen ©.

135 KEARNY STREET,SAN FRANCISCO
1323 WASHINGTON STREET, OAKLAND

106

The San Francisen Sumphony Orchestra
ALFRED HERTZ, Conductor

1924—Season—1925
THIRD POPULAR CONCERT
493d and 494th Concerts
CURRAN THEATRE
Sunday Afternoon, December 7, 2:45 o’clock

Soloist: WALTER FERNER, ’Cellist

PROGRAMME
1. Overture, ‘‘Iphigenie in Aulis’’.................--.------------- Gluck
2. Symphony in B minor, “Unfinished’’................-....- Schubert

Allegro moderato
Andante con moto

3% Overture? Leandre;: | Nowa ek ee Beethoven
| Intermission
As kKel-Nidre for: Violoncello <.2c35 8 Se ee ek we Bruch
Walter Ferner
Ser heirs: WASherWOMan «25 case fer ones Sowerby
(First time in San Francisco)

6. (a) Spring Song
(b) Spinning Song § pil ah Ts i aie ea ai Ss be ates cag ode be Mendelssohn

7. Waltz, ‘‘On the Beautiful Blue Danube’’...... Johann Strauss

Next Auditorium Concert, Friday Eve., December 19

Soloist: CECILIA HANSEN, Violinist
Tickets Now on Sale at Sherman Clay & Co.

TO SYMPHONY SUBSCRIBERS

It has been suggested that subscribers who for any
reason find themselves unable to attend the Symphony
Concerts send their tickets to the Community Music
School, 544 Capp Street, and thus make it possible for
worthy and appreciative students to hear the concerts,
who would not otherwise be able to do so. Tickets
should be mailed as early as possible each week to Com-
munity Music School, 544 Capp Street, San Francisco.

107

We take pleasure in announcing a series of Masterworks recorded

by famous European Orchestras in albums.

Beethoven:

Dvorak:

Mozart:

Tschaikowsky:

Beethoven:

Haydn:

Moza yeh wt.

Symphony No. 7, in A Major, Opus 92, in nine parts, on
five records. Set complete in album form............. $8.75

Symphony No. 8, in F, Opus 93, in seven parts, on four
POCOLR co ohare eee ee ee ne ee ae See aS $7.00
By Weingartner and London Symphony Orchestra.

Symphony in E Minor, No. 5, Opus 95, from the New
World, 10 parts, five records.................. $8.75 complete

By Halle Orchestra, London.

Symphony No. 39, in E flat, Opus 543, in six parts, on
three: recorde 22 3.3 45g S98 oe see es uae $5.25 complete
By Weingartner and London Symphony Orchestra.

Symphony Pathetique, in eight parts, on four records,

complete in, album 6s oc ee ee es $7.00
By Sir Henry Wood and New Queen’s Orchestra.

Quartet in C Sharp Minor, in ten parts, on five records,
completedin album fi teny ten nes Ei ee $8.75

By Lener String Quartet, of Budapest.
Quartette in D Major, in six parts, on three records,
complete. in albuni oss cee ee se $5.25
By Lener String Quartet, of Budapest.
Quartet in C Major, eight parts, on four records, com-
plete! an valbam sii. sh oe mo Eee To $7.00
By Lener String Quartet, of Budapest.

Send for our historical catalog of ‘Musical Masterworks,” free.

QUARG MUSIC CO.

206 Powell Street Open Evenings

108

Overture, “‘Iphigenie in Aulis’’ - - . : - Gluck
Modern opera practically dates from the efforts made by Gluck

to correct the abuses which had crept into the works of the Italians
of his time ‘‘through the mistaken vanity of singers and the unwise
compliance of composers which had rendered it wearisome and ridicu-
lous, instead of being, as it once was, the grandest and most imposing
stage of modern times.’ Regarding his overtures he stated: “My idea
was that the overture ought to indicate the subject and prepare the

spectators for the character of the piece they are about to see.”

Wagner, who was a great admirer of Gluck, revised the instru-
mentation and text in 1846, and in that form produced the opera in
Dresden in 1848. The overture originally led directly into the first
scene of the opera. The concert version which is now generally used
is that made by Wagner. According to Wagner, the thematic ele-
ments of the overture are (1) ‘“‘a motive of appeal from painful,
gnawing heart-sorrow’; (2) “‘a motive of violence, of commanding,
overbearing demand’; (3) “a motive of grace, of maidenly tender-

ness,’ and (4) ‘‘a motive of painful, tormenting pity’ — the first
ESTABLISHED 1852
AT :

CONSISTENT
PRICES

Shreve and Company

Jewelers and Silversmiths

Post and Grant Avenue
San Francisco

109

named coming in the introduction and the others in the Allegro.

Symphony in B Minor, “Unfinished’’ - - - Schubert
Only the first two movements of Schubert’s Eighth Symphony,

universally known as the “‘Unfinished,’’ are complete. There are nine
bars of a Scherzo, and with them the symphony stops; and yet among
all the composer's works not one is more beautiful in ideas or perfect
in form than this. No more of it has ever been found, and no one
knows why Schubert should have left it incomplete. As would be
expected from Schubert’s sentimental temperament, his music is essen-
tially lyric and found its most natural expression in the songs for single
voice, of which he wrote over eight hundred in all. His symphonies
have been characterized as “‘expanded song, delightful, as songs are -
delightful, in their directness of feeling, their beauty of detail, their

warmth of color, and their sensuous charm.’”’

The outward circumstances of the “‘Unfinished’’ Symphony are
exceedingly simple. Schubert had applied for admission to’ the
Gesellschaft der Musikfreunde of Vienna in 1821, as a viola player,

and had been refused. A society in Graz elected him an honorary

ELWYN CONCERT BUREAU PRESENTS

ISA KREMER

RUSSIAN SINGER OF INTERNATIONAL

‘ FOLK SONGS

'|SCOTTISH RITE HALL ALCAZAR THEATRE

Friday Evening, Dec. 12 Sunday Aft., Dec. 14

PROGRAM FOR DECEMBER 12
Fantaisie in F Minor. pete Sancltsthle Sovusea. nEgerega REM Eal se vawedbe esac ccibeses Chopin
| toe (3 L. RePee Set Se anne intl See Nee. Serpe ae Rk ete ETS pect thoe 0/8 Catt atu ete Russian
Chi vuol la Zin garetla vCPaieiélionacs se i ree as nae bah aoutadapvereee Italian
THe HB lUe BOllS Of SOOURAM Cio we ae saree at ada nc bacaeen ce eae ae Beh er scadt ea ngn as ceodedocee ck cetera English
Le Petit Navire SEB ECPNIG en iscninantental Gap cin Se ptusvncdauduu ths ecubou swe: acdlucdte ee ce eegass French
Dushechka Dievitza (Dargomjsky)............. Sigel ted ate! ak ee Sey ee ee Russian
CU TERA TA GAINED Ce nod cn osc cae bciac Reeneltigs etn te ends doacotea Nee Con tbe ond Uatspeemaect RUERaeeS Italian
SP POt HG ECOL IGM hse tae: fadidy Nadbangd acta sos abs sau henaha cane Sea eameastepwacadiphs = oka ede-entchasceint oaaeten English
jig Feo Sil Sc Os tae eT ls Se oe ans I te A SEES EN PG aE oe I See rae ey Russian

IV.

Prelucte: icGr SAAT VINOE 2 el ale ttn ot dees ne Sach abew ais soak sdonatspaentuns eect Rachmaninoff
Stel Pete tc Geo) see es epee NRO irsb IE ey Sas, Sea. oi eaint es AER UR ae ee We aE SS Sg SARS Pic gaat 0 Mee ot. Liszt

V.
Song of the Shepherd Lehl, from “Snegourotchka’’—(Rimsky-Korsakoff) ..Russian

hittie Boy -plue—(Mach aGver)) occ cig ae toasg cae nenb ee teteatecs peadteen aU paps dtnodstmeneceeuae English
LavPastorella dél Alpini ome eee Soe as SEE sore Pe oases Nasinade annecuncanesncenacveccuas French
Phyllis und die game pee meee cts S euakdut Sade pach cee ust en eset coord dhas canbe German
iaory (Gorriae lee 206 28 sits Ne atk =. Baad atkn abt cance de ndatas se phone pate acaneodpaccetne= sama lure teedebaedede French
Lia lanza: -( Tarantella )—— CROSSE) Fa nk een Se gir eek ec decceas esacetacecectote Italian
Ther isittle: Sparrow (Brock way ) ax spect os. crenenge a euynarshschnautobeer saseeugiien lsccarwaneuss eS
LG} ELS <0 TER LY Co LE Ve P= epeeune Cpe ahiorertne Sp MURE DRE mieoyll Ardea 6 An fe Clee, phn Rule Aan ote a po REI op we ee Russian

LEON ROSENBLOOM, Assisting Artist
Tickets, 50c to $2.00, at Sherman, Clay & Co.

110

member. In acknowledgment Schubert sent these two movements.
Duncan, in his excellent book on Schubert, boldly suggests that the
symphony is really not unfinished—any more than were Beethoven's
Sonatas in E minor and F sharp. At any rate, the work that came
into being with so little ceremony was never heard by the composer
and fell into neglect for forty years, has ever since the first hearing
maintained itself as the highest concentration of beauty in musical
form—in so far as this may be said of any work. It is in music what
the Venus of Milo is in sculpture, the Sistine Madonna in painting, or

the Iliad in epic poetry.

Overture, ‘‘Leonore,’”’ No. 3 - - - - Beethoven

‘Fidelio,’ Beethoven’s only opera, was first performed at
Vienna, in 1805. For this opera he composed at one time and an-

other no fewer than four overtures, three of them known as “Leonore’

Overtures Nos. 1, 2 and 3. ‘‘Leonore’’ was the original title of the
opera, so named after the heroine, Beethoven subsequently changing

the title of his work to ‘‘Fidelio."’ The third overture, played today,
is by far the finest of the four. It is the drama in miniature, and far
outclasses anything in the opera itself. It is a masterpiece of dramatic

Manheim, Dibbern & Co.

Established 1869

Our LIFE INSURANCE experience
will assist you in providing for

your LIFE INSURANCE needs.

“ae fpeae-

Ground Floor California Commercial Union Building
Montgomery Street at Pine Telephone Sutter 2945

unity, strength and passion, as well as of unique and imposing musical
construction.

“Kol Nidrev’ for Violoncello and Orchestra - . . Bruch

The “Kol Nidrei’’ is a chant which is recited in synagogues at the
beginning of the evening service on the Day of Atonement, the most
solemn festival of the Jewish race, and takes its name from its two
opening words. While it is probable that no two synagogues chant
the melody, note for note, the same, the traditional formula is pre-
served everywhere. The structure is simple, the melody being an
intermingling of simple cantillation with rich figuration. The opening
is what the masters of Catholic song term a ““Pneuma,”’ or soul breath.
Instead of announcing the opening words in a monotone, there was a
long sighing tone used in the melody, falling to a lower note and rising
again. There is a similarity of the strain with the first five bars of
Beethoven's C sharp minor quartet, and there are strong similarities in
some of the Gregorian chants of the Catholic Church.

‘The Irish Washerwoman’”’ - - ~ - Leo Sowerby

‘The Irish Washerwoman”’ is the name of a jig originally com-
posed by Walter (‘Piper’) Jackson. This performer was the most

Tue San Francisco Savincs ano Loan Society

(THE SAN FRANCISCO. BANK)
SAVINGS COMMERCIAL
INCORPORATED FEBRUARY 10th, 1868.

One of the Oldest Banks in California,
the Assets of which have never been increased
by mergers or consolidations with other Banks.

Member Associated Savings Banks of San Francisco
526 California Street, San Francisco, Cal.

JUNE 30th, 1924

PA SSOCE 6: rae ee ete ok ee ee ice eat ae ola tte sca ise $93,198,226.96
Capital, Reserve and Contingent Funds....... 3,900,000.00
Employees’ Pension Fund.................... 446,024.41
MISSION BRA NG ick siasic Gin ily c's wal eects hie alee ties Mission and 21st Streets
PARK-PRESIDIO DISTRICT BRANCH........... Clement St. and 7th Ave.
MAGE EAS 1 Peers £ OBER AING EN co stad wicrcte ele beste a Haight and Belvedere Streets
WEST PORTAL, BRANGE30ccisucn ov eawebner West Portal Ave. and Ulloa St.

Interest paid on Deposits at the rate of
FOUR AND ONE QUARTER (414) per cent per annum,

COMPUTED MONTHLY and COMPOUNDED QUARTERLY,
AND MAY BE WITHDRAWN QUARTERLY

112

celebrated Irish piper of the eighteenth century. Living in the middle
of the century, Jackson was known for his skill, not only in playing on
the Uillean or Union bagpipe, but for the jigs and reels which he com-
posed for it. He lived at Ballingarry, County Limerick, and was a
gentleman of wealth and landed estates. Many of Jackson's tunes
found publication in collections printed in the eighteenth century. The
score of Mr. Sowerby’s setting of ‘““The Irish Washerwoman’’ contains
a note to the effect that the piano version of the tune was made April
26, 1916, and that the piece—to use Mr. Sowerby’s expression—was
‘‘dressed up orchestrally,’’ December 18, 191 7-January 6, 1918. The

piece consists of the tune (sixteen measures long) constantly repeated,
with continuously shifting changes of harmony and instrumental color.

“Spring Song”’ and “Spinning Song” - - - Mendelssohn

Of the many brief pieces written. by Mendelssohn under the gen-
eral designation ‘Songs Without Words,’ the two most popular are
the ‘‘Spring Song”’ and the ‘Spinning Song.” The first is a melody of
appealing beauty, said to be derived from an old English folk-song,
while the second is a gem of descriptive writing, the whirring accom-
paniment supporting the melody and giving the song its title.

Waltz, ‘“‘On the Beautiful Blue Danube’”’ - - Johann Strauss

The composer of this famous waltz is in a class by himself with

ALFRED METZGER—

In his conducting Mr.
Linden impresses by dis-
pensing with the _ score,
making a fine appearance,
revealing magnetism and
distinct personality and
obtaining uniform and in-
stant response from his
musicians.—Pacifice Coast
Musical Review.

M. Anthony Linden

Orchestral Conductor and Flute Virtuoso
Soloist—T eacher—Lecturer
Solo Flutist, San Francisco Symphony Orchestra
Formerly Solo Flutist, Minneapolis Symphony Orchestra
Director Linden School of Flute Playing

REDFERN Mason—
He played admirably.

There was no_ self-con-
scious virtuosity; it was
the pure bel canto of the
flute, every note round
and perfect as a pearl.—
San Francisco Examiner.

Address all communications to

457 Phelan Building, San Francisco

113

ANNOUNCEMENT
FOURTH PAIR OF SYMPHONY CONCERTS
Curran Theatre

Friday, December 12, 3:00 P. M.
Sunday, December 14, 2:45 P. M.

Soloist: MURI SILBA, Pianist

PROGRAMME
i “Sympnony No: vO; Pastorar oo. sss Beethoven
Allegro ma non troppo (Awakening of Joyful
Feelings on Arrival in the Country)
Andante molto moto (By the Brook)
Allegro (Village Festival) —
Allegro (The Storm)— |
Allegretto (Shepherd’s Song. Thanksgiving
after the Storm)

2. ell ace. Ofst oe: CanOMiG 68s sus <cck ides ca ade oencwayannshseopbeses Respighi
(First time in San Francisco)
3. Concerto for Piano,:No. 1, E. Minor......2................. Chopin
Allegro maestoso
Romanze—
Rondo
MURI SILBA

ANNOUNCEMENT

FOURTH POPULAR CONCERT
Curran Theatre
Sunday, December 21, 2:45 P. M. |

Soloist: EUGENIA ARGIEWICZ BEM, Violinist

PROGRAMME

hsOverture toc: Fra-.DipVolo- uss eeesuses: eicgeic oats. ccose= Auber
2 Suites eer: GoyntiaGNor Lek h a hae ons ole and ss Subebi os Grieg

Morning

Ase’s Death

Anitra’s Dance

In the Hall of the Mountain King
$+ Concerto tor. Violine WINOTG, <1. au-keisob chek ives abecee eae Lalo

Eugenia Argiewicz Bem

4. Shepherd’s Music from the “Christmas Oratorio’ ........ Bach
5. “In the Village,’ from Caucasian Sketches.......2........

eae sak aE eC i oer oy eae eee a. Ippolitow-lvanow
62 Caprice Viennois eit cic ncs ocean he aeetcc eee Soc eee a Kreisler
7; Overture: The Gypsy Baron’ 2 ees Strauss

Tickets on sale at Sherman, Clay & Co., on Monday
preceding concert, hours 9 to 5; and at Curran Theatre from
10 A. M. on day of concert.

114

his nearest relatives as his only rivals. He is the genius of a famous
musical family. His works in dance form are very numerous, his
waltzes alone reaching the number of one hundred and fifty-two, but
the one played today is undoubtedly the most celebrated. Curiously
enough, it was not a success at first, written as a chorus. In instru-
mental form, however, its success was instantaneous. Hans von Bulow
Grst set the example of putting this fascinating waltz on symphony

orchestra programmes.

a
THE
MARGARET MARY MORGAN Co.

Engraving Printers - Publishing

619 CALIFORNIA STREET
DoucLas 4633

We are now ready to serve you from a most complete selection of engraved

Christmas Greeting Cards

for personal and commercial use.

Our most inexpensive cards, along with the more exclusive ones, have been designed with
the same thorough good taste.
Order while stock is complete.

Tuesday, Wednesday, Saturday
Afternoons—2-5

Phone Douglas 1678

KAJETAN ATTL

Solo Harpist
San Francisco Symphony Orchestra

Studio Hours:

Using Lyon & Healy Harps, The World’s Standard
FOR ENGAGEMENTS
AS SOLO ARTIST, ACCOMPANIST, OR
PLAYER IN ENSEMBLE MUSIC,
ADDRESS

KAJETAN ATTL, BOHEMIAN CLUB
SAN FRANCISCO, CALIFORNIA
RES. PHONE FRANKLIN 7847

Violinist and Teacher
Concert and Recital

“apd fig
48 Wildwood Avenue, Piedmont

(Tuesday) Douglas 1678

Phone Piedmont 8140-J

115

eee

Jdersomel

The San HFrancisea Symphony Orchestra

ALFRED HERTZ, CONDUCTOR

FIRST VIOLINS

Persinger, Louis

Concert Master and

"CELLOS

Ferner, Walter
Principal

Assistant Conductor

Argiewicz, Artur
Assistant Concert
Master

Ford, Louis
Assistant Concert
Master

Meriz, E.

Mendelevitch, R.

Laraia, W. F.

Gluschkin, M.

Gordohn, R.

Seiger, Rudy

Bem, Eugenia

Koenig, H.

See, Orley

Mortensen, Modesta

Amsterdam, M.

Pasmore, Mary

Ruiz, R.

SECOND VIOLINS
Jensen, T.

Principal
Haug, J. A.
Callinan, W. G.
Hidden, R. L.
Gold, J.
Paterson, J. A.
Blaha, A.
Manchester, W.
Atkinson, Helen
Dunn, H. A.
Gough, W.
Hoffman, H. H.
Dabelow, W.

VIOLAS

Fenster, Lajos

Principal
Hahl, E.
Baker, F. A.
Wismer, H.
Weiler, E.
Lichtenstein, V.
Patchook, S.
Dierich, F.
Kolb, R.
Lewis, A.

Dehe, W.

King, O.
Villalpando, W.
Weiss, A.

Kirs, R.

Gegna, M.
Pasmore, Dorothy
Hranek, C.

BASSES
Lahann, J.

Principal
Greene, S.
Bell, W.
Storch, A. E.
Cassetta, L. R.
Guterson, A.
Annarumi, A.
Giese, W.

FLUTES
Linden, Anthony
Newbauer, Louis

Oesterreicher, Walter
Orchestral Manager

Benkman, H.

PICCOLO

Oesterreicher, Walter

OBOES
Addimando, C.
Shanis, Julius
Schipilliti, V.
Utschig, H.

ENGLISH HORN
Schipilliti, V.

CLARINETS
Randall, H. B.
Zannini, N.
Fragale, F.
Greenbaum, A. A.

BASS CLARINET
Fragale, F.

BASSOONS
Kubitschek, E.
La Haye, E. B.
Hranek, C.

CONTRA BASSOON
Kolb, R.

HORNS
Hornig, W.
Tryner, C. E.
Roth, P.
Huske,'F. E.

. Rocco, R.

TRUMPETS
Ditzel, E.
Arriola, A.

Kegel, Otto
Kress, V.

TROMBONES
Tait, F. W.
Clark, O- E.
Bassett, F. N.

TUBA
Murray, R.

HARP
Attl, Kajetan
Schipilliti, Annette

TYMPANI
Wagener, R. E.

PERCUSSION
Nickel, M.
Vendt, A., Jr.
Kundy, E.

PIANO AND CELESTA

Ormay, Gyula

LIBRARIAN
Kegel, Otto

A. W. WIDENHAM, Secretary-Manager

lt tas gs EE A ak A ey Ve pee eerie
116

“The Happiest Homes in All Creation

Are Homes Surrounded by Recreation”

The “Carmel” of the Peninsula

at.

“BELLE MONTI”

There are so many natural features which add to the
attractiveness of “Belle Monti” as an Artist and Musician
Center that its appeal is instantaneous.

Live oak, pine and eucalyptus trees planted years ago by men who
foresaw the future demand for suburban homes; hillside locations
with marine and mountain view; sheltered level lots—macadamized
streets, electricity, water, phone and strict sanitary requirements.
Marvelous home and cabin sites averaging in price $475—some as Leas
low as $300, including permanent membership in the

Belle Monti Country Club

Now Building
for which $250,000 has been directed to be set aside for club house,

swimming pool, courts, links, etc.

Nine Hole Golf Course Now Open

S
Write, call or phone for complete information. = 19

Artist Center Division © MA
BELLE MONTI SALES CO shi ©
, &

AW 3S
Garfield 2157 wv Aes
212 Sutter Street Rotor

San Francisco

Artist Center Division
BELLE MONTI SALES CO.
912 Sutter Street, San Francisco
Please send airplane view in colors and complete information regard-

ing “Belle Monti” and Belle Monti Country Club toc. 2.2. n--- ican eee

Be os A ES Te eae appt annen=aemesumandenarasenie nannan na qenew ence huen ee ceron Sino eee secs ieee Cet ae ES goes sae en de ee Ie

Choose your piano carefully.
Choose it as you would
choose an intimate member
of your family circle. Choose
it for qualities that will en-
dure.

Let your choice, if possible,
be a STEINWAY. There is no
other piano of qualities more
enduring —of distinction so
immediately recognized.

Sherman, iPlay & Co.

Kearny & Sutter Sts.
Oakland - Clay at 14th

Remaining Dates

Chamber Music
Monday eve., Dec. 15
Symphony (reg.)
Thursday eve., Jan. 8
Chamber Music
Tuesday eve., Jan. 13
Symphony (pop)
Thursday eve., Jan. 22
Symphony (reg.)
Thursday eve., Feb. 12
Symphony (pop)
Thursday eve., Feb. 26
Symphony (reg.)
Thursday eve., Mar. 12

Symphony (pop)
Thursday eve., Mar. 26

SAN FRANCISCO

Symphony Orchestra

AUDITORIUM OPERA HOUSE
OAKLAND, CAL.

Thursday Evening, December 11, 1924

Eight-thirty- o’clock

Management ZANNETTE W. POTTER

Box Office at Sherman, Clay & Co., Oakland, Cal.
Telephone Lakeside 6700

PROR 4
Thursday EvenirDece

Owertures:Leanotes? NO: (os 5 2 eee ee Beethoven

“Fidelio,” Beethoven’s only opera, was first performed at Vienna,
in 1805. For this opera he composed at one time and another no
fewer than four overtures, three of them known as “Leonore” Over-
tures Nos. 1, 2 and 3. “Leonore” was the original title of the
opera, so named after the heroine, Beethoven subsequently changing
the title of his work to “Fidelio.” ' The third overture played this
evening is, by far, the finest of the four. It is the drama in minia-
ture, and far outclasses anything in the opera itself. It is a master-
piece of dramatic unity, strength and passion, as well as of unique
and imposing musical construction.

Symphony in B minor, “Unfinished”’.................-.. Schubert

Rendo, “Till Eulenspiegel’s Merry Pranks” Richard Strauss

Allegro moderato

Andante con moto

The history of the “Unfinished” Symphony is very interesting.
Two brothers, Anselm and Joseph Huttenbrenner, were very fond of
Schubert and were continually seeking to make him known. About
1820, Anselm returned to his home in Graz, Styria, where he
succeeded in having Schubert elected honorary member of the local
musical society. In return for the compliment, Schubert began, in
1822, the composition of the eighth symphony, sending the incom-
plete work to Anselm. In 1827 Schubert visited Graz, but neither
there nor elsewhere did he ever hear his unfinished work. In 1860,
the brother, Joseph Huttenbrenner, tried to interest Johann Herbeck,
4 renowned Viennese orchestral conductor in Schubert’s symphony,
but it was five years later before Herbeck made a move.

The symphony received its first performance, on December 16,
1865. at Vienna, forty-three years after Schubert wrote it, and
thirty-seven years after the composer's death. Since then it has be-
come one of the most popular symphonic works in all musical liter-
ature. Perfect in form and of masterful orchestration, a descriptive
analysis of the symphony is superfluous.

Till Eulenspiegel is the hero of an old Folk-book of the fifteenth
century attributed to Dr. Thomas Murner (1475-1530). Till is sup-
posed to be a wandering mechanic of Brunswick, who plays all sorts
of tricks, practical jokes on everybody, and he always comes out
ahead. In the book Till is condemned to die on the scaffold but
escapes. Strauss kills him on the callows. Strauss himself when
asked to prepare a program for his work refused with the words,
“T eave it to each listener to crack for himself the nut, which the

rogue has given him.”

Intermission

9
vo.

SECOND ATTRACTION—SYMPHONY SERIES
REGULAR PROGRAM .
Symphony No. 6 (pastoral) F Major op. OS /60 3s Beethoven

Burlesque: :.....-:----.--------veecnsceceec cen eosenececceenercnec resets
Soloist: E. RoBERT SCHMITZ

Pretude>“Parsital’’: 2c) Se aoe Richard Wagner
Symphonic Variations..........-.---,-------2-----1---+--0----- Cesar Franck :

Soloist: E. RoBERT SCHMITZ
Thursday Night, January 8, 1924

Prices 75cts. to $2.00. no tax

|
R0R AM
enitDecember II, 1924

Goncerto for Pianos. Nos 1) mmr eae ae Chopin

;

Allegro maestoso
Romanze
Rondo

Murti SILBA

In the first movement (Allegro maestoso) there are three chief
themes, and they are exposed—the first two in E minor, the third
in E major—by the first violins in the orchestral introduction. After
the third theme fragments of the first are heard, and they prepare
the first entrance of the pianoforte. The themes are used again in
similar fashion, and the tonalities are those of the introduction, but
the themes are broadened and lead to a virtuoso use of the piano-
forte. In the second orchestral tutti there is employment of the first
motive, and there is a modulation to C major with the second theme
given to the solo instrument. Brilliant pianoforte passages follow,
while the orchestra makes use of the first motive. There is then a
tutti with the first motive in E minor, followed by the pianoforte
with the second motive in E minor and at last the third in G major.
The close is in E minor with the initial motive in the orchestra. In
the second movement (Romanze) the strings play a short introduc-
tion. The first phrase is used later in various ways. The important
motives are given out in succession by the pianoforte and varied.
Later a theme in C sharp minor is introduced which has only pass-
ing significance and gives way to the second motive, which is now in
G sharp minor. The strings sing the first theme with ornamentation
in the pianoforte.

Rondo: After a few measures of orchestral introduction the first
chief theme is given to the pianoforte. The most noticeable of the
other themes are an energetic tutti motive and a delicate melody

given to the pianoforte.

The
Chamber Music Society

of SAN FRANCISCO
Monday Evening, December 15

PROGRAM

1. Quartet, E minor, for strings.........-....
Te pe ee Satta Ae epee A Frank Bridge
Adagio—Allegro appassionato
Adagio molto
Allegretto :grazioso
Allegro agitato

2. Quintet, D SA} OF prose seco haat nss Brandts- Buys
3. (a) Scherzo ...-.---s---ceseecersenesesesnenees Beethoven

(b) Variations (‘‘Death and the
PCG Fev T Pipes sete aeeee tanta A eo at Schubert
° (0), VAVACE 2-.c-ntenccsccenereccncenensenonacesensence Haydn

for string quartet

Founded in 1916 by ELIAS HECHT | Single Admission Prices

LOUIS PERSINGER, Violin NATHAN FIRESTONE, Viola $1.00, $1.50 and $2.00 2°
‘ ioli cvik a) ee i 1] ‘

LOUIS FORD, Violin WALTER FERNER, Violoncello oickeees for ARR neuitarOni BA Pa
Musical Direction, LOUIS PERSINGER Lox office, Sherman, Clay & Co., Oak-
Management, ZANNETTE W. POTTER land, Cal. Telephone Lakeside 6700.

MO BI CB A RE So gene ee

t
b
)

Her own Aldrich piano

Because it is such a good, honestly
made, durable piano, it will be her com- (
panion for years and years to come.
Long before its strings lose melody,
she will have grown up to a home of

her own, and a Steinway! Hi :
Meaawhilethe Aldrich is only $4.45. |
It is a responsive, sympathetic piano, ‘| ¥

and dependable,

Sherman, lay & Co.

Oakland — Fourteenth and Clay Streets
Berkeley -- Telegraph and Channing
San Francisco—Kearney and Sutter Streets

ne reas errors
ar

Deeg e ee oe
A aa
LS occ Se

2" a
a
~
; 4
ee — —s<
er

ie tes ) tell an/

SE
<?

een VE OY

SAN FRANCISCO
SYMPHONY =
ORCHE

B) Maintained by
The Musical u
Assoctation of
ean Francisco

(1
W

FOURTH PAIR

1924 1925 I
2 lee ER GUrtSeCnin. eadson oe
ALFRED HERTZ Sasa TOR

Alfred Hertz

RECOMMENDS
CONN INSTRUMENTS

The San Francisco

Symphony

CONN
INSTRUMENTS

No Higher Endorsement

ght ae
Pee a

can be given to a musical .
| “I take great pleasure in

instrument, hence if the recommending Conn instru-

experience of great artists ments for symphony

orchestra work.”
means anything to you, your

choice will be CONN.

ALFRED HERTz.

WORLD'S |
LARGEST MANUFACTURERS .
OF HIGH GRADE BAND AND

ORCHESTRA INSTRUMENTS }

Conn San Francisco Co. Conn Oakland Co.
47 Kearny St. 531-16th St.

Musical Association of San Hrancisen

Founded December 20, 1909 Incorporated February 3, 1910

OFFICERS

JoHN D. McKzs, President _
J. B. Levison, Vice-President EK. R. Dimonp, Treasurer
A. W. WipENHAM, Secretary-Manager

BOARD OF GOVERNORS
J. K. Armsby A. B. C. Dohrmann John D. McKee
E. D. Beylard John S. Drum Seward B. McNear
Miss Lena Blanding Milton H. Esberg L. F. Monteagle
Miss Louise A. Boyd Herbert Fleishhacker Robert C. Newell
George T. Cameron J. D. Grant J. C. Raas
Selah Chamberlain E. S. Heller F. R. Sherman
C. H. Crocker W. E. Creed Wm. T. Sesnon
Mrs. Templeton Crocker J. B. Levison M. C. Sloss
Wm. H. Crocker Walter S. Martin William Sproule
E. R. Dimond John A. McGregor Sigmund Stern

EXECUTIVE COMMITTEE
John D. McKee, Chairman

E. D. Beylard E. R. Dimond J. B. Levison
Wm. H. Crocker E. S. Heller William Sproule

MUSIC COMMITTEE
J. B. Levison, Chairman

E. S. Heller E. D. Beylard Robert C. Newell

WOMEN’S AUXILIARY
Mrs. M. S. Koshland, Chairman
Miss Lena Blanding, Vice-Chairman
Mrs. M. C. Porter, Vice-Chairman

EXECUTIVE OFFICES

457 Phelan Building, San Francisco
A. W. WIDENHAM, Secretary-Manager

Hours 10 to 12 A. M., 2 to 4 P. M. Telephone Garfield 2819

125

on ee
Way VUE se
All are : 2 ae
; ae va CAN

$Hlason & Hamlin Pianos

Those to whom music is a gift or
an art ora great privilege hold one
piano at the pinnacle—the Mason
& Hamlin. For they know it to be
wrought byskilled artisans—men
who build with infinite pains that
the final product will be worthy
the hands of an artist. So does it
deserve a place in your home.

Wiley B Allen ©.

135 KEARNY STREET,SAN FRANCISCO
1323 WASHINGTON STREET, OAKLAND

126

Che San Franciseo Symphony Orchestra

ALFRED HERTZ, Conductor

1924—Season—1925

FOURTH PAIR OF SYMPHONY CONCERTS
498th and 499th Concerts

CURRAN THEATRE

Friday Afternoon, December 12, 3:00 o’clock
Sunday Afternoon, December 14, 2:45 o’clock

Soloist: MURI SILBA, Pianist

PROGRAMME

lSyanphony IN6:'6;20 Pastoral see oe re ee Beethoven
legro ma non troppo (Awakening of Joyful
Feelings on Arrival in the Country)
Andante molto moto (By the Brook)
Allegro (Village Festival )—
Allegro (The Storm)—
Allegretto (Shepherd’s Song. Thanksgiving
after the Storm)
2+ Ballade of the Ghomides:. 4 8 ee ee Respighi
(First time in San Francisco)
Intermission
3i..Concerto for Piano; Nox ihc. Minor. i es Chopin
llegro maestoso
Romanze—

Rondo
MURI SILBA

The Piano is a Steinway
NOTE:—All Season Tickets must be paid for During December

Auditorium Concert, Next Friday, 8:20 P. M.
Soloist: CECILIA HANSEN, Violinist

Overiire;: seneare «sor ee ta Pod «. Massenet
Symphony in B minor, “Unfinished’’._................ Schubert
bb rancescal Gar twiminins? se ceto ee ee Tschaikowsky
Concerto On tole OpieOs. ce oa eae es, Beethoven

CECILIA HANSEN
Tickets at Sherman, Clay & Co., 50c, 75c, $1.00.

127

We take pleasure in announcing a series of Masterworks recorded

by famous European Orchestras in albums.

Beethoven:

Dvorak:

Mozart:

Tschaikowsky:

Beethoven:

Haydn:

Mozart:

Symphony No. 7, in A Major, Opus 92, in nine parts, on
five records. Set complete in album form.............. $8.75

Symphony No. 8, in F, Opus 93, in seven parts, on four
TOCORUS Cs sere erent ee oe us i Agee ff Ok ch $7.00
By Weingartner and London Symphony Orchestra.

Symphony in E Minor, No. 5, Opus 95, from the New
World, 10 parts, five records.................... $8.75 complete

By Halle Orchestra, London.

Symphony No. 39, in E flat, Opus 543, in six parts, on
thresrecords sn Ae Fh ee $5.25 complete
By Weingartner and London Symphony Orchestra.
Symphony Pathetique, in eight parts, on four records,
COMP ISL ah fel 26 ot ee eee ee ee $7.00
By Sir Henry Wood and New Queen's Orchestra.

Quartet in C Sharp Minor, in ten parts, on five records,
cémplete in calbGins : 2-2 eee ee, So REE tm Fre $8.75

By Lener String Quartet, of Budapest.
Quartette in D Major, in six parts, on three records,
COMipletercan album eis be OS FS ae a $9222
By Lener String Quartet, of Budapest.
Quartet in C Major, eight parts, on four records, com-
plete tin albunis- 2 oe tie Ae | Poteet eae eS $7.00
By Lener String Quartet, of Budapest.

Send for our historical catalog of ‘“‘Musical Masterworks,” free.

QUARG MUSIC CO.

206 Powell Street Open Evenings

Symphony No. 6, “Pastoral’’ - - - - Beethoven

What is probably one of the best commentaries to be found on
Beethoven's “‘Pastoral’’ Symphony is that written by the late Oscar
Weil for a performance in the Greek Theatre at the University of
California, September 27, 1906, and which is quoted herewith from
“Oscar Weil, Letters and Papers,’ published by the Book Club of
California:.

6é 6

All painting in instrumental music, if pushed too far, is a fail-
ure. These are Beethoven’s own words, found in one of his sketch
books, proving quite conclusively that he recognized the limitations of
his art, and that in the composition of his Sixth Symphony he intended,
as he states on the title page, ‘more an expression of feeling than a
painting. Expressions of his own feelings,. remember; of the emo-
tions awakened in his own breast by the situations that give title to
the various movements; not in any sense an attempt to delineate either
scenes or situations for others. Indeed, we find him again noting—
apropos of this same Symphony— ‘The hearers should be allowed to
discover the situations for themselves’; and again, ‘People will not
require titles to recognize the general intention to be more a matter of
feeling than painting in sounds.’

‘This, | think, we may safely accept as Beethoven’s attitude

ESTABLISHED 1852

Did Aad obaids (ks

Shreve and Company
Jewelers and Silversmiths

Post and Grant Avenue
San Francisco

129

towards all of his compositions that bear descriptive titles, excepting
perhaps the ‘Battle Symphony’ (Op. 91), which as a mere pot-boiler,

we need not consider at all. That the bird episode, towards the close

of the second movement of the ‘Pastorale,’ imitates the voices of the
nightingale, quail, and cuckoo need not trouble us. Beethoven him-
self spoke of it as a joke, and I think it falls beautifully into its place
as an aside uttered playfully, as one might a witticism happily
remembered and flung lightly into the flow of an even quite serious
sentence.

“It would seem almost as though Beethoven, while thus clearly
defining his own attitude towards the descriptive element in music,
was looking both backward and forward; into the past, with its
innumerable programme pieces that had been a fashion since the time
of the earlier Frenchmen and Italians; and into that future of sym-
phonic monstrosities on all sorts of impossible themes in which we of
today are living. He himself did very little programme making.
Of his thirty-three Pianoforte Sonatas, only two have authentic
inscriptions,—the ‘Pathetique’ and ‘L’Absence’; the ‘Pastorale’ was
christened by its publisher (very appropriately, too!) ; and the ‘Moon-
light’ by a sentimental German poet. Beethoven laughed at the title
and called it ‘silly. He certainly did call the Third Symphony the
‘Eroica,’ but I fancy him, later on, not over-satisfied with the title.
Aside from the Funeral March and something in the general trend of
the first movement, the ‘Eroica’ is simply a symphony and nothing
more; there is nothing of the heroic in either its Scherzo or the final
set of variations. The Fifth is much the more heroic symphony of the
two. The programme for his Sixth Symphony, as well as its division
into five movements and much of their sub-titles, Beethoven found
made to his hand in a ‘Grande Symphonie’ by J. S. Knecht, which had
been published in 1784, twenty-four years before the birth of the
‘Pastorale,’ and which had been advertised on the cover of one of his
own early Sonatas. We have no means of knowing whether or not

THE
MARGARET MARY MORGAN (CO.

Gngraving - Police - Publishing

619 CALIFORNIA STREET
DOUGLAS 4633

We are now ready to serve you from a most complete selection of engravea

Christmas Greeting Cards

for personal and commercial use.
Our most inexpensive cards, along with the more exclusive ones, have been designed with

the same thorough good taste.
Order while stock is complete.

he had ever heard the Knecht Symphony; it is, of course, possible,
though I have not been able to trace any performance of it in
Germany. Besides his programme, Beethoven found other material
for his Symphony ready made: the opening theme of the first move-

ment is a phrase from a Bohemian folk-song, caught from the lips of
a peasant and lifted by his magical touch into the empyrean; the
Scherzo is built largely on a dance tune frequently heard at the country
inns in the neighborhood of Vienna; and the storm episode of the
fourth movement is really an amplification of the storm music in
‘Prometheus.’ At its first performance, December 22, 1808, this
Symphony was given as No. 5 and was followed on the programme by
the one in C minor, now known as the Fifth, but then designated the
Sixth. Both were completed at about the same time.

“There can be no attempt here to describe or analyze this
masterwork of the Master-Genius of our Art; one must hear it! And
this best, I should say, without reference to its programme,—forget-
ting as far as one can that there is such a programme, and permitting
the music to interpret itself. This is the only rational way to listen to
any music; analysis should come after the hearing.

“There is surely much to be gained towards the understanding
and enjoyment of music through a recognition and analysis of its
forms; but this analysis must be made for oneself, and it is not until

Manheim, Bibbern & Co.

Established 1869

Our LIFE INSURANCE experience
will assist you in providing for

your LIFE INSURANCE. needs.

Ground Floor California Commercial Union Building

Montgomery Street at Pine Telephone Sutter 2945

131

one has learned somewhat of the how to do it for oneself that there is
the least profit to be had out of reading the analysis of another. |
hope to have something to say, shortly, about the how-to-analyze-for-
oneself, as well as about the construction (build) of the symphony,

which embraces also the sonata, since their form is virtually identical.
The subject is really not at all difficult to one who has a little patient

capacity for work.”

“Ballade of the Gnomides”’ - - - - - Respighi

The score of “Ballade of the Gnomides’’ contains the following
‘program, the original Italian being by Carlo Clausetti:
“Dragging the raving gnome, the women go, abandoning their flimsy
draperies to the wind.
The diminutive man gambols between those, his two brides, whom a
single nuptial bed awaits,

‘Oh! gnomides, let the race be brief, lest he weary fall when falls the
Bear!

“No torch was lighted at the distorted nuptials, but without, hordes of
gnomes were waiting, eager for the prey.

And in the thick night a sharp cry resounded, so painful as to rout the
darkness.

Then silence. The new dawn was breaking; the mad wives drew their

Tue San Francisco Savines ano Loan Society

(THE SAN FRANCISCO BANK)
SAVINGS COMMERCIAL
INCORPORATED FEBRUARY 10th, 1868.

One of the Oldest Banks in California,
the Assets of which have never been increased
by mer¢gers or consolidations with other Banks.

Member Associated Savings Banks of San Francisco
526 California Street, San Francisco, Cal.

JUNE 30th, 1924
$93,198,226.96

Capital, Reserve and Contingent Funds 3,900,000.00
Employees’ Pension Fund 446,024.41

MISSION BRANCH

PARK-PRESIDIO DISTRICT BRANCH

HAIGHT STREET BRANCH

WEST PORTAL BRANCH
Interest paid on Deposits at the rate of

FOUR AND ONE QUARTER (414) per cent per annum,

COMPUTED MONTHLY and COMPOUNDED QUARTERLY,

AND MAY BE WITHDRAWN QUARTERLY

132

vain booty from the alcove

And fled with it, followed by the cunning throng of manlings thickly
swarming about

And muttering prayers worthy only of the anathemas to be heard, in
blaspheming jargon, in the depths infernal.

By a rough path, they reached a broad hill whose sharp ridge over-
looked a sea of blue.

In a twinkling the filthy husband was downward hurled and the rite
thus ended.

“Now on the summit of the hill, after their sleepless night, the two
women dance in the morning breeze.

And, while the day is breaking, the tiny people join in the dance of the
cruel widows.

One shrieks, another mocks, still another bites or laughs aloud; a wild
frenzy possesses them all, as at a witches’ sabbath.”

As to form, the work is freely constructed, the score containing
nothing to indicate the programmatic significance of the various sec-
tions. Of the rhythmical figure which opens the work in the first
violins and the motive heard in the muted trumpets at the third meas-
ure, considerable use is made, there being eighteen pages of the score
devoted to development of this material. A sharp cry from an E flat
clarinet opens the next section, which is followed by a quieter section
the material of which is drawn from the opening trumpet motive.
With a theme taken from the first measure of the work there follows

ALFRED METZGER—

REDFERN Mason—

He played admirably.
There was no _ self-con-
scious virtuosity; it was
the pure bel canto of the
flute, every note round .
and perfect as a pearl.—
San Francisco Examiner.

Mm. Anthony Linden

Orchesiral Conductor and Flute Virtuoso
Soloist— T eacher—Lecturer
Solo Flutist, San Francisco Symphony Orchestra
Formerly Solo Flutist, Minneapolis Symphony Orchestra
Director Linden School of Flute Playing

Address all communications to

457 Phelan Building, San Francisco

133

ANNOUNCEMENT
FIFTH PAIR OF SYMPHONY CONCERTS
Curran Theatre

Friday, December 26, 3:00 P. M.
Sunday, December 28, 2:45 P. M.

Soloist: LOUIS PERSINGER, Violinist

PROGRAMME
. Prelude to ‘‘Parsifal’’

2. Concerto for Violin, G minor
Allegro moderato
Adagio
Finale: Allegro vivace

LOUIS PERSINGER

. Symphony No. 3, “‘Rhenish’’ Schumann
(Transcribed for modern orchestra by Frederick Stock)
Allegro con brio
Scherzo
Andante commodo
Molto maestoso—
Allegro giocoso

ANNOUNCEMENT

FOURTH POPULAR CONCERT
Curran Theatre
Sunday, December 21, 2:45 P. M.

Soloist: EUGENIA ARGIEWICZ BEM, Violinist
PROGRAMME

. Overture to “Fra Diavolo’”’
2. Suite, “Peer Gynt,’’ No. |

Morning

Ase’s Death

Anitra’s Dance

In the Hall of the Mountain King
. Concerto for Violin, F minor...

Eugenia Argiewicz Bem
. Shepherd’s Music from the “‘Christmas Oratorio’
. ‘In the Village,’’ from Caucasian Sketches
Ippolitow-Ivanow

. Caprice Viennois Kreisler
. Overture, “The Gypsy Baron”’ _..Strauss

Tickets on sale .at Sherman, Clay & Co., on Monday
preceding concert, hours 9 to 5; and at Curran Theatre from
10 A. M. on day of concert.

a funeral march, beginning in the drums.

Concerto for Piano, No. 1,in Eminor - - 7 = Chopin

In the first movement there are three chief themes, and they are
exposed—the first two in’ E. minor, the third in E major—by the first
violins in the orchestral introduction. After the third theme fragments
of the first are heard, and they prepare the first entrance of the piano-
forte. The themes are used again in similar fashion, and the tonalities
are those of the introduction, but the themes are broadened and lead
to a virtuoso use of the pianoforte. In the second orchestral tutti
there is employment of the first motive, and there is a modulation to
C major with the second theme given to the solo instrument. Brilliant
pianoforte passages follow, while the orchestra makes use of the first
motive. There is then a tutti with the first motive in E minor, followed
by the pianoforte with the second motive in E. minor and at last the
third in G major. The close is in E minor with the initial motive in
the orchestra. In the second movement the strings play a short intro-
duction. The first phrase is used later in various ways. The important
motives are given out in succession by the pianoforte and varied.
Later a theme in C sharp minor is introduced, which has only passing
significance and gives way to the second motive, which is now in
G sharp minor. The strings sing the first theme with ornamentation
in the pianoforte. In the Rondo, after a few measures of orchestral
introduction, the first chief theme is given to the pianoforte. The most
noticeable of the other themes are an energetic tutti motive and a
delicate melody given to the pianoforte.

Sudiootigurs: Tuesday, Wednesday, Saturday Phone Douglas 1678
Afternoons—2-5

KAJETAN ATTL

Solo Harpist
San Francisco Symphony Orchestra

Using Lyon & Healy Harps, The World’s Standard
FOR ENGAGEMENTS

AS SOLO ARTIST, ACCOMPANIST, OR

PLAYER IN ENSEMBLE MUSIC,
ADDRESS

KAJETAN ATTL, BOHEMIAN CLUB
SAN FRANCISCO, CALIFORNIA
RES. PHONE FRANKLIN 7847

Ce Sec

Violinist and Teacher
Concert and Recital

48 Wildwood Avenue, Piedmont

Phone Piedmont 8140-J (Tuesday) Douglas 1678

135

JJersonel

Che Sau Srancisean Sumphony Orchestra

FIRST VIOLINS

Persinger, Louis
Concert Master and
Assistant Conductor

Argiewicz, Artur
Assistant Concert
Master

Ford, Louis
Assistant Concert
Master

Meriz, E.

Mendelevitch, R.

Laraia, W. F.

Gluschkin, M.

Gordohn, R.

Seiger, Rudy

Bem, Eugenia

Koenig, H.

See, Orley

Mortensen, Modesta

Amsterdam, M.

Pasmore, Mary

Ruiz, R.

SECOND VIOLINS
Jensen, T.

Principal
Haug, J. A.
Callinan, W. G.
Hidden, R. L.
Gold, J.
Paterson, J. A.
Blaha, A.
Manchester, W.
Atkinson, Helen
Dunn, H. A.
Gough, W.
Hoffman, H. H.
Dabelow, W.

VIOLAS

Fenster, Lajos

Principal
Hahl, E.
Baker, F. A.
Wismer, H.
Weiler, E.
Lichtenstein, V.
Patchook, S.
Dierich, F.
Kolb, R.
Lewis, A.

"CELLOS

Ferner, Walter
Principal

Dehe, W.

King, O.
Villalpando, W.
Weiss, A.

Kirs, R.

Gegna, M.
Pasmore, Dorothy
Hranek, C.

BASSES

Lahann, J.
Principal

Greene, S.
Bell, W.
Storch, A. E.
Cassetta, L. R.
Guterson, A.
Annarumi, A.

Giese, W.

FLUTES
Linden, Anthony

Newbauer, Louis

Oesterreicher, Walter
Orchestral Manager

Benkman, H.

PICCOLO

Oesterreicher, Walter

OBOES
Addimando, C.
Shanis, Julius
Schipilliti, V.
Utschig, H.

ENGLISH HORN
Schipilliti, V.

CLARINETS
Randall, H. B.
Zannini, N.
Fragale, F.
Greenbaum, A. A.

ALFRED HERTZ, CONDUCTOR

BASS CLARINET
Fragale, F.

BASSOONS
Kubitschek, E.
La Haye, E. B.
Hranek, C.

CONTRA BASSOON
Kolb, R.

HORNS
Hornig, W.
Tryner, C. E.
Roth, P.
Huske, F. E.
Rocco, R.

TRUMPETS
Ditzel, E.
Arriola, A.

Kegel, Otto
Kress, V.

TROMBONES
Tait, F. W.
Clark, O. E.
Bassett, F.N.

TUBA
Murray, R.

HARP
Attl, Kajetan
Schipilliti, Annette

TYMPANI
Waener, R. E.

PERCUSSION
Nickel, M.
Vendt, A., Jr.
Kundy, E.

PIANO AND CELESTA
Ormay, Gyula

LIBRARIAN
Kegel, Otto

A. W. WIDENHAM, Secretary-Manager

136

“The Happiest Homes in All Creation

Are Homes Surrounded by Recreation”

The “Carmel” of the Peninsula

at-

“BELLE MONTT”’

There are so many natural features which add to the
attractiveness of “Belle Monti” as an Artist and Musician

Center that its appeal is instantaneous.

Live oak, pine and eucalyptus trees planted years ago by men who
foresaw the future demand for suburban homes; hillside locations
with marine and mountain view; sheltered level lots—macadamized
streets, electricity, water, phone and strict sanitary requirements.
Marvelous home and cabin sites averaging in price $475—some as
low as $300, including permanent membership in the

Belle Monti Country Club

Now Building
for which $250,000 has been directed to be set aside for club house,

swimming pool, courts, links, etc.

Nine Hole Golf Course Now Open

Write, call or phone for complete information.
Artist Center Division

BELLE MONTI SALES CO. ae

Garfield 2157
212 Sutter Street oto”
San Francisco eP

Artist Center Division
BELLE MONTI SALES CO.
212 Sutter Street, San Francisco
Please send airplane view in colors and complete information regard-

ing “Belle Monti” and Belle Monti Country Club to

Choose your piano carefully.
Choose it as you would
choose an intimate member
of your family circle. Choose
it for qualities that will en-
dure.

Let your choice, if possible,
be a STEINWAY. There is no
other piano of qualities more
enduring—of distinction so
immediately recognized.

Sherman, ay & Co.

Kearny & Sutter Sts.
Oakland - Clay at 14th

San Francisco Symphony Orchestra

ALFRED HERTZ, Conductor

SEASON 1924-25

SECOND BERKELEY CONCERT

HARMON GYMNASIUM

THURSDAY EVENING, DECEMBER 18, 1924
8:15 O'CLOCK

PROGRAMME

1. Symphony No.6 in-F major, “Pastoral 4.00... Beethoven
Allegro ma non troppo (Awakening of Joyful Feelings on Arrival in the
Country)
Andante molto moto (By the Brook)
Allegro (Village Festival)—
Allegro (The Storm)—
Allegretto (Shepherd’s Song. Thanksgiving after the Storm)

INTERMISSION
ef OVERLUT Es SPOOLS su kee ee ee ae Mi oe Massenet
3. -oymphonic Poem, <The Wioldau ss. -4 ke ee Smetana
4; Bantasias* Francesca da, Rimini sie Ae es. T’schatkowsky

Ssymphony.No: 6:in Fimajor, “Pastoral si: 2:5..5031.0ccs. Beethoven

The first movement of the symphony opens immediately with the exposition of
the first theme, piano, in the strings. The more cantabile phrase in the antithesis
of the theme assumes later an independent thematic importance. The second
theme is in C major, an arpeggio figure, which passes from first violins to second
violins, then to ’cellos, double-basses, and woodwind instruments. The develop-
ment of these themes is a gradual crescendo. The free fantasia is very long. A
figure taken from the first theme is repeated again and again over sustained
harmonies, which are changed only every twelve or sixteen measures. The third
part is practically a repetition of the first, and the coda is short.

In the second movement, the first theme is given to the first violins over a
smoothly flowing accompaniment. The antithesis of the theme, as that of the
first theme of the first movement, is more cantabile. The second theme, more
sensuous in character, is in B flat major, and is announced by the strings. The
remainder of the movement is very long and elaborate, and consists of embroidered
developments of the thematic material already exposed. In the short coda the
nightingale (flute), quail (oboe), and cuckoo (clarinet) are heard.

The third movement is practically the scherzo. The thesis of the theme
begins in F major and ends in D minor; the antithesis is in D major throughout.
This theme is developed brilliantly. The second theme, of a quaint- character,
is played by the oboe over middle parts in waltz rhythm in the violins. The bass
to this is one of Beethoven’s jokes. This second theme is supposed to suggest the
playing of a small band of village musicians, in which the bassoon player can get
only the notes F, C and octave F out of his ramshackle old instrument; so he keeps
silent wherever this series of three notes will not fit into the harmony. After
being played through by the oboe, the theme is next taken up by the clarinet, and
finally by the horn, the village bassoonist growing seemingly impatient in the
matter of counting rests, and now playing his F, C, F, without stopping. The
trio of the movement is a strongly accentuated rustic dance tune, which is developed
in fortissimo by the full orchestra. There is a return of the first theme of the
scherzo, which is developed as before up to the point when the second theme should
enter, and the tempo ts accelerated to presto. But the dance is interrupted by
a thunder-storm, which is a piece of free tone painting.

There is a clarinet call over a double organ-point. The call is answered by
the horn over the same double organ-point, with the addition of a third organ-
point. The horn repetition is followed by the first theme, given out by the strings
against sustained harmonies in clarinets and bassoons. This theme, based on a
figure from the opening clarinet and horn call, is given out three times. This
exposition is elaborate. After the climax a subsidiary theme is developed by full
orchestra. There is a short transition passage, which leads to an abbreviated
repetition of the foregoing development of the first theme. The second theme
enters, B flat major, in clarinets and bassoons. The rest of the movement is
hardly anything more than a series of repetitions of what has gone before.

Overture. + bhedte. ccc.) in te eet ote hw Sag es Massenet
This overture, based upon a mythological legend, has been described as having
for its subject “the power of love, and its inexorable fate when disregarding the

commands of duty.”

Phedre, it will be recalled, was the daughter of Minos, King of Crete; after
the death of Antiope she became the wife of Theseus. Subsequently she had the
misfortune to become desperately enamored of Theseus’ son, Hippolytus, who
‘failed to reciprocate her advances—whereupon she substituted hatred for love and
revenged herself by making the father jealous of the son. Theseus committed
Hippolytus to the vengeance of Neptune,.who caused a monster to come up out
of the sea as the youth was driving along the shore and to so terrify his horses that
they demolished his chariot. Hippolytus was killed in the accident, but Aesculapius
brought him back to life, and Diana frustrated Phedre’s malicious designs by
removing him to Italy, where he enjoyed the protection of the nymph Egeria.

Symphonic. Poem, “Che: Moldau 2: 3s oe hee Smetana

“The Moldau,” written more than a month after Smetana had become stone
deaf, is the second of a cycle of six similar works. It was begun November 20,
and completed December 8, 1874. The score of the work is prefixed by the follow-
ing explanatory program:

“Two springs pour forth their streams in the shade of the Bohemian forest,
the one warm and gushing, the other cold and tranquil. Their waves, joyfully
flowing over their rocky beds, unite and sparkle in the morning sun. The forest
brook, rushing on, becomes the River Moldau, which with its waters speeding
through Bohemia’s valleys, grows into a mighty stream. It flows through dense
woods in which are heard the joyous sounds of the hunt, and the notes of the
hunter’s horn are heard ever nearer and nearer. It flows through emerald meadows
and lowlands, where there is being celebrated with song and dancing a wedding
feast. At night in its shining waves the wood and water nymphs hold their revels,
and in these waves are reflected many a fortress and castle—witnesses of bygone
splendor of chivalry and the vanished martial fame of days that are no more. At
the Rapids of St. John the stream speeds on, winding its way through cataracts
and hewing the path for its foaming waters through the rocky chasm into the
broad river-bed, in which it flows on in majestic calm toward Prague, wel-
comed by time-honored Vysehrad, to disappear in the far distance from the
poet’s gaze.”

Bantasia, > brancesca da-Riminws 5) Tschatkowsky

This piece, which is a tonal description of the encounter of Dante and Virgil
with Francesca da Rimini upon their entrance into the second circle of Hell, begins
with a portrayal of the awesome scene which meets their eyes at the second circle,
or real entrance of Hell, at the portal of which sits Minos, the infernal judge, and
crowding before him the souls of sinning spirits awaiting the word which shall
dispose of their fate. The whole first part of the work is devoted to the delineation
of the fierce winds by which the souls are driven about incessantly, the poignant
wailing of the damned, the unutterable terror of the place. After the hubbub
has died down, a new section is introduced in which the clarinet sings a plaintive
subject over a pizzicato accompaniment in the strings. This may be taken to
represent the narrative of Francesca. After this has been worked over at con-
siderable length, the material of the first part is given further presentation.

UNIVERSITY OF CALIFORNIA

Committee on Music and Drama

THIRD BERKELEY CONCERT

THURSDAY EVENING, JANUARY 29, 1925

PROGRAMME
Overture, No. 3 ““Lenore?’........0: ci ee Beethoven
Concerto for Violin and Orchestra............::::: sss Bruch

Louts PEersinGER, Soloist
Overture“Don Juan’ eee, oe ee eee Mozart

Prelude and Love’s Death from “Tristram and Isolde”..... Magner

(SuBjEct TO CHANGE)

ANNOUNCEMENT

The third concert of the California Music League, Modeste Alloo, Conductor,
will be given on February 17, 1925, at Harmon Gymnasium at 8:15 o’clock.

7 THE CITY OF SAN FRANCISCO PRESENTS

SAN FRANCISCO ===

SYMPHONY ORCHE STRA|

| cA lfed Hertz.~~Conductor

IN A
POPULAR CONCERT

EXPOSITION AUDITORIUM.

FRIDAY, DECEMBER 19, 1924

8:20 P.M.

WITH

CECILIA HANSEN, Violinist

GUEST ARTIST

Cecilia Hansen makes Victor Records exclusively

ee ead

AUSPICES
Mayor JAMES ROLPH, JR., AND BOARD OF
SUPERVISORS
DIRECTION—AUDITORIUM COMMITTEE
J. EmmMer HaypEN, CHAIRMAN
ANGELO J. Rossi EpwiIn G. Bato

Program

NATIONAL ANTHEM
(UpA Waxprop at the Organ)

Sa> CUOVERTURE, “CE HERDER 2 2 Se pee Massenet

Massenet’s dramatic overture follows in a general way Racine’s trag-
edy of the same name, based on the mythological legend. After the
portentous opening we hear the ill-fated queen overwhelmed at the thought
of, and bewailing, her unlawful passion (clarinet). The duet in the
oboes suggests the scene between Phedre and Oenone. The tragic motive
breaks in again, and changes into an Allegro appassionato (Hypolite
chafing under his restraint, and on the point of leaving for Mycenae).
Phedre and Hypolite meet; the passionate declaration of love follows
(given to the violins in unison), and then the storm breaks over us.
Heptune redeems his vow to Theseus. Hypolite, encountering the mon-
ster cast up by the rising sea, is dragged to his death by his frightened
steeds. Again we hear the wailing melody of the beginning, and the
declaration of undying love; the turbulent episode of the first part is
repeated, and the overture closes with the tragic motive of the opening.

2. SyMPHONY IN B Minor, ‘‘ UNFINISHED? nc cccccecsscceeemnene Schubert
Allegro moderato
Andante con moto

In 1822 Schubert, elected an honorary member of the musical society
of Graz, began this symphony (No. 8) intended as an acknowledgment
of the compliment. He finished the Allegro and Andante and wrote nine
measures of the Scherzo during the same year, but never took it up
again, and there is no record of his ever having heard it. Only in one
sense may this work be said to be unfinished. If a symphony must be
in three or four movements arranged according to a certain order, then
it is unfinished. And Schubert actually began the composition of a
Scherzo. On the other hand Beethoven’s piano sonata, opus 109 has
two movements, but no one considers it “‘unfinished.’’ Perhaps the
common tonality of the two movements completes the scheme; but if
Schubert were alive today, and should write two movements, the first
beginning in C major and the second ending in B flat minor, would it
necessarily be considered unfinished? Possibly even Schubert felt he
could not write two more movements which would worthily follow
these two. At any rate, during the six remaining years of his life he
did not return to the symphony, and instead of mourning because the
other movements were not added, let: us rejoice in the possession of
these two.

3. FANTASIA, ‘SHRANCESCA DA RIMINI? Wo cccssnccceeeeen Tschatkowsky

section is introduced in which the clarinet sings a plaintive subject
over a pizzicato accompaniment in the strings. This may be taken
to represent the narrative of Francesca. After this has been worked
over at considerable length, the material of the first part is given
further presentation.

INTERMISSION

4, Concerto FoR VIOLIN IN D Magor

Allegro ma non troppo
Larghetto—
Rondo: Allegro

CECILIA HANSEN

Sees Chee et aa Beethoven

City of San Francisco Municipal
Christmas Eve. Observance

ADMISSION FREE — PUBLIC INVITED

EXPOSITION AUDITORIUM
Wed. Eve., Dec. 24, 7 P.M. to 10 P.M.

Auspices
Mayor JAMES RoipyH, Jr. BoARD OF SUPERVISORS
Direction: Avuprror1umM COMMITTEE i
J. EMMET HayYvEN, Chairman; ANGELO J. Rossi, Epwin G. Bats
Program arranged by San Francisco CoMMUNITY SERVICE
CHESTER W. ROSEKRANS, Executive Secretary

SYMPHONY “POP” NEXT SUNDAY
CURRAN THEATRE
Soloist: EOGENIA ARGIEWICZ BEM, Violinist

NEXT AUDITORIUM CONCERT

San. Francisco Symphony Orchestra
THURSDAY, JANUARY 15th

Sotoitist:

MISCHA ELMAN

VIOLINIST

Tickets on sale, December 22, Sherman, Clay & Co.

|
|
|
|

Scottish Rite Auditor-
gum: Monday Eve-
ning, December 22

Management, Ekoyn

new Victor artist, is here.

This remarkable young
Russian violinist has creat-
ed a furore in her American
appearances to date.

Hear Cecilia Hansen in
concert, then prepare to en-
joy her Victor records—for
surely they will soon be
many.

Let us play her“‘Berceuse”’
or “Rondino” on the Vic-
trola for you zow!

Kearny & Sutter Sts., S. F.
Mission Street near 21st
Oakland, Fourteenth and Clay

, ‘ateanatneeatatdeienatinenatensdinentdieetidineesdineradieentaeedineete tte ete eee
LICKETS AT SHERMAN. CLAY & CO.

are she sweeps

LYS °
A) \\. the strings!
7. ty. Cecilia Hansen, promising

Sherman, |@lay & Co.

(SAN I FiANCISCO
pace

Lene rienaraaan by {kK
X98} The Musical «
Association of |e
o> an Francisco |

FOURTH POPULAR

1924 1925
Fourteenth Season

|
|

Alfred Hertz

RECOMMENDS
CONN INSTRUMENTS

The San Francisco
Symphony

CONN
INSTRUMENTS

No Higher Endorsement

can be given to a musical

“T take great pleasure in
instrument, hence if the recommending Conn instru-

experience of great artists ments for § ymphony

orchestra work.”
means anything to you, your

Expert choice will be CONN.

Repairing

WORLD'S

LARGEST MANUFACTURERS
OF HIGH GRADE BAND AND
ORCHESTRA INSTRUMENTS

ALFRED HERTZ.

Conn San Francisco Co. Conn Oakland Co.
47 Kearny St. 531-16th St.

148

Musical Assoviation of San Francisco

Founded December 20, 1909 Incorporated February 3, 1910

OFFICERS
JOHN D. McKes, President
J. B. Levison, Vice-President _ E.R. Dirmonp, Treasurer
A, W. WIDENHAM, Secretary-Manager

BOARD OF GOVERNORS
J. K. Armsby A. B. C. Dohrmann John D. McKee
E. D. Beylard John S. Drum - Seward B. McNear
Miss Lena Blanding Milton H. Esberg L. F. Monteagle
Miss Louise A. Boyd Herbert Fleishhacker Robert C. Newell
George T. Cameron J. D. Grant J. C. Raas
Selah Chamberlain E. S. Heller F. R. Sherman
C. H. Crocker W.E. Creed Wm. T. Sesnon
Mrs. Templeton Crocker J.B. Levison M. C. Sloss
Wm. H. Crocker Walter S. Martin - William Sproule
E. R. Dimond John A. McGregor Sigmund Stern

EXECUTIVE COMMITTEE .
John D. McKee, Chairman

E. D. Beylard E. R. Dimond | J. B. Levison
Wm. H. Crocker E. S. Heller William Sproule

MUSIC COMMITTEE
J. B. Levison, Chairman

E. S. Heller E. D. Beylard Robert C. Newell

WOMEN’S AUXILIARY
Mrs. M. S. Koshland, Chairman
Miss Lena Blanding, Vice-Chairman
Mrs. M. C. Porter, Vice-Chairman

EXECUTIVE OFFICES

457 Phelan Building, San Francisco
A. W. WIDENHAM, Secretary-Manager

Hours 10 to 12 A. M., 2 to 4 P. M. Telephone Garfield 2819

149

HE choice of the

Mason & Hamlin Piano
for the concert platform
proclaims its sonority—
its selection by famous art-
ists declares the quality of
its tone—its presence in
homes of wealth and taste
bears tribute to its unpar-

alleled beauty!

Wiley BAllen ©.

135 KEARNY STREET, SAN FRANCISCO
1323 WASHINGTON STREET, OAKLAND

150

Che San HFrancisen Symphony Orchestra

ALFRED HERTZ, Conductor

1924——_Season—1925
FOURTH POPULAR CONCERT
502d Concert
CURRAN THEATRE
Sunday Afternoon, December 21, 2:45 o’clock
Soloist: EUGENIA ARGIEWICZ BEM, Violinist

PROGRAMME
s: Overturecte = Oberon oi ee kee Weber
PRAAIF ATOR inial GEveuite. ..eeaue ere Semen oe Sia ae Bach
.* Concerto for: Viohhnvinr minor. en ee Lalo
Andante—Allegro

Andantino
Allegro con fuoco

KUGENIA ARGIEWICZ BEM

Intermission
. Peer Gynt Suite, No. Je ae eee wee eta ee a ea Grieg
Morning
Ase’s Death

Anitra’s Dance
In the Hall of the Mountain King
. In the Village, from ‘‘Caucasian Sketches’

NOTE:—All Season Tickets must be paid for During December

NOTICE! There will be no concert Sunday, January
4, the next Popular Concert in the regular series being
given Sunday afternoon, January 18. The sixth pair of
concerts will be given Friday and Sunday afternoons,
January 9 and 11. For programmes see announcements

on page 158

We take pleasure in announcing a series of Masterworks recorded

by famous European Orchestras in albums.

Beethoven: Symphony No. 7, in A Major, Opus 92, in nine parts, on
five records. Set complete in album form...........-.- $8.75

Beethoven: Symphony No. 8, in F, Opus 93, in seven parts, on four
PSs EY DU ee Toe ARES, PeeE RE So, Teer yt BSE By F58 e Som Reye $7.00

By Weingartner and London Symphony Orchestra.

Dvorak: Symphony in E Minor, No. 5, Opus 95, from the New
World, 10 parts, five records............-...---- $8.75 complete

By Halle Orchestra, London.

Mozart: Symphony No. 39, in E flat, Opus 543, in six parts, on
CHLOE TOCOLAS lahens cevin ke seeane cade Cyuioen len seewnast $5.25 complete

By Weingartner and London Symphony Orchestra.

Tschaikowsky: Symphony Pathetique, in eight parts, on four records,

complete’ ‘in albu yn 520.535 25s ase teem ssnpsaket avalene au stas—o- $7.00
‘By Sir Henry Wood and New Queen’s Orchestra.

Beethoven: Quartet in C Sharp Minor, in ten parts, on five records,
GOmpletes Wn AUP cc os tance. opsvececoncengacest ce seasbeasteett oend $8.75
By Lener String Quartet, of Budapest.

Haydn: Quartette in D Major, in six parts, on three records,
Complete ain. alban iscsi o. Saceeeegees $5.25
By Lener String Quartet, of Budapest.

Mozart: Quartet in C Major, eight parts, on four records, com-
wy lebe. eet + APO UEC oes £0: ca = een n cope tenn weeset sth aeasnetecan sented $7.00

By Lener String Quartet, of Budapest.

Send for our historical catalog of ‘‘Musical Masterworks,’ free.

QUARG MUSIC CO.

206 Powell Street Open Evenings

Overture to ““Oberon”’ ~ ~ a - - - Weber

The great success of Weber’s operas, particularly “Der Frei-
schutz’’ and ‘“‘Euryanthe,”’ led to an offer from the directors of Covent
Garden in London for an opera to be written for production in that
theatre. Weber was in failing health at the time, but undertook the
commission and selected a fairy tale by Wieland, “Oberon,” as the
subject of the libretto. The overture was the last portion which he
wrote, as it is also his last musical composition. The overture is a
resume of the musical contents of the opera and has been placed
among the finest of the romantic overtures the world possesses. After
the introduction there is heard the prolonged horn tones representing
the call of Oberon, the king of the fairies. All the elves of his kingdom
obey the summons. The famous crashing chord, which comes as a
striking surprise, concludes the introduction. The leading subject and
the love song form the material for the main section, and the closing
subject is the melody of the well-known “Ocean, thou mighty
monster,” aria of the third act.

Air from D major Suite - : - ~ - Bach

This selection has its proper place as the second movement of
Bach’s third orchestral suite (or “overture,” as such works were styled
in his day), which is supposed to have been written during the period

ESTABLISHED 1852

Oe Ee 8 Oa AS Lee &

CONSISTENT
PRICES

Shreve and Company
Jewelers and Silversmiths

Post and Grant Avenue
San Francisco

153

of his residence at Leipsic. It is the most familiar, as well as the most
universally admired, of all the master’s orchestral compositions, being
the original of the celebrated “Air for the G String’’—+the latter being
a transcription for violin with piano accompaniment by August
Wilhelmj, in which the movement is transposed to C major, and the
noble melody given to the sonorous low string of the solo instrument.

Concerto for Violin and Orchestra, in F minor - - Lalo

This concerto was performed for the first time by Sarasate at a

concert National du Chatelet, Paris, January 18, 1874. Its success was

immediate.

There is a short and sturdy introduction with recitative passages
for the solo violin. In the Allegro, after a few measures of introduc-

tion, the chief theme, passionate in nature, is given to the solo violin.
A theme of a gentle character (flutes) and a suave motive (solo

violoncello) with the first motive furnish the chief material for devel-

opment. The Andantino movement is, in effect, a Romance for the

GEORGE STEWART McMANUS

Pianist
(Returned from World Tour with Jean Gerardy)
Instruction in the Art of Piano Playing
and Accompanying

Residence Studio:

2444 Larkin Street, San Francisco
Phone Franklin 6257

Mondays: Ray Coyle Building, 526 Powell Street
Phone Sutter 3634

Thursdays: 2510 College Avenue, Berkeley
Phone Berkeley 436-]

Available for engagements as Solo Pianist or Accompanist

THE
MARGARET MARY MORGAN (‘O.

Gngraving- Printers - Publishing

619 CALIFORNIA STREET
DOouGLAS 4633

We are now ready to serve you from a most complete selection of engravea

Christmas Greeting Cards

for personal and commercial use.
Our most inexpensive cards, along with the more exclusive ones, have been designea with

the same thorough good taste.
Order while stock is complete.

154

_ solo instrument. Besides the vigorous chief theme, in the Allegro con
fuoco movement, there is a motive of charming gayety twice given
out by the solo instrument, and occurring later in dance rhythm with
embroidery by the solo violin.

The orchestral part of this concerto is so important and so finely
worked that, as the late Hugues Imbert well suggested, the composi-
tion might be entitled “Symphony with solo violin.”

Peer Gyni Suite, No. 1 - - - - “ - Grieg

The character of Peer Gynt is taken from a Norwegian folk-
legend. He is a sort of Norsk Faust, a man destined to be lured on
to destruction by his over-wealth of imagination unless he be saved
by a woman. In the play, Peer Gynt is a peasant boy whose parents
had once seen better days; but the father is dead, and the mother and
son are now living in extreme poverty. The boy’s head teems with
ideas and he forms many grand plans for the future. He makes his
mother his confidante and she, though not blind to the fantastic wild-
ness of his ways and schemes, cannot help believing in him. His

youthful arrogance is unbounded. He goes to a wedding and carries

Cable Address, ‘‘Mandib’’ Telephone Sutter 2945

Established 1869

Manheim, Hihbern & Cn.

315 MONTGOMERY STREET

SAN FRANCISCO

Susurauce Brokers Stock and Bond Brokers

Members, Insurance Brokers :
Exchange Members, The San Francisco Stock

Fire (in all its branches), Marine, and Bond Exchange
Burglary, Casualty, Automobile, , , :

Life, Liability, Earthquake, Strike Quotations and information on all
and Riot, Ete. stocks always on hand.

155

off the young bride to the mountains, where he afterwards deserts her.
Roaming about through the night he meets a party of frolicsome dairy
maids. At last he finds refuge in the halls of the king of Dovre
Mountains; here he falls in love with the king's daughter, but is
expelled from the palace upon his love being discovered. Returning
home again, he finds his mother, Ase, on her death bed. After her
death he sails for foreign lands, stays away for many years, and at
length lands upon the coast of Morocco, a rich man. In an Arabian
desert he meets Anitra, daughter of a Bedouin chieftain, and falls in
love with her; but his love is only short-lived, and Anitra, discovering
that her hold upon him grows weaker, soon leaves him. He dreams
of Solveig, his first love, the bride whom he abandoned in the Norway
mountains. He goes back to his northern home, finds Solveig faith-

fully waiting for him, and dies in her arms.

“In the Village,” from Caucasian Sketches - - Ippolitow-Ivanow

Ippolitow-Ivanow, one of the younger school of Russian con-
ductors, was for a number of years conductor of the opera in Tiflis,

Caucasus, and while there made a thorough study of the music of the

a —eec—0——0— om |

Tue Saw Francisco Savings ano Loan Society

(THE SAN FRANCISCO BANK)
SAVINGS COMMERCIAL
INCORPORATED FEBRUARY 10th, 1868.

One of the Oldest Banks in California,
the Assets of which have never been increased
by mergers or consolidations with other Banks.

Member Associated Savings Banks of San Francisco
526 California Street, San Francisco, Cal.

JUNE 30th, 1924

Me enh @.2OE Pike OF, ke Tein teh hose GeMMINE IEEE TAS $93,198,226.96
Capital, Reserve and Contingent Hunds, ch. 2. 3,900,000.00
Employees’ Pension Fund.......--++++++++++: 446,024.41
MISSION BRANCH. .:.....csccccecessecseresesesere Mission and 21st Streets
PARK-PRESIDIO DISTRICT BRANCH. vic. cise sicieisis Clement St. and 7t ve.
HAIGHT STREET BRANCH......-.---++eeeee: Haight and Belvedere Streets
WEST PORTAL BRANCH.....:.--+eeeeeeers West Portal Ave. and Ulloa St.

| Interest paid on Deposits at the rate of
FOUR AND ONE QUARTER (414) per cent per annum,

COMPUTED MONTHLY and COMPOUNDED QUARTERLY,
AND MAY BE WITHDRAWN QUARTERLY

156

country. As a result he wrote a monograph on the Georgian folk
songs and the suite known as ‘Caucasian Sketches.’

The piece is preceded by an introduction consisting of declama-
tory passages for an English horn and a solo viola alternately, and of
a plaintive melody for the former instrument. The main body of the
movement is built upon the theme given out, after four introductory
measures by the oboe. The piece closes with material similar to that
with which it began.

Caprice Viennois’~ - 7 - - - - - Kreisler

The Caprice Viennois is one of the best known compositions of
Fritz Kreisler, the eminent violinist, possessing the touch of sadness
and graceful rhythm which is characteristic of his other Viennese

pieces. Although originally a violin solo, the composer has also
arranged it for piano solo, while the orchestration played today was

arranged by Alfred Hertz.

Overture to “The Gypsy Baron”’ ~ - ~ Johann Strauss

To Johann Strauss, the younger—and greater—is probably due
credit for having provided the world with more genuine pleasure than
any other musicians who ever put pen to paper. Berlioz, Wagner
and Brahms were profuse in their expressions of admiration for his
music, and Hans von Bulow even went so far as to advocate the

ALFRED METZGER—

REDFERN Mason—

He played admirably.
There was no _ self-con-
scious virtuosity; it was
the pure bel canto of the
flute, every note round
and perfect as a pearl.—
San Francisco Examiner,

M1. Anthony Linden

Orchestral Conductor and Flute Virtuoso
Soloist—T eacher—Lecturer
Solo Flutist, San Francisco Symphony Orchestra
Formerly Solo Flutist, Minneapolis Symphony Orchestra
Director Linden School of Flute Playing

Address all communications to

457 Phelan Building, San Francisco

157

—
cr =

= =
pees

ANNOUNCEMENT
FIFTH PAIR OF SYMPHONY CONCERTS
Curran Theatre

Friday, December 26, 3:00 P. M.
Sunday, December 28, 2:45 P. M.

Soloist: LOUIS PERSINGER, Violinist

PROGRAMME
[ee enelucdettor a arsibale sett pereae fie oe oom melons steel Wagner
2. Concerto for Violin, G minor
Allegro moderato
Adagio
Finale: Allegro vivace
LOUIS PERSINGER
a. OyIMpHOny No. 5, hhenish wets... ee Schumann
(Transcribed for modern orchestra by Frederick Stock)
Allegro con brio
Scherzo
Andante commodo
Molto maestoso—
Allegro giocoso

ANNOUNCEMENT

SIXTH PAIR OF SYMPHONY CONCERTS
Curran Theatre

Friday, January 9, 3:00 P. M.
Sunday, January 11, 2:45 P. M.

Soloist: E. ROBERT SCHMITZ, Pianist

PROGRAMME

I. Symphony in G major ( Wdhe-Surprise >)... 2-2. Haydn
Adagio cantabile—Vivace assai
Andante—Theme and Variations
Menuetto: Allegro molto
Finale: Allegro di molto
(First time at these concerts)

2. Burleske in D minor for Piano and Orchestra

(First time in San Francisco)

3. Prelude and Love Death from “Tristan and Isolde’’....

4. Symphonic Variations for Piano and Orchestra..........

i tmoieSiive ula diet qi rate me see RSE eee lad ae ieee ag Cesar Franck
(First time at these concerts)

158

occasional insertion of his waltzes into the programmes of symphony
concerts. Wagner is quoted as saying on one occasion: “One of
Strauss waltzes as far surpasses in charm, finish and real musical worth

hundreds of the artificial compositions of his contemporaries as the

tower of St. Stephens surpasses the advertising columns on the Paris
boulevards.’’ Although he is best known for his waltzes, of which he
wrote nearly four hundred, Strauss also composed a number of oper-

ettas, among them being the ““Gypsy Baron,”’ the overture to which is
played today.

Studio Hours: Monday, Tuesday and 683 Sutter Street
Friday Afternoon, 2 to 5 Studio No. 2

STUDIO OF THE THEATRE
REGINALD TRAVERS

announces he will open a practical School of the Theatre January Fifth.

Special attention given to singers getting up a INTERVIEW BY APPOINTMENT

repertoire coached in stage business and technique. Phone: Franklin 7190

SHiaiOn Hours. Tuesday, Wednesday, Saturday Phone Douglas 1678
Afternoons—2-5

KAJETAN ATTL

Solo Harpist
San Francisco Symphony Orchestra

Using Lyon & Healy Harps, The World’s Standard
FOR ENGAGEMENTS

AS SOLO ARTIST, ACCOMPANIST, OR

PLAYER IN ENSEMBLE MUSIC,
ADDRESS

KAJETAN ATTL, BOHEMIAN CLUB
SAN FRANCISCO, CALIFORNIA
RES. PHONE FRANKLIN 7847

Orley See

Violinist and Teacher
Concert and Recital

a
48 Wildwood Avenue, Piedmont

Phone Piedmont 8140-J (Tuesday) Douglas 1678

159

FIRST VIOLINS

Persinger, Louis
Concert Master and
Assistant Conductor

Argiewicz, Artur
Assistant Concert
Master

Ford, Louis
Assistant Concert
Master

Meriz, E.

Mendelevitch, R.

Laraia, W. F.

Gluschkin, M.

Gordohn, R.

Seiger, Rudy

Bem, Eugenia

Koenig, H.

See, Orley

Mortensen, Modesta

Amsterdam, M.

Pasmore, Mary

Ruiz, R.

SECOND VIOLINS
Jensen, T.

Principal
Haug, J. A.
Callinan, W. G.
Hidden, R. L.
Gold, J.
Paterson, J. A.
Blaha, A.
Manchester, W.
Atkinson, Helen
Dunn, H. A.
Gough, W.
Hoffman, H. H.
Dabelow, W.

VIOLAS

Fenster, Lajos

Principal
Hahl, E.
Baker, F. A.
Wismer, H.
Weiler, E.
Lichtenstein, V.
Patchook, S.
Dierich, F.
Kolb, R.
Lewis, A.

JJersonnel

The San Francisea Symphony Orchestra

ALFRED HERTZ, CONDUCTOR

"CELLOS

Ferner, Walter
Principal

Dehe, W.
King, O.

~ Villalpando, W.

Weiss, A.

Kirs, R.

Gegna, M.
Pasmore, Dorothy

Hranek, C.

BASSES

Lahann, J.
Principal

Greene, S.
Bell, W.
Storch, A. E.
Cassetta, L. R.
Guterson, A.
Annarumi, A.
Giese, W.

FLUTES
Linden, Anthony
Newbauer, Louis

Oesterreicher, Walter
Orchestral Manager

Benkman, H.

PICCOLO

Oesterreicher, Walter

OBOES
Addimando, C.
Shanis, Julius
Schipilliti, V.
Utschig, H.

ENGLISH HORN
Schipilliti, V.

CLARINETS
Randall, H. B.
Zannini, N.
Fragale, F.
Greenbaum, A. A.

BASS CLARINET
Fragale, F.

BASSOONS
Kubitschek, E.
La Haye, E. B.
Hranek, C.

CONTRA BASSOON
Kolb, R.

HORNS
Hornig, W.
Tryner, C. E.
Roth, P.
Huske, F. E.
Rocco, R.

TRUMPETS
Ditzel, E.
Arriola, A.

Kegel, Otto
Kress, V.

TROMBONES
Tait, F. W.
Clark, O. E.
Bassett, F.N.

TUBA
Murray, R.

HARP
Attl, Kajetan
Schipilliti, Annette

TYMPANI
Wagener, R. E.

PERCUSSION
Nickel, M.
Vendt, A., Jr.
Kundy, E.

PIANO AND CELESTA
Ormay, Gyula

LIBRARIAN
Kegel, Otto

A. W. WIDENHAM, Secretary-Manager

160

“The Happiest Homes in All Creation

Are Homes Surrounded by Recreation”

The “Carmel” of the Peninsula

dict | pales a

“BELLE MONTI’”

There are so many natural features which add to the
attractiveness of “Belle Monti” as an Artist and Musician
Center that its appeal is instantaneous.

Live oak, pine and eucalyptus trees planted years ago by men who
foresaw the future demand for suburban homes; hillside locations
with marine and mountain view; sheltered level lots—macadamized
streets, electricity, water, phone and strict sanitary requirements.
Marvelous home and cabin sites averaging in price $475—some as Lewis
low as $300, including permanent membership in the ;

Belle Monti Country Club

Now Building
for which $250,000 has been directed to be set aside for club house,

swimming pool, courts, links, etc.

Nine Hole Golf Course Now Open

Write, call or phone for complete information. aS
Artist Center Division © ‘yp

MA
BELLE MONTI SALES CO. PA Gr

Garfield 2157 iA
212 Sutter Street Sooto®

San Francisco LS |

Artist Center Division
BELLE MONTI SALES CO.
212 Sutter Street, San Francisco
Please send airplane view in colors and complete information regard-

ing “Belle Monti” and Belle Monti Country Club to.------------s-seesseeeceeeseseees

Choose your piano carefully.
Choose it as you would
choose an intimate member
of your family circle. Choose
it for qualities that will en-
dure.

Let your choice, if possible,
be a STEINWAY. [here is no
other piano of qualities more
enduring—of distinction so
immediately recognized.

Siemans & Co.

Kearny & Sutter Sts.
Oakland - Clay at 14th

SAN FR FRANCISCO
SYMPHONY:
ie > ORCHE STR

oe Maintaimea by
i The Musical 4

(We Association of |i;
G

aan Francrsco

1924 1925

Fourteenth Season

ALFRED HERTZ CONDUCTOR

|__EISS EOS
(RELAX

a — _ = — —— = — S
i — Si =.= a == - = — = See

Alfred Hertz

“RECOMMENDS
CONN INSTRUMENTS

The San Francisco
Symphony

CONN
INSTRUMENTS

No Higher Endorsement

can be given to a musical
“T take great pleasure in

instrument, hence if the recommending Conn instru-

experience of sreat artists ments for symphony
orchestra work.”

means anything to you, your

MI | Expert choice will be CONN.

Repairing

WORLD'S
LARGEST MANUFACTURERS
OF HIGH GRADE BAND AND
ORCHESTRA INSTRUMENTS

ALFRED HERTZ.

ih Conn San Francisco Co. Conn Oakland Co.
47 Kearny St. 531-16th St.

164

Musical Association of San Francisen

Founded December 20, 1909 Incorporated February 3, 1910

OFFICERS
JoHN D. McKzs, President
J. B. Levison, Vice-President EK. R. Dimonp, Treasurer

A. W. WipEeNHAM, Secretary-Manager

BOARD OF GOVERNORS

J. K. Armsby A. B. C. Dohrmann John D. McKee

E. D. Beylard John S. Drum Seward B. McNear
Miss Lena Blanding Milton H. Esberg L. F. Monteagle
Miss Louise A. Boyd Herbert Fleishhacker Robert C. Newell
George T. Cameron J. D. Grant J. C. Raas

Selah Chamberlain E. S. Heller F. R. Sherman

C. H. Crocker W.E. Creed Wm. T. Sesnon
Mrs. Templeton Crocker J. B. Levison M. C. Sloss

Wm. H. Crocker Walter S. Martin William Sproule
E. R. Dimond John A. McGregor Sigmund Stern

EXECUTIVE COMMITTEE
John D. McKee, Chairman

E. D. Beylard E. R. Dimond J. B. Levison
Wm. H. Crocker. E. S. Heller William Sproule

MUSIC COMMITTEE

J. B. Levison, Chairman

E. S. Heller E.. D. Beylard Robert C. Newell

WOMEN’S AUXILIARY
Mrs. M. S. Koshland, Chairman
Miss Lena Blanding, Vice-Chairman
Mrs. M. C. Porter, Vice-Chairman

EXECUTIVE OFFICES

457 Phelan Building, San Francisco
A. W. WIDENHAM, Secretary-Manager

Hours 10 to 12 A. M., 2 to 4 P. M. Telephone Garfield 2819

165

a CL ET ae =e oe ee

a
| a — =
4 e
‘ —
Ad
L772

—

HE choice of the
Mason & Hamlin Piano

for the concert platform
proclaims its sonority—
its selection by famous art-
ists declares the quality of
its tone—its presence in
homes of wealth and taste
bears tribute to its unpar-

alleled beauty!

\iley BAllen ©.

135 KEARNY STREET, SAN FRANCISCO
1323 WASHINGTON STREET, OAKLAND

166

Che San Francisea Symphony Orchestra

ALFRED HERTZ, Conductor

1924—Season—1925

FIFTH PAIR OF SYMPHONY CONCERTS
503d and 504th Concerts

CURRAN THEATRE

Friday Afternoon, December 26, 3:00 o’clock
Sunday Afternoon, December 28, 2:45 o’clock
Soloist: LOUIS PERSINGER, Violinist

PROGRAMME

1Abreladé- tot? t arsitah oo eee ake ee a Wagner
2«.Concerto for: Violin Gumiiorig: tet. es = ee Bruch
Allegro moderato

dagio
Finale: Allegro vivace

LOUIS PERSINGER

Intermission

9s SVINDLONW NOs 15s) EN ETISN Sie) meee ne ee Schumann
(Transcribed for modern orchestra by Frederick Stock)
Allegro con brio
Scherzo
Andante commodo
Molto maestoso—
Allegro giocoso
(First time in San Francisco)

NOTE:—All Season Tickets must be paid for During December

on page 158

167

Se Be ee ee ee ee ae

a A CL TC ~~ =

onogr aph Ohop.

109 Stockton Street

We take pleasure in announcing a series of Masterworks recorded

by famous European Orchestras in albums.

Beethoven:

Dvorak:

Mozart:

Tschaikowsky:

Beethoven:

Haydn:

Mozart:

Symphony No. 7, in A Major, Opus 92, in nine parts, on
five records. Set complete in album form........------ $8.75

Symphony No. 8, in F, Opus 93, in seven parts, on four
COP). vc Mini chak | ectsaccp en cute s Mt ete estaemuat sane nareisseenes 93 $7.00
By Weingartner and London Symphony Orchestra.

Symphony in E Minor, No. 5, Opus 95, from the New
World, 10 parts, five records...........--.------ $8.75 complete

By Halle Orchestra, London.

Symphony No. 39, in E flat, Opus 543, in six parts, on
three TECOTGS: .occ ko ckepesoasates sanssacsaereees ena $5.25 complete
By Weingartner and London Symphony Orchestra.

Symphony Pathetique, in eight parts, on four records,
complete in album ........--------------------ecc-ccoreetenneer ee $7.00

By Sir Henry Wood and New Queen’s Orchestra.

Quartet in C Sharp Minor, in ten parts, on five records,

complete in album......--...----------s--------2e-e0-cceernernenn $8.75
By Lener String Quartet, of Budapest. ;
Quartette in D Major, in six parts, on three records,
complete in album............-----------------2----e00c cotter $5.25
By Lener String Quartet, of Budapest.

Quartet in C Major, eight parts, on four records, com-

plete in album..........-2------------------seeeeneeeenecc concent $7.00
By Lener String Quartet, of Budapest.

Send for our historical catalog of ‘Musical Masterworks,” free.

QUARG MUSIC CO.

206 Powell Street Open Evenings

168

Prelude to “Parsifal’’ Spt rie - ~ - : Wagner

The following are Wagner's own words about the prelude, con-
tained in H. E. Krehbiel’s “Studies in the Wagnerian Drama’: “Strong
and firm does Faith reveal itself, elevated and resolute even in suffer-
ing. In answer to the renewed promise, the voice of Faith sounds
softly from eminent heights—as though borne on the wings of the
snow-white dove,—slowly descending, embracing with ever-increasing
breadth and fulness the heart of man, filling the world and the whole
of nature with mightiest force, then, as though stilled to rest, glancing
upward again toward the light of heaven. Then once more from the
awe of solitude arises the lament of loving compassion, the agony, the
holy sweat of the Mount of Olives, the divine suffering of Golgotha;
the body blanches, the blood streams forth and glows now with the
heavenly glow of blessing in the chalice, pouring forth on all that lives
and languishes the gracious gift of Redemption through Love. For
him we are prepared, for Amfortas, the sinful guardian of the shrine,
who, with fearful rue for sin gnawing at his heart, must prostrate
himself before the chastisement of the vision of the Grail. Shall
there be redemption from the devouring torments of the soul? Yet
once again we hear the promise and—hope!”’

The prelude reflects the prevailing sacred sentiment of the entire
opera. It begins with a theme which suggests the Last Supper and
the mission of the Knights of the Holy Grail. Intoned at first without
harmony by strings and woodwinds, in its vague tonality it rises almost
like incense from the mystic orchestra. The churchly atmosphere is

ESTABLISHED 1852

Did hI

CONSISTENT
PRICES

Shreve and Company
Jewelers and Silversmiths

Post and Grant Avenue
San Francisco

169

———— — — —_, Ce ee eee . — --~ a -

Hi “y

presently strengthened when trumpets and trombones proclaim the
Grail theme. Next comes the theme of Faith, again given out by the
brass choir, militant and assertive.

Concerto for Violin and Orchestra in G minor ~ - Bruch

Of Bruch’s four concertos for violin and orchestra, the one in
G minor is the best known; it is, indeed, a rival of the Mendelssohn
violin concerto for the honor of being the most popular work of this
type ever written. The concerto was completed in 1866, and was
first played in April of that year. In the same summer Bruch sent the
manuscript to Joseph Joachim, the greatest violinist of his time, and
the latter had a considerable hand in the extensive revision which
shaped the concerto as it now stands; the dedication of the work to
Joachim was no mere compliment. The concerto begins with a
prelude having no thematic connection with the rest of the movement,
the main body of which opens with a statement of the first theme by
the violin against a tremolo accompaniment. The violin likewise
announces the second theme. After an extended development, and
a long passage for the full orchestra, there is a return of the prelude,
and a transitional passage leads over to the slow movement. The
Adagio is built up out of the three principal themes, one of them being

GEORGE STEWART McMANUS

Pianist
(Returned from World Tour with Jean Gerardy)
Instruction in the Art of Piano Playing
and Accompanying
Residence Studio:

2444 Larkin Street, San Francisco
Phone Franklin 6257

Mondays: Ray Coyle Building, 526 Powell Street
Phone Sutter 3634

Thursdays: 2510 College Avenue, Berkeley
Phone Berkeley 436-J

Available for engagements as Solo Pianist or Accompanist

THE
ARGARET MARY MORGAN (CO.

Engraving. Printers - Publishing
619 CALIFORNIA STREET

DouGLas 4633

We are now ready to serve you from a most complete selection of engravea

Christmas Greeting Cards

for personal and commercial use.
Our most inexpensive cards, along with the more exclusive ones, have been designea with

the same thorough good taste.
Order while stock is complete.

170

justly considered among the loveliest melodies of the nineteenth cen-
tury. This melody prevails throughout the entire movement, the other
. themes being employed essentially as contrasts. The final movement,
after a brief orchestral prelude, introduces the marck-like first theme
‘n the violin. The second theme, more lyric in character, appears first
-n the orchestra, and after extended development of the material the

movement ends with a brilliant coda.

Symphony No. 3, ‘‘Rhenish”’ - ~ - - Schumann

In arranging this symphony for modern orchestra, Frederick
Stock, conductor of the Chicago Symphony Orchestra, has given the
following explanation of the circumstances which prompted him to
undertake the work:

‘It happened in the earlier part of December, 1903, that Theo-
dore Thomas conducted at one of the concerts of that season—the
thirteenth in the history of our orchestra—Robert Schumann's third,
or ‘Rhenish’ symphony. After the presentation of the symphony the °
writer of these lines found Thomas in most dejected spirits in the green
room behind the stage of the Auditorium, which in those days housed
the orchestra for its regular season of symphony concerts.

‘*‘Oh, if Schumann had only known how to handle the orches-
tra,” Thomas said to me, rather angrily, ‘how effectively his music
could be made to sound! Such fine, noble themes, good workman-
ship, and yet such abominably poor orchestration! All of Schumann's
four symphonies should be re-scored, but especially this one. Anton

Cable Address, ‘‘Mandib’’ Telephone Sutter 2945

Established 1869

Manheim, Dibbern & Co.

315 MONTGOMERY STREET

SAN FRANCISCO

Insurance Brokers | Stork and Bond Brokers
sea giras time ee per OSE Members, The San Francisco Stock
Fire (in all its branches), Marine, and. Bond Hxchapse
Burglary, Casualty, Automobile Lage he
fife: Liabiliie Barthquake, Si pik 2 Quotations and information on all
and Riot, Ete. stocks always on hand.

one ea aan Se tt aT at aa eS Pee ee

171

SS ee ee —

eS a en ee

Dvorak promised me that he would take them in hand; but of course
he is so busy all the time composing his own music, that I doubt if he
ever will get to it. I shall do it myself as soon as time permits.’

“The time never came for Thomas to do as he intended, for just
about thirteen months later he left this world. His remarks concern-

ing Schumann's symphonies have ever lingered in my memory, and
today’s first performance of his ‘Rhenish’ symphony in an entirely
new orchestral garment is an attempt to bring to new life a work for
which I have always felt the most affectionate regard. The new score
represents a great amount of arduous, conscientious labor on my part,
and | have taken pains to preserve the spirit of romance with which
all of Schumann’s works are imbued.

‘‘Comparing the original score with the new orchestration, one
will find that about a dozen new instruments have been added, not
only for the sake of sonority, but especially to obtain a larger variety
of color effects. The first and last movements have been intentionally
scored with utmost brilliancy, while the scherzo has been treated with
lightness of touch and a somewhat deft humor. The romanza, or
third movement, retains much of Schumann’s tone color, which is quite
soft and shadowy. The cathedral scene, which precedes the finale, is
changed completely as regards orchestral design; I believe that Schu-
mann intended to picture the great Cologne cathedral as its massive
forms rise boldly against the dull sky of a gray autumn day, when
heavy mists rise from the Rhine, as it majestically passes in close
vicinity to the cathedral. Here again I have tried to preserve the

Tue San Francisco Savings ano Loan Sociery

(THE SAN FRANCISCO BANK)
SAVINGS COMMERCIAL
INCORPORATED FEBRUARY 10th, 1868. :

One of the Oldest Banks in California,
the Assets of which have never been increased
by mergers or consolidations with other Banks.

Member Associated Savings Banks of San Francisco
526 California Street, San Francisco, Cal.

JUNE 30th, 1924

NASER ee an pee esd RINT aa sh gta te TN aE sas $93,198,226.96
Capital, Reserve and Contingent Funds 3,900,000.00
Employees’ Pension Fund : 446,024.41

MISSION BRANGH 606 ire s <sivin ss tie ase cee «005 slates es Mission and 21st Streets

PARK-PRESIDIO DISTRICT BRANCH Clement St. and 7th Ave.

HAIGHT STREET BRANCH _ Haight and Belvedere Streets

WEST PORTAL BRANCH West Portal Ave. and Ulloa St.
Interest paid on Deposits at the rate of

FOUR AND ONE QUARTER (414) per cent per annum,

COMPUTED MONTHLY and COMPOUNDED QUARTERLY,

AND MAY BE WITHDRAWN QUARTERLY

172

= -

romantic mysticism so characteristic of the original.”’

The score of Mr. Stock’s new version of Schumann’s symphony
contains the following inscription: ““To a devoted lover of all good
music, and a great admirer of Robert Schumann’s genius—Mrs. Clyde
M. Carr—this amplified version of one of his most beautiful works is
respectfully dedicated by Frederick A. Stock,” while below his name
the transcriber wrote: “May the Lord and Schumann bestow mercy
upon him!”’

Mr. Felix Borowski, the splendid programme annotator for the
Chicago Symphony Orchestra, supplied further comment upon the
symphony, on the occasion of its first performance in the new form
December 9-10, 1921:

“Before proceeding to a comparative analysis of the symphony,
+ should be stated that Mr. Stock has made more than a mere
rearrangement of Schumann's orchestration. In certain places, in
order to give greater clarity to the thought, the transcriber has found
it necessary to add a measure here or there—as, for instance, an extra

‘measure at the beginning of the fourth movement, so that the enuncia-

tion of the theme of the movement, somewhat clouded in Schumann's
version, may be made more apparent to the ear. In order, too, that
the work be given a more effective ending, Mr. Stock has replaced the
coda of Schumann’s invention by another, in which, however, he has
employed the master’s material. It is worth mentioning, also, that the
transcriber has not omitted to avail himself of such opportunities as
arise from contrapuntal embellishment in the various orchestral voices,
these, however, growing out of the material which Schumann orig-

ALFRED METZGER—

REDFERN Mason—
He played admirably.

There was no_ self-con-
scious virtuosity; it was
the pure bel canto of the
flute, every note round
and perfect as a pearl._—
San Francisco Examiner.

M. Anthony Linden

Orchestral Conductor and Flute Virtuoso
Soloist—1 eacher—Lecturer
Solo Flutist, San Francisco Symphony Orchestra
Formerly Solo Flutist, Minneapolis Symphony Orchestra
Director Linden School of Flute Playing

Address all communications to

457 Phelan Building, San Francisco

173

Now Open For Bookings

SAN FRANCISCO WIND INSTRUMENT ENSEMBLE

C. Addimando, Oboe H. Benkman, Flute
N. Zannini, Clarinet Charles Tryner, French Horn
E. Kubitschek, Bassoon Isabelle Arndt, Piano
Management LULU BLUMBERG
3131 Jackson Street Telephone Fillmore 8035

ANNOUNCEMENT

SIXTH PAIR OF SYMPHONY CONCERTS
Curran Theatre

Friday, January 9, 3:00 P. M.
Sunday, January 11, 2:45 P. M.

Soloist: E. ROBERT SCHMITZ, Pianist

PROGRAMME
1. Symphony in G major (“The Surprise’’) ..............--Haydn

Adagio cantabile—Vivace assal
Andante—TIheme and Variations
Menuetto: Allegro molto

Finale: Allegro di molto

(First time at these concerts)

2. Burleske in D minor for Piano and Orchestra.......-....
EA GUMEY (ele b bee, einay 2 mere ian, Salty ine Woe pee Richard Strauss

(First time in San Francisco )

2 Prelude and Love Death from “Tristan and Isolde’’....

4. Symphonic Variations for Piano and Orchestra.......... |

Rn Se ey rept oer ey ates ee isn PEE Ne Cesar Franck
(First time at these concerts)

174

inated in the first place.

“Tt will be of interest to compare the orchestral forces used by
Schumann and those which are used to interpret the present version
of the symphony. Schumann employed the following instruments:
Two flutes, two oboes, two clarinets, two bassoons, four horns, two
trumpets, three trombones, kettledrums and strings. In the first, sec-
ond and third movements he did not employ trombones at all. Mr.
Stock’s score calls for three flutes (the third flute interchangeable
with a piccolo), three oboes (one interchangeable with an English
horn), three clarinets, three bassoons, four horns, four trumpets, three
trombones, bass tuba, kettledrums, triangle, cymbals, bass drum, side
drum, tambourine, and strings.’

Studio Hours: Monday, Tuesday and 683 Sutter Street
Friday Afternoon, 2 to 5 Studio No. 2

STUDIO OF THE THEATRE
CRREGINALD TRAVERS

announces he will open a practical School of the Theatre January Fifth.

Special attention given to singers getting up a INTERVIEW BY APPOINTMENT
Phone: Franklin 995

repertoire coached in stage business and technique.

Tuesday, Wednesday, Saturday

Phone D las 1678
Afternoons—2-5 one Vougias

Studio Hours:

KAJETAN ATTL

Solo Harpist
San Francisco Symphony Orchestra

Using Lyon & Healy Harps, The World’s Standard
FOR ENGAGEMENTS
AS SOLO ARTIST, ACCOMPANIST, OR
PLAYER IN ENSEMBLE MUSIC,
ADDRESS

KAJETAN ATTL, BOHEMIAN CLUB
_ SAN FRANCISCO, CALIFORNIA
RES. PHONE FRANKLIN 7847

Violinist and Teacher
Concert and Recital

48 Wildwood Avenue, Piedmont

Phone Piedmont 8140-J (Tuesday) Douglas 1678

175

es erg

wil Wy

FIRST VIOLINS

Persinger, Louis
Concert Master and
Assistant Conductor

Argiewicz, Artur
Assistant Concert
Master

Ford, Louis
Assistant Concert
Master

Meriz, E.

Mendelevitch, R.

Laraia, W. F.

Gluschkin, M.

Gordohn, R.

Seiger, Rudy

Bem, Eugenia

Koenig, H.

See, Orley

Mortensen, Modesta

Amsterdam, M.

Pasmore, Mary

Ruiz, R.

SECOND VIOLINS
Jensen, T.

Principal
Haug, J. A.
Callinan, W. G.
Hidden, R. L.
Gold, J.
Paterson, J. A.
Blaha, A.
Manchester, W.
Atkinson, Helen
Dunn, H. A.
Gough, W.
Hoffman, H. H.
Dabelow, W.

VIOLAS

Fenster, Lajos

Principal
Hahl, E.
Baker, F. A.
Wismer, H.
Weiler, E.
Lichtenstein, V.
Patchook, S.
Dierich, F.
Kolb, R.
Lewis, A.

Jdersmuel

Che Sau Francisen Sumphony Orchestra

ALFRED HERTZ, CONDUCTOR

"CELLOS

Ferner, Walter
Principal

Dehe, W.

King, O.
Villalpando, W.
Weiss, A.

Kirs, R.

Geena, M.
Pasmore, Dorothy
Hranek, C.

BASSES

Lahann, J.
Principal

Greene, S.
Bell, W.
Storch, A. E.
Cassetta, L. R.
Guterson, A.
Annarumi, A.
Giese. W.

FLUTES
Linden, Anthony
Newbauer, Louis

Oesterreicher, Walter
Orchestral Manager

Benkman, H.

PICCOLO

Oesterreicher, Walter

OBOES
Addimandao, C.
Shanis, Julius
Schipilliti, V.
Utschig, H.

ENGLISH HORN
Schipilliti, V. ,

CLARINETS
Randall, H. B.
Zannini, N.
Fragale, F.
Greenbaum, A. A.

BASS CLARINET
Fragale, F.

BASSOONS
Kubitschek, E.
La Haye, E. B.
Hranek, C.

CONTRA BASSOON
Kolb, R.

HORNS
Hornig, W.
Tryner, C. E.
Roth, P.
Huske, F. E.
Rocco, R.

TRUMPETS
Ditzel, E.
Arriola, A.
Kegel, Otto
Kress, V.

TROMBONES
Tait, F. W.
Clark, O. E.
Bassett, F.N. .

TUBA
Murray, R.

HARP
Attl, Kajetan
Schipilliti, Annette

TYMPANI
Wagener, R.E.

PERCUSSION
Nickel, M.
Vendt, A., Jr.
Kundy, E,

PIANO AND CELESTA
Ormay, Gyula

LIBRARIAN
Kegel, Otto

A. W. WIDENHAM, Secretary-Manager

176

“The Happiest Homes in All Creation

Are Homes Surrounded by Recreation”

The “Carmel” of the Penins:la

se axl

“BELLE MONTY”

There are so many natural features which add to the
attractiveness of “Belle Monti” as an Artist and Musician

Center that its appeal is instantaneous.

Live oak, pine and eucalyptus trees planted years ago by men who
foresaw the future demand for suburban homes; hillside locations
with marine and mountain view; sheltered level lots—macadamized
streets, electricity, water, phone and strict sanitary requirements.
Marvelous home and cabin sites averaging in price $475—some as
low as $300, including permanent membership in the

Belle Monti Country Club

Now Building
for which $250,000 has been directed to be set aside for club house,

swimming pool, courts, links, etc.

Nine Hole Golf Course Now Open

Write, call or phone for complete information. zu

Artist Center Division © ROY

Vv
BELLE MONTI SALES CO. Cos
Garfield 2157 we cs

212 Sutter Street
San Francisco

Artist Center Division
BELLE MONTI SALES CO.
212 Sutter Street, San Francisco
Please send airplane view in colors and complete information regard-

ing “Belle Monti” and Belle Monti Country Club to

177

Choose your piano carefully.
Choose it as you would
choose an intimate member
of your family circle. Choose
it for qualities that will en-
dure.

Let your choice, if possible,
be a STEINWAY. [here is no
other piano of qualities more
enduring —of distinction so
immediately recognized.

Shera meay & Co.

Kearny & Sutter Sts.
Oakland - Clay at 14th

Remaining Dates

Chamber Music
Tuesday eve., Jan. 13

Symphony (pop)
Thursday eve., Jan.
Symphony (reg.)
Thursday eve., Feb. 12
Symphony (pop)
‘Thursday eve., Feb. 26
Symphony (reg.)
Thursday eve., Mar. 12
Symphony (pop)
Thursday eve., Mar. 26

SAN FRANCISCO

Symphony Orchestra

E. ROBERT SCHMITZ, Soloist
AUDITORIUM OPERA HOUSE

Thursday Evening, January 8, 1925

Eight-thirty- o’clock

Management ZANNETTE W. POTTER

Box Office at Sherman, Clay & Co., Oakland, Cal.
Telephone Lakeside 6700

Program
Symphony No, 6; ° Pastoral” e042 Beethoven

Allegro ma non troppo (Awakening of Joyful Feelings on Arrival
in the Country)

Andante molto moto (By the Brook)

Allegro (Village Festival)—

Allegro (The Storm) —

Allegretto (Shepherd’s Song: Thanksgiving after the Storm)

Burleske in D minor for Piano and Orchestra........
Richard Strauss

E. RoBERT SCHMITZ
Intermission

Symphonic Variations for Piano and Orchestra...
Cesar Franck

E. RoBERT SCHMITZ

Preludes to. . Parsital ccc alse eel eas ne W agner

pammpnony, No.6, Pastoral oan a eres eee Beethoven

Beethoven is so illustrious a master of absolute music that his
few excursions into the realm of “program” music, or music that
tells a story, are of intense important interest. Supporters of the
belief that music may be made to relate a definite story or to
depict incidents as well as broad feeling and emotions, will find in
Beethoven only a partial ally. The master approached the task of
writing a symphony that should tell a story with some hesitance
and a realization of the limitations of his narrative medium. We
find that his intentions, when this symphony was first conceived,
concerned itself with the creation of a work without any definite
program. In one of his sketch books he wrote the title, “Sinfonia
Characteristica, or Recollections of Country Life.” Scrawled at
side of the page were the annotations, “the hearer should be per-
mitted to discover the situations for himself; he who has ever
conceived an idea of country life ought to be able, without many
indications, to think of the author’s meaning,” also this expression
of truth and wisdom: “Carried too far, all delineation in instru-
mental music loses.” At a later period Beethoven reconsidered
his intention of allowing the hearers of his symphony to discover
its pictures for themselves and gave each. movement its subt'tle.
Still later he modified this concession to program music rather
quaintly by writing under the name of the work the phrase:
“More an expression of feeling than’ of painting.”

Burleske in D minor for Piano and Orchestra.............-

Richard Strauss

The Burleske was composed during the winter of 1885-86 and
was first performed on June 21, 1890, with Strauss conducting.
The pianist was Eugen d’A‘bert, to whom the Burleske is dedi-

cated. Strauss’ “Death and Transfiguration” was given its first
performance on the same occasion.

COINC

Erna bi

The “womHeif
violitl] pla
Oakland, May Ni
Progr incl
Handel Son,
Mendelssohnithold
Concerto,
Hubay Car
Chopin Saray
Nocturne
Tarantelli
Valse in Gror

Tickets at Shan-Cli
Prices: $i, $1.

Management hnette

HE TE

Chambettisic

of Sfran

The Leading Her Mu
tion? West
AuditoriM per
Tuesdayght,

Prices: $1 prs

fram
1. Mozart? Qu
tings
2. Nocturnescher

for fnd Str
3. Romane -
Scherzo _.:

Molly onhore
far Quart

COING !

1a hbinstein
“womHeifetz” of the
violin! play in

d, May Night, Jan. 19
Prog includes:

Som

ssohnitholdy

in Gsor

at Shan-Clays, Oakland
s: $i, $1.50, $2.00
mentnnette W. Potter

HE THE
abeilisic Society

of SFrancisco

ding Wer Music Organiza-
tion? West at

‘tori pera House
sdayght, Jan. 13

| Sug $1.50 — $2.00
fram

zart Quartet, f major
tings
cturneocherzo,
Arthur Foote
for ind Strings

mani: - . Kreisler

erzo : 1 schaikowzky

ly onPhore . Grainger
for Quartet

Program

The piece opens Allegro vivace in 3-4 time. The first group of
themes includes the opening phrase for the kettledrums, followed
by measures that show the influence of Brahms and a motive for
the pianoforte. The “song theme,” of an expressive nature is
derived from the second measure of the kettledrum figure. The
pianoforte extends it. Solo instrument and kettledrums have little
episodes of dialogue. After the development for pianoforte and
orchestral tutti, the introduction of the repetition section is note-
worthy. There is a long coda with a solo cadenza.

Symphonic Variations for Piano and Orchestra..Cesar Franck

“The title, “Symphonic Variations,’ is fairly modern,” says
Philip H. Goepp. “Probably the first great work in this form
was Schumann’s Etudes Symphoniques’ for piano, which are like-
wise variations. The word symphonic is used probably with refer-
ence to the breadth of treatment rather than to the instrumental
scoring. So here with Cesar Franck the first tune (it is not called
theme) gives the essence, but not at all the strict outline of the
subject. There is all the personal sty'e of the composer, and the
theme has an unusual tonality. The first half ends in F sharp
minor; the second, not in the relative major, but in A minor.
There is much of the famous ‘lowered supertonic’ in the design
of the tune. In the course of the variations it seems that the

main striking traits, an eccentric pace of the question, with a
smooth pleading flow of answer are mainly followed, with little
heed of other elements such as the sequence of keys. An element
of difficulty in this free kind of variations, for the unprepared
listener, is the lack of separation. The train of variant verses,
entering and ceasing quite without warning, come like a delicate
chain of clouds, where the separate members are hard to distin-
guish in the group.”

Prebide #0 tearciial cig) me ee eho one W agner

The following are Wagner’s.own words about the-prelude, con-
tained in H. E. Krehbiel’s “Studies in the Wagnerian Drama”:
“Strong and firm does Faith reveal itself, elevated and resolute
even in suffering. In answer to the renewed promise, the voice of
Faith sounds softly from eminent heights—as though borne on the
wings of the snow-white dove,—slowly descending, embracing with
ever-increasing breadth and fulness the heart of man, filling the
world and the whole of nature with mightiest force, then, as
though stilled to rest, glancing upward again toward the light of
heaven. Then once more from the awe of solitude arises the
lament of loving compassion, the agony, the holy sweat of the
Mount of Olives, the divine suffering of Golgotha; the body
blanches, the blood streams forth and glows now with the heavenly
glow of blessing in the chalice, pouring forth on all that lives and
languishes the gracious gift of Redemption through Love. For
him we are prepared, for Amfortas, the sinful guardian of the
shrine, who, with fearful rue for sin gnawing at his heart, must
prostrate himself before the chastisement of the vision of the Grail.
Shall there be redemption from the devouring torments of the
soul? Yet once again we hear the promise and—hope!”

Sees SR A
eM OS ICL 8 A MEG Dea hate de

Pa 6 8 a 8 9 et:

) 29 9 i 9

Tae ng CLE

aS ee j
"apart i Nee
- it wy \ BY
— OE HY
le | il SS)
iia} i
4 :

Wed
HE

sing!
dance!
listen!

DUO-ART is a reproducing piano so
marvelously versatile that it plays not
only all 88-note dance rolls and popular
numbers, but also plays its own rolls
created by the greatest masters living.

feet weary, you can sit and listen to the
grandest of music exactly as ce by

|
| So, when you have danced your merry
the mightiest musicians.

Fae : i
if 1} Sherman Pray Co.

Oakland, Fourteenth and Clay
Berkeley, Telegraph and Channing Way
San Francisco, Kearny and Sutter

canoe and
\ ‘ eh up. Electric $1050.
» yy Cordial terms.

SYMPHONY)
oa ORCHESTRA

a7 ee by Ik
NS) The Musical 4

hi a,
Uy Serna |
f

per ee
|
i

1924 1925
Fourteenth Season. cag

ALFRED HERTZ CONDUCTOR

Caeser

SAN FRANCISCO’

Alfred Hertz

“RECOMMENDS
CONN INSTRUMENTS

The San Francisco
Symphony

CONN
INSTRUMENTS

No Higher Endorsement

can be given to a musical
“T take great pleasure in

instrument, hence if the recommending Conn instru-

experience of great artists ments for symphony
: orchestra work.”
means anything to you, your

Expert choice will be CONN.

Repairing

WORLD'S
LARGEST MANUFACTURERS
OF HIGH GRADE BAND AND
ORCHESTRA INSTRUMENTS

ALFRED HERTZ.

Conn San Francisco Co. Conn Oakland Co.
47 Kearny St. 531-16th St.

184

Musical Assoviation of San Francisco

Founded December 20, 1909 Incorporated February 3, 1910

OFFICERS
JOHN D. McKess, President

J. B. Levison, Vice-President K. R. Dimonp, Treasurer

A. W. WipENHAM, Secretary-Manager

BOARD OF GOVERNORS

J. K. Armsby A. B. C. Dohrmann John D. McKee

E. D. Beylard John S. Drum Seward B. McNear
Miss Lena Blanding Milton H. Esberg L. F. Monteagle
Miss Louise A. Boyd ’ Herbert Fleishhacker Robert C. Newell
George T. Cameron J. D. Grant J. C. Raas

Selah Chamberlain E. S. Heller F. R. Sherman

C. H. Crocker W.E. Creed Wm. T. Sesnon
Mrs. Templeton Crocker J.B. Levison M. C. Sloss

Wm. H. Crocker Walter S. Martin William Sproule
E. R. Dimond John A. McGregor Sigmund Stern

EXECUTIVE COMMITTEE
John D. McKee, Chairman

E. D. Beylard E. R. Dimond J. B. Levison
Wm. H. Crocker E. S. Heller William Sproule

MUSIC COMMITTEE
J. B. Levison, Chairman

E. S. Heller E. D. Beylard Robert C. Newell

WOMEN’S AUXILIARY
Mrs. M. S. Koshland, Chairman
Miss Lena Blanding, Vice-Chairman
Mrs. M. C. Porter, Vice-Chairman

EXECUTIVE OFFICES

457 Phelan Building, San Francisco
A. W. WIDENHAM, Secretary-Manager

Hours 10 to 12 A. M., 2 to 4 P. M. - Telephone Garfield 2819

185

—

SET IO A Ae Os)
: a EE A)

aA i
TONG

aw 38 ~~
aA wart » rR” AY
e Ty) See Hee >
ar OF he

HE choice of the

alleled beauty!

Wiley BAllen ©.

133 KEARNY STREET, SAN FRANCISCO
1323 WASHINGTON STREET, OAKLAND

186

ae ae
Che San Franciseo Sumphony Orchestra
ALFRED HERTZ, Conductor

1924—Season—1925

SIXTH PAIR OF SYMPHONY CONCERTS
506th and 507th Concerts

CURRAN THEATRE

Friday Afternoon, January 9, 3:00 o’clock
Sunday Afternoon, January 11, 2:45 o’clock

Soloist: E. ROBERT SCHMITZ, Pianist

PROGRAMME

I. Symphony in G major, ‘“The Surprise’’.................... Haydn
Adagio cantabile—Vivace assai
Andante—Theme and Variations
Menuetto: Allegro molto
Finale: Allegro di molto
(First time at these concerts)

2.. Burleske in D minor for Piano and Orchestra..............

(First time in San Francisco)
Intermission
3. Symphonic Variations for Piano and Orchestra..........

Eee Ar eee ae pa Taree al. on GN ee RE Cesar Franck
(First time at these concerts)

4. Prelude and Love Death from ‘‘Tristan and Isolde’’....

Baap heels Mea Bat Soh Erg Ei Ur Ae SOS, a OAS Aga age CRN Wagner
(The Piano is a Mason & Hamlin)
E. ROBERT SCHMITZ
Illustrated Lecture
“The Fortnightlys” : : ; St. Francis Colonial Ballroom

Monday Evening, January 19

RECITAL
Scottish Rite Auditorium —Thursday Evening, January 22

MASTER CLASS

Commencing Tuesday, January 13—~Technic and Interpretation
Reservations for Master Class and private lessons may now be made.

Management: Ida G. Scott, Kohler & Chase Bldg., Kearny 6417

———————————————
187

We take pleasure in announcing a series of Masterworks recorded
by famous European Orchestras in albums.

Beethoven: Symphony No. 7, in A Major, Opus 92, in nine parts, on

five records. Set complete in album form.............- $8.75
Beethoven: Symphony No. 8, in F, Opus 93, in seven parts, on four
TCO TES een ee ew PRU lines eg gerne oe SOS eS $7.00

By Weingartner and London Symphony Orchestra.

Dvorak: Symphony in E Minor, No. 5, Opus 95, from the New
World, 10 parts, five records................---- $8.75 complete

By Halle Orchestra, London.

Mozart: Symphony No. 39, in E flat, Opus 543, in six parts, on
PRTEO TOCOLOG re cde vec etecce Foote con eepe ee eas $5.25 complete
By Weingartner and London Symphony Orchestra.

Tschaikowsky: Symphony Pathetique, in eight parts, on four records,
complete: in . albianics ike cn ee hc $7.00
By Sir Henry Wood and New Queen's Orchestra.

Beethoven: Quartet in C Sharp Minor, in ten parts, on five records,
complete in: albariiyt) cai. coated Sie ke sooo onsceaceae $8.75
By Lener String Quartet, of Budapest.

Haydn: Quartette in D Major, in six parts, on three records,
Complete jini: Bl U mre. seecsuac te Coste icc cus cele fa occas sa natn atusee $5.25
By Lener String Quartet, of Budapest.

Mozart: Quartet in C Major, eight parts, on four records, com-
plete din sally Foo Soci ase cutetaance eu tadaat sue naaubacad: $7.00

By Lener String Quartet, of Budapest.

Send for our historical catalog of *‘Musical Masterworks,”’ free.

QUARG MUSIC CO.

206 Powell Street Open Evenings

188

Symphony in G major, “The Surprise”’ - ~ 3 Haydn

This symphony, known as “The Surprise,’’ and in Germany as
the symphony “with the drum-stroke,’’ is the third of the twelve
Salomon symphonies as arranged in the order of their appearance in
the catalogue of the Philharmonic Society of London. It is known as
No. 6 in the Breitkopf and Hartel edition.

Composed in 1791, this symphony was performed for the first
time on March 23, 1792, at the sixth Salomon concert in London. It
pleased immediately and greatly. The Oracle characterized the sec-
ond movement as one of Haydn's happiest inventions, and likened
‘‘the surprise ’—which is occasioned by the sudden orchestral crashes
in the Andante—to a shepherdess, lulled by the sound of. a distant
waterfall, awakened suddenly from sleep and frightened by the
unexpected discharge of a musket.

Griesinger, in his Life of Haydn, contradicts the story that Haydn
introduced these crashes to arouse the English women from sleep.
Haydn also contradicted it, and said it was his intention only to sur-
prise the audience by something new. ‘The first allegro of my sym-
phony was received with countless ‘Bravos,’ but enthusiasm rose to its
highest pitch after the Andante with the drum stroke. ‘Ancora,
ancora!’ was cried out on all sides, and Pleyel himself complimented

ESTABLISHED 1852

ne I LS ON BY ME

CONSISTENT
PRICES

Shreve and Company

Jewelers and Silversmiths

Post and Grant Avenue
San Francisco

189

me on my idea.’ On the other hand, Gyrowetz, in his Autobiography,
said that he visited Haydn just after he had composed the Andante,
and Haydn was so pleased with it that he played it to him on the
piano, and, sure of his success, said with a roguish laugh: ““The women
will cry out here!”’

The symphony is scored for two flutes, two oboes, two bassoons,
two horns, two trumpets, kettledrums, and strings.

Burleske in D minor for Piano and Orchestra - Richard Strauss

The Burleske was composed during the winter of 1885-86 and
was first performed on June 21, 1890, with Strauss conducting. The
pianist was Eugene d’ Albert, to whom the piece is dedicated. At this
same concert Strauss’ ‘‘Death and Transfiguration’’ was given its first
performance. The work is scored for piccolo, two flutes, two oboes,
two clarinets, two bassoons, four horns, two trumpets, a set of four
kettledrums, and strings.

The piece opens Allegro vivace in 3-4 time. The first group of
themes includes the opening phrase for the kettledrums, followed by
measures that show the influence of Brahms and a motive for the
pianoforte. The “song theme,” of an expressive nature, is derived
from the second measure of the kettledrum figure. The pianoforte
extends it. Solo instrument and kettledrums have little episodes of
dialogue. After the development for pianoforte and orchestral tutti,
the introduction of the repetition section is noteworthy. There is a
long coda with a solo cadenza.

Symphonic Variations for Piano and Orchestra ~ Cesar Franck

‘The title ‘Symphonic Variations’ is fairly modern,”’ says Philip
H. Goepp. ‘Probably the first great work in this form was Schumann's

GEORGE STEWART McMANUS
Pianist
(Returned from World Tour with Jean Gerardy)
Instruction in the Art of Piano Playing
and Accompanying
Residence Studio:

2444 Larkin Street, San Francisco
Phone Franklin 6257

Mondays: Ray Coyle Building, 526 Powell Street
Phone Sutter 3634

Thursdays: 2510 College Avenue, Berkeley
Phone Berkeley 436-J

Available for engagements as Solo Pianist or Accompanist

190

‘Etudes Symphoniques’ for piano, which are likewise variations. The
word symphonic is used probably with reference to the breadth of
treatment rather than to the instrumental scoring. So here with Cesar
Franck the first tune (it is not called theme) gives the essence, but not
at all the strict outline of the subject. There is all the personal style
of the composer, and the theme has an unusual tonality. The first
half ends in F sharp minor; the second, not in the relative major, but
in A minor. There is much of the famous ‘lowered supertonic’ in the
‘design of the tune. In the course of the variations it seems that the
main striking traits, an eccentric pace of the question, with a smooth
pleading flow of answer are mainly followed, with little heed of other
elements such as the sequence of keys. An element of difficulty in
this free kind of variations, for the unprepared listener, is the lack of
separation. The train of variant verses, entering and ceasing quite
without warning, come like a delicate chain of clouds, where the sepa-
rate members are hard to distinguish in the group.”

Prelude and Love Death from “Tristan and Isolde’ - Wagner

The Prelude has been described as a “‘sumptuously picturesque

composition having much the same general form as the Prelude to
‘Lohengrin’—working up through a long crescendo to a fortissimo
climax, and then subsiding quickly to a pianissimo.”’ The Love Death

Cable Address, ‘‘Mandib’”’ Telephone Sutter 2945

Established 1869

Manheim, Dihbern & Co.

315 MONTGOMERY STREET

SAN FRANCISCO

Susurance Brokers Stork and Bond Brokers

Members, Insurance Brokers
Exchange Members, The San Francisco Stock

Fire (in all its branches), Marine, and Bond Exchange

Burglary, Casualty, Automobile : , ‘
Life, Liability, Earthquake, Strike Quotations and information on all
and Riot, Ete. stocks always on hand.

19]

closes the opera, when Isolde, in a transport of love and grief, sings
her death song over the dead body of her lover, Tristan. In the
present concert version the Love Death is attached, by a simple har-
monic device, to the Prelude. Wagner himself has given an account
of the content of the composition in one of his writings:

‘Now there is no end to the yearnings, the longing, the delight
and the misery of love. World, might, fame, splendor, honor, knight-
hood, truth and friendship all vanish like a baseless dream. Only one
thing survives: desire, desire unquenchable, and ever freshly mani-
fested longing—thirst and yearning. The only redemption: death, the
sinking into oblivion, the sleep from which there is no awakening. The
musician who chose this theme for the prelude to his love-drama, as he
felt that he was here in the boundless realm of the very element of
music, could only one care: how he should get bounds to his fancy;
for the exhaustion of the theme was impossible. Thus he took once
for all this unsatiable desire; in long-drawn accents it surges up, from
its first timid confession, its softest attraction, through throbbing sighs,
hope and pain, laments and wishes, delight and torment, up to the
mightiest onslaught, the most powerful endeavor to find the breach
which shall open to the heart the path to the ocean of the endless joy
of love. In vain; its powers spent, the heart sinks back to thirst with
desire, with desire unfulfilled, till at last, in the depth of its exhaustion,
the starting eye sees the glimmering of the highest bliss of attainment.
It is the ecstasy of dying, of the surrender of being, of the final redemp-
tion into that wondrous realm from which we wander farthest when we
strive to take it by force.”’

: . J Tuesday, Wednesday, Saturday ' Phone Douglas 1678
Studio Hours: Aftecicone css z

KAJETAN ATTL

Solo Harpist
San Francisco Symphony Orchestra

Using Lyon & Healy Harps, The World’s Standard
FOR ENGAGEMENTS

AS SOLO ARTIST, ACCOMPANIST, OR

PLAYER IN ENSEMBLE MUSIC,
ADDRESS

KAJETAN ATTL, BOHEMIAN CLUB
SAN FRANCISCO, CALIFORNIA
RES. PHONE FRANKLIN 7847

Violinist and Teacher
Concert and Recital

ot -

48 Wildwood Avenue, Piedmont
Phone Piedmont 8140-J (Tuesday) Douglas 1678

ELWYN CONCERT BUREAU ANNOUNCES

MARIA

IVOGUN

Europe’s Greatest Coloratura Soprano

Scottish Rite Hall—Monday Eve., Jan. 26, 8:30 P. M.
Tickets Now: Sherman, Clay & Co. $2.00, 1.50, 1.00, .50

‘‘Averse though I am to superlatives, the candid beauty of Mme. Ivogun’s voice, the
fineness of her technical skill, the wise restraints she puts upon its volume, and the vital
sympathy in its vibrations tempt me to overstep caution and pronounce her to be the great-
est coloratura soprano | have heard.

“I _know that she has everything that | like in a soprano voice and nothing that I dis-
like. Her legato is flawless. The ease and clarity of her coloratura passages make them
worthy of being heard by every student—and by some widely advertised singers who think
they are beyond the need of study. Througout her wide range, every tone is perfectly
placed.”—Ray C. Brown, S. F. Chronicle March 1, 1924

ALFRED METZGER—

In his conducting Mr.
Linden impresses by dis:
pensing with the score,
making a fine appearance,
revealing magnetism and
distinct personality and
obtaining uniform and in-
stant response from his
musicians.—Pacific Coast
Musical Review.

REDFERN Mason—

He played admirably.
There was no self-con-
scious virtuosity; it was
the pure bel canto of the
flute, every note round
and perfect as a pearl.—
San Francisco Examiner,

M1. Anthony Linden

Address all communications to

457 Phelan Building, San Francisco

ANNOUNCEMENT
SEVENTH PAIR OF SYMPHONY CONCERTS

Curran Theatre

Friday, January 23, 3:00 P. M.
Sunday, January 25, 2:45 P. M.

Soloist: ERNA RUBINSTEIN, Violinist

PROGRAMME

Le SYEADNGHYONO. OS nC inmiOr te eee Beethoven
Allegro con brio
Andante con moto
Scherzo: Allegro
Finale: Allegro .

Ze LORE Osi, On uan sacks eh es Richard Strauss
3. Concerto for Violin, E minor.......................... Mendelssohn
Allegro moto appasionato
Andante

Allegretto non troppo—Allegro molto vivace

ERNA RUBINSTEIN

ANNOUNCEMENT
FIFTH POPULAR CONCERT

Curran Theatre

Sunday, January 18, 2:45 P. M.

PROGRAMME |
1. Overture, “Fra Diavolo’’ Se eee I oe Se ARS BE Auber
Ze UG weWIOtner CrO08G, oso est ee Ravel

Pavene of the Sleeping dace

Hop ’'O My Thumb

Laideronnette, Empress of the Pagodes
Beauty and the Beast

The Fairy Garden

3. Overture: to “*Fannhauser i228 Rote Wagner

4. Symphonic Suite, ‘““Scheherazade’’.....__._. Rimsky-Korsakow

194

AUDITORIUM SYMPHONY CONCERT

Next Thursday, 8:20 P. M.

Soloist

MISCHA ELMAN

Violinist

Tickets at Sherman, Clay & Co.

THE

MARGARET MARY MORGAN (CO.

TTT

Engraving: Printers - Publishing
Commercial Printing

619 California Street Douglas 4633

THE SAN FRANCISCO BANK

(LATELY THE SAN FRANCISCO SAVINGS AND LOAN SOCIETY)

SAVINGS COMMERCIAL
INCORPORATED FEBRUARY 10th, 1868.

One of the Oldest Banksin California,
the Assets of which have never been increased
by mergers or-consolidations with other Banks.

Member Associated Savings Banks of San Francisco
526 California Street, San Francisco, Cal.

DECEMBER 3lst, 1924

Asseta Sod ts Ce es & Ceca no epeeiera we $96,917,170.69
Capital, Reserve and Contingent Funds....... 4,000,000.00
Employees’ Pension Fund...........-++++e0: 461,746.52
MISSION. .BRANGH sinus eo uni voiwicke bitin oe ous sisi els eieleWisie Mission and 21st Streets
PARK-PRESIDIO: BRANCH. hue onto ore ose wrepelera sce Clement St. and 7th Ave.
HAIGHT STREET BRANCH..........--eeeee-; Haight and Belvedere Streets

WEST PORTAL BRANCH..........-+--+. =: West Porta] Ave. and Ulloa St.

Interest paid on Deposits at the rate of
FOUR AND ONE QUARTER (414) per cent per annum,
COMPUTED MONTHLY and COMPOUNDED QUARTERLY,
AND MAY BE WITHDRAWN QUARTERLY

195

Jdersonnel

Che San Francisen Sumphony Orchestra

ALFRED HERTZ, CONDUCTOR

FIRST VIOLINS

Persinger, Louis
Concert Master and
Assistant Conductor

Argiewicz, Artur
Assistant Concert
Master

Ford, Louis
Assistant Concert
Master

Meriz, E.

Mendelevitch, R.

Laraia, W. F.

Gluschkin, M.

Gordohn, R.

Seiger, Rudy

Bem, Eugenia

Koenig, H.

See, Orley

Mortensen, Modesta

Amsterdam, M.

Pasmore, Mary

Ruiz, R.

SECOND VIOLINS
Jensen, T:

Principal
Haug, J. A.
Callinan, W. G.
Hidden, R. L.
Gold, J.
Paterson, J. A.
Blaha, A.
Manchester, W.
Atkinson, Helen
Dunn, H. A.
Gough, W.
Hoffman, H. H.
Dabelow, W.

VIOLAS

Fenster, Lajos

Principal
Hahl, E.
Baker, F. A.
Wismer, H.
Weiler, E.
Lichtenstein, V.
Patchook, S.
Dierich, F.
Kolb, R.
Lewis, A.

"CELLOS

Ferner, Walter
Principal

Dehe, W.

King, O.
Villalpando, W.
Weiss, A.

Kirs, R.

Gegna, M.
Pasmore, Dorothy
Hranek, C.

BASSES

Lahann, J.
Principal

Greene, S.
Bell, W.
Storch, A. E.
Cassetta, L. R.
Guterson, A.
Annarumi, A.
Giese, W.

FLUTES
Linden, Anthony
Newbauer, Louis

Oesterreicher, Walter
Orchestral Manager

Benkman, H.

PICCOLO

Oesterreicher, Walter

OBOES
Addimando, C.
Shanis, Julius
Schipilliti, V.
Utschig, H.

ENGLISH HORN
Schipilliti, V.

CLARINETS
Randall, H. B.
Zannini, N.
Fragale, F.
Greenbaum, A. A.

A. W. WIDENHAM, Secretary-Manager

BASS CLARINET
Fragale, F.

BASSOONS
Kubitschek, E.
La Haye, E. B.
Hranek, C.

CONTRA BASSOON
Kolb, R.

HORNS
Hornig, W.
Tryner, C. E.
Roth, P.
Huske, F. E.
Rocco, R.

TRUMPETS
Ditzel, E.
Arriola, A.

Kegel, Otto
Kress, V.

TROMBONES
Tait, F. W.
Clark, O. E.
Bassett, F. N.

TUBA
Murray, R.

HARP
Attl, Kajetan
Schipilliti, Annette

TYMPANI
Wagener, R. E.

PERCUSSION
Nickel, M.
Vendt, A., Jr.
Kundy, E.

PIANO AND CELESTA

Ormay, Gyula

LIBRARIAN
Kegel, Otto

“The Happiest Homes in All Creation

Are Homes Surrounded by Recreation”

The “Carmel” of the Peninsula

ee po

“BELLE MONTT?’

There are so many natural features which add to the
attractiveness of “Belle Monti” as an Artist and Musician
Center that its appeal is instantaneous.

Live oak, pine and eucalyptus trees planted years ago by men who
foresaw the future demand for suburban homes; hillside locations
with marine and mountain view; sheltered level lots—macadamized
streets, electricity, water, phone and strict sanitary requirements.
Marvelous home and cabin sites averaging in price $475—some as Lens,
low as $300, including permanent membership in the

Belle Monti Country Club

| Now Building
| for which $250,000 has been directed to be set aside for club house,

swimming pool, courts, links, etc.

Nine Hole Golf Course Now Open

Write, call or phone for complete information. zz
Artist Center Division ©

\
BELLE MONTI SALES CO. srr © so
ve woe
Garfield 2157 . SY W oe
212 Sutter Street Clee
San Francisco e

Artist Center Division
BELLE MONTI SALES CO.
212 Sutter Street, San Francisco
Please send airplane view in colors and complete information regard-

ing “Belle Monti” and Belle Monti Country Club to-..--2...2.222..222..---1---neneoo

Choose your piano carefully.
Choose it as you would
choose an intimate member
of your family circle. Choose
it for qualities that will en-
dure.

Let your choice, if possible,
be a Steinway. There is no
other piano of qualities more
enduring —of distinction so
immediately recognized.

Sherman, flay & Co.

Kearny & Sutter Sts.
Oakland - Clay at 14th

WZ || 25
WZ THE CITY OF SAN FRAN CISCO PRESENTS

SAN FRANCISCO +=
SYMPHONY ORCHESTRA -

ant wed cAlfted He riZ««axConductor

IN A
POPULAR CONCERT

,
I
—————— eee
aaa — —

EXPOSITION AUDITORIUM.

THURSDAY, JANUARY 15, 1925 |

8:20 P.M.

WITH

MISCHA ELMAN, Violinist

GUEST ARTIST

err

Mischa Elman makes Victor Records exclusively
The piano is the Steinway

_—

| _ AUSPICES
Mayor JAMES RoupH, JR., AND BOARD or
SUPERVISORS
DirEcTION—AUDITORIUM COMMITTER
J. Emmet Haypen, CHarrMAN
ANGELO J. Rossr Epwin G. Baru

PROGRAM
v

NATIONAL ANTHEM

* Ovrertoune, “* Grongke,’’ NO. 3.35. 2.2 32 Beethoven

“Fidelio,” Beethoven’s only opera, was first performed at Vienna, in
1805. For this opera he composed four overtures, three of which went
under the title of “Leonore” and of which the third is by-far the finest.
The overture is the drama in miniature, and far outclasses anything in
the opera itself. It is a masterpiece of dramatic unity, strength and pas-
sion, as well as of unique and imposing musical construction.

Mat cE Be APY 6 SUPERS INOS acces A cama cand Grieg

Morning

Ase’s Death

Anitra’s Dance

In the Hall of the Mountain King

This widely known and popular work of the Norwegian master is the
first of two suites of incidental music to Ibsen’s dramatic poem of the
same name. In the first movement no great stretch of imagination is
necessary to follow the daylight as it grows from the first timid, twink-
ling rays of the dawn up to the bursting into full view of the golden orb
in all its splendor. The second movement is played as a prelude to the
third act of the drama and is a picture of the lonely, forsaken old mother
dying in solitude, with many a moan of distress and many a lament for
her harum-scarum boy. The third movement is in Africa, and Peer Gynt,
lying on cushions, smoking a long pipe and drinking coffee, watches Anitra
and her maidens as they dance. The last movement pictures the scene
in the hall of the mountain king and the grotesque incantations and
dances of the imps.

3. ‘‘IN THE VILLAGE”’’ from Caucasian Sketches..[ ppolitow-Ivanow

Ippolitow-Ivanow, one of the younger school of Russian conductors,
was for a number of years conductor of the opera in Tiflis, Caucasus, and
while there made a thorough study of the music of the country. The piece
played this evening from his‘group of “Caucasian Sketches” is introduced
by declamatory passages for an English horn and a solo viola alternately.
The main body of the movement is built upon the theme given out, after
four introductory measures by the oboe. Of particular interest in this
piece is a pair of small Caucasian “tympani oriental” which can be noted
in the middle section. These instruments were presented by Vassily
Safonow to Mr. Max Nickel, percussionist in the orchestra, during Saf-
onow’s term as conductor of the New York Philharmonic Orchestra, and
are the only ones in America,

4. *'P re TRISH WASHER WOMANCZN oo cccccceccscccccssscsseceeseesssseseeeee Leo Sowerby

“The Irish Washerwoman” is the name of a jig originally composed
by Walter (“Piper”) Jackson, who was the most celebrated Irish piper of
the eighteenth century. Living in the middle of the century Jackson was
known for his skill, not only in playing on the Uillean or Union bagpipe,
but for the jigs and reels which he composed for it.

5. ‘‘CAPRICE VIENNOIS’’ weescrreestensertarenaesedbnsnronnsieeereoey—esein oes FOASLOR

The Caprice Viennois (Cradle Song) is one of the best known com-
positions of Fritz Kreisler, the eminent violinist, possessing the touch of
sadness and graceful rhythm which is characteristic of his other Viennese
pieces. Although originally a violin solo, the composer has also arranged
it for piano solo, while the orchestration played this evening was arranged
by Alfred Hertz.

INTERMISSION

6. CONCERTO For VIOLIN AND OrcHESTRA, D major... Tschaikowsky

Allegro moderato
Canzonetta—Andante—
Finale: Allegro vivacissimo

MiscHA EUMAN

Oddly enough four great composers number among their works only
one important concerto for violin and orchestra. These are Beethoven,
Brahms, Mendelssohn and Tschaikowsky. The concerto played this eve-
ning was composed in March, 1878, at Clarens, in a villa overlooking Lake
Geneva. It was dedicated first to Leopold Auer—later to Adolph Brodsky,
who gave it its first performance in Vienna, December 4, 1881. Tschai-
kowsky experienced great trouble in bringing out this concerto. Because
of its tremendous technical difficulties as well as the doubtfulness, at that
time, of its effectiveness with the public, he was repeatedly disappointed
by violinists, among them Auer, Kotek and Sauret, whom he had expected
to play the - work.

NEXT AUDITORIUM SYMPHONY CONCERT
TUESDAY EVENING, FEBRUARY 10
Soloist: FLORENCE EASTON

Prima Donna Soprano, Metropolitan Opera Company

ALL WAGNER PROGRAMME

TICKETS NOW: SHERMAN, CLAY & CO., $1.00, 75c, 50e.
SECURE YOUR SEATS EARLY

LS eS less SSSR

SYMPHONY POPULAR CONCERT
NEXT SUNDAY, 2:45 P.M. CURRAN THEATRE
Eater acne eae SS oat ne ae Pa SL SS ss EON
ERNA RUBINSTEIN

Sensational Young Violinist

Soloist with the Symphony
FRI. and SUN. AFTERNOONS NEXT WEEK, CURRAN THEATRE

| ataeaetinantinesestiaeaataaatiagenatieeatiaaimendaede ade eae ea |
THE PIANO I8 TFHERE STEINWAY

You can enjoy Mischa
Elman as often as you
like, if you own a
= Victrola. We have
Victrolas of every

price. Convenient

sé
Kearny and Sutter Sts., S. F.
“ Mission Street near 21st

iF aq Oakland + Fourteenth & Clay Sts,

Vo
wasunves

Hoe

ramanienieeianrsanpinsenpnitncnt

— “Wht. 4 fase "Y
; Set lN svacae 1) Vij]
- py
AUS SSNS via ‘ Mae
| tn “ew Lf
it 7) Mi " Mi f
\ ti SI }
Mic Gta He
‘ ° fy
| ati | ; | it
Ht
iy H
i | mill

1))

=
=
=
=
=
=
=
=
=
=
=
=)
=
=
=
es
=
=
=
=|
=
=
=
=
=
=
=

SAN JOSE

e(USICAL cASSOCIATION

PRESENTS

©rchestra

cAtrreD SHeERTz, (onductor

eorris € “DatLtEy @7¥CEMORIAL cAUDITORIUM

SAN JOSE, CALIFORNIA

riday, fanuary 16th, 1925

AVG sto Fai

San Grancisco Symphony

0 COO

‘Programme
ees)

f Overture te! “Oberéw lcs Se be le Las ae Weber

The overture to ‘Oberon’ is a resume of the musical contents of the
opera and has been placed among the finest of the romantic overtures
the world possesses. After the introduction there is heard the pro-
longed horn tunes representing the call of Oberon, the king of the
fairies. All the elves of his kingdom obey the summons. The famous
crashing chord, which comes as a striking surprise, concludes the in-
troduction. The leading subject and the love song form the material
for the main section, and the closing subject is the melody of the well-
known ‘Ocean, thou mighty monster,” aria of the third act.

2. Symphony in G Major, “The Surprise”... Hayden
Adagio cantabile —Vivace assai
Andante—Theme and Variations
Menuetto: Allegro molto
Finale: Allegro di molto

This symphony, known as “The Surprise,” and in Germany as the sym-
phony, ‘‘with the drum-stroke,”” was composed in 1791 and was frst
performed on March 23, 1792, at the sixth Salomon concert in London.
It pleased immediately and greatly. The Oracle characterized the sec-
ond movement as one of Hayden’s happiest inventions, and likened ‘‘the
surprisé”—which is occasioned by the sudden. orchestral crashes in
the Andante—to a shepherdess, lulled by the sound of a distant water-
fall, awakened suddenly from sleep and frightened by the unexpected
discharge of a musket.

Some italy Nog rece Ne 2 See ee ere aes ae Tschaikowsky

This work by the Russian master was inspired by a prolonged visit to
Rome, some of the themes being taken from collections of folksongs,
others based upon songs Tschaikowsky heard in the streets. The title
is well chosen, as one melody follows another in a capricious manner
although there is no violence done to the basic principles of musical
form. The inevitable Tarantella, a characteristic Italian folk dance,
is a feature of the last part of the work though at the end the move-
ment becomes too rapid even for a Tarantella.

Intermission

Leeeemde tO. <4l he deluge’ 22.) eee wi Saint-Saens
Violin Oligato, Louis Persinger

This piece is the prelude to Saint-Saens’ biblical cantata “‘The Deluge,”’

which is based on the biblical narration of the flood. It is a short,

expressive movement in the free form for the string orchestra—a slow

introductory passage, leading to a quasi-fugal treatment of a sustained

subject given out by the violas, following which the solo violin jn-
troduces a melodious obligato, which holds the foreground to the end.

a |

SepOe’s, | TP eatin se wee Sse Pt OR Meier Gv. 5y Liszt

The ‘Loves Dream’’ (“‘Liebestraum’’) is one of three short nocturnes
for piano solo, the one ‘played this evening (the third, in A flat) being
the most popular.- Liszt originally used the melody as a song, which
was set to the poem, “‘O Love,” by Ferninand Freiligrath. :

6. “In the Village” from Caucasian Sketches

Ippolitow-Ivanow

“Programme
SLY

/.: Caprice TV iennois 22) eee ee ee eae Kreisler

The Caprice Viennois (Cradle Song) is one of the best known compo-
sitions of Fritz Kreisler, the eminent violinist, possessing the touch of
sadness and graceful rhythm which is characteristic of his other Viennese
pieces. Although originally a violin solo, the composer has also ar-
ranged it for piano solo, while the orchestration ‘played this evening
was arranged by Alfred Hertz.

5S. Overture to “irae iavolo a. ee ae eee ee Auber

The overture to “Fra Diavolo” which carries out the merry spirit of
the opera, opens with a drum solo, very softly, followed by a march
tune for violins, violas and ‘cellos. The march, gradually extending to
the other instruments, productes the effect of an advancing troop of
soldiers. It grows louder and louder until the soldiers have passed, then
dies away in the distance. Other themes are presented and developed
to a splendid climax.

REMAINING CONCERTS

Albert: ,Spalding,. Violinist... 2.04. = ae eee ee February 19
Mabel. Garmson. Sopranotia so eee ae March, 19
dite Sthipa, ya Tenors se eae oe oe April 21

“An Organization Worthy the Support of

Every Citizen”

~?
be rs
2

MARIAN E. IVES, Business Manager

BOARD OF DIRECTORS

Mrs. Wm. J. Leet Mr. Earl Towner
Dr. Chas. M. Richards Miss Marian FE. Ives
Mr. Chester Herold Mr. David M. Burnett
Mr. Robert R. Syer Mr. George S. Eardley

bea 6 9 ek

oe oP Se

WE GOMMEND KING INSTRUMENTS

Something new!

—the King “'Saxello”’

Here is an absolutely new style
B-flat soprano saxophone.

It is unusually comfortable to
handle, requiring no contortions
or cramping of arm or thumb
on the part of the performer.

Come inand examine the new

King “Saxello’’!

Sherman, @lay & Co,

141-145 South First Street
SAN JOSE, CALIF.

Gibson I. nstruments, toc !

MAE WRIGHT PRINTING CO. 75 WEST SANTA CLARA ST., SAN JOSE

CHE Sm} PROAES OV GK

SAN FRANCISCO
SYMPHONY)
= ORCHESTR4

Marntamenr Dy {kk
The Musical 4 |
Association of i
oan Francisco

Se
5 Te
es

| FIFTH POPULAR

A
Gs se
ANG

1924 1925
Fourteenth Season

ALFRED HERTZ CONDUC Lt

ee eee

Alfred Hertz

RECOMMENDS
CONN INSTRUMENTS

The San Francisco
Symphony

CONN
INSTRUMENTS

No Higher Endorsement

can be given to a musical

“IT take great pleasure in
instrument, hence if the recommending Conn instru-

experience of great artists ments for symphony

; orchestra work.”
means anything to you, your. -

Hiah choice will be CONN.

Repairing

WORLD'S
LARGEST MANUFACTURERS
OF HIGH GRADE BAND AND
ORCHESTRA INSTRUMENTS

ALFRED HERTZ.

Conn San Francisco Co. Conn Oakland Co. °
47 Kearny St. 531-16th St.

208

Musical Association of San Francisen

Founded December 20, 1909 Incorporated February 3, 1910

OFFICERS
JOHN D. McKzs, President

J. B. Lrvison, Vice-President EK. R. Drmwonp, Treasurer

A. W. WipENHAM, Secretary-Manager

BOARD OF GOVERNORS

J. K. Armsby A. B. C. Dohrmann John D. McKee

E. D. Beylard John S. Drum Seward B. McNear
Miss Lena Blanding Milton H. Esberg L. F. Monteagle
Miss Louise A. Boyd Herbert Fleishhacker Robert C. Newell
George T. Cameron J. D. Grant J. C. Raas

Selah Chamberlain E. S. Heller F. R. Sherman

C. H. Crocker W.E. Creed Wm. T. Sesnon
Mrs. Templeton Crocker J.B. Levison M. C. Sloss

Wm. H. Crocker Walter S. Martin William Sproule
E. R. Dimond John A. McGregor Sigmund Stern

EXECUTIVE COMMITTEE
John D. McKee, Chairman

E. D. Beylard E. R. Dimond J. B. Levison
Wm. H. Crocker E. S. Heller William Sproule

MUSIC COMMITTEE
J. B. Levison, Chairman

E. S. Heller E. D. Beylard Robert C. Newell

WOMEN’S AUXILIARY
Mrs. M. S. Koshland, Chairman
Miss Lena Blanding, Vice-Chairman
Mrs. M. C. Porter, Vice-Chairman

EXECUTIVE OFFICES

457 Phelan Building, San Francisco
A. W. WIDENHAM, Secretary-Manager

Hours 10 to 12 A. M., 2 to 4 P. M. Telephone Garfield 2819

209

= Detnler sa eS 8 am . ¢
MEE SIEE ONE A
» aeiltis Ae RSS . Tt RATS Bel vy
a “\.!
tp’. \
«A RE H \ “\ AY
ye A\ at \ !
‘ A a0 + PAN) ia 4
, att \
: oa eee ya
s steht we
r pie fe aS
2% r
; x

j tome /
i KA
me \\\ >

HE choice of the

alleled beauty!

Wiley BAllen ©.

135 KEARNY STREET, SAN FRANCISCO
1323 WASHINGTON STREET, OAKLAND

210

The San Francisco Soumphony Orchestra
ALFRED HERTZ, Conductor

1924—_Season—1925

FIFTH POPULAR CONCERT
510th Concert

CURRAN THEATRE

Sunday Afternoon, January 18, 2:45 o’clock

PROGRAMME
fy Overture toh fa Diavolo (oe Auber
2. Suite, “Mother Goose’”’
Pavane of the Sleeping Beauty
Hop O’ My Thumb
Laideronnette, Empress of the Pagodes

Beauty and the Beast
The Fairy Garden

eee aN cae tw te ae at ee Om Tschaikowsky

3. Italian Caprice

Intermission

4. Symphonic Suite, “‘Scheherazade’’.......... Rimsky-Korsakow
The Sea and Sinbad’s Ship
The Narrative of the Kalendar Prince
The Young Prince and the Young Princess
Festival at Bagdad—The Sea—The Ship Goes to

Pieces on a Rock Surmounted by the Bronze
Statue of a Warrior—Conclusion

SAN FRANCISCO WIND INSTRUMENT ENSEMBLE

Announcement of Change in Concert Dates

In order to avoid conflict with late bookings of the Symphony
Orchestra, concerts of the San Francisco Wind Instrument
Ensemble will be given in the Ballroom of the Fairmont Hotel,
Friday evening, February 13, and Tuesday evening, April 28,
instead of February 3 and April 14, as originally announced.
Management, Lulu Blumberg, 3131 Jackson Street; Telephone
Fillmore 8035.

2ii

We take pleasure in announcing a series of Masterworks recorded

by famous European Orchestras in albums.

Beethoven: Symphony No. 7, in A Major, Opus 92, in nine parts, on
five records. Set complete in album form.............. $8.75

Beethoven: Symphony No. 8, in F, Opus 93, in seven parts, on four
PECOLOS (52. rakes Emer eects Sack 6 lide hide aahansScapaanecavs we cores $7.00
By Weingartner and London Symphony Orchestra.

Dvorak: Symphony in E Minor, No. 5, Opus 95, from the New
World, 10 parts, five records...... pee Rie $8.75 complete

By Halle Orchestra, London.

Mozart: Symphony No. 39, in E flat, Opus 543, in six parts, on
PRO TOCOTOG. ees cr oan bela ican geetsawineneee $5.25 complete
By Weingartner and London Symphony Orchestra.

Tschaikowsky: Symphony Pathetique, in eight parts, on four records,
COMPIGEA : EA ATE a eee vce eee aac ead ea $7.00

By Sir Henry Wood'and New Queen's Orchestra.
Beethoven: Quartet in C Sharp Minor, in ten parts, on five records,

Ploy ey 0) (ido va toed Lo ba 7 Epa eeu RE tel yell Re PISS CoP RS $8.75
By Lener String Quartet, of Budapest.
Quartette in D Major, in six parts, on three records,
Oe LOE Ge F1Tl ys BA CRT a. oak cooks Cadded,stecsbc ec dec ceatetectccee $5.25
By Lener String Quartet, of Budapest.
Mozart: Quartet in C Major, eight parts, on four records, com-

plete sina lem kc g ace haa SA ee $7.00
By Lener String Quartet, of Budapest.

Send for our historical catalog of ‘‘Musical Masterworks,” free.

QUARG MUSIC CO.

206 Powell Street Open Evenings

212

Overture to “Fra Diavolo’’ - - - - = Auber

The comic opera, “Fra Diavolo,’’ was a tremendous success on
the occasion of its first performance in Paris, January 28, 1830, and
has remained a popular favorite to this day. The scene of the play is
laid in Italy, the plot dealing with Fra Diavolo, the celebrated leader of
a band of brigands, parading under the name of the Marquis of San
Marco. The overture, which carries out the merry spirit of the opera,
opens with a drum solo, very softly, followed by a march tune for
violins, violas and ‘cellos. The march, gradually extending to the
other instruments, produces the effect of an advancing troop of sol-
diers. It grows louder and louder until the soldiers have passed, then
dies away in the distance. Other themes are presented and developed
to a splendid climax.

Suite, “Mother Goose” (Ma mere I’Oye) ~ - - Ravel

The five little pieces which Ravel named ‘“‘Mother Goose’’ were
originally composed for piano (four hands) and for the edification of
two children—Mini and Jean Godebski—to whom the work was dedi-
cated. The first performance of the work in its original form took
place in Paris, April 10, 1910. The orchestral version was first pro-
duced by the New York Symphony Orchestra in 1912 and was per-
formed by the San Francisco Symphony Orchestra during the same

ESTABLISHED 1852

QUALITY

CONSISTENT
PRICES

Shreve and Company

Jewelers and Silversmiths

Post. and Grant Avenue
San Francisco

213

season. The following is a condensed description of the five numbers,
by Carlo Fischer: |

‘The Pavene was a graceful and stately dance popular at the
court of Henry XIV., in this case the form being utilized to give an
impressionistic sketch of the Sleeping Beauty. We all remember Hop
o My Thumb, who scattered crumbs to find his way, but the birds ate
them up. In the third movement we have the picture of the little
pagodes bobbing their heads as they play and sing for their empress as
she takes her bath. In the next number, Beauty (clarinet), after argu-
ing with the Beast (contrabassoon), finally consents to marry him,
whereupon he turns into a beautiful prince (solo violin and ‘cello).
The final number presents merely a general picture of the fairy
garden. ”

Italian Caprice - - - - - - Tschaikowsky

The Italian Caprice was written in the period in which Tschai-
kowsky sojourned in Italy in 1880 and was first performed the same
year in a concert at Moscow, Nicholas Rubinstein conducting. The
themes are taken from collections of folk songs, or based on songs ©
Tschaikowsky heard in the streets. The Caprice opens with a trumpet
fanfare—a bugle call of the Italian cavalry, which the composer heard
every evening while living in the Hotel Constanzi, next to the barracks
of the Royal Cuirassiers. The title, “Italian Caprice,’’ is well chosen,
as one melody follows another in a capricious manner, although there
is no violence done to the basic principles of musical form. The inevi-
table Tarantella, a characteristic Italian folk dance, is a feature of the
last part of the work, though at the end the movement becomes too
rapid even for a tarantella, and it ends in a quick 2-4 time.

It would seem that the first title for the work was ‘'Italian Fan-
tasia.” “lam working at the sketch of an Italian Fantasia’ based upon

GEORGE STEWART McMANUS
Pianist
(Returned from World Tour with Jean Gerardy)
Instruction in the Art of Piano Playing
and Accompanying

Residence Studio:

2444 Larkin Street, San Francisco
Phone Franklin 6257

Mondays: Ray Coyle Building, 526 Powell Street
Phone Sutter 3634

Thursdays: 2510 College Avenue, Berkeley
Phone Berkeley 43.6-J

Available for engagements as Solo Pianist or Accompanist

214

folk songs,’ he wrote to Nadeshda von Meck, ‘‘and thanks to the
charming themes, some of which | have taken from collections and
some of which I have heard in the streets, the work will be effective.”’
The orchestration of the Caprice was not finished when Tschaikowsky
returned to Russia, and he completed it at Kamenka in the summer.

Symphonic Suite, ‘“Scheherazade’’ - - Rimsky-Korsakow

This opulent, richly melodic and flamingly colored Oriental suite,
by Rimsky-Korsakow, is a daring and brilliant attempt to translate into
music some of the tales told by the Sultan Shahriar by the Sultana
Scheherazade, in the “‘Arabian Nights.’’ These thousand-and-one tales,
each taking one night to relate, it will be remembered, she made so
interesting that the Sultan spared her life, despite his oath to put to
death each one of his wives after the first night. The stories chosen by
the composer are the ones indicated in the sub-titles; a single theme,
that of Scheherazade, which is mostly assigned to the solo violin and
represents the Sultana in the narrative, links the four movements
together.

_ The first movement opens with a theme and accompanying figure
suggestive of the sea. Then follows the Scheherazade theme, intro-
ducing the story-teller. The elaboration of these themes, and an

Cable Address, ‘‘Mandib’”’ Telephone Sutter 2945

Established 1869

Manheim, Bihbern & Gn.

315 MONTGOMERY STREET

SAN FRANCISCO

Insurance Brokers Stork and Bond Brokers
Mem beres inpureee Brokers Members, The San Francisco Stock
Fire (in all its branches), Marine, and Bond Exchange

Burglary, Casualty, Automobile,
Life, Liability, Earthquake, Strike
and Riot, Ete. | stocks always on hand.

Quotations and information on all

215

additional one which might be termed ‘“‘The Ship,”’ constitute the
contents of this movement.

In the second movement, after the Scheherazade motive, the
bassoon over a drone bass begins the Kalendar Prince’s narrative, the
same subject closing the movement.

The third movement begins with a charming romanza, the melody
having somewhat the nature of a folk song. A second theme brought
forth by the clarinet is one of the most ingratiating in the whole work.
A new episode presents the most bizarre effects, and is given an
Oriental coloring by the fantastic use of the triangle, tambourine,
cymbals and drum. It is a veritable picture of an Arabian night.

The final movement opens with a suggestion of the original sea
motive, followed by the Scheherazade motive, played by the solo
violin, which then leads into the revels of the Festival, beginning with

a dance figure played by two flutes. This figure, together with themes
from the earlier parts of the work, develops into a wild dance, which
waxes more and more furious until at last the trombones thunder forth
the sea motive in ominous tones. But that does not stop the merry-
making and dancing, which continues until the vessel, storm driven,
crashes on the magnetic rocks. When all is serene once more, the
motive of the Scheherazade again appears. The Sultana is ready to
go on with another story, but the Sultan has relented his vow and all is
peaceful.

Tuesday, Wednesday, Saturday
Afternoons—2-5

oo KAJETAN ATTL

Solo Harpist
San Francisco Symphony Orchestra

Studio Hours: Phone Douglas 1678

Using Lyon & Healy Harps, The World’s Standard
FOR ENGAGEMENTS
AS SOLO ARTIST, ACCOMPANIST, OR
PLAYER IN ENSEMBLE MUSIC,
ADDRESS

KAJETAN ATTL, BOHEMIAN CLUB
Sere SAN FRANCISCO, CALIFORNIA
zs RES. PHONE FRANKLIN 7847

Violinist and Teacher
Concert and Recital

abd] pee
48 Wildwood Avenue, Piedmont

Phone Piedmont 8140-J (Tuesday) Douglas 1678

ELWYN CONCERT BUREAU ANNOUNCES

MARIA

IVOGUN

Europe’s Greatest Coloratura Soprano

Scottish Rite Hall—Monday Eve., Jan. 26, 8:30 P. M.
Tickets Now: Sherman, Clay & Co. $2.00, 1.50, 1.00, .50

‘‘Averse though I am to superlatives, the candid beauty of Mme. Ivogun’s voice, the
fineness of her technical skill, the wise restraints she puts upon its volume, and the vital

sympathy in its vibrations tempt me to overstep caution and pronounce her to be the great-
est coloratura soprano | have heard.

“I know that she has everything that I like in a soprano voice and nothing that I dis-
like. Her legato is flawless. The ease and clarity of her coloratura passages make them
worthy of being heard by every student — and by some widely advertised singers who think
they are beyond the need of study. Througout her wide range, every tone is perfectly
placed.”—Ray C. Brown, S. F. Chronicle March 1, 1924

ALFRED Metzcer—

In his conducting Mr.
Linden impresses by dis-
pensing with the score,

making a fine appearance, 5 ; : ,
, . scious virtuosity; it was
revealing magnetism and
io : the pure bel canto of the
distinct personality and |i
eee } ee ef flute, every note round
obtaining uniform and in- :
: and perfect as a pearl.—
stant response from his | 3 :
ae : | San Francisco Examiner,
musicians.—Pacific Coast |§ 3 :

Musical Review.

M. Anthony Linden

REDFERN Mason—

He played admirably.
There was no _ self-con-

Address all communications to

457 Phelan Building, San Francisco

217

ANNOUNCEMENT
SEVENTH PAIR OF SYMPHONY CONCERTS

Curran Theatre

Friday, January 23, 3:00 P. M.
Sunday, January 25, 2:45 P. M.

Soloist: ERNA RUBINSTEIN, Violinist

PROGRAMME

FE Symphony INo; Sssim Gimmmote 24s cis he wointsn Beethoven
Allegro con brio
Andante con moto
Scherzo: Allegro
Finale: Allegro

Be Tone*Poens “Don aan 222 eee Richard Strauss
3. Concerto for Violin, E minor...-...........-..--------- Mendelssohn
llegro moto appasionato
Andante

Allegretto non troppo—Allegro molto vivace

ERNA RUBINSTEIN

ANNOUNCEMENT
SIXTH POPULAR CONCERT
Curran Theatre
Sunday, February 1, 2:45 P. M.

Soloists | ELLEN EDWARDS | ,..
oloists ) ALLAN BIER ( lanists

PROGRAMME
le7Preludesto:{Lohéngring acters Aw ke A Wagner
Dee Baliet suite & bined 2 ser 28 ie Bo a A ee Gluck-Gevaert
3. Fourthiunearian Ioances. 20/0 ee Os Brahms
AvCarmival or the FAninials., ....--.02-.. 1 conta seceansensoecek Saint-Saens
hee@yerture tos - William ‘ell 2 --c eee ke ee Aes Rossini
6. ““SaterjentenssSondae: iin ee cis be Sein Svendsen
7. Invitation tothe Wances ore Pe

218

ES
Te ee

LAST AUDITORIUM SYMPHONY CONCERT
Tuesday, February 10, 8:20 P. M.

Soloist: FLORENCE EASTON, Soprano

ALL-WAGNER PROGRAMME

Tickets now on sale at Sherman, Clay & Co.
$1.00, 75c, 50c

THE

MARGARET MARY MORGAN (CO.

Engraving ° Printers . Publishing

Commercial Printing

619 California Street Douglas 4633

THE SAN FRANCISCO BANK

(LATELY THE SAN FRANCISCO SAVINGS AND LOAN SOCIETY)
SAVINGS COMMERCIAL
INCORPORATED FEBRUARY 10th, 1868.

One of the Oldest Banksin California,
the Assets of which have never been increased
by mergers or-consolidations with other Banks.

Member Associated Savings Banks of San Francisco
526 California Street, San Francisco, Cal.

DECEMBER 3ist, 1924

ee a

eee

Assetae cee eet ea eee cleat $96,917,170.69
Capital, Reserve and Contingent Funds....... 4,009,000.00
Employees’ Pension Fund. .....-.-++++sereees 461,746.52
MISSION BRANCH............cee recs ceerereeetees Mission and 21st Streets
PARK-PRESIDIO BRANCH.......-+eeeeeceeeeres Clement St. and 7th Ave.
HAIGHT STREET BRANCH........++seeeeees Haight and Belvedere Streets

WEST PORTAL BRANCH........-2---2:: =: West Portal Ave. and Ulloa St.
CERERTS CIS Se

Interest paid on Deposits at the rate of
FOUR AND ONE QUARTER (414) per cent per annum,
COMPUTED MONTHLY and COMPOUNDED QUARTERLY,
AND MAY BE WITHDRAWN QUARTERLY

219

dersomel

Che San Francisen Symphony Orchestra

ALFRED HERTZ, CONDUCTOR

FIRST VIOLINS

Persinger, Louis
Concert Master and
Assistant Conductor

Argiewicz, Artur
Assistant Concert
Master

Ford, Louis
Assistant Concert
Master

Meriz, E.

Mendelevitch, R.

Laraia, W. F.

Gluschkin, M.

Gordohn, R.

Seiger, Rudy

Bem, Eugenia

Koenig, H.

See, Orley

Mortensen, Modesta

Amsterdam, M.

Pasmore, Mary

Ruiz, R.

SECOND VIOLINS
Jensen, T.

Principal]
Haug, J. A.
Callinan, W. G.
Hidden, R. L.
Gold, J.
Paterson, J. A.
Blaha, A.
Manchester, W.
Atkinson, Helen
Dunn, H. A.
Gough, W.
Hoffman, H. H.
Dabelow, W.

VIOLAS

Fenster, Lajos

Principal
Hahl, E.
Baker, F. A.
Wismer, H.
Weiler, E.
Lichtenstein, V.
Patchook, S.
Dierich, F.
Kolb, R.
Lewis, A.

"CELLOS

Ferner, Walter
Principal

Dehe, W.

King, O.
Villalpando, W.
Weiss, A.

Kirs, R.

Gegna, M.
Pasmore, Dorothy

Hranek, C.

BASSES

Lahann, J.
Principal

Greene, S.
Bell, W.
Storch, A. E.
Cassetta, L. R.
Guterson, A.
Annarumi, A.
Giese, W.

FLUTES
Linden, Anthony
Newbauer, Louis

Oesterreicher, Walter
Orchestral Manager

Benkman, H.

PICCOLO

Oesterreicher, Walter

OBOES
Addimando, C.
Shanis, Julius
Schipilliti, V.
Utschig, H.

ENGLISH HORN
Schipilliti, V.

CLARINETS
Randall, H. B.
Zannini, N.
Fragale, F.
Greenbaum, A. A.

BASS CLARINET
Fragale, F.

BASSOONS
Kubitschek, E.
La Haye, E. B.
Hranek, C.

CONTRA BASSOON
Kolb, R.

HORNS
Hornig, W.
Tryner, C. E.
Roth, P.
Huske, F. E.
Rocco, R.

TRUMPETS
Ditzel, E.
Arriola, A.

Kegel, Otto
Kress, V.

TROMBONES
Tait, F. W.
Clark, O. E.
Bassett, F. N.

TUBA
Murray, R.

HARP
Attl, Kajetan
Schipilliti, Annette

TYMPANI
Wagener, R. E.

PERCUSSION
Nickel, M.
Vendt, A., Jr.
Kundy, E.

PIANO AND CELESTA
Ormay, Gyula

LIBRARIAN
Kegel, Otto

A. W. WIDENHAM, Secretary-Manager

220

“The Happiest Homes in All Creation

Are Homes Surrounded by Recreation”

The “Carmel” of the Peninsula

Rett, f pete e

“BELLE MONTY”

There are so many natural features which add to the
attractiveness of “Belle Monti” as an Artist and Musician
Center that its appeal is instantaneous.

Live oak, pine and eucalyptus trees planted years ago by men who
foresaw the future demand for suburban homes; hillside locations
with marine and mountain view; sheltered level lots—macadamized
streets, electricity, water, phone and strict sanitary requirements.
Marvelous home and cabin sites averaging in price $475—some as Leases
low-as $300, including permanent membership in the ;

Belle Monti Country Club

Now Building
for which $250,000 has been directed to be set aside for club house,

swimming pool, courts, links, etc.

Nine Hole Golf Course Now Open

Write, call or phone for complete information. Zu.
Artist Center Division ©

(av
BELLE MONTI SALES CO. Ph Ci

Garfield 2157 sy
212 Sutter Street Ce gee
San Francisco LS

Artist Center Division
BELLE MONTI SALES CoO.
212 Sutter Street, San Francisco
Please send airplane view in colors and complete information regard-

ing “Belle Monti” and Belle Monti Country Ou OAR Sep cee oi ei tag Rarer ae cee

aaa teat tte ee eee Pee ee ee

221

Choose your piano carefully.
Choose it as you would
choose an intimate member
of your family circle. Choose
it for qualities that will en-
dure.

Let your choice, if possible,
be a Steinway. Thete is no
other piano of qualities more
enduring —of distinction so
immediately recognized.

Sherman, [lay & Co.

Kearny & Sutter Sts.
Oakland - Clay at rath

SAN FRANCISCO

Symphony Orchestra

ALFRED HERTZ, Conductor

AUDITORIUM OPERA HOUSE
OAKLAND, CAL.

REMAINING SYMPHONY
DATES

Thursday Evening, Feb. 12
Thursday Evening, Feb. 26
Thursday Evening, Mar. 19
Thursday Evening, Mar. 26

YW?

Program

Thursday Evening,

January 22, 1925

Ejight-thirty- o’clock

A yAYW YN

SAN FRANCISCO SYMPHONY ORCHESTRA
Another “Pop”

Program February 12, 1925
Soloist: WILLIAM F. LARATA, Violinist

Prelude to “Lohengrin” : ; . Wagner

Sigurd Jorsalfar ; oh. SGTEES

Italian Caprice . ; : ; ; Tschaikowsky

Overture to “William Tell” 3 : : .. Rossini

Fantasia on Russian Airs, for Violin . : . Wrieniawski
WILLIAM F. LARAIA

Invitation to the Dance : : : : . Weber

Management ZANNETTE W. POTTER
Box Office at Sherman, Clay & Co., Oakland, Cal.
Telephone Lakeside 6700

SCHUMANN-HEINK

COMES TO OAKLAND

AUDITORIUM OPERA HOUSE

Monday Night,

January 26, 1925
8:30 o’clock

Prices: $2.50, 2.00, $1.50, $1.00

PLUS TAX

Mail orders and reservations now being received

at the Sherman-Clay Box Office, Oakland

Management annette W. Potter

Vladimir De Pachmann, Thursday Night, February 5, 1925

Next Symphony Thursday Night

, Concert by San Francisco Symphony Orchestra February 12

ALFRED HERTZ, Conductor

Fourth Attraction
ARTISTS CONCERTS SERIES

ALFRED CORTOT

French Master Pianist

Auditorium Opera House
Oakland

Monday Night, Feb. 23 ’25
Prices: $1.00, $1.50, $2.00 20°

Tickets now selling at Sherman, Clay & Co’s Box Office, Oakland
Management Zannette W. Potter

|
|

1.—Ballet Suite, “Henry VIII”

i.—Rhapsody,

Program

Introduction and Entrance of the Clans
Scotch Idyl — Dance of the Gypsy — Gigue and Finale
“Henry VIIT’, an opera in four acts and six scenes, written by

Admand Silvestre and Leonce Detroyat, with music by Saint-Saens,
was produced at the Opera, Parish, on March 5, 18838. The book is
founded on the political and domestic troubles of the muchly-married
King of England. As was customary in French operas at that time,
the ballet was an essential part of every performance, the _ suite
provided by Saint-Saens consisting of four movements, the titles of
which explain themselves.

2°—Ballets-Sutte;.- Coppelian ates Spee Tabata ssn as es Se ees Delibes
Slavonic Theme with Variations — Festive Dance and Waltz
Nocturne — Dance of the Automatons and Waltz — Czardas

“Coppelia,” which with “Sylvia” brought Delibes into popularity

as a modern composer, is one of the most beautiful ballets in the
entire modern repertoire. The story of the ballet is concerned with a
maker of dolls in a little French village, one of his dolls being very
beautiful and life-size. He places this doll in an open window, where
it is much admired by the youths of the village, who believe it to be
real, and a great deal of jealousy on the part of the village maidens
results.

db relude: to. ane’ Deluge eager. ao 8c on 22) Oe eee Saint-Saens

(Violin obligato, LOUIS PERSINGER

This number is the prelude to Saint-Saens’ cantata, “The Deluge”
which was composed in 1876 and is based upon the biblical narration
of the Flood. It is a short expressive movement in the free form for
the string orchestra a slow introductory passage, leading to a
quasi-fugal treatment of a sustained subject given out by the violas,
following which the solo violin introduces a melodious obligato,
which holds the foreground to the end.

4.—“In the Village” from Caucasian Sketches............0......... I ppolitow-Ivanow

Ippolitow-Ivanow, one of the younger. school of Russian con-
ductors, was for a number of years conductor of the opera in Tiflis,
Caucasus, and while there made a thorough study of the music of the
country. The piece played this evening from his group of Caucasian
Sketches is introduced by declamatory passages for an English horn
and a solo viola alternately. The main body of the movement is built
upon the theme given out, after four introductory measures by the

oboe.

PR Renita OEY ADE FAR ON es SAR, Saint-Saens

“The: “lrish« Washermvomtan ce soe as OS ae Leo Sowerby

“The Irish Washerwoman” is the name of a jig originally com-
posed by Walter (‘Piper’) Jackson, who was _the most celebrated
Irish piper of the eighteenth century. Living in the middle of the
century Jackson was known for his skill, not only in playing on the
Uillean or Union bagpipe, but for the jigs and reels which he com-
posed for it.

Gaprice *Vaemeols: epee ee i ee ease ee Kreisler

The Caprice Viennois (Cradle Song) is one of the best known
compositions of Fritz Kreisler, the eminent violinist, possessing the
touch of sadness and graceful rhythm which is characteristic of his
other Viennese pieces. Although originally a violin solo, the composer
has also arranged it for piano solo, while the orchestration played

this evening was arranged by Alfred Hertz.

Emmanuel Chabrier, the French composer, visited Spain with his
wife in 1882, and wishing to know the true Spanish dances, he went
at night to ballrooms where the company was mixed. He took notes
from Seville to Barcelona, passing through Malaga, Cadiz, Granada,
Valencia. The rhapsody, “Espana” is only one of two or three
versions of these souvenirs, which he first played on the piano to his
friends. Lamoureux heard Chabrier play the piano sketch of “Espana
and urged him to orchestrate it. At the rehearsals no one Py tac
success possible. The score with its wild originality, its eee OILe COs;
frightened the players. The first performance was at a amoureux
concert in Paris, on November 4, 1883, and met with instantaneous

Success.

“Espana, pic cee Ee he ee eee Chabrier

be hostess

Lh pI LAG YF

Lr YY Yi, hg); ie L; Uy ;
Y % 2 “fy YZ Dy

GHA

I LMA
28.) ME

mar |

HL QS
Let Duo-ART tl sii
|

ToS |
/ -

Music of every sort, su- ty
perbly executed, enter- ———
tains and absorbs your guests the min- fear
ute they discover a Duo-Art in your home.

Popular music, dance music, ballad mu- ©
sic, and above all the master playing of mas-
ter pianists without anyone at the keyboard:
all these forms of entertainment are at hand.

Indeed, the Duo-Art Reproducing Pe
ano is a hostess in itself, and its presence
in your home immediately gives that home
additional distinction.

Sherman, |Glay & Go.

Oakland — Fourteenth and Clay Streets
Berkeley -- Telegraph and Channing Way
San Francisco—Kearney and Sutter Streets

SYMPHONY EE
ORCHESTRA

es URCMEST RA by
NE ‘The Muse alo
Association of

1924 1925
Fourteenth Season

ALFRED HERTZ CONDUCTOR

CV VONO=G
| __ eyesore. _

Alfred Hertz

‘RECOMMENDS
CONN INSTRUMENTS

The San Francisco

INSTRUMENTS

c . Pyatrhony
| N ig uses
Nile = CONN

No Higher Endorsement

can be given to a musical

“I take great pleasure in

instrument, hence if the recommending Conn instru-

experience of great artists ments for symphony
; orchestra work.”
means anything to you, your
. : ALFRED HERTz.
Expert choice will be CONN.
Repairing

DIN IN

WORLD'S

LARGEST MANUFACTURERS
OF HIGH GRADE BAND AND
ORCHESTRA INSTRUMENTS

Conn San Francisco Co. Conn Oakland Co.
47 Kearny St. 531-16th St.

228

Musical Association of San Francisen

Founded December 20, 1909 Incorporated February 3, 1910

OFFICERS
| JOHN D. McKzs, President

J. B. Levison, Vice-President K. R. Dimonp, Treasurer

A. W. WipenNHAM, Secretary-Manager

BOARD OF GOVERNORS

J. K. Armsby A. B. C. Dohrmann John D. McKee

E. D. Beylard John S. Drum Seward B. McNear
Miss Lena Blanding Milton H. Esberg L. F. Monteagle
Miss Louise A. Boyd Herbert Fleishhacker Robert C. Newell
George T. Cameron J. D. Grant J. C. Raas

Selah Chamberlain ES. Heller F. R. Sherman

C. H. Crocker W.E. Creed Wm. T. Sesnon
Mrs. Templeton Crocker J.B. Levison M. C. Sloss

Wm. H. Crocker Walter S. Martin William Sproule

E. R. Dimond John A. McGregor Sigmund Stern

EXECUTIVE COMMITTEE
John D. McKee, Chairman

E. D. Beylard E. R. Dimond J. B. Levison
Wm. H. Crocker E. S. Heller William Sproule

MUSIC COMMITTEE

J. B. Levison, Chairman

E. S. Heller E. D. Beylard Robert C. Newell

WOMEN’S AUXILIARY
Mrs. M. S. Koshland, Chairman
Miss Lena Blanding, Vice-Chairman
Mrs. M. C. Porter, Vice-Chairman

EXECUTIVE OFFICES

457 Phelan Building, San Francisco
A. W. WIDENHAM, Secretary-Manager

Hours 10 to 12 A. M., 2 to 4 P. M. Telephone Garfield 2819

229

HE choice of the

Mason & Hamlin iano
for the concert platform
proclaims its sonority—
its selection by famous art-
ists declares the quality of
its tone—its presence in
homes of wealth and taste
bears tribute to its unpar-

alleled beauty!

Wiley BAllen G:

135 KEARNY STREET, SAN FRANCISCO
1323 WASHINGTON STREET, OAKLAND

230

Che San HFrancisea Sumphony Orchestra
ALFRED HERTZ, Conductor
1924—Season—1925
SEVENTH PAIR OF SYMPHONY CONCERTS
512th and 513th Concerts
CURRAN THEATRE

Friday Afternoon, January 23, 3:00 o’clock
Sunday Afternoon, January 25, 2:45 o’clock

Soloist: ERNA RUBINSTEIN, Violinist

PROGRAMME

i> Syniphony: Nosy in Ginmor =. eaten Beethoven
Allegro con brio
Andante con moto
Scherzo: Allegro—
Finale: Allegro

Intermission
Zz. Lone Poems Woneaan oe oe ee Richard Strauss
3. Concerto for Violin, E minor.......................... Mendelssohn
Allegro moto appasionato

Andante
Allegretto non troppo—Allegro molto vivace

ERNA RUBINSTEIN

(Miss Rubinstein uses the Steinway piano)<—

NOTE! Victor Lichtenstein’s “Symphonylogues” are continuing at the
Sorosis Hall at noon on the day of each Friday Symphony Concert, at
which an illuminating discourse and thematic analysis is given on the cur-
rent programme, illustrated by members of the orchestra.

SAN FRANCISCO WIND INSTRUMENT ENSEMBLE
Announcement of Change in Concert Dates

231

We take pleasure in announcing a series of Masterworks recorded
by famous European Orchestras in albums.

Beethoven:

Dvorak:

Mozart:

Tschaikowsky:

Beethoven:

Haydn:

Mozart:

Symphony No. 7, in A Major, Opus 92, in nine parts, on
five records. Set complete in album form... $8.75

TECORCB HW ia ee iS SN a OS on pnts $7.00
By Weingartner and London Symphony Orchestra.

Symphony in E Minor, No. 5, Opus 95, from the New
World, 10 parts, five records.................. $8.75 complete

By Halle Orchestra, London.

Symphony No. 39, in E flat, Opus 543, in six parts, on
Chrée. records cc ae ae eee $5.25 complete
By Weingartner and London Symphony Orchestra.

Symphony Pathetique, in eight parts, on four records,
copiplete, in Album ccs nee er ee $7.00

By Sir Henry Wood and New Queen’s Orchestra.

Quartet in C Sharp Minor, in ten parts, on five records,
complete in ULE os BOI ai cio Cir iae, OME eae Peake tar gion aan $8.75

By Lener String Quartet, of Budapest.
Quartette in D Major, in six parts, on three records,
complete 4n a lburne-4,...cst ced ens ke ws $5.25
By Lener String Quartet, of Budapest.
Quartet in C Major, eight parts, on four records, com-
Dieter inumibUmansco tin reas ot gee ae Se $7.00
By Lener String Quartet, of Budapest.

Send for our historical catalog of “‘Musical Masterworks,” free.

QUARG MUSIC CO.

206 Powell Street Open Evenings

232

=m,

Symphony No. 5, in C minor - - - - Beethoven

Of all the nine symphonies by Beethoven, the Fifth, completed in
1807, is probably the best known, the most generally comprehended,
and the most widely popular. Each of its movements is a gem of the
first brilliance, and collectively they constitute a work of the profound-
est grandeur of symphonic form. F aultless in conception and construc-
tion, it reveals an exquisiteness of poise and an unfaltering certainty of
progressive thought which entitles it to the first place among the purely
classical symphonies. There have been many conjectures as to the
thoughts which Beethoven tried to translate into music in this sym-
phony; conjectures put forward by those who feel that every musical
utterance must have a definite meaning. However, as a prominent
critic aptly expressed it: ‘‘For me this symphony has no ‘program’ or
‘plot’; it is an expression of absolute music, disassociated entirely from

earthly events and telling no story save that of manly strength and
beauty.”’

The first movement is a wonderful example of thematic invention.
Beethoven spoke of the opening subject as ‘Fate knocking at the

door.” It consists of three powerful repeated notes followed by a

ESTABLISHED 1852

QUALITY

CONSISTENT
PRICES

Shreve and Company

Jewelers and Silversmiths

Post and Grant Avenue
San Francisco

233

drop of a third. After a long pause this is given out again a tone
lower. It is tossed about from instrument to instrument like an in-
spired game of battledoor and shuttlecock. The working out is
intensely dramatic. As for the slow movement, nothing lovelier was
ever created. It is a set of variations of incomparable grace and deli-
cacy. Rugged humor blends with pathos, working up to an emotional
climax inexpressibly noble and beautiful. The Scherzo is gigantic with
much development of the two themes. The second part of the trio
has a famous passage for the double basses and presents the amusing
incident of two ineffectual attempts to start the theme—the third time
being successful. Instead of being detached as usual, the Scherzo
leads without pause into the fourth movement, which is reached
through a heavy crescendo. The scoring is now enriched through the
addition of three trombones, contrabassoon and piccolo, and thus
reinforced the entire orchestra bursts forth into an exultant, triumphant
song of joy and victory.

Concerto for Violin and Orchestra, in E minor - Mendelssohn

Mendelssohn in his youth composed a violin concerto with accom-
paniment of stringed instruments, also a concerto for violin and piano
with the same sort of accompaniment, but these works were left in
manuscript. Probably they were played at the musical parties at the
Mendelssohn house in Berlin on alternate Sunday mornings. As early
as 1838, Mendelssohn conceived the plan of composing a violin con-
certo in the manner of the one in E minor, for in writing to Ferdinand
David he said: “‘I should like to write a violin concerto for you next
winter. One in E minor is running in my head, and the beginning does
not leave me in peace.’ The concerto was composed in 1844 and had
its first performance from manuscript in Leipsic, March 13, 1845.

The first movement begins immediately after an introductory

pe na A A a es vk a td
GEORGE STEWART McMANUS

Pianist
(Returned from World Tour with Jean Gerardy)

Instruction in the Art of Piano Playing
and Accompanying

Residence Studio:

2444 Larkin Street, San Francisco
Phone Franklin 6257

Mondays: Ray Coyle Building, 526 Powell Street
Phone Sutter 3634

Thursdays: 2510 College Avenue, Berkeley
Phone Berkeley 436-J :

Available for engagements as Solo Pianist or Accompanist

234

measure with the first theme given out by the solo violin. This theme
is developed at length by the solo instrument, which then goes on with
cadenza-like passage work, after which the theme js repeated and
developed as a tutti by the full orchestra. The second theme is first
given out pianissimo in harmony by clarinets and flutes Over a sustained
organ-point in the solo instrument. The chief theme is used in the
development which begins in the solo violin. The brilliant solo cadenza
ends with a series of arpeggios, which continue on through the whole
announcement of the first theme by orchestral strings and wind. The
conclusion section is in regular form. The first section of the Andante
is a development of the first theme sung by the solo violin. The middle
part is taken up with the development of the second theme, a some-
what agitated melody. The third part is a repetition of the first, with
the melody in the solo violin, but with a different accompaniment.
Mendelssohn originally intended the accompaniment (strings) to the
first theme to be played pizzicato. He wrote to David: “‘I intended
to write it this way, but something or other—I don’t know what—
prevented me.” The Finale opens with a short introduction. The
main body of the movement begins with calls on horns, trumpets,
bassoons, drums, answered by arpeggios of the solo violin and trem-
olos in the strings. The chief theme of the rondo is announced by the
solo instrument. The orchestra has a second theme. In the recapitu-

Cable Address, “Mandib’”’ Telephone Sutter 2945

Established 1869

Manheim, Dibbern & Go.

315 MONTGOMERY STREET

SAN FRANCISCO

Insurance Brokers | Stork and Bond Brokers
ae he ee Brokers Members, The San Francisco Stock
Fire (in all its branches), Marine, and Bond Exchange
Burglary, Casualty, Automobile ; j
Life, Liability, Earthquake, Sirik ; Quotations and information on all
and Riot, Ete. stocks always on hand.

235

lation section the fortissimo second theme appears again, and there js a
brilliant coda.

Tone Poem, “Don Juan’ - - - - Richard Strauss

This remarkable piece of program music was written in 1888, the
composer then being twenty-four years old—an age at which his fee]-
ings and sympathies may well have been at one with those of the
young hero of Nicholas Lenau’s poem, graphically depicted in the
wonderfully eloquent music of this composition. The Don Juan of
Lenau’s strange poem is a young man of superb health and vigor, a
fact made evident in Strauss’ energetic and torrentially emotional
music. He sets out upon a quest for the perfect example of woman-
hood, entering what the poem calls a “‘magic realm, illimited, eternal,
of gloried woman—loveliness supernal.’’ He flies from conquest to
conquest, always in pursuit of his ideal, and meeting always with dis-
appointment and disillusionment. Through the vivid and sardonic
adventures of his pursuit, Strauss’ wonderful music follows him step by
step to his final disappointment and the duel scene which ends with his
death. Every character of the drama is represented by a definite
musical theme, every emotion reflected in tone psychology, and every
incident drawn in masterly sound pictures.

Tuesday, Wednesday, Saturday Phone Douglas 1678

Studio Hours: Atternaotieaa.8

KAJETAN ATTL

Solo Harpist
San Francisco Symphony Orchestra

Using Lyon & Healy Harps, The World’s Standard
FOR ENGAGEMENTS
AS SOLO ARTIST, ACCOMPANIST, OR
PLAYER IN ENSEMBLE MUSIC,
ADDRESS

KAJETAN ATTL, BOHEMIAN CLUB
SAN FRANCISCO, CALIFORNIA
RES. PHONE FRANKLIN 7847

Orley See

Violinist and Teacher
Concert and Recital

i
48 Wildwood Avenue, Piedmont

Phone Piedmont 8140-J (Tuesday) Douglas 1678

236

ELWYN CONCERT BUREAU ANNOUNCES

MARIA

IVOGUN

Europe’s Greatest Coloratura Soprano

Scottish Rite Hall—Monday Eve., Jan. 26, 8:30 P. M.

Tickets Now: Sherman, Clay & Co. $2.00, 1.50, I.00, .50

“Averse though | am to superlatives, the candid beauty of Mme. Ivogun’s voice, the
fineness of her technical skill, the wise restraints she puts upon its volume, and the vital
sympathy in its vibrations tempt me to overstep caution and pronounce her to be the great-
est coloratura soprano | have heard.

“I _know that she has everything that I like in a soprano voice and nothing that I dis-
like. Her legato is flawless. The ease and clarity of her coloratura passages make them
worthy of being heard by every student—and by some widely advertised singers who think

they are beyond the need of study. Througout her wide range, every tone is perfectly
placed.”—Ray C. Brown, S. F. Chronicle March 1, 1924

ALFRED METZGER—
In his conducting Mr.
- Linden impresses by dis-
pensing with the score,
making a fine appearance,
revealing magnetism and
distinct personality and
obtaining uniform and in-
stant response from his
musicians.—Pacific Coast
Musical Review.

M. Anthony Linden

REDFERN Mason—

He played admirably.
There was no self-con-
scious virtuosity; it was
the pure bel canto of the
flute, every note round
and perfect as a pearl—
San Francisco Examiner,

Address all communications to

457 Phelan Building, San Francisco

237

ANNOUNCEMENT
EIGHTH PAIR OF SYMPHONY CONCERTS

Curran Theatre

Friday, February 6, 3:00 P. M.
Sunday, February 8, 2:45 P. M.

PROGRAMME
I. Academic. Festival Overture... Brahms
a; bates Jewish Poems: vs Veen, Sorte nie? Ernest Bloch

ance
Rite
Funeral Procession
(First time in San Francisco)
3. Symphony No. 1, ‘‘Rustic Wedding. a. cases ne Goldmark
Wedding March
Bridal Song
Serenade
In the Garden

Rustic Dance
ee
ANNOUNCEMENT
SIXTH POPULAR CONCERT
Curran Theatre
Sunday, February 1, 2:45 P. M.

ee ELLEN EDWARDS ,..
oioists ALLAN BIER i lanists

PROGRAMME

[abrelude-ta WLohengring se 4) Ges etre lao Wagner
Dee Suite «2 NIG ers Ni be Pass fee Gluck-Gevaert
3. Four: Honiearian Dances... 88 (“Ye ent ti fee

4. Carnival of the Animals...

S-eOverturesto; William: fells. cere ee, Rossini
6. “Saterjentens Sondag” Ta pa Gaee Svendsen
7. Invitation to the Dance

St .—

LAST AUDITORIUM SYMPHONY CONCERT
Tuesday, February 10, 8:20 P. M.

Soloist: FLORENCE EASTON, Soprano
ALL-WAGNER PROGRAMME

Tickets now on sale at Sherman, Clay & Co.
$1.00, 75c, 50c

THE

MARGARET MARY MORGAN (6O.

Engraving . Printers . Publishing

Commercial Printing

619 California Street Douglas 4633

THE SAN FRANCISCO BANK

(LATELY THE SAN FRANCISCO SAVINGS AND LOAN SOCIETY)
SAVINGS COMMERCIAL
INCORPORATED FEBRUARY 10th, 1868.

One of the Oldest Banksin California,
the Assets of which have never been increased
by meréers or-consolidation s with other Banks.

Member Associated Savings Banks of San Francisco
526 California Street, San Francisco, Cal.

* DECEMBER 3list, 1924

WSSOLS ey sok eee et ON sa dae eo $96,917,170.69
Capital, Reserve and Contingent Funds....... 4,000,000.00
Employees’ Pension Fund.................00: 461,746.52
MISSIONS BRANCH ye oon cc aiaty sili sare dist Sa maieremicte s6 Mission and 21st Streets
PARK-PRESIDIOSBRANCH es suc osc cis oes calc ects Clement St. and 7th Ave.
HAIGHT STREET BRANCH...... Bub trom re eeres Haight and Belvedere Streets

WEST: PORTAIMBRANCH eos c300 as stow lait jae West Portal Ave. and Ulloa St.

Interest paid on Deposits at the rate of
FOUR AND ONE QUARTER (414) per cent per annum,
COMPUTED MONTHLY and COMPOUNDED QUARTERLY,
AND MAY BE WITHDRAWN QUARTERLY

239

Jdersonnel

Che San Francisen Symphony Orchestra

ALFRED HERTZ, CONDUCTOR

FIRST VIOLINS

Persinger, Louis
Concert Master and
Assistant Conductor

Argiewicz, Artur
Assistant Concert
Master

Ford, Louis
Assistant Concert
Master

Meriz, E.

Mendelevitch, R.

Laraia, W. F.

Gluschkin, M.

Gordohn, R.

Seiger, Rudy

Bem, Eugenia

Koenig, H.

See, Orley

Mortensen, Modesta

Amsterdam, M.

Pasmore, Mary

Ruiz, R.

SECOND VIOLINS
Jensen, T.

Principal
Haug, J. A.
Callinan, W. G.
Hidden, R. L.
Gold, J.
Paterson, J. A.
Blaha, A.
Manchester, W.
Atkinson, Helen
Dunn, H. A.
Gough, W,
Hoffman, H. H.
Dabelow, W.

VIOLAS

Fenster, Lajos

Principal
Hahl, E.
Baker, F. A,
Wismer, H.
Weiler, E.
Lichtenstein, V.
Patchook, S.
Dierich, F,
Kolb, R.
Lewis, A.

‘CELLOS

Ferner, Walter
Principal

Dehe, W.

King, O.
Villalpando, W.
Weiss, A.

Kirs, R.

Gegna, M.
Pasmore, Dorothy
Hranek, C.

BASSES

Lahann, J.
Principal

Greene, S.
Bell, W.
Storch, A. E.
Cassetta, L. R.
Guterson, A.
Annarumi, A.
Giese, W.

FLUTES
Linden, Anthony
Newbauer, Louis

Oesterreicher, Walter
Orchestral Manager

Benkman, H.

PICCOLO

Oesterreicher, Walter

OBOES
Addimando, C.
Shanis, Julius
Schipilliti, V.
Utschig, H.

ENGLISH HORN
Schipilliti, V.

CLARINETS
Randall, H. B.
Zannini, N.
Fragale, F.
Greenbaum, A. A.

BASS CLARINET
Fragale, F.

BASSOONS
Kubitschek, E.
La Haye, E. B.
Hranek, C.

CONTRA BASSOON
Kolb, R.

HORNS
Hornig, W.
Tryner, C. E.
Roth, P.
Huske, F. E.
Rocco, R.

TRUMPETS
Ditzel, E.
Arriola, A.

Kegel, Otto
Kress, V.

TROMBONES
Tait, F. W.
Clark, O. E.
Bassett, F. N.

TUBA
Murray, R.

HARP
Attl, Kajetan
Schipilliti, Annette

TYMPANI
Wagner, R. E.

PERCUSSION
Nickel, M.
Vendt, A., Jr.
Kundy, E.

PIANO AND CELESTA
Ormay, Gyula

LIBRARIAN
Kegel, Otto

A. W. WIDENHAM, Secretary-Manager

240

=e SE Wey

“The Happiest Homes in All Creation

Are Homes Surrounded by Recreation”

The “Carmel” of the Peninsula

BT, |p SAP

“BELLE MONTY”

There are so many natural features which add to the
attractiveness of “Belle Monti” as an Artist and Musician

Center that its appeal is instantaneous.

Live oak, pine and eucalyptus trees planted years ago by men who
foresaw the future demand for suburban homes; hillside locations
with marine and mountain view; sheltered level lots—macadamized
streets, electricity, water, phone and strict sanitary requirements.
Marvelous home and cabin sites averaging in price $475—some as
low as $300, including permanent membership in the

Belle Monti Country Club

Now Building
for which $250,000 has been directed to be set aside for club house,

swimming pool, courts, links, etc.

Nine Hole Golf Course Now Open

Write, call or phone for complete information.
Artist Center Division

BELLE MONTI SALES CO.
Garfield 2157
212 Sutter Street
San Francisco

Artist Center Division
BELLE MONTI SALES CoO.
212 Sutter Street, San Francisco
Please send airplane view in colors and complete information regard-

ing “Belle Monti” and Belle Monti Country Club to

241

Choose your piano carefully.
Choose it as you would
choose an intimate member
of your family circle. Choose
it for qualities that will en-
dure.

Let your choice, if possible,
be a STEINWAY. Thete is no
other piano of qualities more
enduring —of distinction so
immediately recognized.

Sherman, [lay & Co.

Kearny & Sutter Sts,
Oakland - Clay at 14th

San Francisco Symphony Orchestra

ALFRED HERTZ, Conductor

SEASON 1924-25

THIRD BERKELEY CONCERT

HARMON GYMNASIUM

THURSDAY EVENING, JANUARY 29, 1925
8:15 O'CLOCK

Soloist: LOUIS PERSINGER, Violinist

PROGRAMME
i. Overture, lseona ie oN Gis pc teh teen Becthoven
2. Coneerto for Violin and Orchestra, G minor .................. Bruch

Allegro moderato
Adagio
Finale: Allegro vivace

Louis PERSINGER

INTERMISSION

5. -lone Poem.** 0b. sale. oe eo ee eee Richard Strauss

4. Prelude and Love-Death from ‘‘Tristan and Isolde’’..Wagner

Overture... LieOnore,”. NOsi9 oo NO he ee Beethoven

‘«Fidelio,’’? Beethoven’s only opera, was first performed at Vienna, in
1805. For this opera he composed at one time and another no fewer than
four overtures, three of them known as ‘‘ Leonore’’ Overtures Nos. 1, 2 and
3. ‘*Leonore’’ was the original title of the opera, so named after the
heroine, Beethoven subsequently changing the title of his work to ‘‘ Fidelio.’’
The third overture, played this evening, is by far the finest of the four. It
is the drama in miniature, and far outclasses anything in the opera itself.
It is a masterpiece of dramatic unity, strength and passion, as well as of
unique and imposing musical construction.

Coneerto for Violin and Orchestra in G minor .................... Bruch

Of Bruch’s four concertos for violin and orchestra, the one in G minor
is the best known; it is, indeed, a rival of the Mendelssohn violin concerto
for the honor of being the most popular work of this type ever written. The
concerto was completed in 1866, and was first played in April of that year.
In the same summer Bruch sent the manuscript to Joseph Joachim, the
greatest violinist of his time, and the latter had a considerable hand in the
extensive revision which shaped the concerto as it now stands; the dedication
of the work to Joachim was no mere compliment. The concerto begins with
a prelude having no thematic connection with the rest of the movement,
the main body of which opens with a statement of the first theme by the
violin against a tremolo accompaniment. The violin likewise announces the
second theme. After an extended development, and a long passage for the
full orchestra, there is a return of the prelude, and a transitional passage
leads over to the slow movement. The Adagio is built-up out of the three
principal themes, one of them being justly considered among the loveliest
melodies of the nineteenth century. This melody prevails throughout the
entire movement, the other themes being employed essentially as contrasts,
The final movement, after a brief orchestral prelude, introduces the march-
like first theme in the violin. The second theme, more lyric in character,
appears first in the orchestra, and after extended development of the
material the movement ends with a brilliant coda.

Rone Poent="-Donesuan. sos ea te ae Richard Strauss

This remarkable piece of program music was written in 1888, the com-
poser then being twenty-four years old, an age at which his feelings and
sympathies may well have been at one with those of the young hero of
Nicholas Lenau’s poem, graphically depicted in the wonderfully eloquent
music of this composition. The Don Juan of Lenau’s strange poem is a
young man of superb health and vigor, a fact made evident in Strauss’
vital, energetic and torrentially emotional music. He sets out upon a quest
for the perfect example of womanhood, entering what the poem calls a

‘‘magie realm, illimited, eternal, of gloried woman—loveliness supernal!’’
He flies from conquest to conquest, always in pursuit of his ideal, and meet-
ing always with disappointment and disillusionment. Through the vivid
and sardonie adventures of his pursuit Strauss’ wonderful music follows
him step by step to his final disappointment and the duel scene which ends
with his death. Every character of the drama is represented by a definite
musical theme, every emotion reflected in tone psychology and every incident
drawn in masterly sound-pictures.

Prelude and Love-Death from ‘‘Tristan and Isolde’’......Wagner

The Prelude has been described as a ‘‘sumptuously picturesque compo-
sition having much the same general form as the Prelude to ‘ Lohengrin’—
working up through a long crescendo to a fortissimo climax, and then sub-
siding quickly to a pianissimo.’’? The ‘Love-Death’ closes the opera, when
Isolde, in a transport of love and grief, sings her death song over the dead
body of her lover, Tristan. In the present concert version the ‘Love-Death’
is attached, by a simple harmonic device, to the Prelude. Wagner himself
has given an account of the content of the composition in one of his writ-
ings:

‘<Now there is no end to the yearnings, the longing, the delight and the
misery of love. World, might, fame, splendor, honor, knighthood, truth
and friendship all vanish like a baseless dream. Only one thing survives:
desire, desire unquenchable, and ever freshly manifested longing—thirst and
yearning. The only redemption: death, the sinking into oblivion, the sleep
from which there is no awakening.’’ The musician who chose this theme
for the prelude to his love-drama, as he felt that he was here in the bound-
less realm of the very element of music, could have only one care; how he
should set bounds to his fancy; for the exhaustion of the theme was im-
possible. Thus he took once for all this unsatiable desire; in long-drawn
accents it surges up, from its first timid confession, its softest attraction,
through throbbing sighs, hope and pain, laments and wishes, delight and
torment, up to the mightiest onslaught, the most powerful endeavor to find
the breach which shall open to the heart the path to the ocean of the endless
joy of love. In vain; its powers spent, the heart sinks back to thirst with
desire, with desire unfulfilled, till at last, in the depth of its exhaustion, the
starting eye sees the glimmering of the highest bliss of attainment. It is
the eestacy of dying, of the surrender of being, of the final redemption into
that wondrous realm from which we wander farthest when we strive to take

it by force. ’’

UNIVERSITY OF CALIFORNIA

Committee on Music and Drama

LAST BERKELEY CONCERT

THURSDAY EVENING, MARCH 5, 1925

Soloist: Lewis Ricuarps, Harpsichordist

PROGRAMME
1iAntique: Dances: for themhuteiee dF at LA ten Sag? Respighr
rod SUE Ay 98 0 Saeco Seach dat lee ai ahr REN Ran nici cn nie SER AA EAS Bach
Ss. woncerto for ctarpsichord jc 54s) a ae ee ae Haydn
Lewis RicHARDS
Pre SUL, REG: ERG OLE eer on cee re ee gee Stravinsky

(SupyEcr ro CHANGE)

ANNOUNCEMENTS

The third coneert of the California Music League, Modeste Alloo, Con-
ductor, will be given on February 17, 1925, at Harmon Gymnasium at 8:15
o’clock.

The little Theatre of the University of California announces the follow-
ing programme for the Spring Season:

(1) ‘‘Outward Bound,’’ by Sutton Vane, Jan. 30, 31, Feb. 6, 7; (2)
‘‘Her Husband’s Wife,’’ by A. E. Thomas, Feb. 27, 28; (3) Prize One-act
Plays, or ‘‘The Pigeon,’’ by John Galsworthy, March 20, 21; (4) ‘‘She
Stoops to Conquer,’’ by Oliver Goldsmith, April 10, 11.

Coupon books at the Sather Gate Book Shop and at Miss Ball’s Office,
$1.50 for the four performances.

SYMPHONY}
XORCHEST

ey ™M o ab ° y
SY arntamea gy |e
XESS The Winer ve
¢ Mnf Assoctation of k
= ft San Francisco

bai

SIXTH POPULAR

x
hee

ALFRED HERTZ CONDUCTOR

more
(ec uO a

Alfred Hertz

RECOMMENDS
CONN INSTRUMENTS

The San Francisco
Symphony

CONN
INSTRUMENTS

No Higher Endorsement

aie

can be given to a musical ;
“I take great pleasure in

instrument, hence if the recommending Conn. instru-

experience of great artists ments for symphony

orchestra work.”
means anything to you, your

Expert choice will be CONN.

OININ

WORLD'S

LARGEST MANUFACTURERS
OF HIGH GRADE BAND AND
ORCHESTRA INSTRUMENTS

“ALFRED HERTz.

Conn San Francisco Co. Conn Oakland Co.
47 Kearny St. 531-16th St.

Musical Association of San Francisco

Founded December 20, 1909 Incorporated February 3, 1910
OFFICERS
JOHN D. McKes, President
J. B. Lrvison, Vice-President _E. R. Dimonp, Treasurer

A. W. WipenHAM, Secretary-Manager

BOARD OF GOVERNORS

J. K. Armsby A. B. C. Dohrmann John D. McKee

E. D. Beylard John S. Drum Seward B. McNear
Miss Lena Blanding Milton H. Esberg L. F. Monteagle
Miss Louise A. Boyd Herbert Fleishhacker Robert C. Newell
George T. Cameron J. D. Grant J. C. Raas

Selah Chamberlain E. S. Heller F. R. Sherman

C. H. Crocker W.E. Creed Wm. T. Sesnon
Mrs. Templeton Crocker J.B. Levison M. C. Sloss

Wm. H. Crocker Walter S. Martin William Sproule
E. R. Dimond John A. McGregor Sigmund Stern

EXECUTIVE COMMITTEE
John D. McKee, Chairman

E. D. Beylard E. R. Dimond J. B. Levison
Wm. H. Crocker E. S. Heller William Sproule

MUSIC COMMITTEE
J. B. Levison, Chairman

E. S. Heller E. D. Beylard Robert C. Newell

WOMEN’S AUXILIARY
Mrs. M. S. Koshland, Chairman
Miss Lena Blanding, Vice-Chairman
Mrs. M. C. Porter, Vice-Chairman

EXECUTIVE OFFICES

457 Phelan Building, San Francisco
A. W. WIDENHAM, Secretary-Manager

Hours 10 to 12 A. M., 2 to 4 P. M. Telephone Garfield 2819

TL LEE LL LT

249

aie a
<-t ee >s

Mazon & Hamlin Pianos
en . a al i Eee

HE choice of the

alleled beauty!

Wiley BAllen ©:

135 KEARNY STREET, SAN FRANCISCO
1323 WASHINGTON STREET, OAKLAND

250

The San Hrancisen Sunmphony Orchestra

ALFRED HERTZ, Conductor
1924—Season—1925
SIXTH POPULAR CONCERT
515th Concert
CURRAN THEATRE
Sunday Afternoon, February 1, 2:45 o’clock |

Soloists J Pina pa Pianists

PROGRAMME

L..; Preludesto-* ‘Lohenerin ies ores 8 freee tee ee Wagner
oY Ballet: Sure tS eee eee ate t ee Gluck-Gevaert
Air
Dance of the Slaves
Tambourin
Gavotte
Chaconne
3): Four Hungarian (Dancess icsctos sateen ee ctuaceeencer gs Brahms
4. Good Friday Spell from “Parsifal’’............-...-...---.-- Wagner
Intermission

5. Overture to “William Tell’’-...........--...-....22.-2-.2-2------ Rossini

6, “Carnival of:the “Animale 2 3 Sect ee steee-oe = Saint-Saens
A Grand Zoological Fantasia

Introduction and Royal March of the Lions
Hens and Roosters
Wild Asses
Tortoises
The Elephant
Kangaroos
Aquarium
Persons with Long Ears
The Cuckoo in the Heart of the Wood
Aviary
Pianists
Fossils
The Swan (’Cello Solo, Walter Ferner)
Finale
(Ellen Edwards and Allen Bier at the Pianos)
(The Pianos are Steinways)
EL

251

109 Stockton Street

BEETHOVEN’S NINTH SYMPHONY

Recorded in Europe by the

Symphony Orchestra of Berlin
Under the direction of Bruno Seidler-Winkler

and

Includes the Chorus of the Berlin National Opera

Ist
1st

Ist
2nd

2nd
3rd

3rd
3rd

4th
4th

4th

4th
4th

Movement—Part 1, Allegro, ma non troppo.

Movement—Part 2, Allegro, ma non troppo, New Symphony Orchestra—
Berlin, Conducted by Bruno Seidler- Winkler (Recorded in Europe).

Movement—Part 3, Allegro, ma non troppo.

Movement—Part 1, Molto vivace, New Symphony Orchestra, Berlin—Con-
ducted by Bruno Seidler- Winkler (Recorded in Europe).

Movement—Part 2, Molto vivace.

Movement—Part 1, Adagio molto e cantabile, New Symphony Orchestra—
Berlin, Conducted by Bruno Seidler-Winkler (Recorded in Europe).

Movement—Part 2.

Movement—Part 3, Adagio molto e cantabile, New Symphony Orchestra—
Berlin, Conducted by Bruno Seidler- Winkler (Recorded in Europe).

Movement—Part 1, Presto.

Movement—Part 2, Presto allegro assai, New Symphony Orchestra—Berlin,
Conducted by Bruno Seidler-Winkler (Recorded in Europe).

Movement—Part 3, Presto allegro assai, New Symphony Orchestra—Berlin,
Conducted by Bruno Seidler-Winkler, Vocal by Ethel Hansa, Soprano—
Eleanor Schlosshauer, Alto—Eugen Transky, Tenor—Prof. Albert Fischer,
Bass—and chorus Berlin National Opera.

Movement—Part 4, Presto allegro assai—New Symphony Orchestra—Berlin,
Conducted by Bruno Seidler-Winkler. Eugen Transky, Tenor, and chorus
Berlin National Opera (Recorded in Europe).

Movement—Part 5, continuation—Presto allegro assai movement.

Movement—Part 6, Presto allegro non tanto, New Symphony Orchestra—
Berlin, Conducted by Bruno Seidler- Winkler, Vocal by Ethel Hansa, Soprano—
Eleanor Scholsshauer, Alto—Eugen Transky, Tenor—Prof. Albert Fischer,
Bass—chorus Berlin National Opera (Recorded in Europe).

Price Complete, in Handsomely Bound Album, $10.00

Send for our catalogue of ‘‘Musical Masterworks’’—free.

QUARG MUSIC CO.

206 Powell Street Open Evenings

252

Prelude to ‘‘Lohengrin” - - - : - - Wagner

It was with this work that Wagner first used the overture to pre-

pare the audience for the action of the scene, which was to follow, so

he deliberately here departed from the use of the orthodox form of
overture, and in this prelude tells us of the descent from Heaven of
the Holy Grail, as it was brought by the angels and delivered into the
hands of the holy Titurel. The number begins with soft A major
chords in the highest register of the violin. The. motive of the Grail is
then announced. Coming nearer and nearer, the light of the Grail is
seen in the sky, while the air is filled with the blessings dispensed by
the holy cup. As the sounds grow louder, the senses are overwhelmed,
until at the tremendous climax thundered out by the full orchestra the
mystic light of the Grail is seen in all its glory. The mysterious Grail
motive then fades away, being played at the end by muted strings;
and the number ends with the same A major chords pianissimo. |

Ballet Suite - . - - - - - Gluck-Gevaert

This suite is the second of three suites, and consists of five dances,
the first, second, third and fifth numbers being from Iphigenie in
Aulis and the fourth from Armide. The first one is named Air and is
orchestrated for strings, one bassoon, and one oboe. ‘The second is
Dance of the Slaves and is orchestrated for flutes, oboes, clarinets,
bassoons, horns and strings. The third number. is called Tambourin
and is written for piccolo, bassoons, horns, tambourine and strings.
The fourth is a Gavotte and calls for only part of the strings and two

ESTABLISHED 1852

DT ALITY

CONSISTENT
PRICES

Shreve and Company

Jewelers and Silversmiths

Post and Grant Avenue
San Francisco

253

—————————

;
|
|
|
|
|

bassoons. The last number, Chaconne, is the only number in which

_the trumpets and tympani are added.

Four Hungarian Dances’ - - - - - - Brahms

To many of the uninitiated, the name of Brahms stands as some-
thing to be avoided in searching for music of the lighter and entertain-
ing sort. He has, however, written some of the most tuneful and
easily comprehended music in his Hungarian dances. When Brahms
was a boy, he attended concerts given by the great Hungarian violin-
ist, Remenyi, who included in his performances examples of Hungarian
music, such as Friskas and Czardas. The odd rhythms and harmonies
fascinated Brahms, and when, a few years later, he went on tour with
Remenyi, as the latter’s pianist, he made a serious study of Hungarian
music. It was not until some years later, however, that these studies
bore fruit in the shape of Hungarian Dances, which continued to appear
from time to time as piano duets.

Good Friday Spell from ‘‘Parsifal’’ . - - ~ Wagner

“The Good Friday Spell is an excerpt drawn from the third and
last act of the opera. The scene presents a pleasant landscape with a
hermitage in the foreground. Gurnemanz, now an old man, emerges
from his hut. He has heard groans, and proceeding to a thicket of
brambles, discovers the unconscious form of Kundry. He restores her
to consciousness and learns that she has come to resume her services
to the knights of the Grail. Soon a knight in black armor appears.
It is Parsifal, who has searched long and vainly for the home of the
Grail. Gurnemanz, not having recognized the stranger, reproaches
him for having entered armed the sacred precincts of the Grail. Lay-
ing aside his armor, Parsifal is made known, and Gurnemanz narrates
how the knights of the Grail have fallen upon an evil plight; for
Amfortas no longer takes the hallowed cup trom out its shrine, or
administers the sacred food. Parsifal is overcome with grief and
anguish. He is led by Gurnemanz and Kundry to a spring, and there
the woman bathes his feet and dries them with her hair, while Gurne-
manz anoints him king. Parsifal bends down to the spring and taking
a little water in his hands baptizes. Kundry. He turns around and

GEORGE STEWART McMANUS
Pianist
(Returned from World Tour with Jean Gerardy)
Instruction in the Art of Piano Playing
and Accompanying

Residence Studio:

2444 Larkin Street, San Francisco
Phone Franklin 6257

Mondays: Ray Coyle Building, 526 Powell Street
Phone Sutter 3634

Thursdays: 2510 College Avenue, Berkeley
Phone Berkeley 436-]

Available for engagements as Solo Pianist or Accompanist

254

perceives the smiling beauty of the woods and fields, and Gurnemanz
explains that the loveliness of nature on this Good Friday is an expres-
sion of the world’s gratitude to the Redeemer. They now proceed to
the Hall of the Grail. Titurel has died of the privation caused by the
withholding of the Grail, and his body is brought in for burial.
Amfortas is also borne in on a litter; for he is about to uncover the
holy chalice. Meanwhile Parsifal and his companions have entered
unperceived. As Amfortas in agony exposes his wound, Parsifal .
comes forward, touches it with the sacred spear, bidding him to be
healed. Parsifal then takes the Grail and kneels in prayer before it.
The cup glows with light; from above a white dove descends, and
hovers over Parsifal, who waves the chalice gently to and fro. Kundry
sinks slowly down before him, and dies at his feet. Gurnemanz and
Amfortas kneel in homage before Parsifal, and from above there
floats down the sound of voices singing, “Wondrous work of mercy!
Salvation to the Savior.”’

Overture to ‘‘William Tell’’ - - - . - Rossini

This overture, which is probably played as often as any other
single work at concerts the world over, was called by Berlioz “‘a
symphony in four parts.’

The opening Andante depicts the serene solitude of Nature at
dawn, and the music is enchantingly reposeful. From a slowly climb-
ing figure on the ‘cello the wayward, elusive air resolves after a time
into a more definite rhythmic tune, soon lapsing into dreamy medita-
tion, which continues to the close of the movement. The tranquil

Cable Address, ‘‘Mandib”’ Telephone Sutter 2945

Established 1869

Manheim, Bihbern & Co.

315 MONTGOMERY STREET

SAN FRANCISCO

Susuranuce Brokers Stork and Bond Brokers
emia ose oe Brokers Members, The San Francisco Stock

| Fire (in all its branches), Marine, and Bond Exchange

Burglary, Casualty, Automobile,
Life, Liability, Earthquake, Strike
and Riot, Ete. stocks always on hand.

Quotations and information on all

255

mood of the Andante is rudely interrupted by the beginning of the
second movement—a string passage suggesting the distant mutterings
of a storm. This comes nearer and nearer, until the full fury of the
storm bursts upon the ear. The fortissimo passage continues until the
storm seems to have spent its force, and the strain dies down into
refreshing calmness once more. The storm is followed by a beautiful
pastoral with a delicious melody for the English horn. As the last
notes of the melody die away, the trumpets enter with a brilliant
fanfare on the splendid finale, a fitting climax to a great work.

“Carnival of the Animals” - . . “ . Saint-Saens

The “Carnival of the Animals’’ was not published in its entirety
until 1922, and contains on the score the following note of the pub-
lisher: ““Fhe ‘Animals’ Carnival’ was composed in February, 1886.
The composer wished to present it as a surprise at the annual Mardi-
Gras concert of the violoncellist Lebouc. Saint-Saens had formerly
intended to write the ‘Carnival’ for his pupils at the Niedermyer
School, but time was wanting. . . The composer, having per-
mitted for some years the hearing of the work under special conditions,
finally forbade any performance. A special article in his last will and
testament removed the ban and allowed the publication of this charm-
ing Fantasia, in which exquisite music is blended with jocosity of an
excellent quality.”’

The following brief description of each number is also contained
in the score:

I. Introduction and Royal March of the Lion. Andante maes-

Studio Hours: Tuesday, Wednesday, Saturday

Phone Douglas 1678
Afternoons—2-5

KAJETAN ATTL

Solo Harpist
San Francisco Symphony Orchestra

Using Lyon & Healy Harps, The World’s Standard
FOR ENGAGEMENTS

AS SOLO ARTIST, ACCOMPANIST, OR

PLAYER IN ENSEMBLE MUSIC,
" ADDRESS

KAJETAN ATTL, BOHEMIAN CLUB
SAN FRANCISCO, CALIFORNIA
RES. PHONE FRANKLIN 7847

Violinist and Teacher
Concert and Recital

bd Pee
48 Wildwood Avenue, Piedmont

Phone Piedmont 8140-J (Tuesday) Douglas 1678

256

toso, 4-4. Piu Allegro. Two pianofortes and strings. IJ. Hens and
Roosters. Allegro moderato, 4-4. Clarinet; two pianofortes, violins
and viola. III. Wild Asses (Hemiones): Horses of Tartary. Presto
furioso. Two pianofortes. IV. Tortoises. Andante maestoso, 4-4.
First pianoforte and strings. Here Saint-Saens utilized two themes
from Offenbach’s ‘“‘Orphee aux Enfers,”’ “which he adorned harmon-
ically.”’ These extracts are from the final ballet and measures of the
finale of the first act. V. The Elephant. Allegro pomposo, 3-8.
Second pianoforte and double bass. Saint-Saens borrowed some
measures from Berlioz’ “Ballet of Sylphs,”’ with a slight remembrance
of Mendelssohn's ‘‘Midsummer Night's Dream’’ music. VI. Kanga-
roos. Moderato, 4-4. Two pianofortes. VII. Aquarium. Andan-
tino, 4-4. Two pianofortes, flute, celesta, and strings (without double
bass). VIII. Persons with Long Ears. Tempo ad lib., 3-4. Violins.
IX. The Cuckoo in the Heart of the Wood. Andante, 3-4. Clarinet
(off stage), two pianofortes. X. The Aviary. Moderato grazioso,
4-4, Flute, two pianofortes, strings. XI. Pianists. Allegro moderato.
‘The pianists should imitate the awkward playing of debutants.’’ Two
pianofortes and strings. XII. Fossils. Allegro ridicolo, 2-2. Clarinet,
xylophone, two pianofortes, strings. ‘In this section occur the themes
of ‘J’ai du bon tabac,’ ‘Ah, vous dirai-je maman, Saint-Saens “Danse
Macabre,’ “Partant pour la Syrie,’ and Rosina’s air in “The Barber of
Seville.’ ’’ XIII. The Swan. Violoncello and two pianofortes. “The
Swan’”’ was published for violoncello and one pianoforte in 1887.

XIV. Finale. Molto allegro, 4-4. Piccolo, clarinet, celesta, SI
two pianofortes and strings.

ALFRED METZGER—

M. Anthony Linden

Orchestral Conductor and Flute Virtuoso
Soloist—TI eacher—Lecturer
Solo Flutist, San Francisco Symphony Orchestra
Formerly Solo Flutist, Minneapolis Symphony Orchestra
Director Linden School of Flute Playing

RepDFERN Mason—

He. played admirably.
There was no _ self-con-
scious virtuosity; it was
the pure bel canto of the
flute, every note round
and perfect as a pearl.—
San Francisco Examiner.

Address all communications to

457 Phelan Building, San Francisco

By |

ANNOUNCEMENT
EIGHTH PAIR OF SYMPHONY CONCERTS
Curran Theatre

Friday, February 6, 3:00 P. M.
Sunday, February 8, 2:45 P. M.

PROGRAMME

L.-Academic Festival Overture... ....0.00 2.3 Brahms
ZF Three Jewish: Poems. eee ee Ernest Bloch
Dance
Rite

Funeral Procession

(First time in San Francisco)

Sie RPA ROY: tcl AMINE. to On ek oe 2 Cesar Franck
Lento—Allegro non troppo
Allegretto
Allegro non troppo

ANNOUNCEMENT
SEVENTH POPULAR CONCERT
Curran Theatre
Sunday, February 15, 2:45 P. M.

Gtncre LOUIS PERSINGER, Violinist
WALDEMAR GIESE, Double Bass

PROGRAMME
1. Symphony in G Major (‘‘Surprise’’ ) -.......2.222....22..... Haydn
(By special request)
2. Legend for Orchestra, “‘Zorahayda’’.................... Svendsen

3. Scherzo (““The Bumble Bee’’) from “Tsar Saltan’’....

7 AP NE PeRRER OMT NSF eS Ce BM gE Ae Rimsky-Korsakow

4 suites: “oigurd sotealfar ‘ip sieotS ee ye re Grieg

5. Concerto Duet for Violin and Double Bass........... Bottesini
(First time in San Francisco)

LOUIS PERSINGER, WALDEMAR GIESE
6. Invitation’ to: the: Danceél ee; Weber-Weingartner

258

LAST AUDITORIUM SYMPHONY CONCERT
Tuesday, February 10, 8:20 P. M.

Soloist: FLORENCE EASTON, Soprano
ALL-WAGNER PROGRAMME

Tickets now on sale at Sherman, Clay & Co.
$1.00, 75c, 50c

MARGARET MARY MORGAN (O.

Engraving: Printers - Publishing

| Commercial Printing

619 California Street Douglas 4633

eed
ooo

THE SAN FRANCISCO BANK

(LATELY THE SAN FRANCISCO SAVINGS AND LOAN SOCIETY)

SAVINGS COMMERCIAL

INCORPORATED FEBRUARY 10th, 1868.
One of the Oldest Banksin California,
the Assets of which have never been increased
by mergers or-consolidation s with other Banks.

Member Associated Savings Banks of San Francisco
526 California Street, San Francisco, Cal.
DECEMBER 3lst, 1924
Aecstar 506k ek Seo ge TS Rn trees $96,917,170.69
Capital, Reserve and Contingent Funds....... 4,000,000.00

Employees’ Pension Bands... eee aos 88 461,746.52
MISSION BRANCH «aise .criacs sieyattiaieiets ao vetmemtie ole Sep 2.8 Mission and 21st Streets
PARK-PRESIDIO BRANCH......-++sseeeeeeerrrrs Clement St. and 7th Ave.

nd Belvedere Streets

HAIGHT STREET BRANCH.....- FW uvas tears 6 Haight a
1 Ave. and Ulloa St.

WEST PORTAL BRANCH......+++-++--:: °° West Porta
Interest paid on Deposits at the rate of
FOUR AND ONE QUARTER (414) per cent per annum,
COMPUTED MONTHLY and COMPOUNDED QUARTERLY,
AND MAY BE WITHDRAWN QUARTERLY

259

Jdersomnel

Che San Francisca Symphony Orchestra

FIRST VIOLINS

Persinger, Louis
Concert Master and
Assistant Conductor

Argiewicz, Artur
Assistant Concert
Master

Ford, Louis
Assistant Concert
Master

Meriz, E.

Mendelevitch, R.

Laraia, W. F.

Gluschkin, M.

Gordohn, R.

Seiger, Rudy

Bem, Eugenia

Koenig, H.

See, Orley

Mortensen, Modesta

Amsterdam, M.

Pasmore, Mary

Ruiz, R.

SECOND VIOLINS
Jensen, T.

Principal
Haug, J. A.
Callinan, W. G.
Hidden, R. L.
Gold, J.
Paterson, J. A.
Blaha, A.
Manchester, W.
Atkinson, Helen
Dunn, H. A.
Gough, W.
Hoffman, H. H.
Dabelow, W.

VIOLAS

Fenster, Lajos

Principal
Hahl, E.
Baker, F. A.
Wismer, H.
Weiler, E.
Lichtenstein, V.
Patchook, S.
Dierich, F.
Kolb, R.
Lewis, A.

‘CELLOS

Ferner, Walter
Principal

Dehe, W.

King, O.
Villalpando, W.
Weiss, A.

Kirs, R.

Gegna, M.
Pasmore, Dorothy
Hranek, C.

BASSES

Lahann, J.
Principal

Greene, S.
Bell, W.
Storch, A. E.
Cassetta, L. R.
Guterson, A.
Annarumi, A.
Giese, W.

FLUTES
Linden, Anthony
Newbauer, Louis

Oesterreicher, Walter
Orchestral Manager

Benkman, H.

PICCOLO

Oesterreicher, Walter

OBOES
Addimando, C.
Shanis, Julius
Schipilliti, V.
Utschig, H.

ENGLISH HORN
Schipilliti, V.

CLARINETS
Randall, H. B.
Zannini, N.
Fragale, F.
Greenbaum, A. A.

ALFRED HERTZ, CONDUCTOR

BASS CLARINET
Fragale, F.

BASSOONS
Kubitschek, E.
La Haye, E. B.
Hranek, C.

CONTRA BASSOON
Kolb, R.

HORNS
Hornig, W.
Tryner, C. E.
Roth, P.
Huske, F. E.
Rocco, R.

TRUMPETS
Ditzel, E.
Arriola, A.

Kegel, Otto
Kress, V.

TROMBONES
Tait, F. W.
Clark, O. E.
Bassett, F. N.

TUBA
Murray, R.

HARP
Attl, Kajetan
Schipilliti, Annette

TYMPANI
Wagner, R. E.

PERCUSSION
Nickel, M.
Vendt, A., Jr.
Kundy, E.

PIANO AND CELESTA
Ormay, Gyula

LIBRARIAN
Kegel, Otto

A. W. WIDENHAM, Secretary-Manager

260

: e
3 &

“The Happiest Homes in All Creation

Are Homes Surrounded by Recreation”

The “Carmel” of the Peninsula

Rae yj poate

“BELLE MONTY’

There are so many natural features which add to the
attractiveness of “Belle Monti” as an Artist and Musician
Center that its appeal is instantaneous.

Belle Monti Country Club

Now Building
for which $250,000 has been directed to be set aside for club house,

swimming pool, courts, links, etc.

Nine Hole Golf Course Now Open

Write, call or phone for complete information. 7°
Artist Center Division ©) uy

BELLE MONTI SALES CO. OS

Garfield 2157 sy
212 Sutter Street 1¢ os
ye

San Francisco

Artist Center Division
BELLE MONTI SALES CO.

212 Sutter Street, San Francisco
Please send airplane view in colors and complete information regard-

ing “Belle Monti” and Belle Monti Country Club to..-.--.----s--------e-ceseecesneeee E

261

Choose your piano carefully.
Choose it as you would
choose an intimate member
of your family circle. Choose
it for qualities that will en-
dure. |

Let your choice, if possible,
be a STEINWAY. There is no
other piano of qualities more
enduring —of distinction so
immediately recognized.

Sherman, [@llay & Co.

Kearny & Sutter Sts.
Oakland - Clay at 14th

| oS hale

SYMPHONY (2:

rv,
Cs

ISIE WN ON CT SENN Pon

WG Me
CISCO

go Maintamea oy
2tX8) The Musical 2
iy Wl Association of

S 4 San Francisco
ae,

Stanford University
February 3, 1925

“of

cAuspictes
STANFORD SYMPHONY COMMITTEE

ALFRED HERTZ CONDUCTOR

PROGRAMME

Overture to “Iphigenie in Aulis” _- - - - Gluck

Modern opera practically dates from the efforts made by
Gluck to correct the abuses which had crept into the works of the
Italians of his time ‘‘through the mistaken vanity of singers and the
unwise compliance of composers which had rendered it wearisome
and ridiculous instead of being, as it once was, the grandest and
most imposing stage of modern times.”’ Regarding his overtures
he stated: “My idea was that the overture ought to indicate the
subject and prepare the spectators for the character of the piece

they are about to see.”’

Wagner, who was a great admirer of Gluck, revised the instru-
mentation and text in 1846, and in that form produced the opera
in Dresden in 1848. The overture originally led directly into the
first scene of the opera. The concert version which is now gen-
erally used is that made by Wagner. According to Wagner, the
thematic elements of the overture are (1) “a motive of appeal
from painful, gnawing heart-sorrow’’: (2) ‘‘a motive of violence,
of commanding, overbearing demand”: (3) “a motive of grace,
of maidenly tenderness,”” and (4) ‘‘a motive of painful, torment-
ing pity’ —the first named coming in the introduction and the

others in the Allegro.

Symphony in G major, “The Surprise” - - - Haydn

Adagio cantabile—Vivace assai
Andante—Theme and Variations
Menuetto: Allegro molto

Finale: Allegro di molto

This symphony, known as “The Surprise’’ and in Germany as
the symphony “‘with the drum-stroke,” is the third of the twelve
Salomon symphonies as arranged in the order of their appearance
in the catalogue of the Philharmonic Society of London. Com-
posed in 1791, it was performed for the first time on March 23,

1792, at the sixth Salomon concert in London. It pleased imme-

diately and greatly. The Oracle characterized the second move-

|
|

rz,
=e

ment as one of Haydn's happiest inventions, and likened “the
surprise’ —-which is occasioned by the sudden orchestral crashes
in the Andante—to a shepherdess, lulled by the sound of a distant
waterfall, awakened suddenly from sleep and frightened by the
unexpected discharge of a musket. Griesinger, in his Life of
Haydn, contradicts the story that Haydn introduced these crashes
to arouse the English women from sleep. Haydn also contradicted
it, and said it was his intention only to surprise the audience by
something new. ‘The first allegro of my symphony was received
with countless ‘Bravos, but enthusiasm rose to its highest pitch
after the Andante with the drum-stroke. ‘Ancora, ancora!’ was
cried out on all sides, and Pleyel himself complimented me on my
idea.’ On the other hand, Gyrowetz, in his Autobiography, said
that he visited Haydn just after he had composed the Andante,
and Haydn was so pleased with it that he played it to him on the
piano, and, sure of his success, said with a roguish laugh: “The:

women will cry out here!”

Overture, “‘Leonore,” No.3 - - “ - Beethoven

“Fidelio,” Beethoven's only opera, was first performed at
Vienna in 1805. For this opera he composed at one time and
another no fewer than four overtures, three of them known as
‘I eonore’ Overtures Nos. I, 2 and 3. .“Leonore’ was the orig-
inal title of the opera, so named after the heroine, Beethoven
subsequently changing the title of his work to ‘‘Fidelio.’’ The
third overture, played this evening, is by far the finest of the four.
It is the drama in miniature, and far outclasses anything in the
opera itself. It is a masterpiece of dramatic unity, strength and

passion, as well as of unique and imposing musical construction.

Intermission

“Kol Nidrei” for Violoncello and Orchestra ~ » Bruch
WALTER FERNER

The ‘‘Kol Nidrei’’ is a chant which is recited in synagogues at
the beginning of the evening service on the Day of Atonement,

the most solemn festival of the Jewish race, and takes its name

from its two opening words. While it is probable that no two
synagogues chant the melody, note for note, the same, the tradi-

- tional formula is preserved everywhere. The structure is simple, :
the melody being an intermingling of simple cantillation with rich
figuration. The opening is what the masters of Catholic song term

a “Pneuma,”’ or soul breath. Instead of announcing the opening

words in a monotone, there was a long sighing tone used in the |
melody, falling to a lower note and rising again. There is a sim- |
ilarity of the strain with the first five bars of Beethoven’s C sharp |
minor quartet, and there are strong similarities in some of the
Gregorian chants of the Catholic Church.

5. Tone Poem, “Don Juan’’ - ~ - Richard Strauss

This remarkable piece of program music was written in 1888,
the composer then being twenty-four years old—an age at which
his feelings and sympathies may well have been at one with those
of the young hero of Nicholas Lenau’s poem, graphically depicted
in the wonderfully eloquent music of this composition. The Don
Juan of Lenau’s strange poem is a young man of superb health
and vigor, a fact made evident in Strauss’ energetic and torren-
tially emotional music. He sets out upon a quest for the perfect
example of womanhood, entering what the poem calls a “magic
realm, illimited, eternal, of gloried woman—loveliness supernal.”’
He flies from conquest to conquest, always in pursuit of his ideal,
and meeting always with disappointment and disillusionment.
Through the vivid and sardonic adventures of his pursuit, Strauss’
wonderful music follows him step by step to his final disappoint-
ment and the duel scene which ends with his death. Every char-
acter of the drama is represented by a definite musical theme,
every emotion reflected in tone psychology,, and every incident
drawn in masterly sound pictures.

ee i Ae Se ae ee
Next Stanford Symphony Concert

TUESDAY EVENING, MARCH 31, 8:15 o’clock

ASSEMBLY HALL

— a

_SAN “FRANCISCO
SYMPHO ONY
“/ORCHEST! : E

ANG)
a Marntamea doy
AXE] The Musical 4

: Assoctation of

eon TraMmcisco

<7
Armee
aoe

EIGHTH PAIR F
1924 1925

Fourteenth Season

ALFR aR aE Ti TEESE SES DU C _

Alfred Hertz

“RECOMMENDS

CONN INSTRUMENTS

“

The San Francisco

c : Symphony
iO

| N H ‘ uses

N “ CONN

DS ie INSTRUMENTS

OURAN TY

No Higher Endorsement 2

can be given to a musical
“I take great pleasure in

instrument, hence if the recommending Conn instru-

experience of great artists ments for symphony

i orchestra work.”
means anything to you, your

y ; A :
Expert choice will be CONN. meee eS

WORLD'S

LARGEST MANUFACTURERS
OF HIGH GRADE BAND AND
ORCHESTRA INSTRUMENTS

Conn San Francisco Co. Conn Oakland Co.
47 Kearny St. 531-16th St.

264

|
|

FIRST VIOLINS
Persinger, Louis
Concert Master and

Assistant Conductor

Argiewicz, Artur
Assistant Concert
Master

Ford, Louis
Assistant Concert
Master

Meriz, E.

Mendelevitch, R.

Laraia, W. F.

Gluschkin, M.

Gordohn, R.

Seiger, Rudy

Bem, Eugenia

Koenig, H.

See, Orley

Mortensen, Modesta

Amsterdam, M.

Pasmore, Mary

Ruiz, R.

SECOND VIOLINS
Jensen, T.

Principal
Haug, J. A.
Callinan, W. G.
Hidden, R. L.
Gold, J.
Paterson, J. A.
Blaha, A.
Manchester, W.
Atkinson, Helen
Dunn, H. A.
Gough, W.
Hoffman, H. H.
Dabelow, W.

VIOLAS

Fenster, Lajos

Principal
Hahl, E.
Baker, F. A.
Wismer, H.
Weiler, E.
Lichtenstein, V.
Patchook, S.
Dierich, F.
Kolb, R.
Lewis, A.

Jdersomel

Che San Hrancisen Symphony Orchestra

ALFRED HERTZ, CONDUCTOR

‘CELLOS

Ferner, Walter
Principal

Dehe, W.

King, O.
Villalpando, W.
Weiss, A.

Kirs, R.

Gegna, M.
Pasmore, Dorothy

Hranek, C.

BASSES

Lahann, J.
Principal

Greene, S.
Bell, W.
Storch, A. E.
Cassetta, L. R.
Guterson, A.
Annarumi, A.
Giese, W.

FLUTES
Linden, Anthony
Newbauer, Louis

Oesterreicher, Walter
Orchestral Manager

Benkman, H.

PICCOLO

Oesterreicher, Walter

OBOES
Addimando, C.
Shanis, Julius
Schipilliti, V.
Utschig, H.

ENGLISH HORN
Schipilliti, V.

CLARINETS
Randall, H. B.
Zannini, N.
Fragale, F.
Greenbaum, A. A.

BASS CLARINET
Fragale, F.

BASSOONS
Kubitschek, E.
La Haye, E. B.
Hranek, C.

CONTRA BASSOON
Kolb, R.

HORNS
Hornig, W.
Tryner, C. E.
Roth, P.
Huske, F. E.
Rocco, R.

TRUMPETS
Ditzel, E.
Arriola, A.

Kegel, Otto
Kress, V.

TROMBONES
Tait, F. W.
Clark, O. E.
Bassett, F. N.

TUBA
Murray, R.

HARP
Attl, Kajetan
Schipilliti, Annette

TYMPANI
Wagener, R. E.

PERCUSSION
Nickel, M.
Vendt, A., Jr.
Kundy, E.

PIANO AND CELESTA

Ormay, Gyula

LIBRARIAN
Kegel, Otto

A. W. WIDENHAM, Secretary-Manager

265

HE choice of the

Mason & Hamlin Piann
for the concert platform
proclaims its sonority—
its selection by famous art-
ists declares the quality of
its tone—its presence in
homes of wealth and taste
bears tribute to its unpar-

alleled beauty!

Wiley BAllen ©.

135 KEARNY STREET, SAN FRANCISCO
1323 WASHINGTON STREET, OAKLAND

266

=~ SRE,
Che San Francisca Symphony Orchestra
"AEFRED HERTZ Conductor
1924—Season—1925
EIGHTH PAIR OF SYMPHONY CONCERTS
516th and 517th Concerts

CURRAN THEATRE

Friday Afternoon, February 6, 3:00 o’clock
Sunday Afternoon, February 8, 2:45 o’clock

PROGRAMME

1. Academic Festival Overture

2. Three Jewish Poems
Dance
Rite
Funeral Procession
(First time in San Francisco)

Intermission

3. Symphony in D minor Cesar Franck
Lento—Allegro non troppo
Allegretto
Allegro non troppo

SAN FRANCISCO WIND INSTRUMENT ENSEMBLE
Announcement of Change in Concert Dates

Fillmore 8035.

109 Stockton Street

BEETHOVEN’S NINTH SYMPHONY
Recorded in Europe by the

Symphony Orchestra of Berlin
Under the direction of Bruno Seidler-Winkler

and

Includes the Chorus of the Berlin National Opera

1st Movement—Part 1, Allegro, ma non troppo.

Ist Movement—Part 2, Allegro, ma non troppo, New Symphony Orchestra—
Berlin, Conducted by Bruno Seidler-Winkler (Recorded in Europe).

Ist Movement—Part 3, Allegro, ma non troppo.

2nd Movement—Part 1, Molto vivace, New Symphony Orchestra, Berlin—Con-
ducted by Bruno Seidler-Winkler (Recorded in Europe).

2nd Movement—Part 2, Molto vivace.

3rd Movement—Part 1, Adagio molto e cantabile, New Symphony Orchestra—
Berlin, Conducted by Bruno Seidler- Winkler (Recorded in Europe).

3rd Movement—Part 2.

3rd Movement—Part 3, Adagio molto e cantabile, New Symphony Orchestra—
Berlin, Conducted by Bruno Seidler- Winkler (Recorded in Europe).

4th ,Movement—Part 1, Presto.

4th Movement—Part 2, Presto allegro assai, New Symphony Orchestra—Berlin,
Conducted by Bruno Seidler-Winkler (Recorded in Europe).

4th Movement—Part 3, Presto allegro assai, New Symphony Orchestra—Berlin,
Conducted by Bruno Seidler-Winkler, Vocal by Ethel Hansa, Soprano—
Eleanor Schlosshauer, Alto—Eugen Transky, Tenor—Prof. Albert Fischer,
Bass—and chorus Berlin National Opera.

4th Movement—Part 4, Presto allegro assai—New Symphony Orchestra—Berlin,
Conducted by Bruno Seidler- Winkler. Eugen Transky, Tenor, and chorus
Berlin National Opera (Recorded in Europe).

4th Movement—Part 5, continuation—Presto allegro assai movement.

4th Movement—Part 6, Presto allegro non tanto, New Symphony Orchestra—
Berlin, Conducted by Bruno Seidler- Winkler, Vocal by Ethel Hansa, Soprano—
Eleanor Scholsshauer, Alto—Eugen Transky, Tenor—Prof, Albert Fischer,
Bass—chorus Berlin National Opera (Recorded in Europe).

Price Complete, in Handsomely Bound Album, $10.00

Send for our catalogue of ‘‘Musical Masterworks’’—free,

QUARG MUSIC CO.

206 Powell Street Open Evenings

Ny:

Overture, ‘‘Academic Festival,’’ Opus 80 = wight a Brahms

Brahms wrote his “Academic Festival’’ Overture in 1880 as an
acknowledgment of the degree of Doctor of Philosophy which had
been bestowed upon him by the University of Breslau. This work, as
well as another new composition, the ““Tragic’’ Overture, was produced
at Breslau, January 4, 1881, in the presence of the august functionaries
of the university, Brahms himself conducting.

The overture is in reality a fantasia on student songs. Brahms
was fond of these pieces, and on occasions when they were sung at
social festivities he would join in lustily and with much enthusiasm.

Three Jewish Poems “ - . . - Ernest Bloch

Upon the occasion of the first performance of the Three Jewish
Poems by the Chicago Symphony Orchestra, February 1, 1918, the
following notes were furnished by the composer:

‘It is not my purpose, not my desire, to attempt a reconstitu-
tion’ of Jewish music, or to base my work on melodies more or less
authentic. I am not an archaeologist. I hold it of first importance to
write good, genuine music, my music. It is the Jewish soul that inter-
ests me, the complex, glowing, agitated soul, that I feel vibrating

ESTABLISHED 1852

9 bezel sr

CONSISTENT
PRICES

Shreve and Company
Jewelers and Silversmiths

Post and Grant Avenue
San Francisco

269

:
;

CESAR THOMSON

rate Master Schoobf
: of (for

LAZAR S. SDILC

ALICE SELS,
Lazar S. SAMOILOFF The famous Artistthers
.
V oice _ .
By arrangement with the of mict101

_ Ithica Conservatory, N. Y.

SAN FRANCISGind |
certain periods betn Mz

Endowed by ALICE(PBE

It should be emphasized atimtset
Musical Arts of California inethin
conventional assemblage of 2g a
vidual instruction. The aduais of t
of one or two teachers, are ofp ever
operation of all the departmemakes
to share in the association wiktogni
of music.

SIGISMUND STOJOWSKI

Piano—Composition

JULIA CLAUSSEN

V oice

ANDRES DE SEGUROLA
Operatic Department

EMIL J. POLAK
Coach

;

.
~. |
(c) Underwood & Underwood |
dale
Write for catalog giving datesMs an

THE MASTER sci of

The official i is th

San Francisco inquiries
68 Post STREET

|
| Each Master is offering two scholarshipshe M
(oye Cnexwopd fe Underwood for additional scholarships to advanced ents

ih
»

obf Musical Arts

(fornia

. SPILOFF, Director
E SELS, Manager

tistthers will give courses W. J. HENDERSON

Lecturer

f inetion in
IS(ind LOS ANGELES
betin May and September

CE(PBELL MACFARLANE

atimtset that the Master School of
ia wnething quite different from the
of ers and artists, engaged in indi-
dvais of the entire Faculty, not merely
re oh every enrolled student. The co-
‘tmemakes 1t possible for every student
n wiktognized masters in every branch

a Si ee GARDNER ANNIE LoutsE DAVID
Violin Harp

| (c) Matzene

atesms and full information. Address:

SCHL of MUSICAL ARTS

Los Angeles inquiries

‘al Phis the BALDWIN
| AUDITORIUM BLDG.

hipshe Master School of Musical Arts provides
red €nts of exceptional talent and limited means.

JOSEF LHEVINNE
Piano

By arrangement with the
American Conservatory
of Chicago

FELIX SALMOND

"Cello and
Chamber Music

A. KOSTELANETZ

Accompanist

throughout the Bible: the freshness and naivete of the Patriarchs;
the violence that is evident in the prophetic books: the Jew’'s savage
love of justice; the despair of the Preacher in Jerusalem; the sorrow
and the immensity of the Book of Job; the sensuality of the Song of
Songs.

“All this is in us; all this is in me, and it is the better part of me.
It is all this that I endeavor to hear in myself and to transcribe in my
music: The venerable emotion of the race that slumbers “way down in
our soul.

‘The ‘Jewish Poems’ are the first work of a cycle. I do not wish
that one should judge my whole personality by this fragment, this first
attempt, which does not contain it. The ‘Psalms,’ ‘Schelomo,” ‘Israel’
are more representative, because they come from the passion and the
violence that I believe to be the characteristics of my nature. In the
‘Jewish Poems’ I' have wished in some way to try a new speech, the
color of which should serve my future expression. There is in them a
certain restraint; | hold myself back; my orchestration is also guarded.
The ‘Poems’ are the first work of a new period; they consequently have
not the maturity of the ‘Psalms’ or of ‘Israel.’

“It is not easy for me to make a program for the ‘Poems.’ Music
is not translated by words. The titles, it seems to me, should sufficiently
inform the hearer.

“I. Danse. This music is all in the coloring; coloring rather
sombre, mystical, languorous.

“II. Rite. This movement is more emotional; but there is some-.
thing solemn and distant, as the ceremonies of a cult.

“IU. Funeral Procession. This is more human. My father died—.
these ‘Poems’ are dedicated to his memory. There is something im-.

GEORGE STEWART McMANUS
Pianis
(Returned from World re with Jean Gerardy)

Instruction in the Art of Piano Playing
3 and Accompanying

Residence Studio:

2444 Larkin Street, San Francisco
Phone Franklin 6257

Mondays: Ray Coyle Building, 526 Powell Street
Phone Sutter 3634

Thursdays: 2510 College Avenue, Berkeley
Phone Berkeley 436-]

Available for engagements as Solo Pianist or Accompanist

nah te ae

placably severe in the rhythms that obstinatel'y repeat themselves. At
the end, sorrow bursts forth, and at the idea of an eternal separation
the soul breaks down. But a very simple and serene melody arises
from the orchestral depths as a consolation, a balm, a gentle faith.
The memory of our dear departed ones is not effaced; they live for-
ever in our hearts.

‘"The form is free, but it is really there, for I believe that our

constitution demands order in a work of art.’

Symphony in D minor - - - - . Cesar Franck

In Vincent d’Indy’s “Life of Franck,’ attention is called, in
commenting on the violin and piano sonata, that the first of its organic
germs is used as the theme of the four movements of the work, further
stating, “From this moment cyclical form, the basis of modern sym-
phonic art, was created and consecrated.’ d Indy then adds:

‘The majestic, plastic, and perfectly beautiful symphony in D

- minor is constructed on the same method. I purposely use the word

method for this reason: After having long described Franck as an
empivicist and an improvisor—which is radically wrong—his enemies
(of whom, in spite of his incomparable goodness, he made many) and

Cable Address, ‘‘Mandib’’ Telephone Sutter 2945

Established 1869

Manheim, Dihbern & Co.

315 MONTGOMERY STREET

SAN FRANCISCO

Insurance Brokers | Stork and Bond Brokers

Members, Insurance Brokers

Exchange
Fire (in all its branches), Marine,
Burglary, Casualty, Automobile, ; : : 1
Life, Liability, Earthquake, Strike Quotations and information on a
and Riot, Ete. stocks always on hand.

Members, The San Francisco Stock
and Bond Exchange

his ignorant detractors suddenly changed their views and called him
a musical mathematician, who subordinated inspiration and impulse to
a conscientious manipulation of form. This, we may observe in pass-
ing, is a common reproach brought by the ignorant Philistine against
the dreamer and the genius. Yet where can we point to a composer
in the second half of the nineteenth century who could—and did—
think as loftily as Franck, or who could have found in his fervent and
enthusiastic heart such vast ideas as those which lie at the musical basis
of the Symphony, the Quartet and ‘The Beatitudes’ ?

“It frequently happens in the history of art that a breath Ppass-
ing through the creative spirits of the day incites them, without any
previous mutual understanding, to create works which are identical
in form, if not in significance. It is easy to find examples of this kind
of artistic telepathy between painters and writers, but the most striking
instances are furnished by the musical art.

“Without going back upon the period we are now considering,
the years between 1884 and 1889 are remarkable for a curious return
to pure symphonic form. Apart from the younger composers, and
one or two unimportant representatives of the old school, three com-
posers who had already made their mark — Lalo, Saint-Saens, and

Tuesday, Wednesday, Saturday Phone Douglas 1678
Afternoons—2-5

Studio Hours:

KAJETAN. ATTL

Solo Harpist
San Francisco Symphony Orchestra

Using Lyon & Healy Harps, The World’s Standard
FOR ENGAGEMENTS
AS SOLO ARTIST, ACCOMPANIST, OR
PLAYER IN ENSEMBLE MUSIC,
ADDRESS

KAJETAN ATTL, BOHEMIAN CLUB
SAN FRANCISCO, CALIFORNIA
RES. PHONE FRANKLIN 7847

Violinist and Teacher
Concert and Recital

abd fei
48 Wildwood Avenue, Piedmont

Phone Piedmont 8140-J (Tuesday ) Douglas 1678

a a —— ——————e

Franck—produced true symphonies at this time, but widely different
as regards external aspect and ideas.

‘‘Lalo’s Symphony in G minor, which is on very classical lines, is
remarkable for the fascination of its theme, and still more for charm
and elegance of rhythm and harmony, distinctive qualities of the
imaginative composer of ‘Le Roi d’Ys.’

‘‘The C minor Symphony of Saint-Saens, displaying undoubted
talent, seems like a challenge to the traditional laws of tonal structure;
and although the composer sustains the combat with cleverness and
eloquence, and in spite of the indisputable interest of the work—
founded, like many others by this composer, upon a prose theme, the
Dies Irae—yet the final impression is that of doubt and sadness.

‘Franck’s Symphony, on the contrary, is a continual ascent
towards pure gladness and life-giving light, because its workmanship
is solid and its themes are manifestations of ideal beauty. What is
there more joyous, more sanely vital, than the principal subject of the
Finale, around which all the other themes in the work cluster and
crystallize? While in the higher registers all is dominated by that
motive which M. Ropartz has justly called ‘the theme of faith.’ This
symphony was really bound to come as the crown of the artistic work
latent during the six years to which | have been alluding. ’’

ALFRED METZGER—

M. Anthony Linden

Orchesiral Conductor and Flute Virtuoso
Soloist— 1 eacher—Lecturer
Solo Flutist, San Francisco Symphony Orchestra
Formerly Solo Flutist, Minneapolis Symphony Orchestra
Director Linden School of Flute Playing

REDFERN Mason—

He played admirably.
There was no _ self-con-
scious virtuosity; it was
the pure bel canto of the
flute, every note round
and perfect as a pearl.—
San Francisco Examiner.

Address all communications to

457 Phelan Building, San Francisco

275

LAST AUDITORIUM SYMPHONY CONCERT
Tuesday, F ebruary 10, 8:20 P. M.

Soloist: FLORENCE EASTON, Soprano
ALL-WAGNER PROGRAMME

Tickets now on sale at Sherman, Clay & Co.
$1.00, 75c, 50c

THE
MARGARET MARY MORGAN (CO.

Gngraving- Printers + Publishing

Commercial Printing

619 California Street Douglas 4633

THE SAN FRANCISCO BANK

(LATELY THE SAN FRANCISCO SAVINGS AND LOAN SOCIETY)

SAVINGS COMMERCIAL
INCORPORATED FEBRUARY 10th, 1868.

One of the Oldest Banksin California,
the Assets of which have never been increased
by mergers or-consolidations with other Banks.

Member Associated Savings Banks of San Francisco
526 California Street, San Francisco, Cal.

DECEMBER 31st, 1924

ASERb Se ean hy, PO ke Pee ee $96,917,170.69:
Capital, Reserve and Contingent Funds....... 4,000,000.00
Employees’ Pension Fund.................... 461,746.52
WASSER ESICPUING OE cto sg he cog So ahecen aie emntie Dae ok Mission and 21st Streets
PARKeOPRESIDIO= BRANCH? uccbos by watu meas Clement St. and 7th Ave.
HAIGH STREET BRANCH. o30 on tek kc Haight and Belvedere Streets

WESToPORTAL (BRANGH. si cic anes 22 earn West Portal Ave. and Ulloa St.

Interest paid on Deposits at the rate of

; FOUR AND ONE QUARTER (414) per cent per annum,
i COMPUTED MONTHLY and COMPOUNDED QUARTERLY,
AND MAY BE WITHDRAWN QUARTERLY

Ten ot
- =~

= *

276

ANNOUNCEMENT

NINTH PAIR OF SYMPHONY CONCERTS
Curran Theatre

Friday, February 20, 3:00 P. M.
Sunday, February 22, 2:45 P. M.

Soloist: WALTER FERNER, ’Cellist

PROGRAMME

PeSymphonyiins Gs iminOr tee ee ae te oe Mozart
Allegro molto
Andante
Menuetto
Finale
2. Concerto, D minor, for Violoncello...................2..222...- Lalo
Prelude. Lento—Allegro maestoso
Intermezzo. Andante con moto
Rondo. Andante—Allegro vivace
WALTER FERNER

Se ASNectort sha psOO yim eee keno Rubin Goldmark

(First time in San Francisco)

ANNOUNCEMENT
SEVENTH POPULAR CONCERT
Curran Theatre
Sunday, February 15, 2:45 P. M.

Solojsts | LOUIS PERSINGER, Violinist
onois® | WALDEMAR GIESE, Double Bass

PROGRAMME
Es Symphonyiin;G: Major -G surprise::) ..-:0-2 2. a Haydn
(By special request) .
2. Legend for Orchestra; ~Zorahayda ™ -..2.2....25....c... Svendsen

3. Scherzo (““The Bumble Bee’’) from “Tsar Saltan’’....
Rimsky-Korsakow

Bt SUE SOT Crh OLS ALLA ecw toe eee ee eng oe eee Grieg

5. Concerto for Violin and Double Bass.................... Bottesini
(First time in San Francisco)

LOUIS PERSINGER, WALDEMAR GIESE
6; Invitation: tosthesvance +) 1 Seco Weber-Weingartner

Choose your piano carefully,
Choose it as you would
choose an intimate member
of your family circle. Choose
it for qualities that will en-
dure.

Let your choice, if possible,
bea STEINWAY. There is no
other piano of qualities more
enduring —of distinction so
immediately recognized.

Sherman, [lay & Co.

Kearny & Sutter Sts.
Oakland - Clay at 14th

THE CITY OF SAN FRANCISCO PRESENTS

Sf
SAN FRANCISCO +2
SIME HONY ORCHESTRA

anc | Alf ed Hertzs aaConductor
ul Ik -

\Gr j POPULAR CONCERT

: EXPOSITION AUDITORIUM |

TUESDAY, FEBRUARY -10, 1925

8:20 P.M.

WITH

FLORENCE EASTON, Soprano

GUEST ARTIST

BRUNSWICK RECORDS

—————_——,

AUSPICES

MAYOR JAMES ROLPH, JR., AND BOARD OF
SUPERVISORS

DIRECTION—AUDITORIUM COMMITTEE
J. Emmet HaypEN, CHAIRMAN
ANGELO J. ROSSI Epwin G. Bato

ALL WAGNER PROGRAMME

1. PRELUDE To ‘‘Parstraz’’

“Parsifal” was written for the Bayreuth Theatre, where it was pro-
duced July 28, 1882. For twenty-one years it was played only at Bayreuth,
but on December 24, 1903, it was produced in New York at the Metropol-
itan Opera House under the direction of Alfred Hertz. The prelude, which
like all of Wagner’s, is designed to lift the hearer into the particular
atmosphere of the play, is built on the four themes which constitute the
religious element of the drama.

2. BACCHANALE FROM “‘TANNHAUSER”’ (Paris Version)

When “Tannhauser” was first performed in 1854, there was, after
the close of the overture and preceding the scene between Venus and
Tannhauser, a bacchanale. But when the opera was produced in Paris
the whole scene was remodeled. The new version is far superior to the
old, and in the words of W. H. Humiston, “No one ever used the ‘chord
of the ninth’ with a more haunting beauty than in the closing pages of
this Bacchanale—for after a passionate climax the music (and action)
diminishes in intensity and fervor til] Tannhauser and Venus are left
alone.”

3. ARIA, Eisa’s DREAM, FROM ‘‘LOHENGRIN”?
FLORENCE EASTON

Elsa describes a knight, who had appeared to her in a dream, and upon
whom she calls to defend her cause in the ordeal of battle which the
king ordains shall be the test of her guilt or innocence.

4. INTRODUCTION To Act III, ‘‘Lowenerin’’

In the closing scene of Act II Lohengrin and Elsa have been united
in marriage, and the introduction to Act III is indicative of the joyous
spirit of the wedding festivities. The principal theme, a brilliant and
stirring march, dominates the whole, being interrupted by a short middle
period. There is then a return to the first subject fortissimo, in full
orchestra.

INTERMISSION

oO. ‘‘Prize SonG’’ FRoM ‘“THE MASTERSINGERS’’

The “Prize Song” is the well-known tenor solo from Waegner’s only
comic opera, “The Mastersingers of Nurnberg.” It is Sung by Walther
in the last act, and wins him the first prize (the hand of Eva, the beauti-
ful daughter of Pogner, the goldsmith) in the song contest on the banks
of the river Pegnitz.

6. Furnace to ‘‘THE RHINEGOLD’’ (Entrance of the Gods into
Walhalla) ,

In the fourth and last scene in “The Rhinegold,” following a deafen-
ing thunderbolt with which Donner ends the battle between the giants
Fafner and Fasolt, a blindingly radiant rainbow is seen to stretch from
earth to Wotan’s castle, Walhalla, gleaming in the light of the setting
sun. Wotan hails the citadel, and led by Wotan and Fricka, the gods
slowly pass to Walhalla over the rainbow. From below is heard the
mournful cry of the Rhine-maidens, bereft of their precious treasure, the
Rhinegold.

7. ArtA, ‘‘Ham, Haut oF SonNG’’ FROM ‘‘TANNHAUSER’”’
FLORENCE EASTON

Tannhauser, having thrown off the spell cast over him by Venus, re-
turns to the Wartburg and his friends, and agrees to take part in the
singing tournament, the prize for which is to be the hand of Elizabeth.
The second act of the opera takes place in the great hall of the Wartburg,
the Hall of Song. Previous to the assembly, Elizabeth enters alone and in
the noble song expresses her joy over the return of Tannhauser and his
participation in the contest.

8. PRELUDE AND Love DEATH FROM ‘‘ TRISTAN AND ISOLDE’’
IsoLtpE, FLORENCE EASTON

This number forms the opening and close of Wagner’s powerful music-
drama. The prelude is based upon a single motive, which is worked up
with consummate skill into various melodic forms, and frequently appears
throughout the work. It might well be termed the motive of restless,
irresistible passion. 'The Finale, or “Love Death,” closes the opera, when
Isolde, in a transport of love and grief, sings her death song over the
dead body of her lover, Tristan.

On account of the character and length ef this
programme there will be positively no encores.

Popular Symphony Concert
NEXT SUNDAY, 2:45 P.M. CURRAN THEATRE

Second San Francisco

SPRING MUSIC FESTIVAL

CHORUS OF 600
FOUR WORLD-FAMOUS SOLOISTS
AUGMENTED SAN FRANCISCO SYMPHONY ORCHESTRA
ALFRED HERTZ, Director

Under joint auspices of the City of San Francisco
and Musical Association of San Francisco. ;
Complete announcement will be made at an early date as to exact dates, soloists,
works to be presented, and ticket sale.

SEASON TICKETS FOR NEXT YEAR’S AUDITORIUM SERIES!

Holders of season tickets for the series closing with tonight’s concert who wish
to renew their locations for next year should write their name and address on the
back of stub provided for this purpose and hand to door-man or leave at Symphony
Box Office, Sherman, Clay & Company, before March 1. This applies only to those
desiring the same seats. If different locations are desired they may be ordered upon
the opening of the season ticket sale next summer.

— ee

Radio!

Visit our big new Radio depart-
ment. It is now stocked with
wonderful instruments.

Demonstrations in the evening
in your own home, when the great
stations are on the air.

Remember, convenient terms,
as on all musical wares we carry.

Sherman May & Co.

Kearny and Sutter Streets, s. F.
2515 Mission Street, near Twenty-first St.

== Mifred Heriz, Conductor = | -*

REMAINING SYMPHONY
DATES

xe |
Thursday Evening, Feb. 26

Thursday Evening, Mar. 19
Thursday Evening, Mar. 26

Soloist

WILLIAM F. LARAIA

Violinist

|
SAN FRANCISCO

Symphony Orchestra

ALFRED HERTZ, Conductor

AUDITORIUM OPERA HOUSE
OAKLAND, CAL.

Thursday Evening, February 12, 1925

Eight-thirty o’clock

Management ZANNETTE W. POTTER
Box Office at Sherman, Clay & Co., Oakland, Cal.
Telephone Lakeside 6700

PAUL WHITEMAN

ANNA PAVLOWA

Two Performances—March 9 and 10

|
PROGR
Thursday Evetiy Febr

Prelude ‘tox Lohensriny 33 Sees a alae al on ee Wagner

It was with this work that Wagner first used the overture to prepare the
audience for the action of the scene which was to follow. and in this prelude
tells us of the descent of the Holy Grail. as it was brought by the angels and
delivered into the hands of the holy Titurel. who built for its shrine the Castle
of Montsalvat. One writer has said that this prelude is “a mighty web of sound
woven on the single theme of the Holy Grail.” We hear the motive at first softly
in the highest register of the divided violins; it is taken up by the deeper
strings, and, gradually increasing in volume, it is finally loudly intoned by the
trombones; then as silently the theme dies away with a long diminuendo to the
high tones of the strings again.

Sune irom. .”’Sigurd -Jorsalfar’: 3.00.0 o ke ew Grieg

Prelude (In the King’s Hall)
Intermezzo (Borghild’s Dream)
March of Homage

These three pieces are part of the incidental music Grieg wrote to
Bjornstjerne Bjornson’s play, “Sigurd Jorsalfar,” the play being based on an old
Norwegian Saga. Sigurd is the younger brother of two kings that ruled jointly
in Norway. He is the trim type of war and wild desire; his brother, Eystein, of
peace and constructive art. The period of their reign was likewise the period
of the invasion of Jerusalem by the Crusaders, among them Sigurd. He set out
for the Holy Land with a great force, fought many battles, and finally returned
to Norway in triumph.

fratany Caprice 'orpcc.is. lla oS cae cece T schaikowsky

This work was inspired by a prolonged visit Tschaikowsky made in Rome,
some of the themes being taken from collections of folksongs, others based upon
songs Tschaikowsky heard in the streets. The title is well chosen, as one melody
follows another in a capricious manner although there is no violence done to the

Coming

Two Performances—March 2 and 3

Prices — $2.50 to $1.00, plus tax

THE INCOMPARABLE

Prices — $3.50 to $1.00, plus tax

Tickets on sale at the Z. W. Potter box office. Telephone Lakeside 6700.

GRA MI

Wet, February, 12, 1925

}
|
WI

> Rapa Ta Ss RE eS

| basic principles of musical form. The inevitable Tarantella, a characteristic
| Italian folk dance, is a feature of the last part of the work though at the end
the movement becomes too rapid even for a tarantella.

Fo RE Oe a Se ec at Ee

ants
| AX SCVETLUTE LO? AV LLITA THN LGU or acre ie ee ice ee ee Rossini

Thematically, this overture is unrelated to the opera, being merely a brilliant
introduction, but as such it has few equals. Berlioz, the great French composer,
called it a “symphony in four parts,” while the title, “Tone Picture,” would be
equally appropriate with the following descriptive sub-titles: I. “Sunrise Among
the Mountains” (five solo cellos); Il. “An Alpine Storm”; III. Pastoral,
“Shepherd’s Thanksgiving,” the air used being a well-known Swiss folk song,
“Ranz des Vaches” (solo for English horn with flute obligato); IV. “Trumpet
Call Summoning the Swiss Soldiers, and Their March.”

5. Souvenir de Moscow, stor Violin. ct a eee W ieniawski
WILLIAM F. LARAIA

This well known work, combines Russian folk tunes with interesting display
of violin technic. Particularly beautiful is the principal theme, “The Red
Sarafan.” Wieniawski was a prize pupil in 1846 at the Paris Conservatoire and
became a teacher at the Petrograd Conversatory, later going also to Brussels. He
had an extended tour of the United States in 1872 with Rubinstein.

6“Tnivitation to. the Danee- e e W eber-W eingartner

The original composition, written in 1819 and dedicated to the composer’s wife,
was a simple composition for the piano. Carl Taussig made an elaborate concert
version for piano, and Berlioz transcribed it literally for orchestra for the Paris
performance of Weber’s “Der Freischutz” to be used as ballet music. Felix
Weingartner made another version in 1896, in which he has developed it from a
comparatively simple piano piece to a symphonic poem for orchestra. The work
may be roughly divided into three parts—the introduction (the invitation to
dance), the waltz, and then the coda—where the lady is gracefully excorted back
to her seat at the close of the dance.

Fourth Attraction
ARTISTS CONCERTS SERIES

ALFRED CORTOT

French Master Pianist

Auditorium Opera House
Oakland

Monday Night, Feb. 23 ’25

Prices: $1.00, $1.50, 92,0028

Management Zannette W. Potter Telephone Lakeside 6700

Sherman,

The pianos sold under this
dealer name have this about
them: They are good pianos.
They are made by reliable
manufacturers, to whose
wartanty is added the pledge .
of a retail firm for fifty years
loyal to its obligations.

It is a simple fact that, what-
ever piano you find for sale
elsewhere, its equal in price
—if it is a piano worth hav-
ing—can be found here or
certainly will be promptly
obtained for you.

Home of Steinway, Duo-Art, Weber, Sohmer, Steinert,

Sherman, Clay & Co., Steck, Aldrich,
and other good pianos.

h Jay & Co.
by

Oakland — Fourteenth and Clay Streets
Berkeley -- Telegraph and Channing Way
San Francisco—Kearney and Sutter Streets

Young People’s Concerts

UNDER THE DIRECTIONS OF

WILLIAM EDWIN CHAMBERLAIN

First Concert—Fourteenth Season

San Francisco Symphony Orchestra

ALFRED HERTZ, Conductor

HARMON GYMNASIUM

FRIDAY AFTERNOON, FEBRUARY 13, 1925

AT 3:00 O’CLOCK

This concert has been made possible through the generosity
of the San Francisco Musical Association and the University of

California.

as
Or

San Francisco Symphony Orchestra
ALFRED HERTZ, Conductor

BERKELEY, FEBRUARY 13, 1925
3:00 P.M.

SOLOISTS :

LOUIS PERSINGER, Violin
WALDEMAR GIESE, Double Base

PROGRAMME

. Andante from Symphony in G major (‘‘Surprise’’) ....Haydn

. Two Movements from the Suite ‘‘Through the Looking

EE Ss Soe CAEN Hy ea a rea aP edi SEA oy. eae Ae tee Deems Taylor

Jabberwocky
Looking Glass Insects

PUP Aa Yi epinichin VCE eer ree, tN es sees atone dal eee rae Brahms
. ‘In the Village,’’ from Caucasian Sketches..[ppolitow-Ivanow

- Coneerto for Violin and Double Bass ........................-- Bottesine

Louis PERSINGER and WALDEMAR GIESE

eVitarryes Wear Ghee oe oo irk eres eos dee cake Schubert

1. Andante from Symphony in G major (‘‘Surprise’’)....Haydn

It is from this movement (the second) that Haydn’s G major symphony
gains its nickname. It is in the form of a theme with variations, and after
each period in which the melody is softly sung, the full orchestra comes in
with a ‘‘surprise’’ in the form of a loud, clashing chord. It has been said
that Haydn introduced these clashing chords for the purpose of waking up
the fashionable English ladies who slept during his concerts in London,
However, Haydn himself said that this was not so, but that he merely wanted
to be unique and unusual in his symphony.

2. Two movements from the Suite ‘‘Through the Looking
GR Brac idiepeste tek cr iby ear at! (Neem sh eet ren aie ner fx Deems Taylor

Jabberwocky
Looking Glass Insects

These numbers from Deems Taylor’s suite, ‘‘Through the Looking
Glass,’’ are based on Lewis Carroll’s immortal fairy-tale of the same name,
and the pictures presented will be readily recognized by all who have read
the book. First comes the story of the battle with the Jabberwock. The
theme of the frightful beast is first announced by the full orchestra. The
clarinet then begins the tale, recounting how, on a ‘‘brillig’’ afternoon, the
‘<slithy toves did gyre and gimble in the wabe.’’? Muttered imprecations
by the bassoon warn us to ‘‘ beware the Jabberwock, my son. ?? A miniature
march signalizes the approach of our hero, taking ‘‘his vorpal sword in
hand.’’ Trouble starts among the trombones—-the Jabberwock is upon us!
The battle with the monster is recounted in a short and rather repellent
fugue, the double-basses bringing up the subject and the hero fighting back
in the interludes. Finally his vorpal blade (really a xylophone) goes
‘<snicker-snack’’ and the monster, impersonated by the solo bassoon, dies
a lingering and convulsive death. The hero returns to the victorious strains
of his own theme. The whole orchestra rejoices—the church bells are rung
—alarums and excursions. Once more the slithy toves perform their pleasing
evolutions, undisturbed by the uneasy ghost of the late Jabberwock.

In the movement, ‘‘ Looking Glass Insects,’’ we find the Bee-Elephant,
the Gnat, the Rocking-horse-fly, the Snap-dragon-fly, and the Bread-and-
butter-fly. There are several themes, but there is no use trying to decide
which insect any one of them stands for.

On Roh al sarah altel digg Bin ¢1 0. camer ee Ine ctr rma te et ery PR Brahms

When Brahms was a boy he attended concerts given by the great Hun-
garian violinst, Remenyi, who. included in his performances examples of
Hungarian music, such as Friskas and Czardas. The odd rhythms and
harmonies fascinated Brahms, and when, a few years later, he went on tour

with Remenyi, as the latter’s pianist, he made a serious study of Hungarian
music. It was not until some years later, however, that these studies bore
fruit in the shape of Hungarian Dances, which continued to appear from
time to time as piano duets.

4. ‘‘In the Village,’’ from Caucasian Sketches..[ppolitow-Ivanow

Ippolitow-Ivanow, one of the younger school of Russian conductors, was
for a number of years conductor of the opera in Tiflis, Caucasus, and while
there made a thorough study of the music of the country. The number
played this afternoon from his suite of ‘‘Caucasian Sketches’’ has as its
main material a dance of the natives, with an introduction which is a
musieal picture of a Caucasian village of cliff-dwellers. Solos for the
muted viola and the English horn are heard as the answering calls echoing
from one rock-dwelling to another, and the resemblance between the tones
of these two instruments is made strikingly apparent.

5. Concerto for Violin and Double Bass ........-............-.... Bottesivna

Bottesini was one of the most remarkable performers on the double-bass
which the history of that instrument has ever known. Exhibiting talent
for music at an early age, he was sent to Milan to the Conservatory as an
applicant for musical instruction. As there was only one vacant place—
that for a contrabassist—Bottesini took up this instrument rather from
necessity than from a special desire to make himself master of its difficul-
ties. He wrote much music for the double-bass, of which, in addition to
the Concerto played today, he was accustomed to perform at his concerts
with electrifying effect variations on The Carnival of Venice.

asm] WEEN 22 hop Taaed 1 I hig) ¢ Manet settee ete Ria ae en aha a Rape Re RR hea Schubert

In none of Schubert’s lesser compositions is his genius for rhythm,
melody and spirit shown more plainly than in this March. So popular did
it become that many orchestrations of it have been made, it originally
having been written for piano (four hands). A piece so well-known as this
March is, makes any special analysis unnecessary, as its decisive rhythm
and spirited melody are of instant appeal.

SYMPHONY"
ORCHESTRA

yo, Marntained by |
TONS) The Musical 2

Ds Association of fa;
be

oan Francisco

SEVENTH POPULAR

1924 1925
Fourteenth Season

ALFRED HERTZ CONDUCTOR

[__ CBe oa. I}
:

Alfred Hertz

RECOMMENDS
CONN INSTRUMENTS

The San Francisco
Symphony

CONN
INSTRUMENTS

No Higher Endorsement

can be given to a musical

“I take great pleasure in
instrument, hence if the recommending Conn instru-

experience of great artists ments for symphony

orchestra work.”
means anything to you, your

choice will be CONN.

OININ

WORLD'S

LARGEST MANUFACTURERS
OF HIGH GRADE BAND AND
ORCHESTRA INSTRUMENTS

ALFRED HERTZ.

Conn San Francisco Co. Conn Oakland Co.
47 Kearny St. 531-16th St.

292

Musical Association of San Francisco

Founded December 20, 1909 Incorporated February 3, 1910
OFFICERS
JOHN D. McKzg, President
J. B. Levison, Vice-President EK. R. Dimonp, Treasurer

A. W. WipENHAM, Secretary-Manager

BOARD OF GOVERNORS

J. K. Armsby A. B. C. Dohrmann John D. McKee

E. D. Beylard John S. Drum Seward B. McNear
Miss Lena Blanding Milton H. Esberg L. F. Monteagle
Miss Louise A. Boyd Herbert Fleishhacker Robert C. Newell
George T. Cameron J. D. Grant J. C. Raas

Selah Chamberlain E. S. Heller F. R. Sherman

C. H. Crocker W.E. Creed Wm. T. Sesnon
Mrs. Templeton Crocker J.B. Levison M. C. Sloss

Wm. H. Crocker Walter S. Martin William Sproule
E. R. Dimond John A. McGregor Sigmund Stern

EXECUTIVE COMMITTEE
John D. McKee, Chairman

E. D. Beylard E. R. Dimond J. B. Levison
Wm. H. Crocker E. S. Heller William Sproule

MUSIC COMMITTEE
J. B. Levison, Chairman

E. S. Heller E. D. Beylard Robert C. Newell

WOMEN’S AUXILIARY
Mrs. M. S. Koshland, Chairman
Miss Lena Blanding, Vice-Chairman
Mrs. M. C. Porter, Vice-Chairman

EXECUTIVE OFFICES

457 Phelan Building, San Francisco
A. W. WIDENHAM, Secretary-Manager

Hours 10 to 12 A. M., 2 to 4 P. M. Telephone Garfield 2819

293

-P

mal
Wo

HE choice of the

alleled beauty!

Wiley BAllen ©.

135 KEARNY STREET, SAN FRANCISCO
1323 WASHINGTON STREET, OAKLAND

294

Che San HFrancisea Symphony Orchestra
ALFRED HERTZ, Conductor
1924—Season—1925
SEVENTH POPULAR CONCERT
521st Concert
CURRAN THEATRE
Sunday Afternoon, February 15, 2:45 o’clock

Shiotats {LOUIS PERSINGER, Violin
) WALDEMAR GIESE, Double Bass

PROGRAMME

1. Two Movements from the ‘‘Surprise’’ Symphony...... Haydn
Andante—Theme and Variations
Finale: Allegro di molto

(By Special Request)

2. Legend for Orchestra, “Zorahayda’’.................... Svendsen
(First time at these concerts)
3, Ca) ‘Serenade! ii eet ee ene ne | ons eee Pierne
(b)ia Che ubee te Ses os ie tere sate e aan aes Schubert
Intermission
4«-Snite. Sigurd jorsaltarc 5 soe) eee ee ae Grieg

In the King’s Hall
Borghild’s Dream
March of Homage
(First time at these concerts)

ae Concerto for Violin and Double Bass.................... Bottesini
(First time in San Francisco)

LOUIS PERSINGER and WALDEMAR GIESE

6, Invitation tothe Dance... Weber-Weingartner

hy |

NOTE! Victer Lichtenstein’s “Symphonylogues” are continuing at the

Sorosis Hall at noon on the day of each Friday Symphony Concert, at

which an illuminating discourse and thematic analysis is given on the cur-
rent programme, illustrated by members of the orchestra.

109 Stockton Street

BEETHOVEN’S NINTH SYMPHONY
Recorded in Europe by the

Symphony Orchestra of Berlin
Under the direction of Bruno Seidler-Winkler

and

Includes the Chorus of the Berlin National Opera

lst Movement—Part 1, Allegro, ma non troppo.

Ist Movement—Part 2, Allegro, ma non troppo, New Symphony Orchestra—
Berlin, Conducted by Bruno Seidler-Winkler (Recorded in Europe).

ist Movement—Part 3, Allegro, ma non troppo.

2nd Movement—Part 1, Molto vivace, New Symphony Orchestra, Berlin—Con-
ducted by Bruno Seidler-Winkler (Recorded in Europe).

2nd Movement—Part 2, Molto vivace.

3rd Movement—Part 1, Adagio molto e cantabile, New Symphony Orchestra—
Berlin, Conducted by Bruno Seidler-Winkler (Recorded in Europe).

3rd Movement—Part 2.

3rd Movement—Part 3, Adagio molto e cantabile, New Symphony Orchestra—
Berlin, Conducted by Bruno Seidler- Winkler (Recorded in Europe).

4th Movement—Part 1, Presto.

4th Movement—Part 2, Presto allegro assai, New Symphony Orchestra—Berlin,
Conducted by Bruno Seidler-Winkler (Recorded in Europe).

) 4th Movement—Part 4, Presto allegro assai—New Symphony Orchestra—Berlin,
Conducted by Bruno Seidler-Winkler. Eugen Transky, Tenor, and chorus
Berlin National Opera (Recorded in Europe).

4th Movement—Part 5, continuation—Presto allegro assai movement.

4th Movement—Part 6, Presto allegro non tanto, New Symphony Orchestra—
Berlin, Conducted by Bruno Seidler- Winkler, Vocal by Ethel Hansa, Soprano—
Eleanor Scholsshauer, Alto—Eugen Transky, Tenor—Prof. Albert Fischer,
Bass—chorus Berlin National Opera (Recorded in Europe).

Price Complete, in Handsomely Bound Album, $10.00

Send for our catalogue of ‘Musical Masterworks’’—free.

QUARG MUSIC CO.

206 Powell Street Open Evenings

296

Symphony in G major (‘‘The Surprise’’) - : Pe Haydn

This symphony, known as “The Surprise’’ and in Germany as
the symphony “with the drum stroke,’ is the third of the twelve
Salomon symphonies as arranged in the order of their appearance in
the catalogue of the Philharmonic Society of London. The name
“Surprise’’ comes from the second movement, which is in the form
of a theme with variations. After each period in which the melody
is softly sung, the full orchestra comes in with a ‘surprise’ in the form
of a loud crashing chord. It has been said that Haydn introduced
these chords for the purpose of waking up the fashionable English
ladies who slept during his concerts in London. However, Haydn
himself said that this was not so, but that he merely wanted to present

something unique and unusual in his symphony.

Legend for Orchestra, “Zorahayda,’”? Opus 11 - = Svendsen

This composition by the Norwegian composer is based upon ““The
Legend of the Rose of the Alhambra,’’ one of Washington Irving's

fascinating tales. Jacinta sits melancholy and alone by a fountain in

ESTABLISHED 1852

OU Abe 2

CONSISTENT
PRICES

Shreve and Company

Jewelers and Silversmiths

Post and Grant Avenue
San Francisco

297

the Alhambra. Zorahayda appears, predicts for Jacinta the end of
her love sorrow and tells of her own troubles, which baptism as a
Christian alone will end. Jacinta baptizes Zorahayda in the sacred
water of the fountain, and she disappears with transfigured counte-
nance. Jacinta, remembering the prediction of the mysterious appa-

rition, is illumined with hope and joy.

The score of ““Zorahayda’’ contains the following enumeration

and explanation of the various situations of the story:

‘Solitude and melancholy of Jacinta—Appearance of Zorahayda
—She predicts for Jacinta the end of her troubles, and tells her of her
own unhappiness. Baptism alone will bring her repose — Jacinta
sprinkles the sacred water over her head—Disappearance of Zora-

hayda—Joy of Jacinta over the remembrance of the prediction.”’

Serenade - - . - : = : zs : Pierne

Gabriel Pierne is best known in this country for his delicious
little “Serenade.’’ He has written several operas. He succeeded

Franck as organist at Ste. Clothilde, Paris, and Colonne as director of

Studio Hours: Tuesday, Wednesday, Saturday

Phone Douglas 1678
Afternoons—2-5

KAJETAN ATTL

Solo Harpist
San Francisco Symphony Orchestra

Using Lyon & Healy Harps, The World’s Standard
FOR ENGAGEMENTS
AS SOLO ARTIST, ACCOMPANIST, OR
PLAYER IN ENSEMBLE MUSIC,
ADDRESS

KAJETAN ATTL, BOHEMIAN CLUB
SAN FRANCISCO, CALIFORNIA
RES. PHONE FRANKLIN 7847

Orley See

Violinist and Teacher
Concert and Recital

~aebd]_ Spd
48 Wildwood Avenue, Piedmont

Phone Piedmont 8140-J (Tuesday) Douglas 1678

Master School of Musical Arts
of California

LAZAR S. SAMOILOFF, Director
ALICE SECKELS, Manager

Endowed by Alice Campbell Macfarlane

Cesar Thomson Lazar S. Samoiloft Josef Lhevinne
Violin V o1ce Piano

Sigismund Stojowski W. J. Henderson Andres De Segurola

Bigue Comorian Tecturer Operatic Department
Annie Louise David
Julia Claussen Felix Salmond Harp
V oice ’Cello and
7 Chamber Music A. Kostelanetz
: Accompanist
Emil J. Polak Samuel Gardner Sight Reading
Coach Violin Ear Training

These Famous CArtists

have been engaged to teach in

San Francisco and Los Angeles

the coming Summer

thus affording the opportunity for a closer and more permanent association between the most
advanced students and the world’s great Master Teachers.

CLASS LESSONS— Active and Auditor
PRIVATE LESSONS~— Reserve Periods Now

SCHOLARSHIPS— Application Blank upon Request
The official Piano is the Baldwin.

Write for catalog giving dates, terms and full information.

Address ALICE SECKELS, 68 Post Street, Phone Douglas 7267
SAN FRANCISCO

299

the Concerts Colonne. The ‘‘Serenade’’ is much the same type of

music as the one written by Moskowski; very dainty in construction

and full of melody and rhythm. It is written for muted strings.

“The Bee” - - - - - - - ~ Schubert

This little piece—originally written as a violin solo with piano
accompaniment—was arranged for orchestra by Frederick Stock, con-
ductor of the Chicago Symphony Orchestra. Franz Schubert (no
relation to the great Franz Schubert of Vienna) was a violinist whose
artistic energies were confined to the musical life of Dresden, the city
in which he was born. In addition to ‘“The Bee,’’ which is the only
work of Schubert that is widely known, he composed a number of
etudes for the violin, a fantasie for violin and orchestra; a duet for
piano and violin, and two duets for violin and violoncello in conjunc-
tion with Frederick Kummer, who was first ‘cellist in the Dresden

orchestra.

Suite, “Sigurd Jorsalfar’ — - - - - - - Grieg

“Sigurd Jorsalfar’’ is the title of a play by Bjornstjerne Bjornson,
which was brought out for the first time at the Christiania Theater in
1872. The story has to do with Sigurd, the younger brother of two
kings that ruled jointly in Norway. He is the grim type of war and
wild desire; his brother, Eystein, of peace and constructive art. The
period of their reign was likewise the period of the invasion of

Jerusalem by the Crusaders, among them Sigurd. He set out for the

GEORGE STEWART McMANUS
Pianis
(Returned from World ek with Jean Gerardy)

Instruction in the Art of Piano Playing
and Accompanying

Residence Studio: a
2444 Larkin Street, San Francisco
Phone Franklin 6257

Mondays: Ray Coyle Building, 526 Powell Street
Phone Sutter 3634

Thursdays: 2510 College Avenue, Berkeley
Phone Berkeley 436-J

Available for engagements as Solo Pianist or Accompanist

300

Holy Land with a great force, fought many battles, and finally re-

turned to Norway in triumph.

From the music to the play Grieg drew two pieces— “The Norse
People’ and “‘King’s Song’’—for baritone solo, male chorus and or-
chestra numbered Opus 22, and the Suite of three pieces for orchestra,

numbered as Opus 56.

Concerto for Violin and Double Bass - - Bottesini

Giovanni Bottesini (1821-1889) was one of the most remarkable
performers on the double-bass which the history of that instrument
has ever known. Exhibiting talent for music at an early age, he was
sent to the Milan Conservatory as an applicant for musical instruction.
As there was only one vacant place—that for a contrabassist—
Bottesini took up this instrument rather from necessity than from a
special desire to make himself master of its difficulties. He did, how-
ever, soon make extraordinary progress, and so great was his virtu-
osity that, on leaving the Conservatory, he set out upon a concert tour
as a solo performer. He finally settled in Havana as principal

double-bass in the Havana opera. In 1850, Don Francesco Marty y

Cable Address, ‘‘Mandib’”’ Telephone Sutter 2945

Established 1869

Manheim, Dihbern & Co.

315 MONTGOMERY STREET

SAN FRANCISCO

Susurance Brokers Stork and Bond Brokers

seine er Sie es fee Members, The San Francisco Stock

and Bond Exchange

Fire (in all its branches), Marine,
Burglary, Casualty, Automobile,
Life, Liability, Earthquake, Strike
and Riot, Ete. stocks always on hand.

Quotations and information on all

301

ANNOUNCEMENT

NINTH PAIR OF SYMPHONY CONCERTS
Curran Theatre

Friday, February 20, 3:00 P. M.
Sunday, February 22, 2:45 P. M.

Soloist: WALTER FERNER, ’Cellist

PROGRAMME
1. Symphony in G minor
Allegro molto
Andante
Menuetto
Finale
2. Concerto, D minor, for Violoncello
Prelude. Lento—Allegro maestoso
Intermezzo. Andante con moto
Rondo. Andante—Allegro vivace
WALTER FERNER
3. ““A Negro Rhapsody’”’

(First time in San Francisco)

ANNOUNCEMENT
EIGHTH POPULAR CONCERT
Curran Theatre

Sunday, March 1, 2:45 P. M.
Soloist: ARTUR ARGIEWICZ, Violinist

PROGRAMME

. Suite, Opus 19 Dohnanyi
Andante con variazioni
Scherzo
Romanza

Rondo

. Concerto for Violin, D minor Vieuxtemps

ARTUR ARGIEWICZ
. Four Old Flemish Folk Songs de Greef
. Valse Triste Sibelius

Boccherini

Torrens, the Havanese impressario, brought his company to New
York; at its head, Bottesini, who was assisted by Arditi. Bottesini
made good use of his experience as a director. He conducted the
Italian Opera in Paris from 1855 to 1857. In 1861 he was director
at the Bellini Theater at Palermo; two years later, conductor at

Barcelona; in 1871, conductor at the Lyceum Theater, London.

As a composer, Bottesini’s most ambitious productions were a
number of operas, the earliest of which, ‘“‘Cristoforo Colombo,’’ was
produced at Havana in 1847. His latest dramatic works were ‘‘Ero
e Leandro’ (composed to a text by Boito), produced at Turin in
1879, and “La Regina del Nepal,’’ brought out at the same place in
the following year. Bottesini wrote much music for the double-bass,
including variations on the “Carnival of Venice,’ with which he

electrified his audiences.

Invitation to the Dance’ - - ~ - Weber-Weingartner

The original composition, written in 1819 and dedicated to the

composers wife, was a simple composition for the piano. Carl

ALFRED METZGER—

REeDFERN Mason—

He played admirably.
There was no _ self-con-
scious virtuosity; it was
the pure bel canto of the
flute, every note round
and perfect as a pearl.—
San Francisco Examiner.

M. Anthony Linden

Address all communications to

457 Phelan Building, San Francisco

303

Taussig made an elaborate concert version for piano, and Berlioz
transcribed it literally for orchestra for the Paris performance of
Weber’s “Der Freischutz’’ to be used as ballet music. Felix Wein-
gartner made another version in 1896, in which he has developed it
from a comparatively simple piano piece to a symphonic poem for
orchestra. The work may be roughly divided into three parts—the
introduction (the invitation to dance), the waltz, and then the coda—

where the lady is gracefully escorted back to her seat at the close of

the dance.
THE
MARGARET MARY MORGAN ((O.
Engraving: Printers - Publishing
Commercial Printing
619 California Street Douglas 4633

—_—

THE SAN FRANCISCO BANK

(LATELY THE SAN FRANCISCO SAVINGS AND LOAN SOCIETY)

SAVINGS COMMERCIAL
INCORPORATED FEBRUARY 10th, 1868.
One of the Oldest Banksin California,
the Assets of which have never been increased
by mergers or-consolidation s with other Banks.

Member Associated Savings Banks of San Francisco
526 California Street, San Francisco, Cal.

DECEMBER 31st, 1924

Aeeete oes Se cae AOR Se ee es ss $96,917,170.69
Capital, Reserve and Contingent Funds....... 4,000,000.00
‘Employees’ Pension Fund..........--+++e00- 461,746.52
MISSION DIRAINGH (3. ca ia bes cine 0 siviarh:> Deis 50 Wig pcos Mission and 21st Streets
PARK-PRESIDIO BRANCH. 2.5. sscc de ccc stews Clement St. and 7th Ave.
HAIGHT STREET BRANCH......cccecceccess Haight and Belvedere Streets
WEST PORTAL BRANCH..........---+55 =; West Portal Ave. and Ulloa St.

Interest paid on Deposits at the rate of
FOUR AND ONE QUARTER (414) per cent per annum,
COMPUTED MONTHLY and COMPOUNDED QUARTERLY,
AND MAY BE WITHDRAWN QUARTERLY

304

Jdersonnel

Che San Francisco Somphony Orchestra

ALFRED HERTZ, CONDUCTOR

FIRST VIOLINS

Persinger, Louis
Concert Master and
Assistant Conductor

Argiewicz, Artur
Assistant Concert
Master

Ford, Louis
Assistant Concert
Master

Meriz, E.

Mendelevitch, R.

Laraia, W. F.

Gluschkin, M.

Gordohn, R.

Seiger, Rudy

Bem, Eugenia

Koenig, H.

See, Orley

Mortensen, Modesta

Amsterdam, M.

Pasmore, Mary

Ruiz, R.

SECOND VIOLINS
Jensen, T.

Principal
Haug, J. A.
Callinan, W. G.
Hidden, R. L.
Gold, J.
Paterson, J. A.
Blaha, A.
Manchester, W.
Atkinson, Helen
Dunn, H. A.
Gough, W.
Hoffman, H. H.
Dabelow, W.

VIOLAS

Fenster, Lajos

Principal
Hahl, E.
Baker, F. A.
Wismer, H.
Weiler, E.
Lichtenstein, V.
Patchook, S.
Dierich, F.
Kolb, R.
Lewis, A.

‘CELLOS

Ferner, Walter
Principal

Dehe, W.

King, O.
Villalpando, W.
Weiss, A.

Kirs, R.

Gegna, M.
Pasmore, Dorothy

Hranek, C.

BASSES
Lahann, J.

Principal
Greene, S.
Bell, W.
Storch, A. E.
Cassetta, L. R.
Guterson, A.
Annarumi, A.

Giese, W.

FLUTES
Linden, Anthony

Newbauer, Louis

Oesterreicher, Walter
Orchestral Manager

Benkman, H.

PICCOLO

Oesterreicher, Walter

OBOES
Addimando, C.
Shanis, Julius
Schipilliti, V.
Utschig, H.

ENGLISH HORN

Schipilliti, V.

CLARINETS
Randall, H. B.
Zannini, N.
Fragale, F.
Greenbaum, A. A.

BASS CLARINET
Fragale, F.

BASSOONS
Kubitschek, E.
La Haye, E. B.
Hranek, C.

CONTRA BASSOON
Kolb, R.

HORNS
Hornig, W.
Tryner, C. E.
Roth, P.
Huske, F. E.
Rocco, R.

TRUMPETS
Ditzel, E.
Arriola, A.

Kegel, Otto
Kress, V.

TROMBONES
Tait, F. W.
Clark, O. E.
Bassett, F. N.

TUBA
Murray, R.

HARP
Attl, Kajetan
Schipilliti, Annette

TYMPANI
Wagner, R. E.

PERCUSSION
Nickel, M.
Vendt, A., Jr.
Kundy, E.

PIANO AND CELESTA
Ormay, Gyula

LIBRARIAN
Kegel, Otto

A. W. WIDENHAM, Secretary-Manager

a eee
cg TT ET

305

Choose your piano carefully.
Choose it as you would
choose an intimate member
of your family circle. Choose
it for qualities that will en-
dure.

Let your choice, if possible,
be a STEINWAY. There is no
other piano of qualities more
enduring —of distinction so
immediately recognized.

Sherman, @lay & Co.

Kearny & Sutter Sts.
Oakland - Clay at 14th

x 12S [2 On
FRANCISCO

SYMPHONY =
~~ ORCHESTRA

she y

Association of fi,
San Francisco
Pid

NINTH PAIR
1924 1925

Fourteenth Season

ALFRED HERTZ CONDUCTOR

CNV ONO AG
| __ ieee WES Oere _J

I
:
:

Alfred Hertz

‘RECOMMENDS
CONN INSTRUMENTS

The San Francisco

: Symphony
iow
YF ae
ae CONN
De INSTRUMENTS

.
=. . LU
= ,

4
i 7 &
) ee = ,
‘| mead No Higher Endorsement
buy 5
iss can be given to a musical
‘i toms “I take great pleasure in

| instrument, hence if the —secommending Conn instru-

experience of great artists ments for symphony

; orchestra work.”
means anything to you, your

Expert choice will be CONN.

Repairing

WORLD'S

LARGEST MANUFACTURERS
OF HIGH GRADE BAND AND
ORCHESTRA INSTRUMENTS

ALFRED HERTZ.

Conn San Francisco Co. Conn Oakland Co.
‘47 Kearny St. 531-16th St.

308

Musical Association of San Srancisen

Founded December 20, 1909 Incorporated February 3, 1910
OFFICERS
JOHN D. McKzez, President
J. B. Levison, Vice-President EK. R. Dimonp, Treasurer

A. W. WiDENHAM, Secretary-Manager

BOARD OF GOVERNORS

J. K. Armsby A. B. C. Dohrmann John D. McKee

E. D. Beylard John S. Drum Seward B. McNear
Miss Lena Blanding Milton H. Esberg L. F. Monteagle
Miss Louise A. Boyd Herbert Fleishhacker Robert C. Newell
George T. Cameron J. D. Grant J. C. Raas

Selah Chamberlain E. S. Heller F. R. Sherman

C. H. Crocker _W.E. Creed Wm. T. Sesnon
Mrs. Templeton Crocker J.B. Levison M. C. Sloss

Wm. H. Crocker Walter S. Martin William Sproule
E. R. Dimond John A. McGregor Sigmund Stern

EXECUTIVE COMMITTEE
John D. McKee, Chairman

E. D. Beylard E. R. Dimond J. B. Levison
Wm. H. Crocker E. S. Heller William Sproule

MUSIC COMMITTEE
J. B. Levison, Chairman

E. S. Heller E. D. Beylard Robert C. Newell

WOMEN’S AUXILIARY
Mrs. M. S. Koshland, Chairman
Miss Lena Blanding, Vice-Chairman
Mrs. M. C. Porter, Vice-Chairman

EXECUTIVE OFFICES

457 Phelan Building, San Francisco
A. W. WIDENHAM, Secretary-Manager

Hours 10 to 12 A. M., 2 to 4 P. M. Telephone Garfield 2819

309

prec
\'

' * ‘We §
& ‘
Arie {ie
4
ae
¢
i.
*. -—_
REI
—_ ‘ ‘ ——S
ft \ Y,
“ae vk
CiZea*%
. ~

HE choice of the

alleled beauty!

Wiley BAllen ©.

135 KEARNY STREET, SAN FRANCISCO
1323 WASHINGTON STREET, OAKLAND

310

Che San HFrancisea Sumphony Orchestra
ALFRED HERTZ, Conductor
1924—-Season—1925

NINTH PAIR OF SYMPHONY CONCERTS
522d and 523d Concerts

CURRAN THEATRE

Friday Afternoon, February 20, 3:00 o’clock
Sunday Afternoon, February 22, 2:45 o’clock

Soloist: WALTER FERNER, ’Cellist

PROGRAMME
1. Symphony in G minor 7? K SFO) ios a ed Mozart
Allegro molto
Andante
Menuetto

Finale—Allegro assai
Intermission

2. Concerto for Violoncello and Orchestra in D minotv......Lalo
Prelude. Lento—Allegro maestoso
Intermezzo. Andante con moto
Rondo. Andante—Allegro vivace
WALTER FERNER

3. AeNegro Rhapso dye... nner eee et Rubin Goldmark

(First time in San Francisco)

311

BEETHOVEN’S NINTH SYMPHONY
Recorded in Europe by the

Symphony Orchestra of Berlin
Under the direction of Bruno Seidler-W. inkler

and

Includes the Chorus of the Berlin National Opera

ist Movement—Part 1, Allegro, ma non troppo.

lst Movement—Part 2, Allegro, ma non troppo, New Symphony Orchestra—

Berlin, Conducted by Bruno Seidler-Winkler (Recorded in Europe).

lst Movement—Part 3, Allegro, ma non troppo.

2nd

2nd
3rd

3rd
3rd

4th
4th

4th

4th
4th

Movement—Part 1, Molto vivace, New Symphony Orchestra, Berlin—Con-
ducted by Bruno Seidler-Winkler (Recorded in Europe).

Movement—Part 2, Molto vivace.

Movement—Part 1, Adagio molto e cantabile, New Symphony Orchestra—
Berlin, Conducted by Bruno Seidler-Winkler (Recorded in Europe).

Movement—Part 2.

Movement—Part 3, Adagio molto e cantabile, New Symphony Orchestra—
Berlin, Conducted by Bruno Seidler-Winkler (Recorded in Europe).

Movement—Part 1, Presto.

Movement—Part 2, Presto allegro assai, New Symphony Orchestra—Berlin,
Conducted by Bruno Seidler-Winkler (Recorded in Europe).

Movement—Part 4, Presto allegro assai—New Symphony Orchestra—Berlin,
Conducted by Bruno Seidler-Winkler. Eugen Transky, Tenor, and chorus
Berlin National Opera (Recorded in Europe).

Movement—Part 5, continuation—Presto allegro assai movement.

Price Complete, in Handsomely Bound Album, $10.00

Send for our catalogue of ‘“‘Musical Masterworks’’—free.

QUARG MUSIC CO.

206 Powell Street Open Evenings

312

Symphony in G minor - “ - - - i. Mozart

Mozart wrote forty-nine symphonies—the first in London in
1764, when he was only eight years of age. The earlier ones are very
thinly scored, many of them calling only for strings, a pair of flutes or
oboes, and as many horns. It was not until he came to his thirty-
ninth symphony—the “‘Parisian,’’ written in | 778—that he began to
apply any great’ breadth of instrumentation, and it was reserved for
the year | 788 to witness his crowning achievements in this form—the
three great symphonies in E flat, G minor and C major (the so-called
‘“Jupiter’). All three of these works were written between June 26th
and August | Oth, the one played today having been completed within
ten days.

The G minor Symphony has been the object of boundless admi-
ration on the part of all subsequent composers and critics, some of
whom have voiced the opinion that it is Mozart’s orchestral master-
piece. Beethoven is said to have been so deeply impressed with its
beauties that he rescored it from a pianoforte copy; and Schubert,
speaking of the Andante, said: “| seem to hear the angels singing.’’
Otto Jahn in his biography of Mozart reviews the work in the follow-
ing words: “In the G minor Symphony sorrow and complaining take
the place of joy and gladness. The pianoforte quartet and the quintet

ESTABLISHED 1852

PUA Y

Shreve and Company

Jewelers and Silversmiths

Post and Grant Avenue
San Francisco

313

NIN)

in G minor are allied in tone, but their sorrow passes in the end to
gladness or calm; whereas here it rises in a continuous climax to a wild
merriment, as if seeking to stifle care. The agitated first movement
begins with a low plaintiveness, which is scarcely interrupted by a
calmer mood of the second subject, which in working out intensifies a
gentle murmur into a piercing cry of anguish; but, strive and struggle
as it may, the strength of the resistance sinks again into the murmur
with which the movement closes. The Andante, on the contrary, is
consolatory in tone, not reposing on the consciousness of an inner
peace, but striving after it with an earnest composure which even
attempts to be cheerful. The Minuet introduces another turn of

expression. A resolute resistance is opposed to the foe, but in vain;
and again the effort sinks to a moan. Even the tender comfort of the
trio, softer and sweeter than the Andante, fails to bring lasting peace.
Again the combat is renewed, and again it dies away, complaining.
The last movement brings no peace—only a wild merriment that seeks
to drown sorrow; and goes on its course in restless excitement. This
is the most passionate of all Mozart’s symphonies, but even in this he
has not forgotten that ‘music, when expressing horrors, must still be
music.

Concerto for Violoncello and Orchestra, in D minor - . Lalo

This concerto was first played at a Pasdeloup concert in Paris,

CHL it aurs: Tuesday, Wednesday, Saturday Phone Douglas 1678
Afternoons—2-5

KAJETAN ATTL
Solo Harpist
San Francisco Symphony Orchestra

Using Lyon & Healy Harps, The World’s Standard
FOR ENGAGEMENTS

AS SOLO ARTIST, ACCOMPANIST, OR

PLAYER IN ENSEMBLE MUSIC,
ADDRESS

KAJETAN ATTL, BOHEMIAN CLUB
SAN FRANCISCO, CALIFORNIA
RES. PHONE FRANKLIN 7847

Violinist and Teacher
Concert and Recital

Py eee
48 Wildwood Avenue, Piedmont

Phone Piedmont 8140-J (Tuesday) Douglas 1678

314

THE

Maldwin

is the

Official Piano

of the

Master School of Musical Arts

of California
LAZAR S. SAMOILOFF, Director
ALICE SECKELS, Manager

68 Post STREET—Room 309

: Endowed by Alice Campbell Macfarlane

San Francisco Los Angeles

A Faculty of Celebrated Artist Teachers

Joser LHEVINNE LAZAR S. SAMOILOFF WILLIAM J. HENDERSON
SIGISMUND STOJOWSKI JuLIA CLAUSSEN CrEsAR THOMSON

FELIxX SALMOND ANDRES DE SEGUROLA SAMUEL GARDNER

EMIL J. PoLak A. KoSTELANETZ ANNIE LoutsE Davip

Fairmont Hotel,
San Francisco, Cal.
October 10, 1924.

BALDWIN Prano COMPANY,
310 Sutter Street,
San Francisco, Cal.
DEAR SIRS:

Let me express my appreciation of your kindness in co-operating with
the Master School of Musical Arts in California.

I have been familiar with the Baldwin Piano for many years. I have
found it unrivalled in tone and action—in fact, the ideal piano for both con-
cert and studio. The school has done well to have made its arrangements
with you.

Very truly yours,
(Signed) LAZAR S. SAMOILOFF

GheBaldwin Diane Company

310 Sutter Street

315

December 8, 1877, Adolphe Fischer, to whom the work is dedicated,
playing the solo part. Philip H. Goepp has described the work as

follows:

‘‘The first movement is in a way II Penseroso to L’ Allegro of the
rest of the concerto; it is minor in key, tragic or heroic in mood, and
almost half the length of the work. Here the preluding orchestra
strikes the ominous theme in awesome unison. Soon the solo voice
has a line of pleading, a meditation, that is broken into by ponderous
chords. The main text begins in the combined motives of the group
of cellos and the solo voice. A passionate line of the latter ends ever
in a crash of harmonies. Again there is a clear duality in the tender
song of the solo voice against a softest answer in the high wood. It
is sharply broken by a rude descending motive of all the voices. Then
follows the most rhythmic passage, a song of the solo ’cello to a steady
descending pizzicato tread of strings, anon with exclamatory chords
or dulcet sounds of lightest wood. The prelude returns, though in a
new key, and a new rhythmic song. The ending is in the ominous

motive of the stentorian chorus.

‘‘In the Intermezzo, as against the former rhapsody, we are lulled
in the thrall of pure rhythm, almost of a slow singing dance. It seems
as if in the swaying song of the solo ‘cello we caught former strains of
sad longing. And almost as great is the magic change in turn to the
enchanting rapid lilt.

‘‘In the slow rhythmic mood of the Finale we strike a vein that

seems akin to Spain and to the Orient—an effect of poised tone
relieved in a quicker run to a slow swaying rhythm. In every way

GEORGE STEWART McMANUS
Pianist
(Returned from World Tour with Jean Gerardy)
Instruction in the Art of Piano Playing
and Accompanying
Residence Studio:

2444 Larkin Street, San Francisco
Phone Franklin 6257

Mondays: Ray Coyle Building, 526 Powell Street
Phone Sutter 3634

Thursdays: 2510 College Avenue, Berkeley
Phone Berkeley 436-J

Available for engagements as Solo Pianist or Accompanist

een en naaniaeaeeeeaenn aeeiananenamnammasdaasamaaeustentanadanninenasandeeninemasunmnenteenbisoaemammnss

316

here is the glad transformation of the beginning mood. After buoyant
chords, that seem to promise a lilt of tarantelle, the ascending tune in
the major recalls a former minor song. There are delicious touches of
resonant color, as the long, rhythmic organ-point of soft brass against
rising chords of strings; best of all, when the second big melody is
sung with magical effect in a duet of the solo ‘cello and clarinet.

Indeed, it is all buoyancy, melody and color, in splendid fulfilment of

the longing mood of the beginning.’

A Negro Rhapsody~ - 2 - 7 - Rubin Goldmark

Rubin Goldmark, born in New York, August 15, 1872, is a
nephew of the late Carl Goldmark. He gained his musical training at
the Vienna Conservatory and at the National Conservatory, New York.
His tone poem, “Samson,” was performed at these concerts February
17, 1922. The first performance of the Negro Rhapsody was at a
concert of the New York Philharmonic Orchestra, January 18, 1923,
for which Mr. Lawrence Gilman made the following analysis:

‘There is a slow introduction begun by the ‘celli and violas in
unison singing ‘Nobody Knows de Trouble I've Seen,’ repeated in
imitation by the woodwind. Flutes, clarinets, and bassoons, in G
minor, have another phrase from the same song. Most of the orches-

Cable Address, ‘‘Mandib’”’ Telephone Sutter 2945

Established 1869

Manheim, Bibbern & Co.

315 MONTGOMERY STREET

SAN FRANCISCO

Susurance Brokers Stork and Bond Brokers
Members, Insurance Brokers
Exchange
Fire (in all its branches), Marine,
Burglary, Casualty, Automobile, ;
Life, Liability, Earthquake, Strike Quotations and information on all
and Riot, Etc. stocks and bonds always on hand.

Members, The San Francisco Stock
and Bond Exchange

317

ANNOUNCEMENT

TENTH PAIR OF SYMPHONY CONCERTS
Curran Theatre

Friday, March 6, 3:00 P. M.
Sunday, March 8, 2:45 P. M.

Soloist: LEWIS RICHARDS, Harpsichordist

PROGRAMME
. Antique Dances for the Lute Respighi
Arranged for Modern Orchestra

(First time in San Francisco)
. Chaconne Bach-Steinberg
(First time in San Francisco)
. Concerto for Harpsichord and Orchestra, in D major

Larghetto
Rondo all’Ongharese
LEWIS RICHARDS
“The Fire Bird’’
Introduction—Variations of the Fire Bird
Rondo of the Princesses
Dance Infernal of the King Kastchei
Berceuse and Finale

ANNOUNCEMENT
EIGHTH POPULAR CONCERT
Curran Theatre
Sunday, March 1, 2:45 P. M.
Soloist: ANTHONY LINDEN, Flutist

PROGRAMME
. Suite, Opus 19

Andante con variazioni
Scherzo

Romanza

Rondo

. Concertino for Flute and Orchestra

ANTHONY LINDEN

. Four Old Flemish Folk Songs
. Valse Triste
. Menuet

tra now takes this tune, while the horns in imitation sing against it
‘Nobody Knows.’ There is a decrescendo, with long-held chords of
the woodwind, while under them the basses murmur ‘O Peter, Go
Ring dem Bells.” The main body of the piece begins with a variant
of ‘Nobody Knows,’ with inversions in the woodwind, the basses
repeat O Peter, Go Ring dem Bells,’ while the violins introduce the
fourth of the seven basic themes. (It should be said here that a
number of the counter-subjects and subsidiary themes used in the
Rhapsody are of Mr. Goldmark’s own invention.) This fourth tune
consists of the first bars of ‘O, Religion is a Fortune.’ With it, in the
horns, is combined the behest to Peter. This material is developed,
with a climax on ‘Nobody Knows. A passage of antiphonal chords
for contrasted instrumental groups leads to an Andante non troppo
with an English horn solo on ‘Sometimes I Feel Like a Motherless
Child,’ above a counter melody for the French horn. A solo violin
sings this melody, and then a solo ‘cello announces the chief lyric sub-
ject of the work and the sixth of its seven basic themes; it consists of
two measures of ‘Oh, When I Come to Die.’ The strings, horns, and
wood repeat it in a rich forte, and turn it over to the horn quartet,
while they themselves (divisi), with harp and celesta, weave about it
pianissimo arabesques. Trombones recall the first theme (‘Nobody
Knows ), crescendo, and the full band attains its highest point of emo-

ALFRED METZGER—

‘REDFERN Mason—

He played admirably.
There was no self-con-
scious virtuosity; it was
the pure bel canto of the
flute, every note round
and perfect as a pearl.—
San Francisco Examiner.

Mm. Anthony Linden

Address all communications to

457 Phelan Building, San Francisco

319

tional intensity on ‘Oh, When I Come to Die,’ followed by a diminu-
endo and a fermata on a soft A major chord of the strings.

‘There is a return to the Tempo giusto, and the seventh and
last of the themes is exhibited. This was found years ago by Mr.
Goldmark in a magazine article, quoted there as a melody sung by
the Tennessee negroes while working on the river. This irresistible
tune is played by the woodwind in unison, with pizzicato accompani-
ment. The themes are now polyphonically exploited, there is a bril-
liant stretto, and a lusty climax on the “Tennessee River’ tune. At the
close Peter is for the last time loudly exhorted by the brass.”’

THE

MARGARET MARY MORGAN (CO.

Engraving: Printers « Publishing
Commercial Printing

619 California Street Douglas 4633

THE SAN FRANCISCO BANK

(LATELY THE SAN FRANCISCO SAVINGS AND LOAN SOCIETY)

SAVINGS COMMERCIAL
INCORPORATED FEBRUARY 10th, 1868.

One of the Oldest Banksin California,
the Assets of which have never been increased
by merégers or-consolidation s with other Banks.

Member Associated Savings Banks of San Francisco
526 California Street, San Francisco, Cal.

DECEMBER 3lst, 1924

Athebs? cic i$ Oa ote Pa et on See ge Ob Re a ce $96,917,170.69
Capital, Reserve and Contingent Funds,...... 4,000,000.00
Employees’ Pension Fund. .........++eeeeeees 461,746.52
MISSION BRANCH... 0... cecccccnccsvcsvenneses Mission and 21st Streets
PARK-PRESIDIO BRANCH)? .... ci cceveccs vives Clement St. and 7th Ave.
HAIGHT STREET BRANCH.......cccccccccs:, Haight and Belvedere Streets

WEST PORTAL BRANGH own. cc cc cn a ince ss West Porta] Ave. and Ulloa St.

Interest paid on Deposits at the rate of
FOUR AND ONE QUARTER (414) per cent per annum,
COMPUTED MONTHLY and COMPOUNDED QUARTERLY,
AND MAY BE WITHDRAWN QUARTERLY

320

The San HFrancisea Symphony Orchestra

ALFRED HERTZ, CONDUCTOR

FIRST VIOLINS

Persinger, Louis
Concert Master and
Assistant Conductor

Argiewicz, Artur
Assistant Concert
Master

Ford, Louis
Assistant Concert
Master

Meriz, E.

Mendelevitch, R.

Laraia, W. F.

Gluschkin, M.

Gordohn, R.

Seiger, Rudy

Bem, Eugenia

Koenig, H.

See, Orley

Mortensen, Modesta

Amsterdam, M.

Pasmore, Mary

Ruiz, R.

SECOND VIOLINS
Jensen, T.

Principal
Haug, J. A.
Callinan, W. G.
Hidden, R. L.
Gold, J.
Paterson, J. A.
Blaha, A.
Manchester, W.
Atkinson, Helen
Dunn, H. A.
Gough, W.
Hoffman, H. H.
Dabelow, W.

VIOLAS

Fenster, Lajos

Principal
Hah], E.
Baker, F. A.
Wismer, H.
Weiler, E.
Lichtenstein, V.
Patchook, S.
Dierich, F.
Kolb, R.
Lewis, A.

A. W. WIDENHAM, Secretary-Manager

ersurmel

‘CELLOS

Ferner, Walter
Principal

Dehe, W.

King, O.
Villalpando, W.
Weiss, A.

Kirs, R.

Gegna, M.
Pasmore, Dorothy

Hranek, C.

BASSES

Lahann, J.
Principal

Greene, S.
Bell, W.
Storch, A. E.
Cassetta, L. R.
Guterson, A.
Annarumi, A.

Giese, W.

FLUTES
Linden, Anthony
Newbauer, Louis

Oesterreicher, Walter
Orchestral Manager

Benkman, H.

PICCOLO

Oesterreicher, Walter

OBOES
Addimando, C.
Shanis, Julius
Schipilliti, V.
Utschig, H.

ENGLISH HORN
Schipilliti, V.

CLARINETS
Randall, H. B.
Zannini, N.
Fragale, F.
Greenbaum, A. A.

321

BASS CLARINET
Fragale, F.

BASSOONS
Kubitschek, E.
La Haye, E. B.
Hranek, C.

CONTRA BASSOON
Kolb, R.

HORNS
Hornig, W.
Tryner, C. E.
Roth, P.
Huske, F. E.
Rocco, R.

TRUMPETS
Ditzel, E.
Arriola, A.

Kegel, Otto
Kress, V.

TROMBONES
Tait, F. W.
Clark, O. E.
Bassett, F. N.

TUBA
Murray, R.

HARP
Attl, Kajetan
Schipilliti, Annette

TYMPANI
Wagner, R. E.

PERCUSSION
Nickel, M.
Vendt, A., Jr.
Kundy, E.

PIANO AND CELESTA
Ormay, Gyula

LIBRARIAN
Kegel, Otto

Choose your piano carefully.
Choose it as you would
choose an intimate member
of your family circle. Choose
it for qualities that will en-
dure.

Let your choice, if possible,
be a STEINWAY. There is no
other piano of qualities more
enduring —of distinction so
immediately recognized.

Kearny & Sutter Sts.
Oakland - Clay at 14th

Sherman, [Play & Co.

REMAINING SYMPHONY
DATES

Thursday Evening, Mar. 19
Thursday Evening, Mar. 26

ONS

Soloist
LEWIS RICHARDS
Harpsichord

SAN FRANCISCO

Symphony Orchestra

AUDITORIUM OPERA HOUSE
OAKLAND, CAL.

Thursday Evening, February 26, 1925

Ejight-thirty o’clock

Management ZANNETTE W. POTTER
Box Office at Sherman, Clay & Co., Oakland, Cal.
Telephone Lakeside 6700

PRA
Thursday Evepruary

1. Academic Festival Overture... Brahms

Brahms wrote his “Academic Festival” Overture in 1880 as an
acknowledgment of the degree of Doctor of Philosophy which had
been bestowed upon him by the University of Breslau. This work,
as well as another new composition, the “Tragic” Overture, was
produced at Breslau, January 4, 1881, in the presence of the august
functionaries of the university, Brahms himself conducting. The
overture is in reality a fantasia on student songs. Brahms was fond
of these pieces, and on occasions when they were sung at social
festivities he would join. in lustily and with much enthusiasm.

2. Concerto for Harpsichord and Orchestra, D major..Haydn
Vivace — Larghetto — Rondo all’ Ongharese
Lewis RicHarps

The development of the pianoforte of today has been the result
of many centuries of experimentation, and it was not until the close
of the eighteenth century that the piano as we now know it—that
is, an instrument in which the vibration of the strings is caused
by the action of hammers—displaced the older varieties. Of these
by far the most important were the clavichord, in which the strings
were set in motion by tangents, and the harpsichord, or, in French,
clavecin, in which the strings were not struck, but were plucked or
twanged by sharp points of crow-quill embedded in the “jacks,” the
“jacks” in turn, being set in motion by the action of the keys.

The Haydn concerto selected for this evening’s concert, one of
his earlier works, has been out of print for many years, but
Mr. Richards found original manuscripts of it in the Royal
Conservatory library at Brussels, and thus is able to present the
work in the form in which Haydn originally wrote it.

3. Solo Numbers for Harpsichord
Lewis RIcHARDS

Arig scopy Watigtions <8 ee Se Sana Shea ere Handel

EhGst Brookes eee Sais 20 egret RIS Ls haoetie Pe mR John Ayrlton
Turkish March from A major Sonata... Mozart
Intermission |
de Mhree Jewish Pidens. 0 042s das so Ernest Bloch
Dance — _ Rite — Fumeral Procession

Upon the occasion of the first performance of the Three Jewish
Poems by the Chicago Symphony Orchestra, February 1, 1918, the
following information was furnished by the composer:

“The ‘Jewish Poems’ are the first work of a cycle. I do not wish
that one should judge my whole personality by this fragment, this

See ee teense —
2 Performances -ANNA PAVLOWA--2 Performances G
and her BALLET RUSSE
Monday and Tuesday Nights, March 9 and 10

Prices $3.50 to $1.00, plus tax
Tickets on sale now at Sherman-Clay Box Office. a

Management Zannette W. Potter

ANI
epruary 20, 1925

first attempt, which does not contain it. The ‘Psalms,’ ‘Schelomo,’
‘Israel’ are more representative, because they come from the passion
and the violence that I believe to be the characteristics of my nature.
In the ‘Jewish Poems’ I have wished in some way to try a new
speech, the color of which should serve my future expression. Ther
is in them a certain restraint; I hold myself back; my. orchestration
is also guarded. The ‘Poems’ are the first work of a new period;
they consequently have not the maturity of the ‘Pslams’ or of ‘Israel.’
It is not easy for me to make a program of the ‘Poems.’ Music is
not translated by words. The titles, it seems to me should suffi-
ciently inform the hearer.

“Tl. Danse. This music is all in the coloring; coloring rather
sombre, mystical, languorous.

“IT. Rite. This movement is more emotional; but there is some-
thing solemn and distant; as the ceremonies of a cult.

“III. Funeral Procession. This is more human. My father died
—these ‘Poems’ are dedicated to his memory. There ‘s something
implacably severe in the rhythms that obstinately repeat themselves.
At the end, sorrow bursts forth, and at the idea of an eternal separa- .
tion the soul breaks down. But a very simple and serene melody
arises from the orchestral depths as a consolation, a balm, a gentle
faith. The memory of our dear departed ones is not effaced; they
live forever in our hearts.

“The form is free, but it is really there, for I believe that our
constitution demands order in a work of art.”

LEWIS RICHARDS is a native of Michigan, but has spent the
ereater part of his life in Europe, whither he went in 1902 to become
a pupil of Arthur de Gref, at the Royal Conservatory of Music at
Brussels, Belgium. He obtains a brilliant “First Prize with distinc-
tion” from that institution in 1905, being the first American pianist
to. attain that honor. After three years of teachng in this country,
he returned to Europe and engaged in concert work appearing in
the capitals and important cities of Belgium, France, England, Hol-
land, Germany, Austria and Hungary, winning the approval of
audiences, musicians and critics alike. His interest in the music of
the sixteenth, seventeenth and eighteenth century led him to take up

: the study of the ancient clavecin and harpsichord, his success as a

| performer on the clavecin winning him a membership in the famous
“Societe des Instruments Anciens”, of Paris, of which Saint-Saens
was president, and it is as a Harpsichordist that he is meeting with
tremendous success in the United States, the present season being
his second tour.

Mr. Richards was living in Brussels when the war began in 1914.
Through his friends, Brand Whitlock, United States minster to Bel-
gium, and Hugh Gibson, secretary of the American legation, Herbert
Hoover’s attention was attracted to this young artist. He was invited
to join the great relief machine Hoover built up in London, his
executive ability eventually elevating him to the position of assistant
director which he held until recently.

PAUL WHITEMAN=—=in Person

AND HIS ORCHESTRA
Monday and Tuesday Nights, March 2 and 3
Prices $3.00 to $1.00, plus tax

Tickets for these extraordinary events on sale now at Sherman-Clay Box Office.
Management Zannette W. Potter

Coming

——

PR 19 ed FR Ss Fe Ss Fe

xy recat
AVIAED DAB LE. EVEN MENGE A EOS FELN Wid ¥

| Wis. Gs
ae =~
NTT Sie j

Team - ahh paateey
lh. i ‘| tie i ih

‘aw

Lhe Duo-Art! What comradeship!

PADEREWSKI1 himself says: ‘The
Duo-Art is not only a perfect per-

former, but a precious assistant, a
helpful friend.”

To possess a Duo-Art is to enjoy
the privilege of listening at will to
exact recordings of the most brilliant
piano-playing of the present age.

Duo-Art pianos are from $750 up;
convenient terms can be arranged

ie
-Sherman|| \¢

L
ey)

ay & Go. be

Oakland — oildachel and Clay Streets
Berkeley -- Telegraph and Channing Way
San Francisco—Kearney and Sutter Streets

RO The eas a
CISCO
SYMPHONY)

“= ORCHESTRA

be Marntained by ON
NESS) The Mustcal 4 7 a

nae

Association of ld;

san Francisco AY) N
AS 4

i (

O24 1925
Fourteenth Season =

ALFRED HERTZ CONDUCTOR ©
A Gr aa

Alfred Hertz

‘RECOMMENDS
CONN INSTRUMENTS

The San Francisco
Symphony

CONN
INSTRUMENTS

f
p

S2
oa
ZY
E
=
By
W
ay
Ps:
—
to

No Higher Endorsement

can be given to a musical
“I take great pleasure in

recommending Conn. instru-
experience of great artists ments for symphony
orchestra work.”

instrument, hence if the

means anything to you, your

: : A H :
Expert choice will be CONN. tae twee
Repairing

WORLD'S

LARGEST MANUFACTURERS
OF HIGH GRADE BAND AND
ORCHESTRA INSTRUMENTS

Conn San Francisco Co. Conn Oakland Co.
47 Kearny St. 531-16th St.

328

Musical Association of San Francisco

Founded December 20, 1909 Incorporated February 3, 1910
OFFICERS
JOHN D. McKezs, President
J. B. Levison, Vice-President EK. R. Dimonp, Treasurer

A. W. WipenHam, Secretary-Manager

BOARD OF GOVERNORS

J. K. Armsby A. B. C. Dohrmann John D. McKee

E. D. Beylard John S. Drum Seward B. McNear
Miss Lena Blanding Milton H. Esberg bor Monteagle
Miss Louise A. Boyd Herbert Fleishhacker Robert C. Newell
George T. Cameron J. D. Grant J. C. Raas

Selah Chamberlain E. S. Heller F. R. Sherman

C. H. Crocker W.E. Creed Wm. T. Sesnon
Mrs. Templeton Crocker J. B. Levison M. C. Sloss

Wm. H. Crocker Walter S. Martin William Sproule
E. R. Dimond John A. McGregor Sigmund Stern

EXECUTIVE COMMITTEE |
John D. McKee, Chairman

E. D. Beylard E. R. Dimond J. B. Levison
Wm. H. Crocker E. S. Heller William Sproule

MUSIC COMMITTEE
J. B. Levison, Chairman

E. S. Heller E. D. Beylard Robert C. Newell

WOMEN’S AUXILIARY
Mrs. M. S. Koshland, Chairman
Miss Lena Blanding, Vice-Chairman
Mrs. M. C. Porter, Vice-Chairman

EXECUTIVE OFFICES

457 Phelan Building, San Francisco
A. W. WIDENHAM, Secretary-Manager

Hours 10 to 12 A. M., 2 to 4 P. M. Telephone Garfield 2819

329

i s) ee ef iN

filason & Hamlin Btanog

Those to whom music is a gift or
an art ora great privilege hold one
piano at the pinnacle—the Mason
& Hamlin. For they know it to be
wrought byskilled artisans—men
who build with infinite pains that
the final product will be worthy
the hands of an artist. So does it
deserve a place in your home.

Wiley B.Allen ©.

135 KEARNY STREET,SAN FRANCISCO
1323 WASHINGTON STREET, OAKLAND

Che San Francisca Sumphony Orchestra
ALFRED HERTZ, Conductor
1924—Season—1925

EIGHTH POPULAR CONCERT
525th Concert

CURRAN THEATRE
Sunday Afternoon, March 1, 2:45 o’clock

Soloist: ANTHONY LINDEN, Flutist

PROGRAMME
ls Suite, ‘Opis 19) 2 Pc ee ane eer ee ae eee Dohnanyi
Andante con variazioni
Scherzo
Romanza
Rondo
2.. Concertino for: Flute-and: Orchestra: 25 Chaminade

(First time at these Concerts)

ANTHONY LINDEN

Intermission
3:+F our: Old Flemish Folk. Sonea.c aii eee de Greef
A. Valsesliriste 2.ci Ate vee ere ie caer ee Sees Sibelius
DHA WEGRUEE se cokes cod at es yn ake Stee eee eget eee Boccherini
6: ‘Polonaise in: Ex majors: eat nett a ia es Liszt

SSS SSayese

331

|
:
i

109 Stockton Street

BEETHOVEN’S NINTH SYMPHONY
Recorded in Europe by the

Symphony Orchestra of Berlin
Under the direction of Bruno Seidler-Winkler

and

Includes the Chorus of the Berlin National Opera

Ist Movement—Part 1, Allegro, ma non troppo.

1st Movement—Part 2, Allegro, ma non troppo, New Symphony Orchestra—
Berlin, Conducted by Bruno Seidler-Winkler (Recorded in Europe).

1st Movement—Part 3, Allegro, ma non troppo.

2nd Movement—Part 1, Molto vivace, New Symphony Orchestra, Berlin—Con-
ducted by Bruno Seidler-Winkler (Recorded in Europe).

2nd Movement—Part 2, Molto vivace.

3rd Movement—Part 1, Adagio molto e cantabile, New Symphony Orchestra—
Berlin, Conducted by Bruno Seidler-Winkler (Recorded in Europe).

3rd Movement—Part 2.

3rd Movement—Part 3, Adagio molto e cantabile, New Symphony Orchestra—
Berlin, Conducted by Bruno Seidler-Winkler (Recorded in Europe).

4th Movement—Part 1, Presto.

4th Movement—Part 2, Presto allegro assai, New Symphony Orchestra—Berlin,
Conducted by Bruno Seidler-Winkler (Recorded in Europe).

4th Movement—Part 4, Presto allegro assai—New Symphony Orchestra—Berlin,
Conducted by Bruno Seidler-Winkler. Eugen Transky, Tenor, and chorus
Berlin National Opera (Recorded in Europe).

4th Movement—Part 5, continuation—Presto allegro assai movement.

4th Movement—Part 6, Presto allegro non tanto, New Symphony Orchestra—
Berlin, Conducted by Bruno Seidler- Winkler, Vocal by Ethel Hansa, Soprano—
Eleanor Scholsshauer, Alto—Eugen Transky, Tenor—Prof. Albert Fischer,
Bass—chorus Berlin National Opera (Recorded in Europe).

Price Complete, in Handsomely Bound Album, $10.00

Send for our catalogue of “Musical Masterworks’’—free.

QUARG MUSIC CO.

206 Powell Street Open Evenings

332

Orchestra Suite, Opus 19 ° - aioe - Dohnanyi

The Opus 19 Suite, one of Dohnanyi’s most recent compositions,

is in four movements, the first being an Andante con Variazione in F
sharp minor, but ending in major. The second is a Scherzo, in A
minor, the opening with wood-winds, and then strings, reminding one
of the familiar “Midsummer Night’s Dream’”’ Scherzo. But it is worked
out in a modern fashion, a noteworthy passage being an organ-point
on A in the violas, and ‘cellos playing rapidly repeated sixteenth
notes, alternating an open string A with the A on the neighboring
strings. Then there are piquant effects on the harp with harmonics
from the strings. The third movement is a Romanza, in F major;
first an oboe solo, then a ‘cello solo; then the key changes to F sharp
minor, and the romantic qualities of the English hoz are brought into
requisition. The last movement, a Rondo, is built on a vigorously
rough theme on the strings, in A major; the theme of the Andante is
quoted towards the close. As a whole, this work though built on old
models, has been given a modern spirit and there is no vain searching
after odd and bizarre effects.

Concertino for Flute and Orchestra, in D major - Chaminade

As the title implies, this composition is a condensed form of the

ESTABLISHED 1852

QUALITY

CONSISTENT
PRICES

Shreve and Company

Jewelers and Silversmiths

Post and Grant Avenue
San Francisco

concerto (a work for solo instrument with orchestral accompaniment)
differing from the larger form in that it is in one continuous move-
ment instead of the usual three of the concerto. The work is typically
French in the character of its graceful themes and charming orches-
tration, the harp, especially having an attractive part. The cadenzas

and many of the flute passages have been revised and rewritten by

Mr. Linden.

Cecile Chaminade was born in Paris in 1861, and is the first
musician of her sex to attain wide renown as a composer. She is best

k-own for her songs and compositions for piano solo.

Four Old Flemish Folk-Songs - Arthur de Greef

Arthur de Greef, who is best known as a pianist, was born at
Louvain, October 10, 1862, and was for a number of years instructor
in piano playing at the Conservatory of Brussels. The group of pieces
played today were arranged by de Greef from old folk-tunes, but

were not composed by him. These transcriptions were published in

SA ORL OTE: Tuesday, Wednesday, Saturday Phone Douglas 1678
Afternoons—2-5

i KAJETAN ATTL

Solo Harpist
San Francisco Symphony Orchestra

Using Lyon & Healy Harps, The World’s Standard
FOR ENGAGEMENTS

AS SOLO ARTIST, ACCOMPANIST, OR

PLAYER IN ENSEMBLE MUSIC,
ADDRESS

KAJETAN ATTL, BOHEMIAN CLUB
SAN FRANCISCO, CALIFORNIA
RES. PHONE FRANKLIN 7847

Violinist and Teacher
Concert and Recital

48 Wildwood Avenue, Piedmont

Phone Piedmont 8140-J (Tuesday) Douglas 1678

334

Felix Salmond Julia Claussen

Cello and Chamber Music Voice

Cesar Thomson
Violin

Master School of Musical Arts

of California
LAZAR S. SAMOILOFEF

(Director

ALICE SECKELS
Manager

W. J. Henderson

Lecturer

Lazar S. Samoiloff
Voice

Annie Louise David
aaee "1, {These Artist Teachers will give
Instructions in

SAN FRANCISCO

AND
LOS ANGELES
ayy MAY — SEPTEMBER, 1925
epee FAIRMONT HOTEL

Coach San Francisco

Nicholai Mednikoff

Piano

A. Kostelanetz
Accompanist

335

Josef Lhevinne
Piano

Andres de Segurola
Operatic Department

Sigismund Stojowski
Piano — Composition

Samuel Gardner
Violin

)
:
:
:
/

ee i ie

London in 1915, and were given their first performance in the United

States by the New York Symphony Orchestra in 1918.

The fly-leaf of the score contains the following titles and texts for

the four songs:

GEORGE STE

I.
**The Solitary Rose’’

I know a rose, in meadow green,
To solitude resigned,

Her beauty ruined by a storm
Before her blossom-time was done.
This will be the maiden’s fate

Who has never learnt to love.

II.
‘‘Hoepsasa’”’

Well, Mary Ann, whither away?

Beyond the town walls, the soldiers to seek.

Hoepsasa, falhala, our Mary Ann.

Well, Mary Ann, what will you do there?
I'll spin and love the soldier laddies.
Hoepsasa, falhala, our Mary Ann.

Il.
“‘Wounded Is My Heart”’

Wounded am I inwardly,

So deeply pierced my heart,

By my great love of you,

So long since wounded to the core,
That where’er I go or turn,

Nor day nor night I rest;

That where’er I| go or turn,

You fill my thoughts alone.

IV.
‘‘The Duke of Alva’s Statue’’

He who would exalt himself

Pianist

(Returned from World Tour with Jean Gerardy)

Instruction in the Art of Piano Playing

and Accompanying

Residence Studio:

2444 Larkin Street, San Francisco

Phone Franklin 6257

Mondays: Ray Coyle Building, 526 Powell Street

Available for engagements as Solo Pianist or Accompanist

Phone Sutter 3634

Thursdays: 2510 College Avenue, Berkeley

Phone Berkeley 436-J

336

WART McMANUS

Is but a sorry wight.
Duke, your statue, raised against our will,
Would be better overthrown.

The evil deed

Which you have wrought
Is intolerable to us all.

It is contrary

To our country’s custom.

Valse Triste’ - - - ~ - - - - Sibelius

The “Valse Triste’’ is one of the most popular of the Finnish
masters lesser compositions. It is one number from the incidental
music to a drama written by the composer's gifted brother-in-law,
Arvid Jarnefeld, entitled “‘Kuolema’’ (Death), which accounts for the
yearning and shuddering sadness of the theme.

It is night. A 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 waltz
melody float distinctly 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

Cable Address, ‘‘Mandib’’ Telephone Sutter 2945

Established 1869

Manheim, Dibbern & Co.

315 MONTGOMERY STREET

SAN FRANCISCO

Insurance Brokers Stork and Bond Brokers
eh igateag ser ey ack Prokers Members, The San Francisco Stock

Fire (in all its branches), Marine, and Bond Exchange

Burglary, Casualty, Automobile, 3 ;
Life, Liability, Earthquake, Strike Quotations and information on all
and Riot, Ete. stocks and bonds always on hand.

337

ANNOUNCEMENT

TENTH PAIR OF SYMPHONY CONCERTS
Curran Theatre

Friday, March 6, 3:00 P. M.
Sunday, March 8, 2:45 P. M.

Soloist: LEWIS RICHARDS, Harpsichordist

PROGRAMME
. Antique Dances for the Lute Respighi
Arranged for Modern Orchestra

(First time in San Francisco)
. Chaconne Bach-Steinberg
(First time in San Francisco)
. Concerto for Harpsichord and Orchestra, in D major

Larghetto
Rondo all’ Ongharese
LEWIS RICHARDS
“The Fire Bird’’ Stravinsky
Introduction—vVariations of the Fire Bird
Rondo of the Princesses
Dance Infernal of the King Kastchei
Berceuse and Finale

ANNOUNCEMENT
NINTH POPULAR CONCERT

Curran Theatre
Sunday, March 15, 2:45 P. M.

PROGRAMME

. Overture, “In Bohemia” Henry Hadley
. Ballet Suite Joseph Clokey
(First performance anywhere)
. (a) Humoresque Dvorak-Stock
(b) Scherzo, ““The Bumble Bee,”’

“Tsar Saltan’’ Rimsky-Korsakow

(First performance in San Francisco)
. Solo Numbers for Violin
LOUIS PERSINGER

(a) Chanson—Meditation Cottenet
(b) Serenata Andaluza Monasterio
(c) Bagatelle | Louis Persinger
. Suite from ‘;Carmen”’
. Prize Song from ““The Mastersingers’’
. Ballet Music from “Prince [gor’’

she were summoning a crowd of invisible guests. And ‘now they ap-
pear, these strange, visionary couples, turning and gliding to an un-
earthly waltz 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 exhausted 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, gyrating in a wild, mad rhythm. The
weird gayety reaches a climax; there is a knock at the door, which
flies open; the mother utters a despairing cry; the spectral guests van-
ish: the music dies away; Death stands on the threshold.

Menuet . - . - . ~ . . Boccherini

Boccherini is a unique figure among the many Italian composers
of his time, in that he devoted himself almost wholly to instrumental
music instead of to the opera, which latter always has been the par-
ticular ideal of his nation. A single opera (or melodrama) is all that
he wrote for the stage; but in the field of instrumental composition his
productivity was immense, as is evidenced by his 54 trios, 91 quartets,
and 125 quintets for strings with flute or oboe; 16 sextets, 2 octets,
violin sonatas and duos, 20 symphonies, an orchestral suite, and a con-
certo for violoncello. He also left a number of sacred compositions,
among which are to be mentioned a mass, a ‘Stabat Mater,” a Christ-
mas cantata, and some motets.

The “Menuet” is a piece of music in dance rhythm and of French

ALFRED METZGER—

M. Anthony Linden

Orchestral Conductor and Flute Virtuoso
Soloist——T eacher—Lecturer
Solo Flutist, San Francisco Symphony Orchestra
Formerly Solo Flutist, Minneapolis Symphony Orchestra
Director Linden School of Flute Playing

- REDFERN Mason—

He played admirably.
There was no self-con-
scious virtuosity; it was
the pure bel canto of the
flute, every note round
and perfect as a pearl.—
San Francisco Examiner.

Address all communications to

457 Phelan Building, San Francisco

ac nn ETSI
en

339

i
il
}
i
if
ii
i

origin. The name is derived from the French “menu” (small), and
refers to the short steps of the dance. |

Polonaise in E Major - - - - “ - - Liszt

Franz Liszt, born in Raiding, Hungary, on October 22, 181 1G
became the greatest figure in the musical world of his day, and while
still a young man acquired the title of the world’s greatest pianist. To
Liszt we owe the creation of the symphonic poem form of orchestral
writing.

The musical form polonaise is in 3-4 time, and though originally
a Polish dance, is in reality a stately march which, in Europe, is often
used to open formal balls and other festive gatherings.

on RE Mae ee AUR Svea Pies ey IP CORE NS eR NO Verena
THE
MARGARET MARY MORGAN (CO.

Gngraving- Printers - Publishing

Commercial Printing

619 California Street Douglas 4633

THE SAN FRANCISCO BANK

(LATELY THE SAN FRANCISCO SAVINGS AND LOAN SOCIETY)

SAVINGS COMMERCIAL
INCORPORATED FEBRUARY 10th, 1868.

One of the Oidest Banksin California,
the Assets of which have never been increased
by mer¢gers or-consolidation s with other Banks.

Member Associated Savings Banks of San F rancisco
526 California Street, San Francisco, Cal.

DECEMBER 31st, 1924

ABCOUG eee LS Ce ae, ee ROE eee at $96,917,170.69
Capital, Reserve and Contingent Funds....... 4,000,000.00
Employees’ Pension Fund.................... 461,746.52
MISSTON=-BRANCH coe e gcc ser ae ee Le oe erate Si Mission and 21st Streets
PARK-PRESIDIOCBRANCEH.. 2,2. es dake Clement St. and 7th Ave.
HAIGH E-STREET) BRANGH) =>. 270.7 Soe oe Haight and Belvedere Streets

WEST PORTAL BRANCH ooo) he che tite West Porta] Ave. and Ulloa St.

Interest paid on Deposits at the rate of

FOUR AND ONE QUARTER (414) per cent per annum,
COMPUTED MONTHLY and COMPOUNDED QUARTERLY,
AND MAY BE WITHDRAWN QUARTERLY

340

Wdersunnel

Che San Francisen Symphony Orchestra

ALFRED HERTZ, CONDUCTOR

FIRST VIOLINS

Persinger, Louis
Concert Master and
Assistant Conductor

Argiewicz, Artur
Assistant Concert
Master

Ford, Louis
Assistant Concert
Master

Meriz, E.

Mendelevitch, R.

Laraia, W. F.

Gluschkin, M.

Gordohn, R.

Seiger, Rudy

Bem, Eugenia

Koenig, H.

See, Orley

Mortensen, Modesta

Amsterdam, M.

Pasmore, Mary

Ruiz, R.

SECOND VIOLINS
Jensen, T.

Principal
Haug, J. A.
Callinan, W. G.
Hidden, R. L.
Gold, J.
Paterson, J. A.
Blaha, A.
Manchester, W.
Atkinson, Helen
Purt, B.
Dunn, H. A.
Gough, W.
Hoffman, H. H.
Dabelow, W.

VIOLAS

Fenster, Lajos

Principal
Hahl, E.
Baker, F. A.
Wismer, H.
Weiler, E.
Lichtenstein, V.
Patchook, S.
Dierich, F.
Kolb, R.
Lewis, A,

"CELLOS

Ferner, Walter
Principal

Dehe, W.

King, O.
Villalpando, W.
Weiss, A.

Kirs, R.

Gegna, M.
Pasmore, Dorothy
Hranek, C.

BASSES

Lahann, J.
Principal

Greene, S.
Bell, W.
Storch, A. E.
Cassetta, L. R.
Guterson, A.
Annarumi, A.
Giese, W.

FLUTES
Linden, Anthony
Newbauer, Louis

Oesterreicher, Walter
Orchestral Manager

Benkman, H.

PICCOLO

Oesterreicher, Walter

OBOES
Addimando, C.
Shanis, Julius
Schipilliti, V.
Utschig, H.

ENGLISH HORN
Schipilliti, V.

CLARINETS
Randall, H. B.
Zannini, N.
Fragale, F.
Greenbaum, A. A.

BASS CLARINET
Fragale, F.

BASSOONS
Kubitschek, E.
La Haye, E. B.
Hranek, C.

CONTRA BASSOON
Kolb, R.

HORNS
Hornig, W.
Tryner, C. E.
Roth, P.
Huske, F. E.
Rocco, R.

TRUMPETS
Ditzel, E.
Arriola, A.

Kegel, Otto
Kress, V.

TROMBONES
Tait, F. W.
Clark, O. E.
Bassett, F. N.

TUBA
Murray, R.

HARP
Attl, Kajetan
Schipilliti, Annette

TYMPANI
Wagner, R. E.

PERCUSSION
Nickel, M.
Vendt, A., Jr.
Kundy, E.

PIANO AND CELESTA
Ormay, Gyula

LIBRARIAN
Kegel, Otto

A. W. WIDENHAM, Secretary-Manager

341

Choose your piano carefully.
Choose it as you would
choose an intimate member
of your family circle. Choose
it for qualities that will en-
dure.

Let your choice, if possible,
be a STEINWAY. There is no
other piano of qualities more
enduring—of distinction so
immediately recognized.

SGcriaiteie & Co.
wy

Kearny & Sutter Sts,
Oakland - Clay at 14th

| pee gi ace ae

San Francisco Symphony Orchestra

QW bh

ALFRED HERTZ, Conductor

SEASON 1924-25

FOURTH BERKELEY CONCERT
HARMON GYMNASIUM

THURSDAY EVENING, MARCH 5, 1925

AT 8:15 O’CLOCK

SOLOIST :
LEWIS RICHARDS, Harpsichordist

PROGRAMME

Antique Dances toruthedbwte:.< jis. Steet Ha ae Respighi
Arranged for Modern Orchestra.
Balletto detto il Conte.
Gagliarda.
Villanella.
Passamezzo.

Chaconne. an: jee Vase eeu eke, acinar ee Bach-Steinberg

Concerto for Harpsichord and Orchestra, D majot.......... Haydn
Vivace—
Larghetto—
Rondo all’Ongharese.

INTERMISSION
Suite, “L’Oiseau de Feu” (The Fire-Bird).........0000..... Stravinsky

Introduction—Variations of the Fire-Bird.
Rondo of the Princesses.

Dance Infernal of the King Kastchei.
Berceuse and Finale.

Anugque: Dances for the, Late sons eee eee Respighi

Arranged for Modern Orchestra.

These pieces, originally associated with the lute, were formed into an orchestral
suite by Respighi. His set comprised four movements by sixteenth-century

masters:

I. “Balleto detto Il Conte Orlando,” by Simone Molinaro. Molinaro was
one of the most celebrated lutenists of his day. In 1600 he was director of the
music in Genoa cathedral. The dance is in D major, 44 time, Allegret to moderato.

II. Gagliarda, by Vincenzo Galilei. Galilei, the father of the great astron-
omer, Galileo, was born in 1533 at Florence. He was not only a notable performer
on the lute, but a composer of considerable gifts, who was one of the principal
representatives of that Florentine school which, endeavoring to revive Greek
tragedy, brought into being the opera. The galliard was a lively dance, frequently
associated with the pavan, usually written in triple time—generally 3-2—but
occasionally in 4-4. This example is in D major, 3-4 time, Allegro marcato.

III. Villanella, by Ignoto. The composer of this dance lived at the end of the
sixteenth century. The villanella was a fifteenth century dance-chorus of light
character, resembling the canzone and balletti of its day. This example is in
B minor, Andante cantabile, 2-4 time.

IV. Passamezzo and Mascherado, by Ignoto. The passamezzo was related
to the pavan. Tabourot, in his Orchesographie (1588), said that when the pavan
was played less solemnly and more quickly it was called a passamezzo. The
movement is in D major, 2-4 time, Allegro vivo

Chacon et een 5) ee ee a dtr aoe, Bach-Steinberg

. This Bach Chaconne, as arranged for orchestra by Steinberg, was given its
first performance in America December 19, 1924, by the Cincinnati Symphony
Orchestra. According to Grove, the Chaconne was a dance usually in 3-4 time,
of a moderately slow movement, which belonged to the class of variations—in
fact, in the large majority of cases it was actually a series of variations on a “ground
bass,” mostly eight bars in length. It is supposed to have been of Spanish
origin.

The programme of the Cincinnati performance contains the interesting infor-
mation by Mr. Fritz Reiner, conductor of the Cincinnati Symphony, that Stein-
berg is the son-in-law of Rimsky-Korsakow, the famous composer, and that
Stravinsky wrote “Fireworks” as a wedding gift to Sonia, the daughter of Rimsky-
Korsakow. Mr. Steinberg is the editor of “Principles of Orchestration,” by his
illustrious father-in-law.

Steinberg’s scoring consists of two flutes, two oboes, English horn, two clarinets,
two bassoons, four horns, two trumpets, three trombones, tuba, kettledrums and

strings.

Concerto for Harpsichord and Orchestra, D majot................ Haydn

The development of the pianoforte of today has been the result of many
centuries of experimentation, and it was not until the close of the eighteenth
century that the piano as we now know it—that is, an instrument in which the
vibration of the strings is caused by the action of hammers—displaced the older
varieties. Of these by far the most important were the clavichord, in which the
strings were set in motion by tangents, and the harpsichord, or, in French,
clavecin, in which the strings were not struck, but were plucked or twanged by;
sharp points of crow-quill embedded in the “jacks,” the “jacks,”
set in motion by the action of the keys. From about 1600, when Hans Ruckers,
the great clavecin maker of Antwerp, vastly developed the possibilities of the
instrument, until nearly the end of the eighteenth century, the clavecin was the
foremost instrument of its type, above all for service with the orchestra. The

in turn, being

music composed for it cannot adequately be rendered on the piano, for the
reason that composers necessarily took closely into account both the brilliant
incisiveness of its tone, akin to that of the harp, and its limitations in the matter
of emphasis and expressiveness. The Haydn concerto played this evening, one
of his earlier works, has been out,of print for many years, but Mr. Richards found
original manuscripts of it in the Royal Conservatory Library at Brussels, and thus
is able to present the work in the form in which Haydn originally wrote it.

Suite, “L’Oiseau de Feu” (The Fire-Bird)..............0+ Stravinsky

the result being “L’Oiseau de Feu.” It was finished in the early Spring of 1910

and produced in Paris three weeks later. It created an immediate furor and
placed Stravinsky in the forefront of the new composers. Since then he has
written a number of ballets, including “Petrouchka,” “Sacre de Printemps” and
“The Nightingale.” The music of “L’Oiseau de Feu,” apart from the stage
performance, aroused so much favorable comment that the composer arranged it
in the form of an orchestral suite. The following is the story of the ballet, as
related by Felix Borowski:

“Tyan Tsarevich, wandering in the night, observes in the gloom the Fire-Bird,
plucking golden apples froma silver tree. He attempts to seize the Fire-Bird and,
after a chase, succeeds in capturing her. The bird entreats Ivan to release her,
and, after receiving from her a glowing feather, he permits the Fire-Bird to escape.
As the dawn comes, Ivan perceives that his wanderings have taken him into the
park of an ancient castle. From that building there emerge thirteen maidens,

who pluck the apples from the silver tree and throw them to each other. Ivan,
who had concealed himself in order that he might watch the playing of the maidens,
now reveals himself and is given one of the golden apples. The maidens withdraw
into the castle, which is the home of the monstrous Kastchei, who turns into stone
all the adventurous travelers who may enter his domain. Ivan determines to
penetrate into Kastchei’s abode. Upon opening the gate he is confronted by a
horde of monsters and eventually by the fearsome Kastchei himself. He attempts
to petrify Ivan, but the latter is given protection by the glowing feather which
has been given him by the Fire-Bird. Soon the Fire-Bird comes to Ivan’s
assistance and wards off the magic that, wielded by the enchanter, would have
brought Ivan to the fate of the previous trespassers upon the monster’s domain.
The Bird causes the frightful company of Kastchei’s retinue to break into a
frenzied dance. ‘The casket in which the fate of the wizard is contained is revealed.
In it is an egg which Ivan dashes to the ground. The death which it contains
unites itself with its owner, and Kastchei expires. His castle vanishes; its
beautous prisoners are freed and Ivan receives in marriage one of them, the
beautiful Tsarevna.”’

The Committee on Music and Drama

announces:

The fourth concert of the Berkeley Musical Association, with
Mr. Georces ENEsco, violinist, and Mr. GrorGE STEWART
McMawnus, pianist, in Harmon Gymnasium, Tuesday evening,
March 17.

The English Club production of Aristophanes’. “The Frogs”,
in the Greek Theatre, Saturday evening, April 4.

The fourth concert of the California Music League, MopEsTE
ALLOoo, conductor, in Harmon Gymnasium, Tuesday evening,

April 14.

Two recitals by THomas WILFRED with his invention,
the Ciavitux (Color Organ), in the Greek Theatre, on
the evenings of Wednesday, April 15, and Saturday,
April 18, 1925.

——

: ‘SAN "FRANCISCO
Ss Cen
7 ORCHESTRA ©

| Re ae JRCTEEST RG by |¢
She The Musical zs (7%

| le Association of c
oan Francisco |

1924 1925
Fourteenth Season

ALFRED HERTZ CONDUCTOR

EE OES a

Alfred Hertz] |

RECOMMENDS
CONN INSTRUMENTS

The San Francisco
Symphony
uses

CONN
INSTRUMENTS

No Higher Endorsement

can be given to a musical |
“I take great pleasure in .

instrument, hence if the recommending Conn instru-

experience of great artists ments for symphony
: orchestra work.”
ip means anything to you, your
i : ALFRED Hertz.
Expert choice will be CONN.
Repairing

OINN

WORLD'S |
LARGEST MANUFACTURERS |
OF HIGH GRADE BAND ‘AND
ORCHESTRA INSTRUMENTS

Conn San Francisco Co. Conn Oakland Co.
47 Kearny St. 531-16th St.

Musical Association of San Francisco

Founded December 20, 1909

OFFICERS

JOHN D. McKezz, President
EK. R. Dimonp, Treasurer

J. B. Levison, Vice-President

Incorporated February 3, 1910

A. W. WweEnHay, Secretary-Manager

BOARD OF GOVERNORS

J. K. Armsby A. B. C. Dohrmann
E. D. Beylard John S. Drum

Miss Lena Blanding Milton H. Esberg
Miss Louise A. Boyd Herbert Fleishhacker
George T. Cameron J. D. Grant

Selah Chamberlain E. S. Heller

C. H. Crocker W. E. Creed

Mrs. Templeton Crocker J. B. Levison

‘Wm. H. Crocker
E. R. Dimond

Walter S. Martin
John A. McGregor

EXECUTIVE COMMITTEE
John D. McKee, Chairman

E. R. Dimond
E. S. Heller

E. D. Beylard
Wm. H. Crocker

MUSIC COMMITTEE
J. B. Levison, Chairman

E. S. Heller E. D. Beylard

WOMEN’S AUXILIARY

John D. McKee
Seward B. McNear
L. F. Monteagle
Robert C, Newell
J. C. Raas

F. R. Sherman
Wm. T. Sesnon
M. C. Sloss
William Sproule
Sigmund Stern

J. B. Levison
William Sproule

Robert C. Newell

Mrs. M. S. Koshland, Chairman
Miss Lena Blanding, Vice-Chairman
Mrs. M. C. Porter, Vice-Chairman

EXECUTIVE OFFICES

457 Phelan Building, San Francisco
A. W. WIDENHAM, Secretary-Manager

Hours 10 to 12 A. M., 2 to 4 P. M.

Telephone Garfield 2819

ut
Me one a
Age ae

=
aS.

. . ‘ “25
AYE vel} N AN
. . ‘ ’ \
see!)
- q “As ys f

SHlason & Hamlin Pianos

Those to whom music is a gift or
an art ora great privilege hold one
piano at the pinnacle—the Mason
& Hamlin. For they know it to be
wrought byskilled artisans—men
who build with infinite pains that
the final product will be worthy
the hands of an artist. So does it
deserve a place in your home.

Wiley B.Allen ©.

135 KEARNY STREET, SAN FRANCISCO
1323 WASHINGTON STREET, OAKLAND

350

Che San Francisen Sumphony Orchestra
ALFRED HERTZ, Conductor |
1924—Season—1925
TENTH PAIR OF SYMPHONY CONCERTS
527th and 528th Concerts

CURRAN THEATRE

Friday Afternoon, March 6, 3:00 o’clock
Sunday Afternoon, March 8, 2:45 o’clock

Soloist: LEWIS RICHARDS, Harpsichordist

Member of the Societe des Instruments Anciens de Paris

(Pleyel Harpsichord )

PROGRAMME

I. Antique Dances for the Lute..........................-....... Respighi
| Arranged for Modern Orchestra
(First time in San Francisco)
Balletto detto il Conte
Gagliarda
Villanella

Passamezzo

Z,¢ Chaconne .io se ee ee ee Bach-Steinberg
(First time in San Francisco)

3. Concerto for Harpsichord and Orchestra, in D major

aoe RUe Se Se Fe el 2 ah tags eee: 1 Mae eee eben Haydn
Vivace
Larghetto
Rondo all’Ongharese
LEWIS RICHARDS
Intermission
4. Suite, ““L’Oiseau de Feu’ (The Fire Bird) .......... Stravinsky

Introduction—Variations of the Fire Bird
Rondo of the Princesses

Dance Infernal of the King Kastchei
Berceuse and Finale

351

109 Stockton Street

BEETHOVEN’S NINTH SYMPHONY
Recorded in Europe by the

Symphony Orchestra of Berlin
Under the direction of Bruno Seidler-Winkler

and

Includes the Chorus of the Berlin National Opera

1st Movement—Part 1, Allegro, ma non troppo.

Ist Movement—Part 2, Allegro, ma non troppo, New Symphony Orchestra—
Berlin, Conducted by Bruno Seidler-Winkler (Recorded in Europe).

Ist Movement—Part 3, Allegro, ma non troppo.

2nd Movement—Part 1, Molto vivace, New Symphony Orchestra, Berlin—Con-
ducted by Bruno Seidler-Winkler (Recorded in Europe).

2nd Movement—Part 2, Molto vivace.

3rd Movement—Part 1, Adagio molto e cantabile, New Symphony Orchestra—
Berlin, Conducted by Bruno Seidler-Winkler (Recorded in Europe).

3rd Movement—Part 2.

3rd Movement—Part 3, Adagio molto e cantabile, New Symphony Orchestra—
Berlin, Conducted by Bruno Seidler-Winkler (Recorded in Europe).

4th Movement—Part 1, Presto.

4th Movement—Part 2, Presto allegro assai, New Symphony Orchestra—Berlin,
Conducted by Bruno Seidler-Winkler (Recorded in Europe).

4th Movement—Part 4, Presto allegro assai—New Symphony Orchestra—Berlin,
Conducted by Bruno Seidler-Winkler. Eugen Transky, Tenor, and chorus
Berlin National Opera (Recorded in Europe)..

4th Movement—Part 5, continuation—Presto allegro assai movement.

4th Movement—Part 6, Presto allegro non tanto, New Symphony Orchestra—
Berlin, Conducted by Bruno Seidler- Winkler, Vocal by Ethel Hansa, Soprano—
Eleanor Scholsshauer, Alto—Eugen Transky, Tenor—Prof. Albert Fischer,
Bass—chorus Berlin National Opera (Recorded in Europe).

Price Complete, in Handsomely Bound Album, $10.00

Send for our catalogue of ‘‘Musical Masterworks’’—free.

QUARG MUSIC CO.

206 Powell Street Open Evenings

352

———

Antique Dances for the Lute’ - ~ -— : Respighi
(Arranged for Modern Orchestra)

These pieces, originally associated with the lute, were formed
into an orchestral suite by Respighi. His set comprises four move-
ments by sixteenth century masters: |

I. ““Balleto detto Il Conte Orlando,” ‘by Simone Molinaro.
Molinaro was one of the most celebrated lutenists of his day. In 1600
he was director of the music in Genoa cathedral. The dance is in
D major, 4-4 time, Allegretto moderato.

Ii. Gagliarda, by Vincenzo Galilei. Galilei, the father of the
great astronomer Galileo, was born in 1533 at Florence. He was not
only a notable performer on the lute, but a composer of considerable
gifts, who was one of the principal representatives of that Florentine
school which, endeavoring to revive Greek tragedy, brought into
being the opera. The galliard was a lively dance, frequently associ-
ated with the pavan, usually written in triple time—generally 3-2—
but occasionally in 4-4. This example is in D major, 3-4 time,
Allegro marcato.

Ill. Villanella, by Ignoto. The composer of this dance lived
at the end of the sixteenth century. The villanella was a fifteenth

ESTABLISHED 1852

SQUAT?

Shreve and Company
Jewelers and Silversmiths

Post and Grant Avenue
San Francisco

353

century dance-chorus of light character, resembling the canzone and
balletti of its day. This example is in B minor, Andante cantabile, 2-4
time.

IV. Passamezzo and Mascherado, by Ignoto. The passamezzo
was related to the pavan. Tabourot, in his Orchesographie (1588),
said that when the pavan was played less solemnly and more quickly
it was called a passamezzo. The movement is in D major, 2-4 time,
Allegro vivo.

Chaconne - - - - - - - Bach-Steinberg

This Bach Chaconne, as arranged for orchestra by Steinberg, was |
given its first performance in America, December 19, 1924, by the |
Cincinnati Symphony Orchestra. According to Grove, the Chaconne :
was a dance usually in 3-4 time, of a moderately slow movement,
which belonged to the class of variations, being, in fact, in the large
majority of cases, actually a series of variations on a “ground bass,”’
mostly eight bars in length. It is supposed to have been of Spanish

origin. :

The programme of the Cincinnati performance contains the inter-
esting information by Mr. Fritz Reiner, conductor of the Cincinnati

Siacionours Tuesday, Wednesday, Saturday Phone Douglas 1678

Afternoons—2-5
3 KAJETAN ATTL

Solo Harpist
San Francisco Symphony Orchestra

Using Lyon & Healy Harps, The World’s Standard
FOR ENGAGEMENTS
AS SOLO ARTIST, ACCOMPANIST, OR
PLAYER IN ENSEMBLE MUSIC,

ADDRESS |
KAJETAN ATTL, BOHEMIAN CLUB /
SAN FRANCISCO, CALIFORNIA
RES. PHONE FRANKLIN 7847 |
|

Orley See

Violinist and Teacher |
Concert and Recital |

} aed fpaie-
48 Wildwood Avenue, Piedmont
|

Phone Piedmont 8140-J (Tuesday) Douglas 1678

354

7. ——EE———

THE

Haldwin

is the

Official Piano

UUM AE

SCHOOL

Fairmont Hotel,
San Francisco, Cal.

ARTS

October 10, 1924. OF CALIFORNIA
Lazar Ss. SAMOILOFF, oirector
Baldwin Piano Company, Enpowep sy ALICE CAMPBELL MACFARLANE

ALICE SECKELS, Manager

310 Sutter Street,
San Francisco, Cal.

Dear Sirs: CA Faculty of Celebrated

Let me express my appreciation

of your kindness in co-operating Artist Teachers
with the Master School of Musical
Arts in California. Josef Lhevinne........................ Piano
Cesar Thomson ...................... Violin
I have been familiar with the Paliv kGnlniond a a eile tes ‘Cello

Baldwin Piano for many years. |
have found it unrivalled in tone
and action—in fact, the ideal Weeiakicnioceon
Piano for both concert and stu-
dio. The school has done well to

Sigismund Stojowski -.................
peer nas alsuten = Fe Piano—Composition

have made its arrangements with Andreas de Segurola....................
YOu tay et eh See, BR Te pe gage nn |e ree Operatic Department
Annie Louise David................ Harp

Very truly yours, Samuel Gardner...................... Violin
Fomilisl. 2Polales eset os Coach
(Signed) LAZAR S. SAMOILOFF. A. Kostelanetz............ Accompanist

Che Baldwin Pianos Company

310 Sutter Street

355

Symphony, that Steinberg is the son-in-law of Rimsky-Korsakow, the
famous composer, and that Stravinsky wrote ‘‘Fireworks’ as a wed-

ding gift to Sonia, the daughter of Rimsky-Korsakow. Mr. Steinberg

|
)
|
|
|
|

is the editor of ‘Principles of Orchestration’’ by his illustrious father-

in-law.

Steinberg’s scoring consists of two flutes, two oboes, English
horn, two clarinets, two bassoons, four horns, two trumpets, three

trombones, tuba, kettledrums and strings.

Concerto for Harpsichord and Orchestra, D major - - Haydn

The ‘development of the pianoforte of today has been the result
of many centuries of experimentation, and it was not until the close of

the eighteenth century that the piano as we now know it—that is, an

instrument in which the vibration of the strings is caused by the action
of hammers—displaced the older varieties. Of these by far the most
important were the clavichord, in which the strings were set in motion
by tangents, and the harpsichord, or, in French, clavecin, in which the
strings were not struck, but were plucked or twanged by sharp points
of crow-quill embedded in the “‘jacks,”’ the ‘‘jacks,”’ in turn, being set

in motion by the action of the keys. From about 1600, when Hans

Ruckers, the great clavecin maker of Antwerp, vastly developed the

possibilities of the instrument, until nearly the end of the eighteenth
century, the clavecin was the foremost instrument of its type, above all |

for service with the orchestra. The music composed for it cannot

adequately be rendered on the piano, for the reason that composers

GEORGE STEWART McMANUS
Pianist
(Returned from World Tour with Jean Gerardy)
Instruction in the Art of Piano Playing
and Accompanying

Residence Studio:
2444 Larkin Street, San Francisco
Phone Franklin 6257

Mondays: Ray Coyle Building, 526 Powell Street .
Phone Sutter 3634 |

Thursdays: 2510 College Avenue, Berkeley
i! Phone Berkeley 436-J

Available for engagements as Solo Pianist or Accompanist

necessarily took closely into account both the brilliant incisiveness of
its tone, akin to that of the harp, and its limitations in the matter of
emphasis and expressiveness. The Haydn concerto played today,
one of his earlier works, has been out of print for many years, but
Mr. Richards found original manuscripts of it in the Royal Conserva-
tory library at Brussels, and thus is able to present the work in the
form in which Haydn originally wrote it.

Suite, “L’Oiseau de Feu”? (The Fire Bird) — - - Stravinsky

Igor Stravinsky, one of the younger Russian composers, who has
aroused great admiration by his modern treatment of the orchestra,
secured the attention of the musical world with the performance of
his Scherzo Fantastique, which was written in 1906. It was inspired
by Maeterlinck’s “Life of a Bee.’’ The first performance, in 1908, was
heard by Serge de Diaghileff, the director of the famous Russian
ballet, who was so taken with it that he commissioned the young com-
poser to write a ballet for his organization. Stravinsky set to work on
it at once, the result being ““L’Oiseau de Feu.’’ It was finished in the
early spring of 1910 and produced in Paris three weeks later. It
created an immediate furor and placed Stravinsky in the forefront of
the new composers. Since then he has written a number of ballets,

Cable Address, ‘‘Mandib’”’ ; Telephone Sutter 2945

Established 1869

Manheim, Dibbern & Co.

315 MONTGOMERY STREET

SAN FRANCISCO

Snusuranuce Brokers Stork and Bond Brokers

ee heehee Brokers Members, The San Francisco Stock

Fire (in all its branches), Marine, and Bond Exchange

Burglary, Casualty, Automobile, ; : :
Life, Liability, Earthquake, Strike Quotations and information on all
and Riot, Etc. stocks and bonds always on hand.

357

ANNOUNCEMENT
ELEVENTH PAIR OF SYMPHONY CONCERTS
Curran Theatre

Friday, March 20, 3:00 P. M.
Sunday, March 22, 2:45 P. M.

Soloist: GEORGES ENESCO, Violinist |

PROGRAMME
tne Nehaust) Overture:d.fo oe Site 6 oe a Wagner

2. Concerto for Violin and Orchestra, in D major...... Brahms
Allegro non troppo |
Adagio
Allegro giocoso, ma non troppo vivace

GEORGES ENESCO

3.. symphony in E flat major, Opus. [3.............00. 2. Enesco
Assez vif et rythme
Lent
Vif et vigoureux
(Conducted by the composer)

ANNOUNCEMENT

NINTH POPULAR CONCERT
Curran Theatre
Sunday, March 15, 2:45 P. M.

PROGRAMME
oeOverture. ily Bohemia’. + vse 2 Henry Hadley
21 Ballet Suitess 22 Soe PS eee te: EEG ROS eS Joseph Clokey

(First performance anywhere)
3. (a)” Flomoresqie aie a ie Aas sig Dvorak-Stock
(b) Scherzo, ““The Bumble Bee,’’ from ,
tasarspaltan “seein a AAe. Rimsky-Korsakow
(First performance in San Francisco)
4. Solo Numbers for Violin |
LOUIS PERSINGER 7

——

(a) Chanson—Meditation _00.202...2222.ccec cece Cottenet
ib) oerenata Andalova 212. ve we an Monasterio
Koy) Piri of 127; 2) Hl oneal ia: peat eae tere Meant & Louis Persinger
a, ouite: trom.” Carmen oes)... eplialdits Muha ns len Roum l Mi wrth Bizet
6. Prize Song from ‘““The Mastersingers’’...................... Wagner
7. ‘Ballet: Music from “Prince Igor he Borodin

358 |

including “‘Petrouchka,” “‘Sacre de Printemps” and ‘‘The Nightin-
gale.’ The music of “L’Oiseau de Feu,” apart from the stage per-
formance, aroused so much favorable comment that the composer

arranged it in the form of an orchestral suite. The following is the
story of the ballet, as related by Felix Borowski:

“Ivan Tsarevich, wandering in the night, observes in the gloom
the Fire Bird, plucking golden apples from a silver tree. He attempts
to seize the Fire Bird and, after a chase, succeeds in capturing her.
The bird entreats Ivan to release her, and, after receiving from her a
glowing feather, he permits the Fire Bird to escape. As the dawn
comes, Ivan perceives that his wanderings have taken him into the
park of an ancient castle. From that building there emerge thirteen
maidens, who pluck the apples from the silver tree and throw them
to each other. Ivan, who had concealed himself in order that he
might watch the playing of the maidens, now reveals himself and is
given one of the golden apples. The maidens withdraw into the
castle, which is the home of the monstrous Kastchei, who turns into
stone all the adventurous travelers who may enter his domain. Ivan
determines to penetrate into Kastchei’s abode. Upon opening the
gate he is confronted by a horde of monsters and eventually by the
fearsome Kastchei himself. He attempts to petrify Ivan, but the latter

ALFRED METZGER—

-Reprern Mason—

He played admirably.
There was no _ self-con-
scious virtuosity; it was
the pure bel canto of the
flute, every note round
and perfect as a pearl.—
San Francisco Examiner.

M. Anthony Linden

Address all communications to

457 Phelan Building, San Francisco

359

is given protection by the glowing feather which has been given him
by the Fire Bird. Soon the Fire Bird comes to Ivan’s assistance and
wards off the magic that, wielded by the enchanter, would have
brought Ivan to the fate of previous trespassers upon the monster's
domain. The Bird causes the frightful company of Kastchei’s retinue
to break into a frenzied dance. The casket in which: the fate of the

wizard is contained is revealed. In it is an egg, which Ivan dashes to
the ground. The death which it contains unites itself with its owner,
and Kastchei expires. His castle vanishes, its beauteous prisoners are
freed and Ivan receives in marriage one of them, the beautiful
Tsarevna.”’

THE
MARGARET MARY MORGAN (CO.

Gngraving- Printers - Publishing

Commercial Printing

619 California Street Douglas 4633

THE SAN FRANCISCO BANK

(LATELY THE SAN FRANCISCO SAVINGS AND LOAN SOCIETY)

SAVINGS COMMERCIAL
INCORPORATED FEBRUARY 10th, 1868.
One of the Oldest Banksin California,
the Assets of which have never been increased
by mergers or-consolidations with other Banks.

Member Associated Savings Banks of San Francisco
526 California Street, San Francisco, Cal.

DECEMBER 3lst, 1924

Wesetan 0 cts. be er BO EN pied eet ie FS $96,917,170.69
Capital, Reserve and Contingent Funds....... 4,000,000.00
Employees’ Pension Fund.................... 461,746.52
MISSION BIA NCH 38 2.7 0 POS Te US PAP REP Ean Mission and 21st Streets
PARK-PRESIDIO BRANCH 3 oco 8. feo. ate Clement St. and 7th Ave.
HAIGHT STREET BRANEGH,. .. i: occ tele. Haight and Belvedere Streets

WEST. PORTAL BRANCH, ........icc00se5 05 West Portal Ave. and Ulloa St.

Interest paid on Deposits at the rate of

FOUR AND ONE QUARTER (414) per cent per annum,
COMPUTED MONTHLY and COMPOUNDED QUARTERLY,
AND MAY BE WITHDRAWN QUARTERLY

360

|
.
:

Yeatman Griffith

Recognized Authority on Voice Production and the
Art of Singing _

California Vocal Master Classes

For Artists; Teachers; Students
San Francisco Los Angeles Portland
June July August

‘Basso Cantante and Vocal Pedagogue of
International Fame’”’

Teacher of World-Famed Artists and Teachers in
America and Europe

San Francisco Class—June 3rd to July 1st
ENROLLMENTS NOW

Full information on application

IDA G. SCOTT

Kohler and Chase Building
Phone Kearny 6417

361

Choose your piano carefully.
Choose it as you would
choose an intimate member
of your family circle. Choose
it for qualities that will en-
dure.

Let your choice, if possible,
be a STEINWAY. There is no
other piano of qualities more
enduring—of distinction so
immediately recognized.

Sherman, [lay & Co.

Kearny & Sutter Sts.
Oakland - Clay at 14th

The San Francisco Symphony

r chestra ALFRED HERTZ, (Conductor

FAW
ZA Lyis 4

wt.
Pee dow

* ee, aN
| eee .

Ay
an,
N

<2
rep
Wi AAS
ay i

fantord Memorial Church

Founders’ ‘Day, March 9, 1925

STANFORD UNIVERSITY

a == — er

PROGRAM

Prelude to ‘‘Parsifal’’ - - - - - Wagner

The following are Wagner's own words about the prelude,
contained in H. E. Krehbiel’s ‘‘Studies in the Wagnerian Drama’’;
“Strong and firm does Faith reveal itself, elevated and resolute
even in suffering. In answer to the renewed promise, the voice
of Faith sounds softly from eminent heights—as though borne on
the wings of the snow-white dove,—slowly descending, embrac-
ing with ever-increasing breadth and fulness the heart of man,
filling the world and the whole of nature with mightiest force,
then, as though stilled to rest, glancing upward again toward the
light of heaven. Then once more from the awe of solitude arises
the lament of loving compassion, the agony, the holy sweat of the
Mount of Olives, the divine suffering of Golgotha; the body
blanches, the blood streams forth and glows now with the heaven-
ly glow of blessing in the chalice, pouring forth on all that lives
and languishes the gracious gift of Redemption through Love.
For him we are prepared, for Amfortas, the sinful guardian of
the shrine, who, with fearful rue for sin gnawing at his heart, must
prostrate himself, before the chastisement of the vision of the
Grail. Shall there be redemption from the devouring torments
of the soul? Yet once again we hear the promise and—hope!”’

The prelude reflects the prevailing sacred sentiment of the
entire opera. It begins with a theme which suggests the Last
Supper and the mission of the Knights of the Holy Grail. In-
toned at first without harmony by strings and woodwinds, in its
vague tonality, it rises almost like incense from the mystic orches-
tra. The churchly atmosphere is presently strengthened when
trumpets and trombones proclaim the Grail theme. Next comes
the theme of Faith, again given out by the brass choir, militant
and assertive.

Suite - - - - - . - Gluck-Gevaert

Air |

Dance of the Slaves
Tambourin
Gavotte

Chaconne

This suite is the second of three suites, and consists of five
dances, the first, second, third and fifth numbers being from
Iphigenie in Aulis and the fourth from Armide. The first one is
named Air and is orchestrated for strings, one bassoon, and one
oboe. The second is Dance of the Slaves and is orchestrated for
flutes, oboes, clarinets, bassoons, horns and strings. The third
number is called Tambourin and is written for piccolo, bassoons,
horns, tambourine and strings. The fourth is a Gavotte and
calls for only part of the strings and two bassoons. The last
number, Chaconne, is the only number in which the trumpets
and tympani are added.

Intermission

Symphony in D minor - - - - Cesar Franck

Lento—Allegro non troppo
' Allegretto
Allegro non troppo

In Vincent d’Indy’s ‘‘Life of Franck,"’ attention is called, in
commenting on the violin and piano sonata, that the first of its
organic germs is used as the theme of the four movements of
the work, further stating, “From this moment cyclical form, the
basis of modern symphonic art, was created and consecrated.”

d‘Indy then adds: |

"The majestic, plastic, and perfectly beautiful symphony in
D minor is constructed on the same method. I purposely use the

- word method for this reason: After having long described Franck

as an empivicist and an improvisor—which is radically wrong—
his enemies (of whom, in spite of his incomparable goodness, he
made many) and his ignorant detractors suddenly changed their
views and called him a musical mathematician, who subordinated
inspiration and impulse to a conscientious manipulation of form.
This, we may observe in passing, is a common reproach brought
by the ignorant Philistine against the dreamer and the genius.
Yet where can we point to a composer in the second half of the
nineteenth century who could —and did — think as loftily as
Franck, or who could have found in his fervent and enthusiastic

heart such vast ideas as those which lie at the musical basis of
the Symphony, the Quartet and “The Beatitudes’ >

“It frequently happens in the history of art that a breath
passing through the creative spirits of the day incites them, with-
out any previous mutual understanding, to create works which
are identical in form, if not in significance. It is easy to find
examples of this kind of artistic telepathy between painters and
writers, but the most striking instances are furnished by the
musical art.

“Without going back upon the period we are now consider-
ing, the years between 1884 and 1889 are remarkable for a
curious return to pure symphonic form. Apart from the younger
composers, and one or two unimportant representatives of the old

school, three composers who had already made their mark—
Lalo, Saint-Saens, and Franck — produced true symphonies at
this time, but widely different as regards external aspect and
ideas.

‘“Lalo’s Symphony in G minor, which is on very classical lines,
is remarkable for the fascination of its theme, and still more for
charm and elegance of rhythm and harmony, distinctive qualities
of the imaginative composer of ‘Le Roi d’Ys.’

“The C minor Symphony of Saint-Saens, displaying un-
doubted talent, seems like a challenge to the traditional laws of
tonal structure; and, although the composer sustains the combat
with cleverness and eloquence, and in spite of the indisputable
interest of the work—founded, like many others by this com-
poser, upon a prose theme, the Dies Irae—yet the final impres-
sion is that of doubt and sadness.

‘’Franck’s Symphony, on the contrary, is a continual ascent
toward pure gladness and life-giving light, because its work-
manship is solid and its themes are manifestations of ideal beauty.
What is there more joyous, more sanely vital, than the principal
subject of the Finale, around which all the other themes in the
work cluster and crystallize? While in the higher registers all is
dominated by that motive which M. Ropartz has justly called ‘the
theme of faith.’ This symphony was really bound to come as
the crown of the artistic work latent during the six years to
which I have been alluding.” -

The audience is requested to refrain from applause.

: Mek CN TAe ee ae 0

F Le FRANCISCO
‘3 SYMPH ONY:
> ORCHESTRA

4; Marntamea by |@
1 The Musical 4 |&
Association of kk

an Francisco

NINTH POPULAR

1924 1925 :
Fourteenth Season ee
ALFRED HERTZ CONDUCTOR

Ee oC]

Alfred Hertz

“RECOMMENDS

CONN INSTRUMENTS

The San Francisco
Symphony

CONN
INSTRUMENTS

No Higher Endorsement
can be given to a musical
instrument, hence if the

experience of great artists

means anything to you, your

Expert choice will be CONN.
Repairing

ORCHESTRA

Conn San Francisco Co.
47 Kearny St.

“I take great pleasure in

recommending Conn instru-
ments for symphony
orchestra work.”

ALFRED HERTz.

ONN

WORLD'S
LARGEST MANUFACTURERS
OF HIGH GRADE BAND AND

INSTRUMENTS

Conn Oakland Co.
531-16th St.

cee mS = y

Musical Association of San Francisen

Founded December 20, 1909 Incorporated February 3, 1910
OFFICERS
JOHN D. McKzg, President
J. B. Lzvison, Vice-President EK. R. Diwonp, Treasurer

A. W. WipENHAM, Secretary-Manager

BOARD OF GOVERNORS

J. K. Armsby A. B. C. Dohrmann John D. McKee

E. D. Beylard John S. Drum Seward B. McNear
Miss Lena Blanding Milton H. Esberg L. F. Monteagle
Miss Louise A. Boyd Herbert Fleishhacker Robert C. Newell
George T. Cameron J. D. Grant J. C. Raas

Selah Chamberlain E. S. Heller F. R. Sherman

C. H. Crocker W.E. Creed Wm. T. Sesnon
Mrs. Templeton Crocker J. B. Levison M. C. Sloss

Wm. H. Crocker Walter S. Martin William Sproule
E. R. Dimond John A. McGregor Sigmund Stern

EXECUTIVE COMMITTEE |
John D. McKee, Chairman

E. D. Beylard E. R. Dimond J. B. Levison
Wm. H. Crocker E. S. Heller William Sproule

MUSIC COMMITTEE
J. B. Levison, Chairman

E. S. Heller E. D. Beylard Robert C. Newell

WOMEN’S AUXILIARY
Mrs. M. S. Koshland, Chairman
Miss Lena Blanding, Vice-Chairman
Mrs. M. C. Porter, Vice-Chairman

EXECUTIVE OFFICES

457 Phelan Building, San Francisco
A. W. WIDENHAM, Secretary-Manager

Hours 10 to 12 A. M., 2 to 4 P. M. Telephone Garfield 2819

369

= —

Oh apg Of eye
“7 s “ a oi
dete cn ieee aX x Y /
‘3 . \V//1\
He » . b j *
it RN
SS it ' Wer
' Ke Nl \
NWI EY,
\\ y OAt =\ $Y A
i) + ine ¢ 4
pth < yD 7>, >
j , TAN r x
. 4 ‘ .
1 ’
‘ ; i“

HE choice of the

Mason X& Hamlin Piano
for the concert platform
proclaims its sonority—
its selection by famous art-
ists declares the quality of
its tone—its presence in

/ homes of wealth and taste
i bears tribute to its unpar-
i alleled beauty!

Wiley BAllen ©:

135 KEARNY STREET, SAN FRANCISCO
i 1323 WASHINGTON STREET, OAKLAND

370

= = SS = &

, —

Che San Franciseo Symphony Orchestra
ALFRED HERTZ, Conductor |
1924—Season—1925

NINTH POPULAR CONCERT
530th Concert

CURRAN THEATRE
Sunday Afternoon, March 15, 2:45 o’clock

Soloist: LOUIS PERSINGER, Violinist

PROGRAMME

~ Overture, “ini Bohemia. eat) ae Oe Se Henry Hadley
2: .Ballet Site ci ta gs le eens ak SPs Joseph Clokey

(First performance anywhere)
Pan

The Dripping Spring
Twilight Moth
The Moon Flower
The Bat
Sela) <Pinmionesqite: (52 u keds eee scp k Dvorak-Stock
(b) Scherzo, ‘““The Bumble Bee,’’ from
CO SAT Saltani qe. as eee Rimsky-Korsakow
(First performance in San Francisco)

4. Solo Numbers for Violin
LOUIS PERSINGER
Gyula Ormay at the Piano

—,

(a); Ghanson-Meditation = .2)scehe coe aso a Cottenet

(b): Serenata Andaluza’... 20 oe ee Monasterio

CG) -Bagatelléser sta es o on ite a ee ae Louis Persinger
Intermission

J eepuite frome ait Orig ue hee wees eae ek ages Bizet

6. Prize Song from “The Mastersingers’’..................... Wagner

/; Ballet: Music from “Prince lgor. 2 Borodin

(The Piano is a Steinway)

371

109 Stockton Street

BEETHOVEN’S NINTH SYMPHONY |
Recorded in Europe by the

Symphony Orchestra of Berlin
Under the direction of Bruno Seidler-Winkler

and

Includes the Chorus of the Berlin National Opera

1st Movement—Part 1, Allegro, ma non troppo.

1st Movement—Part 2, Allegro, ma non troppo, New Symphony Orchestra—
Berlin, Conducted by Bruno Seidler-Winkler (Recorded in Europe).

1st Movement—Part 3, Allegro, ma non troppo.

2nd Movement—Part 1, Molto vivace, New Symphony Orchestra, Berlin—Con-
ducted by Bruno Seidler- Winkler (Recorded in Europe).

2nd Movement—Part 2, Molto vivace.

3rd Movement—Part 1, Adagio molto e cantabile, New Symphony Orchestra—
Berlin, Conducted by Bruno Seidler-Winkler (Recorded in Europe).

3rd Movement—Part 2.

3rd Movement—Part 3, Adagio molto e cantabile, New Symphony Orchestra—
Berlin, Conducted by Bruno Seidler- Winkler (Recorded in Europe).

4th Movement—Part 1, Presto.

4th Movement—Part 2, Presto allegro assai, New Symphony Orchestra—Berlin,
Conducted by Bruno Seidler-Winkler (Recorded in Europe).

4th Movement—Part 4, Presto allegro assai—New Symphony Orchestra—Berlin,
Conducted by Bruno Seidler-Winkler. Eugen Transky, Tenor, and chorus
Berlin National Opera (Recorded in Europe).

4th Movement—Part 5, continuation—Presto allegro assai movement.

Price Complete, in Handsomely Bound Album, $10.00

Send for our catalogue of ‘‘Musical Masterworks'’—free.

QUARG MUSIC CO.

206 Powell Street Open Evenings

Overture, “In Bohemia” - ~ “ a pee ta Henry Hadley

The overture, “In Bohemia,’’ by Henry Hadley, former conductor
of the San Francisco Symphony Orchestra, was written at the request
of the Bohemian Club in 1900 and was to have been produced that —
summer in the Bohemian Grove under the composer's baton at the
annual High Jinks of the Club. Mr. Hadley, having been called to
Furope at that time, the performance was postponed. In the meantime
the work was heard in nearly every large city throughout Germany.
Mr. Victor Herbert was the first to play it in America, in Pittsburgh.

The title, “‘In Bohemia,”’ in this instance has no national meaning,
but refers only to that Elysium where true artists dwell. The score is

dedicated to both Victor Herbert and the Bohemian Club.

Ballet Suite - ~ - - 5 - Joseph W. Clokey
Joseph W. Clokey was born in New Albany, Indiana, in 1890,

and commenced the study of the piano at the age of six. He attended
Miami University at Oxford, Ohio, and in 1912 received the degree of
Bachelor of Arts, majoring in mathematics. Deciding to forsake
mathematics for music, a year later he entered the Cincinnati Conserv-
atory, studying composition with Edgar Stillman Kelley and organ

ESTABLISHED 1852

PU ALS

CONSISTENT
PRICES

Shreve and Company

Jewelers and Silversmiths

Post and Grant Avenue
San Francisco

373

with K. O. Staps. Since 1915 he has been head of the Department of
Musical Theory at Miami University. At present, Mr. Clokey is on a
leave of absence in California in order to devote his entire time to
composition and is now residing at La Mesa.

The largest portion of Mr. Clokey’s compositions are for voice or
organ, and include six cantatas, four operas, two suites, a sonata and
numerous pieces in smaller forms. The Ballet Suite played today is
his only work thus far for orchestra alone, although it was originally
conceived as part of a larger work for orchestra, chorus, ballet, soli
and a reader, somewhat in the nature of a masque. As Mr. Clokey
has explained, ‘‘It is not a suite in the strictest sense of the word, but
merely five pieces, having little in common except perhaps that they
are all intended for dancing and might be appropriate on a summer
night.”’

Humoresque - - - - - - - Dvorak-Stock

This popular composition was originally written for the piano by
Anton Dvorak, the Bohemian composer, and has been arranged for
orchestra by Frederick Stock, conductor of the Chicago Symphony
Orchestra. Otto Meyer, the Minneapolis violinist, tells this story:

“When I was in Prague I' said to Dvorak, ‘Why did you call your

Studio’ Haars: Tuesday, Wednesday, Saturday Phone Douglas 1678

Be ara 5
— KAJETAN ATTL

Solo Harpist
San Francisco Symphony Orchestra

Using Lyon & Healy Harps, The World’s Standard
FOR ENGAGEMENTS
AS SOLO ARTIST, ACCOMPANIST, OR
PLAYER IN ENSEMBLE MUSIC,
ADDRESS

KAJETAN ATTL, BOHEMIAN CLUB
SAN FRANCISCO, CALIFORNIA
RES. PHONE FRANKLIN 7847

Orley See

Violinist and Teacher
Concert and Recital

~atbd] Spe
48 Wildwood Avenue, Piedmont

Phone Piedmont 8140-J (Tuesday) Douglas 1678

374

;
3

= 2 eS SS = =

LAZAR S. SAMOILOFF JOSEF LHEVINNE

Voice Piano

Opens his S. F. Classes Opens his S. F. Classes
April 27th May Lith

SEVEN WEEKS FIVE WEEKS

Enroll Now!

: moter SCHOOL
iL ARTS

OF CALIFORNIA
Lazar s. SAMOILOFF, oirecror

as . . 4 ee nae Expowep py ALICE CAMPBELL MACFARLANE — ee ee He

| Cesar Thomson Re ane Bee W. J. Henderson

Violin Repertoire and Interpretive Lecturer
Classes

i ae: (Active and Auditor)
| ee ye Private Lessons-Free Scholarship

For Information Apply
ALICE SECKELS, Manager

he ay Room 139 Fairmont Hotel =
; ] ulia Claussen Douglas 8800 Samuel Gardner
V ove All classes will be held at Fairmont Hotel Violin

Andres De Segurola Felix Salmond Sigismund Stojowski Emil I. Polak
Operatic Department Cello— Piano—Composition Coach
Chamber Music

375

famous little work a Humoresque? No one who plays it humorously,
as its title demands, plays it as he feels it." The old composer replied,

with a twinkle in his eye, ‘My boy, that is where the joke comes in.’ ”’

Scherzo, ““The Bumble Bee,”’ from “Tsar Saltan’’ - Rimsky-Korsakow

This little number is taken from ““The Fairy Tale of Tsar Saltan,
His Son the Renowned and Mighty Paladin, the Prince Guildon Saltan-
ovich, and the Beautiful Tsarevna Lebed (Swan),’’ an opera in four
acts, seven scenes, and prologue, composed in 1899-1900 for a libretto
based on a fairy tale by Pushkin. The lengthy-titled opera was first
produced by the Private Opera Company in Moscow in December,
1900, although an orchestral suite was performed at Leningrad a short
time before the production of the opera, which is conspicuous for the

large number of Russian folk songs utilized.

The Scherzo played today, which is not in the suite, is in the first
scene of the second act of the opera. In the operatic Scherzo there are
voice parts. The stage direction is: “‘Out of the sea comes a bumble-

bee and flies about the swan.”’

Chanson-Meditation - - - - - - Cottenet
Serenata Andaluza - - - - “ = Monasterio
Bagatelle ~ ” ; - - - -— Louis Persinger

Cottenet’s Chanson-Meditation was first introduced to American
audiences by Fritz Kreisler (to whom it is dedicated) some years ago,

and at that time Cottenet was living in New York, one of the board

GEORGE STEWART McMANUS
Pianist
(Returned from World Tour with Jean Gerardy)
Instruction in the Art of Piano Playing
and Accompanying

Residence Studio:
2444 Larkin Street, San Francisco
Phone Franklin 6257

Mondays: Ray Coyle Building, 526 Powell Street
Phone Sutter 3634

Thursdays: 2510 College Avenue, Berkeley
Phone Berkeley 436-J

Available for engagements as Solo Pianist or Accompanist

376

of directors of the Metropolitan Opera House. Aside from the piece
played today, very little has become known of Cottenet’s work as a

composer.

Monasterio, born in 1836, died in 1903, was a very distinguished
Spanish violinist and at one time a pupil of De Beriot. He was known
in Europe as a soloist and especially as a quartet leader, his quartet
concerts in Madrid having been particularly popular. At the time of
his death he was director of the Royal Conservatory in Madrid. A
number of his pieces for violin are still included in the repertoire of
well-known artists.

Louis Persinger’s “Bagatelle’’ is one of several short pieces of
lighter character which he has written in San Francisco. A number
of his transcriptions and arrangements have been published in New
York, his settings of Reichardt’s “In the Time of Roses’ and Dvorak’s
‘Songs My Mother Taught Me’”’ being especially popular with violin-
ists in general.

Suite from “‘Carmen’”’ - : : : = : - Bizet

Georges Bizet, whose “‘Carmen’”’ is a landmark in the history of
opera, was perhaps the most distinctly original of modern French
writers. This gifted composer was unfortunately stricken down prac-

Cable Address, ‘‘Mandib’’ Telephone Sutter 2945

Established 1869

Manheim, Dibbern & Co.

315 MONTGOMERY STREET

SAN FRANCISCO

Susurance Brokers Stock and Bond Brokers

Members, I Brok
a Cprnigcnanee aes Members, The San Francisco Stock
Fire (in all its branches), Marine, and Bond Exchange
Burglary, Casualty, Automobile, ; :
Life, Liability, Earthquake, Strike Quotations and information on all

and Riot, Ete. stocks and bonds always on hand.

——_

ANNOUNCEMENT

ELEVENTH PAIR OF SYMPHONY CONCERTS
Curran Theatre

Friday, March 20, 3:00 P. M.
Sunday, March 22, 2:45 P. M.

Soloist: GEORGES ENESCO, Violinist

PROGRAMME
PasAGF aust.Overfaurese +0 A tactie ye ECL ide Oe Wagner
2. Concerto for Violin and Orchestra, in D major...... Brahms
Allegro non troppo i

Adagio
Allegro giocoso, ma non troppo vivace

GEORGES ENESCO

3. Symphony in E flat major, Opus 13........................ Enesco
Assez vif et rythme
Lent
Vif et vigoureux
(Conducted Bee the composer)

ANNOUNCEMENT
LAST POPULAR CONCERT

Curran Theatre
Sunday, March 29, 2:45 P. M.

TSCHAIKOWSKY PROGRAM

1. Symphony No. 6, ““Pathetique’’
Adagio—Allegro—Andante—Allegro vivo
Allegro con grazia
Allegro molto vivace
Adagio lamentoso

2. The ‘‘Nutcracker’’ Suite
Overture
(March
7 (Dance of the “‘Fee Dragee’’
II. (Russian Dance
(Arabian Dance
(Chinese Dance
(Dance of the ‘“‘Mirlitons’’
Il. Dance of the Flowers

3. March Slav

aT STS ESR REE DSSTETSHTMNTN aospupEmITEsommecnmmneme nnn eran
378

|
.
|
|

ee ee

tically on the eve of what would, without doubt, have been an excep-
tionally brilliant career. Bizet’s chief characteristic was what is known
as ‘‘local color,’’ of which the ““Carmen’”’ Suite, as well as the opera,
has its full share. The music of “Carmen’’ is suffused in the warm
tones of the south, and these tones are not confined to special numbers.
The opera was first produced at the Opera Comique, in Paris, March
3, 1875, just about fifty years ago.

Prize Song from ‘‘The Mastersingers”’ “ = pie = Wagner

The “Prize Song’’ is the well-known tenor solo from Wagner's
only comic opera. It is sung by Walther in the last act, and wins him
the first prize (the hand of Eva, the beautiful daughter of Pogner, the
goldsmith) in the song contest on the banks of the river Pegnitz.

Ballet Music from ‘Prince Igor’’ . - - - Borodin

Borodin. was born in 1834 and began to compose his opera,
‘Prince Igor,’’ in 1870, but his progress was so slow that when he died
in 1887, only the prologue and the first two acts had been finished,
and his friends Rimsky-Korsakow and Glazounow completed the
work. The plot of “Prince Igor’ is based upon a national poem, “The
Epic of the Army. of Prince Igor,’ a production of remote origin,

ALFRED METZGER— 3

In his conducting Mr. Js oe | - Reprern Mason—
Linden impresses by dis- |f " are ;
pensing with the score, |e : He, played Vadojauly.
making a fine appearance,
revealing magnetism and
distinct personality and
obtaining uniform and in-
stant response from his
musicians.—Pacific Coast
Musical Review.

There was no self-con-
scious virtuosity; it was
the pure bel canto of the
flute, every note round
and perfect as a pearl.—
San Francisco Examiner.

M. Anthony Linden

Orchesiral Conductor and Flute Virtuoso
Soloist—T eacher—Lecturer
Solo Flutist, San Francisco Symphony Orchestra
Formerly Solo Flutist, Minneapolis Symphony Orchestra
Director Linden School of Flute Playing

Address all communications to

457 Phelan Building, San Francisco

379

which narrates the expedition made in the twelfth century by Russian

princes against the nomadic Polovtsi, who had invaded the Russian
principalities.

it The ballet music played today is part of the opera completed by

At Borodin himself, and is divided into two parts. These superbly bar-
baric dances and songs are intended to distract and delight the Slavic
Prince Igor, who, although a prisoner of the Khan Kontshak of the
Polovtsi, is treated with all respect in the hope that he will consent not
only to a lasting peace with the Polovtsi, but also to the union of Igor’s
son Vladimir with the Khan’s beautiful daughter.

THE
MARGARET MARY MORGAN (CO.

Gngraving- Printers - Publishing

Commercial Printing

619 California Street Douglas 4633

THE SAN FRANCISCO BANK

(LATELY THE SAN FRANCISCO SAVINGS AND LOAN SOCIETY)

SAVINGS COMMERCIAL
INCORPORATED FEBRUARY 10th, 1868.

One of the Oldest Banksin California,
the Assets of which have never been increased
ahi, | by mergers or-consolidation s with other Banks.

Member Associated Savings Banks of San Francisco
526 California Street, San Francisco, Cal.

| DECEMBER 3ist, 1924

| BESOCE ee ee ite 2a. 3 ten, has $96,917,170.69
BH! Capital, Reserve and Contingent Funds 4,000,000.00
| | Employees’ Pension Fund 461,746.52
| BS tye Mission and 21st Streets

Clement St. and 7th Ave.

}

Haight and Belvedere Streets
West Porta] Ave. and Ulloa St.

| | Interest paid on Deposits at the rate of :
q FOUR AND ONE QUARTER (414) per cent per annum,
COMPUTED MONTHLY and COMPOUNDED QUARTERLY,
AND MAY BE WITHDRAWN QUARTERLY
:

380

= se Ss = y

Yeatman Griffith

Recognized Authority on Voice Production and the
Art of Singing

California Vocal Master Classes

For Artists; Teachers; Students
San Francisco Los Angeles Portland
June July August

‘Basso Cantante and Vocal Pedagogue of
International Fame’

Teacher of World-Famed Artists and Teachers in
America and Europe

San Francisco Class—June 3rd to July Ist
ENROLLMENTS NOW

Full information on application

IDA G. SCOTT

Kohler and Chase Building
Phone Kearny 6417

381

Choose your piano carefully.
Choose it as you would
choose an intimate member
of your family circle. Choose
it for qualities that will en-
dure.

Let your choice, if possible,
be a Sreinway. There is no
other piano of qualities more
enduring —of distinction so
immediately recognized.

Sherman, [lay & Co.

Kearny & Sutter Sts.
Oakland - Clay at 14th

= 2 = SS 2 =

FINAL SYMPHONY
CONCERT

Thursday Evening,
March 26

Soloists:
MAX GEGNA
Cellist
ANTHONY LINDEN
Flutist

SAN FRANCISCO

Symphony Orchestra

ALFRED HERTZ, Conductor

AUDITORIUM OPERA HOUSE
OAKLAND, CAL.

Thursday Evening, March 19, 1925

Eight-thirty o’clock

Management ZANNETTE W. POTTER
Box Office at Sherman, Clay & Co., Oakland, Cal.
Telephone Lakeside 6700

PRO .o
Thursday Even Mar

Overture; ein. Bohemia ie ead ot Cee eek ee ea a Henry Hadley

Regarding his overture, “In Bohemia”, Mr. Hadley, former conductor of the
San Francisco Symphony Orchestra, has supplied the following information:

“In Bohemia” was written at the request of the Bohemian Club in 1900 and was
to have been produced that summer in the Bohemian Grove. Mr. Hadley, having
been called to Europe at that time, the performance was postponed. In the mean-
time the work was heard in nearly every large city throughout Germany. Mr.
Victor Herbert was the first to play the work in America, in Pittsburgh. The
title, “In Bohemia”, in this instance has no national meaning but refers only to
that Elysium where true artists dwell. The score is dedicated to both Victor
Herbert and the Bohemian Club of San Francisco.”

Symphonic Variations for Violoncello and Orchestra.................... Boellman

MAX GEGNA

The Symphonic Variations were played for the first time at a Lamoureux. con-
cert, Paris, November 27, 1892. Joseph Salmon, to whom the composition is
dedicated, was the solo performer. The work begins with an Introduction
(Moderato maestoso), the ’cello giving out a vigorous subject. The theme proper
is announced by the solo instrument, and an orchestral passage eight measures in
length leads to the variations, which are closely knit together, rather than separate
divisions.

Biitesstrom © Carmen no Ps cis Bi ee er eC ce iene eerie Se Bizet
Georges Bizet, whose “Carmen” is a landmark in the history of opera, was per-
haps the most distinctly original of modern French writers. This gifted composer
was unfortunately stricken down practically on the eve of what would, without
doubt, have been an exceptionally brilliant career. Bizet’s chief characteristic
was what is known as “local color”, of which the “Carmen” Suite, as well as the
opera, has its full share. The music of “Carmen” is suffused in the warm tones
of the south, and these tones are not confined to special numbers. The opera was
first produced at the Opera Comique, in Paris, March 3, 1875, just a little over
fifty years ago.

Prize Song: trom ines Mastersingers 7250302. ymca ih are eae Wagner
The “Prize Song” is the well-known tenor solo from Wagner’s only comic

opera. It is sung by Walther in the last act, and wins him the first prize (the

hand of Eva, the beautiful daughter of Pogner, the goldsmith) in the song contest

on the banks of the river Pegnitz.

Hear CHALIAPIN _ Risin

Baritone
in Oakland Auditorium Arena

Friday Night, March 27, 8:30 p. m.

When Chaliapin appeared in San Francisco
last he remained on the stage singing song
after song for a full two hours, each inter-
pretation bringing new thrills and added start-
ling amazement to his hearers, for there is no
interpretative artist that ever lived with the
vivid power of portrayal, the intensive per-
sonality nor the consummate art of the Rus-
sian. He will be assisted by Abraham Sopkin,
violinist and Max Rabinowitsch, pianist, two
of the most capable of the younger Russian
school of instrumentalists.

Tickets: .. $3:00, $2:00, $1.00, plus tax.
Now on sale at Sherman, Clay & Co., Oakland
Management Zannrette W. Potter

LOR AME
EveniMarch 19, 1925

9. Concertino for Flute and Orchestra, in D majov.........................- Chaminade

ANTHONY LINDEN

As the title implies, this composition is a condensed form of the concerto (a
work for solo instrument with orchestral accompaniment) differing from the
larger form in that it is in one continuous movement instead of the usual three
of the concerto. The work is typically French in the character of its graceful
themes and charming orchestration, the harp, especially having an attractive part.
The cadenzas and many of the flute passages have been revised and rewritten by

Mr. Linden.
Ole Gia) Sa MORESO UG <2 che ha Bec ag a ge ee fe et Dvorak-Stock
(b) Scherzo, “The Bumble Bee” from “Tsar Saltan’’....Rimsky-Korsakow

This popular composition was originally written for the piano by Anton Dvorak,
the Bohemian composer. Otto Meyer, the Minneapolis violinist, tells this: story:
“When I was in Prague J said to Dvorak, ‘Why did you call your famous little
work a Humoresque? No one who plays it humorously, as its title demands, plays
it as he feels it... The old composer replied, with a twinkle in his eye, ‘My boy,
that is where the joke comes in.’ ”

“The Fairy Tale of Tsar Saltan”, based on a fairy tale by Pushkin, was prod-
uced by the Private Opera Company in Moscow in December, 1900. An
orchestral suite was performed at Leningrad a short time before the production
of the opera, which is conspicuous for the large number of Russian folk songs
utilized. The Scherzo, which is not in the Suite, is in the first scene of the
second act. In the operatic Scherzo there are voice parts. The stage direction is:
“Out of the sea comes a bumble-bee and flies about the syan.”

(7 Liroaieion ere sa Gil ll. “iOMEN OTN... 065 8 ae sa ae ee aha Wagner

In the closing scene of Act II Lohengrin and Elsa have been united in
marriage, and the introduction to Act III is indicative of the joyous spirit of the
wedding festivities. The principal theme, a brilliant and stirring march, domi-
nates the whole, being interrupted by a short middle period. There is then a
return to the first subject fortissimo, in full orchestra.

PROGRAM FOR
FINAL SYMPHONY CONCERT OF OAKLAND’S SERIES

March 26
Le Syimphonynin (os MENON Sse: yo eee cok Ee ee Rea hy ae ie fae. ee Mozart
Allegro molto
Andante
Menuetto
Finale: Allegro assai
2. bevend for rchestta, . Aorahia vida. .nncs 3 c.c col eae eae aes Svendsen
pire NIEOL ACKER <> SUN been rn oan oui here aes anh eon eee ata T'schaikowsky
I. Overture
(March
(Dance of the Fee Dragee
IJ. (Russian Dance
(Arabian Dance
(Chinese Dance
(Dance of the Mirlitons
Wil. Dance of the Flowers
Wa wl INepro Rha psogy.c.2 0: cn hose ee ilies 5 socal a Caatines oe nc cee Rubin Goldmark

Mus C is A No BS OE S384), Tar

Her own Aldrich piano

Because it is such a good, honestly
made, durable piano, it will be her com-
panion for years and years to come,

Long before its strings lose melody,
she will have grown up to a home of
her own, and a Steinway!

Meanwhilethe Aldrichis only $445.
It is a responsive, sympathetic piano,
and dependable.

~ =

N
it
tea
3]

hi
.
\ ‘
x
Nip
tl \ i
i
\\
N
WY
A
bY
\
\

hi Oakland — Fourteenth and Clay Streets
Mh Berkeley-— Telegraph and Channing Way
Fruitvale — 3420 East Fourteenth Street
San Francisco—Kearney and Sutter Streets

San [OE The BASE
‘SAN FRANCISCO

| ORCHESTRA Dy

7 The Musical 4 I@
Assoctation of |k
oan Trae iBee

1924 | 1925
Fourteenth Season

ALFR = Hi oe CONDUCTOR

s q

Alfred Hertz

“RECOMMENDS

CONN INSTR

The San Francisco
Symphony

CONN
INSTRUMENTS

No Higher Endorsement
can be given to a musical
instrument, hence if the

experience of great artists

means anything to you, your

Expert choice will be CONN.
Repairing

ORCHESTRA

Conn San Francisco Co.
47 Kearny St.

OININ

WORLD'S
LARGEST MANUFACTURERS
OF HIGH GRADE BAND AND

UMENTS

“I take great pleasure in
recommending Conn instru-
ments for symphony
orchestra work.”

ALFRED Hertz.

INSTRUMENTS

Conn Oakland Co.
531-16th St.

errr rte

—_— = = _

Musical Association of San Franciseo

Founded Decembe: 20, 1909 Incorporated February 3, 1910
OFFICERS
JOHN D. McKausg, President
J. B. Levison, Vice-President EK. R. Dimonp, Treasurer

A. W. WipennHaM, Secretary-Manager

BOARD OF GOVERNORS

J. K. Armsby A. B. C. Dohrmann John D. McKee

E. D. Beylard John S. Drum Seward B. McNear
Miss Lena Blanding Milton H. Esberg L. F. Monteagle
Miss Louise A. Boyd Herbert Fleishhacker Robert C. Newell
George T. Cameron J. D. Grant J. C. Raas

Selah Chamberlain E. S. Heller F. R. Sherman

C. H. Crocker W.E. Creed Wm. T. Sesnon
Mrs. Templeton Crocker J. B. Levison M. C. Sloss

Wm. H. Crocker Walter S. Martin William Sproule
E. R. Dimond _ John A. McGregor Sigmund Stern

EXECUTIVE COMMITTEE
John D. McKee, Chairman

E. D. Beylard E. R. Dimond J. B. Levison
Wm. H. Crocker E. S. Heller William Sproule

® MUSIC COMMITTEE
J. B. Levison, Chairman

E. S. Heller E. D. Beylard Robert C. Newell

WOMEN’S AUXILIARY
' Mrs. M. S. Koshland, Chairman
Miss Lena Blanding, Vice-Chairman
Mrs. M. C. Porter, Vice-Chairman

EXECUTIVE OFFICES

457 Phelan Building, San Francisco
A. W. WIDENHAM, Secretary-Manager

Hours 10 to 12 A. M., 2 to 4 P. M. Telephone Garfield 2819

389

—

Ti Nc LeU
4 ee BTS SLA MAE =/\¥
j = oe ie © / INDIE)

— =
IW = AE
ap ; I

i *d
Bibl \ Oey e : ‘y S gl VAR
Wi ‘ v SOR . “ ))) ‘
it ye 4 A oa . r- 0 /
i fee af ES yA ow Ua PAG
} wy 4
- é My

aa a reas soe Ba fee :
EY ~~... & Pe, | 4 \I

From Artisan to Artist

fHlason & Hamlin Pianos

Those to whom music is a gift or
an art ora great privilege hold one
i piano at the pinnacle—the Mason
A & Hamlin. For they know it to be
a | wrought byskilled artisans—men
1 who build with infinite pains that
il the final product will be worthy
the hands of an artist. So does it
i | deserve a place in your home.

| Wile BAllen@

a 135 KEARNY STREET, SAN FRANCISCO
1323 WASHINGTON STREET, OAKLAND

= = eS = 2s

Che San Francisea Symphony Orchestra

ALFRED HERTZ, Conductor
1924—-Season—1925
ELEVENTH PAIR OF SYMPHONY CONCERTS
532d and 533d Concerts

CURRAN THEATRE

Friday Afternoon, March 20, 3:00 o’clock
Sunday Afternoon, March 22, 2:45 o’clock

Soloist: GEORGES ENESCO, Violinist

PROGRAMME
daisAc aust: Overtures: 22s. ines lek cya tal el as Wagner

2. Concerto for Violin and Orchestra, in D major......Brahms
Allegro non troppo
Adagio
Allegro giocoso, ma non troppo vivace

GEORGES ENESCO.

Intermission

3. Symphony in E flat major, Opus 13........................ Enesco
Assez vif et rythme
Lent
Vif et vigoureux
(Conducted by the composer)

(Mr. Enesco uses the Steinway Piano and makes Duo-Art recordings)

S_=’~”_=_—="”"_=rae_o33V“VOV"——————"—X—s———___"""-———
NOTICE OF MEMBERS’ CONCERT

Announcement is hereby made of the complimentary concert to be given for
the members of the Musical Association in the Palm Court of the Palace Hotel,
Thursday evening, April 2, 1925. Admission cards will be mailed to members in
due course.

In the past numerous members of the Association have taken advantage of
the opportunity to arrange dinner parties at the hotel on the evening of the
concert. Therefore, this advance notice is given in order that all members may
have ample opportunity for such arrangements.

391

109 Stockton Street

BEETHOVEN’S NINTH SYMPHONY
Recorded in Europe by the

Symphony Orchestra of Berlin
Under the direction of Bruno Seidler-Winkler

and

Includes the Chorus of the Berlin National Opera

1st Movement—Part 1, Allegro, ma non troppo.

i 1st Movement—Part 2, Allegro, ma non troppo, New Symphony Orchestra—
lad Berlin, Conducted by Bruno Seidler-Winkler (Recorded in Europe).

lst Movement—Part 3, Allegro, ma non troppo.

2nd Movement—Part 1, Molto vivace, New Symphony Orchestra, Berlin—Con-
ducted by Bruno Seidler-Winkler (Recorded in Europe).

2nd Movement—Part 2, Molto vivace.

a 3rd Movement—Part 1, Adagio molto e cantabile, New Symphony Orchestra—
Berlin, Conducted by Bruno Seidler-Winkler (Recorded in Europe).

H 3rd Movement—Part 2.

4 3rd Movement—Part 3, Adagio molto e cantabile, New Symphony Orchestra—
eit hi Berlin, Conducted by Bruno Seidler-Winkler (Recorded in Europe).

Ai |) 4th Movement—Part 1, Presto.

i 4th Movement—Part 2, Presto allegro assai, New Symphony Orchestra—Berlin,
Conducted by Bruno Seidler-Winkler (Recorded in Europe).

4th Movement—Part 4, Presto allegro assai—New Symphony Orchestra—Berlin,
Conducted by Bruno Seidler-Winkler. Eugen Transky, Tenor, and chorus
Berlin National Opera (Recorded in Europe).

4th Movement—Part 5, continuation—Presto allegro assai movement.
Berlin, Conducted by Bruno Seidler-Winkler, Vocal by Ethel Hansa, Soprano—

Eleanor Scholsshauer, Alto—Eugen Transky, Tenor—Prof. Albert Fischer,

' 4th Movement—Part 6, Presto allegro non tanto, New Symphony Orchestra—
|

Bass—chorus Berlin National Opera (Recorded in Europe).

Price Complete, in Handsomely Bound Album, $10.00

| Send for our catalogue of ‘“‘Musical Masterworks’’—free.

i QUARG MUSIC CO

a ®

a | 206 Powell Street Open Evenings

Hi | 392

“‘A Faust Overture”’ ~ - " - ve - Wagner

Wagner originally intended to write a ‘‘Faust’’ Symphony of
which this was to be the first movement. In a letter to Liszt, written
in 1854, he makes the following explanation: “Perhaps you would at
once understand my tone-poem if I called it Faust in Solitude. At that
time | intended to write an entire Faust Symphony. The first move-
ment, that which is ready, was this Solitary Faust, longing, despairing,
cursing. The ‘feminine’ floats around him as an object of his longing,
but not in its divine reality; and it is just this insufficient image of his
longing which he destroys in his despair. The second movement was
to introduce Gretchen, the woman. I had a theme for her, but it was
only a theme. The whole remains unfinished. I wrote my Flying
Dutchman instead.”’

The overture begins with a slow introduction with a despairing
theme in the basses and tuba. The principal theme, at the conclusion
of the introduction, is a vigorous one and is stated by the violins.
After considerable development, the second theme is stated by the
flute. The longing and despair of Faust are suggested in this part,
which leads to a recapitulation and a hopeful close.

Concerto for Violin and Orchestra, D major - : Brahms

iad

Brahms worked on the composition of this concerto during the
summer and autumn of 1878. Joachim, with whom Brahms consulted,
furnished the bowing and fingering markings and also wrote a cadenza,

ESTABLISHED 1852

OM UMM. oie

Shreve and Company

Jewelers and Silversmiths

Post and Grant Avenue
San Francisco

393

and it was he who first performed the concerto at Leipzig, January

1, 1879. The cadenza played today is by Enesco.

It has often been noted that the concertos of Brahms are in reality
symphonies with a principal solo voice, rather than mediums for display
of virtuosity. On this thought Philip H. Goepp has made the follow-
ing comment:

“The violin concerto of Brahms corresponds to Schumann’s piano
concerto in so far as each work is singular and eminent for a prevailing
poetic character. To enjoy the Brahms concerto, we must once for all
lose thought of mere display. And in this connection it is tempting to
touch on a certain attitude of the public towards concertos in general.
Between those listeners who hail the difficult feat in itself, and the true
coquoscente, there is a group who resent the obtrusion of technique.
One hears this criticism of many concertos, even the noblest. An
answer is obvious. The lay-listener forgets that the soloist does not
always hold the most important role. There is a natural alternation, a
kind of antiphony between soloist and orchestra, an exchange of the
melody; each in turn has the main say or merely adorns. When the
burden of the subject sings in the orchestra, it is vain to listen merely
to the soloist. If we conceive a concerto as an equal duet of soloist
and orchestra, the beauty and meaning become suddenly clear. We

S7idion Haies> perneeey, Wednesday, Saturday Phone Douglas 1678
: Afternoons—2-5

KAJETAN ATTL

Solo Harpist
San Francisco Symphony Orchestra

Using Lyon & Healy Harps, The World’s Standard
FOR ENGAGEMENTS
AS SOLO ARTIST, ACCOMPANIST, OR
PLAYER IN ENSEMBLE MUSIC,
ADDRESS

KAJETAN ATTL, BOHEMIAN CLUB
SAN FRANCISCO, CALIFORNIA
RES. PHONE FRANKLIN 7847

Violinist and Teacher
Concert and Recital

48 Wildwood Avenue, Piedmont

Phone Piedmont 8140-J (Tuesday) Douglas 1678

394

wee

t] fi “ai
co

: =F

LAZAR S. SAMOILOFF

Voice

Opens his S. F. Classes
April 27th

SEVEN WEEKS

JOSEF LHEVINNE

Piano

Opens his S. F. Classes
May 11th

FIVE WEEKS

| 139 Fairmont Hotel

of the

| MASTER SCHOOL |

USICAL
OF CALIFORNIA
Lazar Ss. SAMOILOFF, pirecror

LICE SECKELS, Manager

cA Faculty of Celebrated
Artist Teachers

Josef Lhevinne.............-.......... Piano
Cesar? Thomson: -:.3.0 Violin
Felix Salmond:...:.22.05...<--.2.:.<.. ’Cello
Julia; Clausserlissecos ie Voice
Lazar S. Samoiloff.................. Voice
W. J. Henderson................ Lecturer

Sigismund Stojowski .................-
Pe AEE op ae iano—Composition

Andreas de Segurola.................-..
SE heb elscarts Operatic Department

Annie Louise David...:............ Harp
Samuel Gardner...................... Violin
PIE ct Pela ce eo et Coach
A. Kostelanetz............ Accompanist
Nicholai Mednikoff ................ Piano

ENROLL NOW

MAKE APPLICATION FOR ALL INFORMATION TO
ALICE SECKELS, Manager

Phone Douglas 7267

GheBaldwin Piano Company

310 Sutter Street

must not put the soloist on too high a pedestal at all; he moves on an
equal plane with the orchestra, who sing with him as a sympathetic
chorus. The greatest interpreter will least desire such a one-sided
attitude of the audience. In the Brahms concerto, where there is least
possible exploiting of virtuosity, we must catch the melodic lines as in
a symphony, else the whole poetry is lost to us. At the first flush we
have not the feeling of a formal concerto,—rather the poetic climate
of the writer's sonatas for violin, or of the glorious trio with the horn,
fragrant with the sense of the woods.”’

Symphony in E flat major, Opus 13 - " Georges Enesco

Georges Enesco, born in 1881 at Cordaremi, Roumania, was but
seven years of age when his father was persuaded to take him.to the
Vienna Conservatory, directed at that time by Joseph Hellmesberger.
At first his application was declined because of his age, but upon
hearing the boy play, Hellmesberger was so impressed that he was
admitted to the institution. A few years later he won first prizes for
harmony and violin playing. Later he went to the Paris Conserva-
toire, where he studied composition with Gabriel Faure and violin
with Martin Marsick, again capturing a first prize for his violin playing.

His principal orchestral works are ‘‘Poeme Roumain,”’ Pastorale
Fantaisie, three symphonies, a suite, three Roumanian rhapsodies, a
Symphonie Concertante for ’cello and orchestra, a symphony for two
flutes, oboe, English horn, two clarinets, two bassoons, two horns.
He has also composed two sonatas for piano and violin, a quintet,
and an opera, “Oedipus.”’

In commenting on the music of Roumania, Enesco has written:
‘Contrary to the general idea, Roumania is not a Slavic, but a Latin
country. Settled two thousand years ago, it has maintained its com-

GEORGE STEWART McMANUS
Pianist
(Returned from World Tour with Jean Gerardy)
Instruction in the Art of Piano Playing
and Accompanying

Residence Studio:

2444 Larkin Street, San Francisco
Phone Franklin 6257

Mondays: Ray Coyle Building, 526 Powell Street
: Phone Sutter 3634

Thursdays: 2510 College Avenue, Berkeley
Phone Berkeley 436-J

Available for engagements as Solo Pianist or Accompanist

a — $$ $$ ~

pletely Latin character, in spite of its insignificant size, and though
surrounded on every side by alien communities, Slavic and Teutonic.
So entirely, indeed, has the preservation of its identity seemed ‘to
absorb its energies, that it has hitherto found little leisure for the
cultivation of the arts. Most of the creative work by Roumanians has
been done within the past fifteen years. Our music, curiously
enough, is influenced not by the neighboring Slav, but by the Indian
and Egyptian folk-songs introduced by the members of these remote
races, now classed as Gypsies, brought to Roumania as servants of
the Roman conquerors. The deeply. Oriental character of our own
folk-music derives from these sources, and possesses a flavor as singu-
lar as it is beautiful.’’

The following splendid analysis of the E major Symphony has
been made by Lawrence Gilman:

“The chief theme of the first movement is heard at once, without
introduction, an exceedingly energetic and forcible subject for four
horns, two trumpets, and two cornets in unison. After the orchestra
has confirmed this vigorous assertion, a soft-footed downhill run of
triplets in the string family, halted at the bottom by stopped horns,
makes clear the way for the entrance of the second theme in the oboe.
This is taken over by the violins, and soon yields to a waltz-like
motive, whence is derived a voluptuous episode which Maurice Ravel

Cable Address, ‘‘Mandib’”’ ‘Telephone Sutter 2945

Established 1869

Manheim, Dihbern & Co.

315 MONTGOMERY STREET

SAN FRANCISCO

Susurance Brokers Stork and Bond Brokers

pa Brok
useing Corea PAY eo eee Members, The San Francisco Stock

Fire (in all its branches), Marine, and Bond Exchange

Burglary, Casualty, Automobile, , ;
Life, Liability, Earthquake, Strike Quotations and information on all
and Riot, Ete. stocks and bonds always on hand.

397

LAST

PAIR OF SYMPHONY CONCERTS
CURRAN THEATRE

Friday, April 3, 3:00 P. M.
Sunday, April 5, 2:45 P. M.

PROGRAMME

I. Symphony No. 3, in F major
Allegro con brio
Andante
Poco Allegretto
Allegro

wesw we w eee eee eee wee mew et eeeeseannce

LAST
POPULAR CONCERT

Curran Theatre
Sunday, March 29, 2:45 P. M.

TSCHAIKOWSKY PROGRAM

1. Symphony No..6, “‘Pathetique’’
Adagio—Allegro—Andante—Allegro Vivo
Allegro con grazia )
Allegro molto vivace
Adagio lamentoso

2. The ‘‘Nutcracker’’ Suite
Overture
(March
(Dance of the “‘Fee Dragee’’
IJ. (Russian Dance
(Arabian Dance
(Chinese Dance
(Dance of the ‘‘Mirlitons”’
Ill. Dance of the Flowers

3. March Slav

seems to have had vaguely in the back of his mind when he com-
posed La Valse. A dotted figure put forward by the second violins
and violas is much used. There is elaborate development, with an
extended crescendo and a heaven-storming climax, fff, on the chief
theme; then a lull, with the ‘cellos remembering, pianissimo, the
voluptuous episode of the waltz. Another long crescendo and a
brilliant peroration, with the characteristic BRIE of the chief subject
in the basses, ends the movement.

“In the slow movement, ideas full of melancholy brooding are
elaborated with a profusion of ornament, arabesques of fantastic and
poetical beauty. The horn begins the tale with a motive of three
descending notes (D sharp, C sharp, B), twice repeated; two clarinets ©
add their voices, and a trio of stopped horns color the phrase darkly
in the second measure, while the kettledrums mutter a curious figure
in two-part harmony. The characteristic rhythm of ‘the clarinet figure
pervades the orchestra, and then the violins sing a new and expressive
song (6-8 time), continued by the woodwind above a pizzicato
accompaniment in which lurks the rhythmic ghost of the three-note
horn theme, which recurs fragmentarily in the wind. The texture of
the music grows more complex, and the orchestra becomes a dusky
garden of sombrely decorative counterpoint. The strange reverie
comes to a close most delicately scored—for two solo violas and four
solo ‘cellos, accompanied by the rest of the violas and ’celli, with a
few notes for the lower woodwind and double basses, ppp. All the
strings except the basses are muted throughout this movement.

‘The Finale is a movement of singular fervor, brilliancy, and

ALFRED METZcER—

REDFERN Mason—

He played admirably.
There was no _ self-con-
scious virtuosity; if was
the pure bel canto of the
flute, every note round
and perfect as a pearl.—
San Francisco Examiner.

M. Anthony Linden

Address all communications to

457 Phelan Building, San Francisco

399

elan. It begins with buoyant and rapidly flowing octave passages for
the strings, pianissimo. But fanfares for the brass stir the music to a
swiftly achieved fortissimo. A harp glissando introduces the first of
two cantabile subjects, for strings, horns, and clarinets: the second
follows almost immediately: an ardent melody for the first and second
violins in unison. This material furnishes the subject-matter of the
finale, together with reminiscences from the two preceding movements
—especially the descending three-note horn motive from the slow
movement, which at the end is transformed into a jubilant assertion

‘ of triumphant strength.”

THE
MARGARET MARY MORGAN ((O.

Gngraving ° Printers . Publishing

Commercial Printing

619 California Street Douglas 4633

THE SAN FRANCISCO BANK

(LATELY THE SAN FRANCISCO SAVINGS AND LOAN SOCIETY)

SAVINGS COMMERCIAL
INCORPORATED FEBRUARY 10th, 1868.
One of the Oldest Banksin California,
the Assets of which have never been increased
by mergers or-consolidation s with other Banks.

Member Associated Savings Banks of San Francisco
526 California Street, San Francisco, Cal.

DECEMBER 31st, 1924

Aaseta fo ih ae od ay Pe ok ee ers $96,917,170.69
Capital, Reserve and Contingent Funds....... 4,000,000.00
Employees’ Pension Fund.................... 461,746.52
) MISSION*BRANCEeins 5.5. treed. Bh awlboro nes: Mission and 21st Streets
PARS-PRESIDIO BRANGH sii hii} cai on Sa ele aoa Clement St. and 7th Ave,
HAIGHT STREETS BRANCH Os fee die. Pore Haight and Belvedere Streets

WEST. PORPFALABRANGH 3 oases rele oe West Portal Ave.-and Ulloa St.

Interest paid on Deposits at the rate of
FOUR AND ONE QUARTER (414) per cent per annum,
COMPUTED MONTHLY and COMPOUNDED QUARTERLY,
AND MAY BE WITHDRAWN QUARTERLY

o ———EeE———E————

wee

FIRST VIOLINS

Persinger, Louis
Concert Master and
Assistant Conductor

Argiewicz, Artur
Assistant Concert
Master

Ford, Louis
Assistant Concert
Master

Meriz, E.

Mendelevitch, R.

Laraia, W. F.

Gluschkin, M.

Gordohn, R.

Seiger, Rudy

Bem, Eugenia

Koenig, H.

See, Orley

Mortensen, Modesta

Amsterdam, M.

Pasmore, Mary

Ruiz, R.

SECOND VIOLINS
Jensen, T.

Principal
Haug, J. A.
Callinan, W. G.
Hidden, R. L.
Gold, J.
Paterson, J. A.
Blaha, A.
Manchester, W.
Atkinson, Helen
Purt, B.
Dunn, H. A.
Gough, W.
Hoffman, H. H.
Dabelow, W.

VIOLAS

Fenster, Lajos

Principal
Hahl, E.
Baker, F. A.
Wismer, H.
Weiler, E.
Lichtenstein, V.
Patchook, S.
Dierich, F.
Kolb, R.
Lewis, A.

Jdersonnel

Che San HFrancisea Sumphony Orchestra

ALFRED HERTZ, CONDUCTOR

"CELLOS

Ferner, Walter
Principal

Dehe, W.
King, O.
Villalpando, W.
Weiss, A.
Kirs, R.
Gegna, M.
Pasmore, Dorothy
Hranek, C.

BASSES

Lahann, J.
Principal

Greene, S.
Bell, W.
Storch, A. E.
Cassetta, L. R.
Guterson, A.
Annarumi, A.

Giese, W.

FLUTES
Linden, Anthony
Newbauer, Louis

Oesterreicher, Walter
Orchestral Manager

Benkman, H.

PICCOLO

Oesterreicher, Walter

OBOES
Addimando, C.
Shanis, Julius
Schipilliti, V.
Utschig, H.

ENGLISH HORN
Schipilliti, V.

CLARINETS
Randall, H. B.
Zannini, N.
Fragale, F.
Greenbaum, A. A.

' BASS CLARINET
Fragale, F.

BASSOONS
Kubitschek, E.
La Haye, E. B.
Hranek, C.

CONTRA BASSOON
Kolb, R.

HORNS
Hornig, W.
Tryner, C. E.
Roth, P.
Huske, F. E.
Rocco, R.

TRUMPETS
Ditzel, E.
Arriola, A.
Kegel, Otto
Kress, V.

TROMBONES

Tait, F. W.

Clark, O. E.
Bassett, F. N.

TUBA
Murray, R.

HARP
Attl, Kajetan
Schipilliti, Annette

TYMPANI
Wagner, R.E.

PERCUSSION
Nickel, M.
Vendt, A., Jr.
Kundy, E.

PIANO AND CELESTA

~Ormay, Gyula

LIBRARIAN
Kegel, Otto

A. W. WIDENHAM, Secretary-Manager

401

Choose your piano carefully.
Choose it as you would
choose an intimate member
of your family circle. Choose
it for qualities that will en-
dure.

Let your choice, if possible,
be a STEINWAY. There is no
other piano of qualities more
enduring—of distinction so
immediately recognized.

Stigrinan, Way & Co.

| Kearny & Sutter Sts.
Oakland - Clay at 14th

School Children’s Symphony

Series
By the
San Francisco Symphony Orchestra

ALFRED HERTZ, Conductor

Auspices Board of Education of the City and County of San Francisco
TUESDAY, MARCH 24, 1925 |

EXPOSITION AUDITORIUM
1:45 P. M.

Soloist

YEHUDI MENUHIN
Phenomenal Ejight-Year-Old Violinist

PROGRAMME

‘1. Overture to “Fra Diavolo”’ . - - - - Auber

This overture, which carries out the merry spirit of the opera,
opens with a soft drum solo, followed by a march theme for the
violins, violas and ‘cellos. The march, gradually extending to the
other instruments, produces the effect of an advancing troop of
soldiers, the march past being given by the whole orchestra, and
at last gradually dying away in the distance. The final themes
are taken from the first act, and the material is worked up to an
effective climax.

2. (a) Spring Song _

(b) Spinning Song{ | 3 % 5 s - Mendelssohn

Of the many brief pieces written by Mendelssohn under the Vi
general designation “Songs Without Words,” the two most popular
are the ‘‘Spring Song’’ and the “Spinning Song.’ The first is a
melody of appealing beauty, said to be derived from an old English
folk-song, while the second is a gem of descriptive writing, the

whirring accompaniment supporting the melody and giving the song

its title.

“In the Village,” from Caucasian Sketches - Ippolitow-lvanow

This number is a musical picture of a village of Caucasian cliff-
dwellers. Solos for the muted viola and the English horn are heard
as the answering calls echo from one rock-dwelling to another,
while the main part of the movement depicts a dance of the natives.

In this dance the rhythm is made particularly fascinating by the
use of a pair of ‘‘tympani oriental’’; two small drums about the
size of a saucer.

Menuet - - . . . . - 2 Boccherini

The ‘“Menuet’’ is a graceful and stately form of dance which
prevailed about two hundred years ago, and the name always re-
calls a scene in a royal ballroom, powdered wigs, and lace-fringed
sleeves. The name is derived from the French ‘“‘menu” (small),
and refers to’the short, dainty steps of the dancers.

Three Dances from the ‘‘Nutcracker’’ Suite - Tschaikowsky
(a) Dance of the Sugar-Plum Fairy
(b) Chinese Dance
(c) Dance of the Flutes

The ‘‘Nutcracker’’ Suite is taken from a ballet which Tschai-
kowsky wrote during 1891, the year in which he made his first and
only visit to the United States. The “Dance of the Sugar-Plum
Fairy’ is the most distinguished instance of the use of the Celeste—
an instrument in which plates of steel, suspended over resonating
boxes of wood, are struck by hammers from a keyboard. The
Chinese Dance is founded on an unchanging and sort of grunting
accompaniment for the bassoons and double-basses pizzicato,
against phrases in the highest register of the flutes. The dainty,
leisurely Dance of the Flutes describes itself through its title. There
is a short middle section for the brass choir more spirited in. rhythm.

Violin Solo, ‘‘Hejre Kati’ - - wih Dre - Hubay

YEHUDI MENUHIN
(Louis Persinger at the Piano)

Jeno Hubay, violinist and composer, was born in Budapest,
September 14, 1858. As soloist and teacher, he has a great name
in Europe. He is the composer of several operas, but is best
known for his violin pieces, of which the one played today is, per-
haps, the most famous. This work, like most of his violin composi-
tions, is founded on Hungarian national airs.

(The Piano is a Steinway)

Overture to “William Tell’ - - ~ - “ Rossini

This famous overture, which has been called by Berlioz “a
symphony in four parts,’ opens with a serene picture of Nature at
dawn. This is followed by a storm, which gradually approaches
and, after spending its full fury, dies down into a refreshing calm
and refreshing pastoral. As the last notes of the melody fade away,
the trumpets enter with a brilliant fanfare on a spirited finale.

Take this program home with you and save it.

Second San Francisco

Spring Music Festival
ALFRED HERTZ, Director ,

April 18, 21, 23, 25, 1925

CHORUS OF 500 VOICES
SAN FRANCISCO SYMPHONY ORCHESTRA >

Augmented to 125 musicians

SOLOISTS
MME. HELEN STANLEY | MME. CHARLES CAHIER

Soprano, Metropolitan Opera Co. || Contralto, Vienna Imperial Opera

RUDOLF LAUBENTHAL ALEXANDER KIPNIS

Tenor, Metropolitan Opera Co. Baritone, Chicago Opera Co.

Principal Works to be Presented
Saturday Evening, April 18

Verdi’s “‘Requiem”’
With Full Chorus, Four Soloists and Orchestra

Tuesday Evening, April 21
A Miscellaneous Programme of Solos, Duets and Concerted
Numbers with Full Chorus and All Soloists participating

Thursday Evening, April 23

Schumann’s “‘Pilgrimage of the Rose’
For Full Chorus and Four Soloists

Saturday Evening, April 25
The ‘‘Resurrection’’ Symphony of Mahler

For Soprano and Contralto with Full Chorus
also

The ““Rhapsodie”’ of Brahms

For Contralto Solo and Men’s Chorus

SEASON TICKETS, $4, $8, $12. NOW ON SALE.
Sherman, Clay & Co.

SINGLE TICKETS, $1, $2, $3. ON SALE MARCH 30.

Festival under joint auspices of Musical Association of
San Francisco and the City of San Francisco |

MUSIC HEADQUARTERS!

Sherman; Elay & Co.

Do you want to play the

SAXOPHONE? -

Do you want to know more about the

VIOLIN?

Do you know that every boy wants to play the

CELLOS?

Do you know that every girl should play the

GUITAR or MANDOLIN?

That it is a wonderful thing to know how to play the

PIANO

Come to music’s headquarters and

learn more about all these wonderful instruments

Sherman [lay & Co.

Kearny and Sutter Streets, s. F.

Mission St., near Twenty-second
Oakland, Fourteenth & Clay Sts.

Final Concert
Season 1924-25

SAN FRANCISCO |

Symphony Orchestra

ALFRED HERTZ, Conductor

AUDITORIUM OPERA HOUSE
OAKLAND, CAL.

Thursday Evening, March 26, 1925

Eight-thirty o’clock

Management ZANNETTE W. POTTER
Box Office at Sherman, Clay & Co., Oakland, Cal.
Telephone Lakeside 6700

Thursday Evy, Ma:

CENT PEW at 01 06 72 (een mi ni Dies OC aeRO ie cir SETS Cee] Cr ees eae Bach-Steinberg

This Bach Chaconne, as arranged for orchestra by Steinberg, was given its
first performance in America, December 19, 1924, by the Cincinnati Symphony
Orchestra. According to Grove, the Chaconne was a dance usually in 3-4 time,
of a moderately slow movement, which belonged to the class of variations,
being, in fact, in the large majority of cases, actually a series of variations on a
“sround bass,” mostly eight bars in length. It is supposed to have been of
spanish. .

Steinberg’s scoring consists of two flutes, two oboes, English horn, two
clarinets, two bassoons, four horns, two trumpets, three trombones, tuba, kettle-
drums and strings.

The G minor Symphony of Mozart has been the object of boundless admira-
tion on the part of all subsequent composers and critics, some of whom have
voiced the opinion that it is Mozart’s orchestral masterpiece. Beethoven is said
to have been so deeply impressed with its beauties that he rescored it from a
pianoforte copy; and Schubert, speaking of the Andante, said: “I seem to hear
the angels singing.” Otto Jahn in his biography of Mozart reviews the work in
the following words: “In the G minor Symphony sorrow and complaining take
the place of joy and gladness. The pianoforte quartet and the quintet in G minor
are allied in tone, but their sorrow passes in the end to gladness or calm; whereas
here it rises in a continuous climax to a wild merriment, as if seeking to stifle
care. The agitated first movement begins with a low plaintiveness, which is
scarcely interrupted by a calmer mood of the second subject, which in working
out intensifies a gentle murmur into a piercing cry of anguish; ‘but, strive and
struggle as it may, the strength of the resistance sinks again into the murmur
with which the movement closes. The Andante, on the contrary, is consolatory
in tone, not reposing on the consciousness of an inner peace, but striving after
it with an earnest composure which even attempts to be cheerful. The Minuet
introduces another turn of expression. A resolute resistance is opposed to the
foe, but in vain; and again the effort sinks to a moan. Even the tender comfort
of the trio, softer and sweeter than the Andante, fails to bring lasting peace.
Again the combat is renewed, and again it dies away, complaining. The last
movement brings no peace—only a wild merriment that seeks to drown sorrow;
and gets on its course in restless excitement. Th's is the most passionate of all
Mozart’s symphonies, but even in this he has not forgotten that “music when
expressing horrors, must still be music.’ ” .

INTERMISSION

Hear CHALIAPIN _ Ben

in Oakland Auditorium Arena

school of instrumentalists.
Tickets: .. $3:00, $2:00, $1.00, plus tax.

Management Zanrette W. Potter

Baritone

Friday Night, March 27, 8:30 p. m.

When Chaliapin appeared in San Francisco
last he remained on the stage singing song
after song for a full two hours, each inter-
pretation bringing new thrills and added start-
ling amazement to his hearers, for there is no
interpretative artist that ever lived with the
vivid power of portrayal, the intensive per-
sonality nor the consummate art of the Rus-
sian. He will be assisted ty Abraham Sopkin,
violinist and Max Rabinowitsch, pianist, two
of the most capable of the younger Russian

Now on sale at Sherman, Clay & Co., Oakland

GRAM
Evy, March 26, 1925

: 3. Legend for Orchestra, “Zorahayda,” Opus Lares Svendsen

This composition by the Norwegian composer is based upon “The Legend

of the Rose of the Alhambra,” one of Washington Irving’s fascinating tales.

Jacinta sits melancholy and alone by a fountain in the Alhambra. Zorahayda

appears, predicts for Jacinta the end of. her love sorrow and tells of her own

troubles, which baptism as a Christian alone will end. Jacinta baptizes Zorahayda

t in the sacred water of the fountain, and she disappears with transfigured

) countenance. Jacinta, remembering the prediction of the mysterious apparition,
is illumined with hope and joy.

j The score of “Zorahayda” contains the following enumeration and explanation
of the various situations of the story:

“Solitude and melancholy of Jacinta—Appearance of Zorahayda—She predicts
for Jacinta the end of her troubles, and tells her of her own unhappiness.
Baptism alone will bring her repose—Jacinta sprinkles the sacred water over her
head—Disappearance of Zorahayda—Joy of Jacinta over the remembrance of the
prediction.” |

Aw & Prelude? to: **Vhe -Mastersingersr:.cfrr ee ae W agner

The prelude to “The Mastersingers,” which ranks today as one of the most
popular and impressive concert numbers, is built on five times, the first one
being the grandiose theme of the mastersingers themselves, after which comes
the motive of “Waking Love.” This is followed by the pompous “Banner” motive,
a march-like theme which accompanies the marching of the guild as its banner
with St. David and the harp is carried before them. The “Love Confessed” motive,
derived from the famous Prize Song comes next, followed by the “Impatient
Ardor” theme. After these melodies have been stated and developed, the magni-
ficent climax approaches, the famous instance in which the three themes—numbers
one, three and four—are employed simultaneously. This overwhelming example
was Wagner’s defying reply to his critics, who claimed that he could not write
counterpoint.

ee ieee ne
| ROSA PONSELLE |
; SENSATIONAL DRAMATIC

SOPRANO

- AUDITORIUM OPERA HOUSE

OAKLAND

Monday Night, March 30

Tickets: $1.00, $1.50, $2.00—plus tax—on sale at
, Sherman, Clay & Co., 14th and Clay Sts. Oakland \t

Management ZANNETTE W. POTTER

—_————

ee US EC SOR AON EACLE AS OSD Tee

Her own Aldrich piano

Brcause it is such a good, honestly
made, durable piano, it will be her com-
panion for years and years to come.
Long before its strings lose melody,
she will have grown up to a home of
her own, and a Steinway! M”
Meanwhilethe Aldrichis only $445.
ic is a responsive, sympathetic piano,

and dependable.

a
al
NH

aE ST SE TT ee To
Ny aes vit ere wire aM eb i) i = hh
ae A S )

gil fi p
i" EN
Ne Y

a! \ NY
dios ea /
arn ay —S

5)
5-7)

Sherman, !( Gy

ay & Go.

Oakland — Fourteenth and Clay Streets
Berkeley -- Telegraph and Channing Way
Fruitvale — 3420 East Fourteenth Street

San Francisco—Kearney and Sutter Streets

School Children’s Symphony

Series

By the

San Francisco Symphony Orchestra

ALFRED HERTZ, Conductor |

Auspices Board of Education of the City and County of San Francisco
FRIDAY, MARCH 27, 1925

EXPOSITION AUDITORIUM
1:45 P. M.

Soloist: KAJETAN ATTL, Harpist

PROGRAMME

1. Andante from the “Surprise”? Symphony = Haydn * 5

It is from this movement (the second) that Haydn's G major
Symphony gains its nickname. It is in the form of a theme with
variations, and after each period in which the melody is softly sung,
the full orchestra comes in with a “‘surprise’’ in the form of a loud,
crashing chord. It has been said that Haydn introduced these
clashing chords for the purpose of waking up the fashionable
English ladies who slept during his concerts in London. However,
Haydn himself said that this was not so, but that he merely wanted
to present something unique and unusual in his symphony.

2. Two Numbers from “Peer Gynt” Suite No. 1 - - Grieg

Anitra’s Dance
In the Hall of the Mountain King
The best known composition written by the greatest of the
Norwegian composers, Edward Hagerup Grieg, is the “Peer Gynt’
- Suite, No. 1. The term suite is given toa collection of short pieces
for the orchestra, and is generally applied to a group that have one
collective title and tell a story. Thus this suite tells of incidents in
the life of Peer Gynt, a young man who is so filled with wild dreams
of his own greatness and tells such amazing stories of his adventures
that he finally comes to believe them himself. |
Anjtra’s Dance is a perfect type of Oriental dance. It is in
regular dance form—that is, dance, trio, or alternating dance, and
repetition of original dance. “In the Hall of the Mountain King” is

descriptive of Peer Gynt’s experiences in the Dovre Mountains,
where he tries to make love to the King’s daughter, but is chased
away by the imps and elves. ‘This is an interesting example of the
constant repetition of a theme being used to tell a musical story.

. Three Solos for Harp
KAJETAN ATTL

Aubade - - - Hasselmans
Andante - ~ - - ~ - Tedeschi
Teasing - - - - : - - Poenitz

These three little numbers explain themselves by their titles, an
‘‘Aubade”’ being a morning serenade as opposed to the ‘“‘Serenade’’
or music played in the evening. As to the harp itself, it is interest-
ing to note that it is made up of forty-six strings and seven pedals.
It has a compass of six and a half octaves and plays in different
keys by the use of the pedals. Although the harp is one of the
oldest of musical instruments, it has only been regularly used in
symphony orchestras during the last fifty or sixty years.

. Prize Song from ‘‘The Mastersingers”’ - - - Wagner
The ‘‘Prize Song’”’ is the well-known tenor solo from Wagner's
only comic opera, “The Mastersingers of Nurnberg.’ In early days

in Europe the singers organized themselves into “Guilds” and the
‘““Guilds’” from the various towns would hold singing contests. In
Wagner's opera, the song contest was being held with the beautiful
Eva, daughter of the village goldsmith, as the first prize, and it was
with this song that Walther, Eva's lover, wins her.

(a) Humoresque - - - - ; ” Dvorak

This well-known composition was originally written for the
piano by Anton Dvorak, the Bohemian composer, and has been
arranged for ‘orchestra by Frederick Stock, conductor of the
Chicago Symphony Orchestra. Dvorak was asked once by a
friend why he had called the piece “Humoresque’’ when there was
nothing humorous about it. Dvorak replied, “My boy, that is
where the joke comes in.”’

(b) ‘*The Bumble Bee’”’ ” - - Rimsky-Korsakow

This little number, the character of which is indicated by its title,
is taken from the opera “Tsar Saltan’’ by Rimsky-Korsakow, the —
famous Russian composer. In the opera this piece has voice parts,
it coming in the first scene of the second act, where the stage direc-
tion reads: ‘Out of the sea comes a bumble-bee and flies about the
swan.

. Overture to “Tannhauser” - - - - - Wagner

This composition is a splendid example of Wagner's method of
introducing the principal themes of the opera in the overture. The
work opens with the “Pilgrim’s Chorus,’ beginning softly and
swelling into a mighty anthem in the brasses, against a weird
counter-figure in the violins, which Wagner said was meant to
symbolize “the pulse of life.” This is followed by the music of
Venusberg, the subterranean abode of Venus, the goddess of love.
Then comes a sudden return of the solemn “Pilgrim’s Chorus,”’
which again swells into a mighty paean of triumph and praise,
bringing the overture to a thrilling close.

TAKE THIS PROGRAM HOME WITH YOU AND SAVE IT.

Second San Francisco

Spring Music Festival
ALFRED HERTZ, Director

April 18, 21, 23, 25, 1925

CHORUS OF 500 VOICES
SAN FRANCISCO SYMPHONY ORCHESTRA

Augmented to 125 musicians

SOLOISTS
MME. HELEN STANLEY || MME. CHARLES CAHIER

Soprano, Metropolitan Opera Co. || Contralto, Vienna Imperial Opera

RUDOLF 'LAUBENTHAL ALEXANDER KIPNIS
Tenor, Metropolitan Opera Co. Baritone, Chicago Opera Co.

Principal Works to be Presented
Saturday Evening, April 18

Verdi’s “‘“Requiem”’
With Full Chorus, Four Soloists and Orchestra

Tuesday Evening, April 21
A Miscellaneous Programme of Solos, Duets and Concerted
Numbers with Full Chorus and All Soloists participating

Thursday Evening, April 23

Schumann’s “‘Pilgrimage of the Rose’
For Full Chorus and Four Soloists

Saturday Evening, April 25
The ‘‘Resurrection’’ Symphony of Mahler

For Soprano and Contralto with Full Chorus
also

The “Rhapsodie” of Brahms

For Contralto Solo and Men’s Chorus

SEASON TICKETS, $4, $8, $12. NOW ON SALE.

herman, Clay & Co.

SINGLE TICKETS, $1, $2, $3. ON SALE MARCH 30.

Festival under joint auspices of Musical Association of
San Francisco and the City of San Francisco

MUSIC HEADQUARTERS!

Sherman; Glay & Co.

Do you want to play the

SAXOPHONE?

Do you want to know more about the

VIOLIN?

Do you know that every boy wants to play the

*CELLO?

Do you know that every girl should play the

GUITAR or MANDOLIN?

That it is a wonderful thing to know how to play the

PIANO

Come to music’s headquarters and

learn more about all these wonderful instruments

Sherman ay & Co.

Kearny and Sutter Streets, s. F.
Mission St., near Twenty-second

Oaklands Fourteenth & Clay Sts.

“FRANCISCO
| SYMPHONY =

ORCHESTRE Dy
3 The Musical 4 ly
Association of
aan Prancisco

1924 1925
Fourteenth Season

ALFRED HERTZ CONDUCTOR
‘(Cee Oes |
:

Alfred Hertz

‘RECOMMENDS
CONN INSTRUMENTS

The San Francisco

Symphony

uses

CONN
INSTRUMENTS

No Higher Endorsement

can be given to a musical .
“T take great pleasure in

instrument, hence if the recommending Conn instru-

experience of great artists ments for symphony

orchestra work.”
means anything to you, your

choice will be CONN.

ONN

WORLD'S
LARGEST MANUFACTURERS
OF HIGH GRADE BAND AND
ORCHESTRA INSTRUMENTS

ALFRED HERTZ.

Repairing

Conn San Francisco Co. Conn Oakland Co.
47 Kearny St. 531-16th St.

416

Musical Association of San Francisen

Founded Decembe: 20, 1909

OFFICERS

JOHN D. McKzg, President

J. B. Levison, Vice-President

Incorporated February 3, 1910

EK. R. Drwonp, Treasurer

A. W. WiwwenHAM, Secretary-Manager

BOARD OF GOVERNORS

J. K. Armsby A. B. C. Dohrmann
E. D. Beylard John S. Drum

Miss Lena Blanding Milton H. Esberg
Miss Louise A. Boyd - Herbert Fleishhacker
George T. Cameron J. D. Grant

Selah Chamberlain E. S. Heller

C. H. Crocker W. E. Creed

Mrs. Templeton Crocker J. B. Levison

Wm. H. Crocker Walter S. Martin

E. R. Dimond John A. McGregor
EXECUTIVE COMMITTEE
John D. McKee, Chairman
E. D. Beylard E. R. Dimond
Wm. H. Crocker E. S. Heller

MUSIC COMMITTEE
J. B. Levison, Chairman

E. S. Heller E. D. Beylard

WOMEN’S AUXILIARY

Mrs. M. S. Koshland, Chairman
Miss Lena Blanding, Vice-Chairman
Mrs. M. C. Porter, Vice-Chairman

EXECUTIVE OFFICES

457 Phelan Building, San Francisco
A. W. WIDENHAM, Secretary-Manager

Hours 10 to 12 A. M., 2 to 4 P. M.

417

John D. McKee
Seward B. McNear
L. F. Monteagle
Robert C. Newell
J. C. Raas

F. R. Sherman
Wm. T. Sesnon
M. C. Sloss
William Sproule
Sigmund Stern

J. B. Levison
William Sproule

Robert C. Newell

Telephone Garfield 2819

THE WIND INSTRUMENT ENSEMBLE

of San Francisco

(Next concert, April 28th)

uses exclusively the

Mason & Hamlin Piano

Of all the beautiful pianos of the world, none so
perfectly meets the ideals or the exacting require-
ments of the truly cultured musician and the
concert artist as does the Mason & Hamlin.

Among those who know and appreciate master
craftsmanship and the true artistry of the piano,
its position is absolutely unassailable.

Wiley BAllen ©.

135 Kearny St., San Francisco
1323 Washington St., Oakland

Now obtainable with the Ampico re-enacting mechanism

418

Che San Francisen Sumphony Orchestra
ALFRED HERTZ, Conductor
1924—_Season—1925

LAST POPULAR CONCERT
537th Concert

CURRAN THEATRE
Sunday Afternoon, March 29, 2:45 o’clock

TSCHAIKOWSKY PROGRAMME

1. Symphony No. 6, “Pathetique’’
Adagio—Allegro—Andante—Allegro vivo
Allegro con grazia
Allegro molto vivace
Adagio lamentoso

2. The ‘Nutcracker’ Suite

I. Overture

(March

(Dance of the “Fee Dragee’’
II. (Russian Dance

(Arabian Dance
(Chinese Dance
(Dance of the ‘‘Mirlitons’”’

Ill. Dance of the Flowers

3. March Slav

NOTICE OF MEMBERS’ CONCERT

In the past numerous members of the Association have taken advantage - of
the opportunity to arrange dinner parties at the hotel on the evening of the
concert. Therefore, this advance notice is given in order that all members may
have ample opportunity for such arrangements.

NOTE! Victor Lichtenstein’s “Symphonylogues” are continuing at the .
Sorosis Hall at noon on the day of each Friday Symphony Concert, at
which an illuminating discourse and thematic analysis is given on the cur-
rent programme, illustrated by members of the orchestra.

419

BEETHOVEN’S NINTH SYMPHONY
Recorded in Europe by the

Symphony Orchestra of Berlin
Under the direction of Bruno Seidler-Winkler

and

Includes the Chorus of the Berlin. National Opera

lst Movement—Part 1, Allegro, ma non troppo.

1st Movement—Part 2, Allegro, ma non_ troppo, New Symphony Orchestra—
Berlin, Conducted by Bruno Seidler- Winkler (Recorded in Europe).

ist Movement—Part 3, Allegro, ma non troppo.

2nd Movement—Part 1, Molto vivace, New Symphony Orchestra, Berlin—Con-
ducted by Bruno Seidler- Winkler (Recorded in Europe).

2nd Movement—Part 2, Molto vivace.

3rd Movement—Part 1, Adagio molto e cantabile, New Symphony Orchestra—
Berlin, Conducted by Bruno Seidler- Winkler (Recorded in Europe).

3rd Movement—Part 2.

3rd Movement—Part 3, Adagio molto e cantabile, New Symphony Orchestra—
Berlin, Conducted by Bruno Seidler- Winkler (Recorded in Europe).

4th Movement—Part 1, Presto.

4th Movement—Part 2, Presto allegro assai, New Symphony Orchestra—Berlin,
Conducted by Bruno Seidler- Winkler (Recorded in Europe).

4th Movement—Part 3, Presto allegro assai, New Symphony Orchestra—Berlin,
Conducted by Bruno Seidler- Winkler, Vocal by Ethel Hansa, Soprano—
Eleanor Schlosshauer, Alto—Eugen Transky, Tenor—Prof. Albert Fischer,
Bass—and chorus Berlin National Opera.

4th Movement—Part 4, Presto allegro assai—New Symphony Orchestra—Berlin,
Conducted by Bruno Seidler-Winkler. Eugen Transky, Tenor, and chorus
Berlin National Opera (Recorded in Europe).

4th Movement—Part 5, continuation—Presto allegro assai movement.

4th Movement—Part 6, Presto allegro non tanto, New Symphony Orchestra—
Berlin, Conducted by Bruno Seidler- Winkler, Vocal by Ethel Hansa, Soprano—
Eleanor Scholsshauer, Alto—Eugen Transky, Tenor—Prof. Albert Fischer,
Bass—chorus Berlin National Opera (Recorded in Europe).

Price Complete, in Handsomely Bound Album, $10.00

Send for our catalogue of ‘Musical Masterworks’’—free.

QUARG MUSIC CO.

206 Powell Street Open Evenings

420

Symphony No. 6, ‘‘Pathetique’’

Although some of his compatriots deny that he is typically
Russian, to us of the western world Tschaikowsky is emphatically
‘Russia incarnate,’ his wonderful music expressing all the woe and
despair, the substratum of barbarism and the upper layer of refinement
and culture, and other characteristics of Russia at that time. And
surely in no other work of his have we such a complete picture of the
composers mind and message as in this intensely beautiful symphony.
It is a human and national document of exceptional fidelity and vivid-
ness; a profoundly moving picture of the mental agonies of a singularly

unhappy life.

It is, perhaps, not too fanciful to say that this symphony expresses
the dark despair and heart-rending social sufferings of a people pic-

tured here in music more effectively than they are pictured in the words

of Tolstoi or Gorky; the same tinge of gloom that we see in the works
of Russian novelists and poets gives to Tschaikowsky’s musical utter-
ances such a poignant, personal, heart-rending note, for which surely
his Russian heredity and environment are responsible. For that
reason, the “Pathetique’’ Symphony has aroused and maintained a

ESTABLISHED 1852

SU AEE 7

CONSISTENT
PRICES

Shreve and Company
Jewelers and Silversmiths

Post and Grant Avenue
San Francisco

popular interest almost unparalleled in the annals of musical history,
and it remains the most profoundly stirring of his works.

The symphony starts with a short Adagio introduction, the
melody being in the lowest notes of the bassoon, with a dark accom-

paniment in the violas and basses. The Allegro begins with a theme

formed from the introduction and played at first by violas and ‘cellos.
The flutes and clarinets answer this with a similar phrase and a counter-
subject is introduced which leads up to a powerful climax. After
some sinister harmonies in the trombones the beautiful consolatory
second subject is heard, andante, in violins and ‘cellos. Like the
principal theme, this second subject has two counter-subjects, of which
the first is a kind of dialogue between flute and bassoon and the
second a poignant descending scale, which in one instance, when
played by the trumpet, fortissimo, becomes menacing. After many
fluctuating emotions and violent dramatic struggle the consolatory
theme is again heard, the stress of the movement dies down and a
beautiful coda, in which the theme is accompanied by descending
pizzicato scales, ends the movement in an ominous calm.

In the greatest possible contrast to the first movement, which is
pervaded by an almost unrelieved gloom, stands the second move-
ment, a peculiar blending of grace and melancholy. It is written in

‘Gr ea Hount: Tuesday, Wednesday, Saturday Phone Douglas 1678
Afternoons—2-5

KAJETAN ATTL

Solo Harpist
San Francisco Symphony Orchestra

Using Lyon & Healy Harps, The World’s Standard
FOR ENGAGEMENTS
AS SOLO ARTIST, ACCOMPANIST, OR
PLAYER IN ENSEMBLE MUSIC,
ADDRESS

KAJETAN ATTL, BOHEMIAN CLUB
SAN FRANCISCO, CALIFORNIA
RES. PHONE FRANKLIN 7847

Orley See

Violinist and Teacher
Concert and Recital

el ee
48 Wildwood Avenue, Piedmont

Phone Piedmont 8140-J (Tuesday) Douglas 1678

422

BRING YOUR VOICE AND PIANO

LAZAR S. SAMOILOFF

Voice

Opens his S. F. Classes
April 27th

SEVEN WEEKS

It is welcome news to artist
teachers and students of singing
that Lazar S. Samoiloff will come to
the Pacific Coast for this, his second

season. Seldom has the career of,

a vocal master met with such un-
qualified endorsement from profes-
sional Artists, many of whom have
qa National reputation. A few of
those who have written letters of
appreciation:

Claire Dux, Julia Claussen, Curt
Taucher, Isa Kremer, Gabrielle Bes-
anzoni, Rosa Raisa, Giacomo Ri-
mini, Angelo Menghetti, Bianca
Saroya, Marie Escobar, Sonya Yer-
gin, Consuelo Escobar.

cA Faculty of Celebrated
Artist Teachers

Josef Lhevinne..............-...-.---- Piano
Cesar Thomson ...........-.---------- Violin
Felix Salmond..............------------ ’Cello
Julia Claussen......-.........-.-.--.... Voice
Lazar S. Samoiloff..............---- Voice
W. J. Henderson.............--- Lecturer

Sigismund Stojowski -.....-.----------
Beak pee ee Piano—Composition

Andreas de Segurola..........-.--------
nae Dre eee Operatic Department

Annie Louise David.........--..-.- Harp
Samuel Gardnet.....-......---------- Violin
Emil J. Polak............-.---.-<..4- Coach
A. Kostelanetz..........-- Accompanist
Nicholai Mednikoff .............-.- Piano

PROBLEMS TO THESE MEN

JOSEF LHEVINNE

Piano

Opens his S. F. Classes
May 11th

FIVE WEEKS

Josef Lhevinne is one of the few
representatives of that great virtu-
oso school of piano playing which
came into vogue in the latter days
of Liszt and Rubinstein, and as such
has established himself in the realm
of pianistic art as one of the su-
preme masters of the instrument.
He is a teacher of rare insight as
well as a virtuoso, and brings un-
usual authority to all questions re-
lating to piano playing.

Enroll Now!

Private Lessons—Teachers’ Course
—Repertoire and Interpretation
Classes—Active and Auditor—NMas-
ter Recitals—Free Scholarships

2 SCHOOL
CAL

OF CALIFORNIA
Lazar s. SAMOILOFF, oirecror

Enpowep sx ALICE CAMPBELL MACFARLANE
Avice SECKELS, Manager

Room 139 Fairmont Hotel
Douglas 7267

San Francisco

The Baldwin is the Official Piano

the unusual time signature of 5-4, and begins with a graceful dance
subject in the ‘cellos. Ultimately an interlude, or trio, follows, in
which an extraordinary effect is gained by the incessant reiterations of
the low D by the basses and tympani. Over this organ-point, flute,
violin and ‘cello sing a sweetly complaining tune. The first part is
repeated, and the movement, despite its evident determination at the
outset to be cheerful, ends in a rather melancholy spirit.

The third movement strikes a note of vigorous joy of life. ‘‘It
is a piece of grand barbaric animalism,’’ writes Neuman, ‘“‘reminding
us of a Tartar horde, galloping madly along the steppes, the sun
glinting on its arms and full of the primitive joy of life.” Although
placed as the third movement in the work, it is really more in the style
of the sweeping finale of a conventional symphony—a symphonic
march in which Tschaikowsky gives full sway to his extraordinary skill
in thematic development and instrumentation.

The last movement, which might be considered the usual slow
movement of a symphony misplaced, evokes again the tragedy-laden
atmosphere of the opening. By the masterly manner of their pres-
entation and the insistence with which they force themselves upon our
notice, the composer has made this movement one of the most hugely
impressive in musical literature. These sadly descending scales, so
characteristic of Tschaikowsky, assume an air of profound exhaustion
against which vainly pulsate the passionate syncopated triplets of the
accompaniment. An ominous clang of the gong leads to a despairing
passage in the brass that seems like a descent into the grave itself.
Now the theme, which at times breathed a spirit of consolation, is
heard in a minor key, entirely bereft of its former element, and speak-
ing only of gloom and defeat. It descends lower and lower, and the

GEORGE STEWART McMANUS
Pianis
(Returned from World oie with Jean Gerardy)

Instruction in the Art of Piano Playing
and Accompanying

Residence Studio:

2444 Larkin Street, San Francisco
Phone Franklin 6257

Mondays: Ray Coyle Building, 526 Powell Street
Phone Sutter 3634

Thursdays: 2510 College Avenue, Berkeley
Phone Berkeley 436-J

Available for engagements as Solo Pianist or Accompanist

424

end is like a world ‘from which the last flickering breath of life has

vanished.’

Suite from the “‘Nutcracker’’ Ballet

This suite is taken from a ballet which Tschaikowsky wrote in
1891 for the St. Petersburg Opera House, together with his opera
“Tolanthe.”’ It was shortly after commencing work on the “‘Nut-
cracker’ that Tschaikowsky made his only visit to the United States,
to assist in the opening of Carnegie Hall, New York.

The following analysis of the various movements of the suite is
by Lawrence Gilman:

“Miniature Overture. This prelude to the fairy ballet is scored
without the lower bass instruments—the ‘celli and double-basses are

not used at all. The chief theme begins at once, pianissimo, in the
violins.

‘March. In the ballet, the opening scene of the first act is the
decorating and lighting of the Christmas tree; then President Silber-
haus, who is giving the party, orders the March to be played. Clari-
nets, horns, and trumpets have the captivating march tune. There isa
contrasting trio-like section.

‘Dance of the Fee Dragee. This dance is taken from a Pas de

Cable Address, ‘‘Mandib’’ Telephone Sutter 2946

Established 1869

Manheim, Bibbern & Co.

315 MONTGOMERY. STREET

SAN FRANCISCO

Insurance Brokers Stock and Bond Brokers

eee anre’ Eros ers Members, The San Francisco Stock
Fire (in all its branches), Marine, and Bond Exchange
Burglary, Casualty, Automobile, ; ‘
Life, Liability, Earthquake, Strike Quotations and information on all

and Riot, Etc. stocks and bonds always on hand.

deux in Act II called, in the score, ‘Variation II (pour la danseuse).’
After four introductory measures, the celesta, which so captivated
T’schaikowsky, plays the chief theme, and later disports itself in a
cadenza.

‘Russian Dance. In the second act of the ballet, No. 12 of the
score, is a divertissement comprising these dances: Chocolat, Cafe,
The, Trepak, and Danse des Mirlitons. In the concert suite they are
differently named: Cafe is changed to Danse Arabe, and The to Danse
Chinoise. The Trepak is a national Russian folk dance, of rapid and
energetic character, strongly accented. Violins announce the chief
dance theme.

“Arabian Dance. Here the Fairy Dragee’s dancers remember
that Russia and the Orient are neighbors. Above a drone-like double
pedal-point for the low strings, a clarinet dreams of Araby. Then the
violins enter, molto expressivo.

‘Chinese Dance. This concise and captivatingly fantastic move-
ment — only thirty-two bars long —is founded on an unchanging
accompaniment figure for the bassoons and double-basses pizzicato,
above which the flute disports itself capriciously.

“Dance of the Mirlitons. A ‘mirliton,’ according to the best

LAST
PAIR OF SYMPHONY CONCERTS

CURRAN THEATRE

Friday, April 3, 3:00 P. M.
Sunday, April 5, 2:45 P. M.

PROGRAMME

Laspymipnony No. 3..in fi majors. ce ee ke Brahms
Allegro con brio
Andante
Poco Allegretto
Allegro

2. Seherzo; «bam o ~ohenter 260 ee Goosens
(First time in San Francisco)

3. Legend, “‘Zorahayda’’
4. Prelude to “The Mastersingers’’............................ Wagner

426

{)

authorities, makes a noise like a kazoo; and a kazoo, one learns, is
merely one of those domestic music producers constructed out of a
piece of thin paper and acomb. The mizrliton is described as a wooden
or cardboard tube with the ends covered by a membrane; a triangular
hole is cut in the tube a short distance from each end. ‘By singing into
one of the holes, a sound is produced not unlike that obtained by sing-
ing against a comb wrapped in thin paper.’ In other words, it is a

kind of toy pipe, and in Tschaikowsky’s ballet, the mirlitons were
among those present in the divertissement of the second act. The
charming first theme of this dance is sung by the flutes, above a pizzi-
cato accompaniment of the strings.

‘Waltz of the Flowers. This is No. 13 in the score of the ballet—
Act II. An introduction, with a concluding harp cadenza, leads to the
chief waltz theme (for the horns) — one of Tschaikowsky's most
famous and ingratiating tunes. ”

March Slav

As to its principal thematic material, the “March Slav’’ is based
on South Russian or Servian folk-music. The principal theme of the
march is founded on the Servian folk-song, “Come, My Dearest, Why

ALFRED METZGER—

M. Anthony Linden

Orchestral Conductor and Flute Virtuoso
Soloist—1I eacher—Lecturer
Solo Flutist, San Francisco Symphony Orchestra
Formerly Solo Flutist, Minneapolis Symphony Orchestra
Director Linden School of Flute Playing

REeDFERN Mason—

He played admirably.
There was no _ self-con-
scious virtuosity; wt was
the pure bel canto of the
flute, every note round
and perfect as a pearl.—
San Francisco Examiner.

Address: all communications to

457 Phelan Building, San Francisco

427

So Sad This Morning?’’ The principal theme is given out, after four
introductory measures, by the violas and bassoons, later to be taken
up by the violins and woodwind. A middle section appears in the
clarinets and bassoons (pizzicato in the basses). There are heard later
fragments of the Russian national hymn, and a long organ point on
F leads, through a crescendo, to a resumption of the main theme in
the full orchestra. A closing section sets forth a new idea in the clari-
nets (accompaniment given to violoncellos and basses pizzicato, and

kettledrums), which is afterward combined with the Russian hymn
vociferated by the trombones.

THE
MARGARET MARY MORGAN (CO.

Gngraving - Printers ° Publishing

Commercial Printing

619 California Street Douglas 4633

THE SAN FRANCISCO BANK

(LATELY THE SAN FRANCISCO SAVINGS AND LOAN SOCIETY)

SAVINGS COMMERCIAL
INCORPORATED FEBRUARY 10th, 1868.

One of the Oldest Banksin California,
the Assets of which have never been increased
by mergers or-consolidations with other Banks.

Member Associated Savings Banks of San Francisco
} 526 California Street, San Francisco, Cal.

DECEMBER 3ist, 1924
: $96,917,170.69

Capital, Reserve and Contingent Funds 4,000,000.00
Employees’ Pension Fund 461,746.52

Mission and 21st Streets

Clement St. and 7th Ave,

HAIGHT STREET BRANCH : Haight and Belvedere Streets
WEST PORTAL BRANCH West Porta! Ave. and Ulloa St.

Interest paid on Deposits at the rate of

FOUR AND ONE QUARTER (414) per cent per annum,
COMPUTED MONTHLY and COMPOUNDED QUARTERLY,
AND MAY BE WITHDRAWN QUARTERLY

428

Second San Francisco

Spring Music Festival

ALFRED HERTZ, Director
EXPOSITION AUDITORIUM

Apri 18¢2714:29;.25,.1925

CHORE SROEs 00F VOICES |
SAN FRANCISCO SYMPHONY ORCHESTRA

Augmented to 125 musicians

SOLOISTS
MME. HELEN STANLEY || MME. CHARLES CAHIER

Soprano, Metropolitan Opera Co. || Contralto, Vienna Imperial Opera
RUDOLF 'LAUBENTHAL ALEXANDER KIPNIS
Tenor, Metropolitan Opera Co. Baritone, Chicago Opera Co.

Principal Works to be Presented

Saturday Evening, April 18

Verdi’s ‘““Requiem”’
With Full Chorus, Four Soloists and Orchestra

Tuesday Evening, April 21
A Miscellaneous Programme of Solos, Duets and Concerted
Numbers with Full Chorus and All Soloists participating

Thursday Evening, April 23

Schumann's “Pilgrimage of the Rose’
For Full Chorus and Four Soloists

| Saturday Evening, April 25
The ‘‘Resurrection’’ Symphony of Mahler

For Soprano and Contralto with Full Chorus
also

The “‘Rhapsodie’’ of Brahms

For Contralto Solo and Men’s Chorus
SEASON TICKETS, $4, $8, $12. NOW ON SALE.

Sherman, Clay & Co.
SINGLE TICKETS, $1, $2, $3. ON SALE MARCH 30.

Festival under joint auspices of Musical Association of
San Francisco and the City of San Francisco

429

ee = =

Choose yout piano carefully.
Choose it as you would
choose an intimate member
of your family circle. Choose
it for qualities that will en-
dure.

Let your choice, if possible,
be a STEINWAY. There is no
other piano of qualities more
enduring —of distinction so
immediately recognized.

Sherman, (Play & Co.

Kearny & Sutter Sts.
Oakland - Clay at 14th

SOR

el
s = URCIIE a.
eG The Musical 4 |@reé
1 ASSOcIation OF |e a
San Francisco [Rwy

of }o-
Stanford University
March 31, 1925
| ~ed_pa-

cAuspices
STANFORD SYMPHONY COMeaEIEE

PROGRAMME

. Symphony No. 3, in F major - " - - Brahms

Allegro con brio
Andante

Poco allegretto

Allegro

Brahms worked on his Third Symphony in 1882 and in the
summer of 1883 completed it, the first performance being given at
a Philharmonic Concert in Vienna, December 2, 1883, Hans Richter
conducting. Richter in a toast christened this symphony the
‘““Eroica,”» and WHanslick remarked concerning this: ““Truly, if
Brahms’ first symphony is characterized as the ‘Pathetic’ or the
‘Appassionata’ and the second as the ‘Pastoral,’ the new symphony
in F major may be appropriately called his ‘Eroica.’ ”’

Philip H. Goepp has made the following analysis of the work:

“We can never neglect the very beginning of Brahms. In many
greatest works it is often purest introduction, preface, not integral;
in Haydn it is often irrelevant,—at best, like grace at table. In
Brahms, push it aside as we will, it reappears ever with haunting
meaning, seems ever like overshadowing motto. Here it is two
chords, loud and long, one in the clear, bright light of day, the
second dark and somber; we are between clouds and sunshine. In
this April light we proceed. In a way, Brahms seems to have the
symphonic point of view more than anyone; that is, the element of
big design. The perfect placidity of his poise helps here; he is the
sanest, perhaps, of all secular masters (where Bach is absent) ; at
least, he has least frenzy of poet. Beethoven would begin with that
wonderful reversible way of his: melody of bass and treble which
can be inverted with equal effect. Somewhat similarly we catch in
Brahms a special depth of design which does not lie on the surface,
so that you can never study him in a hurry. Here in the symphony
one can easily overlook the fact that the motto of the first three
bars is instantly the bass of the next in fagots and strings, the omi-
nous motive at the foundation of it all. The main theme, which

. here begins, sweeps down the simple lines of tonic chord, too free

for conventional melody. But through the melodious woof, on
goes the actual fugue of the motive of the first three bars like a
subtly pervasive legend. Equally with the jolting rhythm is the
rude jar of sudden harmonic change; beginning in clearest white

’ light of major tone, it plunges the next step into dark, cloudy

minor, and so it climbs the Parnassian height through quick, vary-
ing tonal hue. There is a sense of ploughing through heavy waves
of resistance with jolting motion, listing now here, now there, up in
the bright sun, down in dark depths; but it does come to a gentle
haven, though ever with a certain heaviness of gait, never a smooth
grace, until the next tune, which hums for the nonce like lullaby.
There is no return to boisterous theme—a line or so of sighing
strings with soothing wood, and then, still in a remote tonal scene,
here is the real second theme, a song sweetly quaint and appealing,
almost plaintive, with a swing (of 9-4) that is not dainty nor awk-
ward, but seems in one moment the one, in the next the other; is
certainly naive,—novel yet natural; on the whole, gives the spon-
taneous song a tinge of slow dance. The rare charm of the song
1s blended of limping basses of strings and of a high note of flute
piping in at oddest moments.

‘‘The Andante is in the simple classic vein hallowed by rare
masters; settled, assured, in placid repose. Child-like, ingenious
beauty is foremost; spontaneity rather than intensity of message.
The cadence is ever echoed in deep brown of low strings. Every-
where is the frugal economy of soundest art, the air of plain living

and high thinking.

‘In the Allegretto, with all lagging motion, the step of slow
dance is somewhat strongly marked with a beat of the foot that has
something of the German Landler, again something of Slavonic in
the late deferred accent. But the gloom is thick overhead, and
leaves but a shadow of the dance; even in the second melody,
where for a moment we hope for a sunnier light, we have at most
the odd shifting mood of first Allegro. But in the third is a change
of mood. Still in the old uncertain humor there is much more of
joy and trust, though of a timid kind, in the melody with its delicate

hesitancy, with just a faint reminder of dance in the pace.

“In the last movement the theme in unison sounds like bar-
barous war-tune, ruthless in rough minor. As the march is kept in
striding basses, and violins sound lightly a constant tremulous call,
‘cellos strike a cheery tune in curiously new swing, strongly and
broadly crossing the strict stride of marching basses. In the close
the main melody enters, losing its old speed, with soft tenderness,
ending with firm, serene confidence. As the theme mutters again
in low bass,—now a little faster,—echoed in high wood, a strain
of ancient melody gives sweetly comforting answer. It is the motto
of the big beginning of the symphony, cleared of turbid gloom, in
simple, soothing conclusion.

Intermission

2. Four Old Flemish Folk Songs - - - - de Greef

The Solitary Rose
Hoepsasa

Wounded Is My Heart
The Duke of Alva’'s Statue

Arthur de Greef, who is the transcriber and not the composer
of these songs, is best known as a pianist. He obtained his train-
ing on the piano from Louis Brassin, who from 1869 until 1879
was principal instructor in piano playing at the Conservatory of
Brussels. For a number of years he has been well known to Euro-
pean concert goers, and he has given recitals in America. The
transcriptions of the Four Old Flemish Folk Songs, which are

dedicated to Henri Vergrugghen, were published in London in
1915.

. Polonaise in E major - - - - - - Liszt

Liszt wrote two polonaise for piano solo, the one played this
evening being the most familiar. The arrangement for orchestra is

by Karl Miller-Berghaus, who also orchestrated the popular second |

Rhapsody. The musical form of the polonaise is in 3-4 time, and
though originally a Polish dance, is in reality a stately march, which,
in Europe, is often used to open formal balls and other festive
gatherings.

SECOND SAN FRANCISCO

SPRING MUSIC FESTIVAL

Exposition Auditorium
April 18, 21, 23, 25

SINGLE AND SEASON TICKETS NOW ON SALE

Sherman Clay & Co. San Francisco

|
|
|

AN EVENING OF LIGHT MUSIC BY
THE SAN FRANCISCO SYMPHONY
ORCHESTRA’... ° PALM COURT OF
THE PALACE HOTEL, THURSDAY,
THE SECOND OF APRIL, NINETEEN
HUNDRED AND TWENTY-FIVE

NINE O’CLOCK

ALFRED HERTZ, Conductor

MEMBERS’ CONCERT

—s
—

Foe TP AEM COURT 3S. -USED 15s
EVENING THROUGH THE COURTESY
OF THE PALACE HOTEL MANAGEMENT
IN COMPLIMENT TO THE MEMBERS OF
THE MUSICAL ASSOCIATION AND THE
WOMEN’S AUXILIARY

a ee

i
'
}
‘
:

. Overture, ‘‘Phedre’” - - - - - Massenet
Ballet Suite - - - - - - Joseph Clokey
Pan

The Dripping Spring
Twilight Moth

The Moon Flower
The Bat

. Third Movement from

‘Symphonie Pathetique’” - Tschaikowsky
Allegro molto vivace
Intermission
. Prelude to “The Deluge” - - - Saint-Saens

(Violin obligato, LOUIS PERSINGER)

(a} Menuet *- - «= > - - = = “Boccherini

(b) Humoresque - - - - - - Dvorak

. Waltz, ‘On the Beautiful Blue Danube” -

Stee ic = ao Pe OMAN erates

ea ees Re Oe

ECOND SAN FRANCISCO
SPRING MUSIC FESTIVAL

EXPOSITION AUDITORIUM

EVENINGS -- APRIL 18, 21, 23, 25, 1925

TICKETS N OW SHERMAN CLA CLAY CO.

SMEMBERS ARE URGED TO SECURE THEIR TICKETS
BEFORE BEST LOCATIONS ARE SOLD.

SAN F “FRANCL
RV MPHONYESE
2 a) ORCHESTRA

4, Marntamead oy @
The PMusrecal 4

Assoctation of
San Francisco

1924 1925 -
Fourteenth Season oe

Alfred Hertz

RECOMMENDS
CONN INSTRUMENTS

The San Francisco
Symphony

CONN
INSTRUMENTS

No Higher Endorsement

can be given to a musical
“IT take great pleasure in

instrument, hence if the sscontnending Conninestres

experience of great artists. ments for symphony

orchestra work.”
means anything to you, your

choice will be CONN.

ALFRED HERTz.

WORLD'S ;
LARGEST MANUFACTURERS
OF HIGH GRADE BAND AND
ORCHESTRA INSTRUMENTS

Conn San Francisco Co. Conn Oakland Co.
47 Kearny St. 531-16th St.

440

Musical Assoviation of San Hranciseo

Founded Decembe: 20, 1909

OFFICERS

JOHN D. McKesg, President

J. B. Levison, Vice-President

Incorporated February 3, 1910

E. R. Dimonp, Treasurer

A. W. WImDENHAM, Secretary-Manager

BOARD OF GOVERNORS

J. K. Armsby A. B. C. Dohrmann
E. D. Beylard John S. Drum

Miss Lena Blanding Milton H. Esberg
Miss Louise A. Boyd Herbert Fleishhacker
George T. Cameron J. D. Grant

Selah Chamberlain E. S. Heller

C. H. Crocker W. E. Creed

Mrs. Templeton Crocker J. B. Levison

Wm. H. Crocker Walter S. Martin

E. R. Dimond John A. McGregor
EXECUTIVE COMMITTEE
John D. McKee, Chairman
E. D. Beylard E. R. Dimond
Wm. H. Crocker E. S. Heller

MUSIC COMMITTEE
J. B. Levison, Chairman

E. S. Heller E. D. Beylard

WOMEN’S AUXILIARY

Mrs. M. S. Koshland, Chairman
Miss Lena Blanding, Vice-Chairman
Mrs. M. C. Porter, Vice-Chairman

EXECUTIVE OFFICES

457 Phelan Building, San Francisco
' A, W. WIDENHAM, Secretary-Manager

Hours 10 to 12 A. M., 2 to 4 P. M.

441

John D. McKee
Seward B. McNear
L. F. Monteagle
Robert C. Newell
J. C. Raas

F. R. Sherman
Wm. T. Sesnon
M. C. Sloss
William Sproule
Sigmund Stern

J. B. Levison
William Sproule

Robert C. Newell

Telephone Garfield 2819

THE WIND INSTRUMENT ENSEMBLE.

of San Francisco

(Next concert, April 28th)

uses exclusively the

Mason & Hamlin Piano

Of all the beautiful pianos of the world, none so
perfectly meets the ideals or the exacting require-
ments of the truly cultured musician and the
concert artist as does the Mason & Hamlin.

Among those who know and appreciate master
craftsmanship and the true artistry of the piano,
its position is absolutely unassailable.

135 Kearny St., San Francisco
1323 Washington St., Oakland

Now obtainable with the Ampico re-enacting mechanism

442

The San Francisco Sumphony Orchestra

ALFRED HERTZ, Conductor

1924—Season—1925

| LAST PAIR OF SYMPHONY CONCERTS
| 540th and 54ist Concerts

CURRAN THEATRE

Friday Afternoon, April 3, 3:00 o’clock
Sunday Afternoon, April 5, 2:45 o’clock

PROGRAMME

i Symphony No, dyn: by nvayors ee ca ee eee Brahms
Allegro con brio

Andante
Poco Allegretto
Allegro
Intermission
FS cherzo.- slam: OF DHANter yal nee ot ieee os ee eee Goosens
(First time in San Francisco)

3 dl egends WZ OFAMAV Ga chee cetera are eee enema ere Svendsen

4. Prelude to ““The Mastersingers .............--.-------------- Wagner

THE WIND INSTRUMENT ENSEMBLE
OF SAN FRANCISCO

Next Concert, Tuesday evening, April 28, Ball Room,
Fairmont Hotel.

Secure tickets now at Sherman, Clay & Co.

443

109 Stockton Street

- BEETHOVEN’S NINTH SYMPHONY
Recorded in Europe by the

Symphony Orchestra of Berlin
Under the direction of Bruno Seidler-W. inkler

and

Includes the Chorus of the Berlin National Opera

Ist Movement—Part 1, Allegro, ma non troppo.

1st Movement—Part 2, Allegro, ma non troppo, New Symphony Orchestra—
Berlin, Conducted by Bruno Seidler-Winkler (Recorded in Europe).

lst Movement—Part 3, Allegro, ma non troppo.

2nd Movement—Part 1, Molto vivace, New Symphony Orchestra, Berlin—Con-
ducted by Bruno Seidler- Winkler (Recorded in Europe).

2nd Movement—Part 2, Molto vivace.

3rd Movement—Part 1, Adagio molto e cantabile, New Symphony Orchestra—
Berlin, Conducted by Bruno Seidler-Winkler (Recorded in Europe).

3rd Movement—Part 2Z.

3rd Movement—Part 3, Adagio molto e cantabile, New Symphony Orchestra—
Berlin, Conducted by Bruno Seidler-Winkler (Recorded in Europe).

4th Movement—Part 1, Presto.

4th Movement—Part 2, Presto allegro assai, New Symphony Orchestra—Berlin,
Conducted by Bruno Seidler-Winkler (Recorded in Europe).

4th Movement—Part 3, Presto allegro assai, New Symphony Orchestra—bBerlin,
Conducted by Bruno Seidler-Winkler, Vocal by Ethel Hansa, Soprano—
Eleanor Schlosshauer, Alto—Eugen Transky, Tenor—Prof. Albert Fischer,
Bass—and chorus Berlin National Opera.

4th Movement—Part 4, Presto allegro assai—New Symphony Orchestra—Berlin,
Conducted by Bruno Seidler-Winkler. Eugen Transky, Tenor, and chorus
Berlin National Opera (Recorded in Europe).

4th Movement—Part 5, continuation—Presto allegro assai movement.

4th Movement—Part 6, Presto allegro non tanto, New Symphony Orchestra—
Berlin, Conducted by Bruno Seidler-Winkler, Vocal by Ethel Hansa, Soprano—
Eleanor Scholsshauer, Alto—Eugen Transky, Tenor—Prof. Albert Fischer,
Bass—chorus Berlin National Opera (Recorded in Europe).

Price Complete, in Handsomely Bound Album, $10.00

Send for our catalogue of “Musical Masterworks’’—free.

QUARG MUSIC CO.

206 Powell Street Open Evenings

Symphony No. 3, in F major - ~ ~ 2 Brahms
Brahms worked on his Third Symphony in 1882 and in the

summer of 1883 completed it, the first performance being given at
a Philharmonic Concert in Vienna, December 2, 1883, Hans Richter
conducting. Richter in a toast christened this symphony the
“Froica,” and Hanslick remarked concerning this: “Truly, if
Brahms’ first symphony is characterized as the ‘Pathetic’ or the
. ‘Appassionata’ and the second as the ‘Pastoral,’ the new symphony
in F major may be appropriately called his “Eroica.’ ”’
Philip H. Goepp has made the following analysis of the work:
‘We can never neglect the very beginning of Brahms. In many
greatest works it is often purest introduction, preface, not integral;
in Haydn it is often irrelevant,—at best, like grace at table. In
Brahms, push it aside as we will, it reappears ever with haunting
meaning, seems ever like overshadowing motto. Here it is two
chords, loud and long, one in the clear, bright light of day, the
second dark and somber; we are between clouds and sunshine. In
this April light we proceed. In a way, Brahms seems to have the
symphonic point of view more than anyone; that is, the element of
big design. The perfect placidity of his poise helps here; he is the
sanest, perhaps, of all secular masters (where Bach is absent); at
least, he has least frenzy of poet. Beethoven would begin with that

ESTABLISHED 1852

U4 Le

CONSISTENT
PRICES

Shreve and Company
Jewelers and Silversmiths

Post and Grant Avenue
San Francisco

wonderful reversible way of his: melody of bass and treble which
can be inverted with equal effect. Somewhat similarly we catch in
Brahms a special depth of design which does not lie on the surface,
so that you can never study him ina hurry. Here in the symphony
one can easily overlook the fact that the motto of the first three
bars is instantly the bass of the next in fagots and strings, the omi-
nous motive at the foundation of it all. The main theme, which
here begins, sweeps down the simple lines of tonic chord, too free
for conventional melody. But through the melodious woof, on
goes the actual fugue of the motive of the first three bars like a
subtly pervasive legend. Equally with the jolting rhythm is the
rude jar of sudden harmonic change; beginning in clearest white
light of major tone, it plunges the next step into dark, cloudy
minor, and so it climbs the Parnassian height through quick, vary-
ing tonal hue. There is a sense of ploughing through heavy waves
of resistance with jolting motion, listing now here, now there, up in
the bright sun, down in dark depths; but it does come to a gentle
haven, though ever with a certain heaviness of gait, never a smooth
grace, until the next tune, which hums for the nonce like lullaby.
There is no return to boisterous theme—a line or so of sighing
strings with soothing wood, and then, still in a remote tonal scene,
here is the real second theme, a song sweetly quaint and appealing,
almost plaintive, with a swing (of 9-4) that is not dainty nor awk-
ward, but seems in one moment the one, in the next the other; is
certainly naive,—novel yet natural; on the whole, gives the spon-
taneous song a tinge of slow dance. The rare charm of the song

Tuesday, Wednesday, Saturday
Afternoons—2-5

ce KAJETAN ATTL

Solo Harpist
San Francisco Symphony Orchestra

Studio Hours: Phone Douglas 1678

Using Lyon & Healy Harps, The World’s Standard
FOR ENGAGEMENTS
AS SOLO ARTIST, ACCOMPANIST, OR

BER Ee bank re PLAYER IN ENSEMBLE MUSIC,
“aaeeee Ss ADDRESS

ei eae KAJETAN ATTL, BOHEMIAN CLUB
SAN FRANCISCO, CALIFORNIA
RES. PHONE FRANKLIN 7847

Orley See

Violinist and Teacher
Concert and Recital

48 Wildwood Avenue, Piedmont

Phone Piedmont 8140-J (Tuesday) Douglas 1678

BRING YOUR VOICE AND PIANO

LAZAR S. SAMOILOFF

Voice

Opens his S. F. Classes
April 27th

SEVEN WEEKS

It is welcome news to _ artist
teachers and students of singing
that Lazar S. Samoiloff will come to
the Pacific Coast for this, his second
season. Seldom has the career of
a vocal master met with such un-
qualified endorsement from profes-
sional Artists, many of whom have
a National reputation. A few of
those who have written letters of
appreciation:

Claire Dux, Julia Claussen, Curt
Taucher, Isa Kremer, Gabrielle Bes-
anzoni, Rosa Raisa, Giacomo Ri-
mini, Angelo Menghetti, Bianca
Saroya, Marie Escobar, Sonya Yer-
gin, Consuelo Escobar.

cA Faculty of Celebrated
Artist Teachers

TOSCO LAO VINIG. cc sicti eet sreec ect anees Piano
Cesar Thomson ........--.----------- Violin
Felix Salmond............-.------------ ’Cello
Julia Claussen...............----------- Voice
Lazar S. Samoiloff..............---- Voice
W. J. Henderson.............-.. Lecturer

Sigismund Stojowski ..-........-------
LE eae ee Piano—Composition

Annie Louise David............---- Harp
Samuel Gardnevr.....--....-..-------- Violin
Renilicds Ola occ ic. oo ncen secre sasece Coach
A. Kostelanetz..........-- Accompanist
Nicholai Mednikoff .-.-.......-.-.-- Piano

PROBLEMS TO THESE MEN

- JOSEF LHEVINNE

Piano

Opens his S. F. Classes
May 1th

FIVE WEEKS

Enroll Now!

Private Lessons—-Teachers’ Course
—Repertoire and Interpretation
Classes—-Active and Auditor—Mas-
ter Recitals—Free Scholarships

ARTS

OF CALIFORNIA
Lazar s. SAMOILOFE, oirector

EnpowEep By ALICE CAMPBELL MACFARLANE
ALicE SECKELS, Manager

Room 139 Fairmont Hotel
Douglas 7267

San Francisco

The Baldwin is the Official Piano

is blended of limping basses of strings and of a high note of flute
piping in at oddest moments.

‘The Andante is in the simple classic vein hallowed by rare
masters; settled, assured, in placid repose. Child-like, ingenious
beauty is foremost; spontaneity rather than intensity of message.
The cadence is ever echoed in deep brown of low strings. Every-
where is the frugal economy of soundest art, the air of plain living

and high thinking.

‘In the Allegretto, with all lagging motion, the step of slow
dance is somewhat strongly marked with a beat of the foot that has
something of the German Landler, again something of Slavonic in
the late deferred accent. But the gloom is thick overhead, and
leaves but a shadow of the dance; even in the second melody,
where for a moment we hope for a sunnier light, we have at most
the odd shifting mood of first Allegro. But in the third is a change
of mood. Siill in the old uncertain humor there is much more of
joy and trust, though of a timid kind, in the melody with its delicate
hesitancy, with just a faint reminder of dance in the pace.

‘In the last movement the theme in unison sounds like bar-
barous war-tune, ruthless in rough minor. As the march is kept in
striding basses, and violins sound lightly a constant tremulous call,
‘cellos strike a cheery tune in curiously new swing, strongly and
broadly crossing the strict stride of marching basses. In the close
the main melody enters, losing its old speed, with soft tenderness,
ending with firm, serene confidence. As the theme mutters again
in low bass,—now a little faster,—echoed in high wood, a strain
of ancient melody gives sweetly comforting answer. It is the motto
of the big beginning of the symphony, cleared of turbid gloom, in
simple, soothing conclusion.’

GEORGE STEWART McMANUS
Pianis
(Returned from World ae with Jean Gerardy)

Instruction in the Art of Piano Playing
and Accompanying

Residence Studio:
1459 Fourth Ave., San Francisco
Phone Sunset 2487

Mondays: Ray Coyle Building, 526 Powell Street
Phone Sutter 3634

Thursdays: 2510 College Avenue, Berkeley
Phone Berkeley 436-J

Available for engagements as Solo Pianist or Accompanist

Scherzo, ‘“Tam o’ Shanter” - - _ - Eugene Goosens

This composition was given its first production by the Halle
Orchestra at Manchester, England, in 1917, and was first performed
in America by the Boston Symphony Orchestra, March 23, 1923.

As the title suggests, it is based upon the famous Burns poem of
the same name, and is descriptive mostly of Tam’s wild ride after
leaving the village inn:

Nae man can tether time or tide;

The hour approaches Tam maun ride;

That hour, o’ night’s black arch the key-stane,
That dreary hour he mounts his beast in;

And sic a night he taks the road in,

As ne'er poor sinner was abroad in.

The wind blew as ’twad blawn its last;

The rattling show’rs rose on the blast;

The speedy gleams the darkness swallow’d;
Loud, deep, and long, the thunder bellow’d;
That night, a child might understand,

The Deil had business on his hand.

Then Kirk-Alloway—warlocks and witches in a dance—Old Nick

screwing the pipes—the horrid things seen by Tam—till he shouted to
one dancing “‘souple jade’: “Weel done, Cutty-sark’’—then the wild

ride to gain the key-stone of the bridge.

Legend for Orchestra, “‘Zorahayda,”’ Opus 11 ~ - Svendsen

This composition by the Norwegian composer is based upon ‘“The
Legend of the Rose of the Alhambra,’”’ one of Washington Irving's

Cable Address, ‘‘Mandib’’ Telephone Sutter 2945

Established 1869

Manheim, Dibbern & Co.

315 MONTGOMERY STREET

Snusurance Brokers Stork and Bond Brokers
as Maher meee mrosene Members, The San Francisco Stock
Fire (in all its branches), Marine, and Bond Exchange
Burglary, Casualty, Automobile, i
Life, Liability, Earthquake, Strike Quotations and information on all
and Riot, Ete. stocks and bonds always on hand.

SAN FRANCISCO

449

Second San Francisco

Spring Music Festival

ALFRED HERTZ, Director
EXPOSITION AUDITORIUM

April 18, 21, 23, 25, 1925

CHORUS OF. 500). VOICES
SAN FRANCISCO SYMPHONY ORCHESTRA

Augmented to 125 musicians

SOLOISTS
MME. HELEN STANLEY | MME. CHARLES CAHIER

Soprano, Metropolitan Opera Co. || Contralto, Vienna Imperial Opera

RUDOLF LAUBENTHAL ALEXANDER KIPNIS

Tenor, Metropolitan Opera Co. Baritone, Chicago Opera Co.
Principal Works to be Presented

Saturday Evening, April 18

Verdi’s ‘“Requiem”’
With Full Chorus, Four Soloists and Orchestra |
Tuesday Evening, April 21

A Miscellaneous Programme of Solos, Duets and Concerted
Numbers with Full Chorus and All Soloists participating

Thursday Evening, April 23

Schumann's ‘Pilgrimage of the Rose”’
For Full Chorus and Four Soloists

Saturday Evening, April 25
The “Resurrection” Symphony of Mahler

For Soprano and Contralto with Full Chorus
also

The “Rhapsodie’ of Brahms

For Contralto Solo and Men’s Chorus
TICKETS NOW ON SALE SHERMAN, CLAY & CO.
$1, $2, $3, (No Tax)

Festival under joint auspices of Musical Association of
San Francisco and the City of San Francisco

450

fascinating tales. Jacinta sits melancholy and alone by a fountain in
the Alhambra. Zorahayda appears, predicts for Jacinta the end of her
love sorrow and tells of her own troubles, which baptism as a Christian
alone will end. Jacinta baptizes Zorahayda in the sacred water of the
fountain, and she disappears with transfigured countenance. Jacinta
remembering the prediction of the mysterious apparition, is illumined
with hope and joy.

The score of ‘‘Zorahayda’”’ contains the following enumeration
and explanation of the various situations of the story:

“Solitude and melancholy of Jacinta—Appearance of Zorahayda
— She predicts for Jacinta the end of her troubles, and tells her of her
own unhappiness. Baptism alone will bring her repose—Jacinta
sprinkles the sacred water over her head—Disappearance of Zora-

hayda—Joy of Jacinta over the remembrance of the prediction.’

Prelude to ‘“The Mastersingers”’ - - - Wagner
The prelude to ““The Mastersingers,’’ which ranks today as one

of the most popular and impressive concert numbers, is built on five

themes, the first one being the grandiose theme of the mastersingers

ALFRED METZGER—

M. Anthony Linden

REDFERN Mason—

He played admirably.
There was no _ self-con-
scious virtuosity; it was
the pure bel canto of the
flute, every. note round
and perfect as a pearl.—
San Francisco Examiner.

Address all communications to

457 Phelan Building, San Francisco

45]

themselves, after which comes the motive of “Waking Love.” This is
followed by the pompous ‘‘Banner’’ motive, a march-like theme which
accompanies the marching of the guild as its banner with St. David
and the harp is carried before them. The “Love Confessed’' motive,
derived from the famous Prize Song, comes next, followed by the
‘Impatient Ardor”’ theme. After these melodies have been stated and
developed, the magnificent climax approaches, the famous instance in
which the three themes—numbers one, three and four—are employed
simultaneously. This overwhelming example was Wagner's defying
reply to his critics, who claimed that he could not write counterpoint.

THE
MARGARET MARY MORGAN (CO.

Engraving . Printers . Publishing

Commercial Printing

619 California Street Douglas 4633

THE SAN FRANCISCO BANK

(LATELY THE SAN FRANCISCO SAVINGS AND LOAN SOCIETY)

SAVINGS COMMERCIAL
INCORPORATED FEBRUARY 10th, 1868.

One of the Oldest Banksin California,
the Assets of which have never been increased
by mergers or-consolidations with other Banks.

Member Associated Savings Banks of San Francisco
526 California Street, San Francisco, Cal.

DECEMBER 3ist, 1924
$96,917,170.69

Capital, Reserve and Contingent Funds 4,000 ,000.00
Employees’ Pension Fund 461,746.52
MISSION BRANCH. ........ ccc ccc ccs cccccevccccccs Mission and 21st Streets
PARK-PRESIDIO BRANCH Clement St. and 7th Ave.

HAIGHT STREET BRANCH
WEST PORTAL BRANCH

Interest paid on Deposits at the rate of

FOUR AND ONE QUARTER (414) per cent per annum,
COMPUTED MONTHLY and COMPOUNDED QUARTERLY,
AND MAY BE WITHDRAWN QUARTERLY

452

Yeatman Griffith

“Recognized Authority on Voice Production and the
Art of Singing”

For Artists; Teachers; Students

Summer Vocal Master Classes

THIRD SEASON PACIFIC COAST
San Francisco, Cal. June 3rd to July Ist
Los Angeles, Cal. July 6th to Aug. 3rd
Portland, Oreg. | Aug. 10th to Sept. 7th

Teacher

of Teachers

World

Famed America

Artists and

Europe

‘‘Basso Cantante and Vocal Pedagogue of
International Fame’

Enrollments Now Address Communications
FOR TO
San Francisco, Cal.---IDA SCOTT, Kohler & Chase Bldg.
Los Angeles, Cal.---L. E. BEHYMER, 705 Auditorium Bldg.
Portland, Oreg.---OTTO WEDEMEYER, 61 | Bush & Lane Bldg.

NEW YORK STUDIO, 318 West 82nd Street
(Chickering Piano Used)

453

Choose your piano carefully.
Choose it as you would
choose an intimate member
of your family circle. Choose
it for qualities that will en-
dure.

Let your choice, if possible,
be a STEINWAY. There is no
other piano of qualities more
enduring—of distinction so
immediately recognized.

Shermans lay & Co.

Kearny & Sutter Sts.
Oakland - Clay at 14th

School Children’s Symphony

Series

By the

San Francisco Symphony Orchestra
ALFRED HERTZ, Conductor

Auspices Board of Education of the City and County of San Francisco

TUESDAY, APRIL 14, 1925
EXPOSITION AUDITORIUM
1:45 P. M.

. PROGRAMME

1. Military March - - - - - - Franz Schubert
1797-1828

In none of Schubert’s lesser compositions is his genius for
rhythm, melody and spirit shown more plainly.than in this March.
So popular did it become that many orchestrations of it have been
made, it originally having been written for piano (four hands).
A piece so well known as this March makes any special analysis
unnecessary, as its decisive rhythm and spirited melody are of
instant appeal.

2. Andante from Symphony No.5 - - Ludwig van Beethoven
1770-1827

The greatest writer of symphonies was Ludwig van Beethoven,
who was one of the most wonderful musicians the world has ever
known. This Andante, considered by critics the best slow move-
ment from any symphonic work, is the second movement from
Beethoven’s greatest symphony, the fifth. This symphony is some-
times called: the ““Fate’’ symphony because it opens with a motive
in the first movement which is described as “Fate rapping at the
door.’’ Beethoven composed this work at a time of great mental
and physical suffering. He had just come to realize that the deaf-
ness, which had been troubling him, was growing worse, and that
it was hopeless for him to expect ever to be cured. The Andante
played today is a “double theme and variation,’ and the first
melody played by the violoncellos at the beginning is the principal
subject. .

3. Three Entr’acts from “Carmen” - - - Georges Bizet
1838-1875

“Carmen,” Bizet’s greatest opera, was given its first produc-
tion in Paris, March 3, 1875. It was coldly received and Bizet,
who had given his best efforts for its composition, was broken-
hearted. He died three months later, never knowing that the
French public had changed its opinion of the work and that the
entire musical world had accepted it as one-of the masterpieces of
operatic literature. The ‘‘Entr’acts’ were little intermezzi to be
played between the acts of the opera. Bizet was especially suc-

cessful in writing what is known as ‘‘local color’’ into his music, the
music of “Carmen” being rich in the warm tones of the south; the
action of the opera was in Spain.

. Prelude to “The Deluge”’ : . - Camille Saint-Saens

1835-1921
(Violin obligato, Louis Persinger )

The prelude to ‘““The Deluge,’ with the solo violin part, is one
of Saint-Saens’ most popular works. It is the prelude to his Biblical
cantata, “The Deluge,’’ which is based upon the narration of the
flood. It is a short, expressive movement in the free form for the
string orchestra—a slow introductory passage, leading to a quasi-
fugal treatment of a sustained subject given out by the violas, fol-
lowing which the solo violin introduces a melodious obligato, which
holds the foreground to the end.

Dance of the Automatons and Waltz from “Coppelia”’ -
- - - - - - Clement P. L. Delibes
1836-1891

One of the expressions of musical art in which the French revel
is the ballet. Many of their prominent composers have written in
this form and supplied the French stage with a number of its great-
est ballet successes. “‘Coppelia’’ is concerned with a maker of dolls
in a little French village, one of his dolls being very beautiful and
life-size. He places this doll in an open window, where it is much
admired by the youths of the village, who believe it to be real, and
a great deal of jealousy on the part of the village maidens results.
The number played this afternoon is a very effective picture of the
quick and precise steps of the dancing dolls, ending with the
beautiful ““Valse Lente.”

Caprice Viennois - - - . - Fritz Kreisler
1875—

The Caprice Viennois (Cradle Song) is one of the best known
compositions of Fritz Kreisler, the well-known violinist, possessing
the touch of sadness and graceful rhythm which is characteristic of
his other Viennese pieces. Although originally a violin solo, the
composer has also arranged it for piano solo, while the orchestration
played today was arranged by Alfred Hertz.

Hungarian Dance - . - " - Johannes Brahms
1833-1897

Johannes Brahms was the greatest composer of instrumental
music of the latter part of the nineteenth century. All his life he
loved the Hungarian music, with its unusual rhythmic accent and
its melancholy strains. Hungarian dances were originally the
dances of the gypsies, and are composed of two distinct parts, the
‘‘Lassen,’’ or slow movement, which is generally in the minor and
of a melancholy strain; and the “Friska,’’ which is a rapid, wild and
impassioned dance. The lassen is usually danced first, then, as the
dancers become more animated, the friska is heard, and later the
dancers drop back to the lassen for a rest.

Largo, for Orchestra and Organ - George Frederic Handel
1685-1759 |

Handel composed forty operas, of which only a few airs
survive. The so-called “‘Largo’’ is the air Ombra maifu from the
opera “‘Xerxes.’’ His fame rests chiefly upon his oratorios, the
greatest of which is “The Messiah.”

TAKE THIS PROGRAM HOME WITH YOU AND SAVE IT.

Second San Francisco

Spring Music Festival

ALFRED HERTZ, Director
EXPOSITION AUDITORIUM

April 18, 21, 23, 25, 1923

~CHORUS OF 500 VOICES
SAN FRANCISCO SYMPHONY ORCHESTRA

Augmented to 125 musicians

SOLOISTS

MME. HELEN STANLEY || MME. CHARLES CAHIER |

Soprano, Metropolitan Opera Co. || Contralto, Vienna Imperial Opera

RUDOLF LAUBENTHAL ALEXANDER KIPNIS

Tenor, Metropolitan Opera Co. Baritone, Chicago Opera Co.
Principal Works to be Presented
Saturday Evening, April 18
Verdi’s ‘‘Requiem”’
With Full Chorus, Four Soloists and Orchestra
Tuesday Evening, April 21
A Miscellaneous Programme of Solos, Duets and Concerted
Numbers with Full Chorus and All Soloists participating
Thursday Evening, April 23
Schumann’s ‘Pilgrimage of the Rose’
For Full Chorus and Four Soloists
Saturday Evening, April 25

The ‘‘Resurrection’” Symphony of Mahler

For Soprano and Contralto with Full Chorus
also

The ‘‘Rhapsodie’”’ of Brahms
For Contralto Solo and Men’s Chorus
TICKETS NOW ON SALE SHERMAN, CLAY & CO.
$1, $2, $3, (No Tax)

Festival under joint auspices of Musical Association of
San Francisco and the City of San Francisco

DOIPZO it

—

| MUSIC HEADQUARTERS!

Sherman, Elay & Over

Do you want to play the

SAXOPHONE?

Do you want to know more about the

VIOLIN?

Do you know that every boy wants to play the

GBELOS

Do you know that every girl should play the

GUITAR or MANDOLIN?

That it is a wonderful thing to know how to play the

PIANO

Come to music’s headquarters and

learn more about all these wonderful instruments

Sherman, @ay & Co.

Kearny and Sutter Streets, s. F.
Mission St., near T'wenty-second

Oakland, Fourteenth & Clay Sts.

SECOND SAN FRANCISCO

CSS<
oD Va\\I\ININZN2A
Or

~
| eee
a

EXPOSITION AUD
APRIL 18 21

OFFEIC

PROGRA

vO d-3I i L C.

a = Fe Pe anes :
Fa Sa ee a i a eA a ce ~
ck

STEINWAY

The instrument of the..immortals }

and the piano of the home

Choose’ your piano carefully.

Choose it as you would choose
an intimate member of your
family circle. Choose it for

qualities that will endure.

Let your choice, if possible,
be a Steinway. There is no
other piano of qualities more
enduring —of distinction so —

immediately recognized.

Sherman, lay & Co.

Kearny and Sutter Streets, s.F.
Oakland, Fourteenth and Clay Streets

SECOND SAN FRANCISCO

Spring Music Festival

CITY OF SAN FRANCISCO

MAYOR JAMES ROLPH, JR., AND BOARD OF SUPERVISORS

AUDITORIUM COMMITTEE
J. Emmet Hayden, Chairman

Angelo Rossi Edwin G. Bath
AND
Musical Agsoriation of San Hrancisco
Founded December 20, 1909 Incorporated February 3, 1910

WHICH MAINTAINS

THE SAN FRANCISCO SYMPHONY ORCHESTRA
ALFRED HERTZ, Conductor

OFFICERS
Joun D. McKEE, President

J. B. LEvison, Vice-President E. R. Dimonp, Treasurer

A. W. WIDENHAM, Secretary-Manager

BOARD OF GOVERNORS

J. K. Armsby A. B. C. Dohrmann John D. McKee

E. D. Beylard E. R. Dimond Seward B. McNear
Miss Lena Blanding John S. Drum L. F. Monteagle
Miss Louise A. Boyd Milton H. Esberg Robert C. Newell
George T. Cameron Herbert Fleishhacker J. C. Raas

Selah Chamberlain J. D. Grant Wm. T. Sesnon
W.E. Creed E. S. Heller F. R. Sherman

C H. Crocker J. B. Levison M. C. Sloss

Mrs. Templeton Crocker Walter S. Martin William Sproule
Wm. H. Crocker John A. McGregor Sigmund Stern

A. W. WIDENHAM, Manager
Assisted by
SAN FRANCISCO COMMUNITY SERVICE
Henry L. Mayer, President
Marshal Hale, Vice-President

C. L. Rosekrans, Executive Secretary

457 PHELAN BUILDING
GARFIELD 2819

THE ELWYN CONCERT BUREAU

WESTERN OFFICE OF
WOLFSOHN MUSICAL BUREAU, INc.

ANNOUNCES

TEN SUBSCRIPTION CONCERTS

INTERNATIONALLY FAMOUS ARTISTS
On Thursday Evenings During Season 1925-26

SPECIAL SEASON TICKET PRICES:
$3.50, $5.00, $8.00

A Deposit of $1.00 Per Ticket Holds Your Reservation. Balance to Be Paid on or
Before September 1, 1925

EXPOSITION AUDITORIUM

Josef Hofmann
“The Best of the best.”

Edward Johnson

(Leading Tenor, Met. Opera Co.)

Operatic excerpts, lights and costumes
“America’s foremost tenor.”

Margaret Matzenauer
(Leading Contralto, Met. Opera Co.)

“Sings magnificently.”

Cecilia Hansen

“Sensation of the season.”

Joint Recital

Hulda Lashanska

“Most beautiful lyric soprano of
today.”

Felix Salmond

“The Fritz Kreisler of the
violoncello.”

Thamar Karsavina and her
Ballet, with Pierre

Vladimiroff
“Everything she does is instinct with
grace.”

Maria Kurenko
“A new Patti from Siberia.”
Vincente Ballester

(Leading Baritone, Met. Opera Co.)
“A continuous delight.’

Tescha Seidel

“A mighty master of his instrument.”

Joint Recital

Olga Samaroff

“Greatest of America’s women
pianists.”

London String Quartet

“The finest chamber music
organization in the world.”

RESERVE YOUR SEASON TICKETS NOW—SHERMAN, CLAY & CO.
AFTER APRIL 25—638 PHELAN BUILDING

ALFRED HERTZ, Conpuctor

SOPRANOS
Mur, HELEN STANLEY Mrs. LornA LACHMUND

Mrs. Grack HENKEL Mrs. TERESA TUM SUDEN

CONTRALTOS
Mme, CHARLES CAHIER Mrs. Eva GRUNINGER ATKINSON

Miss RADIANA PAZMOR Mrs. LInniAN BIRMINGHAM

. TENOR

RUDOLF LAUBENTHAL

BASSES

1
~

ALEXANDER KIPNIS Y, HAROLD DANA

CHORUS DIRECTOR

Dr. HANS LESCHKE

ASSISTANT CHORUS DIRECTORS

GLENN H. Woops EUGENE BLANCHARD

ORGANIST

UpaA WALDROP

ACCOMPANISTS
Mrs. VIOLET FENSTER BLAGG
Miss MinpRED RANDOLPH

J. L. ELMQUIST

CHORUS SECRETARY

LOUISE BENNETT

| The Maximum of Advancement with Minimum of Effort |

MR. LOUIS

GRAVEURE

Distinguished Recital Baritone

and

\e Famous ‘‘Master”’ Vocal Teacher

THE PIONEER DIRECTOR OF “VOCAL
MASTER-CLASSES” IN THE WEST

will be in

LOS ANGELES, CAL. | SAN FRANCISCO, CAL.

(Second Summer ) ( Third Summer)

June 1 to July 6 July 27 to August 29
1925 1925
FIVE WEEKS ONLY IN EACH CITY

“MASTER” and “AUDITOR” CLASSES
and PRIVATE TUITION

For Particulars, Rates, Reservations,

Details, Etc., address
SELBY C. OPPENHEIMER, Manager

Foxcroft Building, 68 Post Street
SAN FRANCISCO

ENROLL NOW ENROLL NOW

Learn to sing in the way that is actually sustaining Graveure
in the position of one of the world’s greatest artists

FIRST CONCERT
Saturday, April 18, 1925, 8:20 P. M.

SOLOISTS: Mme. Helen Stanley, Soprano
Mme. Charles Cahier, Contralto
Rudolph Laubenthal, Tenor

Alexander Kipnis, Baritone

VERDI'S “REQUIEM”

Composed in Memory of Alessandro Manzoni

For Four Solo Voices, Chorus and Orchestra

1. Requiem and Kyrie (Requiem e Kyrie)
Soprano, Mezzo-Soprano, Tenor, Bass and Chorus

2. Day of Anger (Dies irae)
From the Accursed (Confutatis), Solo Bass
Sadly Groaning, Guilty Feeling (Ingemisco), Solo Tenor
Ah! Remember (Recordare), Soprano and Mezzo-Soprano
King of Glories (Rex tremendae), Quartet and Chorus
Tenor
What Affliction (Quid sum miser), Soprano, Mezzo-Soprano and
Now the Record (Liber scriptus), Mezzo-Soprano and Chorus
Hark the Trumpet (Tuba mirum), Chorus
Day of Anger (Dies irae), Chorus
Ah! What Weeping (Lacrymosa), Quartet and Chorus

3.. Oh, Lord God (Domine Jesu)

Offertory for Soprano, Mezzo-Soprano, Tenor and Bass

4. Holy (Sanctus)
Fugue for Two Choirs

5. Lamb of God (Agnus Dei)

Soprano, Mezzo-Soprano and Chorus

6. Light Eternal (Lux aeterna)
Mezzo-Soprano, Tenor and Bass

7. Lord, Deliver My Soul (Libera me)
Solo for Soprano, Chorus and final Fugue

| JOSEF LHEVINNE

Master of the Pianoforte

|
| PLAYs AND ENDorSES EXCLUSIVELY THE
ii

}

| GW,
therm

i ESTABLISHED 1823 ea

‘Bll @

[| This great artist and teacher expresses his authoritative
| opinion in the following terms:

4 “The Chickering pianos have a splendid evenness
| of scale and action, whith is the most important
factor in artistic performance. In addition, I find
i in the Chickering piano a wonderful variety of tone
bl color and an exquisite singing quality, from the
ih most delicate to the most powerful effects, with a
| beautiful elasticity of touch, combining brilliancy
i and solidity in a completely satisfying manner.

it (Signed) JosrEr LHEVINNE.”
ih

| CHICKERING WAREROOMS
| LEE S. ROBERTS, INC.

| 230 Post Street, S. F., Cat.

i This new home of the Chickering will open on or about May 1, 1925.

| ie invitation of inspection is extended all music lovers. |

Eh
!

bh
Ye
te!

NOTES

Following the death of Rossini, November 13, 1868, a group of
Italian composers conceived the idea of collaborating in the composition
of a grand Mass to be performed in the cathedral at Bologna once every
hundred years on the centenary of Rossini’s death. Each of the composers
was assigned one of the thirteen numbers which were to comprise the work,
Verdi writing the final ‘“‘Libera me.” The task was finished, but when the
Mass was taken as a whole, the various parts formed a musical Joseph's
coat, a lack of symmetry and coherence in treatment being so evident that
the project went no further.

However, Verdi's “Libera me” so attracted the attention of Signor
Mazzucato that he persuaded Verdi to compose a complete Requiem Mass
in memory of Alessandro Manzoni, the poet-patriot, who had just died,
using the original “Libera me’ as a nucleus. Verdi assented, and imme-
diately commenced the work, the first performance being given in the
Church of San Marco at Milan, May 22, 1874, the anniversary of Manzoni s
death. Three performances were later given at La Scala, Milan, the first
of which was conducted by the composer, and within a short time it was
heard throughout Europe.

George P. Upton has briefly analyzed the work as follows:

‘The ‘Requiem’ opens, after a few measures of prelude, with the
chorus chanting the appeal for rest, sotto voce, the effect being carried as
pianissimo as possible until the basses, by an abrupt change of key, give out
the theme of a fugue (‘Te decet hymnus’), written in pure religious style.
The introductory ‘Requiem’ is repeated, and leads to the ‘Kyrie,’ the theme
of which is stated by the tenor, and in turn taken up by the other soloists,

ESTABLISHED 1852

AT
CONSISTENT
PRICES

Shreve and Company
Jewelers and Silversmiths

Post and Grant Avenue
San Francisco

Third Annual Season

The San Francisco Opera
Company

Gaetano Merola, Director
CIVIC AUDITORIUM, SEPTEMBER 19 to OCTOBER 4, 1925

8 SUBSCRIPTION PERFORMANCES
(6 Evenings and 2 Saturday Matinees )

2 NON-SUBSCRIPTION PERFORMANCES

Artists

Sopranos: Tenors:
Claudia Muzio Tito Schipa

Fernand Ansseau
Elvira de Hidalgo Antonio Cortis
Rosina Torri

Lodovico Oliviero

Baritones and Basses:

Contraltos:
Marguerite d’ Alvarez

Irene Marlo

Conductors:
Gaetano Merola
Pietro Cimini

Giacomo Spadoni

Riccardo Stracciari
Cesare Formichi
Marcel Journet
Vittorio Trevisan

Antonio Nicholich

Technical Director:
Giovanni Grassi

Ballet Master:

Natale Carossio

Operas

The operas presented will be chosen from the following:
“‘Aida,’’ “Samson et Dalila,’’ ““Traviata,’’ “‘Rigoletto,’’ “Manon’”’
(Massenet), “Il Barbiere di Siviglia,’’ ‘“Martha,’’ ‘“Amore dei Tre
Re,” “‘Faust,’” ““Anima Allegra’ (first time in America outside the
Metropolitan), ““Tosca,’’ ‘“‘Madame bButterfly’” and ‘‘Fedora.”’

Subscriptions

Subscriptions will be accepted commencing Monday, May

11th, at the offices of SAN FRANCISCO OPERA COMPANY.
KEARNY 6346 68 POST? STREEE

the chorus shortly joining, a double sextet interwoven with it, and the whole
closing pianissimo, as the ‘Requiem’ opened.

“The second part, the ‘Dies irae,’ is in strong contrast with the first,
and is more broadly and dramatically worked up, and with freer accom-
paniment. The opening chorus is one of startling power. The tenors and
basses open the number, immediately followed by the four parts announc-
ing the ‘day of wrath’ in high, sustained notes, while the second sopranos,
altos, and tenors accompany them with immense sweeps of sound that rise
and fall like the waves. There are nine numbers in this part which have
been already specified, the most effective of them being the Adagio trio
(‘Quid sum miser ) for soprano, alto, and tenor, upon which Verdi has
lavished his melodious inspiration. The trio is continually interwoven with
the chorus shouting fortissimo the ‘Rex tremendae Majestatis,’ until it takes
another form in the prayer (‘Recordare’), a duet for soprano and alto in
Verdi's best operatic vein. An effective tenor solo (‘Ingemisco’), followed
by a solemn and majestic bass solo (‘Confutatis’), leads to the stirring
measures of the ‘day of wrath’ again, and closes this part in a powerful en-
semble, both vocal and dramatic.

“The offertory (‘Domine Jesu’) is a quartette with three motives,—
the first Andante, the second Allegro, and the third Adagio in Gregorian
form, the three themes being admirably worked up and accompanied. The
‘Sanctus,’ the fourth part of the Mass, is an impressive Allegro double
chorus, followed by the ‘Agnus Dei, a duet for soprano and alto which is
full of melodious inspiration, illustrated with charming instrumental color.
The sixth part is the ‘Lux aeterna, a trio for alto, tenor, and bass, which
leads to the ‘Libera me,’ the final division and the climax of the work. In
its general effect it is a soprano obligato with chorus. After a monotone

Leading Musical cAttractions — Management

SELBY C. OPPENHEIMER

IO)

MME. FRIEDA

' TITO

SCHIPA

FAMOUS TENOR
TWO RECITALS

COLUMBIA
THEATER

SUNDAY AFTERNOONS oxck AUDITORIUM

ONLY
April 19-26

Thursday Night, April 30

AOS

TICKETS ON SALE AT SHERMAN, CLAY & CO.

'
lat

aoe eet =

— => — - SSeS ~

ise SSeS oe
—- ae ——

ad ge BE ey Leen TR A re mo a eo Pr in ~ A eer se a I aS ore

fern RT:

eee)

a
iz

SECOND CONCERT

Spring Music Festival

TUESDAY EVENING, APRIL 21
WAGNER PROGRAMME

1. Overture to ““Tannhauser’’
2. Lohengrin’s Narrative from “Lohengrin”
Rudolf Laubenthal
3. Solo Numbers with Orchestra
(a) Traume
(b) Schmerzen
Mme. Charles Cahier
4. March from ““Tannhauser’’
For Orchestra and Chorus
“Die Walkure,’’ Act I
Sieglinde and Siegmund Love Scene
Mme. Helen Stanley, Rudolf Laubenthal
6. “Die Walkure,’’ Act Iil
Wotan’s Farewell and Magic Fire Spell
Wotan, Alexander Kipnis

Lea

THIRD CONCERT
THURSDAY EVENING, APRIL 23

Soloists:
Mme. Helen Stanley, Soprano
Mme. Charles Cahier, Contralto
Rudolf Laubenthal, Tenor -

Alexander Kipnis, Baritone

(2S Phe: Pilerimaceror the Rese: 0.5 5 = Pees Schumann
For Soli, Chorus and Orchestra
2. Overture, ““The Great Russian Easter’’.......... Rimsky-Korsakow
3. Aria, “O Paradiso!’” from “L’Africaine’’........ --....... Meyerbeer
RUDOLF LAUBENTHAL
Ate OSI Ges | ToetASO es eae. aaa tga ee ee Scriabine

For Orchestra and Organ

LAST CONCERT
SATURDAY EVENING, APRIL 25

Soloists:
Mme. Helen Stanley, Soprano
Mme. Charles Cahier, Contralto

PERIOD SOC: Soccer Ea Brahms
For Contralto Solo, Male Chorus and Orchestra
Symphony No. 2 (‘‘Resurrection’’ Symphony)...................- Mahler

For Soprano and Contralto Soli, Mixed Chorus,
Orchestra and Organ

recitative and solo, the ‘Dies irae’ is repeated, likewise the Requiem aeter-
nam,’ which forms the introduction of the Mass, and the ‘Requiem’ closes
with a fugue of majestic proportions, ending with the same pianissimo effect
which characterizes the opening of the work.”

No. 1. Requiem and Kyrie (Requiem e Kyrie)
Soprano, Mezzo-soprano, Tenor, Bass. and Chorus

Requiem aeternam dona eis, Domine: Rest eternal, grant them Lord;
f Et lux perpetua luceat eis. And let light perpetual shine upon them.
Te decet hymnus, Deus, in Sion There shall be singing to Thee in Sion,
Et tibi reddetur votum in Jerusalem. And pray’r shall go up to Thee in Jerusa-
Exaudi orationem meam. lem.
Ad te omnis caro veniet. Give ear to my supplication.
Requiem aeternam dona eis, Domine; Unto Thee shall all flesh come.
Et lux perpetua luceat eis. Rest eternal, grant them, Lord,
Kyrie eleison, And let light perpetual shine upon them.
Christe eleison. Kyrie eleison,

Christe eleison.

No. 2. Day of Anger (Dies irae)

Dies erae, dies illa, Day of anger, day of trouble,
Solvet saeclum in favilla: Time shall perish like a bubble.
Teste, David, cum Sibylla. So spake David and the Sibyl.
Quantus tremor est futurus, How each heart shall beat with terror,
Quando Judex est venturus, When the Judge comes, truth to mirror,
Cuncta stricte discussurus! Strictly weighing mortal error!
Hark, the Trumpet (Tuba mirum)

Chorus
Tuba mirum spargens sonum, Hark! the trumpet sound appalling,
Per sepulchra regionum, Earth’s sepultur’'d dead upcalling,

Representing

| Lyon & Healy

KAJETAN
HARPS

ATTL

Concert

Harpist

— aa ee; Zz g

Solo Harpist S. F. Symphony For Engagements Address Bohemian Club

nae
5 ae

Lazar S. Samoiloff
V oice

Director and Vocal
Pedagogue

The most striking feature
of his teaching is its prac-
tical application to the
constant problems of the
professional artist and
teacher. Letters of appre-
ciation from many world-
famous artists attest to
his enviable place in the
teaching world among
them being Claire Dux,
Julia Claussen, Bianca
Saroya, Kurt Tauncher,
Rosa Raisa, Isa Kremer,
Helen Stanley.

Julia Claussen
Voice

Josef Lhevinne
Piano

A great artist, he has
proved himself a remark-
able teacher of his instru-
ment. He is ina position,
by his own experience,
to bring every true tal-
ent to fruition in a far
shorter time than would
ordinarily be considered
possible.

He is a teacher of rare
insight as well as a vir-
tuoso, and brings unusual
authority to all questions
relating to piano playing.

One of the world’s truly
great voices. Not only is
she at the height of her
own powers, but she has
had experience as a
teacher, and possesses the
rare gift of imparting
knowledge. She will give
general instruction in
stage technique, coach
operatic roles and demon-
strate her own _ vocal
method.

LAZAR S. SAMOILOFF

ENDORSES THE

Baldwin

Fairmont. Hotel,
San Francisco, Cal,
October 10, 1924.

Baldwin Piano Company,
310 Sutter Street,
San Francisco, Cal.

Dear Sirs:
Let me express my appreciation of your kind-

ness in co-operating with the Master School of
Musical Arts in California.

I have been familiar with the Baldwin Piano
for many years. I have found it unrivalled in
tone and action—in fact, the ideal piano for
both concert and studio. The school has done
well to have made its arrangements with you.

Very truly yours,
(Signed) LAZAR S. SAMOILOFF.

OF CALIFOF

LAzaRr.s. SAMO;LO!

Enpowep By ALICE CAMPBELI

ALice Secxers, Man

ENROLL |

OPENING OF FIR

LAZAR 5S. SAN

San Francisco Clas: O}

SEVEN WEE

JOSEF LHE!

San Francisco Class O

Andres De Segurola
Operatic Department

A master in character
portrayal, for many seéa-
sons leading bass _bari-
tone of the Metropolitan
Opera Company. He will
conduct opera classes,
teaching acting, and
makeup, and coaching in
operatic repertoire. The
staging of acts from
operas will give practical
experience and prove an
important step for the
operatic aspirant.

Emil J. Polak
Coach
One of the most success-
ful coaches in New York

today. Recently heard
here with Jeritza.

FIVE WEE

W. J. Hender:

Lect rer

Distinguishec crit
New York Su
author of _ nany
will give si? lec
Monday ani T
evenings at ‘he -
Hotel, begining
Open to the pub

ig % ee
A. Kos :lan
Accom ani

A course in sigh
and ear trailing
fessionals aad
by one emin:ntl
ful in th’s
branch of music

aeeeeememmend

ALIFORNIA
MO:;LOFF, oirecror

2 CAMPBELL MACFARLANE
Seckets, Manager

OLL NOW
)F FIRST CLASSES

$I S

S$, SAMOILOFF |

Clas; Opens April 27th
VEN WEEKS

F LHEVINNE

Class Opens May 11th
IVE WEEKS

Samuel Gardner
Violin
One of the leaders among
America’s younger violin-
ists. Well-known as con-
ductor and _ composer,
through long association
with his teacher, Franz
Kneisel, he has rapidly
taken a place among the
successful teachers of vio-
lin, chamber music and

conducting.

V. J. Henderson
Lect ‘rer

aguishec critic of the

York Sun, and
yr of nany books,
give si? lectures on
day ani Thursday
ngs at he Fairmont
|, beginting May 25.
to the, public.

A. Koss :lanetz
Accom anist

Annie Louise David
Be ee Harp

urse in sight reading
ear trailing for pro-
onals aid amateurs
ne emin:ntly success-
in ths important
ch of music.

One of the best-known
teachers and performers
of the harp in America.

RE Soete sot eee ee

Cesar Thomson
Violin
One of the most distin-
guished among the violin
teachers and performers
of modern times, sharing
with Auer the distinction
of having remarkable suc-
cessful artist students.
Formerly it has been nec-
essary to go to Brussels
to work with him. This
is the first opportunity to
study in the West with
this justly famed master.

Felix Salmond
Cello—
Chamber Music

The extraordinary artis-
try of this noted cellist
has made him a favorite
everywhere. His classes
in London have been the
goal of students from all
parts of the world. Coach-
ing in chamber music will
be given by Mr. Salmond
and pianists, violinists
and cellists may enroll
for actual experience or
as auditors.

Sigismund Stojowski
Piano—Composition

eee See eee Sa: Wee t Lee eee Sek ee

He holds a high place in
three phases of musical
creation: pianist, com-
poser and teacher. The
most authoritative expo-
nent of Paderewski’s
methods and ideals. He
stands today among the
eminent artist teachers.
Numbered among his
pupils are Levitzki,
Novaes and Loesser.

This Faculty of Celebrated Artist
Teachers Will Give Instruction in

SAN FRANCISCO
AND

LOS ANGELES

Between May and September,
1925

Dates for each Master sent on request
Free Scholarships are offered with each

Teacher
Write for Application Blank and Catalog.
Address

Master School of Musical Arts
ALICE SECKELS, Manager
Office:

Room 139, FarrMoNT HOTEL
PHONE Douctas 7267 SAN FRANCISCO

SE SSS ™
-- ——<——— ——— = — eee SSS — — -
a = > oS —— = =a = — = : z — = ———————————————SSSS==— = ~~ Se - Se a a - =A a S y

~ Re ent

a a

————

Under
Linnard M anagement

LWwOePAM ODS OLELS

have in a large measure become the center
of San Francisco’s social life. Perfected
unobtrusive service to every guest is the

secret of their sustained popularity.

FAIRMONT $ Ess
Hotel Company WHITCOM B

D. M. Linnard LeRoy Linnard D. M. Linnard Ernest Drury
President Manager & Lessee Manager

—_

THE SAN FRANCISCO BANK

(LATELY THE SAN FRANCISCO SAVINGS AND LOAN SOCIETY)

SAVINGS COMMERCIAL
INCORPORATED FEBRUARY 10th, 1868.
One of the Oldest Banksin California,
the Assets of which have never been increased
by mer¢gers or-consolidations with other Banks.

Member Associated Savings Banks of San Francisco
526 California Street, San Francisco, Cal.

DECEMBER 3lst, 1924

EN TE San ae are, neg er eae Carpets ane $96,917,170.69
Capital, Reserve and Contingent Funds....... 4,000,000.00
Employees’ Pension Fund.........-.-.seeee+- 461,746.52
WEES SELON ESERINGEAG aig Fos ws wide clase Seles Sine o bees Mission and 21st Streets
PARSSPRESTDIOs BRANGH cinco oles aie oc whet 6 one ee Clement St. and 7th Ave.
HAIGHT STREET BRANCH. «2 ..c ccc ccdeces. Haight and Belvedere Streets
WEST PORTAL BRANCH... 22... 62+.5.08- West Portal Ave. and Ulloa St.

Interest paid on Deposits at the rate of
FOUR AND ONE QUARTER (4 lf) per cent per annum,
COMPUTED MONTHLY and COMPOUNDED QUARTERLY,
AND MAY BE WITHDRAWN QUARTERLY

a =e

Coget omnes ante thronum. Round the Lord’s throne prostrate falling,

Mors stupebit et natura, Death with wonder is enchained,
Cum resurget creatura, When man from his grasp regained,
Judicanti responsura. Stands before the Judge arraigned.

Now the Record (Liber scriptus)

Messo-Soprano and Chorus

Liber scriptus proferetur, Now the record shall be cited,
In quo totum continetur, Wherein all things stand indited,
Unde mundus judicetur, Whence the world shall be requited,
Dies irae! Day of anger!
Judex ergo cum sedebit, When to judgment all are bidden,
Quidquid latet, apparebit; Nothing longer shall be hidden;
Nil inultum remanebit. Not a trespass go unsmitten.

What Affliction (Quid sum miser)

Soprano, Mezzo-Soprano and Tenor

Quid sum, miser! tunc dicturus, What affliction mine exceeding?
Quem patronum rogaturus. Who shall stand forth for me pleading,
Cum vix justus sit securus? When the just man aid is needing?

King of Glories (Rex cendae)
Quartet and Chorus

Rex tremendae majestatis! King of glories, bright and glowing!
Qui salvandos salvas gratis, Grace on whom thou wilt bestowing,
Salva me, fons pietatis! Save me, Lord, with mercy flowing!
Salva me, Salva me. Save me, Lord, Save me.

Quarg Music Company

109 Stockton Street

206 Powell Street ———TWO STORES

Open Evenings
ao
|, a ‘2 Victor mE

Records

TRADE ae

>LONG DISTANCES

TRADE MARK REG.

They cost more, but
they do more

They tune thru everything

$240 and up. Easy Terms

oo ee
——_

\NICH-&-BACH

UVALITY PIANOS
and PLAYER PIANOS

JULIA CLAUSSEN

“Prima “Donna Mezzo-Soprano
Metropolitan Opera Co., New York

WRITES:
KRANICH & BACH,

New York.
Gentlemen:

Your piano is unexcelled in the beautiful |
quality of its tone and workmanship. ;

Very sincerely yours

| Exclusive “Representative
: , é Oakland
~ MUSIC ce.” ET tere
140 O’F ARRELL STREET : 1016 J Street, Sacramento

The Hibernia Savings
and Loan Society

HIBERNIA BANK
Incorporated 1864

HEAD OFFICE
COR. MARKET, McALLISTER and JONES STS.

MISSION OFFICE
COR. VALENCIA AND 22ND STS.
SAN FRANCISCO, CAL.

PSE nme omen ae tis oe eee EY sad 6 ee ee $81,603,701.25
RESERVE FUND = 5 ,922.693.15

OPEN DAILY FROM 10 A. M. TO 3 P. M.

OPEN ALL DAY SATURDAY FROM 10 A. M. TO 8 P. M.

SAFE DEPOSIT VAULTS AT MISSION OFFICE

Ah! Remember (Recordare)

Soprano and Mezzo-Soprano

Recordare, Jesu pie,

Quod sum causa tuae viae.
Ne me perdas illa die.
Quaerens me, sedisti lassus;
Redemisti, crucem passus;
Tantus labor non sit cassus,
Juste Judex ultionis,
Donum fac remissionis
Ante diem rationis.

Sadly Groaning, Guilty Feeling
Solo Tenor

Ingemisco tamquam reus,

Culpa rubet vultus meus:

Supplicanti parce Deus.

Qui Mariam absolvisti,

Et latronem exaudisti,

Mihi quoque spem dedisti.

Preces meae non sunt dignae,

Sed tu bonus fac benigne,

Ne perenni cremer igne.

Inter oves locum praesta,

Et ab haedis me sequestra;

Statuens in parte dextra:

From the Accursed (Confutatis)
Bass Solo

Confutatis maledictis,
Flammis acribus addictis,
Voca me cum benedictis,
Oro supplex et acclinis,
Cor contritum quasi cinis
Gere curam mei finis.

Ah! remember, Jesus blessed,

For me Thy path was oppressed.

Save me then, by fear distressed.

For my sake, thou sat’st down weary,
Thy cross bearing, meek and cheery;
Fruitless be not toil so dreary.
Justice, vengeance, ye appall me,
From my sins, Lord, disenthrall me,
Ere to answer thou dost call me.

(Ingemisco )

Sadly groaning, guilty feeling,

O’er my visage blushes stealing:

Lord, Oh, spare me, lowly kneeling.
Thou who Mary’s sin forgavest,

Who to hear the thief vouchsafedst,
Unto me bright hope thou gavest.
Though my sad pray’rs breath be wasting,
Kindly glances on me casting,

Save me from flames everlasting,

With thy sheep, Lord, deign to rate me,
From the wicked separate me,

At Thy right do Thou instate me:

From the accursed and rejected,
Doom’d to fiery flames convicted,
Call me forth with thine elected.
Lo! I pray, a suppliant sighing,
Dark remorse my heart updrying,
Heed me at the hour of dying.

YEATMAN GRIFFITH

“Recognized Authority on Voice Production and the Art of Singing”

Summer Vocal Master Classes

FOR ARTISTS - TEACHERS - STUDENTS
ENROLLMENTS NOW

Address Communications
SAN FRANCISCO, CAL. June 3rd to July Ist
To IDA G. SCOTT, Kohler & Chase Building
LOS ANGELES, CAL.
To L. E. BEHYMER, 705 Auditorium Building
PORTLAND, ORE.

July 6th to Aug. 3rd

Aug. 10th to Sept. 7th

To OTTO WEDEMEYER, 611 Bush & Lane Building
EE

San Francisco’s Home for 4 Musical Education
ra Ae hal eet tr 1 Ba gta Ze aE. OE SRS

Complete Summer Courses
1925 Season Opens June 22nd

Instructions in all Branches of

MUSIC DURING THE SUMMER

Morning (lasses Free Recitals Private Lessons

ARRILLAGA MUSICAL COLLEGE

2315 JACKSON STREET SAN FRANCISCO
TELEPHONE WEST 4737

ee ee

garden-fresh Che Dominican College

erat neg SD AT: ere
<
= = 2 a
ye
¥

oi trestaanespenaeeaiatantesgntinnitadiitit

F le OW E R S of San Rafael

A College for Women

See ==

Conducted by the Sisters of Saint Dominic
Resident and Day Students

OU are always

assured Nature’ s

i Bl

Hi} Fs

Hi} mostexqusite bloo

i] ee es Degrees conferred in College of Letters

i when we serve you— and Sciences and in School of Music.

Mt j Approved by the Graduate Division of

' Blossoms that will the University of California.

iH express your thought Accredited by the California State Board
in fragrant unforget- of Education. California State Teachers’

’ Credentials granted.

able beauty. School of Music Building, Auditorium
: and Equipment unsurpassed. Artist Fac-
ulty. Normal Music Training Department
offers exceptional opportunities both to
resident and day pupils. California State
Elementary and Secondary Credentials in
Music granted.

For information, address
VIL, ‘ The Dean of the College
San Rafael

The Voice of a Thousand Gardens” ;
- Artist Concert Course under
226-226 GRANT AVE. TEL. KEARNY 4975 management of Alice Metcalf

SAN FRANCISCO

Orders telegraphed anywhere

a
enna i ~--$— ——

San Francisco Conservatory of Music
Ada Clement and Lillian Hodghead, Co-Directors

aaa SS

NEW PIPE ORGAN SOON READY

Summer Organ Courses With

WARREN D. ALLEN

3435 Sacramento Street Phone: Fillmore 898

————————————————o —

Madame Emmy Tromboni

Teaches Absolute Purity of Tone Along Scientific, Modern Lines

|
|
y'|
|
|
i}
1

Prepares Students and Teachers for All Branches of
Vocal Art

601-602 Kohler & Chase Bldg. Phone Garfield 6046

Ah! What Weeping (Lacrymosa)
Quartet and Chorus

Lacrymosa dies illa!
Qua resurget ex favilla
Judicandus homo reus
Huic ergo parce Deus.
Pie Jesu Domine,

Dona eis requiem.

No. 3.

Ah! what weeping on that morrow
When man’s ashes form shall borrow,
Judgment guilty shall declare him!
In Thy mercy, Lord, then spare him.
Gentle Jesus, Gracious Lord,

Grant them Thy eternal rest.

Oh, Lord God (Domine Jesu)

Offertorio for Soprano, Mezzo-Soprano, Tenor and Bass

Domine Jesu Christe,

Rex gloriae, libera animas

Omnium fidelium defunctorum

De poenis inferni et de profundo lacu.
Libera eas de ore leonis,

Ne absorbeat eas tartarus,

Ne cadante in obscurum.

Signifer sanctus Michael repraesentet eas
In lucem sanctam.

Quam olim Abrahae promisisti et semini
ejus.
Hostias et preces

offerimus.
Tu suscipe pro animabus illis,
Quarum hodie memoriam facimus,
Fac eas, Domine, de morte transire ad
vitam.

tibi, Domine, laudis

No. 4. Holy (Sanctus)

Fugue for Two Choirs

Sanctus, Sanctus, Sanctus,

Stella Raymond-Vought

Coloratura Soprano Voice Culture

Available for Concerts, Oratorios and
Recitals

“Madame Vought has a bril-
liant soprano voice, which she
with the skill of an
artist.. Her coloratura was
; perfect, every note being given
with the polish of a gem.”
—San Francisco “Call.”

726 Sutter Street. Prospect 4820

uses

O, Lord Christ Jesue,

King of Glory, deliver Thou

The souls of all them that died

In the faith of Jesue from pains everlast-
ing,

And the abyss unfathom’d.

Deliver them from the mouth of the lion,

Lest the jaws of the pit shall swallow
them.

Lest they lie in the utter darkness.

But let Holy Michael, leader of hosts,

Bring them into Thy holy splendor.

As unto Abraham Thou didst promise

And to his seed forever.

Sacrifice and pray’r unto Thee.

Lord, offer we with praises.

Accept Thou these now for the souls

Of them, Lord, for whose sake

We do in memory hold this day.

Make them to pass, O Lord, from death

Unto life everlasting.
Holy, Holy, Holy,

MADAME VOUGHT PRESENTS
ELEANORE STADTEGGER |

Coloratura Soprano
in Joint Recital With
MAX GEGNA

"Cellist San Francisco Symphony

IRENE MILLIER
Pianist and Accompanist
FAIRMONT HOTEL
Friday Evening, May Ist, 8:30
Admission, $1. Tickets,
Clay, & Co.

Sherman

Warriner Vocal Studios

METROPOLITAN OPERA HOUSE
NEW YORK CITY

SAN FRANCISCO SUMMER COURSE
June 25th to August 25th, 1925

For information and reservations address studio 43.

See eee _
SSS = =

SSS

Hi}
H)
Ih
|
Hi
x)

Dominus Deus Sabaoth,

Pleni sunt coeli et terra gloria tua.
Hosanna in excelsis,

Benedictus qui venit in nomine Domini.

No. 5. Lamb of God (Agnus Dei)

Lord God of Sabaoth,

Heaven and earth are full of Thy glory,
Hosanna in the highest,

Blessed is he who comes in the name of

the Lord.

Soprano, Mezzo-Soprano and Chorus

Agnus Dei,
Qui tollis peccata mundi,
Dona eis requiem sempiternam

No. 6.

Light Eternal (Lux aeterna)

Lamb of God,
That takest away the sins of the world,
Grant them eternal rest.

Mezzo-Soprano, Tenor and Bass

Lux aeterna luceat eis,
Domine,

Cum Sanctis tuis in aeternum
Quia pius es.

Requiem aeternam dona eis.

No.7.

Let light eternal shine upon them,
O Lord God,

As on Thy Saints, now and ever,
For Thou art good,

Grant them rest eternal.

Lord, Deliver My Soul (Libera me)

Solo for Soprano, Chorus and final Fugue

Libera me, Domine, de morte aeterna

In die illa tremenda,

Quando coeli movendi sunt et terra

Dum veneris judicare saeculum per
ignem.

Tremens factus sum ego et timeo,

Dum discussio venerit atque ventura Ira;

Dies irae, dies illa,

Calamitatis et miseriae,

Dies magna et amara valde,

Libera me!

GEORGE

Address: 479 Forest Street,
Phone: Piedmont 3554

Lord, deliver my soul from the doom

Of eternal death,

In the dread day of judgment;

When the heaven and earth

Shall both be moved;

When Thou shalt come in the midst of
fire

To judge the whole world.

Full of terror am I, and of dreadful fear

At the judgment that shall come,

And at the coming of Thy wrath,

Day of anger, day of trouble,

Of utter confusion and despondency,

And most bitter sorrow.

O, Lord, deliver my soul!

IRVING KRICK

Solo Pianist

Available for Club Engagements in Bay Region
Season 1925-1926

Oakland

STEWART McM AN U S Pianist and Teacher

1459 4th Ave. Sunset 2487

Available for Engagements as Solo Pianist or Accompanist

Mondays: 526 Powell Street

Thursdays: 2510 College Ave., Berkeley

Has toured as assisting artist with Pablo Casals; Jean Gerardy and George Enesco

Master Class of Pianoforte Playing
MARGUERITE MELVILLE LISZNIEWSKA
Master Faculty—Cincinnati Conservatory of Music
Five weeks commencing June 22, 1925
Sorosis Club, 536 Sutter St., San Francisco, Calif.
and School of Music, Dominican College, San Rafael, Calif.

For full information address:
ALICE METCALF, Manager

STUDIO: 1233 California St., San Francisco, Calif.

Phone Prospect 8158

2222] +

FIRST VIOLINS

Persinger, Louis
Concert Master and
Assistant Conductor

Argiewicz, Artur
Assistant Concert
Master

Ford, Louis
Assistant Concert
Master

Meriz, E.

Mendelevitch, R.

Laraia, W.F.

Gluschkin, M.

Gordohn, R.

Seiger, Rudy

Bem, Eugenia

Koenig, H.

See, Orley

Mortensen, Modesta

Amsterdam, M.

Pasmore, Mary

Ruiz, R.

SECOND VIOLINS

Jensen, T.

Principal
Haug, J. A.
Callinan, W. G.
Hidden, R. L.
Gold, J.
Paterson, J. A.
Blaha, A.
Manchester, W.
Atkinson, Helen
Purt, B.
Dunn, H. A.
Gough, W.
Hoffman, H. H.
Dabelow, W.
Willard, J. M.
Curcio, R.
Baker, Genevra

VIOLAS

Fenster, Lajos
Principal

Hahl, E.
Baker, F.A.
Wismer, H.
Weiler, E.
Lichtenstein, V.
Patchook, S.
Dierich, F.
Kolb, R.
Lewis, A.
Wellendorff, H.
Firestone, N.

dersomel

The San Francisco Symphony Orchestra

ALFRED HERTZ, CONDUCTOR

*CELLOS

Ferner, Walter
Principal

Dehe, W.

King, O.
Villalpando, W.
Weiss, A.

Kirs, R.

Gegna, M.
Pasmore, Dorothy
Hranek, C.
Demetrio, G.

Gough, Flori

BASSES

Lahann, J.
Principal

Greene, S.
Bell, W.
Storch, A. E.
Cassetta, L. R.
Guterson, A.

Annarumi, A.

Giese, W.

FLUTES
Linden, Anthony
Newbauer, Louis

Oesterreicher, Walter
Orchestral Manager

Benkman, H.

PICCOLO
Oesterreicher, Walter

OBOES

Addimando, C.
Shanis, Julius
Schipilliti, V.
Utschig, H.

ENGLISH HORN
Schipilliti, V.

CLARINETS
Randall, H. B.

Zannini, N.
Fragale, F.
Greenbaum, A. A.
Randall, W. F.

A. W. WIDENHAM, Secretary-Manager

BASS CLARINET
Fragale, F.

BASSOONS

Kubitschek, E.
La Haye, E. B.
Hranek, C.

CONTRA BASSOON
Kolb, R.

HORNS

Hornig, W.
Tryner, C. E.
Roth, P.
Huske, F. E.
Rocco, R.
Findeisen, C.
Cleveland, G.
Salvatore, M.
Trutner, H.
Dabelow, W.

TRUMPETS
Ditzel, E.
Arriola, A.
Kegel, Otto
Kress, V.
Edwards, G. M.
Savant, S.
Linden, Arthur
Dering, B. A.
Klatzkin, B.

BASS TRUMPET
Klotz, L.

TROMBONES

‘Tait; Fea.
Clark, O. E.
Bassett, F. N.
Ingram, T

TUBA
Murray, R.

HARP

Attl, Kajetan
Schipilliti, Annette

TYMPANI
Wagener, R. E.

PERCUSSION

Nickel, M.
Vendt, A., Jr.
Kundy, E.
Salinger, M. A.
Wood, W.A.
Overbeck, H.

PIANO AND CELESTA

Ormay, Gyula

LIBRARIAN
Kegel, Otto

CoRR ERAGE
a iv

]

SOPRANOS

Albright, Ethel A.
Alpern, L
Anderson, Anna
Anderson, Hildur E.
Anderson, Margaret
Asmussen, Dorothea
Atha, Mrs. Miles M.
Auger, Miss Lina
Augustson, Mrs. Selina
Backus, Violet M.
Ballard, Zebulon V.
Bannerman, Miss Julia
Barr, Elsie J.
Bartlett, Catherine Q:°
Bashford, Edith
Beckert, Elsie M.
Beckett, Helen I.
Beppler, Miss Myrtha
Blagg, Violet Fenster
Bowen, Beatrice
Bradford, Dorothy
Bradford, Helen M.
Brennan, Katherine
Brown, Genevieve McK
Brown, Mrs. R. C.
Buck, Mrs. K. A.
Burns, Miss E.
Canet, Kathleen
Caradonna, Miss Mary
Centini, Mary G.
Chapman, Lula Mae
Clifford, Miss Beatrice
leal, Anyta Clayr
Cole, Grace A.
Crowley, Miss Katharine
Davidson, Miss Leda
Davis, Mrs. L.
DeVoney, Bessie D.
Debrecht, Eulalia
DeCamp, Miss Carolyn
Delaney, Lorna Claire
Deward, Mrs. J. M.
Doane, Mrs. O. K.
Doheny, Mrs. Nellie
Duerbeck, Anna M.
Durkin, Miss A. Hazel
Eames, Mrs. E. A.
Easton, Mrs. Verna M.
Elliott, Miss Adelaide’
Ellwanger, Clara Jane
Emerson, Miss Mattie E.
Erwin, Miss McHenry
Fries, Mrs. C. G.
Gassenberg, Ellen
Gates, Phyllis Scharff
Goldberg, Mrs. Addie
Grossman, Jeannette
Grubb, Edna M
Hamm, Dorothy
Hart, Frances
Heal, Gertrude M.
Heeck, Eliese
Henkel, Grace
Heyde, Margaret E.
Hiestand, Elizabeth
Hobrecht, Mrs. Charles
Holmes, Isabelle A.
Hook, Mrs. H. O.
Hooper, Mrs. John
Howard, Carrie L.
Hueter, Mrs. Ernest L.
Hull, Marion Turney
Hussey, Mrs. Zelie A.
Jacobsen, Adelaide
Jann, Sara C.
Janson, Edna E.
Johnson, Frances
Johnson, Jean
Johnson, Miss M.
Jung, Margaret

CHORUS

San Francisco Division

MRS. VIOLET FENSTER BLAGG, ACCOMPANIST
Kaunitz, Miss Mildred H. Vallina, Louise

Kec, Marguerite
Keefe, Mrs. F. C.
Keenan, Miss S. A.
Kelly, Addie

Kern, Lydia H.
Kinread, Mrs. Kate
Kinross, Onida

Kline, Mrs. Harold
Knudsen, Marie S.
Koblick, Mrs. Esther
Kurtz, Mrs. Rubye
Lachmund, Lorna
Lawson, Mrs. A. W.
Lazelle, Miss Rena
Leonard, Kathryn
Lewis, Miss Melita
Lineer, Lillian

Loge, Miss Clara

Lull, Sarah L.

Lynch, Mrs. Charles
Lynn, Ethel
MacIntosh, Mabel D.
Mailer, Miss Barbara A.
Marshall, Mrs. S. H.
McGovern, Mrs. C. J.
McKercher, Hyacinth
Melkonian, Bertha
Melville, Clara Soper
Merriman, Miss Faith
Mesherry, Mrs. Lewis
Meussdorffer, Irene
Mitchell, Miss Vlada
Mont, Mrs. N.
Morgan, Florence M.
Morris, Caroline W.
Morris, Edythe Vivian
Munson, Florence E.
Newhouse, Mrs. W. G.
O’Day, Miss Marie
Overbeck, Mrs. H.
Penhorwood, Miss Li
Perrin, Miss E. J
Price, Jane Ellen
Pritchard, Miss Ann A,
Podhurst, Mrs. N.
Potvin, Miss Vivienne
Reinecke, Lillian
Rich, Mrs. Marie
Riedaelli, M.
Ringressy, Paula C.
Roche, Mrs. William
Roesti, Miss Olga
Rosberg, Esther A.
Scholz, Mrs. Elsie F.
Schwartzberg, Simona
Scobey, Mrs. Nellie G
Sherman, Ruby M.
Simpson, Miss Loretto
Sisson, Madeleine A.
Slate, Mrs. Ruth
Slater, Ruth M.
Smith, Madeleine L.
Sousa, Frona Simon
Southworth, Estelle
Spencer, Annita A.
Spaney, Alice

St. John, Marie
Sterling, Miss Emma
Street, Mrs. Francis
Stuart, Ruby E.

Sund, Miss Hilda
Swint, Catherine B.
Tauber, Miss D.
Thomson, Carolyn R.
Thompson, Mrs. E. H.
Tooker, Dorothy
Tresidder, Miss Oliene
Trowbridge, Fawn Post
Tum Suden, Teresa
Ulman, Adele

Vedder, Margaret
Vejar, Anna Ray
Vrang, Marian J.
West, Miss Edythe
Wheeler, Isabella
Wheeler, Mrs. W. T.
Willmering, Parl B.

ALTOS

Allen, Jane

Atkinson, Eva Gruninger
Barbat, Mrs. J. Henry
Bartlett, Miss Olive S.
Barbieri, Florence M.
Baum, Helen H.
Berman, Mrs. D.
Berton, Nadine
Blotkey, Mrs. Anna K.
Blythe, Helene S.
Booth, Maude

Brock, Mrs. Netta
Brown, Zulina B.
Burke, Doris J.
Butler, Miss Amy
Calderwood, Rush
Chamberlin, Sue
Christensen, Alma
Claussen, Estelle L.
Clement, Ada
Clement, Marion
Cole, Susan

Craig, Elizabeth
Donnan, Carol
Donnan, Grace W.
Doty, Nellie F.
Dozier, Elizabeth
Ennis, Mrs. O.

Evans, Madeline
Fern, Mrs. Wallace T
Finlay, Alice

Freese, Kathryn
Friedrichs, Mrs. C.
Germain, Mrs. A. M.
Glick, Mildred
Guthrie, Paula
Gwinn, Mrs. Joseph M,
Haase, Mrs. S.
Hammer, Mrs. Adele
Hansen, Miss M.
Harper, Mrs. Annabel
Hellar, Edwinna M.
Hennessy, Marion A.
Heyde, Gertrude E.
Hirsch, Eleanora E.
Holcombe, Miss E. A.
Holcenberg, Anita
Holt, lvy

Keesing, Florence
Kienast, Celestine
King, Helen

Krist, Martha L.
Langley, Mrs. Virginia
Leonard, Ramona A.
Lindstrom, Mrs. Louis
Marston, M. Garthwaite
Martschinke, Mrs. Ida
Maul, Juliet

Mayers, Gertrude
McCoy, Elizabeth
McElroy, Aileen J.
Merrill, Miss Virginia
Messerschmidt, Elsa
Meyer, Mrs. Kuno
Millington, Louise
Miner, Ethelwyn E.
Morse, Mrs. Helen
Mott, Katherine A.
Nelson, Mrs. Ada F
Neustadt, Mrs. B.
Page, Mrs. Margaret V.

Peltzer, Enid

Peterson, Mrs. Gertie
Plise, Mme. Marie Light
Porter, Mrs. Francis H.
Pratt, Mrs. W. W.
Prentiss, Mrs. C. W.
Preston, Ines F.
Rampe, Mrs. Will E.
Randall, Helena F.
Reinhold, Anna

Runge, Doris

Schulz; Erna

Shatz, Josephine
Shepman, Mrs. Mildred
Smith, Irene

Stinson, Mrs. R. H.
Stone, Grace E.

Storm, Ethel L.
Strandberg, Mary F.
Strauch, Auge

Tauber, Mrs. Jessica M.
Trauner, Irene R.
Trauner, Mrs. J.

Tyler, Mrs. H. Upton
Weinberg, Mrs. Emilie S:
Weisbaum, Mrs. Elsie L.
Wild, Helen

Wise, Miss Dorothy
Wise, Miss Frank
Wilson, Miss L. May
Worst, Eva

Wrenshall, Mrs. E. K.
Zaretzky, Emilie

TENORS

Adam, Richard
Alexander, Thomas
Anger, Maurice
Ash, Major J. E.
Barnes, George
Barrientos, Bernard R.
Battison, Robert
Blatt, Walter E.
Boyd, F. T.
Brown, Guy L.
Brown, Roy C.
Carcione, J.
Cardinal, Emile J.
Dahl, F. M.
De Li, R. E. Artur
Edson, Henry F.
Eggers, A.R.
Erwin, Dixon A.
Elmquist, J. L.
Ferry, Joseph P.
Folsom, Elbert
Friedlander, G.
Gagos, Kurken
Giannini, Edilio.
Giannini, Italo
Gross, Albert E.
Hackenberg, Charles
tel Philip C.
amann, Henry C.
Hoffman, C. P.
Holton, Erwin
Johnson, Willard L.
Jones, Gwynfi
Kennedy, Charles H.
Liederman, B.
Lindner, Arthur
Lundquist, Caleb
Mahr, Jacob J.
Marr, James
Mavor, J.
McNeil, Earle F.
McNeil, J. L.
Micklich, Max
Morris, Carl
Nelson, James F.

Olds, Leon B. W.

San Francisco Division (Continued)

Padel, Orrin Leon Cowles, Jean Lundgren, Richard Seger, Stewart

Paxson, W. L. Crofts, F. E Lundine, Prof. Carolus Sherriffs, Alick G.
Rogers, W. H. Delmar, C. L. Maginnes, A Simmen, John
Sitenice rub Easton, Charles H. Maples, Thomas Skinner, John

? pig erase Fauer, Theo. K. Marston, Otis

Smith, George
Sommer, Dr. Herman
Stradem, Charles

Smiths. cL.

Smith, John Preston
Smith, Wm. L.
Steward, Parker
Stone, George O.

Flammer, Victor May, W.

Grahn, Edward McCoy, L. Harlan
Gruber, Dr. William Melbourne, Louis A. Summerville, J. T.
Guenter, George Moore, H. S. Taylor, W. Allen
Hagan, Elmer Oswald, Charles E. Tibbe, Cuthbert P.

Taylor, R. H. Hauschild, J. H. Parker, W. J. Tyler, Dr. H. Upton
Thomas, Jack Hein, George Pasmore, H. B. Van Hulst, Carel
Willi : H Hencke, John Platz, Joseph Vogel, H. Victor
MAINS 3 _S-he Herz, Leo Plagemann, Louis Ward, P. H.
BASSES Hofmann, W. C. Rich, Ross C. Watts, Francis P.
Homberger, H. Rickman, Edwin West, John E.
Albert, F. W. Hooke, Geo. H. Rickleffs, Henry F. Wright, R. K.
Augustson, Hugo M. Hunt, Emery L. Schepte, Henry Wyatt, O. W.
Ballard, John R. Isaacs, Frank Schoedsack, G. A. Young, A. C.
Carleton, Chas. W. Lamont, G. E. Schulz, G. W. Ziegler, J. E.

East Bay Division
MISS MILDRED RANDOLPH, ACCOMPANIST

anor sem Sree pres: Vistar airs. dn B.

. ash, Mrs. Geo. H. ordon, Mrs. J. enz, R. L.

glee ton tuna M: Nielsen, Mrs. C. B. Harrington, Mrs. L. R. Sirola, Onni
Campbell Gladys Mary Nordvik, Mrs. J. M. Hirsch, Edith

Cavanaugh, Nadi Anita Reynolds, Grace D. Josten, Mrs. John BASSES

Cote Nirs, the} Rinehart, Miss Amy Knott, Mrs. B. F. Arterburn, A. B.
Crockett, Mrs.GraceL, Schmitt, Mrs. Theresa E. Medina, Mrs. Evelyn Ball, Alexander W. G.
De Vaux, Mrs. Norman Sweeney, Dorothy Moody, Mrs. May VanD Brinkley, B. G.

SOPRANOS

Ellis, Miss Jennie
Engler, Muriel

Gray, Mary
Hammond, Margaret
Hanly, Mrs. Leo B.
Hawes, Mrs. L. V.
Hayden, Ada F.
Helmstein, Miss F.

Shideler, Florence V.
Weaver, Margaret G.
Will, Mrs. Andrew J.

Woods, Mrs. Glenn H.
ALTOS

Ashley, Blanche
Brinkley, Mrs. B. G.

Parker, Miss B. F.
Rowlands, Mary J.
Schulze, Mrs. Bertha

Schwarzmann, Mrs. E. G.

Shewmaker, Ethel M.
Trevorrow, Mrs. W. J.
von Ahnden, Emma
Wagener, Winifred L.

Castleman, S. J.
Compton, Leonard D.
Coy, Fred A.

Freese, Henry M.
Gordon, W. D.
Harrington, L. R.
Howe, William T.

Jecks, F. Marshall
Mullen, G. C.

Plant; Tak.

Pollard, Clarence M.
Reber, Otto F.
Uridge, Harry E.
Whitehead, Rex

MADAME KRISTOFFY PRIMA DONNA SOPRANO
JOHANNA Thorough Vocal and Dramatic Training

Phone Douglas 6624

Hoszowski, Emma
Lewis, Mrs. J. W.
Lewis, Mrs. M. H.
McCord, Miss Alice E
Miller, Alice B.
Miller, Mrs. H. K.

Castleman, Mrs. Stanley

Cushing, Mrs. A. S. TENORS

Dillon, Miss Bertha Blosser, Roy H.
Essex, Mrs. L. B. Clarke, Frank Sidney
Flammer, Mrs. Charles Egbert, R.

Freese, Thada S. Ellis, E. R.

740 Pine Street

MARGARET Special Summer Course for a limited
number of advanced students and those
I ° , wishing to be coached for the Concert
riLLy Pianist See
ELWYN CONCERT BUREAU Seudie:

1815 Broadway

Phelan Bldg. Fillmore 9082

THE
AV) Gace 0.

Engraving. PPYINMLELS. . Publishing

619 CALIFORNIA STREET
DOUGLAS 4633

Commercial Printing

a ae

te TRS I TL -aee in

OS DE ATE SAE SAPS APRESS SAE SASSER SA SSS a SCTE

Ag RS SG Rage Lap eae

ea oy 0 a? ree

ce ee EI EN ie
- etre ie a a an

Br Sa...
% ws sci as
< } eA

— :
guy

ie Seat > NH, “ 3
aoe nod Sg PT OP Pat wh ay
po oath | eh C5 2 ASSENT ra ary

5 gate
3 ana: -

a
"i

oy 7

%,
tay
tena

The first
Victor Records

by the
San Francisco

Symphony Orchestra

under the direction of

the famous Wagnerian conductor

Alfred Hertz
issued on April 18

On that date any dealer in Victor products will gladly play them

for you. Hear the Victor Records by Alfred Hertz and the San

Francisco Symphony Orchestra, and you will appreciate how

truly the Victrola brings to you their art—and the pleasure to

be derived from hearing them as often as you wish in your own
home on the Victrola.

There is but one Victrola and that is made by the Victor Company
Look for these Victor trade marks

Victor Talking 2 tr ro Camden.N. J.
as MASTERS, VOICE” Victor Talking Machine Co. of Canada, Led., Montreal
Canadian price-list on request

SECOND SAN FRANCISCO

iit a ATE COLE RIO IO A LA A A ELL ILLS LLL LL AS

STEINWAY

The instrument of the immortals

and the piano of the home

Choose your piano carefully.

Choose it as you would choose
an intimate member of your
family circle. Choose it for

qualities that will endure.

Let your choice, if possible,
be a STEINWAY. There is no
other piano of qualities more
enduring —of distinction so

immediately recognized.

Sherman, [lay & Co.

Kearny and Sutter Streets, s.F.
Oakland, Fourteenth and Clay Streets

SECOND SAN FRANCISCO

Sprring Music Hestival

CITY OF SAN FRANCISCO

MAYOR JAMES ROLPH, JR., AND BOARD OF SUPERVISORS

AUDITORIUM COMMITTEE

J. Emmet Hayden, Chairman
Angelo Rossi Edwin G. Bath
AND

Musical Association of San Hranciseo

Founded December 20, 1909 Incorporated February 3, 1910
WHICH MAINTAINS

THE SAN FRANCISCO SYMPHONY ORCHESTRA
ALFRED HERTZ, Conductor

OFFICERS
Joun D. McKEE, President
J. B. LEvison, Vice-President E. R. Dimonp, Treasurer
A. W. WIDENHAM, Secretary-Manager

BOARD OF GOVERNORS

J. K. Armsby A. B. C. Dohrmann John D. McKee

. E. D. Beylard E. R. Dimond Seward B. McNear
Miss Lena Blanding John S. Drum L. F. Monteagle
Miss Louise A. Boyd Milton H. Esberg Robert C. Newell
George T. Cameron Herbert Fleishhacker J. C. Raas
Selah Chamberlain J. D. Grant Wm. T. Sesnon
W.E. Créed E. S. Heller F. R. Sherman
C H. Crocker J. B. Levison M. C. Sloss
Mrs. Templeton Crocker Walter S. Martin William Sproule

Wm. H. Crocker John A. McGregor Sigmund Stern

A. W. WIDENHAM, Manager
Assisted by
SAN FRANCISCO COMMUNITY SERVICE
Henry L. Mayer, President
Marshal Hale, Vice-President

C. L. Rosekrans, Executive Secretary

457 PHELAN BUILDING
GARFIELD 2819

THE ELWYN CONCERT BUREAU

WESTERN OFFICE OF

WOLFSOHN MUSICAL BUREAU, INc.
ANNOUNCES

TEN SUBSCRIPTION CONCERTS

INTERNATIONALLY FAMOUS ARTISTS
On Thursday Evenings During Season 1925-26

SPECIAL SEASON TICKET PRICES:
$3.50, $5.00, $8.00

A Deposit of $1.00 Per Ticket Holds Your Reservation.
Before September 1, 1925

Balance to Be Paid on or

EXPOSITION AUDITORIUM

Josef Hofmann
“The Best of the best.”

Edward Johnson
(Leading Tenor, Met. Opera Co.)

Operatic excerpts, lights and costumes
“America’s foremost tenor.”

Margaret Matzenauer
(Leading Contralto, Met. Opera Co.)
“Sings magnificently.”

Cecilia Hansen

“Sensation of the season.”

Joint Recital

Hulda Lashanska

“Most beautiful lyric soprano of
today.”

Felix Salmond

“The Fritz Kreisler of the
violoncello.”

Thamar Karsavina and her
Ballet, with Pierre
Vladimiroff

“Everything she does is instinct with
grace.”
Maria Kurenko
“A new Patti from Siberia.”

Vincente Ballester
(Leading Baritone, Met. Opera Co.)
“A continuous delight.”

Tescha Seidel

“4 mighty master of his instrument.”

Joint Recital

Olga Samaroff

“Greatest of America’s women
pianists.”

London String Quartet

“The finest chamber music
organization in the world.”

RESERVE YOUR SEASON TICKETS NOW—SHERMAN, CLAY & CO.

AFTER APRIL 25—638 PHELAN BUILDING

ALFRED HERTZ, Conpucror

SOPRANOS
Mme. HELEN STANLEY Mrs. Lorna LACHMUND
Mrs. Grace HENKEL Mrs. TERESA TUM SUDEN
CONTRALTOS
Mme. CHARLES CAHIER Mrs. Eva GRUNINGER ATKINSON
Miss RADIANA PAZMOR Mrs. LILLIAN BIRMINGHAM
THNOR

RuDOLF LAUBENTHAL

BASSES

ALEXANDER KIPNIS K. Harotp DANA

CHORUS DIRECTOR

Dr. Hans LESCHKE

ASSISTANT CHORUS DIRECTORS

GLenn H. Woops KUGENE BLANCHARD

ORGANIST

| Upa WALDROP

ACCOMPANISTS
Mrs. VioLET FENSTER BLAGG
Miss MinpDRED RANDOLPH

J. L. EuMQUIST

CHORUS SECRETARY

LOUISE BENNETT

Learn to sing in the way that is actually sustaining Graveure
in the position of one of the world’s greatest artists

MR. LOUIS

GRAVEURE

ee LS Distinguished Recital Baritone
Ger e and

Ne Famous ‘‘Master’’ Vocal Teacher

_
THE PIONEER DIRECTOR OF “VOCAL
MASTER-CLASSES” IN THE WEST

will be in

LOS ANGELES, CAL. | SAN FRANCISCO, CAL.

(Second Summer ) (Third Summer)
June 1 to July 6 July 27 to August 29
1925 1925

FIVE WEEKS ONLY IN EACH CITY

“MASTER” and “AUDITOR” CLASSES
and PRIVATE TUITION

For Particulars, Rates, Reservations,

Details, Etc., address

SELBY C. OPPENHEIMER, Manager
Foxcroft Building, 68 Post Street
SAN FRANCISCO

ENROLL NOW ENROLL NOW

SECOND CONCERT
Tuesday, April 21, 1925, 8:20 P. M.

SOLOISTS
Mme. Helen Stanley, Soprano
Mme. Charles Cahier, Contralto
Rudolf Laubenthal, Tenor

Alexander Kipnis, Baritone

WAGNER PROGRAMME

1. Overture to ‘““Tannhauser ’
2. Lohengrin’s Narrative from “Lohengrin”

RUDOLF LAUBENTHAL

3. Ca) -Traume
(b) Schmerzen
MME. CHARLES CAHIER

4. March, ‘Hail, Bright Abode,’ from ‘‘Tannhauser
CHORUS AND ORCHESTRA

Intermission

5. “Die Walkure,”” Act I
Sieglinde and Siegmund Love Scene
MME. HELEN: STANLEY, RUDOLF LAUBENTHAL

6. ‘‘Die Walkure,”’ Act Ill
Wotan’s Farewell and Magic Fire Spell
Wotan, ALEXANDER KIPNIS

On account of the character and length of this program there will be
positively no encotes.

JOSEF LHEVINNE

Master of the Pianoforte

PLAYS AND ENDORSES EXCLUSIVELY THE

Chickering)

This great artist and teacher expresses his authoritative

opinion in the following terms:

“The Chickering pianos have a splendid evenness
of scale and action, which is the most important
factor in artistic performance. In addition, I find
in the Chickering piano a wonderful variety of tone
color and an exquisite singing quality, from the
most delicate to the most powerful effects, with a
beautiful elasticity of touch, combining brilliancy
and solidity in a completely satisfying manner.

(Signed) JosEF LHEVINNE.”

CHICKERING WAREROOMS
LEE S. ROBERTS, INC.
230 Post STREET, S. F., CAL.

Gs new home of the Chickering will open on or about May 1, 1925. |

An invitation of inspection is extended -all music lovers.

Overture to ‘““Tannhauser”’

Of the ‘‘Tannhauser’’ Overture, Wagner himself has left the following
programme:

“To begin with, the orchestra leads before us the Pilgrims’ Chant
alone; it draws near, then swells into a mighty outpour, and passes finally
away. Evenfall; last echo of the chant. As night breaks, magic sights and
sounds appear, a rosy mist floats up, exultant shouts assail our ears; the
whirlings of a fearsomely voluptuous dance are seen. These are the ‘Venus-
berg’s’ seductive spells, that show themselves at dead of night to those
whose breast is fired by daring of the senses. Attracted by the tempting
show, a shapely human form draws nigh; ‘tis Tannhauser, Love's minstrel.
He sounds his jubilant Song of Love in joyous challenge, as though to force
the wanton witchery to do his bidding. Wild cries of riot answer him; the
rosy cloud grows denser round him, entrancing perfumes hem him in and
steal away his senses. In the most seductive of half-lights, his wonder-seeing
eyes behold a female form indicible; he hears a voice that sweetly murmurs
out the siren-call, which promises contentment of the darer’s wildest wishes.
Venus herself it is, this woman who appears to him. Then heart and senses
burn within him; a fierce devouring passion fires the blood in all his veins;
with irresistible constraint it thrusts him nearer before the goddess’ self he
steps with that canticle of love triumphant and now he sings it in ecstatic
praise of her. As though at wizard spell of his, the wonders of the Venus-
berg unroll their brightest fill before him; tumultuous shouts and savage
cries of joy mount up on every hand in drunken glee, Bacchantes drive their
raging dance and drag Tannhauser to the warm caresses of Love's Goddess,
who throws her glowing arms around the mortal drowned with bliss, and
bears him where no step dare tread, to the realm of Being-no more. A
scurry, like the sound of the Wild Hunt, and speedily the storm is laid.
Sees ee nae ee CBee Gene es emote err See ih Re ee ee

ESTABLISHED 1852

OUALTE®

CONSISTENT
PRICES

Shreve and Company
Jewelers and Silversmiths

Post and Grant Avenue
San Francisco

Third Annual Season

The San Francisco Opera
Company

Gaetano Merola, Director
CIVIC AUDITORIUM, SEPTEMBER 19 to OCTOBER 4, 1925

8 SUBSCRIPTION PERFORMANCES
(6 Evenings and 2 Saturday Matinees )
2 NON-SUBSCRIPTION PERFORMANCES

Artists

Sopranos:
Claudia Muzio
Elvira de Hidalgo

Rosina Torri

Contraltos:
Marguerite d’ Alvarez

Irene Marlo

Conductors:
Gaetano Merola
Pietro Cimini

Giacomo Spadoni

Tenors:
Tito Schipa
Fernand Ansseau
Antonio Cortis
Lodovico Oliviero

Baritones and Basses:
Riccardo Stracciari
Cesare Formichi
Marcel Journet
Vittorio Trevisan

Antonio Nicholich

Technical Director:
Giovanni Grassi

Ballet Master:

Natale Carossio

The operas presented will be chosen from the following:

‘‘Aida,’’ “Samson et Dalila,’’

‘Traviata,’ ‘Rigoletto,’ “Manon”

(Massenet), “Il Barbiere di Siviglia,”’ ‘Martha,’ ““Amore dei Tre
Re,” ‘Faust,’ “‘“Anima Allegra’ (first time in America outside the
Metropolitan), ‘“‘Tosca,’”” ‘Madame Butterfly’ and ‘Fedora.’

Subscriptions

Subscriptions will be accepted commencing Monday, May

11th, at the offices of SAN FRANCISCO OPERA COMPANY.

KEARNY 6346

68 POST STREET

Merely a wanton whir still pulses in the breeze, a wave of weird voluptuous-
ness, like the sensuous breath of unblest love, still soughs above the spot
where impious charms had shed their raptures, and over which the night
now broods once more. But dawn begins to break already; from afar is
heard again the Pilgrims’ Chant. As this chant draws closer yet and closer,
as the day drives farther back the night, that whir and soughing of the air—
which had erewhile sounded like the eerie cries of souls condemned—now
rises, too, to ever gladder waves; so that when the sun ascends at last in
splendor, and the Pilgrim’s Chant proclaims in ecstacy to all the world, to
all that lives and moves thereon, Salvation won, this wave itself swells out
the tidings of sublimest joy. ‘Tis the carol of the Venusberg itself, re-
deemed from curse of impiousness, this cry we hear amid the hymn of God.
So wells and leaps each pulse of life in chorus of redemption; and both
dissevered elements, both soul and senses, God and Nature, unite in the
atoning kiss of hallowed Love.’

In Distant Lands, from “Lohengrin” (Lohengrin’s Narrative )
This selection is sung by Lohengrin in the third and closing scene of

Ace Ill. Elsa has violated her promise not to inquire into the identity and
origin of her champion and newly-made husband—a secret which he, as
one of the Knights of the Holy Grail, is obliged to keep concealed from all
mankind, and which once revealed, puts an abrupt ending to his sojourn
amongst them. Lohengrin has perforce to depart forthwith, and in deep
sorrow, tells the story which makes his going imperative:

In distant land where ye can never enter,

A castle stands, the Monsalvat its name:

A radiant temple rises from its centre—

More glorious far than aught of earthly fame.

° . . Management
Leading Musical Attractions — ger5y c. OPPENHEIMER

TITO MME. FRIEDA

SCHIPA

FAMOUS TENOR
TWO RECITALS

COLUMBIA
THEATER

POSITIVE FAREWELL
Entire. Change of Program

NEXT SUNDAY AFTERNOON oaix AUDITORIUM

Thursday Night, April 30
April 26 per eke es

KOH

TICKETS ON SALE AT SHERMAN, CLAY & CO.

And there a vessel of most wondrous splendor,
A shrine most holy, guarded well, doth rest;
To which but mortals purest service render—
’Twas brought to earth by hosts of angels blest!

Once every year a dove from heaven descendeth,
To strengthen then its wondrous powers anew:
Tis called the Grail—and purest faith it lendeth
To those good knights who are its chosen few.

To serve the Grail, whoe’er is once elected,
Receives from it a supernatural might;

From baneful harm and fraud is he protected,
Away from him flee death and gloom of night:

Yea, who by it to distant lands is bidden.

As champion to some virtuous cause maintain,
Well knows its powers are from him never hidden
If, as its knight, he unreveal’d remain.

Such wondrous nature is the Grail’s great blessing,
Reveal’d, must then the knight from mortals flee;

THIRD CONCERT

Spring Music Festival
THURSDAY EVENING, APRIL 23

Soloists:
Mme. Helen Stanley, Soprano
Mme. Charles Cahier, Contralto
Rudolf Laubenthal, Tenor

Alexander Kipnis, Baritone

1. ‘‘The Pilgrimage of the Rose’’......-....---..---------------- Schumann
For Soli, Chorus and Orchestra
2. Overture, “The Great Russian Easter ’-........- Rimsky-Korsakow
3. Aria, “‘O Paradiso!” from “L’Africaine’ ....-:.. .-..2.--. Meyerbeer
RUDOLF LAUBENTHAL
2 Paeme. Ge Lt xtase = o-oo Serena es eee Scriabine

For Orchestra and Organ

LAST CONCERT
SATURDAY EVENING, APRIL 25

Soloists:
Mme. Helen Stanley, Soprano
Mme. Charles Cahier, Contralto

‘“Rhapsodie” .....---2---+-----c--0eeeeeecoeoconeneneececcnneneneneeacansnnenonsce= Brahms
For Contralto Solo, Male Chorus and Orchestra
Symphony No. 2 (‘‘Resurrection”’ Svmphony) 2. ee Mahler

For Soprano and Contralto Soli, Mixed Chorus,
Orchestra and Organ

J ——$—$—$—— ee

Let in your hearts ne’er rest a doubt oppressing—
If known to you he sails across the sea.

Now list what he to you in troth declareth:
The Grail obeying—here to you I came,
My father Parsifal!—a crown he weareth—
His knight am I—and Lohengrin my name.

Traume
Schmerzen

These two songs are Nos. 5 and 4, respectively, of a_set entitled,
“Funf Gedichte fur eine Frauenstimme in Musik gesetz von Richard Wag-
ner.” There are five songs in the set, written to texts by Mathilde Wesen-
donck, a great admirer and close friend of Wagner s.

Traume (Dreams)

Say, oh, say, what wondrous dreamings
Keep my inmost soul revolving,

That they not like empty gleanings

Into nothing are dissolving?

Dreamings that with every hour,
Every day, in brightness grow,
And with their celestial power
Sweetly through the bosom flow?

Dreamings that like rays of splendor
Fill the bosom, never waning,
Lasting image there to render:

All forgetting, one retaining!

Representing | CZ ep ae ae
eel

Lyon & Healy " 1 al L = = KAJETAN
HARPS Waly py, —— ATTL |

Harpist

4 %
i)

if"
/
Yo ff)

4 Wit J f
§ Se 5S) aL, ike
bed Wh j
ee

Hi! f.,
Wt Pie te
| i |

Solo Harpist S. F. Symphony For Engagements Address Bohemian Club

Lazar S. Samoiloff
V oice

Director and Vocal
Pedagogue

Josef Lhevinne
Piano

A great artist, he has
proved himself a remark-
able teacher of his instru-
ment. He isin a position,
by his own experience,
to bring every true tal-
ent to fruition in a far
shorter time than would
ordinarily be considered
possible.

He is a teacher of rare
insight as well as a vir-
tuoso, and brings unusual
authority to all questions
relating to piano playing.

Julia Claussen
Voice

One of the world’s truly
great voices. Not only is
she at the height of her
own powers, but she has
had experience asa
teacher, and possesses the
rare gift of imparting
knowledge. She will give
general instruction in
stage technique, coach
operatic roles and demon-
strate’ her own vocal
method.

LAZAR S. SAMOILOFF

ENDORSES THE

Baldiin

Baldwin Piano Company,
310 Sutter Street,

Fairmont Hotel,
San Francisco, Cal.
October 10, 1924.

San Francisco, Cal.

Dear Sirs:

Let me express my appreciation of your kind-
ness in co-operating with the Master School of
Musical Arts in California.

Very truly yours,
(Signed) LAZAR S. SAMOILOFF.

OF CALIFOI
LAzARr.s. SAMOILO

ENDOWED BY ALICE CAMPBEL:
ALICE SEckets, Mai

ENROLL |
OPENING OF FIR

LAZAR S. SAN

San Francisco Class Oy
SEVEN VEE

JOSEF LHE\

San Francisco Clas; O;
FIVE WEE!

Andres De Segurola W. J. Heidersc
Operatic Department Lecturer

Distinguished criti
New York Sun
author of flany

will give six lectu
Monday anc Thi
evenings at tie Fe
Hotel, beginting h
Open to therpublic

A master in character
portrayal, for many sea-
sons leading bass _bari-
tone of the Metropolitan
Opera Company. He will
conduct opera classes,
teaching acting, and
makeup, and coaching in
operatic repertoire. The
staging of acts from
operas will give practical
experience and prove an
important step for the
operatic aspirant.

A. Koste!anetz
Accomt nist

Emil J. Polak
Coach and ear traiting f

A course in sight 1

fessionals atd an
by one emineitly s
ful in this im
branch of mt Sic,

‘

One of the most success-
ful coaches in New York
today. Recently heard
here with Jeritza.

: = =

reich a

MOILOFF, oirector

E CAMPBELL MACFARLANE

Seckris, Manager

OLL NOW

JF FIRST CLASSES

S, SAMOILOFF
Class Opens April 27th

VEN 'VEEKS

- LHEVINNE

Clas; Opens May 11th

IVE WEEKS

’. J. He derson
Lecturer
guished critic of the

York Sun, and

- of riany books,
ive six lectures on
ay anc Thursday
igs at the Fairmont
beginting May 25.
to thesnublic,

, Koste!anetz
Accom} inist

‘se in sight reading
rr traiting for pro-
als atd amateurs
-emineitly success-
n this important
of mt Sic,

‘

Sasiiel Gardner

Violin

One of the leaders among
America’s younger violin-
ists. Well-known as con-
ductor and composer,
through long association
with his teacher, Franz
Kneisel, he has rapidly
taken a place among the
successful teachers of vio-
lin, chamber music and
conducting.

‘Anata {sate David
Harp

One of the best-known
teachers and _ performers
of the harp in America.

Felix Salmond
Cello—
Chamber Music

Sigismund Stojowski
Piano—Composition

This Faculty of Celebrated Artist

Teachers Will Give Instruction in

SAN FRANCISCO

AND

LOS ANGELES

Between May and September,
1925

Dates for each Master sent on request
Free Scholarships are offered with each
Teacher
Write for Application Blank and Catalog.
Address

Master School of Musical Arts
ALICE SECKELS, Manager
Office:

Room 139, FairRMONT HOTEL
PHONE DouGLas 7267 SAN FRANCISCO

THE

Under

Linnard “Management

—

TWO FAMOUS HOTELS

have in a large measure become the center

of San Francisco’s social life. Perfected

unobtrusive service to every guest is the
secret of their sustained popularity.

FAIRMONT et

Hotel Company WHITCOM B

D. M. Linnard LeRoy Linnard D. M. Linnard Ernest Drury

President Manager R Lessee Manager

SAN FRANCISCO BANK

(LATELY THE SAN FRANCISCO SAVINGS AND LOAN SOCIETY)

SAVINGS COMMERCIAL
INCORPORATED FEBRUARY 10th, 1868.
One of the Oldest Banksin California,
the Assets of which have never been increased
by mergers or-consolidation s with other Banks.

Member Associated Savings Banks of San Francisco
526 California Street, San Francisco, Cal.

DECEMBER 3lst, 1924

ete bing ne tt A ae pig ane ate a A aa Plo mow $96,917,170.69
Capital, Reserve and Contingent Funds7,.:...... 4,000 ,000.00
Employees’ Pension Fund........---++++++++:: 461,746.52
MISSION BRANCH............0 cece eeeereeteeneees Mission and 21st Streets
PARK-PRESIDIO BRANCH.......---eeeeeeeeeses Clement St. and 7th Ave.
HAIGHT STREET BRANCH...... Poe ee Vinee Haight and Belvedere Streets
WEST PORTAL BRANCH........+--++-+++ +> West Porta] Ave. and Ulloa St.

Interest paid on Deposits at the rate of
FOUR AND ONE QUARTER (414) per cent per annum,
COMPUTED MONTHLY and COMPOUNDED QUARTERLY,
AND MAY BE WITHDRAWN QUARTERLY

a a

Dreamings like the sun that kisses
From the snow the buds new born,
That to strange and unknown blisses
They are greeted by the morn.

That expand they may and blossom
Dreaming spend their odors suave,
Gently die upon thy bosom,

And then vanish in the grave.

= ————————————
=e eS ms

Schmerzen (Sorrows)

Sun, thou weepest every even
Thy resplendent glances red,
When into the sea from heaven
All too soon thou sinkest dead;
But new splendors thee adorn,
Glory of the darkened earth,
When thou wakest in the morn,
Hero-like of proudest worth.
Why should I in vain regretting
Load with heaviness my heart,

If the sun must find a setting,

If the sun e’en must depart?

And engenders death but living,
If but grief can lead to bliss:

Oh! I thank thee then for giving,
Nature, me such pain as this.

Quarg Music Company

109 Stockton Street

—TWO STORES

ae Ir Victor YT

Records

SS 2
>LONG PERE * ADI O j Phonographs j

TRADE MARK REG.

206 Powell Street
Open Evenings

They cost more, but
they do more

They tune thru everything

$240 and up. Easy Terms

QUALITY PIANOS
and PLAYER PIANOS

JULIA CLAUSSEN

Prima “(Donna “Mezzo-Soprano
Metropolitan Opera Co., New York

WRITES:
KRANICH & BACH,
New York.

Gentlemen:
Your piano is unexcelled in the beautiful
quality of its tone and workmanship.

Very sincerely yours

Exclusive ‘Representative

} # Oakland
— MUSIC co. oho
140 O’FARRELL STREET 1016 J Street, Sacramento

The Hibernia Savings
and Loan Society

HIBERNIA BANK
Incorporated 1864
HEAD OFFICE
COR. MARKET, McALLISTER and JONES STS.

MISSION OFFICE

i COR. VALENCIA AND 22ND STS.
SAN FRANCISCO, CAL.

Pree Oy ETT MES ea Ieee RE TN aoe GB a ce AEST $81,603,701.25
FORGIVE MREN Da wee at Lak os Seka eee 5,922.693.15

OPEN DAILY FROM 10 A. M. TO 3 P. M.

OPEN ALL DAY SATURDAY FROM 10 A. M. TO 8 P. M.

SAFE DEPOSIT VAULTS AT. MISSION OFFICE

March from ‘“‘Tannhauser”’

The plot of ‘“Tannhauser’ was taken from an old German tradition
which centers about the castle of Wartburg, in the Thuringian Valley, where
the landgraves of the thirteenth century instituted peaceful singing contests
between the Minnesingers and the knightly poets. The brilliant March is
from the scene wherein the people and the minstrels assemble within the
hall of the castle—the former to witness and the latter to participate in the
tournament of song, the prize being the hand of the fair Elizabeth. As the
cuests enter and are welcomed by Elizabeth and the Landgrave, they join
in a chorus of homage:

Hail! bright abode, where song the heart rejoices;
May lays of peace within thee never fail;

Long may we cry with loyal voices,

Hail! to our land—our fatherland, all hail!

“Die Walkure,’’ Act I

‘Die Walkure’ is the second in the great group of four music dramas
known as the Niebelung Ring, the others being “Das Rheingold,’ ““Sieg-
fried,”’ and ‘“‘Gotterdammerung. In Act I, Siegmund, exhausted, rushes
‘nto the hut of Hunding, a warrior, seeking protection from a storm which
is raging in the forest. Sieglinde, Hunding’s wife, gives him refreshments,
having conceived a passionate love for the stranger, but with the return of
Hunding, Siegmund realizes that he is in the house of an enemy, although
he is allowed to remain for the night. After having poured a sleeping
potion into Hunding’s drink, Sieglinde confides to Siegmund her story; of
how she was abducted and forcibly wedded to her husband. She also tells
how on her wedding day an old man entered the hut and plunged into the

YEATMAN GRIFFITH |

‘Recognized Authority on Voice Production and the Art of Singing”
Summer Vocal Master Classes

FOR ARTISTS - TEACHERS - STUDENTS
ENROLLMENTS NOW

Address Communications
SAN FRANCISCO, CAL. June 3rd to July Ist
To IDA G. SCOTT, Kohler & Chase Building
LOS ANGELES, CAL. July 6th to Aug. 3rd
To L. E. BEHYMER, 705 Auditorium Building
PORTLAND, ORE. Aug. 10th to Sept. 7th
To OTTO WEDEMEYER, 611 Bush & Lane Building

San Francisco’s Home for a Musical Education

Complete Summer Courses
1925 Season Opens June 22nd

Instructions in all Branches of

MUSIC DURING THE SUMMER

Morning (lasses Free Recitals Private Lessons
ARRILLAGA MUSICAL COLLEGE
2315 JACKSON STREET SAN FRANCISCO

TELEPHONE WEST 4737

garden-fresh Che Aominican College

FLOWERS of Sun Rafael

A College for Women

Conducted by the Sisters of Saint Dominic
Resident and Day Students

OU are always
assured Nature’s

most exqusite Blooms

Degrees conferred in College of Letters
when we serve you— and Sciences and in School of Music.
Blossoms that will Approved by the Graduate Division of

; the University of California.

express your thought Accredited by the California satis Bees
: : of Education. California State Teachers’
IT} fragrant, unforget- Credentials granted.

able beauty. School of Music Building, Auditorium
and Equipment unsurpassed. Artist Fac-
ulty. Normal Music Training Department
offers exceptional opportunities both to
resident and day pupils. California State
Elementary and Secondary Credentials in
Music granted.

For information, address
tulebit!) The Dean of the College
San Rafael

The Voice of a Thousand Gardens” ;
ae ‘% T x : Artist Concert Course under
= RANTELAVE, EL. KEARNY 4975 management of Alice Metcalf

SAN FRANCISCO

Orders telegraphed anywhere

San Francisco Conservatory of Music
Ada Clement and Lillian Hodghead, Co-Directors

NEW PIPE ORGAN SOON READY

Summer Organ Courses With

WARREN D. ALLEN

3435 Sacramento Street Phone: Fillmore 898

Madame Emmy Tromboni

Teaches Absolute Purity of Tone Along Scientific, Modern Lines

Prepares Students and Teachers for All Branches of
Vocal Art

601-602 Kohler & Chase Bldg. Phone Garfield 6046

trunk of the tree a magic sword, which should belong only to him who
could take it out, and which no one has so far succeeded in doing. The
door at the back has blown open, through which can be seen the full beauty
of a moonlit night after the storm. In an ecstacy of new-born love, they
seat themselves on the rude bench, and with her hand in his, Siegmund
sings his beautiful Love Song. As they gaze upon each other in rapture,
they recognize that they are brother and sister, both children of Walse who
has plunged the sword into the tree for their deliverance. Imbued with
new strength, Siegmund seizes the shining hilt and pulls it from its mighty
sheath. The re-united brother and sister agree to fly from the power of
Hunding, and arm in arm, they pass out into the moonlight forest as the
curtain falls.

Wotan’s Farewell and Magic Fire Spell from “Die Walkure’”’

Wotan’s farewell to Brunnhilde and the Magic Fire Spell form the
conclusion of ‘‘Die Walkure.’’ For her disobedience to his command, that
Siegmund the Volsung shall not be protected in the combat with his enemy
Hunding, Wotan condemns Brunnhilde, the Valkyrie—and his daughter—
to lie asleep on a rock to become the booty of the first man who finds and
awakes her. Brunnhilde piteously begs that her punishment may be re-
mitted; or, if Wotan will not be moved to mercy, that she may lie sur-
rounded by a circle of ever burning flames, so that only the bravest hero can
penetrate it and arouse her.

The god, moved by her supplications, consents to the granting of this
wish. He lays Brunnhilde on the mossy covering of the rock, and, his fare-
well spoken, strikes the ground with his spear, whereupon the flames spring

up on every side.

Ba aa a a ra le sc eS
St lI R d V ht MADAME VOUGHT PRESENTS
ella Kaymond-voug ELEANORE STADTEGGER
Coloratura Soprano Voice Culture Coloratura Soprano
Available for Concerts, Oratorios and in Joint Recital With

eae MAX GEGNA

“Madame Vought has a bril- "Cellist San Francisco Symphony
liant soprano voice, which she
uses with the skill of an IRENE MILLIER
artist. Her coloratura was Pianist and Accompanist
perfect, every note being given FAIRMONT H Ocha
with the polish of a gem.” z
Ra Pe RS Ee ene Friday Evening, May Ist, 8:30.
= Admission, $1. Tickets, Sherman
726 Sutter Street. Prospect 4820 Clay, & Co.

Warriner Vocal Studios

METROPOLITAN OPERA HOUSE
NEW YORK CITY

SAN FRANCISCO SUMMER COURSE
June 25th to August 25th, 1925

For information and reservations address studio 43.

eg ee I

ee ee

As the fire encircles the sleeping Valkyrie, Wotan slowly leaves the scene.
Farewell, my noble, valorous child.

Thou of my heart the pride and delight.

Farewell! Farewell! Farewell!

Must I forsake thee and may my love no more greet thee in welcome;
May’st thou no more ride near me in battle, nor bear my cup by banquet;
Must I resign thee, O my belov'd one,

Thou laughing delight of my vision;

A fire for thy bridal couch shall be lighted as ne'er yet has burned for a
bride!

Flickering flames encircle the fell;

Let terror consuming frighten the craven,

Let cowards fly from Brunnhilde’s rock!

For one alone winneth the bride; one freer than I, the god.

These loving, luminous eyes, which oft with smiles I have kissed,

When valor my caress rewarded, or when with praises of heroes brave thy
childish lips were inspired;

These resplendent, luminous eyes, which oft have shone thro’ the storm

When hopeless longing my heart had tortured, when earthly pleasures my
senses tempted from wild sadness to wander;

Their parting glance gleams on me now, as my fond lips give thee love's
farewell!

On mortal more blessed still may they shine, on me, ill-starr’'d immortal,

They must close now forever!

For so turns the god now from thee; so kisses thy godhood away!

IRVING KRICK

Solo Pianist

Available for Club Engagements in Bay Region

Season 1925-1926

Address: 479 Forest Street, Oakland
Phone: Piedmont 3554

an M cM AN U S Pianist and Teacher

1459 4th Ave. Sunset 2487

Available for Engagements as Solo Pianist or Accompanist

Mondays: 526 Powell Street Thursdays: 2510 College Ave., Berkeley

Has toured as assisting artist with Pablo Casals; Jean Gerardy and George Enesco

Master Class of Pianoforte Playing
MARGUERITE MELVILLE LISZNIEWSKA

Master Faculty—Cincinnati Conservatory of Music
Five weeks commencing June 22, 1925
Sorosis Club, 536 Sutter St., San Francisco, Calif.

For full information address: STUDIO: 1233 California St., San Francisco, Calif.
ALICE METCALF, Manager Phone Prospect 8158

| and School of Music, Dominican College, San Rafael, Calif.

—_

FIRST VIOLINS

Persinger, Louis
Concert Master and
Assistant Conductor

Argiewicz, Artur
Assistant Concert
Master

Ford, Louis
Assistant Concert
Master

Meriz, E.

Mendelevitch, R.

Laraia, W.F.

Gluschkin, M.

Gordohn, R.

Seiger, Rudy

Bem, Eugenia

Koenig, H.

See, Orley

Mortensen, Modesta

Amsterdam, M.

Pasmore, Mary

Ruiz, R.

SECOND VIOLINS

Jensen, T.

VIOLAS

Fenster, Lajos
Principal

Hahl, E.
Baker, F. A.
Wismer, H.
Weiler, E.
Lichtenstein, V.
Patchook, S.
Dierich, F.
Kolb, R.
Lewis, A.
Wellendorff, H.
Firestone, N.

Wersonnel

The Sau Francisen Symphony Orchestra

ALFRED HERTZ, CONDUCTOR

"CELLOS

Ferner, Walter
Principal

Dehe, W.

King, O.
Villalpando, W.
Weiss, A.

Kirs, R.

Gegna, M.
Pasmore, Dorothy
Hranek, C.
Demetrio, G.

Gough,.Flori

BASSES

Lahann, J.
Principal

Greene, S.
Bell, W.
Storch, A. E.
Cassetta, L. R.
Guterson, A.

Annarumi, A.

Giese, W.

FLUTES
Linden, Anthony
Newbauer, Louis

Oesterreicher, Walter
Orchestral Manager

Benkman, H.

PICCOLO

Oesterreicher, Walter

OBOES

Addimando, C.
Shanis, Julius
Schipilliti, V.
Utschig, H.

ENGLISH HORN
Schipilliti, V.

CLARINETS
Randall, H. B.

Zannini, N.
Fragale, F.
Greenbaum, A. A.
Randall, W. F.

BASS CLARINET
Fragale, F.

BASSOONS
Kubitschek, E.
La Haye, E. B.
Hranek, C.

CONTRA BASSOON
Kolb, R.

HORNS
Hornig, W.
Tryner, C. E.
Roth, P.
Huske, F. E.
Rocco, R.
Findeisen, C.
Cleveland, G.
Salvatore, M.
Trutner, H.
Dabelow, W.

TRUMPETS

Ditzel, E.
Arriola, A.
Kegel, Otto
Kress, V.
Edwards, G. M.
Savant, S.
Linden, Arthur
Dering, B. A.
Klatzkin, B.

BASS TRUMPET
Klotz, L.

TROMBONES
Tait, F. W.
Clark; OSE:
Bassett, F. N.
Ingram, T.

TUBA
Murray, R.

HARP

Attl, Kajetan
Schipilliti, Annette

TYMPANI
Wagener, R. E.

PERCUSSION

Nickel, M.
Vendt, A., Jr.
Kundy, E.
Salinger, M. A.
Wood, W. A.
Overbeck, H.

PIANO AND CELESTA
Ormay, Gyula

LIBRARIAN
Kegel, Otto

A. W. WIDENHAM, Secretary-Manager

Seen ass

Mano 4 Se dda Tom

—— CHORUS

San Francisco Division

SOPRANOS

Albright, Ethel A.
Alpern, L.

Bartlett, Catherine Qi '
Bashford, Edith
Beckert, Elsie M.
Beckett, Helen I.
Beppler, Miss Myrtha
Blagg, Violet Fenster
Bowen, Beatrice
Bradford, Dorothy
Bradford, Helen M.
Brennan, Katherine
Brown, Genevieve McK
Brown, Mrs. R. C.
Buck, Mrs. K. A.
Burns, Miss E.

Canet, Kathleen
Caradonna, Miss Mary
Centini, Mary G.
Chapman, Lula Mae
Clifford, Miss Beatrice
Cleal, Anyta Clayr
Cole, Grace A.
Crowley, Miss Katharine
Davidson, Miss Leda
Davis, Mrs. L.
DeVoney, Bessie D.
Debrecht, Eulalia
DeCamp, Miss Carolyn
Delaney, Lorna Claire
Deward, Mrs. J. M.
Doane, Mrs. O. K.
Doheny, Mrs. Nellie
Duerbeck, Anna M.
Durkin, Miss A. Hazel
Eames, Mrs. E. A.
Easton, Mrs. Verna M.
Elliott, Miss Adelaide
Ellwanger, Clara Jane
Emerson, Miss Mattie E.
Erwin, Miss McHenry
Fries, Mrs. C. G.
Gassenberg, Ellen
Gates,Phyllis Scharff
Goldberg, Mrs. Addie
Grossman, Jeannette
Grubb, Edna M.
Hamm, Dorothy

Hart, Frances

Heal, Gertrude M.
Heeck, Eliese

Henkel, Grace

Heyde, Margaret E.
Hiestand, Elizabeth
Hobrecht, Mrs. Charles
Holmes, Isabelle A.
Hook, Mrs. H. O.
Hooper, Mrs. John
Howard, Carrie L.
Hueter, Mrs. Ernest L.
Hull, Marion Turney
Hussey, Mrs. Zelie A.
Jacobsen, Adelaide
Jann, Sara C.

Janson, Edna E.
Johnson, Frances
Johnson, Jean
Johnson, Miss M.
Jung, Margaret

MRS. VIOLET FENSTER BLAGG, ACCOMPANIST
Kaunitz, Miss Mildred H. Vallina, Louise

Kec, Marguerite
Keefe, Mrs. F. C.
Keenan, Miss S. A.
Kelly, Addie

Kern, Lydia H.
Kinread, Mrs. Kate
Kinross, Onida

Kline, Mrs. Harold
Knudsen, Marie S.
Koblick, Mrs. Esther
Kurtz, Mrs. Rubye
Lachmund, Lorna
Lawson, Mrs. A. W.
Lazelle, Miss Rena
Leonard, Kathryn
Lewis, Miss Melita
Lineer, Lillian

Loge, Miss Clara

Lull, Sarah L.

Lynch, Mrs. Charles
Lynn, Ethel
MacIntosh, Mabel D.
Mailer, Miss Barbara A.
Marshall, Mrs. S. H.
McGovern, Mrs. C. J.
McKercher, Hyacinth
Melkonian, Bertha
Melville, Clara Soper
Merriman, Miss Faith
Mesherry, Mrs. Lewis
Meussdorffer, Irene
Mitchell, Miss Vlada
Mont, Mrs. N.
Morgan, Florence M.
Morris, Caroline W.
Morris, Edythe Vivian
Munson, Florence E.
Newhouse, Mrs. W.
O'Day, Miss Marie
Overbeck, Mrs. H.
Penhorwood, Miss Li
Perrin, Miss E. J.
Price, Jane Ellen
Pritchard, Miss Ann A.
Podhurst, Mrs. N.
Potvin, Miss Vivienne
Reinecke, Lillian
Rich, Mrs. Marie
Riedaelli, M.
Ringressy, Paula C.
Roche, Mrs. William
Roesti, Miss Olga
Rosberg, Esther A.
Scholz, Mrs. Elsie F.
Schwartzberg, Simona
Scobey, Mrs. Nellie G
Sherman, Ruby M.
Simpson, Miss Loretto
Sisson, Madeleine A.
Slate, Mrs. Ruth
Slater, Ruth M.
Smith, Madeleine L.
Sousa, Frona Simon
Southworth, Estelle
Spencer, Annita A.
Spaney, Alice «

St. John, Marie
Sterling, Miss Emma
Street, Mrs. Francis
Stuart, Ruby E.

Sund, Miss Hilda
Swint, Catherine B.
Tauber, Miss D.
Thomson, Carolyn R.
Thompson, Mrs. E. H.
Tooker, Dorothy
Tresidder, Miss Oliene
Trowbridge, Fawn Post
Tum Suden, Teresa
Ulman, Adele

Vedder, Margaret
Vejar, Anna Ray
Vrang, Marian J.
West, Miss Edythe
Wheeler, Isabella
Wheeler, Mrs. W. T.
Willmering, Parl B.

ALTOS

Allen, Jane

Atkinson, Eva Gruninger
Barbat, Mrs. J. Henry
Bartlett, Miss Olive S.
Barbieri, Florence M.
Baum, Helen H.
Berman, Mrs. D.
Berton, Nadine
Blotkey, Mrs. Anna K.
Blythe, Helene S.
Booth, Maude

Brock, Mrs. Netta
Brown, Zulina B.
Burke, Doris J.
Butler, Miss Amy
Calderwood, Rush
Chamberlin, Sue
Christensen, Alma
Claussen, Estelle L.
Clement, Ada
Clement, Marion

Cole, Susan

Craig, Elizabeth
Donnan, Carol
Donnan, Grace W.
Doty, Nellie F.
Dozier, Elizabeth
Ennis, Mrs. O.

Evans, Madeline
Fern, Mrs. Wallace T
Finlay, Alice

Freese, Kathryn
Friedrichs, Mrs. C.
Germain, Mrs. A. M.
Glick, Mildred
Guthrie, Paula
Gwinn, Mrs. Joseph M.
Haase, Mrs. S.
Hammer, Mrs. Adele
Hansen, Miss M.
Harper, Mrs. Annabel
Hellar, Edwinna M.
Hennessy, Marion A.
Heyde, Gertrude E.
Hirsch, Eleanora E.
Holcombe, Miss E. A.
Holcenberg, Anita
Holt, lvy

Keesing, Florence
Kienast, Celestine
King, Helen

Krist, Martha L.
Langley, Mrs. Virginia
Leonard, Ramona A.
Lindstrom, Mrs. Louis
Marston, M. Garthwaite
Martschinke, Mrs. Ida
Maul, Juliet

a —

Peltzer, Enid

Peterson, Mrs. Gertie
Plise, Mme. Marie Light
Porter, Mrs. Francis H.
Pratt, Mrs. W. W.
Prentiss, Mrs. C. W.
Preston, Ines F.
Rampe, Mrs. Will E.
Randall, Helena F.
Reinhold, Anna

Runge, Doris

Schulz, Erna

Shatz, Josephine
Shepman, Mrs. Mildred
Smith, Irene

Stinson, Mrs. R. H.
Stone, Grace E.

Storm, Ethel L.
Strandberg, Mary F.
Strauch, Auge

Tauber, Mrs. Jessica M.
Trauner, Irene R.
Trauner, Mrs. J.

Tyler, Mrs. H. Upton
Weinberg, Mrs. Emilie S:
Weisbaum, Mrs. Elsie L.
Wild, Helen

Wise, Miss Dorothy
Wise, Miss Frank
Wilson, Miss L. May
Worst, Eva

Wrenshall, Mrs. E. K.
Zaretzky, Emilie

TENORS

Adam, Richard
Alexander, Thomas
Anger, Maurice
Ash, Major J. E.
Barnes, George
Barrientos, Bernard R.
Battison, Robert
Blatt, Walter E.
Boyd, F. T.

Brown, Guy L.
Brown, Roy C.
Carcione, J.
Cardinal, Emile J.
Dahl, F. M.

De Li, R. E. Artur
Edson, Henry F.
Eggers, A. R.
Erwin, Dixon A.
Elmquist, J. L.
Ferry, Joseph P.
Folsom, Elbert
Friedlander, G.
Gagos, Kurken
Giannini, Edilio
Giannini, Italo
Gross, Albert E.
Hackenberg, Charles
Hall, Philip C.
Hamann, Henry C.
Hoffman, C. P.
Holton, Erwin
Johnson, Willard L.
Jones, Gwynfi
Kennedy, Charles H. .
Liederman, B.
Lindner, Arthur
Lundquist, Caleb
Mahr, Jacob J.
Marr, James
Mavor, J.

McNeil, Earle F.
McNeil, J. L.
Micklich, Max
Morris, Carl
Nelson, James F.

Olds, Leon B. W.

I Padel, Orrin Leon

A A a Nf Rr op ee TLRS A

Cowles, Jean

a | Paxson, W.L. protke, fee
| Rogers, W. H. eimar, \&. 1
| Shanes: Dr: FH: EesconyCharleeH.
| Smith, H. L. iene Vi
pe Flammer, Victor
a Smith, John Preston Grahn, Edward
; Smith, Wm. L. Gruber, Dr. William

Steward, Parker
Stone, George O.
Taylor, R. H.
Thomas, Jack
Williams, H.

BASSES

| Albert, F. W.

Augustson, Hugo M.
Ballard, John R. Isaacs, Frank
Carleton, Chas. W. Lamont, G. E.

j East Bay

Guenter, George
Hagan, Elmer
Hauschild, J. H.
Hein, George
Hencke, John
Herz, Leo
Hofmann, W.C.,
Homberger, H.
Hooke, Geo. H.
Hunt, Emery L.

San Francisco Division (Continued)

Lundgren, Richard
Lundine, Prof. Carolus
Maginnes, A.
Maples, Thomas
Marston, Otis

May, W.

McCoy, L. Harlan
Melbourne, Louis A.
Moore, H. S.
Oswald, Charles E.
Parker, W. J.
Pasmore, H. B.
Platz, Joseph
Plagemann, Louis
Rich, Ross C.
Rickman, Edwin
Rickleffs, Henry F.
Schepte, Henry
Schoedsack, G. A.
Schulz, G. W.

Division

) MISS MILDRED RANDOLPH, ACCOMPANIST

SOPRANOS
Alderton, Nina M.

Beukers, Grace
Campbell, Gladys Mary
Cavanaugh, Miss Anita
Cote, Mrs. Ethel
Crockett, Mrs. Grace L.
De Vaux, Mrs. Norman
Ellis, Miss Jennie
Engler, Muriel

Gray, Mary

Hammond, Margaret
Hanly, Mrs. Leo B.
Hawes, Mrs. L. V.
Hayden, Ada F.
Helmstein, Miss F.
Hoszowski, Emma

Lewis, Mrs. J. W.

Morgan, Connie
Nash, Mrs. Geo. H.
Nielsen, Mrs. C. B.
Nordvik, Mrs. J. M.
Reynolds, Grace D.
Rinehart, Miss Amy
Schmitt, Mrs. Theresa E.
Sweeney, Dorothy
Shideler, Florence V.
Weaver, Margaret G.
Will, Mrs. Andrew J.
Woods, Mrs. Glenn H.

ALTOS

Ashley, Blanche
Brinkley, Mrs. B. G.
Castleman, Mrs. Stanley
Cushing, Mrs. A. S.
Dillon, Miss Bertha
Essex, Mrs. L. B.
Flammer, Mrs. Charles
Freese, Thada S.

McCord, Miss Alice E
Miller, Alice B.
Miller, Mrs. H. K.

Freitag, Miss Gertrude
Gordon, Mrs. J.
Harrington, Mrs. L. R.
Hirsch, Edith

Josten, Mrs. John
Knott, Mrs. B. F.
Medina, Mrs. Evelyn

Moody, Mrs. May Van D

Parker, Miss B. F.
Rowlands, Mary J.
Schulze, Mrs. Bertha

Schwarzmann, Mrs. E. G.

Shewmaker, Ethel M.
Trevorrow, Mrs. W. J.
von Ahnden, Emma

Wagener, Winifred L.

TENORS

Blosser, Roy H.
Clarke, Frank Sidney
Egbert, R.

Ellis, E. R.

Seger, Stewart
Sherriffs, Alick G.
Simmen, John
Skinner, John
Smith, George
Sommer, Dr. Herman
Stradem, Charles
Summerville, J. T.
Taylor, W. Allen
Tibbe, Cuthbert P.
Tyler, Dr. H. Upton
Van Hulst, Carel
Vogel, H. Victor
Ward, P. H.

Watts, Francis P.
West, John E.
Wright, R. K.
Wyatt, O. W.
Young, A. C.
Ziegler, J. E.

Hanly, Leo B.
Lenz, R: L.
Sirola, Onni

BASSES

Arterburn, A. B.
Ball, Alexander W. G.
Brinkley, B. G.
Castleman, S. J.
Compton, Leonard D.
Coy, Fred A.

Freese, Henry M.
Gordon, W. D.
Harrington, L. R.
Howe, William T.
Jecks, F. Marshall
Mullen, G. C

Plant, T. R.

Pollard, Clarence M.
Reber, Otto F.
Uridge, Harry E.
Whitehead, Rex

| Lewis, Mrs. M. H.
;

PRIMA DONNA SOPRANO

JOHANNA KRIS] OF FY
JOHANNA Thorough Vocal and Dramatic Training

Phone Douglas 6624

MARGARET

TIL LY Pianist

ELWYN CONCERT BUREAU
Phelan Bldg.

|
j
. |

Commercial

740 Pine Street

sR ee hs enti Ee EIS Oe a ad ee a eee
Special Summer Course for a limited

number of advanced students and those
wishing to be coached for the Concert
platform

THE
ARGARET MARY MORGAN (°°:

Engraving , P I. 1H [7S . Publishing

619 CALIFORNIA STREET
DOUGLAS 4633

Studio:
1815 Broadway
Fillmore 9082

Printing

|
|
}

a EE SS SE TERT TS sa rm ms nas 8 a —— gn mre =
Siiheeteetetned amectinanecaeeas .-
- ena ‘N

Mente a

es ae ee , é
Pes") as.

Lares ee \

ILO fed ETRE.
LEG ae : i: ; a ‘ A eR aS Ee §. 4: Fi
Sy it / anes” i Yt ‘ " OU. ee 8 f
wy - " d . = mates tC, =\, S ay Poe ay POe : PE et Petar
Ose Va ‘ E os : 3% d u F « Aen? pe?
y Peas ie 3 . Red 2) we ” % : ., ‘ | ‘3 7 + te a
~ 5 5 P= S ite Sos & R : q 2 - Tp «

a OE ee

eae — ——— — —
—

SS eee

eres

mene tal

EL a a

Y
®,

mS §
RS

| gee Le

TPT

ys
te,

The first
Victor Records
by the
San Francisco

Symphony Orchestra

under the direction of

the famous Wagnerian conductor

Alfred Hertz
issued on April 18

On that date any dealer in Victor products will gladly play them
for you. Hear the Victor Records by Alfred Hertz and the San
Francisco Symphony Orchestra, and you will appreciate how
truly the Victrola brings to you their art—and the pleasure to
be derived from hearing them as often as you wish in your own
home on the Victrola.

There is but one Victrola and that is made by the Victor Company
Look for these Victor trade marks

t Tt

we <2 Victor Talking Machine CO Camden,N. J.
“HIS MASTERS, VOICE” Victor Talking Machine Co. of Canada, Ltd., Montreal
Canadian price-list on request

—

SECOND SAN FRANCISCO
|

F
ROGRAMME

STEINWAY

The instrument of the immortals
_and the piano of the home

Choose your piano carefully.

Choose it as you would choose
an intimate member of your
family circle. Choose it for

qualities that will! endure.

Let your choice, if possible,
be a Steinway. There is no
other piano of qualities more
enduring —of distinction so

immediately recognized.

Sherman, |@lay & Co.

Kearny and Sutter Streets, s.F.
Oakland, Fourteenth and Clay Streets

SECOND SAN FRANCISCO

Surin Music F pstinal

JOINT AUSPICES

CITY OF SAN FRANCISCO

MAYOR JAMES ROLPH, JR., AND BOARD OF SUPERVISORS |

AUDITORIUM COMMITTEE
J. Emmet Hayden, Chairman

Angelo Rossi Edwin G. Bath
AND
Musical Assoriation of San Hranciseo |
Founded December 20, 1909 Incorporated February 3: 1910 |

WHICH MAINTAINS

THE SAN FRANCISCO SYMPHONY ORCHESTRA
ALFRED HERTZ, Conductor

OFFICERS
JoHN D. McKEE, President
J. B. LEvison, Vice-President E.. R. DiMonp, Treasurer
A. W. WIDENHAM, Secretary-Manager

BOARD OF GOVERNORS ) 3
J. K. Armsby A. B. C. Dohrmann John D. McKee

E. D. Beylard E. R, Dimond Seward B. McNear
Miss Lena Blanding John S. Drum L. F. Monteagle
Miss Louise A. Boyd Milton H. Esberg Robert C. Newell
George T. Cameron Herbert Fleishhacker J. C. Raas

Selah Chamberlain J. D. Grant Wm. T. Sesnon

W. E. Creed E. S. Heller F. R. Sherman

C H. Crocker J. B. Levison M. C. Sloss

Mrs. Templeton Crocker Walter S. Martin William Sproule
Wm. H. Crocker John A. McGregor Sigmund Stern

A. W. WIDENHAM, Manager
Assisted by
SAN FRANCISCO COMMUNITY SERVICE
Henry L. Mayer, President
Marshal Hale, Vice-President

C. L. Rosekrans, Executive Secretary

457 PHELAN BUILDING
GARFIELD 2819

ae ee oa es

THE ELWYN CONCERT BUREAU

WESTERN OFFICE OF
WOLFSOHN MUSICAL BUREAU, INc.

ANNOUNCES

TEN SUBSCRIPTION CONCERTS

INTERNATIONALLY FAMOUS. ARTISTS
On Thursday Evenings During Season 1925-26

SPECIAL SEASON TICKET PRICES:
$3.50, $5.00, $8.00

A Deposit of $1.00 Per Ticket Holds Your Reservation. Balance to Be Paid on or
Before September 1, 1925

EXPOSITION AUDITORIUM .

Josef Hofmann
“The Best of the best.”

Edward Johnson

(Leading Tenor, Met. Opera Co.)

Operatic excerpts, lights and costumes
“America’s foremost tenor.”

Margaret Matzenauer
(Leading Contralto, Met. Opera Co.)

“Sings magnificently.”

Cecilia Hansen

“Sensation of the season.”

Joint Recital

Hulda Lashanska

“Most beautiful lyric soprano of
today.”

Felix Salmond

“The Fritz Kreisler of the
violoncello.”

Thamar Karsavina and her
Ballet, with Pierre
Vladimiroff

“Everything she does is instinct with
grace.”
Maria Kurenko

“A new Patti from Siberia.”

Vincente Ballester
(Leading Baritone, Met. Opera Co.)

“4 continuous delight.”

Tescha Seidel

“4 mighty master of his instrument.”

Joint Recital

Olga Samaroff

“Greatest of America’s women
pianists.”

London String Quartet |

“The finest chamber music
organization in the world.”

RESERVE YOUR SEASON TICKETS NOW—SHERMAN, CLAY & CO.
AFTER APRIL 25—638 PHELAN BUILDING

ALFRED HERTZ, Conpuctor

SOPRANOS
Mme: HELEN STANLEY Mrs. LorNA LACHMUND
Mrs. Grack HENKEL Mrs. TERESA TUM SUDEN
CONTRALTOS
Mpg, CHARLES CAHIER Mrs. Eva GRUNINGER ATKINSON
Miss RADIANA PAZMOR Mrs. LInLIAN BIRMINGHAM
TENOR

RubDOLF LAUBENTHAL

BASSES

ALEXANDER KIPNIS EK. Haroutp DANA

CHORUS DIRECTOR

Dr. Hans LESCHKE

ASSISTANT CHORUS DIRECTORS

GuENN H. Woops | EUGENE BLANCHARD

ORGANIST

UpaA WALDROP

ACCOMPANISTS
Mrs. VIOLET FENSTER BLAGG
Miss MitpRED RANDOLPH

J. L. ELMQUIST

CHORUS SECRETARY

LOUISE BENNETT

| The Maximum of Advancement with Minimum of Effort |
I se ee ee ee

MR. LOUIS

GRAVEURE

Distinguished Recital Baritone

and

ie Famous ‘‘Master’’ Vocal Teacher

THE PIONEER DIRECTOR OF “VOCAL
MASTER-CLASSES” IN THE WEST

will be in

LOS ANGELES, CAL. | SAN FRANCISCO, CAL.

(Second Summer ) (Third Summer)

June 1 to July 6 July 27 to August 29
1925 1925
FIVE WEEKS ONLY IN EACH CITY

“MASTER” and “AUDITOR” CLASSES
and PRIVATE TUITION

For Particulars, Rates, Reservations,
Details, Etc., address

SELBY C. OPPENHEIMER, Manager
Foxcroft Building, 68 Post Street
SAN FRANCISCO

ENROLL NOW ENROLL NOW

Learn to sing in the way that is actually sustaining Graveure
in the position of one of the world’s greatest artists

THIRD CONCERT
Thursday, April 23, 1925, 8:20 P. M.

SOLOISTS:
Sopranos: Contraltos:
MME. HELEN STANLEY MME. CHARLES CAHIER
Lorna Lachmund Eva Gruninger Atkinson
Teresa tum Suden Lillian Birmingham
Grace Henkel Radiana Pazmor
Tenor: Basso:
RUDOLF LAUBENTHAL ALEXANDER KIPNIS

E. Harold Dana

PROGRAMME

‘*The Pilgrimage of the Rose’ ’...........---------.---------0++- Schumann
Soli, Chorus and Orchestra

Intermission
Overture, ‘“The Russian Easter’’..........-.-.------ Rimsky-Korsakow
Aria, “‘O Paradiso,” from “‘L’ Africaine’’...........--..--- Meyerbeer

RUDOLF LAUBENTHAL

Lee PoeMme CEs) EE XtASOr eee fae oe ee nee a ies eee Scriabine
For Orchestra and Organ

(First time in San Francisco)

Uda Waldrop at the Organ

JOSEF LHEVINNE

Master of the Pianoforte

PLAYS AND ENDORSES EXCLUSIVELY THE

Ghicke kering ye

This great artist and teacher expresses his authoritative
opinion in the following terms:

CHICKERING WAREROOMS
LEE S. ROBERTS, INC.
230 Post STREET, S. F., CAL.

This new home of the Chickering will open on or about May 1, 1925. |
An invitation of inspection is extended all music lovers.

‘‘The Pilgrimage of the Rose” - - - ~ Robert Schumann

All nature is rejoicing in the return of Spring. Youths and maidens
sing its praises; trees put forth their leaves; flowers, their brightest bloom;
and even fairies give vent to their joy in dancing and song. But one voice
of sadness is heard amidst this general exultation— it is that of a sweet little
Rose. From her flowery nook, she has heard the maidens singing of Love;
and blooming and fragrance have ceased to fulfil her idea of bliss. She
sighs to be a maiden and to love as maidens do. The Queen of the Fairies
endeavors to persuade her that Love does not always bring happiness, but
the Rose is urgent, and her wish is at length granted. The Queen changes
her into a lovely maiden; she gives her a magic rose and charges her to bear
it with her on her earthly pilgrimage. As long as she retains this flower in
her possession, she is to be shielded from harm and to enjoy the purest of
earth’s joys; but should she part with it, she is at once to forfeit her human

existence and resume that of a rose.

Our Rose-Maiden, bearing her guardian or emblem flower in her hand,

now sets forth on her journeyings. She is first repulsed by an old crone to
whom she applies for shelter, on the score of her having no “character.
Her next encounter is with a Grave-digger, who is preparing a grave for the
young and beauteous daughter of a neighboring Miller. He tells the tale

ESTABLISHED 1852

CU ALIS

CONSISTENT
PRICES

Shreve and Company
Jewelers and Silversmiths

Post and Grant Avenue
San Francisco

[nT

Ss ee eS See =

Third Annual Season

The San Francisco Opera
Company

Gaetano Merola, Director

CIVIC AUDITORIUM, SEPTEMBER 19 to OCTOBER 4, 1925

8 SUBSCRIPTION PERFORMANCES
(6 Evenings and 2 Saturday Matinees )

2 NON-SUBSCRIPTION PERFORMANCES

Sopranos:
Claudia Muzio
Elvira de Hidalgo

Rosina Torri

Contraltos:
Marguerite d’ Alvarez

Irene Marlo

Conductors:
Gaetano Merola
Pietro Cimini

Giacomo Spadoni

Tenors:
Tito Schipa
Fernand Ansseau
Antonio Cortis
Lodovico Oliviero

Baritones and Basses:
Riccardo Stracciari
Cesare Formichi
Marcel Journet
Vittorio Trevisan
Antonio Nicolich

Technical Director:
Giovanni Grandi

Ballet Master:

Natale Carossio

The operas presented will be chosen from the following:

‘‘Aida,’” “Samson et Dalila,”’
(Massenet), “Il Barbiere di Siviglia,’’ “‘Martha,”’

‘Traviata,’ “‘Rigoletto,”’ “Manon”

‘‘Amore dei Tre

Re,” “‘Faust,’’ ““Anima Allegra’’ (first time in America outside the
Metropolitan), ‘“Tosca,’"” “‘Madame Butterfly’ and “Fedora.”
Subscriptions

Subscriptions will be accepted commencing Monday, May

llth, at the offices of SAN FRANCISCO OPERA COMPANY.

KEARNY 6346

68 POST STREET

of love forsaken, of a broken heart, an early grave. Our poor Rose sighs:
‘Alas! does true love bring such sorrow?’ Her conversation with the
Grave-digger is interrupted by the approach of the funeral procession. A
mournful dirge is sung around the grave of the Miller's fair daughter, and
the Rose mingles her voice with those of the friends and relatives who are
bemoaning their loss.

This sad duty fulfilled, the Grave-digger has leisure to perceive that the
Stranger-Maiden is young and lovely; he offers her a shelter for the night,
which she gladly accepts, ending her first day's pilgrimage with thanks-
giving, but hearing in her dreams the voices of her early companions, who
beg her to return to Rose-land and to avoid the griefs that an earthly
pilgrimage must necessarily entail on her.

During the night, the Grave-digger has bethought himself of a charm-
ing arrangement. He has been struck with the resemblance between “Rosa’’
and the only daughter whom the Miller and his wife are mourning, and he
determines to introduce her to the old couple, hoping they may feel inclined
to adopt her in the place of their loved one. His plan meets with success;
Rosa is adopted by the Miller, is wooed in due time and wedded by the son

of his neighbor the Forester. At the end of a year, a sweet babe comes into

7 8 « ° Management
Leading Musical cAttractions — 51 py c. OpPENHFIMER

TITO MME. FRIEDA

FAMOUS TENOR
TWO RECITALS

COLUMBIA
THEATER

POSITIVE FAREWELL
Entire Change of Program

NEXT SUNDAY AFTERNOON oxtx AUDITORIUM

Thursday Night, April 30
April 26 icc leit aed f

COR

TICKETS ON SALE AT SHERMAN, CLAY & CO.

the world to bless the union:—and now it would seem that Rosa has indeed
reaped all that was promised to her from her careful holding of the magic
rose. The purest of earthly joys were promised to her. She has been
daughter, wife, mother—what can she lack? Only to insure perfect safety
and happiness to one whom she loves. She therefore places the rose in the
hand of her own babe and fades away; not, however, into Rose-land—but

thither where the Angels bear her.

Overture, “La Grande Paque Russe” (The Russian Easter ) - -
- = - - ~ - ~ - - Rimsky-Korsakow
This work, an overture on themes of the Russian Church, contains on
the score the following Biblical quotation:
‘Tet God arise, let His enemies be scattered:
Let them also that hate Him, flee before Him.
As smoke is driven away, so drive them away:
As wax melteth before the fire,

So let the wicked perish at the presence of God.”
(Psalm LXVII.)

The overture begins with an Introduction in which a melody of the

‘LAST CONCERT

Spring Music Festival
SATURDAY EVENING, APRIL 25

Soloists:

Mme. Helen Stanley, Soprano
Mme. Charles Cahier, Contralto

“Rhapsodie.” ...s-c-.--cecccecencn oer canta nen acteneecennennmennemennneeccteeete: Brahms
For Contralto Solo, Male Chorus and Orchestra
Symphony No. 2 (‘‘Resurrection’”” Symphony)......-.......------ Mahler

For Soprano and Contralto Soli, Mixed Chorus,
Orchestra and Organ

Russian Church is given to the wood-wind. The strings take it up. A
cadenza for the solo violin leads to a section in which the solo violoncello
repeats a phrase. The opening chant is now given to the trombones.
Strings answer antiphonally. The solo violin has another cadenza. A
portion of the chant is developed. The main body of the overture begins
with the exposition and development of the first theme, which is taken
from the ecclesiastical melody of the Introduction, first in the strings and
clarinet, then in a steadily fuller orchestra. The second theme is allotted

to the violins (two of them in altissimo play harmonics) against repeated
chords in the woodwind and a triplet figure for the harp. A call is sounded
by horns and trumpets. A new section follows with much work for per-
cussion instruments. ‘‘Note the imitation of a deep-toned bell in the gong.’
There is a church-like return of the second theme in the woodwind, and then
a recitative for the trombone, accompanied by sustained harmonies for the
violoncellos and double basses. The first theme reappears. There is the
customary recapitulation section, more extended, with very different instru-
mentation. The coda is long. At the end the second theme is sounded
vigorously by trombones and lower strings.

Aria, “‘O Paradiso!”’ from “L’Africaine” - 2 - Meyerbeer

Meyerbeer wrote eighteen operas, of which “T’Africaine’’ is the last.

Representing

Lyon & Healy
HARPS

The ST ill NaS
World’s Standard — gar {juan Mil imdae ey,

Concert

Solo Harpist S. F. Symphony _ For Engagements Address Bohemian Club

LAZAR S.
SAMOILOFF

Director and Vocal
Pedagogue

JOSEF
LHEVINNE

Piano

He is a teacher of rare
insight as well as a vir-
tuoso, and brings unusual
authority to all questions
relating to piano playing.

eee

JULIA
CLAUSSEN

Voice
One of the world’s truly
great voices. Not only is

she at the height of her
own powers, but she has
had experience as a
teacher, and possesses the
rare gift of imparting
knowledge. She will give
general instruction in
stage technique, coach
operatic roles and demon-
strate her own vocal
method.

LAZAR S. SAMOILOFF

ENDORSES THE

Baldwin

Fairmont Hotel,
San Francisco, Cal.
October 10, 1924.

Baldwin Piano Company,
310 Sutter Street,
San Francisco, Cal.

Dear Sirs:

Let me express my appreciation of your kind-
ness in co-operating with the Master School of
Musical Arts in California.

Very truly yours,
(Signed) LAZAR S. SAMOILOFF.

OF CALIFO

LAZAR.S. SAMOILC

ENpowep By ALICE CAM?BEL

br
Atice Seckens, Ma

ENROLL

OPENING OF riIR
=
LAZAR S. SAN

San Francisco Clas: O

SEVEN ‘VEI

JOSEF LHE'

San Francisco Clas; C

ANDRES de
SEGUROLA

A master’ in. character
portrayal, for many sea-
sons leading bass bari-
tone of the Metropolitan
Opera Company. He will
conduct opera classes,
teaching acting, and
makeup, and coaching in
operatic repertoire. The
staging of acts from
operas will give practical
experience and prove an
important step for the
operatic aspirant.

One of the most success-
ful coaches in New York
today. Recently heard
here with Jeritza.

FIVE V/EE

WILLIAM
HENDIRS¢

Distinguished crit
New York Su
author of any
will give six lect
Monday anc. TI
evenings at the I
Hotel, beginring
Open to the publ

A. KOSTIILA

A course in sight
and ear traliling
fessionals and <
by one emin¢ntly
ful in this in
branch of misic.

—

LIFORNIA

{(OILOFF, oirector

CAMPBELL. MACFARLANE

1CKEL’, Manager

\LL NOW

FE PIRST CLASSES

i
5. SAMOILOFF

lass Opens April 27th

EN 'VEEKS

“LHEVINNE

“las; Opens May 11th

VE VIEEKS

VILLIAM J.
ENDERSON

wished critic of the
York Sun, and

of any books,
ve six lectures on
ry anc. Thursday
gs at the Fairmont
beginring May 25.
0 the ,public.

-OSTILLANETZ

rse in sight reading
ar traliling for pro-
yals and amateurs
> emin¢éntly success-
n this important
1 of misic.

GARDNER
Violin

& Bis:
ANNIE LOUISE
DAVID
Harp
One of the best-known

teachers and _ performers
of the harp in America.

CESAR
THOMSON

Violin

One ot the most distin-
guished among the violin
teachers and performers
of modern times, sharing
with Auer the distinction
of having remarkable suc-
cessful artist students.
Formerly it has been nec-
essary to go to Brussels
to work with him. This
is the first opportunity to
study in the West with
this justly famed master.

FELIX
SALMOND

Chamber Music and
Cello

SE —————————————

SIGISMUND
STOJOWSKI

Piano and Composition

This Faculty of Celebrated Artist

Teachers Will Give Instruction in

SAN FRANCISCO
AND
LOS ANGELES

Between May and September,

1925

Dates for each Master sent on request
Free Scholarships are offered with each
Teacher

Write for Application Blank and Catalog.
Address

Master School of Musical Arts

ALIcE SECKELS, Manager

Office:

Room 139, Fairmont HOTEL
PHONE DoucLas 7267 SAN FRANCISCO

QUALITY PIANOS
and PLAYER PIANOS

JULIA CLAUSSEN

Prima “Donna “Mezzo-Soprano
Metropolitan Opera Co., New York

WRITES:
KRANICH & BACH,
New York.

Gentlemen:
Your piano is unexcelled in the beautiful

quality of its tone and workmanship.
Very sincerely yours

Exclusive ‘Representative

o Oakland
MUSIC co. —

140 O’FARRELL STREET 1016 J Street, Sacramento

The Hibernia Savings
and Loan Society

HIBERNIA BANK
Incorporated 1864

HEAD OFFICE
COR. MARKET, McALLISTER and JONES STS.

MISSION OFFICE

COR. VALENCIA AND 22ND STS.
SAN FRANCISCO, CAL.

Nani ubese testcase hake on eer eA Ate kote $81,603,701.25
RUSE Ve Nee es ee a la 5,922.693.15

OPEN DAILY FROM 10 A. M. TO 3 P. M.
OPEN ALL DAY SATURDAY FROM 10 A. M. TO 8 P. M.

SAFE DEPOSIT VAULTS AT MISSION OFFICE

I
|
)
i

Symphony Society of New York, December 10, 1908, under the direction
of Modest Altschuler. Upon this occasion, Mr. Altschuler supplied the
following information:

“While I was in Switzerland during the summer of 1907 at Scriabine s
villa, he was all taken up with the work, and I watched its progress with
keen interest. The composer of the Poeme de l’Extase’ has sought to
express therein something of the emotional (and therefore musically com-
municable) side of his philosophy of life. Scriabine is neither a pantheist
nor a theosophist, yet his creed includes ideas somewhat related to each of
these schools of thought. There are three divisions in his poem: |. His
soul in the orgy of love; 2. The realization of a fantastical dream; 3. The
glory of his own art.”

The work is scored for piccolo, three flutes, three oboes, English horn,
three clarinets, bass clarinet, three bassoons, double bassoon, eight horns,
five trumpets, three trombones, bass tuba, kettledrums, bass drum, cymbals,
triangle, gong, bells, celesta, two harps, violin solo, organ and strings.

The following analytical description was written by Dr. A. Eaglefield
Hull in his ‘‘Scriabine’’:

‘The basic idea of the fourth ‘chief orchestral work of Scriabine is the

ecstasy of untrammeled action, the joy in creative activity. The prologue,

YEATMAN GRIFFITH

“Recognized Authority on Voice Production and the Art of Singing”
Summer Vocal Master Classes

FOR ARTISTS - TEACHERS - STUDENTS
ENROLLMENTS NOW

San Francisco’s Home for 4 Musical Education
ta ot ie cht ea Ne it MOPS CS RAND Me ODES ALICE Me SS

Complete Summer Courses
1925 Season Opens June 22nd

Instructions in all Branches of

MUSIC DURING THE SUMMER

Morning (lasses Free Recitals Private Lessons
ARRILLAGA MUSICAL COLLEGE
2315 JACKSON STREET SAN FRANCISCO

TELEPHONE WEST 4737

garden-fresh
FLOWERS

OU are always
assured Nature’s
mostexqusite Blooms

Che Dominican College
of San Rafael
A College for Women

Conducted by the Sisters of Saint Dominic
Resident and Day Students

Degrees conferred in College of Letters

when we serve you— and Sciences and in School of Music.

Approved by the Graduate Division of
the University of California.

Accredited by the California State Board
of Education. California State Teachers’
Credentials granted.

Blossoms that will

express your thought

in fragrant, unforget-

School of Music Building, Auditorium
and Equipment unsurpassed. Artist Fac-
ulty. Normal Music Training Department
offers exceptional opportunities both to
resident and day pupils. California State
Elementary and Secondary Credentials in
Music granted.

able beauty.

Orders telegraphed anywhere

Ris Gbelbedh

The Voice of a Thousand Gardens”
226-226 GRANT AVE. TEL. KEARNY 4975
SAN FRANCISCO

For information, address

The Dean of the College
San Rafael |

Artist Concert Course under
management of Alice Metcalf

San Francisco Conservatory of Music
Ada Clement and Lillian Hodghead, Co-Directors

NEW PIPE ORGAN SOON READY

Summer Organ Courses With

WARREN D. ALLEN

3435 Sacramento Street Phone: Fillmore 898

Madame Emmy Tromboni

Teaches Absolute Purity of Tone Along Scientific, Modern Lines

Prepares Students and Teachers for All Branches of
Vocal Art

601-602 Kohler & Chase Bldg. Phone Garfield 6046

Andante, Lento, contains two motives, which may be said to symbolize:
(a) human striving after the ideal (flute) ; (b) the ego theme gradually
realizing itself (clarinet). The sonata form proper, Allegro volando, starts
with a subject symbolic of the soaring flight of the spirit. The leading
motives of the prologue are almost immediately brought into conjunction
with it. The second subject, Lento, is of a dual character, the higher theme
on a violin solo being marked carezzando, and apparently typifying human
love, whilst the lower theme is marked serioso. The third subject then
enters, an imperious trumpet theme, summoning the will to rise up. The
creative force appears in rising sequences of fourths, having a close affinity
to the corresponding theme in ‘Prometheus’ (Scriabine’s fifth and last
completed orchestral work). The themes grow in force and pass through
moods of almost kaleidoscopic duration—at times spending dreamy mo-
ments of delicious charm and perfume, occasionally rising to climaxes of
almost delirious pleasure; at other moments experiencing violent, stormy
emotions and tragic cataclysms. In the Development we pass through
moments of great stress, and only achieve brief snatches of the happier

mood. Defiant phrases cut right down across the calmer motives, the
second of which appears in full as a prologue to the Recapitulation section.
The three subjects are repeated in full, followed by moods of the utmost

Coe ee
| Stella Raymond-Vought ereaxore. srareccer

Coloratura Soprano Voice Culture Coloratura Soprano
Available for Concerts, Oratorios and in Joint Recital With
ws erecta MAX GEGNA
\ “Madame Vought has a bril- ’Cellist San Francisco Symphony
liant soprano voice, which she
uses with the skill of an IRENE MILLIER
artist. Her coloratura was Pianist and Accompanist
perfect, every note being given FAIRMONT HOTEL

with the polish of a gem.”

3 —San Francisco “Call.” Friday Evening, May Ist, 8:30
ission, $1. Tickets, Sh
796 “Sutter Street. Beoasecteda20 Admission Re aicnee erman

Warriner Vocal Studios

METROPOLITAN OPERA HOUSE
NEW YORK CITY

SAN FRANCISCO SUMMER COURSE
June 25th to August 25th, 1925

For information and reservations address studio 43.

/
A
4

a es eS

charm, and pleasurable feelings becoming more and more ecstatic, even
scherzando, at length reaching an Allegro molto coda of the swiftest and
lightest flight imaginable. The trumpet subject becomes broader, and
assumes great majesty, until it finally unrolls itself in a rugged and diatonic
epilogue of immense power and triumphant grandeur. The harmonic
system of this work may be said to be on the border line between the first
period of the composer's harmonic technic and his final one. The new
harmony is not continuous, but is here used in conjunction or rather in
alternation with the old. The coda is almost (not quite) old fashioned in
its broad diatonic style, being completely devoid of chromaticism. The
composition serves as an excellent illustration of the manner in which
Scriabine’s more advanced harmony sprang logically and evolved gradually
from the older method. We have attempted a psychological explanation
of the music—an almost unavoidable course, seeing that it is outlined in
the composer's French indications, and that he pursues the same methods,
the very same moods, occasionally even the same melodic subject (the
trumpet theme with that in ‘Prometheus’ ) as he does in his other symphonic
works. But Scriabine, notwithstanding all his explainers and annotators

(blessed word!), is the champion of absolute music — music pure and

simple—read what you like into it.”’

IRVING KRICK

Solo Pianist

Available for Club Engagements in Bay Region

Season 1925-1926

Address: 479 Forest Street, Oakland
Phone: Piedmont 3554

ediak M cM AN U . Pianist and Teacher

1459 4th Ave. Sunset 2487

Available for Engagements as Solo Pianist or Accompanist
Mondays: 526 Powell Street Thursdays: 2510 College Ave., Berkeley

Has toured as assisting artist with Pablo Casals; Jean Gerardy and George Enesco

LISZNIEWSKA Master Class of Pianoforte Playing

Master Faculty—Cincinnati Conservatory of Music
Five weeks commencing June 22, 1925
Sorosis Club, 536 Sutter St., San Francisco, and School of Music, Dominican College, San Rafael
For full information address:
ALICE METCALF, Manager, STUDIO: 1233 California St., San Francisco Phone Prospect 8158
See EE EES Sc OPE EE a ART EROS an A IVI SEDI ERTS ES a BOT Te MOT AR Lhe I

MARGUERITE
MELVILLE

ersunnel

The San Franciseo Symphony Orchestra

FIRST VIOLINS

Persinger, Louis
Concert Master and
Assistant Conductor

Argiewicz, Artur
Assistant Concert
Master

Ford, Louis
Assistant Concert

' Master

Meriz, E.

Mendelevitch, R.

Laraia, W.F.

Gluschkin, M.

Gordohn, R.

Seiger, Rudy

Bem, Eugenia

Koenig, H.

See, Orley

Mortensen, Modesta

Amsterdam, M. -

Pasmore, Mary

Ruiz, R.

SECOND VIOLINS

Jensen, T.

Principal
Haug, J. A.
Callinan, W. G.
Hidden, R. L.
Gold, J.
Paterson, J. A.
Blaha, A.
Manchester, W.
Atkinson, Helen

_ Purt, B.

Dunn, H. A.
Gough, W.
Hoffman, H. H.
Dabelow, W.
Willard, J. M.
Curcio, R.
Baker, Genevra

VIOLAS

Fenster, Lajos
Principal

Hah], E.
Baker, F. A.
Wismer, H.
Weiler, E.
Lichtenstein, V.
Patchook, S.
Dierich, F.
Kolb, R.
Lewis, A.
Wellendorff, H.
Firestone, N.

"CELLOS

Ferner, Walter
Principal

Dehe, W.

King, O.
Villalpando, W.
Weiss, A.

Kirs, R.

Gegna, M.
Pasmore, Dorothy
Hranek, C.
Demetrio, G.
Gough, Flori

BASSES

Lahann, J.
Principal

Greene, S.
Bell, W.
Storch, A. E.
Cassetta, L. R.
Guterson, A.

Annarumi, A.
Giese, W.

FLUTES
Linden, Anthony
Newbauer, Louis

Oesterreicher, Walter
Orchestral Manager

Benkman, H.

PICCOLO
Oesterreicher, Walter

OBOES

Addimandao, C.
Shanis, Julius
Schipilliti, V.
Utschig, H.

ENGLISH HORN
Schipilliti, V.

CLARINETS
Randall, H. B.

Zannini, N.
Fragale, F.
Greenbaum, A. A.
Randall, W. F.

A. W. WIDENHAM, Secretary-Manager

ALFRED HERTZ, CONDUCTOR

BASS CLARINET
Fragale, F.

BASSOONS

Kubitschek, E.
La Haye, E. B.
Hranek, C.

CONTRA BASSOON
Kolb, R.

HORNS

Hornig, W.
Tryner, C. E.
Roth, P.
Huske, F. E.
Rocco, R.
Findeisen, C.
Cleveland, G.
Salvatore, M.
Trutner, H.
Dabelow, W.

TRUMPETS
Ditzel, E.
Arriola, A.
Kegel, Otto
Kress, V.
Edwards,G. M.
Savant, S.
Linden, Arthur
Dering, B.A.
Klatzkin, B.

BASS TRUMPET
Klotz, L.

TROMBONES

Tait, F. W.
Clark, O. E.
Bassett, F. N.
Ingram, T.

TUBA
Murray, R.

HARP

Attl, Kajetan
Schipilliti, Annette

TYMPANI
Wagner, R. E.

PERCUSSION

Nickel, M.
Vendt, A., Jr.
Kundy, E.
Salinger, M. A.
Wood, W.A.
Overbeck, H.

PIANO AND CELESTA

Ormay, Gyula

LIBRARIAN
Kegel, Otto

Piono D

—w

SOPRANOS

Albright, Ethel A.
Alpern, L

Bartlett, Catherine Qu: °
Bashford, Edith
Beckert, Elsie M.
Beckett, Helen I.
Beppler, Miss Myrtha
Blagg, Violet Fenster
Bowen, Beatrice
Bradford, Dorothy
Bradford, Helen M.
Brennan, Katherine
Brown, Genevieve McK
Brown, Mrs. R. C.
Buck, Mrs. K. A.
Burns, Miss E.

Canet, Kathleen
Caradonna, Miss Mary
Centini, Mary G.
Chapman, Lula Mae
Clifford, Miss Beatrice
Cleal, Anyta Clayr
Cole, Grace A.
Crowley, Miss Katharine
Davidson, Miss Leda
Davis, Mrs. L.
DeVoney, Bessie D.
Debrecht, Eulalia
DeCamp, Miss Carolyn
Delaney, Lorna Claire
Deward, Mrs. J. M.
Doane, Mrs. O. K.
Doheny, Mrs. Nellie
Duerbeck, Anna M.
Durkin, Miss A. Hazel
Eames, Mrs. E. A.
Easton, Mrs. Verna M.
Elliott, Miss Adelaide
Ellwanger, Clara Jane
Emerson, Miss Mattie E.
Erwin, Miss McHenry
Fries, Mrs. C. G.
Gassenberg, Ellen
Gates, Phyllis Scharff
Goldberg, Mrs. Addie
Grossman, Jeannette
Grubb, Edna M.
Hamm, Dorothy

Hart, Frances

Heal, Gertrude M.
Heeck, Eliese

Henkel, Grace

Heyde, Margaret E.
Hiestand, Elizabeth
Hobrecht, Mrs. Charles
Holmes, Isabelle A.
Hook, Mrs. H.O. -
Hooper, Mrs. John
Howard, Carrie L.
Hueter, Mrs. Ernest L.
Hull, Marion Turney
Hussey, Mrs. Zelie A.
Jacobsen, Adelaide
Jann, Sara C.

Janson, Edna E.
Johnson, Frances
Johnson, Jean
Johnson, Miss M.
Jung, Margaret

—CHORUS

San Francisco Division

MRS. VIOLET FENSTER BLAGG, ACCOMPANIST
Kaunitz, Miss Mildred H. Vallina, Louise

Kec, Marguerite
Keefe, Mrs. F. C.
Keenan, Miss S. A.
Kelly, Addie

Kern, Lydia H..
Kinread, Mrs. Kate
Kinross, Onida

Kline, Mrs. Harold
Knudsen, Marie S.
Koblick, Mrs. Esther
Kurtz, Mrs. Rubye
Lachmund, Lorna
Lawson, Mrs. A. W.
Lazelle, Miss Rena
Leonard, Kathryn
Lewis, Miss Melita
Lineer, Lillian

Loge, Miss Clara

Lull, Sarah L.

Lynch, Mrs. Charles
Lynn, Ethel
MacIntosh, Mabel D.
Mailer, Miss Barbara A.
Marshall, Mrs. S. H.
McGovern, Mrs. C. J.
McKercher, Hyacinth
Melkonian, Bertha
Melville, Clara Soper
Merriman, Miss Faith
Mesherry, Mrs. Lewis
Meussdorffer, Irene
Mitchell, Miss Vlada
Mont, Mrs. N.
Morgan, Florence M.
Morris, Caroline W.
Morris, Edythe Vivian
Munson, Florence E.
Newhouse, Mrs. W. G.
O'Day, Miss Marie
Overbeck, Mrs. H.
Penhorwood, Miss Li
Perrin, Miss E. J.
Price, Jane Ellen
Pritchard, Miss Ann A.
Podhurst, Mrs. N.
Potvin, Miss Vivienne
Reinecke, Lillian
Rich, Mrs. Marie
Riedaelli, M.
Ringressy, Paula C.
Roche, Mrs. William
Roesti, Miss Olga
Rosberg, Esther A.
Scholz, Mrs. Elsie F.
Schwartzberg, Simona
Scobey, Mrs. Nellie G
Sherman, Ruby M.
Simpson, Miss Loretto
Sisson, Madeleine A.
Slate, Mrs. Ruth
Slater, Ruth M.
Smith, Madeleine L.
Sousa, Frona Simon
Southworth, Estelle
Spencer, Annita A.
Spaney, Alice

St. John, Marie
Sterling, Miss Emma
Street, Mrs. Francis
Stuart, Ruby E.

Sund, Miss Hilda
Swint, Catherine B.
Tauber; Miss D.
Thomson, Carolyn R.
Thompson, Mrs. E. H.
Tooker, Dorothy
Tresidder, Miss Oliene
Trowbridge, Fawn Post
Tum Suden, Teresa

Ulman, Adele

Vedder, Margaret
Vejar, Anna Ray
Vrang, Marian J.
West, Miss Edythe
Wheeler, Isabella
Wheeler, Mrs. W. T.
Willmering, Parl B.

ALTOS

Allen, Jane

Atkinson, Eva Gruninger
Barbat, Mrs. J. Henry
Bartlett, Miss Olive S.
Barbieri, Florence M.
Baum, Helen H.
Berman, Mrs. D.
Berton, Nadine
Blotkey, Mrs. Anna K.
Blythe, Helene S.
Booth, Maude

Brock, Mrs. Netta
Brown, Zulina B.
Burke, Doris J.
Butler, Miss Amy
Calderwood, Rush
Chamberlin, Sue
Christensen, Alma
Claussen, Estelle L.
Clement, Ada
Clement, Marion
Cole, Susan

Craig, Elizabeth
Donnan, Carol
Donnan, Grace W.
Doty, Nellie F.
Dozier, Elizabeth
Ennis, Mrs. O.

Evans, Madeline
Fern, Mrs. Wallace T
Finlay, Alice

Keesing, Florence
Kienast, Celestine
King, Helen

Krist, Martha L.
Langley, Mrs. Virginia
Leonard, Ramona A.
Lindstrom, Mrs. Louis
Marston, M. Garthwaite
Martschinke, Mrs. Ida
Maul, Juliet

Peltzer, Enid

Peterson, Mrs. Gertie
Plise, Mme. Marie Light
Porter, Mrs. Francis H.
Pratt, Mrs. W. W.
Prentiss, Mrs. C. W.
Preston, Ines F.

Rampe, Mrs. Will E.
Randall, Helena F.
Reinhold, Anna

Runge, Doris

Schulz, Erna

Shatz, Josephine
Shepman, Mrs. Mildred
Smith, lrene

Stinson, Mrs. R. H.
Stone, Grace E.

Storm, Ethel L.
Strandberg, Mary F.
Strauch, Auge

Tauber, Mrs. Jessica M.
Trauner, Irene R.
Trauner, Mrs. J.

Tyler, Mrs. H. Upton
Weinberg, Mrs. Emilie 5S:
Weisbaum, Mrs. Elsie L.
Wild, Helen

Wise, Miss Dorothy
Wise, Miss Frank
Wilson, Miss L. May
Worst, Eva

Wrenshall, Mrs. E. K.
Zaretzky, Emilie

TENORS

Adam, Richard
Alexander, Thomas
Anger, Maurice
Ash, Major J. E.
Barnes, George
Barrientos, Bernard R.
Battison, Robert
Blatt, Walter E.
Boyd, F. T.

Brown, Guy L.
Brown, Roy C.
Carcione, J.
Cardinal, Emile J.
Dahl, F. M.

De Li, R. E. Artur
Edson, Henry F.
Eggers, A. R.
Erwin, Dixon A.
Elmquist, J. L.
Ferry, Joseph P.
Folsom, Elbert
Friedlander, G.
Gagos, Kurken
Giannini, Edilio
Giannini, Italo
Gross, Albert E.
Hackenberg, Charles
Hall, Philip C.
Hamann, Henry C.
Hoffman, C. P
Holton, Erwin
Johnson, Willard L.
Jones, Gwynfi
Kennedy, Charles H.
Liederman, B.
Lindner, Arthur
Lundquist, Caleb
Mahr, Jacob J.
Marr, James
Mavor, J.

McNeil, Earle F.
McNeil, J. L.
Micklich, Max
Morris, Carl
Nelson, James F.
Olds, Leon B. W.

San Francisco Division (Continued)

Padel, Orrin Leon Cowles, Jean Lundgren, Richard Seger, Stewart

Paxson, W. L. Crofts, F..E Lundine, Prof. Carolus Sherriffs, Alick G.
Rogers, W. H. Delmar, C. L. Maginnes, A. Simmen, John
Shanks: Dr FE: Easton, Charles H. Maples, Thomas Skinner, John

Fauer, Theo. K. Marston, Otis
Flammer, Victor May, W.

Grahn, Edward McCoy, L. Harlan
Gruber, Dr. William Melbourne, Louis A.

Smith, George
Sommer, Dr. Herman
Stradem, Charles .
Summerville, J. T.

Smith, H. L.
Smith, John Preston
Smith, Wm. L.

Steward, Parker Guenter, George Moore, H. S. Taylor, W. Allen
Stone, George O. Hagan, Elmer Oswald, Charles E. Tibbe, Cuthbert P.
Taylor, R. H. Hauschild, J. H. Parker, W. J. Tyler, Dr. H. Upton
Thomas, Jack Hein, George Pasmore, H. B. Van Hulst, Carel
Willi : H Hencke, John Platz, Joseph Vogel, H. Victor
doe ai ag RS Herz, Leo Plagemann, Louis Ward, P. H.
BASSES Hofmann, W. C. Rich, Ross C ’ Watts, Francis P.
Homberger, H. Rickman, Edwin West, John E.
Albert, F. W. Hooke, Geo. H. Rickleffs, Henry F. Wright, R. K.
Augustson, Hugo M. Hunt, Emery L. Schepte, Henry Wyatt, O. W.
Ballard, John R. Isaacs, Frank Schoedsack, G. A. Young, A. C.
Carleton, Chas. W. Lamont, G. E. Schulz, G. W. Ziegler, J.E
East He Division
MISS MILDRED RANDOLPH, ACCOMPANIST
SOPRANOS ore connie. Bresiees See se dently, bed B.
. ash, Mrs. Geo. H. ordon, Mrs. J. enz, R. L.
Se ee oe Nielsen, Mrs. C. B. Harrington, Mrs. L. R. Sirola, Onni
Campbell Gladys Mary Nordvik, Mrs. J. M. Hirsch, Edith
Cavanaugh, Miss Arita Reynolds, Grace D. Josten, Mrs. John BASSES

Rinehart, Miss Amy Knott, Mrs. B. F
Schmitt, Mrs. Theresa E. Medina, Mrs. Evelyn
Sweeney, Dorothy

Cote, Mrs. Ethel
Crockett, Mrs. Grace L.
De Vaux, Mrs. Norman

Arterburn, A. B.
Ball, Alexander W. G.

Ellis, Miss Jennie
Engler, Muriel

Gray, Mary
Hammond, Margaret
Hanly, Mrs. Leo B.
Hawes, Mrs. L. V.
Hayden, Ada F.
Helmstein, Miss F.
Hoszowski, Emma
Lewis, Mrs. J. W.
Lewis, Mrs. M. H.
McCord, Miss Alice E
Miller, Alice B.
Miller, Mrs. H. K.

youanna KRIS] OFFY

Shideler, Florence V.
Weaver, Margaret G.
Will, Mrs. Andrew J.

Woods, Mrs. Glenn H.
ALTOS

Ashley, Blanche
Brinkley, Mrs. B. G.

Castleman, Mrs. Stanley

Cushing, Mrs. A. S.
Dillon, Miss Bertha
Essex, Mrs. L. B.

Flammer, Mrs. Charles

Freese, Thada S

Phone Douglas 6624

Moody, Mrs. May VanD Brinkley, B. G.

Parker, Miss B. F
Rowlands, Mary J.
Schulze, Mrs. Bertha

Schwarzmann, Mrs. E. G.

Shewmaker, Ethel M.
Trevorrow, Mrs. W. J.
von Ahnden, Emma
Wagener, Winifred L.

TENORS

Blosser, Roy H.
Clarke, Frank Sidney
Egbert, R

Ellis, E. R.

Castleman, S. J.
Compton, Leonard D.
Coy, Fred A.
Freese, Henry M.
Gordon, W. D.
Harrington, L.R.
Howe, William T.
Jecks, F. Marshall
Mullen, G. C

Plant, T. R.

Pollard, Clarence M.
Reber, Otto F.
Uridge, Harry E.
Whitehead, Rex

PRIMA DONNA SOPRANO

MARGARET

TIL LY Pianist

ELWYN CONCERT BUREAU
Phelan Bldg.

Special Summer Course for a limited

Thorough Vocal and Dramatic Training

740 Pine Street

number of advanced students and those
wishing to be coached for the Concert
platform

THE
ARGARET MARY MORGAN

Engraving , P a 4 HES . Publishing

619 CALIFORNIA STREET
DOUGLAS 4633

Studio:
1815 Broadway
Fillmore 9082

Commercial Printing

APSA IM ener as

‘ bermewngrew

Ae ag ATI IE “neato t far
aA : ae < :
‘ e .

Ty Tox Se ell

le Ll ==
om if HIF

%
%
' reese ny

‘Ge ee ae === SSS qs
LOT

The first
Victor Records
by the
San Francisco

Symphony Orchestra

under the direction of

the famous Wagnerian conductor

Alfred Hertz
issued on April 18

There is but one Victrola and that is made by the Victor Company
Look for these Victor trade marks

Victrola

ae Victor Talking Machine Company, Camden.N. J,

HIS MASTER'S VOICE” Victor Talking Machine Co. of Canada, Ltd., Montreal
Canadian price-list on request

te ee ee SE

f
|
|
|
i

SECOND SAN FRANCISCO

: ae oy

EXPOSITION AUDITORIU
APRIL 18 21 23 25° 1925

FHIEEetiaA tL

STEINWAY

The instrument of the immortals
and the piano of the home

Choose your piano carefully.

Choose it as you would choose
an intimate member of your
family circle. Choose it for

qualities that will endure.

Let your choice, if possible,

be a STEINWAY. Lhere is no
other piario of qualities more
enduring — of distinction so

immediately recognized.

Sherman, @lay & Co.

Kearny and Sutter Streets, s.F.
Oakland, Fourteenth and Clay Streets

SECOND SAN FRANCISCO

Spring Music Festival

CITY OF SAN FRANCISCO

MAYOR JAMES ROLPH, JR., AND BOARD OF SUPERVISORS

AUDITORIUM COMMITTEE
J. Emmet Hayden, Chairman

Angelo Rossi Edwin G. Bath
AND
Musical Assoriation of San Hrauctaco
Founded December 20, 1909 Incorporated February 3, 1910

WHICH MAINTAINS

THE SAN FRANCISCO SYMPHONY ORCHESTRA
ALFRED HERTZ, Conductor

OFFICERS
Joun D. McKEE, President
J. B. LeEvison, Vice-President E. R. Dimonp, Treasurer
A. W. WIDENHAM, Secretary-Manager

BOARD OF GOVERNORS

J. K. Armsby A. B. C. Dohrmann John D. McKee

E. D. Beylard E. R. Dimond Seward B. McNear
Miss Lena Blanding John S. Drum L. F. Monteagle
Miss Louise A. Boyd Milton H. Esberg Robert C. Newell
George T. Cameron Herbert Fleishhacker J. C. Raas

Selah Chamberlain J. D. Grant Wm. T. Sesnon

W. E. Creed E. S. Heller F. R. Sherman

C H. Crocker J. B. Levison M. C. Sloss

Mrs. Templeton Crocker Walter S. Martin William Sproule
Wm. H. Crocker John A. McGregor Sigmund Stern

A. W. WIDENHAM, Manager
Assisted by
SAN FRANCISCO COMMUNITY SERVICE
Henry L. Mayer, President
Marshal Hale, Vice-President

C. L. Rosekrans, Executive Secretary

457 PHELAN BUILDING
GARFIELD 2819

THE ELWYN CONCERT BUREAU

WESTERN OFFICE OF
WOLFSOHN MUSICAL BUREAU, INc.
ANNOUNCES

TEN SUBSCRIPTION CONCERTS

INTERNATIONALLY FAMOUS ARTISTS
On Thursday Evenings During Season 1925-26

SPECIAL SEASON TICKET PRICES:
$3.50, $5.00, $8.00

A Deposit of $1.00 Per Ticket Holds Your Reservation. Balance to Be Paid on or
Before September 1, 1925

EXPOSITION AUDITORIUM

Josef Hofmann Thamar Karsavina and her
“The Best of the best.” Ballet, with Pierre
Vladimiroff
Edward Johnson “Everything she does is instinct with
(Leading Tenor, Met. Opera Co.) grace.”

Operatic excerpts, lights and costumes

“America’s foremost tenor.” Maria Kurenko

“A new Patti from Siberia.”

Margaret Matzenauer Vincente Ballester
(Leading Contralto, Met. Opera Co.) (Leading Baritone, Met. Opera Co.)

oe a My 3)
Sings magnificently. “A continuous delight.”

Cecilia Hansen Tescha Seidel

“Sensation of the season.” “4 mighty master of his instrument.”

Joint Recital

Olga Samaroff

Joint Recital

Hulda Lashanska

“Most beautiful lyric soprano of
today.”

“Greatest of America’s women
pianists.”

Felix Salmond London String Quartet

“The Fritz Kreisler of the “The finest chamber MUSIC
violoncello.” organization in the world.”

RESERVE YOUR SEASON TICKETS NOW—SHERMAN, CLAY £00:
AFTER APRIL 25—638 PHELAN BUILDING

ALFRED HERTZ, ConpucTor

SOPRANOS

Mme. HELEN STANLEY Mrs. LorNnA LACHMUND

Mrs. GRACE HENKEL Mrs. TERESA TUM SUDEN

CONTRALTOS

Mme. CHARLES CAHTER Mrs. Eva GRUNINGER ATKINSON

Miss RapDIANA PAZMOR Mrs. LILLIAN BIRMINGHAM

THNOR

RupboLF LAUBENTHAL

BASSES

ALEXANDER KIPNIS KEK. Haroutp DANA

CHORUS DIRECTOR

Dr. Hans LESCHKE

ASSISTANT CHORUS DIRECTORS

GuEeNN H. Woops KUGENE BLANCHARD

ORGANIST

UpA WALDROP

ACCOMPANISTS
Mrs. VIOLET FENSTER BLAGG
Miss MinprRED RANDOLPH

J. L. ELMQUIST

: CHORUS SECRETARY

LOUISE BENNETT

a»
2 £2 =<

MR. LOUIS

GRAVEURE

Distinguished Recital Baritone

and

a Famous ‘‘Master’’ Vocal Teacher

THE PIONEER DIRECTOR OF “VOCAL
MASTER-CLASSES” IN THE WEST

will be in

LOS ANGELES, CAL. | SAN FRANCISCO, CAL.

(Second Summer ) | (Third Summer)

June 1 to July 6 July 27 to August 29

1925 1925
FIVE WEEKS ONLY IN EACH CITY

“MASTER” and “AUDITOR” CLASSES
and PRIVATE TUITION

For Particulars, Rates, Reservations,

Details, Etc., address

SELBY C. OPPENHEIMER, Manager
Foxcroft Building, 68 Post Street
SAN FRANCISCO

ENROLL NOW ENROLL NOW

Learn to sing in the way that is actually sustaining Graveure
in the position of one of the world’s greatest artists

LAST CONCERT
Saturday, April 25, 1925, 8:20 P. M.

_ (Mme. Helen Stanley, Soprano
SOLOISTS: ) Mme. Charles Cahier, Contralto

Uda Waldrop, Organist

PROGRAMME

Rhapsody for Contralto, Male Chorus and Orchestra.....--- Brahms
MME. CHARLES CAHIER

Intermission

Symphony No. 2 (‘‘Resurrection”’ Symphony) 22-22 2-- =: Mahler

I. Allegro maestoso. With serious and solemn expression

throughout.
II. Andante. moderato. In a very easy-going manner.
[ll]. With a quietly flowing movement.

IV. Primal Light (Contralto solo). Very solemn, but in a simple

manner; like a choral.

V. Finale. The Supreme Call. (Chorus, Contralto and Soprano

solos. )

(Last three movements played without pause. )

4]
a
E
|

"
7
i
fi
| |
¢
i
‘*
|
4

:
i

i if
iia
15
a
|
|

i}
:
}

_ . . —
—_ we <a

STS a3 SSS SS ES I

JOSEF LHEVINNE

Master of the Pianoforte

PLAYS AND ENDORSES EXCLUSIVELY THE

-ED
ICREY1

ESTABLISHED 1823 NS

This great artist and teacher expresses his authoritative
opinion in the following terms:

CHICKERING WAREROOMS
LEE S. ROBERTS, INC.
230 Post STREET, S. F., CAL.

Bee new home of the Chickering will open on or about May 1, 1925.
An irfivitation of inspection is extended all music lovers.

s« = == 2

Rhapsody for Contralto, Male Chorus and Orchestra...................-.-.- Brahms

The five or six years following 1867 formed the great period of
Brahms’ choral writing. To these years belong the ‘““German Requiem,”
the ‘‘Schicksalslied,’’ and the ‘“Triumphlied”’; the Rhapsody preceded the
‘‘Schicksalslied’’ by only a very short space. In all of the choral works it is
Brahms the philosopher who speaks. The Rhapsody is based on a few
stanzas of Goethe's ‘“‘Harzreise im Winter,” the following translation being

by R. H. Benson:

Aber abseits wer ist’s? But who goes there apart?

Ins Gebusch verliert sich sein Pfad, In the brake his pathway is lost;
Hinter ihm schlagen Close behind him clash

Die Strauche zusammen, The branches together;

Das Gras steht wieder auf, The grass rises again,

Die Oede verschlingt ihn. The desert engulfs him.

Ach, wer heilet die Schmerzen Who can comfort his anguish—
Dess, dem Balsam zu Gift ward? Who, if balm be deathly?

Der sich Menschenhass If the hate of men :

Aus der Fulle der Liebe trank! . From the fullness of Love be drained?
Ist auf deinem Psalter, But if from Thy Psalter,

Vater der Liebe, ein Ton All-loving Father, one strain
Seinem Ohre vernehmlich, Can but come to his hearing,

So erquicke sein Herz! Oh, enlighten his heart!

Oeffne den umwolkten Blick Lift up his o’erclouded eyes,
Ueber die tausend Quellen Where are the thousand fountains,
Neben dem Durstenden Hard by the thirsty one

In der Wuste! In the desert.

—7

ESTABLISHED 1852

CUaLrryY

CONSISTENT
PRICES

Shreve and Company

Jewelers and Silversmiths

Post and Grant Avenue
San Francisco

eee

~ : : < SS a a a ee eT ee ae
ee Ee ee ——— ere aerate —

| '
|
i
:
E
|
lf
‘
|
|

Third Annual Season

The San Francisco Opera
Company

Gaetano Merola, Director
CIVIC AUDITORIUM, SEPTEMBER 19 to OCTOBER 4, 1925
8 SUBSCRIPTION PERFORMANCES
(6 Evenings and 2 Saturday Matinees )
2 NON-SUBSCRIPTION PERFORMANCES

Artists

Sopranos: Tenors:

Claudia Muzio Tito Schipa

Fernand Ansseau
Elvira de Hidalgo Antonio Cortis

Rosina Torri Lodovico Oliviero

Contraltos:
Marguerite d’ Alvarez

Irene Marlo

Conductors:
Gaetano Merola
Pietro Cimini

Giacomo Spadoni

Baritones and Basses:
Riccardo Stracciari
Cesare Formichi
Marcel Journet
Vittorio Trevisan
Antonio Nicolich

Technical Director:
Giovanni Grandi

Ballet Master:

Natale Carossio

Operas

The operas presented will be chosen from the following:
‘‘Aida,’’ “Samson et Dalila,’ ‘“Traviata,’’ “‘Rigoletto,’’ “Manon’”’
(Massenet), “‘I] Barbiere di Siviglia,’ “‘Martha,’’ ‘““Amore dei Tre
Re,” ‘‘Faust,’’ “‘Anima Allegra’ (first time in America outside the
Metropolitan), ‘““Tosca,’” “‘Madame Butterfly’’ and ‘Fedora.’

Subscriptions

Subscriptions will be accepted commencing Monday, May

11th, at the offices of SAN FRANCISCO OPERA COMPANY.
KEARNY 6346 68 POST STREET

awa?

Symphony No. 2 (The “Resurrection” Symphony)....--...----------------- Mahler

The nine symphonies of Gustav Mahler are now generally acknowl-
edged as one of the greatest modern contributions to the art of music, but
owing to the magnitude of their conception and treatment, these symphonies
are events rather than the rule on American concert programmes.

The score of the Second Symphony calls for eighteen first violins, six-
teen second violins, twelve violas, twelve ‘celli, ten double basses (some
with the contra C string), two harps, four flutes interchangeable with four
piccolos, four oboes (two interchangeable with two English horns), five
clarinets (one interchangeable with bass clarinet), four bassoons (one in-
terchangeable with double bassoon), six horns (and four horns in the dis-
tance), six trumpets (four trumpets wn the distance), four trombones, one
tuba, organ, two sets of three kettledrums for three drummers (also kettle-
drums in the distance), bass drum, snare drum, and a multitude of other

percussion instruments.

An analysis of the musical content of this great work has been made by
Philip H. Goepp as follows:

‘Allegro maestoso begins the first movement ‘throughout with grave
-and solemn expression, in the funereal mood that Mahler strikes early in
his Fifth Symphony. A story seems almost to hover over the music, in the
dramatic manner of the phrases. In a significant prologue they herald and
later surround the main legend, in long notes of the upper reeds, with an

1)»

TITO MME. FRIEDA

SCHIPA

FAMOUS TENOR

TWO RECITALS
COLUMBIA
THEATER

POSITIVE FAREWELL
Entire Change of Program

NEXT SUNDAY AFTERNOON oxty AUDITORIUM

Thursday Night, April 30
April 26 ioe Ma eae) a

TICKETS ON SALE AT SHERMAN, CLAY & CO.

~
42 2 E=

answering refrain in the strings. A resonant call of the trumpets with other

vibrant wind leads presently to a transformed tone and mood, with a gentle
ascending melody in violins, supported by soft horns in echoing figure. The

melody rises into a supplicating song with a sudden glow of ecstasy and

merges in the music of the beginning. Action,—resolution seems the ani-

mating mood, as the rising call sounds in trumpets against a masterful j
descending stride of horns, with a surging climax of the melody doubled in

thirds. More and more softly blows the heroic call till it melts, in slowing :
pace, into the mood of the second theme. A rare song is here of the ten-

derly pleading motive (from the first theme) answering the discourses of

English horn and mystic violins. The second melody mingles with the mo-
tive in a delicate play of dissonance. In the story of this first chapter we

seem to see stirring action blended with sentiment, regret mingled with

hope, rising to triumphant resolution;—and then back to a melting song,

with the changing hues of lament and buoyant cheer. The rebound to sud-

den action (heralded with soft rolling drums) comes with a shock; as sud-

denly it is hushed to an inaudible phrase of lowest strings. Clear symbols

of action are the motives that rise into a mighty tumult till at the height they

reach a masterful stride. At last they return to the first ordered song of
resolution, followed by the moving mystic play of gentle melody. Just be-

fore the end the two moods are blended in the song of the trebles against

the motive of the brass.

‘“The second movement begins with a placid song of the strings, as in

UNDER
LINNARD
MANAGEMENT
TWO FAMOUS HOTELS

have in a large measure become the center
of San Francisco’s social life. Perfected
unobtrusive service to every guest is the

secret of their sustained popularity.

FAIRMONT SE
Hotel Company WHITCOMB

D. M. Linnard LeRoy Linnard D. M. Linnard Ernest Drury
President Manager 9} Lessee Manager

the quartet, save for the air of simplicity. The folk-tone is most clearly
marked in the quaint Andante melody. But this is not all. A soft patter
of the strings (over a repeated note of the horns) moves in a kind of fugal
figure ‘very leisurely,’ to melodic phrases in the woodwind. In the return
of the first melody in the woodwind the ‘cellos take the lead with a new
expressive melody, that reaches a height of stress ‘in energetic motion, with
stentorian brass against the tumultuous strings,—ever in answering phrases.
A quiet recession is followed by a new energy with aggressive accents be-
fore the return of the second melody. ‘The former tune of the ‘cellos here
sings bravely in the violins. |
‘‘In the third movement is a strange frugality, not to say barrenness
of harmony, together with a plainness of tune. Strikingly impersonal and
unemotional seems the quality or the humor, if we may so call it. . The word
Scherzo is not used. ‘In quiet flowing motion,’ beginning and sustained
with strokes of kettledrums, is a lively course of violins, continued in thirds
of clarinets. In general the tone is minor, though the harmony is seldom
clearly or fully stressed. Soon a counter-tune plays high in reeds and pic-
colo, and now another in a blast of the woodwind. Anon there is a dainty
-tinkle in clear major and a roguish phrase in the high clarinet, with a
rippling run through the whole gamut. The running figure begins afresh in
a new major key with a counter-tune in the reeds: or there is one above and
one below. A pair of trumpets blow their phrase in thirds. In the sheer
descending octaves of the tune and the bass is a strange crudeness, followed

Representing Gi Z cs sore. ae
Lyon & Healy iy, ee
HARPS MeN = KAJETAN
4 ATTL

The
World’s Standard i
Bhs Concert

Harpist

=
xe
Vee
Sa.

bil ( Y i A Z =

Y,
A\)
A
Yio" Wy,

Solo Harpist S. F. Symphony For Engagements Address Bohemian Club

— “4
os he

Re ane

.
— nn Se I EE en
n 5 - . -

ee eS ES

i
|
ft
;

a eS

LAZAR §.
SAMOILOFF

Director and Vocal
Pedagogue

JOSEF
LHEVINNE

Piano

He is a teacher of rare
insight as well as a vir-
tuoso, and brings unusual
authority to all questions
relating to piano playing.

JULIA
CLAUSSEN

Voice
One of the world’s truly
great voices. Not only is

she at the height of her
own powers, but she has
had experience asa
teacher, and possesses the
rare gift of imparting
knowledge. She will give
general instruction in
stage technique, coach
operatic roles and demon-
strate her own _ vocal
method.

LAZAR S. SAMOILOFF

ENDORSES THE

Baldmin

Baldwin Piano Company,
310 Sutter Street,

Fairmont Hotel,
San Francisco, Cal.
October 10, 1924.

San Francisco, Cal.

Dear Sirs:

Let me express my appreciation of your kind-
ness in co-operating with the Master School of

Musical Arts in California.

I have been familiar with the Baldwin Piano
for many years. I have found it unrivalled in
tone. and action—in fact, the ideal piano for

both concert and studio.

The school has done

well to have made its arrangements with you.

Very truly yours,
(Signed) LAZAR S. SAMOILOFF.

OF CALIFORN

<= == a

Lazar.s. SAMOGiLOFF,

ENDOWED BY ALICE CAMPBELL MA

ALICE SECKELS, Manager

ENROLL NO

OPENING OF FIRST
LAZAR S. AMOI

San Francisco Class Open

SEVEN WEEKS

JOSEF LHEVIN

San Francisco Class Open

ANDRES de
SEGUROLA

A master in character
portrayal, for many sea-
sons leading bass _bari-
tone of the Metropolitan
Opera Company. He will
conduct opera _ classes,
teaching acting, and
makeup, and coaching in
operatic repertoire. The
staging of acts from
operas will give practical
experience and prove an
important step for the
operatic aspirant.

EMIL J.
POLAK

Coach

One of the most success-
ful coaches in New York
today. Recently heard
here with Jeritza.

FIVE WEEKS

WILLIAM J.
HENDIE.RSON

Distinguished critic of t
New York Sun, as
author of anany bool
will give six lectures |
Monday an«d Thursd
evenings at the Fairmo
Hotel, beginging May :
Open to the public.

A. KOSTI:-LANET:

A course in jight readi

and ear traiting for p:

fessionals aiid amatet

by one eminently succe
}. ful in thi; importa
k branch of music.

S:LOFF, virector

\MPBELL MACFARLANE

KEL’, Manager

LL NOW

FIRST CLASSES

“SAMOILOFF

435 Opens April 27th

NM WEEKS

LHEVINNE

lass Opens May 11th

2 WEEKS

LLIAM Ay
NDERSON

ished critic of the
‘ork Sun, and
of inany books,
2 six lectures on
» ancl Thursday
- at the Fairmont
eginging May Zo.
the public.

OSTU-LANETZ

se in ight reading
- training for pro-
ils aid amateurs
eminently success-
_ thi; important

SAMUEL

GARDNER
Violin

ANNIE LOUISE

DAVID
Harp
One of the best-known

teachers and performers
of the harp in America.

‘CESAR
THOMSON

Violin

One ot the most distin-
guished among the violin
teachers and performers
of modern times, sharing
with Auer the distinction
of having remarkable suc-
cessful artist students.
Formerly it has been nec-
essary to go to Brussels
to work with him. This
is. the first opportunity to
study in the West with
this justly famed master.

FELIX
SALMOND

Chamber Music and
Cello

Nee ees

SIGISMUND
STOJOWSKI

Piano and Composition

This Faculty of Celebrated Artist

Teachers Will Give Instruction in

SAN FRANCISCO
AND
LOS ANGELES

Between May and September,

1925

Dates for each Master sent on request
Free Scholarships are offered with each

Teacher

Write for Application Blank and Catalog.

Address

Master School of Musical Arts

ALICE SECKELS, Manager

Office:

Room 139, Farrmont Hote.
PHONE DoucLas 7267 SAN FRANCISCO

Dr ae ee

of music, ‘

-
—_ s
y

a RE ig gt a OE REE nine

an = BZ

by flashes of impish humor. Against a shrill high note, long-sustained in
piccolo and flute, the bass rumbles far below in the running theme. Sud-
denly, ‘forwards,’ with a shock of new key the brass (and the added wood-
wind) ring out a clear tune in clarion tones against the motion of strings
.and bassoons,—stressed with a vehement fanfare of trumpets on high.
The tune is carried gayly on by woodwind and violins with the repeated
chord of trumpets. The whole seems a series of madrigals of elfin-tones
and blasts of stentorian forest-horns. In the heart of the movement is a
delicately sonorous song of trumpets against soft purling second violins
crowned by a melody of the first violins on high. And it is echoed with
new beauty in horns and the high wood (while very softly an old tune
dances in the bass), and still once more in a fairy song of the trumpets
against the elfin strings. The tune of the beginning has returned, but the
trumpets hold their delicate song, and not until a burst of coursing strings
and wood are we back in the clear air, the plain light of day. The earlier
phrases are enriched in harmony and augmented in the other wind to
rhythmic strings. All the tumult ends in a ringing effect, as in the martial
blast of trumpets, followed by the unison of dissonance that is dissolved in
a subtle descent till the first theme bursts boisterously into the other silence.
And again the high violins descend in delicate hues of diminishing volume.
The end is as of a vanishing host of will-o’-the-wisps.

‘The fourth movement of this mysterious work has a vocal text for the

THE SAN FRANCISCO BANK

(LATELY THE SAN FRANCISCO SAVINGS AND LOAN SOCIETY)

SAVINGS COMMERCIAL
INCORPORATED FEBRUARY 10th, 1868.

One of the Oldest Banksin California,
the Assets of which have never been increased
by merégers or-consolidation s with other Banks.

Member Associated Savings Banks of San Francisco
526 California Street, San Francisco, Cal.

DECEMBER 3lst, 1924

RGSOES 5000 te oe Te ee ae oe $96,917,170.69
Capital, Reserve and Contingent Funds....... 4,000,000.00
Employees’ Pension Fund.................06. 461,746.52
WOOL DRANG 828 oe, Th tae aan wk eben eee ks Mission and 21st Streets
PARK-PRES?*DIO- BRANCH... scant geek et oe. Clement St. and 7th Ave.
HAIGH Po acre PaCANGE, 2555 Sek oe peace Haight and Belvedere Streets

WEST “PORTA: BRANCH 2 -2..2oixt dew coe. West Portal Ave. and Ulloa St.

Interest paid on Deposits at the rate of

FOUR AND ONE QUARTER (4 YY) per cent per annum,
COMPUTED MONTHLY and COMPOUNDED QUARTERLY,
AND MAY BE WITHDRAWN QUARTERLY

————

alto solo, a verse taken from the famous ‘Knaben Wunderhorn,’ a collection
of old German poetry,—translated by Margaret Munsterberg:

Thou red, red rose!

Ah, man lies in bitter throes.

Yea, man lies in greatest woe—

Far rather I would to heaven go.

| entered upon a broad highway.

Then came an angel bright and wanted to stay me.
Ah no, I would not let him stay me!

Ah no, I would not let him stay me!

I am from God, I will go back to God!

The merciful God, the merciful God, a candle will be sending,
To light my way unto a blessed life unending.

“In the soft brass plays the hymn changing the rhythms in the ancient
manner from three to four. With the new line: ‘I entered upon a broad
highway,’ a bell sounds high against the open horns and reeds. With the
angel comes a transfiguring harmony with a play:of harps. The chords turn
minor with the warning word. The whole is brief, without a repetition of
words.

“The Finale is spent for more than half its length in an emotional

_ strife that prepares for the choral song of assured resurrection. In the pace

of the preceding Scherzo begins a wild burst of vibrant and tremulous per-
cussion. In a transformed clear harmony we catch the vision of an ascend-
ing symbolic strain. There is much dramatic play of figures of the wood
and brass, with graphic changing chords. A chorale sounds slowly in the

Quarg Music Company

109 Stockton Street

206 Powell Street —-—TWO STORES

Open Evenings
EEA la Victor e)

ga lao

LONG DISTANCES

TRADE MARK

They cost more, but
they do more

They tune thru everything

$240 and up. Easy Terms

guess

PR rN -
—— . .
*

= eee

: ee

a SS EP oS OE eS

\NICH-&-BACH

QUALITY PIANOS
and PLAYER PIANOS

JULIA CLAUSSEN

Prima “Donna Mezzo-Soprano
Metropolitan Opera Co., New York

WRITES:
KRANICH & BACH,
New York.

Gentlemen:
Your piano is unexcelled in the beautiful

quality of its tone and workmanship.
Very sincerely yours

Exclusive “Representative

Oakland

1016 J Street, Sacramento

140 O’FARRELL STREET

The Hibernia Savings
and Loan Society

HIBERNIA BANK
Incorporated 1864
HEAD OFFICE
COR. MARKET, McALLISTER and JONES STS.

MISSION OFFICE

COR. VALENCIA AND 22ND STS.
SAN FRANCISCO, CAL.

$81,603,701.25
5;922,693.15

OPEN DAILY FROM 10 A. M. TO 3 P. M.
OPEN ALL DAY SATURDAY FROM 10 A. M. TO 8 P. M.

SAFE DEPOSIT VAULTS AT MISSION OFFICE

wood with a murmuring counterpoint of strings, followed by a new ve-
hement plot of motives in the wind. Then there is a clear foreshadowing
of the latter song: ‘Believe me, my heart. The chorale now sounds in full
solemnity of the brass with thrilling changes of chord, and again follows the
play of graphic motives rising into a fanfare of arpeggic and tremulant
voices.

‘‘Allegro energico bursts a storm of contrary figures that precedes a
vigorous almost martial stride of martellato strings in the melody of the
chorale, echoed by the whole band. It drives to a triumphant song of the
trumpets that lead the way throughout, in highest range. The strain is
loud in the renewed tempest with steadily urgent motion of the wind. It
subsides in the returning pleading phrase (of the trombone) of tremulant
strings. A new picturesque element appears in a group of trumpets with
light percussion that sounds in the farthest distance in midst the pleading
dialogue, as of some playful music scarce audibly wafted by the wind into
a tragic scene. Softly, but more and more urgent is the pleading discourse.
Suddenly the distant music is much clearer, and the other stronger, till both
unite in a climactic tempest. As the tremulous sounds die away, the symbol
of resurrection sings very softly in the ’cellos,—in violins, at last in resonant
soft horns to flashing changes of harmony. Again the far distant brass (now
there are horns with the trumpets) sound gentle echoes. A bird warbles
on high. The trumpets are stirred to a boisterous madrigal of quicker calls.
As they are stilled, the bird sings again, joined by a more tuneful mate.

YEATMAN GRIFFITH

“Recognized Authority on Voice Production and the Art of Singing”
Summer Vocal Master Classes

FOR ARTISTS - TEACHERS - STUDENTS
ENROLLMENTS NOW
Address Communications
SAN FRANCISCO, CAL. June 3rd to July ist
To IDA G. SCOTT, Kohler & Chase Building
LOS ANGELES, CAL. July 6th to Aug. 3rd
To L. E. BEHYMER, 705 Auditorium Building
PORTLAND, ORE. Aug. 10th to Sept. 7th
To OTTO WEDEMEYER, 611 Bush & Lane Building

San Francisco’s Home for 4 Musical Education
a

Complete Summer Courses
1925 Season Opens June 22nd

Instructions in all Branches of

MUSIC DURING THE SUMMER

Morning (lasses Free Recitals Private Lessons
ARRILLAGA MUSICAL COLLEGE
2315 JACKSON STREET SAN FRANCISCO

TELEPHONE WEST 4737

Soprano Solo

Believe me, thou hast not been born in vain

Nor lived in vain thy sorrow bearing.

Chorus

All that lived on earth must surely perish
All that perish shall be resurrected.

Chorus and Contralto Solo

Oh, cease thy sorrow, prepare thee for the morrow!

Soprano and Contralto

Oh, pain that all men smitest

Behold I have fled thee,

Oh, death that all things blightest,

] never shall dread thee! ‘
My wings that I have won unfolding

My fervent love outpouring

I shall be soaring

The light no eye hath seen beholding.

Chorus

On pinions wrung from mortal anguish

Will I far be soaring

Death, O take me, life restoring

Rise thou shalt, yea, rise again

Wilt thou my heart in moments blessed

Sins thou hast conquered, to God will bear thy spirit.

IRVING KRICK

Solo Pianist

Available for Club Engagements in Bay Region
Season 1925-1926

| Address: 479 Forest Street, Oakland
| Phone: Piedmont 3554

GEORGE M cMAN US Pianist and Teacher

STEWART

1459 4th Ave. Sunset 2487

Available for Engagements as Solo Pianist or Accompanist |

Mondays: 526 Powell Street Thursdays: 2510 College Ave., Berkeley

Has toured as assisting artist with Pablo Casals; Jean Gerardy and George Enesco

| _____Has toured as assisting artist with Pablo Casals; Jean Gerardy and George Enesco |
MARGUERITE LISZNIEWSKA Master Class of Pianoforte Playing

MELVILLE

Master Faculty—Cincinnati Conservatory of Music
Five weeks commencing June 22, 1925

Sorosis Club, 536 Sutter St., San Francisco, and School of Music, Dominican College, San Rafael

ALICE METCALF, Manager, STUDIO: 1233 California St., San Francisco

For full information address:
Phone Prospect 8158

Wdersomel

The San Francisca Symphony Orchestra

FIRST VIOLINS

Persinger, Louis
Concert Master and
Assistant Conductor

Argiewicz, Artur
Assistant Concert
Master

Ford, Louis
Assistant Concert
Master

Meriz, E.

Mendelevitch, R.

Laraia, W.F.

Gluschkin, M.

Gordohn, R.

Seiger, Rudy

Bem, Eugenia

Koenig, H.

See, Orley

Mortensen, Modesta

Amsterdam, M.

Pasmore, Mary

Ruiz, R.

SECOND VIOLINS

Jensen, T.

VIOLAS

Fenster, Lajos
Principal

Hahl, E.
Baker, F. A.
Wismer, H.
Weiler, E.
Lichtenstein, V.
Patchook, S.
Dierich, F.
Kolb, R.
Lewis, A.
Wellendorff, H.
Firestone, N.

"CELLOS

Ferner, Walter
Principal

Dehe, W.

King, O.
Villalpando, W.
Weiss, A.

Kirs, R.

Gegna, M.
Pasmore, Dorothy
Hranek, C.
Demetrio, G.

Gough, Flari

BASSES
Lahann, J.

Principal
Greene, S.
Bell, W.
Storch, A. E.
Cassetta, L. R.
Guterson, A.

Annarumi, A.

Giese, W.

FLUTES
Linden, Anthony
Newbauer, Louis

Oesterreicher, Walter
Orchestral Manager

Benkman, H.

PICCOLO
Oesterreicher, Walter

OBOES
Addimando, C.

Shanis, Julius
Schipilliti, V.
Utschig, H.

ENGLISH HORN
Schipilliti, V.

CLARINETS

Randall, H. B.
Zannini, N.
Fragale, F.
Greenbaum, A. A.
Randall, W. F.

A. W. WIDENHAM, Secretary-Manager

ALFRED HERTZ, CONDUCTOR

BASS CLARINET
Fragale, F.

BASSOONS
Kubitschek, E.
La Haye, E. B.
Hranek, C.

CONTRA BASSOON
Kolb, R.

HORNS
Hornig, W.
Tryner, C. E.
Roth, P.
Huske, F. E.
Rocco, R.
Findetsen, C.
Cleveland, G.
Salvatore, M.
Trutner, H.
Dabelow, W.

TRUMPETS

Ditzel, E.
Arriola, A.
Kegel, Otto
Kress, V.
Edwards, G. M.
Savant, S.
Linden, Arthur
Dering, B. A,
Klatzkin, B.

BASS TRUMPET
Klotz, L.

TROMBONES

Tait, F. W.
Clark, O. E.
Bassett, F. N.
Ingram, T.

TUBA
Murray, R.

HARP

Attl, Kajetan
Schipilliti, Annette

TYMPANI
Wagner, R. E.

PERCUSSION

' Nickel, M.

Vendt, A., Jr.
Kundy, E.
Salinger, M. A.
Wood, W.A.
Overbeck, H.

PIANO AND CELESTA

Ormay, Gyula

LIBRARIAN
Kegel, Otto

ey vtosnoneinnesiyee ten

—— CHORUS ——

San Francisco Division

SOPRANOS

Albright, Ethel A.
Alpern, L

Anderson, Anna
Anderson, Hildur E.
Anderson, Margaret
Asmussen, Dorothea
Atha, Mrs. Miles M.
Auger, Miss Lina
Augustson, Mrs. Selina
Backus, Violet M.
Ballard, Zebulon V.
Bannerman, Miss Julia
Barr, Elsie J.
Bartlett,.Catherine Qu: °
Bashford, Edith
Beckert, Elsie M.
Beckett, Helen I.
Beppler, Miss Myrtha
Blagg, Violet Fenster
Bowen, Beatrice
Bradford, Dorothy
Bradford, Helen M.
Brennan, Katherine
Brown, Genevieve McK
Brown, Mrs. R

- Buck, Mrs. K. A. ;

Burns, Miss-E.

Canet, Kathleen
Caradonna, Miss Mary
Centini, Mary G
Chapman, Lula Mae
Clifford, Miss Beatrice
Cleal, Anyta Clayr
Cole, Grace A.
Crowley, Miss Katharine
Davidson, Miss Leda
Davis, Mrs. L.
DeVoney, Bessie D.
Debrecht, Eulalia
DeCamp, Miss Carolyn
Delaney, Lorna Claire
Deward, Mrs. J. M.
Doane, Mrs.

Doheny, Mrs. Nellie
Duerbeck, Anna M.
Durkin, Miss A. Hazel
Eames, Mrs. E. A.
Easton, Mrs. Verna M.
Elliott, Miss Adelaide
Ellwanger, Clara Jane
Emerson, Miss Mattie E.
Erwin, Miss McHenry
Fries, Mrs. C. G.
Gassenberg, Ellen
Gates, Phyllis Scharff
Goldberg, Mrs. Addie
Grossman, Jeannette
Grubb, Edna M.
Hamm, Dorothy

Hart, Frances

Heal, Gertrude M.
Heeck, Eliese

Henkel, Grace

Janson, Edna E.
Johnson, Frances
Johnson, Jean
Johnson, Miss M.
Jung, Margaret

MRS. VIOLET FENSTER BLAGG, ACCOMPANIST

Kaunitz, Miss Mildred H.

Kec, Marguerite
Keefe, Mrs. F. C.
Keenan, Miss S. A.
Kelly, Addie

Kern, Lydia H.
Kinread, Mrs. Kate
Kinross, Onida

Kline, Mrs. Harold
Knudsen, Marie S.
Koblick, Mrs. Esther
Kurtz, Mrs. Rubye
Lachmund, Lorna
Lawson, Mrs. A. W.
Lazelle, Miss Rena
Leonard, Kathryn
Lewis, Miss Melita
Lineer, Lillian

Loge, Miss Clara

Lull, Sarah L.

Morgan, Florence M.
Morris, Caroline W.
Morris, Edythe Vivian
Munson, Florence E.
Newhouse, Mrs. W. G.
O'Day, Miss Marie
Overbeck, Mrs. H.
Penhorwood, Miss Li
Perrin, Miss E. J
Price, Jane Ellen
Pritchard, Miss Ann A.
Podhurst, Mrs. N.
Potvin, Miss Vivienne _
Reinecke, Lillian
Rich, Mrs. Marie
Riedaelli, M.
Ringressy, Paula C.
Roche, Mrs. William
Roesti, Miss Olga
Rosberg, Esther A.
Scholz, Mrs. Elsie F.
Schwartzberg, Simona
Scobey, Mrs. Nellie G
Sherman, Ruby M.
Simpson, Miss Loretto
Sisson, Madeleine A.
Slate, Mrs. Ruth
Slater, Ruth M.
Smith, Madeleine L.
Sousa, Frona Simon
Southworth, Estelle
Spencer, Annita A.
Spaney, Alice

St. John, Marie
Sterling, Miss Emma
Street, Mrs. Francis
Stuart, Ruby E.

Sund, Miss Hilda
Swint, Catherine B.
Tauber, Miss D.
Thomson, Carolyn R.
Thompson, Mrs. E. H.
Tooker, Dorothy
Tresidder, Miss Oliene
Trowbridge, Fawn Post
Tum Suden, Teresa

Ulman, Adele

Vallina, Louise.
Vedder, Margaret
Vejar, Anna Ray
Vrang, Marian J.
West, Miss Edythe
Wheeler, Isabella
Wheeler, Mrs. W. T.
Willmering, Parl B.

ALTOS

Allen, Jane

Atkinson, Eva Gruninger
Barbat, Mrs. J. Henry
Bartlett, Miss Olive S.
Barbieri, Florence M.
Baum, Helen H.
Berman, Mrs. D.
Berton, Nadine
Blotkey, Mrs. Anna K.
Blythe, Helene S.
Booth, Maude

Brock, Mrs. Netta
Brown, Zulina B.
Burke, Doris J.
Butler, Miss Amy
Calderwood, Rush
Chamberlin, Sue
Christensen, Alma
Claussen, Estelle L.
Clement, Ada
Clement, Marion

Cole, Susan

Craig, Elizabeth
Donnan, Carol
Donnan, Grace W.
Doty, Nellie F.
Dozier, Elizabeth
Ennis, Mrs. O

Evans, Madeline
Fern, Mrs. Wallace T
Finlay, Alice

Keesing, Florence
Kienast, Celestine
King, Helen

Krist, Martha L.
Langley, Mrs. Virginia
Leonard, Ramona A.
Lindstrom, Mrs. Louis
Marston, M. Garthwaite
Martschinke, Mrs. Ida
Maul, Juliet

Peltzer, Enid

Peterson, Mrs. Gertie
Plise, Mme. Marie Light
Porter, Mrs. Francis H.
Pratt, Mrs. W. W.
Prentiss, Mrs. C, W.
Preston, Ines F.

Rampe, Mrs. Will E.
Randall, Helena F.
Reinhold, Anna

Runge, Doris

Schulz, Erna

Shatz, Josephine
Shepman, Mrs. Mildred
Smith, Irene

Stinson, Mrs. R. H.
Stone, Grace E.

Storm, Ethel L.
Strandberg, Mary F.
Strauch, Auge

Tauber, Mrs. Jessica M.
Trauner, Irene R
Trauner, Mrs. J.

Tyler, Mrs. H. Upton
Weinberg, Mrs. Emilie Si
Weisbaum, Mrs. Elsie L.
Wild, Helen

Wise, Miss Dorothy
Wise, Miss Frank
Wilson, Miss L. May
Worst, Eva

Wrenshall, Mrs. E. K.
Zaretzky, Emilie

TENORS

Adam, Richard
Alexander, Thomas
Anger, Maurice
Ash, Major J. E.
Barnes, George
Barrientos, Bernard R.
Battison, Robert
Blatt, Walter E.
Boyd, F. T.

Brown, Guy L.
Brown, Roy C.
Carcione, J.
Cardinal, Emile J.
Dahl, F. M.

De Li, R. E. Artur
Edson, Henry F.
Eggers, A.R.
Erwin, Dixon A.
Elmquist, J. L.
Ferry, Joseph P.
Folsom, Elbert
Friedlander, G.
Gagos, Kurken
Giannini, Edilio
Giannini, Italo
Gross, Albert E.
Hackenberg, Charles
Hall, Philip C.
Hamann, Henry C.
Hoffman, C. P.
Holton, Erwin
Johnson, Willard L.
Jones, Gwynfi
Kennedy, Charles H.
Liederman, B
Lindner, Arthur
Lundquist, Caleb
Mahr, Jacob J.
Marr, James
Mavor, J.

McNeil, Earle F.
McNeil, J. L
Micklich, Max
Morris, Carl
Nelson, James F.

Olds, Leon B. W.

——— ee ——

Padel, Orrin Leon
Paxson, W. L.
Rogers, W. H.
Shanks, Dr. F. H.
Smith, H. L.
Smith, John Preston
Smith, Wm. L.
Steward, Parker
Stone, George O.
Taylor, R. H.
Thomas, Jack
Williams, H.

BASSES

Albert, F. W.
Augustson, Hugo M.
Ballard, John R.
Carleton, Chas. W.

SOPRANOS

Alderton, Nina M.
Beukers, Grace
Campbell, Gladys Mary
Cavanaugh, Miss Anita
Cote, Mrs. Ethel

Crockett, Mrs. Grace L.

De Vaux, Mrs. Norman
Ellis, Miss Jennie
Engler, Muriel

Gray, Mary
Hammond, Margaret
Hanly, Mrs. Leo B.

Hawes, Mrs. L. V.
Hayden, Ada F.
Helmstein, Miss F.
Hoszowski, Emma
Lewis, Mrs. J. W.
Lewis, Mrs. M. H.
McCord, Miss Alice E
Miller, Alice B.
Miller, Mrs. H. K.

San Francisco Division (Continued)

Cowles, Jean
Crofts, F. E.
Delmar, C. L.
Easton, Charles H.
Fauer, Theo.
Flammer, Victor
Grahn, Edward
Gruber, Dr. William
Guenter, George
Hagan, Elmer
Hauschild, J. H.
Hein, George
Hencke, John
Herz, Leo
Hofmann, W. C.
Homberger, H.
Hooke, Geo. H.
Hunt, Emery L.
Isaacs, Frank

Lamont, G. E.

Lundgren, Richard
Lundine, Prof. Carolus
Maginnes, A.
Maples, Thomas
Marston, Otis

May, W

McCoy, L. Harlan
Melbourne, Louis A.
Moore, H.

Oswald, Charles E.
Parker, W. J.
Pasmore, H. B.
Platz, Joseph
Plagemann, Louis
Rich, Ross C
Rickman, Edwin
Rickleffs, Henry F.
Schepte, Henry
Schoedsack, G. A.
Schulz, G. W.

East Bay Division

MISS MILDRED RANDOLPH, ACCOMPANIST

Morgan, Connie
Nash, Mrs. Geo. H.
Nielsen, Mrs. C. B.
Nordvik, Mrs. J. M.
Reynolds, Grace D.
Rinehart, Miss Amy

Schmitt, Mrs. Theresa E.

Sweeney, Dorothy
Shideler, Florence V.
Weaver, Margaret G.
Will, Mrs. Andrew J.
Woods, Mrs. Glenn H.

ALTOS

Ashley, Blanche
Brinkley, Mrs. B. G.
Castleman, Mrs. Stanley
Cushing, Mrs. A. S.
Dillon, Miss Bertha
Essex, Mrs. L. B.
Flammer, Mrs. Charles
Freese, Thada S

Freitag, Miss Gertrude
Gordon, Mrs. J.
Harrington, Mrs. L. R.
Hirsch, Edith

Josten, Mrs. John
Knott, Mrs. B. F.
Medina, Mrs. Evelyn
Moody, Mrs. May Van D
Parker, Miss B. F
Rowlands, Mary J.
Schulze, Mrs. Bertha

Schwarzmann, Mrs. E. G.

Shewmaker, Ethel M.
Trevorrow, Mrs. W. J.
von Ahnden, Emma

Wagener, Winifred L.

TENORS

Blosser, Roy H.
Clarke, Frank Sidney
Egbert, R.

Ellis, E. R.

Watts, Francis P.
West, John E.
Wright, R. K.
Wyatt, O. W.
Young, A. C.
Ziegler, J.E

Hanly, Leo B.
Lenz, R. L.
Sirola, Onni

BASSES

Arterburn, A. B.
Ball, Alexander W. G.
Brinkley, B. G.
Castleman, S. J.
Compton, Leonard D.
Coy, Fred A

Freese, Henry M.
Gordon, W. D.
Harrington, L. R.
Howe, William T.
Jecks, F. Marshall
Mullen, G. C.

Plant, TR

Pollard, Clarence M.
Reber, Otto F.
Uridge, Harry E.
Whitehead, Rex

MADAME

JOHANNA KRISTOFFY

Phone Douglas 6624

PRIMA DONNA SOPRANO

Thorough Vocal and Dramatic Training

740 Pine Street

MARGARET

TILLY Pianist

ELWYN CONCERT BUREAU
Phelan Bldg.

THE

ARGARET MARY MORGAN

Engraving , P. 1 1H /, ES . Publishing

619 CALIFORNIA STREET
DOUGLAS 4633

Special Summer Course for a limited
number of advanced students and those
wishing to be coached for the Concert
platform

Studio:
1815 Broadway
Fillmore 9082

Commercial Printing

ae eer,
= . :

EE EEE EEOOOOOEOEeeEeEO
LE

ee LE

i :

Ne z x
Sa

The first
Victor Records
by the
San Francisco

Symphony Orchestra

under the direction of

the famous Wagnerian conductor

Alfred Hertz
issued on April 18

There is but one Victrola and that is made by the Victor Company
Look for these Victor trade marks

ae Yr

eS Victor Talking Machine [Oo Camden.N. J.

HIS MASTER'S VOICE” Victor Talking Machine Co. of Canada, Ltd, Montreal
Canadian price-list on request

V7:
=a
Dae

N
zai

‘SAN
(SYMPHONY ==

mS | @
OS, f
‘ ij oan Prancrsco fll

REPERTOIRE

) of}
, 1924 1925
| Fourteenth Season

ALFRED HERTZ CONDUCTOR

The San Francisco Symphony Orchestra
1911—1925

Note—The Roman Numerals indicate seasons in which work was performed.

AUBER—
Ry ey RY eo eB) Po so) Co ee aes os Parades! age Peer =p Se + oneie or opie VEONIIAEX, Xt XH XV
Overture, “Masaniello” © 222.2222... ...2.----2----seececnno cen ennnnceescennennceeceeneeneee senna csnnanecnnmnasennenncesrennecs ones Vil
Overture, “The Black Domino’”..........2....22.222--2.-c-s0---ccetdecenecnenecceenn erence neon cnc nnnensneeeereaenennncons Vill
ARENSKY—

Variations on Theme of Tschaikowsky....2.2.2..-2----------2.s--2-.ce0--2sncee seen aeeenenoenecneeeseeeeecees XE Xt

ARRIOLA, ALFRED—
Nursery Idols .....2........--------22-----2eeeeennncecce en ensneceneceee nnnanelecnesnanennnestonnanscanaenaocunnanaassnecasensnnennccces XIII

ARTCIBOUCHEFF, N—

See Variations

d’ALBERT—
Concerto for Violoncello, C Major..........2-..---2-----------e-c-eeeeeoete cece ene cc cence nese ee cne ence neater snenesceenscees XI
BACH—
Air on G String from Suite No. 3, D Major-............-.- kik VIL VIL, Xx; Xd, XU XI ALY.
Passacaglia and Fugue in C Minor, (Organ Solo) .........-.--------------------------000neneeeeeeeeoe XIII
Concerto No. 3, G Major for String Orchestra..............--.----------------2--2--2sseceec scene nnne ance neees Ill
Shepherds’ Music, from Christmas Oratorio........----.---------------------2eesceneneeern neers IX
Concerto for Two Violins and Orchestra, D Minor...-...-......---.-------------------------++--- xX, oe
Prelude (Violin Solo) ..........-<.----------2-----2---nnnecceenec sence ce enn ccc ennccceneccnneatenneaeeanccneascanemencnanecneneaccnees XI
Gavotte (Violin Solo) -........-22...-222---c---eeneccceeecceneneeceee cee eee scenes cee ensseaensannneenaeerseeseeaneneesteanecesanes XI
BACH-ALBERT—
Prelude, Choral and Fugue.........-22....-.-.cecceccecceceeeeeneeeeeeeeneneseenece see enneceeeesnteer tenes stnenanenecsnenacs VII
BACH-GOUNOD—
‘““Ave Maria” for Orchestra, Organ, Violin and Harp........-. VIE OVITE. XS XX, A AT
BACH-MAHLER—
COP EET aaa ae eae ea Nad Naess tute os phen snanae iawn aaveadswe pian aman cnenae XI, XIII
BACH-STEINBERG—
FE ES oie ee doe, SL ERT Qua ee URES eL Sar me- Uhuee x Sh eel ee aie pes eres Cran re eer X1V
BANTOCK—
Overture, ‘‘The Pierrot of the Minute’’..............-----------------------ecnnenne cn nenee ence sentence tenets lV
BEETHOVEN—
Symphony No. 1, C Major, Op. 21 .....----.--.----:.:-----2-scceccnnnneeececneeene cent eene es eanasaestnnnenancnnces VII, XI
Symphony No. 2, D Major, Op. 36 .........-------------1:-4:secceoseentenecensnneentennnennnnessesenerennananecaes V, XIiil
Larghetto, from above..........----..--:-------:-:+--eeeeeeeecceececensceceeeeneencnacnae arene stannnsranaecceaeccacaeesnesessenens IX
Symphony No. 3, ‘‘Eroica,”” E Flat Major, Op. 55-...---------------------------------- Poa VI Xa ed
Symphony No. 4,B Flat Major, Op. 60........-.------------------------sececrenc cs ee cece nen nce nreenscnenentns Vial
Sy PROmy NOT 5 Op OF coca wren chee osha cegeensn -ctmeatae=-pe=nngeeesa==s- ie IVES Vil Exe SIA
Andante, from abo0veraz.c...:.:--<-::----e----ecneceeceenne cn ecnneecesecnnnnceneeeennenandonnansnnecesnenarcaneaceennansne nes Xe
Symphony No. 6, (Pastoral), F Major, Op. GOES SS os eI Re ee ree ar eee Vil, XiV
Symphony No. 7, A Major, Op. 92....-----------------c-se-cceeooneesn ence cence seen renenneenaese: II, VI, Vill, X
Allegretto from 7th Symphony...............-----------------2-eecceecoeennne cence ne ennenteecec cc ennneneasees seer rnnnances Vill
Symphony No. 8, F Major, Op. 93........-----------------:eeeeceneec cece een eneenecnneeeeneeececeesteeneanmaes He Vi, IX
Allegretto, from above...........------:---:----20se:econneeneeeeececenececeneenecetennnsnennceetanaaenennesennsansennennaccecen ees IX
Symphony No. 9 (Choral) ..........----------:-ss:-sseeeseneeceeeceee cece renee csennesreneacenencccceeanaanaetsneeneences XIII
Symphony No. 9, First Three Movements.........-....----------------<--------nnoeneetenccetereecee cn tenesesenenes XII
Symphony, “Jemma” ~.....--...-------ccceeeceecececeneneccecnne cece cesneneanensnenensmancannanerceneassennensescecccasersncnesenmacaesss ]
Overttbes . COriOlaxts.: cose. coos sce seca cance Paes cand en mci So sae ee name eee ees eaeemeaoe ine BEA GS BI
CVT EUER em ee PTVO TN ames sets ts as aaa oe Sgn Se ae Be Sonne Cap deb ouenpagpee neat me nengentteene He VEX, Cee
CONTA ge bate ses Bo (oo ba Beem basen te eB ee atin ele Oe yes eee ET ER feats MAA ewer Pere rece eet ee Bec Ill, XII
Overtire saHieOnOorens. NOs ScD Ss Md oo snccacabe senda eee enanea epee tareadoneWine oe TeV WLM LE Xe hi
Concerto for Pianoforte No. 5, Op. 73, E Flat Major, ““Emperor’’................--....-. Ill, IV, X

f
}
}

REPERTOIRE

BEETHOVEN—Continued.

Concertouor Violin, 1): Va jon st ee eee ee a ag LHGeTV Nok LV
IVERIEU erie NN Cres Akan 05 aero han a Mal 5 eee eR ek At ya ten Ee IX, X,; XI, XIE, XIII
DENA S 15 oat (20 ef Ga a eae PULTE Ne ete os ree aun cite Meme mua Bae adi ENS Se Me I rec so ak VI
Trio in “‘C,’”’ Op. 87, for 2 Oboes and Engiish loysie sob seat ae een VI, VII, VIII
Rondinor foro, Wand imatriatvents..-5..5 0s ee at eh eck ed eee Vill
“Egmont”

Reeudvollvaridalicidy. oll... vest aes eh ee as Rae We eg Sab oe VI

Dies) rommiel Geraint. oo sto eit oye gn es Se a a, ee VI

BERLIOZ—

ONE Ue Stor DEDVenUtor Gelling | aoe ee a a et ae os VIII, XIII
Overture, ‘‘Le Carnaval Romain,”’ Se Ses en ee EE er Pee Se Lent Pee, Deen TEV Va VEX ex]
BON LASIAC OV TUONOUY. Crim ay Coch en oe ee es) Se eS IX
The Damnation of Faust

Minupe ales ARONEES tore ce eet Peat Pe. PB eet ee yet Ot Vie Vinx? Xi

DenctodesiSrinnes-s sr ssn tren ia kk i a es tA et ee Mi Oe Oh

RAKGCAY ain RCh Sto ees Go kt eee RN Both VEE Ma VL Xa XE
Trio of the Young Ishmaelites from ‘‘The Infancy of Christ’’

(Bor eworritres an Harp). seca ae 2 Ole Get eas lee ae aod te Ree ee ae VIII

BIZET—

IVE PUGESS. APTI). oo. 320 ate Peed ates eat Pel occ, BU ee EAA ees, Bt oy i ee VIll
Ouite eeu flesienne.. “Nos ain.) toe ie ip rea on ee MIS VS VAX XT
Sulee,: inmosionne,’ a Non 2u hc los ne SW Pat ER AUR, Serene XIII
SCATIIGT se SATB UN Cake eee ne pe ON a ae hn Pe Mi, VAL Is, 1 IE RX
BMG LINE Z21G. ETO We SATIRIC I ese ts ce eee re ele PU ei en Shee eae IX
PRIA DONeTA Ce oror eC aEMMGN) <2 1 cel fe tin ees a ta hes oe honleeneael ee eect IX, XI
Duet tell: Mevor My Mother,” frome: Carmen. ots or, at se Sve ee XIII

BLOCH, ERNEST—
Bed NOT Soc anh ee OO hot Pn re raed oe ITI C8 ge Ce A Viti Xe xa

BiH eMac aneas core Mees pa adaw iw Sse cute ns Sen ensure nah Oe See Ny Looe a XIV

BLOCKX, JAN—

pvr GUN SHOAnC Ober ashen Con ce ete OL ee wh RNS dea ee Oe VIII
BOCCHERINI—

SUVARI ADORNS ein sence ena nt ea el le onan bye VATE I, SN OTE OXEV
BOELLMANN—

“Symphonic Variations,”’ for ‘Cello and Orchestra... LTE Wk XAV.

Fantaisie Dialoguee,” for Organ and Orchestra.....0..02:2c-ce-cececoeocoeeeeecccseeeee XII
BOIELDIEU—

Swerture, dia Dame “Blanche to... SG uno eee ee ee Rl ae ne geal os X
BORODIN—

yO YANO dae oP NAGO To en. git cnet Ie eek, tees NEN lies ge hee aa VI

“proketeh: of the Steppessof, Middle: Apniat a. vena) mee a rs oe Io Xara, tl

Ballet Music from ‘‘Prince LOO rs I I ee ia Fo ed SR XI, XII, XIII, XIV
BOTTESINI—

Concerto for Violinsand. Double Bags .o:) Jona. e Ae Se ae a XIV
BRAHMS—

Symphony No. 2, D Major, AE Ts ee a an ERE ee aS aie TEV Vk DxXGek, OLY

pille BrEUCOs SELON LAD ONGC: cn aah ane wRS ee EE a ee ee ee IX

Symphony No. 3, F Major, Ops 390 2 cos is a a aera oe LIV VCVaALS Xe ev

SY WHO: Now 4s. EMINO, jOD. 90.12. iar te Nieman en an Maree teat VI, IX, XIII

Perenage IMCD esMalOR tt Suche eine hl ae ares Cie be RO etre ORE eae trae oem XII

SSE GN 8 rere SiGe cotciat sok no Soda See GRR GORENG pins Sone CURIE Gee eee, pais LETS ag eee XIV

Overture, “‘Academic Bestivals Op nSUle So ee ee LN eet OE ea VII, XIV

OV eI RUS esc e* EEG BAe tmp coe OSE aces 3 un, ORI Aine iy ae ee a hor a eee ee IX

Soncemo foi VichineD, Major: Om ilies ck ae ee eee ee ee ee IV, VI, XIV

ElUNeaTrinn.DAnGes oc 09s so i ee AA ene VI VIR VIE Xe X, XIE IV,

Variations on a Theme by Haydn, Ore DO ae sas nt See Pe ae ee et IV, VII

REPERTOIRE

BRUCH—

Concerto for Violin, No. 1, G Minor, Op. 26......---..------------:ceceeseeneneennennn ter Il, VI, X, XIV

“Kol Nidrei,” for Violoncello with Orchestra, Op. QE Seen Mineeneh VI, VU, IX, X, XIV

Scotch Fantasy for Violin and Orchestra ........-.----------------:eeseereereneneccensnrenne erence anne IX
BURGMEIN, J.—
ENT Sra bot eta va CA PTO VEL oe caso ar cca caer ao seco aaa wenn obo teemwesuanuee ep edenceay nn srannanseacbevnesenaeas te ners taeet cee VII:
BUSONI—

Symphonic Suite, Op. 25....-...-.-c-c--csseccsccesseeeecenensesnecensoenesrnaseenencnenanarancscecenessnsnaccscsesesenee se seee ees IX
BUSCH—

Od Folks. at Pome sc 2--cick econ cannse -cdaene con ccuowans tosh cmastenaccnsnaneqecnnnassssonengengpensescersnnanenescsescsanne/ Sent IX
CASELLA—

red Pens 6 Papas (0 6 an Sen Ra een eS eS ie rete eae ea xX
CHABRIER—

Rhapsody for Orchestra, “Espana’’.......---..-------:---+s-ees0-e020rree VI, VU, VIII, IX, X, XI, XIV
CHADWICK—

“Jubilee,” from Symphonic Sketches............-------------c:esecressecrsseesnerensecenn nantes enn ee Ill
CHAMINADE—

MT Tn Sart Danie. ii scnsdcnennsaczctnn<nccpcoe cous banedeabowreennennsccenatpnewemsumeanersvene>Ansekaar=eeesananarne na seeresaeves VII

Concertino for Flute and Orchestra................-.-.----e-0---sssnnnennesnnsnnnnceecconennencnnanscsccneonstansecceces XIV
CHARPENTIER—

Suite, “Impressions d'Italie’’.........-.....-------0---ce--seceeeeeeecennnreeneeecnnnennnnenananncnnrenaensnanecscncretsces XIII

“Depuis le Jour,” from “Louise’’..........--..--------csessececeeeseeneerccnnennanennenmnnennens cnet een n ne Il, XIII
CHAUSSON—

Symphony, B. Flat-:..-.22--2:----c-cqonce-tocesoaseesnnnanernnnbe-enverccecnnnonnsroennssteneeneroncoesersenrerssnsnreennsans X, XI

Symphonic Poem, “Viviane,” . Op. ; Reset ae Sys late ele en See 2 RLS oe eee VI
CHERUBINI— e

Overture, “The Abencera ges” .........--<..-----:-sse--eeesesecnensescenenecncencenncseenenarsenerenensssnnnnanamennceoness Vill

Overture to “Amacreon’’............c2eeeeecceeneenenesenreeeeneererennanncnceenmenneaeenarnecansesennaanscnnccesencacoamers V, Vil
CHOPIN—

Andante Spianato and Polonaise, for Piano ANG -Orchestrar.cAcccdcceccacoscsctechcueee cs acevearemsgerss Vil

Concerto for Pianoforte, E Mimor..........----..----seeceenecccecennnennntentensnneccecesenenennqencononereessnannes I, XIV

Beach ae ccd Sew topcase ganna ba vate oumsoen@par acne Wine nb os ggcoensennnyasirgstonen tang terg “ane nos" sac ab seeroaea te IX
CLOKEY, JOSEPH—

Basa VV ere Sign be aco oo week as saan cocada ane cc net eonvavanuenssuadensasennenmnnaPSansanrgredapsunqesneren=aagnc oe treeoe Seah InR” XIV
CRIST—

Chinese Mother Goose Rhymes.......--.......------seereeecnnecennnnnceenentapsncnennccnensnennscncoceenraccceccesonasencs XIV
COTTENET—

Chanson Meditation (Violin Solo) -....2..---..------::-coeseececeeneeenenennencceennesnconenansnccannnnemereenaccssneness XIV
DAVID—

Air, ““Mysoli,” from “Pearl of WS ek FEN en Ss acts oan ck bop ease mane ern siennstesebarnrenapes I, XI
DE BERIOT—

Scene de Ballet, Violin Solo. .................0.:.--scccceneeeceeenenseensceneccccncccacneeaceenerennnssnenncerncnsccorsenanas XIII
DEBUSSY—

“‘Iberia,’’ No. 2, Tone Picture for Oe he ser aisc. sox ccccec tcc cokwe ke an ce ote eee a te aekee -honnametineens VI

March, “Ecossaise”” ccc: :-cc--ceecwceoene-scecececnccenernncccenerannacnnansnnsnsanraseaessannacsmannacseractseapscsnnsenss II, VI

Petite Suit Ccccccccc.siecicccicccrecaceconcecscteccsnecuoscocerscenestencspscstbnsnanseuacemececensconnurcannrtedsencceseanssnesaser eee, Si

Prelude to “The Afternoon of a Faun”’...........-..------ 1, IV, V, VII, VII, IX, X, XI, XII, XIII

The Children’s Corner.....--c------sc-cc-sencccesccreencccensencceeneccerccccconcnenensncnneseannnecnanncnnmmcncsarcunnancnss VHA X

Golliwog’s Cakewalk, from above.............-.------:::-:-cesrereceeceeenecceteenanerennennannecanennnnrsnnanensanneces XII

Three Orchestral Sketches, ‘““‘The Sea’ (La Mer). ...........---------------c02eeeereeneecrenmenecneenens Ill, Vil

Oe Beecher a vase denn sneha new sbpsnanecoandetecaghaiinceanectsnseuonansamuernsabonr sireraone=Vees eBags ereap races IX
DE GREEF, ARTHUR—

Four Old Flemish Folk Songs.......-.....2...se----cceeeccneceenneceeeeceecceeens teen ersneeersnnncensnnenenenssess XIII, XIV
DELIBES—

Suite, ‘Coppelia’’............-------------eeecececeneeseneee secon eecnnnneesnnnnensennaesecnesaanannanewenees | eam, Gu. O ae GF Pe @ A

Suite; “Sylvia”. 2.nic.c. oie. sc ceccceenccecnenceceennenncactneenscececccscuncoennecnensesnncrseneeurnsnenepnmarnenances I, XI, XII, XIII

OST SN STIL ea rare ac eens wants nae Roos Sp pcb Soewnannbahndlp Seance wumwensoseswenchsadenenbeaseaamtee VI, X

Po) Say raya: Pats 6 3) Roe ale cea Ben a tes eT a ety: ee de Pane Lee eee on tee eee TREE VI

Intermezzo from ‘“‘Naila’’...----.----cccecccececeecceeenenscccencenccceseeneccnesnennncnscccseneeneoenecccemecanccanmacswonseass Vil
DOHNANYI—

Suite for Orchestra, Op. 19.-2-2......ccceeceeeeeeenneceeeeeeceenee cece cneneneectesseceesreseeenceeesens X, XI, XIII, XIV

REPERTOIRE

DOPPER, CORNELIS—

ATS COTO IN + PM PRONG. fool oso te go eh NS ear ig wes Rae nee eee X
DUBOIS—
PREV ICTS, ETICES ROUB ERE UVR se a Ba ss ee Se Peo cena ee ee Vill
SWItG <5 1sB — PF RTAR GOI coc ek oe a ee RR Rs ee RR Goer oe BE Se a eee VIII
DUKAS—
Scherzo (after a ballad by Goethe), “‘L’Apprenti Sorcier’’...... IW VeVi Villa xT Atl
phd Med BY y er level Bote volo Be cot 7s WARP nen Ok gh SPR meta ne cas ap otis a aetonat ee Sua nei Scien des eaters hc VeVi xi!
DUPARC—
Sects hiker ok eked &7 oy) ce orig bro): hoy 2 eens he, Weenie Sie se Rreeiien.- BRABIVireR ties. ier Weemens eas WKS. cob eg Sal ter w rs Part aes IX
ee REESE PEE OITA ee Sc ea sea gad ate ec oe eg ee SSS A aR ie Te oe ae XI
DVORAK—
Syinphony.-wi romathe: New !W orld. o.ccsc. scr ne ane een ncaee eee eee eee I, VU, IX, XI, XIII
HN Eee e oes) pas yet tae. lo Let g Bie Oae A mer Slee ease RUGS Ae aes ler SRSA Ste PRY eae arene emit Ae ee aU a & IX, XI
OMCTEM TE CORTON Ey tos CIS AE secs ease enact cas ceze nema neat ash ee nee eee II, XII, XIli
OPEL Te 1 POCO IN ECR T nooo, Sade an as hncce ccc ane eae eee et ee ea ee ees Ill
Concerto: for. violoncello... Minor. 2 3 he ee a eee XIl
Bem LF ape Loy Gent he tC RPT aha RRO SR IRN eras DNL VERE GBD? ERE LEONE BETA Ge IRONS Sine ot Vib Vitex; 36 AY
CLERC NA Ts SERRE Se oe a Ne ga he re Eg ee a EE ae Vill
EICHHEIM—
Orientalciimpressiogs: =--n-2-2 8... es SE i Se Ng gh aie ena SOE Bee hits an ye XIV
ELGAR—
March: ompvang CrcumsestanGeds co) oe re sence Il, VII, XI, XII, XIII
ELKUS, ALBERT—
WHpPTessians FTO. Bs WsTOek 1 TACO ys a ace ise ee IX
J eXepelatepe aye co Wily Coy gg ceed Me Lk gael IS o 6 6 te tpmeel Spat ip Seth Barra NEE Sc tT SN a re 1 Rete ange <M le ue soe XII, XIII
ENESCO—
Roumanian Moapsody, No.3 A “Major, Opi tlc ees ae eee VI, VII
SOSrIN eas Gets iit ee AT IVI ANON. Se Se ee es ee eS ea ee XIV
FAURE—
Bereeuse sOKr.. Ou GsRHOs OTC MesSe recs. Gee hn ee ee et OR ee ee Vill
Romance without Words-for “Cello and’ Orchestra ..2222 ois ne een eee VIII, X
FOOTE—
ror eg Gish Cy hel ey ean oe hoe et Sean Bic Pet” Yo Came AN We Me 2 larg Rink pert “RAP oe Oa? dint Mr Ae OR ae Pray wee oe, ES Vi
FRANCK—
SHUT ONG 5 > BVO ces eae oo oe a ones eee ee eee BU OER OK Pa os eo TE OY
Symphonic, oem; = le Chasseur. iam aoe ccc cca co tice ctw acco nw needa denea tes cosar ne adeee oo Vill
i Symphonic Poem, = ses - Poles res oe cece arcnce ccs Sis nck en enna danced cecbeeseoreee, coapbee auc Seetean sas VI
Syasiphonic: Variations for Piano and Orchestraic ci a XIV
GERMAN—
Suite; baree: Dances: £rOni > EIeCRry- UN Ute es tock ae sascha eee, See Il
GILLET—
Set Mo} ba cogs | wb) kale ee eerie APRA Ons MS hr acaba). Sha SE: Naan L. akiae eerie hs ta Ramee DEAE ak VIII, IX, X
GLAZOUNOW—
“‘Ballet Scenes’’ from Suite, Op. 52
SG ber she Y Res BU: cot 2) Same ee et ct OE ise eo es, aL Fabs ae PTET re SR aie Os Se me Wa act ene Pee ads GPE ae Ser Lt oP V
bs PSE Tosa toy oo 2 Oy. eis SSA gen MS ae PP Am iS |g Sac NEY I OSE oe ane er a teey, SORE Sy Ne NO VEE
Grand: Pas>des: baancess from -Ruases! GAO ar. 6st re en cs debe eee XI, XII
Nocturbedc throm SCOhOpiniatia:) aes oe ee re ce re dad oe eee ed ns SO Re VIIl
Polonaise. (eoroimn | CHOPIN IRE hess. aoe et cote oe ernst aires <a ek aah nke sacs eae ge ag eee eee VIII
perenande t.Spa snore oo cs cee sr ea ei see Ee ens pus senate essa eelgdgs ce tonats ceae Sa moe ee tes X
NWiIEO) GO CONCEET SOD Tee ee ete tn oe ee Ee tn Dp ee a ed epee Sore ee Vil, IX, XIII
See Variations
GLINKA—
eg ARTE SUAS Bah ime ee Sosa eS Seo te ack da wa, ean ae aa earache daa SURO Land Bodo cact nace aan Reeee Se beaCEeS VI
FRG 5 ep T) oP AUER NEN c Sen Sco Sa caty as sce od See SR ead aR a a Ne ee tee a oe en Se SU 8
GLUCK—
“Dance of the Blessed: Spirits, --. froin’; OTrp nets: toc sscccse necks weeresneees esos VI CVIE ect
Overture-splphiwnies dn AS es nok oo adress neaeas hinge eee ets ten ee eee ce VIE EX lV.
GLUCK-GEVAERT—

baie Wb POS etC LF gh ac PY ARS es ge Sk eSB 5 elicdie ts Sea IS RR SRA ie eet ve) EA Marys Oat ee TA As en IX, XIV

re ee 2

REPERTOIRE
GODARD—

Suite. Ops. tO; for Pirate: andvOrchestya sic. 52.2 ino soo eee ae = venation neten ecard eae c tpn snopes Vil

LAAs Tiss Font Cama ity Cl 0 to) sees element ee 6 AP in ER ib a i oe oe meen es Seen ey Pema ee EP pee nner Sat o> ee XI :
| GOLDMARK— :

SvHiphonyoND. pte Ops ZO, IRUaLIC! W CUOINS fom. oon cs erence ennte eee ne Lee Sat ge ea eee IV, VIII: R
| OEE Tee cc SECU TICE est OD ae wont ttn beckon seen ee pe apse ep seosoek anes eaake data es 1; 1V;0 Vile XT
Overturess li Springtime, S31 Oped Civic seccace soe sec alee ace akon nee pemtonaee whee Se uaban op esaee eaten rang Il
| GOLDMARK, RUBIN—

ASST EEE sea taetine sty 21.05) 2 tap pene ain ay Bobet LOE paws SOeREy 1 Ait MP na ae Nie Ae erne te, aE OA A 3 AERR NEE, | BES tn XI
| ANG OPO ISEB OCS ian oa eee coe eee dace OF ew a ones En ac oe RS RSS oe ces Sede eC Oe ED XIV
| GOOSENS—
| SYST AY Ss ZS pahae GEN as fiers bared c¥. Ca) a) sage PO eee Sr 3 ieee ei an CP doi rt tape ANB PRO ye Ere 8 Met yer Sy: XIV

GOUNOD —

a Oe Bids Ceghe (7 ot: PRR See Seer ne manne eee Fe nner oe ao NEAR ALG Seeger See” ES et uaa wep LW Meise pc eh “Roe Il

PSery HOTS ORS Pode ote Gall ot: Lb E-) cet es te a Re eS SSeR CERES a OMORS Ole he ERS I a bear. Sy

Parmer Daa TOR Ole DOGTIOTIO hE ioe too pide st ea cate eek en gee Vite. Soe ae AIH
Valeo EO. & FROMMeO: arid. PUR ec een ok Cee 9 oer «ee ns Seen Se een co ap ae onten ae ats ]
GRAINGER—
| British spol Mut. Settings == .< fos eo ee eee i ee V, VI, VI
| ivishu- Lune from County Derry; from: above. .o25.. <2 nce aes VIII, X, XIII
Molly. om the: Shore; ifrorn “above Sisco ect oe oa neta sere aoe pened VIE. TX, > A
Sasi EE Oe NUTT BENGE ee sk Sasa canis Spe wah eee wte ae ee aprega cet nie edewn aeece bets eek Ektcs Sa suee = ta mee acne apenas VI
1 My Pavtad TRY Yor ah gh 1 tale CHES RE a alee WO Re RAE ee OS el PPR pee ee ae Ai ea Fed ee te wales oie LT XI
| GRIEG—
Concerto for Pianoforte in A Minor, Op. 16............-......-....------ IV Vin dx Ale
a Ca ee aie ee Se cag OP ed are CO eee eine pe RERUN SaaS Ue ROSE tit « ain SS ae Ee VIIl
) PICA WW GUNGSTO RG ISAS Us OTN ooo oo cx bac ode ate Scena ahs cn ca dteabaecunl a seeae teen ceapeete emcees II], Vil, XI, XIII

EOE OU ILE: PELORT SOI ea nin ce ae anc oenas eae cwas an yaa cae han evit apawe Neat nae te aed aoe V5Vig VE

UES a cj rm o) gh ep oye nt: koa Loe pee tan pen me a OBS foal RE Sn a ME Rem eB eee AOD | pe rie fk Sa SUL instr FRE DSN es Sey ey BE 24 II

Sofveie a Song, trom: ~ reer Gynt > Suite No, Ze Op. 55 eae ede cangenceeeneaat pears VII, VIII

Suites “Peer Gynt, Nod -1, Op. 4622-5. oo aaa eae EoVioVaY, VIG XX], XT Rex, ov,

SESE Ol tag och gl Os alc uc blo Nie Aad eth nl ie Reel oa CRB SAO ent entra rere per ip ty SAS phe EN dite oe EAS on
. ENOL OL WE WINDY TGTGOS, § CDF OD sega eee ota ee cak coc kl ican Ac te sane ebeataen ce gepe nae Reece ype eal ae GEG
j Wie Chel er OES SIT IO od Fy INO Foe oioeasicn bance onan cee pote Beem iouan aetna eee eter eeeeeecet VIII, X, XIII
SUtee fF Dimer | POTSA LEAD a5, occcaceaney vi suasc eset en oe ate acaba eee = PEN eS Laat Nata ae base XIV
| HADLEY—
SraTiphOny INO We, bee OUP.) SCASONS ois owns fannie arnt cacnas an osasseanos goepedbeccee uals a ates Ro tuseeede eeee I
t SV MONONY. NOs 4 ye VERIO occas che noha ease ero basaeepne Scenes aera Pas oop aeceebaed- cosas Ska, Wen se sbeer a euseavee II
Cig ee 605 00) 0) Cote Oe esto 1-7 | eae ines Bea Rie ae an Ee Dieies caat a apy anua ee Neen etn oa Me eke Pee decency ny rectum eke ie eee Vill
WOVETEUT Est POT O Ce oe dae ee e ep, Ae re eee aie eed ie Ree See pene eee nen I]
h Deas har go Reb hy 42 GS) 0) oho) 100 bs Lat ee RG Pes Sk Safe eee ee Lee en WO POSS Penh vat ae glee PROS een ae Soe? tt, AIV
Gantata ein WiNSie Sb reAree a ei oe a Eee sak ot a ea aan ce eee alas ea a a I]
Wonzertatrect for: C ellouand Orcnest Te. a0 eso aee aac re eae ee en Cen ee eee i]
PRIS S OC Vig see Se ALPE TE EY oo cutis 5 perce bce se a aac a ees Ss senate np sane semi II]

SEE Eeda EE OTROETIO NIE OR A RUN eae eae Fe cen se eens Soh ep peak tae oh ae ee: DORE Urea ARR op eee asec oie ree ea II

El ONG OCIS ALONG re | OP dD ssa oe eee eae ee wt OY SE Ti acc Gens ae en Reg lV
| HALVORSEN—
| Sr Se Bite LETS 58 ae 1) 0 Cs Meee a gE RE IE ty ee NS SY NS le SO ONS ts) SA al A Ae elie te EL oe x
| HANDEL—

Eurgo. tror Orchestra and Organ a. oe ese ee ea ee ee VIE XXXIV
| Convertor Grassos Op seed aINOss ea rn at aden 4 eee cen am dares eae as Sy aed eae eee X
HANSON, HAROLD H.—
Spare hoy AKOGy Loyal satay 54 Wimeyy Sb 2 Thoth lo) 9 ee eee en tae he ER CRIS Ne AS Mr oe Se oR Shee ch oe Ie XI
SVT DOOM PSO yi ke a es es ee Re oe a aa ie eee XI
HAYDN—
| OR Ug NAL ITOL IY, OBL 8 tant B ate eP ONDE EET, BORE PEROT SRE St Oe aie Tae ee A OF Agee Nn ene be Pos Toes See ER ye I]
Symphony, G-Major (B. & He Ed.Ne. -13)::\(The: Surprise) so eee ee V, VI, XIV
| Margocrand = Finale «from sa DOV.c isc ee ee re ae te a Sem ee ee VI
| ig cub apse e hides Cee G ES Coy deemed 1/515 G2: 9 oa ee ae ROE a aN nee as ER-Pe RHEE ith Oe WR TSEC g ITE AKG. IX
) PRMGOREUGO LONE HD OVEs 2 soe soe tee ote ne eens ee Tenet a nai I, ee ra eae Ree eS IX

Concerto ror Violoncello, sb wlWajor gmake Saat ca ale ae ar ee I, Panes Ropenees XIl

SOncerto-1or. Liarpsichord ahnd-Orchestra, DMajorscnecccennnseee oe es XIV

MHNeMo one Variations Lrom, Emperor OUaATtets co. seszss se eee ca ee eee cease ] /

“
oe 2 EE

REPERTOIRE

HELLMESBERGER—
CORDELL WOONNE ce Pe ie enns ee Mute eS Seg ence Foe eT Any ae te ee kOe MRT VIII
HERBERT—
PRTC CATIEN ADEA SIG ioc Sasti cs canto cobra Ne cos cease No cen nk ee ee on Be, Sega a nt a ee VII
BPA S ORAS OY sete eo ores tence ta ae pee ieee Pe ene ae Se se eC ee SU, OR ett Vil
Rrrelucdecta tye Alt Na tome chose eoc ce eer cee coe eee ees SOR See A dhe Inc iy II
HEROLD—
OVO TBO ae Z se TPO ssc he rdsnga sw ae ec de ara a Se Nae hoc IS eS AS NS iL a Vill
HOLST, GUSTAVE—
po iS eRe Diol ay AN, FCS ts Naas + ed gee ORE ele GPE RIAE Meet ee HiT A WHEN Toni fe er eerie Wh Ts x Ma bt XIT
HUMPERDINCK—
Die Koenigskinder
\OLCES ch Fp Yok Sar eaaen ei Aero ong bar Soe MS ERAS NCEE RIOT Ten te etaily se iseeeeie COR Me Marg ire 1 ke Ill
Pree cworse nOGACt. A Mellafest) i: one eS et a es a ee Ae a cede ce VI
Preludesio 32d Act>-(Verdorben-Gestorben) sc. 323) oe eee eee VI
Hansel and Gretel
Dmeameicantoniitnes ts hope. ee ER Ve ae Men ae cep BE Nee Vie LX ek SH
Raye hes genera eo ote teks: See aaah OR eb eh Re eae iain ae Vil
D’ INDY—
Et by (ayn tai oy een VA Loy Los 2 cy 1 | (o jeieetee nes taintaee SMES, AS tele al. Mer Stl ele non BC PRUE PvE A ras ein PS Ae aschenih — waiess BE ! V
IPPOLITOW-IVANOW—
Caticasia nie kelGnes ei ek ne et Ores oa tap a ey eae te. TVs DURA ye eC pie ae XI, X1V
TWwO.-Nmbpers: Sono. CAUCASIAN OKETCHES oo ek oe Rs Ee ee ee Pe VII
JACOBY, FREDERICK——
Syimpicnic ioe, -o Une “Pied Pipe kt moose nte a coe ce See CSc, Pe ee ee V
7a Niel VEY Coie ects ato Lt 0 | R= Renee eee sa Ale aN ai MRO TM EERE NR RON SONG FS RSS UT ee Oe higge Vil
Sy mpnoniceP rejude, Thesis Vesor ot. Agnes v.04 5. ce ee ee Coke ed eas ae Ss XII
SUV ERL EUSIY Vihar oa res upcecicnnn en scenes Bee S oe eet eae gt VR ee ee. Ree ees ne Le XIV
JARNEFELT—
PAPI Ci area ARO cto SR Rie Sie AR ar es | ee Re IX, NG od OT
Ask 20 UY ig ae ea eA an oh ite centre ABU ey ent he OS Re CRG Ss MOORS, CRM Oe Oats Mo ekC kh Me C IX
JENSEN-STOCK—
EV Ex raat oat OAS ben eect sk eae Sees es ean eee ee en Mean 2) nee Ae yee aR IX
JUON, PAUL—
NS WAC EOLA eo ccen na Season dice Oe eae ana gt Re meee atts Par GENS eae ace RR Sd X
KALINNIKOW—
‘ PY MPHORY.S NOs whe Ge MENON eect agers A i Ben il cee eee i tae ee oe es Iv; IX
KELLEY, EDGAR STILLMAN—
symphony: No.2, 7 New, Englatid:) in‘B Flat: Minor, Op. 3320... 8o. ee ee ee ee VI
KORNGOLD—
OM ETENE 5 iN GAA ae ak cS ate can ut oe uae Rp ee RS eae geen. Tea OL SNe ae a xX
KREISLER, FRITZ—
Ese DeStretitl asl ON OIS VOY eek nee eas Ses Se ae ee ge Ce a ae tees 1X, XG ee Oy
so) oF a Fo BP ANAS yo i eR ere rae gO ORE A itr SERS ore ARR Rs SORA SO SEIS IS eo, ce XII, XIII
GEN oY 9 Col BAVA TSS ch ch fF SRE Dona aps Be aerh f pee ee et SN ce Ne eS Rome i Pee Fea Re XII, XIV
LALO—
Sy ii pHionie We spAwnGle TOT MVAOTHN.. Coot eet ee Aeon niet treet 8 yt areata ee ere ee |
Concerto ane) iMinor: for eCellon-2 iota 5 ci a ees = an Ae ea ee oe ea Ill, 1X, XIV
Concerta-for Violin 4ner ONGNGrs ao. ae ee ee pe. ae ae ae oy eae TRAIT XTV.
Intermezzosfor:Cello-and Orchestras on cs ed ee ee es ae ee VI
INOTWESIA He aN NR DS OGLE 228 cowry Pets to tes eos Bac ane ok Se eRe as SE tee arg Wk I ade Ean WV
Overture, elie Soi Gas ioe ots dek acer as eee ue tay ai alee te oer oke En Vode ke RA SE lies a tbe a II
LANGE,. GUSTAV—
wo>Movements from “‘Pastorale’> (OboesQuarteb)u.- ye ee ee XI
LASSEN—
Hestiva ltcOventu ren st geet ayes Ac See eo pe as Teter aay Me, Ceca reeeen ie eticae! xX
LEKEU—
AGABIG; IGE SERIRG SKS Sere i i. sis ed a ERE Sere 68k SARS Oe SES ey ees a XIV
LEONCAVALLO—
POO SUE ECO eck APACE cone Ge eat lee De a ore ine may Peet Ly Se eee ne XIII

REPERTOIRE

LIADOW—
sag BY oF oN Sone: Ree St Wey Toa gal cy 2 tH Sean ra aie oo Be pacts ne PON et ed PO ES Saver a ETRE EOISAS REE <O5 even Vill
Symphonic Picture, “Fragments of the Apocalypse’”’...............2...22222222--22+2--0+--+2eee-eeeeeeeee XII
BS Ey CEC REDO SENIT GEE TIE rE RATIOS et odio eS ceed oy atta nome Seo Saende Gave ane ee snaps nama mea eae XI
POMEL TICR TIE GCE 1G RE Oo OB occa ta cat ee awa tepine npllensbes st icarasen ie tnsitancarb shane staden EX, oN; Xi
BF Ret ARO rete CUES Oana nS ae oe es etre dara gute gh ay hanks saaanen stpy Bane tg Tobe canta ease aaa tenn obs IX, X
MIGSiG OX CV AISE ECR DE) sas aaa eae crane haere eee Somue eects >, Gam, 4 ta, @ 0 mm, © 0b |
See Variations
LISZT—
Foe PG seep aaRO Ng 1st od be) Re a PES a DO eo LE a men Seni ea etn Pe. Fee RES TRS ane XIII
Serr PADIS POST VRE ZOD PE ee ns ap Ross cana ba eon cp ab Bawen tcp pn bat seed oemipe teed anaes Vil
Symphonic Poem, No. 3, “The Preludes’’.......... LeIiVveVeENE Vile VES, Xe NE AB A
SSIGRNX ETD COTA ECTS OMSEE A or PERRO FCF aasaccs Sere stot a ee da a eee Supls oseenee tun ae ines Ble ee sane PRG ese Bi
COC EREO FOL EDO TED, Pade AG Cec NOS hice csc tcc cia ce Son Se wae oe Tere caches cane eee ene eR okeanses II, IV, XIl
Concerto for Pianoan. A. Majors NOs -2o ne ic acs eet pn ee tae eegees VII, Xi
UTES PAB IY FU DSO Ye INOW oo so Sasvee ao conc cofeed dons Feceseacthees cesescs sens agin selectieank VINEE VL os!
SP Ret rier ee Pte Pe ES RIGOR Vir INO Gd occ cecdo as a oe tac gee spss oon Ba ween aetna anda Vit oIxXe Xe XE AH
Hungarian Fantasie, for Piano and Orchestra.........-.---2.-22-2------------eseecnnceoneeneeneeeeeene IX, XIll
oo SCTE TIS BLS 9 5 1 Sa eae aN MERE aE SR PLD is TOS «es Lal, AV, VEER RIS XT EE ALEV,
Teed cate RENE we fina see a eR REN AORN Sai: ee RS ae eee Pe ee Lea ipa see On oer cet ery ee XII
PCS OTA Ges RR POD cana eck pana re eana ok hoop callin bap apse Sachem ascbunbaeoncmedecusesoieanewe I, HW, XII, XIII, XIV
Nae eee SN i pea alles One Aa RN EA. SER SIC 5 RD cl cw Oa, Ta ies eee RN or aC el Bh este Berar ae A 2 IV
RPI PULSER OTTER oot oo Sac ae oe Rzs Uma Th Socigs = ot Sense aaa eeate= aaa wee te somnast ee Cees ane POR: Sera eea baad rata 1V
LUIGINI—
JS Ey oe REE aS SD ee nt tan ON Se eS ei ie Soe Ane oe a oy RRS SMO ake tens NS Ce > eG ied <5 A
MacDOWELL—
ER NE PESOS La a) 8S) aa Re So lanes Laelia nA et An eo we fae, 6 len Pa se IE ac, We ee tek Se, ]
En De Oo Pam NY Dee to al Oo Shae) Alliear ee Sten ee Bees eee aes To Re SENG RY eee ee ba a eee ERE ne SER an writ a Liam Poe ok II
SX CUTE ais Caged aA ss ae A eS See ee ee Pie 5 lpn Peip Mnte Sather. Sistine yen) pee ae Soa eRe wh Es Il
Merle Testa Are Ege eal WS pete yo Peet eae Mog Weta er Se MR, Neat Rn CaN Aa des SRE 3 SORE Dh igs Eicon WIRY am poems k Se Mar yy Ill
Divce stream. irittiahi sOuite ) oer oe oc 2 gs cccnka rat eguadndecats Tansee wee en ce oko aR actions pteadsoeeness Vill
SCY Tel Shh ee tre Wel Beg tbe iis 4 Ue ogy Ae Sania a Sans ee eee C= teen en SO. fbr y NR Sn cet IX
POOR POE O OU 5 Lae INO Oe os ke Rie aan ee eas Oona Sears aC agees enact EE haere IX
MAHLER, GUSTAV—
Sp TAAESEROEN GS EN Oc ign TOT os ess aon cep Basel Saban os stds Nene econ ast aapiae Semele PERE Boece tara X, XI
SMI GHOMVONG.o2,-C) Minor, “"Restrrection *<202. 2s Sc eee tae eg tate te XIII, XIV
agnyar ste teb OO fo ptamt, peo Coon 7 GL) eetinnnt lah eaeatde Seta e in i Ahae UN Ura ae Peels ierceat sm char RENEE As mee XII
MAILLART—
Overture, yes Dragons: “Ge Ville ree se soe ew Oats epbiae pao ced beak ge, eee oes x
MARCELLI, U—
Water colors——liour. Symphonic SKetches niga is iia poetic Sees dnc ab ose ane rocen ondtesnsotdneaueeas VIll
MARTIN, PAUL—
6S ye CGE CMC TIO WEE MOTO oa ccir5. Ses ce taen 5 ahead abet Soles san hasan dv ap beng nd Scaencenacona ve ualeeleceeotan heel XIII
MASCAGNI—
Intermezzo from ‘Cavalleria Rusticana’” for Orchestra and Organ..........................-.---- VII
MASSENET—
(GR LSA RPE Goede RADY ie Cy Sa GN i ae een eer eee EE Re EE Sent Aphis Soy pay REE hes) >, Cae, Copy. So lied. © 7
Se RPE RER TA OFC TRO ooo a ae ak eres ee area ra a hi en a tee VII, VII, XIV
SE NCer abe +E INCSH SL LOSS. -SLLOMEE ERO Vlas a eee oan en awa coe Ree on eee ankaatoensteae VIII, XII
Fe SAS G00 2 OEM (od GLO A Ee Le ieee iy er ee aR, ct a RO en ean far EM PRE OF Yi e A hE So, ROR Stile ]
Ballet sivitesic. frerirs hse: ii ren ao aac enigma oa nee daa benn eee act iennde VII, VIII, IX, X, XI, XII
Batlee Douce meron © TA CTOCTRC Giese scat ences Seco uu cea oa awharee een ceae Demet ersogs saat ones XIII
CET ES Ee Oreo a> ade a ae eae pee are Ot a a Sp i a ip EVO mo pO PEE MAE I ween. Sees ese a II
SRBC eT, ite ein male ee et oe i Ce ate ase na tinea damaseninetics oo dbase oe dura aege a eae eels Vill, X
RASC NE EIO TEER ORIN ee IS ocr eres eae pceed seen lubed wit eaeies Memes necasseste Ruaacassee VI, VII, IX
SHATCG Ts EI COTICS 1 NGA OUI CALE > 2 vx ken awe cece sco e des Serna ae aa cata seonap tab eaabee eu sushes dpate neces Seveuies ends Vill
SUitess (OS COMESI LU CORES MES 2 i eae sack wane das sours Fam te Roentgen Sacto aa a mgae anne aan oe ne Seoeeseans ioe is Vii
MENDELSSOHN—
Sympnony. No.4. italian; s Asaviajor,: Op. 290i. ceds anche caaeee se nates See awes teas em ebadeeag VI, VII
SUMpHOM VINO s, A IMIR OF? “CO COE CRED costo de cdc cercensceMewaes onsen octets mas nteer oe nenn san ak eed agmenee Sea rene ones XI
RUGS CTIETN GS ET ONDE ELLIO W Cee cin edn ik cao mate Saeed ange Det ae ead cen ee res ta ee ee eee II
Concerto.tor Pianotorte,_No-; 2G Minor; Op. 25-25. sessed heh ee ene eee Ill

CONCELtO FOR V TOI Os OF aoe eon aa scte duck wbnnnalagudeaaspua oe IV VE Eke XIV:

-
4 le = =

REPERTOIRE

MENDELSSOHN—Continued.

Ovethure: tingatiscCa yer 3 22) 05505 tes le nets ane OL eC gcd Ona ay Ill, X, XII
Overture, Memeina Op vo 205 oo vaste ra ae nt ens See eee en ie Vix
Ove reuney. Ty: ieee 8 ae societies ANE Et Ne AEE A EN re ae re II, VII, XII
Se SP ILY ah Sng gir naa dee a aS tn BOTS EA roe oe Oca Naga iran ene ase To me X, XI, XIII, XIV
SOUS OM Bene ciate sade ee en A tn gee San ee) ioe ete aes X, XI, XIII, XIV
Music to “Midsummer Night’s Dream”
iia ols Fi Roe Siete aia el PN Orcs RARE OR RABIN) mee WOR Pe eS eo IES Vix XS X11
Gi tek See Cae Seen Seen Se i earn rol ie Oe pe PME ea aS eS ease Nr” VI
RL CTs Se Rea Bits Sa ene Oe Re MiSs SEED Chet, neTAN SE Gil tere MORO, Sue MSS Vinx
Wedding nVignch otek. cacti pera ae ae, Pe adh ss ene VISX XE
MEYERBEER—
Avia +O. aradisg,” «irom-“LoAtrioaine:s eso. Set. ore Sere eres XIV
MONASTERIO—
Serensta: Andaluza (Vidlin ‘Selo)' 255 4. Oe ee etnias XIV
MOSZKOWSKI—
pete it Major une. t; Op. 3052 oe he, ete aug hen Semel Caer I
sPOSECT YF PTV NBO ances aplasia eS a og II
Themeveud- Variations from Suite: Noss.) ees oes ne I
Maiaguena from, Bosbalt? 22 ce ee eo Se Oe ae ee II
DOR CMEC. = Nata hye ance eee ae ae eC a Mee Oats wu omy VIL MVEA OX XI
MOUSSORGSK Y—
eure ioncthe bald: Mountain ease 3 2 ne wig ae ee ees Vi Ix
Dance from; ta foire dex Sovotchintst ssc... oS aS en oe oe a XIII
MOZART—
S¥ymbhony,. duper IG Wajors = niet een i eee, eV et
SyMiphony dike: Bint ee eee aa ys see ae ee ete a ee en ae ee iI, VII, XI
Symphony. G AVEROL LK OGRel- 950) sar hn a ee ee Vi VES VE IX, OXSTV.
Symphony in. Manor (Two-Movements) 22.23.0228 A ee II
SDV ERCUSE CD MPS BAR 4.27 Sensis Sogcniens oo saedes ow accaed in IE Po VIE AX, XE
Onetture.< Dneg Maeics i lube: jfk pon et oe Re ie eee ee et ere I, IX
Overture | NMabiome On Eigaro 3... egies II, VI, XI, XIII
Concerto.in te Majorfor Plute nnd: Harp. 2. kasi. cu.c8h2 Sos cn ee ee II
Concetio int) Minor for Pianoforte, (Kv 466) ccc 2 oes cassceectocseensctrseavinnt pa Me V
Concerto, -E.\sieteMajor= for Mianolorte. eos. eee es a ae XIII
Concerto forsViolin in J EE lat Major, No. 16250232 o- eect ee VIII
Concerto-for hinte, erp and: OLciest taro Sot ee nd Sey a ae IX, XII
Recitative and Aria from “La Clemenza di Tito? oo cceciecceteseeeeeeeeee eee II
Aria, “Deh vieni non tardar,” from “The Marriage of Figaro”... sw XIII
PNP IBY 5) MALE ODO rateZe | AGOte a eines toe ick Mee en eo hee, Noe cine XIII
NICOLAI—
Overture, “The Merry Wives of Windsor? 27. 32. Seat =, 2 | VI, VIL, VIII, IX, X, XI, XII
OFFENBACH—
Intermezzo and Barcarolle from ‘‘Tales of Hoffmann”’........000000-00000---ee-------e X, XI
DOVELERTECLO Pago Le UG acs 205 NOT sd aoe ee, tea artes OB SR Thee Oe eR en XI

PERSINGER, LOUIS—

BASALES CV IOIME SONG) coe etc ot ak asec Heats aoe ee Boo RE es Tee XIV
PIERNE—

SS 11 Se (VR Ee RIN OPED Mei eat PENS ie ee net TAM rene Seah, SeeA a VIE, VIN AEXS XT KIESXIV
POPPER—

Flungarianehhapsody (VioloncelloSolo)ss 27.20 <= ese ee i XII
PONCHIELLI—

Dancesorstne ours, “Wa “Giocanda: 5 ie ey aes gc es es ee a XII

Aas wclewseuviar.- trom ba Gioconda cnn oan ee ee ee XIII
PUCCINI—

PIV TSB is CAPA LONN 1k ORCA. ees cc isc ree Sa IAS tee ee aS Ce ee eee eee ae Wo

Ji bel-aly mirom-~ Madame bubtterhy, =~ s-0pr ok eee = ee or kg pe eee ete IV

“Che: Gelidas Marita, trom “la oBohemecs .set soa nae eee eR XIII
RABAUD, HENRI—

eh TOCESSION A NOCERTING gr sO ne Os eae ee ee a ag Or La See ae tr eee ee a VIII

BEGCIO SHG S Si OTERO ee ose ore wats so ks neat ae aaa pe een eos ae ee XIII
RACHMANINOW—

SVINPROHY INO. 2, ae VaNOEs COs Oh et ect kao ea ee i Ie is oh as re He, AV, Vile xe

Symphonic: Poerm;=~ Dies Toteninsel- 2s eo a ee Ill

Prelude “iio Sharp, NERO a 25 is, aoe sd ee an Sl eus Saca Soe sect ne he a ee ee Il, XIII

REPERTOIRE

RAF F—

Third Movement from “Lenore” Symphony..........-------------:-0--erceeccneerteen center nanan XII
RAVEL—
Introduction and Allegro, for Harp and CROC RU Pelee oe Saga ew ecg ape wee Ramee ances IX
Suite, “Ma Mere L’Oye’’.....--.....-.-----2----ssc---nasececcenansecnsennssncncennnennanccnnenaccrnces® iH, Vill, XM, -XIV- =
“ta Valse,” Poeme Choreographique.......2:-...-----------seeenseeeeccsnennreeceeecnne ne senennnn ncn neste XI XI
Rhapsodie Eispagnole ~.....-.....:-c-c---csscensncsecesrecenetotiesctncncntanterenesnsie lan laser anece sens s0aeeensce seen oe XII
Mey ETODEGW. Melodie ses .-n i. cise ccnnckecnoseernep an secentsne centannnpshnarandeaneadabomeregetensonaseoeare sar race sar nant XIV
REGER—
Serie TAR OIL RTL EL UGS 5 ea oN con ce soca ppn ema nyu ented per nripnt ata gate tge or ene ara Rg aoaeor ee aca III
RENIE—
Vegende: (Harp: Solo )xicsci.acs< tess shee cu at cateestnmsgc eng on see tentiemedage argc Rok tansoica ag ae a XI
RESPIGHI—
Ballnda ofr the GmOTiGe csc 7. -cese2-5< oa eles pean Chew en nee eenegene tt geen oop are panera = MET XIV
Antique Dances for the Lute...-.....--.-------.-----r--s-se-esercnneenesnnne nent tte etn XIV
RIMSKY-KORSAKOW—
Overture, “The Russian Easter’’:..-......--------:----c--s-sececcce-nnsennnnncccncenemnnnstrnnnnnn nna cnecee = Xba al
“Sadko,”" Symphonic Poem..........--------2::-s+s-ssn--sereeee gennanensconeonorestncns renseonranessnnesnestassnnssossnsenses VII
“Spanish Caprice’’......-.-2---------c---toncnscennseneseenreneneteseneeesaccenececenss ie VECVIE. VIG TX, helt
Suite Symphonique, “Scheherazade,” Op: 35:...1], IV, V, VI, VII, VIII, IX, X, XI, XII, XIV
Gatto from. °° Mladen 2... -occosiatnennetorennecser nnn nnn neencsnenennmetenssnnarsartenesacannannnsansnncuhrae eavbsastrnonssresenge X
Suite from “Tsar SY a; bo ieee Bee Renee eee ereer ere reer tren iors roe eT ear XIII
Scherzo, “‘The Bumble Bee,” from “Tsar Saltam”......----------2:------beeecneneccseseen rete cetennnnee XIV
Hymn to the Sun from “Le Cog dO nr! onion ennnnnen nnnennnnceceennnnnnectecenceesarsnnsanecensneneenenannsensecubers XI
See Variations
ROSSINI—
Overture, ‘William Tell’’.........-.----------------------------- f ViS Vib VIC EX, Xx, XE A I Ve
Overture to “La Gazza Ladra”’...........-2..---:---.0ceccsseccensennersarere center onnnncannannennanseatnnmarccanacenns XIV
Aria, ‘Una voce poco fa,” from ‘The Barber iat Seyi ean. osc cece tank are a een enone XIV
RUBINSTEIN—
Concerto for Pianoforte, No. 4, D Minor, Op. CA ar Nr, tat caplet fSy gery rn os le BY St Ill
“Toreadore and Andalouse,”’ from “Ball Costume’’............-----.---------------eeeeeeeeeneeesseeeeteteees Vill
NheIOO ya 1th B= occas ocnnn sacccnas dee nn nneoaipann wenn pea~nr-ntmawen vaenseg- Seni bes ane stpcncsarennnicr ¢oomnncocnsenca- past snore cn nhnceaeae sto XI
SABIN, WALLACE—
SEI OTIR, (LUO cons -wenewsensesue owns ON ta Cui Oe ae nine d ceed oe ee rae ace peae ape ciund bap PapeeSurcEshpnaattewe se soak asc Vill, XI
SAINT-SAENS—
Symphony No. 2...2....---c--c-necdeeenenecnnesenn paneer canentnndinnsecenonnarsenmocananenanccennendcSaaudeaecsnsansenatessens canes == XIII
Concerto for Violin in B Minor........-..--.---------------++-+-2--0 sec eee nec ee cc ene reer ne nen ennennnnncncnnnas PEA EX
Concerto for Pianoforte, No. 2, G Mimnor..........--------------------ee-eeseeeeeceeeeee ee ee een i AV. Vill, x1
Concerto for Violoncello, A Minor, Op. 33..-..21.-----------------------seeceecnnnceeee see Vie Vibe ix cit
Concerto for Harp, G Major, Op. 154....2-2.-2--..:..:::eecccseeeennnecneneeceeeee teeter tee reneteneneneneneeeneee anaes x
Fantasia, “Africa,” for Pianoforte........-.--------------------2------eneeeeoeeccecennenenttte ca cenaeenentnnnnnnnccsesaes XIII
Carnival of the Animals............----------------------eneee sence rnc t een enc ence ne ceneenneennnnnennanerernnctanconeces XIII, XIV
Danse Macabre. .....-..n----2---2cccecneenecnnoo enone nnn eene nee nnenenccenenncancnnceananeennnes Le Viale WS Va a Ao
Fantasy for Harp.....--..-..--------0--ceescenseeseeceesnnnenenneennccnncceenenaatennenecceceacsennnecnencorenensennsecsnnnenennasseans x
Music from “Samson and Dalila’”’
Aria, ‘Mon coeur s’ouvre ta VOIX" ........222-2..:..00--eeeeeeeeeene ence enn enennennenneeeneenneteneeengeneaenaes Xl
Amour Viens @idet.....-22..22-------0c---on-on--nnn ees cennn nec en ce cnene eccenwe ance ccenennnesnengcnnanenensncnnacen i AV.-Vi1
Bes coe ea ac oe een cep cca Mose asec once mtc cabweapneranctamcaganinnCatmaes scot bnarlaant ieee nes hens neat nea Sar VEIX
Dance of the Priestesses of Dagon......2..-...--.2---------20--0eec ence een nenn eee e teen ec nnenetmenensncneeees VWiECX
Prelude to “The Deluge’’....2...-222:22.----02-0.-22-0nee-ne---eeeonennnentn nnn nnnee Ie-VEoOMIL- VIER XX XIV
Rondo Capriccioso, Violin Solo...............------+--2----t--------0-neneeeeneeecneceeeetee cc nnenecnees I, VII, X, XIII
BELENAGES nncecccoceulensccucdcnaccaccccedeecnnuneccneceecenntnanwonsncuonsecncenaeenacnncecescnecentneccanunetnindencsmannnsdnectanwovaseaus Vill
Suite, ‘‘Algerienne,’’ Op. 60..........22---------eeececeeecee cnc en ence een eee en eee eee ne eens cence nennenentneaneeesennanenees ix
Symphonic Poem, “‘Le Rouet d’Omphale’’............-..-----------------------0-eeereeneetneee eee XS xX; XI
Symphonic Poem, “Phaeton,” Op. 39..-......------2--------00----encceeenenereerecencctnen een nnnnnneeee ss cnnnnennnnees VI
COT SP ace REE Ng ees eee RRS ERIC RAE U5 fal Scare, SericLNe rate nr oa Spee es Mo EEE Ns WA Via EX sy
Tarantelle, for Flute, Clarinet and Orchestra............0.....--22-ecece sec cee note net enen conn enen ce senenennnesenns Vil
“Henry VIII,’ Ballet Suite _...................--ceccee cece eeeeeeeeeeeeeeneneneeneneceeeeenenaneccnnnnncenncannesencees IX, XIV
Two Movements, from above..............----- Re EA ie ede nti OPIS UN pitas SA SRR RETR eM en Se XIII
SARASATE—
“Ziguenerweisen,” for © Violin ...........-.--------0c-----ceeeecceeesce cence tence cen neon enn sneee cen eernneensnmanenecannmecnanese I]
SCARLATTI-TOMMASINI—
Bs ieper ICS EN Sa ak ee sek ee rg a NOS, ob Sa cate ater San decks gie ema eC an eee c be Recs une decakewsseaneanes XIII

REPERTOIRE

SCHEINPLUG—

SCHNEIDER, EDWARD F.—
syupnony, -Nowil;/A-.Minor, - lin Autumn: Dime. 00 a tre Se ge a II

SYRIDNG ier PGeii ny MAERAGSO! fcuk eee ee a gs eS es ed XI, XII

SCHMITT, FLORENT—

Wilennaisemithansp diet nese eet tie oe ttt a St a2 Ot Cae yee Se ee VII
SCHOENEFELD—

Marcia Pantastica from “Characteristic: Suite <1.) 0 ee ee XI
SCHUBERT—

SPRUE. Once 1G D8 IN ae eatin ese eae RUMEN, Ue eth ke See ote ETS GT lote Urge roe oS VI

Symphony No. 8, B Minor (Unfinished) _I, WAV, VEE VA VANE eX, XI, XII, XIII, XIV

pymbphonysCoMajor Bae be) Ed. Now J) incu che ee oe eee LN V4-IX, XH

EMIGENIES 7 SEGUE DOV Greer a cee kitten ered ee ae eae TR tae SR AA” GI ee Soe, S i

pret, blames. Pao Tamia, cc. kc. dost seee Ae NS Poe te tae ener oa ee IV

eNOS NAIA MOREE SS, ia Veco cn cen ce eed g oa a WOE Rent pale 8S RE pO ae VI

MOLAR Chen wis. cee tie ok ee FO ee RPE cree Fete RE OE Me PL Ee aT oA YS ee TRC VI

AVERITT APO Chee ta occ oul Sk Ee OF arid tacts «Wh dtc BO ome he Vi Oe ST, wo XLT SORN/

ehtomentcMupicaie sn oe: seo Ate we fest ve uel a oe a ey Vas Tee Ree IX
SCHUBERT-REGER—

Entra ‘dcte and Ballet Music, "Rosamund! st. 2) Shed eo ae. se ea a VI
SCHUBERT-STOCK—

ga hr 22> Cran a er oe te laa sa IAs DNS eM PEN Ghd et ie eet OG eet ihe | Oe, Ca G19
SCHUMANN, ROBERT—

SyIphiuye Nospsbulila ty Op yO 2,00 nt eet wn Ones. he ee ad ee Re ae DIAAV Xe

Symp HOsyENG.WnGMajOlm Op G de ret ee as ET Soe tn ie hae See Vill

Syanplonsy. Ne. oS, hehiab Op, 1o7.vCRhenish) 45. usi ae ec ea hte eee IV

Transcribed for modern orchestra by Frederick Stock.:.......... Peon Ce Ub as hie ee XIV

SympbonyANoy ang): Minors spe 120. soa sik ose eae oe cae Ie Mae ae Vil, XIII

WL DCT Berna ee Or THe MROSe wt onm ine ea or Cn ae St nr Sie tee eae) ae X1V

Overture. Genowe via 00. secre ae ne ene ee Oe en Re SA ees See oT IX

Overture, Na nived (5c. < cena: ceps finer tlh Bee IE et | IR on Snr greme Ore XI
; Concerte fom ianolorte, vA Mino tck tut nes Oem Bedale BSN hea Ah Roe 4 WED, Gas

pM CHO, STON AONE 2 2s Siin sth cn le Rea re Se ae eT Se eS ew a Sm II

VAR AC LOD ee hee eet 8 any A a ee RT Nae Skee Gee Vil XS
SCHUMANN, GEORG—

Variations and Double-Fugue on A Menryc Poemes Ops 23 Oise cr ec hg ahaes esl a VI
SCRIABIN—

"dap Poemie Ge: UE tase. hit anatase eRe et a ee coeds, aoe ety ihe, nian Ore es XIV
SERVAIS—

Fantasia; ."O; CarauWemoria; (CON cSolo: use a wife a ede RN eee aes XIII
SIBELIUS—

ITED MOM, CNOmpM pst WINES arc 1 SEIN naa oe are Teng Sg ANE On ott Ment GENE aS Vill

Symphonie soem, oS wan iof-Pwonela sxc ies hope heey a) Nak Se ITT, °X

Done cera i Hn Oag aie. t6e Ais Re cs cen SOME eR Ne eee Coy NUP ry one" Kangra teem VII

Tone Poem eran lam diag i3 a4 tact Ser eee te een oe Pan ee LS Wall Sex bie Xd

Malset iri Stes. erie tity race is etaan eae ee Ra bee Per at Vile VAX, Sa Xe TV
SINIGAGLIA—

Overttre, “lax Barutte~Chiozzotter :, co. fein Wiag Pt oe nn es eg ae es VIII

panledmontese ;Dances, si WO lial. sre an tea ae Sd rece! ag ee a Cee IX
SKILTON—

wor indiage Dantes sist ee ie Ne. 0 Or sea ait Ales heel ae Ol See OND SCPE eis VII

REPERTOIRE

SMETANA—
Overture, “The Bartered Bridle a ooin ok eha nce cocedetas-n- asanacgasan-ancmese-s=serenesers= 1, 11], V1, VIII, X, XIV
Symphonic Poem, “Vitava”’ (The Moldau) .....--..----------------------- ll, V, VI, VI, IX, XIII, XIV

SOKOLOW, N.—

See Variations

SOWERBY— *
TOD SB ohio FOE ek necasedasccccceen= ssn nnceenenntnt eaaeenannwnn erate reat nen sBb ae ewnaepsnsee ear wana nay raceme nena XI
“The Irish Washerwoman” ........--.---.--s--sse-scsensennsaeeescensngesanstnnesnnnasnarancecnsessnnrnsecesssenese nese es XIV
STOCK—
eT) ores Coa LC Au ee OE eeepc ee amt RCE I
STRAUSS, J.—
Waltz, ‘Tales from the Vienna 5 nl | oe ae Sele i Reese MP ORs int see SNP aap er enh ee I
Waltz, “On the Beautiful Blue Hanus 1: eae oes VI, VII, IX, XI, XII, XIV
Waltz; from “The Bat’ ..-...--2-.--2---.-cs-s-02--s-nnesso-ncseereesderetennentensensacasncnnsn nna cnene nace amano amo o ATT xX
ee PS as 76 cea ge nt a ek are oa “eel ae VIIl
Overture to “The Gypsy. Baron’’...:........---22------0s-sonese-cacosstennnesncancnaceansnancascentensnsenonees XIII, XIV
Perpetuum Mobile .co.c2..-...---.-2-s--.---eensssenennennssenenntnenn aanennnencasnasarcsennnanansvencnacnas snasaeneneesocee aoe IX, X
en aa co) | ei ae a a er aN re er Oe eee cr ei oe Si eee ah RES XI
BR cr deh lee RO CO oc ta Sema cc mang ams pen mewn = saw werent n 2 Nanna ores ana eepe a Il
STRAUSS, R.—
Symphonic Poem, Don (Faas Ope. ba tetaeso ewan EA IV, V,.VH, Xx, XX ATH, XIV
Tone Poem, “Death and PT TATISM SULA TION soon cae comserw sw w nee ouewnseomaenwceaen= iVE Xe XE AG
Rondo, “Till Eulenspiegel’s Merry Pranks,” Op. 26.2505. 0. 5222cis secs senisesawae ee Ill, V, XI, XIV
Serenade, Opus 7, for Wind Instruments............-----------------+-----1e-seeeescennrnnnn nnn XI
Burleske in D Minor for Piano and Orchestra............-----.------------2es----eesessee nese cne cnn XIV
Love Scene from “Feuersnot”’..........2....---t2s-2ssecceceenonneneeneeceneennennnnnceceneennaracesensennnsnancaa sense nnccnnns Vi
Morgen, ecsiecicccntiecsccececdccnsecsanannnenencnnconcacaeasanancnadeseonedirysnpssasiecarntnassvensnaseasnenceserescasinsanescennrvenmetnas Vi
Aria, “Oh, Powerful Princess,” froin CATIGGne. Bul. NaxO8 soos cncsccse a Bene ates tuccatcaneoe-seo tev XII
STRUBE—
Overture, “Pee ices oc oon ce dncnne noon aeons ca cenannecnenenasenesoonsndeccaannnvangnenannecaqnanendusanaenrecssansnescssen<5eas<° II
STRAVINSKY—
Suite, “L’oiseau de Feu’’..............-.------------ce-eennennene cence nec c cent nt eeennnnnnet acenaaanananens Xi MT, UXTV..
Song of the Volga Boatmen.........-------------------------s2-enennnnnen entree terrence tna nanannannn aaa XI, XIII
SUPPE—
Overture, “Poet and Peasant’ .........222----.---------eeeeececeeen sence nen nneenenntnnn ene taaanesensecennnnnnss Wiex. 2X!
SVENDSEN—
Overture, ‘Carnaval in Paris’’.......---..-.--..----------------eceseenenncoenneneesenene cnt ne nnn nneeeennenaccnnsnscaces Ii, XII
Legend, “Zorahayda”’ ............---..-----0e-s-scsee-bocenesecennnnnceesecenescenennanscnensescnnranensanadadeccceaess decease XIV
de SWERT—
Serenade (Violoncello Solo) ........-....----...-------------- De fry ed ae el Oe ae eee Sate XII
FARTINIA—=~-
Sonata for Violin, ‘“‘Devil’s Trill’’......-.--..-..-2.2--.2---0---2eeceecenccenee een necens ene seen nena nnn taneeneasenseneeneces lil
TAYLOR, DEEMS—
“Through the Looking Glass’’..........-..-...---..---.---e:e-sesssceceseeeesnesenetee receeen ace cnenememenanensccnasnecnaes XIV
TAYLOR, S. COLERIDGE—
The Bamboula, Rhapsodie Dance..............-.--------------------1eeeecnceeecnenenenn nee n cnc nnene nn ne cee nnnannssens I, Vill
THOMAS—
OWE FEUTE, OMMIIDTIOT. oo soe e srencen eames cnnst soap eee anu hopes a natfeniraneneneat anges Il, VII, VIll, LX, XI, XIII
Overture, “Raymond” .0...2.22..2..--2--neenennecneceencnnc cc nnne cen nnnnneeceetenceceenecnsennnnencnnesssccnannneaneseeaesnens XIII
Song of the Drum Major, “Le Caid”’-.......22..222---------------2eeeeeese en nnnnee noon c ne neers nen ee cette neene cena: XII
THORLEY, WALTER HANDEL—
Impressions from Shakespeare, “‘Macbeth”’.........--------.------------------------n00eo occ eteenenee sree Vi

)
rf

REPERTOIRE

TSCHAIKOWSKY—
S¥MPRON YANG. Fer OD. 550 ase ahseed rae Sc glee eles ance ene Spence na ll, VI, IX, XI, XU, XIII
SoHE YZ. LOT. OVO ec en ea cc cw dat pene be eee enbiae area se aae nese IX
i Symphony No. 5s be Minor 3. (te ee Se ee ee i Vill xk IE RAV.
Andante. Canta bile: from aye ecco sca a ae as wens pa gh Sane wsemcenataenergeneneruanmsseanseune IX
Symphony No. 6, ‘“‘Pathetique’”’...................-.... Il, I, IV, VI, VII, VIII, EX, X, XI, XIII, XIV
, Symphony, “Manfred. Ops Bos can a ce aunt nego et Oaetes peepee IV
( Andante for Strings; Ops Ae eae VII, VIII, IX, XI, XIII
Overtare, 1612." On: 40. oe Se eee Il, IV, VI, VU, VII, IX, XI, XII, XIII
Overture, “Romeo ands Juliet >. oc er ree cane I], IV, VIII, IX, XI, XII
Concerto. for Violin, (D> Major in... ws... 2cadesnnstranecne- onc onwe ncn sew dom ptmnne sesdacnnpspwee=se+onsusneenencassnsescs I, XIV
Concerto for Pianoforte, No. 1, B Flat Minov...............-.---.--------------- Il, IV, VI, X, XI, XII
cto es at fe peas 9 Crean) [fea ho 1) cena aes peers Sn ae rg wei Sa ee eRe eee pr XII
Fantasia, “Francesca: cha, PUirm iran nooo cc caw vnc cent ok La sace www nn ceebtnngscbpeencenemumeues pacpeveeasstensows XIV
“Ite NanCass rice, token en a et ee Sees Le Visi XE Re
March Slag ce ee I, I, IV, VI, VII, VIII, IX, X, XI, XII, XI, XIV
INET ER CEE TELCO) ee re er 2 eS eR a ee ee I, VI, VH, VII, IX, XH, XIV
Characteristic ‘Dances, “from aboveisticcnco cen cne Sects ckcian Beg seas ncn cur acs epensvecceceannseesecnesnes XI, Xiil
Recitative and Aria, ‘“‘Adieu Forets’’ from “Jeanne d’Arc’”’.........---.---------------------eeee 22 nooo IV
Serenade, “Melancholiaue, fOr. Vaiclina 2 aon cakes anes tnd apr ene Sear ewa ea eoneeaaes II
STE oes A fo Be Se Deeg es RO Pa ak Meee So bhai, SHISRED et Qetier) a. TON URW nan Me ah A eRe SS a oceans Vil, X
aT foram Pay dyes 18 ta Re Se eS Wl Ra aad ae Ne SRSMRS ofl oe Se REAR ee ete Rawr Se pero ee ame hmm X
Variations on a Rococo Theme, ’Cello and Orchestra. .......---.---------------e-sseeenseseeseosoenesotenes XII
PV OV VOCS eC inl Oe a Se i ABS en at ge Oak ah coaster Ix
TEDESCHI—
| Marrionétte Dante ter ee oe ee eet aka ect soeen oes Vil
é TURINA—
a IP HOCESBION |. Ol ROCIO is ooo a EN ENS 8 eg gate aaa See ace XII
| VERDI—
| Reco rrbe aya She Re es Sage ee eS A ine ee en SS a ere See See EE XIV
| Avia: SA forete dui: frome Loe PEA Vite cen oe ee ec ace ee ene IV
‘ Arig. 0 tDon. patale, os STOm DOD Carlos. 5... cc eee een owas ewes ee oe IX
) Miser Eercriic ea ae ee a a a a ee OR ard SS I ie uae See cede ease eaticy I
SS a DIONNE SHIMODTS,. |e LTOMI re TUR OLOCLOs 25h ican cpcoeucnc atesck dupa cabvus ade conccescc. nanos ne oie ae earee es XI
Chaartety. Eth: Sea e lek Ce cee sacs og oe cee eee a ees ie Sg een oe XIII
VIVALDI—
) Concerto: for String 2-Orchnese ra. oa a aa as rec boa Sak as nO eee eae Be XIV
VARIATIONS on a Russian Theme—
: 1 Fe at SERA a ela ar Sieh 28-22 TR ees eee N. Artciboucheff
ey UiiaiageeEB le hare ra aga op eh eRe art g ork = S0n Sin J. Wihtol
ss Conti 01 Wie area ieee ae th rena ret Bee ae ems Joe AS CRARD OW... ccgr it net sc ae they ee ee X
Nes ieee ee N. Rimsky-Korsakow/
Ne ipa ee Sate ee ree eae N. Sokolow
yee, 77! erate rhe an ie eae eet en A. Glazounow
VOLKMANN—
Cover Cire es = RICHEY reas cca ea esse ae aa ates Se eae a Sn rg Ta eB oy eR ace Seep ees IX
Serenade Now 37D Minor, sor string Orchestra, Opn 69.22 a ee eee IV
VON REZNICEK—
Ove rE Fe ODO rITils SUD NEON crane a ec ee a he OE Sete no daes a aaeaeeeb eee II
WAGNER—
FERC RTERTEG COVE TEUET Sorbo See NE ig ee SS er VEOV TS OVS oe LY.
“Rienzi”
Cove ri ea iets seca k nes, ee ene eenas se es Hi, Vi, VH, 1X, X, Xl, XH XU, XIV
DRIES ELE CU COR GO bara a eS le Ue ad Re ge ae Oe ae a ll
“Tbe Flying Dutchman”
| Ovaries eee Seg es ies see ee ae I, WW 1V,-Vs VitixX, X3-Xh XH
*“Tannhauser”
Overtirelte so Se ee ees 1 VeVi NA AX XE XI TY:
Aria, “Dich yb DOURe Peale noc. sas sacsc eaten ad a pacicos shcacucccaten ecsaacancctaneeeeenetataaee V, XII, XIV
ESV vet aFst ot setae a Pia ne a RA Noe ede en ee ALP Se RSE I RRR A a oes ew ne IV, VI, X, XII, XIV
INETOANCEIONR SEG AACE ore ee sek ae whan Sede Sad eer ee ae Ee ras deg cao XI
Sone? Oct De me Venins 79 bere. ose. ecw ee ee ee ane ah ee eer ee apnea cerca ae XII
‘ 1 Feared @ epee Rea ar Tt ap an ASR AUIS. SO RRNELT EEERES SUENT Sneed De Ee BE NR) PS XIII, XIV

REPERTOIRE

W AGNER-—Continued.
**Lohengrin’”’
Pie lie irr ae sas oes domes eo daes seasep ese -sananap reef peo TUR IN eV Vike ah XII, XIII, XIV
Introduction to Act [Uk-.....222--.-c20.---2-----2---2nonnenetsenensonnenssenccnenres VIX, XE XI AEC AI
Lohengrin’s Narrative ...-.-.--- esta cena Ieee nt RPE Otel Ree seer ty tea eee oe hee XIV
Pe acennion ito: them Cathed tale tse q:s. Bicsc.cnsaca ccc omce sa saemsennen tne men renege tee a ae Xi
oy ER ae a a co a an ere sa EO ee Neat Cana cere GN XIV
Silectiona brome (Lo WER Vin. coc scents nda tenet cnewetceere etre rr te ee I
“Tristan and Isolde”
Prelude cand a isolde’s, Lave-Deathn n..c.0in-5 oe emcee ene eens
We ete ne eB oe ewes I, II, 111, IV, V, VI, VU, IX, xe XG ALI ALY,
Tristan’s Vision (Arrangement by A. Seidl) -......----.------------s--cereneeerrr nnn V
Been ET OTIS COPA CE 1 EM bese ccese ooh re tigen geatem arene enema det eesanne naga eseuerecaoae anes soe fra a XI
“Die Meistersinger von Nurnberg”
SRY oo, pige Se as a aber peer Een AV, Vi VE SV IL Ts, XE SE XE ATV.
Brey Aen ELSE EOC EEN oo oes coon gates ease ag rece acer dnomeemn seamen ones for se eae aaa HE Vy VI
oR SALTS) OSU Sie Sop ae ia IR nar ROO ane ne race ck ae ee ET XI, XIV
Prize Sore (Wallac ling) cific oes ae a nanos ameter anna aoa ViF-Vil
Procession of the Guilds and Introduction to Actatl lee cae ee Il, XII, XIII, X1V
ZO ri cen ROIS Wea en aR APG ee SPECIES Se ie clr samara cate CaP aa XII
sd ok Lenten Of) Sar) Suaeales Ae iy, etapa iran ae OES APES Oo Dacca ane ott as os Oca a Me eX
‘‘Das Rheingold”
Entrance of the Gods into Walhalla........-.-------------------------0-00r ro" VIE XT. XE: Xv:
Ire TRY ea PrN ee ak chew esersaaencn oaemtcese er en cbeaatene caranbdarnger ce cargeesbacnsra aor ae gga ec II
“Die Walkure”’
Sieglinde and Siegmund Love Scene, Act Weic.t..c.c5--0nc- 2 -2se-ceenone-nnnnannannesnsncnnennsneneore X1V
Ride of the Valkyries....---2<--------ss-c-n----cnnpecccennsnsscccnnssnencnscanee EE EX, a ele
Wotan’s Farewell and Magic-Fire Scene..........------------------+srrrernr nro Tdi, Ul, XIE ALY.
‘“‘Siegfried”’
WHEAT OE, LITO NEOT OBE ie coos aes Coane atlanta nan nose lewee Pane sngegmone sore aearens ec eten ra eee Ti PV, Vik
‘‘Die Gotterdammerung”’
Giecfried’s Rhine, Journey —--a:----2<a2--<--ssensnsnntsnes nn cnenc senso ee mar li IVes Vil
Siegfried’s Death and Funeral P72) i lec Sn aL ON Seco ser eae [AL et
‘Parsifal”’
pa A PG penis as ai Bertone nee eer AAS at ets a ate peed wi aon a Ve XT: MV
Good Friday Spellic........-----1--s2e0<---0-ce--qenceneennaneecteconsatnnannendantntocnees Ill, VI, XII, XIII, XIV
Klingsor’s Magic Garden and the Flower-Maidens......-----------------:00-ceneceeneeeceneecnneeenes Vil
Fring PA PEIAAELORL GO COUIE once os aos ceed igag eee ennna ce sceeicerbragennesuphent ancaeaenesen seers <ccetanage ati aens Pert Age Il
Ge eA SRA ne PS aL OR ite oP) ROPES Re iae alg ar Selden Rea AER ST aT Ill
Te) Pe eRT NA een ace hott dene one ngtempen nnn gebednenemnenmese noms aonae VEO VIREO, SL AIEEE XIV
(CS Bs ee ae CD Se Oa Se aS i eur ee emee eRTe ec ot naaed bei ita e age ge XIV
Sy ect eg ya Ga OE aneame ea Oamer en beret tt atari wears epee Tig oe ge i ela Bh Vee. © |
WEBER—
ES er a gba NMG lea cae BREA SESS Pa ee eae Sag eye ea DP XI
Overture, “Euryanthie”’...2.<..-2:-22----22-2-22-2pns onc n ene c onan nent eee senneatanenceroannenreser crs: Hav VE XE
Overture, “Der Freischutz’’...........-.------------------ccececneenenneeeescnnnnnnnnnns ene nennacn® LE VI, VI XE A
Agathe’s Aria, from “Der Freischutz’’........---------0----te-sennenccereennnenenonennennccenmensncnencontecess Be XI
Overture, ‘Oberon’ ......---------------s-sc-ce--senennnrnenaccnne nas snneeaensetnencnccees Eo Wi Vil AX, aK oe, XIV
Concert Piece, F Minor, Pianoforte and Orchestra, Op. 79.......--.---------2----sennennccesncennennnenee V
PPS OP oY CoC) Con 1 Re ee aN I Re agri x
Scene and Aria from ‘‘Oberon’’—‘‘Ocean! Thou Mighty Monster’”’..........----------------++---+---- V
WEBER- WEINGARTNER—
Invitation to the Damce...s......-.-:-.2..0-----s-2eecnennnne ener sco nnereeenncnenecconnass V1, VII, VII, EX, XI, XIV
WETZLER, H. H.—
GY OEE TELS sR RY OrUlis Maa ieee Nb ol oc e cos aac da Pats ne bsag Senna she ut sempanpeeeso—ges gern OOo 7 ae ta ae XI
WIENIAWSKI—
Overtuxe “Russe.” for Wiclin: ss. S2ncsc cn eee taco ae ara Rear ne anne a Il
Goncerto for, Violin. in D) Mimoreii. ce. sonees ann ces es cnerea ao nnte st nene acne nssgnern hardness sso Il, XII]
Romance and Finale from D Minor Concerto.....-----..---

Internet Archive Audio

Featured

Top

Images

Featured

Top

Software

Featured

Top

Books

Featured

Top

Video

Featured

Top

Mobile Apps

Browser Extensions

Archive-It Subscription

Save Page Now

Full text of "1924-1925 Season Programs"

See other formats