Skip to main content

Full text of "1928-1929 Season Programs"

See other formats





ES a POT Oe aT a a ae | in a ak ’ 7 a t 
te: eet SUE eek eas Behan os bc aS Rae me ee - Dieser Oey Pa ae 
i Me Mali a eas Te Sy hak ae Pat DN ems ate Saga i rN al eee 2 ia pees raf: c ram 
rhs “Spa ys wha ae oi be Tein hl of. 19 “ae- ~, ey ets SF ve . ae * ee kg ANS oe: 3 ' . ‘ ms bo 7 se al ty ie 
cy AMS . Sia ek wibarat ee, ae ee hac yale i awe! Se pe i eae To : ie ay ie 4 4 pay ar ee ates sak 8 SS 
my I TLE ee ce Oa TR SE SO es See ats I Pi pl te age Re Ee ee AR ARS AIT ae eeniaa re 
SO nee, Mate ease ca eR ey ee pees Sees gine me ate etNae eee Re ee age ee AE oe Sa Ee ST ee ae ee eee ee RIE ee! SL ge Oe 
soy = SS ne ea ore ate wes ie > : ome y ee a te © ” roe * : ': > -. - Sie PS ™~ 4 < pe -. . Re “tte -t* @ — Sear fs ' ~~ ie ae ads. Fe " 
> ~ Or Se ae ey Soe : ee dy 5 i CY ae Le Rae SOE Re . wr oo ty 2 ge A Sa 4 aR et wie ge ae Or a as Ke en ght) ICD So $2" <8 
=x: >a os “sae <= a OO ewe - get ge ae ens ys > ~~ ~~ < % ~ = Pree ee on NS ap 8 reanloiee bp fe Te ee ~ =e A o< 9 De nmi PEF Dae a6 ca - ~ ors “+ RG me < 
, we > Bo et ee te eee ee Sar oa ante eae Pub ae ae a ee = Se oe eee QS ewe To 10 nal ae an tie ee oe er le See ae ee Tal 2 
: = we oe gh ge yh we ee — ? — 2 -*t. > x ee om tek " See 6. wee Oh 5. — mo ~~ <9 9? 2 * RA C-4 Re ae oe o » <0% vu> 
coke ae Ree Sm. VAP ae * = pr a RS ae es ~ y oe an enn ae etal ine op Gee re OP ony —- yaa ae a ot ; 
“gs Ae - . 2 eS ewes Teo te << rey* ny ary eo ate ve hy b- ~* eiigmees - a +R. <e- a apne VSO wo > Kz ae > nes - ¢ © * 29-6¥ he te es 
. OS Sek Ses ‘ weet ite = A eh Se ey Murs meg - Ee PS Pe, - SEG -- s+ te me ee lame ae ee Ss, tS. * cork + . re -oe~ omer See 
EN Se ee a ST a ea ee Pe ties sat ee ee oe wot tee pe ale OS Sa case en LO AO Rink Pale Ce nae ae nie, a, Sa Sale ee ee cman 
—~. — ~* Se Mn FESS — asf oben te et f —— ~~ tas Se en am. y ee Ss Lon ti a a mae rete a Mn Ko a -. ms Ee ey og 
—e abe ees oe Fp we y mT Se eet ete, toe ba ey A Sai 5 page = oo 5 Pk tt oe ee, ee A » J — _—- hee ae yaks - ge Eats a = ip deny Pam “Sr Ae earn en en og at Ss es eee 
> ee ae ee on = > » es Aa = 2 - - op wenn - > . > bebe © ear . - a ee + x <4 1 eat -_ ~- -a~"¥ t-> wee + oF 7 - te oot 5 += ma — . ~ oe + 
pa | ccc ae 7 ws ik tae . -~ — TE . = i Sg ahr => > ~ite SS. so > eine, a ate “ff - ™= ave “et © ha - eo x¢ a Ae oe aa otal” NF a ~- & a SP ae 7a” EF oy a pin @ 
st dy x ~ eg Eee aa et Le eee Ag oye © REE PRA Se en eg Be OE ore ee gel ng ee ae Ne wen wang ae PF ne SP gt a OS 
* ° - .- tr Baye —' - a ean ate A ~~ - A «ts 59 + es OO we + ?- eg Ne - m Te “s ~ 7 ." 2 vie a ~~. oe as “a tae ~~ ag ate sf - oa eurtt . ~ ee a 045 ae 2 press oan 
~*~ eS LS ... S 3 ws ee ee "Sy RP 2 te er eae ~ 4 Ae a ; ene Ca > wan ae .- a> .3* of om Tre yi ee. ae fares 7* er. 
oP @ > re {hig B®. = ~ e hat ¥ y 7 * nw >" a ek »~* > a O's ae ee ee 4 - . = a “~. 3 a. Ne < = Fea mi “ we et Ai a 
SN aE et a a ES Sa a prieg Seat eg i in et AT PE MUR ES ete Pe tee fee Coe ee 
ae a SN SSS. ST RRS SN aD at ENE OR GE ie ae Na pie SES Bee ne ee Oe ee ae Ee eR EP a OO Fabien ae 
: ~gie—ten > Ni ao ed = Ae | .-< — ~~ Le: ~— oe oe 5 ~ AA ES ae OS ee ON Ras | 5 oon er, OP. i ar rh mp os ft mr oes oe ‘So z b- 
~<a gts Ye eI ae re es a ee a ee a a RG aed acs Se ak Sl ee san NP 8 Ae mee 5 1 Lescst ltl 2 
ee agin re , osm at “Se ‘get oe ae ne See | 5) mn he <- an > Te ~ oer 4: a a te S aS _~ Ls oe one “es "rs hay t+ em we RAS <7, “gem 
od et ae a ee LP See A FA ied or ouls sane eer ee ee ae a Be a ae eae pT SENS sD. tee ead ee ee" a ne dae a = Se OE on ae a 
Roa a cee oe ae tag Wiis ee TA, 50 Soe ee a Tag se ee Cog tie ny ge et — ALE LZ Re ee et ee Sp ee re ae 
* oa x Le ane hae ae SSS ey rey ey. wh eta a ce “ate & ae £2, 2, We ace a Mt ee a Poe ae ~t oe erate he oh Scet PD 
. “ee ae . $9 3 — 6 ee 4 mos 2 Aaa v whe ~—— cine a ee ~~ ee Far . Wee. wie ~~ te err 2. = en eee oe nee a ak LM AE rarest 
SORT tae abe oe aise a ee BEER Stash so OE ee EE Et ha 8 pie ME ee ep stare? 
>t ~ ‘ “ : s 4 > 7 ee | ~ = " ee ES a ee ° ¢ a: 4 ? _ m= ~~" — an ~ “are th om 79", .° et se Ponta —— peat » + ~~ ery gilt bt <a —p Fr ou 
ye. hah ee ee a ae ee ee = ea tose ee 30 he ee "f es ay ede) ee ap cn Seen bit Ee Te = 6s ae eS RE KS ~ 5° ae ae 
4 A RAT eae SI SS ae hee eke aes oe oto Fe SS RS ae Set eg Oe See ee a eh ES, | 2 Spt ae ge ong pele see Bed 
Pe oS oR % os 3S S “9 at yas Sa Se i= aa St eatitaee oe “eae xt at ates ‘ F oa users * tea ee St T= aw. re R>4 2 aS STS ae 
ou 4 ‘ ——e » i] 7 ~— ex vow ~ eee ~<a! —u.* bd "es © “é ' ee * ae : Da ae ° tm =. > = - P cts = o a“ aa fae ~ o—- ~~ 
hry > 7 ye es eK me, eee yh — ~h «+ ~ ” FF nw a. Fo ee 4g —~ CaS ~~ 9 * gh be A Syren ts 2 Mo 
‘ * + a = at ™ =e) = ae, GR = s3* Anon a - PT BR eon oA ain, oc Oe erx “- — o~, - vate) 8” BE oe tee i i oe a ne 
ry. 2 x a eSir hae TS a ae gS Ne = mt . me? x >? NS ae ae sm ~~ as oe — ee = _ ep” Oe - = I~ 4 '~<4 a = ’ wae alge “' = “8 ate 
Lal ae a a> ~“ Cs *. +. ms » — >. en 4 oe a ere ~ 3 es pn ope ae Sas, oF ake eee : “s 3 ee 5 
Po § ies n en Peres = ne lee oat Re. RC et Ke ee ep Re ae, as ee ge Oe SIR gy Bee eo eR en Zoo wees 
a Tae RO aati de Ae as ay he OR ee age ashi Be De pita ee Rpt BD Ae UE hg gs nae os Sigg oe a Re Or ee erate eee Ee 
ay rm Re er Sa Share ~~ ans tw ms = tae eae Soe . a. a ~< ee ee — _ ne wee eit say oe em “se v3 Seer st at See 
_ ‘. ; 4 . eS ” af *. ’ - ” » er? — > “ss ">" ot 9 hos ane ” pA) 4 - ety ~~ Mee od © ose one i + -s e- , x =5 ™ a7 - " eT = Pie ha = hay f 
a. em 5. Mery vet Se whee. me ae oh oe eal ae SnD Ae. Z, Oe > oe ss » - rm A oe Ag ae 75 Pitre, Pia ae ~ Bre one rs Risse ys 
+s a et Pe s- ra Danes =. Ste be ‘4 > i a ‘. *%> - [ bd a : <> te Se ne A ng bo - i - eet ~ 4 = ~ nodast-. et on “2 ee we Ww e > — . A: oe .<2By . ie ——a ae —_ y > ms aw 
Se rtae age Ea Oe Ge Se See a eee a PEE Se eee ee SS as yeas 
PES : See a ——— we Ne et | : ps sa eis ee. ee ee an 7 Me on ne ee Rae eS FP Ree tm etn a i a On te ee 
te « * % » = ~ ~ ben ~ 2 Viz “s rr one > ne aos =e L eo t- . — - 22° r > ar _—— Lae a te os ~~ ~~. = 7 te “— oc 2 @ 3 ear ae ‘Do ao aie — ve 
~ ~ - “eee. . ~~ _ ~ - > ale ~ as 7 AN ~ - ‘Sen a7 *, 8 ee, ay, A C — ~ ec ef ay Aas » ars Reh o> — ot gy’ es ens 3 - 7? > > re 
F ye _— oe mw ~~ bos = <  % ae ee eS - - de. > <= . .o-" O- o ag ve oe Cer ome on ry noun S2; z - sey - » ° at = —— ot- nee 
: ; rage oy ": = . Ps yh ce ~ Se. ~ ee ee a oe | Fese- - nm" A Re are 2° i bs rs = - Pave ~ ph . ws FL S. Ew eo : ot bd ae 4, TLDS = eh wo ge <5 * 
ne. Sane aot hah tah Oe Se Re ear” Sg ee sea tae eee des Reg ee weg ee RS te ape tO ee ne ee Ce ea ES Re 
thor ee OO, en Ee ea ae 2 eS — en ee Se a oa Sa Fe, ae ae Fee ee ge Si e.g iF, 
Fae a eae ea Se LSAT Re RE eS LP ee ee eee 
Sst SUS a ee hs St a a I tS te (eS fe ke a Ae a ite fe eee ee ae eee 
ty ~ ae - PRS 7” — om ap +. io < oe = we We et nem. 2 f. . “S p 
3 AS a Se a ieee rabbit Share asi eee 


tw 
wet 
a 
“5 
Vara 

ha ae 
ts 
‘4 
ta 
a 
“g 


») : r . 6 tigen ‘ “ : . 2 
’ - Sat ~ = _ = - baie) ~ fe oe «Ja. dee ny Coe >" hl a. 5 ae , eee or mr — x ie nal “or Ty. ~~? i 
Ete Nae ERY SO ese ia gh RE gt, ie EN eee eg Sige RNR er CE eS we Ee BS ee ie eee SS | 
palig 2 Sales Na TS De ES OS IR SR GP See en CE Set NOY en i Se og ee a ee a Eo mr ean nr oe * 
\ aha ° =e : mom ae eee. te tm ve penn. Ee na a 3 $=. aK ye, ee Sows he he Sr: te a be a 1 ye , 
Bo SE Seat eR RI ae eR te RAN ale Ie eae anos Cae er ate ale Chena a oe eS ee ee Se 
a aa fog ity NY AE ES Sea AT a See Seah ke abot ten aes x ote phd ap Brg eres fae Pur ee gone: 
§ — ~ ~ een! ie “tng ar oo Ow -. ar hp -* . . 4 a oe >. aces 7 @- om ieee . ¥: oes : « : . 2 = - - < a ~— rig ae & si =~ % - 3; i > a, pho 
A STs =~ =, aah os ap meh te et dis ~Srk yi a a > Nae + Seis, 5 a, 5 nde . S? -xMqe* ~ = oat ~~ “ mx 2" Wr ge ik 5 Fie aoa dS has at on ay. Wwe : is - . <> - kx eee uM 
Fa ote ae Moen Hit ay Oct ae ee Ee yi ge ER gag SP NO re ge a na Sing ht ne Sage eee ae Pn ES RB i oN ote He 
: pee bes,» pai ap yan er ~ Yea eS Sm ams a hs , ange a : . coe ape ee pie a <r > _ ~ i - : aos . i> 
SS SS SA oe ep OS ees HS Oe eR ai Si ae Fo ea tee Bee Ne ES aI eR 
le = c _— - « Sake - : ¢ == 


A 2" : Ae oh ‘i , ; e. . ™ - SN ey ed age rede 9+ . ae er nae a 
Hy eS Ee al tae ie eo ae eee Se ae SR ae ee oe ee 





= a 


oe} SE ey Oy oo. Pe he Ne Ot ae ea oe, AEE Cee he eal “x2 5 OL Ra tae 
Bese Poy RT Se ee gg haa eee ee Se eA See nga alas fp Se ade ag te gay Re te Meet ge ages Ta Pe age Pe FY, ee eee top 
me LAPS ok tee ede Se eee ea ee 1g TEES 5 DM gh TY Sy BE Se fee Eat aN RLS Pad Mala pea gt Sea Ee 
SD UAC ee hee es Ca aga ek NG, FSi IC CESS SCN Sit a Ie SR ancien pie Eg ee AEN eng INE ety gets eB aoe e  EE s 
RS oye, te. Se ee Ne he Pa eS i Se a a oe a era A Ihe ak Sines Sst oe oD eee a Eg ry es 
S SS A ae a ee es nage Tae oy Fe ee ee ee 4 Sie : GR ee eee a 


- : . fs.. af ~ és 3 Sook cae Jat: ° = , « <> - ete 4, ~~ eae oe tee “heyy 
; ate pte hy ag ED Redo Ame eet St OS ite, Se SS sk oe ae ee Fo Ge et ad ae OE Scat 

Se RARE nr Ma ee ree a ee ee ee eee SER NE Ae ee ee eR AD BAS eee SS 
5 ‘ . edt ay. ay 94 <= : tat at Pn eee eS Sas * bas eee ee oe guke Reet ar <a an eo om eee Sa ns xe. nat ce AS 





ds. ole nin ” ve ~~ a ate a r - a ST “ = ll a : ~ >) f FZ a ST ae pee ; = = z ae - ton ‘ “Wr: , <i ° 
eg aie sgl a yes cheats pigs gt da Yo, eS wae a ee PR x cut ee ee errr a Re glide 
Bees Soe hr ee Rate ag SEO See Ea eee ie ot Pe A hete yD SiS gee ed Bieter CEES 
I ee ac re seal athe case 88 Seu Be PP ee” SSR BS Be Pi EE sieve ee BARE aE oe oa rea EG RATER RT ew 


a 
~ 4 . — 
hte + i es “4é Fae ae + os el . og? | ainda e 
> es = — er 
oe a > _ 





> 
* 
- 








} 

P| 

) 
ae. 

1 


vom. = wy = 7 co re “ ~ 


=e 








































RSE eh BF ie AN AT ag Bg he 2 POR Re antacwaioec tee 


~ -~* ~~ 


= — . 
—e cnt a = a ~ es a < . — Se nw temreniae —_ 
— Se a ne ao a : —e se == 
Ss == = — ~ = S ce > =P i —_—— ~ “ er So 
= Sie so SS 

— ps ey oa > 


Fn ath a a 


7x 











ee SS EE SE BETS = RR a ee 











5 








\i 
‘ 
4 
t 
/ 











INDEX 


1928—EIGHTEENTH SEASON—1929 


*Indicates first performance in San Francisco. 
**ITndicates first performance at these concerts. 


Page 
ARENSKY— 
Variations Gi ai neme ot ‘lschatkowsky:....3 000 eee ee ee 315 
D’ALBERT— 
CPrerritne. fie) a aie RIOR ISA EOLE oi 2 fees et es es a 203 
BACH— 
he PE EM OT alte) |S Ce i ae ee ee NER Ae OL EPR Se 129 
TWonerrte 10r piano. P Minor (i. Ropert. Schmitz )iaus.. 3 73 
Concerto for two Violins, D Minor (Helen Atkinson, Mary Pasmore).. 319 
BACH-WOOD— 
eI igs oT AER oR atc PO Se ie eT ear SL I 389 
BEETHOVEN— 
Sy ALTASULUSELNT VEO eg) EI OG ood ic dco cnsacech esac tisioun dap abs pedis lone ene coe Soe Pe 
PU TSVGTETS IN Os) ie ee AOE secs ean nl ee sevintea Pal dec 409 
Bro ae UE | lees ee Sa A Pee ee ©. wae Ne 426 
eed age ta Oa oe 1 a: ORR, A PA, Ns aS As SERRE AN 
Woneerto-ror Violin 1) Major CMishel: Pigstre ig dpsesccnscst Sts. veced as heh ts 96 
**Recitative and Aria from “Fidelio” (Florence Austral) -..-20.2.2..cc.c..-c..c-co0ce 373 
BERLIOZ— 
OS eT ae aN Ed ROD SRN Si AOE ORCC Oe AEN RMR ELAN Ais, 
BIZET— 
Mite Mg Ce Por Ss Faas Sy ill eles al iets UI MAE Ripka Bh. NOESG ca se. SD” ai SUE 103, 115 
BLOCH, ERNEST— 
lag Tey Poh Le ORR. Weal | or all ee ee REN SR RTL A amb le NAO) MRT R CT. IAAI 5 “ar 143 
BLOCKX, JAN— 
PALO TP MIG IPUNCCS oe tee a lee eh ey) oe 2 ee ee 35 
BOCCHERINI— 
Rrra se eos SA? Cre i OP ek ee a ee a ee a ee Lee 209, 419 
BOELLMANN— ; 
Symphonic Variations for ’Cello and Orchestra (Michel Penha).......... 19, 37 
BOLZONI— 
RUNtee eT Oe aes bs tl oe eh et a eal Care. 2 tess Che ee 
BORODIN— 
' A Sketch of the Steppes of Middle Asia............. NS SOC ASS AAS ae hal) a 426 
BRAHMS— 
a eT TR tok Dg RR: EU, Us) ane ee see OE ROMERO RS AEROS RCTS RAR Ae AMY a A Ab 441 
igh 2g 0) AR Pe RS lle Es, le leg eee aE Pe teen ee Se a wae 219, 246 
SPC OnCertovtOr £ IanO: V0. RB Carl Brsged BOL e ) in huicstoassvadeca nese, oe-nodssdccesegsen hacen 131 
a By eo ee pe Ey Meee Dal hella a ype Wi A PRA E nReAIT OD OER MEAD VEEN nes >| 414 
BRUCH— 
Goncerto- tor: vionn, G: Minor Chea Luboshut2}iis cece eee 281 
CARPENTER— 
SET PROM Une Aue Es | RV SCEADIONS = wc, .sekudmsaasthiecseapclcdd eho ecetege alah Cones 403 
CHABRIER— 
TCE Va epee OL bail a tan ee re Sere ULeO eS aN anaes, ON 19 
DEBUSSY— 
SO SV OCtUIETICS. CNS AUG ob GStIVAIS.9 io lila anes be de menend ecueieacivia GOT 
POPs hiker CLOG TAC OON OE eT ATI i oct c5 cies ae ely ales py cadsenued ieeclaaes 203 
EVIE: tabs LRM OLIN Te AON TICK Wicca cts 0l's- nan talvndeegscnetege nie obey secant barnett 275 
EPS OES gir gil Poles ce RES ME See ipa drain Sk ten al Net OE tate al Sua ee 13, 63 
DOHNANYI— 
eS OU ag Lot Up reel SO VRE SOA RRR Wreck Weer aiees Pon a UR MONE Abmeny t 279, 363 





' 
{ 
i 


1928—EIGHTEENTH SEASON—1929 








DUKAS— , 
SChErZO." “1 Ne DOPCETEL’S. FPPPORTICO yi cocsticccscsesnsiasrinarnenangenecoaucenmacee tee masetoas 136 i 
DVORAK— 
Sympnony NG, Prom the New Works sn55 osc atessettet sender eeee 106 
fig SWOT EG gop st cole EES) Tor.) pee nmeeee ee ae ee EE SN eM E Mone, MeN ane ee OR erry CE SRNOE ME eT ‘ 
FRANCK— ; 
Salo TU 9) TOT EO pa FC eae Oats WG 7.0) eee LI le ARNE EERE ried aR RaPpeL ARSC sn cre neil FB OSes AiR 176 } 
GENSS, HERMAN— 
eee GPUs AP eT CELE: asiiw chew nadecormincd eaeeaoniis ak cxscenacoa tes hide ba teeth eee vee ear ae ieee 275 
GILLET— 
(ae Tein ds hae 5) Ee nee aka Ne US EERE NEES, AO eR ea meiark Wm tet ANE Ate ogee 5 aaa Brae 414 
GLAZOUNOW— 
MS WARLENEMCUER I” ENNIS 2 oxic docs nd trhag in cos sits gt tracer Sactin a laa sacelnceber aa beeen ls aaa ree 295, 362, 418 
Concerto tor: Violin: A Minor (Mishel Piastra) 2.23. ces eee 427 
rand. cas ces Mances trom “Uses ¢d Amour’ 2222. 414 
GLUCK— | 

GET h ey he to owkaal Mod sh rcy ht bc As 6 0 C geeo Be a A eR aE EP ag alae eh ee 171 
GLUCK-GEVAERT— 

IB Tas ESS SEN 1: ae ene BEA A aie COC ay Pep DONS Se A Aa eee Ae py MEET ee «8 387 
GOLDMARK— | 

SO Nich EE Nabe 8 Wee) Cad 1 § <1 dane ee eee oes Beer eee rt, Lanett ease eh Oe a eet sb te 

Oeil Vice aes CS oe agian aE ES Te le DED Ae pL SOR a ey Oe ae aaNet eee Coe Seem 235 
GOUNOD— 

erase TEtORR Past Coinec e Ae et oe aa ee en ee 414 
GRAINGER— 

PEC AC ORL. RING > OADM <onsccinncs pop spun os cies esac clan ante gots psedkncan caer alee sie Ae cerase de 241 
GRIEG— 

PEP MAN ORNATE ee LW OAS Mckee ooo esq dnc eben eee god pn ee ee ee 158 

DORI CIANIE CTe aT SOC CS SION oc a a a eer cea ba eee 82 

Hearse yrounas ane’ Lhe Gast Sormg a5 pocket nae ee ee 343 
HAN DEL— 
HAY DN— 

Symphony in G Major (B. & H. No, 13)... Sipaeee eS) ee ae 

Gancerto: tor Celia, D Mator (Michel  Peéntlia ) 020 oe ee 403 
HANSON, HOWARD— 

Peon onie TOCI,, slik SBTOLiia, one Be 4 hee 373 
HUMPERDINCK— 

Prado rG, tansel ane Gretel fs yon et ee ee Bee ee ce. 79, 102 a 
IPPOLITOW-IVANOW— ) 

In: the: Village trom-"Caucasian Sketches (2. 2 ee ee 241 
JACOBI, FREDERICK— 

sg SET Gy A Ge) ESC ee pene eee Saale, Ne INR OE Rie aes AA at igen 2 See ys" r s Benth Dos BA 
JARNEFELT— 

PETA EN AG Co scl "as ac etc hse pac phe Naeapeednlbelgs geese pioiag Yoceh oa aaeh sree ei page eee ate ee oe eat Be 209 
KOUTZEN— 

MECeMerINOCIIENE,.: OULIIUIC® | <canc2-02- ct tind comhtae t ge eaten eee eae 51 
KREISLER— | 

| RIC DCSITOUG, ice itn eo awaits Se hee eee a eee ee 210 
LALO— | 
Symphonie Espagnole for Violin (Eugene Heyes) ..0022...--...eececee-ccceeececeeeeeeee 205 


LANGSTROTH, IVAN— 


*[ndian Romance 


LA VIOLETTE— 





5 a 


SS. a a 





1928—EIGHTEENTH SEASON—1929 


Page 
LISZT— Pek, | ete 
Concertotor + iano, @ lat (George Liebling) 05723 23 
Concetioder iano, A Majion (Rudolph: Ganz). 226. oo ee 
SONTAG PE ORENE: eG POMC S co eas cthinscadmcmmtinr engi ti chad banda reese dn eens 44, 431 
ENT AT AEE AIR PtP SUMED EMA. Bes citi kounet ant gausnpactn ad lsuvgs-nntebapeeeereeats 241, 306, 414, 420 
PATA SETAE TITIG COKE, . DW 00s atecdeacuates tate ase ea oa are tcocontnapt » Scatebe etapa actlentomcccntieet 36 
tad oP bikie 7 1) NGeMe te aR SAL Oy OR ae ea ONS of RSENS En en rw aie oe 81 
NEUEN SRE, 1, PINE oc asexcecneen Specs a sca cedueleeGane sv asedtawicasiedgaektenwodtaaantheckeenseeceseaenaere 118 
LUIGINI— 

ARNT rl a nk a I ass ania ab esicctivaees «ge ee 120 
MAHLER—_ | 

Andante. SrOnD SPOOR ING: Ooi scece cscs cessed ease eee Sie 277 
MASSENET— 

ert TE tre ial ety 2 LIC i a Oe. ee a ee Ta IE OR PB eT Ee 115, 249 
Peesblet Sic UPmaih se RL ecco ee ee os ee tne eee eae eee 353 
Vision Fugitive from “Herodiade” (Reinald Werrenrath)................--.---.--- 249 

MENDELSSOHN— 

A ENS Fons Oo ade hice ba to 6 a «| i ih oe eae a ee Ene cA bey Semone erect <> 143 
Concerto for Violin, E Minor (William Wolski, Mischa Elman)...... 161, 307 
Reena t ey RNR Sh oe cae cea catia ees tamer bteee odin eacnapas Dopo goa 315 
Selections from “A Midsummer Night's Dream iio no ccoc. ccccecemsespeszetbneee 155 

MOUSSORGSKY— 
mm Diet on the Bale Wi oi tert cc isisets ancpcsentangicdecnsgeteadany seeshsen eeageoemiaian ee 318 
MOZART— 
yaad] itiy 1, ee ae Og ok a eee he ane einen Aer meet Sane Noa ee BNO Rey tee es 137, 286 
**Concerto for two Pianos, i Flat (Phyllida Ashley, Aileen Fealy)............ 320 

Sigg di hy epee Meta Chg Com a [lt A Sn naneenene ke eso eA oo 7, 19 

Aria, ‘Deh vieni non tardar” from “The Marriage of Figaro” 
POE ON Sark cca) | Oe ee eee ene ese Sue ees Tes apenas 106 
PIERNE— : 
‘Entrance of the Little Fauns, from “Cydalise” ccc week 5 nnn DO 
PUGNANI-KREISLER— 
PELE SATIC CORED ae teats ee hte ee hae Se oe Lee 
RESPIGHI— | 
Sympnomc Poem, “The Pines of Rome a.com 106, 193 
*Toccata for Piano and Orchestra (Ottorino Respighi)......-2. 187 
*Antique Dances for the Lute, Second Suite (Conducted by the 
RO ENU TUN SHOE Faced ccs seh ech sacs eal eavcc adds caine ener dentin ean sepccaneaesbmiecaatsawe 189 
*Trittico Botticelliano (Conducted by. the Composer)....................-..-2-:------- 193 
ROUSSEL— 
(GA ed s LORS qh 2 by Cie Oe) 6). bo fee ee i eee Mie ELE Senna CER MPM OREN SOc A Mate de 445 
SAINT-SAENS— 
*k Concerto for Piano, No. 4 in C Minor (Alexander Brailowsky)................ 300 
SEAS aS O24 he eee SS CE Sa ere Ree ep ern WEN nie Aare 249 


Tarantelle for Flute and Clarinet (Anthony Linden, Harold Randall)... 237 


SCHUBERT— 


STE 5 0 WE IE 1 a eee mB ere ee Ee ASR Ones) eM i Torr Poe 7, 42, 62 

Si MOne th uMainar “LiMnHniSHeS ...l ee ls cella ce 75 

Metre ete. TfOl — DLOSAIIUIOe 20s toot a sted desea de eater 420 

tL UGE sg gee" Cool | Sa nen nee Sea Oke TORRE Aner CRN EE ee NG Cee? Nive ee oneew em 82 
SCHUBERT-LISZT— 


**k Fantasie, “The Wanderer,” for Piano and Orchestra (leone Nesbit).... 387 


SCHUMANN— 


Sg aned be) gh aw is Pamir Fae IB I | occ gee Oe ee OL Cee eS ne ees Soe ane 91 
SIBELIUS— 

HT e Ns total ek a tr 1 RGR aah LES es 7 > SO C8 RU A: Se aera Meir wees Set me 118, 306, 362 
STRAUSS, JOHANN— 

Mealtc: 1 ales troche. VIENNA CV COGS cask edt sett eee 37 

DOE Cy PNG ERCHAIEIE EDL CES AEHE USER foc nc cap ts Beek ce catnes be neces. beaeer ue Oe 

Me rriste tex aU Ihee ETE? cee oo ease cere oe 2 oe i Se ee 414 

Mere T EU Ee: LOT ce ec CRM RSE IONE peste Nt a aah es leone UR 242 





1928—EIGHTEENTH SEASON—1929 


STRAUSS, RICHARD— 
Fantastic Variations, “Don Quixote” 
Tone Poem, “Death and Transfiguration” 
Songs with Orchestra (Florence Austral) 
Morgen 
Staendchen 
Cacilie 
STRAVINSKY— 
Suite, ‘“L’oiseau de Feu” 
SVENDSEN— 
eh ATUL YS LOR OTS We he te Oa ge ki ees el ee ee 33, 414 


TANSMAN— | 
*Concerto for Piano, No. 2 (E. Robert Schmitz) 

TAYLOR, DEEMS— 
PeeN AIUD EMCEE “OS. EAT GSE NE 4 nconc..osce. nics casessaattb gue omnes coke esc eee ee 93, 103 
Sire, Frosh the LOOKING GlasSS. kel ee ee 


THOMAS— 
Overture to “Mignon” 
TSCHAIKOWSK Y— 
Symphony No. 5, E Minor 
Symphony, “Manfred” 
Concerto for Violin, D Major (Mishel Piastro, Toscha Seidel).............. 43, 5 
*Fantasie de Concert for Piano, Opus 56 (Madallah Masson) 
Fantasia, “Francesca da Rimini” 
Ope RUCOTACKEF « SUItE2. Se fle Oe 43, 430 
** Waltz from “Eugene Onegin” 160 
pugahie<antatie for Steines le Lee ee 119, 420 
VERDI— 
Aria, “Ernani involami” from “Ernani”’ (Frieda Hempel) 
VIEUXTEMPS— 


*tconcerto ior Violin, D Minor (Joseph. Lampkin)..204.2." + ee 


WAGNER— 
A Faust Overture 
‘Rienzi’ 
Overture 
Aria, “Gerechter Gott” (Margaret Matzenauer) 
“’Tannhauser” 
Overture 
BS ee ne ee fee re Ne ee Cee el 
“Lohengrin” 
Prelude 


“Tristan and Isolde” 
Pretnde and Love Death: (Elsa '‘Alsen).. ik ous. oe ee 66, 3: 
Isolde’s Narrative (Elsa Alsen)... 
Introduction to Act III 
“Die Meistersinger” Prelude 
“Die Walkure’”’ 
Ride Ot the: Vai yri@S iis et eee Riedel tL gene ote 
Wotan’s Farewell and Magic Fire Scene (Reinald Werrenrath)...... 249 
“Die Gotterdammerune” 
Siegfried’s Rhine Journey 66 
Siegfried’s Funeral Music 66 
**Waltraute Scene (Margaret Matzenauer)..... 265 
Finale, Immolation Scene (Elsa Alsen) 67 
SALSital . 
Good Friday Spell 392 
Feast of the Holy Grail (Pacific Saengerbund)..........0....0.-. ----- Bae. 249 
WEBER— 
POOLE Gis SOUP MELE tec ca een SN | a ee Re ee Sep i eee | 
Overture, “Oberon” 


Young People’s Symphony series (Wheeler Beckett conducting) 
Summer Symphony Series, 1928 
San Mateo Summer Series, 1928 









SEES 


sat 5 1 PRANCISCO 
SYMPHONY a) 















2 Marntameard a 
NS The Musical z 
1 ASSociartion of |k com t 
1 San Francisco j 



















ANNOUNCEMENT 


“at 


1928 1929 
3 Eighteenth Season | | | 
ALFRED HERTZ CONDUCTOR ‘ 








Announcement 
1928-- Eighteenth Season 1929 


The Musical Association of San Francisco takes pleasure in 
announcing the Eighteenth Season of the San Francisco Symphony 
Orchestra, to commence November 2, 1928, with which the 
Orchestra will enter upon a new era in its development in the 
establishment of two series of evening concerts to replace the 
Sunday afternoon concerts. For several years past the Board of 
Governors have received many requests for evening concerts and 
this year the new Dreamland Auditorium, with its comfortable 
seating, has made the establishment of evening concerts possible. 
The Friday afternoon concerts will be held, as heretofore, in the 
Curran Theatre, while the Sunday afternoon concerts will be re- 
placed by Saturday evening concerts at Dreamland. An extra 
concert has been added to each series, therefore the season will be 
divided as follows: 


Thirteen Friday Afternoon Symphony Concerts, 
CURRAN THEATRE 


(Given fortnightly) 


Thirteen Saturday Evening Symphony Concerts, 
DREAMLAND 


(At which the Friday programmes will be repeated) 


Eleven Saturday Evening Popular Concerts, 
DREAMLAND 


(Alternating with the Symphony programmes) 


The Orchestra will again be under the direction of Mr. Alfred 
Hertz, his fourteenth consecutive season as conductor, thus assur- 
ing the same high standard of artistry. Mr. Hertz is spending the 
summer in Europe collecting novelties for the coming season, and 
patrons may look forward to many interesting programmes. 


Season tickets are sold separately for each of the three series. 
The usual method of filling and allotting ticket orders will be 
followed, i. e.: (1) Members of the Musical Association according 
to amount of subscription; (2) other subscribers to the Symphony 
supporting fund; (3) last season’s ticket holders; (4) new orders. 
Ticket orders are not filled as received, but are held until October 
1, when all reservations are allotted at one time and the tickets 
mailed out. ; 





Cee SS 


_ Thirteen Friday Afternoon 
Symphontes 


Lower Floor—-Rows A to EB.) se ee eS $ 24.00 
Lower Floor—RowsFtoV.......... AF oniehe mane ieee 30.00 
Balcony awe. Ata tas Ss. ere Ga 30,00 
AICO ROWS UES COLE rN ok ee re 13 i 2 2a8 
Balcony—--howss } to Mis Ae PRA POR ed 18.00 
Seetiery ee GOWER 40 Ga Sn he Peas Sabie aan 12.00 
Pr RoheMN ER TO EG Foot. oli Gin tet Lyte eae 9.00 
Geatiorvetnows. (x to Move es ec ee Ce 6.00 
(INL GEC GREE RACE RE NEES ni CREA yA ME es REL AE 250.00 
BE OOMBGEN 208 8s At Waa acetal F Pll v4 ae a 225.00 
aH 


Thirteen Saturday Evening 
Symphontes 


Lower Floor—Rows F to Z, Sec. land2............... $16.50 
Lower Floor—Rows A to E, Sec. land2............... 12.00 
Lower Floor—Rows AA to EE, Sec. 1 and2............ 12.00 
Lower Floor—Rows A to EE, Sec. 3 and 4............. 12.00 
Beate Cale Sec 101 to 109). en ee 12.00 
eR Tele GEC 21 tO 10S fe cro ys ea Se 9,00 
Memon ysed.. 201 t0.207. 0 Pe Ak Aa ie 6.00 
uae 


Thirteen Saturday Evening 
Popular Concerts 


Lower Floor—Rows F to Z, Sec. land2............... $14.00 
Lower Floor—Rows A to E, Sec. land2............... 10.00 
Lower Floor—Rows AA to EE, Sec. 1 and2........... 10.00 
Lower Floor—Rows A to EE, Sec.3 and4.............. 10.00 
eed Eee OO E01. 00: FOO Se Boe, ie a ee 10.00 
Pivese Cleese. 110.40 Liss. eee ek aw A ee 7.50 


Balcony=-Sece 204 10207 are eg ow ge wed em 5.00 





Announcement 
1928 Eighteenth Season--1929 


The Musical Association of San Francisco takes pleasure in 
announcing the Eighteenth Season of the San Francisco Symphony 
Orchestra, to commence November 2, 1928, with which the 
Orchestra will enter upon a new era in its development in the 
establishment of two series of evening concerts to replace the 
Sunday afternoon concerts. For several years past the Board of 
Governors have received many requests for evening concerts and 
this year the new Dreamland Auditorium, with its comfortable 
seating, has made the establishment of evening concerts possible. 
The Friday afternoon concerts will be held, as heretofore, in the 
Curran Theatre, while the Sunday afternoon concerts will be re- 
placed by Saturday evening concerts at Dreamland. An extra 
concert has been added to each series, therefore the season will be 
divided as follows: 


Thirteen Friday Afternoon Symphony Concerts, 
CURRAN THEATRE 


(Given fortnightly) 


Thirteen Saturday Evening Symphony Concerts, 
DREAMLAND 


(At which the Friday programmes will be repeated) 


Eleven Saturday Evening Popular Concerts, 
DREAMLAND 


(Alternating with the Symphony programmes) 


The Orchestra will again be under the direction of Mr. Alfred 
Hertz, his fourteenth consecutive season as conductor, thus assur- 
ing the same high standard of artistry. Mr. Hertz is spending the 
summer in Europe collecting novelties for the coming season, and 
patrons may look forward to many interesting programmes. 


Season tickets are sold separately for each of the three series. 
The usual method of filling and allotting ticket orders will be 
followed, i. e.: (1) Members of the Musical Association according 
to amount of subscription; (2) other subscribers to the Symphony 
supporting fund; (3) last season’s ticket holders; (4) new orders. 
Ticket orders are not filled as received, but are held until October 


18 when all reservations are allotted at one time and the tickets» 
mailed out. ) 













ALFRED 










HERTZ RUDOLPH 
OTTORINO RESPIGHI Conductor GANZ 
Guest Conductor di s nes Guest Conductor 









Friday Afternoon Saturday Evening Saturday Evening 
Symphonies Symphonies Populars 
3:00 o’clock 8:20 o’clock 8:20 o'clock 









Curran Dreamland Dreamland 











November 2 January 25 November 3° January 26 November 10 February 2 
; | November 16 February 8 November 17 February 9 November 24 February 16 
%, + November 30 February 22 December 1 February 23 December 8 March 2 


























) December .14 March 8 December 15 March 9 December 22. March 16 
+ December 28 March 22 December 29 March 23. January 19 March 30 
J § January 11 April j January 12. April 6 April 13 
ALEXANDER April 19 April 20 » MICHEL 
| BRAILOWSKY PENHA 






Pianist 


Cellist 








‘ TOSCHA 
SEIDEL 
Violinist 











E. ROBERT SCHMITZ 








MS IK ; 
pO Fe pret Acres | 
-_ CARL 


“9 









ARGARET S oREne FLORENCE | aan 3 Pianist 
MATZENAUER ee Pianist J AUSTRAL MISHEL PIASTRO LEA LUBOSHUTZ 
Contralto EME Sle eh Soprano Violinist Violiniste 











~ : SS os ae, 4 Sot =, 3 De 
5 a "% SIA bgt Sg NG tos ee 


iv. ; “a . aw : \ a ‘ ie hae ¥4 A 
7 ; : > , ets - ‘ Pn ‘ ¢ \s 
\ 7 : Go 3 e+ ays % 4 " ° > Fs , > * 4 
5 “ ¢ 1 - ‘ . » TS das . 3 
4 od —- rd \ 7” ris. Aas 
: 2 . f " 
—e < ‘ 


> 


Pd 





ae” BERGE Wn owes ccee. es © RETA Eat rareaare RM 
Tels elelieliiai alal¢ lela) 2] 8 elm limabael | alalalslalilel elimi aime Obpealimial ioe) el 7lalsia| (aiheleTs! sl alalal aTals) | S 
(TITITTIT Tm) GIITTITIrires a GEETTIITIIIT Tes eit iis) «tii iti 
Moa a Citi ati) 
CITTITTITT#) «GLI ITI TTT e e TTT TT) 
PTalslelelel ele falsle]sle]eToloold §=§=CL TTT TTT TI Tha w COIs NTT) Geka aioT Te Toe ToT oTel Jol e] fal] 
aE CITT) w GOTT ed TTT 1 1 od) wv GT Ts w TTT) MTTTTITTIT TT » GLI 
S COT) «& GOT Ts TT as ce GT ss bus MTT TTT) u Gly 
CITI9 « CITE eT Tg « GEL Ti &« CTT TT TTT TT) w GL TTT 
4s GTI 4 OTT TTT Tr) sOmee0 
aT) + Ge 
a aha 
© Ae 
e G0 
oMITIITI1T0 Ds oT) )=—CT TTT) © aT) 
¢ Cleselsfllitits ¢ fITTITTITIITT) WTIiitiitth) ¢ bli 


i 
( 








/3/e 


a.e’ 
Stl) Lig 8 
A 











fis) 8 Chbeeeeee §=CLITT TIT Tha ® Cals) (hid SBRTIIITITIID Meikeeeeesh © Gea 
(CialsTeIeletem = (iT alaleTolelrlelebofitia) « (lala) MSroononoonontes OCooons . 











tA, 










GITTTTTIUTTTT T Fs} 
CTTITTTITITT Th) 

"paar saeeD 
CTT Te rT 1 Tb) 


CTT 1 ey $f I Tea) a TITT 
CITTTT TIT TIT 


CITT T TTI ITT Th) a ta ITT 
CITTTTITITT IT F4 ® CITT ITI TIT © PTT TIT TI Tt) 
(Talslelelelrloloholaiahs) A (iTalsis[slel viele hol jehabele) & fsbabeliihelsle]z[elsTelaTe] : 


q 
3 
fe) | 

5 


3) 
a 
A 

SS, 

Sy, 
© 
S 
< 





WE 
mS 
MESTREN 


OorRRAOTe& 







SE’ 
OG 
SYo~D 
° 
Od pa 
oe ae SEE Nee 





baablecblalelilelea) Z CslsLTeeloreieeey Cals ]e[eleloralae 
Pe) CY 


(SA ORAEP ERA PF EASA DT) 








baabmalslsbaleldisiea)  beebadesbebsleléleeh) A U 


I KOR ERT IA 
Q aaa we 
sine) | Honan ery 
a siren ON sasaacomearieates "5 cients? O00 pp Sb ele a EE 
Kiva a fe meee | RE Dl aan eID 
- o eicAodioats Bad wai evenenneme seme i Oat HES Atseab aA 
segue Son OY enaminnaesan nh eave aca pg rae earctatss: 
ese fe eR te te ee ne ee 
; Tawi ie cases (GN pemmemrpenaacara wuriernanls 208 By ote StS 
ad caraneeeiian Be eetaenasomee (°F ecarew £rtee By metre! “ 
eC a ee ee ed eee = 
(ik A ooiedinae BN VERDC | A RR eRRCL IS ay DEERE F 
a 
a aE a OEE A ROME | DE DARIAN Hl AE RIE sis 
DA EAN i PPP ROOD FR Seabank) re 
a hare Dener Ee mamma {hack Ate el ADU pel WPCA RS. « 
Tels {Tele lobelebree) §«=— LL a is 7 ¢ Ww bobsh rey bra " 
.-] 





STAGE 


SEATING PLAN = 


New Dreamland Auditorium fF 


Post and Steiner Streets L 













SAN FR “FRANCISCO 
SYMPHONY 23 
E “ORCHESTRA 


3 
oe Marntamea Dy |e 
Me aR 3 The Mustcal « 
3 Wl Association Of 
=/44| On Francisco 

















| 
| 





“bg fide 


FIRST PAIR 


so 


: 1928 1929 
I Eighteenth Season 


ALFRED HERTZ CONDUCTOR 
PEO _ 


CAARN 














ANNOUNCEMENT 
FIRST POPULAR CONCERT 


Saturday Evening, November 10 


Dreamland Auditorium 


Soloist: MICHEL PENHA, ’Cellist 


PROGRAMME 


. Overture, “In Springtime” Goldmark 


. Solitude’’ (For Strings) Svendsen 
(First time at these concerts) 


. Indian Romance 
(First time in San Francisco) 


. Five Flemish Dances 
. Hungarian Rhapsody, No. 2 


. Symphonic Variations for ’Cello 
MICHEL PENHA 


. Waltz, “Tales from the Vienna Woods’’ 


SECOND PAIR OF SYMPHONY CONCERTS 
Friday, November 16, 3:00 P. M. 


Curran Theatre 


Saturday, November 17, 8:20 P. M. 
Dreamland Auditorium 


Soloist: TOSCHA SEIDEL, Violinist 


(Only appearances in San Francisco) 


PROGRAMME 
1. Nocturne, “‘Solitude’”’ 
(First time in San Francisco) 
2. Symphony No. 2 in D major Beethoven 


3. Concerto for Violin in D maj Tschaikowsky 
TOSCHA 








Symphony Box Office, Sherman, Clay & Co.; hours, 9 to 5. Tickets 
may also be obtained at other Sherman, Clay & Co. bay city stores. 
Friday tickets on sale at Curran Theatre after 10 a. m. on day of con- 
cert. Box office at Dreamland Auditorium open at 7 p. m. on concert 
days. 





Musical Association of San Francisco 


Founded December 20, 1909 Incorporated February 3, 1910 


OFFICERS 
J. B. Levison, President 
W.C. VAN ANTWERP, Vice-President 
WALTER S. MARTIN, Treasurer 
Mrs. IRWIN Crocker, Honorary Vice-President 
Mrs. E. S$. HELLER, Honorary Vice-President 
A. W. WIDENHAM, Secretary-Manager 


BOARD OF GOVERNORS 


R. I. Bentley John S. Drum John A. McGregor 
Miss Lena Blanding Sidney M. Ehrman John D. McKee 
Miss Louise A. Boyd Milton H. Esberg R. C. Newell 
George T. Cameron Mortimer Fleishhacker F. R. Sherman 

Selah Chamberlain F. J. Koster B. F. Schlesinger 
Mrs. Irwin Crocker J. B. Levison Mrs. M. C. Sloss 
William H. Crocker Walter S. Martin Mrs. Sigmund Stern 
E. R. Dimond Clay Miller W.C. Van Antwerp 
A. B. C. Dohrmann L. F. Monteagle Eli H. Wiel 


Mrs. M. S. Koshland, ex-officio 


EXECUTIVE COMMITTEE 


W. C. VAN ANTWERP, Chairman 
Mrs. Irwin Crocker A. B. C. Dohrmann Walter S. Martin 
Mortimer Fleishhacker John D. McKee 


MUSIC COMMITTEE 


R. C. NEWELL, Chairman 
Mrs. M. C. Sloss F. R. Sherman 


WOMEN’S AUXILIARY 


Mrs. M. S. KoSHLAND, Chairman 
Miss LENA BLANDING, Vice-Chairman Mrs. M. C. Porter, Vice-Chairman 


EXECUTIVE OFFICES 
Fifth Floor, 244 Kearny Street 
Telephone Garfield 2819 


A. W. WIDENHAM, Secretary-Manager 
HOWARD G. HANVEY, Press Representative 





Choose from 87 
Album Sets 


including the Great Schubert 3 


+ yiners 
we be f 


"AS 


| 
| 


4 
e e oe 49 
Centennial Memorial Edition — ; 


16 of Schubert’s immortal works 


conveying the essence of his 





unique gifts. 


Other composers represented in 


COLUMBIA 

MASTERWORKS* 
Bach Haydn 
Beethoven Holst 
Berlioz Lalo 
Brahms Mendelssohn 
Bruch Mozart 
Chopin Ravel 
Debussy Saint-Saens 
Dvorak Strauss 
Franck Tschaikowsky 
Grieg Wagner 


in a selected list of symphonies, concertos, 
sonatas and chamber music. All works in 5 


= 

a 
pot 
==, 


or more parts are enclosed in attractive art 


aN 


albums. 


Ask for Columbia Masterworks Catalogue 


““ Magic ay Notes”’ 


COLUMBIA PHONOGRAPH COMPANY 
941 Mission Street, San Francisco, Calif. 


COLUMBIA 


“NEW PROCESS” RECORDS 


REG. U. S. PAT. OFF. 





Made the New Way—Electrically—Viva-tonal Recording 
The Records without Scratch 


Schubert Week, Nov. 18-25. Organized 
by Columbia Phonograph Co. 
* Reg. U.S. Pat. Off. 


WUIINSS2EOGG IWSSAWEAIO RAINS A SFE ES ISG IES EOFS TRE SRD TEES, 











Che San HFrancisen Symphony Orchestra 
ALFRED HERTZ, Conductor 


(Steinway Piano Used) 


1928—Season—1929 


FIRST PAIR OF SYMPHONY CONCERTS 
730th and 731st Concerts 


Friday Afternoon, November 2, 3:00 o’clock 


Curran Theatre 


Saturday Evening, November 3, 8:20 o’clock 


Dreamland Auditorium 


PROGRAMME 
lL. ‘Overtire to” “The Magic Pinte: cc eee Mozart 
C5) DETTE OII, GVO Be oo hehe oan, od neees % Bi dl, beatin Schubert 


Andante—Allegro ma non troppo 
Andante con moto 

Scherzo 

Finale 


In observance of the one hundredth anniversary of Schubert’s death, 
November 19, 1828 


Intermission 


3. “‘La Mer” (The Sea), Three Orchestral Sketches.... Debussy 


(First time in San Francisco) 


From Dawn till Noon on the Ocean 


Frolics of Waves 


Dialogue of Wind and Sea 














LO.) Sor SS Bonn Ge eee 


Presents 


RUGGIERO RICCI 


Eight-year-old Violinist 


Scottish Rite 
Auditorium 
SAN FRANCISCO 


THURSDAY EVENING 
November 15, 1928 


Ruggiero Ricci is a San Francisco- 
born youngster of the violin who 
seems destined to achieve remark- 
able heights. He showed a decided 
liking for music when he was in his 
infancy, and at five years of age 
revealed the gift of a perfect sense 
of pitch. His parents finally decided 
to let him take up the violin, and 
the father, being a musician himself 
(although not a violinist), assisted 
him with the instrument to the ex- 
tent of his ability. Two years ago 
Ruggiero, then barely six years old, 
was brought to Louis Persinger, 
hoping. to become a “‘real’’ violinist. 
Beth Lackey, Mr. Persinger’s assist- 
ant in Berkeley, generously offered 
to look after the boy’s musical wel- 
fare during Mr. Persinger’s absence 
in the East, and as a result of her 
splendid work and Ruggiero’s un- 
usual gifts the little violinist’s prog- 
ress was so extraordinary that within 
. a vear’s time he walked off with the 
Oscar Weil Memorial scholarship, won a gold medal offered by the Emporium’s Boys’ Achievement 
Club, appeared for the Pacific Musical Society and was a featured soloist at the last municipal 
Christmas Eve concert in the Civic Auditorium. Since that time all engagements offered to Ruggiero 
have been declined (much against the young man’s will!), in order that his study and natural devel- 
opment might proceed under normal conditions, with the advantage of Miss Lackey’s daily assistance 
and with Mr. Persinger devoting more and more time to his personal instruction. What Ruggiero 
has accomplished in the short period of two years is remarkable. Recently the little fellow played 
before a number of distinguished San Francisco musicians (among them Alfred Hertz), who were 
frankly amazed at the youngster’s virtuosity and were outspoken in their praise of his “beautiful” 
and “astounding” playing. Ruggiero’s forthcoming recital, his first, will be the realization of a 
cherished dream. : . 





VIEUNTEMPS! .4° A; . , Fantasia appassionata, Op. 35 


Allegro moderato-Andante-M oderato-V ariation-Largo 
Poco piu mosso, appassionato-Largo-Saltarella 

MENDELSSOHN ........ .. . . Concerto in E minor, Op. 64 
Allegro molto appassionato 


Andante 
Allegretto non troppo-Allegro molto vivace 


SAINT-SAENS . .. . . . . . . Introduction et Rondo capriccioso 

MoNASTERIO. ... .. . . . Sierra Morena (Serenata andaluza) 

rae, a AR EL eee eee ne a eee Pelich Seen 

WikNTAWSKE Creat Dsl Wed decee® Herbed boterzco- Tarentelie 
At the Piano: Louts PERSINGER 





Reserved Seats, $1.00, $1.50, $2.00; Students’ Tickets, 75c 


On Sale at Sherman, Clay & Co., San Francisco, Oakland and Bay Cities 


Management: ALICE SECKELS 


FAIRMONT HOTEL SAN FRANCISCO 








Overture to ‘‘The Magic Flute’ - - Wolfgang Amadeus Mozart 
(Born Jan. 27, 1756, at Salzburg; died Dec. 5, 1791, at Vienna) 


‘‘The Magic Flute’’ was the last opera Mozart composed. In 
fact, it was the last big work he finished, for his “‘Requiem’’ was incom- 
plete at the time of his death. He had a great affection for “The 
Magic Flute,’’ which was given its first performance in Vienna, Septem- 
ber 30, 1791. Mozart himself conducted from the piano. Shortly 
after he became too ill to attend the subsequent performances, but was 
accustomed to have a clock near him when the opera was being given. 
‘‘Now they have finished the overture,’’ ‘“‘Now they are in the midst 
of the Queen of Night aria,’ and similar comments would he make as 
he followed the performance in spirit. 

As in the case of “Don Giovanni,’” Mozart composed the over- 
ture to ‘““The Magic Flute’’ on the eve of its first performance and it 
was played without a rehearsal. An adagio provides the introduction. 
Great chords precede the entrance of the allegro, which is an elaborate 
fugue, the subjects being announced by the first violins. As the allegro 
proceeds, the heavy chords again interrupt, after which the music pro- 
ceeds to a brilliant climax. 


Symphony in C major. - - - - - Franz Schubert 
(Born Jan. 31, 1797, at Lichtenthal; died Nov. 19, 1828, at Vienna) 


This symphony, which is numbered 7 in the Breitkopf and Hartel 
catalog, but which is also often known as the tenth, was first performed 


Established 1832 


QUALITY 
PRESTIGE 


SERVICE 


SHREVE. &: COMPANY 


fewelers and Silversmiths 


Post Street at Grant Avenue 
San Francisco 











T VIOLINIST OF THE 
BAS STRING QUARTET 








Announces 


i} THE OPENING OF A STUDIO FOR 


INSTRUCTION 
IN VIOLIN AND 
ENSEMBLE 


INTERVIEWS BY APPOINTMENT 


TELEPHONE OR WRITE 


a 


“Management 


ALICE SECKELS 


FAIRMONT HOTEL 
Douglass 7267-8800 


MARY McCORMIC 


CHICAGO AND PARIS OPERA COMPANIES 


Monday, November 5th at 2:30 
Opening 


e flice Seckels’= 
tinee STtusicales 


GOLD BALLROOM FAIRMONT HOTEL 


Single and Season Tickets 
SHERMAN, CLAY & CO. 





Dunning System of Improved Music Study 
CARRIE LouIsE DUNNING, Originator 
8 West 40th Street, New York City 
834 South Plymouth Boulevard, Los Angeles, Calif. 


playing of a ten-year-old Dunning pupil with the New York Philharmonic Orchestra, 


@ bicirs Greatest Musical Event in New York City in the past several decades was the 


March 20th, 1926. 


The child had only studied one year and eight months. She 


played Le Carnaval des Animaux, by Saint-Saens. The piece is twenty-three pages long. 
She memorized it in three weeks. If you have any plan for teaching that can bring such 


results in that length of time—then you do not need the Dunning System. 


not, then you do. 


If you have 


Faculty of Normal Teachers—Classes Held in these Cities 


KATHARINE M. ARNOLD, 93 Madison St., 


Tiffin, O. 

AutuigE E. Barcus, 1006 College St., 
Worth, Tex. 

ELvizeTtte R. 
burg, Fla. 


CATHERINE C. Brrp, 658 Collingwood Ave., 


Detroit, Mich, 


Grace A. Bryant, 201—10th Ave., N. Twin 


Falls, Idaho. 


Dora A. CuHAse, 345 Clinton Ave., Brook- 


ren, Ns ks 
Appa C. Eppy, 136 W. 


Sandusky 
Bellefontaine, O. 


Beatrice S. ErKet Kipp, Key College, 


Sherman, Tex. 


Ipa GARDNER, 17 E. 6th St., Tulsa, Okla. 


Giapys M. GLENN, 1217 Bowie St., 
arillo, Tex. 

FLORENCE E. GRasLe, Michigan State 
stitute of Music, Lansing, Mich. 


3ARLOW, Box 1244, St. Peters- 


HarriET Bacon MacDOoNa.p, 6010 Belmont 
Ave., Dallas, Tex. 

KaTE DELL MarpeNn, 61 N. 16th St., Port- 
land, Ore. 

Mrs. W. P. Mason, 302 Mid. City Bank 
Bldg., Chicago, Ill. 

Laup. G. Puipren, 3435 Ashbury Ave., 
Dallas, Tex. 

Eruie I. Prince, 4106 Forest Hill Ave., 
Richmond, Va. 

VirGInriA Ryan, 1070 Madison Ave., New 
York. 

SteLLA H. Seymour, 1219 Garden St., San 
Antonio, Tex. 

GERTRUDE THOMPSON, 508 W. Coal St., 
Albuquerque, N. M. 

IsopeL M. Tone, 626 Catalina St., Los An- 
geles, Calif. 

Mrs. H. R. Warxins, 124 E. 1lith St., 
Oklahoma City, Okla. 


Mrs. JEAN WARREN CARRICK 
(Normal Teacher) 


25 Lake Street, San Francisco 


Classes formed upon Arrangement 


0 oe EP >. 





= gate Mae 


ee rn ea. 








at Vienna, December 14, 1828; therefore Schubert never heard a 
production of the work himself. Earlier in the year the symphony 
was rehearsed by the Musikverein of Vienna, but its length and difh- 
culty were against it and upon Schubert’s own advice it was replaced 
by his earlier symphony in C, No. 6. Following the first performance 
the work was forgotten until almost ten years later, when Robert 
Schumann discovered it while searching through a mass of Schubert's 
manuscripts. Schumann sent it to Mendelssohn, who produced it at 
a Gewandhaus concert in Leipzig, March 21, 1839. 


It is, perhaps, fitting at this time, when the entire musical world 
is devoted to the Schubert Centenary, to offer a brief picture of 
Schubert's last days, quoted from Sir George Grove, who has probably 
done more than any one else in the way of research into the details of 


Schubert's life: 


“On November 3, the morrow of All Souls’ Day, he walked early 
in the morning to Hernals to hear his brother's Latin Requiem in the 
church there. He thought it simple, and at the same time effective, 
and on the whole was much pleased with it. After the service he 
walked for three hours, and on reaching home complained of great 
weariness. . . . During the next few days he grew weaker and 
weaker; and when the doctor was called in, it was too late. On the 


VOJMIR ATTL 


Harpist 
San Francisco Symphony Orchestra 


| ayy aaa For engagements 
JOHN BUBEN as Solo Artist, Accompanist, or 


Fur Fachion’s Creater Player in Ensemble Music 
an Artistry and Craftsmanship for STUDIO 
iscriminating fur lovers. Furs re- 
styled as Jacquettes, or in the latest Sherman, Clay & Co. 
Creations. Mondays and Thursdays 

Pe GEARY ST. | to 5 P. M. 

r K 5873 
ser ene ag Studio Phone Residence Phone 


Paris Office F 
52 Rue du Faubourg—Montmartre Sutter 6000 SKyline 2757 











14th Schubert took to his bed. He was able to sit up a little for a few 
days longer, and thus to correct the proofs of the second part of the 
“Winterreise,” probably the last occupation of those inspired and busy 
fingers. He appears to have had no pain, only increasing weakness, 
want of sleep, and great depression. Poor fellow! no wonder he was 
depressed! Everything was against him, his weakness, his poverty, 
the dreary house, the long lonely hours, the cheerless future—all con- 
centrated and embodied in the hopeless images of Miiller’s poems, and 
the sad, gloomy strains in which he has clothed them for ever and 
ever—all breathing solitude, broken hopes, illusions, strange omens, 
poverty, death, the grave! As he went through the pages, they must 
have seemed like pictures of his own life; and such passages as the 
following, from the “Wegweiser,’ can hardly have failed to strike the 
dying man as aimed at himself: 


Einen Weiser seh’ ich stehen 
Unverriickt vor meinem Blick, 
Eine Strasse muss ich gehen, 

Die noch keiner ging zuruck. 


‘Alas! he was indeed going the road which no one e’er retraces! 
On Sunday, the 16th, the doctors had a consultation; they predicted 
a nervous fever, but still had hopes of their patient. On the afternoon 
of Monday, Bauernfeld saw him for the last time. He was in very 
bad spirits, and complained of great weakness, and of heat in his head, 


HAZEL DREIS 


FINE BOOKBINDINGS 
MUSIC LESSONS 


DOuglas 0328 545 Sutter Street, San Francisco 


San Francisco Conservatory of Music 


Ernest Bloch, Director 
Ada Clement, Lillian Hodghead, Associate Directors 


ERNESH IBLOGEH 


will tell the composer's story of his 


“AMERICA” SYMPHONY 


Monday Evening, December 10, 1928 
SOROSIS HALL 
Tickets on Sale after November 10th,-at Sherman, Clay & Co. 


a PP ae O@ SE 





2 tine ee 2 ee 


em 


ee Re a lem 


Pe ee, 





but his mind was still clear, and there was no sign of wandering; he 
spoke of his earnest wish for a good opera book. Later in the day, 
however, when the doctor arrived, he was quite delirious, and typhus 
had unmistakably broken out. The next day, Tuesday, he was very 
restless throughout, trying continually to get out of bed, and constantly 
fancying himself ina strange room. That evening he called Ferdinand 
on to the bed, made him put his ear close to his mouth, and whispered 
mysteriously, ‘What are they doing with me?’ ‘Dear Franz,’ was the 
reply, ‘they are doing all they can to get you well again, and the doctor 
assures us you will soon be right, only you must do your best to stay 
in bed.’ He returned to the idea in his wandering—'I implore you 
to put me in my own room, and not to leave me in this corner under 
the earth; don’t I deserve a place above ground?’ ‘Dear Franz,’ said 
the agonized brother, ‘be calm; trust your brother Ferdinand, whom 
you have always trusted, and who loves you so dearly. You are in 
the room which you always had, and lying on your own bed.’ ‘No,’ 
said the dying man, ‘that’s not true; Beethoven is not here.’ So 
strongly had the great composer taken possession of him. An hour 
or two later the doctor came and spoke to him in the same style. 
Schubert looked him full in the face and made no answer; but turning 
round clutched at the wall with his poor tired hands, and said in a 
slow, earnest voice, ‘Here, here, is my end.’ At three in the afternoon 
of Wednesday, the nineteenth of November, | 828, he breathed his last, 
and his simple, earnest soul took its flight from the world. He was 
thirty-one years, nine months, and nineteen days old. There never 
has been one like him, and there never will be another. The funeral 


Louis Ford 
















Concert 


V iolinist 










TEACHER 





MARGARET 





Available for Solo, Sonata, Trio and 
Quartet engagements, 
Eighteen years in Chamber Music: 
San Francisco Quintet Club, Chamber PIANIST 


Music Society of San Francisco, Per- 


singer String Quartet. Will be on the Pacific Coast during 


ak : the entire season, 1928-1929 

Twelve years first violinist with San 
Francisco Symphony Orchestra; Assis- 
tant Concert Master for Season 1917 to 
1925. 


Concert Management 


ELWYN CONCERT BUREAU 
PHELAN BUILDING 


Studio: 
450 GRANT AVENUE 
Telephone Kearny 8289 
SAN FRANCISCO 


PUPILS ACCEPTED 
Coaching in ensemble playing. 
Assistant teacher for beginners under 

my personal supervision. 


1610 Plymouth Avy. Phone Delaware 0201 


1 











took place on Friday, November 21. He left no will, the official 
inventory of his possessions containing among other items ‘a quantity 
of old music valued at 10 florins’ (less than half a pound). Is it pos- 
sible, then, that in the ‘old music’ are included the whole of his unpub- 
lished manuscripts? Where else could they be but in the house he 
was inhabiting ?”’ 


As an insight into the C major Symphony, the following review 
written by Schumann will serve better than an analytical description: 

“Often, when looking on Vienna from the mountain heights, | 
thought how many times the restless eye of Beethoven may have 
scanned that distant Alpine range, how dreamily Mozart may have 
watched the course of the Danube, which seems to thread its way 
through every grove and forest, and how often Father Haydn looked 
at the spire of St. Stephen and felt unsteady whilst gazing at such a 
dizzy height. Range in one compact frame the several pictures of the 
Danube, the cathedral towers, and the distant Alpine range, and steep 
all these images in the holy incense of Catholicism and you have an 
idea of Vienna herself; the exquisite landscape stands out in bold 
relief before us, and Fancy will sweep those strings which, but for her, 
would never have found an echo in our souls. In Schubert's sym- 
phony, in the transparent, glowing, romantic life therein reflected, | 
see the city more clearly mirrored than ever, and understand more 
perfectly than before why such works are native to the scene 
around me. 


‘Schubert’s easy and brilliant mastery over the resources of an 








JANET ROWAN HALE 


Pianist and Teacher 


Studio 902 
26 O'Farrell Street Berkeley and Piedmont 
Phone Davenport 5486 Phone Oakland 8663 


30 years violin specialist in St. Louis and Chicago Expert Repairing 


S. O. ALLISON 
VIOLIN MAKER, CONNOISSEUR AND APPRAISER 


Agent for Andres Morellis hand-made Violins, Violas, ’Cellos, Basses 
Artist Bows by G. A. Pfritzschner 
and other celebrated Bow Makers 


45 GEARY STREET 


Dealer in New and Old Violins, } San Francisco, Cal. 
"Cellos and Bows Formerly I. A. Lutz 
Strings and Accessories Davenport 415 





orchestra would be unintelligible, if one did not know that six other 
symphonies had preceded his last effort, and that he wrote it in the 
full maturity of his powers. Those gifts must be pronounced extraor- 
dinary in a man who, having during his lifetime heard so little of his 
own instrumental works, succeeded in so masterly a handling of the 
general body of instruments which converse with one another like 
human voices and chorus. Except in numbers of Beethoven's works, 
| have nowhere found such an extraordinary and striking resemblance 
to the organs of the human voice as in Schubert’s; it is the very reverse 
| of Meyerbeer’s method of treating the human voice. The complete 
q independence in which the symphony stands in respect to Beethoven's 
is another sign of its masculine originality. Let any one observe how 
wisely and correctly Schubert’s genius develops itself. In the con- 
| sciousness of more modest powers, he avoids all imitation of the 
grotesque forms, the bold contrasts we meet with in Beethoven’s later 
works, and gives us a work in the loveliest form, full of the novel 
intricacies of modern treatment, but never deviating too far from the 
center point and always returning to it. This must be Bene to any 
one who often considers this particular symphony.” 


“The Sea,’’? Three Symphonic Sketches’ - - Claude Debussy 
a (Born August 22, 1862, at St. Germain; died March 26, 1918, at Paris) 


These orchestral pieces were completed in 1905 and were first 
performed at a Lamoureux Concert in Paris, October 15 of that year. 


ARRILLAGA MUSICAL COLLEGE 


Announces Three Performances of 


“THE BELLS VE CAPISTRANO” 
Charles Wakefield Cadman 


Under the Direction of Carlo Sebastian 


} November 8, 9 and 10 


Auditorium of the College 


Tickets may be obtained at the College, 
2351 Jackson Street, Walnut 3742 


Julian Brodetsky 


yy wy ASSISTANT CONCERT MASTER 
] | : SAN FRANCISCO SYMPHONY ORCHESTRA 


Violin Instruction 


Studio 
Phone SKyline 4855 189 Commonwealth Avenue 





Debussy himself conducted a performance of the work upon the occa- 
sion of his first appearance in London in 1908 and also conducted it 
shortly afterward at a Colonne Concert in Paris. Upon this latter occa- 
sion a large group of Debussy’s friends were present to greet him, also 
a large contingent of the conservative music lovers. At the conclusion 
of “La Mer’’ the admirers raised their voices in shouts of admiration 
and encouragement, while the opposite faction broke into shrill whis- 
tling and other forms of disapproval. It was not until the soloist, 
Jacques Thibaud, appeared and was half through the Bach D minor 
Chaconne that the excitement died down. 


Since then “La Mer” has been ranked by critics as one of the 
greatest creations of Debussy’s most fertile and distinguished period, 


that which dates from 1892 to 1912. 


Since the three pieces are impressionistic pictures, not conforming 
to any prescribed principle of musical construction, formal analysis is 
not possible. Debussy provided each piece with a title and it is the 
listener's duty to discover in it what he may. However, Lawrence 
Gilman has pointed out that “‘the three divisions of the work are bound 
together, musically, by partial community of theme. The character- 
istic portion of the chief subject of the first piece—the phrase de- 
claimed by muted trumpet and English horn in the twelfth measure, 
after the vague and mysterious opening—recurs in the last movement; 
and the solemn and nobly beautiful theme for the brass that seems to 
lift the sun into the blue just before the dazzling close of the first move- 
ment is heard again in the magnificent finale.” 


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, 1928 
$118,615,481.57 


Capital, Reserve and Contingent Funds 5,000,000.00 
Pension Fund over $610,000.00, 
standing on Books at 1.00 


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 





~~ 





Jersonnel 


Che San Francisca. Sumphonv Orchestra 


FIRST VIOLINS 


Piastro, Mishel 
Concert Master 


Fenster, Lajos 


Assistant Concert Master 


Brodetsky, Julien 


Assistant Concert Master 


Meriz, Emilio 

Ford, Louis W. 
Jensen, Thornstein 
Gordohn, Robert 
Mendelevitch, Rodion 
Laraia, William F., 
Mortensen, Modesta 
Koenig, Hans 

See, Orley 

Pasmore, Mary 
Atkinson, Helen E. 
Wolski, William 


Ruiz, Ricardo 


SECOND VIOLINS 


Heyes, Eugene 
Principal 


Rosset, Emil 
Amsterdam, Max 
Callinan, W. G. 
Paterson, J. A. 
Gold, Julius 
Haug, Julius 
Gough, Walter 


Firestone, Nathan 
Simonsen, Frances 
Wegman, William 
Tolpegin, Victor 
Hoffman, Henry H. 
Dabelow, William 


VIOLAS 

Verney, Romain 

Principal 
Hahl, Emil 
Baker, F. A. 
Wismer, Hother 
Weiler, Eric 
Lichtenstein, Victor 
Dierich, Franz 
Triebel, August 
Kolb, Richard 
Lewis, Arthur 


’CELLOS 
Penha, Michel 


Principal 
Dehe, Willem 
King, Otto 
Villalpando, Wenceslao 
Kirs, Rudolph 
Pasmore, Dorothy 
Reinberg, Herman 
Gough, Flori 
Hranek, Carl 
Haight, Rebecca 


BASSES 


Previati, Louis J. 
Principal 


Bell, Walter 
Storch, A. E. 
Guterson, Aaron 
Schulz, Emil 
Schmidt, Robert E. 
Frederick, Oscar 


Schipilliti, John 


FLUTES 
Linden, Anthony 


Oesterreicher, Walter 
Orchestral Manager 


Benkman, Herbert 


PICCOLO 


Benkman, Herbert 


OBOES 
Addimando, Caesar 
Shanis, Julius 


Schipilliti, Vincent 


ENGLISH HORN 
Schipilliti, Vincent 


CLARINETS 


Randall, Harold B. 
Zannini, Nicolai 
Fragale, Frank 
Triebel, August 


BASS CLARINET 
Fragale, Frank 


15 


ALFRED HERTZ, CONDUCTOR 


BASSOONS 
Kubitschek, Ernest 
La Haye, E. B. 
Hranek, Carl 


CONTRA BASSOON 
Kolb, Richard 


HORNS 
Hornig, Walter 
Roth, Paul 
Tryner, C. E. 
Rocco, R., 


Trutner, Herman 


TRUMPETS 
Drucker, Vladimir 
Barton, Leland S. 
Savant, Silvio 
Kegel, Otto 
Kress, V. 


TROMBONES 


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


TUBA 
Murray, Ralph 


HARP 


Attl, Kajetan 
Attl, Vojmir 


TYMPANI 
Wagner, Roland E. 


PERCUSSION 


Vendt, Albert, Jr. 
Salinger, M. A. 
Kundy, E. 


PIANO AND CELESTA 
Tibbitts, J. P. 


LIBRARIAN 
Kegel, Otto 








sy | amusing the Steinway piano 





now for many years and am 
enjoying its superior qualities sO 


much that I cannot 





imagine how I ever could 


get along without one. 





It is like a good friend of 
whom you get fonder 


the more you know 


93 


him. 


The home of the Steinway ts 


Sherman lay & Co. 


Kearny and Sutter Streets, San Francisco 
Mission Street, near Twenty-first 
Fillmore Street, near Post 
Fourteenth and Clay Streets, Oakland 
3420 E. 14th Street, Fruitvale 
Telegraph and Channing Way, Berkeley 
1315 Burlingame Avenue, Burlingame 








UNIVERSITY OF CALIFORNIA 


Committee on Music and Drama 






















_ San Francisco Symphony Orchestra 
ALFRED HERTZ, Conductor 


7 
Fall Series, Season 1928-29 
HARMON GYMNASIUM 
SUNDAY, NOVEMBER 4, 1928 AT 3 P.M. 
} 
Soloist, MICHEL PENHA, ’Cellist 
PROGRAMME 

; 1. Symphony after Byron’s ‘‘Manfred,’’ Opus 58... Tschaikowsky 
7 Manfred Wandering in the Alps 
| The Fairy of the Alps 
q Pastorale 

The Underground Palace of Arimanes 
: INTERMISSION 
; 2; OVER are wa The inane ibe ee lage a Mozart 
q v. Symphonie Variations for ’Cello and Orchestra.......................... Boellman 
1 MicHEL PENHA 





SN! Toc) te SURAT Tar hat tf A AOE A Ree ee MD Se Lee eRe Chabrier 


Symphony after Byron’s ‘‘Manfred,’’ Opus 58...... Tschakowsky 


Manfred Wandering in the Alps 

The Fairy of the Alps 

Pastorale 

The Underground Palace of Arimanes 


Byron, who wrote ‘‘Manfred’’ in 1816, described his poem thus: ‘‘It is 
in three acts, of a very wild, metaphysical and inexplicable kind. Almost 
all the persons—but two or three—are spirits of the earth and air, or the 
waters; the scene is in the Alps; the hero, a kind of magician, who is tor- 
mented by a species of remorse, the cause of which is left half unexplained. 
He wanders about invoking these spirits, which appear to him, and are 
of no use; he at last goes to the very abode of the Evil Principle, in propria 
persona, to evoeate a ghost, which appears and gives him an ambiguous 
and disagreeable answer; and in the third act he is found by his attendant 
dying in a tower, where he has studied his art.’’ 

Tschaikowsky’s ‘‘Manfred’’ is characterized at the very beginning of 
the symphony by a hopeless, relentless, boding theme sounded loudly by 
three bassoons and a bass elarinet, with short and harsh chords of the 
lower strings. There is a heart-breaking cry after forgetfulness, a theme 
given to bassoons, horns, first oboe and the lower tones of clarinets. This 
motive is afterwards associated with the vision of Astarte and at last with 
her own woeful ery. The movement should not be considered as panoramic 
in any sense; there is no attempt to depict any special scene, to translate 
into music any particular solilogquy—it is the soul of Manfred that the 
composer wishes to portray. ; 

The second movement may be called the scherzo of the symphony. As 
programme music it has only a slight connection with the fundamental 
idea. The vision of the dashing, glistening cataract continues until, with 
note of triangle and chord of harp, the rainbow is revealed. Manfred 
invokes the witch, and flageolet tones of the harps add to the mysterious 
effect of the music. The song of the witch is given to the first violins with 
an accompaniment of two harps; this episode is developed by the full 
orchestra with the exception of trumpets and trombones. The theme of 
despair is again sounded, but the witch, although her song is at an end, 
does not disappear immediately. The glory of the cataract is then once 
more presented ; it pales as the theme of despair is heard again. 


The Pastorale (third movement) opens with a long melody for two oboes 
accompanied by the strings. The music was suggested possibly by the 
scene between Manfred and the chamois hunter, but there is no direct 
reference to any scene in the poem. A passage in imitation for strings 
includes a drone-bass when the first horn intones the theme of forgetfulness 
(from the first movement) in changed form; there follows a rough shep- 
herd dance (clarinets, English horn, horn, bassoons, then oboes). The 








2 


mood then changes: the idyllic character disappears, and after strokes of 
kettledrums and a vigorous attack of strings and woodwind the trumpets 
scream the theme of Manfred’s despair, with cries from the horns and 
convulsive rhythms. There is then a return to the principal section, the 
motive of forgetfulness being heard towards the close (muted horns). 


Finale. The bacchanal in the hall of Arimanes is, no doubt, an instance 
of the influence of Berlioz over Tschaikowsky—an influence seen in other 
instances; for there is nothing in Byron’s poem to suggest such musical 
description. This bacchanal grows wilder and wilder, until the theme of 
despair is heard, the musie being now of ghostly character. There is a 
long fugato, which ends with a development of the Manfred motive. And 
now Byron is the direct inspirer. Astarte rises in obedience to the invoca- 
tion of Nemesis, who answers the entreaty of Manfred; harp glissandos 
accentuate the effect of this scene. The themes of the first movement are 
then combined in broad treatment, until there is a tremendous climax. 





Ph ge rc My a eae! ig TB Vog Ta it ds | ogee ee Mozart 


The Magic Flute was the last opera Mozart composed. In fact, it was 
the last big work he finished, for his ‘‘Requiem’’ was incomplete at the 
time of his death. He had a great affection for ‘‘The Magic Flute,’’ which 
was given its first performance in Vienna, September 30, 1791, Mozart him- 
self conducting from the piano. As in the ease of ‘‘ Don Giovanni,’’ Mozart 
composed the overture to ‘‘The Magie Flute’’ on the eve of its first per- 
formance and it was played without a rehearsal. An adagio provides the 
introduction. Great chords precede the entrance of the allegro, which is 
an elaborate fugue, the subjects being announced by the first violins. As 
the allegro proceeds the heavy chords again interrupt, after which the 
music proceeds to a brilliant climax. 


Symphonic Variations for Violoncello and Orchestra.................... Boellman 


The Symphonie Variations were played for the first time at a Lamour- 
eaux concert, 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. 


nt aS RRR yo) Rigg a Oc ON, Oe aI REE a ae Chabrier 


Emanuel Chabrier, the French composer, visited Spain with his wife 
in 1882, and wishing to know the true Spanish dances, he visited ball- 
rooms at night, taking notes from Seville to Barcelona, and passing through 
Malaga, Cadiz, Granada, Valencia. The Rhapsody ‘‘ Espana 


9? 


is only one 








of two or three versions of these souvenirs, which he first played on the 
piano to his friends. Lamoureaux heard Chabrier play the piano sketch 
of ‘‘Espafia’’ 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. But the first performance at a Lamoreaux concert 
in Paris, on November 4, 1883, 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 manzanilla is 
passed from hand to hand and everyone 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 ery 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 some- 
thing or other in three-time... .’’ 


ANNOUNCEMENT 


SECOND BERKELEY CONCERT 
SUNDAY AFTERNOON, NOVEMBER 18, 1928 


PROGRAMME 


1. Symphony in C major Schubert 


Andante—Allegro ma non troppo 
Andante econ moto 

Scherzo 

Finale 


In commemoration of the one hundredth anniversary of Schubert’s death, 
November 19, 1828 


INTERMISSION 


From Dawn till Noon on the Ocean 
Frolic of Waves 
Dialogue of Wind and Sea 


(Programme subject to change) 









































PROGRAMME 


| First MunlicipAL SYMPHONY CONCERT 
a | SEASON 1928-29 


San Francisco 
Symphony Orchestra 








| ALFRED HERTZ, Conductor 


A. W. WIDENHAM, Manager 





SOLOIST 


GEORGE LIEBLING, Pianist 
The Piano is a Kimball 


EXPOSITION AUDITORIUM 


TuHurspay Eveninc, NoveMBER 8, 1928 


Aus pices 
Mayor JAMES ROLPH, JR., AND 
BOARD OF SUPERVISORS 





Direction Auditorium Committee 

JAMES B. McSHEEHY, Chairman 

FRANCK R. HAVENNER WARREN SHANNON 
Tuomas F. Boy te, In Charge of Ticket Sales and Accounts 

JoHN H. THIELER, Exchequer 









































eee 


| 
| 


SE See eS ae 








Rocce. to Lohensrin. 2 ia ae W agner 


If. 


Symphony after Byron’s “Manfred”... T schaikowsky 


Manfred Wandering in the Alps 

The Fairy of the Alps 

Pastorale 

The Underground Palace of Arimanes 


Byron’s “Manfred” was written in 1816, the first two acts during his travels 
in Switzerland, the last during a sojourn in Venice; it was considerably revised 
before it was published. Byron thus described the poem in a letter to his pub- 
lisher, dated February 15, 1817: 

“It is in three acts, of a very wild metaphysical and inexplicable kind. Al- 
most all the persons—but two or three—are spirits of the earth and air, or the 
waters; the scene is in the Alps, the hero a kind of magician, who is tormented 
by a species of remorse, the cause of which is left half unexplained. He wanders 
about invoking these spirits, which appear to him, and are of no use; he at last 
goes to the very abode of the Evil Principle, in “propria persona’, to evocate a 
ghost, which appears and gives him an ambiguous and disagreeable answer; and 
in the third act he is found by his attendants dying in a tower, where he had 
studied his art.” 

Tschaikowsky began the composition of the symphony at the suggestion of 
Balakirew, who wrote him October 28, 1882, giving the composer a complete 
programme for the symphony, even suggesting a fixed Manfred motive. The 
programme, printed on the score, follows: 


I. Manfred Wandering in the Alps. Tormented by the fatal anguish of 
doubt, torn by remorse and despair, his soul is the victim of sufferings without 
name. Neither the occult sciences, whose mysteries he has fathomed, and thanks 
to which the dark powers of hell are subject to him, nor anything in the world, 
can bring to him the forgetfulness which he covets. The memory of the beautiful 
Astarte, whom he has loved and lost, gnaws at his heart. Nothing can lift the 
curse which weighs heavily on Manfred’s soul, and which unceasingly and 
without truce delivers him to the tortures of the most grievous despair. 

II. The fairy of the Alps appears to Manfred under the rainbow of the 
mountain torrent. 

III. Pastorale. The simple, free, and peaceful life of the mountaineers. 

IV. The subterranean palace of Arimanes. (Arimanes:is Ahriman of the 
Zoroastrian creed, the evil spirit.) Manfred appears in the midst of a bacchanale. 
Evocation of the phantom of Astarte. She predicts the end of his earthly misery. 


Manfred’s death. 





INTERMISSION 





‘Programme 


II. 
Concerto for Piano and Orchestra, No. 1, 
Biers rae MALO a ee ae peas Lt alt oh Ok oe ee Lisz 


(Edited by A. Siloti) 
(GEORGE LIEBLING 


This, the better known of Liszt's two piano concertos, is constructed along 
the general lines of the symphonic poem. The score embraces four sections, 
arranged like the four movements of a symphony, although their internal develop- 
ment is of so free a nature, and they are merged one into another in such a 
way as to give to the work as a whole the character of one long movement 
developed from several fundamental themes and sundry subsidiaries derived 
therefrom. 

There is a passage in one part of the concerto where the triangle has a small 
but important part, and when the work was first played in Vienna, in 1857, 
Hanslick dubbed it the ““Triangle Concerto”. Twelve years elapsed bebere any 
other pianist had the courage to play it in the Austrian capital. When Liszt 
heard of Hanslick’s severe criticism he defended himself by pointing to Beethoven’s 
use of the bass drum and triangle in the finale of the Ninth Symphony. 





NEXT MUNICIPAL SYMPHONY CONCERT 
Thursday, November 22, 8:20 p,m. 


Soloist: ELSA ALSEN, Soprano 
Wagner Programme 


1. A Faust Overture 

2. Prelude & Love Death, “Tristan & Isolde” 
3. Isolde’s Narrative 

4. Ride of the Valkyries 

5. Siegfried’s Rhine Journey 

6. Funeral Music. “Die Gotterdammerung” 


7. Finale (Immolation Scene) “Die Gotterdammerung” 
Reserved Seats 50c and $1.00, Sherman, Clay & Co. Bay City stores 
Next Saturday Evening, Dreamland Auditorium 

FIRST POPULAR CONCERT 


Ber arrestin’, Mb PTI BEIING iii peu ganged acct hs iga ga Goldmark 
Piimemontice. (rorotrimngs) os... 0 slat RW m A AN hoe ae Svendsen 
RONG Pasir 1 Vie a) SVR Ree oe Pia APY NAL Pe Beate Langstroth 
We nm CEPCIISU TANCES 6 ihe ca acl ta btatiouenaiie, IPRS MERIT FMR 5 Block 
CRM SEN PR MG LS yn 0 A NCC A Ae UND ele Si NY Liszt 
G wovmpnonic Variations tor. ‘Cello. a ..Boellmann 
MICHEL PENHA 
7 Let ates trom the. Vienna.” Woods s.c:k2 20 tee. Johann Strauss 





Tickets 50c to $1.50, Sherman, Clay & Co. 













ee 









| INSTRUMENT OF THE IMMORTALS J, 
( 








The STEINWAY | 


Appeals unerringly to people 
who buy with care 


The consideration of the shrewd buyer is not so 
much price, as value received. He looks beyond 
the first cost into the question of upkeep, perma- 
nence, performance and pride of ownership. 

When such a buyer wishes to purchase a piano, 
he turns quite naturally to the Steinway. And 

no matter what his income, there is a Steinway 

price and model for his needs. | 

Custom-designed Steinways are also being made. | 
. 
) 


Ask us about this. | 


Grands $1475 and Up 
Uprights $950 and Up | 
Used Pianos Accepted in Partial Exchange | 


| Tits 
| Sherman, |Wlay & Co. 


; 
| Kearny and Sutter Streets, San Francisco 
4 


Mission Street, near Twenty-first 
Fillmore Street near Post 
1315 Burlingame Ave., Burlingame 
i Fourteenth and Clay Streets, Oakland 
. 3420 East Fourteenth Street, Fruitvale 
} 
; 


n~—_——-_-_-—-_——n 


Telegraph Avenue and Channing Way, Berkeley 
















SAN FRANCISCO 
SuoneN 
§ S aN 
bar | Maintained. Qy 


P55) 
bac MaluTine . Musical. a AS 
Wi Assoctation of if 


aan Francisco MD 


“A 



































FIRST POPLAR 


1928 1929 
Eighteenth Season 


ALFR = Hi se EL IZ CONDUCTOR 














ANNOUNCEMENT 
SECOND POPULAR CONCERT 


Saturday Evening, November 24 
Dreamland Auditorium 


Soloist: MADALAH NASSON, Pianist 


PROGRAMME 


|. Symphony in B minor, “Unfinished”... Schubert 
Allegro moderato 
Andante con moto 








2. Fantasie de Concert for Piano...................... Tschaikowsky 
(First time at these concerts) 
MADALAH NASSON 
3. Prelude to “‘Hansel and Gretel’’.................... Humperdinck 
wh Se eRe Ry ys ce i a NN ee ay ae Fees Lee ye ab BN “tc SUP Kd Liszt 
5. Norwegian Bridal Procession.....2.........4.2.-..-scececeseeeeee Grieg 
i MEVEIRIEEEE PTIVAR ECE igo eh ne nae ha “as a ee Schubert 
SECOND PAIR OF SYMPHONY CONCERTS 
Friday, November 16, 3:00 P. M. 
Curran Theatre 
Saturday, November 17, 8:20 P. M. 
Dreamland Auditorium 
Soloist: TOSCHA SEIDEL, Violinist 
(Only appearances in San Francisco) 
PROGRAMME 
t; Noetume. Solitude “aks oe Boris Koutzen 
(First time in San Francisco) 
2: Syraphony No: 2 in D major.....0.5 ncn eee: Beethoven 
3. Concerto for Violin in D major...................... Tschaikowsky 


TOSCHA SEIDEL 





Symphony Box Office, Sherman, Clay & Co.; hours, 9 to 5. Tickets 
may also be obtained at other Sherman, Clay & Co. bay city stores. 
Friday tickets on sale at Curran Theatre after 10 a. m. on day of con- 
cert. Box office at Dreamland Auditorium open at 7 p. m. on concert 
days. 


* * - (ow + 
Musical Association of San Hranciseo 


Founded December 20, 1909 Incorporated February 3, 1910 


OFFICERS 
| J. B. Levison, President 
W. C. VAN ANTWERP, Vice-President 
WALTER S. MarRTIN, Treasurer 
Mrs. IRWIN Crocker, Honorary Vice-President 


Mrs. E. S. HELLER, Honorary Vice-President 


A. W. WIDENHAM, Secretary-Manager 


BOARD OF GOVERNORS 


R. I. Bentley John S. Drum John A. McGregor 
Miss Lena Blanding Sidney M. Ehrman John D. McKee 
Miss Louise A. Boyd Milton H. Esberg R. C. Newell 
George T. Cameron Mortimer Fleishhacker F. R. Sherman 
Selah Chamberlain F. J. Koster B. F. Schlesinger 
Mrs. Irwin Crocker J. B. Levison Mrs. M. C. Sloss 
William H. Crocker Walter S. Martin Mrs. Sigmund Stern 
E. R. Dimond Clay Miller W.C. Van Antwerp 
A. B. C. Dohrmann L. F. Monteagle Eli H. Wiel 

Mrs. M. S. Koshland, ex-officio 


EXECUTIVE COMMITTEE 


W.C. VAN ANTWERP, Chairman 
Mrs. Irwin Crocker A. B. C. Dohrmann Walter S. Martin 
Mortimer Fleishhacker John D. McKee 


MUSIC COMMITTEE 


R. C. NEWELL, Chairman 
Mrs. M. C. Sloss F. R. Sherman 


WOMEN’S AUXILIARY 


Mrs. M. S. KOSHLAND, Chairman 
Miss LENA BLANDING, Vice-Chairman Mrs. M. C. Porter. Vice-Chairman 


EXECUTIVE OFFICES 
Fifth Floor, 244 Kearny Street 
Telephone Garfield 2819 


A. W. WIDENHAM, Secretary-Manager 
HOWARD G. HANVEY, Press Representative 





Choose from 87 
Album Sets 


including the Great Schubert 
Centennial Memorial Edition — 
16 of Schubert’s immortal works 
conveying the essence of his 


unique gifts. 


Other composers represented in 


COLUMBIA 

MASTERWORKS* 
Bach Haydn 
Beethoven Holst 
Berlioz Lalo 
Brahms Mendelssohn 
Bruch Mozart 
Chopin Ravel 
Debussy Saint-Saens 
Dvorak Strauss 
Franck Tschaikowsky 
Grieg Wagner 


in a selected list of symphonies, concertos, 
sonatas and chamber music. All works in 5 
or more parts are enclosed in attractive art 
albums. 


Ask for Columbia Masterworks Catalogue 





COLUMBIA PHONOGRAPH COMPANY 
941 Mission Street, San Francisco, Calif. 


COLUMBIA 


“NEW PROCESS” RECORDS 


REG. U. S. PAT. OFF. 


- 


Made the New Way—Electrically—Viva-tonal Recording 
The Records without Scratch 


Schubert Week, Nov. 18-25. Organized 
by Columbia Phonograph Co. 
* Reg. U.S. Pat. Off. 


GIMSLRIAG NSS USI A SFE ERE IEG IE LI EISELE 





28 





The San Franciseo Sunphony Orchestra 
ALFRED HERTZ, Conductor 


(Steinway Piano Used) 


1928—-Season—1929 


FIRST POPULAR CONCERT 
734th Concert 


Saturday Evening, November 10, 8:20 o’clock 


Dreamland Auditorium 


Soloist: MICHEL PENHA, ’Cellist 


PROGRAMME 


. Overture, “In Springtime’ Goldmark 


. ‘Solitude’ (for Strings) Svendsen 
(First time at these concerts) 


. Indian Romance Ivan Langstroth 
(First time in San Francisco) 


. Five Flemish Dances Jan Blockx 
Intermission 


. Hungarian Rhapsody, No. 2 


. Symphonic Variations for ‘Cello 
MICHEL PENHA 


_ Waltz, ‘‘Tales from the Vienna Woods’ 











AP TS PAR SB ts eee 


Presents 


RUGGIERO RICCI 


Eight-year-old Violinist 


Scottish Rite 
Auditorium 
SAN FRANCISCO 


THURSDAY EVENING 
November 15, 1928 


Ruggiero Ricci is a San Francisco- 
born youngster of the violin who 
seems destined to achieve remark- 
able heights. He showed a decided 
liking for music when he was in his 
infancy, and at five years of age 
revealed the gift of a perfect sense 
of pitch. His parents finally decided 
to let him take up the violin, and 
the father, being a musician himself 
(although not a violinist), assisted 
him with the instrument to the ex- 
tent of his ability. Two years ago 
Ruggiero, then barely six years old, 
was brought to Louis Persinger, 
hoping to become a “‘real’’ violinist. 
Beth Lackey, Mr. Persinger’s assist- 
ant in Berkeley, generously offered 
to look after the boy’s musical wel- 
fare during Mr. Persinger’s absence 
in the East, and as a result of her 
splendid work and Ruggiero’s un- 
usual gifts the little violinist’s prog- 
ee ress was so extraordinary that within 
Sil 7. a year’s time he walked off with the 
Oscar Weil Memorial scholarship, won a gold medal offered by the Emporium’s Boys’ Achievement 
Club, appeared for the Pacific Musical Society and was a featured soloist at the last municipal 
Christmas Eve concert in the Civic Auditorium. Since that time all engagements offered to Ruggiero 
have been declined (much against the young man’s will!), in order that his study and natural devel- 
opment might proceed under normal conditions, with the advantage of Miss Lackey’s daily assistance 
and with Mr. Persinger devoting more and more time to his personal instruction. What Ruggiero 
has accomplished in the short period of two years is remarkable. Recently the little fellow played 
before a number of distinguished San Francisco musicians (among them Alfred Hertz), who were 
frankly amazed at the youngster’s virtuosity and were outspoken in their praise of his “beautiful” 
and “‘‘astounding”’ playing. Ruggiero’s forthcoming recital. his first, will be the realization of a 
cherished dream. 4 


"En 


bes VIRORTERR SS Aes. RE ee ehh te Fantasia appassionata, Op. 35 
Allegro moderato-Andante-M oderato-V ariation-Largo 
Poco piu mosso, appassionato-Largo-Saltarella 



















Liss MENDELSSOB Mos co sl a Ae eae Concerto in minor, Op. 64 
Allegro molto appassionato 
Andante 
Allegretto non troppo-Allegro molto vivace 
II]. Sarnt-SAENS ... .. . .. ... Introduction et Rondo capriccioso 
MONASTERIO. . . . . . . . . Sierra Morena (Serenata andaluza) 
ga “hg 
BES aaa Pe eee eT, ok Ge a ee ds ew te capricciosa 


. Scherzo-Tarentelle 
ER 


WIENIAWSKI i ho IRR ae I ee Peer 
At the Piano: Louts PERSING 





Reserved Seats, $1.00, $1.50, $2.00; Students’ Tickets, 75c 


On Sale at Sherman, Clay & Co., San Francisco, Oakland and Bay Cities 


Management; ALICE SECKELS 


FaiRMONT Hore. mater San. FRANCISCO. 


30 








Overture, “In Springtime” . - - Carl Goldmark 


(Born May 18, 1830, at Keszthely, Hungary; died January 3, 1915, at Vienna) 


The overture, “In Springtime,” is the third one written by Gold- 
mark, having been preceded by the brilliant “Sakuntala’’ and the 
‘Penthesilia’’ overtures. It was given its first performance in Vienna, 
December |, 1889, and scored a splendid success. There was won- 
der why Goldmark, with his love for mythology, his passion for 
Orientalism in music, should be concerned with the simple, inevitable 
phenomenon of spring, as though there were place in such an overture 
for lush harmonic progressions and gorgeously sensuous orchestration. 
However, Goldmark disappointed these lifters of eyebrows and shakers 
of heads. The overture turned out to be fresh, joyous, occidental, 
without suggestion of sojourn in the East, without the thought of the 
temple. 


The overture begins with a theme in A major that is extended 
at considerable length and appears in various keys. After the entrance 
of the second theme there is an awakening of nature. The notes of 
birds are heard, furtively at first; and then the notes are bolder and in 
greater number. Clarinets accompany a soft melody of the violins. 
There is a stormy episode, which has been described by Hanslick not 
as an April shower, but as a Wagnerian ‘‘little rehearsal of the crack 


Established 1832 


QUALITY 
PRESTIGE 
SERVICE 


SHREVE & GOMPAN Y. 


Fewelers and Silversmiths 


Post Street at Grant Avenue 
San Francisco 



























FIRST VIOLINIST OF THE 
ABAS STRING QUARTET 


Announces 


THE OPENING OF A STUDIO FOR 


INSTRUCTION 
IN VIOLIN AND 
ENSEMBLE 








INTERVIEWS BY APPOINTMENT 
TELEPHONE OR WRITE 











a 










“Management 


ALICE SECKELS 


FAIRMONT HOTEL 
Douglass 7267-8800 





















Concert 


V iolinist 







TEACHER 






_ Available for Solo, Sonata, Trio and 
Quartet engagements. 





Eighteen years in Chamber Music: 
San Francisco Quintet Club, Chamber 
Music Society of San Francisco, Per- 
singer String Quartet. 

Twelve years first violinist with San 
Francisco Symphony Orchestra; Assis- 
tant Concert Master for Season 1917 to 
1925. 

PUPILS ACCEPTED 
Coaching in ensemble playing. 
Assistant teacher for beginners under 

my personal supervision. 


1610 Plymouth Av, Phone Delaware 0201 


Dunning System of Improved Music Sindy 
Carrie LouisE DUNNING, Originator 
8 West 40th Street, New York City 
834 South Plymouth Boulevard, Los Angeles, Calif. 


HE Greatest Musical Event in New York City in the past several decades was the 
playing of a ten-year-old Dunning pupil with the New York Philharmonic Orchestra, 


March 20th, 1926. 


played Le Carnaval des Animaux, by Saint-Saens. 
If you have any plan for teaching that can bring such 


She memorized it in three weeks. 


results in that length of time—then you do not need the Dunning System. 


not, then you do. 


The child had only studied one year and eight months. She 


The piece is twenty-three pages long. 


If you have 


Faculty of Normal Teachers—Classes Held in these Cities 


KATHARINE M. Arnotp, 93 Madison St., 
Tiffin, O. 

Attige E. Barcus, 1006 College St., Ft. 
Worth, Tex. 

ELizeETtTeE R. Bartow, Box 1244, St. Peters- 
burg, Fla. 


CATHERINE C. Brrp, 658 Collingwood Ave., 
Detroit, Mich, 

Grace A. Bryant, 201—10th Ave., N. Twin 
Falls, Idaho. 

Dora A. CuHase, 345 Clinton Ave., Brook- 
tyn,; -N...¥: 

Appa C. Eppy, 136 W. Sandusky Ave., 
Bellefontaine, O. 

Beatrice S. E1Ket KIpp, 
Sherman, Tex. 

Ipa GarpNeR, 17 E. 6th St., Tulsa, Okla. 

Giapys M. GLENN, 1217 Bowie St., Am- 
arillo, Tex. 

FLoRENCE E. GrasLE, Michigan State In- 
stitute of Music, Lansing, Mich. 


Key College, 


Harriet Bacon MacDonatp, 6010 Belmont 
Ave., Dallas, Tex. 

Kate DELL MarpeEN, 61 N. 16th St., Port- 
land, Ore. 

Mrs. W. P. Mason, 302 Mid. City Bank 
Bldg., Chicago, Ill. 

Laup G. Puippren, 3435 Ashbury Ave., 
Dallas, Tex. 

Evuie I. Prince, 4106 Forest Hill Ave., 
Richmond, Va. 

VirGINIA Ryan, 1070 Madison Ave., New 
York. 
Stetta H. SeyMour, 1219 Garden St., San 
Antonio, Tex. 
GERTRUDE THoMpson, 508 W. Coal St., 
Albuquerque, N. M. 

IsopeL M. Tone, 626 Catalina St., Los An- 
geles, Calif. 

Mrs. H. R. Watkins, 
Oklahoma City, Okla. 


124. E; 1th St; 


Mrs. JEAN WARREN CARRICK 
(Normal Teacher) 


25 Lake Street, San Francisco 


Classes formed upon Arrangement 








of doom.” The first frank theme re-enters, and towards the end there 
‘5 still a fourth theme treated canonically. This theme turns by a 
species of cadenza-like ritardando to the main tonality, and is devel- 
oped into a brilliant finale. 


“Solitude” (For String Instruments ) - Johann Severin Svendsen 


(Born September 30, 1840, at Oslo; died June 14, 1911, at Copenhagen) 


Svendsen, as a boy, showed unmistakable talent for the violin; 
but his parents were poor, and he entered the light infantry of the 
Norwegian army. No sooner was he a soldier, according to his own 
wish, than he thought of a musical career. He played the clarinet and 
then the flute in a band, nor did he neglect the violin. He was allowed 
to play for dancing. It is said that he twisted etudes of Kreutzer and 
Paganini into suitable tunes for the dancers. When he was twenty-one 
he left the army and wandered about in Sweden and Northern Ger- 
many as virtuoso. The Scandinavian consul at Lubeck happened to 
hear him, and was so much interested in him that he obtained a pension 
for Svendsen from Charles XV., by which the violinist was enabled to 
study at the Leipsic Conservatory under David, Hauptmann and 
Richter. In 1867 Svendsen gave concerts in Denmark, Great Britain 
and Norway. In 1868 he went to Paris, where he remained two years. 
To support himself he became a member of the orchestra at the Odeon 


VOJMIR ATTL 


Harpist 
San Francisco Symphony Orchestra 


For engagements 


JOHN BUBEN as Solo Artist, Accompanist, or 


Player in Ensemble Music 


Fur Fashion’s Creator 


Fur Artistry and Craftsmanship for STUDIO 
discriminating fur lovers. Furs re- Sh Cl & C 
styled as Jacquettes, or in the latest erman, ,Wiay o. 
Creations. Mondays and Thursdays 


57 GEARY ST. ota" S*P.. M. 


Ph K 5873 
one Kearny Studio Phone Residence Phone 


Paris Office . 
52 Rue du Faubourg—Montmartre Sutter 6000 SKyline 2757 











Theatre. He arranged incidental music for Sarah Bernhardt’s pro- 
duction of ‘‘Le Passant’’ (January 14, 1869), wrote his violin concerto 
in A major, orchestrated studies by Liszt, and began his overture, 
“Sigurd Slembe.’’ On January 12, 1871, his Symphony in D was 
performed at a Gewandhaus concert, Leipsic. He composed in that 
year his violoncello concerto, and in the fall came to America to wed 
an American whom he had met in Paris. The following years were 
spent in various places: Bayreuth, Paris, Rome, London and Copen- 


hagen. It has been said that as a result of his wanderings Svendsen’s 
music undoubtedly lost much of the national characteristics which 
might be expected. 


Indian Romance - - - - - - Ivan Langstroth 


This number, by a native of San Francisco, has been described 
as an impression of a circle of Indians sitting around a fire in the hush 
of a forest at dusk; flickering flames, ever-changing shadows, eray 
smoke spiraling slowly up into the trees. While it is not programmatic 
in conception, the picture is given to establish the composer's mood. 
The thematic kernel of the work is given out at the beginning by the 
English horn, and is developed in the familiar three-part form. 


Ivan Langstroth, a brother of Dr. Lovell Langstroth of San 
Francisco, left here about eighteen years ago to pursue his musical 


HAZEL DREIS 


FINE BOOKBINDINGS 


MUSIC BINDING 
BOUND TAUGHT 


DOuglas 0328 545 Sutter Street, San Francisco 


San Francisco Conservatory of Music 


Ernest Bloch, Director 
Ada Clement, Lillian Hodghead, Associate Directors 


ERNEST BLOCH 
will tell the composer's story of his 
“AMERICA” SYMPHONY 
Tuesday. Evening, December 11, 1928 


SOROSIS HALL 
Tickets now on sale at Sherman, Clay & Co. 








studies abroad with the intention of becoming a concert pianist. After 
two years of splendid progress a nervous disease affected his hands 
and compelled him to abandon the piano, whereupon he turned his 
attention to composition and now teaches this subject in the Vienna 
Conservatory. 


The “Indian Romance’ was written at Kiel during the spring of 


1915 and is dedicated to Mr. Fred Tillman of San Francisco. 


Five Flemish Dances - : - - - Jan Blockx 


Jan Blockx, a very distinguished Belgian composer, was born at 
Antwerp, January 25, 1851. After completing his education, he 
settled in Antwerp, where in 1886 he became a teacher at the Con- 
servatory and director of the “‘Cercle Artistique,’ being appointed in 
1902 to succeed Benoit, the pioneer of the ‘Flemish’ national move- 
ment in Belgium, as director of the Antwerp Conservatory. In his 
various compositions Blockx manifests a very interesting personality, 
which, while carrying out the newer tendencies in harmony and orches- 
tration, succeeds in avoiding all imitation of Wagner. 


The Flemish Dances are orchestrated for full orchestra. The 
first number has the character of a march. The second and fourth 
are written in the form of a Scherzo. The third piece has a more 


The 


Margaret Mary Morgan Co. 


PRINTERS 
Engraving ~ Publishing 


MARGARET 


TILLY 


PIANIST 


Will be on the Pacific Coast during 
the entire season, 1928-1929 


A Complete Stock of 
Christmas Cards 


Concert Management 


ELWYN CONCERT BUREAU 
PHELAN BUILDING 


Studio: 
450 GRANT AVENUE 
Telephone Kearny 8289 
SAN FRANCISCO 


Davenport 450 


619 California Street 











pretentious note, while the fifth and last one suggests an outdoor 
festivity with a most characteristic theme for horns played in the style 
of hunting horns. This works up to the finale when the four horn 
players rise and finally even raise their bells and so end the charming 
suite with a merry and realistic climax. 


Hungarian Rhapsody, No. 2 - - - - Franz Liszt 
(Born October 22, 1811, at Raiding; died July 31, 1886, at Bayreuth) 


No more popular works exist for the piano than those unique 
compositions of Liszt known as the Hungarian Rhapsodies, and the 
most popular of them all is unquestionably the second. In its orches- 
tral dress it is also very popular, and while its piano characteristics 
have been modified in the process of orchestration, it nevertheless 
remains an exceedingly brilliant and fascinating work. 


==> 


Liszt wrote a lengthy treatise on the music of the gypsies in 
Hungary, where, he pointed out, they received less persecution than 
in any other part of Europe. These Hungarian Rhapsodies are not 
founded on the national music of Hungary, because the gypsies are not 
Magyars. They are a strange, nomadic tribe, probably coming from 
India, where they were of the lowest caste, driven out by the Mongol 
invasion between the tenth and thirteenth centuries, and wandering 
over the world ever since. Liszt gathered the material of their music, 
their dance forms and their rhythms and in a set of rhapsodic pieces, 


— SSeS ee 
= : 


| 
| 
| 


RS Se 


JANET ROWAN HALE 


Pianist and Teacher 


Studio 902 
26 O'Farrell Street Berkeley and Piedmont 
Phone Davenport 5486 Phone Oakland 8663 


30 years violin specialist in St. Louis and Chicago Expert Repairing 


S. O. ALLISON 
VIOLIN MAKER, CONNOISSEUR AND APPRAISER 


Agent for Andres Morellis hand-made Violins, Violas, "Cellos, Basses 
Artist Bows by G. A. Pfritzschner 
and other celebrated Bow Makers 
45 GEARY STREET 
Dealer in New and Old Violins, San Francisco, Cal. 
"Cellos and Bows Formerly I. A. Lutz 
Strings and Accessories Davenport 415 





sought to give them a definite place, historically and esthetically, in 
the world of art. 


Symphonic Variations for ’Cello and Orchestra - Leon Boellmann 
(Born September 25, 1862, at Ensisheim, Alsace; died October II, 1897, at Paris) 


This set of variations was performed for the first time at a 
Lamoureux concert, Paris, November 27, 1892, the solo part being 
played by Joseph Salmon, to whom the work is dedicated. 

ere is an introduction which opens with a bold phrase for the 
solo instrument and in this introduction the violoncello has a prominent 
part with recitative-like phrases and florid passages. A few transi- 
tional measures lead to the announcement of the suave theme by the 
solo ‘cello, Andantino. The variations that follow are of a symphonic 
character. 

Boellman went to Paris in his youth, and entered the Niedermeyer 
school shortly before the Franco-Prussian War. He studied the organ 
and religious music in this school with Eugene Gigout, and in 1881 
was appointed choir organist at the church of Saint Vincent de Paul. 
Soon afterward he was appointed organist of the church, and _ his 
playing attracted the attention of musicians and the general public. 
In 1885 he married Louise Lefevre, the daughter of Gustave Lefevre. 


Waltz, ‘‘Tales from the Vienna Woods” - - Johann Strauss 


Johann Strauss, composer of this waltz, is in a class by himself 


You are cordially invited to attend the 


Semi-monthly Recitals of the 


ARRILLAGA MUSICAL COLLEGE 


2351 Jackson Street 
Write or phone for programs. Walnut 3742 





Julian Brodetsky 


ASSISTANT CONCERT MASTER 
SAN FRANCISCO SYMPHONY ORCHESTRA 


Violin Instruction 


Studio 
Phone SKyline 4855 189 Commonwealth Avenue 

















with his nearest relative as his only rival. His works in dance form 
are very numerous, his waltzes alone reaching the number of one hun- 
dred and fifty-two. Johann Strauss is known the world over as ‘“The 
Waltz King’’—as his father is famous as ‘“The Father of the Waltz.”’ 
Strauss, Jr., followed the family tradition against his father’s wishes, 
for Strauss, Sr., did not like the idea of a rival, even in his own son. 
The father Strauss began in a dance-hall and wrote and played his 
waltzes for just such audiences of dancers. The son Strauss likewise 
began with a restaurant orchestra, making a quick success both as 
composer and conductor. After his father’s death he united the two 
orchestras, and toured Europe. 


It is interesting to note that Wagner once said: “One of Strauss’s 
waltzes as far surpasses in charm, finish and real musical worth hun- 
dreds of the artificial compositions of his contemporaries, as the tower 


of St. Stephen's surpasses the advertising columns on the Paris boule- 
vards.’"’ And Brahms wrote on Madame Strauss’s fan the opening 
melody of the “Blue Danube’’ Waltz, with the words under it: ‘‘Alas, 
not by Brahms.”’ 


A singular tale is related concerning a certain fashionable Aus- 
trian lady who, when upon her death-bed, expressed the wish that 
Strauss might play one of his waltzes at her funeral. Her request being 
granted, she named the waltz which she desired to have performed, 
and it was done—as she was being lowered into the grave. 


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, 1928 
$118,615,481.57 


Capital, Reserve and Contingent Funds 5,000,006.00 
Pension Fund over $610,000.00, 
standing on Books at 1.00 


Mission and 21st Streets 
lement St. and 7th Ave. 
Haight and Belvedere Streets 
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 





38 


Jersonnel 


Che San Franciscan Sumphony Orchestra 


FIRST VIOLINS 


Piastro, Mishel 
Concert Master 


Fenster, Lajos 


Assistant Concert Master 


Brodetsky, Julien 


Assistant Concert Master 


Meriz, Emilio 

Ford, Louis W. 
Jensen, Thornstein 
Gordohn, Robert 
Mendelevitch, Rodion 
Laraia, William F., 
Mortensen, Modesta 
Koenig, Hans 

See, Orley 

Pasmore, Mary 
Atkinson, Helen E. 
Wolski, William 


Ruiz, Ricardo 


SECOND VIOLINS 


Heyes, Eugene 
Principal 
Rosset, Emil 
Amsterdam, Max 
Callinan, W. G. 
Paterson, J. A. 
Gold, Julius 
Haug, Julius 
Gough, Walter 
Firestone, Nathan 
Simonsen, Frances 
Wegman, William 
Tolpegin, Victor 
Hoffman, Henry H. 
Dabelow, William 


VIOLAS 

Verney, Romain 

Principal 
Hahl, Emil 
Baker, F. A. 
Wismer, Hother 
Weiler, Eric 
Lichtenstein, Victor 
Dierich, Franz 
Triebel, August 
Kolb, Richard 
Lewis, Arthur 


’CELLOS 


Penha, Michel 
Principal 


Dehe, Willem 

King, Otto 
Villalpando, Wenceslao 
Kirs, Rudolph 
Pasmore, Dorothy 
Reinberg, Herman 
Gough, Flori 

Hranek, Carl 

Haight, Rebecca 


BASSES 


Previati, Louis J. 
Principal 


Bell, Walter 
Storch, A. E. 
Guterson, Aaron 
Schulz, Emil 
Schmidt, Robert E. 
Frederick, Oscar 


Schipilliti, John 


FLUTES 
Linden, Anthony 


Oesterreicher, Walter 
Orchestral Manager 


Benkman, Herbert 


PICCOLO 


Benkman, Herbert 


OBOES 
Addimando, Caesar 
Shanis, Julius 


Schipilliti, Vincent 


ENGLISH HORN 
Schipilliti, Vincent 


CLARINETS 
Randall, Harold B. 
Zannini, Nicolai 
Fragale, Frank 
Triebel, August 

BASS CLARINET 


Fragale, Frank 


ALFRED HERTZ, CONDUCTOR 


BASSOONS 
Kubitschek, Ernest 
La Haye, E. B. 
Hranek, Carl 


CONTRA BASSOON 


Kolb, Richard 


HORNS 
Hornig, Walter 
Roth, Paul 
Tryner, C. E. 
Rocco, R., 


Trutner, Herman 


TRUMPETS 
Drucker, Vladimir 
Barton, Leland S. 
Savant, Silvio 
Kegel, Otto 
Kress, V. 


TROMBONES 


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


TUBA 
Murray, Ralph 


HARP 


Attl, Kajetan 
Attl, Vojmir 


TYMPANI 
Wagner, Roland E. 


PERCUSSION 


Vendt, Albert, Jr. 
Salinger, M. A. 
Kundy, E. 


PIANO AND CELESTA 


Tibbitts, J. P. 


LIBRARIAN 
Kegel, Otto 











ras : 2 . 

I AM using the Steinway plano 
now tor many years and am 
enjoying its superior qualities sO 

Bai much that I cannot 


imagine how I ever could 





get along without one. 


It is like a good friend of ; 







whom you get fonder pe 
5 Ayes 

the more you know a | 

him.” \ | 


The home of the Steinway 7s 


Sherman @tay & Co. 


Kearny and Sutter Streets, San Francisco 
Mission Street, near Twenty-first 
Fillmore Street, near Post 
Fourteenth and Clay Streets, Oakland 
3420 E. 14th Street, Fruitvale 
Telegraph and Channing Way, Berkeley 
1315 Burlingame Avenue, Burlingame 





Che San Hrauriacn 


Orchestra & 


ALFRED HERTZ 


Conductor 


FRESNO MUSICAL CLUB 


(208th Concert) 


1928 - SEASON - 1929 
High School Auditorium 


TUESDAY, NOVEMBER 13 
8:20 P. M. 


Soloist: MISHEL PIASTRO, Violinist 











Pro gramme 


1. Symphony in C major - - - - Franz Schubert 


Andante—Allegro ma non troppo 
Andante con moto 
Scherzo 


Finale 


In observance of the one hundredth anniversary of Schubert’s death, 
November 19, 1928 


This symphony, which is numbered 7 in the Breitkopf and Hartel 
catalog, but which is also often known as the tenth, was first performed 
at Vienna, December 14, 1828; therefore Schubert never heard a 
production of the work himself. Earlier in the year the symphony 
was rehearsed by the Musikverein of Vienna, but its length and diffi- 
culty were against it and upon Schubert’s own advice it was replaced 
by his earlier symphony in C, No. 6. Following the first performance 
the work was forgotten until almost ten years later, when Robert 
Schumann discovered it while searching through a mass of Schubert's 
manuscripts. Schumann sent it to Mendelssohn, who produced it at 
a Gewandhaus concert in Leipzig, March 21, 1839. 


As an insight into the C major Symphony, the following review 
written by Schumann will serve better than an analytical description: 


“Often, when looking on Vienna from the mountain heights, | 
thought how many times the restless eye of Beethoven may have 
scanned that distant Alpine range, how dreamily Mozart may have 
watched the course of the Danube, which seems to thread its way 
through every grove and forest, and how often Father Haydn looked 
at the spire of St. Stephen and felt unsteady whilst gazing at such a 
dizzy height. Range in one compact frame the several pictures of the 
Danube, the cathedral towers, and the distant Alpine range, and steep 
all these images in the holy incense of Catholicism and you have an 
idea of Vienna herself; the exquisite landscape stands out in bold 
relief before us, and Fancy will sweep those strings which, but for her, 
would never have found an echo in our souls. In Schubert's sym- 
phony, in the transparent, glowing, romantic life therein reflected, | 
see the city more clearly mirrored than ever, and understand more 
perfectly than before why such works are native to the scene 
around me. 

‘Schubert's easy and brilliant mastery over the resources of an 
orchestra would be unintelligible, if one did not know that six other 
symphonies had preceded his last effort, and that he wrote it in the 
full maturity of his powers. Those gifts must be pronounced extraor- 


42 


dinary in a man who, having during his lifetime heard so little of his 
own instrumental works, succeeded in so masterly a handling of the 
general body of instruments which converse with one another like 
human voices and chorus. Except in numbers of Beethoven's works, 
I have nowhere found such an extraordinary and striking resemblance 
to the organs of the human voice as in Schubert's; it is the very reverse 
of Meyerbeer’s method of treating the human voice. The complete 
independence in which the symphony stands in respect to Beethoven's 
is another sign of its masculine originality. Let any one observe how 
wisely and correctly Schubert's genius develops itself. In the con- 
sciousness of more modest powers, he avoids all imitation of the 
grotesque forms, the bold contrasts we meet with in Beethoven's later 
works, and gives us a work in the loveliest form, full of the novel 
intricacies of modern treatment, but never deviating too far from the 
center point and always returning to it. This must be patent to any 
one who often considers this particular symphony.’ 


Intermission 


2. Violin:Concerto, D major - - - - Tschaikowsky 
MISHEL PIASTRO 


Tschaikowsky composed this concerto during March and April, 
1878, but it was almost four years later before the work was heard 
in public. The composition had been dedicated to Leopold Auer; 
however, Professor Auer could not, at that time, make up his mind 
to grapple with the formidable difficulties of the work. In 1881, 
Adolf Brodsky produced the concerto at a concert of the Philharmonic 
Society in Vienna. 

It begins with an introduction for the orchestra, after which the 
first subject is introduced by the soloviolin. The second theme like. 
wise appears in the solo instrument. After extended development 
there is a long cadenza for the violin, followed by the recapitulation 
and a brilliant coda. 


3. Characteristic Dances from the ‘‘Nutcracker’”’ Suite - Tschaikowsky 


This suite is taken from a ballet which Tschaikowsky wrote in 
1891 shortly before making his only visit to the United States to assist 
in the opening of Carnegie Hall, New York. The ballet tells about a 
little girl who ate so much candy on Christmas day that when she went 
to bed that night she dreamed that all the toys on the Christmas tree 
came to life. Led by a carved wooden nutcracker, all the toys danced 
and played about the lighted Christmas tree. First comes the Dance 
of the “Fee Dragee’’ or Dance of the Sugar Plum Fairy, who seems 
to float right down from the topmost bough of the tree. The theme 


43 







































— —: — ——— > 
ESS = 


Sessa 


TIM se err 
= See 


= ee ae 


which accompanies her dance is appropriately played on the celesta, 
its tones sounding like a music box of little fairy bells. The ‘‘Russian 
Dance” introduces all the Russian toys, who dance a characteristic 
Russian trepak, of rapid and energetic type, strongly accented. Then 
the Arabian toys do their dance, which is in the minor mood. Over 
a drone-like accompaniment in the low strings, a clarinet dreams of 
far-off Araby. The “‘Chinese Dance’’ is very quaint, and its curious 
theme gives an excellent opportunity to contrast the tone of the piccolo 
and flute with the bassoon, which keeps up a steady grunting accom- 
paniment. Next comes the ‘Dance of the Mirlitons,’’ in which all the 
toys join, led by the mirlitons. The mirlitons are little toy musical 
pipes, which make a noise like a kazoo or a piece of thin paper over 
a comb. This number is sometimes called the Dance of the Flutes, 
as the principal part is played by three flutes together, the middle 
portion being given to the brass. 


4. Symphonic Poem, “‘The Preludes” ~~ - - - - Liszt 


This music was written by Liszt to be illustrative of a passage in 
Lamartine’s ‘Meditations poetiques’’ (No. 15, dedicated to Victor 
Hugo): 

“What is our life but a series of preludes to that unknown song, 
the first solemn note of which is sounded by death? Love forms the 
enchanted daybreak of every life; but what is the destiny where the 
first delights of happiness are not interrupted by some storm, whose 
fatal breath dissipates its fair illusions, whose fell lightning consumes 
its altar? and what wounded spirit, when one of its tempests is over, 
does not seek to rest its memories in the sweet calm of country life? 
Yet man does not resign himself long to enjoy the beneficent tepidity 
which first charmed him on Nature’s bosom; and when the trumpet’s 
loud clangor has called him to arms, he rushes to the post of danger, 
whatever may be the war that calls him to the ranks to find in battle 
the full consciousness of himself and the complete possession of his 


strength.”’ 
FRESNO MUSICAL CLUB 
COMING CONCERTS 
KATHRYNE MEISLE, Contralto....................... December 3 
Ee IC DANCERS etl oe a January 24 
eens W SURN SG SSPMOIARBEY sons ocnecd iu seni sknianveksRemer uve. February 28 
ROSA, PONSELLE, Sopmranie soo oie occas cnscccssisedecces March 18 


OSCAK SEAGLE, . Baritotie oe oii occccocccscscescceuceso. 





a 0 ee 























} HT 


SAN FR 





ANCISCO 
SYMPHONY == 
S ORCHESTRA 


e 

ey Marntameda by |¢ OO 

CNS) The Musical z eS 
“ 4 San Francisco 


ic Ine Association of |i 
l Dy 








oe 


SECOND .PAIR 


VAI NAN GINGY /SV@XLORE 
L___ JOA] 


a 











ANNOUNCEMENT 
SECOND POPULAR CONCERT 


Saturday Evening, November 24 
Dreamland Auditorium 


Soloist: MADALAH NASSON, Pianist 


PROGRAMME 


|. Symphony in B minor, “Unfinished’’.................... Schubert 
Allegro moderato 
Andante con moto 
2. Fantasie de Concert for Piano...................... Tschaikowsky 
(First time at these concerts) 


MADALAH NASSON 


3. Prelude to “Hansel and Gretel’’_................... Humperdinck 
RAS SD Bors ae an Te ale a a are ead ost Same Eg 4 Eo Liszt 
5. Norwegian Bridal Procession.....................:.-..:e0.--s---- Grieg 
Ee ya 1 eel Se RARE seme it aeia Rama ie sr aiaee tek SA: Schubert 
THIRD PAIR OF SYMPHONY CONCERTS 
Friday, November 30, 3:00 P. M. 
Curran Theatre 
Saturday, December 1, 8:20 P. M. 
Dreamland Auditorium 
Soloist: MISHEL PIASTRO, Violinist 
PROGRAMME 
i. wyrmpnony Nol) Zcin tect aoc ho 2 eden deseo ee Borodin 
FR Lig Cas | Re ae A ee fee Er Ca On a PM) er | AON op Deems Taylor 
(First time in San Francisco) 
a5. WESLEY OOTICRTEG) E> TAI GR coo odo acs av cts betas Beethoven 


MISHEL PIASTRO 


Symphony Box Office, Sherman, Clay & Co.; hours, 9 to 5. Tickets 
may also be obtained at other Sherman, Clay & Co. bay city stores. 
Friday tickets on sale at Curran Theatre after 10 a. m. on day of con- 
cert. Box office at Dreamland Auditorium open at 7 p. m. on concert 
days. 


45 


Musical Association of San Francisco 


Founded December 20, 1909 Incorporated February 3, 1910 


OFFICERS 
J. B. Levison, President 
W. C. VAN ANTWERP, Vice-President 
WALTER S. MartTIN, Treasurer 


Mrs. IRWIN CrOcKER, Honorary Vice-President 


Mrs. E. S. HELLER, Honorary Vice-President 
A. W. WIDENHAM, Secretary-Manager 


BOARD OF GOVERNORS 


R. I. Bentley John S. Drum John A. McGregor 
Miss Lena Blanding Sidney M. Ehrman John D. McKee 
Miss Louise A. Boyd Milton H. Esberg R. C. Newell 
George T. Cameron Mortimer Fleishhacker F.R. Sherman 
Selah Chamberlain F. J. Koster B. F. Schlesinger 
Mrs. Irwin Crocker J. B. Levison Mrs. M. C. Sloss 
William H. Crocker Walter S. Martin Mrs. Sigmund Stern 
E. R. Dimond Clay Miller W.C. Van Antwerp 
A. B. C. Dohrmann L. F. Monteable Eli H. Wiel 

Mrs. M. S. Koshland, ex-officio 


EXECUTIVE COMMITTEE 


W.C. VAN ANTWERP, Chairman 
Mrs. Irwin Crocker A. B. C. Dohrmann Walter S. Martin 
Mortimer Fleishhacker John D. McKee 


MUSIC COMMITTEE 


R. C. NEWELL, Chairman 
Mrs. M. C. Sloss F. R. Sherman 


WOMEN’S AUXILIARY 


Mrs. M. S. KoSHLAND, Chairman 
Miss LENA BLANDING, Vice-Chairman Mrs. M. GC. Porter. Vice-Chairman 


EXECUTIVE OFFICES 
Fifth Floor, 244 Kearny Street 
Telephone Garfield 2819 


A. W. WIDENHAM, Secretary-Manager 
HOWARD G. HANVEY, Press Representative 








Choose from 87 
Album Sets 


including the Great Schubert 
Centennial Memorial Edition — 
16 of Schubert’s immortal works 


SGP IE LL FLT OO IRIS eos 
oF 








conveying the essence of his 
unique gifts. =< 3 
se Ze: ah 
Other composers represented in BS 
COLUMBIA 
u MASTERWORKS* 
Bach | Haydn 
Beethoven Holst 
Berlioz Lalo 
N Brahms Mendelssohn 
Bruch Mozart 
Chopin Ravel 
Debussy Saint-Saens 
Dvorak Strauss 
Franck Tschaikowsky 
Grieg Wagner 


in a selected list of symphonies, concertos, 
sonatas and chamber music. All works in 5 


Zz 
a 


or more parts are enclosed in attractive art 


aN 


‘L 


albums. 


poe 


Ask for Columbia Masterworks Catalogue 


inn 





COLUMBIA PHONOGRAPH COMPANY 
941 Mission Street, San Francisco, Calif. 


COLUMBIA 


“NEW PROCESS” RECORDS 


REG. U. S. PAT. OFF. 


Made the New Way—Electrically—Viva-tonal Recording 
The Records without Scratch 


Schubert Week, Nov. 18-25. Organized 
by Columbia Phonograph Co. 
* Reg. U. S. Pat. Off. / 





VIMS2RORG INSSSATWEO RNS AA 


48 





Che San Francisen Sumphony Orchestra 


ALFRED HERTZ, Conductor 


(Steinway Piano Used) 


1928—-Season—1929 


SECOND PAIR OF SYMPHONY CONCERTS 
736th and 737th Concerts 


Friday Afternoon, November 16, 3:00 o’clock 


Curran Theatre 


Saturday Evening, November 17, 8:20 o’clock 


Dreamland Auditorium 


Soloist: TOSCHA SEIDEL, Violinist 


PROGRAMME 


1. Poeme-Nocturne, “‘Solitude’”’ Boris Koutzen 
(First time in San Francisco) 


2. Symphony No. 2, in D major Beethoven 
Adagio molto—Allegro con brio 
Larghetto 
Scherzo 
Allegro molto 


Intermission 


3. Concerto for Violin, in D major Tschaikowsky 
Allegro moderato 
Canzonetta: Andante— 
Finale: Allegro vivacissimo 


TOSCHA SEIDEL 


Mr. Seidel used the Steinway Piano and records for the Columbia. 





—— = = . — <= eS ee 


ta ee SS 
~~ 





Western Women’s Building 


, 
| 
| 











MARIONETTES 


KEGG-GOLDSMITH 


Production of 


“CINDERELLA”’ 
Friday, November 30 


Victor Lichtenstein 


Instruction 










in the 
Art 
of 


GOLDSMITH-ENGLE Se 
Uiolin 


Production of 
“THE NIGHTINGALE” 


Saturday, December 1 









Playing 


Eight of Mr. Lichtenstein’s 
pupils became members of 
the St. Louis Symphony 
Orchestra. 


Founders Hall 





609 Sutter Street 


Prices: 75c and $1 
Matinee at 2:30 o'clock 







StrupDI0: 3145 WASHINGTON STREET 






Management, Alice Metcalf 
Hotel Mark Hopkins 


Telephones: Fillmore 6146 
Fillmore 4948 





eAn Ideal Christmas Gift 
SEAS OWNweb ChE SE 


YOUNG PEOPLE’S SYMPHONY 
CONCERTS 


San Francisco Symphony Orchestra 
WHEELER BECKETT, conducting 


CURRAN THEATRE 


(Series of five Friday afternoon concerts) 


January 18, February 1, February 15, March 1, March 15 


Season Tickets: $5.00, $4.00, $2.50 
On Sale at Sherman, Clay & Co. 
ALICE METCALF 
Executive Manager 


Hotel Mark Hopkins 


San Francisco 


50 











Poeme-Nocturne, “Solitude’’ Bc 42 - - Boris Koutzen 


(Born April 1, 1901, in Uman, Russia; now living in Philadelphia) 


This number, by a member of the first violin section of the 
Philadelphia Orchestra, was given its first performance last season by 
that organization, the programme for the occasion containing the fol- 
lowing information by Lawrence Gilman: 


“Boris Koutzen, as a youth in Russia, studied violin with his 
father. In 1918 he entered the Moscow conservatory, and there he 
was a pupil in violin and composition of Leo Zeitlin and Reinhold 
Gliere. After his graduation in 1922, he went to Germany and 
studied under Karl Klingler and Paul Juon. He came to America in 
1924 and joined the Philadelphia Orchestra. In the following year 
he was appointed head of the violin department in the Philadelphia 
Conservatory of Music. In addition to the work on this programme, 
he has composed a string quartet, and smaller pieces for violin and 
piano and piano solo. 


“A meditative horn solo in C minor opens the work (Andante 
con moto, 3-4) with the strings accompanying. A clarinet continues 
it in an ascending phrase, which introduces an expressive cello melody. 
This melody is transferred to the first violins, with the woodwind, harp, 
and lower strings supporting it. Other orchestral voices take it up. 
There is a crescendo, and the pace is quickened to Allegro, 9-4 time, 
with the theme proclaimed fortissimo by strings and woodwind, then 
by the brass choir. 


“Molto agitato, there is another outburst, Appassionato, fff, with 


Establ ished 1852 


QUALITY 
PRESTIGE 


Se RVECE 


SHREVE: & COMPANY 


‘Fewelers and Silversmiths 


Post Street at Grant Avenue 
San Francisco 





T VIOLINIST OF THE 
BAS STRING QUARTET 


Announces 


THE OPENING OF A STUDIO FOR 


INSTRUCTION 
IN VIOLIN AND 
ENSEMBLE 


INTERVIEWS BY APPOINTMENT 
TELEPHONE OR WRITE 


4 


“Management 


ALICE SECKELS 


FAIRMONT HOTEL 
Douglass 7267-8800 


Concert 


V iolinist 
TEACHER 


Available for Solo, Sonata, Trio and 
Quartet engagements. 


Eighteen years in Chamber Music: 
San Francisco Quintet Club, Chamber 
Music Society of San Francisco, Per- 
singer String Quartet. 

Twelve years first violintst with San 
Francisco Symphony Orchestra; Assis- 
tant Concert Master for Season 1917 to 
1925. 

PUPILS ACCEPTED 
Coaching in ensemble playing. 
Assistant teacher for beginners under 

my personal supervision. 


1610 Plymouth Av, Phone Delaware 0201 





Dunning System of Improved Musir Siudy 
CARRIE LouISE DUNNING, Originator 


8 West 40th Street, New York City 
834 South Plymouth Boulevard, Los Angeles, Calif. 
HE Greatest Musical Event in New York City in the past several decades was the 
playing of a ten-year-old Dunning pupil with the New York Philharmonic Orchestra, 
March 20th, 1926. The child had only studied one year and eight months. She 
played Le Carnaval des Animaux, by Saint-Saens. The piece is twenty-three pages long. 
She memorized it in three weeks. If you have any plan for teaching that can bring such 
results in that length of time—then you do not need the Dunning System. If you have 


not, then you do. 


Faculty of Normal Teachers—Classes Held in these Cities 


KATHARINE M. ARNOLD, 93 Madison St., 
Tiffin, O. 

Autuige E. Barcus, 1006 College St., Ft. 
Worth, Tex. 

ELIzeETTE R. BARLow, Box 1244, St. Peters- 
burg, Fla. 

CATHERINE C. Brirp, 658 Collingwood Ave., 
Detroit, Mich, 

GrAcE A. Bryant, 201—10th Ave., N. Twin 
Falls, Idaho. 

Dora A. CuHase, 345 Clinton Ave., Brook- 
lyn, N. Y. 

Appa C. Eppy, 136 W. Sandusky Ave., 
Bellefontaine, O. 

3EATRICE S. EiKet Kipp, Key College, 
Sherman, Tex. 

IpaA GARDNER, 17 E. 6th St., Tulsa, Okla. 

GLADYS M. GLENN, 1217 Bowie St., Am- 
arillo, Tex. 

FLORENCE E. Grasite, Michigan State In- 
stitute of Music, Lansing, Mich. 


Harriet Bacon MacDONA.p, 6010 Belmont 
Ave., Dallas, Tex. 

KATE DELL MARDEN, 61 N. 16th St., Port- 
land, Ore. 

Mrs. W. P. Mason, 302 Mid. City Bank 
Bldg., Chicago, Iil. 

Laup G. Puipren, 3435 Ashbury Ave., 
Dallas, Tex. 

Ervrie I. Prince, 4106 Forest Hill Ave., 
Richmond, Va. 

ViRGINIA Ryan, 1070 Madison Ave., New 
York. 

STELLA H. SEYMour, 1219 Garden St., San 
Antonio, Tex. 

GERTRUDE THOMPSON, 508 W. Coal St., 
Albuquerque, N. M. 

IsopeL M. Tone, 626 Catalina St., Los An-. 
geles, Calif. 

Mrs. H.. R. Warxrns, (24 E. iith.St, 
Oklahoma City, Okla. 


Mrs. JEAN WARREN CARRICK 
(Normal Teacher) 


25 Lake Street, San Francisco 


52 


Classes formed upon Arrangement 








a crescendo roar of the cymbals and tympani, then a fermata. Tran- 
quillo misterioso—the opening melody, now allotted to a solo bassoon, 
returns, with the second theme following in octaves for the woodwind. 
A new theme is sung by the English horn. A solo trumpet is heard; 
and a solo violin develops a melody previously foreshadowed, with a 
counterpoint for the horn. There is a climax for the full orchestra on 
this theme, Molto expressivo, which is quieted by the song of the 
English horn, and by a passage for muted strings. 

“The subject first stated by the ‘cellos is recalled by the first 
violins; the opening horn theme returns, and the music ends on a quiet 
chord of C minor for the strings and harp.”’ 


Symphony No. 2, in D major - “ Ludwig von Beethoven 
(Born December 16, 1770, at Bonn; died March 26, 1827, at Vienna) 


Beethoven's second symphony was written about the latter part 
of the year 1802. It was a year of bitter misery for the composer, 
but there is no hint of melancholy in his music. In 1801 Beethoven's 
deafness had become alarming. He tried physician after physician, 
with negative results, and so great was his suffering that there were 
moments in which he contemplated suicide. In addition to his ever- 
increasing deafness, Beethoven suffered from violent colic. About the 
end of 1801 he decided upon another change of doctors. He called 


VOJMIR ATTL 


Harpist 
San Francisco Symphony Orchestra 





For engagements 


JOHN BUBEN as Solo Artist, Accompanist, or 


Fur Fashion’s Creator Player in Ensemble Music 
Fur Artistry and phat gt for STUDIO 
discriminating fur lovers. urs re- 
styled as Jacquettes, or in the latest Sherman, Clay & Co. 
Creations. Mondays and Thursdays 
57 GEARY ST. tie 7.2. De. 
Phone Kearny 5873 


Studio Phone Residence Phone 


Paris Office Sutter 6000 SKyline 2757 


52 Rue du Faubourg—Montmartre 














in Professor J. A. Schmidt and that physician ordered him to Heiligen- 
stadt, a village near Vienna, in which there was a spring of mineral 
water. It was ina house outside the village that the greater part of the 
D major symphony was written. 

The first performance of the second symphony took place at the 
Theater an der Wien, Vienna, April 5, 1803. At that time concerts 
were considerably longer than they are now. The first as well as the 
second symphony figured on Beethoven's programme, also the C minor 
piano concerto and the whole of the oratorio, ““The Mount of Olives.” 

The following sketch of Berlioz on the second symphony offers 
a splendid analysis of the composition: 

‘In this symphony everything is noble, energetic, proud. The 
Introduction (largo) is a masterpiece. The most beautiful effects 
follow one another without confusion and always in an unexpected 
manner. The song is of a touching solemnity, and it at once com- 
mands respect and puts the hearer in an emotional mood. The rhythm 
is already bolder; the instrumentation is richer, more sonorous, more 
varied. An allegro con brio of enchanting dash is joined to this 
admirable adagio. The gruppetto which is found in the first measure 
of the theme, given at first to the violas and violoncellos in unison, is 
taken up again in an isolated form, to establish either progressions in 


HAZEL DREIS 


FINE BOOKBINDINGS 


MUSIC BINDING 
BOUND TAUGHT 


DOuglas 0328 545 Sutter Street, San Francisco 


San Francisco Conservatory of Music 


Ernest Bloch, Director 
Ada Clement, Lillian Hodghead, Associate hirecioe 


ERNES | BEOCH 
will tell the composer's story of his 
“AMERICA” SYMPHONY 


Tuesday Evening, December 11, 1928 
SOROSIS HALL 
Tickets now on sale at Sherman, Clay & Co. 





a crescendo or imitative passages between wind instruments and the 
strings. All these forms have a new and animated physiognomy. A 
melody enters, the first section of which is played by clarinets, horns, 
and bassoons. It is completed en tutti by the rest of the orchestra, 
and the manly energy is enhanced by the happy choice of accompany- 
ing chords. 

“The andante (larghetto) is not treated after the manner of that 
of the First Symphony; it is not composed of a theme worked out in 
canonic imitations, but it is a pure and frank song, which at first is 
sung simply by the strings, and then embroidered with a rare elegance 
by means of light and fluent figures whose character is never far 
removed from the sentiment of tenderness which forms the distinctive 
character of the principal idea. It is a ravishing picture of innocent 
pleasure which is scarcely shadowed by a few melancholy accents. 

“The scherzo is as frankly gay in its fantastic capriciousness as 
the andante has been wholly and serenely happy. For this symphony 
is smiling throughout; the warlike bursts of the first allegro are wholly 
free from violence; there is only the youthful ardor of a noble heart in 
which the most beautiful illusions of life are preserved untainted. The 
composer still believes in immortal glory, in love, in devotion. What 
abandon in his gayety! What wit! What sallies! Hearing these 
varjous instruments disputing over fragments of a theme which no one 


2 
SS 


The 
Margaret Mary Morgan Co. 
PRINTERS 
Engraving — Publishing 
: MARG KT 
A Complete Stock of ARGAS 
Christmas Cards Hy J : 4 i 4 t 


PIANIST 
Will be on the Pacific Coast during 
the entire season, 1928-1929 


Concert Management 


ELWYN CONCERT BUREAU 
PHELAN BUILDING 


Davenport 450 
Studio: 
450 GRANT AVENUE 


619 California Street Telephone Kearny 8289 
SAN FRANCISCO 














of them plays in its complete form, hearing each fragment thus colored 
with a thousand nuances as it passes from one to the other, it is as 
though you were watching the fairy sports of Oberon’s graceful spirits. 

“The finale is of like nature. It is a second scherzo in two time, 
and its playfulness has perhaps something still more delicate, more 
piquant.” 


Concerto for Violin and Orchestra, in D major - - - 
- - - - - : Peter I[ljitch Tschaikowsky 


(Born May 7, 1840, at Wotkinsk; died November 6, 1893, at Petrograd) 


This concerto was composed in March, 1878, at Clarens, Switzer- 
land, in a villa overlooking Lake Geneva. Together with the con- 
certo Ischaikowsky worked on a sonata for piano, and some smaller 
compositions, but the former piece fascinated him so that the sonata 
was temporarily laid aside. The violinist Kotek, who was visiting the 
composer at Clarens, assisted him with suggestions from the violinist’s 
point of view, and he played it through with the composer before the 
sketches for the accompaniment were scored for orchestra. At the 
end of April the work was finished. Three years and nine months 
elapsed before the concerto was heard in public. The composition 
had been dedicated to Leopold Auer. Professor Auer could not, at 
that time, make up his mind to grapple with the formidable difficulties 
of the work. In 1881, Adolf Brodsky produced the concerto at a 
concert of the Philharmonic Society in Vienna, Hans Richter conduct- 


JANET ROWAN HALE 


Pianist and Teacher 


Studio 902 
26 O'Farrell Street Berkeley and Piedmont 
Phone Davenport 5486 Phone Oakland 8663 


30 years violin specialist in St. Louis and Chicago Expert Repairing 


S. O. ALLISON 
VIOLIN MAKER, CONNOISSEUR AND APPRAISER 


Agent for Andres Morellis hand-made Violins, Violas, ‘Cellos, Basses 
Artist Bows by G. A. Pfritzschner 
and other celebrated Bow Makers 
45 GEARY STREET 
Dealer in New and Old Violins, San Francisco, Cal. 
‘Cellos and Bows Formerly I. A. Lutz 
Strings and Accessories Davenport 415 





= 








ing the orchestra. There was only one rehearsal—this on the author- 
ity of Brodsky himself—the parts swarmed with mistakes, and the 
players made up their minds to accompany everything pianissimo, so 
that if anything went wrong (and there was much likelihood that 
everything would go wrong) the effect would be less observable. 
Richter was anxious to make cuts, but the soloist stood out firmly 
against any tampering with the score. The result of the performance 
was indecisive. There was much applause, but also. some hissing. But 
of the critical judgment no doubt remained. The reviewers fell upon 
the work with one accord, and hardly a voice was raised in commen- 
dation of its beauties. Tschaikowsky was not aware that his concerto 
had been performed by Brodsky—he had, indeed, despaired of its 
production by any artist. Sojourning in Rome in 1881, and happen- 
ing into a cafe, the Russian master picked up a copy of the “Neue 
Freie Presse’’ of Vienna. His eye fell upon a review by Hanslick of 


the Philharmonic concert. What he read there remained burnt into 
Tschaikowsky’s memory until the end of his life. Hanslick disliked 
Russian music in general, but he went out of his way to discover epi- 
thets to express his aversion to this particular work of Tschaikowsky. 
‘‘The violin is no longer played,’ wrote Hanslick; “‘it is yanked about, 
it is torn asunder, beaten black and blue. I do not know whether it 
is possible for anyone to conquer these harassing difficulties, but I do 


You are cordially invited to attend the 
Semi-monthly Recitals of the 


ARRILLAGA MUSICAL COLLEGE 


2351 Jackson Street 
Write or phone for programs. Walnut 3742 


Julian Brodetsky 


ASSISTANT CONCERT MASTER 
SAN FRANCISCO SYMPHONY ORCHESTRA 


Violin Instruction 


Studio 
Phone SKyline 4855 189 Commonwealth Avenue 











know that Mr. Brodsky martyrized his hearers as well as himself.” 
There was more in this strain, and Hanslick wound up by declaring 
that just as there are pictures which “‘stink in the eye,” so Tschaikow- 
sky’s concerto ‘‘brings to us for the first time the horrid idea that there 
may be music that stinks in the ear.” 

The first movement begins with an introduction for the orchestra, 
after which the first subject is introduced by the solo violin. The 
second theme, entering in A major, likewise appears in the solo instru- 
ment. After extended development there is a long cadenza for the 
violin, followed by the recapitulation and a brilliant coda. 

The second movement is a canzonetta, the first theme appearing 
in the violin after twelve measures of introduction by the woodwind. 
The second theme enters in the solo part, the key changing to E flat 
major. After development, based chiefly on the first theme, the 
material of the introductory measures returns to lead without pause 
into the finale. 

The third movement is a rondo based on two distinctively Russian 
themes. The principal one is a trepak, or characteristic Russian dance, 
announced by the solo instrument, after an orchestral prelude and a 
cadenza for the violin. The second theme, in A major, makes its 
first appearance in the solo instrument. The development is elaborate, 
and in the wild coda the trepak becomes a delirious orgy. 








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, 1928 


| omnes age nn ag ina yr Maa et appt Ly 6 $118,615,481.57 
Capital, Reserve and Contingent Funds....... 5,000,000.00 
Pension Fund over $610,000.00, 


standing on Books at 1.00 


PSST POUR AG AE 6 ad oh a Wh eee od cewek anaes ees 
PARERAPRESIDIO BRANGHH it cuits cis cisco Pees es Clement St. and 7th Ave. 
FEAL SITES EORPRING Es i ode c che es tee ewes Haight and Belvedere Streets 

Portal Ave. and Ulloa St. 












Interest paid on Deposits at the rate of 
FOUR AND ONE-QUARTER (4 ly) per cent per annum, 
COMPUTED MONTHLY and COMPOUNDED QUARTERLY, 
AND MAY BE WITHDRAWN QUARTERLY 


58 


JJersonnel 


Che San Francisea Sumphonv Orchestra 


ALFRED HERTZ, CONDUCTOR 


FIRST VIOLINS 


Piastro, Mishel 
Concert Master 


Fenster, Lajos 
Assistant Concert Master 


Brodetsky, Julien 
Assistant Concert Master 


Meriz, Emilio 

Ford, Louis W. 
Jensen, Thornstein 
Gordohn, Robert 
Mendelevitch, Rodion 
Laraia, William F. 
Mortensen, Modesta 
Koenig, Hans 

See, Orley 

Pasmore, Mary 
Atkinson, Helen E., 
Wolski, William 


Ruiz, Ricardo 


SECOND VIOLINS 


Heyes, Eugene 
Principal 


Rosset, Emil 
Amsterdam, Max 
Callinan, W. G. 
Paterson, J. A. 
Gold, Julius 
Haug, Julius 


Gough, Walter 
Firestone, Nathan 
Simonsen, Frances 
Wegman, William 
Tolpegin, Victor 
Hoffman, Henry H. 
Dabelow, William 


VIOLAS 

Verney, Romain 

Principal 
Hahl, Emil 
Baker, F. A. 
Wismer, Hother 
Weiler, Eric 
Lichtenstein, Victor 
Dierich, Franz 
Triebel, August 
Kolb, Richard 
Lewis, Arthur 


*CELLOS 


Penha, Michel 
Principal 


Dehe, Willem 

King, Otto 
Villalpando, Wenceslao 
Kirs, Rudolph 
Pasmore, Dorothy 
Reinberg, Herman 
Gough, Flori 

Hranek, Carl 

Haight, Rebecca 


BASSES 


Previati, Louis J. 
Principal 


Bell, Walter 
Storch, A. E. 
Guterson, Aaron 
Schulz, Emil 
Schmidt, Robert E. 
Frederick, Oscar 
Schipilliti, John 


FLUTES 
Linden, Anthony 


Oesterreicher, Walter 
Orchestral Manager 


Benkman, Herbert 


PICCOLO 


Benkman, Herbert 


OBOES 
Addimando, Caesar 
Shanis, Julius 


Schipilliti, Vincent 


ENGLISH HORN 
Schipilliti, Vincent 


CLARINETS 
Randall, Harold B. 
Zannini, Nicolai 
Fragale, Frank 
Triebel, August 

BASS CLARINET 


Fragale, Frank 


BASSOONS 
Kubitschek, Ernest 
La Haye, E. B. 
Hranek, Carl 


CONTRA BASSOON 
Kolb, Richard 


HORNS 
Hornig, Walter 
Roth, Paul 
Tryner, C. E. 
Rocco, R. 


Trutner, Herman 


TRUMPETS 
Drucker, Vladimir 
Barton, Leland S. 
Savant, Silvio 
Kegel, Otto 
Kress, V. 


TROMBONES 


Tat, FF. w. 
Clark, O. E. 
Bassett, F. N. 


TUBA 
Murray, Ralph 


HARP 


Attl, Kajetan 
Attl, Vojmir 


TYMPANI 
Wagner, Roland E. 


PERCUSSION 


Vendt, Albert, Jr. 
Salinger, M. A. 
Kundy, E. 


PIANO AND CELESTA 
Tibbitts, J. P. 


LIBRARIAN 
Kegel, Otto 











&< I 
AM using the Steinway plano 
now tor many years and am 
enjoying its superior qualities so 


ike, 


oe much that I cannot 


€ 
ait imagine how I ever could 


\ get along without one. 
It is like a good friend of 


whom you get fonder 


the more you know nif 
Be nhc Oates | \ 


The home of the Steinway ts 


Sherman lay & Co. 


Kearny and Sutter Streets, San Francisco 
Mission Street, near Twenty-first 
Fillmore Street, near Post 
Fourteenth and Clay Streets, Oakland 
3420 E. 14th Street, Fruitvale 
Telegraph and Channing Way, Berkeley 
1315 Burlingame Avenue, Burlingame 








UNIVERSITY OF CALIFORNIA 


Committee on Music and Drama 


San Francisco Symphony Orchestra 
ALFRED HERTZ, Conductor 


SECOND BERKELEY CONCERT 


Fall Series, Season 1928-29 


HARMON GYMNASIUM 


SUNDAY, NOVEMBER 18, 1928 AT 3 P.M. 


PROGRAMME 


SACASWOO LURES 7 adhe ROE ENLINy seeie ai so ee eed ek a Goldmark 


BeseaeNy FAUUURYANENY, CASES NES TOO cal et ie Seaueelaca et eandersean cna ce ce ee etahee Schubert 


Andante—Allegro ma non troppo 
Andante con moto 

Scherzo 

Finale 


In commemoration of the one hundredth anniversary of 
Schubert’s death, November 19, 1828 


INTERMISSION 


3. ‘‘La Mer’’ (The Sea), Three Orchestral Sketches...............0000....... Debussy 


From Dawn till Noon on the Ocean 
Frolic of Waves 
Dialogue of Wind and Sea 


ss F 








Overture: “io: Spritiotinie’ soo chek a A aR, Carl Goldmark 


The overture ‘‘In Springtime’’ was the third written by Goldmark, 
having been preceded by the brilliant ‘‘Sakuntala’’ and the ‘‘Penthesilia’”’ 
overtures. It was given its first performance in Vienna, December 1, 1889, 
and scored a splendid success. There was wonder why Goldmark, with his 
love for mythology and his passion for Orientalism in music should be 
concerned with the simple, inevitable phenomenon of spring, as though 
there were place in such an overture for lush harmonic progressions and 
gorgeously sensuous orchestration. However, Goldmark disappointed these 
lifters of eyebrows and shakers of heads; it turned out to be fresh, Joyous, 
occidental, without suggestion of sojourn in the East, without the thought 
of the temple. 

The overture begins with a theme in A major that is extended at con- 
siderable length and appears in various keys. After the entrance of the 
second theme there is an awakening of nature; the notes of birds are heard, 
furtively at first, and then bolder and in greater number. Clarinets accom- 
pany a soft melody of the violins. There is a stormy episode, which has 
been described by Hanslick not as an April shower, but as a Wagnerian 
‘‘little rehearsal of the erack of doom.’’ The first frank theme then re-enters, 
and towards the end there is still a fourth theme treated canonically. This 
theme turns by a species of cadenza-like ritardando to the main tonality, 
and is developed into a brilliant fmale. 


SSO URINTIONI Al) OST OT  o a  ceieatan eigen asin cn sadn ea Franz Schubert 


This symphony, which is numbered 7 in the Brietkopf and Hartel 
catalog, but which is often known as the tenth, was first performed at 
Vienna, December 14, 1828; Schubert therefore never heard a production 
of the work himself, as he died on November 19. Earlier in the year the 
symphony was rehearsed by the Musikverein of Vienna, but its length and 
difficulty were against it, and upon Schubert’s own advice it was replaced 
by his earlier symphony in C, No. 6. Following the first performance the 
work was forgotten until almost ten years later when Robert Schumann 
discovered it while searching through a mass of Schubert’s manuscripts; 
he sent it to Mendelssohn, who produced it at a Gewandhaus concert in 
Leipsic, March 21, 1839. 

As an insight into the C major Symphony, the following review written 
by Schumann after the Leipsic performance, will serve better than an 
analytical description : 

‘Often, when looking on Vienna from the mountain heights, I thought 
how many times the restless eye of Beethoven may have scanned that 
distant Alpine range, how dreamily Mozart may have watched the course 
of the Danube—which seems to thread its way through every grove and 
forest—and how often Father Haydn looked at the spire of St. Stephen 
and felt unsteady whilst gazing at such a dizzy height. Range in one 








compact frame the several pictures of the Danube, the cathedral towers, 
and the distant Alpine range, and steep all these images in the holy incense 
of Catholicism and you have an idea of Vienna herself; the exquisite land- 
scape stands out in bold relief before us, and fancy will sweep those strings 
which, but for her, would never have found an echo in our souls. In 
Schubert’s symphony, in the transparent, glowing, romantic life therein 
reflected, I see the city more clearly mirrored than ever, and understand 
more perfectly than before why such works are native to the scene 
around me. 


‘“Schubert’s easy and brilliant mastery over the resources of an orchestra 
would be unintelligible, if one did not know that six other symphonies had 
preceded his last effort, and that he wrote it in the full maturity of his 
powers. Those gifts must be pronounced extraordinary in a man who, 
having during his lifetime heard so little of his own instrumental works, 
succeeded in so masterly a handling of the general body of instruments, 
which converse with one another like human voices and chorus. Except in 
numbers of Beethoven’s works, I have nowhere found such an extraordi- 
nary and striking resemblance to the organs of the human voice as in 
Schubert’s; it is the very reverse of Meyerbeer’s method of treating the 
human voice. The complete independence in which the symphony stands in 
respect to Beethoven’s is another sign of its masculine originality. Let 
any one observe how wisely and correctly Schubert’s genius develops itself ; 
in the consciousness of more modest powers, he avoids all imitation of the 
grotesque forms, the bold constrasts, which we meet in Beethoven’s later 
works, and gives us a work in the loveliest form, full of the novel intricacies 
of modern treatment, but never deviating too far from the center point 
and always returning to it. This must be patent to anyone who often 
considers this particular symphony.”’ 


‘‘La Mer’’ (The Sea), Three Symphonic Sketches................ Claude Debussy 


These orchestral pieces were completed in 1905 and were first performed 
at a Lamoureux concert in Paris, October 15 of that year. Debussy himself 
conducted a performance of the work upon the occasion of his first appear- 
ance in London in 1908 and also conducted it shortly afterward at a Colonne 
econeert in Paris. Upon this latter occasion a large group of Debussy’s 
friends were present to greet him, also a large contingent of the conservative 
music lovers. At the conclusion of ‘‘lLa Mer’’ the admirers raised their 
voices in shouts of admiration and encouragement, while the opposite 
faction broke into shrill whistling and other forms of disapproval. It was 
not until the soloist, Jacques Thibaud, appeared and was half through the 
Bach D minor Chaconne that the excitement died down. But since then 
‘‘Tia Mer’’ has been ranked by critics as one of the greatest creations of 
Debussy’s most fertile and distinguished period, that which dates from 
1892 to 1912. 

















Since the three pieces are impressionistic pictures, not conforming to 
any prescribed principle of musical construction, formal analysis is not 
possible. Debussy provided each piece with a title, and it is the listener’s 
duty to discover in it what he may. However, Lawrence Gilman has pointed 
out that “‘the three divisions of the work are bound together, musically, by 
partial community of theme. The characteristic portion of the chief subject 
of the first piece—the phrase declaimed by muted trumpet and English 
horn in the twelfth measure, after the vague and mysterious opening— 
recurs in the last movement; and the solemn and nobly beautiful theme for 
the brass that seems to lift the sun into the blue just before the dazzling 
close of the first movement is heard again in the magnificent finale.’’ 


ANNOUNCEMENT 


THIRD BERKELEY CONCERT 
SUNDAY AFTERNOON, DECEMBER 2, 1928 


PROGRAMME 
ti overtvure to” Hansel and Groeten so. i. cccicsccseccsseesssenecsrnctece Humperdinck 
Geet EMER PEN YY hes eieg ANN ED) SIN os ocd cok dv cucncetnas ogseatdeaaceniusebaxwooeee Beethoven 
Adagio molto—AlLlegro con brio 
Larghetto 
Scherzo 


Allegro molto 


INTERMISSION 
SRR Rae AT GIOTI ESOL. | SOCELLE INC (cb cestecs-ctin soos cencoatscnnsnediyiccdinonincdsumeidincsestasdh-ecuces Bizet 
Prelude 
Minuet 
Adagietto 
Carillon 


ee on Wnt Get: © LN Se POMIOOS, e520 sche Naess chee yascdnn ae tdee eae oe Liszt 















































PROGRAMME 


SECOND MuNICIPAL SYMPHONY CONCERT 
SEASON 1928-29 


San Francisco 
Symphony Orchestra 





ALFRED HERTZ, Conductor 


A. W. WIDENHAM, Manager 


SOL OLS: tT 


ELSA ALSEN, Soprano 


EXPOSITION AUDITORIUM 


THURSDAY EVENING, NovEMBER 22, 1928 


Auspices | 
MAyoR JAMES ROLPH, JR., AND 
BOARD OF SUPERVISORS 


Direction Auditorium Committee 
JAMES B. McSHEEHY, Chairman 
FRANCK R. HAVENNER WARREN SHANNON 
Tuomas F. Boy eg, In Charge of Ticket Sales and Accounts 
JoHN H. THIELER, Exchequer 
































‘Programme 


- 


1. “A Faust Overture” 


Wagner originally intended to write a “Faust” Symphony of which this was to 
be the first movement. In a letter to Liszt, he makes the following explanation: 
‘Perhaps you would at once understand my tone-poem if I called it Faust in Soli- 
tude. At that time I intended to write an entire Faust Symphony. The first 
movement, 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 insufhcient 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.” 


2. Prelude and Love Death from “Tristan and Isolde’”’ 
Isolde, ELSA ALSEN 


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. 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. 


3. Isolde’s Narrative, Act I, “Tristan and Isolde” 
ELSA ALSEN 


The first act of ““Tristan and Isolde” is set on the deck of the ship bearing 
Isolde and Tristan to Cornwall. Isolde narrates to Brangaene, her attendant, the 
circumstances of Tristan’s first coming to Ireland under an assumed name. 


4. Ride of the Valkyries, from “The Valkyrie” 


The “Ride of the Valkyries” opens the third act of the opera. The scene is 
a rocky mountain-top, over which clouds are driven by the storm wind. Occasional 
flashes of lightning reveal other peaks in the far distance half hidden by the mists. 
The Valkyries race over the rocks on their steeds. It is their mission to carry to 
Walhalla the dead bodies of heroes who have fallen in battle, there to become the 
protectors of the gods; and as the horses fly through the mists the forms of the slain 
warriors are to be seen hanging from their saddles. 


5. Siegfried’s Rhine Journey, from “Die Gotterdammerung” 

“Die Gotterdammerung”’, the last of the tetralogy, begins with a prologue. 
Brunnhilde and Siegfried approach the valley of the Rhine where they separate, the 
young hero in quest of new adventure. Brunnhilde gives him her horse, and Sieg- 
fried gives her the fateful ring, which he has been wearing since he took it away 
from the dragon, Fafner. Brunnhilde gazes after him from the heights as he leads 
the horse down the rocks and begins his journey up the Rhine. From the valley 
below the merry sound of his horn resounds. 


6. Siegfried’s Funeral Music, from “Die Gotterdammerung” 

In “Die Gotterdammerung”’, Siegfried leaves his Valkyrie bride, Brunnhilde, 
on her flame-girt rock. In the action of the drama Siegfried is made to forget 
Brunnhilde by a magic potion, and at last is slain by the treacherous Hagen. The 
funeral music is the whole story of Siegfried’s life, told in the poignant language 
of the themes which have expressed his hopes, his triumphs and his love. 





re ee nee 



































———— we ee wee ee 


CE ET i I LEE I I i 


ee ee ee 


— 





‘Programme 


“- - « 


7. Finale, (Immolation Scene), from “Die Gotterdammerung”’ 
Brunnhilde, ELSA ALSEN 

In the finale Brunnhilde is left with the body of the slain Siegfried. She bids 
the men raise high the funeral pyre on which she will follow him to death. She 
praises his clear honor; even in unconsciously betraying her for Gunther's sake, he 
laid his sword between them as they slept. Then she calls on Wotan, who doomed 
Siegfried to death seeking vainly to avert his own doom. The accursed ring of the 
Nibelungs, stolen from the Rhine maidens of old, and later won by Siegfried, she 
gives back to its rightful owners. Then she bids Wotan’s ravens fly to Walhalla, 
summoning with them Loge, the fire god, for Siegfried’s funeral pyre shall sweep 
the heavens. Her horse is brought forth, Grane, the steed she rode in her brave 
Valkyrie days; she mounts him and rides into the flames. 


NEXT MUNICIPAL SYMPHONY CONCERT 
Tuesday, December 4, 8:20 p. m. 
Soloist: FRIEDA HEMPEL, Soprano 


Tickets now on Sale, Sherman, Clay & Co. Bay City stores 


SPECIAL: SEASON (TICKET “SALE 
Although the regular season sale for the Municipal Symphony Series closed 
with the first concert, the Auditorium Committee has agreed to re-open the sale 
of season tickets for the remaining three concerts: Frieda Hempel on December 4, 
Reinald Werrenrath on February 7, and Mischa Elman, February 28. The same 
reserved seat for all three concerts may be secured for $1.50 or $3.00, according to 
location. 








SPECIAL NOTICE 


The City of San Francisco Announces 
Ernest Bloch’s “America” 
Thursday Eve., December 20, Exposition Auditorium 


San Francisco Symphony—Municipal Chorus 

Ernest Bloch’s epic rhapsody, “America”, was unanimously selected as the 
prize-winning score among ninety-two submitted fhanuscripts in Musical America’s 
Symphony Contest. The prize was awarded in June, 1928, the judges being 
Walter Damrosch, Serge Koussevitzky, Leopold Stokowski, Frederick Stock and 
Alfred Hertz. As a solution of the problem of the composition’s first performance 
the five judges agreed upon a simultaneous premiere, therefore on the same evening 
San Francisco will share with New York, Boston, Philadelphia and Chicago the 
honor of first hearing this important work. 


Tickets Now, Sherman, Clay & Co., 50c and $1.00. 








Next Saturday Eve., Nov. 24, Dreamland Auditorium 
SYMPHONY “POP” CONCERT 
Soloist: MADALAH MASSON, Pianist 


Attractive programme includes the Schubert “Unfinished” Symphony and 
Tschaikowsky’s Piano Fantasie. Tickets 50 to $1.50, at Sherman, Clay & Co. 


MADAME ELSA ALSEN 
Dreamland, Thursday Evening, December 6 


First complete recital in San Francisco: Schubert, Schumann, Brahms, Hugo 


Wolf, de Falla, Dvorak. Tickets at Sherman, Clay & Co. 















IMMORTALS 


frne S LEINWAY 


Appeals unerringly to people 
who buy with care 


The consideration of the shrewd buyer is not so 
much price, as value received. He looks beyond 
the first cost into the question of upkeep, perma- 
nence, performance and pride of ownership. 


When such a buyer wishes to purchase a piano, 
he turns quite naturally to the Steinway. And 
no matter what his income, there is a Steinway 
price and model for his needs. 


Custom-designed Steinways are also being made. 
Ask us about this. 


Grands $1475 and Up 
Uprights $950 and Up 


Used Pianos Accepted in Partial Exchange 


Sherman, Clay & Co. 


Kearny and Sutter Streets, San Francisco 
Fourteenth and Clay Streets, Oakland 
Fillmore Street near Post 
1315 Burlingame Ave., Burlingame 
3420 East Fourteenth Street, Fruitvale 
Telegraph Avenue and Channing Way, Berkeley 















SOME ORS TAS RSASSEDY.EK 


SAN FRANCISCO 
SYMPHONY) 

















Assoctation of |k 
oan Francisco 


a 


aS 
l 


1928 1929 
Eighteénth Season 


ALFRED HERTZ CONDUCTOR 











ANNOUNCEMENT 
THIRD POPULAR CONCERT 


Saturday Evening, December 8 
Dreamland Auditorium 


Soloist: WILLIAM WOLSKI, Violinist 


PROGRAMME 
be arvertubar P recdre uit. a fe 8 8 ak Se Massenet 
Ae: eenemenne.. suite! NOotT 3 ee Ae Bee Bizet 
Dvic GhODRINS. WTS TORIGR cc cl i a ee Liszt 
4. Symphonic Poem, “Finlandia’’......... Sibelius 
5. Concerto for Violin, E minor....................... Mendelssohn 
WILLIAM WOLSKI 
6. Overture to ‘““The Gypsy Baron’’.................. Johann Strauss 


8SS—aoeoeoeoeoeaoaoaoaq=>$q$q$q>2S$aoaoau9 
THIRD PAIR OF SYMPHONY CONCERTS 
Friday, November 30, 3:00 P. M. 
Curran Theatre 


Saturday, December 1, 8:20 P. M. 
Dreamland Auditorium 


Soloist: MISHEL PIASTRO, Violinist 


PROGRAMME 
fc Svnneny. ING. 4. .) mmGrer. et ee Schumann 
» Ames (1: saemaeaaness ie ee SR ee EMMI SON Se OO en Deems Taylor 
(First time in San Francisco) 
Sa -V tout Concerto, Ll) aeons i ic ee Beethoven 


MISHEL PIASTRO 





Symphony Box Office, Sherman, Clay & Co.; hours, 9 to 5. Tickets 
may also be obtained at other Sherman, Clay & Co. bay city stores. 
Friday tickets on sale at Curran Theatre after 10 a. m. on day of con- 
cert. Box office at Dreamland Auditorium open at 7 p. m. on concert 
days. 


70 





Musical Association of San Srancisco 


Founded December 20, 1909 Incorporated February 3, 1910 


OFFICERS 
J. B. Levison, President 
W. C. VAN ANTWERP, Vice-President 
WALTER S. MARTIN, Treasurer 
Mrs. IRwIN Crocker, Honorary Vice-President 
Mrs. E. S. HELLER, Honorary Vice-President 
A. W. WIDENHAM, Secretary-Manager 


BOARD OF GOVERNORS 


R. I. Bentley John S. Drum John A. McGregor 
Miss Lena Blanding Sidney M. Ehrman John D. McKee 
Miss Louise A. Boyd Milton H. Esberg R. C. Newell 
George T. Cameron Mortimer Fleishhacker F. R. Sherman 

Selah Chamberlain F. J. Koster B. F. Schlesinger 
Mrs. Irwin Crocker J. B. Levison Mrs. M. C. Sloss 
William H. Crocker Walter S. Martin Mrs. Sigmund Stern 
E. R. Dimond Clay Miller W.C. Van Antwerp 


A. B. C. Dohrmann L. F. Monteagle Eli H. Wiel 
Mrs. M. S. Koshland, ex-officio 


EXECUTIVE COMMITTEE 


W. C. Van ANTWERP, Chairman 
Mrs. Irwin Crocker A. B. C. Dohrmann Walter S. Martin 
Mortimer Fleishhacker John D. McKee 


MUSIC COMMITTEE 


R. C. NEWELL, Chairman 
Mrs. M. C. Sloss F. R. Sherman 


WOMEN’S AUXILIARY 


Mrs. M. S. KoSHLAND, Chairman 
Miss LENA BLANDING, Vice-Chairman Mrs. M. C. Porter, Vice-Chairman 


EXECUTIVE OFFICES 
Fifth Floor, 244 Kearny Street 
Telephone Garfield 2819 


A. W. WIDENHAM, Secretary-Manager 
HOWARD G. HANVEY, Press Representative 


71 





CISS2EONG WISSNWWEO RAM PBL OE IVETE LS ELIF ECP GGT SS 


Choose from 87 
Album Sets 


including the Great Schubert 
Centennial Memorial Edition — 
16 of Schubert’s immortal works 
conveying the essence of his 
unique gifts. 


Other composers represented in 


COLUMBIA 

MASTERWORKS* 
Bach | Haydn 
Beethoven Holst 
Berlioz Lalo 
Brahms Mendelssohn 
Bruch Mozart 
Chopin Ravel 
Debussy Saint-Saens 
Dvorak Strauss 
Franck Tschaikowsky 
Grieg Wagner 


in a selected list of symphonies, concertos, 
sonatas and chamber music. All works in 5 
or more parts are enclosed in attractive art 
albums. 


Ask for Columbia Masterworks Catalogue 


““ Magic 7 Notes”’ 


COLUMBIA PHONOGRAPH COMPANY 
941 Mission Street, San Francisco, Calif. 


COLUMBIA 


“NEW PROCESS” RECORDS 


REG. U. S. PAT. OFF. 





Made the New Way—Electrically—Viva-tonal Recording 
The Records without Scratch 


Schubert Week, Nov. 18-25. Organized 
by Columbia Phonograph Co. 


* Reg. U.S. Pat. Off, 


72 





- 














The San Francisca Symphony Orchestra 


Oo Wm BR W 


ALFRED HERTZ, Conductor 


(Steinway Piano Used) 


1928—Season—1929 


SECOND POPULAR CONCERT 
740th Concert 


Saturday Evening, November 24, 8:20 o’clock 
Dreamland Auditorium 


Soloist: MADALAH MASSON, Pianist 


PROGRAMME 


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


Allegro moderato 
Andante con moto 


. Fantasie de Concert for Piano, Opus 56........ Tschaikowsky 


Quasi Rondo 
Contrasts: Andante cantabile—Molto vivace 
(First time in San Francisco) 


MADALAH MASSON 


Intermission 
. Overture to ‘“‘Hansel and Gretel’’..............-... Humperdinck 
. Nocturne No. 3, ‘‘A Dream of Love’’..............-.---------- Liszt 
Norwegian® Bridal: Procession. ......1.2..-2...5.20-..---00-s0+----- Grieg 
p WHLEAEY VIGO, eecde deca gh th carcet Sorte dae Meo ays seen yaiedes= Schubert 


The Piano is a Steinway 


73 





MARIONETTES | |! Victor Lichtenstein 


KEGG-GOLDSMITH 

Production of oe ox Instruction 
“CINDERELLA” _——_| tl... 
Friday, November 30 a ae 


GOLDSMITH-ENGLE ce 
Production of “U10lin 


“THE NIGHTINGALE” Ia Playing 


Saturday, December 1 
Eight of Mr. Lichtenstein’s 


Founders’ Hall pupils became members of 


Western Women’s Building Pe 
609 Sutter Street the St. Louis Symphony 


Prices: 75c and $1 


Matinee at 2:30 o'clock 


Orchestra. 


STUDIO: 3145 WASHINGTON STREET 
Management, Alice Metcalf Telephones: Fillmore 6146 
Hotel Mark Hopkins Fillmore 4948 





cAn Ideal Christmas Gift 
SEASON TICKET 


or 


YOUNG PEOPLE’S SYMPHONY 
CONCERTS 


San Francisco Symphony Orchestra 
WHEELER BECKETT, conducting 


CURRAN THEATRE 


(Series of five Friday afternoon concerts) 


January 18, February 1, February 15, March 1, March 15 


Season Tickets: $5.00, $4.00, $2.50 
On Sale at Sherman, Clay & Co. 
| | ALICE METCALF 
| Executive Manager 


Hotel Mark Hopkins 


| San Francisco 
| 
| 








74 








Symphony in B minor, ‘Unfinished”’ - - Franz Schubert 
(Born January 31, 1797, at Lichtenthal; died November 19, 1828, at Vienna) 
Only the first two movements of Schubert's Eighth Symphony, 

universally known as the “‘Unfinished,’’ are complete. No more of it 

has ever been found, and no one knows why Schubert should have left 
it incomplete. Although the work was written in 1822, it was not 
produced until 1865, thirty-seven years after the composer's death. 

The programme of the first performance, which was on December 17, 


1865, at Vienna, listed the symphony as follows: 


teat (MS. first time) 


Presto vivace, D major 
and just what the “‘Presto vivace’’ was, no one has been able to dis- 
cover, for there are only nine measures of a Scherzo, but it is in 


B minor. 

As to the music itself, Philip H. Goepp has analyzed it: 

‘‘The work begins with a legend-like melody in the bass. Then 
comes a quivering in the strings (with rhythmic bass), where an inde- 


finable melody is hovering above. Presently, like a royal figure after 


Speebhined 034 





QUALITY 
PRESTIGE 


SERVICE 


SHREVE & ‘COMPAN ® 


“fewelers and Silversmiths 


Post Street at Grant Avenue 
San Francisco 





75 





NATHA 


T VIOLINIST OF THE 
BAS STRING QUARTET 


Announces 
THE OPENING OF A STUDIO FOR 


INSTRUCTION 
IN VIOLIN AND 
ENSEMBLE 


INTERVIEWS BY APPOINTMENT 
TELEPHONE OR WRITE 


a 


“Management 


ALICE SECKELS 


FAIRMONT HOTEL 
Douglass 7267-8800 


Louis Ford 


Concert 


V iolinist 
TEACHER 


Available for Solo, Sonata, Trio and 
Quartet engagements. 


Eighteen. years in Chamber Music: 
San Francisco Quintet Club, Chamber 
Music Society of San Francisco, Per- 
singer String Quartet. 


Twelve years first violinist with San 
Francisco Symphony Orchestra; Assis- 
tant Concert Master for Season 1917 to 
1925. 

PUPILS ACCEPTED 
Coaching in ensemble playing. 
Assistant teacher for beginners under 

my personal supervision, 


1610 Plymouth Av, Phone Delaware 0201 


Bunning System of Improved Music Study 
CarRIE LouIsE DUNNING, Originator 
8 West 40th Street, New York City 
834 South Plymouth Boulevard, Los Angeles, Calif. 


HE Greatest Musical Event in New York City in the past several decades was the 
playing of a ten-year-old Dunning pupil with the New York Philharmonic Orchestra, 


March 20th, 1926. 
She memorized it in three weeks. 


not, then you do. 


The child had only studied one year and eight months. She 
played Le Carnaval des Animaux, by Saint-Saens. 


The piece is twenty-three pages long. 


If you have any plan for teaching that can bring such 
results in that length of time—then you do not need the Dunning System. 


If you have 


Faculty of Normal Teachers—Classes Held in these Cities 


KATHARINE M. Arnoxtp, 93 Madison St., 
Tiffin, O. 

AuuIE E. Barcus, 1006 College St., Ft. 
Worth, Tex. 

EvizeTtTeE R. Bartow, Box 1244, St. Peters- 
burg, Fla. 

CATHERINE C. Brrp, 658 Collingwood Ave., 
Detroit, Mich. 

Grace A. Bryant, 201—10th Ave., N. Twin 
Falls, Idaho. 

Dora A. CuHAse, 345 Clinton Ave., Brook- 
lyn, N. Y. 

Appa C. Eppy, 136 W. Sandusky Ave., 
Bellefontaine, O. 

BeEaTRIcE S. ErKet KuIpp, 
Sherman, Tex. 

Ipa GARDNER, 17 E. 6th St., Tulsa, Okla. 

Guapys M. GLENN, 1217 Bowie St., Am- 
arillo, Tex. 

FLORENCE E. GrasLe, Michigan State In- 
stitute of Music, Lansing, Mich. 


Key College, 


Harriet Bacon MacDonatp, 6010 Belmont 
Ave., Dallas, Tex. 

Kate DELL MarpeNn, 61 N. 16th St., Port- 
land, Ore. 

Mrs. W. P. Mason, 302 Mid. City Bank 
Bldg., Chicago, Ill. 

Laup G. Puipren, 3435 Ashbury Ave., 
Dallas, Tex. 

Evyie I. Prince, 4106 Forest Hill Ave., 
Richmond, Va. 

VirGINIA Ryan, 1070 Madison Ave., New 
York. 

STELLA H. SeyMour, 1219 Garden St., San 


Antonio, Tex. 

GERTRUDE THompson, 508 W. Coal St., 
Albuquerque, N. M. 

IsopEL M. Tone, 626 Catalina St., Los An- 
geles, Calif. 

Mrs. H. R. Warkxrins, 124 E. llth St., 
Oklahoma City, Okla. 


Mrs. JEAN WARREN CARRICK 
(Normal Teacher) 


25 Lake Street, San Francisco 


Classes formed upon Arrangement 





his noble precursors, the real theme sounds high and clear, though in 
softest tone, in the woodwind, while the herald figures lapse into 
attendance. A melodic analysis seems, somehow, wrong. The whole 
is like a continuous flow of tune, where each phrase seems chief until 
it pales before its successor. So after some overpowering clashes that 
save the prevailing trait of delicacy from monotonous sweetness, the 
most charming melody, perhaps, of all music enters in the ‘cellos, 
gently echoed high in the violins. With all the stream of melody and 
the delicate orchestration, the movement is full of romantic shocks 
and bursts, as if the essence of legendary poetry. Vigor is not wanting, 
nor the true balance of dolce and forte. It is a mistake to view the 
crashing chords as mere interludes between the verses; they are quite 


as real a part of the poem as any other. 


“With all the charm of tune and of modulation (Schubert's special 
secret) the discussion of the themes shows the utmost spontaneity. A 
motive from the first phrase treated in canon, rises to a dramatic 


climax in which, added to the dynamic effect, is an overpowering 
surprise of modulation. Again and again the tempest seems about to 
subside into the enchantment of the second melody, but each time it 


VOJMIR ATTL 


Harpist 
San Francisco Symphony Orchestra 


Pe = 7s For engagements 
JOHN BUBEN as Solo Artist, Accompanist, or 


Fur Fashion’s Creator Player in Ensemble Music 
Fur Artistry and Crerreetene for STUDIO 
discriminating fur lovers. urs re- 
styled as Jacquettes, or in the latest Sherman, Clay & Co. 
Creations. Mondays and Thursdays 
57 GEARY ST. l to > P.M. 
Bios peers? Ss Studio Phone Residence Phone 


Paris Office : 
52 Rue du Faubourg—Montmartre Sutter 6000 SKyline 2757 











rises to a new height. Now the whole orchestra sounds the answering 
phrase in unison; then with the motive in the basses, the strings accom- 
panying in tremolo figure,—a wild perversion of their original melody, 
the whole orchestra thunders and storms in mad tossing of the motive 
(where the secret of counterpoint is unconsciously invoked). Sud- 
denly we are in the delicate, mysterious atmosphere of the first melody, 
and so on through the second, with a final return of the original bass 
figure to the end. The whole is the fine essence of romance, the feel- 
ing of Arabian tales, with quick, sharp succession of happenings, good 
and ill, with no room of prosaic reflection. 


“The Andante begins more quietly, but it is in the same vein. 
At the outset there is again the melodic bass, presaging the melody in 
the strings. The very quality of the tonal change of scene is charac- 
teristic of Schubert’s modulation. Throughout, the duet between the 
staccato bass and the gliding violins is sustained. Perhaps it is the 
dainty surprises of tonality that somewhat take the place of the 
dynamics in the Allegro. Yet here in the second page is a martial 
sound in the trebles, with a noisy lumbering in the bass like the tread 
of giants, suddenly thinning away into the original pianissimo melody. 
The whole episode of the first theme departs with the same phrase that 


HAZEL DREIS 


FINE BOOKBINDINGS 


MUSIC BINDING 
BOUND TAUGHT 


DOuglas 0328 545 Sutter Street, San Francisco 


San Francisco Conservatory of Music 


Ernest Bloch, Director 
Ada Clement, Lillian Hodghead, Associate Directors 


ERNEST BLOCH 
will tell the composer's story of his 
“AMERICA” SYMPHONY 
Tuesday Evening, December 11, 1928 
SOROSIS HALL 


Tickets now on sale at Sherman, Clay & Co. 








introduces it. Equally complete is that of the second. Preceded by 
a strangely promising rhythm in the strings, the clarinets sing a melody 
so simple that we wonder where the charm lies. Quoting will not show 
it; the secret must be in large part in the rhythm and in the turn of 
modulation. Indeed, it is not a strict melody at all, but melodic speech 
that might go on as long as the urging rhythm will hold out. In its 
later course it develops ever more beauty, so that the beginning seems 
mere introduction. The vision is rudely broken by loud crashes where 
we lose all sense of the past until we recognize a noisy minor of the 
basses,—a gloomy memory of the second melody. The storm rages 
furiously, the second melody in its true guise, now in canon duet of 
‘cellos and violins. Once more Schubert adds to a wealth of melody, 
harmony and rhythm the unconscious mastery of counterpoint. Quietly 
the scene glides to the first melody, and then, as at first, through the 
various phases, gentle and mild, not without many new touches with 
which Schubert never fails to surprise. 


Overture to “Hansel and Gretel” - - Engelbert Humperdinck 


(Born September 1, 1854, at Siegburg; died September 28, 1921, at Neustrelitz) 


The story of Humperdinck’s opera was taken from Grimm’s Fairy 
Tales and put into the form of a little play by Humperdinck’s sister, 


The 


Margaret Mary Morgan Co. 


PRINTERS 
Engraving ~ Publishing 


MARGARET 


A Complete Stock of 
eee Gis NL 
PIANIST 


Will be on the Pacific Coast during 
the entire season, 1928-1929 


Concert Management 


ELWYN CONCERT BUREAU 
PHELAN BUILDING 


Studio: 
450 GRANT AVENUE 


619 California Street Telephone Kearny 8289 
SAN FRANCISCO 


Davenport 450 














Adelheid Wette, for the enjoyment of her children. Humperdinck, 
who had previously composed music for other little entertainments 
which his sister arranged, was greatly attracted by the adventures of 
Hansel and Gretel, and he suggested that she work over the little play 
into operatic form. The sketches were completed in May, 1891, and 
the work was scored the following year. The first performance was 
given on the afternoon of December 23, 1893, at the Court Theatre, 
Weimar, when the new opera achieved quite a success. However, the 
real triumphs came later when it was produced throughout Europe 
with tremendous success. In 1894 the vogue of ‘‘Hansel and Gretel” 
was so great that there were nearly five hundred performances in 
Germany alone. 


The overture to “Hansel and Gretel” opens with the theme of 
the prayer which in the second scene the two children sing before they 
lie down to sleep in the wood, in which they have lost their way. This 
melody is worked over and leads through a ritenuto to a livelier sec- 
tion, beginning in the trumpet with a theme which, in a later portion 
of the opera, the witch uses to the words “Hocus pocus elderbush”’ 
when she puts a spell on the children with her magic wand. This 
motive is developed and is followed by another theme, also employed 


JANET ROWAN HALE 


Pianist and Teacher 


Studio 902 
26 O'Farrell Street Berkeley and Piedmont 
Phone Davenport 5486 Phone Oakland 8663 


30 years violin specialist in St. Louis and Chicago Expert Repairing 


S. O. ALLISON 
VIOLIN MAKER, CONNOISSEUR AND APPRAISER 


Agent for Andres Morellis hand-made Violins, Violas, ’Cellos, Basses 


Artist Bows by G. A. Pfritzschner 
and other celebrated Bow Makers 
45 GEARY STREET 
Dealer in New and Old Violins, San Francisco, Cal. 
"Cellos and Bows Formerly I. A. Lutz 
Strings and Accessories Davenport 415 














in the opera in the instrumental movement preceding the third act. 
There, as in the overture, this expressive melody is played by the 
first violins. It, in its turn, is followed by a joyful subject, drawn 
from the scene in which, at the close of the opera, the children, who 
have been turned into gingerbread by the witch, sing as they dance 
round Hansel and Gretel, who have learned the magic formula from 
the old hag, and who have transformed the little ones into human 
beings again. Into this material Humperdinck wove the music of the 
prayer. 


Nocturne No. 3, ‘‘A Dream of Love” - - - Franz Liszt 
(Bork October 22, 1811, at Raiding; died July 31, 1886, at Bayreuth) 


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


You are cordially invited to attend the 
Semi-monthly Recitals of the 


ARRILLAGA MUSICAL COLLEGE 


2351 Jackson Street 
Write or phone for programs. Walnut 3742 


Julian Brodetsky 


ASSISTANT CONCERT MASTER 
SAN FRANCISCO SYMPHONY ORCHESTRA 


Violin Instruction 


Studio 
Phone SKyline 4855 189 Commonwealth Avenue 














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.”’ 


Norwegian Bridal Procession’ - - - - Edward Grieg 


(Born June 15, 1843; died September 4, 1907, at Bergen) 


The nationalistic instinct was particularly vivid in Grieg, and 
nowhere more so than in the little number played this evening. A 
Norwegian wedding is a gay and picturesque affair. The ceremony is 
preceded by the procession from the bride’s home to the church and 
is followed by a procession to the home of the bridegroom. All of the 
relatives and friends of the bridal couple join in the procession, which 
is preceded by the musicians. 


Military March - - - - - - Franz 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 origi- 
nally 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. 


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, 1928 
Assets $118,615,481.57 
Capital, Reserve and Contingent Funds 5,000,000.00 
Pension Fund over $610,000.00, 
standing on Books at 1,00 


MISSION BRANCH 

PARK-PRESIDIO BRANCH d 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 














JJersonnel 


The San Francisean Sumphony Orchestra 


FIRST VIOLINS 


Piastro, Mishel 
Concert Master 


Fenster, Lajos 


Assistant Concert Master 


Brodetsky, Julien 


Assistant Concert Master 


Meriz, Emilio 

Ford, Louis W. 
Jensen, Thornstein 
Gordohn, Robert 
Mendelevitch, Rodion 
Laraia, William F, 
Mortensen, Modesta 
Koenig, Hans 

See, Orley 

Pasmore, Mary 
Atkinson, Helen E. 
Wolski, William 


Ruiz, Ricardo 


SECOND VIOLINS 


Heyes, Eugene 
Principal 


Rosset, Emil 
Amsterdam, Max 
Callinan, W. G. 
Paterson, J. A. 
Gold, Julius 


Haug, Julius 


Gough, Walter 
Firestone, Nathan 
Simonsen, Frances 
Wegman, William 
Tolpegin, Victor 
Hoffman, Henry H. 
Dabelow, William 


VIOLAS 
Verney, Romain 
Principal 
Hahl, Emil 
Baker, F. A. 
Wismer, Hother 
Weiler, Eric 
Lichtenstein, Victor 
Dierich, Franz 
Triebel, August 
Kolb, Richard 
Lewis, Arthur 





ALFRED HERTZ, CONDUCTOR 


’>CELLOS 


Penha, Michel 
Principal 


Dehe, Willem 

King, Otto 
Villalpando, Wenceslao 
Kirs, Rudolph 
Pasmore, Dorothy 
Reinberg, Herman 
Gough, Flori 

Hranek, Carl 

Haight, Rebecca 


BASSES 


Previati, Louis J. 
Principal 


Bell, Walter 
Storch, A. E. 
Guterson, Aaron 
Schulz, Emil 
Schmidt, Robert E. 
Frederick, Oscar 
Schipilliti, John 


FLUTES 
Linden, Anthony 


Oesterreicher, Walter 
Orchestral Manager 


Benkman, Herbert 


PICCOLO 


Benkman, Herbert 


OBOES 
Addimando, Caesar 
Shanis, Julius 


Schipilliti, Vincent 


ENGLISH HORN 
Schipilliti, Vincent 


CLARINETS 
Randall, Harold B. 
Zannini, Nicolai 
Fragale, Frank 
Triebel, August 

BASS CLARINET 


Fragale, Frank 


BASSOONS 
Kubitschek, Ernest 
La Haye, E. B. 
Hranek, Carl 


CONTRA BASSOON 
Kolb, Richard 


HORNS 
Hornig, Walter 
Roth, Paul 
Tryner, C. E. 
Rocco, R. 


Trutner, Herman 


TRUMPETS 
Drucker, Vladimir 
Barton, Leland S. 
Savant, Silvio 
Kegel, Otto 
Kress, V. 


TROMBONES 


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


TUBA 
Murray, Ralph 


HARP 


Attl, Kajetan 
Attl, Vojmir 


TYMPANI 
Wagner, Roland E. 






PERCUSSION 


Vendt, Albert, Jr. 
Salinger, M. A. 
Kundy, E. 


PIANO AND CELESTA 
Tibbitts, J. P. 


LIBRARIAN 
Kegel, Otto 










































































































































































































































































































a : : : 
AM USING the Steinway plano 
now for many years and am 
enjoying its superior qualities SO 

a ee much that I cannot 


imagine how I ever could 





get along without one. 
It is like a good friend of 


whom you get fonder 


Zé 
the more you know “T 
| 


> 


him.’ 


The home of the Steinway ts 


Sherman, (lay & Co. 


Kearny and Sutter Streets, San Francisco 
Mission Street, near Twenty-first 
Fillmore Street, near Post 
Fourteenth and Clay Streets, Oakland 
3420 E. 14th Street, Fruitvale 
Telegraph and Channing Way, Berkeley 
1315 Burlingame Avenue, Burlingame 


. 


i 


a‘ 


Ww! 


\ 








SAN F FRANCISCO 
SYMPHONY 
Ne Ari ORCHEST RG 


& | 
ee a Mate aimee: Dy 


ie e ‘The Musicals Ie 
2 Wi Association of |k 
| San Francisco 

' 


SZ 


| 






























| 
| 








| 1928 1929 
Eighteenth Season [lt 


ALFRI ED HERTZ CONDUCTOR 
RENCSCr | 















ANNOUNCEMENT 


THIRD POPULAR CONCERT 


Saturday Evening, December 8 
Dreamland Auditorium 





PROGRAMME 
A Le eR tire SSP BRONTE acco: ack a vane ale Monee erates, ctiyce: Massenet 
DE, PAPIOGRTATNE:. | SUUEEGA INO Bb Oh watchs Bec deeeaahs Dioede sateen Bizet 
APOC GTAISE 100 1) PUI OT kes coc ee took wc coeruet yew eae eeae: Liszt 
4. Symphonic Poem, “‘Finlandia’’.............. Sense: Re ay Sibelius 
5. Andante Cantabile, for Strings........:.....00-42..- Tschaikowsky 
EEF er] oh tn tocar | apy Pe Mae Be a 2p MLE co A, nak UE re Ae, Luigini 
Pear erOT. BP PATON CE occa sac. os ohn. cecevcbelwadse lew yassdaeee Bach 
8; Overture'to ~ Tannharieer . 2..c-24..05cck es. increa-2 di nnticee as Wagner 





FOURTH PAIR OF SYMPHONY CONCERTS 
Friday, December 14, 3:00 P. M. 
Curran Theatre 
Saturday, December 15, 8:20 P. M. 


Dreamland Auditorium 


Soloist: CARL FRIEDBERG, Pianist 


PROGRAMME 


1. Concerto for Piano, No. 2, in B flat major.............. Brahms 
(First time at these concerts) 


CARL FRIEDBERG 
2. Scherzo, ‘““The Sorcerer's Apprentice’ ’..................---- Dukas 
3; Sysanhonm tw Batenal ors wot yak ot Mozart 





Symphony Box Office, Sherman, Clay & Co.; hours, 9 to 5. Tickets 
may also be obtained at other Sherman, Clay & Co. bay city stores. 
Friday tickets on sale at Curran Theatre after 10 a. m. on day of con- 
cert. Box office at Dreamland Auditorium open at 7 p. m. on concert 
days. 








Musical Association of San Srancisco 


Founded December 20, 1909 Incorporated February 3, 1910 


OFFICERS 
J. B. Levison, President 
W.C. VAN ANTWERP, Vice-President 
WALTER S. MaRrTIN, Treasurer 
Mrs. IRWIN CrockER, Honorary Vice-President 
Mrs. E. S. HELLER, Honorary Vice-President 
A. W. WENHAM, Secretary-Manager 


BOARD OF GOVERNORS 


R. I. Bentley John S$. Drum John A. McGregor 
Miss Lena Blanding Sidney M. Ehrman John D. McKee 
Miss Louise A. Boyd Milton H. Esberg R. C. Newell 
George T. Cameron Mortimer Fleishhacker F. R. Sherman 

Selah Chamberlain F. J. Koster B. F. Schlesinger 
Mrs. Irwin Crocker J. B. Levison Mrs. M. C. Sloss 
William H. Crocker Walter S. Martin Mrs. Sigmund Stern 
E. R. Dimond Clay Miller W. C. Van Antwerp 
A. B. C. Dohrmann L. F. Monteagle Eli H. Wiel 


Mrs. M. S. Koshland, ex-officio 


EXECUTIVE COMMITTEE 


W.C. VAN ANTWERP, Chairman 
Mrs. Irwin’ Crocker A. B. C. Dohrmann Walter S. Martin 
Mortimer Fleishhacker John D. McKee 


MUSIC COMMITTEE 


R. C. NEWELL, Chairman 
Mrs. M. C. Sloss F. R. Sherman 


WOMEN’S AUXILIARY 


Mrs. M. S. KosHLAND, Chairman 
Miss LENA BLANDING, Vice-Chairman Mrs. M. C. Porter, Vice-Chairman 


EXECUTIVE OFFICES 
Fifth Floor, 244 Kearny Street 
Telephone Garfield 2819 


A. W. WIDENHAM, Secretary-Manager 
HOWARD G. HANVEY, Press Representative 


87 





ar 
ate a 
ota 


x 
Bente 


~ by *,) +A... 
Santee a ere 


Sho 


o 
sae 


econo ea 


Columbia-Kolster 
Viva-tonal — The 
Electric Repro- 
ducing Phono- 
> graph— ‘‘like life 
itself”. A tri- 
umph of sound 
reproduction and 
} amplification. 


Price $525 


The FINAL 
MIRACLE OF MUSIC 


q This Viva-tonal Columbia instrument is nothing less than 
an absolute miracle. Q Place your hand upon the case—every 
fibre of the wood is vibrating—alive with music! Stand apart 
and shut your eyes—your whole body actually throbs with 
the impact of musical reality. You not only hear the music— 
you feel it. The element of superlative beauty is unmistak- 
able—the beauty that pleases the eye no less than the new 
beauty that astounds the ear. @ Ask for Columbia Master- 
works Catalog of Eighty-Seven Album Sets Comprising the 
Most Celebrated Works of the Great Composers. 


THE COLUMBIA PHONOGRAPH COMPANY 


941 Mission Street, San Francisco, Calif. 


Shubert Week—Back|to Melody — Nov. 18-25 


Organized by Columbia Phonograph Company 


(COLUMBIA. 


88 


RRR 
x 


Oc 





Che San Francisco Symphony Orchestra 


ALFRED HERTZ, Conductor 


(Steinway Piano Used) 


1928—-Season—1929 


THIRD PAIR OF SYMPHONY CONCERTS 
741st and 742d Concerts 


Friday Afternoon, November 30, 3:00 o’clock 
CURRAN THEATRE 


Saturday Evening, December 1, 8:20 o’clock 
DREAMLAND AUDITORIUM 


Soloist: MISHEL PIASTRO, Violinist 


PROGRAMME 


1. Symphony No. 4, in D minor Schumann 
Introduction—Allegro 
Romanza 
Scherzo 
Finale 
(Played without pause) 


2. Symphonic Poem, “Jurgen,” Deems Taylor 
(First time in San Francisco) 


Intermission 


3. Concerto for Violin, in D major Beethoven 
Allegro ma non troppo 
Larghetto— 
Rondo 


MISHEL PIASTRO 














= ve SS ——————— 





MARIONETTES | |) Victor Lichtenstein 


KEGG-GOLDSMITH 





Production of Instruction 
“CINDERELLA” EY 
Friday, November 30 Art 
GOLDSMITH-ENGLE og 

-Production of U10lin 

“THE NIGHTINGALE” Playing 


Saturday, December 1 
Eight of Mr. Lichtenstein’s 


Founders’ Hall pupils became members of 


Western Women’s Building ie 
609 Sutter Street the St. Louis Symphony 


Prices: 75c and $1 


Matinee at 2:30 o'clock 


Orchestra. 


StupIo: 3145 WASHINGTON STREET 
Management, Alice Metcalf Telephones: Fillmore 6146 
Hotel Mark Hopkins Fillmore 4948 


cAn Ideal Christmas Gift 
SEAS.O.N:24:LG KEL 


or 


YOUNG PEOPLE’S SYMPHONY 
CONCERTS 


San Francisco Symphony Orchestra 
WHEELER BECKETT, conducting 
CURRAN THEATRE 


(Series of five Friday afternoon concerts) 
January 18, February 1, February 15, March 1, March 15 
Season Tickets: $5.00, $4.00, $2.50 
On Sale at Sherman, Clay & Co. 

ALICE METCALF 
Executive Manager 


Hotel Mark Hopkins 


San Francisco 


90 








Symphony No. 4, in D minor - - - Robert Schumann 
(Born June 8, 1810, at Zwickau, Saxony; died July 29, 1856, at Endenich) 


Robert Schumann composed almost exclusively for the piano 
until the year 1840. Ina letter written in 1839 he said: “‘At present 
it is true that I have not had much practice in orchestral writing, but 
[ hope to master it some day.’” However, this ambition was never 
quite realized, for he never completely mastered the technique of 
orchestral scoring. There are, however, many moments of extreme 
beauty in his orchestral works. Schumann was married to Clara 
Wieck on September 12, 1840. Their first child was born on Sep- 
tember |, 1841, and on the thirteenth of the month, his wife's birth- 
day, the child was baptized and the mother received from her husband 
the score of the D minor Symphony. His first, the “Spring’’ Sym- 
phony, was written and performed just previously to the D minor, 
which had its first performance December 6, 1841, and was then 
entitled the ‘Second.’ It was not a success, and Schumann, thor- 
oughly dissatisfied, cast it aside and not until eleven years later did he 
revise the manuscript, making many changes in the scoring as well as 
structurally. It was finally published in 1851 as the “Fourth” and 
had its first performance in 1853, winning a decided success. In form, 
the symphony is original and highly effective. It consists of four sec- 


Established 1852 


QUALITY 
PRESTIGE 


SERVICE 


SHREVE & COMPANY 


fewelers and Silversmiths 


Post Street at Grant Avenue 
San Francisco 








— 








NATH AN 
T VIOLINIST OF THE 
S STRING QUARTET 





Announces 
THE OPENING OF A STUDIO FOR 


INSTRUCTION 
IN VIOLIN AND 
ENSEMBLE 


INTERVIEWS BY APPOINTMENT 
TELEPHONE OR WRITE 


4 


“Management 


ALICE SECKELS 


FAIRMONT HOTEL 
Douglass 7267-8800 





Louis Ford 


Concert 


V iolinist 
TEACHER 


Available for Solo, Sonata, Trio and 
Quartet engagements. 


Eighteen years in Chamber Music: 
San Francisco Quintet Club, Chamber 
Music Society of San Francisco, Per- 
singer String Quartet. 


Twelve years first violinist with San 
Francisco Symphony Orchestra; Assis- 
tant Concert Master for Season 1917 to 
1925. 

PUPILS ACCEPTED 
Coaching in ensemble playing. 
Assistant teacher for beginners under 

my personal supervision. 


1610 Plymouth Av, Phone Delaware 0201 





Dunning System of Improved Music Study 
CARRIE LOUISE DUNNING, Originator 


8 West 40th Street, New York City 
834 South Plymouth Boulevard, Los Angeles, Calif. 


HE Greatest Musical Event in New York City in the past several decades was the 

‘ playing of a ten-year-old Dunning pupil with the New York Philharmonic Orchestra, 
March 20th, 1926. The child had only studied one year and eight months. She 
played Le Carnaval des Animaux, by Saint-Saens. The piece is twenty-three pages long. 
She memorized it in three weeks. If you have any plan for teaching that can bring such 
results in that length of time—then you do not need the Dunning System. If you have 


not, then you do. 


Faculty of Normal Teachers—Classes Held in these Cities 


KATHARINE M. ARNOLD, 93 Madison St., 
Tiffin, O. 

ALLIE E. Barcus, 1006 College St., Ft. 
Worth, Tex. 

EvizeTTteE R. BArRLow, Box 1244, St. Peters- 
burg, Fla. 

CATHERINE C. Brirp, 658 Collingwood Ave., 
Detroit, Mich, 

Grace A. Bryant, 201—10th Ave., N. Twin 
Falls, Idaho. 

Dora A. CuHaAse, 345 Clinton Ave., Brook- 
Fyn.) N.Y 

Appa C. Eppy, 136 W. Sandusky Ave., 
Bellefontaine, O. 

Beatrice S. EIKEL Kipp, Key College, 
Sherman, Tex. . 

IpA GARDNER, 17 E. 6th St., Tulsa, Okla. 

Giapys M. GLENN, 1217 Bowie St.,; Am- 
arillo, Tex. 

FLORENCE E. GrasiteE, Michigan State In- 
stitute of Music, Lansing, Mich. 


HARRIET Bacon MAcDONALpD, 6010 Belmont 
Ave., Dallas, Tex. 

Kate Dery Marpen, 61 N. 16th St., Port- 
land, Ore. 

Mrs. W. P. Mason, 302 Mid. City Bank 
Bldg., Chicago, III. 

Laup G. Puipren, 3435 Ashbury Ave., 
Dallas, Tex. 

Evxrie I. Prince, 4106 Forest Hill Ave., 
Richmond, Va. 

VIRGINIA Ryan, 1070 Madison Ave., New 
York. 

STELLA H. SeyMour, 1219 Garden St., San 
Antonio, Tex. 

GERTRUDE THompson, 508 W. Coal St., 
Albuquérque, N. M. 

Isopet M. Tone, 626 Catalina St., Los An- 
geles, Calif. 

Mrs. H...R:: Watkins, 124 E. llth St., 
Oklahoma City, Okla. 


Mrs. JEAN WARREN CARRICK 
(Normal Teacher) 


25 Lake Street, San Francisco 


Classes formed upon Arrangement 








tions, which follow one another without pauses, so that the work has 
the effect of one great movement. There is, moreover, a relationship 
between many of the themes of the different parts. Thus, the subject 
of the Introduction reappears in the Romanza, and the principal motive 
of the first Allegro becomes the groundwork of the chief subject of the 
Finale. 


Symphonic Poem, “Jurgen,’’ Opus 17 - - Deems Taylor 


‘Jurgen,’ which was inspired by the novel of James Branch 
Cabell of the same name, was composed for the New York Symphony 
Orchestra and was first performed by that organization November 19, 
1925. under the direction of Walter Damrosch. For this occasion the 
composer wrote the following regarding his work: 

‘ ‘lurgen’ was originally planned as an orchestral suite that would 
follow as faithfully as possible the sequence of events in James Branch 
Cabell’s book: but when I started work on the music, it became in- 
creasingly obvious that such a program was not only impracticable but 
hardly to the point. It would take a cycle of suites to do adequate 
justice to the bewildering multitude of scenes, characters and episodes 
with which the pages of ‘Jurgen’ are crowded. Moreover, the impor- 
tance of Cabell’s romance as a work of art lies, not in its qualities as 
a diverting tale of amorous adventure, but in the vividness, the sardonic 


VOJMIR ATTL 


Harpist 
San Francisco Symphony Orchestra 


vals . aes For engagements 
JOHN BUBEN as Solo Artist, Accompanist, or 


Fur Fashion’s Creator Player in Ensemble Music 
Fur Artistry ee plea ie for STUDIO 
discriminating fur lovers. urs re- z 
styled as Jacquettes, or in the latest Sherman, Clay & Co. 
Creations. Mondays and Thursdays 

57 re ST. 1 to 5 P. M. 

Ph 587 
pr vibpypnmans Studio Phone Residence Phone 


Paris Office 5 
52 Rue du Faubourg—Montmartre _ Sutter 6000 . SKyline 2757 














gusto, the humor and wisdom and pathetic beauty with which the tale 
is told. 


“So ‘Jurgen,’ annotated in terms of music, has come to be con- 
cerned much more with Jurgen than with his deeds. There is no 
definite story. What program the piece has may be expressed in 


these quotations from the book: *.. . . All moves. All moves 
uncomprehendingly. . . . And what is Jurgen, that his knowing 
or not knowing should matter to anybody? . . . And songs he 


made for the pleasure of kings, and sword-play he made for the pleas- 
ure of men, and a whispering he made for the pleasure of women, in 
places where renown was, and where he trod boldly, giving pleasure 
to everybody in those fine days. . . . Oall my life was a foiled 
quest of you, Queen Helen, and an unsatisfied hungering. Win 
And so farewell to you, Queen Helen; for I have failed in the service 
of my vision, and | deny you utterly!’ 


‘In brief, I have tried to show Jurgen facing the unanswerable 
riddle of why things are as they are; Jurgen ‘clad in the armor of his 
hurt,’ spinning giddily through life, strutting, posturing, fighting, loving, 
pretending; Jurgen proclaiming himself, count, duke, king, emperor, 
god; Jurgen, beaten at last by the pathos and mystery of life, bidding 


HAZEL DREIS 
FINE BOOKBINDINGS 


MUSIC BINDING 
BOUND TAUGHT 


DOuglas 0328 545 Sutter Street, San Francisco 








San Francisco Conservatory of Music 


Ernest Bloch, Director 
Ada Clement, Lillian Hodghead, Associate Directors 


ERNEST BLOCH 
will tell the composer's story of his 
“AMERICA” SYMPHONY 


Tuesday Evening, December 11, 1928 
SOROSIS HALL 
Tickets now on sale at Sherman, Clay & Co. 










94 


farewell to that dream of beauty which he had the vision to see, but 
not the strength to follow. 


‘The music is built upon four themes. The first of these, which 
is Jurgen’s own, is announced at the outset, in its broadest and vaguest 
form, by the bass clarinet. The second follows immediately, a simple 
series of major and minor triads, given out in turn by muted strings 
and muted brass. Its first appearance is also the first appearance of 
the third theme, which is really only a ‘motto’ of four notes in length, 
which rises a major second and falls back a minor second. Neither 
of these themes can be assigned a very specific significance. Theme 
number two might be taken as symbolic of Koshchei the Deathless, 
who made things as they are, just as theme number three is a reminder 


of Mother Sereda, who bleaches the color out of all things and renders 
life generally futile. The fourth theme, broadly lyric, is first heard 
in the ‘cellos, at the beginning of the love scene that follows the first 
development of Jurgen’s theme. This might be called—again not too 
literally — Dorothy la Désirée, or Helen of Troy, or the vision of 
beauty; or what you will.” 


Deems Taylor, born in New York, December 22, 1885, was edu- 
cated at the Friends’ School, New York public schools, Ethical Culture 
School, and at the 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 


The 


Margaret Mary Morgan Co. 


PRINTERS 
Engraving — Publishing 


MARGARET 
A Complete Stock of 


Christmas Cards 4b ) | L, LWY 


PIANIST 


Will be on the Pacific Coast during 
the entire season, 1928-1929 


Concert Management 


ELWYN CONCERT BUREAU 
Davenport 450 PHELAN BUILDING 


Studio: 
, ; 450 GRANT AVENUE 
619 California Street Telephone Kearny 8289 
SAN FRANCISCO 








i 
| 
i} 
i 
MW 








Sunday editor of the New York “‘Tribune’’; correspondent in France 
for the same paper during 1916 and 1917; associate editor of ‘‘Col- 
lier's Weekly,’ 1917 to 1919. In 1921 Mr. Taylor was appointed 
music critic on the New York “World,” a position which he resigned 
to devote himself to composition. His principal works are ““The Siren 
Song,’ a symphonic poem; a cantata, “The Chambered Nautilus’: a 
cantata, “The Highwayman’’; Suite, ‘““Through the Looking Glass’: 
Rhapsody, ‘‘Portrait of a Lady’’; the opera, ‘“The King’s Henchman”: 
also numerous choral pieces, piano compositions and songs. Mr. 
Taylor has also written incidental music for various plays, including 
“Liliom,”’ ““Will Shakespeare,’” ““The Adding Machine,”’ ‘‘Casanova’’ 
and ““The Beggar on Horseback.”’ 


Concerto for Violin, in D major - - Ludwig van Beethoven 
(Born December 16, 1770, at Bonn; died March 26, 1827, at Vienna) 


Beethoven composed this concerto in 1806 for Franz Clement, 
who played it for the first time on December 23 of that year. It is 
said that Beethoven did not have the concerto ready in time for a 
rehearsal and that Clement played it on sight at the concert. As the 
concerto is now generally regarded as one of the greatest and most 
beautiful in the entire field of violin music, it might be interesting to 


JANET ROWAN HALE 


Pianist and Teacher 


Studio 902 
26 O'Farrell Street Berkeley and Piedmont 
Phone Davenport 5486 : Phone Oakland 8663 


30 years violin specialist in St. Louis and Chicago Expert Repairing 


S. O. ALLISON 
VIOLIN MAKER, CONNOISSEUR AND APPRAISER 


Agent for Andres Morellis hand-made Violins, Violas, ‘Cellos, Basses 
Artist Bows by G. A. Pfritzschner 
and other celebrated Bow Makers 
| 45 GEARY STREET 
Dealer in New and Old Violins, San Francisco, Cal. 
"Cellos and Bows Formerly I. A. Lutz 
Strings and Accessories Davenport 415 














note what one of the leading critics had to say about the work, follow- 
ing its first performance: 

“The eminent violinist Clement played, besides other excellent 
pieces, a concerto by Beethoven, which on account of its originality 
and various beautiful passages was received with more than ordinary 
applause. Clement's sterling art, his elegance, his power and sureness 
with the violin, which is his slave—these qualities provoked tumultu- 
ous applause. But the judgment of amateurs is unanimous concerning 
the concerto: the many beauties are admitted, but it is said that the 
continuity is often completely broken, and that the endless repetitions 
of certain vulgar passages might easily weary the hearer. It holds 
that Beethoven might employ his indubitable talents to better advan- 
tage and give us works like his first symphonies in C and D, his elegant 
septet in E flat, his ingenious quintet in D major, and more of his 
earlier compositions, which will always place him in the front rank of 
composers. There is fear lest it will fare ill with Beethoven and the 
public if he pursue this path. Music in this case can come to such a 
pass that whoever is not acquainted thoroughly with the rules and the 
difficult points of the art will not find the slightest enjoyment in it, but, 
crushed by the mass of disconnected and too heavy ideas and by a 
continuous din of certain instruments, which should distinguish the 


You are cordially invited to attend the 
Semi-monthly Recitals of the 


ARRILLAGA MUSICAL COLLEGE 


2351 Jackson Street 
Write or phone for programs. Walnut 3742 








Julian Brodetsky 


ASSISTANT CONCERT MASTER 
SAN FRANCISCO SYMPHONY ORCHESTRA 












Violin Instruction 


Studio 
Phone SKyline 4855 189 Commonwealth Avenue 











introduction, will leave the concert with only the disagreeable sensa- 
tion of exhaustion. The audience was extraordinarily delighted with 
the concert as a whole and Clement's Fantasia.”’ 

The first movement begins with a long orchestral ritornello. The 
first theme is announced by oboes, clarinets, and bassoons, and the 
theme is introduced by four taps of the kettledrums, on D. After 
the first phrase there are four more kettledrum strokes on A. The 
wind instruments go on with the second phrase. Then come the 
famous and problematical four D sharps in the first violins. A short 
second theme is given out by woodwind and horns in D major, re- 


peated in D minor and developed at length. The solo violin enters 
after a half-cadence on the dominant. The first part of the movement 
is repeated. The solo violin plays the themes or embroiders them. 
The working-out is long and elaborate. A cadenza is introduced at 
the climax of the conclusion theme, and there is a short coda. The 
cadenza played at this concert is that of Fritz Kreisler. The second 
movement is a romance in free form. The accompaniment is lightly 
scored, and the theme is almost wholly confined to the orchestra, while 
the solo violin embroiders with elaborate figuration until the end, when 
it brings in the theme, but soon abandons it to continue the embroid- 
ery. A cadenza leads to the finale. The third movement, in Rondo 
form, is based on a theme that has the character of a folk-dance. The 
second theme is a sort of hunting-call for the horns. There is place 
for the insertion of a free cadenza near the end. 






















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, 1928 







a at REO, EA nee eraer Poe aa ear hea ae eT aes $118,615,481.57 
Capital, Reserve and Contingent Funds....... 5,000,000.00 
Pension Fund over $610,000.00, 








standing on Books at 1.00 





Ag bE iis aie kon mistelcd ee wee Reale ba Mission and 21st Streets 

PAR KP ith stC) SSORING Eo on eke ee Fy Clement St. and 7th Ave. 
EN Os Rg 4 ca og Bo OT fe 2 ee a le i Haight and Belvedere Streets 
os cinta ieee ake ak aed 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 










FIRST VIOLINS 


Piastro, Mishel 
Concert Master 


Fenster, Lajos 
Assistant Concert Master 


Brodetsky, Julien 
Assistant Concert Master 


Meriz, Emilio 

Ford, Louis W. 
Jensen, Thornstein 
Gordohn, Robert 
Mendelevitch, Rodion 
Laraia, William F. 
Mortensen, Modesta 
Koenig, Hans 

See, Orley 

Pasmore, Mary 
Atkinson, Helen E. 
Wolski, William 


Ruiz, Ricardo 


SECOND VIOLINS 


Heyes, Eugene 
Principal 


Rosset, Emil 
Amsterdam, Max 
Callinan, W. G. 
Paterson, J. A. 
Gold, Julius 


Haug, Julius 


Gough, Walter 
Firestone, Nathan 
Simonsen, Frances 
Wegman, William 
Tolpegin, Victor 
Hoffman, Henry H. 
Dabelow, William 


VIOLAS 

Verney, Romain 

Principal 
Hahl, Emil 
Baker, F. A. 
Wismer, Hother 
Weiler, Eric 
Lichtenstein, Victor 
Dierich, Franz 
Triebel, August 
Kolb, Richard 
Lewis, Arthur 


Wersonnel 


The San Francisea Symphony Orchestra 


ALFRED HERTZ, CONDUCTOR 


’>CELLOS 


Penha, Michel 
Principal 


Dehe, Willem 

King, Otto 
Villalpando, Wenceslao 
Kirs, Rudolph 
Pasmore, Dorothy 
Reinberg, Herman 
Gough, Flori 

Hranek, Carl 

Haight, Rebecca 


BASSES 


Previati, Louis J. 
Principal 


Bell, Walter 
Storch, A. E. 
Guterson, Aaron 
Schulz, Emil 
Schmidt, Robert E. 
Frederick, Oscar 
Schipilliti, John 


FLUTES 
Linden, Anthony 


Oesterreicher, Walter 
Orchestral Manager 


Benkman, Herbert 


PICCOLO 


Benkman, Herbert 


OBOES 
Addimando, Caesar 
Shanis, Julius 


Schipilliti, Vincent _ 


ENGLISH HORN 
Schipilliti, Vincent 


CLARINETS 
Randall, Harold B. 


Zannini, Nicolai 
Fragale, Frank 
Triebel, August 


BASS CLARINET 
Fragale, Frank 


99 





BASSOONS 
Kubitschek, Ernest 
La Haye, E. B. 
Hranek, Carl 


CONTRA BASSOON 
Kolb, Richard 


HORNS 
Hornig, Walter 
Roth, Paul 
Tryner, C. E. 
Rocco, R, 


Trutner, Herman 


TRUMPETS 
Drucker, Vladimir 
Barton, Leland S. 
Savant, Silvio 
Kegel, Otto 
Kress, V. 


TROMBONES 


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


TUBA 
Murray, Ralph 


HARP 


Attl, Kajetan 
Attl, Vojmir 


TYMPANI 
Wagner, Roland E. 


PERCUSSION 


Vendt, Albert, Jr. 
Salinger, M. A. 
Kundy, E. 


PIANO AND CELESTA 
Tibbitts, J. P. 


LIBRARIAN 
Kegel, Otto 











I AM using the e\teinway piano 


now tor many years and am 
enjoying its superior qualities sO 
Tah much that I cannot 


imagine how I ever could 





get along without one. 
It is like a good friend of 


whom you get fonder & s 


the more you know i 
him.”’ | \ 


The home of the Steinway 7s 


Sherman @tay & Co. 


Kearny and Sutter Streets, San Francisco 
Mission Street, near Twenty-first 
Fillmore Stréet, neat Post 
Fourteenth and Clay Streets, Oakland 
3420 E. 14th Street, Fruitvale 
Telegraph and Channing Way, Berkeley 
1315 Burlingame Avenue, Burlingame 











UNIVERSITY OF CALIFORNIA 


Committee on Music and Drama 


San Francisco Symphony Orchestra 
ALFRED HERTZ, Conductor 


THIRD BERKELEY CONCERT 


Fall Series, Season 1928-29 


HARMON GYMNASIUM 


SUNDAY, DECEMBER 2, 1928 AT 3 P.M. 


PROGRAMME 
pL OPETIPG GO. LEBEL: RIM ARPODGL oo. cccecvanonce eroascaqeandasnesnniaasies Humperdinck 
. Symphony No. 2, in D major... ...:-.2-0iccccscenccesseeerennsenanensseneessesens Beethoven 
Adagio molto—Allegro con brio — 
Larghetto 
Scherzo 


Allegro molto 
INTERMISSION 


RPP A PIAS” SSUEEO. DENG Miakcssdozsecs sithctan cebcteaecacn ten deeptaycetne seeeaneen nee Bizet 


Prelude 
Minuet 
Adagietto 
Carillon 


Epa RONG. OOM A UPRON | eben ceenncatcniinntaeencigeee tte Deems Taylor 








Overture to ‘‘Hansel and Gretel’’............. Humperdinck 


The story of Humperdink’s opera was taken from Grimm’s Fairy Tales 
and put into the form of a little play by Humperdink’s sister for the 
enjoyment of her children. Humperdink, who had previously composed 
music for other little entertainments which his sister arranged, was greatly 
attracted by Hansel and Gretel and suggested that she work over the little 
play into operatic form. The first performance of the new opera was given 
at the Court Theatre, Weimar, December 23, 1893, when it achieved quite a 
success. However, the real triumphs came later and within a year it was 
being produced throughout Europe with tremendous success. In 1894 the 
vogue of Hansel and Gretel was so great that there were nearly five hundred 
performances in Germany alone. 

The overture opens with the theme of the prayer which the children 
sing in the second scene before they lie down to sleep in the woods. Later 
appear the ‘‘witch’’ motives, suggesting the ‘‘hocus pocus elderbush”’ 
magic which turned the children into gingerbread. 





eymphony No; 2,/in-Dimalors oct Ludwig von Beethoven 


Beethoven’s second symphony was written about the latter part of the 
year 1802. It was a year of bitter misery for the composer, but there is no 
hint of melancholy in his music. In 1801 Beethoven’s deafness had become 
alarming, and so great was his suffering that there were moments in which 
he contemplated suicide. About the end of 1801 he called in Professor J. 
A. Schmidt and that physician ordered him to Heiligenstadt, a village near 
Vienna; it was in a house outside the village that the greater part of the 
D major symphony was written. The first performance took place at the 
Theater an der Wien, Vienna, April 5, 1803. 

The following sketch by Berlioz of the second symphony offers a splendid 
analysis of the composition: 

‘In this symphony everything is noble, energetic, proud. The Intro- 
duction (largo) is a masterpiece. The most beautiful effects follow one 
another without confusion and always in an unexpected manner. The song 
is of a touching solemnity, and it at once commands respect and puts the 
hearer in an emotional mood. The rhythm is already bolder; the instru- 
mentation is richer, more sonorous, more varied. An allegro con brio of 
enchanting dash is joined to this admirable adagio. The gruppetto which 
is found in the first measure of the theme, given at first to the violas and 
violoncellos in unison, is taken up again in an isolated form, to establish 
either progressions in a crescendo or imitative passages between wind 
instruments and the strings. All these forms have a new and animated 
physiognomy. A melody enters, the first section of which is played by 
clarinets, horns, and bassoons. It is completed en tutti by the rest of the 
orchestra, and the manly energy is enhanced by the happy choice of accom- 
panying chords. 

‘“The andante (larghetto) is not treated after the manner of that of the 
First Symphony; it is not composed of a theme worked out in canonic 
imitations, but it is a pure and frank song, which at first is sung simply 
by the strings, and then embroidered with a rare elegance by means of 
light and fluent figures whose character is never far removed from the 
sentiment of tenderness which forms the distinctive character of the prin- 
cipal idea. It is a ravishing picture of innocent pleasure which is scarcely 
shadowed by a few melancholy accents. 








‘‘The scherzo is as frankly gay in its fantastic capriciousness as the 
andante has been wholly and serenely happy. For this symphony is smiling 
throughout; the warlike bursts of the first allegro are wholly free from 
violence; there is only the youthful ardor of a noble heart in which the 
most beautiful illusions of life are preserved untainted. The composer still 
believes in immortal glory, in love, in devotion. What abandon in his 
gayety! What wit! What sallies! Hearing these various instruments dis- 
puting over fragments of a theme which no one of them plays in its com- 
plete form, hearing each fragment thus colored with a thousand nuances 
as it passes from one to the other, it is as though you were watching the 
fairy sports of Oberon’s graceful spirits. 

‘The finale is of like nature. It is a second scherzo in two time, and its 
playfulness has perhaps something still more delicate, more piquant.’’ 


ed TT coc Maga Vs La Ce SMa cA RR RR UE Pt sre eRe E NR Bizet 


‘L’Arlesienne’’ (The Woman of Arles), a drama by Alphonse Daudet, 
was produced in Paris on October 1, 1872, with twenty-seven incidental 
musical numbers by Georges Bizet. Although the play was not successful, 
the music is considered among the finest of Bizet’s writings. Bizet himself 
arranged the Suite No. 1 played today, and a second suite was arranged by 
Ernest Guiraud after Bizet’s death. 

The first movement, Prelude, opens with a sturdy theme given out by 
the deeper woodwinds, horns and strings (exclusive of the basses) in unison. 
The first violins and violas (muted) play, pianissimo, a rich, songful 
melody, which later is given out more sonorously by all the strings (muted 
and in octaves), over an accompaniment from the woodwinds and brasses. 
The second movement, Minuet, is a dainty, tripping composition in the 
usual minuet form, with a trio built above a persistently droning bass— 
somewhat like the ‘‘musette’’ of a gavotte. The third movement is a 
beautiful, nocturne-like Adagietto; a somewhat brief composition of the 
romanza type, scored for the muted strings only, without the basses. The 
last movement is a carillon, a form of musical composition in which the 
persistent imitation of a chime of bells is made the framework over which 
a fabric of ingenious melodic invention is woven. In this instance the bell- 
motive is made up of the three tones—G sharp, E and F sharp—reiterated, 
for the most part, by the horns and harp, while the other instruments build 
up a delicate gauze-work of vivacious melody all about it. The trio—in 
6-8 time—is a graceful, idyllic episode. 


Symphonic Poem, ‘‘Jurgen,’’ Opus 17.....................2..2.2..221--+-- Deems Taylor 


Deems Taylor’s ‘‘Jurgen’’ was composed for the New York Symphony 
Orchestra and first performed by that organization under the direction 
of Walter Damrosch, November 19, 1925. It was inspired by the novel of 
the same name by James Branch Cabell which was published in 1919. 

The following description of the symphonic poem is in the composer’s 
own words: 

‘‘ Jurgen was originally planned as an orchestral suite that would follow 
as faithfully as possible the sequence of events in James Branch Cabell’s 
book ; but when I started work on the music, it became increasingly obvious 
that such a program was not only impracticable but hardly to the point. 
It would take a cycle of suites to do adequate justice to the bewildering 








multitude of scenes, characters and episodes with which the pages of 
‘Jurgen’ are crowded. Moreover, the importance of Cabell’s romance as a 
work of art lies, not in its qualities as a diverting tale of amorous adventure, 
but in the vividness, the sardonic gusto, the humor and wisdom and pathetic 
beauty with which the tale is told. 


‘*So ‘Jurgen’ annotated in terms of music has come to be concerned 
much more with Jurgen than with his deeds. There is no definite story. 
What program the piece has may be expressed in these quotations from the 
book : 


cee... All moves. All moves uncomprehendingly. ... And what is 


And songs he made for the pleasure of kings, and sword-play he made for 
the pleasure of men, and a whispering he made for the pleasure of women, 
in places where renown was, and where he trod boldly, giving pleasure to 
everybody in those fine days..... O all my life was a foiled quest of you, 
Queen Helen, and an unsatisfied hungering..... And so farewell to you, 
Queen Helen; for I have failed in the service of my vision, and I deny you 
utterly!’ ’’ 

‘*In brief, I have tried to show Jurgen facing the unanswerable riddle 
of why things are as they are; Jurgen ‘clad in the armor of his hurt,’ 
spinning giddily through life, strutting, posturing, fighting, loving, pre- 
tending; Jurgen proclaiming himself count, duke, king, emperor, god; 
Jurgen, beaten at last by the pathos and mystery of life, bidding farewell 
to that dream of beauty which he had the vision to see, but not the strength 
to follow. 


‘‘The music is built upon four themes. The first of these, which is 
Jurgen’s own, is announced at the outset, in its broadest and vaguest form, 
by the bass clarinet. The second follows immediately, a simple series of 
major and minor triads, given out in turn by muted strings and muted 
brass. Its first appearance is also the first appearance of the third theme, 
which is really only a ‘motto’ of four notes in length, which rises a major 
second and falls back a minor second. Neither of these themes can be 
assigned a very specific significance. Theme number two might be taken 
as symbolic of Koshchei the Deathless, who made things as they are, just 
as theme number three is a reminder of Mother Sereda, who bleaches the 
color out of all things and renders life generally futile. The fourth theme, 
broadly lyric, is first heard in the ’cellos, at the beginning of the love scene 
that follows the first development of Jurgen’s theme. This might’ be 
called—again not too literally—Dorothy la Désirée, or Helen of Troy, or 
the vision of beauty; or what you will.’’ 


¥ 





PROGRAMME 


Tuirp MunIcIPAL SYMPHONY CONCERT 
SEASON 1928-29 


San Francisco 
Symphony Orchestra 








ALFRED HERTZ, Conductor 


A. W. WIDENHAM, Manager 





SOL O1ST 


FRIEDA, AEMPEL 


Soprano 


EXPOSITION AUDITORIUM 
Tugspay EveninGc, DECEMBER 4, 1928 


Auspices 
Mayor JAMES ROLPH, JR., AND 
BOARD OF SUPERVISORS 


Direction Auditorium Committee 

JAMES B. McSHEEHY, Chairman 

FRANCK R. HAVENNER WARREN SHANNON 
Tuomas F. Boye, In Charge of Ticket Sales and Accounts 

JoHN H. Turever, Exchequer 








‘Programme 


1. Symphony, “From the New World”... Dvorak 


Adagio—Allegro molto 
Largo 

Scherzo: Molto vivace 
Allegro con fuoco 


Dvorak, the most prominent composer of Bohemia, came to America in 
October, 1892, and while in this country published his belief that the future of 
a national American expression in music lay in the tunes of the negroes and the 
Indians, to the study of which he devoted himself with great energy. As a result 
we have the “New World” Symphony. Dvorak has exhibited rare taste and 
musical invention in the manner in which he has adapted the negro melodies and 
woven them into the fabric of his symphony. The result is a creation which is 
not only appealing, but which also is an artistic manifestation of a sincere musician’s 
convictions. 


INTERMISSION 


2. Aria, “Deh vieni non tardar” from 


fen WMartiave Of Hideto. o....02 aoe Mozart 


Frrepa HEMPEL 


The scene of Mozart's “Marriage of Figaro” is laid in Spain, and the action is 
a direct continuation of ““The Barber of Seville” for which Rossini wrote the music 
at a later period. The famous soliloquy “Deh vieni non tardar” (Oh, Come My 
Heart's Delight) is sung by the countess’ maid, Susanna, disguised as her mistress. 
It is a passionate address to an imaginary lover with the purpose of arousing the 
jealousy of Figaro who is hiding nearby. 


3. Symphonic Poem, “The Pines of Rome”... Respighi 
The Pines of the Villa Borghese 
The Pines Near a Catacomb 
The Pines of the Janiculum 
The Pines of the Appian Way 


(Steinway Piano and Victor Electrola used) 


In this composition Respighi has sought to express in tones the memories and 
visions aroused by the century-old trees which dominate the Roman landscape, and 
has prefaced his score with the following “program”: 

“I. The Pines of the Villa Borghese. Children are at play in the pine grove 
of the Villa Borghese, dancing the Italian equivalent of ‘Ring Around A-Rosy’; 
mimicking marching soldiers and battles, twittering swallows at evening; and they 
disappear. Suddenly the scene changes to— II. The Pines Near a Catacomb. 





‘Programme 


ee 


We see the shadows of the pines which overhang the entrance to a catacomb; from 
the depths rises a chant, which re-echoes solemnly, sonorously, like a hymn (trumpet 
behind the scenes), and is then mysteriously silenced. III. The Pines of the 
Janiculum. There is a thrill in the air. The full moon reveals the profile of the 
pines of Gianicolo’s Hill. A nightingale sings. IV. The Pines of the Appian 
Way. Misty dawn onthe Appian Way. The tragic country is guarded by solitary 
pines. Indistinctly, incessantly, the rhythm of innumerable steps. To the poet's 
phantasy appears a vision of past glories; trumpets blare, and the army of the con- 
sul advances brilliantly in the grandeur of a newly risen sun toward the sacred way, 
mounting in triumph, the Capitoline Hill.” 


A Aria,” Ernani involami. from: Ermani’o.00:. Verdi 
FrrepA HEMPEL 


“Ernani’, one of Verdi's earlier operas, tells of Elvira, a lady of rank, who is 
about to be married against her wishes to a Spanish Grandee, although she is in love 
with Ernani, a bandit chief. In the number sung this evening, Elvira in her 
boudoir before the wedding addresses a despairing song to her lover to save her. 


NEXT MUNICIPAL SYMPHONY CONCERT 
Thursday, February 7 - 8:20 P.M. 
Soloist: 


REINALD WERRENRATH, Baritone 


SPECIAL NOTICE 


THE City OF SAN FRANCISCO Announces 


Ernest Bloch’s “AMERICA” 
THURSDAY EVE., DECEMBER 20th 
EXPOSITION AUDITORIUM 
San Francisco Symphony, Municipal Chorus, 3 Soloists 


Ernest Bloch’s epic rhapsody, ““America™, was unanimously selected as the 
prize-winning score among ninety-two submitted manuscripts in Musical America’s 
Symphony Contest. The prize was awarded in June, 1928, the judges being 
Walter Damrosch, Serge Koussevitzky, Leopold Stokowski, Frederick Stock and 
Alfred Hertz. Asa solution of the problem of the composition’s first performance 
the five judges agreed upon a simultaneous premiere, therefore on the same evening 
San Francisco will share with New York, Boston, Philadelphia and Chicago the 
honor of first hearing this important work. 


Tickets Now, Sherman, Clay & Co., 50c and $1.00. 


Next Saturday Eve., Dec. 8—Dreamland Auditorium 
SYMPHONY ‘“SPOP”? CONCERT 


‘““Phedre” Overture; “L’Arlesienne” Suite; Liszt E major Polonaise; Finlandia, 
Sibelius; Bach Air; Aubade, Luigini; Andante Cantabile, Tschaikowsky; Tann- 


hauser Overture. 


Tickets 50c to $1.50, Sherman, Clay & Co. 











INSTRUMENT OF THE IMMORTALS 


eo eR et 





The STEINWAY 


Appeals unerringly to people 
who buy with care 


The consideration of the shrewd buyer is not so 
much price, as value received. He looks beyond 
the first cost into the question of upkeep, perma- 
nence, performance and pride of ownership. 

When such a buyer wishes to purchase a piano, 
he turns quite naturally to the Steinway. And 
no matter what his income, there is a Steinway 
price and model for his needs. 

Custom-designed Steinways are also being made. 
Ask us about this. 


Grands $1475 and Up 
Uprights $950 and Up 


Used Pianos Accepted in Partial Exchange 








Sherman {@lay & Co. 


Kearny and Sutter Streets, San Francisco 


Fourteenth and Clay Streets, Oakland 
Fillmore Street near Post 
1315 Burlingame Ave., Burlingame 
3420 East Fourteenth Street, Fruitvale 
Telegraph Avenue and Channing Way, Berkeley 





















RSS GLS WAC x 


SAN FRANCISCO 
SYMPHONY = 
230 ORCHESTRA 


PWN 

Pe Zn Marntatmnea Dy 

OO} The Musicals IG 

Dy Association of ef ant 
4 San Prancisco 


















“bd die 


THIRD POPULAR 


1928 1929 | 
Eighteenth Season 


ALFRED HERTZ CONDUCTOR 
L__JGe RESO OS 





ANNOUNCEMENT 
FOURTH POPULAR CONCERT 


Saturday Evening, December 22 
Dreamland Auditorium 


Soloist: WILLIAM WOLSKI, Violinist 


PROGRAMME 


. Selections from “A Midsummer Night's Dream’’ 


Mendelssohn 


. ‘Peer Gynt’ Suite, No. | 

. Waltz from “Eugene Onegin’’ 
. Overture to “Oberon” 

. Violin Concerto, in E minor 


WILLIAM WOLSKI 
. Overture to “The Gypsy Baron”’ 


FOURTH PAIR OF SYMPHONY CONCERTS 
Friday, December 14, 3:00 P. M. 
Curran Theatre 


Saturday, December 15, 8:20 P. M. 
Dreamland Auditorium 


Soloist: CARL FRIEDBERG, Pianist 


PROGRAMME 


1. Concerto for Piano, No. 2, in B flat major 
(First time at these concerts) 


CARL FRIEDBERG 
2. Scherzo, “The Sorcerer's Apprentice” 
3. Symphony in E flat major 





Symphony Box Office, Sherman, Clay & Co.; hours, 9 to 5. Tickets 
may also be obtained at other Sherman, Clay & Co. bay city stores. 
Friday tickets on sale at Curran Theatre after 10 a. m. on day of con- 
cert. Box office at Dreamland Auditorium open at 7 p. m. on concert 
days. 





110 








Musical Association of San Francisco 


Founded December 20, 1909 Incorporated February 3, 1910 


OFFICERS 
J. B. Levison, President 
W. C. VAN ANTWERP, Vice-President 
WALTER S. MarTIN, Treasurer 











Mrs. IRwIN Crocker, Honorary Vice-President 
Mrs. E. S. HELLER, Honorary Vice-President 
A. W. WIDENHAM, Secretary-Manager 


BOARD OF GOVERNORS 




















R. I. Bentley John S. Drum John A. McGregor 
Miss Lena Blanding Sidney M. Ehrman John D. McKee 
Miss Louise A. Boyd Milton H. Esberg R. C. Newell 
George T. Cameron Mortimer Fleishhacker F. R. Sherman 

Selah Chamberlain F. J. Koster B. F. Schlesinger 
Mrs. Irwin Crocker J. B. Levison Mrs. M. C. Sloss 
William H. Crocker Walter S. Martin Mrs. Sigmund Stern 
E. R. Dimond Clay Miller W.C. Van Antwerp 
A. B. C. Dohrmann L. F. Monteagle Eli H. Wiel 


Mrs. M. S. Koshland, ex-officio 


EXECUTIVE COMMITTEE 
W. C. Van ANTWERP, Chairman 
Mrs. Irwin Crocker A. B. C. Dohrmann Walter S. Martin 
Mortimer Fleishhacker John D. McKee 





MUSIC COMMITTEE 


R. GC. NEwELL, Chairman 
Mrs. M. C. Sloss F. R. Sherman 








WOMEN’S AUXILIARY 


Mrs. M. S. KosHLAND, Chairman 
Miss LENA BLANDING, Vice-Chairman Mrs. M. GC. Porter, Vice-Chairman 







EXECUTIVE OFFICES 
Fifth Floor, 244 Kearny Street 
Telephone Garfield 2819 






A. W. WIDENHAM, Secretary-Manager 
HOWARD G. HANVEY, Press Representative 


eres param < orn — ne Pea ee r- 


ark 





—E 
- Y 


| 
| 
i} 
i 






en 
srescabteerens 


or 
“ENE 


sacataencnonsaas oa one . 
. . a * S, 2 ~ 5 pititeteser Ox . os eaters = none 5 " 

ms hy 

near aturanennatens 





ee ee. i gs 
oS oS S . i a & 
BS A oe me Be 
28 Sass By 5S 8 
BBY ges Bf a 
Be 25 Le E 
i. ct 3 3 =, Ye or 
4 ’ te i. ye 
4 e BS 3 ae # 
ASS % tr st 

3 Es Sy 34 

. we PA Ps coe 
Columbia-Kolster 


Viva-tonal — The 
Electric Repro- 
ducing Phono- 
graph — ‘like life 
itself” —A tri- 
umph of sound 
reproduction and 
amplification. 


Price $525 


Se III III II RIAA RY 


DOCOOOOOOOOONOAAA 


The FINAL 
MIRACLE OF MUSIC 


@ This Viva-tonal Columbia instrument is nothing less than 
an absolute miracle. @ Place your hand upon the case—every 
fibre of the wood is vibrating—alive with music! Stand apart 
and shut your eyes—your whole body actually throbs with 





the impact of musical reality. You not only hear the music— 
you feel it. Q The element of superlative beauty is unmistak- 
able—the beauty that pleases the eye no less than the new 
beauty that astounds the ear. @ Ask for Columbia Master- 
works Catalog of Eighty-Seven Album Sets Comprising the 
Most Celebrated Works of the Great Composers. 


THE COLUMBIA PHONOGRAPH COMPANY 


941 Mission Street, San Francisco, Calif. 


Shubert Week—Back|to Melody — Nov. 18-25 
Organized by Columbia Phonograph Company 

















The San Francisca Symphony Orchestra 
ALFRED HERTZ, Conductor 


(Steinway Piano Used) 


1928——Season—1929 


THIRD POPULAR CONCERT 
745th Concert 


Saturday Evening, December 8, 8:20 o’clock 
DREAMLAND AUDITORIUM 


PROGRAMME 


ree tawres: Pe CTOs i ibes dot a ee A a a oy Massenet 


Pel eel eameine site. ONO.) | iis oo. ye ccu he opt 
Prelude 

Minuet 

Adagietto 

Carillon 
















2 Pel onaise ser ey AION he ea Ll LB le 


_ Symphonie Poem, Pimlangia cn 2.n2-...3-2-00 25: 


Intermission 







Ga)! Pte iotaek) Seaior see 7.9 ese Poteet at 
Ap hi st to ah ee Or Dalle co ae Be OCS ae ak NS Salen Luigini 
(c) Andante Cantabile, for Strings.............. Tschaikowsky 


Ser ibesied fey 't La IA MBOE 1. bok ac Cech hela tedan ewdauae 





You are cordially invited to Victor Lichtenstein 


attend the Semi-monthly 
Instruction 


Recitals of the 


in the 
Art 
of 
U1olin 
Playing 


Eight of Mr. Lichtenstein’s 


pupils became members of 


ARRILLAGA the St. Louis Symphony 
MUSICAL COLLEGE Orchestra. 


Write or phone for programs. Stup10o: 3145 WASHINGTON STREET 


Telephones: Fillmore 6146 
2351 Jackson Street Walnut 3742 Fillmore 4948 





eAn Ideal Christmas Gift 
SEASON: 2ICREEL 


or 


YOUNG PEOPLE’S SYMPHONY 
CONCERTS 


San Francisco Symphony Orchestra 
WHEELER BECKETT, conducting 
CURRAN THEATRE 
(Series of five Friday afternoon concerts) 
January 18, February 1, February 15, March 1, March 15 
Season Tickets: $5.00, $4.00, $2.50 
On Sale at Sherman, Clay & Co. 

ALICE METCALF 


Executive Manager 
Hotel Mark Hopkins 


San Francisco 


114 





Overture, “‘Phedre”’ - - - - - Jules Massenet 
(Born May 12, 1842, at Montaud; died August 13, 1912, at Paris) 


This overture, based upon a mythological legend, has been de- 
scribed as having for its subject “the power of love, and its inexorable 
fate when disregarding the commands of duty.”’ 

Phedre 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 en- 


joyed the protection of the nymph Egeria. 


“L’Arlesienne”’ Suite, No. 1 - - - - Georges Bizet 


(Born October 25, 1838, at Paris; died June 3, 1875, at Bougival) 


‘“T’Arlesienne’” (The Woman of Arles), a drama, was produced 


Established 1852 





QUALITY 
PRESTIGE 
SERVICE 


SHREVE & COMPANY 


“fewelers and Silversmiths 


Post Street at Grant Avenue 
San Francisco 


115 











T VIOLINIST OF THE 
SSTRING QUARTET 


Announces 
THE OPENING OF A STUDIO FOR 


INSTRUCTION 
IN VIOLIN AND 
ENSEMBLE 


INTERVIEWS BY APPOINTMENT 
TELEPHONE OR WRITE 


a 


“Management 


ALICE SECKELS 


FAIRMONT HOTEL 
Douglass 7267-8800 


Louis Ford 


Concert 


V iolinist 
TEACHER 


Available for Solo, Sonata, Trio and 
Quartet engagements. 


Eighteen years in Chamber Music: 
San Francisco Quintet Club, Chamber 
Music Society of San Francisco, Per- 
singer String Quartet. 


Twelve years first violinist with San 
Francisco Symphony Orchestra; Assis- 
tant Concert Master for Season 1917 to 
1925. 

PUPILS ACCEPTED 
Coaching in ensemble playing. 
Assistant teacher for beginners under 

my personal supervision. 


1610 Plymouth Av, Phone Delaware 0201 


Dunning System of Improved Music Study 
CarRIE LouUISE DUNNING, Originator 


8 West 40th Street, New York City 
834 South Plymouth Boulevard, Los Angeles, Calif. 


HE Greatest Musical Event in New York City in the past several decades was the 
playing of a ten-year-old Dunning pupil with the New York Philharmonic Orchestra, 
March 20th, 1926. The child had only studied one year and eight months. She 
played Le Carnaval des Animaux, by Saint-Saens. The piece is twenty-three pages long. 
She memorized it in three weeks. If you have any plan for teaching that can bring such 
results in that length of time—then you do not need the Dunning System. If you have 


not, then you do. 


Faculty of Normal Teachers—Classes Held in these Cities 


KATHARINE M. ARNOLD, 93 Madison St., 
Tiffin, O. 

ALLIE E. Barcus, 1006 College St., Ft. 
Worth, Tex. 

ELIzETTE R. Bartow, Box 1244, St. Peters- 
burg, Fla. 

CATHERINE C, Brirp, 658 Collingwood Ave., 
Detroit, Mich, 

Grace A. Bryant, 201—10th Ave., N. Twin 
Falls, Idaho. 

Dora A. CHASE, 345 Clinton Ave., Brook- 
lyn, N. Y. 

Appa C. Eppy, 136 W. Sandusky Ave., 
Bellefontaine, O. 

BeaTRIcE S. ErKxet Kipp, Key College, 
Sherman, Tex. 

Ipa GARDNER, 17 E. 6th St., Tulsa, Okla. 

Giapys M. GLenn, 1217 Bowie St., Am- 
arillo, Tex. 

FLORENCE E. Graste, Michigan State In- 
stitute of Music, Lansing, Mich. 


HaArRIET Bacon MacDonatp, 6010 Belmont 
Ave., Dallas, Tex. 

KATE DELL MARDEN, 61 N. 16th St., Port- 
land, Ore. 

Mrs. W. P. Mason, 302 Mid. City Bank 
Bldg., Chicago, Ill. 

Laup G. Puipren, 3435 Ashbury Ave., 
Dallas, Tex. 

Evuie I. Prince, 4106 Forest Hill Ave., 
Richmond, Va. 

VIRGINIA Ryan, 1070 Madison Ave., New 
York. 

STELLA H. Seymour, 1219 Garden St., San 
Antonio, Tex. 

GERTRUDE THOMPSON, 508 W. Coal St., 
Albuquerque, N. M. 

IsopeEL M. Tone, 626 Catalina St., Los An- 
geles, Calif. 

Mrs. H. R. Watkins, 124 E. 11th St., 
Oklahoma City, Okla. 


Mrs. JEAN WARREN CARRICK 
(Normal Teacher) 


25 Lake Street, San Francisco 


116 


Classes formed upon Arrangement 





© eee 


in Paris on October |, 1872, it being the work of Alphonse Daudet, 
with incidental music by Bizet, twenty-seven musical numbers having 
been provided. Although the play was not successful, the music is 
considered among the finest of Bizet’s writings. Bizet himself arranged 
the suite played this evening, and a second suite was arranged by 
Ernest Guiraud after Bizet’s death. 


The first movement, Prelude, opens with a sturdy theme given 
out by the deeper woodwinds, horns, and strings (exclusive of the 
basses) in unison. The first violins and violas (muted) play pianissi- 
mo, a rich, songful melody, which later is given out more sonorously 
by all the strings (muted and in octaves), over an accompaniment 
from the woodwinds and brasses. —The second movement, Minuet, is 
a dainty, tripping composition in the usual minuet form, with a trio 
built above a persistently droning bass—somewhat like the “‘musette’’ 
of a gavotte. The third movement is a beautiful, nocturne-like 
Adagietto; a somewhat brief composition of the romanza type, scored 
for the muted strings only, without the basses. The last movement is 
a carillon, a form of musical composition in which the persistent imita- 
tion of a chime of bells is made the framework over which a fabric of 
ingenious melodic invention is woven. In this instance the bell-motive 
is made up of the three tones—G sharp, E and F sharp—reiterated, 


VOJMIR ATTL 


Harpist 
San Francisco Symphony Orchestra 


For engagements 


JOHN BUBEN as Solo Artist, Accompanist, or 


Fur Fashion’s Creator Player in Ensemble Music 
Fur Artistry and Craftsmanship for STUDIO 
discriminating fur lovers. Furs re- Si vadinath Clay ie ite 


styled as Jacquettes, or in the latest 
Creations. Mondays and Thursdays 


57 GEARY ST. Y to.? P.M, 


K 587 
Phone Kearny 5873 Studio Phone Residence Phone 


Paris Office 2 
52 Rue du Faubourg—Montmartre Sutter 6000 SKyline 2757 





117 











for the most part, by the horns and harp, while the other instruments 
build up a delicate gauze-work of vivacious melody all about it. The 
trio—in 6-8 time, is a graceful, idyllic episode. 


Polonaise in E major - - - - - - Franz Liszt 
(Born October 22, 1811, at Raiding; died July 31, 1886, at Bayreuth) 

Franz Liszt 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. 


Symphonic Poem, “Finlandia” - - - - Jean Sibelius 
(Born December 8, 1865, at Tavastehus, Finland) 

‘‘Finlandia’’ was composed in 1894, and is supposed to record 
the ‘impressions of an exile’s return home after a long absence.”’ 
While the themes have a decided Finnish folk-song character, Sibelius 
himself has stated that they are absolutely his own. The work is a 


HAZEL DREIS 


FINE BOOKBINDINGS 


MUSIC BINDING 
BOUND TAUGHT 


DOuglas 0328 545 Sutter Street, San Francisco 


San Francisco Conservatory of Music 


Ernest Bloch, Director 
Ada Clement, Lillian Hodghead, Associate Directors 


ERNEST BLOCH 
will tell the composer's story of his 
“AMERICA” SYMPHONY 
Tuesday Evening, December 11, 1928 


SOROSIS HALL 
Tickets now on sale at Sherman, Clay & Co. 








remarkable tone picture of the intense national spirit of this hardy race 
of the North. When first performed at Helsingfors it is said to have 
aroused the audience to such a frenzy of enthusiasm that future per- 
formances were prohibited by the Russian government for fear of its 


creating anti-Russian demonstrations. 


Andante Cantabile from String Quartet, Opus 11 
- - - - - - Peter Iljitch Tschaikowsky 


(Born May 7, 1840, at Wotkinsk; died November 6, 1893, at Leningrad) 

Tschaikowsky wrote his first string quartet, his Opus 11, in 1871, 
for a concert which he gave in Moscow in order to raise funds to un- 
dertake foreign travel. He was professor at the Moscow Conserva- 
tory at the time at a very small salary, and at the suggestion of his 
friend, Nicholas Rubinstein, arranged a concert of his works to secure 
money for the travels he had planned. As there was no orchestra 
available for this concert, Tschaikowsky wrote a quartet for it, which 
was his first work in the line of chamber music. It was very success- 
ful, and the slow movement, which is being played this evening by all 
the strings, has become a favorite concert number. 

The Andante Cantabile is based on a Russian folk song with 
which Tschaikowsky became acquainted in a peculiar manner. A 
plasterer was working outside the house in which the composer was 


The 


Margaret Mary Morgan Co. 


PRINTERS 
Engraving — Publishing 


MARGARET 
A Complete Stock of 


Christmas Cards fh sf 1 LWY 


PIANIST 
Will be on the Pacific Coast during 
the entire season, 1928-1929 
Concert Management 


ELWYN CONCERT BUREAU 
PHELAN BUILDING 


Studio: 
/ 3 450 GRANT AVENUE 
619 California Street Telephone Kearny 8289 
SAN FRANCISCO 


Davenport 450 


119 





ene PD ly i meta esha iit 


2 














living. Tschaikowsky heard him humming a song several times while 
at work. He took down the song and used it as the principal theme 
of this section of his quartet. Later the song, which is a Russian folk 
tune, was included in the collection of Russian folk songs compiled by 
Rimsky-Korsakow. 


Aubade~ - - - - - - : Alexandre Luigini 
(Born March 9, 1850, at Lyons; died July 29, 1906, at Paris) 


Alexandre Luigini was a celebrated French conductor and com- 
poser, although his orchestral works were more or less confined to the 
smaller forms and ballet. The Aubade is an early work, and is written 
for three flutes, one oboe, two clarinets, one horn, one bassoon and 
harp. In form it is a playful, lively serenade, ““Aubade’’ meaning a 
morning serenade to be played in the open as opposed to “Serenade” 
or evening music. 


Air from D major Suite - - - Johann Sebastian Bach 
(Born March 21, 1685, at Eisenach; died July 28, 1750, at Leipzig) 


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 


JANET ROWAN HALE 


Pianist and Teacher 


Studio 902 
26 O'Farrell Street Berkeley and Piedmont 
Phone Davenport 5486 Phone Oakland 8663 


30 years violin specialist in St, Louis and Chicago Expert Repairing 


S. O. ALLISON 
VIOLIN MAKER, CONNOISSEUR AND APPRAISER 


Agent for Andres Morellis hand-made Violins, Violas, Cellos, Basses 
Artist Bows by G. A. Pfritzschner 
and other celebrated Bow Makers 
45 GEARY STREET 
Dealer in New and Old Violins, San Francisco, Cal. 
"Cellos and Bows Formerly I. A. Lutz 
Strings and Accessories Davenport 415 


120 








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. 


Overture to “‘Tannhauser’”’ - - - - Richard Wagner 
(Born May 22, 1813, at Leipsic; died February 13, 1883, at Venice) 


Of the “Tannhauser’’ Overture, Wagner himself has left the fol- 
lowing programme: 

‘‘To begin with, the orchestra leads before us the Pilgrim’s 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 ‘Venusberg’s’ seductive spells, that show them- 
selves 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 ap- 
pearsto him. Then heart and senses burn within him; a fierce devour- 
ing passion fires the blood in 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 Venusberg unroll 


Julian Brodetsky 


ASSISTANT CONCERT MASTER 
SAN FRANCISCO SYMPHONY ORCHESTRA 


Violin Instruction 


Studio 
Phone SKyline 4855 189 Commonwealth Avenue 





12] 








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. Merely a wanton whir still pulses in the 
breeze, a wave of weird voluptuousness, like the sensuous breath of 
unblest love, still soughs above the spot where impious charms had 
shred their raptures, and over which the night now broods once more. 
But dawn begins to break already; from afar is heard again the Pil- 
grims 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 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, redeemed 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.”’ 


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, 1928 
$118,615,481.57 


Capital, Reserve and Contingent Funds 5,000,000.00 
Pension Fund over $610,000.00, 
standing on Books at 1.00 


MISSION BRANCH 

PARK-PRESIDIO BRANCH 

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 





Jersonnel 


The San Franciseo Sumphony Orchestra 


ALFRED HERTZ, CONDUCTOR 


FIRST VIOLINS 


Piastro, Mishel 
Concert Master 


Fenster, Lajos 
Assistant Concert Master 


Brodetsky, Julien 
Assistant Concert Master 


Meriz, Emilio 

Ford, Louis W. 
Jensen, Thorstein 
Gordohn, Robert 
Mendelevitch, Rodion 
Laraia, William F, 
Mortensen, Modesta 
Koenig, Hans 

See, Orley 

Pasmore, Mary 
Atkinson, Helen E. 
Wolski, William 


Ruiz, Ricardo 


SECOND VIOLINS 


Heyes, Eugene 
Principal 


Rosset, Emil 
Amsterdam, Max 
Callinan, W. G. 
Paterson, J. A. 
Gold, Julius 


- Haug, Julius 
Gough, Walter 


Firestone, Nathan 
Simonsen, Frances 
Wegman, William 
Tolpegin, Victor 
Hoffman, Henry H. 
Dabelow, William 


VIOLAS 

Verney, Romain 

Principal 
Hahl, Emil 
Baker, F. A. 
Wismer, Hother 
Weiler, Eric 
Lichtenstein, Victor 
Dierich, Franz 
Triebel, August 
Kolb, Richard 
Lewis, Arthur 


"CELLOS 


Penha, Michel 
Principal 


Dehe, Willem 

King, Otto 
Villalpando, Wenceslao 
Kirs, Rudolph 
Pasmore, Dorothy 
Reinberg, Herman 
Gough, Flori 

Hranek, Carl 

Haight, Rebecca 


BASSES 


Previati, Louis J, 
Principal 


Bell, Walter 
Storch, A. E. 
Guterson, Aaron 
Schulz, Emil 
Schmidt, Robert E. 
Frederick, Oscar 
Schipilliti, John 


FLUTES 
Linden, Anthony 


Oesterreicher, Walter 
Orchestral Manager 


Benkman, Herbert 


PICCOLO 
Benkman, Herbert 


OBOES 
Addimando, Caesar 
Shanis, Julius 


Schipilliti, Vincent 


ENGLISH HORN 
Schipilliti, Vincent 


CLARINETS 


Randall, Harold B. 
Zannini, Nicolai 
Fragale, Frank 
Triebel, August 


BASS CLARINET 
Fragale, Frank 


123 


BASSOONS 
Kubitschek, Ernest 
La Haye, E. B. 
Hranek, Carl 


CONTRA BASSOON 
Kolb, Richard 


HORNS 
Hornig, Walter 
Roth, Paul 
Tryner, C. E. 
Rocco, R. 


Trutner, Herman 


TRUMPETS 
Drucker, Vladimir 
Barton, Leland S. 
Savant, Silvio 
Kegel, Otto 
Kress, V. 


TROMBONES 


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


TUBA 
Murray, Ralph 


HARP 


Attl, Kajetan 
Attl, Vojmir 


TYMPANI 
Wagner, Roland E. 


PERCUSSION 


Vendt, Albert, Jr. 
Salinger, M. A. 
Kundy, E. 


PIANO AND CELESTA 
Tibbitts, J. P. 


LIBRARIAN 
Kegel, Otto 








AO SP A Oe, PP oO oe, OP, OO a ee i i i i 











ne | AM using the Stemway piano 
now for many years and am 
enjoying its superior qualities so 
ie much that I cannot 


imagine how I ever could 





get along without one. 


It is like a good friend of a 
whom you get fonder ()\ 


i 
the more you know eo Nn 
: \ | 


him.’ 


The home of the Steinway ts 


Sherman @lay & Co. 


Kearny and Sutter Streets, San Francisco 
Mission Street, near Twenty-first 
Fillmore Street, near Post 
Fourteenth and Clay Streets, Oakland 
3420 E. 14th Street, Fruitvale 
Telegraph and Channing Way, Berkeley 
1315 Burlingame Avenue, Burlingame 


7 
: 

if 

7 
| 








SAN FRANCISCO CISCO 
SYMPHO ONYE| 
PO oe 


oe Maintained by Ke, 
aR The Musical « |G 
‘Ui Association of |d a 
















San Francisco 


“abd fidie- 


1928 1929 
Eighteenth Season 

















ANNOUNCEMENT 


FOURTH POPULAR CONCERT 


Saturday Evening, December 22 
Dreamland Auditorium 


Soloist: WILLIAM WOLSKI, Violinist 








PROGRAMME 
|. Selections from ““A Midsummer Night’s Dream”’ 

Pies Det he itt ak Tae. SN ee Be Mendelssohn 
es LE OOT: Rant aitee: APTN ras kun. tc We, toy false sate Grieg 
3. Waltz from “Eugene Onegin’’...................... Tschaikowsky 
ao Cathie tort Oneron it. eh el ee aie ee Weber 
27 Vaonn Concérte, in. Eammor....0400 ok Ss Mendelssohn 

WILLIAM WOLSKI 
6. Introduction to Act III, “Lohengrin’’................... Wagner 
FIFTH PAIR OF SYMPHONY CONCERTS 
Friday, December 28, 3:00 P. M. 
Curran Theatre 
Saturday, December 29, 8:20 P. M. 
Dreamland Auditorium 
Soloist: E. ROBERT SCHMITZ, Pianist 
PROGRAMME 
1.) Overture to,“ ‘Iphicenie ins Aulie oe Gluck 
Zi) Concerto i F minoptoars tatio ws. cel Sek cc ae Bach 
(First time at these concerts) 
3... Caseerte Ne) 2 for’ Piano ack 8 eo, Bae Tansman 
(First time in San Francisco) 
4. Symphonyur Duminor, 7h kote Pe Cesar Franck 


Symphony Box Office, Sherman, Clay & Co.; hours, 9 to 5. Tickets 
may also be obtained at other Sherman, Clay & Co. bay city stores. 
Friday tickets on sale at Curran Theatre after 10 a. m. on day of con- 
cert. Box office at Dreamland Auditorium open at 7 p. m. on concert 
days. 








126 





Musical Association of San Sranciseo 


Founded December 20, 1909 Incorporated February 3, 1910 


OFFICERS 
J. B. Levison, President 
W. C. VAN ANTWERP, Vice-President 
WALTER S. MARTIN, Treasurer 
Mrs. IRWIN CrocKER, Honorary Vice-President 
Mrs. E. S. HELLER, Honorary Vice-President 


A. W. WIDENHAM, Secretary-Manager 


BOARD OF GOVERNORS 


R. I. Bentley John S. Drum John A. McGregor 
Miss Lena Blanding Sidney M. Ehrman John D. McKee 
Miss Louise A. Boyd Milton H. Esberg R. C. Newell 
George T. Cameron Mortimer Fleishhacker F. R. Sherman 
Selah Chamberlain F. J. Koster B. F. Schlesinger 
Mrs. Irwin Crocker J. B. Levison Mrs. M. C. Sloss 
William H. Crocker Walter S. Martin Mrs. Sigmund Stern 
E. R. Dimond Clay Miller W.C. Van Antwerp 
A. B. C. Dohrmann L. F. Monteagle Eli H. Wiel 

Mrs. M. S. Koshland, ex-officio 


EXECUTIVE COMMITTEE 


W.C. VAN ANTWERP, Chairman 
Mrs. Irwin Crocker A. B. C. Dohrmann Walter S. Martin 
Mortimer Fleishhacker John D. McKee 


MUSIC COMMITTEE 


R. C. NEWELL, Chairman 
Mrs. M. C. Sloss F. R. Sherman 


WOMEN’S AUXILIARY 


Mrs. M. S. KosHLAND, Chairman 
Miss LENA BLANDING, Vice-Chairman Mrs. M. C. Porter, Vice-Chairman 


EXECUTIVE OFFICES 
Fifth Floor, 244 Kearny Street 
Telephone Garfield 2819 


A. W. WIDENHAM, Secretary-Manager 
HOWARD G. HANVEY, Press Representative 





127 








Choose from 87 
Album Sets 


including the Great Schubert 
Centennial Memorial Edition — 
16 of Schubert’s immortal works 
conveying the essence of his 
unique gifts. 


Ch 


FRAO 


Other composers represented in 


COLUMBIA 





OPEL LD EOS EL FED TEES 
1s é; 


id MASTERWORKS* 
Bach Haydn 
Beethoven Holst 
Berlioz Lalo 

N Brahms Mendelssohn 
Bruch Mozart 
Chopin Ravel 
Debussy Saint-Saens 
Dvorak Strauss 
Franck Tschaikowsky 
Grieg Wagner 


in a selected list of symphonies, concertos, 
sonatas and chamber music. All works in 5 


\ 


ANS 


or more parts are enclosed in attractive art 


aN 


albums. 


Ask for Columbia Masterworks Catalogue 


““ Magic Cy Notes”’ 


COLUMBIA PHONOGRAPH COMPANY 
941 Mission Street, San Francisco, Calif. 


COLUMBIA 


“NEW PROCESS” RECORDS 


REG. U.S. PAT. OFF. 





IWSSATINSSAILOR ANIL ONS AE: 


we « 


Made the New Way—Electrically—Viva-tonal Recording 
The Records without Scratch 


Schubert Week, Nov. 18-25. Organized 
by Columbia Phonograph Co. 
* Reg. U.S. Pat. Off. 





TON 


128 





The San Francisco Symphony Orchestra 
ALFRED HERTZ, Conductor 


(Steinway Piano Used) 


1928—Season—1929 


FOURTH PAIR OF SYMPHONY CONCERTS 
746th and 747th Concerts 


Friday Afternoon, December 14, 3:00 o’clock 
CURRAN THEATRE 


Saturday Evening, December 15, 8:20 o’clock 
DREAMLAND AUDITORIUM 


Soloist: CARL FRIEDBERG, Pianist 


PROGRAMME 


1. Concerto for Piano, No. 2, in B flat major Brahms 
Allegro non troppo 
Allegro appassionato 
Andante 
Allegretto grazioso 
(First time at these concerts) 


CARL FRIEDBERG 
Intermission 


2. Scherzo, “The Sorcerer's Apprentice’ 


3. Symphony in E flat major 
Adagio—Allegro 
Andante con moto 
Menuetto: Allegretto 
Finale: Allegro 


(The Piano is a Steinway) 





SAN FRANCISCO * ° ¢ 
eitihaaad Aletvere Victor Lichtenstein 


OF MUSIC “25 Instruction 


ERNEST BLOCH, Director EPs ‘ 
Ada Clement and ¥ ii in the 
Lillian Hodghead | 


Associate Directors 


ROBERT POLLAK » ~ Be vay 
(head of string department) ~- e “U10lin 
Playing 


will appear in 


VIOLIN RECITAL 


Tuesday Evening, January 8th, 
at 8:30 o’clock 


SOROSIS HALL 


Admission - $1.00 
Students - - 50 


Tickets on Sale at 
Sherman, Clay and Company 
Telephones: Fillmore 6146 


and the 
San Francisco Conservatory of Music Fillmore 4948 


Eight of Mr. Lichtenstein’s 
pupils became members of 
the St. Louis Symphony 
Orchestra. 


Strupio: 3145 WASHINGTON STREET 


eAn Ideal Christmas Gift 
Sb A SING ¢ Ee Reg 


or 


YOUNG PEOPLE’S SYMPHONY 
CONCERTS 


San Francisco Symphony Orchestra 
WHEELER BECKETT, conducting 


CURRAN THEATRE 


(Series of five Friday afternoon concerts) 
January 18, February 1, February 15, March 1, March 15 
Season Tickets: $5.00, $4.00, $2.50 
On Sale at Sherman, Clay & Co. 

ALICE METCALF 
Executive Manager 


Hotel Mark Hopkins 


San Francisco 








Concerto for Piano, No. 2 in B flat major - - Johannes Brahms 


(Born May 7, 1833, at Hamburg; died April 3, 1897, at Vienna) 


About the middle of July, 1881, Brahms forwarded this concerto 
to his friend, Theodor Billroth, with the words, “| am sending you 
some small piano pieces.” However, Brahms was accustomed to 
speak of his large works in this fashion. ‘It is always a delight to 
me,” wrote Billroth, ““when Brahms, after paying me a short visit, 
during which we have talked of indifferent things, takes a roll out of 
his overcoat pocket and says, casually, ‘Look at that and write me 


what you think of it.’ ”’ 


The first performance of the B flat concerto took place at Buda- 
pest, November 9, 1881, Brahms himself playing the solo part. The 
work is one of giant proportions. Instead of the usual three move- 
ments of the classical concerto, it covers the space of four fully devel- 
oped moods. And just as in his first concerto, Brahms did not con- 
ceive of this musical form as a mere means for the display of virtuosity, 
and write for a piano with orchestra obligato. Instead, as has been 


said, he composed ‘‘a symphony with pianoforte obligato.”” Walter 


Sranilen £252 





QUALITY 
PRESTIGE 


SERVICE 


SHREVE & COMPANY 


“fewelers and Silversmiths 


Post Street at Grant Avenue 
San Francisco 





131 





T VIOLINIST OF THE 
BAS STRING QUARTET 


Announces 


THE OPENING OF A STUDIO FOR 


INSTRUCTION 
IN VIOLIN AND 
ENSEMBLE 


INTERVIEWS BY APPOINTMENT 
TELEPHONE OR WRITE 


a 


“Management 


ALICE SECKELS 


FAIRMONT HOTEL 
Douglass 7267-8800 


Louis Ford 


Concert 


V iolinist 
TEACHER 


Available for Solo, Sonata, Trio and 
Quartet engagements. 


Eighteen years in Chamber Music: 
San Francisco Quintet Club, Chamber 
Music Society of San Francisco, Per- 
singer String Quartet. 


Twelve years first violinist with San 
Francisco Symphony Orchestra; Assis- 
tant Concert Master for Season 1917 to 
1925. 


PUPILS ACCEPTED 
Coaching in ensemble playing. 
Assistant teacher for beginners under 

my personal supervision. 


1610 Plymouth Av, Phone Delaware 0201 


Dunning System of Improved Music Study 
CARRIE LouISE DUNNING, Originator 
8 West 40th Street, New York City 
834 South Plymouth Boulevard, Los Angeles, Calif. 


HE Greatest Musical Event in New York City in the past several decades was the 
playing of a ten-year-old Dunning pupil with the New York Philharmonic Orchestra, 


March 20th, 1926. 
She memorized it in three weeks. 


not, then you do. 


The child had only studied one year and eight months. She 
played Le Carnaval des Animaux, by Saint-Saens. 


The piece is twenty-three pages long. 


If you have any plan for teaching that can bring such 
results in that length of time—then you do not need the Dunning System. 


If you have 


Faculty of Normal Teachers—Classes Held in these Cities 


KATHARINE M. ArRNoLp, 93 Madison St., 
Tiffin, O. 

Ature E. Barcus, 1006 College St., Ft. 
Worth, Tex. 

ELIzETTE R. Bartow, Box 1244, St. Peters- 
burg, Fla. 

CATHERINE C. Birp, 658 Collingwood Ave., 
Detroit, Mich, 

Grace A. Bryant, 201—10th Ave., N. Twin 
Falls, Idaho. 

Dora A. CuHasE, 345 Clinton Ave., Brook- 
lyn, N. Y. 

Appa C. Eppy, 136 W. Sandusky Ave., 
Bellefontaine, O. 

Beatrice S. ErKket KIpp, 
Sherman, Tex. 

Ipa GarpNER, 17 E. 6th St., Tulsa, Okla. 

Giapys M. GLennN, 1217 Bowie St., Am- 
arillo, Tex. 

FLORENCE E. GRASLE, Michigan State In- 
stitute of Music, Lansing, Mich. 


Key College, 


HarriEt Bacon MaAcDOoNALp, 6010 Belmont 
Ave., Dallas, Tex. 

Kate Dett MARDEN, 61 N. 16th St., Port- 
land, Ore. 

Mrs. W. P. Mason, 302 Mid. City Bank 
Bldg., Chicago, Ill. 

Laup G. Puripren, 3435 Ashbury Ave., 
Dallas, Tex. 

Eyre I. Prince, 4106 Forest Hill Ave., 
Richmond, Va. 

VirRGINIA RYAN, 1070 Madison Ave., New 
York. 

SteLtta H. SEyMour, 1219 Garden St., San 
Antonio, Tex. 

GERTRUDE TuHompson, 508 W. Coal St., 
Albuquerque, N. M. 

IsopeL M. Tone, 626 Catalina St., Los An- 
geles, Calif. 

Mrs. H. R. Warkxins, 124 E. 11th St., 
Oklahoma City, Okla. 


Mrs. JEAN WARREN CARRICK 
(Normal Teacher) 


25 Lake Street, San Francisco 


132 


Classes formed upon Arrangement 











Neimann asserts that Brahms was trying to write a piano concerto and 


a symphony at the same time. 
James G. Heller has analyzed the work as follows: 


‘‘The first movement breathes the air of the idyllic, sun-flooded 
landscape. It is full of the odor of earth, the sense of billowing hills. 
Yet even here is some complaint, and the desire to be up and away. 
The movement abounds with themes, with pregnant and chiseled 
phrases, which make its construction somewhat difficult to follow. Its 
main lines, however, stand out monumentally. It begins at once with 
an announcement of the main theme, by the horn, a call of the bur- 
nished woods, to which the piano answers in soft rounded wave of 
sound. Woodwinds and later strings sing a mild reply. The piano 
dashes into a cadenza, which whips itself up until the orchestra bursts 
in with a full-throated proclamation of the main subject. After this 
subsides, the second theme enters quietly in the violins, over a pizzi- 
cato accompaniment by violas and ‘cellos. The exposition comes to 
an end upon a close built on the chief subject. The development 
section begins with full chords and sweeping octaves in the piano. 
Soon the orchestra chants jubilantly, the piano marching upward with 
bold and determined stride. There follows much converse, calmly 
and in passion, upon fragments of the main theme,—then in elegiac 


VOJMIR ATTL 


Harpist 
San Francisco Symphony Orchestra 


For engagements 


JOHN BUBEN as Solo Artist, Accompanist, or 


Fur Fashion’s Creator Player in Ensemble Music 
Fur Artistry and poe eagle ap for STUDIO 
discriminating fur lovers. urs re- 
styled as Jacquettes, or in the latest Sherman, Clay & Co. 
Creations. Mondays and Thursdays 

57 GEARY ST. |) te: -3 PM: 

h K 5873 

dea ansaid Studio Phone Residence Phone 


Paris Office : 
52 Rue du Faubourg—Montmartre Sutter 6000 SKyline 2757 








ay 


PE Sia LF et Nt cI ee ERR i EE A LN 


- = 











strain upon the second. One of the most interesting sections of the 
working-out is a solo passage for the piano, in which it has a powerful 
variation upon the second theme in widely scattered triplets. Still 
more play, in light and shadow, upon the two subjects, and then a 
highly original transition escorts us back to the well-remembered 
winding of the horn and the answering curve of the piano. The 
recapitulation introduces much that is new in treatment and modula- 
tion. The coda is begun with the bold triplet passage in the minor, 
adverted to above. There is first triumphant heralding of the initial 
subject, then some charming lyric weaving about its second part ;—its 
close is a delirious winding of the forest-horn. 


‘‘The second movement is the scherzo, to which Brahms refers 
as ‘a tiny little wisp.’ Neither in dimension nor in spirit is it this. In 
this movement the soul of the earlier, D minor concerto still lives, the 
bardic Brahms, the Brahms of the ballades and rhapsodies. It alone, 
of the four sections of this epic, is dour and sardonic. The theme 
begins at once in the piano, with the aid of violas, ‘cellos, and basses. 
Piano and orchestra hurl it at each other, until a quieter section ensues. 
But we are still in the land of lowering shadows. The lower strings 
mutter comments of the opening notes of the theme, as the piano 


HAZEL DREIS 


FINE BOOKBINDINGS 


MUSIC BINDING 
BOUND TAUGHT 


DOuglas 0328 545 Sutter Street, San Francisco 


You are cordially invited to attend the 
Semi-monthly Recitals of the 


ARRILLAGA MUSICAL COLLEGE 


2351 Jackson Street 
Write or phone for programs. Walnut 3742 


134 





continues its exposition. All is wild and wayward, until at last the 
orchestra lashes itself into complete abandon of rage, which suddenly 
bursts into what corresponds to the trio, in D major, for strings and 
horns. After a mysterious cadenza by the piano, and some play by it on 
the theme, there is another fortissimo hymning of the motive. An 
eerie transition leads back to the scherzo. Again is this no mere 
routine repetition, but a new treatment of the same material. 


‘‘The third movement is one of the loveliest and most intimate 
movements written by Brahms. The theme of the solo ‘cello with 
which it begins comes from the beautiful song, ‘Immer leiser wird mein 
Schlummer. Instead of the devout joy of the adagio of the D minor 
concerto is the quiet happiness that comes from the peace of beauty. 
Quietly the ‘cello begins its song. The melody passes from instru- 
ment to instrument, until at last the piano lovingly garlands it with 
woven blossoms. More fragmentary, and gloomier it grows, as the 
mode shifts to minor. A contrasting section begins with a subject, 
also used by Brahms in one of his songs given forth by clarinet and 
piano. But the interlude is brief, and the melody of the solo ‘cello 


returns. 


‘The Fourth Movement. Instead of the masculine force of the 
rondo with which the farst concerto ends, this rondo is of a light and 


The 


Margaret Mary Morgan Co. 


PRINTERS 
Engraving ~ Publishing 


MARGARET 


A Complete Stock of 


Christmas Cards |e } LL, oy 


PIANIST 


Will be on the Pacific Coast during 
the entire season, 1928-1929 


Concert Management 
ELWYN CONCERT BUREAU 
Davenport 450 PHELAN BUILDING 
Studio: 
450 GRANT AVENUE 


619 California Street Telephone Kearny 8289 
SAN FRANCISCO 


135 

















measured grace, a contented cheerfulness. Its intention is not to con- 


clude the concerto with a ponderous problem, but simply and freshly 
and happily. The piano begins at once with the chief subjects. After 
considerable development of this germ, there is a sudden shift of mood 
and atmosphere. What follows is an intermezzo of strongly Hun- 
garian flavor, woodwinds dancing the theme to the accompaniment of 
chords in the piano. The piano has an answering subject, of dainty 
grace. [The Hungarian scene lasts for some time, but at last yields to 
the light charm of the main rondo-theme, given first to the oboe. 
Again Brahms’ fantasy is too rich to be content with the prose of an 
exact repetition. After much airy tripping by the piano, there is a 
recurrence of the Hungarian dance, now in G minor. The coda is 
full of the joy of life, a last soaring upward of the wings, before finis 


must be said.’’ 


Scherzo, ‘“‘The Sorcerer’s Apprentice” - - - Paul Dukas 


(Born October |, 1865, at Paris) 


“The Sorcerer's Apprentice,’ entitled on the score, “an orchestral 


JANET ROWAN HALE 


Pianist and Teacher 


Studio 902 
26 O'Farrell Street Berkeley and Piedmont 
Phone Davenport 5486 Phone Oakland 8663 





30 years violin specialist in St. Louis and Chicago Expert Repairing 


S. O. ALLISON 
VIOLIN MAKER, CONNOISSEUR AND APPRAISER 


Agent for Andres Morellis hand-made Violins, Violas, ‘Cellos, Basses 
Artist Bows by G. A. Pfritzschner 
and other celebrated Bow Makers 


45 GEARY STREET 


Dealer in New and Old Violins, San Francisco, Cal. 
"Cellos and Bows Formerly I. A. Lutz 
Strings and Accessories Davenport 415 


136 








scherzo,” has for its pictorial basis the poem by the same name written 
by Goethe in 1796. The poem concerns itself with the apprentice of 
a magician, who, when his master leaves the house, proceeds to experi- 
ment with the magic formula he has heard the sorcerer utter. Using 
the cabalistic words employed by his master, the apprentice commands 
the broom to go to the shore and fetch water. The broom obeys, 
and when all the pitchers are filled the apprentice is dismayed to dis- 
cover that he cannot remember the magic utterance that will compel 
the broom to stop. Soon the room is swimming in water, and still 
the indefatigable utensil hurries to and from the river's edge. In 
desperation the apprentice resolves to stop its progress with a hatchet. 
As the broom comes in with its liquid burden the young man wields 
the weapon and the broom is split in twain. Before the sorcerer's 
apprentice has had time to utter a sigh of relief at the satisfactory 
ending of his troubles, his dismay is doubly increased. For now both 
parts of the broom are speeding to the river bank. As the water 
splashes over and around the steps and hall, the apprentice screams 
for help. And help arrives. The sorcerer enters at that moment 
and, taking in the situation, commands the carriers to desist, and both 


parts of the broom fly into their corner. 


Symphony in E flat major - - Wolfgang Amadeus Mozart 
(Born January 27, 1756, at Salzburg; died December 5, 1791, at Vienna) 

Mozart composed his three greatest symphonies at a time when 

his struggle with the hardships of life had become almost unendurable. 

It was in the summer of 1788. He had tasted the joys of a vast popu- 

lar success, with ‘‘Figaro’’ in Vienna in 1786 and “‘Don Giovanni’ at 


Prague in | 787, and the enthusiasm seemed to have waned almost as 


Julian Brodetsky 


ASSISTANT CONCERT MASTER 
SAN FRANCISCO SYMPHONY ORCHESTRA 


Violin Instruction 


Studio 
Phone SKyline 4855 189 Commonwealth Avenue 





137 


Ne eee 





nets 


swiftly as it had sprung up, leaving him bitterly disillusioned as to the 
stability of popular favor. He was desperately poor; a letter of his 
written on June 27, 1788, to a merchant friend begs for a loan, and 
speaks of the “gloomy thoughts which I must repel with all my might.”’ 
The thrifty Emperor had, indeed, appointed him court composer after 
the death of Gluck in 1787, but whereas Gluck, internationally 


famous, the favorite of two courts and possessed of a large fortune, 
had enjoyed a salary of two thousand florins, the Emperor saw fit to 
pay poor Mozart only eight hundred (about four hundred dollars). 
‘Too much for what I do,’’ Mozart wrote sadly; “‘too little for what 
I could do.”’ His unlucky marriage with Constanze Weber had added 
to his troubles; she was improvident, an invalid, and possessed of a 
tempestuous family. All in all, 1788 was a dark year in the short 
story of Mozart's life. Its hardships may possibly have accounted 
for the fact that during a considerable part of the year he wrote com- 
paratively little, but in the incredibly short space of six weeks during 
the summer he accomplished one of his characteristic miracles. Of his 
forty-nine symphonies, three stand out pre-eminent, and all these three 
were written in that six weeks time. The Symphony in E flat is dated 
June 26, the one in G minor July 25, and the one in C major (gener- 
ally known as the ‘‘Jupiter’’) August 10. 


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, 1928 
BEROER re ee ee $118,615,481.57 
Capital, Reserve and Contingent Funds....... 5,000,000.00 
Pension Fund over $610,000.00, 
standing on Books at 1.00 


Haight and Belvedere Streets 
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 





138 





FIRST VIOLINS 


Piastro, Mishel 
Concert Master 


Fenster, Lajos 
Assistant Concert Master 


Brodetsky, Julien 
Assistant Concert Master 


Meriz, Emilio 

Ford, Louis W. 
Jensen, Thorstein 
Gordohn, Robert 
Mendelevitch, Rodion 
Laraia, William F. 
Mortensen, Modesta 
Koenig, Hans 

See, Orley 

Pasmore, Mary 
Atkinson, Helen E. 
Wolski, William 


Ruiz, Ricardo 


SECOND VIOLINS 


Heyes, Eugene 
Principal 


Rosset, Emil 
Amsterdam, Max 
Callinan, W. G. 
Paterson, J. A. 
Gold, Julius 
Haug, Julius 


Gough, Walter 
Firestone, Nathan 
Simonsen, Frances 
Wegman, William 
Tolpegin, Victor 
Hoffman, Henry H. 
Dabelow, William 


VIOLAS 

Verney, Romain 

Principal 
Hahl, Emil 
Baker, F. A. 
Wismer, Hother 
Weiler, Eric 
Lichtenstein, Victor 
Dierich, Franz 
Triebel, August 
Kolb, Richard 
Lewis, Arthur 


JJersonnel 
Che Sau Francisca Sumphony Orchestra 


ALFRED HERTZ, CONDUCTOR 


"CELLOS 


Penha, Michel 
Principal 


Dehe, Willem 

King, Otto 
Villalpando, Wenceslao 
Kirs, Rudolph 
Pasmore, Dorothy 
Reinberg, Herman 
Gough, Flori 

Hranek, Carl 

Haight, Rebecca 


BASSES 


Previati, Louis J. 
Principal 


Bell, Walter 
Storch, A. E. 
Guterson, Aaron 
Schulz, Emil 
Schmidt, Robert E. 
Frederick, Oscar 
Schipilliti, John 


FLUTES 
Linden, Anthony 


Oesterreicher, Walter 
Orchestral Manager 


Benkman, Herbert 


PICCOLO 


Benkman, Herbert 


OBOES 
Addimando, Caesar 
Shanis, Julius 


Schipilliti, Vincent 


ENGLISH HORN 
Schipilliti, Vincent 


CLARINETS 
Randall, Harold B. 
Zannini, Nicolai 
Fragale, Frank 
Triebel, August 

BASS CLARINET 


Fragale, Frank 


139 





BASSOONS 
Kubitschek, Ernest 
La Haye, E. B. 
Hranek, Carl 


CONTRA BASSOON 
Kolb, Richard 


HORNS 
Hornig, Walter 
Roth, Paul 
Tryner, C. E. 
Rocco, R, 


Trutner, Herman 


TRUMPETS 
Drucker, Vladimir 
Barton, Leland S. 
Savant, Silvio 
Kegel, Otto 
Kress, V. 


TROMBONES 


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


TUBA 
Murray, Ralph 


HARP 


Attl, Kajetan 
Attl, Vojmir 


TYMPANI 
Wagner, Roland E. 


PERCUSSION 


Vendt, Albert, Jr. 
Salinger, M. A. 
Kundy, E. 


PIANO AND CELESTA 
Tibbitts, J. P. 


LIBRARIAN 
Kegel, Otto 











ln ee ei i ee eee lh 








| aM using the eStemway plano 


now for many years and am 


enjoying its superior qualities sO 
es 
be pre much that I cannot 


| 7 





imagine how I ever could 
get along without one. 
It is like a good friend of 
whom you get fonder 


the more you know 


9? 





him. 


The home of the Steinway ts 


Sherman Glay & Co. 


Kearny and Sutter Streets, San Francisco 
Mission Street, near Twenty-first 
Fillmore Street, near Post 
Fourteenth and Clay Streets, Oakland 
3420 E. 14th Street, Fruitvale 
Telegraph and Channing Way, Berkeley 
1315 Burlingame Avenue, Burlingame 








a nel 


a 





Tue Ciry or San Francisco Presents 


THE WORLD PREMIERE 
of 


“AMERICA” 


by 
ERNEST BLOCH 


Under the Direction of 
ALFRED HERTz 


ExposiTIoN AUDITORIUM 
DECEMBER 20, 1928, 8:20 P. m. 


SAN FRANCISCO SYMPHONY 
ORCHESTRA 


ALFRED HERTZ, Conductor 


SAN FRANCISCO MUNICIPAL CHORUS 


Hans LEScHKE, Director 





EvA GRUNINGER ATKINSON, Contralto 
CHARLES BULOTTI, Tenor 
DONALD Pirnieg, Baritone 


Auspices 
Mayor JAMES ROLPH, JR., AND 
BOARD OF SUPERVISORS 
Direction Auditorium Committee 
JAMES B. McSHEEHY, Chairman 





FRANCK R. HAVENNER WARREN SHANNON 


Tuomas F. Boy eg, in Charge of Ticket Sales and Accounts 
Joun H. THrever, Exchequer 











(PROGRAMME 


1. “The First Walpurgis Night” (Goethe) . . . 

ad eee ee pe i rok i ae 
For Soli, Chorus and Orchestra 

Eva GruNINGER ATKINSON, Contralto 

CHARLES BuLOTTI, T enor 

DonaLp Pirnig, Baritone 

SAN Francisco MunicipAL CHorus 


Hans LescHxe, Conducting 
INTERMISSION 


2. “America,” an Epic Rhapsody in Three Parts, 
Per Wrcnestfa. <i .a >< . . Ernest Bloch 


J... . 1620—The Soil—The Indians—(Eng- 
land)—-The Mayflower—The Landing of 
the Pilgrims. 

Il. . . . 1861 to 1865. Hours of joy, hours of 


SOTTOW. 


III. 1926 . . . The Present—The Future. 


Ernest Bloch’s “America” was unanimously selected as the 
prize-winning score among ninety-two submitted in Musical 
America’s Symphony Contest in June, 1928. The judges were 
Walter Damrosch, Serge Koussevitzky, Leopold Stokowski, 
Frederick Stock and Alfred Hertz. The five judges agreed to a 
simultaneous premiere for this monumental work by their 
respective orchestras, the New York Symphony-Philharmonic, 
Boston Symphony, Philadelphia Orchestra, Chicago Symphony 
and San Francisco Symphony, on December 20 and 21. Other 
cities announcing performances on these dates are Cincinnati, 
Seattle, Minneapolis, Los Angeles, Rochester, Cleveland, Detroit 
and Omaha. 


s 
a 








8 





eNOTES 


“The First Walpurgis Night” . . Felix Mendelssohn-Bartholdy 


During 1831, while traveling in Italy, Mendelssohn composed music to Goethe's 
poem, “The First Walpurgis Night,” but it was not until 1843, at Leipsig, that it was 
first performed. In Germany the night between April 30 and May 1 is called the Wal- 
purgis Night, being dedicated to St. Walpurgis, an early missionary who had brought 
Christianity to the Druids of Saxony. In the popular tradition it is supposed to be the 
night for great festivals of devils and witches on the mountains of the Harz. The scene 
of the cantata is the summit of the Brocken or Blocksberg mountain, on May-day eve, 
when the Druids, taking advantage of the old northern myth that on this eve the witches 
hold high revels here, gather to celebrate their rites, while their sentinels, disguised as 
demons, scare away the Christians with wild gesticulations, clashes of arms, and hideous 
noises. The title of “First Walpurgis Night’ doubtless expresses Goethe's intention to 
expose in this poem how the popular superstition arose out of the use by the old 
heathen, as masquerade or stratagem, of that which afterwards remained as a fixed belief. 

Mendelssohn’s overture graphically depicting the passage from winter to spring, is 
followed by a tenor solo and a chorus of Druids, breathing the atmosphere of spring. 
Next comes a dramatic alto solo, uttering a warning, and after it a stately exhortation 
by the Druid priest. There ensues a whispering chorus, portraying the sentinels as 
they quietly take their places. A guard then discloses the plan for frightening away 
intruders. This leads to a chorus in which the composer uses most grotesque musical 
effects, both vocal and instrumental, to picture the infernal scene. This weird chaos 
gives way to ‘an impressive hymn for bass solo and chorus. Following this comes the 
terrified cry of the Christians, who are driven away, while the Druids and their priest 
chant a closing hymn of praise. 


OVERTURE 
No. 1. TENOR SOLO (A Druid) and CHORUS of Women 
CHORUS of Druids and People On their ramparts they will slaughter 
Now May again Mother, father, son, and daughter! 
Breaks Winter’s chain, They oppress us, 


They distress us! 
If detected, 
Naught but death can be expected. 


The bud and bloom are springing; 
No snow is seen, 
The vales are green, 
The woodland choirs are singing! , . 
, aaplopecapet aa § cee eis No. 3. BARITONE SOLO (Druid Priest) 
ain-he alae 
. and CHORUS of Druids 


Is wint ry white; 
Upon it we will gather;— 
Begin the ancient, holy rite,— 
Praise our Almighty Father! 
In sacrifice 
The flame shall rise! 
Thus blend our hearts together. 
Away! away! 


The man who flies 
Our sacrifice, 

Deserves the tyrant’s tether. 
The woods are free! 
Disbranch the tree, 

And pile the stems together! 
In yonder shades, 

Till daylight fades, 

We shall not be detected; 


Our trusty guards shall tarry here, 


No. 2. ALTO SOLO (An Aged Woman 


»f the ; 
: of the People) And ye will be protected. 
Know ye not, a deed so daring With courage conquer slavish fear; 
Dooms us all to die despairing? Show duty’s claim respected! 


Know ye not, it is forbidden 
By the edicts of our foemen? 
Know ye, spies and snares are hidden 


For the sinners called “the heathen?” Wo, 4, CHORUS of Druid Guards 


BARITONE SOLO 


Disperse, disperse, ye gallant men! 


On their ramparts they will slaughter Disperse, disperse, ye gallant men, 
Mother, father, son, and daughter! Secure the passes round the glen! 
If detected, In silence there protect them, 


Naught but death can be expected. Whose duties here direct them. 














No. 5. BASS SOLO (A Druid Guard) Thus clear our faith from errors! 


Should our Christian foes assail us, Our customs quell'd, 
Aid a scheme that may avail us! Our rights withheld, 
Feigning demons, whom they fable, Thy light shall shine for ever! 
il] he bi bble! 
ie vial ge al es No. 8. TENOR SOLO (A Christian 
BASS SOLO anp CHORUS Guard) 


Come with torches brightly flashing, 
Rush along with billets clashing, 
Through the nightgloom lead and 
follow, 
In and out each rocky hollow. 
Owls and ravens, 
Howl with us, and scare the cravens! 


Help, my comrades! see, a legion 
Yonder comes from Satan’s region! 
See yon group of witches gliding 
To and fro in flames advancing; 
Some on wolves and dragons riding; 
See, ah, see them hither prancing! 
What a clattering troop of evil! 


No. 6. CHORUS of Guards and People Let us, let us quickly fly them! 
Come with torches brightly flashing, Imp and devil 
Rush along with billets clashing, Lead the revel; 
Through the nightgloom lead and See them caper, 
follow, Wrapt in clouds of lurid vapour! 


In and out each rocky hollow. 
Owls and ravens, 


CHORUS of Guards 


Howl with us, and scare the cravens! See the horrid haggards gliding, ; 
: Some on wolves and dragons riding! 
No. 7. BARITONE SOLO (Druid Priest) See, ah, see them hither prancing, 
and CHORUS With the Fiend in flames advancing! 
Restrained by might, | See them caper, 
We now by night, Wrapt in clouds of lurid vapour! 
In secret, here adore Thee! Let us fly them, let us fly! 
Still it is day 
Whene’er we pray, No. 9. CHORUS of Druids and Heathens, 
And humbly bow before Thee! with BARITONE SOLO 
Thou can’st assuage Unclouded now, the flame is bright! 
Our foemen’s rage, Thus faith from error sever! 
And shield us from their terrors— Though foes may cloud or quell our light, 
The flame aspires! Yet Thine, Thy light, shall shine for 
The smoke retires! ever! 


“America,” an Epic Rhapsody in Three Parts for 
Orchestra sTaraeattel a Ernest Bloch 


Ernest Bloch was born in Geneva, Switzerland, in 1880. His first teachers were 
L. Rey, for the violin, and E. Jacques Dalcroze for composition. At the age of sixteen 
he left Geneva, spent eight years studying in Brussels (under F. Schorg and E. Ysaye 
for the violin, F. Rasse for composition), Frankfort-on-Main (under I. Knorr), in 
Munich and in Paris. Already having composed songs, two symphonic poems and a 
symphony, he returned to Geneva, where he lived until 1916, giving more than 115 
lectures on aesthetic subjects at the Conservatory of Music, and conducting symphony 
concerts with great success at Lausanne and Neufchatel. In 1910 his opera “Macbeth” 
was performed at the Opera Comique, Paris. In 1916 Mr. Bloch came to America, 
where his recognition was immediate. After only a few months in New York, he was 
invited by Dr. Muck of the Boston Symphony, to conduct his “Trois Poemes Juifs” in 
Boston. In May, 1917, the Friends of Music gave a concert devoted to his orchestral 
works, with Artur Bodanzky and the composer conducting. Mr. Bloch has also con- 
ducted performances of his works with the important symphony orchestras in this coun- 
try (New York, Boston, Philadelphia, Chicago, Cleveland, San Francisco, Los Angeles, 
Hollywood Bowl, Rochester, etc.) From 1920 to 1925 he was director of the Cleve- 
land Institute of Music and since then has been director of the San Francisco Con- 
servatory of Music. 


Bloch’s principal works are: ““Vivre-Aimer,”’ a symphonic poem (1900); Symphony 
in C sharp minor (1901-1902); “Macbeth,” a lyric drama in three acts, text based on 
Shakespeare's tragedy, by Edmond Fleg, performed at the Opera Comique, Paris, in 
November, 1910; “Hiver-Printemps,” an orchestral poem (1904); ‘‘Poemes d’Automne,” 
for mezzo-soprano and orchestra (1905); “Trois Poemes Juifs,” for orchestra (1913): 





— ee 


_ - 
— 


Psalms 114, 137, for soprano and orchestra (1913-1915); Psalm 22, for baritone and 
orchestra; “Schelomo” (Solomon), Hebrew rhapsody for violoncello and orchestra 
(1916); Suite for viola and piano (Coolidge Prize in 1919); Violin Sonata (1920); 
Quintet for strings and piano (1923); Concerto Grosso for string orchestra (1924- 
1925); Four Episodes for Chamber Orchestra (Beebe Prize, 1926); and several small 
works for piano, violin, ‘cello, quartet, trio, etc. 

Bloch’s ““America’’ was unanimously selected as the prize-winning score among 
ninety-two submitted in Musical America’s $3,000 Symphony Contest last June. The 
judges were Walter Damrosch, Serge Koussevitzky, Leopold Stokowski, Frederick Stock 
and Alfred Hertz. Following the announcement of the award, the five judges agreed 
among themselves to arrange for a simultaneous premiere by their respective orchestras, 
the New York Symphony-Philharmonic, Boston Symphony, Philadelphia Orchestra, 
Chicago Symphony, and San Francisco Symphony. Since then Cincinnati, Seattle, Los 
Angeles, Minneapolis, Rochester, Cleveland, Detroit and Omaha have arranged per- 
formances, therefore on December 20 and 21, Bloch’s Rhapsody is being heard through- 
out the United States. 


The title page of the score of “America” is as follows: 


Oo I BRL Cy = 


An Epic Rhapsody in Three Parts 
For Orchestra. 
This Symphony has been written in Love for this country, in reverence to its Past, 
in faith in its future. 


It is dedicated to the memory of Abraham Lincoln and Walt Whitman whose 
visions have upheld its inspiration. 


The ideals of America are imperishable. They embody the future credo of all 
mankind: a Union, in common purpose and under willingly accepted guidance, of 
widely diversified races, ultimately to become one race, strong and great. But, as Walt 
Whitman has said: “To hold men together by paper and seal or by compulsion, is no 
account. That only hold men together which aggregates all in a living principle, as 
the hold of the limbs of the body, or the fibres of plants.” 


Though this symphony is not dependent on a program, the composer wants to 
emphasize that he has been inspired by this very ideal. 

The anthem which concludes the work, as its apotheosis, symbolizes the Destiny, 
the Mission of America. The symphony is entirely built upon it. From the first bars, 
it appears, in root, dimly, slowly taking shape, rising, falling, developing, and finally 
asserting itself, victoriously, in its complete and decisive form. 

It is the hope of the composer that this anthem will become known and beloved, 
that the audience will rise to sing it, becoming thus an active and enthusiastic part of 
the work and its message of faith and hope. 


The three parts of the work, with their titles and quotations, form in themselves 
a complete “program.” 


I... . 1620—The Soil—The Indians—(England)—The Mayflower—The Landing 
of the Pilgrims. 


II. ... 1861 to 1865. Hours of joy, hours of sorrow. 
“I hear America singing, the varied carols I hear, 
Each singing what belongs to him or her and to no one else, 
Singing with open mouths their strong melodious songs.” 
(WaLtT WHITMAN) 
III. 1926. . .. The Present—The Future... . 
“. . . As he sees farthest he has the most faith.” 
(WaLT WHITMAN) 














[The audience is invited to join the chorus in the singing of this anthem. ] 


AMERICA 


Anthem from the Symphony “America” 


ERNEST BLOCH 


= 76) 


Andante moderato «d 












oO 
r= 
g 3 ‘ 
Ss 
§ © S 
: 2 
8 ' 
wn 
3 
—, 
3 : 
© =) 
oO 
ae) ' 
> 
s x 
NS ics 
wn 
Cé : 
rs 
os 
2 = 
"bp - 
3 
3 
s 
ct 
2 
+ oe 
we) 
t { 
° 
& os 
rst 
» 
Ww 
Nd = 
mo 
¢ O 
8] 
am 1 
4 ao) 
2 ae 
SH] 2 
om) 
G1 re) a 
4 o 
n 
° - 
s ' 
= s 
on 





ee ae ee ee ee eee ee eee 





= dolce 


er goals, toward 


- er aims,toward bright 


high 


Toward 


Peace —— 





poco meno mosso 





Our hearts wepledge, A - 


‘tions, 


na 


of 


broth - er - hood 





poco animando 





Copyright,1928, by C.C. Birchard & Company 


International Copyright Secured 
Made in the United States of America 


nn es 








Next Municipal Symphony Concert 
Thursday, February 7, 8:20 P. M. 


San Francisco Symphony 
Orchestra 


ALFRED HeErTz, Conductor 
SOLOIST: 
REINALD WERRENRATH, Baritone 
AND 


THE PACIFIC SAENGERBUND 


FREDERICK SCHILLER, Director 


Next Saturday Eve., Dec. 22—Dreamland Auditorium 


Symphony “Pop” Concert 


SOLOIST: 
WittiamM Wotski, Violinist 
Midsummer Night’s Dream Selections; Peer Gynt Suite; 
Waltz from “Eugene Onegin,” Tschaikowsky; Overture 


“Oberon,” Weber; Mendelssohn Violin Concerto: Intro- 
duction Act. III, “Lohengrin.” 


Friday Aft., Dec. 28—Curran Theatre 
Saturday Eve., Dec. 29—-Dreamland 


E. ROBERT SCHMITZ 
Pianist 





a ee ee a ee Ts ee, ST ies SACS Aieiaie ema aaa 








STEINWAY 
The teiais auc Immortals 





No MATTER which one of the various styles and sizes is 
chosen, the Steinway makes its unfailing return of a lifetime 
of pleasure and delight. 


Little by little it becomes an integral part of the house- 
hold. The musical life of the entire family centers in it. 
It identifies itself with the most delightful occasions and 
events. Year by year its extraordinary excellence asserts 
itself. And long after the details and conditions of purchase 
have been forgotten, the Steinway plays its part in forming 
the musical tastes of the household. 


You may purchase a new Steinway piano with a small 
cash deposit, and the balance will be extended over a period 
of two years. Prices: uprights $950 and up; grands $1475 
and up. 


Used pianos accepted in partial exchange. 


Sherman, @lay & Co. 


Kearny and Sutter Streets, San Francisco 


Fourteenth and Clay Streets, Oakland 
ission Street, near Twenty-first 
Fillmore Street near Post 
Telegraph Ave. and Channing Way, Berkeley 
3420 East Fourteenth Street, Fruitvale 

















— ru 
SE 








Ban FtancisCo 
SYMPHO HONY 
he 






t ame otetas Of |k 
S 
|} San Francisco 





“abd fade 


FOURTH POPULAR 





ALFRED HERTZ CONDUCTOR 





CL WeAREICREy 


1928 1929 
Eighteenth Season 











FIFTH PAIR OF SYMPHONY CONCERTS 


Friday, December 28, 3:00 P. M. 
Curran Theatre 


Saturday, December 29, 8:20 P. M. 
Dreamland Auditorium 


Soloist: E. ROBERT SCHMITZ, Pianist 


PROGRAMME 
1. Overture to ‘‘Iphigenie in Aulis’’.................--.-.-------- Gluck 
2... -: Gonterto in: minor for Piano. #1. .2..220.2.-5-%:-- 22.60. 35-8 Bach 


(First time at these concerts) 
43) Concerto: No.. 2 ‘for Piato:.: 22 nen Tansman 
(First time in San Francisco) 


Ae ere DHONy: in: D MANO: fecpesrsale-kes gate ses sneaaenoeks Cesar Franck 


ST 
——Eeeeeeee_ 


SIXTH PAIR OF SYMPHONY CONCERTS 


Friday, January 11, 3:00 P. M. 
CURRAN THEATRE 


Saturday, January 12, 8:20 P. M. 
DREAMLAND AUDITORIUM 


Guest Artist 
OTTORINO RESPIGHI 


Pianist-Composer-Conductor 


At these concerts, Mr. Respighi, acknowledged as one of the 
greatest of living composers, will conduct a programme of his 
own works, including the Overture, “Belfagor’’; the Second 
Suite of Antique Dances, “‘Gli Uccelli,”’ ‘““Trittico,’’ ‘The 
Fountains of Rome,”’ and the new ‘Toccata.’ In the latter 
number Mr. Respighi will play the solo piano part. 


Make early ticket reservations. 








Symphony Box Office, Sherman, Clay & Co.; hours, 9 to 5. Tickets 
may also be obtained at other Sherman, Clay & Co. bay city stores. 
Friday tickets on sale at Curran Theatre after 10 a. m. on day of con- 
cert. Box office at Dreamland Auditorium open at 7 p. m. on concert 
days. 


150 


pa. 


a on 











Musical Association of San Sranciseo 


Founded December 20, 1909 Incorporated February 3, 1910 


OFFICERS 
J. B. Levison, President 
W. C. VAN ANTWERP, Vice-President 
WALTER S. MARTIN, Treasurer 









Mrs. IRWIN CROCKER, Honorary Vice-President 





Mrs. E. S. HELLER, Honorary Vice-President 






A. W. WIDENHAM, Secretary-Manager 






BOARD OF GOVERNORS 











R. I. Bentley John S. Drum John A. McGregor 
Miss Lena Blanding Sidney M. Ehrman John D. McKee 
Miss Louise A. Boyd Milton H. Esberg R. C. Newell 
George T. Cameron Mortimer Fleishhacker F. R. Sherman 

Selah Chamberlain F. J. Koster B. F. Schlesinger 
Mrs. Irwin Crocker J. B. Levison Mrs. M. C. Sloss 
William H. Crocker Walter S. Martin Mrs. Sigmund Stern 
E. R. Dimond Clay Miller W.C. Van Antwerp 
A. B. C. Dohrmann L. F. Monteagle Eli H. Wiel 






Mrs. M. S. Koshland, ex-officio 






EXECUTIVE COMMITTEE 


W.C. Van ANTWERP, Chairman 
Mrs. Irwin Crocker A. B. C. Dohrmann Walter S. Martin 
Mortimer Fleishhacker John D. McKee 








MUSIC COMMITTEE 


R. C. NeweE.t, Chairman 









Mrs. M. C. Sloss F. R. Sherman 








WOMEN’S AUXILIARY 


Mrs. M. S. KOSHLAND, Chairman 
Miss LENA BLANDING, Vice-Chairman Mrs. M. C. Porter, Vice-Chairman 












EXECUTIVE OFFICES 
Fifth Floor, 244 Kearny Street 
Telephone Garfield 2819 








A. W. WIDENHAM, Secretary-Manager 
HOWARD G. HANVEY, Press Representative 






151 








SIE LS ELOISE 


SEY 


SESS 


YIiMSREOGE ISSVIWELORAIL SA 


Choose from 87 
Album Sets 


including the Great Schubert 
Centennial Memorial Edition — 
16 of Schubert’s immortal works 
conveying the essence of his 


unique gifts. 


Other composers represented in 


COLUMBIA 

MASTERWORKS* 
Bach Haydn 
Beethoven Holst 
Berlioz Lalo 
Brahms Mendelssohn 
Bruch Mozart 
Chopin Ravel 
Debussy Saint-Saens 
Dvorak Strauss 
Franck Tschaikowsky 
Grieg Wagner 


in a selected list of symphonies, concertos, 
sonatas and chamber music. All works in 5 
or more parts are enclosed in attractive art 


albums. 


Ask for Columbia Masterworks Catalogue 


J en ms a 
*“* Magic \ fay Notes” 


COLUMBIA PHONOGRAPH COMPANY 
941 Mission Street, San Francisco, Calif. 


COLUMBIA 


“NEW PROCESS” RECORDS 


REG. U. S. PAT. OFF. 





Made the New Way—Electrically—Viva-tonal Recording 
The Records without Scratch 


Schubert Week, Nov. 18-25. Organized 
by Columbia Phonograph Co. 


* Reg. U.S. Pat. Of. 


152 











a 
7 
; 
' 





a ee ae es = = 








Che San Francisco Symphony Orchestra 
ALFRED HERTZ, Conductor 


(Steinway Piano Used) 


1928—Season—1929 


FOURTH POPULAR CONCERT 
749th Concert 


Saturday Evening, December 22, 8:20 o’clock 
DREAMLAND AUDITORIUM 


Soloist: WILLIAM WOLSKI, Violinist 


PROGRAMME 
*1. Selections from ““A Midsummer Night's Dream’’ 
NST ATONE tH REE RETA TDs MERE IR PI Ae Mendelssohn 

Overture 
Scherzo 
Nocturne 
Wedding March 

org t een Cyan pute sNGe th. 3050 fae ee ee ae Grieg 


Morning 
Ase’s Death 
Anitra’s Dance 
In the Hall of the Mountain King 
3; .Waltz trom’ ‘Eugene Onegin viii, 44..........- Tschaikowsky 
(First time at these concerts) 


Intermission 
Abs GTEC, UCP COST ORE re era ne eee core ee eet Weber 
3. Concerto for, Violtii, 1B minor, 625.00 Mendelssohn 
Allegro molto appassionato— 


Andante 
Allegretto non troppo—Allegro molto vivace 
WILLIAM WOLSKI 
6. Introduction to Act III, “‘Lohengrin’’........... Wagner 


*These four selections have been recorded for the Victor by the San Francisco 
Symphony Orchestra under the direction of Alfred Hertz. 





There will be no concert on Saturday, January 5. After the next pair 
of concerts Friday and Saturday, December 28 and 29, the next concerts 
will be Friday and Saturday, January 11 and 12. 








158 


SAN FRANCISCO : ° : 
ahaaehaict Kr Toe Victor Lichtenstein 
eee a Instruction 


ERNEST BLOCH, Director ¥. : 
Ada Clement and a in the 
Lillian Hodghead ’ as. 

Associate Directors Re gS ne Art 
ROBERT POLLAK ier: F : Me . 
(head of string department) . eo U10lin 


will appear in 


VIOLIN RECITAL 


Tuesday Evening, January 8th, 
at 8:30 o’clock 


Playing 


Eight of Mr. Lichtenstein’s 

pupils became members of 

SOROSIS HALL the St. Louis Symphony 
Orchestra. 


Admission - $1.00 
Students - - .50 


Tickets on Sale at 
Sherman, Clay and Company 

and the Telephones: Fillmore 6146 

San Francisco Conservatory of Music Fillmore 4948 


StrupI0: 3145 WASHINGTON STREET 


cAn Ideal Christmas Gift 
SEASON “FICHE } 


or 


YOUNG PEOPLE’S SYMPHONY 
CONCERTS 


San Francisco Symphony Orchestra 
WHEELER BECKETT, conducting 
CURRAN THEATRE 
(Series of five Friday afternoon concerts) 
January 18, February 1, February 15, March 1, March 15 
Season Tickets: $5.00, $4.00, $2.50 
On Sale at Sherman, Clay & Co. 

ALICE METCALF 
Executive Manager 


Hotel Mark Hopkins 


San Francisco 











Selections from ‘‘A Midsummer Night’s Dream’’ - - - 
- - - - - - Felix Mendelssohn-Bartholdy 


(Born February 3, 1809, at Hamburg; died November 4, 1847, at Leipsic) 


When Mendelssohn was about eighteen years of age, he read 
Shakespeare’s ““A Midsummer Night's Dream,’ from which he re- 
ceived the inspiration to write an overture for the play. Although he 
had been a prolific composer since he was twelve, this overture marked 
his definite arrival at artistic maturity. Fifteen years later he was 
requested by the King of Prussia to write incidental music for a special 
production of the play and Mendelssohn produced twelve numbers, 


also using the overture. 


The overture opens with four prolonged chords for the wood- 
winds, followed immediately by the dainty “fairy music,’’ which con- 
stitutes the principal theme—announced by the divided violins, the 
violas contributing occasional pizzicato tones. After a prolonged 
development of this theme and its tributary material, the melodious 
second theme appears, being announced by the woodwinds and then 


taken up by the strings and gradually expanding into broader instru- 


Established 1852 





QUALITY 
PRESTIGE 
SERVICE 


SHREVE & COMPANY 


fewelers and Silversmiths 


Post Street at Grant Avenue 
San Francisco 


155 





Announces 
THE OPENING OF A STUDIO FOR 


INSTRUCTION 
IN VIOLIN AND 
ENSEMBLE 


INTERVIEWS BY APPOINTMENT 
TELEPHONE OR WRITE 


«+ 


“Management 


ALICE SECKELS 


FAIRMONT HOTEL 
Douglass 7267-8800 


Ford 


Concert 


V iolinist 
TEACHER 


Available for Solo, Sonata, Trio and 
Quartet engagements. 


Eighteen years in Chamber Music: 
San Francisco Quintet Club, Chamber 
Music Society of San Francisco, Per- 
singer String Quartet. 


Twelve years first violinist with San 
Francisco Symphony Orchestra; Assis- 
tant Concert Master for Season 1917 to 
1925. 

PUPILS ACCEPTED 
Coaching in ensemble playing. 
Assistant teacher for beginners under 

my personal supervision, 


1610 Plymouth Av. Phone Delaware 0201 


Dunning System of Improved Music Study 
CARRIE LoUISE DUNNING, Originator 


8 West 40th Street, New York City 
834 South Plymouth Boulevard, Los Angeles, Calif. 


HE Greatest Musical Event in New York City in the past several decades was the 
playing of a ten-year-old Dunning pupil with the New York Philharmonic Orchestra, 
March 20th, 1926. The child had only studied one year and eight months. She 
played Le Carnaval des Animaux, by Saint-Saens. The piece is twenty-three pages long. 
She memorized it in three weeks. If you have any plan for teaching that can bring such 
results in that length of time—then you do not need the Dunning System. If you have 


not, then you do. 
Faculty of Normal Teachers 

KATHARINE M. ArRNotp, 93 Madison St., 
Tiffin, O. 

AtuigE E. Barcus, 1006 College St., Ft. 
Worth, Tex. 

EvizeEtte R. Bartow, Box 1244, St. Peters- 
burg, Fla. 

CATHERINE C. Birp, 658 Collingwood Ave., 
Detroit, Mich, 

Grace A. Bryant, 201—10th Ave., N. Twin 
Falls, Idaho. 

Dora A. CHaseE, 345 Clinton Ave., Brook- 
lyn, N. Y. 

Appa C. Eppy, 136 W. Sandusky Ave., 
Bellefontaine, O. 

3EATRICE S. ErKeLt Kipp, Key College, 
Sherman, Tex. 

Ipa GARDNER, 17 E. 6th St., Tulsa, Okla. 

GuLapys M. GLENN, 1217 Bowie St., Am- 
arillo, Tex. 

FLORENCE E. GRASLE, Michigan State In- 
stitute of Music, Lansing, Mich. 


—Classes Held in these Cittes 


HarRIET Bacon MacDOoNA.p, 6010 Belmont 
Ave., Dallas, Tex. 

Kate Dett MarpeNn, 61 N. 16th St., Port- 
land, Ore. 

Mrs. W. P. Mason, 302 Mid. City Bank 
Bldg., Chicago, Ill. 

Laup G. Puxipren, 3435 Ashbury Ave., 
Dallas, Tex. 

Evure I. Prince, 4106 Forest Hill Ave., 
Richmond, Va. 

VIRGINIA Ryan, 1070 Madison Ave., New 
York. 

StreLta H. Seymour, 1219 Garden St., San 
Antonio, Tex. 

GERTRUDE THomMpson, 508 W. Coal St., 
Albuquerque, N. M. 

IsopeEL M. Tone, 626 Catalina St., Los An- 
geles, Calif. 

Mrs. H.R. Watkins, 124 E. 11th St., 
Oklahoma City, Okla. 


Mrs. JEAN WARREN CARRICK 


(Normal 
25 Lake Street, San Francisco 


Teacher) 


Classes formed upon Arrangement 


LLL eee." 


156... 














mentation. As the movement proceeds, several picturesque. features. 
come into notice—the “‘Bergomask Dance” from the fifth act of the 
play, the comical braying of the donkey, and a figure which Mendels- 
sohn called his ‘‘Schoenhauser fly’’—a rapidly descending scale pas- 
sage for the ‘cellos (each tone quickly repeated), suggested by the 
buzzing of a large fly in the Schoenhauser garden. The development 
proper — drawn mainly from the first theme — is followed by the 
orthodox recapitulation of the first part, and, after a short coda, the 
overture closes with four sustained chords like those with which it 


began. 


The Scherzo rings up the curtain of the second act, disclosing the 
fairy world of Titania and Oberon, with its chattering elves and their 
mischievous gambols. It contains some extremely effective passages 
for the woodwind instruments, particularly for the solo flute. The 
Nocturne occurs at the end of the third act, being distinguished by its 
exquisite horn passages and genuine feeling of the woods, to the strain 
of which Bottom has his “‘exposition of sleep’’ and Titania falls into 
slumber, caressing and doting upon her uncouth lover. The Wedding 


March is used as the interlude between the fourth and fifth acts. It 


VOJMIR ATTL 


Harpist 
San Francisco Symphony Orchestra 





For engagements 
as Solo Artist, Accompanist, or 
Player in Ensemble Music 


JOHN BUBEN 


Fur Fashion’s Creator 












Fur Artistry and Craftsmanship for 
discriminating fur lovers. Furs re- 
styled as Jacquettes, or in the latest 
Creations. 
57 GEARY ST. 
Phone Kearny 5873 


Paris Office 
52 Rue du Faubourg—Montmartre 


STUDIO 
Sherman, Clay & Co. 
Mondays and Thursdays 
t to. 3PM, 


Studio Phone Residence Phone 
Sutter 6000 SKyline 2757 





157 











is in the simple three-part march form. The main theme is ushered 
in by a flourish of trumpets. The theme of the trio is of a more tender 


character, after which the pompous march itself is again heard. 


‘“‘Peer Gynt” Suite, No. 1 - - - - Edward Grieg 
(Born June 15, 1843; died September 4, 1907, at Bergen) 

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 
off the young bride to the mountains, where he afterwards deserts her. 


Roaming about through the night, he meets a party of frolicsome dairy 


HAZEL DREIS 


FINE BOOKBINDINGS 


MUSIC BINDING 
BOUND TAUGHT 


DOuglas 0328 545 Sutter Street, San Francisco 


You are cordially invited to attend the 
Semi-monthly Recitals of the 


ARRILLAGA MUSICAL COLLEGE 


2351 Jackson Street 
Write or phone for programs. Walnut 3742 











i’ 





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 ex- 
pelled 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. I[n 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. 


The opening number is a perfect picture in tone of the dawning 
of day. The same theme is used throughout, and as it gradually 
becomes louder and louder one can easily fancy the picture of a sun- 
rise, from the first pale pink of dawn to the full glory of the rising sun. 
The second number is a simple funeral march, describing the broken- 
hearted mother, left by her harum-scarum son to die alone. “‘Anitra’s 


Dance” is a perfect type of Oriental dance. It is in regular dance 


The 


Margaret Mary Morgan Co. 


PRINTERS 
Engraving ~ Publishing 


MARGARET 
A Complete Stock of 


Christmas Cards & le ) | L, | Pe 2 


PIANIST 
Will be on the Pacific Coast during 
the entire season, 1928-1929 
Concert Management 


ELWYN CONCERT BUREAU 
PHELAN BUILDING 


Studio: 
: k 450 GRANT AVENUE 
619 California Street Telephone Kearny 8289 
SAN FRANCISCO 


Davenport 450 


159 











form—that is, dance, trio, and repetition of the original dance. “In 
the Hall of the Mountain King”’ is descriptive of Peer Gynt’s experi; 
ences in the Dovre Mountains. The theme is simple, yet its endless , 
repetition gives a very remarkable musical portrayal of the flight of . 


Peer Gynt with the gnomes and trolls in full pursuit. 


Waltz from ‘‘Eugene Onegin’”’ - - Peter Iljitch Tschaikowsky 


(Born May 7, 1840, at Wotkinsk; died November 6, 1893, at Leningrad) 


The conception of an opera upon Poushkin’s novel came to 
Tschaikowsky in May, 1877, but it was some months later before it 
was completed. The first production was given by students of the 


Moscow Conservatory, March 29, 1879. 


The story of “Eugene Onegin’”’ is concerned with Onegin, who, 
visiting Mme. Larina at her estate in the country, inspires one of the 
daughters of the latter—a young girl named Tatjana—with fervid 
passion. Tatjana, unable to live without letting the man know how 


deeply her ingenuous heart has been stirred, sends a letter to him by 


her nurse. Onegin is unmoved by the maiden’s first experience of love 





JANET ROWAN HALE 


Pianist and Teacher 


Studio 902 
26 O'Farrell Street Berkeley and Piedmont 
Phone Davenport 5486 Phone Oakland 8663 


30 years violin specialist in St. Louis and Chicago Expert Repairing 


S. O. ALLISON 
VIOLIN MAKER, CONNOISSEUR AND APPRAISER 


Agent for Andres Morellis hand-made Violins, Violas, Cellos, Basses 
Artist Bows by G. A. Pfritzschner 
and other celebrated Bow Makers 
45 GEARY STREET 
Dealer in New and Old Violins, San Francisco, Cal. 
*Cellos and Bows Formerly J. A. Lutz 
Strings and Accessories Davenport 415 





160 














and addresses Tatjana in a tone of brotherly frigidity: He is not suited 
for domestic happiness; marriage would result in regret for both; 
Tatjana’s passion for him is probably a figment of her imagination. 
The girl is crushed, but to Onegin the matter is merely a trivial inci- 
dent. They part, and some years later Tatjana is wooed by and weds 
Prince Gremin. In their palace Onegin meets Tatjana once more. 
Now he falls in love with her. The man wrings from the princess the 
confession that she still loves him. He urges her to fly with him, but 
Tatjana holds fast to honor and duty, and Onegin departs alone. 


The scene of the waltz played this evening is the second act, a 
grand ball room. 


Overture to ‘‘Oberon’”’ - . . Carl Maria von Weber 


(Born December 18, 1786, at Eutin; died June 5, 1826, at London) 


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 are 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. 


Concerto for Violin and Orchestra, E minor - - . 


2 ‘ ‘ . - Felix Mendelssohn-Bartholdy 


Mendelssohn conceived this concerto in his mind in 1838, but 
it was six years later before he actually composed the work. The 
concerto is written in three connected movements, but is generally 
played with a pause between the second and third. The main theme 
of the first movement is given out by the violin after an introductory 


Julian Brodetsky 


ASSISTANT CONCERT MASTER 
SAN FRANCISCO SYMPHONY ORCHESTRA 


Violin Instruction 


Studio 
Phone SKyline 4855 189 Commonwealth Avenue 





161 





: 











measure; the second theme appears after an extended development 
of the first one, pianissimo in the clarinet and flutes. There is a bril- 
liant cadenza for the violin and the conclusion leads over without 
pause to the Andante. The main theme of the second movement is 
sung by the violin, the middle part of the movement being devoted 
to the development of the second theme, a somewhat more agitated 
melody. The third part is a repetition of the first, but with a different 
accompaniment in the orchestra. The Finale opens with a short intro- 
duction; with the main body of the movement the pace quickens and 
the key shifts. The movement is in rondo form, the first theme being 
announced by the violin, the second by the orchestra, and the third 
by the violin. The concerto ends with a brilliant coda. 


Introduction to Act III, from “‘Lohengrin” - - Richard Wagner 


(Born May 22, 1813, in Leipsic; died February 13, 1883, at Venice) 


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 bril- 
liant and stirring march, dominates the whole, being interrupted by a 
short middle period. There is then a return to the first subject for- 
tissimo, in full orchestra. 


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, 1928 
$118,615,481.57 


Capital, Reserve and Contingent Funds 5,000,000.00 
Pension Fund over $610,000.00, 
standing on Books at 1.00 


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





162 











The San Francisea Symphony Orchestra 


ALFRED HERTZ, CONDUCTOR 






FIRST VIOLINS 


Piastro, Mishel 
Concert Master 


Fenster, Lajos 


Assistant Concert Master 


Brodetsky, Julien 


Assistant Concert Master 


Meriz, Emilio 

Ford, Louis W. 
Jensen, Thorstein 
Gordohn, Robert 
Mendelevitch, Rodion 
Laraia, William F, 
Mortensen, Modesta 
Koenig, Hans 

See, Orley 

Pasmore, Mary 
Atkinson, Helen E. 
Wolski, William 


Ruiz, Ricardo 


SECOND VIOLINS 


Heyes, Eugene 
Principal 


Rosset, Emil 
Amsterdam, Max 
Callinan, W. G. 
Paterson, J. A. 
Gold, Julius 
Haug, Julius 


Gough, Walter 
Firestone, Nathan 
Simonsen, Frances 
Wegman, William 
Tolpegin, Victor 
Hoffman, Henry H. 
Dabelow, William 


VIOLAS 

Verney, Romain 

Principal 
Hahl, Emil 
Baker, F. A. 
Wismer, Hother 
Weiler, Eric 
Lichtenstein, Victor 
Dierich, Franz 
Triebel, August 
Kolb, Richard 
Lewis, Arthur 


Jersonnel 


’CELLOS 


Penha, Michel 
Principal 


Dehe, Willem 

King, Otto 
Villalpando, Wenceslao 
Kirs, Rudolph 
Pasmore, Dorothy 
Reinberg, Herman 
Gough, Flori 

Hranek, Carl 

Haight, Rebecca 


BASSES 


Previati, Louis J. 
Principal 


Bell, Walter 
Storch, A. E. 
Guterson, Aaron 
Schulz, Emil 
Schmidt, Robert E. 
Frederick, Oscar 
Schipilliti, John 


FLUTES 
Linden, Anthony 


Oesterreicher, Walter 
Orchestral Manager 


Benkman, Herbert 


PICCOLO 


Benkman, Herbert 


OBOES 
Addimando, Caesar 
Shanis, Julius 
Schipilliti, Vincent 


ENGLISH HORN 
Schipilliti, Vincent 


CLARINETS 
Randall, Harold B. 
Zannini, Nicolai 
Fragale, Frank 
Triebel, August 

BASS CLARINET 


Fragale, Frank 





163 






BASSOONS 
Kubitschek, Ernest 
La Haye, E. B. 
Hranek, Carl 


CONTRA BASSOON 


Kolb, Richard 


HORNS 
Hornig, Walter 
Roth, Paul 
Tryner, C. E. 
Rocco, R. 


Trutner, Herman 


TRUMPETS 
Drucker, Vladimir 
Barton, Leland S. 
Savant, Silvio 
Kegel, Otto 
Kress, V. 


TROMBONES 


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


TUBA 
Murray, Ralph 


HARP 


Attl, Kajetan 
Attl, Vojmir 


TYMPANI 
Wagner, Roland E. 


PERCUSSION 


Vendt, Albert, Jr. 
Salinger, M. A. 
Kundy, E. 


PIANO AND CELESTA 


Tibbitts, J. P. 


LIBRARIAN 
Kegel, Otto 








AOA 8 8 OF Oe 6 a Oe oe Oe, OO es Pe ee v4 Pe ee 








ra: ; ‘ : 
I AM usInNg the eStemway plano 
now for many years and am 


enjoying its superior qualities sO 


: iy ee much that I cannot 
yy | imagine how I ever could 
—/ 

\ get along without one. 


It is like a good friend of 
whom you get fonder 


the more you know 


? 





him.’ 


The home of the Steinway ts 


Sherman (lay & Co. 


Kearny and Sutter Streets, San Francisco 
Mission Street, near Twenty-first 


Fillmore Street, near Post 
Fourteenth and Clay Streets, Oakland 
3420 E. 14th Street, Fruitvale 
Telegraph and Channing Way, Berkeley 
1315 Burlingame Avenue, Burlingame 








\ 








rom The 
FRAN 
ORCHESTRA 


| | 
ay Marntamex® Dy CCK 
Les 


y; 

5) The Musical 4 
: | Wl Association Of ri 
i oan Francisco fll 


GSS 
iD 










we) 
9 













> 









FIFTH PAIR 





1928 1929 
Eighteenth Season 


ALFRED HERTZ CONDUCTOR 





VAC ENR VPI GNGY (STO ORE 
Leelee XESS 


——— OO OE ee 


~~ 








SIXTH PAIR OF SYMPHONY CONCERTS 


Friday, January 11, 3:00 P. M. 
CURRAN THEATRE 


Saturday, January 12, 8:20 P. M. 
DREAMLAND AUDITORIUM 


Guest Artist 


Ottorino Respighi 


Pianist-Composer-Conductor 


At these concerts, Mr. Respighi, acknowledged as one of the 
greatest of living composers, will conduct a programme of his 
own works, including the Overture, “Belfagor’’; the Second 
Suite of Antique Dances, “Gli Uccelli,’’ ““Trittico,’’ ‘“The 
Fountains of Rome,”’ and the new “Toccata.” In the latter 


number Mr. Respighi will play the solo piano part. 


Make early ticket reservations. 








Symphony Box Office, Sherman, Clay & Co.; hours, 9 to 5. Tickets 
may also be obtained at other Sherman, Clay & Co. bay city stores. 
Friday tickets on sale at Curran Theatre after 10 a. m. on day of con- 
cert. Box office at Dreamland Auditorium open at 7 p. m. on concert 


days. 





166 





Musical Assuciation of San Francisco 


Founded December 20, 1909 Incorporated February 3, 1910 


OFFICERS 
J. B. Levison, President 
W. C. VAN ANTWERP, Vice-President 
WALTER S. MARTIN, Treasurer 


Mrs. IRWIN CrocKER, Honorary Vice-President 


Mrs. E. S. HELLER, Honorary Vice-President 
A. W. WIDENHAM, Secretary-Manager 


BOARD OF GOVERNORS 
R. I. Bentley John S. Drum John A. McGregor 
Miss Lena Blanding Sidney M. Ehrman John D. McKee 
Miss Louise A. Boyd Milton H. Esberg R. C. Newell 
George T. Cameron Mortimer Fleishhacker F. R. Sherman 
Selah Chamberlain F. J. Koster B. F. Schlesinger 
Mrs. Irwin Crocker J. B. Levison Mrs. M. C. Sloss 
William H. Crocker Walter S. Martin Mrs. Sigmund Stern 
E. R. Dimond Clay Miller W.C. Van Antwerp 
A. B. C. Dohrmann L. F. Monteagle Eli H. Wiel 

Mrs. M. S. Koshland, ex-officio 


EXECUTIVE COMMITTEE 


W. C. VAN ANTWERP, Chairman 
Mrs. Irwin Crocker A. B. C. Dohrmann Walter S. Martin 
Mortimer Fleishhacker John D. McKee 


MUSIC COMMITTEE 


R. C. NEWELL, Chairman 
Mrs. M. C. Sloss F. R. Sherman 


WOMEN’S AUXILIARY 


Mrs. M. S. KosHLAND, Chairman 
Miss LENA BLANDING, Vice-Chairman Mrs. M. C. Porter, Vice-Chairman 


EXECUTIVE OFFICES 
Fifth Floor, 244 Kearny Street 
Telephone Garfield 2819 


A. W. WIDENHAM, Secretary-Manager 
HOWARD G. HANVEY, Press Representative 





167 








Choose from 87 
Album Sets 


including the Great Schubert 
Centennial Memorial Edition — 
16 of Schubert’s immortal works 
conveying the essence of his 
unique gifts. 


Other composers represented in 


in a selected list of symphonies, concertos, 
sonatas and chamber music. All works in 5 
or more parts are enclosed in attractive art 
albums. 


Ask for Columbia Masterworks Catalogue 


“Magic Notes”’ 





COLUMBIA PHONOGRAPH COMPANY 
941 Mission Street, San Francisco, Calif. 


COLUMBIA 


“NEW PROCESS” RECORDS 


REG. U.S. PAT. OFF. 


Made the New Way—Electrically—Viva-tonal Recording 
The Records without Scratch 


Schubert Week, Nov. 18-25. Organized 
by Columbia Phonograph Co. 
* Reg. U.S. Pat. Off. 


PUM SREOGEG ISSUER OSI A SFE BES IEG IE LL EIS OO IAD EES 


168 








COLUMBIA 

MASTERWORKS* 
Bach Haydn 
Beethoven Holst 
Berlioz Lalo | 
Brahms Mendelssohn 
Bruch Mozart | 
Chopin Ravel 
Debussy Saint-Saens 
Dvorak Strauss 
Franck Tschaikowsky 
Grieg Wagner 


AY 


S 


VG “s 


I 
bof 





Che San Francisca Symphony Orchestra 


ALFRED HERTZ, Conductor 


, (Steinway Piano Used) 


1928—Season—1929 


FIFTH PAIR OF SYMPHONY CONCERTS 
750th and 751st Concerts 


Friday Afternoon, December 28, 3:00 o’clock 
CURRAN THEATRE 


Saturday Evening, December 29, 8:20 o’clock 
DREAMLAND AUDITORIUM 


Soloist: E. ROBERT SCHMITZ, Pianist 


PROGRAMME 

. Overture, ‘Iphigenie in Aulis’’ 
. Concerto for Piano, in F minor 

Allegro 

Largo 

Presto 

Played without pause 
(First time in San Francisco) 
3. Concerto for Piano, No. 2 


Allegro risoluto 
Scherzo 


Lento e Finale 


(First time in San Francisco) 
| 


Tansman 


Intermission 


. Symphony in D minor 
Lento—Allegro non troppo 
| Allegretto 
q 
Allegro non troppo 
1 The Piano is a Mason & Hamlin 


Franck 


There will be no concert on Saturday, January 5. After the next pair 


of concerts Friday and Saturday, December 28 and 29, the next concerts 
q will be Friday and Saturday, January 11 and 12. 





169 





SAN FRANCISCO 
CONSERVATORY 
OF MUSIC I 
ee okt nstruction 
ERNEST BLOCH, Director oe Le is 
Ada Clement and of on ais .: in the 
Lillian Hodghead 7 
Associate Directors 
ROBERT POLLAK > ~~ Bee es 
(head of string department) ~ a U10lin 


will appear in 
VIOLIN RECITAL 


Tuesday Evening, January 8th, Eight of Mr. Lichtenstein’s 
at 8:30 o’clock pupils became members of 


SOROSIS HALL the St. Louis Symphony 


Adenaeren an a0 Orchestra. 
Students - - 50 


Tickets on Sale at 
Sherman, Clay and Company 
Telephones: Fillmore 6146 


and the 
San Francisco Conservatory of Music Fillmore 4948 


Playing 


StupI0: 3145 WASHINGTON STREET 


YOUNG PEOPLE’S SYMPHONY 
CONCERTS 


San Francisco Symphony Orchestra 
WHEELER BECKETT, conducting 


CURRAN THEATRE 


(Series of five Friday afternoon concerts) 


January 18, February 1, February 15, March 1, March 15 


Season Tickets: $5.00, $4.00, $2.50 
On Sale at Sherman, Clay & Co. 


ALICE METCALF 
Executive Manager 
Hotel Mark Hopkins 


San Francisco 





ee ee a ey 





Overture, “‘Iphigenie in Aulis’’ - - Christoph Wilibald Gluck 
(Born July 2, 1714, at Weidenwang; died November 15, 1787, at Vienna) 

The composition of Gluck’s “Iphigenie in Aulis’’ was undertaken 
in the closing years of the composer's residence in Vienna. The libretto 
had been compiled by Bailli du Roullet from the “‘Iphigenie’’ of Jean 
Racine, who, in his turn, had founded his drama on the play of Euripi- 
des. Gluck’s overture was not written as an independent piece, but 
was composed to lead directly into the opening scene of the opera. 
Richard Wagner, who greatly admired the operatic compositions of 
Gluck, was induced to provide an ending for the overture, thus to 
make it suitable for concert performances. This Wagner did, keeping 
faithfully in view the spirit of Gluck’s compositions and putting into it 


as little of his own invention as possible. 


The overture begins with a theme of mournful character (an- 
dante), which Wagner characterizes as being an invocation for deliver- 
ance from affliction. Following this comes another motive (grave), 
intended, Wagner says, as an assertion of power and imperious demand 
which is introduced into a chorus in the opening act. The Allegro 


maestoso, which succeeds this division, represents the girlish charm and 


Established 1852 





QUALITY 
PRESTIGE 
SERVICE 


SHREVE & COMPANY 


Fewelers and Silversmiths 


Post Street at Grant Avenue 
San Francisco 





171 





NATHAN 
T VIOLINIST OF THE 
S STRING QUARTET 


Announces 
THE OPENING OF A STUDIO FOR 


INSTRUCTION 
IN VIOLIN AND 
ENSEMBLE 


INTERVIEWS BY APPOINTMENT 
TELEPHONE OR WRITE 


a 


“Management 


ALICE SECKELS 


FAIRMONT HOTEL 
Douglass 7267-8800 


Louis Ford 


Concert 


V iolinist 
TEACHER 


Available for Solo, Sonata, Trio and 
Quartet engagements. 


Eighteen years in Chamber Music: 
San Francisco Quintet Club, Chamber 
Music Society of San Francisco, Per- 
singer String Quartet. 


Twelve years first violinist with San 
Francisco Symphony Orchestra; Assis- 
tant Concert Master for Season 1917 to 
1925. 

PUPILS ACCEPTED 
Coaching in ensemble playing. 
Assistant teacher for beginners under 

my personal supervision. 


1610 Plymouth Av, Phone Delaware 0201 


Dunning System of Improved Music Study 
CARRIE LOUISE DUNNING, Originator 


8 West 40th Street, New York City 
834 South Plymouth Boulevard, Los Angeles, Calif. 


HE Greatest Musical Event in New York City in the past several decades was the 


playing of a ten-year-old Dunning pupil with the New York Philharmonic Orchestra, 


March 20th, 1926. 
She memorized it in three weeks. 


not, then you do. 


The child had only studied one year and eight months, She 
played Le Carnaval des Animaux, by Saint-Saens. 
If you have any plan for teaching that can bring such 
results in that length of time—then you do not need the Dunning System. 


The piece is twenty-three pages long. 


If you have 


Faculty of Normal Teachers—Classes Held in these Cittes 


KATHARINE M. ArRNoLp, 93 Madison St., 
Tiffin, O. 

Auutie E. Barcus, 1006 College St., Ft. 
Worth, Tex. 

EL1zeETTE R. Bartow, Box 1244, St. Peters- 
burg, Fla. 

CATHERINE C. Brirp, 658 Collingwood Ave., 
Detroit, Mich, 

Grace A. Bryant, 201—10th Ave., N. Twin 
Falls, Idaho. 

Dora A. CuHase, 345 Clinton Ave., Brook- 
lyn, Ni: Y. 

Appa C. Eppy, 136 W. Sandusky Ave., 
Bellefontaine, O. 

Beatrice S. Er1Kket KIpp, 
Sherman, Tex. 

Ipa GarpNER, 17 E. 6th St., Tulsa, Okla. 

Giapys M. GLeNN, 1217 Bowie St., Am- 
arillo, Tex. 

FLORENCE E. GrasLE, Michigan State In- 
stitute of Music, Lansing, Mich. 


Key College, 


Harriet Bacon MacDonatp, 6010 Belmont 
Ave., Dallas, Tex. 

Kate Dett MARDEN, 61 N. 16th St., Port- 
land, Ore. 

Mrs. W. P. Mason, 302 Mid. City Bank 
Bldg., Chicago, III. 

Laup G. Puxuipren, 3435 Ashbury Ave., 
Dallas, Tex. 

Eure I. Prince, 4106 Forest Hill Ave., 
Richmond, Va. 

VirGINIA Ryan, 1070 Madison Ave., New 
York. 

Sre_ta H. Seymour, 1219 Garden St., San 


Antonio, Tex. 

GERTRUDE THOMPSON, 508 W. Coal St., 
Albuquerque, N. M. 

IsopeL M. Tone, 626 Catalina St., Los An- 
geles, Calif. 

Mrs. H. R. Watkins, 124 E. 11th St., 
Oklahoma City, Okla. 


Mrs. JEAN WARREN CARRICK 
(Normal Teacher) 


25 Lake Street, San Francisco 


172 


Classes formed upon Arrangement 











tenderness of Iphigenie. There is a sorrow-laden passage in G minor 
played by the flutes and oboes, which is supposed to characterize 


“painful, tormenting pity.” 


Concerto for Piano and Orchestra, in F minor - Johann Sebastian Bach 


(Born March 21, 1685, at Eisenach; died July 28, 1750, at Leipsic) 


This concerto was published from manuscript in 1867, the title 
page bearing the words: “‘Clavier Concerto in F minor with accompani- 
ment for two violins, viola and the balance of the instruments.’ It has 
been stated by Bach students that while director of the Telemann 
society Bach found himself in need of clavier concertos, and that in 
haste to fill this need, the old master simply reworked old material 
into new forms. The F minor concerto, it is believed, is a rearrange- 


ment of a lost violin concerto in G minor. 


The first movement, an allegro, is of stately measure with rolling 
triplet figures. The second, a largo, sings the celestial melodies of 
Bach in the solo instrument against a string background of pizzicato. 


The final movement is a presto, characteristic of the voice of Bach and 





VOJMIR ATTL 


Harpist 
San Francisco Symphony Orchestra 
Available for 


Concerts, Ensemble Music and 
HARP INSTRUCTION 


STUDIO: 


403-404 Marston Building 
244 Kearny St., San Francisco, Calif. 










JOHN BUBEN 
Fur Fashion’s Creator 


Fur Artistry and Craftsmanship for 
discriminating fur lovers. Furs re- 
styled as Jacquettes, or in the latest 


Creations. 
57 GEARY ST. 
Phone Kearny 5873 


Paris Office 
52 Rue du Faubourg—Montmartre 


For Appointment 

Call 
Studio Phone Residence Phone 
Douglas 3706 Skyline 2757 












with unusual interest in the use of an echo as emphasis to the motive. 
The three movements are played without interruption. 


In Bach’s day the term ‘‘clavier’’ denoted practically all keyed 
instruments, not alone the harpsichord and the clavichord, but also, 
sometimes even the organ. The word “‘clavier’ is used today for the 
‘‘clavier’” parts in his chamber concertos with orchestra was a clavi- 
cembalo—practically a harpsichord with two manuals and a pedal 
keyboard. The strings of this instrument were set in vibration by 
quills or metal pins known as “jacks.” There were several sets of 
strings, controlled by “‘stops,” like the different sets of pipes in an 
organ. It was for clavicembali of this type that Bach wrote his 
‘Italian’ concerto, the Goldberg Variations and the so-called ‘‘organ’’ 


sonatas. 


Concerto for Piano and Orchestra, No.2 - - Alexander Tansman 


(Born June 12, 1897, at Lodz, Poland; now living in Paris) 


Tansman began studying piano at the age of five, and did his 
first composing at nine. Upon entering the law college at the Univer- 


HAZEL DREIS 


FINE BOOKBINDINGS 


MUSIC BINDING 
BOUND TAUGHT 


DOuglas 0328 545 Sutter Street, San Francisco 


ARRILLAGA MUSICAL COLLEGE 


Founded 1877 Incorporated 1911 
LARGEST IN THE WEST 


Pipe Organ—Choral—Orchestra—Stage Training 
T heory—V oice—Instruments—Evening Classes 


Superior Instruction—Low Terms 


2351 JACKSON STREET, SAN FRANCISCO Phone WALNUT 3742 





174 

















sity of Warsaw, he continued his musical studies, and in 1916 his 
‘Symphonic Serenade’’ was performed in public. In 1919 he was 
awarded the first and second prizes in the Grand Prix de Pologne (the 
competitors were anonymous). Shortly afterward he went to Paris 
to live. 


Tansman’s principal works for orchestra are: Symphonic Poem 


‘‘Prometheus’’; ‘“‘Impressions’; “Intermezzo Sinfonico’’; ‘Scherzo 
Sinfonico’’; ““‘Legende’’; “‘Danse de la Sorciere’’; “‘Overture Sym- 
phonique’’; “Symphony in A minor.’” He has also composed an opera, 


- ‘La Nuit Kurde’’; two ballets, “‘Le Jardin du Paradis’ and “Ballet 
Sextuor’’ or “The Tragedy of the Violoncello’; in addition to a great 
deal of chamber music, piano and violin music and songs. 


Tansman first came to the United States upon the invitation of 
Serge Koussevitzky to appear with the Boston Symphony Orchestra, 
and for this occasion composed the Second Piano Concerto. Just a 
year ago, December 29, 1927, the concerto had its first performance 
at Symphony Hall, Boston, the programme containing the following 
analysis by Philip Hale: 


‘The concerto is scored for full modern orchestra, including bass 
drum, tambourine, cymbals, triangle, tam-tam. The Allegro risoluto, 


The 


Margaret Mary Morgan Co. 


PRINTERS 
Engraving — Publishing 


MARGARET 


TILLY 


PIANIST 
Will be on the Pacific Coast during 
the entire season, 1928-1929 
Concert Management 


ELWYN CONCERT BUREAU 
PHELAN BUILDING 


Studio: 
‘ = 450 GRANT AVENUE 
619 California Street Telephone Kearny 8289 
SAN FRANCISCO 


Davenport 450 





175 











608, brings at once a sturdy theme for pianoforte with woodwind and 
kettledrums. The second chief theme, of a gentle nature, is given out 
by the piano. The movement is in the orthodox sonata form. The 
second movement, Vivace, 4-4, is a Scherzo with trio. The piano 
opens the Scherzo lightly and pianissimo. The Trio, meno mosso, 3-4, 
furnishes the customary contrast, beginning with a song (oboe with 
other wind instruments and kettledrums), which is taken up by the 
piano. The third movement consists of a Lento, 4-4, leading with 


quickening pace to an Allegretto grazioso.’’ 


Symphony in D minor - - - - - Cesar Franck 
(Born December 10, 1822, at Liege; died November 8, 1890, at Paris) 


In Vincent d’Indy’s “Life of Franck,’ attention is called, in com- 
menting 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 


JANET ROWAN HALE 


Pianist and Teacher 


Studio 902 
26 O'Farrell Street Berkeley and Piedmont 
Phone Davenport 5486 Phone Oakland 8663 


30 years violin specialist in St. Louis and Chicago Expert Repairing 


S. O. ALLISON 
VIOLIN MAKER, CONNOISSEUR AND APPRAISER 


Agent for Andres Morellis hand-made Violins, Violas, "Cellos, Basses 
Artist Bows by G. A. Pfritzschner 
and other celebrated Bow Makers 
45 GEARY STREET 
Dealer in New and Old Violins, San Francisco, Cal. 
*Cellos and Bows Formerly I. A. Lutz 
Strings and Accessories Davenport 415 





176 











minor is constructed on the same method. I! purposely use the word 
method for this reason: After having long described Franck as an 
empiricist 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 view and called 
him a musical mathematician, who subordinated inspiration and im- 
pulse 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 com- 
poser 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, without any pre- 
vious 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 
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 


Julian Brodetsky 


ASSISTANT CONCERT MASTER 
SAN FRANCISCO SYMPHONY ORCHESTRA 


Violin Instruction 


Studio 
Phone SKyline 4855 189 Commonwealth Avenue 





177 











remarkable for the fascination of its theme, and still more for charm 
and elegance of rhythm and harmony, distinctive qualities of the imagi- 


native 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.” 


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, 1928 


Assets $118,615,481.57 
Capital, Reserve and Contingent Funds 5,000,000.00 
Pension Fund over $610,000.00, 

standing on Books at 1.00 


MISSION BRANCH 
PARK-PRESIDIO 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 


178 








Jersomnel 


Che San Srancisea Sumphony Orchestra 


FIRST VIOLINS 


Piastro, Mishel 
Concert Master 


Fenster, Lajos 


Assistant Concert Master 


Brodetsky, Julien 


Assistant Concert Master 


Meriz, Emilio 

Ford, Louis W. 
Jensen, Thorstein 
Gordohn, Robert 
Mendelevitch, Rodion 
Laraia, William F. 
Mortensen, Modesta 
Koenig, Hans 

See, Orley 

Pasmore, Mary 
Atkinson, Helen E. 
Wolski, William 


Ruiz, Ricardo 


SECOND VIOLINS 


Heyes, Eugene 
Principal 


Rosset, Emil 
Amsterdam, Max 
Callinan, W. G. 
Paterson, J. A. 
Gold, Julius 


Haug, Julius 


Gough, Walter 
Firestone, Nathan 
Simonsen, Frances 
Wegman, William 
Tolpegin, Victor 
Hoffman, Henry H. 
Dabelow, William 


VIOLAS 

Verney, Romain 

Principal 
Hahl, Emil 
Baker, F. A. 
Wismer, Hother 
Weiler, Eric 
Lichtenstein, Victor 
Dierich, Franz 
Triebel, August 
Kolb, Richard 
Lewis, Arthur 


’CELLOS 


Penha, Michel 
Principal 


Dehe, Willem 

King, Otto 
Villalpando, Wenceslao 
Kirs, Rudolph 
Pasmore, Dorothy 
Reinberg, Herman 
Gough, Flori 

Hranek, Carl 

Haight, Rebecca 


BASSES 


Previati, Louis J. 
Principal 


Bell, Walter 
Storch, A. E. 
Guterson, Aaron 
Schulz, Emil 
Schmidt, Robert E. 
Frederick, Oscar 
Schipilliti, John 


FLUTES 
Linden, Anthony 


Oesterreicher, Walter 
Orchestral Manager 


Benkman, Herbert 


PICCOLO 


Benkman, Herbert 


OBOES 
Addimando, Caesar 
Shanis, Julius 


Schipilliti, Vincent 


ENGLISH HORN 
Schipilliti, Vincent 


CLARINETS 


Randall, Harold B. 
Zannini, Nicolai 
Fragale, Frank 
Triebel, August 


BASS CLARINET 
Fragale, Frank 


179 


ALFRED HERTZ, CONDUCTOR 


BASSOONS 
Kubitschek, Ernest 
La Haye, E. B. 
Hranek, Carl 


CONTRA BASSOON 
Kolb, Richard 


HORNS 
Hornig, Walter 
Roth, Paul 
Tryner, C. E. 
Rocco, R, 


Trutner, Herman 


TRUMPETS 
Drucker, Vladimir 
Barton, Leland S. 
Savant, Silvio 
Kegel, Otto 
Kress, V. 


TROMBONES 


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


TUBA 
Murray, Ralph 


HARP 


Attl, Kajetan 
Attl, Vojmir 


TYMPANI 
Wagner, Roland E. 


PERCUSSION 


Vendt, Albert, Jr. 
Salinger, M. A. 
Kundy, E. 


PIANO AND CELESTA 
Tibbitts, J. P. 


LIBRARIAN 
Kegel, Otto 














8 ee 8 8 a 6 FF 8 FS Oe 6 8 Pe Ae 8 ee 





pei | AM using the Steinway piano 
now for many years and am 
enjoying its superior qualities so 
ee much that I cannot 


imagine how I ever could 





get along without one. 
It is like a good friend of “ 
whom you get fonder & By: 


— 


‘oll more you know a 
him. | 


The home of the Steinway 1$ 


Sherman tay & Co. 


Kearny and Sutter Streets, San Francisco 
Mission Street, near Twenty-first 
Fillmore Street, near Post 
Fourteenth and Clay Streets, Oakland 
3420 E. 14th Street, Fruitvale 
Telegraph and Channing Way, Berkeley 
1315 Burlingame Avenue, Burlingame 








Fg as 


wo a 
Wes » Wd 2 
O 


wy The 
SAN FRANCISCO 
SYMPHONY = 


Fy) Matntainea by 
7 The Musical zs 
Assoctation of 

an Trancrsco 














OCC 
RL AVS 
cae 
F i 
eA 
A 











“bq figs 


SIXTH PAIR 


1928 1929 
Eighteenth Season 


ALFRED HERTZ CONDUCTOR 











FIFTH POPULAR CONCERT 


Saturday, January 19, 8:20 P. M. 
DREAMLAND AUDITORIUM 


Soloist: EUGENE HEYES, Violinist 


PROGRAMME 
[cy CIVETHIFE. LICE ANDO VIBBLOS | beseecicinccven paces ceesiacee d’ Albert 
2. Prelude, “The Afternoon of a Faun’ ..---..--.-.------------------- Debussy 
3. Symphonie Espagnole, for Violin.................-..-...-------- Lalo 
EUGENE HEYES 
a Sune from. je.Coaid Orr jis kee Rimsky-Korsakow 
Biri ay bor vpemienets 6c he es Oe a coh ea aaeaiics Boccherini 
de ACS 2 bs | Oa add Oreme tn: en Aiea eee Jarnefelt 
Ce) Serenade 22 seeds bitte ta Moszkowski 
gh EE ey ee ran FOR Oe A een RAR rae Kreisler 








SEVENTH PAIR OF SYMPHONY CONCERTS 


Friday, January 25, 3:00 P. M. 
CURRAN THEATRE 


Saturday, January 26, 8:20 P. M. 
DREAMLAND AUDITORIUM 


PROGRAMME 
| Soniphony Noe Wiens ee ee, pontine Pecan ssvnseseee} Brahms 


fe ete oe Sots tl eee a RL, oS, Se ee Frederick Jacobi 
Buffalo Dance 
Butterfly Dance 
War Dance 
Rain Dance 
Corn Dance 
(First time in San Francisco) 


3. Suite from Dine Bare Bit sb A tec scans Sedo do - Stravinsky 








Symphony Box Office, Sherman, Clay & Co.; hours, 9 to 5. Tickets 
may also be obtained at other Sherman, Clay & Co. bay city stores. 
Friday tickets on sale zt Curran Theatre after 10 a. m. on day of con- 
cert. Box office at Dreamland Auditorium open at 7 p. m. on concert 
days. 


182 


























Musical Association of San Francisen 


Founded December 20, 1909 Incorporated February 3, 1910 


OFFICERS 
J. B. Levison, President 
W. C. VAN ANTWERP, Vice-President 
WALTER S. MARTIN, Treasurer 


Mrs. IRWIN Crocker, Honorary Vice-President 
Mrs. E. S. HELLER, Honorary Vice-President 
A. W. WIDENHAM, Secretary-Manager 


BOARD OF GOVERNORS 


R. I. Bentley John S. Drum John A. McGregor 
Miss Lena Blanding Sidney M. Ehrman John D. McKee 
Miss Louise A. Boyd Milton H. Esberg R. C. Newell 
George T. Cameron Mortimer Fleishhacker F. R. Sherman 
Selah Chamberlain F. J. Koster B. F. Schlesinger 
Mrs. Irwin Crocker J. B. Levison Mrs. M. C. Sloss 
William H. Crocker Walter S. Martin Mrs. Sigmund Stern 
E. R. Dimond Clay Miller W.C. Van Antwerp 
A. B. C. Dohrmann L. F. Monteagle Eli H. Wiel 

Mrs. M. S. Koshland, ex-officio 


EXECUTIVE COMMITTEE 


W. C. VAN ANTWERP, Chairman 
Mrs. Irwin Crocker A. B. C. Dohrmann Walter S. Martin 
Mortimer Fleishhacker John D. McKee 


MUSIC COMMITTEE 


R. C. NEWELL, Chairman 
Mrs. M. C. Sloss F. R. Sherman 


WOMEN’S AUXILIARY 


Mrs. M. S. KosHLAND, Chairman 
Miss LENA BLANDING, Vice-Chairman Mrs. M. C. Porter, Vice-Chairman 


EXECUTIVE OFFICES 
Fifth Floor, 244 Kearny Street 
Telephone Garfield 2819 


A. W. WIDENHAM, Secretary-Manager 
HOWARD G. HANVEY, Press Representative 





183 








SCHUBERT 


Immortal Master of Melody 


Franz Schubert lives in the hearts of millions who know and love 
the incomparable productions of his genius, and in the great Columbia 
Schubert Centennial Memorial Edition of his works, in record form. 


The following comprehensive list, from the Columbia Masterworks* 


library, perpetuating the essence 
arouse the merited enthusiasm of 
enduring in the world’s music. 


| Symphony No. 8, in B Minor (Unfinished) 
SET NO. 41, 6 parts, with album, $4.50 


Symphony No. 9, in C Major. Op. Post- 
humous (B. & H. No. 7) 
SET NO. 88, 14 parts, with leather 
album, $10.50 


Sonata in A Major, Op. 120, for Piano 
SET NO. 87, 5 parts, with album, $4.50 


Quintet in A Major (Forellen) Op. 114 
SET NO. 84, 9 parts, with album, $7.50 


Quartet in A Minor, Op. 29 
SET NO. 86, 7 parts, with album, $6.00 


Quartet No. 6, in D Minor (Death and 
the Maiden) 
SET NO. 40, 8 parts, with album, $6.00 


Sonatina in D, Op. 137, No. 1, Violin and 
Piano, 6 parts, 
Moments Musicaux, 8 parts, 


SET NO. 94, with album, $7.00 


of Schubert’s unique gifts, will 
all lovers of what is great and 


Sonata in G Major, Op. 78, for Pianoforte 
SET NO. 92, 9 parts, with album, $7.50 


Impromptus, Op. 142, for Pianoforte 
SET NO. 93, 6 parts, with album, $4.50 


Die Winterreise, Song Cycle 
SET NO. 90, Six 10 inch records with 
album, $6.00 


Quintet in C Major, Op. 163, for Strings 
SET NO. 95, 12 parts, with album, $9.00 


Quartet in E Flat, Op 125, No. 1 ; 
SET NO. 96, 5 parts with album, $4.50 


Trio in B Flat Major, Op. 99 
SET NO. 91, 8 parts, with album, $6.00 


Octet in F Major, Op. 166 
SET NO. 97, 12 parts, with album, $9.00 


Selected Songs i, 
SET NO. 89, Eight 12 inch records, 
with album, $12.00 


Ask for Columbia Masterworks Catalog 





(ae 
** Magic \ fey 


COLUMBIA PHONOGRAPH COMPANY 


941 Mission Street, 


Notes’ ’ 


San Francisco, Calif. 


COLUMBIA 


“NEW PROCESS” 


RECORDS 


REG. U. S. PAT. OFF. 


Viva-tonal Recording — The Records without Scratch 


Reg. U. S. Pat. Off. 


184 



































Che San Francisco Symphony Orchestra 
ALFRED HERTZ, Conductor 
1928—Season—1929 


SIXTH PAIR OF SYMPHONY CONCERTS 
752d and 753d Concerts 


Friday Afternoon, January 11, 3:00 o’clock 
CURRAN THEATRE 


Saturday Evening, January 12, 8:20 o’clock 
DREAMLAND AUDITORIUM 


Guest Artist 
OTTORINO RESPIGHI 


Composer—Conductor—Pianist 


Conducting a Programme of his own Works 


|. Toccata for Piano and Orchestra 
Grave 
Andante lento ed espressivo 
Allegro vivo 
(Played without pause) 
(First time in San Francisco) 


2. Antique Dances for the Lute 
Transcribed for modern orchestra 
Laura Soave: F. Carosio (1531) 
Danza rustica: Besardo (1617) 
Campanae Parisienses: Author unknown (1600) 
Bergamasca: Giannoncelli (1650) 
(First time in San Francisco) 


Intermission 
3. Trittico Botticelliano (Three Botticelli Paintings) 
Spring 
Adoration of the Magi 
Birth of Venus 


(First time in San Francisco) 


4. Symphonic Poem, ““The Pines of Rome’ 
The Pines of the Villa Borghese: 
The Pines near a Catacomb 
The Pines of the Janiculum 
The Pines of the Appian Way 
(Played without pause) 
Mr. Respighi uses the Baldwin Piano 


a 
First concert, Young People’s Symphony Series, next Friday afternoon, 
January 18, Curran Theatre. 


185 














SAN FRANCISCO 
CONSERVATORY 
OF MUSIC 


ERNEST BLOCH, Director 
Ada Clement and 
Lillian Hodghead 


Associate Directors 


ERNEST BLOCH 


in lecture 


“THE MANAGEMENT OF THE 
PLANET” 


Thursday Evening, January 17th 
at 8.30 o’clock 


SOROSIS HALL 


Admission - $1.00 
Students - Half Rate 


The San Francisco Conservatory of 
Music is the only music school in 
Northern California selected for schol- 
arship pupils by the Juilliard Foun- 
dation of New York. 


Tickets on Sale at 
Sherman, Clay and Company 
and the 
San Francisco Conservatory of Music 





Victor Lichtenstein 


Instruction 


in the 


of 
Uiolin 
Playing 


Eight of Mr. Lichtenstein’s 
pupils became members of 
the St. Louis Symphony 
Orchestra. 


Srup10: 3145 WASHINGTON STREET 


Telephones: Fillmore 6146 
Fillmore 4948 





YOUNG PEOPLE’S SYMPHONY 
CONCERTS 


San Francisco Symphony Orchestra 
WHEELER BECKETT, conducting 


CURRAN THEATRE 


(Series of five Friday afternoon concerts) 


January 18, February 1, February 15, March 1, March 15 


Season Tickets: $5.00, $4.00, $2.50 
On Sale at Sherman, Clay & Co. 


ALICE METCALF 
Executive Manager 
Hotel Mark Hopkins 


San Francisco 











Toccata for Piano and Orchestra 

The Toccata for Piano and Orchestra was first performed by the 
Philharmonic-Symphony Society of New York, November 28, 1928, 
under the direction of William Mengelberg, with the composer at the 
piano. It was composed at Capri in August, 1928. Mr. Respighi has 
described the work as follows: 

‘In its form this work approximates the old form of Toccata as 
found in Frescobaldi, naturally filled with the modern spirit and mod- 
ernized through the character of the harmonies. The composition is 
divided into three parts, played without interruption: I. Prelude in 
form of a fantasia; II. Adagio; III. Allegro vivo. The prelude is based 
on a principal theme, which is followed by a number of small episodic 
ideas, of a rhythmic character, and in the form of ‘Cadenza-recitative.’ 
The Adagio consists of a melodic idea, which is developed at great 
length, in a sustained dialogue between piano and orchestra. The final 
movement begins with a brilliant theme, which is developed through 
manifold rhythmic transformations, interrupted by a brief episode of 
Scherzo character. The Toccata is scored for the following small 
orchestra: Three flutes, three oboes, bassoon, contra-bassoon, three 
horns, and strings. The piano is treated as a clavicembalo.”’ 

As to the word “‘toccata,’’ Mr. Lawrence Gilman has written: 

 “Toccata’ was derived from the Italian toccare: to touch, to 
strike, move, excite, play upon. When the term found its way into 
the nomenclature of music, it was used at first to describe a composi- 
tion designed to display the characteristics of music written for key- 
board instruments, chiefly the organ, and especially to exhibit the 


Established 1852 





QUALITY 
PRESTIGE 
SERVICE 


SHREVE & COMPANY 


fewelers and Silversmiths 


Post Street at Grant Avenue 
San Francisco 





187 





T VIOLINIST OF 
S STRING QUAR 


Announces 
THE OPENING OF A STUDIO FOR 


INSTRUCTION 
IN VIOLIN AND 
ENSEMBLE 


INTERVIEWS BY APPOINTMENT 
TELEPHONE OR WRITE 


a 


“Management 


ALICE SECKELS 


FAIRMONT HOTEL 
Douglass 7267-8800 


Louis Ford 


Concert 


V iolinist 
TEACHER 


Available for Solo, Sonata, Trio and 
Quartet engagements. 


Eighteen years in Chamber Music: 
San Francisco Quintet Club, Chamber 
Music Society of San Francisco, Per- 
singer String Quartet. 


Twelve years first violinist with San 
Francisco Symphony Orchestra; Assis- 
tant Concert Master for Season 1917 to 
1925. 

PUPILS ACCEPTED 
Coaching in ensemble playing. 
Assistant teacher for beginners under 

my personal supervision. 


1610 Plymouth Av, Phone Delaware 0201 


Aunning System of Improved Music Study 
CARRIE LouISE DUNNING, Originator 
8 West 40th Street, New York City 
834 South Plymouth Boulevard, Los Angeles, Calif. 


HE Greatest Musical Event in New York City in the past several decades was the 
playing of a ten-year-old Dunning pupil with the New York Philharmonic Orchestra, 


March 20th, 1926. 
She memorized it in three weeks. 


not, then you do. 


The child had only studied one year and eight months. She 
played Le Carnaval des Animaux, by Saint-Saens. 
If you have any plan for teaching that can bring such 
results in that length of time—then you do not need the Dunning System. 


The piece is twenty-three pages long. 


If you have 


Faculty of Normal Teachers—Classes Held in these Cities 


KATHARINE M. Arnoxtp, 93 Madison St., 
Tiffin, O. 

Attire E. Barcus, 1006 College St., Ft. 
Worth, Tex. 

Evizette R. Bartow, Box 1244, St. Peters- 
burg, Fla. 

CATHERINE C. Brrp, 658 Collingwood Ave., 
Detroit, Mich, 

Grace A. Bryant, 201—10th Ave., N. Twin 
Falls, Idaho. 

Dora A. Cuase, 345 Clinton Ave., Brook- 
lyn, N. Y. 

Appa C. Eppy, 136 W. Sandusky Ave., 
3ellefontaine, O. 

Beatrice S. ErKet KIpp, 
Sherman, Tex. 

Ipa GarpNeER, 17 E. 6th St., Tulsa, Okla. 

Giapys M. GLenn, 1217 Bowie St., Am- 
arillo, Tex. 

FLORENCE E. GRaSLE, Michigan State In- 
stitute of Music, Lansing, Mich. 


Key College, 


Harriet Bacon MacDonatp, 6010 Belmont 
Ave., Dallas, Tex. 
Kate Dett MarpDEN, 61 N. 
land, Ore. 

Mrs. W. P. Mason, 302 Mid. City Bank 
Bldg., Chicago, Ill. 

Laup G. Purpren, 3435 Ashbury Ave., 
Dallas, Tex. 

Evuie I. Prince, 4106 Forest Hill Ave., 
Richmond, Va. 

VirGINIA Ryan, 1070 Madison Ave., New 
York. 
Sretta H. Seymour, 1219 Garden St., San 
Antonio, Tex. 
GERTRUDE TuHompson, 508 W. Coal St., 
Albuquerque, N. M. 

IsoseL M. Tone, 626 Catalina St., Los An- 
geles, Calif. 

Mrs. H. R. Watkins, 124 E. 11th St., 
Oklahoma City, Okla. 


16th St., Port- 


Mrs. JEAN WARREN CARRICK 
(Normal Teacher) 


25 Lake Street, San Francisco 


188 


Classes formed upon Arrangement 

















touch and execution of the performer. According to the definition of 
Michael Praetorious, it meant originally a free prelude, or introduction. 
In old examples by Andrea Gabrieli (1510-1586) and Claudio Meruol 
(1533-1604), the toccata begins with full harmonies, followed by 
running passage-work interspersed with brief fugal periods; in which 
it exhibited the essential character of the toccata as a brilliant show- 
piece, generally with the flavor of an improvisation. The organ toccata 
descended through Claudio Merulo, the great master of the Venetian 
School, and reached its highest point of development in Italy in the 
works of Frescobaldi. In Germany, the toccata stems from Dietrich 
Buxtehude (1637-1707); but it was Bach who, in his toccatas for 
harpsichord, and especially in the magnificent organ toccatas, cast into 
the shade all previous experiments in this form— if form it may be 
called. For it must be remembered that the old composers applied the 
term to various types of composition—Georg Muffat, for instance, 
affixed the label to what is really a five-movement suite, comprising a 
stately Alla breve, a rapid Fugato, a canonic Adagio, an Andante, and 
a jig-like Fugato Finale in 12-8 time. Yet this work exists as one of 
the “Toccatas’ in Muffat’s Apparatus musico-organistus (1690). The 
a jig-like Fugato Finale in 12-8 time. Yet this work exists as one of 
the “Toccatas’ in Muffat’s Apparatus musico-organistus (1690). The 
form of the toccata, indeed, suffers from ‘faint individuality,’ as Corder 
remarks in his essay on the subject.’ 


Antique Dances for the Lute. Second Suite 
This suite of pieces, originally written for the lute, was arranged 


VOJMIR ATTL 


Harpist 


San Francisco Symphony Orchestra 
Available for 


Concerts, Ensemble Music and 


HARP INSTRUCTION 


STUDIO: 


403-404 Marston Building 
244 Kearny St., San Francisco, Calif. 









JOHN BUBEN 


Fur Fashion’s Creator 


Fur Artistry and Craftsmanship for 
discriminating fur lovers. Furs re- 
styled as Jacquettes, or in the latest 


Creations. 
57 GEARY ST. 
Phone Kearny 5873 


Paris Office 
52 Rue du Faubourg—Montmartre 


For Appointment 
Call 
Studio Phone Residence Phone 
Douglas 3706 Skyline 2757 











for modern orchestra by Respighi in 1923, and was preceded by 
another group of dances, published in 1919. The first suite of dances 
was played here March 6 and 8, 1925. Upon the occasion of the first 
performance of the Second Suite by the Philadelphia Orchestra, 
Lawrence Gilman supplied the following detailed description: 

‘T Balletto con Gagliarda, Saltarello, e Canario, by Fabrizio 
Caroso. Caroso was born at Sermoneta about 1531. He was the 
author of a famous treatise on the dance, Il Ballarino, published at 
Venice in 1581. Practically nothing else is known of him; and his 
age has been inferred only from the fact that a revised and enlarged 
edition of his book, entitled Nobilta di Dame, published with new 
dances in 1605, contains a portrait of Caroso representing him at the 
age of 74. He must have been a famous teacher of dances, for Tor- 
quato Tasso extolled him in a sonnet published in Caroso’s book. The 
ballet transcribed by Respighi was composed in honor of Madama 
Christena Lorena de Medici, Grand Duchess of Tuscany. Caroso da 
Sermoneta’s original ballet, Laura Soave, appeared in the second book 
of the Nobilita di Dame. Its linking of a gagliarda with a saltarello 
was in accordance with the custom of the period. In sixteenth century 
collections of dance tunes the melodies generally consisted of two 
divisions, the first in common time, the second in triple time. The 
former bore the distinguishing name of the dance, while the latter was 
variously entitled ‘Nachtanz,’ or ‘Proportio,’ or ‘Saltarello.” Thus in 
the Fitzwilliam Virginal Book there is a Gagliarda Passamezzo by 
Peter Philips consisting of ten 8-measure ‘divisions,’ the ninth of which 


HAZEL DREIS 


FINE BOOKBINDINGS 


MUSIC BINDING 
BOUND TAUGHT 


DOuglas 0328 545 Sutter Street, San Francisco 


ARRILLAGA MUSICAL COLLEGE 


Founded 1877 Incorporated 1911 
LARGEST IN THE WEST 


Pipe Organ—Choral—Orchestra—Stage Training 
T heory—V oice—Instruments—Evening Classes 


Superior Instruction—Low Terms 


2351 JACKSON STREET, SAN FRANCISCO Phone WALNUT 3742 








is entitled ‘Saltarello.” The saltarello was always based on the tune 
of the first part of the dance, and was played in triple time with a 
strong accent on the first beat of each measure. This scheme was 
followed by Caroso da Sermoneta in his Laura Soave, the dance 
transcribed by Respighi. In Respighi’s transcription the opening sec- 
tion is an Andantino in 2-4 time, followed by a gagliarda (Allegro 
marcato, 6-4). Then comes the saltarello (in 3-8 time); and this in 
turn is followed by a Canario—a short dance, analogous to the gigue, 
which became very popular in the time of Louis XIV. The scoring 
is for two flutes, two oboes, two clarinets, one bassoon, two horns, 
clavicembalo (harpsichord), harp, and strings. 

“II. Danza Rustica, by Giovanni Battista Besardo. This com- 
poser, whose true name was Jean Baptiste Besard, was born at 
Besancon about 1567. He was a composer for and performer on 
the lute, and published various works on the art of lute playing 
(Thesaurus Harmonicus; arrangements for the lute, 1603; Novus 
Partus, and Traite de Luth). The ‘Rustic Dance’ transcribed by 
Respighi is a Branle de village, an old round dance in moderate tempo 
and duple measure, that was popular in sixteenth century France. 
Respighi’s version is an Allegretto in 2-2 time, E major. It is scored 
for woodwind, horns, and trumpets (muted) in pairs, strings, and 
clavicembalo for four hands. 

“III. The third number of Respighi’s suite is formed of two 
compositions. The first, Campanae Parisienses, is by an unknown 
author, transcribed by Besard for his Novus Partus as Les cloches de 
Paris. Respighi presents it as a movement in C major, 4-4 time, 


The 


Margaret Mary Morgan Co. 


PRINTERS 
Engraving ~ Publishing 


MARGARET 


TILLY 


PIANIST 
Will be on the Pacific Coast during 
the entire season, 1928-1929 
Concert Management 


ELWYN CONCERT BUREAU 
Davenport 450 PHELAN BUILDING 


Studio: 
; ; 450 GRANT AVENUE 
619 California Street Telephone Mearny 8209 
SAN FRANCISCO 





191 








Andante mosso. The Aria which forms the middle section is attrib- 
uted by Respighi to Marin Mersenne, a Franciscan monk born at Oize, 
France, September 8, 1588, died at Paris, September |, 1648. He 
was one of the foremost musicologists of his time, and his voluminous 
writings—especially his famous Harmonie universelle—are invaluable 
mines of information concerning the music of the seventeenth century. 
He spent most of his life in Paris, where he was an associate of Des- 
cartes, Roberval and other savants of the period. The Aria as used 
by Respighi is a Largo espressivo in 3-4 time. After it the bells of 
Paris are heard again, and close the movement. The scoring is for 
flutes, oboes, bassoons, and horns, in pairs; English horn, one trumpet, 
three trombones, celesta, harp, strings. 

“IV. Bergamasca, by Bernardo Gianoncelli. This composer, 
known as ‘Bernardello,’ lived during the latter part of the fifteenth 
and the first half of the sixteenth century. Many of his compositions 
for the lute were published at Venice in 1650 by his widow, Lucrezia 
Gianoncelli. The bergamasca is a lively old Italian dance in common 
time, which derived its name from Bergamo, the city of Tasso and of 
Donizetti. The earliest known instrumental bergamasca is said to be 
the one which appears in a sonata of Uccellini’s, where it has the form 
of a succession of four notes (tonic, subdominant, dominant, tonic) 
used as a ground-bass. Respighi follows this design in his transcrip- 
tion of Bernardello’s dance, which is a lusty Allegro in 2-2 time, built 
over a ground-bass which reiterates almost without change the tonic, 
subdominant, dominant, and tonic of the key of D major (except ina 


JANET ROWAN HALE 


Pianist and Teacher 


Studio 902 
26 O'Farrell Street Berkeley and Piedmont 
Phone Davenport 5486 Phone Oakland 8663 


30 years violin specialist in St. Louis and Chicago Expert Repairing 


S. O. ALLISON 
VIOLIN MAKER, CONNOISSEUR AND APPRAISER 


Agent for Andres Morellis hand-made Violins, Violas, "Cellos, Basses 
Artist Bows by G. A. Pfritzschner 
and other celebrated Bow Makers 
45 GEARY STREET 
Dealer in New and Old Violins, San Francisco, Cal. 
"Cellos and Bows Formerly |. A. Lutz 


Strings and Accessories Davenport 415 





192 

















brief A major section for oboes and bassoon alone). It is scored for 
woodwind, brass, harp, clavicembalo, timpani and strings.” 


Trittico Botticelliano (Three Botticelli Paintings ) 


As to the “Trittico Botticelliano’’ Mr. Respighi has explained that 
the work is in no way programmatic, but is merely a musical notation 
of thoughts inspired by three works of the famous Florentine painter, 
Filipepi Botticelli (1447-1515), the titles themselves being sufficiently 
indicative of the character of each “‘picture.”’ 


In the absence of a detailed analysis of this work, mention might 
be made here of the composer himself. 


Ottorino Respighi, born July 9, 1879, at Bologna, received his 
first music lessons from his father. In 1892 he entered the Liceo 
Musicale at Bologna. In 1899 he won the diploma for violin playing 
and in 1901 a diploma for composition. He then went to Berlin to 
continue his studies under Max Bruch and later to Petrograd to study 
with Rimsky-Korsakow. Respighi then returned to Italy to become a 
professor of composition at the Liceo di Santa Cecilia in Rome. 


Respighi’s principal works are: Operas: Re Enzo (1905); 
Semirama (1910); Maria Vittoria: Belfagor (1923); La Campana 
Sommersa (1927); Ballets: Scherzo veneziano (1920); and La bella 
addormentata nel bosco (1920). Symphonic: Aretusa, symphonic 
poem for soprano and orchestra (1911); Sinfonia drammatica 
(1915); Fontane di Roma (1917); Ballata delle Gnomidi (1920); 
Gregorian Concerto for Violin and Orchestra (1922); Primavera, 
Cantata for Orchestra, Soli, and Chorus (1923); Pini di Roma 
(1925); Autumnal Poem for Violin and Orchestra (1925); Vetrate 
di Chiesa (1927); Trittico Botticelliano (1928); The Birds, suite for 
small orchestra; suite for strings and organ; quartets in D major and 
D minor; a quintet; and smaller pieces for violin, piano and organ; 
transcriptions for orchestra of old dances and airs for the lute (Suites 


No. | and No. 2). 


Symphonic Poem, ‘“‘The Pines of Rome”’ 


In his earlier work, ‘““The Fountains of Rome,’ Mr. Respighi 
sought to reproduce by means of tone an impression of nature, while 





Julian Brodetsky | 


ASSISTANT CONCERT MASTER 
SAN FRANCISCO SYMPHONY ORCHESTRA 






Violin Instruction 





Studio 
Phone SKyline 4855 189 Commonwealth Avenue 






193 








in ‘The Pines of Rome’ he uses nature as a point of departure in 
order to recall memories and visions. The century-old trees which 
dominate so characteristically the Roman landscape become testimony 
for the principal events in Roman life. 


The printed score contains the following ‘“‘program’ : 


I. The Pines of the Villa Borghese. Children are at play in the 
pine grove of the Villa Borghese, dancing the Italian equivalent of 
‘Ring around a Rosy’’; mimicking marching soldiers and battles, twit- 
tering and shrieking like swallows at evening; and they disappear. 
Suddenly the scene changes to— 


Il. The Pines near a Catacomb. We see the shadows of the 
pines which overhang the entrance to a catacomb. From the depths 
rises a chant, which re-echoes solemnly, sonorously, like a hymn, and 
is then mysteriously silenced. 


Ill. The Pines of the Janiculum. There is a thrill in the air. The 
full moon reveals the profile of the pines of Gianicolo’s Hill. A Night- 
ingale sings. 


IV. The Pines of the Appian Way. Misty dawn on the Appian 
Way. The tragic country is guarded by solitary pines. Indistinctly, 
incessantly, the rhythm of innumerable steps. To the poet's phantasy 
appears a vision of past glories; trumpets blare, and the army of the 
consul advances brilliantly in the grandeur of a newly risen sun toward 
the sacred way, mounting in triumph the Capitoline Hill. 


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. 


December 31st, 1928 
0 ee ee a et ak oa a Aah aoe $123,780,369.02 
Capital, Reserve and Contingent Funds 5,150,000.00 
Pension Fund over $635,000.00, 
standing on Books at 1.00 


MISSION BRANC hain. cc.cceies oc W0-0u s aNeme le ete ves 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 





194 











Jersomel 


Che San Francisea Sumphony Orchestra 


ALFRED HERTZ, CONDUCTOR 


FIRST VIOLINS 


Piastro, Mishel 
Concert Master 


Fenster, Lajos 
Assistant Concert Master 


Brodetsky, Julien 
Assistant Concert Master 


Meriz, Emilio 

Ford, Louis W. 
Jensen, Thorstein 
Gordohn, Robert 
Mendelevitch, Rodion 
Laraia, William F, 
Mortensen, Modesta 
Koenig, Hans 

See, Orley 

Pasmore, Mary 
Atkinson, Helen E. 
Wolski, William 


Ruiz, Ricardo 


SECOND VIOLINS 


Heyes, Eugene 
Principal 


Rosset, Emil 
Amsterdam, Max 
Callinan, W. G. 
Paterson, J. A. 
Gold, Julius 
Haug, Julius 


Gough, Walter 
Firestone, Nathan 
Simonsen, Frances 
Wegman, William 
Tolpegin, Victor 
Hoffman, Henry H. 
Dabelow, William 


VIOLAS 

Verney, Romain 

Principal 
Hahl, Emil 
Baker, F. A. 
Wismer, Hother 
Weiler, Eric 
Lichtenstein, Victor 
Dierich, Franz 
Triebel, August 
Kolb, Richard 
Lewis, Arthur 


*CELLOS 


Penha, Michel 
Principal 


Dehe, Willem 

King, Otto 
Villalpando, Wenceslao 
Kirs, Rudolph 
Pasmore, Dorothy 
Reinberg, Herman 
Gough, Flori 

Hranek, Carl 

Haight, Rebecca 


BASSES 


Previati, Louis J. 
Principal 


Bell, Walter 
Storch, A. E. 
Guterson, Aaron 
Schulz, Emil 
Schmidt, Robert E. 
Frederick, Oscar 
Schipilliti, John 


FLUTES 
Linden, Anthony 


Oesterreicher, Walter 
Orchestral Manager 


Benkman, Herbert 


PICCOLO 


Benkman, Herbert 


OBOES 
Addimando, Caesar 
Shanis, Julius 


Schipilliti, Vincent 


ENGLISH HORN 
Schipilliti, Vincent 


CLARINETS 
Randall, Harold B. 
Zannini, Nicolai 
Fragale, Frank 
Triebel, August 

BASS CLARINET 


Fragale, Frank 


195 


BASSOONS 
Kubitschek, Ernest 
La Haye, E. B. 
Hranek, Car] 


CONTRA BASSOON 
Kolb, Richard 


HORNS 
Hornig, Walter 
Roth, Paul 
Tryner, C. E. 
Rocco, R., 


Trutner, Herman 


TRUMPETS 
Drucker, Vladimir 
Barton, Leland S. 
Savant, Silvio 
Kegel, Otto 
Kress, V. 


TROMBONES 


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


TUBA 
Murray, Ralph 


HARP 


Attl, Kajetan 
Attl, Vojmir 


TYMPANI 
Wagner, Roland E. 


PERCUSSION 


Vendt, Albert, Jr. 
Salinger, M. A. 
Kundy, E. 


PIANO AND CELESTA 
Tibbitts, J. P. 


LIBRARIAN 
Kegel, Otto 











PORDAS Hels 4 ate Ee ME Ra alg 7 ee ef ou eae Y OU es e Uae 








oe aM using the Steinway piano 
now for many years and am 
enjoying its superior qualities so 
ae much that I cannot 


imagine how I ever could 





get along without one. 
It is like a good friend of 
whom you get fonder f°) 
y S Sa \ 
the more you know ze | ! 
| | 


him.”’ 





The home of the Steinway 15 


Sherman tay & Co. 


Kearny and Sutter Streets, San Francisco 
Mission Street, near Twenty-first 
Fillmore Street, near Post 
Fourteenth and Clay Streets, Oakland 
3420 E. 14th Street, Fruitvale 
Telegraph and Channing Way, Berkeley 
1315 Burlingame Avenue, Burlingame 

















SAN FRANCISCO 
SYMPHONY) 


ay | 
Ss 
a 
Ne 

: a(S) 




























abd fide 


FIFTH POPULAR 


1928 1929 
Eighteenth Season 


VAC ENR Vipin 
CREO RECS 








SIXTH POPULAR CONCERT 


Saturday, February 2, 8:20 P. M. 
DREAMLAND AUDITORIUM 


PROGRAMME 
OY, Seber eer PVR Ea SERRE NENA ERE ERS cc orca eas wa oe vtconsasannatese Goldmark 
2. Tarantella for Flute and Clarinet..................--.--- Saint-Saens 


Anthony Linden, Flute 
Harold Randall, Clarinet 


3. Suite, ‘“Through the Looking Glass’’.............. Deems Taylor 


4. In the Village, from “Caucasian Sketches’ ’...........------- 


5. Molly on’ the Shore..:..:2.- 20-1 2020 =< eto. eon =. Grainger 
6. Overture to “The Gypsy Baron’’.............--.-- Johann Strauss 


—$—$——————————————— 
SEVENTH PAIR OF SYMPHONY CONCERTS 


Friday, January 25, 3:00 P. M. 
CURRAN THEATRE 


Saturday, January 26, 8:20 P. M. 
DREAMLAND AUDITORIUM 


PROGRAMME 
1. Symphortiy’ Now 3 oi csoc. pct eee ns ese nk te anes enn ee ennt Brahms 


Dick ixte VR AR OCR esa sos ek fot weal eae steeasaen tages Frederick Jacobi 
Buffalo Dance 
Butterfly Dance 
War Dance 
Rain Dance 
Corn Dance 
(First time in San Francisco ) 


3. Suite from “Lhe Fire Bird. 2.3 42. Ante 2. 2.-82e.2- 05: Stravinsky 





Symphony Box Office, Sherman, Clay & Co.; hours, 9 to 5. Tickets 
may also be obtained at other Sherman, Clay & Co. bay city stores. 
Friday tickets on sale et Curran Theatre after 10 a. m. on day of con- 
cert. Box office at Dreamland Auditorium open at 7 p. m. on concert 
days. 


198 








Musical Association of San Francisco 


Founded December 20, 1909 Incorporated February 3, 1910 


OFFICERS 
J. B. Levison, President 
W. C. VAN ANTWERP, Vice-President 
WALTER S. MARTIN, Treasurer 
Mrs. IRWIN CROCKER, Honorary Vice-President 
Mrs. E. $. HELLER, Honorary Vice-President 
A. W. WIDENHAM, Secretary-Manager 


BOARD OF GOVERNORS 


R. I. Bentley John S. Drum John A. McGregor 
Miss Lena Blanding Sidney M. Ehrman John D. McKee 
Miss Louise A. Boyd Milton H. Esberg R. C. Newell 
George T. Cameron Mortimer Fleishhacker F. R. Sherman 
Selah Chamberlain F. J. Koster B. F. Schlesinger 
Mrs. Irwin Crocker J. B. Levison Mrs. M. C. Sloss 
William H. Crocker Walter S$. Martin Mrs. Sigmund Stern 
E. R. Dimond Clay Miller W. C. Van Antwerp 
A. B. C. Dohrmann L. F. Monteagle Eli H. Wiel 

Mrs. M. S. Koshland, ex-officio 


EXECUTIVE COMMITTEE 


W. C. VAN ANTWERP, Chairman 
Mrs. Irwin Crocker A. B. C. Dohrmann Walter S. Martin 
Mortimer Fleishhacker John D. McKee 


MUSIC COMMITTEE 


R. C. NEWELL, Chairman 
Mrs. M. C. Sloss F. R. Sherman 


WOMEN’S AUXILIARY 


Mrs. M. S. KoSHLAND, Chairman 
Miss LENA BLANDING, Vice-Chairman Mrs. M. C. Porter, Vice-Chairman 


EXECUTIVE OFFICES 
Fifth Floor, 244 Kearny Street 
Telephone Garfield 2819 | 


A. W. WIDENHAM, Secretary-Manager 
HOWARD G. HANVEY, Press Representative 





199 








SCHUBERT 


Immortal Master of Melody 


Franz Schubert lives in the hearts of millions who know and love 
the incomparable productions of his genius, and in the great Columbia 
Schubert Centennial Memorial Edition of his works, in record form. 


The following comprehensive list, from the Columbia Masterworks* 
library, perpetuating the essence of Schubert’s unique gifts, will 
arouse the merited enthusiasm of all lovers of what is great and 


enduring in the world’s music. 


Symphony No. 8, in B Minor (Unfinished) 
SET NO. 41, 6 parts, with album, $4.50 


Symphony No. 9, in C Major. Op. Post- 
humous (B. & H. No. 7) 
SET NO. 88, 14 parts, with leather 
album, $10.50 


Sonata in A Major, Op. 120, for Piano 
SET NO. 87, 5 parts, with album, $4.50 


Quintet in A Major (Forellen) Op. 114 
SET NO. 84, 9 parts, with album, $7.50 


Quartet in A Minor, Op. 29 
SET NO. 86, 7 parts, with album, $6.00 


Quartet No. 6, in D Minor (Death and 
the Maiden) 


SET NO. 40, 8 parts, with album, $6.00 


Sonatina in D, Op. 137, No. 1, Violin and 
Piano, 6 parts, 
Moments Musicaux, 8 parts, 


SET NO. 94, with album, $7.00 


Sonata in G Major, Op. 78, for Pianoforte 
SET NO. 92, 9 parts, with album, $7.50 


Impromptus, Op. 142, for Pianoforte 
SET NO. 93, 6 parts, with album, $4.50 


Die Winterreise, Song Cycle 
SET NO. 90, Six 10 inch records with 
album, $6.00 


Quintet in C Major, Op. 163, for Strings 
SET NO. 95, 12 parts, with album, $9.00 


Quartet in E Flat, Op 125, No. 1 
SET NO. 96, 5 parts with album, $4.50 


Trio in B Flat Major, Op. 99 
SET NO. 91, 8 parts, with album, $6.00 


Octet in F Major, Op. 166 
SET NO. 97, 12 parts, with album, $9.00 


Selected Songs 
SET NO. 89, Eight 12 inch records, 
with album, $12.00 


Ask for Columbia Masterworks Catalog 


** Magic 





Notes’ 


COLUMBIA PHONOGRAPH COMPANY 


941 Mission Street, 


San Francisco, Calif. 


COLUMBIA 


“NEW PROCESS” RECORDS 


REG. U. S. PAT. OFF. 


Viva-tonal Recording — The Records without Scratch 


“Reg. U. S. Pat. Off. 


200 

















Che San Franciscan Symphony Orchestra 


ALFRED HERTZ, Conductor 
(Steinway Piano Used) 


1928—Season—1929 


FIFTH POPULAR CONCERT 
755th Concert 


Saturday Evening, January 19, 8:20 o’clock 
DREAMLAND AUDITORIUM 


Soloist: EUGENE HEYES, Violinist 


PROGRAMME 


. Overture to “The Improvisatore”’ 
. Prelude, ““The Afternoon of a Faun’”’ 


. Symphonie Espagnole, for Violin and Orchestra 
Allegro non troppo 
Andante 


Rondo 
BUGENE? HEYES 


Intermission 


. Suite from ““‘Le Cog d'Or’ Rimsky-Korsakow 


(a) Menuet Boccherini 

(b) Prelude Jarnefelt 
%(c) Serenade Moszkowski 
6. Liebesfreud Kreisler 


* This number has been recorded for the Victor by the San Francisco Symphony 
Orchestra under the direction of Alfred Hertz. 





SAN FRANCISCO 
CONSERVATORY 
OF MUSIC 


ERNEST BLOCH, Director 


Ada Clement and 
Lillian Hodghead 


Associate Directors 


ERNES feBReOChr 


will lecture on 


“‘The Spirit and the Letter” 


Tuesday Evening, February 5th, 
at 8.30 o’clock 


SOROSIS HALL 


Victor Lichtenstein 


Instruction 
in the 
Art 
of 
U10lin 
Playing 
Eight of Mr. Lichtenstein’s 


pupils became members of 


the St. Louis Symphony 


Orchestra. 
Admission - $1.00 
Students - Half Rate 


Tickets on Sale at StrupDI0: 3145 WASHINGTON STREET 
Sherman, Clay and Company 
dt Telephones: Fillmore 6146 


h 
San Francisco Conservatory of Music Fillmore 4948 


YOUNG PEOPLE’S SYMPHONY 
CONCERTS 


San Francisco Symphony Orchestra 
WHEELER BECKETT, conducting 


CURRAN THEATRE 


SECOND CONCERT 
Friday, February 1, 4:00 P. M. 


PROGRAMME 


Overture, “‘Egmont,’’ Beethoven 
Second Movement, Beethoven's Fifth Symphony 
Pizzicato Ostinato from Tschaikowsky’s Fourth Symphony 
Woodland Murmurs, from ‘“‘Siegfried”’ 
Tickets at Sherman Clay & Co., 65c, $1.00, $1.25 


Reservations may still be made for the four remaining concerts. 
ALICE METCALF 
Executive Manager 


Hotel Mark Hopkins 


San Francisco 








Overture to “The Improvisatore’”’ - - - Eugene d’Albert 
(Born April 10, 1864, at Glasgow) 


Eugene d’Albert is the composer of ten operas, of which ““The 
Improvisatore’ is the sixth. The work, which was first produced at 
the Royal Opera, Berlin, in 1902, is based on a prose drama by Victor 
Hugo, “Angelo, Tyran de Padoue.’” Arthur Smolian, in an article on 
d’ Albert, suggests that the overture to ““The Improvisatore’’ should be 
labeled “Carnival in Padua,’’ the scene of the opera being laid in 
Padua during the carnival period of the sixteenth century. The over- 
ture partakes of the carnival spirit, a lively Tarantella being the prin- 
cipal feature of the work. 


Prelude, ‘“The Afternoon of a Faun’’ - - Claude Debussy 
(Born August 12, 1862, at St. Germain; died March 26, 1918, at Paris) 


This composition, designated by Debussy as a ‘“‘prelude sym- 
phonique,’’ is based on an eclogue of Stephen Mallarme, and in keep- 
ing with the very nature of the composition, Louis Laloy has given the 
following fanciful analysis: ““One is immediately transported into a 
better world; all that is leering and savage in the snub-nosed face of 
the faun disappears; desire still speaks, but there is a veil of tenderness 
and melancholy. The chord of the woodwind, the distant call of the 
horns, the limpid flood of harp tones, accentuate this impression. The 
call is louder, more urgent, but it almost immediately dies away, to let 
the flute sing again its song. And now the theme is developed; the 


Established 1852 





QUALITY 
PRESTIGE 


SERVICE 


SHREVE & COMPANY 


fewelers and Silversmiths 


Post Street at Grant Avenue 
San Francisco 





203 





NATHA 


T VIOLINIST OF THE 
S STRING QUARTET 


Announces 
THE OPENING OF A STUDIO FOR 


INSTRUCTION 
IN VIOLIN AND 
ENSEMBLE 


INTERVIEWS BY APPOINTMENT 
TELEPHONE OR WRITE 


4 


“Management 


ALICE SECKELS 


FAIRMONT HOTEL 
Douglass 7267-8800 


Louis Ford 


Concert 
V iolinist 


TEACHER 


Available for Solo, Sonata, Trio and 
Quartet engagements. 


Eighteen years in Chamber Music: 
San Francisco Quintet Club, Chamber 
Music Society of San Francisco, Per- 
singer String Quartet. 


Twelve years first violinist with San 
Francisco Symphony Orchestra; Assis- 
tant Concert Master for Season 1917 to 
1925. 


PUPILS ACCEPTED 
Coaching in ensemble playing. 


Assistant teacher for beginners under 
my personal supervision. 


1610 Plymouth Av, Phone Delaware 0201 


Bunning System of Improved Music Study 
CARRIE LOUISE DUNNING, Originator 


8 West 40th Street, New York City 
834 South Plymouth Boulevard, Los Angeles, Calif. 


HE Greatest Musical Event in New York City in the past several decades was the 
playing of a ten-year-old Dunning pupil with the New York Philharmonic Orchestra, 
March 20th, 1926. The child had only studied one year and eight months. She 
played Le Carnaval des Animaux, by Saint-Saens. The piece is twenty-three pages long. 
She memorized it in three weeks. If you have any plan for teaching that can bring such 
results in that length of time—then you do not need the Dunning System. If you have 


not, then you do. 


Faculty of Normal Teachers—Classes Held in these Cities 


KATHARINE M. ArRNotp, 93 Madison St., 
Tiffin, O. 

A.tuiE E. Barcus, 1006 College St., Ft. 
Worth, Tex. 

ExvizeTtTE R. Bartow, Box 1244, St. Peters- 
burg, Fla. 

CATHERINE C. Brrp, 658 Collingwood Ave., 
Detroit, Mich. 

Grace A. Bryant, 201—10th Ave., N. Twin 
Falls, Idaho. 

Dora A. CuHaseE, 345 Clinton Ave., Brook- 
lyn. Noy. 

Appa C. Eppy, 136 W. Sandusky Ave., 
Bellefontaine, O. 

Beatrice S. ErKet Kipp, Key College, 
Sherman, Tex. 

Ipa GARDNER, 17 E. 6th St., Tulsa, Okla. 

Giapys M. GLeNN, 1217 Bowie St., Am- 
arillo, Tex. 

FLorRENCE E. Graste, Michigan State In- 
stitute of Music, Lansing, Mich. 


Harriet Bacon MacDonatp, 6010 Belmont 
Ave., Dallas, Tex. 

Kate Dett MarpeNn, 61 N. 16th St., Port- 
land, Ore. 

Mrs. W. P. Mason, 302 Mid. City Bank 
Bldg., Chicago, Ill. 

Laup G. Puuipren, 3435 Ashbury Ave., 
Dallas, Tex. 

Exure I. Prince, 4106 Forest Hill Ave., 
Richmond, Va. 

VircInrA Ryan, 1070 Madison Ave., New 
York. 

SteLta H. SeyMour, 1219 Garden St., San 
Antonio, Tex. 

GERTRUDE THOMPSON, 508 W. Coal St., 
Albuquerque, N. M. 

IsopeL M. Tone, 626 Catalina St., Los An- 
geles, Calif. 

Mrs. H. R. Watkins, 124 E. 11th St., 
Oklahoma City, Okla. 


Mrs. JEAN WARREN CARRICK 
(Normal Teacher) 


25 Lake Street, San Francisco 


204 


Classes formed upon Arrangement 











oboe enters in, the clarinet has its say, a lively dialogue follows, and 
a clarinet phrase leads to a new theme which speaks of desire satisfied: 
or it expresses the rapture of mutual emotion rather than the ferocity 
of victory. The first theme returns, more languorous, and the croak- 
ing of muted horns darkens the horizon. The theme comes and goes, 
fresh chords unfold themselves; at last a solo ‘cello joins itself to the 
flute; and then everything vanishes, as a mist that rises in the air and 
scatters itself in flakes.”’ 


Symphonie Espagnole, for Violin and Orchestra - Edouard Lalo 
(Born January 27, 1823, at Lille; died April 22, 1892, at Paris) 


Lalo’s ‘‘Symphonie Espagnole’’ was played for the first time at a 
Colonne concert at the Chatelet, February 7, 1875, the soloist being 
Pablo de Sarasate, to whom the work is dedicated. 

In 1878 Tschaikowsky wrote to Mme. von Meck: “Do you know 
the ‘Symphony Espagnole’ by the French composer Lalo? This piece 
has recently been brought out by the very modern violinist, Sarasate. 
The work has given me the greatest pleasure. It is so delightfully 
fresh and light, with piquant rhythms and beautifully harmonized 
melodies! It resembles closely other works of the French school to 
which Lalo belongs, works with which I am acquainted. Like Leo 
Delibes and Bizet, he shuns carefully all that is routinier, seeks new 





VOJMIR ATTL 


Harpist 
San Francisco Symphony Orchestra 
Available for 
Concerts, Ensemble Music and 


HARP INSTRUCTION 


STUDIO: 


403-404 Marston Building 
244 Kearny St., San Francisco, Calif. 











JOHN BUBEN 


Fur Fashion’s Creator 


Fur Artistry and Craftsmanship for 
discriminating fur lovers. Furs re- 
styled as Jacquettes, or in the latest 


Creations. 
57 GEARY ST. 
Phone Kearny 5873 


Paris Office 
52 Rue du Faubourg—Montmartre 


For Appointment 
Call 
Studio Phone Residence Phone 
Douglas 3706 Skyline 2757 





205 





; 
. 
i 








forms without wishing to be profound, and cares more for musical 
beauty than for the old traditions as the Germans care. The young 
generation of French composers is truly very promising.” 

The first movement begins with preluding by orchestra and solo 
instrument on figures from the first theme. The orchestra takes up 
the theme fortissimo and develops it as an introductory ritornello; but, 
after the theme is developed, the solo violin enters, takes up the theme 
and develops it in its own way. Passage work leads to a short tutti, 
which announces the second theme, played in B flat major by the solo 
instrument. There is no real free fantasia; the development of the 
third part, however, is more elaborate than that of the first. The 
second theme comes in D major. There is a short coda on the first 
theme. 

The Andante opens with an orchestral prelude in which a sus- 
tained melody is developed in full harmony by wind instruments, then 
by strings. The solo violin has the chief theme in the movement, a 
cantilena, which is developed simply. The second theme, announced 
by the solo instrument, is more florid. The first theme returns, and 
there is a short coda. 

The finale, a Rondo, begins with a vivacious orchestral prelude. 
The solo violin enters with the saltarello-like chief theme, The devel- 


HAZEL DREIS 


FINE BOOKBINDINGS 


MUSIC BINDING 
BOUND TAUGHT 


DOuglas 0328 545 Sutter Street, San Francisco 


ARRILLAGA MUSICAL COLLEGE 


Founded 1877 Incorporated 1911 
LARGEST IN THE WEST 


Pipe Organ—Choral—Orchestra—Stage Training 
T heory—V oice—Instruments—Evening Classes 


Superior Instruction—Low Terms 


2351 JACKSON STREET, SAN FRANCISCO Phone WALNUT 3742 


206 








opment of this theme, with figures from the prelude as important parts 
of the accompaniment and with one or two subsidiary themes, consti- 
tutes the whole of the movement. 


Suite from ‘“‘Le Coq d’Or’’ - Nicolas Andrejevitch Rimsky-Korsakow 
(Born March 18, 1844, at Tikhvin; died June 21, 1908, at Petrograd) 


Rimsky-Korsakow wrote fifteen operas in all, ‘“‘Le Coq d’Or’’ 
(The Golden Cockerel) being the last. It was completed in 1907, 
but was not produced until September, 1908, three months after 
Rimsky-Korsakow’s death. Its first American production was at the 
Metropolitan Opera House, New York, in 1917. 


The story has to do with a King Dodon who is constantly being 
harassed by a neighboring enemy, and is at a loss to devise a scheme 
to thwart these attacks. An aged astrologer offers a golden cockerel 
with the claim that the city will be safe from sudden attack, for the 
bird will sound a warning crow at approaching danger. At the first 
alarm from the rooster the king sends his two sons to lead in the city’s 
defense, but upon a second crow he goes to the battlefield himself. 
The first sight to meet his eyes is the bodies of his two slain sons. At 
dawn he perceives a tent, from which emerges the beautiful Queen of 
Shemakha, and he becomes so infatuated and overwhelmed by her 


The 


Margaret Mary Morgan Co. 


PRINTERS 
Engraving ~ Publishing 


MARGARET 


TILLY 


PIANIST 
Will be on the Pacific Coast during 
the entire season, 1928-1929 
Concert Management 


ELWYN CONCERT BUREAU 


DAvenport 0450 PHELAN BUILDING 
Studio: 
450 GRANT AVENUE 


619 California Street Telephone Kearny 8289 
SAN FRANCISCO 





207 








loveliness that he asks her to share his throne. They return to his 
palace together to find the astrologer waiting for his reward. When 
asked what it shall be, he demands the king’s bride, whereupon the 
king in a fury slays him. The avenging cockerel pierces the king's 
brain with his golden beak and the queen flees. 


The first number of the suite consists of the introduction to the 
opera and extracts from the first act—the dream of the king as he lies 
in his bed, in the belief that he is safe from his enemies; the cry of 
alarm given by the golden cockerel, announcing the coming of the foe, 
and the departure of the two sons of Dodon for the field of battle. 


The second number is made up of music from the second act. 
The scene is a wild pass in which the army of the two princes has been 
lying. It is night and the moon shines weakly upon the bodies of the 
slain. The king discovers the corpses of his two sons; a vision of the 
tent of the Queen of Shemakha. 


The music of the third number is also taken from the second act. 
Enraptured by the beauty of the queen, Dodon forgets the tragedy of 
his sons. With a tambourine in her hand the queen begins to dance, 
and she invites the king to dance with her. Dodon is elderly and 
corpulent, but he obeys, and does not realize that the queen is laughing 
at him. He invites the queen to become his bride; they return to the 
capital in a gilt chariot. 


The fourth number contains excerpts from the third act. I[ntro- 


JANET ROWAN HALE 


Pianist and Teacher 


Studio 902 
26 O'Farrell Street Berkeley and Piedmont 
Phone Davenport 5486 Phone Oakland 8663 


30 years violin specialist in St. Louis and Chicago Expert Repairing 


S. O. ALLISON 
t VIOLIN MAKER, CONNOISSEUR AND APPRAISER 


YT Agent for Andres Morellis hand-made Violins, Violas, "Cellos, Basses 

| Artist Bows by G. A. Pfritzschner : 

| and other celebrated Bow Makers 

| | 45 GEARY STREET 
| Dealer in New and Old Violins, San Francisco, Cal. 

| ’Cellos and Bows Formerly I. A. Lutz 

| | Strings and Accessories Davenport 415 





i 208 











duction; the wedding march; the golden cockerel kills King Dodon; 
the queen vanishes; conclusion. 


Menuet - - - - - - - Luigi Boccherini 
(Born February 19, 1743, at Lucca; died May 28, 1805, at Madrid) 


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 has always been the par- 
ticular ideal of his nation. The piece played this evening is in the 
graceful and stately form of dance which prevailed about two hundred 
years ago, and the name always recalls a scene in a royal ballroom, 
powdered wigs, and lace-fringed sleeves. The name Menuet is derived 
from the French ‘“‘menu’’ (small), and refers to the short, dainty steps 


of the dancers. 


Prelude - - - - - - - Armas Jarnefelt 
(Born August 14, 1869, at Wiborg, Finland) 


This Prelude, which is dedicated to Mme. Sonja Wahl, is scored 
for the following small orchestra: Two flutes, two oboes, two clarinets, 
two bassoons, two horns, two trumpets, kettledrums, glockenspiel, 
triangle, cymbals and strings. It unconsciously reminds one of a crowd 
of boys playing ‘follow the leader’’ as one instrument after the other 
enters with a playful main theme, stopping for a brief moment to catch 
their breath and then again resuming their play. 


Serenade - - - . “ " - Moritz Moszkowski 
(Born August 23, 1854, at Breslau; died March 9, 1925, at Paris) 
Moszkowski, a Polish pianist and composer, studied in his native 


city and in Dresden and Berlin. He became a teacher and later a 
concert pianist. He then removed to Paris, where he remained until 


Julian Brodetsky 


ASSISTANT CONCERT MASTER 
SAN FRANCISCO SYMPHONY ORCHESTRA 


Violin Instruction 


Studio 
Phone SKyline 4855 189 Commonwealth Avenue 





209 











his death. He is principally known for his shorter piano pieces, the 
Spanish Dances, Waltzes and the little Serenade played this evening. 
However, his works also included operas, orchestral suites, a violin 
concerto, a piano concerto, a “Scene from Faust’’ for soli, chorus and 
orchestra. Moszkowski left about seventy-five opus numbers in all. 


The Serenade, or Evening Song, comes from the Italian sera, and 
the word has been applied to many different kinds of music intended 
to be played or sung at night in the open air. 


Liebesfreud - . - - - - Fritz Kreisler 


Fritz Kreisler, the eminent violinist, was born in Vienna in 1875. 
His talent manifested itself at an early age, and under his father's 
instructions the boy made such progress that at the age of seven he 
was admitted to the conservatory, where he started under Auber and 
Hellmesberger, and in 1885 won the gold medal. After a tour of the 
United States in 1889 he abandoned music and took up the study of 
medicine and art. He again appeared in the concert field in 1899. 
The number played this evening, “Liebesfreud’’ or “Love's Joy,” 
more widely known as a violin solo, needs no special annotation, as it 
is of instant appeal. The orchestral arrangement is by Frederick 


Stock. 


THE SAN FRANCISCO BANK 


SAVINGS COMMERCIAL 
INCORPORATED FEBRUARY i0TH, 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. 


December 3lst, 1928 
Assets $123,780,369.02 
Capital, Reserve and Contingent Funds 5,150,000.00 
Pension Fund over $635,000.00, 
standing on Books at 1.00 


Haight and Belvedere Streets 
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 





210 











Jlersomel 


Che San Srancisean Sumphony Orchestra 


ALFRED HERTZ, CONDUCTOR 


FIRST VIOLINS 


Piastro, Mishel 
Concert Master 


Fenster, Lajos 
Assistant Concert Master 


Brodetsky, Julien 
Assistant Concert Master 


Meriz, Emilio 

Ford, Louis W. 
Jensen, Thorstein 
Gordohn, Robert 
Mendelevitch, Rodion 
Laraia, William F, 
Mortensen, Modesta 
Koenig, Hans 

See, Orley 

Pasmore, Mary 
Atkinson, Helen E. 
Wolski, William 


Ruiz, Ricardo 


SECOND VIOLINS 


Heyes, Eugene 
Principal 


Rosset, Emil 
Amsterdam, Max 
Callinan, W. G. 
Paterson, J. A. 
Gold, Julius 


Haug, Julius 
Gough, Walter 


Firestone, Nathan 
Simonsen, Frances 
Wegman, William 
Tolpegin, Victor 
Hoffman, Henry H. 
Dabelow, William 


VIOLAS 

Verney, Romain 

Principal 
Hahl, Emil 
Baker, F. A. 
Wismer, Hother 
Weiler, Eric 
Lichtenstein, Victor 
Dierich, Franz 
Triebel, August 
Kolb, Richard 
Lewis, Arthur 


"CELLOS 
Penha, Michel 


Principal 
Dehe, Willem 
King, Otto 
Villalpando, Wenceslao 
Kirs, Rudolph 
Pasmore, Dorothy 
Reinberg, Herman 
Gough, Flori 
Hranek, Carl 
Haight, Rebecca 


BASSES 


Previati, Louis J. 
Principal 


Bell, Walter 
Storch, A. E. 
Guterson, Aaron 
Schulz, Emil 
Schmidt, Robert E. 
Frederick, Oscar 
Schipilliti, John 


FLUTES 
Linden, Anthony 


Oesterreicher, Walter 
Orchestral Manager 


Benkman, Herbert 


PICCOLO 


Benkman, Herbert 


OBOES 
Addimando, Caesar 
Shanis, Julius 


Schipilliti, Vincent 


ENGLISH HORN 
Schipilliti, Vincent 


CLARINETS 
Randall, Harold B. 
Zannini, Nicolai 
Fragale, Frank 
Triebel, August 

BASS CLARINET 


Fragale, Frank 





211 


BASSOONS 
Kubitschek, Ernest 
La Haye, E. B. 
Hranek, Carl 


CONTRA BASSOON 
Kolb, Richard 


HORNS 
Hornig, Walter 
Roth, Paul 
Tryner, C. E. 
Rocco, R. 


Trutner, Herman 


TRUMPETS 
Drucker, Vladimir 
Barton, Leland S. 
Savant, Silvio 
Kegel, Otto 
Kress, V. 


TROMBONES 


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


TUBA 
Murray, Ralph 


HARP 


Attl, Kajetan 
Attl, Vojmir 


TYMPANI 
Wagner, Roland E. 


PERCUSSION 


Vendt, Albert, Jr. 
Salinger, M. A. 
Kundy, E. 


PIANO AND CELESTA 
Tibbitts, J. P. 


LIBRARIAN 
Kegel, Otto 








wer = er =e 





i ll i le  ) 





ok aM using the Steinway piano 
now for many years and am 
enjoying its superior qualities so 
ee. much that I cannot 


imagine how I ever could 





get along without one. 
It is like a good friend of : 


whom you get fonder 6>\ 
the more you know oh : 
him.”’ | | 


The home of the Steinway ts 


Sherman @tay & Co. 


Kearny and Sutter Streets, San Francisco 
Mission Street, near Twenty-first 
Fillmore Street, near Post 
Fourteenth and Clay Streets, Oakland 
3420 E. 14th Street, Fruitvale 
Telegraph and Channing Way, Berkeley 
1315 Burlingame Avenue, Burlingame 

















SAN FRANCISCO 
SYMPHO HONYES 
Sate 


Be g URCHESTRA Dy |e 
So Tie Mises & o 
i Association Of fare 
San Francisco 









bd fax 


SEVENTH PAIR 


1928 1929 
Eighteenth Season | 
ALFRED HERTZ CONDUCTOR 









SIXTH POPULAR CONCERT 


Saturday, February 2, 8:20 P. M. 
DREAMLAND AUDITORIUM 


PROGRAMME — 


. Overture, “Sakuntala’’ 


. Tarantella for Flute and Clarinet 
Anthony Linden, Flute 
Harold Randall, Clarinet 


. Suite, “Through the Looking Glass”’ 
4. Hungarian Rhapsody, No. 
. In the Village, from ‘“‘Caucasian Sketches’’ 


6. Molly on the Shore Grainger 
. Overture to ““The Gypsy Baron’”’ Johann Strauss 


EIGHTH PAIR OF SYMPHONY CONCERTS 


Friday, February 8, 3:00 P. M. 
CURRAN THEATRE 


Saturday, February 9, 8:20 P. M. 
DREAMLAND AUDITORIUM 


Soloist: MARGARET MATZENAUER, Contralto 


STRAUSS-WAGNER PROGRAMME 
. Symphonic Variations, ““‘Don Quixote’’ 


. Bacchanale from ‘“Tannhauser’’ 
. Waltraute Scene from “Die Gotterdammerung.”’ 


MME. MATZENAUER 
. Introduction to Act II], “Tristan and Isolde.’’ 


. '‘Gerechter Gott,’ from “Rienzi.” 
MME. MATZENAUER 


. Overture to “Rienzi.” 





Symphony Box Office, Sherman, Clay & Co.; hours, 9 to 5. Tickets 
may also be obtained at other Sherman, Clay & Co. bay city stores. 
Friday tickets on sale zt Curran Theatre after 10 a. m. on day of con- 
cert. Box office at Dreamland Auditorium open at 7 p. m. on concert 
days. 








Musical Association of San Srancisen 


Founded December 20, 1909 Incorporated February 3, 1910 


OFFICERS 
J. B. Levison, President 
W. C. VAN ANTWERP, Vice-President 
WALTER S. MARTIN, Treasurer 
Mrs. IRWIN CrockER, Honorary Vice-President 
Mrs. E. S. HELLER, Honorary Vice-President 
A. W. WIDENHAM, Secretary-Manager 


BOARD OF GOVERNORS 


R. I. Bentley John S. Drum John A. McGregor 
Miss Lena Blanding Sidney M. Ehrman John D. McKee 
Miss Louise A. Boyd Milton H. Esberg R. C. Newell 
George T. Cameron Mortimer Fleishhacker F. R. Sherman 
Selah Chamberlain F. J. Koster B. F. Schlesinger 
Mrs. Irwin Crocker J. B. Levison Mrs. M. C. Sloss 
William H. Crocker Walter S. Martin Mrs. Sigmund Stern 
E. R. Dimond Clay Miller W. C. Van Antwerp 
A. B. C. Dohrmann L. F. Monteagle Eli H. Wiel 

Mrs. M. S. Koshland, ex-officio 


EXECUTIVE COMMITTEE 


W.C. VAN ANTWERP, Chairman 
Mrs. Irwin Crocker A. B. C. Dohrmann Walter S. Martin 
Mortimer Fleishhacker John D. McKee 


MUSIC COMMITTEE 


R. C. NEWELL, Chairman 
Mrs. M. C. Sloss F. R. Sherman 


WOMEN’S AUXILIARY 


Mrs. M. S. KoSHLAND, Chairman 
Miss LENA BLANDING, Vice-Chairman Mrs. M. C. Porter, Vice-Chairman 


EXECUTIVE OFFICES 
Fifth Floor, 244 Kearny Street 
Telephone GArfield 2819 


A. W. WIDENHAM, Secretary-Manager 
HOWARD G. HANVEY, Press Representative 














SCHUBERT 


Immortal Master of Melody 


Franz Schubert lives in the hearts of millions who know and love 
the incomparable productions of his genius, and in the great Columbia 
Schubert Centennial Memorial Edition of his works, in record form. 


The following comprehensive list, from the Columbia Masterworks* 
library, perpetuating the essence of Schubert’s unique gifts, will 
arouse the merited enthusiasm of all lovers of what is great and 


enduring in the world’s music. 


Symphony No. 8, in B Minor (Unfinished) 
SET NO. 41, 6 parts, with album, $4.50 


Symphony No. 9, in C Major. Op. Post- 
humous (B. & H. No. 7) 
SET NO. 88, 14 parts, with leather 
album, $10.50 


Sonata in A Major, Op. 120, for Piano 
SET NO. 87, 5 parts, with album, $4.50 


Quintet in A Major (Forellen) Op. 114 
SET NO. 84, 9 parts, with album, $7.50 


Quartet in A Minor, Op. 29 
SET NO. 86, 7 parts, with album, $6.00 


Quartet No. 6, in D Minor (Death and 
the Maiden) 
SET NO. 40, 8 parts, with album, $6.00 


Sonatina in D, Op. 137, No. 1, Violin and 
Piano, 6 parts, 
Moments Musicaux, 8 parts, 


SET NO. 94, with album, $7.00 


Sonata in G Major, Op. 78, for Pianoforte 
SET NO. 92, 9 parts, with album, $7.50 


Impromptus, Op. 142, for Pianoforte 
SET NO. 93, 6 parts, with album, $4.50 


Die Winterreise, Song Cycle 
SET NO. 90, Six 10 inch records with 
album, $6.00 


Quintet in C Major, Op. 163, for Strings 
SET NO. 95, 12 parts, with album, $9.00 


Quartet in E Flat, Op 125, No. 1 
SET NO. 96, 5 parts with album, $4.50 


Trio in B Flat Major, Op. 99 
SET NO. 91, 8 parts, with album, $6.00 


Octet in F Major, Op. 166 
SET NO. 97, 12 parts, with album, $9.00 


Selected Songs 
SET NO. 89, Eight 12 inch records, 
with album, $12.00 


Ask for Columbia Masterworks Catalog 





COLUMBIA PHONOGRAPH COMPANY 


941 Mission Street, 


San Francisco, Calif. 


COLUMBIA | 


“NEW PROCESS” 


RECORDS 


REG. U. S&S. PAT. OFF. 


Viva-tonal Recording — The Records without Scratch 


Reg. U. S. Pat. Of. 


216 











The San Francisco Symphony Orchestra 


ALFRED HERTZ, Conductor 
(Steinway Piano Used) 


1928—-Season—1929 


SEVENTH PAIR OF SYMPHONY CONCERTS 
756th and 757th Concerts 


Friday Afternoon, January 25, 3:00 o’clock 
CURRAN THEATRE 


Saturday Evening, January 26, 8:20 o’clock 
DREAMLAND AUDITORIUM 


PROGRAMME 


Es py mPneny Mo. 5: Wer Ie Spe GE 55a ee cent Brahms 
Allegro con brio 
Andante 
Poco allegretto 


Allegro 


Intermission 


Z.- taudian Danées* 2.822 3 Ae a Frederick Jacobi 
Buffalo Dance 

Butterfly Dance 

War Dance 


(First time in San Francisco) 


3. Suite from the Ballet, “The Fire Bird’’................ Stravinsky 
Introduction—Variations of the Fire Bird 

Rondo of the Princesses 

Dance Infernal of the King Kastchei 

Berceuse and Finale 





217° 





SAN FRANCISCO 
CONSERVATORY 
OF MUSIC 


ERNEST BLOCH, Director 


Ada Clement and 
Lillian Hodghead 


Associate Directors 


ERNEST BLOCH 


will lecture on 


“‘The Spirit and the Letter” 


Tuesday Evening, February 5th, 
at 8.30 o’clock 


SOROSIS HALL 


Admission - $1.00 
Students - Half Rate 


Tickets on Sale at 
Sherman, Clay and Company 
and the 





San Francisco Conservatory of Music 


Victor Lichtenstein 


Instruction 
in the 
Art 
of 
Uiolin 
Playing 


Fight of Mr. Lichtenstein’s 
pupils became members of 
the St. Louis Symphony 
Orchestra. 


StupIo0: 3145 WASHINGTON STREET 


Telephones: FI lIlmore 6146 
FI Ilmore 4948 


| YOUNG PEOPLE’S SYMPHONY 
CONCERTS 


San Francisco Symphony Orchestra 
WHEELER BECKETT, conducting 


CURRAN THEATRE 


SECOND CONCERT 
Friday, February 1, 4:00 P. M. 


PROGRAMME 
Overture, ‘Egmont,’ Beethoven 
Second Movement, Beethoven's Fifth Symphony 
Pizzicato Ostinato from Tschaikowsky’s Fourth Symphony 
Woodland Murmurs, from “‘Siegfried”’ 
Tickets at Sherman Clay & Co., 65c, $1.00, $1.25 


Reservations may still be made for the four remaining concerts. 
ALICE METCALF 


Executive Manager 


Hotel Mark» Hopkins 





San Francisco 





a A a 








Symphony No. 3, in F major - - - Johannes Brahms 
(Born May 7, 1833, at Hamburg; died April 3, 1897, at Vienna) 


Brahms worked on his Third Symphony in 1882, and in the 
summer of 1883 completed it. The first performance was at a phil- 
harmonic concert in Vienna, December 2, 1883, Hans Richter con- 
ducting. The work met with tremendous success, and praise, even 
from Hanslick, who was very sparing in his praises. In a toast, Hanslick 
christened the symphony the “‘Eroica,’’ commenting later: “It repeats 
neither the poignant song of Fate of the first, nor the joyful Idyl of the 
second; its fundamental note is proud strength that rejoices in deeds. 
The heroic element is without any warlike flavor; it leads to no tragic 
action, such as the Funeral March in Beethoven's ‘Eroica.’ It recalls 
in its musical character the healthy and full vigor of Beethoven's 
second period, and nowhere the singularities of his last period; and 
every now and then in passages quivers the romantic twilight of 
Schumann and Mendelssohn.”’ 


Philip H. Goepp has analyzed the work as follows: 


““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 


Established 1852 





QUALITY 
PRESTIGE 
SERVICE 


SHREVE & COMPANY 


fewelers and Silversmiths 


Post Street at Grant Avenue 
San Francisco 


219 





NATHAN 
T VIOLINIST OF THE 
BAS STRING QUARTET 


Announces 


THE OPENING OF A STUDIO FOR 


INSTRUCTION 
IN VIOLIN AND 
ENSEMBLE 


INTERVIEWS BY APPOINTMENT 
TELEPHONE OR WRITE 


a 


“Management 


ALICE SECKELS 


FAIRMONT HOTEL 
DO uglas 7267-8800 


Louis Ford 


Concert 


V iolinist 
TEACHER 


Available for Solo, Sonata, Trio and 
Quartet engagements, 


Eighteen years in Chamber Music: 
San Francisco Quintet Club, Chamber 
Music Society of San Francisco, Per- 
singer String Quartet. 


Twelve years first violinist with San 
Francisco Symphony Orchestra; Assis- 
tant Concert Master for Season 1917 to 
1925. 


PUPILS ACCEPTED 
Coaching in ensemble playing. 
Assistant teacher for beginners under 

my personal supervision, 


1610 Plymouth Ave. Phone DE laware 0201 


Bunning System of Improved Music Study 
CARRIE LOUISE DUNNING, Originator 
8 West 40th Street, New York City 
834 South Plymouth Boulevard, Los Angeles, Calif. 


HE Greatest Musical Event in New York City in the past several decades was the 
playing of a ten-year-old Dunning pupil with the New York Philharmonic Orchestra, 


March 20th, 1926. 
She memorized it in three weeks. 


not, then you do. 


The child had only studied one year and eight months. She 
played Le Carnaval des Animaux, by Saint-Saens. 


The piece is twenty-three pages long. 


If you have any plan for teaching that can bring such 
results in that length of time—then you do not need the Dunning System. 


If you have 


Faculty of Normal Teachers—Classes Held in these Cities 


KATHARINE M. ARNOLD, 93 Madison St., 
Tiffin, O. 

AutuiE E. Barcus, 1006 College St., Ft. 
Worth, Tex. 

Exvizette R. Bartow, Box 1244, St. Peters- 
burg, Fla. 

CaTHERINE C. Brrp, 658 Collingwood Ave., 
Detroit, Mich, 

Grace A. Bryant, 201—10th Ave., N. Twin 
Falls, Idaho. 

Dora A, CuHase, 345 Clinton Ave., Brook- 
lyn, N. Y. 

Appa C. Eppy, 136 W. Sandusky Ave., 
Bellefontaine, O. 

Beatrice S. Ei1Ket Kipp, 
Sherman, Tex. 

IpA GARDNER, 17 E. 6th St., Tulsa, Okla. 

Giapys M. GLenn, 1217 Bowie St., Am- 
arillo, Tex. 

FLorENCcCE E. Grasie, Michigan State In- 
stitute of Music, Lansing, Mich. 


Key College, 


HarriET Bacon MacDona.p, 6010 Belmont 
Ave., Dallas, Tex. 

Kate DELL MarpbeNn, 61 N. 16th St., Port- 
land, Ore. 

Mrs. W. P. Mason, 302 Mid. City Bank 
Bldg., Chicago, Ill. 

Laup G. Puripprpen, 3435 Ashbury Ave., 
Dallas, Tex. 

Evuie I. Prince, 4106 Forest Hill Ave., 
Richmond, Va. 

VirGIn1IA Ryan, 1070 Madison Ave., New 
York. 

SteLtta H. SeyMour, 1219 Garden St., San 


Antonio, Tex. 

GERTRUDE THOMPSON, 508 W. Coal St., 
Albuquerque, N. M. 

IsopEL M. Tone, 626 Catalina St., Los An- 
geles, Calif. 

Mrs. H. R. Warkxins, 124 E. 11th St., 
Oklahoma City, Okla. 


Mrs, JEAN WARREN CARRICK 
(Normal Teacher) 


25 Lake Street, San Francisco 


220 - 


Classes formed upon Arrangement 











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. 
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 ominous 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, varying tonal hue. 
There is a sense of plowing 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 a lullaby. There is no return to boister- 
ous 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 awkward, but seems in one moment the one, in 


VOJMIR ATTL 


Harpist 
San Francisco Symphony Orchestra 
Available for 


JOHN BUBEN Concerts, Ensemble Music and 


HARP INSTRUCTION 


Fur Artistry and Craftsmanship for STUDIO: Lec 
discriminating fur lovers. Furs re- 403-404 Marston Building _ 
styled as Jacquettes, or in the latest 244 Kearny St., San Francisco, Calif. 


Creations. 57 GEARY ST For Appointment 


Phone KEarny 5873 Call 
Studio Phone Residence Phone 


Paris Office : 
52 Rue du Faubourg—Montmartre DOuglas 3706 SKyline 2757 


Fur Fashion’s Creator | 





221 














the next the other; is certainly naive,—novel yet natural; on the whole, 
gives the spontaneous song a tinge of slow dance. The rare charm 
of the song 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. Everywhere 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 some- 
thing 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 barbarous 


HAZEL DREIS 
FINE BOOKBINDINGS 


MUSIC BINDING 
BOUND TAUGHT 


DOuglas 0328 545 Sutter Street, San Francisco 








ARRILLAGA MUSICAL COLLEGE 


Founded 1877 Incorporated 1911 
LARGEST IN THE WEST 





Pipe Organ—Choral—Orchestra—Stage Training 





Theory—V oice—Instruments—Evening C lasses 






Superior Instruction—Low Terms 





2351 JACKSON STREET, SAN F RANCISCO Phone WALNUT 3742 





222 





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 con- 
clusion.” 


Indian’ Dances - - - - ~ - Frederick Jacobi 


(Born at San Francisco, May 4, 1891; now living at Northampton, Mass.) 


Frederick Jacobi, a native of San Francisco, studied composition 
in New York with Rubin Goldmark, Paul Juon in Berlin, and Ernest 
Bloch in Geneva. He was assistant conductor with the Metropolitan 
Opera Company (1913-1917) and one of the founders of the Amer- 
ican Music Guild. He is a member of the executive board of the 
League of Composers, New York. 


Mr. Jacobi’s compositions for orchestra include a symphony 
known as the “Assyrian,” and first performed here in San Francisco 


The 


Margaret Mary Morgan Co. 


PRINTERS 
Engraving ~ Publishing 


MARGARET 


TILLY 


PIANIST 


Will be on the Pacific Coast during 
the entire season, 1928-1929 


Concert Management 


ELWYN CONCERT BUREAU 


Sr Studio: 
| hie ; 450 GRANT AVENUE 
619 California Street Telephone KEarny 8289 
SAN FRANCISCO 





223 











at the November 14-16 pair of concerts, in 1924: “A California 
Suite,’’ produced here December 6, 1917; a Symphonic Prelude, ‘‘The 
Eve of St. Agnes,’’ performed here January 26, 1923: and ‘‘The Pied 
Piper.” 

The Indian Dances were written during sojourns among the 
Indians of New Mexico in 1927 and 1928. Upon the occasion of the 
first performance of the work earlier this season by the Boston Sym- 
phony Orchestra, Mr. Jacobi supplied the following programme 
information: 

‘This work is not intended to be, in any sense, a reconstruction 
of Indian music. It is, rather, a series of impressions of the great 
ritualistic dances which take place still today among the Pueblos and 
Navajos of New Mexico and Arizona — spectacles magnificent and 
profoundly moving. 

“Indian music, in the opinion of the composer, has been greatly 





underestimated. It is, he believes, a music of signal individuality, 
unlike any other in the world; it has a potent and hypnotic charm, and 
it expresses admirably the soul, distant yet eternally alluring, of a great 
race. Its rhythms are ordered, yet infinitely free. The insistent drum- 
beats, which are the web and woof of the musical substance, are both 


lulling and exciting. The sudden changes of rhythm are startling and 





— SS ne eee a ae 


JANET ROWAN HALE 


Pianist and Teacher 







Studio 902 
26 O'Farrell Street Berkeley and Piedmont 
Phone DAvenport 5486 Phone OAkland 8663 





30 years violin specialist in St, Louis and Chicago Expert Repairing 


S. O. ALLISON 
VIOLIN MAKER, CONNOISSEUR AND APPRAISER 


Agent for Andres Morellis hand-made Violins, Violas, "Cellos, Basses 
Artist Bows by G. A. Pfritzschner 
and other celebrated Bow Makers 
45 GEARY STREET 
Dealer in New and Old Violins, San Francisco, Cal. 
‘Cellos and Bows Formerly I. A. Lutz 
Strings and Accessories DAvenport 0415 





224 














extraordinarily telling; the irregularity of its phrase-structure gives it a 
suppleness which our music frequently lacks; and the direct and wholly 
natural way with which it combines simultaneously two or more diver- 
gent rhythms lends to it a strength and pulsating vitality which are 
amazing. Its melodies are expressive of a number of clearly defined 
moods—moods which correspond with the psychology of the race; a 
grim and desperate fervor, a tender melancholy, a virile and full- 
throated jubilance, and a wild, barbaric fury. (The war-dances, inci- 
dentally, are usually of a very ‘open’ and major character, jubilant 
rather than wild. It is in the festive dances, the dances of thanks- 
giving, that the Indians appear most barbaric.) The structure of their 
music is clear and well balanced; they have an instinctive knowledge 
of the elements of unity, contrast and climax. 

‘‘All Indian dances partake, to a greater or lesser degree, of a 
religious character. The Buffalo Dance, danced by the young men, 
was no doubt originally a prayer for a successful chase. Naked to the 
waist, their long black hair falling wildly over their blackened faces, 
buffalo horns on their heads, they imitate the slow, ungainly motions 
of the grazing buffalo. It must be said, though, that with the Indians 
every gesture is a conventionalization; Indian art is not realistic, but 
symbolic. The Butterfly Dance is danced by the maidens when they 
have reached maturity. The War Dance, it would seem, is a prema- 
ture enactment of the future triumph, an instilling of confidence and 
courage into the hearts of those about to engage in battle.” 


Suite from the Ballet, ‘““The Fire Bird”’ - - Igor Stravinsky 


(Born June 17, 1882, at Petrograd) 


Stravinsky wrote the ballet, ‘““The Fire Bird,’’ founded on an old 
Russian legend, at the request of Diaghileff, head of the famous Russian 
ballet company which bears his name. Fokine prepared the scenario 
and the first performance took place at the Grand Opera in Paris, June 
25, 1910, creating a sensation. Apart from the stage performance, 


Julian Brodetsky 


ASSISTANT CONCERT MASTER 
SAN FRANCISCO SYMPHONY ORCHESTRA 


Violin Instruction 


Studio 
Phone SKyline 4855 189 Commonwealth Avenue 





225 








8 SS _= = 








the music of “The Fire Bird’’ aroused so much favorable comment that 
the composer arranged it in the form of an orchestral suite. 

The curtain rises, after a short orchestral prelude, the scene dis- 
closed being that of an old castle surrounded by a garden. Ivan 
Tsarevitch, the hero of many tales, in the course of hunting at night 
comes to the enchanted garden surrounding Kastchei’s castle and sees 
the Fire Bird—a beautiful bird with flaming, golden plumage—as she 
attempts to pluck golden apples from a silver tree. Ivan captures her, 
but, heeding her entreaties, frees her. In gratitude she gives him one 
of her golden feathers, which has magic properties. ~The dawn breaks. 
Thirteen enchanted princesses appear. Ivan, hidden, watches them 
dance and play with golden apples. Fascinated, he finally discloses 
himself. They tell him that the castle belongs to the terrible Kastchei, 
who turns decoyed travelers into stone. They warn him of his fate. 
Ivan resolves to enter the castle. Opening the gate, he sees Kastchei 
with his train of grotesque and deformed subjects marching towards 
him in pompous procession. Kastchei attempts to work his spell on 
Ivan, but the Fire Bird’s feather protects him. Ivan summons the Fire 
Bird, which causes Kastchei and his retinue to dance until they drop 
exhausted. Ivan is told the secret of Kastchei’s immortality; he keeps 
an egg in a basket; if this egg is broken or even injured, he will die. 
Ivan swings the egg backward and forward while the sorcerer and his 
crew sway with it. At last he dashes the egg to the ground. The 
sorcerer dies; the castle vanishes; the petrified knights come to life, 
and Ivan marries the most beautiful of the princesses amidst great 
rejoicing. 


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. 


December 31st, 1928 
$123,780,369.02 


Capital, Reserve and Contingent Funds 5,150,000.00 
Pension Fund over $635,000.00, 
standing on Books at 1.00 


MISSION BRANCH 
PARK-PRESIDIO 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 


226 











JJersonnel 


Che San HFrancisen Symphony Orchestra 


ALFRED HERTZ, CONDUCTOR 


FIRST VIOLINS 


Piastro, Mishel 
Concert Master 


Fenster, Lajos 
Assistant Concert Master 


Brodetsky, Julien 
Assistant Concert Master 


Meriz, Emilio 

Ford, Louis W. 
Jensen, Thorstein 
Gordohn, Robert 
Mendelevitch, Rodion 
Laraia, William F. 
Mortensen, Modesta 
Koenig, Hans 

See, Orley 

Pasmore, Mary 
Atkinson, Helen E. 
Wolski, William 


Ruiz, Ricardo 


SECOND VIOLINS 


Heyes, Eugene 
Principal 


Rosset, Emil 
Amsterdam, Max 
Callinan, W. G. 
Paterson, J. A. 
Gold, Julius 


Haug, Julius 


Gough, Walter 
Firestone, Nathan 
Simonsen, Frances 
Wegman, William 
Tolpegin, Victor 
Hoffman, Henry H. 
Dabelow, William 


VIOLAS 

Verney, Romain 

Principal 
Hahl, Emil 
Baker, F. A. 
Wismer, Hother 
Weiler, Eric 
Lichtenstein, Victor 
Dierich, Franz 
Triebel, August 
Kolb, Richard 
Lewis, Arthur 


*CELLOS 


Penha, Michel 
Principal 


Dehe, Willem 

King, Otto 
Villalpando, Wenceslao 
Kirs, Rudolph 
Pasmore, Dorothy 
Reinberg, Herman 
Gough, Flori 

Hranek, Carl 

Haight, Rebecca 


BASSES 


Previati, Louis J. 
Principal 


Bell, Walter 
Storch, A. E. 
Guterson, Aaron 
Schulz, Emil 
Schmidt, Robert E. 
Frederick, Oscar 
Schipilliti, John 


FLUTES 
Linden, Anthony 


Oesterreicher, Walter 
Orchestral Manager 


Benkman, Herbert 


PICCOLO 


Benkman, Herbert 


OBOES 
Addimando, Caesar 
Shanis, Julius 


Schipilliti, Vincent 


ENGLISH HORN 
Schipilliti, Vincent 


CLARINETS 
Randall, Harold B. 
Zannini, Nicolai 
Fragale, Frank 
Triebel, August 

BASS CLARINET 


Fragale, Frank 


227 


BASSOONS 
Kubitschek, Ernest 
La Haye, E. B. 
Hranek, Carl 


CONTRA BASSOON 
Kolb, Richard 


HORNS 
Hornig, Walter 
Roth, Paul 
Tryner, C. E. 
Rocco, R., 


Trutner, Herman 


TRUMPETS 
Drucker, Vladimir 
Barton, Leland S. 
Savant, Silvio 
Kegel, Otto 
Kress, V. 


TROMBONES 


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


TUBA 
Murray, Ralph 


HARP 


Attl, Kajetan 
Attl, Vojmir 


TYMPANI 
Wagner, Roland E. 


PERCUSSION 


Vendt, Albert, Jr. 
Salinger, M. A. 
Kundy, E. 


PIANO AND CELESTA 
Tibbitts, J. P. 


LIBRARIAN 
Kegel, Otto 











8 BF 8 Fe 6 A 8 8 8 8 Oe 8 8 8 8 ee 





“T amusing the Steinway piano 
now for many years and 
enjoying its superior qualities so 

eae much that I cannot 


imagine how I ever could 





get along without one. 
It is like a good friend of ms 


| 


whom you get fonder & 3} 


ae 


ea more you know t, | 
him ml 


The home of the Steinway ts 


Sherman @tay & Co. 


Kearny and Sutter Streets, San Francisco 
Mission Street, near Twenty-first 
Fillmore Street, near Post 
Fourteenth and Clay Streets, Oakland 
3420 E. 14th Street, Fruitvale 
Telegraph and Channing Way, Berkeley 
1315 Burlingame Avenue, Burlingame 
















“FRANCISCO 
SYMPHONY == 
> ORCHESTRA 


V2 e 
ee Marntamea Dy 
























Wh 
SS] The Musicale 
Nh: Assoctation of 
— | 50an Prancisco 


ins 





SIXTH POPULAR 


| = 


1928 1929 
Eighteenth Season 


ALFRED HERTZ CONDUCTOR 


VAC (ABNEY PDC WE 
CL BORREGO SY | 



















SEVENTH POPULAR CONCERT 


Saturday, February 16, 8:20 P. M. 
DREAMLAND AUDITORIUM 


Soloist: LEA LUBOSHUTZ, Violinist 


PROGRAMME 


Ca oP ie sry et CUBE. Mee es oaks ideteccabeatea eres Hermann Genss 




















(First performance) 


Do este: The Mise 6G ORDO | 2u,5. oa. sse-s ake doo sages Debussy 
3. Andante from Symphony No. 2...............-.--------------- Mahler 
® Ruralia Fang Arica obi sh et ere gee oh. es. te Dohnanyi 
§ Concerto for Violin, in G minor....<....2.252222-<2.<05.2- 006 Bruch 


LEA LUBOSHUTZ 


EIGHTH PAIR OF SYMPHONY CONCERTS 


Friday, February 8, 3:00 P. M. 
CURRAN THEATRE 


Saturday, February 9, 8:20 P. M. 
DREAMLAND AUDITORIUM 


Soloist: MARGARET MATZENAUER, Contralto 


STRAUSS-WAGNER PROGRAMME 


1. Symphonic Variations, “Don Quixote’’........ Richard Strauss 
2. Bacchanale from ““Tannhauser ’............----------------+- Wagner 
3. Waltraute Scene from ‘“‘Die Gotterdammerung. 


MME. MATZENAUER 
4. Introduction to Act III, ‘““Tristan and Isolde.” 


5. ‘‘Gerechter Gott,’ from “‘Rienzi.”’ 
MME. MATZENAUER 


6. Overture to ‘‘Rienzi.”’ 


$n en nny a Dr Dvn Pn 


Symphony Box Office, Sherman, Clay & Co.; hours, 9 to 5. Tickets 
may also be obtained at other Sherman, Clay & Co. bay city stores. 
Friday tickets on sale zt Curran Theatre after 10 a. m. on day of con- 
cert. Box office at Dreamland Auditorium open at 7 p. m. on concert 
days. 


230 








Musical Assuciation of San Francisen 


Founded December 20, 1909 Incorporated February 3, 1910 


OFFICERS 
J. B. Levison, President 
W. C. VAN ANTWERP, Vice-President 
WALTER S. MARTIN, Treasurer 


Mrs. IRWIN CROCKER, Honorary Vice-President 
Mrs. E. S. HELLER, Honorary Vice-President 
A. W. WIDENHAM, Secretary-Manager 


BOARD OF GOVERNORS 


R. I. Bentley John S. Drum John A. McGregor 
Miss Lena Blanding Sidney M. Ehrman John D. McKee 
Miss Louise A. Boyd Milton H. Esberg R. C. Newell 
George T. Cameron Mortimer Fleishhacker F. R. Sherman 
Selah Chamberlain F. J. Koster B. F. Schlesinger 
Mrs. Irwin Crocker J. B. Levison Mrs. M. C. Sloss 
William H. Crocker Walter S. Martin Mrs. Sigmund Stern 
E. R. Dimond Clay Miller W. C. Van Antwerp 
A. B. C. Dohrmann L. F. Monteagle Eli H. Wiel 

Mrs. M. S. Koshland, ex-officio 


EXECUTIVE COMMITTEE 


W.C. Van ANTWERP, Chairman 
Mrs. Irwin Crocker A. B. C. Dohrmann Walter S. Martin 
Mortimer Fleishhacker John D. McKee 


MUSIC COMMITTEE 


R. C. NEWELL, Chairman 
Mrs. M. C. Sloss F. R. Sherman 


WOMEN’S AUXILIARY 


Mrs. M. S. KosHLAND, Chairman 
Miss LENA BLANDING, Vice-Chairman Mrs. M. C. Porter, Vice-Chairman 


EXECUTIVE OFFICES 
Fifth Floor, 244 Kearny Street 
Telephone GArfield 2819 


A. W. WIDENHAM, Secretary-Manager 
HOWARD G. HANVEY, Press Representative 





231 











Your Favorite Work 
is probably among the 


Eighty-nine Album Sets 
of 
COLUMBIA MASTERWORKS’ 


and with it are many more that you would like to hear 
at leisure in the comfort and satisfaction of your home. 
In this world’s greatest of musical record libraries are 
all the beauty, romance, gaiety, pathos and tragedy of 
the great masters of music from Bach to Ravel—an 
enchanted world of tone in which every-day troubles 
are forgotten. 

New works are now added monthly to this distin- 
guished library. 


Latest Columbia Masterworks Issues 
MASTERWORKS SET NO. 98 


GRI EG CONCERTO in A MINOR, Op. 16; for Piano- 
forte and Orchestra. By IGNAZ FRIEDMAN, 
with Orchestra Conducted by Philippe Gaubert. 
In Eight Parts, on Four Twelve-Inch Records, 
with Album, $6.00. 


MASTERWORKS SET NO. 99* 


FF | GE & CONCERT No. 2, in A MAJOR; for Pianoforte 
and Orchestra. By JOSEPH PEMBAUR, with 
Orchestra Conducted by Dr. Weissmann. In Six 
Parts, on Three Twelve-Inch Records, with 
Album, $4.50. 


* Offered for sale in U. S. A. and Canada only. 


Ask for Columbia Masterworks Catalog 


‘Magic — Notes’”’ 


COLUMBIA PHONOGRAPH COMPANY 


941 Mission Street, San Francisco, Calif. 


COLUMBIA 


“NEW PROCESS” RECORDS 


REG. U. S. PAT. OFF. 


Viva-tonal Recording — The Records without Scratch 


‘Reg. U. S. Pat. Off. 


232 








Che San Francisca Symphony Orchestra 


ALFRED HERTZ, Conductor 
(Steinway Piano Used) 


1928—Season—1929 


SIXTH POPULAR CONCERT 
759th Concert 


Saturday Evening, February 2, 8:20 o’clock 
DREAMLAND AUDITORIUM 


Soloists: | ANTHONY LINDEN, Flutist 
’/ HAROLD RANDALL, Clarinetist 


PROGRAMME 
ba! CQWeérture.- Gakvinitata: cl eee ee Goldmark 
2. Tarantella for Flute and Clarinet................... Saint-Saens 


ANTHONY LINDEN 
HAROLD RANDALL 


3. Suite, “Through the Looking Glass’’.............. Deems Taylor | 
Dedication— | 
The Garden of Live Flowers | 
Jabberwocky 
Looking Glass Insects 


Intermission 


Ge.” MiGHSr. or. the-ohitire: oo sitor. aoe ee ee Grainger 


7. Overture to ‘““The Gypsy Baron’’.................. Johann Strauss 


233 








SAN FRANCISCO 
CONSERVATORY 
OF MUSIC 


ERNEST BLOCH, Director 


Ada Clement and 
Lillian Hodghead 


Associate Directors 


ERNEST BLOCH 


will lecture on 


“The Spirit and the Letter” 


Tuesday Evening, February 5th, 
at 8.30 o’clock 


SOROSIS HALL 


Admission - $1.00 
Students - Half Rate 


Tickets on Sale at 
Sherman, Clay and Company 
and the 
San Francisco Conservatory of Music 




































YOUNG PEOPLE’S SYMPHONY 
CONCERTS 


San Francisco Symphony Orchestra 
WHEELER BECKETT, conducting 


CURRAN THEATRE 


THIRD CONCERT 
Friday, February 15, 4:00 P. M. 


PROGRAMME 
Song of the Volga Boatmen; Scherzo & Finale from Beethoven Fifth 
Symphony; Eine Kline Nacht Music, Mozart; Norwegian Bridal 
Procession, Grieg; Entr’ Acte from Rosamunde, Schubert; 


Molly on the Shore, Grainger. 
Tickets at Sherman Clay & Co., 65c, $1.00, $1.25 
ALICE METCALF 


Executive Manager 
Hotel Mark Hopkins 


San Francisco 





Victor Lichtenstein 


Instruction 


in the 


Art 
of 
Utolin 
Playing 


Eight of Mr. Lichtenstein’s 
pupils became members of 
the St. Louis Symphony 
Orchestra. 


SrupI0: 3145 WASHINGTON STREET 


Telephones: FI Ilmore 6146 
FI llmore 4948 














Overture, ‘‘Sakuntala”’ - - - - - Carl Goldmark 


(Born May 18, 1830, at Keszthely, Hungary; died January 2, 1915, at Vienna) 

The following preface is printed on the score, and tells the story 
of the Sakuntala Overture: 

Sakuntala, the daughter of a nymph, is brought up in a peniten- 
tial grove by the chief of a sacred caste of priests as his adopted daugh- 
ter. The great King Dashianta enters the sacred grove while out 
hunting; he sees Sakuntala, and is immediately inflamed with love for 
her. A charming love scene follows, which closes with the marriage 
of both. The king gives Sakuntala, who is to follow him later to his 


capital city, a ring by which she shall be recognized as his wife. A 
powerful priest, to whom Sakuntala has forgotten to show due hospi- 
tality, in the intoxication of her love, revenges himself upon her by 
depriving the king of his memory and of all recollection of her. 
Sakuntala loses the ring while washing clothes in the sacred river. 
When she is presented to the king by her companions as his wife, he 
does not recognize her, and repudiates her. Her companions refuse 
to admit her, as the wife of another, back into her home, and she is 
left alone in grief and despair; then the nymph, her mother, has pity 
on her, and takes her to herself. The ring is then found by some fish- 
erman, and brought back to the king. On seeing it, his recollection 
of Sakuntala returns. He is seized with remorse for his terrible deed; 
the profoundest grief and unbounded yearning for her who disap- 
peared leave him no more. Ona warlike campaign against some evil 


Established 1852 





QUALITY 
PRESTIGE 
SERVICE 


SHREVE & COMPANY 


‘fewelers and Silversmiths 


Post Street at Grant Avenue 
San Francisco 


235 








NATHA 


T VIOLINIST OF THE 
BAS STRING QUARTET 


Announces 


THE OPENING OF A STUDIO FOR 


INSTRUCTION 
IN VIOLIN AND 
ENSEMBLE 


INTERVIEWS BY APPOINTMENT 
TELEPHONE OR WRITE 


- 


“Management 


ALICE SECKELS 


FAIRMONT HOTEL 
DO uglas 7267-8800 








Louis. Ford 








Concert 
V iolinist 





TEACHER 


Available for Solo, Sonata, Trio and 
Quartet engagements. 
















Eighteen years in Chamber Music: 
San Francisco Quintet Club, Chamber 
Music Society of San Francisco, Per- 
singer String Quartet. 


Twelve years first violinist with San 
Francisco Symphony Orchestra; Assis- 
tant Concert Master for Season 1917 to 
1925. 


PUPILS ACCEPTED 
Coaching in ensemble playing. 
Assistant teacher for beginners under 

my personal supervision. 


1610 Plymouth Ave. Phone DE laware 0201 






Dunning System of Improved Music Sindy 
CARRIE Lou1isE DUNNING, Originator 


8 West 40th Street, New York City 
834 South Plymouth Boulevard, Los Angeles, Calif. 


HE Greatest Musical Event in New York City in the past several decades was the 
playing of a ten-year-old Dunning pupil with the New York Philharmonic Orchestra, 
March 20th, 1926. The child had only studied one year and eight months. She 
played Le Carnaval des Animaux, by Saint-Saens. The piece is twenty-three pages long. 
She memorized it in three weeks. If you have any plan for teaching that can bring such 
results in that length of time—then you do not need the Dunning System. If you have 


not, then you do. 


Faculty of Normal Teachers—Classes Held in these Cities 


KATHARINE M. Arnotp, 93 Madison St., 
Tiffin, O. 

Artie E. Barcus, 1006 College St., Ft. 
Worth, Tex. 

EvizetteE R. Bartow, Box 1244, St. Peters- 
burg, Fla. 

CATHERINE C. Brrp, 658 Collingwood Ave., 
Detroit, Mich, 

Grace A. Bryant, 201—10th Ave., N. Twin 
Falls, Idaho. 

Dora A. CuHasz, 345 Clinton Ave., Brook- 
lyn, N. Y. 

Appa C. Eppy, 136 W. Sandusky Ave., 
Bellefontaine, O. 

Beatrice S. ErKet Kipp, Key College, 
Sherman, Tex. 

Ipa GarpNeER, 17 E. 6th St., Tulsa, Okla. 

Giapys M. GLenn, 1217 Bowie St., Am- 
arillo, Tex. 

FLORENCE E. GrasSLe, Michigan State In- 
stitute of Music, Lansing, Mich. 


Harriet Bacon MacDonatp, 6010 Belmont 
Ave., Dallas, Tex. 

Kate Dett MarpeEN, 61 N. 16th St., Port- 
land, Ore, 

Mrs. W. P. Mason, 302 Mid. City Bank 
Bldg., Chicago, Il. 

Laup G. Purppren, 3435 Ashbury Ave., 
Dallas, Tex. 

Exvure I.‘ Prince, 4106 Forest Hill Ave., 
Richmond, Va. 

VirGINIA Ryan, 1070 Madison Ave., New 
York. 

Stretta H. Seymour, 1219 Garden St., San 
Antonio, Tex. 

GERTRUDE THOMPSON, 508 W. Coal St., 
Albuquerque, N. M. 

IsopeL M. Tone, 626 Catalina St., Los An- 
geles, Calif. 

Mrs. H.°’R. Watkins, 124 E. 11th St., 
Oklahoma City, Okla. 


Mrs. JEAN WARREN CARRICK 
(Normal Teacher) 


25 Lake Street, San Francisco 


236 


Classes formed upon Arrangement 











demons, whom he vanquished, he finds Sakuntala again, and now 
there is no end to their happiness. 


Tarantella for Flute and Clarinet, Opus 6 - - Camille Saint-Saens 
(Born October 9, 1835, at Paris; died December 16, 1921, at Algiers) 


The first part of the movement opens with a short preluding of 
the strings, which leads to the statement of the sprightly first theme by 
the solo instruments. Another motive which appears shortly in the 
first violins is taken up by the second violins and violas, the solo instru- 
ments embellishing with sundry brilliant flourish, and the whole coming 
to an end presently with a spirited climax for the orchestra. The trio 
which follows (in A major) runs on a more sustained and expressive 
theme, which reminds one forcibly of the first theme of the trio in the 
Chopin Funeral March. This melody appears first in the solo clarinet 
(reinforced by the first violins), offset by running passage-work in the 
solo flute, to be taken up shortly by the latter with the passage-work 
transferred to the clarinet, and subsequently by all the violins with the 
figuration distributed between the two solo instruments. After the 
trio has come up to a pianissimo conclusion the first part of the move- 
ment is taken up again, working up forthwith to a spirited final climax. 


Suite, ““Through the Looking Glass’’ - - - Deems Taylor 
(Born December 22, 1885, at New York) 


‘Through the Looking Glass’’ was originally written for flute, 
oboe, clarinet, bassoon, horn, piano and strings, and in that form was 


produced by the New York Chamber Music Society, February 18, 


VOJMIR ATTL 


Harpist 
San Francisco Symphony Orchestra 
Available for 


JOHN BUBEN Concerts, Ensemble Music and 


HARP INSTRUCTION 


Fur Artistry and Craftsmanship for STUDIO: *au 
discriminating fur lovers. Furs re- 403-404 Marston Building 
styled as Jacquettes, or in the latest 244 Kearny St., San Francisco, Calif. 


Creations. 67 GEARY ST For Appointment 
. 1] 


Phone KEarny 5873 Ca 
Studio Phone Residence Phone 


Paris Office c 
52 Rue du Faubourg—Montmartre DOuglas 3706 SKyline 2757 


Fur Fashion’s Creator 




















1919. Late in 1921 Mr. Taylor began a revision of the work for full 
orchestra, and in this form it was first produced by the New York 
Symphony Orchestra, March 10, 1923. Upon this occasion the com- 
poser described the work as follows: 

“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 pictures it presents will, if all goes 
well, be readily recognizable to lovers of the book. The first move- 
ment is divided 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?”’ 


HAZEL DREIS 


FINE BOOKBINDINGS 


MUSIC BOOKS BINDING 
BOUND MENDED TAUGHT 


1367 Post Street, San Francisco 
WA Inut 7097 19 Studio Building 


The ARRILLAGA MUSICAL COLLEGE 


Cordially invites you to attend a series of talks on 


Music and Its Appeal to the Layman 
presented by 


HOWARD HE COUPER 


February 8 March 8 April 12 
8:30 P. M. 
2351 JACKSON STREET WA LNUT 3742 


238 








‘“‘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. 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! Onetwo! Andthrough andthrough 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 impreca- 
tions by the bassoon warn us to “beware the Jabberwock, my son.”’ 


The 


Margaret Mary Morgan Co. 


PRINTERS 
Engraving ~— Publishing 


MARGARET 


TILLY 


PIANIST 


Will be on the Pacific Coast during 
the entire season, 1928-1929 


Concert Management 


ELWYN CONCERT BUREAU 


DAvenport 0450 PHELAN BUILDING 
Studio: 
450 GRANT AVENUE 


619 California Street Telephone KEarny 6269 
SAN FRANCISCO 





239 








q 
@ 
| 
i 
t 
ed 
: 


ass aiene 








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— 
“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. 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. 

“It 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 


JANET ROWAN HALE 


Pianist and Teacher 


Studio 902 
26 O'Farrell Street Berkeley and Piedmont 
Phone DAvenport 5486 Phone OAkland 8663 


30 years violin specialist in St. Louis and Chicago Expert Repairing 


S. O. ALLISON 
VIOLIN MAKER, CONNOISSEUR AND APPRAISER 


Agent for Andres Morellis hand-made Violins, Violas, "Cellos, Basses 
Artist Bows by G. A. Pfritzschner 
and other celebrated Bow Makers 
45 GEARY STREET 
Dealer in New and Old Violins, San Francisco, Cal. 


‘Cellos and Bows Formerly I. A. Lutz 
Strings and Accessories DAvenport 0415 








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. 


Hungarian Rhapsody, No. 1 - - - - - Franz Liszt 
(Born October 22, 1811, at Raiding; died July 31, 1886, at Bayreuth) 


Among the multitude of Liszt's compositions are fifteen ‘“‘Hun- 
garian Rhapsodies ’—all written originally for piano solo. 

Writing of the music of his people, one George Liechtenster, a 
native Hungarian, has said: ‘Perhaps there is no nation whose char- 
acter is so vividly represented in their songs as that of the Magyar. 
The Hungarian proverb, ‘Mourning, the Magyar rejoices,’ is the thread 
which runs through all his songs. Adagio and Allegro con fuoco are 
continually changing places, like sorrow and joy in life. 


“In the Village,’’ from “Caucasian Sketches” - Mikail Ippolitow-Ivanow 
(Born November 19, 1859, at Gatschina) 


The real name of the composer of this piece is Ivanow, but he 
adopted Ippolitow, which was the patronymic of his mother’s family, 
in order to distinguish himself from another composer, Mikail Mikailo- 
vitch Ivanow. Ivanow 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. When Nicholas III became Czar, it was 
Ippolitow-lvanow who composed the coronation cantata. During the 
war he disappeared and it is supposed that he was killed by the revo- 
lutionists. 

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, portraying the answering calls echoing 
from one rock dwelling to another in a Caucasian village of cliff- 
dwellers. The main body of the movement is built upon a theme given 
out by the oboe, after four introductory measures. 


“Molly on the Shore’”’ - - - - - Percy Grainger 
(Born July 8, 1882, at Melbourne, Australia) 


‘Molly on the Shore’”’ is the first of a group of pieces published 
under the title of British Folk-music Settings. If we wonder how 
Mr. Grainger produces his effects, we may note first of all an insistent 


Julian Brodetsky 


ASSISTANT CONCERT MASTER 
SAN FRANCISCO SYMPHONY ORCHESTRA 


Violin Instruction 


Studio 
Phone SKyline 4855 189 Commonwealth Avenue 





241 











and infectious rhythm; perhaps the charm lies in this very insistence. 
To be sure, the reiteration involves the tune as well as the rhythm. 
Somewhat subordinate are the dainty strokes of harmony. The very 
directions and terms used in the music suggest its spirit. At first very 
soft, the music grows ‘‘louder bit by bit.’’ Presently the tune is struck 
“short and heavy,” then “Jouder.’”” Towards the end the music 
‘‘softens’’ more and more until the shock of the last plucked chord. 


Overture to ‘‘The Gypsy Baron” - - - Johann Strauss 
(Born October 25, 1825, at Vienna; died there June 3, 1899) 


To Johann Strauss, the younger—and greater—is probably due 
credit for having provided the world with more genuine pleasure than 
any other musician who ever put pen to paper. Berlioz, Wagner and 
Brahms were profuse in their expressions of admiration for his music. 
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 operettas, among 
them being the ‘“‘“Gypsy Baron,”’ the overture to which is played this 
evening. 


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. 


December 31st, 1928 
RAGSES ir de re Re CL OOTV TE TUNER VOR CET Owes $123,780,369.02 
Capital, Reserve and Contingent Funds 5,150,000.00 
Pension Fund over $635,000.00, 
standing on Books at 1.00 


MISSION. BRANCH 6 ig ssia.c'6 dic 60.000 068 deere 8.01058 96.6 810 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 





242 








Jersonnel 


Che San Francisco Symphony Orchestra 


ALFRED HERTZ, CONDUCTOR 


FIRST VIOLINS 


Piastro, Mishel 
Concert Master 


Fenster, Lajos 
Assistant Concert Master 


Brodetsky, Julien 
Assistant Concert Master 


Meriz, Emilio 

Ford, Louis W. 
Jensen, Thorstein 
Gordohn, Robert 
Mendelevitch, Rodion 
Laraia, William F., 
Mortensen, Modesta 
Koenig, Hans 

See, Orley 

Pasmore, Mary 
Atkinson, Helen E. 
Wolski, William 


Ruiz, Ricardo 


SECOND VIOLINS 


Heyes, Eugene 
Principal 


Rosset, Emil 
Amsterdam, Max 
Callinan, W. G. 
Paterson, J. A. 
Gold, Julius 


Haug, Julius 


Gough, Walter 
Firestone, Nathan 
Simonsen, Frances 
Wegman, William 
Tolpegin, Victor 
Hoffman, Henry H. 
Dabelow, William 


VIOLAS 

Verney, Romain 

Principal 
Hahl, Emil 
Baker, F. A. 
Wismer, Hother 
Weiler, Eric 
Lichtenstein, Victor 
Dierich, Franz 
Triebel, August 
Kolb, Richard 
Lewis, Arthur 


*"CELLOS 
Penha, Michel 


Principal 
Dehe, Willem 
King, Otto 
Villalpando, Wenceslao 
Kirs, Rudolph 
Pasmore, Dorothy 
Reinberg, Herman 
Gough, Flori 
Hranek, Carl 
Haight, Rebecca 


BASSES 


Previati, Louis J. 
Principal 


Bell, Walter 
Storch, A. E. 
Guterson, Aaron 
Schulz, Emil 
Schmidt, Robert E. 
Frederick, Oscar 
Schipilliti, John 


FLUTES 
Linden, Anthony 


Oesterreicher, Walter 
Orchestral Manager 


Benkman, Herbert 


PICCOLO 


Benkman, Herbert 


OBOES 
Addimando, Caesar 
Shanis, Julius 


Schipilliti, Vincent 


ENGLISH HORN 
Schipilliti, Vincent 


CLARINETS 


Randall, Harold B. 
Zannini, Nicolai 
Fragale, Frank 
Triebel, August 


BASS CLARINET 
Fragale, Frank 


243 


BASSOONS 
Kubitschek, Ernest 
La Haye, E. B. 
Hranek, Carl 


CONTRA BASSOON 
Kolb, Richard 


HORNS 
Hornig, Walter 
Roth, Paul 
Tryner, C. E. 
Rocco, R. 


Trutner, Herman 


TRUMPETS 
Drucker, Vladimir 
Barton, Leland S. 
Savant, Silvio 
Kegel, Otto 
Kress, V. 


TROMBONES 


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


TUBA 
Murray, Ralph 


HARP 


Attl, Kajetan 
Attl, Vojmir 


TYMPANI 
Wagner, Roland E. 


PERCUSSION 


Vendt, Albert, Jr. 
Salinger, M. A. 
Kundy, E. 


PIANO AND CELESTA 
Tibbitts, J. P. 


LIBRARIAN 
Kegel, Otto 











tl i ll hl hl i al i i a ee v4 Pee 





al AM using the Steinway piano 
now for many years and am 
enjoying its superior qualities so 
‘ets much that I cannot 


imagine how I ever could 





get along without one. 


It is like a good friend of , 





whom you get fonder 6) 


we 
the more you know 3 
2:2 


him. 


The home of the Steinway ts 


Sherman @tay & Co. 


Kearny and Sutter Streets, San Francisco 
Mission Street, near Twenty-first 
Fillmore Street, near Post 
Fourteenth and Clay Streets, Oakland 
3420 E. 14th Street, Fruitvale 
Telegraph and Channing Way, Berkeley 
1315 Burlingame Avenue, Burlingame 








_— 


3 





UNIVERSITY OF CALIFORNIA 
Committee on Music and Drama 


San Francisco Symphony Orchestra 
ALFRED HERTZ, Conductor 


FIRST BERKELEY CONCERT 


Spring Series, 1928-1929 


HARMON GYMNASIUM 
SUNDAY, FEBRUARY 3, 1929, AT 3 P.M. 


Soloist: JOSEPH LAMPKIN, Violinist 





PROGRAMME 
EP OINEIOOD Vn ING aks AML STOR. el ciaccheaee enka, SON RM a Dae Me’) Brahms 
Allegro con brio 
Andante 
Poco allegretto 
Allegro 
INTERMISSION 
WUE SOE TERES OU SENIOIR LA Ee ac ness pene ei Sh ile Naty VA a aL Bee Frederick Jacobi 


Buffalo Dance 
Butterfly Dance 
War Dance 


. Coneerto for Violin, No. 4, in D minor 


Moderato 
Adagio religioso 
Finale marziale 


JOSEPH LAMPKIN 


Vieuxtemps 











VCC Cr ca ame. De Rae Ma 2 ge: 6: |) ap en es eer Ceo per emese er gc ee Brahms 


Brahms completed his Third Symphony in the summer of 18838. The 
first performance was at a Philharmonic concert in Vienna, December 2, 
1883, Hans Richter conducting. The work met with tremendous success, 
and with praise, even from Hanslick, who was generally very sparing in 
his praises. In a toast Hanslick christened the symphony the “‘ Eroica,”’ 
commenting later, ‘‘It repeats neither the poignant song of Fate of his first 
Symphony, nor the joyful Idyl of the second; its fundamental note is 
proud strength that rejoices in deeds. The heroic element is without any 
warlike flavor; it leads to no tragie action, such as the Funeral March in 
Beethoven’s ‘Eroica.’ It recalls in its musical character the healthy and 
full vigor of Beethoven’s second period, and nowhere the singularities of 
his last period; and every now and then in passages quivers the romantic 
twilight of Schumann and Mendelssohn.’’ 


Philip H. Goepp has analyzed the work as follows: 


‘We can never neglect the very beginning of Brahms. In many of the 
ereatest 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. 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 ominous motive at 
the foundation of it all. The main theme, which begins here, 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, varying 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 a 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 appeal- 
ing, almost plaintive, with a swing (of 9-4) that is neither 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 spontaneous song a tinge 
of slow dance. The rare charm of the song 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. Everywhere 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 the first Allegro. But in the third 
melody is a change of mood. Though 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, and just a faint reminder of dance in the pace. 


‘“In the last movement the theme in unison sounds like barbarous war 
tune, ruthless in rough minor. As the march is kept in striding basses, and 
violins sound lightly a constant tremulous eall, ’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.”’ 


ole hig» 1 ko le ok Ato oe in a eee Se Ae pit A Se Oe oes a Frederick Jacobi 


Frederick Jacobi, a native of San Francisco, studied composition in New 
York with Rubin Goldmark, Paul Juon in Berlin, and Ernest Bloch in 
Geneva. He was assistant conductor with the Metropolitan Opera Com- 
pany (1913-1917) and one of the founders of the American Musie Guild. 
He is a member of the executive board of the League of Composers, New 
York, and now lives in Northampton, Massachusetts. 


‘‘Tndian Dances’’ was written during sojourns among the Indians of 
New Mexico in 1927 and 1928. Upon the occasion of the first performance 
of the work earlier this season by the Boston Symphony Orchestra, Mr. 
Jacobi supplied the following programme information: 


‘‘This work is not intended to be, in any sense, a reconstruction of 
Indian music. It is, rather, a series of impressions of the great ritualistic 
dances which take place still today among the Pueblos and Navajos of New 
Mexico and Arizona—spectacles magnificent and profoundly moving. 

‘‘Tndian music, in the opinion of the composer, has been greatly under- 
estimated. It is, he believes, a music of signal individuality, unlike any 
other in the world; it has a potent and hypnotic charm, and it expresses 
admirably the soul, distant yet eternally alluring, of a great race. Its 
rhythms are ordered, yet infinitely free. The insistent drum-beats, which 
are the web and woof of the musical substance, are both lulling and exciting. 
The sudden changes of rhythm are startling and extraordinarily telling ; the 
irregularity of its phrase-structure gives it a suppleness which our music 
frequently lacks; and the direct and wholly natural way with which it com- 
bines simultaneously two or more divergent rhythms lends to it a strength 
and pulsating vitality which are amazing. Its melodies are expressive of 
a number of clearly defined moods—moods which correspond with the 
psychology of the race: a grim and desperate fervor, a tender melancholy, 
a virile and full-throated jubilance, and a wild-barbarie fury. (The war- 
dances, incidentally, are usually of a very ‘open’ and major character, 
jubilant rather than wild. It is in the festive-dances, the dances of thanks- 











giving, that the Indians appear most barbaric.) The structure of their 
music is clear and well-balanced; they have an instinctive knowledge of 
the elements of unity, contrast and climax. 


‘* All Indian dances partake, to a greater or lesser degree, of a religious 
character. The Buffalo Dance, danced by the young men, was no doubt 
originally a prayer for a suecessful chase. Naked to the waist, their long 
black hair falling wildly over their blackened faces, buffalo horns on their 
heads, they imitate the slow, ungainly motions of the grazing buffalo. It 
must be said, though, that with the Indians every gesture is a conventional- 
ization; Indian art is not realistic, but symbolic. The Butterfly Dance is 
danced by the maidens when they have reached maturity. The War Dance, 
it would seem, is a premature enactment of the future triumph, an instilling 
of confidence and courage into the hearts of those about to engage in battle.’’ 


Soncerte 10r Violin. INO. 2, 37) DD MOP on ee es ee Vieuxtemps 


Henri Vieuxtemps was born at Verviers, Belgium, February 20, 1820. 
His father, a retired officer, was an instrument maker and piano tuner, who 
devoted himself to his son’s education and career. At the age of seven 
Henri became a pupil of De Beriot, who presented him in public a year 
later. In 1833 he commeneed his tours, which continued until his death 
in 1881, and ineluded three visits to the United States. His best known 
works are six concertos, the Fantasie Caprice and the Ballade et Polonaise, 
all for violin. 


The first movement opens with an orchestral introduction in slow tempo 
which leads to a quasi-recitativo passage for the solo instrument. This 
passes presently into a moderato movement in which a more sustained theme 
is developed by the solo instrument in combination with a counter-subject 
in the accompaniment. Following a brilliant solo cadenza an agitated 
orchestral interlude leads over into the second movement, this running 
mainly on the hymn-like subject given out at the start by the orchestra 
and the more melodious one introduced shortly by the solo violin. The 
fourth movement is a brilliant composition of the rondo type whose prin- 
cipal thematic elements are: the martial subject stated at the commence- 
ment by the orchestra; the more melodious theme introduced presently by 
the solo instrument, and the still more expressive one which appears shortly 
thereafter—likewise in the solo violin. The whole comes to an end with 
a brief cadenza-like coda. 





ANNOUNCEMENT 


NEXT BERKELEY CONCERT 
SUNDAY, FEBRUARY 17, 3 P.M. 


PROGRAMME 
TMEV CEUE GUN, 1 CEP TORREIG BAD PUTRI gia sachsen dorcel eamcseeccer sions Gluck 
Pod Mies gh 8a HG eae CMD Ey MERE RO AN Ale SNE Ate LE SSO RR ee ee ORE Mozart 
So. puite,” Throngh the looking Glass oo... cs.2c--3--e-s-te-soenmeese Deems Taylor 
4. Tone Poem, ** Death and Transfiguration’’....................-.-----..:--+-+++ Strauss 





ANN OWN CILN G 
FOURTH CONCERT 


MUNICIPAL 
Symphony 
Series 


San Francisco Symphony 


ALFRED HERTZ, Conductor 


Pacific Saengerbund 


FREDERICK G. SCHILLER, Conductor 


cmap ummens., Reinald Werrenrath 


Famous American Baritone—Guest Artist 


Civic Auditorium, Thursday Evening, February 7 
». PROGRAM .. 


MASSENET 
M ASSENET 


DANSE MACABRE | SAINT SAENS 
(a) “ES HABEN ZWEI BLUMLEIN GEBLUHET”’ HEINI SCHRADER 


(b) “DER JAGER AUS KURPFALZ A. v. OTHEGRAVEN 
PACIFIC SAENGERBUND. ACAPELLA 
— INTERMISSION —— 
. WOTAN’S FAREWELL AND FIRE MUSIC from “DIE WALKURE”’...... WAGNER 
(WOTAN—MR. WERRENRATH) 


. “FEAST OF THE HOLY GRAIL’’ WAGNER 
(From First Act of ‘‘Parsifal’’) 
PACIFIC SAENGERBUND AND ORCHESTRA 


ALL SEATS RESERVED S5OcC AND $1.00 


Now on Sale Sherman, Clay & Company 
DIRECTION: AUDITORIUM COMMITTEE 
James B. McSheehy, Chairman Warren Shannon Franck R. Havenner 
Auditor Thomas F. Boyle in Charge of Ticket Sale 


ee=> SECURE GOOD SEATS NOW |=» 
odtangeo 231 











SAN 


SSOCIMaTION Of |k 
an Francisco 


1928 1929 
Eighteenth Season 


ALFRED H CONDUCTOR 
L__ ie 

















SEVENTH POPULAR CONCERT 


Saturday, February 16, 8:20 P. M. 
DREAMLAND AUDITORIUM 


Soloist: LEA LUBOSHUTZ, Violinist 


PROGRAMME 
yt cL aaron AP weEE IEP Wel tad eaten Lata shsceae ae Hermann Genss 
(First time in San Francisco) 
2s rhe. 0 he Aven we AORMOr. o.oo Ga cca ccaoacens Debussy 
3: Andantefrom Symphony No. Zi .2..0.228.5.46l a ee Mahler 
AD RutaliasMungarion 200 std 6 ee ee ee Dohnanyi 
a ac GrCOEte TOY W AOLiN, Sth Ne BROT LF aa eects Bruch 


LEA LUBOSHUTZ 








NINTH PAIR OF SYMPHONY CONCERTS 


Friday, February 22, 3:00 P. M. 
CURRAN THEATRE 


Saturday, February 23, 8:20 P. M. 
DREAMLAND AUDITORIUM 


Soloist: ALEXANDRE BRAILOWSKY, Pianist 


PROGRAMME 
Fs  SPEUISINGIEN WIN Ock F ncees haat bnceoloMcwnssesyaedbuadeoteaeeten Glazounow 
(First time in San Francisco) 


a Pasi NOBBCETED $07 0. IIMOR: 052: y cadence dees acevecees Saint-Saens 
(First time at these concerts) 


ALEXANDRE BRAILOWSKY 
3. Tone Poem, “‘Death and Transfiguration’’....Richard Strauss 





Symphony Box Office, Sherman, Clay & Co.; hours, 9 to 5. Tickets 
may also be obtained at other Sherman, Clay & Co. bay city stores. 
Friday tickets on sale et Curran Theatre after 10 a. m. on day of con- 
cert. Box office at Dreamland Auditorium open at 7 p. m. on concert 


254 


t 
h 
¢ 





Musical Association of San Francisco 


Founded December 20, 1909 Incorporated February 3, 1910 


OFFICERS 
J. B. Levison, President 
W. C. VAN ANTWERP, Vice-President 
WALTER S. MARTIN, Treasurer 
Mrs. IRWIN CROCKER, Honorary Vice-President 
Mrs. E. S. HELLER, Honorary Vice-President 
A. W. WIDENHAM, Secretary-Manager 


BOARD OF GOVERNORS 


R. I. Bentley John S. Drum John A. McGregor 
Miss Lena Blanding Sidney M. Ehrman John D. McKee 
Miss Louise A. Boyd Milton H. Esberg R. C. Newell 
George T. Cameron Mortimer Fleishhacker F. R. Sherman 

Selah Chamberlain F. J. Koster B. F. Schlesinger 
Mrs. Irwin Crocker J. B. Levison Mrs. M. C. Sloss 
William H. Crocker Walter S. Martin Mrs. Sigmund Stern 
E. R. Dimond Clay Miller W.C. Van Antwerp 
A. B. C. Dohrmann L. F. Monteagle Eli H. Wiel 


Mrs. M. S. Koshland, ex-officio 


EXECUTIVE COMMITTEE 


W.C. VAN ANTWERP, Chairman 
Mrs. Irwin Crocker A. B. C. Dohrmann Walter S. Martin 
Mortimer Fleishhacker John D. McKee 


MUSIC COMMITTEE 


R. C. NEWELL, Chairman 
Mrs. M. C. Sloss F. R. Sherman 


WOMEN’S AUXILIARY 


Mrs. M. S. KoSHLAND, Chairman 
Miss LENA BLANDING, Vice-Chairman Mrs. M. C. Porter, Vice-Chairman 


EXECUTIVE OFFICES 
Fifth Floor, 244 Kearny Street 
Telephone GArfield 2819 


A. W. WIDENHAM, Secretary-Manager 
HOWARD G. HANVEY, Press Representative 


255 








Your Favorite Work 
is probably among the 


Eighty-nine Album Sets 
of 
COLUMBIA MASTERWORKS 


and with it are many more that you would like to hear 
at leisure in the comfort and satisfaction of your home. 
In this world’s greatest of musical record libraries are 
all the beauty, romance, gaiety, pathos and tragedy of 
the great masters of music from Bach to Ravel—an 
enchanted world of tone in which every-day troubles 
are forgotten. 

New works are now added monthly to this distin- 
guished library. 


Latest Columbia Masterworks Issues 
MASTERWORKS SET NO. 98 


GRI KEG CONCERTO in A MINOR, Op. 16; for Piano- 
forte and Orchestra. By IGNAZ FRIEDMAN, 
with Orchestra Conducted by Philippe Gaubert. 
In Eight Parts, on Four Twelve-Inch Records, 
with Album, $6.00. 

MASTERWORKS SET NO, 99* 

| 7, 1. CONCERT No. 2, in A MAJOR; for Pianoforte 
and Orchestra. By JOSEPH PEMBAUR, with 
Orchestra Conducted by Dr. Weissmann. In Six 
Parts, on Three Twelve-Inch Records, with 


Album, $4.50. 


* Offered for sale in U. S. A. and Canada only. 


Ask for Columbia Masterworks Catalog 





COLUMBIA PHONOGRAPH COMPANY 


941 Mission Street, San Francisco, Calif. 


COLUMBIA 


“NEW PROCESS” RECORDS 


REG. U. S. PAT. OFF. 


Viva-tonal Recording — The Records without Scratch } 


‘Reg. U. S. Pat. Off. 


256 











Che San Francisco Symphony Orchestra 


ALFRED HERTZ, Conductor 
(Steinway Piano Used) 


1928—Season—1929 


EIGHTH PAIR OF SYMPHONY CONCERTS 
762d and 763d Concerts 


Friday Afternoon, February 8, 3:00 o’clock 
CURRAN THEATRE 


Saturday Evening, February 9, 8:20 o’clock 
DREAMLAND AUDITORIUM 


Soloist: MARGARET MATZENAUER, Contralto 


STRAUSS-WAGNER PROGRAMME 


. Symphonic Variations, “Don Quixote’... Richard Strauss 
Solo ’Cello: Michel Penha 


Solo Viola: Romain Verney 
Intermission 


. Bacchanale from ‘“Tannhauser’’ 
\ 


. Waltraute Scene from “Die Gotterdammerung”’ 
MME. MATZENAUER 


. Introduction to Act III, “Tristan and Isolde’”’ 


English Horn Solo: Vincent Schipilliti Wagner 


. Aria, “‘Gerechter Gott,’” from ‘‘Rienzi’’ 
MME. MATZENAUER 


. Overture to “‘Rienzi’’ 








SAN FRANCISCO 


CONSERVATORY 
OF MUSIC ees Instruction 
ERNEST BLOCH, Director os — = hea 


Ada Clement and 
Lillian Hodghead 


Associate Directors 


The only Conservatory in é - = “U1olin 
northern California accredited ee i Playing 
by the Juilliard School of 
Music, New York City, and 
endorsed by the Carnegie 
Corporation of New York. 


Fight of Mr. Lichtenstein’s 
pupils became members of 
the St. Louis Symphony 


Orchestra. - 
Catalogue sent on request 


: N TREE 
Telephone WA Inut 3496 StupI0: 3145 WASHINGTON STREET 


3435-3445 SACRAMENTO STREET FI Ilmore 4948 





YOUNG PEOPLE’S SYMPHONY 
CONCERTS 


San Francisco Symphony Orchestra | 
WHEELER BECKETT, conducting . 


CURRAN THEATRE 


THIRD CONCERT 1 
Friday, February 15, 4:00 P. M. ; 


PROGRAMME ~ 
Song of the Volga Boatmen; Scherzo & Finale from Beethoven Fifth 
Symphony; Eine Kline Nacht Music, Mozart; Norwegian Bridal 
Procession, Grieg; Entr’ Acte from Rosamunde, Schubert; 


Molly on the Shore, Grainger. 
Tickets at Sherman Clay & Co., 65c, $1.00, $1.25 
ALICE METCALF | 


| Executive Manager 
Hotel Mark Hopkins 


San Francisco 


; 
| 
; 
: 
! 
Telephones: FI Ilmore 6146 
7 
{ 
| 
i 
7 
? 
7 





| 258 





: $y, 


a td 


“Don Quixote’”’ - - - - - - Richard Strauss 


“Don Quixote’’ was composed at Munich in 1897 and was played 
for the first time (from manuscript) in Cologne, March 8, 1898. The 
work is divided into an Introduction, a Theme with Variations, and a 
Finale, the sections being played without pause. The solo violoncello 
represents the Knight, and the solo viola Sancho Panza. Each varia- 
tion portrays an incident in the novel. 

Introduction. Don Quixote is deeply engaged in the reading of 
old romances of Knightly chivalry. ‘‘In the end, through his little 
sleep and much reading, he dried up his brains in such sort as he lost 
wholly his judgment. His fantasy was filled with those things that he 
read, of enchantments, quarrels, battles, challenges, wounds, wooing, | 
loves, tempests, and other impossible follies."” The opening section 
may be taken to represent the foreshadowing of Don Quixote, the 
knight errant, and of chivalry in general. He beholds Dulcinea, the 
ideal woman (oboe melody, accompanied by harp). In imagination 
he sees her attacked by giants (brass, muted). The brain of Don 
Quixote becomes by degrees more and more clouded. Strange har- 
monies suggest his growing insanity. The music becomes wilder: there 
is a glissando in the harp ending in a shrill discord fff and Don Quixote 
has become quite mad. He determines on a life of chivalry. 

Theme. A solo violoncello announces the Don Quixote theme, 
which is derived from the opening material of the Introduction. The 
tenor tuba and bass clarinet bring forward the theme of Sancho Panza, 
but this is later associated with the solo viola. 

Variation I. Don Quixote (solo ’cello) and Sancho Panza (bass 


Established 185 





QUALITY 
PRESTIGE 
SERVICE 


SHREVE & COMPANY 


‘fewelers and Silversmiths 


Post Street at Grant Avenue 
San Francisco 


259 





VIOLINIST OF 


| 
STRING QUARTE 


Announces 


THE OPENING OF A STUDIO FOR 


INSTRUCTION 
IN VIOLIN AND 
ENSEMBLE 


INTERVIEWS BY APPOINTMENT 
TELEPHONE OR WRITE 


- 


Management 


ALICE SECKELS 


FAIRMONT HOTEL 
DO uglas 7267-8800 


Louis Ford 


Concert 


V iolinist 
TEACHER 


Available for Solo, Sonata, Trio and 
Quartet engagements. 


Eighteen years in Chamber Music: 
San Francisco Quintet Club, Chamber 
Music Society of San Francisco, Per- 
singer String Quartet. 


Twelve years first violinist with San 
Francisco Symphony Orchestra; Assis- 
tant Concert Master for Season 1917 to 
1925. 

PUPILS ACCEPTED 
Coaching in ensemble playing. 
Assistant teacher for beginners under 

my personal supervision, 


1610 Plymouth Ave. Phone DE laware 0201 


Bunning System of Improved Music Study 
CARRIE LOUISE DUNNING, Originator 


8 West 40th Street, New York City 
834 South Plymouth Boulevard, Los Angeles, Calif. 


HE Greatest Musical Event in New York City in the past several decades was the 
playing of a ten-year-old Dunning pupil with the New York Philharmonic Orchestra, 


March 20th, 1926. 


layed Le Carnaval des Animaux, by Saint-Saens. 
If you have any plan for teaching that can bring such 


he memorized it in three weeks. 


results in that length of time—then you do not need the Dunning System. 


not, then you do. 


The child had only studied one year and eight months. She 


The piece is twenty-three pages long. 


If you have 


Faculty of Normal Teachers—Classes Held in these Cities 


KATHARINE M. ARNOLD, 93 Madison | St., 
Tiffin, O. 
Autig E. Barcus, 
Worth, Tex. 
Evizette R. Bartow, Box 1244, St. Peters- 
burg, Fla. 

CATHERINE C. Brrp, 658 Collingwood Ave., 
Detroit, Mich. 

Grace A. BRYANT, 201—10th Ave., N. Twin 
Falls, Idaho. 

Dora A. CuHaseE, 345 Clinton Ave., Brook- 
Fon, I.) Y: 

Appa C. Eppy, 136 W. Sandusky Ave., 
Bellefontaine, 

BeaTRicE S. ErKet Kipp, Key College, 
Sherman, Tex. 

Ipa GarRpDNER, 17 E. 6th St., Tulsa, Okla. 

Grapys M. GLeNnn, 1217 Bowie St., Am- 
arillo, Tex. 

FLORENCE E. Grasre, Michigan State In- 
stitute of Music, Lansing, Mich. 


1006 College St., Ft. 


Harriet Bacon MacDonatp, 6010 Belmont 
Ave., Dallas, Tex. 

KaTeE DELL MarpEN, 61 N. 16th St., 
land, 

Mrs. W. P. Mason, 302 Mid. City Bank 
Bldg., Chicago, IIl. 

Laup G. PuripPren, 3435 Ashbury Ave., 
Dallas, Tex. 

Evuie I. Prince, 4106 Forest Hill Ave., 
Richmond, Va. 

VIRGINIA RYAN, 1070 Madison Ave., 
York. 

STELLA H. SEYMOUR, 
Antonio, Tex. 
GERTRUDE THOMPSON, 

Albuquerque, N. 
IsopeL M. Tone, 626 Catalina St., 
geles, Calif. 
Mrs. H. R. Warxins, 124 E. 
Oklahoma City, Okla. 


Port- 


New 
1219 Garden St., San 
508 W. Coal St., 
Los An- 
llth St., 


Mrs. JEAN WARREN CARRICK 
(Normal Teacher) 


25 Lake Street, San Francisco 


260 


Classes formed upon Arrangement 








clarinet) set out on their travels. The former is inspired by the Ideal 
Woman, Dulcinea—note the “Ideal Woman”’ motive in the strings and 
woodwind. The Knight sees some windmills and sets out to attack 
them. The wind springs up and Don Quixote is knocked down by the 
sails (glissando in harp and fff beat of kettledrum). 


Variation Il. The battle with the sheep. A theme of pastoral 
character in the woodwind with imitations of the bleating of sheep in 
the muted brass. Don Quixote charges and routs the enemy. 


Variation III. Don Quixote and the squire converse. The latter 
doubts the value of the chivalrous life; Don Quixote reassures him, 
discourses ardently upon the ideal, upon knightly fame, but Sancho 
Panza sees more virtue in comfortable existence. Finally the Knight 
loses his temper and bids the retainer hold his tongue. 


Variation IV. Don Quixote and his companion continue their 
march. A band of pilgrims draws near, chanting ahymn. The Knight 
is convinced that these are desperate villains and must be attacked. 
But the penitents are by no means content to be smitten without smiting 
in their turn. They knock Don Quixote senseless, and having admin- 
istered this punishment, go on their way singing as before. Sancho, 
much perturbed at the sorry fate that has overtaken his master, breaks 
into a cry of joy when he perceives Don Quixote shows signs of return- 
ing life. Having brought the Knight to recovery, the squire lies down 
by his master’s side and goes to sleep. 


Variation V. The Knight's Vigil. Don Quixote, believing that 


VOJMIR ATTL 


Harpist 


San Francisco Symphony Orchestra 


Available for 
Concerts, Ensemble Music and 


HARP INSTRUCTION 


JOHN BUBEN 


Fur Fashion’s Creator 


STUDIO: 


403-404 Marston Building 
244 Kearny St., San Francisco, Calif. 


Fur Artistry and Craftsmanship for 
discriminating fur lovers. Furs re- 
styled as Jacquettes, or in the latest 


Creations. 
57 GEARY ST. 
Phone KEarny 5873 


Paris Office 
52 Rue du Faubourg—Montmartre 


For Appointment 
Call 
Studio Phone Residence Phone 


DOuglas 3706 SKyline 2757 





261 














a true Knight does not sleep in time of danger, keeps watch while his 
squire is slumbering. As he paces to and fro, the Knight breathes 
protestations to Dulcinea, his ideal. A cadenza for harp and muted 
violins leads to a passage intended to express Don Quixote’s rapture 


as he thinks of his beloved. 


Variation VI. A common peasant-woman comes along (wood- 
wind and tambourine) and Sancho Panza, who is possessed of a mild 
contempt for his master’s mad delusions, asserts that the wench is his 
ideal, Dulcinea. Don Quixote is horrified, incredulous; but the squire 
insists that Dulcinea stands before him. Don Quixote is indignant, but 
a sudden realization that some magic has changed his ideal woman 
seizes him and he vows vengeance. 

Variation VII. The Ride through the Air. Don Quixote and 
Sancho are seated, blindfolded, on their wooden horses, which, in their 
imagination, are to carry them through the air. They believe them- 
selves to be rushing through the clouds, the wind whistling in their 
ears (note the chromatic passages in the flutes and piccolo and the 
exercises of the wind machine). Suddenly their progress is stopped 
(long held note in the bassoons). Wondering as to their whereabouts, 
the two men perceive that they have never left the ground. The con- 
tinually repeated D in the double basses and kettledrum signifies this 
circumstance. 

Variation VIII. The voyage in the Enchanted Boat. Don Quixote 
discovers an old boat stranded on the shore of a river. He is convinced 


HAZEL DREIS 


FINE BOOKBINDINGS 


MUSIC BOOKS BINDING 
BOUND MENDED TAUGHT 


1367 Post Street, San Francisco 
WA Inut 7097 19 Studio Building 


~The ARRILLAGA MUSICAL COLLEGE 


Cordially invites you to attend a series of talks on 


Music and Its Appeal to the Layman 
presented by 


HOWARD E. COUPER 


February 8 March 8 April 12 
8:30 P. M. 
2351 JACKSON STREET WA LNUT 3742 


262 











that some secret power has designed its presence there to permit him 
to rescue some drowning person. He and the squire hastily embark, 
but the boat capsizes and they are forced to swim ashore. There is 
mutual recrimination, but both finally join in a prayer of thanksgiving 
(religioso in woodwind and horns) for their deliverance from death. 

Variation IX. The Combat with Two Magicians. Don Quixote 
is again mounted on his faithful horse, eager for new adventures. Soon 
two gentle, inoffensive priests come into sight, mounted on their mules. 
The Knight sees in them the baleful magicians who have played so 
many tricks upon him. He sets his charger against the two priests, 
who, astonished and terrified, take refuge in flight. 

Variation X. Don Quixote meets in battle the Knight of the 
White Moon, whose armor conceals one of his friends. The Knight of 
the White Moon hopes to cure Don Quixote of his delusions and to put 
an end to his absurd adventures. He makes it a condition of knightly 
combat that the vanquished shall do the bidding of the victor. The 
two meet in terrific battle, and Don Quixote is hurled to the ground. 
The Knight of the White Moon says, as he holds his lance’s point above 
the fallen adversary’s visor: “You are vanquished, Knight, and a dead 
man if you confess not according to the conditions of our combat.” 
Don Quixote, all bruised and amazed, without heaving up his visor, as 
if he had spoken out of a tomb, said: ‘“‘Dulcinea del Tobosco is the 
fairest woman in the world, and | the unfortunatest Knight on earth; 
and it is not fit that my weakness defraud this trust; thrust your lance 
into me, Knight, and kill me, since you have bereaved me of my 
honor.” ‘‘Not so truly,’’ quoth he of the White Moon; “let the fame 


The 


Margaret Mary Morgan Co. 


PRINTERS 
Engraving ~ Publishing 


MARGARET 


TILLY 


PIANIST 
Will be on the Pacific Coast during 
the entire season, 1928-1929 


Concert Management 


ELWYN CONCERT BUREAU 


DAvenport 0450 PHELAN BUILDING 
Studio: 
; > 450 GRANT AVENUE 
619 California Street Telephone KEarny 8289 
SAN FRANCISCO 





263 














of my Lady Dulcinea’s beauty live in her entireness; | am only con- 
tented that the grand Don Quixote retire home for a year, or till such 
time as I please, as we agreed, before we began the battle."” And 
Don Quixote picks himself up from the ground, his soul full of anguish 
at his defeat. He determines to become a shepherd. (Note the 
pastoral theme in the English horn which had previously figured in the 
second variation.) By degrees he realizes that he has been pursuing 
shadows, his reason begins to clear, and he finally attains health and 
sanity. 

Finale. The death of Don Quixote. The motive typical of Don 
Quixote, played by a solo ’cello, is set forth peacefully. In his last 
words the Knight speaks of his recollections of past dreams, illusions 
that have faded into nothingness. He is seized with chills (reiterated 
notes in muted strings). Death is at hand. 

“The notary was present at his death and reporteth how he had 
never read or found in any book of chivalry that any errant Knight 
died in his bed so mildly, so quietly, and so Christianly as did Don 
Quixote. Amidst the wailful plaints and blubbering tears of the by- 
standers, he yielded up the ghost, that is to say, he died.”’ 


Bacchanale from ‘‘Tannhauser’’ 


“When “Tannhauser’ was first produced at Dresden, there was,”’ 
writes W. H. Humiston, “after the close of the overture and preceding 
the scene between Tannhauser and Venus, a ‘Bacchanale.” But when 
the composer was commanded by Napoleon III to produce the opera 


JANET ROWAN HALE 


Pianist and Teacher 


Studio 902 
26 O'Farrell Street Berkeley and Piedmont 
Phone DAvenport 5486 Phone OAkland 8663 








30 years violin specialist in St. Louis and Chicago Expert Repairing 


S. O. ALLISON 
VIOLIN MAKER, CONNOISSEUR AND APPRAISER 


Agent for Andres Morellis hand-made Violins, Violas, 'Cellos, Basses 
Artist Bows by G. A. Pfritzschner 
and other celebrated Bow Makers 


45 GEARY STREET 


Dealer in New and Old Violins, San Francisco, Cal. 
"Cellos and Bows Formerly I. A. Lutz 
Strings and Accessories DAvenport 0415 


264 





in Paris, he decided to remodel the whole scene. So Wagner sacrificed 
the close, making the overture pass directly into the Bacchanale, which 
he entirely rewrote, using, however, the same thematic material. 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 till 
Tannhauser and Venus are left alone. But this is only another climax 
—only a Wagner could make a climax in diminuendo.”’ 


Waltraute Scene from “Die Gotterdammerung’”’ 


The third scene of the opening act of ‘““Die Gétterd’mmerung”’ 
opens with the meeting between Waltraute, the Valkyrie, and her 
sister Briinnhilde. The former has come to beg Briinnhilde to save 
Walhalla and the gods from their impending doom by restoring the 
magic ring to the Rhine maidens, from whom its gold had been stolen 
by the dwarf, Alberich. Siegfried, having possessed himself of the 
ring, had given it to Briinnhilde as a token of his love and constancy, 
and not all the pleading of Waltraute can move her to part with 
Siegfried’s bridal gift, even though Walhalla shall be swept to its 
destruction. The larger portion of the scene is taken up by Waltraute’s 
description of the somber mood of Wotan, as he sits with the gods 
awaiting the doom that must overtake them and the world. 


Introduction to Act III, ‘‘Tristan and Isolde’’ 


In the second act of the drama the love scene between Tristan and 
Isolde is interrupted by the return of King Mark and Melot, the latter 
mortally wounding Tristan in the fight which ensues. As the curtain 
rises upon the third act, Tristan is discovered lying on a couch in the 
garden of his ancestral castle in Brittany, where he has been brought 
to die by his faithful servant Kurneval. Word has been sent to Isolde 
and they anxiously await her arrival, with a shepherd on the top of a 
cliff to signal the arrival of the vessel bearing Isolde the moment it is 
seen on the horizon. He plays on his pipe a mournful melody, which 
is changed to a joyous tune when the long-awaited sail is seen. 


Aria, ‘“‘“Gerechter Gott,”’ from “Rienzi’’ 


This excerpt from Wagner's opera ‘“‘Rienzi’’ is drawn from the 
third act, in which it is sung by Adriano Colonna, who is torn by con- 


Julian Brodetsky 


ASSISTANT CONCERT MASTER 
SAN FRANCISCO SYMPHONY ORCHESTRA 


Violin Instruction 


Studio 
Phone SKyline 4855 189 Commonwealth Avenue 





265 











flicting passions—his loyalty to his father and the Roman nobles, who 
are arrayed against Rienzi, the Tribune, and his love for the latter's 
sister, Irene. 


Overture to “‘Rienzi’’ 

Wagner wrote “Rienzi” at a time when Meyerbeer was at the 
height of his fame, and frankly admitted that it was his purpose to 
““out-Meyerbeer Meyerbeer.’’ In this he was successful, for ‘‘Rienzi’’ 
achieved a success that made the unknown composer famous. As the 
overture was written before Wagner made his new departures in music, 
it is written in the regular form, based upon themes from the opera. 
It opens with a slow movement, announced by trumpet calls, intro- 
ducing after a few measures an impressive theme for the strings. This 
is repeated by woodwinds and brasses with an accompaniment of 
violins and violas. At the close of this, the main section begins with 
the theme sung by the chorus at the end of the first act, in which occurs 
also the battle hymn, assigned to the brasses fortissimo, and combined 
with the theme of Rienzi’s prayer. An episode based on the theme 
of the slow movement leads to the second subject, sung in the finale 
of the second act. In the reprise, the second subject is connected with 
a counter-theme for the trombones. A coda of vigorous intensity, 
founded on the battle hymn, closes the overture. 


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. 


December 31st, 1928 
$123,780,369.02 


Capital, Reserve and Contingent Funds 5,150,000.00 
Pension Fund over $635,000.00, 
standing on Books at 1.00 


d 7th Ave. 
Haight and Belvedere Streets 
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 





266 








JJersonnel 


The San Francisca Sumphony Orchestra 


FIRST VIOLINS 


Piastro, Mishel 
Concert Master 


Fenster, Lajos 


Assistant Concert Master 


Brodetsky, Julien 


Assistant Concert Master 


Meriz, Emilio 

Ford, Louis W. 
Jensen, Thorstein 
Gordohn, Robert 
Mendelevitch, Rodion 
Laraia, William F. 
Mortensen, Modesta 
Koenig, Hans 

See, Orley 

Pasmore, Mary 
Atkinson, Helen E. 
Wolski, William 


Ruiz, Ricardo 


SECOND VIOLINS 


Heyes, Eugene 
Principal 


Rosset, Emil 
Amsterdam, Max 
Callinan, W. G. 
Paterson, J. A. 
Gold, Julius 
Haug, Julius 


Gough, Walter 
Firestone, Nathan 
Simonsen, Frances 
Wegman, William 
Tolpegin, Victor 
Hoffman, Henry H. 
Dabelow, William 


VIOLAS 

Verney, Romain 

Principal 
Hahl, Emil 
Baker, F. A. 
Wismer, Hother 
Weiler, Eric 
Lichtenstein, Victor 
Dierich, Franz 
Triebel, August 
Kolb, Richard 
Lewis, Arthur 


’CELLOS 


Penha, Michel 
Principal 


Dehe, Willem 

King, Otto 
Villalpando, Wenceslao 
Kirs, Rudolph 
Pasmore, Dorothy 
Reinberg, Herman 
Gough, Flori 

Hranek, Carl 

Haight, Rebecca 


BASSES 


Previati, Louis J. 
Principal 


Bell, Walter 
Storch, A. E. 
Guterson, Aaron 
Schulz, Emil 
Schmidt, Robert E. 
Frederick, Oscar 
Schipilliti, John 


FLUTES 
Linden, Anthony 


Oesterreicher, Walter 
Orchestral Manager 


Benkman, Herbert 


PICCOLO 


Benkman, Herbert 


OBOES 
Addimando, Caesar 
Shanis, Julius 


Schipilliti, Vincent 


ENGLISH HORN 
Schipilliti, Vincent 


CLARINETS 


Randall, Harold B. 
Zannini, Nicolai 
Fragale, Frank 
Triebel, August 


BASS CLARINET 
Fragale, Frank 


267 


ALFRED HERTZ, CONDUCTOR 


BASSOONS 
Kubitschek, Ernest 
La Haye, E. B. 
Hranek, Carl 


CONTRA BASSOON 


Kolb, Richard 


HORNS 
Hornig, Walter 
Roth, Paul 
Tryner, C. E. 
Rocco, R. 


Trutner, Herman 


TRUMPETS 
Drucker, Vladimir 
Barton, Leland S. 
Savant, Silvio 
Kegel, Otto 
Kress, V. 


TROMBONES 


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


TUBA 
Murray, Ralph 


HARP 


Attl, Kajetan 
Attl, Vojmir 


TYMPANI 
Wagner, Roland E. 


PERCUSSION 
Vendt, Albert, Jr. 
Salinger, M. A. 
Kundy, E. 


PIANO AND CELESTA 


Tibbitts, J. P. 


LIBRARIAN 
Kegel, Otto 














6 BF 4 8, 6 Oe a ee hl i i 
Se EE BE OS ee 2 A PS iS a ii ei oe oe 


$$ $$$ 





“| AM using the eStemway piano 
now for many years and am 
enjoying its superior qualities so 

Ve much that I cannot 


imagine how I ever could 





get along without one. 


It is like a good friend of 2 


Pa 

sa 

whom you get fonder ay 
set: ie 

the more you know i 8 
him.”’ | \) 


The home of the Steinway ts 


Sherman @lay & Co. 


Kearny and Sutter Streets, San Francisco 
Mission Street, near Twenty-first 
Fillmore Street, near Post 
Fourteenth and Clay Streets, Oakland 
3420 E. 14th Street, Fruitvale 
Telegraph and Channing Way, Berkeley 
1315 Burlingame Avenue, Burlingame 











SAN FRANCISCO 
SYMPHO HONY 
oe 


VRCHIESTRA dy Ik 
S Musical 4 es 
SSOcIAaTION Of |k 
an Francisco 












“bd fide 





SEVENTH POPULAR 


————— 
_— 


eee 


| 1928 1929 
: Eighteenth Season 


ALFRED HERTZ CONDUCTOR - 
[JERR aCe] 











EIGHTH POPULAR CONCERT 


Saturday, March 2, 8:20 P. M. 
DREAMLAND AUDITORIUM 


MISHEL PIASTRO, Conducting 


Soloists: 
PHYLLIDA ASHLEY HELEN ATKINSON 
AILEEN FEALY MARY PASMORE 


Pianists Violinists 


PROGRAMME 
Overture, Fingal eCave. 2.6: 52 fictre Bape Mendelssohn 
._ Variations on a Theme of Tschaikowsky....-.....-.---- Arensky 
Pt relic © PONG “POOR TO: vee ion cewursvaxentssstapemens Pugnani-Kreisler 
~ A Nicht on the Bald, Mountatti.2::-..2.:.2.)..22..: Moussoresky 


["“@ogncerto for | wo Violins, LD minor....-2..-:.:--2-s0s42- Bach 


HELEN ATKINSON—MARY PASMORE 


6. Concerto for Two Pianos, E flat major.............---.--- Mozart 


PHYLLIDA ASHLEY—AILEEN FEALY 


Wm Bw he 


ee ———— 
NINTH PAIR GCF SYMPHONY CONCERTS 


Friday, February 22, 3:00 P. M. 
CURRAN THEATRE 


Saturday, February 23, 8:20 P. M. 
DREAMLAND AUDITORIUM 


Soloist: ALEXANDRE BRAILOWSKY, Pianist 


PROGRAMME 


be Syn baniy ING). fs. cath ea iaccteck sa rc naon sss tenne-ontnamecenens Glazounow 
(First time in San Francisco) 


2. Piahé CIOneeLtO 1B THIOL: oids os0s00asdeaecassandeoeenck Saint-Saens 
(First time at these concerts) 


ALEXANDRE BRAILOWSKY 
3. Tone Poem, “Death and Transfiguration’’....Richard Strauss 


a 


Symphony Box Office, Sherman, Clay & Co.; hours, 9 to 5. Tickets 
may also be obtained at other Sherman, Clay & Co. bay city stores. 
Friday tickets on sale zt Curran Theatre after 10 a. m. on day of con- 
cert. Box office at Dreamland Auditorium open at 7 p. m. on concert 
days. 


270 














Musical Assuciation of San Francisen 


Founded December 20, 1909 Incorporated February 3, 1910 


OFFICERS 
J. B. Levison, President 
W.C. VAN ANTWERP, Vice-President 
WALTER S. MartTIN, Treasurer 


















Mrs. IRWIN Crocker, Honorary Vice-President 
Mrs. E. S. HELLER, Honorary Vice-President 
A. W. WIDENHAM, Secretary-Manager 







BOARD OF GOVERNORS 













R. I. Bentley John S. Drum John A. McGregor 
Miss Lena Blanding Sidney M. Ehrman John D. McKee 
Miss Louise A. Boyd Milton H. Esberg R. C. Newell 
George T. Cameron Mortimer Fleishhacker PF. R. Sherman 

Selah Chamberlain F. J. Koster B. F. Schlesinger 
Mrs. Irwin Crocker J. B. Levison Mrs. M. C. Sloss 
William H. Crocker Walter S. Martin Mrs. Sigmund Stern 
E.R. Dimond Clay Miller W.C. Van Antwerp 
A. B. C. Dohrmann L. F. Monteagle Eli H. Wiel 






Mrs. M. S. Koshland, ex-officio 






EXECUTIVE COMMITTEE 

W.C. VAN ANTWERP, Chairman 

Mrs. Irwin Crocker A. B. C. Dohrmann Walter S. Martin 
Mortimer Fleishhacker John D. McKee 







MUSIC COMMITTEE 


R. C. NEWELL, Chairman 
Mrs. M. C. Sloss F. R. Sherman 









WOMEN’S AUXILIARY 


Mrs. M. §. KosHLAND, Chairman 
Miss LENA BLANDING, Vice-Chairman Mrs. M. C. Porter, Vice-Chairman 







EXECUTIVE OFFICES 
Fifth Floor, 244 Kearny Street 
Telephone GArfield 2819 








A. W. WIDENHAM, Secretary-Manager 
HOWARD G. HANVEY, Press Representative 







271 








‘ teens 


< : 

oe 

RP # E 

=e, mor SP i 

aug gh 

ety BE ke 

BES 2 is 
AL : 
Be Se aN ot Ss 
eas : 
were 
: 












ore"0 0 6.0.0 68 88 C866 oa nc wee 98.8 etete. “aa” 

weet ete Tete totes ee 0s 6 00 8's 8-8-8 8 » 0.0 8 8096.88 a a ee" 

re ee 
ee ee 










wen ew 
hea ~in oe 
OF oe” es eK 





Viva-tonal — The 

Electric Repro- 
2 ducing Phono- 
graph — ‘‘like life 
itself” —A tri- 
umph of sound 
reproduction and 
amplification. 


Price $525 


"ata en = Magis E eiy aoe : | ‘ : ; ’ ‘sg ‘ } ‘ OP ePetate's’eree" 
: ee i Columbia-Kolster 





The FINAL 
MIRACLE OF MUSIC 


@ This Viva-tonal Columbia instrument is nothing less than 
an absolute miracle. Q Place your hand upon the case—every 
fibre of the wood is vibrating—alive with music! Stand apart 
and shut your eyes—your whole body actually throbs with 
the impact of musical reality. You not only hear the music— 
you feel it. Q The element of superlative beauty is unmistak- 
able—the beauty that pleases the eye no less than the new 
beauty that astounds the ear. q Ask for Columbia Master- 
works Catalog of Eighty-Seven Album Sets Comprising the 
Most Celebrated Works of the Great Composers. 





THE COLUMBIA PHONOGRAPH COMPANY 


941 Mission Street, San Francisco, Calif. 





Che Sau Francisen Symphony Orchestra 


ALFRED HERTZ, Conductor 
(Steinway Piano Used) 








1928—Season—1929 


SEVENTH POPULAR CONCERT 
765th Concert 







Saturday Evening, February 16, 8:20 o’clock 
DREAMLAND AUDITORIUM 






Soloist: LEA LUBOSHUTZ, Violinist 







PROGRAMME 







LS Simei sOvertare 2 Co See Bk Es Hermann Genss 
(First time in San Francisco) 
Dx) OLE: «0 WE Ghnaret @ OMeT eo etek ee Debussy 






Doctor Gradus ad Parnassum 
Jimbo’s Lullaby 

The Serenade of the Doll 
The Snow Is Dancing 

The Little Shepherd 

The Golliwog’s Cake Walk 


3) (Andante trom pynimuony Now 2.2 0 ete ee: Mahler 


4. “‘Ruralia Hungarica,” Five Pieces for Orchestra....Dohnanyi 












Intermission 


Concetta tor Violin, in C mito. oo a ea ed oe 
Allegro moderato 

Adagio 

Finale: Allegro vivace 


LEA LUBOSHUTZ 




















Luboshutz recital, Thursday evening, February 21, Scottish Rite Hall 


273 





SAN FRANCISCO ; 
CONSERVATORY Victor Lichtenstein 
OF MUSIC 


Instruction 


ERNEST BLOCH, Director | 
Ada Clement and fe e. 2 Ae 
Lillian Hodghead 3 _* sd aed 


Associate Directors 


THIRD CONCERT y é = / ; ; ie 


by Fe | > - Violin 
ROBERT POLLAK , a 
« Playing 


Assisted by 
The Students’ String Orchestra 
Conductor, ERNEST BLOCH ; , : 
Eight of Mr. Lichtenstein’s 


Pianist, ADA CLEMENT 
Friday evening, March 8th, 1929 pupils became members of 
aon-30) olelocke the St. Louis Symphony 
Orchestra. 
SOROSIS HALL 


Admission - - $1.00 
Students - Half Price Stup10: 3145 WASHINGTON STREET 


Tickets on sale at Sherman, Clay & Co. 
and S. F. Conservatory of Music 


Telephones: FI Ilmore 6146 
FI Ilmore 4948 





YOUNG PEOPLE’S SYMPHONY 
CONCERTS 


San Francisco Symphony Orchestra 
WHEELER BECKETT, conducting 


CURRAN THEATRE 


FOURTH CONCERT 
Friday, March 1, 4:00 P. M. 


PROGRAMME 
Song, ‘Sweet and Low”’; Overture to ““The Flying Dutchman,” 
Wagner; Menuet from E flat Symphony, Mozart; 
Children’s Corer, Debussy; Finale from the 
‘Farewell’? Symphony, Haydn. 


Tickets at Sherman Clay & Co., 65c, $1.00, $1.25 
ALICE METCALF 


Executive Manager 
Hotel Mark Hopkins 


San Francisco 








274 








“Tragic” Overture - - - - : Hermann Genss 


This work of Hermann Genss, the well-known San Francisco 
pianist and teacher, was first performed in Hamburg in 1881, and had 
many subsequent performances in Hamburg, Mayence, Berlin, Potsdam 
and New York. 

Although not programmatic in construction, the work, in spirit, is 
characterized as an “Overture to a Tragedy,’ with specific reference 
to Shakespeare's “‘Richard II.’’ While built along the classic overture 
lines, the composition has been arranged with the modern orchestral 


taste in mind. 


Suite, “‘The Children’s Corner’’ - - - Claude Debussy 
What the “Scenes of Childhood” are to Robert Schumann, the 


“Children’s Corner’ is to Debussy. The work consists of half a dozen 
sketches, written for piano solo, which have been arranged for orchestra 
by Andre Caplet. 

If you can imagine Debussy in the mood of “Alice in Wonder- 


land,’ you will be the better prepared to understand this work. First 


Established 1852 





QUALITY 
PRESTIGE 
SERVICE 


SHREVE & COMPANY 


‘fewelers and Silversmiths 


Post Street at Grant Avenue 
San Francisco 





275 





T VIOLINIST OF 
BAS STRING QUAR 


Announces 
THE OPENING OF A STUDIO FOR 


INSTRUCTION 
IN VIOLIN AND 
ENSEMBLE 


INTERVIEWS BY APPOINTMENT 
TELEPHONE OR WRITE 


4 


“Management 


ALICE SECKELS 


FAIRMONT HOTEL 
DO uglas 7267-8800 


Louis Ford 


Concert 


V iolinist 


TEACHER 


Available for Solo, Sonata, Trio and 
Quartet engagements. 


Eighteen years in Chamber Music: 
San Francisco Quintet Club, Chamber 
Music Society of San Francisco, Per- 
singer String Quartet. 


Twelve years first violinist with San 
Francisco Symphony Orchestra; Assis- 
tant Concert Master for Season 1917 to 
1925, 


PUPILS ACCEPTED 
Coaching in ensemble playing. 
Assistant teacher for beginners under 

my personal supervision, 


1610 Plymouth Ave. Phone DE laware 0201 


Bunning System of Improved Musir Sindy 
CARRIE LouISE DUNNING, Originator 
8 West 40th Street, New York City 
834 South Plymouth Boulevard, Los Angeles, Calif. 


HE Greatest Musical Event in New York City in the past several decades was the 
playing of a ten-year-old Dunning pupil with the New York Philharmonic Orchestra, 


March 20th, 1926. 
She memorized it in three weeks. 


not, then you do. 


The child had only studied one year and eight months. She 
played Le Carnaval des Animaux, by Saint-Saens. 


The piece is twenty-three pages long. 


If you have any plan for teaching that can bring such 
results in that length of time—then you do not need the Dunning System. 


If you have 


Faculty of Normal Teachers—Classes Held in these Cities 


KATHARINE M. Arnotp, 93 Madison St., 
Tiffin, 

Auuige E. Barcus, 1006 College St., Ft. 
Worth, Tex. 

ExvizeETtTe R. Bartow, Box 1244, St. Peters- 
burg, Fla. 

CATHERINE C. Birp, 658 Collingwood Ave., 
Detroit, Mich, 

Grace A. Bryant, 201—10th Ave., N. Twin 
Falls, Idaho. 

Dora A. CuHase, 345 Clinton Ave., Brook- 
lyn, N. Y. 

Appa C. Eppy, 136 W. Sandusky Ave., 
Bellefontaine, O. 

Beatrice S. ErKet KIpp, 
Sherman, Tex. 

Ipa GARDNER, 17 E. 6th St., Tulsa, Okla. 

Giapys M. GLeNnnN, 1217 Bowie St., Am- 
arillo, Tex. 

FLORENCE E. GrRasLeE, Michigan State In- 
stitute of Music, Lansing, Mich. 


Key College, 


HarRRIET Bacon MacDonatp, 6010 Belmont 
Ave., Dallas, Tex. 

Kate DELL MARDEN, 61 N. 16th St., Port- 
land, Ore. 

Mrs. W. P. Mason, 302 Mid. City Bank 
Bldg., Chicago, [l. 

Laup G. Puipren, 3435. Ashbury Ave., 
Dallas, Tex. 

Exzuie I. Prince, 4106 Forest Hill Ave., 
Richmond, Va. 

VrrcGIiniA Ryan, 1070 Madison Ave., New 
York. 

SteLLta H. SEyMour, 1219 Garden St., San 


Antonio, Tex. 
508 W. Coal St., 


GERTRUDE THOMPSON, 
Albuquerque, N. M. 

IsopeL M. Tone, 626 Catalina St., Los An- 
geles, Calif. 

Mrs. H. R. Warkxins, 124 E. 11th St., 
Oklahoma City, Okla. 


Mrs. JEAN WARREN CARRICK 
(Normal Teacher) 


25 Lake Street, San Francisco 


276 


Classes formed upon Arrangement 








comes ‘Doctor Gradus ad Parnassum.”’ It is a picture of the boy’s 
music teacher. The lad evidently studied Clementi’s ‘“Gradus,’’ but 
Debussy’s sketch, while it starts pedagogically enough, has progressions 
and melodic hints that would have made Clementi’s blood run cold. 
‘‘Jimbo’s Lullaby’’ is an elephantine nurse-tune. The double basses 
suggest the soft-footed maternal elephant and the cradle is rocked to 
a Chinese-like melody. “The Serenade of the Doll” is of porcelain 
daintiness. ‘“The Snow Is Dancing’ is Debussyan naturalism. That is 
to say, it is naturalism with a daintily conceited edge. The snowflakes 
whirl; they make patterns in the air; they lead a measure which 
Pavlowa’s maidens might emulate. ‘“The Little Shepherd”’ is a pastoral 
idyll with the oboe for the ingenuous central character. Last comes 
‘The Golliwog’s Cake Walk”’ and, if you know just what a Golliwog is, 
it will help greatly to the understanding of the music. This we do 


know of him: he is capable of a ‘‘grande passion,”’ for Debussy makes 
him sing one of the great themes from ‘“Tristan.”’ 


Andante from Symphony No. 2 - - - Gustav Mahler 


The nine symphonies of Gustav Mahler are now generally 


VOJMIR ATTL 


Harpist 
San Francisco Symphony Orchestra 


Available for 


JOHN BUBEN Concerts, Ensemble Music and 


HARP INSTRUCTION 


Fur Artistry and Craftsmanship for STUDIO: Geet 
discriminating fur lovers. Furs re- 403-404 Marston Building ; 
styled as Jacquettes, or in the latest 244 Kearny St., San Francisco, Calif. 


Creations. => GEARY ST. chat SA onan rae 


Phone KEarny 5873 Ca 
Studio Phone Residence Phone 


Paris Office 
52 Rue du Faubourg—Montmartre DOuglas 3706 SKyline 2757 


Fur Fashion’s Creator 





277 











acknowledged as one of the greatest modern contributions to the art 
of music, but owing to the magnitude of their conception and treat- 
ment, these symphonies are events rather than the rule on American 
concert programmes. During the years between 1907 and 1911 
Mahler was one of the most prominent figures in New York’s musical 
life, he having acted as conductor of the Metropolitan Opera for the 
seasons of 1907-08 and 1908-09, and as conductor of the New York 
Philharmonic Orchestra during 1909-10 and 1910-11. His masterly 
performances both in opera and with the orchestra won for him general 
recognition and praise, although he was also the subject of much criti- 
cism, as must be expected with a man of his temperament and genius. 
He had ideals to work for and maintain, and to this end all else was 
overlooked; comfort, happiness and health. Early in 1911 he broke 
down and returned to Vienna, where he died a few months later. 


The Second Mahler Symphony, generally known as the ‘‘Resur- 
rection’ Symphony, was given here in its entirety with chorus, organ 
and soloists during the seasons of 1923-24 and 1924-25. Philip H. 
Goepp, in his distinctive manner, has described the second movement 


as follows: 


‘The second movement begins with a placid song of the strings, 


HAZEL DREIS 


FINE BOOKBINDINGS 


MUSIC BOOKS BINDING 
BOUND MENDED TAUGHT 


1367 Post Street, San Francisco 
WA Inut 7097 19 Studio Building 


ARRILLAGA MUSICAL COLLEGE 


Founded 1877 Incorporated 1911 
LARGEST IN THE WEST 


Pipe Organ—Choral—Orchestra—Stage Training 
Theory—V oice—Instruments—Evening Classes 


Superior Instruction—Low Terms 


2351 JACKSON STREET, SAN FRANCISCO Phone WALNUT 3742 





278 














as in 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 before the return of 
the second melody. The former tune of the ‘cellos here sings bravely 


in the violins.’’ 


‘“Ruralia Hungarica’”’ - - - - Ernst von Dohnanyi 


As is suggested by the title, this suite consists of five pieces based 


on Hungarian folk-tunes. 


I. The first piece begins in pastoral vein, a triplet phrase in the 
oboe, and a melody in the solo viola. The clarinet next sings the 
phrase. The instrumentation is very dainty throughout. ‘Cellos then 
take up the phrase. After a rising passage in strings and woodwinds, 
the melody appears in more impassioned song in the strings. When 
this has been permitted to die away, another section ensues, in E major, 


The 


Margaret Mary Morgan Co. 


PRINTERS 
Engraving ~ Publishing 


MARGARET 


TILLY 


PIANIST 
Will be on the Pacific Coast during 
the entire season, 1928-1929 


Concert Management 


ELWYN CONCERT BUREAU 
PHELAN BUILDING 


Studio: 
450 GRANT AVENUE 


619 California Street Telephone KEarny 8289 
SAN FRANCISCO 


DAvenport 0450 





279 








! 








3-4 time. The clarinet chants a soft refrain, while divided and muted 
strings and harp accompany. The melody flows among the various 
woodwinds. A solo viola joins the chorus. The mood is lyrical 
throughout. The violins desert their role of accompaniment and sing 
passionately. Shortly there is a return to the original minor and rubato 
“Stimmung,””’ after a more rhapsodical and freer introduction. The 
middle section also returns, but now in the minor. The movement 
dies away. 


II. In most violent contrast is the second piece. Strings and 
woodwinds, with rhythmic interjections of the brass, dance a powerful 
and decidedly Hungarian measure, rude and rough. After a number 
of repetitions a milder and more pastoral and folk-like section ensues, 
in which clarinet and then oboes tell a sly tale to the accompaniment 
of a persistent figure pizzicato in the violins. This rises in power, until 
trombones and bassoons shout it, while flutes shriek above. The initial 
subject returns, in even more agitated form, until a turbulent end is 
reached. 


Ill. Allegro grazioso, the very daintiest and most piquant of 


movements,—delicate snatches of folk-tunes flying about from one 
section of the orchestra to another. Frequent and rapid changes of 


JANET ROWAN HALE 


Pianist and Teacher 


Studio 902 
26 O'Farrell Street Berkeley and Piedmont 
Phone DAvenport 5486 Phone OAkland 8663 


30 years violin. specialist in St. Louis and Chicago Expert Repairing 


S. O. ALLISON 
VIOLIN MAKER, CONNOISSEUR AND APPRAISER 


Agent for Andres Morellis hand-made Violins, Violas, ’Cellos, Basses 
Artist Bows by G. A. Pfritzschner 
and other celebrated Bow Makers 
45 GEARY STREET 
Dealer in New and Old Violins, San Francisco, Cal. 
"Cellos and Bows Formerly |. A. Lutz 
Strings and Accessories DAvenport 0415 


230 








snstrumental combinations. Surely the fairies of Hungary dance this 


on some greensward under the full moon. 


IV. Adagio non troppo, an elegiac movement,—the melody in 
English horn, bass clarinet, and horns, over a drone bass in divided 
double-basses. The melody has a ritornello soft and strange chords 
in divided strings and harp. This continues for some time, like some 
legend of long ago, until an agitated section begins. A pregnant 
phrase, which the clarinet announces, is given to different instruments, 
and then leads to a broad Hungarian melody in the violins. This alter- 
nates with the phrase announced by the clarinet, undergoing frequent 
modulations. One of the most beautiful parts is a song in violins, solo 
‘cello, and horn. A brief transition leads back to the initial mourn- 
ful melody,—now in the strings, with a soft-running obligato by 
woodwinds. The ritornello is much ornamented. The end is on the 
descending fifths of the ritornello, dying, dying, dying. 


V. The last piece of the suite is a kind of Hungarian Tarantella, 
a swift and furious dance, first shifting from strings to woodwinds, and 
then a sparkling run in the clarinet. A contrasting section sets rapidly 
bowed arpeggios in the violins against rhythmic interjections of wood- 
winds and horns. Then the horns themselves stutter out a heavy- 
footed dance. A transition brings us back to the initial rhythm, but 
with altered harmonization. The pace becomes ever more rapid, cul- 
minating in an upward run of the woodwinds, and ending upon a 
staccato chord for full orchestra. 


Concerto for Violin and Orchestra, in G minor - - Max 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 













Julian Brodetsky 


ASSISTANT CONCERT MASTER 
SAN FRANCISCO SYMPHONY ORCHESTRA 


Violin Instruction 





Studio 
Phone SKyline 4855 189 Commonwealth Avenue 





281 

















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 accompani- 
ment. 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 melo- 
dies of the nineteenth century. This melody prevails throughout the 
entire movement, the other themes being employed essentially as con- 
trasts. The final movement, after a brief orchestral prelude, intro- 
duced 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. 


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 


MEMBE.R ASSOCIATED SAVINGS BANKS OF SAN FRANCISCO 
526 California Street, San Francisco, Cal. 


December 31st, 1928 
$123,780,369.02 


Capital, Reserve and Contingent Funds 5,150,000.00 
Pension Fund over $635,000.00, 

standing on Books at 1.00 
Pa EoLCONG ESICAINO CED yo ws gcc rien nhs aie Vee eben: Mission and 21st Streets 
PARK-PRESIDIO 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 


282 








{ersonnel 


The San Franciseo Sumphony Orchestra 


FIRST VIOLINS 


Piastro, Mishel 
Concert Master 


Fenster, Lajos 


Assistant Concert Master 


Brodetsky, Julien 


Assistant Concert Master 


Meriz, Emilio 

Ford, Louis W. 
Jensen, Thorstein 
Gordohn, Robert 
Mendelevitch, Rodion 
Laraia, William F. 
Mortensen, Modesta 
Koenig, Hans 

See, Orley 

Pasmore, Mary 
Atkinson, Helen E. 
Wolski, William 


Ruiz, Ricardo 


SECOND VIOLINS 


Heyes, Eugene 
Principal 


Rosset, Emil 
Amsterdam, Max 
Callinan, W. G. 
Paterson, J. A. 
Gold, Julius 


Haug, Julius 


Gough, Walter 
Firestone, Nathan 
Simonsen, Frances 
Wegman, William 
Tolpegin, Victor 
Hoffman, Henry H. 
Dabelow, William 


VIOLAS 

Verney, Romain 

Principal 
Hahl, Emil 
Baker, F. A. 
Wismer, Hother 
Weiler, Eric 
Lichtenstein, Victor 
Dierich, Franz 
Triebel, August 
Kolb, Richard 
Lewis, Arthur 


’CELLOS 


Penha, Michel 
Principal 


Dehe, Willem 

King, Otto 
Villalpando, Wenceslao 
Kirs, Rudolph 
Pasmore, Dorothy 
Reinberg, Herman 
Gough, Flori 

Hranek, Carl 

Haight, Rebecca 


BASSES 


Previati, Louis J. 
Principal 


Bell, Walter 
Storch, A. E. 
Guterson, Aaron 
Schulz, Emil 
Schmidt, Robert E. 
Frederick, Oscar 
Schipilliti, John 


FLUTES 
Linden, Anthony 


Oesterreicher, Walter 
Orchestral Manager 


Benkman, Herbert 


PICCOLO 


Benkman, Herbert 


OBOES 
Addimando, Caesar 
Shanis, Julius 
Schipilliti, Vincent 


ENGLISH HORN 
Schipilliti, Vincent 


CLARINETS 
Randall, Harold B. 
Zannini, Nicolai 
Fragale, Frank 
Triebel, August 

BASS CLARINET 


Fragale, Frank 


283 


ALFRED HERTZ, CONDUCTOR 


BASSOONS 
Kubitschek, Ernest 
La Haye, E. B. 
Hranek, Carl 


CONTRA BASSOON 
Kolb, Richard 


HORNS 
Hornig, Walter 
Roth, Paul 
Tryner, C. E. 
Rocco, R. 


Trutner, Herman 


TRUMPETS 
Drucker, Vladimir 
Barton, Leland S. 
Savant, Silvio 
Kegel, Otto 
Kress, V. 


TROMBONES 


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


TUBA 
Murray, Ralph 


HARP 


Attl, Kajetan 
Attl, Vojmir 


TYMPANI 
Wagner, Roland E. 


PERCUSSION 


Vendt, Albert, Jr. 
Salinger, M. A. 
Kundy, E. 


PIANO AND CELESTA 


Tibbitts, J. P. 


LIBRARIAN 
Kegel, Otto 














i [ AM using the eSteinway piano 
now for many years and am 
enjoying its superior qualities so 

es ck much that I cannot 


imagine how I ever could 





get along without one. 
It is like a good friend of 4 
whom you get fonder ge 


mie uate 
the more you know “Tt 
him.”’ | | 


The home of the Steinway ts 


Sherman tay & Co. 


Kearny and Sutter Streets, San Francisco 
Mission Street, near Twenty-first 
Fillmore Street, near Post 
Fourteenth and Clay Streets, Oakland 
3420 E. 14th Street, Fruitvale 
Telegraph and Channing Way, Berkeley 
1315 Burlingame Avenue, Burlingame 





UNIVERSITY OF CALIFORNIA 

Committee on Music and Drama 
| 
| 


San Francisco Symphony Orchestra 
ALFRED HERTZ, Conductor 


SECOND BERKELEY CONCERT 


Spring Series, 1929 


HARMON GYMNASIUM 
SUNDAY, FEBRUARY 17, 1929, AT 3 P.M. 


| 
PROGRAMME | 

1. *Overture to ‘‘A Midsummer Night’s Dream’’...........--........ Mendelssohn | 
| 

AeA +> pee es OR 198 0. TUE EEO ee ls has TS Sos ae Bs ee Mozart | 


Adagio—Allegro d4 ok | 
Andante con moto | 
Minuetto: Allegretto | 
Finale: Allegro 


INTERMISSION | 
3. Suite, ‘‘Through the Looking Glass’’......... OCR Varied Deems Taylor | 
Dedication— | 
The Garden of Live Flowers 
Jabberwocky 


Looking Glass Insects 


* This number has been recorded for the Victor by the San Francisco Symphony 


( 
4. Tone Poem, ‘‘Death and Transfiguration’ ’...................... Richard Strauss 
Orchestra under the direction of Alfred Hertz. 

| 














Overture to ‘‘A Midsummer Night’s Dream’’... Mendelssohn 


When Mendelssohn was about eighteen years of age, he read Shake- 
speare’s ‘‘A Midsummer Night’s Dream,’’ from which he received the 
inspiration to write an overture for the play. Although he had been a 
prolific composer since he was twelve, this overture marked his definite 
arrival at artistic maturity. 


The overture opens with four prolonged chords for the woodwinds, 
followed immediately by the dainty ‘‘fairy music,’’ which constitutes the 
principal theme—announced by the divided violins, the violas contributing 
occasional pizzicato tones. After a prolonged development of this theme 
and its tributary material, the melodious second theme appears, being 
announced by the woodwinds and then taken up by the strings and gradu- 
ally expanding into broader instrumentation. As the movement proceeds 
several picturesque features come into notice—the ‘‘Bergomask Dance’’ 
from the fifth act of the play, the comical braying of the donkey, and a 
figure which Mendelssohn called his ‘‘Schoenhauser fly’’—a rapidly 
descending scale-passage for the ’ecellos (each tone quickly repeated), 
suggested by the buzzing of a large fly in the Schoenhauser garden. The 
development proper—drawn mainly from the first theme—is followed by 
the orthodox recapitulation of the first part, and, after a short coda, the 
overture closes with four sustained chords like those with which it began. 


Rey REDE. 10 Be SUG: RIO se Soe cw creeertat ae ae Mozart 


When only eight years old and temporarily residing in London, Mozart, 
in 1764, wrote his first symphony; and in the short span of his productive 
life he added. forty-two others to this first essay. The greatest of these 
symphonies were written within three months during the summer of 1788, 
just three years before his untimely death at the age of thirty-five; they 
comprise, besides the one chosen for performance this afternoon, the 
Symphony in G minor, and the ‘‘ Jupiter’? Symphony in C major. The 
Symphony in EH flat was written at a time when he was in sore financial 
straits, and yet breathes the very spirit of joy and gaiety throughout, 
except in the slow movement. 


9? 


The E flat symphony, which is appropriately called the ‘‘Swan Song, 
opens with a stately introduction followed by the first movement proper. 
The second movement is in A flat major and begins with a beautiful theme 
in the violins. The third movement, Menuetto, is not only one of the best 
known compositions in this class, but it is also one of Mozart’s most 
beautiful and celebrated compositions, having been made familiar and 
popular through the piano arrangement of Jules Schulhoff. The last move- 
ment is a sprightly, brilliant Rondo, full of humor and “‘irresistibly 
exhilarating.’’ 


Suite, ‘‘Through the Looking Glass’’.......--- ee... Deems Taylor 


‘‘Through the Looking Glass’’ was originally written for flute, oboe, 
clarinet, bassoon, horn, piano, and strings, and in that form was produced 





by the New York Chamber Music Society in 1919. Late in 1921 Mr. Taylor 
began a revision of the work for full orchestra, and in this form it appeared 
in 1923. 


The opening passage echoes the charming little poem in which the book 
is dedicated to the ‘‘child of the pure, unclouded brow.’’ A series of 
pianissimo chords leads over to ‘‘The Garden of Live Flowers,’’ the music 
reflecting the brisk chatter of the gay denizens of the garden, who could 
‘‘talk as well as you can, and a great deal louder.’’ The second part is 
based on the heroic ballad of ‘‘Jabberwocky.’’ The theme of that frightful 
beast, the Jabberwock, is first announced by the full orchestra. Then the 
clarinet begins the story: the ‘‘brillig’’ afternoon when ‘‘the slithy toves 
did gyre and gimble in the wabe’’; the hero taking ‘‘his vorpal sword in 
hand’’; the mighty battle with the monster, and the latter’s death (in the 
solo bassoon) ; shouts of victory, ‘‘O frabjous day! Callooh! Callay!’’ At 
the end the ‘‘slithy toves’’ once again perform their pleasing evolutions. 
The next section is entitled ‘‘Looking Glass Insects,’’ and mirrors such 
amazing diptera as the bee-elephant, the rocking-horse-fiy, the snap-dragon- 
fly and the bread-and-butter-fly. ‘‘There are several themes,’’ says Mr. 
Taylor, ‘‘but there is no use trying to decide which insect any one of them 
stands for.”’ 


Tone Poem, ‘‘Death and Transfiguration’’.... =. Richard Strauss 


‘Death and Transfiguration’’ is still the most popular of the Strauss 
tone-poems, and is generally regarded as the most satisfactory from the 
structural and emotional viewpoint. It tells of the last hours of a man 
in the delirium of a mortal sickness, of his struggles with approaching 
death, of his dreams of his past life, of his final gasp, and of his trans- 
figuration in heaven. Strauss gives, as a key to his work, the poem of his 
friend, Alexander Ritter, which was written after the music and under its 
inspiration. Philip Hale has analyzed the musical content of the work as 
follows, dividing it into sections: 

I. The chief Death motive is a syncopated figure, pianissimo, given to 
the second violins and the violas. A sad smile steals over the sick man’s 
face (woodwind accompanied by horns and harps), and he thinks of his 
youth (a simple melody, the Childhood motive, announced by the oboe). 
These three motives establish the mood of the introduction. 

II. Death attacks the sick man. There are harsh double blows in quick 
succession. What Mauke characterizes as the Fever motive begins in the 
basses, and wildly dissonant chords shriek at the end of the climbing 
motive. There is a mighty crescendo, the chief Death motive is heard, the 
struggle begins (full orchestra, fff). There is a second chromatic and 
feverish motive, which appears first in sixteenths, and is bound to a con- 
trasting and ascending theme that recalls the motive of the struggle. The 
second feverish theme goes canonically through the instrumental groups. 
The sick man sinks exhausted (ritenutos). Trombones, ’cellos, and violas 
intone even now the beginning of the Transfiguration theme, just as Death 
is about to triumph. ‘‘And again all is still!’’ The mysterious Death 
motive knocks. 


III. And now the dying man dreams dreams and sees visions. The 
Childhood motive returns (G major) in freer form. There is again the 








joy of youth (oboes, harp), and bound to this is the motive of Hope that 
made him smile before the struggle (solo viola). The fight of manhood 
with the world’s prizes is waged again (full orchestra, fortissimo), waged 
fiercely. ‘‘Halt!’’ thunders in his ears, and trombones and kettledrums 
sound the dread and strangely rhythmed motive of Death (drums beaten 
with wooden drumsticks). There is contrapuntal elaboration of the Life- 
struggle and Childhood motives; the Transfiguration motive is heard in 
broader form. The chief Death motive and the feverish attack again 
become dominating features, with storm and fury of orchestra, and a wild 
series of ascending fifths, until gong and harp knell the soul’s departure. 


IV. The Transfiguration theme is heard from the horns; strings repeat 
the Childhood motive, and a crescendo leads to the full development of the 
Transfiguration theme. ‘‘ World deliverance, world transfiguration.’’ 


ANNOUNCEMENT 


THIRD CONCERT 
SUNDAY AFTERNOON, MARCH 17, 1929 


PROGRAMME 
1. Symphony No. 7.......... Re aU Ay ob oa) aml ae ch Se eee eh ee cae MED | Glazounow 
i APEC. «SGT WON ITO: CRUE hoo eh) ie ae (oa Res ete Berlioz 
oe ease PULP AER ED UUM ER flo eet ae Ne ae, __Dohnanyi 


ere UTEP AY OC ECPONNIEE eee tk Te ee ee Pe head i ea dts, Wagner 














Sar L2G [ROASESE. — 0 


SAN FR “FRANCISCO 
SYMPHO ONY == 
- ORCHESTRA 


CIS 
Marntamer by 
















oa 


So Tee MUSIC Geli CL 
Assoctation of | 
oan Francisco 





bd fee 


NINTH PAIR 


1928 1929 
Eighteenth Season 


FRED qi dle rZ CONDUCTOR 


an 
=] 
| 











EIGHTH POPULAR CONCERT 


Saturday, March 2, 8:20 P. M. 
DREAMLAND AUDITORIUM 


MISHEL PIASTRO, Conducting 











Soloists : 

PHYLLIDA ASHLEY HELEN ATKINSON 
AILEEN FEALY MARY PASMORE 
Pianists Violinists 
PROGRAMME 
i Overture, ?- Fingal's Cava sae em ety eo) Mendelssohn 
2. Variations on a Theme of Tschaikowsky................ Arensky 
jo pteladeé and iAtlegro..o2 it he Pugnani-Kreisler 
4. A Night on the Bald Mountain....................... Moussoresky 
5. Concerto for Two Violins, D minor.............................. Bach 
HELEN ATKINSON—MARY PASMORE 
6. Concerto for Two Pianos, E flat major.................... Mozart 
PHYLLIDA ASHLEY—AILEEN FEALY 
TENTH PAIR OF SYMPHONY CONCERTS 
Thursday, March 7, 8:20 P. M. 
DREAMLAND AUDITORIUM 
Friday, March 8, 3:00 P. M. 

CURRAN THEATRE 
RUDOLPH GANZ 
Guest Conductor and Soloist 
PROGRAMME 
L Overtire: Leonore, Nov ai ee Beethoven 
2. symphony in G major; No. 132.2: co ke) Haydn 
Dt Weert Ee eines) el, eo ea eae ea Penetrella 
PER ce Pa eee tes Cte Fes Sal aad | Shae aN Coe cone E Debussy 
5: “Concerto-tor Fiano, aA maior... ee Liszt 





Symphony Box Office, Sherman, Clay & Co.; hours, 9 to 5. Tickets 
may also be obtained at other Sherman, Clay & Co. bay city stores. 
Friday tickets on sale et Curran Theatre after 10 a. m. on day of con- 
cert. Box office at Dreamland Auditorium open at 7 p. m. on concert 
days. 


et te, amen we 








Musical Association of San Francisco 


Founded December 20, 1909 Incorporated February 3, 1910 


OFFICERS 
J. B. Levison, President 
W. C. VAN ANTWERP, Vice-President 
WALTER S. MARTIN, Treasurer 
Mrs. IRWIN CrockER, Honorary Vice-President 
Mrs. E. S. HELLER, Honorary Vice-President 
A. W. WIDENHAM, Secretary-Manager 


BOARD OF GOVERNORS 


R. I. Bentley John S$. Drum John A. McGregor 
Miss Lena Blanding Sidney M. Ehrman John D. McKee 
Miss Louise A. Boyd Milton H. Esberg R. C. Newell 
George T. Cameron Mortimer Fleishhacker F. R. Sherman 

Selah Chamberlain F. J. Koster B. F. Schlesinger 
Mrs. Irwin Crocker J. B. Levison Mrs. M. C. Sloss 
William H. Crocker Walter S. Martin Mrs. Sigmund Stern 
E. R. Dimond Clay Miller | W.C. Van Antwerp 
A. B. C. Dohrmann L. F. Monteagle Eli H. Wiel 


Mrs. M. S. Koshland, ex-officio 


EXECUTIVE COMMITTEE 


W.C. VAN ANTWERP, Chairman 
Mrs. Irwin Crocker A. B. C. Dohrmann Walter S. Martin 
Mortimer Fleishhacker John D. McKee 


MUSIC COMMITTEE 


R. C. NEWELL, Chairman 
Mrs. M. C. Sloss F. R. Sherman 


ae le a 


WOMEN’S AUXILIARY 


Mrs. M. S. KoSHLAND, Chairman 
Miss LENA BLANDING, Vice-Chairman Mrs. M. C. Porter, Vice-Chairman 


EXECUTIVE OFFICES 
Fifth Floor, 244 Kearny Street 
Telephone GArfield 2819 


| A. W. WIDENHAM, Secretary-Manager 
: HOWARD G. HANVEY, Press Representative 


> 291 











ees 
SCHUMANN 


GLORY OF THE ROMANTIC SCHOOL 
¢ 


Robert Alexander Schumann is the latest of the great masters to be 
represented in 


Columbia 


MASTERWORKS : 
Album Sets 


One of the most virile productions of his unique genius is his series of 





SYMPHONIC STUDIES, Op. 13 for Piano 


This is combined in Columbia Masterworks Set No. 102 with the 


PIANO SONATA in G Minor, Op. 22 


the two works superbly played by the favorite American Pianist, 
Percy Grainger. 
Other recent Columbia Masterworks issues are: 


DEBUSSY QUARTET IN GRIEG CONCERTO IN A 


G MINor, Op. MINOR, Op. 16; for 
10. By Lener String Quartet, of Budapest. Pianoforte and Orchestra. By Ignaz 
This is one of Columbia’s greatest Friedman, with Orchestra Conducted by 
Masterworks issues. In Seven Parts, Philippe Gaubert. In Eight Parts, on 
on Four Twelve-Inch records, with Four Twelve-Inch Records, with Al- 
Album, $6.00. bum, $6.00. 


THE COLUMBIA PHONOGRAPH COMPANY 


941 Mission Street, San Francisco, Calif. 


“Magic Notes” 





COLUMBIA 


‘““NEW PROCESS” RECORDS 


Reg. U. S. Pat. Off. 
Viva-tonal Recording—The Records without Scratch 


Meee srereer ese reeeeeeeeeeeeeeeeeeeeeeEEEEE 


























The San Francisco Sumphony Orchestra 


ALFRED HERTZ, Conductor 
(Steinway Piano Used) 


1928—Season—1929 


NINTH PAIR OF SYMPHONY CONCERTS 
767th and 768th Concerts 


Friday Afternoon, February 22, 3:00 o’clock 
CURRAN THEATRE 


Saturday Evening, February 23, 8:20 o’clock 
DREAMLAND AUDITORIUM 


Soloist: ALEXANDER BRAILOWSKY, Pianist 


PROGRAMME 
Pe OT ING og EE ea tkgp cetewaly nartneesnn tases Glazounow 





Allegro moderato 
Andante 
Scherzo: Allegro giocoso 


Finale: Allegro maestoso 


2. Tone Poem, ‘‘Death and Transfiguration’’....Richard Strauss 
Intermission 


2) © Plane Concerto, New aty ke DMDOM ein 25g Saint-Saens 
Allegro moderato— 
Andante 
Allegro vivace 


ALEXANDER BRAILOWSKY 


(The Piano is a Steinway) 





Brailowsky Recital, Monday Evening, February 25, Scottish Rite Hall 


293 





SAN FRANCISCO ; : : 
CONSERVATORY Victor Lichtenstein 


OF MUSIC 


Instruction 


ERNEST BLOCH, Director .. Cee 
Ada Clement and ‘ io % in the 


Lillian Hodghead 
Associate Directors 4 . CArt 


THIRD CONCERT , ™! ie of 
id wu Violin 
ROBERT POLLAK x 
Mp, Playing 


Assisted by 
The Students’ String Orchestra 


Conductor, ERNEST BLOCH : . ‘ 
Pianist. ADA CLEMENT Eight of Mr. Lichtenstein’s 
pupils became members of 


Friday evening, March 8th, 1929 J 
at 8:30 o'clock the St. Louis Symphony 


SOROSIS HALL 


Admission - - $1.00 
Students - Half Price 
Tickets on sale at Sherman, Clay & Co. 
and S. F. Conservatory of Music 


Orchestra. 


Strup10: 3145 WASHINGTON STREET 


Telephones: FI \lmore 6146 
FI Ilmore 4948 


YOUNG PEOPLE’S SYMPHONY 
CONCERTS 


San Francisco Symphony Orchestra 
WHEELER BECKETT, conducting 


CURRAN THEATRE 


FOURTH CONCERT 
Friday, March 1, 4:00 P. M. 


PROGRAMME 
Song, “‘Sweet and Low’’; Overture to ““The Flying Dutchman,’ 
Wagner; Menuet from E flat Symphony, Mozart; 
Children’s Corner, Debussy; Finale from the 
‘*Farewell’’ Symphony, Haydn. 


Tickets at Sherman Clay & Co., 65c, $1.00, $1.25 
ALICE METCALF 


Executive Manager 
Hotel Mark Hopkins 


San Francisco 





294 








I 


Symphony No. 7, Opus 77, in F - - . - : 
- - - = Alexander Constantinovich Glazounow 


(Born July 29, 1865, at Petrograd) 


Glazounow’s first essay in the composition of a symphony was 
made under the superintendence of Rimsky-Korsakow, to whom he 
brought in 1881 a sketch for his first symphony—a work which was 
completed early in the following year and performed at a concert of 
the Free School of Music, Petrograd, under the direction of Balakirew, 
March 17, 1882. In his Memoirs Rimsky-Korsakow relates that con- 


siderable astonishment was evinced by the audience when in response 
to great applause at the conclusion of the work a boy of sixteen, 
dressed in the uniform of a student, stepped on the stage to bow his 
acknowledgments to it. So great was the maturity disclosed in this 
first symphony that it was freely hinted that Rimsky-Korsakow was in 
reality the creator of it. The reputation of the youthful composer 
spread rapidly, and Liszt, learning of Glazounow’s uncommon gifts, 
produced the symphony at Weimar in 1884. 


As an insight into Glazounow’s symphonic works the following 
is quoted from M. Montague Nathan’s “Contemporary Russian 
Composers’: 


“As a symphonic writer Glazounow has gradually drawn away 
from the use of external aids and has relied more and more on inherent 
beauty. Beginning with ‘Stenka Razine’—the work of a man who was 


Established 1852 





QUALITY 
PRESTIGE 
SERVICE 


SHREVE & COMPANY 


Fewelers and Silversmiths 


Post Street at Grant Avenue 
San Francisco 





295 








iF 
t 
t 
f 
} 





VIOLINIST OF 


H 
STRING QUARTE 


diy 
Ki 
Announces 


THE OPENING OF A STUDIO FOR 


INSTRUCTION 
IN VIOLIN AND 
ENSEMBLE 


INTERVIEWS BY APPOINTMENT 
TELEPHONE OR WRITE 


« 


“Management 


ALICE SECKELS 


FAIRMONT HOTEL 
DO uglas 7267-8800 


Louis Ford 


Concert 


V iolinist 


TEACHER 


Available for Solo, Sonata, Trio and 
Quartet engagements. 


Eighteen years in Chamber Music: 
San Francisco Quintet Club, Chamber 
Music Society of San Francisco, Per- 
singer String Quartet. 


Twelve years first violinist with San 
Francisco Symphony Orchestra; Assis- 
tant Concert Master for Season 1917 to 
1925. 


PUPILS ACCEPTED 
Coaching in ensemble playing. 
Assistant teacher for beginners under 

my personal supervision. 


1610 Plymouth Ave. Phone DE laware 0201 


Bunning System of Improved Music Study 
CARRIE LOUISE DUNNING, Originator 


8 West 40th Street, New York City 
834 South Plymouth Boulevard, Los Angeles, Calif. 


HE Greatest Musical Event in New York City in the past several decades was the 
playing of a ten-year-old Dunning pupil with the New York Philharmonic Orchestra, 
March 20th, 1926. The child had only studied one year and eight months. She 
played Le Carnaval des Animaux, by Saint-Saens. The piece is twenty-three pages long. 
She memorized it in three weeks. If you have any plan for teaching that can bring such 
results in that length of time—then you do not need the Dunning System. If you have 


not, then you do. 


Faculty of Normal Teachers—Classes Held in these Cities 


KATHARINE M. ARNOLD, 93 Madison St., 
Tiffin, O. 

Auure E. Barcus, 1006 College St., Ft. 
Worth, Tex. 

EvizeTtTe R. Bartow, Box 1244, St. Peters- 
burg, Fla. 

CATHERINE C. Brrp, 658 Collingwood Ave., 
Detroit, Mich. 

Grace A, BRYANT, 201—10th Ave., N. Twin 
Falls, Idaho. 

Dora A. CuHase, 345 Clinton Ave., Brook- 
fyn; Ne. XY. 

Appa C. Eppy, 136 W. Sandusky Ave., 
Bellefontaine, O. 

Beatrice S. Erker Kipp, Key College, 
Sherman, Tex. 

Ipa GarRpDNER, 17 E. 6th St., Tulsa, Okla. 

Grapys M. GLENN, 1217 Bowie St., Am- 
arillo, Tex. 

FLoRENCE E. GrasLe, Michigan State In- 
stitute of Music, Lansing, Mich. 


HarriET Bacon MacDonatp, 6010 Belmont 
Ave., Dallas, Tex. 

Kate DELL MarDeEN, 61 N. 16th St., Port- 
land, Ore. 

Mrs. W. P. Mason, 302 Mid. City Bank 
Bldg., Chicago, III. 

Laup G. Puipren, 3435 Ashbury Ave., 
Dallas, Tex. 

Evutie I. Prince, 4106 Forest Hill Ave., 
Richmond, Va. 

VIRGINIA Ryan, 1070 Madison Ave., New 
York. 

SteLtta H. SeEyMour, 1219 Garden St., San 
Antonio, Tex. 

GERTRUDE eagle hae 508. W. Coal St., 
Albuquerque, N. 

IsopeL M. Tone, 626 Camting St., Los An- 
geles, Calif. 

Mrs. H. R. Watkins, 124 E. 11th St., 
Oklahoma City, Okla. 


Mrs. JEAN WARREN CARRICK 
(Normal Teacher) 


25 Lake Street, San Francisco 


296 


Classes formed upon Arrangement 








reckoned, at the time of its composition, a powerful recruit to the 
nationalistic coterie—he has progressed to the eighth symphony, which 
has earned him the title of ‘a contemporary classic master. As a 
half-way house in this process of evolution the fourth symphony, in 
E flat major, repays examination. In this we see the composer hesi- 
tating about his road. It contains reflections of the influence of 
Borodin in the Oriental theme of the Andante, of Liszt in its construc- 
tion, its disregard of the four-movement form and the transformation 
of thematic substance, and of the west in the first subject of the Allegro 
moderato—a theme which is heard in several later works in a variety 
of guises, which do not, however, conceal its identity, notably in the 
concerto for violin. 

‘At this stage the composer has already traveled far; on the 
road still before him he is to purify the elements of his creative sub- 
stance and to divest it of everything which is not essentially musical. 
‘He has abandoned,’ says Rimsky-Korsakow in his Memoirs, ‘the thick- 
ets of “‘The Forest,’’ the depths of “The Sea’’ and the walls of “The 
Kremlin’ ’; in the last named the musical reflection of the program, 
indicated by headings, has become quite faint; the romanticism of the 
Andante of the fifth symphony, of ‘Raymonda,’ of the sixth symphony 
and the ‘Middle Ages’ suite is not in the vein of the contemporary 
descriptive composers. Glazounow has already gone far towards 





VOJMIR ATTL 


Harpist 
San Francisco Symphony Orchestra 
Available for 


JOHN BUBEN Concerts, Ensemble Music and 
RP INSTRUCTION 
Fur Fashion’s Creator HA NSTR I 


Fur Artistry and Craftsmanship for STUDIO: AY 
discriminating fur lovers. Furs re- 403-404 Marston Building 
styled as Jacquettes, or in the latest 244 Kearny St., San Francisco, Calif. 
Creations. 57 GEARY ST For Appointment 
Phone KEarny 5873 Call 
i Studio Phone Residence Phone 
Paris Office DOuglas 3706 SKyline 2757 


52 Rue du Faubourg—Montmartre 





297 








if 
U 
if 
ri) 
A] 


Bim AS nk Tie wt Ese 


aS ae ee eee 


= ee 








purging himself, he is already nearing his promised land, wherein 
music is absolutely self-sufficing, in the seventh symphony. With the 
eighth he reaches his destination.” 


Tone Poem, ‘‘Death and Transfiguration”’ - - Richard Strauss 


“Death and Transfiguration” is still the most popular of the 
Strauss tone-poems, and is generally regarded as the most satisfactory 
from the structural and emotional viewpoint. It tells of the last hours 
of a man in the pangs of death, of his struggles with approaching 
death, of his dreams of his past life, of his final gasp, and of his trans- 
figuration in heaven. Strauss gives, as a key to his work, the poem 
of his friend, Alexander Ritter, which was written after the music and 
under its inspiration. Philip Hale has analyzed the musical content 
of the work as follows, dividing it into sections: 


I. The chief Death motive is a syncopated figure, pianissimo, given 
to the second violins and the violas. A sad smile steals over the sick 
man’s face (woodwind accompanied by horns and harps), and he 
thinks of his youth (a simple melody, the Childhood motive, an- 
nounced by the oboe). These three motives establish the mood of 
the introduction. 


II. Death attacks the sick man. There are harsh double blows 
in quick succession. What Mauke characterizes as the Fever motive 
begins in the basses, and wildly dissonant chords shriek at the end of 


HAZEL DREIS 


FINE BOOKBINDINGS 


MUSIC BOOKS BINDING 
BOUND MENDED TAUGHT 


1367 Post Street, San Francisco 
WA Inut 7097 19 Studio Building 





ARRILLAGA MUSICAL COLLEGE 


Founded 1877 Incorporated 1911 
LARGEST IN THE WEST 


Pipe Organ—Choral—Orchestra—Stage Training 
T heory—V oice—Instruments—Evening Classes 


Superior Instruction—Low Terms 


2351 JACKSON STREET, SAN Francisco Phone WALNUT 3742 





298 





the climbing motive. There is a mighty crescendo, the chief Death 
motive is heard, the struggle begins (full orchestra, fff). There is a 
second chromatic and feverish motive, which appears first in sixteenths, 
which is bound to a contrasting and ascending theme that recalls the 
motive of the struggle. The second feverish theme goes canonically 
through the instrumental groups. The sick man sinks exhausted 


(ritenutos). Trombones, ‘cellos, and violas intone even now the 
beginning of the Transfiguration theme, just as Death is about to 
triumph. ‘‘And again all is still!’ The mysterious Death motive 
knocks. 


Ill. And now the dying man dreams dreams and sees visions. 
The Childhood motive returns (G major) in freer form. There is again 
the joy of youth (oboes, harp, and bound to this is the motive of Hope 
that made him smile before the struggle, the motive now played by 
solo viola). The fight of manhood with the world’s prizes is waged 
again (full orchestra, fortissimo), waged fiercely. ‘“‘Halt!’” thunders 
in his ears, and trombones and kettledrums sound the dread and 
strangely rhythmed motive of Death (drums beaten with wooden 
drumsticks). There is contrapuntal elaboration of the Life-struggle 
and Childhood motives. The Transfiguration motive is heard in 
broader form. The chief Death motive and the feverish attack are 
again dominating features. Storm and fury of orchestra. There is a 
wild series of ascending fifths. Gong and harp knell the soul’s 
departure. 


IV. The Transfiguration theme is heard from the horns; strings 





The 
Margaret Mary Morgan Co. 
PRINTERS 
Engraving ~ Publishing 
MARGARET 
PIANIST 
Will be on the Pacific Coast during 
the entire season, 1928-1929 

Concert Management 

ELWYN CONCERT BUREAU 
DAvenport 0450 PHELAN BUILDING 
Studio: 
5 4 450 GRANT AVENUE 
619 California Street Telephone KEarny 8289 


SAN FRANCISCO 





299 














repeat the Childhood motive, and a crescendo leads to the full devel- 
opment of the Transfiguration theme. “World deliverance, world 
transfiguration. 


Concerto for Piano, No. 4, in C minor - - Camille Saint-Saens 


(Born October 9, 1835, at Paris; died December 16, 1921, at Algiers) 


Saint-Saens composed this, the fourth of his series of five con- 
certos for piano, in 1875. He was the interpreter of the solo part 
when it was produced October 31, 1875, at one of the Chatelet con- 
certs in Paris. The concerto was performed from manuscript, its 
publication not taking place until 1877. 


I. The concerto begins with a movement Allegro moderato, the 
material of which is given important development in later portions of 
the work. This is first stated by the first violins (pizzicato accompani- 
ment in the other strings), and is then taken up by the solo instrument. 
The theme alternates between the two media, the repetitions of it 
forming what might be described as variations. The section ends with 
a scale in the piano part, and proceeds without pause into the next 
division. 

Il. Andante. The solo instrument plays arpeggio passages, 
which serve as an embroidery to the soft harmonies intoned by the 
orchestra. A hymn-like subject appears in the woodwind, alternating 
with arpeggios in the piano. This is continued by the solo instrument, 


JANET ROWAN HALE 


Pianist and Teacher 


Studio 902 
26 O'Farrell Street Berkeley and Piedmont 


Phone DAvenport 5486 Phone OAkland 8663 


30 years violin specialist in St. Louis and Chicago Expert Repairing 


Ss. O. ALLISON 
VIOLIN MAKER, CONNOISSEUR AND APPRAISER 


Agent for Andres Morellis hand-made Violins, Violas, 'Cellos, Basses 
Artist Bows by G. A. Pfritzschner 
and other celebrated Bow Makers 
45 GEARY STREET 
Dealer in New and Old Violins, San Francisco, Cal. 
’Cellos and Bows Formerly I. A. Lutz 
Strings and Accessories DAvenport 0415 





300 
























JOSEPH 
LAMPKIN 


Violin Recital 


SUNDAY, 
FEBRUARY 24 
3 P. M. 


SCOTTISH: RITE HALL 


Marco HUGHES 
At the Piano 





Programme 
BEE as a eh ie eas ee RS AO IO en eee At Fee Me Vitali 
ROBIE IRC 19 SETTIOR soiacz diecast ect ea toe dea lcnan tee Se V ieuxtemps 
a er se St hae Pg EB esas Son te 9, ee ee a Bach 
Pe PRE TRIE bay EE so 2 Sad ca aha pen sk Aca dacaoosedesee tare tees Bach 
RCN wey eee be Le oer Ie A a eee V eracini 
Hig tee th ET at 0: ig ae ht SS RID Na Se? Zsolt 
1 ETOP. (S| Re 2 Bee oie AINE A Ang, eh ol ical De Re ee Vecsey 
8 | AR Sal eh ok | Ree ie athe te PED MES Proce ae Ie MiSs Area? 2 tuys Hubay 


Ea aa ail ee ob oa oe Bt 6 eal ac ACRE hin dd lena Males beh Dep es nh die, ney SFOS Paganini 





Tickets at Sherman, Clay & Co. 
Management, Alice Seckels 


Julian Brodetsky 


ASSISTANT CONCERT MASTER 
SAN FRANCISCO SYMPHONY ORCHESTRA 


Violin Instruction 


Studio 
Phone SKyline 4855 189 Commonwealth Avenue 











the remainder of the movement being a working out of this material. 


II. Following a chord, pizzicato in the strings, the piano puts 
forth a lively theme having the character of a scherzo. Later there 
appears in the strings a presentation of the subject which opened the 
concerto, in the violins, and quicker in tempo. Against this the piano 
plays a broken chord figure, the two hands in contrary motion. A 
new idea appears in the solo instrument (6-8 time), somewhat taran- 
telle-like in character. There is much development of this, after which 
the material of the first theme of the movement returns, together with 
that which had begun the concerto. There are broken chords in the 
piano over a roll on the kettledrum. The solo instrument ends with a 
scale, and a new section is announced. The theme with which this 
begins in the first violins has a relationship to a portion of the first 
Andante. This leads into the final division of the work in which a 
subject is stated in lively fashion by the horns and trumpets, with an 
accompaniment of trills in the strings and piano. The latter now brings 
forward the main theme (pizzicato accompaniment in the strings). A 
dotted figure appears later than this in the piano and orchestra. Epi- 
sodical material is given employment with that which has already been 
heard, but the occasional appearance of the first theme of the Allegro 
gives the section something of the character of a rondo. 


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 


MFEMBE.R ASSOCIATED SAVINGS BANKS OF SAN FRANCISCO 
526 California Street, San Francisco, Cal. 


December 31st, 1928 
$123,780,369.02 


Capital, Reserve and Contingent Funds 5,150,000.00 
Pension Fund over $635,000.00, 
standing on Books at 1.00 


DRE RCIDN ESCA INCI CAN «os ccshere iss Wh. tine date eas Mission and 21st Streets 
PARK-PRESIDIO 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 (4 ly) per cent per annum, 
COMPUTED MONTHLY and COMPOUNDED QUARTERLY, 
AND MAY BE WITHDRAWN QUARTERLY 





302 





JJersonnel 


Che San Hrancisea Sumphony Orchestra 


ALFRED HERTZ, CONDUCTOR 


FIRST VIOLINS 


Piastro, Mishel 
Concert Master 


Fenster, Lajos 
Assistant Concert Master 


Brodetsky, Julien 
Assistant Concert Master 


Meriz, Emilio 

Ford, Louis W. 
Jensen, Thorstein 
Gordohn, Robert 
Mendelevitch, Rodion 
Laraia, William F., 
Mortensen, Modesta 
Koenig, Hans 

See, Orley 

Pasmore, Mary 
Atkinson, Helen E. 
Wolski, William 


Ruiz, Ricardo 


SECOND VIOLINS 


Heyes, Eugene 
Principal 


Rosset, Emil 
Amsterdam, Max 
Callinan, W. G. 
Paterson, J. A. 
Gold, Julius 


Haug, Julius 


Gough, Walter 
Firestone, Nathan 
Simonsen, Frances 
Wegman, William 
Tolpegin, Victor 
Hoffman, Henry H. 
Dabelow, William 


VIOLAS 

Verney, Romain 

Principal 
Hahl, Emil 
Baker, F. A. 
Wismer, Hother 
Weiler, Eric 
Lichtenstein, Victor 
Dierich, Franz 
Triebel, August 
Kolb, Richard 
Lewis, Arthur 


’CELLOS 


Penha, Michel 
Principal 


Dehe, Willem 

King, Otto 
Villalpando, Wenceslao 
Kirs, Rudolph 
Pasmore, Dorothy 
Reinberg, Herman 
Gough, Flori 

Hranek, Carl 

Haight, Rebecca 


BASSES 


Previati, Louis J. 
Principal 


Bell, Walter 
Storch, A. E. 
Guterson, Aaron 
Schulz, Emil 
Schmidt, Robert E. 
Frederick, Oscar 
Schipilliti, John 


FLUTES 
Linden, Anthony 


Oesterreicher, Walter 
Orchestral Manager 


Benkman, Herbert 


PICCOLO 


Benkman, Herbert 


OBOES 
Addimando, Caesar 
Shanis, Julius 
Schipilliti, Vincent 


ENGLISH HORN 
Schipilliti, Vincent 


CLARINETS 
Randall, Harold B. 


Zannini, Nicolai 
Fragale, Frank 
Triebel, August 


BASS CLARINET 
Fragale, Frank 


303 


BASSOONS 
Kubitschek, Ernest 
La Haye, E. B. 
Hranek, Carl 


CONTRA BASSOON 
Kolb, Richard 


HORNS 
Hornig, Walter 
Roth, Paul 
Tryner, C. E. 
Rocco, R, 


Trutner, Herman 


TRUMPETS 
Drucker, Vladimir 
Barton, Leland S. 
Savant, Silvio 
Kegel, Otto 
Kress, V. 


TROMBONES 


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


TUBA 
Murray, Ralph 


HARP 


Attl, Kajetan 
Attl, Vojmir 


TYMPANI 
Wagner, Roland E. 


PERCUSSION 


Vendt, Albert, Jr. 
Salinger, M. A. 
Kundy, E. 


PIANO AND CELESTA 
Tibbitts, J. P. 


LIBRARIAN 
Kegel, Otto 





SFr a ULE a ERE Se 





ge 


© - 
wt @ 





1 | amusing the Steinway piano 


now for many years and am 


enjoying its superior qualities SO 


i ce much that I cannot 





¢ 


| imagine how I ever could 
get along without one. 


It is like a good friend of 






whom you get fonder 


——_ 


the more you know 


99 


him. 


The home of the Steinway 15 


Sherman tay & Co. 


Kearny and Sutter Streets, San Francisco 
Mission Street, near Twenty-first 
Fillmore Street, near Post 
Fourteenth and Clay Streets, Oakland 
3420 E. 14th Street, Fruitvale 
Telegraph and Channing Way, Berkeley 
1315 Burlingame Avenue, Burlingame 







































PROGRAMME 


Last MunicrpaL SyMPHONY CONCERT 
SEASON 1928-29 


San Francisco 
Symphony Orchestra 





ALFRED HERTZ, Conductor 


A. W. WIDENHAM, Manager 


SOLOIST 


MISCHA ELMAN, Violinist 


—_——_——_—__—_ 


EXPOSITION AULDITORIUM 
THurspAy Eveninc, Fesruary 28, 1929 


Auspices 
Mayor JAMES RoLpPH, JR., AND 
BOARD OF SUPERVISORS 


Direction Auditorium Committee 
JAMES B. McSHEEHY, Chairman 
FRANCK R. HAVENNER WARREN SHANNON 
Tuomas F. Boye, In Charge of Ticket Sales and Accounts 
JoHN H. TuHrever, Exchequer 





——__.SS_!_-—_§SOe5$§$-26-]>B>-(~B@X“V"—*—""”"0“08**.”—" OTTO 








‘Programme 


meupetore "ity OOPiICtNe <2. iets a Goldmark 


The overture “In Springtime” is the third one written by Goldmark, it having 
been preceded by the brilliant “Sakuntala” and the “Penthesilia” overtures. Upon 
its first performance, in 1889, there was wonder why Goldmark, with his love for 
mythology, his passion for Orientalism in music, should be concerned with the 
simple, inevitable phenomenon of spring, as though there were place in such an 
overture for lush harmonic progressions and georgeously sensuous orchestration. 
However, Goldmark disappointed these lifters of eyebrows and shakers of heads. 
The overture turned out to be fresh, joyous, occidental, without suggestion of so- 
journ in the East, without the thought of the temple. 


Andante from Symphony in C major eeeesseeeeeessessseeeeseeeeee Schubert 


As an insight into Schubert’s C major Symphony, the following from a review 
of Robert Schumann will serve better than an analytical description: “Often, when 
looking on Vienna from the mountain heights, I thought how many times the rest- 
less eye of Beethoven may have scanned that distant Alpine range, how dreamily 
Mozart may have watched the course of the Danube, which seems to thread its way 
through every grove and forest, and how often Father Haydn looked at the spire 
of St. Stephen and felt unsteady whilst gazing at such a dizzy height. Range in one 
compact frame the several pictures of the Danube, the cathedral towers, and the 
distant Alpine range, and steep all these images in the holy incense of Catholicism 
and you have an idea of Vienna herself; the exquisite landscape stands out in bold 
relief before us, and Fancy will sweep those strings which, but for her, would never 
have found an echo in our souls. In Schubert’s symphony, in the transparent, glow- 
ing, romantic life therein reflected, I see the city more clearly mirrored than ever, and 
understand more perfectly than ever before why such works are native to the scene 
around me.” 


TMC OCT MATA a eet Sibelius 


“Finlandia” was composed in 1894, and is supposed to record the “impressions 
of an exile’s return home after a long absence.” While the themes have a decided 
Finnish folk-song character, Sibelius himself has stated that they are absolutely his 
own. The work is a remarkable tone picture of the intense national spirit of this 
hardy race of the North. When first performed at Helsingsfors it is said to have 
aroused the audience to such a frenzy of enthusiasm that future performances were 
prohibited by the Russian government for fear of its creating anti-Russian demon- 
strations. 


BE repricrar sty. (Rep IN Ea aes cet re Liszt 


Among the multitude of Liszt's compositions are fifteen Hungarian Rhapsodies 
——all written originally for piano solo. Writing of the music of his people, one 
George Liechtenster, a native Hungarian, has said: “Perhaps there is no nation 
whose character is so vividly represented in their songs as that of the Magyar. The 
Hungarian proverb, ‘Mourning, the Magyar rejoices, is the thread which runs 
through all his songs. Adagio and Allegro con fuoco are continually changing 
places, like sorrow and joy in life.” 


INTERMISSION 











‘Programme 


Concerto for Violin, in E minor... Mendelssohn 


Allegro molto appassionato— 


Andante 


Allegretto non troppo—Allegro molto vivace 


MiscHa ELMAN 


Mendelssohn conceived this concerto in his mind in 1838, but it was six years 
later before he actually composed the work. The concerto is written in three con- 
nected movements, but is generally played with a pause between the second and third. 
The main theme of the first movement is given out by the violin after an introductory 
measure; the second theme appears after an extended development of the first one, 
pianissimo in the clarinet and flutes. There is a brilliant cadenza for the violin and 
the conclusion leads over without pause to the Andante. The main theme of the 
second movement is sung by the violin, the middle part of the movement being de- 
voted to the development of the second theme, a somewhat more agitated melody. 
The third part is a repetition of the first, but with a different accompaniment in the 
orchestra. The Finale opens with a short introduction: with the main body of the 
movement the pace quickens and the key shifts. The movement is in rondo form, 
the first theme being announced by the violin, the second by the orchestra, and the 
third by the violin. The concerto ends with a brilliant coda. 








Season Tickets for Next Year’s Series 


Holders of season tickets who wish to renew their seats for next year should 
write their name and address on the back of the stub provided for this purpose and 
hand to the doorman or leave at the Symphony Box Office, Sherman, Clay & Co., 
before March 15. Changes in location or requests for additional seats may be noted 
on the stub. To facilitate handling, two or more stubs should be placed in an en- 
velope together to insure proper assigning. 





ELMAN Recital, Next Mon. Eve., Mar. 4, Dreamland 





Symphony “Pop” Concert, Next Sat. Eve., Dreamland 


Soloists 


PHYLLIDA ASHLEY HELEN ATKINSON 
AILEEN FEALY MARY PASMORE 


Pianists Violinists 











INSTRUMENT. OF THE: IMMORTALS 





‘The STEINWAY 


Appeals unerringly to people 
who buy with care 


The consideration of the shrewd buyer is not so 
much price, as value received. He looks beyond 
the first cost into the question of upkeep, perma- 
nence, performance and pride of ownership. 

When such a buyer wishes to purchase a piano, 
he turns quite naturally to the Steinway. And 
no matter what his income, there is a Steinway 
price and model for his needs. 

Custom-designed Steinways are also being made. 
Ask us about this. 


Grands $1475 and Up 
Uprights $950 and Up 


Used Pianos Accepted in Partial Exchange 


Sherman, @lay & Co. 


Kearny and Sutter Streets, San Francisco 


Fourteenth and Clay Streets, Oakland 
illmore Street near Post 
1315 Burlingame Ave., Burlingame 
3420 East Fourteenth Street, Fruitvale 
Telegraph Avenue and Channing Way, Berkeley 


i. 


















NCISCO 
SYMPHONY 
ORCHESTRA 


\ 

Maines Marntamea by 
NG The Musical 4 ¢ 

i Association Of |i) pant 
San Francisco fll 






1928 1929 
Eighteenth Season 


ALFRED HERTZ CONDUCTOR 


aN ~v 








[SPRAIN ESICISES 


ee 



























EIGHTH POPULAR CONCERT 


Thursday, March 14, 8:20 P. M. 
DREAMLAND AUDITORIUM 


GEORGIO POLACCO, Guest Conductor 


PROGRAMME 


1. Symphony No. 3, ““Eroica’ ......-..--------------++0++10007- Beethoven 


BF ON TUITE oe oo ooh cana acninn~ anes bine totes pameas pas =seaghe oa 


TENTH PAIR OF SYMPHONY CONCERTS 


Thursday, March 7, 8:20 P. M. 
DREAMLAND AUDITORIUM 


Friday, March 8, 3:00 P. M. 
CURRAN THEATRE 


RUDOLPH GANZ 
Guest Conductor and Soloist 





PROGRAMME 
1. Overture, “Leonore,’’ No. 3....-..--.-----------+0-#0+20++" Beethoven 
2. Symphony in G major, No. 13......----.----------+-+--------+- Haydn 
3. Prelude and Love Death from ‘“Tristan and Isolde’’.. Wagner 
4. Penetrella (For Strings) .....--.--------------------+--20++- La Violette 
DE it eediae aeRO ON Ee eee Peer e Oee Te TL Debussy 
6. 


Symphony Box Office, Sherman, Clay & Co.; hours, 9 to 5. Tickets 
may also be obtained at other Sherman, Clay & Co. bay city stores. 
Friday tickets on sale zt Curran Theatre after 10 a. m. on day of con- 
se Box office at Dreamland Auditorium open at 7 p. m. on concert 

ays. 







310 





Musical Association of San Francisco 
Ne 


Founded December 20, 1909 Incorporated February 3, 1910 


OFFICERS 
J. B. Levison, President 
W. C. VAN ANTWERP, Vice-President 
WALTER S. MARTIN, Treasurer 
Mrs. IRWIN CrocKER, Honorary Vice-President 
Mrs. E. S. HELLER, Honorary Vice-President 
A. W. WIDENHAM, Secretary-Manager 


BOARD OF GOVERNORS 


R. I. Bentley John S. Drum John A. McGregor 
Miss Lena Blanding Sidney M. Ehrman John D. McKee 
Miss Louise A. Boyd Milton H. Esberg R. C. Newell 
George T. Cameron Mortimer Fleishhacker F. R. Sherman 

Selah Chamberlain F. J. Koster B. F. Schlesinger 
Mrs. Irwin Crocker J. B. Levison Mrs. M. C. Sloss 
William H. Crocker Walter S. Martin Mrs. Sigmund Stern 
E.R. Dimond Clay Miller W. C. Van Antwerp 
A. B. C. Dohrmann L. F. Monteagle Eli H. Wiel 


Mrs. M. S. Koshland, ex-officio 


EXECUTIVE COMMITTEE 


W. C. VAN ANTWERP, Chairman 
Mrs. Irwin Crocker A. B. C. Dohrmann Walter S. Martin 
Mortimer Fleishhacker John D. McKee 


MUSIC COMMITTEE 


R. C. Newer, Chairman 
. Mrs. M. C. Sloss F. R. Sherman 


WOMEN’S AUXILIARY 


Mrs. M. §. KoSHLAND, Chairman 
Miss LENA BLANDING, Vice-Chairman Mrs. M. C. Porter, Vice-Chairman 


EXECUTIVE OFFICES 
Fifth Floor, 244 Kearny Street 
Telephone GArfield 2819 


A. W. WIDENHAM, Secretary-Manager 
HOWARD G. HANVEY, Press Representative 


311 


















SCHUMANN 


GLORY OF THE ROMANTIC SCHOOL 


Robert Alexander Schumann is the latest of the great masters to be 


represented in 


Columbia 


MASTERWORKS 
Album Sets 


One of the most virile productions of his unique genius is his series of 


SYMPHONIC STUDIES, Op. 13 for Piano 


This is combined in Columbia Masterworks Set No. 102 with the 


PIANO SONATA in G Minor, Op. 22 


the two works superbly played by the favorite American Pianist, 


Percy Grainger. 


Other recent Columbia Masterworks issues are: 


DEBUSSY QUARTET IN 

G MINoR, Op. 
10. By Lener String Quartet, of Budapest. 
This is one of Columbia’s greatest 
Masterworks issues. In Seven Parts, 
on Four Twelve-Inch records, with 
Album, $6.00. 


GRIE CONCERTO IN A 

Minor, Op. 16; for 
Pianoforte and Orchestra. By Ignaz 
Friedman, with Orchestra Conducted by 
Philippe Gaubert. In Eight Parts, on 
Four Twelve-Inch Records, with Al- 
bum, $6.00. 


THE COLUMBIA PHONOGRAPH COMPANY 


941 Mission Street, 


San Francisco, Calif. 


COLUMBIA 


“NEW PROCESS” RECORDS 


Reg. U. S. Pat. Off. 


Viva-tonal Recording—The Records without Scratch 








The San Hranciseo Symphony Orchestra 


ALFRED HERTZ, Conductor 
(Steinway Piano Used) 


1928—Season—1929 


EIGHTH POPULAR CONCERT 
771st Concert 


Saturday Evening, March 2, 8:20 o’clock 
DREAMLAND AUDITORIUM 


MISHEL PIASTRO, Conducting 


Soloists: 


PHYLLIDA ASHLEY HELEN ATKINSON 
AILEEN FEALY MARY PASMORE 


Pianists Violinists 


PROGRAMME 


it overcure, \'Fingals Cave. Mendelssohn 
2. Variations on a Theme of Tschaikowsky................ Arensky 


9. Mrelade nek Alleotgs, no eg eds. Pugnani-Kreisler 
Arranged for Strings and Piano by Mishel Piastro 
(First performance) 


4. “A Night on the Bald Mountain’... Moussorgsky 
Intermission 
5. Concerto for Two Violins, D minor........................... Bach 
ivace 
Largo ma non tanto 
Allegro 
HELEN ATKINSON—MARY PASMORE 
6. Concerto for Two Pianos, E flat PROP Aor as ie Mozart 
Allegro 
Andante 


Rondo: Allegro 
PHYLLIDA ASHLEY—AILEEN FEALY 


(The Pianos are Steinways) 


eee 


313 



































SAN FRANCISCO ; ; i | 
Victor Lichtenstein | 


CONSERVATORY 
OF MUSIC 

ERNEST BLOCH, Director Instruction 
Ada Clement and eee 


Lillian Hodghead 
Associate Directors 
THIRD CONCERT 

by 


ROBERT POLLAK 


Assisted by 
The Students’ String Orchestra 
Conductor, ERNEST BLOCH 
Pianist, ADA CLEMENT 


Art 


of | 
Utolin | 


Playing 


Eight of Mr. Lichtenstein’s 
pupils became members of | 
the St. Louis Symphony 
Orchestra. 


Friday evening, March 8th, 1929 
at 8:30 o’clock 


SOROSIS HALL 


Admission - - $1.00 
Students - Half Price 
Tickets on sale at Sherman, Clay & Co. 
and S. F. Conservatory of Music 





Telephones: FI llmore 6146 
FI Ilmore 4948 





| 
Srup10: 3145 WASHINGTON STREET | 
: 
7 


eee 


| YOUNG PEOPLE’S SYMPHONY 
} CONCERTS 
















H 
| San Francisco Symphony Orchestra 
WHEELER BECKETT, conducting 


CURRAN THEATRE 


| 
) 
| 
LAST CONCERT 

Friday, March 15, 4:00 P. M. 
| PROGRAMME 
| Overture to “‘Rosamunde,”’ Schubert; Allegretto from Eighth Symphony, 
. 


| 
| Beethoven; Allegro con grazia from Sixth Symphony, Tschaikowsky ; 
Awarding of Prizes; Introduction to Act III, ‘‘Lohengrin,’’ Wagner. 


Tickets at Sherman Clay & Co., 65c, SOUR Ste? 


ALICE METCALF 
Executive Manager 
Hotel Mark Hopkins 


San Francisco 


314 











2 
| 


Overture, ‘‘Fingal’s Cave’’ - - Felix Mendelssohn-Bartholdi 


(Born February 3, 1809, at Hamburg; died November 4, 1847, at Leipsic) 


This overture, written upon a visit to the Hebrides Islands, is a 
true and rare instance of program music, of an impression uttered 
spontaneously in music. The overture begins and abounds in two 
wave-like themes, which are always playfully splashing against each 
other. They rise in leisurely singing to a stormy height and suddenly 
subside as the melodies are sung, with varying changes in higher voices. 
But in their vague playfulness they are in a sense mere prelude, or 
background—the waves themselves, from which presently emerges a 
true song, like the goddess from the foam in lonely beauty. The 
refrain is taken up in higher treble, and extends into moving song, 
when it is drowned by the returning waves, which are now lashed into 
a furious storm. Quickly they fall into romantic stillness, when voices 
from different quarters of the deep sound forth at curiously odd 
moments, on a theme first announced in the woodwind. But there is 
no lack of decision. They sing as if by some secret law of rhythm— 
soon with a new, answering theme. On these melodies the tonal poem 
of the sea takes its course, a symbol of the ocean in the very caprice 
of its ebb and flow and final climax. 


Variations on a Theme of Tschaikowsky - Anton Stepanovitch Arensky 
(Born July 31, 1861, at Novgorod; died February 26, 1906, at Tarioki, Finland) 


These variations, which first appeared as a quartet for strings, are 


pstagispel 1852 





QUALITY 
PRESTIGE 


SERVICE 


SHREVE & COMPANY 


‘fewelers and Silversmiths 


Post Street at Grant Avenue 
San Francisco 





315 





NATHA 


AS 





T VIOLINIST OF THE 
S STRING QUARTET 


Announces 


THE OPENING OF A STUDIO FOR 


INSTRUCTION 
IN VIOLIN AND 
ENSEMBLE 


INTERVIEWS BY APPOINTMENT 
TELEPHONE OR WRITE 


« 


“Management 


ALICE SECKELS 


FAIRMONT HOTEL 
DO uglas 7267-8800 








not, then you do. 


KaTHARINE M. ARNOLD, 93 Madison St., 


Tiffin, O. 

Atuie E. Barcus, 1006 College St., Ft. 
Worth, Tex. 

EuizETtTE R. Bartow, Box 1244, St. Peters- 
burg, Fla. 


CATHERINE C. Brirp, 658 Collingwood Ave., 
Detroit, Mich, 

Grace A. Bryant, 201—10th Ave., N. Twin 
Falls, Idaho. 

Dora A. CuHase, 345 Clinton Ave., Brook- 
lyn, N. Y. 

Appa C. Eppy, 136 W. Sandusky Ave., 
Bellefontaine, O. 

Beatrice S. Erxet Kipp, Key College, 
Sherman, Tex. 

Ipa Garpner, 17 E. 6th St., Tulsa, Okla. 

Giapys M. GLENN, 1217 Bowie St., Am- 
arillo, Tex. 

Frorence E. Grasie, Michigan State In- 
stitute of Music, Lansing, Mich. 



















25 Lake Street, San Francisco 


316 


Bunning System of Improved Music Sindy 
CARRIE LOUISE DUNNING, Originator 


8 West 40th Street, New York City 
834 South Plymouth Boulevard, Los Angeles, Calif. 
HE Greatest Musical Event in New York City in the past several decades was the 
playing of a ten-year-old Dunning pupil with the New York Philharmonic Orchestra, 
March 20th, 1926. The child had only studied one year and eight months. She 
played Le Carnaval des Animaux, by Saint-Saens. The piece is twenty-three pages long. 
She memorized it in three weeks. If you have any plan for teaching that can bring such 
results in that length of time—then you do not need the Dunning System. If you have 


Faculty of Normal Teachers—Classes Held in these Cities 


Mrs. JEAN WARREN CARRICK 
(Normal Teacher) 





Louis Ford 



































Concert 


V iolinist 





TEACHER 


Available for Solo, Sonata, Trio and 
Quartet engagements, 


Eighteen years in Chamber Music: 
San Francisco Quintet Club, Chamber 
Music Society of San Francisco, Per- 
singer String Quartet. 


Twelve years first violinist with San 
Francisco Symphony Orchestra; Assis- 
tant Concert Master for Season 1917 to 
1925. 


PUPILS ACCEPTED 
Coaching in ensemble playing. 
Assistant teacher for beginners under 

my personal supervision. 


1610 Plymouth Ave. Phone DE laware 0201 


Harriet Bacon MacDonatp, 6010 Belmont 
Ave., Dallas, Tex. 

Kate DEett MARDEN, 61 N. 16th St., Port- 
land, Ore. 

Mrs. W. P. Mason, 302 Mid. City Bank 
Bldg., Chicago, Ill. 

Laup G. Puipren, 3435 Ashbury Ave., 
Dallas, Tex. 

Evutie I. Prince, 4106 Forest Hill Ave., 
Richmond, Va. 

VirGInriA Ryan, 1070 Madison Ave., New 
York. 

STteLLa H. SryMour, 1219 Garden St., San 
Antonio, Tex. 

GERTRUDE THOMPSON, 508 W. Coal St., 
Albuquerque, N. M. 

IsopeL M. Tone, 626 Catalina St., Los An- 
geles, Calif. 

Mrs. H. R. Watkins, 124 E. 11th St., 
Oklahoma City, Okla. 


Classes formed upon Arrangement 









built on a theme from Tschaikowsky'’s Opus 54, No. 5. There are 
seven variations with a coda added, which have been analyzed by 
Philip H. Goepp as follows: 

“In the first variation the main motive is led in successive entering 
voices from the native minor by a moving turn of major; but the 
original concluding melody is maintained, returning to the minor. The 
second has the melody in the violas and higher ‘cellos with a rapid 
obligato in sixths, mainly in higher violins. In the third the theme 
moves with serene charm in the major of the tonic key. The fourth, 
in a rapid rush of picking strings, abandons the full melody for a 
fantasy on the two main motives. In the fifth, perhaps the loveliest 
and most subtly designed, we may hear the theme in long-drawn notes 
of the ‘cellos and basses, while a separate skein of melody is woven of 
a faster figure in the higher voices. In the middle the latter is reversed; 
where the basic theme rises, the upper figure ascends. The next variant 
hides the themal lines beneath a rush of arpeggic and tremolo motion, 
though in the middle the violas sing the clear melody to quieter accom- 
paniment. In the seventh all the voices are muted but the basses, 
which play pizzicato almost throughout. To a persistent phrase of the 
violas surging through changing shades of harmony, sings a melody of 
first violins. All new it seems till we discover in it the precise reverse 
of the original theme. The coda begins the theme in harmonics. In 


VOJMIR ATTL 


Harpist 
San Francisco Symphony Orchestra 
Available for 
Concerts, Ensemble Music and 


HARP INSTRUCTION 


JOHN BUBEN 


Fur Fashion’s Creator 


STUDIO: 


403-404 Marston Building 
244 Kearny St., San Francisco, Calif. 


Fur Artistry and Craftsmanship for 
discriminating fur lovers. Furs re- 
styled as Jacquettes, or in the latest 
Creations. 
587 GEARY ST. 
Phone KEarny 5873 


Paris Office 
52 Rue du Faubourg—Montmartre 


For Appointment 
Call 
Studio Phone Residence Phone 
DOuglas 3706 SKyline 2757 





317 








SS SS SS Se ee OL rs 





the middle is a free passage that is repeated with the main motive 


.? 


below in long notes of the basses. 


Prelude and Allegro - - “ - - Pugnani-Kreisler 


To Gaetano Pugnani (1731-1798) is due much of the credit for 
the preservation of the style of Corelli, Tartini and Vivaldi and for its 
transmission to the next generation of violinists, particularly his most 
noted pupil, Viotti. In addition to being an excellent violinist, he was 
also a prolific composer, his works including nine operas, twelve sym- 
phonies, nine violin concertos and numerous violin sonatas and other 
duos, trios, quartets, etc. However, a great number of his works were 
not published and others have disappeared. The Prelude and Allegro 
played this evening was copied by Fritz Kreisler from sketches in the 
Vatican library and arranged for violin solo. This transcription, one 
of Kreisler’s earliest, had a great deal to do with bringing about his 
recognition as a violinist and composer, as it immediately appeared 
on concert programmes everywhere. As played this evening, the 
number has been arranged by Mishel Piastro from the Kreisler tran- 
scription for strings and piano, and is given its first performance upon 
this occasion. 


A Night on the Bald Mountain - - Modest Petrovich Moussorgsky 
(Born March 28, 1835, at Karev; died March 28, 1881, at Petrograd) 


Moussorgsky began this work in 1867 as a piece for piano and 


HAZEL DREIS 


FINE BOOKBINDINGS 


MUSIC BOOKS BINDING 
BOUND MENDED TAUGHT 


1367 Post Street, San Francisco 
WA Inut 7097 19 Studio Building 


ARRILLAGA MUSICAL COLLEGE 


Founded 1877 Incorporated 1911 
LARGEST IN THE WEST 


Pipe Organ—Choral—Orchestra—Stage Training 
T heory—V oice—Instruments—Evening Classes 


Superior [nstruction—Low Terms 


2351 JACKSON STREET, SAN FRANCISCO Phone WALNUT 3742 





318 

















orchestra. Left uncompleted, the composition was taken up again 
about three years later when Guedeonow, the director of the Russian 
opera at Petrograd, proposed to Cesar Cui, Borodin, Moussorgsky and 
Rimsky-Korsakow that they should collaborate in an opera ballet on 
the subject of “Mlada’’—a subject which dealt with Russia in a pre- 
Christian era. In his former sketch, Moussorgsky made a number of 
alterations, and he inserted a vocal part, the music now being intended 
for the revels of the black god Tchernobog and the witches on Mount 
Triglav. Guedeonow’s project came to nothing, and Moussorgsky 
once more laid his music aside, to take it up a third time as the basis 
of an ‘‘intermezzo depicting the witches disporting themselves on the 
Bald Mountain, near Kiev.’’ This too was left uncompleted, and after 
the death of the composer, Rimsky-Korsakow took the sketch, revised, 
completed and orchestrated it. The “program” of “A Night on the 
Bald Mountain’’ is printed on the score and is as follows: 

‘Subterranean sounds of unearthly voices; appearance of the 
spirits of darkness, followed by that of the god Tchernobog; Tcherno- 
bog’s glorification and the Black Mass; the revels, at the height of the 
orgies there is heard from afar the bell of a little church, which causes 
the spirits to disperse; dawn.”’ 


Concerto for Two Violins and Orchestra, in D minor - - 
- - - - - - - - Johann Sebastian Bach 


(Born March 21, 1685, at Eisenach; died July 28, 1750, at Leipsic) 


Johann Sebastian Bach was appointed Kappelmeister to the Prince 





The 
Margaret Mary Morgan Co. 
PRINTERS 
Engraving — Publishing 
MARGARET 
PIANIST 
Will be on the Pacific Coast during 
the entire season, 1928-1929 

Concert Management 

ELWYN CONCERT BUREAU 
DAvenport 0450 PHELAN BUILDING 
Studio: 
; ; 450 GRANT AVENUE 
619 California Street Telephone KEarny 8289 


SAN FRANCISCO 





319 











Leopold at the age of thirty-two. His principal duty was to compose 
music for the small but efficient body of musicians which constituted 
the Prince’s house orchestra. The concerto for two violins belongs 
to this period. The work, like so many of his other compositions, was 
forgotten for a great many years. In fact, when the Bach Society 
undertook the publication of the master’s works only the two solo 
parts and the continuo could be found in the royal library in Berlin. 
Bach himself, however, had transcribed the concerto for two pianos 
and orchestra, and from this arrangement the score was prepared. 

In the D minor concerto each violin is treated with the inde- 
pendence associated with Bach’s manner of treatment. The two do 
not play so much against one another as they do together against the 
orchestra. The slow movement, like in so many of Bach's works, is 
the most attractive feature of the work and stands in the front rank of 
similar movements of all the master’s compositions. 


Concerto for Two Pianos and Orchestra, in E flat major - 
- - - - - - Wolfgang Amadeus Mozart 


(Born January 27, 1756, at Salzburg; died December 5, 1791, at Vienna) 


Mozart wrote his concerto for two pianos when he was twenty- 
three years of age. His biographers surmise that it was written in 
order to satisfy a wish to play a work of this kind with his sister, 
‘‘Nannerl,’’ as he called her, who was a precocious child like Mozart 
himself, the two having made many concert appearances together. 


JANET ROWAN HALE 


Pianist and Teacher 


Studio 902 
26 O'Farrell Street Berkeley and Piedmont 
Phone DAvenport 5486 Phone OAkland 8663 


30 years violin specialist in St. Louis and Chicago Expert Repairing 


S. O. ALLISON 
VIOLIN MAKER, CONNOISSEUR AND APPRAISER 


Agent for Andres Morellis hand-made Violins, Violas, "Cellos, Basses 
Artist Bows by G. A. Pfritzschner 
and other celebrated Bow Makers 
45 GEARY STREET 
Dealer in New and Old Violins, San Francisco, Cal. 
‘Cellos and Bows Formerly |. A. Lutz 
Strings and Accessories DAvenport 0415 


820 

















However, it was with a Fraulein Aurnhammer, said to have been one 
of the best pianists in Vienna, at that time, that Mozart gave the first 
performance, in a concert at the Augarten, May 25, 1781. 


I. The orchestral exposition opens at once with the principal 
theme in the full orchestra forte. After a pause on the chord of B flat 
major, the second subject of this first exposition enters piano in the 
second violins and violas, its opening phrase being repeated with fuller 
scoring. Ihe exposition for the solo instruments is, as to its first phrase, 
introduced with the principal subject in both pianos. A dialogue 
between the two solo instruments leads to the second theme—different 
to that in the orchestral exposition—given to the first piano and then 
repeated by the second. There is another section of the subject, also 
alternating in the two pianos, and followed by a tutti based on a por- 
tion of the first exposition. The pianos also take up a figure originally 
employed in the orchestral exposition, and there is passage work for 
both. A tutti brings forward what had previously been the second 
theme in the opening exposition; this orchestral matter alternates with 


material for the pianos, and finally leads into the Recapitulation, in 
which the first phrase of the principal subject is given out, as before, 
by the full orchestra forte. The remainder of the theme is allotted to 


RICHARD BUHLIG 


Will Conduct a Class in 
Piano Playing 
Twelve Wednesday and Saturday Afternoons 


(From April 3 to May 11) 


For Information apply to 


MARGARET TILLY 
450 Grant Ave. KE arny 8289 


Julian Brodetsky 


ASSISTANT CONCERT MASTER 
SAN FRANCISCO SYMPHONY ORCHESTRA 


Violin Instruction 


Studio 
Phone SKyline 4855 189 Commonwealth Avenue 


321 














the pianos. The second subject now appears (in the first piano). At 
the close of this there are suggestions of the opening theme, and 
passage work for the piano leads to a tutti, which in its turn paves the 
way for a cadenza for the solo instruments. The cadenza is succeeded 
by a final tutti constructed of material taken from the first exposition. 


Il. The principal subject is announced by the strings, oboe and 
bassoon. At the eleventh measure it is taken up by the pianos. A 
new idea is introduced in the piano parts and this is followed by a 
return to the first theme. A quiet coda closes the movement. 


Ill. The principal theme is announced by the first violins. The 
first piano enters with an episode, which is repeated an octave lower 
by the second. A suggestion of the first subject is played by the 
orchestra, and passage work for the pianos follows. The principal 
theme now finds repetition in the first piano part, and it is taken up 
by a tutti. A second episode in C minor is allotted to the pianos. 
The principal theme returns in the second piano, and is continued by 
the orchestra. Development of it follows, with a triplet accompani- 
ment, in the two pianos alternately. Scale passages for these instru- 
ments lead to a tutti, which serves as an introduction to a cadenza. 
The first piano, accompanied by triplets in the second, gives out the 
principal theme for the last time, and a tutti brings the concerto to a 
close. 


ee 


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. 


December 31st, 1928 
PN ere eres ae tke ke tk $123,780,369.02 
Capital, Reserve and Contingent Funds 5,150,000.00 
Pension Fund over $635,000.00, 
standing on Books at 1.00 


MISSION BRANCH Mission and 21st Streets 
PARK-PRESIDIO BRANCH. 2... -cetsecdevurvenes Clement St. and 7th Ave. 
HAIGHT STREET BRANCH Hai 

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 


322 











JJersonnel 


Che San Francisco Sumphony Orchestra 


ALFRED HERTZ, CONDUCTOR 


FIRST VIOLINS 


Piastro, Mishel 
Concert Master 


Fenster, Lajos 
Assistant Concert Master 


Brodetsky, Julien 
Assistant Concert Master 


Meriz, Emilio 

Ford, Louis W. 
Jensen, Thorstein 
Gordohn, Robert 
Mendelevitch, Rodion 
Laraia, William F. 
Mortensen, Modesta 
Koenig, Hans 

See, Orley 

Pasmore, Mary 
Atkinson, Helen E. 
Wolski, William 
Ruiz, Ricardo 


SECOND VIOLINS 
Heyes, Eugene 
Principal 


Rosset, Emil 
Amsterdam, Max 
Callinan, W. G. 
Paterson, J. A. 
Gold, Julius 
Haug, Julius 


Gough, Walter 
Firestone, Nathan 
Simonsen, Frances 
Wegman, William 
Tolpegin, Victor 
Hoffman, Henry H. 
Dabelow, William 


VIOLAS 

Verney, Romain 

Principal 
Hahl, Emil 
Baker, F. A. 
Wismer, Hother 
Weiler, Eric 
Lichtenstein, Victor 
Dierich, Franz 
Triebel, August 
Kolb, Richard 
Lewis, Arthur 


"CELLOS 


Penha, Michel 
Principal 


Dehe, Willem 

King, Otto 
Villalpando, Wenceslao 
Kirs, Rudolph 
Pasmore, Dorothy 
Reinberg, Herman 
Gough, Flori 

Hranek, Carl 

Haight, Rebecca 


BASSES 


Previati, Louis J. 
Principal 


Bell, Walter 
Storch, A. E. 
Guterson, Aaron 
Schulz, Emil 
Schmidt, Robert E. 
Frederick, Oscar 
Schipilliti, John 


FLUTES 
Linden, Anthony 


Oesterreicher, Walter 
Orchestral Manager 


Benkman, Herbert 


PICCOLO 


Benkman, Herbert 


OBOES 
Addimando, Caesar 
Shanis, Julius 
Schipilliti, Vincent 


ENGLISH HORN 
Schipilliti, Vincent 


CLARINETS 


Randall, Harold B. 
Zannini, Nicolai 
Fragale, Frank 
Triebel, August 


BASS CLARINET 
Fragale, Frank 


323 


BASSOONS 
Kubitschek, Ernest 
La Haye, E. B. 
Hranek, Carl 


CONTRA BASSOON 
Kolb, Richard 


HORNS 
Hornig, Walter 
Roth, Paul 
Tryner, C. E. 
Rocco, R, 


Trutner, Herman 


TRUMPETS 
Drucker, Vladimir 
Barton, Leland S. 
Savant, Silvio 
Kegel, Otto 
Kress, V. 


TROMBONES 


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


TUBA 
Murray, Ralph 


HARP 


Attl, Kajetan 
Attl, Vojmir 


TYMPANI 
Wagner, Roland E. 


PERCUSSION 


Vendt, Albert, Jr. 
Salinger, M. A. 
Kundy, E, 


PIANO AND CELESTA 
Tibbitts, J. P. 


LIBRARIAN 
Kegel, Otto 

















cc ‘ 
I AM using the Steinway piano 
now for many years and am 
enjoying its superior qualities so 
much that I cannot 


imagine how I ever could 





get along without one. 
It is like a good friend of 
whom you get fonder 
the more you know 


> 


him.’ 





) 


The home of the Steinway ts 


Sherman @lay & Co. 


Kearny and Sutter Streets, San Francisco 
Mission Street, near Twenty-first 
Fillmore Street, near Post 
Fourteenth and Clay Streets, Oakland 
3420 E. 14th Street, Fruitvale 
Telegraph and Channing Way, Berkeley 
1315 Burlingame Avenue, Burlingame 























SYMPHONY: 3 
ORCHESTRA 


| Maintained by Ga 
NS] The Musical 4 
Association of k 
San Prancisco 










bd freee 


TENTH PAIR 


1928 1929 
Eighteenth Season 


AOR Vay iy (S7aL Oa 
SEAR IGSE__ | 





EIGHTH POPULAR CONCERT 


Thursday, March 14, 8:20 P. M. 
DREAMLAND AUDITORIUM 


RUDOLPH GANZ 


Guest Conductor 


PROGRAMME 
. Prelude to ““The Mastersingers’’ 
. Andante Cantabile from Symphony No. 5 
. Ballet Music from “Le Cid’’ 
. Two Slavonic Dances 
. The Last Spring’’ (For Strings) 
. On the Beautiful Blue Danube’’ 


ELEVENTH PAIR OF SYMPHONY CONCERTS 


Thursday, March 21, 8:20 P. M. 
DREAMLAND AUDITORIUM 


Friday, March 22, 3:00 P. M. 
CURRAN THEATRE 


Soloist: FLORENCE AUSTRAL, Soprano 


PROGRAMME 
. Symphony No. 5 Tschaikowsky 
. Aria, “Ocean, Thou Mighty Monster,’ from ““Oberon’’ 


(First time in San Francisco) 


. Group of Soli with Piano 
FLORENCE AUSTRAL 





Symphony Box Office, Sherman, Clay & Co.; hours, 9 to 5. Tickets 
may also be obtained at other Sherman, Clay & Co. bay city stores. 
Friday tickets on sale zt Curran Theatre after 10 a. m. on day of con- 
cert. Box office at Dreamland Auditorium open at 7 p. m. on concert 
days. 











Musical Association of San Francisco 


Founded December 20, 1909 Incorporated February 3, 1910 


OFFICERS 
J. B. Levison, President 
W. C. VAN ANTWERP, Vice-President 
WALTER S. MarTIN, Treasurer 









Mrs. IRWIN CROCKER, Honorary Vice-President 






Mrs. E. S. HELLER, Honorary Vice-President 






A. W. WIDENHAM, Secretary-Manager 






BOARD OF GOVERNORS 











R. I. Bentley John S. Drum John A. McGregor 
Miss Lena Blanding Sidney M. Ehrman John D. McKee 
Miss Louise A. Boyd Milton H. Esberg R. C. Newell 
George T. Cameron Mortimer Fleishhacker F. R. Sherman 

Selah Chamberlain F. J. Koster - B. F. Schlesinger 
Mrs. Irwin Crocker J. B. Levison Mrs. M. C. Sloss 
William H. Crocker Walter S. Martin Mrs. Sigmund Stern 
E.R. Dimond Clay Miller W. C. Van Antwerp 
A. B. C. Dohrmann L. F. Monteagle Eli H. Wiel 






Mrs. M. S. Koshland, ex-officio 






EXECUTIVE COMMITTEE 


W.C. Van ANTWERP, Chairman 
Mrs. Irwin Crocker A. B. C. Dohrmann Walter S. Martin 
Mortimer Fleishhacker John D. McKee 







MUSIC COMMITTEE 


R. C. NEWELL, Chairman 
Mrs. M. C. Sloss F. R. Sherman 









WOMEN’S AUXILIARY 


Mrs. M. §. KosHLAND, Chairman 
Miss LENA BLANDING, Vice-Chairman Mrs. M. C. Porter, Vice-Chairman 







EXECUTIVE OFFICES 
Fifth Floor, 244 Kearny Street 
Telephone GArfield 2819 








A. W. WIDENHAM, Secretary-Manager 
HOWARD G. HANVEY, Press Representative 






327 








*Reg. U. S. Pat. Off. 











Interpreted the soul of Russia in music 
as no other composer has ever done 
The surging sweep of his orchestration, the glowing masses of 
tone in his symphonies are unexampled in musical creation. 


Tschaiko wsky ’s Gorgeous 
FIFTH SYMPHONY 


is released this month in one of the greatest recording achieve- 
ments of the new age in 


COLUMBIA MASTERWORKS* 


played with irresistible power by Willem Mengelberg and the 
Concertgebouw Orchestra of Amsterdam: 


MASTERWORKS SET No. 104 
TSCHAIKOWSKY: Symphony No. 5, in E Minor, Op. 64—by 
Willem Mengelberg and Concertgebouw Orchestra of 
Amsterdam. 
In thirteen Parts, on seven twelve-inch Records, with 
leather album, $10.50. 
> 
Other notable features of the extraordinary March offering of Columbia 
Masterworks are: 
MASTERWORKS SET No. 103 MASTERWORKS SET No. 105 
BRAHMS: Symphony No. 1, in C MOZART: Symphony No. 39, in E 


Minor, Op. 68—by Felix Weingart- Flat, Op. 543—by Felix Weingart- 
ner and Royal Philharmonic Or- ner and Royal Philharmonic Or- 
chestra. chestra. 

In ten Parts, on five twelve-inch In six Parts, on three twelve-inch 


Records, with Album, $7.50. Records, with Album, $4.50. 


THE COLUMBIA PHONOGRAPH COMPANY 


941 Mission Street, San Francisco, Calif. 


Notes”’ 


COLUMBIA 


““NEW PROCESS’’ RECORDS 
Reg. U.S: Pat..¢ i. 
Viva-tonal Recording — The Records without Scratch 


“Magic 

















: 
} 
: 


secemewawerrerec 











Che San Franciseo Symphony Orchestra 


ALFRED HERTZ, Conductor 
(Steinway Piano Used) 







1928—Season—1929 






TENTH PAIR OF SYMPHONY CONCERTS 
772d and 773d Concerts 






Thursday Evening, March 7, 8:20 o’clock 
DREAMLAND AUDITORIUM 


Friday Afternoon, March 8, 3:00 o’clock 
CURRAN THEATRE 










RUDOLPH GANZ 


Guest Conductor and Soloist 










PROGRAMME 






1. Overture, ~Leonore,”’ | etg et et @ ee See Beethoven 
2. Symphony in G major (B. & H. No. te Deane Sp were Haydn 
Adagio—Allegro 
Largo 






Menuetto: Allegretto 
Finale: Allegro con spirito 
(Played without pause) 


; Prelude and Love Death from “Tristan and Isolde’... 


Se De ee ee SSeS hae ae eee ako See a Oe lee ernie ieee oer el oo eo ee ela cree 











. Festivals’’ 






. Concerto Tor Piano? in A’ major. 2a as) ial) Liszt 
RUDOLPH GANZ 
MICHEL PENHA, Conducting 


(The Piano is a Steinway) 








329 





SAN FRANCISCO 


CONSERVATORY Victor Lichtenstein 
OF MUSIC 


ERNEST BLOCH, Director tg Poe | Instruction 
Ada Clement and _ ome ee. 


in the 


Lillian Hodghead S — ; 
Associate Directors ,* : Art 


THIRD CONCERT , * ae 
by Fy S : Uiolin 
ROBERT POLLAK : be 


Assisted by 
The Students’ String Orchestra 


Conductor, ERNEST BLOCH : j i i 
Pianist, ADA CLEMENT Fight of Mr. Lichtenstein’s 


Playing 


Friday evening, March 8th, 1929 pupils became members of 


PP oan hes the St. Louis Symphony 


Orchestra. 
SOROSIS HALL 


Admission - - $1.00 
Students - Half Price StupIo: 3145 WASHINGTON STREET 


Tickets on sale at Sherman, Clay & Co. Telephones: FI llmore 6146 
and S. F. Conservatory of Music FI Ilmore 4948 





YOUNG PEOPLE’S SYMPHONY 
CONCERTS 


| San Francisco Symphony Orchestra | 
WHEELER BECKETT, conducting 


CURRAN THEATRE | 


LAST CONCERT 
Friday, March 15, 4:00 P. M. 


PROGRAMME 
| Overture to ‘‘Rosamunde,’’ Schubert; Allegretto from Eighth Symphony, 
Beethoven; Allegro con grazia from Sixth Symphony, Tschaikowsky ; 
Awarding of Prizes; Introduction to Act III, “‘Lohengrin,’? Wagner. 


Tickets at Sherman Clay & Co., 65c, $1.00, $1.25 
ALICE METCALF 


Executive Manager 
Hotel Mark Hopkins 


San Francisco 


330 





; 
= . *~ > 
Alt Ma cae 


= a 


i 
i] 


1 
| 





PRR er oh es 





Overture, ‘“‘Leonore,’”’ No. 3 - - - Ludwig van Beethoven 
(Born December 16, 1770, at Bonn; died March 26, 1827, at Vienna) 


‘'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. “‘Leonore’’ was the original title of the opera, so named after 
the heroine, but Beethoven subsequently changed the title to “Fidelio.” 
The third overture is by far the finest of the four. It is the drama in 
miniature, and far outclasses anything in the opera itself. 

The key is C major. A short fortissimo is struck. It is diminished 
by woodwind and horns, then taken up, piano, by the strings. From 
this G there is a descent down the scale of C major to a mysterious 
F sharp. The key of B minor is reached, finally A flat major, when 


the opening measures of Florestan’s air in the second act is played. 
The theme of the Allegro begins pianissimo (first violins and ’cellos), 
and waxes impetuously. The second theme has been described as 
“woven out of sobs and pitying sighs.’” The working-out consists in 
alternating a pathetic figure, taken from the second theme and played 
by the woodwind over a nervous string accompaniment, with furious 
outbursts from the whole orchestra. Then comes the trumpet-call off 
stage. The twice repeated call is answered in each instance by the 
short song of thanksgiving from the same scene. A gradual transition 
leads from this to the return of the first theme at the beginning of the 


Established 1852 





QUALITY 
PRESTIGE 


SERVICE 


SHREVE & COMPANY 


‘fewelers and Silversmiths 


Post Street at Grant Avenue 
San Francisco 


331 














NATHA 


FIRST VIOLINIST OF THE 
BAS STRING QUARTET 






Announces 


THE OPENING OF A STUDIO FOR 


INSTRUCTION 
IN VIOLIN AND 
ENSEMBLE 






























INTERVIEWS BY APPOINTMENT 
TELEPHONE OR WRITE 





os 













“Management 


ALICE SECKELS 


FAIRMONT HOTEL 
DO uglas 7267-8800 






Concert 


V iolinist 









TEACHER 





Available for Solo, Sonata, Trio and 
Quartet engagements. 


Eighteen years in Chamber Music: 
San Francisco Quintet Club, Chamber 
Music Society of San Francisco, Per- 
singer String Quartet. 


Twelve years first violinist with San 
Francisco Symphony Orchestra; Assis- 
tant Concert Master for Season 1917 to 
1925. 


PUPILS ACCEPTED 
Coaching in ensemble playing. 
Assistant teacher for beginners under 

my personal supervision, 


1610 Plymouth Ave. Phone DE laware 0201 








Dunning System of Improved Music Study 
CARRIE LourisE DUNNING, Originator 


8 West 40th Street, New York City 
834 South Plymouth Boulevard, Los Angeles, Calif. 


HE Greatest Musical Event in New York City in the past several decades was the 

playing of a ten-year-old Dunning pupil with the New York Philharmonic Orchestra, 

March 20th, 1926. The child had only studied one year and eight months. She 
played Le Carnaval des Animaux, by Saint-Saens. The piece is twenty-three pages long. 
She memorized it in three weeks. If you have any plan for teaching that can bring such 
results in that length of time—then you do not need the Dunning System. If you have 
not, then you do. 


Faculty of Normal Teachers—Classes Held in these Cities 
KATHARINE M. ARNoLp, 93 Madison St., HARRIET Bacon MacDonatp, 6010 Belmont 
Tiffin, Ave., Dallas, Tex. 


Auuiz E. Barcus, 1006 College St., Ft. Kate DELL Marpen, 61 N. 16th St., Port- 
Worth, Tex. 


ELIzeETTE R. Bartow, Box 1244, St. Peters- 
burg, Fla. 

CATHERINE C. Brrp, 658 Collingwood Ave., 
Detroit, Mich, 

Grace A. Bryant, 201—10th Ave., N. Twin 
Falls, Idaho. 

Dora A. Cuase, 345 Clinton Ave., Brook- 
iyn, N.Y: 

Appa C. Eppy, 136 W. Sandusky Ave., 
Bellefontaine, O. 

BEATRICE S. E1Ket Kipp, 
Sherman, Tex. 

IpA GaRDNER, 17 E. 6th St., Tulsa, Okla. 

Guiapys M..GLenn, 1217 Bowie St., Am- 
arillo, Tex. 

FLORENCE E. GrasLe, Michigan State In- 
stitute of Music, Lansing, Mich. 


Key College, 


Mrs. 
Laup G. 


VIRGINIA RYAN, 


GERTRUDE THOMPSON, 


Mrs. 


land, Ore, 
W. P. Mason, 302 Mid. City Bank 
Bldg., Chicago, IIl. 


PHIPPEN, 3435 Ashbury Ave., 
Dallas, Tex. 


Evuie I. Prince, 4106 Forest Hill Ave., 


Richmond, Va. 


1070 Madison Ave., New 
York. 


STELLA H. SEyMour, 1219 Garden St., San 


Antonio, Tex. 


508 W. Coal St., 


Albuquerque, N. M. 


IsopeL M. Tone, 626 Catalina St., Los An- 


geles, Calif. 
H. R. Warkxins, 
Oklahoma City, Okla. 


124 E. 11th St., 


Mrs. JEAN WARREN CARRICK 
(Normal Teacher) 


25 Lake Street, San Francisco 


332 





Classes formed upon Arrangement 





third part (flute solo). This third part is developed in general as the 
first part and leads to a wildly jubilant coda. 


Symphony in G major - : - - - Joseph Haydn 
(Born March 31, 1732, at Rohrau; died May 31, 1809, at Vienna) 


In the seventeen-eighties, just a few years before the Revolution 
cut off the heads of the aristocracy of France, one of the delights of 
Marie Antoinette’s Parisian-Austrian circle was the music played at the 
‘concerts spirituels’’ given in the salle des gardes of the Tuileries. The 
manager of these concerts was always on the lookout for novelties, and 
in 1784 he sent an order to Haydn, then director of music for Prince 
Esterhazy, for a round dozen of new symphonies. Such an order was 
in no way surprising, for a symphony in | 784 was by no means what 
it was twenty years later, after Beethoven had come upon the scene. 
The twelve symphonies were duly forthcoming, the one in G major 
being the seventh. Today it may seem old-fashioned, formal, lacking 
in the downright emotionalism to which we have grown accustomed. 
Just so the costume of that period would today appear unrelated to 
present realities. 

The first movement opens with a short and slow introduction, the 
main body of the movement beginning with a dainty theme in the 
strings, repeated forte by the full orchestra. The second theme is but 
little more than a melodic variation of the first, as is the short con- 
cluding theme in oboes and bassoon, then in the strings. The free 
fantasia is quite long and contrapuntally elaborate. There is a short 
coda. The second movement, Largo, opens with a serious melody by 


VOJMIR ATTL 


Harpist 
San Francisco Symphony Orchestra 
Available for 
Concerts, Ensemble Music and 


HARP INSTRUCTION 


JOHN BUBEN 


Fur Fashion’s Creator 


STUDIO: 


403-404 Marston Building 
244 Kearny St., San Francisco, Calif. 


Fur Artistry and Craftsmanship for 
discriminating fur lovers. Furs re- 
styled as Jacquettes, or in the latest 


Creations. 
57 GEARY ST. 
Phone KEarny 5873 


Paris Office 
52 Rue du Faubourg—Montmartre 


For Appointment 
Call 
Studio Phone Residence Phone 
DOuglas 3706 SKyline 2757 





333 








{ 
f 
} 
y 








the oboe and ‘cellos to an accompaniment of violas, double-basses, 
bassoon and horn. The theme is repeated with a richer accompani- 
ment, and the first violins have a counter-figure. The tune is repeated 
several times in different ways, offset by sundry counter-embellish- 
ments, its placid progress being interrupted abruptly here and there by 
loud outbursts from the full orchestra. The third movement is a simple 
example of the old-fashioned minuet dance form with trio. The finale 
is a rondo on the theme of a peasant country dance. The buoyant 
principal theme is given out at the start by the violins and bassoons, 
to be developed forthwith with vivacity and humor up to the dashing 
climax which brings the symphony to an end. 


Prelude and Love Death from “Tristan and Isolde” - Richard Wagner 
(Born May 22, 1813, at Leipsic; died February 13, 1883, at Venice) 


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 
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 con- 


cert 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 writings: 


‘‘Now there is no end to the yearnings, the longing, the delight 


HAZEL DREIS 


FINE BOOKBINDINGS 


MUSIC BOOKS BINDING 
BOUND MENDED TAUGHT 


1367 Post Street, San Francisco 
WA Inut 7097 19 Studio Building 


The ARRILLAGA MUSICAL COLLEGE 
Cordially invites you to attend the second of a series of talks on 
Music and Its Appeal to the Layman 
presented by 


HOWARD, E.,COUPER 


Friday, March 15, 8:30 P. M. 
2351 JACKSON STREET WALNUT 3742 


334 





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 manifested 
longing—thirst and yearning. The only redemption: death, the sink- 
ing 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 have 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 depths 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.’’ 


“‘Penetrella”’ - - - bain - Wesley La Violette 


(Born 1894, at St. James, Minn.; now living in Chicago) 


Upon the occasion of the first performance of “‘Penetrella’’ by the 


The 


Margaret Mary Morgan Co. 


PRINTERS 
Engraving ~ Publishing 


MARGARET 


TILLY 


PIANIST 


Will be on the Pacific Coast during 
the entire season, 1928-1929 


Concert Management 


ELWYN CONCERT BUREAU 


DAvenport 0450 PHELAN BUILDING 
Studio: 
450 GRANT AVENUE 


619 California Street Telephone KEarny 8289 
SAN FRANCISCO 





335 














Chicago Symphony Orchestra, November 30, 1928, the composer 
supplied the following information on his work: 

~ ‘Penetrella’ was begun in February and completed March 7, 
1928. It is dedicated to Frederick Stock. The title is an adaptation 
from the Latin ‘penetralia,” meaning an inner sanctuary of life. Its 
significance lies more in the philosophical or personal than it does in 
a fact or program. Of the latter it has none. The work is scored for 
string orchestra, the violins being divided into eight parts, the violas 
into four, violoncellos into four, and the double-basses into two. The 
first subject is announced in the divided ’celli over a tremolo in the 
basses (Andante moderato). The second subject also is announced 
in the ‘celli, with a fuller support in the other strings. This material is 
worked to a full climax, after which subsidiary material appears in the 
violins. Considerable use is made of the latter in the last section, 
When this subsides, a development of the first theme appears (Allegro 
non troppo). After this is worked to a fortissimo climax in all the 
divided strings the subsidiary theme appears, Andante, in solo violin, 
answered by a solo violoncello, the other accompanying strings muted. 
lt comes to a pianissimo close.”’ 

Wesley La Violette received practically all of his musical training 
in Chicago. He entered the Northwestern University School of Music 


JANET ROWAN HALE 


Pianist and Teacher 


Studio 902 
26 O'Farrell Street Berkeley and Piedmont 
Phone DAvenport 5486 Phone OAkland 8663 


30 years violin specialist in St. Louis and Chicago Expert Repairing 


S. O. ALLISON 
VIOLIN MAKER, CONNOISSEUR AND APPRAISER 


Agent for Andres Morellis hand-made Violins, Violas, "Cellos, Basses 
Artist Bows by G. A. Pfritzschner 
and other celebrated Bow Makers 
45 GEARY STREET 
Dealer in New and Old Violins, San Francisco, Cal. 


"Cellos and Bows Formerly |. A. Lutz 
Strings and Accessories DAvenport 0415 


336 








of Evanston, Illinois, in 1915, and was graduated from there in 1917. 
After service in France, in the World War, he entered the Chicago 
Musical College. From the latter school he has earned the degrees of 


Bachelor of Music, Master of Music, and Doctor of Music (1925). 


Dr. La Violette’s works include two piano concertos; a string 
quartet; a piano sonata, “Envoy’’; a piano quintet; a requiem for 
orchestra, “In Memoriam’’; an opera, ““Shylock’’; several anthems and 
other piano numbers. 


“‘Festivals’’ - - “ - - - - Claude Debussy 
(Born August 22, 1862, at St. Germain; died March 26, 1918, at Paris) 


Debussy wrote three Nocturnes for orchestra, ““‘Clouds,’’ ‘‘Festi- 
vals” and “‘Sirenes,’’ the latter being written for orchestra with a chorus 
of female voices. The first two were produced for the first time at a 
Lamoureux concert, Paris, December 9, 1900, and the third on October 


£75: 190K. 


On the score Debussy has briefly explained the significance of 
‘“Festivals’’ as follows: 


“Festivals —The restless, dancing rhythm of the atmosphere, 
interspersed with sudden flashes of light. There is also an incidental 
procession (a dazzling imaginary vision) passing through and through 
and mingling with the aerial reverie; but the background of uninter- 


RICHARD BUHLIG 


Will Conduct a Class in 
Piano Playing 
Twelve Wednesday and Saturday Afternoons 


(From April 3 to May 11) 


For Information apply to 
MARGARET TILLY 
450 Grant Ave. KE arny 8289 


Julian Brodetsky 


ASSISTANT CONCERT MASTER 
SAN FRANCISCO SYMPHONY ORCHESTRA 


Violin Instruction 


Studio 
Phone SKyline 4855 189 Commonwealth Avenue 





337 

















rupted festival is persistent, with its blending of music and luminous 
dust participating in the universal rhythm of all things.” 


Concerto for Piano and Orchestra in A major, No.2 ~~ Franz Liszt 
(Born October 22, 1811, at Raiding; died July 31, 1886, at Bayreuth) 


The A major concerto, the second of Liszt’s two piano concertos, 
was completed in 1849, revised in 1856 and 1861, and published in 
1863. The autograph manuscript of this work bore the title, “‘Con- 
cert symphonique,’ and in the words of William F. Apthorp “‘the 
work might be called a symphonic poem for pianoforte and orchestra, 
with the title, “The Life and Adventures of a Melody.’ ”’ 

The main theme, which runs like a thread through the entire work, 
reappearing every now and then in one form or another, is stated at 
the outset by the woodwinds to an accompaniment of weird harmonies. 
This the solo instrument proceeds straightway to adorn with a variety 
of embellishments, and presently a new and contrasting theme appears 
in D minor —to be worked up vigorously by both pianoforte and 
orchestra; after which another theme, in B flat minor, comes into 
notice. A subsequent recollection of the opening theme leads up to 
the entrance of a fourth, in E major in the strings. The pianoforte 
turns its attention again to the opening theme, now reinforced by the 
‘cello, embellishing it with fragments of the motive just advanced by 
the strings, and finally veering off into a brilliant development of the 
latter. On these lines the concerto proceeds to its conclusion, carrying 
its hearers through a maze of splendid color in which the plaintive 
opening theme makes itself heard from time'to time. 


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. 


December 31st, 1928 
$123,780,369.02 


Capital, Reserve and Contingent Funds 5,150,000.00 
Pension Fund over $635,000.00, 
standing on Books at 1.00 


Mission and 21st Streets 
lement St. and 7th Ave. 
Haight and Belvedere Streets 
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 





338 



















JJersonnel 
The San Francisen Sumphony Orchestra 
ALFRED HERTZ, CONDUCTOR 


FIRST VIOLINS ’CELLOS BASSOONS 
Piastro, Mishel Penha, Michel Kubitschek, Ernest 







Concert Master Principal La Haye, E. B. 
Fenster, Lajos Dehe, Willem 
Assistant Concert Master Hranek, Carl 


Brodetsky, Julien King, Otto 


Assistant Concert Master Villalpando, Wenceslao CONTRA BASSOON 


Meriz, Emilio 

Ford, Louis W. 
Jensen, Thorstein 
Gordohn, Robert 
Mendelevitch, Rodion 
Laraia, William F,. 


Mortensen, Modesta 











Koenig, Hans 





See, Orley 





Pasmore, Mary 
Atkinson, Helen E. 
Wolski, William 


Ruiz, Ricardo 










Heyes, Eugene 
Principal 


Rosset, Emil 
Amsterdam, Max 
Callinan, W. G. 
Paterson, J. A. 
Gold, Julius 
Haug, Julius 


Gough, Walter 
Firestone, Nathan 
Simonsen, Frances 
Wegman, William 
Tolpegin, Victor 
Hoffman, Henry H. 
Dabelow, William 



















VIOLAS 

Verney, Romain 

Principal 
Hahl, Emil 
Baker, F. A. 
Wismer, Hother 
Weiler, Eric 
Lichtenstein, Victor 
Dierich, Franz 
Triebel, August 
Kolb, Richard 
Lewis, Arthur 














SECOND VIOLINS 


Kirs, Rudolph 
Pasmore, Dorothy 
Reinberg, Herman 
Gough, Flori 
Hranek, Carl 
Haight, Rebecca 


BASSES 


Previati, Louis J. 
Principal 


Bell, Walter 
Storch, A. E. 
Guterson, Aaron 
Schulz, Emil 
Schmidt, Robert E. 
Frederick, Oscar 
Schipilliti, John 


FLUTES 
Linden, Anthony 


Oesterreicher, Walter 
Orchestral Manager 


Benkman, Herbert 


PICCOLO 


Benkman, Herbert 


OBOES 
Addimando, Caesar 
Shanis, Julius 


Schipilliti, Vincent 


ENGLISH HORN 
Schipilliti, Vincent 


CLARINETS 
Randall, Harold B. 
Zannini, Nicolai 
Fragale, Frank 
Triebel, August 

BASS CLARINET 


Fragale, Frank 





339 


Kolb, Richard 


HORNS 
Hornig, Walter 
Roth, Paul 
Tryner, C. E. 
Rocco, R. 


Trutner, Herman 


TRUMPETS 
Drucker, Vladimir 
Barton, Leland S. 
Savant, Silvio 
Kegel, Otto 
Kress, V. 


TROMBONES 


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


TUBA 
Murray, Ralph 


HARP 


Attl, Kajetan 
Attl, Vojmir 


TYMPANI 
Wagner, Roland E. 


PERCUSSION 


Vendt, Albert, Jr. 
Salinger, M. A. 
Kundy, E. 


PIANO AND CELESTA 


Tibbitts, J. P. 


LIBRARIAN 
Kegel, Otto 

















BFA A AF O_O 6 8 Oe a ee ll 
setts aediieeeentnenenseeeneeeemeeees 





3 | AM using the eStemway piano 
now for many years and am 
enjoying its superior qualities so 

——— much that I cannot 


imagine how I ever could 





get along without one. 


It is like a good friend of 





whom you get fonder 
the more you know 


? 


him.’ 


The home of the Steinway ts 





VUlay & Co. 


Sherman, 


Kearny and Sutter Streets, San Francisco 
Mission Street, near Twenty-first 
Fillmore Street, near Post 
Fourteenth and Clay Streets, Oakland 
3420 E. 14th Street, Fruitvale 
Telegraph and Channing Way, Berkeley 
1315 Burlingame Avenue, Burlingame 





OS: die the che che ce the ce de Sho he She dhe Sh he ce Sh She She She She She Shp 


Ohe 
er Peaieiern Symphony 


Opchestra 


ALFRED FERTZ, Conductor 





~ 
IPN 
: 
Vat Oe 
SV eeKten 
ot WL Ye 
m,» Oe + Dee 
vy 5 A 
At < 
BPs 
we ¥, 
= ‘ —_ a — 
3 <= 
oe! —_— 
-— = ae Se — ene 
1 SS SSS — — 
SS = 
= ner SL SS eee = 


Stanford Memorial Church 


Founders’ Day, March 9X, 1929 
8.15 P.M. 


STANFORD UNIVERSITY 


RU Re LDR (SANZ, Conducting 


Se oh cle i cin ce din cle in cl hn cis ch dip ce ec oo ce in Gh So he ce he ho Se She Se She She he She Sh Se She She 


SS ee ep Ee ae a a a ep ae Se > Sp ap ap ae ae ope > 


SPSS PPS PS PSP PSS PP PPP PPS 


BS Ie Ie fp hp SP ap ap ae ae 














PROGRAMME 


The audience is requested to refrain from applause 


Prelude to ‘“‘The Mastersingers’”’ - - - - Wagner 


The prelude to ““The Mastersingers’’ is built up out of five of the 
leading themes from the drama. The opening section is the somewhat 
pompous march of the Mastersingers. Then there is a lyric passage 
based on the theme which throughout stands for the romance of Eva 
and Walther. A flourish of violins leads to a third theme, which may 
be called the fanfare or symbol of the Mastersingers’ guild, and which 
is developed in conjunction with the march theme already heard. 
Then follows an episode combining the love theme with one still more 
directly associated with Walther, and destined to be the basis for his 
prize song. Next comes an episode resembling a scherzo, parodying 
the solemn march, and introducing a theme characteristic of the absurd 
Beckmesser. The final section begins with an explosion; the Master- 
singer and Walther motives are combined and developed in a superb 
song of triumph, emblematic of Walther’s victory and the hearty 
applause of the Mastersingers themselves. 


Symphony in G major (B. and H. No. 13) - - - Haydn 
Adagio—Allegro oe BE 
Largo 
Menuetto: Allegretto 
Finale: Allegro con spirito 


(Played without pause) 


In the seventeen-eighties, just a few years before the Revolution 
cut off the heads of the aristocracy of France, one of the delights of 
Marie Antoinette’s Parisian-Austrian circle was the music played at 
the “concerts spirituels’’ given in the salle des gardes of the Tuileries. 
The manager of these concerts was always on the lookout for novelties, 
and in 1784 he sent an order to Haydn, then director of music for 
Prince Esterhazy, for a round dozen of new symphonies. Such an 
order was in no way surprising, for a symphony in 1784 was by no 
means what it was twenty years later, after Beethoven had come upon 
the scene. The twelve symphonies were duly forthcoming, all written 
between 1784 and 1790. The one in G major was the seventh. Today 
it may seem old-fashioned, formal, lacking in the downright emotional- 
ism to which we have grown accustomed. Just so the costume of that 


period would today appear unrelated to present realities. The G major 
symphony was, indeed, written to order, expressly for a society which 











clung to its artificialities in order to keep from being forced to face the 
truth. To that extent it reflects those features of the eighteenth century 
which the French Revolution ruthlessly swept away. But likewise it 
was written for men and women of remarkable intellectual acuteness 
by a man who combined lovableness with wisdom and lofty idealism 
with shrewd good sense. Until all these qualities are out of date, 
Haydn's symphony will preserve its essential vitality and youth. 


Andante Cantabile from Symphony No. 5 - - Tschaikowsky 


This number, the second movement of the Fifth Symphony, is 
one of the best known and most beautiful of Tschaikowsky’s compo- 
sitions. After a few chords in the lower strings the French horn intones 
the principal theme, a melody of great beauty and deep feeling, which, 
in spite of its romantic flavor and charm, is not altogether free from 
a feeling of melancholy. Soon after, the oboe, answered by the horn, 
hints at a new melody which is eventually sung by the violins and violas 
to the triplet, pulsating accompaniment of the strings. This subject is 
developed with great intensity and feeling. A subsidiary melody is 
then submitted by the clarinet and with masterly treatment of the 
orchestra this material mounts to a tremendous climax into which the 
whole orchestra suddenly projects the fateful theme of the introduction 
of the first movement. Then the horn theme returns in the violins and 
the second melody is gradually worked up to an overpowering climax 
in the full sweep of the orchestra, when once more the portentous 
theme of the introduction asserts itself. The coda is based on the 
movement's second theme, which gradually dies down to a whisper. 


“Heart Wounds” and “The Last Spring”’ - - - Grieg 


Grieg suffered greatly with poor health and on this account was 
seldom in a creative mood during the last two decades of his life, yet 
there were hours when he longed to exercise his creative faculties. On 
these occasions he would arrange his piano pieces and songs for 
orchestra. The two pieces played this evening are arrangements for 
string orchestra of two songs, the original titles of which were “The 
Wounded Heart’’ and ‘“‘Spring Tide.’’ The first of the pair is a tender 
and poignant theme, expressive of sorrow and suffering; the second is 
a sort of melancholy reverie on a happy springtide that will never 
return. 


Tone Poem, ‘‘Death and Transfiguration” - - Richard Strauss 


‘Death and Transfiguration”’ is still the most popular of the 
Strauss tone-poems, and is generally regarded as the most satisfactory 
from the structural and emotional viewpoint. It tells of the last hours 
of a man in the pangs of death, of his struggles with approaching 








death, of his dreams of his past life, of his final gasp, and of his trans- 


figuration in heaven. Strauss gives, as a key to his work, the poem 
of his friend, Alexander Ritter, which was written after the music and 


under its inspiration. Philip Hale has analyzed the musical content 
of the work as follows, dividing it into sections: 


I. The chief Death motive is a syncopated figure, pianissimo, 
given to the second violins and the violas. A sad smile steals over the 
sick man’s face (woodwind accompanied by horns and harps), and 
he thinks of his youth (a simple melody, the Childhood motive, an- 
nounced by the oboe). These three motives establish the mood of 
the introduction. 


II. Death attacks the sick man. There are harsh double blows 
in quick succession. What Mauke characterizes as the Fever motive 
begins in the basses, and wildly dissonant chords shriek at the end of 
the climbing motive. There is a mighty crescendo, the chief Death 
motive is heard, the struggle begins (full orchestra, fff). There is a 
second chromatic and feverish motive, which appears first in sixteenths, 
which is bound to a contrasting and ascending theme that recalls the 
motive of the struggle. The second feverish theme goes canonically 
through the instrumental groups. The sick man sinks exhausted 
(ritenutos). Trombones, ‘cellos, and violas intone even now the 
beginning of the Transfiguration theme, just as Death is about to 


triumph. ‘And again all is still!’ The mysterious Death motive 
knocks. 


Ill. And now the dying man dreams dreams and sees visions. 
The Childhood motive returns (G major) in freer form. There is 
again the joy of youth (oboes, harp, and bound to this is the motive 
of Hope that made him smile before the struggle, the motive now 
played by solo viola). The fight of manhood with the world’s prizes 
is waged again (full orchestra, fortissimo), waged fiercely. “Halt!” 
thunders in his ears, and trombones and kettledrums sound the dread 
and strangely rhythmed motive of Death (drums beaten with wooden 
drumsticks). There is contrapuntal elaboration of the Life struggle 
and Childhood motives. The Transfiguration motive is heard in 
broader form. The chief Death motive and the feverish attack are 
again dominating features. Storm and fury of orchestra. There is 
a wild series of ascending fifths. Gong and harp knell the soul's 
departure. 


IV. The Transfiguration theme is heard from the horns; strings 
repeat the Childhood motive, and a crescendo leads to the full devel- 
opment of the Transfiguration theme. “World deliverance, world 


transfiguration. 

















ROMS CRO 


SAN PR FRANCISCO 
SYMPH ONY 2 
Os ORCHESTRA 


a Marntamea doy 

HV] The Musical 4 l@ 
ie Assoctation of ef 

aan Francisco 












ed fd 


NINTH POPULAR 


1928 1929 a 
Eighteenth Season 


ALFR a 5: mete ~ DU ¢ TOR 





















TENTH POPULAR CONCERT 


Thursday, March 28, 8:20 P. M. 
DREAMLAND AUDITORIUM 


Soloist: LEONE NESBIT, Pianist 


PROGRAMME 
. Water Music 


(First time in San Francisco) 
. Ballet Suite Gluck-Gevaert 


. Fantasie, ““The Wanderer” Schubert-Liszt 
LEONE NESBIT 


4. Prelude, Choral and Fugue 
. Good Friday Spell, from “‘Parsifal’’ 


. Overture to “Euryanthe”’ 





ELEVENTH PAIR OF SYMPHONY CONCERTS 


Thursday, March 21, 8:20 P. M. 
DREAMLAND AUDITORIUM 


Friday, March 22, 3:00 P. M. 
CURRAN THEATRE 


Soloist: FLORENCE AUSTRAL, Soprano 


PROGRAMME 
. Symphony No. 5 Tschaikowsky 


. Recitative and Aria from “‘Fidelio’’ Beethoven 


FLORENCE AUSTRAL 


. Lux Aeterna 
(First time in San Francisco) 
. Songs with Orchestra 
‘““Morgen”™’ 
“‘Staendchen’’ 
‘“Cacilie”’ 


FLORENCE AUSTRAL 








Symphony Box Office, Sherman, Clay & Co.; hours, 9 to 5. Tickets 
may also be obtained at other Sherman, Clay & Co. bay city stores. 
Friday tickets on sale zt Curran Theatre after 10 a. m. on day of con- 
cert. Box office at Dreamland Auditorium open at 7 p. m. on concert 
days. 





Musical Association of San Francisco 


Founded December 20, 1909 Incorporated February 3, 1910 


OFFICERS 
J. B. Levison, President 
W. C. VAN ANTWERP, Vice-President 
WALTER S. MARTIN, Treasurer 
Mrs. IRWIN CRrocKER, Honorary Vice-President 
Mrs. E. S. HELLER, Honorary Vice-President 
A. W. WIDENHAM, Secretary-Manager 


BOARD OF GOVERNORS 


R. I. Bentley John S. Drum John A. McGregor 
Miss Lena Blanding Sidney M. Ehrman John D. McKee 
Miss Louise A. Boyd Milton H. Esberg R. C. Newell 
George T. Cameron Mortimer Fleishhacker F. R. Sherman 
Selah Chamberlain F. J. Koster B. F. Schlesinger 
Mrs. Irwin Crocker J. B. Levison Mrs. M. C. Sloss 
William H. Crocker Walter S. Martin Mrs. Sigmund Stern 
E.R. Dimond Clay Miller W.C. Van Antwerp 
A. B. C. Dohrmann L. F. Monteagle Eli H. Wiel 

Mrs. M. S. Koshland, ex-officio 


EXECUTIVE COMMITTEE 


W.C. Van ANTWERP, Chairman 
Mrs. Irwin Crocker A. B. C. Dohrmann Walter S. Martin 
Mortimer Fleishhacker John D. McKee 


MUSIC COMMITTEE 


R. C. NEWELL, Chairman 
Mrs. M. C. Sloss F. R. Sherman 


WOMEN’S AUXILIARY 


Mrs. M. S. KoSHLAND, Chairman 
Miss LENA BLANDING, Vice-Chairman Mrs. M. C. Porter, Vice-Chairman 


EXECUTIVE OFFICES 
Fifth Floor, 244 Kearny Street 
Telephone GArfield 2819 


A. W. WIDENHAM, Secretary-Manager 
HOWARD G. HANVEY, Press Representative 





347 











*Reg. U. S. Pat. Off. 





Interpreted the soul of Russia in music 
as no other composer has ever done 
The surging sweep of his orchestration, the glowing masses of 
tone in his symphonies are unexampled in musical creation. 


I schatkowsky’s Gorgeous 
FIFTH SYMPHONY 


is released this month in one of the greatest recording achieve- 
ments of the new age in 


COLUMBIA MASTERWORKS* 


played with irresistible power by Willem Mengelberg and the 
Concertgebouw Orchestra of Amsterdam: 


MASTERWORKS SET No. 104 
TSCHAIKOWSKY: Symphony No. 5, in E Minor, Op. 64—by 


Willem Mengelberg and Concertgebouw Orchestra of 
Amsterdam. 


In thirteen Parts, on seven twelve-inch Records, with 
leather album, $10.50. 


> 


Other notable features of the extraordinary March offering of Columbia 
Masterworks are: 

MASTERWORKS SET No. 103 MASTERWORKS SET No. 105 

BRAHMS: Symphony No. 1, in C MOZART: Symphony No. 39, in E 


Minor, Op. 68—by Felix Weingart- Flat, Op. 543—by Felix Weingart- 
ner and Royal Philharmonic Or- ner and Royal Philharmonic Or- 
chestra. chestra. 
In ten Parts, on five twelve-inch In six Parts, on three twelve-inch 
* Records, with Album, $7.50. Records, with Album, $4.50. 
THE COLUMBIA PHONOGRAPH COMPANY 
941 Mission Street, San Francisco, Calif. 
Cane 
“Magic —_ Notes”’ 





COLUMBIA 


“* NEW PROCESS’? RECORDS 


Reg. U.S. Pat. ( ff. 
Viva-tonal Recording — The Records without Scratch 





























Che San Francisen Symphony Orchestra 


ALFRED HERTZ, Conductor 
(Steinway Piano Used) 








1928—Season—1929 






NINTH POPULAR CONCERT 
775th Concert 






Tuesday Evening, March 14, 8:20 o’clock 
DREAMLAND AUDITORIUM 






RUDOLPH GANZ 


Guest Conductor 










PROGRAMME 
|. Prelude to “The Mastersingers”......... Wagner 
2. Andante Cantabile from Symphony No. 5.... 'schaikowsky 

79. DOMGt cusite frGnt steadoeele 2 ge Massenet 

Castillane 
Aragonaise 
Aubade 
Madrilene 


Navarraise 










Intermission 









. Two Slavonic Dances 






5. (a) “The Last Spring’’ (For Strings)... Grieg 
(bh) Menuet(F or-Strines it ecco Bolzoni 

6. Entrance of the Little Fauns, from 
peaise shidithe Gate inlet et ills tee Pierne 






(First time in San Francisco) 
7. Waltz, ““On the Beautiful Blue Danube’’____. Johann Strauss 
Dy. TRMROCEY PARTON. Abad cit Pte, co took we Nig Berlioz 







*This Suite has been recorded for the Victor by the San Francisco 
Symphony Orchestra under the direction of Alfred Hertz. 






349 








SAN FRANCISCO ; 3 : 
CONSERVATORY Victor Lichtenstein 
OF MUSIC 


ERNEST BLOCH, Director ta Instruction 
Ada Clement and 2 ie & ae 
Lillian Hodghead : wate’ i 

Associate Directors a 2 a Art 


Advanced Students of CO ma c of 


GIULIO SILVA gas) Violin 


Head of the Vocal Department << Playing 
WILL GIVE A RECITAL 


Friday, March 22, 
8:30 P. M. 


Eight of Mr. Lichtenstein’s 
pupils became members of 


the St. Louis Symphony 


SOROSIS HALL Orchestra. 
536 Sutter Street 


Invitational | 
a Stup10: 3145 WASHINGTON STREET 


WA nut 3496 | Telephones: FI llmore 6146 
3435 SACRAMENTO STREET FI Ilmore 4948 


YOUNG PEOPLE’S SYMPHONY 
CONCERTS 


San Francisco Symphony Orchestra 
WHEELER BECKETT, conducting 


CURRAN THEATRE 


LAST CONCERT 
Friday, March 15, 4:00 P. M. 


PROGRAMME 
Overture to “‘Rosamunde,” Schubert; Allegretto from Eighth Symphony, 
Beethoven; Allegro con grazia from Sixth Symphony, Tschaikowsky ; 
Awarding of Prizes; Introduction to Act III, ‘Lohengrin,’ Wagner. 


Tickets at Sherman Clay & Co., 65c, $1.00, $1.25 
ALICE METCALF 


Executive Manager 
Hotel Mark Hopkins 


San Francisco 


- 
a 


350 








Prelude to ‘““The Mastersingers’’ - - - Richard Wagner 
(Born May 22, 1813, at Leipsic; died February 13, 1883, at Venice) 


The prelude to ““The Mastersingers”’ is built up out of five of the 
leading themes from the drama. The opening section is the somewhat 
pompous march of the Mastersingers. Then there is a lyric passage 
based on the theme which throughout stands for the romance of Eva 
and Walther. A flourish of violins leads to a third theme, which may 
be called the fanfare of symbol of the Mastersingers’ guild, and which 
is developed in conjunction with the march theme already heard. Then 
follows an episode combining the love theme with one still more 
directly associated with Walther, and destined to be the basis for his 
prize song. Next comes an episode resembling a scherzo, parodying 
the solemn march, and introducing a theme characteristic of the absurd 
Beckmesser. The final section begins with an explosion; the Master- 
singer and Walther motives are combined and developed in a superb 
song of triumph, emblematic of Walther’s victory and the hearty 
applause of the Mastersingers themselves. 


Andante Cantabile from Symphony No. 5 - Peter Iljitch Tschaikowsky 


(Born May 7, 1840, at Wotkinsk; died November 6, 1893, at; Leningrad) 


This number, the second movement of the Fifth Symphony, is one 
of the best known and most beautiful of Tschaikowsky’s compositions. 
After a few chords in the lower strings the French horn intones the 
principal theme, a melody of great beauty and deep feeling, which, in 
spite of its romantic flavor and charm, is not altogether free from a 


Established 1852 


QUALITY 
PRESTIGE 
SERVICE 


SHREVE & COMPANY 


fewelers and Silversmiths 


Post Street at Grant Avenue 
San Francisco 





351 





T VIOLINIST OF TH 
SSTRING QUARTE 


Announces 


THE OPENING OF A STUDIO FOR 


INSTRUCTION 
IN VIOLIN AND 
ENSEMBLE 


INTERVIEWS BY APPOINTMENT 
TELEPHONE OR WRITE 


“Management 


ALICE SECKELS 


FAIRMONT HOTEL 
DO uglas 7267-8800 


Louis Ford 


Concert 
V iolinist 


TEACHER 


Available for Solo, Sonata, Trio and 
Quartet engagements, 


Eighteen years in Chamber Music: 
San Francisco Quintet Club, Chamber 
Music Society of San Francisco, Per- 
singer String Quartet. 


Twelve years first violinist with San 
Francisco Symphony Orchestra; Assis- 
ine Concert Master for Season 1917 to 
1925. 


PUPILS ACCEPTED 
Coaching in ensemble playing. 
Assistant teacher for beginners under 

my personal supervision, 


1610 Plymouth Ave. Phone DE laware 0201 


Bunning System of Improved Musir Study 
CARRIE LOUISE DUNNING, Originator 
8 West 40th Street, New York City 
834 South Plymouth Boulevard, Los Angeles, Calif. 


HE Greatest Musical Event in New York City in the past several decades was the 
} playing of a ten-year-old Dunning pupil with the New York Philharmonic Orchestra, 


March 20th, 1926. 
he memorized it in three weeks. 


not, then you do. 


The child had only studied one year and eight months. She 
layed Le Carnaval des Animaux, by Saint-Saens. 


The piece is twenty-three pages long. 


If you have any plan for teaching that can bring such 
results in that length of time—then you do not need the Dunning System. 


If you have 


Faculty of Normal Teachers—Classes Held in these Cities 


KATHARINE M. ARNOLD, 93 Madison St., 
ifn, O. 
Autuig E. Barcus, 1006 College St., Ft. 

Worth, Tex. 
EvizeTTeE R. Bartow, Box 1244, St. Peters- 
burg, Fla. 
CATHERINE C. Brrp, 658 Collingwood Ave., 
Detroit, Mich, 
N. Twin 


Grace A, Bryant, 201—10th Ave., 
Falls, Idaho. 

Dora A. CuHasz, 345 Clinton Ave., Brook- 
lyn, N. Y. 

Appa C. Eppy, 136 W. Sandusky Ave., 
Bellefontaine, O. 

Beatrice S. Erker Kipp, Key College, 
Sherman, Tex. 

Ipa GARDNER, 17 E. 6th St., Tulsa, Okla. 

Giapys M. GLENN, 1217 Bowie St., Am- 
arillo, Tex. 


Florence E. Grasie, Michigan State In- 
stitute of Music, Lansing, Mich. 


HarriET Bacon MacDonatp, 6010 Belmont 
Ave., Dallas, Tex. 

Kate DELL MarpeEN, 61 N. 16th St., 
land, 

Mrs. W. P. Mason, 302 Mid. City Bank 
Bldg., Chicago, III. 

Laup G. Purppen, 3435 Ashbury Ave., 
Dallas, Tex. 

Evure I. Prince, 4106 Forest Hill Ave., 
Richmond, Va. 

VIRGINIA RYAN, 1070 Madison Ave., 
York. 

STELLA H. Seymour, 1219 Garden St., San 
Antonio, Tex. 
GERTRUDE THOMPSON, 508 W. Coal St., 

Albuquerque, N. 


M. 
IsopeL M. Tone, 626 Catalina St., Los An- 


geles, Calif. 
Mrs. H. R. Warxins, 124 E. llth St., 


Oklahoma City, Okla. 


Port- 


New 


Mrs. JEAN WARREN CARRICK 
(Normal Teacher) 


25 Lake Street, San Francisco 


352 


Classes formed upon Arrangement 














feeling of melancholy. Soon after the oboe, answered by the horn, 
hints at a new melody which is eventually sung by the violins and 
violas to the triplet, pulsating accompaniment of the strings. This 
subject is developed with great intensity and feeling. A subsidiary 
melody is then submitted by the clarinet and with masterly treatment 
of the orchestra this material mounts to a tremendous climax into which 
the whole orchestra suddenly projects the fateful theme of the intro- 
duction of the first movement. Then the horn theme returns in the 
violins and the second melody is gradually worked up to an over- 
powering climax in the full sweep of the orchestra, when once more 
the portentous theme of the introduction asserts itself. The coda is 
based on the movement's second theme, which gradually dies down to 
a whisper. 


Ballet Suite from ‘‘Le Cid’’ - - - - Jules Massenet 
(Born May 12, 1842, at Montaud; died August 13, 1912, at Paris) 


Massenet’s opera, “Le Cid,’’ the story of which is based on the 
adventures of the national hero of Spain, was produced at the Grand 
Opera in Paris, November 30, 1885. It was a very successful work. 
The action is founded on Racine’s drama of the same name, but 
Massenet followed the will of the French public and included a ballet 
in each of the four acts. The music for these ballets has been formed 
into an orchestral suite. While the various numbers are not built on 
actual Spanish melodies, they are largely imitative of the music of the 
different provinces of Spain. The first is the Castillane, typical of old 


VOJMIR ATTL 


Harpist 
San Francisco Symphony Orchestra 
Available for 


JOHN BUBEN Concerts, Ensemble Music and 


HARP INSTRUCTION 


Fur Artistry and Craftsmanship for STUDIO: Be 
discriminating fur lovers. Furs re- 403-404 Marston Building ; 
styled as Jacquettes, or in the latest 244 Kearny St., San Francisco, Calif. 


Creations. 57 GEARY ST For Appointment 


Phone KEarny 5873 Call 
. Studio Phone Residence Phone 
Paris Office 


52 Rue du Faubourg—Montmartre DOuglas 3706 SKyline 2757 


Fur Fashion’s Creator 





353 











Castile. Then comes the Aragonaise, which is a spirited, highly col- 
ored dance of Aragon. The Aubade is a charming morning serenade 
with an imitation of guitar and mandolin music. The Madrilene is the 
dance of Madrid, divided into two parts. The first is languorous and 
dreamy, the second animated and boisterous. The closing number is 
the Navarraise, reflecting that spirit of braggadocio which has always 
been characteristic of the people of Navarre. 


Two Slavonic Dances - - - - - Anton Dvorak 
(Born September 8, 1841, at Muhlhausen; died May 1, 1904, at Prague) 

It was with his Slavonic Dances that Dvorak first won fame, and 
in fact they marked the turning point in his career. In 1875 he was 
awarded a yearly pension of two hundred and fifty dollars from the 
Austro-Hungarian government, and the person whose duty it was to 


examine the compositions of pension holders was Johannes Brahms. 
In this way Brahms, whose Hungarian Dances had met with such a 
success ten years before, discovered the first set of Slavonic dances, 
written for four hands, and persuaded Dvorak to send them to Simrock 
for publication. They were a sensation and almost overnight Dvorak 
found himself the center of Viennese musical interest. Before long he 
had arranged several of the dances for orchestra, and in the new form 
they repeated the triumph accorded the piano versions. 


HAZEL DREIS 


FINE BOOKBINDINGS 


MUSIC BOOKS BINDING 
BOUND MENDED TAUGHT 


1367 Post Street, San Francisco 
WA Inut 7097 19 Studio Building 


The ARRILLAGA MUSICAL COLLEGE 


Cordially invites you to attend the second of a series of talks on 
Music and Its Appeal to the Layman 
presented by 


PLOW Ae) OO Bix 


Friday, March 15, 8:30 P. M. 
2351 JACKSON STREET WALNUT 3742 





354 



































‘‘The Last Spring”’ - - - - - - Edward Grieg 
(Born June 15, 1843; died September 4, 1907, at Bergen) 


Grieg suffered greatly with poor health and on this account was 
seldom in a creative mood during the last two decades of his life, yet 
there were hours when he longed to exercise his creative faculties. On 
these occasions he would arrange his piano pieces and songs for orches- 
tra. The piece played this evening is an arrangement for strings of a 
song originally entitled ‘Spring Tide,’’ a sort of melancholy reverie 
on a happy springtide that will never return. 


Menuet - - - - - - - Giovanni Bolzoni 
(Born May 14, 1841, at Parma; now living in Turin) 

Bolzoni, an Italian composer and conductor, and at present direc- 
tor of the conservatory at Turin, is practically unknown outside of his 
own country. The Menuet played this evening is a dainty, fetching 
musical tid-bit and is about the only work by which the author is known 
in this country. In form and character it is similar to the famous one 
by Boccherini. 


Entrance of the Little Fauns, from “‘Cydalise and the Satyr” —- 
: - - - - - - - - Gabriel Pierne 


(Born August 16, 1863, at Metz) 
The ballet, ““Cydalise and the Satyr,” was composed in 1913 and 
was scheduled for production the next year, but the war intervened 


The 
PRINTERS 
Engraving — Publishing 
MARGARET 
PIANIST 
Will be on the Pacific Coast during 
the entire season, 1928-1929 

Concert Management 

ELWYN CONCERT BUREAU 
DAvenport 0450 PHELAN BUILDING 
Studio: 
F yi 450 GRANT AVENUE 
619 California Street Telephone KEarny 8289 


SAN FRANCISCO 





355 











and it was not until January 15, 192 3, that the first production took 
place, at the Paris Opera. The ballet is concerned with an old Satyr 
who conducts classes in dancing and playing on the Pandean pipes. 
Among the pupils is Styrax, a boisterous young satyr whose pranks 
threaten the discipline of the school, incurring finally the penalty of 
expulsion. The call of the woods soon overcomes any suggestion of 
remorse, but as the venturesome satyr ranges at will, his solitude is 
interrupted by the appearance of a coach and four, bearing a troupe 
of dancers, among whom is the lovely Cydalise. Styrax being imme- 
diately attracted by the sight of the young beauty, follows the coach, 
and concealing himself in a wardrobe basket strapped thereto is 
whisked away to the royal court. He quickly discloses himself and 
boldly makes ardent love to Cydalise. So potent are his blandish- 
ments that he almost succeeds in his purpose. At the moment when 
the surrender of Cydalise seems imminent, there are heard the voices 
of Satyrs calling from the forest. After a brief struggle with his 
emotions, Styrax renounces his mortal love and flees to his native 
haunts. 


Pierne arranged two orchestral suites from the ballet, the number 
played this evening being the opening number of the first suite. It is 
a grotesque march that accompanies a number of little fauns who, led 
by an old satyr, their teacher, are proceeding to the school in which 
they are to learn how to perform on the pan-pipes. 


The subject is given out at the fifth measure by three piccolos. 


JANET ROWAN HALE 


Pianist and Teacher 


Studio 902 
26 O'Farrell Street Berkeley and Piedmont 
Phone DAvenport 5486 Phone OAkland 8663 


30 years violin specialist in St. Louis and Chicago Expert Repairing 


S. O. ALLISON 
VIOLIN MAKER, CONNOISSEUR AND APPRAISER 


Agent for Andres Morellis hand-made Violins, Violas, ‘Cellos, Basses 
Artist Bows by G. A. Pfritzschner 
and other celebrated Bow Makers 


45 GEARY STREET 
Dealer in New and Old Violins, San Francisco, Cal. 


"Cellos and Bows Formerly I. A. Lutz 
Strings and Accessories DAvenport 0415 





356 














These piccolos represent the shrill cries of the little fauns, their gab- 
blings and their quarreling. The old faun, their teacher, speaks in 
the phrases given out by the E flat clarinet. Now the pattering of the 
hoofs of the little fauns is suggested by chords in the strings, partly 
plucked and partly played with the back of the bow, while a rippling 
passage for flutes and piccolos alternates with a rhythmic theme played 
by the trumpets. 


Waltz, ‘On the Beautiful Blue Danube”’ - - Johann Strauss 
(Born October 25, 1825, at Vienna; died there June 3, 1899) 

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

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 this evening is undoubtedly the most celebrated. Curi- 
ously enough, it was not a success at first, written as a chorus. In 
instrumental form, however, its success was instantaneous. 


Rakoczy March - - - - - - Hector Berlioz 
(Born December 11, 1809, at Cote St. Andre; died March 5, 1869, at Paris) 


The Rakoczy March from “The Damnation of Faust’’ did not 


RICHARD BUHLIG 


Will Conduct a Class in 
Piano Playing 
Twelve Wednesday and Saturday Afternoons 


(From April 3 to May 11) 


For Information apply to 
MARGARET TILLY 
450 Grant Ave. KE arny 8289 


Julian Brodetsky 


ASSISTANT CONCERT MASTER 
SAN FRANCISCO SYMPHONY ORCHESTRA 


Violin Instruction 


Studio 
Phone SKyline 4855 189 Commonwealth Avenue 





357 








originate with Berlioz—being based instead on a very old and famous 
Hungarian tune, whose title is the name of an ancient and once wealthy 
and powerful family of that country. It was not included in the 
original score of “The Damnation of Faust,”’ but is an orchestral adap- 
tation of this national melody, written especially for a concert at Pesth 
as a concession to the intense patriotism of the Hungarians, to whom 
the March is sacred. The composer was assured that his treatment 


of the national air was so unusual that the excitability of a Hungarian 
audience might involve him in an unpleasant predicament. Berlioz 
has described the performance: ‘‘First the trumpets gave out the 
rhythm, then the flutes and clarinets softly outlined the theme, with a 
pizzicato accompaniment of the strings, the audience remaining calm 
and judicial. Then, as there came a long crescendo, broken by dull 
beats of the bass drum, like the sound of a distant cannon, a strange, 
restless movement was to be heard among the people; and as the 
orchestra let itself go in a cataclysm of sweeping fury and thunder, they 
could contain themselves no longer; their overcharged souls burst with 
a tremendous explosion of feeling that raised my hair with terror. | 
lost all hope of making the end audible, and in the encore it was no 
better; hardly could they contain themselves long enough to hear a 


99 


portion of the coda. 


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 


MEMBE.R ASSOCIATED SAVINGS BANKS OF SAN FRANCISCO 
526 California Street, San Francisco, Cal. 


December 31st, 1928 


$123,780,369.02 
Capital, Reserve and Contingent Funds 5,150,000.00 
Pension Fund over $635,000.00, 

standing on Books at 1.00 


PASOTLIIN ESERPMIMGAES S¥2\5 6.010% Rin we 6 ab4 dha oe 0 ands Gable Mission and 21st Streets 
PARK-PRESIDIO BRANCH Clement St. and 7th Ave, 
Haight and Belvedere Streets 

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 





358 











Jersonnel 





The San Francisen Sumphony Orchestra 





FIRST VIOLINS 


Piastro, Mishel 
Concert Master 


Fenster, Lajos 


Assistant Concert Master 


Brodetsky, Julien 


Assistant Concert Master 


Meriz, Emilio 

Ford, Louis W. 
Jensen, Thorstein 
Gordohn, Robert 
Mendelevitch, Rodion 
Laraia, William F. 
Mortensen, Modesta 
Koenig, Hans 

See, Orley 

Pasmore, Mary 
Atkinson, Helen E. 
Wolski, William 
Ruiz, Ricardo 


SECOND VIOLINS 


Heyes, Eugene 
Principal 


Rosset, Emil 
Amsterdam, Max 
Callinan, W. G. 
Paterson, J. A. 
Gold, Julius 
Haug, Julius 


Gough, Walter 
Firestone, Nathan 
Simonsen, Frances 
Wegman, William 
Tolpegin, Victor 
Hoffman, Henry H. 
Dabelow, William 


VIOLAS 

Verney, Romain 

Principal 
Hahl, Emil 
Baker, F. A. 
Wismer, Hother 
Weiler, Eric 
Lichtenstein, Victor 
Dierich, Franz 
Triebel, August 
Kolb, Richard 
Lewis, Arthur 


ALFRED HERTZ, CONDUCTOR 


"CELLOS 


Penha, Michel 
Principal 


Dehe, Willem 

King, Otto 
Villalpando, Wenceslao 
Kirs, Rudolph 
Pasmore, Dorothy 
Reinberg, Herman 
Gough, Flori 

Hranek, Carl 

Haight, Rebecca 


BASSES 


Previati, Louis J. 
Principal 


Bell, Walter 
Storch, A. E. 
Guterson, Aaron 
Schulz, Emil 
Schmidt, Robert E. 
Frederick, Oscar 
Schipilliti, John 


FLUTES 
Linden, Anthony 


Oesterreicher, Walter 
Orchestral Manager 


Benkman, Herbert 


PICCOLO 


Benkman, Herbert 


OBOES 
Addimando, Caesar 
Shanis, Julius 


Schipilliti, Vincent 


ENGLISH HORN 
Schipilliti, Vincent 


CLARINETS 
Randall, Harold B. 
Zannini, Nicolai 
Fragale, Frank 
Triebel, August 

BASS CLARINET 


Fragale, Frank 





359 


BASSOONS 
Kubitschek, Ernest 
La Haye, E. B. 
Hranek, Carl 


CONTRA BASSOON 


Kolb, Richard 


HORNS 
Hornig, Walter 
Roth, Paul 
Tryner, C. E. 
Rocco, R, 


Trutner, Herman 


TRUMPETS 
Drucker, Vladimir 
Barton, Leland S. 
Savant, Silvio 
Kegel, Otto 
Kress, V. 


TROMBONES 


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


TUBA 
Murray, Ralph 


HARP 


Attl, Kajetan 
Attl, Vojmir 


TYMPANI 
Wagner, Roland E. 


PERCUSSION 


Vendt, Albert, Jr. 
Salinger, M. A. 
Kundy, E. 


PIANO AND CELESTA 


Tibbitts, J. P. 


LIBRARIAN 
Kegel, Otto 








cc : : : 
I AM usInNg the eStemway plano 
now for many years and am 


enjoying its superior qualities so 





errs much that I cannot 


imagine how I ever could 





get along without one. 
It is like a good friend of 
whom you get fonder 


the more you know 


Be 


him. 


The home of the Steinway ts 


Sherman Gtay & Co. 


Kearny and Sutter Streets, San Francisco 
Mission Street, near Twenty-first 
Fillmore Street, near Post 
Fourteenth and Clay Streets, Oakland 
3420 E. 14th Street, Fruitvale 
Telegraph and Channing Way, Berkeley 
1315 Burlingame Avenue, Burlingame 








UNIVERSITY OF CALIFORNIA 
Committee on Music and Drama 


San Francisco Symphony Orchestra 
ALFRED HERTZ, Conductor 


LAST BERKELEY CONCERT 
Spring Series, 1929 


HARMON GYMNASIUM 
SUNDAY, MARCH 17, 1929, AT 3 P.M. 


PROGRAMME 
SP Gire a ery oa A eg ae ee Eas i eo eS RNS Bley Sibelius 


Cre Ok gS ESBS FR 2 (15 ad Bf ae daice ae rie « OM gi We sce CRRMDCY sR CEE te PO Glazounow 
Allegro moderato 
Andante 
Scherzo: Allegro giocoso 


Finale: Allegro maestoso 


INTERMISSION 


3. ‘“Ruralia Hungarieca,’’ Five Pieces for Orchestra........................ Dohnanyi 


PE OGU Eth MUIR ATEDUG. “S25. ncasphea slack vp erdaces cothtad obi etd taxes gaule Weber 














SS UROOMTO GONE SstBLRR ta hiss chase un adid \cesneeacottataceen sents mae Sibelius 


‘‘Findlandia’’ was composed in 1894, and is supposed to record the 
‘‘impressions of an exile’s return home after a long absence.’’ While the 
themes have a decided Finnish folk-song character Sibelius himself has 
stated that they are absolutely his own. The work is a remarkable tone 
picture of the intense national spirit of this hardy race of the North. 
When first performed at Helsingfors it is said to have aroused the audience 
to such a frenzy of enthusiasm that future performances were prohibited 
by the Russian government for fear of its creating anti-Russian 
demonstrations. 


RrrONenO YW IN RINT Tt 2 hg ts ee ag eae ee ere Glazounow 


Glazounow’s first essay in the composition of a symphony was made 
under the superintendence of Rimsky-Korsakow, to whom he brought in 
1881 a sketch for his first symphony—a work which was completed early 
in the following year and performed at Petrograd on March 17, 1882. In 
his Memoirs Rimsky-Korsakow relates that considerable astonishment was 
evinced by the audience when in response to great applause at the con- 
clusion of the work a boy of sixteen, dressed in the uniform of a student, 
stepped on the stage to bow his acknowledgments to it. So great was the 
maturity disclosed in this first symphony that it was freely hinted that 
Rimsky-Korsakow was in reality the creator of it. The reputation of the 
youthful composer spread rapidly, and Liszt, learning of Glazounow’s 
uncommon gifts, produced the symphony at Weimar in 1884. 

As an insight into Glazounow’s symphonic works the following is 
quoted from M. Montague Nathan’s ‘‘Contemporary Russian Composers’’ : 

‘*As a symphonic writer Glazounow has gradually drawn away from 
the use of external aids and has relied more and more on inherent beauty. 
Beginning with ‘Stenka Razine’—the work of a man who reckoned, at the 
time of its composition, a powerful recruit to the nationalistic coterie—he 
has progressed to the eighth symphony, which has earned him the title of 
‘a contemporary classic master.’ As a half-way house in this process of 
evolution the fourth symphony, in E flat major, repays examination. In 
this we see the composer hesitating about his road. It contains reflections 
of the influence of Borodin in the Oriental theme of the Andante, of Liszt 
in its construction, its desregard of the four-movement form and the trans- 
formation of thematic substance, and of the West in the first subject of 
the Allegro moderato—a theme which is heard in several later works in a 
variety of guises, which do not, however, conceal its identity, notably in 
the concerto for violin. 

‘‘ At this stage the composer has already traveled far; on the road still 
before him he is to purify the elements of his creative substance and to 
divest it of everything which is not essentially musical. ‘He has abandoned,’ 
says Rimsky-Korsakow in his Memoirs, ‘the thickets of ‘‘The Forest,’’ the 
depths of ‘‘The Sea’’ and the walls of ‘‘The Kremlin’’ ’; in the last named 
the musical reflection of the programme, indicated by headings, has 
become quite faint; the romanticism of the Andante of the fifty symphony 
of ‘Raymonda,’ of the sixth symphony and the ‘Middle Ages’ suite is not 
in the vein of the contemporary descriptive composers. Glazounow has 
already gone far towards purging himself, he is already nearing his 
promised land, wherein music is absolutely self-sufficing, in the seventh 
symphony. With the eighth he reaches his destination.”’ 











ORRUET OIA, SACO TSG cco a ll eee Ernest von Dohnanyt 


As is suggested by the title, this suite consists of five pieces based on 
Hungarian folk-tunes. 


I. The first piece begins in pastoral vein, a triplet phrase in the oboe, 
and a melody in the solo viola. The clarinet next sings the phrase. The 
instrumentation is very dainty throughout. ’Cellos then take up the phrase. 
After a rising passage in strings and woodwinds, the melody appears in 
more impassioned song in the strings. When this has been permitted to 
die away, another section ensues, in EK major, 3-4 time. The clarinet chants 
a soft refrain, while divided and muted strings and harp accompany. 
The melody flows among the various woodwinds. A solo viola joins the 
chorus. The mood is lyrical throughout. The violins desert their role of 
accompaniment and sing passionately. Shortly there is a return to the 
original minor and rubato ‘‘Stimmung,’’ after a more rhapsodical and 
freer introduction. The middle section also returns, but now in the minor. 
The movement dies away. 


II. In most violent contrast is the second piece. Strings and woodwinds, 
with rhythmic interjections of the brass, dance a powerful and decidedly 
Hungarian measure, rude and rough. After a number of repetitions a 
milder and more pastoral and folk-like section ensues, in which clarinet 
and then oboes tell a sly tale to the accompaniment of a persistent figure 
pizzicato in the violins. This rises in power, until trombones and bassoons 
shout it, while flutes shriek above. The initial subject returns, in even 
more agitated form, until a turbulent end is reached. 


III. Allegro grazioso, the very daintiest and most piquant of move- 
ments—delicate snatches of folk-tunes flying about from one section of the 
orchestra to another. Frequent and rapid changes of instrumental com- 
binations. Surely the fairies of Hungary dance this on some greensward 
under the full moon. 


IV. Adagio non troppo, an elegiac movement—the melody in English 
horn, bass clarinet, and horns, over a drone bass in divided double-basses. 
The melody has a ritornello, soft and strange chords in divided strings and 
harp. This continues for some time, like some legend of long ago, until an 
agitated section begins. A pregnant phrase, which the clarinet announces, 
is given to different instruments, and then leads to a broad Hungarian 
melody in the violins. This alternates with the phrase announced by the 
clarinet, undergoing frequent modulations. One of the most beautiful 
parts is a song in violins, solo ’cello, and horn. A brief transition leads 
back to the initial mournful melody—now in the strings, with a soft- 
running obligato by woodwinds. The ritornello is much ornamented. The 
end is on the descending fifths of the ritornello, gradually dying away. 


V. The last piece of the suite is a kind of Hungarian Tarantella, a swift 
and furious dance, first shifting from strings to woodwinds, and then a 
sparkling run in the clarinet. A contrasting section sets rapidly bowed 
arpeggios in the violins against rhythmic interjections of woodwinds and 
horns. Then the horns themselves stutter out a heavy-footed dance. A 
transition brings us back to the initial rhythm, but with altered harmon- 
ization. The pace becomes ever more rapid, culminating in an upward 
run of the woodwinds, and ending upon a staccato chord for full orchestra. 











OOVOGAREO WO eUr YORU he re se eel al eects gone Weber 


Although the opera ‘‘Kuryanthe’’ has never been a success because of 
its poor libretto, the overture is an immortal concert favorite. Sir Julius 
Benedict, who was a pupil of Weber, wrote of it as follows: 


‘‘The overture is rich in its effects, chivalric, repressive and passionate 
by turns. It includes several of the important musical and dramatic 
features of the opera. The leading phrase, embodying Adolar’s faith in 
God and his Euryanthe, conjures up at once the splendor of a Provencal 
court, with its knights, its troubadours and fair ladies. The second subject 
is taken from Adolar’s scene, ‘O Happiness, I Searce Comprehend Thee,’ 
and forms a delightful contrast to the preceding ; after which an unexpected 
and novel modulation leads to a mysterious movement, which embodies the 
gvhostly apparition of Adolar’s ancestors. The characters of Adolar’s 
rival, Lysiart, and of Euryanthe’s false friend, Eglantine, are portrayed 
by the respective musical figures, which, alternating with snatches of the 
first subject, describe well the struggle of truth and loyalty against fraud 
and treason. At last the clouds are dispersed and this highly poetic concep- 
tion is completed by a return to the beginning and to Adolar’s motive, 
‘O Happiness,’ in the original key, now a jubilant, triumphant song, 
inspiring and almost overwhelming, by its enthusiasm and fire.’’ 


ANNOUNCEMENT 


For the season of 1929-30 tentative plans have been made for a Fall 
series and a Spring series of four concerts each by the San Francisco 
Symphony Orchestra in Harmon Gymnasium, 








Conace 
eG 
Ww 

| 











Association of |e 


: San Francisco 


PRD 


1928 1929 
Eighteenth Season 


ALFRED HERTZ CONDUCTOR 



























TENTH POPULAR CONCERT 





Thursday, March 28, 8:20 P. M. 
DREAMLAND AUDITORIUM 


Soloist: LEONE NESBIT, Pianist 





PROGRAMME 






Fee REP VICAR ss. sti ae es a Se chee Caer oe ete Handel 
(First time in San Francisco) 

eT SRE ONG a ee Seo te te Gluck-Gevaert 

3. Fantasie,» “The Wanderer 2...20..22-.2...020.2.5 Schubert-Liszt 


LEONE NESBIT 
4. Prelude,Choral and: bugue.. 0202 oe 
5. ‘Good Friday Spells trom: “Parsifal ..2....:.......-....s4. Wagner 


6.  Owerture to’  Ruryantne ..-3cis eto eas 

















TWELFTH PAIR OF SYMPHONY CONCERTS 





Thursday, April 4, 8:20 P. M. 
DREAMLAND AUDITORIUM 


Friday, April 5, 3:00 P. M. 
CURRAN THEATRE 


Soloist: MICHEL PENHA, ’Cellist 





PROGRAMME 
l.. Wioloncelle Concerto: ID maior so ct eet Haydn 


2. Music from the Ballet “Skyscrapers ’..............-.-.-- Carpenter 
(First time in San Francisco) 









Se. SVTRDD ORY NOR J uae ean is le he a are ead Beethoven 








Symphony Box Office, Sherman, Clay & Co.; hours, 9 to 5. Tickets 
may also be obtained at other Sherman, Clay & Co. bay city stores. 
Friday tickets on sale zt Curran Theatre after 10 a. m. on day of con- 
cert. Box office at Dreamland Auditorium open at 7 p. m. on concert 





366 











Musical Association of San Francisco 


Founded December 20, 1909 Incorporated February 3, 1910 


OFFICERS 
J. B. Levison, President 
W. C. VAN ANTWERP, Vice-President 
WALTER S. MARTIN, Treasurer 













Mrs. IRwIN Crocker, Honorary Vice-President 
Mrs. E. S. HELLER, Honorary Vice-President 
A. W. WIDENHAM, Secretary-Manager 


BOARD OF GOVERNORS 











R. I. Bentley John §. Drum John A: McGregor 
Miss Lena Blanding Sidney M. Ehrman John D. McKee 
Miss Louise A. Boyd . Milton H. Esberg R. C. Newell 
George T. Cameron Mortimer Fleishhacker F. R. Sherman 

Selah Chamberlain F. J. Koster B. F. Schlesinger 
Mrs. Irwin Crocker J. B. Levison Mrs. M. C. Sloss 
William H. Crocker Walter S. Martin Mrs. Sigmund Stern 
E.R. Dimond Clay Miller W. C. Van Antwerp 
A. B. C. Dohrmann L. F. Monteagle Eli H. Wiel 











Mrs. M. S. Koshland, ex-officio 


EXECUTIVE COMMITTEE 


W. C. Van ANTWERP, Chairman 
Mrs. Irwin Crocker A. B. C. Dohrmann Walter S. Martin 
Mortimer Fleishhacker John D. McKee 


MUSIC COMMITTEE 


R. C. NEWELL, Chairman 
Mrs. M. C. Sloss F. R. Sherman 









WOMEN’S AUXILIARY 


Mrs. M. S. KosHLAND, Chairman 
Miss LENA BLANDING, Vice-Chairman Mrs. M. C. Porter, Vice-Chairman 











EXECUTIVE OFFICES 
Fifth Floor, 244 Kearny Street 
Telephone GArfield 2819 







A. W. WIDENHAM, Secretary-Manager 
HOWARD G. HANVEY, Press Representative 


367 


ae 











~~. Se US OU eT Ue ee oe he SO eT POOLED AAAAD DD... GG GG Gp Gp in ap an Gp a> a ap an a> a anand ah dan anand:a2¢.eEeR———————— 











ySCHAIKOWS Ky, 


Interpreted the soul of Russia in music 

as no other composer has ever done 
The surging sweep of his orchestration, the glowing masses of 
tone in his symphonies are unexampled in musical creation. 


Ischatkowsky’s Gorgeous 
FIFTH SYMPHONY 


is released this month in one of the greatest recording achieve- 
ments of the new age in 


COLUMBIA MASTERWORKS* 


played with irresistible power by Willem Mengelberg and the 
Concertgebouw Orchestra of Amsterdam: 


MASTERWORKS SET No. 104 
TSCHAIKOWSKY: Symphony No. 5, in E Minor, Op. 64—by 
Willem Mengelberg and Concertgebouw Orchestra of 
Amsterdam. 
In thirteen Parts, on seven twelve-inch Records, with 
leather album, $10.50. 
=> 
Other notable features of the extraordinary March offering of Columbia 
Masterworks are: 


MASTERWORKS SET No. 103 MASTERWORKS SET No. 105 
BRAHMS: Symphony No. 1, in C MOZART: Symphony No. 39, in E 


Minor, Op. 68—by Felix Weingart- Flat, Op. 543—by Felix Weingart- 
ner and Royal Philharmonic Or- ner and Royal Philharmonic Or- 
chestra. chestra. 


In ten Parts, on five twelve-inch In six Parts, on three twelve-inch 
Records, with Album, $7.50. Records, with Album, $4.50. 


THE COLUMBIA PHONOGRAPH COMPANY 


941 Mission Street, ~. San Francisco, Calif. 


“Magic Notes”’ 


COLUMBIA 


‘SNEWEPROCESS*UREC OR DS 
Reg. U.S. Pat. C ff. 


Viva-tonal Recording — The Records without Scratch 





*Reg. U.S. Pat. Off. 








RR RE RTE Aa am HR So 


Se SS SPS SUS SSS Sewer oerterrws SS St a eae ae a ee ae 


eee 
- 




















Che Sau HFranciseo Sumphony Orchestra 


ALFRED HERTZ, Conductor 
(Steinway Piano Used) 


1928—Season—1929 


ELEVENTH PAIR OF SYMPHONY CONCERTS 
778th and 779th Concerts 


Thursday Evening, March 21, 8:20 o’clock 
DREAMLAND AUDITORIUM 


Friday Afternoon, March 22, 3:00 o’clock 
CURRAN THEATER 


Soloist: FLORENCE AUSTRAL, Soprano 










PROGRAMME 


L. “oymphony. No. )3;.in GB mimera.cs-44542....25. 2 Tschaikowsky 
Andante—Allegro con anima 
Andante cantabile con alcuna licenza 
Valse: Allegro moderato 

Finale: Andante maestoso—Allegro—Allegro vivace 


Intermission 














. Recitative and Aria from ‘‘Fidelio’’.................... Beethoven 
(First time at these concerts) 


FLORENCE AUSTRAL 


. Symphonic Poem, “‘Lux Aeterna’’.............. Howard Hanson 





(First time in San Francisco) 


Solo Viola, ROMAIN VERNEY 


> WGTIS WET CITC OBERAL G2: .xc, a2. aen nae dsstakencdcated Richard Strauss 
‘‘Morgen’”’ 
‘““Staendchen’”’ 
“Cacilie”’ 


FLORENCE AUSTRAL 


369 


ee 2 


| 
! 
{ 





> ees POs Hie te | 0 e. 





SAN FRANCISCO 


CONSERVATORY Victor Lichtenstein 
~~ OF MUSIC 


ERNEST BLOCH, Director ee | Instruction 
Ada Clement and ae ‘eS ie i 
Lillian Hodghead - ne 


Associate Directors 


Advanced Students of m CY BC . of 


GIULIO SILVA C -S)  Violin 


Head of the Vocal Department i his Playing 


WILL GIVE A RECITAL 


Friday, March 22 Fight of Mr. Lichtenstein’s 
pds P. M. ; pupils became members of 


the St. Louis Symphony 
SOROSIS HALL Aarecian 
536 Sutter Street 


Invitational 


WA Inut 3496 Telephones: FI lIlmore 6146 
3435 SACRAMENTO STREET FI Ilmore 4948 


STuDIO: 3145 WASHINGTON STREET 


First San Francisco Appearance 


JEAN GROS’ 


FRENCH MARIONETTES 


Friday, April 5, 4 P. M. 
SHE EANEYVOROZ” 


Friday, April 5, 8:30 P. M. 
“THE BLEUE BIRD’’ 


Saturday, April 6, 2:30 P. M. 
“THE LAND OF OZ” 


Saturday, April 6, 8:30 P. M. 
‘““HUCKLEBERRY FINN” 


Tickets now on sale, Sherman, Clay & Co. 
Matinees: 75c, $1.00 Evenings: $1.00, $1.50 


Management, ALICE METCALF 


SS SSSSSSSSSSSSssssssssssssssssssssnssnnsnenenneeeeeeeeeee Et 
370 








Symphony No. 5, in E minor - - Peter Iljitch Tschaikowsky 


(Born May 7, 1840, at Wotkinsk; died November 6, 1893, at Leningrad) 


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 Ischaikowsky 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 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 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 


QUALITY 
PRESTIGE 
SERVICE 


SHREVE & COMPANY 


Fewelers and Silversmiths 


Post Street at Grant Avenue 
San Francisco 


371 





TRF ORR NE Fete AE EI Oe TO rer Os Sete 
: 





NATHA 


T VIOLINIST OF THE 
SSTRING QUARTET 


Announces 


THE OPENING OF A STUDIO FOR 


INSTRUCTION 
IN VIOLIN AND 
ENSEMBLE 


INTERVIEWS BY APPOINTMENT 
TELEPHONE OR WRITE 


t 


“Management 


ALICE SECKELS 


FAIRMONT HOTEL 
DO uglas 7267-8800 


Louis Ford 


Concert 


V iolinist 
TEACHER 


Available for Solo, Sonata, Trio and 
Quartet engagements. 


Eighteen years in Chamber Music: 
San Francisco Quintet Club, Chamber 
Music Society of San Francisco, Per- 
singer String Quartet. 


Twelve years first violinist with San 
Francisco Symphony Orchestra; Assis- 
tant Concert Master for Season 1917 to 
1925. 


PUPILS ACCEPTED 
Coaching in ensemble playing. 
Assistant teacher for beginners under 

my personal supervision, 


1610 Plymouth Ave. Phone DE laware 0201 





Aunning System of Improved Music Study 
CARRIE LouIsE DUNNING, Originator 


8 West 40th Street, New York City 
834 South Plymouth Boulevard, Los Angeles, Calif. 


HE Greatest Musical Event in New York City in the past several decades was the 
playing of a ten-year-old Dunning pupil with the New York Philharmonic Orchestra, 
March 20th, 1926. The child had only studied one year and eight months. She 
played Le Carnaval des Animaux, by Saint-Saens. The piece is twenty-three pages long. 
She memorized it in three weeks. If you have any plan for teaching that can bring such 
results in that length of time—then you do not need the Dunning System. If you have 


not, then you do. 


Faculty of Normal Teachers—Classes Held in these Cities 


KATHARINE M. ARNOLD, 93 Madison St., 


Tiffin, O. 

AuuiE E. Barcus, 1006 College St., Ft. 
Worth, Tex. 

ELIzETTE R. Bartow, Box 1244, St. Peters- 
burg, Fla. 


CATHERINE C. Brirp, 658 Collingwood Ave., 
Detroit, Mich, 

Grace A. Bryant, 201—10th Ave., N. Twin 
Falls, Idaho. 

Dora A. Cuasz, 345 Clinton Ave., Brook- 
lyn, N. Y. 

Appa C. Eppy, 436 W. Sandusky Ave., 
Bellefontaine, O. 

BeatrRicE §S. Erker Kipp, Key College, 
Sherman, Tex. 

IpA GARDNER, 17 E. 6th St., Tulsa, Okla. 

Guapys M. GLENN, 1217 Bowie St., Am- 
arillo, Tex. 

FLORENCE E. GrasLe, Michigan State In- 
stitute of Music, Lansing, Mich. 


HARRIET Bacon MacDonatp, 6010 Belmont 
Ave., Dallas, Tex. 

Kate DELL Marpen, 61 N. 16th St., Port- 
land, Ore. 

Mrs. W. P. Mason, 302 Mid. City Bank 
Bldg., Chicago, IIl. 

Laup G. Puippen, 3435 Ashbury Ave., 
Dallas, Tex. 

Evuic I. Prince, 4106 Forest Hill Ave., 
Richmond, Va. 

VirGInIA Ryan, 1070 Madison Ave., New 
York. 

STELLA H. StyMour, 1219 Garden St., San 
Antonio, Tex. 

GERTRUDE THoMpson, 508 W. Coal St., 
Albuquerque, N. M. 

IsopeL M. Tone, 626 Catalina St., Los An- 
geles, Calif. 

Mrs. H. R. Watkins, 124 E. 11th St., 
Oklahoma City, Okla. 


Mrs. JEAN WARREN CARRICK 
(Normal Teacher) 


25 Lake Street, San Francisco 


372 


Classes formed upon Arrangement 





Recitative and Aria, ‘‘Abscheulicher” from “Fidelio” “ - 
- - - - - - - Ludwig van Beethoven 


(Born December 16, 1770, at Bonn; died March 26, 1827, at Vienna) 


This scene with air is sung by Leonore after she has overheard 
Pizarro try to bribe Rocco, the old jailer, to help him kill Florestan, 
her husband. The following prose translation is by William F. 
Apthorp: 


Abhorrent one! Whither hurriest thou? What is thy intent in wild rage? 
Will not the call of pity, the voice of humanity, will nothing touch thy tiger soul? 
But, though anger and rage storm in thy soul-like ocean waves, there shines upon 
me a colored bow that rests brightly on the dark clouds. It looks down so still, 
so peacefully, it mirrors old times again, and my blood flows fresh-quieted! 


Come, Hope, let not the tired one’s last star fade; illumine my goal; were it 
never so distant, love would reach it. I1 follow the inner impulse; | waver not; 
the duty of faithful conjugal love strengthens me. O thou for whom I have 
borne all, could | but make my way to the spot where malice has cast thee into 
chains, and bring thee sweet comfort! 


Howard Hanson 


Symphonic Poem, ‘‘Lux Aeterna,” Opus 24 - 


(Born October 28, 1896, at Wahoo, Neb.; now living at Rochester, N. Y.) 


Howard Hanson first came into international prominence in 1921 
when he was awarded the first American “Prix de Rome.’ At this 
time he was with the College of the Pacific, then located at San Jose, 
California. From 1921 to 1924, Mr. Hanson was a member of the 


VOJMIR ATTL 


Harpist 
San Francisco Symphony Orchestra 
Available for 


JOHN BUBEN Concerts, Ensemble Music and 


HARP INSTRUCTION 


Fur Artistry and Craftsmanship for STUDIO: an 
discriminating fur lovers. Furs re- 403-404 Marston Building _ 
styled as Jacquettes, or in the latest 244 Kearny St., San Francisco, Calif. 


Creations. ? 
57 GEARY ST. For Dppoenent 
Phone KEarny 5873 - 


Studio Phone Residence Phone 


Paris Office : 
52 Rue du Faubourg—Montmartre DOuglas 3706 SKyline 2757 


Fur Fashion’s Creator 





373 











American Academy in Rome, and upon his return to America was 
appointed Director of the great Eastman School of Music in Rochester, 


New York. 


“Lux Aeterna’ was the third orchestral work written by Mr. 
Hanson during his sojourn in Rome. It follows the E minor Symphony 
‘Nordic’ and the symbolic poem ‘“‘North and West.’ He has also 
written six other large works for orchestra, ‘“The Lament for Beowulf’ 
for chorus and orchestra, two piano quintettes, a string quartette, piano 
sonata and smaller works. His ‘“‘Nordic Symphony’’ and symphonic 
poem “‘Exaltation’’ and “Symphonic Legend’ have been performed 
by the San Francisco Symphony Orchestra. 


Mr. Hanson has described “‘Lux Aeterna’’ as follows: 


‘‘Philosophically ‘Lux Aeterna’ is another expression of the old 
story of the struggle between light and darkness and the groping of 
the spirit of man toward the realization of light. The work begins 
with the setting of a mood of gray melancholy and sombre mystery, 
the solo viola singing the first theme, introspective, sombre and stoical. 
This theme is developed by various instruments of the orchestra until 
the solo viola announces the principal theme of the work, in the form 
of a chant-like motive which undergoes many metamorphoses during 


HAZEL DREIS 


FINE BOOKBINDINGS 


MUSIC BOOKS BINDING 
BOUND MENDED TAUGHT 


1367 Post Street, San Francisco 
WA Inut 7097 19 Studio Building 


ARRILLAGA MUSICAL COLLEGE 


Founded 1877 Incorporated 1911 
LARGEST IN THE WEST 


Pipe Organ—Choral—Orchestra—Stage Training 
T heory—V oice—Instruments—Evening Classes 


Superior Instruction—Low Terms 


2351 JACKSON STREET, SAN FRANCIscO Phone WALNUT 3742 





374 








the course of the composition. This melody, solemn and austere, is 
announced accompanied by a counter melody in solo clarinet. The 
development brings it gradually to a great climax and a radical change 
of tempo in which a variation of the opening theme, now become 
dynamic and powerful, is announced by violins in unison. This grows 
to a final protesting outburst in the trumpets, when the mood suddenly 
changes and a third theme is announced by the bassoons, double 
bassoon and double basses. This motive of darkness pursues its 
gloomy way, taken again by the solo viola and developed in turn by 
various instruments. The mood again becomes more intense and 
another version of the chant theme is heard in the trumpets, developed 
in a virile fashion until it achieves a high degree of intensity, the 
orchestra finally subsiding to a murmur, leaving the solo viola to sing 
its solemn and monotonous chant alone. The first mood of the work 
now returns again only to be quickly developed to a state of tremen- 
dous strife and fierce struggle out of which emerges the chant once 
more, this time given out by three trombones over the low basses. 
The chant is passed from instrument to instrument, from section to 
section of the orchestra, with constantly increasing fervor, the volume 
of the orchestra growing until it resembles the sound of great bells 
tolling in countless rhythms. Against this sounds the sharp clash of 





brass, becoming more and more dissonant like great bells out of tune, 


The 


Margaret Mary Morgan Co. 


PRINTERS 
Engraving ~ Publishing 


MARGARET 


TILLY 


PIANIST 
Will be on the Pacific Coast during 
the entire season, 1928-1929 
Concert Management 


ELWYN CONCERT BUREAU 


DAvenport 0450 PHELAN BUILDING 
Studio: 
450 GRANT AVENUE 


619 California Street Telephone KEarny 8289 
SAN FRANCISCO 





375 











harsh and discordant. Finally out of the chaos emerges a great peal 
of chimes, no longer harsh and dissonant, but full-toned, rich and 
joyful. Through this mass of sound comes the chant once more, now 
taking upon itself the character of a noble chorale. As the sound of 
the chimes ceases, the solo violin is heard suspended above the turmoil 
singing its quiet song of peace and rest. An atmosphere of quietness 
returns and the opening theme, now played by the viola alone, brings 
the work to a close.”’ 


Three Songs with Orchestra - - - Richard Strauss 


““Morgen’”’ 
‘““Staendchen’”’ 
“Cacilie”’ 

On the tenth of September, 1894, Strauss dedicated to his wife 
on their wedding day the book of songs, Opus 27, which had been 
written during the preceding winter. These songs are “‘Ruhe, meine 
Seele!’’, “Cacilie,’’ “‘Heimliche Aufforderung,’’ and “‘Morgen.”’ 


“Morgen” (Tomorrow) 


Tomorrow’s sun will rise in glory beaming, 
And in the pathway that my foot shall wander, 


JANET ROWAN HALE 


Pianist and Teacher 


Studio 902 
26 O'Farrell Street Berkeley and Piedmont 
Phone DAvenport 5486 Phone OAkland 8663 


30 years violin specialist in St. Louis and Chicago Expert Repairing 


S. O. ALLISON 
VIOLIN MAKER, CONNOISSEUR AND APPRAISER 


Agent for Andres Morellis hand-made Violins, Violas, ‘Cellos, Basses 
Artist Bows by G. A. Pfritzschner 
and other celebrated Bow Makers 
45 GEARY STREET 
Dealer in New and Old Violins, San Francisco, Cal. 
"Cellos and Bows Formerly I. A. Lutz 
Strings and Accessories DAvenport 0415 





376 








We'll meet, forget the earth and, lost in dreaming, 

Let heav’n unite a love that earth no more shall sunder; 
And towards that shore, its billows softly flowing, 

Our hands entwined, our footsteps slowly wending! 

Gaze in each other's eyes in love’s soft splendor glowing 
Mute with tears of joy and bliss ne’er ending. 


“Cacilie”’ 
If you but knew, sweet, what ‘tis to dream 


Of fond, burning kisses, of wand’ring and resting 
With the beloved one; gazing fondly, caressing and chatting. 


Could I but tell you, your heart would assent. 














Julian Brodetsky 


ASSISTANT CONCERT MASTER 
SAN FRANCISCO SYMPHONY ORCHESTRA 


Violin Instruction 





Studio 
Phone SKyline 4855 189 Commonwealth Avenue 
















RICHARD BUHLIG 


Pianist 


THREE LECTURE RECITALS 


Tuesday, April 16..BACH 
Tuesday, April 23.. BEETHOVEN 


1 aq {CONTEMPORARY 
Tuesday, April’ 39-4 COMPOSERS 


at 8:45 P. M. 


Mr. Buhlig will conduct a class in Piano 
Playing on the twelve Wednesday and 
Saturday afternoons, April 3rd to May 
11th. The class will contain players and 
listeners. 


Classes and Recitals will be held at 
RUDOLPH SCHAEFFER STUDIOS, ST. ANNE ST. 


For further information, apply to 


MARGARET TILLY, 450 Grant Avenue S. F. 


377 








If you but knew, sweet, the anguish of waking 
Through nights long and lonely 

And rocked by the storm when no one is near 
To soothe and comfort the strife-weary spirit. 
Could | but tell you, you'd come, sweet, to me. 


If you but knew, sweet, what living is 

In the creative breath of God, Lord and Maker; 
To hover, upborne on dove-like pinions 

To regions of light. If you but knew it, 

Could I but tell you, you’d dwell, sweet, with me. 


‘“Staendchen”’ (Serenade) 


Awake! arise, but softly, my Love, 

That no one from slumber awaken! 

Scarce murmurs the brook, scarce trembles above 
A leaf by the light zephyr shaken. 

Then softly, my maiden, that naught be heard, 
Lay softly thy hand on the latch ere ’tis stirr’d! 





With footsteps like footsteps of elves leaping light 
Lest they hurt the heart of a flower, 

Come swiftly out in the moonlit night: 

I wait in the cool garden bower. 

The flow’rs sweetly slumber beside the calm lake 
And perfume the breeze: Only Love is awake. 


Come hither! Here under the linden tree 

Mysterious shadows hover; 

The nightingale shall with envy see the maiden kiss her lover. 
And the roses, waken’d by morning’s delight, 

Shall glow with the wondrous bliss of the night! 


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. 


December 3lst, 1928 
$123,780,369.02 


Capital, Reserve and Contingent Funds 5,150,000.00 
Pension Fund over $635,000.00, 
standing on Books at 1.00 


Haight and Belvedere Streets 
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 





378 





FIRST VIOLINS 


Piastro, Mishel 
Concert Master 


Fenster, Lajos 
Assistant Concert Master 


Brodetsky, Julien 
Assistant Concert Master 


Meriz, Emilio 

Ford, Louis W. 
Jensen, Thorstein 
Gordohn, Robert 
Mendelevitch, Rodion 
Laraia, William F. 
Mortensen, Modesta 
Koenig, Hans 

See, Orley 

Pasmore, Mary 
Atkinson, Helen E. 
Wolski, William 


Ruiz, Ricardo 


SECOND VIOLINS 


Heyes, Eugene 
Principal 


Rosset, Emil 
Amsterdam, Max 
Callinan, W. G. 
Paterson, J. A. 
Gold, Julius 


Haug, Julius 


Gough, Walter 
Firestone, Nathan 
Simonsen, Frances 
Wegman, William 
Tolpegin, Victor 
Hoffman, Henry H. 
Dabelow, William 


VIOLAS 

Verney, Romain 

Principal 
Hahl, Emil 
Baker, F. A. 
Wismer, Hother 
Weiler, Eric 
Lichtenstein, Victor 
Dierich, Franz 
Triebel, August 
Kolb, Richard 
Lewis, Arthur 





JJersonnel 
The San Francisca Sumphony Orchestra 


ALFRED HERTZ, CONDUCTOR 


’CELLOS 


Penha, Michel 
Principal 


Dehe, Willem 

King, Otto 
Villalpando, Wenceslao 
Kirs, Rudolph 
Pasmore, Dorothy 
Reinberg, Herman 
Gough, Flori 

Hranek, Carl 

Haight, Rebecca 


BASSES 


Previati, Louis J. 
Principal 


Bell, Walter 
Storch, A. E. 
Guterson, Aaron 
Schulz, Emil 
Schmidt, Robert E. 
Frederick, Oscar 
Schipilliti, John 


FLUTES 
Linden, Anthony 


Oesterreicher, Walter 
Orchestral Manager 


Benkman, Herbert 


PICCOLO 


Benkman, Herbert 


OBOES 
Addimando, Caesar 
Shanis, Julius 


Schipilliti, Vincent 


ENGLISH HORN 
Schipilliti, Vincent 


CLARINETS 
Randall, Harold B. 
Zannini, Nicolai 
Fragale, Frank 
Triebel, August 

BASS CLARINET 


Fragale, Frank 


379 


BASSOONS 
Kubitschek, Ernest 
La Haye, E. B. 
Hranek, Carl 


CONTRA BASSOON 
Kolb, Richard 


HORNS 
Hornig, Walter 
Roth, Paul 
Tryner, C. E. 
Rocco, R. 


Trutner, Herman 


TRUMPETS 
Drucker, Vladimir 
Barton, Leland S. 
Savant, Silvio 
Kegel, Otto 
Kress, V. 


TROMBONES 


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


TUBA 
Murray, Ralph 


HARP 


Attl, Kajetan 
Attl, Vojmir 


TYMPANI 
Wagner, Roland E. 


PERCUSSION 


Vendt, Albert, Jr. 
Salinger, M. A. 
Kundy, E. 


PIANO AND CELESTA 
Tibbitts, J. P. 


LIBRARIAN 
Kegel, Otto 











al | amusing the Steinway piano 


now for many years and am 


enjoying its superior qualities sO 


Cgoecr- much that I cannot 

tan imagine how I ever could 

N | get along without one. 
It is like a good friend of nee 
whom you get fonder ge 


= 


‘snide more you know a 
him. | 


The home of the Steinway ts 


Sherman tay & Co. 


Kearny and Sutter Streets, San Francisco 
Mission Street, near Twenty-first 
Fillmore Street, near Post 
Fourteenth and Clay Streets, Oakland 
3420 E. 14th Street, Fruitvale 
Telegraph and Channing Way, Berkeley 
1315 Burlingame Avenue, Burlingame 














Nv ZS Wo OE Lan 6 Din a vs, 
[RASS SS PWN 





Gx Marntamead by 
OX) The Musical z / 
iil) Assoctation of | 
— San Francisco 


\\ 
ae aA 





“bd ig 
TENTH POPULAR 
“bd idee 


| 1928 1929 
ee Eighteenth Season 


ALFRED HERTZ CONDUCTOR 


oe 




























LAST POPULAR CONCERT 


Thursday, April 13, 8:20 P. M. 
DREAMLAND AUDITORIUM 


Soloist: MISHEL PIASTRO, Violinist 












PROGRAMME 


1. Bacchanale from “Samson and Dalilah’’........--.- Saint-Saens 
2. ‘Concerto. for Vidlin> Opus. 82.2.2..------<.02../05--:- Glazounow 
MISHEL PIASTRO 
Br Cirertuve bor WAISTOD 2nd fotkcs peaces npwncaupcntenswecenceuwee Thomas 
4. Suite from ‘““The Nutcracker’’ Ballet.............. Tschaikowsky 


5. Symphonic Poem, “The Preludes’ .................------------- 


2 
——————————————————————————————————:..0O0@(0WC OO 


TWELFTH PAIR OF SYMPHONY CONCERTS 














Thursday, April 4, 8:20 P. M. 
DREAMLAND AUDITORIUM 


Friday, April 5, 3:00 P. M. 
CURRAN THEATRE 


Soloist: MICHEL PENHA, ’Cellist 





PROGRAMME 
1. Violoncello Concerto, D major........-.--.---------------++-++- Haydn 


2. Music from the Ballet “Skyscrapers ..........---------- Carpenter 
(First time in San Francisco) 


3. Symphony No. 7......-----------e200-ss00-eeerrre ete Beethoven 








Symphony Box Office, Sherman, Clay & Co.; hours, 9 to 5. Tickets 
may also be obtained at other Sherman, Clay & Co. bay city stores. 
Friday tickets on sale et Curran Theatre after 10 a. m. on day of con- 
cert. Box office at Dreamland Auditorium open at 7: p. m. on concert 
days. 


382 











Musical Association of San Francisco 


Pounded December 20, 1909 Incorporated February 3, 1910 


OFFICERS 
J. B. Levison, President 
W. C. VAN ANTWERP, Vice-President 
WALTER S. MARTIN, Treasurer 
Mrs. IRWIN CrocKER, Honorary Vice-President 
Mrs. E. S. HELLER, Honorary Vice-President 
A. W. WIDENHAM, Secretary-Manager 











BOARD OF GOVERNORS 










R. I. Bentley John $8. Drum John A. McGregor 
Miss Lena Blanding Sidney M. Ehrman John D. McKee 
Miss Louise A. Boyd Milton H. Esberg R. C. Newell 
George T. Cameron Mortimer Fleishhacker F. R. Sherman 

Selah Chamberlain F. J. Koster B. F. Schlesinger 
Mrs. Irwin Crocker J. B. Levison Mrs. M. C. Sloss 
William H. Crocker Walter S. Martin Mrs. Sigmund Stern 
E. R. Dimond Clay Miller W.C. Van Antwerp 
A. B. C. Dohrmann L. F. Monteagle Eli H. Wiel 






Mrs. M. S. Koshland, ex-officio 






EXECUTIVE COMMITTEE 


W. C. VAN ANTWERP, Chairman 
Mrs. Irwin Crocker A. B. C. Dohrmann Walter S. Martin 
Mortimer Fleishhacker John D. McKee 








MUSIC COMMITTEE 


R. C. NEWELL, Chairman 
Mrs. M. C. Sloss F. R. Sherman 









WOMEN’S AUXILIARY 


Mrs. M. S. KosHLAND, Chairman 
Miss LENA BLANDING, Vice-Chairman Mrs. M. C. Porter, Vice-Chairman 







EXECUTIVE OFFICES 
Fifth Floor, 244 Kearny Street 
Telephone GArfield 2819 








A. W. WIDENHAM, Secretary-Manager 
HOWARD G. HANVEY, Press Representative 






383 

























~sCHALKOWSk 5. 


Interpreted the soul of Russia in music 
as no other composer has ever done 
The surging sweep of his orchesttation, the glowing masses of 
tone in his symphonies are unexampled in musical creation. 


Tschatkowsky’s Gorgeous 
FIFTH SYMPHONY 


is released this month in one of the greatest recording achieve- 
ments of the new age in 


COLUMBIA MASTERWORKS* 


played with irresistible power by Willem Mengelberg and the 
Concertgebouw Orchestra of Amsterdam: 


MASTERWORKS SET No. 104 
TSCHAIKOWSKY: Symphony No. 5, in E Minor, Op. 64—by 
Willem Mengelberg and Concertgebouw Orchestra of 
Amsterdam. 
In thirteen Parts, on seven twelve-inch Records, with 
leather album, $10.50. 
> 
Other notable features of the extraordinary March offering of Columbia 
Masterworks are: 
MASTERWORKS SET No. 103 MASTERWORKS SET No. 105 
BRAHMS: Symphony No. 1, in C MOZART: Symphony No. 39, in E 


Minor, Op. 68—by Felix Weingart- Flat, Op. 543—by Felix Weingart- 
ner and Royal Philharmonic Or- ner and Royal Philharmonic Or- 
chestra. chestra. 

In ten Parts, on five twelve-inch In six Parts, on three twelve-inch 


Records, with Album, $7.50. Records, with Album, $4.50. 


THE COLUMBIA PHONOGRAPH COMPANY 


941 Mission Street, San Francisco, Calif. 


“Magic Notes”’ 


COLUMBIA 


‘NEW PROCESS’’ RECORDS 
Reg. U.S. Pat. Cf. 
Viva-tonal Recording — The Records without Scratch 





*Reg. U.S. Pat. Off. 








Che San Hranciseo Symphony Orchestra 


ALFRED HERTZ, Conductor 
(Steinway Piano Used) 







1928—Season—1929 







TENTH POPULAR CONCERT 
780th Concert 






Thursday Evening, March 28, 8:20 o’clock 
DREAMLAND AUDITORIUM 






_ Soloist: LEONE NESBIT, Pianist 








PROGRAMME 


Bi Sa COR: SVR hs oe ee eee eo be ea ee Handel-Harty 
Allegro 
Air 
Bourrée—Hornpipe 
Andante—Allegro deciso 
(First time in San Francisco) 


EPR Qe in peta ty areata ee Oe eS SERRE 1 Gluck-Gevaert 
Air 
Dance of the Slaves 
Tambourin 
Gavotte 
Chaconne 


3. Fantasie, ““The Wanderer,” for Piano and 
RECT ET RRR! BRE BS CER Ae a Schubert-Liszt 


(First time at these concerts) 


LEONE NESBIT 
Intermission 


Y CPG HEMET GIGS INGL) On si ccs bociccwacceeb el ces eal Bach-Wood 





















I. Prelude IV. Gavotte and Mussette 
Il. Lament V. Andante mystico 
Ill. Scherzo VI. Finale 
5. Good Friday Opell, from) Parsifal’. 2.08200.....5..2. Wagner 
6. Civertire (6: “Eatrvanthe ie es alt bee Weber 






(The Piano is a Steinway) 






385 

















‘Water Music’? - - - -  - = George Frederic Handel 


About 1710 Handel, as Kapellmeister to the Hanoverian Elector, 
obtained leave from his patron to visit England on condition that he 
return within a reasonable time. However, Handel found it easy to 
forget his promise, and tarried for quite some time. Four years later, 
in 1714, the Elector, upon the death of Queen Anne, ascended the 
English throne as George |. Handel’s voluntarily prolonged leave of 
absence was not forgotten, and he soon found himself exiled from 
Court. The so-called ‘‘Water Music’’ was somewhat in the nature of 
a peace offering, and successfully so, for Handel was immediately 
restored to royal favor. 

Early in the eighteenth century “barge parties’ on the Thames 
were quite the vogue, and George I was one of their addicts, often 
having a barge full of musicians following his own from Whitehall to 
Limehouse, and it was for such an excursion that Handel wrote his 
“Water Music.” The composition is in the form of a suite of dance 
tunes, airs, and other movements. It has been pointed out that the 


‘nstrumentation, which is for flutes, piccolos, oboes, bassoons, horns, 
trumpets and strings, undoubtedly was prompted by the occasion for 
which it was written, so as to produce the loveliest effect when heard 
across the water. 

The composition in its original form consisted of twenty-one 








SAN FRANCISCO 

CONSERVATORY 
OF MUSIC we Instruction 

ERNEST BLOCH, Director | pig 
Ada Clement and ee 
Lillian Hodghead 


Associate Directors 


Victor Lichtenstein 


of 


The only Conservatory in { . Uiolin 
northern California accredited ~~ 4 i Playing 
by the Juilliard School of 
Music, New York City, and 
endorsed by the Carnegie 
Corporation of New York. 


Eight of Mr. Lichtenstein’s 
pupils became members of 
the St. Louis Symphony 


Orchestra. 
Catalogue sent on request 


Stup10: 3145 WASHINGTON STREET 
Telephone WAlnut 3496 isk ae 
elephones: FI Ilmore 6146 
3435-3445 SACRAMENTO STREET FI Ilmore 4948 





386 








divisions, which have been edited into their present concert form by 
Harty. 
t 


Orchestra 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 
bassoons. The last number, Chaconne, is the only number in which 
the trumpets and tympani are added. 


Fantasie, ‘‘The Wanderer” - - - - - - Schubert-Liszt 


Liszt’s transcriptions and fantasies, which are almost innumerable, 
occupy a very definite place in the field of music, and through Liszt's 
sensational popularity on the concert platform, they are credited with 
having had much to do with the introducing of the great orchestral, 
operatic, and vocal masterpieces to the average listener, attracted by 
the pianist’s dazzling technic and charming personality. However, 


stained: 1852 





QUALITY 
PRESTIGE 


SERVICE 


SHREVE & COMPANY 


‘fewelers and Silversmiths 


Post Street at Grant Avenue 
San Francisco 





387 








NATHA 


T VIOLINIST OF THE 
SSTRING QUARTET 


Announces 


THE OPENING OF A STUDIO FOR 


INSTRUCTION 
IN VIOLIN AND 
ENSEMBLE 


INTERVIEWS BY APPOINTMENT 
TELEPHONE OR WRITE 


* 


Management 


ALICE SECKELS 


FAIRMONT HOTEL 
DO uglas 7267-8800 


Concert 


V iolinist 
TEACHER 


Available for Solo, Sonata, Trio and 
Quartet engagements. 


Eighteen years in Chamber Music: 
San Francisco Quintet Club, Chamber 
Music Society of San Francisco, Per- 
singer String Quartet. 


Twelve years first violinist with San 
Francisco Symphony Orchestra; Assis- 
tant Concert Master for Season 1917 to 
1925. 


PUPILS ACCEPTED 
Coaching in ensemble playing. 
Assistant teacher for beginners under 

my personal supervision. 


1610 Plymouth Ave. Phone DE laware 0201 





Aunning System of Improved Music Study 
CarrRIE LoursE DUNNING, Originator 


8 West 40th Street, New York City 
834 South Plymouth Boulevard, Los Angeles, Calif. 


HE Greatest Musical Event in New York City in the past several decades was the 
playing of a ten-year-old Dunning pupil with the New York Philharmonic Orchestra, 
March 20th, 1926. The child had only studied one year and eight months. She 
played Le Carnaval des Animaux, by Saint-Saens. The piece is twenty-three pages long. 
She memorized it in three weeks. If you have any plan for teaching that can bring such 
results in that length of time—then you do not need the Dunning System. If you have 


not, then you do. 


Faculty of Normal Teachers—Classes Held in these Cities 


KATHARINE M. ArRNoLp, 93 Madison St., 


Tiffin, O. 

Ature E. Barcus, 1006 College St.; Ft. 
Worth, Tex. 

EvizEtte R. Bartow, Box 1244, St. Peters- 
burg, Fla. 


CATHERINE C. Brrp, 658 Collingwood Ave., 
Detroit, Mich, 


Grace A. Bryant, 201—10th Ave., N. Twin 


Falls, Idaho. 

Dora A. CHASE, 345 Clinton Ave., Brook- 
lyn, N. Y. 

Appa C. Eppy, 136 W. Sandusky Ave., 
Bellefontaine, O. 

Beatrice S. Erker Kipp, Key College, 
Sherman, Tex. 

Ipa GarpNner, 17 E. 6th St., Tulsa, Okla. 

Guapys M. Guenn, 1217 Bowie St., Am- 
arillo, Tex. 

FLORENCE E. GrasSLE, Michigan State In- 
stitute of Music, Lansing, Mich. 


Harriet Bacon MacDonatp, 6010 Belmont 
Ave., Dallas, Tex. 

Kate Dertt Marpen, 61 N. 16th St., Port- 
land, Ore. 

Mrs. W. P. Mason, 302 Mid. City Bank 
Bldg., Chicago, Ill. 

Laup G. Puipren, 3435 Ashbury Ave., 
Dallas, Tex. 

Ex.tre I. Prince, 4106 Forest Hill Ave., 
Richmond, Va. 

VIRGINIA Ryan, 1070 Madison Ave., New 
York. 

Stre_ta H. Seymour, 1219 Garden St., San 
Antonio, Tex. 

GERTRUDE THoMpson, 508 W. Coal St., 
Albuquerque, N. M. 

IsopEL M. Tone, 626 Catalina St., Los An- 
geles, Calif. 

Mrs. H. R. Warxins, 124 E. 11th St., 
Oklahoma City, Okla. 


Mrs. JEAN WARREN CARRICK 
(Normal Teacher) 


25 Lake Street, San Francisco 


388 


Classes formed upon Arrangement 











Liszt's fantasie on “The Wanderer’ is based on Schubert's own fan- 
tasie, in which the melody of his song, ‘“The Wanderer,’ was used for 
the slow movement. 


Suite for Orchestra, No. 6 - - - - - - - Bach-Wood 


This work is an arrangement by Sir Henry Wood, the eminent 
English conductor, of numbers taken from various suites of Bach. 


The separate dances of old German suites were called “Parties.”’ 
They were brought together into a musical whole and in the same 
tonality, and were prefixed by an overture in the French style. The 
whole set was sometimes known as “Orchester Partien.’” The form of 
overture fixed by Lully in France served as a model for pieces of the 
same class composed in Germany and Italy, as well as in France. 
This overture was composed of a first part, which was a slow move- 
ment, characterized as ‘grave,’ connected with a second part, which 
was longer and of a livelier movement. The first suites, which ap- 
peared between 1670 and 1680, were written for a solo instrument, 
especially for the harpsichord, but the title soon served to designate 
pieces written for a considerable number of instruments. The over- 
ture was followed by airs of dances which were then ‘popular or 
fashionable. No wonder that Bach, whose father, grandfather, and 





VOJMIR ATTL 


Harpist 
San Francisco Symphony Orchestra 
Available for 


Concerts, Ensemble Music and 
JOHN BUBEN HARP INSTRUCTION 
Fur Fashion’s Creator 


Fur Artistry and Craftsmanship for STUDIO: oe 
discriminating fur lovers. Furs re- 403-404 Marston Building : 
styled as Jacquettes, or in the latest 244 Kearny St., San Francisco, Calif. 
Creations. 57 GEARY ST For Appointment 
Phone KEarny 5873 Call 
Paris Offi Studio Phone Residence Phone 
aris Office DOuglas 3706 SKyline 2757 


52 Rue du Faubourg—Montmartre 








389 








t 
K 
q 











uncles had all been town pipers and given to this species of music, was 


drawn towards this form of composition. 


Good Friday Spell from ‘‘Parsifal’’ 7 - - - - Wagner 


It is, perhaps, fitting at this season of the year to recite the Parsi- 


fal legend and the events leading up to Wagner's music-drama. 


The Holy Grail—the cup used at the Last Supper—is in the pos- 
session of the knights of the Grail, whose castle is at Montsalvat, in 
Spain. When Titurel, their leader, is near his end, his son, Amfortas, 
is appointed to succeed him. Nearby lives Klingsor, a magician, who, 
too sensual and worldly to be made a knight of the Grail, has his re- 
venge in seducing the knights by means of lovely women. Amfortas 
himself has succumbed to one of these—Kundry, a strange being, who 


for laughing at Jesus when He was carrying His cross, has been 
doomed to wander in torment until someone shall deliver her by his 
love. During the infatuation of Amfortas, Klingsor takes from him 
the holy spear—the weapon with which the Roman soldier had 
pierced the Saviour’s side. With this he gives Amfortas a wound that 
nothing can heal. The brotherhood thus mourns the loss of the spear, 


HAZEL DREIS 


FINE BOOKBINDINGS 


MUSIC BOOKS BINDING 
BOUND MENDED TAUGHT 


1367 Post Street, San Francisco 
WA Inut 7097 19 Studio Building 


ARRILLAGA MUSICAL COLLEGE 


Founded 1877 Incorporated 1911 
LARGEST IN THE WEST 


Pipe Organ—Choral—Orchestra—Stage Training 
T heory—V oice—Instruments—Evening Classes 


Superior [nstruction—Low Terms 


2351 JACKSON STREET, SAN Francisco Phone WALNUT 3742 


390 








while Amfortas endures, in addition to his physical agony, the mental 
pain of knowing that all their misfortunes are due to his sin. 

At this point the opera opens. As the prelude merges into the 
first scene, the curtain slowly rises, and discloses a summer landscape 
over which the daylight grows until all lies flooded in the brightness 
of the sunshine. The program of the first act includes the sequence 
of events naturally subsequent to the foregoing preface, and eventually 
leads to the entrance of Parsifal. The future saviour of the Grail 
makes the acquaintance of the knights under unhappy circumstances; 
he has just killed a white swan, “‘the bird of fair omen, symbol of 
spotless purity,” beloved and nurtured by the Grail Knights. There 
is a tradition to the effect that the brotherhood can be saved only by 
some unknown “‘guileless one,’’ and Parsifal’s unexpected appearance 
and conduct causes Gurnemanz to wonder whether he may be the one 
looked for. He will try him; he will show him the Grail. This he 
does: but Parsifal, remaining unimpressed, Gurnemanz thrusts him 
forth with the observation, ‘“‘nothing but a fool,’” and admonishes him 


to be off. 


The second act deals with Klingsor. After a disturbed prelude, 
the magician is discovered in his rocky palace, the abode of sorcery 
and evil. Klingsor is now in possession of the sacred spear, and 
hopes to secure the Grail itself. He has ascertained, by means of his 


The 


Margaret Mary Morgan Co. 


PRINTERS 
Engraving — Publishing 


MARGARET 


TILLY 


PIANIST 
Will be on the Pacific Coast during 
the entire season, 1928-1929 


Concert Management 


ELWYN CONCERT BUREAU 


DAvenport 0450 PHELAN BUILDING 
Studio: 
450 GRANT AVENUE 


619 California Street Telephone KEarny 8289 
SAN FRANCISCO 





391 














black art, that his power is threatened and that Parsifal is on his way 
to regain possession of the spear, whereupon he calls upon Kundry 
to overwhelm Parsifal as she had Amfortas. Herewith, the scene 
shifts to the magic garden, a seeming paradise of tropical luxuriance 
which Klingsor has reared for the enticement of his victims. Anon 
comes Parsifal, who stops in amazement at the gorgeous spectacle 
which confronts him. Then, in rush a bevy of beautiful maidens, 
attired in the semblance of flowers. When they see Parsifal they 
surge about him, meanwhile singing the most enticing strains, and 
striving with each other to possess him. Parsifal, however, repels 
them, and as they are on the point of leaving him in a rage, the 
flowers on one side of the stage are lifted, and Kundry is discovered, 
transformed into a being of the most enchanting beauty. Then fol- 
lows the scene in which Kundry endeavors to subdue Parsifal, but the 
latter suddenly starts up, and thrusting her aside, proceeds to escape 
from the garden. NHerewith Klingsor, baffled and desperate, makes 
his appearance with the sacred spear in his hand. He casts it at Par- 
sifal, but instead of wounding him as it did Amfortas, it stops sus- 
pended over the head of the “guileless one,’ who reaches up and 
grasps it in his hand. With a mighty crash, Klingsor’s palace col- 
lapses, Kundry falls down in a death-like swoon, and the garden, with 


JANET ROWAN HALE 


Pianist and Teacher 


Studio 902 
26 O'Farrell Street Berkeley and Piedmont 
Phone DAvenport 5486 Phone OAkland 8663 


30 years violin specialist in St. Louis and Chicago Expert Repairing 


S. O. ALLISON 
VIOLIN MAKER, CONNOISSEUR AND APPRAISER 


Agent for Andres Morellis hand-made Violins, Violas, ‘Cellos, Basses 
Artist Bows by G. A. Pfritzschner 
and other celebrated Bow Makers 
45 GEARY STREET 
Dealer in New and Old Violins, San Francisco, Cal. 
"Cellos and Bows Formerly I. A. Lutz 
Strings and Accessories DAvenport 0415 


392 





























all its luxuriant verdure and the flower girls as well, shrivels into a 
scene of devastation. 


The third act. In the serenity of a beautiful spring morning re- 
poses a fertile meadow upon which the only visible habitation is the 
hermitage of Gurnemanz, now an aged, white-haired knight. It is 
Good Friday. Upon this holy anniversary, after many long years of 
wandering and purification, Parsifal ultimately finds his way to this 
spot. He appears fully clad in black armor and bearing the long-lost 
spear. Upon being accosted by Gurnemanz, who tells him that it is 
not lawful to go armed with this sacred place—especially on Good 
Friday—Parsifal removes his helmet and sword, and driving the spear 
into the ground, prostrates himself before it in silent devotion. 
Gurnemanz now recognizes in him the saviour of the brotherhood, 
and tells him how the holy knights, divested of the sustaining help of 
the Grail, have all fallen into weakness and old age, and that Titurel 
has passed away. Parsifal nearly swoons at the unhappy tidings, and 
Gurnemanz and Kundry (who is at hand) undo his armor and sprinkle 
him with holy water. His armor removed, Parsifal appears clothed 
in a long white robe. Gurnemanz anoints Parsifal King of the Grail, 
and Parsifal in turn baptizes Kundry. Gurnemanz then produces a 
coat of mail and the mantle of the Knights of the Grail, in which Par- 
sifal is attired forthwith. The scene now changes slowly, moving from 
richt to left until the hall of the palace is reached. From one side a 
train of knights bring in the coffin in which reposes the body of 
Titurel: from the opposite side, Amfortas is borne in upon a litter, 
being preceded by the shrine containing the Grail. Parsifal extends 
the sacred spear until the point touches Amfortas’ wound, whereupon 
the latter's countenance becomes illumined with heavenly ecstasy. 
Parsifal then commands the shrine to be opened and takes from it the 
Grail. He kneels in silent prayer. The Grail becomes radiant, and 
Titurel, revivified for an instant, raises himself in benediction of the 
situation. A white dove flutters down from the dome over the hall 













Julian Brodetsky 


ASSISTANT CONCERT MASTER 
SAN FRANCISCO SYMPHONY ORCHESTRA 


Violin Instruction 





Studio 
Phone SKyline 4855 189 Commonwealth Avenue 





393 











and remains suspended above Parsifal’s head, while Kundry sinks 
slowly to the floor—dead. Amfortas and Gurnemanz are on their 
knees in adoration of Parsifal. 


Overture to “Euryanthe” - - = - «© «- « «= Weber 


Although the opera “‘Euryanthe’’ has never been a success be- 
cause of its poor libretto, the overture is an immortal concert favorite. 
Sir Jules Benedict, who was a pupil of Weber, wrote of it as follows: 


“The overture is rich in its effects, chivalric, repressive and pas- 
sionate by turns. It includes several of the important musical and 
dramatic features of the opera. The leading phrase, embodying Ado- 
lar’s faith in Good and his Euryanthe, conjures up at once the splendor 
of a Provencal court, with its knights, its troubadours and fair ladies. 
The second subject is taken from Adolar’s scene, ‘O, Happiness, I 
Scarce Comprehend Thee,’ and forms a delightful contrast to the pre- 
ceding; after which an unexpected and novel modulation leads to a 
mysterious movement which embodies the ghostly apparition of Ado- 
lar’s ancestors. The characters of Adolar’s rival, Lysiart, and of 
Euryanthe’s false friend, Eglantine, are portrayed by the respective 
musical figures, which, alternating with snatches of the first subject, 
describe well the struggle of truth and loyalty against fraud and trea- 
son. Att last, the clouds are dispersed, and the return to the beginning 
and to Adolar’s motive, ‘O, Happiness,’ in the original key, now a 
jubilant, triumphant song, inspiring and almost overwhelming, by its 
enthusiasm and fire, completes this highly poetic conception.”’ 


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 


MEMBE.R ASSOCIATED SAVINGS BANKS OF SAN FRANCISCO 
526 California Street, San Francisco, Cal. 


December 31st, 1928 
$123,780,369.02 


Capital, Reserve and Contingent Funds 5,150,000.00 
Pension Fund over $635,000.00, 
standing on Books at 1.00 


DELS EL OIG. ESEGIAINGSEL «595.0 'v% a 0 £006 lee ite tad Ow G4 bare eas Mission and 21st Streets 
PARK-PRESIDIO BRANCH Clement St. and 7th Ave. 
Haight and Belvedere Streets 

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 





394 








{ersonnel 


The San Francisean Symphony Orchestra 


ALFRED HERTZ, CONDUCTOR 


FIRST VIOLINS 


Piastro, Mishel 
Concert Master 


Fenster, Lajos 
Assistant Concert Master 


Brodetsky, Julien 
Assistant Concert Master 


Meriz, Emilio 

Ford, Louis W. 
Jensen, Thorstein 
Gordohn, Robert 
Mendelevitch, Rodion 
Laraia, William F. 
Mortensen, Modesta 
Koenig, Hans 

See, Orley 

Pasmore, Mary 
Atkinson, Helen E. 
Wolski, William 


Ruiz, Ricardo 


SECOND VIOLINS 


Heyes, Eugene 
Principal 


Rosset, Emil 
Amsterdam, Max 
Callinan, W. G. 
Paterson, J. A. 
Gold, Julius 


Haug, Julius 


Gough, Walter 
Firestone, Nathan 
Simonsen, Frances 
Wegman, William 
Tolpegin, Victor 
Hoffman, Henry H. 
Dabelow, William 


VIOLAS 

Verney, Romain 

Principal 
Hahl, Emil 
Baker, F. A. 
Wismer, Hother 
Weiler, Eric 
Lichtenstein, Victor 
Dierich, Franz 
Triebel, August 
Kolb, Richard 
Lewis, Arthur 


’CELLOS 


Penha, Michel 
Principal 


Dehe, Willem 

King, Otto 
Villalpando, Wenceslao 
Kirs, Rudolph 
Pasmore, Dorothy 
Reinberg, Herman 
Gough, Flori 

Hranek, Carl 

Haight, Rebecca 


BASSES 


Previati, Louis J. 
Principal 


Bell, Walter 
Storch, A. E. 
Guterson, Aaron 
Schulz, Emil 
Schmidt, Robert E. 
Frederick, Oscar 
Schipilliti, John 


FLUTES 
Linden, Anthony 


Oesterreicher, Walter 
Orchestral Manager 


Benkman, Herbert 


PICCOLO 


Benkman, Herbert 


OBOES 
Addimando, Caesar 
Shanis, Julius 


Schipilliti, Vincent 


ENGLISH HORN 
Schipilliti, Vincent 


CLARINETS 


Randall, Harold B. 
Zannini, Nicolai 
Fragale, Frank 
Triebel, August 


BASS CLARINET 
Fragale, Frank 


395 


BASSOONS 
Kubitschek, Ernest 
La Haye, E. B. 
Hranek, Carl 


CONTRA BASSOON 
Kolb, Richard 


HORNS 
Hornig, Walter 
Roth, Paul 
Tryner, C. E. 
Rocco, R. 


Trutner, Herman 


TRUMPETS 
Drucker, Vladimir 
Barton, Leland S. 
Savant, Silvio 
Kegel, Otto 
Kress, V. 


TROMBONES 


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


TUBA 
Murray, Ralph 


HARP 


Attl, Kajetan 
Attl, Vojmir 


TYMPANI 
Wagner, Roland E. 


PERCUSSION 


Vendt, Albert, Jr. 
Salinger, M. A. 
Kundy, E. 


PIANO AND CELESTA 
Tibbitts, J. P. 


LIBRARIAN 
Kegel, Otto 








A, AP 6 ee ee ee le i 
RL 





ja . 
amusing the e\temway piano 
now for many years and am 
enjoying its superior qualities SO 
adh onal much that I cannot 


imagine how I ever could 





get along without one. 
It is like a good friend of 
whom you get fonder 


the more you know 





99 


him. 


The home of the Stetnway ts 





Sherman, 


Kearny and Sutter Streets, San Francisco 
Mission Street, near Twenty-first 
Fillmore Street, near Post 
Fourteenth and Clay Streets, Oakland 
3420 E. 14th Street, Fruitvale 
Telegraph and Channing Way, Berkeley 
1315 Burlingame Avenue, Burlingame 












POC aOR GOA S aii 
SAN FRANCISCO 
SYMPHONY = 
~~ ~ORCHESTRA 


Marntamea dy 
OE PO ihe oe Dre 
Assoctation of | 
oan Francisco 














RO 


| 1928 1929 
| Eighteenth Season 


ALFRED HERTZ CONDUCTOR 


abd freee 


IWELFTH PAIR 





















LAST POPULAR CONCERT 


Thursday, April 11, 8:20 P. M. 
DREAMLAND AUDITORIUM 







Soloist: MISHEL PIASTRO, Violinist 







PROGRAMME 







bg avertnne s Barnet ot Baotad” 12 ign? 2 eer h es A). cece nce Cornelius 

Ze abie mteppes: or Middle Asian cs o.0 yt... css. os, seeded ck can, Borodin 

3. ‘Concerto for Violin, Opus 82...°:-..)..5.:......-00. Glazounow 
MISHEL PIASTRO 

ae) Lyerture. tor sis nOte wi to ate econo ore Thomas 

5. Suite from ““The Nutcracker’ Ballet.............. Tschaikowsky 






. Symphonic Poem, “The Preludes’’.......................-..---- 








LAST PAIR OF SYMPHONY CONCERTS 


Thursday, April 18, 8:20 P. M. 
DREAMLAND AUDITORIUM 






Friday, April 19, 3:00 P. M. 
CURRAN THEATRE 







PROGRAMME 
[; oyinpnony No: 1,in.C- minor. 232-0525... ate. _Brahms 
FM Rl Ce wg Geo ha nee 0) he bo BRR he Rea aml Hines re ane | Roussel 


(First time in San Francisco) 







3. Overture, ‘“The Russian EFaster’’.............. Rimsky-Korsakow 









Symphony Box Office, Sherman, Clay & Co.; hours, 9 to 5. Tickets 
may also be obtained at other Sherman, Clay & Co. bay city stores. 
Friday tickets on sale zt Curran Theatre after 10 a. m. on day of con- 
cert. Box office at Dreamland Auditorium open at 7 p. m. on concert 
days. 









398 











Musical Association of San Sranciseo 


Founded December 20, 1909 Incorporated February 3, 1910 


OFFICERS 
J. B. Levison, President 
W. C. VAN ANTWERP, Vice-President 
WALTER S. MARTIN, Treasurer 








Mrs. IRWIN CROCKER, Honorary Vice-President 
Mrs. E. $8. HELLER, Honorary Vice-President 
A. W. WIDENHAM, Secretary-Manager 








BOARD OF GOVERNORS 











R. I. Bentley John S. Drum John A. McGregor 
Miss Lena Blanding Sidney M. Ehrman John D. McKee 
Miss Louise A. Boyd Milton H. Esberg R. C. Newell 
George T. Cameron Mortimer Fleishhacker F. R. Sherman 

Selah Chamberlain F. J. Koster B. F. Schlesinger . 
Mrs. Irwin Crocker J. B. Levison Mrs. M. C. Sloss 
William H. Crocker Walter S. Martin Mrs. Sigmund Stern 
E.R. Dimond Clay Miller W.C. Van Antwerp 
A. B. C. Dohrmann L. F. Monteagle Eli H. Wiel 






Mrs. M. S. Koshland, ex-officio 






EXECUTIVE COMMITTEE 


W. C. VAN ANTWERP, Chairman 
Mrs. Irwin Crocker A. B. C. Dohrmann Walter S. Martin 
Mortimer Fleishhacker John D. McKee 








MUSIC COMMITTEE 


R. C. NEWELL, Chairman 









Mrs. M. C. Sloss F. R. Sherman 








WOMEN’S AUXILIARY 


Mrs. M. S. KosHLAND, Chairman 
Miss LENA BLANDING, Vice-Chairman Mrs. M. C. Porter, Vice-Chairman 












EXECUTIVE OFFICES 
Fifth Floor, 244 Kearny Street 
Telephone GArfield 2819 








A. W. WIDENHAM, Secretary-Manager 
HOWARD G. HANVEY, Press Representative 






399 








eardium « 





apie iaph 


The Great Spaniard 


Lv 4 


Manuel de Falla has been rightly acclaimed ‘‘one of the torch- 
bearers of musical progress in the world’’. In his 


El Amor Brujo (Love, the Magician) 


he has given incomparable evidence of artistic endowments unique 
and unprecedented. 


This master work of modern composition is now issued in 


Columbia Masterworks* 
COLUMBIA MASTERWORKS SET NO. 108 


Dr Faria: El] Amor Brujo (Love, the Magician). Suite for Orchestra. 


By Pedro Morales and Symphony Orchestra. In Six Parts, on Three 
12-Inch Records. 


+ 


Schumann’s Fourth Symphony: Smetana’s Beautiful Elegy: 


superbly characteristic production of the Trio in G Minor, Op. 15, is re- 
the great romanticist, is interpreted corded with the utmost in expression 
by Bruno Walter. and effectiveness by the Malkin Trio. 
COLUMBIA MASTERWORKS SET COLUMBIA MASTERWORKS SET 
NO. 106 NO. 107 

ScouMarn:Symphony No.4,inDMinor, Smetana: TrioinG Minor, Op. 15, for 
Op. 120. By Bruno Walter and Mozart Violin, Violoncello and Piano. By 
Festival Orchestra (Paris). In Eight Malkin Trio. In Seven Parts, on Four 
Parts, on Four 12-Inch Records. 12-Inch Records. 


Ask for Columbia Masterworks Catalogue and Supplements 


THE COLUMBIA PHONOGRAPH COMPANY 


941 Mission Street, San Francisco, Calif. 


epee 
“Magic fey Notes’’ 


COLUMBIA 


“NEw. PROCESS’ .REGCORDS 


Reg. U.S. Pat. Off. 


Viva-tonal Recording —The Records without Scratch 
Reg. U.S. Pat. Off. 































Che Sau HFranciseo Symphony Orchestra 


ALFRED HERTZ, Conductor 
(Steinway Piano Used) 


1928—Season—1929 


TWELFTH PAIR OF SYMPHONY CONCERTS 
782d and 783d Concerts 


Thursday Evening, April 4, 8:20 o’clock 
DREAMLAND AUDITORIUM 


Friday Afternoon, April 5, 3:00 o’clock 
CURRAN THEATRE 


Soloist: MICHEL PENHA, ’Cellist 


PROGRAMME 


1. Concerto for Violoncello, in D major........................ Haydn 
Allegro moderato 
Adagio 
Allegro 

MICHEL PENHA 


2. Music from the Ballet, “Skyscrapers” 






(First time in San Francisco) 
Soprano Solo: Mme. Maria Verde 
Tenor Solo: Edwin Imhouse 


Intermission 








Ru oymonony INGOs 7; in Ai major... . aie ee A Beethoven 
Poco sostenuto—vivace 
Allegretto 
Presto 
Allegro con brio 

(The Pianos are Steinways) 


401 





LICE? ER Oo eS 


cA “New 
“Program of 
Old Songs 


FAIRMONT HOTEL 
(Gold Room) 


FRIDAY EVENING 
APRIL 12 


8:30 o'clock 


Tickets $2,00, $1.50, $1.00 


Sherman, Clay & Co. 
PATRICIA MoRBIO 


DoROTHY CRAWFORD 


ANNA YOUNG ALICE SECKELS 
Second Annual Recital 


Management: 


Mr. Victor Lichtenstein 


Cordially Invites You to a 


Recital of Violin Music by His Pupils 
WESTERN WOMEN’S CLUB 


(Mason and Sutter Streets) 


Saturday Evening, April 27, 8:15 o’clock 


PROGRAMME 
1. Ivumphal March 
VIOLIN CHOIR 
Allegro moderato from Eighth Concerto 
VERNE MACFARLAN 
(a) Hebrew Melody 
(b) Allegro 
Morris SIMON 
Preludium and Allegro Pugnani-Kreisler 
ABRAHAM IT AUBER 
Concerto for Four Violins V waldi 
MABEL JOosT ABRAHAM TAUBER 
Morris SIMON VERNE MACFARLAN 
Mazurka in G 


MABEL Joost 





402 








ee 








Concerto for Violoncello, nm D major - - - Josef Haydn 
(Born March 31, 1732, at Rohrau; died May 31, 1809, at Vienna) 


Haydn wrote at least six concertos for violoncello. Three are 
named in his own catalogue of works, but the one played at these con- 
certs is the only one that was published. Francois Gevaert revised the 
orchestral part of the score and wrote cadenzas for the solo instrument. 

There is an introductory orchestral ritornello in which the first 
and second themes are announced with passage work. The solo instru- 
ment gives out the first theme. There is virtuoso passage work. After 
a short orchestral tutti the second theme appears in A major. The 
solo part employs new thematic material or has brilliant passages until 
the second theme returns in the tonic. An unaccompanied cadenza 
leads to a short and final tutti. 

In the second movement the ‘cello begins at once with an ex- 
pressive subject, which is repeated by the orchestra. The solo instru- 
ment then brings forward a new idea in E major, after which the 
original theme returns. After a few measures of orchestral interlude, 
a third melody is presented by the ‘cello in C major. The principal 
theme recurs for the last time; and a short cadenza, together with four 
measures of coda for the orchestra brings the movement to a close. 

The third movement requires little analysis, it being a simple 
rondo in the sparkling style which Haydn made familiar in the closing 
movements of his works. At the end Gevaert has introduced a cadenza 
on a long-held A in the basses, and there is a brilliant coda based on 
the principal theme. 

Music from the Ballet, “Skyscrapers” - - John Alden Carpenter 
(Born February 28, 1876, at Park Ridge, Illinois; now living in Chicago) 
‘Skyscrapers’ was originally written for performance by Serge 












Established 1852 





QUALITY 
PRESTIGE 
SERVICE 


SHREVE & COMPANY 


‘fewelers and Silversmiths 


Post Street at Grant Avenue 
San Francisco 


403 








SAN FRANCISCO 
CONSERVATORY 
OF MUSIC 


ERNEST BLOCH, Director 


Ada Clement and 
Lillian Hodghead 


Associate Directors 


The only Conservatory in 
northern California accredited 
by the Juilliard School of 
Music, New York City, and 
endorsed by the Carnegie 
Corporation of New York. 


Catalogue sent on request 


Telephone WA Inut 3496 
3435-3445 SACRAMENTO STREET 


Louis Ford 


Concert 


V iolinist 
TEACHER 


Available for Solo, Sonata, Trio and 
Quartet engagements. 


Eighteen years in Chamber Music: 
San Francisco Quintet Club, Chamber 
Music Society of San Francisco, Per- 
singer String Quartet. 


Twelve years first violinist with San 
Francisco Symphony Orchestra; Assis- 
tant Concert Master for Season 1917 to 
1925. 


PUPILS ACCEPTED 
Coaching in ensemble playing. 
Assistant teacher for beginners under 

my personal supervision. 


1610 Plymouth Ave. Phone DE laware 0201 





Bunning System of Improved Music Study 








CARRIE LOUISE DUNNING, Originator 


8 West 40th Street, New York City 
834 South Plymouth Boulevard, Los Angeles, Calif. 
HE Greatest Musical Event in New York City in the past several decades was the 
; playing of a ten-year-old Dunning pupil with the New York Philharmonic Orchestra, 
March 20th, 1926. The child had only studied one year and eight months. She 
played Le Carnaval des Animaux, by Saint-Saens. The piece is twenty-three pages long. 
She memorized it in three weeks. If you have any plan for teaching that can bring such 





results in that length of time—then you do not need the Dunning System. 


not, then you do. 


If you have 


Faculty of Normal Teachers—Classes Held in these Cities 


KATHARINE M. Arnotp, 93 Madison St., 
Tiffin, O. 
AuuiE E. Barcus, 1006 College St., Ft. 
Worth, Tex. 
EvizetTe R. Bartow, Box 1244, St. Peters- 
burg, Fla. 
CATHERINE C. Brirp, 658 Collingwood Ave., 
Detroit, Mich, 
N. Twin 


GRACE A, Bryant, 201—10th Ave., 
Falls, Idaho. 

Dora A. Cuasz, 345 Clinton Ave., Brook- 
lyn, N. Y. 

Appa C. Eppy, 136 W. Sandusky Ave., 
Bellefontaine, 

Beatrice §S. Erker Kipp, Key College, 
Sherman, Tex. 

Ipa GARDNER, 17 E. 6th St., Tulsa, Okla. 

Griapys M. GLenn, 1217 Bowie St., Am- 
arillo, Tex. 


FLORENCE E. Grasrie, Michigan State In- 
stitute of Music, Lansing, Mich. 


HARRIET Bacon MacDonatp, 6010 Belmont 
Ave., Dallas, Tex. 
Kate Dett Marpen, 61 N. 
land, Ore. 

Mrs. W. P. Mason, 302 Mid. City Bank 
Bldg., Chicago, III. 

Laup G. Puipren, 3435 Ashbury Ave., 
Dallas, Tex. 

Exvuig I. Prince, 4106 Forest Hill Ave., 
Richmond, Va. 

VirGINIA Ryan, 1070 Madison Ave., New 
York. 

Stetta H. Seymour, 1219 Garden St., San 
Antonio, Tex. 

GERTRUDE THOMPSON, 508 W. Coal St., 
Albuquerque, N. 


M. 
IsopeL M. Tone, 626 Catalina St., Los An- 


geles, Calif. 
Mrs. H. R. Watkins, 124 E. 11th St., 


Oklahoma City, Okla. 


16th St., Port- 


Mrs. JEAN WARREN CARRICK 
(Normal Teacher) 


25 Lake Street, San Francisco 


404 


Classes formed upon Arrangement 











Diaghileff's Ballet, but for some reason the plan failed to go through 
and an invitation to grant the premiere to the Metropolitan Opera 
Company was accepted. The first performance was given February 
19, 1926. Asa concert number it was first produced by the Chicago 
Orchestra under the direction of Frederick Stock, November 5, 1926. 

The score calls for the following orchestra: Three flutes (one 
interchangeable with a piccolo), three oboes (one interchangeable 
with an English horn), three clarinets (one interchangeable with a 
bass clarinet), three bassoons (one interchangeable with a double- 
bassoon), three saxophones, four horns, four trumpets, three trom- 
bones, bass tuba, two pianos, tenor banjo, celesta, xylophone, kettle- 
drums, bass drum, cymbals, Oriental drum, side drum, tambourine, 
anvils, wood-block, gong, glockenspiel, cylinder bells and strings. 

Like all ballet music, “‘Skyscrapers’’ is difficult of analysis without 
the action, therefore the following description of the ballet by James G. 
Heller is supplied: | 

The First Scene is of the traffic lights, and converging stripes of 
black and white, indicating danger. Pianos and percussion instru- 
ments beat out a complex 5-4 rhythm, against which loud woodwind 
and string-chords are projected. The dynamics rise, until against 
shrill trills of the strings, woodwinds and trumpets shout out a shriek- 
like warning. Trombones and horns echo it. Now the whole orchestra 
unites in one of those barbarous and wayward rhythms we associate 
with Jazz. 

Three jarring chords for piano lead to the Second Scene, which 
is that of the workmen on a scaffold at the skyscrapers, toiling at the 


VOJMIR ATTL 


Harpist 
San Francisco Symphony Orchestra 
Available for 
Concerts, Ensemble Music and 


HARP INSTRUCTION 


STUDIO: 


403-404 Marston Building 
244 Kearny St., San Francisco, Calif. 


JOHN BUBEN 


Fur Fashion’s Creator 


Fur Artistry and Craftsmanship for 
discriminating fur lovers. Furs re- 
styled as Jacquettes, or in the latest 


Creations. 
57 GEARY ST. 
Phone KEarny 5873 


Paris Office 
52 Rue du Faubourg—Montmartre 


For Appointment 
Call 


Studio Phone Residence Phone 
DOuglas 3706 SKyline 2757 





405 











fires below, and the crowd drifting by interminably. The figure of the 
opening seems to give the beat of their hammers,—in piano and 
woodwinds. It alternates with the three jangling chords first given to 
pianos. Against this rhythm now appears a complaining, harsh song 
of first violins, ‘cellos, woodwinds and horns. After this recurs the 
wayward jazz-rhythm of the opening. There is an alternation of these 
sections, with varied orchestration, until the next scene. 


The Third Scene is of transition from work to play, dull workmen 
walking with stiff and mechanical steps into one doorway and emerging 
from another gay and relaxed, and with a girl on their arm. The music 
begins with dull tramping in piano, plucked lower strings, and bass- 
drum. Then follow expressive downward runs in woodwinds, out of 
which rises a strong rhythm in trumpets and strings. The excitement 
erows, and the mood becomes gayer. Here a tenor banjo and two 
saxophones are introduced into the orchestration. At last woodwinds 
begin to cackle loudly, and the trombone indulges in a “slide” in the 
best jazz manner. 

This brings us to the Fourth Scene, which is the real backbone of 
the work. As the scene is revealed a little German band is discovered 
surrounded by a crowd of excited pleasure-seekers. It plays a thor- 
oughly banal street-melody. To this the people dance boisterously. 
There is a sudden ‘‘throw-back”’ to Work and an equally sudden rever- 
sion to Play. The dance movement continues, with another tawdry 
song given to violins and saxophone. Rhythmic monstrosities alter- 
nate with its verses. Saxophones and woodwinds unite at last, braying 


HAZEL DREIS 


FINE BOOKBINDINGS 


MUSIC BOOKS BINDING 
BOUND MENDED TAUGHT 


1367 Post Street, San Francisco 
WA Inut 7097 19 Studio Building 


ARRILLAGA MUSICAL COLLEGE. 


Founded 1877 Incorporated 1911 
LARGEST IN THE WEST 


Pipe Organ—Choral—Orchestra—Stage Training 
T heory—V oice—Instruments—Eyvening Classes 


Superior [nstruction—Low Terms 


2351 JACKSON STREET, SAN F RANCISCO Phone WALNUT 3742 





406 
































forth the melody. Trumpets now join in proclaiming the advent of 
a superior ‘act.’ The piano refers briefly to the rhythmic work-motive 
of the opening scene. Now follows the solo dance of “Herself,”’ 
grazioso, the melody in violas and ‘cellos, a street waltz. Trumpets 
and horns follow, against bright chords for strings and piano. The 
waltz melody is taken up by the various choirs leaping from one to the 
other, varying in volume and passion. 

A section comes next, which is reminiscent in its accents of the 
workers, and seems intended to remind us of the machine beneath the 
tinsel and glitter of this ““Coney Island.’’ Now comes the episode of 
the “Merry-Go-Round,” “‘a fantastic cylinder, covered with mirrors, 
which they place in the center of the stage, where it slowly revolves, 
catching and throwing back a thousand lights and colors. In a wide 
circle around the revolving mirror moves a double file of dancers, 
giving the effect, with their prancing step and the nodding plumes on 
their heads, of the gay manoeuvers of the wooden horses of a merry- 
go-round.” Strings and saxophone answer the call of the trumpet. 
Three saxophones and woodwinds wind in the strange rhythm of the 
merry-go-round. Loud chords and syncopated beatings of the trumpets 
continue it. A snatch of a Stephen Foster song appears for violins 
and saxophone. The melody continues with vulgar modifications in 
violins and woodwinds. Another popular song appears for strings and 
saxophone. Then the music represents the gradual slowing down of 
the merry-go-round, until it comes to a complete stop. 

An interlude,—in the ballet tided over by a little group of 
dancers, is sung by banjo and solo clarinet. The full orchestra joins 


The 


Margaret Mary Morgan Co. 


PRINTERS 
Engraving ~ Publishing 


MARGARET 


TILLY 


PIANIST 
Will be on the Pacific Coast during 
the entire season, 1928-1929 
Concert Management 


ELWYN CONCERT BUREAU 


DAvenport 0450 PHELAN BUILDING 
Studio: 
450 GRANT AVENUE 


619 California Street Telephone KEarny 8289 
SAN FRANCISCO 





407 











in a dance of sturdy rhythm, which dies away to another solo-dance, 
by a character called ““The Strutter.”’ This consists of violent alterna- 
tions between strings and winds, angular lines of dance melody which 
indicate the character of the pantomime. The dance of the crowd is 
added,—until at last ““The Strutter’’ dives out of view. Now pande- 
monium ensues: two street women engage in a brawl, beginning in 
strings on the theme of the street dance. Their followers join in 
lustily. The fray mounts in violence, until one can hear them scream- 
ing imprecations at each other. A policeman appears and drives the 
crowd from the stage. 

No one is left on the stage but a negro street cleaner, in the white 
garb of his profession. You can hear him singing at his work, English 
horn, the work itself being in plucked strings, woodwinds and bass 
drum. The lights grow dimmer. He throws himself down to sleep. 
A spotlight picks out his white costume from the surrounding gloom. 
The stage diections now tell us that the music “‘represents the dream 
fantasy of the sleeping negro. Through a gauze curtain just beyond 
him we see gradually taking shape in the dim light a group of negroes, 
men and women, half-forgotten types of the poor South. We hear 
their actual voices, in a song, first slow and soothing, then more ani- 
mated and rising at last to a fierce religious fervor. . . . Violins 
and oboes begin the choiring. Notice the idiomatic character of the 
song, with its flatted seventh. With an occasional interlude of shout- 
ing horns, it continues on its repetitive way, rising at last to a very 
frenzy of religious exaltation. Suddenly the singing ceases, and the 
singers break into a wild dance, for violins and woodwinds. The feet 


JANET ROWAN HALE 


Pianist and Teacher 


Studio 902 
26 O'Farrell Street Berkeley and Piedmont 
Phone DAvenport 5486 Phone OAkland 8663 


30 years violin specialist in St. Louis and Chicago Expert Repairing 


S. O. ALLISON 
VIOLIN MAKER, CONNOISSEUR AND APPRAISER 


Agent for Andres Morellis hand-made Violins, Violas, "Cellos, Basses 
Artist Bows by G. A. Pfritzschner 
and other celebrated Bow Makers 
45 GEARY STREET 
Dealer in New and Old Violins, San Francisco, Cal. 


’Cellos and Bows Formerly I. A. Lutz 
Strings and Accessories DAvenport 0415 





408 











of the sleeper begin to twitch, until at last he wakens and throws him- 
self into the dance, which ends with a frenetic accelerando. The lights 
‘black out,” then flash up again, revealing in a few measures the crowd 
at the climax of their play. With redoubled frenzy it goes on, up to 
a sudden pause, when the scene disappears. 

The Fifth Scene is a transition from Play to Work. We return 
in the Sixth Scene to the blast of the factory whistle, the skyscrapers, 
and the pounding away of men and machines, as at the beginning. 
The music hammers away with massive insistence. Very broadly the 
orchestra sings the harsh, complaining song of the Second Scene. The 
machinery begins again, clanging relentlessly to the strident end. 


Symphony No. 7, in A major - - Ludwig van Beethoven 
(Born December 16, 1770, at Bonn; died March 26, 1827, at Vienna) 
Beethoven wrote his A major symphony mostly in 1811-12, 


RICHARD BUHLIG 
Pianist 
THREE LECTURE RECITALS 


Tuesday, April 16..BACH 
Tuesday, April 23..BEETHOVEN 


. (CONTEMPORARY 
Paeaday, PFs 2-5 COMPOSERS 


at 8:45 P. M. 


Mr. Buhlig will conduct a class in Piano 
Playing on the twelve Wednesday and 
Saturday afternoons, April 3rd to May 
11th. The class will contain players and 
listeners. 


Classes and Recitals will be held at 
RUDOLPH SCHAEFFER STUDIOS, ST. ANNE ST. 


For further information, apply to 


MARGARET TILLY, 450 Grant Avenue S. F. 


Julian Brodetsky 


ASSISTANT CONCERT MASTER 
SAN FRANCISCO SYMPHONY ORCHESTRA 


Violin Instruction 


Studio 
Phone SKyline 4855 189 Commonwealth Avenue 





409 











although sketches for it go back as far as 1808. From the very outset 
the symphony was recognized as a masterpiece and it stands today as 
one of the half dozen supreme achievements in the field of music. As 
in the case of other symphonies by Beethoven, there have been various 
programmes or interpretations read into the Seventh. Richard Wagner 
declared it to be the Apotheosis of the Dance. A writer in the 
“Gazette Musicale’ (Paris) asserted that the symphony was intended 
to represent a rustic wedding with the following programme: First 
movement — Arrival of the Villagers; Second — Wedding March; 
Third—Dance of the Villagers; Fourth—Feast and Revels. How- 
ever, it is safe to say that Beethoven never intended any specific pro- 
gramme for the symphony, but in explanation of its buoyant energy 
and its superb vitality, one may well look for a moment at the con- 
ditions amid which it was written. 

After the year 1809, the whole aspect of Europe, humbled for 
ten years by Napoleon's victories, began to change. The people, for- 
merly apathetic, were now the centers of resistance to Napoleon; they 
were driving their rulers to learn military efficiency. Writers like 
Fichte were arousing a new and intense nationalism in prostrate 
Prussia; Scharnhorst and Gneisenau were remodeling its armies; 
Schwarzenberg, the only Austrian general whom Napoleon really 
respected, was doing the same thing for the imperial forces. Beethoven 
was keenly conscious of all this; in 1810-12 he composed a good deal 
of definitely military music, and wherever he went the talk must have 
been largely of the rising tide of German-Austrian nationalism and the 
day when Napoleon should be overthrown. Against this background, 
the A major Symphony is easily explained. 


THE SAN FRANCISCO BANK 


SAVINGS COMMERCIAL 
INCORPORATED FEBRUARY i0TH, 1868 
One of the Oldest Banks in California, 
the Assets of which have never been increased 
by mergers or consolidations with other Banks 


MEMBE.R ASSOCIATED SAVINGS BANKS OF SAN FRANCISCO 
526 California Street, San Francisco, Cal. 


December 31st, 1928 
$123,780,369.02 


Capital, Reserve and Contingent Funds 5,150,000.00 
Pension Fund over $635,000.00, 
standing on Books at 1.00 


WE DSIRCIEG UEC EEOC On og od ch habe a abe we ae alel soe Mission and 21st Streets 
PARK-PRESIDIO BRANCH Clement St. and 7th Ave. 
Haight and Belvedere Streets 

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 


410 








JJersonnel 


The San Francisca Sumphony Orchestra 


ALFRED HERTZ, CONDUCTOR 


FIRST VIOLINS 


Piastro, Mishel 
Concert Master 


Fenster, Lajos 
Assistant Concert Master 


Brodetsky, Julien 
Assistant Concert Master 


Meriz, Emilio 

Ford, Louis W. 
Jensen, Thorstein 
Gordohn, Robert 
Mendelevitch, Rodion 
Laraia, William F. 
Mortensen, Modesta 
Koenig, Hans 

See, Orley 

Pasmore, Mary 
Atkinson, Helen E. 
Wolski, William 
Ruiz, Ricardo 


SECOND VIOLINS 


Heyes, Eugene 
Principal 


Rosset, Emil 
Amsterdam, Max 
Callinan, W. G. 
Paterson, J. A. 
Gold, Julius 
Haug, Julius 


Gough, Walter 
Firestone, Nathan 
Simonsen, Frances 
Wegman, William 
Tolpegin, Victor 
Hoffman, Henry H. 
Dabelow, William 


VIOLAS 

Verney, Romain 

Principal 
Hahl, Emil 
Baker, F. A. 
Wismer, Hother 
Weiler, Eric 
Lichtenstein, Victor 
Dierich, Franz 
Triebel, August 
Kolb, Richard 
Lewis, Arthur 


’CELLOS 


Penha, Michel 
Principal 


Dehe, Willem 

King, Otto 
Villalpando, Wenceslao 
Kirs, Rudolph 
Pasmore, Dorothy 
Reinberg, Herman 
Gough, Flori 

Hranek, Carl 

Haight, Rebecca 


BASSES 


Previati, Louis J. 
Principal 


Bell, Walter 
Storch, A. E, 
Guterson, Aaron 
Schulz, Emil 
Schmidt, Robert E. 
Frederick, Oscar 
Schipilliti, John 


FLUTES 
Linden, Anthony 


Oesterreicher, Walter 
Orchestral Manager 


Benkman, Herbert 


PICCOLO 


Benkman, Herbert 


OBOES 
Addimando, Caesar 
Shanis, Julius 


Schipilliti, Vincent 


ENGLISH HORN 
Schipilliti, Vincent 


CLARINETS 
Randall, Harold B. 


Zannini, Nicolai 
Fragale, Frank 
Triebel, August 


BASS CLARINET 
Fragale, Frank 


4\1 


BASSOONS 


Kubitschek, Ernest 
La Haye, E. B. 
Hranek, Carl 


CONTRA BASSOON 
Kolb, Richard 


HORNS 


Hornig, Walter 
Roth, Paul 
Tryner, C. E. 
Rocco, R. 
Trutner, Herman 


TRUMPETS 


Drucker, Vladimir 

Barton, Leland S. 

Savant, Silvio 

Kegel, Otto 

Kress, V. 
TROMBONES 


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


TUBA 
Murray, Ralph 


HARP 


Attl, Kajetan 
Attl, Vojmir 


TYMPANI 
Wagener, Roland E. 


PERCUSSION 


Vendt, Albert, Jr. 
Salinger, M.A. 
Kundy, E. 


SAXOPHONES 
Geanacos, John C. 
Kubischek, Paul 
Roberts, Paul 


BANJO 
Eilerts, Louis S, 


PIANO 
Tibbitts, J. P. 
Hughes, Margo 
LIBRARIAN 
Kegel, Otto 








tl tl hl hl i hl hl i i ll 





cc } \ ; 
I AM usIng the eSteinway plano 
now for many years and am 
enjoying its superior qualities sO 
nace much that I cannot 


imagine how I ever could 





get along without one. 
It is like a good friend of ot 
whom you get fonder 


the more you know 





99 


him. 


The home of the Steinway 1S 


Sherman, @lay & Co. 


Kearny and Sutter Streets, San Francisco 
Mission Street, near Twenty-first 
Fillmore Street, near Post 
Fourteenth and Clay Streets, Oakland 
3420 E. 14th Street, Fruitvale 
Telegraph and Channing Way, Berkeley 
1315 Burlingame Avenue, Burlingame 








AN EVENING OF LIGHT MUSIC BY 

THE SAN FRANCISCO SYMPHONY 

ORCHESTRA . . PALM COURT OF 

THE PALACE HOTEL, TUESDAY, THE 

NINTH OF APRIL, NINETEEN HUNDRED 
AND TWENTY-NINE 


NINE O'CLOCK 


ALFRED HERTZ, Conductor 








MEMBERS’ CONCERT 








THE:. PALM COURT, IS ,.USED THIS 
EVENING THROUGH THE COURTESY 
OF THE PALACE HOTEL MANAGEMENT 
IN COMPLIMENT TO THE MEMBERS OF 
THE MUSICAL ASSOCIATION AND THE 
WOMEN’S AUXILIARY 











& 


PROGRAMME 


. Overture to “Die Fledermaus” - - Johann Strauss 


. Waltzes for Orchestra - - - - - - ~- Brahms 


(Arranged by ALFRED HERTZ) 


. Ballet Music from ‘“‘Faust’”? - - - - - Gounod 
. Solitude (For Strings} ¢ =), - =!'.~ «= Spendsen 


. Grand Pas des Fiances, from 


‘““Ruses d Amour” - - - - - - Glazounow 
Solo Violin: MISHEL PIASTRO 


Solo ’Cello: MICHEL PENHA 


poms Bale Wee ef Bun. ie WY 2 ad dees 


. Prelude and Allegro - - - - - Pugnani-Kreisler 


(Orchestrated by MISHEL PIAsTRO) 


. Hungarian Rhapsody No.1 - - - - - -~ Liszt 














Che San Hi ranrisen 


ALFRED HERTZ 
Conductor 


Presented by 


The Associated Students 


of 
Stanford University 


STANFORD PAVILION 


WEDNESDAY, APRIL 10, 1929 
8:15 P. M. 








Pro gramme 


. Overture to “Rienzi” - - - - - - Wagner 


In “Rienzi” Wagner frankly admitted his purpose of “‘out- 
Meyerbeering Meyerbeer,’”’ then at the height of his fame as a 
concocter of “‘grand historic opera.” He succeeded in doing so. 
‘Rienzi’ achieved a success that made the unknown composer 
famous and had he wished he could have become wealthy and 
popular with a series of such works. However, after this one 
attempt he turned from the Meyerbeer style to follow the path 
which was to lead through frightful toil, almost universal obloquy 
and bitter penury, at last to immortality. Having been written 
before Wagner made his new departures in music, “‘Rienzi’’ is in 
the regular overture form, based upon themes from the opera. 


. Symphony No. 7 - - - - ” - Glazounow 


Allegro moderato 
Andante 
Scherzo: Allegro giocoso 


Finale: Allegro maestoso 


As an insight into Glazounow’s symphonic works, the follow- 
ing is quoted from M. Montague Nathan's “‘Contemporary Russian 
Composers’ : 


‘‘As a symphonic writer Glazounow has gradually drawn away 
from the use of external aids and has relied more and more on 
inherent beauty. Beginning with ‘Stenka Razine’—the work of a 
man who was reckoned, at the time of its composition, a powerful 
recruit to the nationalistic coterie—he has progressed to the eighth 
symphony, which has earned him the title of ‘a contemporary 
classic master.’ As a half-way house in this process of evolution 
the fourth symphony repays examination. In this we see the com- 
poser hesitating about his road. It contains reflections of the 
influence of Borodin in the Oriental theme of the Andante, of 
Liszt in its construction, its disregard of the four-movement form 
and the transformation of thematic substance, and of the west in 
the first subject of the Allegro moderato—a theme which is heard 
wn several later works in a variety of guises, which do not, how- 


ever, conceal its identity, notably in the concerto for violin. At 
this stage the composer has already traveled far; on the road still 
before him he is to purify the elements of his creative substance 
and to divest it of everything which is not essentially musical. ‘He 























*). 


has abandoned,’ says Rimsky-Korsakow in his Memoirs, ‘the 
thickets of “The Forest,’’ the depths of ‘‘The Sea’”’ and the walls 
of “The Kremlin’’’; in the last named the musical reflection of 
the program, indicated by headings, has become quite faint; the 
romanticism of the Andante of the fifth symphony, of ‘Raymonda,’ 
of the sixth symphony and the ‘Middle Ages’ suite is not in the 
vein of the contemporary descriptive composers. Glazounow has 
already gone far towards purging himself; he is already nearing his 
promised land, wherein music is absolutely self-sufficing, in the 
seventh symphony. With the eighth he reaches his destination.” 


Intermission 


Overture to “A Midsummer Night’s Dream” - - Mendelssohn 


When Mendelssohn was about eighteen years of age, he read 
Shakespeare’s ‘““A Midsummer Night’s Dream,’ from which he 
received the inspiration to write an overture for the play. Al- 
though he had been a prolific composer since he was twelve, this 
overture marked his definite arrival at artistic maturity. The over- 
ture opens with four prolonged chords for the woodwinds, fol- 
lowed immediately by the dainty ‘“‘fairy music,’ which constitutes 
the principal theme. After a prolonged development of this 
theme and its tributary material, the melodious second theme 
appears, being announced by the woodwinds and then taken up 
by the strings and gradually expanding into broader instrumenta- 
tion. As the movement proceeds, several picturesque features 
come into notice—the “‘Bergomask Dance’’ from the fifth act of 
the play, the comical braying of the donkey, and a figure which 
Mendelssohn called his ““Schoenhauser fly’’—a rapidly descending 
scale-passage for the ‘cellos (each tone quickly repeated), sug- 
gested by the buzzing of a large fly in the Schoenhauser garden. 
The development proper—drawn mainly from the first theme— 
is followed by the orthodox recapitulation of the first part, and, 
after a short coda, the overture closes with four sustained chords 
like those with which it began. 


Menuet - - - - - ~ - - Boccherini 


Boccherini is a unique figure among the many Italian compos- 
ers of his time in that he devoted himself almost wholly to instru- 
mental music instead of to the opera, which latter has always been 
the particular ideal of his nation. The piece played this evening 
is in the graceful and stately form of dance which prevailed about 








aan 


two hundred years ago, and the name always recalls a scene in a 
royal ballroom, powdered wigs, and lace-fringed sleeves. The 
name Menuet is derived from the French “menu” (small), and 
refers to the short, dainty steps of the dancers. 


Entr’Acte from ‘‘Rosamunde’’ - - - - Schubert 


‘‘Rosamunde” had two performances in Vienna in 1823 and 
then the play and music were bundled up, laid away and for- 
gotten. In 1867, forty-four years later, Sir Arthur Sullivan of 
English comic opera fame, and Sir George Grove, author of the 
well-known musical dictionary, while on the hunt in Vienna for 
neglected Schubert manuscripts, found ‘‘Rosamunde.”” The music 
consisted of an overture, three entr’actes, two numbers of ballet 
music; a little piece for clarinets, horns and bassoons; a romance 
for soprano solo, and three choruses. 


Andante Cantabile for Strings - - - Tschaikowsky 


This number is taken from a string quartet which Tschaikow- 
sky wrote for a concert which he gave in Moscow in order to raise 
funds to undertake foreign travel. The Andante is based on a 
Russian folk song with which Tschaikowsky became acquainted 
in a peculiar manner. A plasterer was working outside the house 
in which the composer was living. Tschaikowsky heard him hum- 
ming a song several times while at work. He took down the song 
and used it as the principal theme of this section of his quartet. 
The arrangement played this evening is for all the strings except 
the basses. 


Hungarian Rhapsody, No. 1 - - - - - Liszt 


Liszt wrote a lengthy treatise on the music of the gypsies in 
Hungary, where, he pointed out, they received less persecution 
than in any other part of Europe. These Hungarian Rhapsodies 
are not founded on the national music of Hungary, because the 
gypsies are not Magyars. They area strange, nomadic tribe, prob- 
ably coming from India, where they were of the lowest caste, 
driven out by the Mongol invasion between the tenth and thir- 
teenth centuries, and wandering over the world ever since. Liszt 
gathered the material of their music, their dance forms and their 
rhythms and in a set of rhapsodic pieces, sought to give them a 
definite place, historically and esthetically, in the world of art. 


*These numbers have been recorded for the Victor by the San Francisco 


Symphony Orchestra under the direction of Alfred Hertz. 



















SOMA ORO 


Sad FRANCISCO 
eae pst 








ORCHESTRA Dy 
When PMusteat o os 
Assoctation of fg 
San Francisco 


Ne 


i : 





1928 1929 
Eighteenth Season 


DD Aree et wet tae TOR 


= 
3 














LAST 


PAIR OF SYMPHONY CONCERTS 


Thursday, April 18, 8:20 P. M. 
DREAMLAND AUDITORIUM 


Friday, April 19, 3:00 P. M. 
CURRAN THEATRE 


PROGRAMME 


1. Symphony No. 1, in’'C mimor.............-.-...-0-.s.--s2--t-- Brahms 
Un poco sostenuto—Allegro 
Andante sostenuto 


Un poco allegretto e grazioso 
Adagio—Piu andante—Allegro non troppo 
ma con brio 


 Crehestra Suite Opus 32a ds. sd sehen carson chats Roussel 
Prelude 
Sarabande 


Gigue 
(First time in San Francisco) 


3. Fantasia, “Francesca da Rimini ’...........--..----- Tschaikowsky 





Symphony Box Office, Sherman, Clay & Co.; hours, 9 to 5. Tickets 
may also be obtained at other Sherman, Clay & Co. bay city stores. 
Friday tickets on sale zt Curran Theatre after 10 a. m. on day of con- 
yh Box office at Dreamland Auditorium open at 7 p. m. on concert 

ays. 


$$ $$ OlUOUONWllI RDG. .90 
422 














Musical Association of San Francisco 


Founded December 20, 1909 Incorporated February 3, 1910 


OFFICERS 
J. B. Levison, President 
W. C. Van ANTWERP, Vice-President 
WALTER S. MarTIN, Treasurer 
Mrs. IRWIN Crocker, Honorary Vice-President 
Mrs. E. S. HELLER, Honorary Vice-President 
A. W. WIDENHAM, Secretary-Manager 











BOARD OF GOVERNORS 











R. I. Bentley John S. Drum John A. McGregor 
Miss Lena Blanding Sidney M. Ehrman John D. McKee 
Miss Louise A. Boyd Milton H. Esberg R. C. Newell 
George T. Cameron Mortimer Fleishhacker F. R. Sherman 

Selah Chamberlain F. J. Koster B. F. Schlesinger 
Mrs. Irwin Crocker J. B. Levison Mrs. M. C. Sloss 
William H. Crocker Walter S. Martin Mrs. Sigmund Stern 
E. R. Dimond Clay Miller W. C. Van Antwerp 
A. B. C. Dohrmann L. F. Monteagle Eli H. Wiel 






Mrs. M. S. Koshland, ex-officio 






EXECUTIVE COMMITTEE 


W. C. Van ANTWERP, Chairman 
Mrs. Irwin Crocker A. B. C. Dohrmann Walter S. Martin 
Mortimer Fleishhacker John D. McKee 








MUSIC COMMITTEE 


R. C. NEWELL, Chairman 
Mrs. M. C. Sloss PF. R. Sherman 








WOMEN’S AUXILIARY 


Mrs. M. S. KosHLANpD, Chairman 
Miss LENA BLANDING, Vice-Chairman Mrs. M. C. Porter, Vice-Chairman 







EXECUTIVE OFFICES 
Fifth Floor, 244 Kearny Street 
Telephone GArfield 2819 









A. W. WIDENHAM, Secretary-Manager 
HOWARD G. HANVEY, Press Representative 






423 

















AAA AAA. AA 44 AA. 





Hah oe 


The Great Spaniard 
Manuel de Falla has been rightly acclaimed ‘‘one of the torch- 
bearers of musical progress in the world’’. In his 


El Amor Brujo (Love, the Magician) 


he has given incomparable evidence of artistic endowments unique 
and unprecedented. 
This master work of modern composition is now issued in 


Columbia Masterworks 
COLUMBIA MASTERWORKS SET NO. 108 


Dr Faria: El Amor Brujo (Love, the Magician). Suite for Orchestra. 
By Pedro Morales and Symphony Orchestra. In Six Parts, on Three 
12-Inch Records. 


? 


Schumann’s Fourth Symphony: Smetana’s Beautiful Elegy: 


superbly characteristic production of the Trio in G Minor, Op. 15, is re- 
the great romanticist, is interpreted corded with the utmost in expression 
by Bruno Walter. and effectiveness by the Malkin Trio. 


COLUMBIA MASTERWORKS SET COLUMBIA MASTERWORKS SET 
NO. 106 NO. 107 


ScHUMANN:Symphony No.4,inD Minor, Smetana: Trio in G Minor, Op. 15, for 
Op. 120. By Bruno Walter and Mozart Violin, Violoncello and Piano. By 
Festival Orchestra (Paris). In Eight Malkin Trio. In Seven Parts, on Four 
Parts, on Four 12-Inch Records. 12-Inch Records. 


Ask for Columbia Masterworks Catalogue and Supplements 


THE COLUMBIA PHONOGRAPH COMPANY 


941 Mission Street, San Francisco, Calif. 


ens 


“Magic — Notes’’ 


COLUMBIA 


“NEW PROCESS” RECORDS 


Reg. U.S. Pat. Off. 


Viva-tonal Recording —The Records without Scratch 
Reg. U.S. Pat. Off. 








a a ai a A A A > > A En A i A A i A i i i i i i i i i i i i i i i i i i i ln ll, li i i ln i i la i ls i i ee ee 


—— 


pa a ee ee ee es ee ee eee eee eee 


Pee rs 2 a 





A cihitadthbint intial 


a a a aS a 


ag 
ns ee a Fe Oe Cae ae Une Cy CE) ey ven) ey ee es ee eee 


The San Francisen Symphony Orchestra 


ALFRED HERTZ, Conductor 
(Steinway Piano Used) 


1928—Season—1929 


LAST POPULAR CONCERT 
787th Concert 


Thursday Evening, April 11, 8:20 o’clock 
DREAMLAND AUDITORIUM 


Soloist: MISHEL PIASTRO, Violinist 


PROGRAMME 
Roane. “eerie 5c Cait Se te ee ta ares Beethoven 
Z:.° the Steppes ot Middle:Asia :::.....2.:...:. 83s Borodin 
JeuConcerto for Viohit; ‘Opus O2iiacs....-2-..e5e Glazounow 


MISHEL PIASTRO 


Intermission 
a Cheertave to... Avila Oth. uc. ssccasittesh id... cand Saeneee Thomas 
So he. Niiteracker  Suitéetct.4. eet Tschaikowsky 


I. Overture 


Il. (a) March 
(b) Dance of the “Fee Dragee™’ 
(c) Russian Dance 
(d) Arabian Dance 
(e) Chinese Dance 
(f) Dance of the Mirlitons 


Ill. Waltz of the Flowers 
*6. Symphonic Poem, ““The Preludes’ ...................-..-..-.--- Liszt 


*This number has been recorded for the Victor by the San Francisco 
Symphony Orchestra under the direction of Alfred Hertz. 





425 











Overture, “Egmont,”’ Opus 84 - - Ludwig van Beethoven 
(Born December 16, 1770, at Bonn: died March 26, 1827, at Vienna) 


The music to ‘Egmont’? was composed during the winter of 
1810-11, and performed on the following May 24. It was a time 
when Beethoven was strongly under the influence of Goethe. In the 
spirit of Goethe’s drama, the overture is charged with an air of sombre 
fate and heroic resolution, softened with touches of romance. 

The solemn Sostenuto of the beginning leads into the Allegro by 
a figure of the strings not unlike the famous phrase in the Leonore 
No. 3. The melody sings first in the ’cellos. rising to a great height. 
A strain of romance constantly interweaves with the heroic. The 
fateful legend of the beginning returns, but the sombre melancholy is 
slowly overborne. A climax of the heroic theme leads allegro con 
brio in the tonic major, to a paean of triumph. 


“On the Steppes of Middle Asia” - - Alexander Borodin 


(Born November 12, 1834, at Petrograd; died February 28, 1887) 


The following “‘program’’ written on a fly-leaf of the score 
explains the significance of the music: 

“Out of the silence of the sandy steppes of Middle Asia come the 
sounds of a peaceful Russian song. There are heard, too, the melan- 
choly strains of Oriental melodies and the stamping of approaching 
horses and camels. A caravan, escorted by Russian soldiers, crosses 
the measureless desert, pursuing its way, free from care, under the 











Mr. Victor Lichtenstein 


Cordially Invites You to a 


Recital of Violin Music by His Pupils 
WESTERN WOMEN’S CLUB 


(Mason and Sutter Streets) 


Saturday Evening, April 27, 8:15 o’clock 
PROGRAMME 











1. Triumphal March ............. Pas etd Drdla 
VIOLIN CHOIR 
2. Allegro moderato from Eighth Concerto... De Beriot 
VERNE MACFARLAN 
ge a) leptew Melody 2.2 >) See oe i Achron 
i S|! Re EPR 2 a RE Sa Fiocco 
MORRIS SIMON 
a; Erman: and Allegro... wee ee Pugnani-Kreisler 
ABRAHAM TAUBER 
3, Concetto.for Four Violitiss foc: 3 oo ue en PS Vivaldi 
MABEL JOOST ABRAHAM TAUBER 
MORRIS SIMON VERNE MACFARLAN 






FEY VA 2 al Oe OE ee aa a eR ae NU aT AR 






MABEL JOOST 
MRS. CECIL HOLLIS STONE, Accompanist 





426 





protection of Russian arms. The caravan moves ever forward. The 
songs of the Russians and those of the Asiatics mingle in common 
harmony, their refrain gradually dying away in the distance.’’ 

Montague Nathan's “History of Russian Music’ contains the fol- 
lowing explanation of the piece: 

“This, like the second symphony, derives a great deal from the 
exhaustive research undertaken during the preparation of the literary 
basis of Prince Igor. Borodin’s symphonic poem describes in some 
very vivid music the passage of a caravan across the desert under the 
escort of Russian soldiers. By means of two themes, one Russian and 
one Oriental, which subsequently mingle in the harmonic scheme, the 
composer contrives to effect a musical reproduction of the figures in 
the foreground of his picture. ~The immensity and monotony of the 
prairie are suggested by a long and persistent note given to the violins. ’’ 


Concerto for Violin, in A minor, Opus 82 - Alexander Glazounow 
(Born August 10, 1865, at Petrograd) 


This concerto, completed early in 1905, was given its first per- 
formance in Queen’s Hall, London, October 17, 1905, with Mischa 
Elman as soloist. A review of this concert in the “London Musical 
Times” stated that the concerto “is dedicated to M. Leopold Auer, 
who at the composer's request had undertaken to play it for the first 
time, but M. Glazounow, visiting the professor while he was giving 
Elman a lesson, was so impressed by his extraordinary ability that the 
composer asked M. Auer if he would allow Elman to give the first 





Established 1852 


QUALITY 
PRESTIGE 
SERVICE 


SHREVE & COMPANY 


Fewelers and Silversmiths 


Post Street at Grant Avenue 
San Francisco 


427 





















SAN FRANCISCO 
CONSERVATORY 
OF MUSIC 


ERNEST BLOCH, Director 


Ada Clement and 
Lillian Hodghead 


Associate Directors 













The only Conservatory in 
northern California accredited 
by the Juilliard School of 
Music, New York City, and 
endorsed by the Carnegie 
Corporation of New York. 


Catalogue sent on request 





Telephone WA Inut 3496 
3435-3445 SACRAMENTO STREET 


Louis Ford 


Concert 


V iolinist 
TEACHER 


Available for Solo, Sonata, Trio and 
Quartet engagements. 


Eighteen years in Chamber Music: 
San Francisco Quintet Club, Chamber 
Music Society of San Francisco, Per- 
singer String Quartet. 


Twelve years first violinist with San 
Francisco Symphony Orchestra; Assis- 
tant Concert Master for Season 1917 to 
1925. 


PUPILS ACCEPTED 
Coaching in ensemble playing. 


Assistant teacher for beginners under 
my personal supervision, 


1610 Plymouth Ave. Phone DE laware 0201 





Bunning System of Improved Music Study 
CARRIE LOUISE DUNNING, Originator 


8 West 40th Street, New York City 
834 South Plymouth Boulevard, Los Angeles, Calif. 
HE Greatest Musical Event in New York City in the past several decades was the 
playing of a ten-year-old Dunning pupil with the New York Philharmonic Orchestra, 
March 20th, 1926. The child had only studied one year and eight months. She 
played Le Carnaval des Animaux, by Saint-Saens. The piece is twenty-three pages long. 
She memorized it in three weeks. If you have any plan for teaching that can bring such 
results in that length of time—then you do not need the Dunning System. If you have 


not, then you do. 


Faculty of Normal Teachers-—Classes Held in these Cities 


KATHARINE M. ARNOLD, 93 Madison St., 
Tiffin, O. 

AtuigE E. Barcus, 1006 College St., Ft. 
Worth, Tex. 

ELiIzETTE R. Bartow, Box 1244, St. Peters- 
burg, Fla. 

CATHERINE C. Birp, 658 Collingwood Ave., 
Detroit, Mich, 

Grace A. Bryant, 201—10th Ave., N. Twin 
Falls, Idaho. 

Dora A. CuHasez, 345 Clinton Ave., Brook- 
lyn, N. Y. 

Appa C. Eppy, 136 W. Sandusky Ave., 
Bellefontaine, O. 

Beatric—E S. Erker Kipp, Key College, 
Sherman, Tex. 

Ipa GaRDNER, 17 E. 6th St., Tulsa, Okla. 

Guiapys M. GLEeNnn, 1217 Bowie St., Am- 
arillo, Tex. 

Florence E. Grasze, Michigan State In- 
stitute of Music, Lansing, Mich. 


Harriet Bacon MacDonatp, 6010 Belmont 
Ave., Dallas, Tex. 

Kate DeLt~t Marpen, 61 N. 16th St., Port- 
land, Ore. 

Mrs. W. P. Mason, 302 Mid. City Bank 
Bldg., Chicago, III. 

Laup G. Puippren, 3435 Ashbury Ave., 
Dallas, Tex. 

Eviie I. Prince, 4106 Forest Hill Ave., 
Richmond, Va. 

VIRGINIA Ryan, 1070 Madison Ave., Néw 
York. 

STELLA H. SeyMour, 1219 Garden St., San 
Antonio, Tex. 

GERTRUDE THOMPSON, 508 W. Coal St., 
Albuquerque, N. M. 

IsopEL M. Tone, 626 Catalina St., Los An- 
geles, Calif. 

Mrs. H. R. Warxins, 124 E. 11th St., 
Oklahoma City, Okla. 


Mrs. JEAN WARREN CARRICK 
(Normal Teacher) 


25 Lake Street, San Francisco 


428 


Classes formed upon Arrangement 

















performance of the work, a request to which the distinguished violinist 
willingly assented.’ 

Mr. Phillip Hale has analyzed the concerto as follows: 

‘The concerto is practically in four movements without interrup- 
tion. The principal theme is of an expressive nature, and is announced 
at once by the solo violin with a light accompaniment, chiefly of clari- 
nets and bassoons. This theme occurs frequently in the course of the 
concerto. The second subject, a flowing one, is also given out by the 
solo violin. The Andante, in aria form, is followed by an agitated 
section, and there is a return to the first movement. An elaborate 
cadenza leads to the finale. The chief theme is dialogued at first by 
trumpets and violins. It is afterward given out in an orchestral for- 
tissimo. Other thematic material is of a joyous nature.”’ 


Overture to ‘‘Mignon’’ - - - - Ambroise Thomas 


(Born August I], 1811, at Metz; died February 12, 1896, at Paris) 


“Mignon,” Ambroise Thomas’ most successful opera, had its 
premiere on November 17, 1866, at the Opera Comique, Paris. The 
libretto by Barbeir and Carre is based on Goethe’s “Wilhelm Meister’s 
Lehrjahre.’’ Of Thomas’ many operas, ‘“‘Hamlet’’ and “Mignon” are 
the only ones which have survived, and of these ‘“‘Mignon’”’ is by far 
the most popular. In 1894, on the occasion of its one thousandth 
performance at Paris, Thomas was decorated with the Grand Cross of 
the Legion of Honor. 

The overture is a highly and deservedly favored concert number 


VOJMIR ATTL 


Harpist 
San Francisco Symphony Orchestra 
Available for 
Concerts, Ensemble Music and 
HARP INSTRUCTION 


STUDIO: 


403-404 Marston Building 
244 Kearny St., San Francisco, Calif. 


JOHN BUBEN 


Fur Fashion’s Creator 


Fur Artistry and Craftsmanship for 
discriminating fur lovers. Furs re- 
styled as Jacquettes, or in the latest 


Creations. 
57 GEARY ST. 
Phone KEarny 5873 


Paris Office 
52 Rue du Faubourg—Montmartre 


For Appointment 
Call 


Studio Phone Residence Phone 
DOuglas 3706 SKyline 2757 





429 











of the lighter class, although it might be called an “‘introduction” more 
appropriately, perhaps, as it has practically nothing of the classic over- 
ture form—consisting rather of a free treatment of certain themes from 
the opera. First a short, picturesque introduction, which leads into 
Mignon’s beautiful song, ““Know’st Thou the Land?” this being fol- 
lowed in turn by the spirited polonaise which Filina sings in the 
second act. 


The “Nutcracker” Suite - - - Peter Iljitch Tschaikowsky 


(Born May 7, 1840, at Wotkinsk; died November 6, 1893, at Petrograd) 


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 ‘Nutcracker’ 
that Tschaikowsky made his only visit to the United States to assist in 
the opening of Carnegie Hall, New York. 

The ballet, ‘“The Nutcracker Prince,” tells about a little girl who 
ate so much candy on Christmas day that when she went to bed that 
night she dreamed that all the toys on the Christmas tree came to life. 
Led by a carved wooden nutcracker, whom they proclaimed The Prince 
of Fairyland, all the toys danced and played about the lighted tree. 

After the short Overture, the March is played, clarinets, horns 
and trumpets having the captivating march tune. Then comes the 
Dance of the “Fee Dragee’’ or Dance of the Sugar Plum Fairy, who 
seems to float right down from the topmost bough of the tree. The 









HAZEL DREIS 


FINE BOOKBINDINGS 


MUSIC BOOKS BINDING 
BOUND MENDED TAUGHT 





1367 Post Street, San Francisco 
WA Inut 7097 19 Studio Building 


ARRILLAGA MUSICAL COLLEGE 


Founded 1877 Incorporated 1911 
LARGEST IN THE WEST 


Pipe Organ—Choral—Orchestra—Stage Training 
T heory—V oice—Instruments—Evening Classes 


Superior Instruction—Low Terms 


2351 JACKSON STREET, SAN FRANciIsco Phone WALNUT 3742 





430 








theme which accompanies her dance is appropriately played on the 
celesta, its tones sounding like a music box of little fairy bells. The 
“Russian Dance’”’ introduces all the Russian toys, who dance a charac- 
teristic Russian trepak, of rapid and energetic type, strongly accented. 
Then the Arabian toys do their dance, which is in the minor mood. 
Over a drone-like accompaniment in the low strings, a clarinet dreams 
of far-off Araby. The Chinese Dance is very quaint, and its curious: 
theme gives one an excellent opportunity to hear the voice of the 
piccolo, and to contrast the tone of the piccolo and flute with the 
bassoon, which keeps up a steady grunting accompaniment. Next 
comes the Dance of the Mirlitons, in which all the toys join, led by the 
Mirlitons. The Mirlitons are little toy musical pipes, which make a 
noise like a piece of thin paper over a comb. This number is some- 
times called the Dance of the Flutes, as the principal part is played by 
three flutes together, the middle portion being given to the brass. In 
the last number, the “Waltz of the Flowers,’ the introduction is fol- 
lowed by a harp cadenza, which leads into the chief waltz theme, in 
the horns, one of Tschaikowsky’s most famous and ingratiating tunes. 


Symphonic Poem, ‘The Preludes’’ - - - Franz Liszt 
(Born October 22, 1811, at Raiding; died July 31, 1886, at Bayreuth) 


As to the origin of “The Preludes,’’ L. Ramann in his chrono- 
logical catalogue of Liszt’s works tells the following story. It seems 
that Liszt began to compose at Paris, about 1844, choral music for a 
poem by Aubray, and the work was entitled “‘Les Elements (la Terre, 


The 


Margaret Mary Morgan Co. 


PRINTERS 
Engraving ~ Publishing 


MARGARET 


TILLY 


PIANIST 


Will be on the Pacific Coast during 
the entire season, 1928-1929 


Concert Management 


ELWYN CONCERT BUREAU 
DAvenport 0450 PHELAN BUILDING 


Studio: 
: ; 450 GRANT AVENUE 
619 California Street Telephone KEarny 8289 
SAN FRANCISCO 





431 

















les Aquilons, les Flots, les Astres).’° The cold stupidity of the poem 
discouraged him, and he did not complete the cantata. He told his 
troubles to Victor Hugo, in the hope that the poet would take the 
hint and write for him; but Hugo did not or would not understand 
his meaning, so Liszt put the music aside. Early in 1854 he thought 
of using the abandoned work for a Pension Fund concert of the Court 
Orchestra at Weimar, and it then occurred to him to make the music 
changed and enlarged, illustrative of a passage in Lamartine’s “Medi- 
tations poetiques’ (No. 15, dedicated to Victor Hugo): 


‘What is our life but a series of preludes to that unknown song, 
the first solemn note of which is sounded by death? Love forms the 
enchanted daybreak of every life; but what is the destiny where the 
first delights of happiness are not interrupted by some storm, whose 
fatal breath dissipates its fair illusions, whose fell lightning consumes 
its altar, and what wounded spirit, when one of its tempests is over, 
does not seek to rest its memories in the sweet calm of country life? 
Yet man does not resign himself long to enjoy the beneficent tepidity 
which first charmed him on Nature’s bosom; and when the trumpet’s 
loud clangor has called him to arms, he rushes to the post of danger, 
whatever may be the war that calls him to the ranks, to find in battle 
the full consciousness of himself and the complete possession of his 
strength. | 

The work begins Andante with a solemn motive, the kernel of 
the chief theme. This motive is played softly by all the strings, 
answered by the woodwind in harmony, and developed in a gradual 


JANET ROWAN HALE 


Pianist and Teacher 


Studio 902 
26 O'Farrell Street Berkeley and Piedmont 
Phone DAvenport 5486 Phone OAkland 8663 


30 years violin specialist in St. Louis and Chicago Expert Repairing 


S. O. ALLISON 


VIOLIN MAKER, CONNOISSEUR AND APPRAISER 


Agent for Andres Morellis hand-made Violins, Violas, "Cellos, Basses 
Artist Bows by G. A. Pfritzschner 
and other celebrated Bow Makers 
45 GEARY STREET 
Dealer in New and Old Violins, San Francisco, Cal. 
"Cellos and Bows Formerly I. A. Lutz 
Strings and Accessories DAvenport 0415 





crescendo until it leads to an Andante maestoso, when a new phase of 
the theme is given out fortissimo by ‘cellos, double-basses, bassoons, 
trombones and tuba, against sustained harmonies in other wind instru- 
ments and arpeggios in violins and violas. The development of this 
phase leads by a short decrescendo to a third phase, a gentle phrase 
sung by second violins and ‘cellos against an accompaniment in the 
first violins. The basses and bassoons enter after every phrase with 
the first ficure of the original solemn phase. ~The development of this 
third phase of the chief theme leads to the entrance of the second 
theme given out by horn quartet and a quartet of muted violas against 
arpeggios in the violins and harp. The theme is played afterward by 
oboes, clarinets, bassoons, against a more elaborate accompaniment, 


RICHARD BUHLIG 


Piantst 


THREE LECTURE RECITALS 


Tuesday, April 16..BACH 
| Tuesday, April 23..BEETHOVEN 


. (CONTEMPORARY 
Tuesday, April 30... COMPOSERS 


at 8:45 P. M. 





Mr. Buhlig will conduct a class in Piano 
Playing on the twelve Wednesday and 
Saturday afternoons, April 3rd to May 
llth. The class will contain players and 
listeners. | 





Classes and Recitals will be held at 
RUDOLPH SCHAEFFER STUDIOS, ST. ANNE ST. 


For further information, apply to 


MARGARET TILLY, 450 Grant Avenue S. F. 


Julian Brodetsky 


ASSISTANT CONCERT MASTER 
SAN FRANCISCO SYMPHONY ORCHESTRA 


Violin Instruction 


Studio 
Phone SKyline 4855 189 Commonwealth Avenue 





433 








while violins and flutes introduce flowing passages between the phrases, 
The horn brings back the third phase of the chief theme, pianissimo, 
while the violins are loath to leave the initial figures of the second 
theme. The third phase of the theme dies away in flutes and clarinets. 


The working-out section is occupied chiefly with the development 
of the first theme, and the treatment is free. The initial figure of this 
theme is the basis of a stormy passage, and during the development a 
warlike theme is proclaimed by the brass over an arpeggio string 
accompaniment. There is a lull in the storm; the third phase of the 


chief theme is given to oboes, then to strings. A pastoral melody, the 
third theme, is given in fragments alternately to horn, oboe, and clari- 
net, and then developed by woodwind and strings. It leads to a 
return of the second theme in the violins, and there is development 
at length and in a crescendo until it is sounded by horns and violas, 
and then by woodwind and horns. The third phase of the chief theme 
is in horns and trumpets against ascending and descending scales in 
the.violins. It is now a march, and trombones, violas, and basses sound 
fragments of the original phase between the phrases. There is a bril- 
liant development until the full orchestra has a march movement in 
which the second theme and the third phase of the chief theme are 
united. There are sudden changes of tonality. The second phase of 
the chief theme returns fortissimo in basses, bassoons, trombones, tuba, 
against the harmonies in other wind instruments and arpeggios in 
violins and violas that are found near the beginning of the work. 


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 








MFEMBE.R ASSOCIATED SAVINGS BANKS OF SAN FRANCISCO 
526 California Street, San Francisco, Cal. 


December 3lst, 1928 











LL Me Aad Se Rrapainentne Camby lots wees, ons9 pide Mestre tea thee $123,780,369.02 
Capital, Reserve and Contingent Funds....... 5,150,000.00 
Pension Fund over $635,000.00, 

standing on Books at 1.00 
AS UE ee ee we ae og Mission and 21st Streets 
PAR S-F oll). BRANCH 3. oc) ue beet oma tad Clement St. and 7th Ave. 
HATH STREET BRANCH... ok ks wi cee Haight and Belvedere Streets 
Wiest Pt GAs DB RUAING CH 265% ogee ee 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 








434 














FIRST VIOLINS 


Piastro, Mishel 
Concert Master 


Fenster, Lajos 
Assistant Concert Master 


Brodetsky, Julien 
Assistant Concert Master 


Meriz, Emilio 

Ford, Louis W. 
Jensen, Thorstein 
Gordohn, Robert 
Mendelevitch, Rodion 
Laraia, William F. 


Mortensen, Modesta 











Koenig, Hans 


See, Orley 





Pasmore, Mary 
Atkinson, Helen E. 
Wolski, William 
Ruiz, Ricardo 
























SECOND VIOLINS 
Heyes, Eugene 
Principal 

Rosset, Emil 
Amsterdam, Max 
Callinan, W. G. 
Paterson, J. A. 

Gold, Julius 

Haug, Julius 


Gough, Walter 
Firestone, Nathan 
Simonsen, Frances 
Wegman, William 
Tolpegin, Victor 
Hoffman, Henry H. 
Dabelow, William 










VIOLAS 

Verney, Romain 

Principal 
Hahl, Emil 
Baker, F. A. 
Wismer, Hother 
Weiler, Eric 
Lichtenstein, Victor 
Dierich, Franz 
Triebel, August 
Kolb, Richard 
Lewis, Arthur 
















Personnel 


The San Francisco Sumphony Orchestra 


ALFRED HERTZ, CONDUCTOR 


*>CELLOS 
Penha, Michel 


Principal 
Dehe, Willem 
King, Otto 
Villalpando, Wenceslao 
Kirs, Rudolph 
Pasmore, Dorothy 
Reinberg, Herman 
Gough, Flori 
Hranek, Carl 
Haight, Rebecca 


BASSES 


Previati, Louis J. 
Principal 


Bell, Walter 
Storch, A. E. 
Guterson, Aaron 
Schulz, Emil 
Schmidt, Robert E. 
Frederick, Oscar 
Schipilliti, John 


FLUTES 
Linden, Anthony 


Oesterreicher, Walter 
Orchestral Manager 


Benkman, Herbert 


PICCOLO 


Benkman, Herbert 


OBOES 
Addimando, Caesar 
Shanis, Julius 


Schipilliti, Vincent 


ENGLISH HORN 
Schipilliti, Vincent 


CLARINETS 
Randall, Harold B. 
Zannini, Nicolai 
Fragale, Frank 
Triebel, August 

BASS CLARINET 


Fragale, Frank 


435 





BASSOONS 
Kubitschek, Ernest 
La Haye, E. B. 
Hranek, Carl 


CONTRA BASSOON 
Kolb, Richard 


HORNS 
Hornig, Walter 
Roth, Paul 
Tryner, C. E. 
Rocco, R. 


Trutner, Herman 


TRUMPETS 
Drucker, Vladimir 
Barton, Leland S. 
Savant, Silvio 
Kegel, Otto 
Kress, V. 

‘ 


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


TUBA 
Murray, Ralph 


HARP 
Attl, Kajetan 
Attl, Vojmir 


TYMPANI 
Wagner, Roland E. 


PERCUSSION 
Vendt, Albert, Jr. 
Salinger, M. A. 
Kundy, E. 


PIANO 
Tibbitts, J. P. 


LIBRARIAN 
Kegel, Otto 











SA 4 eee 6 ee a tl i i i i i i 








a AM using the e\teimway piano 
now for many years and am 
enjoying its superior qualities so 

Nay see? much that I cannot 

ai imagine how I ever could 

| get along without one, 


It is like a good friend of : 


ii 
whom you get fonder 6) 
, $3 oe 

the more you know ak 
him.”’ | \ 


The home of the Steinway ts 


Sherman, Clay & Co. 


Kearny and Sutter Streets, San Francisco 
Mission Street, near Twenty-first 
Fillmore Street, near Post 
Fourteenth and Clay Streets, Oakland 
3420 E. 14th Street, Fruitvale 
Telegraph and Channing Way, Berkeley 
1315 Burlingame Avenue, Burlingame 














Y¥)- 
NS NZS 


N 
24 


x] ThA~e 

PRANCISCO 
SYMPHONY" 
ae ORCHESTRA 
HOG he’ Mocica®, [oe 


NU) eee eae 














a 





ap | 





“nbd fide 





THIRTEENTH PAIR 
| 


i 
Ca scul 


athe 





1928 1929 
| ‘a Eighteenth Season 
ALFRED H ERTZ CONDUCTOR 














Musical Association of San Francisco 


Founded December 20, 1909 Incorporated February 3, 1910 


OFFICERS 
J. B. Levison, President 
W. C. VAN ANTWERP, Vice-President 
WALTER S. MARTIN, Treasurer 
Mrs. PAuL I. FAGAN, Honorary Vice-President 
Mrs. E. S. HELLER, Honorary Vice-President 
A. W. WIDENHAM, Secretary-Manager 


BOARD OF GOVERNORS 





R. I. Bentley John S. Drum John A. McGregor 
Miss Lena Blanding Sidney M. Ehrman John D. McKee 
Miss Louise A. Boyd Milton H. Esberg R. C. Newell 
George T. Cameron Mortimer Fleishhacker F. R. Sherman 
Selah Chamberlain F. J. Koster B. F. Schlesinger 
Mrs. Irwin Crocker J. B. Levison Mrs. M. C. Sloss ' 
William H. Crocker Walter S. Martin Mrs. Sigmund Stern 
E. R. Dimond Clay Miller W. C. Van Antwerp y 
A. B. C. Dohrmann L. F. Monteagle Eli H. Wiel 7 
Mrs. M. S. Koshland, ex-officio 
EXECUTIVE COMMITTEE | 
W. C. VAN ANTWERP, Chairman : 
Mrs. Irwin Crocker A. B. C. Dohrmann Walter S. Martin 
Mortimer Fleishhacker John D. McKee 
MUSIC COMMITTEE 
R. C. NEWELL, Chairman : 
Mrs. M. C. Sloss F. R. Sherman | 
( 


WOMEN’S AUXILIARY 7 


Mrs. M. S. KosHLAND, Chairman 
Miss LENA BLANDING, Vice-Chairman Mrs. M. C. Porter, Vice-Chairman 





EXECUTIVE OFFICES 
Fifth Floor, 244 Kearny Street 
Telephone GArfield 2819 





A. W. WIDENHAM, Secretary-Manager 
HOWARD G. HANVEY, Press Representative 





438 











The San Francisen Symphony Orchestra 


ALFRED HERTZ, Conductor 
(Steinway Piano Used) 


1928—Season—1929 


LAST 


| PAIR OF SYMPHONY CONCERTS 
| 789th and 790th Concerts 


Thursday, April 18, 8:20 P. M. 
DREAMLAND AUDITORIUM 


Friday, April 19, 3:00 P. M. 
CURRAN THEATRE 


; PROGRAMME 

| fo pymohony Nov i, 7m ec minors.ts LeeLee Brahms 
Un’ poco sostenuto—Allegro 
Andante sostenuto 


Un poco allegretto e grazioso 


Adagio—Piu andante—Allegro non troppo 
ma con brio 


Intermission 
Pied eet SULCE, | UID US 0 Doh tite eas vec katnle xg studs sks sarenss- Roussel 
Prelude 
Sarabande 
Gigue 


(First time in San Francisco) 


3. Fantasia, “Francesca da Rimini’’..................-- Tschaikowsky 


439 











The Great § pantard 


YD 4 


Manuel de Falla has been tightly acclaimed ‘‘one of the torch- 
bearers of musical progress in the world’’. In his 






El Amor Brujo (Love, the Magician) 






he has given incomparable evidence of artistic endowments unique 
and unprecedented. 






This master work of modern composition is now issued in 





Columbia Masterworks* 


COLUMBIA MASTERWORKS SET NO. 108 






De Faria: El Amor Brujo (Love, rhe Magician). Suite for Orchestra. 


By Pedro Morales and Symphony Orchestra. In Six Parts, on Three 
12-Inch Records. 











a7 


Schumann’s Fourth § ymphony: Smetana’s Bean tiful Elegy: 










superbly characteristic production of the Trio in G Minor, Op. 15, is re- 

the great romanticist, is interpreted corded with the utmost in expression 

by Bruno Walter. and effectiveness by the Malkin Trio. 

COLUMBIA MASTERWORKS SET COLUMBIA MASTERWORKS SET 
NO. 106 NO. 107 





ScuuMarn:Symphony No. 4,inDMinor, SMETANA: Trio in G Minor, Op. 15, for 
Op. 120. By Bruno Walter and Mozart Violin, Violoncello and Piano. By ° 
Festival Orchestra (Paris). In Eight Malkin Trio. In Seven Parts, on Four 
Parts, on Four 12-Inch Records. 12-Inch Records. 








Ask for Columbia Masterworks Catalogue and Supplements 


THE COLUMBIA PHONOGRAPH COMPANY 


941 Mission Street, San Francisco, Calif. 


Gan 


— 










Notes”’ 


COLUMBIA 


“NEW PROCESS’’. RECORDS 


Reg. U.S. Pat. Off. 


Viva-tonal Recording —The Records without Scratch 
Reg. U.S. Pat. Off. 


“Magic 









OO 
—e~O 4. 4.4._A_A_A_A_ 4h Ah Ah A Se ee ae ae ae ae ae ae ae ae a a PE OOT Sat POC ee Se 


oe 


Symphony No. 1, in C minor - - - Johannes Brahms 


(Born May 7, 1833, at Hamburg; died April 3, 1897, at Vienna) 


Brahms was forty-three years old before he produced his first 
symphony and the work therefore represents his mind in its most vigor- 
ous maturity and shows to fullest advantage his noble gravity of style 
and fine musical technique. However, in 1855 Brahms wrote in a 
letter to Joachim: “‘I have been trying my hand at a symphony during 
the past summer, have even orchestrated the first movement, and have 
composed the second and third.”” The symphony was never com- 
pleted, but the work was turned into a sonata for two pianos. Later 
the first two movements were used for the first and second movements 
of the D minor piano concerto and the third movement was turned into 
the “Behold all flesh’’ movement of the ““German Requiem.”’ In biog- 
raphies we find reference to the C minor symphony covering a period 
of almost fifteen years before its production, which took place Novem- 


ber 4, 1876. 


Dr. Hermann Deiters, an enthusiastic admirer of Brahms, wrote 


of this work: “‘The first symphony in C minor strikes a highly pathetic 





EI RELUCNEWC O8FPe 


Concert ‘Pianist 


Assistant to Leschetizky 
in Vienna 


Will be in San Francisco 


Until October 


Advanced Students Accepted 


Interviews by Appointment 


501 TAYLOR STREET 
PR ospect 2147 


Management, Alice Seckels 
Fairmont Hotel, DA venport 2898 





441 














chord. As a rule, Brahms begins simply and clearly, and gradually 
reveals more difficult problems; but here he receives us with a succes- 
sion of harsh discords, the picture of a troubled soul gazing longingly 
into vacancy, striving to catch a glimpse of an impossible peace, and 
growing slowly, hopelessly resigned to its inevitable fate. In the first 
movement we have a short, essentially harmonious theme, which first 
appears in the slow movement, and again as the principal theme of the 
allegro. At first this theme appears unusually simple, but soon we 
discover how deep and impressive is its meaning when we observe how 
it predominates everywhere, and makes its energetic influence felt 
throughout. We are still more surprised when we recognize in the 
second theme, so full of hopeful aspiration, with its chromatic pro- 
gression, a motive which has already preceded and introduced the 
principal theme and accompanied it in the bass; and when the prin- 
cipal theme itself reappears in the bass as an accompaniment to the 


second theme, we observe, in spite of the complicated execution and 
the psychic development, a simplicity of conception and creative force 
which are surprising. The development is carried out quite logically 
and with wonderful skill, the recapitulation of the theme is powerful 


Mr. Victor Lichtenstein 


Cordially Invites You to a 


Recital of Violin Music by His Pupils 
WESTERN WOMEN’S CLUB 


(Mason and Sutter Streets) 


Saturday Evening, April 27, 8:15 o’clock 





PROGRAMME 
1. TrmmphaleNarehi a ee a Drdla 
VIOLIN CHOIR 
2. Allegro moderato from Eighth Concerto..................-------- De Beriot 
VERNE MACFARLAN 
>, 4) Prebrew Metody oo. ic. 5 eee ee ee aac Achron 
Cy © Alles tees iu 2 on Le a ae ce Fiocco 
MORRIS SIMON 
4. Pretedram and Alleere oon Pugnani-Kreisler 
ABRAHAM TAUBER , 
3 Concerto tor Pour. VGodines:..-:¢ 2c se a a a Se Vivaldi 
MABEL JOOST ABRAHAM TAUBER 
MORRIS SIMON VERNE MACFARLAN 
Os, Dobrze ar eo oe os os ok Gade seed Larzycki 
LEON SIEFF 
7. .eaetise Annassonate | 0.00) i ee V ieuxtemps 


MABEL JOOST 
MRS. CECIL HOLLIS STONE, Accompanist 


442 











ee ae 


Pn 





and fine, the coda is developed with ever-increasing power; we feel | 
involuntarily that a strong will rules here, able to cope with any adverse | 
circumstances which may arise. In this movement the frequent use of 
chromatic progressions and their resultant harmonies is noticeable, and 
shows that Brahms, with all his artistic severity, employs, when needful, 
every means of expression which musical art can lend him. The 
melodious adagio, with its simple opening, a vein of deep sentiment 
running throughout, is full of romance; the coloring of the latest Bee- 
thoven period is employed by a master hand. To this movement suc- 
ceeds the naive grace of an allegretto, in which we are again surprised 
at the variety obtained by the simple inversion of a theme. The last 
movement, the climax of the work, is introduced by a solemn adagio 
of highly tragic expression. After a short pause, the horn is heard, 
with the major third, giving forth the signal for the conflict, and now 
the allegro comes in with its truly grand theme. This closing move- 
ment, supported by all the power and splendor of the orchestra, depicts 
the conflict, with its moment of doubt, its hope of victory, and moves 
on before us like a grand, triumphal procession. To this symphony, 
which might well be called heroic, the second symphony bears the 
same relation that a graceful, lightly woven fairy-tale bears to a great 
epic poem.” 


The New York ‘‘Tribune’’ published early in 1905 a note com- 


Established 1852 


QUALITY 
PRESTIGE 


SERVICE 


SHREVE: & COMPANY 


“fewelers and Silversmiths 


Post Street at Grant Avenue 
San Francisco 





443 











SAN FRANCISCO 
CONSERVATORY 
OF MUSIC 


ERNEST BLOCH, Director 


Ada Clement and 
Lillian Hodghead 


Associate Directors 





The only Conservatory in 
northern California accredited 
by the Juilliard School of 
Music, New York City, and 
endorsed by the Carnegie 
Corporation of New York. 


Catalogue sent on request 


Telephone WAInut 3496 
3435-3445 SACRAMENTO STREET 


he memorized it in three weeks. 


not, then you do. 


Faculty of Normal Teachers—Classes Held in these Cities 


KATHARINE M. ARNotp, 93 Madison ee 


Tiffin, O. 
Auutig E. Barcus, 1006 College St., Ft. 
Worth, Tex. 


Evizette R. Bartow, Box 1244, St. Peters. 
burg, Fla. 

CaTHERINE C. Birp, 658 Collingwood Ave., 
Detroit, Mich, 

Grace A. Bryant, 201—10th Ave., N. Twin 
Falls, Idaho. 

Dora A. Cuasz, 345 Clinton Ave., Brook- 
lyn, N. Y. 

Appa C. Eppy, 136 W. Sandusky Ave., 
Bellefontaine, O. 

Beatrice S. Erxezt Kipp, Key College, 
Sherman, Tex. 

Ipa Garpner, 17 E. 6th St., Tulsa, Okla. 

Guapys M. Gvienn, 1217 Bowie St., Am- 
arillo, Tex. 

FLORENCE E. Grasiz, Michigan State In- 
stitute of Music, Lansing, Mich. 


Mrs. JEAN WARREN CARRICK 
(Normal Teacher) 


25 Lake Street, San Francisco 


444 



























Aunning System of Improved Music Sindy 
CarrigE Louise DuNNING, Originator 


8 West 40th Street, New York City 
834 South Plymouth Boulevard, Los Angeles, Calif. 

HE Greatest Musical Event in New York City in the past several decades was the 

i playing of a ten-year-old Dunning pupil with the New York Philharmonic Orchestra, 
March 20th, 1926. The child had only studied one year and eight months. She 
played Le Carnaval des Animaux, by Saint-Saens. The piece is twenty-three pages long. 
f you have any plan for teaching that can bring such 
results in that length of time—then you do not need the Dunning System. If you have 





Louis Ford 





Concert 


V iolinist 









TEACHER 







Available for Solo, Sonata, Trio and 
Quartet engagements. 






Eighteen years in Chamber Music: 
San Francisco Quintet Club, Chamber 
Music Society of San Francisco, Per- 
singer String Quartet. 








Twelve years first violinist with San 
Francisco Symphony Orchestra; Assis- 
tant Concert Master for Season 1917 to 
1925. 







PUPILS ACCEPTED 
Coaching in ensemble playing. 
Assistant teacher for beginners under 

my personal supervision, 


1610 Plymouth Ave. Phone DE laware 0201 




















Harriet Bacon MacDonatp, 6010 Belmont 
Ave., Dallas, Tex. 

KaTe DeLtt Marpen, 61 N. 16th St., Port- 
land, Ore, 

Mrs. W. P. Mason, 302 Mid. City Bank 
Bldg., Chicago, Il. 

Laup G. Puipren, 3435 Ashbury Ave., 
Dallas, Tex. 

Evriz I. Prince, 4106 Forest Hill Ave., 
Richmond, Va. 

VIRGINIA Ryan, 1070 Madison Ave., New 
York. 

STELLA H, SeyMour, 1219 Garden St., San 
Antonio, Tex. 

GERTRUDE THoMPsON, 508 W. Coal St., 
Albuquerque, N. M. 

IsopeEL M. Tone, 626 Catalina St., Los An- 
geles, Calif. 

Mrs. H. R. Warxins, 124 E. 11th St. 
Oklahoma City, Okla. 

























Classes formed upon Arrangement 































municated by Mr. Walter Damrosch, concerning the first performance 
of the symphony in New York: 


‘“‘When word reached America in 1877 that Brahms had com- 
pleted and published his first symphony, the musical world here 
awaited its first production with keenest interest. Both Theodore 
Thomas and Dr. Leopold Damrosch were anxious to be the first to 
produce this monumental work, but Dr. Damrosch found to his dismay 
that Thomas had induced the local music dealer to promise the orches- 
tral parts to him exclusively. Dr. Damrosch found he could obtain 
neither score nor parts, when a very musical lady, a pupil of Dr. Dam- 
rosch, hearing of his predicament, surprised him with a full copy of the 
orchestral score. She had calmly gone to the music dealer without 
mentioning her purpose and had bought a copy in the usual way. The 
score was immediately torn into four parts and divided among as many 
copyists, who, working day and night on the orchestra parts, enabled 
Dr. Damrosch to perform the symphony a week ahead of his rival.”’ 


Orchestra Suite, Opus 33 - - - - - Albert Roussel 


(Born April 5, 1869 at Tourcoing, France; now living in Paris) 


Albert Charles Paul Roussel was intended for a career at sea, and 
entered the Naval School at the age of eighteen. It was not until 1894 


VOJMIR ATTL 


Harpist 
San Francisco Symphony Orchestra 
Available for 
Concerts, Ensemble Music and 


HARP INSTRUCTION 








JOHN BUBEN 


Fur Fashion’s Creator 
STUDIO: 


403-404 Marston Building 
244 Kearny St., San Francisco, Calif. 


Fur Artistry and Craftsmanship for 
discriminating fur lovers. Furs re- 
styled as Jacquettes, or in the latest 
Creations. 
57 GEARY ST. 
Phone KEarny 5873 


Paris Office 
#2 Rue du Faubourg—Montmartre 


For Appointment 
Call 
Studio Phone Residence Phone 
DOuglas 3706 SKyline 2757 





445 











that he discovered it was music and not the naval service in which he 
was most interested. He studied organ playing and composition with 
Eugene Gigout, in 1897 winning a prize for two four-part madrigals. 
The following year he became a pupil of Vincent d’Indy at the Schola 
Cantorum, remaining with that teacher until 1907. Meanwhile Rous- 
sels name began to be found on the programs of concerts in Paris. 
Roussel’s first orchestral work, ‘Resurrection,’ was written in 1904 
and played at a concert of the Société Nationale the following year. 
~Vendanges,’’ a symphonic sketch, was brought out for the first time 
at a concert given by Alfred Cortot in 1905. Other works are a 
symphony, “Le Poeme de la Foret’’; a sonata for piano and violin, a 
trio, a quintet for horn and strings, a Divertissement for wind instru- 
ments and piano; a group of three symphonic sketches, collectively 


entitled “Evocations,’’ and a ballet, ““The Feast of the Spider.”’ 


The dance form Saraband is of somewhat doubtful origin, but 
seems to be from an Oriental source. Some historians maintain that 
it was invented by a dancer called Zarabanda, a native of Seville, while 


some ascribe the dance’s name to the Spanish ‘“Sarao,”’ a dance enter- 


HAZEL DREIS 


FINE BOOKBINDINGS 


MUSIC BOOKS BINDING 
BOUND ‘MENDED TAUGHT 


1367 Post Street, San Francisco 
WA Inut 7097 19 Studio Building 


ARRILLAGA MUSICAL COLLEGE 


Founded 1877 Incorporated 1911 
LARGEST IN THE WEST 


Pipe Organ—Choral—Orchestra—Stage Training 
T heory—V oice—IJnstruments—Evening Classes 


Superior Instruction—Low Terms 


2351 JACKSON STREET, SAN FRANCIsco Phone WALNUT 3742 





446 






































tainment. Regardless of its origin, the dance soon found its way into 
France and England (about the middle of the sixteenth century) and 
was transformed into a stately country dance. It was then introduced 


‘nto the Suite, where it formed the slow movement. 


The Gigue derives its name from the Gigue, an early violin. It 
was an old Italian dance and was generally in two sections, each of 
which was repeated. As it was in lively tempo, it was generally used 
as the last movement of a Suite. In this way it was employed by Bach 
and Handel. Soon the word came to indicate merely anything with a 


licht and lilting rhythm. 


Fantasia, “Francesca da Rimmi”’ ~ Peter Iljitch Tschaikowsky 


(Born May 7, 1840, at Wotkinsk; died November 6, 1893, at Petrograd) 


The score of this work contains the following quotation from the 


fifth canto of the ‘Inferno’: 


“Dante, coming into the second circle of Hell, witnesses the pun- 


ishment of carnal sinners, who are tossed about ceaselessly in the dark 


The 


Margaret Mary Morgan Co. 


PRINTERS 
Engraving — Publishing 


MARGARET 


TILLY 


PIANIST 


Will be on the Pacific Coast during 
the entire season, 1928-1929 


Concert Management 


ELWYN CONCERT BUREAU 


DAvenport 0450 PHELAN BUILDING 
Studio: 
‘ é 450 GRANT AVENUE 
619 California Street Telephone KEarny 8289 
SAN FRANCISCO 





447 



















air by the most furious winds. Amongst these he meets with 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, 


JANET ROWAN HALE 


Pianist and Teacher 






Studio 902 


26 O'Farrell Street Berkeley and Piedmont 
Phone DAvenport 5486 Phone OAkland 8663 










30 years violin specialist in St, Louis and Chicago 


S. O. ALLISON 
VIOLIN MAKER, CONNOISSEUR AND APPRAISER 


Agent for Andres Morellis hand-made Violins, Violas, ’Cellos, Basses 
Artist Bows by G. A. Pfritzschner 
and other celebrated Bow Makers 
45 GEARY STREET 
Dealer in New and Old Violins, San Francisco, Cal. 


"Cellos and Bows Formerly I. A. Lutz 
Strings and Accessories DAvenport 0415 


Expert Repairing 









448 








Phyllida Aileen 


ASHLEY FEALY 
Recitals for Cun Pianns 


Soloists 
New ; 
with 
York San 
: Francisco. 
Recitals Symphony 
Guild Theatre Orchestra 
March, 1928 March 2, 
Barbizon 1929 
Musicale 
New York Her- 
saan Suey ald - Tribune: 
New York Times: rope Bagi 
Sse ta tage et New York World: 


‘Made their two- 
piano recital dis- 
tinctive and de- 


lightful.”” 


mutual  under- 
standing, technical 
alertness and per- 
sonal charm.” 





Miss Ashley and Miss Fealy announce that they will coach 
those desiring to prepare two-piano programs. 


SAN FRANCISCO STUDIO BERKELEY STUDIO 
499 Eleventh Avenue 2910 Garber Street 
EV ERGREEN 1682 BE RKELEY 2044 


For concert dates, terms, etc., address Manager, Alice Seckels 
Fairmont Hotel, San Francisco 


Julian Brodetsky 


ASSISTANT CONCERT MASTER 


SAN FRANCISCO SYMPHONY ORCHESTRA 


Violin Instruction 


Studio 
Phone SKyline 4855 189 Commonwealth Avenue 





449 























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.’ ”’ 


The composition begins with a tonal description of the awesome 
scene which met 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. Later there 
is a hastening of the tempo and an agitated motive is developed with 
intensity. The whole first part of the work is devoted to the delinea- 
tion of the fierce winds by which the souls are driven about inces- 
santly, the poignant wailing of the damned, the unutterable terror of 
the place. After the hubbub has died down a new section is intro- 
duced, 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 the Francesca theme has been worked 


over at considerable length, the material of the first part is given further 
presentation. 















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 
926 California Street, San Francisco, Cal. 


December 31st, 1928 


SOO. Bceee Cel Can eee ee ee ere $123,780,369.02 
Capital, Reserve and Contingent Funds....... 5,150,000.00 
Pension Fund over $635,000.00, 


standing on Books at 








1.00 


aig wei nee lglg tlhe. 2 Dear Mission and 21st Streets 
ee Sad DE Co ogee seek Clement St. and 7th Ave. 
BAIGHTY STREET BRANCH...) 50h tee. Haight and Belvedere Streets 


se ee eee 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 














{Jersonnel 





The San Francisco Sumphony Orchestra 


ALFRED HERTZ, CONDUCTOR 


FIRST VIOLINS 


Piastro, Mishel 
Concert Master 


Fenster, Lajos 
Assistant Concert Master 


Brodetsky, Julien 
Assistant Concert Master 


Meriz, Emilio 

Ford, Louis W. 
Jensen, Thorstein 
Gordohn, Robert 
Mendelevitch, Rodion 
Laraia, William F. 
Mortensen, Modesta 
Koenig, Hans 

See, Orley 

Pasmore, Mary 
Atkinson, Helen E. 
Wolski, William 


Ruiz, Ricardo 


SECOND VIOLINS 


Heyes, Eugene 
Principal 


Rosset, Emil 
Amsterdam, Max 
Callinan, W. G. 
Paterson, J. A. 
Gold, Julius 
Haug, Julius 


Gough, Walter 
Firestone, Nathan 
Simonsen, Frances 
Wegman, William 
Tolpegin, Victor 
Hoffman, Henry H. 
Dabelow, William 


VIOLAS 

Verney, Romain 

Principal 
Hahl, Emil 
Baker, F. A. 
Wismer, Hother 
Weiler, Eric 
Lichtenstein, Victor 
Dierich, Franz 
Triebel, August 
Kolb, Richard 
Lewis, Arthur 


’CELLOS 


Penha, Michel 
Principal 


Dehe, Willem 

King, Otto 
Villalpando, Wenceslao 
Kirs, Rudolph 
Pasmore, Dorothy 
Reinberg, Herman 
Gough, Flori 

Hranek, Carl 

Haight, Rebecca 


BASSES 


Previati, Louis J. 
Principal 


Bell, Walter 
Storch, A. E. 
Guterson, Aaron 
Schulz, Emil 
Schmidt, Robert E. 
Frederick, Oscar 
Schipilliti, John 


FLUTES 
Linden, Anthony 


Oesterreicher, Walter 
Orchestral Manager 


Benkman, Herbert 


PICCOLO 
Benkman, Herbert 


OBOES 
Addimando, Caesar 
Shanis, Julius 


Schipilliti, Vincent 


ENGLISH HORN 
Schipilliti, Vincent 


CLARINETS 


Randall, Harold B. 
Zannini, Nicolai 
Fragale, Frank 
Triebel, August 


BASS CLARINET 
Fragale, Frank 


451 


BASSOONS 
Kubitschek, Ernest 
La Haye, E. B. 
Hranek, Carl 


CONTRA BASSOON 
Kolb, Richard 


HORNS 
Hornig, Walter 
Roth, Paul 
Tryner, C. E. 
Rocco, R. 


Trutner, Herman 


TRUMPETS 
Drucker, Vladimir 
Barton, Leland 5. 
Savant, Silvio | 
Kegel, Otto 
Kress, V. 


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


TUBA 
Murray, Ralph 


HARP 
Attl, Kajetan 
Attl, Vojmir 


TYMPANI 
Wagner, Roland E. 


PERCUSSION 
Vendt, Albert, Jr. 
Salinger, M.A. 
Kundy, E. 


PIANO 
Tibbitts, J. P. 


LIBRARIAN 
Kegel, Otto 





A AP ee le i | ee 








2a i ‘ : 

AM uSsINg the eStemway plano 
now for many years and am 
enjoying its superior qualities SO 

‘Gre ie | 

Nr: much that I cannot 

| MN imagine how I ever could 

get along without one. 


It is like a good friend of om 






whom you get fonder Bay: 
ie ee 


the more you know , 
him.”’ | | 


The home of the Steinway ts 


Sherman, (lay & Co. 


Kearny and Sutter Streets, San Francisco 
Mission Street, near Twenty-first 
Fillmore Street, near Post 
Fourteenth and Clay Streets, Oakland 
3420 E. 14th Street, Fruitvale 
Telegraph and Channing Way, Berkeley 
1315 Burlingame Avenue, Burlingame 

























SUMMER SYMPHONY SERIES 


THIRD SEASON 
1928 





San Francisco 
Symphony Orchestra 


FIRST CONCERT 
Tugspay, JUNE 26 - 8:20 P.M. 
DREAMLAND AUDITORIUM 


ALBERT COATES 


Conducting 


Auspices 





SUMMER SYMPHONY ASSOCIATION 
JOSEPH S. THOMPSON, President ALBERT A. GREENBAUM, Secretary 
JOHN ROTHSCHILD, Ist Vice-President THOMAS F. BOYLE, Treasurer 
MRS. LILLIAN BIRMINGHAM, ALFRED METZGER, Chair. Music Com. 


2nd Vice-President TOM C. GIRTON, Manager 





eel 


ACKNOWLEDGMENT 





We gratefully acknowledge the kindly assistance of the following City Officials: 


JAMES RotPH, Jr., Mayor 


AupITORIUM-COMMITTEE—James B. McSheehy, Chairman 
Warren Shannon, Franck R. Havenner 


Pusiic WELFARE COMMITTEE—Milo F. Kent, Chairman 
A. J. Gallagher, Frank P. McGovern 


Franck R. Havenner, Chairman Finance Committee 
Thomas F. Boyle, City and County Auditor 


SUMMER SYMPHONY ASSOCIATION, 
Joseph Thompson, President. 











: (Program 
1. A London Symphony.......................Ralph Vaughan Williams 


Lento—Allegro risoluto 
Lento 

Scherzo 
Andante—Allegro 
Epilogue 


(First performance in San Francisco) 


Upon the occasion of the first American performance of this symphony by 

the New York Symphony Society, December 30, 1920, the following programatic 
description of the work was-supplied by-Albert Coates, who at that time made 
his-first appearance in America: 
-~ “Fhe first movement opens at daybreak by the river. Old Father Thames 
flows calm and silent under the heavy gray dawn, deep and thoughtful, shrouded 
in mystery. London sleeps, and in the hushed stillness of early morning one hears 
‘Big Ben’ (the Westminster chimes) solemnly strike the half-hour. Suddenly the 
scene changes. One is on the Strand in the midst of the bustle and turmoil of 
morning trafic. This is London street life of the early hours—a steady stream of 
foot passengers hurrying, newspaper boys shouting, messengers whistling, and the 
most typical sight of London streets, the coster-monger (Coster “Arry), resplend- 
ent in pearl buttons, and shouting some coster song refrain at the top of a raucous 
voice, returning .from Covent Garden Market, seated on his vegetable barrow 
drawn by the inevitable little donkey. Then for a few moments one turns off 
the Strand into one of the quiet little streets that lead down to the river, and 
suddenly the noise ceases, shut off as though by magic. We are in that part of 
London known as the Adelphi. Formerly the haunt of fashionable bucks and 
dandies about town, now merely old-fashioned houses and shabby old streets, 
haunted principally by beggars and ragged street urchins. We return to the Strand 
and are once again caught up by the bustle and life of London—gay, careless, 
noisy, with every now and then a touch of something fiercer, something inexorable, 
as though one felt for a moment the iron hand of the great city—yet, neverthe- 
less, full of that mixture of good humor, animal spirits, and sentimentality that 
is so characteristic of London. 

“In the second movement the composer paints us a picture of that region 
of London which lies between Holburn and the Euston Road, known as Blooms- 
bury. Dusk is falling. It is the damp and foggy twilight of-a late November 
day. Those who know their London know this region of melancholy streets, over 
which seems to brood an air of shabby gentility—a sad dignity-of having seen 
better days. In the gathering gloom there is something ghost-like. A silence 
hangs over the neighborhood, broken only by the policeman on his beat. There 
is tragedy, too, in Bloomsbury, for among the many streets between Holburn and 
Euston there are alleys of acute poverty and worse. In front of a ‘pub’ whose 
lights flare through the murky twilight, stands an old musician playing the fiddle. 
His tune is played in the orchestra by the viola. In the distance the ‘lavender 
cry’ is heard: “Sweet lavender; who'll buy sweet lavender?" Up and down the 
street. the cry goes, now nearer, now farther away. The gloom deepens, and the 
movement ends with the old musician still playing his pathetic little tune. 

“In the third movement one must imagine one’s self sitting late on a Satur- 
day night on one of the benches of the Temple embankment (that part of the 
Thames embankment lying between the Houses of Parliament and Waterloo 
bridge). On our side of the river all is quiet, and in the silence one hears from 
a distance, coming from the other side of the river, all the noises of Saturday 
night in the slums. (The other side, the south side of the River Thames, is a 
vast network of very poor quarters and slums.) On a Saturday night these slums 
resemble a fair; the streets are lined with barrows, lit up by flaming torches, sell- 
ing cheap fruit, vegetables, produce of all kinds; the streets and alleys are crowded 
with people. At street corners coster girls in large feather hats dance their be- 











loved ‘double-shuffle jig’ to the accompaniment of a mouth organ. We seem to 
hear distant laughter; also every now and then what sounds like cries of suffer- 
ing. Suddenly a concertina breaks out above the rest; then we hear a few bars 
on a hurdy-gurdy organ. All this, softened by distance, melted into one vast 
hum, floats across the river to us as we sit meditating on the Temple embankment. 
The music changes suddenly, and one feels the Thames flowing silent, mysterious, 
with a touch of tragedy. One of London’s sudden fogs comes down, making 
Slumland and its noises seem remote. Again, for a few bars, we feel the Thames 
flowing through the night, and the picture fades into fog and silence. 

“The last movement deals almost entirely with the crueler aspect of London, 
the London of the unemployed and unfortunate. After the opening bars we hear 
the ‘Hunger March’—a ghostly march of those whom the city grinds and crushes, 
the great army of those who are cold and hungry and unable to get work. We 
hear again the noise and bustle of the streets (reminiscences of the first move- 
ment), but these now also take on the crueler aspect. There are sharp discords in 
the music. This is London as seen by the man who is ‘out and under’; the man 
‘out of a job’, who watches the other man go whistling to his work; the man who 
is starving, watching the other man eat—and the cheerful, bustling picture of gay 
street life becomes distorted, a nightmare seen by the eyes of suffering. The music 
ends abruptly, and in the short silence that follows, one again hears “Big Ben’ 
chiming from Westminster tower. 

“There follows the epilogue, in which we seem to feel the great deep soul of 
London—London as a whole, vast and unfathomable—and the symphony ends as 
it began, with the river—old Father Thames—flowing calm and silent, as he has 
flowed through the ages, the keeper of many secrets, shrouded in mystery.” 


INTERMISSION 


Per TerCUre CO CODCTOR ne or el OE ee eee Weber 
Sg SE a Ae Me i ed Danco NU al cy Rimsky-Korsakow 
Scherzo 
March 
4. Overture-Fantasie, “Romeo and Juliet”............ T schaikowsky 





IMPORTANT NOTICE 


Next Concert of Summer Symphony — MONDAY, JULY 2 
8:20 P. M.— Dreamland Auditorium 


Program 
ALBERT COATES, Conducting 


1, Overture Marriage of Figaro.......................-.. Mozart 
2. Le Poeme sie Brtase 2 a Scriabine 
Fie OF Tee (rane en Prokofieff 
be Bintang Variations dig a ecto Elgar 
*, Seerture Tamnhangen sso ee ls Wagner 
Tickets now on sale— 
Sherman, Clay & Co. Bay City Stores Miss Ball’s Office, U. C. Campus 





The Civic Chamber Music Society will present the ABAS STRING QUARTET (Nathan 
Abas, violin; William Wolski, violin; Romain Verney, viola; Michel Penha, ‘cello), in a series of 
Six Chamber Music Concerts at the Auditerium of the High School of Commerce (Van Ness Ave. 
at Fell St.), during the season of 1928-29. Season tickets $5.00. For particulars address Alice 
Seckels, Fairmont Hotel. 











S PET N-WAY- 
The Instrument ofthe Immortals 





No MATTER which one of the various styles and sizes is 
chosen, the Steinway makes its unfailing return of a lifetime 
of pleasure and delight. 


Little by little it becomes an integral part of the house- 
hold. The musical life of the entire family centers in it. 
It identifies itself with the most delightful occasions and 
events. Year by year its extraordinary excellence asserts 
itself. And long after the details and conditions of purchase 
have been forgotten, the Steinway plays its part in forming 
the musical tastes of the household. 


You may purchase a new Steinway piano with a small 
cash deposit, and the Lalance will be extended over a period 
of two years. Prices: uprights $950 and up; grands $1475 
and up. 


Used pianos accepted in partial exchange. 


Sherman Gtay & Co. 


Kearny and Sutter Sts., San Francisco 


Mission Street, near Twenty-first 
Fillmore Street, near Post 
1315 Burlingame Ave., Burlingame 
Fourteenth and Clay Sts., Oakland 
3420 E. 14th St., Fruitvale 
Telegraph and Channing Way, Berkeley 


And thirty other Coast cities 








COG ™ OO ITM OG I OG SIN OG NIT OG NUIT OO 


© 


SUMMER SYMPHONY SERIES 


THIRD SEASON 
1928 


San Francisco 
Symphony Orchestra 


SECOND CONCERT 
Monpay, JuLy 2 - 8:20 P. M. 
DREAMLAND AUDITORIUM 


COONAN” OO ON UI OG MUO OG SUI OO 


ALBERT COATES 


Conducting 


DOT DO” DO DO” DO DO ™ DO” YO DOC YE OC” YC “=D” 7) 
CK OG™ I OG NUON OG ™ IL OG JI OG I” OG 
Co! 9A CS IDO NIC SIO” DO DC NODC” DOT SIC” DC SOC” 2D 


co =e IO” DIC ™9DC”” LCT ™9OCZ YT DC” YO BOC 
CooL OG UI OG I _” OO JI OO 


Auspices 


SUMMER SYMPHONY ASSOCIATION 


JOSEPH 8. THOMPSON, President ALBERT A. GREENBAUM, Secretary 

JOHN ROTHSCHILD, Ist Vice-President THOMAS F. BOYLE, Treasurer 

MRS. LILLIAN BIRMINGHAM, ALFRED METZGER, Chair. Music Com. 
2nd Vice-President TOM C. GIRTON, Manager 


————_ 


ACKNOWLEDGMENT 


We gratefully acknowledge the kindly assistance of the following City Officials: 


JaMeEs ROLPH, Jr., Mayor 


AuDITORIUM COMMITTEBE—James B. McSheehy, Chairman 
Warren Shannon, Franck R. Havenner 


Pusiic WELFARE COMMITTEE—Milo F. Kent, Chairman 
A. J. Gallagher, Frank P. McGovern 


Franck R. Havenner, Chairman Finance Committee 
Thomas F. Boyle, City and County Auditor 





SUMMER SYMPHONY ASSOCIATION, 
Joseph Thompson, President. 


C™ IO DCO IDO DC RIO” DO NODC” DCT BOC” YD 
COONAN OG ™ UJI OO UI OG SUI OG UI OG 


OSB KOKO SREROOSAER BER BERBER. 











‘Program 


1. Overture to “The Marriage of Figaro’... Mozart 


“The Marriage of Figaro,” originally written as a comedy, attracted the 
attention of Mozart when it was performed in Vienna in 1784. There had been 
some sensation created by the piece, principally because its freedom of tone had 
induced the Emperor to forbid performances of it at the National Theatre. The 
sparkling wit and rapid action of the play enchanted Mozart and he requested 
Lorenzo da Ponto to make it the basis of an opera text. As usual, Mozart left 
the composition of the overture to the last minute, and in it he has used none 
of the material from the opera itself, merely writing a delightfully merry over- 
ture in keeping with the general spirit of the opera. As one critic has described 
it: “The overture is nothing more than five minutes of sheer joy in the humor 
of existence.” 


2. Poeme de PExtase (The Poem of Ecstacy).............. Scriabine 


This work, which was composed in 1907-1908, was performed for the first 
time by the Russian Symphony Society of New York, December 10, 1908, under 
the direction of Modest Altschuler. Upon this occasion Mr. Altschuler supplied 
the following information: ‘While Iwas 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 commu- 
nicable) 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: 1. His soul in the orgy of 
love; 2. The realization of a fantastical dream; 3. The glory of his own art.” 


3. “The Love for the Three Oranges” -cccmeesne Prokofieff 
Scherzo 
March 


Serge Prokofieff (born April 24, 1891, at Sontsovka) began to compose at 
the early age of six, and from the first aspired in the direction of music for the 
stage. One little opera was written at the age of seven; another at nine, and a 
third when he was twelve, the third one being completely orchestrated. However, 
Prokofieff has been a prolific composer in other lines, his orchestral works includ- 
ing a symphony, three piano concertos, a violin concerto and several suites and 
symphonic poems. 

“The Love for the Three Oranges,” an opera in four acts and ten scenes, 
was first produced in this country by the Chicago Opera Association, December 
30, 1921, under the composer's direction. The two pieces played this evening 
are from a suite of seven numbers arranged for orchestra from important thematic 
material in the opera. 


Wea), Cee cide rom, side eo ee ee Verdi 


iD) Blower Songi tron, acter oo ey Se Bizet 
Henri PonTBRIAND 








‘Program 
5. “Enigma” Variations on an Original Theme.................. Elgar 


This composition, consisting of a theme and fourteen variations, is dedi- 
cated by the composer to his “friends pictured within.’ Elgar commented on the 
composition: “It is true that I have sketched, for their amusement and mine, the 
idiosyncracies of fourteen of my friends, not necessarily musicians; but this is a 
personal matter, and need not have been mentioned publicly. The Variations 
should stand simply as ‘a piece of music.” The Enigma I will not explain— its 
‘dark saying’ must be left unguessed, and I warn you that the apparent connection 
between the Variations.and the Theme is often of the slightest texture: further, 
through and over the whole set another and larger theme ‘goes,’ but is not played, 
so the principal Theme never appears, even as in some late dramas,—e.g., Maeter- 
linck’s “L’Intruse,, and ‘Les Sept Princesses,’ the chief character is never on 
the stage.” 


Pex <vertite to “Lanniiaueer eee 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 Venus- 
berg, 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 stirring close. 





IMPORTANT NOTICE 


Next Concert of Summer Symphony—TUESDAY, JULY 10 
8:20 P. M.— Dreamland Auditorium 


BERNARDINO MOLINARI, Conducting 
Program 


Li ROU” SOY MACRNE cs.ct a caspd: Pang ladon, «get casita Meenenscoey Corelli 
(First time in San Francisco) 

PRESTO GNIS co fico rg ba a ee Beethoven 

OR 8 aan ay 3 eta cota Nyce adieu tons Wolf-Ferrari 

HOD Nae FO no, aera lee Haynie Selb eledeiner kf Martucci 
(First time in San Francisco) 

Wee eres COU ICU RIOS ly re eae tel ah aah ee Debussy 


Transcribed by Bernardino Molinari 
(First time in San Francisco) 


ox ERO Bite Gl Thome Shine. oi Respighi 


Tickets now on sale— 


Sherman, Clay & Co. Bay City Stores Miss Ball's Office, U. C. Campus 





The Civic Chamber Music Society will present the ABAS STRING QUARTET (Nathan 
Abas, violin; William Wolski, violin; Romain Verney, viola; Michel Penha, ‘cello), in a series of 
Six Chamber Music Concerts at the Auditorium of the High School of Commerce (Van Ness Ave. 
at Fell St.), during the season of 1928-29. Season tickets $5.00. For particulars address Alice 
Seckels, Fairmont Hotel. 








pee 
| 
| 


| 
: 
| 
| 





STEINWAY 
The Instrument ofthe Immortal 





TEINWAY! The home possessing a Steinway 
has the one outstanding piano that distinctive 
homes and distinguished artists the world over 
have overwhelmingly approved. 


The Duo-Art reproducing instrumentality itself is avail- 
able in the Steinway. This is the reproducing instrumental- 
ity that excels in re-creating the exact playing of the foremost 
living pianists. It re-creates, exactly, the most brilliant dance 
and popular playing as well as the sublime “classics.” 


Available in Steinway and four other noble pianofortes. 
Is always ready to be played by the fingers, like the piano 
of old, as well as by its master-made rolls. 


A truly remarkable contribution to the home. If you are 
interested in the Steinway you will indeed be interested in 
the Steinway Duo-Art. 


Sherman @lay & Co. 


Kearny and Sutter Sts., San Francisco 


Mission Street, near Twenty-first 
Fillmore Street, near Post 
1315 Burlingame Ave., Burlingame 
Fourteenth and Clay Sts., Oakland 
3420 E. 14th St., Fruitvale 
Telegraph and Channing Way, Berkeley 


And thirty other Coast cities 





© e- PO ae eee he ee ee 


SUMMER SYMPHONY SERIES 


THIRD SEASON 
1928 


San Francisco 
Symphony Orchestra 


THIRD CONCERT 
Tuespay, Juty 10 - 8:20 P. M. 
DREAMLAND AUDITORIUM 


BERNARDINO MOLINARI ( 
: 


Conducting 


G’WIW 86 MUI 06 SI OG SU OSU OO UI OG MUI OO SJ 


Auspices 
SUMMER SYMPHONY ASSOCIATION 


JOSEPH S. THOMPSON, President ALBERT A. GREENBAUM, Secretary 

JOHN ROTHSCHILD, Ist Vice-President THOMAS F., BOYLE, Treasurer 

MRS. LILLIAN BIRMINGHAM, ALFRED METZGER, Chair. Music Com. 
2nd Vice-President TOM C. GIRTON, Manager 





ACKNOWLEDGMENT 


We gratefully acknowledge the kindly assistance of the following City Officials: 


JAMES ROLPH, Jr., Mayor 


AUDITORIUM COMMITTEE—James B. McSheehy, Chairman 
Warren Shannon, Franck R. Havenner 


PuBLIC WELFARE COMMITTEE—Milo F. Kent, Chairman 
A. J. Gallagher, Frank P. McGovern 


Franck R. Havenner, Chairman Finance Committee 
Thomas F. Boyle, City and County Auditor 


Joseph Thompson, President. 
} 


COGIC OG ™ I 06 SMI OO SUI" 


SUMMER SYMPHONY ASSOCIATION, \ 


C Cr yo NID DO SDC OC NDC” OC SDC DC SDC” VO” 1 DIDO YC SDC IW SVC DC SDC” 9D 


8 FBI FERRE BEBE) 





= 
G 
* 
t 





(Program 


1. Suite for Strimg Orchestra. eeccceceseceemesessmnessneeeeemeennae Corelli 
Arranged by ETTORE PINELLI 


(First time in San Francisco) 
Sarabande 
Gigue 
Badinerie 


Arcangelo Corelli, (1653-1713) laid the foundations for modern orchestral 
conducting and also has claim to a prominent place in musical history as a violin- 
ist and composer. The suite played this evening is arranged from excerpts from 
different sonatas in Corelli's Opera V. 

The Sarabande is a rather stately dance and believed to have been origi- 
nated by a Spanish dancer Zarabanda. However, Corelli's Sarabands have been 
described as more in the nature of a Pastorale but with a slightly quicker tempo. 
The Gigue is an old Italian dance which derives its name from the Gigue (an 
early violin.) It is in lively tempo and was usually employed to finish up a 
suite. It is widely found in the suites of Corelli, Handel and Bach. 


2. Symphony No. 5 it C mimoreneceececeeeencencneeceenren Beethoven 
Allegro con brio 
Andante con moto 
Scherzo: Allegro— 
Finale: Allegro 


The C minor Symphony is probably the best-known and most admired of 
the immortal nine, perhaps because it is the most human in its qualities. 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 drop of a third. 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 delicacy. 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, contra- 
bassoon and piccolo, and thus re-enforced the entire orchestra bursts forth into 
an exultant, triumphant song of joy and victory. 


INTERMISSION 


3. Tone Poem, “Death and Transfiguration”... Strauss 


On the fly leaf of the score is a poem by Alexander Ritter, which was 
written after the music was composed at the request of Strauss. The poem is 
rather lengthy, but the following prose version may well be kept in mind: 

“In the poorly furnished little room, dimly lighted by a candle end, lies the 
sick man. He has just been wrestling despairingly with Death, and has sunk 
exhausted into sleep; only the gentle ticking of the clock is heard; the awful 
stillness is a foreboding of Death. Over the invalid’s pale features plays a 
melancholy smile. Does he dream, as his end approaches, of childhood's golden 
time? But Death does not long allow sleep and dreams to the victim. Cruelly 
he wakes him, and the fight begins anew. Will to live and Might of Death! 
What fearful struggles! Neither wins the victory and again all is quiet. Ex- 
hausted and battle weary, sleepless, as in a fever frenzy the sick man’s life 
passes before his mind’s eye, day by day, and scene by scene. First the dawn 
of childhood, shining in pure innocence! Then the youth's daring play— 
practicing and trying his powers, till he ripens to manhood’s battle, and burns 





| 
| 
| 
| 





= 





‘Program 


with eager desire for the highest things in life. What to him appears trans- 
figured, it is the high purpose, which leads him through life, to shape to still 
more transfigured forms. Coldly and scornfully the world sets up barrier after 
barrier in his way. If he thinks himself near the goal a ‘Halt!’ thunders in his 
ear: ‘Make the barrier a stirrup, always onward and higher!’ Thus he presses 
forward, thus he climbs, nor swerves from his sacred purpose. What he has 
ever longed for with heart’s deepest longing, this he still seeks even at death's 
door; seeks, alas! but finds it never. Whether he understands more clearly, or 
whether it grows upon him gradually, he cannot exhaust it, nor complete it in 
spirit. Now threatens the last stroke of the iron hammer of Death, the earthly 
body breaks in two, the eye is covered by the Night of Death. 

“But powerfully resounds from the heavenly spaces to greet him, what he 
sought so longingly here, deliverance from the world, transfiguration of the 
world.” 


4— yertire 6 Wile feu. Rossini 


The opening Andante depicts the serene solitude of Nature at dawn, and 
the music is enchantingly reposeful. The tranquil 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. It 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. 





Next Summer Symphony Concert 


CIVIC AUDITORIUM 
TUESDAY, JULY 17, 8:20 P. M. 


BERNARDINO MOLINARI, Conducting 
PROGRAMME 


£;:- Aindante— for Strings soa ees Geminiani 
(First time in San Francisco) 

= Syia phony NG. <2 asGanSnd cena ee Brahms 

Be Fay eS aa ee ee Wolf-Ferrari 

(hb) Noveletta= S22. eee Martucci 
(First time in San Francisco) 

+s ight Jogeunt ne eee Debussy 


Transcribed by Bernardino Molinari 
(First time in San Francisco) 


5. “Fhe Pinessol-Rome sa... cactasrenannnice Respighi 
Tickets now on sale— 


Sherman, Clay & Co. Bay City Stores Miss Ball's Office, U. C. Campus 





The Civic Chamber Music Society will present the ABAS STRING QUARTET (Nathan 
Abas, violin; William Wolski, violin; Romain Verney, viola; Michel Penha, ‘cello), in a series of 
Six Chamber Music Concerts at the Auditorium of the High School of Commerce (Van Ness Ave. 
at Fell St.), during the season of 1928-29. Season tickets $5.00. For particulars address Alice 
Seckels, Fairmont Hotel. 


“4 
‘ 
Ed 







eT SN Si se Orla NLC NUTR 
_— ~owae ome 


— 


SS Mrorater 


SR FOE NEI tS OS Re cep ed hp oy 
ye Ne = ae — = 


STEINWAY 
The Instrument of the Immortals 





TEINWAY! The home possessing a Steinway 
has the one outstanding piano that distinctive 
homes and distinguished artists the world over 





have overwhelmingly approved. 


The Duo-Art reproducing instrumentality itself is avail- 
able in the Steinway. This is the reproducing instrumental- 
ity that excels in re-creating the exact playing of the foremost 
living pianists. It re-creates, exactly, the most brilliant dance 
and popular playing as well as the sublime “classics.” 


Available in Steinway and four other noble pianofortes. 
Is always ready to be played by the fingers, like the piano 
of old, as well as by its master-made rolls. 


A truly remarkable contribution to the home. If you are 
interested in the Steinway you will indeed be interested in 
the Steinway Duo-Art. 


Sherman tay & Co. 


Kearny and Sutter Sts., San Francisco 


Mission Street, near Twenty-first 
Fillmore Street, near Post 
1315 Burlingame Ave., Burlingame 
Fourteenth and Clay Sts., Oakland 
3420 E. 14th St., Fruitvale 
Telegraph and Channing Way, Berkeley 


And thirty other Coast cities 























( 
\ 
| 
| 
| 
| 
; 
\ 
i 


cv 


je 


moO Re DO” DO OC” DO ™9OC”” YO ™9OC” YD 





=I IC SICH DC SIO DC SIDR IC SIO WO SIO IOSD 
COGN JIA 06S UI 06 WY OG NU OO SUI 06 SI 06 


©) 


SUMMER SYMPHONY SERIES 


THIRD SEASON 
L926 


San. Francisco 
Symphony Orchestra 


FOURTH CONCERT 
Turspay, Juty 17 - 8:20 P. M. 
ExPosITION AUDITORIUM 


Conducting 


IO WC NDC” OC RIC” We” MBM BOOSH” HK BOC” WC BSIVCH dD 


Auspices 


SUMMER SYMPHONY ASSOCIATION 


JOSEPH S. THOMPSON, President ALBERT A. GREENBAUM, Secretary 

JOHN ROTHSCHILD, Ist Vice-President THOMAS F. BOYLE, Treasurer 

MRS. LILLIAN BIRMINGHAM, ALFRED METZGER, Chair. Music Com. 
2nd Vice-President TOM C. GIRTON, Manager 





ACKNOWLEDGMENT 


We gratefully acknowledge the kindly assistance of the following City Officials: 


JAMES Ropu, Jr., Mayor 


AUDITORIUM COMMITTEE—James B. McSheehy, Chairman 
Warren Shannon, Franck R. Havenner 


PusBLic WELFARE COMMITTEE—Milo F. Kent, Chairman 
A. J. Gallagher, Frank P. McGovern 


Franck R. Havenner, Chairman Finance Committee 
Thomas F. Boyle, City and County Auditor 


SUMMER SYMPHONY ASSOCIATION, 
Joseph Thompson, President. 


; 
BERNARDINO MOLINARI ( 
y 


A OO NI OG MUI 06 SU" 0 OSU" 0 UI" OO UI" 0 O ® OS VI Ce" OO GSU Ue 0 SUI OO SUI OG 
COGN OG OGS_ ITO NIFONG NIL OG N__ OG NIG ICON _IOGN_ IO 


6c ™M OCH” YC BOC” YC OC” YC ™* DC” YD 


OSES SRG CORB SES BE BERO 














‘Program 


1. Andante Cantabile for Sttings Geminiani 
(First time in San Francisco) 


This number by Francesco Geminiani (1680-1762) was arranged in the form 
played tonight by Giuseppe Marinuzzi, a contemporary Italian composer. Gemin- 
iani, a pupil of Scarlatti and Corelli, spent a good portion of his life in England 
and wrote many books, in English, on violin playing, including his Art ar Play- 
ing the Violin, the first book of its kind ever published and which has endured to 
the present day. He composed twelve concertos and twelve sonatas for violin, 
also many trios, piano solos and violoncello solos. 


7. “oymopnony oso. 2, i D majot 244 Brahms 
Allegro non troppo 
Adagio non troppo 
Allegretto gracioso 
Allegro con spirito 


While Brahms spent more than ten years upon the writing of his First Sym- 
phony, the second was brought forth only about a year later. The work had its 
first public performance 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 immedi- 
ately 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 
Finale. The first movement immerses us in a clear wave of melody, upon which 
we rest, swayed, refreshed, undisturbed by two slight Mendelssohnian reminis- 
cences which emerge before us. A broad singing Adagio follows. The Scherzo is 
thoroughly delightful in-its graceful movement in minuet tempo. It is twice in- 
terrupted 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.” 


INTERMISSION 


3. (a) Prelude to “Chovantchina” Moussorgsky 
(iy ele Forpetsae eo er se ae, Debussy 


Transcribed by Bernardino Molinari 
(First time in San Francisco) 


““Chovantchina,” which was suggested to Moussorgsky by the celebrated 
Russian critic, Vladimir Stassov, has to do with the conflict between old and new 
Russia at the end of the seventeenth century. Moussorgsky worked on the opera 
intermittently from 1872 until his death in 1881, but left the work unfinished. 
It was completed and orchestrated by Rimsky-Korsakow, and published in 1882. 
The Prelude, which portrays the cold gray dawn over the Kremlin in Moscow, 
has been commented on by Rosa Newmarch in “The Russian Opera”: “Nothing 
in Russian music is more intensely or touchingly national in feeling. The curtain 
opens upon the Red Square in the Kremlin, just as the rising sun catches the 
domes of the churches, and the bells ring for early matins.” 

“LIsle Joyeuse,” as played this evening, was transcribed from Debussy’s piano 
piece by Bernardino Molinari, at the desire and with the approval of the com- 
poser in the last year of his life. The following brief analysis is from Le Guide 
de Concert of November 9, 1922: 

“Full of joy and grace are the sinuous melodic lines which Debussy has in- 
vested with a highly colored garment that emphasizes the intensity of expression, 
and discloses the ingenuity and the originality of his harmony without an over- 








‘Program 


load of ornament. Thus, after the initial arabesque of the flute a dance call is 
sounded on the oboe and then on the clarinet, with very light touches from 
flutes, celesta and the harps and a pizzicato figure in the first and second violins, 
the violas and ‘cellos. In this first phase of the development of Debussy’s vision the 
woodwinds have an active role, while the strings support them, in general, only 
by singing soft scales. Muted trumpet now voices an inaugural phrase for the 
lyric middle section of the work and the various elements of that motive are 
expressed by numerous orchestral contributions so; that it is disclosed, as it were, 
in a succession of luminous bubbles floating up from end to end of the orchestral 
battalion. Now enters in rubato a new theme which soon develops in full 
orchestra, delicate but sonorous. Those themes which have preceded emerge again 
but under shifting, varied and surprising chromatic guise, until again the dance 
call is heard, it also in rubato. Comes then a brilliant climacteric of delicate 
clang-tints and the piece comes to a close in a mood of tender ecstacy.” 


4. Symphonic Poem, “The Pines of Rome? ccsccccccssco Respighi 
The Pines of the Villa Borghese 
The Pines Near a Catacomb 
The.Pines of the Janiculum 


The Pines of the Appian Way 


J. P. SHINHAN, at the Organ 
(Steinway Piano and Victor Electrola used) 


In this composition Respighi has sought to express in tones the memories and 
visions aroused by the century-old trees which dominate the Roman landscape, 
and has prefaced his score with the following “program”: 

I. “The Pines of the Villa Borghese.’ Children are at play in the pine 
grove of the Villa Borghese, dancing the Italian equivalent of “Ring Around A- 
Rosy;” mimicking marching soldiers and battles; twittering like swallows at eve- 
ning; and they disappear. Suddenly the scene changes to— 

II. “The Pines Near a Catacomb.’ “We see the shadows of the pines which 
overhang the entrance to a catacomb; from the depths rises a chant, which re- 
echoes solemnly, sonorously, like a hymn (trumpet behind the scenes), and is 
then mysteriously silenced. 

III. “The Pines of the Janiculum.” There is a thrill in the air. The full 
moon reveals the profile of the pines of Gianicolo’s Hill. A nightingale sings. 

IV. “The Pines of the Appian Way.” Misty dawn on the Appian Way. 
The tragic country is guarded by solitary pines. Indistinctly, incessantly, the 
rhythm of innumerable steps. To the poet's phantasy appears a vision of past 
glories; trumpets blare, and the army of the consul advances brilliantly in the 


grandeur of a newly risen sun toward the sacred way, mounting in triumph, the 
Capitoline Hill.” 





Next Summer Symphony Concert 


CIVIC AUDITORIUM 
TUESDAY, JULY 24, 8:20 P.M. 


BERNARDINO MOLINARI, Conducting 
PROGRAMME 


1. Spring from “The Four Seasons”.............. Vivaldi 
(First time in San Francisco) 

2. \aymappony INO. “1 Stir ts iar Haydn 

MMM ETT as ee Ra ee A NE IER Strauss 

4: (overture Gs temnatioee sk Wagner 


Tickets now on sale— 


Sherman, Clay & Co. Bay City Stores Miss Ball's Office, U. C. Campus 








STEINWAY 
The Instrument ofthe Immortals 





TEINWAY! The home possessing a Steinway 
has the one outstanding piano that distinctive 
homes and distinguished artists the world over 
have overwhelmingly approved. 


The Duo-Art reproducing instrumentality itself is avail- 
able in the Steinway. This is the reproducing instrumental- 
ity that excels in re-creating the exact playing of the foremost 
living pianists. It re-creates, exactly, the most brilliant dance 
and popular playing as well as the sublime “classics.” 


Available in Steinway and four other noble pianofortes. 
Is always ready to be played by the fingers, like the piano 
of old, as well as by its master-made rolls. 


A truly remarkable contribution to the home. If you are 
interested in the Steinway you will indeed be interested in 
the Steinway Duo-Art. 


Sherman {@lay & Co. 


Kearny and Sutter Sts., San Francisco 


Mission Street, near Twenty-first 
Fillmore Street, near Post 
1315 Burlingame Ave., Burlingame 
Fourteenth and Clay Sts., Oakland 
3420 E. 14th St., Fruitvale 
Telegraph and Channing Way, Berkeley 


And thirty other Coast cities 





_ eee , aS a 


swe, C0 en fm 6C)tOwe— mn OUT ee ene CO 





a SOS OS ES NOS SN CS aN NO Sa OS aN Oa 








C06. I" 06 WI" 06 SI 06 SUIT OO NUIT OG SUI OG NGS ITO ™_L_LOGN_IT_L OG __OG™_? 


\ 
) 
\ 
/\ 
: 
: 


CNU6GS JI 06 NA OG NU OG 


SUMMER SYMPHONY SERIES 
THIRD SEASON 
1928 


San. Francisco 
Symphony Orchestra 


FIFTH CONCERT 
Tuerspay, JuLy 24 - 8:20 P.M. 
ExposiTIon AUDITORIUM 


BERNARDINO MOLINARI 


Conducting 


Auspices 


SUMMER SYMPHONY ASSOCIATION 


JOSEPH S. THOMPSON, President ALBERT A. GREENBAUM, Secretary 

JOHN ROTHSCHILD, Ist Vice-President THOMAS F. BOYLE, Treasurer 

MRS. LILLIAN BIRMINGHAM, ALFRED METZGER, Chair. Music Com. 
2nd Vice-President TOM C. GIRTON, Manager 





ACKNOWLEDGMENT 


We gratefully acknowledge the kindly assistance of the following City Officials: 


JAMES ROLPH, Jr., Mayor 


AuDITORIUM CoMMITTEE—James B. McSheehy, Chairman 
Warren Shannon, Franck R. Havenner 


PuBLiC WELFARE COMMITTEE—Milo F. Kent, Chairman 
A. J. Gallagher, Frank P. McGovern 


Franck R. Havenner, Chairman Finance Committee 
Thomas F. Boyle, City and County Auditor 


SUMMER SYMPHONY ASSOCIATION, 
Joseph Thompson, President. 








CH” VC SR9C” VO DO ROC VO ’NONCZ ICONIC” >) 
a) Ci ee a ae) 


CH C SMICH™ YC NOCH {CMD 
C06’ I" OG WU OG 


C S9CH)C RICH DC RICH JCD 
C06~ JI 06™ JI OG 














ae 





‘Program 


Ly Sprmne’* ‘from: The Pour seasons: Vivaldi 
Transcribed by BERNARDINO MOLINARI 
(First time in San Francisco) 


This number is the first of a group of four written to four sonnets on the 
seasons of the year, and it is believed that Vivaldi himself was the poet also. In 
them the composer has endeavored to excite, by music, ideas correspondent with 
the sentiments of the several poems. ‘The sonnet “Spring” has been translated 
as follows in a program of the St. Louis Symphony Orchestra upon the occasion 
of the first American performance of the work early this year: 


SPRING 


Spring has come, and spry the birds 

With glad songs hail its coming. 

The flowing rills, caressed by fragrant zephyrs 
Rush forth their sweetly murmuring waters. 
Gradually black clouds darken the air, 
Heralded by lightning and thunder. 

Then, as these subside, the little birds 

Again return to their sweet singing. 

On the open, flower-decked meadow 

To the gentle murmuring of leafy boughs and verdure 
The shepherd sleeps; at his side the trusty dog. 
To the festive sounds of pastoral piping 
Nymphs and shepherds dance on the lovely field 
At the brilliant coming of Spring. 


2. Symphony No. 13, inG taf} [A ey On ese abt nee Haydn 


This symphony is one of a group which Haydn composed for a society in 
Paris during 1786-87, and in the catalogue of the London Philharmonic Society 
is designated as the “Letter V’’ Symphony. 

The first movement opens with a short and slow introduction, the main 
body of the movement beginning with a dainty theme in the strings, repeated 
forte by the full orchestra. The second theme is but little more than a melodic 
variation of the first, as is the short concluding theme in oboes and bassoon, then 
in the strings. The free fantasia is quite long and contrapuntally elaborate. There 
is a short coda. The second movement, Largo, opens with a serious melody by 
the oboe and ‘cellos to an accompaniment of violas, double-basses, bassoon and 
horn. The theme is repeated with a richer accompaniment, and the first violins 
have a counter-figure. The tune is repeated several times in different ways, off- 
set by sundry counter-embellishments, its placid progress being interrupted abrupt- 
ly here and there by loud outbursts from the full orchestra. The third movement 
is a simple example of the old-fashioned minuet dance form with trio. The finale 
is a rondo on the theme of a peasant country-dance. The buoyant principal 
theme is given out at the start by the violins and bassoons, to be developed forth- 
with with vivacity and humor up to the dashing climax which brings the sym- 
phony to an end. 


INTERMISSION 


3. Rondo, “Till Eulenspiegel’s Merry Pranks” 
DS Si Pee Meade Me) ORL VIREO edo Richard Strauss 


Till Eulenspiegel is the hero of an old folk-book of the fifteenth century 
attributed to Dr. Thomas Murner. Till is supposed to be a wandering mechanic 
of Brunswick, who plays all sorts of tricks on everybody, and he always comes 
out ahead. The opening bars of the work may be accepted as the “once upon 








‘Program 


a time” of the story books. Till, in his wanderings, comes to a certain city. 
It is market day and the market women are sitting at their stalls gossiping. 
Suddenly Till, mounted upon his horse dashes among the crowd. There is a 
sound of broken pots and pans and scolding women, while Till beats a hasty 
retreat. His next prank consists of his putting on the vestments of a priest but 
he does not feel very comfortable in this disguise. Next we see him as a Don 
Juan, and tender passages of the music tell us of his love episodes. He really 
falls in love but only to be laughed at and derided by the object of his devotion. 
Rage possesses him but is soon forgotten when he meets a company of “worthy 
Philistines.” Assuming an air of great seriousness he mocks them, leaving the 
good professors quite puzzled. Gaily Till goes on his way and even the ominous 
tones of the trombones forecasting his fate sound no warning in his conscience 
until he lands in prison and is dragged before the criminal court. Note the roll 
of the drums and the threatening chords indicative of the questioning of the 
court, Till gaily answering each question with a lie. Not until he is condemned 
to death does fear seize him, but then it is too late. The fatal moment has 
come; he is strung up. The flutes portray his last struggle as his soul takes flight. 
The end of Till’s adventures is followed by an epilogue which ends as the tale 
began with “Once upon a time...” 


Mor AVCCEULe Ck" k AEPINAUBEE 52h ace ot ee 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 
brass, 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 stirring close. 


EVERY TUESDAY MORNING AT ELEVEN O’CLOCK. 
Interpretations of the current symphony programmes by 


VICTOR LICHTENSTEIN, with musical illustrations. 
Merrill Hall, Western Women’s Club, 609 Sutter St. Tickets at the door. 





Next Summer Symphony Concert 


CIVIC AUDITORIUM 
TUESDAY, JULY 31, 8:20 P. M. 


OSSIP GABRILOWITSCH, Conducting 
PROGRAMME 


1. Overture, “Le Carneval Romain’”’...................... Berlioz 
ps SRY PROSNTRNELY FEN, |) MISS oocyst oa dcvdeacecscensticeendee tc Franck 
By OUNCE) (EHO MIRC EMPO oc tei Ces Stravinsky 
4. Theme and Variations from Suite No. 3..Tschaikowsky 


Tickets now on sale— 


Sherman, Clay & Co. Bay City Stores Miss Ball’s Office, U. C. Campus 











STEIN Weer 
The Instrument ofthe Immortals 





TEINWAY! The home possessing a Steinway 
has the one outstanding piano that distinctive 
homes and distinguished artists the world over 
have overwhelmingly approved. 


The Duo-Art reproducing instrumentality itself is avail- 
able in the Steinway. This is the reproducing instrumental- 
ity that excels in re-creating the exact playing of the foremost 
living pianists. It re-creates, exactly, the most brilliant dance 
and popular playing as well as the sublime “classics.” 


Available in Steinway and four other noble pianofortes. 
Is always ready to be played by the fingers, like the piano 
of old, as well as by its master-made rolls. 


A truly remarkable contribution to the home. If you are 
interested in the Steinway you will indeed be interested in 
the Steinway Duo-Art. 


Sherman Gtay & Co. 


Kearny and Sutter Sts., San Francisco 


Mission Street, near Twenty-first 
Fillmore Street, near Post 
1315 Burlingame Ave., Burlingame 
Fourteenth and Clay Sts., Oakland 
3420 E. 14th St., Fruitvale 
Telegraph and Channing Way, Berkeley 


And thirty other Coast cities 








CO ROCA COC SN DO” YO OC OC YO ™9C”” YC ™5CH” DODO” IR 


“ey 


CS SO OE ID 





SUMMER SYMPHONY SERIES 


THIRD SEASON 
ia 8 


San Francisco 
Y Symphony Orchestra 


SIXTH CONCERT 
Tuespay, Juty 31 - 8:20 P. M. 
ExposiTIon AUDITORIUM 


oc NSIC i i i ee a 
Sn oe an 
6 =~" WDC” XxX ADC” 2) 

CIO WI OG NA OO NIT OU 


OSSIP GABRILOWITSCH 


Conducting 


OC 


Auspices 


SUMMER SYMPHONY ASSOCIATION 


JOSEPH S. THOMPSON, President ALBERT A. GREENBAUM, Secretary 

JOHN ROTHSCHILD, Ist Vice-President THOMAS F. BOYLE, Treasurer ‘ 

MRS, LILLIAN BIRMINGHAM, ALFRED METZGER, Chair. Music Com. 
2nd Vice-President TOM C. GIRTON, Manager 





ACKNOWLEDGMENT 


We gratefully acknowledge the kindly assistance of the following City Officials: 


JAMES Ropu, Jr., Mayor 


AUDITORIUM COMMITTEE—James B. McSheehy, Chairman 
Warren Shannon, Franck R. Havenner 


PuBLIC WELFARE COMMITTEE—Milo F. Kent, Chairman 
A. J. Gallagher, Frank P. McGovern 


Franck R. Havenner, Chairman Finance Committee 
Thomas F. Boyle, City and County Auditor 


or 


SUMMER SYMPHONY ASSOCIATION, 
Joseph Thompson, President. 


Ode. S 2. S 3S 3S 3. S23. Sd 


Re A IE BE Be A BB Ee a 


Ox 
ad 


DAO 9 NATION ICN EV 
On SS Q TI OO ™ JI OO JI" OG UD" OOO" O 


° 2 
OR KBCOSROCRROCSER BES EKBER<BERO | 








‘Program 


i verture * Raman Carnevale ee Berlioz 


This overture was originally written as the introduction of the second act 
of his unsuccessful opera, “Benvenuto Cellini.” The overture is based upon the 
lively Italian dance known as the “Saltarello,” which is a prominent feature of 
the annual Roman carneval pictured by Berlioz in his opera. A slow movement 
following the introduction and in which the English horn delivers the melody, is 
Benvenuto's principal aria in the first art. The Saltarello is a popular Roman 
dance, generally danced by a man and woman, being a quick hopping step which 
gradually increases in rapidity as the dancers move around in a semi-circle, inces- 
santly changing their position and moving their arms as violently as their legs. 


Dy. SOT 10: LY TR a Franck 
Lento—Allegro non troppo 
Allegretto 
Allegro non troppo 


Cesar Franck’s distinguished pupil, Vincent d’Indy, has said of the D minor 
Symphony: ‘“Franck’s symphony is a continual ascent toward a pure gladness and 
life-giving light because its membership is solid, and its themes are manifestations 
of ideal beauty. What is there more joyous and 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 register all is dominated by that motive which 
Ropartz has justly called ‘the theme of faith’,”’ 

Schumann once said that a painter who wished to portray the Almighty 
would best achieve his purpose by depicting cherubs on the very edge of his 
canvas, with their eyes turned from the center. The “painter” of the D minor 
Symphony has beheld a vision, and having beheld it in its radiance and power, 
makes no attempt to aflirm what he has beheld—but only suggests. Two themes 
which predominate throughout the work are known as the Faith and Hope mo- 
tives, both appearing in the first movement; the first a calm, gentle, mystical 
theme of six bars, the second in the shape of a triumphant outburst of the entire 
orchestra. A characteristic feature of the symphony is the half-tone progressions, 
peculiar to Franck and the school of composers he established. 


INTERMISSION 


3. Prelude, “The Afternoon of a Faure Debussy 


This composition, designated by Debussy as a “prelude symphonique,”’ is 
based on an eclogue of Stephen Mallarme, and in keeping with the very nature 
of the work, Louis Laloy has given the following fanciful analysis: “One is 
immediately transported into a better world; all that is leering and savage in the 
snub-nosed face of the faun disappears; desire still speaks, but there is a veil of 
tenderness and melancholy. The chord of the woodwind, the distant call of the 
horns, the limpid flood of harp tones, accentuate this impression. The call is 
louder, more urgent, but it almost immediately dies away, to let the flute sing 
again its song. And now the theme is developed; the oboe enters in, the clari- 











‘Program 


net has its say, a lively dialogue follows, and a clarinet phrase leads to a new 
theme which speaks of desire satisfied, or it expresses the rapture of mutual 
emotion rather than the ferocity of victory. The first theme returns, more lan- 
guorous, and the croaking of muted horns darkens the horizon. The theme 
comes and goes, fresh chords unfold themselves; at last a solo ‘cello joins itself 
to the flute; and then everything vanishes, as a mist that rises in the air and 
scatters itself in flakes.” 


4. Theme and Variations from Suite No. 3........... T schaikowsky 


The statement has been made that “Tschaikowsky’s orchestral suites count 
among his most popular works. They show off his masterly orchestration more 
completely perhaps than any of his compositions.’ Be this true or not, there is 
no question of the brilliancy and masterfulness of his ‘Theme and Variations.” 
The variations are twelve in number, the final one being a showy polacca. When 
Tschaikowsky visited America in 1891, this was one of the works by which he 
achieved great success at the festival concert he conducted at Carnegie Hall in 
New York. 


The Civic Chamber Music Society will present the ABAS STRING QUARTET (Nathan 
Abas, violin; William Wolski, violin; Romain Verney, viola; Michel Penha, ‘cello), in a 


series of Six Chamber Music Concerts at the Auditorium of the High School of Commerce 
(Van Ness Ave. at Fell St.), during the season of 1928-29. Season tickets $5.00. For 
particulars address Alice Seckels, Fairmont Hotel. . 








EVERY TUESDAY MORNING AT ELEVEN O’CLOCK. 
Interpretations of the current symphony programmes by 
VICTOR LICHTENSTEIN, with musical illustrations. 
Merrill Hall, Western Women’s Club, 609 Sutter St. Tickets at the door. 










Next Summer Symphony Concert 
DREAMLAND AUDITORIUM 
TUESDAY, AUGUST 7, 8:20 P. M. 
OSSIP GABRILOWITSCH, Conducting 
PROGRAMME 


1. Overture te; Orestes: 200 uth fae es T aneiew 
2... SRIPRONY INOS encase eee Beethoven 
oN YE pe Bie ico ahah pull: MUL RTROae old AT Strauss 
4. Suite, “An Exhibition of Pictures”’.......... Moussorgsky 
Bi) See OORCEDES ot ee ppetibaoee etre fT Dukas 


Tickets now on sale— 


Sherman, Clay & Co. Bay City Stores Miss Ball’s Office, U. C. Campus 








STEINWAY 


The Instrument of the Immortals 





TEINWAY ! The home possessing a Steinway 
has the one outstanding piano that distinctive 
homes and distinguished artists the world over 
have overwhelmingly approved. 


The Duo-Art reproducing instrumentality itself is avail- 
able in the Steinway. This is the reproducing instrumental- 
ity that excels in re-creating the exact playing of the foremost 
living pianists. It re-creates, exactly, the most brilliant dance 
and popular playing as well as the sublime “classics.” 


Available in Steinway and four other noble pianofortes. 
Is always ready to be played by the fingers, like the piano 
of old, as well as by its master-made rolls. 


A truly remarkable contribution to the home. If you are 
interested in the Steinway you will indeed be interested in 
the Steinway Duo-Art. 


Sherman lay & Co. 


Kearny and Sutter Sts., San Francisco 


Mission Street, near Twenty-first 
Fillmore Street, near Post 
1315 Burlingame Ave., Burlingame 
Fourteenth and Clay Sts., Oakland 
3420 E. 14th St., Fruitvale 
Telegraph and Channing Way, Berkeley 


And thirty other Coast cities 





SS er tl Pa a ee Se eee ovr > ew "=. C1. Lee. eee 









Cw oo™ oI OG RIE” OG SI OG NI OG SIN OG 


SUMMER SYMPHONY SERIES 
THIRD SEASON 
1928 


San. Francisco 
Symphony Orchestra 


DREAMLAND AUDITORIUM 


OSSIP GABRILOWITSCH 


Conducting 


Auspices 
SUMMER SYMPHONY ASSOCIATION 


JOSEPH S$. THOMPSON, President ALBERT A. GREENBAUM, Secretary 

JOHN ROTHSCHILD, Ist Vice-President THOMAS F. BOYLE, Treasurer 

MRS. LILLIAN BIRMINGHAM, ALFRED METZGER, Chair. Music Com. 
2nd Vice-President TOM C. GIRTON, Manager 





ACKNOWLEDGMENT 


We gratefully acknowledge the kindly assistance of the following City Officials: 


JAMES ROLPH, Jr., Mayor 


AUDITORIUM COMMITTEE—James B. McSheehy, Chairman 
Warren Shannon, Franck R. Havenner 


PusLic WELFARE COMMITTEE—Milo F. Kent, Chairman 
A. J. Gallagher, Frank P. McGovern 


Franck R. Havenner, Chairman Finance Committee 
Thomas F. Boyle, City and County Auditor 


SEVENTH CONCERT ; 
Turspay, AuGcust 7 - 8:20 P. M. 
: 


COG OG UI OG ™ UI OO SUI OG WU OG UO OG S_UOO UI OO UI OO UI OG UO" 


SUMMER SYMPHONY ASSOCIATION, } 
Joseph Thompson, President. \ 


SBS OS RIE RERRBENBES <BEAN 








‘Program 


PE TORICIe 00; \ OSbER 22.4 le ny eee Taneyev 
(First time in San Francisco) 

‘“Orestes”’ is an operatic trilogy, based on the Orestes of Aeschylus. The 
first part is Agamemnon; the second Choephori, and the third Eumenides. It had 
its first performance October 17, 1895. Because of the extreme length of the 
work several cuts were made. To these Taneyev objected strenuously and 1t 
was withdrawn from further production, not to be revived until after the com- 
poser’s death in 1915. 


eee VII HICENY IND, 0p SEY 2% TORN seca eee Beethoven 

Poco sostenuto 

Allegretto 

Presto 

Allegro con brio 

Beethoven, who seldom spoke of his own compositions, characterized his 

symphony in A as “one of my very best,” and the world has since agreed with 
him. It was composed about four years after the Sixth, the title-page of the 
autograph score bearing the date of May, 1812. Its first performance was at a 
special concert in Vienna, December 8, 1813. Johann Maelzel, the inventor of 
the metronome, had also invented a mechanical trumpet which he desired to 
exploit under the most favorable conditions. ‘The Austrian and Bavarian troops, 
who had tried to cut off the retreat of Napoleon after the battle of Leipsic, 
had been beaten by the French general at Hanau. Maelzel seized upon the 
opportunity to arrange a patriotic concert for the benefit of the invalided sol- 
diers. He enlisted the services of Beethoven and, incidentally, included his 
mechanical trumpet in the program. Beethoven agreed to conduct two of his 
new compositions, the symphony in A, and the “Battle of Vittoria... Great 
enthusiasm was aroused in interest of the concert, Beethoven himself was quite 
deaf at the time, but nevertheless agreed to conduct, “only because the music 
was of my own composition,” as he said in a letter thanking the participants. 
The success of the concert was so great that it had to be repeated four days 
later, on which occasion the second movement of the symphony, the “allegretto”’, 
had to be repeated. 

Various programs have been designed for the symphony, but Beethoven has 
given no clue. The most generally accepted is Wagner's description in which 
he declares: ‘This symphony is the Apotheosis of Dance itself. It is Dance in 
| her highest aspect, as it were, the loftiest deed of bodily motion incorporated in 

an ideal mold of tone. Melody and harmony unite around the sturdy bones of 
rhythm to firm and fleshy human shapes, which now with giant limbs’ agility, 
| 
{ 





and now with soft, elastic pliance, almost before our very eyes, close up the 
supple, teeming ranks.” 


| INTERMISSION 
| pet. pone. £0em, : 000. Math Richard Strauss 


This remarkable piece of descriptive music was written in 1888, the com- 
poser then being twenty-four years old—an age at which his feelings and sym- 
pathies may well have been at one with those of the young hero of Nicholas 
Lenau’s poem. 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 disappointment and disillusionment. 
Through the vivid and sardonic adventures of his pursuit, Strauss’ wonderful 
music follows him step by step to his final disappointment and death. Every 
character of the drama is represented by a definite musical theme, every emotion 
reflected in tone psychology, and every incident drawn in matserly sound pictures. 


pT ay 





‘Program 


4. Suite, “An Exhibition of Pictures”... Moussorgsky 
(First time in San Francisco) 

»sLhis suite is the outcome of Moussorgsky’s friendship for Victor Hartmann, 
the architect and painter, for, following Hartmann’s death, in 1873, Moussorgsky 
conceived the idea of composing a series of musical reproductions of his paintings 
as an expression of respect. Originally written for piano, the suite was later 
orchestrated by M. Touschmalow. The movements are as follows: I. Prome- 
nade. ‘This prelude suggests the gait of the spectator and the impressions made 
on him by the pictures. The composer is walking to and fro, now loitering, 
now hurrying to examine a congenial work. Sometimes his gait slackens; 
Moussorgsky is thinking sadly of his dead friend. II. “Il Vecchio castello.” 
A mediaeval castle, before which a troubadour is singing. III. “Ballet of 
Chickens in Their Shells.” This was a sketch made by Hartmann for the 
staging of the ballet “Trilby.’ IV. “Samuel Goldenberg and Schmuyle.” 
Representing two Polish Jews, one prosperous, the other needy. Va. “Limo- 
ges. The market place. Bickering market women. Vb. “The Catacombs.” 
The painting represents Hartmann visiting the Catacombs in Paris by the light 
of a lantern. VIa. “The Hut on Fowl's Legs.” This was a design for a 
clock in the shape of a witch’s hut. In European folk-lore the witch is sup- 
posed to travel in a mortar which she urges on with a pestle, sweeping away 
with a broom as she goes the traces of her flight. Moussorgsky endeavored to 
paint this progress of the witch in his music. VIb. “The Bogatyr’s Gate at 
Kiew.” Hartmann’s drawing represented a proposed design for a gate in the 
old Russian massive style, with a cupola in the form of a Slavonic helmet. 


5. Scherzo, “The Sorcerer’s Apprentice’ i cssssssssssnseee Dukas 

This work tells the story of the apprentice who, when the master magician 
was absent, attempted to work his miracles, so he ordered the broom to take 
the bucket and bring water from the stream. ‘The broom obeyed but he found 
that he had forgotten the magic words with which to stop it. In his despera- 
tion he seized an ax and cut the broom in two, but to his dismay both parts of 
the broom now proceeded to fetch water. The room is filled to overflowing; the 
poor apprentice is frantic and finally begins to call for help. The master enters 
at the critical moment, realizes the situation, utters the magic words and both 
parts of the broom fly into the corner. 


The Civic Chamber Music Society will present the ABAS STRING QUARTET (Nathan 
Abas, violin; William Wolski, violin; Romain Verney, viola; Michel Penha, ‘cello), in a 
series of Six Chamber Music Concerts at the Auditorium of the High School of Commerce 


(Van Ness Ave. at Fell St.), during the season of 1928-29. Season tickets $5.00. For 
particulars address Alice Seckels, Fairmont Hotel. 





Next Summer Symphony Concert 


EXPOSITION AUDITORIUM 
TUESDAY, AUGUST 14, 8:20 P. M. 


OSSIP GABRILOWITSCH, Conducting 
PROGRAMME 


1. Overture, “The Russian Easter”’............... Rimsky-Korsakow 
2. Symphony No. 1, B flat.............. sac sas Jabasy ra basses ane LAONTINE 
Dek ens SMRIN ic seh dags Aides sbi palraedtn Staion sol Doone dis ea aR 
A ae: LES Fae ARG concocted, poet tthe te dnhwrnesls Stravinsky 
ay) eters to- The Niasteraingers i ee a Wagner 


Tickets now on sale— 


Sherman, Clay & Co. Bay City Stores Miss Ball's Office, U. C. Campus 





aioe — 


: 
’ 
H 


STEINWAY 
The Instrument: of the Immortals 





TEINWAY! The home possessing a Steinway 
has the one outstanding piano that distinctive 
homes and distinguished artists the world over 
have overwhelmingly approved. 


The Duo-Art reproducing instrumentality itself is avail- 
able in the Steinway. This is the reproducing instrumental- 
ity that excels in re-creating the exact playing of the foremost 
living pianists. It re-creates, exactly, the most brilliant dance 
and popular playing as well as the sublime “classics.” 


Available in Steinway and four other noble pianofortes. 
Is always ready to be played by the fingers, like the piano 
of old, as well as by its master-made rolls. 


A truly remarkable contribution to the home. If you are 
interested in the Steinway you will indeed be interested in 
the Steinway Duo-Art. 


Sherman tay & Co. 


Kearny and Sutter Sts., San Francisco 


Mission Street, near Twenty-first 
Fillmore Street, near Post 
1315 Burlingame Ave., Burlingame 
Fourteenth and Clay Sts., Oakland 
3420 E. 14th St., Fruitvale 
Telegraph and Channing Way, Berkeley 


And thirty other Coast cities 





mC '!| SO Dc ™ DOC” YC ™ DO” DO ™ OC” YD CH” y>C ™=®5 
clo!= CF yO DOC” SO DOO ™=, OO SF” DCO =, OC JZ” DO ™, OO A OO =, OR aN 








SUMMER SYMPHONY SERIES 


THIRD SEASON 
ee ae 


San Francisco y 
Symphony Orchestra 


EIGHTH CONCERT 
Turspay, Aucust 14 - 8:20 P.M. 
Crvic AupITORIUM 


OSSIP GABRILOWITSCH 


Conducting 


Auspices } | 


SUMMER SYMPHONY ASSOCIATION 


JOSEPH S. THOMPSON, President ALBERT A. GREENBAUM, Secretary 

JOHN ROTHSCHILD, Ist Vice-President THOMAS F. BOYLE, Treasurer 

MRS. LILLIAN BIRMINGHAM, ALFRED METZGER, Chair. Music Com. 
2nd Vice-President TOM C. GIRTON, Manager 





ACKNOWLEDGMENT 


We gratefully acknowledge the kindly assistance of the following City Officials: 


JAMES ROLPH, JR., Mayor 
AUDITORIUM COoMMITTEE—James B. McSheehy, Chairman 
Warren Shannon, Franck R. Havenner 
PuBLIC WELFARE CoMMITTEE—Milo F. Kent, Chairman 
A. J. Gallagher, Frank P. McGovern 
Franck R. Havenner, Chairman Finance Committee 
Thomas F. Boyle, City and County Auditor 


) 
| 
. 
| 
; 


3B CROSSE BESS KBESKBES IT 


SUMMER SYMPHONY ASSOCIATION, 
Joseph Thompson, President. 





‘Program 


L.. Overtareto i uestarr gir Pdiniia, - Glinka 


The second of Glinka’s operas was “Russlan and Ludmilla,” the libretto by 
the Russian poet, Pushkin. Fortissimo chords for full orchestra usher in the intro- 
duction. The first theme is announced by the violins, violas and flute, accompanied 
by all the other instruments. The woodwinds have a charming and brilliant episode, 
with string pizzicato accompaniment. The second theme appears in a graceful 
melody for the violas, ‘cellos and bassoons, which is taken up by the full orchestra. 
After the reappearance of ti first and second themes, there is a brilliant coda based 
on the first theme and enriched by a bell-like effect in the brass. 


2. symphony Now], in B fat major ee Schumann 
Andante un poco maestoso—Allegro molto vivace 
Larghetto— 


Scherzo: Molto vivace 
Allegro animato e grazioso 

Early in 1841 Schumann wrote to Ferdinand Wenzel: “I have during the 
last days finished a task (at least in sketches) which filled me with happiness, and 
almost exhausted me. Think of it, a whole symphony—and, what is more, a 
Spring symphony; I, myself, can hardly believe that it is finished.” In a letter to 
Spohr during November, 1842, he wrote: “I wrote the symphony toward the 
end of the winter of 1841, and, if I may say so, in the vernal passion that sways men 
until they are very old, and surprises them again with each year. I do not wish to 
portray, to paint; but I believe firmly that the period in which the symphony was 
produced influenced its form and character, and shaped it as it is." Writing to 
Wilhelm Taubert, who was to conduct the work in Berlin, he said: “Could you 
infuse into your orchestra in the performance a sort of longing for the Spring, which 
I had chiefly in mind when I wrote it in February, 1841? The first entrance of 
trumpets, this I should like to have sounded as though it were from high above, 
like unto a call to awakening; and then I should like reading between the lines, in 
the rest of the Introduction, how everywhere it begins to grow green, how a butter- 
fly takes wing; and in the Allegro, how little by little all things come that in any 
way belong to Spring. True, these are fantastic thoughts, which came to me after 
my work was finished; only I tell you this about the Finale, that I thought it as the 
good-bye of Spring.” It is known that Schumann at first intended the following 
titles for the four movements: I. “The Dawn of Spring.” II. “Evening.” 


Ill. “Joyful Playing.” IV. “Full Spring.” 
8. “oympoome roe, ne Sirens io oo Gliere 


“The Sirens” bears the following programme on a fly-leaf of the score: “The 
Sirens were fabulous beings who, according to the imagination of the Greeks, lived 
upon an enchanted isle in the middle of the sea. Sailors, hearing their magic songs 
and forgetting all else, steered their vessels toward the isle of the treacherous Sirens, 
where their ships were shattered upon hidden rocks.’ Gliere has listed the musical 
progression as follows: The Sea. The Isle of the Sirens. Approach of the Vessel. 
The Song of the Sirens. The Shipwreck. 

The work begins with material in the muted strings which is supposed to picture 
the sea. A new section is evidently intended to depict the Isle of the Sirens, and 
which bring forward, in the ‘cellos, second violins and English horn, a subject of 
which much use is made. There is a second idea for flute and celesta, and this is 
worked over in conjunction with preceding material. Over an undulating figure 
in the strings the muted horns play a motive intended to suggest the approach of 
the vessel. The voices of the Sirens are heard, given to the violas the clarinet. The 
music becomes more agitated, the voices of the Sirens more frenzied. A climax is 
attained. ‘The ship is upon the rocks. After this there is a diminuendo, and the 
work comes to a pianissimo conclusion. 


4. Suite from the Ballet, “The Fire Bird”. Stravinsky 
Introduction—The Fire Bird and Her Dance 
Dance of the Princesses 
Infernal Dance of the Kastchei 
Berceuse and Finale 


ere 











‘Program 


“The Fire Bird” was written by Stravinsky at the request of Diaghileff, to a 
scenario by Fokine, and was first performed in Paris, June 25, 1910. Stravinsky 
himself also made the concert arrangement played this evening. 

The curtain rises after a short orchestral prelude, the scene disclosed being that 
of an old castle surrounded by a garden. The plot as told in Fokine’s scenario is 
as follows: Ivan Tsarevitch, the hero of many tales, in the course of hunting at 
night, comes to the enchanted garden surrounding Kastchei's castle and sees the 
Fire Bird—a beautiful bird with flaming, golden plumage—as she attempts to pluck 
golden apples from a silver tree. Ivan captures her, but, heeding her entreaties, 
frees her. In gratitude she gives him one of her golden feathers which has magic 
properties. The dawn breaks. Thirteen enchanted princesses appear. Ivan, 
hidden, watches them dance and play with golden apples. Fascinated, he finally 
discloses himself. They tell him that the castle belongs to the terrible Kastchei, 
who turns decoyed travelers into stone. They warn him of his fate. Ivan resolves 
to enter the castle. Opening the gate, he sees Kastchei with his train of grotesque 
and deformed subjects, marching towards him in pompous procession. Kastchei 
attempts to work his spell on Ivan, but the Fire Bird’s feather protects him. Ivan 
summons the Fire Bird who causes Kastchei and his retinue to dance until they drop 
exhausted. Ivan is told the secret of Kastchei’s immortality: he keeps an egg in 
a basket; if this egg is broken or even injured, he will die. Ivan swings the egg 
backward and forward while the sorcerer and his crew sway with it. At last he 
dashes the egg to the ground. The sorcerer dies; the castle vanishes; the petrified 
knights come to life, and Ivan marries the most beautiful of the princesses amidst 
great rejoicing. 


7). rere (hy Lie Winsterermmere ri) A Se Wagner 

The prelude to “The Mastersingers’’, is built on five themes, 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 magnificent climax ap- 
proaches, the famous instance in which the three themes are employed simul- 
taneously. This overwhelming example was Wagner's defying reply to his critics 
who claimed he could not write counterpoint. 


The Civic Chamber Music Society will present the ABAS STRING QUARTET (Nathan 
Abas, violin; William Wolski, violin; Romain Verney, viola; Michel Penha, ‘cello), in a 
series of Six Chamber Music Concerts at the Auditorium of the High School of Commerce 


(Van Ness Ave. at Fell St.), during the season of 1928-29. Season tickets $5.00. For 
particulars address Alice Seckels, Fairmont Hotel. 





Next Summer Symphony Concert 


DREAMLAND AUDITORIUM 
TUESDAY, AUGUST 21, 8:20 P. M. 
MISHEL PIASTRO, Conducting 
PROGRAMME 
Soloist: MICHEL PENHA, ’Cellist 


1. Overture to a Comedy of Shakespeare................ Scheinpflug 

2. (a) Variations on a Theme of Tschaikowsky.......... Arensk y 

(6) tne’ Death -of Ban Sef kane kee. Avshalomoff 
(First time in San Francisco) 

(c) Fantasie, - Cisestachodie (i. 5.3.20 Dargomijsky 
(First time in San Francisco) 

3. (Jonterts for: Gellouin. A minot ino ek Saint-Saens 

MICHEL PENHA 
45° Sympnoiiy INO. 5200s BOR se signdinnes-cdanr ess Tschaikowsk y 


Tickets now on sale— 


Sherman, Clay & Co. Bay City Stores Miss Ball's Office, U. C. Campus 








eae ~ 


STEINWAY 





TEINWAY! The home possessing a Steinway 
has the one outstanding piano that distinctive 
homes and distinguished artists the world over 
have overwhelmingly approved. 


The Duo-Art reproducing instrumentality itself is avail- 
able in the Steinway. This is the reproducing instrumental- 
ity that excels in re-creating the exact playing of the foremost 
living pianists. It re-creates, exactly, the most brilliant dance 
and popular playing as well as the sublime “classics.” 


Available in Steinway and four other noble pianofortes. 
Is always ready to be played by the fingers, like the piano 
of old, as well as by its master-made rolls. 


A truly remarkable contribution to the home. If you are 
interested in the Steinway you will indeed be interested in 
the Steinway Duo-Art. 


Sherman ie lay & Co. 


Kearny and Sutter Sts., San Francisco 


Mission Street, near Twenty-first 
Fillmore Street, near Post 
1315 Burlingame Ave., Burlingame 
Fourteenth and Clay Sts., Oakland 
3420 E. 14th St., Fruitvale 
Telegraph and Channing Way, Berkeley 


And thirty other Coast cities 





| 
| 


eee =, , a 7 i ee | Vr Ee ee ~~ 











SUMMER SYMPHONY SERIES 


THIRD SEASON 
19.2% 


San. Francisco 
Symphony Orchestra 


NINTH CONCERT 
Tugspay, Aucust 21 - 8:20 P. M. 
DREAMLAND AUDITORIUM 


MISHEL PIASTRO 


Conducting 


Soloist: MICHEL PENHA, ’Cellist 


_—_—_—_ 


Auspices 


SUMMER SYMPHONY ASSOCIATION 
JOSEPH S. THOMPSON, President ALBERT A. GREENBAUM, Secretary 
JOHN ROTHSCHILD, Ist Vice-President THOMAS F. BOYLE, Treasurer 
MRS. LILLIAN BIRMINGHAM, ALFRED METZGER, Chair. Music Com. 
2nd Vice-President TOM C. GIRTON, Manager 


ACKNOWLEDGMENT : 





We gratefully acknowledge the kindly assistance of the following City Officials: 


JAMES ROLPH, Jr., Mayor 


AUDITORIUM CoMMITTEE—James B. McSheehy, Chairman 
Warren Shannon, Franck R. Havenner 


PuBLIC WELFARE COMMITTEE—Milo F. Kent, Chairman 
A. J. Gallagher, Frank P. McGovern 


Franck R. Havenner, Chairman Finance Committee 
Thomas F. Boyle, City and County Auditor 


SUMMER SYMPHONY ASSOCIATION, 
Joseph Thompson, President. 


COSI TSN ION ION IDO ON ION 9 OTIS 9A OI 9A. _ OOO. _ ODIO _ 9D) 
C06 WI 06 WII 06 WII OG SU OO NU OG NUL OG N_LIGN_IE_OGN_IL_ OG ™_K OG ™_IE_OG™_? 


KOSS RG ERC BEEXBESSE<XBEO 








d 
i 
} 
h 


(Program 


1. Overture to a Comedy of Shakespeare..............- Scheinpflug 


The Shakespearean comedy referred to is generally believed to be “The Merry 
Wives of Windsor,” although some critics declare that the composer had in mind 
the “Twelfth Night.” That Scheinpflug had “The Merry Wives of Windsor” in 
mind seems to be thematically suggested by the bassoon’s drollery, representing 
the fat figure of the amorous Falstaff, and again, the feminine theme for the clarinet 
which seemingly simulates the airs and mischievous graces of Mistress Ford and 
Mistress Page. One of the interesting features of this overture 1s the fine old 
English tune taken from Fitzwilliam's “Virginal Book”, which is one of the earliest 
examples of the notation of music. 


2. (a) Variations on a Theme of Tschaikowsky.......... Avensky 
(For Strings) 


(b) “The Death of Kim Sen nian seen Avshalomoff 


(First time in San Francisco) 


(c) Fantasie, “Cosatschoque” --ecececcecenneecner Dargomijsky 


(First time in San Francisco) 


The Variations played this evening, dedicated to Tschaikowsky, are based on 
one of Tschaikowsky’s songs, the “Legend”, from a collection of songs for children. 
The Variations, seven in number, were originally part of a string quartet for violin, 
viola and two ‘celli, the arrangement for string orchestra also having been made 
by Arensky. 

“The Death of Kin Sei” is the concluding episode of a dramatic ballet, “The 
Soul of a Harp”, written by Ken Nakazawa, Japanese author of Portland, Oregon, 
and set to music by A. Avshalomoff, of Vladivostok, Siberia, now living in Portland. 
Mr. Avshalomoff spent several years in Pekin studying Chinese music. 


Kin Sei is an old harpist and devoted friend of Emperor Ming. When the 
Emperor is forced by sudden rebellion to abandon his castle, Kin Sei follows him to 
Lake Sai Nan. When the Emperor is attacked by Go Chai, the rebel leader, Kin 
Sei protects him with his own body and is stabbed. Still Kin Sei’s determination 
to save his master is unshaken; and, when Go Chai commands him mockingly to 
play in honor of his great victory, he calls the vision of a dancing girl over his 
harp and lures the rebel into the lake. “The Death of Kin Sei’ describes the 
scene following this. When the rebel leader goes beyond his depth, and the water 
of Lake Sai Nan closes over his head, the vision of the girl dancing in the green 
light suddenly vanishes and the harp and the rippling water grow still. And in 
the starlit silence the fingers of Kin Sei slowly curl over his harpstrings. It is now 
his soul playing, and there is a note of utter loneliness in the music. When this 
music wavers like a pale incense smoke and dies in the deepening shadow, Kin Sei 
falls over his harp. 

The “Costaschoque” is a fantasie on a Cossack dance and is evidently modeled 
on Glinka’s “Kamarinskaja.”. The dance has been used for uncounted years by 
the Cossacks in their competitive dances, when the prize went to the couple that 
could dance the longest, fastest and with the most complicated and original steps. 


3. Concerto for Violoncello, in A minot..............-- Saint-Saens 


MICHEL PENHA 
This concerto proceeds continuously through three connected movements, 
bound in a compact whole by the thread of the main melody—a free coursing strain 
in the minor into which the solo instrument dashes at the very opening without 
ceremony. The naive witchery of the second movement hovers between fairy 
humor and a vein of tender romance. At the end of the Allegretto there is a short 
return to the tempestuous main theme, followed by a plaintive little melody in- 


terrupted by a restless incident one writer calls “tthe storm scene.” The work closes 
with a brilliant coda. 





Intermission 











‘Program 


4.0 Symphony No. 5, io BH mihor Tschaikowsky 

Andante—Allegro con anima 

Andante cantabile con alcuna licenza 

Valse: Allegro moderato 

Finale: Andante maestoso—Allegro—Allegro vivace 

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 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. 


ATTENTION! 


Junior Symphony Orchestra of San Francisco, musical director, Mishel 
Piastro. Enrollment of advanced students and musicians on any instrument 
now open. Applications should be made at office of secretary-manager, 408 
Brotherhood Bank Bldg., 26 O'Farrell Street. Telephone Garfield 5250. 


The Civic Chamber Music Society will present the ABAS STRING QUARTET (Nathan 
Abas, violin; William Wolski, violin; Romain Verney, viola; Michel Penha, ‘cello), in a 
series of Six Chamber Music Concerts at the Auditorium of the High School of Commerce 
(Van Ness Ave. at Fell St.), during the season of 1928-29. Season tickets $5.00. For 
particulars address Alice Seckels, Fairmont Hotel. 





LAST Summer Symphony Concert 


EXPOSITION AUDITORIUM 
TueEspay, Aucust 28, 8:20 P. M. 
HANS LESCHKE, Conducting 


SAN FRANCISCO MUNICIPAL CHORUS 
300 VOICES 
Soloist: ALLAN WILSON, Tenor 


PROGRAMME 


Ry Rennie tt) PROGRES S5 edo cheek ee ewes Schubert 
See IPD cote eS LS. ie Ee ON ae Liszt 
Tenor Solo, Chorus and Orchestra 
Fi MANU PACUS SORE TSAI sce cnscrocbicsteseacalicu clea, Schubert 
es Ary Cea NOR USES 8 ccd snciclodmayiceeot cs sohayauiall Mendelssohn 
Farewell to the Forest 
May Song 
5. Aria of Lenski from “Eugene Onegin”’.......000000..... T schaikowsky 
Tenor Solo 
6. Chorus of Reapers, “Eugene Onegin” .................. T schaikowsky 
7. Chorus, “Come Ye Maidens”, Eugene Onegin....Tschaikowsky 
8. Choral and Final Chorus from ““The Mastersingers”...... Wagner 


Tickets now on sale— 


Sherman, Clay & Co. Bay City Stores Miss Ball's Office, U. C. Campus 








STEINWAY 
The Instrument: ofthe Immortals 





TEINWAY! The home possessing a Steinway 
has the one outstanding piano that distinctive 
homes and distinguished artists the world over 
have overwhelmingly approved. 


The Duo-Art reproducing instrumentality itself is avail- 
able in the Steinway. This is the reproducing instrumental- 
ity that excels in re-creating the exact playing of the foremost 
living pianists. It re-creates, exactly, the most brilliant dance 
and popular playing as well as the sublime “classics.” 


Available in Steinway and four other noble pianofortes. 
Is always ready to be played by the fingers, like the piano 
of old, as well as by its master-made rolls. 


A truly remarkable contribution to the home. If you are 
interested in the Steinway you will indeed be interested in 
the Steinway Duo-Art. 


Sherman, |@lay & Co. 


Kearny and Sutter Sts., San Francisco 


Mission Street, near Twenty-first 
Fillmore Street, near Post 

1315 Burlingame Ave., Burlingame 

Fourteenth and Clay Sts., Oakland 

; 3420 E. 14th St., Fruitvale 

P Telegraph and Channing Way, Berkeley 


And thirty other Coast cities 


CWO 6S MAIS S SC MAITD RZ) CPAISD CPMAISD RT) OLA ISD OMA ISD RT) OOD OLD TD LITT LI OL TT OL IT ON er eee ee eae... 








eseoed ected Lad esetoed eseloed Dad eseinnd €seeed Did eadinnd eaohedeschoes esehres Des EMS 


SUMMER SYMPHONY SERIES 


THIRD SEASON 
Loz 8 


San Francisco 
Symphony Orchestra 


LAST CONCERT 
Turspay, Aucust 28 - 8:20 P.M. 
Crvic AUDITORIUM 


HANS LESCHKE 


Conducting 


SAN FRANCISCO MUNICIPAL CHORUS 
Soloist: ALLAN WILSON, Tenor 





Auspices 


SUMMER SYMPHONY ASSOCIATION 


JOSEPH $8. THOMPSON, President ALBERT A. GREENBAUM, Secretary 

JOHN ROTHSCHILD, Ist Vice-President THOMAS F. BOYLE, Treasurer 

MRS. LILLIAN BIRMINGHAM, ALFRED METZGER, Chair. Music Com. 
2nd Vice-President TOM C. GIRTON, Manager 





ACKNOWLEDGMENT 


We gratefully acknowledge the kindly assistance of the following City Officials: 


James RoLpH, JR., Mayor 


AUDITORIUM CoMMITTEE—James B. McSheehy, Chairman 
Warren Shannon, Franck R. Havenner 


PuBLIC WELFARE COMMITTEE—Milo F. Kent, Chairman 
A. J. Gallagher, Frank P. McGovern 


Franck R. Havenner, Chairman Finance Committee 
Thomas F. Boyle, City and County Auditor 


CMR3 BS CSAS ER BiG CRD Coed Dad Coctoed DAG Coto d Cato Dad Cathe d evtoed Dad esvtned DG esvtond esvthed Ded esha esses BAGG 


SUMMER SYMPHONY ASSOCIATION, 
Joseph Thompson, President. 


S 
5 
5 
3 
5 
5 
5 
5 
x 
5 
5 
5 
a 
5 
5 
5 
3 


as 


BOERS ESehed BG esha 


CIRS EME IN Med SRO led ded DUES DAS IOS EG LR ERE 





































‘Program 


Overture to. Rosamiunde 244.00 ue 


ea i a sl a a oy 


Tenor Solo, Chorus and Orchestra 





INTERMISSION 


3. Entr’Acte from “Rosamunde'’ ............................- Schubert 


4: ‘"Ewo A Capella Choruses 0c Mendelssohn 


Farewell to the Forest 


May Song 


5. Selections from “Eugene Onegin’............. T schaikowsky 
(a) Aria of Lenski (Tenor Solo) 
(b) Chorus of Reapers 
(c) Chorus, “Come Ye Maidens” (Women’s chorus) 


6. Chorale and Final Chorus from 
tA be NWiasbersinigeta’ gee dee Wagner 





ATTENTION! 


Junior Symphony Orchestra of San Francisco, musical director, Mishel 
Piastro. Enrollment of advanced students and musicians on any instrument 
now open. Applications should be made at office of secretary-manager, 408 


Brotherhood Bank Bldg., 26 O'Farrell Street. Telephone Garfield 5250. 






The Civic Chamber Music Society will present the ABAS STRING QUARTET (Nathan 
Abas, violin; William Wolski, violin; Romain Verney, viola; Michel Penha, ‘cello), in a 
series of Six Chamber Music Concerts at the Auditorium of the High School of Commerce 
(Van Ness Ave. at Fell St.), during the season of 1928-29. Season tickets $5.00. For 
particulars address Alice Seckels, Fairmont Hotel. 








eMunicipal Chorus of San Francisco 


HANS LESCHKE, Director 


Soprano 
Asmussen, Mrs. Dor. 
Anderson, Lillian 
Abel, Margaret 
Brown, S. 

Bugeia, Linda F. S. 
Blagg, Violet F. 
Bogart, Vera 
Castanetta, Lorena 
Crowley, Katherine M. 
Chamberlain, Mrs. G.C 
Cassidy, L. E. 
Doheny, Nellie 

Elbs, Marie C. 
Frankel, Bertha 
Grubb, Edna M. 
Galbraith, Esta F. 
Guntz, Cynthia 
Hodgson, Beatrice 
Howard, Carrie L. 
Hudson, Merle 
Hamm, Dorothy 
Juarez, Mrs. Roy L. 
Kissling, Hilda 
Kesseler, Miss G. A. 
Kinread, Mrs. Kate 
Kelly, Addie 
Koblick, Esther 
Lawrence, Ina M. 
Monte, Miss N. 
Myers, Harriet 
Merrill, Estella 
Morris, Mary J. 
Mannerberg, Minnie 
Melkonia, Bertha 
Muller, Mrs. C. 
Mulqueen, Miss 
McCallion, Anne 
McNeil, Mildred 
Nissen, Mrs. A. 
Norell, Mrs. Lester W. 
Nash, Mrs. J. W. 
Olsen, Miss H. 
Pritchard, Miss Ann A. 
Roesti, Olga 

Ross, Dorothy 
Schlichmaier, Miss L. 


Soprano 

Bernard, Mrs. Eleanor 
Brunner, Mrs. R. B. 
Butterfield, Miss Ruth 
Chilton, Mrs. Eliz. 
Dawson, Miss Evalyn 
Dempster, Mrs. Kath. 
Ellis, Miss J. 

Ebinger, Miss Theresa 
Elliott, Mrs. Helen 
Fricke, Mrs. Kath. 
Hansen, Miss Mildred 
Jacobson, Miss Adelaide 
Miller, Miss Alice B. 
MacIntyre, Miss Marg. 
Neilson, Mrs. J. 
Nelson, Miss Alda 
Nelson, Mrs. Elmina 
Neighbor, Miss Alice 


Schoenstein, Cecilia 
Scholz, Elsie F. 

St. John, Marie 
Sutich, Zorka C. 
Tuisk, Ida 
Wenngren, Florence 
Waters, Leanor 
Wisewell, Mrs. Edna 


Willmering, Mrs. P. B. 


Wobber, Louise P. 


_ Wragby, Mrs. F. 


Alto 

Allen, Jane 

Barron, Mrs. A. E. 
Baum, Helen H. 
Berton, Nadine 
Burke, Doris J. 
Butler, Amy 

Black, Loretta 
Christensen, Alma 
Cooper, Alice 
Danhauer, Mrs. R. M. 
Doty, Nellie F. 
Donan, Charlotte 
Donan, Grace 

Daly, Carrie 

Ennis, Mrs. O. E. 
Finlay, Alice 
Franchi, May 
Gwinn, Mrs. J. M. 
Harden, Doris 
Hurst, Mrs. Catherine 
Haase, Mrs. S 
Harper, Mrs. A. 
Henderson, Evelyn 
Hennessy, Marian A. 
Holdridge, Miss May 
Hurssell, Clara A. 
Josten, Mrs. John 
Kruger, Hattie 
Klements, Annie 
Lindsley, Julie C. 
Links, Mrs. Marcus 
Larsson, Lillian 
Larson, Emma Ruth 


Melton, Ruby 
Messerschmidt, Elsa 
Medina, Mrs. E. M. 
Nelson, Ada F. 
Neulon, Miss M. 
O’Rouke, Pearl C. 
Overbeck, Mrs. H. 
Prentiss, Mrs. C. W. 
Perry, Alida 

Plise, Mme. Marie L. 
Rominger, Anna 
Reiss, Alma 
Reinhold, Anna 
Shepman, Mildred 
Siemsen, Ellen M. 
Sheppard, Mrs. M. A. 
Stoddart, Mrs. M. 


Trevorrow, Mrs. W. J. 


Tauber, Jessica M. 
Taylor, May 
Wanovius, Myra 
Wild, Helen 

Witzel, Mrs. C. F. 
Walker, Marie Reeds 
Weisbaum, Mrs. E. 
Waldraff, Charlotte S. 


Tenor 
Altmann, Paul 
Baldwin, F. 


Barthels, O. C. 
Cooney, W. F. 
Detwiler, Victor 
Evans, Sidney T. 
Fabris, Cyril 
Giannini, Italo 
Gill, Mrs. C. E. 
Gomes, Ray 
Hoffman, C. P. 
Hicks, O. Burns 
Harrell, C. L. 
Hughes, David 
Kennedy, Chas. H. 
Kirkish, Assiam 
McNeil, J. L. 
McKnight, Harry 


EASTBAY SECTION 


Reynolds, Mrs. Grace 
Rodifer, Mrs. Ella 
Soeth, Mrs. Clarice 
Schmitt, Mrs. Theresa 
Tannatt, Mrs. H. A. 
Wales, Mrs. Ellen 
Van Meter, Loraine 


Alto 

Berg, Mrs. Adelaide 
Banks, Mrs. Blanche 
Beckett, Mrs. A. 
Cross, Mrs. Marian 
Essex, Mrs. L. B. 
Flammer, Mrs. Chas. 
Freese, Mrs. Thada B. 
Froebe, Miss Emma 
Gowanlock, Miss Sarah 
Harrington, Mrs. L. R. 


Johnston, Miss M. 
Lewis, Miss D. E. 
Matson, Mrs. Nita R. 
O’Brien, Mrs. Dolores 
Parker, Miss Beatrice 
Pattersen, Mrs. Dora 


Parsons, Miss Irene M. 


Strong, Miss Bonnie 
Taylor, Miss Florence 


Tenor 

Bailey, Norman C. 
Dempster, Fred 
Draper, Edwin 
Ervin, D. A. 
Egbert, Robert 
Gsell, C. E. 

Jung, George 
Leaves, M. E. 


Romich, R. F. 
Seay, J. L. 
Simondet, Georges 
Smith, T. H. 
Smith, T. A. 
Thomas, W. H. 
Van Galen, Henry 
Villaume, A. 
Warnke, L. 


Bass 

Bundy, Walter H. 
Bax, 

Burg, G. 

Cain, Joseph H. 
Champ, Fred 
Cope, P. C. 
Crofts, F. E. 
Eichbaum, Chas. W. 
Gruber, Dr. Wm. 
Hencke, John 
Herz, Leo 
Homberger, H. 
Inwards, Frederick 
Isherwood, James 


Meitz, Gay 
May, 
Morris, S. 


Munill, Louis 
Nydigger, Emil 

Platz, Joseph 

Parker, W. J. 

Ross, W. C. 
Rodetzky, Ted 
Schoenfeld, A. S. D. 
Smith, James 

Shultz, G. William 
Taylor, W. Allen 
Todd, R. B. 

Vaughn, J. A. 
Wanovius, Walter M. 
Willweber, Grover C. 
West, John 

Wright, Ralph K. 
Young, Edw. E. 


Leech, Charles E. 
Palmer, W. G. 
Pillsbury, Norman 
Sirola, Onne 
Thomas, John B. 


Bass 

Bardsley, W. G. 
Calfee, George 
Freese, Henry 
Harrington, L. R. 
Hansen, Peter 
Holdaway, Dr. W. §S. 
Hummel, Ed. 
Lipscombe, Walter 
Maddern, Fred 
Ponsford, Chas. L. 
Young, George 











STEINWAY 
The Instrument ofthe Immortals 





TEINWAY! The home possessing a Steinway 
as has the one outstanding piano that distinctive 
homes and distinguished artists the world over 
have overwhelmingly approved. 


The Duo-Art reproducing instrumentality itself is avail- 
able in the Steinway. This is the reproducing instrumental- 
ity that excels in re-creating the exact playing of the foremost 
living pianists. It re-creates, exactly, the most brilliant dance 
and popular playing as well as the sublime “classics.” 


Available in Steinway and four other noble pianofortes. 
Is always ready to be played by the fingers, like the piano 
of old, as well as by its master-made rolls. 


A truly remarkable contribution to the home. If you are 
interested in the Steinway you will indeed be interested in 
the Steinway Duo-Art. 


Sherman tay & Co. 


Kearny and Sutter Sts., San Francisco 


Mission Street, near Twenty-first 
Fillmore Street, near Post 
1315 Burlingame Ave., Burlingame 
Fourteenth and Clay Sts., Oakland 
3420 E. 14th St., Fruitvale 
Telegraph and Channing Way, Berkeley 


And thirty other Coast cities 











THIRD SEASON 








Symphony Concerts 


presented by 


“9HE “PHILHARMONIC SOCIETY 


OF 
SAN eCATATEO (OUNTY 


in the 


Woodland Theatre 


Hillsborough 





Sunday, June 24, 3 p.m. 
1928 














“ohe “Philharmonic Society 
of San eAlateo Pounty 


OFFICERS AND DIRECTORS 


MR. CHARLES R. BLYTH,PRESIDENT AND TREASURER 


MRS. J.B. CASSERLY, FIRST VICE-PRESIDENT 


MRS. BERNARD W. FORD, SECRETARY 


VICE PRESIDENTS 





MRS. WILLIAM H. CROCKER 


MR. MORTIMER FLEISHHACKER 
MRS. SAMUEL KNIGHT 


CHAIRMAN MUSIC COMMITTEE 
MRS. GEORGE N. ARMSBY 


MR. JOHN S. DRUM 


MR. A. P. GIANNINI 


BOARD OF DIRECTORS 


Mrs. GAYLE ANDERTON 

Mrs. GEORGE N. ARMSBY 

MR. RAYMOND ARMSBY 

MR. ROBERT |. BENTLEY 

MR. HUGO J. BETTELHEIM 

Mrs. WILLIAM B. BOURN 

MR. THOMAS H. BREEZE 

HON. GEORGE H. BUCK 

DR. WILLIAM O. CALLAWAY 

MRS. GEORGE T. CAMERON 

MrRs. SELAH CHAMBERLAIN 

Miss HELEN P. CHESEBROUGH 

DR. WALTER C. CHIDESTER 

Mrs. CELIA TOBIN CLARK 

MRS. EDWARD H. CLARK, JR. 

Mrs. THOMAS A. DRISCOLL 

MR. MILTON H. ESBERG 

MRS. EDWARD L. EYRE 

Mrs. W. PARMER FULLER, JR. 

Mr. W. L. GLASCOCK 

Mr. D. GHIRARDELLI 

Mrs. LAWRENCE HARRIS 

Mrs. ROBERT B. HENDERSON 

MRS. OSGOOD HOOKER 

MrR. CHARLES S. HOWARD 

Mr. GEORGE H. HOWARD 
MRS. 





MR. D. C. JACKLING 

MR. SAMUEL KNIGHT 

MR. PHILIP M. LANDSDALE 
Mr. EDMOND LEvy 

MRS. THEODORE LILIENTHAL 
Mr. ELLIOTT MCALLISTER 
Mrs. EDWARD MCCAULEY 
MR. SIDNEY B. MEYER 
HON. GEORGE T. MARYE, JR. 
MR. JOHN D. MCKEE 
Mrs.ARTHUR MIGHALL 
MRS. ROBERT W. MILLER 
MR. JOHN C. NOWELL 

MR. PHILIP PATCHIN 

MR. HENRY W. POETT 
MRS. GEORGE A. POPE 
Mrs. GERALD RATHBONE 
MR. D. A. RAYBOULD 
MRS. FRED SHARON 

Mrs. L. STRASSBURGER 
MR. NOEL SULLIVAN 

MR. EDWARD J. TOBIN 
Mrs. NION TUCKER 

Mr. CLIFF WEATHERWAX 
DR. RAY LYMAN WILBUR 
Mrs. ELI H. WEIL 


MOUNTFORD WILSON 








Concert Dates and Conductors 


July 1—Albert Coates. 
July 29—Ossip Gabrilowitsch 
Aug. 
Aug. 


July 8—Bernardino Molinari 


July 15— ra FS 
July 22— . . 


Ee 66 6é 


3) 
i) Ja ‘6 ‘6 











; Third Season—First Concert 
June 24, 1928 


“Che “Philharmonic Society 
of San eAateo County 


presents 


Eighty-five Members 


San Francisco Symphony Orchestra 


Albert Coates, Conducting 


IY ik. The, OF 


‘Program 


Pee ASCII POY: a5 SEP TION Yoo i a eo ne RALPH VAUGHAN WILLIAMS 
Lento—Allegro risoluto 
Lento 
Scherzo 
Andante—Allegro 
Epilogue 
(First Performance in Hillsborough) 


DN aoE Ree SS TON 


VRE RSL EGONND EET OS ee Wipakin tS 0001 Ch 2 ens Pe ee eae WEBER 
RTA RSC DO CHER Pata merc. dN ooneeag ee cbie UR a RIMSKY-KORSAKAW 
Scherzo 
March 
OVERTURE-FANTASIE, “Romeo and Juliet’’.................... TSCHAIKOVSKY 





NEXT SUNDAY AT 3 P. M. MR. COATES WILL CONDUCT HIS 
FINAL CONCERT THIS SEASON IN WOODLAND THEATRE 





FIRE WARNING 


Your are requested to refrain from throwing lighted matches, cigars or cigarettes 
among the shrubbery or trees. During the summer season a fire might very 
easily be caused thereby which would ruin for all time the beauty of the theatre. 








PROGRAM NOTES 


THE LONDON SYMPHONY Vaughan Williams 


R. Vaughan Williams was born on October 12th, 1872, and was educated at Charter- 
bouse and Trinity College, Cambridge. He is a Mus. Doc. Cambridge and Honorary Mus 
Doc. Oxford, and has also studied at the Royal College of Music, London, and the Leipsig 
Conservatoire. His most important works are the ‘London Symphony”, “The Pastoral! 
Symphony” and the “Sea Symphony”. 


The “London Symphony” gives a wonderful picture of London and London life. 


Upon the occasion of the first American performance of this symphony by the New 
York Symphony Society, December 30, 1920, the following programatic description of the 
work was supplied by Albert Coates, who at that time made his first appearance in 
America : 


“The first movement opens at daybreak by the river. Old Father Thames, calm and 
mysterious, flows silently under the heavy grey dawn and in the hushed stillness of earl) 
morning one hears the Westminister chimes solemnly strike the half hour. The scene 
changes suddenly to the bustle and turmoil of morning traffic in the Strand—buses, taxis, 
foot passengers hurrying, newspaper boys shouting and costermongers returning from 
Covent Garden market shouting some coster refrain at the top of raucous voices—a ga) 
and careless picture with every now and then a touch of the crueller aspect of the great 
city, yet nevertheless full of that mixture of good humour, animal spirits and sentimen- 
tality that is so characteristic of London. 





“In the second movement the composer paints us a picture of Bloomsbury, a region 
once fashionable but now a region of melancholy streets and squares over which seems to 
brood the sad dignity of having seen better days. It is the damp and foggy twilight of a 
late November day and in the gathering gloom we seem to feel something ghostlike. In 
front of a public house (tavern) stands a poor old musician playing a pathetic little tune 
on the fiddle and in the distance the ‘Lavender cry” is heard, now nearer, now further 
away. The gloom deepens accentuating the melancholy of this region and the movemeun! 
ends with the poor old musician still playing his pathetic little tune. 


“In the third movement one must imagine oneself sitting on one of the benches of the 
Thames Embankment. It is night; on our side of the river all is quiet and in the silence 
we hear from a distance, coming from the vast network of poor quarters on the other 
side of the Thames, all the noises of a Saturday night in the slums. Ona Saturday night, 
these slums resemble a fair, the streets are lined with barrows selling cheap produce of all 
kinds. Coster girls dance to the accompaniment of a mouth-organ and we seem to hear 
distant laughter. Suddenly a concertina breaks out above the rest, then we hear a few 
bars on a hurdy-gurdy organ. All this softened by distance, melted into one vast hum, 
floats across the river to us as we sit meditating on the Thames Embankment. The music 
changes suddenly and we feel the Thames flowing silent, mysterious, with a touch of 
tragedy. One of London’s sudden fogs comes down making slum-land and its noises seel) 
remote, and the picture fades into fog and silence. 


“The last movement deals almost entirely with the crueller aspects of London, the 
London of the unemployed and the unfortunate. After the opening bars we hear the 
“Hunger March”, a ghostly march past of those who are cold and hungry and unable to 
get work. We hear again the noise and bustle of the streets, reminiscent of the firs! 
movement but these now take on the crueller aspect. This is London as seen by the mai 
who is out and under, and the cheerful bustling picture of gay street life becomes 
nightmare seen by the eyes of suffering. 


“The music ends abruptly and in the short silence one hears again the Westmin- 
ister Chime. There follows theh Epilogue in which we seem to feel the great deep soul of 





FiLLopORUUGE 


California’s Conception of the Beautiful 


WORLD FAMOUS FOR 
HOMESITES EXTRAORDINARY 


Hillsborough Park 
Brewer Park 
Hillsborough Oaks 











Fascinating Panoramic and Marine Views 


Superbly located in this most exclusive of San 
Francisco suburbs. Below it lies tile-roofed San 
Mateo and beyond, the silver bay, distant Berke- 
ley, and the pale Contra Costa range—a view 
which, because of the fortunate topography, is 
here permanently assured. Roads bound this 
site both West and East. 





It lies just above tile-roofed Burlingame—a site 
for beautiful homes of the types that have made 
this exclusive community a Peninsula show- 
place, and close by San Francisco (an easy 49- 
minute drive to down town). 


In Hillsborough are the splendid estates of many 
of San Francisco’s first families. The glens and 
sunny slopes of Hillsborough very early attract- 
ed those who could afford to escape the city’s 
fogs and winds. There are still available in this 
exclusive community some very desirable home- 
sites. 


You will fmd Hillsborough suitable 


to the most fastidious 


BPVIN Ge BA YO: 


Branch Office 1441 Burlingame Ave. Telephone Burlingame 4200 


LL 














London, vast and unfathomable, and the sympathy ends as it began with old Father 
Thames flowing calm and silent as he has flowed through the ages, the Keeper of London’s 
secrets, Shrouded in mystery. 


OVERTURE to “Oberon” Carl Maria F. E. von Weber 
30rn December 18, 1786 at Eutin, Oldenbur; 

Died June 5, 1826 at Londo! 

“Oberon” was written during 1825-26—two acts of it in Germany, and the last il 
Hngland. The first performance was given in Covent Garden, London, on April 12, 1826 
with the composer conducting. The story upon which it is founded appears in a collection 
of French romances under the title of ‘“‘Huon, de Bordeaux”, and briefly is this: Oberon. 
the Elfin King, having quarrelled with his fairy partner, can never be reconciled until he 
finds two lovers constant to each other under all circumstances. Puck ranges the world 
in quest of them and finally finds the two lovers, Sir Huon, a young knight of Bordeaux 
and Reiza, daughter of the Caliph of Bagdad. Their trials and temptations are related 
through all of which they remain constant and thus the forgiveness of Oberon is secured. 


The Overture is characteristic of the opera—and opens with an adagio sostenuto wit] 
the magic horn of Oberon summoning the fairies. A few notes lead to a short passage 
from a fairy chorus for the flute. A march theme is then given out, which is later played 
in the Court of Charlemagne, and introducing the hero. This is twice answered by thi 
muted strings. The fairy music continues until a fortissimo chord for full orchestra lead: 
to the allegro, the subject of which is taken from a quartet in the opera “Over the Dark 
Blue Waters”. The horn is heard again, whereupon the clarinet gives out the theme ot 
Sir Huon’s song, “From Boyhood Trained,’ followed by a passage from Reiza’s magnifi 
cent Scena, “Ocean, Thou Mighty Monster,’ and a reference to the chorus sung by thi 
spirits when they are directed by Puck to raise the storm which wreck the lovers’ bark. 


The conclusion of the overture is of the most tumultuous and brilliant character, and 
the work, complete in itself, is a most remarkable combination of fantasy and tech 
nical skill. 


It is worthy of mention that at the first performance of the opera, the overture had 
to be repeated. 


SUITE from “Le Cog d’Or” Nicholas Andrevitch Rimsky-Korsakaw 
Born March 18, 1844, at Tekhvil 
Died June 21, 1908, at Petrograd 


“Le Coq dOr”’ (“The Golden Cockerel’), the last of Rimsky-Korsakaw’s fifteen 
operas, was begun late in the summer of 1906 and was completed in 1907. A production 
of the work was planned for the same year, but the thinly veiled satire of monarchy and 
monarchical government that was made manifest in Bielsky’s libretto caused the pro- 
jected staging of the opera to be forbidden by the censor. In March, 1909, the official ban 
was removed, subject to certain modifications in the text, and the first performance took 
place at Zimin’s Theater, Moscow, September 24, 1908. The composer had died thre: 
months earlier. 


The first performance in America of any music from “The Golden Cockerel” was 
that of the suite from the opera, which was included in the program of the Russian 
Symphony Orchestra, in New York City, January 9, 1911. The opera, somewhat modified, 
was produced at the Metropolitan Opera House in 1917. 


The suite was arranged from the opera by Glazounow following the suggestions 0! 
the composer, and contains extracts from the several acts. 
Two movements only of the suite are included in the afternoon’s program. 


OVERTURE-FANTASIA “Romeo and Juliet Peter Iljitsch Tschaikovsky 


Born May 7, 1840, at Votinsk, Russia 
Died November 6, 1893, at Petrograd, Russi 


This overture-fantasia was begun and completed in 1869. The first performance was 








at a concert of the Musical Society, Moscow, on March 16, 1870, with Nicholas Rubinstein 
conducting. The overture was dedicated by the composer to his friend, Balakirev, who 
suggested the subject to him and submitted an outline which was closely followed. ‘The 
work was revised in the summer of 1870 during a sojourn in Switzerland and published 
in 1871. Tschaikovsky was not entirely satisfied, however, and made several changes 
which were included in the second edition published in 1881. 


The work is scored for piccolo, two flutes, two oboes, two clarinets, English horn, 
two bassoons, four horns, two trumpets and three trombones, bass tuba, a set of three 
kettledrums, bass drums, cymbals, harp and strings. 


The introduction of the overture is of a religious character. Three solemn harmonies 
sounded by the clarinets and bassoons, according to some authorities, characterize Friar 
Laurence, others find in them the symbol of “the burden of Fate’’. 


An ascending cry of the flutes is heard, and then the wood winds, horns and strings 
unite to depict the enmity and hatred between the Montague and Capulet families. The 
love theme is introduced with muted violas and English horn, and later there is a return 
to the tumult and strife. The theme of dissention is developed at length, and the horns 
intone the Friar Laurence motive. The strife theme dominates in fortissimo until there 
is a return to the mysterious music of the chamber scene (oboes and clarinets, with mur- 
murings of violas and horns). 


The development of various themes in various forms is followed by a recapitulation, 
the whole ending with the death of the lovers. 





The new setting for the Philharmonic Concerts in the Woodland 
Theatre is the work of the following who have donated their services: 


ATtgur Uppal, PONGiA 6.6533 ee: Consultant 
Chitete) Mr wails. c& tcc sie es Acoustian 
OUI Ee, LOG OON > etn ae tedis. y.c2eeas Architect 
Derr gy ES 8 | 2 tt eR ee Oe a SOS Ne Se Builder 
Gurnett @ Chondler... 2 2... 4: Decorators 











The Board of Directors of the Philharmonic Society of San Mateo 
County wish thus to express their very great appreciation of and 
gratitude for the valued assistance and co-operation given in furthering 
the interest of this series of concerts by the following: 


The Trustees of the Hillsborough District School. 
The Garden Club of Hillsborough. 

Police and Traffic Departments of Hillsborough. 
Lang Realty Co. (for programs). 

Southern Pacific R. R. 

Foster & Kleiser. 

The Press. 

And the host of friends who have so generously 
| given of their time and services. 























LSBOROY, 
oy World Famous CY 


for Beautiful Homes 





Brewer Park 
Hillsborough Park 
Hillsborough Oaks 


| LANG < 


FALTY CO. 


Burlingam e Ave&Highway- Burl.4200 


a 


oi 


, 
~ 


LS, | i AN 
, ond i 
4 





x - rr 


SERVICE PRESS ats SAN MATEO 








ed ——— al ee 





THIRD SEASON 








Symphony Concerts 


presented by 


“OHE ‘PHILHARMONIC SOCIETY 


OF 
SAN e@XCATEO (OUNTY 


in the 


Woodland Theatre 


Hillsborough 





Sunday, July 1, 3 p.m. 
1928 











“ohe “Philharmonic Society 
of San eAateo (ounty 


OFFICERS AND DIRECTORS 
MR. CHARLES R. BLYTH,PRESIDENT AND TREASURER 
MRS. J.B. CASSERLY, FIRST VICE-PRESIDENT 


MRS. BERNARD W. FORD, SECRETARY 


VICE PRESIDENTS 


MRS. WILLIAM H. CROCKER 
MR. MORTIMER FLEISHHACKER 
MRS. SAMUEL KNIGHT 


MR. JOHN S. DRUM 


MR. A. P. GIANNINI 


CHAIRMAN MUSIC COMMITTEE 
MRS. GEORGE N. ARMSBY 


BOARD OF DIRECTORS 


Mrs. GAYLE ANDERTON 
Mrs. GEORGE N. ARMSBY 
Mr. RAYMOND ARMSBY 

MR. ROBERT I. BENTLEY 

MrR. HUGO J. BETTELHEIM 
Mrs. WILLIAM B. BOURN 
MR. THOMAS H. BREEZE 
HON. GEORGE H. BUCK 

DR. WILLIAM O. CALLAWAY 
Mrs. GEORGE T. CAMERON 
Mrs. SELAH CHAMBERLAIN 
Miss HELEN P. CHESEBROUGH 
DR. WALTER C. CHIDESTER 
Mrs. CELIA TOBIN CLARK 
Mrs. EDWARD H. CLARK, JR. 
Mrs. THOMAS A. DRISCOLL 
MR. MILTON H. ESBERG 
MRS. EDWARD L. EYRE 

Mrs. W. PARMER FULLER, JR. 
Mr. W. L. GLAScocK 

Mr. D. GHIRARDELLI 

Mrs. LAWRENCE HARRIS 
Mrs. ROBERT B. HENDERSON 
MRS. OSGOOD HOOKER 

Mr. CHARLES S. HOWARD 
MR. GEORGE H. HOWARD 


Mr. D. C. JACKLING 

MR. SAMUEL KNIGHT 

MR. PHILIP M. LANDSDALE 
MR. EDMOND LEvy 

Mrs. THEODORE LILIENTHAL 
MR. ELLIOTT MCALLISTER 
Mrs. EDWARD MCCAULEY 
MR. SIDNEY B. MEYER 
HON. GEORGE T. MARYE, JR. 
Mr. JOHN D. MCKEE 
MrRs.ARTHUR MIGHALL 
MRS. ROBERT W. MILLER 
MR. JOHN C. NOWELL 

MR. PHILIP PATCHIN 

MR. HENRY W. POETT 
Mrs. GEORGE A. POPE 
Mrs. GERALD RATHBONE 
Mr. D. A. RAYBOULD 
Mrs. FRED SHARON 

Mrs. L. STRASSBURGER 
Mr. NOEL SULLIVAN 

MR. EDWARD J. TOBIN 
Mrs. NION TUCKER 

MR. CLIFF WEATHERWAX 
DR. RAY LYMAN WILBUR 
Mrs. ELI H. WEIL 


Mrs. MOUNTFORD WILSON 





MANAGER, EVERETT L. JONES 
OFFICE SECRETARY, MISS HAIDEE POHLMAN 





Concert Dates and Conductors 


July 8—Bernardino Molinari 


July 


29—Ossip Gabrilowitsch 


July 15— i a .o— “* a 
July 22— e ts .12— * 








l. 


*) 


. ““Enigma” VARIATIONS on an Original Theme, Op. 36 


Third Season—Second Concert 
July 1, 1928 


‘Ohe “Philharmonic Society 
of San e*Mateo County 


presents 


Eighty-five Members 


San. Francisco Symphony Orchestra 


ALBERT COATES, Conducting 


HENRI PONTBRIAND, Soloist 


Pa ae 
‘Program 

VR ROIS te. Mariage oF, Figaro ier a Wi Se ay MOZART 
Re ARE PLL PI ESET Ey en ik Te eee ett le ROSSINI-RESPHIGI 

1. Cossack Dance 4. Tarantelle 

2. Nocturne ». Valse Lente 

o. Mazurka 6. Can-Can 

7. Golop 

Mak ORS IO RG LIE: ESN RAS Fakes woe Santis ELM aL 8 Vea SCRIABINE 


DONE Ra EO SST IN 


(A Bugle Call will announce Termination of Intermission ) 


OV OR THRE R(ORANGES, hike eck ele ik bee! PROKOFIEFF 
March 
Scherzo 
RING OF THE VOLGA BOATMANS (ooh pe 9 Arr. by GLAZOUNOW 
(a) BALLAD—“Questa Quella’ from EEO ON CTL kay ay ae ee VERDI 
(b) THE FLOWER SONG—“La Fleur que tu m’avis jetee”’, 
BROT RAP ITPOIE Ml tie thee ce ahs eel is ape a a stents BIZET 


HENRI PONTBRIAND 


CE ere Ba BEN) Os CP CEPRRI RTE To. ea td, Serre ee ay Oe ae i WAGNER 


“First performance in Woodland Theatre. 


a ent et a i ae a a as a ge yl EY Cy RE es 
NEXT SUNDAY AT 3 P. M. BERNARDINO MOLINARI, CONDUCTOR 


OF THE ORCHESTRA OF THE AUGUSTEO, ROME, WILL MAKE 
HIS PACIFIC COAST DEBUT IN THE WOODLAND THEATRE. 











PROGRAM NOTES 


OVERTURE to “The Marriage of Figaro” Wolfgang Amadeus Mozart 


30orn January 27, 1756, at Salzburg 

Died December 5, 1791, at Vienna 

“The Marriage of Figaro” was written by Mozart in 1786, for the text by Lorenzo da 

Ponte, after Beaumarchais’ comedy “Le Mariage de Figaro’, and was produced for the 
first time at Vienna the same year. 


One of Mozart’s biographers writes: “This overture is a veritable creation that can 
only be sufficiently appreciated by comparison of its brilliant outburst of genial and 
graceful vivacity with the rapid preludes to the comic operas of that period.” The 
creativeness shown in the work is enhanced by the fact that none of the themes reappear 
in the opera. 


The overture opens directly with a part of the first theme pianissimo, an octave 
passage for all the strings and bassoons, another part following on the wind instruments 
and announced fortissimo by full orchestra. 


After an episode for full orchestra, the second theme appears in the violins and 
basses, with a passage for wood winds following by another subsidiary for entire 
orchestra. 


The final theme is a graceful melody for violins and wood winds with a closing 
passage for full orchestra. A brilliant coda closes the overture. 


LA BOUTIQUE FANTASQUE Rossini-Res phigi 


In his later years Rossini composed only for his own amusement and that of his 
friends. Some music written for his dinner parties he called “Trifles”. It is from these 
“Trifles”, found among the Rossini manuscripts, that the Italian composer, Resphigi, 
arranged a suite of dances which were performed as a Ballet under the title of “La 
Boutique Fantasque”’, (The Fantastic Toy Shop), played this afternoon. 


LE POEME DE L’EXTASE— (The Poem 


of Ecstasy) Alexander Nicholaevich Scriabine 
Born January 10, 1872, at Moscow 


Died April 27, 1915, at Moscow 

“Te Poeme de l’Extase”’, which was composed at Lausanne, Switzerland, in 1907-1905, 

was performed for the first time by the Russian Symphony Society of New York, Dee. 10, 

1908, under the direction of Modest Altschuler. Upon this occasion, Mr. Altschuler sup- 
plied 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 ‘Le Poeme de 1l’Extase’ has sought to express therein something of the emotional (and 
therefore musically communicable) 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: 1. His soul in the orgy of love; 2. The real- 
ization of a fantastical dream; 3. The glory of his own art.” 











The following analytical description was written by Dr. A. Eaglefield Hull in his 
“Seriabine” : 

“The basic idea of the fourth chief orchestral work of Scriabine is the ecstasy of 
untrammeled action, the joy of creative activity. The prologue, 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 the rising sequences of fourths. 'The 
themes grow in force and pass through moods of almost kaleidoscopic duration—at times 
spending dreamy moments 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. 


“In the Recapitulation section, the three subjects are repeated in full, followed by 
moods of the utmost charm, and pleasurable feelings becoming more and more ecstatic, 
even at length reaching an Allegro molto codo of the swiftest and lightest flight imagin- 
able. The trumpet subject becomes broader, and assumes great majesty, until it finally 
unrolUs itself in a rugged and diatonic epilogue of immense power and triumphan grandeur. 


“The composition serves as an excellent illustration of the manner in which Scria- 
bine’s more advanced harmony sprang logically and evolved gradually from his older 
method. We have attempted a psychological explanation of the music—but Scriabine, 
notwithstanding all his explainers and annotators is the champion of absolute music— 
music pure and simple—read what you like into it.” 


THE LOVE OF THREE ORANGES Prokofieff 


Prokofieff’s opera is based on a most hilarious comic opera by Gozzi, who was born 
in the 17th century. The March included in this afternoon’s program is often reiterated 
during the opera. It is used to illustrate and symbolize the procession of the whole Court, 
and it is used specifically as a Wedding March for the young Prince who is the central 
figure of the opera. 


The story of the opera is that of a Prince who was an invalid, curable only if he 
could be made to smile and laugh by the antics of the professional clowns and acrobats 
engaged for the purpose. 


There appears on the scene an old witch,—her name is Fata Morgana,—who by a 
very clumsy movement on the part of one of the principal clowns falls down most 
awkwardly at the very feet of the Prince. This starts him laughing, and he becomes 
cured, but unfortunately for him, Fata Morgana, angered, cures him and causes a spell to 
fall upon him as a result of which he falls in love with three oranges. However, after 
many trials, tribulations and escapades he finally wins the Princess of his love. 


THE ENIGMA VARIATIONS Elgar 


The Enigma Variations are a series of musical portraits and the score is dedicated to 
“My friends pictured within’, which means that each of the variations represents a 
character-study of one of the composer’s friends. 


A short introductory passage of 17 bars presents us the theme which is announced 
by the strings alone. It is the theme of friendship. The first variation represents Lady 
Kilgar, the composer’s wife, whose firm faith in his talent so helped the composer during 








his early struggles. The music contains her enthusiasm and high ideals and is full of 
inspiration. 


The second variation is not being played. 


Variation No. 3 is a friend who stammered slightly and made little pauses in his 
sentences. 


Variation No. 4. A boisterous and breezy friend who had the misfortune to be rather 
clumsy. He invariably knocked over chairs and tables when he went visiting and then, 
getting confused and angry at his Own clumsiness, he would leave abruptly, banging the 
door angrily behind him. 


Variation No. 5. <A philosopher, a very dear friend of Elgar’s who had a strange 
falsetto laugh. This friend would go off into peals of high falsetto laughter and Elgar 
would listen, fascinated, and then remark “Fancy a man with a laugh like that being 
a philosopher !”’. 


Variation No. 6. This is a lady friend of Elgar’s who was an enthusiastic viola 
player. Unfortunately this dear lady had a very stiff right arm and she always had 
difficulty when playing in getting from the lowest string onto the highest. She would 
make a pause and then get onto the high string with a very audible jerk. 

Variation No. 7. A friend who loved to play the organ. He played very badly and 
bad the lamentable habit of stamping about on the pedals with full organ on. He got 
very excited when playing and the more excited he got the more he stamped his feet 
on the pedals and the more tone he tried to get out of the organ. The effect of stamping 
on the organ pedals is played in the orchestra by the timpani. 


Variation No. 8. Three dear old maiden ladies, who lived in a delightful old country 
cottage. 


Variation No. 9. <A friend who was passionately fond of Brahms. This variation 
is written absolutely in the Brahmsian style. 


Variation No. 10. This was a lady who had a very sunny nature. She had a 
delightful way of bubbling over into giggles. You will hear all the instruments of the 
orchestra giggle in this number. 


Variation No. 11. Represents Elgar’s bulldog. One day when Elgar took the dog 
out walking in the country by the river, the dog slid down the bank and almost fell into 
the water; he recovered himself, however, struggled back up the bank and when he got 
onto the top he looked at his master and barked! The barking you will hear distinctly 
in the horns. 


Variation No. 12. <A celebrated ’cellist, a great friend of Elgar’s. This contains a 
very lovely ’cello solo. 


Variation No. 13. “On seeing a friend off to America.” The friend sailed from 
Plymouth and Elgar went down to the harbour to see him off. One hears in the orchestra 
the faint thudding of the propellers as the steamer sails away. 


Variation No. 14. Finale. The last variation portrays the composer himself. He 
paints here in music his own struggles; his doubts and fears, his hard striving to attain 
the ideal he had set himself and also his battle for recognition and fame. The variation 
ends with the feeling of victory. 


OVERTURE to “Tannhauser” Richard Wagner 


Born May 22, 1813, at Leipzig 
Died February 138, 1883, at Venice 


On October 19, 1845, there was produced at the Royal Opera House in Dresden, under 











the direction of the composer, Richard Wagner, a romantic opera in three acts entitled 
‘“Tannhauser under der Sangerkrieg auf Wartburg.” 


The overture was written in Dresden, earlier in the year, probably during March and 
April, and the first performance of it as a concert number was on February 12, 1846, in 
Leipzig for the benefit of a Pension Fund, with Mendelssohn conducting from the 
manuscript. 


As a condensed version of the drama, the overture opens with the famous Pilgrims’ 
Chorus, representing the religious element. It is first presented with an impressive gravity, 
and then is majestically developed in a persistent figure in the violins, dying away as 
it departs. 


Without transition, the motive of the Venusburg transports us to the abodes of 
luxury and unholy pleasures. A little later, the “Hymn to Venus” bursts out like a 
trumpet call, but in B major; then after some beautiful symphonic developments in the 
principal key in E major, a long pedal on the dominant brings back the Pilgrims’ Chorus 
which is soon accompanied by a strident passage on the violins, and the Overture ends 
with a great and brilliant finale. 


The Overture is scored for piccolo, two flutes, two oboes, two clarinets, two bassoons, 
four horns, three trumpets, three trombones, bass tuba, kettledrums, cymbals, triangle, 
tambourine and strings. 





FIRE WARNING 


Your are requested to refrain from throwing lighted matches, cigars or cigarettes 
among the shrubbery or trees. During the summer season a fire might very 
easily be caused thereby which would ruin for all time the beauty of the theatre. 





Only $6,000, this “Hillsborough corner 


---and it boasts a rockery! 





Probably not another modest homesite available in this 
exclusive suburb holds such landscaping possibilities 
as this wild corner. At its apex is a most picturesque 
natural rock pile, which foresighted street planning 
fortunately has preserved. The land slopes gently on 
either side of this rockery. The frontages are 148 feet 
and 112 feet—a modest site only according to Hills- 
borough’s spacious standards. The S.P. depot is merely 
S minutes away; downtown San Francisco but a 45 
minute drive. To see this property call Mr. Moan at 


the Lang Realty Co. in Burlingame. 


‘Phone Burlingame 4200 











“A ‘ ers 
\a‘ wie 2 Laie 

we : wo Aa 

es , a ‘ 

wh! 4 hg , fo y) 

: 2 : j 

‘ * ~ he 


; Wn ” 
Sd eM ine 

x eh aT | hy AD Nt 
ee ‘ 









World Famous 
for Beautiful Homes 


Brewer Park 
Hillsborough Park 
Hillsborough Oaks 


1th, , 
ALS, 
‘ 7 
. 7 7 
4, 
b ek GS 


REALTY CO. } 


Burlingame Ave&H ighway- Burl.4200 





ee 
SERVICE PRESS cwniicfut. SAN MATEO 





THIRD SEASON 





Symphony Concerts 


presented by 


“OHE “PHILHARMONIC SOCIETY 


OF 
SAN @MATEO (COUNTY 


in the 


Woodland Theatre 


Hillsborough 





Sunday, July 8, 3 p.m. 
1928 




















MRS. WILLIAM H. CROCKER 


MRS. SAMUEL KNIGHT 


(he “Philharmonic Society 


MR. CHARLES R. BLYTH,PRESIDENT AND TREASURER 


of San eAateo County 
OFFICERS AND DIRECTORS 


MRS. J. B. CASSERLY, FIRST VICE-PRESIDENT 


MRS. BERNARD W. FORD, SECRETARY 


VICE PRESIDENTS 


MR. MORTIMER FLEISHHACKER 


CHAIRMAN MUSIC COMMITTEE 
MRS. GEORGE N. ARMSBY 


BOARD OF DIRECTORS 


MR. JOHN S. DRUM 


MR. A. P. GIANNINI 


Mrs. GAYLE ANDERTON 
Mrs. GEORGE N. ARMSBY 
MR. RAYMOND ARMSBY 

MR. ROBERT I. BENTLEY 

Mr. HUGO J. BETTELHEIM 
Mrs. WILLIAM B. BOURN 
MR. THOMAS H. BREEZE 
HON. GEORGE H. BUCK 

DR. WILLIAM O. CALLAWAY 
Mrs. GEORGE T. CAMERON 
Mrs. SELAH CHAMBERLAIN 
Miss HELEN P. CHESEBROUGH 
DR. WALTER C. CHIDESTER 
Mrs. CELIA TOBIN CLARK 
Mrs. EDWARD H. CLARK, JR. 
Mrs. THOMAS A. DRISCOLL 
MR. MILTON H. ESBERG 
Mrs. EDWARD L. EYRE 

Mrs. W. PARMER FULLER, JR. 
Mr. W. L. GLASCOCK 

Mr. D. GHIRARDELLI 

Mrs. LAWRENCE HARRIS 
Mrs. ROBERT B. HENDERSON 
Mrs. OSGOOD HOOKER 

MR. CHARLES S. HOWARD 
MrR. GEORGE H. HOWARD 


Mr. D. C. JACKLING 

MR. SAMUEL KNIGHT 

Mr. PHILIP M. LANDSDALE 
MR. EDMOND LEVY 

Mrs. THEODORE LILIENTHAL 
MR. ELLIOTT MCALLISTER 
Mrs. EDWARD MCCAULEY 
Mr. SIDNEY B. MEYER 
HON. GEORGE T. MARYE, JR. 
Mr. JOHN D. MCKEE 
MrRsS.ARTHUR MIGHALL 
Mrs. ROBERT W. MILLER 
MrR. JOHN C. NOWELL 

MR. PHILIP PATCHIN 

Mr. HENRY W. POETT 
Mrs. GEORGE A. POPE 
Mrs. GERALD RATHBONE 
Mr. D. A. RAYBOULD 
MRS. FRED SHARON 

Mrs. L. STRASSBURGER 
Mr. NOEL SULLIVAN 

MR. EDWARD J. TOBIN 
Mrs. NION TUCKER 

MR. CLIFF WEATHERWAX 
DR. RAY LYMAN WILBUR 
Mrs. ELI H. WEIL 


July 15—Bernardino Molinari 


July 22— 


66 


Mrs. MOUNTFORD WILSON 





MANAGER, EVERETT L. JONES 
OFFICE SECRETARY, MISS HAIDEE POHLMAN 


Concert Dates and Conductors 


66 6é 


July 29—Ossip Gabrilowitsch 
Aug. 5— 
Aug. 12—Ossip Gabrilowitsch 


66 














Third Season—Third Concert 
July 8, 1928 


‘ohe ‘Philharmonic Society 
of San Mateo County 


presents 


Eighty-five Members 


San Francisco Symphony Orchestra 


Bernardino Molinari, Conducting 


(Pacific Coast Debut) 


a aes 


‘Program 


1. “SUITE FOR STRING ORCHESTRA from Opera No. V................ CORELLI 
(Arranged by Ettore Pinelli) 
I. Sarabande 
Il. Gigue 
Ill. Badinerie 


A SPREE ELCOEY VINCE TLE Cy AA ETROP ay acco lint ee ara So aes BEETHOVEN 
Allegro con brio 
Andante con moto 
Scherzo: Allegro— 
Finale: Allegro 


LE ERM LSS. FON 


(A Bugle Call will announce Termination of Intermission) 
3. “TONE POEM—“Death and Transfiguration’’.................................. STRAUSS 


4, “POAC CG: £0 We LULLED EIT On ee ee re Ee Phe ROSSINI 


“First performance in Woodland Theatre. 
NEXT SUNDAY AT 3 P. M. 
Bernardino Molinari Will Again Conduct in the Woodland Theatre. 


The Program Will Include “The Pines of Rome.” 


$e 

















PROGRAM NOTES 


SUITE FOR STRING ORCHESTRA Arcangelo Corelli 
Born February 1, 1653, near Imola, Italy 
Died January 13, 1715, at Rome 
Signor Molinari has elected for the opening number of his first program in California, 
this suite of Arcangelo Corelli, “the fountain-head of violin playing and the founder of 
the style of orchestral writing from which symphonic music as we now know it has been 
developed.” Corelli’s works, says Sir C. Hubert H. Parry, “mark the turning point when 
the struggles and experiments of the century blossomed into the maturity of genuine 
instrumental music—establishing the principle of the grouping of contrasted movements, 
sometimes venturing so far as to allow the contrast to extend to a change of key. They 
mark the complete emancipation of instrumental music from the trammels of the vocal 
style, the complete perception of tonality as a basis of structure, and the attainment of 
the essential quality of fitness of style.” 


The early part of Corelli’s life is shrouded in mystery, though he traveled in Germany 
and was at one time attached to the court of the Elector of Bavaria at Munich. ‘There 
is a disputed report of his having been driven from Paris by the jealousy of Lulli. About 
1685 he settled in Rome, where a number of his compositions were published. 


Corelli was modest and unassuming—the true artist—and a lover of other arts, for 





he was known as a collector; and he went shabbily about—though his fame extended 
over Europe and pupils came to him from the British Isles as well as from every corner 
of the continent. Altho Handel said of him, ‘‘He liked nothing better than seeing a 
collection of pictures without paying for it and thus saving money,” he left at his death 
a collection of masters valued at $30,000, which he bequeathed to his friend and patron, 
Cardinal Pietro Ottoboni, together with $300,000 in money which the Cardinal distributed 
among the musician’s relatives. 


It is interesting to note that Corelli is credited with having laid the foundations fo1 
modern orchestra conducting, and regarded it as essential to the ensemble of a band that 
all their bows should move exactly together, all up or all down; so that at his rehearsals 
which constantly preceded every public performance of his concertos he would imme 
diately stop the band if he discovered one irregular bow. 


This Suite is arranged from excerpts from different sonatas in Corelli's Opera (or 
Book) of compositions and is made up of three movements: I. Sarabande; II. Gigue; 
ITI. Badinerie. 


SYMPHONY NO. 5 in C Minor, Op. 67 Ludwig van Beethoven 


Born December 16, 1770, at Bonn 

Died March 20, 1827, at Vienna 

Dedicated to Prince von Lobkowitz and the Count von Rasumoffsky, this symphony 
was first performed December 22, 1808, at Vienna. 


The composition of this work is coincident with the engagement of Beethoven to the 
Countess Theresa Brunswick, and it has been said that it is impossible not to believe 
the the work. at least the first movement, is based on his relations to the Countess, and 
is more or less a picture of their personality and connection. 


The C minor Symphony is probably the best-known and most admired of the immortal! 
nine, perhaps because it is the most human in its qualities. In the Fifth, as in the Third 
Symphony, we find that concentration of thought and labor which makes these two 











musical poems so all-powerful and overwhelming in their effect. It is not marked by a 
spontaneous flow of musical phrases lightly strung together. or by mere toying with 
musical forms; but each motive represents a concentrated essence of thought which, once 
heard, makes an indelible impression, and apparently admits of no change. 


The first movement is a wonderful example of thematic invention. Beethoven spoke 
of the opening subject as “Fate knocking at the door.’ It is in the strictest sonata form 
—its four sections—the announcement of the subjects, the free working out of those 
themes, the repetition of the two subjects in the same tonality and the “coda” (with a 
new theme), being almost exactly the same length. But the apparent cut and dried 
form is surcharged with emotion—which makes for the immortality of the work, for it 
is the spirit and not the form that lives forever. 


The second movement, the Andante, perhaps the grestest favorite among all of 
Geethoven’s beautiful slow movements is really a theme with variations of incomparable 
gsrace and delicacy. 


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 trombones, contra-bassoon, and piccolo, and thus re-enforced the entire 
orchestra bursts forth into an exultant. triumphant song of joy and victory. 


TONE POEM, “Death and Transfiguration” Richard Strauss 
Born June 11, 1864 at Munich 
“Death and Transfiguration’, the third of a series of tone-poems contributed by 
Strauss to the literature of symphonic art, is undoubtedly the most popular of the three, 
and is generally regarded as the most satisfactory from the structural and emotional 
viewpoint. The score is prefaced by a poem, the author of which was Alexander Ritter. 
It should be pointed out, however, that the music was written first and the verses were 
supplied afterward; but as Ritter was an intimate friend of the composer, and indeed, 
we have it from Strauss himself, the inspirer of his later style, it may be believed that 
the composer of “Death and Transfiguration” communicated the general programmatic 
basis of the work to Ritter who merely worked out the story of the piece in verse. The 
following is a paraphrase of the poem made by W. F. Apthorp: 


“In a necessitious little room, dimly lighted by only a candle-end, lies the sick man 
on his bed. But just now he has wrestled desperately with death. Now he has sunk 
exhausted into sleep, and one hears only the soft ticking of the clock on the wall of the 
room, Whose awful silence gives a foreboding of the nearness of death. Over the sick 
man’s pale features plays a sad smile. Dreams he on the boundary of life, of the golden 
time of childhood? 


“But death does not long grant sleep and dreams to his victim. Cruelly he shakes 
him awake, and the fight begins afresh. Will to live and power of death. What a fright- 
ful wrestling. Neither bears off the victory, and all is silent once more. Sunk back, tired 
of battle, sleepless as in a fever-frenzy, the sick man now sees life pass before his inner 
eye, trait by trait and scene by scene. First the morning red of childhood. shining bright 
in pure innocence. Then the youth’s saucier play, exerting and trying his strength, 
fill he ripens to the man’s fight and now burns with hot lust for the higher prizes of life. 
The one high purpose that has led him through life was to shape all he saw transfigured 
into still more transfigured form. Cold and sneering, the world sets barrier upon barrier 
in the way of his achievement. If he thinks himself near his goal, a ‘Halt!’ thunders 
in his ear. ‘Make the barrier thy stirrup! Ever higher and onward go!’ And so he 
pushes forward, so he climbs, desists not from his sacred purpose. That which he has 
ever sought with his heart’s deepest yearning he still seeks in his death sweat. Seeks— 

















alas! and finds it never. Whether he comprehends it more clearly or that it grows upon 
him gradually, he can yet never exhaust it. cannot complete.it in his spirit. Then clangs 
the last stroke of Death’s iron hammer, breaks the earthly body in twain, and covers the 
eye with the night of death. 


“But the heavenly space sounds mightily to greet him with that which he yearningly 
sought for here: deliverance from the world: and transfiguration of the world.” 


The work opens lento, with hesitant minor thirds in the strings, and ghostly tones in 
the wood-winds and horns, all rendered more tremulous by the taps on the kettledrum. 
The harp enters with arpeggios, and the first flute gives out a wonderfully pathetic theme, 
which. alternating with the ‘first theme, establishes the mood of the opening. Then the 
first oboe announces the theme of memory. With the accompaniment of the harp these 
three themes are developed in the full orchestra. The taps of the drum, and the repetition 
of the first theme brings us back to the man’s physical agony. He is in his first struggle 
with death. The section comes to a tutti climax with the strings tremolo. Then the 
chief theme, that of Transfiguration, is announced once in the horns, trombones, trumpets 
snd strings—a premonition, in the man’s delirium of pain, of his approaching death and 
glory. The orchestral exaltation now gives place to the dreams of youth, represented by 
the theme of memory, accompanied by triplet figures in the strings. This is developed 
along with the pathetic second theme, and the orchestra gradually thickens as we ap- 
proach the episode of manhood. First it is virile and triumphant, then it becomes a 
passionate struggle. In the long and agitated passage that follows, frequent mutterings 
and tappings of the trombones and kettledrums recall to our minds that the dreams are 
but the ravines of a sick man. 


The music becomes more delirious, and with a violent strigendo we are brought to 
the second statement of the Transfiguration theme in the harps, strings and lower brass. 
Then for a moment we are again in the death agony. Yet again the vision of Trans- 
figuration, played with the same scoring but a semi-tone higher. Another struggle, and 
another statement of the Transfiguration theme, still higher in key and richer in instru- 
mentation. The ecstatic vision lasts a moment, then the strength of the dying man 
breaks and the tremolo strings show his exhaustion. A last violent struggle, molto agitato, 
and we suddenly find ourselves, as though by magic, in a new world, opening our eyes 
slowly to a glory which is beyond our comprehension. 


Above the long pianissimo roll of the kettledrums we hear sustained notes of the 
lowest bass instruments. The horns, in their lower register, begin to intone the Trans- 
figuration motif. Other instruments join and the theme mounts higher and higher in the 
orchestra, with an accompaniment in the strings derived from the theme of youth. The 
roll of the kettledrums continues throughout this long passage until the tranquillo, when 
the Transfiguration theme has been taken up by all the wood-winds and bass, together 
with the harps, in full and triumphant C major harmony, in a form, which for sonority. 
breadth and nobility, has few equals in music. What follows is not to be described. It 
is a long-sustained and increasingly rich development of the Transfiguration theme in 
stately measure, rising to a splendid climax. Thence it becomes quieter and we seem 
to feel the eternal benediction descending upon the tired soul. The work ends on a full 
© major chord played pianissimo by the whole orchestra. In its supreme inspiration and 
beauty this final episode has hardly a pa ‘allel in all modern music. 


OVERTURE to “William Tell” Gioacchino Antonio Rossini 
Zorn February 29, 1792 at Pesaro 
Died November 13, 1868 at Passy 
This overture which is popular 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 climbing figure on the ‘cello the wayward, 














elusive air resolves after a time into a more definite rythmic tune, soon lapsing into 
dreamy meditation, which continues to the close of the movement. 


The tranquil mood of the Andante is rudely interrupted by the beginning of the 
second movement 
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 


a string passage suggesting the distant mutterines of a storm. This 





dies down into refreshing calmness once more. 


The storm is followed by a beautiful pastoral with an intriguing 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 Glimax to a great work. 


FIRE WARNING 


Your are requested to refrain from throwing lighted matches, cigars or cigarettes 
among the shrubbery or trees. During the summer season a fire might very 
easily be caused thereby which would ruin for all time the beauty of the theatre. 





“Ftomes and SHfomesites in Villsborough 


A home in Hillsborough offers every advantage. New rapid 
transit by rail and highway brings this beautiful residential 
suburb to San Francisco’s very door. 


To meet the growing demand, the Lang Realty Co. has acquired 
a selection of available properties. These have been subdivided 
into large homesites, fully improved for immediate homebuild- 
ing. Adjoining both Burlingame and San Mateo, they afford a 
wide choice of selected sites. 


Although everywhere acknowledged the finest, these large 
homesites are now offered at original low price levels that will 
appeal to buyers of moderate means. Here you can build and 
enjoy your permanent home, confident that it will always re- 
main a protected investment, in a restricted locality where 
values are rising steadily. 


The third unit of the new Brewer Tract is now open to selec- 
tion. The homesites command a magnificent view of the color- 
ful bay region, with Mt. Diablo in the background, looking over 
to the Campanile, and north to San Francisco’s towering skyline 


Here is view property you will want to see. 


LANGE REALTY. COMPANY 


BURLINGAME 


























HILLSBOROUGH ~ 





World Gamous for Beautiful “tomes: 


Sheltered among verdant hills in a setting 
of lavish beauty, Hillsborough well merits 
its fame as the residential showplace of all 
California. Here, just thirty minutes from 
the heart of busy San Francisco, is a strict- 
ly residential city, where the environment 
of home is preserved for all time. To the 
unrivaled splendor of its private estates, 
srowing Hillsborough adds the charm of 
many artistic new homes. Wooded glens 
and sunny slopes alike offer home- 
sites of generous size at altogether 
reasonable cost. For that new 


home, see Hillsborough. 


BANG: REAL T i Ga 


BURLINGAME 








SERVICE PRESS onic aD SAN MATEO 








THIRD SEASON 


Symphony Concerts 


presented by 


“OHE “PHILHARMONIC SOCIETY 


OF 
SAN @XCATEO (?OUNTY 


in the 


Woodland Theatre 


Hillsborough 





Sunday, July 15, 3 p.m. 
1928 











he “Philharmonic Society 


of San e7ateo Pounty 


OFFICERS AND DIRECTORS 


MR. CHARLES R. BLYTH,PRESIDENT AND TREASURER 


MRS. J. B. CASSERLY, FIRST VICE-PRESIDENT 


MRS. BERNARD W. FORD, SECRETARY 


VICE PRESIDENTS 


MRS. WILLIAM H. CROCKER 


MR. MORTIMER FLEISHHACKER 


MRS. SAMUEL KNIGHT 


CHAIRMAN MUSIC COMMITTEE 
MRS. GEORGE N. ARMSBY 


BOARD OF DIRECTORS 


MR. JOHN S. DRUM 


MR. A. P. GIANNINI 


Mrs. GAYLE ANDERTON 

MRS. GEORGE N. ARMSBY 
MR. RAYMOND ARMSBY 

MR. ROBERT I. BENTLEY 

Mr. HUGO J. BETTELHEIM 
Mrs. WILLIAM B. BOURN 
MR. THOMAS H. BREEZE 
HON. GEORGE H. BUCK 

DR. WILLIAM O. CALLAWAY 
Mrs. GEORGE T. CAMERON 
Mrs. SELAH CHAMBERLAIN 
Miss HELEN P. CHESEBROUGH 
DR. WALTER C. CHIDESTER 
Mrs. CELIA TOBIN CLARK 
Mrs. EDWARD H. CLARK, JR. 
MRS. THOMAS A. DRISCOLL 
MR. MILTON H. ESBERG 
Mrs. EDWARD L. EYRE 

Mrs. W. PARMER FULLER, JR. 
Mr. W. L. GLASCOCK 

Mr. D. GHIRARDELLI 

Mrs. LAWRENCE HARRIS 
Mrs. ROBERT B. HENDERSON 
MRS. OSGOOD HOOKER 

Mr. CHARLES S. HOWARD 
MR. GEORGE H. HOWARD 


Mr. D. C. JACKLING 

Mr. SAMUEL KNIGHT 

MR. PHILIP M. LANDSDALE 
MrR. EDMOND LEvy 

MRS. THEODORE LILIENTHAL 
Mr. ELLIOTT MCALLISTER 
Mrs. EDWARD MCCAULEY 
MR. SIDNEY B. MEYER 
HON. GEORGE T. MARYE, JR. 
Mr. JOHN D. MCKEE 
MrRs.ARTHUR MIGHALL 
Mrs. ROBERT W. MILLER 
Mr. JOHN C. NOWELL 

MR. PHILIP PATCHIN 

Mr. HENRY W. POETT 
Mrs. GEORGE A. POPE 
Mrs. GERALD RATHBONE 
Mr. D. A. RAYBOULD 
MRS. FRED SHARON 

Mrs. L. STRASSBURGER 
MR. NOEL SULLIVAN 

MR. EDWARD J. TOBIN 
Mrs. NION TUCKER 

Mr. CLIFF WEATHERWAX 
DR. RAY LYMAN WILBUR 
Mrs. Ei H. WEIL 


Mrs. MOUNTFORD WILSON 





MANAGER, EVERETT L. JONES 
OFFICE SECRETARY, MISS HAIDEE POHLMAN 





Concert Dates and Conductors 


July 22—Bernardino Molinari 
July 29—Ossip Gabrilowitsch 


Aug. 


Aug 


Kr ‘6 “6 
—— 


i bo eé 6é 
—_ 


3 











Third Season—Fourth Concert 
July 15, 1928 


‘Ohe “Philharmonic Society 
of San eateo County 


presents 


Eighty-five Members 


San Francisco Symphony Orchestra 


Bernardino Molinari, Conducting 


(ire s 


‘Program 


|. “ANDANTE CANTABILE for Strings and PERT eo ee Sgt GEMINIANI 


(Transcribed by Bernardino Molinari) 


2+. CO CRN A TROND IO RS 0 WALA eb UB) La BRAHMS 


Allegro non troppo 

Adagio non troppo 

Allegretto grazioso, quasi andantino 
Finale 


PND ER M.S S EOIN 


(A Bugle Call will announce Termination of Intermission ) 


far RELUDE to: “Chopantchind’ oo. oe a MOUSSOURGSKY 


| a Rd Voc) EES C8 Bgl OLE ot RTO come MEU 112) SMA CIU PNG, A md OO DEBUSSY 


(Transcribed for full Orchestra by B. Molinari) 


L.. eee NT ON ACC Tite Pines OF Ome) visio eh a NO RESPIGHI 


“First performance in Woodland Theatre. 


ae a i 
NEXT SUNDAY AT 3 P. M. 
Mr. Molinari is including in his final Program his own Transcription 
of “Spring” from “The Four Seasons” Suite by Vivaldi 


St dh Nite Ha en RON Screen AAAS eA Sea OE OP Me gels OS a eM 
FIRE WARNING 


Your are requested to refrain from throwing lighted matches, cigars or cigarettes 
among the shrubbery or trees. During the summer season a fire might very 
easily be caused thereby which would ruin for all time the beauty of the theatre. 














PROGRAM NOTES 


ANDANTE CANTABILE for Strings | Francesco Gemintiani 


Born (7), 1680 at Lucca 
Died September 17 (7), 1762, in Dublin 


(Transcribed by Bernardino Molinari) 


Geminiani studied violin under Corelli, (whose suite, for orchestra was played last 
Sunday) and composition under Alessandro Scarlatti. He was a violinist in the band of 
Signoria at Lucca from 1707 to 1710, but “il furibondo Geminiani,” as Tartini called him, 
was far too undisciplined in spirit to make a good ensemble player. In 1714 he came to 
England where he attained a great success as a virtuoso. 


In that year of 1714 the Elector of Hanover ascended the British throne as George |, 
with embarassing results, as everybody knows, to George Frederic Handel, who was 
playing truant from the Hanoverian court and having a wonderful experience in London. 


And everybody knows, too, the story of Handel’s WATER MUSIC and how through 
the kind offices of Baron Kilmansegge, the music was composed, it is said, for a journe) 
made by the King in his royal barge, and of how Handel conducted it, wherefore he won 
back the royal favor. This complaint Baron Kilmansegge was also the patron of Gemi- 
niani who had dedicated to him his OPERA I, consisting of twelve solos for the violin. 
King George I wanted to hear them. 


He appears to have been, musically, an independent thinker—true rara avis among 
musicians. His GUIDA ARMONICA (1742) while dismissed now as of little value, 
proclaimed that “the vast foundations of universal harmony” could not “be established 
on the narrow and confined modulations” of Lulli, Corelli, Bononcini, and other leaders 
in contemporary composition. It seems to have done little to keep him in funds. He 
traveled widely, to Italian, French and other Continental music centers: and again in 
London, being once more in straightened circumstances he introduced to British music th 
new idea of a benefit concert. He didn’t know enough about singers to know they must 
be coached. and the first soloist, a soprano, having had no rehearsal broke down. So his 
own works were substituted successfully to finish the program. 


Geminiani seems to have glimpsed a fundamental relationship between tone in speech 
and tone in music—which is, one suspects, the basic relation of emotion to tone—for an 
old chronicler says that about 1755 he published an instrumental composition, “THE 
ENCHANTED FOREST.” grounded on a singular notion which he had long entertained, 
that betwixt music and conversation there is a very near and natural resemblance. This 
he used to illustrate in conversation by a comparison between those musical compositions 
in which a certain point is assumed in one part and answered in the other with frequen! 
repetitions, in the form and manner of conversation. In 1761 he went to Dublin to 
visit Dubourg and to continue work on his MAGNUM OPUS, an elaborate treatise on 
music, but shortly after his arrival there it was stolen through treachery, it