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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

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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

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)

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

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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

: 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

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

“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.

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Bldg., Chicago, Ill.

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

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York.

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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

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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

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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

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PHELAN BUILDING

Studio:
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SAN FRANCISCO

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

my personal supervision.

1610 Plymouth Avy. Phone Delaware 0201

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

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VIOLIN MAKER, CONNOISSEUR AND APPRAISER

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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
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the Assets of which have never been increased
by mergers or consolidations with other Banks

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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

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

him.

The home of the Steinway ts

Sherman lay & Co.

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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

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

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.

| 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-
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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. |
.
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Ask us about this. |

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

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4

Mission Street, near Twenty-first
Fillmore Street near Post
1315 Burlingame Ave., Burlingame
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}
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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

* * - (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

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

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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
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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

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.

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

“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

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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
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JUNE 30th, 1928
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standing on Books at 1.00

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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 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.

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:

‘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-

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

— —: — ——— >
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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

ey Marntameda by |¢ OO

CNS) The Musical z eS
“ 4 San Francisco

ic Ine Association of |i
l Dy

SECOND .PAIR

VAI NAN GINGY /SV@XLORE
L___ JOA]

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

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

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 —
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Franck Tschaikowsky
Grieg Wagner

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941 Mission Street, San Francisco, Calif.

COLUMBIA

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Made the New Way—Electrically—Viva-tonal Recording
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Schubert Week, Nov. 18-25. Organized
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VIMS2RORG INSSSATWEO RNS AA

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

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
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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

“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

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
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Margaret Mary Morgan Co.
PRINTERS
Engraving — Publishing
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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
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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

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the Assets of which have never been increased
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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

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The home of the Steinway ts

Sherman lay & Co.

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
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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

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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

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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
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SOME ORS TAS RSASSEDY.EK

SAN FRANCISCO
SYMPHONY)

Assoctation of |k
oan Francisco

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

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

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

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Grieg Wagner

in a selected list of symphonies, concertos,
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Ask for Columbia Masterworks Catalogue

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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

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

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
|
|

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

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
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.

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

|
|

| 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

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

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941 Mission Street, San Francisco, Calif.

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

Organized by Columbia Phonograph Company

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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

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

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-

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Eighteen years in Chamber Music:
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Twelve years first violinist with San
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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

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Tiffin, O.

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burg, Fla.

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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.

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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.,
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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

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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
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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.

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.

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Concert Management

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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

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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
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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.

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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

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

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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

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.

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no matter what his income, there is a Steinway
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Custom-designed Steinways are also being made.
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Grands $1475 and Up
Uprights $950 and Up

Used Pianos Accepted in Partial Exchange

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Kearny and Sutter Streets, San Francisco

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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

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

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

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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

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

“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

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

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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

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Concert Management

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Studio:
/ 3 450 GRANT AVENUE
619 California Street Telephone Kearny 8289
SAN FRANCISCO

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119

ene PD ly i meta esha iit

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

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

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VIOLIN MAKER, CONNOISSEUR AND APPRAISER

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45 GEARY STREET
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"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.

7
:

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

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

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.

FRAO

Other composers represented in

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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

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:

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Made the New Way—Electrically—Viva-tonal Recording
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Schubert Week, Nov. 18-25. Organized
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* Reg. U.S. Pat. Off.

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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

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

“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:

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dea ansaid Studio Phone Residence Phone

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

PE Sia LF et Nt cI ee ERR i EE A LN

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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

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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

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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

him.

The home of the Steinway ts

Sherman Glay & Co.

a nel

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

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

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broth - er - hood

poco animando

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.

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

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 }

YOUNG PEOPLE’S SYMPHONY
CONCERTS

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-

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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.

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

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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

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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

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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

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.

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

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

“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
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T heory—V oice—Instruments—Evening Classes

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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.

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

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

“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

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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

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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

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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

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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
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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.

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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 \
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The home of the Steinway 15

Sherman tay & Co.

SAN FRANCISCO
SYMPHONY)

ay |
Ss
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: 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

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

199

SCHUBERT

Immortal Master of Melody

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’

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REG. U. S. PAT. OFF.

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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

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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

“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.

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

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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-

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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-

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

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t VIOLIN MAKER, CONNOISSEUR AND APPRAISER

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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.

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.”

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

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