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ALEXANDER TANSMAN

JOHN CHARLES THOMAS

RICHARD CROOKS

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E CELEBRATE this year the Silver Jubilee of the San Francisco Symphony

Orchestra. This important Anniversary represents not only a quarter

of a century of notable achievement by the Orchestra but it also com-

memorates a long list of distinguished Sponsors and Patrons whose interest has
carried the Symphony forward to this milestone.

To look back over the road the Orchestra has traveled with the idea of
pointing out even the highlights in its history 1s beyond the province of this
message.

It is the future which now engrosses us, bright as it is, with exceptional
prospects.

In our leader, Pierre Monteux, we have an artist noted for his singularly
balanced and appreciative point of view of the music of all schools. Monteux
has a technical knowledge of everything pertaining to the instruments of the
Orchestra, and of conducting. Under his direction our Orchestra is becoming
an unrivaled symphonic body.

Spurred by these facts the Musical Association of San Francisco is working
to increase its personnel to ninety players. An ensemble of this size would be
adequate to any project entrusted to it. Such an objective seems particularly
appropriate in view of the coming Golden Gate International Exposition when
San Francisco can show the world what she is doing for music.

Confident of the merit of our plans we earnestly appeal to our Contributors
and Patrons to assist in achieving the goal.

We are moving toward other eventful Anniversaries. The Orchestra we
sponsor today is to bridge the gap between our time and coming generations.
May we pass on to our successors a wonderful reminder of the 1936 Jubilee.

LEONORA WOOD ARMSBY,
President and Mana ging Director

FRIDAY AFTERNOON SERIES---2:30 P. M.

Friday Afternoon, January 8
Friday Afternoon, January 15
Friday Afternoon, January 22
Friday Afternoon, February 5
Friday Afternoon, February 19
Friday Afternoon, March 5
Friday Afternoon, March 19
Friday Afternoon, April 9
Friday Afternoon, April 16
Friday Afternoon, April 23

Sigaer aa OPENING CONCERT

_ GEORGE GERSHWIN, Pianist-Conductor
ALEXANDER TANSMAN, Pzanist-Com poser
TOSCHA SEIDEL, Vzolinist

RICHARD Crooks, Tenor

MARIAN ANDERSON, Contralto

_ IsaAc STERN, Vzolznist

VLADIMIR HOROWITZ, Pzanist

JOHN CHARLES THOMAS, Baritone

. Last FripAy CONCERT

SEASON TICKETS—(Tax Exempt)

Orchestra (first 5 rows) . $20.00
Orchestra (text 255fOws)/ ee ee) ae OU
Grand sbier (fiist 3. LOWS ieee ee 200
Grand Tier (next 2 rows) . . se 20,00
Pressi@iicleu(avSGo rows) =.= ate ce en

Dress Circle (next 6 rows) . $10.00
Balcony Gitelesircatast ae aetentnces a: 7.50
Balcony iets eee ras Meee is ao ang eee 5.00
Boxes (seating 8) 240.00
Boxes (seating 6) 180.00

SATURDAY NIGHT (REPEAT) SERIES---8:30 P. M.

Saturday Evening, January 9
Saturday Evening, January 16
Saturday Evening, January 23
Saturday Evening, February 6
Saturday Evening, February 20
Saturday Evening, March 6
Saturday Evening, March 20
Saturday Evening, April 10
Saturday Evening, April 17
Saturday Evening, April 24

; First SATURDAY CONCERT

. GEORGE GERSHWIN, Pianist-Conductor
ALEXANDER TANSMAN, Pranist-Com poser
TOSCHA SEIDEL, Vzolinist

RICHARD CROOKS, Tenor

MARIAN ANDERSON, Contralto

. ISAAC STERN, Violinist

VLADIMIR HOROWITZ, Pzanist

. JOHN CHARLES THOMAS, Baritone

. Last SATURDAY CONCERT

SEASON TICKETS—(Tax Exempt)

Orchestra ees $10.00
Grndskietm. eae eee apes 10.00
DresscGircle nee ta eee PO)

Balcony Circle . $ 7.50
Balcony 32 eenere ai ec cetera 5.00
Boxes (seating 8) 120.00

SEASON TICKETS NOW ON SALE

OPERA HOUSE BOX OFFICE OR SHERMAN, CLAY & CO:

MUSICAL ASSOCIATION OF SAN FRANCISCO

Mrs. LEONORA Woop ARMSBY
JOHN A. MCGREGOR .

Mrs. E. 8S. HELLER
PAUL BISSINGER

EDWARD F. MOFFATT .

PETER CONLEY .

OFFICERS

President and Managin g Director

._ Vice-President and Treasurer

Vice-President
Vice-President
Secretary

Business Manager

EXECUTIVE COMMITTEE |

Mrs. WALTER A. HAAS Mrs. M. C. SLoss

Mrs. MARcus S. KOSHLAND MRs. SIGMUND STERN
Guo J. Musto Mrs. CyriL ToBIN |
Mrs. ASHTON H. POTTER EDGAR WALTER
Mrs. GEORGE B. ROBBINS

Dr. HANS BARKAN

Miss LENA BLANDING
Miss LouIsE A. Boyp
MORTIMER FLEISHHACKER

MUSIC COMMITTEE

Dr. LEO ELOESSER J. EMMET HAYDEN

Mrs. LEONORA Woop ARMSBY Mrs. GEORGE T. CAMERON

FINANCE COMMITTEE |

J. B. LEVISON
B. B. MEEK
JOHN A. MCGREGOR
JOHN FRANCIS NEYLAN
J. H. THRELKELD

C. O. G. MILLER, Chairman
WALLACE M. ALEXANDER
RAYMOND ARMSBY

PAUL BISSINGER

CHARLES R. BLYTH

GEORGE T. CAMERON
MILTON H. ESBERG
MORTIMER FLEISHHACKER
Miss LuTIE D. GOLDSTEIN
Mrs. Marcus S. KOSHLAND

—-

JOHN A. MCGREGOR
Mrs. HAROLD RICHERT MCKINNON
Mrs. ANGUS MCDONALD |
R. C. NEWELL ; )
CHARLES PAGE, JR. |
Mrs. ASHTON H. POTTER

Mrs. GEORGE B. ROBBINS

Miss ELSE SCHILLING

Mrs. M. C. SLoss

Ray W. SMITH

Mrs. SIGMUND STERN

Mrs. POWERS SYMINGTON

Mrs. DAvip ARMSTRONG TAYLOR

JOSEPH S. THOMPSON

ALBERT I. ELKuS
HERBERT ELOESSER

Dr. LEO ELOESSER
MILTON H. EsSBERG

Mrs. PAUL I. FAGAN
MORTIMER FLEISHHACKER
Mrs. JOSEPH C. FLOWERS
JOHN F. FoRBEs

Mrs. J. E. FRENCH
FRANK J. FRosT

Don E. GILMAN

Miss LuTIE D. GOLDSTEIN
Mrs. Harry S. HALEY

J. EMMET HAYDEN

Mrs. LEONORA Woop ARMSBY

RAYMOND ARMSBY

G. STANLEIGH ARNOLD

Mrs. GEORGE WASHINGTON
BAKER, JR.

Dr. HANS BARKAN

Mrs. EDWARD OTIS BARTLETT

ALBERT M. BENDER

Miss LENA BLANDING

Miss LoulIsE A. Boyp

Mrs. F. W. BRADLEY

PAUL BISSINGER

GEORGE T. CAMERON

WILLIAM H. CROCKER Mrs. Marcus S. KOSHLAND JOHN H. THRELKELD

Mrs. W. W. CROCKER FREDERICK J. KOSTER Mrs. CyRiL TOBIN |

Mrs. O. K. CUSHING GAETANO MEROLA EDGAR WALTER :

Mrs. GEORGE DE LATOUR ROBERT W. MILLER MICHEL WEILL

A. B. C. DOHRMANN KENNETH MONTEAGLE Mrs. ELI H. WIEL

Miss KATHERINE DONOHOE Gulpo J. Musto Mrs. SARAH STETSON WINSLOW

JOSEPH H. DYER, JR. DwiGHTt F. MCCORMACK LEONARD Woop

PAST PRESIDENTS |

W. B. BOURN WILLIAM SPROULE JOHN D. McCKEE
RICHARD M. TOBIN JOSEPH S. THOMPSON

T. B. BERRY
J. B. LEVISON

EXECUTIVE OFFICES: FOURTH FLOOR, WAR MEMORIAL OPERA HOUSE
PACKET -ORBICE: .SEUBRNEAIN, CUEAY xc; CO; SU LER AND KEARNY” SEREETS

INDEPENDENT LITHO. CoO.,S. F.

The Musical Association of San Francisco

MAINTAINING THE
San Francisco Symphony Orchestra

MEMBERSHIP FOR SEASON 1937
(As of April 20, 1937)

OFFICERS reall
Mrs. LEoNoRA Woop ArMsBy .. . . President and Managing Director | :
JOHN A: McGrrcorR .. ... . ... Vice-President and ireaswer | i
MESES HELLER eo. ve gti oe ko alegre eee ame .
PAUL BISSINGER $500 ie Oe a SS a Sy ag :
Bnwasp eh MOrRrattT 0 goo aa eas a eer 4
PEPER CONEDY Nh eo ee ee OL |

EXECUTIVE COMMITTEE

Dr. Hans Barkan Mrs. Walter A. Haas Mrs. M, C. Sloss
Miss Lena Blanding Mrs. Marcus S. Koshland Mrs. Sigmund Stern
Miss Louise A. Boyd Guido J. Musto Mrs. Cyril Tobin

Mortimer Fleishhacker Mrs. Ashton H. Potter Edgar Walter
Mrs. George B. Robbins

pets ania antes

MUSIC COMMITTEE tf
Mrs. Leonora Wood Mrs. George T. Cameron J. Emmet Hayden
Armsby Dr. Leo Eloesser

FINANCE COMMITTEE

C. O. G. Miller, Chairman George T. Cameron J. B. Levison

Wallace M. Alexander Milton H. Esberg’ B. B,. Meek

Raymond Armsby Mortimer Fleishhacker John A. McGregor

Paul Bissinger Miss Lutie D. Goldstein John Francis Neylan

Charles R. Blyth Mrs. Marcus 8S. Koshland J. H. Threlkeld
Frank J. Frost

ORCHESTRA COMMITTEE 5
Walter A. Weber’ Erich Weiler Eugene B. LaHaye Leslie J. Schivo

SEASON TICKET SALES COMMITTEE
Mrs. M. C. Sloss, Chairman Mrs. Edward Otis Bartlett, in charge box sales

YOUNG PEOPLE’S CONCERTS COMMITTEE

Mrs. Harold Richert McKinnon, Chr. Mrs. Walter A. Haas, Honorary Chr.
Mrs. Harold Faber, Vice-Chairman

EXECUTIVE COMMITTEE OF YOUNG PEOPLE’S CONCERTS

Mrs. George Washington Mrs. Harold Faber
Baker, Jr. Mrs. Donald Gregory
Mrs. Otto Barkan Mrs. Walter A. Haas
Mr. Charles M. Dennis Mrs. Gregory Jones
Miss Lutie D. Goldstein Mrs. Churchill Peters
Mrs. Ashton H. Potter

Mrs. Harold

Richert McKinnon
Mrs. Thomas

Page Mailliard —
Mrs. Butler S. Sturtevant

BOARD OF GOVERNORS OF THE MUSICAL ASSOCIATION

Mrs. Leonora Wood Herbert Eloesser
Armsby Dr. Leo Eloesser

Raymond Armsby Milton H. Esberg

G. Stanleigh Arnold Mrs. Paul I. Fagan

Mrs. George Washington Mortimer Fleishhacker
Baker, Jr. Mrs. Joseph C. Flowers

Dr. Hans Barkan John Fy Forbes

Mrs. Edward Otis Mrs. J. E, French
Bartlett Frank J. Frost

Albert M. Bender Don E. Gilman

Miss Lena Blanding Miss Lutie D. Goldstein

Miss Louise A. Boyd Mrs. Harry S. Haley

Mrs. F. W. Bradley J. Emmet Hayden

Paul Bissinger Mrs. Marcus 8. Koshland

George T. Cameron Frederick J. Koster

William H, Crocker Gaetano Merola

Mrs. W. W. Crocker Robert W. Miller

Mrs. O. K. Cushing Kenneth Monteagle

Mrs. George De Latour Guido J. Musto
Miss Katherine Donohoe Dwight F. McCormack

Joseph H. Dyer, Jr. John A. McGregor
Albert I. Elkus Mrs. Harold Richert
McKinnon

PAST PRESIDENTS

T. B. Berry J. B. Levison W. B. Bourn
William Sproule John D. McKee
9

Mrs. Angus McDonald

R. C. Newell

Charles Page, Jr.

Mrs. Ashton H. Potter

Mrs. George B. Robbins

Miss Else Schilling

Mrs. M. C. Sloss

Ray W. Smith

Mrs. Sigmund Stern

Mrs. Powers Symington

Mrs. David Armstrong
Taylor

Joseph S. Thompson

John H. Threlkeld

Mrs. Cyril Tobin

Edgar Walter

Michel Weill

Mrs. Eli H. Wiel

Mrs. Sarah Stetson
Winslow

Leonard Wood

Richard M, Tobin
Joseph S. Thompson

EXECUTIVE OFFICES: 4TH FLOOR, WAR MEMORIAL OPERA HOUSE

The Musical Association of San Francisco is fortunate in being able
to list so large a membership which has generously contributed to the support
of the Season of Nineteen Hundred and Thirty-seven.

CLASSES OF MEMBERSHIP

Class A: Persons subscribing $1000 per year or
Class B: Persons subscribing $ 700 per year or
Class C: Persons subscribing $ 500 per year or
Class D: Persons subscribing $ 400 per year or
Class E: Persons subscribing $ 300 per year or
Class F: Persons subscribing $ 250 per year or
Class G: Persons subscribing $ 200 per year or
Class H: Persons subscribing $ 150 per year or
Class I: Persons subscribing $ 100 per year or

Persons subscribing less than $100 per

over—HONORARY MEMBERS
over—REGULAR MEMBERS
over—REGULAR MEMBERS
over—REGULAR MEMBERS
over—REGULAR MEMBERS
over—REGULAR MEMBERS
over—REGULAR MEMBERS
over—REGULAR MEMBERS
over—REGULAR MEMBERS
year—ASSOCIATE MEMBERS

HONORARY MEMBERS

Class A

Alexander, Mr. and Mrs. Ehrman, Mr. and Mrs. Sidney M. Norris, Mr. Charles G.

Wallace M. Esberg, Mr. and Mrs. Milton H. Rosenbaum, Mrs. Emma
Armsby, Mrs. Leonora Wood Fleishhacker, Mr. and Mrs. Rosenberg, Mrs. Abraham
Blanding, Mr. Gordon Mortimer Schilling, Miss Else
Blyth, Mr. and Mrs. Charles R. Heller, Mrs. E. S. Schwabacher, Mrs. Ludwig
Boyd, Miss Louise A. Koshland, Mrs. Marcus S. Sherman, Clay and Co.
Bradley, Mr. H. Sewall Miller, Mr. and Mrs. C. O. G. Stern, Mrs. Sigmund
Crocker, Mr. William H. McGregor, Mr. John A. Taylor, Dr. and Mrs.

DeLatour, Mr. and Mrs. George Neyland, Mr. and Mts.
John Francis
Haas, Mr. and Mrs. Walter A. [Young

David Armstrong
Volkmann, Mr. George F.
People’s Symphony]

REGULAR MEMBERS

Class B
Hellman, Mrs. I. W., Jr. Schelling,

Mr. and Mrs. Ernest

REGULAR MEMBERS

Class C
Bissinger, Mr. and Mrs. Newton Grant, Mr. and Mrs. Joseph
Emporium, The Levison, Mr. J. B.
Frost, Mr and Mrs. F. J. Pacific Gas and Electric Co.

Sharon, Mrs. Louise T.

1: In Memory of Mr. and Mrs. Jacob
Stern and Mr. and Mrs.
Charles W. Haas

REGULAR MEMBERS

Class D

Chamberlain, Mrs. Selah

4
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————

SS eee Eee

FS ES ES

Barkan, Dr. and Mrs. Hans

Coleman, Miss Persis H.

Guggenhime, Mr. and Mrs.
Berthold

Anonymous

Cameron, Mr. and Mrs. George T.

Eloesser, Dr. Leo

Goldstein, Misses Celene and
Lutie D.

Beaver, Miss Anna W.
Breuner, Misses Caroline
and Katherine
Brooke, Mrs. Julia Fox
California Barrel Co., Ltd.
Crocker, Mr. and Mrs.
William W.
Dibblee, Mr. and Mrs.
Benjamin H.
Dinkelspiel, Mrs. Louis M.

Ackerman, Mr. and Mrs.
Lloyd S.

City of Paris

Felton, Mrs. Charles N.

Adams, Mrs. J. W.

Allen, Mr. Wyatt H.
Anonymonus

Babcock, Mrs. William
Baldwin Piano Company
Beaver, Mrs. F. H.
Belcher, Mr. F. J., Jr.
Bender, Mr. Albert M.
Berenson, Mrs. Sanford
Blanding, Miss Lena
Bloch, Mr. and Mrs. Louis
Bluman, Miss Lorna
Blumlein, Mr. Jacob
Boggs, Mrs. A. G.
Borden’s Dairy Delivery Co.

REGULAR MEMBERS
Class E

Guggenhime, Mrs. Leon
Griffith, Miss Alice
Huntington, Miss Marion

REGULAR MEMBERS
Class F

Giannini, Mr. A. P.
Haas, Mrs. A.

Heller, Mr. Walter S.
Jacobi, Mr. J. J.
Kohn, Mrs. Eva Heller

REGULAR MEMBERS
Class G

Ehrman, Mrs. Albert L.
Epstein, Mr. Gustave
Goodrich, Mr. and Mrs.
Chauncey S.
Guggenhime, Mrs. D. J.
Hale Bros.
Hall, Mr. Frederic W.
Henderson, Mr. and Mrs.
Robert B.
Koshland, Mr. Daniel E.

REGULAR MEMBERS
Class H

Flowers, Mrs. J. C.
Lengfeld, Mrs. A. L.

Lowe, Mr. and Mrs. Samuel
Munsell, Mrs. Juliet E. Orr
Musto, Miss Laura

REGULAR MEMBERS
Class I

Brandenste'n, Mrs. M. J.
Brown, Miss Martha Leonard
Buchanan, Mrs. A. N.

Caswell, Mrs. Geo. W.

Clark, Mrs. Warren D.
Clayburgh, Mr. and Mrs. H. E.
Clift Hotel

Coghlan, Mrs. John P.

Cohn, Mrs. Max M.

Coleman, Mr. S. Waldo

Cross, Mrs. Charles

Cushing, Mrs. O. K.

Daly, Mrs. John D.

Davis, Mr. D. G.

Deering, Mr. and Mrs. Frank P.
Dinkelspiel, Mr. and Mrs. Lloyd

Hyman, Mrs. Joseph
Musicians’ Union, Local No. 6
Tubbs, Mrs. Alfred S.

Leib, Mr. William
Michaels, Mr. C. F.
Shomo, Mrs. J. A.

Wiel, Mr. and Mrs. Eli H.
Witter, Mr. and Mrs. Dean

Page, Mr. and Mrs. Charles R.

Schwabacher, Mr. and Mrs.
Albert E.

Sloss, Mr. and Mrs. M. C.

Volkmann, Mr. and Mrs. Daniel

Volkmann, Miss Johanna M.

Welch, Mr. Andrew

White House, The

Wiel, Mr. and Mrs. Irvin J.

Yellow Cab Co.

O’Connor, Moffatt & Co.
St. Francis Hotel

Sloss, Mrs. Leon

Walter, Mrs. John I.

Dinkelspiel, Mrs. Samuel L.
Donohoe, Mr. J. A.
Donohoe, Miss Katherine
Ehrman, Mrs. Fredericka
Ehrman, Mrs. S. W.

Elsey, Mr. Fred T.

Faville, Mr. Wm. B.

Forbes, Mr. John F,

French, Mr. and Mrs. J. E.
Fuller, Mr. and Mrs. W. P., Jr.
Gall, Mrs. Rebecca F.
Glaser, Mrs. Edward F.
Graham, Dr. Gilbert F.
Greenebaum, Mr. Emil
Griffin, Mrs. Willard M.

Gunst, Mr. and Mrs. Morgan A.

Gunst, Mrs. Moses A.

Hass, Mr. Louis S.

Hayne, Mrs. Grace P.

Heller, Mr. and Mrs. Edward H.

Hellmann, Mrs. Horatio G.

Hewlett, Mrs. A. W.

Hockenbeamer, Mrs. A. F,

Hooker, Mr. Osgood

Hutchinson, Miss Kate F.

Kahn, Mrs. Ira

Kendrick, Mr. and Mrs.
Charles H.

Kleinjung, Mrs. J. R.

Kohlberg, Mrs. M. S.

Koster, Mr. and Mrs.
Frederick J.

Larsh, Mrs. H. G.

Layman, Dr. Mary H.

Lilienthal, Mrs. Dorothy L.

Lilienthal, Mr. and Mrs.
Philip, Jr.

Lipman, Mr. F. L.

Lisser, Dr. and Mrs. Hans

Lurie, Mr. Louis R.

Mack, Mrs. A.

Magnin, I. & Co.

Mannon, Mr. J. M., Jr.

Ackerman, Mrs. I. S.
Allen, Mrs. H. W.
Altman, Mr. John C.
Ammen, Mrs. Vera T.
Anderson, Corona W.
Anderson, Mr. Melvin J.
Andrew, Mrs. Prentis
Andrews, Miss Margaret
Andrews, Miss Mary
Andrews, Mrs. R. E.
Anonymous

Anonymous

Anthony, Mr. C. C.
Armsby, Mrs. J. K.
Arnhold, Mrs. B.
Arnold, Mr. and Mrs. F. D.
Arnstein, Mr. Hugo
Ash, Mr. Charles S.
Astredo, Mrs. Blanche
Bacigalupi, Miss Beatrice
Bacigalupi, Dr. Rimo
Baerwald, Mr. and Mrs. Ernst
Bahalor, Mrs. A. B.

REGULAR MEMBERS
Class I (Continued)

Meek, Mr. B. B.
Meyer, Mrs. George H. C.
Meyerfeld, Mrs. Morris
Michels, Mrs. Leopold
Moffitt, Mr. J. K.
Monteagle, Mr. and Mrs.
Kenneth
Monteagle, Mr. Louis F.
Morrison, Mrs. A. F.
Morshead, Mrs. Etta C.
Musto, Mr. Guido J.
McAllister, James W. Inc.
McCreary, Mrs. F. C.
McDonald, Mr. and Mrs. Angus
McDonald, Mrs. Mark L.
McEnerney, Mr. Garret W.
Neustadter, Mr. Newton
Newbauer, Mrs. S. R.
Noble, Mrs. Charles
Oppenheimer, Miss Emilie
Pacific Musical Society
Pauson, Frank and Sons
Raiss, Mr. Carl
Rees, Mr. A. S.
Roth, Mrs. W. P.
Salz, Mr. and Mrs. Milton H.
Samson, Mrs. R.
San Francisco Music Club

ASSOCIATE MEMBERS

Bailhache, Mrs. Arthur L.

Baker, Mr. and Mrs.
George W., Jr.

Baker, Mrs. Wakefield

Bakewell, Mrs. Harriet B.

Bakewell, Mrs. John

Ballard, Mrs. J. S.

Barkan, Mr. Fritz

Barkan, Dr. and Mrs. Otto

Baruch, Mrs. Albert

Baruch, Mr. Frederick

Bates, Mrs. George E.

Beetz, Mr. Hans B.

Behrend, Mrs. J. F.

Bell, Miss Jessie F.

Bell, Mr. and Mrs. Walter

Benner, Mr. and Mrs. F. C.

Bentz, Mr. A. C.

Bepler, Dr. Alice C.

Bergerot, Mr. and Mrs. P. A.

Bissinger, Mr. and Mrs.
McKinley

Bissinger, Mr. and Mrs. Paul

Bissinger, Mrs. Samuel

Schilling, Mr. and Mrs. Rudolph
Schloss, Mrs. Florence F.
Schuckl, Mr. and Mrs. Max
Shainwald, Mr. and Mrs.
Richard
Simon, Mrs. Alfred
Sinton, Mr. and Mrs. Edgar
Skewes-Cox, Mrs. Vernon
Sloss, Mr. and Mrs. Joseph
Sloss, Mrs. Louis
Somers, Mrs. George B.
Stern, Mr. and Mrs. Newton W.
Stone, Mrs. Abraham Lincoln
Sussman, Mrs. Emilie
Sutro, Mr. and Mrs. Alfred
Threlkeld, Mrs. M. C.
Walter, Mr. and Mrs.
Clarence R.
Waters, Mr. James F.
Weatherwax, Mrs. C. M.
Williams, Mrs. W. Wilberforce
Willson, Mr. Meredith
Winslow, Mrs. S. Stetson
Wood, Mr. and Mrs. Leonard E.
Wright, Mr. and Mrs. Harold
Younger, Mrs. W. J.
Zellerbach, Mr. J. D.

Blair, Miss Jennie M.
Blenur, Mrs. John
Bloom, Mr. Jonas
Bloom, Mrs. Samuel
Bloomfield, Dr. Arthur L.
Boardman, Mrs. Walter W.
Bocqueraz, Mr. and Mrs. Leon
Bohemian Club

Symphony Orchestra
Bontecon, Miss Helen
Booth, Mrs. F. E. ;
Booth, Mrs. W, F.
Bosley, Mr. Wm. B.
Bostwick, Mr. H. F.
Boudreaux, Miss Adalaine
Bowes, Mrs. E. L.
Bowman, Miss Elsie
Boyle, Miss Nina
Bracher, Miss Louise P.
Brandenstein, Mrs. H. U.
Bransten, Mrs. Edward
Bransten, Mr. Edward, Jr.
Bransten, Mrs. Manfred
Bridge, Mrs. Adelaide M.

seme mS at ST ET EE SL RS EN ET SE SEALE a SN A ES
Heenan ee eee ee ee a

Brooks, Mr. George W.
Brown, Mrs. Abraham Lincoln
Brown, Miss Annie Florence
Brown, Mr. H. A.

Brown, Miss Janet

Brown, Mrs. Laurence Clay
Brown, Mrs. Louis C.
Brownstone, Mrs. Louis H.
Brunn, Dr. Harold
Buchanan, Miss Linda

Buck, Miss Martha

Buck, Mr. Thomas
Buckwalter, Mrs. Edna
Bullis, Mrs. Edward A.
Burckhardt, Miss Caroline
Miss Burke’s School
Burmister, Mrs. R. B.

Bush, Mr. Philip

Cahn, Mrs. Mayer I.

Camp, Miss Claire

Camp, Mr. and Mrs. Harry F.
Campbell, Mrs. G. P.
Carson, Mrs. A. C.

Center, Mrs. J. W.

Charles, Mr. Martin A.
Charles, Mrs. Raymond W.
Charpiot, Mrs. Henry Charles
Choral of Miss Burke’s School
Clark, Mrs. Herbert W.
Clark, Miss Minnie C.

Clay, Miss Maude C.
Clayburgh, Mrs. K.
Clayburgh, Mrs. Leo J.
Clifford, Miss Beatrice
Clyde, Mrs. Brooke

Cody, Mrs. Bernard A.
Coleman, Mr. and Mrs. Jesse
Coman, Mrs. E. T.

Conrad, Mr. and Mrs. Barnaby
Cook, Miss Houston

Cook, Mrs. W. H.

Cooper, Mrs. C. M.

Cooper, Miss Ethel

Coppée, Miss M. Pauline
Cordes, Mrs. F. C.

Cresalia, Mr. Matt T.

Davis, Dr. and Mrs. Albert D.
Davis, Mr. and Mrs. Alvin
Davis, Miss Blanche

Davis, Mrs. C. H.

Deering, Mrs. James H.
Deering, Mrs. Robert L.
Delany, Miss Marion
Dernham, Mrs. Irene B.
Destruel, Miss Laura

Devlin, Mrs. Frank J,

ASSOCIATE MEMBERS

Dobie, Mr. Charles C.
Dodge, Mrs. George M.
Dolan, Mr. Arthur J., Jr.
Don Lee, Inc.
Drescher, Mrs. H. B.
Drexler, Mrs. E. A.
Drown, Miss V. Newell
Dryfoos, Mrs. Beatrice G.
Dunlop, Mr. R. D.
Dunn, Mrs. Herbert
Earhart, Miss Gertrude
Eastwood, Miss Alice
Einstein, Else B.
Eisenbach, Mr. David R.
Eisner, Mrs. Norman
Elkus, Mr. and Mrs.
Charles DeY.
Elkus, Mrs. Eugene S.
Eloesser, Mr. Herbert
Emge, Dr. Ludwig A.
Eppinger, Mrs. J., Jr.
Epstein, Mrs. Milton H.
Epstein, Mr. Rudolph B.
Erskine, Mrs. Morse
Esberg, Mr. Alfred I.
Etienne, Mr. Victor, Jr.
Evans, Mrs. Albert John
Evans, Mr. and Mrs. Harry L.
Everingham, Dr. Summer
Faber, Dr. and Mrs. Harold K.
Fairmont Hotel
Faubel, Miss Grace
Feigenbaum, Mrs. L.
Firestone, Mr. and Mrs. Nathan
Fischer, Mrs. E. G.
Fisher, Mr. Haldane S.
Fitzgerald, Miss Amada
Fitzgerald, Mrs. R. M.
Flammer, Mr. Charles
Fleischman, Mrs. M. F.,
Fleishman, Mrs. Carrie H.
Fleishmann, Mrs. S. G.
Fletcher, Dr. C. D.
Floyd, Mrs. B. Creelman
Folndorf, Miss Gertrude
Folger, Mrs. J. A.
Foster, Mr. Walter F.
Frank, Mrs. Jennie L.
Frank, Mrs. Ludwig
Frankenau, Mrs. M.
Franklin, Mrs. P.
Friedlander, Mrs. Eva
Frontin, Miss E. A.
Funkenstein, Miss Sara
Gantner and Mattern
Garland, Dr. and Mrs. L. H.

Garrett, Miss Elsa
Gehrels, Dr. and Mrs. Ernst
George, Miss Julia
Ghirardelli, Mrs. Alfred
Ghirardelli, Mr. D. Lyle
Glenn, Dr. and Mrs. Robert A
Goodman, Mrs. I.
Goodman, Mrs. Pauline
Gowan, Miss Edith
Graham, Mrs. Chalmers
Graves, Mr. B. I.
Greefkens, Miss Geraldine
Green, Dr. A. S.
Greenberg, Mr. and Mrs.
Maurice
Greenberg, Mrs. Agnes H.
Greene, Mr. A. Crawford
Greenwell, Mrs. James O.
Gregory, Mrs. Warren
Grimm, Mr. H. T.
Guggenhime, Mr. Richard
Gustafson, Miss Amaley
Haas, Mr. Edward F.
Hackett, Mr. C. Nelson
Haefner, Emma
Hallawell Seed Co.
Halsey, Mrs. Theo. V.
Hamilton, Mrs. Noble
Hamilton, Miss Vera A.
Hancock Brothers
Handlon, Mrs. Joseph H.
Hanna, Mrs. R. J.
Hardy, Mrs. Summer
Harris, Mr. and Mrs.
Lawrence W.
Hayden, Mr. J. R.
The Anna Head School
Heavenrich, Mrs. Sarah C.
Hecht, Miss Edith
Heller, Mrs. Claire S.
Hellman, Mrs. F. J.
Hellman, Mr. I. W.
Hennessy, Miss Aileen M.
Hertz, Laura B.
Hess, Teresa
Hill, Mrs. Harry
Hiller, Miss Edna
Hinze, Miss Clara
Hoffman, Mr. and Mrs. Oscar
Holden, Mrs. Alice F.
Hooker, Miss Jennie M.
Hooper, Mr. Arthur W.
Hosford, Mrs. George N.
Howell, Mr. Albert J.
Humphrey, Mrs. C. F.
Hurrle, Etna E.

ee SS SSeS sesame as” aS SG
{

Hyman, Mrs. Morris

Hyman, Mrs. Vera R.

Isola, Mr. Attilio

Ivanhoff, Sonia

Jacobs, Mrs. Carrie E.

Jeddis, Mr. and Mrs. Frank L.

Jenkins, Mrs. James

Johnson, Mrs. Grace Noble

Jordan, Mrs. David Starr

Kahn, Mrs. Felix

Kahn, Mrs. Irvin H.

Kahn, Mr. and Mrs. Samuel

Kaye, Mr. and Mrs. J. M.

Kelly, Miss Irene

Keyston, Mr. and Mrs.

George N.

King, Miss Genevieve

Kirk, Mrs. Josiah H.

Kirkwood, Mr. and Mrs.
Robert C., Jr.

Kirkwood, Mrs. Robert C.

Klumpkey, Misses Anna
and Julia

Knox, Mrs. John B.

Kohn, Mrs. Simon

Korbel, Miss Caroline

Korbel, Miss Lucia

Koshland, Mr. and Mrs.
Abraham

Krauss, Miss Luise H.

Krotoszyner, Mrs. Martin

Kutner, Mr. Alfred

Laborde, Mr. J.

Lacey, Mr. Joseph C.

Lachman, Mrs. Marie

Lang, Mr. and Mrs. Albert G.

Langhorne, Mrs. James P.

LaPlace, Margaret E.

Lasky, Mrs. Moses

Laws, Mrs. C. L.

LeConte, Miss Helen M.

LeConte, Mr. Joseph N.

Lehmann, Mrs. A.

Lens, Mrs. Frances

Levy, Clara M.

Levy, Miss Elaine A.

Levy, Mr. Hans

Levy, Miss Martha

Levy, Mr. S. D.

Liebenthal, Mrs. A.

Liebes, H. & Co.

Liebman, Mr. and Mrs. Maurice

Lilienthal, Mr. B. P.

Lilienthal, Mrs. Arthur G.

Lilienthal, Mr. and Mrs. Samuel

Lilienthal, Miss Victoria

ASSOCIATE MEMBERS

Lisberger, Mrs. Carolyn A.
Livermore, Mr. Norman B.
Livingston Bros.
Livingston, Mr. Lawrence
Lloyd, Mrs. Lewis Marshall
Lombardi, Mr. and Mrs. M. E.
Lowenthal, Mrs. W. B.
Lucia, Dr. and Mrs. Salvatore P.
MacCallum, Miss Jean A.
Madison, Mr. Frank D.
Magnin, Jos. & Co.
Mailliard, Mr. and Mrs.
TW oie
Majors, Dr. Ergo A.
Mangels, Miss Agnes
Manheim, Mrs. Henry
Marshall, Mrs. Stuart M.
Marwedel, Mr. and Mr. C. W.
Marx, Mrs. Melville
Maxwell, Mrs. John K.
Mayer, Mr. and Mrs. Henry L.
Mears, Prof. and Mrs. Eliot G.
Mendelson, Mrs. Julius
Mendessolle, Maison
Menzies, Mrs. R. H.
Metcalf, Mrs. John Brockway
Methner, Mr. Fred
Meyer, Mrs. Alfred
Meyer, Miss Henrietta
Middlemas, Mrs. Stuart
Miller, Mrs. Ensel B.
Mills, Miss Gwladys
Milton, Mr. and Mrs.
Maxwell C.
Moffat, Miss Henrietta
Monteagle, Mr. Paige
Moore, Miss Jessie S.
Morris, Miss Avis M.
Moulin, Mr. Gabriel
Mouton, Miss Madeleine
Muller, Mrs. Emmy
Murray, Mrs. Hamilton
Musicians’ Club of San Francisco
McBain, Miss Janet
McBean, Mr. Atholl
McBean, Mrs. Atholl
McBryde, Mrs. Irma G.
McGinnis, Mr. and Mrs.
Felix S.
McGregor, Mr. Campbell
McKinnon, Mr and Mrs.
Harold R.
McLaughlin, Mrs. Alfred
McMillan, Mrs. Dan
McNear, Mrs. George P.
Nathan, Mr. and Mrs. A. N.

Nathan, Mrs. Henry J.
Nelson, Miss Theresia
Neppert, Miss Julia M.
Neppert, Miss Louise C.
Newbauer, Mr. and Mrs. Jesse
Nickelsburg, Mr. and Mrs. M. S.
Nickelsburg, Mrs. S.
Nichols, Mr. Henry D.
Noble, Mr. Alexander
Noble, Dr. and Mrs. Charles, Jr.
Nollen, Emeline B.
Norman, Miss Dorothy
Older, Mrs. B. J.
Oliver, Mrs. E. L.
Oppenheimer, Mrs. Julius
Palo Alto Fortnightly °

Music Club
Paschel, Mr. Philip P.
Petty, Mr. J. J.
Pflueger, Mr. J. C.
Pflueger, Mr. Paul A.
Pierce, Miss Mabel L.
Pischel, Mrs. Kaspar
Philomath Club
Phillips, Miss Esther B.
Podesta & Baldocchi
Politzer, Mr. and Jerome
Potter, Mrs. Ashton
Potter, Mrs. J. Sheldon
Powell, Mr. and Mrs. Stanley
Prager, Miss Alice C.
Prechtel, Mrs. George P.
Raas, Mrs. J. C.
Rademaker, Miss Harriet
Raisch, Miss Leila
Ransohoff’s
Rathbone, King & Seeley
Rawlings, Miss Jane D.
Rich, Mrs. H. Dunning
Richard, Mr. Harry G.
Rinder, Dr. Reuben R.
Reed, Dr. Alfred C.
Reed, Mr. Laurence E.
Rehfisch, Mrs. H. M.
Reincke, Mr. L. M.
Renny, Miss Jessie ’
Reynolds, Mrs. L. R.
Rhine, Miss Esther
Robertson, Mrs. Ralph D.
Robinson, Mrs. M. R.
Rolph, Mr. Ronald T.
Roos, Mr. and Mrs. Robert A.
Roos Bros.
Rood, Mrs. Vernon
Rosenbaum, Mrs. Albert M.
Rosenstein, Mrs. Ludwig

SS rnp penneeeperepenereeeee n
' {

ASSOCIATE MEMBERS

Ross, Mr. Thomas F.,

Roth, Mr. A.

Rothschild, Mr. August B.
Rubke, Mr. F. W.

St. Goar, Mrs. Fred. H.
Salinger, Jehanne Biétry-

Salz, Mr. A. K.

Sampson, Dr. and Mrs. John J.
Saroni, Mrs. A. B.

Sbarboro, Mrs. A. E.
Schaubye, Mr. and Mrs. Carl
Schilling, Dr. and Mrs. Walter
Schirmer, Mr. William
Schneider, Mr. W. C.
Schwabacher, Mrs. Loius A.
Schussler, Mr. Henry
Schwamm, Miss Louise
Selene, Miss Rose L.
Sellman, Mrs. Waters

Sharp, Miss Fannie L.

Sharp, Dr. and Mrs. J. G.
Sharp, Miss Violet M.
Shapeero, Mr. Ezra

Sheldon, Mrs. E. S.
Sherman, Mrs. Julius

Shuey, Mr. Clarence A.
Shook, Dr. Francis M.
Sieroty, Mrs. Henry

Simon, Mr. R. O.

Simpson, Mrs. A. W.
Sinsheimer, Mrs. Samuel C.
Sinton, Mr. Stanley H.
Slack, Mr. and Mrs. Charles W.
Sloss, Mrs. Eleanor F.

Sloss, Mr. Leon, Jr.
Smithies, Dr. Harold R.

Sommer and Kaufmann
Smith, Mrs. Stuart F.
Sperry, Mrs. Horace B.
Stater, Glen C., Inc.
Stebbins, Miss Lucy Ward
Steinhart, Miss Hilda
Stern, Mrs. Rose

Stevens, Mr. Harley C.
Stewart, Dr. and Mrs. H. R.
Stich, Mrs. Camilla F.
Stolz, Mr. Max

Stow, Miss Nellie

Stowe, Dr. W. P.
Strassburger, Mrs. Lawrence
Stull, Miss Florence
Strobridge, Mrs. T. A.
Sturtevant, Mrs. Butler S.
Sullivan, Mr. Frank E.
Sutter, Mr. Louis

Sutton, Miss Maud

Sutro, Miss Barbara
Sweetland, Mr. E. J.
Tantau, Mrs. H. H.

Terry, Mr. M. C.

Thieben, Mrs. Joseph
Thompson, Miss Barbara Beach
Thompson, Miss Harriet R.
Thorner, Mrs. Theodore
Tremoureux, Mrs. M. C.
Trotter, Mr. W.

Tucker, Mr. and Mrs. Nion R.
van Den Bergh, Miss Flora
Van Sicklin, Mrs. Horace
Van Pelt, Mrs. H. M.
Vittoria Colonna Club
Wagner, Helen R.
Waldeck, Mrs. Eda

Waldrop, Mr. and Mrs. Uda
Wangenheim, Mrs. Ethel A.
Ward, Mrs. James W.
Waybur, Mrs. Robert
Weber, Mr. R. W.
Weed, Mrs. B.
Weill, Mr. and Mrs. Michel D.
West, Mr. Frank A.
White, Miss Irene H.
Wildberg, Mrs. Irving I.
Willard, Miss Elisa May
Willard, Miss Mary
Williams, Mr. Stephen
Williams, Miss Millicent
Williamson, Mrs. G. G.
Wills, Mrs. Carol S.
Wilson, Mrs. A. W.
Wilson, Mr. Irving M.
Wolf, Mrs. J. L.
Wolf, Mrs. Max
Wolf, Mrs. Paul
Wolff, Mrs. George
Wood, Mrs. H. Meyer
Woodruff, Mrs. E. D.
Woddward, Miss Gertrude B.
Women Musicians Club

of San Francisco
Wormser, Mr. S. I.
Wurster, Mr, William W.
Y. M. H. A. Mothers’ Club
Zaruba, Mrs. Eleonora K.
Zellerbach, Miss Lillian
Zentner, Mrs. Julius
Zimmerman, Mrs. Elizabeth
Zimmerman, Mr. George A.
Zook, Mr. Edgar T.

FORM OF BEQUEST

In order to assist in the permanency of the San Francisco Symphony

Orchestra, I hereby bequeath

an endowment fund under the name of

RED RN id to be placed in

, controlled by the Musical Association of

San Francisco, the proceeds from which shall be used toward maintaining the
San Francisco Symphony Orchestra as one of the outstanding cultural and
educational assets of our Community.

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AUGNOTANGTOVANCACRDAVRNGARONONR AWAD EROROGOROOODOBOROGAD SEDO OVIROGLE

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SAN FRANCISCO
SYMPHONY
OR CHESTER

PIERRE MONTEUX
CONDUCTOR

Willem van den Burg
Assistant Conductor

MAINTAINED BY THE MUSICAL
ASSOCIATION OF SAN FRANCISCO

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Misses’ and women's

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2975
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DRESS SALON e FOURTH FLOOR

The Musical Association of San Francisco
Maintaining the
San Francisco Symphony Orchestra

OFFICERS

Mrs. Leonora Wood Armsby . President and Managing Director

John A. McGregor .. . . Vice-President and Treasurer
Mrs. E.S. Heller . Vice-President Edward F. Moffatt Secretary
Paul Bissinger Vice-President Peter Conley . Business Manager
EXECUTIVE COMMITTEE

Mrs. Marcus S. Mrs. M. C. Sloss
Miss Lena Blanding Koshland Mrs. Sigmund Stern
Miss Louise A. Boyd Guido J. Musto Mrs. Cyril Tobin
Mortimer Fleishhacker Mrs. Ashton H. Potter Edgar Walter
Mrs. Walter A. Haas Mrs. George B. Robbins

MUSIC COMMITTEE

Mrs. George T.

Dr. Hans Barkan

Mrs. Leonora Wood Dr. Leo Eloesser

Armsby Cameron J. Emmet Hayden
FINANCE COMMITTEE
C. O. G. Miller Charles R. Blyth Mrs. Marcus S.
Chairman George T. Cameron Koshland
Wallace M. Alexander Milton H. Esberg J. B. Levison

Mortimer Fleishhacker B. B. Meek
Miss Lutie D. Goldstein John Francis Neylan
J. H. Threlkeld

BOARD OF GOVERNORS
Albert I. Elkus Mrs. Harold Richert

Raymond Arsmby
Paul Bissinger

Mrs. Leonora Wood

Armsby Herbert Eloesser McKinnon
Raymond Armsby Dr. Leo Eloesser Mrs. Angus McDonald
G. Stanleigh Arnold Milton H. Esberg R. C. Newell

Mrs. George Mrs. Paul I. Fagan Charles Page, Jr.
Washington Mortimer Fleishhacker Mrs. Ashton H. Potter
Baker, Jr. Mrs. Joseph C. Flowers Mrs. George B. Robbins

Dr. Hans Barkan
Mrs. Edward Otis
Bartlett
Albert M. Bender
Miss Lena Blanding
Miss Louise A. Boyd
Mrs. F. W. Bradley
Paul Bissinger
George T. Cameron

John F. Forbes

Mrs. J. E.French

Frank J. Frost Ray W. Smith

Don E. Gilman Mrs. Sigmund Stern

Miss Lutie D.Goldstein Mrs. Powers Symington

Mrs. Harry S. Haley Mrs. David

J. Emmet Hayden Armstrong Taylor

Mrs. Marcus S. Joseph S. Thompson
Koshland John H. Threlkeld

Miss Else Schilling
Mrs. M. C. Sloss

William H. Crocker
Mrs. W. W. Crocker
Mrs. O. K. Cushing

Mrs. George De Latour

Miss Katherine
Donohoe
Joseph H. Dyer, Jr.

T. B. Berry
W.B. Bourn

Frederick J. Koster
Gaetano Merola
Robert W. Miller
Kenneth Monteagle
Guido J. Musto

Dwight F. McCormack

John A. McGregor

PAST PRESIDENTS

William Sproule
John D. McKee
J.B. Levison

Mrs. Cyril Tobin

Edgar Walter

Michel Weill

Mrs. Eli H. Wiel

Mrs. Sarah
Stetson Winslow

Leonard Wood

Richard M. Tobin
Joseph 8. Thompson

Executive Offices: 4th FLOOR, WAR MEMORIAL OPERA HOUSE
Ticket Office: Sherman, Clay & Co., Sutter and Kearny Streets

a a a a ls a a a i a ae ee A ee ee a)

!
1 ‘
: CHOOSE YOUR PIANO AS THE ARTISTS DO |
|
|

FAMOUS PIANISTS endorse the :

BALDWIN PIANO|| |

The new Baldwin is a truly magnificent
instrument, and in my judgment, it has
no superior in the world today.

ee ae

It has the most beautiful tone I have ever
found in a piano.

fi CLD

At last, we have a most perfect piano.

The New Masterpiece Baldwin Grands
are a revelation. Whether Miniature or
Concert Grand, they are of superior

qualities. pili

BALDWIN PIANOS

310 Sutter Street san Francisco, Calif.

San Francisco Symphony Orchestra
PIERRE MONTEUX, Conductor
WILLEM VAN DEN BURG, Assistant Conductor

SILVER JUBILEE SEASON
FIRST PAIR OF SYMPHONY CONCERTS
1195th and 1196th Concerts

Friday, January 8, 2:30 P. M., 1937
Saturday, January 9, 8:30 P. M., 1937

WAR MEMORIAL OPERA HOUSE
PROGRAMME

De aE NG DD: EAT O Re. 52.se eee eee ee ee eae Bach
Overture
Air
Gavotte I and II
Bourrée
Gigue

2. “PROD Bat @ RAINS LE AD aes cece one ee ee W agner
30s TONTAAPIC TWEE. “UB ERICA se oe eee Debussy

Par les rues et par les chemins
Les parfums de la nuit—
Le matin d’un jour de féte

INTERMISSION

Aes 1 WEB ELOINW SN Os0% NAC NLEN OR sa 5-5 cee eee Beethoven

Allegro con brio
Andante con moto
Scherzo: Allegro—
Finale: Allegro

“One. can live without music but not so well.’

YOUNG PEOPLE’S CONCERTS
Announcement will be made shortly on details for a series of
four Young People’s concerts to be given Saturday mornings,
April 3, 10 17, 24 under the direction of Ernest Schelling.

KNOWLEDGE
OF THIS
SUBJECT

may mean much =

to your family ra AY ~

Whether your estate will be large or small, you can
make it provide more effectively for your family’s
future needs by sound planning . . . now.

As a wise preliminary to such planning, we sug-
gest that you read the above booklet. It discusses
estate problems from the practical standpoint of
today’s conditions. And it explains the investment
policies and procedure which form the basis of this

bank’s trusteeship.

A copy of this new booklet will be sent at your request.
Write, call at our Trust Department,
or telephone SUtter 1500.

FRIDAY EVENINGS—KSFO, 7 O’CLOCK
BUSINESS FORUM OF THE AIR
PHILADELPHIA ORCHESTRA
STOKOWSKI—ORMANDY

TRUS = DEP AK TM ENT

Wells Fargo Bank
Union Trust Co.

Market at Montgomery Market at Grant Ave.
SAN FRANCISCO
Established 1852

BY WAY OF APOLOGY

The writer of these lines undertakes the editorship of this program book
with no settled conviction concerning its contents other than the conviction
that it must contain, in the briefest possible space, material of direct value
and significance to the San Francisco audience of 1937. To that end, the
audience itself is respectfully requested to express itself by letter as to what
it wants or does not want in these notes. If a cross section of the audience
interest can be obtained in this way, it will be given the utmost weight in
determining the future policy of these discussions.

I have before me a widely quoted program note on Beethoven’s fifth
symphony. It begins by painstakingly dating the origins of the work from
the earliest sketches. There follows the complete program of the concert
at which it was first performed, and about 500 words on a pair of singers
who did and did not participate in that event, needless to say in connection
with another work than the fifth symphony. After several quotations of
early reviews come several brilliant pages of analysis by Hector Berlioz, and
the essay concludes with a long series of dates of first performances in
various cities.

Except for the excerpt from Berlioz, which is unfortunately far too long
to be reprinted here, I submit that all of this material, while of interest to
the student of Beethoven’s biography, is of no importance to the music lover
listening to the fifth symphony. When this music rings out in San Francisco’s
War Memorial Opera House in January, 1937, it is a datum of absurdly little
value that Pauline Milder, who DID NOT sing in the concert when the
fifth symphony was first presented, was born in 1785, did various and
sundry things, and died in 1834.

As I see it, a program note should do two things. It should first of all
place a work against its background in the general scheme of things musical.
Secondly it ought, when a piece of music that is essentially architectonic is
performed, to point out the order, succession and logic of its thematic
elements, its orchestral peculiarities, and so on. While A. E. F. Dickinson

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——_ eee

NELSON EDDY
WED. EVENING, JANUARY 13

Only Concert This Season
Good Seats Available

8
Martin and Osa

JO HN S ON

FAMOUS EXPLORERS
IN PERSON

with new color motion pictures of
“Wildest Borneo”

THUR. EVE. 8:20 P. M., JAN. 21
©

ROBERT O’CONNOR
AMERICAN PIANIST

“An interpreter of Poetic Sensi-
bility.”—Olin Downes, N. Y. Times

RECITAL — MON. EVE., FEB. 1

VIENNA CHOIR BOYS
“WIENER SAENGERKNABEN”
All New Program
TUESDAY EVE., FEBRUARY 2
®

Admiral
RICHARD E. BYRD

IN PERSON with SECOND EDI-
TION PICTURES of ANTARCTIC
EXPEDITION II

MATINEE and NIGHT, FEB. 3

&
RACHMANINOFF
Only 2 Recitals in Northern Calif.
FRIDAY EVE., FEBRUARY 5
SUN. MATINEE, FEBRUARY 7

s
NANCIE MONTEUX
DANCE RECITAL
VETERANS’ AUDITORIUM
MONDAY EVE., FEBRUARY 15

MARIAN ANDERSON
FAMOUS NEGRO CONTRALTO
Only Recital in San Francisco
WED. EVE., 8:30, FEBRUARY 24

&
LAWRENCE TIBBETT

MON EVE., 8:30 — APRIL 19
®

TRUDI SCHOOP AND
COMIC BALLET

Complete New Program
WED. EVE., 8:30 — MARCH 17
&

NINO MARTINI
THURS. EVE., 8:30 — APRIL 29

SES PELLET a CER
By Special Arrangement

Peter Conley
will present the famous
GENERAL ELECTRIC CO.’S
“HOUSE of MAGIC”

consisting of actual demon-
strations and scientific ex-
periments, exactly as pro-
duced in the Research Labor-
atory at Schenectady, N. Y.

Fully explanied in simple
language by Dr. H. T. Plumb,
leading G.-E. engineer.

VETERANS’
Av UD TOR PUM
Two Showings Daily:

2P.M.and8 P.M.

Mon., Tues., Wed., Thur.
January 11, 12, 13, 14

All Seats Reserved

Nights, 75c, 40c — Mats. 40c
(incl. tax)

BOX OFFICE: SHERMAN, CLAY & CO., San Francisco & Oakland

a tn li i i ne in ie aie ate te i ti i a 1a fai ii oa aie ah a ae a a a de

prcbably overstates the case when, in his book on the symphonies of Mozart,
he says that such things are permanently missed unless attention is
specifically directed to them, it is nevertheless true that many felicities and
basic significances in music can be brought out by intellectual analysis.

This does not mean technical analysis or the composition of annotations
directed solely to a professional audience. It does mean that no one’s
emotional understanding of a highly organized and complex work of art has
ever been lessened by grasping the essentials of its organization. The contrary
is rather the case.

As stated above, however, these program notes aim to be of service to
the general audience of San Francisco. If the conception of their function
here outlined is erroneous, they will be changed according to the expressed
desires of those whom they aim to serve.

ts
PROGRAM NOTES

By ALFRED FRANKENSTEIN

SUITE No.3, DMAJOR ....... .. J.S. Bach
(1685-1750)

The orchestration of Bach, and of the pre-symphonic age in general, is
based upon radically different concepts of ensemble from those of the
symphonic period — roughly speaking, from the days of Haydn to the
present. The symphonic composer thinks in terms of an orchestra made up

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entirely of professional musicians, performing in public halls for heterogeneous
audiences, and essentially the same in instrumentation throughout the
civilized world. The composer of Bach’s time, on the other hand, wrote for
a very small private ensemble, made up of a nucleus of professionals
surrounded and considerably outnumbered by amateurs, and capriciously
different and individual as regards instrumentation in each specific instance.

Therefore, where the more modern composer need think only of the
limitations and possibilities of the instruments in a universally standard
orchestra, the composer of Bach’s age had first to know what instruments
were available in this and that band, and which of these were in the hands
of professionally competent performers, before writing a single note. Conse-
quently each of Bach’s orchestral works calls for an instrumental balance
peculiar to itself alone.

The third suite is scored for three trumpets, two oboes, kettledrums,
and strings. No one knows for what ensemble it was composed, but the
context clearly reveals Bach’s respect for the trumpeters he had in mind,
and his rather amusing contempt for the oboeists, who do nothing but double
the strings throughout.

The term “suite” as applied to Bach’s four orchestral works in this
form, implies a good sized overture followed by a number of brief move-
ments, most of them in dance rhythms. The overture is always of a special
type — the so called “French overture” — in which a slow, pompous in-
troduction is succeeded by a quick fugue, and this in turn by a restatement
of the introductory material. The dances are all derived from the 16th
century French tradition and bear French names. By the time of Bach most
of these had long ceased to be practiced as dances, and remained as purely
musical rhythmic patterns. The celebrated ‘Air’ which forms the slow
movement of this suite is, of course, not a dance movement in any sense
of the word.

PRELUDE TO PARSIFAL . . . . Richard Wagner
(1813-1883)

The prelude to “Parsifal” is based upon four leading motives associated
with the mystical and religious element in this “stage consecrating festival
play.”

Sehr langsam, A flat major, 4/4 time. Strings and woodwinds in unison
present, bare of accompaniment, the motive of the Eucharist:

which is then repeated an octave higher with a shimmering, arpeggiated
accompaniment. After a long pause the motive is once more given out in bare

PH EE NPY ke

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Conducted by MONTEUX, KURTZ, DORATI
ACCOMPANIES ALL PERFORMANCES

canto BD APE Ea ee Ra Ss See

Thursday Eve.,....January 28

Aurora’s Wedding
Symphonie Fantastique
Boutique Fantasque

Friday Eve......... January 29

Cimarosiana |
Choreartium |
Spectre de la Rose |
Le Beau Danube Dd |

|
)

Saturday Aft.......January 30 SECURE

Lake of Swans

Petrouchka :
Prince Igor Seki vA aT S '
Saturday Eve.....January 30 ae ae center
Pavillon
Symphonie Fantasque
L’Apres midi d’un Faun 2
Cimarosiana
Sunday Aft... January 31 <
Sylphides )
Le Tricorne
L’Apres midi d’un Faun
Le Beau Danube
e
$2.20 — $1.65 — $1.10
(Programmes subject to change) Box Office
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PRESENTED BY THE ART COMMISSION OF SAN FRANCISCO |

EDGAR WALTER, President JOS. H. DYER, JR., Secretary
Direction of Music Committee: J. EMMET HAYDEN, Chairman

etn ln le i ln al ln an lie tte te ile stn iin i i a oie ae oh ae nae es
12

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unison, but now in C minor, and this version, too, is repeated in an
accompanied form. A second long pause leads to the motive of the Grail:

The last quoted phrase is developed at some length. Eventually the key of
A flat is reinstated, and the Eucharist sounds out once more, now, however,
to be worked over with impassioned, agonized harmonies, during the course
of which the motive of the Lance is thrown off:

With a final statement of the Eucharist, the prelude is brought to a close.

IBBRUM 2 chun a OS Re eee Claude Debussy
(1862-1918)

Ever since “Carmen” burst upon the world in 1875, French composers
have interested themselves in Spain and its music. The examples of this
genre composed by Chabrier, Ravel and Debussy are world famous, but
all the other Frenchmen of the last 50 years have contributed to it in one
way or another, with the sole exception, so far as I know, of Cesar Franck.
I'ather Franck in a toreador’s hat is one of the less readily imaginable
pictures.

Claude Debussy’s contact with Spanish territory was limited to an
afternoon at San Sebastian. But his power in the handling of Spanish
musical idioms is attested by no less an authority than Manuel de Falla, the
greatest living Spanish musician.

Debussy wrote Spanish music even when he did not want to, insists de

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Falla in his article in the Revue Musicale. His interest in the liturgical
modes, upon which the idioms of Spanish folk music are also based, led in-
evitably to the unconscious creation of works with the Iberian flavor, among
which de Falla cites the scherzo of the quartet. When Debussy consciously set
out to picture Spain, says this writer, he gives us the very essence of Andalusia,
“the truth without literal authenticity,” in a music which, while not docu-
mented with actual Spanish material, evokes the soul of the land.

Concerning “Iberia” de Falla says: ‘Echoes of the villages, in a kind
of sevillana, seem to float in a crystalline atmosphere filled with scintillant
sunshine; the intoxicating magic of Andalusian nights, the gaiety of people
on a holiday marching and dancing to the joyous noise of a band of guitarras
and bandurrias — all this whirls in the air, now close, now distant, and our
imagination, constantly stimulated, is enchanted by the intense expressive-
ness and rich shading of this powerful music.”

De Falla concludes with the strongest tribute of all, namely that
Debussy finished the propaganda for Spanish nationalism begun by Pedrell,
and actually showed Spain itself how to use its own idioms.

The titles of the three movements of “Iberia” are, in English, “In the
Streets and by the Wayside,” “Perfumes of the Night,” and “The Morning
of a Festival Day.”

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1S gle The

CONDUCTOR OF

SAN FRANCISCO SYMPHONY
ORCHESTRA

PARIS SYMPHONY ORCHESTRA

H i ss. vO -a_ Yr ‘eer r.——

Concetts Monteux; Paris’ .22--..4.... 2 eee 1914
Ballet: Russe: de Didenlewe:. 626 3G ioe ee 1911-1917
Metropolitan: \Opetianc. 3. ce ee he 1917-1919
Boston Symphony Orchestra..................0.2.......2... 1919-1924
Concertgebovw Orchestra, Amsterdam, Holand 1924-1934
Paris Symphony Orchestra.......................... Ba LES Sis 1929-1936

Has conducted... Philadelphia, New York and Los Angeles Orches-
tras here in America. Is only French Conductor to conduct Berlin
and Vienna Philharmonic Orchestras. Colleague of Willem Mengel-
berg ten years. Conducted every major orchestra in Europe. Creator
of Petrouchka, Sacre du Printemps, du Rossignol, Stravinsky; Daphnis
and Chloe, Ravel; and many other modern works famous today.

BERKELEY CONCERT

Men’s Gymnasium, University of California
o

Sunday, January 17, 3:15 P. M.
Soloist: GEORGE GERSHWIN, Pianist-Composer

PKCOVG RA VE oe

ft: - SYMPHONY UNO? SINC MIN O Re. ee Beethoven
2. CONCERTO FOR PIANO AND ORCHESTRA
ENG EIEN Retin: cae oe aac he ree ee Gershwin
(The Composer at the Piano)
3. SUDLLE FROM: --PORGY “AND BESS 3.422 Gershwin
(Conducted by the Composer)
40 REAPSODY. “SiR ANAY 2s ten foes 92 es eh ee Chabrier

TICKETS AT STEPHENS UNION AND USUAL AGENCIES

—. o—- = a) . -

SYMPHONY No. 5, C MINOR,

OPUS 67 .. .. . . . Ludwig van Beethoven
(1770-1827)

The most popular of Beethoven’s symphonies is too well known to
require much discussion. I should like, however, to examine one phase of its
popularity that can stand some criticism.

The opening phrase of the symphony:

is popularly supposed to represent ‘‘Fate knocking at the door.’’ This legend
originated with Anton Schindler, one of Beethoven’s constant companions
during the last 14 years of his life. Schindler was a literal minded soul who
wrote an important biography of the composer in the course of which, among
other things, he laments that Beethoven did not publish all his works with
literary or pictorial titles above each movement, as in the case of the sixth
symphony or the sonata known as “Farewell, Absence and Return.” Schindler
believed Beethoven had some such literary idea in mind when writing each
and every one of his works, and constantly quizzed the composer to discover
them. Some of the “interpretations” Beethoven gave him were clearly
jocular, but the unsuspecting Schindler, unaware that he was being spoofed,
records them solemnly as revelations from on high.

The remark, “So Fate knocks at the door,’ was made by Beethoven
when going over the score of the fifth symphony with Schindler prior to a
performance of that work conducted by the latter in 1823. The context of
Schindler’s report makes it clear that Beethoven was, for the moment,
talking Schindler’s literal minded language in order to impress a musical
idea upon him. There is no evidence whatever that in the years 1805 to
1807, when the symphony was being composed, Beethoven had any such
idea in his head.

The evidence of those years points rather to the contrary, since the same
figure, or one very closely related to it, turns up in many other works of this
period, among them the “Sonata Appassionata,” the “Eroica,” the first
Rasoumovsky quartet, the fourth piano concerto and the violin concerto.

Fate or no fate, the phrase clearly has a pioneering constructive
purpose. In the fifth symphony Beethoven, for the first time in the history
of music, specifically and unmistakably sets out to unify the four move-
ments of the symphonic form. He does this in several ways, primarily by
the use of the “Fate” motive, or something derived from it, in every move-
ment, but also by the mysterious flashback to the scherzo in the course of the
finale, and the linking together of the last two movements.

POETS O NGNSE aE

SAN FRANCISCO SYMPHONY ORCHESTRA

PIERRE MONTEUX, Conductor
Willem Van den Burg, Assistant Conductor

First Violins:

Blinder, Naoum

Concert Master
Fenster, Lajos

Asst. Concert Master
Argiewicz, Artur
Meriz, Emilio
Wolski, William
Jensen, Thorstein
Laraia, W. F.
Gordohn, Robert
Mendelevitch, Rodion
Mortensen, Modesta
Pasmore, Mary
de Grassi, Antonio
Wegman, Willem
Claudio, Ferdinand
Koharits, Joseph
See, Orley

Second Violins:

Heyes, Eugene
Principal

Haug, Julius
Gough, Walter
Rosset, Emil
Paterson, J. A.
Gold,Julius
Helget, Hans
Moulin, Harry
Spaulding, Myron
Baret, Berthe
Houser, F. S.
Koblick, Nathan
Lind, Waldemar
Schneider, D.

Violas:

Firestone, Nathan
Principal

Verney, Romain
Hahl, Emil
Weiler, Erich
Baker, Fred A.
Tolpegin, Victor
Karasik, Manfred
Vdovin, Alexander
Mitchell, L.
Lichtenstein, Victor

B
Cellos:

Bassoons:

Van den Burg, Willem Eup its cee Ernest

Principal
Dehe, Willem
Reinberg, Herman
Kirs, Rudolph
Pasmore, Dorothy
Coletti, Bruno
Bem, Stanislas
Haight, Rebecca
Rogovoy, George

Basses:
Bell, Walter
Principal

Schmidt, Robert E.
Guterson, Aaron
Schipilliti, John
Forman, F. F.
Hibbard, E. B.
Storch, A. E.
Buenger, A.

Flutes:

Woempner,Henry. C.
Oesterreicher, Walter
Benkman, Herbert
Herold, R. J.

Oboes:
Shanis, Julius
Sargeant, W.
Schivo, Leslie J.
English Horn:
Schivo, Leslie J.

Clarinets:

Schmitt, Rudolph

Rudd, Charles

Fragale, Frank
Bass Clarinet:

Fragale, Frank

a Haye, E. B.
Hranek, Carl
Baker, M.

Contra Bassoon:
La Haye, E. B.

Horns:

Lambert, Pierre
Trutner, Herman
Tryner, Charles E.
Roth, Paul

Trumpets:

Klatzkin, Benjamin
Barton, Leland S.
Kress, Victor

Trombones:

Giosi, Orlando
Shoemaker, R. F.
Klock, J.

Tuba:
Murray, Ralph

Harp:
Attl, Kajetan
Morgan, Virginia
Tympani:
Wagner, R. E.

Percussion:

Vendt, Albert
Salinger, M. A.
Greer, E.
Steffan, D.

Piano and Celesta:
Tibbits, J. P.
Librarian:
Haug, Julius
Personnel Manager:
Oesterreicher, Walter

[* Bier ishoneeaneis saeonan o)
SECOND PAIR OF SYMPHONY CONCERTS

Friday Afternoon, January 15, at 2:30
Saturday Evening, January 16, at 8:30

W: AG Si MEOr Ries. “O° P BURSA aC Omiae Ee

GEORGE GERSHWIN, Guest Artist
POR OCG he Aa

OVERTURE TO DIE MEISTERSINGER.................... Wagner
SYMPHONY No. 4, A MAJOR (ITALIAN )........ Mendelssohn
PIANO CONCERTO, FF sia @) eee ee Gershwin

(The composer at the piano)
SYMPHONIC SUITE FROM PORGY AND BESS....Gershwin
(The composer conducting)

RHAPSODY BS BAIN GAG eee ee) et eee ee Cabrier

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UDINE N

MAINTAINED BY THE MUSICAL
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San Francisco Symphony Orchestra

PIERRE MONTEUX, Conductor
WILLEM VAN DEN BURG, Assistant Conductor

SILVER JUBILEE SEASON

SECOND PAIR OF SYMPHONY CONCERTS
1197th and 1198th Concerts

Friday, January 15, 2:30 P. M., 1937
Saturday, January 16, 8:30 P. M., 1937
WAR MEMORIAL OPERA HOUSE

Soloist: GEORGE GERSHWIN, Pianist
PROGRAMME

1. Overture to ‘Die Meistersinger von Nurnbe ‘g’’............ Wagner

2. Symphony No. 4, A major (“Italian”).............- Mendelssohn

Allegro Vivace

Andante Con Moto

Con Moto Moderato

Presto
3. Concerto for Piano and Orchestra, F major..........-... Gershwin

Allegro

Adagio

Allegro Agitato

(The Composer at the Piano)

First Performance in San Francisco

INTERMISSION
A. (‘Suitesirom, “Orey and: BESS. a ee ree aoe Gershwin

Catfish Row
Porgy Sings
Fugue
Hurricane
Good Mornin’, Sistuh
First Performance in San Franctsco

(Conducted by the Composer)
Fete Polonaise from ‘Le Roi Malgré Lui’’................. Chabrier

[The Piano is a Steinway ]

“One can live without music but not so well.”

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OF THIS
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PROGRAM NOTES

By ALFRED FRANKENSTEIN

Since space in this program book is somewhat limited, and since the
overture to ‘‘Meistersinger” and the “Italian” symphony are very well known
and Chabrier’s ‘Polish Festival” is sufficiently expalined by its title, this
week’s annotations will be devoted entirely to the composer and the two
works introduced to San Francisco for the first time in this pair of concerts.

George Gershwin’s career is bisected by a date — February 12, 1924.
It was then that Paul Whiteman gave his first concert in Aeolian Hall,
New York, introducing, among other things, the ‘““Rhapsody in Blue.” The
“Rhapsody in Blue” not only established Gerswin as a composer of music
for the concert platform, but it likewise clinched the success of his career
as a composer for the stage.

True enough, Gershwin had a string of successful scalps to his belt
before 1924. Whiteman did not commission the “Rhapsody” from an
unknown. But Gershwin went into the concert of February 12 as one of the
better Broadway jazzboys, and emerged a self sufficient musical personality.

The composer started his career as a piano player (not a pianist) for
the publishing house of Remick, having studied the piano and composition
in his native Brooklyn, where he was born in 1898. His earlier songs,
interpolated in various musical shows, attracted sufficient attention to justify
the commission of his first complete score, “La La Lucille,” produced in 1919,
when the composer was 20 years of age. Shortly afterward came his first
nation-wide hit, the song called ‘““Swanee.’”’ Then the music to George White’s
“Scandals,” for five consecutive annual editions, beginning in 1920, and many
other comedies and individual songs. His first attempt at composition more
or less in the European tradition was the one act opera, “Blue Monday
Blues,” interpolated in the “Scandals” for 1922 without success, nor did
the revised form of the work, renamed “135th Street,” fare much better.

Gershwin was no stranger to Aeolian Hall when the “Rhapsody in Blue”

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ROBERT O’CONNOR
AMERICAN PIANIST

“An interpreter of Poetic Sensi-
bility.’”—Olin Downes, N. Y. Times

RECITAL — MON. EVE., FEB. 1
&

VIENNA CHOIR BOYS
“WIENER SAENGERKNABEN”
All New Program

TUESDAY EVE., FEBRUARY 2

Admiral
RICHARD E. BYRD
IN PERSON with SECOND EDI-
TION PICTURES of ANTARCTIC

EXPEDITION II
MATINEE and NIGHT, FEB. 3

RACHMANINOFF
Only 2 Recitals in Northern Calif.

FRIDAY EVE., FEBRUARY 5

SUN. MATINEE, FEBRUARY 7
NANCIE MONTEUX

DANCE RECITAL
VETERANS’ AUDITORIUM

MONDAY EVE., FEBRUARY 15

MARIAN ANDERSON
FAMOUS NEGRO CONTRALTO
Only Recital in San Francisco

WED. EVE., 8:30, FEBRUARY 24
a

LAWRENCE TIBBETT
MON EVE., 8:30 — APRIL 19

NINO MARTINI
THURS. EVE., 8:30 — APRIL 29

TRUDI SCHOOP AND
COMIC BALLET

Complete New Program
WED. EVE., 8:30 — MARCH 17

SPECIAL ANNOUNCEMENT

TED SHAWN
And His Company of
Male Dancers
VETERANS’ AUDITORIUM

Tuesday Evening, April 6
Wednesday Afternoon and

Evening, April 7

BOX OFFICE: SHERMAN, CLAY & CO., San Francisco & Oakland

was first produced. In 1923 he had appeared there as accompanist to
Mme. Eva Gauthier, when that artist had ventured, probably for the first
time in history, to include a group of popular hits of the day in a serious
recital program.

The “Rhapsody in Blue” was a world success, and remains today the
principal monument to Whiteman’s effort to “make a good girl out of jazz,”
as H. O. Osgood phrases it. Whiteman toured the country for several
seasons giving jazz concerts. He invited new works for his orchestra from
many composers, but of all the compositions created for and introduced by
Whiteman in this period, Gershwin’s alone has won public favor. And it
was written in ten days, as a sort of afterthought, to add dramatic, soloistic
punch to the original program.

A number of the outstanding theatrical works of Gershwin since 1924
are “Lady Be Good,” “Tip Toes,” “Song of the Flame,” ‘Funny Face,”
“Strike Up the Band,” “Girl Crazy,” “Of Thee I Sing,” “Let Em Eat Cake,”
and ‘“‘Porgy and Bess.” His principal efforts in the concert field have been
the piano concerto, the orchestral suite entitled “An American in Paris,” and
the “Second Rhapsody.”

One member of the distinguished audience that gathered in Aeolian
Hall on that phenomenal day in 1924 was Dr. Walter Damrosch, then
conductor of the New York Symphony Orchestra. Damrosch conceived
the idea of commissioning a piano concerto for the traditional instrumentation

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from Gershwin. This came to performance on December 5, 1925, in a
concert of the New York Symphony in Carnegie Hall. Introducing the
concerto in F Damrosch said:

“Various composers have been walking around jazz like a cat around
a plate of hot soup, waiting for it to cool off, so that they could enjoy it
without burning their tongues, hitherto accustomed only to the more tepid
liquid distilled by cooks of the classical school. Lady Jazz, adorned with
her intriguing rhythms, has danced her way around the world, even as far
as the Eskimos of the North and the Polynesians of the South Sea Isles.
But for all her travels and her sweeping popularity, she has encountered no
knight who could lift her to a level that would enable her to be received
as a respectable member in musical circles.

“George Gershwin seems to have accomplished this miracle. He has
done it boldly by dressing this extremely independent and up-to-date young
lady in the classic garb of a concerto. Yet he has not detracted one whit
from her fascinating personality. He is the prince who has taken Cinderella
by the hand and openly proclaimed her a princess to the astonished world,
no doubt to the fury of her envious sisters.”

A brief outline of the concerto follows. The thematic excerpts are
quoted by special permission of Harms, Inc., owners of the copyright.

I. Allegro. After 27 bars of preluding and foreshadowing the first
subject is stated by the flutes and oboes:

This is repeated by the full orchestra and leads to the statement of the
second principal subject, announced by the piano solo at its entrance as
follows:

This is repeated, worked up to a climax, and restated, forte. A brief cadenza
for the solo instrument introduces a development based for some 14 pages
of the score upon Example ‘1. A episodic theme is then introduced by the
strings, moderato cantabile:

Development continues on the basis of all three themes quoted. There is
no orthodox recapitulation, its place being taken by a very full statement,
grandioso, of Example 2. Further working over of Example 1 provides a coda.

II. Adagio. At the forth measure a muted trumpet publishes a
nostalgic blues:

The tempo quickens with the entry of the solo, leading to an elaborate,
rhapsodic, somewhat fox-trottish working out of the trumpet blues. After
a piano cadenza comes a new tune:

Elaboration of this material leads to a climax and a sudden, brief pause,
whereupon the trumpet returns to its blues to conclude the movement.

III. Allegro agitato. The finale is a kind of rondo, based upon the
nervous, brilliant reiterative theme stated at the outset by the orchestra and
repeated by the piano. This subject comes back several times. In the
interstices between its repetitions material from the first two movements is
quoted, so that the finale summarizes all the thematic elements of the
entire work. Example 2 is given particularly important consideration toward
the end, and the final bars are based upon Example 1.

“Porgy and Bess,” folk opera by George Gershwin, libretto by Du Bose
Heyward, lyrics by Du Bose Heyward and Ira Gershwin, was first produced
by the Theater Guild in Boston in September, 1935, later going to New
York for an extended run. It is based upon the well known novel and play,
“Porgy,” (the “g” as in “go”) by Du Bose and Dorothy Heyward, a brief
synopsis of which follows:

The action takes place in Catfish Row, a Negro tenement in Charleston,
S. C., inhabited chiefly by fishermen, dock laborers, and their numerous
wives and children. The poles of good and evil in this little community
are Porgy, the wistful crippled beggar, and Sporting Life, bootlegger and
dope peddler, whose proudest boast is that he has been to New York.
Among the more persistent customers of the latter are Crown, a huge power-
ful stevedore, and his lady love, the abandoned Bess, who is despised by all
of Catfish Row except Porgy.

Crown kills Robbins, another young stevedore, in an argument over a
crap game, and makes his getaway to parts unknown, leaving Bess with
Porgy. A Negro lawyer sells Bess a ‘“‘divo’ce” from Crown, (price $1.00,
raised to $1.50 when the lawyer discovers Bess and Crown had never been
married) and this makes Porgy her husband according to the mores of
Catfish Row. And the cripple’s influence over the woman is a soothing,
calming and endearing one.

A few weeks later all of Catfish Row except the crippled Porgy goes

}

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PRESENTED BY THE ART COMMISSION OF SAN FRANCISCO
EDGAR WALTER, President JOS. H. DYER, JR., Secretary

Direction of Music Committee: J. EMMET HAYDEN, Chairman

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on a picnic to one of the islands off the coast. Here Crown, who has
been hiding in the palmetto jungle, seizes Bess and forces her to remain
with him several days. But she returns to Catfish Row and to Porgy,
who forgives her. |

The fishermen of the tenement are caught in a howling hurricane, and
the women, along with Porgy and the children, come together to sing and
shout for their deliverance. At the height of the storm Crown strides into
the assemblage. When one of the fishing boats is blown against the shore,
Crown swaggers out into the storm to assist in such rescue as may be effected.

In the final act Crown steals into the room inhabited by Porgy and
Pess, and is killed by Porgy. His body is discovered by the police, who
do not suspect the murderer or the motive, and force Porgy, much against
his will, to come to the morgue to identify the body. Sporting Life, who
has had his eye on Bess throughout the play, sees to it that Porgy makes
a feeble, unsuccessful effort to evade the police Summons, and when the
beggar does not return for several days, the bootlegger convinces Bess that
Porgy has been thrown in jail for a long sentence because of this attempted
evasion. Porgy comes back at the end of a week to find Bess flown with
Sporting Life, and the drama ends with Porgy in his goat cart setting out
on the long, futile trail to New York and his beloved Bess.

In an article Gershwin contributed to the New York Times shortly
after the premiere he said, in very brief part:

“Porgy and Bess’ is a folk tale. Its people would naturally sing folk
music. When I first began work on the music I decided against the use of
original folk material because I wanted the music to be all of one piece.
Therefore I wrote my own spirituals and folk songs. But they are still
folk music — and therefore, being in operatic form, ‘Porgy and Bess’
becomes a folk opera.

“However, because ‘Porgy and Bess’ deals with Negro life in America,
it brings to the operatic form elements that have never before appeared in
opera, and I have adapted my method to utilize the drama, the humor,
the superstition, the religious fervor, the dancing and the irrepressible high
spirits of the race. If, in doing this, I have created a new form, which
combines opera with theater, this new form has come quite naturally out
of the material.”

The symphonic suite from “Porgy and Bess” contains five movements.
The first, “Catfish Row,” sets the tone and atmosphere of the locale, and
includes, among other things, a foxtrot and a lullaby called “Summer Time.”
The second, “Porgy Sings,” is composed of Porgy’s philosophical song,
“I Got Plenty O’ Nothin’, and Nothin’s Plenty for Me,” and a portion of
the duet, ‘“Bess, You Is My Woman Now.” The “Fugue” is the music that
accompanies the killing of Robbins by Crown. The “Hurricane” is self-
explanatory. The finale, “Good Mornin’, Sistuh,” “is music from the last
scene which includes parts of the ‘Occupational Symphony’ and finishes with
a spiritual, ‘Oh Lord, I’m On My Way,’ which is sung by Porgy and chorus.”

hips Cf) sm

CONDUCTOR OF

SAN FRANCISCO SYMPHONY
ORCHESTRA

PARIS SYMPHONY ORCHESTRA

His Career—

Concerts Monteux, (Paris)... Se 1914
Ballets Russes de Diaghilew................................ 1911-1917
Metropolitan. Opera’ s.i.2.:2.2 ie ee 1917-1919
Boston Symphony Orchestra............................---- 1919-1924
Concertgebouw Orchestra, Amsterdam, Holland 1924-1934
Paris Symphony Orchestra........................----..------ 1929-1936

Has conducted... Philadelphia, New York and Los Angeles Orches-
tras here in America. Is only French Conductor to conduct Berlin
and Vienna Philharmonic Orchestras. Colleague of Willem Mengel-
berg ten years. Conducted every major orchestra in Europe. Creator
of Petrouchka, Sacre du Printemps,le Rossignol, Stravinsky; Daphnis
and Chloe, Ravel; and many other modern works famous today.

BERKELEY CONCERT

Men’s Gymnasium, University of California
@

Sunday, January 17, 3:15 P. M.
Soloist: GEORGE GERSHWIN, Pianist-Composer

POURS OFGMR SAY VME TE:

1. SYMPHONY No. 5 -ENy CxMEINO Re eee Beethoven
2. CONCERTO FOR PIANO AND ORCHESTRA
TINGE: IVEAC © Re Se ee ee Gershwin
(The Composer at the Piano)
3, SUELE, FROM ]PORGYSAND BESS Gershwin
(Conducted by the Composer)
AS COREEAPSO DY TEN SB Oi eee ee ee Gershwin

(The Composer at the Piano)
TICKETS AT STEPHENS UNION AND USUAL AGENCIES

[Seigieigie@)ukial Ge adee a
THIRD PAIR OF SYMPHONY CONCERTS

=
Friday Afternoon, January 22, at 2:30
Saturday Evening, January 23, at 8:30

WAR MEMO RM AL 60 Pe RAS He Ores

SO} tas

ALEXANDER TANSMAN, Guest Artist
PROGRAM
SYMPHONIE PANTASTIOUBs = 222.0200 Berlioz
CONCERTINO FOR PIANO AND ORCHESTRA....Tansman

First Performance in San Francisco

(The Composer at the Piano)
ARTAJAN DeALLA.POLACCAL 2) eed oe eee Tansman

First Performance in America

(The Composer Conducting)
LA: VALS ie ert a oe tee eRe tie ee oe nn eee Ravel

Among our customers we are honored to include

WILLIFM WOLSKI

First violinist with the San Francisco Symphony Orchestra who
selected from our Collection of Rare Instruments a violin, one
of the finest specimens of the famous old master, Carlo Bergonzi,

in existence today.

THE RUDOLPH WURLITZER CO.

364 SUTTER STREET *PHONE SUTTER 8611 SAN FRANCISCO

Quality in instruments, with the guarantee which the
largest music house in the world can give.

———

PETS ON AN aA

SAN FRANCISCO SYMPHONY ORCHESTRA

PIERRE MONTEUX, Conductor
Willem Van den Burg, Assistant Conductor

First Violins:

Blinder, Naoum

Concert Master
Heyes, Eugene

Asst. Concert Master
Argiewicz, Artur
Meriz, Emilio
Wolski, William
Jensen, Thorstein
Laraia, W.F
Gordohn, Robert
Mendelevitch, Rodion
Mortensen, Modesta
Pasmore, Mary
de Grassi, Antonio
Wegman, Willem
Claudio, Ferdinand
Koharits, Joseph
Houser, F.S

Second Violins:

Gough, Walter
Principal
Haug, Julius
Rosset, Emil
Paterson, J. A.
Gold,Julius
Helget, Hans
Laraia, Attilio F.
Spaulding, Myron
Baret, Berthe
Moulin, Harry
Koblick, Nathan
Lind, Waldemar
Schneider, D.

Violas:

Firestone, Nathan
Principal
Verney, Romain
Hahl, Emil
Weiler, Erich
Baker, Fred A.
Tolpegin, Victor
Karasik, Manfred
Vdovin, Alexander
Lichtenstein, Victor
Mitchell, L.

Cellos:

Van den Burg, Willem
Principal
Dehe, Willem
Reinberg, Herman
Kirs, Rudolph
Pasmore, Dorothy
Coletti, Bruno
Bem, Stanislas
Haight, Rebecca
Rogovoy, George
Hranek, Carl

Basses:

Bell, Walter
Principal

Schmidt, Robert E,
Guterson, Aaron
Schipilliti, John
Forman, F. F.
Hibbard, E. B.
Storch, A. E.
Buenger, A.

Flutes:

Woempner,Henry. C.
Oesterreicher, Walter
Benkman, Herbert
Herold, R. J.

Oboes:
Shanis, Julius
Sargeant, W.
Schivo, Leslie J.
English Horn:
Schivo, Leslie J.

Clarinets:

Schmitt, Rudolph
Rudd, Charles
Fragale, Frank

Bass Clarinet:
Fragale, Frank

Bassoons:

Kubitschek, Ernest
La Haye, E. B
Hranek, Carl
Baker, M.

Contra Bassoon:
La Haye, E. B.

Horns:

Lambert, Pierre
Trutner, Herman
Tryner, Charles E.
Roth, Paul

Trumpets:

Klatzkin, Benjamin
Barton, Leland S.
Kress, Victor

Trombones:

Giosi, Orlando
Shoemaker, R. F’.
Klock, J.

Tuba:
Murray, Ralph

Harp:
Attl, Kajetan
Morgan, Virginia
Tympani:
Wagner, R. E.

Percussion:

Vendt, Albert
Salinger, M. A.
Greer, E.
Steffan, D.

Piano and Celesta:
Tibbits, J. P.
Librarian:
Haug, Julius
Personnel Manager:
Oesterreicher, Walter

Rachmaninofi

Direction: CHARLES FOLEY
PROGRAM: FRIDAY EVE., 8:30 P. M. — FEB. 5

1. Organ Fantasia and Fugue in G-minor.............................. Bach-Liszt
2... ponata, Opust LOGe ee. eee ee Beethoven

Vivace ma non troppo

Adagio espressivo

Prestissimo

Andante molto cantabile ed espressivo

3. (a) Polonaise, C-minor

b) Nocturne .......22- ;
os NEVA he 1, Weep 0 oe A ce ae PO gee alate i > em aa eee aa Chopin
(d) Rondo, Opus 16........ }
LNcE-E RYE S SON
4. Four Etudes-Tableaux, ‘Opus: 33... Rachmaninoff
C-sharp minor
G-minor
K-flat minor
E-flat major
do.” sonnetto- del. Petrarea, NO: 23). 2 eo oe eee Liszt
6. Magice7hire.25 —-, 3425 iol) Ree ee 2 ee ee Wagner-Brassin
tz.> tudes | PEMA Obes ee ee ee ee eee ene Paganini-Liszt

Steinway Piano

PROGRAM: SUNDAY AFT., 2:30 P. M. — FEB. 7

1 Variations: (Aen aj O28 2b yi ed oe ee ee Mozart

2. Bhree Sonatas Ao aoe is eee ia es ee Scarlatti

g.. ‘ponata, OPUS oss b=MINOr ieee er ee Chopin
ON = Hehe Ve bas Se sO Ni

4; ‘Prelide 242s, Soe: NSS ae Ee A Bach-Rachmaninoff

AE ET RO Wi Sec) a Rachmaninoff

5. (a) Daisies, song....

(b) Oriental Sketch

6. (a) Nocturne, G-major........ ) :
(b) Nocturne, (Noon Tide) [9 vonnawent

7. (a) Etude, D-flat major
(b) Valse Oubliee No. 3

GEORGE ENGLES, Managing Director — Management NBC ARTISTS SERVICE
RCA Building, New York City

$2.50, $2.00, $1.50, $1.10, Including Tax — SHERMAN, CLAY & CO.

WMLUAN A-G Bot Benet &° GPa aie Re (CO) IN TE

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“Dusty Road” and “Through the Years”
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“Rose Marie” and “Mounties”

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ORCHES Pee

PIERRE MONTEUX
CONDUCTOR

LIAN AO
NUL

Willem van den Burg
Assistant Conductor

MAINTAINED BY THE MUSICAL
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TTT

Third Pair

TWENTY-FIFTH SEASON

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San Francisco Symphony Orchestra

PIERRE MONTEUX, Conductor
WILLEM VAN DEN BURG, Assistant Conductor

SILVER JUBILEE SEASON

THIRD PAIR OF SYMPHONY CONCERTS
1199th and 1200th Concerts

Friday, January 22, 2:30 P. M., 1937
Saturday, January 23, 8:30 P. M., 1937

WAR MEMORIAL OPERA HOUSE
ALEXANDER TANSMAN, Guest Artist

PROGRAMME
1. Fantastic Symphony, Episode in the Life of an Artist....Berlioz

Reveries — Passions

A Ball

Scene in the Country

March to the Scaffold

Dream of a Witches’ Sabbath

INTERMISSION

2.. Concertino for Piand and Orchestra... 2 Tansman
Toccata
Intermezzo Chopiniano
Finale

(The Composer at the Piano)

(First Performance in San Francisco)

3. “Aria. and’ Willa Polacca-+ 22. 2 eee Tansman
The Composer Conducting

(First Performance in America)

4. The Waltz, A Ghoreographic-Poemaw a2. tok Ravel
[The Piano is a Baldwin]

KNOWLEDGE
OF THIS NT tele,
SUBJECT

may mean much

to your family ae

4
-

Whether your estate will be large or small, you can
make it provide more effectively for your family’s
future needs by sound planning .. . now.

Acopy of this new booklet will be sent at your request.
Write, call at our Trust Department,
or telephone SUtter 1500.

FRIDAY EVENINGS—KSFO, 7 O’CLOCK

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Established 1852

PROGRAM NOTES

By ALFRED FRANKENSTEIN

FANTASTIC SYMPHONY, EPISODE IN THE
LIFE OF AN ARTIST, OPUS 14 . . Hector Berlioz
(1803-1869)

In 1827 Hector Berlioz, a young unknown musician, 23 years of age,
saw an English company present Shakespeare’s “Hamlet” and “Romeo and
Juliet” in Paris. He promptly fell violently and more or less permanently
in love with the leading lady, the Irish actress, Henrietta Smithson. Her
absence made his heart grow fonder, and three years later, Henrietta being
in England, Berlioz conceived the idea of writing a great symphony to
celebrate his feverish passion.

That some of the material in the work that resulted was originally
composed with quite other purposes in mind is a datum for the Ph. D’s.
But it is important to note that while building up movements to tell
Henrietta of his “reveries and passions,” of his anguish and jealousy and the
disconsolate wanderings in the country in which he did quite literally indulge,
whispers against the fair name of Miss Smithson reached the composer’s ears.
He believed them, and his rage boiled up into the present finale of the
“Fantastic Symphony,” the most violent, priceless and permanent slander
ever set down in music.

The work finally came to performance in December, 1830. Henrietta
was back in Paris, but she did not hear it until its repetition two years later.
“Witches’ Sabbath” and all, she took it as a great tribute to herself, and in
1833 she and Berlioz were married, but not until an injury had destroyed
the graceful carriage which had been part of her charm on the stage. Their
marriage was not a great success: when Henrietta died in 1854 she had long
been separated from her husband.

This preliminary statement will throw a great deal of light on the real
meaning of the composer’s own “program,” which is printed on a flyleaf

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of the score. A translation of this material follows, our own Fuller Explanation
Department putting in its parenthetical oar when necessary. The translation,
with a few slight changes, is Philip Hale’s.

“Program of the Symphony.

“A young musician of morbid sensibility and ardent imagination poisons
himself with opium in a fit of amorous despair. The narcotic dose, too weak
to result in death, plunges him into a heavy sleep accompanied by the
strangest visions, during which his sensations, sentiments and recollections
are translated by his sick brain into musical thoughts and images. The
beloved woman herself becomes for him a melody, like a fixed idea which he
finds and hears everywhere.”

(The main point here is that Henrietta is symbolized in all five move-
ments by one and the same melody. Example 1 below. This tune has exactly
the same function as the Wagnerian leading motive and some critics [not
Germans! | have insisted that the source of the Wagnerian leading motive is
to be found here. It is more likely that both Wagner and Berlioz were
indebted to Beethoven and Weber for the device. The parallel with Beetho-
ven’s fifth symphony is readily apparent.)

‘Part I. Reveries, Passions.

‘He first recalls that uneasiness of soul, that ‘vague des passions,’ those
moments of causeless melancholy and joy which he experienced before seeing

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her whom he loves; then the volcanic love with which she suddenly inspired
him, his moments of delirious anguish, of jealous fury, his returns to loving
tenderness, and his religious consolations.”’

(There is an extensive introduction, Largo. The main movement begins,
Allegro agitato e appassionato assai, with the “fixed idea,” or Henrietta
motive, in the violins:

This is made the principal subject of a fully rounded symphonic piece in a
freely handled “first movement” form.)

“Part IF. A Ball.

“He sees his beloved at a ball, in the midst of the tumult of a
brilliant fete.”

(A waltz movement during the course of which Example 1, or Henrietta
Smithson, appears in 3% time.)

“Part III. Scene in the Country.

“One summer evening in the country he hears two shepherds playing a
‘ranz des vaches’ (a type of melody used for gathering cattle together) in
alternate dialogue. This pastoral duet, the scene around him, the light
rustling of the trees gently swayed by the breeze, some hopes he has recently
conceived, all combine to restore an unwonted calm to his heart and to
impart a more cheerful coloring to his thoughts. But ske appears once more,
his heart stops beating, he is agitated with painful presentiments; if she were

to betray him! ... One of the Shepherds resumes his artless melody, but
the other no longer answers him. The sun sets... distant thunder...
solitude . . . silence.”

(The English horn, or Shepherd No. 1, begins the movement with his
“artless melody,” answered by the oboe, Shepherd No. 2, an octave higher.
At the conclusion of this duet the first theme of a sonata form structure
steals in with the violins and flute:

A second theme of less importance to the future course of the move-
ment follows almost immediately. Development starts with Example 2 in
the ’cellos and violas. A highly important feature of the development is the
appearance of the Henrietta motive in the woodwind over a dramatic tremolo

51.

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COL. W. DE BASIL’S

BALLET RUSSE

WITH THE

ENTIRE S. F. SYMPHONY ORCHESTRA
Conducted by MONTEUX, KURTZ, DORATI

REPERTOIRE

Thursday Eve.,....January 28

Aurora’s Wedding
Symphonie Fantastique
Boutique Fantasque

LIMITED
ENGAGEMENT
AT THE
Friday Eve......... January 29 OPERA HOUSE

Cimarosiana
Choreartium
Spectre de la Rose
Le Beau Danube

Saturday Aft......January 30 rs

Lake of Swans
Petrouchka
Prince Igor

Saturday Eve.....JJanuary 30
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Symphonie Fantastique ;
L’Apres midi d’un Faune ME ORS aT Cs Ane

Cimarosiana AT? RAGCLELOYW
Sunday Aft......... January 31 ANNOUNCED FOR
Sylphides PHIS OS EASON

Le Tricorne
L’Apres midi d’un Faune
Le Beau Danube

(Programmes subject to change)

Orchestra, Boxes, Grand Tier $2.20. Dress Circle $1.65. Balcony $1.10.

Tickets for all Performances( Including Opening Night) at
Sherman, Clay & Co.

Presented at Popular Prices by
THE ART COMMISSION OF THE CITY OF SAN FRANCISCO

Direction of Music Committee: J. EMMET HAYDEN, Chairman

t
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in the strings. When, at the close of the extensive working out, Example 2
reappears more or less in its original form in recapitulation, the Henrietta
motive is employed as a counterpoint against it. At the end of the entire
scene the English horn-shepherd pipes up again, but the oboe-shepherd has
gone home and the only answer is the thunder of the drums.)

“Part IV. March to the Scaffold.

‘He dreams he has killed his beloved, that he is condemned to death
and led to execution. The procession advances to the tones of a march which
is now sombre and wild, now brilliant and solemn, in which the dull sound of
the tread of heavy feet follows without transition upon the most resounding
outbursts. At the end the fixed idea reappears for an instant, like a last
thought of love interrupted by the fatal axe.

“Part V. Dream of a Witches’ Sabbath.

“He sees himself at a witches’ sabbath, in the midst of a frightful group
of ghosts, ghouls and monsters of all sorts who have come together for his
burial. He hears strange noises, groans, ringing laughter, shrieks to which
other shrieks reply. The beloved melody again reappears, but it has lost its
noble and timid character; it is now more than an ignoble dance tune, trivial

and grotesque. It is she who comes to the witches’ sabbath . . . Howlings of
joy at her arrival . . . She takes part in the diabolical orgy . . . The funeral
knell . . . burlesque of the Dies Irae . . . The witches’ dance . . . The witches’

dance and the Dies Irae together.”

(Here the composer, with unparalleled boldness, suggests the ghoulish
Black Mass by quite literally and specifically jazzing an ancient liturgical
melody. He takes the medieval hymn tune known as the Dies Irae, which
is a portion of the Roman Catholic mass for the dead, and subjects it to
syncopation—probably the first instance of the jazzing of the classics o
record. |

But before we come to that we hear the gathering of the fiendish clan.
Henrietta appears not far from the beginning in the following hideously
libeled version, squealed by the piccolo and E flat clarinet:

After the funeral knell the noble old Dies Irae, in its traditional form,
is intoned by the brass:

It is immediately repeated in notes of half the original time value
(diminution), then in double diminution, octaves higher and syncopated:

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Eventually the ’cellos and basses state the theme of the witches’ dance:

es aaa

which is developed fugally at some length, with many strange, supernatural
effects. As the “program” indicates, the Dies Irae mingles with the witches’
dance before the conclusion.)

CONCERTINO FOR PIANO AND

ORCHESTRA .. . .. . . Alexander Tansman
(1897——_)
The composer of this work was born, raised and educated in Poland.
He first came to the attention of the musical public at large in 1919 when
he won both first and second prizes in a competition for Original works
sponsored by the Polish government. Tansman was at that time serving
in the Polish army.

In 1920 the composer went to Paris, which has remained his headquarters
ever since. But he has traveled extensively throughout the world, and is at
present on his sixth American tour. He has to his credit innumerable works
for the piano in large and small forms; two symphonies, a sinfonietta,
“Triptych,” Polish dances, tone poems and works in various other forms
for orchestra; four string quartets, violin sonatas, and other compositions
for chamber ensemble, and an opera in five acts, “The Kurdish Night,”
libretto by Jean Richard Bloch. His “Sonatine T ransatlantique” has been
adapted by Kurt Jooss for the ballet, “The Big City,” and his sextet is the
basis of Adolph Bolm’s ballet, “The Tragedy of a ’Cello.”

Tansman’s esthetic credo is thus quoted by David Ewen in “Composers
of Today:”

“Music has never changed its substance, and will never change its goal.
Its body will always be melody and its goal, emotion . . . Originality has
never been an act of will, and to seek it is the least original thing in the
world. It is only necessary to become a master of one’s technique in order
to be able to serve one’s self freely of originality and to apply it sub-
consciously to musical ideas.”

The anonymous author of a pamphlet on the “Triptych” issued by the
Columbia Phonograph Company thus shrewdly summarizes Tansman’s
present style:

“He is a Pole, and he is of today. That is to say there are conflicting
tendencies which develop a characteristic idiom in his musical utterance.
His is the heritage of Polish song, a song of hymnal basis, of broad and

EE ae CL

CONDUCTOR OF

SAN FRANCISCO SYMPHONY
ORCHESTRA

PARIS SYMPHONY ORCHESTRA

His Career-—

Concerts Monteux, Paris...........--.....---------------------- 1914
Ballets Russes de Diaghilew...................-.----------- 1911-1917
Metropolitan Opera Sad te ol see he eee WOES
Boston Symphony Orchestra.........-.......-..------------ 1919-1924
Concertgebouw Orchestra, Amsterdam, Holland 1924-1934
Paris Symphony Orchestra.............-..------------------- 1929-1936

Has conducted... Philadelphia, New York and Los Angeles Orches-
tras here in America. Is only French Conductor to conduct Berlin
and Vienna Philharmonic Orchestras. Colleague of Willem Mengel-
berg ten years. Conducted every major orchestra in Europe. Creator
of Petrouchka, Sacre du Printemps, le Rossignol, Stravinsky; Daphnis
and Chloe, Ravel; and many other modern works famous today.

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THE WIND INSTRUMENT
ENSEMBLE of SAN FRANCISCO acer

Three concerts are planned for the spring season:
February 9; March 16; April 27 at CENTURY CLUB
Sutter and Franklin Streets.

a PROGRAM — TUESDAY EVENING, FEBRUARY 9
RUBINGLRIN OPN Soin eae eee PIANO QUINTET

P 1610 [Gl Rane tay ap Nn NUR eR ON Here ts QUINTET

Season Tickets GETTIN ee nee eee hme ae eee TRIO PATHETIQUE

CHRWTTEN Aes Gn eal ie os come
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flowing melodies, reflected often in the fervor and quixoticism of Polish
patriotism. That melodic tradition is, however, attuned to the rhythms of
today, to rhythms vigorous and energetic and energizing, impersonal and
sometimes mechanistic, so that in his music are contrasted a romantic, Polish
sensitivity and a marked dynamic quality, and a flowing and sometimes
ecstatic lyricism expresses itself, through him, in the hurried pulses of
our modern life.”

The concertino was composed in 1936. Its first movement, entitled
“Toccata,” opens with a piano cadenza, followed by “a movement of very
rhythmic and dynamic character constructed in the form of an allegro on
two themes.” The lyrical slow movement, “Intermezzo Chopiniano,” is
likewise based upon a contrast of two themes, both stated by the solo
instrument. The Finale is in the rondo form customary in the last
movements of concertos.

ARIA AND ALLA POLACCA . . Alexander Tansman

These two orchestral movements, composed in 1934 dedicated to
Toscanini, will have their first American hearing at these concerts. They
are thus described by their composer: :

“The Aria carries a broad, simple, and uninterrupted melody which
spreads throught the entire orchestra. The theme, which is first exposed
by the oboe in a serious and quiet manner, develops into a great climax,
and ends with the strings in the serene mood of the beginning.

“The Alla Polacca is entirely original in substance, but its melody and
structure are typically Polish in character. The principal movement is based
upon a syncopated rhythm characteristic of Polish musical prosody. The
trio is an episode in 34 time in the tempo of the mazurka. The themes
are exposed by the wind instruments accompanied by the strings in arabesque
style. The brasses recall the rhythm of the Opening section and are used
as a bridge to bring it back and wind up the work in a broad Sweep.”

THE WALTZ,

A CHOREOGRAPHIC POEM .. . Maurice Ravel
(1875——_)

The score of this work contains the following ‘“program:”

“Whirling clouds give glimpses, through rifts, of couples waltzing. The
clouds scatter little by little. One sees an immense hall peopled by a twirling
crowd. The scene is gradually illuminated. The light of the chandeliers
bursts forth, fortissimo. An imperial court about 1855.”

Alfredo Casella, who assisted Ravel in the first performance of this
composition, (Vienna, 1920) adds that it “is a sort of triptych: a. The Birth
of the Waltz; (the poem begins with dull rumors, as in ‘Rheingold,’ and
from this chaos gradually takes form and development) }. The Waltz; c.
The Apotheosis of the Waltz.”

PUR ScOSN Wy ete

SAN FRANCISCO SYMPHONY ORCHESTRA

PIERRE MONTEUX, Conductor :
Willem Van den Burg, Assistant Conductor

First Violins:

Blinder, Naoum

Concert Master
Heyes, Eugene

Asst. Concert Master
Argiewicz, Artur
Meriz, Emilio
Wolski, William
Jensen, Thorstein
Laraia, W.F.
Gordohn, Robert
Mendelevitch, Rodion
Mortensen, Modesta
Pasmore, Mary
de Grassi, Antonio
Wegman, Willem
Claudio, Ferdinand
Koharits, Joseph
Houser, F.S.

Second Violins:

Gough, Wa.ter
Principal
Haug, Julius
Rosset, Emil
Paterson, J. A.
Gold,Julius
Helget, Hans
Laraia, Attilio F.
Spaulding, Myron
Baret, Berthe
Moulin, Harry
Koblick, Nathan
Lind, Waldemar
Schneider, D.

Violas:

Firestone, Nathan
Principal
Verney, Romain
Hahl, Emil
Weiler, Erich
Baker, Fred A.
Tolpegin, Victor
Karasik, Manfred
Vdovin, Alexander
Lichtenstein, Victor
Mitchell, L.

@
Cellos:

Bassoons:

Van den Burg, Willem oe ea Ernest

Principal
Dehe, Willem
Reinberg, Herman
Kirs, Rudolph
Pasmore, Dorothy
Coletti, Bruno
Bem, Stanislas
Haight, Rebecca
Rogovoy, George
Hranek, Carl

Basses:

Bell, Walter
Principal

Schmidt, Robert E,
Guterson, Aaron
Schipilliti, John
Forman, F. F.
Hibbard, E. B.
Storch, A. E.
Buenger, A.

Flutes:

Woempner,Henry. C.
Oesterreicher, Walter
Benkman, Herbert
Herold, R. J.

Oboes:
Shanis, Julius
Sargeant, W.
Schivo, Leslie J.
English Horn:
Schivo, Leslie J.

Clarinets:

Schmitt, Rudolph
Rudd, Charles
Fragale, Frank

Bass Clarinet:
Fragale, Frank

a Haye, E.B
Hranek, Carl
Baker, M.

Contra Bassoon:
La Haye, E. B.

Horns:

Lambert, Pierre
Trutner, Herman
Tryner, Charles E.
Roth, Paul

Trumpets: >

Klatzkin, Benjamin
Barton, Leland 8S.
Kress, Victor

Trombones:

Giosi, Orlando
Shoemaker, R. F.
Klock, J.

Tuba:
Murray, Ralph

Harp:
Attl, Kajetan
Morgan, Virginia
Tympani:
Waener, R. E.

Percussion:

Vendt, Albert
Salinger, M. A.
Greer, E.
Steffan, D.

Piano and Celesta:
Tibbits; J.P:
Librarian:
Haug, Julius
Personnel Manager:
Oesterreicher, Walter

Sa EY

Ann oOUuUnee im ¢ aia

FOURTH PAIR OF SYMPHONY CONCERTS
w
Friday Afternoon, February 5, at 2:30
Saturday Evening, February 6, at 8:30
WAR MeEM O-R TA Loo PP ER A+GeO.w Ss.

Soloist: TOSCHA SEIDEL, Violinist
PROC And

i SS REE OLD DANCH St... ee aes Arranged by Respight
262 SWB Ur DE TMB RIES tec aco ie ee ci ee Isadore Freed
(First Performance in San Francisco)

3. DEATH AND TRANSFIGURATION.....== Richard: Strauss

4. CONCERTO FOR VIOLIN AND ORCHESTRA......Beethoven
TOSCHA SEIDEL

Among our customers we are honored to include

DOROTHY PASMORE

Cellist with the San Francisco Symphony Orchestra, soloist and

teacher, who selected from our Collection of Rare Instruments

a cello, one of the finest specimens of the famous old master,
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&
THE RUDOLPH WURLITZER CO.
364 SUTTER STREET PHONE SUTTER 8611 SAN FRANCISCO

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MAINTAINED BY THE MUSICAL
ASSOCIATION OF SAN FRANCISCO

UVUUANLOCURATDASERGQGESOUTUGHUOOPAEROOIROUIIE

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San Francisco Symphony Orchestra

PIERRE MONTEUX, Conductor
WILLEM VAN DEN BURG, Assistant Conductor

SILVER JUBILEE SEASON

FOURTH PAIR OF SYMPHONY CONCERTS
1207th and 1208th Concerts

Friday, February 5, 2:30 P. M., 1937
Saturday, February 6, 8:30 P. M., 1937

WAR MEMORIAL OPERA HOUSE

Soloist: TOSCHA SEIDEL, Violinist

PROGRAMME
1. Old Dances and Airs for the Lute......... Arranged by Respighi

Gagliarda by Vincenzo Galilei
Villanella by an unknown composer
Passamezzo and Mascherada by an unknown composer

2s - SOUS. Ce TE CS: octet eee eee ea Isadore Freed
Allegro
Andante Tranquillo
Allegro non Troppo

(First Performance in America)

3.7 Death and tanshieikation ee) ee Richard Strauss

IN TERM ISS 1 ON

4. Concerto for Violin and Orchestra,
EOD Wi a Ty Oty, OPUS Galle aoe i cae a ee aot be ree Beethoven
Allegro ma non Troppo

Larghetto —
Rondo

KNOWLEDGE
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PROGRAM NOTES

By ALFRED FRANKENSTEIN

OLD DANCES AND AIRS FOR THE

LUTE . . Freely transcribed by Ottorino Respighi
(1879-1936)

The editing, preservation and transcription of old Italian instrumental
music was one of the principal phases of the late Ottorino Respighi’s activity.
His list of achievements in this field is long and varied. He published three
orchestral suites under the title of “Old Dances and Airs for the Lute,” of
which the one played on this occasion, completed in 1916, is the first.

The score contains four movements, all adapted from works of Italian
composers of the late 16th century. In the present performance the first
movement, “Balletto Called ‘Count Orlando,’” by Simone Molinari of
Genoa, is omitted.

Today’s performance therefore begins with a gagliarda by Vincenzo
Galilei. The gagliarda was a very popular dance form of the period, its
name being derived from the French adjective “galliard,”’ meaning gay,
lively, or brisk. Vincenzo Galilei (1533-1591) is best known to fame through
the circumstance that a San Francisco high school bears the name of his son,
the great astronomer, Galileo Galilei. Vincenzo was a Florentine, and a
figure of great importance both in the early history of opera and the later
history of lute music.

The “Villanella” and the “Passamezzo e Mascherada” are by unknown
composers. T’he term villanella was applied in the 16th century to light-
textured part songs or madrigals on rustic subjects. The passamezzo was a
dance not unlike the gagliarda; the derivation of the word is obscure.
‘“Mascherada”’ (“Masquerade’’) is apparently the name of a song that took
its title from the text. It is not a term defining a tradition or style as are
the other titles in Respighi’s suite.

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8 California Stores

JEUX DE TIMBRES ..... . . Isadore Freed
(1900——_)

Mr. Freed was born in Russia, but was brought to Philadelphia at the
age of 3, and has spent most of his life in that city. He was educated at
the Philadelphia Conservatory of Music and the University of Pennsylvania,
and studied composition privately with Ernest Bloch. He began his career
as a member of the faculty of the Curtis Institute and radio lecturer for
the Philadelphia Orchestra. From 1929 to 1933 he lived in Paris, devoting
his time to composition and conducting. Since his return from France he
has been occupied as conductor of the Philadelphia Chamber Orchestra and
teaches in both Philadelphia and New York.

Mr. Freed has composed much in many forms. He has written four
string quartets, several sonatas and smaller works for chamber ensemble,
much piano music, a number of choral compositions, a symphony and
briefer works for orchestra, and is at present engaged upon an opera, “The
Star Son,” on a libretto by Ludwig Lewisohn. He is much interested in
educational music for children, and is editor of “Master of Our Day,” a
series of small piano pieces intended to introduce the modern idiom into
the educational field.

“Jeux de Timbres” (“Studies in Tone Color”) was composed in 1931,
and was first performed in 1933 by Pierre Monteux (to whom the published

AFTER THE CONCERT
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and the Opera House

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score is dedicated) at a concert of the Symphony Orchestra of Paris. This
is said to have been the first performance of an American work by that
organization.

“Jeux de Timbres” is thus described by its composer:

“The suite is in three movements and has no program. Its title is due
to the fact that each movement makes use of a different tone color. The
opening Allegro brings into play the percussion colors (strings pizzicato,
harp, piano and a large battery which is manipulated for its tonal rather
than purely rhythmic qualities.) The Andante Tranquillo makes use of
string textures. The Allegro non Troppo sets off woodwind against brass
rather than woodwind mixed with brass. In all the movements, however,
the entire orchestra is used. It is only the orchestral treatment which differs.
One might say the orchestra is a background from which each movement
drawns its own special coloring.”

In another communication Mr. Freed adds “One point that might bear
explanation is the French title. The work was written, performed and
published in France during my extended sojourn there. To have given it
an English title in that country would have been considered a mark of
affectation, something I detest. Now the shoe is on the other foot so far as
this particular work is concerned, but I can’t do anything about it.”

DEATH AND TRANSFIGURATION . Richard Strauss
(1864)

In the year 1885 a promising youngster named Richard Strauss was
chosen by Hans von Biilow, director of the magnificent symphony orchestra
in the little German city of Meiningen, to become his assistant. In those
days the German-speaking musical world was divided into two mutually
hostile camps, that of the Wagnerians, devoted to the picturesque, the
dramatic and the freely expressive, and that of the Brahmins, who worshipped
the classic forms and the traditions of absolute music. Strauss went to
Meiningen one of the most conservative of the classicists. He emerged, less than
a year later, the creative spearhead of the Wagnerian movement, becoming

eventually Richard II.

For in Meiningen Strauss met Alexander Ritter, violinist, poet, and
composer, who had been an intimate personal friend of Wagner, and was
at that moment a member of Biilow’s orchestra. Ritter, whom Wagner
credits with having brought the story of “Tristan and Isolde” to his attention,
affected Strauss “like a storm wind,” according to Strauss’ own statement.
The result was the series of tone poems, continuing the line of Wagner,
Liszt and Berlioz, upon which the fame of Strauss principally rest today.

The third of the tone poems, “Death and Transfiguration,” is the
composer’s major tribute to Alexander Ritter, for it was inspired by one of
Ritter’s writtings. The musical poem describes or illustrates the literary
poem in considerable detail, and while a musical analysis might be of interest,

MUNICIPAL CONCERTS

SAN FRANCISCO SYMPHONY ORCHESTRA
PIERRE MONTEUX, Conductor
WITH

GRACE MOORE

CIVIC AUDITORIUM — FRIDAY EVE., FEB. 26

IGOR STRAVINSKY

Conducting SAN FRANCISCO SYMPHONY and playing his
“SYMPHONY OF PSALMS”
ALSO
Rossini “STABAT MATER” Conducted by HANS LESCHKE
MUNICIPAL Te Irno Ross

CIVIC AUDITORIUM — TUESDAY, MARCH 23

SAN FRANCISCO SYMPHONY ORCHESTRA
PIERRE MONTEUX, Conductor
WITH

SY ts Fe Ee ee

CIVIC AUDITORIUM — TUES. EVE., APRIL 20

RESERVED SEATS: $1.00, 75¢, 50¢, 25¢ — SHERMAN, CLAY & CO.
AUSPICES: ART COMMISSION OF SAN FRANCISCO
EDGAR WALTER, President JOS. H. DYER, JR, Secretary

DIRECTION OF MUSIC COMMITTEE
J. EMMET HAYDEN, Chairman

(Ws

Ritter’s text alone is all that is vitally necessary. It is thus translated into
English prose by William Foster Apthorp:

“In the necessitous little room, dimly lighted by only a candle end,
lies the sick man on his bed. But just now he has wrestled despairingly
with death. Now he has sunk exhausted into sleep, and one hears only the
soft ticking of the clock on the wall in the room, whose awful silence gives
a foreboding of the nearness of death. Over the sick man’s pale features
plays a sad smile. Dreams he, on the boundary of life, of the golden time
of childhood?

“But death does not long grant sleep and dreams to his victim. Cruelly
he shakes him awake, and the fight begins afresh. Will to live and power
of death! What frightful wrestling! Neither bears off the victory, and
all is silent once more!

“Sunk back tired of battle, sleepless, as in fever-frenzy the sick man
now sees his life pass before his inner eye, trait by trait and scene by scene.
First the morning red of childhood, shining in pure innocence! Then the
youth’s saucier play — exerting and trying his strength — ’til he ripens to
the man’s fight, and now burns with hot lust after the higher prizes of life.
The one high purpose that has led him through life was to shape all he saw
transfigured into a still more transfigured form. Cold and sneering, the
world sets barrier upon barrier in the way of his achievement. If he thinks
himself near his goal, a ‘Halt!’ thunders in his ear. ‘Make the barrier thy
stirrup! Ever higher and onward go!’ And so he pushes forward, so he
climbs, desists not from his sacred purpose. What he has sought with his
heart’s deepest yearning, he still seeks in his death sweat. Seeks — alas! and
finds it never. Whether he comprehends it more clearly or it grows upon him
gradually, he can yet never exhaust it, cannot complete it in his spirit. Then
clangs the last stroke of death’s iron hammer, breaks the earthly body in
twain, covers the eye with the night of death.

“But from the heavenly spaces sounds mightily to greet him what he
yearningly sought for here: deliverance from the world, transfiguration of
the world.”

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The World Famous

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Vallely Current Rev iew—FEBRUARY 11—Fairmont Hotel—11 A. M.
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CONCERTO FOR VIOLIN AND ORCHESTRA,

D MAJOR, OPUS 61 .. . Ludwig van Beethoven

(1770-1827)
Beethoven’s violin concerto was composed in 1806, which means that

it is a product of much the same life experience and attitudes that produced
the symphonies from the third through the sixth, the fourth and fifth piano
concertos, the “Rasoumovsky” quartets, and the piano sonatas known as the
“Waldstein” and the “Appassionata” — in short, the most robust and
affirmative period of the composer’s career. The violin concerto also shares
with many of the works cited a peculiar absorption with themes based
upon reiterated notes, of which the so-called “Fate motive” of the fifth
symphony is the most celebrated instance.

The work follows the outline of the concerto pattern as invented by
Mozart, but considerably expanded in size. The first movement, following
Mozart, is much the longest and most dramatic, the second the shortest
and most lyric, and the finale the most brilliant for the soloist. Each
movement is adorned with a cadenza, originally conceived as a passage of
display improvised on the spot by the soloist. Since the practice of public
improvisation has long since passed into the discard, the carefully composed
cadenzas of Joachim will be employed on this occasion.

‘‘Beethoven’s violin concerto is gigantic,” writes Donald Francis Tovey,
“one of the most spacious concertos ever written, but so quiet that when
it was a novelty most people complained quite as much of its insignificance
as of its length. All its most famous strokes of genius are not only mysterious-
ly quiet, but mysterious in radiantly happy surroundings. The whole
gigantic scheme is serene.”

The concerto was first produced in the year of its composition, the
s0.0 part played by one Franz Clement, who had not demeaned himself even
to look at the manuscript until he stepped upon the stage to play the work
in public. Further light is shed upon the artistic morals of this virtuoso
by the fact that at the same concert he presented a fantasy of his own
with the violin held upside down. Such was the integrity of artists in the
good old days. eae

I. Allegro ma non troppo. The first movement follows the Mozart
practice of exposing its thematic material twice, the first exposition for the
orchestra alone, the second for the solo and orchestra. The violin does not
enter until the 92nd bar.

In the first measure the kettledrum beats the four repeated D’s which
play so essential a role throughout the entire movement. The principal
Subject enters in the woodwind:

Lf; CiiT-€ WN OVL Le UX

CONDUCTOR OF

SAN FRANCISCO SYMPHONY
ORCHESTRA

PARIS SYMPHONY ORCHESTRA

His Career—

Concerts: Monteux; Parisicciciiscscokcccetieecteeee ee 1914
Ballets Russes de Diaghilew.........................---..-- 1911-1917
Metropolitari Opera acces eer 1917-1919
Boston Symphony Orchestra....................-.---------- 1919-1924
Concertgebouw Orchestra, Amsterdam, Holland 1924-1934
Paris Symphony Orchestra............--.-.--..--02-2s200---00 1929-1936

Has conducted... Philadelphia, New York and Los Angeles Orches-
tras here in America. Is only French Conductor to conduct Berlin
and Vienna Philharmonic Orchestras. Colleague of Willem Mengel-
berg ten years. Conducted every major orchestra in Europe. Creator
of Petrouchka, Sacre du Printemps,le Rossignol, Stravinsky; Daphnis
and Chloe, Ravel; and many other modern works famous today.

SAN FRANCISCO

CONSERVATORY OF MUSIC

3435 Sacramento Street W Alnut 3496

A complete musical education from Beginners’ Work to
Professional Coaching in all subjects
DAY AND EVENING COURSES
PIANO, VIOLIN, CELLO, VOCAL, ORGAN, WIND AND BRASS INSTRUMENTS,
SIGHT SINGING, EAR TRAINING, MUSICIANSHIP, HARMONY,
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NORMAL COURSE with diploma in piano, voice, etc.
SPECIAL CHILDREN’S COURSES

THE WIND INSTRUMENT
ENSEMBLE of SAN FRANCISCO“ J, Buse

Season Tickets
are $5 and $3.

Manager
Three concerts are planned for the spring season:
February 9; March 16; April 27 at CENTURY CLUB
Sutter and Franklin Streets.

PROGRAM — TUESDAY EVENING, FEBRUARY 9

RUBUNSDEENS (ORs. 655i Sse aecces ra stead PIANO QUINTET
RO RUG Ey no saccees 0 sbccsc canlteeeseecetssecscotengeas ates pe oeaacrasseen lS eee oe eee aceon QUINTET
GILTIN RG oii csc ssstrnane toeweucacats ai caatat tioenatnanet daatch ete TRIO PATHETIQUE
CHIRK TUBING asc -Slt sists ccc cee scasen eeepc ARABESQUE SEXTETS
TTAINSMANG 3 Ssc. ota. LA DANSE DE LA SORCIERE } |

The orchestral violins return to the repeated notes, now dramatically
altered to D sharp. A rising scale figure in the woodwinds and an abrupt,
emphatic outburst for the full orchestra lead to the second theme, again
given out by the woodwinds, with the four reiterated notes beneath:

\ Ca GG}

This is taken up and worked over by the strings through a long

crescendo, at the height of which the last thematic element of the movement
is stated:

Suddenly the orchestra dies away and the solo violin makes its long
delayed entrance. The second exposition now follows. The thematic material
outlined above is restated in varied form, the solo now singing the principal
melodies, now weaving arabesques about them as sung by other instruments.

The solo rests for several pages of the score at the opening of the
development section. The emphatic, full orchestral outburst previously
referred to now returns, followed by a rehearing at some length of Example 2.
The solo enters to work over Example 1. Insistent recollections of the
four repeated notes in the brass herald the recapitulation, which finally
bursts in with the entire orchestra, the drum’s four D’s scrubbed out by all
the strings. The principal violin rejoins the ensemble, as the rising scale
figure and Examples 2 and 3 are once more passed in review. The customary
long held chord is prelude to the cadenza. After the cadenza a reminiscence
of Example 2 concludes the movement.

II. Larghetto. The slow movement is kind of meditation based almost
entirely upon the subject stated at the outset by the orchestral violins:

The solo embroiders and decorates, but does not directly take up this melody.
A brief cadenza leads without pause to

IIT, entitled “Rondo,” with no tempo indication in the score. The solo
gives out the leading subject at once:

2 %,
Spl o a

There are side themes and episodes of contrast and development, but
the movement returns constantly to Example 5 as its central focus.

isl eee ne at =

Se a a ec EE LO PREM

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PERSON GINGA

SAN FRANCISCO SYMPHONY ORCHESTRA

PIERRE MONTEUX, Conductor
Willem Van den Burg, Assistant Conductor

First Violins:

Blinder, Naoum

Concert Master
Heyes, Eugene

Asst. Concert Master
Argiewicz, Artur
Meriz, Emilio
Wolski, William
Jensen, Thorstein
Laraia, W. F.
Gordohn, Robert
Mendelevitch, Rodion
Mortensen, Modesta
Pasmore, Mary
de Grassi, Antonio -
Wegman, Willem
Claudio, Ferdinand
Koharits, Joseph
Houser, F. 8.

Second Violins:

Gough, Walter
Principal

Haug, Julius
Rosset, Emil
Moulin, Harry
Paterson, J. A.
Gold,Julius
Helget, Hans
Laraia, Attilio F.
Spaulding, Myron
Baret, Berthe
Koblick, Nathan
Lind, Waldemar
Schneider, D.

Violas:

Firestone, Nathan
Principal
Verney, Romain
Hahl, Emil
Weiler, Erich
Baker, Fred A.
Tolpegin, Victor
Karasik, Manfred
Vdovin, Alexander
Lichtenstein, Victor
Mitchell, L.

Cellos:

Bassoons:

Van den Burg, Willem pce? Ernest

Principal
Dehe, Willem
Reinberg, Herman
Kirs, Rudolph
Pasmore, Dorothy
Coletti, Bruno
Bem, Stanislas
Haight, Rebecca
Rogovoy, George
Claudio, C.

Basses:

Bell, Walter
Principal

Schmidt, Robert E,

Guterson, Aaron
Schipilliti, John
Forman, F. F.
Hibbard, E. B.
Storch, A. E.
Buenger, A.

Flutes:

Woempner,Henry. C.
Oesterreicher, Walter
Benkman, Herbert

Herold, R. J.

Oboes:
Shanis, Julius
Sargeant, W.
Schivo, Leslie J.
English Horn:
Schivo, Leslie J.

Clarinets:

Schmitt, Rudolph
Rudd, Charles
Fragale, Frank

Bass Clarinet:
Fragale, Frank

aye, E.B
Hranek, Carl
Baker, M.

Contra Bassoon:
La Haye, E. B.

Horns:

Lambert, Pierre
Trutner, Herman
Tryner, Charles E.
Roth, Paul

Trumpets:

Klatzkin, Benjamin
Barton, Leland S.
Kress, Victor

Trombones:

Giosi, Orlando
Shoemaker, R. F.
Klock, J.

Tuba:
Murray, Ralph

Harp:
Attl, Kajetan
Morgan, Virginia
Tympani:
Waener, R. E.

Percussion:

Vendt, Albert
Salinger, M. A.
Greer, E.
Steffan, D.

Piano and Celesta:
Tibbits, J. P.
Librarian:
Haug, Julius

Personnel Manager:
Oesterreicher, Walter

ie =»

Aen nO ti aeieain eran eae
FIFTH PAIR OF SYMPHONY CONCERTS

FRIDAY AFTERNOON, FEBRUARY 19, at 2:30
SATURDAY EVENING, FEBRUARY 20, at 8:30

We Ag. —VB MO Rob ALL 70: PEAR AS Os
WILLEM VAN DEN BURG, Conducting
Soloist: RICHARD CROOKS, Tenor
POR. © iG Re aa
1. Symphony No. 1, Opus 10........ BAS An he BS Shostakovich
(First Performance in San Francisco)
2. Lohensrins Harewells from “Lohéenerin’ 2... Wagner
RICHARD CROOKS
3:4 Chorale. “lervetit. is: My ‘Dongvine @ en Bach
(Arranged by Lucien Cailliet)
Contes soweetl,. DGRthis 224. eo Re Te ges ae ee ee Bach
(Arranged by Alexander Kelberine)
As - ACLO=VLONUG cence ees cca seschitl hens get aA aah eae al Raa Se wes, eee Turina
CArranged by Lucien Cailliet)
Bs. Ones Wilh OnCuestrae <u.) es oe eee Richard Strauss
‘‘Zueignung’’
‘“Morgen’’

‘‘Heimliche Aufforderung”’
RICHARD CROOKS

Rhumba from the “Rhumba” Symphony.................. Harl McDonald

THE RUDOLPH WURLITZER COLLECTION of Rare Instruments
is pleased to announce the honor bestowed on them by

DU GENE sels

Assistant Concert Master of the San Francisco Symphony orchestra
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NICOLAS BERGONZI VIOLIN
This violin was formerly owned by Erica Morini who used it in
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THE RUDOLPH WURLITZER CO.

364 SUTTER STREET PHONE SUTTER 8611 SAN FRANCISCO

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Fifth Pair
TWENTY-FIFTH SEASON
1937

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PAT a OIND
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SUIT SALON ¢ FIFTH FLOOR

GO aAW Pp

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Friday Atternoon

Box Holders

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Available for Single Concerts
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Mrs. Samuel Kahn
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San Francisco Symphony Orchestra

PIERRE MONTEUX, Conductor
WILLEM VAN DEN BURG, Assistant Conductor

SILVER JUBILEE SEASON

FIFTH PAIR OF SYMPHONY CONCERTS
1211th and 1212th Concerts

Friday, February 19, 2:30 P. M., 1937
Saturday, February 20, 8:30 P. M., 1937
WAR MEMORIAL OPERA HOUSE

Soloist: RICHARD CROOKS, Tenor
WILLEM van pen BURG, Conducting

PROGRAMME

Chorale Prelude, Herzlich Thut Mich Verlangen!...,. 2. Back
Orchestrated by Lucien Cailliet
Symphony No. 104, D major (“London”)... ........Haydn
Adagio — Allegro
Andante
Menuetto
Allegro spiritoso
Lohengrin’s Farewell, from “Lohengrin”... Wagner
MR. CROOKS
FC AMMATHN SICA Vide c2¢sci Norte welt ae eae gee RN «eee ee ee Glinka
INTERMISSION
he sswan /Of “Wuonela:cgcetee en oe ee a iugdie-scteiee cP DCIS
DEE COSS ONS olen en acetal eee rE Cece! Strauss
Zueignung
Morgen
Heimliche Aufforderung
MR. CROOKS
iihes EMpeswoim One. 21 eeeeay o cked \o\c) et en Se Respighi

The Pines of the Villa Borghese—
The Pines Near a Catacomb

The Pines of the Janiculum—

The Pines of the Appian Way

KNOWLEDGE
OF THIS
SUBJECT

may mean much

Whether your estate will be large or small, you can
make it provide more effectively for your family’s
future needs by sound planning .. . now.

A copy of this new booklet will be sent at your request.
Write, call at our Trust Department,
or telephone SUtter 1500.

FRIDAY EVENINGS—KSFO, 7 O’CLOCK
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Established 1852

PROGRAM NOTES

By ALFRED FRANKENSTEIN

CHORALE PRELUDE, HERZLICH

THUT MICH VERLANGEN ....J.S. Bach

(1685-1750)
Orchestrated by Lucien Cailliet

The chorale prelude may be defined as a kind of meditation or improvis-
ation for the organ based on the melody of a traditional hymn. The melody
employed here was a great favorite with Bach. If it is unfamiliar under the
title “Herzlich Thut Mich Verlangen” (“Fervent is my Longing”) it may
perhaps be more familiar as the “Passion Chorale,” so extensively used in the
“Passion According to St. Matthew,” and still more familiar as the English
hymn, “O Sacred Head Now Wounded.” Bach made at least ten different
settings of it for the organ, and employed it in many cantatas. The melody
is not original with him, but was composed by Hans Leo Hassler (1564-1612).

Mr. Cailliet, who made the orchestral transcription, is bass clarinetist
in the Philadelphia Orchestra and principal arranger for that organization.

SYMPHONY No. 104, D MAJOR

(LONDON?) 3. 5 Ai Saran pancet Haydn
(1732-1809)

This last of Haydn’s Symphonies derives its nickname from the fact
that it was composed in the British capital, and thereby hang several tales.

In 1790 the composer retired from the service of the fabulously wealthy
Ksterhazy family after 30 years of activity as composer, conductor and general
musical supervisor in the Esterhazys’ more than princely household. He was a
salaried lackey for those 30 years, but a salaried lackey who had practically
invented modern music all by himself. The founder of the symphony, the
symphony orchestra and the string quartet was not one to be permitted com-
fortable retirement in his old age, and no sooner had Haydn’s resignation
taken effect than he was snapped up by Johann Peter Salomon, a London
concert manager, who brought him to England for two magnificently success-
ful seasons — 1791-2, and 1794-5. Haydn wrote six symphonies for each
English tour, and these twelve, commonly called the “Salomon symphonies,”
are the orchestral works of this composer most frequently performed today.

The “London” symphony was one of the principal documents in an
amusing musicological row about 30 years ago. A musician named Kuhac,

420 Sutter Street

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who had been collecting Hungarian and Croatian folk songs, persistently
found Haydn themes turning up in his folk material. He therefore came to the
entirely logical conclusion that Haydn, who was of Croatian peasant stock,
made regular and consistent use of old folk melodies in his symphonies and
other works. (Haydn’s most famous tune, the Austrian national anthem, or
“Deutschland Uber Alles,” is one of these, and the theme ascribed to him in
Brahm’s famous orchestral variations is probably another.) If so, then
Haydn was the first modern musician to use folk tunes in any regular,
systematic manner, anticipating the Russians and other nationalists by a
century.

To this claim of Kuhac some authorities replied with the ingenious
theory that the folk might just as easily have gotten the tunes from Haydn
instead of the reverse. That this theory defies every known fact about folk
song did not seem to bother its proponents, but they have as yet failed to
answer the argument of Sir W. Henry Hadow, the major supporter of Kuhac,
who points out that the finale of the “London” symphony, composed in London
for performance in London, and never played in Hungary and Croatia within
earshot of the peasantry, nevertheless is based on the theme of a very popular
Croatian dance.

I. The symphony begins with the slow introduction so commonly
employed in Haydn’s time. In this instance the introduction is in D minor,
beginning with a sort of horn call for the full orchestra. A change of tempo

to allegro and change of mode from minor to major bring the first theme,
simply stated by the violins in the customary Haydn manner:

Example 1

FINE FOODS

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than elsewhere

Pign Whistle

33 POWELL STREET, Near Market

1032 MARKET STREET, Near Paramont Theatre
and the Opera House

MUNICIPAL CONCERTS

SAN FRANCISCO SYMPHONY ORCHESTRA
PIERRE MONTEUX, Conductor
WITH

GRACE MOORE

CIVIC AUDITORIUM — FRIDAY EVE., FEB. 26

IGOR STRAVINSKY

Conducting SAN FRANCISCO SYMPHONY and playing his
“SYMPHONY OF PSALMS”
ALSO
Rosstint “STABAT MATER” Conducted by HANS LESCHKE
M UNL CE PAL, aC OsRsUss

CIVIC AUDITORIUM — TUESDAY, MARCH 23

SAN FRANCISCO SYMPHONY ORCHESTRA
PIERRE MONTEUX, Conductor
WITH

ey ead Wek Be WAP Save fee ie aD

CIVIC AUDITORIUM — TUES. EVE., APRIL 20

RESERVED SEATS: $1.00, 75¢, 50¢, 25¢ — SHERMAN, CLAY & CO.
AUSPICES: ART COMMISSION OF SAN FRANCISCO

EDGAR WALTER, President JOS. H. DYER, JR, Secretary

DIRECTION OF MUSIC COMMITTEE
J. EMMET HAYDEN, Chairman

in A major, this taking the place of a second theme. Further transition
material leads to an important closing subject:

Example 2

The development is almost entirely concerned with the third and fourth
bars of Example 1, although material derived from Example 2 plays a minor
role. Recapitulation brings back the themes discussed, but in a somewhat
irregular and unorthodox fashion, with much insistence upon Bars 3 and 4
of Example 1.

II. Andante, G minor. The slow movement is based upon the melody
stated at the outset by the violins:

Example 3

Some 45 bars are devoted to the statement of this subject matter. Then comes
a contrasting-episode in G minor, with fuller orchestration and a more agitated
mood. The key of G major then reinstates itself as well as the original theme
and emotional atmosphere, and the movement progresses with repetitions and
development of Example 8, growing more mysterious, unearthly and
Beethovenian to the end.

III. The minuet follows the conventions. It is in two parts, each re-
peated. The contrasting section, or trio, is slower in tempo, smaller in
orchestral dimensions, more gracious in its flow. The minuet proper is
restated at the conclusion.

Allegro spiritoso. Over a drone bass like that of a peasant bagpipe,
the violins give out the folk melody previously referred to:

Example 4

This is repeated, and in the course of the transition a subject of some import-
ance in the development is tossed off:

Example

The long notes of the second theme make a marked contrast to the rapid
rush of Example 4:

Example 6

The development begins by working over the first two bars of Example
4, but Examples 5 and 6 come in for their brief share of treatment before the
recapitulation, which is quite regular, rehearsing the material of the exposition
in the established manner. The coda once more develops Example 4.

LOHENGRIN’S FAREWELL,

FROM “LOHENGRIN” .. . . Richard Wagner
(1813-1883)

Elsa of Brabant, accused of the murder of her brother, is saved from
death by the intervention of a mysterious knight who appears in a boat drawn
by a swan, meets Elsa’s accuser in single combat, and vanquishes him. The

San Francisco Preparatory Urchestra

WILLEM VAN DEN BURG, Conductor

Ohen ORCHESTRA now rehearses every Monday and
Friday night from eight to ten in the Sherman, Clay
& Co. building, corner of Kearny and Sutter streets. The
works studied are the standard symphonic literature.
This affords an opportunity to music students to prepare
themselves for symphony orchestra positions, and to
those who are studying music for the love of the art to
increase their knowledge, experience and consequent en-
joyment of music.

Professional musicians, as well as advanced students, are
accepted as members.

Visitors are welcome at rehearsals.
Membership dues are $2.00 per month.

For auditions Mr. Van den Burg may be reached by
phone at ORdway 7060 or at his residence — 2318
Leavenworth Street.

LS |
——— SSS essa

PoE Ee, 8 CON ao

Presents

MARIAN
ANDERSON

FAMOUS AMERICAN CONTRALTO

Opera House (Only Recital)

WED. EVE., FEB. 24, 8:30
2

PR O.G RAM

I.
Begruessung. - 4 ie. Haendel
Chio mai vi possa............. Haendel
Siciliana....................-.-.-.----- Haendel
Ah Spietato
(CArmadigi 22 Haendel
II.
Liebesbotschaft ................ Schubert
Ave Maria: 2 2237s: Schubert
Der Tod und das
Maedchen...................:.... Schubert
Die Forelle.......................- Schubert
III.
Air of “Don Carlos”
(O- Dono atale)}= Verdi
IV.
Die Fusswaschung............ Kilpinen
Schilfrohr, saeus’le
(Saev, saev, susa).......... Sibelius
Sung in Swedish
Die Libelle:.. 22. ee Sibelius
Wer es ein Traum.............. Sibelius
Sung in German
V.

Negro Spirituals:
City called Heaven....Hall Johnson
Lord, I can’t stay

RW eee et Roland Hayes
Crucifixion: ~4.0..: John Payne
My soul’s been anchored

in the Lord............ Florence Price

]

TICKETS: $2.20 — $1.65 — $1.10
SHERMAN, CLAY & CO.

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knight and Elsa are married, but the stranger insists that his wife must
never know his name and origin, on pain of losing him. Elsa does eventually

demand his name, and the knight sorrowfully reveals that he is Lohengrin,
son of Parsifal, a servant of the Holy Grail. The swan boat reappears, and

Lohengrin addresses it:

Mein lieber Schwan!

Ach, diese letzte traur’ge Fahrt,

Wie gern hatt’ ich sie dir erspart!

In einem Jahr, wenn deine Zeit

Im Dienst zu Ende sollte geh’n,
Dann, durch des Grales Macht befreit,
Wollt’ ich dich anders wiederseh’n!

O Elsa, nur ein Jahr an deiner Seite

Hatt’ ich als Zeuge deines Gliicks
ersehnt!

Dann kehrte, selig in des Grals Geleite,

Dein Bruder wieder, den du _ todt
gewannt.

Kommt er dann heim, wenn ich ihm
fern im Leben,

Dies Horn, dies Schwert, den Ring
sollst du ihm geben.

Dies Horn soll in Gefar ihm Hiilfe
schenken,

In wildem Kampf dies Schwert ihm
Sieg verleith:

Doch bei dem Ringe soll er mein
gedenken,

Der einstens dich aus Schmach und
Noth befreit!

Leb’ wohl! Leb’ wohl! Leb wohl! mein
susses Weib!

Leb’ wohl! Mir ziirnt der Gral wenn

ich noch bleib!

KAMARINSKAYA . ...

Beloved swan!

Ah, mournful'tidings hast thou brought,
So soon to see thee ne’er I thought.
After a year had slowly past—

The period of thy slavery—

Then by the Grail released at last,

I hoped my swan to see.

Oh, Elsa, till a single year had ended,

Had I remained, thy joy I should have
seen,

Then thy lost brother, by the Grail
defended,

To thee yet living would restore have
been.

If he returns, alone thou wilt receive
him.

This sword, this horn, this ring, rare
presents give him.

His arm will conquer when the sword

he raises;

The horn will aid him in an hour of
need.

As for the ring, whene’er on it he
gazes,

He’ll think on one who thee from
danger freed.

Farewell, farewell, I must away!

Farewell, the Grail forbids my stay.

Michael Ivanovitch Glinka
(1803-1857)

This work is based upon two Russian folk melodies, a wedding song and
a dance tune, which Glinka chanced to hear played simultaneously at a village
wedding. It derives its name from the traditional dance measure employed,
which, being very light and frothy, is called “Kamarinskaya,” or “mosquito

dance.,”’

Montagu-Nathan quotes Rimsky-Korsakoff as saying: “With ‘Kama-
rinskaya’ Glinka bequeathed to posterity the symphonic treatment of the
Russian folk tune’. The same authority quotes Tschaikowsky as writing:
“Without intending to compose anything beyond a simple humorous trifle he
has left us a little masterpiece every bar of which is the outcome of enormous

PHONE FILLMORE 6102

creative power. Half a century has passed since then, and many Russian

ELSIE COOK-LARAIA

Medalist and authorized representative of Tobias Matthay Piano School London, England
Classes for teachers demonstrating the successful presentation of the Tobias Matthay
teaching principle.

Studios: Dominican College, San Rafael — St. Rose Academy, San Francisco
For further information write secretary

Cook-Laraia Studios

3327 OCTAVIA STREET

——

ep 5 oe ee 3

The Musical Association of San Francisco
Maintaining the
San Francisco Symphony Orchestra

Mrs. Leonora Wood Armsby .

John A. McGregor
Mrs. E.S. Heller .
Paul Bissinger

Vice-President
Vice-President

OFFICERS

President and Managing Director

. . . Viee-President and Treasurer

Edward F. Moffatt
Peter Conley .

Secretary
Business Manager

EXECUTIVE COMMITTEE

Dr. Hans Barkan
Miss Lena Blanding
Miss Louise A. Boyd

Mrs. Marcus S.
Koshland
Guido J. Musto

Mrs. M. C. Sloss
Mrs. Sigmund Stern
Mrs. Cyril Tobin

Mortimer Fleishhacker Mrs. Ashton H. Potter Edgar Walter

Mrs. Walter A. Haas

Mrs. Leonora Wood
Armsby

Mrs. George B. Robbins

MUSIC COMMITTEE

Mrs. George T.
Cameron

Dr. Leo Eloesser
J. Emmet Hayden

FINANCE COMMITTEE

C. O. G. Miller
Chairman

Wallace M. Alexander

Raymond Arsmby

Paul Bissinger

Charles R. Blyth
George T. Cameron
Milton H. Esberg

Mrs. Marcus S.
Koshland
J.B. Levison

Mortimer Fleishhacker B. B. Meek

Miss Lutie D. Goldstein John Francis Neylan

J. H. Threlkeld

BOARD OF GOVERNORS

T. B. Berry
W.B. Bourn

Albert I. Elkus

Herbert Eloesser

Dr. Leo Eloesser

Milton H. Esberg

Mrs. Paul I. Fagan

Mortimer Fleishhacker

Mrs. Joseph C..Flowers

John F.. Forbes

Mrs. J. E.French

Frank J. Frost

Don E. Gilman

Miss Lutie D. Goldstein

Mrs. Harry S. Haley

J. Emmet Hayden

Mrs. Marcus S.
Koshland

Frederick J. Koster

Gaetano Merola

Robert W. Miller

Kenneth Monteagle

Guido J. Musto

Dwight F. McCormack

John A. McGregor

PAST PRESIDENTS

William Sproule
John D. McKee
J.B. Levison

Richard M. Tobin
Joseph S. Thompson

Executive Offices: 4th FLOOR, WAR MEMORIAL OPERA HOUSE
Ticket Office: Sherman, Clay & Co., Sutter and Kearny Streets

symphonic works have been composed. The germ of them all lies in ‘Kama-
rinskaya,’ as the oak-tree lies in the acorn. For long years to come Russian

composers will drink at this source.”

THE SWAN OF TUONELA

Jean Sibelius
(1865——)

a e * . s

This is one of a group of orchestral pieces by Sibelius illustrating the
Kalevala, the Finnish national epic. A note in the score explain its signifi-

cance as follows:

“Tuonela, the land of the dead, the Hades of the Finnish mythology,
is surrounded by a swift river of black water on which the stately Swan of

Tuonela glides, singing as it swims.”
THREE SONGS...

ZUEIGNUNG

Ja, du weisst es, theure Seele,
Dass ich fern von dir mich quale,
Liebe macht die Herzen krank,
Habe Dank!

Kinst hielt ich, der Freiheit Zecher,
Hoch die Amethisten Becher,

Und du segnetest den Trank,

Habe Dank!

Und beschworst darin die Bésen,
Bis ich, was ich nie gewesen,
Heilig, heilig, an’s Herz dir sank,
Habe Dank!

—Hermann von Gilm.

MORGEN
Und Morgen wird die Sonne wieder
scheinen
Und auf dem Wege, den ich gehen
werde,
Wird uns, die Gliicklichen, sie wieder
einen

Inmitten dieser Sonnenatmenden
Erde ..

Und zu dem Strand, dem weiten,
wogenblauen,

Werden wir still und langsam nieder-
steigen,

Stumm werden wir uns in die Augen
schauen,

Und auf uns sinkt des Gliikkes stum-
mes Schweigen.

—John Henry Mackay.

HEIMLICHE AUFFORDERUNG

Auf, hebe die funkelnde Schale empor
zum Mund,

Und trinke beim Freudenmahle dein
Herz gesund.

Und wenn du sie hebst, so winke mir
heimlich zu,

Dann lachle ich und dann trinke ich
still wie du.

Richard Strauss

(1864)
DEVOTION
Ah! thou knowest, sweet, all mine

anguish,
In thine absence how I languish.
Love brings sorrow to the heart;
Thanks, sweetheart!

Once, when merry songs were ringing,
I to Liberty was drinking,

Thou a blessing did impart,

Thanks, sweetheart!

Thou didst lay those wanton spirits;
Comfort, peace, my soul inherits,
Joy and bliss shall love impart;
Thanks, sweetheart!

TOMORROW

Tomorrow’s sun will rise in glory
beaming,

And on the pathway that my foot
shall wander

We'll meet, forget the earth, and lost
in dreaming,

Let heaven unite a love that earth no
more shall sunder. .

And toward that shore, its billows
softly flowing,
Our hands entwined,
slowly wending,
Gaze into each other’s eyes in love’s

soft splendor glowing,
Mute with tears of joy and bliss ne’er
ending.

our footsteps

THE SECRET PLEDGE

Up, lift now the sparkling cup to the
lip and drink,

And leave not a drop in the goblet
filled full to the brink.

And as thou dost pledge me, let thine
eyes rest on me;

Then I will respond to thy smile and
gaze all silent on thee.

Een 6 Mee mr ea eee

SIXTH PAIR OF SYMPHONY CONCERTS

| FRIDAY AFTERNOON, MARCH 5, at 2:30
SATURDAY EVENING, MARCH 6, at 8:30

WAR Mee MG Re Tan O-Pak Rees EE Oy Uarsae:
WILLEM VAN DEN BURG, Conducting

Soloist: MARIAN ANDERSON, Contralto
PROG AM

1. Concerto Grosso in D major................... Gin Bidet anael
DO ATOM ig otek ako ae yt Ok cece ns a ew eee cope See ete ae ML OZALE
MARIAN ANDERSON
2 Welmabal 11° cs ib: gee Ne neem ae ee op NDE weed ened Ne REO PTD cpp oe Medan tee Ronee ea om Nese Ie tenor Albeniz

(Orchestrated by Enrique Fernandez Arbos)
(First Performance in San Francisco)

i A. Ca)“O:Don Fatale’ from “Don, Carlos ee iasse ccc Verdi
i Cb) “Deen Rivet xi: 2st se ee en ae eee Negro Spiritual
(c) Sometimes I Feel Like a Motherless Child........ Negro Spiritual

i MARIAN ANDERSON
} 5 Symphony Nos 2 Wee B MO ee a capiceccacese ee eee yee Tschaikowsky

THE RUDOLPH WURLITZER COMPANY IS AGAIN
PLEASED TO ANNOUNCE THE HONOR
BESTOWED ON THEM BY

WALTER BELL

First, Bass Viol, with the San Francisco Symphony Orchestra
and teacher through his purchase of an
ALEXANDER GAGLIANO
bass-viol, the finest of its kind. This Bass Viol was formerly in
the Collection of Rodman Wanamaker, of New York
and is valued by us at $1000.00.

THE RUDOLPH WURLITZER CO.

364 SUTTER STREET PHONE SUTTER 8611 SAN FRANCISCO

Quality in instruments, with the guarantee which the
largest music house in the world can give.

“Ask for our Free Brochure on Old Instruments.”

Und still gleich mir betrachte um uns
das Heer

Der trunknen SchwaAtzer, verachte sie
nicht zu sehr.

Nein, habe die blinkende Schale,
gefullt mit Wein,

Und lass beim larmenden Mahle sie

gliicklich sein.

Doch hast du das Mahl genossen, den
Durst gestillt,

Dann verlasse der lauten Genossen,
festfreudiges Bild,

Und wandle hinaus in den Garten zum
Rosenstrauch,

Dort will ich dich dann erwarten nach
altem Brauch.

Und will an die Brust dir sinken, eh’
du’s gehofft,
Un die Kiisse trinken, wie ehmals

oft,

Und flechten in deine Haare der Rose
Pracht—

O komm, du wunderbare ersehnte
Nacht!

—John Henry Mackay.

THE PINES OF ROME .

Then let thy eyes bright wander
around o’er the comrades,

Gay and merry. O do not despise
them, love;

Nay! lift up the sparkling goblet and
join the sway.

Let them rejoice and be happy this
festive day,

But when thou hast drunk and eaten,
no longer stay;

Rise and turn thine eyes from the
drinkers, and hasten away,

And wending thy steps to the garden
where blush the roses fair,

Come to the sheltering arbor, I’ll meet
thee there.

And soft on thy bosom resting let me
adore,

Thy beauty, drinking thy kisses as
oft before.

I’ll twine around thy fair forehead the
roses white—

O come, thou wondrous, bliss-bestow-
ing, longed for night!

—English translations by John Bernhoff.

- . . Ottorino Respighi
(1879-1936)

This is the second of Respighi’s three tone poems celebrating the sights

and sounds of the city where the com

poser spent the greater part of his life.

The first is the celebrated “Fountains of Rome”; the third is entitled “Roman

Festivals.”

“The Pines of Rome” was composed in 1924. The following descriptive
and analytical remarks concerning it are quoted from the program notes of
the late Philip Hale, which are in turn largerly quoted from Respighi’s

preface to the score.

I.— The Pines of the Villa Borghese (Allegretto vivace). Children are
at plan in the pine-grove of the Villa Borghese, dancing the Italian equivalent
of “Ring Around The Rosy,” mimicking marching soldiers and battles, twitter-
ing and shrieking like swallows at evening, and they disappear. Suddenly

the scene changes to —

II. — The Pines Near a Catacomb (Lento; beginning with muted and
divided strings, and muted horns). We see the shadows of the pines which
overhang the entrance to a catacomb. From the depths rises a chant which
reéchoes solemnly, sonorously, like a hymn, and is then mysteriously silenced.

III. — The Pines of the Janiculum (Lento: piano cadenza, clarinet solo).
There is a thrill in the air. The full moon reveals the profile of the pines of
Gianicolo’s Hill. A nightingale sings (represented by a phonograph record of
a nightingale’s song, heard from the orchestra).

IV.— The Pines of the Appian Way (Tempo di marcia). 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.

rer A

PERSONNEL

SAN FRANCISCO SYMPHONY ORCHESTRA
PIERRE MONTEUX, Conductor

Willem Van den Burg, Assistant Conductor

First Violins:
Blinder, Naoum

S
Cellos:

Bassoons:

Van den Burg, Willem Eee Ernest

‘Oper

Concert Master Principal Haye, E. B.
Heyes, Eugene Dehe. Will Hranek, Carl
Asst. Concert Master ~°2® YY Miem Baker, M.
Argiewicz, Artur Reinberg, Herman a
Meriz, Emilio ee ea thy Contra Bassoon:

Seager: S ; ;
ee ean Coletti, Bruno La Haye, E.B. day 3
Laraia, W.F. Bem, Stanislas Horns: aturday
Gordohn, Robert Saiane eee Lambert, Pierre ee
Mendelevitch, Rodion 708°V°Y; \reorge Trutner, Herman on
Mortensen, Modesta Claudio, ©. Tryner, Charles E. fnday
Pasmore, Mary 2 Roth, Paul
de Grassi, Antonio Basses: 4 ; Bday }
Wegman, Willem Bell, Walter FUMIPCUS ; mday |
Claudio, Ferdinand Principal Klatzkin, Benjamin ¢
Koharits, Joseph Schmidt, Robert E. Barton, Leland S. peeday
Houser, F.S Guterson, Aaron Kress, Victor B inesd

Schipilliti, John 3 .
Second Violins: Forman, F. F peace : d hursday
Gough, Walter Hibbard, E. B. Giosi, Orlando
Principal Storch, A. E. Shoemaker, R. F. Hay F
Eanes J ae Buenger, A. Klock, J. ‘
osset, i.m1 x evra y
Moulin, Harry Flutes: Tuba:
Paterson, J. A. Murray, Ralph finday J
Gold Julius Woempner,Henry. C.
Helget fang Oesterreicher, Walter Harp: linday 3
Laraia, Attilio F. Benkman, Herbert Attl, Kajetan Onday |
Spaulding, Myron Herold, R. J. Morgan, Virginia
rs MCs ay
Rolie, Wathen Oboes: Tympani: Binead
Lind, Waldemar Shanis, Julius Wagner, R. E. iE
Schneider, D. Sargeant, W. Percussion: .
ay Schivo, Leslie J. Tienda inert hiday E
iolas: ae
Firestone, Nathan English Horn: Panne M. A. iturday
SEED asin Schivo, Leslie J. Steffan, D. btorday
Hahl, Emil larinets: : , |
Weiler, Fae rere hes oe ts ene, au ee : inday J
Baker, Fred A. Se ant a let ti Rag iday

Tolpegin, Victor

Rudd, Charles

Librarian:

earea Manfred Fragale, Frank Haug, Julius IL OR
in, Al d eee re
ache feiae Victor ae ee ee Personnel Manager: a
Mitchell, L. Fragale, Frank Oesterreicher, Walter il 02
ee ee ee atin ote ati aie ae Cation

100

MAIL ORDER BLANK

FOURTH ANNUAL DOLLAR OPERA SEASON
Tom C. Girton

Presents

FORTUNE GALLO

and his

SAN CARLO OPERA COMPANY

WAR OM EMO RT A Le 207P 2 AP SH Oss &
FEBRUARY 26 TO MARCH 14 INCLUSIVE

$1.98 $1.65 $1.10 83¢ |
Date Green’ liane (Sear ee Pega” | alee

may Eve, Feb. 26) Alda 9 | 8 “h ccsssncsmsnsscnates buasusecsidissspners| enentees Menge nceren Pesecteee oe ttes Leto a alae aieee a |
murday Mat., ” 27) Martha and Ballet 7... sstc |asesssncsesed scot cee teagectatabsteis |e ores Bare poe ae |
morday Kive., ST TE Trovatore. aoc csscs sco tncosnsodozecsycsonnspes peepee sist tee | engasss ee cteecate | an
inday Mat., 7 1B) Rigoletto = hb esses aesccceibaeWectecsescrteacd [eeeatcc cuenta pea ee eae eee A
inday Eve., W -2B) Carmen = Pb sccistasasbsesccpth tS chacelecS RS ep cares 9 eg |
mpiay Eve. March 1) Mamade Butterfly: 5.55 ofc. ec31 oiseccscgns itera ste eee | oe |e
meiayEve., Bl Lem Travintas 52 cise.cclscanai/tcsncascccnscomerte ise casters Re coal ee emeesseee eae bac eee ee cette ee
lednesday Eve., ” 8] Jewels of the

Medora oo bcs scescoscnsissaninafiseatonndsetacsoanscell Sicds shee ales dess Por carasna tbs toess soo aT tet ae oe a
hursday Eve. ” 4! Cavalleria and

Paglinceh © lccccacessisscheesss, bscoveatedvonatnccsysi| cosas adbouseestputses|teese Teese he ol eer ae | a |
riday Eve., "SB Dohengrig 6°. Se cd eh cy I ek
Miurday Mat., ” 6] Lucia di

Lem mmermoor 085.5 ec del hss | scmcasctep teeth estan seta easeeneet | A Gscavas een de ciel [estas ce aR Le ae ne
finday Mat., ”) 4 Madame Butterfly: .()...c50.c900 fhe tcane tall ak terse i lester || pee ee |e
lnday Eve., © EPC apmet Ne avaeescnsfteceetents sence feet seeges cok chucgl Us Seca eale Ts a eee |
onday Eve., NB) Leg Boreas cceibsccechors bosseeteotes Me eta ieee chee tesestalptoc ce tee eet [ae eee ae
meiay Eve, 7 “Ol. Faust hn cs casa besctapcereriseprae Bee be eel |e ek A i a
mnesday Eve,” 10) Te Glovonde (6 :j[ica ke Seis nhl edesctenin lace keke lanl etme oe et
miay Eves.” A110 Trovatore:s “Lasse clench oe [aca oe Sg 0a
Bey Eves. = %) (AD) Rigolettorns ct ot Live. meet ice | wine eI one ole iytil gee aaa | el
Miurday Mat. ” 18] L’Oracoloand Ballet

ONG Palin cen tee. ssseisiscossjns'fscacvapeysich axel Was ge okeen hist Rae to Le ee .
erlay Hive,; ”18| Ea Wedes Fl eal nal Bean earl lc Be een oe, eee a
Te i A Te kee.
Miday Eve, ba] Madame Butter tly. 2b: ssecs cece ases ish cot eccecane a Meveveseoin ates ol eiecasbas eee ee cee cee | aT

eee EEO !|.=——eee

ul ORDERS NOW BEING RECEIVED THE TOM C. GIRTON BOX OFFICE

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ail Order Coupo n mhegenclosed check (S..2.5...0 4a ees eke jis in full payment
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VEE PO =, GeO, Dre Wweey oN = Aeey i

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PEARED So BUCKS
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ST- FRANCIS THEATRE

TWICE DAILY—Beginning THUR. EVE., FEB. 25

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NO WO NS A Lak
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FERRIER’S THEATER OF ART
1470 Washington St. Phone ORdway: 3143 San Francisco
By Special Arrangement with the Author
ANDRE FERRIER PRESENTS
In connection with SINGING and DRAMA SCHOOL
The Most Amusing Play of the “Paris” Season

“BICHON”

Modern Comedy in 8 Acts by Jean de Letraz — “A Thousand Laughs.”
“This comedy has been played for 3 consecutive years in Paris.”
Tickets for Sale at: Sherman, Clay & Co. and at Theater

SAN FRANCISCO

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Professional Coaching in all subjects

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are among the established style
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of quality are moderately priced

Boer

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The magic beauty of world
famous symphonies is yoursto
enjoy whenever you wish with

Victor Higher Fidelity
RECORDS

Tune in on KJBS every evening at
10:00 P. M. for two bours of
popular and classical music .« -»

KEARNY AND SUTTER STREETS
OAKLAND: H.C. CAPWELL'S . . . Fourth Floos

These are but a few of the symphonies
available on Victor Higher Fidelity
Recordings !

Symphony No. 7 in A Major
(Ludwig van Beethoven, Opus 92)

Played by Arturo Toscanini

and Philharmonic Orchestra

of New York. 5 records with $4()

album

Symphony No. 4 in G Major
(Antonin Dvorak)

Played by the Philharmonic

Orchestra by Vaclav Talich. $750

5 records with album

Schubert’s Symphony No. 8
in B Minor (unfinished)
Played by Koussevitzky and
the Boston Symphony Orches- § 6°°
tra. 3 records with album

Mendelssohn’s Symphony No.

4 in A Major
Played by Serge Koussevitzky
and the Boston Symphony
Orchestra. 3 records with 56°
album

DRADOETODANYRDATODAGVEANARVYAOCOAOODERAGAWAUOUARARORU GAD ONGRAOOGAROPOURNODORAIGNDORE

yer

UN
Mh

TELE

SAN FRANCISCO
SY MPR
OR CHEST RA

PIERRE MONTEUX
CONDUCTOR

Willem van den Burg
Assistant Conductor

MAINTAINED BY THE MUSICAL
ASSOCIATION OF SAN FRANCISCO

1 ’
Ze i

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‘s
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SA 4

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‘4 j “5:

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ii ie

MUL

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FLING

——
=
=a EE ee leE_
= Sixth Pair ;

TWENTY-FIFTH SEASON

Sill Ui
ints SSD OD UU mL ll

in the
ie

Nivindston

manner

CD iteys florals,

conventional patterns
... dark backgrounds
Misses’ and women’s

sizes .

The Musical Association of San Francisco
Maintaining the

San Francisco Symphony Orchestra

OFFICERS

Mrs. Leonora Wood Armsby . President and Managing Director
. . . Vice-President and Treasurer

John A. McGregor ‘
Mrs. E.S. Heller . Vice-President
Vice-President

EXECUTIVE COMMITTEE

Paul Bissinger

Dr. Hans Barkan
Miss Lena Blanding
Miss Louise A. Boyd

Mrs. Marcus S.
Koshland
Guido J. Musto

Edward F. Moffatt
Peter Conley . Business Manager

Secretary

Mrs. M. C. Sloss
Mrs. Sigmund Stern
Mrs. Cyril Tobin

Mortimer Fleishhacker Mrs. Ashton H. Potter Edgar Walter

Mrs. Walter A. Haag

Mrs. Leonora Wood
Armsby

C. O. G. Miller
Chairman

Wallace M. Alexander

Raymond Arsmby
Paul Bissinger

Mrs. George De Latour

Miss Katherine
Donohoe
Joseph H. Dyer, Jr.

T. B. Berry
W.B. Bourn

Mrs. George B. Robbins

MUSIC COMMITTEE

Mrs. George T.
Cameron

Charles R. Blyth
George T. Cameron
Milton H. Esberg

Dr. Leo Eloesser
J. Emmet Hayden

FINANCE COMMITTEE

Mrs. Marcus S.
Koshland
J.B. Levison

Mortimer Fleishhacker B. B. Meek

Miss Lutie D. Goldstein John Francis Neylan

J. H. Threlkeld

Albert I. Elkus

Herbert Eloesser

Dr. Leo Eloesser

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Mrs. Paul I. Fagan

Mortimer Fleishhacker

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John F.. Forbes

Mrs. J. E.French

Frank J. Frost

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Mrs. Harry S. Haley

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Mrs. Marcus S.
Koshland

Frederick J. Koster

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PAST PRESIDENTS

William Sproule
John D. McKee
J.B. Levison

BOARD OF GOVERNORS

Richard M. Tobin
Joseph S. Thompson

Executive Offices: 4th FLOOR, WAR MEMORIAL OPERA HOUSE
Ticket Office: Sherman, Clay & Co., Sutter and Kearny Streets

en ale le ale atl at alten ttn iin site tite pti iin tit, aie iin ei i ti i ai ei a a a ae |

Sherman |/ Kearny st Satie

108

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8 California Stores

kffeective MaTew pet

prices Go Ot Cue aOnn

STEINWAY

World’s most perfect piano. . . available
now at prevailing low prices

Steinway & Sons inform us that
due to the rising costs of both labor
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In anticipation of this rise in
prices, Sherman, Clay & Co. is in
an enviable position to supply a
limited number of glorious new
Steinway grands at the lowest
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San Francisco Symphony Orchestra

PIERRE MONTEUX, Conductor
WILLEM VAN DEN BURG, Assistant Conductor

SILVER JUBILEE SEASON

SIXTH PAIR OF SYMPHONY CONCERTS
1215th and 1216th Concerts

Friday, March 5, 2:30 P. M., 1937
Saturday, March 6, 8:30 P. M., 1937
WAR MEMORIAL OPERA HOUSE

Soloist: MARIAN ANDERSON, Contralto

PROGR A M
CONCERTO: GROSSO No, 5; Do MiATOR. a5) ae Handel

Maestoso

Allegro

Presto

Largo

Menuetto

Allegro

(Solo Violins: Naoum Blinder, Eugene Heyes;
Solo ’Cello: Willem van den Burg)

ATES TS UAE ae se oe cae ce eee ee eee ea Mozart
MISS ANDERSON
| oH a cdl Be area stan Beco sy saneahttinee th sient ap cienstoesonien oe alk fs heer etre Of oo Albeniz

Evocacion
El Corpus en Sevilla
Triana
Orchestrated by Enrique Fernandez Arbos

ARLTAY OLDON PATALE. Jb ROM. DON CSRLOS 72. Verdi

NEGRO SPIRITUALS:
DEEP RIVER
SOMETIMES I FEEL LIKE A MOTHERLESS CHILD
MISS ANDERSON

INTERMISSION
SYMPHONY Nowa, 0h MINOR| OPUS 3622 Tschaikowsky

Andante sostenuto — Moderato con anima
Andantino in modo di una canzone
Scherzo: Pizzicato ostinato

Allegro con fuoco

109

KNOWLEDGE
OF THIS
SUBJECT

may mean much

Whether your estate will be large or small, you can
make it provide more mori) for your family’s
future needs by sound planning .. . now.

As a wise preliminary to such Lisnaings we sug-
gest that you read the above booklet. It discusses
estate problems from the practical standpoint of
today’s conditions. And it explains the investment
policies and procedure which form the basis of this
bank’s trusteeship.

A copy of this new booklet will be sent at your request.
Write, call at our Trust Department,
or telephone SUtter 1500.

FRIDAY EVENINGS—KSFO, 7 O’CLOCK

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110

PROGRAM NOTES

By ALFRED FRANKENSTEIN

CONCERTO GROSSO No. 5,

D MAJOR ..... .. . George Frideric Handel
(1685-1759)

“This day are published proposals for printing by subscription, with His
Majesty’s royal license and protection, Twelve Grand Concertos in Seven Parts,
for four violins, a tenor, a violoncello, with a thorough-bass for the harpsicord.
Composed by Mr. Handel. Price to subscribers, two guineas. Ready to be de-
livered by April next. Subscriptions are taken by the author at his house in
Brook Street, Hanover Square, and by Walsh.”

Thus the London Daily Post of October 29, 1739, neglecting to mention
what to the modern eye is one of the most remarkable features of the perform-
ance, namely that the entire set was composed in about three weeks’ time.

Handel’s concertos do not exhibit the unity of architecture revealed by
the works of Bach in the same form. The number, length, character and
sequence of the movements in Handel varies with each concerto. Their one
unifying principle is the fact that, like most of the orchestral music of their
time, they are written for a group of soloists—two violins and a ’cello—set
off against a large accompanying orchestra.

ALLELUJAHY (S325. 2c ee a LOZarE
(1756-1791)

This aria, based upon the single word “Allelujah,” is the third and final
movement of a little motet for soprano solo and orchestra entitled “Exsultate,
Jubilate.” It was, according to the original manuscript, “composto in Milano
nel Gennaio, 1773, del Sgr. Cavaliere Amadeo Wolfgango Mozart, Academico
di Bologna e di Verona.” The “Sgr. Cavaliere” who so proudly boasted his
academic honors was at that time only 16 years of age, yet, according to the
pele chronological catalogue of the learned Dr. Ké6chel, this is his

5th wor wit.

IBERIAS 0 ee ee ce We ee oe ee lsane Albeniz

Orchestrated by ENRIQUE FERNANDEZ ARBOS. (1860-1909)

We quote from John B. Trend’ S article on Albeniz in Grove’s Dictionary:
“Iberia”? consists of 12 ‘scenes’ from different corners of Spain,
inspired by the rhythms, harmonies, and turns of phrase of Spanish
popular music; particularly the songs and dances of Andalucia. As a
Catalan by birth, Albeniz could look at Andaluz music with something of
the detachment of a foreigner; and if he did not penetrate to the true

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fer to possess.”

COUN G2 Ean
Mr. E. Robert Schmitz
appears at the
Community Playhouse
San Francisco, Monday
Evening, March 22nd.

310 SUTTER STREET

So 2B

ep)

Friday Atternoon

Box Holders

Mrs. Pierre Monteux
Available for Single Concerts
Mrs. Leonora Wood Armsby

Mrs. Samuel Kahn
Miss Barbara Kahn

- Mr.and Mrs. Kenneth Monteagle

Mrs. Donald Gregory

v Mrs. Osgood Hooker, Sr.
- Mr. Osgood Hooker, Jr.

‘ Mrs. Butler Sturtevant
‘Mrs. G. Parker Toms
v Mrs. Walker Kamm

Mrs. Corbett Moody
Mrs. Walker, Henderson

Mrs. J. B. Wright

Mrs. Frank Noyes

Mrs. Daniel Volkmann
Miss Johanna Volkmann
Mrs. Spencer Grant
Miss Else Schilling

Mrs. Dean Witter

Mrs. Damon Wack

Mrs. Lingan A. Warren
Mrs. Robert MacGowan

Mrs. Edward Macauley

Mrs. Felton Elkins

Mrs. Parmer Fuller

Mr. and Mrs. Robert Hooker, Jr.
Mr. Stephen Parrot

Mr. and Mrs. Frank J. Frost
Mr. and Mrs. Morris P. Frost

Miss Lena Blanding
Mrs. Harold Richert McKinnon
Mrs. George M. Stoney

U
V
W
X
y.
Z

Mrs. Richard Girvin
Miss Marie Coppée
Miss Emily Carolyn

Mrs. Marcus S. Koshland
Judge and Mrs. M. C. Sloss

Mr. and Mrs. J. B. Levison
Mr. and Mrs.
Mortimer Fleishhacker

Dr. andMrs.
David Armstrong Taylor

Mr. and Mrs.
George T. Cameron
Mr. and Mrs. Nion R. Tucker

Mr. Charles G. Norris

Mr. Walter Heller
Mrs. Morris Meyerfeld

Mr. and Mrs. Frank P. Deering
Mr. and Mrs. C. O. G. Miller
Mr. and Mrs. F. W. McNear
Lady Tennyson

Mr. and Mrs. George de Latour

Mrs. Joseph C. Flowers
Mrs. George Baker Robbins

Mrs. Otto Barkan

Mr. and Mrs. Richard Heimann
Mr. William F. Leib

Mr. and Mrs. Robert W. Miller
Mr. Richard Walker

Mr. and Mrs. Samuel Knight
Mrs. Prentiss Cobb Hale
Available for Single Concerts
Available for Single Concerts
Dr. and Mrs. Hans Barkan

Available for Single Concerts

113

SAN FRANCISCO SYMPHONY ORCHESTRA
PIERRE MONTEUX, Conductor

WITH

IGOR STRAVINSKY

Conducting SAN FRANCISCO SYMPHONY and playing his
“SYMPHONY OF PSALMS”
ALSO
Rossini “STABAT MATER”. Conducted by HANS LESCHKE

MUN DCT Peas) “Con .O Ro Un

CIVIC AUDITORIUM — TUESDAY, MARCH 23

SAN FRANCISCO SYMPHONY ORCHESTRA
PIERRE MONTEUX, Conductor

WITH

Se ee

CIVIC AUDITORIUM — TUES. EVE., APRIL 20

RESERVED SEATS: $1.00, 75¢, 50¢, 25¢ — SHERMAN, CLAY & CO.
AUSPICES: ART COMMISSION OF SAN FRANCISCO
EDGAR WALTER, President JOS. H. DYER, JR, Secretary

DIRECTION OF MUSIC COMMITTEE
J. EMMET HAYDEN, Chairman

MUNICIPAL CONCERTS

- =~ = La

essence of it (as Falla has done), he realised that its determining fea-

tures were the combination of strong, conflicting rhythms; the harmonic
effects naturally obtained from instruments tuned in fourths; and the
wavering, profusely ornamented melodies of the native ‘Cante Hondo.’
At the back of his mind there is generally a guitar-player who ends with
the ‘Phrygian cadence,’ a dancer whose castanets are always syncopating
against each other, and sometimes (as in ‘Triana’) the shake and bang
of a tambourine. Albeniz did not try to reproduce these things in his
music; he endeavored to suggest them on the pianoforte. The whole of
his later work is a brilliantly pianistic ‘Evocacion’ of Spanish popular
music, constructed on the principle of the pianoforte piece of that name,
an which the ‘Jota’ of Navarre is contrasted with a melody from Anda-
ucia.”’

Of the 12 pieces by Albeniz, Senor Arbos, conductor of the Symphony
Orchestra of Madrid, has orchestrated six, but neither composer nor arranger
intended to create a unified suite, and in omitting three of Arbos’ movements
no violence is done to an artistic conception,

“Evocacion” needs neither translation nor comment. “El Corpus en
Sevilla,” (also widely known under the French title, “Féte-Dieu a Seville,’’)
refers to the great religious procession on Corpus Christi Day in the capital
of Andalucia. “Triana” is the name of a suburb of Seville largely inhabited by
gypsies.

ARIA, “O DON FATALE,”

FROM “DON CARLOS” . . . . Giuseppe Verdi
(1813-1901)

Don Carlos, son of King Philip IV of Spain, loves and is loved by the

French princess, Elizabeth of Valois. But reasons of state force Elizabeth

into marriage with Carlos’ royal father. The predictable secret trysts and

lovers, meetings follow. The Princess Eboli, who herself loves Don Carlos,

AFTER THE CONCERT
FINE FOODS

lce Cream *« Sodas
Pastries x Candies

Served in the most beautiful restaurants
in the West—at no greater cost
than elsewhere

Pig’n Whistle

1032 MARKET STREET, Near Paramont Theatre
and the Opera House

Eid arOulh iy @ Gul Coral ee

SEVENTH PAIR OF SYMPHONY CONCERTS

FRIDAY AFTERNOON, MARCH 19, at 2:30
SATURDAY EVENING, MARCH 20, at 8:30

Wien Me Bovi-O (RelA bs Oe Pe be AY © OGU so. &

Soloist ISAAC STERN, Violinist

PROGRAM

I Ballet Suite trom: “Cephale jet Procris’) Gretry-Mottl
(First Performance in San Francisco)

Dy. ME ONCEMLOMOL VION Malo” iayOlz see sce wee ae Brahms

ISAAC STERN

ore sOVermates ir ISkeL tel ArGG eect oro) cu eee ren eee esac Philip James
(First Performance in San Francisco)

Ae She; Bmchanted tealke ec o.s.cees-ceec kee ee ees ee Liadow

See Ole: LhOtauy cane Len DIR) oe... seers ees eee ree Stravinsky

The Musical Association of San Francisco is deeply honored by the spon-

sorship of the Junior Chamber of Commerce for this pair of concerts.

IN RECOGNITION

a’

CITY CAN HAVE NO GREATER ASSETS THAN THOSE WHICH

make for the cultural life of the community. And ad-

mittedly music, with its far-reaching message and en-
riching influence, holds supreme place in the aesthetic life
of its people.

San Francisco can justly be proud of its musical assets
and its record of not only maintaining them but always
striving to extend their scope. For nearly a century music has
held a most important place in the cultural life of the city.

Principal among the contributing agencies has been the
Musical Association of San Francisco and the Symphony
Orchestra it maintains. For a quarter of a century the or-
chestra, and more recently the municipal sponsoring of music,
have brought an enviable renown and distinction to San
Francisco, placing it in the front rank of American cities
which foster and encourage music as means of community
expression.

Not only to the Symphony Orchestra as a body, but to
individual artists who claim San Francisco as home, is the
city indebted for its cultural distinction. And in recognition
of their contribution the San Francisco Junior Chamber of
Commerce is honored to sponsor the Seventh pair of concerts
of the Symphony’s Silver Jubilee Season and the appearance
of Isaac Stern, young San Francisco violinist, as guest artist.

That this concert pair may be outstanding in a season
already brilliantly successful, we urge the attendance not
only of our own members but of every loyal music-loving
San Franciscan.

SAN FRANCISCO JUNIOR CHAMBER OF COMMERCE

Puitip F, LANpIs,

President.

THE RUDOLPH WURLITZER COLLECTION of Rare Instruments
is again pleased to announce the honor bestowed on them by

FRANK HAUSER

Violinist of the San Francisco Symphony Orchestra, through his
‘ selection of the very famous

ALEXANDER GAGLIANO VIOLIN

Made in Naples

This violin is one of the finest existing specimens of the Great
Master. Valued at $4,500.00.

THE RUDOLPH WURLITZER CO.

364 SUTTER STREET PHONE SUTTER 8611 SAN FRANCISCO

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118

discovers this state of affairs. Her love turns to hate (to coin a phrase) and
she denounces the guilty pair to the King. Many complications ensue before
Carlos is finally delivered up to the tender mercies of the Inquisition.

The aria “O Don Fatale” (“O Fatal Gift’) is sung by the Princess Eboli
in the fourth act, when (again to coin a phrase) she feels the pangs of remorse
for her deed. Its text is as follows:

O don fatale, o don crudel Oh beauty! thou fatal gift,

Che in suo furor mi fece il cielo! By fortune, in vindicative mood, con-
ceded me.

Tu che ci fai...si vana altera Oh beauty! thou who mak’st our sex
so haughty and so vain—

Ti maledico, o mia belta. Beauty, I curse thee!

Versar, versar sol posso il pianto, Ye bitter tears flow on apace!

Speme non ho, soffrir dovro! No hope is left, all joy hath flown!

Il mio delitto é orribil tanto My crime’s so base, so horrible!

Che cancellar mai nol potro! Naught can e’er my sin atone!

O mia Regina, io t’immolai , Oh, Queen beloved, I sacrificed thee

Al folle error di questo cor. To the revolt of this wild heart.

Solo in un chiostro al mondo ormai In a lone cloister from earth secluded

Dovro celar il mio dolor! I may hide my sorrow apart!

Oh ciel! E Carlo? a morte domani... Oh Heaven! and Carlos?

Gran Dio! a morte andar vedro! Tomorrow he’ll be dragged to execu-
tion!

Ah! un di mi resta, One day alone is left me.

La speme m/arride, Ah, what bright thought flashes o’er
me!

Sia benedetto il ceil! Lo salverd! Pans be to Heaven! I yet may save

im!

SYMPHONY No. 4, F MINOR,

OPUS 36... . . . Peter Ilyitch Tschaikowsky
) (1840-1893)
Tschaikowsky’s famous letter of March, 1878, to Nadejda von Meck, is
the locus classicus for program material on the fourth symphony. The most
pertinent portion of this document is here quoted as it appears in “Beloved
Friend,” Barbara von Meck and Catharine Drinker Bowen’s book on the
Tschaikowsky-von Meck correspondence.

“Our symphony has a program definite enough to be expressed in
words; to you alone I want to tell — and can tell — the meaning of the
work as a whole and in part. You will understand I attempt to do so
only along general lines.

The Introduction is the germ of the entire symphony, the idea
upon which all else depends:

“This is ‘Fate,’ the inexorable force that prevents our hopes of
happiness from being realized, that watches jealously lest our felicity
should become full and unclouded — it is Damocles’ sword, hanging
over the head in constant, unremitting spiritual torment. It is un-
conquerable, inescapable. Nothing remains but to submit to what seems
useless unhappiness:

“Despair and discontent grow stronger, sharper. Would it not be
wiser to turn from reality and sink into dreams?

120

“Incomparable” Japanese dancer... .

“Since Nijinsky he is the first and only dancer in whom all is
complete; — such a perfection of inner and outer values, forms and
contents; — like a great work of art, a great poem, deep music,
an excellent painting. But human, is that intense life, wild passion,
that feeling, which penetrates from him to the public, — thus he
closes in one electric current both himself and his audience.

“From the point of view of technique he knows all the ballet culture
of the Occident, but that is only an incident, a factor, in this perfect
richness of movement, rhythm and expression with which he is
without a double. Each dance, whether it takes its influence from
the East or the West, is a perfect masterpiece.”

—Pesti Hirlap, Budapest

First “San. francisco, -Recital, “wath lal oN sake,
THURSDAY EVENING, MARCH 11
VETERANS’ AUDITORIUM
Tickets: $1.00, $1.50, $2.00 (plus tax) at Sherman, Clay & Co.

WEEE RTD” ie DAV ss McA NAG BeMeEaN ie LNG:

Fae
. .

a re

San Francisco Symphony Orchestra

PIERRE MONTEUX, Conductor
Willem van den Burg, Asst. Conductor

1937 SEASON

&
Tues. 8:15 P.M., Mar. 9, Memorial Chapel, Stanford University
Thur. 8:15 P. M., Mar. 11, Broadcast for Standard Oil Co.
Fri. 2:30 P.M., Mar.19, Opera House, with Isaac Stern, Violinst
Sat. 8:30 P.M., Mar. 20, Opera House, with Isaac Stern, Violinst
Tues. 8:30 P. M., Mar. 23, Civic Auditorium, with Igor Stravinsky and
San Francisco Municipal Chorus
Thur. 8:15 P. M., Mar. 25, Broadeast for Standard Oil Co.
Thur. 8:15 P.M., Apr. 1, Broadcast for Standard Oil Co.
Sat. 10:30 A.M., Apr. 8, Young People’s Concert, Ernest Schelling
Conducting
Fri, 2:30P.M., Apr. 9, Opera House, Ernest Schelling, Pianist
Sat. 10:30 A. M., Apr.10, Young People’s Concert, Ernest Schelling
Conducting
Sat. 8:30P.M., Apr.10, Opera House, Ernest Schelling, Pianist
Sun. 3:15 P.M., Apr.11, University of California, Huberman, Violinist
Thur. 8:15 P. M., Apr.15, Broadcast for Standard Oil Co.

Fri. 2:30 P.M., Apr.16, Opera House, with John Charles Thomas,

Baritone

Sat. 10:30 A. M., Apr.17, Young People’s Concert, Ernest Schelling
Conducting

Sat. 8:30 P.M., Apr.17, Opera House, with John Charles Thomas,
Baritone

Tues. 8:15 P. M., Apr. 20, Civic Auditorium, Sylvia Lent, Violinist
Fri, 2:30 P.M., Apr. 23, Opera House

Sat, 10:30 A. M., Apr. 24, Young People’s Concert, Ernest Schelling
Conducting:

Sat. 8:30P.M., Apr. 24, Opera House

Sun. 3:00P.M., Apr. 25, San Rafael

YOUNG PEOPLE'S CONCERTS
ERNEST SCHELLING, Conducting

April 8— “Form and Construction.” Laura Dubman, piano soloist.
April 10 — “Early Suites.”

April 17 — “The Minuet and Scherzo.”

April 24— “The Overture.”

SEASON TICKETS (Four Concerts): 60¢ — $1.00 — $1.40 — $2.00

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122

PETER CONLEY ATTRACTIONS

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VETERANS’ AUDITORIUM — FRIDAY EVENING, MARCH 12

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AND HER COMIC BALLET
OPERA HOUSE — WED. EVE., MAR. 17 — SUN. AFT., MAR. 28

TED SHAWN

AND HIS MEN DANCERS

VETERANS’ AUDITORIUM
TUES. AND WED. EVES., APRIL 6-7 — WED. MAT., APRIL 7

MARTHA GRAHAM

AND HER DANCE GROUP
THURSDAY EVENING, APRIL 8 — SUNDAY AFT., APRIL 11

LAURA DUBMAN

PIANIST WEDNESDAY EVENING, APRIL 14
BARITONE MONDAY EVENING, APRIL 19
TENOR THURSDAY EVENING, APRIL 29

TICKETS NOW ON SALE
SHERMAN, CLAY & CO. — San Francisco and Oakland

“Oh, joy, at last the sweet and tender dream appears! Some bright
clear human image passes, beckoning me on:

“How delicious and how remote, now, the distressing first theme
of the Allegro. Little by little, dream possesses the soul. Forgotten
is sadness and despair. Happiness is here! But no, this was only a
dream, and ‘Fate’ awakes us.

“So life itself is a persistent alternation of hard reality with
evanescent dreams and clutchings of happiness. There is no haven. Sail
on that sea until it encompass you and drown you in its depths. This,
approximately, is the program of the first movement.

“The second movement expresses another phase of suffering. It is
the melancholy that comes in the evening when we sit alone, and weary
of work, we try to read, but the book falls from our hand. Memories
crowd upon us. How sweet these recollections of youth, yet how sad to
realize they are gone forever! One regrets the past, yet one would not
begin life anew, one is too weary. It is easier to be passive and to
look back. One remembers many things — happy moments when the
young blood ran hot and life fulfilled all our desire. There were hard
times too, irreparable losses, but they are very far away. It is sad and
somehow sweet to sink thus into the past.

“The third movement expresses no definite feelings; rather it is
a succession of capricious arabesques, those intangible images that
pass through the mind when one has drunk wine and feels the first
touch of intoxication. The soul is neither gay nor sad. The mind is
empty, the imagination has free rein and has begun, one knows not
why, to draw strange designs. Suddenly comes to mind the picture of a
drunken peasant, a brief street song is heard. Far off, a military
procession passes. The pictures are disconnected, like those which
float through the mind when one is falling asleep. They are out of
touch with reality; they are wild and strange.

“The fourth movement: If you truly find no joy within yourself,
look for it in others. Go to the people. See — they know how to make
the best of their time, how to give themselves up to pleasure! A peasant
festival is depicted. No sooner do you forget yourself in this spectacle
of others’ joy, than merciless Fate reappears to remind you of yourself.
But the others are indifferent to you; they do not so much as turn their
heads toward your loneliness and sadness. Oh, how gay they are!
And how fortunate to be ruled by such simple, immediate feelings!
Here one sees the existence of simple, deep joys; enter into them and
life will be bearable.

“This, dear friend, is all I can tell you about the symphony. Of
course what I have said is neither clear nor complete. This follows from
the very nature of instrumental music, which does not submit to detailed
analysis. ‘Where words cease, there music begins,’ as Heine said.’

ELSIE COOK-LARATA

Medalist and authorized representative of Tobias Matthay Piano School London, England
Classes for teachers demonstrating the successful presentation of the Tobias Matthay
teaching principle.

Studios: Dominican College, San Rafael — St. Rose Academy, San Francisco
For further information write secretary
Cook-Laraia Studios
PHONE FILLMORE 6102 3327 OcTAVIA STREET

123

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SAN FRANCISCO SYMPHONY ORCHESTRA
PIERRE MONTEVUX, Conductor

ene

Willem Van den Burg, Assistant Conductor

First Violins:
Blinder, Naoum
Concert Master
Heyes, Eugene

Asst. Concert Master

Argiewicz, Artur
Meriz, Emilio
Wolski, William
Jensen, Thorstein
Laraia, W. F.
Gordohn, Robert

Mendelevitch, Rodion
Mortensen, Modesta

Pasmore, Mary

de Grassi, Antonio
Wegman, Willem
Claudio, Ferdinand
Koharits, Joseph
Houser, F.'S.

Second Violins:

Gough, Walter
Principal

Haug, Julius
Rosset, Emil
Moulin, Harry
Paterson, J. A.
Gold,Julius
Helget, Hans
Laraia, Attilio F.
Spaulding, Myron
Baret, Berthe
Koblick, Nathan
Lind, Waldemar
Schneider, D.

Violas:

Firestone, Nathan
Principal
Verney, Romain
Hahl, Emil
Weiler, Erich
Baker, Fred A.
Tolpegin, Victor
Karasik, Manfred
Vdovin, Alexander
Lichtenstein, Victor
Mitchell, L.

L ]
Cellos:

Bassoons:

Van den Burg, Willem poueieecners Ernest

Principal

Dehe, Willem
Reinberg, Herman
Kirs, Rudolph
Pasmore, Dorothy
Coletti, Bruno
Bem, Stanislas
Haight, Rebecca
Rogovoy, George
Claudio, C.

Basses:

Bell, Walter
Principal

Schmidt, Robert E,

Guterson, Aaron
Schipilliti, John
Forman, F. F.
Hibbard, E. B.
Storch, A. E.
Buenger, A.

Flutes:
Woempner,Hen

Haye, E. B.
Hranek, Carl
Baker, M.

Contra Bassoon:
La Haye, E. B.

Horns:

Lambert, Pierre
Trutner, Herman
Tryner, Charles E.
Roth, Paul

Trumpets:

Klatzkin, Benjamin
Barton, Leland S.
Kress, Victor

Trombones:

Giosi, Orlando
Shoemaker, R. F.
Klock, J.

Tuba:
Murray, Ralph

Lae C.
Oesterreicher, Walter Harp:

Benkman, Herbert

Herold, R. J.
Oboes:

Shanis, Julius

Sargeant, W.

Schivo, Leslie J.
English Horn:

Schivo, Leslie J.

Clarinets:

Schmitt, Rudolph
Rudd, Charles
Fragale, Frank

Bass Clarinet:
Fragale, Frank

Attl, Kajetan
Morgan, Virginia

Tympani:
Wagner, R. E.

Percussion:

Vendt, Albert
Salinger, M. A.
Greer, E.
Steffan, D.

Piano and Celesta:
Tibbits, J. P.
Librarian:
Haug, Julius

Personnel Manager:
Oesterreicher, Walter

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The Musical Association of San Francisco
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San Francisco Symphony Orchestra

OFFICERS

Mrs Leonora Wood Armsby . President and Managing Director

John A. McGregor . . . . . Vice-President and Treasurer
Mrs. E. S. Heller . Vice-President Edward F. Moffatt Secretary
Paul Bissinger Vice-President Peter Conley . Business Manager
EXECUTIVE COMMITTEE

Mrs. Marcus S. Mrs. M. C. Sloss
Miss Lena Blanding Koshland Mrs. Sigmund Stern
Miss Louise A. Boyd Guido J. Musto Mrs. Cyril Tobin
Mortimer Fl'eishhacker Mrs. Ashton H. Potter Edgar Walter
Mrs. Walter A.Haas Mrs. George B. Robbins

MUSIC COMMITTEE

Mrs. George T.

Dr. Hans Barkan

Mrs. Leonora Wood Dr. Leo Eloesser

Armsby Cameron J. Emmet Hayden
FINANCE COMMITTEE
C. O. G. Miller Charles R. Roth Mrs. Marcus S.
Chairman George T. Cameron Koshland
Wallace M. Alexander Milton H. Esberg J. B. Levison
Raymond Armsby Mortimer Fleishhacker B. B. Meek

Miss Lutie D. Goldstein John Frances Neylan
J. H. Threlkeld

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Albert I. Elkus Mrs. Harold Richert

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Ticket Office: Sherman, Clay & Co., Sutter and Kearny Streets

131

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San Francisco Symphony Orchestra

PIERRE MONTEUX, Conductor
WILLEM VAN DEN BURG, Assistant Conductor

SILVER JUBILEE SEASON

SEVENTH PAIR OF SYMPHONY CONCERTS
1219th and 1220th Concerts

Friday, March 19, 2:30 P. “., 1937

Saturday, March 20, 8:30 F. M., 1937
WAR MEMORIAL OPERA HOUSE

Soloist: ISAAC STERN, Violinist

Paks OG Re Ao gye

lL. Ballet Suite from “Cephale et Procris’ =). Grétry

ORCHESTRATED BY FELIX MOTTL
Tambourin
Menuet
Gigue

2. Concerto for Violin and Orchestra, D major, Op. 77....Brahms

Allegro non troppo

Adagio

Allegro giocoso, ma non troppo vivace
MR. STERN

PND ERM Ses TON

3. COverture,= (Bret iiantes satcc cee ee eee Philip James

(First performance in San Francisco)

4. -suitetrome* Bhewhire = Bird’ ees ee re ee Stravinsky

Introduction—The Fire Bird and Her Dance
Dance of the Princesses

Infernal Dance of King Kastchei
Berceuse—

Finale

133

KNOWLEDGE
OF THIS a
SUBJECT

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FRIDAY EVENINGS—KSFO, 7 O’CLOCK
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134

PROGRAM NOTES

By ALFRED FRANKENSTEIN

BALLET SUITE FROM

“CEPHALE ET PROCRIS” . André Ernest Grétry
Orchestrated by Fetrx Mortrr (1741-1831)

Céphale et Procris is an essay in the classic operatic style by a composer
mainly distinguished for his contributions to the literature of opéra-comique.
It is based upon a Greek myth which tells how the goddess Aurora fell in
love with Cephalus, who rejected her advances because he dearly loved
his wife, Procris. In order to test the fidelity of Procris Aurora transformed
Cephalus into a stranger, and in this disguise he discovered that his spouse
was all too human. Procris had her revenge by precisely the same device,
and the mutual jealousy thus aroused led to the death of Procris at the
hands of her husband.

True to the tradition of its time, this ballet music aims at evoking
classic antiquity through spirit and feeling, employing rhythms and forms

of its own era rather than any ancient material or device. The minuet is
subtitled “The Nymphs of Diana.”

CONCERTO FOR VIOLIN AND ORCHESTRA,

D MAJOR, OPUS 77 . . . . +. Johannes Brahms
(1833-1897)

Brahms’ violin concerto was first produced in 1879, the solo part
performed by Joseph Joachim, who had materially assisted Brahms with
technical advice during the period of composition, and wrote the cadenza
used on this occasion.

I. Allegro non troppo, D major, 3/4 time. The first movement adheres
to the classic form in exposing practically all of its thematic material in the
orchestra before the entrance of the solo. The first theme is quite long.

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Of its three separate phrases the first, presented immediately by the strings
and bassoons, is the most important:

The second theme, likewise, is composed of three separate phrases,
beginning thus in the oboe:

(

The little motive distinguished with a bracket in the above quotation is
the basic for subsequent portions of the second theme and is prominent
elsewhere in the movement. A closing theme announces an important
energetic rhythm:

The solo violin makes its entry at the 90th bar with leaping, cadenza-
like material, punctuated in the orchestra with the rhythm of Example 3,
the orchestra later turning to material derived from Example 2 in accompani-
ment to the runs and arpeggios of the solo.

AFTER THE CONCERT
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138

PETER CONLEY ATTRACTIONS

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AND HER COMIC BALLET
OPERA HOUSE—SUN. AFT., MARCH 28—TUES. EVE., MARCH 30

TED SHAWN

AND HIS MEN DANCERS
VETERANS’ AUDITORIUM
TUES. AND WED. EVES., APRIL 6-7 — WED. AFT. APRIL 7

MARTHA GRAHAM

AND HER DANCE GROUP
THURSDAY EVENING, APRIL 8 — SUNDAY AFT., APRIL 11

LAURA DUBMAN

PIANIST WEDNESDAY EVENING, APRIL 14
LAWRENCE TIBBETT
BARITONE MONDAY EVENING, APRIL 19
HENRI ODEER ENG
PIANIST MONDAY EVENING, APRIL 26
NINO MARTINI
TENOR THURSDAY EVENING, APRIL 29

TICKETS NOW ON SALE
SHERMAN, CLAY & CO. —_ San Francisco and Oakland

ea) BY oe] ae

Friday Atternoon

Box Holders

Mrs. Pierre Monteux
Available for Single Concerts
Mrs. Leonora Wood Armsby

Mrs. Samuel Kahn
Miss Barbara Kahn

Mr.and Mrs. Kenneth Monteagle
Mrs. Donald Gregory

Mrs. Osgood Hooker, Sr.

Mr. Osgood Hooker, Jr.

Mrs. Butler Sturtevant

Mrs. G. Parker Toms

Mrs. Walker Kamm

Mrs. Corbett Moody

Mrs. Walker Henderson

Mrs. J. B. Wright

Mrs. Frank Noyes

Mrs. Daniel Volkmann
Miss Johanna Volkmann
Mrs. Spencer Grant
Miss Else Schilling

Mrs. Dean Witter

Mrs. Damon Wack

Mrs. Lingan A. Warren
Mrs. Robert MacGowan

Mrs. Edward Macauley

Mrs. Felton Elkins

Mrs. Parmer Fuller

Mr. and Mrs. Robert Hooker, Jr.
Mr. Stephen Parrot

Mr. and Mrs. Frank J. Frost
Mr. and Mrs. Morris P. Frost

Miss Lena Blanding
Mrs. Harold Richert McKinnon
Mrs. George M. Stoney

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Mrs. Richard Girvin
Miss Marie Coppée
Miss Emily Carolyn

Mrs. Marcus S. Koshland
Judge and Mrs. M. C. Sloss

Mr. and Mrs. J. B. Levison
Mr. and Mrs.
Mortimer Fleishhacker

Dr. andMrs.
David Armstrong Taylor

Mr. and Mrs.
George T. Cameron
Mr. and Mrs. Nion R. Tucker

Mr. Charles G. Norris

Mr. Walter Heller
Mrs. Morris Meyerfeld

Mr. and Mrs. Frank P. Deering
Mr. and Mrs. C. O. G. Miller
Mr. and Mrs. F. W. McNear
Lady Tennyson

Mr. and Mrs. George de Latour

Mrs. Joseph C. Flowers
Mrs. George Baker Robbins

Mrs. Otto Barkan

Mr. and Mrs. Richard Heimann
Mr. William F. Leib

Mr. and Mrs. Robert W. Miller
Mr. Richard Walker

Mr. and Mrs. Samuel Knight
Mrs. Prentiss Cobb Hale
Available for Single Concerts
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Available for Single Concerts

Onn 6m ce mc mere

EIGHTH PAIR OF SYMPHONY CONCERTS

FRIDAY AFTERNOON, APRIL 9, at 2:30
SATURDAY EVENING, APRIL 10, at 8:30

WoACR? iE OvR- AS. 0. P ob Rex oH Oru SE
SoLoist AND GUEST CoNpUCTOR: ERNEST SCHELLING

e
Pee OsGa ke Ase
. Overture to “The Marriage of Figaro”.:..2..-2-...se- Mozart
2. Symphony No. 3, F majov.........---.-----------------eeereeer Brahms
3. Concerto for Piano and Orchestra, A minot............------ Schumann
Mr. SCHELLING, Soloist
A A-Victory® Balla .-ccccc2ce sees Schelling

Mr. SCHELLING, Conducting

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140

The second exposition begins with Example 1, high in the principal
instrument. The themes exposed by the orchestra alone at the outset of
the movement are now reheard under the embroidery of the solo, which also
discovers a brand new melody of its own:

As is customary, the solo rests at the beginning of the development. The
orchestra opens this section fortissimo, with material derived from Example 1
and 3, and likewise rehearses Example 4. The violin re-enters with an
expressive transformation of the bracketed motive in Example 2, to which
it eventually adds a highly decorative countersubject, the motive itself
continuing in the accompaniment. The countersubject then is developed by
the orchestra. Flaming leaps of ninths in the solo and the rhythm of Example
3 lead to the recapitulation, which is ushered in by another fortissimo
statement of Example 1 in the orchestra. The thematic material is again
passed in review in a fashion not unlike that of the second exposition. The
coda begins with the cadenza. Example 1 is further developed at the end.

II. Adagio, F major, 2/4 time. At the second bar the solo oboe gives
out a melody which Max Bruch stated was that of a Bohemian folk song:

After the full exposition of this tune the solo violin takes it up in varied
and decorated form. A second section, with expressive arabesque for the
solo, is in F sharp minor. Eventually the key and theme of the first section
are reinstated, with further variation of the folk song by the soloist.

III. Allegro giocoso ma non troppo vivace, D major 3/4 time. The
solo gives out the principal subject of this brilliant rondo:

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As the term “rondo” implies, the movement keeps returning to Example 6
in its original key and rhythm, with episodes of contrast between the re-
petitions. The most important episodic theme is stated by the solo violin
in octaves:

A brief cadenza initiates the coda (poco piu presto) based on Examples ‘6 and 7.

OVERTURE, “BRET HARTE” . . . . Philip James
(1890)

Mr. James is chairman of the department of music at New York
University and is high in the councils of the National Broadcasting Company.
He has composed much in many forms.

The work played on this occasion won honorable mention in a prize
competition for brief orchestral works by Americans sponsored last year by
the Philharmonic-Symphony Society of New York. When it was presented
by the New York Philharmonic Orchestra under John Barbirolli at Carnegie
Hall in December, 1936, the program book contained the following infor-
mation communicated by the composer:

“Bret Harte is the third of three overtures I have written with that title.
I do not propose, however, to entitle this one Bret Harte No. 3, as the first
and second have never been performed, and the first (written some fifteen
years ago) will never be performed, since I have destroyed it. All three
overtures are quite different, althought using largerly the same thematic
material. The present overture, composed in 1934, is not programmatic,
although its title might have that implication. It is absolute in form, using
motives based on bits of songs belonging to the time and people written of
by Bret Harte in his Luck of Roaring Camp, Outcasts of Poker Flat, etc.
I have tried to engender, through the medium of music, the romance, the
boisterousness, the animation, and the many other abstract qualities of the
people of Bret Harte and the West—a people and a section of our country
whose glamour has been bedimmed through the eyes of Hollywood as well
as by the mawkishness of the radio ‘hill-billy’ singer.”

SUITE FROM “THE FIRE BIRD” ._ Igor Stravinsky
Geo

The Fire Bird is the first of the ballets Stravinsky composed for the
Ballets Russes de Diaghilev. It was first performed in Paris in 1910. An

143

SSS

—

.——~

3 ST SSS Es Se

First Violins:

Blinder, Naoum

Concert Master
Heyes, Eugene

Asst. Concert Master
Argiewicz, Artur
Meriz, Emilio
Wolski, William
Jensen, Thorstein
Laraia, W. F.
Gordohn, Robert
Mendelevitch, Rodion
Mortensen, Modesta
Pasmore, Mary
de Grassi, Antonio
Weeman, Willem
Claudio, Ferdinand
Koharits, Joseph
Houser, F. S.

Second Violins:

Gough, Walter
Principal

Haug, Julius
Rosset, Emil
Paterson, J. A.
Gold, Julius
Helget, Hans
Laraia, Attilio F.
Spaulding, Myron
Baret, Berthe
Moulin, Harry
Koblick, Nathan
Lind, Waldemar
Schneider, D.

Violas:

Firestone, Nathan
Principal

Verney, Romain
Hahl, Emil
Weiler, Erich
Baker, Fred A.
Tolpegin, Victor
Karasik, Manfred
Vdovin, Alexander
Lichtenstein, Victor
Mitchell, L.

144

&
Cellos:

EP EI SO NGINGE aL
SAN FRANCISCO SYMPHONY ORCHESTRA

PIERRE MONTEUX, Conductor
Willem van den Burg, Assistant Conductor

Bassoons:

Van den Burg, Willem Kubitschek, Ernest

Principal
Dehe, Willem
Reinberg, Herman
Kirs, Rudolph
Pasmore, Dorothy
Coletti, Bruno
Bem, Stanislas
Haight, Rebecca
Rogovoy, George
Claudio, C.

Basses:

Bell, Walter
Principal

Schmidt, Robert E.
Guterson, Aaron
Schipilliti, John
Forman, F. F.
Hibbard, E. B.
Storch, A. E.
Buenger, A,

Flutes:

Woempner, Henry C.
Oesterreicher, Walter
Benkman, Herbert
Herold, R. J.

Piccolo:
Benkman, Herbet

Oboes:

Shanis, Julius
Sargeant, W.
Schivo, Leslie J.

English Horn:
Schivo, Leslie J.

Clarinets:

Schmitt, Rudolph
Rudd, Charles
Fragale, Frank

Bass Clarinet:
Fragale, Frank

La Haye, E. B.
Hranek, Carl
Baker, M.

Contra Bassoon:
La Haye, E. B.

Horns:

Lambert, Pierre
Trutner, Herman
Tryner, Charles E.
Roth, Paul

Trumpets:

Klatzkin, Benjamin
Barton, Leland S.
Kress, Victor

Trombones:

Giosi, Orlando
Shoemaker, R. F.
Klock, J.

Tuba:
Murray, Ralph

Harp:
Attl, Kajetan
Morgan, Virginia
Tympani:
Wagner, R. E.
Percussion:

Vendt, Albert
Salinger, M. A.
Greer, E.
Steffan, D.

Piano and Celesta:
Tibbits, Jak.

Librarian:
Haug, Julius

Personnel Manager:
Oesterreicher, Walter

outline of its story follows, with parenthetical insertions referring to the
movements of the suite.

Prince Ivan wanders in a dark, enchanted forest, where he beholds a
marvelous bird, whose feathers are plumes of fire, eating golden fruit from
a silver tree. (Introduction—The Fire Bird and Her Dance.) Prince Ivan
tries to catch the Fire Bird, but succeeds only in plucking one flame from
her coat. The hero then wanders further into the forest until he comes to
the domain of the demon Kastchei the Deathless, so called because his life
does not reside in his body but in an egg hidden in his castle. There Prince
Ivan beholds the grave dance of a bevy of princesses held in a trance-like
spell through the demon’s power. (Dance of the Princesses.) ‘The presence
of the Prince is made known to Kastchei. Demons surround the young man
with murderous intent, but the flame from the Fire Bird’s coat protects him,
and the Fire Bird herself appears at the height of the battle to assist him.
(Infernal Dance of King Kastchei.) The Fire Bird leads Prince Ivan to
the egg hidden in the castle. He breaks the symbol of Kastchei’s life; the
castle and the demons disappear, the princesses are released from their
spell, the Fire Bird stands revealed as the most beautiful princess of all,
and wedding bells are sounded. (The last movement of the suite begins with
a Berceuse played as an orchestral interlude in the original version. This
leads without pause to a finale based upon the music which accompanies the
disappearance of Kastchei’s castle.)

THE RUDOLPH WURLITZER COLLECTION of Rare Instruments
is again pleased to announce the honor bestowed on them by

FRANK HOUSER

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NICOLAS GAGLIANO VIOLIN
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145

eS SS eee

San Francisco Symphony Orchestra

PIERRE MONTEUX,

Conductor

Willem van den Burg, Asst. Conductor

1937 SEASON

Tues. 8:30 P. M., Mar. 28,

PAUP Oslo Poi Mean:
Thur. 8:15 P. M., Apr.
Sat. 10:30 A. M., Apr.
Eri 2:30 P: M., Apr.
sat. 10:30 A. M., Apr.
Sat. 8:30 P. M.; Apr:
sun; 3:15 P. M., Apr.
Thur, 8:15.P. Mo Apr:
Fri. 2:30 P.M., Apr.
Sat. 10:30 A. M., Apr.
sat. 8:30 P. M., Apr:
Tues. 8:15.P. M., Apr.
Bri, 22:30) 2. M.A pr:
Sat, 10:30 A. M., Apr.
Sat. 8:30 P.M., Apr.
Sun. 3:00 P.M., Apr.

25,

Civic Auditorium, with Igor Stravinsky and
San Francisco Municipal Chorus

Broadcast for Standard Oil Co.

Young People’s Concert, Ernest Schelling
Conducting

Opera House, Ernest Schelling, Pianist

Young People’s Concert, Ernest Schelling
Conducting

Opera House, Ernest Schelling, Pianist

University of California, Huberman, Violinist

Broadcast for Standard Oil Co.

Opera House, with John Charles Thomas,
Baritone

Young People’s Concert, Ernest Schelling
Conducting

Opera House, with John Charles Thomas,
Baritone

Civic Auditorium, Sylvia Lent, Violinist

Opera House

Young People’s Concert, Ernest Schelling
Conducting

Opera House

San Rafael

April

YOUNG PEOPLE'S CONCERTS

ERNEST SCHELLING, Conducting

3 — “Form and Construction.” Laura Dubman, piano soloist.

April 10— “Early Suites.”
April 17 — “The Minuet and Scherzo.”
April 24— “The Overture.”

SEASON TICKETS (Four Concerts): 60¢ — $1.00 — $1.40 — $2.00

SHERMAN, CLAY & CO.

146

TICKETS FOR ALL CONCERTS ON SALE

— SAN FRANCISCO AND OAKLAND

ELSIE COOK-LARATA

Medalist and authorized representative of Tobias Matthay Piano School London, England
Classes for teachers demonstrating the successful presentation of the Tobias Matthay

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CLudwig van Beethoven, Opus 92)

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SAN FRANCISCO
SYMPHONY
ORCHES| Ra

PIERRE MONTEUX
CONDUCTOR

Willem van den Burg
Assistant Conductor

JUL

MAINTAINED BY THE MUSICAL
ASSOCIATION OF SAN FRANCISCO

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TWENTY-FIFTH SEASON
1937

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SUIT SALON © FIFTH FLOOR

The Musical Association of San Francisco
Maintaing the

San Francisco Symphony Orchestra

OFFICERS

Mrs Leonora Wood Armsby . President and Managing Director

John A. McGregor . . . . Vice-President and Treasurer
Mrs. E. S. Heller . Vice- President Edward F. Moffatt Secretary
Paul Bissinger Vice-President Peter Conley . Business Manager
EXECUTIVE COMMITTEE

Mrs. Marcus S. Mrs. M. C. Sloss
Miss Lena Blanding Koshland Mrs. Sigmund Stern
Miss Louise A. Boyd’ Guido J. Musto Mrs. Cyril Tobin
Mortimer Fleishhacker Mrs. Ashton H. Potter Edgar Walter
Mrs. Walter A.Haas Mrs. George B. Robbins

MUSIC COMMITTEE

Mrs. George T.

Dr. Hans Barkan

Mrs. Leonora Wood Dr. Leo Eloesser

Armsby Cameron J. Emmet Hayden
FINANCE COMMITTEE
C. O. G. Miller Charles R. Roth Mrs. Marcus 8.
Chairman George T. Cameron Koshland
Wallace M. Alexander Milton H. Esberg J. B. Levison
Raymond Armsby Mortimer Fleishhacker B. B. Meek

Miss Lutie D. Goldstein John Frances Neylan
J. H. Threlkeld

BOARD OF GOVERNORS
Albert I. Elkus Mrs. Harold Richert

Paul Bissinger

Mrs. Leonora Wood

Arsmby Herbert Eloesser McKinnon

Raymond Armsby Dr. Leo Eloesser Mrs. Angus McDonald

G. Stanleigh Arnold Milton H. Esberg R. C. Newell

Mrs. George Mrs. Paul I. Fagan Charles Page, Jr.
Washington Mortimer Fleishhacker Mrs. Ashton H. Potter
Baker, Jr. Mrs. Joseph C. Flowers Mrs. George B. Robbins

Dr. Hans Barkan
Mrs. Edward Otis
Bartlett
Albert M. Bender
Miss Lena Blanding
Miss Louise A. Boyd
Mrs. F. W. Bradley
Paul Bissinger
George T. Cameron
William H. Crocker
Mrs. W. W. Crocker
Mrs. O. K. Cushing

Mrs. George De Latour

Miss Katherine
Donohoe
Joseph H. Dyer, Jr.

T. B. Berry
W.B. Bourn

John F. Forbes

Mrs. J. E. French

Frank J. Frost Ray W. Smith

Don E. Gilman Mrs. Sigmund Stern

Miss Lutie D. Goldstein Mrs. Powers Symington

Mrs. Harry S.Haley Mrs. David

J. Emmet Hayden Armstrong Taylor

Mrs. Marcus S. Joseph S. Thompson
Kosland John H. Threlkeld

Frederick J. Koster Mrs. Cyril Tobin

Miss Else Schilling
Mrs. M. C. Sloss

Gaetano Merola Edgar Walter
Robert W. Miller Michel Weill
Kenneth Monteagle Mrs. Eli H. Wiel
Guido J. Musto Mrs. Sarah
Dwight F. McCormack Stetson Winslow
John A. McGregor Leonard Wood

PAST PRESIDENTS
William Sproule
John D. McKee

J.B. Levison

Richard M. Tobin
Joseph S. Thompson

Executive Offices: 4th FLOOR, WAR MEMORIAL OPERA HOUSE
Sherman, Clay & Co., Sutter and Kearny Streets

Ticket Office:

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152

San Francisco Symphony Orchestra
PIERRE MONTEUX, Conductor

WILLEM VAN DEN BURG, Assistant Conductor

SILVER JUBILEE SEASON

EIGHTH PAIR OF SYMPHONY CONCERTS
1226th and 1227th Concerts
Friday, April 9, 2:30 P. M., 1937
Saturday, April 10, 8:30 P. M., 1937
WAR MEMORIAL OPERA HOUSE

Soloist: ERNEST SCHELLING, Pianist

POMC ara)

1.. Overture, to: “The Marriace of Pigato 2222 Mozart

2. Symphony No» 3; F major, Opus 90222 ee Brahms

Allegro con brio
Andante
Poco allegretto
Allegro

INTERMISSION

Concerto for Piano and Orchestra,
ASHIMOP OPUS) BAe seccs aee eee tee cose cot ee Schumann

Allegro affetuoso
Intermezzo—
Allegro vivace
MR. SCHELLING, SOLOIST

AS A Victory Gia lite cee eee Ge rere Schelling
MR. SCHELLING, CONDUCTING

153

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SYMPHONY No. 3, F MAJOR, OP. 90 Johannes Brahms
(1833-1897)

Brahms completed his third symphony in 1883, six years after his
second. Like the second, it is subtly cyclic: i.e., material from the first two
movements reappears in the finale to bind the whole structure into unity.

As with practically every other work of Brahms, the music alone tells
the story. Therefore these notes will be concerned solely with the music.

I. Allegro con brio, F major, 3/4 time. The symphony begins with
three risings chords which play a prominent part in the entire course of the
first movement. Then the first theme is stated by the violins:

A transition passage of some length leads to the second subject, beginning in
the solo clarinet, in the unorthodox key of A major:

The concluding section of the exposition is based largely upon the rising
chords of the opening and Example 1.

The development opens with a full throated, lyrical version of Example 2,
which is then combined with Example 3, and leads eventually to an ingenious
inverted canon based on Example 3 alone. Mysterious, placid, long breathed
chords, in which the solo horn is prominent, precede an extremely dark
version of Example 1.

The mood immediately brightens and the music picks up energy with
the reappearance of Example 1 in its original key at the beginning of the
recapitulation. This section rehearses the material of the beginning more or
less regularly, Example 2 reappearing in the clarinet in D. The coda works
up a final storm on the basis of Example 1, but ends very quietly.

I. Andante, C major 4/4 time. The solo clarinet publishes the long,
subtle first theme:

After the full statement of this spacious tune and its several sub-sections, a
kind of trio begins with the clarinet and bassoon in octaves:

This middle portion of the movement is shorter than the first, but it, too,
has important subsidiary themes. Repeated notes answering each other in the

135

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RCRA A SERENE EE enact ee

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ROSS McKEE—announces
2nd ANNUAL LUNCHEON

For YOUNG PEOPLE
ERNEST SCHELLING, GUEST oF HONOR

Saturday noon
April 17, 1937

Following the Concert for Young People

Schools of Music and Drama

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Reservations 50¢
Mail or phone reservations in advance TUxedo 1416

Special tables reserved for teachers and their
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Attend Concerts for Young People With the San Francisco Symphony
ERNEST SCHELLING, conducting
WAR MEMORIAL OPERA HOUSE APRIL 10, 17, 24, 1937

various choirs of the orchestra lead to the return of the opening section in a
highly varied guise. The strings soar upward at the beginning of the coda,
wherein reminiscences of the opening clarinet melody and of the antiphonal
repeated tones are also heard.

III. Poco allegretto, C minor, 3/8 time. The violoncellos gives out

which is extended and repeated by the violins. The trio begins in the wood-
winds in A flat major:

The first subject returns in the original key, now sung by the horn instead
of the violoncello. The extension and repetition is entrusted to the oboe, but
the theme goes back to the strings before the conclusion.

IV. Allegro, 2/2 time. The finale defies tradition in several respects,
not the least interesting of which is the fact that it opens in F minor instead
of F major, and remains persistently minor in tonality almost to the end.

Strings and bassoons give out the principal subject:

The transition to the second subject begins with a chorale-like transforma-
tion of Example 5 from the second movement. Energetic material related
to Example 8 supervenes before the second theme, shouted by the horns:

Further energetic outbursts conclude the exposition.

There is no development in the orthodox sense, its place being taken
by a singularly varied recapitulation of the first subject. This is not restated
in its original form and key, in the customary fashion, but is presented
fragmentarily. Little woodwind phrases derived from Example 8 are an-
swered by interjections and rumblings of the strings, and the theme is tossed
about and put through its paces in typical Brahmsian fashion. The second
theme, however, is recapitulated in the traditional manner, appearing first
in the horns and violoncellos. The coda begins with a peaceful transformation
of Example 8, followed by a reference back to the transition subject derived
from Example 5. But the symphony ends with a shimmering ghost of
Example 1, the first theme of the first movement.

CONCERTO FOR PIANO AND ORCHESTRA,

A MINOR, OP.54 .. . . . . Robert Schumann
(1810-1856)

Among the musicians who were attaining maturity at the time of
Beethoven’s death, three divided equally his gigantic heritage. Berlioz carried

157

Hnnounes tow es

NINTH PAIR OF SYMPHONY CONCERTS

FRIDAY AFTERNOON, APRIL 16, at 2:30
SATURDAY EVENING, APRIL 17, at 8:30

Wok VE MO" Ra AS i Omre be in er a ae pes
Soloist: JOHN CHARLES THOMAS, Baritone
PROGRAM

Ls 7 Le “ombedui-de Colpern: seas. a0 at ere ae Ravel
oe Ata. hig strom. lhe Wlaskedy ball: sae an ere eee Verdi
Largo al Factotum from “The Barber of Seville’’.............. Rossini
MR. THOMAS
3. Prelude and Love Death from ‘Tristan and Isolde’’........ W agner
Ay wPerolosues tO) sPagliacci: a: ay) awe eee ee ee Leoncavallo
MR. THOMAS
5. Fantastic Variations, “Don Quixote’’.................. Richard Strauss

Solo ’Cello: Willem Van den Burg
Solo Viola: Nathan Firestone

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onward his Gargantuan power. Mendelssohn took over the outward mantle
of his supple craft. Schumann inherited his heart.

Nowhere is this more apparent than in the many experiments in musical
architecture which Schumann undertook. The romantic demon which drove
Beethoven to persistent novelty in musical shape transferred itself to
Schumann. Witness, among the works most cultivated in the orchestral
concert room, the fourth symphony and the piano concerto. Granting that
he was no equal to Beethoven in the handling of musical textures, orchestrally
or contrapuntally, the legend that Schumann was incapable of monumental
building is one of the many critical traditions which can stand re-examination.
His formal innovations and eccentricities, if such they may be, are no product
of weakness. Scratch below their surface and Beethoven’s rugged hand
will be revealed.

The first movement of this concerto was completed in 1841. It was
originally conceived not as part of a concerto but as a separate and complete
work, and it departs in many ways from the accepted traditions of the
concerto style. The most obvious of these departures are that there is no long
orchestral statement of the thematic material before the entrance of the solo
instrument, and that the cadenza is not left to the caprice of the solo per-
former, but was composed by Schumann himself and incorporated as an
integral portion of the score. There are other points of difference, also, the
whole conspiring to create greater unity between the solo and the orchestra
than is the case with the conventional concerto of Schumann’s time.

The intermezzo and finale were completed in 1845, and the entire work
was given its first performance in that year by Mme. Schumann.

I. Allegro affetuoso, A minor, 4/4 time. The piano defies the tradition
of the double exposition with an abrupt, emphatic flourish, followed by the
principal subject in the oboe:

This is repeated by the solo, and leads to an important transitional theme in
the violins under the embroidery of the solo:

The little motive marked out with a bracket in the above quotation is
elaborated by the piano, then by the orchestra.

The second theme is complex. Its principal element is a new and some-
what varied version of Example 1 given out in C major by the piano. The
exposition ends with further working over of the bracketed motive in the
orchestra, quieting down before the development.

The key changes to A flat major at the outset of the development.
Example 1 is elaborated by the solo in a songful, romantic mood, with broadly
Sweeping arpeggios. But the dramatic flourish with which the movement had
opened suddenly interrupts, and although the development returns to Ex-
ample 1 immediately thereafter, the stormy mood continues.

The woodwind return to Example 1 to begin the recapitulation. This
section runs a regular course, re-establishing the material as in the exposition.
The second theme is now in A major. The cadenza begins with altogether

161

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new material, but ends with Example 1 under and over dramatic thrills. A
kind of quickstep version of Example 1 provides the coda.

II. Intermezzo. Andantino grazioso, F major, 2/4 time. The brief
slow movement is almost entirely conversational in effect. Its first section is
based upon a whimsical dialogue between the piano and the strings, the solo
opening with four ascending notes, answered a sixth lower by four ascending
notes in the orchestra. The violoncellos introduce a broader melody in C
major for the contrasting section, with the solo continuing its conversational
role:

The material of the first part of the movement is restated at the end, but the
intermezzo does not come to a full stop. The clarinet brings in a reminiscence
of Example 1, the first theme of the first movement, whereupon the piano
plunges into

III. Allegro vivace, A major, 3/4 time. Eight preliminary bars precede
the main theme, thundered by the piano:

Running passage work by the soloist effects the transition to the second
theme, a kind of mysterious march in E major, given out by the violins:

This is repeated by the piano and worked over at length by the orchestra
under the brilliant decoration of the solo.

Example 4 returns in the orchestra at the outset of the development.
This subject is extensively elaborated. A new episodic melody is stated
by the oboe:

and this is woven into the development of Example 4.

The piano once again thunder outs Example 4, in D major, at the begin-
ning of the recapitulation. Example 5 returns in the strings in A. Once again
this march tune is taken up by the solo and worked over. The brilliant coda
is based largely on Examples 4 and 6.

A VICTORY BALL .. .. . . . Ernest Schelling
(1876——)

This orchestral fantasy, composed in 1922, is dedicated “to the memory
of an American soldier.” It was suggested by a poem of Alfred Noyes, and
seven of Noyes’ nine stanzas are quoted in the score as follows:

163

164

San Francisco Symphony Orchestra

PIERRE MONTEUX, Conductor
Willem Van den Burg, Assistant Conductor

©
FRIDAY AFT., 2:30, APRIL 16 and SATURDAY EVE., 8:30, APRIL 17
JOHN CHARLES THOMAS, Baritone
FRIDAY AFT., 2:30, APRIL 23 and SATURDAY EVE., 8:30, APRIL 24
BEETHOVEN NINTH SYMPHONY
SYMPHONY OF PSALMS... STRAVINSKY

LAST BERKELEY CONCERT — SUNDAY AFT., 3:00, APRIL 11
BRONISLAW HUBERMAN, Violinist

YOUNG PEOPLE’S CONCERTS 10:30-11:30 A. M.

ERNEST SCHELLING, Conducting

April 17 — “The Minuet and Scherzo.”
April 24— “The Overture,” with San Francisco Opera School Ballet

RESERVED SEATS: 50c — 35c 25e — 15c¢

Civic Auditorium Tuesday Eve., April 20

SAN FRANCISCO SYMPHONY

PIERRE MONTEUX, Conductor

WITH

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CONDUCTING HIS “SYMPHONY OF SAN FRANCISCO”

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The cymbals crash, Under the dancing “What did you think

And the dancers walk, Feet are the graves. We shoud find,” said a
With long silk stockings Dazzle and motley, shade,
and arms of chalk, In long bright waves, ‘When the last shot
Butterfly skirts, Brushed by the palm- echoed
And white breasts bare, fronds And peace was made?”
And shadows of dead men “Christ,” laughed the
W atching "em there. Grapple and whirl fleshless
Ox-eyed matron, jaws of his friend.
And slim white girl, “I thought they’d be
Shadows of dead men See, there is one child praying
Stand by the wall, Fresh from school, For worlds to mend.”
Watching the fun Learning the ropes (Dich » cat ,
Of the Victory Ball. As the old hands rule. pees aula et ieesman
Standing near.
They do not reproach, God, how the dead mens «7,
I’m glad they can busy
Because they know, Chuckle again, ;
: Their thoughts else-
If they’re forgotten, As she begs for a dose ren
It’s better so. Of the best cocaine.

We mustn’t reproach ’em.
They’re yong, you see.”
“Ah,” said the dead men,

“So were we!”
Victory! Victory!

On with the dance!
Back to the jungle

The new beasts prance!
God, how the dead men

Grin by the wall,
Watching the fun

Of the Victory Ball.

(Reprinted by permission, from Collected Poems, Volume 3, by Alfred Noyes.
Copyrighted, 1920 by F. (. Stokes Co. and Alfred Noyes.)

The score also contains further descriptive material:

“A BACCHANALE TRAVERSED BY A VISION

‘‘A vision of troops marching on, irresistibly, inexorably. Nothing stops
them—not those who fell by the way—not those whose fate is written in
fiery, stormy skies. On they march to Victory or disaster—in either case
desolation—suffering—death.”’

The first section of the work is devoted to dance music obviously deal-
ing with the scene described by Noyes. Bugle calls interrupt, and the march
of the ghostly troops begins. A huge climax is reached, and at its crest one
hears the melody of the Dies Irae,

the medieval liturgical chant associated through its text with the retributive
terrors of the Judgment Day. The vision passes. The ball resumes, but at
the end the vision countermarches across the scene with the skirling of Scottish
pipes. Finally, a touch of irony better left without comment.

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= THE =
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Willem van den Burg =
Assistant Conductor =
== =
= MAINTAINED BY THE MUSICAL ——
= ASSOCIATION OF SAN FRANCISCO ae

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San Francisco Symphony Orchestra

OFFICERS
Mrs Leonora Wood Armsby . President and Managing Director
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172

San Francisco Symphony Orchestra

PIERRE MONTEVUX, Conductor
WILLEM VAN DEN BURG, Assistant Conductor

SILVER JUBILEE SEASON

NINTH PAIR OF SYMPHONY CONCERTS
1231st and 1232nd Concerts

Friday, April 16, 2:30 P. M., 1937
Saturday, April 17, 8:30 P. M., 1937

WAR MEMOR LAL OR ERA. Ov SE

Soloist: JOHN CHARLES THOMAS, Baritone
Pop Con nk MT

Le “Pombeau Ge: Comper inte sa ce ee Ravel
Prélude
Rigaudon
Menuet
Forlane
Aria, “Eri tu,” from “A Masked Ball”..................-.----.-------.--. Verdt
Aria, “Largo al Factotum,” from “The Barber of Seville”..Rossint
MR. THOMAS
Prelude and ‘‘Isolde’s Love-Death,”
froin. ° PesStatie cei SOLU ace eer eee Wagner

[TN YE RM Ss Fon

Prologue; tol Pagliacer’-..2—......64e-1- 2 Se Leoncavallo
MR. THOMAS
Don Quixote, Fantastic Variations
on a Theme of, Knichtly Character-=2 "22-2 Strauss

Solo ’Cello: WILLEM VAN DEN BURG
Solo Viola: Nathan Firestone

Solo Violin: Naoum Blinder

Solo Bass Clarinet: Frank Fragale
Solo Tenor Tuba: George C. Melvin

173

174

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OF THIS
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may mean much

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A copy of this new booklet will be sent at your request.
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FRIDAY EVENINGS—KSFO, 7 O’CLOCK
BUSINESS FORUM OF THE AIR

PHILADELPHIA ORCHESTRA
STOKOWSKI—ORMANDY

TT) Ro Uaswiee CDE yPoAG Ke eM ak eNor

Wells Fargo Bank
Union Trust Go.

Market at Montgomery Market at Grant Ave.
SAN FRANCISCO
Established 1852

PROGRAM NOTES
By ALFRED FRANKENSTEIN
LE TOMBEAU DE COUPERIN .. . Maurice Ravel
(1875——)

There is no exact English equivalent for Ravel’s title. The work is not a
headstone for Couperin, much less a grave. It is a series of movements com-
posed in loving memory of Francois Couperin le Grand (1688-1733), the greatest
master of the classic era in France. In its original form, composed in 1914, the
suite consists of six piano pieces, but in scoring the work for orchestra five
years later Ravel omitted a fugue and a toccata.

The orchestral “Tombeau de Couperin” therefore consists of a prelude and
three courtly classical dances in the style of Couperin’s period. The term
“menuet” need no discussion. The rigaudon (English “rigadoon’’) is a very old
and very lively French dance, said to derive its name from one Rigaud. The
forlane is Italian in origin, and was at one time very popular in Venice. Its
name may, perhaps, come from that of the city of Forli.

ARIA, “ERI TU,”
FROM “A MASKED BALL” . . . Giuseppe Verdi
(1813-1901)

Renato, Creole secretary to Richard, Count of Warwick and provincial
governor of Boston, has reason to believe that his wife, Amelia, is carrying on
a love affair with his chief. He sends for Amelia and announces his attention
of killing her. Amelia protests her innocence, and pleads in the name of their
child. Renato relents, and transfers his hatred to Richard, who is referred to
without being named throughout the aria. Amelia is presumed to leave her

husband alone at the end of the third line of the recitative.

RECITATIVO
Alzati! la tuo figlio a te concedo
riveder.
Nell’ombra e nel silenzio, 1a,
Il tuo rossore e l’onta mia nascondi.
Non é su lei, nel suo
Fragile petto che colpir degg’io.
Altro, ben altro sangue a terger dessi
L’offesa — il sangue tuo!
E lo trarra il pugnale
Dallo sleale tuo core:
Delle lacrime mie vendicator!

ARIA
Eri tu che macchiavi quell’anima,

La delizia dell’anima mia —

Che m/’affidi e d’un tratto esecrabile
L’universo avveleni per me!
Traditor! che compensi in tal guisa
Dell’amico tuo primo la fé!

O dolcezze perdute! O memorie
D’un amplesso che l’essere india!
Quando Amelia, si bella, si candida
Sul mio seno brillava d’amor!

E finita — non siede che l’odio,

E la morte nel vedovo cor!

RECITATIVE
Rise again! There your child is—you
may behold
His face once more. In silence and

seclusion

There, thy blush and my disgrace
conceal forever.

’Tis not on her, in her weakness and
frailty

Should descend my anger. Other, far
other

Life-blood must wipe out her offenses.

And thine shall it be!

She shall withdrawn the dagger

Out from thy heart disloyal, and thus

Be the avenger of all my wrongs!

AIR
It was thou who did’st sully that spirit

pure,

Once the joy and delight of my being;

Whom I trusted, yet with falsehood
detestable,

Thou hast poisoned the whole world
for me!

Traitor foul! thus so basely repaying

Thy best friend who confided in thee!

O delights lost forever! remembrance

Of embraces that made life celestial!

When Amelia, so lovely and innocent

On my bosom with rapture reclined!

Now ’tis ended, and only aversion
remaining

A place in my lone heart can find.

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KAJETAN ATTL

ARIA, “LARGO AL FACTOTUM,” FROM “THE
BARBER OF SEVILLE” Gioacchino Antonio Rossini

Largo al factotum della citta, presto
a butega che

L’alba é gia. Ah che bel vivere!

Che bel piacere per un barbiere di
qualita!

Ah bravo Figaro, bravo bravissimo
fortunatissimo

Per verita pronto a far tutto la notto
il giorno

Sempre d’intorno in giro sta. Miglior
cucagna

Per un barbiere vita pit’ nobile no
non si da.

Rasori e pettine, lancette e forbici,
al mio comando

Tutto qui sta. V’é la risorsa poi del
mestiere colla

Di metta col cavaliere tutti mi chie-
dono tutti mi

Vogliono; donne,
fanciulli!

Qua la parucca, presto la barba!

Qua la sanguigne, presto il viglietto!

Figaro! Figaro! Figaro!

Ohime che folla Figaro!

Ohimeé che furia!

Una alla volta per carita!

Figaro qua, Figaro 1a,

Figaro su, Figaro git, pronto pron-
tissimo,

Son come un fulmine, sono il factotum
della citta!

Ah, che bella vita! faticar poco diver-
tirsi assai.

E in tasca sempre aver qualche doblone

Gran frutto della mia riputazione.

Orst presto a bottega.

ragazze, vecchie,

(1792-1868)

Make room for the factotum of the
town! It is already dawn—I must
away to my shop. Oh, what a happy
life—what pleasure awaits a barber
of quality! Oh, bravo Figaro, bravo
bravissimo; thou are surely the
happiest of men, ready at all hours
of the night, and by day perpetually
in bustle and motion. What happier
region of delight; what nobler life
for a barber than mine! Razors,
combs, lancets, scissors, behold them
all at my command! Besides, the
snug perquisites of the business, with
gay damsels and cavaliers. All call
me, all want me, dames and maidens,
old and young. My peruke! cries
one; my beard! shouts another. Bleed
me! cries this; this billet-doux!
whispers that. Figaro! Figaro!
Figaro! Heavens, what a tumult!
One at a time, for mercy’s sake!
Figaro here, Figaro there, Figaro
above, Figaro below. I am the
factotum of the town! Oh, what a
happy life! But little fatigue,
abundant amusement, with a pocket
that can always boast a doubloon,
the noble fruit of my reputation.

But I must hasten to the shop.

LAST CONCERT FOR YOUNG PEOPLE
ERNEST SCHELLING, Conducting

With Dance Group from San Francisco Opera Ballet School

Saturday, April 24, 10:30 A. M.

SAN FRANCISCO SYMPHONY
PIERRE MONTEUX, Conductor

FOREST MEADOWS, SAN RAFAEL
Sunday, April 25, 3:00 P. M.
Soloist: HENRI DEERING, Pianist

paral cite a Peas Sa io ens eels Penis oe ah kes na
LAWRENCE TIBBETT garrronE MON. EVE. APR. 19

PEP Re CrOrN i EY PAM Tee Fl Orne

HENRI DEERING PIANIstT MON. EVE., APRIL 26
NINO MARTINI tenor THUR. EVE., APRIL 29

ISAAC STERN and HENRI DEERING
SONATA RECITAL TUESDAY EVENING, MAY 11

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PROLOGUE TO “I PAGLIACCI”

Si puo? Signore!
scusatemi se solo mi presento.

Io sono il Prologo. Poiché in iscena
ancor le antiche maschere mette
l’autore, in parte ei vuol riprendere
le vecchie usanze, e a voi di nuovo
inviami. Ma non per dirvi come pria:
“Le lagrime che noi versiam son
false: Degli spasimi e dei nostri
martir non allarmatevi!” No:
L’autore ha cercato invece pingervi
uno squarcio di vita. Egli ha per
massima sol che l’artista € un uom
e che per gli uomini scrivere ei deve.
— Ed al vero ispiravasi.

Un nido di memorie in fondo a
anima cantava un giorno, ed ei
con vere lacrime scrisse, e i singhiozzi
il tempo gli battevano! Dunque,
vedrete amar si come s’amano gli
esseri umani; vedrete dell’odio i tristi
frutti. Del dolor gli spasimi, urli di
rabbia, udrete, e risa ciniche!

E voi, piuttosto che le nostre povere
gabbane d’istrioni, le nostr’anime
considerate, poiché noi siam uomini
di carne e d’ossa, e che di quest’orfano
mondo al pari di voi spiriamo l’aere!
Il concetto vi dissi. — Or ascoltate
com’egli e svolto. Andiamo.
Incominciate!

Signori! ~~. . 3

Ruggiero Leoncavallo
(1858-1919)

A word, allow me! sweet ladies and
gentlemen,

I pray you hear, why I alone appear.

I am the Prologue.

Our author loves the custom of a
prologue to his story,

And as he would revive for you the
ancient glory,

He sends me to speak before you.

But not to prate, as once of old,

That the tears of the actor are false,
unreal,

That his sighs and cries and the pain
that is told

He has no heart to feel!

No! No! Our author tonight a chapter
will borrow

From life with its laughter and sorrow.

Is not the actor a man with a heart,
like you?

So ’tis for men that our author has
written,

And the story he tells you is true.

A song of tender memories deep in
his listening heart

One day was ringing; with trembling
hand he wrote it,

And marked the time with sighs and
tears. Come then,

Here on the stage you shall behold
us in human fashion,

And see the sad fruits of love and
passion,

Hearts that weep and languish, cries
of rage and anguish,

And bitter laughter.

Ah, think, sweet people,

When you look on us, clad in our
motley and tinsel,

Ours are but human hearts, beating
with passion,

We all are men, like you; for glad-
ness or sorrow

’Tis the same broad heaven above us,

The same wide, lonely world before us!

Will ye hear then the story, how it un-
folds itself, surely and certain?

Come then, ring up the curtain!

DON QUIXOTE, FANTASTIC VARIATIONS
ON A THEME OF KNIGHTLY

CHARACTER...

Richard Strauss
(1864)

Like other tone poems by Strauss, “Don Quixote” has been the subject of

many and exceedingly various interpretations by the authorities. The present
writer hesitates to add one more analysis to an already burdened literature,
but space is limited, and the essence of the commentaries by Arthur Hahn and
Philip Hale—the two best so far as “Don Quixote” is concerned—is their

179

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180

extensiveness. These notes therefore employ a little used source, the authorized
two piano version by Otto Singer, which contains references to Cervantes not
found in the orchestral score, supplented with the writer’s own imagination.

Despite the title, there. are actually three themes rather than one. Two
of these three are dramatized through persistent association with solo instru-
ments, Don Quixote being impersonated by the violoncello while the role of
Sancho Panza is generally taken by the viola. The Dulcinea theme is given
varied instrumental treatment.

The work falls into thirteen sections, an introduction, a passage stating the
themes of the Don and Sancho, ten variations, and a finale.

The introduction, according to Singer, tells how “Don Quixote, busy with
reading romances of chivalry, loses his reason and decides to go out into the
world as a knight errant.” This passage is devoted largely to a gradual
evolution of the Don Quixote melody. Not far from the beginning, however,
we are introduced to Dulcinea del Toboso, as sung by the oboe

Ale ge

followed by mysterious trumpet calls, as, according to Hale, the Don envisions
her in distress. The introduction then returns to its main business, the pro-
gressive revealment of the Don Quixote theme. The atmosphere grows wilder
and cloudier as the prelude nears its goal. Then, suddenly, after a pause, the
solo ’cello states the subject of the hero which the introduction has been pre-
paring through all its pages:

‘céllo

This is the knight of the rueful countenance, complete with all delusions. A
graceful flourish of the clarinet concludes this theme.

Immediately the gawky, hooty combination of bass clarinet and tenor
tuba announces Sancha Panza:

The solo viola enters and concludes the Sancho Panza theme with the follow-
ing naive material:

" California
Ss to res

oh ?
erman|/ Gblay

BY IC) ed) atiany,

See" abe aout te 2

Fortunate is that home where music is known and loved. There, some
strange, compelling power binds children and parents together. There,
the young mother sings the child to sleep ... the boy begins, at the
piano, his venture into realms of gold ... and friends, light-hearted,
gay, repeat the songs of youth. Music brings to every home a rich
measure of joy. It is the inspiration of the new generation ... the
tranquil refuge of the old. It twines a silver cord of comradeship
around father, mother, children ... unites their home, and all who
enter it, with things which are deepest, finest, true.

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over a convenient period.

His “grasp of the obvious is painfully precise,” as the last two bars reveal.

The themes of the Don (solo ’cello) and of Sancho (bass clarinet, later
viola) begin their tonal adventures. The first variation is labeled by Singer
“Out into the world under the sign of the beautiful Dulcinea del Toboso.”’
Dulcinea herself appears in the polyphonic web. Hale insists that the latter
part of this variation represents the fight with the windmills.

Variation 2. “Victorious battle with the hosts of the great emperor
Alifanfaron.” They may be the hosts of Alifanfaron to Don Quixote, but they
are only sheep to Richard Strauss. The ’cello rouses himself to battle. The
sheep reply with a brassy symphonic version of the Bronx cheer, accompanied
in the woodwinds with a kind of pastoral horn call which plays an important
part in a later adventure. The ’cello charges, and the hosts of Alifanfaron
seek fresh fields and pastures new.

Variation 3. ‘“Sancho’s speeches, questions, arguments and proverbs.
Don Quixote’s vows, dissertations and promises.” Further development of the
thematical material, beginning dialogue fashion, with the viola holding up
Sancho’s end. Don Quixote requires the full orchestra to snort his scorn of
the squire’s reasoning, and grows especially full throated and eloquent when
describing his womanly ideal, Dulcinea.

Variation 4. “Battle with the penitents.” Don Quixote jogs along the road
for a while, his theme in the strings. Brass and woodwind then sing a pilgrim’s
hymn, as the band of penitents comes into view. The Don sees them as robbers,
and attacks them, to his discomfiture.

Variation 5. “Don Quixote’s vigil. Sighs, prayers and vows to Dulcinea.”
An accompanied monologue for the ’cello, its character indicated by the title
quoted from Singer.

Variation 6. “The meeting with Dulcinea.” A coarse and unrefined wench
passes by, her presence indicated by the following trollopy variation of the
Dulecinea theme in the woodwind:

Sancho declares this to be the fair Dulcinea in the flesh. The ’cello is pained
and astonished. The viola (later tenor tuba) is triumphant.

Variation 7. “The ride through the air.” The Don Quixote and Sancho,
blindfolded on their wooden horse, imagine themselves riding Pegasus. The
wind of the orchestra, assisted by a theatrical wind machine, whistles through
their themes. The unchanging tremolo D of the basses is said to signify that
they do not leave the ground.

Variation 8. “Notewrothy adventure with the enchanted boat.” The Don
finds a boat on the bank of a stream which he believes was put there by magic
to further his knightly career. He and Sancho embark. The variation is a
brief, stormy barcarolle, terminating with both in the water. At the end a
little prayer gives thanks for their deliverance.

Variation 9. “Battle with two magicians.” A bit of learned, ecclesiastical
counterpoint for the bassoons, whom Don Quixote attacks as magicians, and
by whom he is laid low.

Variation 10. Singer gives four successive titles during the course of this
variation. The opening, in which a portion of the Don Quixote theme is
shouted out against angry answering trumpet calls, is labeled “Don Quixote
is vanquished by the Knight of the White Moon.” (The Knight of the White
Moon, it will be remembered, was a young man named Samson Carrasco sent
by the friends of the Don to conquer him in combat and send him home.)
The second part of the variation, beninning with impassioned material in the
full orchestra but gradually softening in character, is called “The homeward
journey.” The pastoral horn call from the second variation returns, coupled
with suggestions of Sancho Panza: “Don Quixote decides to become a
shepherd.” Over the quiet conclusion Singer writes, “Don Quixote’s under-
standing again becomes bright and clear and free of the shadows of unreason.”

Finale. “Don Quixote’s death.” The ’cello sings nobly, peacefully, with
pathetic accent. Hale aptly quotes the Shelton translation of Cervantes, for
this music clearly deals with the good Don Quixote who “was ever of a mild

183

fc A A an al
ANNOUNCEMENT...

LAST PAIR OF SYMPHONY CONCERTS —

FRIDAY AFTERNOON, APRIL 23, at 2:30
SATURDAY EVENING, APRIL 24, at 8:30

WAR MEMORIAL OPERA HOUSE
PROGRAM

SAN FRANCISCO MUNICIPAL CHORUS
Soloists:
LENA KROPH, Soprano MYRTLE LEONARD, Contralto
ROY RUSSELL, Tenor DOUGLAS BEATTIE, Bass

“SYMPHONY OF PSALMS” STRAVINSKY

SYMPHONY No. 9 (Choral) BEETHOVEN
A a i a i a a i a a a i a
and affable disposition and of a kind and pleasing conversation, beloved of all
who knew him.” And the words he speaks here are, without doubt, “significant,
Christian-like and well couched.”

“The notary was present at his death,” says Shelton, “and reporteth
how he had never read or found in any book of chivalry that any errant knight
died in his bed so mildly, so quietly, and so Christianly as did Don Quixote.
Amidst the wailful plaints and blubbering tears of the bystanders, he yielded
up the ghost, that is to say, he died.”

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PERSON IN BL

SAN FRANCISCO SYMPHONY ORCHESTRA

PIERRE MONTEUX, Conductor
Willem van den Burg, Assistant Conductor

First Violins:

Blinder, Naoum
Concert Master

Heyes, Eugene

Asst. Concert Master

Argiewicz, Artur
Meriz, Emilio
Wolski, William
Jensen, Thorstein
Laraia, W. F.
Gordohn, Robert
Mendelevitch, Rodion
Mortensen, Modesta
Pasmore, Mary

de Grassi, Antonio
Wegman, Willem
Claudio, Ferdinand
Koharits, Joseph
Houser, F. S.

Second Violins:
Gough, Walter
Principal
Haug, Julius
Rosset, Emil
Paterson, J. A.
Gold, Julius
Helget, Hans
Laraia, Attilio F.
Spaulding, Myron
Baret, Berthe
Moulin, Harry
Koblick, Nathan
Lind, Waldemar
Schneider, D.

Violas:

Firestone, Nathan
Principal
Verney, Romain
Hahl, Emil
Weiler, Erich
Baker, Fred A.
Tolpegin, Victor
Karasik, Manfred
Vdovin, Alexander
Lichtenstein, Victor
Mitchell, L.

Cellos:

Van den Burg, Wille
Principal
Dehe, Willem
Reinberg, Herman
Kirs, Rudolph
Pasmore, Dorothy
Coletti, Bruno
Bem, Stanislas
Haight, Rebecca
Rogovoy, George
Claudio, C.

Basses:

Bell, Walter
Principal

Schmidt, Robert E.
Guterson, Aaron
Schipilliti, John
Forman, F. F.
Hibbard, E. B.
Storch, A. E.
Buenger, A,

Flutes:

Woempner, Henry C.
Oesterreicher, Walter

Benkman, Herbert
Herold, R. J.

Piccolo:
Benkman, Herbert

Oboes:

Shanis, Julius
Sargeant, W.
Schivo, Leslie J.

English Horn:
Schivo, Leslie J.

Clarinets:

Schmitt, Rudolph
Rudd, Charles
Fragale, Frank

Bass Clarinet:
Fragale, Frank

Bassoons:

m Kubitschek, Ernest
La

Haye, E. B.
Hranek, Carl
Baker, M.

Contra Bassoon:
La Haye, E. B.

Horns:
Lambert, Pierre
Trutner, Herman
Tryner, Charles E.
Roth, Paul
Roberts, R.
Jacobs, J. A.

Trumpets:
Klatzkin, Benjamin
Barton, Leland S.
Kress, Victor
Klatzkin, Leon

Trombones:
Giosi, Orlando
Shoemaker, R. F.
Klock, J.

Tuba:
Murray, Ralph

Harp:
Attl, Kajetan
Morgan, Virginia

Tympani:
Wagener, R. E.

Percussion:
Vendt, Albert
Salinger, M. A.
Greer, E
Steffan, D.

Piano and Celesta:
Tibbits, J. b>

Organ:
Harvey, Leslies J.

Librarian:
Haug, Julius

Personnel Manager:

Oesterreicher, Walter

PEcT- Re COGN,

W tk. {Pak SNe

HENRI
DEERING

PIANO RECITAL

he
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a te a i a a i ie ae an le le ie ae ae ie lll

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San Francisco Symphony Orchestra

PIERRE MONTEUX, Conductor
WILLEM VAN DEN BURG, Assistant Conductor

SILVER JUBILEE SEASON
TENTH PAIR OF SYMPHONY CONCERTS
1235th and 1236th Concerts
Friday, April 23, 2:30 P. M., 1937
Saturday, April 24, 8:20 P. M., 1937

W AR MM EM. OLR 1 Abe, 0) PE oR Aes OU Se!

THE MUNICIPAL CHORUS, Guest Artists

Dr. Hans LEsScHKE, D’rector

Ve ete: Gielen VE

1. SYMPHONY "OF TTEE- PsAlMs = STRAVINSKY

Prelude
Double Fugue
Allegro Symphonique

INTERMISSION

2. SYMPHONY No. 9, D MINOR, OPUS 125... BEETHOVEN
Allegro ma non troppo, un poco maestoso
Molto vivace
Adagio molto e cantabile
Finale: Ode to Joy

Soloists:
LINA KropH, Soprano
MYRTLE LEONARD, Contralto
Roy RUSSELL, Tenor

Douctas BEATTIE, Bass

193

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PROGRAM NOTES

By ALFRED FRANKENSTEIN

SYMPHONY OF THE PSALMS. . . Igor Stravinsky

(1882——)

The score bears the following dedication:

“This symphony, composed to the glory of God, is dedicated to the
Boston Symphony Orchestra on the occasion of the fiftieth anniversary of
its existence.”

The work was commissioned by Serge Koussevitzky, conductor of the
Boston Symphony, for the half-centenary celebration referred to, which was
observed in 1930. It is typical of that absorption with classic themes and
forms which has been the major feature of Stravinsky’s output in recent
years, here treated in a somewhat more starkly expressive fashion than else-
where, in keeping with the devotional nature of the poems employed.

Special attention should be directed to the highly unusual orchestra
employed. There are no violins, violas or clarinets, their place being taken
by considerably amplified sections of flutes, oboes and trumpets. Thus there
are five flutes, four oboes and English horn, and five trumpets, in addition
to three bassoons and contra bassoons, four horns, three trombones, tuba,
kettledrums, two pianos, harp, violoncelli and basses.

—— ——~ = = = - 2
———— =

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The text is taken from the Vulgate. It is appended both in its original
form and as it appears in the King James version.

PRELUDE

PSALMUS XXXVIII, VERSES 13 AND 14

Exaudi orationem meam, Domine,
et depreciationem meam: auribus per-
cipe lacrymas meas.

Ne sileas, quoniam advena ego sum
apud te, et peregrinus, sicut omnes
patres mei. Remitte mihi, ut refrigerer
priusquam abeam, et amplius non ero.

PSALM 39 (KING JAMES VERSION )

Hear my prayer, O Lord, and give
ear unto my cry,
Hold not Thy peace at my tears:
For I am a stranger with Thee,
And a sojourner, as all fathers were.
O spare me, that I may recover strength
Before I go hence, and be no more.

DOUBLE FUGUE

The orchestra alone exposes and develops a fugue of its own. The chorus
enters at the 29th bar with a second fugue subject.

PSALMUS XXXIX, VERSES 1, 2,3,AND 4

Expectans expectavi
intendit mihi.

Et exaudivit preces meas; et eduxit
me de lacu miseriae, et de luto
faecis.

Et statuit supra petram pedes meos;
et direxit gressus meos.

Et immisit in os meum canticum no-
vum, carmen Deo Nostro.

Videbunt multi et timebunt: et spera-
bunt in Domino.

Dominum, et

PSALM 40 (KING JAMES VERSION)

I waited patiently for the Lord,
And He inclined unto me, and heard
my cry.

He brought me up also out of a horri-
ble pit, out of the miry clay,
And set my feet upon a rock, and

established my goings.
And He hath put a new song in my
mouth, even praise unto our God:
Many shall see it, and fear,
And shall trust in the Lord.

ALLEGRO SYMPHONIQUE

PSALMUS CL

(Alleluia)

Laudate Dominum in sanctis ejus:
laudate eum in firmamento vir-
tutis ejus.

Laudate eum in virtutibus ejus: lau-
date eum secundum multitudinem
magnitudinis ejus.

Laudate eum in sono tube: laudate
eum in psalterio et cithara.

Laudate eum in tympano et choro:
laudate eum in chordis et organo.

Laudate eum in cymbalis bene sonan-
tibus: laudate eum in cymbalis
jubilationis: omnis spiritus laudet
Dominum.

PSALM 150 (KING JAMES VERSION)

(Alleluia)
Praise ye the Lord.
Praise God in His Sanctuary;
Praise Him in the firmament of His
power.
Praise Him for His mighty acts;
Praise Him according to His excel-
lent greatness.
Praise Him with the sound of the

Trumpet;

Praise Him with the Psaltery and
Harp.

Praise Him with the timbrel and
dance;

Praise Him with stringed instru-
ments, and Organs.

Praise Him upon the loud cymbals;

Praise Him upon the high sounding
cymbals,

Let everything that hath breath,
praise the Lord.

Praise ye the Lord.

SAN FRANCISCO SYMPHONY
PIERRE MONTEUX, Conductor
FOREST MEADOWS, SAN RAFAEL

Sunday, April 25, 3:00 P. M.
Soloist: HENRI DEERING, Pianist

197

- 4

PE Toe R= CeO UN cle. Egy,

Wi iE oP Rees EN

HENRI
DEERING

PIANO RECITAL

@
VETERANS’ AUDITORIUM
MONDAY EVE., APRIL 26

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198

SYMPHONY No. 9, D MINOR

OPUS 125... .. . . . Ludwig van Beethoven
(1770-1827)

The ninth symphony is the only orchestral work of importance written
during the third and final phase of Beethoven’s career. This much discussed
“third period” of Beethoven is characterized by many things, first of all by
the fact that the composer, being totally deaf, was largely cut off from
his surrounding world. He therefore created his own mysterious, unearthly,
meditative other-world in which he dreamed and thought long thoughts.
There is much dynamic activity in this other-world, also, but it is no longer
the dramatic, affirmative kind of activity of the earlier works like the fifth
symphony. The whole musical scheme is directed to the exploration of new,
rarefied and super-terrestrial regions.

Since it enters new realms, it speaks a new language. Formal con-
struction is related to the traditional architecture of music but no longer
stays within the traditional frames. The problem of analysis therefore
becomes extraordinarily difficult, and the present annotations make no
pretense to being anything but the most rudimentary outline. If the reader
desires to discover what the conscientious musical anatomist is up against
in the case of the ninth symphony, he is referred to the absorbing studies by
Donald Francis Tovey in the first two volumes of his “Symphony Analyses.”

The symphony was composed between 1817 and 1823. The choral finale
—the most grossly obvious of the formal innovations—was an afterthought.
Beethoven originally intended to end the work with an orchestral version of
the movement which now concludes the A minor quartet, Opus 132. But he
had throughout his active career nursed the intention of setting Schiller’s
“Ode to Joy.”

I. Allegro ma non troppo, un poco maestoso, D minor, 2/4 time. Over
an empty fifth, A and E, of the second violins, ’cellos and horns, intimations
of the theme to come flicker and leap across infinite space. The modality is
vague; it is neither major nor minor. Woodwinds join the long held chord
of the horns, and the modality problem is solved in favor of the minor as
the first theme bursts forth in the full orchestra:

Once again the empty fifths and the flickering leaps are sounded, this
time on the basis of D and A, and once again the vagueness resolves itself
into a full throated statement of the theme, now in B flat. A transition
passage leads to what is, despite its comparative brevity, the most complex
second subject in the literature of symphonic music, beginning thus in the
woodwinds

The second subject also stresses a crescendo descending scale in the strings,
an emphatic rhythm derived from Example 1, and several other melodic
elements. The exposition ends with a passage like a mighty trumpet call
sounded by the full orchestra.

The mysterious fifths and gigantic leaps of the introduction return
to begin the development. After momentary consideration of the trumpet

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call and of Example 1 in its entirety, the development settles down to an
elaborately polyphonic and curiously persistent working out of the little
motive distinguished with a bracket in Example 1. Eventually Example 3
joins the polyphony. A tempestous climax is reached, at the crest of which
Example 1 rides in to begin the recapitulation.

Both principal subjects, in all their varied complexity, are repeated in
somewhat altered guise. After the trumpet call seals off the second subject,
as in the exposition, a long and elaborate coda is introduced. This section,
better called a “terminal development” in Vincent d’Indy’s illuminating phrase,
works over Example 1, the descending scale from the second theme, the
trumpet call, and the bracketed motive. A final triumphant statement of
Example 1 concludes the movement.

II. Molto vivace, D minor, 3/4 time. The second movement combines
the characteristics of the fugue, scherzo and sonata form. It opens with eight
bars devoted to the statement of its essential rhythm. The second violins
then begin a five part fugue. Both subject and countersubject are quoted:

At the fifth bar of the above the violas enter imitatively in fugal fashion,
followed at four bar intervals by each of the remaining string voices. An
important incident in the headlong rush that follows is the introduction of
the second theme by the woodwinds:

The first section of the movement comes to its end with sudden rests and
pauses, and is then repeated. The second portion of the movement is devoted
to a ceaselessly dynamic, highly polyphonic development and recapitulation
of the foregoing materials.

The key changes to D major and the rhythm from 3 to 2 as the wood-
wind open the trio:

This is extended by the strings. Example 6 returns in the horn with a busy,
staccato counterpoint in the violins, later transferred to the oboe as the
bassoons takes up Example 6. The theme and its counterpoint are worked
over by the entire orchestra, but the trio ends quietly. The entire scherzo
portion—the introductory rhythm, the fugue on Example 4, and all the rest
of the movement down to within a page or two of the trio—is then repeated.
A very brief coda introduces a reminiscence of the trio at the end.

' III. Adagio molto e cantabile, B flat major, 4/4 time. After two
introductory woodwind bars, the first violins give out the main melody

which is repeatedly interrupted in its course by the woodwinds. After the
full exposition of this subject the tempo speeds up to Andante moderato, the
rhythm changes from 4 to 3 and the key from B flat to D, with the introduction
of a contrasting melody in the second violins and violas:

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202

Again the chorus repeats the last four lines. The quartet continues:

Freude trinken alle Wesen Draughts of joy from cup o’erflowing
An den Britisten der Natur; Bounteous Nature freely gives;

Alle Guten, alle Bosen, Grace to just and unjust showing,
Folgen ihrer Rosenspur. Blessing everything that lives.

Kiisse gab sie uns und Reben, Wine she gave to us, and kisses,
Einen Freund gepriift im Tod; Loyal friend on life’s steep road;
Wollust ward dem Wurm gegeben E’en the worm can feel life’s blisses,
Und der Cherub steht vor Gott! And the Seraph dwells with God!

Once more the chorus repeats the last four lines and builds up a
climax on the word “steht vor Gott!”

The orchestra alone now develops the theme in the manner of a military
march. Then the tenor solo, answered by the chorus:

Froh wie seine Sonnen fliegen Glad as His suns his will sent plying
Durch des Himmels pracht’gen Plan, Through the vast abyss of space,
Laufet, Briider, eure Bahn, Brothers, run your joyous race,
Freudig wie ein Held zum Siegen. Hero-like to conquest flying.

The orchestral development continues at length until the sudden irruption of the
chorus repeating the first stanza. (“Freude, schoner Gotterfunken,” etc.)

Andante maestoso, G major, 3/2 time. Basses and tenors of the chorus
introduce a new theme

Seid wm = schlung - en, Mil - -li- o = nen} Die- sen Kuss der ganz-en Weltd

to which the subsequent stanza is set.

Seid umschlungen, Millionen! O ye millions, I embrace ye!

Diesen Kuss der ganzen Welt! Here’s a joyful kiss for all!

Briider, tiberm Sternenzelt Brothers, o’er yon starry sphere
Muss ein lieber Vater wohnen. Sure there dwells a loving father.
Ihr stiirzt nieder, Millionen? O ye millions, kneel before Him.
Ahnest du den Schopfer, Welt? World, dost feel thy Maker near?
Such ihn tiberm Sternenzelt. Seek Him o’er yon starry sphere,
Uber Sternen muss er wohnen. O’er the stars enthron’d, adore Him.

Allegro energico, D major, 6/4 time. Examples 9 and 10 are combined
by the chorus, combining also the texts, “Freude, schoner Goétterfunken” and
“Seid umschlungen, Millionen.” After the famous passage in which the
choral sopranos hold a high A for 13 successive bars, the basses return to
“Thr stiirzt nieder,” and the variation ends very softly on the words “Muss
ein lieber Vater wohnen.”’

Allegro ma non tanto, D major, 2/2 time. Solo voices and chorus further
vary and embroider “Freude, schéner Gétterfunken” and its immediately sub-
sequent lines. This section ends in a kind of quadruple cadenza for the vocal
soloists (poco adagio) on the words “Wo dein sanfter Fligel weilt.”

The coda, Prestissimo, involves an extremely rapid and brilliant develop-
ment of Examples 9 and 10 with the stanzas “Freude, schoner Gotterfunken”
and “Seid umschlungen, Millionen.”

The English translation of the “Ode to Joy” employed here is the
standard one by Natalia Macfarren.

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The key, tempo and rhythm of the beginning return, and Example 7 is
. subjected to a fluent, highly decorative variation. Once again the rhythm
changes from 4 to 3, once again the tempo goes to Andante moderato, and
Example 8 is repeated without essential change save that it is now in the wood- 1 |
winds and in G major. |

For the third and final time the Adagio tempo and the rhythm of four
are stated, with Example 7 sung by the clarinets in E flat. The extensive
portion of the movement which follows is given over to the exceedingly
complicated and elaborate variation of Example 7 using the full resources
of the orchestra.

IV. The finale is a cantata based upon Schiller’s “Ode to Joy,” cast
in the instrumental form of introduction, theme and variations.

A chaotic outburst for the full orchestra precedes a brusque, dramatic
recitative for the ’cellos and basses. A momentary flashback to the opening
of the first movement is brushed aside by the recitative. The woodwind |
makes an effort to recall the scherzo, but this pleases the ’cellos and basses |
no better. Two bars of the slow movement, also, fail to win favor of the |
lower strings. At last the woodwinds hint at Example 9 to come, and this
is received by acclamation in the recitative. The lower strings are, in fact,
so pleased with the tune that they promptly appropriate it to themselves |
and give it its first full exposition:

The theme gradually spreads throughout the orchestra in a grand triumphal
progress. The chaotic outburst heard at the beginning of the finale then
returns, whereupon the baritone opens the vocal portion of the movement
with a line of prose by Beethoven himself:

O Freunde, nicht diese Tone! O friends, not these tones!
sondern lasst uns angenehmere an-- Let us rather attune our voices more
stimmen, und freudenvollere! pleasantly and more joyfully!

The baritone solo and chorus then answer each other on the word
“FRreude” (Joy) whereupon the baritone intones the first stanza of Schiller’s
poem to the melody of Example 9, which will also be basis of all subsequent
stanzas save one:

Praise to Joy, the God-descended
Daughter of Elysium,

Freude, schoner Gotterfunken,
Tochter aus Elysium,

Wir betreten, feuertrunken, Ray of mirth and rapture blended,
Himmlische, dein Heiligtum! Goddess, to thy shrine we come!
Deine Zauber binden wieder By thy magic is united

Was die Mode streng geteilt; What stern custom parted wide;
Alle Menschen werden Briider All mankind are brothers plighted

Wo dein sanfter Fliigel weilt! Where thy gentle wings abide!

The chorus repeats the last four lines. The solo quartet goes on:

Wem der grosse Wurf gelungen, Ye to whom the boon is measured,
Eines Freundes Freund zu sein, Friend to be of faithful friend,
Wer ein holdes Weib errungen, Who a wife has won and treasured,
Mische seinen Jubel ein! To our strain your voices lend!

Ja, wer auch nur eine Seele Yea, if any hold in keeping

Sein nennt auf dem Erdenrund! Only one heart all his own,

Und wer’s nie gekonnt der stehle Let him join us or else, weeping,
Weinend sich aus diesem Bund! Steal from out our midst, unknown!

205

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Te Props) gino toate

SAN FRANCISCO SYMPHONY ORCHESTRA

PIERRE MONTEUX, Conductor
Willem van den Burg, Assistant Conductor

First Violins:

Blinder, Naoum

Concert Master
Heyes, Eugene

Second Violins:

Gough, Walter
Principal

Haug, Julius
Rosset, Emil
Paterson, J. A.
Gold, Julius
Helget, Hans
Laraia, Attilio F.
Spaulding, Myron
Baret, Berthe
Moulin, Harry
Koblick, Nathan
Lind, Waldemar
Schneider, D.

Violas:

Firestone, Nathan
Principal
Verney, Romain
Hahl, Emil
Weiler, Erich
Baker, Fred A.
Tolpegin, Victor
Karasik, Manfred
Vdovin, Alexander
Lichtenstein, Victor
Mitchell, L.

206

So
Cellos:

Bassoons:

Van den Burg, Willem Kubitschek, Ernest

Principal
Dehe, Willem
Reinberg, Herman
Kirs, Rudolph
Pasmore, Dorothy
Coletti, Bruno
Bem, Stanislas
Haight, Rebecca
Rogovoy, George
Claudio, C.

Basses:

Bell, Walter
Principal

Schmidt, Robert E.
Guterson, Aaron
Schipilliti, John
Forman, F. F.
Hibbard, E. B.
Storch, A. E.
Buenger, A,

Flutes:

Woempner, Henry C.
Oesterreicher, Walter
Benkman, Herbert
Herold, R. J.

Piccolo:
Benkman, Herbert

Oboes:

Shanis, Julius
Sargeant, W.
Schivo, Leslie J.

English Horn:
Schivo, Leslie J.

Clarinets:

Schmitt, Rudolph
Rudd, Charles
Fragale, Frank

Bass Clarinet:
Fragale, Frank

La Haye, E. B.
Hranek, Carl
Baker, M.

Contra Bassoon:
La Haye, E. B.

Horns:
Lambert, Pierre
Trutner, Herman
Tryner, Charles E.
Roth, Paul
Roberts, R.
Jacobs, J. A.

Trumpets:
Klatzkin, Benjamin
Barton, Leland S.
Kress, Victor
Klatzkin, Leon

Trombones:
Giosi, Orlando
Shoemaker, R. F.
Klock, J.

Tuba:
Murray, Ralph

Harp:
Attl, Kajetan
Morgan, Virginia

Tympani:
Wagner, R. E.

Percussion:
Vendt, Albert
Salinger, M. A.
Greer, E.
Steffan, D.

Piano and Celesta:
Tibbits, J. P.
Organ:
Harvey, Leslies J.
Librarian:
Haug, Julius |
Personnel Manager: |
Oesterreicher, Walter |}

SEEING SAN FRANCISCO

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SAN FRANCISCO

| PIERRE MONTEUX, Conductor

oletetete

oats

_ COL. W. de BASIL’S

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| RUSSE
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7 in

WAR MEMORIAL OPERA HOUSE, SAN FRANCISCO

Presented by THE ART COMMISSION OF SAN FRANCISCO
ANGELO ROSSI, Mayor
5{ EDGAR WALTER, President JOSEPH H. DYER, Secretary
Direction of Music Committee: J. EMMET HAYDEN, Chairman
THE BALLET RUSSE IS UNDER MANAGEMENT OF S. HUROK

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THE ART. COMM LS St ON ees ton a>

San Francisco Symphony Orchestra
AND

Col. W. de BASIL’s BALLET RUSSE

(EXCLUSIVE MANAGEMENT S. HUROK)
Thursday Evening, January 28th, 1937

LE MARIAGE D’AURORE
(AURORA’S WEDDING)

Ballet in One Act
Music by P. TCHAIKOVSKY
Choreography after Marius PETIPA
Scenery by Leon BAKST
Costumes by Alexandre BENOIS

1. Prelude

2. Polonaise

Miles. ABRICOSSOVA, CHAMIE, KRASSNOVA, LEONTIEVA, LIPKOVSKA,
MARRA, OBIDENNA, OSATO, RADOVA, STRAKHOVA
MM. ALEXANDROFF, ALONSO, BOROVANSKY, LAZLOVSKY,
KATCHAROFF, KOSLOFF, LADRE, LIPATOFF, MATOUCHEVSKY,
ROSTOFF, ZEGLOVSKY, SEMENOFF

8. Dance of the Seven Ladies of Honour and Their Partners

Irina BARONOVA, Olga MOROSOVA, Anna ADRIANOVA, Tamara
GRIGORIEVA, Anna VOLKOVA, Edna TRESAHAR, Lubov ROSTOVA
David LICHINE, Roman JASINSKY, Paul PETROFF, Serge BOUSLOFF,
Serge ISMAILOFF, George ZORITCH, Boris BELSKY

First Variation: Second Variation:
Anna ADRIANOVA Edna TRESAHAR
Third Variation: Fourth Variation:
Anna VOLKOVA Olga MOROSOVA
Fifth Variation: Sixth Variation:
Tamara GRIGORIEVA Irina BARONOVA

4. Scene and Dance of the Duchesses
Miles. Tatianna LIPKOVSKA, MARRA, ABRICOSSOVA, OBIDENNA, LVOVA
MM. ALEXANDROFF, ALGERANOFF, MATOUCHEVSKY, ROSTOFF,
ZEGLOVSKY

5. Farandole

Artistes of the Ballet
FAIRY TALES:

6. Florestan and His Sisters
Lubov ROSTOVA, Vera NELIDOVA, and George ZORITCH

7. Little Red Riding Hood:
Anna LEONTIEVA and Edouard BOROVANSKY

8. The Blue-Bird
Tatiana RIABOUCHINSKA and David LICHINE

(Continued on page 6)

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PETER CONLEY PRESENTS

* * *
ADMIRAL

BYRD

IN PERSON - TELLING HIS THRILLING STORY

“CONQUERING THE ANTARCTIC”
ILLUSTRATED WITH MOTION PICTURES

* *

OPERA HOUSE - WEDNESDAY F E B 3
MATINEE 3:15 — NIGHT 8:20

ALL SEATS RESERVED: $1.10 — 83¢ — 55¢ Including Tax

On Sale Now: Sherman Clay & Co., San Francisco and Oakland

Fate FO

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aay TL ae

9. The Porcelain Princesses:
Eugenie DELAROVA, Galina RAZOUMOVA and Serge LIPATOFF
10. The Three Ivans
H. ALGERANOFYF, Marian LADRE and Narcisse MATOUCHEVSKY
11. Pas de Deux of Princess Aurora and Prince Charming:
Irina BARONOVA and Roman JASINSKY

12. Mazurka
All the Artistes of the Ballet

Conductor: Antal DORATI

INTERMISSION OF FIFTEEN MINUTES

SYMPHONIE FANTASTIQUE
(AN EPISODE IN THE LIFE OF AN ARTIST)
Choreographic Symphony
Music and Book by BERLIOZ
Choreography by Leonide MASSINE

Scenery and Costumes by Christian BERARD
Scenery executed by Prince A. SCHERVACHIZDE

A young musician of unhealthily sensitive nature and endowed with vivid
imagination has poisoned himself with opium in a paroxysm of love-sick despair.

GREATER
AS THE = :
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The narcotic dose he had taken was too weak to cause death, but it has thrown
him into a long sleep accompanied by the most extraordinary visions. In this
condition his sensations, his feelings and memories find utterance in his sick
brain in the form of musical imagery. Even the beloved one takes the form of
melody in his mind, like a fixed idea, which is ever returning, and which he
hears everywhere.

1st Movement. — VISION AND PASSIONS.

At first he thinks of the uneasy and nervous condition of his mind, of
sombre longings, of depressions and joyous elation without any recognizable
cause, which he experienced before the beloved one had appeared to him. Then
he remembers the ardent love with which she suddenly inspired him; he thinks
of his almost insane anxiety of mind, of his raging jealousy, of his reawakening
love, of his religious consolation.

2nd Movement. — A BALL
In a ball-room, amidst the confusion of a brilliant festival, he finds the
loved one again.

3rd Movement. — IN THE COUNTRY

It is a summer evening. He is in the country musing when he hears two
shepherd lads who play the ranz des vaches (the tune used by the Swiss to call
their flocks together) in alternation. This shepherd duet, the locality, the soft
whisperings of the trees stirred by the zephyr wind, some prospects of hope
recently made known to him, all these sensations unite to impart a long un-
known repose to his heart, and to lend a smiling colour to his imagination.
And then she appears once more. His heart stops beating, painful forebodings
fill his soul. “Should she prove false to him?” One of the agra resumes
the melody, but the other answers him no more ,.. sunset... distant rolling
of thunder ... loneliness . . . silence.

4th Movement. — THE PROCESSION TO THE STAKE
He dreams that he has murdered his beloved, that he has been condemned

to death and is being led to the stake. A march that is alternately sombre and
(Continued on page 10)

AFTER THE CONCERT
FINE FOODS

Ice Cream « Sodas
Pastries « Candies

Served in the most beautiful restaurants
in the West—at no greater cost
than elsewhere

Dign Mhistle

33 POWELL STREET, Near Market

1032 MARKET STREET, Near Paramont Theatre
and the Opera House

Ee Nes Ce cles aN. yee oie tee later Gla an V-1 2

BULLY 2 Ry SINC RNa EO ne

LINCOLN STANDARD
MECHANICAL EXGELLENUE

Drama combined with music gave the world a different kind of art
—opera. Lincoln engineering, united with Ford resources, gave the
world a different kind of car—Lincoln-Zephyr. The Lincoln-Zephyr
enters 1957 proved by a year’s superb performance. It is not a new
“model.” It is the original car, improved, refined —stll far ahead

in its standards of power, comfort, safety, economy. It brings to the

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1101 Van Ness Ave. 2910 Broadway
San Francisco Oakland

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ROBERT O'CONNOR

AMERICAN PIANIST

Rent keane VETERANS’ AUDITORIUM
$2.20, $1.65, $110, 88 MONDAY, FEBRUARY 1, 1937

SHERMAN, CLAY & CO. EIGHT THIRTY O’CLOCK

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it
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wild, brilliant and solemn, accompanies the procession . . . The tumultuous
outbursts are followed without modulation by measured steps. At last the
fixed idea returns, for a moment a last thought of love is revived — which is
cut short by the death blow.

5th Movement. — THE WITCHES’ SABBATH.

He dreams that he is present at the witches’ dance, surrounded by horrible
spirits, amidst sorcerers and monsters in many fearful forms, who have come
to assist at his funeral. Strange sounds, groans, shrill laughter, distant yells,
which other cries seem to answer. The beloved melody is heard again, but it
has its noble and shy character no longer; it has become a vulgar, trivial and
grotesque kind of dance. She it is who comes to attend the witches’ meeting.
Friendly howls and shouts greet her arrival ... She joins the infernal orgy...
bells toll for the dead ...a burlesque parody of the Dies irae .. . the witches’
round dance... the dance and the Dies irae are heard at the same time.

FIRST MOVEMENT
JAY umm” WIS TCL ary c, eo a aa cece tanec -Leonide MASSINE
A By Vea BYE] Cay Xz (0 be nee ee Ue UO AEN has Pa ok NOnmetaeme eS rer ete ear er Tamara TOUMANOVA

Gaiety:
Alexandra DANILOVA and Paul PETROFF
Milles. NELIDOVA, SEROVA, VOLKOVA

Melancholy:
MM. JASINSKY, ZORITCH, PLATOFF

Reverie:
Anna ADRIANOVA
Miles. ABRICOSSOVA, CHABELSKA, GRIGORIEVA, MARRA, OBIDENNA,
RAZOUMOVA, ROSTOVA, STRAKHOVA

Passion:
MM. ALGERANOFF, BOROVANSKY, BOUSLOFF, ISMAILOFF,
KATCHAROFF, LADRE, MATOUCHEVSKY, PETROFF, ROSTOFF

SECOND MOVEMENT
A Ball

The Guests:
Olga MOROSOVA and Dimitri ROSTOFF
Miles. DELAROVA, OSATO, TRESAHAR, ADRIANOVA, CHABELSKA,
CHAMIE, LEONTIEVA, LIPKOVSKA, LVOVA, MARRA, RADOVA,
RAZOUMOVA, STRAKHOVA
MM. ALEXANDROFF, ALGERANOFF, ALONSO, BOROVANSKY
ISMAILOFF, KATCHAROFF, KOSLOFF, LADRE, LIPATOFF,
MATOUCHEVSKY, ROSTOFF, ZEGLOVSKY

The Beloved. ......-...---------:-::-ccscseeeccneeeeeeeecoseeecenennecceetseteenenaeses Tamara TOUMANOVA
ENON Y GUNG AM USICIAN 528 eos ceo oxe seston sce oe are earn eee ates Leonide MASSINE

CATT GH LAGHT OFR-f BE: CU RRNA, Sigasow
The World Famous N. Y. AMERICAN

HART HOUSE poReere
STRING QUARTET o¥

James Levy : Arn Adaskin : Milton Blackstone : Boris Hambourg

MONDAY F F BR 8 COMMUNITY PLAYHOUSE
EVENING = Sutter at Mason

Reserved Seats at: Sherman, Clay & Co., 55¢, 85¢, $1.10, $1.65, $2.20
Vallely Current Review — FEBRUARY 11 — Fairmont
MANAGEMENT: ALICE SECKELS-ELSIE CROSS |

THIRD MOVEMENT

EheyOlar Shepherd: 2 i. sge.coe kc tere eee Mare PLATOFF

The Younes Shephertiscct cs es ees acs, ee ee ee George ZORITCH

Phe Young (Musician. x2: ee pees, ee Leonide MASSINE

‘The: Belovedss seta racactee. ces Sh nae Tamara TOUMANOVA

Ene, Deer. 2 2. ee etn ee ee Alexis KOSLOFF
The Picnic:

Miles. Nina VERCHININA, GRIGORIEVA, OBIDENNA, ROSTOVA
The Children:
Miles. Lisa SEROVA, ABRICOSSOVA, LEONTIEVA, VOLKOVA
The Winds:
MM. PETROFF, JASINSKY, BOUSLOFF

FOURTH MOVEMENT
Lhe. Young Musician.£.........,4.4 280. 2 ee ee Leonide MASSINE
‘De Sauer ee oe ah ee ge ee Boris BELSKY
The Executioners:
MM. BOROVANSKY, ISMAILOFF, ROSTOFF, ZEGLOVSKY

The Judges:
MM. ALEXANDROFF, ALGERANOFF, BOUSLOFF, KATCHAROFF,
LADRE, LAZOVSKY, LIPATOFF, MATOUCHEVSKY
The Crowd:
Miles. MARRA, CHAMIE, DELAROVA, CHABELSKA, ADRIANOVA,
LIPKOVSKA, LVOVA,
MM. ALONSO, KOSLOFF
FIFTH MOVEMENT
The Monsters:
MM. JASINSKY, PETROFF, ZORITCH

The Witches:
Miles. Tamara TOUMANOVA, Nina VERCHININA, Olga MOROSOVA

The Ghouls:
Miles. DELAROVA, LEONTIEVA, LVOVA, SEROVA, STRAKHOVA
VOLKOVA
The Vampires:
Miles, CHAMIE, LIPKOVSKA, NELIDOVA, RADOVA, RAZOUMOVA,
TRESAHAR
The Spectres:
Miles. ABRICOSSOVA, CHABELSKA, GRIGORIEVA, MARRA,
OBIDENNA, OSATO, ROSTOVA
The Devils:
MM. ALONSO, BOROVANSKY, KATCHAROFF, KOSLOFF, LADRE,
LAZOVSKY, LIPATOFF, MATOUCHEVSKY
The Monks:

MM. PLATOFF, ALEXANDROFF, BOUSLOFF, ISMAILOFF
ROSTOFF, ZEGLOVSKY

Conductor: Pierre MONTEUX

INTERMISSION OF FIFTEEN MINUTES

(Continued on page 18)

KNOWLEDGE
OF THIS
SUBJECT

may mean much
a3

to your family oa : f.

FRIDAY EVENINGS—KSFO, 7 O’CLOCK
BUSINESS FORUM OF THE AIR
PHILADELPHIA ORCHESTRA
STOKOWSKI—ORMANDY

LRUS F. DEP AR T MEN T

Wells Fargo Bank
Union Trust Co.

Market at Montgomery Market at Grant Ave.
SAN FRANCISCO
Established 1852

Pon iy Ro OO NE iY

Pere S Cant as

MARIAN
ANDERSON

Opera House (Only Recital)
WED. EVE., FEB. 24, 8:30

PARSOCGARS AL MM

LE:
Bevruessung 2 Haendel
Chio mar Vi possas=... Haendel
SICUIANG +n ee ee ee Haendel
Ah Spietato
(“Armadier’ )\ eee Haendel
II.
Liebesbotschatt.........5- Schubert
Ave. Marian. ee Schubert
Der Tod und das
Maedchen!..... Schubert
Die’ Morelles soe Schubert
rT;
Air of “Don Carlos”
(O- Don. Hatalé)..se Verdi
IV.
Die Fusswaschung............ Kilpinen
Schilfrohr, saeus’le
(Saev, saev, susa).......... Sibelius
Sung in Swedish
Die Libelile:.g S22 2c..2 ase Sibelius
Wer es ein Traum.............. Sibelius
Sung in German
V.

Negro Spirituals:
City called Heaven....Hall Johnson
Lord, I can’t stay

BW AY ccteenss eee eae: Roland Hayes
Crucifixion]... ae John Payne
My soul’s been anchored

in the Word.-..:. Florence Price

@
TICKETS: $2.20 — $1.65 — $1.10

SHERMAN, CLAY, & “Co.

S. Hurok

S. Hurok, manager of most of the outstanding dance attractions in this
country today, is unique among the great impresarios of music, dance and the
drama, having confined his efforts chiefly to the importation of celebrated
European organizations. He has done more to bring to the masses the highest
type of entertainment than anyone connected with the amusement world.

With uncanny judgment, he has imported year after year, the best of
foreign attractions, has fostered many careers in this country, and has been
associated for a quarter of a century with the most significant artists of all lands.

A Russian with ideals and a positive conviction that the American public
can lend its appreciation to the finest artists and organizations, he has left
small things to others, and has devoted his boundless energy to the production
of large scale and often spectacular attractions. He fervently hopes that his
efforts will bring about a renaissance of interest in the stage arts, surpassing
that of European audiences. He is convinced that people in America need only
be made aware of great art and they will flock to it. Some years ago The New
York Times declared editorially that “S. Hurok has done more for the cause of

music than the invention of the phonograph.”

Mr. Hurok managed the last American seasons of Anna Pavlowa and her
Ballet Russe, Isadora Duncan, Fokine and Fokina, and Loie Fuller. He brought
to this country the famous composers Richard Strauss and Alexander Glazounov.
He has presented many celebrated violinists, including Mischa Elman, Efrem
Zimbalist, Eugen Ysaye, Kubelik, and scores of great singers including Tetraz-
zini, Gluck, Schumann-Heink and the immortal Chaliapin. He introduced Mary
Wigman to New York, kindling a furore in the dance world that still continues,
although interest has now turned to the brighter art of the Ballet Russe. He
also delivered for American delectation the fiery Flamenco dancer, Vicente
Escudero, Uday Shan-Kar and his Hindu Company, Trudi Schoop and her
Comic Ballet.

Through depressions and prosperity, Mr. Hurok has, single-handed, con-
tinued to present large touring organizations of distinction. He managed the
tours of the German Grand Opera, the Russian Grand Opera, the .Habima
Theatre, the Italian Piccoli Theatre, the Moscow Cathedral Choir and the
Vienna Choir Boys.

During the current season he will offer Marian Anderson, the sensational
Negro contralto; Rudolf Serkin, the latest genius of the piano; the Kolisch
Quartet, adjudged to be the finest string ensemble in the world; the Dana
Singing Ensemble, a Polish quintet; Ginette Neveu, a phenomenal young
French violinist; Joseph Schmidt, Europe’s current radio idol; Arthur Rubin-
stein; a continental ensemble including Raphael, Victor Chenkin and Emma
Runitch; and Mme. Pagliughi, a brilliant Italian coloratura soprano.

Last and highly important, he will bring the Salzburg Opera Guild for its
first American tour, beginning in the Fall of 1937. This is the famous troupe
which took part in the recent Salzburg Music Festival where it received
accolades of praise from press and public.

Rachmaninoti

OPERA HOUSE
PROGRAM: FRIDAY EVE., 8:30 P. M. — FEB. 5

1. Organ Fantasia and Fugue in G-minor............................-. Bach-Liszt

2: ponata, Opts: 209.58 5 Ai eee ee ee eee eee Beethoven
Vivace ma non troppo
Adagio espressivo
Prestissimo
Andante molto cantabile ed espressivo

3. (a) Polonaise, C-minor

(b) Nocturne .................. °
Cc) Mazurka. 2:25 ( Fee eae ce Pe as eae ae fe ae Chopin
(d) Rondo, Opus 16........
4. Four Etudes-Tableaux, Opus 33.......................-..2-2------- Rachmaninoff
C-sharp minor
G-minor
E-flat minor
E-flat major
Sonnetto .del ;\Petrarca «Nos 2253). 4 ee ee Liszt
Maite. Fire ici etic scdncese sheds heceece ver eee ee Wagner-Brassin
Btude,” H-Mmaiore... eee ci ee ee Paganini-Liszt

PROGRAM: SUNDAY AFT., 2:30 P. M. — FEB. 7

1, ¥ Variations, Asmajorie es. 225.0 54 ee is ae eee Mozart
Ze: LAPGG SOnatasicd.:.c. skit. ts pees eels eae ee ee Scarlatti
3-. Sonata, Opus 58, B-minore oo er eee Chopin
BS (AP BOLUGG ral creck 2 fete RE ke a ee ae Bach-Rachmaninoff
5.

(a) Daisies, song....
(b) Oriental Sketch

6. (a) Nocturne, G-major........ John Field

(b) Nocturne, (Noon Tide) }
7. (a) Etude, D-flat major

(b) Valse Oubliee No. 3
(c) Polonaise, E-major..

$2.50, $2.00, $1.50, $1.10, Including Tax — SHERMAN, CLAY & CO.
NEAONTAG EM Bonar = PUR Bee CLOWN alate.

oe HuROK HresSenic
The WORLD’S GREATEST

SALZBURG OPERA GUILD

Sensation of last summer’s Salzburg Music Festival.
One of the world’s greatest operatic organizations.
Complete European Company in repertoire of unfa-
miliar operatic masterpieces. Symphony Orchestra. First
time in America. Season 1937-1938.

TRUDI SCHOOP

AND HER COMPANY OF COMIC DANCERS

Second sensational coast to coast tour.

“This Trudi Schoop Ballet is the most amusing and
the most amazingly fresh entertainment in New York,”
writes Edna Ferber. ‘‘A dazzling evening in the theatre
and a triumph of sheer talent.”

FEODOR CHALIAPIN

Great Russian Basso.

MARIAN ANDERSON

World’s Outstanding Contralto.
One of the greatest living singers—New York Times.

DANA ENSEMBLE

Famous Polish Singing Quintet.

ARTISTS and ORGANIZATIONS

UDAY SHAN-KAR

AND HIS HINDU BALLET

In a complete new repertoire of Hindu Dances. New
Costumes and New Productions.

“Beauty and Excitement”—New York Times. ‘“Gape
in awe at the superlative beauty of Shan-Kar’”—New
York World Telegram.

CONTINENTAL ENSEMBLE

Emma Runitch - Victor Chenkin - Raphael
Unique — Novel — Delightful |

RUDOLF SERKIN ‘OLISCH QUARTET
New Genius of the Piano String Ensemble

MADAME PAGLIUGHI GINETTE NEVEU

Brilliant Italian Coloratura Veins CHER eee:

ARTUR RUBINSTEIN JOSEPH SCHMIDT

Triumphant Return Engagement Europe’s Radio Idol

VIENNA CHOIR BOYS

Fifth American Tour

FOR FURTHER INFORMATION regarding these
and other attractions which Mr. Hurok has engaged
abroad, address Peter Conley, San Francisco Opera House,
or Hurok Attractions, 30 Rockefeller Plaza, New York, N. Y.

LA BOUTIQUE FANTASTIQUE
(THE FANTASTIC TOY SHOP)

Ballet in One Act

Music by G. ROSSINI, Orchestrated by O. RESPIGHI
Choreography by Leonide MASSINE
Curtain, Scenery and Costumes by Andre DERAIN

The action takes place in 1865. Customers of varied tourist types are seen
in a toy shop, where the proprietor shows them his novelties, some Tarantella
dancers, street vendors, kings and queens from playing cards, dogs, Cossacks,
and especially two dancers from the Cabaret. Some of the visitors purchase
dolls. Amongst the customers there is an English lady, an American family,
and also a large Russian family of the rich manufacturing class. All of them
are delighted with the two cabaret dancers, but, unfortunately, each of the
pair is bought by different customers. After paying, the customers go away
and the shop is closed for the night.

Coming to life after nightfall, the dolls, left alone, are filled with pity for
the fate of the two dancers, lovers who are about to be separated because they
have each been bought by different people who do not know each other.

The lovers then plan to escape. They take a tender farewell of their
companions and disappear into the night, the other toys aiding their flight.

In the morning the shopkeeper and his assistants come in to open the
shop. The customers of the day before arrive to take away their purchases,
and are astonished at not having had them delivered as had been promised.
The shopkeeper calms them down and shows them the parcels ready for them
to take away, but as he hands them over he finds only paper. In spite of his
amazement the customers think he is cheating them, and repay him by wreck-
ing the shop; but the dolls come to life and chase them, terrified, into the street.

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Their Four Daughters:
Miles. IVANOVA, PETROVA, SEMENOVA, SMIRNOVA

THE DOLLS:
Tarantella Dancers:
Olga MOROSOVA and Roman JASINSKY

he -@ueen: of Club Sec. ee eae eas eter Tamara GRIGORIEVA
PGI O UGE AOL VA CARUR: 27 os eee oe oe a eae tee ies Lubov ROSTOVA
ENGR KS? (OL AS DAG CS tact cto hol Pee at ca ces se Came te Paul PETROFF
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ee Wel One Ea Cie te caer ec sce hl od eae cat ie See ae nee H. ALGERANOFF
AS Cossack, Chieti. cx occecesees. os seam amisecrew eet ee NN elude She ee ss wc Ate ee Marian LADRE

ESC OSSACK GIR eee ua cttw os ate tet tee tes aed get. eee ete ae Tatiana LIPKOVSKA

Five Cossacks:

MM. ALEXANDROFF, BOUSLOFF, ISMAILOFF, KOSLOFF,
MATOUCHEVSKY

Dancing Poodles:
Lisa SEROVA and Serge LIPATOFF

Can-Can Dancers:
Alexandra DANILOVA and Leonide MASSINE

Twelve of their Friends:
Miles. ABRICOSSOVA, ADRIANOVA, LEONTIEVA, KRASSNOVA, LVOVA,
MARRA, OSATO, RADOVA, RAZOUMOVA, STRAKHOVA,
TRESAHAR, VOLKOVA

Conductor: Efrem KURTZ

CAST SUBJECT TO CHANGES

Founder and Director General: COL. W. DE BASIL
Maitre-de-Ballet and Artistic Collaborator: Leonide MASSINE
Conductors: Efrem KURTZ and Antal DORATI
Regisseur General: Serge GRIGORIEFF

STAFF FOR 8S. HUROK

David -Labidins >” (iis, ae se oho ee eee ee Company Managers
Maurice Winters |

Gerald: Go0de@ic..5 2) er el, bed i General Press Representative
[sek 01 GN Ko) 2 of ee nn Sen Te a er ee eC Advance Press Representative
Wise: SHR Te neck cs ae te al en eae ep Executive Secretary
Boris: SCHWanzts genes ee ek eu tees aces ogee oe Concert Meister
Nathan Rosenit..2% cat ee Be, ee Ue ek ee mee Orchestra Manager
Cly G@S rant iisssate- Sous iss icevs best shecm: ea ee ne Chief Carpenter
Carl Gré@iie cu occ. eee eee ae ae ee ee Chief Property Man
GONG RETO RN Oe Fi dois eee ee ee eens ce inet ne Chief Electrician
AUQUStS. GSAT ces ace Rees al gee, ee Wardrobe Mistress

The Management strictly forbids the taking of any photographs or motion
pictures inside the Theatre without written permission.

EXCLUSIVE MANAGEMENT: HUROK ATTRACTIONS, INC.
30 ROCKEFELLER PLAZA, N. Y, C.

COLLECTOR @® DEALER @® APPRAISER

Fine Repairing — Specialist in “Voicing” Master Instruments.
Rare Old Violins--Violas--Cellos--Bows. High--Medium--Low Priced.

The World’s Foremost Exponents of Dance Arts, Headed by The
Monte Carlo Ballet Russe, Use and Recommend...

SELVA TOE SLIPPERS

Featured in the West Exclusively by

The DANCE ART CO.

Golden Gate Theatre Bldg. — 25 Taylor St. — Phone PRospect 1643

Dancing Shoes For Ballet-Toe, Tap,

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fy Import
Retailers SN BS \ fo and

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Costume Pattern, Designing and Wardrobe Making Service
Visitors Cordially Welcome to San Francisco’s Most Fascinating Shoppe.
Catalog and price lists sent anywhere on request. —- World Wide Mail Order Service.

Headquarters for Parilia Costumes and Supplies.

MUSICIANS MARVEL

AT THE PERFECTED TONE BALANCE
OF THE NEW

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fingers. The perfected tone balance
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BALDWIN PIANOS 3140 Sutter Steert
20

San Francisco Symphony Orchestra

PIERRE MONTEUX,

Thur. 8:30P
Fri. 8:30P
Sate tou L
Sat. 8:30P
Sun. 2:30P
Fri, 2:30P
Sat. 8:30 P.
Thur G2loe:
Thur. 8:15 P.
Pry -22250/6.
Sat. 8:30P.
Thur. 8:15 P
Mrs eS scOlee
Fri, «2:30 P.
Sat. 8:30P.
Tues. 8:15 P.
Thur. 8:15 PB:
Fri, 2:30 P:
Sat. 8:30 P.
Tues. 8:30 P.
Thur. S10:
Thur. 8:15 P.
Sat. 10:30 A.
Er §—2:30-P.
Sat. 10:30 A
Satu otodue,
SUNS. oslo ©.
Thur. 8:15 P.
rr 7 22:30'2:
Sat. 10:30 A.
Sat. 8:30 P.
Tues. 8:15 P.
Erie 200 be
Sat. 10:30 A.
Sat. 8:30P.
Sun. 3:00P.

Conductor

Willem van den Burg, Asst. Conductor

1937 SEASON

. M., Feb.
M., Feb.

. M., Feb.
M., Feb.
M., Mar.
M., Mar.
M., Mar.
M., Mar.
M., Mar.
M., Mar.
M., Mar.

M., Mar.
M., Apr.
M., Apr.

M., Apr.
.M., Apr.

M., Apr.
M., Apr.
M., Apr.
M., Apr.

M., Apr.
M., Apr.
M., Apr.
.M., Apr.
M., Apr.

M., Apr.
M., Apr.

.M., Jan.28, —

WITH COL. W. DE BASIL’S

.M., Jan. 29,
MJan.30, + BALLET RUSSE
“Mo Jai 8h ok © PuHor (OoPre rR AO es 6

5, Opera House, with Toscha Seidel, Violinist

6, Opera House, with Toscha Seidel, Violinist

M., Feb. 11, Broadcast for Standard Oil Co.

M., Feb. 18, Broadcast for Standard Oil Co.

M., Feb. 19, Opera House, with Richard Crooks, Tenor

M., Feb. 20, Opera House, with Richard Crooks, Tenor

25, Broadcast for Standard Oil Co.

26, Civic Auditorium, with Grace Moore, Soprano
5, Opera House, with Marian Anderson, Contralto
6, Opera House, with Marian Anderson, Contralto

9, Memorial Chapel, Stanford University
11, Broadeast for Standard Oil Co.

19, Opera House, with Isaac Stern, Violinist
20, Opera House, with Isaac Stern, Violinist

23, Civic Auditorium, with Igor Stravinsky and

San Francisco Municipal Chorus
25, Broadcast for Standard Oil Co.
1, Broadeast for Standard Oil Co.
3, Young People’s Concert, Ernest Schelling
Conducting
9, Opera House, Ernest Schelling, Pianist
10, Young People’s Concert, Ernest Schelling
Conducting
10, Opera House, Ernest Schelling, Pianist
11, University of California
15, Broadcast. for Standard Oil Co.
16, Opera House, with John Charles Thomas,
Baritone
17, Young People’s Concert, Ernest Schelling
Conducting
17, Opera House, with John Charles Thomas,
Baritone
20, Civic Auditorium, Sylvia Lent, Violinist
23, Opera House
24, Young People’s Concert, Ernest Schelling
Conducting
24, Opera House
25,San Rafael

TICKETS FOR ALL CONCERTS ON SALE
SHERMAN, CLAY & CO.

SAN FRANCISCO AND OAKLAND

KAJETAN ATTL'S
HARP ENSEMBLE

Beginners or Advance Students Phone for appointment. |

When Buying or Renting a Harp only an Experienced
Harpist can advise Correctly.

Large Stock of Harps for Sale or Rent:

1030 BUSH STREET Phone ORdway 6367 Studio No.6

First Harpist with San

Francisco Symphony for

Twenty-four Consecutive
Years.

a : ee
os i
| yo |
i $
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+ $ ' = & 4 é 5 +
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SE MO TOO POON OT OO RTO

ARR Mar rt et mann onenannontnnte ti happronenennnonnornnnttbetitese

> PLIES P OOS Mbp nnn nnnnmebbe.

MUNICIPAL CONCERTS

SAN FRANCISCO SYMPHONY ORCHESTRA
PIERRE MONTEUX, Conductor
WITH

GRACE MOORE

CIVIC AUDITORIUM — FRIDAY EVE., FEB. 26

IGOR STRAVINSKY

Conducting SAN FRANCISCO SYMPHONY and playing his
"SYMPHONY OF PSAEMS
ALSO
RossIni “STABAT MATER” Conducted by HANS LESCHKE

MUN LC. Ati CE OsRols
CIVIC AUDITORIUM — TUESDAY, MARCH 23

SAN FRANCISCO SYMPHONY ORCHESTRA
PIERRE MONTEUX, Conductor
WITH

Sb Vt Be ee Ne oe

CIVIC AUDITORIUM — TUES. EVE., APRIL 20

RESERVED SEATS: $1.00, 75¢, 50¢, 25¢ — SHERMAN, CLAY & CO.
AUSPICES: ART COMMISSION OF SAN FRANCISCO

EDGAR WALTER, President JOS. H. DYER, JR, Secretary

DIRECTION OF MUSIC COMMITTEE
J. EMMET HAYDEN, Chairman

Studio

Classic and
modern ballet,
character,
Oriental
dancing,
Eurhythmics.
Classes for
beginners or
advanced
students,
all ages.

420 SUTTER STREET

——E aaa

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force and vigor, we stand
ready at all times to
render you the kind of
service that makes the
printed word SPEAK.
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its emphasis in a truly
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15 Columbus Ave.
SAN FRANCISCO
SUtter 42772

PETER CONLEY Presents
NANCIE

MONTE U X

DANCE RECITAL
VETERANS’ AUDITORIUM
TUESDAY EVE. FEB., 15, 8:30 P. M.

PROGR AM

Sarabande and Variations........ Corelli
J. NIELSEN
Gavotte vec. oa eee Lulli
NANCIE MONTEUX
Divertissements: ..3: = Couperin
J. NIELSEN
Tempore! palo... ee Scarlatti

NANCIE MONTEUX

Suite: Rondo, Minuet, Badinerie....Bach
NANCIE MONTEUX

BP Teneh> OULCe Leen settee eae Bach
J. NIELSEN
Pantomime, 2 2eee eaecserzuees Mozart
NANCIE MONTEUX
Country Dances --.-- Beethoven
J. NIELSEN
French Revolutionary
Dance)... ee (Popular Songs)
NANCIE MONTEUX
Extract from Ballet Music
from “Rosamunde’’.............- Schubert
NANCIE MONTEUX
Waltzes: 24 OS ee Brahms
J. NIELSEN
Valse: Romantique:.......---. Chabrier
NANCIE MONTEUX
WrialtZictd ben eee er Chabrier
J. NIELSEN

Danse Sacrée
Danse Profane

NANCIE MONTEUX

Funeral March in
Jazz SoM es ra SEO KO UCR
NI

LSEN
Danse ericuse.c2 2 J. Nielsen
NANCIE MONTEUX
AIMeLICAN © lASSIC. ee Handy
J. NIELSEN
March, from ‘‘Love for
Three Oranges”’ ..............-. Prokofieff

NANCIE MONTEUX

The Pasmore Quartet (Mary Pasmore,
first violin, William Laraia, second
violin, Erich Weiler, viola, and Dorothy
Pasmore, cello) will play musique de
scene during the intervals.

$2.20 — $1.65 — $1.10 — 83¢
SHERMAN, CLAY & Co.

TRUDI SCHOOP
COMIC BALLET

ALL NEW PROGRAM

OuP-E ROA “h-OeUes7e
WED. EVE. 8:30
MA RCH 17

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SHERMAN, CLAY & CO.

MANAGEMENT: PETER CONLEY

THE ART COMMISSION

JosepH H. Dyer, JR., Secretary

EpGAR WALTER, President

PLR ES EN TS

GRACE MOORE

TINS ee edna Oey:

WITH THE
SAN FRANCISCO SYMPHONY ORCHESTRA

PIERRE MONTEUX, Conductor

CAV ECAC DET One UM
Friday Evening, February 26th

Popular Prices: 25¢ — 50¢ — 75¢ — $1.00
Tickets at Sherman, Clay & Co.

Direction: MUSIC COMMITTEE - J. Emmet Haypven, Chairman

“

ELS

————S

St ees

SR tee es oe

Sr SS

SAN FRANCISCO SYMPHONY ORCHESTRA
ERNEST SCHELLING, Conducting

FOUR SATURDAY MORNINGS (10:30 to 11:30) OPERA HOUSE
APRIL 3 — APRIL 10 — APRIL 17 — APRIL 24

=
RESERVE SEASON TICKETS NOW
Sherman, Clay & Co. Box Office - Sutter & Kearny Sts., San Francisco

Please reserve the following Season Tickets for the
Four Concerts for Young People:

ORCHESTRA SEATS Gee ee ani drs
—____GRAND TIER SEATS @ Oe ee Git wee
= JUDRESS CIRCLE SEATS: (@ Sila0 as. oe gids Ee

SS BATEONY. CIRCLE: SEATS @) $) 100m =e eat $
+" _BATCONY (FIRSTS ROWS) @ Geo es are
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PAYMENT HEREWITH $—————

BAAN CE: “DiUihe eee $+
VAG 1a Me ete Oe ER ERE SUR De ae OTS Ae Be eee eins el AE oe ON
SECC Ee isan GM Gun Lond O ahee eet et eek, aed ee te a eee
CHE Niagiee BAl) eel tee ne Oe PON Gee ecg enone ee
Vd 1110) Roe ee ee RE RM Re ME Reet Pelee,

—————

The Man with the

Baton

PIERRE MONTEUX,
maitre de musique

He started to compose, a time ago,
but stopped because everything sound-
ed like Schumann or Debussy. In
Paris he has a school for conductors
and this year allowed all 10 students
to take turns conducting on a single
program. During the war he saw
action at Verdun, Rheims, Soissons
and the Argonne. For years he was
known as the greatest viola player in
Europe, now plays viola in a private
quartet with Yehudi Menuhin, in fact
is Yehudi’s professor of quartet. He
conducts from memory because he
studies each score so thoroughly he
doesn’t need it in performance. He
thinks that better music is being
produced today than 20 years ago,
and that today’s product is equal in
quality to that of any past period.

For the sake of the record we here
append Mrs. Monteux’ neatly-written,
complete account of her famous hus-
band’s career:

“Paris National Conservatory — Ist
prize violin, viola, harmony and
counterpoint.

“Colonne Orchestra — ist viola (18
years old); 2nd conductor.

‘“‘Conductor:
Concerts Berlioz (Paris)
Orchestre Dieppe—concerts, opera
Concerts d’avant-garde (Paris)
Concerts Monteux (Paris)
Ballets Russes de Diaghileff
—5 years

Metropolitan Opera—1916-1919

Boston Symphony Orchestra
—1919-1924

Concertgebouw (Amsterdam)
—1924-1934

Societé Wagner (Amsterdam)
—1926

Paris Symphony Orchestra
—1930-1937

San Francisco Symphony
Orchestra—1935-

“Has conducted every major orches-
tra in Europe. Only French conductor
to direct Berlin Philharmonic and

Vienna Philharmonic Orchestras, also

Salzburg Festival. Has conducted
many times in the Hollywood Bowl,
as well as the Los Angeles Orchestra
and the Philadephia Orchestra.

“Creator of many modern works in-
cluding ‘Petrouchka,’ ‘Sacre du Prin-
temps,’ ‘Chant du Rossignol’ of Stra-
vinsky; ‘Daphnis et Chloe,’ Ravel;
‘Jeux’ of Debussy, and this year start-
led musical Europe with a magnificent
rendering of Darius Milhaud’s ‘Chris-
tophe Colombe’ in which he employed
the great French Chorus of Nantes,
16 soloists and the Paris Symphony
Orchestra.”

And to complete the account, here
is a list of Pierre Monteux’ Victor
recordings compiled by the obliging
H. W. Wilson of the Record Library:

M-111—BERLIOZ, “Symphonie

Fantastique,” Paris Symphony
Orchestra

M-230—PAGANINI, Violin concerto

in D major, with Yehudi Menuhin
M-231—MOZART,Violin concerto in
D major, No. 7, with Yehudi
Menuhin

M-246—MOZART, Violin concerto
in D major (“The Adelaide’’)
with Yehudi Menuhin

11140-1—_BERLIOZ, “Benvenuto
Cellini” Overture, Op. 23, and
“Troyens a Carthage” Overture.

MAIL ORDER BLANK

FOURTH ANNUAL DOLEAR OF BRAVS EAS OWN.
Tom C. Girton

Presents

FORTUNE GALLO

and his

SAN CARLO OPERA COMPANY

WAR MEMORTAL OPE RAH IOUS
FEBRUARY 26 TO MARCH 14 INCLUSIVE

eras — 22 Performances — 6 Repeats — Tickets: 55¢, 83¢, $1.10, $1.65, $1.93 (tax included)

$1.93 $1.65 $1.10 $1.65 $1.10 83¢ BB¢
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ORDERS NOW BEING RECEIVED THE TOM C. GIRTON BOX OFFICE
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Mi Order Coup on The €nelOsed: CHECK GS sas aiescs sosnsceooccscseztuanaxessiotes pecieee is in full payment
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POT OSS: seictvasscscvscvteeibdakencscestinacenin Sacee eae Ra ee

MUSICAL DIRECTORY

V-O°C ALL

Rena Lazelle

VOCAL TEACHER AND COACH

Well Known Pupils: Elbert Bellows, Fred-
eric Bittke, Albert Browne, Worden Dixon,
Esther Green, Reba Greenley, Lysbeth
Hughes, Herbert Maas, Margie Nemes,
Eleanor Nielson, Andrew Robertson, Jean-
ette Sholl, Franziska Weiss

3435 Sacramento Street WAlnut 3307
Mondays: Hotel Oakland, Oakland

Joseph Greven

VOICE SPECIALIST

Teacher of Many Local Favorite and
Prominent European and American Artists

927 Lake St. BAyview 5278

Mme. Beatrice Bowman
Teacher of Emily Hardy, Alice Avakian,
Ralina Zarova

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Nino Comel
VOCAL TEACHING — COACHING

Teacher of Josephine Tumminia and
Mari Monte

376 Sutter St. DOuglas 6379. AShberry 7438

Beatrice Lewis
STUDIO OF THE MODERN DANCE

533 Post Street ORdway 0829

Henley Voice Studio

Enid Henley, Soprono-Teacher; Homer
Henley, Nationally Known Vocal
Authority

Studio: 2847 Union St. Tel. WE 9036

PIANO

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SAN FRANCISCO
SYMPHONY — "=
ORCHESTRA ee

PIERRE MONTEUX, Conductor

COL. W. de BASIL’S

BALLET
RUSSE

A
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WAR MEMORIAL OPERA HOUSE, SAN FRANCISCO

Presented by THE ART COMMISSION OF SAN FRANCISCO
ANGELO ROSSI, Mayor
EDGAR WALTER, President JOSEPH H. DYER, Secretary
Direction of Music Committee: J. EMMET HAYDEN, Chairman
THE BALLET RUSSE IS UNDER MANAGEMENT OF S. HUROK

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conventional patterns
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Misses’ and women's

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"DRESS SALON © FOURTH FLOOR

VT ah eS

THE ART COMMYS SiON PRESEN es

San Francisco Symphony Orchestra
AND

Col. W. de BASIL’s BALLET RUSSE

(EXCLUSIVE MANAGEMENT S. HUROK)

Friday Evening, January 29th, 1937

i
CIMAROSIANA

Ballet Divertissement

Music bv Domenico CIMAROSA
Choreography by Leonide MASSINE

The age of classic Italian music, unlike the later, heavier German
classicism, was permeated with the same elements of fantasy and comedy as
the classic age of Italian drama which gave the world the decorative
“maschere,” or masks, of the Commedia dell’Arte. It consorted well with the
stage actions of Goldoni and Moliere, shared their charm and humor. Amongst
names comprising Pergolese, Logroschino, and some others, Cimarosa (1749-
1801), stands out by reason of the individual manner in which his music blends
these traits, forming a delightfully decorative basis for the dance-sequence,
with its spirit of comedy and gallantry so truly baroque, which the present
ballet presents. Following in outline the manner of both the early Italian
classical, musical and ballerina traditions, this is danced as a pas de trois, a
pas de six, a tarantelle, contre-danse, a pas de deux, and a grand finale.

1. Pas de Trois
Tamara GRIGORIEVA, Lubov ROSTOVA and George ZORITCH

2. Pas de Six

Miles. CHAMIE, RAZOTJMOVA, VOLKOVA
MM. KATCHAROFF, LADRE, MATOUCHEVSKY

3. Tarantella
Eugenie DELAROVA and Marian LADRE

4. Pas de Quatre

Edna TRESAHAR, Kira STRAKHOVA
Serge BOUSLOFF, Serge ISMAILOFF

(Continued on page 6)

Sherman

Neen ee se eens
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Kearny at Sutter

H. C. Capwell’s
Fourth Floor, Oakland

8 California Stores

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Enjoy the music you wish, when you wish!

PETER CONLEY PRESENTS

* * * * *

ADMIRAL

BYRD

IN PERSON - TELLING HIS THRILLING STORY

“CONQUERING THE ANTARCTIC”
ILLUSTRATED WITH MOTION PICTURES

OPERA HOUSE - WEDNESDAY F F B 3
MATINEE 3:15 — NIGHT 8:20 F

ALL SEATS RESERVED: $1.10 — 83¢ — 55¢ Including Tax

On Sale Now: Sherman Clay & Co., San Francisco and Oakland

5. Pas de Trois
Alexandra DANILOVA, Roman JASINSKY and Paul PETROFF

6. Contre-Dance

Miles ABRICOSSOVA, ADRIANOVA, CHABELSKA, LIPKOVSKA, LVOVA,
NELIDOVA, OBIDENNA, OSATO, RADOVA, SEROVA
MM. ALEXANDROFF, ALGERANOFF, ALONSO, BELSKY, BOROVANSKY,
KOSLOFF, LIPATOFF, PLATOFF, ROSTOFF, ZEGLOVSKY
Scenery and Costumes by Jose-Maria SERT

7. Pas de Deux
Tatiana RIABOUCHINSKA and David LICHINE

8. Finale
The Artists of the Ballet

Conductor: Antal DORATI

INTERMISSION OF FIFTEEN MINUTES

GREATER
AS THE
YEARS

GO BY aa

Baldwin

310 SUTTER STREET
AN O §

CHOREARTIUM

Choreographic Symphony Music, BRAHMS’ Fourth Symphony
Choreography by Leonide MASSINE
Scenery and Costumes by Constantin TERECHKOVITCH and Eugene LOURIE
Curtain by Georges ANNENKOFF
Scenery executed by Elisabeth POLUNIN

I.—Allegro non troppo:
Tamara TOUMANOVA and David LICHINE
Tamara GRIGORIEVA
MM. ALEXANDROFF, BOROVANSKY, BOUSLOFF, ISMAILOFF,
KATCHAROFF, LADRE, LIPATOFF, MATOUCHEVSKY,
PLATOFF, ZORITCH,
Paul PETROFF
Miles. Anna ADRIANOVA, LIPKOVSKA, OSATO, TRESAHAR
Miles. ABRICOSSOVA, LEONTIEVA, NELIDOVA, OBIDENNA,
RAZOUMOVA, SEROVA, STRAKHOVA, VOLKOVA

(Continued on page 10)

AFTER THE CONCERT
©, FINE FOODS

Ice Cream « Sodas
Pastries «x Candies

Served in the most beautiful restaurants
in the West—at no greater cost
than elsewhere

Dig'n Mhistle

33 POWELL STREET, Near Market

1032 MARKET STREET, Near Paramont Theatre
_and the Opera House

ON TG? alk ie ING. se ete a eae V-1 2

BIiILt BY. LENG OEN.4 02 eh ee
LINCOLN STANDABD
OF MECHANICAL EXGCELLENGE

still far ahead

“model.” It is the original car, improved, refined

in its standards of power, comfort, safety, economy. It brings to the

medium-price field the Lincoln standard of mechanical excellence.

ARTHUR R. LINDBURG CO. CHESTER N. WEAVER CO.
1101 Van Ness Ave. 2910 Broadway
San Francisco Oakland

ee OhU = Ne Ae Ecco eh) DE eAeileale sn)

Pela ONIMENG

me Ee Sie Nien S

ROBERT O'CONNOR

AMERICAN PIANIST

RESERVED SEATS VETERANS’ AUDITORIUM
$2.20, $1.65, $1.10, 88c MONDAY, FEBRUARY 1, 19387

SHERMAN, CLAY & CO. EIGHT THIRTY O'CLOCK

I1.—Andante sostenuto

Nina VERCHININA
Miles. ABRICOSSOVA, ADRIANOVA, CHABELSKA, CHAMIE, DELAROVA,
LEONTIEVA, LIPKOVSKA, LVOVA, MARRA, MOROSOVA, NELIDOVA,
OBIDENNA, OSATO, RADOVA, RAZOUMOVA, ROSTOVA, SEROVA,
STRAKHOVA, TRESAHAR, VOLKOVA

IlI.—Allegro gioccoso:

Tatiana RIABOUCHINSKA and Serge BOUSLOFF
Alexandra DANILOVA and Roman JASINSKY
Miles, LEONTIEVA, OSATO, RAZOUMOVA, SEROVA,
STRAKHOVA, VOLKOVA
MM. ALEXANDROFF, ALONSO, BELSKY, KATCHAROFF, KOSLOFF,
LIPATOFF, MATOUCHEVSKY, ROSTOFF

IV.—Allegro energico e passionato:

Tamara TOUMANOVA
David LICHINE and Paul PETROFF
MM. BOROVANSKY, ISMAILOFF, LADRE, ROSTOFF
Tatiana RIABOUCHINSKA
Miles. Tamara GRIGORIEVA, MOROSOVA, NELIDOVA,
RAZOUMOVA, TRESAHAR

Serge BOUSLOFF
MM. ALEXANDROFF, ALONSO, KATCHAROFF, KOSLOFF, LIPATOFF,

PLATOFF, MATOUCHEVSKY, ROSTOFF
Alexandra DANILOVA and Anna ADRIANOVA
Roman JASINSKY
Miles. ABRICOSSOVA, CHABELSKA, CHAMIE, DELAROVA, LEONTIEVA,
LIPKOVSKA, LVOVA, NELIDOVA, OBIDENNA, OSATO,
RADOVA, SEROVA, STRAKHOVA, VOLKOVA

Conductor: Efrem KURTZ
INTERMISSION OF FIFTEEN MINUTES

GA FTG GH TOF Tole. CURE N IE SA S:OuN 2
The World Famous N. Y. AMERICAN

HART HOUSE “ONE
STRING QUARTET. ™

James Levy : Arn Adaskin : Milton Blackstone : Boris Hambourg

MONDAY COMMUNITY PLAYHOUSE
EVENING F E B a 8 Sutter at Mason

Reserved Seats at: Sherman, Clay & Co., 55¢, 85¢, $1.10, $1.65, $2.20
Vallely Current Review — FEBRUARY 11 — Fairmont
MANAGEMENT: ALICE SECKELS-ELSIE CROSS

LE SPECTRE DE LA ROSE
(THE SPIRIT OF THE ROSE)

Romantic Poem in One Act by J. L. VAUDOYER,
after the poem by Theophile GAUTIER
Music by C. M. WEBER
Choreography after Michel FOKINE
Scenery and Costumes by Leon BAKST

A young girl who has just returned from her first ball sits dreaming. The
Spirit of the Rose she is wearing visits her, and they dance together. He leaps
out of the casement, and then she awakens, sad and disillusioned.

The: -¥ ote 2 Garb. 45 ae eae asa Irina BARONOVA
The Specthe of the Roses: 2:2 sss eee ee eee Paul PETROFF

Conductor Pierre MONTEUX

SHORT INTERMISSION

LE BEAU DANUBE
(THE BEAUTIFUL DANUBE)

Character Ballet
Music by Johann STRAUSS
Arranged and Orchestrated by Roger DESORMIERE
Book and Choreography by Leonide MASSINE
Scenery by Vladimir POLUNIN, after Constantin GUYS
Costumes by Count Etienne de BEAUMONT

(Continued on page 18)

KNOWLEDGE j%
OF THIS .
SUBJECT

may mean much \s =f

> yas wy
to your family *\WXHy
Whether your estate will be large or small, you can
make it provide more effectively for your family’s

future needs by sound planning .. . now.

A copy of this new booklet will be sent at your request.
Write, call at our Trust Department,
or telephone SUtter 1500.

FRIDAY EVENINGS—KSFO, 7 O’CLOCK

BUSINESS FORUM OF THE AIR
PHILADELPHIA ORCHESTRA

STOKOWSKI—ORMANDY

TRU Stl DYER ACR ay MENGE

Wells Fargo Bank

and
Union Trust Co.

Market at Montgomery Market at Grant Ave.
SAN FRANCISCO
Established 1852

Peel eR (GO eNale ony:

Presse n ts

MARIAN
ANDERSON

Opera House (Only Recital)
WED. EVE., FEB. 24, 8:30

PRS @) Gen an vi

I.
BeSTUCSSUN Pe ee Haendel
Chio: mai Vil possa7.0.. Haendel
PLO ULE H ob: Wapemnae aD oA ERR Haendel
Ah Spietato
CArmadigiv ie. Haendel
II.
Liebesbotschaft ................ Schubert
Ave (Marifw. athe yom Schubert
Der Tod und das
Maedchen...6... se Schubert
Die: Korean ote Schubert
III.
Air of “Don Carlos”
(O: Don: Patale).222. Verdi
IV.
Die Fusswaschung............ Kilpinen
Schilfrohr, saeus’le
(Saev, saev, susa).......... Sibelius
Sung in Swedish
Die: TsiDeller. oe 2:2) scat ae Sibelius
Wer es ein Traum.............. Sibelius
Sung in German
V..

Negro Spirituals:
City called Heaven....Hall Johnson
Lord, I can’t stay

B Wavelet ee ede Roland Hayes
Cruchiaxionwe sae tee John Payne
¥ My soul’s been anchored
IMmtne Words. Florence Price
sr]

TICKETS: $2.20 — $1.65 — $1.10
SHERMAN, CLAY & CO.

S. Hurok

Through depressions and prosperity, Mr. Hurok has, single-handed, con-
tinued to present large touring organizations of distinction. He managed the
tours of the German Grand Opera, the Russian Grand Opera, the Habima
Theatre, the Italian Piccoli Theatre, the Moscow Cathedral Choir and the
Vienna Choir Boys.

Rachmaninoif

OPERA HOUSE
PROGRAM: FRIDAY EVE., 8:30 P. M. — FEB. 5

1. Organ Fantasia and Fugue in G-minor.............................. Bach-Liszt

2; -iponata,;. Opus, 09:20. ee ee Beethoven
Vivace ma non troppo
Adagio espressivo
Prestissimo
Andante molto cantabile ed espressivo

3. (a) Polonaise, C-minor
(b) Nocturne ..................

(ce) Mazutkar2 i ( SNE OAT pre r taave se 67 Serer e oF et Chopin
(d) Rondo, Opus 16........ \
4. Four Etudes-Tableaux, Opus 33............0..000020000.000......-- Rachmaninoff
C-sharp minor
G-minor
EK-flat minor
E-flat major
Sonnetto:del .Petrarca Nojs25*. 44028 eee eos Liszt
Magic Wine c.2). ie See ee Wagner-Brassin
Etude, -Ei-majorss62. 02 cs. case eee es Paganini-Liszt

PROGRAM: SUNDAY AFT., 2:30 P. M. — FEB. 7

LL. Variations, -A-majorincs oo ee ee ee Mozart
2s. “Lhree: SOnataa ssc sees i ee eh wee ee ae Be Scarlatti
3., -oonata, Opus)-58; B=mmors se ee Chopin
A. -Prelud ect cians tee eset sth ee a pe nee Bach-Rachmaninoff
5.

(a) Daisies, song....
(b) Oriental Sketch

6. (a) Nocturne, G-major........ ! ;
(b) Nocturne, (Noon Tide) {70°00 John Field

7. (a) Etude, D-flat major

(b) Valse Oubliee No. 3
(c) Polonaise, E-major..

$2.50, $2.00, $1.50, $1.10, Including Tax — SHERMAN, CLAY & CO.
MANAGEMENT: PETER. “GONL EY

a
15

=. HuROK presents
The WORLD S GREATLEom

SALZBURG OPERA GUILD

TRUDI SCHOOP

AND HER COMPANY OF COMIC DANCERS

Second sensational coast to coast tour.

“This Trudi Schoop Ballet is the most amusing and
the most amazingly fresh entertainment in New Y orks
writes Edna Ferber. “A dazzling evening in the theatre
and a triumph of sheer talent.”

FEODOR CHALIAPIN

Great Russian Basso.

MARIAN ANDERSON

World’s Outstanding Contralto.
One of the greatest living singers—New York Times.

DANA ENSEMBLE

Famous Polish Singing Quintet.

——_—_—<—<———————————a SO

ARTISTS and ORGANIZATIONS

UDAY SHAN-KAR

AND HIS HINDU BALLET

In a complete new repertoire of Hindu Dances. New
Costumes and New Productions.

“Beauty and Excitement”—-New York Times. “Gape
in awe at the superlative beauty of Shan-Kar”—New
York World Telegram.

CONTINENTAL ENSEMBLE

Emma Runitch - Victor Chenkin - Raphael
Unique — Novel — Delightful

RUDOLF SERKIN ‘OLISCH QUARTET
New Genius of the Piano String Ensemble

MADAME PAGLIUGHI GINETTE NEVEU

Brilliant Italian Coloratura Gua rnp nd

ARTUR RUBINSTEIN JOSEPH SCHMIDT

Triumphant Return Engagement Kurope’s Radio Idol

VIENNA CHOIR BOYS

Fifth American Tour

j
|
!
f

formers are displaying their art, a young hussar enters and meets a charming
girl. One of the strolling players, a dancer, recognizes in the hussar her former
lover, and engages in a violent quarrel with his companion, who faints and is
taken away by her parents. She contrives, however, to escape from them, and
returns in time to interrupt a love scene between the hussar and the dancer,
who retires vanquished, leaving the young couple together. The parents, having
missed their daughter, now arrive on the scene and bestow their blessing.

In the evening there is a public ball with a quadrille in which all join — old
and young. The King of the Dandies, surrounded by young girls, adds to the
general enjoyment. Returning to the scene the hussar and his sweetheart meet
the dancer who, accepting the inevitable, becomes reconciled to them, and the
happy ending of the idyll is merged in the gaiety of the throng.

PA GtaStLC OG PUAN COT re. reer cekeketetoeenc eeavecoecneacpaep ein: ween eee Alexandra DANILOVA
PH esc AUS COT tc oes. sees ee ee cece ee Tatiana _ RIABOUCHINSKA
EY Ge ECTS Ges EV ATA oe ees «Stenbeck paths Sp cac ce caose desea? eu ebenecencesce se eeemneens Olga MOROSOVA
PP WGt ERUSS aie sre oe co eet ose come eee Leonide MASSINE
The. Kine otrthe Dandies s:22 cece eer ao ccck pees eee tee gees -David LICHINE
PW ermA Chet eas 22 cuss ses dewencacs sbactvatevcuaeocereseussevsseencensee ene teense eee anew reee Marian LADRE
TEOMA CMe 159-5 acs oa, to sg ieee acasessa gone cs anew navcdeaccenceaseeyaiee H. ALGERANOFF
PPTs MOU Cit ocd eats asset oe epee oe pe ee eee A. ADRIANOVA
Mes hater sonst ca S58 cag te ce ne epee acter ane Spnents aguas ieee tenet ceones: Gveapevanavessesee = B. BELSKY
n@) Aa tis tog os hoe eotoencce eek Soe Re ak et aoe es pec erase eee ea A. KOSLOFF
eG at GEM er 3c sco ose ea hac ele entecactie sae eetedcaus du snel an tetea aioe H. ALGERANOFF

The Modistes:
Miles. ABRICOSSOVA, GRIGORIEVA, MARRA, OBIDENNA

The Needlewomen:
Miles. OSATO, TRESAHAR

The Ladies of the Town:
Milles. NELIDOVA, SEROVA, RADOVA, STRAKHOVA

The Salesmen:
MM. ALEXANDROFF, BOUSLOFF, ISMAILOFF, PLATOFF

The Dandies:
MM. ALONSO, KATCHAROFF, MATOUCHEVSKY

Conductor: Antal DORATI

CAST SUBJECT TO CHANGES

Founder and Director General: COL. W. DE BASIL
Maitre-de-Ballet and Artistic Collaborator: Leonide MASSINE
Conductors: Efrem KURTZ and Antal DORATI
Regisseur General: Serge GRIGORIEFF

STAFF FOR S. HUROK
David Libidins )

Matrice Winters) wt) °° (“tee ee eee wonipany Maver
Gerald: \Goodesvr.t4 14. ee ere ee General Press Representative
Pau) SVL ORT 9 att Oe es ala OO th eke Advance Press Representative
Maes BrOnmrenie.6 0 pe caren 6 cutee on Executive Secretary
Boris) Schwatznci..2. o2. uses a cee ee ee Concert Meister
Nathan: Rosenis2 i. fee ts ey ee Orchestra Manager
Glyde Smithy. 4.3, ce oo csaee eee ee ee Chief Carpenter
Garl GieenSiccs:...c dudes Sho cea cape te ein Chief Property Man
Gener Tierney S0icbo. 2 ian beet. ee Chief Electrician
PRUVEUIS Cals ROSE aCe pee cia oet crue ent a ee Wardrobe Mistress

The Management strictly forbids the taking of any photographs or motion
pictures inside the Theatre without written permission.

EXCLUSIVE MANAGEMENT: HUROK ATTRACTIONS, INC.
| 30 ROCKEFELLER PLAZA, N. Y. C.

GArfield 4544

WOR

COLLECTOR ® DEALER @ APPRAISER

Fine Repairing — Specialist in “Voicing” Master Instruments.
Rare Old Violins--Violas--Cellos--Bows. High--Medium--Low Priced.

The World’s Foremost Exponents of Dance Arts, Headed by The
Monte Carlo Ballet Russe, Use and Recommend...

SELVA TOE SLIPPERS

Featured in the West Exclusively by

The DANCE ART CO.

Golden Gate Theatre Bldg. — 25 Taylor St. — Phone PRospect 1643

Dancing Shoes For Ballet-Toe, Tap,

Accessories Spanish, Acrobatic,

Dance Belts-Tights g Modern,

Opera Lengths-Leotards Interpretative
Import

Retailers ZS [7 LE and
Wholesalers . Export

The BALLET JOOSS also chose DANCE ART BALLETS during recent San Francisco
Engagement. In addition to the ‘‘Only Specialized Theatrical Shoe Service in Northern
California’? DANCE ART also features complete Stocks of DAZIAN'’S, ASSOCIATED
and MAHARAM Costume Fabrics, and ACCESSORIES FOR STAGE AND SCREEN.
WIGS, MAKE-UP, and Musical Dance Accessories, are amon the thousands of theatrical
necessities stocked for the convenience of the Dance and Theatrical Profession.

Headquarters for Parilia Costumes and Supplies.

MUSICIANS MARVEL

AT THE PERFECTED TONE BALANCE
OF THE NEW

BALDWIN - BUILT

MAGATiInG

es cdvertised

therein

venient terms. Come in and try it.

BALDWIN PIANOS 340 Sutter Steert
i 20

San Francisco Symphony Orchestra

PIERRE MONTEUX,

Conductor

Willem van den Burg, Asst. Conductor

1937 SEASON

Thur. 8:30 P. M., Jan. 28, WITH COL. W. DE BASIL’S

Fri. 8:30 P. M., Jan. 29,

Sat. 2:30P.M.Jan.30, + BALLET RUSSE

t. : . M., Jan. 30,

Bul 2:30P.M.,Jan.31, | AT THE OPERA HOUSE

Fri, 2:30P.M., Feb. 5,Opera House, with Toscha Seidel, Violinist

Sat. 8:30P.M., Feb. 6,Opera House, with Toscha Seidel, Violinist

Thur. 8:15 P. M., Feb. 11, Broadcast for Standard Oil Co.

Thur. 8:15 P. M., Feb. 18, Broadcast for Standard Oil Co.

Fri. 2:30 P.M., Feb. 19, Opera House, with Richard Crooks, Tenor

Sat. 8:30 P.M., Feb. 20,Opera House, with Richard Crooks, Tenor

Thur. 8:15 P. M., Feb. 25, Broadcast for Standard Oil Co.

Fri. 8:20 P. M., Feb. 26, Civic Auditorium, with Grace Moore, Soprano

Fri. 2:30P.M., Mar. 5,Opera House, with Marian Anderson, Contralto

Sat, 8:30P.M., Mar. 6,Opera House, with Marian Anderson, Contralto

Tues. 8:15 P.M., Mar. 9, Memorial Chapel, Stanford University

Thur. 8:15 P. M., Mar. 11, Broadeast for Standard Oil Co.

Fri, 2:30 P. M., Mar. 19, Opera House, with Isaac Stern, Violinist

Sat. 8:30 P. M., Mar. 20, Opera House, with Isaac Stern, Violinist

Tues. 8:30 P. M., Mar. 23, Civic Auditorium, with Igor Stravinsky and
San Francisco Municipal Chorus

Thur. 8:15 P. M., Mar. 25, Broadcast for Standard Oil Co.

Thur. 8:15 P.M., Apr. 1, Broadcast for Standard Oil Co.

Sat. 10:30 A. M., Apr. 3, Young People’s Concert, Ernest Schelling
Conducting

Fri. 2:30P.M., Apr. 9,Opera House, Ernest Schelling, Pianist

Sat. 10:30 A. M., Apr. 10, Young People’s Concert, Ernest Schelling
Conducting

Sat. 8:30 P.M., Apr. 10, Opera House, Ernest Schelling, Pianist

Sun. 3:15 P.M., Apr. 11, University of California

Thur. 8:15 P. M., Apr. 15, Broadcast for Standard Oil Co.

Fri, 2:30 P. M., Apr:
Sat. 10:30 A. M., Apr.
Sat. 8:30 P.M., Apr.
Tues. 8:15 P. M., Apr.
Fri. 2:30 P.M., Apr.
Sat, 10:30 A. M., Apr.
Sat. 8:30 P.M., Apr.
Sun. 3:00P. M., Apr.

16, Opera House, with John Charles Thomas,
Baritone

17, Young People’s Concert, Ernest Schelling
Conducting

17, Opera House, with John Charles Thomas,
Baritone

20, Civic Auditorium, Sylvia Lent, Violinist

23, Opera House

24, Young People’s Concert, Ernest Schelling
Conducting

24, Opera House

25,San Rafael

TICKETS FOR ALL CONCERTS ON SALE

SHERMAN, CLAY & CO.

—————————————————XVSOOOEOCOXO———x<&=€lVRVT™T”{@2=2@{_——™™_—_—_ LL

SAN FRANCISCO AND OAKLAND

SS ee =e
— eS

stebeheceeteges vaca e—

Se a Oe Se

KAJETAN ATTL'S
HARP ENSEMBLE

Beginners or Advance Students Phone for appointment.

When Buying or Renting a Harp only an Experienced
Harpist can advise Correctly.

Large Stock of Harps for Sale or Rent:

1030 BUSH STREET Phone ORdway 6367 Studio No.6

IO. OE

First Harpist with San

Francisco Symphony for

Twenty-four Consecutive
Years.

a
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MUNICIPAL CONCERTS

SAN FRANCISCO SYMPHONY ORCHESTRA
PIERRE MONTEUX, Conductor
WITH

GRACE (MeO ORE

CIVIC AUDITORIUM — FRIDAY EVE., FEB. 26

IGOR STRAVINSKY

Conducting SAN FRANCISCO SYMPHONY and playing his
“SYMPHONY OF PSALMS”
ALSO
Rossini “STABAT MATER” Conducted by HANS LESCHKE
MeU-Nd CTPA i -G-b- One S

CIVIC AUDITORIUM — TUESDAY, MARCH 23

SAN FRANCISCO SYMPHONY ORCHESTRA
PIERRE MONTEUX, Conductor
WITH

5 YeL yr A abe

CIVIC AUDITORIUM — TUES. EVE., APRIL 20

RESERVED SEATS: $1.00, 75¢, 50¢, 25¢ — SHERMAN, CLAY & CO.
AUSPICES: ART COMMISSION OF SAN FRANCISCO

EDGAR WALTER, President JOS. H. DYER, JR, Secretary

DIRECTION OF MUSIC COMMITTEE
J. EMMET HAYDEN, Chairman

GEORGE PRING

Studio

Classic and
modern ballet,
character,
Oriental
dancing,
Eurhythmics.

Classes for
beginners or
advanced
students,
all ages.

420 SUTTER STREET

15 Columbus Ave.
SAN FRANCISCO
SUtter 4772

PETER CONLEY Presents
Ni ASN Cries

MONTEUX

DANCE RECITAL
VETERANS’ AUDITORIUM
TUESDAY EVE. FEB., 15, 8:30 P. M.

PROGRAM

Sarabande and Variations........ Corelli
J. NIELSEN
Gavotte ce eee ee eee Lulli
NANCIE MONTEUX
Divertissements: -..02-----. Couperin
J. NIELSEN
Tempo di Ballov6 eee Scarlatti

NANCIE MONTEUX

Suite: Rondo, Minuet, Badinerie....Bach
NANCIE MONTEUX

Krench- Stitess.....6s eae Bach

Pantomime oe ee eee Mozart
NANCIE MONTEUX

Country Dances... Beethoven
J. NIELSEN
French Revolutionary
Dance .ossiereee (Popular Songs)
NANCIE MONTEUX
Extract from Ballet Music

from “Rosamunde’”’.........--.-- Schubert
NANCIE MONTEUX

Waltzes ee hace eee eee Brahms
J. NIELSEN

Valse -Romantiques. 2. -- Chabrier

NANCIE MONTEUX

NW el Giz tence oe cue eee Sees Chabrier
J. NIELSEN

Danse Sacrée

Danse Profane

Ea ret AR aoa Nae Debussy

NANCIE MONTEUX

Funeral March in
Jazz Tempo ...... Castelnuovo-Tedesco
(| LSE

Danse Sericuse...c-..5- ee J. Nielsen
NANCIE MONTEUX
American Glacsic. 226 Handy
J. NIELSEN
March, from ‘“‘Love for
Three Oranges nee Prokofieff

NANCIE MONTEUX

The Pasmore Quartet (Mary Pasmore,
first violin, William Laraia, second
violin, Erich Weiler, viola, and Dorothy
Pasmore, cello) will play musique de
scene during the intervals.

$2.20 — $1.65 — $1.10 — 83¢
SHERMAN, CLAY & CO.

SS
rr

TRUDI SCHOOP
COMIC BALLET

ALL NEW PROGRAM

O2P-E RUA Her UeseE
W-EsDe 2 E NSE 8ee50
Mi: SA RG ine alee 7,

$2.20 — $1.65 — $1.10 Including Tax
SHERMAN, CLAY & CO.

MAIN AcG BMCEON Peo Ph Bile G OuNe EBay

THE ART COMMISSION

EpGAR WALTER, President JosepH H. Dyer, JrR., Secretary

P Rta Ne

GRACE MOORE

Nee dP: IRS Se (OPaiy

WITH THE
SAN FRANCISCO SYMPHONY ORCHESTRA

PIERRE MONTEUX, Conductor

Clive AU Di O han
Friday Evening, February 26th

Popular Prices: 25¢ — 50¢ — 75¢ — $1.00
Tickets at Sherman, Clay & Co.

Direction: MUSIC COMMITTEE - J. Emmet HAypen, Chairman

SAN FRANCISCO SYMPHONY ORCHESTRA
ERNEST SCHELLING, Conducting

FOUR SATURDAY MORNINGS (10:30 to 11:30) OPERA HOUSE
APRIL 3 — APRIL 10 — APRIL 17 — APRIL 24

e
RESERVE SEASON TICKETS NOW
Sherman, Clay & Co. Box Office - Sutter & Kearny Sts., San Francisco

Please reserve the following Season Tickets for the
Four Concerts for Young People:

ORCHESTRA SEATS (*S 72:00! Peres eet G. Suee
GRAND TIER SEATS @ 30002. eee oo eee
DRESS CLRELEC SEATS. = (@es ol 10sa es oan eee
BALCONY “CIRCLE: SEATS @eS 100 ane, , ener
BALCONY (FIRSTS ROWS) @ 1.002... eae
BALCONY (LAST 6 ROWS) @ 60... Gee
BOXES (SEATING 8) @-$3000un eee
TOTAL fea Se eee $

PAYMENT HEREWITH $—————

BALANCE DUE 2] 3e0-22 S$
EMT 1 ee eT OC Ee 2 eee ON See CR RAD Le as th eee
SEV OC be chit We he PPS SG Se 8 DO ha es eh pene eee
(Os oN Eee RO A chro HORE x85 es, ae ee ee
SCHOOL: cis meee ee ee Sk crcree hac one See ee ee

PAE |

Sli Ss a

a Ee ee
a

The Man with the

Baton

PIERRE MONTEUX,
maitre de musique

For the sake of the record we here
append Mrs. Monteux’ neatly-written,
complete account of her famous hus-
band’s career:

“Paris National Conservatory — 1st
prize violin, viola, harmony and
counterpoint,

“Colonne Orchestra — lst viola (18
years old); 2nd conductor.

“Conductor:
Concerts Berlioz (Paris)
Orchestre Dieppe—concerts, opera
Concerts d’avant-garde (Paris)
Concerts Monteux (Paris)
Ballets Russes de Diaghileff
—5 years

Metropolitan Opera—1916-1919

Boston Symphony Orchestra
—1919-1924

Concertgebouw (Amsterdam)
—1924-1934

Société Wagner (Amsterdam)

Paris Symphony Orchestra
—1930-1937

San Francisco Symphony
Orchestra—1935

“Has conducted every major orches-
tra in Europe. Only French conductor
to direct Berlin Philharmonic and

Vienna Philharmonic Orchestras, also
Salzburg Festival. Has conducted
many times in the Hollywood Bowl,
as well as the Los Angeles Orchestra
and the Philadephia Orchestra.

And to complete the account, here
is a list of Pierre Monteux’ Victor
recordings compiled by the obliging
H. W. Wilson of the Record Library:

M-111—BERLIOZ, “Symphonie

Fantastique,” Paris Symphony
Orchestra

M-230—PAGANINI, Violin concerto

in D major, with Yehudi Menuhin
M-231—MOZART, Violin concerto in
D major, No. 7, with Yehudi
Menuhin

M-246—MOZART, Violin concerto
in D major (“The Adelaide’’)
with Yehudi Menuhin

11140-1—_BERLIOZ, “Benvenuto
Cellini” Overture, Op. 23, and
“Troyens a Carthage” Overture.

Upel

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londay
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Nation

MAIL ORDER BLANK

FOURTaA ANN UAL DCL. LA KK OP ERAS EA SOwW.
Tom C. Girton

Presents

FORTUNE GALLO

and his

SAN CARLO OPERA COMPANY

WAR MEMORIAL OPERA HOUSE
FEBRUARY 26 TO MARCH 14 INCLUSIVE

Operas — 22 Performances — 6 Repeats — Tickets: 55¢, 83¢, $1.10, $1.65, $1.93 (tax included)

$1.93 $1.65 $1.10 $1.65 $1.10 83¢ BB¢ i

Dates Operas Box 1st 12rows| Balance Grand Dress Balcony Bal i
Seats | Orchestra | Orchestra Tier Circle Circle acu H

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turday Mat., ” ##27| Martha and Ballet
turdiy Eve., ” 27/11 Trovatore

Inday Mat., ” 28) Rigoletto

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Inday Eve., ” 28| Carmen

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Uesday Eve, ” #2! La Traviata
ednesday Eve.,” 8] Jewels of the

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Inday Mat, ” 7|Madame Butterfly |... bcsessessseecceeon ssibSRcciotisccgats |eampegeeeecaees
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Wednesday Eve.” 10] La Gioconda

Mursday Eve, ” 11] I Trovatore

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saturday Mat. ” 418] L’Oracoloand Ballet
and Pagliacci _|.................... ssgbbnedualss leslebhGa Leste sencepeauest2eee Pace! pau cuntectseccca\[acee-y hte eaasies 3 pete on ae ee ee

saturday Eve, ” 138| La Tosca

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L ORDERS NOW BEING RECEIVED THE TOM C. GIRTON BOX OFFICE
rTeservations will be filled in order received. Ground Floor Kohler & Chase Bldg., 26 O’Farrell St., San Francisco
Telephone: EXbrook 6696
ail Order Coupon ‘The, enclosed :Check: |S. s.csccsesnaxctreoan atari ee is in full payment
Nation desired SOP Sh ins oc eA ae eee seats as indicated in above space.
Name: (print) isse sd cosets cdere ated saseas ph actu be ebeeescoesesesncegcaeababeeea acevo ease canton aan eae een
PGP CRE oe Sess ee NER eon ae cde ee ee

MUSICAL DIRECTORY

VOCAL

Rena Lazelle

VOCAL TEACHER AND COACH

3435 Sacramento Street WaAlnut 3307
Mondays: Hotel Oakland, Oakland

Joseph Greven
VOICE SPECIALIST

Teacher of Many Local Favorite and
Prominent European and American Artists

927 Lake St. BAyview 5278

Mme. Beatrice Bowman

Teacher of Emily Hardy, Alice Avakian,
Ralina Zarova

2217 California St. Tel. WEst 4406

Nino Comel
VOCAL TEACHING — COACHING
Teacher of Josephine Tumminia and
Mari Monte
376 Sutter St. DOuglas 6379. AShberry 7438

Beatrice Lewis
STUDIO OF THE MODERN DANCE

533 Post Street

ORdway 0829

SAN FRANCISCO

CONSERVATORY OF MUSIC

3435 Sacramento Street

A complete musical education from Beginners’ Work to
Professional Coaching in all subjects

Henley Voice Studio

Enid Henley, Soprono-Teacher; Homer
Henley, Nationally Known Vocal
Authority

Studio: 2847 Union St. Tel. WE 9036

Pas AN*O

Malen Bumett School of Music

Thorough training from kindergarten to
concert stage. Courses for those training
to be teachers.

2580 Broadway.

B LINCOLN
ATCHELDE
CONCERT PIANIST - TEACHER

555 SUTTER ST. © SUtter 4970

Tel. Fillmore 1898

508 SUTTER nr POWELL

WaAlnut 3496

(BERT WALLACE

HEHOUSE OF FURS one Forty six GEARY

DCHUTIFUL MORE
RAGUL SWAGGERS

As a noteworthy feature of the
Annual Robert Wallace January
Clearance Sale we now present a
elorious selection of fine black
Caracul swagger coats. Carefully

selected pelts... exquisite texture

expert craftsmanship assure ™

you of many outstanding values.
The lovely coat illustrated is one
of many smart styles, especially

priced for this sale event at only

The magic beauty of world
famous symphonies is yoursto
enjoy whenever you wish with

Victor Higher Fidelity
RECORDS

Tune in on K]BS every evening at
10:00 P. M. for two hours of
popular and classical music . .

KEARNY AND SUTTER STREETS

OAKLAND: H.C. CAPWELL'S ... Fourth Floor

These are but a few of the symphonies
available on Victor Higher Fidelit
Recordings |

Symphony No. 7 in A Major
(Ludwig van Beethoven, Opus 92)

Played by Arturo Toscanini

and Philharmonic Orchestra

of New York. 5 records with $4()

album

Symphony No. 4 in G Major
(Antonin Dvorak)

Played by the Philharmonic

Orchestra by Vaclav Talich. $750

5 records with album

Schubert’s Symphony No. 8
in B Minor (unfinished)
Played by Koussevitzky and
the Boston Symphony Orches- $6°°
tra. 3 records with album

Mendelssohn’s Symphony No.

4 in A Major
Played by Serge Koussevitzky
and the Boston Symphony
Orchestra. 8 records with 56°!
album

SAN TRANG fe ees
SYMPHONY
ORCHESTRA

PIERRE MONTEUX, Conductor

COL. W. de BASIL'S

BALLET
RUSSE

p
DAS

Tie
pame |
750 x \Z\
AL HF
r g

WAR MEMORIAL OPERA HOUSE, SAN FRANCISCO

Presented by THE ART COMMISSION OF SAN FRANCISCO
ANGELO ROSSI, Mayor
6 EDGAR WALTER, President JOSEPH H. DYER, Secretary
Direction of Music Committee: J. EMMET HAYDEN, Chairman
THE BALLET RUSSE IS UNDER MANAGEMENT OF S. HUROK

P (Ve See
NM. W
PRINTS

“

in ine | i

Nene ee nn ene ee ceenetnied

° «

win Os lon

Wanner

OP ics florals,
__ conventional patterns
,.. dark backgrounds

Misses’ and women's

sizes . : 2

2975
oe to 4975

DRESS SALON © FOURTH FLOOR

CARN RN AY RET PROSE ERSTE AE

THE ART COMMISSION TP RES Nis

San Francisco Symphony Orchestra

AND

Col. W.de BASIL’s BALLET RUSSE

(EXCLUSIVE MANAGEMENT S. HUROK)

Saturday Matinee, January 30th, 1937

LE LAC DES CYGNES
(THE SWAN LAKE)

Choreographic Poem in One Act
Music by P. TCHAIKOVSKY
Choreography after M. PETIPA
Scenery by Prince A, SCHERVACHIDZE
Costumes Executed by Mme. O. LAROSE

This is an abridged version of a four-act ballet composed by Tchaikovsky
between August, 1875, and March, 1876, and produced at Moscow, February
20th, 1877.

The story concerns a Princess and her companions who have been changed
into swans by the spells of a wicked sorcerer, but are permitted to resume
human shape from midnight to dawn. A young Prince and his friends have
planned a nocturnal hunt near a lake where, the night before, they had seen
a flock of swans. But the Queen of the Swans reveals herself to the Prince,
who orders the hunt to be abandoned. He falls in love with the Queen of the
Swans, but at break of day she and her companions becomes swans once more
and fly away. The Prince attempts to follow them, but the Sorcerer bars the
way. Powerless against his spells, the Prince dies.

whe Queen of ithe Swans 32)... ee Alexandra DANILOVA
HOt Pin G65 2h cas eee ee Pee en De ee Paul PETROFF
ihe WN rienduor GaeyErinice: cere. eee ee ee Serge BOUSLOFF

OME VIL. Geniusss.< seve sce, ese ree ne Mare PLATOFF

(Continued on page 6)

Kearny at Sutter

Sherman |) cary at Sati

Fourth Floor, Oakland

8 California Stores

Play records through

your radio

Pavetete
ee,

For only

$16°°

* ee

If you already have a radio and have been longing for
recorded music so that you may enjoy command perform-
ances of your favorite concerts, symphonies, operas or
popular music, you'll be interested in this RCA Victor
record player. It plays through any modern AC radio and
its tone equals that of the radio to which it is attached.

Plays all size records.

Enjoy the music you wish, when you wish!

PETER CONLEY PRESENTS

* * *

ADMIRAL

* *

BYRD

IN PERSON - TELLING HIS THRILLING STORY

“CONQUERING THE ANTARCTIC”
ILLUSTRATED WITH MOTION PICTURES

OPERA HOUSE - WEDNESDAY F F B 3
MATINEE 3:15 — NIGHT 8:20 :

ALL SEATS RESERVED: $1.10 — 83¢ — 55¢ Including Tax

On Sale Now: Sherman Clay & Co., San Francisco and Oakland

The Swans:
Tamara GRIGORIEVA and Lubov ROSTOVA
Milles. ABRICOSSOVA, ADRIANOVA, CHABELSKA, CHAMIE, LVOVA,
MARRA, NELIDOVA, OBIDENNA, OSATO, RADOVA, RAZOUMOVA,
SEROVA, STRAKHOVA, TRESAHAR, VOLKOVA

Dance of the Little Swans:
Milles. NELIDOVA, RAZOUMOVA, TRESAHAR, VOLKOVA

The Huntsmen:
MM. ALEXANDROFF, ALONSO, ISMAILOFF, KATCHAROFF, KOSLOFF,
MATOUCHEVSKY, ZEGLOVSKY, ZORITCH

Conductor: Efrem KURTZ

INTERMISSION OF FIFTEEN MINUTES

GREATER
AS THE
YEARS

GO BYaaea

Baldwin

A N O §

310 SUTTER STREET

PETROUCHKA

A Burlesque in Four Acts

Book by Alexandre BENOIS and Igor STRAVINSKY
Music by Igor STRAVINSKY
Choreography after Michel FOKINE
Curtain, Scenery and Costumes by Alexandre BENOIS:
The action of this Ballet takes place in St. Petersburg in 1830.

SCENE I.

During the festivities of a fete week, an old oriental Charlatan intrigues a
crowd of revellers with his “Animated Puppets.” These three dolls, which he
calls Petrouchka, the Dancing Girl and the Blackamoor, perform a wild dance
of passionate abandon.

SCENE II.

The cunning of the Charlatan’s magic has inspired into these creatures all
the passions of humanity, and Petrouchka, being endowed with a greater

(Continued on page 10)

AFTER THE CONCERT
®, FINE FOODS .&

Ice Cream x Sodas
Pastries « Candies

Served in the most beautiful restaurants
in the West—at no greater cost
than elsewhere

Pign Whistle

33 POWELL STREET, Near Market

1032 MARKET STREET, Near Paramont Theatre
and the Opera House

RUILE BY LINCOLN TO. THE
LINCOLN STANDARD
OF MECHANICAL EXCELLENCE

Drama combined with music gave the world a different kind of art
—opera. Lincoln engineering, united with Ford resources, gave the
world a different kind of car—Lineoln-Zephyr. The Lincoln-Zephyr
enters 1957 proved by a year’s superb performance. It 1s not a new
“model.” It is the original car, improved, refined —still far ahead

in its standards of power, comfort, safety, economy. It brings to the

medium-price field the Lincoln standard of mechanical excellence.

| ARTHUR R. LINDBURG CO. CHESTER N. WEAVER CO.
| 1101 Van Ness Ave. 2910 Broadway
| San Francisco Oakland

Osh =" Y- Ost Re Nae ACh ESS or Oe EAs ier st

Pel sie CINE 4
PaRaiE SE uN lass

ROBERT O'CONNOR

AMERICAN PIANIST

RESERVED SEATS VETERANS’ AUDITORIUM
$2.20, $1.65, $1.10, 83c MONDAY, FEBRUARY 1, 1937

SHERMAN, CLAY & CO. EIGHT THIRTY O’CLOCE

amount than either of the others, consequently feels and suffers more than the
Blackamoor or the Dancing Girl. With acute bitterness he endures the
Charlatan’s cruelties, his own slavery and his exclusion from the daily life
around him, and his extreme ugliness. He longs to find consolation in the
Dancing Girl’s love, and believes he is about to gain it. The pretty girl, how-
ever, flies from him, as his wild airs and queer ways arouse in her not love,
but fear.

SCENE III.

The Blackamoor’s existence is a very different matter. Though he is stupid
and bad, his splendid appearance and sumptuous attire completely ensnare the
Dancing Girl, who uses all her wiles to attract him, which she succeeds in
doing. A love scene between the two is interrupted by Petrouchka, raging with
jealous passion; but the Blackamoor swiftly throws him out.

SCENE IV.

The fete is at its height, when a gay pedlar, accompanied by some singing
gipsies, scatters handfuls of notes among the crowd. Nursemaids dance with
coachmen, and a trainer arrives with his performing bear. Finally parties of
masqueraders drive the revellers into a frenzy of gaiety.

Suddenly, from the Charlatan’s little theatre, a shrill cry is heard. The
desperate rivalry between Petrouchka and the Blackamoor has ended in
tragedy. The puppets dash from the theatre in confusion, the Blackamoor
attacks Petrouchka with a sword and, surrounded by the horrified crowd,
he dies in the snow.

A police officer fetches the Charlatan, who hastens to calm the crowd by
explaining to them that Petrouchka is only a puppet, and that it is his art that
made the puppet live. He tells those around him to make certain for themselves
that the figure has only a wooden head and a sawdust body.

As the crowds disperse the Charlatan is left alone. He is horrified to see
above his little theatre the ghost of Petrouchka, which threatens him, and
mockingly makes grimaces at the people whom the Charlatan has fooled.

CA+sHTGHLIGHT]: OF PAE CUICREN T SEASON
The World Famous N. Y. AMERICAN

HART HOUSE _ ONE
STRING QUARTET.

James Levy : Arn Adaskin : Milton Blackstone : Boris Hambourg

MONDAY F f B 8 COMMUNITY PLAYHOUSE
EVENING js Sutter at Mason

Reserved Seats at: Sherman, Clay & Co., 55¢, 85¢, $1.10, $1.65, $2.20
Vallely Current Review — FEBRUARY 11 — Fairmont
MANAGEMENT: ALICE SECKELS-ELSIE CROSS

The Dance i casccenc ten pan eee eters te eg ed eee Tamara TOUMANOVA

Petrotichilea ccc: oo: ae acteaa escent ee Leonide MASSINE
The Blackamioors:...cha% 017i a David LICHINE
The: Old. Charlatan 125.425. 055.20. .202 i ee i Marian LADRE
the ChiefaNursemaidsn.06 9, oe gts 6. aA e ee Lara OBIDENNA

Bveisisughen ase toudeusdaestathacel GMs si a ee eee a ee Serge ISMAILOFF
Pe ee Mt 2M AT Samer Teh Sy the S Mare PLATOFF

The Nursemaids:
Miles. ABRICOSSOVA, CHABELSKA, GRIGORIEVA, MARRA, MOROSOVA,
NELIDOVA, RAZOUMOVA, ROSTOVA

The Coachmen.
MM. ALGERANOFF, BOUSLOFF, ROSTOFF, ZEGLOVSKY

The Grooms:

Michel KATCHAROFF, Narcisse MATOUCHEVSKY

The Gipsies:
Miles. DELAROVA, LIPKOVSKA

The Street Dancers:
Miles. CHAMIE, VOLKOVA

The Showman of the Fair:
M. ALEXANDROFF

The Masqueraders:
Miles. OSATO, STRAKHOVA
MM, ZORITCH, LIPATOFF
Pedlars, Officers, Soldiers, Aristocrats, Ladies, Children, Maids,

Cossacks, Policemen, Animal Trainers, ete.

Conductor: Pierre MONTEUX

INTERMISSION OF FIFTEEN MINUTES

(Continued on page 18)

KNOWLEDGE
OF THIS
SUBJECT

may mean much ss,

>I + (%
\'

AWAY

oN
<\/ BP
Whether your estate will be large or small, you can

make it provide more effectively for your family’s
future needs by sound planning . . . vow.

to your family *%

A copy of this new booklet will be sent at your request.
Write, call at our Trust Department,
or telephone SUtter 1500.

FRIDAY EVENINGS—KSFO, 7 O’CLOCK
BUSINESS FORUM OF THE AIR
PHILADELPHIA ORCHESTRA
STOKOWSKI—ORMANDY

TRUST DEPARTMENT

Wells Fargo Bank

and
Union Trust Go.

Market at Montgomery Market at Grant Ave.
SAN FRANCISCO
Established 1852

Poe ie CON Ee

P Pi CaS CLAS

MARIAN
ANDERSON

Opera House (Only Recital)
WED. EVE., FEB. 24, 8:30

PORVOVG Rav Mi

I.
Begrucesunge: 2) ee Haendel
Chio mai vi pOssa.:-.....2:. Haendel
ICIIANIA ri ee rece Haendel
Ah Spietato
(ArmMadizei.) eae Haendel
II.
Liebesbotschaft ................ Schubert
AVe MAT As aes eee Schubert
Der Tod und das
Maedchen..................---..- Schubert
Die; Forelle 2:35 Schubert
ITI.
Air of “Don Carlos”
(©; Don atale). 22 cis Verdi
LV:
Die Fusswaschung............. Kilpinen
Schilfrohr, saeus’le
(Saev, saev, susa).......... Sibelius
Sung in Swedish
Die Wibelleteca.e teers cose: Sibelius
Wer es ein Traum.............. Sibelius
Sung in German
¥;

Negro Spirituals:
City called Heaven....Hall Johnson
Lord, I can’t stay

WAY career 5 ee, Roland Hayes
CLuCciINI Ona. eee John Payne
My soul’s been anchored

In. theveord. 5... Florence Price

TICKETS: $2.20 — $1.65 — $1.10
SHERMAN, CLAY & CO.

S. Hurok

Through depressions and prosperity, Mr. Hurok has, single-handed, con-
tinued to present large touring organizations of distinction. He managed the
tours of the German Grand Opera, the Russian Grand Opera, the Habima
Theatre, the Italian Piccoli Theatre, the Moscow Cathedral Choir and the

Vienna Choir Boys.

Runitch; and Mme. Pagliughi, a brilliant Italian coloratura soprano.

Rachmaninoff

OPERA HOUSE

PROGRAM: FRIDAY EVE., 8:30 P. M. — FEB. 5

1.
2.

Organ Fantasia and Fugue in G-minor.............................. Bach-Liszt

Sonatas vO purse 209s er 2 eine ee ee nn ae Beethoven
Vivace ma non troppo
Adagio espressivo
Prestissimo
Andante molto cantabile ed espressivo

(a) Polonaise, C-minor ]

(b) Nocturne .....:.2-....... | :
Cc) Mazurka te. 2). ( ETS aap eo Ge eae mage eae Chopin
(d) Rondo, Opus 16........ }
Four Etudes-Tableaux, Opus 33......00.....0...-.-000c0000000--- Rachmaninoff

C-sharp minor

G-minor

K-flat minor

E-flat major
Sonnetto: del) PetrarcaiNo:23....25 eo. 2 ee Liszt
Magic. Wires 225. ccc ee ot i ee Wagner-Brassin
Eitude; Bi -Maj Ob ei5 oso cence eee eT ON Paganini-Liszt

PROGRAM: SUNDAY AFT., 2:30 P. M. — FEB. 7

AE i aad) Mle

Variations, A-majorcsuccee oe ee ee Mozart
Three: Sonatas 2 cc: ae eee ee ee eee Scarlatti
Sonata, Opus 58, B-minor:...0 2.2 ee Chopin
PPG LUG Oy eke. See sacs pee a eee See Bach-Rachmaninoff

(a) Daisies, song....
(b) Oriental Sketch

(a) Nocturne, G-majocr........ 1 ;
(b) Nocturne, (Noon Tide) {00 00 John Field

(a) Etude, D-flat major
(b) Valse Oubliee No. 3
(c) Polonaise, E-major.. |

$2.50, $2.00, $1.50, $1.10, Including Tax — SHERMAN, CLAY & CO.

MANAGEMENT: PETER "CON UE V

A a TES SSeS ere ree

S. HuUROK presents
The WORLD’S GREATEST

SALZBURG OPERA GUILD

TRUDI SCHOOP

AND HER COMPANY OF COMIC DANCERS

Second sensational coast to coast tour.

“This Trudi Schoop Ballet is the most amusing and
the most amazingly fresh entertainment in New Yorke
writes Edna Ferber. “A dazzling evening in the theatre
and a triumph of sheer talent.”

FEODOR CHALIAPIN

Great Russian Basso.

MARIAN ANDERSON

World’s Outstanding Contralto.
One of the greatest living singers—New York Times.

DANA ENSEMBLE

Famous Polish Singing Quintet.

i =

ARTISTS and ORGANIZATIONS

UDAY SHAN-KAR

AND His HINDU BALLET

In a complete new repertoire of Hindu Dances. New
Costumes and New Productions.

“Beauty and Excitement”—New York Times. ‘“Gape
in awe at the superlative beauty of Shan-Kar’”—New
York World Telegram.

CONTINENTAL ENSEMBLE

Emma Runitch - Victor Chenkin - Raphael
Unique — Novel — Delightful

RUDOLF SERKIN ‘OLISCH QUARTET
New Genius of the Piano String Bae nIe

MADAME PAGLIUGHI GINETTE NEVEU

Brilliant Italian Coloratura Veda eee ie

ARTUR RUBINSTEIN JOSEPH SCHMIDT

Triumphant Return Engagement Europe’s Radio Idol

VIENNA CHOIR BOYS

Fifth American Tour

PRINCE IGOR

Polovtsien Dances from the Opera “Prince Igor”

Music by BORODINE
Choreography after Michel FOKINE
Scenery and Costumes by Nicholas ROERICH

“The Tale of the Armament of Igor’ is the greatest of Russian historical
epics. Its hero lived from 1151 to 1202, and was eighth in descent from Rurik,
the founder of the oldest Russian State. In the distribution of Provinces, which
was the family custom, he became Prince of Novgorod-Seversk, a petty state,
of which Poultivle was the capital. In 1185 he led a great expedition against
the Polovtsi, a Tartar tribe occupying the plains of the Don. He was taken
prisoner with his son, Vladimir, but the mighty Khan Kontchak, ruler of the
Polovtsi, was magnanimous and hospitable. Instead of treating the two Princes
as captives, he gave a banquet in their honour, followed by dances, in which
the warriors and their womenfolk took part. These dances are a prominent
feature in the opera which Borodine composed on the basis of the old saga.
The march, which takes the place of an overture, is borrowed from the third
act, where it is associated with the victorious return to camp of the Polovtsi,
laden with booty from Poultivle.

AS POlOV ESTO. VWOTNISAT exces a tee eeceeeeces Tamara GRIGORIEVA
IAS Palowts eri Give ae ee ane neo cone Vera NELIDOVA
A POLOVESICTE “WAVEHO Rare cee rose coc se cata eee ee eteae eee David LICHINE

The Polovtsien Women:
Mlles. ABRICOSSOVA, CHABELSKA, DELAROVA, LVOVA, MARRA,
MOROSOVA, OBIDENNA, OSATO, RADOVA, RAZOUMOVA, VOLKOVA

The Polovtsien Girls:
Miles. ADRIANOVA, LEONTIEVA, LIPKOVSKA, PETROVA, ROSTOVA,
SEROVA, STRAKHOVA, TRESAHAR

The Polovtsien Warriors:
MM. ALEXANDROFF, ALGERANOFF, BELSKY, BOROVANSKY,
BOUSLOFF, ISMAILOFF, JASINSKY, PETROFF, PLATOFF,
ROSTOFF, ZEGLOVSKY, ZORITCH

The Polovtsien Boys:
MM. ALONSO, KATCHAROFF, KOSLOFF, LADRE, LIPATOFF,
MATOUCHEVSKY

Conductor: Pierre MONTEUX

2 a a oe Sa a ee ee
CAST SUBJECT TO CHANGES

Founder and Director General: COL. W. DE BASIL
Maitre-de-Ballet and Artistic Collaborator: Leonide MASSINE
Conductors: Efrem KURTZ and Antal DORATI
Regisseur General: Serge GRIGORIEFF

a ee
STAFF FOR S. HUROK

David. Erbidiis: oh ak ne eee she MirenemeS a! Company Managers
Maurice Winters }

Gerald| Good @o..i-2) bn .25,, Wes eek a en cy General Press Representative
Faun, Morris. 2037 eee ee ene Advance Press Representative
Mae: Frohman}: sicher 2. es ahr Executive Secretary
Boris Schwarzs.c3 sk eee ore ie ene ee ee a Concert Meister
Nathan, Rosen...25.3. 22840) toys cece ee Orchestra Manager
Clyde 5 rin sac case oa os ea oe ee alle here ee Chief Carpenter
Car): Greemin® 22 Sec is. eal aie ee cee a ee Chief Property Man
Gene: Pier Gy: 5:9 tes: halen Oh cee. a od Chief Electrician
Augusta Wesan ded fo. 20 sok st eee hee ee Wardrobe Mistress

The Management strictly forbids the taking of any photographs or motion
pictures inside the Theatre without written permission.

EXCLUSIVE MANAGEMENT: HUROK ATTRACTIONS, INC.
30 ROCKEFELLER PLAZA, N. Y, C.

GArfield 4544

COLLECTOR @® DEALER @ APPRAISER

Fine Repairing — Specialist in “Voicing” Master Instruments.
Rare Old Violins--Violas--Cellos--Bows. High--Medium--Low Priced.

The World’s Foremost Exponents of Dance Arts, Headed by The
Monte Carlo Ballet Russe, Use and Recommend...

SELVA TOE SLIPPERS

Featured in the West Exclusively by

The DANCE ART CO.

Golden Gate Theatre Bldg. — 25 Taylor St. — Phone PRospect 1643

Dancing Shoes For Ballet-Toe, Tap,

Accessories Spanish, Acrobatic,

Dance Belts-Tights Modern,

Opera Lengths-Leotards Interpretative
Import

Retailers = (7 ie ail
Wholesalers * 5 PY Export

The BALLET JOOSS also chose DANCE ART BALLETS during recent San Francisco
Engagement. In addition to the ‘‘Only Specialized Theatrical Shoe Service in Northern
California’? DANCE ART also features complete Stocks, of DAZIAN’S, ASSOCIATED
and MAHARAM Costume Fabrics, and ACCESSORIES FOR STAGE AND SCREEN.
WIGS, MAKE-UP, and Musical Dance Accessories, are among the thousands of theatrical
necessities stocked for the convenience of the Dance and Theatrical Profession.

Headquarters for Parilia Costumes and Supplies.

MUSICIANS MARVEL

AT THE PERFECTED TONE BALANCE
OF THE NEW

BALDWIN - BUILT

Howard

BALDWIN PIANOS $310 Sutter Steert

es advertised

therein

San Francisco Symphony Orchestra

PIERRE MONTEUX, Conductor
Willem van den Burg, Asst. Conductor

1937 SEASON

Thur. 8:30 P. M., Jan. 28, © _W. DE BASIL’S

Fri. 8:30 P.M., Jan. 29, WH Ole Wayne

Sat. 2:30P.M,Jan.30, |} BALLET RUSSE

Sat. 8:30P.M., Jan. 30,

Sun. 2:30P.M.,Jan.31, | AT THE OPERA HOUSE

Fri, 2:30P.M., Feb. 5,Opera House, with Toscha Seidel, Violinist

Sat. 8:30 P.M., Feb. 6,Opera House, with Toscha Seidel, Violinist

Thur. 8:15 P. M., Feb. 11, Broadcast for Standard Oil Co.

Thur, 8:15 P. M., Feb. 18, Broadcast for Standard Oil Co.

Fri. 2:30 P.M., Feb. 19, Opera House, with Richard Crooks, Tenor

Sat. 8:30 P.M., Feb. 20,Opera House, with Richard Crooks, Tenor

Thur. 8:15 P. M., Feb. 25, Broadcast for Standard Oil Co.

Fri. 8:20 P.M., Feb. 26, Civic Auditorium, with Grace Moore, Soprano

Fri. 2:30 P.M., Mar. 5,Opera House, with Marian Anderson, Contralto

Sat, 8:30P.M., Mar. 6,Opera House, with Marian Anderson, Contralto

Tues. 8:15 P.M., Mar. 9,Memorial Chapel, Stanford University

Thur. 8:15 P. M., Mar. 11, Broadcast for Standard Oil Co.

Fri. 2:30 P.M., Mar. 19, Opera House, with Isaac Stern, Violinist

Sat. 8:30 P. M., Mar. 20, Opera House, with Isaac Stern, Violinist

Tues. 8:30 P. M., Mar. 23, Civic Auditorium, with Igor Stravinsky and
San Francisco Municipal Chorus

Thur. 8:15 P. M., Mar. 25, Broadcast for Standard Oil Co.

Thur. 8:15 P.M., Apr. 1, Broadcast for Standard Oil Co.

Sat. 10:30 A. M., Apr. 38, Young People’s Concert, Ernest Schelling
Conducting

Fri. 2:30P.M., Apr. 9,Opera House, Ernest Schelling, Pianist

Sat. 10:30 A. M., Apr. 10, Young People’s Concert, Ernest Schelling
Conducting

Sat. 8:30 P.M., Apr. 10, Opera House, Ernest Schelling, Pianist

Sun. 3:15 P.M., Apr. 11, University of California

Thur. 8:15 P. M., Apr. 15, Broadcast for Standard Oil Co.

Fri, 2:30 P.M., Apr. 16, Opera House, with John Charles Thomas,
Baritone

Sat. 10:30 A. M., Apr. 17, Young People’s Concert, Ernest Schelling
Conducting

Sat. 8:30 P.M., Apr. 17, Opera House, with John Charles Thomas,
Baritone

Tues. 8:15 P. M., Apr. 20, Civic Auditorium, Sylvia Lent, Violinist

Fri. 2:30 P.M., Apr. 23, Opera House

Sat, 10:30 A. M., Apr. 24, Young People’s Concert, Ernest Schelling
Conducting

Sat. 8:30 P.M., Apr. 24, Opera House

Sun. 3:00 P. M., Apr. 25,San Rafael

TICKETS FOR ALL CONCERTS ON SALE
SHERMAN, CLAY & CO.

SAN FRANCISCO AND OAKLAND

KAJETAN ATTL'S
HARP ENSEMBLE

Beginners or Advance Students Phone for appointment.

First Harpist with San
Francisco Symphony for
Twenty-four Consecutive

Vears. Large Stock of Harps for Sale or Rent:

1030 BUSH STREET Phone ORdway 6367 Studio No.6

When Buying or Renting a Harp only an Experienced
Harpist can advise Correctly.

MUNICIPAL CONCERTS

SAN FRANCISCO SYMPHONY ORCHESTRA
PIERRE MONTEUX, Conductor
WITH ?

GRACE MOORE

CIVIC AUDITORIUM — FRIDAY EVE., FEB. 26

IGOR STRAVINSKY

Conducting SAN FRANCISCO SYMPHONY and playing his
“SYMPHONY OF PSALMS”
ALSO
Rossini “STABAT MATER” Conducted by HANS LESCHKE

MU Nid G1 PvA LCi O Reuss
CIVIC AUDITORIUM — TUESDAY, MARCH 23

SAN FRANCISCO SYMPHONY ORCHESTRA
PIERRE MONTEUX, Conductor
WITH

ST VO A ee

| CIVIC AUDITORIUM — TUES. EVE., APRIL 20

RESERVED SEATS: $1.00, 75¢, 50¢, 25¢ — SHERMAN, CLAY & CO.
AUSPICES: ART COMMISSION OF SAN FRANCISCO

EDGAR WALTER, President JOS. H. DYER, JR, Secretary

DIRECTION OF MUSIC COMMITTEE
J. EMMET HAYDEN, Chairman

GEORGE PRING

Studio

Classic and
modern ballet,
character,
Oriental
dancing,
Eurhythmics.
Classes for
beginners or
advanced
students,
all ages.

420 SUTTER STREET

——

15 Columbus Ave.
SAN FRANCISCO
SUtver 47°72

PETER CONLEY Presents
NAN €C iE

ON TEU X

DANCE RECITAL
VETERANS’ AUDITORIUM
TUESDAY EVE. FEB., 15, 8:30 P. M.

PeRnOeG Wy Aww

Sarabande and Variations........ Corelli
J. NIELSEN
Gavotte Soko See eee Lulli
NANCIE MONTEUX
Divertissemeénts 2.....-.---...-. Couperin
NIELSEN

Tempo di Ballo
NANCIE MONTEUX

Suite: Rondo, Minuet, Badinerie....Bach
NANCIE MONTEUX
E'TGNCD UllOi a saccteecagsst ey ane Bach
J. NIELSEN
Pantomime $425. Mozart
NANCIE MONTEUX
Country Dances=.........- a... Beethoven
J. NIELSEN
French Revolutionary
Dane i ara CP ae Songs)
NANCIE MONTEUX
Extract from Ballet Music
from “Rosamunde’’.............. Schubert
NANCIE MONTEUX
Waltzes 2 sere Fe eek Brahms
J. NIELSEN
Valse Romantique..........-:.. Chabrier
NANCIE MONTEUX
Welt ante te eee cee Chabrier
J. NIELSEN
Danse Sacrée
Danse Profane
oe Se ers Debussy

NANCIE MONTEUX

Funeral March in
Jazz Tempo ...... Oasis meee neacec°

J. NIELSE
Danse: SCEICUSC. 3. acre eee J. Nielsen
NANCIE MONTEUX
American ‘Classic: 2 =23....3.8 22 Handy
J. NIELSEN

March, from “‘Love for

Three Oranwes - ee Prokofieff
NANCIE MONTEUX

The Pasmore Quartet (Mary Pasmore,
first violin, William lLaraia, secon
violin, Erich Weiler, viola, and Dorothy
Pasmore, cello) will play musique de
scene during the intervals.

$2.20 — $1.65 — $1.10 — 83¢
SHERMAN, CLAY & CQO.

TRUDI SCHOOP
COMIC BALLET

ALL NEW PROGRAM

OPERA fh OW St
WE Da EVES 2675)
Me AR eC eel

$2.20 — $1.65 — $1.10 Including Tax
SHERMAN, CLAY & CO.

MANAGEMENT: PETER CONLEY

THE ART COMMISSION

EDGAR WALTER, President JosepH H. Dyer, Jr., Secretary

PRES ENT s

GRACE MOORE

eccieenan inane lens atewieNiclanaan ine tani dn inti

TV WNe SP RA SO ey,

WITH THE
SAN FRANCISCO SYMPHONY ORCHESTRA

PIERRE MONTEUX, Conductor

ChyvealO "2 U Dion ues
Friday Evening, February 26th
Popular Prices: 25¢ — 50¢ — 75¢ — $1.00
Tickets at Sherman, Clay & Co.
Direction: MUSIC COMMITTEE - J. Emmet Haypen, Chairman

SAN FRANCISCO SYMPHONY ORCHESTRA
ERNEST SCHELLING, Conducting

FOUR SATURDAY MORNINGS (10:30 to 11:30) OPERA HOUSE
APRIL 3 — APRIL 10 — APRIL 17 — APRIL 24

&
RESERVE SEASON TICKETS NOW
Sherman, Clay & Co. Box Office - Sutter & Kearny Sts., San Francisco

Please reserve the following Season Tickets for the
Four Concerts for Young People:

ORCHESTRA SEATS QS: 2OUR Ss ener $—-—— -——
GRAND TIER SEATS (AS77001 ..c et ent oe $—-———--
DRESS CIRCLE, SEATS @) S$: MAG eee $--
BALCONY CIRCLE, SEATS =@5-1.00:. 2 ee S——--—--
BALCONY CEIRSE S-ROW'S) 5@GeleO0t ee eee $———
BALCONY (LAST 6 ROWS) @ (OO Gos eee $—- —-
BOXES (SEATING 8) (Q) S30°00 ie ee eee 3
A OUCAUD Fis conor 2 ene ee $
PAYMENT HEREWITH $—————
BAVANCE DUE. =e $——---
IN, ONGC change «dens etiel TEC cle lane es tN OI Cee oe
SEV COE oe shee a RR ea AN Gis, SOR ees e eR een eee
OL Fae ee et eae PU ORC Soh iso eee Oe
PSY C1 1011) ee eee PR TRI oe ee ee Pe

The Man with the
Baton

PIERRE MONTEUX,
maitre de musique

For the sake of the record we here
append Mrs. Monteux’ neatly-written,
complete account of her famous hus-
band’s career:

“Paris National Conservatory — Ist
prize violin, viola, harmony and
counterpoint.

“Colonne Orchestra — 1st viola (18
years old); 2nd conductor.

‘“‘Conductor:

Concerts Berlioz (Paris)

Orchestre Dieppe—concerts, opera

Concerts d’avant-garde (Paris)

Concerts Monteux (Paris)

Ballets Russes de Diaghileff
—5 years

Metropolitan Opera—1916-1919

Boston Symphony Orchestra
—1919-1924

Concertgebouw (Amsterdam)
—1924-1934

Société Wagner (Amsterdam)
—1926-

Paris Symphony Orchestra
—1930-1937

San Francisco Symphony
Orchestra—1935-

“Has conducted every major orches-
tra in Europe. Only French conductor
to direct Berlin Philharmonic and

Vienna Philharmonic Orchestras. also
Salzburg Festival. Has conducted
many times in the Hollywood Bowl,
as well as the Los Angeles Orchestra
and the Philadephia Orchestra.

And to complete the account, here
is a list of Pierre Monteux’ Victor
recordings compiled by the obliging
H. W. Wilson of the Record Library:

M-111—BERLIOZ, “Symphonie

Fantastique,” Paris Symphony
Orchestra

M-230—PAGANINI, Violin concerto

in D major, with Yehudi Menuhin
M-231—MOZART, Violin concerto in
D major, No. 7, with Yehudi
Menuhin

M-246—MOZART, Violin concerto
in D major (“The Adelaide’’)
with Yehudi Menuhin

11140-1—_BERLIOZ, “Benvenuto
Cellini” Overture, Op. 23, and
“Troyens a Carthage” Overture.

(per

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bturda:

bturda:
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AIL OF
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Nation

MAIL ORDER BLANK

FOURTH ANN UAE DOLLA R«O POEL RAYS BAS OWN.

Tom C. Girton

Presents

FORTUNE GALLO

and his

SAN CARLO OPERA COMPANY

WAR MEMORIAL OPERA YHOU SD
FEBRUARY 26 TO MARCH 14 INCLUSIVE

N
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Operas — 22 Performances — 6 Repeats — Tickets: 55¢, 83¢, $1.10, $1.65, $1.93 (tax included)

Dates
iday Eve. Feb. 26
hturday Mat., ” 27
turddy Eve., ” 27
tnday Mat., "es 28
inday Eve., ” 28

onday Eve., March 1
lsday Eve, ” 2
ednesday Eve., ” 8

tursday Eve, ” 4

iday Eve., 2
hturday Mat., ”

inday Mat., ea
tnday Eve., We aT
onday Eve., «48
usdayEve, ”% 9Q
tinesday Eve., ” 10

lursday Eve, ” 11
iday Eve., » 412
iturday Mat., ” 18
Murday Eve, ” 18
Inday Mat. = 44
inday Eve, ” 44

5| Lohengrin

$1.93
Operas Box
Seats
Aida
Martha and Ballet
Il Trovatore

Rigoletto

Carmen

Mamade Butterfly
La Traviata

Jewels of the
Madonna

Cavalleria and
Pagliacci

6| Lucia di

Lammermoor
Madame Butterfly

Carmen

La Boheme
Faust

La Gioconda
Il Trovatore
Rigoletto

L’Oracoloand Ballet
and Pagliacci

La Tosca

Aida

aL ORDERS NOW BEING RECEIVED
'Teservations will be filled in order received.

tll Order Coupon

Nation desired

wee weer wesw we eweeses

ee ry

Pere ree rere ewes ereee

$1.65 $1.10
lst 12rows| Balance
Orchestra | Orchestra

$1.65
Grand
Tier

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$1.10 3 83¢ | a
ress aicony
Circle Circle | Balcony

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THE TOM C. GIRTON BOX OFFICE
Ground Floor Kohler & Chase Bldg., 26 O’Farrell St., San Francisco

Telephone: EXbrook 6696

Thesenclosed: check, Sls iectincc kasi ccs ee rae is in full payment
POY Sk Ales Bet ce ee eed seats as indicated in above space.
Nannie. (print) .cc.soscaknsumsinaetcatn acer ddeui's Boas Reueetk he Meade eee
AGP CSB 25sec RRs ate ee
Telephone NO sii hosts ctasscrck ets Act eR act ee ee

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INE t

MUSICAL DIRECTORY

VOCAL Henley Voice Studio
Enid Henley, Soprono-Teacher; Homer
Rena Lazelle Henley, Nationally Known Vocal
Authority

VOCAL TEACHER AND COACH

Well Known Pupils: Elbert Bellows, Fred-

one ea pugs EOWA Womren Biker
sther reen, Reba reenley, Lysbeth

Hughes, Herbert Maas, Margie Nemes, PIA N.O
Eleanor Nielson, Andrew Robertson, Jean-
ette Sholl, Franziska Weiss

Studio: 2847 Union St. Tel. WE 9036

Malen Burnett School of Music

3435 Sacramento Street WAlnut 3307 — :
Thorough training from kindergarten to
Mondays: Hotel Oakland, Oakland concert stage. Courses for those training
to be teachers.
2580 Broadway. Tel. FlIllmore 1898

Joseph Greven
VOICE SPECIALIST

Teacher of Many Local Favorite and
Prominent European and American Artists L I N (@: O L N
927 Lake St. BAyview 5278 B ATCHELDE

CONCERT PIANIST - TEACHER

555 SUTTER ST. ® SUtter 4970

Mme. Beatrice Bowman

Teacher of Emily Hardy, Alice Avakian,
Ralina Zarova

2217 California St. Tel. WEst 4406

Nino Comel
VOCAL TEACHING — COACHING

Teacher of Josephine Tumminia and
Mari Monte

376 Sutter St. DOuglas 6379. AShberry 7438

Beatrice Lewis
STUDIO OF THE MODERN DANCE SO8 SUTTER nr POWELL
533 Post Street ORdway 0829

SAN FRANCISCO

CONSERVATORY OF MUSIC

3435 Sacramento Street WAlnut 3496

A complete musical education from Beginners’ Work to
Professional Coaching in all subjects

DAY AND EVENING COURSES

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KEARNY AND SUTTER STREETS
OAKLAND: H.C. CAPWELL'S . . . Fourth Floor

The magic beauty of world
famous symphonies is yoursto
enjoy whenever you wish with

Victor Higher Fidelity
RECORDS

Tune in on KJBS every evening at
10:00 P. M. for two hours of
popular and classical music .. .

—————————

SSS SEE

These are but a few of the symphonies
available on Victor Higher Fidelity
Recordings !

Symphony No. 7 in A Major
(Ludwig van Beethoven, Opus 92)

Played by Arturo Toscanini

and Philharmonic Orchestra

of New York. 5 records with $4(

album

Symphony No. 4 in G Major
(Antonin Dvorak)

Played by the Philharmonic

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5 records with album

Schubert’s Symphony No. 8

in B Minor (unfinished)
Played by Koussevitzky and
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tra. 3 records with album |

Mendelssohn’s Symphony No. |
4 in A Major

Played by Serge Koussevitzky

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Orchestra. 3 records with $67

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JAN FRANCISCO
»S YMPHONY
ORCHESTRA =

PIERRE MONTEUX, Conductor a

COL. W. de BASIL’S

BALLET
RUSSE

ee:
. ss

108

6
| WAR MEMORIAL OPERA HOUSE, SAN FRANCISCO
| Presented by THE ART COMMISSION OF SAN FRANCISCO

5 ANGELO ROSSI, Mayor

6 EDGAR WALTER, President JOSEP EADY ERUGecreun

Direction of Music Committee: J. EMMET HAYDEN, Chairman
THE BALLET RUSSE IS UNDER MANAGEMENT OF S. HUROK

PRINTS

in the

win dsl OV

_ manner

Daley. florals,
conventional patterns
... dark backgrounds
Misses’ and women's

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pa ROLL SERS ON TN IOS

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Pane on)

ge oF OE LES
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~ DRESS SALON ¢ FOURTH FLOOR

THE ART COMMISSION PRESEN is

San Francisco Symphony Orchestra
AND

Col. W. de BASIL’s BALLET RUSSE

(EXCLUSIVE MANAGEMENT S. HUROK)

Saturday Evening, January 30th, 1937

LE PAVILLON

Ballet by Boris KOCHNO on
Music by BORODINE
Arranged and orchestrated by Antal DORATI
Choreography by David LICHINE
Scenery and Costumes by Cecil BEATON
Scenery executed by Prince A. SCHERVACHIDZE
Costumes executed by Madame B. KARINSKY, Paris

At midnight the spirits of the garden surround the Pavilon where a poet
awaits a young lady. The spirits bewitch the poet, who, forgetting his tryst,
comes out of the Pavilion and is enticed away.

The young lady appears, and, finding the poet has not kept his word,
is deeply grieved,

The poet returns and suddenly seeing the young lady consoles her, protest-
ing his devotion. The spirits try to separate the lovers, but day approaches and
they lose their power over the young couple, leaving them to their love.

The. Young: bady 603.2 face. eee ee ne ee Irina BARONOVA
The: Chief @pirit see. seo tees A ee Tatiana RIABOUCHINSKA
The: Poet...gk21 305) ee ee ka (ee David LICHINE

The Spirits of the Garden:

Miles. Tamara GRIGORIEVA, Lubov ROSTOVA,
ABRICOSSOVA, ADRIANOVA, LEONTIEVA, MARRA, NELIDOVA, OSATO,
RADOVA, RAZOUMOVA, SEROVA, STRAKHOVA, TRESAHAR, VOLKOVA

Conductor: Antal DORATI

INTERMISSION OF FIFTEEN MINUTES

SYMPHONIE FANTASTIQUE
(AN EPISODE IN THE LIFE OF AN ARTIST)
Choreographic Symphony
Music and Book by BERLIOZ
Choreography by Leonide MASSINE

Scenery and Costumes by Christian BERARD
Scenery executed by Prince A. SCHERVACHIZDE

A young musician of unhealthily sensitive nature and endowed with vivid
imagination has poisoned himself with opium in a paroxysm of love-sick despair.

(Continued on page 6)

Kearny at Sutter

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PETER CONLEY PRESENTS

* * *
ADMIRAL

BYRD

IN PERSON - TELLING HIS THRILLING STORY

“CONQUERING THE ANTARCTIC”
ILLUSTRATED WITH MOTION PICTURES

* *

OPERA HOUSE - WEDNESDAY F F B 3
MATINEE 3:15 — NIGHT 8:20 :

ALL SEATS RESERVED: $1.10 — 83¢ — 55¢ Including Tax

On Sale Now: Sherman Clay & Co., San Francisco and Oakland

1st Movement. — VISION AND PASSIONS.
At first he thinks of the uneasy and nervous condition of his mind, of

sombre longings, of depressions and joyous elation without any recognizable
cause, which he experienced before the beloved one had appeared to him. Then
he remembers the ardent love with which she suddenly inspired him; he thinks

of his almost insane anxiety of mind, of his raging jealousy, of his reawakening
love, of his religious consolation.

2nd Movement. — A BALL
In a ball-room, amidst the confusion of a brilliant festival, he finds the
loved one again.
38rd Movement. — IN THE COUNTRY

It is a summer evening. He is in the country musing when he hears two
shepherd lads who play the ranz des vaches (the tune used by the Swiss to call
their flocks together) in alternation. This shepherd duet, the locality, the soft
whisperings of the trees stirred by the zephyr wind, some prospects of hope
recently made known to him, all these sensations unite to-impart a long un-
known repose to his heart, and to lend a smiling colour to his imagination.
And then she appears once more. His heart stops beating, painful forebodings
fill his soul. “Should she prove false to him?” One of the shepherds resumes
the melody, but the other answers him no more... sunset ... distant rolling
of thunder ... loneliness . . . silence.

GREATER
AS THE
YEARS
GO BYa ea

Baldwin

A N O §

310 SUTTER STREET

St PEGE LE NSS NER EET AR BETO ER RE LR

4th Movement. — THE PROCESSION TO THE STAKE

He dreams that he has murdered his beloved, that he has been condemned
to death and is being led to the stake. A march that is alternately sombre and
wild, brilliant and solemn, accompanies the procession . . . The tumultuous
outbursts are followed without modulation by measured steps. At last the
fixed idea returns, for a moment a last thought of love is revived — which is
cut short by the death blow.

5th Movement. — THE WITCHES’ SABBATH.

He dreams that he is present at the witches’ dance, surrounded by horrible
spirits, amidst sorcerers and monsters in many fearful forms, who have come
to assist at his funeral. Strange sounds, groans, shrill laughter, distant yells,
which other cries seem to answer. The beloved melody is heard again, but it
has its noble and shy character no longer; it has become a vulgar, trivial and
grotesque kind of dance. She it is who comes to attend the witches’ meeting.
Friendly howls and shouts greet her arrival ... She joins the infernal orgy...
bells toll for the dead ...a burlesque parody of the Dies irae ... the witches’
round dance ... the dance and the Dies irae are heard at the same time.

FIRST MOVEMENT
A. Young’. Musicians... 2. (255i Se ee eee Leonide MASSINE
The. Beloved: -.:2s.s5 seen ct eee Pup dpcuptdon titan Spacer eta memes Tamara TOUMANOVA
Gaiety:
Alexandra DANILOVA and Paul PETROFF
Miles. NELIDOVA, SEROVA, VOLKOVA

Melancholy:
MM. JASINSKY, ZORITCH, PLATOFF

Reverie:
Anna ADRIANOVA
Miles. ABRICOSSOVA, CHABELSKA, GRIGORIEVA, MARRA, OBIDENNA,
RAZOUMOVA, ROSTOVA, STRAKHOVA

(Continued on page 10)

AFTER THE CONCERT
FINE FOODS

Ice Cream «x Sodas
Pastries « Candies

Served in the most beautiful restaurants
in the West—at no greater cost
than elsewhere

Dign Whistle

33 POWELL STREET, Near Market

1032 MARKET STREET, Near Paramont Theatre
and the Opera House

Pareles kat PRN ae a A coon J WE hI V-1 2

Butter BY LINC UDN 24.07
LINCOLN STANDARD
OF MECHANICAL EXCELLENCE

medium-price field the Lincoln standard of mechanical excellence.

ARTHUR R. LINDBURG CO. CHESTER N. WEAVER CO.
1101 Van Ness Ave. 2910 Broadway
San Francisco Oakland

O-Be = YOM NEA Essa POD a Beas

Pe ela. COMI ang
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ROBERT O'CONNOR

AMERICAN PIANIST

RESERVED SEATS VETERANS’ AUDITORIUM
$2.20, $1.65, $1.10, 83c MONDAY, FEBRUARY 1, 1937

SHERMAN, CLAY & CO. EIGHT THIRTY O’CLOCK

Passion:

MM. ALGERANOFF, BOROVANSKY, BOUSLOFF, ISMAILOFF,
KATCHAROFF, LADRE, MATOUCHEVSKY, PETROFF, ROSTOFF

SECOND MOVEMENT
A Ball

The Guests:

Olga MOROSOVA and Dimitri ROSTOFF
Miles. DELAROVA, OSATO, TRESAHAR, ADRIANOVA, CHABELSKA,
CHAMIE, LEONTIEVA, LIPKOVSKA, LVOVA, MARRA, RADOVA,
RAZOUMOVA, STRAKHOVA
MM. ALEXANDROFF, ALGERANOFF, ALONSO, BOROVANSKY
ISMAILOFF, KATCHAROFF, KOSLOFF, LADRE, LIPATOFF,
MATOUCHEVSKY, ROSTOFF, ZEGLOVSKY

OG BCL OVO sec ooec cones bass cee cee tikeeh nae Spe cece nan aednane te seau ede caneececwesnn t= Tamara TOUMANOVA
The Young Musician..........--..----.---cc--ccsseecee-ceseeeeeseceeenesennenceneneceaee Leonide MASSINE

The Old Shepherd............-.-------:-::--css-ccseecesecseecenecneenencesocesemeseseeeneesonene Mare PLATOFF

The Young Shepherd.............--.-----------2-:---ceeccecceeccescesneeeneeeneeneecens Roman JASINSKY

The Young Musician.............-.....-.-.-ccsccsscsecssecoseenerceeeesenttencsransees Leonide MASSINE

Fb) PP sim SY 1216 bye eee ee aoe eee Pree eee Sern ENE anne terernee army yy PPeorer = Tamara TOUMANOVA

FIST Gr CD ceacec ae eee od a Ra caeas staan sce awen esas pec der= mer narreaeas Alexis KOSLOFF
The Picnic:

Miles. Nina VERCHININA, GRIGORIEVA, LVOVA, ROSTOVA

The Children:
Miles. Lisa SEROVA, ABRICOSSOVA, LEONTIEVA, VOLKOVA

The Winds:
MM. PETROFF, BOUSLOFF, ZORITCH

FOURTH MOVEMENT
Mhe Yoting MUsiGian..ccq.222. 1-5-5 cece caensnnate nese ce teeteadsans essen -ponteenenseanee= Leonide MASSINE
Ay a -)eel fn Co) nan sO ane fae bat) APE meee rere mere ere Tree Seer Serge ISMAILOFF
The Executioners:
MM. BELSKY, BOROVANSKY, ROSTOFF, ZEGLOVSKY

The Judges:

MM. ALEXANDROFF, ALGERANOFF, BOUSLOFF, KATCHAROFF,
LADRE, LAZOVSKY, LIPATOFF, MATOUCHEVSKY

CA WIiGHLLGEHLT OF THE CURRENT SHApon-
The World Famous N. Y. AMERICAN

HART HOUSE OSG
STRUNG? O UALR eal ae

James Levy : Arn Adaskin : Milton Blackstone : Boris Hambourg

MONDAY F E B 8 COMMUNITY PLAYHOUSE
EVENING ° Sutter at Mason

Reserved Seats at: Sherman, Clay & Co., 55¢, 85¢, $1.10, $1.65, $2.20
Vallely Current Review — FEBRUARY 11 — Fairmont
MANAGEMENT: ALICE SECKELS-ELSIE CROSS

The Crowd:
Miles. MARRA, CHAMIE, DELAROVA, CHABELSKA, ADRIANOVA,
LIPKOVSKA, LVOVA,
MM. ALONSO, KOSLOFF
FIFTH MOVEMENT

The Monsters:
MM. JASINSKY, PETROFF, ZORITCH

The Witches:
Milles. Tamara TOUMANOVA, Nina VERCHININA, Olga MOROSOVA

The Ghouls:
Miles. DELAROVA, LEONTIEVA, LVOVA, SEROVA, STRAKHOVA
VOLKOVA

The Vampires:
Miles, CHAMIE, LIPKOVSKA, NELIDOVA, RADOVA, RAZOUMOVA,
TRESAHAR

The Spectres:
Miles. ABRICOSSOVA, CHABELSKA, GRIGORIEVA, MARRA,
OBIDENNA, OSATO, ROSTOVA

The Devils:
MM. ALONSO, BOROVANSKY, KATCHAROFF, KOSLOFF, LADRE,
LAZOVSKY, LIPATOFF, MATOUCHEVSKY

The Monks:
MM. PLATOFF, ALEXANDROFF, BOUSLOFF, ISMAILOFF
ROSTOFF, ZEGLOVSKY

Conductor: Pierre MONTEUX

INTERMISSION OF FIFTEEN MINUTES

3,
L’APRES-MIDI D’UN FAUNE

Choreographic Poem
Music by Claude DEBUSSY
Choreography after Waslaw NIJINSKY
Scenery by Prince A. SCHERVACHIDZE
Costumes by Leon BAKST

Debussy’s prelude to the elusive eclogue of Stephane Mallarme—“L’A pres-
Midi d’un Faune”—written in 1892—marked with its appearance a fresh phase
in musical development. It united the atmospheric and colorful qualities of
Manet’s painting and the subtleties of verse of the French Symbolists with
music—created in a stroke what is known today as “musical impressionism.”
This notable work is the musical basis of Nijinsky’s dance-poem. The sub-
stance of Mallarme’s poem has hitherto evaded translation. It consists of half-
lights of speech, so to say, subtle nuances half-expressing, half-veiling, tran-
Slent, elusive moods.

(Continued on page 18)
rl

KNOWLEDGE
OF THIS
SUBJECT

may mean much

to your family oa: ne :

Whether your estate will be large or small, you can
make it provide more effectively for your family’s
future needs by sound planning .. . now.
As a wise preliminary to such planning, we sug-
gest that you read the above booklet. It discusses
estate problems from the practical standpoint of
today’s conditions. And it explains the investment
policies and procedure which form the basis of this
bank’s trusteeship.
A copy of this new booklet will be sent at your request.
Write, call at our Trust Department,
or telephone SUtter 1500.

FRIDAY EVENINGS—KSFO, 7 O’CLOCK
BUSINESS FORUM OF THE AIR
PHILADELPHIA ORCHESTRA
STOKOWSKI—ORMANDY

Ton UnS<t: os) EP An Rok Ma Ba wn.

Wells Fargo Bank
Union Trust Co.

Market at Montgomery Market at Grant Ave.
SAN FRANCISCO
Established 1852

Ee oe

CrOSN@Ee ey

Eo VLESS. C1 TOS

MARIAN
ANDERSON

Opera House (Only Recital)
WED. EVE., FEB. 24, 8:30

Pik OG x

I.
Becrucssunge = Haendel
Chio: mal Vil possa==..5...0 Haendel
SIGIIAN A seers ote Haendel
Ah Spietato
(SArMnadign”) <s-Axes co Haendel
II.
Liebesbotschaft ................ Schubert
AVe MiSWiei sn ee Schubert
Der Tod und das
Maedchen 2. eee Schubert
Die: Morello: 204 Schubert
EET.
Air of “Don Carlos”
(O-Don Mataleye2 i: Verdi
IV.
Die Fusswaschung............ Kilpinen
Schilfrohr, saeus’le
(Saev, saev, susa).......... Sibelius
Sung in Swedish
Diese tbellescin ches Sibelius
Wer es ein Traum.............. Sibelius
Sung in German
V.

, Negro Spirituals:
City called Heaven....Hall Johnson
Lord, I can’t stay

DW BY ese th cassettes Roland Hayes
CEUCTI RON ees ne John Payne
My soul’s been anchored

in the Lord...........: Florence Price

TICKETS: $2.20 — $1.65 — $1.10

SHERMAN,

CLAY & CO.

S. Hurok

music than the invention of the phonograph.”

Through depressions and prosperity, Mr. Hurok has, single-handed, con-
tinued to present large touring organizations of distinction. He managed the
tours of the German Grand Opera, the Russian Grand Opera, the Habima
Theatre, the Italian Piccoli Theatre, the Moscow Cathedral Choir and the
Vienna Choir Boys.

Rachmeaninotf{

OPERA HOUSE

PROGRAM: FRIDAY EVE., 8:30 P. M. — FEB. 5

is
2.

Organ Fantasia and Fugue in G-minor.............................. Bach-Liszt

sonata, Opus 109.3) Ghee ee el ee Beethoven
Vivace ma non troppo
Adagio espressivo
Prestissimo
Andante molto cantabile ed espressivo

(a) Polonaise, C-minor

(b) Nocturne .................. :
(Cc) “Mazurka ( I and aa aS Fk Chopin
(d) Rondo, Opus 16........ }
Four Etudes-Tableaux, Opus 33................000000.0.........--- Rachmaninoff

C-sharp minor

G-minor

E-flat minor

E-flat major
Sonnetto del Petratca N0.22)...2.4 ee eee ee Liszt
Maleie Wires 6.52380 8 cca ee eae es Wagner-Brassin
Bete, Pom jON so. oj. eect ee ee Paganini-Liszt

PROGRAM: SUNDAY AFT., 2:30 P. M. — FEB. 7

She CE he

Variations; (A <M ajOr nie ec tsere eee ee Mozart
(hree.Sonatas:22 2... eee ee Scarlatti
Sonata, Opusi58; B-minor:.-222..2) ee ee ee Chopin
Prelid@ eee oe ge oS Ae IR ane ees Bach-Rachmaninoff
(a) Daisies, song.... / ;

(b) Oriental Sketch f ~~) 6 et toe tel be Loam Rachmaninoff
(a) Nocturne, G-major........ :
Cb): Nocturne, CNoon: Tide); jc | '* ar Gum. ae 1b) ae John Field

(b) Valse Oubliee No. 3

(a) Etude, D-flat major
(c) Polonaise, E-major.. |

$2.50, $2.00, $1.50, $1.10, Including Tax — SHERMAN, CLAY & CO.

MANAGEMENT: PETER CONE EY

ss es Sy oe FE eae

Se FASTA

se onal

mas

‘
¢

Ss, HuROK presaiis
The WORLD‘S GREATEST

SALZBURG OPERA GUILD

TRUDI SCHOOP

AND HER COMPANY OF COMIC DANCERS

Second sensational coast to coast tour.

FEODOR CHALIAPIN

Great Russian Basso.

MARIAN ANDERSON

World’s Outstanding Contralto.
One of the greatest living singers—New York Times.

DANA ENSEMBLE

Famous Polish Singing Quintet.

ARTISTS and ORGANIZATIONS

UDAY SHAN-KAR

AND HIS HINDU BALLET

In a complete new repertoire of Hindu Dances. New
Costumes and New Productions.

“Beauty and Excitement”—New York Times. “Gape
in awe at the superlative beauty of Shan-Kar”—New
York World Telegram.

CONTINENTAL ENSEMBLE

Emma Runitch - Victor Chenkin - Raphael
Unique — Novel — Delightful

RUDOLF SERKIN ‘KOLISCH QUARTET

World’s Greatest

New Genius of the Piano String Ensemble
MADAME PAGLIUGHI GINETTE NEVEU
nate f Phenomenal
Brilliant Italian Coloratura Young French Violinist
ARTUR RUBINSTEIN JOSEPH SCHMIDT
Triumphant Return Engagement Europe’s Radio Idol

VIENNA CHOIR BOYS

Fifth American Tour

grow more vague; fact or fancy, he will never certainly know. If he could but
put substance into his dreams as he blows out empty grape-skins. It is
impossible. He forsakes the vain attempt. The rich sunlight enmeshes him in
languor. The grass is lush and soft. He turns lazily to sleep again and dreams,
since waking blurs the actuality of his visions.

Such is the theme of this pagan poem, pagan, yet etheralised through its
symbolic vision, so that, as has been said, “‘All that is leering and savage in the
face of the satyr disappears. Desire still speaks, but there is a veil of tender-
ness.” The whole poem, as the dance, is symbolic of the transience of
physical delights and the solace of dreams.

PEG ING FD seve celgcteast ones eos oe aes ge ee een daa ge ome meaee pecans Tamara GRIGORIEVA
BE cc WRed Yb 0 Done ee in NOR RE er Per ec es es arene Sue STROM oer Ure oh sity pee David LICHINE

Nymphs:
Miles. ABRICOSSOVA, CHAMIE, MARRA, NELIDOVA, OBIDENNA, OSATO

Conductor: Pierre MONTEUX

SHORT INTERMISSION

4,
CIMAROSIANA

Ballet Divertissement

Music by Domenico CIMAROSA
Choreography by Leonide MASSINE

1. Pas de Trois
Tamara GRIGORIEVA, Lubov ROSTOVA and George ZORITCH

2. Pas de Six

Miles. CHAMIE, LEONTIEVA, VOLKOVA
MM. KATCHAROFF, LADRE, MATOUCHEVSKY

38. Tarantella
Eleonora MARRA and Marian LADRE

4. Pas de Quatre

Anna ADRIANOVA, Vera NELIDOVA
. Serge BOUSLOFF, Serge ISMAILOFF

5. Pas de Trois
Alexandra DANILOVA, Roman JASINSKY and Paul PETROFF

6. Contre-Dance
Miles. ABRICOSSOVA, CHABELSKA, LIPKOVSKA, LVOVA, OBIDENNA,
OSATO, RADOVA, SEROVA, STRAKHOVA, TRESAHAR
MM. ALEXANDROFF, ALGERANOFF, ALONSO, BELSKY, BOROVANSKY,
KOSLOFF, LIPATOFF, PLATOFF, ROSTOFF, ZEGLOVSKY
Scenery and Costumes by Jose- Maria SERT
7. Pas de Deux
Tamara TOUMANOVA and David LICHINE

8. Finale
The Artists of the Ballet

Conductor: Antal DORATI

CAST SUBJECT TO CHANGES

Founder and Director General: COL. W. DE BASIL
Maitre-de-Ballet and Artistic Collaborator: Leonide MASSINE
Conductors: Efrem KURTZ and Antal DORATI
Regisseur General: Serge GRIGORIEFF

STAFF FOR 8S. HUROK

David.LADIGUNS gi) nSeo\ sac 2 ieee gece a tare Company Managers

Maurice Winters |

Gerald “Goodes carn) ti a coe eae eee General Press Representative
[eH 8 MSs Uh) od F- Bisecine Are R t POU RS i oP ts Advance Press Representative
Mae Prohimaniit.ccm.c ices 3 ho eee eee eee Executive Secretary
Boris’ Web War Zit eivste coe faces ee ee Concert Meister
Nathan. Roseim. 2.722. 275s Se eee ee Orchestra Manager
Gy de SU asco wc ep eas cond ctanpaneeerane ce meee Chief Carpenter
Carl "Greence2 8 ice ooo ee es Chief Property Man
Gener Tierney sas pesca ee eee ae ene ne ee eee Chief Electrician
Augustar: Besa ricci oe case coe meses one Wardrobe Mistress

The Management strictly forbids the taking of any photographs or motion
pictures inside the Theatre without written permission.

EXCLUSIVE MANAGEMENT: HUROK ATTRACTIONS, INC.
30 ROCKEFELLER PLAZA, N. Y. C.

COLLECTOR @® DEALER @ APPRAISER

Fine Repairing — Specialist in “Voicing” Master Instruments.
Rare Old Violins--Violas--Cellos--Bows. High--Medium--Low Priced.

The World’s Foremost Exponents of Dance Arts, Headed by The
Monte Carlo Ballet Russe, Use and Recommend .. .

SELVA TOE SLIPPERS

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Dancing Shoes For Ballet-Toe, Tap,

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The BALLET JOOSS also chose DANCE ART BALLETS during recent San Francisco
Engagement. In addition to the ‘‘Only Specialized Theatrical Shoe Service in Northern
California’’ DANCE ART also features complete Stocks of DAZIAN’S, ASSOCIATED
and MAHARAM Costume Fabrics, and ACCESSORIES FOR STAGE AND SCREEN.
WIGS, MAKE-UP, and Musical Dance Accessories, are amon the thousands of theatrical
necessities stocked for the convenience of the Dance and Theatrical Profession.

Headquarters for Parilia Costumes and Supplies.

MUSICIANS MARVEL

AT THE PERFECTED TONE BALANCE
OF THE NEW

BALDWIN - BUILT

BALDWIN PIANOS 310 Sutter Steert

GOOD
HOUSEKEEPING

at advertised

therein

San Francisco Symphony Orchestra

PLE R RE MONT Ex;

Conductor

Willem van den Burg, Asst. Conductor

1937 SEASON

*
TRUE ey ES a chee ae WITH COL. W. DE BASIL’S
ri. : . M., Jan. 29,
Sat. 2:30P.M.,Jan.30, > BALLET RUSSE
‘ : . M., Jan. 30,

Sun 2:30P.M.,Jan.31, | AT THE OPERA HOUSE

Fri, 2:30 P.M., Feb. 5,Opera House, with Toscha Seidel, Violinist

Sat. 8:30P.M., Feb. 6,Opera House, with Toscha Seidel, Violinist

Thur. 8:15 P. M., Feb. 11, Broadcast for Standard Oil Co.

Thur. 8:15 P. M., Feb. 18, Broadcast for Standard Oil Co.

Fri. 2:30 P.M., Feb. 19, Opera House, with Richard Crooks, Tenor

Sat. 8:30 P.M., Feb. 20,Opera House, with Richard Crooks, Tenor

Thur. 8:15 P. M., Feb. 25, Broadcast for Standard Oil Co.

Fri. 8:20 P. M., Feb. 26, Civic Auditorium, with Grace Moore, Soprano

Fri. 2:30 P.M., Mar. 5,Opera House, with Marian Anderson, Contralto

Sat, 8:30 P.M., Mar. 6,Opera House, with Marian Anderson, Contralto

Tues. 8:15 P.M., Mar. 9, Memorial Chapel, Stanford University

Thur. 8:15 P. M., Mar. 11, Broadcast for Standard Oil Co.

Fri. 2:30 P.M., Mar. 19, Opera House, with Isaac Stern, Violinist

Sat. 8:30 P. M., Mar. 20, Opera House, with Isaac Stern, Violinist

Tues. 8:30 P. M., Mar. 23, Civic Auditorium, with Igor Stravinsky and
San Francisco Municipal Chorus

Thur. 8:15 P. M., Mar. 25, Broadcast for Standard Oil Co.

Thur. 8:15 P.M., Apr. 1, Broadcast for Standard Oil Co.

Sat. 10:30 A.M., Apr. 8, Young People’s Concert, Ernest Schelling
Conducting

Fri. 2:30P.M., Apr. 9, Opera House, Ernest Schelling, Pianist

Sat. 10:30 A. M., Apr. 10, Young People’s Concert, Ernest Schelling
Conducting

Sat. 8:30P.M., Apr. 10, Opera House, Ernest Schelling, Pianist

Sun. 3:15 P.M., Apr. 11, University of California

Thur. 8:15 P. M., Apr. 15, Broadcast for Standard Oil Co.

Fri. 2:30 P.M., Apr. 16, Opera House, with John Charles Thomas,
Baritone

Sat. 10:30 A. M., Apr. 17, Young People’s Concert, Ernest Schelling
Conducting

Sat. 8:30 P.M., Apr. 17, Opera House, with John Charles Thomas,
Baritone

Tues. 8:15 P. M., Apr. 20, Civic Auditorium, Sylvia Lent, Violinist

Fri. 2:30 P.M., Apr. 28, Opera House

Sat, 10:30 A. M., Apr. 24, Young People’s Concert, Ernest Schelling
Conducting

Sat. 8:30 P.M., Apr. 24, Opera House

Sun. 3:00P.M., Apr. 25, San Rafael

TICKETS FOR ALL CONCERTS ON SALE
SHERMAN, CLAY & CO. SAN FRANCISCO AND OAKLAND

KAJETAN ATTL'S
HARP ENSEMBLE

Beginners or Advance Students Phone for appointment.

First Harpist with San
Francisco Symphony for
Twenty-four Consecutive

Vears. Large Stock of Harps for Sale or Rent:

1030 BUSH STREET Phone ORdway 6367 Studio No.6

When Buying or Renting a Harp only an Experienced
Harpist can advise Correctly.

$
3
3
$

MUNICIPAL CONCERTS

SAN FRANCISCO SYMPHONY ORCHESTRA
PIERRE MONTEUX, Conductor
WITH

GRACE MOORE |

CIVIC AUDITORIUM — FRIDAY EVE., FEB. 26

IGOR STRAVINSKY

Conducting SAN FRANCISCO SYMPHONY and playing his |
“SYMPHONY OF PSALMS” ,
ALSO
Rossini “STABAT MATER” Conducted by HANS LESCHKE
MUNICIPAL CHORUS

CIVIC AUDITORIUM — TUESDAY, MARCH 23

SAN FRANCISCO SYMPHONY ORCHESTRA
PIERRE MONTEUX, Conductor |
WITH

5k VE A BN

CIVIC AUDITORIUM — TUES. EVE., APRIL 20

RESERVED SEATS: $1.00, 75¢, 50¢, 25¢ — SHERMAN, CLAY & CO.
AUSPICES: ART COMMISSION OF SAN FRANCISCO

EDGAR WALTER, President JOS. H. DYER, JR, Secretary

DIRECTION OF MUSIC COMMITTEE
J. EMMET HAYDEN, Chairman

GEORGE PRING

Studio

Classic and
modern ballet,
character,
Oriental
dancing,
Eurhythmics.
Classes for
beginners or
advanced
students,
all ages.

420 SUTTER STREET

15 Columbus Ave.
SAN FRANCISCO
SUtter 4772

PETER CONLEY Presents
NANCIE

MONTEU X

DANCE RECITAL
VETERANS’ AUDITORIUM
TUESDAY EVE. FEB., 15, 8:30 P. M.

PROGRAM

Sarabande and Variations........ Corelli
J. NIELSEN
Gavotte: 2 eho Lulli
NANCIE MONTEUX
Divertissements ..........------------ Couperin
J. NIELSEN
Mempord! Ballozece eee Scarlatti

NANCIE MONTEUX

Suite: Rondo, Minuet, Badinerie....Bach
NANCIE MONTEUX

Wrench: (Suites. tccee seen escenn Bach
J. NIELSEN
Pantormline 20a ees Mozart
NANCIE MONTEUX
Country Dances22....-e Beethoven
J. NIELSEN
French Revolutionary
Dance ene ero eopuat Songs)
NANCIE MONTEUX

Extract from Ballet Music

from “Rosamunde’”’.............- Schubert
NANCIE MONTEUX

Woaltzess 0 cee ee Brahms
J. NIELSEN

Valse Romantique................-.-- Chabrier

NANCIE MONTEUX

WIRD cet er Oy ea eee: Chabrier
J. NIELSEN

Danse Sacrée

Danse Profane

RM et Leen ee PN ee ers Debussy

NANCIE MONTEUX

Funeral March in
Jazz Tempo ...... Castelnuovo-Tedesco
J. NIELSEN

Danse Sérieuse......:..:.4------------ J. Nielsen
NANCIE MONTEUX

American Olassi@s 2 cose -c2es-o Handy
J. NIELSEN
March, from ‘‘Love for

Three Oranges” ............---- Prokofieff
NANCIE MONTEUX

The Pasmore Quartet (Mary Pasmore,
first violin, William Laraia, second
violin, Erich Weiler, viola, and Dorothy
Pasmore, cello) will play musique de
scene during the intervals.

$2.20 — $1.65 — $1.10 — 83¢
SHERMAN, CLAY & CO.

Leanne eee ee
SS |
SS nnn

TRUDI SCHOOP
COMIC BALLET

ALL NEW PROGRAM

OPERA HOUSE
WED: “EV Ec 8:30
MA OR Coa ee 7

$2.20 — $1.65 — $1.10 Including Tax
SHERMAN, CLAY & CO.

MANAGEMENT: PETER CONLEY

THE ART COMMISSION

EDGAR WALTER, President JosepH H. Dyer, JrR., Secretary

PRESENTS

GRACE MOORE

EIN] LP aE RS Om.

WITH THE
SAN FRANCISCO SYMPHONY ORCHESTRA

PIERRE MONTEUX, Conductor

CIVIC AU DIT Oe
Friday Evening, February 26th

Popular Prices: 25¢ — 50¢ — 75¢ — $1.00
Tickets at Sherman, Clay & Co.

Direction: MUSIC COMMITTEE - J. Emmet HaAypeEn, Chairman

SAN FRANCISCO SYMPHONY ORCHESTRA
ERNEST SCHELLING, Conducting

FOUR SATURDAY MORNINGS (10:30 to 11:30) OPERA HOUSE
APRIL 3 — APRIL 10 — APRIL 17 — APRIL 24

RESERVE SEASON TICKETS NOW
Sherman, Clay & Co. Box Office - Sutter & Kearny Sts., San Francisco

Please reserve the following Season Tickets for the
Four Concerts for Young People:

ORCHESTRA SEATS @ $ 2.00
=] GRAND TIER SEATS @ $ 2.00

DRESS CIRCLE SEATS @ $ 1.40
BALCONY CIRCLE SEATS @ $ 1.00
BALCONY (FIRST 5 ROWS) @ $ 1.00
BALCONY (LAST 6 ROWS) @

BOXES (SEATING 8) @ $30.00

PAYMENT HEREWITH $—————
BALANCE DUE

IN OPIE: = e. ea E A eed ee a be ee ee ee

Street

Ye) 7)1) 2p as ee ene err etre OT, PT ede ey

The Man with the

Baton

PIERRE MONTEUX,
maitre de musique

For the sake of the record we here
append Mrs. Monteux’ neatly-written,
complete account of her famous hus-
band’s career:

“Paris National Conservatory — Ist
prize violin, viola, harmony and
counterpoint,

“Colonne Orchestra — 1st viola (18
years old); 2nd conductor.

“Conductor:
Concerts Berlioz (Paris)
Orchestre Dieppe—concerts, opera
Concerts d’avant-garde (Paris)
Concerts Monteux (Paris)
Ballets Russes de Diaghileff

—5 years

Metropolitan Opera—1916-1919

Boston Symphony Orchestra
—1919-1924

Concertgebouw (Amsterdam)
—1924-1934

Société Wagner (Amsterdam)

Paris Symphony Orchestra
—1930-1937

San Francisco Symphony
Orchestra—1935-

“Has conducted every major orches-
tra in Europe. Only French conductor
to direct Berlin Philharmonic and
Vienna Philharmonic Orchestras, also
Salzburg Festival. Has conducted
many times in the Hollywood Bowl,
as well as the Los Angeles Orchestra
and the Philadephia Orchestra.

And to complete the account, here
is a list of Pierre Monteux’ Victor
recordings compiled by the obliging
H. W. Wilson of the Record Library:

M-111—BERLIOZ, “Symphonie
Fantastique,” Paris Symphony
Orchestra

M-230—PAGANINI, Violin concerto
in D major, with Yehudi Menuhin

M-231—MOZART, Violin concerto in
D major, No. 7, with Yehudi
Menuhin

M-246—MOZART, Violin concerto
in D major (“The Adelaide’’)
with Yehudi Menuhin

11140-1—BERLIOZ, “Benvenuto
Cellini” Overture, Op. 23, and
“Troyens a Carthage” Overture.

Oper

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ROU RTA CN NU AL DOLLAR OPRERA SEAS OW
Tom C. Girton

Presents

FORTUNE GALLO

and his

SAN CARLO OPERA COMPANY

WAR MEMORIAL OPERA HOUSE
FEBRUARY 26 TO MARCH 14 INCLUSIVE

Operas — 22 Performances — 6 Repeats — Tickets: 55¢, 83¢, $1.10, $1.65, $1.93 (tax included)
fr

s $1.93 $1.65 $1.10 $1.65 $1.10 83¢ | 55¢
a Operas | Box [ist 1zzows| Balance | Grand | Drews | Raley | Baleony
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turday Mat., ” 27| Martha and Ballet (ooo... psscssccesessssoes besssoeesnnesnsennee beseasesnee assesses Pessssenscssessnnsses Fonneranennscsnsssees besanasassensstanses
turday Eve., 27/ Tl Trovatore (| oi.cccseccsssscsee peceeereeeesssssesses bocsnssensensesescesesbecusenssenarananeess besensensssnecserane [essseascezsesrsestes paamananenassanensses
inday Mat., % 2B) Rigoletto 9 [oneeceeceseccscsssee bessesececeseeecereee posesesessenstnensene [enseensonseasecitacs bessesnsesenacececoes cap casa pacccebae’ Lea cuat taeteane eee
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lesday Eve., 2) La Traviata (9 (on... .cescesssssenporsesensceseemecets beseseesesenssneencen beceseeseessesncenean becnssrerescnsrantanesparnacnssectacanenass Pacanansennancenece cS
ednesday Eve., ” 8] Jewels of the

Madonna ——_C‘“*édA ne ececen ccc ccc cncncs poco enceneceencncccen freee succecsoaco anaes peescesceecesecncenes bavesesssssecsensens peosnevescescscansten beoveecssseessonsaceer
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Mday Eve., ” 12) Rigoletto

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and Pagliacci —_{....-.----neescnecnee beseeeceeccsenceerers benesesesesensenenees HS so hc Soe wa, Leg Soe ecco cane) [powcweces eaten eeeebs hacen seiencrreennEn F

Mturday Eve. ” 13] La Tosca

ce pacnccuconsences Pecnscccecoccesenecuet bonpccevcnccncscesces peccuccersoscossccces Leccucuyessccosccusos joscoovaccessunconeces WOscoseceESSSSSS“ sus,

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l ORDERS NOW BEING RECEIVED THE TOM C. GIRTON BOX OFFICE

feservations will be filled in order received. Ground Floor Kohler & Chase Bldg., 26 O’Farrell St., San Francisco
Telephone: EXbrook 6696

il Order Coupon The enclosed check G..............-ccecccssscccscscssencsescersnesancesesnnsssee is in full payment

ttion desired Lo) Rane tan Ae Rey ee ROR EEE Aree te erst seats as indicated in above space.
Name (print)............ 8 eR ee ee em PoR OE i IO
COT CRG ooo ceca cca eee cev raves As Tope Seca as ten suecevenonsegeute= saguekwiugiaseedan¥ereces SOE EER eneRomEeeeee

Telephone NO so.c.:i2cc.scsc.cccnsseeaen-paccenssenscausananscutieetavenceseceievansnoanesansteneoseeeeaenneert Hosea

Sie

VOCAL

Rena Lazelle

VOCAL TEACHER AND COACH

3435 Sacramento Street WAlnut 3307
Mondays: Hotel Oakland, Oakland

Joseph Greven

VOICE SPECIALIST

Teacher of Many Local Favorite and
Prominent European and American Artists

927 Lake St. BAyview 5278
Vee 5 er a Bed SA ie eee
Mme. Beatrice Bowman

Teacher of Emily Hardy, Alice Avakian,
Ralina Zarove

2217 California St. Tel. WEst 4406

Nino Comel
VOCAL TEACHING — COACHING
Teacher of Josephine Tumminia and
Mari Monte
376 Sutter St. DOuglas 6379. AShberry 7438

Beatrice Lewis
STUDIO OF THE MODERN DANCE

533 Post Street

MUSICAL DIRECTORY

Henley Voice Studio

Enid Henley, Soprono-Teacher; Homer
Henley, Nationally Known Vocal
Authority

Studio: 2847 Union St. Tel. WE 9036

PIANO

ORdway 0829

Malen Burnett School of Music

Thorough training from kindergarten to
concert stage. Courses for those training
to be teachers.

2580 Broadway. Tel. Fillmore 1898

LINCOLN
ATCHELDE

CONCERT PIANIST - TEACHER

555 SUTTER ST. ®@ SUtter 4970

508 SUTTER nr POWELL

SAN FRANCISCO

CONSERVATORY OF MUSIC

3435 Sacramento Street

WAlnut 3496

A complete musical education from Beginners’ Work to
Professional Coaching in all subjects
DAY AND EVENING COURSES
PIANO, VIOLIN, CELLO, VOCAL, ORGAN, WIND AND BRASS INSTRUMENTS,

SIGHT SINGING, EAR TRAINI

NG, MUSICIANSHIP, HARMONY,

COUNTERPOINT, FORM, ENSEMBLE

NORMAL COURSE with diploma in piano, voice, etc.
SPECIAL CHILDREN’S COURSES

ete olin ole ate ale alee sian

ie al

OBERT WALLACE

IHE HOUSE OF FURS one rorty six GEARY

DUTIFUL MORE
UARACUL SWAGGERS

you of many outstanding values.

The lovely coat illustrated is one 7

of many smart styles, especially tf |

3
3
ae
vik,
we
™ ee: :
Neen 0 $
pen nnn ini %

Priced for this sale event at only L /

Gherman

The magic beauty of world
famous symphoniesis yoursto
enjoy whenever you wish with

Victor Higher Fidelity
RECORDS

popular and classical music .

KEARNY AND SUTTER STREETS
OAKLAND: H.C. CAPWELL'S .. . Fourth Floor

Tune in on K]BS every evening at
10:00 P. M. for two hours of

These are but a few of the symphonies
available on Victor Higher Fidelity
Recordings |

Symphony No. 7 in A Major
(Ludwig van Beethoven, Opus 92)

Played by Arturo Toscanini

and Philharmonic Orchestra

of New York. 5 records with $4(

album

Symphony No. 4 in G Major
(Antonin Dvorak)

Played by the Philharmonic

Orchestra by Vaclav Talich. $751

5 records with album

Schubert’s Symphony No. 8

in B Minor (unfinished)
Played by Koussevitzky and
the Boston Symphony Orches- $6!
tra. 3 records with album

Mendelssohn’s Symphony No.

4 in A Major
Played by Serge Koussevitzky
and the Boston Symphony
Orchestra. 3 records with $63
album

SAN FRANCISCO
SYMPHONY. ee
ORCHESTRA

PIERRE MONTEUX, Conductor wo ;

COL. W. de BASIL’S

BALLET
RUSSE

1e8

10
j A i

WAR MEMORIAL OPERA HOUSE, SAN FRANCISCO

Presented by THE ART COMMISSION OF SAN FRANCISCO
ANGELO ROSSI, Mayor
5s! EDGAR WALTER, President JOSEPH H. DYER, Secretary
Direction of Music Committee: J. EMMET HAYDEN, Chairman
THE BALLET RUSSE IS UNDER MANAGEMENT OFS) AHUR@K

| Va iene
New
PRINTS

in. the
Bes, 4) Ost OV

WiavnineVv

Deicys florals,

conventional patterns
... dark backgrounds

| Misses’ and women’s

sizes . ¢ :

| 2975

DRESS SALON ¢ FOURTH FLOOR

THE ART COMMISSION PRESENTS

San Francisco Symphony Orchestra
AND

Col. W. de BASIL’s BALLET RUSSE

(EXCLUSIVE MANAGEMENT S. HUROK)

Sunday Matinee, January 31st, 1937

LES SYLPHIDES

A Romantic Reverie in One Act

Music by CHOPIN—Orchestrated by Vittorio RIETI
Choreography after Michel FOKINE
Scenery by Prince A. SCHERVACHIDZE, after COROT
Costumes executed by Mme. 0. LAROSE

Nocturne:

Irina BARONOVA, Tamara TOUMANOVA, Tatiana RIABOUCHINSKA,
Kdna TRESAHAR, Galina RAZOUMOVA
Miles. ABRICOSSOVA, ADRIANOVA, CHAMIE, LIPKOVSKA, LEONTIEVA,
LVOVA, MARRA, NELIDOVA, OBIDENNA, OSATO, RADOVA,
ROSTOVA, SEROVA, STRAKHOVA
Roman JASINSKY

Valse:

Tamara TOUMANOVA

Mazurka:

Irina BARONOVA

Mazurka:

Roman JASINSKY

Prelude:
Tatiana RIABOUCHINSKA

Valse:
Irina BARONOVA and Roman JASINSKY

(Continued on page 6)

i
\

Sherman

Kearny at Sutter

H. C. Capwell’s
Fourth Floor, Oakland

8 California Stores

Play records through

your radio

for only

$1650

“sn.

Plays all size records.

Enjoy the music you wish, when you wish!

PETER CONLEY PRESENTS

* « x * te
ADMIRAL

BYRD

IN PERSON - TELLING HIS THRILLING STORY

“CONQUERING THE ANTARCTIC”
ILLUSTRATED WITH MOTION PICTURES

OPERA HOUSE - WEDNESDAY F F B 3
MATINEE 3:15 — NIGHT 8:20 ;

ALL SEATS RESERVED: $1.10 — 83¢ — 55¢ Including Tax

On Sale Now: Sherman Clay & Co., San Francisco and Oakland

Valse:

Irina BARONOVA, Tamara TOUMANOVA, Tatiana RIABOUCHINSKA,

Edna TRESAHAR, Galina RAZOUMOVA
Roman JASINSKY
and Artistes of the Ballet

Conductor: Antal DORATI

INTERMISSION OF FIFTEEN MINUTES.

LE TRICORNE
(THE THREE-CORNERED HAT)

Ballet by Martinez SIERRA, drawn from a Fable by ALARCON
Music by Manuel de FALLA
Choreography by Leonide MASSINE
Scenery and Costumes by Pablo PICASSO

The scenario is adapted by Martinez Sierra from a story by Alarcon

GREATER
AS THE
YEARS

GO BYaa

Baldwin

A N O §

310 SUTTER STREET

(1833-1891), which has also supplied the basis of Hugo Wolf’s opera “Der
Corregidor.” The scene is laid in eighteenth-century Spain.

In rustic quiet a miller and his wife amuse themselves by teaching their
bird to pipe the hours of the day. Enamoured, both are jealous and inclined to
flirt with passers-by, to test each other. The Corregidor, Governor of the
province, passes with his wife and suite through the village. Attracted by the
miller’s wife, the amorous Corregidor seeks to pay her attention. She amuses
herself by flattering and leading on the ridiculous old man.

The miller appearing, his wife mockingly tells him of the Corregidor’s
advances. The Governor, incensed at her mockery, departs threatening revenge.
The miller and his wife celebrate their jest by dancing, drawing their neigh-
bors into merriment. The revels are interrupted by the Corregidor’s Officers,
who arrest the miller and take him away. Alone, the miller’s wife laments.
The Corregidor, bent on achieving his aim, attempts to follow her into the
mill. She eludes him and lures him on to the bridge, where she contrives to
trip him. He falls into the mill stream, and, frightened by her act, the miller’s
wife runs for assistance to extricate him. The Governor, however, gains the
bank in her absence, and entering the mill, divests himself of his garments,
hangs them out to dry and seeks refuge in the miller’s bed.

Meanwhile, the miller returns, perceives the Governor, and determines to
make a public fool of him in revenge. He exchanges his clothes for those of the
Governor, leaving his own behind with a taunting message scribbled on the
wall. The enraged Governor, to pursue him, is reduced to donning the miller’s
clothes; but the villagers, informed of the jest, intercept him and make public
sport of him. While he makes his escape, the throng celebrate his discomfort

by a merry riot, dancing a “jota” as they toss his effigy in the air.
Ms

(Continued on page 10)

AFTER THE CONCERT
®, FINE FOODS

Ice Cream «x Sodas
Pastries « Candies

Served in the most beautiful restaurants
in the West—at no greater cost
than elsewhere

Pign Mhistle

33 POWELL STREET, Near Market

1032 MARKET STREET, Near Paramont Theatre
and the Opera House

SLC INTELL ARO RE LES ELEN LET TONELLI OLDE OLEE TEPER nee ery

—Ss Se

ENTITLE EET EN

—
eda

PEELE OE AT RSS 88 TEETER ETE IT TET TREE eee
eS

sereverry
~ ae

a ee i a Eo ee Be

BUELL BY -LUNGOLN tO) le
LINCOLN STANDARD
OF “MECHANIC ATL “EX 6 Ewer Nite

medium-price field the Lincoln standard of mechanical excellence.

ARTHUR RB. LINDBURG CO. CHESTER N. WEAVER CO.
1101 Van Ness Ave. 2910 Broadway
San Francisco Oakland

RY OUR NEAR ESP 0 DS pe aaa

eel GOIN EIEN
Pete 2S. E oN 1.95

ROBERT O'CONNOR

AMERICAN PIANIST

RESERVED SEATS VETERANS’ AUDITORIUM
$2.20, $1.65, $1.10, 88c MONDAY, FEBRUARY 1, 1937

SHERMAN, CLAY & CO. EIGHT THIRTY O’‘CLOCE

PI MTN Poco cen ieee ca eee x cote ne aca ubeaudes sh eeca saan wucGeree eames eee Leonide MASSINE

Mei MVETILOI S| WUE Cr eicon. coceteeccavecee ee seme ec ae wey eee toe atest! Tamara TOUMANOVA
Them GOVerniOL -.cescote see eee eee Dee Reae semen UN ety I ne A David LICHINE
1 ios BF 10s aeons ee earner eas eran, erie Michel KATCHAROFF

The Alguazils:
MM. ALEXANDROFF, BOROVANSKY, BOUSLOFF, ISMAILOFF,
PLATOFF, ZORITCH

Neighbors:
Miles. CHAMIE, MARRA, NELIDOVA, OSATO, RAZOUMOVA, SEROVA,
TRESAHAR, VOLKOVA
MM. BELSKY, JASINSKY, KOSLOFF, LADRE, LAZOVSKY, LIPATOFF,
MATOUCHEVSKY, PETROFF

Jota:
Miles. TOUMANOVA, DELAROVA, LIPKOVSKA, GRIGORIEVA,
OBIDENNA, ABRICOSSOVA
MM. MASSINE, KATCHAROFF, LADRE and the preceding

Conductor: Antal DORATI

INTERMISSION OF FIFTEEN MINUTES

L’>APRES-MIDI D’UN FAUNE

Choreographic Poem

Music by Claude DEBUSSY
Choreography after Waslaw NIJINSKY
Scenery by Prince A. SCHERVACHIDZE
Costumes by Leon BAKST

Debussy’s prelude to the elusive eclogue of Stephane Mallarme—“L’Apres-
Midi d’un Faune’—written in 1892—marked with its appearance a fresh phase
in musical development. It united the atmospheric and colorful qualities of
Manet’s painting and the subtleties of verse of the French Symbolists with

CAO Gon InGaAs ie eer: SRA Ou
The World Famous N. Y. AMERICAN

HART HOUSE aca
STRING OQUAK TE os

James Levy : Arn Adaskin : Milton Blackstone : Boris Hambourg

MONDAY F 3 B 8 COMMUNITY PLAYHOUSE
EVENING 7 Sutter at Mason

Reserved Seats at: Sherman, Clay & Co., 55¢, 85¢, $1.10, $1.65, $2.20
Vallely Current Review — FEBRUARY 11 — Fairmont
MANAGEMENT: ALICE SECKELS-ELSIE CROSS

music—created in a stroke what is known today as “musical impressionism.”
This notable work is the musical basis of Nijinsky’s dance-poem. The sub-
stance of Mallarme’s poem has hitherto evaded translation. It consists of half-

lights of speech, so to say, subtle nuances half-expressing, half-veiling, tran-
sient, elusive moods.

The Faun, a simple, passionate creature of sylvan life, wakens in the
forest. Fleeting memories of the preceding afternoon tease his brain. Here
and there the images of alluring nymphs, each with her contrasting fascina-
tions, drift through his brain, but he cannot assure himself whether there are
actual memories of beings or mere visions of imagination. Surely there was
one lovely nymph—and yet more—tender, shy, bold, provoking, yielding—only
to recapture events! But he cannot. One after another, images take life before
him, only to elude him. He strives to discern whether it be a swan in shining
flight down by the lake, or naiads playing in the water. The delicious sensations
grow more vague; fact or fancy, he will never certainly know. If he could but
put substance into his dreams as he blows out empty grape-skins. It is
impossible. He forsakes the vain attempt. The rich sunlight enmeshes him in
languor. The grass is lush and soft. He turns lazily to sleep again and dreams,
since waking blurs the actuality of his visions.

Such is the theme of this pagan poem, pagan, yet etheralised through its
symbolic vision, so that, as has been said, “All that is leering and savage in the
face of the satyr disappears. Desire still speaks, but there is a veil of tender-
ness.” The whole poem, as the dance, is symbolic of the transience of
physical delights and the solace of dreams.

Shes Nyiip Weta he eos 2 ope SOs Aes et aoe ee ee Tamara GRIGORIEVA
fcc) 0) « ee Sane eles ere MCT POOMR Me Rn we fee David LICHINE

Nymphs:
Miles. ABRICOSSOVA, CHAMIE, MARRA, NELIDOVA, OBIDENNA, OSATO

Conductor: Pierre MONTEUX

SHORT INTERMISSION

LE BEAU DANUBE
(THE BEAUTIFUL DANUBE)

Character Ballet
Music by Johann STRAUSS
Arranged and Orchestrated by Roger DESORMIERE
Book and Choreography by Leonide MASSINE
Scenery by Vladimir POLUNIN, after Constantin GUYS

Costumes by Count Etienne de BEAUMONT
(Continued on page 18)

KNOWLEDGE
OF THIS
SUBJECT

may mean much

to your family SAG

FRIDAY EVENINGS—KSFO, 7 O’CLOCK
BUSINESS FORUM OF THE AIR
PHILADELPHIA ORCHESTRA
STOKOWSKI—ORMANDY

PRS Si = DUE Ps ATR MM ENE

Wells Fargo Bank
Union Trust Co.

Market at Montgomery Market at Grant Ave.
SAN FRANCISCO
Established 1852

Pee Taga

CONLEY

Presents

MARIAN
ANDERSON

Opera House (Only Recital)
WED. EVE., FEB. 24, 8:30

PR sO Gives

I.
Beg ruesSUN G2. .cececsto.cceecee es Haendel
Chio: mal Vi" PoOssa:2:-<:---..-. Haendel
Sicilian iac2. eee ee Haendel
Ah Spietato
(SArmnadipl’’) ioe. Haendel
II.
Liebesbotschaft ................ Schubert
Ave Maria. =..0.2..0 3 Schubert
Der Tod und das
Macdchnen.. ie Schubert
Die. Porelle:c 2 a2 es Schubert
III.
Air of “Don Carlos”
(O Don Fatale) = i2s..k.. Verdi
IV.
Die Fusswaschung............ Kilpinen
Schilfrohr, saeus’le
(Saev, saev, susa).......... Sibelius
Sung in Swedish
Dre iibelles seas ee Sibelius
Wer es«cin, Traum... Sibelius
Sung in German
V.

Negro Spirituals:
City called Heaven....Hall Johnson
Lord, I can’t stay

away

SANE se a Roland Hayes
See John Payne

My soul’s been anchored

in the Lord.....

TICKETS: $2.20
SHERMAN,

ie Florence Price

$1.65 $1.10
CLAY. @).6 0:

S. Hurok

Through depressions and prosperity, Mr. Hurok has, single-handed, con-
tinued to present large touring organizations of distinction. He managed the
tours of the German Grand Opera, the Russian Grand Opera, the Habima
Theatre, the Italian Piccoli Theatre, the Moscow Cathedral Choir and the
Vienna Choir Boys.

Rachmaninoff

OPERA HOUSE

PROGRAM: FRIDAY EVE., 8:30 P. M. — FEB. 5

1.
2.

Organ Fantasia and Fugue in G-minor........................--.--- Bach-Liszt

Sonata, Opus V098...2..22.222. 2s ee Beethoven
Vivace ma non troppo
Adagio espressivo
Prestissimo
Andante molto cantabile ed espressivo

(a) Polonaise, C-minor
(b) Nocturne ..................

(ce) Mazurka 2. 8. ( SRT RE Oe ALD” RRO NOL a ae Chopin
(d) Rondo, Opus 16........ |
Four Etudes-Tableaux, Opus 33....................2-20...-.....-.- Rachmaninoff
C-sharp minor
G-minor
E-flat minor
E-flat major
Sonnetto:.del Petrarcay NO. 225 ee eee Liszt
Magic: Fireiscc3 visas o ee eee ee Wagner-Brassin
Etudes i-maj orci ee eee Paganini-Liszt

PROGRAM: SUNDAY AFT., 2:30 P. M. — FEB. 7

0 ee ee

Variations; A-major.sccncicle ee ee eee Mozart
Three: Sonatas sso. cscnvicss.cceet ech ee ee ee ee Scarlatti
Sonata, Opus-58;, B-minor::. <3. tee eee Chopin
Prelude: 252k Bi eee hi Oe ae mee Bach-Rachmaninoff

(a) Daisies, song....
(b) Oriental Sketch

(a) Nocturne, G-major........ !
(b) Nocturne, (Noon Tide) {9 UT John Field

(a) Etude, D-flat major
(b) Valse Oubliee No. 3
(c) Polonaise, E-major..

$2.50, $2.00, $1.50, $1.10, Including Tax — SHERMAN, CLAY & CO.

MANAGEMENT ® PETER CONE VY

S. HuROK oresents
The WORLD’S GREATEST

SALZBURG OPERA GUILD

TRUDI SCHOOP

AND HER COMPANY OF COMIC DANCERS

Second sensational coast to coast tour.

“This Trudi Schoop Ballet is the most amusing and
the most amazingly fresh entertainment in New York,”
writes Edna Ferber. “A dazzling evening in the theatre
and a triumph of sheer talent.”

FEODOR CHALIAPIN

Great Russian Basso.

MARIAN ANDERSON

World’s Outstanding Contralto.
One of the greatest living singers—New York Times.

DANA ENSEMBLE

Famous Polish Singing Quintet.

ARTISTS and ORGANIZATIONS

UDAY SHAN-KAR

AND HIS HINDU BALLET

In a complete new repertoire of Hindu Dances. New
Costumes and New Productions.

“Beauty and Excitement”—New York Times. “Gape
in awe at the superlative beauty of Shan-Kar’—New
York World Telegram.

CONTINENTAL ENSEMBLE

Emma Runitch - Victor Chenkin - Raphael
Unique — Novel — Delightful

RUDOLF SERKIN ‘OLISCH QUARTET
New Genius of the Piano String Ensemble

MADAME PAGLIUGHI GINETTE NEVEU

Brilliant Italian Coloratura Voune Eocene

ARTUR RUBINSTEIN JOSEPH SCHMIDT

Triumphant Return Engagement Europe’s Radio Idol

VIENNA CHOIR BOYS

Fifth American Tour

The scene is laid in a public garden at Vienna on a holiday in 1860. The
people are dressed in their best. Little milliners and their companions are
filled with the holiday spirit. They are joined by a group of foppish young
men-about-town, who amuse everyone by their antics. Whilst itinerant per-
formers are displaying their art, a young hussar enters and meets a charming
girl. One of the strolling players, a dancer, recognizes in the hussar her former
lover, and engages in a violent quarrel with his companion, who faints and is
taken away by her parents. She contrives, however, to escape from them, and
returns in time to interrupt a love scene between the hussar and the dancer,
who retires vanquished, leaving the young couple together. The parents, having
missed their daughter, now arrive on the scene and bestow their blessing.

Thexotrect= Dancer. <tr eee ee ee Alexandra DANILOVA
The sD aue itera s. 21 rer Wir eee ee ee Tatiana RIABOUCHINSKA
He A ITSG et ANd... 258 28 a se ee Bs, eee ee ee Olga MOROSOVA
4h) eVc¥al w WG Ih: W etait nn sete tee Pinas eS Ae etry ABD eer ARON ORT PS care 1h Leonide MASSINE
ihepsing ot the Dandies. ce See eee eee David LICHINE
Phe 38 Chl bess c. secsseccuteercass a, corse aetna bees eee ee Edouard BOROVANSKY
De Mave SOT nea ete ee ee ea een, edie, oe H. ALGERANOFF
Bes Mounier. xis secs eae ee eee ec eee ee ee A. ADRIANOVA
AN RCA SG 6 =) gee neRrp en er et iene RMN AS SOM oe bc oh ie SMe re Ls. Whroanec on Ge SM B, BELSKY
ATOR T CIS Geet eeu ae ee ee ee ni eee ek: nee tee ee NR ae A. KOSLOFF
he -Gardener..: 7 4 Rete Conte Bee tee eee eee ee ee H. ALGERANOFF

The Modistes:
Miles. ABRICOSOVA, MARRA, OBIDENNA, ROSTOVA

The Needlewomen:
Miles. LIPKOVSKA, RAZOUMOVA

The Ladies of the Town:
Miles. NELIDOVA, SEROVA, RADOVA, STRAKHOVA

The Salesmen:
MM. ALEXANDROFF, BOUSLOFF, ISMAILOFF, PLATOFF

The Dandies:
MM. ALONSO, KATCHAROFF, MATOUCHEVSKY

Conductor: Antal DORATI

CAST SUBJECT TO CHANGES

Founder and Director General: COL. W. DE BASIL
Maitre-de-Ballet and Artistic Collaborator: Leonide MASSINE
Conductors: Efrem KURTZ and Antal DORATI
Regisseur General: Serge GRIGORIEFF

STAFF FOR S. HUROK
David Libidins }

ae ne eee eRe ER REE Pe ein OR ey ms RNS Company Managers
Maurice Winters |
Gerald: Goode 2cuiwie te oe ok ee ee General Press Representative
Baul .Morrish se ae oe ee Advance Press Representative
Mae: Mrohmians. 20:53 es-0 ton eee ee Executive Secretary
BOris (SW WaT gece acc loetecnncocd ec Siec eee ae eee cae Concert Meister
Nathan” ROS @iis.ccsczceacoe st sccasa cn patsenasscreyscea ee ceses tesa ee eee Orchestra Manager
Clyde sS ravi taco ote oo 5 ae ae eee emer Chief Carpenter
Carl Greenside a ee Be ee eee Chief Property Man
Gene PIGrne yoo 1 Pere rae eee eee eee Chief Electrician
Avigusta Bese mac. 2225 cc, Sees ccc cones eee ee Wardrobe Mistress

The Management strictly forbids the taking of any photographs or motion
pictures inside the Theatre without written permission.

EXCLUSIVE MANAGEMENT: HUROK ATTRACTIONS, INC.
30 ROCKEFELLER PLAZA, N. Y, C.

COLLECTOR @® DEALER @ APPRAISER

Fine Repairing — Specialist in “Voicing” Master Instruments.
Rare Old Violins--Violas--Cellos--Bows. High--Medium--Low Priced.

The World’s Foremost Exponents of Dance Arts, Headed by The
Monte Carlo Ballet Russe, Use and Recommend .. .

SELVA TOE SLIPPERS

Featured in the West Exclusively by

The DANCE ART CO.

Golden Gate Theatre Bldg. — 25 Taylor St. — Phone PRospect 1643

Dancing Shoes For Ballet-Toe, Tap,
Accessories Spanish, Acrobatic,
Dance Belts-Tights ; Modern,

Opera Lengths-Leotards Interpretative

, is Import
Retailers iy ‘ (Ww and

Wholesalers * \ Export

The BALLET JOOSS also chose DANCE ART BALLETS during recent San Francisco
Engagement. In addition to the ‘‘Only Specialized Theatrical Shoe Service in Northern
California’” DANCE ART also features complete Stocks of DAZIAN’S, ASSOCIATED
and MAHARAM Costume Fabrics, and ACCESSORIES FOR STAGE AND SCREEN.
WIGS, MAKE-UP, and Musical Dance Accessories, are among the thousands of theatrical
necessities stocked for the convenience of the Dance and Theatrical Profession.
Costume Pattern, Designing and Wardrobe Making Service
Visitors Cordially Welcome to San Francisco’s Most Fascinating Shoppe.
Catalog and price lists sent anywhere on request. — World Wide Mail Order Service.

Headquarters for Parilia Costumes and Supplies.

MUSICIANS MARVEL

AT THE PERFECTED TONE BALANCE
OF THE NEW

BALDWIN - BUILT

BALDWIN PIANOS 310 Sutter Steert

MAGATING

as odverined

therein

San Francisco Symphony Orchestra

PIERRE MONTEUX,

Thur. 8:30 P.
Fri. 8:30P.
Sat. 2:50 'P.
Sat. 8:380P.
Sun.) 200 Lr.
Fri, 2:30 P.
Sat. 8:30 P.
Thur. 8:15 P.
Thur, 8:15 P.
Fri. 2:30 P.
Sat. 8:380P.
Thur. 8:15 P.
Fri. :8320:P.
Fri. 2:80 P.
Sat. 8:30 P.
Tues. 8:15 P.
Thur. 8:15 P.
Fri. 2:30 P.
Sat. 8:30 P.
Tues. 8:30 P.
Thur. 8:15 P.
Thur. 8:15 P.
Sat. 10:30 A.
Fri. 2:380P.
Sat. 10:30 A.
Sat. _ 8:30 P:
Sun. 3:15 P.
Thur. 8:15 P.
Py. -ZsS05P?
Sat. 10:30 A.
Sat. 8:380P.
Tues, 8:15 P.
Pri, 922302
Sat, 10:30 A.
Sat. 8:30 P.
Sun. 3:00 P.

Conductor

Willem van den Burg, Asst. Conductor

M., Apr.

.M., Apr.

M., Apr.

M., Apr.
M., Apr.

1937 SEASON

a
220 WITH COL. W. DE BASIL’S
36 BALLET RUSSE
31, | AT THE OPERA HOUSE

. 5,Opera House, with Toscha Seidel, Violinist

. 6,Opera House, with Toscha Seidel, Violinist
.11, Broadcast for Standard Oil Co.

.18, Broadcast for Standard Oil Co.

.19, Opera House, with Richard Crooks, Tenor

. 20, Opera House, with Richard Crooks, Tenor

. 25, Broadcast for Standard Oil Co.

. 26, Civic Auditorium, with Grace Moore, Soprano
. 5, Opera House, with Marian Anderson, Contralto
. 6,Opera House, with Marian Anderson, Contralto
. 9,Memorial Chapel, Stanford University

.11, Broadcast for Standard Oil Co.

.19, Opera House, with Isaac Stern, Violinist

. 20, Opera House, with Isaac Stern, Violinist

. 28, Civic Auditorium, with Igor Stravinsky and

San Francisco Municipal Chorus

. 25, Broadcast for Standard Oil Co.
. 1, Broadcast for Standard Oil Co.
. 8, Young People’s Concert, Ernest Schelling

Conducting

. 9,Opera House, Ernest Schelling, Pianist
.10, Young People’s Concert, Ernest Schelling

Conducting

.10, Opera House, Ernest Schelling, Pianist
.11, University of California

. 15, Broadcast for Standard Oil Co.

*,16, Opera House, with John Charles Thomas,

Baritone

.17, Young People’s Concert, Ernest Schelling

Conducting

.17, Opera House, with John Charles Thomas,

Baritone
20, Civic Auditorium, Sylvia Lent, Violinist
23, Opera House
24, Young People’s Concert, Ernest Schelling
Conducting
24, Opera House
25,San Rafael

TICKETS FOR ALL CONCERTS ON SALE
SHERMAN, CLAY & CO.

SAN FRANCISCO AND OAKLAND

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MUN IGI PAL. © ON © ER Tes

SAN FRANCISCO SYMPHONY ORCHESTRA
PIERRE MONTEUX, Conductor
WITH

GRA CE. Mao @ ke

CIVIC AUDITORIUM — FRIDAY EVE., FEB. 26

IGOR STRAVINSKY

Conducting SAN FRANCISCO SYMPHONY and playing his
“SYMPHONY OF PSALMS”
ALSO
Rossini “STABAT MATER” Conducted by HANS LESCHKE

MUNICIPAL) “GBvO;Reu:s
CIVIC AUDITORIUM — TUESDAY, MARCH 23

SAN FRANCISCO SYMPHONY ORCHESTRA
PIERRE MONTEUX, Conductor
WITH

keV A en

CIVIC AUDITORIUM — TUES. EVE., APRIL 20

RESERVED SEATS: $1.00, 75¢, 50¢, 25¢ — SHERMAN, CLAY & CO.
AUSPICES: ART COMMISSION OF SAN FRANCISCO

EDGAR WALTER, President JOS. H. DYER, JR, Secretary

DIRECTION OF MUSIC COMMITTEE
J. EMMET HAYDEN, Chairman

GEORGE PRING

Studio

Classic and
modern ballet,
character,
Oriental
dancing,
Eurhythmics.
Classes for
beginners or
advanced
students,
all ages.

420 SUTTER STREET

eee

15 Columbus Ave.
SAN FRANCISCO
SUtter 4772

PETER CONLEY Presents
NAN CLE

MONTE U X

DANCE RECITAL
VETERANS’ AUDITORIUM
TUESDAY EVE. FEB., 15, 8:30 P. M.

PROGRAM

Sarabande and Variations........ Corelli
J. NIELSEN
Gavotte..2...4.8 eee Lulli
NANCIE MONTEUX
Divertissements” .....-.2:-<---.+--. Couperin
J. NIELSEN
Tempo dr Ballovs = ae. ae. Scarlatti
NANCIE MONTEUX
Suite: Rondo, Minuet, Badinerie....Bach
NANCIE MONTEUX
Brench. Site che tee seen Bach
J. NIELSEN
Pantomime. eee Mozart
NANCIE MONTEUX
Country Dances! -2......-......- Beethoven
J. NIELSEN
French Revolutionary
DANCG lave (Popular Songs)
NANCIE MONTEUX
Extract from Ballet Music
from “Rosamunde’’.............- Schubert
NANCIE MONTEUX
Waltzes wie ct eee ee Brahms
J. NIELSEN
Valse Romantvique.........:.- Chabrier
NANCIE MONTEUX
Waltz aa ee et ees Chabrier
J. NIELSEN

Danse Sacrée
Danse Profane
Sgn Mareen ta age cg geaee Debussy
NANCIE MONTEUX
Funeral March in
Jazz Tempo ...... Castelnuovo-Tedesco

J. NIELSEN
Danse: Sericuses.2... =e -e J. Nielsen
NANCIE MONTEUX
American ClassiGs. sos Handy
J. NIELSEN
March, from ‘“‘Love for
Three Oranges” =. Prokofieff

NANCIE MONTEUX

The Pasmore Quartet (Mary Pasmore,
first violin, William Laraia, second
violin, Erich Weiler, viola, and Dorothy
Pasmore, cello) will play musique de
scene during the intervals.

$2.20 — $1.65 — $1.10 — 83¢
SHERMAN, CLAY & CO.
———SSSEFEFEFEFL~7~AI HDH_=

TRUDI SCHOOP
COMIC BALLET

ALL NEW PROGRAM

O-PIECRGA ssh OxUes.&
WED 2 VE 6753-0
MA R Cereal.

$2.20 — $1.65 — $1.10 Including Tax
SHERMAN, CLAY & CO.

MANAGEMENT: PETER CONLEY

THE ART COMMISSION

EDGAR WALTER, President JosEPH H. Dyer, Jr., Secretary

POR ESE Nets

GRACE MOORE

GOP RIR Rs, -"

TANG GP oh pe ON,

WITH THE
SAN FRANCISCO SYMPHONY ORCHESTRA

PIERRE MONTEUX, Conductor

Cel Vel CAC ie Oye ray
Friday Evening, February 26th

Popular Prices: 25¢ — S50¢ — 75¢ — $1.00
Tickets at Sherman, Clay & Co.

Direction: MUSIC COMMITTEE - J. Emmet HaAypen, Chairman

SAN FRANCISCO SYMPHONY ORCHESTRA
ERNEST SCHELLING, Conducting

FOUR SATURDAY MORNINGS (10:30 to 11:30) OPERA HOUSE
APRIL 3 — APRIL 10 — APRIL 17 — APRIL 24

RESERVE SEASON TICKETS NOW
Sherman, Clay & Co. Box Office - Sutter & Kearny Sts., San Francisco

Please reserve the following Season Tickets for the
Four Concerts for Young People:

ORCHESTRA SEATS @ $ 2.00
GRAND TIER SEATS @ $ 2.00
DRESS CIRCLE SEATS @ $ 1.40
—— BALCONY CIRCLE SEATS @ $ 1.00
BALCONY (FIRST 5 ROWS) @ $ 1.00
BALCONY (LAST 6 ROWS) @
BOXES (SEATING 8) @ $30.00

PAYMENT HEREWITH $—————
BALANCE DUE

SGT TAL) | RR ORe ee Le at Mien ee Mey ee oT NA RS boty Fs

The Man with the

Baton

PIERRE MONTEUX,
maitre de musique

For the sake of the record we here
append Mrs. Monteux’ neatly-written,
complete account of her famous hus-
band’s career:

“Paris National Conservatory — Ist
prize violin, viola, harmony and
counterpoint.

“Colonne Orchestra — Ist viola (18
years old); 2nd conductor.

“Conductor:
Concerts Berlioz (Paris)
Orchestre Dieppe—concerts, opera
Concerts d’avant-garde (Paris)
Concerts Monteux (Paris)
Ballets Russes de Diaghileff

—5 years

Metropolitan Opera—1916-1919

Boston Symphony Orchestra
—1919-1924

Concertgebouw (Amsterdam)
—1924-1934

Société Wagner (Amsterdam)

Paris Symphony Orchestra
—1930-1937

San Francisco Symphony
Orchestra—1935-

And to complete the account, here
is a list of Pierre Monteux’ Victor
recordings compiled by the obliging
H. W. Wilson of the Record Library:

M-111—BERLIOZ, “Symphonie
Fantastique,” Paris Symphony
Orchestra

M-230—PAGANINI, Violin concerto
in D major, with Yehudi Menuhin

M-231—MOZART, Violin concerto in
D major, No. 7, with Yehudi
Menuhin

M-246—MOZART, Violin concerto
in D major (“The Adelaide”)
with Yehudi Menuhin

11140-1—_BERLIOZ, “Benvenuto
Cellini” Overture, Op. 23, and
“Troyens a Carthage” Overture.

Oper

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MAIL ORDER BLANK

FOU RTH ANNUAL DOLL AR OF? Eek AS 2A SLOLN
Tom C. Girton

Presents

FORTUNE GALLO

and his

SAN CARLO OPERA COMPANY

WAR MEMORIAL OPE RA EO U SE
FEBRUARY 26 TO MARCH 14 INCLUSIVE

peras — 22 Performances — 6 Repeats — Tickets: 55¢, 83¢, $1.10, $1.65, $1.93 (tax included)

S $1.93 $1.65 $1.10 $1.65 $1.10 83¢ | 55d
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binesday Eve., ” 8] Jewels of the
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nday Eve., et 4). Madame Butterfly ojo .c00 55 too fosgk sce ecco is ee elo ae coco pce Nese cea eee reseoseeonecsnnsenes
. ORDERS NOW BEING RECEIVED THE TOM C. GIRTON BOX OFFICE
‘servations will be filled in order received. Ground Floor Kohler & Chase Bldg., 26 O’Farrell St., San Francisco
Telephone: EXbrook 6696
1 Onder Coupon Theenclosed check). $.32.2s¢-5.04. 3 visstscsaiesssesatsestcercaueesnsetenare is in full payment
ition desired TOR rete Co Se od Ae cev acto bee OO seats as indicated in above space.
Namie (print) o3sciiess::s0: sstghocseadocsnecte es cccewds teres oe es oe cae ee
POY OSS Sac cd55s 52s Saccchs pans Woceenh ceed SS arcade ede ee tate eae ee ; ee,
Telephone’ Nos. 25.553 cocse eee es ee Rl

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SAN FRANCISCO SYMPHONY ORCHESTRA

PIERRE MONTEUX, Conductor

CIVIC AUDITORIUM
FEBRUARY 26, 8:30 P. M

SOLOISTS:

CHARLOTTE BOERNER
EMILY HARDY

Sopranos

*
ERY OtGe Ree

1. Overture to ‘Fidelio’ Beethoven

2. Aria, Mi chiamano Mimi from “La Boheme”
EMILY HARDY

SOs SUE EE 88s Puccini

3. Symphony No. 3 in C minor for Organ and Orchestra... Saint-Saens

Adagio—Allegro moderato—Poco adagiio
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INTERMISSION
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CHARLOTTE BOERNER

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EMILY HARDY

8. Rakoczy March from “The Damnation of Faust”’............................. Berlioz

Auspices ART COMMISSION OF SAN FRANCISCO
EDGAR WALTER, President JOSEPH H. DYER, Jr., Secretary
Direction: Music Committee, J. EMMET HAYDEN, Chairman

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THE ART COMMISSION
EpGAR WALTER, President JosEpH H. DvER, JrR., Secretary
or
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Symphony Orchesira

GUESTs CONDUCTORS

IGOR STRAVINSKY
HANS LESCHKE

WITH THE

SAN FRANCISCO MUNICIPAL CHORUS
HANS LESCHKE, Director

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San Francisco Symphony Orchestra

PIERRE MONTEUX, Conductor
WILLEM VAN DEN BURG, Assistant Conductor

SILVER JUBILEE SEASON

PR O-GRRE Apes
STABAT MATER . . . . . . . . ROSSINI

Stabat Mater, quartet and chorus

Cujus Animam, tenor solo

Quis est Homo, soprano and alto duet

Pro Peccatis, bass solo

Eia Mater, bass and chorus

Sancta Mater, quartet

Fac ut Portem, alto solo

Inflammatus, soprano and chorus

Quando Corpus, quartet

In Sempiterna Saecula, chorus and quartet

HANS LESCHKE, Conductor
MARIE MONTANA, Soprano
MARGARET O’DEA, Contralto
CECIL LAUSTIN, Tenor
DOUGLAS BEATTIE, Bass

IN EE RMIUIS S31 ON

SYMPHONY OF THE PSALMS . STRAVINSKY
Prelude
Double Fugue
Allegro Symphonique

IGOR STRAVINSKY, Conductor

(First performance in San Francisco)

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PROGRAM NOTES

By ALFRED FRANKENSTEIN

2
STABAT MATER ... - Gioachino Antonio Rossini
(1792-1868)

The Stabat Mater is a twelfth century poem of uncertain authorship—
which has been set to music hundreds of times. The settings most favored
today are those of Palestrina, Pergolesi, Haydn, Rossini and Dvorak.

In 1829 Rossini staged his thirty-fifth and last opera, William Tell.
He was then only 37, but he nevertheless called it a day so far as the lyric
theater was concerned, and the only important work he produce in the 39
years of life that remained to him is that which is sung on this occasion.
And this was written as a sort of accident.

Rossini went to Spain in 1831 with a wealthy Spanish friend named
Agualdo. Here he was requested by a priest, Don Manuel Varela, to create
a Stabat Mater. Rossini was extremely reluctant to do so. With the modesty
of the greatly gifted he regarded himself as a mere theatrical tune-smith.
Religious composition was for the learned, not for one who had left the
academies as soon as his professors assured him he knew enough to harmonize
a melody. But his Spanish hosts were insistent, and at length Rossini gave in.

The first six movements of the work were written by the summer of
1832; then Rossini fell ill and was unable to complete it. He consequently
engaged one Tadolini to compose the last four movements, and in this form
the manuscript was delivered to Don Manuel with the stipulation that it
must never be published, and must be regarded as a personal and private
gift from the composer.

In 1837 Don Manuel died, and his executors sold the manuscript to a
French publisher who proceeded to issue it over Rossini’s protest. At length,
in order to stifle this unauthorized venture, Rossini was forced to finish the
score himself, the new version appearing in 1841,

The text of the poem is appended, divided according to the Rossini
setting. The translation is one that was made for the late Paul Steindorff.

No. -—INTRODUCTION

Chorus and Quartette

Stabat mater dolorosa Stood the afflicted mother weeping,
Juxta crucem lacrymosa, Near the cross her station keeping,
Dum pendebat Filius ; Whereon hung her Son and Lord;

MUNICIPAL CONCERT
SAN FRANCISCO SYMPHONY

PIERRE MONTEUX, ConpDucTor

So ev tT AO Se

VLOUPINIST — GU ES ARES 2

| AUDITORIUM — TUES. EVE. APRIL 20 |

Reserved Seats: $1.00, 75c, 50c, 25c Sherman, Clay & Co.

DIRECTION: MUSIC COMMITTEE — J. EMMeEeT HAYDEN, Chairman

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SPECIAL CHILDREN’S COURSES

THE ART COMMISSION

EpGAR WALTER, President JosrepH H. Dyer, Jr., Secretary

In commemoration of the Silver Jubilee

of the San Francisco Symphony, will

present a Gala Concert in the Civic
Auditorium, Sunday, April 4, 2:15

o clock with the

SAN FRANCISCO SYMPHONY

PIERRE MONTEUX, ConpuctTor
CHARLOTTE BOENER, Soprano

DOUGLAS BEATTIE, Baritone

DIRECTION: MUSIC COMMITTEE — J. EMMeEeT HAypEN, Chairman

ADMISSION FREE — npc coast TO COAST BROADCAST 3 TO 4 P.M.

No. 2—AIR (Tenor)

Cujus animam gementem Through whose spirit sympathizing,
Contristantem et dolentem Sorrowing and agonizing,
Pertransivit gladius. Also passed the cruel sword.
O quam tristis et afflicta Oh! how mournful and distressed
Fuit illa benedicta Was that favored and most blesséd
Mater Unigeniti; Mother of the only Son!
Quae moerebat et dolebat Trembling, grieving, bosom heaving,
Et tremebat, cum videbat While perceiving, scare believing,
Nati poenas inclyti. Pains of that Illustrious One.
No. 3—DUET (Soprano and Contralto)
Quis est homo qui non fleret, Who, the man, who, called a brother,
Christi matrem si videret W ould not weep, saw he Christ’s mother
In tanto supplicio? In such deep distress and wild?
Quis non posset contristari Who could not sad tribute render
Piam matrem contemplari Witnessing that mother tender,
Dolentem cum Filio? Agonizing with her child?
No. 4—AIR (Bass)
Pro peccatis suae gentis For His people’s sins atoning,
Vidit Jesum in tormentis, Him she saw in torments groaning,
Et flagellis subditum. Given to the scourger’s rod;
Vidit suum dulcem natum Saw her darling offspring dying,
Morientem desolatum Desolate, forsaken, crying,
Dum emisit spiritum. Yield His spirit up to God.
No. 5—RECITATIVE (Bass) AND CHORUS
Kia, mater, fons amoris, Make me feel thy sorrow’s power,
Me sentire vim doloris That with thee I tears may shower,
Fac, ut tecum lugeam. Tender mother, fount of love!
Fac, ut ardeat cor meum Make my heart with love unceasing
In amado Christum Deum, Burn toward Christ the Lord, that
pleasing
Ut sibi complaceam. I may be to Him above.
No. 6—QUARTETTE
Sancta mater, istud agas, Holy mother, this be granted,
Crucifixi fige plagas That the slain one’s wounds be planted
Corde meo valide. Firmly in my heart to bide.
Tui nati vulnerati, Of Him wounded, all astounded—
Tam dignati pro me pati, Depths unbounded for me sounded,
Poenas mecum divide. All the pangs with me divide.
Fac me vere tecum fiere, Make me weep with thee in union;
Crucifixo condolere, With the Crucified, communion
Donec ego vixero. In his grief and suffering give;
Juxta crucem tecum stare, Near the cross with tears unfailing
Te libenter sociare I would join thee in thy wailing
In planctu desidero. Here as long as I shall live.
Virgo, virginum praeclara, Maid of maidens, all excelling!
Mihi jam non sis amara, Be not bitter, me repelling
Fac me tecum plangere. Make thou me a mourner too;

No. 7—CAVATINA (Contralto)

Fac ut portem Christi mortem, Make me bear about Christ’s dying,
Passionis ejus sortem, Share His passion, shame defying,
Et plagas recolere. All His wounds in me renew.
Fac me plagis vulnerari, Wound for wound be there created;
Cruce hac inebriari, With the cross intoxicated
Ob amorem Filii. For thy Son’s dear sake, I pray—

San Francisco Symphony Orchestra

PIERRE MONTEUX, Conductor
Willem van den Burg, Asst. Conductor

1937 SEASON

&
DAS Ts OP AREA PAs ar
FRIDAY AFT., 2:30, APRIL 9 and SATURDAY EVE., 8:30, APRIL 10
ERNEST SCHELLING, Pianist
&

FRIDAY AFT., 2:30, APRIL 16 and SATURDAY EVE., 8:30, APRIL 17
JOHN CHARLES THOMAS, Baritone
&

FRIDAY AFT., 2:30, APRIL 23 and SATURDAY EVE., 8:30, APRIL 24
BEETHOVEN NINTH SYMPHONY
@

LAST BERKELEY CONCERT — SUNDAY AFT., 3:00, APRIL 11

BRONISLAW HUBERMAN, Violinist

YOUNG PEOPLE'S CONCERTS
ERNEST SCHELLING, Conducting
April 3—“Form and Construction.” Laura Dubman, piano soloist.
April 10— “Early Suites.”
April 17 — “The Minuet and Scherzo.”
April 24— “The Overture,” with San Francisco Opera School Ballet

SEASON TICKETS (Four Concerts): 60¢ — $1.00 — $1.40 — $2.00

TICKETS FOR ALL CONCERTS ON SALE
SHERMAN, CLAY & CO. — SAN FRANCISCO AND OAKLAND

TOMORROW NIGHT, MARCH 24

There will be a Gala Concert presented in this auditorium by the
California Western School Music Conference, now in convention here.

A band of one hundred and forty, conducted by Frank Mancini of

Modesto, a chorus of three hundred forty, led by Glen Woods of
Okland, and an orchestra of one hundred and thirty five, conducted by

DR. ALFRED HERTZ

will perform, at 8:30 o’clock,
The concert is free to the public.

No. 8—AIR (Soprano) AND CHORUS

Inflammatus et accensus May I, fired with pure affection,
Per te, Virgo, sim defensus Virgin, have through thee protection
In die judicii. In the solemn Judgment Day.

Fac me cruce custodiri, Let me by the Cross be warded,

Morte Christi praemuniri, By the death of Christ be guarded,

Confoveri gratia. Nourished by divine supplies.
No. 9—QUARTETTE

When the body death hath riven,
Grant that to the soul be given
Glories bright of Paradise.

No. 10—FINALE
Through all eternity. Amen.

SYMPHONY OF THE PSALMS .. . Igor Stravinsky
The score bears the following dedication: (1882——)
“This symphony, composed to the glory of God, is dedicated to the

Boston Symphony Orchestra on the occasion of the fiftieth anniversary of

its existence.”

Quando corpus morietur,
Fac ut animae donetur
Paradisi gloria.

In sempiterna saecula. Amen.

where, in keeping with the devotional nature of the poems employed.
The text is taken from the Vulgate. It is appended both in its original
form and as it appears in the King James version.

PRELUDE

PSALMUS XXXVIII, VERSE 13 AND 14

Exaudi orationem meam, Domine,
et depreciationem meam: auribus per-
cipe lacrymas meas.

Ne sileas, quoniam advena ego sum
apud te, et peregrinus, sicut omnes
patres mei. Remitte mihi, ut refrigerer
priusquam abeam, et amplius non ero.

PSALM 39 (KING JAMES VERSION )

DOUBLE FUGUE
The orchestra alone exposes and develops a fugue of its own. The chorus
enters at the 29th bar with a second fugue subject.

PSALMUS XXXIX, VERSES 1, 2,3, AND 4

Expectans expectavi Dominum, et
intendit mihi.

Et exaudivit preces meas; et eduxit
me de lacu miseriae, et de luto
faecis.

Et statuit supra petram pedes meos;
et direxit gressus meos.

Et immisit in os meum canticum no-
vum, carmen Deo nostro.

Videbunt multi et timebunt: et spera-
bunt in Domino.

PSALM 40 (KING JAMES VERSION )

I waited patiently for the Lord,

And He inclined unto me, and heard
my cry.

He brought me up also out of a horri-
ble pit, out of the miry clay,

And set my feet upon a rock, and
established my goings.

And He hath put a new song in my
mouth, even praise unto our God:

Many shall see it, and fear,

And shall trust in the Lord.

* » w< . . . ~ —s Oe ee Se i‘ 7 et ‘ é .

KAJETAN ATTL’S
HARP ENSEMBLE

Beginners or Advance Students Phone for appointment.

Francisco Symphony for When Buying or Renting a Harp only an Experienced
Twenty-four Consecutive Harpist can advise Correctly.
Years. Large Stock of Harps for Sale or Rent:

1030 BUSH STREET Phone ORdway 6367 Studio No.

First Harpist with San

PSALMUS CL

(Alleluia)

Laudate Dominum in sanctis ejus:
laudate eum in firmamento vir-
tutis ejus.

Laudate eum in virtutibus ejus: lau-
date eum secundum multitudinem
magnitudinis ejus.

Laudate eum in sono tube: laudate
eum in psalterio et cithara.

Laudate eum in tympano et choro:
laudate eum in chordis et organo.

Laudate eum in cymbalis bene sonan-
tibus: laudate eum in cymbalis
jubilationis: omnis spiritus laudet
Dominum.

Read Opera House News for the Latest Notes of the
Musical World

Opera House News - 11 Columbus Ave, San Francisco

ALLEGRO SYMPHONIQUE

PSALM 150 (KING JAMES VERSION )

Trumpet;

Praise Him with the Psaltery and
Harp.

Praise Him with the timbrel and
dance;

Praise Him with stringed instru-
ments, and Organs.

Praise Him upon the loud cymbals;

Praise Him upon the high sounding
cymbals.

Let everything that hath breath,
praise the Lord.

Praise ye the Lord.

AFTER THE CONCERT

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Symphony No. 4 in G Major
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Schubert’s Symphony No. 8
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COMMEMORATING
THE SILVER JUBILEE
bE Acs ON 40-6 Ty oe
SUAWNS: FO RtAGN HG ES 1Cs@
SYMPHONY ORCHESTRA

THE ART COMMISSION

ES av. aS

THE

San Francisco Symphony Orchestra

PIERRE MON TEUX, Conductor

CHARLOTTE BOERNER, Soprano
DOUGLAS BEATTIE, Baritone

CIVIC AUDITORIUM

SUNDAY, APRIL 4 Ee OS.7
AT 2:15 P. M.

THE ART COMMISSION OF SAN FRANCISCO

EDGAR WALTER, President JosEPH H. Dyer, Jr., Secretary

J. EMMET HAYDEN, Chairman Music Committee

To the Citizens of San Francisco: —

Congratulations to the Musical Association of San Francisco
for having maintained the San Francisco Symphony Orchestra for
twenty-five years, and built it up to a point where it is now recognized
as one of the really great orchestras of the world.

It is, I am sure, with pardonable pride that I call attention to
the Municipal Election two years ago when by an overwhelming
majority, the voters of San Francisco decided to make the Symphony
Orchestra a civic enterprise and assist in its maintenance through
a very slight addition to the tax fund.

We are gratified to have this wonderful orchestra, with its
distinguished conductor, Pierre Monteux, and I am sure we all agree
that an equally sincere vote of thanks is due Mrs. Leonora Wood
Armsby, president of the Musical Association of San Francisco, and
the Board of Governors of the Association for preserving this
valuable organization.

As an indication of the appreciation of the public I can point
to the attendance at the Municipal Concerts given this season.
Through the efforts of the Art Commission’s Music Committee, of
which Mr. J. Emmet Hayden is chairman, these concerts have been
successful to the point where a surplus was created in the Art
Commission’s fund, and it was therefore deemed the proper medium
of reciprocity would be a free concert for the citizens of San Francisco
in appreciation. To this the Musical Association and the members
of the Orchestra heartily agreed, and we are here today not only to
enjoy a rich musical feast, but also by our attendance to express
our appreciation and realization of what a symphony orchestra
means to our community.

Respectfully,

ANGELO J. ROSSI, Mayor

SAN FRANCISCO SYMPHONY ORCHESTRA

PIERRE MONTEUX, Conductor

CIVIC AUDITORIUM
APRIL 4, 2:15 P. M.

CHARLOTTE BOERNER, Soprano
DOUGLAS BEATTIE, Bass-Baritone

Soloists:

PROG, RAY

1. Overture, “Le Carneval Romain”

2. Aria, “Deh vieni non tardar” from “The Marriage of Figaro”

CHARLOTTE BOERNER

3. “Festivals”

4. Aria, “Once in Kazan” from “Boris Goudounow”
DOUGLAS BEATTIE

5. The Sorcerer’s Apprentice
INTERMISSION

6. (a) “La Calunnia” from “The Barber of Seville”

See eB ee eee eee ewe

(b) Song to the Evening Star from “Tannhauser’..............

DOUGLAS BEATTIE

7. Bacchanale from “Tannhauser” (Paris Version) <:...i0:..2 eee

(Assisted by members of the Municipal Chorus)

8. (a) Agathe’s Aria from “Der Freischutz”.........................

(b) Aria, “Ah, Forse é Lui” from “La Traviata”...

CHARLOTTE BOERNER

9. Rondo, “Till Eulenspiegel’s Merry Pranks”... Richard Strauss

San Francisco Symphony Orchestra
PIERRE MONTEUX, Conduetor
Willem Van den Burg, Assistant Conductor
@

FRIDAY AFT., 2:30, APRIL 9 and SATURDAY EVE., 8:30, APRIL 10
ERNEST SCHELLING, Pianist

FRIDAY AFT., 2:30, APRIL 16 and SATURDAY EVE., 8:30, APRIL 17
JOHN CHARLES THOMAS, Baritone

FRIDAY AFT,, 2:30, APRIL 23 and SATURDAY EVE., 8:30, APRIL 24
BEETHOVEN NINTH SYMPHONY

SYMPHONY OF PSALMS. . STRAVINSKY

LAST BERKELEY CONCERT — SUNDAY AFT., 3:00, APRIL 11
BRONISLAW HUBERMAN, Violinist

———————SS6CWSE==

YOUNG PEOPLE’S CONCERTS 10:30-11:30 A. M.
ERNEST SCHELLING, Conducting

April 10— “Early Suites.”
April 17 — “The Minuet and Scherzo.” 3
April 24— “The Overture,” with San Francisco Opera School Ballet

RESERVED SEATS: 50c — 35c¢ 25e — l5dc

Civic Auditorium Tuesday Eve., April 20

SAN FRANCISCO SYMPHONY |:

PIERRE MONTEUX, Conductor
WITH

SYLVIA LENT vrozrwisr

AND

MEREDITH WILLSON

CONDUCTING HIS “SYMPHONY OF SAN FRANCISCO”
Reserved Seats: $1.00 — 75c — 50c — 25c
Now on sale at Sherman, Clay & Co., Sutter and Kearny Streets

THE ART COMMISSION

EDGAR WALTER, JOSEPH H. DYER, JR., Sec

Presents
THE SAN FRANCISCO
SYMPHONY ORCHESTRA

PIERRE MONTEUX, Conductor

soloist

SYLVIA LENT

Violinist

MEREDITH
WILLSOWN

Guest Conductor

IKE

CIVIC AUDITORIUM
fIPRILAZ0) 137

UNDER THE DIRECTION MUSIC COMMITTEE: J. EMMET HAYDEN, Chairman

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_ Ln Appreciation

At the conclusion of the 1937 season of Municipal
Concerts the Art Commission desires to express its
grateful appreciation to the citizens of San Francisco
who have made possible one of the most brilliant and

successful seasons in the existence of Municipal Concerts.

Without your generous patronage and enthusiastic co-
operation these Municipal Series would have been
impossible. The Commission extends its hearty thanks
to Pierre Monteux, under whose direction and guidance
our orchestra has attained distinguished heights, to the
Musical Association of San Francisco, and to its energetic
president and managing director, Mrs. Leonora Wood

Armsby.

The Art Commission of the City and County of San
Francisco trusts that it will continue to deserve your
Support by constantly keeping these concerts upon a

high artistic level and maintaining their meritorious

standard.

EpGAR WALTER
JOSEPH Je DYER, JR. President, Art Commission of the
Secretary City and County of San Francisco

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Epcar WALTER, President Josrpu H. Dyer, Jr., Secretary

PARE GS aNeek is

THE SAN FRANCISCO SYMPHONY ORCHESTRA
PIERRE MONTEUX, Conductor

CIYIC A VD FRO RIUM
K.P Reel. Boe0 = 8 720 - ae

PUR OG ReAsGay,
1. OVERTURE TO. THE RINGROD "Y Sizer ace LALO

D> et NERTELOINGY~ STEN Bee IVETE RS srs ane WILLSON
(A Symphony of San Francisco)
Andante—Allegro ma molto moderato—Allegro molto
Andante
Presto
Allegro
MR. WILLSON, Conducting

Tt Noe SS OWN

3. CONCERTO FOR VIOLIN AND ORCHESTRA,
Ge MINORS sOPUS 22 Oe 2 xen cee ete cir te eee BRUCH
Prelude—
Adagio
Allegro energico
MISS LENT, Soloist

4. INTRODUCTION AND WEDDING MARCH ,
FROVESTHE GOLDEN COCK 2233 -= RIMSKY-KORSAKOFF

UNDER THE DIRECTION OF THE MUSIC COMMITTEE
J-EMMET HAYDEN, Chairman

PoE SEE“ R>.C*OenNrr een

Welt eRe te Ne?

HENRI
DEERING

PIANO RECITAL

&
VETERANS’ AUDITORIUM
MONDAY EVE., APRIL 26

HENRI DEERING — JISAAC STERN
SONATA RECITAL — TUES. EVE., MAY 11

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PROGRAM NOTES

By ALFRED FRANKENSTEIN

OVERTURE TO “THE KING OF YS” . Edouard Lalo
(1823-1892)

Margared and Rozenn, daughters of the king of the ancient Breton city
of Ys, both love a warrior named Mylio. Mylio returns Rozenn’s love and is
married to her, whereupon Margared makes common cause with the enemies
of Ys. She opens the sea-gates of the town during the wedding of Mylio and
Rozenn and throws herself into the flood. A vision of the city’s patron saint
appears as the water recedes and Ys is saved.

The overture is drawn from material in the opera and depicts its highly
dramatic conflict.

SYMPHONY IN F MINOR .. .. . Meredith Willson
(A Symphony of San Francisco) (1902 )

Mr. Willson was born in Mason City, Iowa. At the age of 14 he went to
New York to study flute with Georges Barrére. At the age of 17 he was
flute soloist in Sousa’s band, and at 20 was first flutist of the New York
Philharmonic Orchestra. After five years with the Philharmonic he came West
to go into the radio field, and has been musical director for the western
division of the National Broadcasting Company since 1933.

Mr. Willson’s symphony in F minor was given its first performance at a
special concert of the San Francisco Symphony Orchestra exactly one year

ANNOUNCEMENT...

LAST PAIR OF SYMPHONY CONCERTS

Friday Afternoon, April 23, at 2:30
Saturday Evening, April 24, at 8:30

W ACKY- MEM 26 Ra Aales OFP iis RA GH O2ULS Er
PAI O; GaKecAM

SAN FRANCISCO MUNICIPAL CHORUS

Soloists:

LENA KROPH, Soprano MYRTLE LEONARD, Contralto

ROY RUSSELL, Tenor DOUGLAS BEATTIE, Bass
ESN PHONY Of {PSALMS 22.3. sae ee STRAVINSKY
SYMPHONY No. 9 (@HOraENEf 52478 4. See eel ieee BEETHOVEN

and one day ago. At that time the program book contained the following
material, contributed by the composer:

“The Symphony in F minor, which is specifically dedicated to Frederick
Winfield Pabst and Lewis Scott Frost, was inspired by the incomparable
traditions of San Francisco. It is not an attempt at specific or program
writing but rather a delineation of the spiritual personality that is San
Francisco.

“The first movement begins with a brief Andante introducing the
fundamental accompaniment motive. This motive is developed slightly in
an Allegro ma molto moderato which leads into a further short development,
Allegro molto, which in turn leads directly to the first theme which is
definitely of masculine character. The second theme in contrast, is a simple
melody that sounds almost like an old hymn tune. Generally speaking, the
first movement is intended to convey pioneer courage, loyalty, strength of
purpose and freedom.

The second movement is an Andante in passacaglia form, and here I
have tried to express in music the rebirth of a great city from smouldering
ruins and ashes. The theme of this movement begins in a scarcely audible
thread of sound from muted violi, celli and harp, and with each subsequent
variation on the theme hope rises higher and higher.

“The third movement, marked Presto, is a happy little piece picturing
the almost childish delight of a people who have a continental love for artistic
pursuits; a music loving sincerity that thronged the streets on Christmas eve
to hear Tetrazzini’s Caro Nome at Lotta’s Fountain. The two themes in the
scherzo are introductory to the fourth movement, which follows without pause,
It is an Allegro molto of steel and present-day metropolitanism. It strives
to depict an impressive skyline approached on either side by the most awe
inspiring works of the modern engineer. The first theme is in the rhythm
of the machine age, the second is one suggesting martial triumph. The
trumpet motive, which is heard through this final movement and which occurs
at its very conclusion, is a call of defiance to the very elements themselves

AFTER THE CONCERT
FINE FOODS

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that had the temerity to dispute the spiritual strength and courage of the
golden city of the West.”

CONCERTO FOR VIOLIN AND ORCHESTRA,

G MINOR, OPUS 26. . .... +. . Max Bruch
(1838-1920)

Fate has played one of its oddest tricks with the posthumous reputation
of Max Bruch. Celebrated in his time as one of the first choral composers
of the age, he is remembered today almost solely for his contributions to the
literature of the violin and violoncello. But he was not in any sense a
specialist in writing for the strings, and the present concerto owes much of
its position to the fact that it was thoroughly revised by Joseph Joachim,
who gave the first performance of the final version in 1868.

I. Prelude. Allegro moderato, G minor, 4/4 time. Dramatic phrases
for the woodwind and two brief cadenzas for the solo lead to the first subject,
stated by the principal violin over an emphatically moving bass:

A repetition of this theme an octave higher and a return of the moving bass
figure leads to the second subject, also stated by the solo:

A concluding theme of less importance ends the exposition. The development
opens with a fiery, dramatic working out of Example 1 in the solo, after which
the orchestra considers the possibilies inherent in the first measure of Example
2 while the violin continues with decorative passage work. The solo rests as
the orchestra continues its working out of the principal themes. There is no
recapitulation, but the woodwind phrases and solo cadenzas of the opening
return at the end of the movement. A brief, progressively quieter passage for
the orchestra leads without pause to

II. Adagio, E flat major, 3/8 time. The solo gives out the main theme
beginning thus:

The theme is long, with an important second section, the concluding portion
of which is subjoined:

The contrasting middle section of the movement is introduced by the orchestral
strings, the solo violin continuing above with decorative material:

7
a Se
Ta acer eee eke ee

The solo now reintroduces Example 4, and the movement proceeds to work
over and discuss all the themes quoted, now in the solo instrument, now in the
accompaniment. Example 3 is given a full restatement before the conclusion.

Sate

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III. Allegro energico, G major, 2/2 time. Orchestral foreshadowings
predict the main theme, heard in its full form at the entry of the principal
instrument:

This is repeated in varied aspects. Triplet passage work for the solo effects
the transition to the second theme, heard first in the orchestra alone, but
quoted here as suny by the solo immediately afterward:

A brief passage based on Example 6 leads to an orthodox recapitulation
wherein Examples 6 and 7 and their various nexuses are given a second
extensive hearing. A coda based on Example 6 concludes the concerto.

INTRODUCTION AND WEDDING MARCH FROM

‘THE GOLDEN COCK” . N. A. Rimsky-Korsakoff
(1844-1908)

King Dodo, ruler of a mythical kingdom, is beguiled by a scheming’
astrologer into believing that a golden cock, placed on the tower of the royal
palace, will protect his country from harm. The king offers the astrologer
any reward he may desire, and proceeds to sleep, secure in his faith in the
magic bird. The cock crows to warn of danger. The armies of Dodo go out
to fight, but they cannot find the enemy. Dodo himself, searching for hostile
troops, finds instead the beautiful Queen of Shemakhan, whom he brings back
to his palace and is about to marry. But the astrologer appears and demands
the queen as his reward. Dodo is shocked and refuses, whereupon the golden
cock flies down from its perch and kills him with a vigorous peck. At the
end the astrologer explains that it was all a myth and a dream.

The prelude is based largely upon three leading motives associated
with characters in the drama. It opens with the trumpet crowing the theme of
the golden cock. Odd chromatic runs in the woodwinds (familiar from their
appearance in the popular Hymn to the Sun) represent the queen. The
astrologer appears in a bright, mysterious melody played by the bells. The
wedding march, played at the triumphant return of Dodo and his bride-to-be,
needs no description.

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SAN FRANCISCO
SYMPHONY ORCHESTRA

PIERRE MONTEUX, Conductor

SPRING SERIES, 1937
FIRST BERKELEY CONCERT, SUNDAY, JANUARY 17, 3:15 P.M.
GYMNASIUM FOR MEN

Soloist: GEORGE GERSHWIN, Pianist
(4

PROGRAM

1.Symphony No.5,inC minor . . .. . . . Beethoven
Allegro con brio
Andante con moto
Scherzo: Allegro—
Finale: Allegro

2. Suitefrom “Porgy and Bess” . . . . . . . . Gershwin
Catfish Row
Porgy Sings
Fugue
Hurricane
Good Mornin’, Sistah
(Conducted by the Composer)

INTERMISSION

3. Concerto for Piano and Orchestra, F major . . Gershwin
Allegro
Allegro agitato )
(The Composer at the Piano)

A Rhapsody in Blue 2 3 Sey 0 ee ee Gera

ANNOUNCEMENTS

Concert by University of California Symphony Orchestra, conducted by
ProFEssor ALBERT ELKus, February 28. Open to the public without admis-
sion charge.

Second concert by the San Francisco Symphony Orchestra, April 11. Soloist,
Vrapimir Horowrrz, pianist. Tickets $1.50, $1.00, 75 cents. Students 50

WN oP VaEeRoSe> PY O -B © 2A al eby OP Rae Nai

COMMITTEE ON MUSIC AND DRAMA

SAN FRANCISCO
SYMPHONY ORCHESTRA

PIERRE MONTEUX, Conductor

SPRING SERIES

1937

LAST BERKELEY CONCERT, SUNDAY, APRIL II, 3:15 P.M.
GYMNASIUM FOR MEN

Soloist: BRONISLAW HUBERMAN, Violinist
¢

PROGRAM
1. Overture.” Le Carnival Romain’ 25. ©... 2 eee berio2
2. Concerto for Violin and Orchestra, D major . . . Brahms
Allegro non troppo

Adagio
Allegro giocoso, ma non troppo vivace

Mr. HuBERMAN

INTERMISSION

| 3. Symphonic Interlude from “The Redemption” Cesar Franck

4. Suite from The Fire-Bird* "3-9 oye es OLRarI ay

Introduction—Variations from the Fire-Bird

Rondo of the Princesses
Dance Infernal of the King Kastchei
Berceuse and Finale

ANNOUNCEMENT

University of California Concert Band, Charles C. Cushing, Director, in
a program of symphonic music. Gymnasium for Men, University of Cali-
fornia, April 18, at 3:15 p.m. Admission free.

STANFORD UNIVERSITY PAVILION
ASSOCIATED STUDENTS OF STANFORD UNIVERSITY

Present

SAN FRANCISCO
SYMPHONY ORCHESTRA

PIERRE MONTEUX, Conductor

TUESDAY EVENING, JANUARY 26, 1937

PROGRAM
I. Prelude to:” Die Meistersinger 2s) 2 i ee WV ao Her
2. oy tonony Nolo, in“ Crminoriee sy te iro ee eet aes aren)
Allegro con brio
Andante con moto
Scherzo: Allegro
Finale: Allegro
Intermission
3.) Petite Guitars fy ic nee ea has Sat os Pee) Eee a on oT Bree
On the Water
Procession
Menuet
Ballet
4. (a) Waltz from Serenade. Opus 48. . . . . . =Tschaikowsky
(b) Pizzicato from Symphony No.4 . . . . . =Tschaikowsky
5: Fete Polonaise trom ‘Le Roi:Malore-Lui- 3/20 22 se 3) Chabrier

By arrangement with CAROLYN E. WARE
ELIZABETH STEARNS, Concert Manager

The A.S.8.U. Concert Series will present Rachmaninoff, February 10; Wilbur Evans,
March 1]; Lawrence Tibbett, April 16.

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Baldwin Pianos on display at

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266 University Avenue Palo Alto

Commemoration of

FOUNDERS’ DAY

MARCH 9, 1937

8:30 P.M.

SAN FRANCISCO SYMPHONY ORCHESTRA

PreRRE Montevux, Director

STANFORD MEMORIAL CHURCH
STANFORD UNIVERSITY

[his concert is given on the birthday of Senator Stanford as a suitable recog-
nition of the debt owed by all Stanford men and women to the Founders of the
University.

PROGRAM

Prelude to. Parsifal’ )-." 9 5G la ing ge 2y) ae | Wagner

The following are Wagner's own words about the Prelude’
to Parsifal, as contained in H. E. Krehbiel’s Studies in the
Wagnerian Drama: “Strong and firm does Faith reveal itself,
elevated and resolute even in suffering. In answer to the

| The audience is requested to refrain from applause

| renewed promise, the voice of Faith sounds softly from emi-
nent heights—as though borne on the wings of the snow-
white dove—slowly descending, embracing with ever-in-
| creasing breadth and fullness the heart of man, filling the
| world and the whole of nature with mightiest force, then, as
| though stilled to rest, glancing upward again toward the light
of heaven. Then once more from the awe of solitude arises
the lament of loving compassion, the agony, the holy sweat
of the Mount of Olives, the divine suffering of Golgotha; the
| body blanches, the blood streams forth and glows now with
| the heavenly glow of blessing in the chalice, pouring forth
on all that lives and languishes the gracious gift of Redemp-
tion through Love. For him we are prepared, for Amfortas,

l the sinful guardian of the shrine, who, with fearful rue for
Sin gnawing at his heart, must prostrate himself before the
chastisement of the vision of the Grail. Shall there be re-
demption from the devouring torments of the soul? Yet once
again we hear the promise and—hope!”’

Variations on a Theme of Tschaikowsky . . . . Arensky

These variations, which first appeared as a quartet for
strings, are built on a theme from Tschaikowsky’s Opus 54,
No. 5, the Opus being a group of sixteen songs for children.
The fifth one is entitled ‘The Infant Jesus Has a Garden.”
There are seven variations with a coda added.

Symphonic Interlude from "The Redemption” . César Franck

“The Redemption,” a choral and orchestral work in three
parts, with text by Edouard Blau, porirays the material and
Spiritual redemption of the world. The coming of Christ
brought about the material redemption of mankind; the spirit-
ual redemption is to be won in future ages by the means of
prayer.

In giving musical expression to this idea, Franck divided
the work into three parts, the first and last choral and the
second part orchestral. In the first part mankind is shown in
its evolution from the crass pleasures of paganism to the
regeneration through the coming of the Savior. In the sym-
phonic interlude which then follows—the excerpt to be
played this evening—the composer gave the following argu-
ment: “Centuries pass. The joy of the world transformed
and flourishing by the word of Christ. The era of persecution

is started in vain, Faith triumphs over all obstacles. But now
the modern period has come. Belief has perished, and man-
kind, once more possessed by a cruel lust of enjoyment, and
vain agitations, returns to the passions of the earlier ages.”

Symphony No. 3, in C Minor (with Organ) . . Saint-Saéns

Adagio—Allegro moderato—Poco adagio

Allegro moderato—Presto—Maestoso—Allegro
(LESLIE HARVEY, Organist)

Although the C minor symphony of Saint-Saéns is num-
bered the third of his series of symphonies, it is in reality the
fifth. The original second and third symphonies were not
satisfactory to the composer upon their first performances
and were not published until some time later, while the fifth
symphony, in C minor, was published as No. 3.

The work was composed as the result of a request made
to Saint-Saéns by the Philharmonic Society of London, and
was first presented by the Society on May 19, 1886, with the
composer conducting. Upon the occasion of Saint-Saéns’ last

visit to America in 1915 it was first heard in San Francisco at
the Panama-Pacific International Exposition.

First, the Nature .... and Purposes
of the Institution Hereby Founded,
to Be:

Its nature, that of a university with
such seminaries of learning as shall
make it of the highest grade....

And its purpose, to promote the
public welfare by exercising an in-
fluence in behalf of humanity and
civilization. ...

—From the Founding Grant,
November 11, 1885

a i i a

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MARIN MUSICAL CHEST

PRESENTS

San Francisco

Symphony Orchestra

PIERRE MONTEUX, Conductor
Soloist: HENRI DEERING, Pianist

FOREST MEADOWS
DOMINICAN COLLEGE

SAN RAFAEL

Sunday Afternoon, April 25, 1937

3 O’CLOCK

Shs Rafa el «GG Indepe Sp nt

Compliments of

First National Bank

in San Rafael

AFFILIATED WITH

Bank of San Rafael

Members Federal Deposit Insurance Corporation

OO IP OOP PP PA

PROGRAM

I. Overture ‘‘Le Carnival Romain’’ - Berlioz
“The Roman Carnival’ was written to be eee as an overture to
the second act of Berlioz’ opera “Benvenuto Celline”’, in 1838. It is
brilliant throughout, and full of the gay, bustling scenes of a carnival.

II. Concerto for Piano and Orchestra,

A Minor, Optis 54 - : x : - Schumann

Allegro affetuoso
Intermezzo
Allegro vivace

HENRI DEERING, SOLOIST

“The first movement of this concerto”, writes Mr. Alfred Frankenstein,
noted San Francisco music critic, “was completed in 1841’. It was origin-
ally conceived not as a part of a concerto but as a separate and complete
work, and it departs in many ways from the accepted traditions of the
concerto style. The most obvious of these departures are that there is
no long orchestral statement of thematic material before the entrance of
the solo instrument, and that the cadenza is not left to the caprice of
the solo instrument, but was composed by Schumann himself and in-
corporated as an integral portion of the score. There are other points of
difference, also, the whole conspiring to create greater unity between the
solo and the orchestra than is the case with the conventional concerto of
Schumann’s time. 7

INTERMISSION

III. Prelude to ‘‘Die Meistersinger’’ : . - Wagner

“Die Meistersinger”’, Wagner’s only comic opera occupied the attention
of the composer over a period of twenty years. It was finished in 1867
and produced in Munich in 1868. The Prelude is composed of some of the
principal themes, two of them symbolizing the corporation of the Master-
singers, the others, various phases of the love of “Eva” and “Walther”.
It Opens with the Meistersinger’s motive, a noble march movement im-
mediately followed by a gentle motive “Waking Love”. Other themes
included, are the “Banner” and a very melodious theme, ‘Love Confessed”’,
followed by an agitated motive “Impatient Ardor’, and ending in an
imposing climax with the motives ingeniously woven together by various
groups of instruments.

IV. ‘‘Festivals’’ - - - - - - - Debussy

Claude Achille Debussy is a leader among the more progressive French
composers. “Festivals,” is one of three nocturnes in a suite which includes
“Clouds” and “Sirens” and is the last word in delicate impressionism, de-
picting a festival at night with fireworks. The nocturnal procession is
announced by three muted trumpets, accompanied by harps, which is one
of the most beautiful compositions in orchestral literature.

V. “‘Capriecio Espagnol’’ - - - Rimsky-Korsakow

The “Capriccio Espagnol” was first performed in St. Petersbery in 1887
and is constructed in five movements: “Alborada’, or “Miorning Seren-
ade’; “Variations”, consisting of five variations upon a theme given out
by horns with string accompaniment; “Alborada”’, which repeats the
opening movement with change of modulation and color; “Scene and
Gypsy Song”, the Gypsy Song being highly characteristic of wild gypsy
life. Reaching a vigorous climax, it leads, without pause to the last move-
ment “Fandango of the Asturias’, which is an old Austrian dance. A
repetition of the “Alborada” is heard which forms the Coda.

Steinway Piano used.

VARVEI NING LI NINO NONI SI NIL III AIR

AAU ANISUIAND:

COMING ATTRACTIONS

JOHN CHARLES THOMAS, Baritone, Song Recital, May 30, Forest
Meadows, San Rafael.

ROTH STRING QUARTET, gift of Mrs. Elizabeth Sprague Coolidge.
Gymnasium, San Rafael High School. June 27.

Autumn Festival will be from August 15 to September 15.

empresa eneriy RS eeeRoRR cma. cae MANT NSE AN

Ne Ae RAE AS Se Te AS eT ORI

SAN FRANCISCO
> Y MPO Nay
ORCHESTRA

ERNEST SCHELLING

Conducting

WAR MEMORIAL OPERA HOUSE

PSE POA

First Concer:

SATURDAY MORNING at 10:30
APRIL 3, 1937

ERIE SP ee ce eW TE Re LTTE SY

Sto

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UITS fer Spring

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pe Sy tts

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29-75 to 98-50

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SUIT SALON ¢ FIFTH FLOOR

CHOOSE YOUR PIANO AS THE ARTISTS DO

FAMOUS SINGERS endorse the

BALDWIN PIANO

The tonal quality of the new Baldwin
makes it a great pleasure and genuine
satisfaction to sing with this noble
instrument.

The Baldwin has that rare quality of
tone which blends so successfully with
the voice of the singer.

Vid ol ae Rea

For the singer, the tone of the Baldwin
represents a sure source of inspiration,
and never fails to blend harmoniously
with the voice.

Ws (Shot

BALDWIN PIANOS

310 Sutter Street San Francisco, Calif.

CASTILLEIA StH Go.

PALO ALTO, CALIFORNIA

Prepares Girls for College Entrance
(Or for accomplishment in Academic, Artistic, or Practical fields )
Kindergarten through Hih School Boarding or Day

Beautiful
Surroundings
Roomy Buildings
Experienced
Teachers
Small Classes
Individual
_Attention

2
For further information
address

Mary I. Lockey A.B.
Principal
1312 Bryant St.

PALO ALTO, CALIF.
TEL. PALO ALTO 22131

FINE FOODS

Ice Cream x Sodas
Pastries * Candies

Served in the most beautiful restaurants
in the West—at no greater cost
than elsewhere

Pign Whistle

33 POWELL STREET, Near Market

1032 MARKET STREET, Near Paramont Theatre
and the Opera House

POR OrG AM

FORM AND CONSTRUCTION

Overture to ‘““Monsieur de Pourceaugnac”’ Jean-Baptiste Lully
(1683-1687)

Branle de Poitou “.°
Chanson et Danse Basse CIAL SA SEALE

(Arranged by John Blackwood MacEwen)
“The Carman’s Whistle” William Byrd
(Arranged by Granville Bantock) (1588-1623)

Air from “Distressed Innocence”’ Henry Purcell

Hornpipe from “The Married Beau” § (1658-1695)

First Movement from A Major
Piano Concerto Wolfgang Amadeus Mozart
LAURA DUBMAN (1756-1791)

EVERYBODY SING, “The Ash Grove” Welsh Folk Song

The ash-grove, how graceful, how plainly ’tis speaking.
The wind through it playing has language for me;
When over.its branches the sunlight is breaking,

A host of kind faces is gazing on me.

The friends of my childhood again are before me,
Fond memories waken as freely I roam.

With soft whispers laden, the leaves rustle o’er me;
The ash-grove, the ash-grove that sheltered my home.

My laughter is over, my step loses lightness,

Old country-side measures steal soft on my ear;

I only remember the past and its brightness,

The dear ones I mourn for again gather here.

From out of the shadows their loving looks greet me,
And wistfully searching the leafy green dome,

I find other faces fond bending to greet me;

The ash-grove, the ash-grove alone is my home.

—John Oxenford.

7. Carillon and Tourbillon Francois Couperin
(Arranged by Richard Strauss) (1668-1733)

LAURA DUBMAN ... press commenis

NEW YORK TIMES—October 10, 1936

“There was nothing tentative or uncertain about the manner in
which these works were performed. Here was playing rather
uncannily mature in its sensitive molding of phrase, sure control
of tone, and charm of phrasing ..,.. the technique was clean
and secure, and accentuation and rhythm were of a kind to
lend decided interest to many a passage.”

NEW YORK POST—October 10, 1936

“Mistress Dubman has been excellently taught, but last night
there were no pedagogic ghosts at her side directing her
fingers. What she had to say sprang largely from within
herself; and she said it with the manner born of the undistracted,
unspoiled vision of the child mind... Her fingers have speed
and neatness; her tone... is capable of surprising pungency
and is graced with a nice sensitivity to color.”

NEW YORK WORLD-TELEGRAM—October 10, 1936

“Miss Dubman’s playing disclosed abundant technic, a singing
legato, effectively employed in the first Bach selection and a
natural aptitude for tonal coloring.”

BROOKLYN TIMES UNION—December 2, 1936

“There was a poise that was not affective, there was an
assurance which did not result from egotism and there was
musicianship and understanding revealed that older and more
active players might well attempt to achieve.”

MUSICAL AMERICA—December 10, 1936

“Miss Dubman’s playing . .. was the feature of the evening.
Sensitive musicality and the ability to mold a plastic line and
shape a phrase and to secure a nicety of gradation in tone are
assets which should carry her far... She was roundly applauded,
and shared approbation with Miss Brico.”

NEW YORK EVENING JOURNAL—December 2, 1936

“Beethoven’s Second Piano Concerto, played by the astonishing
twelve-year-old Laura Dubman. She had poise and the assurance
of extreme youth and the requisite glib fingerwork. The
audience took her to its heart.”

NEW YORK DAILY MIRROR—December 2, 1936

“Little Miss Dubman, 12, who made a promising début in the
Town Hall recently, made her initial appearance with an
orchestra last night, and her success was astonishing ... .
Certainly the child showed a maturity of conception, a tonal
suavity and technical ease which many an adult musician
might envy.”

NEW YORK SUN—December 2, 1936

“The twelve-year-old pianist supplied, indeed, the feature of
the evening playing Beethoven’s B-flat major concerto in a
manner as professional as it was straightforward and assured...
the performance was shapely and musical. ,. the passage work
was clean, melodies were clearly stated, and a neat balance was
maintained as between the hands in a highly creditable achieve-
ment of structural considerations ... Little Miss Dubman was
recalled a half dozen times and accepted both applause and
flowers like a veteran.”

a be ee

PIAN TST

VETERANS’ AUDITORIUM

Wednesday Evening, April 14

Ts
SONATA D MINOR] CARLATT
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DART UTA. TIN CIN ao ce cree ek ect ee BACH
Tl.
SONATA IN D MINOR, Opus 31, No. 2....----..------------2----0+--+ BEETHOVEN

INTERMISSION

REL:
SONG WITHOUT WORDS } LEN DEL HN
ETUDE AMINOR: «ic, ohh a wre epee one MENDES 3G
NOCTURNE E MINOR |
MAZURKA F MINOR { :
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POLONAISE B FLAT MAJOR]

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DOCTOR GRADUS )

AD PARNASSUM [ c< - ? ? 7
THE LITTLE SHEPHERD em The Children’s Corner’’...... DEBUSSY
GOLLIWOGG’S CAKE-WALK]

Reserved Seats: $2.20 to 55¢ — Sherman, Clay & Co., Sutter & Kearny Sts.
MANAGEMENT: PETER CONLEY

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Rare Old Violins--Violas--Cellos--Bows, High--Medium--Low Priced.

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| A complete musical education from Beginners’ Work to
Professional Coaching in all subjects

|
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“SUMMER COURSES IN ALL DEPARTMENTS
VOCAL AND INSTRUMENTAL”

PIANO, VIOLIN, CELLO, VOCAL, ORGAN, WIND AND BRASS INSTRUMENTS,
SIGHT SINGING, EAR TRAINING, MUSICIANSHIP, HARMONY,
COUNTERPOINT, FORM, ENSEMBLE

NORMAL COURSE with diploma in piano, voice, etc.
SPECIAL CHILDREN’S COURSES

CAMP TAPAWINGO

For girls 9-15

Ideal vacation through integrated activities

Mrs. Jacob Brodsky
Miss Marjorie Dover
651 - 7th Ave., San Francisco

OPERA HOUSE NEWS

A monthly publication devoted to the special in-
terests of the concert-going public of the bay region.

Telephone: SUTTER 4772 for advertising rates
OPERA HOUSE NEWS — 11 Columbus Avenue — San Francisco

The Musical Association of San Francisco

Maintaining the

San FranciscoSymphony Orchestra

Mrs. Leonora Wood Armsby, President
John A. McGregor, Vice-President

and Treasurer

Dr. Hans Barkan

Miss Lena Blanding
Miss Louise A. Boyd
Mortimer Fleishhacker

OFFICERS

Mrs. E. S. Heller, Vice-President
Paul Bissinger, Vice-President

Edward F. Moffatt, Secretary

Mrs. Walter A. Haas

EXECUTIVE COMMITTEE
Mrs.

M. C. Sloss

Mrs. Marcus S. Koshland Mrs. Sigmund Stern

Guido J. Musto
Mrs. Ashton H. Potter
Mrs. George B. Robbins

MUSIC COMMITTEE

Mrs. Leonora Wood Armsby, Chairman
Mrs. George T. Cameron

Mrs.

Cyril Tobin

Edgar Walter

Dr. Leo Eloesser
J. Emmet Hayden

Young People’s Concerts Committee

Mrs. Harold Richert McKinnon, Chr.

Mrs. Harold Faber, Vice-Chairman

Mrs. George Washington
Baker, Jr.

Mrs. Otto Barkan

Mr. Charles M. Dennis

Miss Lutie D. Goldstein

Mrs. William Babcock
Mrs. Hans Barkan

Mrs. Charles H. Bentley
Mrs. Alan Benner

Mrs. Russell G. Blackman
Mrs. Albert Boardman
Miss Barbara Burke

Miss Estelle Carpenter
Mrs. Edward H. Clark, Jr.
Mrs. W. W. Crocker

Mrs. Benjamin Dibblee
Mrs. Lloyd Dinkelspiel
Mrs. Frank W. Griffin

Mrs. Harold Faber
Mrs. Donald Gregory
Mrs. Walter A. Haas
Mrs. Gregory Jones
Mrs. Churchill Peters
Mrs. Ashton H. Potter

EXECUTIVE COMMITTEE

Mrs.

Mrs. Walter A. Haas, Honorary Chr.

Harold

Richert McKinnon

Mrs.

Thomas

Page Mailliard

Mrs.

ADVISORY COMMITTEE

Mrs. Leon Guggenhime
Mrs. J. Emmet Hayden
Mrs. E. H. Heller
Mrs. A. Bourn Hayne
Mrs. Thomas

Carr Howe, Jr.
Mrs. J.C. Kittle
Mrs. Lloyd Kincaid
Mrs. Walker Henderson
Mrs. Stanley Powell
Mrs. Howard Park
Mrs. Allan LeFevre
Mrs. Edward F. Moffatt

Mrs.
Mrs.
Mrs.
Mrs.
Mrs.
Mrs.
Mrs.
Mrs.
Mrs.
Mrs.
Mrs.
Mrs.

Butler S. Sturtevant

Kenneth Monteagle
Stanley A. Page
Ottorino Orena
Robert Patterson
Laurence Redington
F. R. Sherman
Edward B. Stanwood
Robert W. Miller
Louis Sloss, Jr.
Andrew Talbot
Daniel Volkmann
Lowell Wilson

EXECUTIVE OFFICE: 4th FLOOR WAR MEMORIAL OPERA HOUSE
Mrs. Leonora Wood Armsby, President and Managing Director

Peter Conley, Business Manager

ES SR aS Ee

Sek ae

i
a
i
£
i

COLLECTOR @®@ DEALER @® APPRAISER

Fine Repairing — Specialist in “Voicing” Master Instruments.
Rare Old Violins--Violas--Cellos--Bows, High--Medium--Low Priced.

SAN FRANCISCO

CONSERVATORY OF MUSIC

3435 Sacramento Street WaAlnut 3496

A complete musical education from Beginners’ Work to
Professional Coaching in all subjects

“SUMMER COURSES IN ALL DEPARTMENTS
VOCAL AND INSTRUMENTAL”

PIANO, VIOLIN, CELLO, VOCAL, ORGAN, WIND AND BRASS INSTRUMENTS,
‘SIGHT SINGING, EAR TRAINING MUSICIANSHIP, HARMONY,
COUNTERPOINT, FORM, ENSEMBLE

NORMAL COURSE as diploma in piano, voice, etc.
SPECIAL CHILDREN’S COURSES

CAMP TAPAWINGO

For girls 9-15

Ideal vacation through integrated activities

Mrs. Jacob Brodsky
Miss Marjorie Dover
651 - 7th Ave., San Francisco

OPERA HOUSE NEWS

A monthly publication devoted to the special in-
terests of the concert-going public of the bay region.

Telephone: SUTTER 4772 for advertising rates
OPERA HOUSE NEWS — 11 Columbus Avenue — San Francisco

The Musical Association of San Francisco

Maintaining the
San FranciscoSymphony Orchestra

OFFICERS
Mrs. Leonora Wood Armsby, President Mrs. E.S. Heller, Vice-President
John A. McGregor, Vice-President Paul Bissinger, Vice-President
and Treasurer Edward F. Moffatt, Secretary
EXECUTIVE COMMITTEE

Dr. Hans Barkan Mrs. Walter A. Haas Mrs. M. C. Sloss
Miss Lena Blanding Mrs. Marcus S. Koshland Mrs. Sigmund Stern
Miss Louise A. Boyd Guido J. Musto Mrs. Cyril Tobin

Mortimer Fleishhacker Mrs. Ashton H. Potter Edgar Walter
Mrs. George B. Robbins

MUSIC COMMITTEE

Mrs. Leonora Wood Armsby, Chairman Dr. Leo Eloesser
Mrs. George T. Cameron J. Emmet Hayden

Young People’s Concerts Committee

Mrs. Harold Richert McKinnon, Chr. Mrs. Walter A. Haas, Honorary Chr.
Mrs. Harold Faber, Vice-Chairman

EXECUTIVE COMMITTEE

Mrs. George Washington Mrs. Harold Faber Mrs. Harold
Baker, Jr. Mrs. Donald Gregory Richert McKinnon
Mrs. Otto Barkan Mrs. Walter A. Haas Mrs. Thomas
Mr. Charles M. Dennis Mrs. Gregory Jones Page Mailliard
Miss Lutie D. Goldstein Mrs. Churchill Peters Mrs. Butler S. Sturtevant

Mrs. Ashton H. Potter

ADVISORY COMMITTEE
Mrs. William Babcock Mrs. Leon Guggenhime Mrs. Kenneth Monteagle

Mrs. Hans Barkan Mrs. J. Emmet Hayden Mrs. Stanley A. Page
Mrs. Charles H. Bentley Mrs. E. H. Heller Mrs. Ottorino Orena
Mrs. Alan Benner Mrs. A. Bourn Hayne Mrs. Robert Patterson
Mrs. Russell G. Blackman Mrs. Thomas Mrs. Laurence Redington
Mrs. Albert Boardman Carr Howe, Jr. Mrs. F. R. Sherman

Miss Barbara Burke Mrs. J.C. Kittle Mrs. Edward B. Stanwood
Miss Estelle Carpenter Mrs. Lloyd Kincaid Mrs. Robert W. Miller
Mrs. Edward H. Clark, Jr. Mrs. Walker Henderson Mrs. Louis Sloss, Jr.
Mrs. W. W. Crocker Mrs. Stanley Powell Mrs. Andrew Talbot
Mrs. Benjamin Dibblee Mrs. Howard Park Mrs. Daniel Volkmann
Mrs. Lloyd Dinkelspiel Mrs. Allan LeFevre Mrs. Lowell Wilson

Mrs. Frank W. Griffin Mrs. Edward F. Moffatt

EXECUTIVE OFFICE: 4th FLOOR WAR MEMORIAL OPERA HOUSE
Mrs. Leonora Wood Armsby, President and Managing Director
Peter Conley, Business Manager

KNOWLEDGE
OF THIS
SUBJECT

may mean much ec
to your family AT »

Whether your estate will be large or small, you can
make it provide more effectively for your family’s
future needs by sound planning .. . now.
As a wise preliminary to such planning, we sug-
gest that you read the above booklet. It discusses
estate problems from the practical standpoint of
today’s conditions. And it explains the investment
policies and procedure which form the basis of this
bank’s trusteeship.
A copy of this new booklet will be sent at your request.
Write, call at our Trust Department,
or telephone SUtter 1500.

FRIDAY EVENINGS—KSFO, 7 O’CLOCK
BUSINESS FORUM OF THE AIR
PHILADELPHIA ORCHESTRA
STOKOWSKI—ORMANDY

Rew Sr DEP AUR EM EN tT

Wells Fargo Bank
Union Trust Co.

Market at Montgomery Market at Grant Ave.
SAN FRANCISCO
Established 1852

San Francisco Symphony Orchestra

PIERRE MONTEUX, Conductor
Willem Van den Burg, Assistant Conductor

FRIDAY AFT., 2:30, APRIL 9 and SATURDAY EVE., 8:30, APRIL 10
ERNEST SCHEELE LIN Gy Pans t

)
FRIDAY AFT., 2:30, APRIL 16 and SATURDAY EVE., 8:30, APRIL 17
JOHN CHARLES THOMAS, Baritone
a

FRIDAY AFT., 2:30, APRIL 23 and SATURDAY EVE., 8:30, APRIL 24
BEETHOVEN NINTH SYMPHONY

SYMPHONY OF PSALMS. . STRAVINSKY

LAST BERKELEY CONCERT — SUNDAY AFT., 3:00, APRIL 11
BRONISLAW HUBERMAN, Violinist

YOUNG PEOPLE’S CONCERTS 10:30-11:30 A. M.
ERNEST SCHELLING, Conducting

April 10— “Early Suites.”
April 17— “The Minuet and Scherzo.”
April 24— “The Overture,” with San Francisco Opera School Ballet

RESERVED SEATS: 50c — 35c 25¢e — 15c

Civic Auditorium Tuesday Eve., April 20

SAN FRANCISCO SYMPHONY

PIERRE MONTEUX, Conductor
WITH

SYLVIA LENT vrozcryisr

AND

MEREDITH WILLSON

CONDUCTING HIS “SYMPHONY OF SAN FRANCISCO”
Reserved Seats: $1.00 — 75c — 50c — 25c
Now on sale at Sherman, Clay & Co., Sutter and Kearny Streets

RCA Victor = =
Radio-Phonograph. 2

Combination at a feature price

Now you can hear the music you like
PLETE

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5-tube RCA Vic-
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This combination with 7 classical
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era plomeas

Sremeeerssusay

SAN FRANCISCO

> 1 IV PHONY
ORCHESTRA

ERNEST SCHELLING

Conducting

WAR MEMORIAL OPERA HOUSE

Soybean

»second Concert

SATURDAY MORNING at 10:30
APRIL 10, 1937

TMi APO D vA NR UNE EL - EASE NEADA SR Shi rahe AL KAA a on RATTLE TG Lae Lal Nua s

GRANT AVENUE AT GEARY STREET

UITS es Spring

and LIvINGsTON’s
oe Sn tts

x All the season's
most outstanding styles in
a great Spring collection!

CG Hr | its

29:75 to 89-75

Cael I yits

29:75 to 98-50

(Ce. ian
49-30 to 225-00

SUIT SALON ¢ FIFTH FLOOR

T has a heart—your heart. For a Baldwin becomes a
part of you, as you play it, as you listen. Through its ivory
fingers—and your own—flows an intimate understanding,
a warm and mutual responsiveness. Yes, it’s your heart in
the Baldwin. Yours and the hearts of the craftsmen, with
generations of music behind them, who spend two patient
years fashioning each Baldwin by hand. Your heart—and
the hearts of such masters as Bauer, Iturbi, Lhevinne and
Rosenthal, who inspire and find inspiration in this almost
human instrument. Just to possess a Baldwin, to have a
Baldwin as a distinguished and beloved member of your
family, makes you hold your head a little higher. Yet a
Baldwin is easy to own. As we will be glad to explain.

Tliscs mere ton muoie cea Daldvain

PRICED FROM 58 O55 F.0.B. CINCINNATI

Dealer’s Name and Address

Products of Baldwin: ACROSONIC, HAMILTON, HOWARD, MONARGH PIANOS

YOUNG PEOPLE’S CONCERTS PROGRAM

CASTILLEJA SCHOOL

PALO ALTO, CALIFORNIA

Prepares Girls for College Entrance
(Or for accomplishment in Academic, Artistic, or Practical fields )
Kindergarten through High School Boarding or Day

Beautiful
Surroundings

Roomy Buildings

Experienced
Teachers

Small Classes

Individual
Attention

&
For further information
address

Mary I. Lockey A.B.

Principal
1312 Bryant St.

PALO ALTO, CALIF.
TEL. PALO ALTO 22131

FINE FOODS

lce Cream « Sodas
Pastries x Candies

Served in the most beautiful restaurants
in the West—at no greater cost
than elsewhere

Pign Whistle

33 POWELL STREET, Near Market

1032 MARKET STREET, Near Paramont Theatre
and the Opera House

4 YOUNG PEOPLE’S CONCERTS PROGRAM

PR O GK Aw
THE SUITE, OLD AND NEW

SFUMpGt Prelims yc sceeseyes seach t ee oheastac ah ee ee ee Henry Purcell
(1658-1695)
Le Tambourin du Triomphe..................... André-Cardinal Destouches
(1672-1749)
UES EG he oe Pe ae ca te deo Johann Sebastian Bach
(Selected and arranged by Gustav Mahler (1685-1750)
Overture
Rondeau
Badinerie
Sarabande
Gavotte
DURES: “WILE OSCO ese ace pete cena ees ender Eugene Goossens
(1893——_)

Good Morning

Promenade

Hurdy Gurdy

March of the Wooden Soldiers
Lament for a Departed Doll
The Old Musical Box

Punch and Judy Show

Good Night

EVERY BODY SING. The Bourrée=1.w aca Lorenzo Gregory

There are dances grave and stately,
Minuet and saraband,

And we dance them most sedately,
Pointed toe and uplifted hand,

And the polonaise we may justly praise,
Habanera, bolero, mazurka gay,

But for us the best over all the rest,

Is the dance they call bourrée.

Some admire the old fandango,

Which they dance in sunny Spain;
There are some who like the tango;
And the polka do not disdain.

There’s the lively tune of the rigadoon
And the waltz and the gallop that once held sway,
But for us the best over all the rest,

Is the dance that they call bourrée.

Tambo cnin) ancl (Gio Coot ree ee ee ce André Gretry
(1741-1813)

YOUNG PEOPLE’S CONCERTS PROGRAM

_— = ———

San Francisco Symphony Orchestra

PIERRE MONTEUX, Conductor
Willem Van den Burg, Assistant Conductor

8
FRIDAY AFT., 2:30, APRIL 16 and SATURDAY EVE., 8:30, APRIL 17
JOHN CHARLES THOMAS, Baritone
ae
FRIDAY AFT., 2:30, APRIL 23 and SATURDAY EVE., 8:30, APRIL 24
BEETHOVEN NINTH SYMPHONY
SYMPHONY OF PSALMS. . STRAVINSKY

LAST BERKELEY CONCERT — SUNDAY AFT., 3:00, APRIL 11
BRONISLAW HUBERMAN, Violinist

YOUNG PEOPLE’S CONCERTS 10:30-11:30 A. M.
ERNEST SCHELLING, Conducting

April 17 — “The Minuet and Scherzo.”
April 24— “The Overture,” with San Francisco Opera School Ballet

RESERVED SEATS: 50c — 35c 25¢ — 1lbdc

Civic Auditorium Tuesday Eve., April 20

SAN FRANCISCO SYMPHONY

PIERRE MONTEUX, Conductor

WITH

SY LV PAREN GD. vie me eee

AND

MEREDITH WILLSON

CONDUCTING HIS “SYMPHONY OF SAN FRANCISCO”

' Reserved Seats: $1.00 — 75c — 50c — 25c
Now on sale at Sherman, Clay & Co., Sutter and Kearny Streets

YOUNG PEOPLE’S CONCERTS PROGRAM

COMING |
YOUNG PEOPLE’S CONCERTS

ERNEST SCHELLING, Conductor

SSSMNM0M0M9M9M9M0M”@M@M@M090—sS@Ma9n@@m@m0MMm0$00Mmm993SSBSBS

APRIL 17
Minuet from “Military” Symphony in G DIAN OL. eed take ae Haydn
Mine irony Hflet Symphonyacu..e. ce eee ae Mozart
Scherzo from Symphony No. 6 (Pastoral)..................... Beethoven
Allegretiayirom-Symphony No. 221.60 so te Brahms
MANGE o.c tts 21 Sorc dh ni he Oe es ee ee ee Mozart
EVERYBODY SING
Till Eulenspiegel’s Merry Pranks.....................:........ Richard Strauss
| APRIL 24
Overture to “The Marriage of Figaro”... ..0...... Mozart
‘Tbe: (hildren eaDverttiteis.sd20 teeta kyl Men ak cate Ouilter
*Waltz of the Flowers from the “Nutcracker” Suite... T'schaikowsky
> cliree Crermanms Dances 2.0. 2. een ae eee ee eee Mozart
Overtive,.“Potismovihneroint 2. et Bee ee Walton
‘sallors’ Dapce irom “lhe: Red “Poppy oho ek Gliere

‘“‘America, the Beautiful”
EVERYBODY SING
Freludeté "Die. Metategsinoer’ ic.2- te. o: eiel Wagner
*With a dance group from San Francisco Opera Ballet School

RESERVED SEATS: 50c — 35¢ — 25e — 15e
Box Office: SHERMAN, CLAY & CO. — San Francisco and Oakland

PETER CONLEY ATTRACTIONS

LAURA DUBMAN PIANIST WED. EVE., APRIL 14
LAWRENCE TIBBETT BARITONE MON. EVE, APR. 19
HENRI DEERING PIANIST ——_—OMON. EVE, APRIL 26
NINO MARTINI TENor THUR. EVE., APRIL 29

ISAAC STERN and HENRY DEERING
SONATA RECITAL TUESDAY EVENING, MAY 11

TICKETS NOW ON SALE
SHERMAN, CLAY & CO. — San Francisco and Oakland

YOUNG PEOPLE’S CONCERTS PROGRAM 7

420 Sutter Street

COLLECTOR @® DEALER @ APPRAISER

Fine Repairing — Specialist in “Voicing” Master Instruments,
Rare Old Violins--Violas--Cellos--Bows, High--Medium--Low Priced.

SAN FRANCISCO

CONSERVATORY OF MUSIC

3435 Sacramento Street WAlnut 3496
A complete musical education from Beginners’ Work to
Professional Coaching in all subjects

“STIMMER COURSES IN ALL DEPARTMENTS
VOCAL AND INSTRUMENTAL”

PIANO, VIOLIN, CELLO, VOCAL, ORGAN, WIND AND BRASS INSTRUMENTS,
SIGHT SINGING, EAR TRAINING, MUSICIANSHIP, HARMONY,
COUNTERPOINT, FORM, ENSEMBLE
NORMAL COURSE with diploma in piano, voice, etc.

SPECIAL CHILDREN’S COURSES

CAMP TAPAWINGO

For girls 9-15

Ideal vacation through integrated activities

Mrs. Jacob Brodsky
Miss Marjorie Dover
651 - 7th Ave., San Francisco

OPERA HOUSE NEWS

A monthly publication devoted to the special in-
terests of the concert-going public of the bay region.

Telephone: SUTTER 4772 for advertising rates
OPERA HOUSE NEWS — 11 Columbus Avenue — San Francisco

8 YOUNG PEOPLE’S CONCERTS PROGRAM

The Musical Association of San Francisco

Maintaining the

San FranciscoSymphony Orchestra

OFFICERS

Mrs. Leonora Wood Armsby, President Mrs. E. S. Heller, Vice-President
John A. McGregor, Vice-President Paul Bissinger, Vice-President

and Treasurer

Dr. Hans Barkan
Miss Lena Blanding
Miss Louise A. Boyd

Edward F. Moffatt, Secretary

EXECUTIVE COMMITTEE

Mrs. Walter A. Haas Mrs. M. C. Sloss
Mrs. Marcus S. Koshland Mrs. Sigmund Stern
Guido J. Musto Mrs. Cyril Tobin

Mortimer Fleishhacker Mrs. Ashton H. Potter Edgar Walter

Mrs. George B. Robbins

MUSIC COMMITTEE

Mrs. Leonora Wood Armsby, Chairman Dr. Leo Eloesser
Mrs. George T. Cameron J. Emmet Hayden

Young People’s Concerts Committee

Mrs. Harold Richert McKinnon, Chr.

Mrs. Harold Faber, Vice-Chairman

EXECUTIVE COMMITTEE

Mrs. George Washington Mrs. Harold Faber Mrs. Harold

Baker, Jr. Mrs. Donald Gregory Richert McKinnon
Mrs. Otto Barkan Mrs. Walter A. Haas Mrs. Thomas
Mr. Charles M. Dennis Mrs. Gregory Jones Page Mailliard

Miss Lutie D. Goldstein Mrs. Churchill Peters Mrs. Butler S. Sturtevant

Mrs. William Babcock
Mrs. Hans Barkan

Mrs. Ashton H. Potter

ADVISORY COMMITTEE

Mrs. Leon Guggenhime Mrs. Kenneth Monteagle
Mrs. J. Emmet Hayden Mrs. Stanley A. Page

Mrs. Charles H. Bentley Mrs. FE. H. Heller Mrs. Ottorino Orena

Mrs. Alan Benner Mrs. A. Bourn Hayne Mrs. Robert Patterson
Mrs. Russell G. Blackman Mrs. Thomas Mrs. Laurence Redington
Mrs. Albert Boardman Carr Howe, Jr. Mrs. F. R. Sherman

Miss Barbara Burke Mrs. J.C. Kittle Mrs. Edward B. Stanwood
Miss Estelle Carpenter Mrs. Lloyd Kincaid Mrs. Robert W. Miller

Mrs. Edward H. Clark, Jr. Mrs. Walker Henderson Mrs. Louis Sloss, Jr.

Mrs. W. W. Crocker

Mrs. Benjamin Dibblee
Mrs. Lloyd Dinkelspiel

Mrs. Frank W. Griffin

EXECUTIVE OFFICE: 4th FLOOR WAR MEMORIAL OPERA HOUSE

Mrs. Stanley Powell Mrs. Andrew Talbot
Mrs. Howard Park Mrs. Daniel Volkmann
Mrs. Allan LeFevre Mrs. Lowell Wilson

Mrs. Edward F. Moffatt

Mrs. Leonora Wood Armsby, Président and Managing Director

YOUNG PEOPLE’S CONCERTS PROGRAM

Peter Conley, Business Manager

Mrs. Walter A. Haas, Honorary Chr.

KNOWLEDGE
OF THIS

SUBJECT

\
may mean much fh
to your family ANS a

Whether your estate will be large or small, you can
make it provide more effectively for your family’s
future needs by sound planning .. . vow.

A copy of this new booklet will be sent at your request.

Write, call at our Trust Department,
or telephone SUtter 1500.

FRIDAY EVENINGS—KSFO, 7 O’CLOCK
BUSINESS FORUM OF THE AIR
PHILADELPHIA ORCHESTRA
STOKOWSKI—ORMANDY

Ne I a DEPARTMENT

Wells Fargo Bank

and
Union Trust Co.

Market at Montgomery Market at Grant Ave.
SAN FRANCISCO
Established 1852

YOUNG PEQPLE’S CONCERTS PROGRAM

ROSS McKEE—announces

2nd Annual Luncheon

FOR YOUNG PEOPLE

Ernest Schelling

GUEST OF HONOR

SATURDAY NOON
7 cai ok Dee Na eli aS

Following the Concert for Young People

SCHOOLS of MUSIC and DRAMA
GOLDEN GATE COLLEGE

220 Golden Gate Ave., San Francisco Y. M. C. A.

RESERVATIONS 50¢

Mail or phone reservations in advance TUxedo 1416

Special tables reserved for teachers and their students and

other parties

Attend Concerts for Young People with the San Francisco

Sym phony—ERNEST SCHELLING, conducting

WAR MEMORIAL OPERA HOUSE APRIL 17, 24, 1937

RCA Victor <
Radio-Phonograph_

Combination a a feature price

00:

5-tube RCA Vic-
tor Radio, RCA
Victor Record
Player, 7 Clas-
sical Records.

Now you can hear the music you like
best, broadcast or recorded, when-
ever you please on this radio and
record player combination.

The radio is equipped with
dynamic speaker; illuminated read-
easy dial; high frequency tone con-
trol; wide tuning range for fine
reception on domestic and short
wave broadcasts.

The record player may be attached
to any radio—plays records through
the radio loud speaker.

This combination with 7 classical
records, at a feature price. . . $59.95.

[

ARs erento mee

Co a eR

SAN FRANCISCO

SYMPHONY
ORCHESTRA

ERNEST SCHELLING

Conducting

WAR MEMORIAL OPERA HOUSE

Laire Concent

SATURDAY MORNING at
APRIL 17, 1937

PRD up SUNS EHR

stapes

se ee =~ y : Uae Sa teantnns ae : , 7
WO a es es Sl.” PE SEES ar ee, a
ar 2 ee 2 a a ee 2 eee Ee

‘

CASTILCLETA cS CHOUE

PALO ALTO, CALIFORNIA

Prepares Girls for College Entrance
(Or for accomplishment in Academic, Artistic, or Practical fields)
Kindergarten through High School Boarding or Day

Beautiful
Surroundings

Roomy Buildings

Experienced
Teachers

Small Classes

Individual
Attention

@
For further information
address

Mary I. Lockey A.B.

Principal
1312 Bryant St.

PALO ALTO, CALIF.
TEL. PALO ALTO 22131

FINE FOODS

lce Cream *« Sodas
Pastries * Candies

Served in the most beautiful restaurants
in the West—at no greater cost
than elsewhere

Pion Mhistle

33 POWELL STREET, Near Market

1032 MARKET STREET, Near Paramont Theatre
and the Opera House

YOUNG PEOPLE’S CONCERTS PROGRAM

PK OG KAY

THE MINUET. AND SCHERZO

Minuet from “Military” Symphony in G major Joseph Haydn
(1732-1809)

Minuet from Symphony in E flat Wolfgang Amadeus Mozart
(1756-1791)

Scherzo from Symphony No. 6 (Pastoral)....Ludwig van Beethoven
(1770-1827)

Allegretto from Symphony No. 2 Johannes Brahms
(1833-1897)

EVERYBODY SING: Minuet... Mozart

When dames wore hoops and powdered hair,
And very strict was etiquette,

When men were brave and ladies fair,
They danced the minuet.

Slippers high heeled with pointed toe,
Trod stately measures to and fro.
Quite demure, sedate, and bowing low
They danced the minuet.

Over his lady’s oustretched hand,
Each gallant bends right gracefully;
Gracious of mien, with manner grand,
She sweeps a courtesy.

Our whirling steps of modern days,
Those lords and ladies would amaze.
Yet the minuet we still must praise
For grace and dignity.

6. Rondo, “Till Eulenspiegel’s Merry Pranks” Richard Strauss
(1864——)

YOUNG PEOPLE’S CONCERTS PROGRAM 5

LAS T -SPUN LCE P A bes OO NR T

Civic Auditorium Tuesday Evening, April 20

SAN FRANCISCO SYMPHONY

PIERRE MONTEUX, Conductor

WITH

SY VARA CEB Nes oo eres

AND

MER ED? T A Waite SON

Conducting his “SYMPHONY OF SAN FRANCISCO”

PKOG KAM

GIVE re TUS Beg oe eis OT Sa ik eat ee ee Lalo
A SYMPHONY OF SAN FRANCISCO: Meredith Willson
(Conducted by the Composer)
CONCERTOcFOR VIOBINGEN G MINOR. 235 2. Bruch
SYLVIA LENT

INTRODUCTION AND MARCH
PROM “hE COOP D ae oe ee Rimsky-Korsakow

&
RESERVED SEATS: $1.00, 75c, 50c, 25¢ — SHERMAN, CLAY & CO.

AUSPICES: SAN FRANCISCO ART COMMISSION

EpGAR WALTER, President JosEPH H. Dyer, Jr., Secretary

DrirEcTION: Music CoMMITTEE, J. EMMET HAYDEN, Chairman

YOUNG PEOPLE’S CONCERTS PROGRAM

LAST
YOUNG PEOPLE’S CONCERT

ERNEST SCHELLING, Conductor

APRIL 24
Overture to“The Marriage: of Figaro’ 23.2 eS Mozart
‘Ehe: Children’s. 'Overtive <5 2S is ee Ouilter
*Waltz of the Flowers from the “Nutcracker” Suite......Tschaikowsky
*Thrée: German: Dances. scene ee ee Mozart
Overture, SPostsmowthe2omit?. cee cee es ee ee Walton
*Sarlors: Dance “irom. 1 he Red: POppy? ecco eee Gliere

‘““America, the Beautiful”
EVERYBODY SING

Prelude to “Die Meistersinver 224-5 2% - ts Ae ee Wagner
*With a dance group from San Francisco Opera Ballet School

RESERVED SEATS: 50c — 35c — 25e — 15e
Box Office: SHERMAN, CLAY & CO. — San Francisco and Oakland

PETER CONLEY ATTRACTIONS

LAWRENCE TIBBETT BARITONE MON. EVE., APR. 19
HENRI DEERING PIANIST MON. EVE., APRIL 26

NINO MARTINI TENOR THUR. EVE., APRIL 29

ISAAC STERN and HENRI DEERING
SONATA RECITAL TUESDAY EVENING, MAY 11

TICKETS NOW ON SALE
SHERMAN, CLAY & CO. —- San Francisco and Oakland

YOUNG PEOPLE’S CONCERTS PROGRAM 7

420 Sutter Street |
Ser

COLLECTOR ® DEALER @ APPRAISER

Fine Repairing — Specialist in “Voicing” Master Instruments.
Rare Old Violins--Violas--Cellos--Bows. High--Medium--Low Priced.

SAN FRANCISCO

CONSERVATORY OF MUSIC

3435 Sacramento Street WaAlnut 3496

A complete musical education from Beginners’ Work to
Professional Coaching in all subjects

“SUMMER COURSES IN ALL DEPARTMENTS
VOCAL AND INSTRUMENTAL”

PIANO, VIOLIN, CELLO, VOCAL, ORGAN, WIND AND BRASS INSTRUMENTS,
SIGHT SINGING, EAR TRAINING, MUSICIANSHIP, HARMONY,
COUNTERPOINT, FORM, ENSEMBLE

NORMAL COURSE with diploma in piano, voice, etc.
SPECIAL CHILDREN’S COURSES

CAMP TAPAWINGO

For girls 9-15

Ideal vacation through integrated activities

Mrs. Jacob Brodsky
Miss Marjorie Dover
651 - 7th Ave., San Francisco

OPERA HOUSE NEWS

A monthly publication devoted to the special in-
terests of the concert-going public of the bay region.

Telephone: SUTTER 4772 for advertising rates
OPERA HOUSE NEWS — 11 Columbus Avenue — San Francisco

YOUNG PEOPLE’S CONCERTS PROGRAM

The Musical Association of San Francisco
Maintaining the

San FranciscoSymphony Orchestra

OFFICERS
Mrs. Leonora Wood Armsby, President Mrs. E. S. Heller, Vice-President
John A. McGregor, Vice-President Paul Bissinger, Vice-President
and Treasurer Edward F. Moffatt, Secretary

EXECUTIVE COMMITTEE

Dr. Hans Barkan Mrs. Walter A. Haas Mrs. M. C. Sloss
Miss Lena Blanding Mrs. Marcus S. Koshland Mrs. Sigmund Stern
Miss Louise A. Boyd Guido J. Musto Mrs. Cyril Tobin

Mortimer Fleishhacker Mrs. Ashton H. Potter Edgar Walter
Mrs. George B. Robbins

MUSIC COMMITTEE

Mrs. Leonora Wood Armsby, Chairman Dr. Leo Eloesser
Mrs. George T. Cameron J. Emmet Hayden

Young People’s Concerts Committee

Mrs. Harold Richert McKinnon, Chr. Mrs. Walter A. Haas, Honorary Chr.
Mrs. Harold Faber, Vice-Chairman

EXECUTIVE COMMITTEE

Mrs. George Washington Mrs. Harold Faber Mrs. Harold

Baker, Jr. Mrs. Donald Gregory Richert McKinnon
Mrs. Otto Barkan Mrs. Walter A. Haas Mrs. Thomas
Mr. Charles M. Dennis Mrs. Gregory Jones Page Mailliard

Miss Lutie D. Goldstein Mrs. Churchill Peters Mrs. Butler S. Sturtevant
Mrs. Ashton H. Potter

ADVISORY COMMITTEE
Mrs. William Babcock Mrs. Leon Guggenhime Mrs. Kenneth Monteagle

Miss Barbara Burke Mrs. J.C. Kittle Mrs. Edward B. Stanwood
Miss Estelle Carpenter Mrs. Lloyd Kincaid Mrs. Robert W. Miller
Mrs. Edward H. Clark, Jr. Mrs. Walker Henderson Mrs. Louis Sloss, Jr.

Mrs. W. W. Crocker Mrs. Stanley Powell Mrs. Andrew Talbot

Mrs. Benjamin Dibblee Mrs. Howard Park Mrs. Daniel Volkmann
Mrs. Lloyd Dinkelspiel Mrs. Allan LeFevre Mrs. Lowell Wilson

Mrs. Frank W. Griffin Mrs. Edward F. Moffatt

EXECUTIVE OFFICE: 4th FLOOR WAR MEMORIAL OPERA HOUSE

Mrs. Leonora Wood Armsby, President and Managing Director
Peter Conley, Business Manager

YOUNG PEOPLE’S CONCERTS PROGRAM 9

KNOWLEDGE
OF THIS
SUBJECT

may mean much
to your family °

Whether your estate will be large or small, you can
make it provide more effectively for your family’s
future needs by sound planning . . . now.

A copy of this new booklet will be sent at your request.
Write, call at our Trust Department,
or telephone SUtter 1500.

FRIDAY EVENINGS—KSFO, 7 O’CLOCK
BUSINESS FORUM OF THE AIR
PHILADELPHIA ORCHESTRA
STOKOWSKI—ORMANDY

TRUST DE POR TM BNE

Wells Fargo Bank

and
Union Trust Go.

Market at Montgomery Market at Grant Ave.
SAN FRANCISCO
Established 1852

YOUNG PEOPLE’S CONCERTS PROGRAM

ROBERT WALLACE

THE HOUSE OF FURS one rorry six Geary

‘MOLE

beauty of Mole lends distinction

to every age and to all occasions.

The coat illustrated is one of many
\

stunning Spring models at only

Ibo

et el

Y Cabfornia
Sit. O.°r be 8

| Re =e Oe cas oY
at. Sutter:

sal Ee | Ney . , the instrument of the im-

mortals . . . the one perfect piano for your children

Steinway has interpreted the genius of virtually every great
musician from Liszt to Rachmaninoff.

Fortunately the Steinway, priced from $885, is within the reach
of the modest income. It may be purchased on the most generous
terms .... as little as 10% down and the balance distributed

over a convenient period.

Pe, Ae

HER

SAN FRANCISCO

SYMPHONY
ORCHESTRA

ERNEST SCHELLING

Conducting

WAR MEMORIAL OPERA HOUSE

SrA Le RAMONE Both rer

Bourn oneert

SATURDAY MORNING at 10:30
APRIL 24, 1937

‘ Set = ee
ANA Sn A Oss se eee ae a ee STS
DSS A oo a ee ee BW 1 Caw Woe Fe EE,
ts” AEROS Kae A Ph 8 OL ES hee Be A 2 Wd 0 "Se De

GRANT AVENUE OAT Gea ¥ = SRE EL

UITS 6. Spring

and Livineston’s
ne OS, its

x All the season's

most Outstanding styles in

a great Spring collection!

Gs iiccad Sits
29:75 to $9.75

(Case! oN, its

29:75 to 98-50

(Gees ane
49-50 to 225-00

FIFTH FLOOR

SUIT SALON ¢

e
PRICED FROM 5805 F. 0. B. CINCINNATI

310 SUTTER STREET

Products of Baldwin: ACROSONIC, HAMILTON, HOWARD, MONARCH PIANOS

YOUNG PEOPLE’S CONCERTS PROGRAM 3

CASTILLELA- Seno o.

PALO ALTO, CALIFORNIA

Prepares Girls for College Entrance
(Or for accomplishment in Academic, Artistic, or Practical fields )

Kindergarten through High School Boarding or Day

Beautiful
Surroundings

Roomy Buildings

Experienced
Teachers

Small Classes

Individual
Attention
.
For further information
address

Mary I. Lockey A.B.
Principal
1312 Bryant St.
PALO ALTO, CALIF.
TEL. PALO ALTO 22131

FINE FOODS

Ice Cream x Sodas
Pastries * Candies

Served in the most beautiful restaurants
in the West—at no greater cost
than elsewhere

Pig'n Whistle

33 POWELL STREET, Near Market

1032 IMARKET STREET, Near Paramont Theatre
and the Opera House

4 YOUNG PEOPLE’S CONCERTS PROGRAM

Direction: MILDRED HIRSCH
L. Overture to: *fheullamiage- of Pigaro’ 2... 2 oe eee. Mozart

2. Three German Dances... es ee On es Mozart

BOYS GIRLS
Claudine Grady Mary de Laveaga Paula Wright Mildred Ferguson
Dora Rogers Gabrilla Wright Jean Smith Rena Ross
Anna Van Loghem Carmen Caiati Jean Solomon Avon Harper
Helen Searls Charlotte Geary Clarice Curtice Genevieve Doolin

SMALL GROUP
BOY GIRLS
Herbert Salinger Lucy Pope Gertrude Richter Colleen Clark
Patricia Marcé Gala Glinsky Patricia Rosenwald
Marianne Gianella

on “Phe-@hildren’s: Overture 20s 26 hee et eer Be re” see Quilter

4. Waltz of the Flowers from the “Nutcracker” Suite........ Tschaikowsky

FIRST GROUP, Blue THIRD GROUP, Pink
Milo Kimmerle Eugenie Zonn Tasia Pogre Celina Cummings
Janet Carlton Florence Gale Emita de Sosa Peggy Koshland

SECOND GROUP, Blaze FOURTH GROUP, Pink
Patricia Marce Gala Glinsky Ruth Bennett Tosca Lippi
Lucy Pope Marianne Gianella Gloria Henderson Carolyn La Veau

Do. Overture, “Portsmouth Point........... PEE Ee ck tn eee ere he Walton

6. Everybody Sing, “America the Beautiful”

Words for song on page six.

Yablochko from “The Red Poppy”....... Red bo Aber ser sip etsehe Bade uate eae Gliere
Soloists: Laura Post, James Starbuck, from Professional Group
Eugenie Zonn Emita de Sosa Barbara Wood
Tasia Pogre Peggy Koshland Zoya Leporsky
Tosca Lippi Janet Carlton Katherine Davies
Ruth Bennett Florence Gale Gabrilla Wright
Celena Cummings Gloria Henderson Claudine Grady
Milo Kimmerle

f Copyright, 1931, Ernest Schelling
PROGRAM with SAN FRANCISCO OPERA JUNIOR BALLET
‘

50° Ge relude. to. Die Meistersinoor”.. 2. et eo ee Wagner
Choreography for all dances by MILprEp Hirscu, Ballet Mistress, San Francisco Opera Ballet School
&

Costumes for German Dances and‘‘Yablochko’’ furnished by GOLDSTEIN & Co.
Costumes for Waltz of the Flowers, designed by Guy Alden and executed by Ysabel Bruce.

YOUNG PEOPLE’S CONCERTS PROGRAM

O beautiful for spacious skies,

For amber waves of grain,

For purple mountain majesties

Above the fruited plain

America! America! God shed His
grace on thee,

And crown thy good with brotherhood

From sea to shining sea.

O beautiful for pilgrim feet

Whose stern impassioned stress

A thoroughfare for freedom beat

Across the wilderness.

America! America! God mend thine
ev ry flaw,

Confirm thy soul in self-control,

Thy liberty in law.

SEEING SAN FRANCISCO

means a Visit to

Gump's Jade Room saa ke

where is assembled a peerless
collection . jades of every
green hue, of yellow, blue
mauve .. . artfully fashioned

into a thousand beautiful forms.

GUMP’S Antique Collections
share with its modern creations
the admiration of San Francisco

visitor’s.

GUMP'S

250 POST STREET »

SAN FRANCISCO

AMERICA, THE BEAUTIFUL

O beautiful for heroes proved

In liberating strife,

Who more than self their country
loved,

And mercy more than life.

America! America! May God thy
gold refine

Till all success be nobleness

And ev’ry gain divine.

O beautiful for patriot dream

That sees beyond the years

Thine alabaster cities gleam

Undimmed by human tears.

America! America! God shed His
grace on thee,

And crown thy good with brotherhood

From sea to shining sea.

flown

every mioc
sory... alse

YOUNG PEOPLE’S CONCERTS PROGRAM

_—_——- &— =

5 = Wee a Sy) SN oa Oe, Be
WILL PRESENT

HENRI
DEERING

PIANO RECITAL

VETERANS’ AUDITORIUM
MONDAY EVE., APRIL 26

HENRI DEERING — ISAAC STERN
SONATA RECITAL — TUES. EVE., MAY 11

TICKETS AT SHERMAN, CLAY & CO., S. F. and Oakland

SAN FRANCISCO

CONSERVATORY OF MUSIC

3435 Sacramento Street WAlnut 3496

A complete musical education from Beginners’ Work to
Professional Coaching in all subjects

“SUMMER COURSES IN ALL DEPARTMENTS
VOCAL AND INSTRUMENTAL”

PIANO, VIOLIN, CELLO, VOCAL, ASG WIND AND BRASS INSTRUMENTS,
SIGHT SINGING, EAR TRAINING, MUSICIANSHIP, HARMONY,
COUNTERPOINT, FORM, ENSEMBLE

NORMAL COURSE with diploma in piano, voice, etc.
SPECIAL CHILDREN’S COURSES

LAWRENCE TIBBETT PROGRAM 7

COLLECTOR ® DEALER @ APPRAISER

Fine Repairing — Specialist in “Voicing” Master Instruments.
Rare Old Violins--Violas--Cellos--Bows. High--Medium--Low Priced.

CAMP TAPAWINGO

For girls 9-15
SEVENTH SEASON BEGINNING JUNE 2lst.

Crafts, dramatics, photography, music and the dance integrated to
give expression to the creative impulses of every young girl.
Excellent cuisine and scientific health supervision.

Mrs. Jacob Brodsky 651-7th Ave., SKyline 2671 Miss Marjorie Dover

MISS HABhER’S SCHUUL
for Girls

PALO -A LT Oy -C A Leal 2 Oln NaS

2) Iade es Bok hy EP aos Ee) en
ACN DE OW EAR, ioeCue Cae

and Lower School will be reopened on
September 20, 1937

T Eels EnP HoOcNcbe eR Bab OT lt Ol bas si)

8 YOUNG PEOPLE’S CONCERTS PROGRAM

|
|
|
The Boarding Department for both High School
|
|

The Musical Association of San Francisco

Maintaining the

San FranciscoSymphony Orchestra

OFFICERS
Mrs. Leonora Wood Armsby, President Mrs. E.S. Heller, Vice-President
John A. McGregor, Vice-President Paul Bissinger, Vice-President
and Treasurer Edward F. Moffatt, Secretary

EXECUTIVE COMMITTEE

Dr. Hans Barkan Mrs. Walter A. Haas Mrs. M. C. Sloss
Miss Lena Blanding Mrs. Marcus S. Koshland Mrs. Sigmund Stern
Miss Louise A. Boyd Guido J. Musto Mrs. Cyril Tobin

Mortimer F'leishhacker Mrs. Ashton H. Potter Edgar Walter
Mrs. George B. Robbins

MUSIC COMMITTEE

Mrs. Leonora Wood Armsby, Chairman Dr. Leo Eloesser
Mrs. George T. Cameron J. Emmet Hayden

Young People’s Concerts Committee

Mrs. Harold Richert McKinnon, Chr. Mrs. Walter A. Haas, Honorary Chr.
Mrs. Harold Faber, Vice-Chairman

EXECUTIVE COMMITTEE

Mrs. Ashton H. Potter

ADVISORY COMMITTEE
Mrs. William Babcock Mrs. Leon Guggenhime Mrs. Kenneth Monteagle

Mrs. Benjamin Dibblee Mrs. Howard Park Mrs. Daniel Volkmann
Mrs. Lloyd Dinkelspiel Mrs. Allan LeFevre Mrs. Lowell Wilson

Mrs. Frank W. Griffin Mrs. Edward F. Moffatt

EXECUTIVE OFFICE: 4th FLOOR WAR MEMORIAL OPERA HOUSE

Mrs. Leonora Wood Armsby, President and Managing Director
Peter Conley, Business Manager

YOUNG PEOPLE’S CONCERTS PROGRAM 9

KAJETAN ATTIL'S
HARP ENSEMBLE

Beginners or Advance Students Phone for appotniment.

When Buying or Renting a Harp only an Experienced
Harpist can advise Correctly.

First Harpist with San

Francisco Symphony for

Twenty-four Consecutive
Years.

Large Stock of Harps for Sale or Rent:
1030 BUSH STREET Phone ORdway 6367 Studio No.6

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Gece ii eit

ROBERT WALLACE

THE HOUSE OF FURS one Forty six GEARY

MOLE
- COMMANDS THE
SPRING SPOTLIGHT

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stunning Spring models at only

lov

Califor
b
e

OF
ar
t

Fortunate is that home where music is known and loved. There, some
strange, compelling power binds children and parents together. There,
the young mother sings the child to sleep ... the boy begins, at the
piano, his veniure into realms of gold ... and friends, light-hearted,
gay, repeat the songs of youth. Music brings to every home a rich
measure of joy. It is the inspiration of the new generation ... the
tranquil refuge of the old. It twines a silver cord of comradeship
around father, mother, children ... unites their home, and all who
enter it, with things which are deepest, finest, true.

Sal & | NWAY. . . the instrument of the im-

mortals .. . the one perfect piano for your children

Steinway has interpreted the genius of virtually every great
musician from Liszt to Rachmaninoff.

It is eminently fitting, therefore, that the Steinway should be the
piano for your children. From the beginning, the youthful ear must
be attuned to the correct tone and pitch , .. . youthful hands
trained to proper fundamentals of touch.

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S LIP ITE OLE NIE TITS OTe ————

1935 -193G

Se Se

en ee te ne +

The Musical Association of San Francisco

MAINTAINING THE

San Francisco Symphony Orchestra

— MEMBERSHIP FOR SEASON 1936
me (As of April 9, 1936)

OFFICERS
Joseph S. Thompson, President Dr. Hans Barkan, Vice-President
Mrs. Leonora Wood Armsby, John A. McGregor, Treasurer
Vice-President Edward F. Moffatt, Secretary

Robert W. Miller, Vice-President
EXECUTIVE COMMITTEE

Dr. Hans Barkan Mrs. Marcus S. Mrs. M. C. Sloss
Miss Lena Blanding Koshland Mrs. Sigmund Stern
Miss Louise A. Boyd Robert W. Miller Edgar Walter

Guido J. Musto
MUSIC COMMITTEE

Mrs. Leonora Wood Mrs. George T. Dr. Leo Eloesser
Armsby, Chairman Cameron J. Emmet Hayden
MEMBERS OF THE BOARD OF GOVERNORS
Armsby, E. Raymond _ Eloesser, Dr. Leo Musto, Guido J.
| Armsby, Esberg, Milton H, McGregor, John A.
Mrs. Leonora Wood Fagan, Mrs. Paul I. McKinnon,
Arnold, G. Stanleigh Filmer, Mrs. W. Coy Mrs. Harold Richert
Baker, Mrs. George Fleishhacker, Mortimer Newell, R. C.
Washington, Jr. Flowers, Mrs. J. C. Potter, Mrs. Ashton H.
Barkan, Dr. Hans Forbes, John F. Robbins, Mrs. George B.
Bartlett, ; Gilman, Don E. Schilling, Miss Else
Mrs. Edward Otis Goldstein, Miss Lutie D. Schlesinger, B. F.
Bender, Albert M. Haley, Mrs. Harry 8. Sloss, Mrs. M. C.
Bradley, Mrs. F. W. Hart, Julien Stern, Mrs. Sigmund
Blanding, Miss Lena Hayden, J. Emmet Taylor, Mrs. David
Boyd, Miss Louise A. Koshland, Armstrong
Cameron, George T. Mrs. Marcus 8S. Thompson, Joseph S.
Crocker, William H. Koster, F. J. Threlkeld, John H.
Crocker, Mrs. W.W. Lachman, Gus Tobin, Mrs. Cyril
Cushing, Mrs. O.K. Martin, Walter S. Walter, Edgar
Dohrmann, A. B. C. Merola, Gaetano Weill, Michel
Donohoe, Mendell, Wiel, Eli H.
Miss Katherine Mrs. George H. Williams,
Dyer, Joseph H., Jr. Miller, Robert W. Mrs. W. Wilberforce
Elkus, Albert I. Monteagle, Kenneth Winslow, Mrs. 8.8.
ORCHESTRA COMMITTEE
Walter A. Weber Eugene Heyes M. A. Salinger
Erich Weiler
Mrs. Leonora Wood Armsby, Peter Conley,
Managing Director , Business Manager
EXECUTIVE OFFICES: FOURTH FLOOR ® WAR MEMORIAL OPERA HOUSE

ole OTC EeanaEe=weT OOOO

The Musical Association of San Francisco is fortunate in being able
to list so large a membership which has generously contributed to the support
of the Season of Nineteen Hundred and Thirty-six.

PAST PRESIDENTS OF THE MUSICAL ASSOCIATION

T. B. Berry William Sproule J. B. Levison
W.B. Bourn John D. McKee Richard M.Tobin

HONORARY MEMBERS:
(SUBSCRIPTIONS OF $1,000.00 OR OVER)

Alexander, Mr. and Mrs. Esberg, Mr. and Mrs. Milton H. Rosenberg, Mrs. Abraham
Wallace M. Fleishhacker, Mr. and Mrs. Schilling, Miss Else
Armsby, Mrs. Leonora Wood Mortimer Sherman, Clay & Co.
Boyd, Miss Louise A. Heller, Mrs. E. S. Stern, Mrs. Sigmund
Crocker, Mr. William H. Koshland, Mrs. Marcus S. Taylor, Mrs. D. Armstrong

Ehrman, Mr. and Mrs. Sidney M. McGregor, Mr. John A.

REGULAR MEMBERS:
(SUBSCRIPTIONS OF $100.00 OR OVER)

Ackerman, Mr. and Mrs. Lloyd S. Clark, Mrs. Warren D. Fairmont Hotel
Adams, Mrs. Jewett W. Clayburgh, Mr. and Mrs. H. E. Faville, Mr. Wm. B.
Allen, Mr. Harry B. Coghlan, Mrs. John P. Felton, Mrs. C. N.
Allen, Mr. Wyatt H. Coleman, Miss Janet Fitzhugh, Mrs. W. M.
Babcock, Mrs. William Coleman, Miss Persis H. Fleishhacker, Herbert
Baldwin, Mrs. A. S. Coleman, Mr. S. Waldo Flowers, Mrs. J. C.
Barkan, Dr. A. Crocker, Mr. Templeton Forbes, Mr. John F.
Barkan, Dr. and Mrs. Hans Cross, Mrs. Charles Fox, Mrs. Herbert W.
Beaver, Mrs. F. H. Cushing, Mrs. O. K. Freeman, Mrs. Allen G.
Belcher, Mr. Frank J., Jr. Daly, Mrs. John D. French, Mrs. J. E.
Bender, Mr. Albert M. Davis, Mr. D. G. Gall, Mrs. Rebecca F.
Bissinger, Mr. and Mrs. Newton Dibblee, Mr. and Mrs. B. H. Gamble, Miss Elizabeth F.
Blanding, Miss Lena Dinkelspiel, Mrs. L. M. Gerstle, Major Mark L.
Blumann, Lorna Dinkelspiel, Mr. and Mrs. Ghirardelli, D. & Co.
Blumlein, Mr. Jacob Lloyd W. Glaser, Mrs. Edward F.
Blyth, Mr. Charles R. Dinkelspiel, Mrs. Samuel L. Goldstein, Misses Celene
Boardman, Mrs. Walter W. Donohoe, Mr. J. A. and Lutie D.
Boggs, Mrs. A. G. Donohoe, Miss Katharine Goodrich, Mr. and Mts.
Bradley, Mrs. F. W. Edwards, Mrs. James W. Chauncey S.
Bradley, Mr. H. Sewall Ehrman, Mrs. Albert L. Graham, Dr. Gilbert F.
Brandenstein, Mrs. M. J. Ehrman, Mrs. Alfred Greenebaum, Mr. Emil
Breuner, Misses Carolyn Ehrman, Mrs. M. Griffin, Mrs. W. M.

and Katherine Ehrman, Mrs. S. W. Griffith, Miss Alice
Brown, Miss Martha Leonard Eloesser, Dr. Leo Guggenhime, Mr. and Mts.
Buchanan, Mrs. A. N. Elsey, Mr. Fred T. Berthold
California Barrel Co., Ltd. The Emporium Guggenhime, Mrs. D. J.
Cameron, Mr. George T. Epstein, Mr. Gustav Guggenhime, Mrs. Leon
City of Paris Fagan, Mrs. Paul I. Gunst, Mr, and Mrs. Morgan A.

Gunst, Mrs. Moses A.

REGULAR MEMBERS (Continued):
(SUBSCRIPTIONS OF $100.00 OR OVER)

Haas, Mrs. A.

Haas, Mr. Louis S.

Haas, Mr. and Mrs. Walter
Hale Bros.

Hale, Mr. P. C.

Hall, Mr. Frederic W.

Hart, Mr. Julien

Hayne, Mrs. G. P.

Heller, Mr. and Mrs. Edward H.
Heller, Mrs. Moses

Heller, Mr. Walter S.
Hellman, Mrs. I. W., Jr.
Hellmann, Mrs. H. G.
Henderson, Mrs. Charles B.
Henderson, Mr. and Mrs. Robert B.
Hewlett, Mrs. A. W.
Hockenbeamer, Mr.and Mrs. A. F.
Huntington, Miss Marion
Hutchinson, Miss Kate F.
Hyman, Mrs. Joseph

Jacobi, Mr. J.. J.

Kahn, Mrs. Felix

Kahn, Mrs. George H.
Kahn, Mrs. Ira

Kendrick, Mr. Charles H.
Kleinjung, Mrs. J. R.

Kohn, Mrs. George A.
Koshland, Mr, D. E.
Koshland, Mrs. Jesse

Koster, Mr. and Mrs. Frederick Ji
Lang, Mrs. Albert George
Larsh, Mrs. H. G.

Layman, Dr. Mary H.

Leib, Mr. William

Lengfeld, Mrs. A. L.

Levison, Mr. J. B.

Lilienthal, Mr. and Mrs. Philip, Jr.
Lipman, Mr. F. L.

Lisser, Dr. and Mrs. Hans
Lowe, Mr. and Mrs. Samuel
Mack, Mrs. A.

Magnin, I. & Co.

Mark Hopkins Hotel
Meyer, Mrs. Geo. H. C.
Meyerfeld, Mrs, Morris
Michaels, Mr. C. F.
Miller, Mr. C. O. G.
Miller, Mr. Robert W.
Mills, Mrs. Edward M.
Moffitt, Mr. J. K.
Monteagle, Mr. Loius F.
Monteagle, Mr. and Mrs. Kenneth
Morrison, Mrs. A. F.
Morshead, Mrs. Etta C.
Musicians Union Local No. 6
Musto, Mr. Guido J.
Musto, Miss Laura
McCreary, Mrs. F. C.
McDonald, Mrs. Angus
McDonald, Mrs. Mark L.
McEnerney, Mr. Garret W.
Neustadter, Mr. Newton
Newbauer, Mrs. S. R.
Neylan, Mr. John Francis
Norris, Mr. Charles G.
O’Connor Moffatt & Co.
Pacific Gas & Electric Co.
Pacific Musical Society
Page, Mr. and Mrs. Charles R.
Paschel, Mr. Philip
Pauson, Frank & Sons
Raiss, Mr. Carl

Rees, Mr. A. S,
Rosenbaum, Mrs. Emma
Rothschild, Mr. John

St. Francis Hotel

Samson, Mrs. R.

Schilling, Mrs. Rudolph
Schloss, Mrs. Florence F.
Schuckl, Mr. Max
Schwabacher, Mrs. Albert E.
Schwabacher, Mrs. Ludwig

Serrano, Mrs. Reuben L.
Shainwald, Mr. and Mrs. R. S.
Sharon, Mrs. Louise T.
Shomo, Mrs. J. A. S.
Simon, Mrs. Alfred
Sloss, Mr. and Mrs. Joseph
Sloss, Mrs. Leon
Sloss, Mrs. Louis, Jr.
Sloss, Mr. and Mrs. M. C.
Somers, Mrs. Geo. B:;
Standard Oil Co.
In memory of Mr. and Mrs.
Jacob Stern
and Mr. and Mrs. Charles
W. Haas
Stern, Mr. and Mrs. Newton
Stone, Mrs. Abraham Lincoln
Strickler, Dr. John Philip
Sussman, Mrs. S.
Sutro, Mrs. Alfred
Thompson, Miss Barbara Beach
Thompson, Mr. andMrs. Joseph S.
Threlkeld, Mrs. M. C.
Tubbs, Mrs. Alfred S.
Volkmann, Mr. and Mrs. Daniel
Volkmann, Miss Johanna M.
Walter, Mr. and Mrs. C. R.
Walter, Mrs. John I.
Welch, Mr. Andrew
White House
Wiel, Mr. Eli H.
Wiel, Mr. Irvin J.
Willams, Mrs. W. Wilberforce
Winslow, Mrs. Sarah Stetson
Wood, Mr. and Mrs. L. E.
Wormser, Mr. S. I.
Wright, Mr. Harold L.
Wright, Mrs. J. B.
Yellow Cab Co.
Zellerbach, Mr. J. D.

ASSOCIATE MEMBERS:

(SUBSCRIPTIONS OF LESS THAN $100.00)

Ackerman, Mrs. I. S.
Adams, Mrs. G. P.
Alderson, Mrs. Harry
Allen, Mrs. Elizabeth B.
Allen, Mr. H. S,

Allen, Mrs. H. W.

Allen, Miss Martha L.
Allyne, Miss Lucy H.
Ammen, Mrs. A. L.
Anderson, Mr. Melvin J.
Andrew, Miss C.

Altman, Mr. John C.

American Jugo Slav
Women’s Club
Andrews, Miss Margaret
Andrews, Miss Mary
Anthony, Mr. C. C.
Armsby, Mrs. J. K.

ASSOCIATE MEMBERS (Continued):
(SUBSCRIPTIONS OF LESS THAN $100.00)

Arnold, Mr. and Mrs. F. D.
Arnold, Mr. G. Stanleigh
Arnstein, Mrs. Hugo.
Arnstein, Mrs. Lawrence
Ash, Mr. Charles S.
Astredo, Mrs. J. C.
Avery, Mrs. Wm. H.
Bacigalupi, Miss Beatrice
Bacigalupi, Dr. Rimo
Bacigalupi, Mrs. Tadint
Badger, Mr. H. F.
Baerwald, Mr. and Mrs. Ernst
Bailly, Mrs. T. Edward
Baker, Mr. and Mrs. Geo. W,, Jr.
Baker, Mrs. Wakefield
Bakewell, Miss Harriet B.
Bakewell, Mis. John, Jr.
Baldwin, Mr. A. R.
Baldwin, Frances
Ballard, Mrs. J. S.
Barden, Miss Olivia
Barkan, Mr. Fritz
Barkan, Dr. and Mrs. Otto
Barthold, Mr. R. M.
Baruch, Mr. Frederick
Baruch, Mrs. Albert
Bates, Mrs. George E.
Beaver, Miss Anna W.
Beetz Bros. & Co.
Behrend, Mrs. J. F.
Bell, Mr. and Mrs. Walter
Benner, Mr. and Mrs. Frederic C.
Bentley, Mrs. Charles
Bepler, Dr. Alice C.
Berenson, Mr. and Mrs. Sanford
Bergerot, Mr. P. A.
Birmingham, Mr. and Mrs. J. E.
Bissinger, Mr. and Mrs. McKinley
Bissinger, Mr. and Mrs. Paul
Bissinger, Mrs. Samuel
Bjornstad, Mr. P. L.
Blackman, Mr. and Mrs. Russell
Blair, Miss Jennie M.
Blenur, Mrs. John
Bloom, Mr. Jonas
Bloom, Mrs. Sam
Bloomfield, Dr. Arthur L.
Blumann, Ethel
Bockmeier, Mr. John
Bocqueraz, Mr. Leon
Bohemian Club

Symphony Orchestra
Bolton, Miss Gertrude

Bontecon, Miss Helen
Booth, Mrs. F. E.

Booth, Mrs. Wm. F.
Bosley, Mr. Wm. B.
Bossana, Mr. and Mrs. L. A.
Bost, Dr. Frederick C.
Bostlemann, Mr. Otto
Bostwick, Mr. Harry F.
Bowman, Miss Elsie
Boyle, Miss Nina
Bracher, Miss Louise P.
Brandenstein, Mrs. H. U.
Katharine Branson School
Branson, Miss Katharine F.
Bransten, Mrs. Edward
Bransten, Mr. Edward, Jr.
Bransten, Mrs. Manfred
Brewster, Mr. Hughes
Brice, Mis; Jcchs

Bridge, Mrs. Adelaide M.
Brooks, Mr. George W.
Brown, Mrs. Abraham Lincoln
Brown, Mrs. Helgar
Brown, Mrs. L. C.
Brownell, Mrs. E. E.
Brunn, Dr. Harold

Buck, Mr. Thomas
Buckwalter, Mrs. Edna
Buckwalter, Mr. Richard
Bullard, Mr. R. P.

Bullis, Mrs. E. A.
Burckhardt, Miss Caroline
Burke, Miss Barbara
Bumister, Mr. and Mrs. R. B.
Burns, Mr. and Mrs. G. W.
Cahill, Mrs. Edward F.
Cahn, Mrs. M. I.

Cahn, Mr. Ralph G.
Caldwell, Mrs. Colbert
Cambron, Mrs. Carroll
Camp, Claire

Camp, Mr. Harry
Campbell, Mrs. G. P.
Canac-Marquis, Mrs. F.
Candy, Loreto

Carolan, Miss Emily
Carrigan, Marie Louise
Caswell, Mrs. George
Catch, Edith

Cazenave, Mrs. Noel
Center, Mrs. Jennie W.
Century Club
Chamberlain, Mary A.

Champ, Mr. F.

Charles, Mr. Martin A.
Charles, Mrs. Raymond W.
Charpiot, Mrs. Henry
Civelli, Mr. Joseph
Glark. Mr: GB.

Clark, Mrs. Herbert W.
Clark, Minnie C.,
Clayburgh, Mrs. Katie
Clayburgh, Mrs. Leo J.
Clayton, Mr. A. F.
Cleary, Mr. Frank C.
Clifford, Miss Beatrice
Coblentz, Mrs. Lambert
Cody, Mrs. Bernard A.
Cohn, Mrs. Max M.
Coleman, Mrs. R. L., Je.
Collier, Miss Dorothy B.
Colman, Mr. and Mrs. Jesse
Coman, Eva

Conrad, Mrs. Barnaby
Cook, Miss Houston
Cook, Mrs. W. H.
Cooper, Miss Ethel
Cooper, Mrs. C. M.
Cordes, Mrs. Frederick
Costigan, Mrs. Geo. P.
Cowen, Mrs. Miriam
Cresalia, Mr. Matt T.
Dairy Delivery Co.
Davis, Mrs. Albert D.
Davis, Mr. and Mrs. Alvin
Davis, Miss B.

Deering, Mrs. James
Deering, Mrs. Robert L.
Delany, Miss’ Marion
DeLatour, Mr. and Mrs. Geo.
De Lee, Mrs. S. T.
Delmas, Mr. Lawrence P.
Denicke, Mrs. E. A.
Denman, Mr. William
Dernham, Mrs. Irene B.
Destruel, Miss Laura
Devlin, Mrs. Frank J.
Devlin, Mrs. Vincent
Dinkelspiel, Mrs. Clara
Dobie, Mr. Charles Caldwell
Docker, Mrs. Charles T.
Dodge, Mrs. Geo. M.
Dolan, Arthur, Jr.

Don Lee, Inc.

Drescher, Mrs. H. B.
Drexler, Mrs. E. A.

——— E—E—EEE—EEE—EEE—EE——E—E—EE—EEEEE——EEOE—EEEEEEeeEOO oe el OOOOeE—~E=E=E_EO EOE ED OOO”
EE EE AE EES
tO LOL LOLOL LL LLL

de ans

—

Pr ti

AMG CE Mr SC aac we Gre oe eee
: > ~

ASSOCIATE MEMBERS (Continued):
(SUBSCRIPTIONS OF LESS THAN $100.00)

Dryfoos, Mrs. Beatrice G.
Dunlop, Mr. R. D.
Dunn, Mrs. B. M.
Dupas, Mr. J. M.
Dwight, Mrs. Ward
Earhart, Miss Gertrude
Eastwood, Miss Alice
Edwards, Mrs. James R.
Einstein, Elsa B.
Eisner, Mrs. Norman A.
Eisenbach, Mr. David R.
Eisenberg, Miss Margot
Elkus, Mr. and Mrs. Chas. DeY.
Elkus, Mrs. Eugene S.
Eloesser, Mr. Herbert
Emge, Dr. Ludwig A.
Eppinger, Mrs. J., Jr.
Epstein, Mr. Arthur P,
Epstein, Mrs. Milton H.
Erskine, Mrs. Morse
Esberg, Mr. A. I.
Etienne, Mr. Victor, rs
Faber, Mrs. Harold K.
Faubel, Miss Grace
Faure, Mr. Victor C.
Feigenbaum, Mrs. L.
Feigenbaum, Mr. L. B.
Fenton, Mrs. Bertha S.
Firestone, Mrs. and Mrs. Nathan
Fischer, Mrs. E. G.
Fisher, Mr. Haldane S.
Fitzgerald, Miss Amanda
Fitzgerald, Mrs. R. M.
Flammer, Mr. Charles
Fleischman, Mrs. M. R,
Fleishhacker, Mr. and Mrs. M., Jr.
Flieschman, Mrs. Isidor
Flieshman, Mrs. S. G.
Fletcher, Dr. C. D.
Floyd, Mrs. B. C.
Folger, Mrs. |
Follansbee, Mrs. A. Ws, Jk
Frank, Mrs. Jennie S.,
Frank, Mrs. Ludwig
Frankenau, Mrs. Max
Franklin, Mrs. P.
Fredericks, Miss Jessica
& Associates
Fried, Mr. Alexander
Friedlander, Mrs. Eva
Fries, Mrs. Frank
Fries, Mr. Wm.
Frontin, Miss E. a

Fuller, Mr. W. P., Jr.
Gale, Mr. Maurice A.
Galkovitch, Mr. M. G.
Galtie, Mr. and Mrs. L.
Gantner & Mattern Co.
Garland, Miss Edith
Gassner, Louis, Inc.
Gayley, Mrs. C. M.

Geary, Mrs. J. J.

Gehrels, Dr. and Mrs. E.
Ghirardelli, Mrs. Louis
Glenn, Dr. and Mrs. Robert
Gock, Mr. and Mrs. A. J.
Goldman, Mrs. Louis I.
Goodman, Mrs. D.
Goodman, Mrs. I.

Goshing, Miss Aline
Gowan, Miss Edith
Graham, Mrs. Chalmers
Grant, Mrs. Spencer
Graves, Mr. B. I.

Gray, Mrs. W. J.
Greathead, Mrs. Norman i
Green, Mrs. Allan Lee
Green, Dr. A. S.

Green, Dr. Louis D.
Greene, Mr. A. Crawford
Greenberg, Mrs. Agnes
Greenberg, Mr. and Mrs. Maurice
Greenberg, Mrs. Stuart
Greenwell, Mrs. James O.
Gregory, Mrs. Warren
Griffith, Mrs. E. L.
Grimm, Mr. H. T.

Grobe, Mr. Henry
Guggenhime, Mr. Richard E.
Haas, Mr. Edward F.
Hackett, Mr. C. Nelson
Haefner, Emma

Hagens, Mr. J. F. C.
Hallawell Seed Co., Inc.
Halsey, Mrs. T. V.
Hamilton, Miss Vera A.
Hamsher, Mr. W. R.
Hancock Bros.

Hanghey, Miss Myrtle A.
Hardy, Mrs. Summer
Harris, Mr. and Mrs. L. W.
Hart, Mr. and Mrs. Walter M.
Hassler, Miss Eleanor
Hastings, Mrs. Russell P.
Hayden, Mr. J. R.

The Anna Head School

Hecht, Miss Edith
Hellman, Mrs. F. J.
Hellwig, Mr. C. A.
Hengstler, Mrs. L. T.
Henley, Mr. Homer
Hennessy, Miss Aileen M.
Henry, Mr. Charles A.
Heyman, Mrs. Stanley
Hill, Mrs. Harry

Hiller, Miss Edna

Hinze, Miss Clara
Hirschkind, Mr. W.
Hobart, Mr. John

Hockley, Elizabeth
Hoffman, Miss Edna Maud
Fioffman, Mrs. Oscar
Hofmann, Mr. W. A.
Holden, Mrs. Alice F.
Holmes, Mrs. H. E.
Honigbaum, Mr. A.
Hooker, Miss Jennie M.
Hooker, Mr. Osgood
Hooper, Mr. Arthur W.
Hosford, Mrs. George N.
Humphrey, Mrs. C. FE.
Hurrle, Etna E.

Hyman, Mrs. Morris
Hyman, Mrs. Vera R.

IL Cenacolo Club

Ingram, Mr. Thomas
Ireland, Mrs. Wm. B.
Isenberg, Mr. and Mrs. R. A.
Isola, Mr. Attilio

Ivanoff, Sonia

Jacobson, Gladys T.
Jackson, Margaret

Jacobs, Carrie E.

Jacobs, Miss Rebecca
Jacoby, Mr. P. I.

Jeddis, Mr. and Mrs. Frank L.
Johnson, Mrs. Grace Noble
Johnson, Mrs. S. O.
Johnston, Mr. Wm. B.
Jones, Miss Winifred
Jordan, Mrs. David Starr
Kahn, Mrs. Frederick
Kahn, Mrs. Irving H.
Kahn, Mr. Samuel
Kalenborn, Mr. and Mrs. A. Ai
Kauffman, Mrs. Leon
Kaye, Mr. and Mrs. James M.
Keast, Mr. George R.
Kelly, Mrs. McClure

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ASSOCIATE MEMBERS (Continued):
(SUBSCRIPTIONS OF LESS THAN $100.00)

Kerriush, Miss Bernice
and Lucille Anble
Keyes, Miss.Edna L.

Keyston, Mr.and Mrs. George N.

Kierulff, Mrs. Thomas C.
Kincaid, Ester

King, Miss Genevieve
Kirchner, Rev. G. E.
Kirk, Mrs. Josiah H.
Kirkwood, Mrs. Robt. C.
Kirkwood, Mrs. Robt. C., Jr.
Klein, Mrs. Paul A.
Klumpke, Misses Ann and Julia
Knox, Mrs. John B.
Kohn, Mrs. S.

Kohlberg, Mrs. M. S.
Korbel, Miss Caroline
Korbel, Miss Lucia
Koshland, Mr. and Mrs. Abraham
Krauss, Miss Ethel
Krauss, Miss Luise H.
Kreutzmann, Dr. H.
Krotoszyner, Mrs. M.
Kutner, Mr. Alfred
Laborde, Jean

Lacey, Mr. Joseph C.
Lachman, Mrs. Marie
Lafayette Club

Langendorf United Bakeries
Langstroth, D. Lovell

La Place, Mrs. L.

Lathan Co., Inc.
Laumeister, Mrs. Gustave
Lavenson, Miss Sarah
Laws, Mrs. C. L.

Lawshe, Mrs. J. E.

Lazar, Mr. Siegbert
Lazelle, Miss Rena

Leavens, Mr. and Mrs. Robert F.

Le Conte, Miss Helen

Le Conte, Mr. Joseph H.
Lee, Dr. and Mrs. Russell
Lehmann, Mrs. A.
Lenenberger, Mrs. Emil
Lens, Frances

Leonardini, Josephine
Levy, Clara M.

Levy, Miss Elaine A.
Levy, Mr. Hans

Levy, Mr. S. D.

Lewis, Mrs. G. N.
Liebenthal, Mrs. A.
Liebes, H. & Co.

Liebmann, Mrs. Maurice
Lilienthal, Mr. B. P.
Lilienthal, Dorothy F.
Lilienthal, Mr. and Mrs. Samuel
Lilianthal, Miss Victoria
Lisberger, Mrs. Carolyn
Livermore, Mr. Norman B.
Livingston Bros.

Livingston, Mr. Laurence
Lloyd, Mrs. Lewis Marshall
Lockhead, Mr. and Mrs. James K.
Lombardi, Mr. and Mrs. M. E.
Louisson, Mrs. Theresa
Lowe, Mrs. Wm. H.

Mrs. W. B. Lowenthal
Eucia,. Det. sand Mrs, 1s, 2:
Lynch, Miss Arline
MacCallum, Miss Jean A.
MacIntosh, Miss Mabel D.
Mackey, Mr. Donald
Madison, Mr. F. D.
Magnin, Joseph Co., Inc.
Mailliard, Mr. J. W., Jr.
Majors, Dr. Ergo A.
Manheim, Mrs. Henry S.
Mannon, Mr. J. M., Jr.
Marshall, Mrs. Stewart M.
Marwedel, Mrs. C. W.
Marx, Mrs. Melvihe
Mathews & Livingston
Maxwell, Mrs. John K.
Mayer, Mr. Henry L.

Mears, Mr. and Mrs. Eliot G.
Meisinger, Mary

Mendelson, Mrs. Julius
Menzies, Constance

Menzies, Mrs. Robert
Meyer, Mrs. Alfred F.
Meyer, Miss Henrietta
Meyerfeld, Mrs. Jesse
Michels, Mrs. Leopold
Michetti, Mr. Othello

Miles, Dorothy

Middlemas, Mrs. Stuart
Miller, Mr. Ensel B.
Miller, Harriet L.

Miller, Dr. and Mrs. John J.
Mills, Gwladys

Milton, Mr. and Mrs. Maxwell
Mitchell, Mr. Herbert H.
Moffat, Miss Henrietta
Monteagle, Mr. Paige
Mooney, Mr. Thomas F.

Morgan, Mrs. H. W.
Morris, Miss A. M.
Mouton, Miss Madeleine \
Mundstock, Mr. James ”
Munsell, Mrs. Juliet E. Orr
Murphy, Mr. Richard J.
Murray, Mrs. Hamilton
Musicians Club of S. F.
Myers, Cora C.
McAlister, Mr. James W.
McBaine, Mr. and Mrs. J. P.
McBean, Mr. and Mrs. Atholl
McBean, Mrs. Peter
McClave, Miss Elizabeth
McCullough, Miss Mary
McGinnes, Miss Olive
McGrath, Mr. Philip R.
McGregor, Mr. Campbell
McKee, Dr. and Mrs. Albert
McKinnon, Mrs. Harold R.
McLaughlin, Mrs. Alfred
McLean, Mr. G.
McNear, Mrs. George P.
Nathan, Mrs. Henry J.
Nelson, Mr. Ralph R.
Nelson, Miss Theresia
Neppert, Miss Julia M.
Neppert, Miss Louise C.
Newbauer, Mr. and Mrs. Jesse
Newman, Mrs. Leo
Nichols, Mr. Henry D.
Nickelsburg, Mr. and Mrs. M. S.
Nickelsburg, Mrs. S.
Niklosowitz, Miss Elsie
Nobel, Mr. Alexander
Noble, Mrs. Charles
Noble, Mrs. Chas. A., Jr.
Noble, Brigadier Gen.

and Mrs. Robert H.
Norton, Miss Elizabeth
Norton, Mr. R. N.
Nowell, Mr. H. E.
Noyes, Mrs. Frank
Oeschger, Mrs. Joseph
O’Kelly, Rev. Daniel J.
Olcese, Miss Margaret
Older, Mrs. Benjamin
Oliver, Mrs. E. L.
Olney, Mr. and Mrs. Warren, Jr.
Ophuls, Louise
Oppenheimer, Miss Emilie
Oppenheimer, Mr. and Mrs. Julius .
Orrick, Mr. and Mrs. Oliver S. j

ASSOCIATE MEMBERS (Continued):
(SUBSCRIPTIONS OF LESS THAN $100.00)

Otis, Mrs. James Ross, Mr. Thos. F. Sommer & Kaufmann, Inc.
Otto, Irene M. Roth, Mr. A. Sommer, Mr. Max
Page, Mrs. Catherine Roth, Mrs. W. P. Sperry, Mrs. Horace B.
Paget, Miss Frances R. Rothschild, Messrs. August Sprague, Miss Frances A..
Parsons, Marion R. and Robert Stadtmuller, Miss Henrietta
Pasmore, H. B. Rubke, Mr. F. W. Stanwood, Mrs. Edw. B.
Peabody, Gladys Sahlein, Mrs. Henry Stapff, Mrs. W. F.
Peirce, Elizabeth Salz, Mr. Ansley K. Stebbins, Miss Lucy Ward
Peters, Mrs. C. C. Salz, Mr. and Mrs. Milton H. Steinhart, Miss Hilda
Pflueger, Mr. J. C. Samson, Mr. Walter J. Sterling, Mrs. Ralph
Pflueger, Mr. P. A. Sampson, Dr. and Mrs. John J. Stern, Mr. and Mrs. John D.
Phillips, Miss Esther B. San Francisco Musical Club Stern, Mrs. Rose
Philomath Club Saroni, Mrs. A. B. Stevens, Mr. Harlye C.
Pierce, Miss Mabel Sbarboro, Mrs. A. E. Stewart, Mrs. Charles A.
Podesta & Baldocchi Schaubye, Mr. Carl Stewart, Mr. H. R.
Popert, Mr. William H. Schilling, Dr. and Mrs. Walter Stich, Mrs. Camilla F.
Porter, Mr. A. L. Schirmer, Capt. Wm. Stiles, Mr. George R.
Potter, Mrs. Ashton H. Scott, Mr. and Mrs. Bert C. Stilpher, Mr. Ben L.
Potter, Mrs. J. Sheldon Schussler, Mr. Henry Stolz, Mr. Max
Powell, Mrs. Stanley Schussler, Dr. Herman Stow, Miss Nellie

. Prager, Alice J. Schwabacher, Mrs. Loius A. Strassburger, Mrs. Lawrence
Prechtal, Mrs. Geo. P. Schwamm, Miss Loiuse Strassburger, Betti Ann and Fay
Kaas, Mrs. J. ‘G. Selene, Miss Rose L. Strobridge, Mrs. T. W.
Rabjohn, Mrs. G. Sellander, Mrs. W. H. Stull, Florence
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Rawlings, Miss Jane D. Sharp, Miss Fannie L. Sutter, Mr. Louis
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Redewill, Mr. H. M. Sharp, Miss Violet Sweetland, Mr. E. J.
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Renny, Miss Jessie Sieroty, Mrs. Henry Tobin, Mrs. Edw. J.
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Rettenmayer, Mr. J. P. Simmons, Mr. Wm. M. Trotter, Mr. William
Reynolds, Mrs. H. B. Simpson, Helen & Grace Trouillet, Mme. J.
Rhine, Miss Esther Simpson, Mrs. A. W., Jr. Trouillet, Mr. and Mrs. J. P.
Richard, Mr. Harry G. Sinsheimer, Mrs. Samuel C. Turner, Mrs. A. H.
Ritter, Mr. Kurt Sinton, Mr. and Mrs. Edgar Turner,. Mr. J. O.
Roberts, Mrs. Martha K. Sinton, Mr. Stanley H. Usigli, Mr. Gastone
Robertson, Mrs. Ralph D. Sinton, Mrs. Stanley, Jr. Van Pelt, Mrs. H. M.
Robinson, Mrs. M. R. Skewes-Cox, Mrs. Vernon von Der Bergh, Miss Flora
Rood, Mrs. Vernon Skinner, Millicent W. Van Wyck, Mrs. S. M.
Roos Bros. Slack, Mr. and Mrs. C. W. Vittoria Colonna Club
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Rosenbaum, Mrs. Nettie Smith, Mrs. Stuart F. Wade, Mrs. M. M.
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oe rere awe ee eee nee eee

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Walker, Mrs. David H. Whitaker, Mrs. W. S. Wolf, Mrs. Max

Walter, Mr. Edgar White, Irene H. Wolf, Mrs. Paul
Wangenheim, Ethel A. Whitney, Dr. Elizabeth G. Wolff, Mrs. Moise L.
Ward, Mrs. J. W. Wildberg, Mrs. Irving Women Musicians’ Club
Ware, Mrs. Evelyn S. Willard, Mary Wood, Mrs. H. Meyer
Washington, Mrs. A. S. Willard, Elisa May Wood, Mrs. Paul
Washington, Mr: Lawrence Willard, Mr. and Mrs. J. M. Woodruff, Mrs. Edwin D.
Watson, Elizabeth Williams, Miss Millicent Woodward, Gertrude B.
Watt, Mrs. Rolla V. Williams, Mr. Stephen Wright, Mrs. Harold L.
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Weber, Mr. R. W. Wills, Mis: C..5. Younger, Mrs. Wm. J.
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Weill, Miss Irma Wilson, Mr. Irving M. Zaruba, Mrs. Eleanor K.
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Weinstock, Mrs. Harris Wishart, Mr. J. E. Zimmerman, Mrs. Elizabeth
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West, Mr. Frank Wolf, Mrs. J. L. Zook, Mr. Egard T.

eile say Next
(J ubscribe \/ low jor <I ext (“Veason

SAN FRANCISCO SYMPHONY ORCHESTRA
WAR MEMORIAL OPERA HOUSE

——

The undersigned, for the purpose of supporting the object of the
Musical Association of San Francisco, hereby subscribes towards the
Symphony Supporting Fund for the 1937 Concert Season as follows:

Subscriptions of $100.00 or over shall aet as applications for
membership in the Musical Association.

Subscriptions may be deducted from personal income tax
returns up to 15% of income.

=a Oe Se&"””"€—@—TP"PD"D@""=—"BDMDMD@M"a@M@D"@C@"@MN@DND[W@[FESOoa—'==

MTT HAUTE EATATAATAPANAN ANAT ATACANAOP ACA DADOTAT

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— Ibs =
SARIN ER Ae Se =
= PIERRE MONTEUX =
are CONDUCTOR pe ee)
== Willem van den Burg —
Assistant Conductor psene
=
=
= MAINTAINED BY THE MUSICAL m=.
— ASSOCIATION OF SAN FRANCISCO ae

——| =—=|@ | TWENTY- FOURTH SEASON Oe
1935-1936 o=

aallllin i allt

:
\
|
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-
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SUC | l {I alterin fe) _ _

OUR millinery salons are gay with an enticing array
of the authentic creations of leading designers. Tiny
tip-tilted hats which perch perilously on high curls...
flattering brimmed hats to wear with your spring prints
.. Straight sailors with snoods at the back to hold unruly

locks..toques alluring with flowers, veils, and roguish bows

$10: $1 2°° $180 and more

The Musical Association of San Francisco

Maintaining the

San Francisco Symphony Orchestra

Joseph S. Thompson, President
Mrs. Leonora Wood Armsby,

Vice-President

Robert W. Miller, Vice-President

OFFICERS

Dr. Hans Barkan, Vice-President
Mrs. E. S. Heller, Vice-President

John A. McGregor, Treasurer

Edward F. Moffatt, Secretary

EXECUTIVE COMMITTEE

Dr. Hans Barkan
Miss Lena Blanding
Miss Louise A. Boyd

Mrs. Leonora Wood
Armsby, Chairman

MEMBERS

Armsby, E. Raymond
Armsby,

Mrs. Leonora Wood
Arnold, G. Stanleigh
Baker, Mrs. George

Washington, Jr.
Barkan, Dr. Hans
Bartlett,

Mrs. Edward Otis
Bender, Albert M.
Bradley, Mrs. F. W.
Blanding, Miss Lena
Boyd, Miss Louise A.
Bourn, W. B.
Cameron, George T.
Crocker, William H.
Crocker, Mrs. W. W.
Cushing, Mrs. O.K.
Dohrmann, A. B. C.
Donohoe,

Miss Katherine
Dyer, Joseph H., Jr.

Mrs. Marcus S.
Koshland

Robert W. Miller

Guido J. Musto

MUSIC COMMITTEE

Mrs. George T.
Cameron

Mrs. M. C. Sloss
Mrs. Sigmund Stern
Edgar Walter

Dr. Leo Eloesser
J. Emmet Hayden

OF THE BOARD OF GOVERNORS

Elkus, Albert I.
Eloesser, Dr. Leo
Esberg, Milton H.
Fagan, Mrs. Paul I.
Filmer, Mrs. W.. Coy
Fleishhacker,: Mortimer
Flowers, Mrs. J. C.
Forbes, John F.
Gilman, Don E.
Goldstein, Miss Lutie D.
Haley, Mrs. Harry S.
Hart, Julien

Hayden, J. Emmet
Koshland,

Mrs. Marcus S.
Koster, F. J.
Lachman, Gus
Levison, J. B.
Martin, Walter S.
Merola, Gaetano
Mendell,

Mrs. George H.

Miller, Robert W.
Monteagle, Kenneth
Musto, Guido J.
McGregor, John A.
McKee, John D.
McKinnon,

Mrs. Harold Richert
Newell, R. C.
Neylan, John Francis
Potter, Mrs. Ashton H.
Schilling, Miss Else
Schlesinger, B. F.
Sloss, Mrs. M. C.
Stern, Mrs. Sigmund
Thompson, Joseph S.
Threlkeld, John H.
Tobin, Richard M.
Walter, Edgar
Wiel, Eli H.
Williams,

Mrs. W. Wilberforce
Winslow, Mrs. S.S.

ORCHESTRA COMMITTEE

Albert A. Greenbaum

Eugene Heyes
Erich Weiler

M.A. Salinger

PAST PRESIDENTS OF THE MUSICAL ASSOCIATION

T. B. Berry
W'. B. Bourn

Mrs. Leonora Wood Armsby,

Managing Director

a nh ENS

William Sproule
John D. McKee

J. B, Levison
Richard M. Tobin

Peter Conley,

Business Manager

CHOOSE YOUR PIANO AS THE ARTISTS DO

FAMOUS SINGERS endorse the

BALDWIN PIANO

The tonal quality of the new Baldwin
makes it a great pleasure and genuine
satisfaction to sing with this noble
instrument.

The Baldwin has that rare quality of
, tone which blends so successfully with
| the voice of the singer.

Lat» Syren

For the singer, the tone of the Baldwin
represents a sure source of inspiration,
and never fails to blend harmoniously
with the voice.

MW flow

BALDWIN PIANOS

310 SUTTER STREET

San Francisco Symphony Orchestra
PIERRE MONTEUX, Conductor

WILLEM VAN DEN BURG, Assistant Conductor

1936 Season
FIRST PAIR OF SYMPHONY CONCERTS
1153rd and 1154th Concerts

Friday, January 10, 2:30 P. M.
Saturday, January 11, 8:30 P. M.
WAR MEMORIAL OPERA HOUSE

programme
Li PASSACAGETA-EN© GIVING Ree tak rec eee ee Bach-Respighi
(First time in San Francisco)
2. SS YMPHONY? Nose, IN Ay MEA Oia eae eee Beethoven
Poco sostenuto — Vivace

Allegretto
Presto: Presto meno assai
Allegro con brio

INTERMISSION

3 ce EER EBs, INO GT UFR NESS: oc ad Leanne ene Debussy
“Clouds”
“Festivals”’
‘*Sirens”’
(Chorus of Sirens by members of San Francisco
Municipal Chorus, Dr. Hans Leschke, director)
4° RONDO; “TILL, EULENSPIEGEL’S
VEER RY. PRANKS Re calle cos gure eee eens Richard Strauss

STAGE SET DESIGNED BY JUNIUS CRAVENS
PAINTED BY GUS SCHNEIDER

As a convenience for concert patrons, coupon books have been
issued, priced at $10.00, each containing twenty 50¢ coupons.
These coupons may be exchanged as desired for any of the
regular Opera House series or Berkeley series concerts.

Col. W. de Basil’s

MONTE CARLO

BALLET RUSSE

COMPANY OF 125

SYMPHONY ORCHESTRA

WAR MEMORIAL

OPERA

MON. EVE., JAN. 13

SCHEHERAZADE ..........----- Rimsky-Korsakov

LES: SVP Ei DES erat cece, eee Chopin

AURORA'S WEDDING .........--- Tschaikovsky
TUES. EVE., JAN. 14

GARNAVAL 05.2. ice Sah eae eoceate Schumann

CHOREARTIUM ..........-...Brahm's 4th Sym.
THE MIDNIGHT SUN......Rimsky-Korsakov

WED. MAT., JAN. 15

THE SWAN “LAKE: 2... Tschaikovsky
PE PRO UGELKA. cots secceeccateseocettee->- Stravinsky
BRAUN GE [GO Rieter etcae beac Borodine

WED. EVE., JAN. [5

GOOD HUMOURED LADIES..D. Scarlatti

EES “PRESAGES: 2+.--84-. 3... _Tschaikovsky

THE BEAUTIFUL DANUBE............J. Strauss
THUR. EVE., JAN. 16
FANTASTIC: 1OY-SHOP G2 he§: Rossini

CHOREARTIUM .........-.....Brahm's 4th Sym.
THE MIDNIGHT SUN......Rimsky-Korsakov

FRI. EVE., JAN. 17

THE SWAN LAKE.)...........----.-.--Tschaikovsky
DESOPRESAGES: venteesemrcancee Tschaikovsky
LINTON: RA CIBIG were asc ticcens Nabokoff

HOUSE

SAT. MAT., JAN. 18
A HUNDRED KISSES........... :
SCHEHERAZADE .........-- Rimsky-Korsakov
AURORA'S WEDDING ...........-.

....D' Erlanger

Tschaikovsky

SAT. EVE., JAN. 18

EESHSY EREINDEos esse Chopin

PETROUCHKA .. Stravinsky

PRINCE IGOR ... _...Borodine
SUN. MAT., JAN.

LINTON-APA CIFIC cee eects Nabokoff

THREE CORNERED HAT............----- De Falla

FANTASTIC TOY-SHOP ......... Rossini

MON. EVE., JAN. 20
GOOD HUMOURED LADIES...D. Scarlatti
CHOREARTIUM ............... Brahm's 4th Sym.
AURORA'S WEDDING

TUES. EVE., JAN. 21

_Tschaikovsky

COTO Neatiaactt cetera Chabrier
SCHEHERAZADE ...-......-- Rimsky-Korsakov
SPEGTRE-DEIKAD ROSE irtas cee Weber
THE BEAUTIFUL DANUBE............J. Strauss

Tickets Now on Sale: Sherman, Clay & Co., San Francisco & Oakland

Nights: $3.30,

$2.75,

$2.20, $1.65, $1.10

Matinees: $2.75, $2.20, $1.65, $1.10, 83¢

| iii OSH be) Orage ke

CEORIN: loans

J cn

Ay VYOUVMCEWNE! it Pees is

SECOND PAIR OF SYMPHONY CONCERTS

Friday, January 24, 2:30 P. M.
Saturday, January 25, 8:30 P. M.

WAR MEMORIAL OPERA HOUSE
Soloist: JOSEF LHEVINNE, Pianist

PRS OCGSRAsM “MCE

Overture; The, Camivaly Romain espe ee toe eee eae, Berlioz
Symphonie Poems es MEOlnle sit eee ee ac ee eee Franck
Goncerto:for- Piano, “Be flat minors test hee See Tschatkowsky

JOSEF LHEVINNE

Tuesday, January 14, 8:30 P. M.
CEVIG? At DE E.On wl
Soloist: JOSEF SZIGETI, Violinist
PROGRAMME

Overture ’to, “sEUryVanthe scx et ee Re eee ee Weber
Violin (CoitCerto “imino rete acetate oe, et eae Brahms
JOSEF SZIGETI
one: 2eOGnn, os On Waa ase Ree ore ale ce ae Ci teen ee Strauss
Prelude yto.s Wohnen enn: eee Soe hes ee ieee ce POS gaan oe Wagner
sal DG. SOLCELEL S. TA DOPCDUICE 2. eur essa Sees eae eee Dukas

Auspices of the Music Committee of the San Francisco Art Commission
J. Emmet Hayden, Chairman ® Ottorino Ronchi @ Albert A. Greenbaum
©

Tickets on Sale at Sherman, Clay & Co., Kearny and Sutter Streets

PASSACAGLIA IN C MINOR .. . . Bach-Respighi

This composition comes from the latter part of Bach’s residence in
Weimar. The work was originally composed for a two manual clavicembalo
with pedals, and afterward arranged for organ. A ‘“‘Passacaglia” was original-
ly an old Spanish or Italian dance in triple time repeated. The short theme
of two, four, or eight bars was incessantly repeated. The form is allied to
that of the “Chaconne” although in the Chaconne the theme reappears in the
upper and inner parts, whereas in the Passacaglia it is confined to the bass.
Bach, however, does not restrict his subject to the bass so the work is really
a combination of the two forms.

The work was very likely influenced by the compositions of Buxtehude
who wrote many passacaglias and chaconnes, although Bach wrote only the
one in C minor. Leopold Stokowski commented: ‘“‘Bach’s Passacaglia is in
music what a great Gothic Cathedral is in architecture — the same vast
conception — the same soaring mysticism given eternal form.”

SYMPHONY No. 7,IN A MAJOR .. . . Beethoven

Beethoven wrote his A major symphony mostly in 1811-12, although
sketches for it go back as far as 1808. From the very outset the symphony
was recognized as a masterpiece and it stands today as one of the half dozen
supreme achievements in the field of music. As in the case of other
symphonies by Beethoven, there have been various programmes or inter-
pretations read into the Seventh. Richard Wagner declared it to be the
Apotheosis of the Dance. A writer in the “Gazette Musicale” (Paris) assert-
ed that the symphony was intended to represent a rustic wedding with the
following programme: First movement — Arrival of the Villagers; Second
— Wedding March; Third — Dance of the Villagers; Fourth — Feast and
Revels. However, it is safe to say that Beethoven never intended any
specific programme for the symphony, but in explanation of its buoyant
energy and its superb vitality, one may well look for a moment at the
conditions amid which it was written.

After the year 1809, the whole aspect of Europe, humbled for ten
years by Napoleon’s victories, began to change. The people, formerly
apathetic, were now the centers of resistance to Napoleon; they were driving
their rulers to learn military efficiency. Beethoven was keenly conscious of

The San Francisco String Quartet

Naoum Blinder Eugene Heyes Lajos Fenster Willem Dehe

First Violin Second Violin Viola Violoncello
VETERANS’ AUDITORIUM
Wednesday Evening, January 15, at 8:45
The program will include

Ouartetercoecathi and. ene. Werden) ex eae feet tee Sere ean eee _...schubert
Ouiserce ta: Cop mua sn NO guerre Hao Wie ee ed rr ee oe RAEN Bante avec Nae ee Brahms

Tickets on sale at Sherman, Clay & Co.: 50¢ — $1.00 — $1.50 (no tax)

—

all this; in 1810-12 he composed a good deal of definitely military music,
and wherever he went the talk must have been largely of the rising tide
of German-Austrian nationalism and the day when Napoleon should be
overthrown. Against this background, the A major Symphony is easily
explained.

THREE NOCTURNES ...... .... . Debussy

Although Debussy’s “Nocturnes” are three in number, only the first
two, “Clouds” and “Festivals” have previously been given in San Francisco.

The composer himself left a brief programme of the composition,
as follows:

“The title ‘Nocturnes’ is intended to have here a more general and,
above all, a more decorative meaning. We, then, are not concerned with
the form of the nocturne, but with everything that this word includes in the
way of diversified impression and special lights.

“Clouds: The unchangeable appearance of the sky, with the slow
and solemn march of clouds dissolving in a gray agony tinted with white.

“Festivals: Movement, rhythm dancing in the atmosphere, with
bursts of brusque light. There is also the episode of a procession (a dazzling
and wholly idealistic vision) passing through the festival and blended with
it; but the main idea and substance obstinately remain — always the festival
and its blended music — luminous dust participating in the universal
rhythm of all things.

“Sirens: The sea and its innumerable rhythm; then amid the billows
silvered by the moon the mysterious song of the Sirens is heard: it laughs
and passes.”’

RONDO, “TILL EULENSPIEGEL’S
MERRY PRANKS” . . . . . Richard Strauss
Till Eulenspiegel is the hero of an old folk-story of the fifteenth

century, attributed to a Dr. Thomas Murner. Till is a wandering mechanic
of Brunswick who plays all sorts of practical jokes on the simple-minded

OLGA BLOCK BARRETT

Pianist and Teacher

Graduate of the University of Music, Vienna has returned
from abroad after a year of study at the College of Music
at the University in Koenigsberg, Germany, with a letter
of highest praise and personal recommendation by the
Dean, Professor Dr. Joseph Mueller-Blattau.

6
Mrs. Barrett will accept pupils for
Piano and musical culture. Please address

2755 WEBSTER ST. — SAN FRANCISCO — WAInut 7972
|

peasant folk. Although the composer has refused to give a detailed
programme many commentators have done so, the substance of the story
being: The opening bars of the work may be accepted as the “once upon
a time” of the story books. Till is wandering, looking for adventure and
comes to a certain city on market day, the market women sitting at their
stalls gossiping. Suddenly Till mounts his horse and dashes among the
crowd. Midst the uproar of broken pots and pans and shouting women, he
beats a safe retreat. His next prank consists of putting on the vestments of
a priest, but he does not feel comfortable in this role and soon throws off
his robes. Next he appears as a Don Juan. However he really falls in love,
only to be laughed at by the object of his devotion. Rage possesses him but
is soon forgotten when he meets a company of ‘“‘worthy Philistines.” Assuming
an air of great seriousness he mocks them, leaving the good doctors and
professors quite puzzled. Gaily Till goes his way and even the ominous
tones of the trombones forecasting his fate sound no warning in his conscience
until he lands in prison and is dragged before the criminal court. (Note the
roll of the drums and the threatening chords indicative of the questioning of
the court, Till gaily answering each question with a lie.) Not until he is
condemned to death does fear seize him but then it is too late. The fatal
moment has come: he is strung up. The flutes portray his last struggle as
his soul takes flight. The end of Till’s adventures is followed by an epilogue
which ends as the tale began, with “Once upon a time.”

The Clerer He
She (Oise (Sy GOSteSS) =.

who realizes the importance
of a charming background
entrusts her floral decor-
ations to Podesta and Bal-

| docchi — an assurance of
WILLEM WEGMAN | yare beauty and true artis-
Member of the San Francisco |__s try in arrangement.
Symphony Orchestra

TEACHER OF VIOLIN | QZ, Lo
Studios at: | we altochi
Castenada (Forest Hill) Ctleslia
2363 Jackson Street “The Voice of a Thousand Gardens”

878 - 36th Avenue 994 Grant Avenue . Telephone SUtter 6200
PHONE BAyview 5223

KAJETAN ATTL’S HARP ENSEMBLE x* x * *-

FIRST HARPIST WITH SAN FRANCISCO SYMPHONY FOR TWENTY-TWO CONSECUTIVE YEARS.

BEGINNERS OR ADVANCE STUDENTS PHONE FOR APPOINTMENT.
WHEN BUYING OR RENTING A HARP ONLY AN EXPERIENCED HARPIST CAN ADVISE CORRECTLY.
LARGE STOCK OF HARPS FOR SALE OR RENT:

1030 BUSH ( Phe dist 0307 STUDIO NO. 6

FOUR SYMPHONY CONCERTS
FOR YOUNG PEOPLE

ERNEST SCHELLING, Conducting
War Memorial Opera House
SATURDAY MORNING, APRIL 1152-10280
SATURDAY MORNING, APRIL -18, 10:30
WEDNESDAY AFTERNOON, APRIL 22, 4:00
SATURDAY MORNING, APRIL 25, 10:30
Season Tickets (4 concerts) $2.00 — $1.40 — $1.00 — $ .60

Three Concerts at the University of California

Under Direction of Committee on Music and Drama.
William Popper, Chairman

Sunday Aft., 3:15, January 26 — Grete Stueckgold, Guest Artist

Sunday Aft., 3:15, March 15 — Alexander Brailowsky, Guest Artist

Sunday Aft., 3:15, April 5 — Myra Hess, Guest Artist

Season Tickets for the three concerts at The University of California

are priced at $4.00, $3.00, $2.00, $1.50. Tickets are now on sale at
Stephens Union Building on the Campus.

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ES POS OGY TaN
SAN FRANCISCO SYMPHONY ORCHESTRA

PIERRE MONTEUX, Conductor
Willem Van den Burg, Assistant Conductor

First Violins:

Blinder, Naoum
Concert Master

Fenster, Lajos

Asst. Concert Master
Argiewicz, Artur
Claudio, Ferdinand
Gordohn, Robert
Jensen, Thorstein
Koharich, Joseph
Laraia,W. F.
Mendelevitch, Rodion
Meriz, Emilio
Mortensen, Modesta
Pasmore, Mary
Wolski, William
Wright, Harold

Second Violins:

Heyes, Eugene
Principal

Baret, Berthe
Gold, Julius
Gough, Walter
Haug, Julius
Houser, F. S.
Helget, Hans
Koblick, N. I.
Paterson, J. A.
Rosset, Emil
Spaulding, Myron
Wegman, Willem

Violas:

Firestone, Nathan
Principal
Baker, Fred A.
Hahl, Emil
Karasik, Manfred
Lichtenstein, Victor
Tolpegin, Victor
Vdovin, Alexander
Verney, Romain
Weiler, Erich

(Listed Alphabetically)

Cellos:

Van den Burg, Willem
Principal

Bem, Stanislas

Coletti, Bruno

Dehe, Willem

Ferner, Walter V.

Haight, Rebecca

Kirs, Rudolph

Pasmore, Dorothy

Reinberg, Herman

Basses:
Bell, Walter
Buenger, A.
Forman, F. F.
Guterson, Aaron
Hibbard, E. B.
Ramos, Juan
Schipilliti, John
Schmidt, Robert E.

Flutes:

Woempner, Henry C.
Oesterreicher, Walter
Benkman, Herbert

Oboes:

Shanis, Julius
Schivo, Leslie J.
Dupuis, Andre
Plemenik, A.

English Horn:
Schivo, Leslie J.

Clarinets:

Schmitt, Rudolph
Rudd, Charles
Fragale, Frank
Clow, R.

Bass Clarinet:
Fragale, Frank

Bassoons:
Weiss, Adolph
La Haye, E. B.
Hranek, Carl
Baker, M.

Contra Bassoon:
La Haye, E. B.

Horns:

Lambert, Pierre
Trutner, Herman
Tryner, Charles E.
Roth, Paul

Trumpets:

Klatzkin, Benjamin
Barton, Leland S.
Kress, Victor
Bubb, C. H.

Trombones:

Giosi, Orlando
Shoemaker, R. F.

Klock, J.
Tuba:

Storch, A. E.
Harp:

Attl, Kajetan
Thompson, Kathryn

Tympani and

Percussion:
Vendt, Albert
Wood, W. A.
Salinger, M. A.
Nickell, Max

Piano and Celesta:
Tibbits, J.P:

Librarian:
Haug, Julius

Personnel Manager:
Oesterreicher, Walter

———Ssssssaos“<6_—waanaoaj>xse0w»”>»0va‘*nuaammM0»M nanny x_—_— eee

San Francisco Symphony Orchestra

Fri., Jan.
Sat., Jan.
Tue., Jan.
Tue., Jan.
Thur. Jan.
EPri.wan:
Sat: Jian.
Sun., Jan.

Tue., Jan.
Fri.,'Jan.
Sat., Feb.
Tue., Feb.
Thur., Feb.
Fri., Feb.
Sat., Feb.
Tue., Feb.
Tue., Feb.

Fri., Feb.
Sat., Feb.
Thur., Mar.
Fri., Mar.
Sat., Mar.
Sun., Mar.

Mon., Mar.

Thur., Mar.
Tue., Mar.
Fri., Mar.
Sat., Mar.
Tue., Mar.
Thur., Apr.
Fri., Apr.
Sat., Apr.
Sun., Apr.
Sat., Apr.

Sun., Apr.
Tue., Apr.
Thur., Apr.
Fri., Apr.
Sat., Apr.
Sat., Apr.

Wed., Apr.
Fri., Apr.

Sat., Apr.
Sat., Apr.

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M., Opera House
M., Civic Auditorium, Josef Szigeti, Violinist
M., Civic Auditorium, Grete Stueckgold, Soprano

.M., Standard Oil Company broadcast

M., Opera House, Josef Lhevinne, Pianist

M., University of California, Grete Stueckgold,
Soprano

M., Civic Auditorium, Bruckner Mass

M., Opera House, Jose Iturbi, Pianist

M., Civic Auditorium

M., Standard Oil Company broadcast

M., Opera House, Otto Klemperer, conducting »

M., Opera House, Otto Klemperer, conducting

M., Civic Auditorium

M., Civic Auditorium, Lotte Lehmann, Soprano,
Alfred Hertz, Conducting

M., Opera House, Jascha Heifetz, Violinist

M., Standard Oil Company broadcast

M., University of California, Alexander
Brailowsky, Pianist

M., Civic Auditorium, Alexander Brailowsky,
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M., Standard Oil Company broadcast

M., Civic Auditorium

M., Opera House, Sylvia Lent, Violinist

M., Civic Auditorium, “The Damnation of Faust”

M., Standard Oil Company broadcast

M., Opera House, Myra Hess, Pianist

M., University of California, Myra Hess, Pianist

M., Opera House, Young People’s Concert,
Ernest Schelling, Conducting

M., San Rafael, Albert Spalding, Violinist

M., Civic Auditorium, Albert Spalding, Violinist

M., Standard Oil Company broadcast

M., Opera House, Mischa Elman, Violinist

M., Opera House, Young People’s Concert,
Ernest Schelling, Conducting

M., Opera House

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Ernest Schelling, Conducting

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SAN FRANCISCO |E
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|| ORCHESTRA

PIERRE MONTEUX

CONDUCTOR CEE |
a an

Willem van den Burg
Assistant Conductor

MAINTAINED BY THE MUSICAL
ASSOCIATION OF SAN FRANCISCO

Second Pair

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The Musical Association of San Francisco

Maintaining the

San Francisco Symphony Orchestra

Joseph S. Thompson, President
Mrs. Leonora Wood Armsby,

Vice-President

OFFICERS

Dr. Hans Barkan, Vice-President
John A. McGregor, Treasurer

Edward F. Moffatt, Secretary

Robert W. Miller, Vice-President

EXECUTIVE COMMITTEE

Dr. Hans Barkan
Miss Lena Blanding
Miss Louise A. Boyd

Mrs. Leonora Wood
Armsby, Chairman

Mrs. Marcus S.
Koshland

Robert W. Miller

Guido J. Musto

MUSIC COMMITTEE

Mrs. George T.
Cameron

Mrs. M. C. Sloss
Mrs. Sigmund Stern
Edgar Walter

Dr. Leo Eloesser
J. Emmet Hayden

MEMBERS OF THE BOARD OF GOVERNORS

Armsby, E. Raymond
Armsby,

Mrs. Leonora Wood
Arnold, G. Stanleigh
Baker, Mrs. George

Washington, Jr.
Barkan, Dr. Hans
Bartlett,

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Bender, Albert M.
Bradley, Mrs. F. W.
Blanding, Miss Lena
Boyd, Miss Louise A.
Cameron, George T.
Crocker, William H.
Crocker, Mrs. W. W.
Cushing, Mrs. O.K.
Dohrmann, A. B. C.
Donohoe,

Miss Katherine
Dyer, Joseph H., Jr.
Elkus, Albert I.
Eloesser, Dr. Leo

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Fagan, Mrs. Paul I.
Filmer, Mrs. W.. Coy

McGregor, John A.
McKinnon,
Mrs. Harold Richert

Fleishhacker,: Mortimer Newell, R. C.

Flowers, Mrs. J. C.
Forbes, John F.
Gilman, Don E.
Goldstein, Miss Lutie D.
Haley, Mrs. Harry S.
Hart, Julien
Hayden, J. Emmet
Koshland,

Mrs. Marcus S.
Koster, F. J.
Lachman, Gus
Martin, Walter S.
Merola, Gaetano
Mendell,

Mrs. George H.
Miller, Robert W.
Monteagile, Kenneth
Musto, Guido J.

Neylan, John Francis
Potter, Mrs. Ashton H.
Robbins, Mrs. George B.
Schilling, Miss Else
Schlesinger, B. F.
Sloss, Mrs. M. C.
Stern, Mrs. Sigmund
Taylor, Mrs. David
Armstrong’
Thompson, Joseph S.
Threlkeld, John H.
Tobin, Mrs. Cyril
Walter, Edgar
Weill, Michel
Wiel, Eli H.
Williams,
Mrs. W. Wilberforce
Winslow, Mrs. S. S.

ORCHESTRA COMMITTEE

Walter A. Weber

EKugene Heyes

Erich Weiler

M. A. Salinger

PAST PRESIDENTS OF THE MUSICAL ASSOCIATION

T. B. Berry
W.. B. Bourn

Mrs. Leonora Wood Armsby,

Managing Director

William Sproule
John D. McKee

J.B. Levison
Richard M. Tobin

Peter Conley,

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Josef Shevinne

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_————————————

San Francisco Symphony Orchestra

PIERRE MONTEUX, Conductor
WILLEM VAN DEN BURG, Assistant Conductor

1936 Season

SECOND PAIR OF SYMPHONY CONCERTS
115Sth and 1159th Concerts

Friday, January 24, 2:30 P. M.
Saturday, January 25, 8:30 P. M.

WAR MEMORIAL OPERA HOUSE
Soloist: JOSEF LHEVINNE, Pianist

programme

OVERTURE, “LE. CARNAVAL -ROIMEMIIN 2 eee ee Berlioz

_—

SYMPHONIC POEM, “BES | EOELD Ds]. .e ete Franck

PIANO CONCERTO, No. 1,IN B FLAT MINOR Tschatkowsky

io)

Andante non troppo e maestoso — Allegro con spirito
Andantino semplice — Allegro vivace assai
Allegro con fuoco
’ JOSEF LHEVINNE
EN. TE RMS sak ON

Bell rings in buffet 3 minutes before curtain rises.

SYMPHONY! Nol” EN: GaVEIN ORC oe oe ee tye eet Brahms

Un poco sostenuto — Allegro

Andante sostenuto

Un poco allegretto e grazioso

Adagio — Pit andante — Allegro non troppo ma con brio

(The Piano is a Baldwin)

“Vou can live without music but not so well.”

od
a

Perspecti

83 Years in True

In 1852, when this bank was established, California gold
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brought on another upward sweep.

Throughout more than eight decades, this cycle has been endlessly re-
peated. Railroad building, the opening of new lands, the rise of new
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MERGER os
F e % DEPRESSION
- * DE
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‘ANIC -

; Ea E : Bee : *In this chart, of the Business Index of Col. L. P. Ayres.
iy e : oi ; Cleveland economist,“100” equals activity in 1899. Trend

line equals increasing per capita rate of production. En-

larged copy of advertisement will be sent on request.

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Announcement
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THIRD PAIR OF SYMPHONY CONCERTS

Friday, January 31, 2:30 P. M.
Saturday, February 1, 8:30 P.M.

Soloist: JOSE ITURBI, Pianist

PR OFG RAS Medi

SV IMPHON Ys TIN7 DIVAS OR aa bat oe a gen cane Mozart
PFANO/CONCER TO: No; 3; [NGC OVEN © Reis eee eee Beethoven
JOSE ITURBI
OVERTURE So NUAN ER ESD eee eee eee Schumann
PRELUDE, “THE AFTERNOON OF A’ FAUN?_ 2”: Debussy

“DAPHNE AND’ CHLOE” (SECOND SUITE) 22

3rd Municipal Concert

Tuesday, January 28, 8:30 P. M.
CLV ICU A UBDET ORLU™M

First San Francisco Performance

BRUCKNER MASS IN F MINOR

SAN FRANCISCO SYMPHONY ORCHESTRA
SAN FRANCISCO MUNICIPAL CHORUS
HANS LESCHKE, Conducting

Soloists
ESTHER GREEN, Soprano RADIANA PASMOREH, Contralto
RAYMOND MARLOWE, Tenor JOHN HOWELL, Baritone
UDA WALDROP, Organist

Auspices of the Music Committee of the San Francisco Art Commission
J. Emmet Hayden, Chairman ® Ottorino Ronchi @ Albert A. Greenbaum
Joseph H. Dyer, Jr, Secretary
e
Tickets on Sale at Sherman, Clay & Co., Kearny and Sutter Streets

OVERTURE, “LE CARNAVAL ROMAIN” . Berlioz

)

Berlioz composed an opera, ‘“‘Benvenuto Cellini.” In its original form
it was in two acts. An overture bearing the same name as the opera was
written as a prelude to the first act. The overture to the second act was
called “Le Carnaval Romain.”

The chief thematic material of the overture is taken from the opera.
It begins with the theme of the Saltarello danced in the middle of the second
act of the opera. An Andante follows, the English horn singing the melody
of Benvenuto at the beginning of the trio in the first act. Then comes the
Allegro Vivace, which is the main part of the overture. The theme is a song
of Cellini’s followers in the second act. The Saltarello is also liberally
employed in a brilliant and spectacular delineation of a carnival in Rome.

SYMPHONIC POEM, “LES EOLIDES” . . . Franck

The symphonic poem, “Les Eolides,’’ Franck’s first attempt in the
field of descriptive orchestral composition, was inspired by a poem of the
Same name by Charles Marie Rene Leconte de Lisle, commencing:

“O floating breezes of the skies, sweet breaths of the fair spring, that
caress the hills and plains with freakish kisses.

“Virgins, daughters of Aeolus, lovers of peace, eternal nature awakens
to your songs; and the Dryad seated amid the thick foliage sheds the tears
of the scarlet dawn upon the mosses.”

Georges Servieres, in his sketch on Cesar Franck, states: “This
symphonic poem, played for the first time at an orchestral concert of the
Societe Nationale on May 13, 1877, was again performed, through the efforts
of M. Lamoureux, February 26, 1882. It was hissed. This setback so strongly
affected the conductor that he waited until February 18, 1894, before again
providing a hearing for “Les Eolides.” This time the public, converted to
admiration for Cesar Franck, was glad to acknowledge the talent with which

teense a ane name ame tam teeta ee OCC CCCCCCCCCC CCC.
The San Francisco String Quartet

Naoum Blinder Eugene Heyes Lajos Fenster Willem Dehe

First Violin Second Violin Viola Violoncello
VETERANS’ AUDITORIUM
WEDNESDAY, MARCH 4th, 8:30 P. M.

Mozart Beethoven Dohnanyi
Tickets on sale at Sherman, Clay & Co.: 50¢ — $1.00 — $1.50 (no tax)

the master had known how to convey in smoothly graduated colors, by the
delicacy of his harmonies and modulations, the musical impression of soft
rustling, of the caresses of Spring breezes, as suggested by the lines of the poet.”

CONCERTO FOR PIANO, No. 1,
IN B FLAT MINOR .. .. . Tschaikowsky

This brilliant concerto, completed in 1874, was first dedicated to
Nicholas Rubinstein, who, when he first heard it, was so violent and abusive
in his criticism that Tschaikowsky, in his anger and humiliation, changed
the dedication to Hans von Bulow. Strange to say, the first public per-
formance took place in Boston in 1875, when it was played by von Bulow,
who was on a visit to this country.

The work is in the customary three movements, the theme of the
introduction being one of the most majestic ever written. The first theme of
the Allegro which follows, is a Russian folk song which the composer heard
sung by a blind beggar. A second theme, described by Tschaikowsky’s
brother as a “gay little waltz tune which sounds like the strains from a
distant ball room,’ is a popular French song. The second movement is
developed from a soft, tender melody with the character of a lullaby. After
a time the French song of the movement is heard again (allegro vivace assai),
thus combining an Andante and Scherzo in one movement. The Finale is a
rondo on three themes, the principal one being a wild, impetuous Slavic dance.

SYMPHONY No.1, INC MINOR .. . .. . Brahms

Brahms was forty-three years old before he produced his first symphony
and the work therefore represents his mind in its most vigorous maturity
and shows to fullest advantage his noble gravity of style and fine musical
technique. However, in 1855 Brahms wrote in a letter to Joachim: “I have
been trying my hand at a symphony during the past summer, have even
orchestrated the first movement, and have composed the second and third.”
The symphony was never completed, but the work was turned into a sonata

OLGA BLOCK BARRETT

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Mrs. Barrett will accept pupils for
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for two pianos. Later the first two movements were used for the first and
second movements of the D minor piano concerto and the third movement
was turned into the “Behold all flesh’? movement of the “German Requiem.”
In biographies we find reference to the C minor symphony covering a period
of almost fifteen years before its production, which took place November
4, 1876.

The New York “Tribune” published early in 1905 a note communicated
by Mr. Walter Damrosch, concerning the first performance of the symphony
in New York:

“When word reached America in 1877 that Brahms had completed
and published his first symphony, the musical world here awaited its first
production with keenest interest. Both Theodore Thomas and Dr. Leopold
Damrosch were anxious to be the first to produce this monumental work, but
Dr. Damrosch found to his dismay that Thomas had induced the local music
dealer to promise the orchestral parts to him exclusively. Dr. Damrosch
found he could obtain neither score nor parts, when a very musical lady, a
pupil of Dr. Damrosch, hearing of his predicament, surprised him with a full
copy of the orchestral score. She had calmly gone to the music dealer without
mentioning her purpose and had bought a copy in the usual way. The score
was immediately torn into four parts and divided among as many copyists,
who, working day and night on the orchestra parts, enabled Dr. Damrosch
to perform the symphony a week ahead of his rival.”

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Pai SON IN EE

SAN FRANCISCO

SYMPHONY ORCHESTR

PIERRE MONTEUX, Conductor |

Willem Van den Burg, Assistant Conductor

First Violins:

Blinder, Naoum
Concert Master

Fenster, Lajos

Asst. Concert Master
Argiewicz, Artur
Claudio, Ferdinand
Gordohn, Robert
Jensen, Thorstein
Koharits, Joseph
Laraia,W. F’.
Mendelevitch, Rodion
Meriz, Emilio
Mortensen, Modesta
Pasmore, Mary
Wolski, William
Wright, Harold

Second Violins:

Heyes, Eugene
Principal

Baret, Berthe
Gold, Julius
Gough, Walter
Haug, Julius
Houser, F.S.
Helget, Hans
Koblick, N. I.
Paterson, J. A.
Rosset, Emil
Spaulding, Myron
Weeman, Willem

Violas:

Firestone, Nathan
Principal

Baker, Fred A.

Hahl, Emil

Karasik, Manfred

Lichtenstein, Victor

Tolpegin, Victor

Vdovin, Alexander

Verney, Romain

Weiler, Erich

(Listed Alphabetically)

Cellos:

Van den Burg, Willem
Principal

Bem, Stanislas
Coletti, Bruno
Dehe, Willem
Ferner, Walter V.
Haight, Rebecca
Kirs, Rudolph
Pasmore, Dorothy
Reinberg, Herman

Basses:

Bell, Walter
Principal
Buenger, A.
Forman, F. F.
Guterson, Aaron
Hibbard, E. B.
Ramos, Juan
Schipilliti, John
Schmidt, Robert E.

Flutes:

Woempner, Henry C.
Oesterreicher, Walter
Benkman, Herbert
Herold, R. J.

Oboes:
Shanis, Julius
Schivo, Leslie J.
Dupuis, Andre
Plemenik, A.
English Horn:
Schivo, Leslie J.

Clarinets:

Schmitt, Rudolph
Rudd, Charles
Fragale, Frank
Clow, R.

Bass Clarinet:
Fragale, Frank

Bassoons:
Weiss, Adolph
La Haye, E. B.
Hranek, Carl
Baker, M.

Contra Bassoon:
La Haye, E. B.

Horns:
Lambert, Pierre
Trutner, Herman
Tryner, Charles E.
Roth, Paul

Trumpets:

Klatzkin, Benjamin
Barton, Leland S.
Kress, Victor
Bubb, C. H.

Trombones:

Giosi, Orlando
Shoemaker, R. F.

Klock, J.
Tuba:

Storch, A. E.
Harp:

Attl, Kajetan
Thompson, Kathryn

Tympani and
Percussion:

Vendt, Albert
Wood, W. A.
Salinger, M. A.
Nickell, Max

Piano and Celesta:
AR ohovinet Ghd ee

Librarian:
Haug, Julius

Personnel Manager:
Oesterreicher, Walter

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San Francisco
Symphony Orchestra

NeeaGeS Onli One)
*

Anticipated Expense
ORCHESTRA:

Musicians, Conductor, Soloists, Music,
Rovyaltiessise, yy hs sen, ere tab te @ 000-00
CONCERTS:
Rental of Opera House, Stage Hands,
Tickets and Selling Expense, Door-
men and Ushers, Publicity and
Advertising, Programs, and Special
Concertyhxpensesct aan ees 15,150.00
Admunistrative-Expense /...°%. 0. 4; 20,050.00

$165,200.00
Anticipated Income

© Concerts and: Broadcasts: . 2s. a 260,650.00
Interest from Endowment Funds . . 4,000.00
Royalty on Victor Records . .. . 450.00
a $ 88,300.00
$ 76,900.00
Subscriptions secured to date . . . $ 40,000.00
Balance of subscriptions required . . 36,900.00
$ 76,900.00

* This figure includes fee of $30,000.00 from
Art Commission for Civic Auditorium Concerts.

Reference to the above statement will indicate the generous response
already secured to the Symphony’s publication of its requirements,
but the balance still required is drawn to the attention of all sym-
phony lovers in the hope and expectation that they will consider
very thoughtfully the sending of a subscription to the Musical
Association, and the urging upon their friends of the same procedure,
without waiting for the visit or communication of a representative,
as no commissions are paid on subscriptions and those who have
voluntarily interested themselves in securing funds are very fully
occupied.

FINE FOODS--

Relax and be served comfortably in the
most beautiful restaurants in the West
— at no greater cost than elsewhere.

VU after
the Theatre
always in favor

D {a
0

0
Nom

33 POWELL STREET, near Market
1032 MARKET STREET, near Opera House

San Francisco — Pasadena — Oakland — Los Angeles — Hollywood

POR? O32) CES NIM Uaioe

It has been said that architecture and sculpture
are “frozen music.”” No more apt description
could be applied to the statuary masterpieces
of Boris Lovet-Lorski. Rhythm speaks in the
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You are cordially invited to an exhibit of Boris

Lovet-Lorski’s work in the Gump Galleries.

Klanuary 20 to Sener fe)

GUMP'S

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Veritably every great artist* plays, endorses, loves

STEINWAY

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Damrosch, Dr. Leopold
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Melba, Nellie
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Ney, Elly

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Pattison, Lee
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Reger, Max
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* Hundreds more, past and present, not to mention leading

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Stokowski, Leopold
Strauss, Richard
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Van Hoogstraten, Wilhelm
Vieuxtemps, Henry
Wagner, Richard
Whitehill, Clarence
Wieniawski, Henry

Ysaye, Eugene

Zimbalist, Efrem

al WTO IO
sie =
=| ANN FRANCISCO =
SVR

JUHU

CORU HE ee
—
PIERRE MONTEUX sam
ema CONDUCTOR >
rere |
——| Willem van den Burg
5 [ee]
Assistant Conductor —
=a = ee
aan
— a
ae) | Sar
=
ae -—
-— aes.
a
=a MAINTAINED BY THE MUSICAL Eee
= ASSOCIATION OF SAN FRANCISCO
pene
[SEE
=
= si 3 Sls gece
| SET B
— | )
= | Third Pair ——$—<—
—— ) TWENTY-FOURTH SEASON a a

——_————
=|

(il

if 193521036
]
| | >=)

—

ivingslon’s 1S on fo pr

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Vice-President

Dr. Hans Barkan
Miss Lena Blanding
Miss Louise A. Boyd

Mrs. Leonora Wood
Armsby, Chairman

Armsby, E. Raymond
Armsby,

Mrs. Leonora Wood
Arnold, G. Stanleigh
Baker, Mrs. George

Washington, Jr.
Barkan, Dr. Hans
Bartlett,

Miss Katherine
Dyer, Joseph H., Jr.
Elkus, Albert I.
Eloesser, Dr. Leo

Walter A. Weber

T. B. Berry
W.B. Bourn

Managing Director

Joseph S. Thompson, President
Mrs. Leonora Wood Armsby,

Mrs. Leonora Wood Armsby,

OFFICERS

——

The Musical Association of San Francisco
Maritain 1s “the
San Francisco Symphony Orchestra

Dr. Hans Barkan, Vice-President
John A. McGregor, Treasurer

Edward F. Moffatt, Secretary

Robert W. Miller, Vice-President

Mrs. Marcus S.
Koshland

Robert W. Miller

Guido J. Musto

MUSIC COMMITTEE

Mrs. George T.
Cameron

Esberg, Milton H.
Fagan, Mrs. Paul I.
Filmer, Mrs. W. Coy

EXECUTIVE COMMITTEE

Mrs. M. C. Sloss
Mrs. Sigmund Stern
Edgar Walter

Dr. Leo Eloesser
J. Emmet Hayden

MEMBERS OF THE BOARD OF GOVERNORS

McGregor, John A.
McKinnon,
Mrs. Harold Richert

Fleishhacker, Mortimer Newell, R. C.

Flowers, Mrs. J. C.
Forbes, John F.
Gilman, Don E.
Goldstein, Miss Lutie D.
Haley, Mrs. Harry S.
Hart, Julien

Hayden, J. Emmet
Koshland,

Mrs. Marcus S.
Koster, F. J.
Lachman, Gus
Martin, Walter S.
Merola, Gaetano
Mendell,

Mrs. George H.
Miller, Robert W.
Monteagle, Kenneth
Musto, Guido J.

Eugene Heyes
Erich Weiler

William Sproule
John D. McKee

Neylan, John Francis
Potter, Mrs. Ashton H.
Robbins, Mrs. George B.
Schilling, Miss Else
Schlesinger, B. F.
Sloss, Mrs. M. C.
Stern, Mrs. Sigmund
Taylor, Mrs. David
Armstrong
Thompson, Joseph S.
Threlkeld, John H.
Tobin, Mrs. Cyril
Walter, Edgar
Weill, Michel
Wiel, Eli H.
Williams,
Mrs. W. Wilberforce
Winslow, Mrs. S. S.

ORCHESTRA COMMITTEE

M.A. Salinger

PAST PRESIDENTS OF THE MUSICAL ASSOCIATION

J. B. Levison
Richard M. Tobin

Peter Conley,

Business Manager

a a ee ie ee ee

It is a real sincere pleasure for me to be able to tell you how
much I love my Baldwin. I have not the impression of putting

my hands on the keys but to be in direct contact with the soul
of my instrument, as there is one,

and with such a degree of no
bility and marvelousness . . .

At last, a piano incomparably
superior to all others in America.

Baldwin .& Piano

CHOOSE YOUR PIANO AS THE ARUVISUS DO

San Francisco Symphony Orchestra

PIERRE MONTEUX, Conductor
WILLEM VAN DEN BURG, Assistant Conductor

1936 Season

THIRD PAIR OF SYMPHONY CONCERTS
1162nd and 1163rd Concerts

Friday, January 31, 2:30 P. M.
Saturday, February 1, 8:30 P. M.

WAR MEMORIAL OPERA HOUSE
Soloist: JOSE ITURBI, Pianist

programme
1. SYMPHONY IN D MAJOR (Kochel 385).....................Mozart

Allegro con spirito =
Andante
Minuetto
Finale
2. CONCERTO FOR PIANO, No.3, IN C MINOR....__.. Beethoven
Allegro con brio
Largo
Rondo: Allegro
JOSE ITURBI

LONER Mar Ss) OLN
Bell rings in buffet 3 minutes before curtain rises.

3 5.@) VeBAS ST CER ie SUV TAU NEES Re Ee) fate ess ioe ete teem Schumann
4. PRELUDE, “THE, APTERNOON OFFA’ FAUN” 2. 2. Debussy
Si DAPHNE AND: GHEOE. =s(SEEOND ES UIE) eee Ravel

(The Piano is a Baldwin)

“Vou can live without music but not so well.’

SS aeeeaesencenentdeneienstengensecenneten coetenpnyer ese arer et ee SESS SS eee
~

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stabilizing influence—in boom times, a conservative restraint . . . but
In panic years, the balanced judgment warranted by a long view of the

nation’s history . . . by a sane appraisal of America’s basic wealth in
men and resources.

: EPRESSION f°
* OF 1884 :

1852. 1855 1860 1865 1870 1875 1880 1885 1890

qs os (cS Ba Ac NOR as ks OSU | Ni ales I N LEB Oeor,

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1895

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*In this chart, of the

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larged copy of advertisement will be sent on request.

pO EOP Per ee pre aero btctetr gd Ai Bs
1900 1905 1910 1915 1920 1925 1930 1935

Market at Grant Aven

SYMPHONY IN D MAJOR (Kochel 385) . . Mozart

This symphony, composed at the end of July, 1782, was written for
some festivities at the house of Sigmund Haffner, a merchant in Salzburg,
who was greatly interested in Mozart, and the work is sometimes called the
‘Haffner’ Symphony. It was composed in great haste, for Mozart was
busy rearranging orchestra parts for an opera which had just been produced;
he was working on his Serenade in C minor; and he was passionately in love
with Constanze Weber, whom he married on August 4. Nevertheless the
symphony was finished in a little less than two weeks. At first the work was
in the form of a serenade, with a march as the first movement and with two
minuets, but the march and one of the minuets were later cut out.

CONCERTO FOR PIANO, No.3, IN C MINOR Beethoven

The C minor piano concerto was composed, as the date on the
manuscript shows, in 1800; it thus belongs to the period of the First Sym-
phony, but while in many respects it has the characteristics of Beethoven’s
earlier work, there are features of it, above all the finale, which point for-
ward more definitely than anything in the C major symphony, its exact
contemporary. Its first performance seems to have been on April 5, 1803,
at the stupendous concert given by Beethoven at the Theatre an der Wien.
The program was so long that some of the numbers had to be omitted;
even so the performance included the First and Second Symphonies, the
C minor Concerto, and the oratorio “Christus am Oelgerge.’” Beethoven
doubled and tripled the price of seats, and made eighteen hundred gulden
out of the concert. Beethoven himself was at the piano; Seyfried, whom he
had invited to turn the pages for him, had a bad time of it, for many of the
leaves were bare of notes, with here and there strange hieroglyphics as helps
to the memory. When Beethoven had finished such an “invisible passage” he
would wink at Seyfried to turn the page.

OVERTURE, “MANFRED .... . . - Schumann

The poem, “Manfred” was written by Lord Byron during his travels
in Switzerland in 1816, and tells of the hapless love of Manfred for his sister,
Astarte, and how he sought through earth and among the demons of Hell
itself for absolution and salvation from his sin. Byron has described the
work 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 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 propia persona, to evocate a ghost which appears to him and gives to him
an ambiguous and disagreable answer; and in the third act he is found by his
attendant dying in a tower where he has studied his art.”

Dice teta parr Serr he tat ose ee rope ee a pace a een eer SENSEI S00 Anse Fer eeos i 4s0 ve ors ester weenes cecasate Isto mrseapsvenpeersngess soup:
“Sf is ara * Sees U . - eee

— ONE FORTY six GEARY STREET

OF FINER
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The lovely black
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one of many smart
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PRELUDE, “THE AFTERNOON OF A FAUN” Debussy

This composition, designated by Debussy as a “prelude symphonique”’
is based on an eclogue of Stephen Mallarme, and in keeping with the very
nature of the 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 cord of the
woodwind, the distant call of the horns, the limpid flood of harp tones,
accentuate this impression. The call is louder, more urgent, but it almost
immediately dies away, to let the flute sing again its song. And now the
theme is developed; the oboe enters in, the 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
croaking of muted horns darkens the horizon. The theme comes and goes,
fresh chords unfold themselves; at last a solo cello joins itself to the flute:
and then everything vanishes, as a mist that rises in the air and scatters
itself in flakes.”

ORCHESTRAL FRAGMENTS
FROM “DAPHNE AND CHLOE” ... . Ravel

Ravel’s ballet, “Daphnis and Chloe,” was written for performances
by the Diaghileff Russian Ballet, but owing to delays in the production,
the composer arranged his music into an orchestral suite and in this form
it was first given April 2, 1911, more than a year prior to the first production
of the ballet itself. The orchestral suite is in two sections of three numbers
each, the second group being played at these concerts.

The story, printed on the flyleaf of the score, has been translated
as follows by the late Philip Hale, annotator for the Boston Symphony
Orchestra programmes:

The San Francisco String Quartet

Naoum Blinder Eugene Heyes Lajos Fenster Willem Dehe

First Violin Second Violin Viola Violoncello
VETERANS’ AUDITORIUM
WEDNESDAY, MARCH 4th, 8:30 P. M.

Mozart Beethoven Dohnanyi
Tickets on sale at Sherman, Clay & Co.: 50¢ — $1.00 — $1.50 (no tax)

anes DREAM AD AERE LAZASSS ORME EEE LEE

ntti rene nner nee

AN UNSOLICITED TRIBUTE FROM
A WORLD-FAMOUS NOVELIST AND PLAYWRIGHT !

THE COMPANY WILL APPRECIATE SUGGESTIONS FROM ITS PATRONS CONCERNING ITS SERVICE

~=—"| WESTERN

Telegram or Cable-

SIGNS

DL = Day Lette
NM = Night Message
NL = Night Lecter
LC = Deferred Cable

NLT = Ca ble Night Lecter

ram unless its de-
forced character is in- ( a4 )
dicated by a suitable
sign above or preced-

ing the address. R.B WHITE NEWCOMB CARLTON J.C. WILLEVER Shi fe Redioataes
The filing time as shown in the date Ss rate telegrams and day anaes the time - receipt at deatinatio on as shown op on aa sbown on all me messages, is sages, is STANDARD TIME.
Receives at 935 DEC 31 PM 12 34
NA95 13% DL= NEWYORK NY 30 1215P

FULL-RAT

S HUROK,MAJESTIC THEATRE=
44 ST WEST OF BROADWAY=

1N THAT SUNDAY NIGHT MOOD OF BOREDOM OF CURIOSITY I WENT TO
SEE TRUDI SCHOOP AND HER DANCERS LAST NIGHT STOP | HAD
NEVER BEFORE HEARD OF HER STOP ALL TODAY JIVE BEEN
TELEPHONING MY FRIENDS AS THOUGH | HAD MADE AN EXCITING
AND BRILLIANT DISCOVERY STOP TH!S TRUDI SCHOOP BALLET IS 1}
THINK THE MOST AMUSING AND THE MOST AMAZINGLY FRESH
ENTERTAINMENT IN NEWYORK STOP CERTAINLY EVERY ACTOR IN
NEWYORK SHOULD BE COMPELLED TO SEE THIS PERFORMANCE IF ONLY
TO LEARN SOMETHING ABOUT THE ART OF PANTOMIME STOP WITH NO
SCENERY NO PROPS AND A LITTLE COLLECTION OF COSTUMES THIS
TURNS OUT TO BE FOR ME AT LEAST A DAZZLING EVENING IN THE
THEATRE AND A TRIUMPH OF SHEER TALENT AND SPIRIT STOP HAVE
A SPECIAL MATINEE FOR ACTORS WONT YOU PLEASE=
EDNA FERBER.

Trudi Schoop.../.. Comic Ballet

EUROPEAN COMPANY OF 22 ACTOR-DANCERS

H Oo U 5 ED SUNDAY AFT., FEBRUARY 2

Reserved Seats Now: $2.20 — $1.65 — $1.10 — 83¢ (tax included)
Box Office Sherman, Clay & Co., San Francisco and Oakland

M‘asnsa 2 6 inven te4.5R ela & eC ON ery

“OPERA FRIDAY EVENING, JANUARY 31
|
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ATTI)h ?>C° LIiAaKRR rralieraisRi

Z A IC TA AT

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No sound but the murmur of rivulets fed by the dew that trickles
from the rocks, Daphnis lies stretched before the grotto of the Nymphs.
Little by little the day dawns. The songs of birds are heard. Afar off a
shepherd leads his flock. Another shepherd crosses the back of the stage.
Herdsmen enter, seeking Daphnis and Chloe. They find Daphnis and
awaken him. In anguish he looks about for Chloe. She at last appears
encircled by shepherdesses. The two rush into each other’s arms. Daphnis
observes Chloe’s crown. His dream was a prophetic vision; the intervention
of Pan in manifest. The old shepherd Lammon explains that Pan saved
Chloe, in remembrance of the nymph Syrinx, whom the god loved. Daphnis
and Chloe mime the story of Pan and Syrinx. Chloe impersonates the young
nymph wandering over the meadow. Daphnis as Pan appears and declares
his love for her. The nymph repulses him; the god becomes more insistent.
She disappears among the reeds. In desperation he plucks some stalks,
fashions a flute and on it plays a melancholy tune. Chloe comes out and
imitates by her dance the accents of the flute. The dance grows more and
more animated. In mad whirlings, Chloe falls into the arms of Daphnis.
Before the altar of the nymphs he swears on two sheep his fidelity. Young
girls enter: they are dressed as Bacchantes and shake their tambourines.
Daphnis and Chloe embrace tenderly. A group of young men comes on the
stage. Joyous tumult. A general dance. Daphnis and Chloe. Dorcon.

= = ——_=—

Announcement
&

FOURTH PAIR OF SYMPHONY CONCERTS
Friday, February 14, 2:30 P. M.
Saturday, February 15, 8:30 P. M.

Wr ARs), Mu BuMvO. Rt Ait Opi: TROP AC a SEL) alia sb)

Guest Conductor

Conductor Los Angeles Philharmonic Orchestra

Bo BoE EeO WV HN 4 Pe ROG AGIVis NEES

1 VOVERTURE, “EGMONT”
2. SYMPHONY No. 3, “EROICA”
335 SYMPHONY No; 5. EN .CaMINOR

PERS ORV INE

SAN FRANCISCO SYMPHONY ORCHESTRA
PIERRE MONTEUX, Conductor
Willem Van den Burg, Assistant Conductor

First Violins:

Blinder, Naoum
Concert Master

Fenster, Lajos

Asst. Concert Master
Argiewicz, Artur
Claudio, Ferdinand
Gordohn, Robert
Jensen, Thorstein
Koharits, Joseph
Laraia,W. F.
Mendelevitch, Rodion
Meriz, Emilio
Mortensen, Modesta
Pasmore, Mary
Wolski, William
Wright, Harold

Second Violins:

Heyes, Eugene
Principal

Baret, Berthe
Gold, Julius
Gough, Walter
Haug, Julius
Houser, F. 8.
Helget, Hans
Koblick, N. I.
Paterson, J. A.
Rosset, Emil
Spaulding, Myron
Wegman, Willem

Violas:

Firestone, Nathan
Principal
Baker, Fred A.
Hahl, Emil
Karasik, Manfred
Lichtenstein, Victor
Tolpegin, Victor
Vdovin, Alexander
Verney, Romain
Weiler, Erich

(Listed Alphabetically)

Cellos:

Van den Burg, Willem
Principal

Bem, Stanislas
Coletti, Bruno
Dehe, Willem
Ferner, Walter V.
Haight, Rebecca
Kirs, Rudolph
Pasmore, Dorothy
Reinberg, Herman

Basses:

Bell, Walter
Principal
Buenger, A.
Forman, F. F.
Guterson, Aaron
Hibbard, E. B.
Ramos, Juan
Schipilliti, John
Schmidt, Robert E.

Flutes:

Woempner, Henry C.
Oesterreicher, Walter
Benkman, Herbert
Herold, R. J.

Oboes:

Shanis, Julius
Schivo, Leslie J.
Dupuis, Andre
Plemenik, A.

English Horn:
Schivo, Leslie J.

Clarinets:

Schmitt, Rudolph
Rudd, Charles
Fragale, Frank
Clow, R.

Bass Clarinet:
Fragale, Frank

Bassoons:
Weiss, Adolph
La Haye, E. B.
Hranek, Carl
Baker, M.

Contra Bassoon:
La Haye, E. B.

Horns:
Lambert, Pierre
Trutner, Herman
Tryner, Charles E.
Roth, Paul

Trumpets:

Klatzkin, Benjamin
Barton, Leland S.
Kress, Victor
Bubb, C. H.

Trombones:

Giosi, Orlando
Shoemaker, R. F.

Klock, J.
Tuba:

Storch, A. E.
Harp:

Attl, Kajetan
Thompson, Kathryn

Tympani and
Percussion:

Vendt, Albert
Wood, W. A.
Salinger, M. A.
Nickell, Max

Piano and Celesta:
Tibbits, J. P.
Librarian:
Haug, Julius

Personnel Manager:
Oesterreicher, Walter

4th Municipal Concert

Tuesday, February 4, 8:30 P. M.
CIVIC AUDITORIUM

Soloist: JOSEPHINE TUMMINIA, Soprano
PR OLG’ RAM

i¥OVERTURE, “BENVENULO oCHLEINE is. lie. Berlioz
2. SYMPHONY No. Oe ING EAE O Reece ao. Stee ane Beethoven
3. ARIA, “CARO NOME” from “RIGOLETTO”.......__. Verdi

JOSEPHINE TUMMINIA
4. ARIA, “UNA VOCE POCO FA”

from SbHhy BARBERSORSEVILT Eon te ey aie Rossini
JOSEPHINE TUMMINIA
DANC ERO RM 2 TAM Bi Rip mili utkue th tir ke Sh eae Dukas
SYMPHONIC PORM, “LES PRE LUD Eoin tei one Liszt
@

Auspices of the Music Committee of the San Francisco Art Commission
J. Emmet Hayden, Chairman @ Ottorino Ronchi @ Albert A. Greenbaum
Joseph H. Dyer, Jr, Secretary

Tickets on Sale at Sherman, Clay & Co., Kearny and Sutter’ Streets

Lp Lerre a I? onteux

CONDUCTOR OF

SAN FRANCISCO SYMPHONY
ORCHESTRA

PARIS SYMPHONY ORCHESTRA

Hin s "Ga fF eer.

SP es ARN 1 Ee Maa 1911-1917

Metropolitan Operas 1s ae ee te ee eae 1917-1919
Boston Symphony Orchestra... 1919-1924
Concertgebovw Orchestra, Amsterdam, Holland....1924-1934
Paris Symphony Orchestra... 1929-1936

Has conducted ... Philadelphia, New York and Los Angeles Orches-

tras here in America. Is only French Conductor to conduct Berlin
and Vienna Philharmonic Orchestras. Colleague of Willem Mangel-
berg ten years. Conducted every major orchestra in Europe. Creator
of Petrouchka, Sacre du Printemps, du Rossignol, Stravinsky, Daphnis
and Chloe, Ravel and many other modern works famous today.

FINE FOODS--

Relax and be served comfortably in the
most beautiful restaurants in the West
— at no greater cost than elsewhere.

AL after
the Theatre
always in favor

AAA =
\

| at ral f
a oA
Ut | isi we

33 POWELL STREET, near Market
1032 MARKET STREET, near Opera House

San Francisco — Pasadena — Oakland — Los Angeles — Hollywood

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Maintaining the

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OFFICERS
Joseph S. Thompson, President Dr. Hans Barkan, Vice-President
Mrs. Leonora Wood Armsby, John A. McGregor, Treasurer
Vice-President Edward F. Moffatt, Secretary

Robert W. Miller, Vice-President
EXECUTIVE COMMITTEE

Dr. Hans Barkan Mrs. Marcus S. Mrs. M. C. Sloss
Miss Lena Blanding Koshland Mrs. Sigmund Stern
Miss Louise A. Boyd Robert W. Miller Edgar Walter

Guido J. Musto

MUSIC COMMITTEE

Mrs. Leonora Wood Mrs. George T. Dr. Leo Eloesser
Armsby, Chairman Cameron J. Emmet Hayden

MEMBERS OF THE BOARD OF GOVERNORS

Armsby, E. Raymond _ Eloesser, Dr. Leo Musto, Guido J.
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Miss Katherine Mrs. George H. Williams,

Dyer, Joseph H., Jr. Miller, Robert W. Mrs. W. Wilberforce
Elkus, Albert I. Monteagle, Kenneth Winslow, Mrs. S. S.

ORCHESTRA COMMITTEE

Walter A. Weber Eugene Heyes M. A. Salinger
Erich Weiler

PAST PRESIDENTS OF THE MUSICAL ASSOCIATION

T. B. Berry William Sproule J. B. Levison
W'. B. Bourn John D. McKee Richard M. Tobin
Mrs. Leonora Wood Armsby, Peter Conley,

Managing Director Business Manager

115

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San Francisco Symphony Orchestra

PIERRE MONTEUX, Conductor
WILLEM VAN DEN BURG, Assistant Conductor
1936 Season
FOURTH PAIR OF SYMPHONY CONCERTS
H 1166th and 1167th Concerts
Friday, February 14, 2:30 P. M.
Saturday, February 15, 8:30 P. M.

WAR MEMORIAL OPERA HOUSE

OTTO KLEMPERER, Guest Conductor

BEETHOVEN PROGRAMME

1. OVERTURE, “EGMONT”
2. SYMPHONYeNo: 3, EROICA]

{ Allegro con brio

; Marcia Funebre: Adagio assal
4 Scherzo: Allegro vivace
Finale: Allegro molto

INTERMISSION

SYMPHONY No. 5, IN C MINOR

Allegro con brio
Andante con moto
Scherzo: Allegro
Finale: Allegro

eS)

: “One can live without music but not so well.”

SIT

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OVERTURE, “EGMONT” ... .. . . Beethoven

The music to “Egmont” was composed during the winter of 1810-11,
and performed during the following May. It was a time when Beethoven was
strongly under the influence of Goethe. In the spirit of Goethe’s drama,
the overture is charged with an air of sombre fate and heroic resolution,
softened with touches of romance. The “Egmont” Overture is another
instance, like the Eroica Symphony or the Sonata Opus 26, in which the
utter tragedy of the subject is overborne by a climax of triumphant joy.

The solemn Sostenuto of the beginning leads into the Allegro by a
figure of the strings not unlike the famous phrase in the Leonore No. 3.
A melody sings first in the ’cellos, rising to a great height. A strain of
romance constantly interweaves with the heroic. The fateful legend of the
beginning returns, but the sombre melancholy is slowly overborne. A climax
of the heroic theme leads to a paean of triumph.

SYMPHONY No: 3; CEROICGA 3] | oes eeethoven

At the dawn of the nineteenth century the entire thinking world was
thrown into a state of agitation by the rumor that Napoleon was about to
give France and the world a new and ideal constitution, according to the
precepts of Plato. Like many other artists of the day, Beethoven sought
to honor the brilliant military genius by writing this symphony, whose
original title was simply ‘‘Bonaparte.’”’ When, however, Napoleon proclaimed
himself emperor in 1804, Beethoven, in a fit of anger, excited by the news of
his idol’s self-exaltation, tore off and destroyed the original title page, and
after Napoleon’s personal glory, in Beethoven’s estimation, had disappeared,
he supplied another title: “Symphonie Eroica; composed to celebrate the
memory of a great man.” This change of plan and title after Napoleon’s
apostasy has given critics cause for much speculation as to the precise
meaning of the various movements of the symphony. Fortunately, a close
knowledge of the dramatic scheme underlying the symphony is not as
essential as it might be for some modern program music — in fact, the
music can be best appreciated in and by itself. However, Wagner has
analyzed the symphony as follows:

The San Francisco String Quartet

Naoum Blinder Eugene Heyes Lajos Fenster Willem Dehe

First Violin Second Violin Viola Violoncello
VETERANS’ AUDITORIUM
WEDNESDAY, MARCH 4th, 8:30 P. M.

Mozart Beethoven Dohnanyi
Tickets on sale at Sherman, Clay & Co.: 50¢ — $1.00 — $1.50 (no tax)

119

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I. “The first movement embraces, as in a glowing furnace, all the
emotions of a richly gifted nature in the heyday of unresting youth, Weal
and woe, lief and lack, sweetness and sadness, living and longing, riot and
revel, daring, defiance and an ungovernable self-confidence, make place for
one another so directly and interlace so closely that we can single none of
them from out the rest, but our whole interest is given to this human
being who shows himself so brimful of every feeling. Yet all these feelings
spring from one main faculty — and that is force. This force, immeasurably
enhanched by each emotional impression, and driven to vent its overfill,
is the mainspring of the piece; it clinches, toward the middle of the move-
ment, to the violence of the destroyer, and in its braggart strength we think
we see a wrecker of the world before us, a Titan wrestling with the gods.

II. “This shattering force, that filled us half with ecstasy and half
with horror, was rushing toward a tragic crisis, whose serious import is set
before our feeling in the second movement. The tone poet clothes it in the
musical apparel of a funeral march. Emotion tamed by deep grief, moving
in solemn sorrow, tells us in solemn tones, an earnest manly sadness goes
from lamentations to thrills of softness, to memories, to tears of love, to
searchings of the heart, to cries of transport. Out of grief springs new force,
that fills us with warmth sublime. We battle no more against mourning,
but bear it now outselves on the mighty billows of a man’s courageous heart.

Announcement
&

FIFTH PAIR OF SYMPHONY CONCERTS

Friday, February 28, 2:30 P. M.
Saturday, February 29, 8:30 P. M.
WAR ME MeOs Rai Aa OU PARRA HeO-Uesek

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122

III. ‘‘Force, robbed of its destructive arrogance — by the chastening
of its own deep sorrow — the third movement shows in all its bouyant
gaiety. Its wild unruliness has shaped itself to fresh, to blithe activity; we
have before us now the lovable, glad man, who paces hale and hearty through
the fields of nature — winds his merry hunting horn from woodland heights
— those horns which musically express the radiant, frolicsome, yet tender-
hearted exultation of the man. In this third movement the tone poet shows
us the gladly, blithely-doing man.

IV. “These two sides the master now combines in the last move-
ment to show us finally the man entire, harmoniously at one with self. This
closing section is the harvest, the lucid counterpart and commentary of the
first. Just as there we saw all human feelings in infinitely varied utterance
— so here this manifold variety invites to one harmonious close, embracing
all the feelings in itself and taking on a grateful plasticness of shape. The
womanly at last reveals itself in ever more intense sympathy as the
overwhelming power of love.”

SYMPHONY No.5, IN C MINOR .. . . Beethoven

The C minor Symphony is probably the best-known and most
admired of the immortal nine, perhaps because it is the most human in its
qualities. In the Fifth, as in the Third Symphony, we find that concentration
of thought and labor which makes these two musical poems so all-powerful
and overwhelming in their effect. It is not marked by a spontaneous flow of
musical phrases lightly strung together, or by mere toying with musical
forms; but each motive represents a concentrated essence of thought which,
once heard, makes an indelible impression, and apparently admits of no
change.

The first movement is a wonderful example of thematic invention.
Beethoven spoke of the opening subject as “Fate knocking at the door.” It
consists of three powerful repeated notes followed by a drop of a third. The
working out is intensely dramatic. As for the slow movement, nothing lovelier
was ever created. It is a set of variations of incomparable grace and delicacy.
The Scherzo is gigantic with much development of the two themes. The
second part of the trio has a famous passage for the double basses and
presents the amusing incident of two inefectual attempts to start the theme
— the third time being successful. Instead of being detached us usual, the
Scherzo leads without pause into the fourth movement, which is reached
through a heavy crescendo. The scoring is now enriched through the
addition of three trombones, contra-bassoon and piccolo, and thus re-
enforced the entire orchestra bursts forth into an exultant, triumphant
song of joy and victory.

129

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CONDUCTOR OF

SAN FRANCISCO SYMPHONY
ORCHESTRA

PARIS SYMPHONY ORCHESTRA
His Career —

Concerts Monteux, Paris

Ballets Russe de Diaghlew 1911-1917
Metropolitan Opera 1917-1919
Boston Symphony Orchestra 1919-1924
Concertgebovw Orchestra, Amsterdam, Holland....1924-1934
Paris Symphony Orchestra 1929-1936

Has conducted ... Philadelphia, New York and Los Angeles Orches-
tras here in America. Is only French Conductor to conduct Berlin
and Vienna Philharmonic Orchestras. Colleague of Willem Mengel-
berg ten years. Conducted every major orchestra in Europe. Creator
of Petrouchka, Sacre du Printemps, du Rossignol, Stravinsky; Daphnis
and Chloe, Ravel; and many other modern works famous today.

OLGA
BLOCK
BARRETT

Pianist and Teacher

Graduate of the Uni-
versity of Music, Vienna
has returned from
abroad after a year of
study at the College of
Music at the University
in Koenigsberg, Ger-
many, with a letter of

highest praise and per-
1 a Dr. Joseph Mueller-
! Blattau.
Se WILLEM WEGMAN od
| Member of the San Francisco
| Symphony Orchestra Mrs. Barrett will accept pupils

by the Dean, Professor

sonal recommendation
TEACHER OF VIOLIN for Piano and musical culture.

Studios at: Please address:
Castenada (Forest Hill) ; 5 :
9363 Jackson Street 2755 Webster St., San Francisco
878 - 36th Avenue WAlnut 7972

PHONE BAyview 5228
126

PERS OEN Ge ieel

SAN FRANCISCO SYMPHONY ORCHESTRA
PIERRE MONTEUX, Conductor

Willem Van den Burg, Assistant Conductor

First Violins:
Blinder, Naoum
Concert Master

Fenster, Lajos

Asst. Concert Master
Argiewicz, Artur
Claudio, Ferdinand
Gordohn, Robert
Jensen, Thorstein
Koharits, Joseph
Laraia, W. F.
Mendelevitch, Rodion
Meriz, Emilio
Mortensen, Modesta
Pasmore, Mary
Wolski, William
Wegman, Willem

Second Violins:

Heyes, Eugene
Principal

Baret, Berthe
Gold, Julius
Gough, Walter
Haug, Julius
Houser, F. 8.
Helget, Hans
Koblick, N. I.
Paterson, J. A.
Rosset, Emil
Spaulding, Myron
Wright, Harold

Violas:

Firestone, Nathan
Principal

Baker, Fred A.

Hahl, Emil

Karasik, Manfred

Lichtenstein, Victor

Tolpegin, Victor

Vdovin, Alexander

Verney, Romain

Weiler, Erich

(Listed Alphabetically)

Cellos:

Van den Burg, Willem
Principal

Bem, Stanislas
Coletti, Bruno
Dehe, Willem
Ferner, Walter V.
Haight, Rebecca
Kirs, Rudolph
Pasmore, Dorothy
Reinberg, Herman

Basses:

Bell, Walter
Principal
Buenger, A.
Forman, F. F.
Guterson, Aaron
Hibbard, E. B.
Ramos, Juan
Schipilliti, John
Schmidt, Robert E.

Flutes:

Woempner, Henry C.
Oesterreicher, Walter
Benkman, Herbert
Herold, R. J.

Oboes:

Shanis, Julius
Schivo, Leslie J.
Dupuis, Andre
Plemenik, A.

English Horn:
Schivo, Leslie J.

Clarinets:

Schmitt, Rudolph
Rudd, Charles
Fragale, Frank
Clow, R.

Bass Clarinet:
Fragale, Frank

Bassoons:
Weiss, Adolph
La Haye, E. B.
Hranek, Carl
Baker, M.

Contra Bassoon:
La Haye, E. B.

Horns:
Lambert, Pierre
Trutner, Herman
Tryner, Charles E.
Roth, Paul

Trumpets:

Klatzkin, Benjamin
Barton, Leland S.
Kress, Victor
Rosebrook, D. C.

Trombones:

Giosi, Orlando
Shoemaker, R. F.

Klock, J.
Tuba:

Storch, A. E.
Harp:

Attl, Kajetan
Thompson, Kathryn

Tympani and
Percussion:

Vendt, Albert
W'ood, W. A.
Salinger, M. A.
Nickell, Max

Piano and Celesta:
Tibbits, J. P.
Librarian:
Haug, Julius

Personnel Manager:
Oesterreicher, Walter

EE ——————————————— ——————————_—__—_—_ EEE

127

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San Francisco Symphony Orchestra

PIERRE MONTEUX, Conductor —

1930 Sr,

M., Opera House, Otto Klemperer, conducting

M., Civic Auditorium, Isaac Stern, Violinist

M., Civic Auditorium, Lotte Lehmann, Soprano,
Alfred Hertz, Conducting

M., Opera House, Jascha Heifetz, Violinist

M., Standard Oil Company broadcast

M., Opera House, Naoum Blinder,

' Willem van den Burg

M., Opera House, Naoum Blinder,
Willem van den Burg

M., University of California, Alexander
Brailowsky, Pianist

M., Civic Auditorium, Alexander Brailowsky,

M., Standard Oil Company broadcast

.M., Civic Auditorium, Viennese Program

. M., Opera House, Sylvia Lent, Violinist

.M., Civic Auditorium, “The Damnation of Faust”
.M., Standard Oil Company broadcast

M., Opera House, Myra Hess, Pianist

.M., Opera House, Myra Hess, Pianist

M., University of California, Myra Hess, Pianist

M., Opera House, Young People’s Concert,
Ernest Schelling, Conducting

M., San Rafael, Albert Spalding, Violinist

.M., Civic Auditorium, Albert Spalding, Violinist
.M., Standard Oil Company broadcast
.M., Opera House, Mischa Elman, Violinist

M., Opera House, Mischa Elman, Violinist
M., Opera House, Young People’s Concert,
Ernest Schelling, Conducting

.M., Opera House, Young People’s Concert,

Ernest Schelling, Conducting

M., Opera House, Young People’s Concert,
Ernest Schelling, Conducting

F070 Rie-G_O N-Cek Rat, fe OUR

YOUNG PEOPLE

ERNEST SCHELLING, Conducting

(See Dates Above)

Fri., Feb. 14, 2:30P.
Sat., Feb. 15, 8:30 P.
Tue., Feb. 18, 8:20P.
Tue., Feb. 25, 8:20P.
Fri., Feb. 28, 2:30 P.
Sat., Feb. 29, 8:30 P.
Thur; Mar.95, S210'E-
Fri., Mar. 13, 2:30 P.
Sat., Mar. 14, 8:30P.
Sun., Mar. 15, 3:15P.
Mon., Mar. 16, 8:20 P.
Pianist
Thur.,Mar.19, 8:15 P.
Tue., Mar. 24, 8:20P
Fri., Mar. 27, 2:30 P
Sat., Mar. 28, 8:30P
Tue., Mar. 31, 8:20P
Thur, Apr. oc. oslo
Hal. Apis oj ss00sks
Sat., Apr. 4, 8:30P
SUN ADio: vO sos LOE.
Sat., Apr. 11, 10:00 A.
SUN. Apr. 22 3:00 LF.
Tue., Apr. 14, 8:20 P
Thur., Apr. 16, 8:15P
Eri; Apr... L7,.:2:002.
Sat., Apr. 18, 8:30 P.
Sat., Apr. 18, 10:30 A.
Wed., Apr. 22, 4:00 P
Fri., Apr. 24, 2:30 P. M., Opera House
Sat., Apr. 25, 8:30 P. M., Opera House
Sat., Apr. 25, 10:30 A.
SEASON

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RUSS BUILDING LOBBY

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HEIFETZ

ONLY RECITAL IN SAN FRANCISCO

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Thur. Eve., Rap ..20 Management: PETER CONLEY

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He belongs to the very small group of musicians
who by transcendent powers of execution, by
imagination and intuition, create an art of their
own. He 1s a wholly exceptional artist, a man
of mark among musicians.

OLIN DOWNES in N. Y. Times

VETERAN'S AUDITORIUM: WED. EVE. FEB. 26
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THE

SAN FRANCISCO
2 VIVO
ORCHESTRA

PIERRE MONTEUX
CONDUCTOR

Willem van den Burg
Assistant Conductor

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MAINTAINED BY THE MUSICAL
ASSOCIATION OF SAN FRANCISCO

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TWENTY- FOURTH SEASON ep ===
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The Musical Association of San Francisco
Maintaining the

San Francisco Symphony Orchestra

OFFICERS
Joseph S. Thompson, President Dr. Hans Barkan, Vice-President
Mrs. Leonora Wood Armsby, John A. McGregor, Treasurer
Vice-President Edward F. Moffatt, Secretary

Robert W. Miller, Vice-President

EXECUTIVE COMMITTEE

Dr. Hans Barkan Mrs. Marcus S. Mrs. M. C. Sloss
Miss Lena Blanding Koshland Mrs. Sigmund Stern
Miss Louise A. Boyd Robert W. Miller Edgar Walter

Guido J. Musto

MUSIC COMMITTEE

Mrs. Leonora Wood Mrs. George T. Dr. Leo Eloesser
Armsby, Chairman Cameron J. Emmet Hayden

MEMBERS OF THE BOARD OF GOVERNORS

Armsby, E. Raymond __ Eloesser, Dr. Leo Musto, Guido J.
Mrs. Leonora Wood Esberg, Milton H. McGregor, John A.
Armsby, Fagan, Mrs. Paul I. McKinnon,
Arnold, G. Stanleigh Filmer, Mrs. W.. Coy Mrs. Harold Richert
Baker, Mrs. George Fleishhacker,: Mortimer Newell, R. C.
Washington, Jr. Flowers, Mrs. J. C. Potter, Mrs. Ashton H.
Barkan, Dr. Hans Forbes, John F. Robbins, Mrs. George B.
Bartlett, Gilman, Don E. Schilling, Miss Else
Mrs. Edward Otis Goldstein, Miss Lutie D. Schlesinger, B. F.
Bender, Albert M. Haley, Mrs. Harry S. Sloss, Mrs. M. C.
Bradley, Mrs. F. W. Hart, Julien Stern, Mrs. Sigmund
Blanding, Miss Lena Hayden, J. Emmet Taylor, Mrs. David
Boyd, Miss Louise A. Koshland, Armstrong
Cameron, George T. Mrs. Marcus S. Thompson, Joseph S.
Crocker, William H. Koster, F. J. Threlkeld, John H.
Crocker, Mrs. W.W. lLachman, Gus Tobin, Mrs. Cyril
Cushing, Mrs. O.K. Martin, Walter S. Walter, Edgar
Dohrmann, A. B. C. Merola, Gaetano Weill, Michel
Donohoe, Mendell, Wiel, Eli H.
Miss Katherine Mrs. George H. Williams,
Dyer, Joseph H., Jr. Miller, Robert W. Mrs. W. Wilberforce
Elkus, Albert I. Monteagle, Kenneth Winslow, Mrs. S. S.

ORCHESTRA COMMITTEE

Walter A. Weber Eugene Heyes M. A. Salinger
Erich Weiler

PAST PRESIDENTS OF THE MUSICAL ASSOCIATION

T. B. Berry William Sproule J. B. Levison
W'. B. Bourn John D. McKee Richard M. Tobin
Mrs. Leonora Wood Armsby, Peter Conley,

Managing Director Business Manager

167

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168

San Francisco Symphony Orchestra

PIERRE MONTEUX, Conductor
WILLEM VAN DEN BURG, Assistant Conductor

1936 Season

FIFTH PAIR OF SYMPHONY CONCERTS
1170th and 1171st Concerts

Friday, February 28, 2:30 P. M.
Saturday, February 29, 8:30 P. M.

WAR MEMORIAL OPERA HOUSE

Soloist: HEIFETZ

Violinist
PR OFG SKA ier

ls “-Variations:onea’ hemesol Haydit2 =e ee Brahms

27 Concertos for Violink ined) simajor =( Kee V8) eee ce ve ....Mozart
Allegro
Andante cantabile

Rondo
MR. HEIFETZ

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MR. HEIFETZ

5. Overture tox The Hive Dutchman, =. 2 ee Wagner

“One can live without music but not so well.’

169

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VARIATIONS ON A THEME OF HAYDN Brahms

Brahms wrote these variations in 1873 and they were given at
a Philharmonic concert in Vienna, November 2 of the same year,
although Brahms played his arrangement for two pianos with Clara
Schumann at Bonn in August.

The theme is taken from a collection of divertimenti for wind
instruments by Haydn, and on the original score is entitled ‘‘Chorale
St. Antoni.” The theme is given out by wind instruments, the cellos
and basses doubling the contra bassoon part, pizzicato. In the first
variation the violins enter accompanied by a figure in triplets in the
violas and cellos. The wind instruments suggest the melody of the
theme. II. Clarinets and bassoons have a variation of the theme.
III. The theme is given to the oboes and bassoons in octaves. IV. The
theme is set forth by an oboe and a horn in octaves. V. In this
variation the melody is played lightly by the woodwind and later
taken up by the strings. VI. The strings suggest the theme, pizzicato,
while a new rhythmical figure appears in the bassoons and brass.
VII. The flute and violas set forth the melody, the first violins and
clarinet playing a descending scale against it. VIII. The strings are
muted and the mood is pianissimo throughout. The piccolo enters
with an inversion of the phrase.

CONCERTO FOR VIOLIN,
No. 41ND MAJOR “2. > ae 2 Mozart

Although the fame which Mozart enjoyed in his own day
was principally the fame of a player upon the clavier, he also
performed upon the violin with more than ordinary skill. Mozart’s
father, Leopold, was a violinist, who in his method for the instrument,
gave to the violin playing world the principal, if not the only work
of its kind which it possessed for many years. There are stories,
for which Andreas Schachtner, a friend of the Mozart family,
vouched, that when scarcely out of babyhood, Wolfgang read at
sight the violin part of a trio without having had previous instruc-
tion upon the instrument.

The D major concerto was composed in October, 1775, at
Salzburg.

RHAPSODIE ESPAGNOLE.. . .. . Ravel
Although the Rhapsodie Espagnole was completed in 1907, it

was not published until a year later. The work is really a suite in
four movements, played without pause. The first movement is based
on a figure given at the beginning by the muted violins and violas.
The second subject is announced by the clarinets in octaves, and
brought in later by two bassoons above a sustained chord of the
cellos and double basses. The movement leads into the succeeding
one with a chord in harmonics for divided cellos and double basses.

171

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The Malaguena opens with a persistent figure in the double
basses, followed by the second theme in a muted trumpet with
tambourine and plucked string accompaniment. There is a recitative
for the English horn followed by a reminiscence of the opening
figure of the first movement.

The Habanera is Cuban, supposed to have been introduced
into Cuba by negroes from Africa, the dance passing on to Spain from
there. In this movement (originally written by Ravel for piano)
there are eight measures of introduction in which a syncopated figure
for the clarinet plays an important part. The theme is continued by
a solo viola, and its opening portion repeated by the strings. A new
idea is then brought forward by the woodwind and harp, its rhythm
punctuated by the strokes of a tambourine, the Syncopated figure
being constantly in evidence in the strings. This theme is worked
over almost to the end of the movement, which comes with softly
played harmonics in the harp with the Syncopated rhythm at first
in the violins and lastly in the celesta.

The Fair. This movement is divided into three parts, the
third and final one being a redevelopment of the material on which
the first is based. The first part is based on two ideas, the first being
given out by the flute, and somewhat later the second is introduced
by three muted trumpets, the rhythm being reinforced by a
tambourine. The figure is repeated by the oboes and English horn,
the xylophone now accentuating the rhythm. This thematic material
is eventually brought forward by the full orchestra.

CONCERTO FOR VIOLIN,
IN A MINOR ..... .. Q@lazounow

This concerto, completed early in 1905, was given its first
performance in Queen’s Hall, London, October 17, 1905, with Mischa
Elman as soloist. A review of this concert in the London Musical
Times stated the concerto “is dedicated to Leopold Auer, who at the
composer’s request had undertaken to play it for the first time, but
M. Glazounow, visiting the professor while he was giving Elman a
lesson, was so impressed by his extraordinary ability that the com-
poser asked M. Auer if he would allow Elman to give the first
performance of the work, a request to which the distinguished
violinist willingly assented.”

OVERTURE TO “THE FLYING
DUTCHMAN]. 4 eres es Wagner

In 1839, Wagner made a trip from Pillau to London in a small
merchant vessel, and met with a very stormy passage, and were
compelled to put into one of the Norwegian fjords. “The passage
through the Norwegian fjords,”’ wrote Wagner, “made a wondrous

173

P-EeT2 ER Oop, @ Kd | iced Fey es
will present

“THE MUSICAL MAN OF THE HOUR”

OPERA HOUSE, THURS. EVE., MARCH 26
..- One Recital Only...

$2.75 $2.20 $1.65 $1.10 (TAX INCL.) SHERMAN CLAY CO, BOX OFFICE

174

|
|

impression on my fancy; the legend of the Flying Dutchman, as I
heard it confirmed by the sailors, acquired a definite, peculiar color,
which only my adventure at sea could have given it.”’

The overture opens with the representation of a storm.
Through the bare fifths of the strings there is shouted forth by the
horns and bassoons the motive of the curse laid on the Dutchman.
The storm dies down with final mutterings of the course. There is a
pause, following which there appears a change of time in which a
portion of Senta’s ballad from the second act appears. The original
tempo returns with material drawn from Senta’s ballad and the
theme of the Flying Dutchman.

The San Francisco String Quartet

Naoum Blinder Eugene Heyes Lajos Fenster Willem Dehe

First Violin Second Violin Viola Violoncello
VETERANS’ AUDITORIUM
WEDNESDAY, MARCH 4th, 8:30 P. M.

Mozart Beethoven Dohnanyi
Tickets on sale at Sherman, Clay & Co.: 50¢ — $1.00 — $1.50 (no tax)

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1032 MARKET STREET, near Opera House

San Francisco — Pasadena — Oakland — Los Angeles — Hollywood

175

SSE =

SSS SSS

The

Triumphal Return of
one of the Musical
Giants of the Age.

JAN
KU BE Es

OPERA HOUSE
March 11 - 8:20 P. M.

UNANIMOUS ACCLAIM FROM THE CRITICS

‘“‘Chicago received Jan Kubelik like a long lost son yesterday afternoon. There was an
audience that took not only all the available seats in Orchestra Hall, but crowded several
hundred strong up on the stage. It was like the good old days when it meant something to
be a world-famous violinist, and Mr. Kubelik received the ovation with evident pleasure and
a full afternoon of beautiful playing.’’ —- Epwarp Moore in the Chicago Tribune.

‘This apostole of the violin, this wizard of the bow, wrought magic with his celebrated
Emperor Stradivarius. Throughout the afternoon he played like a king. Kubelik demon-
started that he is at the zenith of his brilliant career. Dignity, simplicity, refinement are a
few of his virtues and his flawless interpretations may be taken as models by violin students.
His marvelous left hand is the most precise and impeccable technical agent that any violinist
of the present century has demonstrated.’’ HERMAN DeEvrigs in the Chicago American.

“Kubelik proved that he is still at the top as a violinist . . . His playing is completely
lifted above the difficulties of mere technique. To be sure, the technique is an integral part
of the musician’s art, but the truly perfect and ideal art is the interpretation of the original
spirit of the composer, combined with complete masterey of the medium — through which
the original spirit is recreated. And that, briefly, is Kubelik.’” — The Cleveland News.

‘To hear Jan Kubelik at Orchestra Hall yesterday afternoon after a lapse of fifteen years
or more was for most of those present to hear a new artist. Or at the very most it was to
hear in new color and new emphasis an artist whose early greatness was recognized in a
totally different generation of violinists.

‘He has the methods of a virtuoso and the nature of a poet . . . It was the performance
of a violinist for the sake of the violin. And the faultless phrases that soared with such
essential musical ease and purity and sweetness had always a lofty and thouching strain of
the dedicatory.’’ —- EUGENE STINSON in the Chicago Daily News.

Kubelik will be accompanied by his son Rafael, the distinguished
composer-conductor.

Prices: $1.10, $1.65, $2.20, $2.75, Tax Incl. - Tickets Sherman, Clay & Co.
Wilfrid L. Davis, Management, Inc.

176

FIRST HARPIST WITH SAN FRANCISCO SYMPHONY FOR TWENTY-TWO CONSECUTIVE YEARS.

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CONDUCTOR OF

SAN FRANCISCO SYMPHONY
ORCHESTRA

PARIS SYMPHONY ORCHESTRA

His Career —
Concerts Monteux, Paris
Ballets Russe de Diaghlew 1911-1917
Metropolitan Opera 1917-1919
Boston Symphony Orchestra 1919-1924
Concertgebovw Orchestra, Amsterdam, Holland....1924-1934
Paris Symphony Orchestra 1929-1936

Has conducted ... Philadelphia, New York and Los Angeles Orches-
tras here in America. Is only French Conductor to conduct Berlin
and Vienna Philharmonic Orchestras. Colleague of Willem Mengel-
berg ten years. Conducted every major orchestra in Europe. Creator
of Petrouchka, Sacre du Printemps, du Rossignol, Stravinsky; Daphnis
and Chloe, Ravel; and many other modern works famous today.

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SAN FRANCISCO

Pah eS. 6 vane
SYMPHONY ORCHESTRA

PIERRE MONTEUX, Conductor
Willem Van den Burg, Assistant Conductor

First Violins:

Blinder, Naoum
Concert Master

Fenster, Lajos

Second Violins:

Heyes, Eugene
Principal

Baret, Berthe
Gold, Julius
Gough, Walter
Haug, Julius
Houser, F. S.
Helget, Hans
Koblick, N. I.
Paterson, J. A.
Rosset, Emil
Spaulding, Myron
Wright, Harold

Violas:

Firestone, Nathan
Principal
Baker, Fred A.
Hahl, Emil
Karasik, Manfred
Lichtenstein, Victor
Tolpegin, Victor
Vdovin, Alexander
Verney, Romain
Weiler, Erich

(Listed Alphabetically)

Cellos:

Bassoons:

Van den Burg, Willem Weiss, Adolph

Principal
Bem, Stanislas
Coletti, Bruno
Dehe, Willem
Ferner, Walter V.
Haight, Rebecca
Kirs, Rudolph
Pasmore, Dorothy
Reinberg, Herman

Basses:

Bell, Walter
Principal
Buenger, A.
Forman, F. F.
Guterson, Aaron
Hibbard, E. B.
Ramos, Juan
Schipilliti, John

Schmidt, Robert E.

Flutes:

Woempner, Henry C.
Oesterreicher, Walter

Benkman, Herbert
Herold, R. J.

Oboes:

Shanis, Julius
Schivo, Leslie J.
Dupuis, Andre
Plemenik, A.

English Horn:

Schivo, Leslie J.

Clarinets:

Schmitt, Rudolph
Rudd, Charles
Fragale, Frank
Clow, R.

Bass Clarinet:

Fragale, Frank

La Haye, E. B.
Hranek, Carl
Baker, M.

Contra Bassoon:
La Haye, E. B.

Horns:

Lambert, Pierre
Trutner, Herman
Tryner, Charles E.
Roth, Paul

Trumpets:
Klatzkin, Benjamin
Barton, Leland S.
Kress, Victor
Rosebrook, D. C.

Trombones:
Giosi, Orlando
Shoemaker, R. F.
Klock, J.

Tuba:
Storch, A. E.

Harp:
Attl, Kajetan
Thompson, Kathryn

Tympani and
Percussion:

Vendt, Albert
Wood, W. A.
Salinger, M. A.
Nickell, Max

Piano and Celesta:

Tibbits? Je.

Librarian:

Haug, Julius

Personnel Manager:
Oesterreicher, Walter

BEM-CLEMENT-BEM TRIO

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180

San Francisco Symphony Orchestra

PIERRE MONTEUX, Conductor
LAO SO! €N eat Solent

Fri., Feb. 28, 2:30 P. M., Opera House, Jascha Heifetz, Violinist
Sat., Feb. 29, 8:30 P. M., Opera House, Jascha Heifetz, Violinist
Thur.,Mar 5, 8:15 P.M.,Standard Oil broadcast, Virginia Morgan,
Soloist
Fri.,Mar. 13, 2:30 P. M., Opera House, Naoum Blinder,
Willem van den Burg
Sat., Mar. 14, 8:30 P. M., Opera House, Naoum Blinder,
Willem van den Burg
Sun., Mar. 15, 3:15 P. M., University of California, Alexander
Brailowsky, Pianist
Mon., Mar. 16, 8:20 P. M., Civic Auditorium, Brailowsky, Pianist
Thur., Mar. 19, 8:15 P.M., Standard Oil Company broadcast

Tue., Mar. 24, 8:20 P. M., Civic Auditorium, Feuermann, Cellist

Fri., Mar. 27, 2:30 P. M., Opera House, Sylvia Lent, Violinist

Sat., Mar. 28, 8:30 P. M., Opera House, Sylvia Lent, Violinist

Tue., Mar. 31, 8:20 P. M., Civic Auditorium, “The Damnation of Faust”

Thur., Apr. 2 8:15 P. M., Standard Oil Company broadcast

Fri., Apr. 3, 2:30 P.M., Opera House, Myra Hess, Pianist

Sat.,Apr. 4, 8:30 P. M., Opera House, Myra Hess, Pianist

Sun., Apr. 5, 3:15 P.M., University of California, Myra Hess, Pianist

Sat., Apr. 11, 10:00 A. M., Opera House, Young People’s Concert,
Ernest Schelling, Conducting

Sun., Apr. 12, 3:00 P. M., San Rafael, Albert Spalding, Violinist

Tue., Apr. 14, 8:20 P. M., Civic Auditorium, Albert Spalding, Violinist

Tue., Apr. 14, 8:20 P. M., Standard Oil Company broadcast

Thur., Apr. 16, 8:15 P. M., Opera House, Mischa Elman, Violinist

Fri., Apr. 17, 2:30 P. M., Opera House, Mischa Elman, Violinist

Sat., Apr. 18, 10:30 A. M., Opera House, Young People’s Concert

Sat., Apr. 18, 8:30 P. M., Opera House, Young People’s Concert

Wed., Apr. 22, 4:00 P. M., Opera House, Young People’s Concert

Fri., Apr. 24, 2:30 P. M., Opera House,Last Pair

Sat., Apr. 25, 10:30 A. M., Opera House, Young People’s Concert

Sat., Apr. 25, 8:30 P. M., Opera House,Last Pair

HOU RC O-N Cob RotS + Fa;

YOUN G2PEO PEE

ERNEST SCHELLING, Conducting
(See Dates Above)
SEASON TICKETS: $2.00 — $1.40 — $1.00 — 60¢

UNIVERSITY OF CALIFORNIA CONCERT
Sunday, March 15, 3:15 P. M.
Soloist: ALEXANDER BRAILOWSKY, Pianist
Playing the Chopin E minor concerto, and Liszt’s “Totentanz.”

TICKETS at Stephens Union — University of California Campus

181

Announcement
2

SIXTH PAIR OF SYMPHONY CONCERTS

Friday, March 13, 2:30 P. M.
Saturday, March 14, 8:30 P. M.

Wi AR-- MoE OLR TAG Os Bikey 1s OO fea Ul pare ye 5:

Soloists:

NAOUM BLINDER, Violinist
WILLEM VAN DEN BURG, Cellist

PROGRAMME

1. Sinfonie Johann Christian Bach

2 “Concerto or Violin and Cello, cA melon Brahms

NAOUM BLINDER
WILLEM VAN DEN BURG

3. .Overture> “News-of the Day ’...2.---sts27-2--- 52s Hindemith

Ae Dr eles ae et Ae ee eg ree

Dances trom “Lhe Three*Cormeredsblat--= 22. De Falla

HANS CLEMENS
TENOR

OF THE

MET ROP OLLTIAN- OPER AW C0:
AND

GAN FRANCISCO OPERA CO.

/| Master Cl

J *tnnounces a VV Laster Class
Ge (Es ie 4
Gain ning Gri y im \ ) } | ay

For further information communicate with
ELEANOR RUTH YOUNG
421 C. 18th Avenue
Telephones: BAyview 5210 — SKyline 4965

182

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CY hl drind Conan ee
SD be Coy Olen oo ymphony \‘—/eason

The officers of the Musical Association need hardly draw attention
to the success of the 1936 Symphony Season and the growing interest in
the programs, attested by the increasing attendance, but this striking evi-
dence of San Francisco’s determination to support a symphony orchestra
of national note involves the necessity of securing a few more thousand
dollars for the Sustaining Fund.

It is easy to contend that the amount that a person gives is only
an evidence of generosity to the degree that it is in proportion to the donor’s
fortune, but in view of the innumerable demands and the complete absence
of compulsion to contribute to the Symphony, it seems only proper to look
upon the list of seventeen contributors who have each given One Thousand
Dollars as a special Roll of Honor, and upon those who have contributed
$100 or more as entitled to the distinction of being listed as members of
the Musical Association, even though they did not formally apply at the
time of contribution.

A list of the membership will be published in one of the later sym-
phony programs, those contributing $10.00 or more being listed as Associate
Members.

Envelopes, which require no postage, and which are so printed that
it is only necessary to enter your subscription, name and address in the
proper blanks, are distributed with the programs at this pair of concerts,
and you are most cordially invited to list yourself among either the Members
or Associated Members of the Association, either by leaving the envelope,
suitably filled out, with the young ladies in the foyer or by mailing it in
from your home should you desire to enclose a check therewith.

With the generosity that has been shown, continued a little further,
we will end this season of reconstruction with unqualified success and will
be prepared for a triumphant 1936-37 season, and the management therefore
urges you to do any part that you possibly can to bring us to our goal — A
Solvent Symphony Season.

MUSICAL ASSOCIATION OF SAN FRANCISCO

183

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PERS E-sIVI CNG EDX
CONDUCTOR

Willem van den Burg
Assistant Conductor

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The Musical Association of San Francisco
Maintaining the
San Francisco Symphony Orchestra

OFFICERS

Dr. Hans Barkan, Vice-President
John A. McGregor, Treasurer
Edward F. Moffatt, Secretary

Joseph S. Thompson, President

Mrs. Leonora Wood Armsby,
Vice-President

Robert W. Miller, Vice-President

EXECUTIVE COMMITTEE

Mrs. Marcus S. Mrs. M. C. Sloss

Koshland Mrs. Sigmund Stern
Robert W. Miller Edgar Walter
Guido J. Musto

Dr. Hans Barkan
Miss Lena Blanding
Miss Louise A. Boyd

MUSIC COMMITTEE

Mrs. George T.
Cameron

Dr. Leo Eloesser
J. Emmet Hayden

Mrs. Leonora Wood
Armsby, Chairman

MEMBERS OF THE BOARD OF GOVERNORS

Eloesser, Dr. Leo Musto, Guido J.

Armsby, E. Raymond
Esberg, Milton H, McGregor, John A.

Mrs. Leonora Wood

Armsby,

Arnold, G. Stanleigh
Baker, Mrs. George
Washington, Jr.
Barkan, Dr. Hans

Bartlett,

Mrs. Edward Otis
Bender, Albert M.
Bradley, Mrs. F. W.
Blanding, Miss Lena

Boyd, Miss Louise A.

Cameron, George T.
Crocker, William H.
Crocker, Mrs. W. W.
Cushing, Mrs. O.K.
Dohrmann, A. B. C.
Donohoe,

Miss Katherine
Dyer, Joseph H.., Jr.
Elkus, Albert I.

Walter A. Weber

Fagan, Mrs. Paul I. McKinnon,

Filmer, Mrs. W.. Coy Mrs. Harold Richert
Fleishhacker,:Mortimer Newell, R. C.

Flowers, Mrs. J. C. Potter, Mrs. Ashton H.
Forbes, John F. Robbins, Mrs. George B.
Gilman, Don E. Schilling, Miss Else
Goldstein, Miss Lutie D. Schlesinger, B. F.
Haley, Mrs. Harry S. Sloss, Mrs. M. C.

Hart, Julien Stern, Mrs. Sigmund
Hayden, J. Emmet Taylor, Mrs. David

Koshland, Armstrong
Mrs. Marcus S. Thompson, Joseph §S.
Koster, F. J. Threlkeld, John H.

Tobin, Mrs. Cyril
Walter, Edgar
Weill, Michel
Wiel, Eli H.
Williams,

Mrs. W. Wilberforce
Winslow, Mrs. 8S. S.

Lachman, Gus
Martin, Walter S.
Merola, Gaetano
Mendell,

Mrs. George H.
Miller, Robert W.
Monteagle, Kenneth

ORCHESTRA COMMITTEE

Eugene Heyes M.A. Salinger

Erich Weiler

PAST PRESIDENTS OF THE MUSICAL ASSOCIATION

T. B. Berry
W'. B. Bourn

Mrs. Leonora Wood Armsby,
Managing Director

J. B. Levison

William Sproule
Richard M. Tobin

John D. McKee

Peter Conley,
Business Manager

187

188

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310 SUTTER STREET
SAN FRANCISCO, CALIF.

San Francisco Symphony Orchestra

PIERRE MONTEUX, Conductor
WILLEM VAN DEN BURG, Assistant Conductor

1936 Season

SIXTH PAIR OF SYMPHONY CONCERTS
1173rd and 1174th Concerts

Friday, March 13, 2:30 P. M.
Saturday, March 14, 8:30 P. M.
WAR MEMORIAL OPERA HOUSE

eoriat { NAOUM BLINDER, Violinist
oloists: WILLEM VAN DEN BURG, Cellist

PFReO- Ghose ey eee
LIS SinfOniew share Core eee ee es oes Johann Christian Bach
2, * Concerto: for: Violin-and> Cellto.-A minor ae Brahms
Allegro
Andante
Vivace non troppo
NAOUM BLINDER
WILLEM VAN DEN BURG
LNT ERP 8-8 1c0eN
33 symphonic Poem) sale; Chasseuba Maudie seetee teres tee Franck
4:—-Overture'to * News-ol the: Days ss faces ee Hindemith
Se Introduction $100 eM Ervadly. sees ea pee ere d’Indy
6. Ballet Suite from ‘““The Three Cornered Hat’’.................. de Falla
. The Neighbours
The Miller’s Dance
Final Dance
“One can live without music but not so well.”
ALEXANDER TCHEREPNINE
Pianist — Composer
FAIRMONT HOTEL — MARCH 25, 8:30 P. M.
. Admission: $1.50 — Tickets at Sherman, Clay & Co.
Auspices: Pro Musica Society

189

BANK SERVICES
For the Traveler

A Letter of Credit ...

issued against deposited
cash or collateral security
. may be drawn upon
as required. On any long
journey, carry a Letter of
Credit... whether you ex-
pect to use it or not. For
in case of need, it will
provide you with funds
and a banking introduc-
tion almost anywhere in
the world.
Foreign Department

Travelers’ Checks. . . the
convenient means of carry-
ing pocket money on your
journey. Safer than cur-
rency, and you can cash
them almost anywhere and
at any time of day. De-
nominations: $10,$20,$50,
$100, Cost: 75¢ per $100.

Exchange Department

Safe Deposit Boxes for
jewelry, documents, and
other small valuables that
you leave behind. Remem-
ber your home is more apt
to be visited by burglars or
fire when you are away on

a journey—although there

are many possessions such
as insurance policies, deeds,
contracts, etc. that should
have this protection even
when you are at home. The
cost is as low as, for a box
23x 5x 114 inches .
$4.00 a year.

Vault storage for furs,
silver, paintings, and other
bulky valuables. Pack them
in a suitcase or trunk and
bring them to the bank be-
fore you leave, You will
travel with a freer mind.
The cost for an ordinary-
size suitcase is only 50¢ a
month, or .. $5.00 a year.

Safe Deposit Department

During Your Absence, to
supervise the collection
of investment income from
stocks, bonds, notes, mort-
gages, and real estate. The
redemption of called bonds
and the prompt reemploy-
ment of the proceeds. The
sale or exercise of security
“rights.” The payment of
insurance premiums, The
carrying out of needed
maintenance work on real
property. All such matters
—so difficult to attend to
from a distance, so costly
when neglected—can be
expertly cared for by your
bank under a Living Trust
or Agency Account. The
cost? A small percentage
of the income — rarely
more than a fraction of
an office boy’s salary.
Trust Department

Write or call
for further

information

Wells Fargo Bank
Union Trust Co.

Established T8252
Market at Grant Avenue

Member Federal Deposit Insurance Corporation

SINFONIE ..... .. .. . Johann Christian Bach

Johann Christian Bach, known as the “Milanese” Bach because of his
period of residence in that city, was born at Leipsic in 1735, the eleventh son
of the great Johann Sebastian. Next to his brother, Carl Phillip Emanuel, he is
probably the best known of Sebastian’s sons, and the only oneof this illustrious
family to break the family traditions by traveling outside of Germany, adopt-
ing “modern” characteristics in his compositions, and becoming a Catholic. At
the age of fourteen, upon the death of his father, he went to Berlin, where he
studied pianoforte and composition under his brother, Phillip Emanuel, but in
1745 we find him in Italy, where he composed several of his best works. In
1762 he left Milan and went to London to produce his first opera, which met
with enormous success. Here he resided, with the exception of a brief stay
in Paris, until his death in 1782, a great favorite among the pianists and
musicians of the time as is shown by the fact that he was appointed by the

queen to be conductor of her orchestra in London.

The composition played at these concerts, originally used as an over-
ture to one of Bach’s operas, was arranged by Dr. Fritz Stein. There are three

distinct ““movements,” which, however, are played through without pause.

FINE FOODS--

Relax and be served comfortably in the
most beautiful restaurants in the West
— at no greater cost than elsewhere.

Pur” after

Ythe Theatre
ow favor
re | AAa

33 POWELL STREET, near Market
1032 MARKET STREET, near Opera House

San Francisco — Pasadena — Oakland — Los Angeles — Hollywood

191

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192

CONCERTO IN A MINOR FOR VIOLIN,
"CELLO AND ORCHESTRA .. .. . Brahms

Brahms composed this concerto in Switzerland during the summer of
1887. Its first performance was at Cologne, October 17, 1887, although it
was given a private performance just after its completion. Its first American
production was by the Theodore Thomas Orchestra in New York, January 5,
1889, the soloists being Max Bendix and Victor Herbert.

SYMPHONIC POEM, “LE CHASSEUR
VEU Dees ie cee. geste wereaet LLP anGlk

“Le Chasseur Maudit” (‘“The Wild Huntsman’’) is based on a ballad
by Gottfried August Burger which, in its turn was founded upon an ancient
legend. The programme of the symphonic poem is set forth on the flyleaf of
the score as follows:

“It is Sunday morning. In the distance is heard the joyous pealing of
bells and the sacred chantings of the worshippers. What desecration! The
wild Count of the Rhine winds his hunting horn... .

‘The chase goes on over grain fields, moors and prairies. ‘Hold on, Count,
I pray thee; listen to the pious chants.’ ‘No.’ And the rider rushes on like a
whirlwind. Suddenly the Count is alone. His horse cannot move, nor his
horn any longer give forth a sound. A grim, pitiless voice curses him:
‘Desecrator’ it says, ‘be thou forever pursued by the Evil One.’ The flames
blaze up on all sides. The Count, mad with terror and pursued by a pack of
demons, flees ever faster and faster — across abysses by day and through
the sky by night.”

OVERTURE, “NEUES VOM TAGE”
(“NEWS OF THE DAY”) .. . . . Hindemith

Hindemith’s opera ‘““Neues vom Tage” was first produced in Berlin in
1929 under the direction of Otto Klemperer, and an indication of its musical
character can be obtained from an outline of the story which is quoted from
a review in “Modern Music” by Hans Gutman:

OLGA BLOCK BARRETT

Pianist and Teacher

Mrs. Barrett will accept pupils for
Piano and musical culture. Please address

2755 WEBSTER ST. — SAN FRANCISCO — WAInut 7972

193.

194

PR a ete Sead GY O:2N. besa

CONCERTS

BRONISLAW HUBERMAN

“No violinist at present before the public equals him”
—LONDON DAILY TELEGRAPH

Only S. F. Recital — VETERANS’ AUDITORIUM
Fri. Eve., March 20. Seats now $2.20, $1.65, $1.10, 83¢

ARTUR SCHNABEL

“Indisputably the musical man of the hour”
—LAWRENCE GILMAN, N. Y. HERALD-TRIBUNE

OPERA HOUSE (One Concert) Wed. Eve., Mar. 26

NINO MARTINI

New tenor star of the Metropolitan Opera and the radio idol of
millions

OPERA HOUSE (One Concert) Wed. Eve., April 29

RESERVED SEATS AT SHERMAN, CLAY & CO. STORES

Sutter and Kearny Sts., San Francisco and H. C. Capwell Co., Oakland

“The plot concerns Laura and Edward, an ordinary married couple,
who fail to agree. The curtain has barely risen for the first scene, when they
are found in a bitter quarrel. Cups are smashed, we hear abuse, even revolver
shots. Suddenly the relieving thought occurs to them: ‘We will get a divorce.’
No sooner said than done. The next scene finds them at the registrar’s. But the
matter is not so simply solved. Their friends, another married couple, quickly
succeed, by means of a feigned case of adultery, in getting a divorce, yet
Laura and Edward have no end of difficulty. In order to provide a cause for
divorce they hire the handsome Mr. Hermann; but Edward interrupts the
first rendezvous at a museum, and, in a sudden fit of jealousy, flings a valu-
able statue of Venus at the professional adulterer’s head and is taken to prison.
Handsome Mr. Hermann — now actually, not professionally, in love with
Laura — makes a surprise call on her in the bathroom of her hotel. The
hotel staff also appears on the scene. Indignation, excitement, scandal! Since
both Laura and Edward have aroused public interest, a manager presents him-
self to engage them for his theatre. As the headliners in a variety show they
abuse each other, smash cups and statues every evening, and end in discover-
ing that, after all, they are well fitted for each other. They decide to remain
together, but the chorus of newspaper readers object. “You are no longer
private persons; you appear in the papers; you are the News of the Day! You
must be divorced! The reader is entitled to his right! ”

The San Francisco String Quartet

Naoum Blinder Eugene Heyes Lajos Fenster Willem Dehe

First Violin Second Violin Viola Violoncello
VETERANS’ AUDITORIUM
WEDNESDAY, APRIL 22nd, 8:30 P. M.

Haydn Verdi Debussy
Tickets on sale at Sherman, Clay & Co.: 50¢ — $1.00 — $1.50 (no tax)

San Francisco Conservatory of Music

3435 Sacramento Street

ERNEST BLOCH, Honorary Director
ADA CLEMENT and LILLIAN HODGHEAD, Co-Directors

Announce the engagement of

EUGENIA BEM

as Head of the Violin Department

195

“grimly conscious of exploring a

“foremost exponent of the modern

“TIME” (March 9) salutes

196

“courageons and confident”

“indifferent to criticism”

new field”

U. S. dance”

MARTHA GRAHAM

‘Martha Graham grew up in Pittsburgh, Pa., daughter of a nerve specialist. One
humiliating Sunday he saw his daughter, aged 2, spontaneously lift her skirts, flounce down
a Presbyterian church aisle while her mother’s head was bowed solemnly in prayer. As her
legs grew longer, Martha Graham was mote and more determined to dance, had to be re:

minded time and again that her mother was a Standish, ninth direct descendant of Pilgrim
Miles.

‘‘Martha Graham became a leading Denishawn dancer. Still she felt frustrated, taught
at Rochester’s Eastman School of Music, left Rochester determined to free-lance her way no
matter what the odds. The way at first was vague. She had had no contact with Laban or
Wigman. Yet she felt the same urge to escape from pretty dancing - + + In 1926 with
11 dollars to her name she gambled on her first Manhattan recital . . - Recognition came
when she was chosen to dance with the Cleveland Orchestra in 1928, again two years later
when she impersonated the primitive virgin in Le Sacre du Printemps in the performances
conducted by Leopold Stokowski . .

“Though Martha Graham is intent on typifying the U. S. spirit, she is more consist-
ently abstract . . . Adoring intellectuals hail her as a Pitestessnse seer ma

Only One San Francisco Performance

OPERA HOUSE — MARCH 30

Tickets: $1.10; $1.65; $2.20; $2.75
(Tax Included) — at Sherman, Clay & Co.

OAKLAND . . March 27 & SAN DOSE a0 on cAprilal
CARMEL .. . March 28 STANFORD... 3 April2

INTRODUCTION TO “FERVAAL” ... . . d’Indy

“Fervaal,” an opera in three acts, was first produced in Brussels in
1897. Not only the music, but the text as well, is by d’Indy, the story being,
briefly, as follows: “Fervaal is a young Celtic chief, the last of his race, the
elect defender of his country against the Saracen invaders. By yielding to his
love for Guilhen, the Saracen princess, he forfeits the favor of his gods. Arf-
gard, the High Priest, precipitates the catastrophe by recalling Fervaal to his
duties: Guilhen, forsaken, launches her devasting hordes against Cravann,
Fervaal’s country. The Celts are defeated. Amid the horrors of the night
following the battle Guilhen and Fervaal meet again. Their love is stronger
than death; and when Guilhen dies of exhaustion, Fervaal lifts her in his
arms, and with his precious burden climbs the slopes toward the peaks to
which a choir of mystical voices, heralding the advent of the new and
better religion foretold in ancient prophecy, calls him.”

BALLET SUITE FROM “THE THREE
CORNEREDHAT” sve) Oe aes oe enalla

The ballet ““The Three-Cornered Hat” (“El Sombrero de Tres Picos’’)
was first conceived as a mimetic farce and produced, with small orchestra, in
1917 under the title “El Corregidor y la Molinera.” When Diaghilew visited
Spain in that year he commissioned de Falla to compose a ballet for the
Russian company, and the Spanish master turned his mimetic farce into a
work for mimes and dancers with full orchestra. The first production was
made at the Alhambra Theatre, London, July 23, 1919.

The story has to do with a miller and his good-looking wife. She has
been annoyed by the attentions of the Corregidor, a judge, who in keeping
with old Spanish custom, wore a three-cornered hat. The action unfolds the
pursuit of the woman by the judge and his final discomfiture.

310 Sutter Street GArfield 4544

COLLECTOR — DEALER — APPRAISER

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197

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CONDUCTOR OF

SAN FRANCISCO SYMPHONY
ORCHESTRA

PARIS SYMPHONY ORCHESTRA
His Career —

Concerts Monteux, Paris

Ballets Russe de Diaghlew 1911-1917
Metropolitan Opera 1917-1919
Boston Symphony Orchestra 1919-1924
Concertgebovw Orchestra, Amsterdam, Holland....1924-1934
Paris Symphony Orchestra 1929-1936

Has conducted ... Philadelphia, New York and Los Angeles Orches-
tras here in America. Is only French Conductor to conduct Berlin
and Vienna Philharmonic Orchestras. Colleague of Willem Mengel-
berg ten years. Conducted every major orchestra in Europe. Creator
of Petrouchka, Sacre du Printemps, du Rossignol, Stravinsky; Daphnis
and Chloe, Ravel; and many other modern works famous today.

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198

POE RAS OVENS

SAN FRANCISCO SYMPHONY ORCHESTRA
PIERRE MONTEUX, Conductor
Willem Van den Burg, Assistant Conductor

First Violins:

Blinder, Naoum
Concert Master

Fenster, Lajos
Asst. Concert Master

Argiewicz, Artur
Claudio, Ferdinand
Gordohn, Robert
Jensen, Thorstein
Koharits, Joseph
Laraia,W. F.
Mendelevitch, Rodion
Meriz, Emilio
Mortensen, Modesta
Pasmore, Mary
Wolski, William
Wegman, Willem

Second Violins:

Heyes, Eugene
Principal

Baret, Berthe
Gold, Julius
Gough, Walter
Haug, Julius
Houser, F. 8S.
Helget, Hans
Koblick, N. I.
Paterson, J. A.
Rosset, Emil
Spaulding, Myron
Wright, Harold

Violas:

Firestone, Nathan
Principal
Baker, Fred A.
Hahl, Emil
Karasik, Manfred
Lichtenstein, Victor
Tolpegin, Victor
Vdovin, Alexander
Verney, Romain
Weiler, Erich

(Listed Alphabetically)

Cellos:

Van den Burg, Willem
Principal

Bem, Stanislas

Coletti, Bruno

Dehe, Willem

Ferner, Walter V.

Haight, Rebecca

Kirs, Rudolph

Pasmore, Dorothy

Reinberg, Herman

Basses:

Bell, Walter
Principal
Buenger, A.
Forman, F. F.
Guterson, Aaron
Hibbard, E. B.
Ramos, Juan
Schipilliti, John
Schmidt, Robert E.

Flutes:

Woempner, Henry C.
Oesterreicher, Walter
Benkman, Herbert
Herold, R. J.

Oboes:

Shanis, Julius
Schivo, Leslie J.
Dupuis, Andre
Plemenik, A.

English Horn:
Schivo, Leslie J.

Clarinets:

Schmitt, Rudolph
Rudd, Charles
Fragale, Frank
Clow, R.

Bass Clarinet:
Fragale, Frank

Bassoons:
Weiss, Adolph
La Haye, E. B.
Hranek, Carl
Baker, M.

Contra Bassoon:
La Haye, E. B.

Horns:
Lambert, Pierre
Trutner, Herman
Tryner, Charles E.
Roth, Paul
Trumpets:
Klatzkin, Benjamin
Barton, Leland S.
Kress, Victor
Rosebrook, D. C.
Trombones:
Giosi, Orlando
Shoemaker, R. F.
Klock, J.
Tuba:
Storch, A. E.
Harp:
Attl, Kajetan
Thompson, Kathryn

Tympani and
Percussion:

Vendt, Albert
W'ood, W. A.
Salinger, M. A.
Nickell, Max

Piano and Celesta:
Tibbits, J. P.

Librarian:
Haug, Julius

Personnel Manager:
Oesterreicher, Walter

199

Announcement

SAN FRANCISCO SYMPHONY ORCHESTRA

PIERRE MONTEUX, Conductor

Friday, March 27, 2:30 P. M.
Saturday, March 28, 8:30 P. M.

Soloist: SYLVIA LENT, Violinist

PROGRAMME

OVERTURE TO: RL DELO ince ee Beethoven
CONCERTO FOR VIOLIN, IN A MAJOR................--- Mozart
SYLVIA LENT
FONE -PLCiU Rie SUBIR DAG teeter eee Debussy
PN: TT Bek S257 L-O UN
SYMPHONY No. 4, IN E MINOR... Brahms

Pe te EE EIS

FERRIER’S THEATER OF ART
1470 Washington Street
Phone: ORdway 3143

ANDRE FERRIER

PRESENTS AGAIN
His Masterful Production:

Pelleas

Melisande

5 Acts and 16 Scenes
by MZETERLINCK
Musical Interludes by DEBUSSY

WEDNESDAYS MARCH 18-25
FRIDAYS MARCH
SATURDAYS (2 Matinees) 21-28

Tickets Sherman, Clay & at Theatre

200

VISIT...

The newest and
most beautiful
cocktail lounge in
San Francisco.

CARDINAL
RICHELIEU

hOl@)
Van Ness at Geary

Just a Short Walk

a) Tw Our Special
ourse
Luncheon... 40<

KAJETAN ATTL’S HARP ENSEMBLE * * * *

FIRST HARPIST WITH SAN FRANCISCO SYMPHONY FOR TWENTY-TWO CONSECUTIVE YEARS.
BEGINNERS OR ADVANCE STUDENTS PHONE FOR APPOINTMENT.

WHEN BUYING OR RENTING A HARP ONLY AN EXPERIENCED HARPIST CAN ADVISE CORRECTLY.
LARGE STOCK OF HARPS FOR SALE OR RENT:

1030 BUSH pie O aie mOaGn STUDIO NO. 6

MUNICIPAL CONCERTS
CIVIC AUDITORIUM

Monday Evening, 8:30 P. M. — March 16
Alexander Brailowsky, Soloist

PER O-G@ ROA MME

1. Symphony No. 4, in D minot............------------------------+-- Schumann
(Played without pause)
9. ACONCETLOMLOL EADS, Wil TNT Oe ge ee eee ee Chopin
MR. BRAILOWSKY
Symphonic Variations, ‘“‘Istar’’...........------------------------0 d’Indy
Ae <"Lotentanz stor ilanos anes @LCMeSti dese ers aor ears arn Liszt

MR. BRAILOWSKY

(The Piano is a Steinway)

Tuesday Evening, 8:30 P. M. — March 24
Emanuel Feuermann, Cellist, Soloist

AN EVENING OF VIENNESE MUSIC

=O VELITe tO. IR OSeATILUIT IC C01 se eter ne ee Schubert
2 “Concerto for Vicloncellos in’ Wstinay} One <= eee Haydn
MR. FEUERMANN
3° “Ewe; Eluneariane Danese. Secs: Sen Sete ee ee Brahms
AO “Overture tOss ENG Bats een eee oe eee eee Johann Strauss
5 Waltz from. Derek osenkavaller’. 26-2 Richard Strauss
6: Perpetual Motion. 2.2 2 eee ee Johann Strauss
7. Dance of the Seven Veils from ‘‘Salome’’.............. Richard Strauss
8. Waltz, “Tales from the Vienna Woods”..........-..... Johann Strauss
@

Reserved Seats: $1.00 — 75¢c — 50c — 25c (No Tax)
Sherman, Clay & Co. Box Office

AUSPICES: ART COMMISSION OF SAN FRANCISCO

202

San Francisco Symphony Orchestra

PIERRE MONTEUX, Conductor

Fri., Mar.
Sat., Mar.
Sun., Mar.

Mon., Mar.
Thur., Mar.

Tue., Mar.
Thur., Apr.
Fri., Apr.
Sat., Apr.
Sun., Apr.

*Sat:, ADI:

Sun., Apr.
Tue., Apr.
Thur., Apr.
Fri., Apr.
Sate-Apr,

*Sat., Apr.
*Wed., Apr.
*Sat., Apr.

Fri., Apr.
Sat., Apr.

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8:20 P.
P.M., Standard Oil Company broadcast
. M., Civic Auditorium, Feuermann, Cellist

2:30 P. M., Opera House, Naoum Blinder,

Willem van den Burg

8:30 P. M., Opera House, Naoum Blinder,

Willem van den Burg

M., University of California, Alexander
Brailowsky, Pianist

M., Civic Auditorium, Brailowsky, Pianist

M., Opera House, Sylvia Lent, Violinist
M., Opera House, Sylvia Lent, Violinist
M., Civic Auditorium, “The Damnation of Faust”

. M., Standard Oil Company broadcast

M., Opera House, Myra Hess, Pianist

M., University of California, Myra Hess, Pianist
M., Opera House, Young People’s Concert,

M., San Rafael, Albert Spalding, Violinist

M., Civie Auditorium, Albert Spalding, Violinist
M., Standard Oil Company broadcast

M., Opera House, Mischa Elman, Violinist

M., Opera House, Young People’s Concert

M., Opera House,Last Pair

FOR

“YOUNG PEOPLE

ERNEST SCHELLING, Conducting
(See Dates Above)
SEASON TICKETS: $2.00

$1.40 $1.00 60¢

UNIVERSITY OF CALIFORNIA CONCERT

Sunday, March 15, 3:15 P. M.

Soloist: ALEXANDER BRAILOWSKY, Pianist

Playing the Chopin E minor concerto, and Liszt’s “Totentanz.”

TICKETS at Stephens Union — University of California Campus

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SAN FRANCISCO
> YMPHON ¥
ORCHESTRA

PEER REcViI@ uN LE eX
CONDUCTOR

Willem van den Burg

Assistant Conductor

ULEIELAUUATUOAEOAGANG EOE

MAINTAINED BY THE MUSICAL
ASSOCIATION OF SAN FRANCISCO

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Grant Avenue Geary Street
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Here they are

LECT Ost 8

“DRESSES

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FOLK: x¥-@): Ua

To let you be beautifully, stimulat-
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GOWNS FOURTH FLOOR

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The Musical Association of San Francisco

Maintaining the

San Francisco Symphony Orchestra

Joseph S. Thompson, President
Mrs. Leonora Wood Armsby,

Vice-President

OFFICERS

John A. McGregor, Treasurer
Edward F. Moffatt, Secretary

Robert W. Miller, Vice-President

Dr. Hans Barkan
Miss Lena Blanding
Miss Louise A. Boyd

Mrs. Leonora Wood

Armsby, Chairman

EXECUTIVE COMMITTEE

Mrs. Marcus S. Mrs. M. C. Sloss

Koshland Mrs. Sigmund Stern
Robert W. Miller Edgar Walter
Guido J. Musto

MUSIC COMMITTEE

Mrs. George T. Dr. Leo Eloesser
Cameron J. Emmet Hayden

MEMBERS OF THE BOARD OF GOVERNORS

Armsby, E. Raymond
Mrs. Leonora Wood

Armsby,

Arnold, G. Stanleigh
Baker, Mrs. George
Washington, Jr.
Barkan, Dr. Hans

Bartlett,

Mrs. Edward Otis
Bender, Albert M.
Bradley, Mrs. F. W.
Blanding, Miss Lena

Boyd, Miss Louise A.

Cameron, George T.
Crocker, William H.
Crocker, Mrs. W. W.
Cushing, Mrs. O.K.
Dohrmann, A. B. C.
Donohoe,

Miss Katherine
Dyer, Joseph H., Jr.
Elkus, Albert I.

Walter A. Weber

Eloesser, Dr. Leo Musto, Guido J.
Esberg, Milton H. McGregor, John A.
Fagan, Mrs. Paul I. McKinnon,

Filmer, Mrs. W. Coy Mrs. Harold Richert
Fleishhacker,: Mortimer Newell, R. C.

Hart, Julien Stern, Mrs. Sigmund
Hayden, J. Emmet Taylor, Mrs. David
Koshland, Armstrong

Mrs. Marcus S. Thompson, Joseph S.

Koster, F. J.
Lachman, Gus

Threlkeld, John H.
Tobin, Mrs. Cyril
Martin, Walter S. Walter, Edgar
Merola, Gaetano Weill, Michel
Mendell, Wiel, Eli H.

Mrs. George H. Williams,
Miller, Robert W. Mrs. W. Wilberforce
Monteagle, Kenneth Winslow, Mrs. S. S.

ORCHESTRA COMMITTEE

Eugene Heyes M. A. Salinger

Erich Weiler

PAST PRESIDENTS OF THE MUSICAL ASSOCIATION

T. B. Berry
W.. B. Bourn

Mrs. Leonora Wood Armsby,
Managing Director

William Sproule
John D. McKee

J.B. Levison
Richard M. Tobin

Peter Conley,
Business Manager

Dr. Hans Barkan, Vice-President

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WILHELM BACHAUS
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SEVERIN EISENBERGER
WALTER GIESEKING
WILLIAM HARMS
JOSE ITURBI
EDWARD JOHNSON
WIKTOR LABUNSKI
JOSEF LHEVINNE
CHARLES NAEGELE
LILY PONS
MORIZ ROSENTHAL
E. ROBERT SCHMITZ
RUTH SLENCZYNSKI
EMERSON WHITHORNE
PAUL WITTGENSTEIN
FRANCISZEK ZACHARA

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San Francisco Symphony Orchestra

PIERRE MONTEUX, Conductor
WILLEM VAN DEN BURG, Assistant Conductor

1936 Season

SEVENTH PAIR OF SYMPHONY CONCERTS
1179th and 1180th Concerts

Friday, March 27, 2:30 P. M.
Saturday, March 28, 8:30 P. M.
WAR MEMORIAL OPERA HOUSE

Soloist: BRONISLAW HUBERMAN, Violinist

RUSSIAN PROGRAMME

I. ‘Overture. "he Russian asters = tee Rimsky-Korsakow

2. CONGCELLO Ore V 10 lin, Tne)" tit Ore eee ee Tschatkowsky

Allegro moderato
Canzonetta: Andante —
Finale: Allegro vivacissimo

MR. HUBERMAN
LAN TER MeL SS. O2N

3. pymphonie:.Classiqués Opuse2 5.22 nee Been ARs Prokofieff
Allegro
Larghetto
Gavotte
Finale

4. Orchestral Suite from the Ballet, ‘““Petrouchka’’............ Stravinsky
GUNNAR JOHANSEN at the Piano
(The Piano is a Steinway)

“One can live without music but not so well.’

EXTRA CONCERT

Sunday, April 19, 2 P. M. — War Memorial Opera House

SAN FRANCISCO SYMPHONY ORCHESTRA
Conducted by Meredith Willson

Program (to be announced later) includes premier performance
of Mr. Willson’s new Symphony.

Tickets on sale at Sherman, Clay & Co., Sutter at Kearny Sts.

245

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BANK SERVICES
For the Traveler

A Letter of Credit...

Travelers’ Checks... the
convenient means of carry-
ing pocket money on your
journey. Safer than cur-
rency, and you can cash
them almost anywhere and
at any time of day. De-
nominations: $10,$20,$50,
$100, Cost: 75¢ per $100.

Exchange Department

Safe Deposit Boxes for
jewelry, documents, and
other small valuables that
you leave behind. Remem-
ber your home is more apt
to be visited by burglars or
fire when you are away on

a journey—although there
are many possessions such
as insurance policies, deeds,
contracts, etc. that should
have this protection even
when you are at home. The
cost is as low as, for a box
23x5x 114 inches .
$4.00 a year.

Safe Deposit Department

During Your Absence, to
supervise the collection
of investment income from
stocks, bonds, notes, mort-
gages, and real estate. The
redemption of called bonds
and the prompt reemploy-
ment of the proceeds. The
sale or exercise of security
‘rights.”’ The payment of
insurance premiums, The
carrying out of needed
maintenance work on real
property. All such matters
—so difficult to attend to
from a distance, so costly
when neglected—can be
expertly cared for by your
bank under a Living Trust
or Agency Account. The
cost? A small percentage
of the income — rarely
more than a fraction of
an office boy’s salary.
Trust Department

——————

Write or call
for further

information

Wells Fargo Bank
Union Trust Co.

Member Federal Deposit Insurance Corporation

Established 1852
Market at Montgomery ‘
S.A Ne FE RA.N:‘C.1LS.GO

Market at Grant Avenue

OVERTURE, “THE RUSSIAN EASTER”
Rimsky-Korsakow

This work, an overture on themes of the Russian Church, begins with
an introduction in which the melody of the Russian Church is given to the
woodwind. The strings take it up. A cadenza for the solo violin leads to a
section in which the solo ’cello repeats a phrase. The opening chant is now
given to the trombones. The main body of the overture begins with the
exposition and development of the first theme, which is taken from the
ecclesiastical melody of the Introduction, first in the strings and clarinet,
then in a steadily fuller orchestra. A call is sounded by horns and trumpets
and a new section follows with much work for percussion instruments. There
is the customary recapitulation and a long coda.

CONCERTO FOR VIOLIN AND
ORCHESTRA, IND MAJOR ... Tschaikowsky

This concerto was composed in March, 1878, at Clarense, Switzerland,
and at the time the violinist, Kotek, was visiting the composer and assisted
him with suggestions from the violinist’s point of view, also playing it with
him before the orchestral scoring was made. Almost four years elapsed before
its first public performance, the concerto in the meantime having been
dedicated to Leopold Auer, however Auer could not make up his mind to
undertake the formidable difficulties of the work. Consequently the concerto
was first produced by Adolf Brodsky in 1881 at a concert of the Vienna
Philharmonic Society, with Hans Richter conducting.

FINE FOODS--

Relax and be served comfortably in the
most beautiful restaurants in the West
— at no greater cost than elsewhere.

Rol after
Ythe Theatre
always in favor

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33 POWELL STREET, near Market

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1032 MARKET STREET, near Opera House

San Francisco — Pasadena — Oakland — Los Angeles — Hollywood

—

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SYMPHONIE CLASSIQUE .... . . Prokofieff

Prokofieff was not yet six years old when he began to compose. His
“First Symphony” was submitted to Taneiev in Moscow when he was eleven
years old. The Symphonie Classique was begun in 1916 and completed in
1917, its first performance being in Lenigrad by the orchestra now known as
the State Orchestra. It was introduced to the United States by the Russian
Orchestra in December, 1918.

I. Allegro. — The violins announce the chief theme, after with a
transitional passage in which the flutes are heard. Development follows and
the second violins now sing a second theme. The first subject is developed,
then the transitional measures, and again the second theme. The Recapitula-
tion opens in the strings and there follows a transitional passage for flute.
The strings again sing the second theme, and there is a short Coda.

II. In the Larghetto the first violins announce the chief theme which
is episodically treated. III. Gavotta. Strings and woodwind at once give out
the first subject. In the Trio, flutes and clarinets are heard above an organ-
point for ’cellos and double basses. The subject is then repeated by the strings.
IV. Finale. The first theme of the movement is given to the strings; the
second is for woodwind.

The ballet ‘“Petrouchka”’ with scenario by Alexandre Benois and
music by Stravinsky, was first produced at the Chatelet, Paris, on June 13,
1911, under the direction of Pierre Monteux, with Fokine as ballet-master
and Nijinski as Petrouchka. The action of the ballet takes place in Admiralty
Square, Leningrad. The time is “Butter Week” the Shrove-tide, of some year
in the eighteen thirties. Stravinsky sets the stage with music in color as
riotous as the ballet’s accompanying movement. For Butter Week is Carnival
time — the Mardi gras. Booths erected for the fair line the square, through
which, in gawking wonder, eddies a crow intent upon mad hilarity. The
music was given as a whole when first performed in concerto at the Casino
de Paris, March 1, 1914, with Monteux conducting, but Stravinsky later
made editorial excisions, in three tableaux.

Tableu I. — (a) Carnival. (b) Appearance of the Magician, who
summons the crowd at the Fair to his show (flute solo). The curtain of this
little theatre rises and discloses to the gaping crowd of revellers three puppets:
Petrouchka (the clown), the Moor, and the Ballerina. The Magician blows
his flute at them and gives them life (three solo piccolo notes.)

The San Francisco String Quartet

Naoum Blinder Eugene Heyes Lajos Fenster Willem Dehe

VETERANS’ AUDITORIUM
WEDNESDAY, APRIL 22nd, 8:30 P. M.

Haydn Verdi Debussy
Tickets on sale at Sherman, Clay & Co.: 50¢ — $1.00 — $1.50 (no tax)

249

Si: AGN” ERAN CBS :G-0

SYMPHONY ORCHESTRA

ERNEST SCHELLING, Conducting

YOUNG PEOPLE’S CONCERTS

SAN FRANCISCO OPERA HOUSE

SATURDAY, APRIL 11 10:30 to 11:30 A. M.

GERMAN PROGRAM

Chofale-and Fuge “in, GM imo rece ise ccrceee aden ar ee ates coat opera sa pectac ta ones ee ates Bach
Allegro Moderato from ‘‘Unfinished’’ Symphony Schubert
Overture, ‘‘Leonore’’ No.

Perpetuum Mobile Johann Strauss
Invitation to the Waltz Weber
Everybody sing ‘‘Ode to Joy’’

Siegfried’s Rhine Journey . W agner
Ride «df the: (Valk vties. cece eh oe Fe haa eh ode eee eae ae erent ass alee Wagner

be pete APRIL 18 10:30 to 11:30 A. M.

FRENCH PROGRAM
Rakoczy
Suite
Symphony. No}. 3. East “MOverment: ccs .0- os accccc tr eeb ce eee tesas oe. eae et ed GPE - ENS
‘AL wot INOcturnes.. - GlOUdS 2 ANG A FeStIVAIS sce oc asucetdeecuasucouteetet esas ee acess Debussy
The Sorcerer's Apprentice Dukas
Everybody sing ‘‘The Marseillaise’’
Rhapsody; . SESpama > cesastacte a pacetcecese Nira See eae eres sar aan seen nce ant uae it Chabrie

WEDNESDAY, APRIL 22 4:00 to 5:00 P. M.
RUSSIAN PROGRAM

Overture to ‘‘Russlan and Ludmilla’’ Glinka
Prelude to ‘“‘Khovantschina”’ : Moussorgsky
Gopak from ‘‘The Fair of Sorotchinsi’’ Moussorgsky
The Young Prince and the Young Princess to
The Festival of Bagdad
Everybody sing, ‘‘The Pedlar”’
Scherzovfrom> “SPathetique™= Sy mpiOny cate ssececeteas cee. -noeececeaaceetevoveee meee Tschaikowsky
Cauicasiatiey SKetcheS 25-2. n ce ee ce ee yee tes even: Ctlae mony te eets I ppolitow-lvanow

SATURDAY, APRIL 25 10:30 to 11:30 A. M.

AMERICAN PROGRAM
In War Time MacDowell

Gal Sor the. Plates cea ee cles cb oe a ee eee Ce eee unl pees Goldmark
Memionies*:0f my ChikdhGod cick seecd i tancetttace. -cessinctaeecnet vdeuae ees ceaceeub-seWan ae Loeffler
A inal PCE CS caswacate ce sete cd Sa ~ 0 aac otaen ce nae keons pat tae ences Idee Ganz
Siamese Sketch... accede Gis octets tetnanigup chee Percemauibas ances ce tCM OLIN
Berceuse and T apantella C For Siac) Schelling
Everybody sing ‘‘When Johnny Comes Marching Home"’

American Fantasy ....--Herbert

ALL SEATS RESERVED

Single Concerts: 50c, 35c, 25c, 15¢ — Box Office: Sherman, Clay & Co
Season Tickets (4 Concerts) $2.00, $1.40,$1.10, 60c Sutter & Kearny Sts.

AUSPICES: Young People’s Concerts Committee of The Musical
Ass’n of San Francisco. Mrs. Harold Richert McKinnon, Chairman
Mrs. Walter A. Haas, Honorary Chairman

‘Scheherazade’’..Rimsky-Korsakow

(c) To the great astonishment of the crowd the three puppets — no
longer dolls, but living beings now, start dancing a Russian dance (orchestra
and piano.) 3

Tableau Il. — Petrouchka is kicked into his chamber. The orchestra
pictures this with a wild cry, then mournful chords of the piano. The suffer-
ing of the clown is expressed by dull sobs of the bassoon. A glassy piano
cadenza leads to a passage which represents the anger, the futile wrath of
Petrouchka. Trumpets shrill his defiance, but soon sink to a mournful plaint
in the piano, joined by woodwinds. Soon thereafter the Ballerina enters. The
clown proclaims his love, but is repulsed, and in anger she leaves him. A
clarinet cadenza gives voice to his wild despair. The piano follows with a
cadenza which leads to another shrilling of Petrouchka’s anger and anguish.

Tableau IV. — It is now towards evening of the Russian Mardi Gras.
a) Gathering of the populace.

(b)Dance of the Nurses (oboe and horn soli to the accompaniment
of the bassoons. )

(c) A peasant enters leading a bear which marches on its hind legs.
The peasant blows his flageolet (two strident clarinets) to the growls of
the bear (tuba.)

(d) Now appears a debauched old dotard with two gypsy dancers.
He amuses himself by throwing coins to the crowd. (Sweeping figure in the
strings over the tumult of the crowd.)

(e) After which the gypsies dance (violin solo with oboe obligato),
the old dotard playing the accordion at intervals.

(f) There enter now coachmen and grooms from their dance (hilarious
figures in the trumpets and trombones and the nurses join them in a
grotesque dance.

(g) Maskers enter in Mardi Gras disguise (strident chromatic
discordant runs in strings and clarinets.) Among them is a Satan (introduced
by a bizarre figure in the brass) who urges the crowd to gaiety and provokes
it to mad frenzy (thunderous calls in the brasses.) Peasants, coachmen,
grooms and nurses finally mingle in the mad whirl of dance until a mad
piercing cry from the little theatre booth of the Charlatan (muted trumpets)
interrupts the orgy. The Moor in a fit of jealous rage has killed Petrouchka.

OLGA BLOCK BARRETT

Pianist and Teacher

Mrs. Barrett will accept pupils for
Piano and musical culture. Please address

2755 WEBSTER ST. — SAN FRANCISCO — WAlInut 7972

een ee

Scien bases See See aemeneirn hp >=-amens teen ee ee ee eee ae

te me es

RY en OT II

Sa ae 5 pa I

- Em os em oe ~~ 3

"MARTHA GRAHAM S
Art Challenges Society Folk”

“ENTHRALLED BY DANCER”

“As modern as a skyscraper, as truly rhythmic as
the ocean surf, as different as next year’s hat”

—VIRGINIA BorEN, Seattle Daily Times
March 21, 1936

Only One San Francisco Performance

OPERA HOUSE— MARCH 30

Tickets: $1.00, $1.50, $2.00, $2.50 (Plus Tax) at Sherman, Clay & Co.
Wilfrid L. Davis Megt., Inc.

MARTHA GRAHAM will dance in:

OAKLAND. . March 27 & SAN JOSE .. =. Aprill
CARMEL see. VLAECKEZO SCAND ORDii ts 00 ccDril 2

mA ICIAN ALTL’S HARP. ENSEMBLE. *:% ok oem

FIRST HARPIST WITH SAN FRANCISCO SYMPHONY FOR TWENTY-TWO CONSECUTIVE YEARS.
BEGINNERS OR ADVANCE STUDENTS PHONE FOR APPOINTMENT.

WHEN BUYING OR RENTING A HARP ONLY AN EXPERIENCED HARPIST CAN ADVISE CORRECTLY.
LARGE STOCK OF HARPS FOR SALE OR RENT:

1030 BUSH Plone (Cll 0307 STUDIO NO. 6

:
|

ar eee er ee

= Ce ee at ee
”

Lf 1 CPEE oF | l Ol [ CU

CONDUCTOR OF

SAN FRANCISCO SYMPHONY
ORCHESTRA

PARIS SYMPHONY ORCHESTRA

His Career —

Concerts (Monteux sb tis) Sceeec sce: ee 1914
Ballets Russe::de-Diachlew.. 20 oe a 1911-1917
Metropolitan Operas: 25. te eo ee eo gt 1917-1919
Boston Symphony Orchestra....................... Fats as oye 1919-1924
Concertgebovw Orchestra, Amsterdam, Holland....1924-1934
Paris: symphony. Orchestra -cvs6-teope apes tre sae 1929-1936

Has conducted ... Philadelphia, New York and Los Angeles Orches-
tras here in America. Is only French Conductor to conduct Berlin
and Vienna Philharmonic Orchestras. Colleague of Willem Mengel-
berg ten years. Conducted every major orchestra in Europe. Creator
of Petrouchka, Sacre du Printemps, du Rossignol, Stravinsky; Daphnis
and Chloe, Ravel; and many other modern works famous today.

Sane ‘S OD brie ed oe

A complete garden within a store provides the
season’s appropriate setting for one of its most
important events. Gump’s Spring Show of Wedg-
wood chinaware and Suntec garden furniture an-
nounces our appointment as Bay Area Represent-
atives of Josiah Wedgwood & Sons.

Marel 2 4 Ole ae Gisril 4

GUMP'S

250 Post Street

Poa ROS GIN Ee
SAN FRANCISCO SYMPHONY ORCHESTRA

PIERRE MONTEUX, Conductor

Willem Van den Burg, Assistant Conductor

First Violins:

Blinder, Naoum
Concert Master

Fenster, Lajos

Asst. Concert Master
Argiewicz, Artur
Claudio, Ferdinand
Gordohn, Robert
Jensen, Thorstein
Koharits, Joseph
Laraia, W. F.
Mendelevitch, Rodion
Meriz, Emilio
Mortensen, Modesta
Pasmore, Mary
Wolski, William
Wegman, Willem

Second Violins:

Heyes, Eugene
Principal

Baret, Berthe
Gold, Julius
Gough, Walter
Haug, Julius
Houser, F. S.
Helget, Hans
Koblick, N. I.
Paterson, J. A.
Rosset, Emil
Spaulding, Myron
Wright, Harold

Violas:

Firestone, Nathan
Principal
Baker, Fred A.
Hahl, Emil
Karasik, Manfred
Lichtenstein, Victor
Tolpegin, Victor
Vdovin, Alexander
Verney, Romain
Weiler, Erich

(Listed Alphabetically)

Cellos:

Bassoons:

Van den Burg, Willem Weiss, Adolph

Principal
Bem, Stanislas
Coletti, Bruno
Dehe, Willem
Ferner, Walter V.
Haight, Rebecca
Kirs, Rudolph
Pasmore, Dorothy
Reinberg, Herman

Basses:

Bell, Walter
Principal
Buenger, A.
Forman, F. F.
Guterson, Aaron
Hibbard, E. B.
Ramos, Juan
Schipilliti, John

Schmidt, Robert E.

Flutes:

Woempner, Henry C.
Oesterreicher, Walter
Benkman, Herbert

Herold, R. J.

Oboes:
Shanis, Julius
Schivo, Leslie J.
Dupuis, Andre
Plemenik, A.
English Horn:
Schivo, Leslie J.

Clarinets:

Schmitt, Rudolph
Rudd, Charles
Fragale, Frank
Clow, R.

Bass Clarinet:
Fragale, Frank

La Haye, E. B.
Hranek, Carl
Baker, M.

Contra Bassoon:
La Haye, E. B.

Tympani and
Percussion:

Vendt, Albert
Wood, W. A.
Salinger, M. A.
Nickell, Max

Piano and Celesta:

Tibbits, J. P.

Librarian:

Haug, Julius

Personnel Manager:
Oesterreicher, Walter

Oe a ee ew eet ee ee ene

Announcement

SAN FRANCISCO SYMPHONY ORCHESTRA

PIERRE MONTEUX, Conductor

Friday, April 3, 2:30 P. M.
Saturday, April 4, 8:30 P. M.

Soloist: SYLVIA LENT, Violinist

PURHOsG Re A ee

LOVER SURE COPE LD EEO 2.2 oe PEE a Beethoven
2. -ONCERPO2FOR VIOLIN IN -A -MAIJOR = 47.8 2see0" Mozart
SYLVIA LENT
Ost ce eOINGE BEC TCR i Ls BRIG Santee see © ent a eee een ay Debussy
LAN TER wat S838 Or N
4° SY MPHON YoNo>4e INE VEINO Rae, 56a acess Brahms

WILLEM WEGMAN
Member of the San Francisco
Symphony Orchestra
TEACHER OF VIOLIN

Studios at:
Castenada (Forest Hill)
2363 Jackson Street
878 - 36th Avenue

PHONE BAyview 5223
256

VISIT...

The newest and
most beautiful
cocktail lounge in
San Francisco.

CARDINAL
RICHELIEU

ROOM
Van Ness at Geary

Just a Short Walk

3 4a Our Special
ourse
Luncheon... 40.

SAN FRANCISCO

SYMPHONY ORCHESTRA

Pierre Monteux, Conductor

OPERA HOUSE

Fri. Aft., 2:30, Mar. 27 and Sat. Eve., Mar. 28

BRONISLAW HUBERMAN

VIOLINIST — GUEST ARTIST

Fri. Aft., 2:30, Apr. 3 and Sat. Eve., Apr. 4

SCL VE ee

VIOLINIST — GUEST ARTIST

Fri. Aft., 2:30, Apr. 17 and Sat. Eve., Apr. 18

MISCHA ELMAN

VIOLINIST — GUEST ARTIST

Sun. Aft., 2 P. M., April 19

MEREDITH WILLSON

GUEST CONDUCTOR

TICKETS NOW ON SALE
SHERMAN, CLAY & CO. — SAN FRANCISCO and OAKLAND

257

Ninth Municipal Concert

THE ART COMMISSION Presents

Berlioz’

‘DAMNATION
FAUST»

SAN FRANCISCO SYMPHONY ORCHESTRA
PIERRE MONTEUX, Conductor
PERRY ASKAM, ssrrrone
JOY McARDEN, soprano
FELIX KNIGHT, renor
DOUGLAS BEATTIE, sass

MUNICIPAL CHORUS

OPERA HOUSE April 1

WEDNESDAY EVE., 8:30 P.

BEST RESERVED SEATS $1.00 ON SALE AT
SHERMAN, CLAY & CO. — SAN FRANCISCO and OAKLAND

Fri., Mar.
Sat., Mar.
Wed., Apr.
Thur., Apr.
Fri., Apr.

| Sat., Apr.

| Sun., Apr.

*Sat., Apr.
Sun., Apr.
Tue., Apr.
Thur., Apr.
Fri., Apr.
sat., Apr.

*Sat., Apr.
Sun., Apr.

*Wed., Apr.

*Sat., Apr.
Fri., Apr.
Sat., Apr.

San Francisco Symphony Orchestra

PIERRE MONTEUX, Conductor

TOS GN CFE SROL TT

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2857 -0200-E.

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12, 3:00 P:
14, 8:20 P.
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18, 8:30 P.
18, 10:30 A.
10. 2c 00nE:
22, 4:00:P.
25, 10:30 A.
24, 22 303E.
25, 8:30 P.

. M., Opera House, Bronislaw Huberman, Violinist

M., Opera House, Bronislaw Huberman, Violinist.
M., Opera House, ‘‘The Damnation of Faust”

M., Standard Oil Company broadcast

M., Opera House, Sylvia Lent, Violinist

. M., Opera House, Sylvia Lent, Violinist

M., University of California, Gunnar Johansen,
Pianist

M., Opera House, Young People’s Concert,

M., San Rafael, Albert Spalding, Violinist

M., Civic Auditorium, Albert Spalding, Violinist

M., Standard Oil Company broadcast

M., Opera House, Mischa Elman, Violinist

M., Opera House, Young People’s Concert

M., Opera House, Meredith Willson, Conducting

M., Opera House, Young People’s Concert

M., Opera House,Last Pair

ge ©.

UNIVERSITY OF CALIFORNIA CONCERT
Sunday, April 5, 3:15 P. M.

Soloist:

GUNNAR JOHANSEN, Pianist

Playing Saint-Saens G minor Concerto

TICKETS at Stephens Union — University of California Campus

310 Sutter

Street

GArfield 4544

COLLECTOR

FINE SHOP

FINEST REPAIRS
GENUINE SATISFACTION

DEALER APPRAISER
RARE VIOLINS
VIOLAS - CELLOS - BOWS
HIGH - MEDIUM - LOW PRICED

259

SHERMAN |/ CLAY & CC

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THE

SAN FRANCISCO
SY IW PLOY
ORCHESTRA

PIERRE MONTEUX
CONDUCTOR

Willem van den Burg
Assistant Conductor

MAINTAINED BY THE MUSICAL
ASSOCIATION OF SAN FRANCISCO

Eighth Pair
TWENTY- FOURTH SEASON
1935-1936

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—_ ——

The Musical Association of San Francisco
Maintaining the
San Francisco Symphony Orchestra

| OFFICERS
Joseph S. Thompson, President Dr. Hans Barkan, Vice-President
Mrs. Leonora Wood Armsby, John A. McGregor, Treasurer
Vice-President Edward F. Moffatt, Secretary

Robert W. Miller, Vice-President
EXECUTIVE COMMITTEE

Dr. Hans Barkan Mrs. Marcus S. Mrs. M. C. Sloss
Miss Lena Blanding Koshland Mrs. Sigmund Stern
Miss Louise A. Boyd Robert W. Miller Edgar Walter

Guido J. Musto

MUSIC COMMITTEE

Mrs. Leonora Wood Mrs. George T. Dr. Leo Eloesser
Armsby, Chairman Cameron J. Emmet Hayden

MEMBERS OF THE BOARD OF GOVERNORS

Armsby, E. Raymond FE loesser, Dr. Leo Musto, Guido J.
Mrs. Leonora Wood Esberg, Milton H. McGregor, John A.
Armsby, Fagan, Mrs. Paul I. McKinnon,
Arnold, G. Stanleigh Filmer, Mrs. W. Coy Mrs. Harold Richert
Baker, Mrs. George Fleishhacker, Mortimer Newell, R. C.
Washington, Jr. Flowers, Mrs. J. C. Potter, Mrs. Ashton H.
Barkan, Dr. Hans Forbes, John F. Robbins, Mrs. George B.
Bartlett, Gilman, Don E. Schilling, Miss Else
Mrs. Edward Otis Goldstein, Miss Lutie D. Schlesinger, B. F.
Bender, Albert M. Haley, Mrs. Harry S. Sloss, Mrs. M. C.
Bradley, Mrs. F. W. Hart, Julien Stern, Mrs. Sigmund
Blanding, Miss Lena Hayden, J. Emmet Taylor, Mrs. David
Boyd, Miss Louise A. Koshland, Armstrong
Cameron, George T. Mrs. Marcus S. Thompson, Joseph S.
Crocker, William H. Koster, F. J. Threlkeld, John H.
Crocker, Mrs.W.W. Lachman, Gus Tobin, Mrs. Cyril
Cushing, Mrs. O.K. Martin, Walter S. Walter, Edgar
Dohrmann, A. B. C. Merola, Gaetano Weill, Michel
Donohoe, Mendell, Wiel, Eli H.
Miss Katherine Mrs. George H. Williams,
Dyer, Joseph H., Jr. Miller, Robert W. Mrs. W. Wilberforce
Elkus, Albert I. Monteagle, Kenneth Winslow, Mrs. S. S.

ORCHESTRA COMMITTEE

Walter A. Weber Eugene Heyes M.A. Salinger
Erich Weiler

PAST PRESIDENTS OF THE MUSICAL ASSOCIATION

T. B. Berry William Sproule J. B. Levison
W’. B. Bourn John D. McKee Richard M. Tobin
Mrs. Leonora Wood Armsby, Peter Conley,

Managing Director Business Manager

Se nner eee SS ae ee ee ee ee ee

279

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SOIC : the confident assurance of the artist at
EDWARD JOHNSON the Baldwin keyboard. Watch the in-
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CHARLES NAEGELE when the pupil has access to a Baldwin.
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San Francisco Symphony Orchestra

PIERRE MONTEUX, Conductor
WILLEM VAN DEN BURG, Assistant Conductor

1936 Season

EIGHTH PAIR OF SYMPHONY CONCERTS
1183rd and 1184th Concerts

Friday, April 3, 2:30 P. M.
Saturday, April 4, 8:30 P. M.
WAR MEMORIAL OPERA HOUSE

Soloist: SYLVIA LENT, Violinist

PROGRAMME

1... -Sulte-in’ B minor CRor Strings-and? Flutes) 2:2. eee Bach
Overture
Rondo
Sarabande
Bourree I — Bourree II
Polonaise
Minuet
Badinerie
(Flute obligato, HENRY C. WOEMPNER)
2. Concertontor Violins In=A majors (Ka 209) oa ee ee Mozart
Allegro aperto
Adagio

Tempo di menuetto
SYLVIA LENT

LONE ERM Ss ON

33) SV opbOMmy: INOs 4 ats nih Ores eee ee ore eens ae ee Brahms

Allegro non troppo

Andante moderato

Allegro giocoso

Allegro energico e passionato

“One can live without music but not so well.’

SPECIAL EXHIBITION NOW ON DISPLAY
Prize-winning notebooks from
Ernest Schelling’s Eastern Young People’s
Concerts.

San Francisco Museum of Art
Veterans’ Building, McAllister Street at Van Ness Ave.

Admission Free — Open 12:00 to 10:00 P. M. Week Days
1:00 to 5:00 P. M. Sundays

281

BANK

SERVICES

For the Traveler

A Letter of Credit...

Travelers’ Checks... the
convenient means of carry-
ing pocket money on your
journey. Safer than cur-
rency, and you can cash
them almost anywhere and
at any time of day. De-
nominations: $10,$20,$50,
$100, Cost: 75¢ per $100.

Exchange Department

Safe Deposit Boxes for
jewelry, documents, and
other small valuables that
you leave behind. Remem-
ber your home is more apt

Vault storage for furs,
silver, paintings, and other
bulky valuables. Pack them
in a suitcase or trunk and
bring them to the bank be-
fore you leave. You will
travel with a freer mind.
The cost for an ordinary-
size suitcase is only 50¢ a

—____

Write or call

to be visited by burglars or month, or .. $5.00 a year. peTAZER
fire when you are away on Safe Deposit Department information
hers cet ae
EST QZULES Vie.d tO 7
Market at Montgomery 8 Market at Grant Avenue

Member Federal Deposit Insurance Corporation

SAN ERAN GES:G:O

SUTTESUIN-BoMINOR eo see tas oe ee aC

Although this work is now known as a Suite, it was originally listed as
an Overture, of which Bach wrote four, one in C major, one in B minor and
two in D major. They are often known as the “French” suites, for when
Bach was appointed chapel-master by Prince Leopold of Anhalt-Cothen in
1717, he found the court organized largely on the French model, and it was
during the period between 1717 and 1723 that the Suites were composed.

CONCERT FOR VIOLIN, IN A MINOR . . . Mozart

During 1775 Mozart composed five concertos for violin, between
April and December. Mozart always made an entry on his scores of the
date upon which the work was finished, and upon the manuscript score of
the A major Concerto is inscribed the date December 20, 1775.

Mozart’s father was an accomplished violinist and his precocious son,
although known principally for his ability upon clavier, was also a violinist
of more than ordinary merit, and in the opinion of Mozart’s biographer,
Otto Jahn, the five violin concertos were composed for his own use.

SYMPHONY No. 4,IN E MINOR .. .. . Brahms

This, the last of Brahms’ symphonies, received its first public per-
formance at Meiningen on October 25, 1885, under the direction of the
composer. ‘he work made an immediate and profound impression, being
pronounced by the most advanced musicians and critics the greatest of all
the master’s compositions in this form — his orchestral masterpiece in fact.

The work has been commented on by George P. Upton as follows:

“The Fourth Symphony is universally recognized as the most
individual of all Brahms’s works of this class. In the simplicity and originality
of its themes, and in the subjective character of its ideas as well as in its
development, it bears the unmistakable impress of its composer. The same
organic unity which characterizes the other three symphonies in such marked
degree is also found in this, though the various movements illustrate
different ideas.

The San Francisco String Quartet

Naoum Blinder Eugene Heyes Lajos Fenster Willem Dehe

First Violin Second Violin Viola Violoncello
VETERANS’ AUDITORIUM
WEDNESDAY, APRIL 22nd, 8:30 P. M.

Haydn Verdi Debussy
Tickets on sale at Sherman, Clay & Co.: 50¢ — $1.00 — $1.50 (no tax)

283

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284

ROBERT WAL

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ONE FORTY SIX GEA

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FURS

OF FINER QUALITY

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‘The first movement opens with a melodious theme of unusual length,
which is treated in a masterly but intricate style. It is a wayward fancy,
now cheerful, and again serious, but coming to a sombre close as the second
theme enters in the same general manner. As the movement draws to an end
its melodious character grows more joyous, strong, and dramatic, and the
development leaves little to desire in the way of pleasing variety and
artistic effect.

SSS Se ee eee

“The second movement, Andante moderato, is almost akin to the Lied
in the gracefulness and sweetness of its melody, its warmth of tone, and its
refined and spirituelle character; and the third: Allegro giocoso, in rondo
form, is full of animation and good humor, and yet is dignified in style and
strong in expression, as befits the serious purpose of the composer, who
always has a lofty object in view.

“The Finale, a development of the Passacaglia form, is a model of
earnest, serious, artistic workmanship, every measure of it revealing the
conscientious and scientific scholar. It opens with a succession of massive
chords introducing a stately first theme, which frequently reappears. A
melodious flute solo intervenes, and then the development begins, in which
the subjects are given out in a broad and restful manner and treated with
a richness of color and refinement of style, as well as a perfection in work-
manship, which have rarely been excelled.”

aeasnseeanshanenbashteatdnenishteencennnnnnnedannnesernenaerenenereraanarseeeeneeaemeee
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FINK FOODS--

Relax and be served comfortably in the
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always in favor

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33 POWELL STREET, near Market
1032 MARKET STREET, near Opera House

San Francisco — Pasadena — Oakland — Los Angeles — Hollywood

1 LE

285

Ae Sy Se mes iw Gh ee

me es tS oe - Sr

SS inl

286

SYMPHONY

SATURDAY, APRIL 11

SATURDAY, APRIL 18

WEDNESDAY, APRIL 22

Ass’n of San Francisco.

SAN FRANCISCO

ERNEST SCHELLING, Conducting

YOUNG PEOPLE’S CONCERTS

SAN FRANCISCO OPERA HOUSE

GERMAN PROGRAM

Chorale and Fugue in G Mimo0...............:s-csecccceeceeeececsececeseeceenesnenseneenennecesensnnes Bach
Allegro Moderato from ‘‘Unfinished’’ Symphony.........----.-.---------------------- Schubert
Overture, ‘“‘Leonore’’? No. 3..2..----cescsccescseceecsseceensccneecseseesesessnssnensneneseeensens Beethoven
Perpetuum Mobile...............----ssc-1---seececeeeeseeeecsssenseeceseseeneneneceeaesseneecss Johann Strauss
Bea EE 4a (079 VER «ODER 0 COUMON OF 0 | oy lcm SE i aete eln ap NO oe a oe ae OP ee ne Weber
Everybody sing ‘“‘Ode to Joy”’

Siegfiied’s Rhine Jourmey......-..--------s----ceseceeeseeescceeeeeeecececeseerecenesesenanaseenanenennes Wagner
Ride of the Valkyries ccc .sc.s-5 02 w case ase gene csesae se a escape morn ccr ns navencansnctnn erie Wagner

FRENCH PROGRAM

Rakoczy Marr ch.......---c-scecececeescsnecenseneneessoeeescsneeessssteceosnesensansnsesssesennnsnasncecenenes Berlioz
TL ee es Sane ar et Sh a een et ae sn ee NY Se ee Rameau
Symphony No. 3, Last Movement.........------------------------csesecoeeecoesteneeeneces Saint-Saens
Two Nocturnes, “‘Clouds’’ and ‘‘Festivals’’.........-.----.---:--s-------ss-eseeeeeeeeees Debussy
The Sorcerer's AppremtiCe........-..-.---.--c--s-cceeeeeceeeeeeeeeceeeeesece sees eeneceennesnensecneanennanes Dukas
Everybody sing ‘‘The Marseillaise’’

Rhapsody, ‘‘Espana’’.........--.-c-ssscsscsscscsececsenseenensnescnsnesnsesesesaesasnesnsnenensacesssaecnss Chabrier

RUSSIAN PROGRAM

Overture to ‘‘Russlan and Ludmilla’? .........2.2.2.22-----.-------eeeeeeeneeeeeceeetteteneeees Glinka
Prelude to ‘‘Khovantschina” --..ccc..2-2cc.-cc-c2- oan cic s nce ceceeecen nner nceesessensunen Moussorgsky
Gopak from ‘‘The Fair of Sorotchinst’’.........-.-.-----------------eeee eee Moussorgsky
ae in ere nih Suan, ‘*Scheherazade’’..Rimsky-Korsakow
Everybody sing, ‘‘The Pedlar’’

Scherzo from ‘‘Pathetique’’ Symphony\............----.-------------eeeeeeeeeseeeeee Tschaikowsky
Caucasian Sketches.............. pee ee vevesseeeee-------l ppolitow-Ivanow

SATURDAY, APRIL 25 10:30 to 11:30 A. M.

AMERICAN PROGRAM

Wee NR) care a a aa ese ee ea acne nat = gas ao claw Ene ing a weiss aaa MacDowell
(QA hime a} eek oY oten oe Fh hac Se pk pM ORNeS en c ORan OTP E Ie th eee es ieee te Goldmark
Memories of my Childhood..........2....-------:ce-scceeecceecceeceeeceeeeeeeeennnnceeeecennenenenenees Loeffler
ATTA ACUTE OSes sees ae oe wc age Sn eee i bah saad ei veliae cafes naan cadawtane ab sperm ammae neon tock Ganz
Biieses = Sleetch a an eee eh ec Se a EE LR nip Rae ee ELC ELD
Berceuse’ and barantella “GRoE s Strimgs)) ack aaas ns coos cance de cemented ease Schelling
Everybody sing ‘‘When Johnny Comes Marching Home’”’

American Fantasy............. Resttnn Beced sea LEP O EST

ALL SEATS RESERVED

Single Concerts: 50c, 35c, 25c, 15¢ — Box Office: Sherman, Clay & Co
Season Tickets (4 Concerts) $2.00, $1.40,$1.10, 60c Sutter & Kearny Sts.

AUSPICES: Young People’s Concerts Committee of The Musical
Mrs. Harold Richert McKinnon, Chairman

Mrs. Walter A. Haas, Honorary Chairman

ORCHESTRA

10:30 to 11:30 A. M.

4:00 to 5:00 P. M.

RAJETAN ATTIL’S HARP ENSEMBLE... *&. %--% oe

FIRST HARPIST WITH SAN FRANCISCO SYMPHONY FOR TWENTY-TWO CONSECUTIVE YEARS.
BEGINNERS OR ADVANCE STUDENTS PHONE FOR APPOINTMENT.

WHEN BUYING OR RENTING A HARP ONLY AN EXPERIENCED HARPIST CAN ADVISE CORRECTLY.
LARGE STOCK OF HARPS, FOR SALE OR RENT:

1030 BUSH: = 64. Cas STUDIO NO. 6

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SAN FRANCISCO SYMPHONY ORCHESTRA

PIERRE MONTEUX, Conductor
Willem Van den Burg, Assistant Conductor

First Violins:

Blinder, Naoum
Concert Master

Fenster, Lajos

Asst. Concert Master

Argiewicz, Artur
Claudio, Ferdinand
Gordohn, Robert
Jensen, Thorstein
Koharits, Joseph
Laraia,W. F.

Mendelevitch, Rodion

Meriz, Emilio
Mortensen, Modesta
Pasmore, Mary
Wolski, William
Wegman, Willem

Second Violins:

Heyes, Eugene
Principal

Baret, Berthe
Gold, Julius
Gough, Walter
Haug, Julius
Houser, F. S.
Helget, Hans
Koblick, N. I.
Paterson, J. A.
Rosset, Emil
Spaulding, Myron
Wright, Harold

Violas:

Firestone, Nathan
Principal

Baker, Fred A.

Hahl, Emil

Karasik, Manfred

Lichtenstein, Victor

Tolpegin, Victor

Vdovin, Alexander

Verney, Romain

Weiler, Erich

(Listed Alphabetically)

Cellos:

Bassoons:

Van den Burg, Willem Weiss, Adolph

Principal
Bem, Stanislas
Coletti, Bruno
Dehe, Willem
Ferner, Walter V.
Haight, Rebecca
Kirs, Rudolph
Pasmore, Dorothy
Reinberg, Herman

Basses:

Bell, Walter
Principal
Buenger, A.
Forman, F. F.
Guterson, Aaron
Hibbard, E. B.
Ramos, Juan
Schipilliti, John
Schmidt, Robert E.

Flutes:
Woempner, Henry C.

Oesterreicher, Walter

Benkman, Herbert
Herold, R. J.

Oboes:

Shanis, Julius
Schivo, Leslie J.
Dupuis, Andre
Plemenik, A.

English Horn:
Schivo, Leslie J.

Clarinets:

Schmitt, Rudolph
Rudd, Charles
Fragale, Frank
Clow, R

Bass Clarinet:
Fragale, Frank

La Haye, E. B.
Hranek, Carl
Baker, M.

Contra Bassoon:
La Haye, E. B.

Tympani and
Percussion:

Vendt, Albert
Wood, W. A.
Salinger, M. A.
Nickell, Max

Piano and Celesta:
Tibbits; dis L-

Librarian:
Haug, Julius

Personnel Manager:

Oesterreicher, Walter

Announcement

SAN FRANCISCO SYMPHONY ORCHESTRA
PIERRE MONTEUX, Conductor

Friday, April 17, 2:30 P. M.
Saturday, April 18, 8:30 P. M.

Soloist: MISCHA ELMAN, Violinist

PeR-O°-G EK AVE MM aE

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2, ss CONCELLO™ LOL, = VlGLiihe lta) SIN a Ole ee aie eee eet Beethoven
MISCHA ELMAN
37 eux de tin ie sac 2 i oe See cece te nee eee Isador Freed
4, PICLULesmat sane Lexi} CLO s.r alee erenere eee Moussorgsky-Ravel

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San Francisco
Symphony Orchestra

Pierre Monteux, Conductor

Soloist: ALBERT SPALDING, Violinist

Saba

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Concerto: tore ViGlinsoE stihl Obese eee ieee rege Mendelssohn
MR. SPALDING

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SVMDHONV INO atOate eaStOral ane ian tees oe coe eee ea ete Beethoven
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Steinway Piano

Reserved Seats: $1.00 — 75c — 50c — 25c (No Tax)
Sherman, Clay & Co. Box Office

AUSPICES: ART COMMISSION OF SAN FRANCISCO

San Francisco Symphony Orchestra
PIERRE MONTEUX, Conductor

Sun.,Apr. 5, 3:15 P.M., University of California, Gunnar Johansen,
Pianist
*Sat., Apr. 11, 10:30 A. M., Opera House, Young People’s Concert,
Sun., Apr. . M., San Rafael, Albert Spalding, Violinist
Tue., Apr. : . M., Civic Auditorium, Albert Spalding, Violinist
Thur., Apr. : . M., Standard Oil Company broadcast
Fri., Apr. : . M., Opera House, Mischa Elman, Violinist
Sat., Apr. : . M., Opera House, Mischa Elman, Violinist
*Sat., Apr. : . M., Opera House, Young People’s Concert
Sun., Apr. : . M., Opera House, Meredith Willson, Conducting
*Wed., Apr. : . M., Opera House, Young People’s Concert
‘Sat. pe. . M., Opera House, Young People’s Concert
Fri., Apr. : . M., Opera House,Last Pair
Sat., Apr. 25, 8:30 P.M., Opera House,Last Pair

UNIVERSITY OF CALIFORNIA CONCERT

Sunday, April 5, 3:15 P. M.

Soloist: GUNNAR JOHANSEN, Pianist
Playing Saint-Saens G minor Concerto

TICKETS at Stephens Union — University of California Campus

310 Sutter Street GArfield 4544

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ORC Ee pee

PIERRE MONTEUX
CONDUCTOR

Willem van den Burg
Assistant Conductor

JUTE

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The Musical Association of San Francisco
Maintaining the
San Francisco Symphony Orchestra

OFFICERS
Joseph S. Thompson, President Dr. Hans Barkan, Vice-President
Mrs. Leonora Wood Armsby, John A. McGregor, Treasurer
Vice-President Edward F. Moffatt, Secretary

Robert W. Miller, Vice-President

EXECUTIVE COMMITTEE

Dr. Hans Barkan Mrs. Marcus S. Mrs. M. C. Sloss
Miss Lena Blanding Koshland Mrs. Sigmund Stern
Miss Louise A. Boyd Robert W. Miller Edgar Walter

Guido J. Musto

MUSIC COMMITTEE

Mrs. Leonora Wood Mrs. George T. Dr. Leo Eloesser
Armsby, Chairman Cameron J. Emmet Hayden

MEMBERS OF THE BOARD OF GOVERNORS

Armsby, E. Raymond _Eloesser, Dr. Leo Musto, Guido J.

Mrs. Leonora Wood Esberg, Milton H. McGregor, John A.
Armsby, Fagan, Mrs. Paul I. McKinnon,
Arnold, G. Stanleigh Filmer, Mrs. W. Coy Mrs. Harold Richert
Baker, Mrs. George Fleishhacker, Mortimer Newell, R. C.

Washington, Jr. Flowers, Mrs. J. C. Potter, Mrs. Ashton H.
Barkan, Dr. Hans Forbes, John F. Robbins, Mrs. George B.
Bartlett, Gilman, Don E. Schilling, Miss Else

Mrs. Edward Otis Goldstein, Miss Lutie D. Schlesinger, B. F.
Bender, Albert M. Haley, Mrs. Harry S. Sloss, Mrs. M. C.
Bradley, Mrs. F. W. Hart, Julien Stern, Mrs. Sigmund
Blanding, Miss Lena Hayden, J. Emmet Taylor, Mrs. David
Boyd, Miss Louise A. Koshland, Armstrong
Cameron, George T. Mrs. Marcus S. Thompson, Joseph S.
Crocker, William H. Koster, F. J. Threlkeld, John H.
Crocker, Mrs. W. W. Lachman, Gus Tobin, Mrs. Cyril
Cushing, Mrs. O.K. Martin, Walter S. Walter, Edgar
Dohrmann, A. B. C. Merola, Gaetano Weill, Michel
Donohoe, Mendell, Wiel, Eli H.

Miss Katherine Mrs. George H. Williams, ;
Dyer, Joseph H., Jr. Miller, Robert W. Mrs. W. Wilberforce
Elkus, Albert I. Monteagle, Kenneth Winslow, Mrs. S.S.

ORCHESTRA COMMITTEE

Walter A. Weber Eugene Heyes M. A. Salinger
Erich Weiler

PAST PRESIDENTS OF THE MUSICAL ASSOCIATION

T. B. Berry William Sproule J. B. Levison
W. B. Bourn John D. McKee Richard M. Tobin
Mrs. Leonora Wood Armsby, Peter Conley,

Managing Director Business Manager

EE I DERE I) OE FeO 8 2 ed
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San Francisco Symphony Orchestra

PIERRE MONTEUX, Conductor
WILLEM VAN DEN BURG, Assistant Conductor

1936 Season

NINTH PAIR OF SYMPHONY CONCERTS
1188th and 1189th Concerts

Friday, April 17, 2:30 P. M.
Saturday, April 18, 8:30 P. M.

WAR MEMORIAL OPERA HOUSE
Soloist: MISCHA ELMAN, Violinist

Pook O GK A Wr Ve

LS Eraeic (Overture: 2 eee een eee ee Brahms
2. Concerto. ior Violin ine Pt Onset eee eee Beethoven
Allegro ma non troppo
Largetto —
Rondo
MISCHA ELMAN
LN cok ReMi SS. 70.IN
os heme: and, Wartationsesacc aro: een aoe eee Adolph Weiss
(First Performance)
4, <Pietures-at-an LE xhipitionsce,0e: wee Neen ee. Moussorgsky-Ravel

EXTRA CONCERT

Sunday, April 19, 2 P. M. — War Memorial Opera House

SAN FRANCISCO SYMPHONY ORCHESTRA

Conducted by Meredith Willson

Program (See Page No. 318) includes premier performance
of Mr. Willson’s new Symphony.

Tickets on sale at Sherman, Clay & Co., Sutter at Kearny Sts.

“One can live without music but not so well.”

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BANK SERVICES
For the Traveler

A Letter of Credit...

Travelers’ Checks. .. the
convenient means of carry-
ing pocket money on your
journey. Safer than cur-
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them almost anywhere and
at any time of day. De-
nominations: $10,$20, $50,
$100, Cost: 75¢ per $100.

Exchange Department

Safe Deposit Boxes for
jewelry, documents, and
other small valuables that
you leave behind. Remem-
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Safe Deposit Department

—_—

Write or call
for further

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Wells Fargo Bank
Union Trust Co.

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Market at Montgomery *

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SAN FRANCISCO

Member Federal Deposit Insurance Corporation

“TRAGIC” OVERTURE, OPUS 81 . . . . . Brahms

Brahms composed his Tragic Overture in the summer of 1880 at
Ischl, a country watering-place in Upper Austria. Brahms fondness for this
place was somewhat puzzling to those of his friends who were aware of his
impatient antipathy to the bother and fuss of fashionable life. (Ischl) was a
very fashionable resort. The Tragic Overture, together with its sister work,
the Academic Overture, were composed in the rooms which Brahms occupied,
where also was written his Trio, Opus 87, for Piano, violin and violoncello.

CONCERTO FOR VIOLIN, IN D MAJOR . Beethoven

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 note what one of the leading critics
had to say about the work, following 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 tumultuous applause. But the judg-
ment 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 advantage and give us works like his first symphonies in
C and D, his elegant septer in E flat, his ingenious quintet in D major,
and more of the 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.... ”

The San Francisco String Quartet

Naoum Blinder Eugene Heyes Lajos Fenster Willem Dehe

First Violin Second Violin Viola Violoncello
VETERANS’ AUDITORIUM
WEDNESDAY, APRIL 22nd, 8:30 P. M.

Haydn Verdi Debussy
Tickets on sale at Sherman, Clay & Co.: 50¢ — $1.00 — $1.50 (no tax)

315

Gat ean ing \//eronika alaky
&

Born in Budapest, Hungary, Veronika Pataky began her studies at

the Loheland Seminary for gymnastic and dance, in Germany, and received

her first diploma there at the age of sixteen.

After two years of teaching at her mother’s dance school in Rumania
there followed a year of study in the different dance schools of Germany.
While in Munich in 1930 to watch the International Dance Festival she
studied for a few weeks with Palucca, famous Wigman graduate, then was
offered a special course with Mary Wigman herself in Dresden.

Pataky completed in eight months a course usually requiring three or
four years, received her diploma from the Wigman school and became leader
of the concert group when it toured Germany and the United States from

December, 1932, to March, 1933.

During the summer of 1933 she made her own solo tour of Central
Surope through Poland, Hungary and Rumania, continuing her career as
the only internationally-known concert dancer from Hungary. The music
for the dances on this tour was especially composed by a pupil of Bela
Bart6ék; percussion accompaniments were her own creation.

Pataky came to San Francisco in June of 1934 and was presented in
solo recital at the Veterans’ Auditorium on January 11, 1935. She opened
her School of Modern Dance at 555 Sutter Street, San Francisco, two
months later and soon extended it to include a Peninsula branch at the
Redwood City Woman’s Club. Her own dance group is now beginning to

appear in demonstration programs and concerts.

Two intensive summer courses will make her one of the busiest dance
teachers in the bay region: a three-week session, from June 15 to July 4,
at Pataky’s own San Francisco school; and a four-week course, from July
6 to 31, at the Peninsula School Summer Workshop in Menlo Park. She
is planning a New York recital next fall.

Solo Recital nexT THURSDAY EVE., APRIL 23
VETERANS’ AUDITORIUM — Tickets: $1.65, $1.10, 83¢, Sherman, Clay & Co.

———————————————————————

THEME AND VARIATIONS .. . . Adolph Weiss

Adolph Weisss, first bassoon of the San Francisco Symphony
Orchestra, was born in Baltimore, Maryland. He studied with Weidig,
Rybner, Lilienthal, and in Europe at the Berlin State Academy of Fine
Arts in the master-class under Arnold Schoenberg. Prior to coming to San
Francisco Mr. Weiss was with the New York Philharmonic-Symphony
Orchestra, the Chicago Symphony, Rochester Philharmonic, N B C and
W A B C Radio Stations in New York.

His compositions include, for large orchestra, “American Life”
(performed in New York, Berlin, Paris, Budapest, etc.); “I Segreti,”’ “The
Libation Bearers,” cantata for chorus, solo, vocal quartet; Kammer Sym-
phony for ten instruments; three string quartets; other chamber music and
vocal and piano works, about 25 in all.

The composition played at these concerts is based upon Walt
Whitman’s “President Lincoln’s Burial Hymn,” with the following quotations:
Var. I: “O harsh surrounding cloud that will not free my soul.”

Var. II: “The gaiety and brightness of a Spring day.”
Var. III: “In the swamp, in secluded recesses,
A shy and hidden bird is warbling a song.”’
Var. IV: “Night and day journeys a coffin.”
Var. V: “With dirges through the night,
With a thousand voices rising strong and solemn.”

FINE FOODS--

Relax and be served comfortably in the
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33 POWELL STREET, near Market
1032 MARKET STREET, near Opera House

San Francisco — Pasadena — Oakland — Los Angeles — Hollywood

THE SAN FRANCISCO SYMPHONY
ORCHESTRA

Meredith Willson, Conducting

Opera House — Sunday, April 19, 2:00 o’clock

PRO GR A YM EB

1. Overturesto. “Risslan cand Viel riya coerce Glinka

<2 Symphony wie Ey NOt sce. cect eee Meredith Willson
(A Symphony of San Francisco)
Andante—Allegro molto moderato—Allegro molto
Andante
Presto

Allegro
INTERMISS LON

3 Eime Kleme Nachtmusi¢.2.2.0.,.2..--- a ee eee ec ee Mozart
Serenade
Romanze
Minuetto
Rondo

A Capriccio” Mspagnoléw.i. +... 2.tcc..2 Patera: Oo cere Rimsky-Korsakow
Alborada
Variations
Alborada ~
Scene and Gypsy Songs

Fandango of the Asturias

* World Premiere

Reserved Seats: $1.00 — 75¢ — 50¢ (No Tax) — Sherman, Clay & Co.

Var.

ole

CU:

Valse Lente, as in tavern entertainment; the sudden news of the
calamity, the death of Lincoln, interrupts the dance.
‘O western orb, sailing the heaven!

Now I know what you must have meant, as a month since
we walked up and down in the dark blue mystic.”
“Come, lovely and soothing death: Approach strong, Deliveress

I float this carol with joy, with joy to thee, O Death!”
“And how shall I deck my song for the large sweet soul that had
gone? Sea-winds, blown from East to West.”

)

“Pictures of growing spring; and farms and homes,
With floods of the yellow gold of the gorgeous, indolent,
sinking sun, burning, expanding the air.”

“Then with the knowledge of death as walking one side of me, and
the thought of death close-walking the other side of me!”

“T saw askant the armies; and I saw hundreds of battle-flag
borne through the smoke of battles.”

Theme: Firmament at night. “And the great star early droop’d in the

western sky.”

These concerts mark the first performance anywhere. The title page
bears the inscription: “To M. Pierre Monteux, respectfully dedicated in
gratitude and devotion. San Francisco, 1936, A. W.”

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PICTURES AT AN EXHIBITION . Moussorgsky-Ravel

In 1874, a posthumous exhibition of drawings and water colors by the
artist and architect, Victor Hartmann, was arranged and held in Leningrad.
Moussorgsky attended the exhibition and conceived the idea of paying
tribute to his departed friend, Hartmann, by drawing the picture “in music,”
and accordingly composed the suite for piano. There have been many
orchestral arrangements of the composition, however the most clever is the
Ravel orchestration which is played at these concerts.

Following are the interpretations by the late Philip Hale of the
various movements of the Suite:

“I. Gnomes. A drawing of a little gnome dragging himself along on
his short bandy legs; now crawling, now jumping.

“IT. I] Vecchio Castello. A troubadour sings a melancholy song
before an old tower in the Middle Ages. (M. Gillette, Saxophone).

“IIT. Tuileries. Children disputing after their play. An alley in the
Tuileries garden with a swarm of nurses and children.

“IV. Bydlo. A Polish wagon with enormous wheels, drawn by oxen.
Moussorgsky introduced a folk song.

“V. Ballet of the chickens in their shells. A drawing made by Hart-
mann for the staging of a scene in the ballet ‘Trilby.’

“VI. Samuel Goldenberg and Schmuyle. Two Polish Jews, the one
rich, the other poor. One of them is grave, imposing, decisively marked;
the other is lively, skipping, supplicating.

“VIT. Limoges, The Market-place. Market women dispute furiously.

“VIII. Catacombs. In this drawing, Hartmann portrayed himself,
examining the interior of the catacombs in Paris by the light of a lantern.

“IX. The Hut on Fowl’s Legs. The drawing showed a clock in the
form of Baby-Yaga’s, the fantastical witch’s hut on the legs of fowls.

“X. The Gate of the Bohatyrs at Kiew. Hartmann’s drawing re-
presented in his plan for constructing a gate at Kiev, in the old Russian
massive style, with a cupoloa shaped like a Slavonic helmet.”

310 Sutter Street GArfield 4544

COLLECTOR - DEALER - APPRAISER

FINE SHOP RARE VIOLINS
FINEST REPAIRS VIOLAS - CELLOS - BOWS
GENUINE SATISFACTION HIGH - MEDIUM - LOW PRICED

SAN FRANCISCO

SYMPHONY ORCHESTRA

ERNEST SCHELLING, Conducting
YOUNG PEOPLE’S CONCERTS

SAN FRANCISCO OPERA HOUSE

SATURDAY, APRIL 18 10:30 to 11:30 A. M.
FRENCH PROGRAM

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Symphony No. 3, Last Movement........----------sessssesssssssoceessetecotenennnternene Saint-Saens
Two Nocturnes, ‘‘Clouds’’ and ‘‘Festivals’’.........-----s-----cssesessesseseeneenenses Debussy
The Sorcerer’s Appremtice.........--------ssssscsecesseescccscenesceaeseseesssensennsesancosenaatanaeeenenes Dukas
Everybody sing ‘‘The Marseillaise’’

Rhapsody, ‘‘Espama’”’.....-.cosstersscescseescservensenseseenensnerneassseererersnscaseasacenenceseesearees Chabrier

WEDNESDAY, APRIL 22 4:00 to 5:00 P. M.

RUSSIAN PROGRAM

Overture to ‘‘Russlan and Ludmilla’’...........---c-:-c-cc-ccsesecnscesensteenesncrsnenscesnesens Glinka
Prelude to ‘‘Khovantschima’ ’ ........-..-..--ccc--sseccecseeseecnsnnenennsessseacensessneanenees Moussorgsky
Gopak from ‘‘The Fair of SG LOCC ENS” wacocencseceonteccs cacertbencucexnrnomastees Moussorgsky
HES Seah cee ge a ceetine Ss crebemmaadel aR 7 arated
Everybody sing, ‘‘The Pedlar’’

Scherzo from ‘‘Pathetique’’ Symphony........-.-.-----:---++--rseeeseseteereerees Tschaikowsky
Caucasian Sketches..............-cc--cccscssesesseceeseceeesecssecesnenensneeanenssnaroossens Ippolitow-Ivanow

SATURDAY, APRIL 25 10:30 to 11:30 A. M.

AMERICAN PROGRAM

Dr War DG eenccciceucs cus cx -ccseaenonesonscnacevouengurcnnse-e-npovnesanseunnnsscnsorocctnar=ntp=resnacs MacDowell
Call of the Plains. ..........-------o-scecccssseseerseccseceensesnnersnssncennseonasscerecnsnsanestonenes Goldmark
Memories of my Childhood.............----- Ed ice wea scapdoncens snot essahaceunneumanonrnsetahs Loeffler
Animal Pictures....----0---s--sssecs-osesecencee conccesnneseconenennnctenncesanessonsescnsacrannanssanscnaseeneres Ganz
Siamese Sketchi....---s-cc-ccee-<-osseceeceeonenceneseetrenseesecssenennnrcsencensnnarennsnaseousansscnsnsenecons Eichheim
Berceuse and Tarantella CFor Strings) .....--..-.---+----eccsesresecetsesnenstsennscenees Schelling
Everybody sing ‘“‘When Johnny Comes Marching Home’’

American Famtasy......-.--cccecceessessensncsecesscencennnssnasanccentssnssronersnsnnssrnsnansacsonesenseses Herbert

ALL SEATS RESERVED
Single Concerts: 50c, 35c, 25c, 15c — Box Office: Sherman, Clay & Co

AUSPICES: Young People’s Concerts Committee of The Musical
Ass’n of San Francisco. Mrs. Harold Richert McKinnon, Chairman
Mrs. Walter A. Haas, Honorary Chairman

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WHEN BUYING OR RENTING A HARP ONLY AN EXPERIENCED HARPIST CAN ADVISE CORRECTLY
FOR SALE OR RENT

LARGE STOCK OF HARPS
1030 BUSH

FIRST HARPIST WITH SAN FRANCISCO
BEGINNERS OR ADVANCE STUDENTS

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SAN FRANCISCO

SYMPHONY ORCHESTRA

PIERRE MONTEUX, Conductor
Willem Van den Burg, Assistant Conductor

First Violins:

Blinder, Naoum
Concert Master

Fenster, Lajos

Asst. Concert Master

Argiewicz, Artur
Claudio, Ferdinand
Gordohn, Robert
Jensen, Thorstein
Koharits, Joseph
Laraia,W. F.

Mendelevitch, Rodion

Meriz, Emilio
Mortensen, Modesta
Pasmore, Mary
Wolski, William
Wegman, Willem

Second Violins:

Heyes, Eugene
Principal

Baret, Berthe
Gold, Julius
Gough, Walter
Haug, Julius
Houser, F. S.
Helget, Hans
Koblick, N. I.
Paterson, J. A.
Rosset, Emil
Spaulding, Myron
Wright, Harold

Violas:

Firestone, Nathan
Principal

Baker, Fred A.

Hahl, Emil

Karasik, Manfred

Lichtenstein, Victor

Tolpegin, Victor

Vdovin, Alexander

Verney, Romain

Weiler, Erich

(Listed Alphabetically)

Cellos:

Bassoons:

Van den Burg, Willem Weiss, Adolph

Principal
Bem, Stanislas
Coletti, Bruno
Dehe, Willem
Ferner, Walter V.
Haight, Rebecca
Kirs, Rudolph
Pasmore, Dorothy
Reinberg, Herman

Basses:

Bell, Walter
Principal
Buenger, A.
Forman, F. F.
Guterson, Aaron
Hibbard, E. B.
Ramos, Juan
Schipilliti, John
Schmidt, Robert E.

Flutes:

Woempner, Henry C.

Oesterreicher, Walter

Benkman, Herbert
Herold, R. J.

Oboes:

Shanis, Julius
Schivo, Leslie J.
Dupuis, Andre
Plemenik, A.

English Horn:

Schivo, Leslie J.

Clarinets:

Schmitt, Rudolph
Rudd, Charles
Fragale, Frank
Clow, R.

Bass Clarinet:

Fragale, Frank

La Haye, E. B.
Hranek, Carl
Baker, M.

Contra Bassoon:
La Haye, E. B.

Tympani and
Percussion:

Vendt, Albert
Wood, W.A.
Salinger, M. A.
Nickell, Max

Piano and Celesta:
Tibbits: veo.

Librarian:
Haug, Julius

Personnel Manager:

Oesterreicher, Walter

eee

Announcement
&
LAST PAIR

SAN FRANCISCO SYMPHONY ORCHESTRA
PIERRE MONTEUX, Conductor

Friday, April 24, 2:30 P. M.
Saturday, April 25, 8:30 P. M.

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I’, “Overture, *Coriolants’” 222.1. eee ee Beethoven
Zo Olegiryed | [dy Nc 526 5 3 Baie. eee ee Wagner
3. Tnree Orchestral ‘Sketches a Vien as eee ee Debussy
4. “symphony No.w2, in) Damayor...< ee eee Brahms

A tS) i ee

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We are pleased to announce
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ey phony Orchestra have select-
ed instruments from our Col-
lection.

Naome Blinder, Violin
Eugene Heyes, Violin
Lajos Fenster, Violin
William Wolski, Violin
Ferdinand Claudio, Violin
Joseph Koharich, Violin
Nathan Koblick, Violin

W. Wegman, Violin
Fred A. Baker, Viola
Romaine Verney, Viola
Stanislaus Bem, Cello
Dorothy Pasmore, Cello
Walter Bell, Bass

Juan Ramos, Bass

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"A Russian Schipa’’

Veterans’ Auditorium

Friday Eve., April

Reserved Seats Sherman, Clay & Co.

Management ALICE SECKELS - ELSIE Cross

OLGA
BLOCK
BARRETT

Pianist and Teacher

Graduate of the Uni-
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has returned from
abroad after a year of
study at the College of
Music at the University
in Koenigsberg, Ger-
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highest praise and per-
sonal recommendation
by the Dean, Professor
Dr. Joseph Mueller-
Blattau.

Mrs. Barrett will accept pupils
for Piano and musical culture.

Please address:
2755 Webster St., San Francisco
WAlnut 7972

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SAN FRANCISCO
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PIERRE MONTEUX
CONDUCTOR

Willem van den Burg
Assistant Conductor

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MAINTAINED BY THE MUSICAL
ASSOCIATION OF SAN FRANCISCO

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Tenth Pair
TWENTY-FOURTH SEASON
1935-21936

INI

Grant Avenue Geary Street
SAN PES

“SS

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Livingston’s superb Spring collections

help you achieve.

For over half a century Livingston’s

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Spring gown collections are authorita- \
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MAIHHdXHHOoOo TE ew" ’’_Adtni

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The Musical Association of San Francisco

Maintaining the

San Francisco Symphony Orchestra

Joseph S. Thompson, President
Mrs. Leonora Wood Armsby,

Vice-President

OFFICERS

Dr. Hans Barkan, Vice-President
John A. McGregor, Treasurer

Edward F. Moffatt, Secretary

Robert W. Miller, Vice-President

EXECUTIVE COMMITTEE

Dr. Hans Barkan
Miss Lena Blanding
Miss Louise A. Boyd

Mrs. Leonora Wood
Armsby, Chairman

Mrs. Marcus S.
Koshland

Robert W. Miller

Guido J. Musto

MUSIC COMMITTEE

Mrs. George T.
Cameron

Mrs. M. C. Sloss
Mrs. Sigmund Stern
Edgar Walter

Dr. Leo Eloesser
J. Emmet Hayden

MEMBERS OF THE BOARD OF GOVERNORS

Armsby, E. Raymond
Armsby,

Mrs. Leonora Wood
Arnold, G. Stanleigh
Baker, Mrs. George

Washington, Jr.
Barkan, Dr. Hans
Bartlett,

Miss Katherine
Dyer, Joseph H., Jr.
Elkus, Albert I.

Eloesser, Dr. Leo
Esberg, Milton H.
Fagan, Mrs. Paul I.
Filmer, Mrs. W. Coy

Musto, Guido J.
McGregor, John A.
McKinnon,

Mrs. Harold Richert

Fleishhacker, Mortimer Newell, R. C.

Flowers, Mrs. J. C.
Forbes, John F.,
Gilman, Don E.
Goldstein, Miss Lutie D.
Haley, Mrs. Harry S.
Hart, Julien

Hayden, J. Emmet
Koshland,

Mrs. Marcus S.
Koster, F. J.
Lachman, Gus
Martin, Walter S.
Merola, Gaetano
Mendell,

Mrs. George H.
Miller, Robert W.
Monteagile, Kenneth

Potter, Mrs. Ashton H.
Robbins, Mrs. George B.
Schilling, Miss Else
Schlesinger, B. F.
Sloss, Mrs. M. C.
Stern, Mrs. Sigmund
Taylor, Mrs. David
Armstrong
Thompson, Joseph S.
Threlkeld, John H.
Tobin, Mrs. Cyril
Walter, Edgar
Weill, Michel
Wiel, Eli H.
Williams,
Mrs. W. Wilberforce
Winslow, Mrs. S. S.

ORCHESTRA COMMITTEE

Walter A. Weber

Eugene Heyes
Erich Weiler

M.A. Salinger

PAST PRESIDENTS OF THE MUSICAL ASSOCIATION

T. B. Berry
W.B. Bourn

Mrs. Leonora Wood Armsby,

Managing Director

William Sproule
John D. McKee

J.B. Levison
Richard M. Tobin

Peter Conley,

Business Manager

Sok

The Season of Nineteen Thirty-Six

With this pair of concerts the Musical Association closes the delight-
fully successful Season of Nineteen Thirty-six, successful because of the
combining of many most fortunate factors.

Foremost, essential and most thankless, or seemingly thankless was the
remarkable achievement of President Richard M. Tobin in lifting the Musical
Association out of the indebtedness which mounted through the recent years
of depression.

This would have been almost encouragement enough, but the addition
of the Civic Support, first through the vote of San Francisco, and then by
the prompt appropriation by the Art Commission, added what was virtually
a mandate to boldly proceed.

The consent of Vice-President Leonora Wood Armsby to assume the
managing directorship at once gave assurance of artistic authority, an
asstrance which the season has richly profited by in the selection of guest
artists and in numberless details.

Perhaps the greatest feature of Mrs. Armsby’s management was the
securing of our conductor, Pierre Monteux. But even she could hardly have
known how perfectly this great artist blends those qualities, not necessarily
artistic, that supplied a vital need of our Orchestra. An utter absence of
favoritism, a warm personal human sympathy with the orchestra personnel,
quickly created a spirit of affection and comradeship that has welded the
orchestra into a group of musicians who eagerly approach rehearsals and
concerts. A program builder of great balance and taste, and an accompanist
who inspires the guest artists, a very large part of our good fortune is in
the engagement of Mr. Monteux.

It is evidence of Mr. Monteux’ freedom from favoritism that he
arranged for the importation of only five musicians, which is also evidence
of the musical excellence of the greater portion of the members of the
orchestra who only awaited the inspiration of adequate leadership. And in
all matters relating to the business of gathering the orchestra we have
enjoyed the most considerate and constructive cooperation of the Musicians’
Union.

But after all, there would have been no business to carry on if it were
not for the Membership and its generous subscriptions to the Sustaining
Fund. That such support would be forthcoming even though the new season
was so uncertain was the basic faith of this Administration. But even with a
basic faith one can be surprised and your support has been inspirational,
both by the contributions themselves and by the work of those who form an
honorary list, from which I cannot refrain from giving the names of Miss
Lutie Goldstein of the Women’s Committee and Mr. E. Raymond Armsby of the
Men’s Committee, whose work in enlarging and conserving the membership
was invaluable.

In the liberal space given by their critics, in the frequent editorials of
encouragement, and in the news and social publicity which they have so
freely published, the newspapers and other periodicals have done their
fullest part most generously.

With this happy congeries of factors perhaps it is no wonder we have
had a splendid season and can look forward to a larger orchestra, frequent
orchestral novelties and a longer season for Nineteen Thirty-six and Thirty-
Seven.

Your President will be glad to accept your praise for his optimism,
enthusiasm and loquacity.

President.

SO%2

San Francisco Symphony Orchestra
PIERRE MONTEUX, Conductor

WILLEM VAN DEN BURG, Assistant Conductor
1936 Season

TENTH PAIR OF SYMPHONY CONCERTS
1122nd and 1124th Concerts

Friday, April 24, 2:30 P. M.
Saturday, April 25, 8:30 P. M.

WAR MEMORIAL OPERA HOUSE

PROGRAMM E

Le. ‘Overture... “Coniolagus acne se ee eee CLL OUEN
Dir Apne Ered al Gly a rr te ee Wagner
3. “Phree- Orchestral Sketches a Mer’ 22232. = ee ee Debussy

From Dawn Till Noon on the Ocean
Frolics of Waves

Dialogue of Wind and Sea

IN Phe Mes sl -O-N

IT WOULD BE WONDERFULLY ENCOURAGING IF YOU
WOULD EXPRESS YOUR APPRECIATION OF THIS SEASON
BY MAKING YOUR PLEDGE FOR THE COMING SEASON
ON THE ENVELOPE SUPPLIED WITH THIS PROGRAMME.

MUSICAL ASSOCIATION OF SAN FRANCISCO

4s, SVN DMONY INO. 22 sc Mae Oke caret eR reree ee e es es Brahms

Allegro non troppo
Adagio non troppo
Allegretto gracioso

Allegro con spirito

BANK SERVICES
For the Traveler

A Letter of Credit...

issued against deposited
cash or collateral security
. may be drawn upon
as required. On any long
journey, carry a Letter of
Credit ... whether you ex-
pect to use it or not. For
in case of need, it will
provide you with funds
and a banking introduc-
tion almost anywhere in
the world.
Foreign Department

Travelers’ Checks. .. the
convenient means of carry-
ing pocket money on your
journey. Safer than cur-
rency, and you can cash
them almost anywhere and
at any time of day. De-
nominations: $10,$20,$50,
$100. Cost: 75¢ per $100.

Exchange Department

Safe Deposit Boxes for
jewelry, documents, and
other small valuables that
you leave behind. Remem-
ber your home is more apt
to be visited by burglars or
fire when you are away on

Safe Deposit Department

Write or call
for further

information

Wells Fargo Bank
Union Trust Co.

Established 1852
Market at Montgomery e
SAN FRAN GISiGO

Market at Grant Avenue

Member Federal Deposit Insurance Corporation

OVERTURE, “CORIOLAN” .. . . . . Beethoven

Wagner was greatly impressed with this overture, and wrote quite a
lengthy treatise on it to make clear the way for those who are about to
share “the same sublime enjoyment as I myself have reaped.” Here is
Wagner’s reproduction of the hero whom he begs us all to visualize for
ourselves in order to better appreciate Beethoven’s creation:

“Coriolanus, the man of force untamable, unfitted for hypocrite’s
humility, banished therefore from his father’s city and, with its foes for
allies, combating that city to extermination; Coriolanus, moved by mother,
wife, and child, at last abandoning vengeance, and condemmed to death by
his confederates for t

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