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FTHE MUSICAL ASSOCIATION OF SAN FRANCISCO

LEONORA WOOD ARMSBY > PRESIDENT AND MANAGING DIRECTOR
HOWARD K. SKINNER + BUSINESS MANAGER

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“In the eyes
of the law’

Your Will, to you, may be a very personal matter,
close to your heart.

But “in the eyes of the law” a Will is a formal,
legal document, subject to strict legal interpretation.

Knowing this, a prudent man goes with his

plans and purposes to his attorney so his Will

can be drawn in legal terms; and thereafter reviews
it periodically with his attorney to keep

its provisions up to date.

By taking these simple precautions, he safeguards
the interests of those he is most anxious
to protect.

An officer of our Trust Department will be glad to

advise with you and your attorney.

AeReisek. O.E PAR Ne EIN o.

Wells Fargo
Bank & UNION TRUST CO.

SAN FRANCISCO : 20

Market at Montgomery + Market at Grant Ave.
Established 1852

Member F. D.1I.C.

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FROM

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San Francisco—Kearny and Sutter Streets, 2539 Mission Street,
near 21st. In Oakland—(after Jan. 2, 1945) Broadway at
Hobart. San Jose—80O South First Street. Sacramento—1 2th
and K Streets. Fresno—1127 Fulton Street. Also Seattle and
Portland.

Sherman |;

SYMPHONY ORCHESTRA 3

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Musical Assoctation of San Francisco
MAINTAINING THE

SAN FRANCISCO SYMPHONY ORCHESTRA

OFFICERS
Mrs. Leonora Wood Armsby, President and Managing Director
E- Raymond -Armsby--...---.---------... Vice-President Charles Page... Bet Aare Treasurer
Paul AvcBissingétc = =. x a Vice-President Howard: (Kk. Skinner =e ee Secretary
Charles: -R-] Blyth. 3 es eee Vice-President Geraid-.G!-Ross..23.2 2S Assistant Secretary
Garret McEnerney, II-_-.....-.. _.........Vice-President
EXECUTIVE COMMITTEE x6
Dr. Hans Barkan Mortimer Fleishhacker Mrs. Marcus S. Koshland Miss Else Schilling
Miss Louise A. Boyd Miss Lutie D. Goldstein Garret McEnerney, II Mrs. M. C. Sloss
Mrs. Selah Chamberlain Mrs. Joseph D. Grant Kenneth Monteagle Mrs. Sigmund Stern
Mrs. John P. Coghlan Mrs. Walter A. Haas Guido J. Musto Mrs. Eli H. Wiel
Mrs. E. S. Heller Mrs. Ashton H. Potter
FINANCE COMMITTEE
Cc. O. G. Miller, Chairman
E. Raymond Armsby Miss Lutie D. Goldstein Mrs. Ashton H. Potter
Charles R. Blyth Mrs. Marcus S. Koshland Mrs. William Lister Rogers
Mortimer Fleishhacker
MUSIC COMMITTEE
Mrs. Selah Chamberlain
Dr. Hans Barkan Mrs. Tobin Clark J. Emmet Hayden
Mrs. George T. Cameron Dr. Leo Eloesser Charles G. Norris
PUBLIC RELATIONS COMMITTEE
Mrs. John B. Knox
Mrs. M. C. Sloss Mrs. James Mills Mrs. William Lister Rogers
Mrs. John P. Coghlan Mrs. Francis Redewill Michel Weill
YOUNG PEOPLE’S CONCERT OFFICERS
Mrs. Thomas Page Maillard Mrs. Grace Benoist Mrs. Louis Sloss, Jr. Mrs. Harold K. Faber
Mrs. Harold R. McKinnon Mrs. Walter A. Haas Charles M. Dennis
SAN FRANCISCO SYMPHONY LEAGUE
Mis. John P:-Coghlan:...........-....._.---_- Chairman Mrs. Francis Redewill.................----- Vice-Chairman
SAN FRANCISCO SYMPHONY FORUM
Mrs. Alan McLenegan, Chairman Ava Jean Barber Frank Winter Martin Skewes-Cox
John Piel Pamela Marsh Katherine Mulkey Cecily Rideout
Lt. (j.g.) J. Brandon Bassett Elwyn Thayer Ann Wegman Elizabeth Shaw
Marcia Robinson Betty Carl Paul Robinson Marilyn Deile
BOARD OF GOVERNORS
E. Raymond Armsby Mrs. George Ebright Mrs. E. S. Heller Charles Page
Mrs. Leonora Wood Armsby Sidney M. Ehrman Walter S. Heller Mrs. Ashton H. Potter
Mrs. George W. Baker, Jr. Albert I. Elkus Mrs. Il. W. Hellman Mrs. Stanley Powell
Dr. Hans Barkan Dr. Leo Eloesser William F. Humphrey Mrs. William Lister Rogers
Mrs. Edward O. Bartlett Forrest Engelthart Mrs. Marcus S. Koshland Ottorino Ronchi
James B. Black Mrs. Harold K. Faber Frederick J. Koster Mrs. Henry P. Russell
Charles R. Blyth Mrs. Paul I. Fagan Gaetano Merola Miss Else Schilling
Miss Louise A. Boyd Mrs. Marshall H. Fisher C.0O.G. Miller Mrs. M. C. Sloss
Paul A. Bissinger Mortimer Fleishhacker Robert W. Miller Mrs. Nicol Smith
George T. Cameron ~ Mrs. J. C. Flowers Edward F. Moffatt Mrs. Sigmund Stern
Mrs. Selah Chamberlain John F. Forbes Kenneth Monteagle Mrs. Powers Symington
Mrs. John P. Coghlan Mrs. Frank R. Girard Mrs. Donald Mulford Mrs. David Armstrong Taylor
Mrs. Elizabeth S. Coolidg2 Miss Lutie D. Goldstein » Guido J. Musto Mrs. Cyril Tobin
Mrs. W. W. Crocker Mrs. Joseph D. Grant Dwight F. McCormack Mrs. Alfred S. Tubbs
Mrs. O. K. Cushing Farnham P. Griffiths Mrs. Angus McDonald Mrs. Daniel Volkmann
Mrs. Georges de Latour Madeleine Haas Garrett McEnerney, II Michel Weill
Benjamin H. Dibblee Mrs. Walter Haas Mrs. Harold R. McKinnon Mrs. Eli H. Wiel
Miss Katharine Donohoe Mrs. Harry S. Haley R. C. Newell Leonard E. Wood
Mrs. Willard H. Durham J. Emmet Hayden Charles G. Norris J. D. Zellerbach
Joseph H. Dyer, Jr.
ADMINISTRATION
Gerald Ross Curran Swint Virginia Webb Deborah Spalding

Constance Alexander
TICKET SALES

Victor Mohl Joesph Scafidi Kathleen Lawlor Doris Lowell

THE SAN FRANCISCO SYMPHONY ORCHESTRA
Records Exclusively for Victor Red Seal
SYMPHONY ORCHESTRA >

Miss Ruby Asquith, Ballerina... S. F. Ballet Company

427 Post Street e .
(In the St. Francis Hotel) é,

YU kon 2061

MASTER PHOTOGRAPHER

SYMPHONY ORCHESTRA

PNG Ry Riesb de

Cro
is Musical Association of San Francisco warmly

thanks the many friends whose encouragement and
Support denotes a deep personal interest in the welfare
of the orchestra. Our program today commemorates

their never-failing cooperation and devotion.

Back the bt War Loan

IN APPRECIATION

Cre
The Musical Association of San Francisco desires to express its grati-
tude to Radio Station KPO for the weekly “Know Your Symphony” program
with Mrs. M. C. Sloss as commentator, and to Radio Station KOW for mak-
ing available time immediately preceding the Sunday noon broadcasts of
the New York Philharmonic Symphony Orchestra for the presentation of
the San Francisco Symphony News, each of which outlines the activities of

the San Francisco Symphony Orchestra.

SYMPHONY ORCHESTRA 7

Your WILL cannot

bequeath “good judgment”

By intelligent management you have built up
your Estate. Your Will sets up the Plan you
want your Executor to follow.

If you appoint an indzwidual as Executor and
Trustee, will his judgment in handling your
estate match your judgment in creating it? And
will he remain always in good enough health,
and be free enough from his own personal affairs
to. give your Plan his best attention!

On the other hand, by appointing this Bank
as Executor and Trustee you are definitely as-
sured specialized experience, group Judgment
and careful attention throughout the life of your
estate. Our continuing staff of seasoned estate
managers can and do faithfully follow both the
letter and the spirit of your Plan.

Get details from any officer of this Bank.

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Neat LON AL ASSOCIATION OUR
Founded in 1864. EIGHTIETH
ANNIVERSARY
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? : ae

MEMBER FEDERAL DEPOSIT INSURANCE CORPORATION

SYMPHONY ORCHESTRA

Thirty-third Season
1944 - 45

SAN FRANCISCO SYMPHONY ORCHESTRA
PIERRE MONTEUX, Conductor

-<@}-

FIRST PAIR OF SYMPHONY CONCERTS
FRIDAY, DECEMBER 1|, AT 2:15

SATURDAY, DECEMBER 2, AT 8:30

-<{@>-
“Program
VALE AR TE Sa 58 CRE CO ey Si GS Os NEI RY SE dan eng aes Tarek Weber
NIG IVGARN AIR EACDLOINS2 OPUS. 36.5552 6 oe ee Elgar
Theme—

War wk Gon: Vareou vane

Vai ee De SP: Var. 9: Nimrod

Wain ls Var. 10: Intermezzo: Dorabella

Var. 4: W.M.B. Wate len Galeenss

AVE Veo htg tn) Raed Oty) Neca Varnle a: GN

Var. 6: Ysobel Var, 13: Romanza: = **

Vata el Lovte Var, 4) Finale. U.

Poa SrORALERAN Db ARAN IEE LU AG. uo ee Creston
(FIRST PERFORMANCE IN SAN FRANCISCO)
INTERMISSION
SYMPHONY IN C IVIE AST OR er oe rd serene pre eee ae Schubert

Andante — Allegro ma non troppo
Andante con moto
Scherzo: Allegro vivace

Allegro vivace

SAN FRANCISCO SYMPHONY ORCHESTRA

PIFRRE MONTEUX, Conductor

~<@}-

SECOND PAIR OF SYMPHONY CONCERTS |

Friday, December 15, at 2:15
Saturday, December 16, at 8:30

}
ALL-RUSSIAN PROGRAM
Francesca da Rimini, Symphonic Fantasy............. Tschaikowsky
SEM TLOULY eo NOt iter eke tei oe pains le, ant atest deve e cee Kalinnikoff
SeMtem DAM OlIC Gam. se. ces lenge moiad Se wes Spr NS. en nee eS Prokofieff
(Orchestrated by Harold Byrnes. First Performance in San Francisco)
SwGOHOWY INOe Or 2a) keane eu es een eee Shostakovitch
*<@>->

THIRD PAIR OF SYMPHONY CONCERTS

Thursday, December 21, at 8:30
Saturday, December 23, at 8:30

JASCHA HEIFETZ, Guest Artist

Symphony. No. 2, Im A MIMOr. v1. See See ee ea Saint-Saens
Boenre. tor Violin ang -Orchestiay mam: sae ee slo Chausson
@oncerto. foc Violin Jand tOrchest( arse te Geet Louis Gruenberg

(First Performance in San Francisco)

Don J GEG acetates Mae ee A Sm hg mR Lic Nyyiee tp) Uv Ra RCM ER Se Strauss

ee $000
10 SYMPHONY ORCHESTRA

PROGRAM NOTES

By ALFRED FRANKENSTEIN

ON RotOI RES OCR Odi CANE ee Karl Maria von Weber
: (1786-1826)

Euryanthe was composed in 1823 in an unsuccessful effort to repeat the tri-
umph Weber had won in Vienna with his lreischutz of 1821. ‘The libretto,
based on a medieval French romance, was by Wilhelmina von Chezy, and is
outlined as follows by Felix Borowski:

“The story, naively medieval, concerned the beauteous Euryanthe, who, be-
trothed to Count Adolar, is beset with innumerable dangers because she is
loved vainly by the villainous Lysiart, Count of Forest and Beaujolais, who,
aided by Eglantine de Puiset, a perfidious friend, endeavors to effect her down-
fall. ‘The plot contained ghosts, poisons, tombs and other paraphernalia of
legendary opera, and excitement was given to one of the acts by the appearance
in it of a serpent which would have slain Euryanthe’s lover if, happily, she had
not intervened.

“This species of drama,’ Borowski continues, “was not in itself likely to
antagonize a public which listened with rapture to operas that were crowded
with spectres, vampires, goblins, devils and other supernatural phenomena,
and whose principal illumination was red fire. What was a serious impediment
to eventual success was Frau von Chezy’s collaboration. That poetess had
written the ‘book’ of Rosamunde for Schubert, and the prompt failure of this
composition had largely been due to the futility of her text. Weber must have
had misgivings as to the dramatic and literary quality of Frau von Chezy’s
Euryanthe, for he was finally constrained to make many changes in it. Nor were
his personal relations with the eccentric authoress altogether happy. That lady
was accustomed to descend upon the composer and his wife at all hours, and
particularly at inconvenient ones, her loud voice and extraordinary attire
evoking scarcely suppressed titters from visitors who might happen to be present.
‘Weber,’ wrote the composer’s son, ‘often felt inclined to turn the Chez, as he
called this thing in petticoats, which was neither man nor woman, out of the

rbd

house’.

‘The opera was a failure, but its overture has survived. The overture is com-
posed ef melodies from the music-drama itself. During the course of the mysteri-
ous Largo episode “Weber had the intention of disclosing a picture on the stage
of Emma’s tomb, with Euryanthe kneeling in prayer at the coffin of the suicide,
and with the appearance of the dead woman’s ghost to add a touch of eerie
horror to the scene.”

PAN Go VV OA ILA TONS to tine Aue eae. Sir Edward Elgar
(1857-1934)

Although this work has been known as the Enigma Variations for so long
that to list it in any other way would be actually misleading, the title on the
score is Variations on an Original Theme, and the word “Enigma” appears
in the printed music only as a special designation for the theme, and the theme
alone. In other words, a popular misconception to the contrary notwithstand-
Ing, the enigma has nothing whatever to do with the variations, even though
they were wrapped up in a picturesque mystery for 35 years; the enigma has to
do solely and entirely with the melody upon which the variations are based.

“The enigma,” said Sir Edward, “I will not explain — its ‘dark saying’
must be left unguessed, and I warn you that the apparent connection between
the variations and the theme is often of the slightest texture; further, through
and over the whole set another and larger theme ‘goes’ but is not played...

SYMPHONY ORCHESTRA 11

; Es Lone Ai es

vee
... CONDUCTS WHENEVER YOU WISH!

Choose Pierre Monteux’s next concert yourself. The distinguished
conductor of the San Francisco Symphony Orchestra has recorded
a number of colorful performances on Victor Red Seal Records.
Among them are works by D’Indy, Rimsky-Korsakov, Franck,
Delibes and other masters. All are superb examples of the rare
insight, the magnificent sweep of Monteux’s direction. See the
Victor catalog for titlkes—many of your favorite selections are

sure to be included. Listen to “The Music America Loves Best”

every Sunday, 1:30 p.m., Station KPO.
* BUY MORE WAR BONDS *
THE WORLD‘S GREATEST ARTISTS ARE ON

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—~—

So the principal theme never appears, even as in some late dramas, e.g., Maeter-
linck’s L’Intruse and Les sept princesses — the chief character is never on the
stage.”

This is itself a “dark saying,” and one of an emphatically dusky hue. It has
been interpreted by the soothsayers to mean that Sir Edward’s theme was created
as a counterpoint to another melody, but Elgar never indicated what that other
melody was. Many theories regarding its identity have been propounded, and
the tune most frequently selected is Auld Lang Syne, but Elgar himself spe-
cifically stated that “Auld Lang Syne won't do.”

Nevertheless the famous Scottish tune is a good guess. The work is dedicated
“To my friends pictured within,” and each variation except the thirteenth
is distinguished in the score with the initials or the private Elgarian nickname
of a member of the Elgar circle as it existed in Malvern, Worcestershire, where
the variations were composed in 1899. Each variation is, according to the com-
poser’s own statement, a “sketch of the idiosyncrasies” of the friend involved,
but Elgar refused to identify the people behind the variations, and their names
were not made public property until after his death. Elgar’s reticence on this
head was not due to any desire to make an “enigma” out of the initials and nick-
names; he simply felt that “this is a personal matter and need not have been

Buffet Service in Basement Promenade and Dress Circle during all performances
a a Ee ee ee

WAR MEMORIAL OPERA HOUSE. Owned and operated by the City and County of San Francisco
through the Board of Trustees of the War Memorial.
Hard-of-hearing aids are available in the Main Foyer. Attendant will connect same to your seat
location on request. — Opera Glasses in Foyer.

SYMPHONY ORCHESTRA 13

RESERVE
Rlenctech Vihusht

mentioned publicly. The variations should stand simply as a piece of music.”

“His music is full, as his life was, of the treasuring up and chortling over
little oddities and. appropriatenesses of word, action or event: this playful
allusiveness was to him the salt of life.” So says A. H. Fox-Strangways, who
knew Elgar well. To listen for these chortlings alone in the Enigma Variations
is to miss their music, but not to listen for them at all is to overlook another
value of the work. Consequently, we append some notes on “the friends pic-
| tured within” derived from various books and articles on Elgar. ‘The authorities
are in full agreement about the names of all the people involved except the
heroine of Variation 13, but they are by no means in complete agreement about
the “idiosyncrasies” sketched in the music.

* * * *

| Theme: Andante, G minor, 4/4 time. The theme occupies the first 17 bars:
h—p+—_t- fg =a
I udis, 4
sempre Pp Px cs vin. 1, rit op dim
ee eee ae eee ee ee a
eae 2 =o +h Spi Oa
ond. < ise IG BV anf ; / ©
a - rf Je — = ws * ee, ia,.——
wn Stan eae Bhlarg
and leads without pause to
; MARK HOPKINS x
direct from New York’s
eu Waldorf Astoria and the
a Palmer House in Chicago
o
} :
and his orchestra

featuring lovely
JUNE HOWARD

in beautiful

GEO. D. SMITH,
General Manager

SYMPHONY ORCHESTRA 15

Mosnteil’s great perfume

and its subdued satellites...

Var. 1: GALE. (L’istesso tempo, likewise listesso key and time.) Caroline
Alice Elgar was the composer’s wife.

Var. 2: H.D.S.-P. (Allegro, G minor 3/8.) H. D. Stuart-Powell was a pianist
who used to play trios with Elgar and B.G.N. of Variation 12. The opening
measures reflect the pianistic didoes with which Stuart-Powell was accustomed
to warming up his fingers.

Var. 3: R.B.T. (Allegretto, G major, 3/8.) Richard Baxter Townshend
was an amateur actor who had a way of playing tricks with his voice, as witness
the falsetto of the upper woodwinds and the deep rumble of the bassoons.

Var, 4: W.M.B. (Allegro di molto, G minor, 3/4.) William M. Baker, a
country squire, was extremely positive and fiery in argument. This is the
shortest of the variations.

Var. 9: R.P.A. (Moderato, GC minor, 12/8.) Richard P. Arnold,.son of
Matthew Arnold, a man of various and changeable moods. This variation goes
on without pause to

Var. 6: YsoBEL. (Andantino, C major, 3/2.) Isabel Fitton played the viola
in the Malvern quartet parties, and the variation therefore emphasizes that
instrument. The leap of a tenth in the theme as heard at the beginning and
end is said to refer to the fact that Miss Fitton was unusually tall.

Var. 7: Troytr. (Presto, C major 4/4.) Arthur Troyte Griffith was the
architect who built Elgar’s house at Malvern. According to some authorities
“the solid, vigorous, structural character of the music” is a description of
Griffith's profession. According to others the variation is to be interpreted in
exactly the opposite way. Griffith was a tempestuous and excitable person given
to saying unexpected things, and this, according to some, is what Elear here
hits off.

Var. 5: W.N. (Allegretto, G major, 6/8.) Miss Winifred Norbury was “a
patrician lady of the older generation who lived in a charming 18th century

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where there’s
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Jackson

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SYMPHONY ORCHESTRA 17

THE MUSIC
EPOVERKS
SOCIETY

Margaret Tilly - Founder

TENTH SEASON
MONDAY EVENING, JANUARY 15
MONDAY EVENING, MARCH 5
MONDAY EVENING, APRIL 16

CENTURY CLUB

SUTTER AND FRANKLIN

MARGAR- Edie lellele yrs ce ta renee Piano
FRANCES WIENER .... . Violin
BEIGIENeEMIMGRIEE IE 2 Viola
HERMAN REINBERG ... . ‘Cello

Guest Artists
CLARAMAE TURNER . . Contralto
RUDOLPH SCHMITT .. . Clarinet
HUBERT SORENSON .... . Violin
ROBERT E. SCHMIDT... .—.-Bass
FRANK FRAGALE . . Bass Clarinet

JANUARY 15
Mozart — Toch — Beethoven

. a rousing, expressive performance .. . extraordinarily successful
season. —_-ALEXANDER FRIED, S. F. Examiner
. magnificent performance . . . far too infrequent concerts. .. .

—_-ALFRED FRANKENSTEIN, S. F. Chronicle

chamber music is seldom played with such beauty, accuracy, and
finesse . . . the Society ends its ninth season with colors flying.
—MARJORY FISHER, S. F. News

- fine chamber music concerts . . . excellent performances all.

—MARIE HICKS DAVIDSON, S. F. Call-Bulletin

_ that spirit of adventure, which has made the Society unique and
valuable in the cornmunity. ... —ASHLEY PETTIS, The Argonaut

SUBSGREPMION: LIGKEMS=-_ 3 “2 iss $6.00 and $3.00 — Tax Included

From MRS. NATHAN FIRESTONE, Secretary .. . . 3494 - 21st Street

SINGLE ADMISSIONS $1.25 and $2.00 — Opera Box Office, Normandy
Lane, City of Paris

18 SYMPHONY ORCHESTRA

house in the country outside Worcester.” ‘This delicate variation leads without
pause to

Var. 9: Nrmrop. (Moderato, E flat major, 3/4.) Nimrod is the “mighty
hunter” of the Book of Genesis: August Jaeger (Jaeger is the German word
for hunter) was one of Elgar’s publishers and editor of The Musical Times.
The variation is said to recall an evening when Jaeger waxed eloquent in
praise of Beethoven’s slow movements. ‘The music is in a broad Beethovenian
vein, and Elgar has been quoted as saying it was designed after the second
movement of the Sonate Pathétique.

Var. 10: Dorasetia. (Intermezzo: Allegretto, G major 3/4.) Dora Penny
was an old friend of the Elgars. She stuttered. So does the music.

Via L1G, Reo: (Allegro di molto, G minor, 2/2.) Here the authorities
differ most absurdly. George Robertson Sinclair was organist of Hereford
Cathedral. Certain writers claim the variation describes him furiously at work
in his organ-loft with manuals and pedals flying, but others say the music has
nothing to do with Dr. Sinclair at all; they insist it is a picture of his par-
ticularly lively bulldog, and some have found in the variation a passage wherein
the dog shakes water off his coat after a swim.

Var. 12: B.G.N. (Andante, G minor, 4/4.) Basil G. Nevinson played the
‘cello in the Elgar circle, and this episode brings the ‘cello to the fore. Without
pause to

Var. 13: *** (Romanza: Moderato, G major, 3/4.) According to some, the
dark lady of Elgar’s asterisks was called Lady Mary Lygon, according to others
Lady Mary Trefusis. No one knows s why Elgar left out her initials. At all events
Lady Mary was, at the time of the composition of this work, on her way to
Australia, and consequently part of the variation consists of a quotation from
Mendelssohn’s Calm Sea and Prosperous Voyage over an accompaniment in

MYRA GHITIS

PIANIST

in Recital

Wednesday Evening, December 6th

AT 8:30

Italian Room, St. Francis Hotel

“One of San Francisco’s most gifted young pianists . . . Has astonishingly brilliant clear
technique. (Chronicle)

“Has the invaluable talent of making her performances sharply interesting . . . Handles
the keyboard with dashing force .. . (Examiner )

“Extraordinary clarity of finger work .. . Played with masculine strength ... tone of
tremendous power and brilliance ... Young pianist well worth hearing. (News)

“Impressed her listeners with ean fal ardor, excellent technique . ef
“Brought rare beauty to lyrical passages . . . Maturity of musical understanding and mastery
of her instrument.” (Argonaut )

Tickets $1.20, $1.80—Tax Included
Opera Box Office, Normandy Lane, City of Paris—-EX brook 8585

SYMPHONY ORCHESTRA 19

‘or the finest music 0 |
Cae: tuned to KP fi

} on your dial

Stradivari Orchestra > Richard Crooks
Sun. at 9:30 a. m. Mon. at 5:30 p. m.
John Charles Thomas os Contented Program
Sun. at 11:30 a. m. Men. at 7:0C p. m.
Music America Loves Best Telephone Hour
Sun. at 1:30 p. m. Men. at 9:00 p. m.
General Motors Symphony % Light and Mellow
Sun. at 2:00 p. m. Tues. at 10:00 a. m.
Album of Familiar Music % Standard School Broadcast
Sun. at 6:30 p. m. Thurs. at 10:00 a. m.
Hour of Charm + Waltz Time
Sun. at 7:00 p. m. Fri. at 6:30 p. m.
The Standard Hour x Know Your Symphony
Sun. at 8:30 p. m. Sat. at 5:00 p. m.

Carl Kalash and Orchestra
Thurs. at 4:30 p. m.

SRO Part of a continuous Parade of Stars

SS Z heard over the

NATIONAL BROADCASTING CON PANY
America’s Number One Network

20 SYMPHONY ORCHESTRA

which “the soft tremor of the drums suggests the distant throb of the engines
Ol awIner a

Von k OnW a rinale:s-Allieoro,. G amajor 94/4.) lhe initials refer: to 7a
nickname by which Elgar himself was known at Malvern, but the nickname
itself has not been revealed. This movement is bigger and more complex than
any of the others, and Elgar originally intended not to number it among the
variations but to set it apart with the designation Finale; that, however, would
have left thirteen variations, and Sir Edward was not the first person or the
last in human history to be prejudiced against that number.

Concerning this section, Elgar wrote to his biographer, Basil Maine, as
follows: :

“Finale: bold and vigorous in general style. Written at a time when friends
were dubious and generally discouraging as to the composer’s musical future;
this variation is mainly to show what ‘E.D.U.’ (a paraphrase of a fond name)
intended to do. References made to the first variation (C.A.E.) and the ninth
(Nimrod) , two great influences on the life and art of the composer as entirely
fitting to the intention of the piece. ‘The whole of the work is summed up in
the triumphal, broad presentation of the theme in the major.

PASEO RATE HaeAdNID eA ROAING): Hab Awe ou 8 Paul Creston
(1906-)
Mr. Creston provides the following information: | |
“This work is similar in idea, aie not in form or content, to the composer's
Prelude and Dance, in that it is a composition in two movements: the first of
a preludic character and the second in a dance rhythm or form.

“The Pastorale is based on a rhythmic figure presented by clarinets-and
bassoons in the first measure, on which are superimposed, during the move-
ment, various aspects of a single theme first announced by peace flutes in
parallel triads. No new themes are introduced at any time, and the movement
is really a continuous development of this single idea.

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SYMPHONY ORCHESTRA 7e5

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“The Tarantella is in large ternary (ABA) form, with a short introduction.
The ‘A’ section is built on a ten measure ground bass first played by.contra-
basses alone, on which are piled themes and instrumental colors; developing to
a presentation of it chordally in the brass choir, and finally, rhythmically in
the timpani alone. A bridge passage leads to the ‘B’ section, light in character,
in contrast to the dramatic quality of the first section. The repetition of the
‘A’ section is slightly shortened, and the piece is brought to a vigorous con-
clusion.

“Among the theories of the origin of the Tarantella are: (1) that the dance
movements were caused by the bite of the tarantula; and (2) that the move-
ments were a means of eliminating the poison injected by this type of spider.
In either case, it is certain that the dance must have been a violent one
...and this is the conception the composer has adhered to in the four specimens
of this dance he has written to date. ‘The present day social form of the tarantella
is, in direct contrast to the original, a gay and light dance of marathonic length,
usually becoming a test of endurance between dancers and musicians.

“Pastorale and Tarantella was first performed by the NBC Symphony Or-
chestra under Dean Dixon, January 27, 1942.”

‘To the above the present editor would like to add, as a third theory for
the origin of the word “‘tarantella,” that it may be derived from the name of the
town of Taranto in southern Italy. More dances have been named after the
places where they originated than after any other thing, as witness the classic
siciliano, polonaise, allemande, bergamasca and fiorentina and such latter-day
manifestations as the waltz Boston, Charleston, Chicago drag and Harlem hop.

Mr. Creston was born in New York and studied piano and organ there.
He is self-taught in composition. He has twice been awarded Guggenheim
fellowships and has won many prizes, including a grant from the American
Academy of Arts and Letters and the 1943 award of the New York Music
Critics’ Circle, given for his first symphony. Mr. Creston has composed much

BEFORE THE Sysnfphony

Fashionable San Francisco gathers in the
exquisite Garden Court for luncheon.

Dancing afterwards in the Rose Room to
the music of Henry Busse and his orchestra

She Satace

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EDMOND A. RIEDER, General Manager

SYMPHONY ORCHESTRA 23

Mech ING Gil Papel ee Cee Nine Rale5

pe ONE PANCTS CO
oe .. SYMPHONY ORCHESTRA

PIERRE MONTEUX, Conductor

LEXANDER
|

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GUEST SOLOIST

PROGRAM

LPCGTCCOR NGA Each OLGues o1BI SU Coane Ry, mabe e Nearest Shanta ann gern econ Gen criti oe Bach
ARRANGED BY LEONARDI

PranosGoncerto.. Bain Or a7. ee een os ee eS Chopin
MR. BRAILOWSKY

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fe NVESTETE SUAK te tetas hee tenet oar eanc es il eee. Ae ae a oe Robert Delaney
Poem by Stephen Vincent Benet
MUNICIPAL CHORUS, HANS LESCHKE, DIRECTOR
Conducted by the Composer

MUSIC
MAINTAINS
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SATURDAY EVENING, DECEMBER 9, 8:30
Tickets: 30c, 60c, 90c, $1.20, Tax Included — Sherman, Clay . . SUtter 1331

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f

in many forms. He was first represented on the programs of the San Francisco
Symphony Orchestra last year, when André Kostelanetz presented his Frontters.
Mr. Creston is organist of St. Malachy’s Church in New York and is on the
staff of the Blue Network.

SG LVICEELG)IN. Yoo LN cay Vac NU COIN ors a ieere sae ewan hos. Franz Schubert
(1797-1828)

The numbering and sequence of Schubert’s last symphonies has long been
a matter of the wildest confusion. ‘The work played on this occasion bears the
number 7 on the printed score; various authorities, however, call it Schubert’s
eighth symphony, while on the labels of a recent recording it is called the
ninth, and in the program books of the Chicago Symphony Orchestra and
elsewhere it always numbered tenth. But the subject is not so dense and dark
as some of the literature would make it appear, and although it is not par-
ticularly important, it may be of interest to straighten it out.

Schubert died in great poverty and obscurity leaving a vast number of
manuscripts in the possession of his brother, Ferdinand. Among these manu-
scripts were seven completed symphonies. The first six of these were works
of Schubert’s youth and were composed between 1813 and 1818; the last is
the great C major of the present program, written in 1828, the last year of the
composer's life.

Ferdinand Schubert dedicated himself to making his brother’s work known.
What he lacked in means and influence he made up in intelligence and energy,
and his efforts were successful. In 1838 he gave the manuscript of the C major
symphony to Robert Schumann, who was instrumental in having it performed
for the first time under Mendelssohn’s direction in Leipzig in 1839. It was

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SYMPHONY ORCHESTRA 25

published in 1850 as Schubert’s seventh symphony, since at that time only
the seven completed symphonies of Ferdinand Schubert’s collection were known
to exist.

In 1865 the Unfinished symphony in B minor came to light, having lain
unknown for 43 years in Anselm Hiittenbrenner’s garret in Graz. This work
was promptly dubbed Number Eight, even though it had been composed in
1822, six years before the C major. (Fortunately for everybody, Schubert always
dated his manuscripts.) ‘Three years later, in 1868, another incomplete sym-
phony by Schubert came to the attention of the world at large. This is a hazy
sketch for a work in four movements in the key of E major; Schubert appar-
ently dashed it off in a few hours in the summer of 1821 and never returned
to it. This manuscript had belonged to Ferdinand Schubert, too, but he had
regarded it only as a useless fragment, since, unlike the B minor Unfinished,
it contained no completed movements.

Ferdinand Schubert gave the incomplete symphony in E to Felix Mendels-
sohn, who bequeathed it to his brother, Paul. In 1868 Paul Mendelssohn pre-
sented the manuscript to Sir George Grove, who was much interested in it and
was responsible for having it completed by John Francis Barnett. The Barnett
version was played in London in 1883. Felix Weingartner made another
reconstruction in 1928, and this was published in 1934, but the work has
probably not been performed in this country in either edition. Since it dates
from 1821, it may obviously be regarded as Schubert’s real seventh symphony.

Grove believed that between the B minor Unfinished of 1822 (which
was correctly numbered eighth, if for incorrect reasons) and the big C major
of 1828, Schubert had written another symphony, presumably composed during
an excursion to Gastein in the Tyrol in 1825. This would then be the ninth
symphony and the big C major would be the tenth. But the manuscript of
the symphony composed at Gastein has never been found, and some authori-
ties doubt if it ever existed. On the other hand, one school of critics holds
that Schubert's Grand Duo for piano four hands, Opus 140, may be an arrange-
ment of the lost Gastein symphony; this has been orchestrated by Joseph
Joachim, and the reasons for regarding the duo as a transcribed symphony
are set forth in Sir Donald Francis ‘Tovey’s notes on the Joachim version in
his Essays in Musical Analysis.

A list of Schubert’s symphonies numbered according to Grove will clarify
the foregoing:

No: 1—D major, 1815:

No. 2—B flat major, 1815.

No. 3—D major, 1815.

No. 4—C minor (Tragic), 1816.

No. 5—B flat major, 1816.

No. 6—C major, 1818.

No. 7—E major, incomplete sketch, 1821.

No. 8—B minor (Unfinished), 1822.

No. 9—C major (Gastein), 1825. (Manuscript lost, if it ever existed.)

No. 10—C major, 1828.

Now it is obvious that a fragment like the E major sketch, which contains
no movements playable without very extensive and highly conjectural restora-
tions, need not be numbered among Schubert’s symphonies at all, and it is
even more obvious that the Gastein, which no one has ever seen and which
may have existed only in Sir George’s imagination, has even less reason to
be included in the list. If, however, one agrees with Grove, Schubert’s last
symphony is No. 10. If one agrees with Grove in part, accepts the E major
and throws out the Gastein, the final symphony becomes No. 9. If one totally
disagrees and rejects both dubious works, the last symphony then becomes

26 SYMPHONY ORCHESTRA

No. 8. ‘he only positively incorrect number is 7, the one by which the sym-
phony is most widely known.
I

Andante, G major, 4/4 time. ‘The symphony opens with a very extensive
introduction, beginning softly in the unaccompanied horns:

(Through the editor’s error, Example 1 is given here as it appears in the
score, instead of an octave lower, where it actually sounds.) ‘The strings have
an answering phrase not quoted. The bulk of the introduction is based upon
Example 1 worked out with marked contrasts of sonority. ‘Toward the end
the bouncing fourths in the first measures of Example 2 are foreshadowed,
but not at the interval of a fourth. The introduction ends with a crescendo
leading to the main movement.

Allegro ma non troppo, C major, alla breve. The principal theme is pre-
sented by the strings in octaves interrupted by little triplet interludes of the
woodwinds here given in small notes:

4,
0 gar. 3 3 3

+ @ Lg Ws

Se = ie er es pt
rs sralassoomt | _ orne ee ;
bassa-

Motif B and the woodwind triplets are worked over by way of transition to
the second theme, which appears in the oboes and bassoons in E minor:

and this is also subjected to considerable treatment. The closing section starts
with a new version of Example | deep in the trombones, beginning in A flat
minor, under continuing suggestions of Example 3:

SYMPHONY ORCHESTRA 27

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28 SYMPHONY ORCHESTRA

This leads through a short crescendo to a new theme in the full orchestra
wherein Schubert finally and triumphantly reaches the orthodox G major:

ee
‘ ae e

(the brusque cut-off in the last bar is, of course, taken from Example 3.)
The exposition ends immediately after Example 5 with brief suggestions of
Motif A from Example 2, in G major.

The development begins with a sudden Mozartian dive into A flat major.
At its beginning it 1s concerned with Example 3 and with Motifs A and B
from Example 2 treated in counterpoint against each other. Example 4 is
added later in a big, full-throated form, but the development ends with a quiet
passage wherein a figure derived from the second and third bars of Example 4
is played by the lower strings and bassoons and is answered by a descending
figure in the solo woodwinds, while the violins recall the woodwind triplets
of Example 2. Bouncing octaves of the horn in the rhythm of Motif A herald
the recapitulation.

The first theme, Example 2, returns in the original key and form and leads
through a modified restatement of the transitional material to the second
theme, Example 3, now in the oboes and clarinets in C minor. Example 4
comes back in the trombones starting in D flat minor, and leads to Example
5 in C. There is a big coda based principally upon Motif B and the woodwind
triplets, but at the very end the music returns to Example | in the full orchestra.

WILLIAM F. LARAIA

First Violinist San Francisco Symphony Orchestra for twenty-five

years — has resigned in order to devote his time exclusively to
teaching.

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SYMPHONY ORCHESTRA 29

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SYMPHONY ORCHESTRA

ings:

II
Andante con moto, A minor, 2/4 time. The first theme is stated by the

oboe after seven foreshadowing bars in the str

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[esa oes | call exe |

a modified restatement of the opening measures of

d by a subsidiar

The second section of the movement has a new theme in F major, begun

by the second violins after a formal introduction in the horns:

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‘This is also worked over at length.

The key returns to A minor and the first portion of the movement (Ex-
amples 6, 7 and 8) are restated, 6 and 7 having a new decorative counterpoint
when first heard. Example 8 is subjected to an entirely new development
which reaches a devastating climax followed by a pause, whereupon the ’celli
sing a modified version of Example 6.

Now, without benefit of formal introduction, the second section of the
movement is reheard, but in A major and with Example 9 in the woodwinds,
the strings having fresh ornamental material against it. Example 9 is again
developed. ‘The coda goes back to A minor and Examples 6 and 7.

III
Allegro vivace, C major, 34 time. A scherzo in sonata term. The principal
theme is stated at the outset:

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SYMPHONY ORCHESTRA 33

The second theme, in G major, appears in the first violins in the 30th bar:

7 == a 7 ee !

ee: Oe a ae tn

My date sa ‘ft SE

This concludes the first section of the movement, which is then repeated.
The second section is devoted to the development and recapitulation of these
elements.’ Once again the development begins with a sudden shift into A flat,
and Example 10 is treated. Very shortly, however, the woodwinds bring in a
new tune starting in G flat:

and shortly after that, Motif A from Example 11 is given prominent treatment.
The recapitulation, rather modified, opens with Example 10 in the oboes in
C, followed in due course by 11 in the same key, and there is a brief coda.

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SYMPHONY ORCHESTRA 35

lime soANeERANG SCOeBALEEn GUILD

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WILLAM CHRISTENSEN, Artistic Director

in the

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FIRST COMPLETE PERFORMANCE IN AMERICA

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The trio goes into A major and is introduced by repeated E’s of the horns.
The trio theme is given to the woodwinds. We quote the oboe parts:

4)
{; s cboes

This is worked over in the customary two repeated sections. The reiterated E's
return to provide the link to the restatement of the scherzo proper. ‘This entire
section (Examples 10, 11 and 12, exposition, development and recapitulation)
are heard once more at the end of the movement.

IV
Allegro vivace, G major, 2/4 time. ‘The finale begins with a fanfare-like
introduction. The first four bars:

set up a pair of rhythmic patterns which are heard incessantly throughout
the entire movement; there is scarcely a single bar in the finale which does not
employ the rhythm of the dotted eighth and sixteenth or that of the triplet.

The fanfare leads to the first theme, given to the oboes and bassoons at
the 37th bar, with the triplets twisting about it in the violins:

THE NEW YORK PHILHARMONIC
SYMPHONY

conducted by
ARTUR RODZINSKI

SUNDAY, DECEMBER 3rd

John Brownlee and
The Westminster Choir
will be featured.

SUNDAY, DECEMBER 10th

Eugene Istomin will be
the assisting artist.

Dr. Artur Rodzinski K a. W

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1:30 P.M. 740 on your dial

SYMPHONY ORCHESTRA 37

This is worked over, along with material from the opening fanfare.

The music quiets down and eventually pauses completely for the grand
entry of the second theme, given to the oboes in G major, but preceded by
four repeated D’s of the horn:

(Notice the insistent triplets of the violin accompaniment in both the original
statement of Example 16 and its repetition.) Example 16 is worked over, with
the triplets and dotted figure omnipresent, and a great, striding, seven-league-
boots motif is added in the bass as the music reaches a climax. The exposition
ends with the subsistence of this climax, and the music shades down into E
Hat with a descending tremolo of the ’celli as the development begins.

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SYMPHONY ORCHESTRA 39

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MRS. DUNCAN CURRY, JR.
MikS. JOSEPH W. FOWLER
MRS. RALPH HENKLE

MRS. DANIEL C. HUNT
MRS. F. W. WILLETT

MRS. EDWARD C. WURSTER

MRS. FRANK BUCK

MRS. RALPH K. DAVIES
MRS. J. LINDSAY HANNA
MRS. JAMES LEVENSALER
MRS. DOUGLAS McBRYDE
MISS OLGA MEYER

MRS. FRANK SOMERS

*** Transportation Service through courtesy of the Red Cross Motor Corps
with the cooperation of Mrs. George Cameron.

SYMPHONY ORCHESTRA

The development opens with a theme in the woodwind that is curiously
reminiscent of Beethoven’s ninth symphony:

} my AG fod tee bey)
C0. Cal & = <2.

fl obce St P a le
i . ne aes ks ad a
Pe teh

rT aad Se

—- :
Clar - 0b TE

(This theme is first suggested a little earlier, at the end of the exposition,
but the above is the most striking instance of its use.)

Several pages of the score are devoted to Example 17, followed by treatment
of Example 16 and especially its four repeated notes. At the end of the develop-
ment the opening fanfare of the movement is insistently suggested through a
eradual crescendo.

The fanfare finally bursts forth in the unexpected key of E flat major to
start the recapitulation. Example 15 returns in the oboes as before, and again
Example 16 is reached through a climax, subsistence and pause. ‘This time
Example 16 is in C, and is ushered in by repeated E’s of the horn. It is worked
over again, along with the striding subsidiary previously mentioned, and again
reaches a climax. Example 16 also provides material of the coda, along with the
omnipresent fanfare figures of Example 14.

INE CALIFORNIA 2

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Larose, Sauterne, Chablis ... ma-
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SYMPHONY ORCHESTRA AL:

It Stands Alone

KORBEL BRUT IS TOPS IN AMERICAN CHAMPAGNE

Magazines which reach the most sophisticated audience in the United States
unanimously give first place in American Champagnes to KORBEL BRUT
WE didn’t say it first! THEY DID!

“THE BEST AMERICAN CHAMPAGNE
to date is KORBEL BRUT. Our guess is
anyone would think it was imported.”
—Harper’s Bazaar, February, 1941.

“PROBABLY THE MOST CHAM-
PAGNE-LIKE domestic wine is KOR-
BEL BRUT.’’—Cue Magazine, Decem-
ber 20, 1940.

“THE OUTSTANDING AMERICAN
CHAMPAGNE to date is KORBEL
BRUT.’’— Town and Country, Febru-
ary, 1941.

“EXTREMELY ENJOYABLE, bone-dry
and clean-tasting.’"—The New Yorker,
March 15, 1941.

“AMONG THE FEW FINE CALIFOR-
NIA CHAMPAGNES IS KORBEL BRUT
—a special cuvee which has been made
as dry as the dryest Champagnes for
the English market.’’— St. Regis, Pea-
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SYMPHONY ORCHESTRA

;
ay
5

*
Bs

So that San Franciscans may become better acquainted
with the organization and activities of their Musical Associa-
tion, Station K PO has for several years presented in a special
Saturday program, entitled “Know Your Symphony,” Mrs.

M. C. Sloss, member of the Board of Governors and the Ex-
Sloss’ informal and informative programs frequently feature

with visiting artists and conductors and other music

authorities.

interviews with Director Monteux and orchestra members,
Recommended for lovers of fine music are the twin pro-
erams, “Standard Hour” and “Standard School Broadcast,”
aired from K PO over the NBC Pacific Coast network Sunday
evenings from 8:30 to 9:30 and ‘Thursday mornings from
10:00 to 10:30. Coinciding with the Symphony Orchestra’s
thirty-third season, “Standard Hour” is presenting Pierre
Monteux and sixty-odd members of his orchestra in an eight-
week series of concerts, devoted each week to the works of a
different world-renowned composer. Scheduled for the De-
cember 3rd concert are four works of Cesar Franck, for De-
cember 10th, works of ‘Tschaikowsky. The ‘Standard
School” orchestra, under the direction of Carl Kalash, broad-

ecutive Committee. Broadcast weekly at 5:00 p. m., Mrs.
casts a series of educational programs listened to by thou-
; sands of grade, high school and college students throughout

the west.

Arturo ‘Toscanini and the NBC Symphony Orchestra
are currently being featured in a nine-week Beethoven Festi-
val on the General Motors Hour, heard over K PO Sundays
from 2:00 to 3:00 p.m. Program December 3rd will include

the Symphony No. 2 and the Septet in E Flat Major.

Seg uo a ee ee
ee a ey wie eee te:

SYMPHONY ORCHESTRA 43

7
%
q

DAYS
PIANO

the choice of
Today's Great Artists

GREAT

CHOOSE YOUR PIANO
AS THE ARTISTS DO

The Boston Symphony now uses the Baldwin
in its Concerts.

MARIE THERESE BRAZEAU HAROLD BAUER

CECILLE DE HORVATH
SEVERIN EISENBERGER
ALEXANDER KELBERINE
WESEEY PAV (OB 2ET TE
ALEXANDER TANSMAN
IRMA SCHENUIT HALL
FRANCES ANTOINE
WILHELM BACHAUS
PAUL WITTGENSTEIN
VICTOR WITTGENSTEIN
FRANCISZEK ZACHARA
MAGDA TAGLIAFERO
JOSEPH BATTISTA
JEANNE BEHREND
ALFREDO CASELLA
WALTER GIESEKING
EUGENE GOOSSENS
BORIS GOLSCHMANN
FLORENCE EASTON
DANIEL ERICOURT
EDWARD JOHNSON
BREENDAN KEENAN
ALEXANDER KIPNIS
WIKTOR LABUNSKI
ALFRED MIROVITCH
CHARLES NAEGELE
LOUIS PERSINGER

E. ROBERT SCHMITZ
BERNARDO SEGALL
ROSINA LHEVINNE
MORIZ ROSENTHAL
RUTH SLENCYNSKI
ALEC TEMPLETON

ANTON BILOTTI
LUCREZIA BORI
BELA BARTOK
MARIO CHAMLEE
KARIN DAYAS
JOSE ECHANIZ
DAVID EARLE
FRANK FARREL
JAKOB GIMPEL
RUDA FIRKUSNY
ARNOLD GABOR
WILLIAM HARMS
STEPHAN HERO
AMPARO ITURBI
JOSE ITURBI
RALPH LEOPOLD
JUSS! BUOERLING
JOSEF LHEVINNE
ERICA MORINI
EDITH MASON
GRACE MOORE
WILLEM NOSKE
LILY PONS
ROSA RAISA
ANGEL REYES
GIACOMO RIMINI
TITO SCHIPA
JOHANN SINGER
CEO SMT
JOSEPH SZIGET!
LEONARD SHURE
HELEN TRAUBEL
SAMUEL YAFFE

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SYMPHONY ORCHESTRA

hy
¢
e
¢:
2

Si e Musical Association
of San Francisco, maintaining and operating
the San Francisco Symphony Orchestra, still
requires $25,000.00 to complete the 1944-
1945 season, and this is where you who are
really deeply interested in the welfare of our
city’s most beautiful music come forward
with gifts of money to help in balancing the

budget.

The budget has been kept out of the red just
because we have all of you who are vitally
and courageously interested in the welfare of

the sym Pp ho ny to assist US.

Our campaign for needed funds for the or-
chestra is now under way and we hope and
rely on your making possible a successful
: season by your contribution, large or small,

LOs

MUSICAL ASSOCIATION OF SAN FRANCISCO

WAR MEMORIAL OPERA HOUSE
SAN FRANCISCO

SYMPHONY ORCHESTRA a

. | Before Uae Concent...
Ajter the Cancert
Entertain your friends
at Hotel Whitcomb, so conveniently

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46 SYMPHONY ORCHESTRA

ATA Ory

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SYMPHONY ORCHESTRA

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SYMPHONY ORCHESTRA

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Presented by the Savoy Opera Company

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A group of principals with voices that please and diction that does justice to
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SYMPHONY ORCHESTRA 49

PERSONNEL

SAN FRANCISCO SYMPHONY ORCHESTRA

VIOLINS:

BLINDER, NAOQUM
CONCERTMASTER

HEYES, PETER
ASSISTANT CONCERTMASTER

WOLSKI, WILLIAM
ASSISTANT CONCERTMASTER

ARGIEWICZ, ARTUR
ASSISTANT CONCERTMASTER

ANDERSON, THEODORE
FORD, LouIsS W.
HOLM, THORSTEIN JENSEN
GUARALDI, MAFALDA
SHWEID, HENRY
EDMUNDS, CICELY
SCHNEIDER, DAVID
VAN DYKE, MARCIA
MYERS, MISCHA
ROURKE, ROBERT
GORDOHN, ROBERT
HAUG, JULIUS
WEGMAN, WILLEM
GOUGH, WALTER
PASMORE, MARY
LARAIA, ATTILIO F.
SHAPRO, DAVID
HELGET, HANS
BARET, BERTHE
PATERSON, JOHN A.
CHILINSK!I, BRUNO
KOBLICK, NATHAN
D!I BIANGA, VINCENT
WRIGHT, HAROLD

VIOLAS:

MOLNAR, FERENG
PRINCIPAL

VERNEY, ROMAIN
WHITE, ALBERT
MITCHELL, LUCIEN
WEILER, ERICH
AKON, ALFRED
KARASIK, MANFRED
PETTY, SUZANNE
VAN DEN BURG, JAC
MANN, MICHAEL

PIERRE MONTEU®X, Conbuctor

"'GELLOS:

BLINDER, BORIS
PRINCIPAL

REINBERG, HERMAN
ARKATOV, JAMES

BEM, STANISLAS
ANDERS, DETLEV
HUGHSON, MARY
PETTY, WINSTON
CONNOLLY, CATHERINE
PASMORE, DOROTHY
HRANEK, CARL

BASSES:

KARP, PHILIP
PRINCIPAL

SCHMIDT, ROBERT E.
BELL, WALTER
GUTERSON, AARON
ScCHIPILLIT!, JOHN
BUENGER, AUGUST
STORCH, ARTHUR E.
ORSIN!, JOSEPH

FEUTES:
RENZ!I, PAUL UR.
SHANIS, RALPH F.
BENKMAN, HERBERT

PICCOLO:
BENKMAN, HERBERT

OBOES:
REMINGTON, MERRILL
SHANIS, JULIUS
ScHivo, LESLIE Jd.

ENGLISH HORN:
ScHivo, LESLIE J.
OBOE D’AMOUR AND
HECKELPHONE:
SHANIS, JULIUS

CLARINETS:
SCHMITT, RUDOLPH
RIBBINS, F. C.
FRAGALE, FRANK

E FLAT CLARINET:
RIBBINS, F. C.

PERSONNEL MANAGER:
HAUG, JULIUS

BASS CLARINET
FRAGALE, FRANK

BASSOONS:
KUBITSCHEK, ERNST
HIPSLAY, FRANK
BAKER, MELVILLE
HRANEK, CARL

CONTRA BASSOON:
BAKER, MELVILLE

HORNS:
TRUTNER, HERMAN C.
LUCCHES!, DINO
TRYNER, CHARLES E.
ROTH, PAUL
TRUTNER, HERMAN, JR.

TRUMPETS:
BuUBB, CHARLES, UR.
BARTON, LELAND S&S.
KRESS, VICTOR
MURRAY, EARL

TROMBONES:
Giosi, ORLANDO
SHOEMAKER, ROGERS
KLOCK, JOHN

TUBA:
MURRAY, RALPH

HARP:
MORGAN, VIRGINIA
EVERINGHAM, ANN

TYMPANI:
LAREW, WALTER

PERCUSSION:
VENDT, ALBERT
SINAI, JOSEPH
GREER, ELWOOD

PIANO AND CELESTA:
SHORR, LEV

LIBRARIAN:
HAUG, ALMA

STAGE MANAGER:
J. T. HEAVEY

SYMPHONY ORCHESTRA

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THE MUSICAL ASSOCIATION OF SAN FRANCISCO

LEONORA WOOD ARMSBY - PRESIDENT AND MANAGING DIRECTOR
HOWARD, KK. SKENNERS «) BUSINESS, MANAGER

WAR MEMORIAL OPERA HOUSE
cond Pair ° All Russian Program ; December 15-16, 1944

“In the eyes
of the law’

Your Will, to you, may be a very personal matter,
close to your heart.

But “in the eyes of the law” a Will is a formal,
legal document, subject to strict legal interpretation.

Knowing this, a prudent man goes with his

plans and purposes to his attorney so his Will

can be drawn zz legal terms; and thereafter reviews
it periodically with his attorney to keep

its provisions up to date.

By taking these simple precautions, he safeguards
the interests of those he is most anxious

to protect.

An officer of our Trust Department will be glad to

advise with you and your attorney.

DeRICS ie DLP Ack IVP meta:

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Bank & UNION TRUST CO.

SAN FRANCISCO : 20

Market at Montgomery + Market at Grant Ave.
Established 1852

Member F. D.I.C.

a
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Musical Cif Oder

FROM

* SHERMAN, CLAY *

Save Tune...

Save Effort...

and give something they’Il love—
good at all 8 of our stores

LL ~~

San Francisco—Kearny and Sutter Streets, 2539 Mission Street,
near 21st. In Oakland—(after Jan. 2, 1945) Broadway at
Hobart. San Jose—80 South First Street. Sacramento—1 2th
and K Streets. Fresno—1127 Fulton Street. Also Seattle and
Portland

Sherman)

SYMPHONY ORCHESTRA 71

Musical Association of San Francisco
MAINTAINING THE

SAN FRANCISCO SYMPHONY ORCHESTRA

OFFICERS
Mrs. Leonora Wood Armsby, President and Managing Director
E. Raymond Armsby....................... Vice-President Charles, Page! ste ee Treasurer
Paul A. Bissinger.....................: _......Vice-President Howard K. Skinner... cet ed See hee Secretary
Charles'R. Blythin. 3.32 Vice-President Geraid G. Ross............__.. eee Assistant Secretary
Garret McEnerney, II...................... Vice-President

Dr. Hans Barkan
Miss Louise A. Boyd
Mrs. Selah Chamberlain

EXECUTIVE

Mortimer Fleishhacker
Miss Lutie D. Goldstein
Mrs. Joseph D. Grant
Mrs. Walter A. Haas

COMMITTEE

Mrs. Marcus S. Koshland

Garret McEnerney, II
Kenneth Monteagle
Guido J. Musto

Miss Else Schilling
Mrs. M. C. Sloss
Mrs. Sigmund Stern
Mrs. Eli H. Wiel

Mrs. John P. Coghlan
Mrs. E. S. Heller Mrs. Ashton H. Potter

FINANCE COMMITTEE
C. 0. G. Miller, Chairman

Miss Lutie D. Goldstein
Mrs. Marcus S. Koshland

MUSIC COMMITTEE

Mrs. Selah Chamberlain
Mrs. Tobin Clark
Dr. Leo Eloesser

Mrs. Ashton H. Potter

E. Raymond Armsb
Y Mrs. William Lister Rogers

Charles R. Blyth
Mortimer Fleishhacker

J. Emmet Hayden

Dr. Hans Barkan
Charles G. Norris

Mrs. George T. Cameron

PUBLIC RELATIONS COMMITTEE

Mrs. John B. Knox
Mrs. James Mills
Mrs. Francis Redewill

Mrs. M. C. Sloss Mrs. William Lister Rogers
Mrs. John P. Coghlan Michel Weill

YOUNG PEOPLE’‘S CONCERT OFFICERS

Mrs. Thomas Page Maillard Mrs. Grace Benoist Mrs. Louis Sloss, Jr. Mrs. Harold K. Faber
Mrs. Harold R. McKinnon Mrs. Walter A. Haas Charles M. Dennis

SAN FRANCISCO SYMPHONY LEAGUE
Mis; UOnM LPs GOON ans eee ee Chairman Mrs. Francis Redewill...................... Vice-Chairman
SAN FRANCISCO SYMPHONY FORUM

Mrs. Alan McLenegan, Chairman

John Piel

Lt. (j.g.) J. Brandon Bassett

Marcia Robinson

E. Raymond Armsby

Pamela Marsh

Elwyn Thaver

Betty Carl
BOARD OF
Mrs. George Ebright

Mrs. Leonora Wood Armsby Sidney M. Ehrman

Dr. Hans Barkan

Mrs. Edward O. Bartlett
James B. Black

Charles R. Blyth

Miss Louise A. Boyd
Paul A. Bissinger
George T. Cameron

Mrs. Selah Chamberlain
Mrs. John P. Coghlan
Mrs. Elizabeth S. Coolidge
Mrs. W. W. Crocker
Mrs. O. K. Cushing

Mrs. Georges de Latour
Benjamin H. Dibblee
Miss Katharine Donohoe
Mrs. Willard H. Durham
Joseph H. Dyer, Jr.

Gerald Ross
Constance Alexander

Victor Mohl

Albert I. Elkus

Dr. Leo Eloesser
Forrest Engelhart

Mrs. Harold K. Faber
Mrs. Paul |. Fagan
Mrs. Marshall H. Fisher
Mortimer Fleishhacker
Mrs. J. C. Flowers

John F. Forbes

Mrs. Frank R. Girard
Miss Lutie D. Goldstein
Mrs. Joseph D. Grant
Farnham P. Griffiths
Madeleine Haas

Mrs. Walter Haas
Mrs. Harry S. Haley
J. Emmet Hayden

Ava Jean Barber

Frank Winter

Katherine Mulkey

Ann Wegman
Paul Robinson

GOVERNORS

Mrs. E. S. Heller

Walter S. Heller

Mrs. Il. W. Hellman
William F. Humphrey
Mrs. Marcus S. Koshland
Frederick J. Koster
Gaetano Merola

Cc. O. G. Miller

Robert W. Miller
Edward F. Moffatt
Kenneth Monteagle
Mrs. Donald Mulford
Guido J. Musto

Dwight F. McCormack
Mrs. Angus McDonald
Garrett McEnerney, II
Mrs. Harold R. McKinnon
R. C. Newell

Charles G. Norris

ADMINISTRATION

Curran Swint

Virginia Webb

TICKET SALES

Joesph Scafidi

Kathleen Lawlor

Martin Skewes-Cox
Cecily Rideout
Elizabeth Shaw
Marilyn Deile

Charles Page

Mrs. Ashton H. Potter
Mrs. Stanley Powell

Mrs. William Lister Rogers
Mrs. Henry P. Russell

Miss Else Schilling

Mrs. M. C. Sloss

Mrs. Nicol Smith

Mrs. Sigmund Stern

Mrs. Powers Symington
Mrs. David Armstrong Taylor
Mrs. Cyril Tobin

Mrs. Alfred S. Tubbs

Mrs. Daniel Volkmann
Michel Weill

Mrs. Eli H. Wiel

Leonard E. Wood

J. D. Zellerbach

Deborah Spalding

Doris Lowell

THE SAN FRANCISCO SYMPHONY ORCHESTRA

Records Exclusively for Victor Red Seal
SYMPHONY ORCHESTRA

“There's an immortality in the expression of the
finer human moods... These moods sincerely
expressed in a portrait can mean so much to the

a person towards whom that feeling Is directed.”

Ylicleolc.. ot erdlen

Yucteolea Jor

_ MASTER PHOTOGRAPHER: oe

8 427 POST STREET (IN THE ST. FRANCIS HOTEL) » YUKON 2061

AN ACKNOWLEDGMENT
Cro

The Musical Association of San Francisco expresses its deep appreciation to
those patriotic citizens who purchased $1,025,000 of War Bonds to attend
the Sixth War Loan Concert played on December 7th for the San Francisco
War Finance Committee, U. S. Treasury Department, by the San Francisco
Symphony Orchestra under the leadership of Pierre Monteux, with John

Charles Thomas and Larry Adler as guest soloists.
—LEONORA WOOD ARMSBY.

Back the 6th War Loan

IN APPRECIATION
Cre

The Musical Association of San Francisco desires to express its grati-
tude to Radio Station KPO for the weekly ‘’Know Your Symphony” program
with Mrs. M. C. Sloss as commentator, and to Radio Station KOW for mak-
ing available time immediately preceding the Sunday noon broadcasts of
the New York Philharmonic Symphony Orchestra for the presentation of
the San Francisco Symphony News, each of which outlines the activities of
the San Francisco Symphony Orchestra.

SYMPHONY ORCHESTRA

Your WILL cannot
bequeath “good judgment”

By intelligent management you have built up
your Estate. Your Will sets up the Plan you
want your Executor to follow.

If you appoint an individual as Executor and
Trustee, will his judgment in handling your
estate match your judgment in creating it? And
will he remain always in good enough health,
and be free enough from his own personal affairs
to.give your Plan his best attention!

Get details from any officer of this Bank.

Head Office: 400 CALIFORNIA STREET
Mission Branch: 167TH & JuLian AVENUE

THE BANK OF
CALIFORNIA

NATIONAL ‘ASSOCIATION
Founded in 1864

SAN FRANCISCO : PORTLAND : SEATTLE » TACOMA

sense EA
—— EE

BUY U. S. WAR BONDS

AND STAMPS

1944
OUR
EIGHTIETH
ANNIVERSARY
YEAR

MEMBER FEDERAL DEPOSIT INSURANCE CORPORATION

SAN FRANCISCO

ee eg RS RE RAE ca ET ge SE NT

Thirty-third Season
1944. 45

SAN FRANCISCO SYMPHONY ORCHESTRA
PIERRE MONTEUX, Conductor

-i@p>-

SECOND PAIR OF SYMPHONY CONCERTS
FRIDAY, DECEMBER 15, aT 2:15

SATURDAY, DECEMBER 16, AT 8:30

RUSSIAN PROGRAM

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“Program

SYMPHONIC FANTASIA
PIRSA OS CIE SG: IDIAN TRIO BUNGE Je Tschaikowsky

Se VEE TIO IN YEN @ileslNsG IVilIN @ Resear eeea, e Kalinnikoff
Allegro moderato
Andante commodamente
Allegro non troppo
Allegro moderato

INTERMISSION
SOT BO OU © Wiese eee ete 5 aN i Prokofieff

(Nos. 1, 2 AND 4 ORCHESTRATED BY HAROLD ByRNs)
Suggestion Diabolique
Despair Alla Folia
Scherzo Humoristique, for four bassoons
March
(First PERFORMANCE IN SAN FRANCISCO)
SAME EOINGYAIN sage nomen Ss ae ee ke Uae Shostakovitch
Largo
Allegro
Presto

(First PERFORMANCE IN SAN FRANCISCO)

CL
SYMPHONY ORCHESTRA a7

SAN FRANCISCO SYMPHONY ORCHESTRA
PIERRE MONTEUX, Conductor
-<@}-

THIRD PAIR OF SYMPHONY CONCERTS

Thursday, December 21, at 8:30
Saturday, December 23, at 8:30

JASCHA HEIFETZ, Guest Artist

Dy MP MOMy NOs ide MOM Ole ete cake ie ae af eet meee ee ne Saint-Saens
Pocmne, 10k Violinsand-Onenestrar «brent se ee ee Chausson
Goncerto for Violin and sOrchestral: aot ee). ee Louis Gruenberg
(First Performance in San Francisco)
Deathranc nash oun OD tre nate sila ees he ee ene oh Sirauss
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FOURTH PAIR OF SYMPHONY CONCERTS

Friday, January 12, at 2:15
Saturday, January 13, at 8:30

EFREM KURTZ, Guest Conductor
LEONARD PENNARIO, Soloist

SULCEZ TOTO thine OUCHESTE A. & ade Aine sore OP tates te Reece ya Corelli
Symphonic Metamorphoses on Themes by Weber....... Hindemith
(First Performance in San Francisco)

Concerto for Piano and Orchestra, No. 2, in C Minor. ..Rachmaninoff
SIM PAOMYsNOsmOw dine bel EnnOi (CROCHE LIC. aun ke ee ee Tscharkowsky

*4@}>-

“STANDARD HOUR” BROADCAST
KPO, NBC Pacific Coast Network
Sunday, December 17, at 8:30
MAXIM SCHAPIRO, Soloist
ALL BEETHOVEN PROGRAM
Prometheus Suite
Concerto No. 1, First Movement
MR. SCHAPIRO

Symphony No. 7

pli ahi baat APE eel ee nw 2 ek SAE tee St Sap
78 SAN FRANCISCO

PROGRAM NOTES

By ALFRED FRANKENSTEIN

FANTASIA, FRANCESCA
DAGHRETIVISEIN Tie cesta ete ee wae oy Peter Ilyitch Tschaikowsky
(1840-1893)

T’schaikowsky’s attention was first directed to the historic love-tale of
Paolo and Francesca late in 1875, when a libretto for an opera on this sub-
ject was presented for his consideration by a Russian poet named Zvantsev.
The composer seriously considered setting this text, but the project fell
through for two reasons—first, because Zvantsevy was an ardent Wagnerite,
and insisted that his book be treated in Wagnerian fashion, and second because
T’schaikowsky fell under the spell of Bizet’s Carmen, and resolved to write his
next Opera on a contemporary subject. But the Paolo and Francesca theme
lingered on in Vschaikowsky’s imagination, and resulted in the creation of this
orchestral piece in the summer of 1876. It is rather curious, in view of the
Zvantsev episode, to find Tschaikowsky writing in 1878, ‘“Cui’s remark that I
wrote it (rancesca da Rimini) under the influence of the Nibelungen is very
true; I recognized this myself when I was writing. If I’m,not mistaken, this
influence is seen especially in the introduction. Isn’t it strange that I let an
artistic work I really didn’t care for influence me?”

The story of the tragic love-affair of Francesca da Rimini and her husband’s
brother, Paolo Malatesta, has been told by countless authors. ‘Tschaikowsky
turned to Dante’s version, and the score bears a quotation from the /nferno,
here subjoined in the translation by Henry Francis Cary:

“Dante, coming into the second circle of Hell, witnesses the punishment of
carnal sinners, who are tossed about ceaselessly in the dark air by furious winds.
Among these he meets with Francesca of Rimini, who relates her Story:

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

T’schaikowsky’s fantasia opens with an extended passage describing the
entry of Dante and Virgil into the second circle of hell.and the “furious winds”
which buffet the souls of the damned. A second section, with clarinet solo over
plucked strings, is apparently intended to suggest Francesca’s narrative. This is
developed at length, but the work ends with the material with which it began.

(Program Notes Continued on Page 83)

SYMPHONY ORCHESTRA 79

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PIERRE MONTEUX

This year Pierre Monteux opens his tenth season as conductor of the San
Francisco Symphony Orchestra. During the summer and fall Mr. Monteux made
triumphant appearances as guest conductor of the New York Philharmonic
Symphony Orchestra, the Chicago Symphony Orchestra at Ravinia Park and as
conductor of the Montreal Philharmonic Symphony Orchestra on its initial tour
of Eastern Canada.

CRITICAL COMMENT

OLIN DOWNES, New York ‘Times ... Mr. Monteux’s interpretaticns of the works of Brahms
and Beethoven were the most musicianly and stirring performances of those scores that the
present writer has heard from any conductor in a considerable number of years in this city.
This interpreter, whose authority was so obvious, knew not only the letter but the living tradi-
tion of that music. And this from a Frenchman born, whose artistic predilections might reason-
ably be supposed to lie in other directions than German symphonism. It is very much hoped
that he will return in another season. He has again proved his exceptional powers as a musician
and conductor, and this with the simplicity and absorption in his task which always character-
ized him.

VIRGIL ‘THOMSON, New York Herald-Tribune . . . Pierre Monteux’s two-week visit as
guest conductor of the Philharmonic-Symphony Orchestra . .. has led music lovers of all
schools, the critical press included, to two conclusions: namely, that this conductor has drawn
from our orchestra more beautiful sounds and more beautiful mixtures of sound than any
other conductor has done in many years, and that his readings of Brahms are very refreshing.
He has made the Philharmonic play with real beauty of tone, many kinds of it, and with per-
fecting balance and blending ... to sound, in short, like an orchestra, a real, first-class
orchestra requiring no apology.

HENRY SIMON, P.M... . Mr. Monteux repeated the impression he had made in previous
concerts last evening .. . to wit, the Fast would have been wise never to have permitted this
conductor to leave us and make his permanent home so far away as San Francisco.

HENRY MARX, New York correspondent, Chicago Music News... As a guest conductor, Mr.
Monteux is much too good for any one’s comfort. A musician of his insight and dexterity right-
fully belongs in New York.

CLAUDIA CASSIDY, Chicago Sunday Tribune ... I agree with you absolutely, Mr. Marx.
with one slight alteration. You have the right man but the wrong place. Rightfully, Monteux
belongs in Chicago. San Francisco knows what it has and treats him accordingly.

ALBERT GOLDBERG, Chicago Tribune . . . Comparisons may be odious and repetitions
monotonous, but in spite of good intentions, one’s memory flew back to an unforgettable evening
at Ravinia last summer, when the Chicago Symphony played Schumann’s First Symphony under
the direction of a selfless, unassuming little Frenchman by the name of Pierre Monteux, and
things happened to the symphony and to the audience which had never happened before
within memory. The music then glowed with youth and passion, it realized, with the simplest
means and the profoundest inspiration, all that Schumann seemed to want his symphony to
mean, and the audience was thrilled as it never had been by this work.

SYMPHONY ORCHESTRA 81

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SVM TIONY GN Os IN AGaNVELN ORE ac etl Basil Kalinnikoff
(1866-1901)

The life of Basil Kalinnikoff belongs among the short and simple annals
of the poor. He was the son of a police official in a small town. He pursued a
brilliant and promising career as a student in Moscow between 1884 and 1893.
but he developed tuberculosis in that same period and spent the last six years of
his life in the health resorts of the Crimea, where he died at the age ol Jo. Hor
obvious reasons his list of works is extremely small, and he is known today almost
exclusively for this symphony, which was first performed in 1897.

Allegro moderato, G minor, alla breve. Vhe principal theme is stated at

once:

r
The theme is repeated a fourth higher and is then worked over for several
pages of the score, the risine scale figure in the last bars of Example 1 now
becoming a rapid run in eighth notes. The second theme appears tn the violas,
celli and horns in F sharp minor:

= — =a
en eas es
gfe 1 2 Gt GEE ES

J ee) Ee a eS

A Feria [esr] 5 Re es ee a OB PaaS SS 6) ES) ESS ES
1. ip? CP a f 1 aS SSS SI a See SS en oe
mead (at © A rae wp fg — ae | fe ge tig tt fe TS BES eS

HOTEL MARK HOPKINS 4

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SYMPHONY ORCHESTRA

Monteil’s great perfume

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Coed “

This is repeated in the upper octaves, and there is a closing section based on
Example

The development begins with treatment of the second theme (Example 2)
in the clarinet, followed by a descending pizzicato figure that suggests the “cat-
like tread” of the sailors in the se cond act of Pinafore. The opening bars of
Example | are then reintroduced and are worked over at length, ev ventually
in combination with material from Example 2. ‘This reaches a climax, which
subsides and is followed by a fugue on a varied version of Example 1, begun
by the second violins. This likewise attains a climax and subsistence, where-
upon the recapitulation sets in.

The principal theme returns in G minor in the oboe and bassoon, with
the rising scale in half notes now assigned to the strings. Again this material 1s
briefly worke d over, and Example 2 returns in G minor in the violins, violas
and ’celli. The brief coda involves further discussion of Examples | and 2 and
the “catlike tread” motif.

Andante commodamente, E flat ma jor, 3/4 time. There is an introduction
of slowly undulating major thirds in the harp and violins spotted with color-
chords elsewhere. T he theme is played by the English horn and violas starting in
the thirteenth bar:

[his is repeated by the clarinet and ’celli an octave lower.

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A new section (Un poco pitt mosso, G sharp minor) now begins, with its
theme in the oboe:

col 82 75b In

LONE [ae nr ey SHRuE ACID Ny eS oe AFR

f U ‘
"sa
a Ais

The oboe has a continuing phrase not quoted. The passage works up to a
climax with twisting 16th-note figures, and then goes down to a whisper of the
strings. Now both the themes of the movement are played off against each other.
Example 3 is heard in the horn and Motif B from Example 4 tn the clarinet.
Then Motif A of Example 4 appears in the flute against Example 3 in the
violins. Motif A passes to the violins and violas along with Example 3 in oboe

Buffet Service in Basement Promenade and Dress Circle during all performances

WAR MEMORIAL OPERA HOUSE. Owned and operated by the City and County of San Francisce
through the Board of Trustees of the W/ar Memorial.
Hard-of hearing aids are available in the Main Foyer. Attendant will connect same to your seat
location on request. — Opera Glasses in Foyer.

SYMPHONY ORCHESTRA 87

For the Finest music

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Sun. at 9:30 a. m.

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Contented Program
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Music America Loves Best Telephone Hour
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General Motcrs Symphony Light and Mellow

Sun. at 2:00 p. m. Tues. at 10:00 a. m.

Standard School Broadcast
Thurs. at 10:00 a. m.

Album of Familiar Music
Sun. at 6:30 p. m.

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Hour of Charm Waltz Time

Sun. at 7:00 p. m. Fri. at 6:30 p. m.
The Standard Hour % Know Your Symphony

Sun. at 8:30 p. m. Sat. at 5:00 p. m.

Carl Kalash and Orchestra
Thurs. at 4:30 p. m.

Part of a continuous Parade of Stars
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88 SAN FRANCISCO

and clarinet. At the end the key returns to E flat major, the undulating thirds
are reinstated, and Example 3 is sung by the English horn once more.
Ii
Allegro non troppo, C major, 3/4 time. The scherzo proper, 1n one continu-
ous section, is based largely on the theme heard at the outset:

5 5 trings CLO,
tee Sa 6-9 1365 o Dy om an

2 ES ea yt 23023 931083
Se aes soo aw eae eea les
_ es

There is, however, an important subsidiary beginning in the 56th bar in the
full orchestra:

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This is taken up by all concerned. At the end of the trio Example 7 returns in
the oboe with a new counterpoint in the bassoon. ‘The second phrase of Example
7 now goes to the violins and flute, and there are other alterations as well.

The music then returns to Allegro non troppo, C major, 3/4, and after a
few bars of transition, the scherzo proper (Examples 5 and 6) is repeated in
varied form.

Allegro moderato, G major, alla breve. ‘Vhe key signature is G major, but
the finale begins in G minor with a restatement of Example | from the first
movement. This serves as introduction. At the seventh bar the tempo changes
to Allegro risoluto, and ascending scales lead into the main theme, in the
violins and woodwind:

ma
y a ee a ee 1S a 6 ee SS Eee
CA} —___* 23's: ee beeen’ | : =... eS aaa Se ae
SS SS ee ae 7 eee eS aes

‘This is briefly worked over, whereupon Example 9 returns, and both themes
are developed at some little length. The clarinet and horn bring in Example 2,

BEFORE THE Sym “hony

Fashionable San Francisco gathers in the
exquisite Garden Court for luncheon.

Dancing afterwards in the Rose Room to
the music of Henry Busse and his orchestra

Lhe Sr mbace

HOTEL

EDMOND A. RIEDER, General Manager

SYMPHONY ORCHESTRA 91

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92 SAN FRANCISCO

the second theme of the first movement, which is followed by rondo-like restate-
ments of 9 and 10. During the final repetition of Example 9 in the violins, the
brass recall Example 6 from the scherzo, but transformed in rhythm to alla
breve.

There is a grandiose climax (E flat major, 3/2) in which the brass thunder
out Example 3 from the second movement, while the strings and woodwind
continue to work away at the first bars of 9.

The climax recedes, and the coda (Allegro con brio,) G major (alla breve)
returns to the Polovetsi-like tune from the third movement. Again there 1s a
climax and a thunderous recollection of Example 3 (Maestoso) before the end.

SU DA O18 © Oils ee eee ee Serge Prokofieff
(1891-)

The Suggestion Diabolique and the Despair alla Folia come from Proko-
fieff’s set of four piano pieces, Opus 4, the Scherzo Humoristique and the
March from the ten piano pieces of Opus 12. All were written between 1908
and 1913, and were orchestrated by Harold Byrns a few months ago. Mr. Byrns
also provided the general title, Suite Diabolique. But, since Prokofieff has
published the Scherzo Humoristique in an arrangement of his own for four
bassoons, Mr. Monteux substitutes this version for Mr. Byrns’ orchestration of
that movement.

The only movement that requires any particular comment 1s the second.
Despair alla Folia is based upon the famous old Portuguese tune, La Folia, on
which so many composers have written variations. It is best known to the modern
audience through the violin solo version of Corelli, but this is only one of some
95 different settings listed in the Oxford Companion to Music. La Folia (“mad-
ness’) was originally a dance tune. It derives its title from the fact that the

is the smartest night spot in

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SYMPHONY ORCHESTRA 93

Vaal IN) APACS | Pave hey GOL N Ce les pas

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a SAN ERAN CTS OO

SYMPHONY ORCHESTRA

PIERRE MONTEUX, Conductor

Roe MeAer NEISN'G COUN CER ies

YEHUDI MENUHIN

SAN FRANCISCO’S OWN BRILLIANT GENIUS OF THE VIOLIN

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dance was a noisy affair accompanied by tambourines “and performed by men
dressed as women who behaved so wildly that they appeared to be out of their
senses.

Mr. Byrns was born in Hanover in 1903. He studied in Berlin and began
his career conducting opera and concerts in Germany and Italy. He has also
conducted much in this country, and is at present living in Hollywood, where he
is active as an arranger for films and radio.

SY MUP OINGY IN ORG) tee epkeces Oe hoop bere tis Seen Dmitri Shostakovitch
(1906-)

In his recent biography of Shostakovitch, Victor Ilyitch Seroff devotes one
paragraph to the sixth symphony:

“In 1938 Dmitri started work on a new symphony. In a statement about it
he said: ‘I have set myself a task fraught with great responsibility, to express
through the medium of sound the immortal image of Lenin as a great son of the
Russian people and a great leader and teacher of the masses. I have received
numerous letters from all corners of the Soviet Union with regard to my future
symphony.’ ‘This symphony, Dmitri’s sixth, was presented at the Moscow
Festival of Soviet Music in 1939, but Lenin’s name was not connected with it.
The sixth, like the fifth, had no political program attached to it; these two
works stood purely on their musical merit.”

The program notes of the New York Philharmonic Orchestra also state, on
the authority of Nicolas Slonimsky, that the sixth symphony was to have
included parts for solo voices and chorus on verses by peasant poets, but Mr.
Seroff says this idea was included in the original plan for the seventh symphony
rather than the sixth. At all events it is not difficult to see a picture of a great
popular leader like Lenin in the sixth symphony, with its brooding first move-
ment, its festive scherzo, and its finale in the style of a popular march. To be

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sure, very much the same qualities appear in other works of Shostakovitch
which are not supposed to be musical portraits of Lenin, but that does not make
a great deal of difference. Shostakovitch has passed his entire intellectual life
in an atmosphere heavily charged with the ideas and ideals of the founder of
the soviet state, and all his works are products of that milieu.

I
Largo. The principal theme is begun at once in a unison of the lower
strings and lower woodwind:

De Eee er. SS
Ty 9 #HF [TT al emo lg _A gind
yy Be el I Ue A ee 2 eee
Jd |) SE eee 2 GSE
— —_ 3 CT ’

—

SIalv isp is subjected to four varied repetitions. *

*The technique of varied repetition—which is neither development nor variation nor
“transformation of themes’—is one which Shostakovitch uses often; the most sensational
instance is in the treatment of the second theme of the first movement in the seventh sym-
phony. It is an eminently Russian method: witness Moussoresky’s prelude to Khovanchina.
Discussing this prelude in his biography of Moussorgsky, Oskar von Riesemann observes:
“When a song is sung in a Russian village—especially by several singers in succession—no two
stanzas are usually sung alike. Each singer tries to introduce individual variations in the
melody to suit his or her own voice and mood, and in accordance with the meaning of the
particular verse. Thus the song loses all rigidity and seems to be a living, breathing organism,
capable of varying with every moment. This peculiarity of Russian folk song becomes in
Moussoresky’s hands a most effective means of musical expression which he employs in many
of his works, and nowhere more successfully than in this prelude.” The present writer would
like to suggest that Shostakovitch’s varied repetitions, which are more complicated than Mous-
sorgsky’s, may be regarded as an extension and elaboration of this principle.

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After the climax of the fourth repetition has receded, the English horn
begins the second section of the movement with a new theme:

Muted trumpets repeat the opening figure of Example 2, whereupon the solo
flute and solo bassoon continue the theme with new material not quoted. For
several pages of the score the music 1s practically one continuous, uninterrupted
unfoldment of new thematic ideas, and quotation Is not practicable. ‘The section
reaches a climax, which subsides with a return of Example 2 in varied form in
the clarinets. There is an oboe solo based on Example 2 over sustained trills of
the lower strings. This passes to the violins and then to the solo flute, the trills
continuing throughout. The flute solo 1s extensive and florid. The violins take
over fora few bars, but the section ends with the flute again to the fore.

There is a brief transition with a horn solo under high trills of the violins.
Then Example 1 comes back in varied form in the violins, but the movement
dies away in B major with a final reminiscence of the opening bars of Example
9 high in the uppermost strings.

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SYMPHONY ORCHESTRA 99

THE SAN FRANCISCO BALLET GUILD

Presents the

San Francisce Ballet
Company

WILLAM CHRISTENSEN, Artistic Director

in the

Nutcracker Battet

FIRST COMPLETE PERFORMANCE IN AMERICA

Cro

Secend Aunual
Haliday Ballet Season

COMPANY OF 75 — SYMPHONY ORCHESTRA
Cr

Children’s Christmas Matinee
SUNDAY, DECEMBER 24th

Cro)

Gala Holiday Ballet
WEDNESDAY, DECEMBER 27th
WAR MEMORIAL OPERA HOUSE

CSD)

OAKLAND—THURSDAY, DECEMBER 28th
SACRAMENTO—FRIDAY, DECEMBER 29th
STOCKTON—SATURDAY, DECEMBER 30th

Tickets on Sale Normandy Lane Box Office, City of Paris EX brook 8585
Breuner’s Box Office—Oakland TWinoaks 4048

MAARRRALDRARAAARAereeeeeeeeeeeseees ees aes Sees aes eee eee

100 SAN FRANCISCO

I]
Allegro. A free scherzo with its theme stated at once by the E flat clarinet:

There are several subsidiaries, of which the most important appears 1! the
55th bar from the beginning:

with woodu, AS /
> > Ord ; ¢
A Sols. file aN se enues cole en ye A
¢ - Ses

mp | a P

These materials, plus other minor subsidiaries, are worked over to a climax
and are then restated by solo instruments. Eventually the lowest woodwinds
bring in a new theme:

¢
.
4
10) A So BSS SSR Oe SS ee SS ee 0 ee _ Se FE) 0. 2) a Pea
0 = ( Pe 2 A a EE) (I ee) (EE YF 6 Fo Se Ye I Beene}

KQW""CBS

present
The Philadelphia Symphony Orchestra
under the direction of
EUGENE ORMANDY
each Saturday, 2-3 P.M.

-4@}>-

KQW

“40 Columbia

Ree Station
on you) dial

SYMPHONY ORCHESTRA 101

Example 5 is developed at some length, leading to another climax which 1s
followed by a brief solo for the timpani. Examples 3 and 4 then come back in
varied form. In the coda the piccolo has a new idea:

and Example 5 is also given prominent treatment. ‘The movement ends in D
major.
[1]
Presto. Violins begin the movement in B minor with the following theme:

Z i lS Bay eS aaa mE a7 1 ee ee se ee
a nn 7 2
I aE] EF LES OO OES (SELINA 8 TE AE) Al AS EE SL A SY 5 WS ER BO ET TY YC DO cS = ae
L I

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Dinner, a la carte, after-
theater supper, cocktail
lounge. 4 P. M. to midnight.

OMAR KHAYYAM‘’S

O’FARRELL STREET AT POWELL
“Where the Celebrities Gather”

SYMPHONY ORCHESTRA 103

0 Oo BB >

Box Holders for Friday Afternoons

MRS. PIERRE MONTEUX P
MRS. SIGMUND STERN
MRS. LEONORA WOOD ARMSBY

MRS. JOHN T. BARNETT
MRS. E. E. BROWNELL Q
MRS. MORTON GIBBONS

MRS. THOMAS HAIGHT

MRS. HARRY HILL

MRS. JAMES HORSBURGH

MRS. SILAS PALMER

MRS. T. E. PALMER

MRS. ATHERTON RUSSELL

**U. S. NAVAL HOSPITALS

MRS. EDWARD H. BELL S
MRS. SPENCER GRANT

MRS. MAXWELL C. MILTON

MRS. WILLIAM H. ORRICK

MRS. STUART RAWLINGS
MISS ELSE SCHILLING

MRS. DANIEL VOLKMANN

MISS JOHANNA VOLKMANN

MRS. DEAN WITTER

MRS. J. B. WRIGHT 7

MRS. REED J. BEKINS

MRS. GEORGE EDWIN BENNETT
MRS. FRANK INGERSOLL

MRS. CLARENCE LORAN JOHNSTON
MRS. GEORGE S. JOHNSTON

MRS. RALPH MERILLION

nainesy, ile Ths [OS Ef

MRS. ERNEST J. SYYEETLAND

MRS. JOSEPH BD. GRANT

MRS. JOHN CASSERLY - NA
MRS. DONALD GREGORY

MRS. \/ELLINGTON HENDERSON

MRS. OSGOOD HOOKER

MR. AND MRS. KENNETH MONTEAGLE

MRS. EDITH NORTH

MRS. MARCUS S. KOSHLAND
MRS. M. C. SLOSS

MRS. CHARLES BRANSTEN

MRS. RICHARD FRANK

MR. AND MRS. MORTIMER FLEISHHACKER
MRS. LEWIS LAPHAM

MRS. ROGER LAPHAM, JR.

MRS. FREDERICK WHITMAN

MR. AND MRS. CHARLES R. BLYTH Nf
MRS. RICHARD HEIMANN

MRS. A. J. LOWREY

MR. AND MRS. C. O. G. MILLER

MRS. EDGAR WOODS

MR. AND MRS. GEORGE T. CAMERON
MRS. STANHOPE NIXON
MR. AND MRS. NION R. TUCKER Z

MRS. DUNN DUTTON
MRS. WALTER HOBART
MRS. FREDERICK HUSSEY
MRS. KENYON JOYCE
MRS. SAMUEL KNIGHT
MRS. RICHARD McCREERY

MRS.
MRS.
MRS.
MrsS.

WALTER D. HELLER
MORRIS MEYERFELD
RICHARD SHAINWALD
GEORGE OPPEN

FRANK P. DEERING
JAMES L. FLOOD
BENJAMIN C. KEATOR
HENRY S. KIERSTED
HARRY B. LITTLE
HAROLD R. McKINNON
ASHTON H. POTTER

MRS.
MRS.
MRS.
MRS.
MRS.
MRS.
MRS.

DR. AND MRS. FRANK R. GIRARD

MRS. FRANCIS S. BAER

MISS JENNIE BLAIR

MRS. ELDRED BOLAND

MRS. GEORGE M. BOWLES
M&S. GEORGES S. DeLATOUR
MARQUISE HENRI de PINS
MRS. ROGER LAPHAM

MRS. FREDERICK W. McNEAR

MRS. OTTO BARKAN
MRS. L. A. BENOIST
M!SS MARILYN BENTLEY
MRS. WALTER BENTLEY
MRS. FOSTER NEWHALL
MRS. STANLEY POWELL
MRS. BRUCE SELFRIDGE
MRS. MELVILLE L. SMITH

MRS. DAVID ARMSTRONG TAYLOR

*#*kU.S. ARMY HOSPITALS

MRS. HENRY BOYEN

MRS. ARTHUR B. CAHILL
COUNTESS LILLIAN DANDINI!
MRS. JOHN L. FLYNN

MRS. PETER B. KYNE

MRS. JAMES F. McNULTY
MRS. A. J. MOORE

MRS. THEODORE WORES

DR. AND MRS. JOSEPH C. FLOWERS
MRS. ANGUS McDONALD

DR. HANS VON GELDERN

MRS. HENRY H. WEHRHANE

MRS. C. W/. CROSSE

MRS. DUNCAN CURRY, JR.
MrS. JOSEPH W. FOWLER
MRS. RALPH HENKLE

MRS. DANIEL C. HUNT
MRS. F. W. WILLETT

MRS. EDWARD C. WURSTER

MRS. FRANK BUCK

MRS. RALPH K. DAVIES
MRS. J. LINDSAY HANNA
MRS. JAMES LEVENSALER
MRS. DOUGLAS McBRYDE
MISS OLGA MEYER

MRS. FRANK SOMERS

*** Transportation Service through courtesy of the Red Cross Motor Corps

104

with the cooperation of Mrs. George Cameron.

SAN FRANCISCO

Example 7 returns, and there is a new subsidiary which is rather reminiscent
of another symphonic finale written by a young man many years ago:

‘These materials are worked over at some length.
The middle section of the movement goes into 3/4 time; its theme appears
after several introductory bars, marcalissimo, in the basses and bassoons:

This is developed to a climax exploiting the kind of repeated figures that
make one think the needle has stuck in a worn groove. ‘The climax 1s followed
by a passage, based more on Example 10 than anything else, exploiting succes-
sive solos of the bassoon, flute and piccolo, then the bassoon once more, and
finally a single violin.

The violin solo effects the return to Example 7, and the first part of the
movement (Examples 7, 8 and 9) is reheard.

NE CALIFORNIA

SYMPHONY ORCHESTRA

It Stands Alone

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SAN FRANCISCO

In an album of recordings by the Red Army Chorus called Folk Songs of the
U. §. S. R. there is a piece by that redoubtable son of the Russian proletariat,
Tovarich Jacques Offenbach. In the coda of Shostakovitch’s sixth symphony 1s
the following tune:

Chroughoul
col Sd
Flt

12 wood. col BL Rroughowutl
Ce ~s a 4 a ”

This and Example 11 bring the symphony to an end in a brilliant B major.

wuat A wonperFuL DAIQUIRI ts mape THIs way:

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107

SYMPHONY ORCHESTRA

,
be
y

TODAY'S

GREAT

PIANO

the chaice of
Today's Great Artists

CHOOSE YOUR PIANO
AS THE ARTISTS DO

The Boston Symphony now uses the Baldwin
in its Concerts.

MARIE THERESE BRAZEAU HAROLD BAUER

CECILLE DE HORVATH
SEVERIN EISENBERGER
ALEXANDER KELBERINE
VA Steel yp ley WA WE) 9 pa gl
ALEXANDER TANSMAN
IRMA SCHENUIT HALL
FRANCES ANTOINE
WILHELM BACHAUS
PAUL WITTGENSTEIN
VICTOR WITTGENSTEIN
FRANCISZEK ZACHARA
MAGDA TAGLIAFERO
JOSEPH BATTISTA
JEANNE BEHREND
ALFREDO CASELLA
WALTER GIESEKING
EUGENE GOOSSENS
BORIS GOLSCHMANN
FLORENCE EASTON
DANIEL ERICOURT
EDWARD JOHNSON
BREENDAN KEENAN
ALEXANDER KIPNIS
WIKTOR LABUNSKI
ALFRED MIROVITCH
CHARLES NAEGELE
LOUIS PERSINGER

E. ROBERT SCHMITZ
BERNARDO SEGALL
ROSINA LHEVINNE
MORIZ ROSENTHAL
RUTH SLENCYNSKI
ALEC TEMPLETON

ANTON BILOTTI
LUCREZIA BORI
BELA BARTOK
MARIO GCHAMLEE
KARIN DAYAS
JOSE ECHANIZ
DAVID EARLE
FRANK FARREL
JAKOB GIMPEL
RUDA FIRKUSNY
ARNOLD GABOR
WILLIAM HARMS
STEPHAN HERO
AMPARO ITURBI
JOSE EER St
RALPH LEOPOLD
JUSS! BUOERLING
JOSEF LHEVINNE
ERICA MORINI
EDITH MASON
GRACE MOORE
WILLEM NOSKE
SI SyerPoNsS
ROSA RAISA
ANGEETREVES
GIACOMO RIMINI
FRA SSS] ER ie
JOHANN SINGER
LEO SMIT
JOSE resSZzlGeae
LEONARD SHURE
HELEN TRAUBEL
SAMUEL YAFFE

MOISSAYE BOGUSLAWSKI

Haldmin

SG Seine oie)
SAN FRANCISCO

108

1828 WEBSTER ST.
DAKLAND

BY APPOINTMENT

Champagnes of the rahe quality

G. H Mumm &(

sociere ae DE CHAM PAGNE-.SUCCESSEUR

NOW-—with the liberation
of France—we are looking
forward to early resump-
tion of shipments of the
“Aristocrat of Cham-
. Which, dur-

ing the last four years

pagnes’.
and more, we have
been able to sup-
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quantities.

ime inc.
inrOuP. S.V- c.S.) & Assoc
G.H. Mumm chamPoeyo ips et
| & Co san Francis©®
Vigan "
w. J. Mu

ARMSTRONG’S U DRIVE

RENTACAR
1037 GEARY ST., SAN FRANCISCO
Bet. Polk Street & Van Ness Avenue
Telephone GRaystone 6600

SAN FRANCISCO

c e Musical Association

of San Francisco, maintaining and operating

the San Francisco Symphony Orchestra, stall
requires $22,000.00 to complete the 1944-
1945 season, and this is where you who are
really deeply interested in the welfare of our
city’s most beautiful music come forward
with gifts of money to help in balancing the

budget.

The budget has been kept out of the red just
because we have all of you who are vitally
and courageously interested in the welfare of

the symphony to assist us.

Our campaign for needed funds for the or-
chestra is now under way and we hope and
rely on your making possible a successful
season by your contribution, large or small,

VOs

MUSICAL ASSOCIATION OF SAN FRANCISCO

WAR MEMORIAL OPERA HOUSE
SAN FRANCISCO

SYMPHONY ORCHESTRA

109

110

KEO SYMPHONY NOTES

Maxim Schapiro, renowned Russian pianist now residing in
san Francisco, will join Pierre Monteux and sixty members of the
san Francisco Symphony Orchestra in a presentation of Beethoven's
First Piano Concerto, when the “Standard Hour” is broadcast from
KPO over the NBC Pacific Coast network at 8:30 next Sunday (De-
cember 17th) evening. Other offerings in the special Beethoven
salute include the Overture and Ballet music from “Prometheus”
and selections from the Seventh Symphony.

. Concluding concert of Arturo Toscanini’s nine-week Beethoven
Festival with the NBC Symphony Orchestra will be broadcast over
KPO on Sunday (the 17th) at 2:00 p.m. and will present Act II of
the composer's l’idelio opera. Soloists on ‘Voscanini’s first radio per-
formance of an entire opera include Rose Bampton as Leonore, Jan
Peerce as lorestan, Eleanor Steber as Marcellina, Herbert Janssen
as Pizarro, Sidor Belarsky as Rocco, Nicola Moscona as Don Fernando
and Joseph V. Laderoute as Jacquino. A chorus of 40 mixed voices
directed by Peter Wilhousky also participates. Maestro Toscanini will
conduct the Leonore Overture No. 3, just before the finale.

... Miliza Korjus, soprano star of concert stage and Hollywood films,
Leonard Warren of the Metropolitan Opera and noted Negro con-
ductor, Duke Ellington, “hot rhythms” pianist and composer

all share guest star billing on NBC’s “Music America Loves Best”
when it is broadcast over KPO Sunday (17th) at 1:30 Pp aiiees ine
three invitation performers will be heard with Jay Blackton’s RCA
Victor orchestra, Robert Shaw’s Victor Chorale and emcee Louis
Calhern.

... Richard Crooks will sing “Comfort Ye” from Handel’s oratorio
“The Messiah,” and Howard Barlow will conduct the Firestone
Symphony Orchestra and chorus in the ‘“March of the Knights of the
Holy Grail,” from Wagner’s religious opera Parsifal ... ina special
pre-Christmas program to be broadcast on the Firestone Hour over
KPO Monday, December 18th, at 5:30 p.m. Crooks, the chorus and
orchestra will join for a rollicking medley of gay Christmas carols,
will return again to the “Hallelujah Chorus” from “The Messiah.”
Crooks will close the program with “White Christmas,” Irving Ber-
lin’s popular American Christmas ballad.

SAN FRANCISCO

Box Holders for Saturday Night

MRS. PIERRE MONTEUX

MILLS COLLEGE

KAPPA KAPPA GAMMA
UNIVERSITY OF CALIFORNIA

SAN FRANCISCO SYMPHONY FORUM

DELTA DELTA DELTA
UNIVERSITY OF CALIFORNIA

DELTA GAMMA
UNIVERSITY OF CALIFORNIA

MILLS COLLEGE

P| BETA PHI
UNIVERSITY OF CALIFORNIA

SIGMA KAPPA
UNIVERSITY OF CALIFORNIA

MR. AND MRS. J. D. ZELLERBACH

MR. AND MRS. VALLEJO GANTNER
DR. AND MRS. NELSON HOWARD
COLONEL A. E. HOWSE

MRS. ROBERT SCARBOROUGH

DR. AND MRS. HAROLD K. FABER
MR. AND MRS. JAMES H. HOWARD
MR. AND MRS. LEE LAIRD

MR. AND MRS. JEROME VLADIMIR POWELL Z

DR. AND MRS. HUGH ROSE

MR. AND MRS. THOMAS E. AMBROSE
MR. THEODORE BEKINS

DR. ALVIN COX

DR MIRIAM MILLER

DR. AND MRS. B. H. PAGE

COMMANDER AND MRS. WM. LISTER ROGERS
Mr. AND MRS. JOHN ROSEKRANS

ALPHA DELTA PHI
UNIVERSITY OF CALIFORNIA

GAMMA PHI BETA
UNIVERSITY OF CALIFORNIA

SIGMA PHI
UNIVERSITY OF CALIFORNIA

ALPHA PHI
UNIVERSITY OF CALIFORNIA

STANFORD MEDICAL SCHOOL
STANFORD MEDICAL SCHOOL

INTERNATIONAL HOUSE
UNIVERSITY OF CALIFORNIA

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HEATLESS PERMANENT WAVE, 1122 FOLSOM ST., SAN FRANCISCO 3, CALIF.

OISTRIBUTED BY FLORA HEITMILLER AGENCY

209 POST ST., SAN FRANCISCO 8, CALIFORNIA+ GARFIELD 1969

discoveries in beauty Caen the noteworthy InLG ies

SD 2a Ue Reowe

SYMPHONY ORCHESTRA

She ee Shop

* SAN FRANCISCO e

TELEPHONE EXBROOK 2408

Before the Concent...
" Ajier the Concert

Entertain your friends
at Hotel Whitcomb, so conveniently
near. Home of the Whitcomb Inn

and The Parade Cocl_tail Lounge.

HOME
WHITCOME
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SERVING THE EYE PHYSICIANS and their PATIENTS

POSTAL ZONE GUIDE... 25c.
FOR SPEED... USE ZONE NUMBERS!

Send for PosTaL ZONE GulbE of San Francisco, Oakland and Berkeley
in booklet form. Alphabetical list of streets and avenues showing
delivery unit number.

Send 25c in stamps to
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SYMPHONY ORCHESTRA | 113

PERSONNEL

SAN FRANCISCO SYMPHONY ORCHESTRA

VIOLINS:

BLINDER, NAOUM
CONCERTMASTER

HEYES, PETER
ASSISTANT CONCERTMASTER

WOLSKI, WILLIAM
ASSISTANT CONCERTMASTER

ARGIEWICZ, ARTUR
ASSISTANT CONCERTMASTER

ANDERSON, THEODORE
FORD, LouIS W.
HOLM, THORSTEIN JENSEN
GUARALDI, MAFALDA
SHWEID, HENRY
EDMUNDS, CICELY
SCHNEIDER, DAVID
VAN DYKE, MARCIA
MYERS, MISCHA
ROURKE, ROBERT
GORDOHN, ROBERT
HAUG, JULIUS
WEGMAN, WILLEM
GOUGH, WALTER
PASMORE, MARY
LARAIA, ATTILIO F.
SHAPRO, DAVID
HELGET, HANS
BARET, BERTHE
PATERSON, JOHN A.
CHILINSKI, BRUNO
KOBLICK, NATHAN
Di BIANCA, VINCENT
WRIGHT, HAROLD

VIOLAS:

MOLNAR, FERENG
PRINCIPAL

VERNEY, ROMAIN
WHITE, ALBERT
MITCHELL, LUCIEN
WEILER, ERICH
AKON, ALFRED
KARASIK, MANFRED
PETTY, SUZANNE
VAN DEN BURG, JAC
MANN, MICHAEL

PERSONNEL MANAGER:

PIERRE MONTEUMX, Conouctor

"*CELLOS:

BLINDER, BORIS
PRINCIPAL

REINBERG, HERMAN
ARKATOV, JAMES

BEM, STANISLAS
ANDERS, DETLEV
HUGHSON, MARY
PETTY, WINSTON
CONNOLLY, CATHERINE
PASMORE, DOROTHY
HRANEK, CARL

BASSES -

KARP, PHILIP
PRINCIPAL

SCHMIDT, ROBERT E.
BELL, WALTER
GUTERSON, AARON
SCHIPILLIT!I, JOHN
BUENGER, AUGUST
STORCH, ARTHUR E.
ORSINI, JOSEPH

FLUTES:
RENZI, PAUL UR.

SHANIS, RALPH F.
BENKMAN, HERBERT

PICCOLO:
BENKMAN, HERBERT

OBOES:
REMINGTON, MERRILL

SHANIS, JULIUS
SCHIVO, LESLIE J.

ENGLISH HORN:
SCHIVO, LESLIE Jd.

OBOE D’AMOUR AND
HECKELPHONE:
SHANIS, JULIUS

CLARINETS:

SCHMITT, RUDOLPH
BIBBINS, F. C.
FRAGALE, FRANK

E FLAT CLARINET:
RIBBINS, F. C.

JULIUS HAUG

BASS CLARINET
FRAGALE, FRANK

BASSOONS:
KUBITSCHEK, ERNST
HIBSCHLE, FRANK
BAKER, MELVILLE
HRANEK, CARL

CONTRA BASSOON:
BAKER, MELVILLE

HORNS:
TRUTNER, HERMAN C.
LUCCHES!, DINO
TRYNER, CHARLES E.
ROTH, PAUL
TRUTNER, HERMAN, JR.

TRUMPETS:
BusBB, CHARLES, UR.
BARTON, LELAND 5S.
KRESS, VICTOR
MURRAY, EARL

TROMBONES:
Giosit, ORLANDO
SHOEMAKER, ROGERS
KLOCK, JOHN

TUBA:
MURRAY, RALPH

HARP:
MORGAN, VIRGINIA
EVERINGHAM, ANN

TYMPANI:
LAREW, WALTER

PERCUSSION:
VENDT, ALBERT
SINAI, JOSEPH
GREER, ELWOOD

PIANO AND CELESTA:
SHORR, LEV

LIBRARIAN:
HAUG, ALMA

PROPERTY MASTER:
J. T. HEAVEY

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pace eS en eS
SAN FRANCISCO

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VAR MEMORIAL ORBRA® Hous E-
‘hird Pair Gone te - Heifetz, Guest Artist = + _ December 21:23, 1944 "

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SYMPHONY ORCHESTRA 119

Musical Association of San Francisco
MAINTAINING THE

SAN FRANCISCO SYMPHONY ORCHESTRA

OFFICERS
Mrs. Leonora Wood Armsby, President and Managing Director
E-sRaymond) AtimsSbpy.-2 4 Vice-President Gharles..Page:.:.: .2::..282.-2- bed ab aU enc 3 Treasurer
Paul A. Bissinger..............................Vice-President Howard: K: Skinner <5 ee eee. Secretary
Charles R. Blyth_.............................Wice-President Geraid G. Ross_.........................Assistant Secretary
Garret McEnerney, II__.............. _....Vice-President
EXECUTIVE COMMITTEE
Dr. Hans Barkan Mortimer Fleishhacker Mrs. Marcus S. Koshland Miss Else Schilling
Miss Louise A. Boyd Miss Lutie D. Goldstein Garret McEnerney, II Mrs. M. C. Sloss
Mrs. Selah Chamberlain Mrs. Joseph D. Grant Kenneth Monteagle Mrs. Sigmund Stern
Mrs. John P. Coghlan Mrs. Walter A. Haas Guido J. Musto Mrs. Eli H. Wiel
Mrs. E. S. Heller Mrs. Ashton H. Potter

FINANCE COMMITTEE
Cc. O. G. Miller, Chairman

E. Raymond Armsby Miss Lutie D. Goldstein Mrs. Ashton H. Potter
Charles R. Blyth Mrs. Marcus S. Koshland Mrs. William Lister Rogers

Mortimer Fleishhacker
MUSIC COMMITTEE

Mrs. Selah Chamberlain
Dr. Hans Barkan Mrs. Tobin Clark J. Emmet Hayden
Mrs. George T. Cameron Dr. Leo Eloesser Charles G. Norris

PUBLIC RELATIONS COMMITTEE
Mrs. John B. Knox

Mrs. M. C. Sloss Mrs. James Mills Mrs. William Lister Rogers
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Mis: John PP. -Coghlan:- Chairman Mrs. Francis Redewill....................- Vice-Chairman
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Mrs. Leonora Wood Armsby Sidney M. Ehrman Walter S. Heller Mrs. Ashton H. Potter
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Charles R. Blyth Mrs. Harold K. Faber Frederick J. Koster Miss Else Schilling
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George T. Cameron Mortimer Fleishhacker Robert W. Miller Mrs. Sigmund Stern
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Mrs. John P. Coghlan John F. Forbes Kenneth Monteagle Mrs. David Armstrong Taylor
Mrs. Elizabeth S. Coolidge Mrs. Frank R. Girard Mrs. Donald Mulford Mrs. Cyril Tobin
Mrs. W. W. Crocker Miss Lutie D. Goldstein Guido J. Musto Mrs. Alfred S. Tubbs
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THE SAN FRANCISCO SYMPHONY ORCHESTRA
Records Exclusively for Victor Red Seal
SYMPHONY ORCHESTRA 121

“There's an immortality in the expression of the
finer human moods... These moods sincerely
expressed ina portrait can mean so much to the
person towards whom that feeling is directed.”

Yiholee bo

MASTER PHOTOGRAPHER :

427 POST STREET (IN THE ST. FRANCIS HOTEL) » YUKON 2061

In addition to its schedule of regular concerts last season, the San
Francisco Symphony Orchestra participated actively in providing enter-
tainment for service men and women in the Bay Area. Through the enthu-
siastic willingness of Pierre Monteux and the members of the Orchestra,
and the cooperation of Musicians’ Union, Local No. 6, special concerts were
presented at military camps and hospitals in the vicinity of San Francisco.
During the present season, the Symphony Orchestra plans again to bring
music to the men and women in uniform who are unable to attend regular
concerts. The third annual Treasure Island Christmas Party with the entire
personnel of the orchestra, Mr. Monteux, Heifetz, the San Francisco Ballet,
and other prominent guest artists, begins the current list of activities
planned for this 33rd Symphony Season. Enlisted service men and women
who are able to attend the regular concerts are admitted to War Memorial
Opera House without charge, as guests of the Musical Association. That
as many as possible may be taken care of it is requested that subscribers
who are unable to use their tickets kindly phone the Symphony Office—
UNderhill 4008—giving location of their seats that they may be assigned
to uniformed men. This courtesy will be deeply appreciated.

Rack the bth War Loan

IN APPRECIATION
Cr

The Musical Association of San Francisco desires to express its grati-
tude to Radio Station KPO for the weekly ‘““Know Your Symphony” program
with Mrs. M. C. Sloss as commentator, and to Radio Station KQW for mak-
ing available time immediately preceding the Sunday noon broadcasts of
the New York Philharmonic Symphony Orchestra for the presentation of
the San Francisco Symphony News, each of which outlines the activities of
the San Francisco Symphony Orchestra.

ELELEELIPIDELELLELIDPILLLLEL IID,

SYMPHONY ORCHESTRA 123

Your WILL cannot
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MEMBER FEDERAL DEPOSIT INSURANCE CORPORATION

124 SAN FRANCISCO

Thirty-third Season
1944-45

SAN FRANCISCO SYMPHONY ORCHESTRA
PIERRE MONTEUX, Conductor

*<~@>-

THIRD PAIR OF SYMPHONY CONCERTS
Thursday, December 21, at 8:30
Saturday, December 23, at 8:30

JASCHA HEIFETZ, Guest Artist

~4@>-
‘Program
SYMPEONY NOU 2) TNGAUMEN ORG 2 Seo Saint-Saens

Allegro marcato—Allegro appassionato
Adagio
Scherzo: Presto

Prestissimo

POEME, FOR VIOLIN AND ORCHESTRA....Chausson
Mr. HEIFETZ

INTERMISSION

CONCERTO FOR VIOLIN-AND ORGHES PRA
Re are eh Vee Me il ORES Ad ce SIR Ne CAYO ATMO A Gruenberg
Rhapsodic
With simplicity and warmth
Lively, with good humor
Mr. HEIFETZ

(First Performance in San Francisco)

ea IME SOND DPI RG AUN oo KGa OI ROAUIE ONY Se a Sea a Strauss

SYMPHONY ORCHESTRA 125

iasche g ors

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PROGRAM NOTES

By ALFRED FRANKENSTEIN

SVM PHONY NO2Z INA MINOR 33.3227 Camille Saint-Saens
(1835-1921)

The career of Saint-Saens was as long as it was prolific, but, since a large
part of it was passed in the 20th century, we are accustomed to thinking of him
as a more or less modern figure. It therefore comes as something of a shock to
realize that the symphony of today’s program was composed in 1859, the year
of the production of Faust, and is therefore considerably older than the sym-
phonies of Brahms, Franck and ‘Tschaikowsky, all of whom died before our own
century began. It is actually the fourth work of Saint-Saens in this form. Between
the E flat symphony of 1852 and the A minor of 1859, Saint-Saens wrote two
other symphonies which he later withdrew and destroyed.

There is no particular story to be told about the A minor symphony, or,
if there is, the composer’s biographers have failed to tell it. The following
analysis, by Felix Borowski, is taken from the program books of the Chicago
Symphony Orchestra, thanks to a massive attack of the filtrable virus which
produces the common cold.

“The main movement is preceded by introductory material which, follow-
ing two incisive chords for full orchestra, opens with an undulating figure in
the strings. This leads into Allegro appasstonato, A minor, 2-2 time, whose
principal theme is thus given out by the first violins:

In the material which follows much use is made of the figure of the third
measure of the quotation which just has been made. The second subject is
announced by the violins in octaves:

No. 2.
Sotlo voce ma espresstvo.

The rhythmical construction of the second theme, it will be observed, has
resemblance to that of the first, the first measure of each being frequently in
evidence. It is with the opening subject that the Development section begins.
This section is not extensive, and the Recapitulation is not much more than
suggested.

“Adagio, E major, 3-8 time. The slow movement is short and is lightly
scored for woodwind and strings. It opens with the following subject in the
muted strings:

SYMPHONY ORCHESTRA 127

TODAYS CUESTA ARI Si

Jascua Heirerz was born at Vilna, Russia, in 1901. He studied first with his
father, and then with Elias Malkin at the Vilna School of Music, which he
entered at the age of four and from which he was graduated at eight. Heifetz
then spent four years at the Imperial Conservatory under the tutelage of
Leopold Auer, and his career as a virtuoso began at the age of 12. He toured
throughout Europe until 1917, when he made his first appearances in this
country. Since that time he has been more closely identified with American
musical affairs than with events abroad. A considerable number of important
modern works have been introduced by him, including concertos by Castel-
nuovo- Tedesco and the second concerto of Prokofieff, which he played, along
with the Bruch G minor, when he was last heard with the San Francisco Sym-
phony Orchestra, on January 26 and 27, 1940.

This will be Mr. Heifetz’s fifth appearance as guest artist with the San
Francisco Symphony. In 1930 he played the Brahms concerto, in 1936 the
Glazounoff and the Mozart D major, and in 1938 the Beethoven.

CF OO,

Paes INe ie GU Estee ont

EFrREM Kurrz will be guest conductor at the next pair of concerts January
12 and 13. He was born in St. Petersburg in 1900 and studied at the St. Peters-
burg Conservatory with Glazounoff, Cherepnin, and others. After the Russian
Revolution he lived in Berlin, and made his first appearance as a conductor
substituting for Artur Nikisch at one of Isadora Duncan’s Berlin concerts in
1920. He was director of the Philharmonic Orchestra of Stuttgart from 1924
to 1931; during the same period he made many appearances as guest conductor
throughout Europe and South America. He came to this country in 1932 with
the Monte Carlo Ballet Russe, and has made many appearances in this city
with that organization and the Ballet Theatre. He is now conductor of the
Kansas City Philharmonic Orchestra.

Although Mr. Kurtz has often conducted the San Francisco Symphony in
connection with the performances of the Monte Carlo Ballet and the Ballet
‘Theatre, this will be his first local performance in concert.

Ss Ss a

128 SAN FRANCISCO

This is followed by another idea, given out by the English horn and first violins
in © sharp minor, and the first theme is repeated in the woodwinds. At the
close there is an episode beginning in the woodwinds, which later is reheard
in the finale. The movement closes softly and tranquilly.

SYMPHONY ORCHESTRA 129

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| 8 “Scherzo. Presto, A minor, 3-4 time. ‘The movement begins with the

following theme in the strings, forte:

This is alternated with a passage for the woodwind, the first division of the
scherzo consisting for the most part of this material. ‘The trio opens—after six
syncopated E’s in the second violins—with this theme in the oboe:

No. 5.

oN lll es

| At the conclusion of the trio the scherzo is not repeated, as usually is the case,
: but a coda is substituted for it, its material rather concerned with that of the
trio than with the first division of the movement.

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- 4 SYMPHONY ORCHESTRA 131

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“Prestissimo, A major, 6-8 time. The principal theme of this finale is given
to the first violins in a tarantelle-like subject, whose accompaninent is provided
pizzicato, by the remaining strings. Four measures are quoted

No. 6.
Prestlissimo.
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: oe ae” sl Ca pes Baa fo ae Oa are ae
i Es ) Ea OO fc ean acme a Gl EY Pe 9
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There is vigorous working over of this matter, and later the following theme
is heard in the woodwind and strings:

1 WILLIAM F. LARAIA

First Violinist San Francisco Symphony Orchestra for twenty-five

years — has resigned in order to devote his time exclusively to
teaching.
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Other instruments take it up, and there is development, particularly of the
two last measures of the quotation. An episode is heard, fortissimo, and the
principal theme recurs in the violins, as before. A modified repetition of the
second subject (No. 7) is heard, and No. 8 also is worked over. More episodical

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Music America Loves Best Telephone Hour
Sun. at 1:30 p. m. Mon. at 9:00 p. m.
General MotcrsSymphony Light and Mellow
Sun. at 2:00 p. m. Tues. at 10:00 a. m.
Album of Familiar Music % Standard School Broadcast
Sun. at 6:30 p.m Thurs. at 10:00 a. m.
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material is introduced, and the principal theme recurs in the violas, later to be
heard in the first violins. A climax is attained, in which the first episode is
eiven out by the woodwind. After a general pause fragments of the opening
subject are interjected by the first violins, and a new division (Andantino,
3-8 time) 1s begun by solo violins and violas. ‘Uhis is followed by a passage in
the woodwind which is derived from material in the closing portion of the slow
movement. The coda, in the original time and tempo, follows, and the sym-
phony closes brilliantly with material taken from the opening theme.”

POEME, FOR VIOLIN AND ORCHESTRA..... Ernest Chausson

(1855-1899)

The juxtaposition of Saint-Saens and Chausson on the same program
tempts one to point out a few contrasts and neglected indebtednesses. Chausson
was, of course, one of the disciples of César Franck. ‘The Franckists are often
described as a lonely, misunderstood band who, alone and without support or
comprehension from their contemporaries, upheld the standard of the large in-
strumental forms in a French musical world otherwise completely dominated by
opera. This view is not altogether correct. As today’s program illustrates, Saint-

Saens was writing symphonies (and chamber music) long before the Franck

circle existed. Some of the instrumental compositions of Gabriel Fauré, like

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Hard-of-hearing aids are available in the Main Foyer. Attendant will connect same to your seat
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‘

his well known violin sonata in A major, predate any of the works by which
the Franckists are remembered, while still other composers, like Edouard Lalo,
were also busy with symphonies and concertos before the Franck circle was
formed. The Franckists make much of the Société Nationale de Musique, of
which Franck was president and Chausson secretary in the 1890’s, but they
seldom add that this organization, which existed primarily for the presentation
of instrumental works by French composers, had been founded by Saint-Saens
in 1871.

Throughout the Franckist literature there is an undercurrent of ill-dis-
cuised hostility toward Saint-Saens, who might have done much for this group
if he had wished, but who chose to ignore it entirely. There are several reasons
for this. One is implicit in Philip Hale’s line, “Saint-Saens, composer of music,
pianist, organist, acoustician, archeologist, playwright, comedian, caricaturist,
feuilletonist, critic, traveller, amateur of art, mathematics, astronomy, man of
the world.” Only the first three of these designations can be applied to César
Franck. In other words, there was a marked temperamental incompatibility
between the two men which is clear in their music as well as in the record of
their lives.

Another reason for the lack of sympathy between Franck and Saint-Saens
is the fact that the latter musician grew more conservative, not to say reactionary
in his views and appreciations as he grew older, and the Franckians, who were
much beholden to Wagner and the “music of the future,” did not appear on the
scene until rather late in the day.

All of this hasn’t anything to do with the Poéme of Chausson; it is simply
set down here to counteract the commonly held idea that Chausson and his
friends were pioneers and innovators of instrument music in France in the
latter part of the 19th century. The fact of the matter is that the instrumental
tradition has never died out in that country from the days of Couperin to those
of Milhaud, although it his been subjected to various attenuations and changes
of emphasis.

BEFORE THE Syrnofohrony

Fashionable San Francisco gathers in the
exquisite Garden Court for luncheon.

Dancing afterwards in the Rose Room to
the music of Henry Busse and his orchestra

She Satace

HOTEL

EDMOND A. RIEDER, General Manager

SYMPHONY ORCHESTRA 139

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*BEMBERG is the registered trade-mark of AMERICAN BEMBERG CORPORATION

140 SAN FRANCISCO :

One of the few friends the Franckists were able to win among the com-
manding figures of their own day was the violinist, Eugene Ysaye. Franck com-
posed his violin sonata and his quartet for Ysaye, and it was for him, also, that
Chausson wrote the Poéme. The work, first performed in 1896, is free in form
and calls for no special analysis. Its title is to be taken in a general sense; in
other words the piece does not reflect any literary influence.

CONCERTO FOR VIOLIN AND ORCHESTRA Louis Gruenberg
(1884-)

Mr. Gruenberg writes as follows:

“The concerto is the result of a commission from Heifetz, who desired to
add an American concerto to his already stupendous repertoire, and this, of
course, was nothing less than a challenge. It raised the question of questions as
to what was really American in music. To my mind, American music consists
(or should) of all human emotions and characteristics. Nothing less.

“There are three movements. I have used several bars of two Negro
spirituals in the second movement, and have endeavored to give the impression
of a hill-billy fiddler and a small-town religious meeting in the third to add
spice to the work.

“The composition was written in three weeks, then polished, orchestrated
and completed eight months later, last May.”

To this one may add that the concerto was performed for the first time at
a concert of the Philadelphia Orchestra three weeks ago.

Mr. Gruenberg was born in Russia but was brought to this country at the
age of two years. He studied in New York, Berlin and Vienna, and began his
career in the last-named city as a pianist. He returned to this country at the out-
break of the first World War and gave up the concert career for composition.

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SYMPHONY ORCHESTRA | 141

NAG GIN CS eal a) NGI ESR als

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JANUARY 25

APRIL 10

*
*
Seog se
*

SAN FRANCISCO
SYMPHONY ORCHESTRA

PIERRE MONTEUX, Conductor

Rong Viele NaN G CrOs NEG Readies

YEHUDI MENUHIN.

SAN FRANCISCO’S OWN BRILLIANT GENIUS OF THE VIOLIN

Uae aN a ele
Be bts bee Ashe bE

TiO 5 SeP ECs Are UIEAGRs (Pace R FiO RIMPAGNiG E:S

MARIAN ANDERSON

DEES GREARES <GOIN GEERT ARI Sa «ORs Tic DAY

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c \N TICKETS NOW

SYMPHONY BOX OFFICE @ SHERMAN, CLAY. . SUtter 1331

CIVIC Jan. 25 |
AUDITORIUM eer | eee ne Sen 30c, 60c, 90c, $1.20, $1.80
P Feb. 1, 2, 3, 4,
HOUSE 8, 9, 10, 11. ¢ $1.20, $1.80, $2.40, $3.00
Mats. Feb. 4, 11.

F
t

He taught at the Chicago Musical College in the 30's, but in recent years has
been living in Hollywood and writing for the films.

Among Mr. Gruenberg’s many works are the operas The Emperor Jones,
Jack and the Bean Stalk, and Green Mansions (the last a “non-visual” opera
written for radio) ; symphonies, sonatas and quartets, and chamber works bear-
ing such titles as Danvel Jazz, Indiscretions, Diversations, and Jazzettes. Among
his film-scores are The Fight for Life, So Ends Our Night, and Commandos
Strike at Dawn. ,

2 DE ACRE AND GRAIN STG ihe As QING eee Richard Strauss
} (1864-)

In the year 1885 a promising youngster named Richard Strauss was chosen
: by Hans von Bulow, 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
Waenerians, 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
post-Wagnerian movement, becoming eventually Richard Il.

EE
“ ee ee

For in Meiningen Strauss met Alexander Ritter, violinist, poet, and com-
poser, who had been an intimate personal friend of Wagner, and was at that
moment a member of Biilow’s orchestra. Ritter, who 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 rests today.

Slawers

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SYMPHONY ORCHESTRA 143

right 1944 Cresta Blanca Wine Company, Inc.,

Copy

The score of Death and Transfiguration is prefaced with a poem by Ritter
himself. This was not, as is often assumed, the inspiration of the music. On the
contrary, Ritter wrote his lines in explanation of the music of Strauss, and they
remain its best and most complete commentary. They follow in the prose transla-
tion of William Foster Apthorp:

“In the necessitous little room, dimly lighted by only a candle end, lies the
ick 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 vives 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
chakes 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!

“cunk back tired of battle, sleepless, as in fever-frenzy the sick man now sees
his life pass before his inner eye, tratl 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

“Beyond any shadow of a doubt, it sur- Book, monumental record-collector's refer-
passes anything | have heard in regard to © ence book. Write for your copy of the un-

tone quality, reliability, and appearance,” _—_ usual brochure: ‘‘How to Judge a High
says DAVID HALL, author of The Record Quality Radio-Phonograph.”

) hi harmoni c
RADIO-PHONOGRAPH |
Philharmonic Radio Corporation, Dept. 9, 528 East 72nd Street, New York

Before or After the Concert Visit the

Cardinal Richelien Cocktail Lounge

(No Amusement Tax)

the RICHELIEU HOTEL

Van Ness and Geary Leopold Lerner, Manager

SYMPHONY ORCHESTRA 145

That lonesome G-I of yours

would enjoy a portrait like thisx—OF YOU!

Wally White—your personal photographer
WHITE Poetecit Shudlios

677 MARKET STREET EXBROOK 2027
146

SAN FRANCISCO

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.’

REMEMBER THE NAME

Waa, (-

when you buy your post-war radio-phonograph with FM

‘“‘One of the world’s great radio-Pkonographs”’

BUY MORE WAR BONDS!

GUISINE = TOO lseAN Akg
Especially with
George Mardikian conducting!

Dinner, a la carte, after-
theater supper, cocktail
lounge. 4 P. M. to midnight.

OMAR KHAYYAM‘S

O’FARRELL STREET AT POWELL
‘tW here the Celebrities Gather”

SUBSCRIPTION BLANK

$1 for 1 year
OPERA AND CONCERT

(Official Publication of the San Francisco Opera Association)

OPERA & CONCERT

700 Montgomery Street

San Francisco 11, California

Gentlemen: Enclosed is $1. Sond OPERA AND CONCERT to the fol-
lowing address for one year:

Name_ es on aN nt sara = = ee Ste
Sificer age ee et le OTS | ao ue fase Ste a ee es
. Clive Le zs Lone NOs 22 = late
SYMPHONY ORCHESTRA 147

THE SAN FRANCISCO BALLET GUILD

Presents the

San Grancisce Ballet
Company

WILLAM CHRISTENSEN, Artistic Director

an the

Nutcracker Ballet

FIRST COMPLETE PERFORMANCE IN AMERICA

Second Pee
Holiday Ballet Seasau

COMPANY OF 75 — SYMPHONY ORCHESTRA
Came)

Children’s Christmas Matinee
SUNDAY, DECEMBER 24th

Gala Holiday Ballet
WEDNESDAY, DECEMBER 27th
WAR MEMORIAL OPERA HOUSE

Ce)
OAKLAND—THURSDAY, DECEMBER 28th

SACRAMENTO—FRIDAY, DECEMBER 29th
STOCKTON—SATURDAY, DECEMBER 30th

Tickets on Sale Normandy Lane Box Office, City of Paris EX brook 8585
Breuner’s Box Office—Oakland TWinoaks 4048

i de aaa atatatatiatatntntiantatatntnte ttt

BE PP POOL OOIOIPIIIP IP PD PNA NINA NAPPA NPP PP PP NP PP NPP PEP PP PP PPP PPP PP PPP PPP PP PPP PPD

148 SAN FRANCISCO

fi smu lo buy - SU take

DUBONNET

CHILL bate OU Reece ENON aT
Straight or mixed— in cocktails or highballs

DUBONNET, the world-famous drink, is given
its unique flavor and aroma by a formula and
process unchanged in 98 years. Delicious

straight, delightful in mixed drinks, distinctive Saeee

in long drinks. ees

VERMOUTH by DUBONNET (dry or sweet) makes
Martinis and Manhattans something special!
Try it today. Created with the same skill that
has given Dubonnet itself its fame.

a FS TAT To DEN OVO
Dubonnet Aperitif Wine and Vermouth by Dubonnet. Products of U.S. A.—Dubonnet Corp., New York

ane

KQWCBS

prese nl

A The Philadelphia Symphony Orchestra

under the direction of
EUGENE ORMANDY

each Saturday, 2-3 P.M.

-4{@>-
KQW The
5 740 Con bia
| Station

on your dial

| SYMPHONY ORCHESTRA 149

150

...Of course you are...and we'll bet home
planning tops the list of your after V-day
dreams. For more than a century in war
and peace W. & J. Sloane has been helping

make just these kind of dreams come true

for generations of Americans.

W&J

SLOANE

216 SUTTER near GRANT
SAN FRANCISCO 8, CALIE.

SAN FRANCISCO

}

§ aveYy Onera C Cm fLany

announces the presentation of the

“PIRATES OF PENZANCE”

“The Pirates of Penzance” is the third of the delightful and colorful
Gilbert and Sullivan operas presented by the Savoy Opera Company

INTRODUCING A NEW FEATURE

SPECIAL WEDNESDAY LADIES MATINEE STARTING DECEMBER 20th

Luncheon Served During the Performance
San Francisco’s unique form of entertainment—

Luncheon and Opera at the Matinee
luncheon served at tables in an unusual setting at 1 p.m. is followed by a
performance of ‘The Pirates of Penzance” at 2:30 with our all-star cast.
These performances have captivated music-loving San Franciscans and
brought salvos from the critics.

This is a charming way to solve your entertainment problems. Bring your friends.

ARRANGEMENTS CAN BE MADE FOR ANY SIZE PARTY
Performances Every Night at 8:30 Except Monday—Matinees 2:30 Wednesday and Sunday

Light buffet suppers at evening performances
Luncheon at Wednesday and Sunday matinees

Prices, including tax and refreshments—

Mat. $1.50, $2.00, $2.50; Eve. $2.50, $3.00. Children half-price
AN IDEAL CHRISTMAS GIFT
GILBERT & SULLIVAN THEATRE TICKETS MAKE AN IDEAL PRESENT

For Reservations:
BUSH STREET MUSIC HALL

960 Bush Street near Jones, San Francisco ORdway 1109
Opera Box Office, City of Paris, San Francisco EXbrook 8585
Sherman, Clay Box Office, H. C. Capwell Co., Oakland HIigate 8575

Batesecn take cuts ise a eee for ‘‘PIRATES OF PENZANCE” O
BSF Lan Veeco Sey eee eaten a earns Aas er evenness Uy here at
GS ieee Ieee nese te ce fee eet 6 a Re ot Gt oe eran ee nce
(Cll ol ne ae ee LONG sta Phomec2et = eae

Please send me Special Christmas Tickets without dates to be redeemed
any time from December 19th to January Ist.

SYMPHONY ORCHESTRA 151

Box Holders for Friday A fternoons

MRS. PIERRE MONTEUX
MRS. SIGMUND STERN
Mes. LEONORA WOOD ARMSBY

MRS. JOHN T. BARNETT
MRS. E. E. BROWNELL
MRS. MORTON GIBBONS
MRS. THOMAS HAIGHT
MRS. HARRY HILL

MRS. JAMES HORSBURGH
MRS. SILAS PALMER

MRS. T. E. PALMER

MRS. ATHERTON RUSSELL

E **€U. S. NAVAL HOSPITALS

MRS. EDW/ARD H. BELL
MRS. SPENCER GRANT
MRS. MAXWELL C. MILTON
MRS. WILLIAM H. ORRICK

MRS. STUART RAWLINGS
MISS ELSE SCHILLING

MRS. DANIEL VOLKMANN
MISS JOHANNA VOLKMANN
MRS. DEAN WITTER

MRS. J. B. WRIGHT

G MRS. REED J. BEKINS
MRS. GEORGE EDWIN BENNETT
MRS. FRANK INGERSOLL
MRS. CLARENCE LORAN JOHNSTON
MRS. GEORGE S. JOHNSTON
MRS. RALPH MERILLION
MSSe Jn eb OSE
MRS. ERNEST J. SYYEETLAND

H MRS. JOSEPH D. GRANT

MRS. JOHN CASSERLY

MRS. DONALD GREGORY

MRS. W/ELLINGTON HENDERSON

MRS. OSGOOD HOOKER

MR. AND MRS. KENNETH MONTEAGLE
MRS. EDITH NORTH

K MRS. MARCUS S. KOSHLAND
MRS. M. C. SLOSS

L MRS. CHARLES BRANSTEN
MRS. RICHARD FRANK
MR. AND MRS. MORTIMER FLEISHHACKER
MRS. LEWIS LAPHAM
MRS. ROGER LAPHAM, JR.
MRS. FREDERICK WHITMAN

M MR. AND MRS. CHARLES R. BLYTH
MRS. RICHARD HEIMANN
MRS. A. J. LOWREY
MR. AND MRS. C. O. G. MILLER
MRS. EDGAR WOODS

N MR. AND MRS. GEORGE T. CAMERON
MRS. STANHOPE NIXON
MR. AND MRS. NION R. TUCKER

Oo MRS. DUNN DUTTON
MRS. WALTER HOBART
MRS. FREDERICK HUSSEY
MRS. KENYON JOYCE
MRS. SAMUEL KNIGHT
MRS. RICHARD McCREERY

0 OO wm >

MRS. WALTER D. HELLER
MRS. MORRIS MEYERFELD
MRS. RICHARD SHAINWALD
MRS. GEORGE OPPEN

MRS. FRANK P. DEERING
MRS. JAMES L. FLOOD

MRS. BENJAMIN C. KEATOR
MRS. HENRY S. KIERSTED
MRS. HARRY B. LITTLE

MRS. HAROLD R. McKINNON
MRS. ASHTON H. POTTER

DR. AND MRS. FRANK R. GIRARD

MRS. FRANCIS S. BAER

MISS JENNIE BLAIR

MRS. ELDRED BOLAND

MRS. GEORGE M. BOWLES
M&S. GEORGES S. DeLATOUR
MARQUISE HENRI de PINS
MRS. ROGER LAPHAM

MRS. FREDERICK W. McNEAR

MRS. OTTO BARKAN
MRS. L. A. BENOIST
M!SS MARILYN BENTLEY
MRS. WALTER BENTLEY
MRS. FOSTER NEWHALL
MRS. STANLEY POWELL
MRS. BRUCE SELFRIDGE
MRS. MELVILLE L. SMITH

MRS. DAVID ARMSTRONG TAYLOR
*EKU.S. ARMY HOSPITALS

MRS. HENRY BOYEN

MrRS. ARTHUR B. CAHILL
COUNTESS LILLIAN DANDINI
MRS. JOHN L. FLYNN

MRS. PETER B. KYNE

MRS. JAMES F. McNULTY
MRS. A. J. MOORE

MRS. THEODORE WORES

DR. AND MRS. JOSEPH C. FLOWERS
MRS. ANGUS McDONALD

DR. HANS VON GELDERN

MRS. HENRY H. WEHRHANE

MRS. C. W/. CROSSE

MRS. DUNCAN CURRY, JR.
MrS. JOSEPH W. FOWLER
MRS. RALPH HENKLE

MRS. DANIEL C. HUNT
MRS. A. F. JUNCKER

MRS. —. W. WILLETT

MRS. EDWARD C. WURSTER

MRS. FRANK BUCK

MRS. RALPH K. DAVIES
MRS. J. LINDSAY HANNA
MRS. JAMES LEVENSALER
MRS. DOUGLAS McBRYDE
MISS OLGA MEYER

MRS. FRANK SOMERS

Mb Saat

Mapp omcuan Service through courtesy of the Red Cross Motor Corps

with t

152

e cooperation of Mrs. George Cameron.

SAN FRANCISCO

IF YOU DON'T NEED. YOUR CAR

see us for today’s highest ceiling price.
Cash in five minutes.

OAS MOTOR COMPANY

We make your car last for the duration.

Get immediate Winter Service.
Whatever make of car you drive, we have a big staff of experts
to give it complete attention.

Complete Body and Paint Service

BOAS MOTOR COMPANY

3800 Geary Street at 2nd Avenue 1201 Van Ness Avenue

SYMPHONY ORCHESTRA 153

Jt Stands Alone

KORBEL BRUT IS TOPS IN AMERICAN CHAMPAGNE

Magazines which reach the most sophisticated audience in the United States
unanimously give first place in American Champagnes to KORBEL BRUT
WE didn’t say it first! THEY DID!

“THE BEST AMERICAN CHAMPAGNE
to date is KORBEL BRUT. Our guess is
anyone would think it was imported.”
—Harper’s Bazaar, February, 1941.

“PROBABLY THE MOST CHAM-
PAGNE-LIKE domestic wine is KOR-
BEL BRUT.’’—Cue Magazine, Decem-
ber 20, 1940.

“THE OUTSTANDING AMERICAN
CHAMPAGNE to date is KORBEL
BRUT.’’— Town and Country, Febru-
ary, 1941.

KORBEL

“EXTREMELY ENJOYABLE, bone-dry
and clean-tasting.’’—The New Yorker,
March 15, 1941.

ROUGE
PINK

Distributed by

TRADERS DISTRIBUTING CoO.
314 FRONT STREET, SAN FRANCISCO, CALIFORNIA

21 BRANDS, INC.
17 E. 52nd ST., NEW YORK CITY

SAN FRANCISCO

PISAM PRIVTING & PUBLISHING CO.

Line pees

700 MONTGOMERY STREET + PHONE SUtter 4772
SAN FRANCISCO

wnat A wonverFUL DAIQUIRI ts mape THIS WAY:

e 2 oz. Havana Club Rum light
e 1 teaspoon sugar

e Juice of ¥2 lime

Shake well with cracked ice and
strain into cocktail glass.

*Write for FREE Recipe Book—"Delicious Rum Drinks’

Smoother drinks come
from

HAVANA CLUB RUM

86 PROOF ° Distilled and Bottled by JOSE ARECHABALA, S. A. ° Cardenas, Cuba
\

Sole Agents for U.S.A.

“WILLIAMS IMPORTERS A Division of R. C. Williams & Co., Inc., 610 5th Ave., N.Y.

SYMPHONY ORCHESTRA

155

TODAYS GREAT

PIANO

the choice
Today's Great Artists

CHOOSE YOUR PIANO
AS THE ARTISTS DO

The Boston Symphony now uses the Baldwin
in its Concerts.

MARIE THERESE BRAZEALU HAROLD BAUER

CECILLE DE HORVATH
SEVERIN EISENBERGER
ALEXANDER KELBERINE
WESEEY EA VIOCETTE
ALEXANDER TANSMAN
IRMA SCHENUIT HALL
FRANCES ANTOINE
WILHELM BACHAUS
PAUL WITTGENSTEIN
VICTOR WITTGENSTEIN
FRANCISZEK ZACHARA
MAGDA TAGLIAFERO
JOSEPH BATTISTA
JEANNE BEHREND
ALFREDO CASELLA
WALTER GIESEKING
EUGENE GOOSSENS
BORIS GOLSCHMANN
FLORENCE EASTON
DANIEL ERICOURT
EDWARD JOHNSON
BREENDAN KEENAN
ALEXANDER KIPNIS
WIKTOR LABUNSKI
ALFRED MIROVITCH
CHARLES NAEGELE
LOUIS PERSINGER

E. ROBERT SCHMITZ
BERNARDO SEGALL
ROSINA LHEVINNE
MORIZ ROSENTHAL
RUTH SLENCYNSKI
ALEC TEMPLETON

ANTON BILOTTI
LUCREZIA BORI
BELA BARTOK
MARIO CHAMLEE
KARIN DAYAS
JOSE ECHANIZ
DAVID EARLE
FRANK FARRELL
JAKOB GIMPEL
RUDA FIRKUSNY
ARNOLD GABOR
WILLIAM HARMS
STEPHAN HERO
AMPARDO ITURBI
JOSE ITURBI
RALPH LEOPOLD
JUSS! BUOERLING
JOSEF LHEVINNE
ERICA MORINI
EDITH MASON
GRACE MOORE
WILLEM NOSKE
EIEN. PENS
ROSA RAISA
ANGEL REYES
GIACOMO RIMINI
iro SSeHtiPA
JOHANN SINGER
LEO SMIT
JOSEPH SZIGETI
LEONARD SHURE
HELEN TRAUBEL
SAMUEL YAFFE

MOISSAYE BOGUSLAWSKI

Baldmnin

310 SUTTER STREET
SAN FRANCISCO

156

IE ZEB OWEBSIGES Sil.

DAKLAND

ARMSTRONG’S U DRIVE

BY APPOINTMENT

T, i

gfe si) ; ;
LNA RRY aa ;

Champagnes of the highest quality

GH. Mumm &(° @ x |

ey poe VINICOLE DE CHAMPAGNE_SUCCESSEUR i
a REIMS

—

NOW-—with the liberation
of France—we are looking
forward to early resump-
tion of shipments of the
sae “Aristocrat of Cham-
which, dur-

ing the last four years

pagnes’...

and more, we have
been able to sup-
ply in limited
quantities.

SOL

iMP ORTERS
m champ agne k City

H. Mum New w Yor ancise®?

v.C. 5.) & Assoc inc.

G. california

n Fr
Ww. mullige” & Co. 54

RENTACAR j
1037 GEARY ST., SAN FRANCISCO q
Bet. Polk Street &G Van Ness Avenue

Telephone GRaystone 6600

SAN FRANCISCO

Box Holders for Saturday Night

A MRS. PIERRE MONTEUX N MR. AND MRS. THOMAS E. AMBROSE
MR. THEODORE BEKINS

B MILLS COLLEGE DR. ALVIN COX
DR MIRIAM MILLER

Cc KAPPA KAPPA GAMMA DR. AND MRS. B. H. PAGE

UNIVERSITY OF CALIFORNIA
Oo COMMANDER AND MRS. WM. LISTER ROGERS

D SAN FRANCISCO SYMPHONY FORUM MR. AND MRS. JOHN ROSEKRANS

P ALPHA DELTA PHI

E (DEEPA DEETA DELTA UNIVERSITY OF CALIFORNIA

UNIVERSITY OF CALIFORNIA

Q GAMMA PHI BETA

F DELTA GAMMA UNIVERSITY OF CALIFORNIA

UNIVERSITY OF CALIFORNIA
R SIGMA PHI

G MILLS COLLEGE UNIVERSITY OF CALIFORNIA
H PI BETA PHI S ALPHA PHI

UNIVERSITY OF CALIFORNIA UNIVERSITY OF CALIFORNIA
J}. SIGMA KAPPA T STANFORD MEDICAL SCHOOL

BN on Pe OAM Se Nae U STANFORD MEDICAL SCHOOL

K MR.AND MRS. J. D. ZELLERBACH V INTERNATIONAL HOUSE
UNIVERSITY OF CALIFORNIA
L MR. AND MRS. VALLEJO GANTNER
DR. AND MRS. NELSON HOWARD Ww CHI OMEGA
COLONEL A. E. HOW/SE UNIVERSITY OF CALIFORNIA

MRS. ROBERT SCARBOROUGH x U. S. ARMED FORCES

M DR. AND MRS. HAROLD K. FABER Y KAPPA ALPHA THETA
MR. AND MRS. JAMES H. HOWARD UNIVERSITY OF CALIFORNIA
MR. AND MRS. LEE LAIRD

MR. AND MRS. JEROME VLADIMIR POWELL Z INTERNATIONAL HOUSE
DR. AND MRS. HUGH ROSE UNIVERSITY OF CALIFORNIA

HEATLESS PERMANENT WAVE, 1122 FOLSOM ST., SAN FRANCISCO 3, CALIF.

DISTRIBUTED 8Y FLORA HEITMILLER AGENCY

209 POST ST., SAN FRANCISCO 8, CALIFORNIA* GARFIELD 1969

discoveries i in eae Gem ie ee ele H G White

4) collection of exclusive siftware G NEGUS:
uy —— The London Shop

352 SUTTER ST * SAN FRANCISCO «¢ TELEPHONE EXBROOK 2408

SYMPHONY ORCHESTRA 157

Before Ye Concert...
Ajier the Concent

Entertain your friends

at Hotel Whitcomb, so conveniently

near. Home of the Whitcomb Inn

and The Parade Cocktail Lounge.

HOmEL
WHITCOME
KARL WEBER MANAGEMENT MARKET AT 8TH ¢ SAN FRANCISCO

Tel.: UNderhill 9600

A TOUCH OF THE OLD WORLD

oe Ky err re at 7 on es OE
ok wre a Pentti: ih delight. ,

= — Delicious salads. .slow-simmered, rich soups
and tender, succulent meats and vegetables
389 BAY AT MASON ¢ GARFIELD 9711

eee

Dispensing Opticians
444 POST |
SERVING THE EYE PHYSICIANS and their PATIENTS

POSTAL ZONE GUIDE... 25c.
FOR SPEED... USE ZONE NUMBERS!

Send for PosTaL ZONE GulbeE of San Francisco, Oakland and Berkeley
in booklet form. Alphabetical list of streets and avenues showing
delivery unit number.
Send 25c in stamps to
PISANI PRINTING & PUBLISHING COMPANY

700 Montgomery Street, San Francisco 11, Calif.

SEV CE Utne ten Sed tee 5 ey eae nt ora eae: oe aes aa Ney eA nt Re cs 5 BAS. tS ee ok seminal een ee
GET ee Ria ee ee ce ce AO ae a ee ay 2s LONE: (INO ee STALE eee eet a een

158 SAN FRANCISCO

fe e Musical Association

of San Francisco, maintaining and operating

the San Francisco Symphony Orchestra, still
requires $20,000.00 to complete the 1944
1945 season, and this 1s where you who are
really deeply interested in the welfare of our
city’s most beautiful music come forward
with gifts of money to help in balancing the

budget.

The budget has been kept out of the red just
because we have all of you who are vitally
and courageously interested in the welfare of

the symphony to assist us.

Our campaign for needed funds for the or-
chestra is now under way and we hope and

rely on your making possible a successful

season by your contribution, large or small,

KOn

MUSICAL ASSOCIATION OF SAN FRANCISCO

WAR MEMORIAL OPERA HOUSE
SAN FRANCISCO

SYMPHONY ORCHESTRA

159

KPO SYMPHONY NOTES

- Christmas theme runs throughout the outstanding musical
programs on the airwaves this coming weekend. John Charles
Thomas and John Nesbitt lead off the holiday features Sunday
morning at 11:30 with their traditional rendering of “The Juggler
of Notre Dame,” complete with symphony orchestra and chorus.
Their Westinghouse program is aired locally over KPO.

Yehudi Menuhin. recently returned from a tour of European
war zones where he entertained Allied troops, will close the new
‘Music America Loves Best” RCA Sunday program (1:30 p.m. KPO)
with Schubert’s “Ave Maria,” in which he will be joined by the
Victor chorale and orchestra. Among Menuhin’s other offerings
will be the third movement of Mendelssohn’s Violin Concerto in E
Minor and ‘ ‘Spanish Dance” from De Falla’s “‘La Vida Breve.” The
chorale will sing a group of six favorite Christmas carols.

Eugene Ormandy will conduct the first of four General Mo-
tors Symphony of the Air programs on Sunday (24) at 2:00 p.m.
on KPO. He’ll present two special Christmas selections, Corelli’s
Concerto Grosso No. 8 (Christmas Concerto) and an excerpt from
Berlioz’ sacred trilogy, ““The Childhood of Christ,” the latter fea-
turing Joseph V. Panne: tenor. Other selections will be Stravin-

Sky’ s suite from ‘The Firebird” and the Bach-Ormandy Sinfonia
for Double Orchestra.

The all-time favorite Christmas carols will make up the
Christmas Eve programs of the “American Album of Familiar
Music” (6:30 p.m.) and the “Hour of Charm” (7:00 p.m.) , both
to be heard on KPO. On the former tenor Frank Munn and the
Buckingham Choir will sing “Panis Angelicus”; soprano Margaret
Daum will join them for “Adeste Fidelis,” “Cantique de Noel” and
Gounod’s “Ave Maria”; and soprano Jean Dickenson will sing
Mozart's “Allelujah.”” The Hour of Charm’ will present again this
year young Sara Fussell in her six-year-old traditional recitation of
Clement Moore’s beloved poem ‘The Night Before Christmas,” with
orchestral and choral background.

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PERSONNEL

SAN FRANCISCO SYMPHONY ORCHESTRA

VIOLINS:

BLINDER, NAOUM
CONCERTMASTER

HEYES, PETER
ASSISTANT CONCERTMASTER

WOLSKI, WILLIAM
ASSISTANT CONCERTMASTER

ARGIEWICZ, ARTUR
ASSISTANT CONCERTMASTER

ANDERSON, THEODORE
FORD, LOUIS W.
HOLM, THORSTEIN JENSEN
GUARALDI, MAFALDA
SHWEID, HENRY
EDMUNDS, CICELY
SCHNEIDER, DAVID
VAN DYKE, MARCIA
MYERS, MISCHA
ROURKE, ROBERT
GORDOHN, ROBERT
HAUG, JULIUS
WEGMAN, WILLEM
GOUGH, WALTER
PASMORE, MARY
LARAIA, ATTILIO F.
SHAPRD, DAVID
HELGET, HANS
BARET, BERTHE
PATERSON, JOHN A.
CHILINSK!I, BRUNO
KOBLICK, NATHAN
Di BIANCA, VINCENT
WRIGHT, HAROLD

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MOLNAR, FERENG
PRINCIPAL

VERNEY, ROMAIN
WHITE, ALBERT
MITCHELL, LUCIEN
WEILER, ERICH
AKON, ALFRED
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MANN, MICHAEL

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ARKATOV, JAMES
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ANDERS, DETLEV
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CONNOLLY, CATHERINE
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HRANEK, CARL

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SYMPHONY ORCHESTRA 167

“eet 7

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MAINTAINING THE

SAN FRANCISCO SYMPHONY ORCHESTRA

OFFICERS
Mrs. Leonora Wood Armsby, President and Managing Director
—. Raymond Armsby...................----- Vice-President CRarlées- Pag@vc-ssec4.2:--4 eo dob esos reasurer
PaulA:: Bissing@lies 5. sts se ae Vice-President Howard K. Skinner....................................Secretary
Charles: Re (Blyth. 22 Vice-President Geraid G. Ross.._...... Seek DA, Assistant Secretary
Garret McEnerney, II_.-................... Vice-President
EXECUTIVE COMMITTEE
Dr. Hans Barkan Mortimer Fleishhacker Mrs. Marcus S. Koshland Miss Else Schilling
Miss Louise A. Boyd Miss Lutie D. Goldstein Garret McEnerney, II Mrs. M. C. Sloss
Mrs. Selah Chamberlain Mrs. Joseph D. Grant Kenneth Monteagle Mrs. Sigmund Stern
Mrs. John P. Coghlan Mrs. Walter A. Haas Guido J. Musto ’ Mrs. Eli H. Wiel
Mrs. E. S. Heller Mrs. Ashton H. Potter

FINANCE COMMITTEE
C. 0. G. Miller, Chairman

E. Raymond Armsby Miss Lutie D. Goldstein Mrs. Ashton H. Potter
Charles R. Blyth Mrs. Marcus S. Koshland Mrs. William Lister Rogers

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MUSIC COMMITTEE

Mrs. Selah Chamberlain
Dr. Hans Barkan Mrs. Tobin Clark J. Emmet Hayden
Mrs. George T. Cameron Dr. Leo Eloesser Charles G. Norris

PUBLIC RELATIONS COMMITTEE
Mrs. John B. Knox

Mrs. M. C. Sloss Mrs. James Mills Mrs. William Lister Rogers
Mrs. John P. Coghlan Mrs. Francis Redewill Michel Weill
YOUNG PEOPLE’S CONCERT OFFICERS

Mrs. Thomas Page Maillard Mrs. Grace Benoist Mrs. Louis Sloss, Jr. Mrs. Harold K. Faber

Mrs. Harold R. McKinnon Mrs. Walter A. Haas Charles M. Dennis

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Mrs; John: P; Coghlan... -2:-. ee Chairman Mrs. Francis Redewill.._.............._.... Vice-Chairman
SAN FRANCISCO SYMPHONY FORUM .
Mrs. Alan McLenegan, Chairman Ava Jean Barber Frank Winter Martin Skewes-Cox _
John Piel Pamela Marsh Katherine Mulkey Cecily Rideout
Lt. (j.g.) J. Brandon Bassett Elwyn Thayer Ann Wegman Elizabeth Shaw
Marcia Robinson Betty Carl Paul Robinson Marilyn Biehl
BOARD OF GOVERNORS
E. Raymond Armsby Mrs. George Ebright Mrs. E. S. Heller Charles Page
Mrs. Leonora Wood Armsby Sidney M. Ehrman Walter S. Heller Mrs. Ashton H. Potter
Dr. Hans Barkan Albert I. Elkus Mrs. |. W. Hellman Mrs. Stanley Powell
Mrs. Edward O. Bartlett Dr. Leo Eloesser William F. Humphrey Mrs. William Lister Rogers
James B. Black Forrest Engelthart Mrs. Marcus S. Koshland Mrs. Henry P. Russell
Charles R. Blyth Mrs. Harold K. Faber Frederick J. Koster Miss Else Schilling
Miss Louise A. Boyd Mrs. Paul I. Fagan Gaetano Merola Mrs. M. C. Sloss
Paul A. Bissinger Mrs. Marshall H. Fisher CC. O. G. Miller Mrs. Nicol Smith
George T. Cameron Mortimer Fleishhacker Robert W. Miller Mrs. Sigmund Stern
Mrs. Selah Chamberlain Mrs. J. C. Flowers Edward F. Moffatt Mrs. Powers Symington
Mrs. John P. Coghlan John F. Forbes Kenneth Monteagle Mrs. David Armstrong Taylor
Mrs. Elizabeth S. Coolidge Mrs. Frank R. Girard Mrs. Donald Mulford Mrs. Cyril Tobin
Mrs. W. W. Crocker Miss Lutie D. Goldstein Guido J. Musto Mrs. Alfred S. Tubbs
Mrs. O. K. Cushing Mrs. Joseph D. Grant Dwight F. McCormack Mrs. Daniel Volkmann
Mrs. Georges de Latour Farnham P. Griffiths Mrs. Angus McDonald Michel Weill
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Mrs. Willard H. Durham Mrs. Harry S. Haley R. C. Newell J. D. Zellerbach
Joseph H. Dyer, Jr. J. Emmet Hayden Charles G. Norris
ADMINISTRATION

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Constance Alexander
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THE SAN FRANCISCO SYMPHONY ORCHESTRA
Records Exclusively for Victor Red Seal
SYMPHONY ORCHESTRA 169

“There's an Immortality in the expression of the
finer human moods... These moods sincerely
expressed in a portralt can mean so uch to the
person towards whom that feeling ts directed.”

Ytucliolea Sotintlen

iicliolea Ser

MASTER PHOTOGRAPHER a ae

427 POST STREET (IN THE ST. FRANCIS HOTEL) * YUKON 2061

) > () > () ED (D(a ( ) (D(A ( ) <> ( ) << ¢ ) (<<) <a ) << ) << ) <)>

ING Geo Te eae

we)

HE Musical Association of San Francisco warmly
thanks the many friends whose encouragement and
support denotes a deep personal interest in the welfare
of the orchestra. Our programs commemorate their
never-failing cooperation and devotion.

—LEONORA WOOD ARMSBY.

IN APPRECIATION

Cw ©

The Musical Association of San Francisco desires to express its grati-
tude to Radio Station KPO for the weekly “Know Your Symphony” program
with Mrs. M. C. Sloss as commentator, and to Radio Station KQW for mak-
ing available time immediately preceding the Sunday noon broadcasts of
the New York Philharmonic Symphony Orchestra for the presentation of
the San Francisco Symphony News, each of which outlines the activities of
the San Francisco Symphony Orchestra.

rr a a
SD (<DD> (> D> (> << (> <> (> <> (> (> <> (> << (> (> <<) <a) <a ( ) <a () < ( ) -()
eens a ennai ene

SYMPHONY ORCHESTRA 171

172

for generations of Americans.

WEJ

SLOANE

216 SUTTER near GRANT
SAN FRANCISCO 8, CALIF.

SAN FRANCISCO

TODAY SIGUESIVA ois

ErREM Kurtz was born in St. Petersburg in 1900 and studied at the St.
Petersburg Conservatory with Glazounoff, Cherepnin, and others. After the
Russian Revolution he lived in Berlin, and made his first appearance as a con-
ductor substituting for Artur Nikisch at one of Isadora Duncan’s concerts in
1920. He was director of the Philharmonic Orchestra of Stuttgart from 1924 to
1931; during the same period he made many appearances as guest conductor
throughout Europe and South America. He came to this country in 1932 with
the Monte Carlo Ballet Russe, and has made many appearances in this city with
that organization and the Ballet Theatre. He is now conductor of the Kansas
City Philharmonic Orchestra.

Although Mr. Kurtz has often conducted the San Francisco Symphony in
connection with the performances of the Monte Carlo Ballet and the Ballet
Theatre, this will be his first local performance in concert.

JAN SMETERLIN was born in Bielsko, Poland: in 1892. Although he had
played a Beethoven concerto in public at the age of 8, his parents objected to
his becoming a professional musician and sent him to Vienna to study law.
Here he secretly joined Leopold Godowsky’s classes in piano-playing, and his
career began when he won an Austrian state prize and was sent to London and
Berlin for concerts. After service in the Polish forces in the first World War,
Mr. Smeterlin resumed his musical activities in Vienna and generally through-
out the continent of Europe. During this time he introduced many new works
of Ravel, Szymanowski, Arthur Bliss and others. Mr. Smeterlin has been playing
in this country off and on since 1930, but this will be his first appearance with
the San Francisco Symphony Orchestra.

iQ FG Choy Se,

Tne NEG GBESie Akt ow

CARLOS CHAVEZ is equally well known as composer and conductor. He was
born near Mexico City in 1899 and studied in the Mexican capital with Manuel
M. Ponce and Pedro Luis Ogazon. The earlier part of his career was devoted
entirely to composition. He founded the Symphony Orchestra of Mexico in
1928 and remains its permanent conductor. He was director of the National
Conservatory in Mexico City from 1928 to 1934, and for a time was Chief of
the Department of Fine Arts in the Mexican Secretariat of Education. ‘This will
be his third appearance with the San Francisco Symphony.

SYMPHONY ORCHESTRA 173

Your WILL cannot
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want your Executor to follow.

If you appoint an zdividual as Executor and
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MEMBER FEDERAL DEPOSIT INSURANCE CORPORATION

174 SAN FRANCISCO

Thirty-third Season
1944 - 45

SAN FRANCISCO SYMPHONY ORCHESTRA
PIERRE MONTEUX, Conductor
-<e}-
FOURTH PAIR OF SYMPHONY CONCERTS
FRIDAY, JANUARY 12, AT 2:15
SATURDAY, JANUARY 13, AT 8:30

EFREM KURTZ, Guest Conductor

JAN SMETERLIN, Soloist
-4e}-
‘Program
SUAIE HO Re S de RGIN Goi ere re rr cane Dore ee ets Corelli
Sarabande
Giga

Badinerie

(ARRANGED BY ETTORE PINELLI)

SYMPHONIG METAMORPHOSIS OF THEMES
BY ‘GV MONEE BES Repeeecto tore et cure ta Hindemith
Allegro
Turandot, Scherzo
Andantino

March

(First PERFORMANCE IN SAN FRANCISCO)

CONCERTO FOR PIANO AND ORCHESTRA,
INO: 2 CVEUNO Ret oes nese ne are ate Rachmaninoff
Moderato
Adagio sostenuto
Allegro scherzando
Mr. SMETERLIN
*<@}>-
ENT BROOM Sis: LON

SYMPHONY No. 6, BMINOR (PaTHETIC) .. . Tschaikowsky
Adagio—Allegro non troppo
Allegro con grazia
Allegro molto vivace
Adagio lamentoso

Steinway Piano Used

SYMPHONY ORCHESTRA 175

|
SAN FRANCISCO SYMPHONY ORCHESTRA
| PIERRE MONTEUX, Conductor
-{@}-
FIFTH PAIR OF SYMPHONY CONCERTS
Friday, January 19, at 2:15
Saturday, January 20, at 8:30
CARLOS CHAVEZ, Guest Conductor
Brandenburg Concerto INO; 0 Guat One siren. Wie or en tee Bach
Saka DAG CalOl 45 (UNOS aA) dagen oe OME te nee eusbeed iat. Ue 0a ee Chavez
(First PERFORMANCE IN SAN FRANCISCO)
Goncertot om HoumueblonnsiamakO@ Loest raven tmeeon e an ieee © eee Chavez
| (FIRST PERFORMANCE IN SAN FRANCISCO)
| Symphony No. 4, in B flat Hilal] Ole iencarctsae, se Mga eed ee ee: Beethoven
| CVV CT LUTRCS EO meh 1. CNEO Mth eati tia. NS D te Re ag UN aati 1 oa toa LOR otek Cherubini
-{@F-
SIXTH PAIR OF SYMPHONY CONCERTS
Thursday, February 15, at 8:30
Saturday, February 17, at 8:30
WITOLD MALCUZYNSKI, Guest Artist
ONET, DIG CgtO MLO MMIIOT CM Suesegie en: tents Taree aa A ee Ae Berlioz
SN EMO MVE NO emt N OL: sOUMh EC yee tt vetren Satie as Jag ser St Berlioz
(FERENC MOLNAR, SOLO VIOLA)
Suite from The Plow That Broke the Plains.......... Virgil Thomson
(First PERFORMANCE IN SAN FRANCISCO)
Concerto for Piano and Orchestra, No. 2, in F minor.......... Chopin
-4O>-
STANDARD SYMPHONY BROADCAST
KPO, NBC Pacific Coast Network
Sunday, January 21, at 8:30
JOSEPH SZIGETI, Guest Artist :
SLM EMOT a INOS Willis Wan Oe wnt! ere Spee Nene eet) ean ae Haydn
Concerto for Violin and Orchestra, in D MA OF f- euepe eare Tartini
OVEGUUGERO BNO CITC tT AIL S.c.08) ee oat ante, eR Ree ene ed Gluck
Baller Mitestholln Gey iidle- cutie) O Chis y en taen e n ene ee Grétry
Overture tonne Blopement tiomne SCTAItOs 0 uence ean Mozart

176 SAN FRANCISCO

PROGRAM NOTES

By ALFRED FRANKENSTEIN

CUT Ee ORG Sah ROUN Ge eet tere lena ae eee te areca Arcangelo Corelli
(1653-1713)
(ARRANGED BY ETrorE PINELLI)

Ettore Pinelli, who was born in Rome in 1843 and died there in 1915,
was one of the comparatively small band of 19th century Italian musicians who
dared to buck the predominating operatic tides of their time and to cultivate
the instrumental forms in the land of Verdi and Puccini. It is one of the
stranger ironies of musical history that his compositions, and those of Bazzini,
Seambati and other like-minded Italians of that era, are almost entirely forgotten
today, while the only late 19th century Italian instrumental work in large form
that remains in the repertoire is Verdi’s quartet, which was composed as a
deliberate, isolated exercise in a medium and style Verdi regarded with the
utmost suspicion and reserve.

At all events, Pinelli was co-founder, with Sgambati, of the most important
music school in Rome, the Liceo Musicale; he helped to establish a chamber
music society in his native city, and, single-handed, established the Societa
Orchestrale Romana. In his orchestral transcription of sonata movements by
Corelli it is easy to perceive a gesture on the part of a modern Roman toward
the greatest similarly-minded Roman of the baroque period, for Corelli lived in
the Italian capital during the last 28 years of his life, and almost all of his count-
less sonatas and concertos were composed there.

The suite calls for no particular comment. ‘The sarabande and giga are, of
course, traditional dances very commonly used in the 17th and 18th century
sonata and suite. The sarabande is a slow dance in triple time: while the giga
(gigue, or jig) is fast, and usually exploits triplet rhythms. ‘The badinerie, how-
ever, is not a dance. The word is simply a different form of the term badinage,
and has exactly the same meaning. It is not very common as a musical term.
The only other instance the writer can think of is in Bach’s orchestral suite in
B minor.

SYMPHONIC METAMORPHOSIS OF THEMES
BVCG eV enV ONG INS aeons arc ieepee een Paul Hindemith
(1895-)

Mr. Hindemith writes as follows:

“As for the Metamorphosis, there is not much I can tell you. The first, third
and fourth of the pieces are taken from Weber's four-hand piano compositions,
and the second is a very free interpretation of ideas from Weber's overture to
Schiller’s play, Turandot.

“Originally the music was planned as part of a ballet for Massine, but this
‘dea was discarded and I wrote the work without thinking about anything else
but pleasant music, set down in a dignified and considerate way with the highest
technical perfection at my disposal.”

The Metamorphosis, incidentally, was composed in 1943 and was first per-
formed at a concert of the New York Philharmonic-‘Symphony Orchestra about
a year ago. At that time the writer was preparing program notes for a perform-
ance of Stravinsky’s Capriccio for piano and orchestra at these concerts, and, in
the light of this work by Hindemith, was very much struck by the following
passage in Stravinsky’s autobiography:

“There is little wonder that, while working at my Capriccio, I should find
my thoughts dominated by that prince of music, Carl Maria von Weber, whose
genius admirably lent itself to this manner, Alas! no one thought of calling

SYMPHONY ORCHESTRA eda

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him a prince in his lifetime! I cannot refrain from quoting (authentically) the
startling opinion that the celebrated Viennese dramatic poet, Franz Grillparzer,
had of Euryanthe and its composer; I found it in a striking anthology of classical
criticisms published by Schott. It runs as follows: ‘What I had feared on the
appearance of Freischiitz seems now to be confirmed. Weber certainly has a
poetical mind, but he is no musician. Not a trace of melody, not merely of
pleasing melody but of any sort of melody. . .. Vatters of ideas held together
solely by the text, without any inherent musical sequence. ‘There is no inven-
tion; even the way in which the libretto is handled is devoid of originality. A
total lack of arrangement and color... . This music is horrible. ‘This inversion
of euphony, this violation of beauty, would in ancient Greece have been pun-
ished by the state with penal sanctions. Such music is contrary to police regula-
tions. It would give birth to monstrosities if it managed to get about.

“Tt is quite certain that no one would dream nowadays of sharing Grillpar-
zer’s indignation. Far from that; those who consider themselves advanced, if
they know Weber, and still more if they do not know him, make a merit of
treating him with contempt as a musician who is too easy, out of date, and at
the best can appeal only to old fogies. Such an attitude might perhaps be under-
standable on the part of those who are musically illiterate, but whose self-assur-

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SYMPHONY ORCHESTRA 179

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ance is too often equaled only by their incompetence. But what can be said for
professional musicians when they are capable of expressing such opinions as,
for example, those I have heard from Scriabin? It is true that he was not speak-
ing of Weber, but of Schubert, but that does not alter the case. One day when
Scriabin with his usual emphasis was pouring out ideological verbosities con-
cerning the sublimity of art and its pontiffs, I, on my side, began to praise the
orace and elegance of Schubert’s waltzes, which 1 was replaying at the time with
real pleasure. With an ironical smile of commiseration he said: “Schubert? But
look here, that is only fit to be strummed on the piano by little girls!’ ’

Needless to say, Hindemith’s opinion of Weber is not necessarily the same
as Stravinsky’s: but the invocation of this romantic composer by two such im-
portant contemporary musicians is rather interesting.

CONCERTO FOR PIANO AND ORCHESTRA,
IN Gn 2ee COVEN © 'RERO PAO SS oe pen toa Sergei Rachmaninoff
(1873-1943)

Few important pieces of music have been created under stranger circum-
stances than the second piano concerto of Rachmaninoff. In 1898, as the result
of various difficulties in his professional life (chiefly the disastrous failure of his
first symphony) the composer began to doubt his creative abilities and the
worth-whileness of music making in general. He slumped into gloom and leth-
argy, and found himself unable to start work upon a piano concerto for which
he had been commissioned by the London Philharmonic Orchestra.

Rachmaninoff’s relatives therefore took him toa certain Dr. Dahl, a psychi-
atrist practicing the then new technique of autosuggestion. “My relations had
told Dr. Dahl,” Rachmaninoff reveals in his memoirs, “that he must at all costs
cure me of my apathetic condition and achieve such results that I would again

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SYMPHONY ORCHESTRA 181

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begin to compose. Dahl had asked what manner of composition they desired,
and had received the answer, ‘a concerto for pianoforte,’ for this I had promised
the people in London and had given it up in despair. Consequently I heard the
same hypnotic formula repeated day after day while I lay half asleep in an
armchair in Dahl’s study. ‘You will begin to write your concerto... you will
work with great facility. . . . The concerto will be of excellent quality.’ It was
always the same, without interruption. Although it may sound incredible, the
cure really helped me. Already at the beginning of the summer I began again
to compose. The material grew in bulk, and new musical ideas began to stir
within me, far more than I needed for my concerto. By the autumn I had fin-
‘ished two movements—the adagio and the finale—and a sketch for the suite for
two pianofortes whose opus number 17—1is explained by the fact that I fin-
ished the concerto later by adding the first movement.”

Moderato, C minor alla breve. Each movement of the concerto opens with
the same gambit—an introduction which starts in a key distant from the main
tonality, gradually approaches it, and finally achieves it with the initial state-
ment of the principal theme. In the second and third movements these intro-
ductions also serve as harmonic bridges from the movements just concluded.

The first movement begins with eight blocky chords in the piano proceed-
ing from F minor to C minor and from pp to ff. When the haven of C minor is
reached, the chords spread out in wide arpeggios, con passione. Two bars later
the violins, violas and clarinets state the principal theme, the arpeggios con-
tinuing in the solo:

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The theme is very a and its second portion is not quoted. ‘The transi-

‘ion to the second theme begins with capricious runs in the solo. ‘There is a

sudden climax in the entire ensemble followed by a little phrase of the violas,

whereupon the solo brings in the second theme, in E flat major. Its melody is as
follows:

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The exposition ends shortly after with rapid passage-work in the solo.
The solo rests at the outset of the development, which begins with a return
io Example | in the orchestra. Almost the entire development section is based
upon this theme, and it has the effect of a continuous crescendo in solo and
orchestra together leading to a great climax. At the height of this climax Ex-
ample 1 rides back again in its original form and key in the strings ff. “The fol-
lowing transition passage 1s somewhat more extended than in the exposition.
| rhe second theme (Example 2) recurs in the horns in A flat major in notes of
| swice the original value. ‘The closing theme (Example 3) is given to the solo in

C minor in a varied form, and also in notes of twice the original value. ‘The
|. movement concludes with a quick-step coda.

I]
Adagio sostenuto, E major, 4/4 time. Four introductory bars in the orches-
ira go from C minor (the key in which the first movement had closed) to E

major, in which key the solo introduces an arpeggiated triplet figure. ‘This con-
‘inues as the woodwind state the one and only theme of the movement:

ae”

‘There is

SYMPHONY ORCHESTRA , 187

188

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the theme, and the violins the little interludes given to the solo in Example 4.
The theme ultimately passes to the strings.

Now the solo begins an elaborate, variation-like working out of the theme.
This ends in a little cadenza written into the score. Then the piano returns to
its triplet figure and Example 4 comes back in the violins. A short coda ends
the movement.

Allegro scherzando, C minor, alla breve. The introduction, 1n the orches-
tra alone, begins in E major, the key of the Adagio. It reaches a climax and is
followed by a cadenza of the solo. Then eight bars of rhythmic preparation lead
to the theme, given out by the piano. Its bare melodic bones are as follows:

A return to Example 5 ends the first theme-group. ‘The second theme, in B flat
major, Moderato, appears in the oboe and violas after a few bars’ transition in
the solo:

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SYMPHONY ORCHESTRA 189

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Example 7 is thundered out by all concerned (Maestoso, CG major) but the
closing bars (piu vivo) go back to Example 5.

SYMPHONY No. 6, B MINOR,
(PHATE IGE TETUG AVR NC ci aes Re oe Peter Ilyitch Tschaikowsky
| " (1840-1893)

The first mention of Tschaikowsky’s last symphony occurs in a letter he
wrote to his nephew, Vladimir Davidoff, on February ZOO a:

“T must tell you how happy Iam about my work. As you know, I destroyed
a symphony which I had partially composed and orchestrated in the autumn.
[ did wisely, for it contained little that was really fine —an empty pattern of
sounds without any inspiration. Just as I was starting on my journey the idea
“came to me for a new symphony, this time with a program, but a program which
will remain an enigma to all—let them guess it who can. The work will be
entitled A Programmatic Symphony (No. 6). This program is penetrated by
subjective sentiment. During my journey, while composing the work in my
mind, I frequently shed tears. Now that I am home again I have settled down
to sketch it out, and it goes with such ardor that in less than four days I have
completed the first movement, while the rest of the symphony is clearly outlined
in my head. There will be much that is novel as regards form in this work. For
‘nstance, the finale will not be a great allegro, but an adagio of considerable
dimensions. You cannot imagine what joy I feel at the conviction that my day 1s
not yet over, and that I may still accomplish much. Perhaps I may be mistaken,
but it does not seem likely.”

The journey referred to in this letter was a conducting tour that took
Tschaikowsky to Paris. Late in May of that year the composer went to England
to receive an honorary degree at Cambridge, and wrote Davidoff “I suffer, not
only from torments that cannot be put into words (there is one place in the sixth

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SYMPHONY ORCHESTRA 193

symphony where they seem to me to be adequately expressed) , but of a hatred of
strangers and an indefinable terror — though of what, the devil only knows.”

These alterations between gloomy fears of being played out, and exhila-
ration at discovering that he still had much to Say, were typical of Tschai-
kowsky throughout his life. In August he wrote his brother that ~ Twenty years
ago I let myself write at ease and it was all right. Now I have become cowardly
and uncertain. I have sat the whole day over two pages; that which I wished
came constantly to naught. In spite of this, I make progress.” A little later
Davidoff was reading “I am well satisfied with the contents, but not with the
orchestration. I do not succeed in my intentions. It will not surprise me if the
symphony is cursed or judged unfavorably; it will not be the first time. ] myself
consider it the best, especially the most open-hearted of all my works.”

The Pathetic was indeed “judged unfavorably” when ‘Tschaikowsky con-
ducted it for the first time at a concert in St. Petersburg in October, 1893, but
this does not seem to have disturbed him. On the following day his brother,
Modeste, discovered the composer in his room about to send the score LOsthe
publisher. He was worried about the title. “What does Programmatic Symphony
mean when I will give it no program?” he complained. Modeste suggested the
title Tragic, but Peter did not like this. Modeste turned to go, and then, on a
sudden inspiration, turned back to utter the one word Pathetic. “Splendid,
Modi, bravo, Pathetic!’ And the title was then and there inscribed on the score.
Yet within a few hours Tschaikowsky was writing to the publisher to disregard
this, and to print the work with no title at all.

All this happened on October 29, 1893. Fight days later Peter Tschai-
kowsky was dead. The official account of his death, supplemented by detailed
reports of physicians, is that he was carried off by a sudden attack of cholera,

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which was then epidemic in St. Petersburg. But the persistent unofficial account
is that ‘schaikowsky committed suicide, and in the Tschaikowsky memorial
issue Of Music and Letters Gerald Abraham stated that “recent research has
shown beyond reasonable doubt that death was the secret programmatic idea at

the back of the finale to the Pathetic.”

*% *K %* %K * * * *

Tschaikowsky’s fourth and_ fifth symphonies are dominated by “‘fate
motifs” which recur in all the movements like the “fixed idea” of Berlioz’s
Fantastic. Lhe Pathetic is similarly haunted, but in a much more subtle and

4 plastic and all-pervading fashion, by a descending scale-line from which many

independent themes are derived. (See the woodwind phrase of Example 2; Ex-

ample 3, particularly Motif A: the last four bars of Example 4; and the opening
bars of Examples 6, 10 and 11. ‘The descending scale also occurs in many other
parts of the symphony.)

This same drooping by tones and semitones 1s characteristic of one of the
most famous examples of the pathetic in the classical literature, Mozart’s great
string quintet in G minor. Tschaikowsky may have been influenced here by
the Mozart quintet, but it is more likely that there is no direct connection be-
tween the two works. It is perfectly obvious that two composers — even two as
temperamentally unlike as Mozart and I’schaikowsky — might easily employ

similar melodic devices to express similar emotional meanings, but it would
be a very rash man who would generalize from this into any universal law of
melodic expressiveness. Along this line it is worth pointing out that Hugo Rie-
mann made much of the resemblance between the first four notes of Example |

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SYMPHONY ORCHESTRA 195

below and the first five notes of Beethoven’s Sonate Pathétique; the descending
scale line does not figure in either of these motifs.
I

Adagio, B minor, 4/4 time. The symphony opens with an introduction
which starts, like the Rachmaninoff concerto of today’s program, in what Sir
Donald Francis Tovey calls “the dark outlying region” of the subdominant, in
this case E minor. This section is devoted to a foreshadowing, in the bassoons,
of the principal theme (Example 1) to come, and ends with the descending scale
in the violas.

The key changes to B minor and the tempo to Allegro non troppo as the
violas present the principal theme:

This is counterstated by the woodwind and briefly worked over. A long chain
of subsidiaries follows. beginning with a little horn call like a rhythmic variant
of the opening notes of Beethoven’s fifth symphony, followed by:

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In the subsequent material the twirling 16ths of Example 1 are much in evi-

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dence in various new combinations. A minor climax 1s attained, recedes, and is
succeeded by the second theme.

This section (Andante, D major) is practically a miniature movement in
itself. It opens with the following theme in the violins, (teneramente, molto
cantabile, con espansione) :

Four bars later the flute, followed in close imitation by the bassoon and then
clarinet, has a contrasting phrase:

This is also worked over, whereupon Example 3 returns in the violins and
violas accompanied by repeated triplets elsewhere in the orchestra. “The section
dies away in the clarinets, pppppp.

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SYMPHONY ORCHESTRA 197

pany, Inc., Los Angeles, California

The development begins with a sudden explosive chord in the full orches-
tra, ff and Allegro vivo. ‘Vhe greater part of this section Is given over to a fren-
ied discussion of Example 1, with the direction feroce much in evidence. Some
of the pronouncements of the brass, however, are based upon Motif A in Ex-
ample 3.

Ultimately the development quiets down to repetitions of the first four
notes of Example | in the strings over syncopated triplets in the horns, and this
leads through the outermost bastions of the tonality — B flat minor —and a
crescendo to an extremely violent varied recapitulation of the principal theme
in the full orchestra and in the home key of B minor, with much emphasis upon
antiphonies of strings and wind. The subsidiaries are now dispensed with, and
the recapitulation of the first theme ends in the major climax of the movement.
Here the strings and flutes have the descending scale in its most gigantic form,
falling slowly by whole and half steps from a high F sharp to the E natural two
octaves and a tone below, while the trombones and tuba vocitferate a tragic new
fieure of their own.

The consoling second theme follows (Andante come prima, B major) with
Example 3 in the violins and flutes. Example 4 is omitted, and the entire return
of the second theme is concerned with a varied repeat of No. 3. Again the
section dies away in the clarinets, this time with accompaniment. There is a
short coda (Andante mosso, B major) in which Example | is given a chorale-
like turn in the brass and woodwind accompanied by the descending scale
plucked out by the strings.

Allegro con grazia, D major, 5/4 time. ‘This movement, which has aptly
been called “a three-legged waltz,” opens with its principal theme in the ’celli:

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199

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200

SAN FRANCISCO

The entire first part of the movement is based upon this idea.
The trio opens with the following in the flutes, violins and ’celli, con dol-
cezza e flebile:

There is also a continuing phrase not quoted. Throughout the entire trio the
bass instruments repeat or sustain a low D to provide one of the longest pedal-
points in the symphonic literature. Toward the end of this section Examples 5
and 6 are combined.

The first part of the movement is repeated in varied form at the conclu-
sion of the trio, Example 5 being taken up by the violins and ‘celli in octaves.
The wistful coda opens in the woodwind with the descending scale which is the
pathetic leitmotiv of the entire symphony.

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II
Allegro molto vivace, G major, 4/4 time. The third movement is in the
sonata form without development. The principal theme is composed of several
fragmentary ideas, of which the most important are the bustling string figure
heard at the beginning and throughout the first part of the movement, a new
version of the omnipresent descending scale, and the motif given to the oboe
at thé ninth bar:

The second theme, in E major, is given to the clarinet on its initial state-
ment and is an extension of Example 7:

This is counterstated by the violins, which also bring in a secondary portion of
the theme:

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SYMPHONY ORCHESTRA 203

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d Te EE TT A — ~~

These materials are briefly worked over. The original key eventually returns
and with it the numerous fragmentary ideas of the principal theme. Examples
8 and 9 are also heard in G and there is a brilliant coda.

IV
Adagio lamentoso, B minor, 3/4 time. The movement opens with its prin-
cipal theme in the strings, curiously divided between the parts but producing
the following melody:

Three bars later there is a continuing phrase of the flutes and bassoons not
quoted. The strings repeat their theme, but now the continuing phrase is in
the bassoons alone and it takes those instruments into the most doleful nether
regions of their compass.

The horns begin a syncopated triplet figure over which the violins and
violas sing the second theme (Andante, D major, con lenezza e devozione) :

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SYMPHONY ORCHESTRA 205

KPO SYMPHONY NOTES

... Noted San Francisco contralto Fernanda Doria, who has sung
in opera and concert all over the continent of Europe, will be Mrs.
M. C. Sloss’ guest Saturday, January 13, on the KPO “Know Your
Symphony” program which is broadcast at 5:00 p.m. Miss Doria and
Mrs. Sloss, member of the Musical Association’s Executive and Public
Relations Committees and of the Board of Governors, will discuss
“The Singer and the Symphony.”

...QOn the “Stradivari Orchestra,” which is broadcast over KPO
each Sunday at 9:30 a. m., Jacques Gasselin, concert master, will play
“Voi lo sapete” from Mascagni’s “Cavalleria Rusticana” on the Jan-
uary 14th program. Paul LaValle will direct the orchestra in “Gypsy
Dance” from Bizet’s “Carmen,” Chaminade’s “Scarf Dance,” Chopin’s
Piano Waltz, Opus 64, and a medley from Kalman’s ‘Countess
Maritza

... Eugene Ormandy will conduct the last of his four concerts on
NBC's “General Motors Symphony of the Air’ next Sunday when he
presents an all-Brahms program between 2:00 and 3:00 p.m. High-
lights will be the “Academic Festival Overture” and the “Symphony
No. 2 1n D Major.”

... Efrem Kurtz will again be presented as conductor on “The
Standard Hour” Sunday, when it is broadcast from KPO over the
NBC Pacific Coast network at 8:30 p. m. He will direct the entire
San Francisco Symphony Orchestra in Weber’s “Oberon’’ Overture,
Corelli's “String Suite,” Richard Strauss’ “Rosenkavalier” Waltzes,
Offenbach’s “Gaite Parisienne” and John Philip Sousa’s “E] Capitan”
March. Special feature will be Stanley Bate’s “Hameen,” orchestral
piece based on Saudi-Arabian melodies.

... Rise Stevens, Metropolitan Opera mezzo-soprano, will be a
guest on KPO’s “The Voice of Firestone” next Monday, January 15,
(5:30 p.m.) when she sings Pestalozza’s “Ciribiribin,” Saint-Saens’
“Printemps qui commence” from “Samson and Delilah” and other
selections. Howard Barlow will conduct the orchestra in the prelude
to Act III from Wagner’s “Lohengrin,” Schubert’s “March Militaire’’
and Herbert’s ‘““‘Dagger Dance” from “Natoma.”

ZO PInza. DassOlOL thie Metropolitan, will be a guest on the
“Telephone Hour” when it, too, is broadcast over KPO Monday
night at 9:00 o’clock. Supported by Donald Voorhees and the orches-
tra, Pinza will sing the aria “Ella giammai m’amd” from Verdi’s
“Don Carlos,” and the aria of the ‘Tambour-Major from Thomas’
“Le Caid” as his operatic numbers. The orchestra will play the
Overture to “William Tell” by Rossini.

206

SAN FRANCISCO

11 Se +
poppe aah

ChESG: ———

This is worked over with constantly increasing volume and faster pace until it
ends on a sudden pause after two bars of Vivace.

Eight bars of transition serve as a bridge to the recapitulation of the prin-
cipal theme, Example 10, which 1s now subjected to some development.* At the
close of this episode a gong very quietly seals the doom of Peter Tschaikowsky
and the human race. A few transitory bars in the horns lead to the recapitula-
tion of the second theme, Example 11, in B minor in the strings, and with this
the symphony dies away.

*Like the finale of the first symphony of Brahms, this movement must be analyzed as sonata
form without development with development in the recapitulation. The terminology of music
‘s unfortunately all too full of this kind of double-talk, but it is not my fault.

WILLIAM F. LARAIA

First Violinist San Francisco Symphony Orchestra for twenty-five

WGQTS a has resigned in order to devote his time exclusively to
teaching.

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SYMPHONY ORCHESTRA 207

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208

SAN FRANCISCO

aie

eS ES

T,, e Musical Association
of San Francisco, maintaining and operating
the San Francisco Symphony Orchestra, still
requires $15,000.00 to complete the 1944-
1945 season, and this 1s where you who are
really deeply interested in the welfare of our
city’s most beautiful music come. forward
with gifts of money to help in balancing the

budget.

The budget has been kept out of the red just
because we have all of you who are vitally
and courageously interested in the welfare of

the symphony to assist us.

Our campaign for needed funds for the or-
chestra is now under way and we hope and
rely on your making possible a successful
season by your contribution, large or small,

to:

MUSICAL ASSOCIATION OF SAN FRANCISCO

WAR MEMORIAL OPERA HOUSE
SAN FRANCISCO

SYMPHONY ORCHESTRA

209

PERSONNEL

SAN FRANCISCO SYMPHONY ORCHESTRA

VIOLINS:

BLINDER, NAOQUM
CONCERTMASTER

HEYES, PETER
ASSISTANT CONCERTMASTER

WOLSKI, WILLIAM
ASSISTANT CONCERTMASTER

ARGIEWICZ, ARTUR
ASSISTANT CONCERTMASTER

ANDERSON, THEODORE
Forb, Louis W.
HOLM. THORSTEIN JENSEN
GUARALDI, MAFALDA
SHWE!ID, HENRY
EDMUNDS, CICELY
SCHNEIDER, DAVID
VAN DYKE, MARCIA
MYERS, MISCHA
ROURKE, ROBERT
GORDOHN, ROBERT
HAUG, JULIUS
WEGMAN, WILLEM
GOUGH, WALTER
PASMORE, MARY
LARAIA, ATTILIO F.
SHAPRO, DAVID
HELGET, HANS
BARET, BERTHE
PATERSON, JOHN A.
CHILINSKI, BRUNO
KOBLICK, NATHAN
Di BIANCA, VINCENT
WRIGHT, HAROLD

VIOLAS:

MOLNAR, FERENG
PRINCIPAL

VERNEY, ROMAIN
WHITE, ALBERT
MITCHELL, LUCIEN
WEILER, ERICH
AKON, ALFRED
KARASIK, MANFRED
PETTY, SUZANNE
VAN DEN BURG, JAC
MANN, MICHAEL

PERSONNEL MANAGER:

210

PIERRE MONTEU®X, Conoucror

‘CELLOS:

BLINDER, BorRIS
PRINCIPAL
REINBERG, HERMAN
ARKATOV, JAMES
BEM, STANISLAS
ANDERS, DETLEV
HUGHSON, MARY
PETTY, WINSTON
CONNOLLY, CATHERINE
PASMORE, DOROTHY
HRANEK, CARL

BASSES:

KARP, PHILIP
PRINCIPAL
SCHMIDT, ROBERT E.
BELL, WALTER
GUTERSON, AARON
SCHIPILLITI, JOHN
BUENGER, AUGUST
STORCH, ARTHUR E.
ORSINI, JOSEPH

FLUTES:

RENZI, PAUL JR.
SHANIS, RALPH F.
BENKMAN, HERBERT

PICCOLO:
BENKMAN, HERBERT

OBOES:

REMINGTON, MERRILL
SHANIS, JULIUS
SCHIivo, LESLIE J.

ENGLISH HORN:
SCHIvoO, LESLIE J.

OBOE D’AMOUR AND
HECKELPHONE:
SHANIS, JULIUS

CLARINETS:

SCHMITT, RUDOLPH
BIBBINS, F. C.
FRAGALE, FRANK

E FLAT CLARINET:
BiISBiNS, F. C.

JULIUS HAUG

BASS CLARINET
FRAGALE, FRANK

BASSOONS:
KUBITSCHEK, ERNST
HIBSCHLE, FRANK
BAKER, MELVILLE
HRANEK, CARL

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SYMPHONY ORCHESTRA

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SYMPHONY ORCHESTRA

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218 SAN FRANCISCO

eg re oe ee Ne

TODAYS GUEST Anis

Cartos CHaAvez is equally well known as composer and conductor. He was
born near Mexico City in 1899 and studied in the Mexican capital with Manuel
M. Ponce and Pedro Luis Ogazon. The earlier part of his career was devoted
entirely to composition. He founded the Symphony Orchestra of Mexico in
1928 and remains its permanent conductor. He was director of the National
Conservatory in Mexico City from 1928 to 1934, and for a time was Chief of
the Department of Fine Arts in the Mexican Secretariat of Education. This will

be his third appearance with the San Francisco Symphony.

C7 OoOo™~

NEXT GUEST, ARTIST:

Wrrotp MALCuzyYNSKI was Paderewski’s last pupil. He was born in Warsaw,
and began his professional training in the field of law. He studied the piano as
an avocation, but was advised by Paderewski to make it his life's work. He
then studied with that master for several years, and at this time won the Inter-
national Chopin Competition in Warsaw. On the completion of his studies,
eave recitals and was soloist with orchestras in many parts of

Europe. He was in the Balkans when Poland fell to the Germans in 1939, and

Malcuzynski

went to Paris with his wife, who is also a pianist and a member of the celebrated
Parisian musical family of Gaveau. The Malcuzynskis escaped from Paris just
ahead of the Germans in 1940, and, through the intervention of a musical friend,
were able to go to South America. Malcuzynski gave many recitals in Buenos
Aires, Rio de Janeiro, Lima and elsewhere. Yehudi Menuhin heard him play
in Montevideo and was responsible for his coming to the United States. Mal-
cuzynski has given concerts in many parts of this country, but this will be his
first appearance in San Francisco. He will play on the concerts of Thursday and

Saturday night, February 15-17.

SYMPHONY ORCHESTRA 219

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SAN FRANCISCO SYMPHONY ORCHESTRA
PIERRE MONTEUX, Conductor

-<@}-
FIFTH PAIR OF SYMPHONY CONCERTS
: FRIDAY, JANUARY 19, aT 2:15

SATURDAY, JANUARY 20, AT 8:30

CARLOS CHAVEZ, Guest Conductor

-4e}-
‘Program

BRANDENBURG CONCERTO No. 3

TIN GEA ORG ei carne Pieces ey rae mrad seer Soh eae ence na Bach
Allegro
Allegro
SARABANDE OUR sale EIN Groner eet rr. Chavez
(First PERFORMANCE IN SAN FRANCISCO)
CONCERTO FOR FOUR HORNS
AUNT EUR. Gece Sa RANG fet rsa tere tk eee ie ceenee eee ce Chavez

Allegro
Adagio cantabile
Rondo: Vivo
(First PERFORMANCE IN SAN FRANCISCO)
Soloists: FUERMAN TRUTNER, Dino LUCCHESI, CHARLES I'RYNER
AND PAUL ROTH

Nee Velotoen®) IN

SYMPHONY No. 4, IN B FLAT MAJOR pee eee Beethoven
Adagio - Allegro vivace
Adagio

Scherzo: Allegro vivace
Allegro ma non troppo

OVER TURE FOCANAG RE ONS Sie tn Nas iho Cherubini

A REQUEST
It is requested that subscribers who are unable to use their tickets
kindly phone the Symphony Office—UNderhill 4008—giving location
of their seats that they may be assigned to uniformed men and women.
This courtesy will be deeply appreciated.

mt A

SYMPHONY ORCHESTRA 221

222

SAN FRANCISCO SYMPHONY ORCHESTRA

PIERRE MONTEUX, Conductor

~{@}-

SIXTH PAIR OF SYMPHONY CONCERTS

Thursday, February 15, at 8:30
Saturday, February 17, at 8:30

WITOLD MALCUZYNSKI, Guest Artist

Overtume tome iro 1G Cus GaT Nace amen ead. tie eee nee 2 Berlioz
Symphony No. 3, Harold in LEG Raed hoe eee at eats aes ee ee ee Berlioz
(FERENC Mounar, SOLO VIOLA)

Suite from The Plow That Broke the Plains... .. “eae Virgil Thomson
(First PERFORMANCE IN SAN FRANCISCO)

Concerto for Piano and:Orchestra, No. 2,in F minor.......... Chopin
-40}-

SEVENTH PAIR OF SYMPHONY CONCERTS

Friday, February 23, at 2:15.
Saturday, February 24, at 8:30

LORIN MAAZEL, Guest Conductor
NAOUM BLINDER, Soloist

OVventuirestouk Osan des sce Aaa e ee te enn eee ea Schubert

Neel Penny eb yaaay lal oven i, hea aeer ec oWenel Siercar ht ApEn aN Retr a eae en at Pe Mendelssohn

Conecertovton Violmbeand Orchestras .12.4. 202... Set oe ey Bloch
~4e}-

STANDARD SYMPHONY BROADCAST

KPO, NBC Pacific Coast Network
Sunday, January 21, at 8:30

: | JOSEPH SZIGETI, Guest Artist

SVL NOUN VARIN lap eka x A A] Oars tata a Ree tree cee Ree sin ee Haydn
Concerto for Violin and Orchestra, in D TA OU torea ti ese Bales acon Tartini
Overture to Iphigenia in Aulis....... Aids eas ea ne ACN e BET Gluck
Balletouiter thom Gen Wa lcrcl senOCKLs sane on wena wee ey ent, Grétry

Overture to Miewslopement froupine Scvacuor. 294. ane ae Mozart

SAN FRANCISCO

PROGRAM NOTES

By ALFRED FRANKENSTEIN

BRANDENBURG CONCERTO No. 3,
TN GsM Aq GO Reigen tiene Sh apace er are Johann Sebastian Bach

(1685-1750)

In the spring of 1718 Prince Leopold of Anhalt-Cothen went to Carlsbad
to take the waters, bringing with him five members of his household orchestra
and his personal staff composer and harpsichordist, Johann Sebastian Bach.
The Prince apparently gave musical parties at Carlsbad, and .these were pre-
sumably attended by another blue-blooded musical enthusiast, Christian Lud-
wig, Margrave of Brandenburg. ‘he Margrave commissioned Bach to compose
some concertos for his own orchestra, and these were dispatched in 1721 with
the following letter, written in the purest Saxon French:

“4 son altesse royale, Monseigneur Crétien Louis, Margraf de Brandebourg,
€tc., Etc.

“Monsergneur,

“Two years ago, when I had the honor of playing before your Royal High-
ness, I experienced your condescending interest in the insignificant musical
talents with which heaven has gifted me, and understood your Royal Highness’s
eracious willingness to accept some pieces of my composition. In accordance
with that condescending command, I take the liberty to present my most humble
duty to your Royal Highness in these concerti for various instruments, begging
your Highness not to judge them by the standards of your own refined and deli-
cate taste, but to seek in them rather the expression of my profound respect and
obedience. In conclusion, Monseigneur, I most respectfully beg your Royal
Highness to continue your gracious favor toward me, and to be assured that
there is nothing I so much desire as to employ myself more worthily in your
service.

“With the utmost fervor, Monseigneur, I subscribe myself,

“Your Royal Highness’s most humble and most obedient servant,

Jean Sébastien Bach.”

The letter was, of course, purely conventional. ‘—The concertos were not,
wherefore the Margrave’s “refined and delicate taste” led him to put the manu-
script aside and forget all about it. It was not even entered in the extensive
catalogue of his music library, and the noble lord died in 1734 little realizing
he had won a tiny niche in history through the commissioning of a piece of
music that was shortly to be sold in a job-lot of junk which the Margrave’s heirs
disposed of for eight cents.

Yet it is easy to understand why Christian Ludwig thought little of his
concertos by Bach, for these works are among the most startingly original
orchestral compositions of all time. Nothing like them had previously existed
and nothing like them has been created since.

It was the custom then, and for a long time afterward, for instrumental
compositions in the same form to be produced in litters of six. (The last im-
portant instance of this practice is Beethoven's set of six quartets, Opus 18,
written in 1800.) Bach obviously perceived in the Brandenburg commission an
opportunity to experiment with six totally different types of orchestral balance,
color and sonority. The standard, universal orchestra of the present time was
unknown, and instrumental ensembles varied greatly from place to place as
well as from time to time within a single place. Bach’s six experiments in the
Brandenburg concertos are therefore almost a complete treatise on 18th century
ensemble practice and potentiality as seen by the most daringly inventive
musical mind of that age.

SYMPHONY ORCHESTRA 223

od bse Ne nteux

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The third Brandenburg is written for strings in nine parts—three violins,
three violas and three ’celli—plus the harpsichord bass which. 1s frequently
omitted in modern presentations. Bach obviously intended this work to be
played with only one performer to a part, for the Brandenburg concertos are
really chamber music on a grand scale.

The third Brandenburg also provides a bit of a mystery as regards form.
It is customary for the concerto to be cast in three movements, a tradition which
Bach follows in all the Brandenburg set except the first and third. ‘The third
concerto contains two Allegro movements separated by two strange, problem-
atical bars of Adagio. One school of thought believes these bars were intended
as the final cadence of a slow movement to be improvised, probably by the
harpsichordist. “Today they are sometimes used as the excuse for a cadenza by
the concertmaster, and sometimes as the excuse for a slow movement interpo-
lated from some other work of Bach. Mr. Chavez belongs to the school which
holds that these two bars are exactly all the slow movement Bach ever intended
—a mere point of harmonic contrast in 5 minor between two movements in
G major.

OO Ee SS — ee

Buffet Service in Basement Promenade and Dress Circle during all performances

8 ES SS

WAR MEMORIAL OPERA HOUSE. Owned and operated by the Citv and Countv of San Francisco
through the Board of Trustees of the War Memorial.

Hard-of-hearing aids are available in the Main Foyer. Attendant will connect same to your seat
location on request. — Opera Glasses in Foyer.

SYMPHONY ORCHESTRA 225

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(1899-)

According to Percy Scholes, the sarabande is the “measure full of state
and ancientry” to which Shakespeare refers in Much Ado A bout Nothing. Yet
at the very time Shakespeare was writing this line (1598) the dance was sup-
pressed by law in Spain because of its presumed lewdness. Jehan Tabouret, the
foremost dancing authority of that period, wrote in 1596 that the sarabande had
lost its lascivious character in being transplanted from Spain to France, and he
praises it for its seriousness and grandeur. It is possible that ‘Tabouret’s ex-
planation 1s correct, and this would resolve the apparent inconsistency between
Shakespeare’s attitude and Philip II's law, but it is also possible that the sara-
bande was merely suffering from the moral condemnation that seems to be the
fate of every dance when it is new. In 1805 Dr. Charles Burney, writing of the
latest dance-craze of his time, said “The word waltzen, whence this word 1s
derived, implies to roll, wallow, welter, tumble down, or roll in the dirt of
mire.” Burney knew perfectly well that waltzen means simply “to turn,’ and was
applied to the dance for innocent and obvious reasons, but his moral indigna-
tion ran away with him.

At all events, the sarabande probably originated in the Orient. It came into
Europe through Spain and achieved great and lasting popularity. It is often
used by modern dancers to suggest “state and ancientry,’ and such was appar-
ently its intention in this case. For the sarabande by Mr. Chavez is part of an
extended ballet score which he wrote last year for Martha Graham on a commis-
sion from the Elisabeth Sprague Coolidge Foundation. It has not as yet been
presented with Miss Graham's choreography, nor has the score as a whole been
performed in concert. ‘The subject of the ballet is derived from Greek tragedy.

eee MARK HOPKINS as

: direct from New York’s fo
| Waldorf Astoria and the
. xa Palmer House in Chicago

and his orchestra
featuring lovely

JUNE HOWARD

in beautiful

GEO. D. SMITH,
General Manager

SYMPHONY ORCHESTRA 227

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CONCERTO FOR FOUR HORNS
SAINI Ls OOF EL PSUR Aon ate ta etn hee oad ach Sticlen par Carlos Chavez

The following notes, by Francisco Agea, are taken from the program book
of the Symphony Orchestra of Mexico for Siejorcenmlorere ay, ES):

“This work was originally conceived and created in 1930 as a sonata for
four horns. In this form it was played in May, 1930, ,at the Teatro Arbeu, in
one of the concerts arranged by the National Conservatory of Music.

“Tater the composer, realizing the extreme difficulty of the work, in which
the four cornists were playing constantly and alone for more than twenty
minutes, planned to rewrite the piece in the form of a concerto for horns and
orchestra. But it was not until the spring of 1937 that he was able to get at the
revision. The first two movements were played in the new version on April 11
of that year at the chamber music festival held in Washington under the pat-
ronage of Elizabeth Sprague Coolidge, and the first movement was performed in
Mexico at the chamber music festival held in July, 1937. The finale was re-
written only this year (1939).

“Tn the new scoring, the four horns still have all the most important the-
matic parts of the original, but they are not treated as virtuoso instruments in
the ordinary sense of that word. Besides the horns and the usual strings, the
orchestration calls for a quartet of clarinets and also of double reeds (English
horn, two bassoons and contra-bassoon) which reinforce rather than compete*
with the horns. The work is therefore neither a concerto nor a concerto grosso,
but a sinfonia concertante in which the horns predominate as soloists. As for
the structure, much use is made of the cyclic form. ‘The two principal themes

* Mr. Agea here refers to the fact that concertare, the Italian word from which concerto
is derived, means ‘“‘to compete,” and a concerto is therefore literally a competition rather than
an exercise in ensemble.

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of the first movement reappear as important thematic elements in the other two
movements, the first theme in the finale and the second in the Adagio.”

SYMPHONY No. 4, B FLAT MAJOR

CP'S 60s ioe phate Gates Ske om Sate Saar ce Ludwig van Beethoven
; (1770-1827)

Because there is no authentic story to be told about the fourth symphony,
romantic biography has been forced to invent one. ‘The fourth symphony was
never dedicated to Napoleon and later re-dedicated to an abstract ideal of hero-
‘sm. Fate does not knock at its door. It paints no nature-pictures, and proclaims
no philosophy of human brotherhood in choral terms. There is not even a shred
of an anecdote about a dinner party and a metronome-ticking scherzo to be told
as background to the fourth symphony, wherefore we are informed that this
work is so genial, sunny and light-hearted in mood because Beethoven was in
love with the Countess Theresa von Brunswick when he wrote it in 1806. We are
informed by the same authorities that the eighth symphony is even more light-
hearted than the fourth because Beethoven was perfectly miserable in 1812.

Adagio, B flat major, 4/4 time. The symphony begins with one of Beet-
hoven’s most important innovations, a slow introduction which serves to create
a mood of mystery and expectancy out of which the main movement will event-
ually take form. The introduction ends with rising scales punctuated by pauses.
Shortly the scales swing into the theme of the Allegro vivace:

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SYMPHONY ORCHESTRA 231

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This is repeated by the full orchestra, whereupon the violins bring in the second
part of the theme:

The second theme, in F major, is introduced by the woodwind after a long
crescendo and a passage in a markedly syncopated rhythm:

The theme is extended by the violins, and after a passage of sequences the con-
cluding theme appears in a canon of the clarinet and bassoon. Only the clarinet
part is quoted:

p dolce
Example 4 is repeated by the full orchestra, and the concluding section returns
for a moment to the syncopated rhythms previously heard.

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The syncopations bridge the gap to the comparatively short development
section, which is based almost entirely upon the principal theme. (Example 1.)
Not far from the beginning of the development, however, a new episodic idea
is introduced:

pe = artes “eae tise?

But this is accompanied throughout by intervals from the first bars of Exam-
ple 1. Toward the end of the development the woodwind motif in the last four
bars of Example 1 comes to prominence. The section ends with mysteriously
hushed repetitions of the rising triplet figure at the very beginning of Example |
heard in the strings over a long roll of the kettledrums, leading through a erad-
ual crescendo to the recapitulation.

woodwi

This section is not a literal repetition of the exposition. here are some
alterations in Example I as it is restated, and Example 2 is entirely omitted.
Examples 3 and 4, however, come back much as before, but in B flat major.
Example | 1s further treated in the coda.

II.
Adagio, E flat major, 3/4 time. A sonata-like rondo. The second violins
begin by stating the rhythm to be heard almost incessantly in accompaniment
throughout the movement, followed by the principal theme in the first violins:

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Before or After the Concert Visit the

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SYMPHONY. ORCHESTRA 235

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end ylns. — IS vlns.

pi aa nnn ee
sf

pe ee ee

The theme is counter-stated by the woodwind, and there 1s a longish transition
with new material not quoted. The second theme, or first episode, 1s stated by
H the clarinet in B flat major over a 16th-note figure in the violins:

7 clarinet

Ime ‘4.
ner TP

A brief concluding figure is given to the bassoon over 32nd-note figuration in
the strings.

The principal theme (Example 6) now returns in the violins in a floridly
ornamented form and is briefly developed. The recapitulation starts with this
same ornamented version of the theme in the flute. ‘The transitional material
follows, and the second theme (Example 7) is reheard, again in the clarinet, but
in E flat. The concluding motif is played by the horns instead of the bassoons,
and there is a very brief coda based on the principal theme.

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SYMPHONY ORCHESTRA 237

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Allegro vivace, B flat major, 3/4 time. The conventional scherzo and trio.

The first section of the scherzo, 20 bars long, presents the following subject:

& full orchestra clar.g.bs51.

Presi tee siete tears

iid 5

The section is repeated, and is followed by a much longer section, also repeated,

in which Example 8 is worked over.
The trio begins as follows:

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This is also worked over at some length.

The scherzo proper (Example 8 and following) 1s then heard once more. By
an exception to the usual procedure, the trio is also reheard. At the end of the
movement the scherzo comes back once more.

IV.
Allegro ma non troppo, B flat major, 2/4 time. The finale begins with its
theme in the strings:

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The 16th notes spin out for seven more bars, whereupon the strings begin the
second part of the theme:

violins

ieee ear ae ia

A short transition takes the music into F major for the second theme:

obi eae = eae

This is extended by the strings. ‘There is a concluding idea in the violins:

But the exposition ends with references back to the bustling sixteenths of the
principal theme. (Example 10.) The entire exposition is then repeated, from
the beginning of the movement.

Examples 10 and 11 also provide the materials of the short development.

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The recapitulation begins with Example 10 in the bassoon. (A perfect in-
stance of what Professor Tovey calls the Great Bassoon Joke.) Example 11 1s
omitted from the recapitulation, but the rest of it is regular enough, bringin
back the themes and nexuses of the exposition in regular order, with the secon
theme (Example 12) in B flat. There is an extended coda again based on the
spinning sixteenths of the principal theme, and with references to Example I1.

OVER WURE ROSANA CE OIN 3 ire cree merece Luigi Cherubini
(1760-1842)

Maria Luigi Carlo Zenobio Salvatore Cherubini enjoys anonymous immor-
tality as the putative originator of one of the world’s worst jokes—“What'’s
worse than a flute?”’ ‘“Iwo flutes’”—a feeble, deathless wheeze on which several
billion variations have been rung. But in his own time Cherubini was regarded
as a great musician, and the critic of the early 1800's who declared that Beet-
hoven’s Fidelio would some day be ranked as high as Cherubini’s Faniska was
considered a mad enthusiast.

If Cherubini’s reputation has not lived forever, the man himself threatened
to. When he was born, Mozart was a child of four and Bach had been gone only
a decade. When he died, the careers of Wagner and César Franck were already
under way, and Tschaikowsky, as Lawrence Gilman has observed, was cutting
his first teeth.

Cherubini began his own career as a church composer in Italy. His first
operas were also produced in that country, but in 1788 he settled in Paris and
remained there for the rest of his life. He was connected with the Paris Con-
servatory in one capacity or another from 1795 to 1841. For the last two decades
of that period he was director of the Conservatory and as such came into sharp

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SYMPHONY ORCHESTRA 243

iISLRINA Gat PIA Ce Ge Orn CE Rel S

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TH pe CAN FRANCISCO
pare SYMPHONY ORCHESTRA

PIERRE MONTEUX, Conductor

Veta Oab a

Micho Wai

GULES ie * SOE OVS &

®
PROGRAM
Overture, Cornolantisn a. tess foe ase Sony emia pats Beethoven
Concerto) ton Violin-andiOrehestra ve majors: eee ee Bach
MR. MENUHIN
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conflict with a young revolutionist named Hector Berlioz, who provides some
marvelously malicious vignettes of Cherubini in his autobiography.

Cherubini composed some 300 works, including 29 operas, six string quar-
‘ets and an immense amount of church music. He was the dictator of musical
theory in France in his time, and his Course of Counterpoint and Fugue was
still of sufficient interest to call for reprinting as late as 1911.

Perhaps a score or libretto of Anacreon, or Fugitive Love 1s still to be found
somewhere, but not in the haunts of this writer. It was a one-act ballet-opera
produced in 1803. According to Gilman it was a failure because of its story,
which seems to have been based on one of the odes of Anacreon, the classic Greek
poet who is particularly well known for his versified praise of wine and cheer
and good fellowship. Anacreon was the patron saint of a popular chowder and
marching society in London at the end of the 18th century, and the “constitu-
tional song” of this organization, To Anacreon in Heaven, originally intended
as a broad “ode to joy” ina highly materialistic sense, was played at the opening
of today’s program under the title The Star Spangled Banner.

Gilman quotes H. E. Krehbiel as saying that Cherubini’s overture “ex-
presses the antique joyousness of life, though there are shadows which serve to
lift the general mood into higher relief.”

WILLIAM F. LARAIA

First Violinist San Francisco Symphony Orchestra for twenty-five

years — has resigned in order to devote his time exclusively to
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SYMPHONY ORCHESTRA 245

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SYMPHONY ORCHESTRA 247

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MARQUISE HENRI de PINS
MRS. ROGER LAPHAM

MRS. FREDERICK W. McNEAR

MRS. OTTO BARKAN
MRS. L. A. BENOIST

M!SS MARILYN BENTLEY
MRS. WALTER BENTLEY
MRS. FOSTER NEWHALL
MRS. STANLEY POWELL
MRS. BRUCE SELFRIDGE
MRS. MELVILLE L. SMITH

MRS. DAVID ARMSTRONG TAYLOR
**#U. S. ARMY HOSPITALS

MRS. HENRY BOYEN

MRS. ARTHUR B. CAHILL
COUNTESS LILLIAN DANDINI
MRS. JOHN L. FLYNN

MRS. PETER B. KYNE

MRS. JAMES F. McNULTY
MRS. A. J. MOORE

MRS. THEODORE WORES

DR. AND MRS. JOSEPH C. FLOWERS
MRS. ANGUS McDONALD

DR. HANS VON GELDERN

MRS. HENRY H. WEHRHANE

MRS. C. W. CROSSE

MRS. DUNCAN CURRY, JR.
MrS. JOSEPH W/. FOWLER
MRS. RALPH HENKLE

MRS. DANIEL C. HUNT
MRS. A. F. JUNCKER

MRS. E. W. WILLETT

MRS. EDWARD C. WURSTER

MRS. FRANK BUCK
MRS. RALPH K. DAVIES
MRS. J. LINDSAY HANNA
MRS. JAMES LEVENSALER
MRS. DOUGLAS McBRYDE
MISS OLGA MEYER

MRS. FRANK SOMERS

TOO AA aie Service through courtesy of the R #¢d Cross Motor Corps

with t

SYMPHONY ORCHESTRA

e cooperation of Mrs. George Cameron.

249

250

KPO SYMPHONY NOTES

... One of the most unusual fine-music programs on the air now
is “The Stradivari Orchestra,” which features musicians recruited
from New York’s major symphony orchestras, playing on rare Stradi-
varius violins, violas and cellos, most of which belonged to the fa-
mous Wurlitzer collection. Under the direction of Paul Lavalle, the
orchestra plays a half hour’s worth of the world’s best-loved melodies
every Sunday morning from 9:30 to 10:00 over KPO.

On Sunday, January 21, Jacques Gasselin will play the violin solo
“Je dis que rien ne m’epouvante,”’ famous aria from Bizet’s “Carmen.”
Among the orchestral selections will be the “Bohemian Polka” by
Weinberger, “Gavotte” from Massenet’s “Manon,” “Rosenkavalier”
Waltzes by Richard Strauss and Chopin’s “Grand Valse Brillante.”

... Claudio Arrau, brilliant Chilean concert pianist, will be guest
of honor, along with current singing star Perry Como, on “Music
America Loves Best,’ when it is broadcast over KPO Sunday at 1:30
p. m. Arrau will be supported by Jay Blackton and the orchestra in
two Chopin compositions, the first movement from the Concerto
No. | in E Minor and the Etude in F Major.

... Arturo Toscanini will return to conduct the NBC Symphony
Orchestra Sunday (KPO, 2:00 p.m.) in an all-Russian program, in-
cluding T’schaikowsky’s ‘““Manfred” Symphony and the overture to
“Colas Breugnon,” opera based on the novel by Romain Rolland,
composed by the brilliant modern Russian composer Kabalevsky.

... Joseph Szigeti will play Tartini’s “Violin Concerto in D Major,”
accompanied by Pierre Monteux and the entire San Francisco Sym-
phony Orchestra, on the “Standard Hour,” which will be broadcast
from KPO Sunday at 8:30 p. m. Monteux will conduct the orchestra
in Haydn’s Symphony No. 13 in G Major, the Overture to Gluck’s
“Iphigenie en Aulide,” the ballet suite from Andre Gretry’s ““Cephale
and Procris” and the overture to Mozart’s “Abduction from the
Seraglio.”’

Mrs. M. C. Sloss will be heard Saturday, January 20, in her regular
weekly “Know Your Symphony” program at 5:00 p. m. on KPO, in
which she will give more symphony sidelights about visiting artists,
orchestra members and future concerts.

SAN FRANCISCO

oe Musical Association

of San Francisco, maintaining and operating

the San Francisco Symphony Orchestra, still
requires $12,000.00 to complete the 1944-
1945 season, and this 1s where you who are
really deeply interested in the welfare of our
city’s most beautiful music come forward
with gitts of money to help in balancing the
budget.

The budget has been kept out of the red just
because we have all of you who are vitally
and courageously interested in the welfare of
the symphony to assist us.

Our campaign for needed funds for the or-
chestra is now under way and we hope and
rely on your making possible a successful
season by your contribution, large or small,

LO:

MUSICAL ASSOCIATION OF SAN FRANCISCO

WAR MEMORIAL OPERA HOUSE
SAN FRANCISCO

SYMPHONY ORCHESTRA 251

PERSONNEL

SAN FRANCISCO SYMPHONY ORCHESTRA

VIOLINS:

BLINDER, NAQUM
CONCERTMASTER

HEYES, PETER
ASSISTANT CONCERTMASTER

WOoOLSKI, WILLIAM
ASSISTANT CONCERTMASTER

ARGIEWICZ, ARTUR
ASSISTANT CONCERTMASTER

ANDERSON, THEODORE
FORD, Louis W.
HOLM, THORSTEIN JENSEN
GUARALD!, MAFALDA
SHWEID, HENRY
EDMUNDS, CICELY
SCHNEIDER, DAVID
VAN DYKE, MARCIA
MYERS, MISCHA
ROURKE, ROBERT
GORDOHN, ROBERT
HAUG, JULIUS
WEGMAN, WILLEM
GOUGH, WALTER
PASMORE, MARY
LARAIA, ATTILIO F.
SHAPRO, DAVID
HELGET, HANS
BARET, BERTHE
PATERSON, JOHN A.
CHILINSK!I, BRUNO
KOBLICK, NATHAN
DI BIANCA, VINCENT
WRIGHT, HAROLD

VIOLAS:

MOLNAR, FERENC
PRINCIPAL

VERNEY, ROMAIN
WHITE, ALBERT
MITCHELL, LUCIEN
WEILER, ERICH
AKON, ALFRED
KARASIK, MANFRED
PETTY, SUZANNE
VAN DEN BURG, JAC
MANN, MICHAEL

PERSONNEL MANAGER:

252

PIERRE MONTEU®X, Conouctor

’CELLOS:
BLINDER, Boris
PRINCIPAL

REINBERG, HERMAN
ARKATOV, JAMES

BEM, STANISLAS
ANDERS, DETLEV
HUGHSON, MARY
PETTY, WINSTON
CONNOLLY, CATHERINE
PASMDRE, DOROTHY
HRANEK, CARL

BASSES:

KARP, PHILIP
PRINCIPAL
SCHMIDT, ROBERT E.
BELL, WALTER
GUTERSON, AARON
SCHIPILLITI, JOHN
BUENGER, AUGUST
STORCH, ARTHUR E.
ORSINI, JOSEPH

FLUTES:

RENZI, PAUL JR.
SHANIS, RALPH F.
BENKMAN, HERBERT

PICCOLO:
BENKMAN, HERBERT

OBOES:

REMINGTON, MERRILL.
SHANIS, JULIUS
ScHivo, LESLIE J.

ENGLISH HORN:
SCHIvo, LESLIE J.

OBOE D’AMOUR AND
HECKELPHONE:
SHANIS, JULIUS

CLARINETS:

SCHMITT, RUDOLPH
BIsBiNns, F. C.
FRAGALE, FRANK

E FLAT CLARINET:
BIBBINS, F. C.

JULIUS HAUG

BASS CLARINET :
FRAGALE, FRANK

BASSOONS:
KUBITSCHEK, ERNST
HIBSCHLE, FRANK
BAKER, MELVILLE
HRANEK, CARL

CONTRA BASSOON:
BAKER, MELVILLE

HORNS:
TRUTNER, HERMAN C.
LUCCHES!, DINO
TRYNER, CHARLES E.,
ROTH, PAUL
TRUTNER, HERMAN, UR.

TRUMPETS:
Buss, CHARLES, UR.
BARTON, LELAND S&S.
KRESS, VICTOR
MURRAY, EARL

TROMBONES:
Giosi, ORLANDO
SHOEMAKER, ROGERS
KLOCK, JOHN

TUBA:
MURRAY, RALPH

HARP:
MORGAN, VIRGINIA
EVERINGHAM, ANN

TYMPANI:
LAREW, WALTER

PERCUSSION:
VENDT, ALBERT
SINAI, JOSEPH
GREER, ELwooD

PIANO AND CELESTA:
SHORR, LEV

LIBRARIAN:
HAUG, ALMA

PROPERTY MASTER:
J. T. HEAVEY

SAN FRANCISCO

Los Angeles

isco ®

San Franc

ME BREWERIES

THE TIME I S N OW ae right, swing your

partner and catch the beat...
ONE — for Real Mildness
TWO — for Cooler Smoking
THREE — for Better Taste

ENJOY CHESTERFIELD’S: RIGHT COMBINATION * WORLD’S BEST TOBACCOS

HE MUSICAL ASSOCIATION OF SAN FRANCISCO

EONORA WOOD ARMSBY - PRESIDENT AND MANAGING DIRECTOR
HOWARD K. SKINNER «© BUSINESS MANAGER

Wiehe cele ine eth
*?

sia Reel in na lye hen Ss aa Se lt callie nacht kiln apelin oe tit nie setae leat Rem

ee eens ee eee nee ee OE Ot a OUST

MES EN TS THE THURTY-=-TAITRD SEASON OF “PEGE

ke MEMORIAL OPERA. (HO USE
‘ sip eee oe Witold Malcuzynski, Guest Artist °— February 15-17, 1945

Income for
your dependents -

while you live

A man while he still lives may set apart
all or some part of his property to
provide income now or later for any
of his beneficiaries by establishing a
“family trust.’ Each arrangement will
be made to fit the needs of a particular
family. It can always be altered. Ask
about this service.

EROS T SDEPAR TE MENT

Wells Fargo

Bank « union Trust co.

SAN FRANCISCO

Established 1852
Member F.D.I.C.

Se Ss

ee ie
oe

ore
conan ‘

SHERMAN, CLAY & CO. in its
NEW HOME in OAKLAND

= —

Convenience is the word for our new music store...
located in a building of its own in the heart of down-
town Oakland.

Step right off the street to our main floor... for REC-
ORDS 2. SHEET sMUSIC] = RECORD GABINETS = a7
CONCERT TICKETS. Upstairs, on the mezzanine,
you'll find our other departments . . . Pianos, Band and
Orchestra Instruments, Radios and Radio-Phonographs.

Parking lot next door or just across the street.

New Telephone Number

Hi gate 8440

Sherman

SYMPHONY ORCHESTRA 273

FOR YOUR
GOLDEN

MOMENTS

“~~

Compounded at:4 Copyrighted by Coty, Inc. in U.S.A.

SAN FRANCISCO SYMPHONY FORUM

-—4

The San Francisco Symphony Forum, the student affiliate of the
Musical Association of San Francisco, is the organization through which
hundreds of young music lovers in Bay Area colleges and universities
are able to buy seats to the regular subscription symphony concerts.
The Forum had its informal beginning in 1939, when eight University
of California fraternity men pooled their funds to purchase a box for
the Saturday evening concert series. The idea spread rapidly and soon
the increasing number of student ticket-holders from the University of
California organized regular meetings to discuss the music on future
programs. Other Bay Area colleges, including Stanford University and
Mills, soon followed suit; organized campus forums and purchased
boxes and season tickets in other sections of the Opera House for Satur-
day night concerts. Although the war has cut down severely on various
forum activities, two Forum meetings have been held already this season
under the direction of Ashley Pettis, one of the West’s foremost music
critics and formerly director of the Composers’ Forums in New York;
and Maxim Schapiro, well-known Russian-American pianist, familiar
to many as a soloist with the San Francisco Symphony Orchestra. The
first of these informal meetings took place last month at the University
of California Delta Delta Delta sorority, and the University of Cali-
fornia Medical School followed with a forum meeting last week at
Toland Hospital at the University of California Hospital. A number
of others are now being planned by Bay Area students for the remainder
of the symphony season. Members of the steadily growing Symphony
Forum pay no dues, but automatically become members of the Musical
Association and one of them holds a seat on the Association Board of
Governors; all excellent preparation for the position of musical leader-
ship these young men and women some day will be called upon to give
in order to keep San Francisco one of the great musical centers of the

world.

SYMPHONY ORCHESTRA

276

...Of course you are...and we'll bet home

planning tops the list of your after V-day

dreams. For more than a century in war

and peace W. & J. Sloane has been helping
make just these kind of dreams come true

for generations of Americans. ’

WE&J

SLOANE

216 SUTTER near GRANT
SAN FRANCISCO 8, CALIF.

SAN FRANCISCO

Musical Association oj San Francisco
MAINTAINING THE

SAN FRANCISCO SYMPHONY ORCHESTRA

OFFICERS
Mrs. Leonora Wood Armsby, President and Managing Director
—E. Raymond Armsby........-. eon ee Vice-President Charies..Page 2 eee eee Treasurer
Paull (A: \BISSING Gl sors 2 ote ease Vice-President Howard. (Ki Skinnerscc2 ee ee Secretary
Charles 2 Rowe BLVEie coe ee eee erwe eee _...Vice-President GeraidiG: Ross: 3... Assistant Secretary
Garret McEnerney, II..............---..--- Vice-President
EXECUTIVE COMMITTEE
Dr. Hans Barkan Mortimer Fleishhacker Mrs. Marcus S. Koshland Miss Else Schilling
Miss Louise A. Boyd Miss Lutie D. Goldstein Garret McEnerney, II Mrs. M. C. Sloss
Mrs. Selah Chamberlain Mrs. Joseph D. Grant Kenneth Monteagle Mrs. Sigmund Stern
Mrs. John P. Coghlan Mrs. Walter A. Haas Guido J. Musto Mrs. Eli H. Wiel
Mrs. E. S. Heller Mrs. Ashton H. Potter

FINANCE COMMITTEE

Cc. O. G. Miller, Chairman
E. Raymond Armsby Miss Lutie D. Goldstein Mrs. Ashton H. Potter

Charles R. Blyth Mrs. Marcus S. Koshland Mrs. William Lister Rogers
Mortimer Fleishhacker
MUSIC COMMITTEE
Mrs. Selah Chamberlain

Dr. Hans Barkan Mrs. Tobin Clark J. Emmet Hayden
Mrs. George T. Cameron Dr. Leo Eloesser Charles G. Norris

PUBLIC RELATIONS COMMITTEE
Mrs. John B. Knox

Mrs. M. C. Sloss Mrs. James Mills Mrs. William Lister Rogers
Mrs. John P. Coghlan Mrs. Francis Redewill Michel Weill
YOUNG PEOPLE’S CONCERT OFFICERS

Mrs. Thomas Page Maillard Mrs. Grace Benoist Mrs. Louis Sloss, Jr. Mrs. Harold K. Faber

Mrs. Harold R. McKinnon Mrs. Walter A. Haas Charles M. Dennis

SAN FRANCISCO SYMPHONY LEAGUE
Mrs; John: P= Coghilan:..:---- > Chairman Mies. Francis Redewill.............--.-.--- Vice-Chairman
SAN FRANCISCO SYMPHONY FORUM
Mrs. Alan McLenegan, Chairman Ava Jean Barber Frank Winter ‘Martin Skewes-Cox
John Piel Pamela Marsh Katherine Mulkey Cecily Rideout
Lt. (j.g.) J. Brandon Bassett Elwyn Thayer Ann Wegman Elizabeth Shaw
Marcia Robinson Betty Carl Paul Robinson [Marilyn Biehl
BOARD OF GOVERNORS
E. Raymond Armsby Mrs. George Ebright Mrs. E. S. Heller Charles Page
Mrs. Leonora Wood Armsby Sidney M. Ehrman Walter S. Heller Mrs. Ashton H. Potter
Dr. Hans Barkan Albert I. Elkus Mrs. 1. W. Hellman Mrs. Stanley Powell
Mes. Edward O. Bartlett Dr. Leo Eloesser William F. Bumphrey Mrs. William Lister Rogers
James B. Black Forrest Engethart Mrs. Marcus S. Koshland Mrs. Henry P. Russell
Charles R. Blyth Mrs. Harold K. Faber Frederick J. Koster Miss Else {chilling
Miss Louise A. Boyd Mrs. Paul I. Fagan Gaetano Merola Mrs. M. C. Sloss
Paul A. Bissinger Mrs. Marshall H. Fisher Cc. O. G. Miller Mrs. Nicol Smith
George T. Cameron Mortimer Fleishhacker Mrs. C. O. G. Miller Mis. Sigmund Stern
Mrs. Selah Chamberlain Mrs. J. C. Flowers Edward F. Moffatt Mrs. Powers Symington
Mrs. John P. Coghlan John F. Forbes _ Kenneth Monteagie Mrs. David Armstrong Taylor
Mrs. Elizabeth S. Coolidge Mrs. Frank R. Girard Mrs. Donald Mulford Mrs. Cyril Tobin
Mrs. W. W. Crocicer Miss Lutie D. Goldstein Guido J. Musto Mrs. Alfred S. Tubbs
Mrs. O. K. Cushing Mrs. Joseph D. Grant Dwight F. McCormack Mrs. Daniel Volkmann
Mrs. Georges de Latour Farnham P. Griffiths Mrs. Angus McDonald Michel Weill
Benjamin H. Dibblee Madeleine Haas Garrett McEnerney, Ii Mrs. Eli H. Wiel
Miss Katharine Donohoe Mrs. Walter Haas Mrs. Harold R. McKinnon Leonard E. Wood
Mrs. Willard H. Durham Mrs. Harry S. Haley R. C. Newell J. D. Zellerbach
Joseph H. Dyer, Jr. J. Emmet Hayden Charles G. Norris
STAFF

Constance Alexander Victor Mohl Deborah Spalding
Kathleen Lawlor Gerald Ross Curran Swint
Doris Lowell Joseph Scafidi Virginia Webb

THE SAN FRANCISCO SYMPHONY ORCHESTRA
Records Exclusively for Victor Red Seal

SYMPHONY ORCHESTRA 277

“There's an Immortality in the expression of the
finer human moods... These moods sincerely
expressed tna portratt can mean so much to the
person towards whom that feeling ts directed.”

Ytucleoleea Setentlere

MASTER PHOTOGRAPHER

427 POST STREET (IN THE ST. FRANCIS HOTEL) * YUKON 2061

Se a NORE TOF ET NAOT FON OE ee RE

N@GDAY S*GWEST ey AInieioit>

Wirotp MALCuUzYNSKI was Paderewski’s last pupil. He was born in Warsaw,
and began his professional training in the field of law. He studied the piano as
an avocation, but was advised by Paderewski to make it his life’s work. He
then studied with that master for several years, and at this time won the Inter-
national Chopin Competition in Warsaw. On the completion of his studies,
Malcuzynski gave recitals and was soloist with orchestras in many parts of
Europe. He was in the Balkans when Poland fell to the Germans in 1939, and
went to Paris with his wife, who is also a pianist and a member of the celebrated
Parisian musical family of Gaveau. ‘The Malcuzynskis escaped from Paris just
ahead of the Germans in 1940, and, through the intervention of a musical friend,
were able to go to South America. Malcuzynski gave many recitals in Buenos
Aires, Rio de Janeiro, Lima and elsewhere. Yehudi Menuhin heard him play
in Montevideo and was responsible for his coming to the United States. Mal-
cuzynski has given concerts in many parts of this country, but this will be his
first appearance in San Francisco.

COO ~

GUEST ARRISHS INE ie VyBEI

Lorin VARENCOVE MAAZEL was born in Neuiully, France, of American par-
ents, on March 6, 1930. His grandfather, Isaac Maazel, was concertmaster of the
Imperial Opera Orchestra in Moscow at the age of 14, and played in the orches-

tra of the Metropolitan Opera for 25 years. His father is a singer and teacher
and his mother a pianist. Lorin studied violin with his aunt, Frances Berkova,
and piano with Fanchon Armitage, both of Los Angeles. He began directing his
own family orchestra at the age of seven, and made such progress that he was
placed under the tutelage of Vladimir Bakaleinikoff to study conducting. In
1938 he directed the orchestra of the National Music Camp at Interlochen,
Michigan, where he was heard by Olin Downes, who brought him to New York
in the following year to conduct at the World’s Fair. Since then he has con-
ducted the NBC Symphony, the Los Angeles Philharmonic, the Chicago Sym-
phony, the Hollywood Bowl Orchestra, the Pittsburgh and Cleveland Orches-
tras, and the New York Philharmonic. He is still studying with Bakaleinikoff,
who is now the assistant conductor of the Pittsburgh Symphony.

Naoum BINDER was born in Eupatoria, Crimea, in 1891. He graduated
from the Odessa Conservatory at the age of 14, but continued his studies at the
Royal Academy of Music in Manchester, England, under Adolph Brodsky. He
was professor of violin at the Odessa Conservatory from 1911 to 1920 and at the
Moscow Conservatory from 1921 to 1928. During this period he made concert
tours throughout Russia, and in ‘Turkey, Palestine and Japan as well. He came
to the United States in 1928 and taught for a number of years at the Institute of
Musical Art in New York. He was appointed concertmaster of the San Francisco
Symphony Orchestra in 1932 and founded the San Francisco String Quartet in
1934. He has repeatedly appeared as soloist with the San Francisco Symphony
and other American orchestras.

a IS BN I. I I IE, FE
SYMPHONY ORCHESTRA

Your WILL cannot
bequeath “good judgment”

By intelligent management you have built up
your Estate. Your Will sets up the Plan you
want your Executor to follow.

oo eeneinnnas «*

If you appoint an imdrvidual as Executor and
Trustee, will his judgment in handling your .
estate match your judgment in creating it? And
will he remain always in good enough health,
and be free enough from his own personal affairs
to. give your Plan his best attention?

On the other hand, by appointing this Bank
as Executor and Trustee you are definitely as-
sured specialized expérience, group judgment
and careful attention throughout the life of your
estate. Our continuing staff of seasoned estate
managers can and do faithfully follow both the
letter and the spirit of your Plan.

Get details from any officer of this Bank.

Head Office: 400 CALIFORNIA STREET
Mission Branch: 16TH & JULIAN AVENUE

THE BANK OF
CALIFORNIA

BUY U. S. WAR BONDS
AND STAMPS

1944
NATIONAL ASSO GPALION OUR
Founded in 186 EG RETH
esate: ANNIVERSARY
SAN FRANCISCO - PORTLAND - SEATTLE « TACOMA YEAR

HM |
LULL |

430000000 ae wese rr

MEMBER FEDERAL DEPOSIT INSURANCE CORPORATION

SAN FRANCISCO

—— ee

Thirty-third Season
1944 - 45

SAN FRANCISCO SYMPHONY ORCHESTRA
PIERRE MONTEUX, Conductor
-4e}-
SIXTH PAIR OF SYMPHONY CONCERTS

"THURSDAY, FEBRUARY 15, AT 8:30
SATURDAY, FEBRUARY 17, AT 8:30

WITOLD MALCUZYNSKI, Guest Artist

-4e}-
‘Program
PRELUDE LOWE TROIINS
ATE CARRE FLAC oe igs cree ceed oer SN aera Berlioz
HAROLD IN LEABY. SY VEEELON™
WARE ViiOLACSOM Oma en ee ee ee meee Berlioz

Harold in the Mountains, Scenes of Sadness, Happiness and Joy.
March of the Pilgrims Singing Their Evening Prayer.
Serenade of a Mountaineer of the Abruzzi to his Mistress.
Orgy of the Brigands. Memories of Past Scenes.
FERENC MOLNAR, VIOLA SOLOIST

INTERMISSION

SULEE BROOM MELE. PCO AL
BROKE? TELE AE BAUIN Sie foe eee eae Mies hae ae ee Thomson
Prelude
Pastorale (Grass)
Cattle
Blues (Speculation)
Drought
Devastation
(First PERFORMANCE IN SAN FRANCISCO)

CONCERTO FOR PIANO AND ORCHESTRA,
ING:229 CNG ESNEEIN.© R& eco sete oreo ae ee ee eae eee a. Chopin
Maestoso
Larghetto
Allegro vivace
Mr. MALCUZYNSKI
STEINWAY PIANO USED
Te OU USS OE IIS I PRIN
It is requested that subscribers who are unable to use their tickets
kindly phone the Symphony Office—UNderhill 4008—giving location
of their seats that they may be assigned to uniformed men and women.
This courtesy will be deeply appreciated.

SYMPHONY ORCHESTRA

281

SAN FRANCISCO SYMPHONY ORCHESTRA

PIERRE MONTEUX, Conductor

~{@}-

SEVENTH PAIR OF SYMPHONY CONCERTS

Friday, February 23, at 2:15
Saturday, February 24, at 8:30

LORIN MAAZEL, Guest Conductor
NAOUM BLINDER, Soloist

OVEREUTERCOMNOSAINIUIN CC 1. ne RM Ae tea eee ok Schubert

Kealiarie ONim Dl OMY ee nectar Bete Une eee tae, Mendelssohn

Goncertoior Violinaand. Orenestrae tease eee ee eee Bloch
Daphnis ance GHGS UITCel IN Or eae males vues ees Pe). ete aa Ravel
| *4@}-

EIGHTH PAIR OF SYMPHONY CONCERTS

Friday, March 9, at 2:15
Saturday, March 10, at 8:30

ANIA DORFMAN, Soloist

PASSACA Caen e ek Re ae ee ea AR nn teens cS een Handel-Akon
(First Performance)
Concertostion Rianomand:- Orchestras NOmLa. eee Beethoven

MBIVE PINT LOGON: 9 PILING tao. Sew as erin 9 ert tae ce Oe Oe a Ay a Stravinsky

STANDARD SYMPHONY BROADCAST
KPO, NBC Pacific Coast Network

Sunday, February 18, at 8:30
WITOLD MALCUZYNSKI, Guest Artist

Selections from the Fantastic Symphony ee A as PRE MO rem nd Berlioz
Concerto tor biano-and Orchestras NO. ee ee ee TetSzt
TC SaP Tele Se asset te eek Oe AS Eee OE eee Gt Stns oe Rete ee Liszt

282 SAN FRANCISCO

Wt etude a nt ep Ba es a

PROGRAM NOTES

By ALFRED FRANKENSTEIN

PREEUDES TO EE GOAN
Pd CRAIC TELA Eh on oe are acids Oe aap eae ae Hector Berlioz
(1803-1869)

The Trojans, an opera in five acts based upon Virgil’s Aeneid, was one of
the last works of Berlioz. It was written between 1856 and 1858, and proved on
completion to be too long for presentation in one sitting. Berlioz therefore
recast it in two parts—The Taking of Troy and The Trojans at Carthage—and
in this form it was finally given in 1863. It ran for 21 performances. During the
run one of the composer’s friends told him people were coming to it in increas-
ing numbers, whereupon he replied, “They are coming, but f am going.” He
had already completed his swan-song, the comic opera, Beatrice and Benedict,
and although he lived for six more years, he composed nothing in that time.

The prelude to The Trojans at Carthage is not a highly developed concert
piece like the Beethoven overtures or Berlioz’s own overture to Benvenuto
Cellini. It is a short introduction intended only to set the emotional tone of
the opening scene, not to summarize the character of the entire drama. Berlioz
gives it the subtitle Lamento, for in the opera it leads to a passage wherein Dido,
Queen of Carthage, bewails her forthcoming forced marriage to Jarbas, King
of Numidia. Dido is saved from this fate by Aeneas, who lands in Carthage on
his way to Italy after the fall of Troy; what happens after that is of no particular
importance so far as a program note on the prelude is concerned.

HAROLD IN ITALY, SYMPHONY
WARE VIO LA SOR O tener eo eee ee Hector Berlioz

After a performance of the Fantastic Symphony which Berlioz conducted in
Paris in December, 1833, he was stopped on his way out of the theatre by “a man
with long hair, piercing eyes, and a strange, haggard face—a genius, a Titan
among giants, whom I had never seen before, and at first sight of whom I was
deeply moved; this man pressed my hand and overwhelmed me with burning
eulogies that set both my heart and my brain on fire. Jt was Paganini!”’

‘The composer’s autobiography continues as follows after a few lines which
we omit:

“Some weeks after the triumphant concert which I have just described,
Paganini came to see me.

““T have a wonderful viola,’ said he, ‘an admirable Stradivari, and should
greatly like to play it in public. But I have no music for it. Would you write
me a solo? I have no confidence in anyone but you for such a work.’

* ‘Certainly, I answered; ‘I am more flattered than I can say; but in order to
fulfill your expectation, and make a composition sufficiently brilliant to suit
such a virtuoso as yourself, I ought to be able to play the viola, and this I can-
not do. It seems to me that you alone can solve the problem.’

“ ‘No,’ replied Paganini; ‘you will succeed. JI insist. As for me, I am too unwell
at present to compose. I could not think of such a thing.’

“In order to please the illustrious virtuoso, then, I endeavor ed to write a
solo for the viola, but so combined with the orchestra as not to diminish the
importance of the latter, feeling sure that Paganini’s incomparable execution
would enable him to give the solo instrument all its due prominence. The
proposition was a new one. A happy idea soon occurred to me, and I became
intensely eager to carry it out.

“No sooner was the first movement written than Paganini wished to see it.

SYMPHONY ORCHESTRA 283

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At sight of the rests, however, in the viola part in the allegro, “That is not at all
what I want, cried he. ‘Iam silent a great deal too long. I must be playing the
whole time.’

“«That is exactly what I said,’ | answered. “What you really want is a concerto
for the viola, and you are the only man who can write it.’

“To this he made no reply, but seemed disappointed, and left me without
further remarks. A few days afterwards, being already a sufferer from that
throat affection which was ultimately to prove fatal to him, he went to Nice, and
did not return till three years later.

“Finding that the plan of my composition did not suit him, I apphed
myself to carrying it out in another way, and without troubling myself any
further as to how the solo part should be brought into brilliant relief. I con-
ceived the idea of writing a series of scenes for the orchestra, in which the viola
should find itself mixed up, like a person more or less in action, always pre-
serving his own individuality. “The background, I formed from my recollec-
tions of my wanderings in the Abruzzi, introducing the viola as a sort of melan-
choly dreamer, in the style of Byron’s Childe Harold. Hence the title of the
symphony, Harold in Italy. As in the Fantastic Symphony, one principal theme

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SYMPHONY ORCHESTRA 285

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(the first strain of the viola) 1s reproduced throughout the work, but with this
difference, that in the Fantastic Symphony the theme—the idée fixe—obtrudes
itself obstinately, like a passionately episodic figure, into scenes wholly foreign
to it, whilst Harold’s strain is superadded to the other orchestral strains, with
which it contrasts both in movement and character, without hindering their
development. Notwithstanding its complicated harmonic tissue, I took as little
time to compose this symphony as I usually did to write my other works, though
| employed considerable labor in retouching it. In the Pilgrims’ March, which
I improvised in a couple of hours one evening over my fire, I have for more
than six years past been modifying the details, and think that I have much 1m-
proved it. Even in its first form it was always completely successful from the
moment of its first performance at my concert in the Conservatoire, on Novem-
ber 23rd, 1834.”

As is often the case with Berlioz, there is more here than meets the casual
eye. A careful reading of the passage just quoted will reveal that, immediately
upon receiving Paganini’s commission, the composer had a “happy idea,” but
he does not say this “happy idea” had anything to do with Byron or his Childe
Hayold; on the contrary, he expressly states that the idea of Harold came to him
only after Paganini had seen the completed first movement and had rejected it.
Berlioz’s recent biographers have discovered that the original “happy idea” was
for a choral work with orchestra and viola obbligato to be titled Mary Stuart's
Last Moments. Berlioz omitted all reference to this in his memoirs apparently
because he was constantly being accused—and he has often been accused since

his death—of a kind of insincerity or even dishonesty in changing the titles

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SYMPHONY ORCHESTRA 287

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and literary implications of his music without making any changes in the music
itself.

This accusation, however, is based upon a naive misunderstanding of the
way in which a man like Berlioz composed. He was a musician first and an
illustrator only secondarily, and he knew extremely well how readily music
adapts itself to almost any external idea that may be imposed upon it.

Furthermore, the literary implications of the first movement, which was
the only one submitted to Paganini, are really extremely vague. A title such as
Scenes of Sadness, Happiness and Joy, like the Reveries and Passions of the
Fantastic Symphony, actually specifies nothing; it could be applied without the
slightest incongruity to practically any first movement in Brahms or Beethoven.
The second and third movements of Harold are more particular in their descrip-
tive suggestions, but they were apparently written after the Mary Stuart scheme
had been abandoned. But even if they had been sketched or completed with
Mary Stuart’s Last Moments in mind, it is not difficult to see how they could
have been changed over to Harold in Italy without any forcing or artificiality.

One of the major factors that contributed to Mary Stuart’s downfall was
religious dissension, and it is easy to perceive how a romantic writer might
create a fictional scene wherein the doomed Queen of Scots in her prison tower
hears or imagines she hears a march of pilgrims singing their evening prayer.
And since they use bagpipes in Italy as well as in the country north of the River
Tweed, a Scotch idyll can easily become a serenade of a mountaineer of the
Abruzzi to his mistress. Robert Schumann, who was nobody’s fool, heard Men-
delssohn’s Scotch symphony under the impression that he was listening to the
same composer's /talian symphony, and wrote with great fervor of the beautiful
Italian scenes the music had evoked.

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The scene now changes to the fourth volume of Sir Donald Francis ‘Tovey’s
Essays in Musical Analysis:

“There are excellent reasons for reading Childe Harold’s Pilgrimage. But
among them I cannot find any that concern Berlioz and this symphony, except
for the jejune value of the discovery that no definite elements of Byron’s poem
have penetrated the impregnable fortress of Berlioz’s encyclopedic inattention.
Many picturesque things are described in famous stanzas in Childe Harold; but
nothing remotely resembling Berlioz’s Pilgrims’ March, nor his serenade in the
Abruzzi. As to the brigands, Byron has described the varieties of costume in a
crowd of mixed nationality consisting undoubtedly of potential brigands; but
the passage is not in the Italian cantos, and Berlioz tells us that his work con-
cerns Harold in Italy. On the other hand there is no trace in Berlioz’s music of
any of the famous passages in Childe Harold. No doubt ‘there was a sound of
revelry by night’ in the Orgy of Brigands, but the Duchess of Richmond’s ball
was not an orgy of brigands, nor was it interrupted by a march of pilgrims
singing their evening prayer. Nor is there anything to correspond to an invoca-
tion of the ocean, except a multitude of grammatical solecisms equivalent to
Byron’s ‘there let him lay.’

“There, then, let Berlioz lie; the whitest liar since Cyrano de Bergerac.
(This sentence is a completely Berliozian enharmonic modulation.) ‘There is
4 river in Monmouth and a river in Macedon; there is a B in Byron and a B in
Berlioz; and as Byron stood upon the Bridge of Sighs and stood in the Coliseum,
and in this and that historic or picturesque spot, to meditate on history, politics,
| and family affairs, so the viola solo delivers its idée fixe unchanged and un-
| adorned, while Berlioz does whatever occurs to him to do with his orchestra.
i" There is nothing Byronic about that 7dée fixe. It did not occur to him in con-

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nection with Byron. It comes in fully ripe glory of instrumentation, exactly as
in the Harold Symphony, except that it is for a cor anglais an octave higher
than its position in the viola, in a work described by Berlioz as an early indis-
cretion which he burnt, an overture to Rob Roy. In Berlioz’s vocabulary ‘burnt’
means carefully preserved, so that an admiring posterity can discover evidence
of the truth of Oscar Wilde’s assertion that a true artist lives in a series of
masterpieces in which no progress whatever can be discerned. ‘The Overture
to Rob Roy turned up early in this century, and proved to be quite a presentable
and engaging work. Mendelssohn declared that what he found so Philistine
about Berlioz was that ‘with all his efforts to go stark mad he never once suc-
ceeds.’ From its own standpoint the criticism was neither unfriendly nor untrue;
a large part of Berlioz’s charm consists in his earnest aspirations to achieve the
elamour of a desperate wickedness against the background of his inveterate and
easily shockable respectability. Poor Byron had Lady Byron for his background.
Berlioz had to content himself with his master Cherubini. Master and pupil
deserved each other; you have only to read Cherubini’s treatise on counterpoint
to see the psychological origin of all revolutions; and you have only to read
Berlioz’s own account of his diplomatic triumphs over Cherubini to see how low
human nature can sink, when an ill-bred younger artist gets his chance of scoring
off a disappointed old one.

“On the whole, Berlioz’s imaginary wickednesses are more amiable than
the virtues, real or imaginary, for which he professes admiration. - He is as
adventurous as Jules Verne, who never went farther from his native Amiens
than Paris, and spoke no language but French, though he sent Mr. Phileas Fogg
of the London Reform Club round the world in eighty days, and a small com-

SYMPHONY ORCHESTRA 293

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pany of Franco-Algerians, Russians, and other nationalities round the solar
system on a fragment of a comet in eighteen months. And Berlioz is quite as
innocent as Jules Verne, though he also succeeds when he is as macabre as Poe.
Perhaps only the profounder Verne-scholars are aware that Jules Verne also
made an essay in the macabre, in his story of Maitre Zacharius the clockmaker,
whose soul went into his clocks and watches, until it came to a bad end in his
masterpiece which, designed to display pious texts every hour, suddenly took
to displaying horrid blasphemies, till at midnight it burst with a thunderclap,
while the soul of its author went Elsewhere. There are some quite good Ber-
liozian touches in the Verneal innocence, and I am strongly inclined to trace
the resemblances between Harold in Italy and Hector Servadac on the comet
Gallia.

“But—and this is a very big but—Berlioz, whose genius for instrumenta-
tion has always been acknowledged, also had a genius for composition. ‘Iwo
causes have prevented the recognition of this: first, that he notoriously failed
to learn anything his masters tried to teach him; and secondly, that almost
everything they tried to teach him was wrong. ‘The musical authorities of Paris
in the first quarter of the nineteenth century had been the Latin contemporaries
of the supreme Viennese classics of instrumental music. ‘These classics were as
foreign to them as Berlioz’s adored Shakespeare (with or without le denowement
de Garrick*) ; yet the Parisian ideas of musical form were supposed to have
advanced with the times; and Berlioz undoubtedly thought that the expositions
of the first allegros in his Fantastic and Harold Symphonies were symphonic
expositions in the style established by Mozart and Haydn and developed by

*This is a reference to Berlioz’s notes on the third part of his Romeo and Juliet symphony,
which, he says, can be understood only by an audience extremely familiar with the fifth act of
Shakespeare’s play as edited by Garrick.—A. F.

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Beethoven. ‘To us such an idea seems ridiculous; it is like constructing the first
act of a drama round the incident of the loss of an umbrella which turns out to
have no connection with the plot; and we naturally blame Berlioz for so obvi-
ously deficient a sense of form. But, in the first place, did his teachers know
better? Cherubini had a very good sense of form; he was profoundly moved by
Haydn and Mozart, nor did Beethoven fail to influence him more than he liked
to admit to himself, But his tr satment of the Viennese forms results only by
a precarious series of flukes in anything that can be judged by the same criteria;
and in some of his best movements, sida as the overture to Anacreon, the form
has no resemblance to that of any other classic, ancient or contemporary. We
had better ascertain what Cherubini thought about form before we decide
whether Berlioz thought likewise, otherwise, rightly or wrongly. In the second
place, we shall be aris en to recognize that his genius for composition is inde-
pendent of any external shapes. Hig sonata expositions are quite flat and do not
establish their “complementary key.’ ‘Then why call them sonata expositions?
‘They are very clear, entertaining, and all the better for the repeats which Ber-
lioz prescribes. He cannot ‘dey velop” a theme; he can only submit it to a process
aptly described by Dannreuther as ‘rabbeting.’ But this process leads to excel-
lent climaxes, whatever it may be called. ra what about Berlioz’s codas? Ah,
there his natural element coincides with the classical form: he is a born per-
orator, and everything leads up to his perorations. But notice that everything
does genuinely lead up to them; he does not perorate upon a vacuum. He can-
not argue; he cannot meditate: he has at least this in common with Byron that
‘sobald er reflektirt ist er ein Kind.’ But he can sum up and pile on the agony
or the exultation; he can also begin at a real beginning. Iam not quite certain
about his middle. Just as his harmony is, like even his divinest instrumentation,

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all top and bottom, so there is a certain hollowness about his forms, apart from
the fact that they are in any case totally different from (and infinitely better
than) anything they profess to be. From the two typical defects of bad high-
brow music Berlioz is absolutely free: he never writes a piece consisting, like
the Intermezzo (and most of the rest) of Cavalleria, entirely of impassioned
ends. His hollowness may be said, in Hibernian metaphor to lie on the surface;
inwardly all is as true as if Mr. Gulliver had spoken it.

“Perhaps the most gloriously nonsensical fact about the Harold Symphony
is that its viola solo is the result of the work having been commissioned by
Paganini, who is said to have played it at the first performance in 1834.* Any-
thing less like a concerto has never been conceived: the part has its difficulties of
endurance, tone-production, and conception, but is about as suited for the dis-
play of a virtuoso’s powers as a bath-chair for a world’s speed record.”

Tovey was a very perceptive and a very witty man, but at times he was him-
self guilty of “encyclopedic inattention,” as when he wrote the first paragraph
of the quotation above. Tovey claims to know how to read the hidden meanings
of Berlioz (“In Berlioz’s vocabulary ‘burnt’ means carefully preserved”’) , but,
like many others, he sometimes reads him wrong when he makes the plainest
of plain statements. If Tovey and the multitude of other critics who have made
much of the discovery that Harold in Italy has next to nothing to do with Childe
Harold had read the composer’s memoirs carefully, they would have seen that
,erlioz never intended the symphony to be a series of musical lantern slides
illustrating Byron. On the contrary, Berlioz says the symphony “‘is a series of
scenes for the orchestra in which the viola finds itself mixed up, like a person

*Footnote by Tovey: “Both Berlioz and Paganini drew the line somewhere. Paganini
refused to play the work but persisted in paying for it.”

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more or less in action, always preserving his own individuality. ‘The back-
eround I formed from my recollections of my wanderings in the Abruzzi, intro-
ducing the viola as a sort of melancholy dreamer, in the style of Byron’s Childe
Harold. Hence the title of the symphony, Harold in Italy.”

One wonders also what to make of an author who tells us in his text that
Paganini “‘is said to have played” this symphony on the occasion of its first per-
formance and then adds a footnote to tell us he didn’t. But there 7s something
marvelously picturesque, if not “gloriously nonsensical,” about the fact that
the solo in Harold was first performed by Crétien Urhan, whom one of the
critics of that day called “the Paganini of the viola, the Byron of the orchestra,
the Salvator Rosa of the symphony.” Urhan made a determined effort to live
up to his given name. He dressed like a clergyman, ate nothing, gave away
every sou he earned, and sat for 30 years as concertinaster of the orchestra at
the Paris Opéra without once letting his modest gaze wander up to the stage.
What he thought of the bandit-orgy in Harold is not recorded.

I.
HAROLD IN THE MOUNTAINS, SCENES OF SADNESS, HAPPINESS AND JOY.

Adagio, G major, 3/4 time. The symphony opens with wandering chro-
matic material beginning in the lowest depths of the basses and ‘celli. From the
thirteenth bar the woodwinds, in octaves, foreshadow the Harold theme (Ex-
ample | below) but in the minor. The twisting chromatic figure of the opening
returns and introduces the Harold theme proper, given to the solo viola in the
major, and with harp accompaniment:

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‘The theme is repeated with clarinets and violins added to the accompaniment;
then the viola extends it with new phrases and it is worked over at length by all
concerned.

The tempo changes to Allegro and the time signature to 6/8. The prin-
cipal theme (Example 2) is foreshadowed by the orchestra for a page or two
of the score, before it is stated in its definitive form by the viola:

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The second theme follows very shortly. It begins in the orchestra in F
but passes to the orthodox “complementary’
over:

major
’ D major when the solo takes it

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There follow a short development based mostly upon Example 2, a somewhat
abbreviated and disguised recapitulation, and an immensely long coda or ter-
minal development wherein the Harold theme 1s worked over in combination
with Examples 2 and 3.
iis
MARCH OF THE PILGRIMS SINGING HEIR EVENING PRAYER.

Allegretto, E major, 2/4 time. ‘The pilgrims appear in the strings after 15

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There are four varied repetitions of this theme, whereupon the viola brings in
the Harold theme to contemplate the procession as it passes by, the orchestra
mnging eight more changes on Example 4.

A kind of trio, marked Canto religioso, now follows. It is in C mayor, and it
is Composed of solemn, organ-like chords of the woodwind alternating with
equally solemn and organ-like chords of the strings; meanwhile, from beginning
to end, the solo viola reels off arpeggios sul ponticello and the basses continue
their untiring march.

At length Example 4 returns in the woodwind in CG, and the movement dies
away in E major with reminiscences of that theme, plus the marching basses,
bell-like sounds in the woodwind, and the viola’s broken chords.

JAE.
SERENADE OF A MOUNTAINEER OF THE ABRUZZI TO HIS MISTRESS.

Allegro assai, C major, 6/8 time. Piccolo and oboe pipe a gay tune over
a drone bass:

The tempo is cut in half and the English horn begins the serenade:

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Shortly the viola sings the Harold theme while the woodwind continues with
Example 6. The development of this continues at length. The final section of
the movement returns to the lively piping of Example 5. The rhythm of this
eoes on while the viola sings Example 6 and, high above, the flute and harp
have the Harold theme.

AWE
Orcy OF THE BRIGANDS. MEMORIES OF PAST SCENES.

Berlioz described this movement as follows in writing to Heine about a
performance of Harold he had conducted in Germany:
“In the finale, that furious orgy where wine, blood, joy, rage, all combined,

—————— ——

The Outstanding Music of

MORTON GOULD

and his orchestra

is now featured on
SHOWER OF STARS

Each Thursday Evening
6:00 P. M.

KQW

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Morton Gould 740 on
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SYMPHONY ORCHESTRA 303

Inc., Los Angeles, California

yarade their intoxication—where the rhythm sometimes seems to stumble
along, sometimes to rush on in fury, and the brass seems to vomit forth curses
and to answer prayer with blasphemies; where they laugh, drink, fight, destroy,
slay, rape, and utterly run riot; in this brigand scene the orchestra became a
regular pandemonium; there was something positively supernatural] and terri-
fying in its frantic life and spirit, and violins, basses, trombones, drums, and
cymbals all sang and bounded and roared with diabolical order and concord,
whilst from the solo viola, the dreamy Harold, some trembling notes of his
evening hymn were still heard in the distance as he fled in terror.”

Tom Wotton, the foremost Berlioz scholar of the present day, would have
us believe the above was written in jest, but this seems rather unlikely. Tovey, on
the other hand, decides to go Berlioz one better. He recalls that in his mono-
drama called Lélio Berlioz deals with some brigands who invite their female
captives to drink from cups made from the skulls of their lovers, and ‘Tovey
insists that Example 9 below “may possibly show how the raw material of these
utensils is obtained; at all events it is eminently suggestive of bright deaths
quivering at victims’ throats, of streams of gore, and of round objects rolling
on the ground.” ‘Tovey, also, will have none of Harold’s merely fleeing in
terror. For him Harold’s heart is broken by the reminiscence of the pilgrim’s
hymn at the end of the movement; “he can endure life no longer; he drinks
oison and leaves the brigands to finish their orgy without him.”

Allegro frenetico, G minor, alla breve. The movement begins with the
“memories of past scenes.” Its first part is clearly modeled after the introduction
to the finale of Beethoven’s ninth symphony. A brusque, imperious motif of
the strings, foreshadowing Example 7 to come, opens the movement, and is
followed by a flashback to the first bars of the first movement. Again the strings
interrupt with their brusque figure, whereupon the solo recalls the pilgrims’
march. This does not please the strings either, so the viola goes back to the

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‘Where the Celebrities Gather”

SYMPHONY ORCHESTRA

serenade (Example 6). ‘The strings wave their arms around once again, and
the viola recalls Example 2. After a final “off with his head” from the orchestra,
the viola sings the Harold theme, and this leads through an animato to the main
movement, or orgy.

The principal theme appears in the full orchestra, tempo primo:

This is worked over and leads through a transition with a new figure not quoted
to the second theme, in B flat major:

A great climax is attained with a motif thundered by the trombones under a
slow trill of the strings:

ao aS Eee

L’he Northern California Chapter of the
AMERICAN GUILD OF ORGANISTS
will present WALTER BAKER Organ Virtuoso, in an
ORGAN RECITAL
SUNDAY AFTERNOON, FEBRUARY 25, 1945 at 3:30 o’clock at
CALVARY PRESBYTERIAN CHURCH

ADMISSION FREE FILLMORE AND JACKSON STREETS SILVER OFFERING

JOIN THE SYMPHONY LEAGUE TODAY

Yearly Dues $5.00 from January to January

Your check will aid in providing Symphony tickets for music Students in public high
schools and Junior Colleges and in building up the orchestra’s library and repertoire.

Make Checks payable to Musical Association of San Francisco and mail to
SAN FRANCISCO SYMPHONY LEAGUE, Opera House, San Francisco 2 Galite

— eee oO OOOO
306 SAN FRANCISCO

There is a brief transition in place of a development, and then the entire
orgy (Examples 7, 8, 9 and 10) is recapitulated.

The long coda opens with a working-out of Example 8., At the org1astic
height of this there is a sudden hush and three solo strings sing the pilgrims’
hvmn. The solo viola flees in terror or drinks poison or both, but the brigands
continue to have fun to the end.

SULLE PROM ii Ri OVV ir Aas
BURA OAKES TELE eA NS teens eit a nee Virgil Thomson
(1896-)

The Plow That Broke the Plains is a short documentary film produced by
Paré Lorentz for the Farm Security Administration of the United States Depart-
ment of Agriculture. It came out in 1935, during the unlamented ‘“‘dust bowl”
era in the plains states, and was intended solely to serve as part of the govern-
ment’s program of education and rehabilitation among the “dust bowl” farmers,
but the esthetic interest of the picture has given it an extraordinarily long lease
of life. The same thing is true of the soil-erosion film, The River, also produced
by Mr. Lorentz and Mr. ‘Thomson under the same auspices.

The score of Mr. Thomson’s concert suite contains six of the nine move-
ments composed for the picture. It also contains excerpts from Mr. Lorentz’s
script, as follows:

‘INE CALIFORNIA

See-Me ... at your dealer’s.

2 SARetanners oN

PARROTT & CO...San Francisco. . Sole U. S. Distributors

SYMPHONY ORCHESTRA 307

It Stands Alone

KORBEL BRUT IS TOPS IN AMERICAN CHAMPAGNE

Magazines which reach the most sophisticated audience in the United States
unanimously give first place in American Champagnes to KORBEL BRUT
WE didn’t say it first! THEY DID!

“THE BEST AMERICAN CHAMPAGNE
to date is KORBEL BRUT. Our guess is
anyone would think it was imported.”
—Harper’s Bazaar, February, 194].

“PROBABLY THE MOST CHAM -
PAGNE-LIKE domestic wine is KOR-
BEL BRUT.’’—Cue Magazine, Decem-
ber 20, 1940.

“THE OUTSTANDING AMERICAN
CHAMPAGNE to date is KORBEL
BRUT ."’— Town and Country, Febru-
ary, 1941.

KORBEL 2

“EXTREMELY ENJOYABLE, bone-dry
and clean-tasting.’’—The New Yorker,
March 15, 1941.

ROUGE
PINK

Distributed by
TRADERS DISTRIBUTING CO.
314 FRONT STREET, SAN FRANCISCO, CALIFORNIA

21 BRANDS, INC.
17 E. 52nd ST., NEW YORK CITY

SAN FRANCISCO

PROLOGUE

This is a record of land... of soil rather than
yeople—a story of the Great Plains: the 400,-
000,000 acres of wind-swept grass lands that
spread up from the Texas Panhandle to Can-

ada... A high, treeless continent, without
rivers, without streams... A country of high
WINGS an Gestinets AMC Ol CELE stalin.

(SRASS

The grass lands .. . a treeless, wind-swept con-
tinent of grass stretching from the broad
lexas Panhandle up to the mountain reaches
of Montana and to the Canadian border. A

country of high winds and sun... high winds
and sun... Without rivers, without streams,
with little rain.

GME ye

First came the cattle .. . an unfenced range a
thousand miles long... an uncharted ocean
of grass, the southern range for winter orazing
and the mountain plateaus for summer. It
was a cattleman’s Paradise. Up from the Rio
Grande ... in from the rolling prairies .

down clear from the eastern highways the

cattle rolled into the old buffalo range. For
a decade the world discovered the grass lands
and poured cattle into the plains. The rail-
roads brought markets to the edge of the
plains land syndicates sprang up over-
night and the cattle rolled into the West.

At this point the score, in order to throw more light on the dramatic sig-
nificance of the last two movements, provides the text to three movements which
are omitted in concert performance. These are as follows:

HOMESTEADER

But the railroads brought the world into the
plains new populations, new needs
crowded the last frontier. Once again the
plowman followed the herds and the pioneer

came to the plains. Make way for the plow-
man! High winds and sun... high winds and

SUN. 6a ALCOUMDTY without rivers and with

little rain. Settler, plow at your peril!

waar a wonperFuL CALQUERI ts mabe THIS WAY:

e 2 0z. Havana Club Rum light

ca |

@ | teaspoon sugar

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Shake well with cracked ice and
strain into cocktail glass.

*Write for FREE Recipe Book—‘‘Delicious Rum Drinks”

Distilled and Bottled by JCSE ARECHABALA, S. A. °
Sole Agents for U.S.A.

*WILLIAMS [MPORTERS A Division of R. C. Williams & Co., Inc., 610 5th Ave., N. Y.

SYMPHONY ORCHESTRA 309

86 PROOF e Cardenas, Cuba

TODAY'S

GREAT

PLANO

the choice of
Today's Great Artists

CHOOSE YOUR PIANO
AS THE ARTISTS DO

The Boston Symphony now uses the Baldwin

in its Concerts.

MARIE THERESE BRAZEAU HAROLD BAUER

GEEIEEER DE ABRVATH
SEVERIN EISENBERGER
ALEXANDER KELBERINE
WESEEY CA VIbDER DRE
ALEXANDER TANSMAN
IRMA SCHENUIT HALL
FRANCES ANTOINE
WILHELM BACHAUS
PAUL WITTGENSTEIN
VICTOR WITTGENSTEIN
FRANCISZEK ZACHARA
MAGDA TAGLIAFERO
JOSEPH BATTISTA
JEANNE BEHREND
ALFREDO CASELLA
WALTER GIESEKING
EUGENE GOOSSENS
BORIS GOLSCHMANN
FLORENCE EASTON
DANIEL ERICOURT
EDWARD JOHNSON
BREENDAN KEENAN
ALEXANDER KIPNIS
WIKTOR LABUNSKI
ALFRED MIROVITCH
CHARLES NAEGELE
LOUIS PERSINGER

E. ROBERT SCHMITZ
BERNARDO SEGALL
ROSINA LHEVINNE
MORIZ ROSENTHAL
RUTH SLENCYNSKI
ALEC TEMPLETON

ANTON BILOTTI
LUCREZIA BORI
BELA BARTOK
MARIO CHAMLEE
KARIN DAYAS
JOSE ECHANIZ
DAVID EARLE
FRANK FARRELL
JAKOB GIMPEL
RUDA FIRKUSNY
ARNOLD GABOR
WILLIAM HARMS
STEPHAN HERO
AMPARD ITURBI
JOSE ITURBI
RAEP RREEEPoED
JUSS! BUOERLING
JOSEF LHEVINNE
ERICA MORIN!
EDITH MASON
GRACE MOORE
WILLEM NOSKE
EIS weeins
ROSA RAISA
ANGEL REYES
GIACOMO RIMINI
TITO SCHIRA
JOHANN SINGER
EPERESMilm
qHHSEPR I SZiGEtvl
LEONARD SHURE
HELEN TRAUBEL
SAMUEL YAFFE

MOISSAYE BOGUSLAWSK!I

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StGVSCIMEER STREET,
SAN FRANCISCO

310

1828 WEBSTER ST.
DOAKLAND

BY APPOINTMENT

Champagnes of ihe highest quality

6. H. Mumm &(

socitre VINICOLE DE CHAMPAGNE.SUCCESSEUR

NOW-—with the liberation
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“Aristocrat of Cham-
. which, dur-

ing the last four years

pagnes ..

and more, we have
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SRR
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ia
eve on ° ‘

ARMSTRONG’S U DRIVE

RENTACAR
1037 GEARY ST., SAN FRANCISCO
Bet. Polk Street &G Van Ness Avenue
. . Telephone GRaystone 6600

SAN FRANCISCO

WARNING

Many were disappointed. The rains failed...
and the sun baked the light soil. Many left...

they fought the loneliness and the hard years
... but the rains failed them.

WAR AND TRACTOR

Many were disappointed, but the great day
was coming ... the day of new causes—new
profits—new hopes.

‘Wheat will win the war!”

“Plant wheat . .

“Plant the cattle ranges...”

“Plant your vacant lots...”

“Plant wheat!”

“Wheat for the boys over there!”
“Wheat for the Allies!’

“Wheat for the British!”
“Wheat for the Belgians!”
“Wheat for the French!”
“Wheat at any price...”
“Wheat will win the war!”

The movements of the concert suite then continue:

BLUES (SPECULATION)

hen we reaped the golden harvest . then
we really plowed the plains .. . we turned
under millions of new acres for war. We had
the man-power ... we invented new machin-

ery, the world was our market. By 1933 the
old grass lands had become the new wheat
lands ~ a hundred million acres >. - two
hundred million acres . . . More wheat!

DROUGHT

A country without rivers ... without streams
_. with little rain... Once again the rains
held off and the sun baked the earth. This

time no grass held moisture against the winds
and sun this time millions of acres of
plowed land lay open to the sun.

DEVASTATION

Baked out—blown out—and broke! Year in,
year out, uncomplaining they fought the worst
drought in history ... their stock choked to
death on the barren land their homes
were nightmares of swirling dust night and
day. Many went ahead of it— but many
stayed until stock, machinery, homes, credit,
food, and even hope were gone. On to the
West! Once again they headed into the set-
ting sun . Once again they headed West
out of the Great Plains and hit the highways
for the Pacific Coast, the last border. Blown
out—baked out—and_ broke Nothing to

———__.

stay for .. . nothing to hope for . . . home-
less, penniless and bewildered they joined the
ereat army of the highways. No place to go

. and no place to stop. Nothing to eat...
nothing to do... their homes on four wheels

. their work a desperate gamble for a day’s
labor in the fields along the highways, price of
a sack of beans or a tank of gas .. . All they
ask is a chance to start over and a chance for
their children to eat, to have medical care, to
have homes again. 50,000 a month! ‘The sun
and winds wrote the most tragic chapter in
American agriculture.

| |
| WILLIAM F. LARAIA |
| First Violinist San Francisco Symphony Orchestra for twenty-five
| years — has resigned in order to devote his time exclusively to

teaching.

ST UDIOS—

3325 OCTAVIA ST., SAN FRANCISCO
438 Hucucresr Rp., SAN CARLOS

FERRARI

——_—

Fr. 6102
SV Geb sls

NICOLAUS

AND FORMER FIRM OF @ TRAINER & PARSONS

Dispensing Optiecaus.
444 POST
SERVING THE EYE PHYSICIANS and their PATIENTS

SYMPHONY ORCHESTRA

311

MING AGED SANE gt Gen NG aR ies

SAN FRANCISES
SYMPHONY ORCHESTRA

PIERRE MONTEUX, Conductor

MARIAN

AANDERSON

GUEST SOLOIST

e
PROGRAM
SVIMPNOMY, INOws OMe eee c teste tt 3 Wome pers. 1 tee Beethoven
Alto Rhapsody for Solo Contralto and Chorus................... Brahms

MISS ANDERSON

MUNICIPAL CHorus, HANs LESCHKE, Director

G]aiifOr nas SUITOR ee eri NGA cr eau ees Sg Harold Brubeck
Conducted by the Composer

OuMioiFernandortrom laieavorita 4.4 a ee Donizetti

MUSIC
MAINTAINS {|
MORALE f

MUSIC £
MUST #
Go
ON]

CIVIC AUDITORIUM
FRIDAY EVENING, MARCH 2, AT 8:30

Tickets: 30c, 60c, 90c, $1.20, $1.80, Tax Included — Sherman, Clay .. . SUtter 1331

Virgil Thomson was born in Kansas City and graduated from Harvard
University. He also received part of his training under Nadia Boulanger in |
Paris. He has been an instructor at the Cambridge University and conductor |
of the Harvard Glee Club, organist and choirmaster of King’s Chapel in Boston
and a member of the staff of the Boston Transcript; he was appointed to his
present post as music critic of the New York Herald-Tribune some five years ago.

Mr. Lhomson’s list of works is extremely long and extraordinarily varied.
Perhaps his most celebrated composition is the opera Four Saints in Three Acts. :
He has also written two symphonies, three string quartets, four piano sonatas, :
and sonatas for violin and for flute; a ballet called Filling Station; incidental
music to plays of Shakespeare, Sophocles, and others; two masses and other |
choral works; much organ music, and numerous short works for piano, voice,
orchestra and chamber ensemble. He has also composed over a hundred “musi-
cal portraits” for various instrumental media of which the best known are
probably Canons for Dorothy Thompson and The Mayor La Guardia Waltzes.

CONCERTO FOR PIANO AND ORCHESTRA

INO: acl OMENING@ Roi ote ane seo meee taiet Frederick Chopin
(1810-1849)

Chopin completed both his piano concertos in the spring of 1830 and pre-
sented them for the first time during a series of “farewell concerts” which he
eave in Warsaw at that time. ‘Uhey are his only works involving the orchestra,
, medium in which he had little interest or skill, and it is very likely that they
would never have been written at all if conditions of the musical life in the
1830’s had not made the composition of concertos practically obligatory for a
musician with Chopin’s ambitions. The solo recital was practically unknown—
it is said to have been invented by Liszt about 1840—and public concerts always

A TOUCH OF THE OLD WORLD

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end The Parade Coc: tail Lounge.
HOTEL

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Tel.: UNderhill 9600

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SYMPHONY ORCHESTRA eM Le:

involved the services of an orchestra. Consequently a composer-virtuoso like
Chopin had no choice but to bring himself before the general public with con-
certos.

Chopin’s F minor concerto was completed before the one in E minor, but
it was published later and is therefore known as No. 2. Its slow movement was
inspired by Chopin’s love for Constantia Gladkowska, who, the movies to the
contrary notwithstanding, was not an ardent Polish revolutionist but a rather
fragile little opera singer. Constantia’s charms were partly responsible for the
fact that Chopin bade public farewell to Warsaw on three separate occasions,
He was anxious to make his way professionally in big capitals like Vienna and

Paris; at the same time he was 19 years old, and Constantia lived in Warsaw.

The programs of the three “farewell concerts” have been preserved and
make interesting reading today. Chopin first performed the F minor concerto
on March 17, 1830; the concert opened with an overture by Paul Muni, better
known in those days as Joseph Elsner; it also contained an overture by one
Kurpinski, a set of coloratura variations by Paér sung by Mme. Meier, and it
closed with Chopin improvising on Polish national airs. In between the first
and second movements of the concerto a celebrated horn player named Goérner
performed a divertissement of his own. In those days the unity of a composition
in large form was not regarded as sacrosanct, and it was very common to inter-
sperse all manner of things between the various divisions of symphonies and
concertos. Mozart, Beethoven and Chopin saw no harm in this, which is an
interesting commentary on the attitude of many contemporary performers who
will not allow as much as a single handclap between the movements of a work
in sonata form.

Other notes have taken so much space in today’s program book that an
outline of the concerto will have to be passed up.

a DEENA TD i a a EE I LLL

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with the cooperation of Mrs. George Cameron.

SYMPHONY ORCHESTRA

MRS. PIERRE MONTEUX P MRS. WALTER D. HELLER
MRS. SIGMUND STERN MRS. MORRIS MEYERFELD
MRS. RICHARD SHAINWALD
MRS. LEONORA WOOD ARMSBY MRS. GEORGE OPPEN
MRS. JOHN T. BARNETT
MRS. WHITNEY BENTLEY Q MrsS. FRANK Pp: DEERING
MRS. E. E. BROWNELL MRS. JAMES L. FLOOD
MRS. DAVID COWLES MRS. BENJAMIN C. KEATOR
MRS. MORTON GIBBONS MRS. HENRY S. KIERSTED
MRS. HARRY HILL MRS. HARRY B. LITTLE
MRS. JAMES HORSBURGH MRS. HAROLD R. McKINNON
MRS. SILAS PALMER MRS. ASHTON H. POTTER
MRS. T.. E. PALMER
MRS. ATHERTON RUSSELL R DR. AND MRS. FRANK R. GIRARD
**U. S. NAVAL HOSPITALS S MRS. FRANCIS S. BAER
MRS. EDWARD H, BELL MISS JENNIE BLAIR
MRS. SPENCER GRANT MRS. ELDRED BOLAND
MRS. MAXWELL C. MILTON MRS. GEORGE M. BOWLES
MRS. WILLIAM H. ORRICK MRS. GEORGES S. DeLATOUR
MRS. STUART RAWLINGS MARQUISE HENRI de PINS
MiSS ELSE SCHILLING MRS. ROGER LAPHAM
MRS. DANIEL VOLKMANN MRS. FREDERICK W. McNEAR
MISS JOHANNA VOLKMANN
MRS. DEAN WITTER T MRS. OTTO BARKAN
RSs Dee wR ora: MRS. L. A. BENOIST
MRS. REED J. BEKINS M!SS MARILYN BENTLEY
MRS. GEORGE EDWIN BENNETT MRS. WALTER BENTLEY
MRS. FRANK INGERSOLL MRS. FOSTER NEWHALL
MRS. CLARENCE LORAN JOHNSTON MRS. STANLEY POWELL
MRS. GEORGE S. JOHNSTON MRS. BRUCE SELFRIDGE
MRS. RALPH MERILLION MRS. MELVILLE L. SMITH
MRS. J. T. POSEY
MRS. ERNEST J. S\/EETLAND U MRS. DAVID ARMSTRONG TAYLOR
MRS. JOSEPH D. GRANT Vv ***kU. S. ARMY HOSPITALS
MRS. JOHN CASSERLY w MRS. HENRY BOYEN
MRS. DONALD GREGORY
MRS. ARTHUR B. CAHILL
MRS. WELLINGTON HENDERSON
2, COUNTESS LILLIAN DANDIN|
MRS. OSGOOD HOOKER MRS. JOHN L. FLYNN
MR. AND MRS. KENNETH MONTEAGLE ;
MRS. EDITH NORTH MRS. PETER B. KYNE
. MRS. JAMES F. McNULTY
M&S. MARCUS S. KOSHLAND MRS. A. J. MOORE
MRS. M. C. SLOSS MRS. THEODORE WORES
MRS. CHARLES BRANSTEN
MRS. RICHARD FRANK Xx DR. AND MRS. JOSEPH C. FLOWERS
MR. AND MRS. MORTIMER FLEISHHACKER MRS. ANGUS McDONALD
MRS. LEWIS LAPHAM DR. HANS VON GELDERN
MRS. ROGER LAPHAM, JR. MRS. HENRY H. WEHRHANE
MRS. FREDERICK WHITMAN Y MRS. C. W/. CROSSE
MR. AND MRS. CHARLES R. BLYTH MRS. DUNCAN CURRY, JR.
MRS. RICHARD HEIMANN MrS. JOSEPH W/. FOWLER
MRS. A. J. LOWREY MRS. RALPH HENKLE
MR. AND MRS. C. O. G. MILLER MRS. DANIEL C. HUNT
MRS. EDGAR WOODS MRS. A. F. JUNCKER
MR. AND MRS. GEORGE T. CAMERON MRS. EF. W. WILLETT
MRS. STANHOPE NIXON MRS. EDWARD C. WURSTER
MR. AND MRS. NION R. TUCKER Zz MRS. FRANK BUCK
MRS. DUNN DUTTON MRS. RALPH K. DAVIES
MRS. WALTER HOBART MRS. J. LINDSAY HANNA
MRS. FREDERICK HUSSEY MRS. JAMES LEVENSALER
MRS. KENYON JOYCE MRS. DOUGLAS McBRYDE
MRS. SAMUEL KNIGHT MISS OLGA MEYER
MRS. RICHARD McCREERY MRS. FRANK SOMERS
*** Transportation Service through courtesy of the Red Cross Motor Corps

us
ae
Vl

VIOLINS:

BLINDER, NAOUM
CONCERTMASTER

HEYES, PETER
ASSISTANT CONCERTMASTER

WOLSK!I, WILLIAM
ASSISTANT CONCERTMASTER

ARGIEWICZ, ARTUR
ASSISTANT CONCERTMASTER

ANDERSON, THEODORE
ForRD, Louis W.
HOLM, THORSTEIN JENSEN
GUARALD!I, MAFALDA
SHWEID, HENRY
EDMUNDS, CICELY
SCHNEIDER, DAVID
VAN DYKE, MARCIA
MYERS, MISCHA
ROURKE, ROBERT
GORDOHN, ROBERT
HAUG, JULIUS
WEGMAN, WILLEM
GOUGH, WALTER
PASMORE, MARY
LARAIA, ATTILIO F.
SHAPRO, DAVID
HELGET, HANS
BARET, BERTHE
PATERSON, JOHN A.
CHILINSKI, BRUNO
KOBLICK, NATHAN
Di BIANCA, VINCENT
WRIGHT, HAROLD

VIOLAS:

MOLNAR, FERENG
PRINCIPAL

VERNEY, ROMAIN
WHITE, ALBERT
MITCHELL, LUCIEN
WEILER, ERICH
AKON, ALFRED
KARASIK, MANFRED
PETTY, SUZANNE
VAN DEN BURG, JAC
MANN, MICHAEL

PERSONNEL MANAGER:

PERSONNEL

SAN FRANCISCO SYMPHONY ORCHESTRA
PIERRE MONTEUX, Conoucror

‘'SECCOS:

BLINDER, BoRIS
PRINCIPAL

REINBERG, HERMAN
ARKATOV, JAMES

BEM, STANISLAS
ANDERS, DETLEV
HUGHSON, MARY
PETTY, WINSTON
CONNOLLY, CATHERINE
PASMORE, DOROTHY
HRANEK, CARL

BASSES:
KARP, PHILIP
PRINCIPAL

SCHMIDT, ROBERT E.
BELL, WALTER
GUTERSON, AARON
SCHIPILLITI, JOHN
BUENGER, AUGUST

STORCH, ARTHUR E.
ORSINI, JOSEPH

FLUTES:
RENZI, PAUL UR.

SHANIS, RALPH F.
BENKMAN, HERBERT

PICCOLO:
BENKMAN, HERBERT

OBOES:

REMINGTON, MERRILL.
SHANIS, JULIUS
SCHIVO, LESLIE Jd.

ENGLISH HORN:
SCHivoO, LESLIE Jd.

OBOQE D’AMOUR ANO
HECKELPHONE:
SHANIS, JULIUS

CLARINETS:

SCHMITT, RUDOLPH
BIBBINS, F. C.
FRAGALE, FRANK

E FLAT CLARINET:
BIBBINS, F. C.

BASS CLARINET
FRAGALE, FRANK

BASSOONS:
KUBITSCHEK, ERNST
HIBSCHLE, FRANK
BAKER, MELVILLE
HRANEK, CARL

CONTRA BASSOON:
BAKER, MELVILLE

HORNS:
TRUTNER, HERMAN C.
LUCCHESI, DINO
TRYNER, CHARLES E,
ROTH, PAUL

TRUTNER, HERMAN, UR.

TRUMPETS:
Buss, CHARLES, UR.
BARTON, LELAND S&S.
KRESS, VICTOR
MURRAY, EARL

TROMBONES:
Giosi, ORLANDO
SHOEMAKER, ROGERS
KLOCK, JOHN

TUBA:
MURRAY, RALPH

HARP:
MORGAN, VIRGINIA
EVERINGHAM, ANN

TYMPANI:
LAREW, WALTER

PERCUSSION:
VENDT, ALBERT
SINAI, JOSEPH
GREER, ELLWOOD

PIANO AND CELESTA:
SHORR, LEV

LIBRARIAN:
HAUG, ALMA

PROPERTY MASTER:
J. T. HEAVEY

JULIUS HAUG

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MICHAELIAN, ERNEST A.—VIOLIN

316

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RosSS, NATHAN—VIOLIN
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DLSHAUSEN, DETLEV—VIOLA
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DE PALMA, ATTILIO—HORN
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WAR MEMORIAL OPERA HOUSE

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KPO
Symphony Notes

. Not of musical note but of great interest to every radio listener
is the new series, “Our Foreign Policy,” to be launched on KPO Sat-
urday at 4:00 p.m. Secretary of State Edward R. Stettinius, Jr., speaking
from Mexico City, will be principal speaker on the first of seven broad-
casts which will be officially sponsored by his department. For the first
time in radio, the three major governmental bodies charged with formu-
lation and execution of America’s international policy are joining in
the discussion of the plans for building the peace. Series will continue
throughout the year, with the Senate Foreign Relations Committee and
the House F oreign Affairs Committee sponsoring later broadcasts.

When the United Nations Conference opens in San Francisco on
Apr il: 25, “Our Foreign Policy” will originate from NBC’s local studios
in Radio City and w ill present top- ranking delegates and commentators.
Also on the start-off program Saturday w il be Assistant Secretaries of
State Archibald MacLeish and Dean Acheson, who will speak from
Washington following Mr. Stettinius’ address.

The man who has toured England’s blitzed areas with a full
sy mphony orchestra and has ovine huteHeOLt concerts within sound of bombs,
Dr. Malcolm Sar gent, will conduct the second of four concerts being
presented by the NBC Symphony Orchestra on the “General Motor
Symphony of the Air” Sunday at 2:00 p.m. (K .PO) . Guest soloist that
day will be Yehudi Menuhin who will be heard in Elgar’s Violin Con-
certo in B Minor. Dr. Sargent, who is the prominent conductor of the
London DHuinmmon dhe Halle Orchestra and other noted musical
ensembles of Great Britain, will conduct the orchestra in Handel’s
“Water Music.”

The 250-year-old violins of “The Stradivari Orchestra” will

Ps heard in the overture to ‘““The Marriage of Figaro” by Mozart and

1 Toselli’s “Serenade,” Gabriel Marie’s “La Cinquantaine”’ and other

Stecuous on Sunday, when the program is broadcast over KPO at 9:30

a.m. Paul Lavalle directs the orchestra and Jacques Gasselin, concert-

master, has chosen Mosart’s “Il mio tesoro” from “Don Giovanni” as
his Stradivari solo.

SYMPHONY ORCHESTRA

323

324

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MAINTAINING THE

SAN FRANCISCO SYMPHONY ORCHESTRA

OFFICERS
Mrs. Leonora Wood Armsby, President and Managing Director
—. Raymond Armsby...............--.--.--- Vice-President Charles) Pac emcee rccct rece nee sewers Treasurer
Paul A. Bissinger...........-...- eee, Vice-President Howard (Wen SI ini e is. nooo ess eee ooac ec wasn sce eeeee Secretary
Charles. -R. Blyth... Eee ee Vice-President Geralid-G (ROSS ee see Assistant Secretary
Garret McEnerney, II_..-..--.----.------- Vice-President
EXECUTIVE COMMITTEE
Dr. Hans Barkan Mortimer Fleishhacker Mrs. Marcus S. Koshland Miss Else Schilling
Miss Louise A. Boyd Miss Lutie D. Goldstein Garret McEnerney, II Mrs. M. C. Sloss
Ms. Selah Chamberlain Mrs. Joseph D. Grant Kenneth Monteagle Mrs. Sigmund Stern
Mrs. John P. Coghlan Mrs. Walter A. Haas Guido J. Musto Mrs. Eli H. Wiel
Mrs. E. S. Heller Mrs. Ashton H. Potter

FINANCE COMMITTEE

Cc. O. G. Miller, Chairman

E. Raymond Armsby Miss Lutie D. Goldstein Mrs. Ashton H. Potter
Charles R. Blyth Mrs. Marcus S. Koshland Mrs. William Lister Rogers

Mortimer Fleishhacker
MUSIC COMMITTEE
Mrs. Selah Chamberlain

Dr. Hans Barkan Mrs. Tobin Clark J. Emmet Hayden
Mrs. George T. Cameron Dr. Leo Eloesser Charles G. Norris

PUBLIC RELATIONS COMMITTEE
Mrs. John B. Knox

Mrs. M. C. Sloss Mrs. James Mills Mrs. William Lister Rogers
Mrs. John P. Coghlan Mrs. Francis Redewill Michel Weill
YOUNG PEOPLE’S CONCERT OFFICERS

Mrs. Thomas Page Maillard Mrs. Grace Benoist Mrs. Louis Sloss, Jr. Mrs. Harold K. Faber

Mrs. Harold R. McKinnon Mrs. Walter A. Haas Charles M. Dennis

SAN FRANCISCO SYMPHONY LEAGUE
Mis:. Jonn: PP: *Coghlan:-s-.--2. ees Chairman Mrs. Francis Redewill..................---- Vice-Chairman
SAN FRANCISCO SYMPHONY FORUM
Mrs. Alan McLenegan, Chairman Ava Jean Barber Frank Winter Martin Skewes-Cox _
John Piel Pamela Marsh Katherine Mulkey Cecily Rideout
Lt. (j.g.) J. Brandon Bassett _ Etwyn Thayer Ann Wegman Eliza eth Shaw
Marcia Robinson Betty Carl Paul Robinson Marilyn Biehl
BOARD OF GOVERNORS
E. Raymond Armsby Mrs. George Ebright Mrs. E. S. Heller Charles Page
Mrs. Leonora Wood Armsby Sidney M. Ehrman Walter S. Heller Mrs. Ashton H. Potter
Dr. Hans Barkan Albert I. Elkus Mrs. I. W. Hellman Mrs. Stanley Powell
Mrs. Edward O. Bartlett Dr. Leo Eloesser William F. Humphre Mrs. William Lister Rogers
James B. Black Forrest Engethart Mrs. Marcus S. Koshland Mrs. Henry P. Russell
Carles R. Blyth Mrs. Harold K. Faber Frederick J. Koster Miss Else {chilling
Miss Louise A. Boyd Mrs. Paul |. Fagan Gaetano Merola Mrs. M. C. Sloss
Paul A. Bissinger Mrs. Marshall H. Fisher Cc. O. G. Miller Mrs. Nicol Smith
George T. Cameron Mortimer Fleishhacker Mrs. C. O. G. Miller Mrs. Sigmund Stern
Mrs. Selah Chamberlain Mrs. J. C. Flowers Edward F. Moffatt Mrs. Powers Symington
Mrs. John P. Coghlan John F. Forbes Kenneth Monteagle Mrs. David Armstrong Taylo!
Mrs. Elizabeth S. Coolidge Mrs. Frank R. Girard Mrs. Donald Mulford Mrs. Cyril Tobin
Mrs. W. W. Crocker Miss Lutie D. Goldstein Guido J. Musto Mrs. Alfred S. Tubbs
Mrs. O. K. Cushing Mrs. Joseph D. Grant Dwight F. McCormack Mrs. Daniel Volkmann
Mrs. Georges de Latour Farnham P. Griffiths Mrs. Angus McDonald Michel Weill
Benjamin H. Dibblee Madeleine Haas Garrett McEnerney, II Mrs. Eli H. Wiel
Miss Katharine Donohoe Mrs. Walter Haas Mrs. Harold R. McKinnon Leonard E. Wood
Mrs. Willard H. Durham Mis. Harry S. Haley R. C. Newell J. D. Zellerbach
Joseph H. Dyer, Jr. J. Emmet Hayden Charles G. Norris
STAFF

Constance Alexander Victor Mohl Deborah Spalding
Kathleen Lawlor Gerald Ross Curran Swint
Doris Lowell Joseph Scafidi Virginia Webb

THE SAN FRANCISCO SYMPHONY ORCHESTRA
Records Exclusively for Victor Red Seal

SYMPHONY ORCHESTRA 325

“There's an Immortality in the expression of the
finer human moods... These moods sincerely
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person towards whom that feeling ts directed.”

MASTER PHOTOGRAPHER |

427 POST STREET (IN THE ST. FRANCIS HOTEI\ «4 YVIIKON 9N2e .. .

TODAYS “GUEST AkSISiis

Coo ~J

LORIN VARENCOVE MAAZEL was born in Neuilly, France, of American parents,
on March 6, 1930. His grandfather, Isaac Maazel, was concertmaster of the
Imperial Opera Orchestra in Moscow at the age of 14, and played in the orches-
tra of the Metropolitan Opera for 25 years. His father is a singer and teacher
and his mother a pianist. Lorin studied violin with his aunt, Frances Berkova,
and piano with Fanchon Armitage, both of Los Angeles. He began directing
his own family orchestra at the age of seven, and made such progress that he was
placed under the tutelage of Vladimir Bakaleinikoff to study conducting. In
1938 he directed the orchestra of the National Music Camp at Interlochen,
Michigan, where he was heard by Olin Downes, who brought him to New York
in the following year to conduct at the World’s Fair. Since then he has con-
ducted the NBC Symphony, the Los Angeles Philharmonic, the Chicago Sym-
phony, the Hollywood Bowl Orchestra, the Pittsburgh and Cleveland Orches-
tras, and the New York Philharmonic. He is still studying with Bakaleinikoff,

who is now the assistant conductor of the Pittsburgh Symphony.

Naoum BuinpER was born in Eupatoria, Crimea, in 1891. He graduated
from the Odessa Conservatory at the age of 14, but continued his studies at the
Royal Academy of Music in Manchester, England, under Adolph Brodsky. He
was professor of violin at the Odessa Conservatory from 1911 to 1920 and at the
Moscow Conservatory from 1921 to 1928. During this period he made concert
tours throughout Russia, and in Turkey, Palestine and Japan as well. He came
to the United States in 1928 and taught for a number of years at the Institute of
Musical Art in New York. He was appointed concertmaster of the San Fran-

cisco Symphony Orchestra in 1932 and founded the San Francisco String Quartet

in 1934. He has repeatedly appeared as soloist with the San Francisco Sym-

phony and other American orchestras.

SYMPHONY ORCHESTRA

Your WILL cannot
bequeath “good judgment”

By intelligent management you have built up
your Estate. Your Will sets up the Plan you
want your Executor to follow.

If you appoint an zmdzvidual as Executor and
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NADTEONAE <ASSOCLATION OUR
Founded in 1864 EIGHTIETH
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ererieit ! : ce

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MEMBER FEDERAL DEPOSIT INSURANCE CORPORATION

328 SAN FRANCISCO

a Rn eer |

——————— ee

Thirty-third Season
1944 - 45

SAN FRANCISCO SYMPHONY ORCHESTRA
PIERRE MONTEUX, Conductor
-{@}-
SEVENTH PAIR OF SYMPHONY CONCERTS

FRIDAY, FEBRUARY 23, AT 2:15

SATURDAY, FEBRUARY 24, AT 8:30
LORIN MAAZEL, Guest Conductor
NAOUM BLINDER, Soloist

-4o}-

‘Program

OS TERE USE: SLi@) ei: © Sie VIAGGIO) rrr ewes ens ge Schubert

Mr. MAAZEL CONDUCTING

SYMPHONY NO. 4, IN A MAJOR GaP ALILT AWN)
Ss STORE TES Eke atta ee ER dere Phan! tae Soe PE A Mendelssohn
Allegro vivace
Andante con moto
Con moto moderato
Saltarello: Presto
Mr. MAAZEL CONDUCTING

INTERMISSION

CONCERTO FOR VIOLIN AND ORCHES PRA______.. Bloch

Allegro deciso

Andante
Deciso
Mr. BLINDER
Mr. MONTEUX CONDUCTING
DANS ANd GE le OR esS Cela SIN I@) so ee ee Ravel
Daybreak
Pantomime—

General Dance
Mr. MONTEUX CONDUCTING

a a a a

It is requested that subscribers who are unable to use thetr tickets
kindly phone the Symphony Office—UNderhill 4008—giving location
of their seats that they may be assigned to uniformed men and women.
This courtesy will be deeply appreciated.

SYMPHONY ORCHESTRA 329

Nee eee eee eee eee ee nee mead

330

SAN FRANCISCO SYMPHONY ORCHESTRA

PIERRE MONTEUX, Conductor

~{e>-

EIGHTH PAIR OF SYMPHONY CONCERTS

Friday, March 9, at 2:15
Saturday, March 10, at 8:30

ANIA DORFMAN, Soloist

PASSACADII A: Pace renee Ae a Mak neds aren. Weak naan, wien ate Ae: Handel-Akon
(First Performance)
Concerto 10m Pianovancd Orchestra Noel oe eee Beethoven
The Rite of Spring nied ih Mra RNa Nae PA dt ere th ed ale nen he IP any, Stravinsky
*40>-

FIRST BRAHMS FESTIVAL CONCERT

Tuesday, March 13, at 8:30
ERICA MORINI, Soloist
Symphony No. I, in C minor
Tragic Overture
Concerto for Violin and Orchestra

* * *

SECOND BRAHMS FESTIVAL CONCERT

Thursday, March 15, at 8:30
DUSOLINA GIANNINI, Soloist
Symphony No. 3, in F major
A Song of Fate, for Chorus and Orchestra
(The Municipal Chorus, HANS LESCHKE, Conductor)
A Group of Songs
Symphony No. 2, in D major

* * *

THIRD BRAHMS FESTIVAL CONCERT

Saturday, March 17, at 8:30
ARTUR SCHNABEL, Soloist

Academic Festival Overture
Concerto for Piano and Orchestra, No. 2, in B flat major
Symphony No. 4, in E minor

SAN FRANCISCO

PROGRAM NOTES

By ALFRED FRANKENSTEIN

AVA RH RAS LIOR IEC Oe Vad Oya Dy CUNO DY da a) ose Franz Schubert
(1797-1828)

Schubert’s most famous overture has been masquerading for a century and
a quarter under a title which is difficult, if not impossible, to account for. It
was not composed for Wilhelmine von Chezy’s play, Rosamunde, Queen of
Cyprus, for which Schubert did write a good deal of incidental music, nor was
it ever performed in connection with that drama. Yet it was published in
Schubert’s lifetime as the overture to Rosamunde, and no one knows why.

The few ascertainable facts in the case do not clear up the mystery, but they
will at least serve to show why it exists.

With a few exceptions, notably Gluck and Beethoven, composers of the 18th
and early 19th centuries did not regard the overture as an organic, integral part
of a stage work; it was therefore a common practice for an overture originally
written for one opera to be incorporated into the score of another. A celebrated
instance of this is the overture to The Barber of Seville, which Rossini had used
twice before, for operas called Aurelian in Palmyra and Elizabeth, Queen of
England. Schubert did the same thing several times.

The overture of today’s program was composed in 1819 for a “melodrama”
(i. e. a spoken play with musical accompaniment) entitled The Magic Harp.
This work was a failure when it was performed, but the overture was well
received; consequently Schubert salvaged it for his opera of 1823 known vari-
ously as The Conspirators and The Domestic War. In the same year, 1823
Schubert produced his incidental music for Rosamunde, using as overture a
piece he had originally composed for the opera of 1821 called Alfonso and
Estrella. Wherefore now arises this paradox: the Alfonso and Estrella over-
ture, actually performed as part of the Rosamunde music, is published as the
overture to Alfonso and Estrella, while the Magic Harp overture, which never
had anything whatever to do with Rosamunde, was printed before Schubert’s
death as the overture to that play.

Some musicologists have guessed that the shift in the titles was the result of
a clerical error or typographical mixup in the publisher’s office. After all,
Schubert himself played so fast and loose with his overtures that others might
easily become a bit confused about them. But it seems highly unlikely that so
gross a mistake could have occurred with the composer on hand to correct it,
especially since so little of Schubert’s music was printed during his lifetime.

On the day when Rosamunde was played for the first time, Schubert’s friend,
Moritz von Schwind, wrote a letter about the performance in which he spoke
of Schubert’s using the Alfonso and Estrella overture, and adding that Schubert
had his doubts about this work. Schubert, said Schwind, felt the overture was
too noisy and “cut up” to serve as an effective prelude to Alfonso and Estrella,
and Schwind stated that Schubert intended to write another overture for that
opera. ‘To be sure, Schubert expressed no doubts about the suitability of the
overture as prelude to Rosamunde, but he was a very emotional man and often
grew discouraged about many of his compositions. It is just barely possible
that, on further reflection, he decided that the Alfonso and Estrella overture
would not do for Rosamunde either, wherefore he resurrected the good old
Magic Harp overture, which had served him well on two previous occasions,
and published it under its present title.

This is only a wild theory groping in the dark. It presupposes a hope on
Schubert's part that Rosamunde might be remembered as a whole. (It was the
the usual thing in those days for the overtures to stage-music to be published

SYMPHONY ORCHESTRA 331

SS"

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sure to be included. Listen to “The Music America Loves Best”
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before the rest. Beethoven's overture to Goethe’s Egmont, lor example,
appeared In print a year ahead of the other pieces Beethoven had written for
that play.) But if Schubert ever held such a hope, it was not destined to be
fulfilled. Rosamunde had been presented only twice, and was never to be
revived. After the second performance the orchestral parts of the incidental
music were tied up and lost sight of for 43 years, when they were discovered by
Sir George Grove and Sir Arthur Sullivan in the house of a certain Dr. Schneider
in Vienna. |

SYMPHONY NO. 4, A MAJOR, OPUS 90 Cie Ae IAIN)

Felix Mendelssohn-Bartholdy

(1809-1847)

It is characteristic of Mendelssohn's turn of mind that, of the four purely
orchestral symphonies he published, three bear ttles suggestive of places or
yeriod atmospheres. ‘Vhe third is the Scotch, the fourth 1s the Italian, and the
fifth is called the Reformation Symphony.* Mendelssohn was not, like the wild

#Mendelssohn’s second symphony, the Song of Praise, is really a cantata rather than an orchestral piece.
It may be worth adding by way of footnote that, while Mendelssohn published only five symphonies, he actually
composed 17. The first twelve symphonies, eleven of them for strings alone and one for full orchestra, were
written during the composer's childhood and youth. He considered them student efforts, and to this day they
have not been printed.

i ———————————————_—__ LK

Buffet Service in Basement Promenade and Dress Circle during all performances

WAR MEMORIAL OPERA HOUSE. Owned and operated by the Citv and County of San Francisco
through the Board of Trustees of the War Memorial.

Hard-of-hearing aids are available in the Main Foyer. Attendant will connect same to your seat
location on request. — Opera Glasses in Foyer.

SYMPHONY ORCHESTRA 333

Mee saaannnnnnponntes eee

RESERVE
levied Yihisht yy

nley Distillers Corp., N.Y. C.

Frenchman, Berlioz, whom he met in Rome, a composer of elaborately de-
scriptive “program symphonies,” but he was very sensitive to geographical
impressions, and his list of works, orchestral and otherwise, is filled with re-
flections of his travels.

The /talian symphony was begun in Italy in 1831 and had its first perform-
ance in London two years later. It was completely revised between 1835 and
1837, and in this form was not heard until two years after Mendelssohn had
died. It was not published until 1851. With the possible exception of the second
movement, sometimes called the Pilgrims’ March, it does not depict any specific
scenes, but simply embodies the sum total of his Italian impressions so far as
they could be set down in tones.

13
Allegro vivace, A major 6/8 time. The principal theme is stated at once by the
violins, over rapidly reiterated chords of the woodwind and horns:

4
pi as WO A ee

GU Te OCT Ae SS SF OS Le BS,
(Vt Ra oe eee Se ESS Se ez
3 fe Se) eee) Se eee 3

~ 5 ae ei
This is worked over at some length, and leads to a short transition passage
which begins with lightly skipping triplets in the first violins. “The second

theme is stated by the clarinets and bassoons in E:

Haw Prag ie acral Count

TED
NTRARTER

and his music

SYMPHONY ORCHESTRA 335

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_Higs itp + & y 7 asi ae 7 cee i. HS yr - —+
ie = im 2 wars = p=]
———

This theme is taken up by the flutes and then by the strings. Material drawn
from Example 1 concludes the exposition, which is then repeated from the be-
cinning of the movement.

The development opens with a few bars’ reference to the transition subject.
Then the second violins introduce a new idea:

which is treated in a busy fugato of the strings. Eventually Example | 1s com-
bined with and played off against Example 3. Long-held notes of the solo oboe
(pianissimo) , heard above fragmentary references to the first bar of Example
1, precede the recapitulation.

The recapitulation itself begins with Example | in the strings, over the
reiterated chords of the woodwind, as at the beginning. The restatement of
the first theme is considerably shorter than its initial statement in the expo-
sition. Example 2 returns in A major in the violas and ’celli. There 1s a long
coda, beginning with Example 3 in the woodwinds, after which all the other
thematic ideas of the movement are given a final workout.

Mor

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SYMPHONY ORCHESTRA

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7 ein *

IL.

Andante con moto, D minor, 4/4 time, The title, Pzlgrims’ March, some-
times applied to this movement, does not come from Mendelssohn himself, and
some authorities are inclined to scoff at it. “But,” says Sir Donald Francis
Tovey, “there is no difficulty in tracing the main idea of this movement to a
religious procession which we know Mendelssohn did see in the streets of
Naples . . . The wailing introduction figure is Just such an intoned litany as
Berlioz uses on a larger scale in the ‘Domine Jesu’ of his Requiem; and the rest
is eminently processional and picturesque. ”

The ‘‘wailing introductory figure,” in the unison strings and woodwinds,
reminded Sir George Grove of “the cry of a muezzin from his minaret,” although
it is a rare day indeed when one hears the cry of a muezzin from the campanile
of Santa Maria del Fiore:

This is instantly followed by the main theme of the movement, given to oboes,
bassoons and violas over persistently marching eighth-notes of the lowest strings:

) :

<2?
Pe SEES ===
Hf fee PSS Sees
, G4,

The theme is repeated by the violins an octave higher, with a decorative counter-
subject of the flutes. Then the original combination gives out the second part
of the melody:

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which is also repeated by the violins with flute embroidery.
A short transition passage in the strings, based upon the ‘“‘muezzin’s cry,”
leads to the contrasting episode, in A major:

The “muezzin’s cry” suddenly returns, fortissimo, in the original key, where-
upon Example 5 1s briefly developed. The contrasting theme Example 7) 1s
reheard, then the transition passage of the strings, and the movement dies
away with fragmentary references to Example 5.

ITI.

Con moto Moderato, A major, 3/4 time. This movement is in the triple
rhythm of the minuet or scherzo commonly employed as the third movement
of the classical symphony, and it is in the minuet-scherzo form, but the
essential character of the music is neither minuetish nor scherzoish; it is will-
fully unclassifiable, and in this it predicts the highly individual third movements
of Brahms.

The first section of the movement has the following theme in the violins:

SYMPHONY ORCHESTRA 341

A
\
a
i

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a long time.

A more practical method is to buy
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In the second section this theme is worked over.
The trio, in E major, opens as follows:

i eS ee 7 B aceag : : nena

This also has a second section, in which Example 9 is subjected to develop-
ment. After the trio, the first part of the movement is reheard. The trio is
recalled in the coda.

IV.

Saltarello: Presto, A minor, 4/4 time. Five introductory bars serve to set the
saltarello rhythm. (The name, derived from the Italian saltare, to jump,
is that of a rapidly hopping folk dance popular in and around Rome). ‘The
theme appears in the flutes:

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SYMPHONY ORCHESTRA 343

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bare saltarello rhythm in the violins. Shortly, however, the violins turn
new melody: *

which plays an extremely important part in the proceedings from this point.
Examples 10 to 12 eventually are combined, then are heard in alternation,
and are combined again. ‘There is no orthodox recapitulation, but the move-
ment ends with material derived from its first theme.

CONCERTO FOR VIOLIN AND ORCHESTRA......Ernest Bloch
(1880-)

The following notes are taken from the pamphlet issued by the Columbia
Recording Company in connection with Joseph Szigeti’s disks of this work:

“The violin concerto was, so far as its composer can trace its derivation, the
work of several years (1930-7). Bloch cannot recall precisely how the many
sketches for the work or iginated and ‘still less how they happened to be gath-
ered together to form a whole.’ “They arose,’ he says, ‘mostly on the inspiration of
the moment and with no preconceived idea of a violin concerto, though most of
them were orchestrally or “‘violinistically” conceived.’ He continues, ‘however,
music being for me a kind of language, it is easy to discover, in the chosen mate-

*Says Tovey: ‘‘W. S. Rockstro, a copious contributor to Grove’s Dictionary who knew and used the cor-
rect technical term for everything in music, no matter how familiar the thing or how sesquipedalian the term,
has told us that, while the two principal themes of this movement are indeed saltarellos, the eel-like legato
running theme which is a prominent feature in the development is a tarantella. The victims of tarantula-bite
cannot even stop to jump in their dance.’

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Before or After the Concert Visit the

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SYMPHONY ORCHESTRA 347

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rial that went to make this concerto, parentage or affinities, either in the expres-
sive or the purely musical-thematic frame of the motifs. They combine with
each other in a rather intricate way throughout the score, appearing and dis-
appearing like the characters in a drama. But it would be impossible for me to
delineate any plan or “program” in this work—TI can only say there 1s in it no
“Jewish” inspiration or intention, as was the case in my /srael symphony,
s-helomo, or the Three Jewish Poems, for instance. The idea of the concerto
itself may date from 1930, when part of the introduction was written in Paris.
Its progress was several times interrupted, for the completion of two works
which I had already partly written and for the composition of the orchestral
suite, Evocations. ”

The pamphlet also states that the first theme of the first movement (Example
1 below) ) is “of American Indian character.” In a personal letter to the writer
Mr. Bloch elucidates: “The opening motif of the concerto is of my own imagina-
tion, but when it ‘came’ to me, if I correctly remember, in San Francisco, about
1930, I felt that it had quite an ‘American Indian’ character. And that is all.”

The following outline of the concerto, by Geoffrey Sharp, was originally
published in the English Music Review and has been reprinted in pamphlet
form by the Ernest Bloch Society of London. It is therefore a kind of official
analysis. It concludes with a paragraph which might better be given at the be-
ginning. Bloch has pointed out that the themes of the work “combine with each
other in a rather intricate way throughout the score, appearing and disappearing
like the characters in a drama.” Mr. Sharp makes this more specific: “Ex. 2 1s
common to all three movements; Exs. 3 and 5 are to be found in the first and
second movements, and Exs. | and 4 (b) are to be found in the first movement

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and the finale. This may be accepted as providing some musical j ustification for
regarding the whole work as a continuous narrative, nonetheless definite in
spite of its three phases of defiance, resignation and withdrawal. ‘The problem
of this withdrawal, which 1s liable to loom so large at a first hearing, is partially
solved by the presence of already familiar musical fragments; and our enigma 1s
thus circumscribed by a safeguard comparable to the Malvern Hills.”
Mr. Sharp’s outline is as follows:
I.
: “The opening of the work is clear and straightforward, with a possible |
: reservation at the mezzo-forle: |

“The subsequent excursion into the depths of the orchestra provides a suit-
able atmosphere for the rhapsodical entry of the solo violin mistertoso with
material of which the essential character is summarized in Ex. 2: |

The soloist now indulges in an exacting but relevant miniature cadenza alter
which an ostinato figure, Moderato assat, is presented by the lower strings, harp
and timpani; this is an important feature of the whole work:

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and should be clearly noted beneath the two following episodes which are
projected over 1t mn rapid succession:

the first (a) on flutes and trumpets, the second (b) on the violins followed by
wood-wind 1n imitation. Ex. 4 (a) continues, but the ostinato is modified on

the re-entry of the solo instrument with references to Ex. 1. Between these 1s

heard:

whereupon the tempo quickens to allegro, and then broadens for a tutti on Ex.

] leading to:

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SYMPHONY ORCHESTRA 353+

affinity with the first half-bar of Ex. 5. Once more the music quietens, meno
mosso, fora polyphonic episode of which the principal strands are:

respectively on the solo violin and on a solo viola and bassoon, while a third

strand is given to another solo viola and a clarinet. This leads to a very free D
recapitulation. The solo violin re-enters with Ex. 2 in extended form, and a {
tutti follows with the ostinato, Ex. 3, in the new key, and 4 (b) on the wood-
wind. At the next entry of the solo violin Ex. 4 (a) is heard again on the trum-
pets. Soon Ex. | reasserts itself, followed by Ex. 6. Bravura passages on the solo
violin herald the approach of the climax—an astonishing and utterly convincing
testimony to the persistent bitterness and unflagging intensity of modern life.
Examples 4 (a) and (b) in reversed order are combined with Fx. 3 and the
first phrase of Ex. | to form a tutti which eventually leads to the cadenza proper.
The introductory material is similar to that used to prepare the ground for the
earlier example and should be carefully noted. It is also important to realize
that this cadenza is as much an intrinsic part of the design as any of the rest of
the work and by no means the excrescence that some critics automatically dub
all members of the breed! In the epilogue a new, but derivative, melodic trend
appears on the solo violin and oboe before the tempo quickens once more for a
coda based upon extracts from the foregoing material. There is an abrupt final]
chord quite in keeping with the general character of the movement.

IAG

‘The slow movement opens semplice ed incoloro with:
§

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on the oboe, the counter-melody being played by the leader of the orchestra.

Presently the soloist enters “off the key”’ with:

to provide one of the most magical moments of the whole work. Ex. 9 follows
in the course of three pages of music which makes our promising young com-
posers of the contemporary scene look like a gaggle of pretentious antitheses of

Lord Goring. A fourth motive:

intervenes before the resumption of Ex. 9, now with a suggestion of Ex. 10 in
the bass. Ex. 5 makes a reappearance from the first movement, and after further
references to Exs. 11 and 10, Ex. 8 is resumed on the solo violin. ‘Towards the
end the ostinato, Ex. 3, returns, and the movement concludes with a fragment
of Ex. 8 on the flute, followed by the solo violin with a faint suggestion of the

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II.

“The finale opens deciso with:

in the orchestra, whereupon the solo violin rhapsodizes with material derived
from Ex. Land 4 (b) . This figure:

also acquires prominence. ‘Then the tempo quickens to allegro moderato and
the soloist makes a vigorous entry with:

The next subject, also on the solo instrument, Is:

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SAN FRANCISCO

. ws.

with a slackening of the tempo it reappears as a horn solo leading to a resump-
tion of Exs. 1 and 2 on the violin. Other characters in the drama make further
appearances, and before long the initial phrase ot EX. 12 begins to assert itsell
in conjunction with other material. Ex. 14 insinuates itself into the reckoning
on the solo instrument da lontano, and Ex. 15 appears on strings and horns.
Now, Exs. | and 12 combine to form a tutti leading to the coda, and here Exs.
14 and 12 are followed by a final reference to Ex. 1 on the solo violin, and this
movement too ends with an abrupt chord.”
SYMPHONIC FRAGMENTS FROM DAPANIS

AND SG bids Ole OC OND so. RaRaU Os sate ete een Maurice Ravel

(1875-1937)

Daphnis and Chloe was Ravel's contribution to the repertoire of the Diag-
hilev Ballet Russe. It was first produced in Paris in 1910, with choreography by
Michel Fokine, with Nijinsky and Karsavina in the name parts, Adolph Bolm
and Enrico Cecchetti in other roles, and Pierre Monteux conducting. The
preparation of the work was the Cause of violent disputes and dissension between
Fokine and Diaghilev and Diaghilev and Ravel, and led eventually to Fokine’s
severing his connection with the celebrated producer.

The story of the ballet is based upon a famous Greek pastoral novel, prob-
ably written in the second or third century A. D. by a highly mysterious author
named Longus, about whom nothing else is known save that some early manu-
scripts of Daphnis and Chloe ascribe the tale to him.

On a flyleaf of the score Ravel gives the sketchy outline of the plot which is
subjoined. In explanation of the first paragraph it should be added that an
episode of the story concerns the kidnaping of Chloe by pirates and her restora-
tion to her young lover, Daphnis, after he had prayed to the god Pan. The titles
of the three movements have been interpolated at the appropriate points.

DAYBREAK

“No sound but the murmer 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. ‘he songs of birds are heard. Afar off a shepherd leads his flock.
Another shepherd crosses the back of the stage. Herdsmen enter, seeking Daph-
nis 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 is manifest. ‘The old shepherd, Lammon, explains that
Pan saved Chloe in remembrance of the nymph, Syrinx, whom the god loved.”

PANTOMIME

“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 insist-
ent. She disappears among the reeds. In desperation he plucks some stalks,
lashions a flute, and on it plays a melancholy tune. Chloe comes out and by her
dance imitates the accents of the flute.” (This movement goes without pause
into the following.) GENERAL DANCE

“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.”

SYMPHONY ORCHESTRA 359

MFG INE Gale pe ns bens GT ies

nissior

gr com

ce ae
THO ese SAN FRANCISCO |
ET sae SYMPHONY ORCHESTRA _

PIERRE MONTEUX, Conductor

MARIAN

PINDER TS

GUESIRSOROI Si

&®
PROGRAM
SVMPHONWaiN Ore O2resce eae Otte yk es Se ae recap cet ee at Beethoven
Alto Rhapsody for Solo Contralto and Chorus...................- Brahms
MISS ANDERSON A
MUNrciPpAL CHORUS, HANS LESCHKE, Director
CaLTOrM aso uit ehaes ois ee oat le aces Harold Brubeck

Conducted by the Composer

ONG Eernanaortromielia avon Cat, eae eee Donizetti
MISS ANDERSON

MUSIC
MAINTAINS
MORALE

2 eee s

CIVIC AUDITORIUM
FRIDAY EVENING, MARCH 2, AT 8:30

Tickets: 30c, 60c, 90c, $1.20, $1.80, Tax Included—Sherman, Clay .. . SUtter 1331

~ on ote.

a2 2 ETO etna net ee RVs

oe eed

SAN FRANCISCO RUSSIAN OPERA AND BALLET ASSN.

“Presents

“THE SLEEPING BERUTY”’

American Premier of P. I. Tschaikowsky’s Ballet
(Complete Version — Prologue and Four Acts)

With
The Outstanding Classical Ballerina
NINA YOUSHKEVITCH

Assisted by
SIDNEY STAMBAUGH

“Among the outstanding performances of the season, and they would be outstanding
in any season anywhere, I would place Nina Youshkevitch in “Sleeping Beauty” and ‘Swan
Lake.”? She is a true classical ballerina. She is intensely musical, and her work is clear and
devoid of all superfluous trimming . . .’—Arnold Haskell, Times, London.

_..and we can name Nina Youshkevitch the star of the company who by her dynamic
interpretation shows herself worthy of the artistic mission that was entrusted to her.—Edouard

Beaudu, Intransigent, Paris.
The young Nina Youshkevitch who alone among the dancers seems endorsed with a
technique and charming gift.—Darius Milhaud, Le Jour, Paris.

“F willingly pay tribute to Nina Youshkevitch who is charming, gracious and whose
dance is above perfection.—Reynaldo Hahn, Le Figaro, Paris.

Company of 100 Artists

Symphony Orchestra Spectacular Scenery Beautiful Costumes

Choreography by Sergei Temoff

Music Director: DR. IAN ALEXANDER
Stage and Technical Director: VLADIMIR DUBENSKY
Scenery Designed by: ALEXANDER EDWARD ANDERSON

WAR MEMORIAL OPERA HOUSE

Wednesday, Apr. 4, and Friday, Apr. 6 - 8:30. Sun., Apr. 8 - 2:30

Tickets: 3.00, 2.40, 2.10, 1.80, 1.20 (tax included).
SHERMAN & CLAY BOX OFFICE, GA. 4061
Make checks payable to California Concerts, Inc.
Cro
A San Francisco Russian Opera and Ballet Association Attraction.
S. M. Saroyan, President — V. Velikoselsky, Secy.-Treas.
300 Montgomery Street, Suite 800. GArfield 0171.
San Francisco 4, California

SS I
SYMPHONY ORCHESTRA 361

Box Holders for Friday Afternoons

MRS. PIERRE MONTEUX
MRS. SIGMUND STERN
MaRS. LEONORA WOOD ARMSBY

MRS. JOHN T. BARNETT
MRS. WHITNEY BENTLEY
MRS. E. E. BROWNELL
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MRS. HARRY HILL

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E *#*U. S. NAVAL HOSPITALS

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MISS JOHANNA VOLKMANN
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MRS. J. B. WRIGHT

G MRS. REED J. BEKINS
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H MRS. JOSEPH D. GRANT

J MRS. JOHN CASSERLY
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MR. AND MRS. KENNETH MONTEAGLE
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K MRS. MARCUS S. KOSHLAND
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L MRS. CHARLES BRANSTEN
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MR. AND MRS. MORTIMER FLEISHHACKER
MRS. LEWIS LAPHAM
MRS. ROGER LAPHAM, JR.
MRS. FREDERICK WHITMAN

M MR. AND MRS. CHARLES R. BLYTH
MRS. RICHARD HEIMANN
MRS. A. J. LOWREY
MR. AND MRS. C. O. G. MILLER
MRS. EDGAR WOODS

N MR. AND MRS. GEORGE T. CAMERON
MRS. STANHOPE NIXON
MR. AND MRS. NION R. TUCKER

.) MRS. DUNN DUTTON
MRS. WALTER HOBART
MRS. FREDERICK HUSSEY
MRS. KENYON JOYCE
MRS. SAMUEL KNIGHT
MRS. RICHARD McCREERY

0 Oo B >

MRS. WALTER D. HELLER
MRS. MORRIS MEYERFELD
MRS. RICHARD SHAINWALD
MRS. GEORGE OPPEN

MRS. FRANK P. DEERING
MRS. JAMES L. FLOOD

MRS. BENJAMIN C. KEATOR
MRS. HENRY S. KIERSTED
MRS. HARRY B. LITTLE

MRS. HAROLD R. McKINNON
MRS. ASHTON H. POTTER

DR. AND MRS. FRANK R. GIRARD

MRS. FRANCIS S. BAER

MISS JENNIE BLAIR

MRS. ELDRED BOLAND

MRS. GEORGE M. BOWLES
MRS. GEORGES S. DeLATOUR
MARQUISE HENRI de PINS
MRS. ROGER LAPHAM

MRS. FREDERICK W. McNEAR

|
|
|

MRS. OTTO BARKAN
MRS. L. A. BENOIST

M!SS MARILYN BENTLEY
MRS. WALTER BENTLEY
MRS. FOSTER NEWHALL
MRS. STANLEY POWELL
MRS. BRUCE SELFRIDGE
MRS. MELVILLE L. SMITH

ag nl Pe, a

MRS. DAVID ARMSTRONG TAYLOR
**k#U. S. ARMY HOSPITALS

MRS. HENRY BOYEN

MRS. ARTHUR B. CAHILL
COUNTESS LILLIAN DANDIN!
MRS. JOHN L. FLYNN

MRS. PETER B. KYNE

MRS. JAMES F. McNULTY
MRS. A. J. MOORE

MRS. THEODORE WORES

DR. AND MRS. JOSEPH C. FLOWERS
MRS. ANGUS McDONALD

DR. HANS VON GELDERN

MRS. HENRY H. WEHRHANE

MRS. C. W/. CROSSE

MRS. DUNCAN CURRY, JR.

MrRS. JOSEPH W. FOWLER

MRS. RALPH HENKLE

MRS. DANIEL C. HUNT

MRS. A. F. JUNCKER

MRS. RALPH K. DAVIES :
MRS. E. W. WILLETT

MRS. EDWARD C. WURSTER

MRS. FRANK BUCK

MRS. J. LINDSAY HANNA
MRS. JAMES LEVENSALER
MRS. DOUGLAS McBRYDE
MISS OLGA MEYER

MRS. FRANK SOMERS

*** Transportation Service through courtesy of the Red Cross Motor Corps

with the cooperation of Mrs. George Cameron.

362

SAN FRANCISCO

5
g
f

ee ee ae

Re AE

Box Holders for Saturday Night

A MRS. PIERRE MONTEUX N MR. AND MRS. THOMAS E. AMBROSE
MR. THEODORE BEKINS

B MILLS COLLEGE DR. ALVIN COX
DR MiRIAM MILLER

Cc KAPPA KAPPA GAMMA DR. AND MRS. B. H. PAGE

UNIVERSITY OF CALIFORNIA
O COMMANDER AND MRS. WM. LISTER ROGERS

D SAN FRANCISCO SYMPHONY FORUM MR. AND MRS. JOHN ROSEKRANS
E DELTA DELTA DELTA P ALPHA DELTA PHI

UNIVERSITY OF CALIFORNIA UNIVERSITY OF CALIFORNIA
F DELTA GAMMA Q GAMMA PHI BETA

UNIVERSITY OF CALIFORNIA UNIVERSITY OF CALIFORNIA

R SIGMA PHI

G MILLS COLLEGE UNIVERSITY OF CALIFORNIA

H P| BETA PHI S ALPHA PHI
UNIVERSITY OF CALIFORNIA UNIVERSITY OF CALIFORNIA
J SIGMA KAPPA T STANFORD MEDICAL SCHOOL

UNIVERSITY OF CALIFORNIA U STANFORD MEDICAL SCHOOL

K MR. AND MRS. J. D. ZELLERBACH VY INTERNATIONAL HOUSE
UNIVERSITY OF CALIFORNIA
L MR. AND MRS. VALLEJO GANTNER
DR. AND MRS. NELSON HOWARD Ww CHI OMEGA
COLONEL A. E. HOWSE UNIVERSITY OF CALIFORNIA
MRS. ROBERT SCARBOROUGH WE USE NIEDTLORGE
M DR. AND MRS. HAROLD K. FABER
MR. AND MRS. JAMES H. HOWARD
MR. AND MRS. LEE LAIRD
MR. AND MRS. JEROME VLADIMIR POWELL Z INTERNATIONAL HOUSE
DR. AND MRS. HUGH ROSE UNIVERSITY OF CALIFORNIA

¥; KAPPA ALPHA THETA
UNIVERSITY OF CALIFORNIA

SCREEN JOURNALISM AT ITS BEST

Complete News Coverage — Distinguished Commentators

TELENEWS THEATRE .-’ .... Market Near Fifth

CHAMBER MUSIC CONCERT

Sextet in B flat major, Opus 18........- nS eetcr at nae Se eee PEE een dO Sa lseh tee te Brahms
Octem ir eatlaterniayl Ore O DUiswe: Ok. tee Mle Steet oe eee ae et Cet Peis hae ge eee ee Mendelssohn
By San Francisco’s Leading Artists

GUESTS OF HONOR
JOSE FERRER UTA HAGEN

Sunday, March 11th, 3:00 p.m., Colonial Ballroom, St. Francis Hotel
Admission—Reserved Section $2.00; Unreserved Section $1.00 (plus tax)

Tickets on Sale at City of Paris—EXbrook 8585 Sherman & Clay, GArfield 4061
Joint Anti-Fascist Refugee Committee 68 Post Street GArfield 3615

SYMPHONY ORCHESTRA 363

PERSONNEL

SAN FRANCISCO SYMPHONY ORCHESTRA

VIOLINS:

BLINDER, NAOUM
CONCERTMASTER

HEYES, PETER

ASSISTANT CONCERTMASTER

WOLSKI, WILLIAM

ASSISTANT CONCERTMASTER

ARGIEWICZ, ARTUR

ASSISTANT CONCERTMASTER

ANDERSON, THEODORE
FORD, LoOuIS W.
HOLM, THORSTEIN JENSEN
GUARALDI, MAFALDA
SHWEID, HENRY
EDMUNDS, CICELY
SCHNEIDER, DAVID
VAN DYKE, MARCIA
MYERS, MISCHA
ROURKE, ROBERT
GORDOHN, ROBERT
HAUG, JULIUS
WEGMAN, WILLEM
GOUGH, WALTER
PASMORE, MARY
LARAIA, ATTILIO F.
SHAPRO, DAVID
HELGET, HANS
BARET, BERTHE
PATERSON, JOHN A.
CHILINSK!I, BRUNO
KOBLICK, NATHAN
D! BIANCA, VINCENT
WRIGHT, HAROLD

VIOLAS:

MOLNAR, FERENC
PRINCIPAL

VERNEY, ROMAIN
WHITE, ALBERT
MITCHELL, LUCIEN —
WEILER, ERICH
AKGN, ALFRED
KARASIK, MANFRED
PETTY, SUZANNE
VAN DEN BURG, JAC
MANN, MICHAEL

PERSONNEL MANAGER:

PIERRE MONTEU®X, Conouctor

‘CELESS:

BLINDER, Boris
PRINCIPAL
REINBERG, HERMAN
ARKATOV, JAMES
BEM, STANISLAS
ANDERS, DETLEV
HUGHSON, MARY
PETTY, WINSTON
CONNOLLY, CATHERINE
PASMORE, DOROTHY
HRANEK, CARL

BASSES:

KARP, PHILIP
PRINCIPAL
SCHMIDT, ROBERT E.
BELL, WALTER
GUTERSON, AARON
SCHIPILLITI, JOHN
BUENGER, AUGUST
STORCH, ARTHUR E.
ORSINI, JOSEPH

FLUTES:

RENZ!I, PAUL UR.
SHANIS, RALPH F.
BENKMAN, HERBERT

PICCOLO:
BENKMAN, HERBERT

OBOES:
REMINGTON, MERRILL.
SHANIS, JULIUS
SCHIvo, LESLIE J.

ENGLISH HORN:
SCHIVO, LESLIE J.

OBOE D’AMOUR anp
HECKELPHONE:
SHANIS, JULIUS

CLARINETS:

SCHMITT, RUDOLPH
BIBBINS, F. C.
FRAGALE, FRANK

E FLAT CLARINET:
BIBBINS, F. C.

BASS CLARINET
FRAGALE, FRANK

BASSOONS:
KUBITSCHEK, ERNST
HIBSCHLE, FRANK
BAKER, MELVILLE
HRANEK, CARL

CONTRA BASSOON:
BAKER, MELVILLE

HORNS:
TRUTNER, HERMAN C.
LUCCHES!, DINO
TRYNER, CHARLES E,
ROTH, PAUL
TRUTNER, HERMAN, JR.

TRUMPETS:
Buss, CHARLES, UR.
BARTON, LELAND &.
KRESS, VICTOR
MURRAY, EARL

TROMBONES:
Gios!i, ORLANDO
SHOEMAKER, ROGERS
KLOCK, JOHN

TUBA:
MURRAY, RALPH

HARP:
MORGAN, VIRGINIA
EVERINGHAM, ANN

TYMPANI:
LAREW, WALTER

PERCUSSION:
VENDT, ALBERT
SINAI, JOSEPH
GREER, ELWOOD

PIANO AND CELESTA:
SHORR, LEV

LIBRARIAN:
HAUG, ALMA

PROPERTY MASTER:
J. T. HEAVEY

JULIUS HAUG

IN SERVICE WITH THE UNITED STATES ARMED FORCES

DICTEROW, HAROLD—VIOLIN
HOUSER, F. S.—VIOLIN
KHUNER, FELIX—VIOLIN

MICHAELIAN, ERNEST A.—VIOLIN

364

MOULIN, HARRY—VIDLIN
ROSS, NATHAN—VIOLIN
LEPLIN, EMANUEL—VIOLA

DOLSHAUSEN, DETLEV—VIOLA
CLAUDIO, CESARE—’CELLO
DE PALMA, ATTILIO—HORN
ALTMANN, LUDW!IG—ORGAN

SAN FRANCISCO

San Francisco « los Angeles

Here you sit
and in I walk and say

Your sep

And that’s a mighty happy picture.
Chesterfields never fail to fit in with your
plans ... to add to your pleasure.
Chesterfield’s exceptional Mildness, Better Taste
and Coolness are built on the only foundation you
can depend on in a cigarette...

RIGHT COMBINATION « WORLD’S BEST TOBACCOS

THE MUSICAL ASSOCIATION OF SAN FRANCISCO

[LEONORA WOOD ARMSBY - PRESIDENT AND MANAGING DIRECTOR
HOWARD K. SKINNER +© BUSINESS MANAGER

= —_ = eT EE RETR POLIO MEE ERP Pe Say PRE © ET ES TP a er FR FPSO SS 4 PRIUS TE PN PME SOF PITT Mee ED EEE YP TERE ORT te
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Ain Blais Ati nth et. nee — a =
OR ee ELUATE ALIN gr

[WAR MEMORIAL OPERA HOUSE

rs aR

Sor co

x | Eighth Pair . Ania Dorfmann, Guest Artist . March 9-10, 1945

F 8

Income for
your dependents —

while you live

TRUST DEPARTMENT

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Bank « unron ravst

SAN FRANCISCO

Established 1852
Member F.D.I.C.

SHERMAN, CLAY & CO. injits
NEW HOME in OAKLAND

Convenience is the word for our new music store...
located in a building of its own in the heart of down-
town Oakland.

Step right off the street to our main floor... for REC-
ORBDSE. sone MUSIG. sR ECORDe CABINETS rans
CONCERT TICKETS. Upstairs, on the mezzanine,
you ll find our other departments... Pianos, Band and
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Parking fot next door or just across the street.

Sherman

o
a.
@,!''

New Telephone Number
Hi gate 8440

|
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‘aw

SYMPHONY ORCHESTRA 389

Od that Tne ge a = eS a $e ——————————————

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Brilliant young soprano, Hazel Hayes, will be guest soloist with
the Los Angeles Philharmonic Orchestra, under the ahaseeorn of Alfred
VWallensten when the “Standard Hour” is broadcast Sunday from the
Marine Corps Base at San Diego, for airing over KPO and the NBC
Pacific Coast network at 8:30 p.m. Miss Hayes’ selections include
“Ah. Love But A Day” by Beach, “Kiss in the Dark” by Victor Herbert,
“The Rosary” by Ethelbert Nevin and “L’Amour, Toujours L’Amour”
by Friml. 1 he orchestra will be heard in the Overture to Rossint’s tragic
opera “Semiramide,’’ Strauss’ “‘f Emperor Waltz,” selections from * ‘Ona
homa” and “Beautiful Galatea” from Franz von Suppe’s operetta
“Galatea.

Sunday morning the “Stradivari Orchestra, ” conducted by Paul
Lavalle, will include in its NBC program (KPO, 9:30 a.m.) Intermezzo
(Jewels of the Madonna) by Wolfe-Ferrari, “Cavatina” by Raff (violin
solo by Jacques Gasselin) , ‘T’schaikowsky’s “Sleeping Beauty” Waltz
and selections from ““The Merry Widow” by Franz Lehar.

. Dr. Malcolm Sargent, distinguished British musical director serving
as s cuest conductor of the NBC Symphony Orchestra, will conclude fe
‘lone -week “General Motors Symphony of the Air’ engagement Sunday
(KPO 2:00 p.m.) with an all-E nglish program. Fe atured work will be
William Walton’s Concerto for Viola and Orchestra, with William
Primrose as soloist. Shortly after the March 11 broadcast, Dr. Sargent
returns to England for symphony engagements in many cities and out-
lying sections con the benefit of war Srarkere:

Marjorie Lawrence, Metropolitan Opera soprano, highlights “The

at clep! 10ne Hour” Monday (KPO, 9:00 p.m.) w ith the familiar ‘ ‘Danny

Boy” and the aria “Il va venir’ from Halevy’s “La Juive.” Don Voor-

hees and the Bell Telephone Orchestra will open with the conductor’s

arrangement of “Lion and the Lamb,’ and Miss Lawrence with the
male chorus and orchestra will close with “The Lost Chord.’

_ Dorothy Kirsten, soprano, and Allan Jones, screen and recording
tenor, will be guest soloists Sunday when Jay Blackton’s RCA Victor
Orchestra and Robert Shaw’s Victor Chorale are heard on “Music
America Loves Best’? over KPO at 1:30 p.m., Louis Calhern emceeing.

——s

SYMPHONY ORCHESTRA 391

392

for generations of Americans.

WeJ

SLOANE

216 SUTTER near GRANT
SAN FRANCISCO 8, CALIF.

SAN FRANCISCO

Musical Association of San Francisco
MAINTAINING THE

SAN FRANCISCO SYMPHONY ORCHESTRA

OFFICERS
Mrs. Leonora Wood Armsby, President and Managing Director
—. Raymond Armsby:...--2.-------.---2—- Vice-President Gharles® Page ssscs ce neta eaten ones ae Treasurer
Paulo A. BiSSING CMa seco cece ee eee eee Vice-President Howard =e .Sikimtne rien ease eee Secretary
CharlesuR= Bly th:s.2 2 Vice-President GeraidG. (Ross=..---- =. ee Assistant Secretary
Garret McEnerney, II-.-.---....----------- Vice-President
EXECUTIVE COMMITTEE
Dr. Hans Barkan Mortimer Fleishhacker Mrs. Marcus S. Koshland Miss Else Schilling
Miss Louise A. Boyd Miss Lutie D. Goldstein Garret McEnerney, II Mrs. M. C. Sloss
Mrs. Selah Chamberlain Mrs. Joseph D. Grant Kenneth Monteagle Mrs. Sigmund Stern
Mrs. John P. Coghlan Mrs. Walter A. Haas Guido J. Musto Mrs. Eli H. Wiel
Mrs. E. S. Heller Mrs. Ashton H. Potter

FINANCE COMMITTEE

Cc. O. G. Miller, Chairman
E. Raymond Armsby Miss Lutie D. Goldstein Mrs. Ashton H. Potter

Charles R. Blyth Mrs. Marcus S. Koshland Mrs. William Lister Rogers
Mortimer Fleishhacker
MUSIC COMMITTEE
Mys. Selah Chamberlain

Dr. Hans Barkan Mrs. Tobin Clark J. Emmet Hayden
Mrs. George T. Cameron Dr. Leo Eloesser Charles G. Norris

PUBLIC RELATIONS COMMITTEE
Mrs. John B. Knox

Mrs. M. C. Sloss Mrs. James Mills Mrs. William Lister Rogers
Mrs. John P. Coghlan Mrs. Francis Redewill Michel Weill
YOUNG PEOPLE’S CONCERT OFFICERS

Mrs. Thomas Page Maillard Mrs. Grace Benoist Mrs. Louis Sloss, Jr. Mrs. Harold K. Faber

Mrs. Harold R. McKinnon Mrs. Walter A. Haas Charles M. Dennis

SAN FRANCISCO SYMPHONY LEAGUE
Mrs John’ PP. Coghlan: 23-22-25. -e Chairman Mrs. Francis Redewill-......-..-.--------- Vice-Chairman
SAN FRANCISCO SYMPHONY FORUM
Mrs. Alan McLenegan, Chairman Ava Jean Barber Frank Winter Martin Skewes-Cox
John Piel Pamela Marsh Katherine Mulkey Cecily Rideout
Lt. (j.g.) J. Brandon Bassett Elwyn Thayer Ann Wegman Elizabeth Shaw
Marcia Robinson Betty Carl Paul Robinson Marilyn Biehl
BOARD OF GOVERNORS
E. Raymond Armsby Mrs. George Ebright Mrs. E. S. Heller Charles Page
Mrs. Leonora Wood Armsby Sidney M. Ehrman Walter S. Heller Mrs. Ashton H. Potter
Dr. Hans Barkan Albert I. Elkus Mrs. I. W. Hellman Mrs. Stanley Powell
Mrs. Edward O. Bartlett Dr. Leo Eloesser William F. Humphre Mrs. William Lister Rogers
James B. Black Forrest Engelhart Mrs. Marcus S. Koshland Mrs. Henry P. Russell
Charles R. Blyth Mrs. Harold K. Faber Frederick J. Koster Miss rer Schilling
Miss Louise A. Boyd Mrs. Paul I. Fagan Gaetano Merola Mrs. M Sloss
Paul A. Bissinger Mrs. Marshall H. Fisher C. O. G. Miller Mrs. Nicol Smith
George T. Cameron Mortimer Fleishhacker Mrs. C. O. G. Miller Mrs. Sigmund Stern
Mrs. Selah Chamberlain Mrs. J. C. Flowers Edward F. Moffatt Mrs. Powers Symington
Mrs. John P. Coghlan John F. Forbes Kenneth Monteagle Mrs. David Armstrong Taylor
Mrs. Elizabeth S Coolidge Mrs. Frank R. Girard Mrs. Donald Mulford Mrs. Cyril Tobin
Mrs. W. W. Crocker Miss Lutie D. Goldstein Guido J. Musto Mrs. Alfred S. Tubbs
Mrs. O. K. Cushing Mrs. Joseph D. Grant Dwight F. McCormack Mrs. Daniel Volkmann
Mrs. Sa bas de Pour Farnham P. Griffiths Mrs. Angus McDonald Michel Weill
Benjamin Madeleine Haas Garrett McEnerney, II Mrs. Eli H. Wiel
Miss Katharine Rocchoe Mrs. Walter Haas Mrs. Harold R. McKinnon Leonard E. Wood
Mrs. Willard H. Durham Mrs. Harry S. Haley R. C. Newell J. D. Zellerbach
Joseph H. Dyer, Jr. J. Emmet Hayden Charles G. Norris
STAFF

Constance Alexander Victor Mohl Deborah Spalding
Kathleen Lawlor Gerald Ross Curran Swint
Doris Lowell Joseph Scafidi Virginia Webb

THE SAN FRANCISCO SYMPHONY ORCHESTRA
Records Exclusively for Victor Red Seal

SYMPHONY ORCHESTRA 393

“There's an immortality in the expression of the

_ finer human moods... These moods sincerely
expressed in a portralt can mean so much to the
person towards whom that feeling 1s directed.”

-- * MASTER PHOTOGRAPHER a

Cha eee 427 POST STREET (IN THE ST. FRANCIS HOTEL) » YUKON 2061 | oo

wel fosrmod fosrmodl fosmoch femme petrol fosmcch fewrcch fosrcd forced fos

OD Ase GWEol ek lons

CH O)O™_

Anta DORFMANN was born in Odessa, and gave her first concert in her native
city at the age of 11. At the age of 13 she was taken to Paris to study with Isidor
Philippe, but after a year with that teacher she was forced to return to Russia
by the outbreak of the revolution, and since that time she has been entirely
self-taught. Miss Dorfman left Russia in 1920, and began her concert career in
Liege, Belgium. She played with many important orchestras and conductors in
Europe, and has appeared widely in this country since her arrival here in 1936.

This will be her first performance with the San Francisco Symphony Orchestra.

Support Our Fighting Boys
Give to the Red Cross

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SYMPHONY ORCHESTRA

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By intelligent management you have built up L
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On the other hand, by appointing this Bank
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396 SAN FRANCISCO

eee
Thirty-third Season
1944 - 45
SAN FRANCISCO SYMPHONY ORCHESTRA
PIERRE MONTEUX, Conductor
-4e}-
EIGHTH PAIR OF SYMPHONY CONCERTS

Fripay, Marcu 9, At 2:15
SATURDAY, MARCH 10, AT 8:30

ANIA DORFMANN, Guest Artist

-4e}-

‘Program

PASSAGAG EIAGING Ge VGN © ees Handel

(FREELY TRANSCRIBED BY ALFRED AKON, First PERFORMANCE)

PRELUDE JO EORENGRIN: 22 Wagner
CONCERTO FOR PIANO AND ORCHESTRA,
NOMIEN, GOVEN | ORGS Beethoven

Allegro con brio

Largo

Allegro

Miss DORFMANN
INTERMISSION
ye) ea] 0 Fe) ie OY) EB) UN Gore Se ea Stravinsky
PART I
THe ADORATION OF THE EARTH
Introduction - Dance of the Adolescents - Abduction - Spring Rounds -
Games of Rival Towns - Procession of the Sage -

Adoration of the Earth - Dance of the Earth
Part II
"THE SACRIFICE
Introduction - Mysterious Circles of the Adolescents - Glorification of

the Chosen One - Evocation of the Ancestors - Ritual of the Ancestors -
Sacrificial Dance of the Chosen One

It is requested that subscribers who are unable to use their tickets

kindly phone the Symphony Office—UNderhill 4008—giving location

of their seats that they may be assigned to uniformed men and women.

This courtesy will be deeply appreciated.

ee
397

SYMPHONY ORCHESTRA

{se tieaghalies damaamtne cenit

398

SAN FRANCISCO SYMPHONY ORCHESTRA

PIERRE MONTEUX, Conductor

~<@}-

FIRST BRAHMS FESTIVAL CONCERT

Tuesday, March 13, at 8:30
ERICA MORIN, Soloist

Symphony No. 1, in GC minor
Tragic Overture
Concerto for Violin and Orchestra

SECOND BRAHMS FESTIVAL CONCERT

Thursday, March 15, at 8:30
DUSOLINA GIANNINI, Soloist

Symphony No. 3, in F major
A Song of Fate, for Chorus and Orchestra
(The Municipal Chorus, Hans Leschke. Conductor)

Five Songs, Orchestrated by Alfred Hertz
Symphony No. 2, in D major

THIRD BRAHMS FESTIVAL CONCERT
Saturday, March 17, at 8:30
ARTUR SCHNABEL, Soloist

Academic Festival Overture
Concerto for Piano and Orchestra, No. 2, in B flat major
Symphony No. 4, in E minor

-4@}-

NINTH PAIR OF SYMPHONY CONCERTS

Thursday, March 22, at 8:30
Saturday, March 24, at 8:30

ARTUR SCHNABEL, Guest Artist

Old Dances and Airs for the Lute, First Series......... arr. Respighi

Concerto for Piano and Orchestra, No. 4, in G IVa] Olay ae Beethoven

HOURE ICD Cams tO e INOCaysaes oy ta ee a, a ae ec ee Roy Harris
(First Performance in San I'rancisco)

Symphony No. 3, in E Flat Mla OIE [ORICA Dis oe oe Schumann

ec ge EE erage eee gS

—$—$__—

SAN FRANCISCO

—<

PROGRAM NOTES

By ALFRED FRANKENSTEIN

PASSACAGLIA IN G MINOR....George Frederick Handel
(1685-1759)
(FREELY TRANSCRIBED BY ALFRED AKON)

In its original form this movement is the finale of one of Handel’s suites
for the harpsichord. Mr. Akon has arranged it for string orchestra, adding some
variations of his own in Handelian style. ‘The transcription was made last June.

Mr. Akon joined the viola section of the San Francisco Symphony Orchestra
at the beginning of the present season. He was born in Hartford, Connecticut,
“7 1905. He studied violin and viola with William Kroll, Jacques Gordon and
others, and composition with Vittorio Giannini and Frederick Jacobi. He served
for some years on the faculty of the Julius Hartt School of Music in Hartford,
and was introduced to San Francisco audiences last season with a transcription
of a concerto grosso by Benedetto Marcello.

PRELUDE WOU bie iC TuliN Richard Wagner
(1813-1883)

Wagner's own explanation of the significance of this prelude, as translated
and somewhat abbreviated by Ernest Newman, is as follows:

“Out of the clear blue ether of the sky there seems to condense a wonderful,
yet at first hardly perceptible vision; and out of this there gradually emerges,
ever more and more clearly, an angel host bearing in its midst the sacred
Grail. As it approaches earth it pours out exquisite odors, like streams of gold,
ravishing the senses of the beholder. The glory of the vision grows and grows,
until it seems as if the rapture must be shattered and dispersed by the very
vehemence of its own expansion. The vision draws nearer, and the climax 1s
reached when at last the Grail is revealed in all its glorious reality, radiating
fiery beams and shaking the soul with emotion. The beholder sinks on his
knees in adoring self-annihilation. ‘The Grail pours out its light on him like a
benediction, and consecrates him to its service: then the flames gradually die
away, and the angel host soars up again to the ethereal heights in tender joy,
having made pure once more the hearts of men by the sacred blessings of the
Grail.”

CONCERTO FOR PIANO AND ORCHESTRA,
NO. 1, IN CGC MAJOR, @ PRs Ludwig Van Beethoven

(1770-1827)

Beethoven was not always the remote, eccentric, lonely genius of the
accepted picture. He made his bow upon the world stage (Vienna, 1795) as a
concert pianist, and in this role quickly won great celebrity and material
reward. Consequently his early compositions lay great stress Upon the piano;
the great majority of his 35 odd piano sonatas, the greater bulk of his chamber
works with piano, and the first three of his five piano concertos all fall within
this first period of his career.

Carl Czerny records that Beethoven’s playing was noteworthy for its
“tremendous power, character, unheard-of bravura and facility. In rapidity
of scale passages, trills, leaps, etc., no one equalled him, not even Hummel.
His attitude at the piano was perfectly quiet and dignified . . . his fingers were
very powerful, not long, and broadened at the tips by much playing; for he
told me often that in his youth he had practiced stupendously, mostly until
past midnight.”

SYMPHONY ORCHESTRA 399

>
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Wenzel Tomaschek, a virtuoso of considerable prominence in his own day,
heard Beethoven perform his first piano concerto for the first time in 1798, and
wrote that “his magnificent playing, and particularly the daring flights in his
improvisation, stirred me to the depths of my soul; indeed, I found myself so
profoundly shaken that for several days I could not bring myself to touch the
piano.

Beethoven might well have continued for many years as the popular lion
of the concert hall and private salon had it not been for circumstances beyond
his control. Fifteen years after ‘Tomaschek, Ludwig Spohr heard Beethoven at
the piano. “He had already discontinued playing both in public and at private
parties, wrote Spohr, “and I had but one opportunity to hear him, when I
casually came to a rehearsal of a new trio at Beethoven’s house. It was by no
means an enjoyment, for, in the first place, the pianoforte was woefully out
of tune, which, however, troubled Beethoven little, since he could hear nothing
of it, and secondly, of the former so much admired excellence of the virtuoso
scarcely anything was left, in consequence of his total deafness. In the fortes
the poor man hammered in such a way upon the keys that entire groups of notes
were inaudible, so that one lost all intelligence of the subject unless the eye
followed the score at the same time. I felt movedwith the deepest sorrow at so hard

Buffet Service in Basement Promenade and Dress Circle during all performances

WAR MEMORIAL OPERA HOUSE. Owned and operated bv the Citv and Countv of San Francisco
through the Board of Trustees of the War Memorial.

Hard-of-hearing aids are available in the Main Foyer. Attendant will connect same to your seat
location on request. — Opera Glasses in Foyer.

SYMPHONY ORCHESTRA 401

Schentey Disti

SST Ose conommenncnen:

ilers Corp., N.Y.

Ss canannantentenoaee en

Jo EON

SCHENLEY

RESERVE
Pleructecd Vtheshty

SONS NRA a PD OOD

—_——

a destiny. It is a sad misfortune for anyone to be deal, how then could a musician
endure it without despair? Beethoven's almost continual melancholy was no
longer a riddle to me.”

It may be worth adding that the C major concerto is called Number |
because it was the first work of Beethoven in this form to be published. ‘The
concerto in B flat, published as No. 2, Opus 19, actually preceded it in order of
composition. ‘TVhis kind of thing happened often to Beethoven's works, and the
fact that a given composition bears a relatively late opus number does not
necessarily mean that it is a late work.

Allegro con brio, C major 4/4 time. ‘Vhe concerto has the customary double
exposition, one for the orchestra and one for the solo instrument with orchestra.
The first theme is stated at once by the violins:

pepRC EPP ta
Ala as
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This is repeated and worked over with fuller orchestration. The second theme
then appears, also in the violins, in the unorthodox key of E flat major alter

NTRARTER

and his music

SYMPHONY ORCHESTRA 403

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three bars that pun on the fact that the chords of E flat major and G minor have

wa
two notes in common:
Y The second theme is repeated in F and G, and is followed by a transitional
| section going over to the closing theme. The latter starts in the horns and oboes:
Cor :

And with it the first exposition comes to a full, flourishing close in C major.
The piano enters to start the second exposition with a new first theme:

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SYMPHONY ORCHESTRA 405

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After a new transition passage, the second theme (Example 2) appears in the
flutes and violins in G. The piano takes it up. The closing theme (Example 5)
returns in the woodwind and piano, and the second exposition cnds with de-
velopment of it, and ornamental material, in solo and orchestra. “Vhe second
exposition comes to a very solid close in G major.
| The development starts with a sudden pianissimo in the strings and a sus-
| tained high G of the oboe. After a few more bars forte, the piano begins the
working-out with a variant of Example 2 in E flat. The first part of the short
. development 1s devoted to this theme, but later a portion ol Example | is heard
pianissimo in the violins under passage work of the solo. ‘The development ends
with a sudden descending scale of the solo.

Example | comes back in C major, fortiss¢mo, in the whole orchestra, to pen
the recapitulation. The piano continues the theme. Example 2 recurs in C major
in the orchestra, and is also continued by the piano. The return of Example 5
is followed by an extended coda, during the course of which the solo has the

usual cadenza. (The cadenza used on this occasion is by Carl Reinecke.)
| After the cadenza the movement concludes with a few bars based on Example 3.
Be

| Largo, A flat major 2/2 time. The piano starts the principal theme:

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SYMPHONY ORCHESTRA 407

ae meee®

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408 SAN FRANCISCO

—_—
~

which is extended by the violins:

vin. IZ
Ges a SS

Example 5 comes back in the clarinet, and both themes are disc ussed at length
by solo and orchestra. After these variations and “quasi-variations” there is a

long coda beginning:

But the movement ends with a reminiscence of its opening theme.
Lie

_ Ronpo: Allegro scherzando, C major, 2/4 time. The piano states the prin-
cipal subject without introduction:

Complete News Coverage — Distinguished Commentators

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ENCORE “Sweet Swing L/S

JAN SAVITT

AND HIS ORCHESTRA
IN THE ROSE ROOM

DANCING NIGHTLY {EXCEPT MONDAY}
SATURDAY COCKTAIL DANSANT

The Palace Hotel

EDMOND A. RIEDER, General Manager

SYMPHONY ORCHESTRA 409

= TT

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*BEMBERG is the registered trade-mark of AMERICAN BEMBERG CORPORATION

410 SAN FRANCISCO

This is repeated by the orchestra, and there ts a tr ansition passage leading to
the second theme, given to the violins and oboe in G:

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SYMPHONY ORCHESTRA syed

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JOIN THE SYMPHONY LEAGUE TODAY

Yearly Dues $5.00 from January to January

Your check will aid in providing Symphony tickets for music students in public high

schools and Junior Colleges and in building up the orchestra’s library and repertoire.

Make Checks payable to Musical Association of San Francisco and mail to
SAN FRANCISCO SYMPHONY LEAGUE, Opera House, San Francisco 2, Calif.

WILLIAM F. LARAIA

Forst Violinist San Francisco Symphony Orchestra for twenty-five

years — has resigned in order to devote his time exclusively to
teaching.

STUDIOS—

3325 OCTAVIA St., SAN FRANCISCO Fy. 6102
438 Hicucrest Rp., SAN CarLos S. C. 1718

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412 SAN FRANCISCO

s worked over by solo and orchestra.

Example 91

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in F minor and e
orchestra. Now a new episodic

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is a coda devoted to further repetitions of Example 8.

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(1882-)

in dates, but the happenings described

s autobiography is sparse

Stravinsky

hat book must have taken place

xcerpts from t

ing e

first of the follow

in the

solemn pagan

girl dance herself to death.

ate the god of spring. Such was the theme

I must confess th

described it to m

a complete surprise, my mind

ges of The Fire Bird in St. Peters-
in imagination a

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1 deep impression

friend, Nicholas Roerich, he bein

c
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at this vision made

V
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of the Rite of Spring.

on me, and I at once

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413

SYMPHONY ORCHESTRA

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414 SAN FRANCISCO

:
F
'

yainter who specialized in pagan subjects. He w TEA ts
} pee aoe ] a agian subjects. He welcomed my inspiration with
enthusiasm, and became m)} collaborator in this creation. In Paris I told Diag
’ ‘ © " re 4s *e . . , : : ‘
hile fF about it, and he Was at Once carried away by the idea, though its ncolltrae
tion was delayed by the following events.” 2 ei ac
| 2 zs as events” were, to pul it succinctly, Pelrouchka, which Stra
. Irs Ot Vc « > “, ae ae , Se 4 - : “ie . / : a
vins y peeaD as a ittle piano piece by way of diversion before tackling the Rite
but which ultimately developed into a big ballet =
Bp aie Taye pe aT cae ey : c
= phe having been composed and produced, Stravinsky returned to
ce oe and completed it in the early spring of 1913 Diaghileff appointed
ibow “por > > . va ine 3 : ‘ . ae ‘ 2) }
ee \ to create the choreography, much to Stravinsky’s distress. Nijinsky
says the composer, knew nothing whatever about music, and, although he as
a great dancer, was inexperienced and incompetent as a chor i * The
ae CG aoe tas ” a as a Choreographer. ;
result was endless trouble and difficulty for all concerned ee 2
a therefore natural that Stravinsky approached the first performance
: i ite in a dubious frame of mind. That event took place at the Théatre
»C © + H TO pac d- = oo c ~ -¢€ 5
des Champs Elysces in Paris on May 28, 1913, and caused one of the greates
scandals in the history of modern music. aes ae
ro i : ( : as y > ; or nye 2 ‘ | . ay.
he « ymplexity of my score,” says Stravinsky, “had demanded a erez
number of rehearsals, which M ux hz er eas
ee eae : Ss Monteux had conducted with his usual skill and
oo a Ss or the actual performance, | am not in a position to judge, for |
. 1€ au itorium al the first bars of the prelude, which had evoked derisive
aughter. I was disgusted. [hese demonstrations, at first isolated, soon became
eo tn provoking counter-demonstrations and very quickly developing into
a terri ue During the whole performance I was at Nijinsky’s side in the
wines. He was sté ae en eee eRe ike a:
at 8s ee was standing on a chair screaming ‘sixteen, seventeen, eighteen’
ey had their own me ¢ Erect NI nine ode ne
\ nethod of counting to keep time. Naturally, the poor dancers

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could hear nothing by reason of the row in the auditorium and the sound of
their own dance steps. I had to hold Nijinsky by his clothes, for he was furious,
and ready to dash on the stage at any moment and create a scandal. Diaghileft
kept ordering the electricians to turn the lights on or off, hoping in that way to
put a stop to the noise. That is all I can remember about that first performance.
Oddly enough, at the dress rehearsal, to which we had, as usual, invited a
number of actors, painters, musicians, writers and the most cultured represen-
| tatives of society, everything had gone off peacefully, and I was very far from
' expecting such an outburst.
“Now, after the lapse of more than 20 years, it is naturally difficult for me
| to recall in any detail the choreography of The Rite without being influenced
YS by the admiration with which it met in the set known as the avant-garde—
ready, as always, to welcome as a new discovery anything that differs, be it ever
so little, from the déja vu. But what struck me then, and still strikes me most,
| about the choreography, was and is Nijinsky’s lack of consciousness of what he
’ was doing when he created it. He showed therein his complete inability to
accept and assimilate those revolutionary ideas which Diaghileff had made his
creed, and obstinately and industriously strove to inculcate. What the chore-
ography expressed was a very labored and barren effort rather than a plastic
realization flowing simply and naturally from what the music demanded. How
far it was from what I had desired!

“In composing The Rite I had imagined the visual part of the performance
as a series of rhythmical mass movements of the greatest simplicity which would
have an instantaneous effect on the audience, with no superfluous details or
complications such as would suggest effort. The only solo was to be the sacrifi-

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SYMPHONY ORCHESTRA 417

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418

Whee in ant,

"me

cial dance at the end of the piece. The music of that dance, clear and well
defined, demanded a corresponding choreography simple and easy to under-

stand. But there again, although he had grasped the dramatic significance of

the dance, Nijinsky was incapable of giving intelligible form to its essence, and
complicated it either by clumsiness or lack of understanding. For it is un-
deniably clumsy to slow down the tempo of the music in arden tO Compose
complicated steps which cannot be danced in the tempo prescribed. Many
choreographers have that fault, but I have never known any who erred in that
respect to the same degree as Nijinsky.”

Several pages later Stravinsky writes as follows:

“I think it was in the month of April, 1914, that both The Rite and
Petrouchka were played tor the first time at a concert in Paris, Monteux being
the conductor. It was a brilliant renascence of The Rite after the TVhéatre des
Champs-Elysées scandal. ‘he hall was crowded. ‘The audience, with no scenery
to distract them, listened with concentrated attention and applauded with an
enthusiasm I had been far from expecting, and which greatly moved me.
Certain critics who had censured The Rite the year before now openly admitted
their mistake. ‘This conquest of the public naturally gave me intense and
lasting satisfaction.”

The above paragraph is particularly significant, for The Rite has since
made its way ae entirely as a concert piece, and, although other choreogra-
phers have taken it in hand, it has never made a ereat success on the stage.

It is perhaps worth ae that The Rite of Spring is not a rootiess phe-
nomenon. Stravinsky’s teacher, Rimsky-Korsakoff, was a very thorough student
of Russian folkways in all their aspects, and certain themes of The Rite are said
to have been taken from his collection of Russian folk tunes. In Rimsky’s
Russian Easter Overture, with its picture of pagan merry-making that survives

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SYMPHONY ORCHESTRA 419

ee ee See

in the Christian ritual, one can perceive a germ of Stravinsky’s Rite, to say
nothing of the pagan religious dances in Rimsky’s Snow Maiden. Prokofieff,
who was likewise a pupil of Rimsky, composed his Scythian Suite, also a tone
picture of pagan Russia, at the same time as Stravinsky wrote the Rite. Stra-
vinsky and Prokofieff, are, of course, infinitely harsher and more savage about
it than Rimsky-Korsakoff. Stravinsky's rhythmical complexities, particularly,
are almost beyond belief; there are countless pages in The Rite in which the
time signatures change in every bar.

It is also interesting to note that at the time when these Russian composers
were making their excursions into the primitive, Picasso and other artists in
Paris were rescuing African Negro sculpture from the ethnographic museums
and studying it intensively for its plastic and expressive virtues.

Since The Rite is better known as a concert piece than as a ballet and is
likely to remain so, a sketch of its action taken from this or that choreography
would be supererogatory. The work is in two parts, or acts, the first presumably
taking place in a valley or some such open place in the daytime, the second at
night inside a semicircle of rough-hewn monoliths, each surmounted by the
skull of a different animal and all lighted with flickering fires. The action of
the first part has to do with the assemblage of the tribes, their sports and games,
and their final gathering under the leadership of a sage to dance their adoration
of the earth. ‘he second part works up to the culminating sacrifice through
various ritual dances.

The short subsidiary movements in each part succeed each other without
pause, and it is difficult, if not impossible, to provide indications in a program

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SYMPHONY ORCHESTRA 421

i -~>]

THE SAN FRANCISCO BALLET GUILD

Mrs. JUILLIARD McDONALD, President i

Announces

Spring Season
of

THE SAN FRANCISCO BALLET '

WILLAM CHRISTENSEN
Artistic Director
HAROLD CHRISTENSEN REYNOLD WIGGINS i
Ballet School Director Business Manager

Three Outstanding Performances
MAY 11, 12 and I3
After Triumphal Eastern Tour

WAR MEMORIAL OPERA HOUSE
FRIDAY, May 11, 8:30 P.M. BLUE PLAZA

(American Premiere)
Music by AARON COPLAND
Story, Settings and Costumes by ANTONIO SOTOMAYOR
Choreography by WILLAM CHRISTENSEN

Also: SWAN LAKE - Romeo and Juliet - Old Vienna
SATURDAY, May 12, 8:30 P.M... WINTER CARNIVAL
Music by J. STRAUSS—Choreography by WILLAM CHRISTENSEN
Also: Sonate Pathétique - Grand Pas de Deux - BLUE PLAZA

SUNDAY, May 13, 8:30 P.M.....PYRAMUS & THISBE

Story Based on the Greek Myth
Music by FRITZ BERENS—Choreography by WILLAM CHRISTENSEN

Also: Grand Pas de Deux - BLUE PLAZA - Now the Brides 4

eo ee ’

Program Subject to Change
Tickets from $1.20 to $3.00 (tax included) at Opera Box Office
City of Paris—EXbrook 8585

ORDER BLANK

SAN FRANCISCO BALLET
Opera Box Office, City of Paris,

San Francisco, Calif., Phone EX. 8585. |
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Note: Make All Checks Payable to San Francisco Ballet
422 SAN FRANCISCO

. Sah pone ti

note for the end of one and the start of another. It is also unnecessary. But
perhaps it should be pointed out that the semi-final movement of the first part,
which, like the act as a whole, is called Adoration of the Earth, is actually noth-
ing more than a bar or two of silence between the two climaxes of the Procession
of the Sage and the Dance of the Earth. During this silence, to judge from an
indication in the score, the sage, who has been brought to the fore during the
procession, prostrates himself for a moment on the eround.

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SYMPHONY ORCHESTRA 423

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SYMPHONY ORCHESTRA 425

TODAY'S

GREAT

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the choice of
Today's Great Artists

CHOOSE YOUR PIANO
AS THE ARTISTS DO

The Boston Symphony now uses the Baldwin
in its Concerts.

MARIE THERESE BRAZEAU HAROLD BAUER

CECILLE DE HORVATH
SEVERIN EISENBERGER
ALEXANDER KELBERINE
WESLEY LA VIOLETTE
ALEXANDER TANSMAN
IRMA SCHENUIT HALL
FRANCES ANTOINE
WILHELM BACHAUS
PAUL WITTGENSTEIN
VICTOR WITTGENSTEIN
FRANCISZEK ZACHARA
MAGDA TAGLIAFERO
JOSEPH BATTISTA
JEANNE BEHREND
ALFREDO CASELLA
WALTER GIESEKING
EUGENE GOOSSENS
BORIS GOLSCHMANN
FLORENCE EASTON
DANIEL ERICOQURT
EDWARD JOHNSON
BREENDAN KEENAN
ALEXANDER KIPNIS
WIKTOR LABUNSKI
ALFRED MIROVITCH
CHARLES NAEGELE
LOUIS PERSINGER

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BERNARDO SEGALL
ROSINA LHEVINNE
MORIZ ROSENTHAL
RUTH SLENCYNSKI
ALEC TEMPLETON

ANTON BILOTTI
LUCREZIA BORI
BELA BARTOK
MARIO CHAMLEE
KARIN DAYAS
JOSE ECHANIZ
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RUDA FIRKUSNY
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GIACOMO RIMINI
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SAMUEL YAFFE

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426

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SYMPHONY ORCHESTRA

eee ae oe ere ee — eS ee ee eee _ POO ~ ~

SAN FRANCISCO RUSSIAN OPERA AND BALLET ASSN.

(After last fall’s outstanding success in its production of PRINCE IGOR.)

Now ‘Presents
First Annual Season of Russian Opera

With
Today's Most Outstanding Russian Singers

‘Ke pertoire
BORIS GODUNOFF. . . By M. Moussorgsky
THE DEMON ...... . By A. Rubinstein
PRINGE IGOR 2) 2. as) 1 DY A. borodin

General Director: EUGENE PLOTNIKOFE
Choreography by: Sergei Temoff
Choral Director: Dr. Ian Alexander

Company of 150 - Symphony Orchestra - Beautiful Costumes
Spectacular Russian Ballet - Magnificent Scenery - Chorus of 60

WAR MEMORIAL OPERA HOUSE

The authorities are right. “Prince Igor” is quite definitely a great opera, one of the
greatest of its time and place. . . . Eugene Plotnikoff directed with the vividness and clarity
of a thorough master of his trade. . . . Both performances were sold out to the doors, which
is a far from insignificant fact.—Alfred Frankenstein, S. F. Chronicle.

Elaborate as the opera is, the production was very creditable, more so in its musical
elements than in its dramatic. Its principal artists have won repute in Paris and New York.
... They were applauded by a capacity crowd.—Alexander Fried, S. F. Examiner.

The Russians have done it again. .. . After their recent season of tip-top ballet they
turned to another art form, grand opera, and last night at the San Francisco Opera House
presented in a highly creditable manner their national opera, Borodin’s ‘tPrince Igor.—Marie
Hicks Davidson, S. F. Call-Bulletin.

Russian opera scored an effective inning at the War Memorial Opera House last night
when an SRO audience experiencd a highly admirable production of Borodin’s ‘Prince
Igor.”... The Russian Opera Association is to be congratulated upon the general excellence
of its initial venture and it is to be hoped that “Prince Igor,” which will be repeated tonight,
is the forerunner of future annual seasons of Russian opera by Russian artists in our Opera
House.—Marjory M. Fisher, The News.

First honors go to Eugene Plotnikoff, who conducted the performance.—Ashley Pettis,

The Argonaut.
May 16 to 27, Inclusive

Wednesday May 116;,8:30 pote. . aia ciee. avn BA ee et encas: Boris Godunoft
Friday, May 18, 8:30 p.m...... yn ys <e BOW At ea ee Ney The Demon
Saturday, May 19, 8:30 p.m....... RE AE an ey ee eRe / yey Bw Prince Igor
Sunday, May 20, 8:30 p. m.... , e Boris Godunoft
Piuesday. Viayi 225.525 0. pe ehiete ch ee Vuk oe Rea he ike Perak aa ae oe ee Prince Igor

EBridayyMay-25- 5:30 patna ee ean Ae | _.. The Demon
Tickets: 3.00, 2.40, 1.80, 1.20 (tax included)

Sherman & Clay Box Office—GA. 4061.

Make checks payable to California Concerts, Inc.
Reservations for three performances given first preference.

**A San Francisco Russian Opera and Ballet Association Attraction.”

S. M. Saroyan, President—V. Velikoselsky, Secy.-Treas.

300 Montgomery Street, Suite 800. GArfield 0171.
San Francisco 4, California

428 SAN FRANCISCO

» 7“ AagEtge— —

“e.

ae —-

SAN FRANCISCO RUSSIAN OPERA AND BALLET ASSN.

“Presents

“THE SLEEPING BEAUTY”’

American Premier of P. I. Tschaikowsky’s Ballet
(Complete Version — Prologue and Four Acts) ,

With
The Outstanding Classical Ballerina
NINA YOUSHKEVITCH

Assisted by
SIDNEY STAMBAUGH

“Among the outstanding performances of the season, and they would be outstanding
in any season anywhere, I would place Nina Youshkevitch in “Sleeping Beauty” and “Swan
Lake.” She is a true classical ballerina. She is intensely musical, and her work is clear and
devoid of all superfluous trimming. . ”—Arnold Haskell, Times, London.

_.- and we can name Nina Youshkevitch the star of the company who by her dynamic
interpretation shows herself worthy of the artistic mission that was entrusted to her.—Edouard
Beaudu, Intransigent, Paris.

The young Nina Youshkevitch who alone among the dancers seems endorsed with a
technique and charming gift.—Darius Milhaud, Le Jour, Paris.

“F willingly pay tribute to Nina Youshkevitch who is charming, gracious and whose
dance is above perfection.—Reynaldo Hahn, Le Figaro, Paris.

Company of 100 Artists

Symphony Orchestra Spectacular Scenery Beautiful Costumes

Choreography by Sergei Temoff

Music Director: DR. IAN ALEXANDER
Stage and Technical Director: VLADIMIR DUBINSKY
Scenery Designed by: ALEXANDER EDWARD ANDERSON

WAR MEMORIAL OPERA HOUSE
Wednesday, Apr. 4, and Friday, Apr. 6 - 8:30. Sun., Apr. 8 - 2:30

Tickets: 3.00, 2.40, 1.80, 1.20 (tax included)
SHERMAN & CLAY BOX OFFICE, GA. 4061
Make checks payable to California Concerts, Inc.

A San Francisco Russian Opera and Ballet Association Attraction.
S. M. Saroyan, President — V. Velikoselsky, Secy.-Treas.
300 Montgomery Street, Suite 800. GArfield 0171.
San Francisco 4, California

SYMPHONY ORCHESTRA . 429

~ De cs en ae Sl aS

Box Holders for Friday Afternoons

MRS. PIERRE MONTEUX
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M MR. AND MRS. CHARLES R. BLYTH
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430

MRS. WALTER D. HELLER
MRS. MORRIS MEYERFELD
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MRS. BENJAMIN C. KEATOR }
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MISS JENNIE BLAIR

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M!SS MARILYN BENTLEY
MRS. WALTER BENTLEY
MRS. FOSTER NEWHALL
MRS. STANLEY POWELL
MRS. BRUCE SELFRIDGE
MRS. MELVILLE L. SMITH

MRS. DAVID ARMSTRONG TAYLOR
***U. S. ARMY HOSPITALS

MRS. HENRY BOYEN

MRS. ARTHUR B. CAHILL
COUNTESS LILLIAN DANDINI
MRS. JOHN L. FLYNN

MRS. PETER B. KYNE

MRS. JAMES F. McNULTY
MRS. A. J. MOORE

MRS. THEODORE WORES

DR. AND MRS. JOSEPH C. FLOWERS
MRS. ANGUS McDONALD
DR. HANS VON GELDERN
MRS. HENRY H. WEHRHANE ;

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MRS. C. W. CROSSE

MRS. DUNCAN CURRY, JR.
MrkS. JOSEPH W. FOWLER
MRS. RALPH HENKLE :
MRS. DANIEL C. HUNT ;
MRS. A. F. JUNCKER ‘
MRS. RALPH K. DAVIES
MRS. E. W. WILLETT

MRS. EDWARD C. WURSTER

To ed |

MRS. FRANK BUCK

MRS. J. LINDSAY HANNA
MRS. JAMES LEVENSALER
MRS. DOUGLAS McBRYDE
MISS OLGA MEYER

MRS. FRANK SOMERS

Te ey. -

SAN FRANCISCO

(eae a ee ee SS

Box Holders for Saturday Night

A MRS. PIERRE MONTEUX N MR. AND MRS. THOMAS E. AMBROSE
MR. THEODORE BEKINS *
Be MES COLLEGE DR. ALVIN COX
DR MiRIAM MILLER
C KAPPA KAPPA GAMMA DR. AND MRS. B. H. PAGE

\ UNIVERSITY OF CALIFORNIA
; Oo COMMANDER AND MRS. WM, LISTER ROGERS

p> SAN FRANCISCO SYMPHONY FORUM Mi. AND MRS. JOHN ROSEKRANS
i —E DELTA DELTA DELTA P ALPHA DELTA PHI
| Gre RTT ORICATAEORNIA UNIVERSITY OF CALIFORNIA
F DELTA GAMMA Q GAMMA PHI BETA
UNIVERSITY OF CALIFORNIA UNIVERSITY OF CALIFORNIA
R SIGMA PHI

MILLS COLLEGE UNIVERSITY OF CALIFORNIA

P| BETA PHI Ss ALPHA PHI
UNIVERSITY OF CALIFORNIA UNIVERSITY OF CALIFORNIA

SIGMA KAPPA T STANFORD MEDICAL SCHOOL

UNIVERSITY OF CALIFORNIA STANFORD MEDICAL SCHOOL

MR. AND MRS. J. D. ZELLERBACH INTERNATIONAL HOUSE
UNIVERSITY OF CALIFORNIA
MR. AND MRS. VALLEJO GANTNER

DR. AND MRS. NELSON HOWARD Ww CHI OMEGA

COLONEL A. E. HOWSE UNIVERSITY OF CALIFORNIA
MRS. ROBERT SCARBOR

ONS x U. S. ARMED FORCES

DR. AND MRS. HAROLD K. FABER Y KAPPA ALPHA THETA

MR. AND MRS. JAMES H. HOWARD UNIVERSITY OF CALIFORNIA
MR. AND MRS. LEE LAIRD

MR. AND MRS. JEROME VLADIMIR POWELL Z INTERNATIONAL HOUSE

DR. AND MRS. HUGH ROSE UNIVERSITY OF CALIFORNIA

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CHAMBER MUSIC CONCERT

LOIS FAIR

Young California Pianist
Artist-Pupil of Lev Shorr
Fripay, Marcu 16, 1945, 8:30 p.M. CENTURY CLuB AUDITORIUM

Tickets 90 cents and $1.20 (tax included). On sale at Opera House Box Office,
4 Normandy Lane, City of Paris, or by mail, Lulu J. Blumberg, 3131 Jackson Street

Sextet in’ B flat majlOm OPUS: | Oe 5. ccc 5 eke cc cece nee nese erence ee eae = een eeme reese aa Brahms
Octetuin Eo tlat major, Opus, 20 ass. Fee to Mendelssohn
By San Francisco’s Leading Artists
GUESTS OF HONOR
JOSE FERRER UTA HAGEN
Sunday, March 11th, 3:00 p.m., Colonial Ballroom, St. Francis Hotel

Admission——Reserved Section $2.00; Unreserved Section $1.00 (plus tax) i
Tickets on Sale at City of Paris—EXbrook 8585 Sherman & Clay, GArfield 4061
Joint Anti-Fascist Refugee Committee 68 Post Street GArfield 3615
De eee nee eee = A Be ee eee
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WGA.” I. BLUMBERG presents

SYMPHONY ORCHESTRA 431

VIOLINS:

BLINDER, NAOUM
CONCERTMASTER

HEYES, PETER
ASSISTANT CONCERTMASTER

WOLSKI, WILLIAM
ASSISTANT CONCERTMASTER

ARGIEWICZ, ARTUR
ASSISTANT CONCERTMASTER

ANDERSON, THEODORE
ForRbD, Louis W.
HOLM, THORSTEIN JENSEN
GUARALD!I, MAFALDA
SHWEID, HENRY
EDMUNDS, CICELY
SCHNEIDER, DAVID
VAN DYKE, MARCIA
MYERS, MISCHA
ROURKE, ROBERT
GORDOHN, ROBERT
HAUG, JULIUS
WEGMAN, WILLEM
GOUGH, WALTER
PASMORE, MARY
LARAIA, ATTILIO F.
SHAPRO, DAVID
HELGET, HANS
BARET, BERTHE
PATERSON, JOHN A.
CHILINSKI, BRUNO
KOBLICK, NATHAN
Di BIANCA, VINCENT
WRIGHT, HAROLD

VIOLAS:

MOLNAR, FERENGC
PRINCIPAL

VERNEY, ROMAIN

* WHITE, ALBERT
MITCHELL, LUCIEN
WEILER, ERICH
AKON, ALFRED
KARASIK, MANFRED
PETTY, SUZANNE
VAN DEN BURG, JAC
MANN, MICHAEL

PERSONNEL MANAGER:

PERSONNEL

SAN FRANCISCO SYMPHONY ORCHESTRA
PIERRE MONTEUMX, Conouctor

‘SELEOS:

BLINDER, BoRIS
PRINCIPAL
REINBERG, HERMAN
ARKATOV, JAMES
BEM, STANISLAS
ANDERS, DETLEV
HUGHSON, MARY
PETTY, WINSTON
CONNOLLY, CATHERINE
PASMORE, DOROTHY
HRANEK, CARL

BASSES:

KARP, PHILIP
PRINCIPAL
SCHMIDT, ROBERT E.
BELL, WALTER
GUTERSON, AARON
SCHIPILLITI, JOHN
BUENGER, AUGUST
STORCH, ARTHUR E.
ORSINI, JOSEPH

FLUTES:

RENZI, PAUL UR.
SHANIS, RALPH F.
BENKMAN, HERBERT

PICCOLO:
BENKMAN, HERBERT

OBOES:
REMINGTON, MERRILL.

SHANIS, JULIUS
SCHIvoO, LESLIE Jd.

ENGLISH HORN:
ScCH!ivo, LESLIE J.

OBOE D’AMOUR AND
HECKELPHONE:
SHANIS, JULIUS

CLARINETS:

SCHMITT, RUDOLPH
BIBBINS, F. C.
FRAGALE, FRANK

E FLAT CLARINET:
BIBBINS, F. C.

BASS CLARINET
FRAGALE, FRANK

BASSOONS:
KUBITSCHEK, ERNST
HIBSCHLE, FRANK
BAKER, MELVILLE
HRANEK, CARL

CONTRA BASSOON:
BAKER, MELVILLE

HORNS:
TRUTNER, HERMAN C.,
LUCCHES!, DINO
TRYNER, CHARLES E,
ROTH, PAUL
TRUTNER, HERMAN, JR,

TRUMPETS:
Buss, CHARLES, UR.
BARTON, LELAND 5S,
KRESS, VICTOR
MURRAY, EARL

TROMBONES:
Gios!i, ORLANDO
SHOEMAKER, ROGERS
KLOCK, JOHN

TUBA:
MURRAY, RALPH

HARP:
MORGAN, VIRGINIA
EVERINGHAM, ANN

TYMPANI:
LAREW, WALTER

PERCUSSION:
VENDT, ALBERT
SINA!I, JOSEPH
GREER, ELwoop

PIANO AND CELESTAS:
SHORR, LEV

LIBRARIAN:
HAUG, ALMA

PROPERTY MASTER:
J. T. HEAVEY

JULIUS HAUG

IN SERVICE WITH THE UNITED STATES ARMED FORCES

DICTEROW, HAROLD—VIOLIN
HOUSER, F. S.—VIOLIN
KHUNER, FELIX—VIOLIN
MICHAELIAN, ERNEST A.—VIOLIN

432

MOULIN, HARRYMVIOGLIN
Ross, NATHAN—VIOLIN
LEPLIN, EMANUEL—VIOLA

OLSHAUSEN, DETLEV—VIOLA
CLAUDIO, CESARE—’CELLO
DE PALMA, ATTILIO—HORN
ALTMANN, LUDW!IG—ORGAN

SAN FRANCISCO

——

“

} EVENING CONCERT

Nearly two hours 0 |
fine music every . / |
night of the week |

: 8:10 to 10 P.M.
| sTATION KK ¥ A

San Francisco
*
1210 on your piAt

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San Francisco Los Angeles

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measures up to their...

RIGHT COMBINATION x WORLD’S BEST TOBACCOS

HESTERFIELD Za

PISANI FRINTING & PUBLISHING CO,, 700 MONTGOMERY, S&S. F.

JcHE MUSICAL ASSOCIATION OF SAN FRANCISCO

LEONORA WOOD ARMSBY -> PRESIDENT AND MANAGING DIRECTOR

HOWARD K. SKINNER «- BUSINESS MANAGER

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ile you live

A man while he still lives may set apart
all or some part of his property to

provide income now or later for any
of his beneficiaries by establishing a

“family trust.” Each arrangement will

be made to fit the needs of a particular
family. It can always be altered. Ask

about th

7S S€vUICEe.

TRUST DEPARTMENT

Wells Fargo

Bank « union Trust co.

SAN FRANCISCO
Established 1852
Member F.D.I.C.

Fpuunithf

SHERMAN, CLAY & CO. in its
NEW HOME in OAKLAND

Convenience is the word for our new music store...
located in a building of its own in the heart of down-
town Oakland.

Step right off the street to our main floor... for REC-
ORDS =... SHEER MUSIG...... .REGORD: GABIINETSi.
CONCERT TICKETS. Upstairs, on the mezzanine,
you'll find our other departments . . . Pianos, Band and
Orchestra Instruments, Radios and Radio-Phonographs.

Parking lot next door or just across the street.

New Telephone Number
Hi gate 8440

SYMPHONY ORCHESTRA

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KNOW YOUR SYMPHONY

Another of the contributions of the Musical Association to the

|
cultural education of the younger generation, is the series of Young
People’s Concerts presented each season by the San Francisco Symphony
Orchestra under the direction of Dr. Rudolph Ganz.

The concerts are given in War Memorial Opera House on four
Saturday mornings; and from balcony to orchestra, the House is filled
for each performance with enthusiastic youngsters, ranging in age from
6 to 16. The popularity of the series can be well judged by the fact that
seats for the current series were unobtainable a month before the first

concert began.

Under the current Musical Association plan, young people not only
attend the concerts, but partiicpate in them as well. A series of audi-
tions are held at the end of each season for the purpose of choosing
several Bay Area musicians under the age of 17 to appear as guest
soloists with the Symphony Orchestra the following year. ‘This Season's
young guests were Vernon Jones, 13-year-old clarinetist; and Virginia
Schwartz, 16-year-old pianist. From the ranks of the Orchestra itself
came the Season’s only adult guest, Miss Virginia Morgan, principal

harpist with the Symphony.

Through the cooperation of Charles M. Dennis, Superintendent of
Music in the local public schools, each concert program includes the
appearance of a glee club made up of boys and girls from one of the
San Francisco grammar or high schools. Active audience participation
in the series is encouraged through a notebook competition for which
each young season-ticket holder is eligible. Prizes for the best notebooks
are distributed at the final concert by Mrs. Thomas Page Maillard,

chairman of the Young People’s Concert series.

SYMPHONY ORCHESTRA 299

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$6 LOOKER ANNE OP

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“AARHAANASSSOSSSOOU TUE GMASSSESGOUUCR AAU JGR COOOAA RRA SSSOUDOG NI

360

for generations of Americans.

W & J

SLOANE

216 SUTTER near GRANT
SAN FRANCISCO 8, CALIF.

SAN FRANCISCO

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Musical Association of San Francisco
MAINTAINING THE

SAN FRANCISCO SYMPHONY ORCHESTRA

OFFICERS
Mrs. Leonora Wood Armsby, President and Managing Director
—E. Raymond Armsby.............-.--------- Vice-President Charles Rage? 22 20r is eee tier Treasurer
Paul Av BiSSING CMe: 5-62-22 -co.tencceseeene ..Vice-President Howard’ Ke Skinnercr2.c- 5 seen cen ee Secretary
Charles’ RK; (Blyth: :.2.. sce Vice-President Geraid G. Ross. 222525222230. Assistant Secretary
Garret McEnerney, II--..........---------- Vice-President
EXECUTIVE COMMITTEE
Dr. Hans Barkan Mortimer Fleishhacker Mrs. Marcus S. Koshland Miss Else Schilling
Miss Louise A. Boyd Miss Lutie D. Goldstein Garret McEnerney, II Mrs. M. C. Sloss
Mrs. Selah Chamberlain Mrs. Joseph D. Grant Kenneth Monteagle Mrs. Sigmund Stern
Mrs. John P. Coghlan Mrs. Walter A. Haas Guido J. Musto Mrs. Eli H. Wiel
Mrs. E. S. Heller Mrs. Ashton H. Potter

FINANCE COMMITTEE

C. O. G. Miller, Chairman
E. Raymond msby Miss Lutie D. Goldstein Mrs. Ashton H. Potter

Charles R. Blyth Mrs. Marcus S. Koshland Mrs. William Lister Rogers
Mortimer Fleishhacker
MUSIC COMMITTEE

Mrs. Selah Chamberlain
Dr. Hans Barkan Mrs. Tobin Clark J. Emmet Hayder
Urs. George T. Cameron Dr. Leo Eloesser Charles G. Norris

PUBLIC RELATIONS COMMITTEE
Mrs. John B. Knox

Mrs. M. C. Sloss Mrs. James Mills Mrs. William Lister Roger
Mrs. John P. Coghlan Mrs. Francis Redewill Michel Weill
YOUNG PEOPLE’‘S CONCERT OFFICERS

Mrs. Thomas Page Maillard Mrs. Grace Benoist Mrs. Louis Sloss, Jr. Mrs. Harold K. Faber

Mrs. Harold R. McKinnon Mrs. Walter A. Haas Charles M. Dennis

SAN FRANCISCO SYMPHONY LEAGUE
Mrs... John.'P;-Coghlans-...2. 22. Chairman Mrs. Francis Redewill..................-... Vice-Chairman
SAN FRANCISCO SYMPHONY FORUM
Mrs. Alan McLenegan, Chairman Ava Jean Barber Frank Winter Martin Skewes-Cox
John Piel Pamela Marsh Katherine Mulkey Cecily Rideout
Lt. (j.g.) J. Brandon Bassett Elwyn Thayer Ann Wegman Elizabeth Shaw
Marcia Robinson Betty Carl Paul Robinson Marilyn Biehl
BOARD OF GOVERNORS
E. Raymond Armsby Mrs. George Ebright Mrs. E. S. Heller Charles Page
Mrs. Leonora Wood Armsby Sidney M. Ehrman Walter S. Heller Mrs. Ashton H. Potter
Dr. Hans Barkan Albert I. Elkus Mrs. 1. W. Hellman Mrs. Stanley Powell
Mrs. Edward O. Bartlett Dr. Leo Eloesser William F. umpires Mrs. William Lister Rogers
James B. Black Forrest Engelhart Mrs. Marcus S. Koshland Mrs. Henry P. Russell
Charles R, Blyth Mrs. Harold K. Faber Frederick J. Koster Miss Else Schilling
Miss Louise A. Boyd Mrs. Paul I. Fagan Gaetano Merola Mrs. M. C. Sloss
Paul A. Bissinger Mrs. Marshall H. Fisher C. 0. G. Miller Mrs. Nicol Smith
George T. Cameron Mortimer Fleishhacker Mrs. C. O. G. Miller Mrs. Sigmund Stern
Mrs. Selah Chamberlain Mrs. J. C. Flowers Edward F. Moffatt Mrs. Powers Symington
Mrs. John P. Coghlan John F. Forbes Kenneth Monteagle Mrs. David Armstrong Taylor
Mss. Elizabeth S. Coolidge Mrs. Frank R. Girard Mrs. Donald Mulftord Mrs. Cyril Tobin
Mrs. W. W. Crocker Miss Lutie D. Goldstein Guido J. Musto Mrs. Alfred S. Tubbs
Mrs, O. K. Cushing Mrs. Joseph D. Grant Dwight F. McCormack Mrs. Daniel Volkmann
Mrs. Georges de Latour Farnham P. Griffiths Mrs. Angus McDonald Michel Weill
Benjamin H. Dibblee Madeleine Haas Garrett McEnerney, I] Mrs. Eli H. Wiel
Miss Katharine Donohoe’ Mrs. Walter Haas Mrs. Harold R. McKinnon Leonard E. Wood
Mrs. Willard H. Durham Mrs. Harry S. Haley R. C. Newell J. D. Zellerbach
Joseph H. Dyer, Jr. J. Emmet Hayden Charles G. Norris
STAFF

Constance Alexander Victor Mohl Deborah Spalding
Kathleen Lawlor Gerald Ross Curran Swint
Doris Lowell Joseph Scafidi Virginia Webb

THE SAN FRANCISCO SYMPHONY ORCHESTRA
Records Exclusively for Victor Red Seal

SYMPHONY ORCHESTRA 561

“There's an Immortality in the expression of the
finer human moods... These moods sincerely
expressed tna portrait can mean so much to the
person towards whom that feeling ts directed.”

“icholie, Sofevuston

Liholia Antler

= MASTER PHOTOGRAPHER

427 POST STREET (IN THE ST. FRANCIS HOTEL) « YUKON 2061

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Saat ee eR

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GUEST ARTIST THIS WEEK

ARTUR SCHNABEL was born in Lipnik, Austria, in 1882. He studied with
Leschetisky in Vienna and began his career in a series of sonata recitals
with the violinist, Carl Flesch. His reputation grew quickly, and he appeared
throughout Europe as a solo pianist and chamber music player. Although he
had given recitals in New York in 1922, his first real American success came
when he participated in a Brahms festival of the Boston Symphony Orchestra
eleven years later. Since then he has made repeated tours throughout this
country, specializing particularly in the German classics. He was the first pianist
to give all of Beethoven’s sonatas in a series of recitals in New York. He has
edited the Beethoven sonatas and written extensively on technical and esthetic
matters.

GUEST ARTISTS NEXT WEEK

Dusotina GIANNINI is the product of a musical family. Her father was an
opera singer, her mother a violinist. She received her first training from her
father in her native city of Philadelphia and later studied wtih Marcella Sem-
brich in New York. She made her debut at a concert of the Schola Cantorum in
New York in 1923 and for a number of years was active as a concert singer. She
went to Europe in 1927 and remained there until 1956, devoting herself largely
to opera. During this period she sang at Covent Garden, in the leading opera
houses of Berlin, Vienna, Prague and other cities, and at the Salzburg Festival
under the direction of Bruno Walter and Toscanini. She came back to this
country in 1936 to join the Metropolitan Opera. She has repeatedly appeared
wtih the San Francisco Opera Company, and made her first appearance with
the San Francisco Symphony on the Art Commission series last year.

FREDERICK JAGEL was born in Brooklyn in 1897. After service in the Army
‘nthe first World War and a number of years in business in New York, he went
to Europe to study singing. He made his debut as an operatic tenor in Leghorn
in 1924, and for three years sang in many Italian opera houses. He joined the
Metropolitan in 1927 and has been one of its leading artists ever since. He has
repeatedly sung with the San Francisco Opera Company, but this will be his
first appearance with the San Francisco Symphony Orchestra.

Douc.as BEATTIE was born in San Jose in 1907. He graduated from the
University of California as a biologist, but during his student days in Berkeley
he also studied voice in San Francisco with Frank Carroll Giffen. He made his
first professional appearances in Genoa in 1934. In the following year he
returned to California, singing twice with the San Francisco Symphony Orches-
tra and later joining the San Francisco Opera Company. He was a member
of the Metropolitan from 1939 to 1942.

SYMPHONY ORCHESTRA

Your WILL cannot
bequeath “good judgment”

By intelligent management you have built up
your Estate. Your Will sets up the Plan you
want your Executor to follow.

Get details from any officer of this Bank.

Head Office: 400 CaLiForNia STREET
Mission Branch: 16TH & JuLiAN AVENUE

THE BANK OF
CALIFORNIA

BUY U. S. WAR BONDS
AND STAMPS

1944
NATIONAL ASSOCIATION OUR
Founded in 186 EIGHTIETH
+ ANNIVERSARY
SAN FRANCISCO - PORTLAND «SEATTLE - TACOMA YEAR

MEMBER FEDERAL DEPOSIT INSURANCE CORPORATION

564 SAN FRANCISCO

Thirty-third Season
1944 - 45

SAN FRANCISCO SYMPHONY ORCHESTRA
PIERRE MONTEUX, Conductor
-4e}-
NINTH PAIR OF SYMPHONY CONCERTS
"THURSDAY, MARCH 22, AT 8:30

SATURDAY, MARCH 24, AT 8:30

ARTUR SCHNABEL, Guest Artist

~{e}-
‘Program
OLD SONGS ANDSAURs HOR eo EeeuUirk:
Ee PRUS ToS Ee Ree Stier tee. ene ta inate Arr. Respighi

Galliard, by Vincenzo Galilei
Villanella, by an unknown composer
Passamezzo and Mascherada, by an unknown composer

CONCERTO FOR PIANO AND ORCHESTRA,
NORINCO RTO ee Ore eee Beethoven
Allegro moderato
Andante con moto
Vivace
Mr. SCHNABEL

INTERMISSION

HOLKER EH YsEEUNES OE OD AY 2a. corre Harris

(First Performance in San Francisco)

SYMPHONY NO. 3, IN E FLAT MAJOR,
OWA OS OWE GRISHOINU ial) PNg Bee Spates bie ong a bi Schumann
Lebhatt
Scherzo: Sehr massig
Nicht schnell
Feierlich
Lebhaft

ARAP AAP PPP PPP PPP PD PPD PPP PPP PDP PPP PPP PPP PPP PPP PII PP IPI AID IAIN INI AAPA AAP

It is requested that subscribers who are unable to use their tickets
kindly phone the Symphony Office—UNderhill 4008—giving location
of their seats that they may be assigned to uniformed men and women.
This courtesy will be deeply appreciated.

UE EEN

SYMPHONY ORCHESTRA

565

SAN FRANCISCO SYMPHONY ORCHESTRA
PIERRE MONTEUX, Conductor
~{@}-

TENTH PAIR OF SYMPHONY CONCERTS

Thursday, March 29, at 8:30
Saturday, March 31, at 8:30

Guest Artists:

DUSOLINA GIANNINI, Soprano
FREDERICK JAGEL, Tenor
DOUGLAS BEATTIE, Bass
THE MUNICIPAL CHORUS, Hans Leschke, Director

SCLECTON SELON GI SURGE A aac eee ae a ee ty Wagner

STANDARD SYMPHONY BROADCAST
KPO and NBC Coast Network

Sunday, A pril 1, at 8:30
THE MUNICIPAL CHORUS, Guest Artists

SELECEIOMS ain OM LAAN Pi Cilice teoe teen ttt ete okey eet Spee Wagner

ELEVENTH PAIR OF SYMPHONY CONCERTS

Friday, A pril 6, at 2:15
Saturday, A pril 7, at 8:30

LOTTE LEHMANN, Guest Artist

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Gamers ovinp Nony INO ue cere ahi ee ek einer epee Schoenberg
(First Performance in San Francisco)

INE CrOUD Ol SOMOS cis. debirt wale oes pec agt sake A ROE ORs eeragtecah Schubert
Die Junge Nonne

Standchen

Der Jungling an der Quelle
Der Erlkonig

A Group of Modern Songs:

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566 SAN FRANCISCO

PROGRAM NOTES

By ALFRED FRANKENSTEIN

OLD DANCES AND AIRS FOR THE LUTE,
LR SSUES ARES aiies ss omens tee nce tas Arr. Otlorino Respighi
(1879-1936)

The editing and transcription of old music was an important phase ol
Respighi’s activity. Among many other achievements 1n this field, he produced
three series of Old Dances and Airs for the Lute the first of which was published
MLZ

The score of the present set contains four movements, all adapted from
works of Italian composers of the late 16th century. ‘Vhe first movement, Ballet
Called ‘Count Orlando, by Simone Molinaro of Genoa, will be omitted today.

We begin, therefore, with a galliard by Vincenzo Galilei of Florence, who
was born in 1533 and died in 1591. Galilei was a figure of great importance in
the early history of opera. He was also a celebrated lutenist and composer for
the lute, but perhaps his greatest claim to fame is that he was the father of
the astronomer, Galileo Galilei.

“The galliard is so called because one must be blithe and lively to dance
it.’ So says Vhoinot Arbeau in his treatise on dancing entitled Orchesography
published in France in 1588. The name of the dance is derived from the
French adjective gaillard, which means lively or brisk. Arbeau gives very ex-
tensive directions for the galliard, but his illustrations are more vivid than his
text, and we give a few of them at the top and bottom of this page.

The Villanella and the Passamezzo and Mascherada are by unknown com-
posers. The term villanella was applied in the 16th century to light-textured
part-songs or madrigals on rustic subjects.

Arbeau describes the passamezzo as a pavane “played less gravely and in
quicker measure.” Of that other dance itself Arbeau says: “A nobleman can
dance the pavane with cape and sword, and you others dressed in your long

SYMPHONY ORCHESTRA

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gowns, walking decorously with a studied gravity, and the damsel with chaste
demeanor and eyes cast down, sometimes glancing at the onlookers with a vir-
ginal modesty. And as for the pavane, it 1s used by kings, princes and great
lords, to display themselves on some day of solemn festival with their fine
mantles and robes of ceremony; and then the queens and the princesses and
the great ladies accompany them with the long train of their dresses let down
and trailing behind them, or sometimes carried by damsels. And these pavanes,
played by hautboys and sackbuts, are called the Grand Bal, and last until those
who dance have circled two or three times round the room, if they do not
prefer to dance by advances and retreats. ‘hese pavanes are also used in a
masquerade when there is a procession of triumphal chariots of gods and god-
desses, emperors or kings resplendent with majesty.”

Whether or not the Mascherada of Respighi’s suite refers to the type of
masquerade described by Arbeau is anybody's guess. At all events the word
does not describe a traditional form, as do such terms as ballet, galliard and
passameZzo.

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SYMPHONY ORCHESTRA 569

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CONCERTO FOR PIANO AND ORCHESTRA,
NO SIN GWEN ORMORW SG. tis ee Ludwig van Beethoven

(1770-1827)

The fourth piano concerto dates from 1809. It is therefore contemporary
with such works as the fifth symphony, the Sonata A ppassionata, the first Ras-
oumovsky quartet and the violin concerto, and shares with these compositions
that curious pre-occupation with themes exploiting patterns of three or four
reiterated notes of which the most famous instance 1s the so-called “Fate motive”
or “V signal” of the fifth symphony. Note the reiterated B’s and A’s of Example
1 below. They are heard almost incessantly throughout the first movement, like
the famous drum notes of the violin concerto.

i
Allegro moderato, G major, 4/4 time. The tradition of the concerto as
handed down to Beethoven from Mozart and Haydn requires a complete ex-
position of the thematic material of the first movement in the orchestra alone
before the entrance of the solo instrument. Beethoven had faithfully followed
that tradition in his earlier concertos, but now he permits the piano to state the
first theme very quietly at the outset:

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Then the piano, as if abashed at its temerity, relapses into silence for 74 bars.
The idea stated by the piano is answered immediately by the strings in B major:

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and this material is briefly worked over.
The violins have the second theme, in A minor:

A few bars on the reiterated notes of Example 1 and 2 conclude the first
exposition.

The second exposition begins with the entrance of the solo instrument,
giving out Example | in a highly varied and ornamented form. This leads over
to an entirely new second theme, in D, stated by the first violins:

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and immediately ce hee by the piano in embroidered fashion. ‘The strings
then bring in their original second theme (Example 3) in D minor. This is again
worked over with the reiterated notes, and leads to the closing theme (Exam-
ple 4) in A major.

This theme (Example 4) is also treated at the outset of the short develop-
ment section. The bulk of the development, however, is concerned with Example

| and its reiterated notes and with new, predominantly ornamental material.

The recapitulation begins with a return to Example | in a somewhat varied
form, in the piano alone, fortissimo. This section amounts to an abbreviated
restatement of the second exposition with appropriate changes of key. Exam-
ple 5 comes back in G major, Example 3 in G minor, and Example 4 in D major.
This leads to the cadenza. (The cadenzas used on this occasion are by Beethoven
himself.) The coda is based on the closing theme (Example 4) and the reitera-
ted notes of Example I.

Andante con moto, E minor, 2/4 time. This movement reminded Liszt of
the scene of Orpheus and the Furies in Gluck’s opera. ‘The strings of the orches-
tra (strings alone are used throughout the movement) point an accusing finger
at the piano in a brusque unison-and-octave idea:

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To this the piano replies pleadingly:

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4 The movement then proceeds in alternate dialogue of the solo and orchestra.
The accusations of the strings grow gradually less severe, and the pleadings of
the piano more eloquent. The movement dies away in a mutter of the strings
and a quiet broken chord of the piano, whereupon there is a direction to pro-
ceed at once to the finale. *

* Such directions are rare in Beethoven, and occur only in cases like this and the Waldstein
sonata, when the slow movement is extremely short and may be regarded as a kind of introduc-
tion to the finale. The modern insistence upon stony silence between the separate movements
of a work in large form has no justification in classical practice. It was, rather, the accepted
thing in Beethoven’s day for the several movements of a symphony or concerto to be broken
up and scattered through a concert program, with works of other composers between.

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Vivace, G major, 2/4 time. The strings state the principal theme at the outset:

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This is answered by the piano in ornamented form. ‘The strings then continue
the theme:

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and again the piano answers. ‘This material is then worked over in dialogue.
The piano has the second theme, in D.

The movement is a rondo, and proceeds with alternations and extremely briul-
liant developments of its two themes. ‘Toward the end there is a cadenza. Over
the hole in the score where this is to be inserted Beethoven writes the lordly
direction La cadenza sia corta: “The cadenza shall be brief.”’

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BORK REL yaw S2OE ODA yaw een ate Roy Harris

ue (1898- )

Mr. Harris writes as follows:

“Folk Rhythms of Today was, in its original form, the last of five movements
in a ballet composed for Hanya Holm and produced by her and her dancers
at the Colorado Springs Fine Arts Center in 1942. It was originally scored for
string orchestra, piano and chorus. The orchestral version was written for
Dimitri Mitropoulos and first performed by the Minneapolis Symphony Or-
chestra. As its title implies, the work is a symphonic characterization of contem-
porary dance rhythms, which, I consider, have, through usage, become folk
rhythms which everybody understands. The form is ABA (fast, slow, fast) the
last section employing rhythmic groups of 3 plus 3 alternating with 2 plus 2
plus 2. The middle section is in a blues rhythm and exploits that mood.”
SYMPHONY NO. 3, IN E FLAT

NUIEN | KOWRSE MON eA OLS Me MU WIN UISIGD) oy AM eo a oe Robert Schumann

(1810-1856)

In 1849 Schumann was appointed director of the symphony orchestra in
the Rhenish city of Dusseldorf. His five years in this post were the most difficult
and unhappy of his entire life. Schumann was not a gifted conductor. Further-
more he managed the non-musical sides of his position badly, and the stresses
and strains produced by this combination of circumstances greatly aggravated
the nervous troubles from which he had long suffered. In 1854 he attempted
to commit suicide, and he spent the last two years of his life in an insane asylum.

The third symphony* was composed in 1850, and was first presented early

*TIt is actually Schumann's fourth and last symphony in order of composition. The
symphony in D minor, second in order of composition, is numbered fourth because it
was published after the others.

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in the following year at a concert of the Diisseldorf orchestra, Schumann co
ducting. Schumann’s biographers state that the work was aacoaiied by its ae
poser as a reflection of the folk-life of the Rhineland, and some of Hehe
ideas have been traced back to Rhenish folk songs. The fourth movement w :
inspired by the ceremonies which took place in ihe Cologne cathedral ene
certain archbishop was raised to the rank of cardinal. On the orieinal ma ?
script Schumann titled this movement “In the manner of the accom ee
to a solemn ceremony,” but he later withdrew this superscription. ike

I
Lebhaft (I wely) E flat maior. { . a ; J
at major, 3/4 time. ‘The principal theme < ;
. : y ’ é ¢ 1eNn A ars
once in the full orchestra: I me appears at

psn Ae Eerie te etter res

This is worke er. at some length. T
: ked ovet at some length. ‘Phe quieter second subject begins in the
woodwinds in G minor: on

gears

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his ; oe worked over, by itself and in conjunction with ideas from Example
, and the exposition ends with a brief concluding theme not quoted.

a ree peal a es begins with a sudden G major chord (fff) in the full
chestra. Ihe first portion of the development is concerned mainly with Ex-

a Shitiamnl with f the Lome
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ample 2. ‘Phen Example I comes back to prominence and is taken through
various keys in dramatic fashion, with the entire orchestra at work practically
all of the time. Toward the end of the development Example | is treated in the
manner of a horn call under tremolandi in the strings.

The first theme goes back to the original key to begin a fairly orthodox

recapitulation. The coda introduces a new thematic idea not quoted.

Scherzo: Sehr massig (Very moderately) ,

C major, 3/4 time. The ‘celli,
violas and bassoons have the principal theme at the outset:

which is taken up by the higher strings and woodwinds. A second section follows,
with a rapid, staccato, skipping figure in 16th notes, with which Example 3 is

eventually combined.
A kind of trio ensues beginning in the woodwinds. (The clarinet part only
is quoted) :

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The skipping 16th note figure also appears throughout this trio.

A fourth section of the movement is devoted to the development of these
materials. At the end Example 3 is restated in much the same form as at the
beginning, and there is a coda of some size beginning very quietly with a frag-
ment of Example 3, working up to a climax, and subsiding.

IT]

Nicht schnell.(Not fast), A flat major, 4/4 time. The slow movement is
freely constructed on three themes. The first is given to the clarinets at the
beginning:

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Phe second appears in the violins immediately afterward:

And the third is given to the violas and bassoons over a broken chord figure of
a solo ‘cello: :

The middle section of the movement works over Examples 6 and 7, and all
three ideas return in the final portion.
LV
Feierlich (Solemnly), E flat minor, 4/4 time. ‘This movement, often re-
ferred to as the “cathedral scene,” is called by Prof. ‘Tovey “one of the finest
pieces of ecclesiastical counterpoint since Bach.” Its theme is as follows:

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SYMPHONY ORCHESTRA 589

SAN FRANCISCO RUSSIAN OPERA AND BALLET ASSN.

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“THE SLEEPING BEAUTY’?

American Premier of P. I. Tschaikowsky’s Ballet
(Complete Version — Prologue and Four Acts)

With
The Outstanding Classical Ballerina

NINA YOUSHKEVITCH

Assisted by
SIDNEY STAMBAUGH

“Among the outstanding performances of the season, and they would be outstanding
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devoid of all superfluous trimming . . .”,—Arnold Haskell, Times, London.

...and we can name Nina Youshkevitch the star of the company who by her dynamic
interpretation shows herself worthy of the artistic mission that was entrusted to her.—Edouard
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dance is above perfection.—Reynaldo Hahn, Le Figaro, Paris.

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Lebhaft E flat major, alla breve. Strings and woodwinds give out the prin-
cipal theme:

The transition to the second theme is an ingenious transformation of the sub-
ject of the “cathedral scene,” entirely altered in character. Strings and wood-
winds also have the short second theme:

The concluding portion of the exposition is based upon material more remark-
able for its rhythmic than its melodic interest.

The brief development is concerned mainly with flying fragments of Ex-
ample 10, but Example 9 is not altogether neglected. The recapitulation is
regular, and there is an extended coda with somewhat disguised references to
the music of the “‘cathedral scene” and to the first theme of the first movement,
Example I.

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unanimously give first place in American Champagnes to KORBEL BRUT
WE didn’t say it first! THEY DID!

“THE BEST AMERICAN CHAMPAGNE
to date is KORBEL BRUT. Our guess is
anyone would think it was imported.”
—Harper’s Bazaar, February, 1941.

“PROBABLY THE MOST CHAM-
PAGNE-LIKE domestic wine is KOR-
BEL BRUT.’’—Cue Magazine, Decem-
ber 20, 1940.

“THE OUTSTANDING AMERICAN
CHAMPAGNE to date is KORBEL
BRUT.’’— Town and Country, Febru-
ary, 1941.

KORBEL ="

“EXTREMELY ENJOYABLE, bone-dry
and clean-tasting.’’-—The New Yorker,
March 15, 1941.

““AMONG THE FEW FINE CALIFOR-
NIA CHAMPAGNES IS KORBEL BRUT
—a special cuvee which has been made
as dry as the dryest Champagnes for
the English market.’’— St. Regis, Pea-
cock Alley, The Ambassador, Plaza En
Passant, The Savoyard, The Ritz Carl-
ton, The Hampshire, The Sherry-Neth-
erlands, Pierrot, January, 1941.

ROUGE
PINK

Distributed by
TRADERS DISTRIBUTING CO.
314 FRONT STREET, SAN FRANCISCO, CALIFORNIA

21 BRANDS, INC.
17 E. 52nd ST., NEW YORK CITY

SAN FRANCISCO

. When entertaining, serve superb SIMI so
‘vintage table wines ... Burgundy, |

Cabernet, Carignan, Zinfandel, and
Larose, Sauterne, Chablis ... ma-
tured with unhurried care from
choicest Sonoma hillside grapes.
... ask for SIMI ... pronounced
See-Me ... at your dealer’s.

| ere

PARROTT & CO... San Francisco. . Sole U. S. Distributor

SUBSCRIPTION BLANK

$1 for 1 year

)pera, Concert and Symphony

OPERA & CONCERT
700 Montgomery Street
San Francisco 11, California

Gentlemen: Enclosed is $1. Send OPERA AND CONCERT to the fol-
lowing address for one year:

IN ANC ieee eens eee . fee. MN ee ied ee te i EI = :

Street____- fe ee Se. ES eee _

Cit verox Pe ee ee VEZ One INOsmers me otate

SYMPHONY ORCHESTRA 393

;

TODAY'S

GREAT

PIANO
the choice of
Today's Great Artists

CHOOSE YOUR PIANO
AS THE ARTISTS DO

The Boston Symphony now uses the Baldwin
in its Concerts.

MARILE THERESE BRAZEAU HAROLD BAUER

CECILLE DE HORVATH
SEVERIN EISENBERGER
ALEXANDER KELBERINE
WESEEY EA VIBEETTE
ALEXANDER TANSMAN
IRMA SCHENUIT HALL
FRANCES ANTOINE
WILHELM BACHAUS
PAUL WITTGENSTEIN
VICTOR WITTGENSTEIN
FRANCISZEK ZACHARA
MAGDA TAGLIAFERDO
JOSEPH BATTISTA
JEANNE BEHREND
ALFREDO CASELLA
WALTER GIESEKING
EUGENE GOOSSENS
BORIS GOLSCHMANN
FLORENCE EASTON
DANIEL ERICOURT
EDWARD JOHNSON
BREENDAN KEENAN
ALEXANDER KIPNIS
WIKTOR LABUNSKI
ALFRED MIROVITCH
CHARLES NAEGELE
LOUIS PERSINGER

E. ROBERT SCHMITZ
BERNARDO SEGALL
ROSINA LHEVINNE
MORIZ ROSENTHAL
RUTH SLENCYNSKI
ALEC TEMPLETON

ANTON BILOTTI
LUCREZIA BORI
BELA BARTOK
MARIO CHAMLEE
KARIN DAYAS
JOSE ECHANIZ
DAVID EARLE
FRANK FARREL
JAKOB GIMPEL
RUDA FIRKUSNY
ARNOLD GABOR
WILLIAM HARMS
STEPHAN HERO
AMPARO ITURBI
JOSE ITURBI
RALPH LEOPOLD
JUSS! BUOERLING
JOSEF LHEVINNE
ERICA MORINI
EDITH MASON
GRACE MOORE
WILLEM NOSKE
LILY PONS
ROSA RAISA
ANGEL REYES
GIACOMO RIMINI
TITO SCHIPA
JOHANN SINGER
LEO SMIT
JOSEPH SZIGETI
LEONARD SHURE
HELEN TRAUBEL
SAMUEL YAFFE

MOISSAYE BOGUSLAWSKI

Baldurin

c)ter ia pa ake rel sd al ap
SAN FRANCISCO

594

1828 WEBSTER ST.
DOAKLAND

BY APPOINTMENT

Champagnes of the highest quality

GH Mumm &(

(Oy SOCIETE VINICOLE DE CHAMPAGNE.SUCCESSEUR

NOW-—with the liberation

of France—we are looking

forward to early resump-
tion of shipments of the
“Aristocrat of Cham-
pagnes’... which, dur-
ing the last four years
and more, we have
been able to sup-
ply in limited
quantities.

Save—

All the
War Bonds
You Buy

SAN FRANCISCO

How to spend

aN IDEAL EVENING

i lerER twenty-three consecutive weeks of Gilbert & Sullivan Operas at

the Bush Street Music Hall, which have gained widespread recognition by
critics and the public altke,

THE SAVOY OPERAHCOMPAINY

again leads with another novel production.

“MUSICAL COCKTAILS”

Beginning March 21, the Savoy Opera Company will present a Gilbert & Sullivan DREAM
—a potpourri of the most beautiful episodes from their operas—arranged by Gilbert &
Sullivan themselves. In climaxing contrast, a 1945 terpsichorean festival.

There is something new under the San Francisco Sun: Rare entertainment in a refined
and intimate manner. The greatest operettas of all time revitalized by the San Francisco
SAVOYARDS. Glorious voices, beautiful scenery and costumes, and—a glass of cham-
pagne serv ed during the entr’acte with a light buffet supper—all for the price of admis- |
sion. A most unusual way to entertain your friends. Make your next party at the |

Bush Street Music Hall.

ALL STAR CAST INCLUDING, SAVOY OPERA COMPANY BAY ORTRES
BALLET AND GUEST ‘COMEDIAN

ORDER BLANK

BUSH STREET MUSIC HALL, ORpway 1109
960 Bush Street, San Francisco.
Prices $3.00, $2.50—Includes Buffet Supper and Glass of Champagne

Enclosed please find my check for $ Peres in payment for
seats at §$ iene MUSiGAly COC ATES =a
Name .__. : be ee. Phone
AaCTESSe poor’ sad a Citye=
PERFORMANCES NIGHTLY . . 8:30
MATENE ES UINIDAY> 350.8 = ne 25)

(Make Check Payable to Savoy Opera Company)

SYMPHONY ORCHESTRA 395

Se eee ee
Sain —— Ss

SAN FRANCISCO RUSSIAN OPERA AND BALLET ASSN.

(After last fall’s outstanding success in its production of PRINCE IGOR.)
Now “Presents
First Annual Season of Russian Opera
With
Today's Most Outstand ing Russian Singers

‘Repertoire
BORIS GODUNOFF . . . By M. Moussorgsky
THE DEMON ....... By A. Rubinstein
PRINCE IGOR ........ .By A. Borodin

General Director: EXGENE PLOTNIKOFE
Choreography by: Sergei Temoff
Choral Director: Dr. Ian Alexander

Company of 150 - Symphony Orchestra - Beautiful Costumes
Spectacular Russian Ballet - Magnificent Scenery - Chorus of 60

WAR MEMORIAL OPERA HOUSE

The authorities are right. “Prince Igor” is quite definitely a great opera, one of the
greatest of its time and place. .. . Eugene Plotnikoff directed with the vividness and clarity
of a thorough master of his trade. . . . Both performances were sold out to the doors, which
is a far from insignificant fact.—Alfred Frankenstein, §. F. Chronicle.

The Russians have done it again. . .. After their recent season of tip-top ballet they
turned to another art form, grand opera, and last night at the San Francisco Opera House
presented in a highly creditable manner their national opera, Borodin’s ‘Prince Igor.—Marie
Hicks Davidson, S. F. Call-Bulletin.

Russian opera scored an effective inning at the War Memorial Opera House last night
when an SRO audience experiencd a highly admirable production of Borodin’s “Prince
Igor.”... The Russian Opera Association is to be congratulated upon the general excellence
of its initial venture and it is to be hoped that “Prince Igor,” which will be repeated tonight,
is the forerunner of future annual seasons of Russian opera by Russian artists in our Opera
House.—Marjory M. Fisher, The News.

First honors go to Eugene Plotnikoff, who conducted the performance.—Ashley Pettis,

The Argonaut.
May 16 to 27, Inclusive

Wiedtiesdays(May. 162.8330 <p ties 00%: ee oa wes ew ere Boris Godunoft
Bridaya MaAvalOtS:s0sp.cin-ss\ Sets eS ok. en eee ae eee ee The Demon
SattitdayanWViay O78: 30) princes Gok oily Ah eee ee lb oe ee ee Prince Igor
Sanday, Viay-205 S:30ipemic) Wie oe ee ee a Mae Bie wt 4 Boris Godunoff
Muesday.sMays22~ S230/ps-mose 65 oil. cect ee ee eae) eae ee Oe Prince Igor
Rerdays Mayr 25>, S:30:p. tives.) toe ke Oe | Rhea The Demon

Sherman & Clay Box Office—GA. 4061.

Make checks payable to California Concerts, Inc.
Reservations for three performances given first preference.

“A San Francisco Russian Opera and Ballet Association Attraction.”

S. M. Saroyan, President—V. Velikoselsky, Secy.-Treas.

300 Montgomery Street, Suite 800. GArfield 0171.
San Francisco 4, California

596 SAN FRANCISCO

S ymphony /V ales

Helen ‘Traubel, who is generally regarded as the world’s leading
Waenerian soprano, will be special guest artist on the “Telephone
Hour” Monday, when it presents a program of Easter music over KPO
at 9:00 p. m. Miss ‘Traubel’s songs include “Dich teure Halle” from
Waener’s “Tannhauser,” and a children’s song, “Vespers,” with music
by Fraser-Simson and lyrics by A. A. Milne. The orchestra, directed by
Donald Voorhees, and the male chorus will present the “Grail Scene”
from “Parsifal” and will be joined by Miss ‘Traubel in the Easter hymn,
“Christ the Lord Is Risen ‘Voday.” |

Erica Morini, celebrated violinist, will be guest soloist Sunday on
the “Standard Hour,” which will feature Alfred Wallenstein and the
Los Angeles Philharmonic Orchestra and will be aired over KPO at
8:30 p. m. Program will open with Mozart's Overture to the “Marriage
of Figaro” and will also offer Samuel Barber’s Adagio for Strings and
Ravel’s “Ia Valse.”” Miss Morini will be presented in the Bruch Violin
Concerto in G Minor.

. The Chicago Symphony Orchestra, under the direction of Desire
Defauw, will be featured in the first of a five-week series of concerts on
NBC’s “Orchestras of the Nation” regular Saturday program. Broadcast
locally over KPO, the March 24 concert will include the Overture to
Berlioz’ “Benvenuto Cellini” and Gretry’s Ballet Suite from “Cephale
et Procris,” arranged by Felix Mottl.

_ Such famous and fine Stradivari violins as the “Earl,” the “Des
Rosiers,” the “Van der Leyen” and the “Paganini” will be heard when
the “Stradivari Orchestra” is broadcast Sunday over KPO at 9:30 a. m.
Jacques Gasselin will play the solo in the Berceuse from Godard’s
“Tocelyn” and will join the orchestra in the other numbers which
include Chopin’s “Minute Waltz,” Drigo’s “Serenade,” “Lion du Bal”
by Gillett and the Concerto in E Minor by Mendelssohn.

_. . Just returned from overseas, Robert D. Murphy, U. S. State De-
partment political adviser on German affairs to Supreme Headquarters,
American Expeditionary Forces, will talk on “What About the Enemy
Countries” on “Our Foreign Policy,’”’ which will be broadcast by KPO
Saturday at 4:00 p. m. Other participants will include assistant secre-
taries of state James C. Dunn and Archibald MacLeish. This will be
the fifth program on NBC University of the Air’s post-war peace
series, “Our Foreign Policy,” which will move to San Francisco on
April 28 to cover the United Nations Conference.

SYMPHONY ORCHESTRA

Box Holders for Friday A fternoons

MRS. WALTER D. HELLER

A MRS. PIERRE MONTEUX P
B MRS. SIGMUND STERN MRS. MORRIS MEYERFELD
MRS. RICHARD SHAINWALD
C MRS. LEONORA WOOD ARMSBY MRS. GEORGE OPPEN
D MRS. JOHN T. BARNETT
MRS. WHITNEY BENTLEY Q MRS. FRANK P. DEERING
MRS. E. E. BROWNELL MRS. JAMES L. FLOOD
MRS. DAVID COWLES MRS. BENJAMIN C. KEATOR
MRS. MORTON GIBBONS MRS. HENRY S. KIERSTED
MRS. HARRY HILL MRS. HARRY B. LITTLE
MRS. JAMES HORSBURGH MRS. HAROLD R. McKINNON
MRS. SILAS PALMER MRS. ASHTON H. POTTER
MRS. T. E. PALMER .
MRS. ATHERTON RUSSELL R DR. AND MRS. FRANK R. GIRARD
#*. S. NAVAL HOSPITALS 5 MRS. FRANCIS S. BAER
MRS. EDWARD H. BELL MISS JENNIE BLAIR
MRS. SPENCER GRANT MRS. ELDRED BOLAND
MRS. MAXWELL C. MILTON MRS. GEORGE M. BOWLES
MRS. WILLIAM H. ORRICK MRS. GEORGES S. DeLATOUR
MRS. STUART RAWLINGS MARQUISE HENRI de PINS
MISS ELSE SCHILLING MRS. ROGER LAPHAM
MRS. DANIEL VOLKMANN MRS. FREDERICK W. McNEAR
MISS JOHANNA VOLKMANN
MRS. DEAN WITTER T MRS. OTTO BARKAN
MRS. J. B. WRIGHT MRS. L. A. BENOIST
MRS. GEORGE EDWIN BENNETT DANS at EI Ee SAA
MRS. FRANK INGERSOLL MRS. FOSTER NEWHALL
MRS. CLARENCE LORAN JOHNSTON MRS. STANLEY POWELL
MRS. GEORGE S. JOHNSTON MRS. BRUCE SELFRIDGE
MRS. RALPH MERILLION MRS. MELVILLE L. SMITH
MRS. J. T. POSEY
MRS. ERNEST J. SXWYEETLAND U MRS. DAVID ARMSTRONG TAYLOR
MRS. JOSEPH D. GRANT Vs ®*#U. S. ARMY HOSPITALS
MRS. JOHN CASSERLY RU NRE EHENIRVARGVEN
MRS. DONALD GREGORY
MRS. ARTHUR B. CAHILL
MRS. \\/ELLINGTON HENDERSON
COUNTESS LILLIAN DANDINI
MRS. OSGOOD HOOKER ARS TOUN LEEIYNIN
MR. AND MRS. KENNETH MONTEAGLE
MeSc EDIE NORTE MRS. PETER B. KYNE
MRS. JAMES F. McNULTY
MRS. MARCUS S. KOSHLAND MRS. A. J. MOORE
MRS. M. C. SLOSS MRS. THEODORE WORES
MRS. CHARLES BRANSTEN
MRS. RICHARD FRANK xX DR. AND MRS. JOSEPH C. FLOWERS
; MR. AND MRS. MORTIMER FLEISHHACKER MRS. ANGUS McDONALD
/ MRS. LEWIS LAPHAM DR. HANS VON GELDERN
‘ MRS. ROGER LAPHAM, JR. MRS. HENRY H. WEHRHANE
MRS. FREDERICK WHITMAN oA ema ERAGE
f M MR. AND MRS. CHARLES R. BLYTH MRS. DUNCAN CURRY, JR.
: ote CHAR ECREDMONIN MS. JOSEPH W/. FOWLER
i MRS. A. J. LOWREY MRS. RALPH HENKLE
: MR. AND MRS. C. O. G. MILLER MRS. DANIEL C. HUNT
MRS. EDGAR WOODS MRS. A. F. JUNCKER
| N MR. AND. MRS. GEORGE T. CAMERON MRS. RALPH K. DAVIES
i MRS. STANHOPE NIXON MRS. E. W. WILLETT
' MR. AND MRS. NION R. TUCKER MRS. EDWARD C. WURSTER
: O MRS. DUNN DUTTON Z MRS. FRANK BUCK
MRS. WALTER HOBART MRS. J. LINDSAY HANNA
| MRS. FREDERICK HUSSEY MRS. JAMES LEVENSALER
| MRS. KENYON JOYCE MRS. DOUGLAS McBRYDE

MRS. SAMUEL KNIGHT
MRS. RICHARD McCREERY

MISS OLGA MEYER
MRS. FRANK SOMERS

*** Transportation Service through courtesy of the Red Cross Motor Corps
with the cooperation of Mrs. George Cameron.

Siar ere < Ad earn Re iS

598 SAN FRANCISCO

i
i
i
|

Box Holders for Saturday Night

MRS. PIERRE MONTEUX

MILLS COLLEGE

KAPPA KAPPA GAMMA
UNIVERSITY OF CALIFORNIA

SAN FRANCISCO SYMPHONY FORUM

DELTA DELTA DELTA
UNIVERSITY OF CALIFORNIA

DELTA GAMMA
UNIVERSITY OF CALIFORNIA

MILLS COLLEGE

P| BETA PHI
UNIVERSITY OF CALIFORNIA

SIGMA KAPPA
UNIVERSITY OF CALIFORNIA

MR. AND MRS. J. D. ZELLERBACH

MR. AND MRS. VALLEJO GANTNER
DR. AND MRS. NELSON HOWARD
COLONEL A. E. HOWSE

MRS. ROBERT SCARBOROUGH

DR. AND MRS. HAROLD K. FABER
MR. AND MRS. JAMES H. HOWARD
MR. AND MRS. LEE LAIRD

MR. AND MRS. JEROME VLADIMIR POWELL

DR. AND MRS. HUGH ROSE

MR. AND MRS. THOMAS E. AMBROSE
MR. THEODORE BEKINS

DR. ALVIN COX

DR MiRIAM MILLER

DR. AND MRS. B. H. PAGE

COMMANDER AND MRS. WM..LISTER ROGERS

MR. AND MRS. JOHN ROSEKRANS

ALPHA DELTA PHI
UNIVERSITY OF CALIFORNIA

GAMMA PHI BETA
UNIVERSITY OF CALIFORNIA

SIGMA PHI
UNIVERSITY OF CALIFORNIA

ALPHA PHI
UNIVERSITY OF CALIFORNIA

STANFORD MEDICAL SCHOOL
STANFORD MEDICAL SCHOOL

INTERNATIONAL HOUSE
UNIVERSITY OF CALIFORNIA

CHI OMEGA
UNIVERSITY OF CALIFORNIA

U. S. ARMED FORCES

KAPPA ALPHA THETA
UNIVERSITY OF CALIFORNIA

INTERNATIONAL HOUSE
UNIVERSITY OF CALIFORNIA

JOIN THE SYMPHONY LEAGUE TODAY

Yearly Dues $5.00 from January to January

Your check will aid in providing Symphony tickets for music students in public high
schools and Junior Colleges and in building up the orchestra’s library and repertoire.

Make Checks payable to Musical Association of San Francisco and mail to
SAN FRANCISCO SYMPHONY LEAGUE, Opera House, San Francisco 2, Calif.

SYMPHONY ORCHESTRA

599

———

SOTTO OP GSES ie Ra

POS a in a

PERSONNEL

SAN FRANCISCO SYMPHONY ORCHESTRA

VIOLINS:

BLINDER, NAOQUM
CONCERTMASTER

HEYES, PETER
ASSISTANT CONCERTMASTER

WOLSKI, WILLIAM
ASSISTANT CONCERTMASTER

ARGIEWICZ, ARTUR
ASSISTANT CONCERTMASTER

ANDERSON, THEODORE
ForD, Louis W.
HOLM, THORSTEIN JENSEN
GUARALD!I, MAFALDA
SHWEID, HENRY
EDMUNDS, CICELY
SCHNEIDER, DAVID
VAN DYKE, MARCIA
MYERS, MISCHA
ROURKE, ROBERT
GORDOHN, ROBERT
HAUG, JULIUS
WEGMAN, WILLEM
GOUGH, WALTER
PASMORE, MARY
EARATA AT RUT: Bs
SHAPRO, DAVID
HELGET, HANS
BAUER, BEN

BARET, BERTHE
PATERSON, JOHN A.
CHILINSK!I, BRUNO
KOBLICK, NATHAN
D! BIANCA, VINCENT
WRIGHT, HAROLD

VIOLAS:

MOLNAR, FERENCG
PRINCIPAL

VERNEY, ROMAIN
WHITE, ALBERT
WEILER, ERICH
AKON, ALFRED
KARASIK, MANFRED
PETTY, SUZANNE
VAN DEN BURG, JAC
MANN, MICHAEL

PERSONNEL MANAGER:

PIERRE MONTEU®X, Conouctor

'GECLOS:

BLINDER, BORIS
PRINCIPAL
REINBERG, HERMAN
ARKATOV, JAMES
BEM, STANISLAS
ANDERS, DETLEV
HUGHSON, MARY
PETTY, WINSTON
CONNOLLY, CATHERINE
PASMORE, DOROTHY
HRANEK, CARL
SAPHIR, RUTH

BASSES:

KARP, PHILIP
PRINCIPAL
SCHMIDT, ROBERT E.
BELL, WALTER
GUTERSON, AARON
SCHIPILLIT!I, JOHN
BUENGER, AUGUST
STORCH, ARTHUR E.
ORSINI, JOSEPH

BELEIGTES:
RENZI, PAUL JR.

SHANIS, RALPH F.
BENKMAN, HERBERT

PICCOLO:
BENKMAN, HERBERT

OBOES:
REMINGTON, MERRILL
SHANIS, JULIUS
SCHIVO, LESLIE J.

ENGLISH HORN:
SCHIvoO, LESLIE J.

OBOE D’AMOUR AND
HECKELPHONE:
SHANIS, JULIUS

CLARINETS:

SCHMITT, RUDOLPH
BiIBBINS, F. C.
FRAGALE, FRANK

E FLAT CLARINET:
BIBBINS, F. C.

BASS CLARINET
FRAGALE, FRANK

BASSOONS:
KUBITSCHEK, ERNST
HIBSCHLE, FRANK
BAKER, MELVILLE
HRANEK, CARL

CONTRA BASSOON:
BAKER, MELVILLE

HORNS:
TRUTNER, HERMAN C.,
LUCCHES!, DINO
TRYNER, CHARLES E,
ROTH, PAUL
TRUTNER, HERMAN, UR.

TRUMPETS:
BusBB, CHARLES, UR.
BARTON, LELAND 5S,
KRESS, VICTOR
MURRAY, EARL

TROMBONES:
Gios!, ORLANDO
SHOEMAKER, ROGERS
KLOCK, JOHN

TUBA:
MURRAY, RALPH

HARP:
MORGAN, VIRGINIA
EVERINGHAM, ANN

TYMPANI:
LAREW, WALTER

PERCUSSION:
VENDT, ALBERT
SINAI, JOSEPH
GREER, ELWOOD

PIANO AND CELESTA:
SHORR, LEV

LIBRARIAN:
HAUG, ALMA

PROPERTY MASTER:
2) io tad AVERY,

JULIUS HAUG

IN SERVICE WITH THE UNITED STATES ARMED FORCES

DICTEROW, HAROLD—VIOLIN
HOUSER, F. S.—VIOLIN
KHUNER, FELIX—VIOLIN

MICGHAELIAN, ERNEST A.-——VIOLIN

MOULIN, HARRY—VIOLIN
Ross, NATHAN—VIOLIN
LEPLIN, EMANUEL—VIOLA
LUCIEN, MITGHELL—VIDLA

OLSHAUSEN, DETLEV—VIOLA
CLAUDIO, CESARE—’CELLO
DE PALMA, ATTILIO—HORN
ALTMANN, LUDW!IG—ORGAN

SAN FRANCISCO

pha te

EVENING CONCERI

Nearly two hours of
fine music every .
night of the week

8:10 to 10 P.M.
STATION KK WA

San Francisco
*
1210 ON YOUR DIAL

ACME BREWERIES

San Francisco Los Angeles

i
;

RS a

: 3 | | i
WEE changing lo | *s, it’s a lasting friendship... well-earned

. , by Chesterfield’s three top qualities...
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COOLER SMOKING

And when your G. I. Joe steps out of khaki into a
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PTHE MUSICAL ASSOCIATION OF SAN FRANCISCO

Mae LEONORA WOOD ARMSBY > PRESIDENT AND MANAGING _ DIRECTOR
: HOWARD K. SKINNER +© BUSINESS MANAGER

PRESENTS THE THIRTY-THIRD SEASON: OF THE

WAR MEMORIAL OPERA H OUS5B
24 Tenth Pair ‘ “Parsifal” ° March 29-31, 1945

=
ie
ze

inga

ive

by establish

iaries

family trust.” Each arrangement will
be made to fit the needs of a particular

family. It can always be altered. Ask

about th

7S SEVUICE,

le you |

Bank «. union trust co.

A man while he still lives may set apart

all or some part of his property to
provide income now or later for any

of his benefic

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TRUST DEPARTMENT
Wells Fargo
SAN FRANCISCO
Established 1852

ed
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Gy
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=
aaa

SHERMAN, CLAY & CO. in its
NEW HOME in OAKLAND

Convenience is the word for our new music store...
located in a building of its own in the heart of down-
town Oakland.

Step right off the street to our main floor... for REC-
ORDS...SHEET MUSIC ...RECORD CABINETS...
CONCERT TICKETS. -Upstairs, on the mezzanine,
you'll find our other departments . . . Pianos, Band and |
Orchestra Instruments, Radios and Radio-Phonographs.

Parking lot next door or just across the street.

New Telephone Number

Higate 8440

VAHETT

SYMPHONY ORCHESTRA 605

re)

SOP Ig

THE MAGNIT”

“

Sopyrighted
S.A,

a
by Coty, Inc, in U

Compounded an

KNOW YOUR SYMPHONY

A white light flashes at Conductor Pierre Monteux’s
stand: a voice calls through a loudspeaker, “Ready, Maitre’;
the musicians are tensely quiet; the light turns red; Monteux
raises his baton, and another recording session of the San
Francisco Symphony Orchestra is under way.

In addition to their regular concert activities for the cur-
rent season, Monteux and the Orchestra have been busy mak-
ing records for Victor Red Seal. The necessary equipment was
installed in War Memorial Opera House early in January and
the first records by the San Francisco Symphony Orchestra in

ary 27. At these sessions, the Symphonie Espagnole of Lalo and
Violin Concerto No. 1, by Bruch were recorded, both with
Guest Artist Yehudi Menuhin.

two years were cut on Friday, January 26 and Saturday, Janu-
Recording sessions are sandwiched in between rehearsal

and concert schedules. Stravinsky’s “Rite of Spring,” the first
performance of which was conducted by Monteux 1 Paris in

1913, was put on wax by the San Francisco Symphony in a

session beginning at midnight following the concert of March
10. But the majority of recording dates are scheduled for late

afternoon or early evening.

Among the records already made during this season by
\fonteux and the orchestra are: Brahms’ Symphony No. 2, his
Alto Rhapsody with Marian Anderson; Berlioz Overture
“Benvenuto Cellini,” the overture to Part 2 of “Les ‘Troyens,”
and the Symphonie Fantastique; Istar and Prelidestom Bier:
vaal” by D’Indy; Sadko and the Prelude to “Coq d'Or” by
Rimsky-Korsakov.

SYMPHONY ORCHESTRA 607

608

for generations of Americans.

WEJ

SLOANE

216 SUTTER near GRANT
SAN FRANCISCO 8, CALIE.

SAN FRANCISCO

Lai RIG ANEROSET SEF a

SRR

Musical Association of San Francisco
MAINTAINING THE

SAN FRANCISCO SYMPHONY ORCHESTRA

OFFICERS
Mrs. Leonora Wood Armsby, President and Managing Director
E-Raymond AfrtiSDYssc:--.vca.--c----- 2. Vice-President Charles Page................ LSE Ae eA Treasurer
Paul A. Bissindefss. =) | ee Vice-President Mowatd-Ke-Skinnenysc. 7-4 Aes et Secretary
Charles: .R>- (Bly fhesa ss Ser ie Vice-President GeraidtGs Rossi. se. 2 ee Assistant Secretary
Garret McEnerney, J1.........:.........-. Vice-President
EXECUTIVE COMMITTEE
Dr. Hans Barkan Mortimer Fleishhacker Mrs. Marcus S. Koshland Miss Else Schilling
Miss Louise A. Boyd Miss Lutie D. Goldstein Garret McEnerney, II Mrs. M. C. Sloss
Mrs. Selah Chamberlain Mrs. Joseph D. Grant Kenneth Monteagle Mrs. Sigmund Stern
Mrs. John P. Coghlan Mrs. Walter A. Haas Guido J. Musto Mrs. Eli H. Wiel
Mrs. E. S. Heller Mrs. Ashton H. Potter

FINANCE COMMITTEE

C. 0. G. Miller, Chairman

E. Raymond Armsby Miss Lutie D. Goldstein Mrs. Ashton H. Potter
Charles R. Blyth Mrs. Marcus S. Koshland Mrs. William Lister Rogers
Mortimer Fleishhacker

MUSIC COMMITTEE

Mrs. Selah Chamberlain
Dr. Hans Barkan Mrs. Tobin Clark J. Emmet Hayder
Mrs. George T. Cameron Dr. Leo Eloesser Charles G. Norris

PUBLIC RELATIONS COMMITTEE
Mrs. John B. Knox

Mrs. M. C. Sloss Mrs. James Mills Mrs. William Lister Roger
Mrs, John P. Coghlan Mrs. Francis Redewill Michel Weill
YOUNG PEOPLE’S CONCERT OFFICERS

Mrs. Thomas Page Maillard - Mrs. Grace Benoist Mrs. Louis Sloss, Jr. Mrs. Harold K. Faber

Mrs. Harold R. McKinnon Mrs. Walter A. Haas Charles M. Dennis

SAN FRANCISCO SYMPHONY LEAGUE
Mrs. John P. Coghlan... aS be Roy es ae Chairman Mrs. Francis Redewill__................... Vice-Chairman
SAN FRANCISCO SYMPHONY FORUM
Mrs. Alan McLenegan, Chairman Ava Jean Barber Frank Winter Martin Skewes-Cox
John Piel Pamela Marsh Katherine Mulkey Cecily Rideout
Lt. (j.g.) J. Brandon Bassett Elwyn Thayer Ann Wegman Elizabeth Shaw
Marcia Robinson Betty Carl Paul Robinson Marilyn Biehl
BOARD OF GOVERNORS
E. Raymond Armsby - Mrs. George Ebright Mrs. E. S. Heller Charles Page
Mrs. Leonora Wood Armsby Sidney M. Ehrman Walter S. Heller Mrs. Ashton H. Potter
Dr. Hans Barkan Albert |. Elkus Mrs. 1. W. Hellman Mrs. Stanley Powell
Mrs. Edward O. Bartlett Dr. Leo Eloesser William F. Bampbrey Mrs. William Lister Rogers
James B. Black Forrest Engethart Mrs. Marcus S. Koshland Mrs. Henry P. Russell
Charles R. Blyth Mrs. Harold K. Faber Frederick J. Koster Miss Else Schilling
Miss Louise A. Boyd Mrs. Paul I. Fagan Gaetano Merola Mrs. M. C. Sloss
Paul A. Bissinger Mrs. Marshall H. Fisher C. O. G. Miller Mrs. Nicol Smith
George T. Cameron Mortimer Fleishhacker Mrs. C. O. G. Miller Mrs. Sigmund Stern
Mrs. Selah Chamberlain Mrs. J. C. Flowers Edward F. Moffatt Mrs. Powers Symington
Mrs. John P. Coghlan John F. Forbes Kenneth Monteagle Mrs. David Armstrong Taylor
Mrs. Elizabeth S. Coolidge Mrs. Frank R. Girard Mrs. Donald Mulford Mrs. Cyril Tobin
Mrs. W. W. Crocker Miss Lutie D. Goldstein Guido J. Musto Mrs. Alfred S. Tubbs
Mrs. O. K. Cushing Mrs. Joseph D. Grant Dwight F. McCormack Mrs. Daniel Volkmann
Mrs. Georges de Latour Farnham P. Griffiths Mrs. Angus McDonald Michel Weill
Benjamin H. Dibblee Madeleine Haas Garrett McEnerney, I! Mrs. Eli H. Wiel
Miss Katharine Donohoe’ Mrs. Walter Haas Mrs. Harold R. McKinnon Leonard E. Wood
Mrs. Willard H. Durham Mrs. Harry S. Haley R. C. Newell J. D. Zellerbach
Joseph H. Dyer, Jr. J. Emmet Hayden Charles G. Norris
STAFF

Constance Alexander Victor Mohl Deborah Spalding
Kathleen Lawlor Gerald Ross Curran Swint
Doris Lowell Joseph Scafidi Virginia Webb

THE SAN FRANCISCO SYMPHONY ORCHESTRA
Records Exclusively for Victor Red Seal

SYMPHONY ORCHESTRA 609

SAE NORRE OO AE LER OEEEENEER LALA DANS SN SOCCCENEE EN EAD DEM RONORE ASO IEEE LEDER ARDS SANSONE DARA RAR ARARNAAAA ACCRA RARER ALR BAA re

“There's an immortality in the expression of the
finer human moods... These moods sincerely

| expressed in a portrait can mean so much to the
person towards whom that feeling is directed."

Liherlis. Seb nblore

tikhrlis. Sotentler

MASTER PHOTOGRAPHER

427 POST STREET (IN THE ST. FRANCIS HOTEL) » YUKON 2061

GUEST AR STS. i |SevV eek

DusoLINA GIANNINI Is the product of a musical family. Her father was an
opera singer, her mother a violinist. She received her first training from her
father in her native city of Philadelphia and later studied wtih Marcella Sem-
brich in New York. She made her debut at a concert of the Schola Cantorum in
New York in 1923 and for a number of years was active as a concert singer. She
went to Europe in 1927 and remained there until 1936, devoting herself largely
to opera, but she returned to America for a concert tour each season during
this period..She sang at Covent Garden, in the leading opera houses of Berlin,
Vienna, Prague, and other cities, and at the Salzburg Festival under the direc-
tion of Bruno Walter and ‘Toscanini. In 1936 she joined the Metropolitan
Opera Company and remains one of the principal sopranos of that organiza-
tion. She has repeatedly appeared with the San Francisco Opera Company,
and made her first appearance with the San Francisco Symphony Orchestra on
the Art Commission series last year.

FREDERICK JAGEL was born in Brooklyn in 1897. After service in the Army
in the first World War and a number of years in business in New York, he went
to Europe to study singing. He made his debut as an operatic tenor in Leghorn
in 1924, and for three years sang in many Italian opera houses. He joined the
Metropolitan in 1927 and has been one of its leading artists ever since. He has
repeatedly sung with the San Francisco Opera Company, but this will be his
first appearance with the San Francisco Symphony Orchestra.

DoucLas Brarrre was born in San Jose in 1907. He graduated from the
University of California as a biologist, but during his student days in Berkeley
he also studied voice in San Francisco with Frank Carroll Giffen. He made his
first professional appearances in Genoa in 1934. In the following year he
returned to California, singing twice with the San Francisco Symphony Orches-
tra and later joining the San Francisco Opera Company. He was a member
of the Metropolitan from 1939 to 1942.

-—
GUEST ARTIST NEXT WEEK

Lorre LEHMANN was born in Germany and received her training in Berlin.
The list of European opera houses in which she has sung leading roles is prac-
tically encyclopedic, and one cannot begin even to list a fraction of them. She
was first heard in the United States with the Chicago Civic Opera in 1930, and
she joined the Metropolitan three years later. She has also sung many times
with the San Francisco Opera Company. As an operatic interpreter, she has
paid particular attention to Wagner and Richard Strauss. In addition to her
work as an opera and concert singer, Mme. Lehmann has published poetry,
novels and an autobiography. ‘This will be her third appearance with the
san Francisco Symphony Orchestra. She was soloist on the Art Commission
series in 1938 and 1940.

SYMPHONY ORCHESTRA

Your WILL cannot
bequeath “good judgment”

By intelligent management you have built up
your Estate. Your Will sets up the Plan you |
want your Executor to follow.

Get details from any officer of this Bank.

Head Office: 400 CALIFORNIA STREET

Mission Branch: 16TH & JuLian AVENUE BUY U. S. WAR BONDS

AND STAMPS

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Founded in 1864

1944
OUR
EIGHTIETH
ANNIVERSARY

YEAR

letter and the spirit of your Plan.

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MEMBER FEDERAL DEPOSIT INSURANCE CORPORATION

612 SAN FRANCISCO *

Thirty-third Season
1944 - 45

SAN FRANCISCO SYMPHONY ORCHESTRA

PIERRE MONTEUX, Conductor
-4e}-
TENTH PAIR OF SYMPHONY CONCERTS

‘THURSDAY, MARCH 29, at 8:30
SATURDAY, MARCH 31, AT 8:30

Guest Artists

DUSOLINA GIANNINI, Kundry
FREDERICK JAGEL, Parsifal

DOUGLAS BEATTIE, Gurnemanz

THE MUNICIPAL CHORUS

Hans Lescuke, Director
EpwWIN RICKMAN, President
By courtesy of the Art Commission
Augmented by a group of students from the Senior High Schools

CHARLES DENNIS, Director of Music

{e+
‘Program
SELECTIONS PRO Meee Ashes Liles t.ho cee ee se Wagner
Act I
‘Prelude -Kundry and Parsitfal
.Narrative of Gurnemanz ‘Transformation Scene
-Gurnemanz and Parsifal Ritual of the Holy Grail

INTERMISSION
Acr I]
-Introduction, Klingsor’s Magic Castle
Parsifal and the Flower Maidens
(FLOWER MAIDENS: FRANZISKA WEISS, DELPHIA PHILLIPS; CONSTANCE
D’ Acres, GENEVIEVE OLIVER, ADA LEONHARDT; REBA GREENLEY)
-Kundry and Parsifal
INTERMISSION
Act III
- Introduction
.Good Friday Spell
“Procession of the Knights of the Grail
-Glorification

weer"

a It is requested that subscribers who are unable to use their tickets
if kindly phone the Symphony Office—UNderhill 4008—giving location
ibe of their seats that they may be assigned to uniformed men and women.
} This courtesy will be deeply appreciated.

SYMPHONY ORCHESTRA 613

tr ren ne ee
SAN FRANCISCO SYMPHONY ORCHESTRA

PIERRE MONTEUX, Conductor

-4e}-

ELEVENTH PAIR OF SYMPHONY CONCERTS

Friday, A pril 6, at 2:15
Saturday, A pril 7, at 8:30

LOTTE LEHMANN, Guest Artist

Prague hPa 0) 816) 0h teaceee ene Cr ee ee ane oe oe WL ee sk eee eee ee, Mozart
C hamiber SMT ROMY INGin2 aa wen a awe, athe eth ign. Ot Schoenberg
(First Performance in San I’ ranNcisco )

A Group ORAS OUMOSEs melee we he tage toa kk ie wake Stiaa’ tien Schubert

Die Junge Nonne
Standchen
Der Juingling an der Quelle
Der Erlkonig
A Group of Modern Songs:

Invitation au MOVE Ci onic: chee mc ae eee te eet ane: tinge .Duparc
Si mes vers avient nee ELE SrAh-wi-ty cee eet Neen Peeks AN ee age Fei Hahn
|
ENMARGGOMSE Grab nh ata oeltctiat Wa ices they Wee te Wolf
ESTO RIS US gargs Stee Ret ee cate ee en ANE SG Say tee oie Wolf
AUIS oe ys tee 2. St Oe a ee Peer te iD Ae PN ys Maal rial fl Debussy

TWELFTH PAIR OF SYMPHONY CONCERTS
(LAST CONCERTS OF THE SEASON)
FRIDAY, APRIL 13, AT 2:15
SATURDAY, APRIL 14, at 8:30

ARTUR RUBINSTEIN, Guest Artist

WUOHE Clarinet, Pet homteds Sik teehonr) Ati ah MRR UR EE ath nee S1VAUSS

SULUCHIN Oh: Operates pated Set a ied Ae: abe Art a thee Mute Bach-Wood
Pr elidleston MiresAnlewnoonmeol aatatiin: < aaes cabs oe Debussy
Concerto for Pianowand: Orchestra No. 310.0.,) da2) ee). Beethoven
SHON RCIMIN CON ie 21,10) A Aa nas CO ee oO ete ee Sicleng Ride sare 1 Milhaud

(lirst Performance in San Francisco)
> YAP DO ys SE) VIO; aoe hee er eine ade eee 5 en teem eae l’ranck |

STANDARD SYMPHONY BROADCAST
KPO and NBC Coast Network
Sunday, April 1, at 8:30 |
MICHAEL STRANGE, Guest Narrator

PaaS SA GAG | TALshION Gr MUO. F eo, 2, eh ene rene on ie Handel-Akon
PREMUIG CR Om EO NLCTIONU Tres, «hea Caan oe aaah pee) oe ees Meee Ai Wagner
Symphonic Piece from LCCC CNUD LTO ree wetes 4 Ath ete a ee Franck
Ao) WB a Keke Oe 10) SY 7 eRe bs Se ing Me ne eS eae eed 02 Bh Wagner
NCACEIMIC Mest als OVeOLUlCHW aie” voc teal ys tasin tee Lae ee! syahms

——————————— ——————————————————————————emououoSoo

614 SAN FRANCISCO

my
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PROGRAM NOTES

By ALFRED FRANKENSTEIN

7 7 , “Ur , T ‘ 7 y Y , =
Chien GW LOINS BRO PAT UST ANS : > tau i eee, Richard Wagner
C
. (1813-1883)

In his days as conductor of the Dresden Court ‘Theater, between 1842 and
1849, Wagener laid the foundations, at least from a literary point of view, for
«+ | > ree re ifpa’c , = L; ~ eee hee :
all the rest of his life’s work. It was then that he read the Nzbelungenlied and
the Volsung Saga, trom which the Ring cycle was eventually to be derived, the
Tristan und Isolde of Gottfried von Strassburg, and the legends of the Holy
Grail as told by the Bavarian poet, Wolfram von Eschenbach. But many years
were 10 elapse between the reading of Wolfram’s poems and the completion of
Parsifal. [hat 1s a very long and involved story, and it 1s scarcely worth telling
in this place. Suffice it to say that Wagner finished Parsifal in 1882 and produced
° , dy aes « : scat 4 eS : . , - . . . e .
it at Bayreuth in that year. It was his final artistic achievement. He died some
seven months after this ‘“stage-consecrating festival play” had been performed
for the first time.

AGT |
? he Sie er of the longest and most highly developed in Wagner, 1s
yased upon four of t 1e most Important leading motifs in the score. ‘There are
more than twenty leading motifs in Parszfal, but these four, associated with
the mystical and religious elements of the work, are all we shall be able to quote.

Sehr langsam, A flat major, 4/4 time. Strings and woodwinds in a bare,
unaccompanied unison, open the prelude with the motif of ‘The Eucharist:

which is then repeated an octave higher to a shimmering, arpeggiated accom-
paniment. After a long pause, the motif is once more given out in bare unison,
but now in C minor, and this version, too, is repeated in accompanied form.

A second long pause leads to the motif of the Grail:

Phis motif is not original with Wagner. It is the so-called Dresden Amen, com-
posed in the 18th century for the use of the Saxon Royal Chapel by Johann
Gottlieb Naumann. It is also to be found in Mendelssohn's Reformation

symphony and in other 19th century works.
Phe motif of the Grail is immediately followed by that of Faith:

a moti of Faith ts developed at some length. Eventually the key of A flat
is reinstated and the Eucharist sounds out once more, now, however, to be

SYMPHONY ORCHESTRA 615

CLE YOM CUlV24 homes
C

Several of the most memorable moments in Parsifal
have been recorded by Victor for you to enjoy in your
own home. These recordings bring you two of the
greatest Wagnerian interpreters the world has known
—Kirsten Flagstad and Lauritz Melchior. Choose
your favorite scenes from Victor’s catalog, ““The Music
America Loves Best,”’ shown above. Then hear these
electrifying performances at your Victor dealer’s.

Listen to “The Music America Loves Best,’’ Sundays, 1:30 p.m., over Station KPO.

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worked over with impassioned, agonized harmonies during the course of which
from the fourth and fifth bars of Example | detach themselves to form

Pr a figure
the independent motif of the Sacred Lance:

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

In the material which follows we give the full and complete text of all the
passages employed in the present performance. ‘The translation used is that of
H. 1.. and Frederick Corder. Passages omitted are summarized in parenthesis
and italics.

(The curtain rises to disclose a forest on the grounds of the castle of Mont-
salvat, in Spain, which is the citadel of the Knights of the Holy Grail. Gurne-
manz, an aged member of the order, awakens two esquires who are asleep under
a tree. During their conversation it develops that Amfortas, leader of the

ee ee

Buffet Service in Basement Promenade and Dress Circle during all performances

nn nnn LEE

WAR MEMORIAL OPERA HOUSE. Owned and operated bv the Citv and County of San Francisco
through the Board of Trustees of the War Memorial.

Hard-of-hearing aids are available in the Main Foyer. Attendant will connect same to your seat
location on request. — Opera Glasses in Foyer.

| SYMPHONY ORCHESTRA 617

Jed Whiskey 86 p

<ttaetindibabdAst bbb a

Raa LOO

gra

a8
if

neutral spirits.

RESERVE
Rlerectecd Utihisht y

RONNED foe

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knights, is suffering from a wound which will not heal. Kundry, a strange, half-
WwW ild woman who had laughed at Christ on the cross, had heen conde eed (0
eternal laughter, and fries to ex prate by serving the Knights of the Grail, brings
balsam for Amfortas’ wound. Amfortas ts anne inona lilter. Kundry’s balsam
soothes his wound but does not heal it, and Amfortas knows, because of a
miraculous voice which had spoken to him from the Grail in the shrine of
Montsalvat, that his healing can be brought about only through a “guileless
fool.” When Amfortas is taken back to the castle, Gurnemanz tells the esquires
how his wound had occurred: Amfortas and his knights guarded the Grail and
the Sacred Lance which had pierced Christ's side on hie C ross, but the magician
Klingsor, using the wiles of an unnamed woman, had stolen the Lance from
Amfortas and with it dealt him the unclosing wound. Gurnemanz continues

with the story of Klingsor.)

Gurnemanz. TViturel, der fromme Held, Gurnemanz. Titurel, the pious lord,
der kannt’ ihn wohl. He knew him well;
Denn ihm, da wilder Feinde List und Macht — For, when the savage foe with craft and
des reinen Glauben’s Reich bedrohten, might
ihm neigten sich in heilig ernster Nacht The true believers’ kingdom rended,
dereinst des Heiland’s sel’ge Boten: Anon to him, in midst of holy night
daraus er trank beim letzten Liebesmahle, The Saviour’s messengers descended.
das Weihgefiiss, die heilig edle Schale, The sacred Cup, the vessel pure, unstainéd,
darein am Kreuz sein g6ttlich Blut auch Which at the Last Passover Feast
floss, He drainéd —
zugleich den Lanzenspeer, der diess vergoss,— Which at the Cross received His holy
der Zeugengtiter héchstes W undergut,— blood,

TED
~STRUBTER

and his | music

SYMPHONY ORCHESTRA 619

for the new. fragile, feminine look

This most famous of all the Monteil
preparations ... which guards the natural moisture of your
“skin and keeps your make-up fresh and natural looking all day,
; now brings the faint blush of color to your cheeks. Echo its

BEAUTY BALM
ee r oo soft, rosy light with the new Muted Rose lipstick, cream

bo Aes > joie PA rouge and powder; complement it with Monteil’s
/ : ~~... Surf eye shadow.

620 SAN FRANCISCO

das gaben sie in uns’res Konigs Hut.
Dem Heilthum baute er das Heiligthuim.
Die seinem Dienst ihr zugesindet
auf Pfaden, die kein Stinder findet,
ihr wisst, dass nur dem Reinen
vergonnt ist sich zu einen
den Briidern, die zu hoéchsten
Rettungswerken
des Grales heil’ge Wunderkrafte starken:
drum blieb es dem, nach dem thr fragt,
verwehrt,
Klingsor’n, so hart thm Muth’ auch drob be-

schwert.
Jenseits im ‘Chale war er eingesiedelt;
dariiber hin liegt iipp’ges Heidenland:
unkund blieb mir, was dorten er gestindigt;
doch btissen wollt’ er nun, ja heilig werden.
Ohnmachtig, in sich selbst die Sitinde zu
ertodten,
an sich leet er die Frevlerhand,
die nun, dem Grale zugewandt,
verachtungsvoll dess’ Hititer von sich stiess;
darob die Wuth nun Klingsor’n unterweis,
wie seines schmahlichen Opfers ‘That
ihm gabe zu bésem Zauber Rath;
den fand er jetzt:—
die Witiste schuf er sich zum Wonnegarten
d’rinn wachsen teuflisch holde Frauen;
dort will des Grales Ritter er erwarten
zu boser Lust und Hollengrauen:
wen er verlockt, hat er erworben;
schon Viele hater uns verdorben.
Da Titurel, in hohen Alter’s Mtihen,
dem Sohne nun die Herrschatt hier verliehen,

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With eke the Spear that shed the sacred
flood, —
These signs and tokens of a worth untold
The angels gave into our monarch’s hold.
A house he builded for the holy things.
Ye, who their service have attained to
By paths no sinners ever gained to,
Ye know *tis but permitted
The pure to be admitted
‘Mid those the Grail’s divinely magic power
With strength for high salvation’s work doth
dower.
He whom you named had therefore been
denied :— .
Klingsor — however long and hard he tried.
Far in yon valley then he found asylum;
For over there ’tis rankest Pagan land.
I ne'er found out what sin he had committed;
Absolved he now would be, yea, holy even.
Unable in himself to stifle thoughts of evil,
He set to work with guilty hand,
Resolved to gain the Grail’s command;
Bul with contempt was by its guardian
spurned,
Wherefore in rage hath Klingsor surely
learn’d |
How by the damnable act he wrought
An infamous magic might be taught;
Which now he’s found:—
The waste he hath transformed to wondrous
gardens
Where women bide, of charms infernal;
Thither he seeks to draw the Grail’s true
wardens

ee oe ee ee

¥¥ ¥
7

Keep tuned to

* 680 on your dial

—
eee EOE

Carl Kalash and Orchestra
Thurs. at 4:30 p. m.

Stradivari Orchestra >a Richard Crooks
Sun. at 9:30 a. m. Mon. at 5:30 p. m.
John Charles Thomas > Contented Program
Sun. at 11:30 a. m. Mon. at 7:00 p. m.
Music America Loves Best Telephone Hour
Sun. at 1:30 p. m. Mon. at 9:00 p. m.
General MotorsSymphony % Light and Mellow
Sun. at 2:00 p. m. Tues. at 10:00 a. m.
Album of Familiar Music >. Standard School Broadcast
Sun. at 6:30 p. m. Thurs. at 10:00 a. m.
Hour of Charm >. Waltz Time
Sun. at 7:00 p. m. Fri. at 6:30 p. m.
The Standard Hour % Know Your Symphony
Sun. at 8:30 p. m. Sat. at 5:00 p. m.
|

Part of a continuous Parade of Stars
heard over KPO and the
NATIONAL BROADCASTING COMPANY
America’s Number One Network

Se ee

622 SAN FRANCISCO

—

FESR

Amfortas’ liess es da nicht ruh’n
der Zauberplag’ Einhalt zu thun;
das wisst ihr, wie es da sich fand:
der Speer ist nun in Klingsor’s Hand;
kann er selbst Heilige mit dem verwunden.
den Gral auch wihnt er fest schon uns
entwunden.

Vor dem verwaisten Heiligthum
in briinst’gem Beten lag Amfortas,
ein Rettungszeichen heiss erflehend:
ein sel’ger Schimmer da entfloss dem Grale;
ein heilig’ Traumeesicht
non deutlich zu ihm spricht
durch hell erschauter Wortezeichen Male:—
“durch Mitleid wissend
der reine ‘Thor,
harre sein’,
den ich erkor.”

To wicked joys and pain elernal.
Those who are lured find him their
master:
To many happens such disaster.
When Titurel decayed in manhood’s power
And with the regal might his son did dower
Amfortas gave himself no rest,
Bul sought to quell this magic pest;
The sequel ye have all been told;
The spear is now in Klingsor’s hold.
Kuen the holy it can cleave asunder:
The Grail already he counts as his plunder.
Before the plundered sanctuary
In pray’r impassioned knelt Amfortas,
Imploring for a sign of safety:
A heav'nly radiance from the Grail then
floated;
A sacred phantom face
From lips divine did chase
These words, whose purport clearly could be
noted :—
“By pity ‘lightened
A guileless Fool;—
Wail for him

My chosen tool.”

(The four esquires repeat the final words. )

(Shouts are heard from a nearby lake on the castle grounds, and a wounded
white swan flies into view. It has been shot with an arrow by an unknown youth
whom the esquires bring to Gurnemanz. The old man upbraids the boy, who
eventually breaks his bow and throws it away.)

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PERFECTION IN PERFUMES...

SYMPHONY ORCHESTRA

DANCING ON THE PENINSULA
in the beautiful

GARDEN ROOM
EVERY SATURDAY EVENING

featuring the romantic voice of

BOB KEELY

with the
BENJAMIN FRANKLIN HOTEL
ORCHESTRA
&

IN SAN MATEO
30 MINUTES FROM SAN FRANCISCO

Hotel BENJAMIN

FRANKLIN

WM. di CRISTINA, Mgr.

623

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624 SAN FRANCISCO

Gurnemanz. Wo bist du her?

Parsifal. Das weiss ich nicht.

Gurnemanz. Wer ist dein Vater?

Parsifal. Ich weiss nicht.

Gurnemanz. Wer sandte dich dieses Weg’s? °

Parsifal. Ich weiss nicht.
Gurnemanz. Dein Name dann?
Parsifal. Ich hatte viele doch weiss ich ihrer
keinen mehr.
Ich hab’ eine Mutter; Herzeleide sie heisst:

im Wald und auf wilder Aue waren wir heim.

Gurnemanz. Wer gab dir den Bogen?
Parsifal. Den schuf ich mir selbst,
vom Forst die rauhen Adler zu scheuchen.
Gurnemanz. Doch adelig scheinest du selbst
und hochgeboren:
warum nicht liess deine Mutter
hessere Waffen dich lehren?

Kundry
Den Vaterlosen gebar die Mutter,
als im Kampf erschlagen Gamuret;

Gurnemanz. Whence comest thou?
Parsifal. J do not know.
Gurnemanz. Who is thy father?
Parsifal. J do not know.
Gurnemanz. Who bade thee wander this
way?
Parsifal. JZ know not.
Gurnemanz. Thy name then?
Parsifal. J once had many,
But now I know not one of them.
I have a mother; Heart’s Affliction
she’s hight:
The woods and the waste of moorlands were
our abode.
Gurnemanz. Who gave thee that weapon?
Parsifal. J made it myself,
To drive the savage eagles from the forest.
Gurnemanz. But eagle-like seem’st thyself,
and well descended:
Why did thy mother not teach thee
Manlier weapons to handle? .
Kundry
Bereft of father his mother boré him,
For in battle perished Gamuret:

SCREEN JOURNALISM AT ITS BEST

Complete News Coverage — Distinguished Commentators

TELENEWS THEATRE -

... Market Near Fifth

ENCORE “Sweet Swing £J98

JAN SAVITT

AND HIS ORCHESTRA
IN THE ROSE ROOM

DANCING NIGHTLY {EXCEPT MONDAY}
SATURDAY COCKTAIL DANSANT

The Vadace Hotel

EDMOND A. RIEDER, General Manager

SYMPHONY ORCHESTRA

625

vor gleichem frihen Heldentod
den Sohn zu wahren, waffenfremd
in Oeden erzog sie ihn zum ‘Thoren
die Thorin!
Parsifal
Ja! Und einst am Waldessaume vorbei,
auf sch6nen ‘Thieren sitzend,
kamen glanzende Minner:
Ihnen wollt’ ich gleichen;:
sie lachten und jagten davon.
Nun lief ich nach, doch konnte sie nicht
erreichen;
durch Wildnisse kam ich, bergauf, thalab;
oft ward es Nacht; dann wieder Tag:
mein Bogen musste mir frommen
gegen Wild und grosse Manner.

Kundry
Ja, Schacher und Riesen traf seine Kraft
den freislichen Knaben ftirchten sie Alle.

Parsifal. Wer fiirchet mich? Sag”!
Kundry. Die Bosen.
Parsifal. Die mich bedrohten, waren sie
bos’?
Wer ist gut?
Gurnemanz. Deine Mutter, der du entlau-
fen, und die um dich sich nun hiirmt und
gramt.

Kundry. Zu End’ ihr Gram: seine Mutter
ist todt.
Parsifal. ‘Todt? — Meine Mutter? — Wer

sagt’ es?

ne er a es

From like untimely hero’s death
To save her offspring, strange to arms
She reared him a witless fool in deserts.
What folly!
Parsital .
Aye, and once along the hem of the wood,
Most noble beasts bestriding,
Passed by men all a-glilter;
Fain had I been like them:
With laughter they galloped away.
Now T pursue; but cannot as yel o’erlake
lhem:
Through deserts P've wandered, o'er hill
and dale;
Oft fell the night, then followed day:
My bow was forced to defend me
‘Gainst the wolves and mighty peoples.
Kundry. Yes, caitiffs and giants fell to his
mioht;

The fierce-striking boy brines fear on their

spirits.

Parsifal. Who feareth me, say?

Kundry. The wicked.

Parsifal. Those who attacked me, were they
then bad?

Who is good?

Gurnemanz. Thy dear mother, whom thou
forsookest,

And who for thee must now mourn and
grieve.

Kundry. She grieves no more; for his mother
is dead.

Parsifal. Dead?—what, my mother?—who
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Kundry. Ich ritt vorbei, und sah sie sterben: Kundry. / rode along and saw her dying;
dich ‘Thoren hiess sie mich grussen. Poor fool, she sent thee her blessing.
(Parsifal springs upon Kundry, raging, and seizes her by the throat. )
Gurnemanz. Verriickter Knabe! Wieder Gurnemanz. Jnsensate stripling! Outrage
Gewalt? again? —
Was that dir das Weib? Es sagte wahr. What harm has she done? She speaks the
Denn nie liigt Kundry, doch sah sie viel. truth.

For Kundry lies not, and much has seen.
(After Gurnemanz has released Kundry, Parsifal stands awhile as if turned to stone ;
then he is seized with a violent trembling. )
Parsifal. Ich — verschmachte! — Parsital. J — am fainting!
(Kundry has hastily sprung to a brook, brings water now in a horn, sprinkles Parsifal with some,
and then gives him to drink.)

Gurnemanz. So recht! So nach des Grales Gurnemanz. ’Tis well! Thus has the Grail

Gnade: directed:
das Bése bannt, wer’s mit Gutem vergilt. He ousteth ill who doth give for it good.
Kundry. Nie thu’ ich Gutes; — nur Ruhe~ Kundry. I do no good thing;—but rest I

will ich. long for

(Whilst Gurnemanz is attending to Parsifal with fatherly care, Kundry, unperceived by them,

crawls towards a thicket. )

Nur Ruhe! Ruhe, ach, der Mtiden! — But rest, but rest! Alas, I’m weary!—
Schlafen! — Oh, dass mich keiner wecke! Slumber!—Oh, would that none might wake
Nein! Nicht schlafen! — Grausen fasst me!

mich! No! I'll sleep not! — Terror grips me.

(She gives a suppressed cry and falls into a violent trembling: then she lets her arms drop powerless,
and her head sinks low, and staggers a little farther. )
Machtlose Wehr! Die Zeit ist da. Vain to resist! The time has come.
Schlafen — schlafen —: ich muss. Slumber — slumber — : I must.
(She sinks down behind the thicket and is seen no more. A stir is perceived down by the lake, and the
train of Knights and Esquires with the litter passes back homewards at back. )

Gurnemanz. Vom Bade kehrt der Kénig Gurnemanz. From bathing comes the king
heim; hoch steht die Sonne: again;

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SYMPHONY ORCHESTRA 627

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628 SAN FRANCISCO

soe

—_
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ies te

nun lass’ mich zum frommen Mahl. dich
geleiten; denn, — bist du rein,

wird nun der Gral dich tranken und speisen,

Parsifal. Wer ist der Gral?
Gurnemanz. Das sagt sich nicht;
doch bist du selbst zu ihm erkoren,
bleibt dir die Kunde unverloren.

Und sieh’! -
Mich diinkt, dass ich dich recht erkannt:
kein Wee fthrt zu ihm durch das Land,
und Niemand kénnte ihn beschreiten,
den er nicht selber mécht’ geleiten.

Parsifal. Ich schreite kaum,
doch wahn’ ich mich schon weit.
Gurnemanz. Du siehst, mein Sohn,
zum Raum wird hier die Zeit.

High stands the sun now:
Let me to the holy Feast then conduct thee:
For — an thou’rt pure,
Surely the Grail will feed and refresh thee.
Parsifal. What is the Grail?
Gurnemanz. Janay not say:
But if to serve it thou be bidden,
Knowledge of it will not be hidden.
And lo! -
Methinks I know thee now indeed:
No earthly road to it doth lead,
By no one can it be detected
Who by itself is not elected.
Parsifal. J scarcely move,
Yel swiftly seem lo run.
Gurnemanz. My son, thou seest
Here Space and Time are one.

Gradually, while Parsifal and Gurnemanz appear to walk, the scene changes imperceptibly from L. to R.

Ihe forest disappears; a door opens in rocky cliffs and conceals the two: they are then seen again in sloping

passages which they appear to ascend.—Long sustained trombone notes softly swell, approaching peals of bells

are heard.—At last they arrive at a mighty hall, which loses itself overhead in a high vaulted dome down

from which alone the light streams in.—From the heights above the dome the increasing sound of chimes.

Gurnemanz. Jetzt achte wohl; und lass’
mich seh’n,
bist du ein Thor und rein,
welch Wissen dir auch mag beschieden sein.—

Gurnemanz. Now give good heed, and let
me see,
If thow'rt a Fool and pure,
What wisdom thou presently canst secure.—

At each side in the background a large door opens. From the R. enter slowly the Knights of the Grail

in solemn procession, and range themselves, during the following chorus, by degrees at two long covered

tables which are placed endways towards the audience, one on each side, leaving the middle of the stage free.

Only cups—no dishes—stand on them.

Die Gralsritter. Zum letzten Liebesmahle
gerustet Tag ftir ‘Tag,
eleich ob zum letzten Male

he Knights of the Grail. The Holy Supper
duly
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SYMPHONY ORCHESTRA

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es heut’ ihn letzen mag,
wer guter That sich freu't,
ihm ser das Mahl erneu't:
der Labung dart er nahn,
die herrste Gab’ emptal’n.

Jiingere Mdannerstimmen
Den siindigen Welten
mit tausend Schmerzen
wie einst sein Blut geflossen,
dem Erlé6sungs-Helden
mit freudigem Herzen
sei nun mein Blut vergossen.
Den Leib, den er zur Stihn’ uns bot,
er leb’ in uns durch seinen ‘Tod.
Knabenstimmen
Der Glaube lebt:
Die Taube schwebt,
des Heiland’s holder Bote.
der ftir euch fliesst,
des Wein’s geniesst,
und nehmt vom Lebensbrode!

Through the opposite door Amfortas is brought in on his litter by Esquires

As on that last time truly
The soul it still may stay.
Who lives to do good deeds
This Meal for ever feeds:
The Cup his hand may lift
And claim the purest gift.
Voices of Younger Men
As anguished and lowly
His life stream’s spilling
For sinners He did offer,
For the Saviour holy
With heart free and willing
My blood I now will proffer.
His body, given our sins to shrive,
Through death becomes in us alive.
Boys’ Voices
His love endures,
The dove upsoars,
The Saviour’s sacred token.
Take the wine red,
For you *twas shed;
Let Bread of Life be broken.

him march boys who bear a shrine draped in purple-red cloth. This procession wends to the center

background, where, overhung by a canopy stands a raised longish marble table. on which the boys place the

shrine, still covered.

When the song is ended and the Knights have ;
(The voice of the aged Titurel is heard, commanding Amfortas to reveal

the Grail and perform its sacred ceremonies. Amfortas refuses, for he feels
himself unworthy to carry out his office.

ritual of the Grail begins.)

Knaben
“Nehmet hin mein Blut

taken their seats there is a long pause and silence.

Boys
“Take and drink my blood;

There's a Fine art in bread
making, too. Every OROWEAT

loat is a masterpiece.

SYMPHONY ORCHESTRA

and serving brethren: before

gut at length he gives in, and the

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9 um uns rer Liebe Willen! Thus be our love remembered!
: Nehmet hin meinen Leib Take my body and eat:
auf dass ihr mein’ gedenk.”’ Do this and think of me!”

A blinding ray of light shoots down from above upon the cup, which glows with increasing purple lustre.
Amfortas, with brightened mien, raises the Grail aloft and waves it gently about on all sides. Since the coming
of the dusk all have sunk upon their knees, and now cast their eyes reverently towards the Grail.

Amfortas sets down the Grail again, which now, while the deep gloom wanes, grows paler; the boys
cover it as before and return it to the shrine. — As the original light returns to the hall the cups on the table
are seen to be filled with wine, and by each is a piece of bread. All sit down to the repast, including Gurne-
manz, who keeps a place by him for Parsifal, whom he invites with a sign to come and partake. Parsifal, how-
ever, remains silent and motionless at the side, as if dumbfounded.

Knabenstimmen Boys’ Voices
b Wein und Brod des letzten Mahles Wine and Bread the Grail’s Lord changéd
wandelt’ einst der Herr des Grales, Which at that Last Meal were rangéd,
© durch des Mitleid’s Liebesmacht, Through His pity’s loving tide
in das Blut, das er vergoss, When He shed for you His gore
inden’ Leib; den dar er bracht*. And His Body crucified.
Jiinglingsstimmen Youths’ Voices
i Blut und Leib der Opfergabe Blood and Body which he offered
wandelt heut’ zu eurer Labe Changed to food for you are proffered
der Erloser, den ihr preis’t, By the Saviour ye revere
in den Wein, der nun euch floss, In the Wine which now ye pour
in das Brod, das heut’ euch speis't. And the Bread ye eat of here.
Die Ritter The Knights
Nehmet vom Brod, Take of this Bread,
wandelt es kiihn Change it again,
zu Leibes Kraft und Stiirke; Your pow’rs of body firing;
treu bis zum ‘Tod, Living and dead
fest in Mitih’n, Strive amain
zu wirken des Heiland’s Werke. To work out the Lord’s desiring.
f Nehmet vom Wein, Take of this Wine,
wandelt ihn neu Change it anew
zu Lebens feurigem Blute, To life’s impetuous torrent;
froh im Verein, Gladly combine,
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SYMPHONY ORCHESTRA | 633

zu kimpfen mit seligem Muthe. To fight as duly shall warrant.

Alle Ritter. Selig im Glauben! All the Knights. Blesséd Believing!
Selig in Liebe! Blesséd in Loving!
Jtinglinge Youths. Blessed in Loving!

Selig in Liebe!
Knaben

Boys. Blessed in Believing!
Selig im Glauben!

During the repast Amfortas, who has not partaken, has gradually relapsed from his state of exaltation:
he bows his head and presses his hand to the wound. The pages approach him; his wound has burst out
afresh ; they tend him and assist him to his litter; then, while all prepare to break up, they bear off Amfortas
and the shrine in the order in which they came. The Knights and Esquires fall in and slowly leave the hall
in solemn procession, whilst the daylight gradually wanes. The bells are heard pealing again, —

Parsifal, on hearing Amfortas’ cry of agony, has clutched his heart and remained in that position for some
time; he now stands as if petrified, motionless. When the last knight has left the hall and the doors are again
closed, Gurnemanz in ill humour comes up to Parsifal and shakes him by the arm,

(At the end of the act Gurnemanz asks Parsifal if he understands the
ceremony he has witnessed. Parsifal merely shakes his head. This angers Gurne-
manz, who pushes the boy out a narrow side door with a warning nol lo return.)

awe All|
(The second act takes place in the domain of Klingsor. We hear the intro-
duction, but omit the entire first scene, wherein Klingsor orders Kundry to
seduce and destroy Parsifal, who, he knows, ts the “gurleless fool’ predicted by
the voice from the Grail. Kundry refuses, but she is unable to resist Klingsor’s
power. The scene changes to Klingsor’s magic garden.)

He sinks slowly with the whole tower; at the same time the garden rises and fills the entire stage. Tropi-
cal vegetation; most luxuriant wealth of lowers; at the back it is bounded by the battlements of the castle
wall on to which give sideways abutments of the castle itself (florid Arabian style) with terraces. .

On the wall stands Parsifal, looking down on the garden in astonishment. from all sides, from the

garden and from the palace rush in mazy courses lovely damsels, first singly, then in numbers; their dress
is hastily thrown about them, as if they had been suddenly startled from sleep.

Maddchen Damsels
Heir war das Tosen, Here was the tumult: —
Watfen, wilde Rife! Weapons, wild exclaimings!

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634 SAN FRANCISCO

-
<
5
;

Wehe! Rache! Auf!
Wo ist der Frevler?
Kinzelne. Mein Geliebter verwundet.
Andere. Wo ist der Meine?
Andere. Ich erwachte allein,—
wohin entfloh er?
ITmmer Andere. Drinnen im Saale?-
Sie bluten! Wehe!
Wer ist der Feind? —
Da steh’t er! Seht! —
Meines Ferris Schwert? —
Ich sah’s, er sttirmte die Burg. —
Ich horte des Meisters Horn.
Mein Held lief herzu,
sie Alle wamen, doch Jeden
empfing er mit blutiger Wehr.
Der Ktiihne! Der Feindliche!
Alle sie flohen ihm. -
Du dort! Du dort!
Was schul’st due uns solche Noth?
Verwtinscht sollst du sein!

Horror! Vengeance! Up!
Where is the culprit?

Several. My beloved is wounded!

Others. Where is my lover?

Others. J awakened alone! —
Where hath he fled to?

Still Others. There in the palace? —
They're bleeding! Horror!
Where is the foe? —

There stands he! See! —
’'Tis my Ferris’ sword —
I saw’t, he took us by storm. —
I heard too the master’s horn.
My hero rushed on:

They all assailed him, but each one

Encountered a bloody repulse.
What boldness! what virulence!
All of them fled from him. —
Thou there! Thou there!

Why shape for us such distress?
Accurst, accurst mayst thou be!

(Parsifal leaps somewhat lower toward the garden.)

Die Mddchen. Ha! Ktuhner! Wage'’st du zu

trotzen?
Was schlueg’st du uns’re Geliebten?

Parsifal

Ihr sch6nen Kinder, musst’ ich sie nicht
schlagen?

Zu euch Holden ja wehrten sie mir den Weg.

Middchen. Zu uns wolltest due
Sah’st du uns schon?

Parsifal. Noch nie sah ich solch’ zieres Ge-
schlecht:

nenn’ ich euch schon, dtinkt euch das recht?

Die Mddchen

Damsels. Ha! bold one! Dar’st thou ap-
proach us?
Why hast thou slaughtered our lovers?
Parsifal
Ve lovely maidens, had I not to slay them,
When they endeavored to check approach Lo
your charms?
Damsels. Vo us camest thou?
Sawest thou us?
Parsifal. I’ve seen nowhere yet beings so
bright:
Ifl said fair, would it seem right?
Damsels

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SYMPHONY ORCHESTRA

635

So willst du uns wohl nicht schlagen? Then wilt thou not treat us badly?

Parsifal. Das m6cht’ ich nicht. Parsifal. J could not so.
Mddchen. Doch Schaden Damsels. But sadly.
schuf’st du uns grossen und vielen: What thou hast done has annoyed us: ‘
du schlugest uns’re Gespielen: Our playmates thou hast destroyed us.
wer spielt nun mit uns? Who'll sport with us now? '
Parsifal. Das thw ich gern. Parsital. That well will I.
Die Madchen Damsels
Bist du uns hold, so bleib’ nicht fern: If thow art friendly come more nioh,
und willst du uns nicht schelten, Let kindness be accorded,
wir werden dir’s entgelten: And thou shalt be rewarded: a
wir spielen nicht um Gold, For gold we do not play, |
wir spielen um Minne’s Sold: But only for love’s sweet pay,
willst du auf Trost uns sinnen, Wouldst thou console us rightly 7
sollst den du uns abgewinnen. Then win it from us, and lightly.
(Some have gone into the groves and now returp in Hower-dtesses, appearing like flowers themselves. )
Die geschmiickten Mddchen Phe adorned Damsels 4
Lasset den Knaben! — Er vehéret mir. — Touch not the stripling! — He’s for none
Nein! — Nein! — Mir! — Mir! but me. —
Die andern Mddchen. Ah, die Schlimmen! - No!— No!— Me! Me!
Sie schmticken sich heimlich. he other Damsels. Ah, the minxes!
They’ve slily adorned them.
(They also withdraw and return similarly dressed. )
Die Mddchen The Damsels
Komm’! Komny! Come! Come!
Holder Knabe, Handsome stripling,
lass mich dir bliithen! I'll be thy flower!
Dir zu wonniger Labe Sweetly dancing and rippling
gilt mein minniges Miihe. Bliss unshadowed Ill shower. A
Parsifal Parsifal
Wie duftet ihr hold! How sweet is your scent!
Seid thr denn Blumen? Are ye then flowers?
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636 SAN FRANCISCO

cat amet me

Die Mddchen ‘The Damsels

Des Gartens Zier The garden’s pride
und duftende Geister And ‘ovilor: we've given.
im Lenz pfltiickt uns der Meister; In spring time we were riven:
wir wachsen hier We here abide,
in Sommer und Sonne, Through sunlight and summer,
fur dich bluhend in Wonne. To bloom still on each comer.
Nun sei uns freund und hold, Oh, be but kind and true,
nicht karge den Blumen den Sold: And grudge not the flowers their due:
kannst du uns nicht lieben und minnen. If thou wilt not fondle and cherish,
wir welken und sterben dahinnen. We swiftly must wither and perish.
Lrstes Madchen. An deinen Busen nimm First Damsel. Unto thy bosom take me!
mich! .
Zweiles. Die Stirn lass’ mich dir kiihlen! Second. Thy hot brow, let me soothe it!
Drittes. Lass mich die Wange dir fiihlen! Third. Turn thy fair cheek that I smooth it!
Viertes. Den Mund lass’ mich dir ktissen! Fourth. Thy mouth give to my kisses!
liinftes. Nein, mich! Die Sch6nste bin ich. Fifth. No, here! ’Tis Il am the best.
Sechstes. Nein, ich! Duft’ich doch siisser. Sixth. No, 7! I am the sweeter.
Parsifal Parsifal
Ihr wild holdes Blumengedringe, Ye wild crowd of beautiful flowers,
soll ich mit euch spielen, entlasst mich der If Lam to play, ye must widen your bowers.
Enge!
Madchen. Was zank’st du? Dansels. Why quarrel?
Parsifal. Weil thr streitet. Parsifal. °Tis your riot.
Middchen. Wir streiten um dich. Damsels. We quarrel for thee.
Parsifal. Das meidet! Parsifal. Then quiet.
Lrstes Mddchen First Damsel
Weiche du! Sieh’, er will mich. Back with you! See, he wants me.
Zweites Mddchen. Nein, mich! Second Damsel. No, me!
Drittes. Mich, lieber! Third. Me, rather!
Viertes. Nein, mich! Fourth. No, me!
Erstes Mddchen First Damsel. Thou shiunnest me?

Du wehrest mir?

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Eerstes. Bist du feige vor Frauen?
Zweiles. Magst nicht dich getrauen?

First. Art with women so wary?
Second. Of thy favor chary?

Mehre Madchen. Wie schlimm bist du, Zager Several Damsels. The cold trembler! see

und Kalter!
lndere Mddchen. Die Blumen liisst du

umbuhlen den Falter?
Livste Halfte. Weichet dem ‘Vhoren!
Lin Madchen. Ich geb’ ihn verloren.
Andere. Uns sei er erkoren!
Andere. Nein, uns!—Nein, mir!—

Auch mir!—Hier, hier!—

Parsifal

Lass't ab! Thr fanet mich nicht!
Kundry’s Stimme

Parsifal! — Weile!

how he cowers!
Others. Wouldst see the butterfly wooed by

the flowers?
First Half. Fool! we efuse him!
One Damsel. I’m ie 10 lose him.
Others. We others will choose him.
Others. No, we! draw near!—

No, I—here, here!—

Parsifal No more! Yow ll catch me not!

Kundry’s Voice. Parsifal—tarry!

From a flowery arbor at side is heard.)

PASC eAGSIUAL eae

Parsifal. Parsifal ...?

(The damsels are startled and pause—Parsifal stands arrested. )

So nannte traumend mich einst die Mutter-

Kundry’s Stimane
Hier weile, Parsifal!—
Dich griisset Wonne und Heil zumal.
Ihr kindischen Buhlen, weichet von ihm:
friih welkende Blumen,
nicht euch ward er zum Spiel bestellt!
Geht heim, pflegt der Wunden:
cinsam erharrt euch mancher Held.
Die Madchen
Dich zu lassen, dich zu meiden—
O weh‘! O weh’ der Pein!
Von Allen moéchten gern wir scheiden,

FERRARI

AND FORMER FIRM OF

So once, when dreaming, my mother called
me .—
Kundry’s voice.
Here bide thee, Parsifal!—
Where joy and gladness on thee shall fall —
Ye frivolous wantons, leave him in peace:
Flow’rs soon to be faded,
He came not here for your delight!
Go home, tend the wounde ods
Lonely awaits you many a knieht.
The Damsels
Thus to leave thee, thus to sever—
Alas! Alas, what pain!
From all we'd gladly part for ever,

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SYMPHONY ORCHESTRA

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mit dir allein zu sein.—
Leb’ wohl! Leb’ wohl!
Du Holder! Du Stolzer!
Du — Thor!

With thee but to remain.—
Farewell! farewell!
Thou fair one, thou proud one!
Thou — Fool!

(With the last words they disappear into the castle, gently laughing. )

Parsifal. Dies Alles—hab’ ich nun getriiumt?

Parsifal. Was all this — nothing but a
dream?

He looks timidly to the side from whence Kundry’s voice came. There is now visible the branches being
withdrawn a youthful female of exquisite beauty—Kundry in entirely altered form—on a flowery couch and in

light drapery of fantastic, somewhat Arabian style.

Parsifal. Rietest du mich Namenlosen?

Kundry. Dich nannt’ ich, thér’ger Reiner,
al parsi, “—

Dich, reinen Thoren: ,,Parsifal.“

So rief, da in arab’schem Land er verschied.

dein Vater Gamuret dem Sohne zu,

den er, im Mutterschooss verschlossen,

mit diesem Namen sterbend griisste.

Dir ihn zu ktinden, harrt’ich deiner hier:

was zog dich her, wenn nicht der Kunde
Wunsch?

Parsifal. Nie sah’ ich, nie tritumte mir, was
jetzt

ich schau’, und was mit Bangen mich
erftillt.—

Entblihtest du auch diesem Blumenhaine?

Kundry. Nein, Parsifal, du thér’ger Reiner!

Fern—fern—ist meine Heimath:—
dass du mich fiandest, weilte ich nur hier.
Von weit her kam ich, wo ich viel ersah’.

Ich sah’ das Kind an seiner Mutter Brust,

sein erstes Lallen lacht mir noch im Ohr;

das Leid im Herzen,

wie lachte da auch Herzeleide,
als ihren Schmerzen

zujauchzte ihrer Augen Weide!

Gebettet sanft auf weichen Moosen,

den hold geschlafert sie mit Kosen,
dem, bang’in Sorgen,

Parsital. Calledst thou me, who am nameless?
Kundry. / named thee, foolish pure one,
“Fal parst,’ —
Thou, guileless Fool, art“ Parsifal.”

So cried, when in Arabia’s land he expired,

Thy father Gamuret unto his son,

Who then the daylight had not greeted:
‘Twas by this name he, dying, called thee.
Here have I tarried this but to disclose:
What drew thee here, if not desire to know?

Parsifal. J saw ne'er, I pictured ne'er whal
here
I see, and which impresses me with awe.-

And bloomest thou too in this flower-garden?

Kundry. Nay, Parsifal, thou foolish pure one!
Far—far from hence my home is:—

For thee to find me, I but tarried here.

I come from far lands, where P’'ve noted pruch.

I saw the child upon its mother’s breast;

Its infant lisping laughs yel in my ear:
Though filled with sadness, a
How laughed even then Heart's Affliction,

When, shouting gladness,
It gave her sorrows contradiction!
In beds of moss ’twas softly nested,
She kissed it till in sleep it rested:
With care and sorrow

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den Schlal bewacht der Mutter Sehnen,
ihn weckt’ am Morgen
der heisse Thau der Mutter-Uhrinen.
Nur Weinen war sie, Schmerz-Gebahren
um deines Vaters Lieb’-und Tod:
vor gleicher Noth dich zu bewahren,
galt ihr als héchster Pflicht Gebot:
den Waffen fern, der Manner Kampf und
Withen,
wollte sie still dich bergen und behtiten.
Nur Sorgen war sie, ach! und Bangen:
nie sollte Kunde zu dir hergelangen.
Hor’st du nicht noch ihrer Ki: igen Rul,
wann fern und spat du geweilt?
Hei! Was ihr das Lust und Lachen schuf,
wann suchend sie dann dich ereilt!
Wann dann ihr Arm dich wtithend
umschlang,
ward dir es wohl gar beim Ktissen bane?
Ihr Wehe doch du nicht vernahm’st,
nicht ihrer Schmarzen ‘Toben,
als endlich du nicht wieder kam/’st,
und deine Spur verstoben:
sie harrte Nacht’ und Tage,
bis ihr verstumimt die Klage,
der Gram ihr zehrte den Schmerz,
um. stillen ‘Tod sie warb:
ihr brach das Leid das Herz,
und—Herzeleide—starb.-
Parsifal

The timid mother watched it sleeping;
It waked the morrow
Beneath the dew of mother’s weeping.
All tears was she, encased in anguish,
Caused by thy father’s death and love:
That through like hap thou shouldst not
languish,
Became her care all else above.
[far from arms, from mortal strife and riot,
Sought she to hide away with thee in quiet.
All care was she, alas! and fearing:
Never should aught of knowledge reach thy
hearing:
Hearst thou nol still her lamenting voice,
When far and late thou didst roam?
Ah! how she did laughingly rejoice
To welcome thee hastening home!
When her wild arm around thee was laid,
Wert thou of kisses so much afraid?—
But thou didst not behold her pain,
Her features anguish ridden,
When thou returnedst not again,
And ev’ry trace was hidden.
For days and nights she waited,
And then her cries abated;
Her pain was dulled of its smart,
And gently ebbed life’s tide;
The anguish broke her heart,
And—Heart’ s Affliction—died.

Parsital

(always earnestly, finally terribly affected, sinks down at Kundry’s feet, painfully overpowered ) .

Wehe! Wehe! Was that ich? Wo war ich?

Mutter! Stisse, holde Mutter!

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Woe’s me! Woe’s me! What did 1? Where

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Mother! Sweetest, dearest mother!

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Dein Sohn, dein Sohn musste dich morden? Thy son, thy son must be thy murderer?

O Thor! Bloder, taumelnder Thor! Oh Fool! Thoughtless, shallow-brained Fool!
Wo irrtest du hin, ihrer vergessend? Where couldst thou have roved, thus to forgel
her?
Deiner, deiner vergessend, Thus, oh, thus to forget thee,
traute, theuerste Mutter? Faithful, fondest of mothers!
Kundry Kundry

(still reclining, bends over Parsifal’s head, gently touches his forehead, and wreathes her arms
confidingly about his neck).

War dir fremd noch der Schmerz, Hadst thou never been distrest,
des ‘Trostes Stisse Then consolation :
labte nie auch dein Herz: Could not have cheered thy breast.
das Wehe, das dich reu'’t, Let now thy bitter woe
die Noth nun busse, Find mitigation
im Trost, den Liebe dir beut! In joys that Love can show!
Parsifal Parsifal
Die Mutter, die Mutter konnt’ ich vergessen! My mother, my mother! Could I forget her?
Ha! Was Alles vergass ich wohl noch? Ah! must all be forgotten by me?
Wess’ war ich je noch eingedenk? What have I eer remembered yet?
Nur dumpfe Vhorheit lebt in mir! But senseless Folly dwells in me!
Kundry. Bekenntniss Kundry. Pranseression
wird Schuld und Reue enden. When owned is quickly ended!
Erkenntniss Confession
in Sinn die Thorheit wenden: Hath Folly often mended.
die Liebe lerne kennen, Of Love, oh, learn the fashion
die Gamuret umschloss, Which Gamuret once knew,
als Herzeleid’s Entbrennen When Heart’s Affliction’s passion
ihn sengend uberfloss: Had fired his bosom through.
die Leib und Leben The life thy mother
einst dir gegeben, Gave thee can smother
der Tod und Thorheit weichen muss, ven death, and dullness too remove.
sie beut’ To thee
dir heut’— Now she
als Muttersegens letzten Gruss Sends benediction from above
der Liebe—ersten Kuss. In this first—kiss of Love.
CShe has bowed her head quite over his, and now presses her lips on his in a long kiss.)
Parsifal Parsifal
Cstarts up suddenly with a gesture of intense terror ; his looks alter fearfully, he presses his hands tightly
against his heart, as if to repress an agonizing pain; finally he bursts out). i
Amfortas!— Amfortas!
Die Wunde!—Die Wunde!— The spearwound!—The spearwoundl
Sie brennt in meinem Herzen. InomeT feel it burning. :
Oh, Klage! Klage! Oh, horror! horror!
Furchtbare Klage! Direfullest horror!
Aus tiefstem Inner’n schreit sie mir aut. It shrieks from out the depth of my soul,
Oh!—Oh!— Oh!—Oh!—
Elender!— Misery!—
Jammervollster!— Lamentation!
Die Wunde sah’ ich bluten:— I saw thy wound a-bleeding:—
nun blutet sie mir selbst— It bleeds now in mysel|
hier—hier! here—here! —
Nein, nein! Nicht ist es die Wunde: No, no! This is not the spearwound:
fliesse ihr Blut in Str6men dahin! Let it gush blood in streams tf it list.
Hier! Hier im Herzen der Brand! Here!—here! My heart is ablaze!
Das Sehnen, das furchtbare Sehnen, The passion, the terrible passion,
das alle Sinne mir fasst und zwinet! That all my senses doth seize and sway!
Oh!—Qual der Liebe!— Oh!—Love’s delirium!—

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Wie Alles schauert, debt und zuckt
in sundigem Verlagen! ...
Ks starrt der Blick dumpf aul das Heilsgefiiss:
das heilige Blut ergl6h’t;
Krlosungswonne, gottlich mild’,
durchzittert weithin alle Seelen:
nur hier, im Herzen, will die Qual nicht
weichen
Des Heiland’s Klage da vernehm’ ich,
die Klage, ach! die Klage
um das verrath’ne Heiligthum:—
“erldse, rette mich
aus schuldbefleckten Hiinden!”’
So—riel die Gottesklage
furchtbar laut mir in die Seele.
Und ich? Der Thor, der Feige?
7u wilden Knabenthaten flor’ ich hin!
Erloser! Heiland! Herr der Huld!
Wie biiss’ ich Stinder solche Schuld?
Kundry
Gelobter Held! Entflieh’ dem Wahn!
Blick’ auf! Ser hold der Huldin Nah’‘n!
Parsifal
Ja! Diese Stimme! So rief sie ihm;—

und diesen Blick, deutlich erkenn’ ich ihn.
auch diesen, der ihm so friedlos lachte.

Die Lippe,—ja—so zuckte sie ihm;—

so neigte sich der Nacken.—
so hob sich ktihn das Haupt;—
so flatterten lachend die Locken-

so schliing um den Hals sich der Arm-
so schmeichelte weich die Wange—!
Mit aller Schmerzen Qual im Bund,
das Heil der Seele
entktsste ihm ihr Mund!-
Ha!—dieser Kuss!
Verderberin! Weiche von mir!
Ewig—ewle—von mir!
Kundry
Grausamer!—Ha!—
Fuhtst du im Herzen,
nur Anderer Schmerzen,
so fuhle jetzt auch die meinen!
sist du Erléser,
was bannt dich, Boser,
nicht mir auch zum Heil dich zu einen?
Seit Ewigkeiten—harre ich deiner,
des Heiland’s, ach! so spat,
den einst ich ktihhn verschmiaht.—
Oh!—
Kenntest du den Fluch,
der mich durch Schlaf und Wachen

How all things tremble, heave and quake
With longings that are sinful! ...
My frozen glance stares on the sacred Cup:—
The Holy One’s blood doth glow;—
Redemption’s rapture, sweet and mild,
Is trembling far through ev'ry spirit;
But in this heart will the pangs not lessen.

The Saviour’s wailing I distinguished,
Phe wailing—ah! the wailing

lor His polluted sanctuary:—
“Recover, save me from
The hands that guilt has sullied!”
Thus—rang the lamentation

Through my soul with fearful loudness:
And I—oh, Fool!—oh, coward!—

To wild and childish exploits hither fled.
Redeemer! Saviour! Gracious Lord!
What can retrieve my crime abhorred?

Kundry }

My noble knight! fling off this spell!
Look up! nor Love’s delights repel!
Parsifal
Aye! Thus it called him! This voice it
Was ;—
And this the glance; surely T know it well —
The eyeglance which smiled away his
quiet — .
These lips too,—aye—they tempted him
thus ;—
So bowed this neck above him —
So high was raised this head;—
So fluttered these locks as though
laughing ,—
So circled this arm round his neckh—
So softened each feature in fondness,—!
In league with Sorrow’s dismal weight,
This mouth took from him
His soul’s salvation straight!—
Ha!—with this kiss!—
Pernicious one! Get thee from me!
Leave me—leave me—for aye!
Kundry :
Cruel one!—Ha!—
Felt eer thy nature
For one fellow creature.
Then feel now my desolation!
Werl thou the Saver,
Thou wouldst not waver,
Bul with me unite for salvation?
Through endless ages for thee 've waited,
The Saviour—ah, so late!
At whom TI scoffed in hate —
Oh!—
Couldst thou know the curse,
Which through me, waking, sleeping,

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durch ‘Pod und Leben,

Pein und Lachen,
zu neuem Leiden neu gestihlt,
endlos durch das Dasein qualt!
Ich sah—Ihn—lIhn
und—lachte
da traf mich sein Blick-
Nun such’ich ihn von Welt zu Welt,
ihm wieder zu begegnen:
in h6chster Noth—
wahn’ ich sein Auge schon nah’,
den Blick schon auf mir ruh’n:—
da kehrt mir das verfluchte Lachen wieder,
ein Stinder sinkt mir in die Arme!
Da lach’ ich—lache—
kann nicht weinen:
nur schreien, wiithen,
toben, rasen
in stets erneu’ten Wahnsinn’s Nacht,
aus der ich bitissend kaum erwacht.-
Den ich ersehnt in ‘Vodesschmachten,
den ich erkannt, den blod’ Verlachten,
lass’ mich an seinem Busen weinen,
nur eine Stunde dir vereinen,
und, ob mich Gott und Welt verstéss’t!
in dir entsiindig’t sein und erlés’t!
Parsifal
In Ewigkeit
warst du verdammt mit mir
fiir eine Stunde
Vergessen’s meiner Sendung,
in deines Arm’s Umfangen!—
Auch dir bin ich zum Heil gesandt,
bleib’st du dem Sehnen abgewandt.
Die Labung, die dein Leiden endet,
beut nicht der Quell, aus dem es fliesst:
das Heil wird nimmer dir gespendet,
wenn jener Quell sich dir nicht schliesst.
Fin andrer ist’s,—ein andrer, ach!
nach dem ich jammernd schmachten sah,
die Briider dort in grausen N6then
den Leib sich qualen und ertédten.
Doch wer erkennt ihn klar und hell,
des einz’gen Heiles wahren Quell?
Oh, Elend! Aller Rettung Flucht!
Oh, Weltenwahns Umnachten:
in héchsten Heiles heisser Sucht

nach der Verdammniss Quell zu schmachten!

Kundry.
So war es mein Kuss,

der Welt-hellsichtig dich machte?
Mein volles Liebes-Umfangen
lasst dich dann Gottheit erlangen!

Die Welt erlése, ist diess dein Amt:-
schuf dich zum Gott die Stunde,

fiir sie lasse mich ewig verdammt,
nie heile mir die Wunde.

Parsifal. Erl6ésung, Frevlerin, biet’ ich auch

dir.

Kundry. Lass’ mich dich Gottlichen lieben,

Erlésung gabst du dann mir.

Parsifal. Lieb’ und Erlo6sung soll dir
lohnen,—
zeigest ZU

zu Amfortas mir den Wee.
Kundry

Nie—sollst du ihn finden!

Den Verfall nen, lass’ ihn verderben,

644

Salvation can’st thou never borrow,

Through death and lifetime,
Joy or weeping,
While ever steeled to bear fresh woes,
Endless through my being flows!
I saw Him- —Him-
And—mocked Him!
I caught then His glance,—
! seek Him now from world to world,
Once more to stand before Him:
In deepest woe-
Sometimes His eye doth seem near,
His glance resting on me,
Returns then th’ accursed laughter on me,
A-sinner sinks in my embraces!
Then laughter—laughte)
Weep I cannot;
But only shriek
And rage and wallow
In night and madness never slaked,
Krom which, repentant, scarce I'd waked-
Thou for whom, shamed to death, ve bided,
Thou whom TI knew and, fool, derided,
Let me upon thy breast lie sobbing,
But for one hour together throbbing;
Lhough forced from God and man to flee,
Be yet redeemed and pardoned by thee!
Parsifal. Eternally

Should I be damned with thee,
If for one hour
I forgot my holy mission,
Within thy arms embracing!
To thy help also am I sent,
If of thy cravings thou repent.
The solace, which shall end thy sorrow,
Yields not that spring from which it flows:

Till that same spring in thee shall close.
Kar other ‘tis—far other, aye!

For which I saw, with pitying eyes,

That brotherhood distrest and pining,
Their lives tormented and declining,
But who with certain clearness knows

The source whence true salvation flows?
Oh, mis’ry! What a course is this!

Oh, wild hallucination!
In such a search for sacred bliss
Thus to desire the soul’s damnation!
Kundry. dnd was il my kiss

This great knowledge conveyed thee?
If in my arms I might take thee,
'T would then a god surely make thee!
Redeem the world then, if *tis thy aim:
Stand as a god revealed;
kor this hour let me perish in flame,
Leave aye the wound unhealéd.
Parsifal. Redemption, sinner, I offer e’en
thee—
Kundry. Lel me, divine one, but love thee;
Redemption then should I see.
Parsifal. Love and Redemption thou shalt
lack not—
If the way
To Amfortas thou wilt show.
Kundry
Thou—never shalt find it!
Let the doomed one perish forever.—

SAN FRANCISCO

mame

den Un-seligen, The shame seeker,

Schmach-llsternen, Joy destitute,
den ich verlachte—lachte—lachte! Whom TI have laughed at—laughted al—
Haha! Ihn traf ja der eig’ne Speer? laughed at!
Parsifal. Wer durft’ ihn verwunden mit Ha, ha! He fell by his own good spear?
heil’ger Wehr? Parsifal. Who dared raise against him the
Kundry. Er—Er—, holy gear?
der einst mein Lachen bestratt: Kundry. Hea eo
sein Fluch—ha!—mir giebt er Kraft; Who puts my laughter to flight:
gegen dich selbst ru? ch die Wehr, His curse—ha!—doth te nd me might:
vieb'st du dem Stinder des Mitleid’s Ehr’!- For thyself the Spear doth awail
Ha! Wahnsinn!— If thou dost pity the Seung ’s falel!-
Mitleid! Mitleid mit mir! Ha! madness!
Pity! pity me, pray!
Nur eine Stunde mein, One single hour with me—
nur eine Stunde dein: One single hour with eee
und des Weges — Then, the wished-for
sollst du geceitet sein! Path thou shalt straightway see!
Parsifal. Vergeh’, unseliges Weib! Parsifal. Begone, dele stable wretch!
Kundry
Kundry Hither! Hither! Oh, help!
Hilfe! Hilfe! Herbei! Seize on the caitiff; Oh, help!
Haltet den Frechen! Herbet! Ward all the ways there!
Wehr’t ihm die Weve! Ward ev’ry passage! —
Wehr’t ihm die Pfade!— For, fled’st thou from hence, and foundest
Und floh’st du von hier, und fiindest All the ways of the world,
alle Wege der Welt, The one that thou seek’st
den Weg, den du such’st, That pathway ne'er shalt thow pass
dess’ Pfade sollst du nicht finden! through!
Denn Pfad und Wege, All paths and courses,
die mir dich entfthren, Which from me would part thee,
so—verwunsch’ ich sie dir: Here—I curse them to thee:
Irre! Irre,— Wander—wander —
mir so vertraut— Thou whom I trust—
dich weih’ ich ihm zum Geleit’! Thee will I give as his guide!

(Alingsor appears upon the castle wall. He flings the Sacred Lance al
Parsifal, but it remains floating over his head. Parsifal grasps the Lance and
brandishes it with a gesture of exalted rapture, making the sign of the cross

with it.)
Parsifal. Mit diesem Zeichen bann’ ich Parsifal. This sign I make, and ban thy
deinen Zauber: cursed magic: ;

wie die Wunde er schliesse, As the wound shall be closed,

die mit ihm du schlugest,— Which thou with this once clovest,—

in ‘Trauer und ‘Trimmer To wrack and to ruin

stiirze die triigende Pracht! Falls thy unreal display!

As with an earthquake the castle falls to ruins; the garden withers up to a desert: the damsels lie like
shriveled flowers strewn around on the ground — Kundry has sunk down with a cry. To her turns once more
from the summit of the ruined wall the departing
Parsifal. Du Weisst— Parsifal. Thou know’st—

wo einzig du mich wiedersieh’st! Where only we shall meet again!

(He disappears. The curtain closes quickly. )

Act III.

(The third act takes place in the domain of the Grail before a hermitage on
the edge of a wood. It is a beautiful spring day. We hear the introduction
but cut the first scene. In this passage Gurnemanz discovers Kundry asleep as vf
ee ad in the thicket. He revives her and she goes off to bring water. Now a knight

1 black armor appears. It is Parsifal. Parsital removes iG helmet and shield
as kneels in prayer before the Sacred Lance, w hich he has brought with him
from Klingsor’s garden. Parsifal tells Gurnemanz of his wanderings. Gurnemanz
tells Parsifal that Titurel has died and that on this day, for the firs! time in many
long months, Amfortas will reveal the Grail as a ceremony of sanctification for
ihe “ke parted knight; and Amfortas hopes that in that ceremony he may also
expire. Gurnemanz recognizes that Parsifal will be the salvation of the Knights
of the Grail.)

SYMPHONY ORCHESTRA 645

:
i
Is
i

rae e Med = Pt Sg

Gurnemanz

(taking water from the spring in the hollow of his hand, and sprinkling Parsifal’s head).

Gesegenet sei, du Reiner, durch das Reine!
So weiche jeder Schuld
Bekiimmerniss von dir!

(Meanwhile Kundry has taken a golden flask

Gurnemanz

Now blessed be, thou pure one, through pure
water!
So may all care and sin
Be driven far from thee.

from her bosom and poured some of the contents upon

Barsif al’s feet, which she now dries on her hair, quickly unbound for the purpose. )

Gurnemanz

(empties the flask completely over Parsifal’s head, rubs it gently, and folds his hands over it).

So ward es uns verhiessen,
so segne ich dein Haupt,
als Konig dich zu griissen.
Du—Reiner.—
mitleidvoll Duldender,
heilthatvoll Wissender!
Wie des Erlés'ten Leiden du gelitten,

die letzte Last entnimm nun seinem Haupt.
Parsifal
Mein erstes Amt verricht’ ich so:—
die ‘Taufe nimm,
und glaub’ an den Erl6éser!

(scoops up some water from the spring, unperceived, bends down to the kneeling Kundry and sprinkles her head).

Aye, thus it was foretold me,

My blessings on thy head:—

Our king deed behold we.

JE, hou——pure one—

Allpitying sufferer,

Allknowing rescuer!
Thou who the sinner’s sorrows thus hast

suffered,
Assist his soul to cast one burden more.
Parsifal

I first fulfill my duty thus:—
Be thou baptize d,
And trust in the Redeemer!

CKundry bows her head to the earth and appears to weep bitterly. )

Parsifal

(turns round and gazes with gentle rapture on the woods and meadows).

Wie dtinkt mich doch die Aue heut’ so
schon!—
Wohl traf ich Wunderblumen an,

die bis zum Haupte stichtig mich umrankten;

doch sah’ ich nie so mild und zart

How fair the fields and meadows seem
today!—
Many a magic flow’r I’ve seen,
Which sought to clasp me in its baneful
tw ININGS;
But none I’ve seen so sweet as here,

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646

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SAN FRANCISCO

$$$

die Halmen, Bliithen und Blumen,
noch duftete All’ so kindisch hold
und sprach so lieblich traut zu mir?
Gurnemanz
Das ist Char-Freitags-Zauber, Herr!
Parsifal. O wel’, des héchsten Schmerzentag’s
Da sollte, wiihn ich, was da bluh't,
was athmet, lebt und wieder lebt,
nur trauern, ach! und weinen?
Gurnemanz. Du sieh’st, das ist nicht so.
Des Siinders Reuethranen sind es,
die heut’ mit heil’gem ‘Thau
hetriufet Flur und Au:
der liess sie so gedeihen.
Nun freu’t sich alle Kreatur
auf des Erl6sers holder Spur
will ihr Gebet ihm weihen.
thn selbst am Kreuze kann sie nicht
erschauen:
da blickt sie zum erl6s’ten Menschen aul;
der fiihlt sich frei von Stinden-Angst und
Grauen,
durch Gottes Liebesopfer rein und hel:
das merkt nun Halm und Blume auf den
Auen,
das heut’ des Menschen Fuss sie nicht zertritt,
doch wohl, wie Gott mit himmlischer Geduld
sich sein’ erbarmt und ftir ihn litt,
der Mensch auch heut’ in frommer Huld
sie schont mit sanftem Schritt.
Das dankt dann alle Kreatur,
was all’ da bliiht und bald erstirbt,
da die entstndigte Natur
heut’ ihren Unschulds- Vag erwirbt.

These tendrils bursting with blossom,
Whose scent recalls my childhood’s days
And speaks of loving trust to me.
Gurnemanz. That is Good-Friday’s spell, my
lord!
Parsifal. las, that day of agony!
Now surely everything that thrives,
That breathes and lives and lives again,
Should only mourn and sorrow?
Gurnemanz. That see’st, that is not so.
The sad repentant tears of sinners
Have here with holy rain
Besprinkled field and plain,
And made them glow with beauty.
All earthly creatures in delight
At the Redeemer’s trace so bright
Uplift their pray’rs of duty.
To see Him on the Cross they have no power:
And so they smile upon redeemed man,
Who, feeling freed, with dread no more doth
COW),
Through God’s love-sacrifice made clean and.
pure:
And now perceives each blade and meadow-
flower
That mortal foot today it need not dread;
For, as the Lord in pity man did spare,
And in His mercy for him bled,
All men will keep, with pious care,
Today a tender tread.
Then thanks the whole creation makes,
With all that flow’rs and fast goes hence,
That trespass- pardoned Nature wakes
Now to her day of Innocence.

(Kundry has slowly raised her head again, and gazes with moist eyes, earnestly and calmly beseeching,
up at Parsifal.)

Parsifal. Ich sah’ sie welken, die mir lachten:

ob heut’ sie nach Erl6sung schmachten?
Auch deine Thriine wird zum Segensthaue:
du weinest—sieh! es lacht die Aue.

Parsifal. I saw my scornful mockers wither:
Now look they for forgiveness hither?—
Like blessed sweet dew a tear from thee too
floweth:
Thou weepest—see! the landscape groweth.

ws (He kisses her softly on the brow. )
(Distant bells are heard pealing, very gradually swelling. )

Gurnemanz. Mittag.—
Die Stund’ ist da:—

Gurnemanz. Mid-day.—
The hour has come:—

Gurnemanz has brought out a coat-of-mail and mantle of the knights: of the Grail, which he and Kundry

put on Parsifal. The landscape changes very gradually,

as in the first act, but from R. to L. Parsifal solemnly

grasps the Spear and, with Kundry, follows the conducting Gurnemanz. — When the wood has disappeared,
and rocky entrances have presented themselves in which the three become invisible, processions of knights
in mourning garb are perceived in the arched passages ; the pealing of bells ever increasing. ~~ At last the

whole immense Hall becomes visible just as in the first act, only without the tables. Faint light. The doors open
again. From one side the knights bear in Titurel’s corpse in a coffin. From the other Amfortas 1s carried on 1n
his litter, preceded by the covered shrine of the Grail. The bier is erected in the middle; behind it the

throne with canopy where Amfortas is set down.
(Gesang der Ritter waihrend des Einzuges.)
Krster Zug

(Song of the knights during the procession.)
First ‘Prain

(with the Grail and Amfortas) .

Geleiten wir im bergenden Schrein
den Gral zum heiligen Amte,
wen berget ihr im diist'ren Schrein
und fiihrt ihn trauernd daher?
Zweiter Zug

To sacred place in sheltering shrine
The Holy Grail do we carry;
What hide ye there in gloomy shrine,
Which hither mourning ye bear?
Second ‘Train |

(with Titurel’s coffin).

Es biret den Helden der ‘Prauerschrein,
er birgt die heilige Kralt;
der Gott selbst einst zur Pflege sich gab:
Titurel fiihren wir her.

Erster Zug. Wer hat ihn gefallt, der in Gottes

Hut
Gott selbst einst beschirmte?

SYMPHONY ORCHESTRA

A hero lies in this dismal shrine
With all this heavenly strength,
To whom all things once God did entrust:
Titurel hither we bear.
First Train. By whom was he slain, who by
God himself .
Once was ever sheltered?

647

SP ma me) ee

Zweiter Zug. Thn fallte des Alters t6dtende
Last,
da den Gral er nicht mehr erschaute.
Lrster Zug. Wer wehrt’ ihm des Grales Huld
zu erschauen?
Zweiter Zug. Den dort ihr geleitet, der
sundige Hiiter.
Lrster Zug. Wir geleiten ihn heut’, denn
heut’ noch einmal
—zum letzten Male!—
will des Amtes er walten.
Zweiter Zug. Wehe! Wehe! Du Hiiter des
Heil’s!
Zum letzten Male
sei deines Amts gemahnt!

Second Train. He sank beneath the mortal
burden of years,
When the Grail no more he might look on.
First Train. Who veiled then the Grail’s
delights from his vision?
Second Train. He whom ye are bearing: its
criminal guardian.
First Train. We conduct him today, for here
once again, 7
—And once more only—
He fulfilleth his office.
second ‘Train. Sorrow! Sorrow! Thou guard
of the Grail!
Be once more only
Warned of thy duly lo all,

(The coffin is set down on the bier, Amfortas placed on the couch. )

(Tilurel’s coffin is opened, and Amfortas calls upon his spirit to gtve him
release from his sufferings. The assembled knights demand that Amfortas per-
form the office of the Grail. Again he refuses. He tears open his dress and reveals

that his wound is bleeding afresh. Now Parsifal, who has entered un perceived

with Kundry and Gurnemanz during the foregoing, steps forward and touches
Amfortas wound with the tip of the Sacred Lance. Parsifal absolves Amfortas
and announces that henceforth he, Parsifal, will rule in Montsalvat.)

Parsifal
Den heil’gen Speer —

ich bring’ ihn euch zurtick. —
Oh! Welchen Wunders héchstes Gltick!
Die deine Wunde durfte schliessen,
ihm seh’ ich heil’ges Blut entfliessen
in Sehnsucht dem verwandten Quelle,
der fort fliesst in des Grales Welle!
Nicht soll der mehr verchlossen sein:
enthullt den Gral! Oeffnet den Schrein!
Alle

Parsifal
The holy Spear —

Once more behold in this. -
Oh, mighty miracle of bliss! -
This that through me thy wound restoreth.
With holy blood behold it poureth.
Which yearns to join the fountain glowing,
Whose pure tide in the Grail is flowing!
Hid be no more that shape divine:
Uncover the Grail! Open the shrine!
All

The boys open the shrine; Parsifal takes from it the Grail and kneels absorbed in its contemplation,
silently praying. The Grail glows with light; a halo of glory pours down over all, — Titurel, for the moment

reanimated, raises himself in henediction in his coffin.

From the dome descends a white dove and hovers

over Parsifal’s head. He waves the Grail gently to and fro before the upgazing knights. Kundry, looking up
at Parsifal, sinks slowly to the ground, dead. Amfortas and Gurnemanz do homage on their knees to Parsifal.

Hochsten Heiles Wunder:
Erlodsung dem Erloser!

Wondrous work of mercy:
Salvation to the Saviour!

| :
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648

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Re ae

iS ymphony Nates

. An Easter program of particular beauty is planned for NBC’s
“Standard Hour” Sunday (KPO, 8:30 p.m.), when Pierre Monteux
will conduct the San Francisco Symphony Orchestra and Michael
Strange, poet, author and actress, will give the narration of the Last
Supper according to the ele of St. John, with orchestral background
music from the Prelude to “Parsifal.” ‘“Passacaglia” in G Minor by
Handel, arranged for strings by orchestra ‘member Alfred Akon:
Prelude to “Lohengrin,” “Symphonic Piece” from “The Redemption”
by Cesar Franck, and the “Academic Festival Overture” by Brahms,
complete the program.

The second act of Gluck’s “Orpheus & Eurydice” and the final
chorus of Bach’s “Passion According to St. Matthew” will be presented
by Arturo ‘Toscanini and the NBC “Symphony Orchestra on the Easter
Sunday broadcast of the “General Motors Symphony of the Air,”
which will be broadcast over KPO at 2:00 p.m. ‘This program, featuring
Nan Merriman, mezzo-soprano, and a special chorus under Peter Wil-
housky, concludes the 1944-5 winter series.

Lily Pons will make her first appearance in this country fol-

lowing a four months’ tour of service camps overseas, when she sings on

“The Telephone Hour’s” great artists series Monday, at 9:00 p.m. over

KPO. With her husband, Andre Kostelanetz, the coloratura soprano

traveled in China, Burma, Assam, India, Belgium and France in her

second overseas trip to entertain service men. She cancelled all engage-
ments for the winter to make this trip possible.

An Easter program featuring Blanche ‘Thebom, Metropolitan
Opera mezzo-soprano, and ‘Thomas L. ‘Thomas, baritone, as guest stars
will be presented on “Music America Loves Best”? over KPO Sunday
at 1:30 p.m. Thomas and the Victor Chorale open with “The Palms,”
Miss ‘Thebom follows with “Allelujah” and joins the chorale in the
Easter hymn from “‘Cavalleria Rusticana.” ‘The chorale will be heard
in three Easter hymns, “Christ the Lord [s Risen ‘Voday,” “Oh Sacred
Heart Now Wounded” and “Love Is Come Again.”

. Opening with the lovely “Naila Waltz” by Delibes, Paul Lavalle
and the ‘ ‘Stradivari Orchestra” will present a program dedicated to
Easter and the spring season Sunday at 9:30 a.m. over KPO. William
Lincer will play an especially arranged solo, “Kamennoi-Ostrow’’ by
Rubinstein and the orchestra will play the “Ave Maria”’ from “Caval-
leria Rusticana,” ““Levitsky’s “Waltz,” a Brahms waltz, Friml’s “Gian-
nina Mia” from “The Firefly” and “Country Gardens” by Grainger.

SYMPHONY ORCHESTRA

649 -

It Stands Alone

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Magazines which reach the most sophisticated audience in the United States
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WE didn’t say it first! THEY DID!

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—Harper’s Bazaar, February, 1941.

‘PROBABLY THE MOST CHAM-
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“THE OUTSTANDING AMERICAN
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KORBEL sev oan’
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651

PERSONNEL

SAN: FRANCISCO SYMPHONY ORCHESTRA

PIERRE MONTEUM®X, Conbuctor

VIOLINS:

BLINDER, NAOUM
CONCERTMASTER

HEYES, PETER
ASSISTANT CONCERTMASTER

WOLSK!I, WILLIAM
ASSISTANT CONCERTMASTER

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ASSISTANT CONCERTMASTER

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HAUG, JULIUS
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GOUGH, WALTER
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BAUER, BEN

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PATERSON, JOHN A.
CHILINSK!I, BRUNO
KOBLICK, NATHAN
D!I BIANCA, VINCENT
WRIGHT, HAROLD

VIOLAS:

MOLNAR, FERENC
PRINCIPAL

VERNEY, ROMAIN
WHITE, ALBERT
WEILER, ERICH
AKON, ALFRED
KARASIK, MANFRED
PETTY, SUZANNE
VAN DEN BURG, JAC
MANN, MICHAEL

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REINBERG, HERMAN
ARKATOV, JAMES
BEM, STANISLAS
ANDERS, DETLEV
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PETTY, WINSTON
CONNOLLY, CATHERINE
PASMORE, DOROTHY
HRANEK, CARL
SAPHIR, RUTH

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KARP, PHILIP
PRINCIPAL
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BELL, WALTER
GUTERSON, AARON
SCHIPILLIT!, JOHN
BUENGER, AUGUST
STORCH, ARTHUR E.
ORSINI. JOSEPH

FLUTES:
RENZI, PAUL JR.
SHANIS, RALPH F.

BENKMAN, HERBERT

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OBOES:

REMINGTON, MERRILL
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ScCHIvoO, LESLIE J.

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FRAGALE, FRANK

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KRESS, VICTOR
MURRAY, EARL

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KLOCK, JOHN

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THE SAN FRANCISCO SYMPHONY ORCHESTRA
Records Exclusively for Victor Red Seal

SYMPHONY ORCHESTRA 661

“There's an immortality in the expression of the
finer human moods... These moods sincerely | |
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UE TE

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(LAST CONCERTS OF THE SEASON)
FRIDAY, APRIL 13, AT 2:15
SATURDAY, APRIL 14, aT 8:30

ARTUR RUBINSTEIN, Guest Artist

Suite No. 6 Bach-Wood

Prelude to The Afternoon of a Faun Debussy

Concertonor Liaho,anc Orchestras iNorore ose eee Beethoven

Suite from Protée Milhaud
(First Performance in San Francisco)

Symphony, D Minor Franck

_ TWELFTH PAIR OF SYMPHONY CONCERTS
:
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GUEST ARM Siliesliitor VViEEI<

Lorre LEHMANN was born in Germany and received her training in Berlin.
‘The list of European opera houses in which she has sung leading roles is prac-
tically encyclopedic, and one cannot begin even to list a fraction of them. She
was first heard in the United States with the Chicago Civic Opera in 1930, and
she joined the Metropolitan three years later. She has also sung many times
with the San Francisco Opera Company. As an operatic interpreter, she has
paid particular attention to Wagner and Richard Strauss. In addition to her
work as an opera and concert singer, Mme. Lehmann has published poetry,
novels and an autobiography. ‘This will be her third appearance with the
San Francisco Symphony Orchestra. She was soloist on the Art Commission

series In 1938 and 1940.

Coo ~

GUEST ART Silt sINEZGR Wy EEX

ARTUR RUBINSTEIN was born in Lodz, Poland, in 1886. He made his first
public appearance as a concert artist at the age of four. The major part of his
instruction was gained in Berlin, where Rubinstein became a protégé of Joseph
Joachim, and where he studied the piano with Heinrich Barth. His formal
debut was made in Berlin at the age of 11, when he played a Mozart concerto
under Joachim’s baton. Later Rubinstein studied for a time with Paderewski.
He has been before the American public since 1906, and has appeared in concert
throughout the entire world.

This will be Mr. Rubinstein’s sixth appearance with the San Francisco
Symphony Orchestra. He was last heard playing the Khatchaturian concerto on

the Art Commission series last year.

SYMPHONY ORCHESTRA

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Thirty-third Season
1944 - 45

SAN FRANCISCO SYMPHONY ORCHESTRA.

PIERRE MONTEUX, Conductor
-4e}-

i ELEVENTH PAIR OF SYMPHONY CONCERTS
iq FRIDAY, APRIL 6, AT 2:15

‘ SATURDAY, APRIL 7, AT 8:30

| LOTTE LEHMANN, Guest Artist

f ‘Program

SYMPHONY NO. 38, IN D MAJOR (PRAGUE) . Mozart
Adagio — Allegro
Andante
Presto

CHOAMBER: SYMPHONY ONO Zee acces oe Schoenberg

Molto Adagio
Con Fuoco
(First PERFORMANCE IN SAN FRANCISCO)

FOURE SON Gti ree cites eine eee ete cca ptt Schubert
Die Junge Nonne
Standchen -
Der Jiingling an der Quelle
Der Erlkonig

MME. LEHMANN
INTERMISSION
FIVE SONGS:

Dinvartatr@ne aU VOYAGES fe use pista ele i teeter tee ence Ne terceeen 4 enc jen Duparc
Cre VETO VATCIIL CLES TAM ES + Uns cess shu-.ctttin aden ow oad ee sineeebeee Hahn
WN Rov exe aR ne rece, Babar aera Mecenera ts cs erary er te on acerea Strauss
PENTA W OQ EXO) ORG Goh PRR tact PR rey ile ay bara wer Cot acter 0. od econ rec Wolf
1h eo (We rer RA MS oR Dar Men ce neu Use See Se EMA aRCnG ter Wolf
U7 SU aS) Sas GR a petra are rep Teeny Re ence Wnt pees Ske ae Debussy

From Dawn "Til Noon on the Ocean
Play of the Waves
Dialogue of the Wind and the Sea

PARARARARARRAAR PP PPP PP PPP PPP PELE ILL ED PDD PPD PIP DD PD PP PPP PPD PD DDI NII NI NIE NINE NANI NA NANA NES

SYMPHONY ORCHESTRA 665

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PROGRAM NOTES

By ALFRED FRANKENSTEIN

SYMPHONY NO= 307 Ds Via ORS Gis Gea W. A. Mozart
(1756-1791)

Mozart's associations with the city of Prague provide a bright spot in
his generally tragic career. In the summer of 1786 his opera, The Marriage
of Figaro, was produced in the Czech capital with enormous success. The
comedy was given daily for months on end, its melodies were transformed
into waltzes and quadrilles for the local dance halls, and the biggest hit of
all was made by Figaro’s burlesque military aria at the end of the first act,
Non Pitt Andyrat.

Composers had no property rights in their works in those days, and there-
fore Mozart got nothing but glory from his success—glory, and the chance of
realizing something out of his popularity by means of personal appearances.
Consequently, at the invitation of a nobleman, he went to Prague in January,
1787, and there gave two of the most uproariously successful concerts of his
life, at the first of which this symphony received its first performance.

It would be interesting to compare those symphony concerts of 1787 with
similar events today, but details are unfortunately lacking in the available
literature. he orchestra was the typical provincial band of its time, boasting
no more than three first and three second violins, two violas and two basses.
The programs, following 18th century tradition, comprised concertos, sym-
phonies, and solos both vocal and instrumental; both the solo recital and the
purely orchestral symphony concert were alike unknown. Unlike the audience
of today, the audience of the 18th century expected and demanded new works
and would have been aggrieved if such had not been provided, a situation
which explains why Mozart wrote over 40 symphonies and an even greater
number of concertos during his brief career.

The concerts, again following a custom now gone, also involved a great
deal of improvisation. There are records of Mozart’s having improvised piano-
forte sonatas on themes handed him across the footlights, and of his immediately
repeating these sonatas note for note, but in a different key. At the end of the
concert at which the Prague Symphony was produced his improvisation natu-
rally turned to Non Pitt Andrai. The audience thereupon tore up their seats;
Mozart had reached the pinnacle, so far as popular reception is concerned.

It is also worth noting that, in the autumn of 1787, Mozart’s Don Giovanni
had its first production in Prague. In the last act of that work Don Giovanni's
private band entertains its master at dinner with popular hits of the moment.
When the band strikes up Non Pit Andra the Don raises his hand and says
“We've had enough of that!” or words to that effect. Even popularity has its
limitations.

This work is sometimes called the Symphony Without Minuet, but that
‘s a distinction without a difference. Many, if not most of Mocart’s symphonies
have no minuets; in this they reflect the old form of the Italian overture or

sinfonia, best known to modern audiences through examples by Johann Chris-

tian and C. P. E. Bach. But the Prague is the only late symphony of Mozart
in which no minuet is to be found.
pie ep ee SS ee

Buffet Service in Basement Promenade and Dress Circle during all performances

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Hard-of-hearing aids are available in the Main Foyer. Attendant will connect same to your seat
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i eee

SYMPHONY ORCHESTRA 667

.C. Blended Whiskey 86 proof—60%

mw TORK 7,

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CHAMBER SYMPHONY NO. 2, OPUS 38..... Jp eey ia Schoenberg
1874- )
By LEONARD STEIN* ( }

Schoenberg sketched the second chamber symphony while composing his
first work in this form, Opus 9. ‘That was in 1906, and for several years there-
after, while occupied with other compositions, Schoenberg continued work on
the present score. However, after a time it was abandoned, not to be resumed
until 1939, when it was completed for a performance by the New Friends of
Music under the direction of Fritz Stiedry which took place the following year.

Originally composed, like its predecessor, for a group of solo instruments,
the second chamber symphony was later rescored for a small orchestra con-
sisting of strings, two flutes, two oboes, two clarinets, two bassoons, two horns
and two trumpets. But it is also its length and content that give this work the
character of a chamber symphony. It consists of two movements: the first, slow
(Adagio); the second, fast (Con Fuoco), concluded by an epilogue which
recapitulates the tempo and mood of the first movement. In form and substance
these two movements resemble the middle adagio and allegro-finale move-
ments of a regular symphony, omitting the first sonata-allegro movement
characteristic of most symphonies. Nevertheless symphonic unity is here achieved
by the inclusion of themes and motifs of the first movement in the second, and
by the epilogue which rounds out the composition.

Although completed within the most recent period of Schoenberg’s musical]
development, the second chamber symphony is not written in the twelve-tone
technique used almost exclusively by the composer today. Instead it resembles

*Mr. Stein is a Los Angeles composer who studied with Schoenberg and has been serving
as his assistant since 1939. We are deeply indebted to him for these notes, which were
especially prepared for these concerts.

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the harmonic treatment of his earlier compositions, opus | through 10, which
include the first two string quartets, the first chamber symphony and the sextet,
Verklaerte Nacht. An outgrowth and expansion of the harmonic means devel-
oped by Wagner, Richard Strauss, Gustav Mahler and other late 19th and
early 20th century composers, this type of composition can be described as
“extended tonality”; as the composer explains, “rich and even remote harmonic
relations are used.”’

Because of this application of far-reaching harmonic means in works such
as the second chamber symphony, Schoenberg is often and erroneously com-
pared with Richard Strauss. Although Strauss first used. many of these newer
harmonic devices in his large symphonic compositions, his applications of
them are different in many important respects from those of Schoenberg. It is
sufficient to explain one difference. The themes of Strauss, for the most part,
are based on a sustained or slowly changing harmony in which the dissonant
tones are usually embellishing additions. In contrast, a theme of Schoenberg
could never be played over a sustaining harmony, as it is based on fast-moving
harmonic progressions which take advantage of remote harmonic relationships.
Because of this fundamental difference in harmonic construction, the two com-
posers employ widely divergent types of themes and melodies. However, to
the discerning listener the contrast between the works of Strauss and Schoen-
berg is rapidly apparent.

The two movements of the second chamber symphony are dissimilar in
structure and in treatment of the themes as well as in character. The first
movement. in E flat minor, is slow, and contains many expressive themes.

Hla Hag lecacoal Counif—

Th)
STRARTER

and his music

nN}

SYMPHONY ORCHESTRA 671

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Contented Program
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[is form is quite stmple—ABA or three-part form, with several themes within
each section. ‘This movement may be summarized as follows:

The first principal theme expands from a one-measure phrase and revolves
around two remotely related harmonies—E flat minor and A minor. This
harmonic progression ultimately prevails in the epilogue. ‘The flute plays the
melody of this theme at the very beginning, accompanied by the strings:

‘The second principal theme, also in E flat minor, enlarges motifs of the first
theme. It appears in the 11th bar with its melody in the first violins:

and gradually works up to a climax with the help of the woodwinds.
The contrasting middle section begins six bars after the end of Example
°. It is based upon a short theme:

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SYMPHONY ORCHESTRA 673

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ART KNOWS NO BOUNDARIES nor dif-
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international settings, you’ll find the nations
united in paintings, prints, handicrafts,
tableware and interior furnishings. Visits to
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which is treated in imitation by various combinations of instruments—first the
‘celli and double basses, then the first violins, and finally horns and woodwind
—building to a climax on which the two principal themes (Examples | and 2)
appear in the full orchestra.

After a few short cadences, played very softly, there now appears the
second (B) group of themes.

The first subordinate theme is in a slightly faster tempo and in a con-
trasting key. Like the principal themes, it is very expressive, unwinding itself
eradually in the violas:

a a Ree a

‘The second subordinate theme appears immediately after Example 4, carried
by the violins over the full orchestra:

gve----L-~— —

and immediately repeated by the horns. ‘This theme, which reiterates a single
tone before expanding, is the most forceful subject in the movement.
Examples 4 and 5 are repeated in different settings, leading to a powerful

A new exciting perfume
Malan cee

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SYMPHONY ORCHESTRA 675

climax in the upper winds and strings, while Example 1, the first principal
theme, reappears in the bass.

The recapitulation of the principal themes, like most repetitions in Schoen-
berg’s works, is greatly varied, not only by different orchestral settings, but
also by the use of different counterpoints and counter-melodies.

The coda which concludes the movement consists of many rich cadences
built on fragments of the foregoing themes. It shows the composer's ability to
unify many diverse ideas in the most delicately treated instrumental com-
binations. At the end the ‘cellos repeat a fragment of Example I, and the
movement resolves quietly.

II.

In many respects the second movement is the antithesis of the first. Marked
Gon Fuoco— with fire’—it moves constantly forward with great urgency,
At times playful, it is entirely possessed by a deep and serious nature.

In contrast to the lyrical themes of the first movement, those of the second
are succinct and concise, never being allowed to linger and expand. There
exists a multiplicity of themes and fragments of themes, and this provides
continual renewal for the development of each section. This movement is
written in G major, but, due to its speed and contrapuntal complexities, its
tonal relationships are often strained to the limit.

The form of the second movement is also more complex than the first.
It approaches the sonata-allegro, but, unlike the conventional form, it has no
definite recapitulation. ‘his is partly the result of a continuous development of
the themes and their transformation through numerous contrapuntal com-
binations. In addition the composer dislikes the feeling of a recapitulation:
“It seems that after so much has happened it would be like a man returning to
his childhood.”

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A summary of the form of the second movement follows:

|. First division, or expression, of a sonata-allegro form. The principal
oroup of themes consists of
ra)

|. An accompaniment figure of three short motifs affirming the key.
: ; - ‘ c /
[his opens the movement in the ’celli, violas and bassoon:

This 1s a wildly running figure of many rhythmic and melodic changes. Ap-
pearing throughout in one form or another, it is used as a kind of musical
“cement” and as a generator of other themes.

. . . » e . Sy!
principal theme appears in the oboe over a solt string accompaniment:

8 After ten bars devoted to varied repetitions of the foregoing, a second

) } ENCORE “Sweet Swing J/g

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DANCING NIGHTLY {EXCEPT MONDAY}
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SYMPHONY ORCHESTRA 677

This theme is more sustained and regular
but 1s soon overwhelmed by the re
A transition se

In construction than Example qh
appearance of Example 7 itself,
ction follows shortly, introducing two new themes:

—

Beginning softly, the transition very quickly builds to a heavy climax which
introduces the subordinate group of themes, in a faster tempo.

l. ‘The first subordinate theme has a very forceful character; its presenta-
tion by the horns gives it almost a march-like feeling:

“1D: anaes
Li Ee eee oe 77
foe Ss 2

3% be PF

By contrast, the second subordinate theme, which follows at once in the
Is more quiet and flowing:

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But once again Example 7 rudely intrudes upon the scene, and, in combina-
‘ion with other themes and motifs, soon brings the first division of the move-
ment to a close in a strong cadence to D major.

The elaboration section which follows 1s, as the composer explains, “‘an-
other way of remaining with one’s ideas, of revealing the destiny of those ideas
and of providing a contrast of structure.” All the previous themes are used, at
times broken down into little bits and at other times fused in different combina-
tions with other themes and their fragments. Phe moods also change frequently
and unexpectedly, from one extreme—light and airy punctuation of phrases—
to the other extreme—a marked conflict of ideas where everything seems to
happen at once. Climaxes are sudden and the dynamics change continually.

It is difficult to analyze this section as clearly as the first, as there are very
few cadences and the divisions overlap one another. But it is sufficient to notice
that all the themes of the first division now appear, with the first principal
theme (Example 7) always somewhere in the picture.

Approximately half-way through the elaboration, fragments of themes
from the first movement begin to intrude. This is a foreshadowing of the
appearance of important ideas from both movements in the epilogue.

At first Example 3 from the first movement appears against Example 8
from the second movement; later the strong subordinate theme olf the first
movement (Example 5) enters, tending to pull against the rhythmic flow of the

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SYMPHONY ORCHESTRA 679

other themes. A climax of great contrapuntal intensity is ultimately reached,

1n which four different principal motifs appear In as many measures:

Exe bs
av. (}) ‘ , v y 1 j a aA CD iA A
Fo. es — — 2 2 re y , 2a eS = = Bea
O-athe te pep — oe gee et ee ee Pale «|
FT hg Or He OS ara ei et A = rie bh i é
3 Clr Meu est pe Ne,
A AI foe A di AE Ete

After a section which recalls the ending of the first division of the second
movement, there comes a repetition of the subordinate group of themes (Ex-
amples 10 and 11), this time greatly intensified and in a faster tempo. This
ycappearance of the subordinate themes is like a belated recapitulation in the
sonata form.

From this point a powerful climax is built, dominated by the ever-present
first principal theme (Example 7) , taken in turn by trumpets, violins and high

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woodwinds. As the apex is reached, the movement broadens and the two
harmonies which dominate the epilogue are introduced simultaneously:

Ex.l3 g--, EPILOGUE: Harmonic Progression- @band a
geese ~ Melee fo Adagio : Be dems ions) govh

The structure of the entire symphony is thus rounded out by a reference to
the opening harmonic idea (Example 1) at the very end of the work.

The epilogue, or coda of the entire symphony consists of themes from
both movements presented in short, halting phrases. It reverts to the key (E£
flat minor), and the tempo (Molto Adagio) of the first movement, and the
somber nature of this section also reminds one of the first movement. There is
one last climax, and the composition ends with a strong cadence consisting of
the two principal harmonies with which it began.

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SYMPHONY ORCHESTRA 681

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682 SAN FRANCISCO

FOUR SONGS

Dik JUNGE NONNE
Wie braust durch die Wipfel der heulende
Sturm!
Fs klirren die Balken, es zittert das Haus!
Fs rollet der Donner, es leuchtet der Blitz,
Und finster die Nacht wie des Grab!

Immerhin so tobte es jlungst in mir!
Es brauste das Leben wie jetzo der Sturm,
Es bebten die Glieder wie jetzo das Haus,
Es flammte die Liebe wie jetzo der Blitz,
Und finster die Brust wie das Grab.

Nun tobe, du wilder, gewaltUger Sturm,

Im Herzen ist Friede, im Herzen ist Ruh’;

Des Briutigams harret die liebende Braut,

Gereinigt in) prifender Gluth der ewigen
Liebe getraut.

[ch harre mein Heiland mit sehnendem Blick!

Komm, himimlischer Brautigam, hole die
Braut!

Erl6se die Seele von. irdischer

Horch! friedlich ertonet
Thurm!

Haft!

das Glocklein vom

Fs lockt inich das stisse Geton
Allmachtig zu ewigen Hohn!
Alleluja!
—J.N. Craigher

fetes Mette eek Sith. Franz Schubert

(1797-1828)

THE YouNG NuN
How the howling storm roars through the
branches! The rafters groan, and the whole
house lrembles. The thunder rolls and the
lightning flashes, and the night is dark as
the grave.

Such was the storm of my own life. My limbs
trembled like this house, love burned in me
like the lightning, and my heart was dark as
the grave.

Now rage, wild, powerful storm! In my heart
are peace and quiet. The bridegroom awaits
his loving bride purified in the proving fire
of elernal love.

I await my Saviour with longing elance!
Come, heavenly bridegroom, take thy bride!
Release my soul from its earthly grip! Hark,
the bell sounds joyfully from the tower!

The sweet sound calls me to eternal heights!
Hallelujah!

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SYMPHONY ORCHESTRA

683

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684 SAN FRANCISCO

STAENDCHEN
cise flehen meine Lieder
Durch die Nacht zu dir;

In den stillen Hain hernieder,
Liebchen, komm’ zu mir!

liisternd schlanke Wipfel rauschen
in des Mondes Licht;

Des Verrithers feindlich lauschen
riirchte, Holde, nicht.

Horst die Nachtigallen schlagen?
\ch, sie flehen dich.

\fit der T6ne sussen Klagen
Flehen sie ftir mich.

Sie versteh'n des Busens Sehnen,
kKennen Liebesschmeyz,

Fiihren mit den Silbertonen
Jedes weiche Herz.

Lass auch dir die Brust bewegen,
L.iebchen, h6re mich,
Bebend harr’ ich dir entgegen!
Komm, begliicke mich!
—Ludwig Rellstab

DER JUENGLING AN DER QUELLE
Leise, riesender Quell!
Ihr wallenden, flispernden Pappeln!
Euer Schlummer gerausch
Wecket die Liebe nun auf.

FERRARI

SERENADE
My songs yearn softly through the night to
thee. In the quiet grove below, come, my love,
fo me.

Whispering slender treetops rustle in_ the
moonlight; do not fear, my love, a betrayer’s
hostile overhearing.

Do you hear the nightingales strike up?
They long for you. Their sweet lament im-
plores for me.

They know the heart’s longing, they know
love’s pain, and they lead, with their silvery
sound, every uncertain heart.

Let your heart also be moved. Beloved, hear
me. Trembling, I wait for you. Come, and
bring me joy!

"THE YOUTH AT THE SPRING
Softly rippling spring! Bubbling, whispering
chatter! Your slumberous bustling awakens
my love.

NICOLAUS

AND FORMER FIRM OF @ TRAINER & PARSONS

Dish 6, Oot °
444 POST
SERVING THE EYE PHYSICIANS and their PATIENTS

After the Concert

Entertain your friends

at Hotel Whitcomb, so conveniently
near. Home of the Whitcomb Inn
and The Parade Cocl.tail Lounge.

HOREE

WHITCOME

SYMPHONY ORCHESTRA 685

ty fe
ae

Linderung sucht’ ich bei euch,
(Ind sie zu vergessen die Spréde,
\ch, und Blatter und Bach
Seufzen, Luisa, dir nach.
Esto!

DER ERLKOENIG

Wer reitet so spat durch Nacht und Wind?
Ks ist der Vater mit seinem Kind;

kr hat den Knaben wohl in dem Arm,

Wr fasst ihn sicher, er halt ihn warm.

“Mein Sohn, was birgst du so bang dein
Gesichte”’

“Siehst,Vater, du den Erlkonig nicht?

Den Erlenkonig mit Kron und Schweif?”

“Mein Sohn, es ist ein Nebelstreif.”

“Du liebes Kind, komm’, geh’ mit mir!

Gar schéne Spiele spiel’ ich mit dir;

Manch’ bunte blumen sind an dem Strand,
Meine Mutter hat manch’ gtIden Gewand.

“Mein Vater, mein Vater, und h6rest du
nicht,

Was Erlenk6nig mir leise verspricht?”

“Sei ruhig, bleib’ ruhig, mein Kind;

In diirren Blattern sauselt der Wind.”

“Willst, feiner Knabe, du mit mir geh’n?
Meine Voéchter sollen dich warten schon:

Meine Téchter tihren den nichtlichen Reihn,

Und wiegen und tanzen und singen dich
Cline

I sought solace with you, and to forget her
coldness. Ah, and both the leaves andthe
brook sigh, Loutsa, for you.

‘THE ERL-KING

Who rides so late through the night and the
wind? It is a father with his child. He holds
the boy tight in his arm. He keeps him safe
and keeps him warm.

“My son, why are you so afraid?” “Father,
do you not see the Erl-King? The Erl-King
with his crown and tail?” “My son, that is
only a strip of mist.”

“Lovely child, come, go with me! I will
play nice games with you; there are many
beautiful flowers along the shore, and my
mother has golden garment for you.”

“My father, my father, dot you hear what
the Erl-King has promised me?” “Be quiet,
my child; it is only the wind sighing in the
dry leaves.” .

“Lovely boy, will you come with me? My
daughters shall wait on you; my daughters
lead the nightly fairy-ring, and will dance
and sing for you and rock you to sleep.”

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SYMPHONY ORCHESTRA

687

TODAY'S
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The Boston Symphony now uses the Baldwin
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MARIE THERESE BRAZEAU HAROLD BAUER

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688

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“fein Vater, mein Vater, und siehst du nicht
dort

Erlk6énigs Tochter am dtistern Ort?”

‘Mein Sohn, mein Sohn ich seh’ es genau,

ks scheinen die alten Weiden so grau.”

‘Ich liebe dich, micht reizt deine schoéne
Gestalt,

Und bist du nicht willig, so brach’ ich
Gewalt!”’

“Mein Vater, mein Vater, jetzt fasst er mich
an!

EKrlk6nig hat mir ein Leid’s getan!”

Dem Vater grauset’s, er reitet geschwind,
Er halt in Armen das achzende Kind,
Erreicht den Hof mit Mtih’ und Noth;

In seinen Armen das Kind war todt.

Vion enfant, ma soeur,

Songe a la douceur.

Aimer et mourir

Au pays qui te ressemble!

Les soleils mouillés

De ces ciels brouillés

Pour mon esprit ont les charmes
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INVITATION: AU VOYAGE ..

“Father, father, don’t you see there—the Erl-
King’s daughters in that dark spot?” “My
son, I see it perfectly. It is only the old gray
willows.”

“I love you, your form charms me, and if you
are not willing, I shall use force!” “Father,
he has taken hold of me! The Erl-King has
hurt me!”

The father shudders, and he rides like the
wind. He holds the groaning child in his
arms and reaches his home by weary effort;
and in his arms the child was dead.

Ae ue Mea ah, A wie Pes Henri Duparc

(1848-1933)

My child, my love, dream of the loveliness
of going away to live together, to love at let-
sure, to love and to die in that land so much
like you!

The liquid suns of those mottled skies charm
my spirit with the same mystery as your
confessing eyes shining amid their tears.

("Ho Sratamet eile fle Some
Philharmonic 3

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Before or After the Concert Visit the

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Leopold Lerner, Manager

SYMPHONY ORCHESTRA

689

It Stands Alone

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KORBEL «

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, Calin

LneSS

peace and beauty,

all is
l repose.

There

La, tout n’est qu’ordre et beauté,

Luxe, calme, et volupteé!

and swe

their

al
To meet your least whim they come

ie)
o

ships sleepin

vavabond

these
wharves.

See

Vois, sur ces canaux
Dormir ces valsseaux

of the world.

end

the

from

Dont Vhumeur est vagabonde;

C’est pour assOuVIr

4811

dé
nt du bout du monde.

lon moindre
Ou'ils vienne

lown in hyacinth and gold.

The settling sun clothes the fields, the wharves
whole

and the
The world goes to sleep bathed in warm light.

ants

a ville enticre,

es soleils couch
devetent les champs,
Yhyacinthe et dor;
e monde s’endort
Jans une chaude

es CahaulxX,

— eed et

lumicere!

calm,

softness,

all is peace and beauty,

~
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Ne a
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—Baudelaire

.
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Nal DiCse A iGk

~
4

AVAIE

Se,

SI MES

Reynaldo Hahn

Your

€

ragile,
if my verse had wings like

My verse would fly, soft and f{

beautif
a bird.

doux et fréles,

Vers votre jardin si beau,

\les vers fuiratent,

ul garden,

Si mes vers avaient des ailes

Comme l’oiseau!

meTTY

to your

sparks
if my verse had wines like the soul.

would fly like

hearth,

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Ils voleraient,
Vers votre foyer qui rit,

Si mes vers avaient des ailes

Comme l’esprit.

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SYMPHONY ORCHESTRA

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MRS. MORTON GIBBONS
MRS. HARRY HILL

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0 OO BD >

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692

SAN FRANCISCO

Prés de vous, purs et fidéles,
I] accourraient, nuit et jour,
Si mes vers avaient des ailes
Comme l'amour!
—Victor Hugo

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
blauen,

Werden wir still und langsam niedersteigen.

Stumm werden wir uns in die Augen schauen,

(nd auf uns sinkt des Glitickes stummes
Schweigen.

weiten, wogen

—John Henry Mackay

ANAKREONS GRAB

Wo die Rose hier bltiht,

Wo Reben um Lorbeer sich schlingen,
Wo das Turtelchen lockt,

Wo sich das Grillchen erg6tzt,

Welch ein Grab ist hier

Das alle G6ter mit Leben sch6n
Bepflanzt und geziert?

Ks ist Anakreons Ruh!

Fruhling, Sommer und Herbst
Genoss der gliickliche Dichter;
Vor dem Winter hat ihn
Endlich der Hiigel gesschiitzt.
—Goethe

Ithleed tsa lise

Fruhling lasst sein blaues Band
Wieder flattern durch die Liifte;
Susse, wohlbekannte Diifte
Streifen Ahnungsvoll das Land.

Veilchen traiumen schon,
Wollen balde kommen,
Horch, von fern ein leiser Harfenton!
Friihling, ja du bist’s,
Dich hab’ ich vernommen!
—Eduaid Morike

It would run to you, pure and faithful, each
night and each day, if my verse had wings
like love.

Or in ae oe Richard Strauss

(1864- )

And tomorrow the sun will shine again, and
will reunite us happy ones along the path
that I shall go, in the midst of this sun-
breathing earth.

And, quiet and slow, we shall descend to the
broad, wave-blue shore. We shall look with-
out speaking into each other’s eyes, and ove)
us will come the wordless peace of joy.

es ta Dhaene, Motes OER D Hugo Wolf

(1860-1903)

Here where roses bloom, where wines and
laurels intertwine, where doves coo and
crickets make their merry sounds, what grave
is this which all the gods have planted and
adorned with living things? It is Anacreon’s
last resting-place.

Spring, summer and autumn companion the
happy poet; the hill has shielded him at last
from the winter.

Oe Foe ree Se Hugo Wolf

Spring flings its blue banner through the air
once more. Sweet, familiar scents fill the world
with boding.

The violets dream now, but they will soon
blossom, and hark! there is a distant sound
of harps. Spring, it is thou! I have perceived
thee!

WILLIAM F. LARAIA

First Violinist San Francisco Symphony Orchestra for twenty-five
years —— has resigned in order to devote his time exclusively to
teaching.

STUDIOS—

3325 OcTAVIA StT., SAN FRANCISCO
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SYMPHONY ORCHESTRA

693

Box Holders for Saturday Night

A MRS. PIERRE MONTEUX N MR. AND MRS. THOMAS E. AMBROSE
MR. THEODORE BEKINS

B MILLS COLLEGE DR. ALVIN COX
DR MiRIAM MILLER

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UNIVERSITY OF CALIFORNIA
Oo COMMANDER AND MRS. WM. LISTER ROGERS

D SAN FRANCISCO SYMPHONY FORUM Mr. AND MRS. JOHN ROSEKRANS

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&
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MR. AND MRS. JAMES H. HOWARD UNIVERSITY OF CALIFORNIA
MR. AND MRS. LEE LAIRD
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BUY WAR BONDS
AND STAMPS

94 SAN FRANCISCO

oO’

THE SEA, THREE SYMPHONIC SKETCHES. . . Claude Debussy
(1862-1918)

The Sea, completed in 1905, is Debussy’s largest orchestral work. The
following comments upon it are taken from Oscar Thompson's biography of the
composer,

Krom Dawn ’Til Noon on the Ocean. “Vhere is a mysterious, eerie quality
in the undulations with which this sketch begins. In the music are at once an
incantation and an awakening. The chief subject is declaimed by muted trumpet
and English horn. ‘Thereafter, as the light seems to grow clearer and Nature
more boisterous, the waves of this chimerical sea ride higher, throwing their
spume into the sunshine, with all manner of glint and refraction, exultant,
tumultous, but not menacing or cruel. ‘Toward the end wind instruments intone
a solemn theme that has been described as ‘the chorale of the depths.’ Above it
continues the pitching of the waves; there comes a momentary lull, then a last
shake of the mane of these horses of the sea.”

Play of the Waves. “Here Debussy limns his now thoroughly awakened
sca at play. There are waves of every color and mood in a capricious sport of
wind and spray. In a contrastive sense this is the scherzo of Debussy’s heretical
symphony. ‘The elements dance, they romp and race through immemorial
eames the secrets of which never will be known to man. The waves become
coryphees, or they gambol like dolphins. About all is an aura of the remote and
unreal. ‘This is a world of sheer fantasy, of strange visions and eerie voices, a
mirage of sight and equally a mirage of sound. On the sea’s vast stage is pre-
sented a trancelike phantasmagoria so evanescent and fugitive that it leaves
behind only the vagueness of a dream.

“Dialogue of the Wind and the Sea presents a gustier and wilder sea,
with a stronger dramatic emphasis and something more closely akin to human
quality in the impersonation, however, incorporeal it may be, of wind and
ocean. The use of the whole-tone scale is more conspicuous in this movement
than elsewhere in The Sea. ‘There are two clear recollections of the first move-
ment, the first subject being whisked back in one of countless necromantic
transformations of fragments of song, and the chorale returning again for a
climax of growing sonorities. This climax has few parallels in Debussy’s usually
reticent scoring. The brass peals forth in shining splendor. At the close is again
the undulation of harmonies suggestive of the sea that rolls and will not cease
to roll, whatever the puny destinies of man. The dialogue of wind and wave

enchantingly lovely man)

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SYMPHONY ORCHESTRA 695

is of cosmic things, of which Debussy’s arabesque are cabalistic symbols. The
music only hints at immensities it does not attempt to describe. ‘Yet beneath
these elusive and mysterious overtones,’ writes Lawrence Gilman, ‘the reality
of the living sea persists; the immemorial fascination lures and enthralls and
terrifies, so that we are almost tempted to fancy that the two are, after all,
identical—the ocean that seems an actuality of wet winds and tossing spray and
inexorable depths and reaches, and that uncharted and haunted and incredible
sea which opens before the magic casement of the dreaming mind’.’

FOOTNOTE TO THE BRAHMS FESTIVAL

“Dear Mr. Frankenstein:
“Would you kindly allow me a few comments on your program notes
Brahms’ Academic Festival Overture? The ‘short story’ to which you refer
cannot be correct. Brahms was far from replying to his honorary academic de-
gree with a joke. ‘This composition is really a festival one. The four German
student songs used it in are not, as you write, freshman beer-drinking songs
known in all the saloons and taverns of the German university towns. They
are old and time-honored songs which—maybe with the exception of the third
one—were sung only at formal and festival occasions in German student life.
“The first melody, brilliantly intoned by the trumpets, was written in
1819 and bears the title Nach Unterdriickung der Burschenschaft, (After the
Suppression of the Burschenschaft). Vhe Burschenschaft, an organization of

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(at that time) liberal patriotic fraternities, was dissolved and outlawed by the
reactionary forces which came into power in Germany after the liquidation of
ihe Napoleonic rule. ‘This song is a solemn hymn of liberty-loving men against
reactionary despotism. It is not nationalistic and could be sung everywhere
where freedom is suppressed by tyranny. It is quite possible that the bearded
and robed professors looked embarrassed when they heard this melody. At that
time the administration of German universities was quite reactionary, and this
presentation could have seemed rather daring.

“The next song is the Hochfeierliche Landesvater (Most Solemn Song to
the Father of the Country), written before 1770. It was used in a rare and
exclusive ceremony of patriotic consecration. A sword was passed around and
each student pierced it through his colored fraternity cap, singing: [ch durch-
bhohr den Hut und schwore, halten will ich stets auf Ehre, stets ein braver
Bursche sein. (I pierce the hat and swear I will always insist upon honor and
always be a brave fellow) . ;

“Tt is the melody that accompanies these words which appears in the over-
ture interwoven with the Burschenschaft song. After this ceremony the student’s
sweetheart was honored with the job of closing the hole in the hat by embroid-
ering a silver oak leaf over it as a token of participation in a Landesvater.
‘There were never many of those oak leaves on a hat.

“Liberty, honor and patriotism are the themes of the first part of the over-
ture. Then comes the pleasantry, the so-called Fuchsenritt, the Ride of the
Freshmen, composed in the 18th century. This is part of an initiation ceremony.
The freshmen entered the room riding on heavy wooden chairs or benches.
The rumbling rhythm of this ride is well marked in Brahms’ instrumentation.

“Closing, then, with the official anthem of the German student, the Gaudea-
mus, was a logical necessity.

“Having been familiar with German student life of 40 years ago, I thought
‘hese few notes might interest you.

Very sincerely yours,
Dr. BERNHARD BERLINER.”

(The editor thanks Dr. Berliner on his own behalf and that of his readers
for the privilege of printing the only genuinely informative note on the
Academic Festival that he has ever seen.)

COLONIAL BALLROOM, HOTEL ST. FRANCIS
SAN FRANCISCO STRING QUARTET
Naoum Blinder ° William Wolski ° Ferenc Molnar . Boris Blinder

Assisting Artist - Stanislaus Bem, Violoncellist

WEDNESDAY NIGHT,. APRIL 11

at 8:30

Tickets 75c, $1.00, $1.50 (plus tax) at Normandy Lane Box Office
Cliy¥eORSeAnis

When you are conserving
gasoline and rubber avoid the

crowds and enjoy a
blissful Sunday dinner at Veneto.

\is more fun than
‘ sunday driving

SYMPHONY ORCHESTRA 697

An important factor in the maintenance of the San Fran-

CSCO Symphony Orchestra, for which we are ever grateful, is
the foresight of patrons who, desiring to assist in the Orches-
| tra’s permanent existence, made bequests for the benefit of

generations to follow. |

HELLER, EMANUEL S.
IRWIN, Mrs. FANNIE M.
BLANDING, LENA

DIMOND, Mrs. E. R.

KURING, = MIRS) EFRDEON B:
GOLDSTEIN, CELENE
MONTEAGLE, Mrs. Lypra PAIGE

McENERNEY, Mr. AND Mrs. GARRET W.

HarT, BENNO

| LuisseR, Mrs. Louis

ANTHONY, C. C.

FABER, Dr. AND Mrs. Haro.p K.

MEYER, HENRIETTA

JOIN THE SYMPHONY LEAGUE TODAY

Yearly Dues $5.00 from January to January

Your check will aid in providing Symphony tickets for music students in public high
schools and Junior Colleges and in building up the orchestra’s library and repertoire.

Make Checks payable to Musical Association of San Francisco and mail to
SAN FRANCISCO SYMPHONY LEAGUE, Opera House, San Francisco 2, Calif.

) A
\ 698 SAN FRANCISCO

ae Musical Association of
San Francisco takes this opportunity to thank the follow-
ing member contributors toward its 1944-1945 season.
This annual support gives a permanent character to the
affairs of the Orchestra, which is essential toward main-
taining its ideals.

We feel certain all music lovers will unite their senti-
ments of gratitude with our own in this tribute we pay to
their valued and unforgetable friendship.

*<@>-

HONORARY MEMBERS $1000.00 AND OVER

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Haas, Mr. G Mrs. Walter A.
Heller, Mrs. E. S.

Koshland, Mrs. Marcus S.

Anonymous
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Crocker, William H. Family
Crocker, Dr. Charles
Crocker, W. W.
Russell, Mrs. Henry Potter

REGULAR MEMBERS OVER $100.00

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Bransten, Mrs. Louise R.
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Coleman, Persis H.

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Lowe, Samuel

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McDonald, Mrs. Mark L.
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Musicians’ Union, Local No. 6

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Wiel, Mr. & Mrs. Eli H.
699

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700

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Biber, Mr. & Mrs. George V.
Bishop, Agnes

Bjornstad, Mrs. A. W.
Black, Mrs. Alfred P.
Blackwelder, Mrs. Eliot
Blair, Jennie M.

Bloch, Mrs. F. V.

Bloom, Charles W.

Bloom, Mrs. Sam
Bloomfield, Dr. G Mrs. Arthur L.
Blum’s

Boardman, Mrs. Elizabeth Cole
Bocqueraz, Mr. & Mrs. Leon
Bogert, Mrs. T. L.

Boggs, Mrs. A. G.
Bohemian Symphony Orchestra
Boland, Mrs. F. Eldred
Bolton, Mrs. Robert C.
Booth, Mrs. F. E.

Bourquin, M. Mitchell
Bower, Fred L.

Bowes, Mrs. E. L.

Bowles, Mrs. George M.
Boyd, Hal

Boyle, Nina

Bracher, Louise P.

Braden, Mrs. H. Robert
Bradley, Mrs. James Parks

Brandenstein, Mrs. M. J.
(Deceased)

Bransten, Mr. & Mrs. Edward

Bransten, Mrs. Joseph

Bransten, Mrs. Manfred

Breach, Mrs Genoa E.

Bretz, Marie

Brewster, Hughes

Bricca, Mrs. Constantine R.

Brooke, Mrs. Henry L.

Brooks, Mrs. B. M.

Brooks, George W.

Brown, Mrs. Abraham Lincoln

Brown, Mrs. Cabot

Brown, Mrs.

Brown, Mrs. |

Brown, Mrs.

Brownell, Mrs. E. E.

Brownstone, Mrs. Louis H.

Bruce, Mr. & Mrs. Starr

Brunn, Dr. Harold

Brunnier, H. J.

Bruns, Margaret

Buchanan, Lynda

Buckwalter, Mrs. Edna W.

Bugbee, Mrs. Lee

Bull, Mrs. Alpheus

Bull, Mrs. Edward Cline

Bullard, Robert P.

Bullion, Mrs. Alice

Bullis, Mrs. Edward A.

Bullock and Jones Co.

Burckhardt, Caroline

Bush, Mr. & Mrs. Philip

Butte, Mrs. C. Felix

Butte, Felix, Jr.

Cahn, Mrs. Mayer |.

Cahn, Mr. & Mrs. Ralph G.

California Club of California

Camp, Mr. & Mrs. Harry

Campbell, Douglas

Campbell, Mrs. Grace P.

Campbell, Mrs. John D.

Campiche, Dr. Paul

Carlson, Mrs. Arthur W.

Carrigan, Mrs. Andrew

Catlin, Miss B. M.

Cella, Alma

Chamberlain, Mary Alicia

Chamberlain, Mrs. Weston P.

SAN FRANCISCO

Chapman, Mrs. C. C.
Charles, Martin A.
Charles, Mrs. Raymond
Charpiot, Mrs. Henry Charles
Chipman, Mrs. W. F.
Clara, Madame

Clark, Mrs. B. V.

Clark, Mrs. Dearborn
Clark, Mrs. Herbert W.
Clark, Mrs. Tobin

Clark, Mrs. Warren D.
Clay, Maude C.

Clayton, A. Florence
Clift, Mrs. H. N.

Cline, Dr. John W.
Coblentz, Mrs. Lambert
Cody, Mrs. Bernard A.
Coggins, Mr. & Mrs. Shirley M.
Coldwell, Mrs. Colbert
Cole, Andrew M.

Cole, Ernest R.

Colman, Mr. & Mrs. Jesse C.
Cook, Mrs. W. H.
Cooper, Mrs. C. M.
Cooper, Ethel

Cope, Mrs. Walter B.
Cordes, Dr. & Mrs. Frederick C.
Covell, Dr. Charles Vernon
GralQpatsa vant:
Crawford, Fannie M.
Creed, Mrs. W. E.

Crim, Grace M.

Cuddy, John

Davis, Dr. G Mrs. Albert D.
Davis, Mrs. Frances L.
Davis, Mrs. John F.
Davis, Louise

Davis, Sarah Russell
Dearing, Dr. Bradford F.
de Bruyn, C. B.

Deering, Mrs. Robert L.
de la Harpe, J.

Delaney, Marion

de Latour, Mrs. Georges
de Lee, Mrs. Edith
Dempster, Mrs. L. R.
Dennis, Charles M.

de Pins, Marquise
Dernham, Mrs. Irene M.
Dewey, Constance M.

de Wit, Mrs. Harry
‘Dieterich-Post Company
Dill, Mr. & Mrs. Marshall
Dilsheimer, Mrs. Sara
Dodson, Mrs. L. Polk, Jr.
Don Lee

Donohoe, Katharine
Dray, Mrs. Frank R.
Drexler, Mrs. Elise
Dryfoos, Mrs. Beatrice G.
Duncan, Mrs. Arthur L.
Durden, Robert

Dutton, Mrs. Dunn

Dyer, Joseph H.

Earhart, Gertrude

Earle, Mrs. Marie E.
Eastwood, Alice

Ebright, Mrs. George
Edoff, Mrs. Frank J.
Edwards, Mrs. Elizabeth D.
Edwards, Mrs. J. P.
Egan, Mrs. |. J.

Ehrlich, Philip S.
Einstein, Elsa B.
Eisenbach, David R.
Eisner, Mrs. Norman A.
Eldridge, Anita

Elkus, Mrs. Charles de Y.
Ellis, Willard L.

Eloesser, Herbert

Emge, Ludwig M. D.
Eppinger, Mrs. J., Jr.
Epstein, Mrs. Milton H.
Epstein, Dr. Norman N.
Epstein, Mrs. Sarah
Erskine, Mrs. Morse
Esberg, Alfred |.

Esberg, Mrs. Milton H.
Etienne, Victor, Jr.
Evans, Mr. & Mrs. Harry L.
Evers, Mrs. Albert John

SYMPHONY: ORCHESTRA

ASSOCIATE MEMBERS

Fairmont Hotel

Falk, Edna Sally

Farquhar and Heimbucher
Faure, Victor C.

Faust, Ida

Fee, Marcia G.
Feigenbaum, L. B.
Feigenbaum, Mrs. Louis
Fennimore, Mrs. W. D.
Ferguson, Mrs. R. Craig
Field, Mrs. Alexander
Fisher, Haldane S.
Fitzgerald, Amanda
Fitzgerald, Mrs. R. M.
Fitzhugh, Mrs. William M.
Flammer, Charles
Fleischman, Mrs. M. R.
Fleishman, Mrs. S. G.
Fletcher, Mr. G Mrs. Lawrence S.
Floyd, Mrs. B. Creelman
Folendorf, Gertrude
Folger, Mrs. Roy S.
Follansbee, Mrs. A. W., Jr.
FOX, Gs

Frank, Mrs. Jennie L.
Frank, Lt. and Mrs. Richard L.
Frankenau, Mrs. Max
Frederick, Mr. G Mrs. Max
French, Dr. Lindol R.
Friedlander, Mrs. Eva
Friedlander, Fanny
Friedman, Mrs. Henry A.
Fries, Mr. & Mrs. Frank H.
Fries, William M.

Fuller, Mrs. George
Fulmer, Dr. Charles C.
Funsten, Mrs. J. J.

Gale, Mrs. Maurice
Galland, Mrs. E. R.
Galgiani, Dr. and Mrs. John V.
Gamble, Elizabeth F.
Gantner, Mrs. John O.
Gardiner, Mrs. Frank H.
Gardner, Mrs. Klznneth
Gardner, Mrs. N. L.
Garfinkel, Max

Garland, Dr. & Mrs. L. H.
Geisenhofer, Mrs. O. W.
Gerbode, Dr. & Mrs. Frank
Getz, Mrs. M. J.
Ghirardelli, Mrs. Alfred
Ghirardelli, D. Lyle
Gibson, Dr. & Mrs. Arthur Collis
Gilbert, A. M. & Company
Gill, Mrs. Roy R.

Glenn, Dr. & Mrs. Robert A.
Gloor, Ernest

Glover, Dr. Mary E.
Godchaux, Helen & Josephine
Goldman, Mrs. Robert L.
Goodale, Mrs. George W.
Goode, Mrs. Percy G.
Goodfellow, Mrs. J. Downey
Goodheart, C. |.
Goodman, Mrs. Isaac
Goodrich, Chauncey S.
Gordon, Mrs. William
Gould, Mrs. Jason
Gradwohl, Mrs. David
Grant, Mrs. Spencer

Gray, Frances H.

(In memory of Alice M. Gray)
Gray, Mrs. Horace
Greathead, Mrs. Norman J.
Greefkens, Geraldine
Greenberg, Mrs. Maurice S.
Greenberg, Mrs. Stuart N.
Greene, Mrs. A. Crawford
Greene, Louis C.

Greenwell, Mrs. J. O.
Greenhood, Frances
Greenlee, Mrs. Frederick L.
Gregory, Mrs. Donald M.
Gresham, Dean J. Wilmer
Griffin, Miriam

Grobe Music Company
Grosjean, C. E. Rice Milling Co.
Guggenhime, Mrs. Richard E.
Gunst, Mrs. M. A.

Gunst, Mr. & Mrs. Morgan A.
Gustafson, Amaley

(Continued)

Haas, Mrs. Walter, Jr.
Haase, Mrs. Elizabeth
Haber, Mrs. Samuel B.
Hackett, C. Nelson
Haefner, Mrs. Emma
Haines, J. Wilbur
Hale, Mrs. Harriett G.
Hall, Mrs. Sherwood
Hallawell Seed Company
Hamilton, Betty
Hamitlon, Mrs. Edward Morse
Hamilton, Mrs. Noble
Hammond, Sarah S.
Hamshaw, Mrs. Walter
Hancock Bros.
Handlon, Mrs. Joseph H.
Hanford, Mrs. Lloyd D.
Hanna, Mrs. Richard J.
Hannah, Mrs. C. C.
Harding, Helen
Hardy, Mrs. Sumner
Harris, Mrs. L. W.
Harrison, Mrs. Maurice
Hart, Mrs. Walter Morris
Haseltine, Mrs. Charles
Hawley Forge and Mfg. Co.
Hayden, Curtis
Hayden, J. R.
Hayman, Mrs. Alvin
Haywood, Mrs. Marshall, Jr.
Heimann, Mrs. Richard
Heller, Mrs. Walter D.
Hellman, Mrs. F. J.
Hellwig, C. A.
Henderson, Mrs. F. B., Sr.
Hengstler, Mrs. Louis
Hennessy, Aileen M.
Herron, Eugenia L., M.D.
Herz, Hildegard
Hess, Teresa
Hewlett, Mrs. A. W.
Hexol, Inc.
Hill, Mrs. Harry
Hilp, Harry H.
Hinze, Clara
Hirschkind, W.
Hobart, Mrs. Lewis P.
Hockenbeamer, Mrs. A. F.
Hodges, Mrs. E. S.
Fonte.
Hoisholt, Mrs. Andrew W.
Hopkins, Mrs. Samuel
Horsburg, Mrs. James
Hotel Canterbury
Hotel Mark Hopkins
Hotel Stewart
Hotel Whitcomb
Hougaard, Mrs. W. F.
Houghtelling, Mrs. William
Howell, Albert J.
Howell, John Thomas
Howlett, Mrs. Frank
Hughes, Mrs. Thomas R.
Hunter, Mrs. Thomas B.
Hurrle, Etna E.
Hutchens, Mrs. F. C.
Hyman, Mrs. Vera R.
Hyman, Mrs. William L.
Isenberg, Mrs. R. A.
Jacobs, Mrs. Monroe B.
Jacobs, Rebecca
Jacques, Mrs. Joseph R.
Janney, Mrs. Frederick F.
Jeddis, Mrs. Alphonse
Johnson, Mrs .Grace Noble
Johnson, Mrs. Walter -S.
Johnston, Mr. & Mrs.
Clarence Loran
Jones, Mrs. Marie C.
Jordan, Mrs. David Starr
Jordan, Mahlon K.
Joseph, Sigmund
Kahn, Mrs. Beatrice M.
Kahn, Mrs. Francesca L.
Kahn, Mrs. Ira
Kahn, Samuel
K,alenborn, Mrs. A. S.
Katharine Branson School
Kauffman, Mr. & Mrs. Sol
Kaufmann, Mrs. A.
Keator, Mrs. B. C.

701

Keenan, Mrs. Hubbard
Kelley, Mrs. Bettie
Kelley, Walter S.

Kelly, Mrs. Louise

Kelly, Mrs. T. Henshaw
Kent, Arthur H.

Kerr, Dr. G Mrs. William J.
Keyes, Edna L.

Kiersted, Mrs. Henry S.
King Extract Company
King, Percy L.

Kirk, Mrs. Joisah H.
Kirkham, Mrs. Francis
Kirkwood, Mrs. R. C.
Kirkwood, Mrs. R. C., Jr.
Klumpkey, Julia

Knox, Mrs. John B.
KohImoos, John H.
Kohn, Mrs. Simon
{Corbel, Caroline
Koshland, Mrs. Abraham

Koshland, Mr. & Mrs. Robert J.

Kroll, Dr. G Mrs. Frederick W.
Lacey, Joseph C.

Lacy, Mrs. George S.
Lamont, Donald Y.
Landels, Mrs. E. D.
Lansburgh, S. Laz
Lansdale, Mrs. Philip M.
Lapham, Mrs. Lewis H.

la Rue, Mrs. C. L.

Lasky, Mrs. M.

Lavenson, Sara

Laws, Mrs. C. L.

Leavens, Mr. & Mrs. Robert P.
Lee, Mrs. Russell V.
Lehmann, Mrs. Adolph
Leib, William F.

Lengfeld, K. H.

Lens, Mrs. Frances
Leonard, Ramona A.
Leonardini, Josephine
Letcher, B. W.

Levy, Clara M.

Levy, Elaine A.

Levy, Emma G.

Levy, Mrs. Fernand

Levy, Harry J.

Levy, Martha

Levy, S. D.

Lewis, Mrs. Gilbert N.
Lichtenstein, Mrs. Joy
Liebenthal, Mrs. A.
Liebman, Mrs. Maurice
Lilienthal, Mrs. A. G.
Lilienthal, B. P.

Lilienthal, Jean

Lilienthal, Mrs. Jesse W., Jr.
Lilienthal, Mr. G Mrs. Samuel
Lisberger, Mrs. S. J.

Liston, Mrs. Lester
Livermore, Mrs. Norman B.
Livingston Bros., Inc.
Livingston, L., Jr.
Livingston, Mrs. Samuel W.
Logan, Mrs. John
Lombardi, Ethel P.

Long, Mr. & Mrs. J. A.
Loustan, Mme. L.

Lowe, William H.
Lowenberg, Albert J.
Lowenthal, Mrs. W. B.
Lowrey, Mrs. Alan J.

Lowy, Mrs. Benno

Lyman, Mrs. Oliver
McAlister, Mrs. J. W.
McBaine, Mrs. J. P.
McBride, Rexford W., M. D.
McCreary, Mrs. F. C.
McCreery, Mrs. Richard
McDonald, Mrs. Juilliard M.
McGaw, Mrs. John

McKee, Mrs. Albert B.
McLaughlin, Mrs. Alfred
McLean, Goldberg Bowen Co.
McNear, Mrs. F. W.
McNear, Mrs. George P.
Macey, Mrs. James G.
Mack, Mrs. A.

Mailliard, Ve & Mrs. J. W., Ne

Majors, Dr. Ergo A.

702

ASSOCIATE MEMBERS

Mangin, Mrs. J. N., Jr.
Marcus-Lesoine, Inc.
Marshall, Mrs. Stewart M.

Martenet, Mr. & Mrs. Randolph W.

Martin & Brown

Marwedel, Mrs. C. W.

Mason, Gertrude

Mayer, Mrs. Henry L.

Mayes, Mrs. Carolyn S.
Meade, Mr. & Mrs. William A.

Mears, Professor & Mrs. Eliot G.

Mendelson, Mrs. Julius
Mendessolle, Evelyn
Menizes, Constance
Merillion, Mrs. Ralph
Metcalf, Mrs. John B.
Metlar, George W/Goz, Ine:
Meyer, Adolph C.

Meyer, Mrs. Alfred F.
Meyer, Julian J.

Meyer, Luther

Meyer, Mrs. Martin A.
Meyer, Mrs. Minnie
Meyerhoff, Mrs. Faul
Middlemas, Mrs. Stuart
Milbank, Mrs. Robbins
Miles, Dorothy

Miller, Mrs. Harry East
Miller, Mrs. Harry East, Jr.
Miller, Dr. Miriam

Mills, Gwladys

Milton, Mrs. Maxwell C.
Mintzer, Mauricia T.
Mitchell, Sydney B.
Moffat, Henrietta

Moffitt, James K.
Monteagle, Mr. and Mrs. Paige
Moore, James R.

Moore, Mrs. Joseph A., Jr.
Morgan, Mrs. Horace W.
Morgan, Norton J.

Morgan, Mr. & Mrs. William O.
Morrisey, Mrs. John
Morrison, Mrs. Lewis F.
Morrissey, Mrs. E. J.
Morse, Clarence G.
Mosgrave, Alicia

Mosher, Mrs. Isabel
Moulin, Gabriel Studios
Mower, Reni

Mueh, Mrs. W. G.

Mulford, Mrs. Walter
Murdock, Mrs. William C.,
Murphy, Eugene Fe
Musante, Mrs. A. S.

Myers, Mrs. L. A.

Nathan, Mr. & Mrs. John J.
Nature’s Herb Company
Nelson, Mr. & Mrs. Ralph R.
Neuhaus, Eugen

Newhall, Mrs. E. W., Jr.
Newhall, Mrs. Marion Foster
Newman, Mrs. Alfred
Newman, Mrs. William
Nichols, Henry D.
Nickelsburg, Mr. & Mrs. M. S.
Nickelsburg, Mrs. S.
Nields, James F.

Nielsen, Mrs. Erich

Nigh, Mrs. W. H., Jr.
Noble, Mrs. Charles, Jr.
Noble, Mrs. Ethel E.

Nock, H. M.

Northern California Harp Society

Norton, Elizabeth

Ochse, Mrs. L. R.
O’Connell, Mrs. Phil
O’Connor Moffatt and Co.
Olcese, Margaret T.
Older, Mrs. B. J.

Oliver, Mrs. A. Leslie
Olney, Mrs. Warren, Jr.
Ophuls, Louise

Oppen, Mrs. George
Orella, Mrs. F. R.

Orrick W. H.

Otis, Mrs. James

Otto, Mrs. George
Pacific Musical Society
Page, Dr. & Mrs. B. H.
Page, Mr. & Mrs. Charles

(Continued)

Palmer, Mrs. Thomas E.

Parker, Mr. & Mrs. C. F.

Paschel, Philip P.

Patek, Dr. Sadie Dernham

Pennell, Elizabeth

Peterson, Neil H. & Co.

Pettit, Dr. A. V.

Phillips, Esther B.

Phillips, Herbert F.

Philomath Club

Pieper, Tecla

Pierce-Rudolph Storage Co., Ltd.

Pigott, John T.

Pischel, Mrs. Kaspar

Podesta & Baldocchi

Poetz, B. N.

Pollia, J. S.

Polytechnic High School
Music Club

Posey, Mrs. Mary M.

Potter, Alice, M.D.

Potter, Mrs. Ashton H.

Potter, Mrs. J. Sheldon

Prager, Alice S.

Preddey, Walter G.

Price, Christine

Raab, Alexander

Rademaker, Harriet E.

Ransohoff’s, Inc.

Rathbone, King & Seeley, inc

Redewill, Dr. F. L.

Reed, Dr. Alfred C.

Reed, Laurence E.

Rehfisch, Mrs. H. W.

Reinheimer, Isidor

Renny, Jessie

Rettenmayer, Mrs. J. P.

Reynolds, Lloyd R.

Reynolds, Dr. & Mrs. Ralph A.

Rhine, Esther

Richard, Mr. & Mrs. Harry

Rinder, Rev. Reuben R.

Rives, Harold W.

Robinson, Mrs. Mabel R.

Rodgers, Mrs. Eben, Jr.

Rodolph, George W.

Roe, Mrs. Hall

Rogers, Mrs. William Lister

Roos Bros.

Roos, Col. & Mrs. Robert A.

Rosenbaum, Mrs. Charles W.

Rosenberg, Mrs. T. L.

Rosener, Leland S.

Rosenfeld, Max L.

Rosenshine, Mrs. Monroe

Roth, Adolph

Roth, Mrs. Angela Wing

Rowe, Mrs. Albert H.

Rubke, FL. W.

Rudd, Mrs. Gertrude H.

Ryan, Mrs. H. J.

Sahlein, Mrs. Henry

St. Francis Wood MOREA Club

Salomon, Mrs. Leon

Salz, Mrs. Howard H.

Salz, Milton H.

Sampson, Dr. & Mrs. John J.

San Francisco Musical Club

Saroni, Mrs. Alfred B.

Sbarboro, Mrs. Alfred

Schmidt, Mrs. B. H.

Schmiedell, Mrs. E. G

Schubert, Richard

Schurman, Mrs. Robert

Schwamm, Louise

Schwartz, Mrs. Archie

Schwartz, Sidney L.

Scott, Mrs. B. C.

Seckels, Alice

Selene, Rose L.

Sellman, Mrs. W/. H.

Shainwald, Mrs. R. S.

Sharp, Fannie & Violet

Sharp, Dr. and Mrs. J. G.

Shaw, Dr. E. B.

Sherman, Mrs. Julius

Shuey, Clarence A.

Simkins, Mrs. Cordelia L.

Simmons, Mrs. G. C.

Simon Bros.

Simon, R. O.

SAN FRANCISCO

Simonds Machinery Co.
Simpson, Mrs. A. W
Simpson, Grace Y.

Simpson, Walter S.

Sims, Mrs. R. M.
Sinsheimer, May
Sinsheimer, Mrs. Samuel C.
Sinton, Mrs. Edgar

Sinton, Stanley H.

Sinton, Mrs. Stanley, Jr.
Sir Francis Drake Hotel
Sisters of the Holy Family
Sloss, Mr. and Mrs. Richard L.
Smallwood, Stanley C.
Smith, Dorothea K.

Smith, Mrs. Irving H.
Smith, M. L.

Smith, Mrs. Stuart F.
Sommer & Kaufmann
Sorenson, Nellie
Southworth, Estelle

Sperry, Mrs. Horace B.
Sprague, Frances A.
Stafford, Mrs. Douglas D.
Starr, Mrs. George W.
Stebbins, Mrs. Evelyn W.
Stebbins, Lucy Ward
Steinhart, Hilda

Steinhart, Rose

Stephens, Mrs. George C.
Stewart, Mr. & Mrs. Charles A.
Stich, Mrs. Camilla Frank
Stockton, Eleanor

Stolz, Max

Stone, Mrs. Abraham Lincoln
Stout, Mabel

Strassburger, Mrs. Lawrence
Strong, Beulah

Stull, Florence

Sugarman, E.

Sullivan, Frank E.

Sussman, Mrs. Emilie
Sutro, Mrs. Alfred

Sutro, Barbara

Sutro, Mrs. John A.

Sutro, Mrs. Oscar

Amberg-Hirth

Baldwin Piano Company
Berkeley Piano Club

Blum’s

Bohemian Symphony Orchestra
Borden’s Dairy Delivery Co.
Bullock & Jones Co.
California Barrell Co.
California Club of California
Dieterich-Post Co

Don Lee

Emporium, The

Fairmont Hotel

Farquhar G Heimbucher
Gilbert, A. M. & Co.

Grobe Music Co.

Grosjean, C. E. Rice Milling Co.
Gump, S.G. & Co

Hallawell Seed Co.

Hancock Bros.

Hawley Forge & Mfg. Co.
Hexol, Inc.

Hotel Canterbury

SYMPHONY ORCHESTRA

ASSOCIATE MEMBERS

Swett, Wilbur F., M.D.
Syme, Myra
Terwilliger, Mrs. H. L.
Tetlow, Mary A
Thelen, Max

Thomas, Arthur F.

Thomas, Mrs. Frederick F.,

Thompson, Barbara Beach
Thompson, Mrs. James A.
Thomson, Mrs. Herbert S.
Threlkeld, Mrs. M. C.
Timlow, Mrs. William F.
Tobin, Mrs. Cyril
Tolenon, Mrs. Edward C.
Torney, Mrs. E. J.
Towne, Mrs. James W.
Toye, Mrs. Florence M.
Tresidder, Mrs. Don
Tripp, Mrs. Kenneth C.
Trouillet, Mme. J.
Trouillet, Mrs. J. P.
Unna, Warren W.

Upton, Mrs. John

Urist, Irving M.
Vagedes, Mrs. Emma

van Deinse, Mrs. F. C.
van Diggelen, A. H.

van Pelt, Mrs. H. M.

van Wyck, Mrs. Sydney M.

Vincent, Mrs. W. Germain
Vittoria Colonna Club
von Adelung, Mrs. Edward
Voorhees, W.R.

Wagner, Mrs. George
Wagner, Helen R.

Waine, Dr. & Mrs. Hans
Waldeck, Mrs. Eda
Waldrop, Mrs. Uda
Walker, Mrs. P. J.
Wallace, Mrs. Morton
Wallace, Mrs. R. W.
Walshe, P.

Ware, Mrs. Edward R.

Warren, Mr. & Mrs. Lingan A.

Waterman, Mrs. Jesse H.

FIRMS AND ORGANIZATIONS

Hotel Mark Hopkins
Hotel St. Francis

Hotel Stewart

Hotel Whitcomb
Katherine Branson School
King Extract Co.

Liebes, H. & Co.
Livingston Bros., Inc.

McLean, Goldberg Bowen Co.

Magnin, |. & Co.
Marcus-Lesoine, Inc.
Martin & Brown

Metlar, George W. Co., Inc.

Moulin, Gabriel Studios

Musicians’ Union Local No. 6

Nature’s Herb Co.

Northern California Harp Society

O’Connor Moffatt & Co.
Pacific Gas & Electric Co.
Pacific Musical Society
Pauson, Frank & Sons
Peterson, Nei! H. & Co.

(Continued)

Weed, Mrs. Benjamin C.
Weill, Mr. & Mrs. Michel D.
Weingarten, Mrs. Milton
Weller, Dr. G Mrs. Theodore W.
Wiener, Grace B
Wiener, Zelda
Wiggin, Mrs. Mary A.
Wihr, Mrs. George M.
Wilbur, Dorothea E.
Wildburg, Mrs. Irving I.
Williams, Charles F
Williams, Stephen
Williamson, Mrs. G. G
Willis, Mrs. E. N.
Willits, Anna T.
Wison, Mrs. A. W.
Wilson, Mary E.
Wise, Mrs. E. W.
Wisecarver, R. P.
Wiseman, Georgea
Whitney, William W.
Wolf, Mrs. J. L.
Wolf, Mrs. Paul T.
Wolff, Mrs. M. L.
Wolfsohn, Dr. & Mrs. Fred
Women Musicians’ Club of
San Francisco
Wood, Hazel & Myrtle
Wood, Leonard E.
Wood, Lois
Woodruff, A. W.
Woodward, Gertrude B.
Wormser, Mrs. Paul
Wright, Mrs. H. E.
Wurkheim, S. & Brother
Wuthman, Mrs. E. F
Yabroff, Mrs. Samuel
Yeazell, Louise A., M.D.
Young, Mrs. H. S
Zaruba, Mrs. V.
Zentner, Mrs. Julius
Ziel, Mrs. John G.
Zimmerman, Mrs. Philip
Zimmerman, Rudolph
Zook, Edgar T

Philomath Club

Pierce-Rudolph Storage Co., Ltd.

Pisani Printing & Publishing Co.

Podesta & Baldocchi

Polytechnic High School
Music Club

Ransohoff’s, Inc.

Rathbone, King & Seeley, Inc.

Roos Bros.

Rosenfeld’s Sons, John

St. Francis W/ood Musical Club

San Francisco Musical Club

Sherman, Clay & Co.

Simon Bros.

Simonds Machinery Co.

Sir Francis Drake Hotel

Sommer & Kaufmann

Vittoria Colonna Club

White House, The

Women Musicians’ Club of
San Francisco

Wurkheim, S. & Brother

703

VIOLINS:

BLINDER, NAOQUM
CONCERTMASTER

HEYES, PETER
ASSISTANT CONCERTMASTER

WOLSK!I, WILLIAM
ASSISTANT CONCERTMASTER

ARGIEWICZ, ARTUR
ASSISTANT CONCERTMASTER

ANDERSON, THEODORE
ForpD, Louis W.
HOLM, THORSTEIN JENSEN
GUARALD!I, MAFALDA
SHWEID, HENRY
EDMUNDS, CICELY
SCHNEIDER, DAVID
VAN DYKE, MARGIA
MYERS, MISCHA
ROURKE, ROBERT
GORDOHN, ROBERT
HAUG, JULIUS
WEGMAN, WILLEM
GOUGH, WALTER
PASMDORE, MARY
LARAIA, ATTILIO F.
SHAPRO, DAVID
HELGET, HANS
BAUER, BEN

BARET, BERTHE
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Twelfth Pair . Artur Rubinstein, Guest Artist — a April 13-14, 1945

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KNOW YOUR SYMPHONY

-—4

With this 12th pair of symphony concerts, Pierre Monteux con-
cludes his 10th season as conductor of the San Francisco Symphony
Orchestra. On March 23, the University of California conferred the
degree of Doctor of Laws upon Monteux with the words:

Pierre Monteux: Native of France and veteran of the French Army
in World War I; devoted citizen of the United States; artist and director
of artists; conductor of notable orchestras in Europe and the United
States, for all of which he has set high standards of excellence; renowned
interpreter of the ballet and of the works of French and American com-
posers; a scholarly and sensitive musician.

LBE~<L

On April 5, in appreciation of his decade of outstanding work with
the San Francisco Symphony Orchestra, the Board of Governors of the
Musical Association of San Francisco honored Mr. Monteux at a testi-
monial dinner. On this occasion, letters and telegrams of congratula-
tions from some of the greatest names in music were received by the

Conductor. Among Ridtten these included:

ARTUR RODZINSKI, New York Philharmonic Symphony Orchestra
San Francisco is indeed fortunate in having as the leader Or tts

symphony orchestra, Pierre Monteux, a ereat musician and a masterful
conductor.

SERGE KOUSSEVITZKY,. Boston Symphony Orchestra ... My warm-
est congratulations go to you on your 10th anniversary as conductor of
the San Francisco Symphony Orchestra. May the following decades of
your activities be as productive and successful for the benefit of the
musical and cultural life of America.

EUGENE ORMANDY, Philadelphia Orchestra . . . It gives the mem-
bers of the Philadelphia Orchestra and myself great pleasure to extend
our warmest congratulations on the 10th anniversary of your brilliant
work as director of the San Francisco Symphony Orchestra. Please accept

our best wishes for continued success to you and your wonderful org nal
zation.

WALTER DAMROSCH ... My pleasure is mingled with great regret
that San Francisco is 3000 miles aw ay and that I cannot be present to
join in tribute to you as man and musician. My only hope is that San
Francisco will be generous to us in the far East and let New York enjoy
your artistry often.

VLADIMIR GOLSCHMANN, St. Louis Symphony Orchestra . . . As
one who has known and admired you since the days of the Concerts
Monteux in Paris, may I add my congratulations to those of your many,
many friends and may | thank you for all the musical joys I owe you.

IGOR STRAVINSKY ... It is with an intense joy that I am sending
a few words of appreciation to dear Pierre Monteux, the master ene

of orchestras. My admiration for his consistent and understanding

efforts to present avantguar d of musical works, an arduous task eon
to enlighten an always resisting public taste, and an exacting mission of
which Monten has eloriously ae himself.

SYMPHONY ORCHESTRA

SSS ISAS SSNS lee dde dene INS N SID OO SSCS SSSA SFERSAS IAA preeenonnnoccenanc MOAT

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E, Raymond Armsby..--........-:.-...-:.-; Vice-President Gharles |Page.s5 ees cae eee Treasurer
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THE SAN FRANCISCO SYMPHONY ORCHESTRA

SYMPHONY ORCHESTRA

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TODAYSs: GUESIECARSISi:
COO ~*~ J

ARTUR RUBINSTEIN was born 1n Lodz, Poland, in 1886. He made his first
public appearance as a concert artist at the age of four. ‘he major part of his
instruction was gained in Berlin, where Rubinstein became a protégé of Joseph
Joachim, and where he studied the piano with Heinrich Barth. His formal
debut was made in Berlin at the age of 11, when he played a Mozart concerto
under Joachim’s baton. Later Rubinstein studied for a time with Paderewski.
He has been before the American public since 1906, and has appeared in concert
(hroughout the entire world.

This will be Mr. Rubinstein’s sixth appearance with the San Francisco
Symphony Orchestra. He was last heard playing the Khatchaturian concerto on

the Art Commission series last year.

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Thirty-third Season
1944 - 45

SAN FRANCISCO SYMPHONY os poaiaarbings

PIERRE MONTEUX, Conductor
-{@}-
TWELFTH PAIR OF SYMPHONY CONCERTS

FRIDAY, APRIL 13, AT 2:15
SATURDAY, APRIL 14, AT 8:30

ARTUR RUBINSTEIN, Guest Artist

“Program
SRE CALOINS SER CME WEIN OO ee ene) 2 se. Bach

(ORCHESTRATED BY SIR HENRY Woop)
Prelude
Andante mistico
Finale

PRELUDE WOT HE AFTERNOON OF A FAUN: Debussy

ae con brio
Largo
Allegro
Mr. RUBINSTEIN

INTERMISSION

SY MEREONIT GC SUE NO@2 PROMS PI Ogee fa snviauranid

(First PERFORMANCE IN SAN FRANCISCO)
Overture
Prelude and Fugue
Pastorale
Finale

SACVER-ELOINN BD VITIN OURS toca. eee cee len cs cole: Franck
Lento—Allegro non troppo
Allegretto
Allegro non troppo

ere as"

It is requested that subscribers who are unable to use their tickets
kindly phone the Symphony Office—UNderhill 4008—giving location
of their seats that they may be assigned to untformed men and women.
This courtesy will be deeply appreciated.

SYMPHONY ORCHESTRA

| rtu LR l js i LS te in

..- HEAR HIM ON VICTOR RED SEAL RECORDS

You may enjoy a command performance by Artur Rubinstein
any time you wish. The celebrated artist, who has been called the
greatest Polish pianist since Paderewski, has recorded many
superb performances for Victor. The Victor catalog lists inspired
Rubinstein recordings of Chopin, Grieg, Tchaikovsky, Brahms
and many others. Kach brings you the verve and power of Mr.
Rubinstein’s dynamic technique, his rare insight and tonal loveli-

ness 1m perfect reproduction. Listen to ““Vhe Music America Loves Best”
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PROGRAM NOTES

By ALFRED FRANKENSTEIN

SELECTIONS BROMES UTE NO@Gaee. = Johann Sebastian Bach
(1685-1750)
ORCHESTRATED BY SIR HENRY Woop

Bach, of course, wrote only four orchestral suites. hese selections are taken
from the sixth suite of Bach transcriptions made by the late Sir Henry Wood.

The first movement played on this occasion is the C sharp major prelude
from the first book of The Well Tempered Clavier; Sir Henry transposes it up a
semitone for the convenience of the orchestra. The second movement, arranged
lor woodwind alone, is in B minor and comes from some unidentified prelude
apparently for harpsichord or organ. The finale is the first movement of the E
major partita for violin alone, arranged by Sir Henry for all the strings.

PRELUDE TO THE AFTERNOON OF A FAUN.. Claude Debussy
(1862-1918)

As all the world knows, Debussy’s prelude, first performed in 1894, derives
its title from a celebrated poem by Stéphane Mallarmé. A much abbreviated
prose paraphrase of this poem, by Edmund Gosse, is traditionally printed in
American program books when Debussy’ s Faun is played, and this tradition
will be followed here. But strong reservations must be made regarding Gosse’s
version. It is too definite, too specific. As Hayse Cooperman remarks, poetry was,
for Mallarmé, “a network of suggestions wherein one allusion referred to one
or two other allusions, the latter “being nothing more than a vapor having its
source in a volatilized distillation of ultra- personal and super-sensitive images,
or, one might say, mirages.”’ And on top of this, Debussy’s work is not program
music illustrating Mallarmé, but a prelude to his poem.

A few lines from Aldous Huxley’s translation of The Afternoon of a Faun
Mav act as a corrective to Gosse’s literalism:
I! would immortalize these nymphs: so bright
ee sunlit coloring, so airy light,
It floats like a drowsing down. Loved I a dream?
My doubts, born of oblivious darkness, seem
A subtle trace ry of branches grown
The tree’s true self—proving that I have known
No triumph but the shadow of a rose.
But think. These nymphs, thei ur loveliness ... suppose
They bodied forth your senses’ fabulous thirst?
Illusion! Which the blue eyes of the first,
As cold and chaste as is the weeping spring,
Beget: the other, sighing, passioning,
Is Say the wind, warm in your fleece at noon?
No, through this quiet, when a weary swoon
Crushes and chokes the latest faint essay
Of morning, cool against the encroaching day,
There is no murmuring water, save the gush
Of my clear fluted notes; and in the hush
Blows never a wind, save that which through my reed
Puffs out before the rain of notes can speed
Upon the arr, with that calm breath of art
That mounts the unwrinkled zenith visibly
Where inspiration seeks its native sky.

SYMPHONY ORCHESTRA Vie se)

:
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3
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RESERVE
Blenedtiisht

porlito fow

Rw owcsemmnag se”

mew TORK wy 7

a eetg oe ee ow

Schenle

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SN TE

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COSCON Ce rT

Gosse’s prose paraphrase 1s as follows:
“A faun—a simple, sensuous, passionate being—wakens in the forest at
daybreak and tries to recall his experience of the previous afternoon. Was he
| the fortunate recipient of an actual visit from nymphs, white and golden god-
desses, divinely tender and indulgent? Or is the memory he seems to retain
nothing but the shadow of a vision, no more substantial than the ‘arid rain’
of notes from his own flute? He cannot tell. Yet surely there was, surely there
is, an animal whiteness among the brown reeds of the lake that shines out
vonder? Were they, are they, swans? No! But Natads plunging? Perhaps.
“Vaeuer and vaguer grows the impression of this delicious experience.
He would resign his woodland godship to retain it. A garden of lilies, golden-
headed, white-stalked, behind the trellis of red roses? Ah! the effort 1s too great
for his poor brain. Perhaps if he selects one lily from the garth of lilies, one
benign and beneficient yielder of her cup to thirsty lips, the memory, the ever-
receding memory, may be forced back. So, when he has glutted upon a bunch of
erapes, he is wont to toss the empty skins into the air and blow them out ina
visionary greediness. But no, the delicious hour grows vaguer; experience or
dream, he will now never know which it was. The sun is warm, the grasses
yielding: and he curls himself up again, after worshipping the efficacious star of
wine, that he may pursue the dubious ecstasy into the more hopeful boskages of

sleep:
Bas a ee eee ee ee ee ee

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Hard-of-hearing aids are available in the Main Foyer. Attendant will connect same to your seat
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SYMPHONY ORCHESTRA wf

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trmain Meal: AY

CONCERTO FOR PIANO AND ORCHESTRA,
INO: SLUNG GeVEEN@ Rite tere ear elem s nee Ludwig van Beethoven

(1770-1827)

Beethoven first won the admiration and respect of the general public as a
pianist. Consequently the majority of his early works are for the piano, either
alone or in combination with other instruments, and most of these, including
the first three concertos, were intended for Beethoven’s own use as a concert
performer.

Carl Czerny, who studied with Beethoven from 1800, the year of the com-
position of the C minor concerto, to 1803, said his playing at that period was
notable for its “tremendous power, character, unheard-of bravura and facility.
In rapidity of scale passages, trills, leaps and so on no one equalled him, not even
Hummel. His attitude at the piano was perfectly quiet and dignified, with no
approach to grimace, except to bend down a little toward the keys as his deatf-
ness increased. His fingers were very powerful, not long, and broadened at the
tips by much playing; for he told me often that in his youth he had practiced
stupendously, mostly until past midnight each day.”

Ludwig Spohr met Beethoven 13 years later, and records that “he had dis-
continued playing both in public and at private parties.” Spohr nevertheless
heard him read through a new trio of his own. “It was by no means a pleasure,”
he says, ‘for, in the first place, the piano was woefully out of tune, which, how-
ever, troubled Beethoven little, since he could hear nothing of it, and secondly,
of the formerly admired excellence of the virtuoso scarcely anything was left,

DH Hapig te acral ue

1
STRARTER

and his music

SYMPHONY ORCHESTRA 739

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in consequence of his total deafness. In the fortes the poor man hammered in
such a way upon the keys that entire groups of notes were inaudible, so that one
lost all sense of the theme unless one’s eye followed the score at the same time.
i felt moved with the deepest sorrow at so hard a destiny. It is a misfortune for
anyone to be deaf; how then could a musician endure it without despair?
Beethoven’s almost continual melancholy was no longer a riddle to me.”

Beethoven waited three years before giving the C minor concerto its first
performance. ‘The circumstances of that presentation cast some interesting
sidelights on the musical conditions with which Beethoven was surrounded
throughout his life.

On March 26 and 30, 1803, the Wiener Zeitung carried the following notice:

“On the fifth of April Herr Ludwig van Beethoven will produce a new ora-
torio set to music by him, Christ on the Mount of Olives, in the Royal and
Imperial Uheater-an-der-Wien. ‘The other pieces also to be performed will be
announced on the large bill-board in front of the theater.”

“The “other pieces” turned out to be Beethoven’s first and second sym-
phonies and his third piano concerto, Still more things were planned, but were
abandoned as the concert progressed because of the time consumed. As it was,
the program could not have been less than four hours long.

This occasion was to mark Beethoven’s debut as a composer of large con-
certed vocal works. The concert was given for his benefit, and, according to
lenaz von Seyfried, staff conductor of the Theater-an-der-Wien, who directed
the program in question, Beethoven “doubled the prices of the first chairs,
tripled those of the reserved, and demanded twelve ducats, instead of four
florins.* for each box. ... The result, however, answered his expectations, for the
concert yielded 1800 florins.”

*The old Austrian ducat was worth about $2.25, the florin about fifty cents.

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The final rehearsal took place on the day of the concert, starting at 8 in
the morning. Beethoven’s pupil, Ferdinand Ries, described it as erribic: ” they
worked on the oratorio from 8 until 2:30, had lunch, and then went all over it
again. The rehearsal could not have been adjourned much before the start of
thie concert, Which was scheduled to begin at 6.

In those days it was not a common practice for soloists to memorize their
CONCertOS. Seyfried turned pages for Beethoven at the piano, which indicates
that, since Seyfried was the conductor, Beethoven must have directed the con-
certo and played the solo at the same time, as was the general custom among
Sony plenie pianists.

“T saw almost nothing but empty leaves,” says Seyfried. “At the most on one
page or the other a few Egyptian hieroglyphs wholly unintelligible to me scrib-
bled down to serve as clues for him, for he played almost all of the solo part
from memory, since, as was so often the case, he had not had time to put it all
down on paper. He gave me a secret glance whenever he was at the end of one
of the invisible pages, and my scarcely concealable anxiety not to miss the de-
cisive moment amused him greatly, and he laughed heartily at the jovial supper
which we ate afterward.”

Since modern audiences invariably think of Beethoven as the sick, eccentric
middle-aged man of his last years, it might be well to point out that Beethoven
was 29 w hen the third concerto was written and 32 when it was first performed,
and was then far from being the recluse he eventually became. He lived well and
he dressed well, and was distinctly a man of the world.

]
Allegro con brio, G minor, alla breve. Vhe first movement follows the class-
ical prescription in containing two expositions of its thematic ideas, the first

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for the orchestra alone, the second for the solo instrument and orchestra, al-
though there are some slight departures from classical practice as this pair of
expositions unfolds.

The first phrase of the principal theme is heard at once in the Strings in
octaves, and 1s answerecl by the woodwind in harmony:

[TSA ees eee
A a Woody, ng horns
J SUFLNGS ~ pe: mi ie 4: ae | ae Jp
(TTR SST Ea ; T E = i : } i a
re a a ta os ag ee
* Pine BOD age pica, . ae : we pis : A09E 9 OS :
Ath Ee eS re me ew a eee ny . “0 . pe ey EC
ee 2 2) : op 22 rf -*.
pares ares Pte fp pn 0 pm PE
Uae Sas eeeeelaze dere ees | eae,
bs 7 PP violins sf J SF SF

A brief cadential figure follows, after which the theme is boldly worked over
and extended, beginning in E flat major, but darkening into the minor in order
that the lyrical second theme may seem all the more radiant when it eventually
appears in the clarinets and first violins in E flat mayor:

a ce a mee ee ce eee ee ee

A oki Das cae ST | te DY FAB iy al ;

bi ASerees aa aTe, Hed ot Dia ipl? pets bas | pete,
pP eee r cena I — I fia] i Se

After this second theme has been stated and counter-stated, a phrase derived
from Motif A in Example | is heard, followed by two concluding motifs. The
first of these motifs is:

oboe viol, i oboe P
4 dat Ne Be rae ee e
qe TCE E sirel Srireep eeepp if PAir ci! toy
= Pp p ———

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and the second:
eh ere es ,+ > > id
bo EE Strelit rer erieat

A canonical restatement of the first part of Example 1 concludes the first ex-
position.

The piano enters with scales in octaves to begin the second exposition. ‘The
piano gives out Example | ina somewhat varied form. The brief cadential figure
and the bold extension’ol the theme are now divided between the solo instru-
ment and the orchestra, after which the piano has a new transitional idea:

oe, as
pet fit thel, a pa pup, pfitt piet
pp EL Ober eeepc ee eR

ae ——
h os x ‘
Me 2423) tr — be Ih
01 fooaloat a Foss aim paws ea he
pe fp 2 c= L xo
S ¥ = | hed jaa et perc.

The second theme (Example 2) now appears, again in E flat major, and begun
by the solo. After this has run its course the first ‘concluding moti (Example 3)
is briefly treated. There is slightly more extensive treatment of the vigorous,
jumping Motif B from E xample | before the second exposition ends with a final
reminiscence of Motif A.

The solo instrument drops out, as usual, at the beginning of the compara-
tively short development section, which opens with a v igorous Rraneerral passage

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SYMPHONY ORCHESTRA 745

based on the second concluding figure (Example 4). “Then the piano re-enters,
again introducing itself with rising scales, as well as Motifs B and A, but passing
almost at once to a new version of Motif C from Example |

In the working over which follows, Motifs A and B remain in the orchestra and
are heard in succession, as in Example | itself, as well as separately and in coun-
tcrpoint against each other. Over this background the piano devotes itself largely
Lo Example 6 and to ornamentation.

The recapitulation begins with Motifs A and B of Example | in the or-
chestra. Motif C is reduced to a brief descending phrase in the solo. ‘The piano’s
transition theme (Example 5) comes back and then the second theme (Example
2), in C major, begun by the solo. The first concluding theme (Example 3)
is reheard, along with the treatment of Motif B which had followed it at the
end of the second exposition. Motif A ends the recapitulation. Example 4 is
completely suppressed.

The coda begins with Example | in the orchestra in the original key, C
minor. There is.an elaborate cadenza for the solo instrument. (Ihe cadenza
used today is by Beethoven himself.) Further recollections of Example I, and

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particularly Motif B, are heard after the cadenza. ‘The piano ends the movement
with the rising scales it had employed at its first entry.
I]
Largo, E major, 3/8 me. he piano has the principal theme at the outset:

ra ae a
je) Te steal
aes 7 . feet
pies ar a 4 2 a eee
ye aa 3 = EEE
wd ewer
ee a = eA
¢ ie I. Seis FTE oe
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This is repeated in highly varied form by the orchestra, and there is a con-
tinuing phrase in the lower strings and bassoons. The orchestral passage ends
with a descending broken chord of E major in octaves and unisons, forte, where-
upon the piano states the second theme, in the same key:

8 nw
—~ x ge —W ee 6 % vate 4 of “8 aes
Pts , - . . ~ ” ¥5 =) : 34° 4. +6" Baer al oe a rf wf f
7 hi ae era ST aRte Biipes serie er hy reper A reerier ere
‘<i 2 ——oe Oo ss fF SSS Sa SS ee
& a oe a, ~ 2 a —— _——-— Wy = — ——— pn =

This is continued by the strings in the dominant key, B major, and the plano
concludes the second subject with further ornamental sextolets and rapid scales.

The middle section of the movement is a development-like episode wherein
the piano has arpeggiated arabesques over a dialogue of the flute and bassoon,
largely in slowly descending thirds.

The recapitulation begins with the principal theme (Example 7) in the
home key of E major, begun by the piano, but now the orchestra takes the lead
away from the solo in the third bar, and while the lead is shortly restored to the

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star performer, the orchestra continues to have its say throughout the recapitu-
lation of the theme. The varied orchestral counterstatement of the subject 1s
also reheard, and this provides the material for the coda; Example 8 is not
brought back. ‘There isa brief cadenza and a final reference to Example 7 before
the end.
II]
Allegro, C minor, 2/4 time. The finale is, as usual, in rondo form. ‘he

principal subject is stated at once by the plano:

Speed bem ite Na - pwaeraee || ae! ae
Phy, xr : ee a dora ae en hea fe? ate ef to =
GY DA F | ne? if = ae H = =e == as f : Si ms apace o7=a>
v nef | Sf Sf
‘This is worked over at some length by all concerned.
Flourishes of trumpets and the solo instrument introduce the first episodic
theme, again given to the solo:

10 pases Aide aia ce tS Spt Ch gs Hoo 2
bee ae ey

The orchestra takes up Example 10, and the piano replies with enthusiastic
triplet figures. A second part of the episode begins with the following in the

violins:

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The principal subject (Example 9) is now reheard in its entirety, inter-
rupted by a short cadenza for the solo.

‘The second episode is based upon a theme stated by the solo clarinet:

When this has run its course in orchestra and solo, there is a brief fugue on
Example 9 in F minor, begun by the ‘celli. ‘This ends with repeated A flats in
the entire orchestra, which the piano takes up. The piano discovers that A flat
and G sharp are the same note, and so manages to bring back the principal
subject (Example 9) in E major, but during the course of the rehearing the
section goes back to the expected C minor.

Again flourishes of the trumpets and the solo precede the first episodic
theme (Example 10), which is combined with Example 9 and worked over to
a dramatic pause, whereupon the piano gives out a transformation of example

QO as follows:

and this brings the concerto to an end in a blazing Presto in C major.

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SYMPHONIC SUITE NO. 2 FROM PROTEE. .. Darius Milhaud
(1892- )

Following the general practice of classic Greek dramatists, Aeschuylus
wrote a comedy entitled Proteus to be performed after his cycle of three tragedies
known collectively as the Oresteia. The Oresteia is preserved, but Proteus is
lost, and only its title is known. Having translated the Oresteia into French.
Paul Claudel proceeded to write his own comedy about Proteus, the prophet
who lived in the sea, came to the land every day at noon, and had to be physically
seized by humans before he would exercise his wisdom on their behalf. But
Proteus did not prophesy willingly, and when captured would change himself
into every conceivable shape in order to avoid being questioned.

Mr. Milhaud composed much music for Claudel’s Ovresteia and for his
Protee. The Protée music was completed in its present form in 1919. The suite
consists largely of preludes and interludes and does not reflect any incidents of
the drama. In fact, when the present set of pieces was published, it was simply
called Symphonic Suite No. 2 and bore no reference at all to Claudel’s play.

Mr. Milhaud points out that the overture is in a tango-habanera rhythm.
This is followed by “a Prelude (very fast) and a Fugue (for brasses, with the
rest of the orchestra sustaining them) ; a Pastorale using the rhythm 3-3-2; a
Nocturne in 5/8 time which has also been used for a piano-and-violin piece
called Le Printemps; and a Finale of a strong and bright character.” The
Nocturne 1s omitted from the present performance.

The suite is dedicated to the memory of Albéric Magnard, the French com-
poser who was killed by the Germans defending his house at Baron (Oise) in

September, 1914.

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SYMPHONY, D MINOR

A Rey At, Reed Pad PAGE al Gees César Franck
(1822-1890)

The legends of the Franck symphony have been told so often that people
are beginning to tell them all over again with reverse english. ‘Thus, in order to
typify the lack of understanding with which this work was received when it was
first presented, (in Paris in 1889) Vincent d’Indy cites the case of an unnamed
professor at the Paris Conservatory who declared that, regardless of what virtues
Franck’s composition might possess, it could never be called a symphony because
it employs the English horn, an instrument never found in the symphonies of
Haydn and Beethoven. Mr. Cecil Gray, in his book on Sibelius published in
1930, comes to the defense of the anonymous professor, and argues that the type
of musical mind which demands ‘effects of color so marked and individual as
those provided by the English horn is incapable of true symphonic thinking:
and it need scarcely be said that this estimable instrument is not to be found in
the symphonies by the author of The Swan of Tuwonela.

Be that as it may, many thousands of music lovers have been content to
accept César Franck’s one contribution to the literature of the symphony as a
deeply satisfying example of the species, and, biographers and disciples to the
contrary notwithstanding, the Franck symphony did not have much difficulty in
making its way. It was first heard in America a few months after its introduction
in Paris, and within ten years had been performed in practically every important
music center in the world.

Franck’s symphony represents the culmination of a philosophy of musical
structure with which this composer is especially identified. ‘This principle has
been labeled cyclic form, a term which implies the attainment of an inner
organic unity between the several movements of a piece of music on a large scale
through the quotation in later movements of material that had previously ap-

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peared in earlier, or through—and this is a much subtler and esthetically quite
different process—the derivation of some or all of the thematic ideas of a given
work from one or two germinal motifs. ‘This principle was not original with
César Franck. It is to be found in many significant works of Beethoven, Schu-
mann, I’schaikowsky and Brahms, and it is certainly not unrelated to the Liszt-
ian concept of “transformation of themes.” But where these other composers
employ the cyclic principle occasionally, as one of many types of formal organ-
ization, Franck makes use of it constantly and bases his entire contribution to
symphonic and chamber music upon it.

Both types of cyclic procedure are to be found in Franck’s symphony —
both the obvious direct quotation of material from one movement in another,
and the subtle, hidden derivation of apparently different thematic ideas from
one and the same germ-cell.

‘The symphony, however, actually has two germinal motifs, the first stated in

A
in the opening bar a a — F i= = f= and the second appearing as the

first measure of the closing theme in the first movement: — = b> == ig

All the important themes of the work are deriv ed from one or another or both of
these two figures. And each of these figures is worth a paragraph or two in itself.

The questioning melodic curve of Example A appears often in music. It, or
something closely resembling it, can be found in the subject of the C sharp
minor fugue in the first book of Bach’s Well Tempered Clavier, in the fifth and
sixth bars of the first movement in Schubert’s Unfinished symphony, in the

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L

—-

e instances cited are worth looking

‘The last thi

ate in Wagner's Ring.

-
4

finale of Beethoven’s last quartet, in Liszt’s tone poem, Les Préludes, and as the
motit of I

re closely.

into a little mo

and over the

looks ever so slightly like Franck’s second germinal

) he writes the words Es muss sein (“It must be”).

Seuel
P

Nuss es
=
7 a

n, in the quartet mentioned, writes over the questioning motif the

s sein? (“Must it bee”)

thove
Muss e

€

words

phrase, which

ring }
ample

answe
figure

—_~=

above

(Ex

It is, of course, true that Beethoven intended this

mock

seriousness, but that fact has only recently been emphasized; at all

nts. whether it be intended with mock seriousness or serious seriousness, the

}

CvG¢

+, _ >

imagina-

as used with fateful implications by

' Franck was no less a student of Beethoven than his

rman colleagues

ss no ereat stretch of the

‘rious, and it require

e in this the source of the figure

~—

Jp a
—

= A)

ay ~/

—_ —_

— —

~
= ~
~~
/ co
—_ =

— _
Y as

ae ——
eS) ~

~
& —
St —

_— ~
— _—
On ZL

F oS

— ~ 4
oOoO-

—_

_ ~
— a-
~ _

—_— -~ ~
~ ~ —_
— to ~
— —_—

ind it is entirely possible that his employ-

ADE
ment of the motif stems from the same place.

Hungarian and Ge

(

anck Sym
Roman Catholic missal as

p=
—~
OO
— te —_-
—
oS
VU -
a
A ei
—-
a 0
ae ie
al 1904
A —
Var
— ~~
roi kee!
—
SC =
lon!
= 3
CS >
Av
i+) +
— —
——
Y
a &
aml ; omml
ie
~~ —
-— ~~
om ~
[ el
> ci
—_—
~
=.
_
Sp)
O
_—_
_
-
—
—~
—_
~
=
_
v
=
-——

referring to t

bv M. d’Indya torculus,

The second germinal motif of the Fr

ippears in the Solesmes edition of the

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ARS ee 3 e

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INAVEN RUG au Relea fe TPIT) os yeas 2a. Piano

BINAINIGES= VViUEINIERA ec Violin

LACKS ANEINE PVA IAG eal eal oe Viola

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; This “torculus” appears elsewhere in the music of César Franck. It is, for exam-

ple, the germinal motif of his violin sonata and his piano quintet.

| In the outline of the symphony which follows, the derivation of the themes
from the germinal motifs is indicated with brackets over the quotations. When
passing tones have been inserted between essential notes, the essential notes are
indicated with crosses.

I
Lento, D minor,* 4/4 time. The symphony opens with a slow introduction,
; beginning in the ‘celli and basses with the first germ motif in its full, thematic

*'This work is said to be in D minor because the first movement opens and closes in that
key. Actually, D minor plays a comparatively small part in the proceedings, at least by contrast
with the emphasis upon the principal tonality in the classic symphonic form. The unorthodox
freedom of Franck’s key-plan here and elsewhere is part and parcel of that famous Franckian
chromaticism which led Claude Debussy to leave Franck’s class at the Paris Conservatory with
the remark that he did not desire to study with a teacher whose only precept was ‘Modulate,
modulate, modulate.” ‘This aspect of Franck’s style has been traced by some authorities to the
influence of Liszt and Wagner, but it is probably due to an equal degree to the composer’s life-
f long experience as a church organist. The organist, called upon to provide a diffused, atmos-

pheric background of sound to a church service, is likely to take refuge in a kind of persistent
side-slipping or dissolving of tonalities. It is worth remarking also that Franck’s orchestration
in the symphony is clearly beholden to the organ in its handling of the classical instruments
and in its use of such classical outlaws as the English horn, bass clarinet, tuba and cornet.
(Just why M. d’Indy’s professor friend did not cast Franck into outer darkness for employing
the last three of the instruments mentioned as well as the first remains to be explained.) ‘This
orchestration—one is tempted to call it “registration’—is particularly related to the resonances
and sonorities of the Parisian organs of Franck’s time, which were somewhat reedier in tone
than the organs we are used to hearing in America. It should be noted, however, that Franck
does not by any means write for the orchestra in the organ-like fashion of the symphony in his
tone poems and choral works.

i See

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y eeoe
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/
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SYMPHONY ORCHESTRA 761

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J — eee rare | EVO SS = z ee
Dp ey
continued by the violins one bar later:
Laat pale
br fe 2 WN ere
eS Sen as <a ee /

Example | is then repeated and worked over.
The tempo changes to Allegro non troppo and the time to alla breve as the
main movement opens with the following theme in the violins:

Gre Meld A TTS pie pipate Idee

(Lhe first four bars of this, it will be readily seen, are a new version of Exam-
ple 1). An important subsidiary phrase appears in the woodwind eight bars
alter Example 3 as quoted:

—_

WILLIAM F. LARAIA

first Violinist San Francisco Symphony Orchestra for twenty-five

years — has resigned in order to devote his time exclusively to
teaching.

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SYMPHONY ORCHESTRA 763

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There is a rallentando and fermata, the tempo goes back us) Lento and the time
signature to 4/4, and the entire introduction (Examples [2 etseq.) is tepeated,
but in F minor. After this the tempo returns to Allegro non troppo and the time
to alla breve, and the first theme proper (Examples 3 and 4) is restated, also in

F minor. The second theme follows, in the violins in F major:
7 OS ee
a — Ae

grape ele d. eae ae

leading to the closing subject, which is the second germ motif in its full thematic
j aspect, given out by violins, trumpets and woodwinds:

| #26eetee eee eee eee

The exposition ends with the first bars of Example 6 given out successively by
solo horn, oboe and flute, each solo ending with a long-held chord.

The development also starts with the first measures of Example 6, but in
the violins, and at a more dramatic pace. Detailed description of this section of

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SYMPHONY ORCHESTRA 765

the movement would take far too much space. Suffice it here to say that it con-
cerns itself with both the germinal motifs in their simplest forms as in Examples
A and B and in their fuller manifestations as Examples | and 6, as well as with
Examples 2 and 4, with various scale figures, and with at least one episodic
theme not quoted.

The development reaches a great climax at the height of which the tempo
returns to Lento and the time to 4/4, and the recapitulation begins with a
restatement of the material of the introduction in canon in the brass and lower
strings under a marching progression of the upper strings, woodwinds and horns,
which, like Example 14 below, is a kind of lowest common denominator of Ex-
amples A and B, Once again there is a change to Allegro (not non troppo this
time) and 4/4 time, and the first theme (Example 3) is restated in E flat minor
by the strings, with a new answering figure in the woodwind. It is worked over,
with Example/4, through D minor to D major, in which key the second theme
(Example 5) is recapitulated, as well as the closing theme, Example 6. ‘The re-
capitulation ends, as had the exposition, with woodwind solos,en Example 6.
There is a long coda in D minor beginning with a modulating bass figure not
quoted, over which Example 4 is given new treatment. In the last bars Example
| comes back (Lento) and the movement ends on a triumphant D major chord
like an organ piece of Bach concluding with the teerce de Picardie.

Allegretto, B flat minor, 3/4 time. Here a three-part ABA type of slow move-
ment and a scherzo are telescoped together. ‘The principal theme of the slow
movement is foreshadowed for 16 bars by the harp and plucked strings. Then it
appears in the English horn:

era sire esi baala ebiis

and 1s repeated with fuller orchestration.

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The second part of the slow movement, in B flat major, follows, its theme
eiven to the violins:

After some development of this, Example 7 returns in the English horn and
plucked strings, to conclude the slow movement proper.

The scherzo..in G minor. immediately follows:

The development of this theme (or rather of that portion of it given to the
violins in the above quotation) also involves persistent ghostly references. to
Example 8. The trio of the scherzo, in E flat major, begins with this clarinet
theme:

which is worked over in constant conjunction with the whispering sixteenth
notes of the strings.

‘The key returns to G minor and the scherzo (Example 10, violin figure) is
repeated, but in highly varied form, with Example 7 played off against it.
Example 7 grows more insistent as the original tonality of B flat minor is rein-
stated, but through this section too the 16th-note sc herzo idea is persistently
heard. ‘The coda, poco pit lento, consists of alternating statements of the two
trio themes (Examples 9 and 11) beginning in B major, but the movement ends
in B flat major.

IT]

Allegro non troppo, D major, alla breve. ‘Vhe ’celli and bassoons have the

pr incipal theme at the seventh bar:

ie 1

Variation and restatement of this lead to the second theme, begun by the brass
and continued in the strings, in B major:

13 Crucmpel Bo, > FR violins

biter finale gadis pa a

The development begins in B minor with a ponderous ascending and de-
scending bass figure not altogether unlike Example 4. Shortly, however, the time
changes to 3/4, and Example 7, the principal theme of the slow movement, is
reheard, again as an English horn solo, accompanied by running triplets of the

SYMPHONY ORCHESTRA 767

first violins. With a return to alla breve there is a comparatively briel develop-
ment of Example 12 begun high in the violins, in B major. ‘There is a long
crescendo at the climax of which Example 13 is shouted out by the full orchestra.
‘This climax subsides, and the last part of the development begins, after a lone-
held pause, with a return to the ponderous bass figure referred to above, alter-
nating with suggestions of Example 7 in the woodwind: Another climax is at-
tained, this time serving to bring in the recapitulation.

Exaniple12, the principal theme of the movement, is restated by the full
orchestra in the original key at the outset of the recapitulation, but the second
theme (Example 13) is omitted, its place being taken by Example 7 from the
slow movement, now given fortissimo to practically everything in the orchestra
except the: frst violins, which have an ornamental counterpart against it, but
within a few bars they, too, take it up.

Now begins a long coda. Thirteen measures after Example 7 has run its
course as substitute second theme in the recapitulation, Example 6, the second
germ theme, is heard in the violins in B flat major. Shortly afterward the basses
and ‘celli take up this persistent bass figure:

which, as noted above, is a kind of lowest common denominator of both germ
motifs, and over it, with the gleam of harps and all the other harmonic and
instrumental attributes of glory and apotheosis, Examples | and 6 are heard in
mayestic alternations proceeding through various keys. But neither is given the
final word, and the symphony ends with Example 12, one of the several joint
and equal products of both germinal figures.

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SYMPHONY ORCHESTRA 769

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Walter, Mrs. C. R.
Wickett, Mrs. Frederick A.
Williams, Mrs. W. Wilburforce
Witter, Mrs. Dean
Wright, Mr. & Mrs. Harold L.
Zellerbach, Harold L.

ASSOCIATE MEMBERS LESS THAN $100.00

Aaron, Mrs. Leopold
Abrahams, Mr. & Mrs. Richard D.
Ackenbach, Mrs. Moore S.
Ackerman, Mrs. E. P.
Ackerman, Mrs. |. S.
Ackerman, Mr. & Mrs. Lloyd S.
Adler, Mrs. Aaron A.
Akard, Mrs. W. C.

Akin, Carlotta Grace
Albert, Mrs. Alexander
Alexander, Mrs. Edgar W.
Alexander, Elizabet
Alexander, Mrs. M. E.
Allen, Edward O.

Allen, Mrs.:H. W.

Allen, Martha L.

Allen, Dr. R. H.

Allyne, Lucy

Altman, Mrs. Jack

Altman, Mr. & Mrs. John C.
Altman, Mr. & Mrs. Mark
Alward, Mrs. H. V.
Amberg-Hirth

Anderson, Mrs. Berrien
Anderson, Melvin J.
Anderson, IWESs) lien feds
Andrews, ‘Margaret
Andrews, Mary

Andrews, Mr. & Mrs. Robert E.
Anspacher, Mrs. Selma
Arnhold, Mrs. Bertha
Arnot, Dr. Philip H.
Arnstein, Mrs. Hugo
Arnstein, Mrs. Walter

Ash, Carles S.

Astredo, Mrs. J. E.
Atkinson, Dr. Dorothy W.
Babcock, Mrs. William
Bachman, Jerome N.
Bacigalupi, Beatrice
Baerwald, Mr. & Mrs. Ernst
Bailache, ‘Mrs. Arthur L.
Baker, Mrs. Wakefield
Baldwin, A. R.

Baldwin, Frances

Ballard, Mrs. J. S.

Barkan, Fritz

Barkan, Dr. & Mrs. Otto
Barthold, R. M.

Bartlett, ‘Mrs. Edward Otis

SYMPHONY ORCHESTRA

Bartlett, Olive S.
Bartolowitch, Stephen
Baruch, Mrs. Albert
Baruch, Mrs. Frederick
Baum, Helen

Batchelder, Lincoln

Bauer, Mrs. Samuel
Bechtel, Kenneth K.
Bechtel, Mrs. Stephen
Beetz, Mr. G&G Mrs. Hans B.
Behrend, Mrs. J. F.

Bell, Mr. G Mrs. Walter
Bender, Mrs. W. L.

Benioff, Mr. &G Mrs. David
Benner, Dr. G Mrs. Alan
Bentley, Mrs. Charles H.
Bentley, Marilyn

Bentley, Mrs. W. H.

Bepler, Dr. Alice C.
Berkeley Piano Club
Berton, Mrs. G. A.
Beusman, Mrs. Annie P.
Biber, Mr. & Mrs. George V.
Bishop, Agnes

Bjornstad, Mrs. A. W.
Black, Mrs. Alfred P.
Blackwelder, Mrs. Eliot
Blair, Jennie M.

Bloch, Mrs. F. V.

Bloom, Charles W.

Bloom, Mrs. Sam
Bloomfield, Dr. & Mrs. Arthur L.
Blum’s

Boardman, Mrs. Elizabeth Cole
Bocqueraz, Mr. & Mrs. Leon
Bogert, Mrs. T. L.

Boggs, Mrs. A. G.
Bohemian Symphony Orchestra
Boland, Mrs. F. Eldred
Bolton, Mrs. Robert C.
Booth, Mrs. F. E.

Bourquin, M. Mitchell
Bower, Fred L.

Bowes, Mrs. E. L.

Bowles, Mrs. George M.
Boyd, Hal

Boyle, Nina

Bracher, Louise P.

Braden, Mrs. H. Robert
Bradley, Mrs. James Parks

Brandenstein, Mrs. M. J.
(Deceased)

Bransten, Mr. & Mrs. Edward

Bransten, Mrs. Joseph

Bransten, Mrs. Manfred

Breach, Mrs Genoa E.

Bretz, Marie

Brewster, Hughes

Bricca, Mrs. Constantine R.

Brooke, Mrs. Henry L

Brooks, Mrs. B. M.

Brooks, George W.

Brown, Mrs. Abraham Lincoln

Brown, Mrs. Cabot

Brown, Mrs. Hillyer

Brown, Mrs. |. I.

Brown, Mrs. L. C.

Brownell, MiSs eee

Brownstone, Mrs. Louis H.

Bruce, Mr. & Mrs. Starr

Brunn, Dr. Harold

Brunnier, H. J.

Bruns, Margaret

Buchanan, Lynda

Buckwalter, Mrs. Edna W.

Bugbee, Mrs. Lee

Bull, Mrs. Alpheus

Bull, Mrs. Edward Cline

Bullard, Robert P.

Bullion, Mrs. Alice

Bullis, Mrs. Edward A.

Bullock and Jones Co.

Burckhardt, Caroline

Bush, Mr. & Mrs. Philip

Butte, Mrs. C. Felix

Butte, Felix, Jr.

Cahn, Mrs. Mayer |.

Cahn, Mr. & Mrs. Ralph G.

California Club of California

Camp, Mr. & Mrs. Harry

Campbell, Douglas

Campbell, Mrs. Grace P.

Campbell, Mrs. John D.

Campiche, Dr. Paul

Carlson, Mrs. Arthur W.

Carrigan, Mrs. Andrew

Catlin, Miss B. M.

Cella, Alma

Chamberlain, Mary Alicia

Chamberlain, Mrs. Weston P.

nll)

Chapman, Mrs. C. C.
Charles, Martin A.
Charles, Mrs. Raymond
Charpiot, Mrs. Henry Charles
Chipman, Mrs. W. F.
Clara, Madame

Clark, Mrs. B. V.

Clark, Mrs. Dearborn
Clark, Mrs. Herbert W.
Clark, Mrs. Tobin
Clark, Mrs. Warren D.
Clay, Maude C.
Clayton, A. Florence
Clift, Mrs. iN,

Cline, Dr. John W.
Coblentz, Mrs. Lambert
Cody, Mrs. Bernard A.

Coggins, Mr. & Mrs. Shirley M.

Coldwell, Mrs. Colbert

Cole, Andrew M.

Cole, Ernest R.

Colman, Mr. & Mrs. Jesse C.
Cook, Mrs. W. H.

Cooper, Mrs. C. M.

Cooper, Ethel

Cope, Mrs. Walter B.

Cordes, Dr. & Mrs. Frederick C.

Covell, Dr. Charles Vernon
Craig, Mrs. V. H.
Crawford, Fannie M.
Creed, Mrs. W. E.

Crim, Grace M.

Cuddy, John

Davis, Dr. & Mrs. Albert D.
Davis, Mrs. Frances L.
Davis, Mrs. John F.
Davis, Louise

Davis, Sarah Russell
Dearing, Dr. Bradford F.
de Bruyn, Ge

Deering, Mrs. Robert L.
de la Harpe, J.

Delaney, Marion

de Latour, Mrs. Georges
de Lee, Mrs. Edith
Dempster, Mrs. L. R.
Dennis, Charles M.

de Pins, Marquise
Dernham, Mrs. Irene M.
Dewey, Constance M.

de Wit, Mrs. Harry
Dieterich-Post Company
Dill, Mr. & Mrs. Marshall
Dilsheimer, Mrs. Sara
Dodson, Mrs. L. Polk, Jr.
Don Lee

Donohoe, Katharine
Dray, Mrs. Frank R.
Drexler, Mrs. Elise
Dryfoos, Mrs. Beatrice G.
Duncan, Mrs. Arthur L.
Durden, Robert

Dutton, Mrs. Dunn
Dyer, Joseph H.

Earhart, Gertrude

Earle, Mrs. Marie E.
Eastwood, Alice

Ebright, Mrs. George
Edoff, Mrs. Frank J.
Edwards, Mrs. Elizabeth D.
Edwards, Mrs. J. P.
Egan, Mrs. |. J.

Ehrlich, Philip S.
Einstein, Elsa B.
Eisenbach, David R.
Eisner, Mrs. Norman A.
Eldridge, Anita

Elkus, Mrs. Charles de Y.
Ellis, Willard L.

Eloesser, Herbert

Emge, Ludwig M. D.
Eppinger, Mrs. J., Jr.
Epstein, Mrs. Milton H.
Epstein, Dr. Norman N.
Epstein, Mrs. Sarah
Erskine, Mrs. Morse
Esberg, Alfred |.

Esberg, Mrs. Milton H.
Etienne, Victor, Jr.
Evans, Mr. & Mrs. Harry L.
Evers, Mrs. Albert John

7/9 |?

ASSOCIATE MEMBERS

Fairmont Hotel

Falk, Edna Sally

Farquhar and Heimbucher
Faure, Victor C

Faust, Ida

Fee, Marcia G.
Feigenbaum, L. B.
Feigenbaum, Mrs. Louis
Fennimore, Mrs. W. D.
Ferguson, Mrs. R. Craig
Field, Mrs. Alexander
Fisher, Haldane S.
Fitzgerald, Amanda
Fitzgerald, Mrs. R. M.
Flammer, Charles
Fleischman, Mrs. M. R.
Fleishman, Mrs. S. G.
Fletcher, Mr. & Mrs. Lawrence S.
Floyd, Mrs. B. Creelman
Folendorf, Gertrude
Folger, Mrs. Roy S.
Follansbee, Mrs. A. W., Jr.
FOX Rone.

Fuller, Mrs. George

Fulmer, Dr. Charles C.
Funsten, Mrs. J. J.

Gale, Mrs. Maurice
Galland, Mrs. E. R.
Galgiani, Dr. and Mrs. John V.
Gamble, Elizabeth F.
Gantner, Mrs. John O.
Gardiner, Mrs. Frank H.
Gardner, Mrs. Klenneth
Gardner, Mrs. N. L.
Garfinkel, Max

Garland, Dr. & Mrs. L. H.
Geisenhofer, Mrs. O. W.
Gerbode, Dr. & Mrs. Frank
Getz, Mrs. M. J.
Ghirardelli, Mrs. Alfred
Ghirardelli, D. Lyle

Gibson, Dr. & Mrs. Arthur Collis
Gilbert, A. M. & Company
Gill, Mrs. Roy R.

Glenn, Dr. & Mrs. Robert A.
Gloor, Ernest

Glover, Dr. Mary E.
Godchaux, Belen & Josephine
Goldman, Mrs. Robert L.
Goodale, ‘Mrs. George W.
Goode, Mrs. Percy G.
Goodfellow, aes J. Downey
Goodheart, (e

Goodman, ie ‘Isaac
Goodrich, Chauncey S.
Gordon, Mrs. William
Gould, Mrs. Jason
Gradwohl, Mrs. David
Grant, Mrs. Spencer

Gray, Frances H.

(In memory of Alice M. Gray)
Gray, Mrs. Horace
Greathead, Mrs. Norman J.
Greefkens, Geraldine
Greenberg, Mrs. Maurice S.
Greenberg, Mrs. Stuart N.
Greene, Mrs. A. Crawford
Greene, Louis C.

Greenwell, Mrs. J. O.
Greenhood, Frances
Greenlee, Mrs. Frederick L.
Gregory, Mrs. Donald M.
Gresham, Dean J. Wilmer
Griffin, Miriam

Grobe Music Company
Grosjean, C. E. Rice Milling Co.
Guggenhime, Mrs. Richard E.
Gunst, Mrs. M. A.

Gunst, Mr. & Mrs. Morgan A.
Gustafson, Amaley

Haas, Mrs. Walter, Jr.

(Continued)

Haase Mrs. Elizabeth
Haber Mrs. Samuel B.
Hackett, C. Nelson
Haefn er, Mrs. Emma
Haines, J. Wilbur
Hale, Mrs. Harriett G.
Hall, Mrs. Sherwood
Hallawell Seed Company
Hamilton, Betty
Hamitlon, Mrs. Edward Morse
Hamilton, Mrs. Noble
Hammond, Sarah S.
Hamshaw, Mrs. Walter
Hancock Bros.
Handlon, Mrs. Joseph H.
Hanford, Mrs. Lloyd D.
Hanna, Mrs. Richard J.
Hannah, Mrs. C. C.
Harding, Helen
Hardy, Mrs. Sumner
Harris, Mrs. L. W.
Harrison, Mrs. Maurice
Hart, Mrs. Walter Morris
Haseltine, Mrs. Charles
Hawley Forge and Mfg. Co.
Hayden, Curtis
Hayden, J. R.
Hayman, Mrs. Alvin
Haywood, Mrs. Marshall, Jr.
Head, Mrs. F. G Mabel K
Heimann, Mrs. Richard
Heller, Mrs. Walter D.
Hellman, Mrs. F. J.
Hellwig, C. A.
Henderson, Mrs. F. B., Sr.
Hengstler, Mrs. Louis
Hennessy, Aileen M.
Herron, Eugenia L., M.D.
Herz, Hildegard
Hess, Teresa
Hewlett, Mrs. A. W.
Hexol, Inc.
Hill, Mrs. Harry
Hiller, Edna
Hilp, Harry mal:
Hinze, Clara
Hirschkind, Ww.
Hobart, Mrs. Lewis P.
Hockenbeamer, Mrs. A. F.
Hodges, Mrs. E. S.
mela es J
Hoisholt, Mrs. Andrew W.
Hopkins, Mrs. Samuel
Horsburg, Mrs. James
Hotel Canterbury
Hotel Mark Hopkins
Hotel Stewart
Hotel Whitcomb
Hougaard, Mrs. W. F.
Houghtelling, Mrs. William
Howell, Albert J.
Howell, John Thomas
Howlett, Mrs. Frank
Hughes, Mrs. Thomas R.
Hunter, Mrs. Thomas B.
Hurrle, Etna E.
Hutchens, Mrs. F. C.
Hyman, Mrs. Vera R.
Hyman, Mrs. William L.
Isenberg, Mrs. R. A.
Jacobs, Mrs. Monroe B.
Jacobs, Rebecca
Jacques, Mrs. Joseph R.
Janney, Mrs. Frederick F.
Jeddis, Mrs. Alphonse
Johnson, Mrs. George S.
Johnson, Mrs .Grace Noble
Johnson, Mrs. Walter S.
Johnston, Mr. & Mrs.
Clarence Loran
Jones, Mrs. Marie C.
Jordan, Mrs. David Starr
Jordan, Mahlon K
Joseph, Sigmund
Kahn, Mrs. Beatrice M.
Kahn, Mrs. Francesca L.
Kahn, Mrs. Ira
Kahn, Samuel
K,alenborn, Mrs. A. S.
Katharine Branson School
Kauffman, Mr. & Mrs. Sol

SAN FRANCISCO

a PE: cane

+. Nr Ye

en OF,

Pre ee wee ee we,

Kaufmann, Mrs. A.

Keator, Mrs. B. C.

Keenan, Mrs. Hubbard
Kelley, Mrs. Bettie

Kelley, Walter S.

Kelly, Mrs. Louise

Kelly, Mrs. T. Henshaw
Kent, Arthur H.

Kerr, Dr. & Mrs. William J.
Keyes, Edna L.

Kiersted, Mrs. Henry S.
King Extract Company
King, Percy L.

Kirk, Mrs. Joisah H.
Kirkham, Mrs. Francis
Kirkwood, Mrs. R. C.
Kirkwood, Mrs. R. C., Jr.
Klumpkey, Julia

Knox, Mrs. John B.
KohImoos, John H.

Kohn, Mrs. Simon

Korbel, Caroline

Koshland, Mrs. Abraham
Koshland, Mr. & Mrs. Robert J.
Kroll, Dr. & Mrs. Frederick W.
Lacey, Joseph C.

Lacy, Mrs. George S.
Lamont, Donald Y.
Landels, Mrs. E. D.
Lansburgh, S. Laz
Lansdale, Mrs. Philip M.
Lapham, Mrs. Lewis H.

la Rue, Mrs. C. L

Lasky, Mrs. M.

Lavenson, Sara

Laws, Mrs. C. L.

Leavens, Mr. & Mrs. Robert P.
Lee, Mrs. Russell V.
Lehmann, Mrs. Adolph
Leib, William F.

Lengfeld, K. H.

Lens, Mrs. Frances
Leonard, Ramona A.
Leonardini, Josephine
Letcher, B. W.

Levy, Clara M.

Levy, Elaine A.

Levy, Emma G.

Levy, Mrs. Fernand

Levy, Harry J.

Levy, Martha

Levy, S. D.

Lewis, Mrs. Gilbert N.
Lichtenstein, Mrs. Joy
Liebenthal, Mrs. A.
Liebman, Mrs. Maurice
Lilienthal, Mrs. A. G.
Lilienthal, B. P.

Lilienthal, Jean

Lilienthal, Mrs. Jesse W., Jr.
Lilienthal, Mr. G Mrs. Samuel
Lisberger, Mrs. S. J.

Liston, Mrs. Lester
Livermore, Mrs. Norman B.
Livingston Bros., Inc.
Livingston Lawrence. Jr.
Livingston, Mrs. Samuel W.
Logan, Mrs. John
Lombardi, Ethel P.

Long, Mr. & Mrs. J. A.
Loustan, Mme. L.

Lowe, William H.
Lowenberg, Albert J.
Lowenthal, Mrs. W. B.
Lowrey, Mrs. Alan J.

Lowy, Mrs. Benno

Lyman, Mrs. Oliver
McAlister, Mrs. J. W.
McBaine, Mrs. J. P.
McBride, Rexford W., M.D.
McCreary, Mrs. F. C.
McCreery, Mrs. Richard
McDonald, Mrs. Juilliard M.
McGaw, Mrs. John

McKee, Mrs. Albert B.
McLaughlin, Mrs. Alfred
McLean, Goldberg Bowen Co.
McNear, Mrs. F. W.
McNear, Mrs. George P.
Macey, Mrs. James G.
Mack, Mrs. A.

SYMPHONY ORCHESTRA

ASSOCIATE MEMBERS

Mailliard, Mr. & Mrs. J. W., Jr.
Majors, Dr. Ergo A.

Mangin, Mrs. J. N., Jr.
Marcus-Lesoine, Inc.
Marshall, Mrs. Stewart M.
Martenet, Mr. & Mrs. Randolph W.
Martin & Brown

Marwedel, Mrs. C. W.
Mason, Gertrude

Mayer, Mrs. Henry L.
Mayes, Mrs. Carolyn S.
Meade, Mr. & Mrs. William A.
Mears, Professor & Mrs. Eliot G.
Mendelson, Mrs. Julius
Mendessolle, Evelyn
Menizes, Constance
Merillion, Mrs. Ralph
Metcalf, Mrs. John B.
Metlar, George W. Co., Inc.
Meyer, Adolph C.

Meyer, Mrs. Alfred F.
Meyer, Julian J.

Meyer, Luther

Meyer, Mrs. Martin A.
Meyer, Mrs. Minnie
Meyerhoff, Mrs. Faul
Middlemas, Mrs. Stuart
Milbank, Mrs. Robbins
Miles, Dorothy

Miller, Mrs. Harry East
Miller, Mrs. Harry East, Jr.
Miller, Dr. Miriam

Mills, Gwladys-

Milton, Mrs. Maxwell C.
Mintzer, Mauricia T.
Mitchell, Sydney B.

Moffat, Henrietta

Moffitt, James K.
Monteagle, Mr. and Mrs. Paige
Moore, James R.

Moore, Mrs. Joseph A., Jr.
Morgan, Mrs. Horace W.
Morgan, Norton J.

Morgan, Mr. & Mrs. William O.
Morrisey, Mrs. John
Morrison, Mrs. Lewis F.
Morrissey, Mrs. E. J.

Morse, Clarence G.
Mosagrave, Alicia

Mosher, Mrs. Isabel

Moulin, Gabriel Studios
Mower, R. H.

Mueh, Mrs. W. G.

Mulford, Mrs. Walter
Murdock, Mrs. William C., Jr.
Murphy, Eugene F.
Musante, Mrs. A. S.

Myers, Mrs. L. A.

Nathan, Mr. & Mrs. John J.
Nature’s Herb Company
Nelson, Mr. & Mrs. Ralph R.
Neuhaus, Eugen

Newhall, Mrs. E. W., Jr.
Newhall, Mrs. Marion Foster
Newman, Mrs. Alfred
Newman, Mrs. William
Nichols, Henry D.
Nickelsburg, Mr. G Mrs. M. S.
Nickelsburg, Mrs. S.

Nields, James F.

Nielsen, Mrs. Erich

Nigh, Mrs. W.H., Jr.
Noble, Mrs. Charles, Jr.
Noble, Mrs. Ethel E.

Nock, H. M.

Northern California Harp Society
Norton, Elizabeth

Ochse, Mrs. L. R.

O’Connell, Mrs. Phil
O'Connor Moffatt and Co.
Olcese, Margaret T.

Older, Mrs. B. J.

Oliver, Mrs. A. Leslie
Olney, Mrs. Warren, Jr.
Ophuls, Louise

Oppen, Mrs. George

Orella, Mrs. F. R.

Orrick W. H.

Otis, Mrs. James

Otto, Mrs. George

Pacific Musieal Society

(Continued )

Page, Dr. & Mrs. B. H.

Page, Mr. & Mrs. Charles

Palmer, Mrs. Thomas E.

Parker, Mr. & Mrs. C. F.

Paschel, Philip P.

Patek, Dr. Sadie Dernham

Pennell, Elizabeth

Peterson, Neil H. & Co.

Pettit, Dr. A. V.

Phillips, Esther B.

Phillips, Herbert F.

Philomath Club

Pieper, Tecla

Pierce-Rudolph Storage Co., Ltd.

Pigott, John T.

Pischel, Mrs. Kaspar

Podesta & Baldocchi

Poetz, B. N.

Polliapwvars:

Polytechnic High School
Music Club

Posey, Mrs. Mary M.

Potter, Alice, M.D.

Potter, Mrs. Ashton H.

Potter, Mrs. J. Sheldon

Prager, Alice S.

Preddey, Walter G.

Price, Christine

Raab, Alexander

Rademaker, Harriet E.

Ransohoff’s, Inc.

Rathbone, King & Seeley, inc.

Redewill, Dr. F. L.

Reed, Dr. Alfred C.

Reed, Laurence E.

Rehfisch, Mrs. H. W.

Reinheimer, Isidor

Renny, Jessie

Rettenmayer, Mrs. J. P.

Reynolds, Lloyd R.

Reynolds, Dr. & Mrs. Ralph A.

Rhine, Esther

Richard, Mr. & Mrs. Harry

Rinder, Rev. Reuben R.

Rives, Harold W.

Robinson, Mrs. Mabel R.

Rodgers, Mrs. Eben, Jr.

Rodolph, George W.

Roe, Mrs. Hall

Rogers, Mrs. William Lister

Roos Bros.

Roos, Col. &G Mrs. Robert A.

Rosenbaum, Mrs. Charles W.

Rosenberg, Mrs. T. L

Rosener, Leland S.

Rosenfeld, Max L.

Rosenshine, Mrs. Monroe

Roth, Adolph

Roth, Mrs. Angela Wing

Rowe, Mrs. Albert H.

Rubke, F. W.

Rudd, Mrs. Gertrude H.

Ryan, Mrs. H. J.

Sahlein, Mrs. Henry

St. Francis Wood Musical Club

Salomon, Mrs. Leon

Salz, Mrs. Howard H.

Salz, Milton H.

Sampson, Dr. G Mrs. John J.

San Francisco Musical Club

Saroni, Mrs. Alfred B.

Sbarboro, Mrs. Alfred

Schmidt, Mrs. B. H.

Schmiedell, Mrs. E. G.

Schubert, Richard

Schurman, Mrs. Robert

Schwamm, Louise

Schwartz, Mrs. Archie

Schwartz, Sidney L.

Scott, Mrs. B. C

Seckels, Alice

Selene, Rose L.

Sellman, Mrs. W. H.

Shainwald, Mrs. R. S.

Sharp, Fannie & Violet

Sharp, Dr. and Mrs. J. G.

Shaw, Dr. E. B.

Sherman, Mrs. Julius

Shuey, Clarence A.

Simkins, Mrs. Cordelia L.

Simmons, Mrs. G. C.

773

Simon Bros.

Simon, Re.0)}

Simonds Machinery Co.
Simpson, Mrs. A. W.
Simpson, Grace Y.
Simpson, Walter S.

Sims, Mrs. R. M.
Sinsheimer, May
Sinsheimer, Mrs. Samuel C.
Sinton, Mrs. Edgar

Sinton, Stanley H.

Sinton; Mrs. Stanley, Jr.
Sir Francis Drake Hotel
Sisters of the Holy Family
Sloss, Mr. and Mrs. Richard L.
Smallwood, Stanley C.
Smith, Dorothea K.

Smith, Mrs. Irving H.
Smithy iM. iL;

Smith, Mrs. Stuart F.
Sommer & Kaufmann
Sorenson, Nellie
Southworth, Estelle
Sperry, Mrs. Horace B.
Sprague, Frances A.
Stafford, Mrs. Douglas D.
Starr, Mrs. George W.
Stebbins, Mrs. Evelyn W.
Stebbins, Lucy Ward
Steinhart, Hilda

Steinhart, Rose

Stephens, Mrs. George C.
Stewart, Mr. &G Mrs. Charles A.
Stich, Mrs. Camilla Frank
Stockton, Eleanor

Stolz, Max

Stone, Mrs. Abraham Lincoln
Stout, Mabel

Strassburger, Mrs. Lawrence
Strong, Beulah

Stull, Florence

Sugarman, E.

Sullivan, Frank E.
Sussman, Mrs. Emilie
Sutro, Mrs. Alfred

Sutro, Barbara

Sutro, Mrs. John A.

Amberg-Hirth

Baldwin Piano Company
Berkeley Piano Club

Blum’s

Bohemian Symphony Orchestra
Borden’s Dairy Delivery Co.
Bullock & Jones Co.
California Barrell Co.
California Club of California
Dieterich-Post Co.

Don Lee

Emporium, The

Fairmont Hotel

Farquhar & Heimbucher
Gilbert, A. M. & Co.

Grobe Music Co.

Grosjean, C. E. Rice Milling Co.
Gump, S. G. & Co.

Hallawell Seed Co.

Hancock Bros.

Hawley Forge & Mfg. Co.
Hexol, Inc.

Hotel Canterbury

ASSOCIATE MEMBERS

Sutro, Mrs. Oscar

Swett, Wilbur F., M.D.
Syme, Myra

Terwilliger, Mrs. H. L.
Tetlow, Mary A.

Thelen, Max

Thomas, Arthur F.
Thomas, Mrs. Frederick F., Jr.
Thompson, Barbara Beach
Thompson, Mrs. James A.
Thomson, Mrs. Herbert S.
Threlkeld, Mrs. M. C.
Timlow, Mrs. William F.
Tobin, Mrs. Cyril

Tolenon, Mrs. Edward C.
Torney, Mrs. E. J.

Towne, Mrs. James W.
Toye, Mrs. Florence M.
Tresidder, Mrs. Don
Tripp, Mrs. Kenneth C.
Trouillet, Mme. J.
Trouillet, Mrs. J. P.

Unna, Warren W.

Upton, Mrs. John

Urist, Irving M.

Vagedes, Mrs. Emma

van Deinse, Mrs. F. C.

van Diggelen, A. H.

van Pelt, Mrs. H. M.

van Wyck, Mrs. Sydney M.
Vincent, Mrs. W/. Germain
Vittoria Colonna Club
von Adelung, Mrs. Edward
Voorhees, W.R.

Wagner, Mrs. George
Wagner, Helen R.

Waine, Dr. G Mrs. Hans
Waldeck, Mrs. Eda
Waldrop, Mrs. Uda
Walker, Mrs. P. J.
Wallace, Mrs. Morton
Wallace, Mrs. R. W.
Walshe, P.

Ware, Mrs. Edward R.
Warren, Mr. & Mrs. Lingan A.
Waterman, Mrs. Jesse H.

FIRMS AND ORGANIZATIONS

Hotel Mark Hopkins

Hotel St. Francis

Hotel Stewart

Hotel Whitcomb

Katherine Branson School
King Extract Co.

Liebes, H. & Co.

Livingston Bros., Inc.
McLean, Goldberg Bowen Co.
Magnin, |. & Co.
Marcus-Lesoine, Inc.

Martin & Brown

Metlar, George W. Co., Inc.
Moulin, Gabriel Studios
Musicians’ Union Local No. 6
Nature’s Herb Co.

Northern California Harp Society
O’Connor Moffatt & Co.
Pacific Gas & Electric Co.
Pacific Musical Society
Pauson, Frank & Sons

Peterson, Neil H. & Co.

(Continued)

Weed, Mrs. Benjamin C.
Weill, Mr. G Mrs. Michel D.
Weingarten, Mrs. Milton
Weller, Dr. G Mrs. Theodore \W.
Whiting, Mrs. Randolph V.
Wiener, Grace B
Wiener, Zelda
Wiggin, Mrs. Mary A.
Wihr, Mrs. George M.
Wilbur, Dorothea E.
Wildburg, Mrs. Irving |.
Williams, Charles F.
Williams, Stephen
Williamson, Mrs. G. G.
Willis, Mrs. E. N.
Willits, Anna T.
Wison, Mrs. A. W.
Wilson, Mary E.
Wise, Mrs. E. W.
Wisecarver, R. P.
Wiseman, Georgea
Whitney, William W.
W/Olit, Mrsy ui. ie
Wolf, Mrs. Paul T.
Wolff, Mrs. M. L.
Wolfsohn, Dr. & Mrs. Fred
Women Musicians’ Club of

San Francisco
Wood, Hazel G Myrtle
Wood, Leonard E.
Wood, Lois
Woodruff, A. W.
Woodward, Gertrude B.
Wormser, Mrs. Paul
Wright, Mrs. H. E.
Wurkheim, S. & Brother
Wuthman, Mrs. E. F.
Yabroff, Mrs. Samuel
Yeazell, Louise A., M.D.
Young, Mrs. H. S.
Zaruba, Mrs. V.
Zentner, Mrs. Julius

in memory of Nathan Firestone
Ziel, Mrs. John G
Zimmerman, Mrs. Philip
Zimmerman, Rudolph
Zook, Edgar T.

Philomath Club

Pierce-Rudolph Storage Co., Ltd.

Pisani Printing & Publishing Co.

Podesta & Baldocchi

Polytechnic High School
Music Club

Ransohoff’s, Inc.

Rathbone, King & Seeley, Inc.

Roos Bros.

Rosenfeld’s Sons, John

St. Francis Wood Musical Club

San Francisco Musical Club

Sherman, Clay & Co.

Simon Bros.

Simonds Machinery Co.

Sir Francis Drake Hotel

Sommer & Kaufmann

Vittoria Colonna Club

White House, The

Women Musicians’ Club of
San Francisco

Wurkheim, S. & Brother

en eee a a ag

7174

SAN FRANCISCO

i ae

pee Ce tema

San Francisco Symphony Orchestra

33RD SEASON, 1944-45

The season consisted of 54 performances in a period of 18 weeks between
December 1, 1944 and April 14, 1945. The Musical Association of San Francisco
presented eight Friday afternoon concerts, four ‘Thursday night concerts, twelve
Saturday night concerts, four Young People’s concerts, a Brahms festival of
three programs, and one concert in Fresno. By arrangement with the Musical
Association, the Art Commission presented four concerts and eight performances
of the orchestra with the Ballet ‘Vheater, while the Standard Oil Company of

California sponsored ten broadcasts.

The repertoire for the season follows. Unless otherwise specified, all works
listed below were played at the Musical Association’s San Francisco concerts.
Art Commission concerts are designated with the initials AC, Young People’s
concerts with YP, Standard Symphony broadcasts with SS, Ballet ‘heater per-
formances with BT, and the concerts of the Brahms festival with BF. The names
of soloists and guest conductors are added in parentheses after the titles of the
works they performed, except that the initials YP alone indicate the guest con-
ductorship of Rudolph Ganz in the Young People’s concerts, and BT alone the
euest conductorship of Antal Dorati and Mois Zlatin in the Ballet Theater
series. One asterisk indicates first performance in San Francisco, while two
indicate first performance anywhere.

ADAM: BERLIOZ:
Giselle’ (BT) Overture to Benvenuto Cellini (SS)

Fantastic Symphony (SS)
Suite from The Damnation of Faust (SS)

BACH: Pian eee LES
ey ©. RA tbe op arold in Italy (Ferenc Molnar)
eho ene Concerto No. 3 (Carlos Cha- Roman Camnival Overture (AC)
vez ; e ee As
eee Concerto in E (AC) (Yehudi Menu- Pee Ce.
11)
(arr, Leonardi) ‘Poccata and Fugue in) pepRNSTEIN:
minor (AC) Fancy Free (BT)
(arr. Wood) Selections from Suite No. 6 |
BLOCH:
BATES: Violin Concerto (Naoum Blinder)
*“Kaneen (Ss) (Eirent Kurtz) BRAHMS:
Violin Concerto (BF) (Erica Morini)
BEETHOVEN: Piano Concerto No. 2 (BF) (Artur Schna-
Concerto No. 1 (Ania Dorfmann. Also by bel)
Maxim Schapiro on SS) Academic Festival Overture (BF and SS)
Concerto No. 3 (Artur Rubinstein) ‘Tragic Overture (BF)
Concerto No. 4 (Artur Schnabel) Rhapsody for Alto, Male Chorus and Or-
Overture to Coriolan (AC) chestra (AC) (Marian Anderson, Mu-
Overture to Eemont (YP) nicipal Chorus)
Suite from Prometheus (SS) (*arr. Hertz) Five Songs (Dusolina Gian-
(*arr. Dorati) Moonlight Sonata (BT) nini) (BE)
Symphony No. 1 (YP) Song of Fate (BF) (Municipal Chorus)
Symphony No. 4 (Carlos Chavez) Symphony No. 1 (BF)
Symphony No. 5 (Fresno) Symphony No. 2 (BF)
Symphony No. 7 (SS) Symphony No. 3 (BF)
Symphony No. 8 (AC) Symphony No. 4+ (BF)

SYMPHONY ORCHESTRA dd

BRUBECK:

**California Suite (AC) (Howard Bru-
beck)

CHARPENTIER:

Selections from Louise (AC) (Grace

Moore, Raoul Jobin, Municipal Chorus)

CHAUSSON:
Poeme (Jascha Heitetz)
Poeme (Lilac Garden)
Wolski)
CHAVEZ:
*Sarabande (Carlos Chavez)
*Concerto for Four Horns and Orchestra
(Herman Trutner, Dino Lucchesi,

(BT) (William

Charles Tryner, Paul Roth: Garlos Gha-

VeZ)

CHERUBINI:

Overture to Anacreon (Carlos Chavez)

CHOPIN:
Concerto No. |
sky)
Concerto No. 2 (Witold Malcuzynsk1)

CORELLI:
(arr. Pinelli) Suite for Strings (Efrem
Kurtz)

CRESTON:

Pastorale and Tarantella

DAI-KEONG LEE:

*Haiwalian Festival Overture (YP)

DEBUSSY :
Prelude to The Aflernoon of a Faun
Two Nocturnes (AC)
Rhapsody for Clarinet and Orchestra (YP)
(Vernon Jones)
The Sea

(AC) (Alexander Brailow-

DELANEY :

**Western Star (AC) (Municipal Chorus)
DELIUS:

(arr. Dorati) Romeo and Juliet (BT)
DONIZETTI:

O Mio Fernando (AC) (Marian Anderson)
DUPARC:

Invitation au voyage (Lotte Lehmann)
ELGAR:

Enigma Variations
FERNANDEZ:

*Batuque (YP)
FRANCK:

(arr. Pierne)
(SS and Fresno)

Suite from Psyche (SS)

Symphonic Piece from Redemption (SS)

Symphony

Symphonic Variations (SS) (E. Robert
Schmitz)

776

Prelude, Chorale and .Fugue

GANZ:

*Suite for Orchestra (YP)

GLUCK:
Overture to Jphigenia in Aulis (SS)
(arr. Nordoff) Tally-Ho (BT)

GLINKA:

Overture to Russlan and Ludmilla (SS)

GOULD:

American Salute (YP)

GRETRY:
Suite from Céphale and Procris (SS)

GRIFFES:

The Pleasure Dome of Kublai Khan (YP)

GRUENBERG:

*Violin Concerto (Jascha Heifetz)

GUARNIERI:

*Danza Brasileira (YP) °

HAHN:
Si mes vers avatent des ailes
mann)

HANDEL:
(**arr. Akon) Passacaglia in G minor
(and SS) ;

(Lotte Leh-

‘ss

HAYDN:
Symphony No. 88 (SS)

HARRIS:
*Folk Rhythms of Today

HEROLD:

Overture to Zampa (SS) (Efrem Kurtz)

HINDEMITH:
*Symphonic Metamorphosis of Themes by
Weber (Efrem Kurtz)

KABELEVSKY :
*Symphony No. 2 (SS)

KALINNIKOFF:

Symphony No. |

KHATCHATURIAN:
*Ballet Suite (SS) (Efrem Kurtz)

KNIPPER:
*The Steppe (SS)

LALO:
Spanish Symphony
hin)

LISZT:
Concerto No. 2 (SS)

MAHLER:
Kindertotenlieder (Dark Elegies) (BT)
(Edward Wellman) 7

SAN FRANCISCO

(Efrem Kurtz)

(Don Cossacks)

(AC) (Yehudi Menu-

(Witold Malcuzynsk1)

MASSENET:
Overture to Phédre (YP)

McDONALD:
*Scenes from Childhood (YP) (Virginia
Morgan)
MENDELSSOHN :
Italian Symphony (Lorin Maazel)
MILHAUD:
*Suite No. 2 from Protée
MINKUS:
Don Quixote (BT)
MOZART:
Overture to The Elopement from the Serag-
lio (SS)
Prague Symphony
OFFENBACH:

Bluebeard (BT)

Parisian Gayeties (SS) (Efrem Kurtz)
PROKOFIEFF:

Peter and the Wolf (BT)

Gala Performance (BT)

(*arr. Byrns) Suite Diabolique

RACHMANINOFF:

Concerto No. 2 (Jan Smeterlin)

RAVEL:
Daphnis and Chloe, Suite No. 2
The Waltz (AC)

RESPIGHI:
Old Dances and Airs for the Lute, Second
Series

RIETI:
*Waltz Academy (BT)

RIMSKY-KORSAKOFF:

Scheherezade (SS)

SAINT-SAENS:

Symphony No. 2

SCHOENBERG:
*Chamber Symphony No. 2
Transfigured Night (Pillar of Fire)
(Arnold Schoenberg)
SCHUBERT:
Overture to Rosamunde (Lorin Maazel)
Four Songs (Lotte Lehmann)
Symphony in C major
SCHUMANN:

Symphony No. 3

(BT)

SHOSTAKOVITCH:

*Symphony No. 6

SHVEDOFF:
Russian Fair (SS)

STRAVINSKY:
Petrouchka (BT)
‘The Rite of Spring

STRAUSS, JOHANN:
Artists’ Life Waltz (YP)
Graduation Ball (BT)

STRAUSS, RICHARD:
Death and ‘Transfiguration
Morgen (Lotte Lehmann)
Rosenkavalier Waltzes (SS) (Efrem Kurtz)
Till Eulenspiegel (AC and YP)

TARTINI:
Violin Concerto in D (SS) (Joseph
Szigeti)

(Don Cossacks)

(also Fresno)

THOMSON:
*Suite from The Plow That Broke the
Plains
TSCHAIKOWSKY:

Aurora’s Wedding (BT)

Piano Concerto No. 1 (SS)
kassky)

Overture to Hamlet (SS)

Francesca da Rimini

‘The Swan Lake (BT)

Waltz of the Flowers (YP)

Symphony No. 5 (SS)

Symphony No. 6 (Efrem Kurtz)

WAGNER:

Overture to The Flying Dutchman (SS)

Prelude to Lohengrin (also SS)

Selections from Parsifal (Dusolina Gian-
nini, Frederick Jagel, Douglas Beattie,
Municipal Chorus)

Ride of the Valkyries (YP)

WALDTEUFEL:
Skaters Waltz (SS) (Efrem Kurtz)

WEBER:

Overture to Euryanthe (also Fresno)

Overture to Der Freischutz (YP)

Overture to Oberon (SS) (Efrem Kurtz)

(Shura Cher-

(also SS)

WEILL:

Dreigroschenmusik (Judgment of Paris)
(BT)

WOLF:

Anakreons Grab (Lotte Lehmann)
Er Ist’s (Lotte Lehmann)

BUY MORE BONDS!

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AVA

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SYMPHONY ORCHESTRA

779

VIOLINS:

BLINDER, NADUM
CONCERTMASTER

HEYES, PETER

ASSISTANT CONCERTMASTER

WOLSK!I, WILLIAM

ASSISTANT CONCERTMASTER

ARGIEWICZ, ARTUR

ASSISTANT CONCERTMASTER

ANDERSON, THEODORE
FORD, Louis W.
HOLM, THORSTEIN JENSEN
GUARALDI, MAFALDA
SHWEID, HENRY
EDMUNDS, CICELY
SCHNEIDER, DAVID
VAN DYKE, MARCIA
MYERS, MISCHA
ROURKE, ROBERT
GORDOHN, ROBERT
HAUG, JULIUS
WEGMAN, WILLEM
GOUGH, WALTER
PASMORE, MARY
LARAIA, ATTILIO F.
SHAPRD, DAVID
HELGET, HANS
BAUER, BEN

BARET, BERTHE
PATERSON, JOHN A.
CHILINSK!I, BRUNO
KOBLICK, NATHAN
D! BIANCA, VINCENT
WRIGHT, HAROLD

VIOLAS:

MOLNAR, FERENG
PRINCIPAL

VERNEY, ROMAIN
WHITE, ALBERT
WEILER, ERICH
AKON, ALFRED
KARASIK, MANFRED
PETTY, SUZANNE
VAN DEN BURG, JAC
MANN, MICHAEL

PERSONNEL MANAGER:

PERSONNEL

SAN FRANCISCO SYMPHONY ORCHESTRA
PIERRE MONTEUM®X, Conouctor

tC EEeeS:

BLINDER, Boris
PRINCIPAL

REINBERG, HERMAN
ARKATOV, JAMES

BEM, STANISLAS
ANDERS, DETLEV
HUGHSON, MARY
PETTY, WINSTON
CONNOLLY, CATHERINE
PASMORE, DOROTHY
HRANEK, CARL
SAPHIR, RUTH

BASSES:

KARP, PHILIP
PRINCIPAL
SCHMIDT, ROBERT E.
BELL, WALTER
GUTERSON, AARON
SCHIPILLIT!I, JOHN
BUENGER, AUGUST
STORCH, ARTHUR E.
ORSINI. JOSEPH

FLUTES:

RENZI, PAUL JR.
SHANIS, RALPH F.
BENKMAN, HERBERT

PICCOLO:
BENKMAN, HERBERT

OBOES:
REMINGTON, MERRILL
SHANIS, JULIUS
SCHIVO, LESLIE J.

ENGLISH HORN:
SCH!IVoO, LESLIE J.

OBOE D’/AMOUR AND
HECKELPHONE:
SHANIS, JULIUS

CLARINETS:

SCHMITT, RUDOLPH
BIBBINS, F. C.
FRAGALE, FRANK

E FLAT CLARINET:
BIBBINS, F. C.

JULIUS HAUG

BASS CLARINET
FRAGALE, FRANK

BASSOONS:

KUBITSCHEK, ERNST
HIBSCHLE, FRANK
BAKER, MELVILLE
HRANEK, CARL

CONTRA BASSOON:
BAKER, MELVILLE

HORNS:
TRUTNER, HERMAN C.
LUCCHES!, DINO
TRYNER, CHARLES E.,
ROTH, PAUL
TRUTNER, HERMAN, JR

TRUMPETS:
BusBB, CHARLES, UR.
BARTON, LELAND S&S.
KRESS, VICTOR
MURRAY, EARL

TROMBONES:
Gios!, ORLANDO
SHOEMAKER, ROGERS
KLOCK, JOHN

TUBA:
MURRAY, RALPH

HARP:
MORGAN, VIRGINIA
EVERINGHAM, ANN

TYMPANI:
LAREW, WALTER

PERCUSSION:
VENDT, ALBERT
SiNAI, JOSEPH
GREER, ELWOOD

PIANO AND CELESTA:
SHORR, LEV

LIBRARIAN:
HAUG, ALMA

PROPERTY MASTER:
J. T. HEAVEY

IN SERVICE WITH THE UNITED STATES ARMED FORCES

DICTEROW, HAROLD—VIOLIN
HOUSER, F. S.—VIOLIN
KHUNER, FELIX—VIOLIN

MICHAELIAN, ERNEST A.—VIOLIN

780

MOULIN, HARRY—VIOLIN
Ross, NATHAN VIOLIN
LEPLIN, EMANUEL—VIOLA
MITCHELL, LUCIEN—VIOLA

OLSHAUSEN, DETLEV—VIOLA
CLAUDIO, CESARE—’CELLO
DE PALMA, ATTILIO—HORN
ALTMANN, LUDWIG—ORGAN

SAN FRANCISCO

EVENING CONCERT

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SYMPHONY ORCHESTRA 437

MUN POCTPAL “CONCERTS

ion 7
ar COMME 7
a
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SYMPHONY ORCHESTRA ;

PIERRE MONTEUX, Conductor

CEOS IN Ga ON Gin al
TUESDAY EVENING, APRIL 10, AT 8:30

GRACE

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SYMPHONY ORCHESTRA 439

440

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SAN FRANCISCO

{

—

Musical Association of San Francisco
MAINTAINING THE

SAN FRANCISCO SYMPHONY ORCHESTRA

OFFICERS
Mrs. Leonora Wood Armsby, President and Managing Director
E. Raymond Armsby.....................-.. Vice-President Charles<Page:s)000 ee ee Treasurer
Paul A. Bissinger.............................. Vice-President Howard (Ko oSkinner 2-2 ee Secretary
Charles? Ro Blythe. Vice-President Geraidi G:sRoss7-2 eee Assistant Secretary
Garret McEnerney, IlI.....................- Vice-President
EXECUTIVE COMMITTEE
Dr. Hans Barkan Mortimer Fleishhacker Mrs. Marcus S. Koshland Miss Else Schilling
Miss Louise A. Boyd Miss Lutie D. Goldstein Garret McEnerney, II Mrs. M. C. Sloss
Mrs. Selah Chamberlain Mrs. Joseph D. Grant Kenneth Monteagle Mrs. Sigmund Stern
Mrs. John P. Coghlan Mrs. Walter A. Haas Guido J. Musto Mrs. Eli H. Wiel
Mrs. E. S. Heller Mrs. Ashton H. Potter

FINANCE COMMITTEE

Cc. 0. G. Miller, Chairman
E. Raymond msby Miss Lutie D. Goldstein Mes. Ashton H. Potter

Charles R. Blyth Mrs. Marcus S. Koshland Mes. William Lister Rogers
Mortimer Fleishhacker
MUSIC COMMITTEE
Mrs. Selah Chamberlain

Dr. Hans Barkan Mrs. Tobin Clark J. Emmet Hayden
Mrs. George T. Cameron Dr. Leo Eloesser Charles G. Norris

PUBLIC RELATIONS COMMITTEE
Mrs. John B. Knox

Mrs. M. C. Sloss Mrs. James Mills Mrs. William Lister Rogers
Mrs. John P. Coghlan Mrs. Francis Redewill Michel Weill
YOUNG PEOPLE’S CONCERT OFFICERS

Mrs. Thomas Page Maillard Mrs. Grace Benoist Mrs. Louis Sloss, Jr. Mrs. Harold K. Faber

Mrs. Harold R. McKinnon Mrs. Walter A. Haas Charles M. Dennis

SAN FRANCISCO SYMPHONY LEAGUE
Mis: John=P. Coghlan==. >... =... Chairman Mrs. Francis Redewill...................... Vice-Chairman
SAN FRANCISCO SYMPHONY FORUM
Mrs. Alan McLenegan, Chairman Ava Jean Barber Frank Winter Martin Skewes-Cox
John Piel Pamela Marsh Katherine Mulkey Cecil Rideout
Lt. (j.g.) J. Brandon Bassett Elwyn Thayer Ann Wegman Elizabeth Shaw
Marcia Robinson Betty Carl Paul Robinson Marilyn Biehl
BOARD OF GOVERNORS
E. Raymond ied | Mrs. George Ebright Mrs. E. S. Heller Charles Page
Mrs. Leonora Wood Armsby Sidney M. Ehrman Walter S. HeHer Mrs. Ashton H. Potter
Dr. Hans Barkan Albert I. Elkus Mrs. Il. W. Hellman Mrs. Stanley Powell
Mrs. Edward O. Bartlett Dr. Leo Eloesser William F. Humphre Mrs. William Lister Rogers
James B. Black Forrest Engelhart Mrs. Marcus S. Koshland Mrs. afoul P. Russell
Charles R. Blyth Mrs. Harold K. Faber Frederick J. Koster Miss Else Schilling
Miss Louise A. Boyd Mrs. Paul I. Fagan Gaetano Merola Mrs. M. C. Sloss
Paul A. Bissinger Mrs. Marshall H. Fisher C. O. G. Miller Mrs. Nicol Smith
George T. Cameron Mortimer Fleishhacker Mrs. C. O. G. Miller Mrs. Sigmund Stern
Mrs. Selah Chamberlain Mrs. J. C. Flowers Edward F. Moffatt Mrs. Powers Symington
Mrs. John P. Coghlan John F. Forbes Kenneth Monteagle Mrs. David Armstrong Taylor
Mrs. Elizabeth S. Coolidge Mrs. Frank R. Girard Mrs. Donald Multord Mrs. Cyril Tobin
Mrs. W. W. Crocker Miss Lutie D. Goldstein Guido J. Musto Mrs. Alfred S. Tubbs
Mrs. 0. K. Cushing Mrs. Joseph D. Grant Dwight F. McCormack Mrs. Daniel Volkmann
Mrs. Georges de Latour Farnham P. Griffiths Mrs. Angus McDonald Michel Weill
Benjamin H. Dibblee Madeleine Haas Garrett McEnerney, I! Mrs. Eli H. Wiel
Miss Katharine Donohoe Mrs. Walter Haas Mrs. Harold R. McKinnon Leonard E. Wood
Mrs. Willard H. Durham Mrs. Harry S. Haley R. C. Newell J. D. Zellerbach
Joseph H. Dyer, Jr. J. Emmet Hayden Charles G. Norris
STAFF

Constance Alexander Victor Mohl Deborah Spalding
Kathleen Lawlor Gerald Ross Curran Swint
Doris Lowell Joseph Scafidi Virginia Webb

THE SAN FRANCISCO SYMPHONY ORCHESTRA
Records Exclusively for Victor Red Seal

SYMPHONY ORCHESTRA 441

“There's an immortality in the expression of the
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person towards whom that feeling ts directed.”

Ytucleoles Sotenilorn

Liholia At ntleo

MASTER PHOTOGRAPHER

427 POST STREET (IN THE ST. FRANCIS HOTEL) « YUKON 2061

GUESIT AR TSHiss-OR. Vim eeoimy AE

Erica Morini was born in Vienna and is the daughter of a violinist. She
studied with her father and with Ottokar Sevcik, and gave her first recital at
the age of eight. In the same year she made her first appearance with orchestra,
playing with the Vienna Philharmonic under the direction of Artur Nikisch.
Almost immediately afterward, she toured Germany, Poland, Roumania and
Russia. She was heard for the first time in America at a concert of the New York
Philharmonic in 1921, Artur Bodanzky conducting. After her first American
tour she returned to Europe, and did not settle in this country until 1935. She
has repeatedly given recitals in San Francisco, but this will be her first appear-
ance with the San Francisco Symphony Orchestra.

DusoLINnA GIANNINI is also the product of a musical family. Her father was
an opera singer, her mother a violinist. She received her first training from her
father in her native city of Philadelphia and later studied with Marcella Sem-
brich in New York. She made her debut at a concert of the Schola Cantorum in
New York in 1923 and for a number of years was active as a concert singer. She
went to Europe in 1927 and remained there until 1936, devoting herself largely
to opera. During this period she sang at Covent Garden, in the leading opera
houses of Berlin, Vienna, Prague and other cities, and at the Salzburg Festival
under the direction of Bruno Walter and ‘Toscanini. She came back to this
country in 1936 to join the Metropolitan Opera. She has repeatedly appeared
with the San Francisco Opera Company, and made her first appearance with
the San Francisco Symphony on the Art Commission series last year.

ARTUR SCHNABEL was born in Lipnik, Austria, in 1882. He studied with
Leschetizky in Vienna and began his concert career in a series of sonata recitals
with the violinist, Carl Flesch. His reputation grew quickly, and he appeared
throughout Europe as a solo pianist and chamber music player. Although he
had given recitals in New York in 1922, his first real American success came
when he participated in a Brahms festival of the Boston Symphony Orchestra
eleven years later. Since then he has made repeated tours throughout this
country, specializing particularly in the German classics. He was the first pianist
to give all of Beethoven’s sonatas in a series of recitals in New York. He has
edited the Beethoven sonatas and written extensively on technical and esthetic
matters. Mr. Schnabel was last heard with the San Francisco Symphony

Orchestra in 1938, when he played the Brahms B flat concerto.

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SAN FRANCISCO SYMPHONY ORCHESTRA
PIERRE MONTEUX, Conductor
de}:
FIRST BRAHMS FESTIVAL PROGRAM

‘TuEspAY, MARCH 13, AT 8:30

ERICA MORINI, Guest Artist

“Program

SYMPHONY NO: 1 IN G@ MINOR, OP US'6S

Un poco sostenuto - Allegro
Andante sostenuto
Un poco allegretto € graz1oso

Adagio - Allegro non troppo, ma con brio

INTERMISSION

TRAGIC ZON TRE URES OPUS 261

CONCERTO FOR VIOLIN AND ORCHESTRA,
INS D MATORS OPUS 77

Allegro non troppo
Adagio
Allegro giocoso ma non troppo vivace

Miss MorINI

wera ns

It is requested that subscribers who are unable to use their tickets
kindly phone the Symphony Office—UNderhill 4008—giving location
of thetr seats that they may be assigned to uniformed men and women.
This courtesy will be deeply appreciated.

SYMPHONY ORCHESTRA 445

446

JOHANNES BRAHMS, BY WILHELM VON BECKERATH

SAN FRANCISCO

PROGRAM NOTES

JOHANNES BRAHMS
1833 - 1897

By ALFRED FRANKENSTEIN

(NorEs ON THE WoRrKs OF ‘TopAY’s PROGRAM WILL BE FounpD ON PAGE 453)

The twentieth century has given itself a new trinity of unassailable great
men in the domain of music. A hundred years ago it was Haydn, Mozart and
Beethoven. Fifty years ago, at least in certain circles, it was Berlioz, Liszt and
Wagener. Now it is Bach, Beethoven and Brahms.

However fixed it may be today, the constellation of the three B’s is a recent
discovery. ‘Che musical writings of Bernard Shaw are characteristic of what
many bright young men were thinking 50 years ago. For Shaw, Brahms is the
“Leviathan Maunderer,” who “takes an essentially commonplace theme, gives
it a strange air by dressing it in the most elaborate and far-fetched harmonies;
keeps his countenance severely (which at once convinces an English audience
that he must have a great deal in him) ; and finds that a good many wiseacres
are ready to guarantee him as deep as Wagner and the true heir of Beethoven.
The spectacle of the British public listening with its in-churchiest expression to
one of the long and heavy fantasies which he calls his symphonies always
reminds me of the yokel in As You Like Jt quailing before the big words of the
fool. Strip off the euphemism from these symphonies, and you will find a
string of incomplete dance and ballad tunes following one another with no more
organic coherence than the succession of passing images reflected in a shop
window in Piccadilly during any twenty minutes in the day. That is why Brahms
is so enjoyable when he merely tries to be pleasant and naively sentimental, and
so insufferably tedious when he tries to be profound. His symphonies are en-
dured at the Richter concerts as sermons are endured, and his Requiem is
patiently borne only by the corpse.”

The Bright Young Man is always out to prove the presumed philosopher
a fraud; that is what makes him a Bright Young Man. But the real rub for the
author of The Perfect Wagnerite is elsewhere: ‘“‘as deep as Wagner and the true
heir of Beethoven.” In those few words Shaw takes us back to the classic squabble
over Beethoven's mantle, with the Wagnerites trumpeting “the music of the
future” against Brahms, and Eduard Hanslick fulminating in the Neue Freie
Presse about the good, the true and the beautiful, readily identified as the
latest work of the composer of the Academic Festival.

And yet Shaw was closer to the truth than the numerous critics who have
pictured Brahms solely as an artist of worshipful learned severity. Their writings
are not as amusing as Shaw’s and will not be quoted here, but anyone who has
been attending symphony concerts for more than fifteen years can recall the
day when the works of this composer were still regarded as open only to an
inner circle armed with all the textbooks. Yet this was the man who gave Frau
Johann Strauss a picture of himself autographed with the first bars of the Blue
Danube and the inscription, “Unfortunately not by Johannes Brahms.”

‘Today we know better’ is one of the most comforting phrases ever in-
vented by the mind of man. Nevertheless one can without smugness point out
that today we do not consider it necessary to judge Brahms by a Waegnerian
standard or Wagner by a Brahmsian standard, nor is it any longer required that
one regard either composer as the polar opposite of the other. There is classicism
in Wagner and there is romanticism in Brahms, and some day even the people
who write textbooks on musical appreciation will awaken to discover Brahms’
essentially romantic nature. Meanwhile Brahms has become a popular composer

SYMPHONY ORCHESTRA 447

SAN FRANCISCO SYMPHONY ORCHESTRA

PIERRE MONTEUX, Conductor

~e@}-

FIRST BRAHMS FESTIVAL CONCERT

Tuesday, March 13, at 8:30
ERICA MORINYI, Soloist

Symphony No. 1, in C minor
Tragic Overture
Concerto for Violin and Orchestra

¥ * *

SECOND BRAHMS FESTIVAL CONCERT

Thursday, March 15, at 8:30
DUSOLINA GIANNINI, Soloist

Symphony No. 3, in F major
A Song of Fate, for Chorus and Orchestra
(The Municipal Chorus, Hans Leschke, Conductor)
Five Songs, Orchestrated by Alfred Hertz
Symphony No. 2, in D major

* * *

THIRD BRAHMS FESTIVAL CONCERT

Saturday, March 17, at 8:30
ARTUR SCHNABEL, Soloist

Academic Festival Overture
Concerto for Piano and Orchestra, No. 2, in B flat major
Symphony No. 4, in E minor

-40}-

NINTH PAIR OF SYMPHONY CONCERTS

Thursday, March 22, at 8:30
Saturday, March 24, at 8:30

ARTUR SCHNABEL, Guest Artist

Old Dances and Airs for the Lute, First Series......... arr. Respighi
Concerto for Piano and Orchestra, No. 4, in G Major...... Beethoven
ered al abiad shen hras aes Moye his ween a wee ee eal ees hee iene ete ie Roy Harris

(irst Performance in San Francisco)

Dy PHONV NOwo ci EclatWiaOncentsiay «on, aoe Schumann

5. Te EEE. Sees Bes:

448

SAN FRANCISCO

over the heads of the popularizers. ‘The public caught up with his symphonies
and chamber music while they still thought the game was to expound the
leading motives in The Ring.

Make no doubt of it: Brahms is a romantic of the romantics. For all the
“classicism” of his forms, his is the romantic attitude, the romantic temper.
The difference is simple. ‘The classicist lives today, speaks of today, serves today.
The romantic thinks of tomorrow, when perfection will come. His present is a
mystical insight into the future, and the joy of his music proceeds from the
communication of the fragments he has been able to perceive beyond the
momentarily lifted veil. Before you dismiss all this as nonsense, compare a first
movement by Haydn with one by Brahms.

In the beginning he knew the future would arrive. At the end, like all true
pessimists, he says ‘“We can only hope.” A neat demonstration of the progress of
Brahins’ mind can be secured by comparing the finale of the G minor piano
quartet, composed in 1860, with the slow movement of the clarinet quintet,
written 32 years later. Both are in the “Hungarian” style. In the quartet, Brahms,
aged 27, tears with frenzied energy into the rhythms and colors of the Gypsy
dance and creates what is perhaps his most brilliant exercise in virtuosity, at
least so far as ensemble music is concerned. In the quintet, Brahms, aged 59,

Buffet Service in Basement Promenade and Dress Circle during all performances

WAR MEMORIAL OPERA HOUSE. Owned and operated bv the Citv and Countv of San Francisco
through the Board of Trustees of the W/ar Memorial.

Hard-of-hearing aids are available in the Main Foyer. Attendant will connect same to your seat
location on request. — Opera Glasses in Foyer,

SYMPHONY -ORCHESTRA 449

THE SAN FRANCISCO GUILD PRESENTS

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remembers Gypsy music in sadness and nostalgia, with the arabesques of the
clarinet set off against the throbbing of the strings like a lonely flare on a beach
at night. With this increasing pessimism comes also an increasing subtlety and
ellipsis in the forms. The early Brahms must needs explore every lode. ‘The
later Brahms is content to suggest. And this is his biography.

This psychological history is not too well exemplified in an orchestral
Brahms festival for the reason that nearly all the orchestral music was produced
in Brahms’ vigorous middle years. As a matter of fact, Brahms wrote com-
paratively little for orchestra. His opus list runs to 122 numbers, only thirteen
of them, including the four concertos, in the orchestral forms, and two of these,
the early serenades, are generally regarded as works of lesser significance than
the others. Of the eleven major orchestral works only the first piano concerto,
the double concerto and the Variations on a Theme by Haydn have been
omitted from the present festival. All the orchestral compositions we shall hear
were completed in a period of nine years, between 1876 and 1885. And the only
one of them which exemplifies the characteristic dark coloring of Brahms’ final
phase is the work of 1885, the fourth symphony.

The objective biography is a matter of a few dates. ‘here are no adventures,
no purple patches, no romantic episodes. Brahms was the son of a double bass
player who served for many years in the orchestra of the municipal theater in
Hamburg. He studied with masters of no great celebrity, and began his career
as a pianist in his native city. He got his first taste of the great world at the age
of 20, when he went on tour as accompanist to the Gypsy fiddler, Remenyi, who
ever afterward swore that Brahms had stolen his Hungarian dances from him.
On this tour he met Liszt, Joachim and others, and formed a friendship with

How Hyp te Meacoab Counc!

TED
~ STRARTER

and his music

SYMPHONY ORCHESTRA

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Robert and Clara Schumann which lasted throughout the lives of that famous
air. From 1857 to 1860 he served as musician in the princely household at
Detmold, and from 1861 to 1863 conducted a choral society in Hamburg. After
a few unsettled years, Vienna became his home, and except for an interlude
‘n Heidelberg from 1875 to 1878, there he remained until his death. He held
a few quiet conductorial posts, particularly in connection with choral groups,
he made a few tours as pianist and conductor, but Brahms the executant was
distinctly secondary to Brahms the composer.

One sees him first in the romantic era of velvet jackets and silky long hair,
when youthful musicians shook their fists at a capitalized Fate, as in the first
movement of the D minor piano concerto. One sees him last with his coffee and
his cigars, his small, exclusive circle of intellectual friends, his daily fugue, and
his private sentimentalities.

The rest is all in the music.

SYMPHONY NO. 1, IN C MINOR, OPUS 68

“T shall never compose a symphony,” Brahms once told a friend. “You
can’t imagine how the likes of us feel to hear the tramp of the giant behind us.”

The “tramp of the giant” did indeed prevent Brahms from bringing out
his first symphony until 1876, when he was 45 years of age and had established
himself as a world figure by virtue of his chamber music, songs, choral music,
and such lesser orchestral works as the two serenades and the Haydn variations.
It is therefore the most mature and masterly first symphony in the literature.
Brahms had worked on it for 15 years, but he still found it necessary to revise
and condense it after the first performance.

Ie
Un poco Sostenuto, C minor, 6/8 time. The symphony opens with an ex-

“Aminate Drees

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ing bars in the first theme. The basic motive, which had been heard in the
lower voices in Example I, is now in the treble and transposed to E flat, while
the treble theme of Example 1 accompanies it in the bass, thus:

oboe 7 a

ee eae
- Fat

————

VIOLUUNS

2 = Se at eae eee

0b0¢e Fee

oY 2, Se a if .
jas el ce ieee th elp
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(fe ?P

The last four notes of Example 2 echo through the woodwinds and horn. ‘Uhe
violas begin the concluding section of the exposition with a brusque, descend-
ing three-note figure—G flat, F, E flat—and the exposition ends with this and
material derived from Example 1.

At the beginning of the development the first theme (Example 1) goes
riding off adventurously into the new territory of B major in a canon of the
upper and lower strings. A quieter episode immediately follows, exploiting the
rising thirds from the first bar of Example | in long notes of the flutes and oboes

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over a descending bass. Soon the brusque, descending three-note figure of the
closing theme 1s heard in the violas. It passes to the violins, which add a new
idea:

‘This is worked over in alternate dialogue of the strings and woodwind, fortis-
somo. A fourth section of the development employs the basic motive, piano,
dolce. ‘Vhe development ends in mysterious and foreboding mood, with the
basic motive and the three-note descending figure prominent. A climax is slowly
built up, with the basic motive insistently repeated, and this gradual increase
in sonority leads through to the recapitulation.

The first theme (Example 1) returns in the home key of C minor, and the
transition passage and second theme (Example 2) are restated in proper order,
the second theme now being in C major. ‘The closing theme begins in the violas
as before. ‘he coda opens brilliantly, but soon the tempo changes to poco sos-

WILLIAM F. LARAIA

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fenulo and the movement ends at that slower pace, with the basic motive and
the first figure of Example | over the repeated “V signal’ which plays a promi-
nent part in more than one symphony in C minor.
1;
Andante sostenuto, E major, 3/4 time. ‘The violins have the principal theme
at the outset:

4 violins oe #4 —F
as eee ore errs see aS neee
7 r Pil aes 7 Fit ee eee

horn lad flute ' elas
=2=

fe iSegi ae Rng TS

——_ ef —————

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arcs.

The second part of the theme appears in the oboe, overlapping the last bar of

the ue just ended:
‘gh oboe
(ge see seater

i gly ins | : : pe a aS

The contrasting middle section of the movement, nab © sharp minor, like-
WIse begins 1 in the oboe and also ov erlaps the last bar of the preceding quotation:

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SYMPHONY ORCHESTRA 459

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this material is then subjected to some development.
The restatement of the first part of the movement is highly varied. ‘Uhe first
theme, Example 4 returns in the woodwind under a counterpoint of the violins:

and there are other departures from the text of Example 4 as its restatement
progresses. Example 5 returns in the oboe as before, but is now doubled at the
octave by a solo violin, which also has arabesque-like variations and 1s much
to the fore until the end of the movement.
EPs
Un poco allegretto e grazioso, A flat major, 2/4 time. ‘The first theme 1s
stated by the clarinet over a plucked accompaniment of the ‘celli.

ger reeeeerieeer ieee teeer

lier Geeta eee

The theme is then repeated by the violins, and following this is a brief con-
trasting episode, begun with a new phrase of the clarinet, but largely derived

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SYMPHONY ORCHESTRA 461

from Example 8 with its second and third bars in diminution (7.e., IN sixteenth-
notes instead of eighths) . ‘Che theme is partially restated by the clarinet in its
original form as the first section of the movement comes to an end.

~The middle section goes into B major, 6/8 time, with the following idea:

woodwind
Q COCR a a aa ae ee eS ee

which is dramatically developed. The key returns to A flat and the time to 2/4,
and the first section is heard again in a varied and abbreviated form. There is
a short coda recalling Example 9.
Ave

Adagio, CG minor, 4/4 time. The finale is preceded by a long introduction
full of fantastic, extremely violent contrasts of pace and dynamics, and devoted
throughout its first part to the gloomy and distorted foreshadowing of ideas
to come in the main movement following, particularly Examples 12 and 15. The
first part of the introduction attains a big climax with an enormous roll of the
kettledrums, whereupon, like a ray of sunshine after a thunderstorm, the key
changes to C major and the solo horn announces the following theme* over a
shimmering tremolo of the strings:

*Brahms once wrote that this melody was not original with him; he had heard it played on

a Swiss mountaineer’s horn in an Alpine valley. The composer's use of it in the symphony has,

for this writer at least, very powerful suggestions of mountain atmosphere. Phe passage might

. be cited as an example of what Prof. Niecks means by his phrase “clandestine program music.”

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The flute takes it up, leading to a chorale in the trombones (which are heard
for the first time in this movement) and bassoons. ‘This is the uppermost voice:

After the chorale the horn theme returns.
The tempo changes to Allegro non troppo, and the main movement begins
with the following theme* in the violins:

*A persistent legend that refuses to die would have it that this theme is plagiarized from
the finale of Beethoven's ninth symphony. When Brahms was asked about this he replied,
characteristically, “Any idiot can see that.’’ As a matter of fact, the resemblance is due almost
solely to the broad songlike, diatonic character of both melodies; they are otherwise completely
different except for one minor turn of phrase.

INE CALIFORNIA

When entertaining, serve superb SIMI -
vintage table wines ... Burgundy,
Cabernet, Carignan, Zinfandel, and
Larose, Sauterne, Chablis ... ma-
tured with unhurried care from
choicest Sonoma hillside grapes
... ask for SIMI ... pronounced
_See-Me ... at your dealer’s.

SYMPHONY ORCHESTRA 463

464

It Stands Alone

KORBEL BRUT IS TOPS IN AMERICAN CHAMPAGNE

Magazines which reach the most sophisticated audience in the United States
unanimously give first place in American Champagnes to KORBEL BRUT
WE didn’t say it first! THEY DID!

“THE BEST AMERICAN CHAMPAGNE
to date is KORBEL BRUT. Our guess is
anyone would think it was imported.’’
—Harper’s Bazaar, February, 1941.

“PROBABLY THE MOST CHAM-
PAGNE-LIKE domestic wine is KOR-
BEL BRUT.’’—Cue Magazine, Decem-
ber 20, 1940.

“THE OUTSTANDING AMERICAN
CHAMPAGNE to date is KORBEL
BRUT.’’— Town and Country, Febru-
ary, 1941.

“EXTREMELY ENJOYABLE, bone-dry
and clean-tasting.’’-—The New Yorker,
March 15, 1941.

ROUGE

KORBEL 3
SEC PINK

Distributed by

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The theme passes to the woodwind. ‘The three-note figure C-B-C, from the first
full bar of Example 12, is then worked over for seven measures, and is followed
by a transition theme in the violins:

A yery brief reference to the horn theme of the introduction (Example 1())
appears in the flute and third horn just before the second theme, given to the
violins in G major:

‘This is briefly treated, and leads to the closing theme, also in the violins:

ite oS sae Baer aap ae a as itty a
Saas Paes Saeie [er Eee = Enea z Era tat

Discussion of this anda eae Bae idea not quoted brings the exposition
to an end.

The movement is in the sonata form without development. The recapitula-
tion starts at once with the principal theme (Example 12) in the violins as
before, but with a new and fuller accompaniment in the winds. ‘Vhe counter-
statement by the woodwinds is also varied. ‘The transition theme (Example 15)
recurs, and following it is a long, very dramatic passage which serves the move-
ment in lieu of a development section. ‘This is based very largely on the motive
C-B-C, which works up a titanic amount of energy. (Its forcefulness is, in

eRe

Dish 6, g Ost6 .
444 POST

SERVING THE EYE PHYSICIANS and their PATIENTS

Before or After the Concert Visit the

Cardinal Richelieu Cocktail Lounge

RICHELIEU HOTEL

Van Ness and Geary Leopold Lerner, Manager

SYMPHONY ORCHESTRA 465

TODAYS GREAT
PIANO

the choice

Today's Great Artists

CHOOSE YOUR PIANO
AS THE ARTISTS DO

The Boston Symphony now uses the Baldwin
in its Concerts.

MARIE THERESE BRAZEAU HAROLD BAUER

GEGICEE DE HURVATEH
SeVERINGEISENBERGER
ALEXANDER KELBERINE
WES EE ya AY Ves Eee
ALEXANDER TANSMAN
IRMA SCHENUIT HALL
FRANCES ANTOINE
WILHELM BACHAUS
PAE W ith GEN STEIN
VI Ea GR Va es NSS TEIN
FRANCISZEK ZACHARA
MAGDA TAGLIAFERO
JOSEPH BATTISTA
JEANNE BEHREND
ALFREDO CASELLA
WALTER GIESEKING
EUGENE GOOSSENS
BORIS GOLSCHMANN
FLORENCE EASTON
DANIEL ERICOURT
EDWARD JOHNSON
BREENDAN KEENAN
ALEXANDER KIPNIS
WIKTOR LABUNSKI
ALFRED MIROVITCH
CHARLES NAEGELE
ESUIs PERSINGER

E. ROBERT SCHMITZ
BERNARDO SEGALL
ROSINA LHEVINNE
MORIZ ROSENTHAL
RUTH SLENCYNSKI
ALEC TEMPLETON

ANTON BILOTTI
LUCREZIA BORI
BELA BARTOK
MARIO CHAMLEE
KARIN DAYAS
JOSE ECHANIZ
DAVID EARLE
FRANK FARREL
JAKOB GIMPEL
RUDA FIRKUSNY
ARNOLD GABOR
WILLIAM HARMS
STEPHAN HERO
AMPARO ITURBI
JOSE ITURBI
RALPH LEOPOLD
JUSS! BJOERLING
JOSEF LHEVINNE
ERICA MORINI
EDITH MASON
GRACE MOORE
WILLEM NOSKE
ELEY Pans
ROSA RAISA
ANGEL REYES
GIACOMO RIMINI
TITO SEHIPA
JOHANN SINGER
PEERS Mish
JESSE ripocncseae
LEONARD SHURE
HELEN TRAUBEL
SAMUEL YAFFE

MOISSAYE BOGUSLAWSKI

Baldarin

Selo Cie Re Sie c
SAN FRANCISCO

466

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fact, so tremendous that if flies out of this work altogether, and, as D-C sharp-D,

provides most of the thematic material in the first and last movements of

Brahms’ second symphony.) A big climax is attained, with a dramatically fore-
shortened version of the horn theme (Example 10) at its crest. ‘his climax
finally bursts and subsides with the horn theme in its original form, and is then
followed by the recapituli ition of the second theme (Example 14) given to the
violins in C major. ‘The closing theme (Example 15) also returns, along with
its subsidiary triplets.
The coda opens with some modulations stolen from ingal’s C ave—they are
least as close to Fingal’s Cave as the principal theme of the movement 1s to
the ninth symphony—followed by further developments of the motive C-B-C.
The final section of the movement, based on this figure, goes into alla breve
time and is marked pitt allegro. It introduces the chorale from the introduction
(Example 11) at the height of its climax and also deals brilliantly with the
closing theme (Example 15) before the end.

ERAGIC2OV ERT ORE OP Uiss3)

The Tragic Overture is a kind of companion-piece to Brahms’ Academic
Festival. The two overtures were written in the summer of 1880, and are the
only orchestral works of this composer to bear literary titles. They are therefore
as close as Brahms ever came to program music, but the Tragic Overture is pro-
cram music without a “program.” No specific tragedy is referred to by the title.
As Brahms himself once wrote, having composed “ this jolly Academic Festival
Overture, with its Gaudeamus and all manner of other things, | could not refrain
from writing a tragic overture as well.” In another letter Brahms says “One
weeps, the other laughs,” and that is all there is to it, so far as “program” 1s

:
REMEMBER THE NAME —

when you buy your post-war radio-phonograph with FM

Freed Radio Corporation, New York, N.Y.
BUY MORE WAR BONDS!

. Before te Concent .
After the Caucert

Entertain your friends
at Hotel Whitcomb, so conveniently
near. Home of the Whitcomb Inn
and The Parade Cocktail Lounge.

HOTEL

WHITCOMB

MARKET AT 8TH *¢ SAN FRANCISCO
KARL WEBER MANAGEMENT Tel.: UNderhill 9600

SYMPHONY ORCHESTRA 467

concerned. At one stage of the game Brahms gave this work the provisional title
A Dramatic Overture, and while various commentators have read sundry elab-
orate literary meanings into the music, it is wiser to regard it simply as a
big sonata-allegro like the opening movement of a Brahms symphony. It pro-
vides the majority of its hearers with the very special pleasure of recognizing a
familiar great-master style in an unfamiliar example.

It is worth observing by the way that Brahms often produced pairs of works
like these two overtures. Other instances are the two piano sonatas, Opp. | and
2: the two piano quartets, Opp. 25 and 26; the two string quartets, Opus 51; the
two clarinet sonatas, Opus 120; and the first and second symphonies, which,
unlike other Brahmian twins, are not published with the same or immediately
successive opus numbers. ‘This pairing of works in the same form was the result
of the infinite labor and care which Brahms lavished on everything he did. The
composition of one work in a given form conjured up so much material and so
much creative energy that Brahms sometimes did not stop when the originally
projected work was done, but found himself left with enough material and suf-
ficient head of steam immediately to produce a second piece along the same
lines as the first. Sometimes these pairs seem to comment on each other. If the
first is strongly of one character, the second may be strongly opposed in general
effect. ‘The most obvious example of this contrast within the Brahmian pairs
is, of course, the Academic Festival and Tragic Overtures, Opp. 80 and 81.

Allegro non troppo, D minor, alla breve. The principal theme is stated by
the strings in octaves after a brusque introductory bar:

phe peddle die gt EB

The theme is repeated by the full orchestra and is worked over with subsidiaries
not quoted. The transition to the second theme begins with a rising scale figure
in the oboe answered by the horns and bassoons, all above restless syncopation
in the strings. ‘The most important theme of the transition follows in the trom-
bones and tuba over a fremolando in the violins:

b
Sa ree eee pe ee sete
sete Pp rele ey hee ey

t PO b Ta os

The subject passes to the horns and woodwind, and is followed by the second
theme, in F major, in the first violins:
Q violins i me 3 3
Jae af SaaS Et | E Goee eaee —aean Cee fot : het
obo —t etal lea Pipa tlt thee | at oH ep fae re bet
Ld ' —————- | | i =

ye: | SSS

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Full text of "1944-1945 Season Programs"

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