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Tuesday Evening, April I, at 8.15

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Nfl* I ngland't tarn* tl Imtrummt Home

STRAND THEATRE LOWELL

INCORPORATED

Thirty-eighth Season, 1918-1919

HENRI RABAUD, Conductor

WITH HISTORICAL AND DESCRIPTIVE

NOTES BY PHILIP HALE

TUESDAY EVENING, APRIL 1

AT 8.15

COPYRIGHT, 1919, BY BOSTON SYMPHONY ORCHESTRA, INCORPORATED

W. H. BRENNAN, Manager G. E. JUDD, Assistant Manager

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HeprcicnteJ hy the horrmatt DrnlcrM I:ocryn>hcrr

Thirty-eighth Season, 1918-1919

HENRI RABAUD, Conductor

stra

Violins.

Fradkin, F.

Concert-mastet

Noack, S.

Roth, 0.Hoffmann, J

Rissland, K.Theodorowicz, J.

Bak, A.Mahn, F.

Ribarsch, A.Traupe, W.

Goldstein, BGerardi, A.

Sauvlet, H.Grunberg, M.

Tak, E.Di Natale, J.

Thillois, F.

Fiedler, B.Spoor, S.

Ringwall, R.Goldstein, S.

Henkle, R.Gunderson, R.Diamond, S.

Deane, C.Balas, J.

Kurth, R. Bryant, M.Fiedler, G. Langley, A.

Violas.

Barrier, C.Wittmann, F.

Werner, H.Berlin, V.

v.Veen, H. Mager, G.Shirley, P. Fiedler, A.

Violoncellos.

Van Wynbergen, C.Tartas, M.

Malkin, J.Schroeder, A.

Miquelle, G.Nagel, R.

Barth, C. Belinski, M.Nast, L. Mingels, E.

Basses.

Fabrizio, E.Stockbridge, C

Villani, A.Gerhardt, G.

Agnesy, K.Jaeger, A.

Seydel, T.Huber, E.

Ludwig, 0.Schurig, R.

Flutes. Oboes. Clarinets. Bassoons.

Laurent, G.Brooke, A.DeMailly, C.

Longy, G. Sand, A.Lenom, C. Forlani, N.Stanislaus, H. Vannini, A.

Laus, A.Mueller, E.Piller, B.

Piccolo. English Horns. Bass Clarinet. CONTRA-BASSOON

.

Battles, A. Mueller, F.

Speyer, L.

Stievenard, E. Fuhrmann, M.

Horns. Horns. Trumpets. Trombones.

Wendler, G.Lorbeer, H.Hain, F.

Gebhardt, W.

Jaenicke, B.Miersch, E.Hess, M.Hubner, E.

Heim, G.Mann, J.Nappi, G.Kloepfel, L.

Adam, E.Sordillo, F.

Mausebach, A.Kenneld, L.

Tuba. Harps. Tympani. Percussion.

Mattersteig, P. Holy, A.Cella, T.

Neumann, S. Ludwig, C.Gardner, C. Zahn, F.

Burkhardt, H.

Ohgan.Snow, A.

Librarian.Rogers, L. J.

The Artist

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STRAND THEATRE . LOWELL

Thirty-eighth Season, 1918-1919

HENRI RABAUD, Conductor

TUESDAY EVENING, APRIL 1

AT 8.15

PROGRAMME

Weber ,

Schubert

Donizetti

I. Allegro moderateII. Andante con moto.

Overture to "Der Freischutz"

Unfinished Symphony in B minor

. Air, "Una furtiva lagrima," from "L' Elisir

d' Amore"

Widor . . Incidental music to "Conte d'avril" (after Shakespeare's"Twelfth Night"), Comedy by Auguste Dorchain

Romance.Guitare.

Massenet . . . . Air, "Voir Griselidis," from "Griselidis"

Bizet . . . Suite No. i from the music for Alphonse Daudet'sPlay "L'Arlesienne"

I. Prelude.

II. Minuetto.III. Adagietto.

IV. Carillon.

Chabrier . . . . . "Espafia," Rhapsody for Orchestra

SOLOIST

LAMBERT MURPHY

There will be an intermission of ten minutes after the symphony

5

0\i HTiiu:, "Der Freischutz" .... Carl Maria von Weber

(Born at Eutin, Oldenburg, Deoember 18, 1786; died at London, June 5, 1S26.)

" Per Freischutz," a romantic opera in three acts, book by Friedrich

Kind, music by Weber, was first performed at Berlin, June 18, 1S21.

The cast was as follows: Agathe, Caroline Seidler; Aennchen, Johanna

Eunike; Brautjungfer, Henriette Reinwald; Max. Heinrich Stumer;

Ottaker, Gottlieb Rebenstein; Kuno, Carl Wauer; Caspar, Heinrich

Blume; Fremit, Georg Gern; Kilian, August Wiedemann; Samiel,

Hillebrand. It was the first opera performed in the new theatre,

Schauspielhaus, erected by Schinkel in 1819-21, to replace the original

building, which was burned down in 1817. Weber wrote in his diary

that the opera was received with "incredible enthusiasm: ( )verture and

Folk-song were encored; fourteen out of seventeen music-pieces were

stormily applauded. Everything went exceedingly well, and was sung

con amort, I was called before the curtain and took Mad. [sic] Seidler

and Mile, [sic] Eunike with me, as I could not get hold of the others,

-es and wreaths came flying. 'Soli Deo Gloria."1 Some of these

96fl were malicious, and reflected on Spontini, much to Weber's

distn

The first public performance of the overture was at Copenhagen,

October 8, 1820. Weber was making a tour through North Germany

and Denmark. The second performance was at Brunswick, October

31, L820. And before the performance of the opera itself the overture

played for the third time at Dresden, December Is. \S20. at a con-

cert given by Weber's friend Heinrich Joseph Barmann, the brilliant

clarinetist.

The overture begins adagio, major, 4-4. After eight measures of

introduction there i- a part-song for four horns. This section o\ the

rture ifl not connected in any way with subsequent stage action.

r the quarter the Sarnie! motive appears, and there is the thoughtof Max and hi- temptation. The main body of the overture is moltO

' minor. 2-2, The sinister music rises to a climax, which is

d during the casting of the seventh bullet in the Wblffl Glen.

In th<- next episode, F-Mat major, themes associated with Max (clari-

and Agathe first vi<»lms and clarinet) appear. The climax of

the fir-t section reappear-. low in major, and there is USS Of Auathe's

theme. Their i- repetition of the demoniac music that i i it roduCCS the

Allegro, and Samiel"- motive dominates the modulation to the coda,

I Lino, which i> the apotheosis of Agathe.-roiv(| f ( , r two Mutes, two oboes, two clarinets, two

• .in horns, two trumpets, three trombones, kettledrums, and

Ti rformanos of "Der FreischtUs" in the United States

I Lig] produced at the Park Theatre, New York,

I in- chief sine re Mi Eft Uj . Dors. I >. Luce.

dhull, and Clarke. Mi Lvdia Kelly w niece of Michael

•Col. T. AIMon Hrown give Mur.l, .-. l.ii ' lli-f..ry f.f tl Htm" CMOS).

i

Kelly, singer and the author of the amusing Memoirs. She is described

as " rather masculine in appearance." Her costumes were distin-

guished for "richness and elegance." She had " never-failing animalspirits, good humor, and vivacity." She married a French baron, wholeft her as soon as she failed to be a profitable investment.

Unfinished Symphony in B minor . ... Franz Schubert

(Born at Lichtenthal, near Vienna, January 31, 1797; died at Vienna,November 19, 1828.)

Two brothers, Anselm and Joseph Hiittenbrenner, were fond of

Schubert. Their home was in Graz, Styria, but they were living at

Vienna. Anselm was a musician ; Joseph was in a government office.

Anselm took Schubert to call on Beethoven, and there is a story

that the sick man said, "You, Anselm, have my mind; but Franzhas my soul." Anselm closed the eyes of Beethoven in death. Thesebrothers were constant in endeavor to make Schubert known.Anselm went so far as to publish a set of "Erl-king Waltzes," andassisted in putting Schubert's opera, "Alfonso and Estrella" (1822),in rehearsal at Graz, where it would have been performed if thescore had not been too difficult for the orchestra. In 1822 Schubertwas elected an honorary member of musical societies of Linz andGraz. In return for the compliment from Graz, he began the Sym-

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phony in B minor. No. 8 (October 30, 1822). He finished the Allegro

ami the Andante, and he wrote aine measures of the Scherzo.

Schubert visited Gtaai in 1827, but neither there nor elsewhere did

be ever hear his unfinished work.Tin- symphony was first played at a Gesselschaft concert, Vienna.

December 17. L865, under ELerbeck's direction.

The symphony is scored for two flutes, two oboes, two clarinets,

two bassoons, two horns, two trumpets, three trombones, kettle-

drums, strings.

The first movement, Allegro moderato, B minor, 3-4, opens with a

solemn phrase in violoncellos and double-basses in low octaves. Thefirst and second violins enter in the ninth measure with restless

]»; i --sage-work in thirds and sixths, an accompaniment to a lamentingtheme of oboe and clarinet. There has been dispute concerning the

elassiiieation of these motives. Let us quote William Foster Ap-thorp : "I have long been in doubt exactly how to classify these

three phrases ; indeed, I think I have classified them differently eachtime 1 have had to analyze the symphony for these programme-books. It seems to me, however, on maturer consideration, that the

true classification, the one most consistent with the ordinary canonsof the sonata-form, is this. The plaintive melody of the oboeand clarinet is but the continuation and further development of

the initial phrase of the violoncellos and double-basses—or the re-

sponse to it—and the two together constitute the first and secondmembers of the first theme. The nervous passage-work in the violins

is the counter-theme to this." The development is suddenly cutshort by syncopated chords in the full orchestra. A long-held D in

horns and bassoons is followed by a modulation to G major, andthe most Schubertian second theme is sung first by violoncellos

a.Lr;iinst syncopated harmonies in the violas and the clarinets, andthen by violins in octaves. The development is soon of an imitative

contrapuntal character. The free fantasia is a long and elaboratew rorftdng "lit of the first section of the first theme. The third partof the movement begins with the first theme in the tonic, and the

second theme enters In 1) major. The coda is short and based on

the first section of tin* fins! theme.

The Second movement, Andante con motO, B major, 8-8, is in

sonatina form, "the sonata form without the free fantasia." Thefinl theme is in E major in the strings. Wind instruments Interrupt

Occasionally. A subsidiary theme is given OUt forte by wood-wind

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and brass over a contrapuntal bass in all the strings. There is areturn of the first theme in the wood-wind. The second theme is aclarinet solo in C-sharp minor over syncopated harmonies in the

strings. The theme suffers modulation in the development. Asubsidiary in C-sharp minor is announced fortissimo by the full

orchestra, and a theme in D major follows ; the first violins imitate

the violoncellos and the double-basses against a syncopated accom-paniment in second violins and violas. There is a free closing pas-

sage, based on figures from this conclusion theme. The secondpart of the movement is planned according to the same scheme withthe conventionally regular changes of tonality. The coda is shortand built on the conclusion theme and the first theme.

Air, "Una furtiva lagrima," from "1/ Elisire d' Amore."Gaetano Donizetti

(Born at Bergamo, Italy, November 29, 1797; died at Bergamo, April 8, 1848.)

"L' Elisire d' Amore," a comic opera in two acts, libretto by Romani,was produced at Milan, May 12, 1832. The subject is the same as that

of Auber's "Le Philtre" (Paris, 1831).

"Una furtiva lagrima" is sung by the young villager, Nemorino.

inomnn//yr/c doprano

ACCOMPANISTRepertoire: Arias, Italian, French and English.

Songs and Ballads. Songs in Costume

Copy of Col. Taylor's letter.—Shubert Thea-tre. Boston, June 24, 1918.

My dear Miss Kingman,—The devotion toyour country as expressed in your generouscontribution given at the Shubert Theatre onSaturday evening was sincerely appreciated byall who had the privilege of listening to you,especially by myself, who was responsible forhalf the programme. Your beautiful voicetogether with your charming personality cap-tivated everybody. I predict for you a mostsuccessful future and shall watch your careeras it develops, with a keen interest.

Very sincerely. CHAS. W. TAYLOR.Colonel U.S. Army—Cavalry.

ManagementR. E. Johnston. 1451 Broadway, N,Y.

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Una furtiva hitjrimft,

NegT occhi SUOJ spunto;Quelle testore giovaniIn vidiar BembrdChe piu eercando io vo?M' :i!ii:i. -l in" aina. Io vedo!I n solo istante i palpiti.

Del bug be) ooraentil

I miri sospir confenderePer poco a mioi sospir.

This hafi 1 een translated as follow-:

In her dark eyes emhathed there stood,

Trembling, the furtive tear;

White each gay smile that could be seennied parent to a fear.

What can this heart wish more'She love- me! What joy in store!

Ah! For a moment hut to feel

The throbbing of that heart

;

While glance to glance, si<ih echoes sigh,

As though we could ne'er part.

Incidental Music to the Comedy "Conte d'Aykil": Romanceand (it i!mm Charles Marie rYrooa

Born at Lyons od February 24, L845; now living at Paris

« lonte d'Avril," a comedy in verse in four ads and six -cones, byiste Dorchain, was produced at the Odeon, Paris, September 22,

1885, when this music was first played. The comedy is an adapta-

tion of Shakespeare's 'Twelfth Night/' with the Duke, Malvolio,

Viola, <>livi:». Sebastian (called Silvio). It is not easy to recognise

Dorchain's "Quinapalus" trom a description of lii^ play. Is he not

Sir Toby Belch? A critic wrote that Dorchain had not tried t<» trans-

ire, "he was simply inspired by him, as Ik- avowed most

ingenuously in the published play."

Two Buitee were arranged by the composer from this stage music.

They wore first played .at .a ( olonne concert in Paris, November l 5,

1891. 'rh« Romance i- from the first; Guitare, from the second.

Romance. Andantino, A-fl.-ti major, l-l. Flute solo with harp;

two oboes, two clarinets, two hassoons, two horn-, kettle-

drums, and BtringB. In the theatre tin- romance was played behind

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the scenes, with few instruments, "0 Sweet April night, night madefor love!"

Guitare. Allegro, C major, 2-4. Strings pizzicati, two flutes, twooboes, two clarinets, two bassoons, two horns, a set of three kettle-

drums. In the middle section, F major, the strings are played with the

bow. '

Air, "Voir Griselidis," from "Griselidis" . Jules Massenet

(Born at Montaud (Loire), France, May 12, 1842; died August 14, 1912.)

"Griselidis," a lyric tale in three acts and a prologue, poem by Ar-mand Silvestre and Eugene Morand (based on the " mystery" per-

formed at the Comedie-Francaise) , music by Massenet, was producedat the Opera-Comique, Paris, November 20, 1901. The first per-

formance in America was at the Manhattan Opera House, New York,on January 19, 1910.

This air is sung by Alain in the prologue. Alain, a gentle poet, is

alone on the edge of a forest of Provence at sunset. He is dreaming of

the joy of meeting Griselda, whom he loves. The Prior and Gonde-baud appear, talking together. They mourn the fact that the Marquiswill never marry: "No one has ever charmed his soul." Alain over-

hears them and exclaims, "He has never seen Griselda." They cry

out, " Griselda !" and he then sings this air. The part of Alain wascreated by Marechal.*The air as arranged for concert use includes the apostrophe of Alain

when he is alone. In the opera the prologue ends with the wail of Alain

that he will not see Griselda again.

Ouvrez vous sur mon front,

Portes du paradis!

Ouvrez vous, je vais revoir Griselidis!

Les grands cieux ou descend le soir.

Les cieux tendus d'or et de soie,

Les grands cieux sont comme un miroir,

lis refletent toute ma joie.

Ouvrez vous sur mon front,

Portes du paradis!

. Je vais revoir Griselidis!•

* Marlchal, tenor, was born at Li£ge, September 26, 1867, and studied at the conservatory of thatcity. He took the first prize, and made his d6but at the Li6ge Opera House in 1891. After singingat Rheims, Dijon, Antwerp, Bordeaux, Rouen, Moscow, Nice, Aix-les-Bains, he joined the Op6ra-Comique Company, Paris, in 1895, and made his first appearance there as Don Jos6, November 7.

He has created there several important parts.

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Voir Griselidis c'est connaitre,Dans la grace exquise d'un etre,

Tout ce qui peut plaire et charmer;Voir Griselidis, c'est Yaimer!Elle est au jardin des tendressesNon pas la rose, mais le lys.

Des beaux yeux clairs

De leurs chastes caresses

N'ont jamais consoleLes fronts par eux palis.

Ouvrez vous sur mon front,

Portes du paradis!Ouvrez vous, je vais revoir Griselidis!

Open, ye gates of paradise, to my soul! I am about to see Griselda. The lofty

sky, from which evening descends, the sky hung with silk and gold, the sky is as alooking-glass that mirrors all my joy.

To see Griselda is to know all that can please and enchant in the exquisite graceof a being. To see Griselda is to love her! In the garden of affections she is thelily, not the rose. Her beautiful clear eyes have never consoled with their chastecaresses faces that grow pale at a look from her.

Suite No. 1, from "L'Arlesienne" Georges Bizet

(Born at Paris, October 25, 1838; died at Bougival the night of June 2-3, 1875.)

When Leon Carvalho was manager of the Vaudeville Theatre, Paris,

he wished to revive the melodrama, the dramatic piece with incidental

and at times accentuating music. He chose as dramatist AlphonseDaudet, who happened to have a Provengal play ready for the Vaude-ville. He chose as musician Bizet, whose "Djamileh," an opera in oneact, produced at the Opera-Comique on May 22, 1872, had been praised

by only a few critics. The libretto and the incapacity of a Mme.Prelly, a woman of society who longed for applause as a public singer,

did woful injury to the compeser. Bizet was accused of being aWagnerite, and Wagner was not then in fashion.

"L'Arlesienne," a piece in three acts, was produced at the Vaudeville

on October 1, 1872.* The play was not liked, and there were only fifteen

performances, according to Charles Pigot.

After the failure of the piece Bizet chose certain numbers out of the

twenty-seven, rescored them, and arranged them in the form of a suite.

The first performance of this version was at a Pasdeloup concert onNovember 10, 1872.

This suite is scored for two flutes, two oboes (the second of which is

interchangeable with cor anglais in the first movement), two clarinets,

two bassoons, alto saxophone, four horns, two trumpets, two cornets,

three trombones, kettledrums, snare drum, harp, strings.

The plot of " L'Arlesienne " is the story of a young farmer of Ca-margue, Frederi, the son of Rose Mamai of Castelet. He, is madly in

love with a girl of Aries, a brunette who is irresistible in the farandole;

* Ttiis date is given by contemporary journals. The date in the Archives of the Society desAuteurs is September 30.

13

nrTFTTT'TTiTM"T"IT—nir- -

and he would fain wed her. She is not seen in the drama.* Frederi is

Told at last that she is unworthy the low of any honest man; and he,

flunking that contempt can kill passion, swears lie will forget her.

The baleful beauty ^i the woman haunt- him day and night. Themaiden Yivette. with whom he ha- mown up. wishes to console him;hut. when he would woo her. the woman of Aries conies between them.Thus tortured by jealousy, hatred. l<>ve. despair, on a night when the

peasants are celebrating the Festival of Saint E2oi, and dancing the

Earandole to the sound of flute and tambourine, Frederi hurls him-self from the garret window of the farm-house and da-he- hifl skull

tinst the pavement of the court.

Rhapsody for Orchestra, "Espa^a" . . . Emmanuel Chabrier

(Born at Ambert (Puy-do-Dome), France, January IS, 1S41; died atParis, September 13, 1894.)

When Chabrier was six years old, he began the study of music at

Ambert with B Spanish refugee, named Saporta. One day when the

hoy did not play to suit the teacher, Saporta, a violent person, raised his

hand. Nanette, t the servant who reared Chabrier, and lived with him

nearly all his life, came into the room. She saw the uplifted hand,

rushed toward Saporta. slapped his face, and more than once.

In L882 Chabrier visited Spain with his wife. J Travelling there, he

wrote .'iniu-inu; letters to the publisher Costallat, These letters were

published in S. I. M.xa musical magazine (Paris: Xos. January 15 and

February 15, l'.'OO). Wishing to know the true Spanish dances, ("ha-

hrier with his wife went at oighl to hall-rooms where tin 4 company wasmixed. A- he wrote in a letter from Seville: "The gypsies fling their

m:tl:iLr uefia- or dance the tango, and the inan/.anilla is passed from

hand to hand and every one i.- forced to drink it. These eyes, these

flowers in the admirable heads of hair, these shawls knotted about the

body, these feel that strike an infinitely varied rhythm, these arms that

run shivering the length of a body always in motion, these undulations

of the hands, these brilliant smiles . . , mid all this to the cry of 'Olh.

OUe, an 'In In Maria! Ainln In Chiquita! Eso is' Baile la Carmen!

Andal Andal* shouted by the other women and the spectators.

H<,y. die two guitarists, grave persons, cigarette in mouth, keep on

scratching something Or other in three time. (The tahgO .'done is in

two time. j The cries of the women excite the dancer. \nIi<» becomes

rally mad of her body. IVi unheard ofl Last evening, two paint-• ,t frith m and made sketches, and I had some music paper in

hand We had all the dancers around us; the singer- sang their

BOng)! tO me, Squeesed my hand and Alice's and went away, and then

llgrd to drink out of the same tflass. Ah, it was a fine thing

• \ !.•! «. it i* with the charming widow hi Um old farce. " Dunducketty' Picnic." Yet, wheau\i*\i R'l.i e"B* peodu ikI.hi, tin-, worn*n wu intro-

lii hit might be gratified \N hen•

I,

-,<, . ,i \.. una nlKiut i< : > product*! in Now V<«rk. o piuwionaU preat agent announced,

• i, irould " Inpereoaate tbi title-role."

v lycgrand -Chabrier, w<r<« published at

Paria

i wifo ni Alioe Dojoan, dMgfetaf <>t I ' wn.l.liiiK MM in 1873?

u

indeed! He has really seen nothing who has not seen two or threeAndalusians twisting their hips eternally to the beat and to the meas-ure of Anda! Anda! Anda! and the eternal clapping of hands. Theybeat with a marvellous instinct 3-4 in contra-rhythm while the guitarpeacefully follows its own rhythm. As the others beat the strong beatof each measure, each beating somewhat according to caprice, there is

a most curious blend of rhythms. I have noted it all—but what a trade,

my children."

In another letter Chabrier wrote: "I have not seen a really uglywoman since I have been in Andalusia. I do not speak of their feet;

they are so little that I have never seen them. Their hands are smalland the arm exquisitely moulded. Then added the arabesques, thebeaux-catchers and other ingenious arrangements of the hair, theinevitable fan, the flowers on the hair with the comb on one side!"

The Rhapsody is dedicated to Charles Lamoureux, and it is scoredfor piccolo, two flutes, two oboes, two clarinets, four bassoons, fourhorns, two trumpets, two cornets-a-pistons, three trombones, basstuba, kettledrums, bass drum, cymbals, triangle, tambourine, twoharps and strings.

"Espana" is based on two Spanish dances, the Jota, vigorous andfiery, and the Malaguefia, languorous and sensual. It is said that onlythe rude theme given to the trombones is of Chabrier's invention; theother themes he brought from Spain, and the two first themes wereheard at Saragossa.

Allegro con fuoco, F major, 3-8. A Spanish rhythm is given to

strings and wood-wind. Then, while the violas rhythm an accompani-ment, bassoons and trumpet announce the chief theme of the Jota.

The horn then takes it, and finally the full orchestra. A more expres-

sive song is given to bassoons, horns, and violoncellos. There is anepisode in which a fragment of the second theme is used in dialogue for

wind and strings. A third melodic idea is given to bassoons. Thereis another expressive motive sung by violins, violas, and bassoons, fol-

lowed by a sensuous rhythm. After a stormy passage there is com-parative calm. The harps sound the tonic and dominant, and the

trombones have the rude theme referred to above, and the rhythms of

the Jota are in opposition. Such is the thematic material.

MUSICAL INSTRUCTION

I nni« Arthur Riim#»11 A RATIONALIST IN MUSIC PEDAGOGYLaUIIW "*•"*" I\UMC11 CARNEGIE HALL, NEW YORK CITY

VOICE in all its phases for Speech and Song, Concert, Recital, Church, Oratorio(Director of the Newark Oratorio Society)

PIANOFORTE SPECIALIST. Artist Pupils and Teachers through the country

Ask your dealer to show you Mr. Russell's songs: "The Sacrifice," "Nocturne," "Spring Rapture," "Supplication," etc.

Essential Practice Material for Singers, etc. Schirmer, Luckhardt, Essex Publishing Co.

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15

MUSICAL INSTRUCTIONMiss ALICE HUTCHINS BAKER

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The principles of Leschetizky presented in a definite and comprehensive manner

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10

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.. TENOR ..

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ADELINE PACKARD. VioUHAZEL LAFRICAIN. Cello

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30 Huntington Avenue. Boston. Mass.Telephone. Bnck IUy 4o54-M

Mi«s PRISCILLA WHITETEACHER OF SINGING

610 Pierce Building

COPLEY SQUARM - . BOSTON

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CARNEGIE HALL NEW YORK

ENRICO

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A'ldfTH. |5 V»t

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Lang Stu<!io< ... 6 Newbury Street

Bertha Cushing Child ELIZABETH SIEDOFFAMERICAN IM WIST and ACCOMPANIST

ii' itals. musk ai k.s. CONCERTSAutliorirr'l reprwmUtiva (A lb« mmi tno<Jrm ideal "»

pi«r>» trrhnir Primary. A'Kincnl anr) Taacbari' '

K, u NLUHURY STREET. Tel.. BJKr.„lr,>.r. HOTEL HRMFJMWAY. M . U 11. 3180

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LANG STUDIOS. 6 NEWBURY STREET

Lfl

1919 34th Season

SYMPHONY HALL

OPENING NIGHT, MONDAY, MAY 5

H

Orchestra of 80 Symphony Players

AGIDE JACCHIA, Conductor

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For information regarding arrangements for "Special

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