Kansas City Philharmonic Orchestra

              Figure

KANSAS CITY PHILHARMONIC ORCHESTRA
SEASON 1934–35

XII



FRIDAY - SATURDAY — APRIL 12th – 13th
WARNER OLAND
CHARLIE CHAN IN PARIS
with MARY BRIAN
WARWICK

Main near 39th

Shows 7:15–9:15



MUSICIANS' DIRECTORY

MRS. CARL BUSCH
Pianiste — Teacher
Prize Graduate of Leipzig Royal Conservatory
Special Teachers' Course
Courses for All Grades—Excellent Assistants
Residence Studio, 6017 Main St.
HIland 3901
Jenkins' Studio, Friday and Saturday



GUSTAVO CORTI
CLARINETIST
Kansas City Philharmonic Orchestra
CLARINET TEACHER
Of Many National and State Contest Winners
Member of the faculty Conservatory of Music
3000 TROOST AVE.   VAlentine 6644



LOIS CRAFT
Concert Harpist — Instructor
2213 Central Ave.   Kansas City, Kans.
FIfield 4535-M



GERTRUDE GRAHAM WALKER
Teacher of Singing
JAckson 0262



SCHUTTE

BERTHA Violin



ELSA Piano 1300 E. 32nd Terrace
WEstport 8964





DOROTHY HOPKINS COURTNEY
Teacher of Piano
Director of piano at Sisters of Sion Convent
Private and Class Lessons



NINA GRIFFITH
Teacher of Piano
Studio K. C. National Training School
VAlentine 5011



Marie KELLEY
Wm. J. MACK
School of Dance and Drama
MYLDRED LYONS, Dance Director
Assisted by Leah Seigel
1015 Grand   Wurlitzer Bldg.   HA. 7033



DOROTHY PERKINS
Studio of the Dance
For information call WEstport 5329



Ella Schutte Clark VOICE



310 Studio Building
MAin 1720







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To Music Loverss
The 1935 All-Wave Radios bring the ability to hear countless splendid programs which are broadcast but not upon the networks.

KANSAS CITY POWER & LIGHT CO.
Baltimore at 14th St.




Figure


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When you attend the Philharmonic Concerts
you indulge a taste for great music.  When you dine at Fred Harvey's, you admit a taste for fine food.  As the prelude to a perfect evening, we suggest the Fred Harvey Continental Dinner, which includes a decanter of choice claret wine.  Or after the concert, those delicious supper dishes at Harvey's and the gay friendliness that prevails among the interesting crowds . . provide a pleasant climax to the evening's entertainment.

Fred Harvey

Free, Well-lighted Convenient Parking
UNION STATION



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6 TRAINS DAILY


IV. KANSAS CITY
Ar. CHICAGO


8:30 a.m.
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+* 10:00 p.m.
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* 10:25 p.m.
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* The only All-Pullman trains between Kansas City and Chicago.

Santa Fe Ticket Office, 719 Walnut St.
Phone MAin 7340



This is the LAST PROGRAM OF THIS SERIES.
Kansas City Firms should anticipate this program in their next year's Budget.

YOUR FIRM
should be represented

Philharmonic Program MAin
6688
P. J. COUGHLAN, Advertising




Kansas City Philharmonic Orchestra

BOARD OF TRUSTEES
Powell C. Groner, CHAIRMAN

HONORARY VICE-CHAIRMEN

Siegmund Harzfeld
Hunter L. Gary
W. T. Kemper
Charles F. Horner
L. L. Marcell



VICE-CHAIRMEN

Mrs. Justin D. Bowersock
Clifford C. Jones
W. T. Grant
Mrs. John L. McLaughlin
J. A. Harzfeld
Mrs. Sigmund Stern
Mrs. Herbert V. Jones
T. J. Strickler
Mrs. Howard A. Austin
W. A. Bailey
Mrs. Augusta Barret
Mrs. Gordon T. Beaham
Mrs. Alfred L. Benjamin
Albert L. Berger
Mrs. E. B. Berkowitz
Carl D. Berry
Mrs. Justin D. Bowersock
Charles L. Brokaw
Henry A. Bundschu
Mrs. Charles M. Bush
Mrs. George S. Carkener
George R. Cowden
Dr. Joseph B. Cowherd
Ralph J. DeMotte
W. Laurence Dickey
William M. Dyer
Mrs. U. S. Epperson
Mrs. John J. Fennelly
W. Rickert Fillmore
Mrs. George W. Fuller
Mrs. Hunter L. Gary
Mrs. Marvin H. Gates
Miss Mabelle Glenn
George L. Goldman
W. T. Grant
Ralph L. Gray
Powell C. Groner
Porter T. Hall
John T. Harding
Frederick H. Harvey
J. A. Harzfeld
Siegmund Harzfeld
Henry J. Haskell
Mrs. Raymond M. Havens
A. Ross Hill
Thomas V. Holland
Mrs. Fred C. Hoose
Fred R. Hoover
D. L. James
J. W. Jenkins, III
Mrs. Charles E. Johnston
Cliff C. Jones
Mrs. Herbert V. Jones
W. T. Kemper, Jr.
Mrs. Leonard C. Kline
Dr. Harold P. Kuhn
Mrs. David M. Lighton
Thomas Lonergan
Conrad H. Mann
Mrs. Henry L. McCune
Mrs. Helen McDermand
H. F. McElroy
Thomas McGee
Mrs. John L. McLaughlin
Jo Zach Miller, III
J. C. Nichols
Mrs. Gerald S. Parker
Joseph F. Porter
Mrs. James A. Reed
Roy A. Roberts
Mrs. Louis Rothschild
Mrs. Samuel W. Sawyer
F. L. Schlagle
Mrs. Chas. N. Seidlitz, Jr.
Mrs. Burnett N. Simpson
Bryce B. Smith
Leroy J. Snyder
Herman Sonken
Mrs. Sigmund Stern
T. J. Strickler
Wm. M. Symon
Herman L. Traber
Paul Uhlmann
Carl W. Ulffers
William Volker
Clarence H. Waring
J. F. Wellemeyer
Samuel J. Whitmore
Fred Wolferman
J. E. Woodmansee



WOMEN'S COMMITTEE
Mrs. John L. McLaughlin, Chairman; Mrs. Henry L. McCune, Vice-Chairman; Mrs. Leroy J. Snyder, Finance Committee; Mrs. Clarence E. Shepard, Speakers Committee; Mrs. John J. Fennelly, Entertainment Committee; Miss Mabelle Glenn, Program Talks.



BUSINESS OFFICE
Chamber of Commerce
3rd Floor, Hotel Kansas Citian
MA 6688


Jo Zach Miller III, Treasurer
Wm. M. Symon, Secretary
Grace Kaufman, Manager
Blanche Lederman, Ass't. to Conductor






NEW SERIES
BOX HOLDERS—Season 1934–1935

THE WEST BOXES NUMBER FROM ENTRANCE

1.

Mr. and Mrs. Paul Uhlmann
Mr. and Mrs. Edgar L. Berkley
Mr. and Mrs. David Lyon
Dr. and Mrs. Robert Uhlmann

2.

Mr. and Mrs. William M. Symon
Dr. and Mrs. Hermon S. Major

3.

Mrs. Joseph B. Cowherd
Mrs. Charles C. Dennie
Mrs. Sam E. Roberts
Mrs. Franklin E. Murphy
Mrs. Lindsay S. Milne
Mrs. Bishop Andrews

4.
Mrs. David M. Lighton
5.

Mr. and Mrs. I. Katz
Mr. and Mrs. Earl Katz
Mr. and Mrs. Bernard Hoffman
Mr. and Mrs. Lewis Hoffman

6.

Mr. and Mrs. Herman M. Langworthy
Mr. and Mrs. Albert L. Berger
Mr. and Mrs. Homer H. Berger

7.

Mr. and Mrs. F. B. Jenkins
Mr. and Mrs. C. W. Jenkins
Mr. and Mrs. John W. Jenkins, III
Mr. and Mrs. D. L. James
Mrs. Helen James Dunlap
Mrs. Massey Holmes

8.

Mr. and Mrs. Walter B. Richards
Mr. and Mrs. Samuel W. Sawyer
Mr. and Mrs. Herbert V. Jones
Judge and Mrs. James E. Goodrich

9.

Mr. and Mrs. J. A. Harzfeld
Mr. and Mrs. Joyce C. Hall
Mr. and Mrs. Sidney L. Altschuler

10.
Mr. and Mrs. Henry J. Haskell
11.
Mr. and Mrs. Frederick H. Harvey
12.

Mr. and Mrs. Thomas J. Strickler
Mr. and Mrs. W. T. Grant

13.

Mr. and Mrs. Marvin H. Gates
Miss Gervice Gates
Mr. and Mrs. Henry D. Ashley
Mr. and Mrs. Burnett N. Simpson
Mrs. William H. Chapman
Mrs. Frederic N. Sewall

14.
Mr. and Mrs. Roy A. Roberts
15.
Mr. and Mrs. Conrad H. Mann
16.
Mrs. Karl Krueger
17.
Chicago, Rock Island & Pacific R. R. Co.
18.
Conservatory of Music of Kansas City



THE EAST BOXES NUMBER FROM STAGE

48.
Mr. and Mrs. W. A. Bailey
49.

Mr. and Mrs. Fred C. Hoose
Mr. and Mrs. Don A. Davis

50.

Mr. and Mrs. Benjamin C. Adams
Mr and Mrs. Robert D. Garver
Mr. and Mrs. Robert H. Donnell
Mrs. George Parkhurst
Miss Mary Garver

51.

Mr. and Mrs. W. T. Kemper
Mr. and Mrs. James M. Kemper
Mr. and Mrs. R. Crosby Kemper
Mr. W. T. Kemper, Jr.

52.

Mr. and Mrs. J. C. Nichols
Mr. and Mrs. Cliff C. Jones
Mr. and Mrs. L. E. Phillips

53.
Mr. and Mrs. Powell C. Groner
54.
Mr. and Mrs. Porter T. Hall
55.

Mr. and Mrs. Jesse Andrews
Mr. and Mrs. J. W. Perry
Mrs. William N. Marsh
Mrs. John W. Wingate

56.

Judge H. F. McElroy
Miss Mary McElroy
Mr. and Mrs. Henry F. McElroy, Jr.
Mr. R. R. Nelson

57.

Mr. and Mrs. Fred Goldman
Mr. George L. Goldman

58.
Mr. and Mrs. Justin D. Bowersock
59.

Mr. and Mrs. Gordon T. Beaham
Mr. and Mrs. Gordon T. Beaham, Jr.
Judge and Mrs. Henry L. McCune
Mrs. J. C. Fennell
Mrs. John I. Glover
Miss Helen S. Beaham

60.

Mr. and Mrs. Wallace C. Goffe
Mr. and Mrs. L. L. Marcell
Mr. and Mrs. George S. Carkener
Miss Nell Snead

61.

Dr. and Mrs. J. D. Brock
Mrs. T. M. Walker

62.

Mr. and Mrs. J Grover Joyce
Mrs. George E. Powell
Mrs. Katherine Halterman
Mr. and Mrs. Ed Dubinsky

63.

Mrs. Walter M. Cross
Rev. Ernest C. Wilson
Mr. Barney Allis

64.

Mr. and Mrs. H. A. Fowler
Mr. and Mrs. A. H. Courtney






April 9, 1935.

To Patrons of the Philharmonic Orchestra:

Tonight's performance marks the completion of the second season of the Orchestra, with Karl Krueger, Conductor.

Plans are now being made for the 1935–1936 Season, which will open Thursday, November 7, 1935, and close Friday, March 6, 1936.  The concerts will be given in the Theatre of the new Municipal Auditorium, and due to the smaller seating capacity, concerts will be given at approximate intervals of two weeks on successive Thursday and Friday evenings.

Your attention is invited to the chart of the new Theatre on Page 9 of this program and to the announcement and subscription blank for next season appearing on Page 9.

The season will also include five Young People's Concert and a Mid-Winter Tour.

Negotiations are in progress for a number of outstanding soloists, and Opera and other notable features may be included, depending upon the public support received.

Renewal notices for next season's tickets are being mailed to all present subscribers.  Your prompt response will enable us to complete our plans.

Our sincere thanks is extended to all of you—for only through your splendid cooperation and support has Kansas City been able to retain this fine Orchestra and its internationally known Conductor.

In closing, please permit me to urge that your subscription be forwarded to Orchestra Headquarters not later than May 1.

Your faithfully,
POWELL C. GRONER.




Announcing
the
1935–1936 Series
KANSAS CITY PHILHARMONIC ORCHESTRA
KARL KRUEGER, Conductor
in the
NEW MUNICIPAL AUDITORIUM THEATRE
Due to the smaller capacity of the new Theatre, two performances of each Concert will be given on successive evenings.



THE SUBSCRIPTION CONCERTS
The Thursday Evening-Friday Evening Series opens November 7–8, 1935 and closes March 5–6, 1936.



SOLOISTS TO BE ANNOUNCED


Season Ticket Prices:
Parquet

$20.00 and $15.00



Box Seats:






Box seating 8
$320.00




Box seating 6
$240.00




Box seating 4
$160.00



Loge Balcony

$ 25.00



Balcony

$12.50, $7.50 and $5.00



See Chart of Theatre on Opposite Page and
Make Reservations NOW at the Chamber of Commerce 3rd Floor—Hotel Kansas Citian
Phone MAin 6688 or fill in order blank and mail



This is YOUR Orchestra.  Support it by a prompt subscription to next season's series.





PARQUET



LOGE & BOXES


KANSAS CITY MUNICIPAL AUDITORIUM THEATRE


BALCONY




ORDER BLANK
Kindly reserve__________Season Tickets at $__________each for the 1935–36 Series.  Remittance for $__________enclosed.

Season Ticket Orders must be accompanied by payment of at least 10% of order—the balance to be paid in equal monthly payments with the final payment October 1.

It is understood patrons will accept seats in the same approximate location in Convention Hall if for any unforseen occurrence the new Theatre is not ready for occupancy on the date announced for opening this series.

The management reserves the right to refund money to subscribers in the event there should be any development that would make a 1935–36 Season impossible.

Name

Address

City

Phone Number

Seat Location Desired

Send orders and make checks payable to Kansas City Philharmonic Orchestra, 3rd Floor, Hotel Kansas Citian, Kansas City Mo.




KANSAS CITY PHILHARMONIC ORCHESTRA
KARL KRUEGER, Conductor
Twelfth Subscription Concert
Convention Hall, Tuesday, April 9, at 8:30

PROGRAM


Glinka
Overture Russlan and Ludmilla


Brahms
Symphony No. 2 in D major




Allegro non troppo
Adagio non troppo
Allegretto grazioso
Allegro con spirito



INTERMISSION


Wagner
Siegfried's Rhine Journey from Die Goetterdaemmerung


Wagner
Forest Murmurs from Siegfried


Wagner
Overture, Tannhauser





Late arrivals will be seated only during the interval between numbers.

Encores cannot be permitted because they destroy the unity of the program and cause inconvenience to out-of-town patrons by unduly prolonging the program.

The official piano of the Kansas City Philharmonic is the Steinway.





Orchestra Personnel for 1934–1935

First Violins

J. Harding, Concert Master
J. Blumberg
T. Wigle
T. Taibi
W. Ready
E. Poteet
A. Rendina
L. Riemer
M. Johnson
D. Pritchard
J. Lefkowitz
R. Young
S. Bobrov
J. Koontz



Second Violins

M. Holmes
N. McGinniss
B. Fryzer
R. Smith
W. Kintz
C. Metz
F. Gumb
H. Day
R. Black
J. Bradfield
D. Courtney
H. Stevan



Trumpets

W. Adair
J. Defeo
M. Winkler
B. Kendrick



Harp
L. Craft



Bass Clarinet
A. Luyben




KARL KRUEGER Conductor


JACQUE BLUMBERG, Assistant Conductor



Violas

I. Zverow
G. Rizzo
L. Long
C. Cole
C. Douglass
A. Knopenski
C. Queisert
S. Jones



Oboes

R. Buchsbaum
L. Rathbun
F. Pronio



Piccolo
H. Phares



Tympani
W. Drew



Piano
S. Rendina



Basses

F. Eberl
E. Roge
K. Winstead
R. Hancock
C. Totten
O. James
C. Metz



Clarinets

F. Joste
B. Thomas
G. Corti



Battery

P. Williamson
L. Throm



Tuba
C. Sharp



English Horn
F. Pronio



Cellos

P. Abbas
D. Conway
G. Sopkin
R. Stephens
R. Stuhl
A. Seufert
L. Hinkle
W. DeRubertis



Bassons

S. Jordan
F. Kenney
W. Kruse



Contra-Bassoon
W. Kruse



Horns

P. Farkas
S. Rendina
M. Smith
R. Peterson
H. Burdick
W. Verschoor



Trombones

F. Joiner
F. Zook
F. Lott



Celesta
M. Holmes



Flutes

B. Schoenheit
E. Stein
H. Phares



Librarian
L. Long



Personnel Manager
B. Schoenheit




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Notes on the Program
By CLAD H. THOMPSON

Overture to Russlan and Ludmilla   Michael Ivanovich Glinka, 1803-1857

Because he was the first to go to the folksongs of his people for thematic material, and first to devote the talents of real genius to the assimilation of Russian folkmusic into classical form, Michael Ivanovich Glinka has been revered in his native land as the father of Russian national music.  Although he was not a musician of such crudition or sophistication as his successors came to be, he possessed nevertheless certain elements which enable his music to live on in the heart of men long after the style and idiom of his own time had passed out of memory.  His first opera, A Life for the Czar, remained the favorite native work for the musical stage in Russia until the time of the revolution of 1917, and still is popular in spite of the ensuing complete reversal of the political and social orders in Russia.

Russlan and Ludmilla, his second opera, never has been quite so successful, largely because he was not nearly so fortunate in his libretto as he had been in his previous experiment.  It is based upon Alexandre Pushkin's poem of that name, and the poet himself was engaged to assist in putting the work into libretto from.  Pushkin, however, was killed in a duel shortly after the work began, and the combined efforts of four other librettists called in later failed, quite naturally, to give the work proper coherence.

The overture, with its strongly accented rhythms and naive melodic directness, reveals at once its folk origin.  There is in addition a liberal dash of Oriental coloring which has for Occidental listeners a vague charm not found in Russian music composed before Glinka's time.  The overture's general character is buoyant and energetic, with occasional suggestions of dramatic conflict developing later in the opera; but it finally achieves the happy ending which denotes the reunion of Russlan and Ludmilla, the lovers whose trials and long separation form the story of the opera.



Symphony No. 2 in D Major   Johannes Brahms, 1833–1897

It was the considered opinion of no less an authority than Richard Wagner that Beethoven's ninth symphony abolished all future rights to the symphonic form.  What he meant, apparently, was that in his magnificent set of symphonies, culminating in the D-minor with its choral finale, Beethoven had established so superlative a standard, that any further attempt to write in this form bordered on impertinence.

Whether his high regard for the earlier composer's work actually deterred Wagner from writing more than one symphony, or whether his dictum about the futility of symphonic music after Beethoven may not have reflected, at least in




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part, his own preference for the alliance of music with drama, is beside the point.  What does matter is that, fortunately, other musical geniuses have not adopted Wagner's attitude.  If they had, there would have been no symphonies written now for more than a hundred years (Beethoven's ninth was first performed in 1824), and the world would have been deprived of all the symphonic achievements of Schumann, Dvorak, Franck, Mendelssohn, Tschaikowsky, Sibelius and Brahms.

Of the composers who have used the symphonic form since Beethoven's time, no other employed it more effectively than Johannes Brahms.  Although he wrote only four symphonies, for variety of mood, for richness of content and for graciousness of expression they are unsurpassed in the musical literature of the last century.  Earlier this season the orchestra played his majestic first symphony in C minor; tonight it performs the second of the Brahms series, which was completed in 1877, one year after the first.  The contrast will be apparent to everyone who recalls the sober, if finely human, spirit of the C-minor.

Here is music of a different stamp, at once more intimate and more cheerful, music that has the quality of a spring night, with all its poignancy, as well as its freshness and exhilaration.  Brahms himself described this work as his Viennese symphony, not because it was first performed in Vienna but because it reflected the happy and graceful mode of life associated with the Austrian capital.

The symphony begins with an allegro, the two principal themes of which are assigned respectively to the horn and the 'cellos.  There follows an adagio, perhaps the loveliest slow movement that Brahms ever wrote, with the 'cellos again playing an important role in the instrumentation.  For his third movement Brahms substituted an allegretto grazioso for the more commonly used scherzo, apparently to avoid too violent a contrast with the preceding section.  Here the wood winds,



TED SHAWN
AND HIS MEN DANCERS

Some of the Present Season's Engagements in the Kansas City Area:

St. Louis—Municipal Auditorium
Des Moines—Roosevelt Auditorium
Iowa State College, Ames
The University of Kansas
Wichita—City Teachers Artist Series
Columbia—Christian College Auditorium
Denver—Broadway Theatre
Dallas—State Fair Auditorium
(With Dallas Symphony Orchestra)
Fort Worth—Civic Music Series
The University of Arkansas
Oklahoma City—Shrine Auditorium
Tulsa—Convention Hall



SEASON 1935–36 — COAST TO COAST TOUR — NOW BOOKING
Management:
Willmore & Powers
2 West 45th Street
New York City

Exclusive Tour Direction West of the Mississippi:
L. E. Moyer, Horner Bureau
3000 Troost Avenue
Kansas City, Missouri

Representing, also, other concert attractions





particularly the oboe, are dominant, except in the presto passages given to the strings.  And the work ends with another allegro, even more spirited and brilliant than the first, led by the stringed instruments with powerful support from the brass section.

Brahms pretended to hold his second symphony in no great esteem.  Before its performance he wrote to a former pupil, You have only to sit down at the piano, put your small feet on the two pedals in turn, and strike the chord of F-minor several times in succession, first in the treble, then in the bass (ff. and pp.), and you will gradually gain a vivid impression of my latest work.  But no hearer with any musical discernment will be deceived.  Perhaps nowhere else in all symphonic literature has an essentially sturdy and forthright spirit expressed itself with such tenderness and restraint as in this D-major symphony of Brahms'.



INTERMISSION

Siegfried's Rhine Journey from Die Goetterdaemmerung   Richard Wagner, 1813–1883

It would be difficult to find a composer tempermentally more remote from Brahms than Richard Wagner.  Brahms led a relatively uneventful life, immersed in his art.  Upright in character, loyal to his friends, of a jovial and tolerant disposition, he is one of the best balanced and attractive figures in the realm of music.  Wagner, on the other hand, had a stormy personal career.  Music was only one of his interests.  Resourceful, pugnacious and intolerant, he was constantly involved in political and artistic controversies and he seems to have deemed himself at least as much a man of the theater as a musician.

The passage which the Philharmonic Orchestra plays tonight from The Twilight of the Gods (Die Goetterdaemmerung) is admirably suited for symphonic purposes.  It occurs in the last of the four music dramas that together constitute The Ring of the Nibelung.  (The other three are, in chronological order, The Rhine Gold, The Valkyrie and Siegfried.)  Wagner began this great series in the heat of the political passions aroused by the crisis of 1848, and the work embodies many of his philosophical ideas concerning the German race.  But it is not necessary to consider them, in order to enjoy this magnificent music which describes how the hero, Siegfried, leaves his beloved Brunnhilde and sets out on a journey up the Rhine.

This section of the score serves as an orchestral interlude between the prelude and the first act and is constructed out of a series of themes, or motifs, which Wagner regularly associated with various elements in his story.  (He also wrote the text.)  Among them may be detected Siegfried's song of wandering, Brunnhilde's theme, Siegfried's horn call, music descriptive of the river and finally the theme of the ring that carried a curse.



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Forest Murmurs from Siegfried   Richard Wagner

This passage comes from the music drama that immediately precedes The Twilight of the Gods in the Ring cycle.  Siegfried is pictured here as a young man, setting out in quest of a dragon.  He stops in a forest and, lying on his back, dreams of the father and mother whom he has never known.  The music consists of themes from the earlier parts of the cycle, chiefly representing Siegfried's ancestry, into which breaks the clear call of a bird.  Siegfried tries vainly to imitate the call, and the woodland idyl is rudely interrupted by the appearance of the dragon.



Overture to Tannhauser   Richard Wagner

Tannhauser was an earlier work than any of dramas of the Ring cycle.  The overture, one of the most popular compositions of its kind, reviews the action of the opera in advance.

Tannhauser was a legendary hero and minnesinger, (or troubador,) attached to the court of the Landgrave of Wartburg in Thuringia, in the thirteenth century.  The minnesingers were knights who mingled poetry and song with their military prowess, and along with jousting contests, they held tournaments of song as well.  Near the Wartburg castle rises a mountain called the Venusberg, on which lived Holda, goddess of spring, who later became identified as the Teutonic Venus, goddess of sensual love.  Her court was filled with nymphs and sirens, and it was her greatest joy to entice the knights of Wartburg and hold them captive to her beauty.  One of those who fell such a captive was Tannhauser.

The dramatic conflict in the opera is the struggle between Venus and Elizabeth, a pure and holy maiden, for the soul of Tannhauser, and the ultimate triumph of Elizabeth's pure love and holy faith.  The overture opens with the famous Pilgrim's Chorus, given out by the choir of brasses, a most noble and sturdy hymn which is repeated with striking reinforcement from the strings.  As the Pilgrim music dies away, a sudden change of tonality is observed, introducing the will orgies of the revelers on the Venusberg in seductive strains of the most vivid colorings.  From this section we hear Tannhauser's profane song in praise of Venus twice repeated, and presently, amid the conflict within the orchestra, while yet the strings are echoing the alluring strains from the court of Venus, the Pilgrim's Chorus begins once more to rise; softly at first, as if with great difficulty, but gradually gaining and swelling in volume until it returns with redoubled power and glory, giving promise, so to speak, of the triumphant redemption and forgiveness of Tannhauser.




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Now—Lounge Cars and Diners—All Air-Conditioned.
Chair Cars and Coaches—Many Air-Conditioned.  More on the way.

Frisco Ticket Office—103 West 11th St.   Phone MAin 7220
W. L. Huggins, Jr., Traffic Manager

FRISCO LINES



KANSAS CITY'S GAYEST SPOTS

Figure


THE FAMOUS GRILL where you may dine in splendor and dance to famous orchestras.  Always a jovial crowd enjoying the utmost in entertainment.

THE RENDEZVOUS.… Just the place for an appetizer during the Cocktail Hour.… For an excellent, moderately priced dinner or after-theatre snack.

For Grill Reservations Call THOMAS   GRand 1400

HOTEL MUEHLEBACH