CHRONOLOGICAL LIST OF ARTURO TOSCANINI’S PUBLIC PERFORMANCES AS A

CONDUCTOR

Names of operas performed in their entirety are given in boldface, mainly in their original

languages, although all of the operas conducted by Toscanini in Italy and South America were

sung in Italian, except as otherwise indicated. Operas performed in other countries were sung in

their original languages. Names of principal cast members are given in parentheses: the women’s

names are followed, after a semicolon, by the men’s names. A slash between names indicates

singers alternating or being replaced in the same role. A number following the cast list indicates

how many performances were given of an opera within a given season; no number means that

the information has not been found.

WP = World Premiere; NP = National Premiere

The list does not include national anthems.

The list does not include recording sessions.

Strauss = Richard Strauss unless otherwise indicated.

1884

25 May, Parma, Teatro Regio, student orchestra

WP Toscanini: Andante and Scherzo

1886

30 June, Rio de Janeiro, Imperial Theatro Dom Pedro II, Compagnia Claudio Rossi

1
Verdi: Aida (N. Boulichoff, M. Mei Figner; T. Bertini/N. Figner, P. Lhérie, G. Roveri)

2 July, same venue

Verdi: La traviata (C. Buglione di Monale; C. Callioni, N. Zardo)

5 July, same venue

Ponchielli: Marion Delorme (M. Mei Figner, E. Mantelli; N. Figner, P. Lhérie, G.

Roveri)

7 July, same venue

Donizetti: La Favorite (M. Mei Figner; N. Figner, P. Lhérie, G. Roveri)

9 July, same venue

Verdi: Rigoletto (I. Meyer, E. Mantelli; N. Figner/T. Bertini, P. Lhérie, N. Limonta)

11 July, same venue

Verdi: Il trovatore (N. Bulichoff, E. Mantelli; C. Callioni, N. Zardo, N. Limonta)

14 July, same venue

Ponchielli: La Gioconda (N. Boulichoff, M. Mei Figner, E. Mantelli; N. Figner, P.

Lhérie, G. Roveri)

16 July, same venue

Thomas: Hamlet (C. Buglione di Monale, M. Mei Figner; P. Lhérie, G. Roveri)

18 July, same venue

Gounod: Faust (N. Boulichoff, E. Mantelli; N. Figner, N. Zardo, G. Roveri)

21 July, same venue

Meyerbeer: Les Huguenots (N. Boulichoff, C. Buglione di Monale, E. Mantelli; N.

Figner, P. Lhérie, G. Roveri, N. Limonta)

28 July, same venue

2
Gomes: Salvator Rosa (N. Boulichoff, I. Meyer; C. Callioni, P. Lhérie, G. Roveri)

5 August, same venue

Gomes: Overture to Il Guarany; Bolzoni: Minuet

13 August, same venue

NP Machado: Lauriane (N. Boulichoff, E. Mantelli; N. Figner, P. Lhérie)

23 August, same venue

Gounod: Intermezzo from La Colombe; Celega: Gavotte for strings; Taubert: Pizzicato

for strings; Haydn: Serenade for strings (from String Quartet Op. 3 No. 5, actually

by Roman Hoffstetter); Bolzoni: Minuet; Rossini: Overture to William Tell

4 November, Turin, Teatro Carignano

Catalani: Edmea (V. Ferni Germano; N. Figner, S. Sparapani, E. Borucchia) 15

1887

5 June, Casale Monferrato, Teatro Sociale

Meyerbeer: L’Africaine (A. Magi Trapani, A. Martinez; C. Bianco, A. Parboni, C. Jorio,

C. Lopez)

29 October, same venue

Ponchielli: La Gioconda (L. Peydro, C. Beltramo, A. Bojenko; E. Niccoli, A. De Giuli,

R. Darval)

19 November, same venue

Verdi: I Lombardi (L. Peydro; E. Niccoli, R. Darval)

26 December, Verona, Teatro Filarmonico

Bizet: Carmen (G. Ravogli, L. Brambilla; O. Emiliani, G. Salassa)

3
1888

12 January, Verona, Teatro Filarmonico

Donizetti: Lucrezia Borgia (E. Wiziak/V. Potentini, S. Bellincioni; L. Filippi Bresciani,

V. Salmasi)

26 January, same venue

Thomas: Mignon (G. Ravogli, L. Brambilla; O. Emiliani, G. Salassa)

? February, same venue

Wagner: Overture to Tannhäuser

22 August, Macerata, Teatro Rossi

Verdi: Aida (S. Ravogli, G. Ravogli; V. Ghilardini, E. Sivori, V. Arimondi)

20 October, Milan, Teatro Dal Verme

Verdi: La forza del destino (I. Riccetti, T. Carotini; V. Ghilardini, E. Sivori, G. Fari, L.

Rossato) 22

2 November, same venue

Ponchielli: I promessi sposi (E. Boronat/M. Marcello, T. Carotini; A Baroncelli/R.

Perticaroli, L. Pignalosa, L. Rosato) 8

19 November, same venue

Cagnoni: Francesca da Rimini (E. Boronat; V. Ghilardini, E. Sivori, G. Fari, V.

Arimondi) 9

21 December, Novara, Teatro Coccia

Meyerbeer: Les Huguenots (V. Paltrinieri, E. Jenuski, T. Ivner; E. Salto, L. Lenzini, L.

Rossato, G. Rubele)

4
1889

12 January, Novara, Teatro Coccia

Verdi: Aida (E. Boronat, C. Sarti; E. Salto, E. Sivori, L. Rossato)

13 February, same venue

Verdi: La forza del destino (C. Calvi, T. Ivner; E. Salto, L. Lenzini, V. Calvi, L.

Rossato)

23 March, Turin, Teatro Vittorio Emanuele

Bizet: Carmen (A. Borghi, G. Marconi; E. Colli, G. Pagnoni) 17

10 April, same venue

(part of a benefit concert) Foroni: Overture in C minor; Gregh (arr. by ?) “Les Bergers

Watteau”

4 May, Turin, Teatro Carignano

Catalani: Edmea (E. Bendazzi Secchi; O. Emiliani, E. Sottolana, V. Coda) 10

30 May, same venue

Bizet: Carmen (B. Parboni, G. Marconi; O. Emiliani, E. Sottolana) 7

7 July, Genoa, Politeama Genovese

Cagnoni: Francesca da Rimini (E. Boronat; G. Rizzini, E. Sottolana, V. Coda) 16

[one evening in July or August, same venue]

Verdi: Overture to Les Vêpres Siciliennes (with house orchestra)

20 October, Voghera, Teatro Sociale

Verdi: Aida (O. Detlova, A. Magi Trapani; G. Ugolini, E. Carnili, C. Jorio)

8 November, same venue

5
Donizetti: La Favorite (A. Magi Trapani; G. Ugolini, E. Carnili, C. Jorio)

22 November, Voghera, Palazzo Sartirana

Bolzoni: Minuet; Theme and Variations for string quartet. Guido Rocchi: Gavotte

24 November, Voghera, Teatro Sociale

(during Toscanini’s serata d’onore) Rocchi: Gavotte; Lully: Minuet for strings

26 December, Brescia, Teatro Grande

Ponchielli: La Gioconda (L. Peydro, M. De Macchi, A. Cucini; A. Salvaterra, N.

Melossi, F. Casanovas) 22

1890

21 January, Brescia, Teatro Grande

Puccini: Le Villi (L. Peydro; A. Salvaterra, N. Melossi) 8

6 March, Genoa, Teatro Regina Margherita

Thomas: Mignon (L. Frandin/G. Sommelius, A. Stecchi; J. Bayo, O. Bottero)

22 March, same venue

Bizet: Carmen (L. Frandin, A. Stecchi; J. Bayo/A. De Bassini, C. Buti)

14 April, Turin, Teatro Carignano

Thomas: Mignon (L. Frandin, A. Stecchi; J. Bayo, O. Bottero) 10

24 April, same venue

Bizet: Carmen (L. Frandin, A. Stecchi; O. Nouvelli, C. Buti) 15

10 May, same venue

Gounod: Faust (A. Stecchi, M. Pia; J. Bayo, G. Pozzi, O. Bottero) 5

14 November, Barcelona, Teatre Liceu

6
Bellini: I Capuleti e i Montecchi (J. Huguet, G. Pasqua; A. Zonghi, D. Campins, L.

Visconti) 3

1891

2 August, Senigallia, Teatro La Fenice

Mascagni: Cavalleria rusticana (A. Musiani; V. Aina, C. Bacchetta)

4 November, Turin, Teatro Carignano

Mascagni: Cavalleria rusticana (E. Thériane, E. Bruno; G. Quiroli, A. Pessina) 17

28 November, same venue

Verdi: Luisa Miller (E. Thériane, E. Bruno; G. Quiroli, A. Pessina, G. Cardona, A.

Castagnoli) 2

29 December, Genoa, Teatro Carlo Felice

Meyerbeer: Le Prophète (A. Occhiolini, A. Popova; V. Ghilardini, G. Pimazzoni, C.

Flegna) 14

1892

7 January, Genoa, Teatro Carlo Felice

Verdi: Simon Boccanegra (C. Ferrani; F. Viñas, R. Blanchart, G. Pimazzoni, C. Flegna)

9

30 January, same venue

Mascagni: L’amico Fritz (C. Ferrani, T. Carotini; F. Viñas, R. Blanchart) 10

18 February, same venue

Catalani: Loreley (C. Verrani, A. Occhiolini; V. Ghilardini, V. Brombara, C. Flegna) 4

7
25 February, same venue

Masetti: Vindice (V. Astafieva, T. Carotini; F. Avedano, V. Brombara, C. Flegna) 4

10 May, Milan, Teatro Dal Verme

Thomas: Hamlet (A. Stehle, A. Mazzoli Orsini; E. Grossi, V. Maurel, L. Rossato) 3

21 May, same venue

WP Leoncavallo: Pagliacci (A. Stehle; F. Giraud, V. Maurel, M. Roussel) 7

4 September, Lucca, Teatro del Giglio

Catalani: La Wally (L. Gilboni, C. Spaziani; C. Lanfredi, M. Ancona, R. Tramonti) 14

At the first performance, two other pieces by Catalani were played: Dejanice: Prelude

toAct IV, and Loreley: “Dance of the Water-Nymphs”

10 October, Genoa, Teatro Carlo Felice

Franchetti: Cristoforo Colombo (F. Colonnese, G. Novelli; E. Garbin, G. Kaschmann, F.

Navarrini) 17

18 October, same venue

Catalani: La Wally (H. Darclée, R. Pinkert; E. Bertran, A. Pini-Corsi, L. Fumagalli, V.

Arimondi) 7

30 October, Rome, Teatro Costanzi

Bizet: Carmen (I. Monti Baldini, A. Bonner; E. Salto, A. Modesti) 5

15 November, same venue

WP Gnaga: Gualtiero Swarten (M. Pizzigalli, I. Monti Baldini; F. Tamagno, A.

Modesti) 4

22 November, same venue

8
Verdi: La forza del destino (M. Pizzigalli, I. Monti Baldini; F. Tamagno, A. Modesti, A.

Felici, A. Lanzoni) 4

24 December, Palermo, Teatro Garibaldi

Leoncavallo: Pagliacci (R. Elandi; A. Garulli, S. T. Terzi, B. Gavirati) 20

1893

12 January, Palermo, Teatro Garibaldi

Catalani: Loreley (M. d’Arneiro/E. Bendazzi Garulli, E. Smith; G. Apostolu, B. Gavirati,

E. Villelmi) 17

23 January, same venue

Foroni: Overture in C minor; Bolzoni: Minuet for strings; Gillet: Loin du Bal

Mascagni: Cavalleria rusticana (V. Ferni Germano, A. Cucini; A. Garulli, S. T. Terzi) 2

12 February, same venue

Bellini: Norma (V. Damerini, A. Cucini; F. Avedano, E. Serbolini) 11

2 March, same venue

Wagner: Der Fliegende Holländer (R. Elandi, A. Nava; G. Apostolu, S. T. Terzi, L.

Rossato) 10

13 March, same venue

Rossini: Il barbiere di Siviglia (R. Pinkert; A. Garulli, V. Blasi, L. Rossato, G. Frigiotti)

6

4 April, same venue

Verdi: Rigoletto (R. Pinkert, A. Cucini; G. Apostolu, S. T. Terzi/E. Stinco Palermini, L.

Rossato) 4

9
15 April, same venue

Ponchielli: La Gioconda (C. Bonaplata Bau, E. Ceresoli Salvatori, A. Cucini; G.

Apostolu, E. Stinco Palermini/S. T. Terzi, L. Rossato) 10

1894

18 February, Pisa, Teatro Nuovo

Verdi: Otello (E. Corsi; F. Avedano, G. Salassa)

(Olivieri: Inno di Garibaldi added at performance of 25 February)

8 March, same venue

Puccini: Manon Lescaut (E. Corsi; L. Rosati, G. Salassa, P. Wulmann)

14 May, Ravenna, Teatro Alighieri

Massenet: Le Roi de Lahore (C. Ferrani, O. Balli; F. Cardinali, M. Sammarco, A.

Sabellico) 14

29 May (?), same venue (during a performance of the above)

Mascanzoni: Armonie religiose

″ : Epodo

11 August, Brescia, Teatro Grande

Massenet: Manon (C. Ferrani; A. Garulli, G. Borghi, A. Sabellico) 8

18 August, same venue

Bellini: I puritani (G. Gargano; G. Masin, G. Borghi, A. Sabellico) 4

23 August, same venue

Verdi: La traviata (G. Bellincioni; R. Stagno, G. Borghi) 5

10 October, Treviso, Teatro Comunale

10
Verdi: Falstaff (E. De Marzi, C. Vicini, E. Borlinetto, A. Belloni; C. Cartica/M. Sigaldi,

R. Blanchart, A. Modesti, G. Berenzone) 10

24 October, same venue

Franchetti: Cristoforo Colombo (I. Del Torre, E. Borlinetto; C. Cartica, R. Blanchart, A.

Sabellico) 11

15 November, Bologna, Teatro Comunale

Verdi: Falstaff (cast as on 10 October) 10

1 December, same venue

WP Canti: Savitri (E. De Marzi; C. Cartica, A. Modesti, G. Rossi) 6

8 December, same venue

Franchetti: Cristoforo Colombo (I. Del Torre, E. Borlinetto; C. Cartica, R. Blanchart, G.

Rossi) 7

26 December, Genoa, Teatro Carlo Felice

Verdi: Falstaff (E. De Marzi, C. Vicini, E. Borlinetto/A. Kitzu, A. Belloni; F. Giraud, R.

Blanchart, A. Pini Corsi, V. Arimondi)

1895

2 January, Genoa, Teatro Carlo Felice

Franchetti: Cristoforo Colombo (I. Del Torre, E. Borlinetto; C. Cartica, R. Blanchart, G.

Rossi)

13 January, same venue

Mascagni (double bill): Cavalleria rusticana (E. De Marzi, A. Belloni; O. Rosati, A.

Modesti)

11
L’amico Fritz (I. Del Torre, A. Kitzu; F. Giraud, A. Pini Corsi)

19 January, same venue

Wagner: Tannhäuser (D. Barberini, C. Vicini; G. B. De Negri/F. Viñas, E. Dufriche, V.

Arimondi)

7 February, same venue

Canti: Savitri (E. De Marzi; C. Cartica, A. Modesti, G. Rossi)

22 February, same venue

Verdi: La forza del destino (A. Agresti, E. Borlinetto; C. Cartica, A. Modesti, V. Blasi,

G. Rossi)

3 March, Pisa, Teatro Nuovo

Verdi: Falstaff (E. De Marzi, C. Vicini, E. Borlinetto, A. Belloni; F. Giraud, R.

Blanchart, A. Modesti, V. Arimondi)

21 March, same venue

Franchetti: Cristoforo Colombo (I. Del Torre, E. Borlinetto; F. Giraud, R. Blanchart, V.

Arimondi)

14 April, Venice, Teatro Malibran

Verdi: Falstaff (E. De Marzi, C. Vicini, E. Borlinetto, A. Kitzu/C. ; F. Giraud, A. , A.

Modesti, V. Arimondi)

20 April, same venue

Verdi: La forza del destino (R. Caligaris, E. Ceresoli Salvatori; C. Cartica, A. Modesti,

A. , V. Arimondi)

27 April, Venice, Teatro La Fenice

12
Franchetti: Cristoforo Colombo (I. Del Torre, E. Ceresoli Salvatori; C. Cartica, G.

Kaschmann/R. Blanchart, R. Tronti) 9

4 May, same venue

Verdi: Overture to I vespri siciliani; Wagner: Overture to Tannhäuser; Rossini: Overture

to William Tell; Giarda: Overture in E

16 May, same venue

Verdi: Falstaff (E. De Marzi, C. Vicini, E. Ceresoli Salvatori, C. Pini Corsi; F. Giraud,

R. Blanchart, A. Modesti, G. Berenzone) 1

18 May, same venue

Puccini: Le Villi (C. Vicini; F. Giraud, A. Modesti) 5

25 May, same venue

WP Lozzi: Emma Liona (I. Del Torre, E. Borlinetto; U. Beduschi, R. Blanchart) 4

15 June, Trent, Teatro Sociale

Franchetti: Cristoforo Colombo (I. Del Torre, E. Ceresoli Salvatori; L. Rosati, R.

Blanchart, G. Rossi)

12 October, Treviso, Teatro Comunale

Wagner: Tannhäuser (A. Cruz, A. Vita; A. Angioletti, T. Wilmant, L. Lucenti) 15

26 October, same venue

Catalani: Loreley (A. Cruz, I. De Martini; E. Bertran, V. Bellatti, E. Brancaleoni) 6

22 December, Turin, Teatro Regio

NP Wagner: Götterdämmerung (I. Ehrenstein/G. Francescatti Paganini, A. Cruz/G.

Zampini; R. Grani, T. Wilmant, E. Foglia, M. Mazzara) 21

28 December, same venue

13
Verdi: Falstaff (A. Cruz, C. Ferrani, E. Borlinetto, C. Pini Corsi; R. Longone, A. , V.

Bellatti, L. Lucenti) 5

1896

15 January, Turin, Teatro Regio

Canti: Savitri (L. Ehrenstein/G. Zampini; R. Grani, V. Bellatti, M. Mazzara) 4

1 February, same venue

WP Puccini: La Bohème (C. Ferrani, C. Pasini; E. Gorga, T. Wilmant, A. Pini Corsi, M.

Mazzara) 23

29 February, same venue

Paer: Le Maître de chapelle (C. Pasini; G. Mazzanti, A. Pini Corsi) 4

10 March, same venue

Lozzi: Emma Liona (C. Pasini, E. Borlinetto; R. Grani, V. Bellatti) 2

19 March, same venue

Schubert: “Great C-Major” Symphony; Tchaikovsky: Suite from The Nutcracker; NP

Brahms: “Tragic” Overture; Wagner: “Entrance of the Gods into Valhalla” from

Das Rheingold

26 April, Milan, Teatro alla Scala

Haydn: Symphony No. 101 (“Clock”); Tchaikovsky: Suite from The Nutcracker;

Wagner: Götterdämmerung (Prologue; soloists: G. Francescatti Paganini, E.

Ceresoli, M. Mori; G. Borgatti)

3 May, same venue

14
Beethoven: Symphony No. 1; Grieg: Holberg Suite; Brahms: “Tragic” Overture; Wagner:

as on 26 April

10 May, same venue

Schubert: “Great C-Major” Symphony; Mancinelli: Andante-barcarola from the

Intermezzi for Cossa’s Cleopatra; Girard: Sarabande for strings; Saint-Saëns:

Danse macabre; Wagner: as on 26 April

17 May, Bergamo, Teatro Donizetti

Beethoven: Symphony No. 1; Mancinelli: Andante-barcarola from the Intermezzi for

Cossa’s Cleopatra; Tchaikovsky: Marche-miniature from The Nutcracker;

Ponchielli: Funeral March from Marion Delorme; Verdi: Overture to I vespri

siciliani; Wagner: “Forest Murmurs” from Siegfried; Saint-Saëns: Danse macabre

18 May, Milan, Teatro alla Scala

Haydn: as on 26 April; Trucco: Piccola Suite in B-flat; Ponchielli: Funeral March from

Marion Delorme; Wagner: Prelude to Parsifal and “Forest Murmurs” from

Siegfried; Verdi: Overture to I vespri siciliani

6 June, Trent, Teatro Sociale

Puccini: La Bohème (C. Ferrani, C. Pasini; E. Gorga, M. Wigley, A. Guerras, M.

Mazzara) 12

16 June, same venue

Verdi: Un ballo in maschera (E. Bianchini Cappelli, C. Pasini, E. Ceresoli Salvatori; G.

Peirani, V. Bellatti) 4

22 August, Brescia, Teatro Grande

15
Puccini: La Bohème (C. Ferrani, C. Pasini; G. Apostolu, T. Wilmant, A. Cerratelli, M.

Mazzara) 12

4 November, Bologna, Teatro Comunale

Puccini: La Bohème (A. Pandolfini, A. Sedelmayer; U. Beduschi, T. Wilmant, E. De

Bernis, V. Arimondi) 20

2 December, same venue

Puccini: Le Villi (A. Pandolfini; U. Beduschi, T. Wilmant) 2

13 December, Turin, Teatro Vittorio Emanuele

Beethoven: Symphony No. 1; Buzzi-Peccia: Re Harfagar; Grieg: Holberg Suite; Wagner:

“Forest Murmurs” from Siegfried; Weber: Overture to Der Freischütz

20 December, same venue

Haydn: Symphony No. 101 (“Clock”); Mendelssohn: Overture to A Midsummer Night’s

Dream; Catalani: “Dance of the Water-Nymphs” from Loreley; Bruckner: Adagio

from Symphony No. 7; Wagner: Liebestod from Tristan und Isolde; Chabrier:

Overture to Gwendoline

27 December, Turin, Teatro Regio

Giordano: Andrea Chénier (E. Corsi; G. Apostolu, E. Dufriche) 11

1897

6 January, Turin, Teatro Regio

Saint-Saëns: Samson et Dalila (A. Cucini/I. De Spagny; H. Dupeyron, G. Polese, G.

D’Arrigo) 14

24 January, same venue

16
Boito: Mefistofele (E. Corsi, A. Kitzu; E. Gorga/G. Moretti, V. Arimondi) 14

14 February, same venue

Wagner: Tristan und Isolde (E. Prossnitz, I. De Spagny; H. Dupeyron, E. Dufriche, V.

Arimondi) 6

6 March, same venue

Buzzi-Peccia: La forza d’amore (E. Corsi, A. Kitzu; E. Ventura, G. Polese) 3

10 March, same venue

Raff: First section of Symphony No. 5; Beethoven: Violin Concerto (E. Ysaÿe, soloist);

Grieg: Peer Gynt Suite No. 1; Weber: Overture to Jubel Cantata

14 March, same venue

Beethoven: Symphony No. 8; Smetana: Overture to The Bartered Bride; Corelli: Andante

and Gigue for strings; Saint-Saëns: Danse macabre; Dvořák: “Carnival” Overture

22 March, same venue

Schumann: Symphony No. 2; Goldmark: “In the Garden” from the “Rustic Wedding”

Symphony; Berlioz: Part 2 of Roméo et Juliettte; Bolzoni: Al Ruscello for strings;

Bolzoni: Tempesta in un bicchier d’acqua; Wagner: “Wotan’s Farewell,” “Magic

Fire Music,” and “Ride of the Valkyries” from Die Walküre

25 March, same venue

Tchaikovsky: Symphony No. 6; Haydn: Adagio con variazioni from String Quartet Op.

76 No. 3; Cherubini: Scherzo from First Quartet (E-flat Major); Smetana:

Overture to The Bartered Bride; Bach: Pastorale from the “Christmas” Oratorio;

Wagner: Preludes to Acts I and III of Lohengrin

27 March, same venue

17
Weber: Overture to Der Freischütz; Schumann: Adagio from Symphony No. 2;

Beethoven: Allegretto from Symphony No. 8; Goldmark: “In the Garden” from

the “Rustic Wedding” Symphony; Saint-Saëns: Danse macabre; Wagner:

“Wotan’s Farewell” and “Magic Fire Music” from Die Walküre, “Siegfried’s

Funeral Music” from Götterdämmerung; Verdi: Overture to I vespri siciliani

17 April, Venice, Teatro Rossini

Puccini: La Bohème (A. Pandolfini, C. Pasini; E. Gorga, G. Caruson, M. Wigley, V.

Arimondi)

23 April, same venue

Weber: [Overture to Der Freischütz?]; Grieg: [Peer Gynt Suite No. 1?]; Wagner: [?]

21 August, Bergamo, Teatro Donizetti

Donizetti: La Favorite (M. Giudice; G. Cremonini, G. Caruson, G. De Grazia) 5

13 September, same venue (with Turin orchestra)

Beethoven: Symphony No. 1; Donizetti: Overture to Maria di Rohan; Smetana: Overture

to The Bartered Bride; Bolzoni: Scherzo for strings; Goldmark: excerpt (“In the

Garden”?) from “Rustic Wedding” Symphony; Grieg: Peer Gynt Suite; Wagner:

“Siegfried’s Rhine Journey” from Götterdämmerung

21 October, Milan, Teatro Dal Verme

Puccini: La Bohème (A. Stehle, C. Pasini; E. Garbin, G. Caruson, G. Dorini, V.

Arimondi) 24

1 November, same venue

Donizetti: Lucia di Lammermoor (R. Pinkert; F. Pandolfini, G. Caruson, M. Mazzara) 2

16 November, same venue

18
Puccini: Manon Lescaut (C. Ferrani; F. Giraud, F. Corradetti/E. D’Albore, V. Arimondi)

10

At first performance Toscanini also conducted: Wagner: “Siegfried’s Rhine Journey”

from Götterdämmerung; Smetana: Overture to The Bartered Bride

? November or December, same venue

At one of the last Bohème performances Toscanini also conducted: Wagner: “Forest

Murmurs” from Siegfried; Smetana: Overture to The Bartered Bride

12 December, Turin, Teatro Vittorio Emanuele

Cherubini: Overture to Faniska; Beethoven: Symphony No. 7; Mancinelli: Dances from

the opera Isora di Provenza; Cowen: Second and third movements from

Symphony No. 3 (“Scandinavian”); Wagner: Prelude to Die Meistersinger

16 December, same venue

Dvořák: “New World” Symphony; Saint-Saëns: Le Rouet d’Omphale; Smetana: Overture

to The Bartered Bride; Wagner: “Good Friday Spell” from Parsifal, “Siegfried’s

Rhine Journey” from Götterdämmerung; Bazzini: Overture, Re Lear

1898

1 January, Turin, Teatro Regio

NP Mancinelli: Ero e Leandro (C. Ferrani, G. Zeppilli Villani; P. Zeni, A. Lanzoni/G.

Scarneo) 11

12 January, same venue

Puccini: La Bohème (C. Ferrani, C. Pasini; P. Zeni, G. Caruson, A. Pulcini, F. Fabro) 15

30 January, same venue

19
Boito: Mefistofele (F. Labia; P. Zeni, A. Lanzoni) 7

17 February, same venue

Wagner: Die Walküre (A. Adini, F. Labia, G. Zeppilli Villani; E. Marchi, A. Gnaccarini,

A. Lanzoni) 9

2 March, same venue

WP De Leva: La Camargo (C. Pasini, M. Pozzi; F. Mannucci, G. Caruson) 2

7 March, same venue

Dvořák: “New World” Symphony; Grieg: Holberg Suite; Verdi: Overture to I vespri

siciliani

12 March, same venue

Rossini: Overture to La Cenerentola; Donizetti: Overture to Maria di Rohan; Verdi:

Overturo to Luisa Miller; Foroni: Overture in C minor; Ponchielli: Prelude to Act

IV of Marion Delorme; Bolzoni: Theme and Variations for strings; Catalani:

Prelude to Act IV of Dejanice; Franchetti: First movement of Symphony in E;

Martucci: Allegretto from Symphony in D minor; Sgambati: Andante-serenata

and Allegro con fuoco from Symphony in D minor

17 March, same venue

Mendelssohn: “Ruy Blas” Overture; Cherubini: Scherzo from String Quartet No. 1 in E-

flat; Ernst: Fantaisie brillante on Rossini’s Otello, for violin and orchestra (with P.

de Sarasate); Faccio: “Ophelia’s Funeral March” from Amleto; Foroni: Overture

in C minor

19 March, same venue

20
Wagner: Overture to Die Feen, Overture to Rienzi, Overture to Der Fliegende Holländer,

Prelude to Act I of Lohengrin, Liebestod from Tristan und Isolde, Prelude to Die

Meistersinger, “Forest Murmurs” from Siegfried, Prelude to Parsifal, Overture to

Tannhäuser

30 April, same venue

Bellini: Norma (A. Muñoz, M. Pozzi; O. Cosentino, A. Lanzoni) 6

THE FOLLOWING CONCERTS ALL TOOK PLACE AT THE GRANDE SALONE DEI

CONCERTI “GIUSEPPE VERDI” IN TURIN AS PART OF THE NATIONAL

EXPOSITION OF 1898

1 May

Mancinelli: Cantata del lavoro (F. Labia; O. Cosantini)

8 May

Verdi: Overture to La forza del destino; Dvořák: Symphonic Variations Op. 78; Wagner:

Liebestod from Tristan und Isolde; Beethoven: Symphony No. 6; Goldmark:

Dances from the “Rustic Wedding” Symphony

12 May

Cherubini: Overture to Faniska; Svendsen: Symphony No. 1, Op. 4; Wagner: “Forest

Murmurs” from Siegfried; Raff: “The Beautiful Miller-Girl” from the String

Quartet Op. 192; Rossini: Overture to William Tell

15 May

Mendelssohn: Overture to A Midsummer Night’s Dream; Raff: Andante and Scherzo

from the Symphony “In the Woods”; Beethoven Leonore Overture No. 3;

21
Bolzoni: Theme and Variations for strings; Saint-Saëns: Danse macabre;

Morlacchi: Overture to Francesca da Rimini

19 May

Cimarosa: Overture to Il matrimonio segreto; Dvořák: “New World” Symphony;

Rimsky-Korsakov: Scheherazade; Wagner: Prelude to Act I of Lohengrin;

Ponchielli: Overture to I Lituani

22 May

Brahms: Symphony No. 4; Catalani: “Dance of the Water-Nymphs” from Loreley;

Wagner: “Magic Fire Music” from Die Walküre; Foroni: Overture in C minor

26 May

Beethoven: Symphony No. 6; NP Verdi: Stabat Mater, Laudi alla Vergine, Te Deum

from the Four Sacred Pieces

28 May

Svendsen: Symphony No. 4; Verdi: Stabat Mater, Laudi alla Vergine, Te Deum from the

Four Sacred Pieces

30 May

Beethoven: Overture to Coriolan; Wagner: Prelude to Parsifal; Handel: Andante from

the Concerto for strings, harp, and organ, Op. 4 No. 6; Verdi: as on 26 May

2 June

Weber: Overture to Euryanthe; Dvořák: Symphonic Variation Op. 78; Catalani: A Sera

for string quartet; Cherubini: Scherzo from the String Quartet in E-flat;

Tchaikovsky: The Tempest; Rossini: Overture to William Tell

5 June

22
Fuchs: Overture, Des Meeres und des liebes Wellen; Grieg: Peer Gynt Suite No. 2;

Nocturne from Act II of Cristoforo Colombo; Brahms: Hungarian Dances Nos. 5

and 6; Wagner: “Siegfried’s Rhine Journey” from Götterdämmerung

9 June

Beethoven: Symphony No. 3; Massenet: “Under the Linden Trees” and “The Last Sleep”

from the Oratorio La Vierge; Mendelssohn: Scherzo from A Midsummer Night’s

Dream; Wagner: Overture to Tannhäuser

12 June

Rossini: Overture to La gazza ladra; Bizet: L’Arlésienne Suite No. 1; Smetana: Overture

to The Bartered Bride; Wagner: Prelude to Act I of Lohengrin; Liszt: Hungarian

Rhapsody No. 2

16 June

Schubert: “Unfinished” Symphony; Liszt: Les Préludes; Grieg: Peer Gynt Suite No. 2;

Wagner: “Forest Murmurs” from Siegfried; Verdi: Overture to I vespri siciliani

21 June

Mozart: “Jupiter” Symphony; Beethoven: Egmont Overture; Schumann (arr. Berlioz):

Abendlied Op. 85 No. 12; Mendelssohn: Canzonetta from the String Quartet in E-

flat, Op. 44 No. 3; Goldmark: Prelude to Act II of Die Königin von Saba; Brahms:

Hungarian Dances Nos. 5 and 6

23 June

Bolzoni: Suite drammatica; Weber (arr. Berlioz): Invitation to the Dance; Massenet:

Suite, Les Erinnys; Wagner: Prelude to Act I of Die Meistersinger

26 June

23
Beethoven: Symphony No. 1; Saint-Saëns: “Rêverie du soir” from the Suite algérienne;

Sinigaglia: Scherzo for string quartet; Wagner: “Entrance of the Gods into

Valhalla” from Das Rheingold; Dvořák: “Carnival” Overture

1 July

Foroni: Overture in A; Massenet: Suite, Les Erinnys; Wagner (arr. Mancinelli): Suite

from Tristan und Isolde; Beethoven: Leonore Overture No. 3

4 July

Cimarosa: Overture to Il matrimonio segreto; Franchetti: Nocturne from Cristoforo

Colombo; Haydn: Adagio from the String Quartet in C, Op. 76; Sinigaglia:

Scherzo for string quartet; Catalani: Prelude to Act IV of Dejanice; Saint-Saëns:

Danse macabre; Wagner (arr. Mancinelli): “The Ship’s Arrival” from Tristan und

Isolde

7 July

Haydn: Symphony No. 101 “Clock”; Lassen: Festival Overture; Ferraria: Adagio and

Allegretto for String Quartet; Berlioz: “Marche au Supplice” from Symphonie

fantastique; Wagner: “Entrance of the Gods into Valhalla” from Das Rheingold

11 July

Weber: Overture to Oberon; Schumann: Symphony No. 4; Ponchielli: Prelude to Act IV

of Marion Delorme; Mancinelli: “Fuga degli amanti” from the Suite, Scene

Veneziane; Wagner: Overture to Rienzi

14 July

Saint-Saëns: Symphony No. 3; Mancinelli: “Fuga degli amanti” from the Suite, Scene

Veneziane; Grieg: “First Meeting” from Two Melodies for String Orchestra Op.

24
53 and Presto al saltarello from String Quartet Op. 27; Wagner: “Ride of the

Valkyries” from Die Walküre

28 August

Schumann: Symphony No. 4; Faccio: Funeral March from Amleto; Humperdinck:

Prelude to Hänsel und Gretel; Mancinelli: Barcarolle from the Intermezzi for the

drama Cleopatra; Grieg: Presto al saltarello from String Quartet Op. 27; Berlioz:

Overture, Le Carnaval romain

1 September

Beethoven: Symphony No. 4; Franck: Symphonic Intermezzo from Rédemption;

Catalani: Prelude to Act IV of La Wally and “Dance of the Water-Nymphs” from

Loreley; Lassen: Festival Overture

3 September

Mendelssohn: Overture, Calm Sea and Prosperous Voyage; Schubert: “Unfinished”

Symphony; Wagner: “Klingsor’s Magic Garden” from Parsifal; Dvořák: Othello

Overture; Bolzoni: Serenade, Al Castello Medioevale: Tchaikovsky: Overture-

miniature from The Nutcracker; Goldmark: Prelude to Act II of Die Königin von

Saba

7 September

Goldmark: Sappho Overture; Beethoven: Scherzo and Adagio/Andante from Symphony

No. 9; Celega: Il cuore di Fingal; Paganini: Moto perpetuo and Allegro di

concerto; Wagner: “Siegfried’s Rhine Journey” from Götterdämmerung

10 September

25
Cherubini: Overture to Medea; Bruch: Violin Concerto in G minor (E. Polo); Cowen:

“An Evening on the Fjord” and Scherzo from “Scandinavian” Symphony; Liszt:

Mephisto Waltz; Wagner: Overture to Der Fliegende Holländer

15 September

Humperdinck: Prelude to Hänsel und Gretel; Saint-Saëns: Symphony No. 3; Catalani:

Prelude to Act IV of La Wally; Berlioz: “Queen Mab” from Roméo et Juliette;

Lalo: Rapsodie Norvégienne

18 September

Foroni: Overture in A; Celega: Il cuore di Fingal; d’Indy: Symphonic Legend, La Forêt

Enchantée; Tosi: Nocturne and Concert Etude; Wagner: Overture to Tannhäuser

22 September

Beethoven: Symphony No. 5; Dvořák: “Othello” Overture; Mendelssohn: Intermezzo

from A Midsummer Night’s Dream; Bazzini: Overture to Saul

25 September

Dvořák: “New World” Symphony; Wagner: Prelude to Lohengrin; Berlioz: “Queen Mab”

from Roméo et Juliette; Rossini: Overture to William Tell

29 September

Mozart: Overture to The Magic Flute; Martucci: Piano Concerto in B-flat minor (G.

Martucci); Franck: Symphonic Intermezzo from Rédemption; Raff: “Dance of the

Dryads”; Goldmark: Overture to Sappho

2 October

26
Weber: Overture to Der Freischütz; Brahms: Symphony No. 4; Wagner: “Magic Fire

Music” from Die Walküre; Royal March; Berlioz: “Dance of the Sylphs” and

“Rakóczy” March from La Damnation de Faust

6 October

Stanford: “Irish” Symphony in F minor; Wagner: Liebestod from Tristan und Isolde;

Paganini: Moto perpetuo (arr. for orchestra); Beethoven: Overture to Egmont

10 October

Goldmark: Overture, Der gefesselte Prometheus; Mendelssohn: Violin Concerto (T.

Tua); Wagner: “Entrance of the Gods into Valhalla” from Das Rheingold;

Berlioz: Overture, Le Carnaval romain

13 October

Cherubini: Overture to Medea; Brahms: Symphony No. 2; Wagner: Forest Murmurs from

Siegfried; Massenet: Scènes Napolitaines (“La Danse,” “La Procession et

L’Improvisateur,” “La Fête”)

16 October

Beethoven: Symphony No. 5; Wagner: Eine Faust-Ouvertüre; Sgambati: Serenata from

the Symphony in D minor; Grieg: Presto al saltarello from String Quartet Op. 27;

Schubert: Hungarian March

17 October

Verdi: Overture to I vespri siciliani; Verdi: Trio from I Lombardi (F. Tamagno, M.

d’Arneiro; F. Nicoletti); Grieg: “Solveig’s Song” from Peer Gynt; Auteri-

Manzocchi: Romanza from Dolores (F. Tamagno); Wagner: Overture to

Tannhäuser; Brahms: Hungarian Dance No. 6

27
20 October

Beethoven: Coriolan Overture; Orefice: Suite from Sinfonia del Bosco; Tchaikovsky: 2nd

movement from Symphony No. 6; Wagner: “Ride of the Valkyries” from Die

Walküre

23 October

Saint-Saëns: Symphony No. 3; Berlioz: “Queen Mab” from Roméo et Juliette; Franck:

Symphonic Intermezzo from Rédemption; Massenet: Entr’acte and Bacchanale

from Les Érinnyes

25 October

Brahms: Symphony No. 2; Celega: L’incantesimo, descriptive symphony (Nella selva—

invocazione; Marcia macabre; Magìa d’amore; Saturnale); Weber-Berlioz:

Invitation to the Dance

27 October

Paisiello: Overture to Nina; Sgambati: Piano Concerto in G minor (G. Sgambati); Celega:

L’incantesimo (see above)

28 October

Beethoven: Symphony No. 3; Wagner: Eine Faust-Ouvertüre, “Klingsor’s Magic

Garden” from Parsifal, “Magic Fire Music” from Die Walküre, Prelude to Die

Meistersinger

[31 October, Turin, Chiesa del Santo Cuore di Maria

Grieg: Air from Holberg Suite]

31 October

28
Cherubini: Overture to Faniska; Martucci: Symphony No. 1; Mancinelli: “Fuga degli

amanti” from Scene veneziane; Sinigaglia: Hora mystica for string quartet, and

Scherzo from String Quartet Op. 8; Catalani: “Dance of the Water-Nymphs” from

Loreley; Rossini: Overture to William Tell

---------------------------------------------------------------------

26 December, Milan, Teatro alla Scala

Wagner: Die Meistersinger (A. Pandolfini, C. Pagnoni; E. De Marchi/A. Brasi, G. Pini-

Corsi, A. Scotti, G. Soulacroix/C. Buti, F. Navarrini) 13

1899

19 January, same venue

Mascagni: Iris (H. Darclée; F. De Lucia, C. Buti, G. Tisci Rubini) 10

9 February, same venue

Meyerbeer: Les Huguenots (H. Darclée/M. De Lerma, A. Padovani, A. Degli Abbati; E.

De Marchi, A. Scotti/C. Buti/R. Angelini Fornari, F. Navarrini, E. Lorrain) 14

11 March, same venue

Verdi: Falstaff (A. Pandolfini, A. Stehle, E. Bruno, A. Degli Abbati; E. Garbin, A.

Scotti, R. Angelini Fornari, C. Nicolay) 10

25 March, same venue

Massenet: Le Roi de Lahore (M. De Lerma, A. Degli Abbati; E. De Marchi, G. Pacini,

F. Navarrini) 3

10 April, same venue

Rossini: Guillaume Tell (A. Stehle; F. Tamagno, E. Camera, F. Navarrini) 3

29
16 April, same venue

Verdi: Stabat Mater, Laudi alla Vergine, Te Deum from the Four Sacred Pieces;

Schumann: Symphony No. 4; Schubert (arr. Liszt): Hungarian Dances

22 April, same venue

Perosi: La Resurrezione di Lazzaro (A. Pandolfini, E. Bruno; E. Camera, C. Nicolay, A.

Zonchi)

27 April, same venue

Paër: Overture to Sargino; Martucci: Piano Concerto in B-flat minor (G. Martucci);

Mancinelli: Scherzo (“Fuga degli amanati a Chioggia”) from Scene veneziane;

Sgambati: Serenata from Symphony in D; Cherubini: Scherzo from String Quartet

in E-flat; Celega: Andante and Saturnale from L’incantesimo; Morlacchi:

Overture to Francesca da Rimini

6 May, same venue

Brahms: Symphony No. 2; Berlioz: March to the Scaffold from Symphonie fantastique;

Berlioz: Queen Mab from Roméo et Juliette; Franck: Intermezzo from

Rédemption; Wagner: Overture to Tannhäuser

11 May, same venue

Brahms: Symphony No. 2; Beethoven: Overture No. 3 to Leonore; Wagner: Love scenes

from Tristan und Isolde (T. Arkel, E. Trentini; R. Grani)

26 December, same venue

NP Wagner: Siegfried (E. Bianchini Cappelli, E. Bruno; G. Borgatti, G. Pini-Corsi, A.

Arcangeli, T. Wilmant, L. Spivacchini/A. Mariani) 12

27 December, same venue

30
Verdi: Otello (E. Carelli; F. Tamagno, D. Menotti/T. Wilmant) 7

1900

27 January, same venue

Wagner: Lohengrin (E. Carelli/G. De Micheli, E. Bruno; P. Zeni, A. Arcangeli, L.

Spivacchini/G. Giani/A. Mariani, O. Luppi) 16

17 February, same venue

WP Galeotti: Anton (E. Carelli, E. Bianchini Cappelli; G. Borgatti, D. Menotti, A.

Arcangeli, O. Luppi) 7

17 March, same venue

Puccini: Tosca (H. Darclée; G. Borgatti, E. Giraldoni) 12

7 April, same venue

NP Tchaikovsky: Evgeny Onegin (E. Carelli, E. Bruno; P. Zeni, E. Giraldoni, O. Luppi)

3

22 April, same venue

Beethoven: Symphony No. 6; Smetana: Overture to The Bartered Bride; Franchetti: Nella

Foresta Nera, symphonic impression; Tchaikovsky: Andante cantabile from

String Quartet Op. 11; Grieg: Lento and Presto al saltarello from String Quartet

Op. 27; Wagner: “Klingsor’s Magic Garden” from Parsifal, “Entrance of the

Gods into Valhalla” from Das Rheingold

27 April, same venue

Humperdinck: Prelude to Hänsel und Gretel; Dvořák: “New World” Symphony; Berlioz:

Queen Mab from Roméo et Juliette; Catalani: “Dance of the Water-Nymphs”

31
from Loreley; Mancinelli: “Fuga degli amanti” from Scene veneziane; Wagner:

“Siegfried’s Death and Funeral Music” from Götterdämmerung, Prelude to Die

Meistersinger

28 April, Piacenza, Teatro Municipale (with Scala orchestra)

Beethoven: Symphony No. 6; Verdi: Overture to I vespri siciliani; Catalani: “Dance of

the Water-Nymphs” from Loreley; Mancinelli: “Fuga degli amanti” from Scene

veneziane; Rossini: Overture to William Tell; Wagner: “Siegfried’s Death and

Funeral Music” from Götterdämmerung, “Entrance of the Gods into Valhalla”

from Das Rheingold

29 April, Parma, Teatro Regio (with Scala orchestra)

Beethoven: Symphony No. 6; Smetana: Overture to The Bartered Bride; Franchetti: Nella

Foresta Nera, symphonic impression; Catalani: “Dance of the Water-Nymphs”

from Loreley; Grieg: Lento and Presto al saltarello from String Quartet Op. 27;

Wagner: “Siegfried’s Rhine Journey” and “Siegfried’s Death and Funeral Music”

from Götterdämmerung, Prelude to Die Meistersinger

30 April, Bologna, Teatro Comunale (with Scala orchestra)

Dvořák: “New World” Symphony; Smetana: Overture to The Bartered Bride; Franchetti:

Nella Foresta Nera; Berlioz: “Queen Mab” from Roméo et Juliette; Wagner:

“Siegfried’s Death and Funeral Music” from Götterdämmerung, Prelude to Die

Meistersinger

1 May, Treviso, Teatro Sociale (with Scala orchestra)

Beethoven: Symphony No. 6; Mancinelli: “Fuga degli amanti” from Scene veneziane;

Franchetti: Nella Foresta Nera, symphonic impression; Grieg: Lento and Presto al

32
saltarello from String Quartet Op. 27; Wagner: Prelude to Die Meistersinger,

“Entrance of the Gods into Valhalla” from Das Rheingold

2 May, Udine, Teatro Sociale (with Scala orchestra)

Beethoven: Symphony No. 6; Franchetti: Nella Foresta Nera, symphonic impression;

Catalani: “Dance of the Water-Nymphs” from Loreley; Mancinelli: “Fuga degli

amanti” from Scene veneziane; Wagner: “Forest Murmurs” from Siegfried,

Overture to Tannhäuser

3 May, Trieste, Teatro Comunale (with Scala orchestra)

Beethoven: Symphony No. 6; Smetana: Overture to The Bartered Bride; Franchetti: Nella

Foresta Nera; Mancinelli: “Fuga degli amanti” from Scene veneziane; Grieg:

Lento and Presto al saltarello from String Quartet Op. 27; Wagner: “Klingsor’s

Magic Garden” from Parsifal, “Entrance of the Gods into Valhalla” from Das

Rheingold; Verdi: Overture to I vespri siciliani

4 May, same venue (with Scala orchestra)

Humperdinck: Overture to Hänsel und Gretel; Dvořák: “New World” Symphony;

Berlioz: “Queen Mab” from Roméo et Juliette; Catalani: “Dance of the Water-

Nymphs” from Loreley (encored); Wagner: Prelude to Die Meistersinger;

Rossini: Prelude to William Tell

5 May, Venice, Teatro La Fenice (with Scala orchestra)

?; Franchetti: Nella Foresta Nera, symphonic impression; Berlioz: “Queen Mab” from

Roméo et Juliette; Wagner: “Klingsor’s Magic Garden” from Parsifal, “Entrance

of the Gods into Valhalla” from Das Rheingold; Smetana: Overture to The

Bartered Bride; Wagner: Prelude to Die Meistersinger

33
6 May, Verona, Teatro Filarmonico (with Scala orchestra)

Beethoven: Symphony No. 6; Smetana: Overture to The Bartered Bride; Mancinelli:

“Fuga degli amanti” from Scene veneziane; Tchaikovsky: Andante cantabile from

String Quartet Op. 11; Wagner: “Klingsor’s Magic Garden” from Parsifal,

“Entrance of the Gods into Valhalla” from Das Rheingold

7 May, Brescia, Teatro Grande (with Scala orchestra)

?

8 May, Bergamo, Teatro Donizetti

Beethoven: Symphony No. 6; Franchetti: Nella Foresta Nera, symphonic impression;

Mancinelli: “Fuga degli amanti” from Scene veneziane; Tchaikovsky: Andante

cantabile from String Quartet Op. 11; Grieg: Lento and Presto al saltarello from

String Quartet Op. 27; Wagner: Prelude to Die Meistersinger; Rossini: Overture

to William Tell

12 May, Milan, Teatro alla Scala

Cimarosa: Overture to Il matrimonio segreto; Beethoven: Violin Concerto (A. Serato);

Dvořák: “Othello” Overture; Mendelssohn: Nocturne and Scherzo from A

Midsummer Night’s Dream; Wagner: Eine Faust-Ouvertüre; Wagner: “Ride of

the Valkyries” from Die Walküre

14 May, same venue

Mozart: Overture to The Magic Flute; Beethoven: Symphony No. 6; Catalani: Prelude to

Act IV of La Wally; Ponchielli: Intermezzo, Act IV, Marion Delorme; Grieg:

Presto al saltarello from String Quartet Op. 27; Wagner: “Siegfried’s Death and

34
Funeral Music” from Götterdämmerung, “Entrance of the Gods into Valhalla”

from Das Rheingold

21 June, Milan, Conservatorio Giuseppe Verdi (orchestra of teachers and students)

Reinecke: First movement of Harp Concerto (T. Stolz-Ricci); Bazzini: Allegro

drammatico for Violin and Orchestra (V. Ranzato); Montemezzi: excerpts from

Cantico dei Cantici

28 June, same venue

Pedrollo: Symphony in D minor; other pieces by other composers?

10 November, Milan, Teatro Lirico

WP Leoncavallo: Zazà (R. Storchio; E. Garbin, M. Sammarco) 13

30 November and 2 December, Milan, Regio Conservatorio di Musica

Cherubini: Overture to Medea; Saint-Saëns: Symphony No. 3; Strauss: Till Eulenspiegel;

Wagner: “Good Friday Spell” from Parsifal; Beethoven: Overture to Fidelio

26 December, Milan, Teatro alla Scala

Puccini: La Bohème (E. Carelli, L. Pasini Vitale; E. Caruso, A. Arcangeli, V. Bellatti, O.

Luppi) 10

29 December, same venue

Wagner: Tristan und Isolde (A. Pinto, E. Ghibaudo; G. Borgatti, A. Magini Coletti, M.

Gaudio/O. Luppi) 14

1901

17 January, same venue

35
WP Mascagni: Le Maschere (L. Brambilla, E. Carelli; E. Caruso, O. Gennari, A.

Arcangeli, V. Bellatti, O. Luppi) 3

1 February, same venue

Concert in commemoration of Verdi (E. Carelli, A. Pinto, L. Brambilla, E. Ghibaudo; E.

Caruso, F. Tamagno, G. Borgatti, A. Arcangeli, A. Magini Coletti, O. Luppi):

Overture to Nabucco (played twice); Chorus, “O Signore, dal tetto natio,” from I

Lombardi (twice); Quartet from Act IV of Rigoletto (twice); Prelude to Act III of

La traviata (twice); Overture to I vespri siciliani (twice); Duet, “Teco io sto,”

from Un ballo in maschera; Duet, “Solenne in quest’ora,” from La forza del

destino; Finale of Act II (“Il santo nome di Dio Signore”) of La forza del destino

10 February, same venue

Goldmark: Die Königin von Saba (A. Pinto, M. De Macchi; G. Borgatti, A. Magini

Coletti, O. Luppi) 5

17 February, same venue

Donizetti: L’Elisir d’amore (R. Pinkert/L. Brambilla; E. Caruso, A. Magini Coletti, F.

Carbonetti) 11

26 February, Milan, Cimitero Monumentale (with mixed forces)

Verdi: “Va, pensiero” from Nabucco

27 February, Milan, Teatro alla Scala

Verdi: Overture to La forza del destino; Prelude to La traviata, Act III; Overture to I

vespri siciliani; “Va, pensiero” from Nabucco (given twice) (with La Scala’s

orchestra and chorus, following a performance of L’Elisir d’amore)

16 March, same venue

36
Boito: Mefistofele (E. Carelli, A. Pinto; E. Caruso, F. Chaliapin) 11

7 April, same venue

de Lara: Messaline (R. Vidal, A. Occhiolini; F. Tamagno, A. Magini Coletti, O. Luppi) 1

18 May, Buenos Aires, Teatro de la Ópera

Puccini: Tosca (H. Darclée; E. Caruso, E. Giraldoni) 8

21 May, same venue

Wagner: Tannhäuser (A. Pinto, A. Degli Abbati; G. Borgatti, M. Sammarco, A. de

Segurola) 4

26 May, same venue

Saint-Saëns: Samson et Dalila (A. Cucini; M. Mariacher, G. La Puma, R. Ercolani) 4

2 June, same venue

Goldmark: Die Königin von Saba (A. Pinto, M. d’Arneiro; E. Caruso, E. Giraldoni, A.

de Segurola) 3

4 June, same venue

Verdi: Aida (H. Darclée, A. Cucini; M. Mariacher, M. Sammarco, A. de Segurola) 3

13 June, same venue

Verdi: Rigoletto (H. Darclée, A. Cucini; E. Caruso, M. Sammarco, R. Ercolani) 4

15 June, same venue

NP Franchetti: Asrael (M. d’Arneiro, A. Degli Abbati, A. Cucini; M. Mariacher, R.

Ercolani) 7

24 June, same venue

Donizetti: L’Elisir d’amore (H. Darclée; E. Caruso, M. Sammarco, R. Ercolani) 4

4 July, same venue

37
Verdi: Otello (A. Pinto; M. Mariacher, M. Sammarco) 1

8 July, same venue

Mascagni: Iris (H. Darclée; E. Caruso, M. Sammarco, R. Ercolani) 3

11 July, same venue

Wagner: Lohengrin (M. d’Arneiro, A. Degli Abbati; E. Caruso, E. Giraldoni, G. La

Puma, A. de Segurola) 3

21 July, same venue

NP Panizza: Medioevo Latino (A. Pinto; G. Borgatti, M. Sammarco, R. Ercolani) 5

27 July, same venue

Verdi: La traviata (H. Darclée; E. Caruso, E. Giraldoni) 2

29 July, same venue

(Concert to mark the first anniversary of the assassination of King Umberto I of Italy)

Mendelssohn: Overture to Athalia; Rossini: “Cujus animam” (E. Caruso) and

“Inflammatus” (H. Darclée) from Stabat Mater; Verdi: “Lacrymosa” from the

Messa da Requiem (H. Darclée, A. Cucini, G. Borgatti, A. de Segurola); Wagner:

“Siegfried’s Funeral Music” from Götterdämmerung; Rossini: Prayer from Mosè

(H. Darclée); Beethoven: Overture (presumably No. 3) to Leonore

1 August, same venue

NP Wagner: Tristan und Isolde (A. Pinto, A. Degli Abbati; G. Borgatti, E. Giraldoni, A.

de Segurola) 5

10 August, same venue

Franchetti: Cristoforo Colombo (H. Darclée, A. Degli Abbati; M. Mariacher, E.

Giraldoni, R. Ercolani) 3

38
16 November, Milan, Santa Maria della Pace

WP Perosi: Mosè (oratorio)

29 November and 1 December, Milan, Regio Conservatorio di Musica

Bach: Sinfonia to Part II of the “Christmas” Oratorio; Dvořák: Symphonic Variations;

Martucci: Piccola Suite; Smareglia: Overture to Oceàna; Brahms: Symphony No.

2

26 December, Milan, Teatro alla Scala

Wagner: Die Walküre (A. Pinto, F. Labia, B. Lavin; M. Roussel, A. Magini Coletti, C.

Nicolay) 8

1902

2 January, same venue

Donizetti: Linda di Chamounix (R. Storchio, E. Bruno/B. Lavin; E. Cossira, M.

Sammarco, L. Contini/A. Dadò, A. Rossi) 10

27 January, same venue

Verdi: Messa da Requiem (E. Bruno, A. Karola; E. Cossira, C. Nicolay)

18 January, same venue

Humperdinck: Hänsel und Gretel (J. Bathory, R. Storchio, E. Bruno; E. Nani) 13

9 February, same venue

Verdi: Il trovatore (R. Caligaris, E. Bruno; J. Biel, A. Magini Coletti, G. Gravina) 14

11 March, same venue

WP Franchetti: Germania (A. Pinto, J. Bathory; E. Caruso, M. Sammarco, G. Gravina)

14

39
2 April, same venue

NP in staged form. Weber: Euryanthe (R. Storchio, O. Popovici; E. Cossira, A. Magini

Coletti, A. Dadò) 3

13 April, same venue

Mendelssohn: Overture to A Midsummer Night’s Dream; Sinigaglia: Violin Concerto (A.

Serato); Dvořák: Symphonic Variations; Strauss: Till Eulenspiegel; Wagner:

Prelude to Die Meistersinger

20 April, same venue

Weber: Overture to Der Freischütz; Beethoven: Symphony No. 9 (B. Silvestri, L.

Cernuschi; G. Borgatti, L. Nicoletti); Strauss: Till Eulenspiegel

25 April, same venue

Wagner: “Good Friday Spell” from Parsifal; Schumann: “Manfred” Overture;

Beethoven: Symphony No. 9 (soloists as in previous entry); Da Venezia: Allegro

di concerto for piano and orchestra (E. Consolo)

27 April, same venue

Beethoven: Overture to Egmont, Symphony No. 9 (see previous entry), Overture No. 3 to

Leonore

6 September, Lugo, Teatro Rossini

Verdi: Aida (O. Petrella/A. Penchi/M. d’Arneiro, E. Ghibaudo; F. Signorini, G. De Luca,

O. Luppi/L. Muñoz)

22 December, Milan, Teatro alla Scala

NP in staged form. Berlioz: La Damnation de Faust (E. Petri; G. Zenatello, M.

Renaud/A. Magini Coletti, E. Sesona) 23

40
1903

1 January, same venue

Verdi: Luisa Miller (L. Micucci, A. Giacomini; M. Mariacher, A. Magini Coletti, O.

Luppi, O. Carozzi) 7

22 January, same venue

Smareglia: Oceàna (A. Karola; G. Zenatello, R. Angelini Fornari, N. Della Torre, O.

Luppi) 6

28 February, same venue

Franchetti: Asrael (L. Micucci/A. Karola, S. Collamarini, A. Parsi Pettinella; M.

Mariacher, O. Carozzi) 9

11 March, same venue

Verdi: Un ballo in maschera (L. Micucci, B. Silvestri/L. Cassandro, A. Parsi Pettinella;

G. Zenatello, A. Magini Coletti) 13

19 March, Milan, Casa di Riposo per Musicisti (Casa Verdi) (with members of Scala orchestra)

Verdi: Prelude to Act I of La traviata, “Ave Maria” and “Laudi alla Vergine” from the

Four Sacred Pieces, Prelude to Act III of La traviata

5 April, Milan, Teatro alla Scala

Ponchielli: I Lituani (E. Bianchini Cappelli; M. Mariacher, R. Blanchart, O. Luppi) 3

12 April, same venue

Wagner: Prelude and Act III (unstaged) of Parsifal (B. Silvestri; G. Borgatti, G. Rossi, A.

Scandiani) 2

19 May, Buenos Aires, Teatro de la Ópera

41
Puccini: Tosca (M. Mei Figner; E. Caruso, E. Giraldoni) 2

21 May, same venue

Franchetti: Germania (M. Farneti; E. Caruso, G. De Luca, R. Ercolani) 3

25 May, same venue

Ponchielli: La Gioconda (M. Mei Figner, V. Guerrini, T. Ferraris; F. Constantino, E.

Giraldoni, V. Arimondi) 2

30 May, same venue

NP Berlioz: La Damnation de Faust (A. Sallas; G. Zenatello, E. Giraldoni, R. Ercolani)

8

4 June, same venue

Donizetti: L’Elisir d’amore (E. Clasenti; E. Caruso, G. De Luca, R. Ercolani) 3

11 June, same venue

NP Humperdinck: Hänsel und Gretel (M. Farneti, T. Ferraris, V. Guerrini; P.

Giacomello) 3

18 June, same venue

Mascagni: Iris (M. Farneti; E. Caruso, P. Giacomello, R. Ercolani) 3

21 June, same venue

Verdi Rigoletto (E. Clasenti, V. Guerrini; F. Constantino, G. De Luca, R. Ercolani) 2

27 June, same venue

Boito: Mefistofele (M. Farneti; E. Caruso/G. Zenatello, V. Arimondi) 4

7 July, same venue

NP Cilea: Adriana Lecouvreur (M. Mei Figner, V. Guerrini; E. Caruso, G. De Luca, M.

Wigley) 4

42
12 July, same venue

Verdi: Aida (H. Darclée, V. Guerrini; G. Zenatello, E. Giraldoni, V. Arimondi) 4

14 July, same venue

NP Massenet: Grisélidis (M. Farneti; F. Constantino, E. Giraldoni, G. De Luca) 3

25 July, same venue

Puccini: Manon Lescaut (M. Farneti; E. Caruso, P. Giacomello, R. Ercolani) 4

31 July, same venue

Verdi: La traviata (H. Darclée; G. Zenatello, G. De Luca) 2

4 August, same venue

Wagner: Die Meistersinger (H. Darclée, V. Guerrini; G. Zenatello, G. Pini Corsi, E.

Giraldoni, G. De Luca, V. Arimondi) 3

15 August, Montevideo, Teatro Solís

Berlioz: La Damnation de Faust (A. Sallas; G. Zenatello, E. Giraldoni, R. Ercolani) 1

16 August, same venue

Puccini: Manon Lescaut (M. Farneti; E. Caruso, P. Giacomello, R. Ercolani) 2

17 August, same venue

NP Massenet: Grisélidis (M. Farneti; F. Constantino, E. Giraldoni, G. De Luca) 1

20 August, same venue

Cilea: Adriana Lecouvreur (M. Mei Figner, V. Guerrini; E. Caruso, G. De Luca, M.

Wigley) 1

22 August, same venue

Verdi: Aida (H. Darclée, V. Guerrini; G. Zenatello, E. Giraldoni, V. Arimondi) 1

23 August, same venue

43
Mascagni: Iris (M. Farneti; E. Caruso, P. Giacomello, R. Ercolani) 1

24 August, same venue

Donizetti: L’Elisir d’amore (E. Clasenti; E. Caruso, G. De Luca, R. Ercolani) 1

25 August, same venue

Boito: Mefistofele (M. Farneti; G. Zenatello, V. Arimondi) 1

27 August, same venue

Wagner: Die Meistersinger (H. Darclée, V. Guerrini; G. Zenatello, G. Pini Corsi, E.

Giraldoni, G. De Luca, V. Arimondi) 1

30 August, same venue

Puccini: Tosca (H. Darclée; E. Caruso, E. Giraldoni) 2

1904

29 March, Bologna, Teatro Comunale

Glazounov: Symphony No. 6; Sibelius: The Swan of Tuonela; Martucci: Notturno;

Mancinelli: excerpts from Scene veneziane; Strauss: Till Eulenspiegel; Wagner:

Prelude to Die Meistersinger

4 April, same venue

Mozart: Overture to Le Nozze di Figaro; Beethoven: Violin Concerto (A. Serato); Dukas:

The Sorcerer’s Apprentice; Smetana: The Moldau; Dvořák: Symphonic

Variations; Wagner: excerpts (presumably Prelude and Liebestod) from Tristan

und Isolde

14 April, Turin, Teatro Vittorio Emanuele

44
Glazounov: Symphony No. 6; Dukas: The Sorcerer’s Apprentice; Sibelius: The Swan of

Tuonela; Wagner: “Siegfried’s Death and Funeral Music” from

Götterdämmerung; Beethoven: Overture No. 3 to Leonore

17 April, same venue

Brahms: Symphony No. 2; Bolzoni: Capriccio sinfonico; Sibelius: The Swan of Tuonela;

Sibelius: En Saga; Wagner: Prelude to Die Meistersinger

24 May, Buenos Aires, Teatro de la Ópera

Wagner: Lohengrin (M. Farneti, A. Parsi Pettinella; G. Borgatti, P. Amato, C. Thos, A.

Didur) 3

28 May, same venue

Gounod: Faust (R. Storchio, A. Torretta; P. Schiavazzi, P. Amato, A Didur) 6

31 May, same venue

Cilea: Adriana Lecouvreur (A. Pandolfini, A. Parsi Pettinella; E. Garbin, M. Sammarco,

R. Ercolani) 3

4 June, same venue

Puccini: Manon Lescaut (M. Farneti; E. Garbin, P. Giacomello, R. Ercolani) 4

9 June, same venue

Donizetti: Linda di Chamounix (R. Storchio, A. Parsi Pettinella; P. Schiavazzi, M.

Sammarco, A. Didur, R. Ercolani) 5

12 June, same venue

Puccini: Tosca (A. Pandolfini; E. Garbin, M. Sammarco) 2

21 June, same venue

NP Giordano: Siberia (A. Pandolfini; E. Garbin, P. Amato) 3

45
23 June, same venue

Mascagni: Iris (M. Farneti; P. Schiavazzi, P. Giacomello, R. Ercolani) 2

2 July, same venue

NP Puccini: Madama Butterfly (R. Storchio; E. Garbin, P. Amato) 5

7 July, same venue

Berlioz: La Damnation de Faust (A. Pandolfini; G. Borgatti, M. Sammarco, R.

Ercolani) 6

14 July, same venue

Puccini: La Bohème (R. Storchio, L. Garavaglia; E. Garbin, M. Sammarco, A. Didur, R.

Ercolani) 3

21 July, same venue

Verdi: Falstaff (A. Pandolfini, M. Farneti, A. Parsi Pettinella, A. Torretta; P. Schiavazzi,

M. Sammarco, P. Amato, R. Ercolani) 4

28 July, same venue

NP Catalani: La Wally (M. Farneti, L. Garavaglia; E. Garbin, P. Amato, R. Ercolani) 5

6 August, same venue

Weber: Der Freischütz (A. Pandolfini, A. Torretta; G. Borgatti, A. Didur) 2

14 August, same venue

Massenet: Manon (R. Storchio; E. Garbin, M. Sammarco, A. Didur) 2

18 August, Montevideo, Teatro Solís

Wagner: Lohengrin (M. Farneti, A. Parsi Pettinella; G. Borgatti, P. Amato, C. Thos, A.

Didur) 1

20 August, same venue

46
Donizetti: Linda di Chamounix (R. Storchio, A. Parsi Pettinella; P. Schiavazzi, M.

Sammarco, A. Didur, R. Ercolani) 1

21 August, same venue

Massenet: Manon (R. Storchio; E. Garbin, M. Sammarco, A. Didur) 1

23 August, same venue

Gounod: Faust (R. Storchio, A. Torretta; P. Schiavazzi, P. Amato, A Didur) 1

24 August, same venue

Catalani: La Wally (M. Farneti, R. Frigerio; E. Garbin, P. Amato, R. Ercolani) 1

25 August, same venue

NP Puccini: Madama Butterfly (R. Storchio; E. Garbin, P. Amato) 1

29 October, Bologna, Teatro Comunale

Wagner: Die Meistersinger (A. Matini, E. Borlinetto; G. Krismer, G. Pini Corsi, A.

Pessina, G. De Luca, G. Gravina) 18

10 November, same venue

Meyerbeer: Dinorah (R. Pinkert; G. Pini Corsi, G. De Luca) 6

1905

13 February, Rome, Augusteum (Orchestra of Santa Cecilia)

Wagner: Prelude and Liebestod from Tristan und Isolde; Berlioz: “Queen Mab” from

Roméo et Juliette; Catalani: Prelude to Act IV of La Wally; Catalani: “Dance of

the Water-Nymphs” from Loreley; Strauss: Till Eulenspiegel; Beethoven:

Symphony No. 3

22 February, same venue

47
Wagner: Siegfried Idyll; Wagner: “Forest Murmurs” from Siegfried; Sibelius: The Swan

of Tuonela; Martucci: Symphony No. 2; Beethoven: Overture No. 3 to Leonore

1 April, Bologna, Teatro Comunale

Brahms: Symphony No. 4; Bossi: Suite, Op. 126; Debussy: Prélude à l’après-midi d’un

faune; Sibelius: En Saga; Wagner: “Forest Murmurs” from Siegfried

3 April, same venue

Paër: Overture to Ero e Leandro; Donizetti: Overture to Don Pasquale; Mozart: Violin

Concerto No. ? (A. Serato); Busi: Elegia funebre; Golinelli: Scherzo from a

sonata composed in 1849; Morlacchi: Overture to Francesca da Rimini; Rossini:

Overture to William Tell; Donizetti and Rossini: opera excerpts (G. Russ and A.

Bonci)

8 April, same venue

Beethoven: Symphony No. 1; Sibelius: En Saga; Wagner: “Forest Murmurs” from

Siegfried; Bossi: Suite, Op. 126; Donizetti: Overture to Don Pasquale; Rossini:

Overture to William Tell; Weber and Verdi: opera excerpts (G. Russ)

11 April, same venue

Martucci: Symphony No. 2; Elgar: “Enigma” Variations; Strauss: Death and

Transfiguration; Wagner: “Siegfried’s Rhine Journey” from Götterdämmerung;

Beethoven: Overture No. 3 to Leonore

23 and 25 April, Milan, Conservatorio Giuseppe Verdi (with members of La Scala orchestra)

Beethoven: Symphony No. 3; Debussy: Prélude à l’après-midi d’un faune; Sibelius: The

Swan of Tuonela; Elgar: “Enigma Variations; Wagner: Prelude and Liebestod

from Tristan und Isolde

48
11 May, Turin, Teatro Vittorio Emanuele

Borodin: Symphony No. 2; Bossi: Suite, Op. 126; Svendsen: Norwegian Rhapsody No. 4,

Op. 22; Strauss: Death and Transfiguration; Sibelius: Finlandia

14 May, same venue

Beethoven: Symphony No. 6; Sinigaglia: Piedmontese Dances (Allegro moderato in A

and Allegro con brio in G); Elgar: “Enigma” Variations; Wagner: Prelude and

Liebestod from Tristan und Isolde

2 June, Milan, Teatro alla Scala (with Turin orchestra)

Beethoven: Symphony No. 6; Strauss: Death and Transfiguration; Wagner: “Siegfried

Idyll”; Sibelius: The Swan of Tuonela; Sibelius: Finlandia

3 June, same venue, as previous

Martucci: Symphony No. 2; Smetana: The Moldau; Handel: Largo from Serse; Wagner:

“Good Friday Spell” from Parsifal; Elgar: “Enigma” Variations

29 October, same venue

Puccini: Madama Butterfly (S. Kruszelnicka; G. Acerbi, F. Federici) 8

9 November, Bologna, Teatro Comunale

Wagner: Siegfried (M. Grisi, A. Zacconi; G. Borgatti, G. Pini Corsi, N. Rapisardi, T.

Quercia, L. Contini) 9

21 November, same venue

Humperdinck: Hänsel und Gretel (E. Bel Sorel, Si Eigherson, E. Bruno; F. Federici) 3

5 December, same venue

WP Gnecchi: Cassandra (S. Kruszelnicka, E. Bruno; G. Borgatti, T. Quercia, F.

Federici) 2

49
26 December, Turin, Teatro Regio

Wagner: Siegfried (M. Grisi, A. Zacconi; G. Borgatti, G. Pini Corsi, N. Rapisardi, T.

Quercia, L. Contini) 14

1906

2 January, same venue

Puccini: Madama Butterfly (S. Kruszelnicka/L. Crestani; G. Acerbi, E. Giraldoni) 7

23 January, same venue

Berlioz: La Damnation de Faust (M. Prassino; E. Leliva, E. Giraldoni/T. Quercia, L.

Contini) 13

15 February, same venue

Catalani: Loreley (S. Kruszelnicka/L. Crestani, E. Tromben; E. Leliva/P. Zeni, N.

Rapisardi/T. Quercia, A. Venturini) 7

3 March, same venue

Giordano: Siberia (L. Crestani; A. Bassi, T. Quercia) 2

15 March, same venue

Mendelssohn: Overture to A Midsummer Night’s Dream; Debussy: “Nuages” from Trois

Nocturnes; Debussy: Prélude à l’après-midi d’un faune; Borodin: In the Steppes

of Central Asia; Sibelius: En Saga; Beethoven: Symphony No. 3

18 March, same venue

Brahms: Symphony No. 2; Elgar: Introduction and Allegro; Strauss: Don Juan; Dukas:

The Sorcerer’s Apprentice; Weber: Overture to Euryanthe

19 March, same venue

50
Beethoven: Symphony No. 3; Bolzoni: Capriccio sinfonico; Raff: “Dreaming” and

“Dance of the Dryads” from Symphony No. 3 “In the Forest”; Wagner:

[“Siegfried’s Death” and?] “Funeral Music” from Götterdämmerung, Prelude and

Liebestod from Tristan und Isolde

20 March, Milan, Teatro Lirico (with Turin orchestra)

Mendelssohn: Overture to A Midsummer Night’s Dream; Strauss: Don Juan; Borodin: In

the Steppes of Central Asia; Wagner: Prelude and Liebestod from Tristan und

Isolde

21 March, Parma, Teatro Regio (with Turin Orchestra)

Beethoven: Symphony No. 3; Sibelius: En Saga; Raff: “Dreaming” and “Dance of the

Dryads” from Symphony No. 3 “In the Forest”; Bolzoni: Capriccio sinfonico;

Wagner: Prelude and Liebestod from Tristan und Isolde

22 March, Bologna, Teatro Comunale (with Turin orchestra

Brahms: Symphony No. 2; Raff: “Dreaming” and “Dance of the Dryads” from

Symphony No. 3 “In the Forest”; Debussy: “Nuages” from Trois Nocturnes;

Debussy: Prélude à l’après-midi d’un faune; Wagner: Prelude and Liebestod from

Tristan und Isolde; Weber: Overture to Euryanthe

23 March, same venue (with Turin orchestra)

Mendelssohn: Overture to A Midsummer Night’s Dream; Elgar: Introduction and Allegro;

Strauss: Don Juan; Wagner: Siegfried Idyll; Beethoven: Symphony No. 3

24 March, Venice, Teatro La Fenice (with Turin orchestra)

Beethoven: Symphony No. 3; Elgar: Introduction and Allegro; Strauss: Don Juan;

Wagner: Siegfried Idyll; Wagner: Prelude to Die Meistersinger

51
25 March, Trieste, Politeama Rossetti (with Turin orchestra)

Brahms: Symphony No. 2; Debussy: Prélude à l’après-midi d’un faune; Borodin: In the

Steppes of Central Asia; Sibelius: En Saga; Raff: “Dreaming” and “Dance of the

Dryads” from Symphony No. 3 “In the Forest”; Wagner: [“Siegfried’s Death”

and?] “Funeral Music” from Götterdämmerung, Prelude to Die Meistersinger

26 March, same venue (with Turin orchestra)

Beethoven: Symphony No. 3; Strauss: Don Juan; Elgar: Introduction and Allegro;

Wagner: Siegfried Idyll; Wagner: Prelude and Liebestod from Tristan und Isolde

27 March, Venice, Teatro La Fenice (with Turin orchestra)

Beethoven: Symphony No. 3; Elgar: Introduction and Allegro; Strauss: Don Juan;

Wagner: Siegfried Idyll; Wagner: Prelude to Die Meistersinger

28 March, Brescia, Teatro Grande (with Turin orchestra)

Brahms: Symphony No. 2; Bolzoni: Capriccio sinfonico; Wagner: [“Siegfried’s Death”

and?] “Funeral Music” from Götterdämmerung, Prelude to Die Meistersinger

29 March, Como, ? (with Turin orchestra)

Program?

30 March, Milan, Teatro Lirico (with Turin orchestra)

Program?

24 May, Buenos Aires, Teatro de la Ópera

Catalani: La Wally (S. Kruszelnicka, E. Clasenti; E. Garbin, R. Tracciari, C. Walter)

25 May, same venue

Verdi: Rigoletto (E. Clasenti, N. Frascani; G. Anselmi, G. De Luca, R. Ercolani) 2

29 May, same venue

52
Donizetti: Don Pasquale (R. Storchio; G. Anselmi, G. De Luca, R. Ercolani) 2

2 June, same venue

Ponchielli: La Gioconda (S. Kruszelnicka, L. Garibaldi, N. Frascani; E. Garbin, R.

Stracciari, C. Walter)

5 June, same venue

Puccini: Madama Butterfly (R. Storchio; G. Anselmi, G. De Luca)

16 June, same venue

Wagner: Die Walküre (S. Kruszelnicka, A. Talexis, N. Frascani; L. Longobardi, A.

Didur, C. Walter) 2

19 June, same venue

Massenet: Manon (R. Storchio; G. Anselmi, F. Corradetti, C. Walter) 2

26 June, same venue

Boito: Mefistofele (S. Kruszelnicka; G. Anselmi, A. Didur)

28 June, same venue

Verdi: La traviata (R. Storchio; E. Garbin, R. Stracciari) 4

7 July, same venue

Franchetti: Cristoforo Colombo (A. Talexis, L. Garibaldi; E. Garbin, R. Stracciari, C.

Walter)

15 July, same venue

Puccini: Tosca (S. Kruszelnicka; E. Garbin, R. Stracciari)

18 July, same venue

Rossini: Il barbiere di Siviglia (R. Storchio; G. Anselmi, G. De Luca, A. Didur, R.

Ercolani) 3

53
24 July, same venue

Wagner: Tristan und Isolde (S. Kruszelnicka, L. Garibaldi; L. Longobardi, R. Stracciari,

A. Didur)

29 July, same venue

Mozart: Don Giovanni (A. Talexis, R. Storchio, E. Clasenti; E. Garbin, R. Stracciari, C.

Walter) 2

4 August, same venue

Catalani: Loreley (S. Kruszelnicka, E. Clasenti; E. Garbin, R. Stracciari, C. Walter)

9 August, same venue

NP Franchetti: Figlia di Jorio (A. Talexis, L. Garibaldi; L. Longobardi, R. Stracciari)

18 August, Montevideo, Teatro Solís

Massenet: Manon (R. Storchio; G. Anselmi, F. Corradetti, C. Walter) 1

19 August, same venue

Wagner: Tristan und Isolde (S. Kruszelnicka, L. Garibaldi; L. Longobardi, R. Stracciari,

A. Didur) 1

21 August, same venue

Verdi: La traviata (R. Storchio; E. Garbin, R. Stracciari) 1

23 August, same venue

Catalani: Loreley (S. Kruszelnicka, E. Clasenti; E. Garbin, R. Stracciari, C. Thos) 2

24 August, same venue

Mozart: Don Giovanni (A. Talexis, R. Storchio, E. Clasenti; G. Anselmi, G. De Luca, A.

Didur, F. Corradetti, C. Walter) 1

25 August, same venue

54
Puccini: Tosca (S. Kruszelnicka; E. Garbin, R. Stracciari) 1

26 August, same venue

Rossini: Il barbiere di Siviglia (R. Storchio; G. Anselmi, G. De Luca, A. Didur, R.

Ercolani) 1

28 August, same venue

Catalani: La Wally (S. Kruszelnicka, E. Clasenti; E. Garbin, R. Tracciari, C. Thos) 1

29 August, same venue

Verdi: Rigoletto (E. Clasenti, N. Frascani; G. Anselmi, G. De Luca, R. Ercolani) 1

30 August, same venue

Puccini: Madama Butterfly (R. Storchio; E. Garbin, G. De Luca) 1

31 August, same venue

Concert of operatic and symphonic pieces; program not known (R. Storchio, S.

Kruszelnicka, E. Clasenti, A. Talexis, G. Anselmi, R. Stracciari, A. Didur)

1 September, same venue

Donizetti: Don Pasquale (R. Storchio; G. Anselmi, G. De Luca, R. Ercolani) 1

19 December, Milan, Teatro alla Scala

Bizet: Carmen (M. Gay, E. Cervi Caroli; G. Zenatello, G. De Luca) 10

26 December, same venue

Strauss: Salome (S. Kruszelnicka, E. Bruno; G. Borgatti, A. Romboli) 16

1907

15 January, same venue

55
Ponchielli: La Gioconda (E. Burzio, E. Petri, E. Bruno; G. Zenatello, P. Arnato/G. De

Luca, N. De Angelis) 11

31 January, same venue

Wagner: Tristan und Isolde (S. Kruszelnicka, E. Petri; G. Borgatti, P. Amato, N. De

Angelis) 10

28 February, same venue

Verdi: Aida (E. Burzio, M. Gay; G. Zenatello/E. Leliva, A. Romboli, N. De Angelis) 4

3 March, same venue

Catalani: La Wally (E. Burzio, A. Campagnoli; I. Calleja, P. Amato, N. De Angelis) 5

17 March, same venue

Gluck: Orfeo ed Euridice (M. Gay, E. Cervi Caroli, L. Villani) 2

15 April, same venue

WP Cilea: Gloria (S. Kruszelnicka; G. Zenatello, P. Amato, N. De Angelis) 2

17 April, same venue

Mascagni: Cavalleria rusticana (E. Burzio, E. Bruno; G. Anselmi, A. Romboli) 2

23 and 25 April, same venue

Cherubini: Overture to Medea; Beethoven: Symphony No. 4; Elgar: Introduction and

Allegro; Sibelius: En Saga; Weber: Overture to Euryanthe

30 April and 2 May, same venue

Schumann: Hermann und Dorothea Overture; Borodin: Symphony No. 2; Debussy:

“Nuages” and “Fêtes” from Trois Nocturnes; Strauss: Don Juan; Foroni: Overture

in C

21 December, same venue

56
Wagner: Götterdämmerung (F. Litvinne, L. Garibaldi; F. Giraud, G. Bellantoni, C.

Thos, J. Nivette) 12

29 December, same venue

Puccini: Tosca (E. Burzio; R. Grassi, P. Amato) 13

1908

18 January, same venue

Franchetti: Cristoforo Colombo (E. Mazzoleni, L. Garibaldi; M. Polverosi, P. Amato, N.

De Angelis) 8

8 February, same venue

Charpentier: Louise (F. Alda, L. Garibaldi; F. Giraud, J. Segura Tallien) 6

16 February, same venue

Ponchielli: La Gioconda (E. Burzio, L. Garibaldi, C. Petracevska; R. Grassi/M.

Polverosi, P. Amato/J. Segura Tallien, N. De Angelis) 9

19 March, same venue

Verdi: La forza del destino (E. Mazzoleni, L. Garibaldi; I. Calleja, P. Amato, G.

Rebonato, N. De Angelis) 1

2 April, same venue

NP Debussy: Pelléas et Mélisande (C. Ferrani, N. Lollini; F. Giraud, P. Amato, G.

Cirino) 7

11 April, same venue

Boito: Mefistofele (F. Alda, E. Ruszkowska; R. Grassi, F. Chaliapin/G. Cirino) 5

7 and 9 May, same venue

57
Mozart: Symphony No. 35 (“Haffner”); Strauss: Ein Heldenleben; Sinigaglia: Le baruffe

chiozzotte Overture; Debussy: Prélude à l’après-midi d’un faune; Dukas: The

Sorcerer’s Apprentice; Rossini: Overture to William Tell

[ALL OF TOSCANINI’S PERFORMANCES IN NORTH AMERICA FROM 1908 TO 1915

WERE WITH SOLOISTS, ORCHESTRA, AND CHORUS OF NEW YORK’S

METROPOLITAN OPERA COMPANY, WHETHER THEY TOOK PLACE AT THE HOME

VENUE OR ELSEWHERE.]

16 November, New York, Metropolitan Opera House

Verdi: Aida (E. Destinn/E. Eames/M. Rappold, L. Homer/M. Flahaut/M. Gay; E.

Caruso/R. Martin, A. Scotti/F. Feinhals/P. Amato/G. Campanari, A. Didur) 8

19 November, same venue

Puccini: Madama Butterfly (G. Farrar/E. Destinn; E. Caruso/R. Martin/A. Quarti/R.

Grassi, A. Scotti/P. Amato) 8

[23 November, Brooklyn, Academy of Music

Verdi: Rigoletto (M. Sembrich, L. Homer; A. Quarti, P. Amato, A. Didur) 1 (This

performance was probably conducted by Francesco Spetrino but may have been

conducted by Toscanini.)]

1 December, Philadelphia, Academy of Music

Verdi: Aida (E. Destinn, L. Homer; E. Caruso, P. Amato, A. Didur) 1

3 December, New York Metropolitan Opera House

Bizet: Carmen (M. Gay, G. Farrar/M. Rappold/B. De Pasquali; E. Caruso/R. Martin, J.

Noté) 6

10 December, same venue

58
Wagner: Götterdämmerung (O. Fremstad/J. Gadski, R. Fornia; E. Schmedes/A.

Burgstaller/K. Burrian/G. Anthes, A. Mühlmann, O. Goritz, A. Hinckley/L.

Rains) 5

17 December, same venue

NP Puccini: Le Villi (F. Alda; A. Bonci, P. Amato) 5

Mascagni: Cavalleria rusticana (E. Destinn/J. Gadski, M. Gay; E. Caruso/R. Martin/R.

Grassi, P. Amato) 7

22 December, Brooklyn, Academy of Music

Puccini: Madama Butterfly (G. Farrar; R. Martin, A. Scotti) 1

29 December, Philadelphia, Academy of Music

Puccini: Madama Butterfly (E. Destinn; E. Caruso, P. Amato) 1

1909

6 January, New York, Metropolitan Opera House

NP Catalani: La Wally (E. Destinn, I. L’Huillier; R. Martin, P. Amato, G. Rossi) 4

12 January, Philadelphia, Academy of Music

Bizet: Carmen (M. Gay, M. Rappold; E. Caruso, J. Noté) 1

14 January, Brooklyn, Academy of Music

Bizet: Carmen (M. Gay, M. Rappold; E. Caruso, J. Noté) 1

19 January, Philadelphia, Academy of Music

Puccini: Le Villi (F. Alda; A. Bonci, P. Amato) 1

Mascagni: Cavalleria rusticana (E. Destinn, M. Gay; E. Caruso, P. Amato) 1

20 January, Baltimore, Lyric Theater

59
Puccini: Madama Butterfly (E. Destinn; E. Caruso, A. Scotti) 1

21 February, New York, Metropolitan Opera House

Verdi: Messa da Requiem (E. Destinn, L. Homer; R. Martin, A. Hinckley)

23 February, Philadelphia, Academy of Music

Puccini: Madama Butterfly (G. Farrar; R. Grassi, A. Scotti) 1

28 February, New York, Metropolitan Opera House

Verdi: Messa da Requiem (E. Destinn, L. Homer; R. Martin, A. Hinckley)

16 March, Philadelphia, Academy of Music

Verdi: Falstaff (E. Destinn, F. Alda, M. Gay, M. Ranzenberg; R. Grassi, A. Scotti, G.

Campanari, G. Rossi) 1

20 March, New York, Metropolitan Opera House

Verdi: Falstaff (E. Destinn, F. Alda, M. Gay, M. Ranzenberg; R. Grassi, A. Scotti, G.

Campanari, A. Didur) 3

20 March, same venue

Verdi: Aida (Act II, Part 2) (E. Destinn, L. Homer; R. Martin, P. Amato, A. Hinckley) 1

24 March, Brooklyn, Academy of Music

Verdi Aida (E. Destinn, L. Homer; R. Martin, P. Amato, A. Didur) 1

28 March, New York, Metropolitan Opera House

Verdi: Messa da Requiem (E. Destinn, L. Homer; R. Martin, H. Witherspoon)

9 April, New York, Metropolitan Opera House

Verdi: Messa da Requiem (E. Destinn, L. Homer; R. Martin, H. Witherspoon)

12 April, Chicago, Auditorium

60
Verdi Aida (E. Destinn/M. Rappold, L. Homer/M. Flahaut; G. Zenatello/R. Martin, P.

Amato, A. Didur) 2

15 April, same venue

Puccini: Madama Butterfly (G. Farrar; G. Zenatello/R. Martin, A. Scotti) 2

24 April, same venue

Wagner: Götterdämmerung (J. Gadski, R. Fornia, L. Homer; G. Anthes, A. Mühlmann,

O. Goritz, A. Hinckley) 1

28 April, Pittsburgh, Nixon Theater

Puccini: Madama Butterfly (G. Farrar; R. Grassi, A. Scotti) 1

28 April, same venue

Verdi Aida (M. Rappold, L. Homer; G. Zenatello, P. Amato, A. Didur ) 1

2 June, Milan, Conservatorio G. Verdi

Haydn: Symphony No. 101 (“Clock”), Debussy: La Mer; Rimsky-Korsakov: Symphonic

Suite “Antar”; Handel: Largo for oboe and strings; Handel: Minuet for strings:

Cherubini: Scherzo for strings; Strauss: Till Eulenspiegel; Rossini: Overture to

Semiramide

4 June, same venue

Haydn: Symphony No. 101 (“Clock”), Debussy: La Mer; Ravel: Rhapsodie Espagnole;

Cherubini: Scherzo for strings; Strauss: Till Eulenspiegel; Rossini: Overture to

Semiramide

17 June, same venue

61
Rossini: Overture to Il Signor Bruschino; Beethoven: Symphony No. 6; Martucci:

Notturno and Novelletta; Wagner: Siegfried Idyll; Mendelssohn: Wedding March

from A Midsummer Night’s Dream

2 July, Naples, Teatro San Carlo

Martucci: Symphony No. 1, Notturno, Novelletta, Canzone dei ricordi (S. Kruszelnicka),

Danza (Tarantella)

9 November, Philadelphia, Academy of Music

Verdi Aida (J. Gadski, L. Homer; E. Caruso, P. Amato, A. Hinckley) 1

15 November, New York, Metropolitan Opera House

Ponchielli: La Gioconda (E. Destinn, L. Homer, A. Meitschik; E. Caruso, P. Amato, A.

de Segurola) 6

17 November, same venue

Verdi: Otello (F. Alda; L. Slezak, A. Scotti/P. Amato) 6

19 November, same venue

Puccini: Madama Butterfly (E. Destinn/G. Farrar; R. Martin, P. Amato/A. Scotti) 6

23 November, Philadelphia, Academy of Music

Verdi: Otello (F. Alda; L. Slezak, P. Amato) 1

27 November, New York, Metropolitan Opera House

Wagner: Tristan und Isolde (J. Gadski/L. Nordica, L. Homer; K. Burrian, P. Amato, R.

Blass) 5

30 November, Philadelphia, Academy of Music

Ponchielli: La Gioconda (E. Destinn, G. Fabbri, A. Meitschik; E. Caruso, P. Amato, A.

de Segurola) 1

62
3 December, New York, Metropolitan Opera House

Verdi Aida (J. Gadski/E. Destinn, L. Homer/M. Flahaut; E. Caruso/L. Slezak/R. Martin,

P. Amato/D. Gilly, A. Didur/A. de Segurola) 5

23 December, same venue

Gluck: Orfeo ed Euridice (L. Homer/M. Delna, J. Gadski, B. Alten/L. Sparkes) 5

1910

4 January, Philadelphia, Academy of Music

Wagner: Tristan und Isolde (O. Fremstad, L. Homer; K. Burrian, P. Amato, R. Blass) 1

10 January, Boston, Opera House

Wagner: Tristan und Isolde (O. Fremstad, F. Wickham; K. Burrian, P. Amato, R. Blass)

1

17 January, Brooklyn, Academy of Music

Verdi Aida (E. Destinn, M. Flahaut; E. Caruso, P. Amato, A. Didur) 1

22 January, New York, Metropolitan Opera House

NP Franchetti: Germania (E. Destinn, C. Heliane; E. Caruso, P. Amato, A. Didur) 5

2 February, Baltimore, Lyric Theater

Ponchielli: La Gioconda (E. Destinn, G. Fabbri, A. Meitschik; E. Caruso, P. Amato, A.

de Segurola) 1

6 February, New York, Metropolitan Opera House

Verdi: Messa da Requiem (E. Destinn, L. Homer; R. Martin, H. Witherspoon)

15 February, Philadelphia, Academy of Music

Franchetti: Germania (E. Destinn, C. Heliane; E. Caruso, P. Amato, A. Didur) 1

63
16 February, New York, Metropolitan Opera House

Verdi: Falstaff (E. Destinn, F. Alda, L. Homer, J. Maubourg; E. Clément, A. Scotti, A.

Pini Corsi, A. Didur) 2

28 February, Brooklyn, Academy of Music

Verdi: Otello (F. Alda; L. Slezak, A. Scotti) 1

1 March, New York, Metropolitan Opera House

Ponchielli: La Gioconda (Act III, Part 2) (J. Noria, A. Meitschik; E. Caruso, P. Amato, A.

de Segurola) 1

7 March, Brooklyn, Academy of Music

Ponchielli: La Gioconda (E. Destinn, L. Homer, A. Meitschik; E. Caruso, P. Amato, A.

de Segurola) 1

10 March, Philadelphia, Academy of Music

Verdi Aida (J. Gadski, M. Flahaut; E. Caruso, P. Amato, A. Hinckley) 1

13 March, New York, Metropolitan Opera House

Verdi: Messa da Requiem (E. Destinn, L. Homer; R. Martin, H. Witherspoon)

26 March, New York, Metropolitan Opera House

Wagner: Die Meistersinger (J. Gadski, F. Wickham; L. Slezak, A. Reiss, W. Soomer, O.

Goritz, R. Blass) 2

28 March, Boston, Opera House

Verdi Aida (E. Destinn, L. Homer; E. Caruso, P. Amato, A. de Segurola) 1

2 April, same venue

Wagner: Die Meistersinger (J. Gadski, F. Wickham; K. Jörn, A. Reiss, W. Soomer, O.

Goritz, R. Blass) 1

64
4 April, Chicago, Auditorium

Ponchielli: La Gioconda (E. Destinn, L. Homer, G. Fabbri/A. Meitschik; E. Caruso/R.

Martin, P. Amato, A. de Segurola) 2

6 April, same venue

Verdi: Otello (F. Alda; L. Slezak, A. Scotti) 2

8 April, same venue

Verdi Aida (J. Gadski/E. Destinn, L. Homer; L. Slezak/E. Caruso, D. Gilly, A. de

Segurola) 2

9 April, same venue

Franchetti: Germania (E. Destinn, C. Heliane; E. Caruso, P. Amato, A. Didur) 1

11 April, same venue

Puccini: Madama Butterfly (G. Farrar; R. Martin, A. Scotti) 1

18 April, same venue

Wagner: Die Meistersinger (J. Gadski, F. Wickham; L. Slezak, A. Reiss, W. Soomer, O.

Goritz, R. Blass) 1

[ALL OF TOSCANINI’S PARIS PERFORMANCES IN 1910 WERE WITH SOLOISTS,

CHORUS, AND SETS FROM THE METROPOLITAN OPERA COMPANY BUT WITH THE

LOCAL ORCHESTRE DES CONCERTS COLONNE AND MEMBERS OF THE

ORCHESTRE LAMOUREUX.]

19 May, Paris, Théâtre du Châtelet

Verdi Aida (E. Destinn/M. Rappold, L. Homer; E. Caruso, P. Amato, A. de Segurola) 4

23 May, same venue

Mascagni: Cavalleria rusticana (O. Fremstad, C. Roma; H. Jadlowker, P. Amato) 3

65
25 May, same venue

Verdi: Otello (F. Alda; L. Slezak, A. Scotti) 3

3 June, same venue

Verdi: Falstaff (B. Alten, F. Alda, L. Homer, J. Maubourg; H. Jadlowker, A. Scotti, G.

Campanari, G. Rossi) 3

9 June, same venue

NP Puccini: Manon Lescaut (L. Bori; E. Caruso, P. Amato, A. Pini Corsi) 5

19 June, Paris, Opéra

Wagner: Tristan und Isolde (Act II) (O. Fremstad, L. Homer; K. Burrian, P. Ananian, A.

Hinckley) 1

Verdi: Otello (Act IV) (F. Alda, L. Slezak, P. Amato) 1

14 November, New York, Metropolitan Opera House

NP Gluck: Armide (O. Fremstad; E. Caruso, P. Amato, D. Gilly, A. de Segurola) 3

15 November, Albany, Auditorium

Puccini: Madama Butterfly (G. Farrar; R. Martin, A. Scotti) 1

17 November, New York, Metropolitan Opera House

Verdi: Aida (E. Destinn/M. Rappold/J. Gadski, L. Homer/M. Claessens; E. Caruso/L.

Slezak/R. Martin, P. Amato/A. Scotti/D. Gilly, A. Didur/A. de Segurola) 8

19 November, same venue

Puccini: Madama Butterfly (G. Farrar/E. Destinn; R. Martin/H. Jadlowker, A. Scotti) 6

21 November, same venue

Puccini: La Bohème (G. Farrar, B. Alten; H. Jadlowker, A. Scotti, A. Didur, A. de

Segurola) 2

66
23 November, same venue

Ponchielli: La Gioconda (E. Destinn, L. Homer, F. Wickham; E. Caruso/R. Martin, P.

Amato, A. de Segurola) 5

26 November, Brooklyn, Academy of Music

Gluck: Orfeo ed Euridice (L. Homer, M. Rappold, L. Sparkes) 1

10 December, New York, Metropolitan Opera House

WP Puccini: La Fanciulla del West (E. Destinn; E. Caruso/A. Bassi, P. Amato) 9

19 December, same venue

Gluck: Orfeo ed Euridice (L. Homer, M. Rappold/J. Gadski, A. Gluck/L. Sparkes) 5

20 December, Philadelphia, Academy of Music

Puccini: La Fanciulla del West (E. Destinn; E. Caruso, P. Amato) 1

27 December, same venue

Gluck: Orfeo ed Euridice (L. Homer, M. Rappold, A. Gluck) 1

1911

4 January, New York, Metropolitan Opera House

Wagner: Tristan und Isolde (O. Fremstad/J. Gadski, L. Homer; K. Burrian, W. Soomer,

A. Hinckley) 4

10 January, Philadelphia, Academy of Music

Puccini: Madama Butterfly (G. Farrar; R. Martin, A. Scotti) 1

20 January, New York, Metropolitan Opera House

Wagner: Die Meistersinger (E. Destinn/B. Alten/J. Gadski, F. Wicham; K. Jörn/L.

Slezak, A. Reiss, W. Soomer, O. Goritz, H. Witherspoon) 5

67
1 February, same venue

Franchetti: Germania (E. Destinn, A. Gluck; E. Caruso, P. Amato, A. Didur) 2

8 February, same venue

Puccini: Tosca (G. Farrar/O. Fremstad; R. Martin, A. Scotti) 5

21 February, Brooklyn, Academy of Music

Puccini: Madama Butterfly (G. Farrar; H. Jadlowker, A. Scotti) 1

27 February, New York, Metropolitan Opera House

Verdi: Otello (M. Rappold; L. Slezak, A. Scotti/P. Amato) 5

14 March, Brooklyn, Academy of Music

Verdi: Otello (M. Rappold; L. Slezak, A. Scotti) 1

18 March, same venue

Puccini: La Fanciulla del West (E. Destinn; A. Bassi, P. Amato) 1

22 March, New York, Metropolitan Opera House

Mascagni: Cavalleria rusticana (E. Destinn, F. Wickham; H. Jadlowker, D. Gilly) 1

29 March, same venue

NP Dukas: Ariane et Barbe-bleue (G. Farrar, F. Wickham; L. Rothier) 4

4 April, Philadelphia, Academy of Music

Ponchielli: La Gioconda (E. Destinn, L. Homer, M. Claessens; R. Martin, P. Amato, A.

de Segurola) 1

6 April, New York, Metropolitan Opera House

Gluck: Armide (Act I) (O. Fremstad; P. Amato, A. de Segurola) 1

18 April, Montreal, Théâtre St.-Denis

Verdi: Aida (E. Destinn, L. Homer; R. Martin, A. Scotti, A. de Segurola) 1

68
20 April, Cleveland, Public Hall?

Verdi: Otello (M. Rappold; L. Slezak, P. Amato) 1

22 April, same venue

Verdi: Aida (E. Destinn, L. Homer; R. Martin, A. Scotti, A. de Segurola) 1

25 April, Cincinnati, Music Hall

Verdi: Otello (M. Rappold; L. Slezak, A. Scotti) 1

27 April, Atlanta, Auditorium?

Ponchielli: La Gioconda (E. Destinn, L. Homer, M. Claessens; R. Martin, P. Amato, A.

de Segurola) 1

29 April, same venue

Verdi: Otello (M. Rappold; L. Slezak, P. Amato) 1

31 May, Rome, Teatro Costanzi

Verdi: Falstaff (L. Berlendi, F. Alda, G. Fabbri, O. Aleardi; E. Garbin, A. Scotti, G.

Giardini, B. Challis) 8

12 June, same venue

NP Puccini: La Fanciulla del West (E. Burzio; A. Bassi/G. Martinelli, P. Amato) 9

4 and 8 July, Rome, Augusteo

Verdi: Messa da Requiem (C. Gagliardi, V. Guerrini, G. Martinelli, B. Challis) 1

6 July, Rome, Teatro Costanzi

Verdi: Messa da Requiem (C. Gagliardi, V. Guerrini, G. Martinelli, B. Challis) 1

16 September, Turin, Salone delle Feste

69
Bach (arr. Mahler): Suite in B minor; Beethoven: Symphony No. 1; Brahms: “Haydn”

Variations; Wagner: Prelude and Liebestod from Tristan und Isolde; Strauss: Till

Eulenspiegel

19 September, same venue

Beethoven: Symphony No. 6; Gluck: Minuetto lento, Siciliana, and Ciaccona from

Armide; Martucci: Novelletta and Tarantella; Wagner: “Good Friday Spell” from

Parsifal; Rossini: Overture to William Tell

23 September, same venue

Brahms: Symphony No. 2; Handel: Largo from Serse and Minuet for strings; Dukas: The

Sorcerer’s Apprentice; Wagner: Siegfried Idyll; Weber: Overture to Euryanthe

28 September, same venue

Mozart: Symphony No. 38 (“Prague”); Martucci: Novelletta and Tarantella; Debussy: La

Mer; Wagner: Prelude to Die Meistersinger

29 September, same venue

Beethoven: Symphony No. 6; Debussy: La Mer; Handel: Largo from Serse and Minuet

for strings; Wagner: Prelude and Liebestod from Tristan und Isolde

11 November, Brooklyn, Academy of Music

Puccini: Madama Butterfly (G. Farrar; R. Martin, A. Scotti) 1

13 November, New York, Metropolitan Opera House

Verdi: Aida (E. Destinn/M. Rappold/J. Gadski, M. Matzenauer/T. Orridge/M. Claessens;

E. Caruso, P. Amato/D. Gilly, A. Didur/A. de Segurola) 5

16 November, same venue

Puccini: La Fanciulla del West (E. Destinn; E. Caruso, P. Amato) 5

70
17 November, same venue

Wagner: Tristan und Isolde (O. Fremstad/J. Gadski, M. Matzenauer/L. Homer; K.

Burrian, H. Weil, H. Witherspoon/P. Griswold) 4

20 November, same venue

Puccini: Madama Butterfly (G. Farrar; R. Martin/H. Jadlowker, A. Scotti) 5

21 November, Philadelphia, Academy of Music

Ponchielli: La Gioconda (E. Destinn, F. Wickham, T. Orridge; E. Caruso, P. Amato, A.

de Segurola) 1

28 November, same venue

Puccini: Madama Butterfly (G. Farrar; R. Martin, A. Scotti) 1

29 November, New York, Metropolitan Opera House

Ponchielli: La Gioconda (E. Destinn, F. Wickham/L. Homer, T. Orridge/M.

Matzenauer/M. Duchêne; E. Caruso, P. Amato, A. de Segurola) 5

11 December, same venue

Puccini: Tosca (G. Farrar/E. Destinn/O. Fremstad; R. Martin/E. Caruso, A. Scotti/P.

Amato) 5

16 December, same venue

Gluck: Armide (O. Fremstad; E. Caruso, P. Amato, D. Gilly, A. de Segurola) 4

19 December, Philadelphia, Academy of Music

Puccini: Tosca (G. Farrar; R. Martin, A. Scotti) 1

25 December, New York, Metropolitan Opera House

Gluck: Orfeo ed Euridice (M. Matzenauer/L. Homer, J. Gadski/M. Rappold, L. Sparkes)

5

71
1912

3 January, same venue

NP Wolf-Ferrari: Le donne curiose (G. Farrar, B. Alten, R. Fornia, J. Maubourg; H.

Jadlowker, A. de Segurola, A. Scotti, A. Pini Corsi, A. Didur) 5

31 January, same venue

Dukas: Ariane et Barbe-bleue (G. Farrar, M. Matzenauer; L. Rothier) 3

20 February, Brooklyn, Academy of Music

Puccini: Tosca (O. Fremstad; R. Martin, P. Amato) 1

21 February, New York, Metropolitan Opera House

Verdi: Otello (F. Alda; L. Slezak, A. Scotti) 4

6 March, same venue

Wagner: Die Meistersinger (E. Destinn/J. Gadski, F. Wickham; K. Jörn/L. Slezak, A.

Reiss, H. Weil, O. Goritz, P. Griswold/H. Witherspoon) 3

30 March, same venue

Massenet: Manon (G. Farrar; E. Caruso, D. Gilly, L. Rothier) 3

21 May, Buenos Aires, Teatro Colón

Wagner: Tristan und Isolde (L. Weidt, M. Matzenauer/L. Garibaldi; E. Ferrari Fontana,

P. Amato, N. De Angelis) 7

24 May, same venue

Verdi: Aida (C. Gagliardi, L. Garibaldi/M. Matzenauer; A. Bassi, P. Amato, N. De

Angelis) 5

25 May, same venue

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Boito: Mefistofele (L. Bori/C. Gagliardi/C. Bau Bonaplata, L. Weidt; R. Grassi, N. De

Angelis) 6

1 June, same venue

Massenet: Manon (L. Bori; G. Anselmi, E. Badini, A. Masini Pieralli) 6

6 June, same venue

Donizetti: Don Pasquale (L. Bori; G. Anselmi, G. De Luca, C. Paterna) 4

11 June, same venue

Puccini: Manon Lescaut (L. Bori; R. Grassi, E. Badini, C. Paterna) 4

20 June, same venue

Puccini: La Bohème (L. Bori, E. Figoriti; G. Anselmi, G. De Luca, E. Badini, A. Masini

Pieralli) 5

22 June, same venue

Franchetti: Germania (C. Gagliardi, M. Melsa; A. Bassi, P. Amato, N. De Angelis) 5

29 June, same venue

Puccini: Tosca (C. Gagliardi; R. Grassi, P. Amato) 6

7 July, same venue

NP Dukas: Ariane et Barbe-bleue (in French?) (M. Matzenauer/C. Gagliardi, L.

Garibaldi; A. Masini Pieralli) 2

13 July, same venue

Puccini: Madama Butterfly (C. Bau Bonaplata; R. Grassi, G. De Luca) 6

18 July, same venue

Verdi: Rigoletto (L. Bori, F. Perini; G. Anselmi, G. De Luca, N. De Angelis/V. Bettoni)

5

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25 July, same venue

Verdi: Falstaff (C. Bau Bonaplata, L. Bori, L. Garibaldi, F. Perini; R. Grassi, P. Amato,

E. Badini, V. Bettoni) 6

13 August, same venue

Wagner: Götterdämmerung (L. Weidt, L. Garibaldi; E. Ferrari Fontana, P. Amato, V.

Bettoni, N. De Angelis) 5

20 August, same venue

NP Humperdinck: Königskinder (L. Bori; A. Bassi, G. De Luca) 3

29 August, same venue

Boito: Mefistofele (Prologue) (N. De Angelis); Verdi: Falstaff (Act II) (C. Bonaplata

Bau, L. Bori, L. Garibaldi, F. Perini; R. Grassi, P. Amato, E. Badini, V. Bettoni);

Puccini: La Bohème (Act III) (L. Bori, E. Figoriti; G. Anselmi, G. De Luca);

Verdi: Aida (Act II) (C. Gagliardi, L. Garibaldi; A. Bassi, P. Amato, N. De

Angelis) 1

10 and 11 November, Milan, Teatro del Popolo (with Scala orchestra)

Beethoven: Overture to Egmont, Symphony No. 5; Wagner: “Forest Murmurs” from

Siegfried, “Good Friday Spell” from Parsifal, “Siegfried’s Death and Funeral

Music” from Götterdämmerung, Prelude and Liebestod from Tristan und Isolde

17 and 20 November, Rome, Augusteo (orchestra of Santa Cecilia)

Cherubini: Overture to Medea; Brahms: “Haydn” Variations; Beethoven: Symphony No.

5; Debussy: La Mer; Wagner: “Good Friday Spell” from Parsifal, Prelude and

Liebestod from Tristan und Isolde

19 December, New York, Metropolitan Opera House

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Gluck: Orfeo ed Euridice (L. Homer, M. Rappold, L. Sparkes) 2

23 December, same venue

Puccini: Madama Butterfly (G. Farrar; R. Martin, A. Scotti) 6

30 December, same venue

Wagner: Tristan und Isolde (J. Gadski/O. Fremstad, L. Homer/M. Matzenauer; K.

Burrian/J. Urlus, H. Weil/O. Goritz, P. Griswold/H. Witherspoon) 4

1913

4 January, same venue

Puccini: Tosca (G. Farrar/O. Fremstad; E. Caruso/R. Martin, A. Scotti) 4

6 January, same venue

Verdi: Otello (F. Alda; L. Slezak, P. Amato/A. Scotti) 3

9 January, same venue

Puccini: La Fanciulla del West (E. Destinn; E. Caruso, P. Amato) 3

11 January, Brooklyn, Academy of Music

Gluck: Orfeo ed Euridice (L. Homer, J. Gadski, L. Sparkes) 1

22 January, New York, Metropolitan Opera House

Massenet: Manon (G. Farrar; E. Caruso, D. Gilly, L. Rothier) 5

25 January, Brooklyn, Academy of Music

Puccini: Madama Butterfly (G. Farrar; R. Martin, A. Scotti) 1

28 January, Philadelphia, Academy of Music

Massenet: Manon (G. Farrar; E. Caruso, D. Gilly, L. Rothier) 1

5 February, New York, Metropolitan Opera House

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Wolf-Ferrari: Le donne curiose (G. Farrar, B. Alten, R. Fornia, J. Maubourg; U.

Macnez, A. de Segurola, A. Scotti, A. Pini Corsi, A. Didur) 3

4 March, Brooklyn, Academy of Music

Puccini: Tosca (O. Fremstad; E. Caruso, A. Scotti) 1

6 March, New York, Metropolitan Opera House

Verdi: Aida (E. Destinn, L. Homer; E. Caruso, D. Gilly, A. Didur) 1

18 March, same venue

Puccini: Madama Butterfly (Act II) (G. Farrar; A. Scotti) 1

19 March, same venue

NP Mussorgsky: Boris Godunov (in Italian) (L. Homer; P. Althouse, A. Badà, A. Didur,

L. Rothier, A. de Segurola) 4

5 April, same venue

Donizetti: Don Pasquale (L. Bori; U. Macnez, A. Scotti, A. Pini Corsi) 2

13 and 18 April, same venue

Wagner: Eine Faust-Ouvertüre; Strauss: Till Eulenspiegel; Beethoven: Symphony No. 9

(F. Hempel, L. Homer, K. Jörn, P. Griswold)

24 April, Atlanta, Auditorium?

Ponchielli: La Gioconda (E. Destinn, L. Homer, M. Duchêne; E. Caruso, D. Gilly, A. de

Segurola) 1

26 April, same venue

Puccini: Tosca (E. Destinn; E. Caruso, A. Scotti) 1

20 September, Busseto, Teatro Verdi

Verdi: La traviata (L. Bori; E. Garbin, P. Amato) 3

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28 September, same venue

Verdi: Falstaff (L. Cannetti, L. Bori, G. Fabbri, A. Ponzano; E. Garbin, P. Amato, G.

Giardini, V. Bettoni) 2

12, 14, 18 October, Milan, Teatro alla Scala

Verdi: Messa da Requiem (C. Gagliardi, V. Guerrini, A. Giorgini, N. De Angelis)

21 October, same venue

Verdi: Falstaff (L. Cannetti, L. Bori/L. Lauri, V. Guerrini, G. Bertazzoli/A. Ponzano; E.

Garbin, A. Scotti, E. Badini, M. Gaudio) 3

17 November, New York, Metropolitan Opera House

Ponchielli: La Gioconda (E. Destinn, M. Matzenauer/M. Ober/L. Homer, M. Duchêne;

E. Caruso, P. Amato, A. de Segurola/A. Didur) 3

22 November, same venue

Verdi: Un ballo in maschera (E. Destinn, F. Hempel/B. Alten, M. Matzenauer/M.

Duchêne; E. Caruso, P. Amato) 5

24 November, same venue

Puccini: Madama Butterfly (G. Farrar/E. Destinn; G. Martinelli/R. Martin, A. Scotti) 6

28 November, same venue

Mussorgsky: Boris Godunov (in Italian) (M. Ober/L. Homer; P. Althouse, A. Badà, A.

Didur, L. Rothier, A. de Segurola) 6

2 December, Philadelphia, Academy of Music

Puccini: Madama Butterfly (E. Destinn; G. Martinelli, A. Scotti) 1

6 December, New York, Metropolitan Opera House

Puccini: Tosca (O. Fremstad/E. Destinn/G. Farrar; G. Martinelli/E. Caruso, A. Scotti) 3

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8 December, same venue

Verdi: Aida (E. Destinn, M. Matzenauer/M. Ober/L. Homer; E. Caruso/G. Martinelli, P.

Amato/D. Gilly, A. Didur/L. Rothier) 5

24 December, same venue

Wagner: Tristan und Isolde (O. Fremstad/J. Gadski, M. Ober/L. Homer; J. Urlus/R.

Berger, H. Weil/O. Goritz, K. Braun/P. Griswold/H. Witherspoon) 4

31 December, same venue

Massenet: Manon (G. Farrar/F. Alda; E. Caruso, D. Gilly, L. Rothier) 4

1914

2 January, same venue

NP Montemezzi: L’amore dei tre re (L. Bori; E. Ferrari Fontana, P. Amato, A. Didur) 5

6 January, Philadelphia, Academy of Music

Wagner: Tristan und Isolde (J. Gadski, M. Ober; J. Urlus, H. Weil, K. Braun) 1

15 January, New York, Metropolitan Opera House

Wagner: Die Meistersinger (J. Gadski/E. Destinn/F. Hempel, M. Mattfeld; J. Urlus/K.

Jörn/R. Berger, A. Reiss, H. Weil, O. Goritz, K. Braun/H. Witherspoon) 4

5 February, same venue

Donizetti: Don Pasquale (L. Bori; I. Cristalli, A. Scotti, A. Pini Corsi) 2

10 February, Philadelphia, Academy of Music

Puccini: Tosca (O. Fremstad; E. Caruso, A. Scotti) 1

2 March, New York, Metropolitan Opera House

Gluck: Orfeo ed Euridice (L. Homer, J. Gadski/M. Rappold, L. Sparkes) 3

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25 March, same venue

NP Wolf-Ferrari: L’amore medico (L. Bori, B. Alten; I. Cristalli, A. Pini Corsi, L.

Rothier, A. de Segurola) 4

14 April, same venue

Puccini: Madama Butterfly (Act II) (G. Farrar; A. Scotti) 1

21 April, Brooklyn, Academy of Music

Gluck: Orfeo ed Euridice (L. Homer, J. Gadski, L. Sparkes) 1

27 April, Atlanta, Auditorium?

Massenet: Manon (G. Farrar; E. Caruso, D. Gilly, L. Rothier) 1

30 April, same venue

Verdi: Un ballo in maschera (J. Gadski, F. Hempel, M. Duchêne; E. Caruso, P. Amato)

1

1 May, same venue

Puccini: Madama Butterfly (G. Farrar; R. Martin, A. Scotti) 1

19 October, Rome, Teatro Costanzi

Puccini: Madama Butterfly (Act II) (L. Bori; G. De Luca) 1

Leoncavallo: Pagliacci (L. Bori; E. Caruso, G. De Luca, R. Tegani) 1

16 November, New York, Metropolitan Opera House

Verdi: Un ballo in maschera (E. Destinn, F. Hempel, M. Matzenauer/M. Duchêne; E.

Caruso, P. Amato) 2

19 November, same venue

Bizet: Carmen (G. Farrar, F. Alda/L. Bori; E. Caruso/G. Martinelli, P. Amato/C.

Whitehill/R. Tegani) 9

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21 November, same venue

Verdi: Aida (E. Destinn/M. Rappold, M. Matzenauer/M. Ober; G. Martinelli/E.

Caruso/R. Martin, P. Amato/A. Scotti, A. Didur) 6

24 November, Philadelphia, Academy of Music

Puccini: Tosca (G. Farrar; G. Martinelli, A. Scotti) 1

28 November, New York, Metropolitan Opera House

Mussorgsky: Boris Godunov (in Italian) (M. Ober; P. Althouse, A. Badà, A. Didur, L.

Rothier, A. de Segurola) 5

30 November, same venue

Puccini: Madama Butterfly (G. Farrar; G. Martinelli/L. Botta, A. Scotti/R. Tegani) 5

3 December, same venue

Wagner: Tristan und Isolde (J. Gadski/M. Kurt, M. Matzenauer; J. Urlus, H. Weil, K.

Braun/H. Witherspoon) 4

4 December, same venue

Puccini: Tosca (G. Farrar; G. Martinelli/L. Botta, A. Scotti/P. Amato) 4

19 December, same venue

Weber: Euryanthe (F. Hempel, M. Ober; J. Sembach, H. Weil, A. Middleton) 5

24 December, same venue

Massenet: Manon (G. Farrar/F. Alda; E. Caruso, A. Scotti, L. Rothier) 3

29 December, Philadelphia, Academy of Music

Puccini: Madama Butterfly (G. Farrar; G. Martinelli, R. Tegani) 1

1915

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19 January, Brooklyn, Academy of Music

Weber: Euryanthe (F. Hempel, M. Ober; J. Sembach, H. Weil, A. Middleton) 1

25 January, New York, Metropolitan Opera House

WP Giordano: Madame Sans-Gêne (G. Farrar; G. Martinelli, P. Althouse, P. Amato, A.

de Segurola) 6

2 February, Brooklyn, Academy of Music

Bizet: Carmen (G. Farrar, F. Alda; E. Caruso, P. Amato) 1

11 February, New York, Metropolitan Opera House

Montemezzi: L’amore dei tre re (L. Bori; E. Ferrari Fontana, P. Amato, A. Didur) 5

20 February, same venue

Verdi: Il trovatore (E. Destinn, M. Ober; G. Martinelli, P. Amato, L. Rothier) 4

22 February, Philadelphia, Academy of Music

Giordano: Madame Sans-Gêne (G. Farrar; G. Martinelli, P. Althouse, P. Amato, A. de

Segurola) 1

2 March, Brooklyn, Academy of Music

Giordano: Madame Sans-Gêne (G. Farrar; G. Martinelli, P. Althouse, P. Amato, A. de

Segurola) 1

12 March, New York, Metropolitan Opera House

Wagner: Die Meistersinger (F. Hempel, M. Mattfeld; J. Sembach, A. Reiss, H. Weil, O.

Goritz, K. Braun) 3

23 March, Philadelphia, Academy of Music

Montemezzi: L’amore dei tre re (L. Bori; E. Ferrari Fontana, P. Amato, A. Didur) 1

1 April, New York, Metropolitan Opera House

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Mascagni: Iris (L. Bori; L. Botta, A. Scotti, A. Didur) 3

26 July, Milan, Arena (with various forces)

Verdi: Overture to La forza del destino; Hymn and oath-taking from Act I and Hymn and

Prayer from Act IV of La Battaglia di Legnano; “Va, pensiero” from Nabucco;

“Allor che i forti corrono” from Attila; “Rataplan” from La forza del destino;

Overture to I vespri siciliani; Coro della Sete from I Lombardi; Hymn of the

Nations; Verdi/Mameli: “Suona la tromba”; Mameli Hymn; Olivieri: Garibaldi

Hymn

18 September, Milan, Teatro Dal Verme (various forces)

NP Giordano: Madame Sans-Gêne (M. Farneti; R. Grassi, V. Salbego, R. Stracciari, L.

Rossi Morelli) 8

23 September, same venue

Wolf-Ferrari: Il segreto di Susanna (I. M. Ferraris; A. Crabbé) 2

Leoncavallo: Pagliacci (C. Muzio; E. Caruso, L. Montesanto, A. Crabbé) 2

30 September, same venue

Verdi: La traviata (R. Storchio; P. Navia/T. Schipa, R. Stracciari/A. Rossi) 8

7 October, same venue

Puccini: Tosca (C. Muzio; G. Crimi, D. Viglione Borghese/F. M. Bonini) 11

21 October, same venue

Verdi: Un ballo in maschera (E. Mazzoleni, I. M. Ferraris, F. Anitua; A. Bonci, L.

Montesanto) 6

6 November, same venue

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Verdi: Falstaff (M. Farneti, I. M. Ferraris, V. Guerrini, T. Di Angelo; T. Schipa, G.

Rimini, E. Badini, V. Bettoni) 7

1916

30 January, Rome, Augusteo (Santa Cecilia orchestra)

Haydn: Symphony No. 101 (“Clock”); Elgar: “Enigma” Variations; Busoni: Berceuse

élégiaque; Rachmaninoff: The Isle of the Dead; Martucci: Danza (Tarantella)

6 February, same venue

Beethoven: Symphony No. 6; Sibelius: En Saga; Stravinsky: 1st and 4th tableaux from

Petrushka; Foroni: Overture in C minor

9 February, same venue

Haydn: Symphony No. 101 (“Clock”); Stravinsky: 1st and 4th tableaux from Petrushka;

Rossini: Overture to Il barbiere di Siviglia; Handel: Largo from Serse; Handel:

Minuet for strings; Elgar: “Enigma” Variations

12 March, same venue

Wagner: Eine Faust-Ouvertüre; Elgar: Introduction and Allegro; Martucci: Novelletta;

Mancinelli: “Fuga degli amanti” from Scene veneziane; Franck: Intermezzo from

Rédemption; Brahms: Symphony No. 2

7 May, Turin, Teatro Regio

Martucci: Symphony No. 1; Busoni: Berceuse élégiaque; Debussy: “Fêtes” from the

Trois Nocturnes; Wagner: “Good Friday Spell” from Parsifal

10 May, same venue

Cherubini: Overture to Medea; Martucci: Novelletta; Debussy: “Fêtes” from the Trois

Nocturnes; Stravinsky: 1st and 4th tableaux from Petrushka; Franck: Intermezzo

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from Rédemption; Wagner: “Good Friday Spell” from Parsifal; Beethoven:

Symphony No. 5

12 May, same venue

Beethoven: Symphony No. 5; Stravinsky: 1st and 4th tableaux from Petrushka; Franck:

Intermezzo from Rédemption; Martucci: Notturno and Novelletta; Wagner:

Prelude and Liebestod from Tristan und Isolde; Sibelius: Finlandia

19 November, Rome, Augusteo (Santa Cecilia orchestra)

Corelli: “Christmas” Concerto Grosso, Op. 6 No. 8; Martucci: Symphony No. 1;

Tommasini: Chiari di luna; Wagner: “Forest Murmurs” from Siegfried,

“Siegfried’s Death and Funeral Music” from Götterdämmerung [interrupted and

not completed]

1917

September-October, on the Isonzo front with military band

Repertoire included the following pieces, all arranged for band:

Foroni: Overture [in C minor]; Bazzini: Overture to Saul; Mancinelli: Andante-barcarola

from Cleopatra; Mancinelli: “Fuga degli amanti” from Scene veneziane;

Morlacchi: [Overture to] Francesca da Rimini; Martucci: Notturno, Novelletta,

Tarantella; Weber-Berlioz: Invitation to the Dance; Franchetti: Nocturne from

Cristoforo Colombo; Puccini: Prelude to Act III of Manon Lescaut; Bolzoni:

Minuet; van Westerhout: Ma belle qui danse and Ronde d’amour; Mascagni:

“Hymn to the Sun” from Iris; Verdi: Overture to La forza del destino, Overture to

I vespri siciliani, Overture to Nabucco, Overture to Luisa Miller, Prelude to Act

84
III of La traviata; Rossini: Overture to La gazza ladra, Overture to Semiramide,

Overture to L’assedio di Corinto, Overture to William Tell, Overture to Il

barbiere di Siviglia; Bellini: Overture to Norma; Donizetti: Overture to Don

Pasquale; Ponchielli: Overture to I promessi sposi, Overture to I Lituani, “Dance

of the Hours” from La Gioconda, Prelude to Act III of Marion Delorme; Catalani:

“Dance of the Water-Nymphs” from Loreley, Prelude to Act IV of La Wally;

Faccio: Funeral March from Amleto

1918

6 January, Milan, Conservatorio G. Verdi

Rossini: Overture to Il barbiere di Siviglia; Martucci: Symphony No. 1; Debussy: Ibéria;

Rabaud: Procession nocturne; Elgar: “Enigma” Variations

13 January, same venue

Wolf-Ferrari: Overture to Le donne curiose; Franck: “Le Sommeil de Psyché” from

Psyché ; Sibelius: En Saga; Saint-Saëns: Symphony No. 3; Pick-Mangiagalli:

Sortilegi

20 January, same venue

Beethoven: Symphony No. 3; Sinigaglia: Overture, Le baruffe chiozzotte; Roger-

Ducasse: Sarabande; Debussy: “Nuages” and “Fêtes” from Trois Nocturnes;

Martucci: Tarantella

27 January, same venue

85
Franck: Symphony; Tommasini: Chiari di luna; Elgar: Introduction and Allegro; Berlioz:

Love Scene and “Queen Mab” from Roméo et Juliette; Verdi (in memoriam):

Prelude to Act III of La traviata and Overture to I vespri siciliani

3 February, same venue

Borodin: Symphony No. 2; Sibelius: The Swan of Tuonela; Svendsen: Carnival of Paris;

Orefice: Quattro anacreontiche (Ad Artemide, A fauna, Ad Eros, A Dionisio);

Dukas: The Sorcerer’s Apprentice; Rossini: Overture to Semiramide

10 February, same venue

Mozart: Symphony No. 38 (“Prague”); Respighi: Fontane di Roma; Smetana: Overture to

The Bartered Bride; Busoni: Berceuse élégiaque; Glinka: Kamarinskaya; d’Indy:

“Istar” Variations; Saint-Saëns: Danse macabre; Bazzini: Overture to Saul

17 February, same venue

Vivaldi: Concerto in E minor for strings; Dvořák: “New World” Symphony; Debussy: La

Damoiselle élue (A. Roessinger, soprano; ? Ruini Camion, mezzo-soprano);

Mussorgsky: Night on Bald Mountain; Sibelius: Finlandia

24 February, same venue

Haydn: Symphony No. 101 (“Clock”); Rimsky-Korsakov: “Russian Easter” Overture;

Pizzetti: Ouverture per una farsa tragic; Martucci: La canzone dei ricordi (A.

Roessinger); Respighi: Fontane di Roma; Smetana: The Moldau

3 March, same venue

Raff: Symphony No. 3 (“Im Walde”); Vivaldi (trans. Nachez): Violin Concerto in A

minor (V. Ranzato); Mancinelli: Andante-barcarola from Cleopatra and “Fuga

86
degli amanti” from Scene veneziane; Stravinsky: 1st and 4th Tableaux from

Petrushka

10 March, same venue

Beethoven: Symphony No. 6; Respighi: Ancient Airs and Dances; Malipiero: Pause del

silenzio; Martucci: Notturno and Novelletta; Dvořák: Carnaval Overture

17 March, same venue

Cherubini: Overture to Faniska; Zandonai: Suite, Patria lontana (A. Roessinger); Elgar:

Introduction and Allegro; Borodin: In the Steppes of Central Asia; Stravinsky:

Fireworks; Berlioz: 4th and 5th movements from the Symphonie fantastique

21 March, same venue

Saint-Saëns: Symphony No. 3; Martucci: Notturno and Novelletta; Berlioz: 4th and 5th

movements from the Symphonie fantastique; Respighi: Fontane di Roma; Elgar:

Introduction and Allegro; Stravinsky: Fireworks

24 March, same venue (given twice on the same day)

Vivaldi (trans. S. Franko): Concerto in A minor; Beethoven: Symphony No. 5; Roger-

Ducasse: Sarabande; Stravinsky: 1st and 4th Tableaux from Petrushka; Rossini:

Overture to William Tell

19 November, Milan, Teatro alla Scala

Boito: Mefistofele (L. Cannetti, E. Rakowska; B. Gigli, N. De Angelis) 9

1919

31 May and 4 June, Turin, Teatro Regio

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Mozart: Symphony No. 39 in E-flat; Beethoven: Overture No. 3 to Leonore; Roger-

Ducasse: Sarabande; Respighi: Fontane di Roma; Wagner: Prelude and Liebestod

from Tristan und Isolde, Prelude to Die Meistersinger

7, 8, and 10 June, same venue

Wagner: Prelude and “Good Friday Spell” from Parsifal; Beethoven: Symphony No. 9

(T. Dal Monte, I. Bergamaschi, E. Di Giovanni, P. Ludikar)

14, 15, 16, and 18 June, Milan, Conservatorio G. Verdi (with Turin orchestra?)

Wagner: Prelude and “Good Friday Spell” from Parsifal; Beethoven: Symphony No. 9

(T. Dal Monte, I. Bergamaschi, E. Di Giovanni, P. Ludikar)

21 June, same venue (Turin orchestra?)

Haydn: Symphony No. 101 (“Clock”); Beethoven: Overture No. 3 to Leonore; Respighi:

Fontane di Roma; Dukas: The Sorcerer’s Apprentice; Wagner: “Forest Murmurs”

from Siegfried, Prelude to Die Meistersinger

22 June, Como, Teatro Sociale (Turin orchestra?)

Haydn: Symphony No. 101 (“Clock”); Beethoven: Overture No. 3 to Leonore; Respighi:

Fontane di Roma; Dukas: The Sorcerer’s Apprentice; Wagner: “Forest Murmurs”

from Siegfried, Prelude to Die Meistersinger

24 June, Milan, Teatro del Popolo (Turin orchestra?)

Haydn: Symphony No. 101 (“Clock”); Beethoven: Overture No. 3 to Leonore; Respighi:

Fontane di Roma; Dukas: The Sorcerer’s Apprentice; Wagner: “Forest Murmurs”

from Siegfried, Prelude to Die Meistersinger

28 June, Brescia, Teatro Grande (Turin orchestra?)

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Haydn: Symphony No. 101 (“Clock”); Beethoven: Overture No. 3 to Leonore; Respighi:

Fontane di Roma; Dukas: The Sorcerer’s Apprentice; Wagner: “Forest Murmurs”

from Siegfried, Prelude to Die Meistersinger

1920

11 January, Rome, Augusteo (Santa Cecilia orchestra)

Beethoven: Symphony No. 6; Roger-Ducasse: Sarabande; De Sabata: Juventus; Elgar:

“Enigma” Variations

14 January, same venue

Beethoven: Symphony No. 6; Berlioz: Love Scene and “Queen Mab” from Roméo et

Juliette; Strauss: Don Juan; Verdi: Overture to I vespri siciliani

18 January, same venue

Franck: Symphony; Berlioz: Love Scene and “Queen Mab” from Roméo et Juliette;

Strauss: Don Juan; Verdi: Overture to I vespri siciliani

21 January, same venue

Mozart: Symphony No. 39 in E-flat; Beethoven: Overture No. 3 to Leonore; Wagner:

Prelude and Liebestod from Tristan und Isolde; Elgar: “Enigma” Variations

25 January, same venue

Mozart: Symphony No. 39 in E-flat; Beethoven: Overture No. 3 to Leonore; Pick-

Mangiagalli: Notturno e Rondò fantastico; Stravinsky: Fireworks; Wagner:

Siegfried Idyll; Wagner: Prelude to Die Meistersinger

9 May, same venue

89
Beethoven: Coriolan Overture; Borodin: Symphony No. 2; Debussy: Ibéria; Wagner:

“Siegfried’s Death and Funeral Music” from Götterdämmerung; Bazzini:

Overture to Saul

13 May, same venue

Verdi: Overture to Luisa Miller; Raff: Symphony No. 3 (“Im Walde”); Beethoven:

Coriolan Overture; Debussy: Ibéria; Wagner: “Siegfried’s Death and Funeral

Music” from Götterdämmerung

16 and 18 May, same venue

Rossini: Overture to La Cenerentola; Beethoven: Symphony No. 1; d’Indy: “Istar”

Variations; Franck: “Le Sommeil de Psyché” and “Psyché et Eros” from Psyché;

Wagner: “Good Friday Spell” from Parsifal, “Ride of the Valkyries” from Die

Walküre

5 and 6 June, Padua, Sala della Ragione (orchestra?)

Beethoven: Symphony No. 5; Wagner: Prelude and Liebestod from Tristan und Isolde;

Martucci: Notturno e Novelletta; Respighi: Fontane di Roma; Saint-Saëns: Danse

macabre; Verdi: Overture to I vespri siciliani

8 and 10 June, same venue

Rossini: Overture to Il barbiere di Siviglia; Beethoven: Symphony No. 6; Berlioz: Love

Scene and “Queen Mab” from Roméo et Juliette; Pick-Mangiagalli: Notturno e

Rondò fantastico; Wagner: Overture to Tannhäuser

12 and 13 June, same venue

90
Sinigaglia: Overture, Le baruffe chiozzotte; Dvořák: “New World” Symphony; Vivaldi:

Concerto in A minor; Debussy: Prélude à l’après-midi d’un faune; Strauss: Don

Juan; Rossini: Overture to William Tell

16 June, Ferrara, Teatro Comunale (same orchestra as in Padua, but what was it?)

Beethoven: Symphony No. 5; Wagner: Prelude and Liebestod from Tristan und Isolde;

Martucci: Notturno e Novelletta; Respighi: Fontane di Roma; Saint-Saëns: Danse

macabre; Verdi: Overture to I vespri siciliani

17 June, same venue

Rossini: Overture to Il barbiere di Siviglia; Beethoven: Symphony No. 6; Berlioz: Love

Scene and “Queen Mab” from Roméo et Juliette; Pick-Mangiagalli: Notturno e

Rondò fantastico; Wagner: Overture to Tannhäuser

18 June, same venue

Sinigaglia: Overture, Le baruffe chiozzotte; Dvořák: “New World” Symphony; Vivaldi:

Concerto in A minor; Debussy: Prélude à l’après-midi d’un faune; Strauss: Don

Juan; Rossini: Overture to William Tell

TOUR OF THE ORCHESTRA OF LA SCALA (CALLED THE “TOSCANINI

ORCHESTRA”)

23 October, Milan, Conservatorio G. Verdi

Beethoven: Symphony No. 5; Respighi: Ballata delle gnomidi; Manfredini: “Christmas”

Concerto Grosso; Debussy: Ibéria; Wagner: Prelude and Liebestod from Tristan

und Isolde

26 October, same venue

91
Brahms: Symphony No. 2; Roussel: The Spider’s Feast; Pizzetti: Suite, La Pisanella;

Strauss: Don Juan; Verdi: Overture to I vespri siciliani

28 October, Como, Teatro Sociale

Respighi: Ancient Airs and Dances; Beethoven: Symphony No. 5; Pick-Mangiagalli:

Notturno e Rondò fantastico; Debussy: Ibéria; Wagner: Prelude and Liebestod

from Tristan und Isolde

29 October, Milan, Conservatorio G. Verdi

Mozart: Symphony No. 39 in E-flat; Elgar: “Enigma” Variations; Sinigaglia: “Through

the Woods and Fields,” Dance, “Carnival,” and Fugue from the Piedmont Suite

Op. 36; Wagner: Overture to Tannhäuser

30 October, Turin, Teatro Regio

Vivaldi: Concerto Grosso No. 8 in A minor; Beethoven: Symphony No. 5; Respighi:

Ballata delle gnomidi; Debussy: Ibéria; Wagner: Prelude and Liebestod from

Tristan und Isolde

31 October, same venue

Mozart: Symphony No. 39 in E-flat; Elgar: “Enigma” Variations; Sinigaglia: “Through

the Woods and Fields,” Dance, “Carnival,” and Fugue from the Piedmont Suite

Op. 36; Roussel: The Spider’s Feast; Wagner: Tannhäuser Overture

1 November, Alessandria, Teatro del Popolo

Vivaldi: Concerto Grosso No. 8 in A minor; Beethoven: Symphony No. 5; Respighi:

Fontane di Roma; Debussy: Ibéria; Wagner: Prelude and Liebestod from Tristan

und Isolde; Verdi: Overture to I vespri siciliani

3 November, Genoa, Genovese?

92
Vivaldi: Concerto Grosso No. 8 in A minor; Beethoven: Symphony No. 5; Respighi:

Fontane di Roma; Debussy: Ibéria; Wagner: Prelude and Liebestod from Tristan

und Isolde

4 November, same venue

Brahms: Symphony No. 2; Roussel: The Spider’s Feast; Pick-Mangiagalli: Notturno e

Rondò fantastico; Strauss: Don Juan; Verdi: Overture to I vespri siciliani;

Wagner: Overture to Tannhäuser

5 November, Milan, Conservatorio G. Verdi

Respighi: Ancient Airs and Dances; Lualdi: “Dream Interlude” from La figlia del re;

Bloch: Dance from Three Hebrew Poems; Tommasini: Serenata from Chiari di

luna; Beethoven: Symphony No. 7; Wagner: “Good Friday Spell” from Parsifal;

Rossini: Overture to William Tell

6 November, Piacenza, Teatro Municipale

Beethoven: Symphony No. 7; Wagner: Overture to Tannhäuser; Roussel: The Spider’s

Feast; Respighi: Fontane di Roma; Rossini: Overture to William Tell

7 November, Reggio Emilia, Teatro Municipale

Respighi: Ancient Airs and Dances; Beethoven: Symphony No. 5; Debussy: Ibéria; Pick-

Mangiagalli: Notturno e Rondò fantastico; Wagner: Prelude and Liebestod from

Tristan und Isolde; Rossini: Overture to William Tell; Verdi: Overture to I vespri

siciliani

9 November, Milan, Conservatorio G. Verdi

93
Beethoven: Symphony No. 5; Respighi: Ballata delle gnomidi; Manfredini: “Christmas”

Concerto Grosso; Debussy: Ibéria; Wagner: Prelude and Liebestod from Tristan

und Isolde

10 November, same venue

Brahms: Symphony No. 2; Roussel: The Spider’s Feast; Pizzetti: Suite, La Pisanella;

Strauss: Don Juan; Verdi: Overture to I vespri siciliani

11 November, Parma, Teatro Regio

Beethoven: Symphony No. 5; Wagner: Prelude and Liebestod from Tristan und Isolde;

Roussel: The Spider’s Feast; Pizzetti: Suite, La Pisanella; Strauss: Don Juan;

Verdi: Overture to I vespri siciliani; Wagner: “Good Friday Spell” from Parsifal;

Rossini: Overture to William Tell

12 November, Cremona, Teatro Ponchielli

Beethoven: Symphony No. 5; Wagner: Prelude and Liebestod from Tristan und Isolde;

Lualdi: “Dream Interlude” from La figlia del re; Debussy: Ibéria; Ponchielli:

Funeral March from Marion Delorme; Respighi: Fontane di Roma; Rossini:

Overture to William Tell

13 November, Bergamo, Teatro Donizetti

Respighi: Ancient Airs and Dances; Beethoven: Symphony No. 5; Pick-Mangiagalli:

Notturno e Rondò fantastico; Debussy: Ibéria; Wagner: Prelude and Liebestod

from Tristan und Isolde; Rossini: Overture to William Tell

14 November, Milan, Conservatorio G. Verdi

94
Mozart: Symphony No. 39 in E-flat; Elgar: “Enigma” Variations; Sinigaglia: “Through

the Woods and Fields,” Dance, “Carnival,” and Fugue from the Piedmont Suite

Op. 36; Wagner: Overture to Tannhäuser

15 November, same venue

Vivaldi: Concerto Grosso No. 8 in A minor; Beethoven: Symphony No. 5; Brahms:

“Haydn” Variations; Pick-Mangiagalli: Notturno e Rondò fantastico; Respighi:

Fontane di Roma; Wagner: Prelude to Die Meistersinger

16 November, Brescia, Teatro Grande

Vivaldi: Concerto Grosso No. 8 in A minor; Beethoven: Symphony No. 5; Respighi:

Ballata delle gnomidi; Debussy: Ibéria; Wagner: Prelude and Liebestod from

Tristan und Isolde; Rossini: Overture to William Tell

17 November, Verona, Teatro Filarmonico

Vivaldi: Concerto Grosso No. 8 in A minor; Beethoven: Symphony No. 5; Respighi:

Fontane di Roma; Debussy: Ibéria; Wagner: Prelude and Liebestod from Tristan

und Isolde; Verdi: Overture to I vespri siciliani

18 November, Mantua, Teatro Sociale

Beethoven: Symphony No. 7; Wagner: Overture to Tannhäuser; Roussel: The Spider’s

Feast; Strauss: Don Juan; Verdi: Overture to I vespri siciliani; Rossini: Overture

to William Tell

19 November, Venice, Teatro La Fenice

Lualdi: “Dream Interlude” from La figlia del re; Bloch: Dance from Three Hebrew

Poems; Rossini: Overture to William Tell; Beethoven: Symphony No. 7;

95
Respighi: Ancient Airs and Dances; Wagner: “Good Friday Spell” from Parsifal;

Tommasini: Chiari di luna

21 November, Fiume, ?

Sinigaglia: “Through the Woods and Fields,” Dance, “Carnival,” and Fugue from the

Piedmont Suite Op. 36; Beethoven: Finale from Symphony No. 5

21 November, Fiume, Teatro Verdi

Vivaldi: Concerto Grosso No. 8 in A minor; Beethoven: Symphony No. 5; Sinigaglia:

“Through the Woods and Fields,” Dance, “Carnival,” and Fugue from the

Piedmont Suite Op. 36; Respighi: Fontane di Roma; Wagner: “Good Friday

Spell” from Parsifal; Verdi: Overture to I vespri siciliani; Wagner: Prelude and

Liebestod from Tristan und Isolde

22 November, Trieste, Politeama Rossetti

Vivaldi: Concerto Grosso No. 8 in A minor; Brahms: Symphony No. 2; Sinigaglia:

“Through the Woods and Fields,” Dance, “Carnival,” and Fugue from the

Piedmont Suite Op. 36; Debussy: Ibéria; Pick-Mangiagalli: Notturno e Rondò

fantastico; Wagner: Prelude to Die Meistersinger

23 November, Treviso, Teatro Sociale

Vivaldi: Concerto Grosso No. 8 in A minor; Beethoven: Symphony No. 5; Respighi:

Fontane di Roma; Debussy: Ibéria; Sinigaglia: “Through the Woods and Fields,”

Dance, “Carnival,” and Fugue from the Piedmont Suite Op. 36; Wagner: Prelude

and Liebestod from Tristan und Isolde; Verdi: Overture to I vespri siciliani

24 November, Ferrara, Teatro Comunale

96
Mozart: Symphony No. 39 in E-flat; Sinigaglia: “Through the Woods and Fields,” Dance,

“Carnival,” and Fugue from the Piedmont Suite Op. 36; Elgar: “Enigma”

Variations; Roussel: The Spider’s Feast; Debussy: Ibéria; Wagner: Prelude to Die

Meistersinger

25 November, Modena, Teatro Municipale

Beethoven: Symphony No. 7; Wagner: Prelude and Liebestod from Tristan und Isolde;

Respighi: Fontane di Roma; Elgar: “Enigma: Variations; Rossini: Overture to

William Tell

27 November, Rome, Augusteo

Vivaldi: Concerto Grosso No. 8 in A minor; Beethoven: Symphony No. 5; Bloch: Dance

from Three Hebrew Poems; Tommasini: Serenata from Chiari di luna; Respighi:

Fontane di Roma; Debussy: Ibéria; Wagner: Overture to Tannhäuser

28 November, same venue

Manfredini: “Christmas” Concerto Grosso; Beethoven: Symphony No. 7; Sinigaglia:

“Through the Woods and Fields,” Dance, “Carnival,” and Fugue from the

Piedmont Suite Op. 36; Roussel: The Spider’s Feast; Wagner: Prelude and

Liebestod from Tristan und Isolde

29 November, Naples, Politeama Giacosa

Vivaldi: Concerto Grosso No. 8 in A minor; Beethoven: Symphony No. 5; Roussel: The

Spider’s Feast; Respighi: Fontane di Roma; Wagner: Prelude and Liebestod from

Tristan und Isolde; Verdi: Overture to I vespri siciliani

28 December, New York, Metropolitan Opera House

97
Vivaldi: Concerto Grosso No. 8 in A minor; Beethoven: Symphony No. 5; Debussy:

Ibéria; Respighi: Fontane di Roma; Wagner: Prelude and Liebestod from Tristan

und Isolde

29 December, Baltimore, ?

?

30 December, Philadelphia, Academy of Music

Vivaldi: Concerto Grosso No. 8 in A minor; Beethoven: Symphony No. 5; Debussy:

Ibéria; Respighi: Fontane di Roma; Wagner: Prelude and Liebestod from Tristan

und Isolde

1921

1 January, Brooklyn, Academy of Music

Respighi: Ancient Airs and Dances; Beethoven: Symphony No. 7; Brahms: “Haydn”

Variations; De Sabata: Juventus; Rossini: Overture to William Tell

3 January, New York, Carnegie Hall

Respighi: Ancient Airs and Dances; Beethoven: Symphony No. 7; Brahms: “Haydn”

Variations; De Sabata: Juventus; Rossini: Overture to William Tell

4 January, Springfield, Massachusetts, ?

?

5 January, Portland, Maine, ?

?

7 January, Boston, Symphony Hall

98
Vivaldi: Concerto Grosso No. 8 in A minor; Beethoven: Symphony No. 5; Debussy:

Ibéria; Respighi: Fontane di Roma; Wagner: Prelude and Liebestod from Tristan

und Isolde

8 January, same venue

Brahms: Symphony No. 2; Pick-Mangiagalli: Notturno e Rondò fantastico; Roussel: The

Spider’s Feast; Strauss: Don Juan; Verdi: Overture to I vespri siciliani

9 January, Providence, ?

?

11 January, New York, Metropolitan Opera House

Brahms: Symphony No. 2; Pick-Mangiagalli: Notturno e Rondò fantastico; Roussel: The

Spider’s Feast; Strauss: Don Juan; Verdi: Overture to I vespri siciliani

12 January, Newark, ?

?

15 January, Philadelphia, Academy of Music

?

16 January, New York, Hippodrome

Dvořák: “New World” Symphony; De Sabata: Juventus; Rossini: Overture to Il barbiere

di Siviglia; Wagner: “Good Friday Spell” from Parsifal; Berlioz: “Rakóczy”

March from La Damnation de Faust

17 January, Washington, ?

Vivaldi: Concerto Grosso No. 8 in A minor; Beethoven: Symphony No. 5; Debussy:

Ibéria; Respighi: Fontane di Roma; Wagner: Prelude and Liebestod from Tristan

und Isolde

99
18 January, Richmond, ?

?

19 January, Washington, ?

Brahms: Symphony No. 2; Pick-Mangiagalli: Notturno e Rondò fantastico; Roussel: The

Spider’s Feast; Strauss: Don Juan; Verdi: Overture to I vespri siciliani

21 January, Boston, Opera House

Respighi: Ancient Airs and Dances; Beethoven: Symphony No. 7; Brahms: “Haydn”

Variations; De Sabata: Juventus; Rossini: Overture to William Tell

22 January, New Haven, Woolsey Hall

?

23 January, Bridgeport, Poli’s Theater

Rossini: Overture to Il barbiere di Siviglia; Dvořák: “New World” Symphony; De

Sabata: Juventus; Wagner: “Good Friday Spell” from Parsifal; Berlioz:

“Rakóczy” March from La Damnation de Faust

25 January, New York, Metropolitan Opera House

Mozart: Symphony No. 39 in E-flat; Elgar: “Enigma” Variations; Sinigaglia: “Through

the Woods and Fields,” Dance, “Carnival,” and Fugue from the Piedmont Suite

Op. 36; Wagner: Prelude to Die Meistersinger

26 January, Albany, ?

Respighi: Ancient Airs and Dances; Beethoven: Symphony No. 7; Brahms: “Haydn”

Variations; De Sabata: Juventus; Rossini: Overture to William Tell

27 January, Montreal, Théâtre St.-Denis

100
Sinigaglia: Overture, Le baruffe chiozzotte; Martucci: Notturno and Novelletta; Rossini:

Overture to William Tell; Wagner: Prelude to Lohengrin; Wagner: “Good Friday

Spell” from Parsifal, Prelude to Die Meistersinger

28 January, Toronto, Massey Hall

Respighi: Ancient Airs and Dances; Debussy: Ibéria; Strauss: Don Juan; Brahms:

“Haydn” Variations; De Sabata: Juventus; Wagner: Prelude and Liebestod from

Tristan und Isolde

29 January, Buffalo, Elmwood Hall

Respighi: Ancient Airs and Dances; Beethoven: Symphony No. 7; Brahms: “Haydn”

Variations; De Sabata: Juventus; Rossini: Overture to William Tell

1 February, Rochester, ?

?

2 February, Cleveland, Masonic Hall

Vivaldi: Concerto Grosso No. 8 in A minor; Beethoven: Symphony No. 7; Debussy:

Ibéria; Respighi: Fontane di Roma; Wagner: Prelude and Liebestod from Tristan

und Isolde

3 February, same venue

Brahms: Symphony No. 2; Brahms: “Haydn” Variations; Strauss: Don Juan; Rossini:

Overture to William Tell

4 February, Detroit, ?

?

6 February, Indianapolis, Murat Theater

101
Rossini: Overture to Il barbiere di Siviglia; Dvořák: “New World” Symphony; De

Sabata: Juventus; Wagner: “Good Friday Spell” from Parsifal; Sinigaglia:

“Through the Woods and Fields,” Dance, “Carnival,” and Fugue from the

Piedmont Suite Op. 36

7 February, Louisville, ?

?

8 February, Cincinnati, ?

?

9 February, Columbus, Memorial Hall

?

10 February, St. Louis, Coliseum

Brahms: Symphony No. 2; Pick-Mangiagalli: Notturno e Rondò fantastico; Strauss: Don

Juan; Rossini: Overture to William Tell

11 February, Springfield, Illinois, ?

?

13 February, Chicago, ?

Vivaldi: Concerto Grosso No. 8 in A minor; Beethoven: Symphony No. 5; Debussy:

Ibéria; Respighi: Fontane di Roma; Wagner: Prelude and Liebestod from Tristan

und Isolde

15 February, Grand Rapids, ?

?

16 February, Milwaukee, Auditorium?

102
Rossini: Overture to Il barbiere di Siviglia; Dvořák: “New World” Symphony; De

Sabata: Juventus; Wagner: “Good Friday Spell” from Parsifal; Sinigaglia:

“Through the Woods and Fields,” Dance, “Carnival,” and Fugue from the

Piedmont Suite Op. 36

17 February, Minneapolis, ?

?

18 February, Davenport, ?

?

19 February, Des Moines, ?

Respighi: Ancient Airs and Dances; Beethoven: Symphony No. 7; Brahms: “Haydn”

Variations; De Sabata: Juventus; Rossini: Overture to William Tell

20 February, Kansas City, Auditorium?

Rossini: Overture to Il barbiere di Siviglia; Dvořák: “New World” Symphony; De

Sabata: Juventus; Sinigaglia: “Through the Woods and Fields,” Dance,

“Carnival,” and Fugue from the Piedmont Suite Op. 36; Rossini: Overture to

William Tell; Wagner: Prelude and Liebestod from Tristan und Isolde

21 February, Hutchinson, Kansas, ?

?

22 February, Tulsa, Convention Hall

Rossini: Overture to Il barbiere di Siviglia; Dvořák: “New World” Symphony; De

Sabata: Juventus; Wagner: “Good Friday Spell” from Parsifal

23 February, Wichita, ?

?

103
24 February, Topeka, Auditorium?

Vivaldi: Concerto Grosso No. 8 in A minor; Beethoven: Symphony No. 5; Debussy:

Ibéria; Respighi: Fontane di Roma; Wagner: Prelude and Liebestod from Tristan

und Isolde

25 February, Omaha, ?

?

27 February, Chicago, Convention Hall

Brahms: Symphony No. 2; Strauss: Don Juan; Rossini: Overture to William Tell;

Respighi: Ancient Airs and Dances

1 March, Pittsburgh, Syria Mosque

Vivaldi: Concerto Grosso No. 8 in A minor; Beethoven: Symphony No. 5; Debussy:

Ibéria; Respighi: Fontane di Roma; Wagner: Prelude and Liebestod from Tristan

und Isolde

2 March, Philadelphia, Academy of Music

Respighi: Ancient Airs and Dances; Beethoven: Symphony No. 7; Brahms: “Haydn”

Variations; De Sabata: Juventus; Rossini: Overture to William Tell

3 March, Washington, National Theater

Respighi: Ancient Airs and Dances; Beethoven: Symphony No. 7; Brahms: “Haydn”

Variations; De Sabata: Juventus; Rossini: Overture to William Tell

4 March, Boston, Symphony Hall

Mozart: Symphony No. 39 in E-flat; Beethoven: Overture No. 3 to Leonore; Wagner:

“Good Friday Spell” from Parsifal; Pizzetti: Suite, La Pisanella; Elgar: “Enigma”

Variations

104
5 March, Scranton, ?

Sinigaglia: Overture, Le baruffe chiozzotte; Beethoven: Symphony No. 7; De Sabata:

Juventus; Martucci: Notturno and Novelletta; Wagner: Overture to Tannhäuser

6 March, New York, Hippodrome

Beethoven: Overture No. 3 to Leonore, Symphony No. 7; Wagner: Overture to

Tannhäuser, Prelude to Die Meistersinger, Prelude and Liebestod from Tristan

und Isolde

16 March, Trenton, ?

?

17 March, Hartford, State Armory

Sinigaglia: Overture, Le baruffe chiozzotte; Martucci: Notturno and Novelletta;

Tommasini: Serenata from Chiari di luna; Pick-Mangiagalli: [Notturno e] Rondò

fantastico; Rossini: Overture to William Tell; Wagner: Prelude to Lohengrin,

Overture to Tannhäuser

18 March, New York, Carnegie Hall

Sinigaglia: Overture, Le baruffe chiozzotte; Martucci: Notturno and Novelletta; Pick-

Mangiagalli: Notturno e Rondò fantastico; Pizzetti: Suite, La Pisanella; Respighi:

Ballata delle gnomidi; Lualdi: “Dream Interlude” from La figlia del re;

Tommasini: Serenata from Chiari di luna

20 March, Providence, Albee Theater

Sinigaglia: Overture, Le baruffe chiozzotte; Martucci: Notturno and Novelletta;

Tommasini: Serenata from Chiari di luna; Pick-Mangiagalli: Notturno e Rondò

fantastico; Rossini: Overture to William Tell; Wagner: Prelude to Lohengrin,

105
Overture to Tannhäuser, “Good Friday Spell” from Parsifal, Prelude to Die

Meistersinger

21 March, Québec, Auditorium?

Sinigaglia: Overture, Le baruffe chiozzotte; Martucci: Notturno and Novelletta;

Tommasini: Serenata from Chiari di luna; Pick-Mangiagalli: Notturno e Rondò

fantastico; Rossini: Overture to William Tell; Wagner: Prelude to Lohengrin,

Overture to Tannhäuser, “Good Friday Spell” from Parsifal, Prelude to Die

Meistersinger

22 March, Montreal, Theâtre St.-Denis

Sinigaglia: Overture, Le baruffe chiozzotte; Martucci: Notturno and Novelletta; Rossini:

Overture to William Tell; Wagner: Prelude to Lohengrin, “Good Friday Spell”

from Parsifal, Overture to Tannhäuser, Prelude to Die Meistersinger

24 March, same venue

Rossini: Overture to Il barbiere di Siviglia; Brahms: Symphony No. 2; Respighi: Fontane

di Roma; Elgar: “Enigma” Variations; Beethoven: Overture No. 3 to Leonore

20 April, Naples, Teatro San Carlo

Respighi: Ancient Airs and Dances; Beethoven: Symphony No. 7; De Sabata: Juventus;

Rossini: Overture to William Tell; Wagner: “Good Friday Spell” from Parsifal;

Elgar: “Enigma” Variations

21 April, same venue

Rossini: Overture to Il barbiere di Siviglia; Brahms: Symphony No. 2; Martucci:

Notturno and Novelletta; Strauss: Don Juan; Wagner: Overture to Tannhäuser

23 April, Rome, Teatro Costanzi

106
Sinigaglia: Overture, Le baruffe chiozzotte; Brahms: Symphony No. 2; Pick-Mangiagalli:

Notturno e Rondò fantastico; Strauss: Don Juan; Wagner: Overture to

Tannhäuser

25 April, same venue

Rossini: Overture to Il barbiere di Siviglia; Beethoven: Symphony No. 1; Brahms:

“Haydn” Variation; De Sabata: Juventus; Wagner: Prelude to Die Meistersinger

26 April, Florence, Politeama Fiorentino

Rossini: Overture to Il barbiere di Siviglia; Beethoven: Symphony No. 5; Debussy:

Ibéria; Pick-Mangiagalli: Notturno e Rondò fantastico; Wagner: Prelude and

Liebestod from Tristan und Isolde

27 April, same venue

Sinigaglia: Overture, Le baruffe chiozzotte; Brahms: Symphony No. 2; Pizzetti: La

Pisanella; Strauss: Don Juan; Wagner: Overture to Tannhäuser

28 April, Bologna, Teatro Comunale

Sinigaglia: Overture, Le baruffe chiozzotte; Beethoven: Symphony No. 5; Respighi:

Ballata delle gnomidi; Wagner: Prelude to Lohengrin, Overture to Tannhäuser

29 April, same venue

Rossini: Overture to Il barbiere di Siviglia; Brahms: Symphony No. 2; Roussel: The

Spider’s Feast; De Sabata: Juventus; Beethoven: Overture No. 3 to Leonore

2 May, Milan, Conservatorio G. Verdi

Rossini: Overture to Il barbiere di Siviglia; Beethoven: Symphony No. 1; De Sabata:

Juventus; Wagner: Prelude to Lohengrin, “Good Friday Spell” from Parsifal;

Berlioz: “Rakóczy” March from La Damnation de Faust

107
3 May, Modena, Teatro Municipale

Rossini: Overture to Il barbiere di Siviglia; Beethoven: Symphony No. 1; Brahms:

“Haydn” Variation; De Sabata: Juventus; Wagner: Prelude to Die Meistersinger

4 May, same venue

Sinigaglia: Overture, Le baruffe chiozzotte; Beethoven: Symphony No. 5; Wagner:

Prelude to Lohengrin; Martucci: Notturno and Novelletta; Strauss: Don Juan;

Berlioz: “Rakóczy” March from La Damnation de Faust

5 May, Parma, Teatro Regio

Rossini: Overture to Il barbiere di Siviglia; Brahms: Symphony No. 2; Sinigaglia:

“Through the Woods and Fields,” Dance, “Carnival,” and Fugue from the

Piedmont Suite Op. 36; Respighi: Fontane di Roma; Beethoven: Overture No. 3 to

Leonore; Wagner: Prelude to Lohengrin

6 May, same venue

Sinigaglia: Overture, Le baruffe chiozzotte; Beethoven: Symphony No. 7; Debussy:

Ibéria; De Sabata: Juventus; Wagner: Overture to Tannhäuser

7 May, Bergamo, Teatro Donizetti

Rossini: Overture to Il barbiere di Siviglia; Brahms: Symphony No. 2; Martucci:

Notturno and Novelletta; Respighi: Fontane di Roma; Wagner: Prelude to

Lohengrin; Wagner: Overture to Tannhäuser

8 May, same venue

Sinigaglia: Overture, Le baruffe chiozzotte; Beethoven: Symphony No. 7; De Sabata:

Juventus; Mendelssohn: Scherzo and Wedding March from A Midsummer Night’s

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Dream; Wagner: “Good Friday Spell” from Parsifal; Rossini: Overture to William

Tell

22 May, Milan, Conservatorio G. Verdi

Sinigaglia: Overture, Le baruffe chiozzotte; Brahms: Symphony No. 4; Alaleona: Due

canzoni italiane (“La mamma,” “Canzone a ballo”); Wagner: Siegfried Idyll;

Strauss: Death and Transfiguration

24 May, Genoa, Politeama Genovese

Sinigaglia: Overture, Le baruffe chiozzotte; Beethoven: Symphony No. 7; Martucci:

Notturno and Novelletta; Respighi: Ballata delle gnomidi; Wagner: “Good Friday

Spell” from Parsifal; Berlioz: “Rakóczy” March from La Damnation de Faust

25 May, same venue

Beethoven: Symphony No. 1; Wagner: Prelude to Die Meistersinger; Mendelssohn:

Scherzo and Wedding March from A Midsummer Night’s Dream; De Sabata:

Juventus; Rossini: Overture to William Tell; Wagner: Prelude to Lohengrin

26 May, Pavia, Teatro Fraschini

Sinigaglia: Overture, Le baruffe chiozzotte; Beethoven: Symphony No. 5; Mendelssohn:

Nocturne, Scherzo, and Wedding March from A Midsummer Night’s Dream;

Respighi: Fontane di Roma; Wagner: Prelude and Liebestod from Tristan und

Isolde

27 May, Milan, Conservatorio G. Verdi

Rossini: Overture to Il Signor Bruschino; Mendelssohn: Nocturne and Scherzo from A

Midsummer Night’s Dream; Strauss: Don Quixote (G. Crepax?); Martucci:

Notturno and Novelletta; Beethoven: Symphony No. 7

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29 May, Padua, Teatro Verdi

Beethoven: Symphony No. 1; Wagner: Prelude to Die Meistersinger; Mendelssohn:

Scherzo from A Midsummer Night’s Dream; De Sabata: Juventus; Elgar:

“Enigma” Variations

30 May, same venue

Respighi: Ancient Airs and Dances; Beethoven: Symphony No. 7; Sinigaglia: “Through

the Woods and Fields,” Dance, “Carnival,” and Fugue from the Piedmont Suite

Op. 36; Wagner: “Good Friday Spell” from Parsifal; Strauss: Death and

Transfiguration; Berlioz: “Rakóczy” March from La Damnation de Faust

31 May, Venice, ?

Alaleona: Due canzoni italiane (“La mamma,” “Canzone a ballo”); Rossini: Overture to

Il barbiere di Siviglia; Berlioz: “Rakóczy” March from La Damnation de Faust;

Beethoven: Symphony No. 7; Wagner: Prelude and Liebestod from Tristan und

Isolde; De Sabata: Juventus

2 June, same venue

Mendelssohn: Nocturne and Scherzo from A Midsummer Night’s Dream; Rossini:

Overture to Il Signor Bruschino; Martucci: Novelletta; Brahms: Symphony No. 2;

Strauss: Don Quixote (G. Crepax?)

3 June, Treviso, ?

Respighi: Ancient Airs and Dances; Beethoven: Symphony No. 7; De Sabata: Juventus;

Wagner: “Good Friday Spell” from Parsifal; Elgar: “Enigma” Variations

4 June, Ravenna, Teatro Alighieri

110
Sinigaglia: Overture, Le baruffe chiozzotte; Beethoven: Symphony No. 7; Martucci:

Notturno and Novelletta; Respighi: Ballata delle gnomidi; Wagner: “Good Friday

Spell” from Parsifal; Berlioz: “Rakóczy” March from La Damnation de Faust

5 June, same venue

Beethoven: Symphony No. 1; Wagner: Prelude to Die Meistersinger, Prelude to

Lohengrin; Mendelssohn: Scherzo and Wedding March from A Midsummer

Night’s Dream; De Sabata: Juventus; Rossini: Overture to William Tell

6 June, Reggio Emilia, ?

?

8 June, Milan, Conservatorio G. Verdi

Schubert: “Unfinished” Symphony; Strauss: Don Quixote (G. Crepax?); Alaleona: Due

canzoni italiane (“La mamma,” “Canzone a ballo”); Alaleona: Intermezzo from

La mirra; Debussy: “Nuages” and “Fêtes” from Trois Nocturnes; Wagner: “Ride

of the Valkyries” from Die Walküre

9 June, Novara, Teatro Coccia

Beethoven: Symphony No. 5; Wagner: Prelude and Liebestod from Tristan und Isolde;

Mendelssohn: Scherzo from A Midsummer Night’s Dream; Sinigaglia: “Through

the Woods and Fields,” Dance, “Carnival,” and Fugue from the Piedmont Suite

Op. 36; Respighi: Fontane di Roma; Rossini: Overture to William Tell

10 June, Como, Teatro Sociale

De Sabata: Juventus; Rossini: Overture to Il barbiere di Siviglia; Mendelssohn: Nocturne

and Scherzo from A Midsummer Night’s Dream; Wagner: “Good Friday Spell”

111
from Parsifal; Beethoven: Symphony No. 7; Berlioz: “Rakóczy” March from La

Damnation de Faust

11 June, Brescia, Teatro Grande

Respighi: Ancient Airs and Dances; Beethoven: Symphony No. 7; Sinigaglia: “Through

the Woods and Fields” from the Piedmont Suite Op. 36; Wagner: “Good Friday

Spell” from Parsifal; Strauss: Death and Transfiguration; Berlioz: “Rakóczy”

March from La Damnation de Faust

12 June, same venue

Beethoven: Symphony No. 1; Wagner: Prelude to Die Meistersinger; Mendelssohn:

Scherzo and Wedding March from A Midsummer Night’s Dream; De Sabata:

Juventus; Rossini: Overture to William Tell

14 June, Torino, Teatro Regio

Sinigaglia: Overture, Le baruffe chiozzotte; Brahms: Symphony No. 4; Lualdi: “Dream

Interlude” from La figlia del re; Wagner: Siegfried Idyll; Strauss: Death and

Transfiguration

15 June, same venue

Schubert: “Unfinished” Symphony; Strauss: Don Quixote (G. Crepax?); Alaleona: Due

canzoni italiane (“La mamma,” “Canzone a ballo”); Debussy: “Nuages” and

“Fêtes” from Trois Nocturnes; Wagner: “Ride of the Valkyries” from Die

Walküre, Prelude to Die Meistersinger

16 June, Milan, Teatro Lirico

Respighi: Fontane di Roma; Rossini: Overture to William Tell; Sinigaglia: Overture, Le

baruffe chiozzotte; Strauss: Death and Transfiguration; Wagner: Siegfried Idyll;

112
Schubert: “Unfinished” Symphony; Debussy: “Nuages” and “Fêtes” from Trois

Nocturnes; Wagner: Prelude to Die Meistersinger

26 December, Milan, Teatro alla Scala

Verdi: Falstaff (L. Cannetti/N. Marmora, N. Marmora/E. Navarrini, E. Casazza, M.

Vasari; A. De Paolis, M. Stabile, E. Badini, M. Gaudio) 11

1922

14 January, same venue

Verdi: Rigoletto (T. Dal Monte, L. Bertana; G. Lauri Volpi/A. De Paolis, C. Galeffi, U.

Di Lelio/M. Gaudio) 12

16 February, same venue

Mussorgsky: Boris Godunov (E. Casazza; N. Piccaluga/A. Pertile, F. Dominici, Z.

Zalewski/V. Marcoux, M. Gaudio/E. Pinza, U. Di Lelio) 14

22 March, same venue

Boito: Mefistofele (J. Caracciolo/E. Didur, I. Pacetti; A. Pertile, N. De Angelis) 12

23 April, same venue

Wagner: Die Meistersinger (J. Caracciolo/E. Didur, A. Gramegna; F. Merli, F.

Dominici, M. Journet, E. Badini, E. Pinza) 7

25 June, same venue

Beethoven: Symphony No. 1, Symphony No. 9 (T. Dal Monte, L. Bertana; C. Alabiso, E.

Pinza)

29 June and 1 July, same venue

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Marcello: Psalm XLVII (T. Dal Monte; C. Alabiso, E. Pinza); Gluck: Overture to

Iphigénie en Aulide; Beethoven: Symphony No. 9 (T. Dal Monte, L. Bertana; C.

Alabiso, E. Pinza)

12 and 15 July, Milan, Teatro del Popolo

Rossini: Overture to La Cenerentola; Beethoven: Symphony No. 1; De Sabata: Juventus;

Respighi: Ancient Airs and Dances; Strauss: Death and Transfiguration

22 July, same venue

Schubert: “Unfinished” Symphony; Verdi: Overture to I vespri siciliani; Pick-

Mangiagalli: Notturno e Rondò fantastic; Respighi: Fontane di Roma

2 December, Milan, Teatro alla Scala

Verdi: Falstaff (M. Labia, I. Alfani Tellini, E. Casazza, L. Bertana; F. Ciniselli, M.

Stabile, E. Badini, U. Di Lelio) 8

16 December, same venue

WP Pizzetti: Dèbora e Jaéle (G. Tess, E. Casazza, A. Gramegna; J. Samplé, O.

Pellegrini, U. Di Lelio, E. Pinza) 8

26 December, same venue

Puccini: Manon Lescaut (J. Caracciolo; A. Pertile, E. Badini, U. Di Lelio) 10

1923

25 January, same venue

Wagner: Die Meistersinger (J. Caracciolo, A. Gramegna; A. Pertile, F. Dominici, M.

Journet, E. Badini, E. Pinza) 7

3 February, same venue

114
Verdi: Rigoletto (T. Dal Monte, L. Bertana; F. Ciniselli, C. Galeffi/R. Stracciari, C.

Walter) 4

25 February, same venue

Charpentier: Louise (F. Heldy/J. Caracciolo, E. Casazza; A. Pertile, M. Journet/E. Pinza)

7

3 March, same venue

Mussorgsky: Boris Godunov (E. Casazza; F. Merli/A. Pertile, F. Dominici, Z. Zalewski,

E. Pinza, U. Di Lelio) 10

22 March, same venue

Donizetti: Lucia di Lammermoor (T. Dal Monte; A. Pertile, R. Stracciari, E. Pinza) 6

22 April, same venue

Giordano: Madame Sans-Gêne (M. Labia; R. Grassi, A. Tedesco, R. Stracciari, E.

Badini) 5

12 May, same venue

Mozart: Die Zauberflöte (I. Alfani Tellini, A. Sari, A. Sassone Soster; F. Ciniselli, E.

Badini, G. Melnik, A. Galli) 2

19 May, same venue

Boito: Mefistofele (J. Caracciolo, L. Amaro Zola; F. Ciniselli, N. De Angelis) 6

22 May, same venue

Verdi: Messa da Requiem (I. Rinolfi, G. Besanzoni; F. Merli, E. Pinza)

17 November, same venue

Mozart: Die Zauberflöte (I. Alfani Tellini, L. Pasini, A. Sassone Soster; F. Ciniselli, E.

Badini, G. Melnik, A. Galli) 4

115
20 November, same venue

Verdi: Aida (I. Rinolfi/I. Viganò/M. Carena, G. Besanzoni/M. Capuana/L. Bertana/C.

Casazza, A. Pertile/G. Radaelli, B. Franci, E. Pinza) 10

28 November, same venue

Verdi: La traviata (G. Dalla Rizza; A. Pertile/F. Ciniselli, L. Montesanto/B. Franci) 11

16 December, same venue

Puccini: Manon Lescaut (G. Dalla Rizza; A. Pertile, E. Badini, F. Autori) 2

20 December, same venue

Wagner: Tristan und Isolde (N. Larsén-Todsen, M. Capuana/L. Bertana; S. Bielina, B.

Franci, E. Pinza) 6

30 December, same venue

Mascagni: Iris (I. Viganò; A. Pertile, E. Badini, C. Walter) 9

1924

26 January, same venue

Gluck: Orfeo ed Euridice (F. Anitua/G. Besanzoni, I. Alfani Tellini, L. Paikin) 5

6 February, same venue

Verdi: Falstaff (G. Dalla Rizza/L. Cannetti, I. Alfani Tellini, E. Casazza, L. Bertana; F.

Ciniselli, M. Stabile, E. Badini, F. Autori) 8

13 February, same venue

Verdi: Rigoletto (M Capsir, L. Bertana; M. Fleta, C. Galeffi, C. Walter) 2

27 February, same venue

116
Pizzetti: Dèbora e Jaéle (G. Tess, E. Casazza, L. Bertana; A. Dolci, O. Pellegrini, F.

Autori, E. Pinza) 4

5 March, same venue

Charpentier: Louise (G. Dalla Rizza, E. Casazza; C. Alabiso, M. Journet) 5

1 April, same venue

Wagner: Die Meistersinger (M. Bugg, M. Vasari; A. Pertile, F. Dominici, M. Journet, E.

Badini, E. Pinza) 4

12 April, same venue

Mussorgsky: Boris Godunov (E. Sadowen; A. Dolci, F. Dominici, Z. Zalewski, E. Pinza,

F. Autori) 4

1 May, same venue

WP Boito: Nerone (R. Raisa, L. Bertana; A. Pertile, C. Galeffi/B. Franci, M. Journet) 9

SCALA ORCHESTRA TOUR

13 June, Varese, Teatro Sociale

Rossini: Overture to Il barbiere di Siviglia; Beethoven: Symphony No. 5; Martucci:

Notturno and Novelletta; Respighi: Fontane di Roma; Wagner: “Good Friday

Spell” from Parsifal, Prelude and Liebestod from Tristan und Isolde

16 June, Zurich, Tonhalle

Respighi: Ancient Airs and Dances 1st suite; Beethoven: Symphony No. 5; De Sabata:

Juventus; Martucci: Notturno and Novelletta; Wagner: Prelude and Liebestod

from Tristan und Isolde

17 June, same venue

117
Wolf-Ferrari: Overture to Le donne curiose; Brahms: Symphony No. 2; Wagner: “Good

Friday Spell” from Parsifal; Respighi: Fontane di Roma; Beethoven: Overture

No. 3 to Leonore

18 June, St. Gallen

Wolf-Ferrari: Overture to Le donne curiose; Brahms: Symphony No. 2; Wagner: “Good

Friday Spell” from Parsifal; Respighi: Fontane di Roma; Beethoven: Overture

No. 3 to Leonore

19 June, Lucerne

Wolf-Ferrari: Overture to Le donne curiose; Brahms: Symphony No. 2; Wagner: “Good

Friday Spell” from Parsifal; Respighi: Fontane di Roma; Beethoven: Overture

No. 3 to Leonore

20 June, Berne, Casino

? Respighi: Ancient Airs and Dances 1st suite; Beethoven: Symphony No. 5; De Sabata:

Juventus; Martucci: Notturno and Novelletta; Wagner: Prelude and Liebestod

from Tristan und Isolde

21, same venue

? Wolf-Ferrari: Overture to Le donne curiose; Brahms: Symphony No. 2; Wagner: “Good

Friday Spell” from Parsifal; Respighi: Fontane di Roma; Beethoven: Overture

No. 3 to Leonore

23 June, Lausanne, Cathedral

? Respighi: Ancient Airs and Dances 1st suite; Beethoven: Symphony No. 5; De Sabata:

Juventus; Martucci: Notturno and Novelletta; Wagner: Prelude and Liebestod

from Tristan und Isolde

118
24 June, same venue

? Wolf-Ferrari: Overture to Le donne curiose; Brahms: Symphony No. 2; Wagner: “Good

Friday Spell” from Parsifal; Respighi: Fontane di Roma; Beethoven: Overture

No. 3 to Leonore

26 June, Geneva, Victoria Hall

? Respighi: Ancient Airs and Dances 1st suite; Beethoven: Symphony No. 5; De Sabata:

Juventus; Martucci: Notturno and Novelletta; Wagner: Prelude and Liebestod

from Tristan und Isolde

27 June, same venue

? Rossini: Overture to Il barbiere di Siviglia; Brahms: Symphony No. 2; Wagner: “Good

Friday Spell” from Parsifal; Respighi: Fontane di Roma; Beethoven: Overture

No. 3 to Leonore

29 June, Basel, Musiksaal of the Casino

Rossini: Overture to Il barbiere di Siviglia; Respighi: Fontane di Roma; Martucci:

Notturno and Novelletta; Beethoven: Symphony No. 5; Wagner: Prelude and Liebestod

from Tristan und Isolde

30 June, Zurich, Tonhalle

Rossini: Overture to Il barbiere di Siviglia; Haydn: “Clock” Symphony; Vivaldi:

Concerto Grosso in D minor (presumably Op. 3 No. 11); Sinigaglia: “Through the

Woods and Fields,” Dance, “Carnival,” and Fugue from the Piedmont Suite Op.

36; Strauss: Death and Transfiguration

12 October, Bologna, Teatro Comunale

Boito: Nerone (M. Carena, L. Bertana; A. Pertile, C. Galeffi/B. Franci, M. Journet) 12

119
15 November, Milan, Teatro alla Scala

Boito: Nerone (M. Carena/R. Raisa, L. Bertana; A. Pertile, C. Galeffi/B. Franci, M.

Journet) 12

19 November, same venue

Mussorgsky: Boris Godunov (L. Bertana; A. Dolci, F. Dominici, Z. Zalewski, A.

Righetti, F. Autori) 4

3 December, Milan, Cathedral (Scala orchestra)

Puccini: Funeral Elegy from Edgar (H. Spani; N. De Angelis)

6 December, same venue

Mascagni: Iris (I. Viganò; A. Pertile, E. Badini, C. Walter) 3

20 December, same venue

WP Giordano: La cena delle beffe (C. Melis, C. Valobra; H. Lazaro, B. Franci) 7

29 December, Conservatorio G. Verdi, Salone Gallignani (student orchestra and chorus)

Puccini: Prelude to Act II of Le Villi; Intermezzo from Manon Lescaut; Requiem

29 December, Teatro alla Scala (Scala orchestra)

Puccini: Prelude to Act II of Le Villi; Prelude and Funeral Elegy from Edgar (H. Spani[,

N. De Angelis?])

Puccini: La Bohème (M. Zamboni, I. M. Ferraris/V. Giovannelli/R. Torri; A. Pertile/A.

Minghetti, Bl Franci/E. Badini, L. Paci, F. Autori/A. Righetti) 8

1925

16 January, same venue

Boito: Mefistofele: Acts III and IV only (replacing Panizza, who had become ill) (H.

Spani, G. Arangi Lombardi; A. Pertile, N. De Angelis) 1

120
17 January, same venue

Verdi: La traviata (G. Dalla Rizza; P. Menescaldi, E. Molinari/C. Morelli) 7

31 January, same venue

Charpentier: Louise (G. Dalla Rizza, E. Casazza; P. Menescaldi, M. Journet) 6

7 March, same venue

WP Zandonai: I cavalieri di Ekebù (M. L. Fanelli, E. Casazza; F. Lo Giudice, B. Franci,

F. Autori) 6

14 March, same venue

Puccini: Manon Lescaut (M. Zamboni; P. Menescaldi, E. Badini, F. Autori) 1

21 March, Turin, Teatro Regio

Boito: Nerone (M. Carena, L. Bertana; A. Pertile, C. Sarobe, M. Journet) 9

4 April, Milan, Teatro alla Scala

Gluck: Orfeo ed Euridice (F. Anitua, M. Zamboni, C. Valobra) 5

9 April, same venue

Verdi: Rigoletto (M Capsir, L. Bertana; A. De Paolis, B. Franci, C. Walter) 1

25 April, same venue

Verdi: Falstaff (G. Dalla Rizza/R. Raisa, I. M. Ferraris, E. Casazza, L. Bertana; A. De

Paolis, G. Rimini, L. Paci, F. Autori) 5

30 April, same venue

Verdi: Il trovatore (R. Raisa, F. Anitua; A. Pertile, B. Franci, F. Autori) 4

17 May, same venue

Debussy: Pelléas et Mélisande (in French) (F. Heldy, L. Bertana; A. Legrand, M.

Journet, C. Walter) 4

121
16 June, Lausanne, Cathedral

Beethoven: Symphony No. 3; Sinigaglia: Overture, Le baruffe chiozzotte; Mendelssohn:

Nocturne and Scherzo from A Midsummer Night’s Dream; Stravinsky: 1st and 4th

tableaux from Petrushka; Wagner: Overture to Tannhäuser

18 June, Geneva, Victoria Hall

Mozart: Overture to The Magic Flute; Beethoven: Symphony No. 3; Sinigaglia: Overture,

Le baruffe chiozzotte; Mendelssohn: Nocturne and Scherzo from A Midsummer

Night’s Dream; Stravinsky: 1st and 4th tableaux from Petrushka; Wagner:

Overture to Tannhäuser

19 June, same venue

Haydn: Symphony No. 101 (“Clock”); Elgar: “Enigma” Variations; Debussy: Ibéria;

Sibelius: The Swan of Tuonela; Respighi: Pini di Roma

20 June, Lausanne, Cathedral

Haydn: “Clock” Symphony; Elgar: “Enigma” Variations; Debussy: Ibéria; Sibelius: The

Swan of Tuonela; Respighi: Pini di Roma

22 June, Basel, Casino

Beethoven: Symphony No. 3; Sinigaglia: Overture, Le baruffe chiozzotte; Mendelssohn:

Nocturne and Scherzo from A Midsummer Night’s Dream; Stravinsky: 1st and 4th

tableaux from Petrushka; Wagner: Overture to Tannhäuser

23 June, Berne, Casino

Beethoven: Symphony No. 3; Sinigaglia: Overture, Le baruffe chiozzotte; Mendelssohn:

Nocturne and Scherzo from A Midsummer Night’s Dream; Stravinsky: 1st and 4th

tableaux from Petrushka; Wagner: Overture to Tannhäuser

122
29 June, Milan, Teatro alla Scala

Beethoven: Symphony No. 3; Sinigaglia: Overture, Le baruffe chiozzotte; Mendelssohn:

Nocturne and Scherzo from A Midsummer Night’s Dream; Stravinsky: 1st and 4th

tableaux from Petrushka; Wagner: Overture to Tannhäuser

30 June, same venue

Haydn: Symphony No. 101 (“Clock”); Elgar: “Enigma” Variations; Debussy: Ibéria;

Sibelius: The Swan of Tuonela; Respighi: Pini di Roma

12 October, same venue

Gluck: Overture to Iphigénie en Aulide; Mozart: Symphony No. 40 in G minor; Bach:

Prelude, Chorale, and Fugue (arr. J. J. Abert—chorale by Abert); Tommasini:

Paesaggi toscani; Debussy: La Mer; Weber: Overture to Der Freischütz

14 October, same venue

Cherubini: Overture to Anacréon; Martucci: Symphony No. 2; WP De Sabata:

Gethsemani; Wagner: Siegfried Idyll; Liszt: Les Préludes

16 October, same venue

Vivaldi: Concerto Grosso in D minor (presumably Op. 3 No. 11); Beethoven: Symphony

No. 1; Brahms: “Haydn” Variations; Pick-Mangiagalli: Notturno e Rondò

fantastic; Wagner: “Siegfried’s Death and Funeral Music” from

Götterdämmerung; Rossini: Overture to La gazza ladra

14 November, same venue

Verdi: Un ballo in maschera (M. Carena, I. M. Ferraris, F. Anitua; A. Pertile, C. Galeffi)

4

22 November, same venue

123
Verdi: Il trovatore (M. Carena/C. Muzio, F. Anitua/E. Casazza; A. Pertile, B. Franci, F.

Autori) 5

25 November, same venue

Gounod: Faust (Y. Gall, L. Bertana; A. Trantoul, E. Molinari, M. Journet) 5

29 November, same venue

Puccini: Madama Butterfly (R. Pampanini; P. Menescaldi/A. Pertile, S. Persichetti) 4

9 December, same venue

Wagner: Die Meistersinger (M. Zamboni, M. Vasari; A. Pertile, F. Dominici/M. Govoni,

M. Journet, E. Badini, A. Righetti) 3

17 December, same venue

Giordano: La cena delle beffe (C. Melis/G. Cobelli, C. Valobra; F. Lo Giudice, B.

Franci) 2

24 December, same venue

Zandonai: I cavalieri di Ekebù (M. L. Fanelli, M. Capuana; F. Lo Giudice, B. Franci, F.

Autori) 2

26 December, same venue

Mascagni: Iris (R. Pampanini; A. Pertile, L Paci, C. Walter) 1

1926

14 and 15 January, New York, Carnegie Hall (with New York Philharmonic)

Haydn: Symphony No. 101 (“Clock”); NP Respighi: Pini di Roma; Sibelius: The Swan of

Tuonela; Wagner: “Siegfried’s Death and Funeral Music” from

Götterdämmerung; Weber: Overture to Euryanthe

124
16 January, New York, Mecca Auditorium

Haydn: Symphony No. 101 (“Clock”); Respighi: Pini di Roma; Sibelius: The Swan of

Tuonela; Wagner: “Siegfried’s Death and Funeral Music” from

Götterdämmerung; Weber: Overture to Euryanthe

17 January, New York, Carnegie Hall

Bach-Abert: Prelude, Chorale, and Fugue; Mendelssohn: Nocturne and Scherzo from A

Midsummer Night’s Dream; Respighi: Pini di Roma; Beethoven: Symphony No.

5

20 January, Philadelphia, Academy of Music

Haydn: Symphony No. 101 (“Clock”); Respighi: Pini di Roma; Sibelius: The Swan of

Tuonela; Wagner: “Siegfried’s Death and Funeral Music” from

Götterdämmerung; Weber: Overture to Euryanthe

21 and 22 January, New York, Carnegie Hall

Vivaldi: Concerto Grosso in D minor (presumably Op. 3 No. 11); Beethoven: Symphony

No. 1; NP De Sabata: Gethsemani; Stravinsky: 1st and 4th tableaux from

Petrushka

24 January, same venue

Schubert: “Unfinished” Symphony; Beethoven: Overture No. 3 to Leonore; De Sabata:

Gethsemani; Stravinsky: 1st and 4th tableaux from Petrushka

28 and 29 January, same venue

Beethoven: Symphony No. 3; Roger-Ducasse: Sarabande (with Schola Cantorum);

Tommasini: Paesaggi toscani; Wagner: Prelude and Liebestod from Tristan und

Isolde

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30 January, same venue

Vivaldi: Concerto Grosso in D minor (presumably Op. 3 No. 11); Haydn: Symphony No.

101 (“Clock”); Wagner: “Siegfried’s Death and Funeral Music” from

Götterdämmerung; Respighi: Pini di Roma

31 January, Brooklyn, Academy of Music

Vivaldi: Concerto Grosso in D minor (presumably Op. 3 No. 11); Haydn: Symphony No.

101 (“Clock”); Wagner: “Siegfried’s Death and Funeral Music” from

Götterdämmerung; Respighi: Pini di Roma

1 February, New York, Carnegie Hall

Bach-Abert: Prelude, Chorale, and Fugue; Mendelssohn: Nocturne and Scherzo from A

Midsummer Night’s Dream; Wagner: “Siegfried’s Death and Funeral Music”

from Götterdämmerung; Beethoven: Symphony No. 3

6 February, same venue

Weber: Overture to Euryanthe; Beethoven: Symphony No. 1; De Sabata: Gethsemani;

Stravinsky: 1st and 4th tableaux from Petrushka

7 February, same venue

Mozart: Symphony No. 38 (“Prague”); Debussy: La Mer; Brahms: “Haydn” Variations;

Martucci: Notturno and Novelletta; Wagner: Prelude and Liebestod from Tristan

und Isolde

27 February, Milan, Teatro alla Scala

Gluck: Orfeo ed Euridice (F. Anitua, M. Zamboni, C. Valobra) 4

4 March, same venue

Debussy: Le Martyre de Saint-Sébastien (in French) (I. Rubinstein) 4

126
27 March, same venue

Montemezzi: L’amore dei tre re (G. Cobelli; F. Lo Giudice, C. Morelli, N. De Angelis)

4

31 March, same venue

Boito: Nerone (R. Raisa, L. Bertana; A. Pertile, B. Franci, M. Journet) 4

4 April, same venue

Debussy: Pelléas et Mélisande (in French) (F. Heldy, L. Bertana; A. Legrand, M.

Journet, C. Walter) 2

11 April, same venue

Verdi: La traviata (C. Muzio; P. Menescaldi, B. Franci) 4

25 April, same venue

WP Puccini: Turandot (R. Raisa, M. Zamboni; M. Fleta, G. Rimi, C. Walter) 3

1 May, same venue

Verdi: Falstaff (R. Raisa, I. M. Ferraris/I. Alfani Tellini, E. Casazza, M. Vasari; P.

Menescaldi, G. Rimini, E. Badini/L. Paci, ?) 4

4 September, Busseto, Teatro Verdi

Verdi: Falstaff (M. Llopart, I. M. Ferraris, E. Casazza, M. Vasari; P. Menescaldi, M.

Stabile, E. Badini, F. Autori)

7 October, Milan, Teatro alla Scala

Beethoven: Symphonies Nos. 1, 2, and 5

8 October, same venue

Beethoven: Symphonies Nos. 4 and 3

9 October, same venue

127
Beethoven: Symphonies Nos. 6 and 7

12 October, same venue

Beethoven: Symphonies Nos. 8 and 9 (I. M. Ferraris, E. Stignani; P. Menescaldi, A.

Righetti)

13 October, Turin, Teatro Regio

Beethoven: Symphonies Nos. 1, 2, and 5

14 October, same venue

Beethoven: Symphonies Nos. 4 and 3

16 October, same venue

Beethoven: Symphonies Nos. 6 and 7

17 October, same venue

Beethoven: Symphonies Nos. 8 and 9 (I. M. Ferraris, E. Stignani; P. Menescaldi, A.

Righetti)

20 October, Milan, Teatro alla Scala

Beethoven: Symphonies Nos. 1 and 9 (I. M. Ferraris, E. Stignani; P. Menescaldi, A.

Righetti)

14 November, same venue

Verdi: Don Carlo (five-act version) (B. Scacciati, G. Cobelli; A. Trantoul, C. Galeffi, T.

Pasero, A. Marone) 6

28 November, same venue

Pizzetti: Dèbora e Jaéle (G. Tess, E. Casazza, E. Stignani; A. Dolci, L. Paci, S.

Baccaloni, A. Righetti) 3

128
1927

1 February, New York, Metropolitan Opera House (with New York Philharmonic)

Beethoven: Symphonies Nos. 3 and 5

2 February, Philadelphia, Academy of Music

Beethoven: Symphonies Nos. 3 and 5

5 and 6 February, New York, Carnegie Hall

Beethoven: Symphonies Nos. 1 and 9 (E. Rethberg, L. Homer, R. Crooks, F. Gange)

17 March, Milan, Teatro alla Scala

Donizetti: Lucia di Lammermoor (T. Dal Monte; A. Pertile, B. Franci, A. Righetti) 6

24 March, same venue

Ponchielli: La Gioconda (G. Arangi Lombardi, E. Stignani, L. Bertana; F. Merli, B.

Franci, T. Pasero) 5

26 March, same venue

Verdi: Rigoletto (T. Dal Monte, L. Bertana; R. D’Alessio, C. Galeffi, C. Walter) 5

7 April, same venue

Beethoven: Fidelio (E. Ohms, I. M. Ferraris; F. Merli, B. Franci, V. Bettoni, S.

Baccaloni) 3

16 April, same venue

Mussorgsky: Boris Godunov (L. Bertana; A. Dolci, L. Nardi, C. Galeffi, A. Righetti, U.

Di Lelio) 2

23 April, same venue

Puccini: Tosca (C. Muzio/B. Scacciati; A. Pertile, M. Stabile/C. Galeffi) 6

27 April, same venue

129
Boito: Nerone (B. Scacciati, L. Bertana; A. Trantoul, B. Franci, M. Journet) 2

30 April, same venue

Verdi: Falstaff (M. Llopart, I. M. Ferraris, E. Casazza, L. Bertana; P. Menescaldi, M.

Stabile, L. Paci/E. Badini, U. Di Lelio) 5

8 May, same venue

Gounod: Faust (E. Mason, C. Rota; A. Trantoul, C. Morelli, M. Journet) 4

18 May, same venue

Dukas: Ariane et Barbe-bleue (I. Pacetti, E. Casazza; U. Di Lelio) 3

9 October, same venue

Mendelssohn: Overture to A Midsummer Night’s Dream; Brahms: Symphony No. 4;

Honegger: Pastorale d’été and Pacific 231; De Sabata: Gethsemani; Stravinsky:

“Infernal Dance” from The Firebird

10 October, Milan, Casa Verdi

Verdi: “Quando le sere al placido” from Luisa Miller (A. Pertile), Trio from I Lombardi

(?), Overture to Oberto, “Laudi alla Vergine” from the Four Sacred Pieces

12 October, Milan, Teatro alla Scala

Bach (arr. Mahler): Suite in B minor; Haydn: Symphony No. 88 in G; Berlioz: Love

Scene and “Queen Mab” from Roméo et Juliette; Debussy: Prélude à l’après-midi

d’un faune; Respighi: La ballata delle gnomidi

13 October, same venue

Mendelssohn: Overture to A Midsummer Night’s Dream; Haydn: Symphony No. 88 in G;

Honegger: Pastorale d’été and Pacific 231; Respighi: La ballata delle gnomidi;

Rossini: Overture to La gazza ladra

130
16 November, same venue

Boito: Mefistofele (G. Cobelli, L. B. Rasa; A. Pertile, T. Pasero) 3

18 November, same venue

Beethoven: Fidelio (E. Ohms, I. M. Ferraris; F. Merli, L. Rossi Morelli, V. Bettoni, S.

Baccaloni) 4

20 November, same venue

Puccini: Manon Lescaut (R. Pampanini; A. Pertile, E. Badini, S. Baccaloni) 4

22 November, same venue

Verdi: Otello (B. Scacciati; A. Trantoul, M. Stabile) 11

11 December, same venue

Mascagni: Cavalleria rusticana (G. Arangi Lombardi/B. Scacciati, B. Siberi; F. Merli,

A. Borgioli) 4

Leoncavallo: Pagliacci (R. Pampanini; A. Pertile, C. Galeffi, G. Vanelli) 4

1928

1 January, same venue

Boito: Nerone (B. Scacciati, L. Bertana; A. Trantoul, C. Galeffi, E. Faticanti) 2

26 and 27 January, New York, Carnegie Hall (with New York Philharmonic)

Sinigaglia: Overture, Le baruffe chiozzotte; Brahms: Symphony No. 2; Honegger:

Pastorale d’été and Pacific 231; Elgar: “Enigma” Variations

29 January, Brooklyn, Academy of Music

Sinigaglia: Overture, Le baruffe chiozzotte; Brahms: Symphony No. 2; Honegger:

Pastorale d’été and Pacific 231; Elgar: “Enigma” Variations

131
30 January, Baltimore, ?

Sinigaglia: Overture, Le baruffe chiozzotte; Brahms: Symphony No. 2; Honegger:

Pastorale d’été and Pacific 231; Elgar: “Enigma” Variations

31 January, Washington, National Theater

Sinigaglia: Overture, Le baruffe chiozzotte; Brahms: Symphony No. 2; Honegger:

Pastorale d’été and Pacific 231; Elgar: “Enigma” Variations

1 February, Philadelphia, Academy of Music

Sinigaglia: Overture, Le baruffe chiozzotte; Brahms: Symphony No. 2; Honegger:

Pastorale d’été and Pacific 231; Elgar: “Enigma” Variations

4 and 5 February, New York, Carnegie Hall

Mozart: Overture in the Italian Style (Symphony No. 32 in G, K. 318); Beethoven:

Symphony No. 4; Honegger: Pastorale d’été and Pacific 231; Respighi: Pini di

Roma

9 and 10 February, same venue

Vivaldi: “Spring” from The Four Seasons (S. Guidi); Haydn: Symphony No. 88; Berlioz:

“Queen Mab” from Roméo et Juliette; Respighi: Pini di Roma

11 and 12 February, same venue

Sinigaglia: Overture, Le baruffe chiozzotte; Berlioz: “Queen Mab” from Roméo et

Juliette; Elgar: “Enigma” Variations Brahms: Symphony No. 2

14 February, New York, Metropolitan Opera House

Sinigaglia: Overture, Le baruffe chiozzotte; Beethoven: Symphony No. 4; Wagner:

Prelude to Lohengrin, “Good Friday Spell” from Parsifal, Prelude to Die

Meistersinger, Prelude and Liebestod from Tristan und Isolde

132
16 and 17 February, New York, Carnegie Hall

Mozart: Overture in the Italian Style (Symphony No. 32 in G, K. 318); Beethoven:

Symphony No. 4; Ravel: Daphnis et Chloé, Suite No. 2; De Sabata: Juventus

19 February, same venue

Vivaldi: “Spring” from The Four Seasons (S. Guidi); Haydn: Symphony No. 88; Ravel:

Daphnis et Chloé, Suite No. 2; De Sabata: Juventus

21 February, New York, Metropolitan Opera House

Haydn: Symphony No. 88; Elgar: “Enigma” Variations; Honegger: Pastorale d’été and

Pacific 231; Respighi: Pini di Roma

23 and 24 February, New York, Carnegie Hall

Mendelssohn: Overture to A Midsummer Night’s Dream; Borodin: Symphony No. 2;

Pizzetti: La Pisanella; Debussy: La Mer

26 February, Brooklyn, Academy of Music

Haydn: Symphony No. 88; Ravel: Daphnis et Chloé, Suite No. 2; Vivaldi: “Spring” from

The Four Seasons (S. Guidi); Respighi: Pini di Roma

27 February, New York, Carnegie Hall

Cherubini: Overture to Anacréon; Saint-Saëns: Cello Concerto No. 1 (L. Schulz);

Wagner: Siegfried Idyll, “Siegfried’s Death and Funeral Music” from

Götterdämmerung, Prelude and Liebestod from Tristan und Isolde, Overture to

Tannhäuser

1 and 2 March, same venue

Rossini: Overture to Il barbiere di Siviglia; Beethoven: Symphony No. 6; de Falla: El

amor brujo (S. Braslau); Wagner: Overture to Tannhäuser

133
4 March, same venue

5 March, Philadelphia, Academy of Music

Rossini: Overture to Il barbiere di Siviglia; Beethoven: Symphony No. 6; Debussy: La

Mer; Wagner: Prelude and Liebestod from Tristan und Isolde

6 March, Washington, National Theater

Rossini: Overture to Il barbiere di Siviglia; Beethoven: Symphony No. 6; Debussy: La

Mer; Wagner: Prelude and Liebestod from Tristan und Isolde

7 March, Baltimore, ?

Rossini: Overture to Il barbiere di Siviglia; Beethoven: Symphony No. 6; Wagner:

Prelude and Liebestod from Tristan und Isolde; Debussy: La Mer

8 March, Buffalo, ?

Rossini: Overture to Il barbiere di Siviglia; Beethoven: Symphony No. 6; Wagner:

Prelude and Liebestod from Tristan und Isolde; Debussy: La Mer

9 March, Pittsburgh, ?

Rossini: Overture to Il barbiere di Siviglia; Beethoven: Symphony No. 6; Pizzetti: La

Pisanella; Debussy: La Mer

10 March, same venue

Haydn: Symphony No. 88; Ravel: Daphnis et Chloé, Suite No. 2; De Sabata: Juventus;

Wagner: Prelude and Liebestod from Tristan und Isolde

11 March, New York, Metropolitan Opera House

Rossini: Overture to Il barbiere di Siviglia; Beethoven: Symphony No. 6; Ravel: Daphnis

et Chloé, Suite No. 2; Wagner: Overture to Tannhäuser

15 and 16 March, New York, Carnegie Hall

134
Scarlatti-Tommasini: The Good-Humored Ladies; Saint-Saëns: Symphony No. 3; Busoni:

Rondò arlecchinesco (A. Tedesco); Mendelssohn: Nocturne and Scherzo from A

Midsummer Night’s Dream; Strauss: Death and Transfiguration

17 March, same venue

Rossini: Overture to Il barbiere di Siviglia; Beethoven: Symphony No. 6; Busoni: Rondò

arlecchinesco (A. Tedesco); Mendelssohn: Nocturne and Scherzo from A

Midsummer Night’s Dream; Strauss: Death and Transfiguration

18 March, same venue

Scarlatti-Tommasini: The Good-Humored Ladies; Saint-Saëns: Symphony No. 3; Busoni:

Rondò arlecchinesco (A. Tedesco); Mendelssohn: Nocturne and Scherzo from A

Midsummer Night’s Dream; Strauss: Death and Transfiguration

22 and 23 March, same venue

Cherubini: Overture to Anacréon; Martucci: Symphony No. 2, Vivaldi: Violin Concerto

in A minor (S. Guidi); Wagner: “Good Friday Spell” from Parsifal; Strauss: Till

Eulenspiegel

24 March, same venue

Scarlatti-Tommasini: The Good-Humored Ladies; Saint-Saëns: Symphony No. 3;

Vivaldi: Violin Concerto in A minor (S. Guidi); Wagner: “Good Friday Spell”

from Parsifal; Strauss: Till Eulenspiegel

25 March, Brooklyn, Academy of Music

Rossini: Overture to Il barbiere di Siviglia; Beethoven: Symphony No. 6; Mendelssohn:

Nocturne and Scherzo from A Midsummer Night’s Dream; Wagner: “Siegfried’s

Death and Funeral Music” from Götterdämmerung, Overture to Tannhäuser

135
27 March, New York, Carnegie Hall

Respighi: Pini di Roma (on Philharmonic concert shared with Artur Bodanzky, Eugene

Goossens, Walter Damrosch, and Enrique Fernández Arbós)

29 and 30 March, same venue

Bach: Prelude to Part 2 of “Christmas” Oratorio; Monteverdi (arr. Molinari): Sonata

sopra Sancta Maria (Schola Cantorum); Franck: Symphonic Interlude from

Rédemption; Beethoven: Symphony No. 9 (N. Morgana, S. Braslau; R. Crooks, E.

Pinza)

31 March, same venue

Bach: Prelude to Part 2 of “Christmas” Oratorio; Beethoven: Symphony No. 1; Wagner:

Prelude to Die Meistersinger, Prelude to Lohengrin, “Siegfried’s Death and

Funeral Music” from Götterdämmerung, Overture to Tannhäuser

1 April, New York, Metropolitan Opera House

Bach: Prelude to Part 2 of “Christmas” Oratorio; Monteverdi (arr. Molinari): Sonata

sopra Sancta Maria (Schola Cantorum); Franck: Symphonic Interlude from

Rédemption; Beethoven: Symphony No. 9 (N. Morgana, S. Braslau; R. Crooks, E.

Pinza)

15 April, Milan, Teatro alla Scala

Verdi: Falstaff (M. Llopart, I. M. Ferraris, E. Casazza, E. Stignani; P. Menescaldi, M.

Stabile, V. Damiani, V. Bettoni) 4

19 April, same venue

Verdi: Don Carlo (five-act version) (B. Scacciati, E. Stignani; A. Trantoul, C. Galeffi, T.

Pasero, C. Walter) 6

136
16 May, same venue

WP Pizzetti: Fra Gherardo (F. Cristoforeanu, I. Minghini Cattaneo; A. Trantoul, A.

Baracchi, E. Faticanti, S. Baccaloni) 4

20 May, same venue

Verdi: La traviata (G. Dalla Rizza; A. Pertile, V. Damiani) 3

7 October, same venue

Paër: Overture to Sargino; Mozart: Symphony No. 35 (“Haffner”); Pizzetti: Tre canzoni

for voice and string quartet (Donna lombarda, La prigioniera, La pesca

dell’anello) (M. Llopart); Busoni: Berceuse élégiaque and Rondò arlecchinesco

(A. Granda); Ravel: Daphnis et Chloé, Suite No. 2

10 and 12 October, same venue

Monteverdi (arr. Molinari): Sonata sopra Sancta Maria; Bach: Cantata No. 66 (L.

Abbrescia; A. Granda, A. Righetti); Franck: Rédemption (Intermezzo); NP

Kodály: Psalmus Hungaricus (A. Granda); Wagner: Overture to Tannhäuser

22 October, same venue

Schubert: Overture, Der Teufel als Hydralicus; “Unfinished” Symphony; Thekla (arr.

Mottl) (L. Abbrescai); Serenade Op. 135 (L. Abbrescia); Hungarian March Op. 54

(arr. Liszt); “Great C-Major” Symphony

5 November, same venue

Verdi: Otello (R. Pampanini; A. Trantoul, M. Stabile) 5

17 November, same venue

Verdi: La forza del destino (B. Scacciati, E. Stignani; F. Merli, B. Franci, E. Faticanti,

T. Pasero) 9

137
28 November, same venue

Pizzetti: Fra Gherardo (F. Cristoforeanu, E. Stignani; A. Trantoul, A. Baracchi, E.

Faticanti, S. Baccaloni) 3

16 December, same venue

Wagner: Parsifal (E. Ohms; I. Fagoaga, L. Rossi Morelli, E. Faticanti, T. Pasero) 5

20 December, same venue

Donizetti: Lucia di Lammermoor (T. Dal Monte; A. Pertile, V. Damiani, A. Righetti) 3

26 December, same venue

Wagner: Die Meistersinger (M. Favero, A. Cravcenco; A. Pertile, P. Menescalchi, M.

Journet, A. Crabbé, A. Righetti) 4

1929

12 January, same venue

WP Giordano: Il re (T. Dal Monte/M. Capsir, A. Cravcenco; E. De Muro Lomanto, A.

Crabbé, T. Pasero) 3

Leoncavallo: Pagliacci (R. Pampanini; A. Pertile, C. Galeffi, G. Vanelli) 2

21, 22, and 23 February, New York, Carnegie Hall (with Philharmonic-Symphony Orchestra of

New York)

Mozart: Symphony No. 35 (“Haffner”); WP Respighi: Feste romane; Debussy: Ibéria;

Wagner: Overture to Tannhäuser

24 February, Brooklyn, Academy of Music

Mozart: Symphony No. 35 (“Haffner”); Respighi: Feste romane; Debussy: Ibéria;

Wagner: Overture to Tannhäuser

138
28 February, 1 and 3 March, New York, Carnegie Hall

Gluck: Overture to Iphigénie en Aulide; WP Pizzetti: Concerto dell’estate; Dukas: The

Sorcerer’s Apprentice; Beethoven: Symphony No. 2

4 March, Philadelphia, Academy of Music

Mozart: Symphony No. 35 (“Haffner”); Respighi: Feste romane; Debussy: Ibéria;

Wagner: Overture to Tannhäuser

5 March, Washington, ?

Mozart: Symphony No. 35 (“Haffner”); Respighi: Feste romane; Debussy: Ibéria;

Wagner: Overture to Tannhäuser

6 March, Baltimore, ?

Mozart: Symphony No. 35 (“Haffner”); Respighi: Feste romane; Debussy: Ibéria;

Wagner: Overture to Tannhäuser

7 March, Rochester, ?

Mozart: Symphony No. 35 (“Haffner”); Respighi: Feste romane; Debussy: Ibéria;

Wagner: Overture to Tannhäuser

8 March, Pittsburgh, ?

Mozart: Symphony No. 35 (“Haffner”); Respighi: Feste romane; Debussy: Ibéria;

Wagner: Overture to Tannhäuser

9 March, same venue

Gluck: Overture to Iphigénie en Aulide; Haydn: Symphony No. 101 (“Clock”); Pizzetti:

Concerto dell’estate; Wagner: Prelude to Die Meistersinger

10 March, New York, Carnegie Hall

139
Mozart: Symphony No. 35 (“Haffner”); Respighi: Feste romane; Debussy: Ibéria;

Wagner: Overture to Tannhäuser

14 and 15 March, same venue

Wagner: Eine Faust-Ouvertüre; Schelling: Impressions from an Artist’s Life (E.

Schelling); Prokofiev: “Classical” Symphony; Ravel: Daphnis et Chloé, Suite No.

2

16 March, same venue

Gluck: Overture to Iphigénie en Aulide; Pizzetti: Concerto dell’estate; Dukas: The

Sorcerer’s Apprentice; Beethoven: Symphony No. 2

17 March, New York, Metropolitan Opera House

Gluck: Overture to Iphigénie en Aulide; Haydn: Symphony No. 101 (“Clock”); Dukas:

The Sorcerer’s Apprentice; Respighi: Feste romane

21 and 22 March, New York, Carnegie Hall

Schubert: “Great C-Major” Symphony; Busoni: Berceuse élégiaque; Tommasini:

Prelude, Fanfare, and Fugue; Rossini: Overture to William Tell

23 March, same venue

Wagner: Eine Faust-Ouvertüre; Haydn: Symphony No. 101 (“Clock”); Prokofiev:

“Classical” Symphony; Ravel: Daphnis et Chloé, Suite No. 2

24 March, Brooklyn, Academy of Music

Gluck: Overture to Iphigénie en Aulide; Pizzetti: Concerto dell’estate; Dukas: The

Sorcerer’s Apprentice; Beethoven: Symphony No. 2

27 and 28 March, New York, Carnegie Hall

140
Haydn: Symphony No. 101 (“Clock”); Brahms: “Haydn” Variations; Wagner: “Good

Friday Spell” from Parsifal; Beethoven: Overture No. 3 to Leonore

30 March, same venue

Schubert: “Great C-Major” Symphony; Busoni: Berceuse élégiaque; Tommasini:

Prelude, Fanfare, and Fugue; Rossini: Overture to William Tell

31 March, same venue

Beethoven: Symphony No. 2, Overture No. 3 to Leonore; Wagner: “Good Friday Spell”

from Parsifal, Overture to Tannhäuser

1 April, same venue

Mozart: Overture to The Magic Flute; Schumann: Cello Concerto (L. Schulz); Wagner:

Prelude and Liebestod from Tristan und Isolde, Prelude to Die Meistersinger

22 April, Milan, Teatro alla Scala

Verdi: Aida (G. Arangi Lombardi/E. Rethberg, E. Casazza/A. Dal Monte; A. Pertile/F.

Merli, C. Galeffi, A. Righetti) 6

28 April, same venue

Verdi: Rigoletto (T. Dal Monte, M. Vasari; R. D’Alessio, C. Galeffi, A. Marone) 1

2 May, same venue

Franchetti: Germania (L. B. Rasa, I. Adami Corradetti; F. Merli, C. Galeffi, V. Bettoni)

3

5 May, same venue

Verdi: Falstaff (M. Llopart, C. Valorba, E. Casazza, M. Vasari; E. De Muro Lomanto,

M. Stabile, E. Badini, F. Autori) 2

12 May, same venue

141
Puccini: Manon Lescaut (R. Pampanini; A. Pertile, E. Badini, S. Baccaloni) 1

18 May, Vienna, Staatsoper

Verdi: Falstaff (M. Llopart, I. Alfani Tellini, E. Casazza, M. Vasari; E. De Muro

Lomanto, M. Stabile, E. Badini, F. Autori) 1

19 May, same venue

Donizetti: Lucia di Lammermoor (T. Dal Monte; A. Pertile, B. Franci, A. Righetti) 1

22 May, Berlin, Staatsoper

Verdi: Falstaff (M. Llopart, I. Alfani Tellini, E. Casazza, M. Vasari; E. De Muro

Lomanto, M. Stabile, E. Badini, F. Autori) 1

23 May, Berlin, Städtische Oper

Verdi: Rigoletto (T. Dal Monte, M. Vasari; G. Lauri Volpi, C. Galeffi, A. Marone) 1

25 May, same venue

Donizetti: Lucia di Lammermoor (T. Dal Monte; A. Pertile, B. Franci, A. Righetti) 1

26 May, Berlin, Staatsoper

Verdi: Il trovatore (G. Arangi Lombardi, E. Casazza; G. Lauri Volpi, B. Franci, A.

Righetti) 1

27 May, same venue

Puccini: Manon Lescaut (R. Pampanini; A. Pertile, E. Badini, S. Baccaloni) 1

29 May, same venue

Verdi: Aida (G. Arangi Lombardi, A. Dal Monte; A. Pertile, C. Galeffi, A. Righetti) 1

3, 4, 5, and 6 October, New York, Carnegie Hall (with Philharmonic-Symphony Orchestra of

New York)

142
Schumann: Manfred Overture; Strauss: Don Quixote (A. Wallenstein); Beethoven:

Symphony No. 7

10, 11, and 13 October, same venue

Rossini: Overture to L’italiana in Algeri; Brahms: Symphony No. 3; NP Tommasini:

Carnival of Venice; Wagner: “Daybreak” and “Siegfried’s Rhine Journey” from

Götterdämmerung

17, 18, and 19 October, same venue

Paër: Overture to Sargino; Beethoven: Symphony No. 8; Franck: Les Eolides; Respighi:

Feste romane

20 October, Brooklyn, Academy of Music

Paër: Overture to Sargino; Beethoven: Symphony No. 8; Franck: Les Eolides; Respighi:

Feste romane

24, 25, and 27 October, New York, Carnegie Hall

Mozart: Adagio and Fugue in C minor; Brahms: Double Concerto (S. Guidi, A.

Wallenstein); Stravinsky: Fireworks; Debussy: La Mer

31 October and 1 November, same venue

Berlioz: Harold en Italie (R. Pollain); NP A. Busch: Variations on a Theme of Mozart;

Roger-Ducasse: Sarabande (Schola Cantorum); Sibelius: Finlandia

2 November, same venue

Berlioz: Harold en Italie (R. Pollain); Mozart: Adagio and Fugue in C minor;

Tommasini: Carnival of Venice; Wagner: “Daybreak” and “Siegfried’s Rhine

Journey” from Götterdämmerung

3 November, New York, Metropolitan Opera House

143
Berlioz: Harold en Italie (R. Pollain); Franck: Les Eolides; Respighi: Feste romane

4 November, Philadelphia, Academy of Music

Rossini: Overture to L’italiana in Algeri; Beethoven: Symphony No. 7; Tommasini:

Carnival of Venice; Wagner: “Daybreak” and “Siegfried’s Rhine Journey” from

Götterdämmerung

7, 8, and 10 November, New York, Carnegie Hall

Beethoven: Coriolan Overture; Haydn: Symphony No. 88; Strauss: Ein Heldenleben

14, 15, and 17 November, same venue

Handel: Concerto Grosso Op. 6 No. 12; WP Wetzler: Symphonic Dance from The

Basque Venus; Mozart: Masonic Funeral Music; Beethoven: Adagio from The

Creatures of Prometheus; NP Ravel: Boléro; Wagner: Prelude to Die

Meistersinger

20 and 22 November, same venue

Beethoven: Overture No. 3 to Leonore; Mozart: Symphony No. 41 (“Jupiter”); NP

Kodály: Psalmus Hungaricus (D. Gridley, Schola Cantorum, St. Patrick’s Boys

Choir); Wagner: “Siegfried’s Death and Funeral Music” from Götterdämmerung,

“Ride of the Valkyries” from Die Walküre

23 November, same venue

Beethoven: Overture No. 3 to Leonore; Mozart: Symphony No. 41 (“Jupiter”);

Stravinsky: Fireworks; Ravel: Boléro; Wagner: Prelude to Die Meistersinger

24 November, Brooklyn, Academy of Music

144
Beethoven: Overture No. 3 to Leonore; Mozart: Symphony No. 41 (“Jupiter”); Wagner:

“Daybreak,” “Siegfried’s Rhine Journey,” and “Siegfried’s Death and Funeral

Music” from Götterdämmerung; “Ride of the Valkyries” from Die Walküre

1930

27, 28 February and 1 March, New York, Carnegie Hall

Mozart: Symphony No. 38 (“Prague”); WP Pizzetti: Rondò veneziano; Wagner: Overture

to Tannhäuser (Paris version); Borodin: Polovetsian Dances from Prince Igor

2 March, New York, Metropolitan Opera House

Mozart: Symphony No. 38 (“Prague”); Pizzetti: Rondò veneziano; Wagner: Overture to

Tannhäuser (Paris version); Borodin: Polovetsian Dances from Prince Igor

3 March, Philadelphia, Academy of Music

Mozart: Symphony No. 38 (“Prague”); Pizzetti: Rondò veneziano; Wagner: Overture to

Tannhäuser (Paris version); Ravel: Boléro

4 March, Washington, ?

Mozart: Symphony No. 38 (“Prague”); Pizzetti: Rondò veneziano; Wagner: Overture to

Tannhäuser (Paris version); Ravel: Boléro

5 March, Baltimore, ?

Mozart: Symphony No. 38 (“Prague”); Pizzetti: Rondò veneziano; Wagner: Overture to

Tannhäuser (Paris version); Ravel: Boléro

7 March, New York, Carnegie Hall

Rossini: Overture to L’italiana in Algeri; Franck: Les Eolides; Ravel: Boléro; Beethoven:

Symphony No. 3

145
9 March, same venue

Beethoven: Symphonies Nos. 7 and 3

13, 14, and 15 March, same venue

Weber: Overture, Ruler of the Spirits; Beethoven: Symphony No. 2; Mussorgsky-Ravel:

Pictures at an Exhibition; Respighi: Fontane di Roma

16 March, New York, Metropolitan Opera House

Rossini: Overture to L’italiana in Algeri; Mozart: Symphony No. 41; Respighi: Fontane

di Roma; Dukas: The Sorcerer’s Apprentice; Wagner: Prelude and Liebestod from

Tristan und Isolde

20, 21, and 22 March, New York, Carnegie Hall

Rossini: Overture to Il Signor Bruschino; Haydn: Symphony No. 99 in E-flat; Debussy:

Prélude à l’après-midi d’un faune; Berlioz: “Queen Mab” from Roméo et Juliette;

Strauss: Tod und Verklàrung

22 March, same venue

Wagner: Prelude to Die Meistersinger (at a Children’s Concert)

23 March, Brooklyn, Academy of Music

Rossini: Overture to Il Signor Bruschino; Haydn: Symphony No. 99 in E-flat; Debussy:

Prélude à l’après-midi d’un faune; Berlioz: “Queen Mab” from Roméo et Juliette;

Strauss: Tod und Verklàrung

27 and 28 March, New York, Carnegie Hall

Wagner: Eine Faust-Ouvertüre; Goossens: Sinfonietta; Boccherini: Cello Concerto in D

G. 483 (Wallenstein); Strauss: Till Eulenspiegel

29 March, same venue

146
Goossens: Sinfonietta; Strauss: Till Eulenspiegel; Boccherini: Cello Concerto in D G. 483

(Wallenstein); Dukas: The Sorcerer’s Apprentice; Wagner: Prelude and Liebestod

from Tristan und Isolde

30 March, same venue

Goossens: Sinfonietta; Boccherini: Cello Concerto in D G. 483 (Wallenstein); Debussy:

Prélude à l’après-midi d’un faune; Berlioz: “Queen Mab” from Roméo et Juliette;

Strauss: Tod und Verklàrung

3 and 4 April, same venue

Schumann: Symphony No. 3; WP Kodály: Summer Evening; Smetana: The Moldau;

Wagner: “Siegfried’s Death and Funeral Music” from Götterdämmerung

5 and 6 April, same venue

Schumann: Symphony No. 3; Kodály: Summer Evening; Debussy: La Mer

9 and 11 April, same venue

Brahms: Symphony No. 3; NP Castelnuovo-Tedesco: Symphonic Variations for violin

and orchestra (S. Guidi); Mendelssohn: Nocturne and Scherzo from A Midsummer

Night’s Dream; Wagner: Prelude and Liebestod from Tristan und Isolde

12 and 13 April, same venue

Brahms: Symphony No. 3; Castelnuovo-Tedesco: Symphonic Variations for violin and

orchestra (S. Guidi); Mendelssohn: Nocturne and Scherzo from A Midsummer

Night’s Dream; Smetana: The Moldau

16 and 17 April, same venue

Wagner: Prelude to Die Meistersinger, Prelude and “Good Friday Spell” from Parsifal,

“Forest Murmurs” from Siegfried; Brahms: “Haydn” Variations; Honegger:

147
Pastorale d’été and Pacific 231; Bach-Respighi: Passacaglia and Fugue in C

minor

19 and 20 April, same venue

Cherubini: Overture to Anacréon; Haydn: Symphony No. 101 (“Clock”); Wagner:

“Forest Murmurs” from Siegfried; Elgar: “Enigma” Variations

EUROPEAN TOUR OF THE PHILHARMONIC-SYMPHONY ORCHESTRA OF NEW

YORK

3 May, Paris, Opéra

Beethoven: Symphony No. 3; Brahms: “Haydn” Variations; Mendelssohn: Nocturne and

Scherzo from A Midsummer Night’s Dream; Wagner: Prelude and Liebestod from

Tristan und Isolde

4 May, same venue

Haydn: Symphony No. 101 (“Clock”); Debussy: La Mer; NP Pizzetti: Rondò veneziano;

Ravel: Boléro; Wagner: Prelude to Act I of Die Meistersinger

6 May, Zurich, Tonhalle

Wagner: Eine Faust-Ouvertüre; Mussorgsky-Ravel: Pictures at an Exhibition;

Mendelssohn: Nocturne and Scherzo from A Midsummer Night’s Dream;

Honegger: Pastorale d’été and Pacific 231; Bach-Respighi: Passacaglia and

Fugue in C minor

8 May, Milan, Teatro alla Scala

148
Rossini: Overture to L’italiana in Algeri; Schumann: Symphony No. 3; NP Pizzetti:

Rondò veneziano; Mendelssohn: Nocturne and Scherzo from A Midsummer

Night’s Dream; Bach-Respighi: Passacaglia and Fugue in C minor

9 May, same venue

Wagner: Eine Faust-Ouvertüre; Mussorgsky-Ravel: Pictures at an Exhibition;

Tommasini: Carnival of Venice; Franck: Les Eolides; Ravel: Boléro

10 May, Turin, Teatro Regio

Mozart: Symphony No. 35 (“Haffner”); Debussy: La Mer; Wagner: Overture to

Tannhäuser (Paris version); Bach-Respighi: Passacaglia and Fugue in C minor

12 May, Rome, Augusteo

Rossini: Overture to L’italiana in Algeri; Brahms: Symphony No. 2; Tommasini:

Carnival of Venice; Respighi: Feste romane

13 May, same venue

Beethoven: Symphony No. 3; Mussorgsky-Ravel: Pictures at an Exhibition;

Mendelssohn: Nocturne and Scherzo from A Midsummer Night’s Dream; Bach-

Respighi: Passacaglia and Fugue in C minor

14 May, Florence, Politeama Fiorentino

Haydn: Symphony No. 101 (“Clock”); Debussy: La Mer; Pizzetti: Rondò veneziano;

Mendelssohn: Nocturne and Scherzo from A Midsummer Night’s Dream; Strauss:

Till Eulenspiegel; Wagner: Prelude and Liebestod from Tristan und Isolde

16 May, Munich, Tonhalle

149
Haydn: Symphony No. 101 (“Clock”); Beethoven: Overture No. 3 to Leonore; Debussy:

Prélude à l’après-midi d’un faune; Berlioz: “Queen Mab” from Roméo et Juliette;

Strauss: Tod und Verklàrung

18 May, Vienna, Staatsoper

Haydn: Symphony No. 101 (“Clock”); Beethoven: Overture No. 3 to Leonore; Debussy:

Prélude à l’après-midi d’un faune; Berlioz: “Queen Mab” from Roméo et Juliette;

Strauss: Tod und Verklàrung

19 May, same venue

Beethoven: Symphony No. 3; Mendelssohn: Nocturne and Scherzo from A Midsummer

Night’s Dream; Wagner: Overture to Tannhäuser (Paris version); Ravel: Boléro

21 May, Budapest, Városi Színház

Rossini: Overture to L’italiana in Algeri; Beethoven: Symphony No. 7; NP Kodály:

Summer Evening; Debussy: La Mer; Wagner: Prelude and Liebestod from Tristan

und Isolde

23 May, Prague, Lucerna Hall

Rossini: Overture to L’italiana in Algeri; Beethoven: Symphony No. 7; Smetana: The

Moldau; Mendelssohn: Nocturne and Scherzo from A Midsummer Night’s Dream;

Wagner: Prelude and Liebestod from Tristan und Isolde

25 May, Leipzig, Gewandhaus

Beethoven: Symphony No. 3; Mendelssohn: Nocturne and Scherzo from A Midsummer

Night’s Dream; Wagner: Overture to Tannhäuser (Paris version); Ravel: Boléro

26 May, Dresden, Staatsoper

150
Weber: Overture, Ruler of the Spirits; Beethoven: Symphony No. 7; Debussy: La Mer;

Mendelssohn: Nocturne and Scherzo from A Midsummer Night’s Dream;

Wagner: Prelude and Liebestod from Tristan und Isolde

27 May, Berlin, Philharmonie

Haydn: Symphony No. 101 (“Clock”); Beethoven: Overture No. 3 to Leonore; NP

Pizzetti: Rondò veneziano; Mendelssohn: Nocturne and Scherzo from A

Midsummer Night’s Dream; Debussy: La Mer

28 May, same venue

Beethoven: Symphony No. 3; Brahms: “Haydn” Variations; Strauss: Tod und Verklàrung

30 May, Brussels, Palais des Arts

Beethoven: Symphony No. 3; Franck: Les Eolides; Debussy: Prélude à l’après-midi d’un

faune; Berlioz: “Queen Mab” from Roméo et Juliette; Strauss: Till Eulenspiegel

1 June, London, Royal Albert Hall

Rossini: Overture to L’italiana in Algeri; Brahms: Symphony No. 2; Wagner: Overture to

Tannhäuser (Paris version); Beethoven: Overture No. 3 to Leonore

2 June, London, Queen’s Hall

Haydn: Symphony No. 101 (“Clock”); Elgar: “Enigma” Variations; Debussy: La Mer;

Mendelssohn: Nocturne and Scherzo from A Midsummer Night’s Dream;

Wagner: Prelude and Liebestod from Tristan und Isolde

3 June, London, Royal Albert Hall

Goossens: Sinfonietta; Strauss: Tod und Verklàrung; Franck: Les Eolides; Mussorgsky-

Ravel: Pictures at an Exhibition

4 June, London, Queen’s Hall

151
Beethoven: Symphony No. 3; Brahms: “Haydn” Variations; Bach-Respighi: Passacaglia

and Fugue in C minor; Wagner: Prelude to Die Meistersinger

END OF TOUR

22 July, Bayreuth, Festspielhaus

Wagner: Tannhäuser (M. Müller, R. Jost Arden; S. Pilinsky/R. Ritter, G. Hüsch/H.

Janssen, I. Andresen/A. Kipnis) 5

23 July, same venue

Wagner: Tristan und Isolde (N. Larsén-Todsen, A. Helm; L. Melchior, R. Bockelmann,

A. Kipnis) 3

8 August, same venue

Wagner: Siegfried Idyll (on Siegfried Wagner memorial concert, shared with Karl Muck

and Karl Elmendorff)

13, 14, and 16 November, New York, Carnegie Hall (with Philharmonic-Symphony Orchestra of

New York)

Bach-Respighi: Three Chorale Preludes; Beethoven: Symphony No. 1; Brahms:

Symphony No. 1

19 and 21 November, same venue

Schubert: “Unfinished” Symphony; Schubert-Liszt: “Wanderer” Fantasy (A. Siloti);

Liszt: “Mephisto” Waltz; Liszt: Danse macabre (Paraphrase of Dies Irae) (A.

Siloti)

22 November, same venue

152
Cherubini: Overture to Anacréon; Mozart: Symphony No. 35 (“Haffner”); Strauss: Ein

Heldenleben

23 November, New York, Metropolitan Opera House

Cherubini: Overture to Anacréon; Mozart: Symphony No. 35 (“Haffner”); Strauss: Ein

Heldenleben

28 and 29 November and 1 and 3 December, Philadelphia, Academy of Music (with Philadelphia

Orchestra)

Cherubini: Overture to Anacréon; Mozart: Symphony No. 35 (“Haffner”); Strauss: Ein

Heldenleben

5 and 6 December, same as previous

Bach-Respighi: Three Chorale Preludes; Beethoven: Symphony No. 1; Brahms:

Symphony No. 1

8 December, same as previous

Wagner: “Siegfried’s Death and Funeral Music” from Götterdämmerung, Prelude to

Lohengrin, Siegfried Idyll, Overture to Tannhäuser (Paris version), Prelude and

Liebestod from Tristan und Isolde

11 and 12 December, New York, Carnegie Hall (with Philharmonic-Symphony Orchestra of

New York)

Wolf-Ferrari: Overture to Il segreto di Susanna; Beethoven: Symphony No. 6; Kodály:

Dances of Marosszék; Bach-Respighi: Passacaglia and Fugue in C minor

14 December, New York, Metropolitan Opera House

Wolf-Ferrari: Overture to Il segreto di Susanna; Beethoven: Symphony No. 6; Kodály:

Dances of Marosszék; Bach-Respighi: Passacaglia and Fugue in C minor

153
15 December, Philadelphia, Academy of Music

Schubert: “Unfinished” Symphony; Bach-Respighi: Passacaglia and Fugue in C minor;

Beethoven: Symphony No. 3

16 December, Washington, ?

Schubert: “Unfinished” Symphony; Bach-Respighi: Passacaglia and Fugue in C minor;

Brahms: Symphony No. 1

17 December, Baltimore, ?

Schubert: “Unfinished” Symphony; Bach-Respighi: Passacaglia and Fugue in C minor;

Brahms: Symphony No. 1

18 December, New York, Carnegie Hall

Wagner: Prelude to Lohengrin, Overture to Tannhäuser (Paris version), Prelude to Die

Meistersinger, Siegfried Idyll, “Siegfried’s Death and Funeral Music” from

Götterdämmerung, Prelude and Liebestod from Tristan und Isolde

21 December, same venue

Schubert: “Unfinished” Symphony; Wagner: Overture to Tannhäuser (Paris version);

Beethoven: Symphony No. 3

25 and 26 December, same venue

Franck: Symphony; Roussel: The Spider’s Feast; Debussy: “Nuages” and “Fêtes” from

Trois Nocturnes; Berlioz: “Rakóczy” March from La Damnation de Faust

27 December, same venue

Schubert: “Unfinished” Symphony; Bach-Respighi: Passacaglia and Fugue in C minor;

Beethoven: Symphony No. 3

28 December, same venue

154
Franck: Symphony; Roussel: The Spider’s Feast; Debussy: “Nuages” and “Fêtes” from

Trois Nocturnes; Berlioz: “Rakóczy” March from La Damnation de Faust

1931

1 and 2 January, same venue

Sammartini: Symphony No. 3; Haydn: Symphony No. 31 (“Hornsignal”); Tommasini:

Serenata from Chiari di luna; Sibelius: En Saga; Martucci: Danza (Tarantella)

3 January, same venue

Franck: Symphony; Roussel: The Spider’s Feast; Debussy: “Nuages” and “Fêtes” from

Trois Nocturnes; Berlioz: “Rakóczy” March from La Damnation de Faust

4 January, Brooklyn, Academy of Music

Sammartini: Symphony No. 3; Haydn: Symphony No. 31 (“Horncall”); Tommasini:

Serenata from Chiari di luna; Sibelius: En Saga; Martucci: Danza (Tarantella)

7 and 9 January, New York, Carnegie Hall

Raff: Symphony No. 3; d’Indy: “Istar” Variations; Glinka: Kamarinskaya; Rossini:

Overture to The Siege of Corinth

11 January, New York, Metropolitan Opera House

Wagner: Prelude to Lohengrin, Overture to Tannhäuser (Paris version), “Siegfried’s

Rhine Journey” from Götterdämmerung, Prelude and Liebestod from Tristan und

Isolde, Prelude to Die Meistersinger, Siegfried Idyll

15 and 16 January, New York, Carnegie Hall

Verdi: Messa da Requiem (Rethberg, Matzenauer; Chamlee, Pinza; Schola Cantorum)

17 January, same venue

155
Wagner: Prelude to Lohengrin, Overture to Tannhäuser (Paris version), “Siegfried’s

Rhine Journey” from Götterdämmerung, Prelude and Liebestod from Tristan und

Isolde, Prelude to Die Meistersinger, Siegfried Idyll

18 January, same venue

Wolf-Ferrari: Overture to Il segreto di Susanna; Haydn: Symphony No. 31 (“Horncall”);

d’Indy: “Istar” Variations; Glinka: Kamarinskaya; Strauss: Death and

Transfiguration

26, 27, and 28 February, same venue

Weber: Overture to Oberon; Schumann: Symphony No. 4; Saint-Saëns: Symphony No. 3

1 March, New York, Metropolitan Opera House

Weber: Overture to Oberon; Schumann: Symphony No. 4; Dvořák: “New World”

Symphony

4, 6, and 7 March, New York, Carnegie Hall

Bruckner: Symphony No. 7; Beethoven: Symphony No. 5

8 March, same venue

Bruckner: Symphony No. 7; Saint-Saëns: Symphony No. 3

9 March, Philadelphia, Academy of Music

Weber: Overture to Oberon; Schumann: Symphony No. 4; Franck: Symphony

10 March, Washington, ?

Weber: Overture to Oberon; Schumann: Symphony No. 4; Franck: Symphony

11 March, Baltimore, ?

Weber: Overture to Oberon; Schumann: Symphony No. 4; Franck: Symphony

15 March, New York, Metropolitan Opera House

156
Rossini: Overture to Il barbiere di Siviglia; Haydn: Symphony No. 88 in G; Wagner:

Overture to Der fliegende Holländer, Prelude to Act III of Tannhäuser, Prelude to

Act III of Lohengrin, “Forest Murmurs” from Siegfried, “Ride of the Valkyries”

from Die Walküre

19, 20, and 21 March, New York, Carnegie Hall

Dvořák: Otello Overture; Sibelius: Symphony No. 4; Strauss: Don Quixote (A.

Wallenstein)

22 March, Brooklyn, Academy of Music

Dvořák Otello Overture; Sibelius: Symphony No. 4; Wagner: Overture to Tannhäuser

(Paris version), Prelude to Die Meistersinger

26, 27, 28, and 29 March, New York, Carnegie Hall

Gluck: Overture to Iphigénie en Aulide; Brahms: Symphony No. 3; Elgar: Introduction

and Allegro; Ravel: Daphnis et Chloé, Suite No. 2

1, 2, 4, and 5 April, same venue

Beethoven: Symphony No. 4; Wagner: Prelude to Parsifal; Franck: “Psyché et Eros”

from Psyché; Smetana: The Moldau

8 April, same venue

Smetana: Overture to The Bartered Bride; Shostakovich: Symphony No. 1; Chasins:

Flirtation in a Chinese Garden and Parade; Rimsky-Korsakov: Suite from The

Snow Maiden; Wagner: Overture to Der fliegende Holländer

9 April, Hartford, ?

157
Rossini: Overture to Il barbiere di Siviglia; Haydn: Symphony No. 88 in G; Wagner:

Prelude to Lohengrin, Overture to Tannhäuser (Paris version), “Forest Murmurs”

from Siegfried, Prelude to Die Meistersinger

10 and 12 April, New York, Carnegie Hall

Smetana: Overture to The Bartered Bride; Shostakovich: Symphony No. 1; Chasins:

Flirtation in a Chinese Garden and Parade; Rimsky-Korsakov: Suite from The

Snow Maiden; Wagner: Overture to Der fliegende Holländer

16 and 17 April, same venue

J. C. Bach: Sinfonia in D, Op. 18 No. 3; Mozart: Symphony No. 40 in G minor; WP

Pizzetti: Introduction to the Agamemnon of Aeschylus (Schola Cantorum); Verdi:

Te Deum from the Four Sacred Pieces (Schola Cantorum); Bach-Respighi:

Passacaglia and Fugue in C minor

18 April, same venue

Smetana: Overture to The Bartered Bride; Shostakovich: Symphony No. 1; Chasins:

Flirtation in a Chinese Garden and Parade; Rimsky-Korsakov: Suite from The

Snow Maiden; Wagner: Overture to Der fliegende Holländer

19 April, same venue

J. C. Bach: Sinfonia in D, Op. 18 No. 3; Mozart: Symphony No. 40 in G minor; Don

Quixote (A. Wallenstein)

21 July, Bayreuth, Festspielhaus

Wagner: Tannhäuser (M. Müller, A. Helm; L. Melchior/S. Pilinsky, G. Hüsch, I.

Andresen/J. Von Manowarda) 5

22 July, same venue

158
Wagner: Parsifal (M. Bunlet/E. Ohms; G. Graarud/F. Wolff, H. Janssen, G. Ditter, I.

Andresen/J. von Manowarda) 5

26 and 27 November, New York, Carnegie Hall (with Philharmonic-Symphony Orchestra of

New York)

Mozart: Symphony No. 29 in A; Bach: Violin Concerto in A minor (A. Busch); Franck:

Interlude from Rédemption; Beethoven: Violin Concerto (A. Busch); Wagner:

Overture to Der fliegende Hollander

29 November, New York, Metropolitan Opera House

Wagner: Overture to Der fliegende Hollander; Schumann: Symphony No. 3; Brahms:

“Haydn” Variations; Franck: Interlude from Rédemption; Respighi: Pini di Roma

3, 4, 5, and 6 December, New York, Carnegie Hall

J. C. Bach: Sinfonia in E-flat, Op. 18 No. 1; Mendelssohn: Symphony No. 5

(“Reformation”); Graener: Suite, The Flute of Sans-Souci; Pizzetti: Concerto

dell’estate

10 and 11 December, same venue

WP? NP Castelnuovo-Tedesco: Overture, The Taming of the Shrew; Brahms: Symphony

No. 4; Dvořák: Symphonic Variations; Weber-Berlioz: Invitation to the Dance

13 December, New York, Metropolitan Opera House

Castelnuovo-Tedesco: Overture, The Taming of the Shrew; Brahms: Symphony No. 4;

Dvořák: Symphonic Variations; Weber-Berlioz: Invitation to the Dance

14 December, Philadelphia, Academy of Music

159
Mozart: Symphony No. 29 in A; Bach: Violin Concerto in A minor (A. Busch); Franck:

Interlude from Rédemption; Beethoven: Violin Concerto (A. Busch); Wagner:

Overture to Der fliegende Hollander

15 December, Washington, ?

Mozart: Symphony No. 29 in A; Bach: Violin Concerto in A minor (A. Busch); Franck:

Interlude from Rédemption; Beethoven: Violin Concerto (A. Busch); Wagner:

Overture to Der fliegende Hollander

16 December, Baltimore, ?

Mozart: Symphony No. 29 in A; Bach: Violin Concerto in A minor (A. Busch); Franck:

Interlude from Rédemption; Beethoven: Violin Concerto (A. Busch); Wagner:

Overture to Der fliegende Hollander

20 December, New York, Carnegie Hall

Cherubini: Overture to Medea; Brahms: Symphony No. 1; Strauss: Don Juan; Ravel:

Boléro

1932

28 April, same venue

Wagner: Prelude and “Good Friday Spell” from Parsifal; Beethoven: Symphony No. 9

(Rethberg, Matzenauer; Martinelli, Pinza; Schola Cantorum)

17 June, Paris, Théâtre des Champs-Elysées (musicians from various Paris orchestras)

Debussy: La Mer (concert shared with P. Gaubert, D.-E. Inghelbrecht, and F.

Weingartner)

160
6, 7, 8, and 9 October, New York, Carnegie Hall (Philharmonic-Symphony Orchestra of New

York)

Bach-Schoenberg: Prelude and Fugue in E-flat; Brahms: Symphony No. 3; NP Tansman:

Four Polish Dances; Debussy: La Mer

13, 14, and 15 October, same venue

Bach-Vivaldi: Concerto for four pianos [sic] and orchestra in A minor (M. Carreras, F.

Sheridan, Z. Kurthy, M. Marshall); Schumann: Symphony No. 2; Sibelius: The

Swan of Tuonela; d’Indy: “Istar” Variations; Rossini: Overture to Semiramide

16 October, Brooklyn, Academy of Music

Bach-Vivaldi: Concerto for four pianos [sic] and orchestra in A minor (M. Carreras, F.

Sheridan, Z. Kurthy, M. Marshall); Schumann: Symphony No. 2; Sibelius: The

Swan of Tuonela; d’Indy: “Ishtar” Variations; Rossini: Overture to Semiramide

20 and 21 October, New York, Carnegie Hall

Mozart: Symphony No. 28 in C; Schelling: Impressions from an Artist’s Life (E.

Schelling); Franck-Pierné: Prelude, Chorale, and Fugue; Wagner: “Dawn and

Siegfried’s Rhine Journey” from Götterdämmerung

22 and 23 October, same venue

Beethoven: Symphony No. 6; Franck-Pierné: Prelude, Chorale, and Fugue; Wagner:

“Dawn and Siegfried’s Rhine Journey” from Götterdämmerung

24 October, Philadelphia, Academy of Music

Bach-Schoenberg: Prelude and Fugue in E-flat; Brahms: Symphony No. 3; Tansman:

Four Polish Dances; Debussy: La Mer

25 October, Baltimore, ?

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Bach-Schoenberg: Prelude and Fugue in E-flat; Brahms: Symphony No. 3; Tansman:

Four Polish Dances; Debussy: La Mer

27 and 28 October, New York, Carnegie Hall

Beethoven: Overture to Fidelio; Mendelssohn: Symphony No. 4 (“Italian”); Busoni:

Berceuse élégiaque and Rondò arlecchinesco; Strauss: Don Juan

30 October, New York, Metropolitan Opera House

Beethoven: Overture to Fidelio; Mendelssohn: Symphony No. 4 (“Italian”); Busoni:

Berceuse élégiaque and Rondò arlecchinesco; Strauss: Don Juan

2 November, New York, Carnegie Hall

Wagner: Overture to Der fliegende Holländer, Siegfried Idyll, Act I Scene 3 from Die

Walküre (E. Alsen, P. Althouse), Overture to Tannhäuser (Paris version), Prelude

and Liebestod from Tristan und Isolde

3 and 4 November, same venue

Beethoven: Symphony No. 6; Sibelius: En Saga; Enesco: “Romanian” Rhapsody No. 1

6 November, same venue

Beethoven: Symphony No. 5; Sibelius: En Saga; Enesco: “Romanian” Rhapsody No. 1

7 November, Philadelphia, Academy of Music

Beethoven: Overture to Fidelio; Schumann: Symphony No. 2; Sibelius: En Saga; Enesco:

“Romanian” Rhapsody No. 1

10, 11, and 13 November, New York, Carnegie Hall

Bossi: Intermezzi goldoniani; WP Wagenaar: Symphony No. 2; Brahms: “Haydn”

Variations; Strauss: Till Eulenspiegel

16, 18, and 19 November, same venue

162
Schubert: “Great C-Major” Symphony; Debussy: Prélude à l’après-midi d’un faune;

Berlioz: “Queen Mab” from Roméo et Juliette; Bach-Respighi: Passacaglia and

Fugue in C minor

17 November, Greenwich, ?

Beethoven: Symphony No. 6; Sibelius: The Swan of Tuonela; d’Indy: “Istar” Variations;

Rossini: Overture to Semiramide

20 November, Brooklyn, Academy of Music

Schubert: “Great C-Major” Symphony; Wagner: Siegfried Idyll; Wagner: Overture to

Tannhäuser (Paris version)

24 and 25 November, New York, Carnegie Hall

Bruckner: Symphony No. 4; Viotti: Violin Concerto in A minor, Op. 22 (M. Piastro);

Beethoven: Overture No. 3 to Leonore

27 November, New York, Metropolitan Opera House

Beethoven: Symphony No. 3; Wagner: Act I Scene 3 from Die Walküre (E. Alsen, P.

Althouse); Wagner: Prelude and Liebestod from Tristan und Isolde (E. Alsen)

1933

1, 3, and 5 March, New York, Carnegie Hall

Wagner: Eine Faust-Ouvertüre; Hanson: Symphony No. 2; Strauss: Ein Heldenleben

4 March, same venue

Wagner: Eine Faust-Ouvertüre; Mendelssohn: Symphony No. 4 (“Italian”); Strauss: Ein

Heldenleben

6 March, Philadelphia, Academy of Music

163
Beethoven: Symphony No. 3; Wagner: Overture to Tannhäuser (Paris version); Wagner:

Prelude and Liebestod from Tristan und Isolde

7 March, Washington, ?

Beethoven: Symphony No. 3; Wagner: Overture to Tannhäuser (Paris version); Wagner:

Prelude and Liebestod from Tristan und Isolde

8 March, Baltimore, ?

Beethoven: Symphony No. 3; Wagner: Overture to Tannhäuser (Paris version); Wagner:

Prelude and Liebestod from Tristan und Isolde

12 March, New York, Metropolitan Opera House

Franck: Symphony; Ravel: Boléro; Respighi: Pini di Roma

15 March, Hartford, ?

Wagner: Eine Faust-Ouvertüre; Mendelssohn: Symphony No. 4 (“Italian”); Strauss: Ein

Heldenleben

16 and 17 March, New York, Carnegie Hall

Tchaikovsky: “Manfred” Symphony; Weprik: Dances and Songs of the Ghetto;

Mossolov: Iron Foundry; Borodin: “Polovetsian” Dances from Prince Igor

19 March, Brooklyn, Academy of Music

Tchaikovsky: “Manfred” Symphony; Wagner: Preludes to Acts I and III of Lohengrin,

“Forest Murmurs” from Siegfried, “Dawn and Siegfried’s Rhine Journey” from

Götterdämmerung

23 and 24 March, New York, Carnegie Hall

164
Castelnuovo-Tedesco: Overture, The Taming of the Shrew; Mendelssohn: Symphony No.

5 (“Reformation”); Schumann: Cello Concerto (A. Wallenstein); Respighi:

Ballata delle gnomidi

25 March, same venue

Castelnuovo-Tedesco: Overture, The Taming of the Shrew; Mendelssohn: Symphony No.

5 (“Reformation”); Wagner: Prelude to Lohengrin; Respighi: Ballata delle

gnomidi

26 March, same venue

Beethoven: Overture to Egmont; Symphonies Nos. 1 and 2

30 and 31 March and 1 April, same venue

Mozart: Symphonies Nos. 1 and 41 (“Jupiter”); De Sabata: Gethsemani; Berlioz:

Overture to Benvenuto Cellini

2 April, same venue

Beethoven: Symphonies Nos. 4 and 3

5 and 7 April, same venue

Bach: “Brandenburg” Concerto No. 6; Brahms: Violin Concerto (J. Heifetz);

Tchaikovsky: The Tempest; Wagner: Prelude to Die Meistersinger

8 April, same venue

Franck: Symphony; Tchaikovsky: The Tempest; Wagner: Prelude to Die Meistersinger

9 April, same venue

Beethoven: Symphonies Nos. 6 and 5

12 and 13 April, same venue

165
Cherubini: Overture to Anacréon; WP Castelnuovo-Tedesco: Violin Concerto No. 2

(“The Prophets”) (J. Heifetz); Wagner: Prelude and “Good Friday Spell” from

Parsifal, “Dawn and Siegfried’s Rhine Journey” from Götterdämmerung

15 April, same venue

Beethoven: Overture to Egmont, Symphony No. 4; Wagner: Prelude and “Good Friday

Spell” from Parsifal, “Dawn and Siegfried’s Rhine Journey” from

Götterdämmerung

16 April, same venue

Beethoven: Coriolan Overture, Triple Concerto (M. Carreras, M. Piastro, A.

Wallenstein), Symphony No. 7

20 and 21 April, same venue

Geminiani: Concerto Grosso in C minor, Op. 2 No. 2; Martucci: Symphony No. 1;

Mendelssohn: Violin Concerto (R. Bolognini); Wagner: Overture to Der fliegende

Holländer

22 April, same venue

Geminiani: Concerto Grosso in C minor, Op. 2 No. 2; Martucci: Symphony No. 1;

Wagner: Preludes to Acts I and III of Lohengrin, “Forest Murmurs” from

Siegfried, Overture to Der fliegende Holländer

23 April, same venue

Beethoven: Overture, King Stephen; Piano Concerto No. 5 (V. Horowitz); Symphony No.

8; Overture No. 3 to Leonore

12 October, Paris, Théâtre des Champs-Elysées (Orchestre des Concerts Walther-Straram)

166
Pizzetti: Concerto dell’estate; Respighi: Pini di Roma; Debussy: Prélude à l’après-midi

d’un faune; Berlioz: “Queen Mab” from Roméo et Juliette; Dukas: The Sorcerer’s

Apprentice; Ravel: Daphnis et Chloé, Second Suite

17 October, same venue

Wagner: Preludes to Acts I and III of Lohengrin, “Good Friday Spell” from Parsifal,

Overture to Tannhäuser (Paris version), Siegfried Idyll, “Dawn and Siegfried’s

Rhine Journey” from Götterdämmerung, Prelude and Liebestod from Tristan und

Isolde, Prelude to Die Meistersinger

18 October, Paris, ?

Wagner: Preludes to Acts I and III of Lohengrin, “Good Friday Spell” from Parsifal,

Overture to Tannhäuser (Paris version), Siegfried Idyll, “Dawn and Siegfried’s

Rhine Journey” from Götterdämmerung, Prelude and Liebestod from Tristan und

Isolde, Prelude to Die Meistersinger

23 and 24 October, Vienna, Musikvereinssaal (with Vienna Philharmonic

Mozart: Symphony No. 35 (“Haffner”); Brahms: “Haydn” Variations; Beethoven:

Symphony No. 7; Wagner: Prelude to Die Meistersinger

28 and 29 October, same venue

Cherubini: Overture to Anacréon; Brahms: Symphony No. 3; Debussy: La Mer;

Respighi: Pini di Roma

30 October, Budapest, Varósi Színház (with Vienna Philharmonic)

Mozart: Symphony No. 35 (“Haffner”); Brahms: “Haydn” Variations; Beethoven:

Symphony No. 7; Wagner: Prelude to Die Meistersinger

29 November, Stockholm, Konserthuset (with Konsertförenigens Orkester)

167
Cherubini: Overture to Anacréon; Debussy: Prélude à l’après-midi d’un faune; Berlioz:

“Queen Mab” from Roméo et Juliette; Wagner: Overture to Tannhäuser (Paris

version); Beethoven: Symphony No. 7

3 December, same venue

Rossini: Overture to Il barbiere di Siviglia; Brahms: Symphony No. 3; Strauss: Don

Juan; Martucci: Notturno and Novelletta; Wagner: “Dawn and Siegfried’s Rhine

Journey” from Götterdämmerung

5 December, Copenhagen, ?

Rossini: Overture to Il barbiere di Siviglia; Brahms: Symphony No. 3; Strauss: Don

Juan; Martucci: Notturno and Novelletta; Wagner: “Dawn and Siegfried’s Rhine

Journey” from Götterdämmerung

1934

11 and 12 January, New York, Carnegie Hall (with the Philharmonic-Symphony Orchestra of

New York)

Beethoven: Overture to Egmont, Symphony No. 1, Lento assai and Vivace from String

Quartet Op. 135, Symphony No. 2

14 January, same venue

Rossini: Overture to La scala di seta; Brahms: Symphony No. 4; Tchaikovsky: Romeo

and Juliet Overture-Fantasy; Ravel: Boléro

18 and 19 January, same venue

Beethoven: Overture to The Creatures of Prometheus, Violin Concerto (Y. Menuhin),

Symphony No. 3

168
21 January, same venue

Cherubini: Overture to Faniska; Schumann: Symphony No. 2; Mendelssohn: Scherzo

from A Midsummer Night’s Dream; Strauss: Don Juan; Rossini: Overture to

Semiramide

25 and 26 January, same venue

Beethoven: Overture No. 1 to Leonore; Symphony No. 4; Adagio from The Creatures of

Prometheus, Symphony No. 5

27 January, same venue

Saint-Saëns: Symphony No. 3; Tommasini: Chiari di luna; Wagner: Prelude to Tristan

und Isolde; Tchaikovsky: Romeo and Juliet Overture-Fantasy

28 January, same venue

Saint-Saëns: Symphony No. 3; Tommasini: Chiari di luna; Wagner: Prelude to Tristan

und Isolde; Ravel: Daphnis et Chloé, Suite No. 2

1 and 2 February, same venue

Beethoven: Symphonies Nos. 6 and 7

3 February, same venue

Bruckner: Symphony No. 4; Beethoven: Adagio from The Creatures of Prometheus;

Brahms: “Haydn” Variations; Bach-Respighi: Passacaglia and Fugue in C minor

4 February, same venue

Gluck: Overture to Iphigénie en Aulide; Haydn: Symphony No. 101 (“Clock”);

Beethoven: Adagio from The Creatures of Prometheus; Brahms: “Haydn”

Variations; Bach-Respighi: Passacaglia and Fugue in C minor

169
11 February, New York, auditorium in the RCA Building (members of the Philharmonic-

Symphony Orchestra of New York)

Beethoven: Overture to The Creatures of Prometheus; Wagner: “Dich, teure Halle” from

Tannhäuser (L. Lehmann); Verdi: Preludes to Acts I and III of La traviata;

Wagner: Siegfried Idyll; Beethoven: “Abscheulicher! . . . Komm, Hoffnung . . .

Ich folg’ dem innern Triebe” from Fidelio (L. Lehmann); Mendelssohn: Scherzo

from A Midsummer Night’s Dream

15, 16, and 18 February, New York, Carnegie Hall (with the Philharmonic-Symphony Orchestra

of New York)

Beethoven: Symphonies Nos. 8 and 9 (R. Tentoni, S. Onégin, P. Althouse, E. Pinza;

Schola Cantorum)

22 and 23 February, same venue

Smetana: Overture to The Bartered Bride; Beethoven: Symphony No. 7; Debussy: Ibéria;

Strauss: Death and Transfiguration

24 February, same venue

Smetana: Overture to The Bartered Bride; Sibelius: Symphony No. 4; Debussy: Ibéria;

Strauss: Death and Transfiguration

25 February, same venue

Beethoven: Overtures Nos. 1, 2, and 3 to Leonore, Symphony No. 1

8, 9, and 11 March

Beethoven: Missa Solemnis (E. Rethberg, S. Onégin, P. Althouse, E. Pinza; Schola

Cantorum)

14 March, Hartford, ?

170
Smetana: Overture to The Bartered Bride; Beethoven: Symphony No. 5; Mendelssohn:

Scherzo from A Midsummer Night’s Dream; Wagner: Siegfried Idyll;

Tchaikovsky: Romeo and Juliet Overture-Fantasy

15, 16, and 18 March, New York, Carnegie Hall

Vivaldi: Concerto Grosso in A; Haydn: Symphony No. 31 (“Hornsignal”); Roger-

Ducasse: Sarabande (Schola Cantorum); Stravinsky: 1st and 4th tableaux from

Petrushka; Wagner: Overture to Der fliegende Holländer

25 March, same venue

Beethoven: Symphony No. 6; Franck: Symphony

28 and 29 March, same venue

Mozart: Piano Concerti Nos. 21 (C Major) and 20 (D minor) (J. Iturbi); Brahms:

Symphony No. 2

1 April, same venue

Brahms: Symphony No. 2; Beethoven: Symphony No. 3

2 April, New York, Town Hall

Mozart: Symphony No. 29 in A; Wagner: Siegfried Idyll; Beethoven: Septet

12, 13, and 14 April, New York, Carnegie Hall

Geminiani: Concerto Grosso in G minor, Op. 3 No. 2; Mozart: Symphony No. 40 in G

minor; Kodály: Summer Evening; Paganini: Moto perpetuo; Berlioz: Overture to

Benvenuto Cellini

15 April, same venue

Wagner: Eine Faust-Ouvertüre, Siegfried Idyll, “Forest Murmurs” from Siegfried; Love

Scene from Act II of Tristan und Isolde (G. Kappel, M. Telva, P. Althouse)

171
19 and 20 April, same venue

Rossini: Overture to La scala di seta; Roussel: The Spider’s Feast; de Falla: El amor

brujo (S. Braslau); Franck: Symphony

21 April, same venue

Rossini: Overture to La scala di seta; Roussel: The Spider’s Feast; Wagner: Siegfried

Idyll; Franck: Symphony

22 April, same venue

Wagner: Preludes to Acts I and III of Lohengrin, Overture to Tannhäuser (Paris version),

Excerpts from Act III of Parsifal (H. Clemens, R. Bonelli, E. List; Metropolitan

Opera chorus)

26 and 27 April, same venue

Bach: Suite No. 3, Concerto for two violins in D minor (M. Piastro and R. Bolognini),

Kyrie from the Mass in B minor (Schola Cantorum), Cantata No. 209 (“Non sa

che sai dolore”) (E. Rethberg), Final Chorus from the St. Matthew Passion

(Schola Cantorum)

28 April, same venue

Brahms: Symphony No. 2; Beethoven: Symphony No. 3

29 April, same venue

Wagner: Prelude to Die Meistersinger, Act I Scene 3 from Die Walküre (G. Kappel, P.

Althouse), “Siegfried’s Death and Funeral Music” and “Immolation Scene” from

Götterdämmerung (G. Kappel)

25 May, Paris, Théâtre des Champs-Elysées (with Orchestre Walther-Straram)

172
Berlioz: Overture to Béatrice et Bénédict; Roussel: The Spider’s Feast; Debussy: La Mer;

Franck: Symphony

27 May, same venue

Franck: Symphony; Roussel: The Spider’s Feast; Roger-Ducasse: Sarabande; Debussy:

La Mer

3 June, same venue

Cherubini: Overture to Anacréon; Beethoven: Symphony No. 7; Wagner: “Forest

Murmurs” from Siegfried, “Siegfried’s Death and Funeral Music” from

Götterdämmerung; Bach-Respighi: Passacaglia and Fugue in C minor

6 June, same venue

Cherubini: Overture to Anacréon; Haydn: Symphony No. 101 (“Clock”); Wagner:

“Forest Murmurs” from Siegfried, “Siegfried’s Death and Funeral Music” from

Götterdämmerung; Beethoven: Overture No. 3 to Leonore

23 August, Salzburg, Festspielhaus (with Vienna Philharmonic)

Mozart: Symphony No. 35 (“Haffner”); Brahms: “Haydn” Variations; Beethoven:

Symphony No. 7; Wagner: Prelude to Die Meistersinger

26 August, same venue

Wagner: Eine Faust-Ouvertüre; Preludes to Acts I and III of Lohengrin; “Dich, teure

Halle” from Tannhäuser (L. Lehmann); Prelude and Liebestod from Tristan und

Isolde (L. Lehmann); “Schmerzen,” “Im Treibhaus,” and “Träume” from

Wesendonck-Lieder (L. Lehmann); “Siegfried’s Death and Funeral Music” from

Götterdämmerung

30 August, same venue

173
Cherubini: Overture to Anacréon; Brahms: Symphony No. 3; Debussy: La Mer; Berlioz:

“Queen Mab” from Roméo et Juliette; Bach-Respighi: Passacaglia and Fugue in C

minor

10 October, Vienna, Musikvereinssaal

Wagner: Eine Faust-Ouvertüre; Prelude and “Good Friday Spell” from Parsifal; Prelude

and Liebestod from Tristan und Isolde (L. Lehmann); “Schmerzen,” “Im

Treibhaus,” and “Träume” from Wesendonck-Lieder (L. Lehmann); “Siegfried’s

Death and Funeral Music” and “Siegfried’s Rhine Journey” from

Götterdämmerung

13 and 14 October, same venue

Rossini: Overture to La scala di seta; Brahms: Symphony No. 4; Debussy: Prélude à

l’après-midi d’un faune; Berlioz: “Queen Mab” from Roméo et Juliette; Bach-

Respighi: Passacaglia and Fugue in C minor

15 October, Prague, Smetanova sin (with Vienna Philharmonic)

Rossini: Overture to La scala di seta; Brahms: Symphony No. 4; Debussy: Prélude à

l’après-midi d’un faune; Berlioz: “Queen Mab” from Roméo et Juliette; Wagner:

Preludes to Acts I and III of Lohengrin, Prelude to Die Meistersinger

20 and 21 October, Vienna, Musikvereinssaal

Kodály: Psalmus Hungaricus (A. von Rösler, choir from Budapest); Beethoven:

Symphony No. 9 (E. Schumann, E. Szantó; A. von Rösler, R. Mayr; choir from

Budapest)

22 October, Budapest, Varósi Színház (with Vienna Philharmonic)

174
Kodály: Psalmus Hungaricus (A. von Rösler, choir from Budapest); Beethoven:

Symphony No. 9 (E. Schumann, E. Szantho A. von Rösler, R. Mayr; choir from

Budapest)

1 November, Vienna, Staatsoper (with Vienna Philharmonic)

Verdi: Messa da Requiem (A. Báthy, G. Rünger, C. Kullmann, J. von Manowarda;

Vienna Staatsoper chorus)

15 November, Paris, Théâtre des Champs-Elysées (with Orchestre Walther-Straram)

Rossini: Overture to La scala di seta; Brahms: Symphony No. 4; Debussy: Ibéria;

Strauss: Death and Transfiguration

16 November, same venue

Wagner: Eine Faust-Ouvertüre; Prelude and “Good Friday Spell” from Parsifal;

Beethoven: Symphony No. 9 (R. Mahé, G. Cernay; G. Cathelat, P. Cabanel; Les

Chanteurs de St.-Gervais)

19 November, Brussels, Palais des Beaux-Arts (with Orchestre Walther-Straram)

Rossini: Overture to La scala di seta; Brahms: Symphony No. 4; Debussy: Ibéria;

Strauss: Death and Transfiguration

20 November, same venue

Wagner: Eine Faust-Ouvertüre Prelude and “Good Friday Spell” from Parsifal,

“Siegfried’s Rhine Journey” from Götterdämmerung, Beethoven: Symphony No.

7

22 November, Paris, Théâtre des Champs-Elysées

175
Rossini: Overture to La scala di seta; Debussy: Ibéria; Wagner: Prelude and Liebestod

from Tristan und Isolde; Beethoven: Symphony No. 9 (R. Mahé, G. Cernay; G.

Cathelat, P. Cabanel; Les Chanteurs de St.-Gervais)

23 November, same venue

Wagner: Eine Faust-Ouvertüre; Wagner: Prelude and “Good Friday Spell” from Parsifal;

Beethoven: Symphony No. 9 (R. Mahé, G. Cernay; G. Cathelat, P. Cabanel; Les

Chanteurs de St.-Gervais)

28 November, Stockholm, Konserthuset (with Konsertförenigens Orkester)

Mozart: Symphony No. 41 (“Jupiter”), Brahms: “Haydn” Variations, Mendelssohn:

Nocturne and Scherzo from A Midsummer Night’s Dream, Sibelius: En Saga,

Rossini: Overture to Semiramide

2 December, same venue

Wagner: Eine Faust-Ouvertüre, Prelude and “Good Friday Spell” from Parsifal, Prelude

and Liebestod from Tristan und Isolde; Beethoven: Symphony No. 3

1935

24, 25, 26, and 27 January, New York, Carnegie Hall (with the Philharmonic-Symphony

Orchestra of New York)

Bruckner: Symphony No. 7; Strauss: “Dance of the Seven Veils” from Salome; Bach-

Respighi: Prelude and Fugue in D

31 January and 1 February, same venue

Handel: Concerto Grosso Op. 6 No. 12; WP Castelnuovo-Tedesco: Cello Concerto (G.

Piatigorsky); Schubert: “Great C-Major” Symphony

176
2 and 3 February, same venue

Rossini: Overture to L’italiana in Algeri; Beethoven: Symphony No. 6; Wagner:

Overture to Tannhäuser (Paris version); Wagner: “Ride of the Valkyries” from

Die Walküre

13 February, same venue

Wagner: Overture to Der fliegende Holländer, Preludes to Acts I and III of Lohengrin,

“Siegfried’s Death and Funeral Music” from Götterdämmerung, Prelude to Die

Meistersinger, Siegfried Idyll, “Good Friday Spell” from Parsifal, Prelude and

Liebestod from Tristan und Isolde

14, 15, and 17 February, same venue

Brahms: “Haydn” Variations, Double Concerto (M. Piastro, A. Wallenstein), Symphony

No. 1

21, 22, and 24 February, same venue

Brahms: “Tragic” Overture, Violin Concerto (J. Heifetz), Symphony No. 2

7, 8, and 10 March, same venue

Brahms: A German Requiem (E. Rethberg; F. Schorr; Schola Cantorum)

14, 15, and 17 March, same venue

Brahms: Allegro molto from Serenade No. 1, Piano Concerto No. 1 (V. Horowitz),

Symphony No. 3

24 March, New York, RCA Building (musicians from Philharmonic-Symphony Orchestra of

New York)

Beethoven: Overture to Egmont; Verdi: “Pace mio Dio” from La forza del destino (E.

Rethberg); Wagner: “Forest Murmurs” from Siegfried; Weber-Berlioz: Invitation

177
to the Dance; Verdi: “Ave Maria” from Otello (E. Rethberg); Rossini: Overture to

Semiramide

28 and 29 March, New York, Carnegie Hall

Brahms: Serenade No. 2, Liebeslieder-Walzer (C. Bos, P. Luboschutz; Schola Cantorum),

Gesang aus Fingal, Lied von Shakespeare, Der Gartner; Schubert-Brahms:

Ellen’s Song; Brahms: “Academic Festival” Overture; Brahms-Dvořák:

Hungarian Dances Nos. 17, 20, and 21

30 March, same venue

Beethoven: Symphony No. 3; Brahms: Symphony No. 1

31 March, same venue

Brahms: Serenade No. 2, Liebeslieder-Walzer (C. Bos, P. Luboschutz; Schola Cantorum),

Gesang aus Fingal, Lied von Shakespeare, Der Gartner; Schubert-Brahms:

Ellen’s Song; Brahms: “Academic Festival” Overture; Brahms-Dvořák:

Hungarian Dances Nos. 17, 20, and 21

3 April, same venue

Brahms: Serenade No. 1, Symphony No. 4

4 April, Hartford, (with Philharmonic-Symphony Orchestra of New York)

Rossini: Overture to L’italiana in Algeri; Brahms: “Haydn” Variations; Wagner: Prelude

to Die Meistersinger; Schubert: “Great C-Major” Symphony

5 and 7 April, New York, Carnegie Hall

Brahms: Serenade No. 1, Symphony No. 4

17 and 18 April, same venue

178
Debussy: “Nuages” and “Fêtes” from Trois Nocturnes, Prélude à l’après-midi d’un

faune, La Mer; Sonzogno: Il negro (A. Wallenstein) and Tango; Verdi: Overture

to I vespri siciliani

20 April, same venue

Brahms: Symphony No. 4; Beethoven: Symphony No. 7

21 April, same venue

Wagner: Preludes to Acts I and III of Lohengrin, “Siegfried’s Death and Funeral Music”

from Götterdämmerung, Prelude to Die Meistersinger, Prelude and “Good Friday

Spell” from Parsifal, Prelude and Liebestod from Tristan und Isolde

25, 26, and 28 April, same venue

Beethoven: Missa Solemnis (E. Rethberg, M. Telva; G. Martinelli, E. Pinza; Schola

Cantorum)

29 April, Providence, ?

Rossini: Overture to L’italiana in Algeri; Brahms: Symphony No. 4; Strauss: Don Juan;

Wagner: Preludes to Acts I and III of Lohengrin; Verdi: Overture to I vespri

siciliani

3 June, London, Queen’s Hall (with the BBC Symphony Orchestra)

Cherubini: Overture to Anacréon; Brahms: Symphony No. 4; Elgar: “Enigma”

Variations; Wagner: “Siegfried’s Death and Funeral Music” from

Götterdämmerung

5 June, same venue

179
Wagner: Eine Faust-Ouvertüre, “Siegfried’s Death and Funeral Music” from

Götterdämmerung, Prelude and “Good Friday Spell” from Parsifal; Brahms:

Symphony No. 4

12 June, same venue

Geminiani: Concerto Grosso Op. 3 No. 2; Debussy: La Mer; Beethoven: Symphony No.

7; Rossini: Overture to Semiramide

14 June, same venue

Mozart: Symphony No. 35 (“Haffner”); Debussy: La Mer; Mendelssohn: Nocturne and

Scherzo from A Midsummer Night’s Dream; Beethoven: Symphony No. 7

29 July, Salzburg, Festspielhaus (with Vienna State Opera forces)

Verdi: Falstaff (M. Caniglia/D. Giannini, E. Mason, A. Cravcenco, M. Vasari; D.

Borgioli, M. Stabile, P. Biasini, F. Autori) 4

7 August, same venue

Beethoven: Fidelio (L. Lehmann, L. Helletsgruber; A. von Rösler, A. Jerger, A.

Baumann, E. List) 4

15 August, same venue (with Vienna Philharmonic)

Rossini: Overture to La scala di seta; Mozart: Symphony No. 40 in G minor; Brahms:

Symphony No. 4

22 August, same venue

Handel: Concerto Grosso Op. 6 No. 12; Mendelssohn: Symphony No. 5 (“Reformation”);

Debussy: “Nuages” and “Fêtes” from Trois Nocturnes; Wagner: Siegfried Idyll;

Verdi: Overture to I vespri siciliani

25 August, same venue

180
Rossini: Overture to La scala di seta; Wagner: Siegfried Idyll; Mendelssohn: Symphony

No. 5 (“Reformation”)

19 November, Paris, Opéra (with Orchestre National de la Radio d’Etat)

Franck: Interlude from Rédemption; Cherubini: Symphony in D; Debussy: “Nuages” and

“Fêtes” from Trois Nocturnes; Wagner: “Siegfried’s Death and Funeral Music”

from Götterdämmerung, Overture to Tannhäuser (Paris version); Berlioz:

Overture to Benvenuto Cellini

26 November, same venue

Rossini: Overture to L’italiana in Algeri; Saint-Saëns: Danse macabre; Beethoven:

Symphony No. 6; Mendelssohn: Nocturne and Scherzo from A Midsummer

Night’s Dream; Sibelius: En Saga; Verdi: Overture to I vespri siciliani

30 November and 1 December, Vienna, Musikvereinssaal (with the Vienna Philharmonic)

Beethoven: Symphony No. 3; WP? NP? Castelnuovo-Tedesco: Overture, The Winter’s

Tale; Sibelius: En Saga; Wagner: Overture to Tannhäuser (Paris version);

Berlioz: “Rakóczy” March from La Damnation de Faust

3 December, Budapest, Varósi Színház (with the Vienna Philharmonic)

Beethoven: Symphony No. 3; NP? Castelnuovo-Tedesco: Overture, The Winter’s Tale;

Sibelius: En Saga; Wagner: Overture to Tannhäuser (Paris version); Berlioz:

“Rakóczy” March from La Damnation de Faust

7 and 8 December, Vienna, Musikvereinssaal

Mozart: Masonic Funeral Music (on the death of Richard Mayr); Brahms: “Tragic”

Overture; A German Requiem (A. Báthy; A. Svéd; Vienna State Opera chorus)

14 and 15 December, same venue

181
Schubert: “Great C-Major” Symphony; Verdi: Andantino, Prestissimo, Scherzo-Fuga

from the String Quartet; Saint-Saëns: Danse macabre; Smetana: The Moldau;

Beethoven: Overture No. 3 to Leonore

1936

1 January, Monte Carlo, Opéra (Orchestre de l’Opéra de Monte-Carlo)

Beethoven: Overture to Egmont; Haydn: Symphony No. 101 (“Clock”); Debussy: La

Mer; Wagner: Overture to Tannhäuser (Paris version); Verdi: Overture to I vespri

siciliani

3 January, Marseille, Salle Prat (same orchestra)

Beethoven: Overture to Egmont; Haydn: Symphony No. 101 (“Clock”); Debussy: La

Mer; Wagner: Overture to Tannhäuser (Paris version); Verdi: Overture to I vespri

siciliani

6 January, Nice, Palais de la Méditerranée (same orchestra)

Beethoven: Overture to Egmont; Haydn: Symphony No. 101 (“Clock”); Debussy: La

Mer; Wagner: Overture to Tannhäuser (Paris version); Verdi: Overture to I vespri

siciliani

23, 24, 25, and 26 January, New York, Carnegie Hall (with Philharmonic-Symphony Orchestra

of New York)

Weber: Overture to Der Freischütz; Cherubini: Symphony in D; Verdi: Andantino,

Prestissimo, Scherzo-Fuga from String Quartet; Saint-Saëns: Danse macabre;

Smetana: The Moldau; Wagner: “Dawn and Siegfried’s Rhine Journey” from

Götterdämmerung

182
30 and 31 January, 2 February, same venue

Bach: “Brandenburg” Concerto No. 2; Brahms: Piano Concerto No. 2 (R. Casadesus);

Beethoven: Coriolan Overture, Symphony No. 4

13 and 14 February, same venue

Vivaldi: “Winter” from The Four Seasons; NP? Roussel: Symphony No. 4; Sibelius: The

Swan of Tuonela; Dvořák: Slavonic Dance No. 6; Mussorgsky-Ravel: Pictures at

an Exhibition

15 and 16 February, same venue

Brahms: Symphony No. 2; Goldmark: 2nd, 3rd, and 4th movements from “Rustic

Wedding” Symphony; Mussorgsky-Ravel: Pictures at an Exhibition

20, 21, and 23 February, same venue

Beethoven: Symphony No. 1, Piano Concerto No. 4 (R. Serkin); Mozart: Piano Concerto

No. 27, K. 595 (R. Serkin); Bach-Wood: Toccata and Fugue in D minor

22 February, same venue

Bach: “Brandenburg” Concerto No. 2; Beethoven: Symphony No. 1, Symphony No. 4;

Bach-Wood: Toccata and Fugue in D minor

25 February, Hartford, ?

Weber: Overture to Der Freischütz; Beethoven: Symphony No. 4; Saint-Saëns: Danse

macabre; Goldmark: 2nd, 3rd, and 4th movements from “Rustic Wedding”

Symphony; Wagner: Overture to Tannhäuser

1 March, New York, RCA Building (with members of Philharmonic-Symphony Orchestra of

New York)

183
Weber: Overture to Der Freischütz; Verdi: “Ritorna vincitor” from Aida (D. Giannini);

Saint-Saëns: Danse macabre; Goldmark: 2nd, 3rd, and 4th movements from

“Rustic Wedding” Symphony; Wagner: Prelude to Act III of Lohengrin

5, 6, and 8 March, New York, Carnegie Hall

Beethoven: Symphonies Nos. 8 and 9 (R. Tentoni, R. Bampton; C. Kullmann, E. Pinza;

Schola Cantorum)

11 and 13 March, same venue

Handel: Overture to Susanna; Koželuch: Andante and Allegro from String Quartet No. 2;

Schumann: Symphony No. 2; Boccherini: Cello Concerto [in D?] (A.

Wallenstein); Franck: Les Eolides; Tchaikovsky: Romeo and Juliet Overture-

Fantasy

14 and 15 March, same venue

Rossini: Overture to L’italiana in Algeri; Brahms: Symphony No. 4; Handel: Overture to

Susanna; Kozeluch: Andante and Allegro from String Quartet No. 2; Franck: Les

Eolides; Tchaikovsky: Romeo and Juliet Overture-Fantasy

16 March, Boston, Symphony Hall (with Philharmonic-Symphony Orchestra of New York)

Weber: Overture to Der Freischütz; Beethoven: Symphony No. 7; Brahms: “Haydn”

Variations; Smetana: The Moldau; Wagner: Overture to Der fliegende Holländer

17 March, same venue

Rossini: Overture to L’italiana in Algeri; Brahms: Symphony No. 4; Verdi: Andantino,

Prestissimo, Scherzo-Fuga from String Quartet; Debussy: “Nuages” and “Fêtes”

from Trois Nocturnes; Strauss: Death and Transfiguration

25 March, New York, Carnegie Hall

184
Wagner: Overture to Der fliegende Holländer, Preludes to Acts I and III of Lohengrin,

Overture to Tannhäuser (Paris version), Prelude and Liebestod from Tristan und

Isolde, “Good Friday Spell” from Parsifal, “Ride of the Valkyries” from Die

Walküre

26, 27, and 29 March, same venue

Schumann: Manfred Overture; Mendelssohn: Violin Concerto (N. Milstein); Sibelius: En

Saga; Ravel: Daphnis et Chloé, Suite No. 2

1, 3, and 5 April, same venue

Weber: Overture to Oberon; Beethoven: Symphony No. 7; Martucci: Notturno and

Novelletta; Dukas: The Sorcerer’s Apprentice; Strauss: Death and

Transfiguration

16, 17, and 19 April, same venue

Debussy: “La Cour des lys” from Le Martyre de Saint-Sébastien, Prélude à l’après-midi

d’un faune, “Nuages” and “Fêtes” from Trois Nocturne, Ibéria, La Damoiselle

élue (B. Sayão, R. Bampton; Schola Cantorum); La Mer

23 and 24 April, same venue

Weber: Overture to Euryanthe; Haydn: Symphony No. 101 (“Clock”); Sibelius: The

Swan of Tuonela; Wagner: “Siegfried’s Death and Funeral Music” from

Götterdämmerung; Respighi: Pini di Roma

26 April, same venue

Mozart: Symphony No. 40 in G minor; Beethoven: Overture No. 3 to Leonore; Schubert:

“Great C-Major” Symphony

29 April, same venue

185
Beethoven: Overture No. 1 to Leonore, Violin Concerto (J. Heifetz); Wagner: Prelude to

Die Meistersinger, Siegfried Idyll, Prelude and Liebestod from Tristan und Isolde,

“Ride of the Valkyries” from Die Walküre

22 May, Paris, Salle Pleyel (with ? orchestra)

Bizet: Overture, Patrie; Franck: Les Eolides; Berlioz: “Queen Mab” from Roméo et

Juliette; Ravel: Daphnis et Chloé, Suite No. 2; Saint-Saëns: Piano Concerto [No.

2?] (R. Casadesus)

15 June, same venue

Weber: Overture to Der Freischütz; Brahms: Symphony No. 2; Beethoven: Symphony

No. 1; Wagner: Prelude and Liebestod from Tristan und Isolde, Prelude to Die

Meistersinger

25 July, Salzburg, Festspielhaus (forces of the Vienna State Opera)

Beethoven: Fidelio (L. Lehmann/A. Konetzni, L. Helletsgruber; K. von Pataky, A.

Jerger, A. Baumann, C. Bissuti) 4

31 July, same venue

Verdi: Falstaff (F. Somigli, A. Oltrabella, A. Cravcenco, M. Vasari; D. Borgioli, M.

Stabile, P. Biasini, V. Lazzari) 4

8 August, same venue

Wagner: Die Meistersinger (L. Lehmann, K. Thorborg; C. Kullmann, R. Sallaba, H. H.

Nissen, H. Wiedemann, H. Alsen) 4

12 August, same venue (Vienna Philharmonic)

Brahms: “Tragic” Overture, A German Requiem (A. Báthy, A. Svéd, chorus of the

Vienna State Opera)

186
28 August, same venue

Schubert: “Great C-Major” Symphony; Goldmark: “Bridal Song,” “In the Garden,” and

“Serenade” from “Rustic Wedding” Symphony; Smetana: The Moldau; Rossini:

Overture to Semiramide

17 September, Vienna, Staatsoper

Beethoven: Fidelio (L. Lehmann, L. Helletsgruber; K. von Pataky, A. Jerger, A.

Baumann, C. Bissuti) 2

14 and 15 November, Vienna, Musikvereinssaal (Vienna Philharmonic)

Cherubini: Symphony in D; Ravel: Daphnis et Chloé, Suite No. 2; Brahms: Liebeslieder-

Walzer (L. Wurmser, K. Pliss; Kammerchor of the Staatsoper); Goldmark:

“Bridal Song,” “In the Garden,” and “Serenade” from “Rustic Wedding”

Symphony; Sonzogno: Tango

21 and 22 November, same venue

Busoni: Rondò arlecchinesco (W. Wernigk); Shostakovich: Symphony No. 1; Beethoven:

Coriolan, Overture; Brahms: Symphony No. 1

24 November, Budapest, Varósi Színház

Busoni: Rondò arlecchinesco (W. Wernigk); Shostakovich: Symphony No. 1; Beethoven:

Coriolan, Overture; Brahms: Symphony No. 1

25 November, same venue

Schubert: “Great C-Major” Symphony; Brahms: Liebeslieder-Walzer (L. Wurmser, K.

Pliss; Kammerchor of the Staatsoper); Goldmark: “Bridal Song,” “In the Garden,”

and “Serenade” from “Rustic Wedding” Symphony; Rossini: Overture to

Semiramide

187
28 and 29 November, Vienna, Musikvereinssaal

Beethoven: Missa Solemnis (J. Vincent, K. Thorborg; K. von Pataky, A. Kipnis; State

Opera chorus)

8 December, Paris, Théâtre des Champs-Elysées

Schubert: “Great C-Major” Symphony; Beethoven: Coriolan, Overture; Brahms:

Symphony No. 1

10 December, same venue

Shostakovich: Symphony No. 1; Busoni: Rondò arlecchinesco (W. Wernigk); Sonzogno:

Tango; d’Indy: “Ishtar” Variations; Debussy: La Mer

13 December, same venue

Schubert: “Great C-Major” Symphony; Beethoven: Coriolan, Overture; Brahms:

Symphony No. 1

26 and 27 December, Tel Aviv, Levant Fair Hall (with Palestine Orchestra)

Rossini: Overture to La scala di seta; Brahms: Symphony No. 2; Schubert: “Unfinished”

Symphony; Mendelssohn: Nocturne and Scherzo from A Midsummer Night’s

Dream; Weber: Overture to Oberon

30 December, Jerusalem, Edison Theater

Rossini: Overture to La scala di seta; Brahms: Symphony No. 2; Schubert: “Unfinished”

Symphony; Mendelssohn: Nocturne and Scherzo from A Midsummer Night’s

Dream; Weber: Overture to Oberon

31 December, Haifa, Armon Theter

188
Rossini: Overture to La scala di seta; Brahms: Symphony No. 2; Schubert: “Unfinished”

Symphony; Mendelssohn: Nocturne and Scherzo from A Midsummer Night’s

Dream; Weber: Overture to Oberon

1937

2 January, Tel Aviv, Levant Fair Hall

Beethoven: Symphony No. 3, Overture to Egmont, Symphony No. 1, Overture No. 3 to

Leonore

4 January, Jerusalem, Edison Theater

Beethoven: Symphony No. 3, Overture to Egmont, Symphony No. 1, Overture No. 3 to

Leonore

5 January, Haifa, Armon Theater

Beethoven: Symphony No. 3, Overture to Egmont, Symphony No. 1, Overture No. 3 to

Leonore

7 January, Cairo, Ewart Memorial Hall

Rossini: Overture to La scala di seta; Brahms: Symphony No. 2; Schubert: “Unfinished”

Symphony; Mendelssohn: Nocturne and Scherzo from A Midsummer Night’s

Dream; Weber: Overture to Oberon

9 January, Alexandria, Al-Hambra Theater

Rossini: Overture to La scala di seta; Brahms: Symphony No. 2; Schubert: “Unfinished”

Symphony; Mendelssohn: Nocturne and Scherzo from A Midsummer Night’s

Dream; Weber: Overture to Oberon

11 January, same venue

189
Beethoven: Symphonies Nos. 3 and 1; Rossini: Overture to La scala di seta

12 January, Cairo, Ewart Memorial Hall

Beethoven: Symphonies Nos. 3 and 1; Rossini: Overture to La scala di seta

6 March, Rotterdam, Groote Doelenzaal (with Residentie-Orkest of The Hague)

Rossini: Overture to La scala di seta; Schubert: “Unfinished” Symphony; Debussy: La

Mer; Mendelssohn: Nocturne and Scherzo from A Midsummer Night’s Dream;

Wagner: Overture to Tannhäuser (Paris version); Wagner: Prelude to Die

Meistersinger

8 March, The Hague, Gebouw voor Kunsten en Wetenschappen

Rossini: Overture to La scala di seta; Schubert: “Unfinished” Symphony; Debussy: La

Mer; Mendelssohn: Nocturne and Scherzo from A Midsummer Night’s Dream;

Wagner: Overture to Tannhäuser (Paris version); Wagner: Prelude to Die

Meistersinger

16 March, Stockholm, Konserthuset (with Konsertförenigens Orkester)

Rossini: Overture to La scala di seta; Busoni: Rondò arlecchinesco (?); Shostakovich:

Symphony No. 1; Brahms: Symphony No. 1

24 and 25 April, Vienna, Musikvereinssaal (with Vienna Philharmonic)

Rossini: Overture to L’italiana in Algeri; Beethoven: Symphony No. 6; Haydn:

Symphony No. 98 in B-flat; Strauss: Death and Transfiguration

26 May, London, Queen’s Hall (with BBC Symphony Orchestra)

Corelli-Geminiani: Concerto Grosso No. 12; Busoni: Rondò arlecchinesco (?); Ravel:

Daphnis et Chloé, Suite No. 2; Beethoven: Coriolan Overture; Brahms:

Symphony No. 1

190
28 May, same venue

Elgar: Introduction and Allegro; Cherubini: Symphony in D; Tommasini: Carnival of

Venice; Berlioz: “Queen Mab” from Roméo et Juliette; Wagner: Prelude to Die

Meistersinger

2 June, same venue

Rossini: Overture to L’italiana in Algeri; Beethoven: Symphony No. 6; Brahms: “Haydn”

Variations; Strauss: Death and Transfiguration

4 June, same venue

Vivaldi: Concerto Grosso in D minor, Op. 3 No. 11; Shostakovich: Symphony No. 1;

Beethoven: Symphony No. 3

8 June, Oxford, ?

Rossini: Overture to L’italiana in Algeri; Beethoven: Symphony No. 6; Brahms:

Symphony No. 1

14 June, London, Queen’s Hall

Mozart: Symphony No. 40 in G minor; Bach-Respighi: Passacaglia and Fugue in C

minor; Debussy: Ibéria; Sibelius: En Saga; Berlioz: “Rakóczy” March from La

Damnation de Faust

16 June, same venue

Wagner: Eine Faust-Ouvertüre, Preludes to Acts I and III of Lohengrin, Overture to

Tannhäuser (Paris version), Siegfried Idyll, “Forest Murmurs” from Siegfried,

“Dawn and Siegfried’s Rhine Journey” from Götterdämmerung, “Ride of the

Valkyries” from Die Walküre

24 July, Salzburg, Festspielhaus (with Vienna State Opera forces)

191
Beethoven: Fidelio (L. Lehmann, H. Henders; H. Roswaenge, A. Jerger, A. Kipnis, C.

Bissuti) 2

26 July, same venue

Verdi: Falstaff (F. Somigli, A. Oltrabella, A. Cravcenco, M. Vasari; D. Borgioli, M.

Stabile, P. Biasini, V. Lazzari) 3

30 July, same venue

Mozart: Die Zauberflöte (J. Novotná, J. Osváth, D. Komarek; H. Roswaenge, W.

Domgraf-Fassbänder, A. Kipnis, A. Jerger) 4

5 August, same venue

Wagner: Die Meistersinger (M. Reining, K. Thorborg; H. Noort, R. Sallaba, H. H.

Nissen, H. Wiedemann, H. Alsen) 3

14 August, same venue (with Vienna Philharmonic)

Verdi: Te Deum from the Four Sacred Pieces; Messa da Requiem (Z. Kunz [Milanov], K.

Thorborg; H. Roswaenge, A. Kipnis; State Opera chorus)

24 August, same venue

Rossini: Overture to L’italiana in Algeri; Beethoven: Symphony No. 6; Strauss: Death

and Transfiguration

29 August, same venue

Brahms: Serenade No. 1, “Haydn” Variations, Liebeslieder-Walzer (W. Stiasny, E.

Leinsdorf; State Opera chorus), Symphony No. 1

9 and 10 October, Vienna, Musikvereinssaal

Vivaldi: Concerto Grosso in D minor, Op. 3 No. 11; Beethoven: Symphony No. 6; Bizet:

L’Arlésienne, Suite No. 1; Mussorgsky-Ravel: Pictures at an Exhibition

192
13 October, Budapest, Varósi Színház (with Vienna Philharmonic)

Vivaldi: Concerto Grosso in D minor, Op. 3 No. 11; Beethoven: Symphony No. 6; Bizet:

L’Arlésienne, Suite No. 1; Mussorgsky-Ravel: Pictures at an Exhibition

16 and 17 October, Vienna, Musikvereinssaal

Brahms: Serenade No. 2, “Haydn” Variations, Symphony No. 2

30 October, London, Queen’s Hall (with BBC Symphony Orchestra)

Brahms: “Tragic” Overture, A German Requiem (I. Baillie; A. Svéd; BBC Choral

Society)

3 November, same venue

Beethoven: Symphonies Nos. 1 and 9 (I. Baillie, M. Jarred; B. Jones, H. Williams; BBC

Choral Society)

25 December, New York, RCA Building, Studio 8H (with NBC Symphony Orchestra)

Vivaldi: Concerto Grosso in D minor, Op. 3 No. 11; Mozart: Symphony No. 40 in G

minor; Brahms: Symphony No. 1

1938

1 January, same venue

Schubert: “Great C-Major” Symphony; Beethoven: Lento assai and Vivace from String

Quartet Op. 135; Strauss: Death and Transfiguration

8 January, same venue

Mozart: Overture to The Magic Flute; Beethoven: Symphony No. 6; Saint-Saëns: Danse

macabre; Debussy: La Mer

15 January, same venue

193
Brahms: “Tragic” Overture; Sibelius: Symphony No. 2; Busoni: Rondo arlecchinesco (J.

Peerce); Tommasini: Carnival of Venice

22 January, same venue

Cherubini: Overture to Anacréon; Haydn: Symphony No. 98 in B-flat; Brahms: Serenade

No. 2; Wagner: Prelude to Die Meistersinger

29 January, same venue

Rossini: Overture to La scala di seta; Schumann: Symphony No. 3; Paganini: Moto

perpetuo; Mussorgsky-Ravel: Pictures at an Exhibition

5 February, same venue

Scarlatti-Tommasini: The Good-Humored Ladies; Mendelssohn: Symphony No. 4

(“Italian”); Berlioz: “Queen Mab” from Roméo et Juliette; Rossini: Overture to

Semiramide

6 February, New York, Carnegie Hall

Beethoven: Symphonies Nos. 1 and 9 (V. Bovy, K. Thorborg; J. Peerce, E. Pinza; Schola

Cantorum)

12 February, New York, RCA Building, Studio 8H

Weber: Overture to Euryanthe; Brahms: Symphony No. 2; Wagner: Siegfried Idyll;

Dukas: The Sorcerer’s Apprentice

19 February, same venue

Handel: Concerto Grosso Op. 6 No. 12; Haydn: Symphony No. 88 in G; Roussel: The

Spider’s Feast; Weber-Berlioz: Invitation to the Dance; Martucci: Danza

(Tarantella)

26 February, same venue

194
Wagner: Overture to Der fliegende Holländer; Borodin: Symphony No. 2; Brahms:

“Haydn” Variations; Smetana: The Moldau

4 March, New York, Carnegie Hall

Verdi: Messa da Requiem (Z. Milanov, B. Castagna; C. Kullman, N. Moscona; Schola

Cantorum)

5 March, New York, RCA Building, Studio 8H

Wagner: Eine Faust-Ouvertüre, Preludes to Acts I and III of Lohengrin, Overture to

Tannhäuser (Paris version?), Prelude and Liebestod from Tristan und Isolde,

Prelude to Parsifal, “Dawn and Siegfried’s Rhine Journey” from

Götterdämmerung, “Ride of the Valkyries” from Die Walküre

21 March, The Hague, Gebouw voor Kunsten en Wetenschappen (with Residentie-Orkest)

Cherubini: Overture to Anacréon; Haydn: Symphony No. 101 (“Clock”); Debussy:

Prélude à l’après-midi d’un faune; Dukas: The Sorcerer’s Apprentice; Strauss:

Death and Transfiguration

22 March, Rotterdam, Groote Doelenzaal

Cherubini: Overture to Anacréon; Haydn: Symphony No. 101 (“Clock”); Debussy:

Prélude à l’après-midi d’un faune; Dukas: The Sorcerer’s Apprentice; Strauss:

Death and Transfiguration

23 March, Hilversum, VARA radio studio

Cherubini: Overture to Anacréon; Haydn: Symphony No. 101 (“Clock”); Debussy:

Prélude à l’après-midi d’un faune; Dukas: The Sorcerer’s Apprentice; Strauss:

Death and Transfiguration

25 March, The Hague, Gebouw voor Kunsten en Wetenschappen

195
Rossini: Overture to L’italiana in Algeri; Beethoven: Symphony No. 3; Brahms: “Haydn”

Variations; Weber-Berlioz: Invitation to the Dance; Smetana: The Moldau

13 April, Armon Theater, Haifa (with Palestine Orchestra)

Sinigaglia: Overture, Le baruffe chiozzotte; Mendelssohn: Symphony No. 4 (“Italian”);

Schubert: “Great C-Major” Symphony

14 April, same venue

Sinigaglia: Overture, Le baruffe chiozzotte; Mendelssohn: Symphony No. 4 (“Italian”);

Schubert: “Great C-Major” Symphony

16 April, Tel Aviv, Levant Fair Hall

Sinigaglia: Overture, Le baruffe chiozzotte; Mendelssohn: Symphony No. 4 (“Italian”);

Schubert: “Great C-Major” Symphony

17 April, same venue

Sinigaglia: Overture, Le baruffe chiozzotte; Mendelssohn: Symphony No. 4 (“Italian”);

Schubert: “Great C-Major” Symphony

20 April, Jerusalem, Edison Theater

Sinigaglia: Overture, Le baruffe chiozzotte; Mendelssohn: Symphony No. 4 (“Italian”);

Schubert: “Great C-Major” Symphony

24 April, Tel Aviv, Levant Fair Hall

Rossini: Overture to L’italiana in Algeri; Beethoven: Symphony No. 4; Wagner: Preludes

to Acts I and III of Lohengrin; Saint-Saëns: Danse macabre; Tchaikovsky: Romeo

and Juliet Overture-Fantasy

25 April, Jerusalem, Edison Theater

196
Rossini: Overture to L’italiana in Algeri; Beethoven: Symphony No. 4; Wagner: Preludes

to Acts I and III of Lohengrin; Saint-Saëns: Danse macabre; Tchaikovsky: Romeo

and Juliet Overture-Fantasy

26 April, Haifa, Armon Theater

Rossini: Overture to L’italiana in Algeri; Beethoven: Symphony No. 4; Wagner: Preludes

to Acts I and III of Lohengrin; Saint-Saëns: Danse macabre; Tchaikovsky: Romeo

and Juliet Overture-Fantasy

19 May, London, Queen’s Hall (with BBC Symphony Orchestra)

Mozart: Overture to The Magic Flute; Beethoven: Symphony No. 4; Vaughan Williams:

Fantasia on a Theme of Thomas Tallis; Weber-Berlioz: Invitation to the Dance;

Smetana: The Moldau

23 May, same venue

Bach: “Brandenburg” Concerto No. 2; Strauss: Don Quixote (E. Feuermann); Beethoven:

Symphony No. 3

27 May, same venue

Verdi: Te Deum; Messa da Requiem (Z. Milanov, K. Thorborg; H. Roswaenge, N.

Moscona; BBC Choral Society)

30 May, same venue

Verdi: Te Deum; Messa da Requiem (Z. Milanov, K. Thorborg; H. Roswaenge, N.

Moscona; BBC Choral Society)

3 June, same venue

Rossini: Overture to La scala di seta; Mozart: Symphony No. 41 (“Jupiter”); Brahms:

Liebeslieder-Walzer (E. Bartlett, R. Robertson; BBC Singers)

197
10 June, same venue

Scarlatti-Tommasini: The Good-Humored Ladies; Sibelius: Symphony No. 2; Brahms:

Symphony No. 2

25 August, Lucerne, Tribschen (outdoors) (with special orchestra)

Rossini: Overture to La scala di seta; Mozart: Symphony No. 40 in G minor; Wagner:

Prelude to Act III of Die Meistersinger; Beethoven: Symphony No. 2

27 August, Lucerne, Kongresshaus

Cherubini: Overture to Anacréon; Brahms: Symphony No. 3; Mendelssohn: Symphony

No. 4 (“Italian”); Wagner: Prelude to Act I of Die Meistersinger

15 October, New York, RCA Building, Studio 8H (with NBC Symphony Orchestra)

Vaughan Williams: Fantasia on a Theme of Thomas Tallis; Brahms: Symphony No. 3;

Martucci: Notturno and Novelletta; Tchaikovsky: Romeo and Juliet Overture-

Fantasy

22 October, same venue

Rossini: Overture to La Cenerentola; Strauss: Don Quixote (E. Feuermann); Beethoven:

Symphony No. 5

29 October, same venue

Bach: “Brandenburg” Concerto No. 2; Haydn: Symphony No. 31 (“Hornsignal”);

Tchaikovsky: Symphony No. 6

5 November, same venue

Graener: The Flute of Sans-Souci; WP Barber: Adagio for Strings; WP Barber: Essay;

Debussy: Ibéria; Dvořak: “New World” Symphony

12 November, same venue

198
Beethoven: Coriolan Overture; Schubert: Symphony No. 2; Wagner: “Good Friday

Spell” from Parsifal; Franck: Les Eolides; Meyerbeer: Overture to Dinorah

19 November, same venue

Schumann: Manfred Overture; Mendelssohn: Symphony No. 5 (“Reformation”);

Wagner: Prelude to Act III of Die Meistersinger; Berlioz: Love Scene from

Roméo et Juliette; Rossini: “Passo a sei” and “Soldiers’ Dance” from William Tell

26 November, same venue

Smetana: Overture to The Bartered Bride; Martucci: Symphony No. 1; Liszt: Orpheus;

Ravel: Daphnis et Chloé, Suite No. 2

3 December, same venue

Beethoven: Symphony No. 3; Wagner: “Forest Murmurs” from Siegfried, “Siegfried’s

Death and Funeral Music” from Götterdämmerung, Overture to Rienzi

13 December, Newark, Mosque Theater

Weber: Overture to Oberon; Tchaikovsky: Symphony No. 6; Brahms: “Haydn”

Variations; Wagner: “Forest Murmurs” from Siegfried, Prelude to Die

Meistersinger

27 December, Baltimore, ?

Weber: Overture to Oberon; Wagner: “Forest Murmurs” from Siegfried; Brahms:

“Haydn” Variations; Beethoven: Symphony No. 3; Wagner: Prelude to Die

Meistersinger

1939

7 January, New York, RCA Building, Studio 8H

199
Mozart: Symphony No. 35 (“Haffner”); Brahms-Rubbra: “Handel” Variations; Loeffler:

Memories of My Childhood; Wagner: Prelude to Die Meistersinger

10 January, Boston, Symphony Hall

Scarlatti-Tommasini: The Good-Humored Ladies; Ravel: Daphnis et Chloé, Suite No. 2;

Brahms: Symphony No. 3; Wagner: “Forest Murmurs” from Siegfried,

“Siegfried’s Death and Funeral Music” from Götterdämmerung

14 January, New York, RCA Building, Studio 8H

Bazzini: Overture to Saul; Shostakovich: Symphony No. 1; Franck: “Psyché’s Slumber”

and “Psyché and Eros” from Psyché; Strauss: “Dance of the Seven Veils” from

Salome

21 January, same venue

Berlioz: Harold in Italy (W. Primrose); Catalani: Prelude to Act IV of La Wally;

Catalani: “Dance of the Water-Nymphs” from Loreley; Ravel: Boléro

28 January, same venue

Gluck: Overture to Iphigénie en Aulide; Beethoven: Symphony No. 8; de Falla: El amor

brujo (J. Burzio); Rossini: Overture to William Tell

31 January, Chicago, ?

Rossini: Overture to La Cenerentola; Brahms: “Haydn” Variations; Wagner: “Forest

Murmurs” from Siegfried; Beethoven: Symphony No. 3; Weber-Berlioz:

Invitation to the Dance; Wagner: Prelude to Die Meistersinger

1 February, Pittsburgh, ?

200
Weber-Berlioz: Invitation to the Dance; Wagner: “Forest Murmurs” from Siegfried;

Brahms: “Haydn” Variations; Beethoven: Symphony No. 3; Wagner: Prelude to

Die Meistersinger

4 February, New York, RCA Building, Studio 8H

Mozart: Symphony No. 38 (“Prague”); Respighi: Fontane di Roma; Weber-Berlioz:

Invitation to the Dance; Elgar: “Enigma” Variations

7 February, Providence, ?

Weber-Berlioz: Invitation to the Dance; Wagner: “Forest Murmurs” from Siegfried;

Brahms: “Haydn” Variations; Beethoven: Symphony No. 3; Wagner: Prelude to

Die Meistersinger

11 February, New York, RCA Building, Studio 8H

Brahms: Symphony No. 4, Liebeslieder-Walzer (E. Leinsdorf, J. Kahn; ?), “Academic

Festival” Overture

18 February, same venue

Sibelius: Symphony No. 2, The Swan of Tuonela, En Saga, Finlandia

25 February, same venue

Wagner: Overture to Der fliegende Holländer, Prelude to Act III and Overture (Paris

version) to Tannhäuser, Prelude and Liebestod from Tristan und Isolde, “Dawn

and Siegfried’s Rhine Journey” from Götterdämmerung, “Ride of the Valkyries”

from Die Walküre

14 March, Washington, ?

201
Respighi: Fontane di Roma; Wagner: “Dawn and Siegfried’s Rhine Journey” from

Götterdämmerung, Overture to Tannhäuser; Beethoven: Symphony No. 7;

Rossini: Overture to Il barbiere di Siviglia

3 May, London, Queen’s Hall (with BBC Symphony Orchestra)

Beethoven: Overture to Egmont, Symphonies Nos. 1 and 2, Overture No. 3 to Leonore

8 May, same venue

Beethoven: Coriolan Overture, Symphonies Nos. 4 and 3

12 May, same venue

Beethoven: Overture to The Creatures of Prometheus, Symphonies Nos. 6 and 5

17 May, same venue

Beethoven: Overture No. 1 to Leonore, Symphonies Nos. 8 and 7

22 May, same venue

Beethoven: Adagio and Andante quasi allegretto from The Creatures of Prometheus,

Lento and Vivace assai from String Quartet Op. 135, Overture No. 3 to Leonore,

Symphony No. 9 (I. Baillie, M. Balfour; B. Jones, H. Williams; BBC Choral

Society)

26 and 28 May, same venue

Beethoven: Missa Solemnis (Z. Milanov, K. Thorborg; K. von Pataky, N. Moscona; BBC

Choral Society)

3 August, Lucerne, Kunsthaus (with Elite-Orchester)

Beethoven: Coriolan Overture; Brahms: Symphony No. 3; Debussy: La Mer; Wagner:

Prelude and Liebestod from Tristan und Isolde

5 August, same venue

202
Wagner: Eine Faust-Ouvertüre; Brahms: Violin Concerto (A. Busch); Schubert:

Symphony No. 2; Smetana: The Moldau

16 and 17 August, Lucerne, Jesuit Church

Verdi: Messa da Requiem (Z. Milanov, K. Thorborg; J. Björling, N. Moscona; Lucerne

Festival Chorus)

21 August, Lucerne, Kunsthaus

Beethoven: Overture to The Creatures of Prometheus, Violin Concerto (A. Busch),

Overture to Egmont, Symphony No. 5

27 August, Lucerne, Villa Tribschen (with chamber ensemble)

Wagner: Siegfried Idyll

29 August, Lucerne, Kunsthaus

Scarlatti-Tommasini: The Good-Humored Ladies; Brahms: Piano Concerto No. 2 (V.

Horowitz); Beethoven: Symphony No. 7, Overture No. 3 to Leonore

14 October, New York, RCA Building, Studio 8H (with NBC Symphony Orchestra)

Schubert: “Unfinished” Symphony; Strauss: Don Juan; Haydn: Sinfonia concertante in

B-flat (M. Mischakoff, F. Miller, R. Bloom, W. Polisi); Bach-Respighi:

Passacaglia and Fugue in C minor

21 October, same venue

Prokofiev: “Classical” Symphony; Brahms: Double Concerto (M. Mischakoff, F. Miller);

Strong: Die Nacht; Wagner: “Good Friday Spell” from Parsifal, Prelude to Die

Meistersinger

28 October, same venue

Beethoven: Overture to Fidelio, Symphonies Nos. 1 and 3

203
4 November, same venue

Beethoven: Symphonies Nos. 2 and 4, Overture No. 3 to Leonore

11 November, same venue

Beethoven: Coriolan Overture, Symphonies Nos. 6 and 5

18 November, same venue

Beethoven: Overture to Egmont, Septet, Symphony No. 7

25 November, same venue

Beethoven: Overture No. 3 to Leonore, Adagio and Allegretto from The Creatures of

Prometheus, Symphony No. 8, Lento assai and Vivace from String Quartet Op.

135, Overture No. 2 to Leonore

2 December, same venue

Beethoven: Choral Fantasy (A. Dorfman, Westminster Choir), Symphony No. 9 (J.

Novotná, K. Thorborg; J. Peerce, N. Moscona; Westminster Choir)

29 December, New York, Chatham Square Music School (with members of NBC Symphony

plus other musicians)

Schubert: Moment musical [which one?]; Johann Strauss II and Josef Strauss: “Pizzicato”

Polka; Shostakovich: Polka from The Golden Age; Ries: Moto perpetuo; Mozart:

A Musical Joke; Gillet: Loin du bal

1940

21 February, Newark, ? (with NBC Symphony Orchestra)

204
Beethoven: Overture No. 2 to Leonore; Rossini: “Passo a sei” and “Soldiers’ Dance”

from William Tell; Beethoven: Symphony No. 7; Wagner: Prelude and “Good

Friday Spell” from Parsifal; Strauss: Till Eulenspiegel; Paganini: Moto perpetuo

16 March, New York, RCA Building, Studio 8H (with NBC Symphony Orchestra)

Schumann: Symphony No. 3; Strauss: Till Eulenspiegel, Harris: Symphony No. 3;

Paganini: Moto perpetuo; Rossini: Overture to William Tell

23 March, same venue

Wagner: Parsifal excerpts: Prelude to Act I, “Good Friday Spell,” Prelude to Act III,

“Klingsor’s Magic Garden,” Finale

30 March, same venue

Castelnuovo-Tedesco: Overture, The Taming of the Shrew; Martucci: Symphony No. 2;

WP Verdi: Overture to Aida; Respighi: Feste romane

6 April, same venue

Tchaikovsky: Symphony No. 6, Suite from The Nutcracker, Romeo and Juliet Overture-

Fantasy

13 April, same venue

Debussy: Marche écossaise, Danse, La Damoiselle élue (Novotná), “Nuages” and

“Fêtes” from Trois Nocturnes, Ibéria, La Mer

20 April, same venue

Elgar: Introduction and Allegro; Mozart: Symphony No. 41 (“Jupiter”); Dvořák: Scherzo

capriccioso; Mussorgsky-Ravel: Pictures at an Exhibition

27 April, same venue

Grieg: Holberg Suite; Sibelius: Symphony No. 4; Franck: Les Eolides; Ravel: La Valse

205
6 May, same venue

Brahms: Serenade No. 1, Piano Concerto No. 2 (V. Horowitz), Symphony No. 1

14 May, Washington, Constitution Hall

Brahms: Symphony No. 1; Beethoven: Overture to Egmont; Barber: Adagio for Strings;

Fernández: “Batuque” from Suite, Reisado do pastoreio; Strauss: Don Juan;

Ravel: La Valse

13 June, Rio de Janeiro, Teatro Municipal

Rossini: Overture to La Cenerentola; Beethoven: Symphony No. 3; Mignone: Congada;

Smetana: The Moldau; Berlioz: “Queen Mab” from Roméo et Juliette; Wagner:

“Good Friday Spell” from Parsifal, Prelude to Die Meistersinger

14 June, same venue

Schubert: “Great C-Major” Symphony; Paganini: Moto perpetuo; Brahms: “Haydn”

Variations; Ravel: La Valse; Gomes: Overture to Il Guarany

15 June, São Paulo, ?

Rossini: Overture to Il barbiere di Siviglia; Beethoven: Symphony No. 7; Mignone:

Congada; Weber-Berlioz: Invitation to the Dance; Paganini: Moto perpetuo;

Mendelssohn: Nocturne and Scherzo from A Midsummer Night’s Dream; Strauss:

Death and Transfiguration

19 June, Buenos Aires, Teatro Colón

Mozart: Overture to The Magic Flute; Brahms: Symphony No. 1; Franck: Les Eolides;

Respighi: Fontane di Roma; Wagner: “Good Friday Spell” from Parsifal, Prelude

to Die Meistersinger

20 June, same venue

206
Beethoven: Symphony No. 3; Strauss: Don Juan; Berlioz: “Queen Mab” from Roméo et

Juliette; Debussy: La Mer

22 June, same venue

Rossini: Overture to Il barbiere di Siviglia; Beethoven: Symphony No. 7; Aguirre (arr.

Ansermet): Two Dances (“Huella y Gato”); Paganini: Moto perpetuo; Brahms:

“Haydn” Variations; Strauss: Till Eulenspiegel

23 June, same venue

Mozart: Symphony No. 40 in G minor; Beethoven: Overture No. 3 to Leonore; Wagner:

Siegfried Idyll, Prelude and Liebestod from Tristan und Isolde, “Forest Murmurs”

from Siegfried, Overture to Tannhäuser

25 June, same venue

Schubert: “Great C-Major” Symphony; Debussy: Ibéria; Wagner: Preludes to Acts I and

III of Lohengrin; Strauss: Death and Transfiguration

27 June, same venue

Weber: Overture to Oberon; Brahms: Symphony No. 2; Barber: Adagio for Strings;

Saint-Saëns: Danse macabre; Tchaikovsky: Romeo and Juliet Overture-Fantasy;

Ravel: La Valse

29 June, same venue

Cherubini: Overture to Anacréon; Beethoven: Symphony No. 6; Williams: “Dancarinas

de Aarón” and “Tocadores de Crótales” from Symphony No. 7; Smetana: The

Moldau; Wagner: Prelude and Liebestod from Tristan und Isolde, “Ride of the

Valkyries” from Die Walküre

1 July, same venue

207
Rossini: Overture to La Cenerentola; Beethoven: Symphony No. 5; Mendelssohn:

Nocturne and Scherzo from A Midsummer Night’s Dream; Weber-Berlioz:

Invitation to the Dance; Mussorgsky-Ravel: Pictures at an Exhibition; Wagner:

Prelude to Die Meistersinger

3 July, Montevideo, Auditorium of the National Radio

Rossini: Overture to Il barbiere di Siviglia; Beethoven: Symphony No. 7; Mendelssohn:

Nocturne and Scherzo from A Midsummer Night’s Dream; Weber-Berlioz:

Invitation to the Dance; Paganini: Moto perpetuo; Smetana: The Moldau;

Debussy: La Mer

4 July, same venue

Beethoven: Overture to Egmont; Brahms: Symphony No. 2; Respighi: Fontane di Roma;

Wagner: Prelude and Liebestod from Tristan und Isolde, Prelude to Die

Meistersinger

8 July, São Paulo, ?

Beethoven: Overture to Egmont; Brahms: Symphony No. 2; Fernández: “Batuque” from

Suite, Reisado do pastoreio; Berlioz: “Queen Mab” from Roméo et Juliette;

Rossini: “Passo a sei” and “Soldiers’ Dance” from William Tell; Wagner: Prelude

and Liebestod from Tristan und Isolde, Overture to Tannhäuser; Gomes: Overture

to Il Guarany

9 July, Rio de Janeiro, Teatro Municipal

Beethoven: Overture to Egmont; Brahms: Symphony No. 1; Fernández: “Batuque” from

Suite, Reisado do pastoreio; Respighi: Fontane di Roma; Wagner: “Forest

Murmurs” from Siegfried; Debussy: La Mer

208
10 July, same venue

Cherubini: Overture to Anacréon; Beethoven: Symphony No. 5; Mendelssohn: Nocturne

and Scherzo from A Midsummer Night’s Dream; Weber-Berlioz: Invitation to the

Dance; Mussorgsky-Ravel: Pictures at an Exhibition; Wagner: Prelude to Die

Meistersinger

23 November, New York, Carnegie Hall

Verdi: Te Deum from the Four Sacred Pieces; Verdi: Messa da Requiem (Z. Milanov, B.

Castagna; J. Björling, N. Moscona; Westminster Choir)

7 December, New York, RCA Building, Studio 8H

Sibelius: Symphony No. 2, Pohjola’s Daughter, The Swan of Tuonela, Lemminkaïnen’s

Homecoming, Finlandia

14 December, same venue

Franck: Symphony; Vieuxtemps: Ballade and Polonaise; Franchetti: Nocturne from

Cristoforo Colombo (W. Horne); Enesco: “Romanian” Rhapsody No. 1

21 December, same venue

Tchaikovsky: “Manfred” Symphony; Glinka: Kamarinskaya; Stravinsky: 1st and 4th

tableaux from Petrushka; Rubinstein: Valse-Caprice

28 December, New York, Carnegie Hall

Beethoven: Missa Solemnis (Z. Milanov, B. Castagna; J. Björling, A. Kipnis;

Westminster Choir)

1941

1 February, New York, RCA Building, Studio 8H

209
Mozart: Overture to The Magic Flute; Haydn: Symphony No. 99 in E-flat; Strauss: Ein

Heldenleben

8 February, same venue

Gluck: Overture to Iphigénie en Aulide; Brahms: Symphony No. 1; Liszt: From the

Cradle to the Grave; Kodály: “Marosszék” Dances; Martucci: Danza (Tarantella)

15 February, same venue

L. Mozart (incorrectly attributed to Haydn): “Toy” Symphony; W. A. Mozart: Sinfonia

concertante K. 364 (M. Mischakoff, C. Cooley); Schubert-Weingartner: “Gastein”

Symphony; J. Strauss II: “Voices of Spring” Waltz; J. Strauss II: “Tritsch-

Tratsch” Polka

22 February, same venue

Wagner: Prelude to Act I of Lohengrin; “Dich, teure Halle” from Tannhäuser (H.

Traubel); Act I Scene 3 from Die Walküre (H. Traubel, L. Melchior); Prelude to

Tristan und Isolde; “Dawn,” Duet, and “Siegfried’s Rhine Journey” from

Götterdämmerung (H. Traubel, L. Melchior); “Immolation” Scene from

Götterdämmerung (H. Traubel)

29 March, same venue

Wagner: Eine Faust-Ouvertüre; Schumann: Symphony No. 2; Martucci: Canzone dei

ricordi (B. Castagna); Tommasini: Carnival of Venice

5 April, same venue

Rossini: Overture to Il Signor Bruschino; Mendelssohn: Symphony No. 3 (“Scotch”);

Berlioz: Overture, Les Francs-Juges; Love Scene and “Queen Mab” from Roméo

et Juliette; “Rakóczy” March from La Damnation de Faust

210
12 April, same venue

Beethoven: Symphony No. 6; Wagner: Prelude and “Good Friday Spell” from Parsifal;

Sinigaglia: “Over Fields and Woods” and “Rustic Dance” from Piedmont Suite;

Rossini: Overture to La gazza ladra

19 April, New York, Carnegie Hall

Tchaikovsky: Overture to Voyevoda, Symphony No. 6, Piano Concerto No. 1 (V.

Horowitz)

24 April, Chicago, Orchestra Hall (with Chicago Symphony Orchestra)

Beethoven: Symphony No. 7; Gluck: Overture to Iphigénie en Aulide; Respighi: Fontane

di Roma; Wagner: Siegfried Idyll; Wagner: Overture to Tannhäuser; Weber-

Berlioz: Invitation to the Dance

20 and 25 June, Buenos Aires, Teatro Colón (orchestra of Teatro Colón with extras)

Beethoven: Symphonies Nos. 1 and 9 (J. Hellwig, L. Kindermann; R. Maison, A. Kipnis;

chorus of Teatro Colón)

29 June, same venue

Wagner: Prelude to Parsifal, “Dawn and Siegfried’s Rhine Journey” from

Götterdämmerung; Beethoven: Symphony No. 9 (J. Hellwig, L. Kindermann; R.

Maison, A. Kipnis; chorus of Teatro Colón)

15, 19, and 22 July, same venue

Verdi: Messa da Requiem (Z. Milanov, B. Castagna; R. Maison, A. Kipnis; chorus of

Teatro Colón)

24 July, same venue

211
Wagner: Prelude to Parsifal, “Dawn and Siegfried’s Rhine Journey” from

Götterdämmerung; Beethoven: Symphony No. 9 (J. Hellwig, L. Kindermann; R.

Maison, A. Kipnis; chorus of Teatro Colón)

14 and 15 November, Philadelphia, Academy of Music (with Philadelphia Orchestra)

Debussy: Ibéria; Respighi: Feste romane; Schubert: “Great C-Major” Symphony

6 December, New York, RCA Building, Studio 8H (with NBC Symphony Orchestra)

Beethoven: Septet; Wagner: Prelude and “Good Friday Spell” from Parsifal; J. Strauss II:

“The Blue Danube” Waltz

13 December, same venue

Barber: Adagio for Strings; Smetana: The Moldau; Dvořák: “New World” Symphony

1942

9 and 10 January, Philadelphia, Academy of Music (with Philadelphia Orchestra)

Bach-Respighi: Passacaglia and Fugue in C minor; Haydn: Symphony No. 99 in E-flat;

Strauss: Death and Transfiguration; Mendelssohn: A Midsummer Night’s Dream

(Overture, Intermezzo, Nocturne, Song with chorus, Wedding March, Scherzo,

and Finale with chorus) (F. Kirk, E. Eustis; Women’s Glee Club of University of

Pennsylvania)

13 January, Washington, ? (with Philadelphia Orchestra)

Bach-Respighi: Passacaglia and Fugue in C minor; Haydn: Symphony No. 99 in E-flat;

Debussy: Ibéria; Strauss: Death and Transfiguration; Mendelssohn: A

Midsummer Night’s Dream (Overture, Nocturne, Scherzo)

24 January, New York, RCA Building, Studio 8H (with NBC Symphony Orchestra)

212
Mendelssohn: Overture to A Midsummer Night’s Dream; Schubert: “Unfinished”

Symphony; Barber: Essay for orchestra; Verdi: Overture to I vespri siciliani

6 and 7 February, Philadelphia, Academy of Music (with Philadelphia Orchestra)

Berlioz: “Queen Mab” from Roméo et Juliette; Debussy: La Mer; Tchaikovsky:

Symphony No. 6; Vieuxtemps: Ballade and Polonaise

10 February, New York, Carnegie Hall (with Philadelphia Orchestra)

Berlioz: “Queen Mab” from Roméo et Juliette; Debussy: La Mer; Tchaikovsky:

Symphony No. 6; Vieuxtemps: Ballade and Polonaise

14 March, New York, RCA Building, Studio 8H (with NBC Symphony Orchestra)

Thomas: Overture to Mignon; Mendelssohn: Symphony No. 4 (“Italian”); Copland: El

Salón México; Wagner: Prelude to Die Meistersinger

4 April, same venue

Bach: Air from Suite No. 3; Haydn: Symphony No. 101 (“Clock”); Wagner: Prelude and

“Good Friday Spell” from Parsifal

22 April, New York, Carnegie Hall (with the Philharmonic-Symphony Orchestra of New York)

Beethoven: Missa Solemnis ( F. Kirk, B. Castagna; H. Johnson, A. Kipnis; Westminster

Choir)

24 April, same venue

Beethoven: Overture to Egmont, Symphonies Nos. 1 and 2

26 April, same venue

Beethoven: Coriolan Overture, Symphonies Nos. 4 and 3

29 April, same venue

Beethoven: Overture to The Creatures of Prometheus, Symphonies Nos. 6 and 5

213
1 May, same venue

Beethoven: Overture to Fidelio, Triple Concerto (A. Dorfman, M. Piastro, J. Schuster),

Symphony No. 7

3 May, same venue

Beethoven: Symphonies Nos. 8 and 9 (F. Kirk, E. Eustis; H. Johnson, A. Kipnis;

Westminster Choir)

19 July, New York, RCA Building, Studio 8H (with NBC Symphony Orchestra)

NP Shostakovich: Symphony No. 7

7, 9, and 11 October, New York, Carnegie Hall (with the Philharmonic-Symphony Orchestra of

New York)

Berlioz: Overture, Le Carnaval romain; Roméo et Juliette (J. Tourle, J. Gérard, N.

Moscona)

14, 16, and 18 October, same venue

Haydn: Symphony No. 99 in E-flat; Shostakovich: Symphony No. 7

1 November, New York, RCA Building, Studio 8H (with NBC Symphony Orchestra)

Loeffler: Memories of My Childhood; Creston: Choric Dance No. 2; WP Gould: Lincoln

Legend; Gershwin: Rhapsody in Blue (B. Goodman, E. Wild)

8 November, same venue

Rossini: Overture to Il Signor Bruschino; Kabalevsky: Symphony No. 2; Mendelssohn:

Symphony No. 5 (“Reformation”)

20, 21, and 24 November, Philadelphia, Academy of Music (with Philadelphia Orchestra)

214
Martucci: Notturno and Novelletta; Mussorgsky-Ravel: Pictures at an Exhibition;

Mozart: Symphony No. 40 in G minor; Wagner: Overture to Tannhäuser (Paris

version)

30 November, New York, Carnegie Hall (with the Philharmonic-Symphony Orchestra of New

York)

Wagner: Overture to Der fliegende Holländer, “Forest Murmurs” from Siegfried, “Dawn

and Siegfried’s Rhine Journey” from Götterdämmerung, “Immolation” Scene

from Götterdämmerung (H. Traubel), Prelude and Liebestod from Tristan und

Isolde (H. Traubel), Prelude to Die Meistersinger

20 December, New York, RCA Building, Studio 8H (with NBC Symphony Orchestra)

Brahms: “Haydn” Variations, Symphony No. 3

27 December, same venue

Brahms: Liebeslieder-Walzer (P. Luboshutz, G. Nemenoff; ?), Serenade No. 2

1943

3 January, same venue

Brahms: “Tragic” Overture, Symphony No. 2

10 January, same venue

Brahms: Symphony No. 4, “Academic Festival” Overture, “Hungarian” Dance No. 1

17 January, same venue

Brahms: Allegro molto from Serenade No. 1, Symphony No. 1

24 January, same venue

Brahms: A German Requiem (V. Della Chiesa; H. Janssen; Westminster Choir)

215
31 January, same venue

Verdi: Overture to La forza del destino, “Va, pensiero” from Nabucco, Trio from I

Lombardi (V. Della Chiesa; J. Peerce, N. Moscona), Prelude to Act III of La

traviata, Ballabili from Otello, NP Hymn of the Nations (J. Peerce; Westminster

Choir)

7 February, same venue

Gilbert: Comedy Overture on Negro Themes; Kennan: Night Soliloquy; Griffes: The

White Peacock; Grofé: Grand Canyon Suite

13 and 14 February, Cincinnati, Music Hall (with Cincinnati Symphony Orchestra)

Schumann: Manfred Overture; Brahms: Symphony No. 2; Martucci: Notturno and

Novelletta; Creston: Choric Dance No. 2; Wagner: Prelude and Liebestod from

Tristan und Isolde, Prelude to Die Meistersinger

26 and 27 February, Philadelphia, Academy of Music (with Philadelphia Orchestra)

Wagner: Prelude to Die Meistersinger; Creston: Choric Dance No. 2; Gilbert: Comedy

Overture on Negro Themes; Kennan: Night Soliloquy; Mendelssohn: Symphony

No. 5 (“Reformation”); Schumann: “Manfred” Overture; Kabalevsky: Symphony

No. 2

24 March, New York, Carnegie Hall (with NBC Symphony Orchestra)

Brahms: Symphony No. 1; Beethoven: Symphony No. 1; Wagner: Preludes to Acts I and

III of Lohengrin, Prelude and Liebestod from Tristan und Isolde, Prelude to Die

Meistersinger

4 April, New York, RCA Building, Studio 8H (with NBC Symphony Orchestra)

216
Hérold: Overture to Zampa; Rossini: “Passo a sei” from William Tell; Boccherini: Minuet

in A from Quintet in E, Op. 13 No. 5; Haydn: Serenade from Quartet in F, Op. 3

No. 5; Cherubini: Scherzo from Quartet in E-flat; Mussorgsky: Introduction to

Act III and Polonaise from Boris Godunov; Ponchielli: “Dance of the Hours”

from La Gioconda; Liszt: “Hugarian” Rhapsody No. 2; Sousa: The Stars and

Stripes Forever

11 April, same venue

NP Kabalevsky: Overture to Colas Breugnon; Beethoven: Symphony No. 2; Debussy: La

Mer

25 April, New York, Carnegie Hall (with NBC Symphony Orchestra)

Tchaikovsky: Symphony No. 6, Suite from The Nutcracker, Piano Concerto No. 1 (V.

Horowitz)

20 June, New York, RCA Building, Studio 8H (with NBC Symphony Orchestra)

Donizetti: Overture to Don Pasquale; Haydn: Symphony No. 94 (“Surprise”); Handel:

Minuet from Concerto Grosso No. 5(?); Bolzoni: Minuet in B; Debussy: Prélude

à l’après-midi d’un faune; Dukas: The Sorcerer’s Apprentice

18 July, same venue

Suppé: Overture to Poet and Peasant; Massenet: Scènes alsaciennes; Bolzoni: “Medieval

Castle” Serenade; J. Strauss II: “Voices of Spring” Waltz; Nicolai: Overture to

The Merry Wives of Windsor

25 July, same venue

Verdi: Overture to Luisa Miller, “Quando le sere al placido” from Luisa Miller (J.

Peerce), “O don fatale” from Don Carlo (N. Merriman), “Eri tu” from Un ballo in

217
maschera (F. Valentino), “Pace mio Dio” from La forza del destino (G. Ribla),

Act III of Rigoletto (G. Ribla, N. Merriman; J. Peerce, F. Valentino, N. Moscona)

9 September, same venue

Beethoven: First movement of Symphony No. 5; Rossini: Overture to William Tell; A.

Olivieri: Inno di Garibaldi

19 September, same venue

Bizet: La Jolie fille de Perth, Suite; L’Arlésienne, Suites 1 and 2; Carmen, Suite No. 1

31 October, same venue

Mozart: Overture to The Magic Flute; Haydn: Symphony No. 104 (“London”);

Beethoven: Symphony No. 8

7 November, same venue

Liadov: Kikimora; Glinka: Jota aragonesa; Kalinnikov: Symphony No. 1

14 November, same venue

Cimarosa: Overture to Il matrimonio segreto; Debussy: Ibéria; Mignone: Fantasia

brasileira; Gershwin: An American in Paris

21 November, same venue

Rossini: Overture to Il barbiere di Siviglia; Atterberg: Symphony No. 6; Ravel: La Valse

28 November, same venue

Wagner: Prelude to Die Meistersinger, Overture to Tannhäuser (Paris version), Prelude

and Liebestod from Tristan und Isolde, “Ride of the Valkyries” from Die Walküre

5 December, same venue

Mozart: Overture to The Marriage of Figaro, Piano Concerto No. 27 (K. 595) (M.

Horszowski), Symphony No. 35 (“Haffner”)

218
1944

6 February, Philadelphia, Academy of Music (with Philadelphia Orchestra)

Beethoven: Overture to Egmont, Overture No. 2 to Leonore, Symphony No. 6; Septet

5 March, New York, RCA Building, Studio 8H (with NBC Symphony Orchestra)

Beethoven: Overture, Adagio, and Allegretto from The Creatures of Prometheus;

Symphony No. 6

12 March, same venue

Mussorgsky: Prelude to Khovanshchina; Tchaikovsky: The Tempest; Shostakovich:

Symphony No. 1

19 March, same venue

Weber: Overture to Oberon; Haydn: Symphony No. 92 (“Oxford”); Respighi: Pini di

Roma

26 March, same venue

Castelnuovo-Tedesco: Overture, The Taming of the Shrew; Schubert: Symphony No. 2;

Berlioz: “Queen Mab” from Roméo et Juliette; Smetana: The Moldau

2 April, same venue

Mignone: Festa da igrejas (Four Brazilian Churches); Gershwin: Piano Concerto in F (O.

Levant)

9 April, same venue

Wagner: Prelude and “Good Friday Spell” from Parsifal; Mendelssohn: Violin Concerto

(J. Heifetz)

18 April, New York, Carnegie Hall

219
Brahms: Symphony No. 1; Tchaikovsky: Symphony No. 6; Beethoven: Symphony No. 5

25 May, New York, Madison Square Garden (with NBC Symphony Orchestra and

Philharmonic-Symphony Orchestra of New York, combined)

Wagner: Overture to Tannhäuser, “Dawn and Siegfried’s Rhine Journey” from

Götterdämmerung, Prelude and Liebestod from Tristan und Isolde; Verdi: Act III

of Rigoletto (Z. Milanov, N. Merriman, J. Peerce, L. Warren, N. Moscona; All-

City High School Chorus and Glee Clubs; NBC Symphony only), Hymn of the

Nations (J. Peerce); Sousan: Stars and Stripes Forever

25 June, New York, RCA Building, Studio 8H (with NBC Symphony Orchestra)

Prokofiev: “Classical” Symphony; Mancinelli: “Fuga degli amanti” from Scene

veneziane; Waldteufel: Skaters’ Waltz; Tchaikovsky: Suite from The Nutcracker;

Rossini: Overture to La gazza ladra

2 July, same venue

Haydn: Symphony No. 99 in E-flat; Franck: Les Eolides; Puccini: Minuet from Act II and

Intermezzo from Act III of Manon Lescaut; Brahms-Dvořák: “Hungarian” Dances

Nos. 17, 20, and 21

27 August, same venue

Overture to Zampa; Boccherini: Minuet in A from Quintet in E, Op. 13 No. 5; Haydn:

Serenade from Quartet in F, Op. 3 No. 5; Sibelius: The Swan of Tuonela; Wagner:

“Forest Murmurs” from Siegfried; Tchaikovsky: Waltz from Eugene Onegin;

Sousa: Semper Fidelis, El Capitán

3 September, same venue

220
Bossi: Intermezzi goldoniani; Mozart: Symphony No. 39 in E-flat; de Falla: “Ritual Fire

Dance” and “Dance of Terror” from El amor brujo; Goldmark: “In the Garden”

and Serenade from “Rustic Wedding” Symphony; Glinka: Jota aragonesa

22 October, same venue

Beethoven: Symphonies Nos. 1 and 8

29 October, same venue

Beethoven: Overture No. 1 to Leonore, Adagio and Allegretto from The Creatures of

Prometheus, Piano Concerto No. 3 (A. Rubinstein)

31 October, New York, City Center (with NBC Symphony Orchestra)

Rossini: Overture to Il barbiere di Siviglia; Verdi: “Va, pensiero” from Nabucco, Quartet

from Rigoletto (G. Ribla, N. Merriman, J. Peerce, F. Valentino), Overture to I

vespri siciliani, Prelude to Act III of La traviata, “Eri tu” from Un ballo in

maschera (F. Valentino); Ponchielli: “Dance of the Hours” from La Gioconda

5 November, New York, RCA Building, Studio 8H (with NBC Symphony Orchestra)

Beethoven: Symphony No. 3

12 November, same venue

Beethoven: Overture to Egmont, Lento assai and Vivace from String Quartet Op. 135,

Piano Concerto No. 1 (A. Dorfman)

19 November, same venue

Beethoven: Symphony No. 7, Overture No. 2 to Leonore

26 November, same venue

Beethoven: Coriolan Overture, Cavatina from String Quartet Op. 130, Allegro molto

from String Quartet Op. 59 No. 3, Piano Concerto No. 4 (R. Serkin)

221
3 December, same venue

Beethoven: Septet, Symphony No. 2

10 December

Beethoven: Fidelio (Act I) (R. Bampton, E. Steber; J. Peerce, H. Janssen, S. Belarsky, N.

Moscona, J. Laderoute) 1

17 December, same venue

Beethoven: Fidelio (Act II, with Overture No. 3 to Leonore) (R. Bampton, E. Steber; J.

Peerce, H. Janssen, S. Belarsky, N. Moscona, J. Laderoute) 1

1945

13 January, New York, Carnegie Hall (with Philharmonic Symphony Orchestra of New York)

Haydn: Symphony No. 101 (“Clock”); Respighi: Pini di Roma; Sibelius: The Swan of

Tuonela; Wagner: “Siegfried’s Death and Funeral Music” from

Götterdämmerung; Weber: Overture to Euryanthe

21 January, New York, RCA Building, Studio 8H (with NBC Symphony Orchestra)

Kabalevsky: Overture to Colas Breugnon; Tchaikovsky: “Manfred” Symphony

28 January, same venue

Dvořák: Scherzo capriccioso, Cello Concerto (E. Kurtz)

4 February, same venue

Cherubini: Overture to Anacréon; Mozart: Symphony No. 41 “Jupiter”; Berlioz: “Queen

Mab” from Roméo et Juliette; Wagner: Prelude to Die Meistersinger

11 February, same venue

Debussy: Ibéria, Prélude à l’après-midi d’un faune, La Mer

222
19 February, New York, Carnegie Hall (with NBC Symphony Orchestra)

Weber: Overture to Der Freischütz; Brahms: Piano Concerto No. 2 (V. Horowitz); Ravel:

La Valse; Mussorgsky-Ravel: Pictures at an Exhibition

18 March, New York, RCA Building, Studio 8H (with NBC Symphony Orchestra)

Schumann: Symphony No. 3; Mendelssohn: Scherzo from Octet; Gershwin: An American

in Paris

25 March, same venue

Haydn: Symphony No. 98 in B-flat; Kabalevsky: Symphony No. 2

1 April, same venue

Gluck: Act II of Orfeo ed Euridice (N. Merriman, E. Philips); Bach: Final Chorus from

the St. Matthew Passion

19 April, Los Angeles, Shrine Auditorium (with Los Angeles Philharmonic)

Rossini: Overture to Semiramide; Beethoven: Symphony No. 7; Brahms: “Haydn”

Variations; Weber-Berlioz: Invitation to the Dance; Wagner: Prelude and

Liebestod from Tristan und Isolde, Prelude to Die Meistersinger

8 May, New York, RCA Building, Studio 8H (with NBC Symphony Orchestra)

Beethoven: Symphony No. 5

1 September, same venue

Beethoven: Symphony No. 3

2 September, same venue

Foroni: Overture in C minor; Grofé: Grand Canyon Suite; Berlioz: “Rakóczy” March

from La Damnation de Faust

9 September, same venue

223
Cherubini: Overture to Anacréon; Smetana: Die Moldau; Mendelssohn: Symphony No. 5

(“Reformation”)

25 September, New York, Carnegie Hall (with NBC Symphony Orchestra)

Beethoven: Overture to Egmont, Overture No. 2 to Leonore, Symphony No. 9 (N.

Andreotti, N. Merriman; J. Peerce, L. Alvary; Collegiate Chorale)

28 October, New York, RCA Building, Studio 8H (with NBC Symphony Orchestra)

Brahms: “Tragic” Overture, Symphony No. 4

4 November, same venue

Mendelssohn: Overture, The Hebrides; Berlioz: “Romeo Alone – Feast at the Capulets’ –

Love Scene – Queen Mab” from Roméo et Juliette; Glinka: Jota aragonesa

11 November, same venue

Rossini: Overture to Il Signor Bruschino; Schubert: “Great C-Major” Symphony

18 November, same venue

Vaughan Williams: Fantasia on a Theme of Thomas Tallis; Wolf-Ferrari: Overture to Le

donne curiose; Elgar: “Enigma” Variations

25 November, same venue

WP Castelnuovo-Tedesco: Overture to a Fairy Tale; WP Rieti: Sinfonia tripartite;

Creston: Frontiers; WP Siegmeister: Western Suite

2 December, same venue

Bellini: Introduction and Druids’ Chorus from Norma; Verdi: Te Deum from the Four

Sacred Pieces; Boito: Prologue to Mefistofele (N. Moscona, chorus?)

1946

224
6 January, same venue

Wagner: Prelude to Act III of Tannhäuser, Siegfried Idyll, “Dawn and Siegfried’s Rhine

Journey” from Götterdämmerung, Prelude to Die Meistersinger

13 January, same venue

Humperdinck: Overture to Hänsel und Gretel; Prokofiev: “Classical” Symphony; Liadov:

Kikimora; Mancinelli: “Fuga degli amanti” from Scene veneziane; Enesco:

“Romanian” Rhapsody No. 1; J. Strauss II: “Voices of Spring” Waltz

20 January, same venue

Wolf-Ferrari: Overture to Il segreto di Susanna; Busoni: Rondò arlecchinesco (A.

McKinley); Martucci: Piano Concerto No. 2 (G. D’Attili)

27 January, same venue

Mozart: Overture to Don Giovanni, Symphony No. 40 in G minor; Verdi: Prestissimo

and Scherzo-Fuga from String Quartet, Ballabili from Otello, Overture to La forza

del destino

3 February, same venue

Puccini: La Bohème (Parts I and II) (L. Albanese, A. McKnight; J. Peerce, F. Valentino,

N. Moscona, G. Cehanovsky, S. Baccaloni)

10 February, same venue

Puccini: La Bohème (Parts III and IV) (L. Albanese, A. McKnight; J. Peerce, F.

Valentino, N. Moscona, G. Cehanovsky, S. Baccaloni)

17 March, same venue

Schumann: Symphony No. 2; Strauss: Till Eulenspiegel

24 March, same venue

225
Scarlatti-Tommasini: The Good-Humored Ladies; Franck: Symphony

31 March, same venue

Wagner: Overture to Der fliegende Hollánder; Brahms: Symphony No. 3

7 April, same venue

Kabalevsky: Overture to Colas Breugnon; Roussel: The Spider’s Feast; Roger-Ducasse:

Sarabande; Tchaikovsky: Romeo and Juliet Overture-Fantasy

11 and 14 May, Milan, Teatro alla Scala

Rossini: Overture to La gazza ladra; Rossini: “Wedding Chorus,” “Passo a sei,” and

“Soldiers’ Dance” from William Tell; Rossini: Prayer from Mosè (R. Tebaldi, J.

Gardino; G. Malipiero, T. Pasero); Verdi: Overture and “Va, pensiero” from

Nabucco; Verdi: Overture to I vespri siciliani; Verdi: Te Deum from the Four

Sacred Pieces; Puccini: Intermezzo and Act III from Manon Lescaut (M. Favero;

G. Malipiero, G. Nessi, M. Stabile, C. Forti); Boito: Prologue from Mefistofele (T.

Pasero)

23 and 25 May, same venue

Kabalevsky: Overture to Colas Breugnon; Brahms: Symphony No. 3 (4?); Gershwin: An

American in Paris; Respighi: Fontane di Roma; Debussy: La Mer

15 June, same venue

Shostakovich: Symphony No. 1; Wagner: Overture to Tannhäuser (Paris version);

Tommasini: Carnival of Venice; Strauss: Death and Transfiguration

24 and 26 June, same venue

Beethoven: Symphonies Nos. 1 and 9 (G. Gatti, F. Barbieri; G. Prandelli, T. Pasero)

5 July, Lucerne, Kunsthaus? (with Scala orchestra)

226
Kabalevsky: Overture to Colas Breugnon; Brahms: Symphony No. 4; Debussy: La Mer;

Rossini: “Soldiers’ Dance” from William Tell; Strauss: Death and Transfiguration

7 July, same venue

Beethoven: Overture to Egmont, Symphony No. 1, Overture No. 2 to Leonore; Wagner:

Preludes to Acts I and III of Lohengrin, Overture to Tannhäuser (Paris version),

Prelude to Die Meistersinger

27 October, New York, RCA Building, Studio 8H (with NBC Symphony Orchestra)

Wagner: Eine Faust-Ouvertüre; Berlioz: Harold in Italy (W. Primrose)

3 November, same venue

Mozart: Overture to The Magic Flute, Divertimento in B-flat K. 287; Symphony No. 35

(“Haffner”)

10 November, same venue

Schumann: Manfred Overture; Tchaikovsky: “Manfred” Symphony

17 November, same venue

Smetana: Overture to The Bartered Bride; Humperdinck: Prelude to Act III of

Königskinder; Brahms: “Haydn” Variations; Strauss: Death and Transfiguration

24 November, same venue

Beethoven: Coriolan Overture, Piano Concerto No. 3 (M. Hess); Wagner: “Dawn and

Siegfried’s Rhine Journey” from Götterdämmerung

1 December, same venue

Verdi: La traviata (Act I, Act II Scene 1) (L. Albanese; J. Peerce, R. Merrill)

8 December, same venue

Verdi: La traviata (Act II Scene 2, Act III) (L. Albanese; J. Peerce, R. Merrill)

227
1947

9 February, same venue

Berlioz: Roméo et Juliette (Parts 1-3 and beginning of Part 4) (G. Swarthout; J. Garris, N.

Moscona; Wilhousky chorus)

16 February, same venue

Berlioz: Roméo et Juliette (end of Part 4) (G. Swarthout; J. Garris, N. Moscona); Scene 7

from La Damnation de Faust (M. Harrell; Wilhousky chorus)

23 February, same venue

Sinigaglia: Overture, Le baruffe chiozzotte; Schubert: “Great C-Major” Symphony

2 March, same venue

Franck: Symphonic interlude from Rédemption; Dukas: orchestral excerpts from Ariane

et Barbe-bleue; Debussy: La Mer

9 March, same venue

Brahms: “Tragic” Overture, Minuets 1 and 2 from Serenade No. 1; Symphony No. 2

16 March, same venue

Beethoven: Overture, The Consecration of the House, Adagio and Allegretto from The

Creatures of Prometheus, Symphony No. 6

23 March, same venue

Cherubini: Symphony in D; Catalani: Prelude to Act IV of La Wally, “Dance of the

Water-Nymphs” from Loreley; Respighi: Fontane di Roma

30 March, same venue

Mendelssohn: Octet for strings, Symphony No. 5 (“Reformation”)

228
6 April, same venue

Wagner: Prelude and “Good Friday Spell” from Parsifal; Act I Scene 3 from Die

Walküre (R. Bampton; S. Svanholm)

6 September, Ridgefield (Connecticut), Ridgefield High School auditorium (with members of

NBC Symphony)

Rossini: Overture to L’italiana in Algeri; Beethoven: Symphony No. 1; Mendelssohn:

Nocturne and Scherzo from A Midsummer Night’s Dream; Wagner: Siegfried

Idyll; J. Strauss Jr.: “Voices of Spring” Waltz, “Tritsch-Tratsch” Polka; Sousa:

Stars and Stripes Forever

21 September, New York, RCA Building, Studio 8H (with NBC Symphony Orchestra)

Kabalevsky: Overture to Colas Breugnon; Beethoven: Symphony No. 1; Smetana: The

Moldau; WP Gillis: Symphony No. 5½

25 October, same venue

Beethoven: Overture, The Consecration of the House, Lento assai and Vivace from String

Quartet Op. 135, Symphony No. 7

1 November, same venue

Mendelssohn: Overture, Die schöne Melusine; Adagio and Lento from Quintet in B-flat,

Op. 87; A Midsummer Night’s Dream (Overture, Intermezzo, Nocturne, Scherzo,

Song and Chorus, Wedding March, Chorus and Finale) (Wilhousky Chorus)

8 November, same venue

Mozart: Overture to The Marriage of Figaro, Bassoon Concerto K. 191 (L. Sharrow),

Divertimento in B-flat K. 287, Overture to The Magic Flute

15 November, same venue

229
Prokofiev: “Classical” Symphony, Tchaikovsky: Symphony No. 6

22 November, same venue

Bach: Suite No. 3; Vivaldi: Violin Concerto in B-flat (M. Mischakoff); Handel: Concerto

Grosso Op. 6 No. 12; Bach-Respighi: Passacaglia and Fugue in C minor

29 November, same venue

Wolf-Ferrari: Overture to Le donne curiose; Kodály: Suite from Háry János; Debussy:

La Mer

6 December, same venue

Verdi: Otello (Acts I and II) (H. Nelli; R. Vinay, G. Valdengo)

13 December, same venue

Verdi: Otello (Acts III and IV) (H. Nelli; R. Vinay, G. Valdengo)

1948

14 February, same venue

Strauss: Don Juan; Berlioz: “Queen Mab” from Roméo et Juliette; Mussorgsky: Pictures

at an Exhibition

21 February, same venue

Brahms: “Haydn” Variations, Symphony No. 3

28 February, same venue

Glinka: Jota aragonesa; Tchaikovsky: “Manfred” Symphony

6 March, same venue

Haydn: Sinfonia concertante Op. 84; Mozart: Symphony No. 39 in E-flat; Beethoven:

Overture No. 3 to Leonore

230
13 March, same venue

Donizetti: Overture to Don Pasquale; Mancinelli: “Fuga degli amanti” from Scene

veneziane; Busoni: Berceuse élégiaque; Martucci: Novelletta; Verdi: Ballabili

from Otello; Tommasini: Carnival of Venice; Rossini: Overture to Semiramide

20 March, same venue

Wagner: Preludes to Acts I and III of Lohengrin, Overture to Tannhäuser (Paris version),

“Forest Murmurs” from Siegfried, “Dawn and Siegfried’s Rhine Journey” from

Götterdämmerung, “Ride of the Valkyries” from Die Walküre

27 March, same venue

Debussy: Ibéria, Prélude à l’après-midi d’un faune, “Fêtes from Trois Nocturnes, La

Mer

3 April, same venue

Beethoven: Symphony No. 9 (A. McKnight, J. Hobson; E. Dillon, N. Scott; Collegiate

Chorale)

26 April, New York, Carnegie Hall (with NBC Symphony Orchestra)

Verdi: Te Deum from the Four Sacred Pieces, Messa da Requiem (H. Nelli, N. Merriman;

? McGrath, N. Scott; Collegiate Chorale)

10 and 12 June, Milan, Teatro alla Scala

Boito: Prologue and Act III of Mefistofele (H. Nelli; G. Prandelli, C. Siepi); Act III

(complete) and Act IV Part 2 of Nerone (H. Nelli, G. Simionato, E. Ticozzi; F.

Guarrera, C. Siepi, G. Nessi)

16 September, same venue

231
Rossini: Overture to La scala di seta; Schubert: “Great C-Major” Symphony; Verdi:

Ballabili from Otello; Tchaikovsky: Romeo and Juliet Overture-Fantasy;

Mussorgsky-Ravel: Pictures at an Exhibition

23 October, New York, RCA Building, Studio 8H (with NBC Symphony Orchestra)

Brahms: Allegro molto from Serenade No. 1, Piano Concerto No. 2 (V. Horowitz)

30 October, same venue

Brahms: “Tragic” Overture, Symphony No. 1

6 November, same venue

Brahms: “Academic Festival” Overture, Minuets 1 and 2 from Serenade No. 1,

Symphony No. 2

13 November, same venue

Brahms: Double Concerto (M. Mischakoff, F. Miller), Liebeslieder-Walzer (J. Kahn, A.

Balsam; ?), “Hungarian” Dance No. 1

20 November, same venue

Brahms: “Haydn” Variations, Symphony No. 3

27 November, same venue

Brahms: Gesang der Parzen (Shaw Chorale), Symphony No. 4

4 December, same venue

Mozart: Symphony No. 40 in G minor; Dvořák: Symphonic Variations; Wagner:

Overture to Tannhäuser

11 December, same venue

Mendelssohn: Overture, The Fair Melusine; Liadov: Kikimora; Strauss: Don Quixote (F.

Miller)

232
1949

12 February, same venue

Berlioz: Overture, Le Carnaval romain; “Queen Mab” from Roméo et Juliette; Harold in

Italy (C. Cooley)

19 February, same venue

Beethoven: Coriolan Overture, Symphony No. 3

26 February, same venue

Kabalevsky: Symphony No. 2; Sibelius: En Saga; Wagner: “Dawn and Siegfried’s Rhine

Journey” from Götterdämmerung

5 March, same venue

Rossini: Overture to La scala di seta; Schubert: “Unfinished” Symphony; Franck: Les

Eolides; Strauss: Till Eulenspiegel

12 March, same venue

Haydn: Symphony No. 99 in E-flat; Weber-Berlioz: Invitation to the Dance;

Mendelssohn: Symphony No. 4 (“Italian”)

19 March, same venue

Beethoven: Overture, The Consecration of the House, Adagio and Allegretto from The

Creatures of Prometheus, Symphony No. 6

26 March, same venue

Verdi: Aida (Acts I and II) (H. Nelli, E. Gustavson; R. Tucker, G. Valdengo, N. Scott)

2 April, same venue

Verdi: Aida (Acts III and IV) (H. Nelli, E. Gustavson; R. Tucker, G. Valdengo, N. Scott)

233
20 April, New York, Carnegie Hall (with NBC Symphony Orchestra)

Beethoven: Overture to The Creatures of Prometheus, Symphony No. 3; Wagner:

Overture to Tannhäuser (Paris version), Act I Scene 3 of Die Walküre (R.

Bampton; S. Svanholm), “Ride of the Valkyries” from Die Walküre

3 September, Venice, Teatro La Fenice (with Scala orchestra)

Cherubini: Overture to Anacréon; Beethoven: Symphony No. 6; Franck: Les Eolides;

Smetana: The Moldau; Strauss: Don Juan; Wagner: Prelude to Die Meistersinger

8 September, Milan, Teatro alla Scala

Cherubini: Overture to Anacréon; Symphony No. 6; Rossini: Overture to La Cenerentola;

Smetana: The Moldau; Strauss: Don Juan; Verdi: I vespri siciliani

10 September, same venue

Cherubini: Overture to Anacréon; Beethoven: Symphony No. 6; Rossini: Overture to La

Cenerentola; Smetana: The Moldau; Strauss: Don Juan; Verdi: I vespri siciliani

7 October, Ridgefield (Connecticut), Ridgefield High School auditorium (with members of NBC

Symphony)

Thomas: Overture to Mignon; Mendelssohn: Symphony No. 4 (“Italian”); Debussy:

Prélude à l’après-midi d’un faune; Saint-Saëns: Danse macabre; Wagner: “Forest

Murmurs” from Siegfried; Waldteufel: Skaters’ Waltz; Rossini: “Passo a sei” from

William Tell; Sousa: Stars and Stripes Forever

29 October, New York, RCA Building, Studio 8H (with NBC Symphony Orchestra)

Berlioz: “Romeo Alone – Feast at the Capulets’ – Queen Mab” from Roméo et Juliette;

Debussy: La Mer

5 November, same venue

234
Beethoven: Symphony No. 2; Elgar: “Enigma” Variations

12 November, same venue

Cimarosa: Overture to Il matrimonio per raggiro; Schumann: Symphony No. 3;

Tchaikovsky: Romeo and Juliet Overture-Fantasy

19 November, same venue

Boccherini: Quartet in D; Haydn: Symphony No. 98 in B-flat; Ravel: Daphnis et Chloé,

Suite No. 2

26 November, same venue

Mozart: Overture to The Magic Flute; Beethoven: Symphony No. 3

3 December, same venue

Cherubini: Overture to Ali Baba; Tchaikovsky: “Manfred” Symphony

10 December, same venue

Giordano: Prelude to Act II of Siberia, “Dance of the Moor” from Il re; Puccini:

Intermezzo from Act III of Manon Lescaut; Busoni: Berceuse élégiaque and

Rondò arlecchinesco (?); Respighi: Feste romane

17 December, same venue

Wagner: Prelude and “Good Friday Spell” from Parsifal, “Dawn and Siegfried’s Rhine

Journey” from Götterdämmerung, “Siegfried’s Death and Funeral Music” from

Götterdämmerung, “Ride of the Valkyries” from Die Walküre

1950

18 February, same venue

Cherubini: Overture to Medea, Requiem in C minor (Shaw Chorale)

235
25 February, same venue

Brahms: “Haydn” Variations, Symphony No. 4

4 March, same venue

Kabalevsky: Overture to Colas Breugnon; Glinka: Jota aragonesa; Tchaikovsky:

Symphony No. 6

11 March, same venue

Mozart: Symphony No. 40 in G minor; Schubert: “Unfinished” Symphony; Smetana: The

Moldau

18 March, same venue

Dvořák: “New World” Symphony; Dukas: The Sorcerer’s Apprentice; Wagner: Prelude

to Die Meistersinger

25 March, same venue

Prokofiev: “Classical” Symphony; Saint-Saëns: Danse macabre; Debussy: Ibéria;

Strauss: Don Juan

1 April, same venue

Verdi: Falstaff (Act I, Act II Part 1) (Nelli, Stich-Randall, Merriman, Elmo; Valdengo,

Madasi, Guerrera, Scott; Shaw Chorale)

8 April, same venue

Verdi: Falstaff (Act II Part 2, Act III) (Nelli, Stich-Randall, Merriman, Elmo; Valdengo,

Madasi, Guerrera, Scott; Shaw Chorale)

NBC SYMPHONY U.S. TOUR

14 April, New York, Carnegie Hall

236
Rossini: Overture to L’italiana in Algeri; Beethoven: Symphony No.3; Strauss: Don

Juan; Debussy: La Mer; Wagner: “Forest Murmurs” from Siegfried

17 April, Baltimore, Lyric Theater

Rossini: Overture to L’italiana in Algeri; Beethoven: Symphony No.3; Strauss: Don

Juan; Debussy: La Mer

19 April, Richmond, The Mosque

Kabalevsky: Overture to Colas Breugnon; Tchaikovsky: Symphony No. 6; Brahms:

“Haydn” Variations; Mendelssohn: Scherzo from A Midsummer Night’s Dream;

Ravel: Daphnis et Chloé; Emmett: Dixie

22 April, Atlanta, Municipal Auditorium

Rossini: Overture to La scala di seta; Brahms: Symphony No. 1; Schubert: “Unfinished”

Symphony; Saint-Saëns: Danse macabre; Dukas: The Sorcerer’s Apprentice;

Emmett: Dixie

25 April, New Orleans, Municipal Auditorium

Beethoven: Overture to Egmont; Brahms: Symphony No. 4; Debussy: Ibéria; Glinka:

Jota aragonesa; Wagner: “Forest Murmurs” from Siegfried, Prelude to Die

Meistersinger; Emmett: Dixie

27 April, Houston, City Auditorium

Rossini: Overture to La Cenerentola; Beethoven: Symphony No.3; Smetana: The

Moldau; Wagner: “Good Friday Spell” from Parsifal; Tchaikovsky: Romeo and

Juliet Overture-Fantasy

29 April, Austin, University of Texas, Gregory Gymnasium

237
Wagner: Prelude to Die Meistersinger; Dvořák: “New World” Symphony; Schubert:

“Unfinished” Symphony; Saint-Saëns: Danse macabre; Rossini: Overture to

William Tell

1 May, Dallas, State Fair Auditorium

Kabalevsky: Overture to Colas Breugnon; Tchaikovsky: Symphony No. 6; Brahms:

“Haydn” Variations; Mendelssohn: Scherzo from A Midsummer Night’s Dream;

Ravel: Daphnis et Chloé

3 May, Pasadena, Civic Auditorium

Beethoven: Overture to Egmont; Brahms: Symphony No. 4; Debussy: Ibéria; Glinka:

Jota aragonesa; Wagner: “Forest Murmurs” from Siegfried, Prelude to Die

Meistersinger; Sousa: Stars and Stripes Forever

5 May, same venue

Rossini: Overture to La Cenerentola; Beethoven: Symphony No.3; Smetana: The

Moldau; Wagner: “Good Friday Spell” from Parsifal; Tchaikovsky: Romeo and

Juliet Overture-Fantasy; Sousa: Stars and Stripes Forever

7 May, San Francisco, War Memorial Opera House

Rossini: Overture to L’italiana in Algeri; Beethoven: Symphony No.3; Strauss: Don

Juan; Debussy: La Mer; Wagner: “Forest Murmurs” from Siegfried

9 May, Portland, Public Auditorium

Kabalevsky: Overture to Colas Breugnon; Tchaikovsky: Symphony No. 6; Brahms:

“Haydn” Variations; Mendelssohn: Scherzo from A Midsummer Night’s Dream;

Ravel: Daphnis et Chloé; Wagner: “Forest Murmurs” from Siegfried

10 May, Seattle, Civic Auditorium

238
Rossini: Overture to La Cenerentola; Beethoven: Symphony No.3; Smetana: The

Moldau; Wagner: “Good Friday Spell” from Parsifal; Tchaikovsky: Romeo and

Juliet Overture-Fantasy; Kabalevsky: Overture to Colas Breugnon

13 May, Denver, Denver Arena Auditorium

Beethoven: Overture to Egmont; Brahms: Symphony No. 4; Schubert: “Unfinished”

Symphony; Saint-Saëns: Danse macabre; Rossini: Overture to William Tell;

Wagner: Prelude to Die Meistersinger

15 May, St. Louis, Fox Theater

Rossini: Overture to La scala di seta; Beethoven: Symphony No. 3; Strauss: Don Juan;

Debussy: La Mer

17 May, Chicago, Civic Opera House

Rossini: Overture to L’italiana in Algeri; Brahms: Symphony No. 1; Strauss: Don Juan;

Debussy: La Mer

19 May, Detroit, Masonic Auditorium

Rossini: Overture to La Cenerentola; Beethoven: Symphony No.3; Smetana: The

Moldau; Wagner: “Good Friday Spell” from Parsifal; Tchaikovsky: Romeo and

Juliet Overture-Fantasy

21 May, Cleveland, Public Auditorium

Beethoven: Overture to Egmont; Brahms: Symphony No. 4; Schubert: “Unfinished”

Symphony; Saint-Saëns: Danse macabre; Rossini: Overture to William Tell;

Wagner: Prelude to Die Meistersinger

23 May, Pittsburgh, Syria Mosque

239
Kabalevsky: Overture to Colas Breugnon; Tchaikovsky: Symphony No. 6; Brahms:

“Haydn” Variations; Mendelssohn: Scherzo from A Midsummer Night’s Dream;

Ravel: Daphnis et Chloé; Wagner: “Forest Murmurs” from Siegfried

25 May, Washington, Constitution Hall

Beethoven: Overture to Egmont; Brahms: Symphony No. 4; Debussy: Ibéria; Smetana:

The Moldau; Wagner: Prelude to Die Meistersinger; Kabalevsky: Overture to

Colas Breugnon

27 May, Philadelphia, Academy of Music

Rossini: Overture to La scala di seta; Brahms: Symphony No. 1; Schubert: “Unfinished”

Symphony; Debussy: La Mer; Sousa: Stars and Stripes Forever

26 and 27 June, Milan, Teatro alla Scala

Verdi: Te Deum from the Four Sacred Pieces; Messa da Requiem (R. Tebaldi, C. Elmo;

G. Prandelli, C. Siepi)

1951

27 January, New York, Carnegie Hall (with NBC Symphony Orchestra)

Verdi: Te Deum from the Four Sacred Pieces; Messa da Requiem (H. Nelli, F. Barbieri;

G. Di Stefano, C. Siepi; Shaw Chorale)

3 February, same venue

Beethoven: Overture to The Creatures of Prometheus, Symphony No. 4, Overture No. 3

to Leonore

10 February, same venue

Mendelssohn: Overture to A Midsummer Night’s Dream; Brahms: Symphony No. 2

240
17 February, same venue

Debussy: Prélude à l’après-midi d’un faune; Respighi: Fontane di Roma; Elgar:

“Enigma” Variations

3 November, same venue

Weber: Overture to Euryanthe; Brahms: Symphony No. 1

10 November, same venue

Prokofiev: “Classical” Symphony; Berlioz: “Queen Mab” from Roméo et Juliette;

Beethoven: Symphony No. 7

17 November, same venue

Dvořák: Symphonic Variations; Tchaikovsky: Suite from The Nutcracker; Rossini:

Overture to Semiramide

24 November, same venue

Beethoven: Septet; Wagner: Prelude to Act III of Die Meistersinger, “Dawn and

Siegfried’s Rhine Journey” from Götterdämmerung

22 December, same venue

Cherubini: Overture to Anacréon; Beethoven: Symphony No. 1; Respighi: Fontane di

Roma; Brahms: Symphony No. 4

29 December, same venue

Wagner: Prelude to Act I of Lohengrin, “Forest Murmurs” from Siegfried, Prelude and

Liebestod from Tristan und Isolde, “Siegfried’s Death and Funeral Music” from

Götterdämmerung, “Ride of the Valkyries” from Die Walküre

1952

241
5 January, same venue

Weber: Overture to Der Freischütz; Franck: “Psyché et Eros” from Psyché; Rossini:

“Passo a sei” from William Tell; Elgar: “Enigma” Variations

12 January, same venue

Beethoven: Overture No. 2 to Leonore, Symphony No. 6

8 March, same venue

Kabalevsky: Overture to Colas Breugnon; Cherubini: Symphony in D; Strauss: Death

and Transfiguration

15 March, same venue

Franck: Symphonic Interlude from Rédemption; Sibelius: En Saga; Debussy: “Nuages”

and “Fêtes” from Trois Nocturnes; Rossini: Overture to William Tell

22 March, same venue

Beethoven: Symphony No. 5; Respighi: Pini di Roma

29 March, same venue

Beethoven: Symphonies Nos. 1 and 9 (E. Farrell, N. Merriman; J. Peerce, N. Scott; Shaw

Chorale)

26 July, same venue

Thomas: Overture to Mignon; Liadov: Kikimora; Wagner: Siegfried Idyll; Ponchielli:

“Dance of the Hours” from La Gioconda; Sibelius: Finlandia

2 August, same venue

Hérold: Overture to Zampa; Catalani: Prelude to Act IV of La Wally, “Dance of the

Water-Nymphs” from Loreley; Bizet: Suite from Carmen; Humperdinck:

Overture to Hänsel und Gretel; Weber: Overture to Oberon

242
19 September, Milan, Teatro alla Scala (with Scala orchestra)

Wagner: Prelude to Die Meistersinger, “Forest Murmurs” from Siegfried, Siegfried Idyll,

“Dawn and Siegfried’s Rhine Journey” from Götterdämmerung, Prelude and

“Good Friday Spell” from Parsifal, “Siegfried’s Death and Funeral Music” from

Götterdämmerung, Prelude and Liebestod from Tristan und Isolde, “Ride of the

Valkyries” from Die Walküre

29 September, London, Royal Festival Hall (with Philharmonia Orchestra)

Brahms: “Tragic” Overture, Symphonies Nos. 1 and 2

1 October, same venue

Brahms: “Haydn” Variations, Symphonies Nos. 3 and 4

1 November, New York, Carnegie Hall (with NBC Symphony Orchestra)

Brahms: Symphony No. 3; Strauss: Till Eulenspiegel

8 November, same venue

Beethoven: Symphony No. 8; Wagner: Overture to Tannhäuser (Paris version); Verdi:

Overture to La forza del destino

15 November, same venue

Rossini: Sonata No. 3 for strings; Saint-Saëns: Symphony No. 3

22 November, same venue

Gluck: Overture to Iphigénie en Aulide; Act II from Orfeo ed Euridice (N. Merriman, B.

Gibson; Shaw Chorale)

1953

10 January, same venue

243
Berlioz: Overture, Le Carnaval romain; Tchaikovsky: “Manfred” Symphony

17 January, same venue

Beethoven: Overture to Egmont; Martucci: Piano Concerto No. 2 (M. Horszowski);

Rossini: Overture to William Tell

24 January, same venue

Haydn: Symphony No. 94 (“Surprise”); Mussorgsky-Ravel: Pictures at an Exhibition

31 January, same venue

Schumann: “Manfred” Overture; Rossini: “Passo a sei” from William Tell; Dvořák: “New

World” Symphony

7 February, same venue

Schubert: “Great C-Major” Symphony; Wagner: Prelude to Die Meistersinger

14 February, same venue

Debussy: Ibéria, Prélude à l’après-midi d’un faune, La Mer

7 March, same venue

Wagner: Prelude to Act III of Lohengrin, Siegfried Idyll, “Siegfried’s Death and Funeral

Music” from Götterdämmerung, Prelude and Liebestod from Tristan und Isolde,

“Ride of the Valkyries” from Die Walküre

14 March, same venue

Schubert: Symphony No. 5; Smetana: The Moldau; Respighi: Pini di Roma

21 March, same venue

Cherubini: Overture to Anacréon; Mozart: Symphony No. 40 in G minor; Tchaikovsky:

Romeo and Juliet Overture-Fantasy

28 March, same venue

244
Beethoven: Missa Solemnis (L. Marshall, N. Merriman; E. Conley, J. Hines; Shaw

Chorale)

22 November, same venue

Brahms: “Tragic” Overture; Strauss: Don Quixote (F. Miller)

29 November, same venue

Wagner: Prelude to Act III of Tannhäuser; Berlioz: Harold in Italy (C. Cooley)

6 December, same venue

Beethoven: Coriolan Overture, Symphony No. 3

13 December, same venue

Mussorgsky: Prelude to Khovanshchina; Franck: Les Eolides; Weber-Berlioz: Invitation

to the Dance; Mendelssohn: Symphony No. 5 (“Reformation”)

1954

17 January, same venue

Verdi: Un ballo in maschera (Act I) (H. Nelli, V. Haskins, C. Turner; J. Peerce, R.

Merrill; Shaw Chorale)

24 January, same venue

Verdi: Un ballo in maschera (Acts II and III) (H. Nelli, V. Haskins; J. Peerce, R.

Merrill; Shaw Chorale)

28 February, same venue

Mendelssohn: Symphony No. 4 (“Italian”); Strauss: Don Juan; Weber: Overture to

Oberon

7 March, same venue

245
Beethoven: Overture No. 2 to Leonore, Symphony No. 6

14 March, same venue

Vivaldi: Concerto Grosso Op. 3 No. 11; Verdi: Te Deum from the Four Sacred Pieces;

Boito: Prologue to Mefistofele (N. Moscona; Shaw Chorale)

21 March, same venue

Rossini: Overture to Il barbiere di Siviglia; Tchaikovsky: Symphony No. 6

4 April, same venue

Wagner: Prelude to Act I of Lohengrin, “Forest Murmurs” from Siegfried, “Dawn and

Siegfried’s Rhine Journey” from Götterdämmerung, Overture to Tannhäuser

(Paris version), Prelude to Die Meistersinger

246
ALPHABETICAL LIST OF ARTURO TOSCANINI’S PUBLIC PERFORMANCES AS A

CONDUCTOR

Names of operas performed in their entirety are given in boldface.

Dates are given day/month/year, e.g., 25.3.97 = 25 March 1897.

AGUIRRE, Julián

(arr. E. Ansermet) “Two Dances” (“Huella y Gato”): 22.6.40

ALALEONA, Domenico

Due canzoni italiane (“La mamma,” “Canzone a ballo”): 22.5.21, 31.5.21, 15.6.21

Intermezzo from La Mirra: 8.6.21

ATTERBERG, Kurt

Symphony No. 6: 21.11.43

BACH, Johann Christian

Sinfonia in E-flat, Op. 18 No. 1: 3–4–5–6.12.31

Sinfonia in D, Op. 18 No. 3: 16–17–19.4.31

BACH, Johann Sebastian

“Brandenburg” Concerto No. 2: 30–31.1.36, 2.2.36, 22.2.36, 23.5.38, 29.10.38

“Brandenburg” Concerto No. 6: 5–7.4.33

Cantata No. 66 (“Erfreut euch, ihr Herzen”): 10–12.10.28

Cantata No. 209 (“Non sai che sia dolore”): 26–27.4.34

“Christmas” Oratorio, Part II, Sinfonia (Pastorale): 25.3.97, 29.11.01, 1.12.01, 29–30–

31.3.28, 1.4.28

247
Concerto for four pianos [sic] and orchestra in A minor: 13–14–15–16.10.32

Concerto for two violins and orchestra in D minor: 26–27.4.34

Concerto for violin and orchestra, A minor: 26–27.11.31, 14–15–16.12.31

Passacaglia and Fugue in C minor (arr. Respighi): 16–17.4.30, 6.5.30, 8.5.30, 10.5.30,

13.5.30, 4.6.30, 11–12–14–15–16–17.12.30, 27.12.30, 16–17.4.31, 16–18–

19.11.32, 3–4.2.34, 3.6.34, 30.8.34, 13–14.10.34, 14.6.37, 14.10.39, 9–10–

13.1.42, 22.11.47

Prelude and Fugue in D (arr. Respighi): 24–25–26–27.1.35

Prelude and Fugue in E-flat (arr. Schoenberg): 6–7–8–9.10.32, 24–25.10.32

Prelude, Chorale, and Fugue (arr. J. J. Abert—chorale by Abert): 12.10.25, 17.1.26,

1.2.26

St. Matthew Passion (Final chorus): 26–27.34, 1.4.45

Suite No. 2 in B minor (arr. G. Mahler): 16.9.11, 12.10.27

Suite No. 3 in D: 26–27.4.34, 4.4.42 (Air only), 22.11.47

Three Chorale Preludes (arr. Respighi): 13–14–16.11.30, 5–6.12.30

Toccata and Fugue in D minor (arr. Wood) 20–21–22–23.2.36

BARBER, Samuel

Adagio for strings: 5.11.38, 14.5.40, 27.6.40, 13.12.41

Essay for orchestra: 5.11.38, 24.1.42

BAZZINI, Antonio

Allegro drammatico for violin and orchestra: 21.6.1900

Re Lear, Overture: 16.12.97

248
Saul, Overture, 22.9.98, September–October 1917 (arranged for band, at the front),

10.2.18, 9.5.20, 14.1.39

BEETHOVEN, Ludwig van

Choral Fantasy for piano, chorus, and orchestra: 2.12.39

Concerto No. 1 for piano and orchestra: 12.11.44

Concerto No. 3 for piano and orchestra: 29.10.44, 24.11.46

Concerto No. 4 for piano and orchestra: 20–21–23.2.36, 26.11.44

Concerto No. 5 for piano and orchestra: 23.4.33

Concerto for violin and orchestra: 10.3.97, 12.5.00, 4.4.04, 26–27.11.31, 14–15–

16.12.31, 18–19.1.34, 29.4.36, 21.8.39

Concerto for violin, cello, piano, and orchestra (“Triple” Concerto): 16.4.33, 1.5.42

Consecration of the House, The, Overture: see Weihe des Hauses, Die

Coriolan, Overture: 30.5.98, 20.10.98, 9–13.5.20, 7–8–10.11.29, 16.4.33, 30–31.1.36,

2.2.36, 21–22–24.11.36, 8–13.12.36, 26.5.37, 12.11.38, 8.5.39, 3.8.39, 11.11.39,

26.4.42, 26.11.44, 24.11.46, 19.2.49, 6.12.53

Creatures of Prometheus, The: see Geschöpfe von Prometheus, Die

Egmont, Overture: 21.6.98, 6.10.98, 27.4.02, 10–11.11.12, 26.3.33, 15.4.33, 11–12.1.34,

24.3.35, 1–3–6.1.36, 2–4–5.1.37, 3.5.39, 21.8.39, 18.11.39, 14.5.40, 4–8–9.7.40,

24.4.42, 6.2.44, 12.11.44, 25.9.45, 7.7.46, 25.4.50, 3–13–21–25.5.50, 17.1.53

Fidelio: 7–9–12.4.27, 18–30.11.27, 7–14–24–31.8.35, 25.7.36, 5–16–31.8.36, 24.7.37,

26.8.37, 17–19.9.37

Fidelio, Concert performance in two parts: 10.12.44 (Act I), 17.12.44 (Act II, including

Overture No. 3 to Leonore)

249
Fidelio, Overture: 30.11.00, 2.12.00, 27–28–30.10.32, 7.11.32, 28.10.39, 1.5.42

Fidelio (“Abscheulicher! . . . Komm, Hoffnung . . . Ich folg’ dem innern Triebe”):

11.2.34

Geschöpfe von Prometheus, Die (The Creatures of Prometheus): 14–15–17.11.29

(Adagio only), 18–19.1.34 (Overture only), 25–26.1.34 (Adagio only), 3–4.2.34

(Adagio only), 11.2.34 (Overture only), 12.5.39 (Overture only), 22.5.39 (Adagio

and Andante quasi allegretto only), 21.8.39 (Overture only), 25.11.39 (Adagio

and Andante quasi allegretto only), 29.4.42 (Overture only), 5.3.44 (Overture,

Adagio, and Andante quasi allegretto), 29.10.44 (Adagio and Andante quasi

allegretto only), 16.3.47 (Adagio and Andante quasi allegretto only), 19.3.49

(Adagio and Andante quasi allegretto only), 20.4.49 (Overture only), 3.2.51

(Overture only)

King Stephen, Overture: see König Stephan, Overture

König Stephan, Overture: 23.4.33

Leonore, Overture No. 1: 25–26.1.34, 25.2.34, 29.4.36, 17.5.39, 29.10.44

Leonore, Overture No. 2: 25.2.34, 25.11.39, 21.2.40, 6.2.44, 19.11.44, 25.9.45, 7.7.46,

12.1.52, 7.3.54

Leonore, Overture No. 3: 15.5.98, 1.7.98, 11.5.99, 29.7.01(?), 27.4.02, 14.4.04, 22.2.05,

11.4.05, 31.5.19, 4.6.19, 21–22–24–28.6.19, 21–25.1.20, 28–30.12.20, 4–6–

24.3.21, 29.4.21, 5.5.21, 17–18–22–24–27.6.24, 24.1.26, 27–28–31.3.29, 20–22–

23–24.11.29, 16–18–27.5.30, 1.6.30, 24–25.11.32, 23.4.33, 25.2.34, 6.6.34, 14–

15.12.35, 26.4.36, 2–4–5.1.37, 3.5.39, 22.5.39, 29.8.39, 4.11.39, 25.11.39,

23.6.40, 6.3.48, 3.2.51

250
Missa Solemnis: 8–9–11.3.34, 25–26–28.4.35, 28–29.11.36, 26–28.5.39, 28.12.40,

22.4.42, 28.3.53

Septet: 2.4.34, 18.11.39, 6.12.41, 6.2.44, 3.12.44, 24.11.51

String Quartet Op. 59 No. 3 (Allegro molto): 26.11.44

String Quartet Op. 130 (Cavatina only): 26.11.44

String Quartet Op. 135 (Lento assai and Vivace only): 11–12.1.34, 1.1.38, 22.5.39,

25.11.39, 12.11.44, 25.10.47

Symphony No. 1: 3.5.96, 17.5.96, 13.12.96, 13.9.97, 26.6.98, 8.4.05, 16.9.1116–18.5.20,

25.4.21, 2–3–25–28.5.21, 5–12.6.21, 25.6.22, 12–15.7.22, 16.10.25, 6.2.26, 7–13–

20.10.26, 5–6.2.27, 31.3.28, 13–14–16.11.30, 5–6–12.30, 26.3.33, 11–12.1.34,

25.2.34, 20–21–22–23.2.36, 15.6.36, 2–4–5–11–12.1.37, 3.11.37, 6.2.38, 3.5.39,

28.10.39, 20–25.6.41, 24.4.42, 24.3.43, 22.10.44, 24–26.6.46, 7.7.46, 6–21.9.47,

22.12.51, 29.3.52

Symphony No. 2: 7–13.10.26, 28.2.29, 1–3–16–24–31.3.29, 13–14–15.3.30, 26.3.33, 11–

12.1.34, 25.8.38, 3.5.39, 4.11.39, 24.4.42, 11.4.43, 3.12.44, 5.11.49

Symphony No. 3: 9.6.98, 28.10.98, 15.2.05, 23–25.4.05, 15–19–21–23–24–26–27.3.06,

20.1.18, 16–18–22–23–29.6.25, 28–29.1.26, 1.2.26, 8–14.10.26, 1–2.2.27, 7–

9.3.30, 3–13–19–25–28–30.5.30, 4.6.30, 15–21–27.12.30, 27.11.32, 6–7–8.3.33,

2.4.33, 18–19.1.34, 1.4.34, 28.4.34, 2.12.34, 30.3.35, 30.11.35, 1–3.12.35, 2–4–5–

11–12.1.37, 4.6.37, 25.3.38, 23.5.38, 3–27.12.38, 31.1.39, 1–7.2.39, 8.5.39,

28.10.39, 13–20.6.40, 26.4.42, 5.11.44, 1.9.45, 19.2.49, 20.4.49, 26.11.49, 14–17–

27.4.50, 5–7–10–15–19.5.50, 6.12.53

251
Symphony No. 4: 1.9.98, 23–25.4.07, 8–14.10.26, 4–5–14–16–17.2.28, 1–2–4–5.4.31, 2–

15.4.33, 25–26.1.34, 30–31.1.36, 2–22–25.2.36, 24–25–26.4.38, 19.5.38, 8.5.39,

4.11.39, 26.4.42, 3.2.51

Symphony No. 5: 22.9.98, 16.10.98, 10–11.11.12, 17–20.11.12, 10–12.5.16, 24.3.18

(twice), 5–6–16.6.20, 23–28–30.10.20, 1–3–7–9–11–12–13–15–16–17–23–27–

29.11.20, 21.11.20 (Finale only), 7–17.1.21, 13–24.2.21, 1.3.21, 26–28.4.21, 4–

26.5.21, 9.6.21, 13–16–20–23–26–29.6.24, 17–21–22.1.26, 7–13.10.26, 1–2.2.27,

4–6–7.3.31, 6.11.32, 9.4.33, 25–26.1.34, 14.3.34, 22.10.38, 12.5.39, 21.8.39,

11.11.39, 1–10.7.40, 29.4.42, 9.9.43 (first movement only), 18.4.44, 8.5.45,

22.3.52

Symphony No. 6: 8–26.5.98, 22.4.00, 28–29.4.00, 1–2–3–6–8–14.5.00, 14.5.05, 2.6.05,

17.6.09, 19–29.9.11, 6.2.16, 10.3.18, 11–14.1.20, 8–10–17.6.20, 9–16.10.26, 1–2–

4–5–6–7–8–9–11–17–25.3.28, 11–12–14.12.30, 22–23.10.32, 3–4–17.11.32,

9.4.33, 1–2.2.34, 25.3.34, 2–3.2.35, 26.11.35, 24–25.4.37, 2–8.6.37, 24.8.37, 9–

10–13.10.37, 8.1.38, 12.5.39, 11.11.39, 29.6.40, 12.4.41, 29.4.42, 6.2.44, 5.3.44,

16.3.47, 19.3.49, 3–8–10.9.49, 12.1.52, 7.3.54

Symphony No. 7: 12.12.97, 5–6–18–19–25–28.11.20, 1–3–21–26–29.1.21, 2–19.2.21, 2–

3–5–6.3.21, 20.4.21, 6–8–24–27–30–31.5.21, 3–4–10–11.6.21, 9–16.10.26, 3–4–

5–6.10.29, 4.11.29, 9.3.30, 21–23–26.5.30, 16.4.33, 23–24–30.10.33, 29.11.33, 1–

2–22–23.2.34, 3.6.34, 23.8.34, 20.11.34, 20.4.35, 12–14.6.35, 16.3.36, 1–3–

5.4.36, 14.3.39, 17.5.39, 29.8.39, 18.11.39, 21.2.40, 15–22.6.40, 3.7.40, 24.4.41,

1.5.42, 19.11.44, 19.4.45, 25.10.47, 10.11.51

252
Symphony No. 8: 14.3.97, 27.3.97 (Allegretto only), 12–17.10.26, 17–18–19–20.10.29,

15–16–18.2.34, 5–6–8.3.36, 28.1.39, 17.5.39, 25.11.39, 3.5.42, 31.10.43,

22.10.44, 8.11.52

Symphony No. 9: 7.9.98 (2nd and 3rd movements only), 20–25–27.4.02, 13–18.4.13, 7–

8–10–14–15–16–18.6.19, 25–29.6.22, 1.7.22, 12–17–20.10.26, 5–6.2.27, 29–

30.3.28, 1.4.28, 28.4.32, 15–16–18.2.34, 20–21–22.10.34, 16–22–23.11.34, 5–6–

8.3.36, 3.11.37, 6.2.38, 22.5.39, 2.12.39, 20–25–29.6.41, 24.7.41, 3.5.42, 25.9.45,

24–26.6.46, 3.4.48, 29.3.52

Weihe des Hauses, Die (The Consecration of the House), Overture: 16.3.47, 25.10.47,

19.3.49

BELLINI, Vincenzo

Capuleti e i Montecchi, I: 14.11.90 + 2

Norma: 12.2.93 +10, 30.4.98 +5

Norma, Overture: Sept.–Oct. 1917 (arr. for band)

Norma, Act I—Introduction and Druids’ chorus: 2.12.45

Puritani, I: 18.8.94 + 3

BERLIOZ, Hector

Béatrice et Bénédict, Overture: 25.5.34

Benvenuto Cellini, Overture: 30–31.3.33, 1.4.33, 12–13–14.4.34, 19.11.35

Carnaval romain, Le, Overture: 28.8.98, 10.10.98, 7–9–11.10.42, 12.2.49, 10.1.53

Damnation de Faust, La (staged as an opera): 22.12.02 + 22, 30.5.03 + 7, 15.8.03,

7.7.04 + 5, 23.1.06 + 12

253
Damnation de Faust, La, “Dance of the Sylphs” and “Rakóczy” March only: 2.10.98,

14.1.20

Damnation de Faust, La, “Rakóczy” March only: 16–23.1.21, 2–4–24–30–31.5.21, 4–

10–11.6.21, 25–26–28.12.30, 3–3.1.31, 30.11.35, 1–3.12.35), 14.6.37, 5.4.41,

2.9.45

Francs-Juges, Les, Overture: 5.4.41

Harold en Italie: 31.10.28, 1–2–3.11.29, 21.1.39, 27.10.46, 12.2.49, 29.11.53

Roméo et Juliette: 7–9–11.10.42, 9 and 16.2.47 (in two parts)

Roméo et Juliette, excerpts: 22.3.97 (Part 2 only), 27.1.18 (Love Scene and “Queen

Mab”), 14–18.1.20 (same), 8–10–17.6.20 (same), 12.10.27 (same), 19.11.38

(Love Scene only), 5.4.41 (Love Scene and “Queen Mab”), 4.11.45 (“Romeo

Alone – Feast at the Capulets’ – Love Scene – Queen Mab”), 29.10.49 (“Romeo

Alone – Feast at the Capulets’ – Queen Mab”)

Roméo et Juliette, “Queen Mab” only: 15–25.9.98, 23.10.98, 6.5.99, 27–30.4.00, 4–

5.5.00, 13.2.05, 2–10–11–12.2.28, 20–21–22–30.3.30, 16–18–30.5.30, 16–18–

19.11.32, 12.10.33, 29.11.33, 1.12.33, 30.8.34, 13–14–15.10.34, 22.5.36, 28.5.37,

5.2.38, 13–20.6.40, 8.7.40, 6–7–10–2.42, 26.3.44, 4.2.45, 14.2.48, 12.2.49,

10.11.51

Symphonie fantastique: 7.7.98 (4th movement only), 6.5.99 (same), 17–21.3.18 (4th and

5th movements only)

BIZET, Georges

Arlésienne, L’, Suites Nos. 1 and 2: 12.6.98 (No. 1 only), 9–10–1310.37 (same), 19.9.43

254
Carmen: 26.12.87 + ?, 23.3.89 + 16, 30.5.89 + 6, 22.3.90 + ?, 24.4.90 + 14,

30.10.92 + 4, 19.12.06 + 9, 3.12.08 + 5, 12–14.1.09, 19.11.14 + 8, 2.2.15

Carmen, Suite No. 1: 19.9.43, 2.8.52

Jolie fille de Perth, La, Suite: 19.9.43

Patrie, Overture: 22.5.36

BLOCH, Ernest

Dance from Three Hebrew Poems: 5–19–27.11.20

BOCCHERINI, Luigi

Concerto for cello and orchestra in D, G. 483: 27–28–29–30.3.30, 11.13.3.36 (same

concerto, presumably)

Quartet in D: 19.11.49

Quintet in E, Op. 13 No. 5, Minuet only: 4.4.43, 27.8.44

BOITO, Arrigo

Mefistofele: 24.1.97 + 13, 30.1.98 + 6, 16.3.01 + 10, 27.6.03 + 3, 25.8.03, 26.6.06 + ?,

11.4.08 + 4, 25.5.12 + 5, 19.11.18 + 8, 22.3.22 + 11, 19.5.23 + 5, 16.1.25 (Acts III

and IV only), 16.11.27 + 2, 10–12.6.48 (Prologue and Act III only)

Mefistofele, Prologue: 29.8.12, 2.12.45, 11–14.5.46, 14.3.54

Nerone: 1.5.24 + 8, 12.10.24 + 11, 15.11.24 + 11, 21.3.25 + 8, 31.3.26 + 3, 27.4.27 + 1,

1.1.28 + 1, 10–12.6.48 (Act III and part 2 of Act IV only)

BOLZONI, Giovanni

Al castello medioevale, Serenade: 3.9.98, 18.7.43

Al ruscello: 22.3.97

Capriccio sinfonico: 17.4.04, 19–21–28.3.06

255
Minuet: 5–23.8.86, 22.11.89, 23.11.93, Sept.–Oct. 1917 (arr. for band), 20.7.43

Scherzo for strings: 13.9.97

Suite drammatica: 23.6.98

Tempesta in un bicchier d’acqua: 22.3.97

Theme and Variations for string quartet: 22.11.89, 12.3.98, 15.5.98

BORODIN, Alexander

In the Steppes of Central Asia: 15–20–25.3.06, 17.3.18

Prince Igor, “Polovetsian Dances”: 27–28.2.30, 1–2.3.30, 16–17.3.33

Symphony No. 2: 11.5.05, 30.4.07, 2.5.07, 3.2.18, 9.5.20, 23–24.2.28, 26.2.38

BOSSI, Marco Enrico

Intermezzi goldoniani: 10–11–13.11.32, 3.9.44

Suite Op. 126: 1–8.4.05, 11.5.05

BRAHMS, Johannes

“Academic Festival” Overture: 28–29–31.3.35, 11.2.39, 10.1.43, 6.11.48

Concerto No. 1 for piano and orchestra: 14–15–17.3.35

Concerto No. 2 for piano and orchestra: 30–31.1.36, 2.2.36, 29.8.39, 6.5.40, 19.2.45,

23.10.48

Concerto for violin and orchestra: 5–7.4.33, 21–22–24.2.35, 5.8.39

Concerto for violin, cello, and orchestra (“Double” Concerto): 24–25–27.10.29, 14–15–

17.2.35, 21.10.40, 13.11.48

Deutsches Requiem, Ein: 7–8–10.3.35, 7–8.12.35, 12.8.36, 30.10.37, 24.1.43

Ellen’s Song: see Schubert

Gartner, Der: 28–29–30.3.35

256
Gesang aus Fingal: 28–29–30.3.35

Gesang der Parzen: 27.11.48

“Hungarian Dance” No. 1: 10.1.43, 13.11.48

“Hungarian Dance” No. 5: 5–21.6.98

“Hungarian Dance” No. 6: 5–21.6.98, 17.10.98

“Hungarian Dances” Nos. 17, 20, and 21 (arr. Dvořák): 28–29–30.3.35, 2.7.44

Liebeslieder-Walzer: 28–29–30.3.35, 14–15–25.11.36, 29.8.37, 3.6.38, 11.2.39, 27.12.42,

13.11.48

Lied von Shakespeare: 28–29–30.3.35

Serenade No. 1: 14–15–17.3.35 (Allegro molto only), 3–5–7.4.35, 29.8.37, 6.5.40,

17.1.43 (Allegro molto only), 9.3.47 (Minuets 1 and 2 only), 23.10.48 (Allegro

molto only), 6.11.48 (Minuets 1 and 2 only)

Serenade No. 2: 28–29–30.3.35, 16–17.10.37, 22.1.38, 27.12.42

Symphony No. 1: 13–14–16.11.30, 5–6–16–17.12.30, 20.12.31, 14–15–17.2.35, 30.3.35,

21–22–24.11.36, 8–13.12.36, 16.3.37, 26.5.37. 8.6.37, 29.8.37, 25.12.37, 6–

14.5.40, 19.6.40, 9.7.40, 8.2.41, 17.1.43, 18.4.44, 30.10.48, 22.4.50, 17–27.5.50,

3.11.51, 29.9.52

Symphony No. 2: 13–25.10.98, 6–11.5.99, 29.11.01, 1.12.01, 17.4.04, 18–22–25–

28.3.06, 23.9.11, 12.3.16, 26.10.20, 4–10–22.11.20, 8–11–19.1.21, 3–10–27.2.21,

24.3.21, 21–23–27–29.4.21, 5–7.5.21, 2.6.21, 17–18–21–24–27.6.24, 26–27–29–

30–31.1.28, 1–11–12.2.28, 12.5.30, 1.6.30, 28–29.3.34, 1–28.4.34, 21–22–

24.2.35, 15–16.2.36, 15.6.36, 26–27–30–31.12.36, 7–9.1.37, 16–17.10.37,

257
12.2.38, 10.6.38, 27.6.40, 4–8.7.40, 3.1.43, 13–14.2.43, 9.3.47, 6.11.48, 10.2.51,

29.9.52

Symphony No. 3: 10–11–13.10.29, 9–11–12–13.4.30, 26–27–28–29.3.31, 6–7–8–9–24–

25.10.32, 28–29.10.33, 3–5.12.33, 30.8.34, 14–15–17.3.35, 27.3.38, 15.10.38,

10.1.39, 3.8.39, 20.12.42, 24.3.43, 31.3.46, (23–25.5.46?), 21.2.48, 20.11.48,

1.10.52, 1.11.52

Symphony No. 4: 22.5.98, 2.10.98, 1.4.05, 22.5.21, 14.6.21, 9.10.27, 10–11–13.12.31,

14.1.34, 13–14–15.10.34, 15–19.11.34, 3–5–7–20–29.4.35, 3–5.6.35, 15.8.35, 14–

15–17.3.36, 11.2.39, 10.1.43, 28.10.45, (23–25.5.46?), 5.7.46, 27.11.48, 25.2.50,

25.4.50, 3–13–21–25.5.50, 22.12.51, 1.10.52

“Tragic” Overture: 19.3.96, 3.5.96, 21–22–24.2.35, 7–8.12.35, 12.8.36, 30.10.37,

15.1.37, 3.1.43, 28.10.45, 9.3.47, 30.10.48, 29.9.52, 22.11.53

Variations on a Theme of Handel (orch. E. Rubbra): 7.1.39

Variations on a Theme of Haydn: 16.9.11, 17–20.11.12, 15.11.20, 1–3–21–26–28–

29.1.21, 3–19.2.21, 2–3.3.21, 25.4.21, 3.5.21, 16.10.25, 7.2.26, 27–28.3.29, 16–

17.4.30, 3–28.5.30, 4.6.30, 29.11.31, 10–11–13.11.32, 23–24–30.10.33, 3–4.2.34,

23.8.34, 28.11.34, 14–15–17.2.35, 4.4.35, 16.3.36, 2.6.37, 29.8.37, 16–17.10.37,

26.2.38, 25.3.38, 13–27.12.38, 31.1.39, 1–7.2.39, 14–22.6.40, 20.12.42, 19.4.45,

17.11.46, 21.2.48, 20.11.48, 25.2.50, 19.4.50, 1–9–23.5.50, 1.10.52

BRUCH, Max

Concerto in G minor for violin and orchestra: 10.9.98

BRUCKNER, Anton

Symphony No. 4: 24–25.11.32, 3.2.34

258
Symphony No. 7: 20.12.96 (Adagio only), 4–6–7–8.3.31, 24–25–26–27.1.35

BUSCH, Adolf

Variations on a Theme of Mozart: 31.10.29, 1.11.29

BUSI, Alessandro

Elegia funebre: 3.4.05

BUSONI, Ferruccio

Berceuse élégiaque: 30.1.16, 7.5.16, 10.2.18, 7.10.28, 21–22–30.3.29, 27–28–30.10.32,

13.3.48, 10.12.49

Rondò arlecchinesco: 15–16–17–18.3.28, 7.10.28, 27–28–30.10.32, 21–22–24.11.36,

10.12.36, 16.3.37, 26.5.37, 15.1.38, 20.1.46, 10.12.49

BUZZI-PECCIA, Arturo

Forza d’amore, La: 6.3.97 + 2

Re Harfagar: 13.12.96

CAGNONI, Antonio

Francesca da Rimini: 19.11.88 + 8, 7.7.89 + 15

CANTI, Natale

Savitri: 1.12.94 + 5, 7.2.95 + ?, 15.2.96

CASTELNUOVO-TEDESCO, Mario

Concerto for cello and orchestra: 31.1.35, 1.2.35

Concerto No. 2 (“The Prophets”) for violin and orchestra: 12–13.4.33

Overture to a Fairy Tale: 25.11.45

Symphonic Variations for violin and orchestra: 9–11–12–13.4.30

Taming of the Shrew, The, Overture: 10–11–13.12.31, 30.3.40, 26.3.44

259
Winter’s Tale, The, Overture: 30.11.35, 1–3.12.35

CATALANI, Alfredo

A Sera: 2.6.98

Dejanice, Prelude to Act IV: 4.9.92, 12.3.98, 4.7.98

Edmea: 4.11.86 + 14, 4.5.89

Loreley: 18.2.92 + 3, 12.1.93 + 16, 26.10.95 + 5, 15.2.06 + 6, 4.8.06 + ?, 23.8.06 + 1

Loreley, “Dance of the Water-Nymphs”: 4.9.92, 20.12.96, 22.5.98, 1.9.98, 31.10.98, 27–

28–29.4.00, 2–4.5.00, 13.2.05, Sept.–Oct. 1917 (arr. for band), 21.1.39, 23.3.47,

2.8.52

Wally, La: 4.9.92 + 13(?), 18.10.92 + 6, 28.7.04 + 4, 24.8.04, 24.5.06, 28.8.06,

3.3.07 + 4, 6.1.09 + 3

Wally, La, Prelude to Act IV: 1–15.9.98, 14.5.00, 13.2.05, Sept.–Oct. 1917 (arr. for

band), 21.1.39, 23.3.47, 2.8.52

CELEGA, Nicolò

Cuore di Fingal, Il: 7–18.9.98

Gavotte for strings: 23.8.86

Incantesimo, L’: 25–27.10.98, 27.4.99 (Andante and Saturnale only)

CHABRIER, Emmanuel

Gwendoline, Overture: 20.12.96

CHARPENTIER, Gustave

Louise: 8.2.08 + 5, 25.2.23 + 6, 5.3.24 + 4, 31.1.25 + 5

CHASINS, Abram

Flirtation in a Chinese Garden: 8–10–12–18.4.31

260
Parade: 8–10–12–18.4.31

CHERUBINI, Luigi

Ali Baba, Overture: 3.12.49

Anacréon, Overture: 14.10.25, 27.2.28, 22–23.3.28, 19–20.4.30, 22–23–28–29.11.30, 12–

13.4.33, 28–29.10.33, 19.11.33, 29.11.33, 3–6.6.34, 30.8.34, 3.6.35, 22.1.38, 21–

22–23.3.38, 27.8.38, 29.6.40, 10.7.40, 4.2.45, 9.9.45, 3–8–10.9.49, 22.12.51,

21.3.53

Faniska, Overture: 12.12.97, 12.5.98, 31.10.98, 17.3.18, 21.1.34

Medea, Overture: 10.9.98, 13.10.98, 30.11.00, 2.12.00, 23–25.4.07, 17–20.11.12,

10.5.16, 20.12.31, 18.2.50

String Quartet No. 1 in E-flat, Scherzo only: 25.3.97, 17.3.98, 2.6.98, 27.4.99, 2–4.6.09,

4.4.43

Symphony in D: 19.11.35, 23–24–25–26.1.36, 14–15.11.36, 28.5.37, 23.3.47, 8.3.52

CILEA, Francesco

Adriana Lecouvreur: 7.7.03 + 3, 20.8.03, 31.5.04 + 2

Gloria: 15.4.07 + 1

CIMAROSA, Domenico

Matrimonio per raggiro, Il, Overture: 12.11.49

Matrimonio segreto, Il, Overture: 19.5.98, 4.7.98, 12.5.00, 14.11.43

COPLAND, Aaron

Salón México, El: 14.3.42

CORELLI, Arcangelo

Andante and Gigue for strings: 14.3.97

261
Concerto Grosso Op. 6 No. 8 (“Christmas” Concerto): 19.11.16

(Corelli-Geminiani: Concerto Grosso No. 12): 26.5.37

COWEN, Frederick

Symphony No. 3 (“Scandinavian”), 2nd and 3rd movements only: 12.12.97, 10.9.98

CRESTON, Paul

Choric Dance No. 2: 1.11.42, 13–14.2.43, 26–27.2.43

Frontiers: 25.11.45

DA VENEZIA, Franco

Allegro di Concerto for piano and orchestral: 25.4.03

DEBUSSY, Claude

Damoiselle élue, La: 17.2.18, 16–17–19.4.36, 13.4.40

Danse: 13.4.40

Ibéria from Images for orchestra: 6.1.18, 9–13.5.20, 23–28–30.10.20, 1–3–9–12–13–16–

17–22–23–24–27.11.20, 28–30.12.20, 7–17–28.1.21, 2–13–24.2.21, 1.3.21,

26.4.21, 6.5.21, 19–20–30.6.25, 21–22–23–24.2.29, 4–5–6–7–8–10.3.29, 22–23–

24.2.34, 15–19–22.11.34, 14.6.37, 5.11.38, 13.4.40, 25.6.40, 14–15.11.41,

13.1.42, 14.11.43, 11.2.45, 27.3.48, 25.3.50, 25.4.50, 3–25.5.50, 14.2.53

Marche ecossaise: 13.4.40

Martyre de Saint-Sébastien, Le: 4.3.26 + 3; 16–17–19.4.36 (“La Cour des lys” only)

Mer, La: 2–4.6.09, 28–29.9.11, 17–20.11.12, 12.10.25, 7.2.26, 23–24.2.28, 4–5–6–7–8–

9.3.28, 24–25–27.10.29, 5–6.4.30, 4–10–14–21–26–27.5.30, 2.6.30, 17.6.32, 6–7–

8–9–24–25.10.32, 28–29.10.33, 25–27.5.34, 30.8.34, 17–18.5.35, 12–14.6.35, 1–

3–6.1.36, 16–17–19.4.36, 10.12.36, 6–8.3.37, 8.1.38, 3.8.39, 13.4.40, 20.6.40, 3–

262
9.7.40, 6–7–10.2.42, 11.4.43, 11.2.45, 23–25.5.46, 5.7.46, 2.3.47, 29.11.47,

27.3.48, 29.10.49, 14–17.4.50, 7–15–17–27.5.50, 14.2.53

Pelléas et Mélisande: 2.4.08 + 6, 17.5.25 + 3, 4.4.26 + 1

Prélude à l’après-midi d’un faune: 1–23–25.4.05, 15–22–25.3.06, 7–9.5.08, 12–13–

18.6.20, 12.10.27, 20–21–22–23–30.3.30, 16–18–30.5.30, 16–18–19.11.32,

12.10.33, 3–5.12.33, 13–14–15.10.34, 17–18.4.35, 16–17–19.4.36, 21–22–

23.3.38, 20.7.43, 11.2.45, 27.3.48, 7.10.49, 17.2.51, 14.2.53

Trois Nocturnes, “Nuages” and “Fêtes”: 15–22.3.06 (“Nuages” only), 30.4.07, 2.5.07, 7–

10.5.16 (“Fêtes” only), 20.1.18, 8–15–16.6.21, 25–26–28.12.30, 3.1.31, 17–

18.4.35, 22.8.35, 19.11.35, 17.3.36, 16–17–19.4.36, 13.4.40, 27.3.48 (“Fêtes”

only), 15.3.52

DE LARA, Isidore

Messaline: 7.4.01

DE LEVA, Enrico

Camargo, La: 2.3.98 + 1

DE SABATA, Victor

Gethsemani: 14.10.25, 21–22–24.1.26, 6.2.26, 9.10.27, 30–31.3.33, 1.4.33

Juventus: 11.1.20, 1–3–16–21–23–26–28–29.1.21, 6–16–19–20–22.2.21, 2–3–5.3.21,

20–25–29.4.21, 2–3–6–8–25–29–31.5.21, 3–5–10–12.6.21, 12–15.7.22, 16–20–

23–26.6.24, 16–17–19.2.28, 10.3.28

d’INDY, Vincent

Forêt enchantée, La, Symphonic Legend: 18.9.98

263
“Istar” Variations: 10.2.18, 16–18.5.20, 7–9–18.1.31, 13–14–15–16.10.32, 17.11.32,

10.12.36

DONIZETTI, Gaetano

Don Pasquale: 29.5.06 + ?, 1.9.06, 6.6.12 + 3, 5.4.13 + 1, 5.2.14 + 1

Don Pasquale, Overture: 3–8.4.05, Sept.–Oct. 1917 (arr. for band), 20.6.43, 13.3.48

Elisir d’amore, L’: 17.2.01 + 10, 24.6.01 + 3, 4.6.03 + 2, 24.8.03

Favorite, La: 7.7.86 + ?, 8.11.89 + ?, 21.8.97 + 4

Linda di Chamounix: 2.1.02 + 9, 9.6.04 + 4, 20.8.04

Lucia di Lammermoor: 1.11.97 + 1, 22.3.23 + 5, 17.3.27 + 5, 20.12.28 + 2, 19–25.5.29

Lucrezia Borgia: 12.1.88 + ?

Maria di Rohan, Overture: 13.9.97, 12.3.98

[opera excerpts, unknown: 3.4.05]

DUKAS, Paul

Ariane et Barbe-bleue: 29.3.11 + 3, 31.1.12 + 2, 7.7.12 + 1, 18.5.27 + 2

Ariane et Barbe-bleue, orchestral excerpts: 2.3.47

Sorcerer’s Apprentice, The (L’Apprenti sorcier): 4–14.4.04, 18–26.3.06, 7–9.5.08,

23.9.11, 3.2.18, 21–22–24–28.6.19, 28.2.29, 1–16–17–24–3.3.29, 16–29.3.30,

12.10.33, 1–3–5.4.36, 12.2.38, 21–22–23.3.38, 20.6.43, 18.3.50, 22.4.50

DVOŘÁK, Antonín

“Carnival” Overture: 14.3.97, 26.6.98, 10.3.18

Concerto for cello and orchestra: 28.1.45

“Othello” Overture: 3–22.9.98, 12.5.00, 19–20–21–22.3.31

Scherzo Capriccioso: 20.4.40, 28.1.45

264
“Slavonic Dance” No. 6: 13–14.2.36

Symphonic Variations: 8.5.98, 2.6.98, 29.11.01, 1.12.01, 13.4.02, 4.4.04, 10–11–

13.12.31, 4.12.48, 17.11.51

Symphony No. 9 (old No. 5), “From the New World”: 16.12.97, 7.3.98, 19.5.98, 25.9.98,

27–30.4.00, 4.5.00, 17.2.18, 12–13–18.6.20, 16–23.1.21, 6–16–20–22.2.21,

1.3.31, 13.12.41, 18.3.50, 29.4.50, 31.1.53

ELGAR, Edward

“Enigma” Variations: 11–23–25.4.05, 14.5.05, 3.6.05, 30.1.16, 9.2.16, 6.1.18, 11–

21.1.20, 29–31.10.20, 14–24–25.11.20, 25.1.21, 4–24.3.21, 20.4.21, 29.5.21,

3.6.21, 19–20–30.6.24, 26–27–29–30–31.1.28, 1–11–12–21.2.28, 19–20.4.30,

2.6.30, 3.6.35, 4.2.39, 18.11.45, 5.11.49, 17.2.51, 5.1.52

Introduction and Allegro: 18–23–24–26–27.3.06, 23–25.4.07, 12.3.16, 27.1.18, 17–

21.3.18, 26–27–28–29.3.31, 28.5.37, 20.4.40

ENESCO, Georges

“Romanian” Rhapsody No. 1: 3–4–6–7.11.32, 14.12.40, 13.1.46

ERNST, Heinrich Wilhelm

Fantaisie brillante on Rossini’s Otello: 17.3.98

FACCIO, Franco

Amleto, “Ophelia’s Funeral March”: 17.3.98, 28.8.98, Sept.–Oct. 1917 (arr. for band)

FALLA, Manuel de

El amor brujo: 1–2.3.28, 19–20.4.34, 28.1.39, 3.9.44 (“Ritual Fire Dance” and “Dance of

Terror” only)

FERNÁNDEZ, Oscar Lorenzo

265
“Batuque” from Reisado do pastoreio: 14.5.40, 8–9.7.40

FERRARIA, Luigi Ernesto

Adagio and Allegretto for string quartet: 7.7.98

FORONI, Jacopo

Overture in C minor: 10.4.89, 23.1.93, 12–17.3.98, 22.5.98, 1.7.98, 18.9.98, 30.4.07,

2.5.07, 6.2.16, Sept.–Oct. 1917 (arr. for band), 2.9.45

FRANCHETTI, Alberto

Asrael: 15.6.01 + 6, 28.2.03 + 8

Cristoforo Colombo: 10.10.92 + 16, 24.10.94 + 10, 8.12.94 + 6, 2.1.95 + ?, 21.3.95 + ?,

27.4.95 + 8, 15.6.95 + ?, 10.8.01 + 2, 7.7.06 + ?, 18.1.08 + 7

Cristoforo Colombo, Nocturne from Act II: 5.6.98, 4.7.98, Sept.–Oct. 1917 (arr. for

band), 14.12.40

Figlia di Jorio: 9.8.06 + ?

Germania: 11.3.02 + 13, 21.5.03 + 2, 22.1.10 + 4, 15.2.10, 9.4.10, 1.2.11 + 1,

22.6.12 + 4, 2.5.29 + 2

Nella Foresta Nera: 22–29–30.4.00, 1–2–3–5–8.5.00

Symphony in E, first movement: 12.3.98

FRANCK, César

Eolides, Les: 17–18–19–20.10.29, 3.11.29, 7.3.30, 9–30.5.30, 3.6.30, 11–13–14–15.3.36,

22.5.36, 12.11.38, 27.4.40, 19.6.40, 2.7.44, 5.3.49, 3.9.49, 13.12.53

Prelude, Chorale, and Fugue (orch. Pierné): 20–21–22–23.10.32

266
“Psyché et Eros” and “Sommeil de Psyché” from Psyché: 13.1.18 (Sommeil only), 16–

18.5.20, 1–2–4–5.4.31 (Psyché et Eros only), 14.1.39, 5.1.52 (Psyché et Eros

only)

Rédemption, Symphonic Intermezzo: 1–29.9.98, 23.10.98, 6.5.99, 12.3.16, 10–

12.5.1629–30.3.28, 1.4.2810–12.10.28, 26–27–29.11.31, 14–15–16.12.31,

19.11.35, 2.3.47, 15.3.52

Symphony in D minor: 27.1.18, 18.1.20, 25–26–28.12.30, 3.1.31, 9–10–11.3.31, 12.3.33,

8.4.33, 25.3.34, 19–20–21.4.34, 25–27.5.34, 14.12.40, 24.3.46

FUCHS, Robert

Des Meeres und des Liebes Wellen, Overture: 5.6.98

GALEOTTI, Cesare

Anton: 17.2.00 + 6

GEMINIANI, Francesco

Concerto Grosso in C minor, Op. 2 No. 2: 20–21–22.4.33

Concerto Grosso in G minor, Op. 3 No. 2: 12–13–14.4.34, 12.6.35

GERSHWIN, George

An American in Paris: 14.11.43, 18.3.45, 23–25.5.46

Concerto in F for piano and orchestra: 2.4.44

Rhapsody in Blue: 1.11.42

GIARDA, Luigi Stefano

Overture in E: 4.5.95

GILBERT, Henry F. B.

Comedy Overture on Negro Themes: 7–26–27.2.43

267
GILLET, Ernest

Loin du bal: 23.1.93, 29.12.39

GILLIS, Don

Symphony No. 5½: 21.9.47

GIORDANO, Umberto

Andrea Chénier: 27.12.96 + 10

Cena delle beffe, La: 20.12.24 + 6, 17.12.25 + 1

Madame Sans-Gêne: 25.1.15 + 5, 22.2.15, 2.3.15, 18.9.15 + 7, 22.4.23 + 4

Re, Il: 12.1.29 + 2

Re, Il, “Dance of the Moor”: 17.12.49

Siberia: 21.6.04 + 2, 3.3.06 + 1

Siberia, Prelude to Act II: 17.12.49

GIRARD, Narcisse

Sarabande for strings: 10.5.96

GLAZOUNOV, Alexander

Symphony No. 6: 29.3.04, 14.4.04

GLINKA, Mikhail

Jota aragonesa: 7.11.43, 3.9.44, 4.11.45, 28.2.48, 4.3.50, 25.4.50, 3.5.50

Kamarinskaya: 10.2.18, 7–9–18.1.31, 21.12.40

GLUCK, Christoph W. Von

Armide: 14.11.10 + 2, 6.4.11 (Act I only), 16.12.11 + 3

Armide, Minuetto lento, Siciliano, and Ciaccona: 19.9.11

268
Iphigénie en Aulide, Overture: 29.6.22, 1.7.22, 12.10.25, 28.2.29, 1–3–9–16–17–24.3.29,

26–27–28–29.3.31, 4.2.34, 28.1.39, 8.2.41, 24.4.41, 22.11.52

Orfeo ed Euridice: 17.3.07 + 1, 23.12.09 + 4, 26.11.10, 19.12.10 + 4, 27.12.10,

25.12.11 + 4, 19.12.12 + 1, 11.1.13, 2.3.14 + 2, 21.4.14, 26.1.24 + 4, 4.4.25 + 4

27.2.26 + 3, 1.4.45 (Act II only), 22.11.52 (Act II only)

GNAGA, Andrea

Gualtiero Swarten: 15.11.92 + 3

GNECCHI, Vittorio

Cassandra: 5.12.05 + 1

GOLDMARK, Károly

Gefesselte Prometheus, Der, Overture: 10.10.98

Königin von Saba, Die: 10.2.01 + 4, 2.6.01 + 2

Königin von Saba, Die, Prelude to Act II: 21.6.98, 3.9.98

“Rustic Wedding” Symphony: 22–27.3.97 (“In the Garden” only), 13.9.97 (“In the

Garden” only), 8.5.98 (Dances only), 15–16–25.2.36 (movements 2, 3, and 4

only), 1.3.36 (movements 2, 3, and 4 only), 28.8.36 (movements 2, 3, and 4 only),

14–15–25.11.36 (movements 2, 3, and 4 only), 3.9.44 (“In the Garden” and

Serenade only)

Sappho, Overture: 7–29.9.98

GOLINELLI, Stefano

Scherzo from a sonata composed in 1849: 3.4.05

GOMES, Antônio Carlos

Guarany, Il, Overture: 5.8.86, 14.6.40, 8.7.40

269
Salvator Rosa: 28.7.86 + ?

GOOSSENS, Eugene

Sinfonietta: 27–28–29–30.3.30, 3.6.30

GOULD, Morton

Lincoln Legend: 1.11.42

GOUNOD, Charles

Colombe, La, Intermezzo: 23.8.86

Faust: 18.7.86 + ?, 10.5.90 + 4, 28.5.04 + 5, 23.8.04, 25.11.25 + 4, 8.5.27 + 3

GRAENER, Paul

Flute of Sans-Souci, The: 3–4–5–6.12.31, 5.11.38

GRIEG, Edvard

Holberg Suite: 3.5.96, 13.12.96, 7.3.98, [31.10.98 (Air only)], 27.4.40

Peer Gynt, Suite No. 1: 10.3.97, [23.4.97?], 13.9.97, 17.10.98 (“Solveig’s Song” only)

Peer Gynt, Suite No. 2: 5–16.6.98

String Quartet Op. 27, Lento and Presto al saltarello: 14.7.98 (Presto al saltarello only),

28.8.98 (Presto al saltarello only), 16.10.98 (Presto al saltarello only), 22–29.4.00,

1–3–8–14.5.00

Two Melodies for string orchestra, “First Meeting”: 14.7.98

GRIFFES, Charles Tomlinson

The White Peacock: 7.2.43

GROFÉ, Ferde

Grand Canyon Suite: 7.2.43, 2.9.45

HANDEL, George Frideric

270
Concerto for strings, harp, and organ, Op. 4 No. 6, Andante: 30.5.98

Concerto Grosso Op. 6 No. 12: 14–15–17.11.29, 31.1.35, 1.2.35, 22.8.35, 19.2.38,

22.11.47

Minuet for strings (from Concerto Grosso No. ?): 2.6.09, 23–29.9.11, 9.2.16, 20.6.43

Serse, Largo: 3.6.05, 2.6.09, 23–29.9.11, 9.2.16

Susanna, Overture: 11–13–14–15.3.36

HANSON, Howard

Symphony No. 2: 1–3–5.3.33

HARRIS, Roy

Symphony No. 3: 16.3.40

HAYDN, Franz Joseph

Sinfonia Concertante in B-flat: 14.10.39, 6.3.48

String Quartet Op. 3 No. 5, Serenade for strings (actually by Roman Hoffstetter): 23.8.86,

4.4.43, 27.8.44

String Quartet Op. 76 No. 3, Adagio con variazioni: 25.3.97, 4.7.98

Symphony No. 31 in D (“Hornsignal”): 1–2–4–18.1.31, 15–16–18.3.34, 29.10.38

Symphony No. 88 in G: 13.10.27, 9–10–19–21–26.2.28, 10.3.28, 7–8–10.11.29, 15.3.31,

9.4.31, 19.2.38

Symphony No. 92 in G (“Oxford”): 19.3.44

Symphony No. 94 in G (“Surprise”): 20.6.43, 24.1.53

Symphony No. 98 in B-flat: 24–25.4.37, 22.1.38, 25.3.45, 19.11.49

Symphony No. 99 in E-flat: 20–21–22–23.3.30, 1.2.41, 9–10–13.1.42, 14–16–18.10.42,

2.7.44, 12.3.49

271
Symphony No. 101 in D (“Clock”): 26.4.96, 18.5.96, 20.12.96, 7.7.98, 2–4.6.09, 30.1.16,

9.2.16, 24.2.18, 21–22–24–28.6.19, 30.6.24, 19–20–30.6.25, 14–15–16–20–30–

31.1.26, 9–17–23–27–28.3.29, 19–20.4.30, 4–14–16–18–27.5.30, 2.6.30, 4.2.34,

6.6.34, 1–3–6.1.36, 23–24.4.36, 21–22–23.3.38, 4.4.42, 13.1.45

Symphony No. 104 in D (“London”): 31.10.43

“Toy” Symphony (incorrect attribution; see Leopold Mozart)

HÉROLD, Ferdinand

Zampa, Overture: 4.4.43, 2.8.52

HONEGGER, Arthur

Pacific 231: 9–13.10.27, 26–27–98–30–31.1.28, 1–4–5–21.2.28, 16–17.4.30, 6.5.30

Pastorale d’été: 9–13.10.27, 26–27–29–30–31.1.28, 1–4–5–21.2.28, 16–17.4.30, 6.5.30

HUMPERDINCK, Engelbert

Hänsel und Gretel: 18.1.02 + 12, 11.6.03 + 2, 21.11.05 + 2

Hänsel und Gretel, Prelude: 28.8.98, 15.9.98, 27.4.00, 4.5.00, 13.1.46, 2.8.52

Königskinder: 20.8.12 + 2

Königskinder, Prelude to Act III: 17.11.46KABALEVSKY, Dmitri

Colas Breugnon, Overture: 11.4.43, 21.1.45, 7.4.46, 23–25.5.46, 5.7.46, 21.9.47, 4.3.50,

19.4.50, 1–9–10–23–25.5.50, 8.3.52

Symphony No. 2: 8.11.42, 26–27.2.43, 25.3.45, 26.2.49

KALINNIKOV, Vassily

Symphony No. 1: 7.11.43

KENNAN, Kent

Night Soliloquy: 7–26–27.2.43

272
KODÁLY, Zoltán

Dances of Marosszék: 11–12–14.12.30, 8.2.41

Háry János, Suite: 29.11.47

Psalmus Hungaricus: 10–12.10.28, 20–22.11.29, 20–21–22.10.34

Summer Evening: 3–4–5–6.4.30, 21.5.30, 12–13–14.4.34

KOŽELUCH, Leopold

String Quartet No. 2, Andante and Allegro: 11–13–14–15.3.36

LALO, Édouard

Rapsodie norvégienne: 15.9.98

LASSEN, Eduard

Festival Overture: 7.7.98, 1.9.98

LEONCAVALLO, Ruggero

Pagliacci: 21.5.92 + 6, 24.12.92 + 19, 19.10.14, 23.9.15 + 1, 11.12.27 + 3, 12.1.29 + 1

Zazà: 10.11.00 + 12

LIADOV, Anatol

Kikimora: 7.11.43, 13.1.46, 11.12.48, 26.7.52

LISZT, Franz

Danse macabre: 19–21.11.30

From the Cradle to the Grave: 8.2.41

Hungarian Rhapsody No. 2: 12.6.98, 4.4.43

Mephisto Waltz: 10.9.98, 19–21.11.30

Orpheus: 26.11.38

Préludes, Les: 16.6.98, 14.10.25

273
LOEFFLER, Charles Martin

Memories of My Childhood: 7.1.39, 1.11.42

LOZZI, Antonio

Emma Liona: 25.5.95 + 3, 10.3.96 + 1

LUALDI, Adriano

Figlia del re, La, Dream Interlude: 5–12–19.11.20, 18.3.21, 14.6.21

LULLY, Jean-Baptiste

Minuet for strings: 24.11.89

MACHADO, Augusto

Lauriane: 13.8.86 + ?

MALIPIERO, Gian Francesco

Pause del silenzio: 10.3.18

MANCINELLI, Luigi

Cantata del lavoro: 1.5.98

Ero e Leandro: 1.1.98 + 10

Intermezzi for Cossa’s Cleopatra, Andante-barcarolle: 10–17.5.96, 28.8.98, Sept.–Oct.

1917 (arr. for band), 3.3.18

Isora di Provenza, Dances: 12.12.97

Scene Veneziane, Suite, “La fuga degli amanti a Chioggia”: 11–14.7.98, 31.10.98,

27.4.99, 27–28.4.00, 1–2–3–6–8.5.00, 29.3.04 (other excerpts as well?), 12.3.16,

Sept.–Oct. 1917 (arr. for band), 3.3.18, 25.6.44, 13.1.46, 13.3.48

MANFREDINI, Vincenzo

“Christmas” Concerto Grosso, Op. 3 No. 12: 23.10.20, 9–28.11.20

274
MARCELLO, Benedetto

Psalm XLVII: 29.6.22, 12.7.22

MARTUCCI, Giuseppe

Canzone dei ricordi, La: 2.7.09, 24.2.18, 29.3.41

Concerto No. 2 in B-flat minor for piano and orchestra: 29.9.98, 27.4.99, 20.1.46, 17.1.53

Danza (Tarantella): 2.7.09, 19–28.9.11, 30.1.16, Sept.–Oct. 1917 (arr. for band), 20.1.18,

1–2–4.1.31, 19.2.38, 8.2.41

Notturno: 29.3.04, 17.6.09, 2.7.09, 12.5.16, Sept.–Oct. 1917 (arr. for band), 10–21.3.18,

5–6–16.6.20, 27.1.21, 5–17–18–20–21–22.3.21, 21.4.21, 4–7–24–27.5.21, 2–

4.6.21, 13–16–20–23–26–29.6.24, 7.2.26, 3–5.12.33, 1–3–5.4.36, 15.10.38, 20–

21–24.11.42, 13–14.2.43

Novelletta: 17.6.09, 2.7.09, 19–28.9.11, 12.3.16, 10–12.5.16, Sept.–Oct. 1917 (arr. for

band), 10–21.3.18, 5–6–16.6.20, 27.1.21, 5–17–18–20–21–22.3.21, 21.4.21, 4–7–

24–27.5.21, 2–4.6.21, 13–16–20–23–26–29.6.24, 7.2.26, 3–5.12.33, 1–3–5.4.36,

15.10.38, 20–21–24.11.42, 13–14.2.43, 13.3.48

Piccola Suite: 29.11.01, 1.12.01

Symphony No. 1 in D minor: 12.3.98 (Allegretto only), 31.10.98, 2.7.09, 7.5.16,

19.11.16, 6.1.18, 20–21–22.4.33, 26.11.38

Symphony No. 2 in F Major: 22.2.05, 11.4.05, 3.6.05, 14.10.25, 22–23.3.28, 30.3.40

MASCAGNI, Pietro

Amico Fritz, L’: 30.1.92 + 9, 13.1.95 + ?

Cavalleria rusticana: 2.8.91 + ?, 4.11.91 + 16, 23.1.93 + 1, 13.1.95 + ?, 17.4.07 + 1,

17.12.08 + 6, 19.1.09, 23.5.10 + 2, 22.3.11, 11.12.27 + 3

275
Iris: 19.1.99 + 9, 8.7.01 + 2, 18.6.03 + 2, 23.8.03, 23.6.04 + 1, 1.4.15 + 2, 30.12.23 + 8,

6.12.24 + 2, 26.12.25

Iris, “Hymn to the Sun”: Sept.–Oct. 1917 (arr. for band)

Maschere, Le: 17.1.01 + 2

MASCANZONI, Giulio

Armonie religiose: 29.5.94 (?)

Epodo: 29.5.94 (?)

MASETTI, Umberto

Vindice: 25.2.92 + 3

MASSENET, Jules

Erinnys, Les, Suite: 23.6.98, 1.7.98, 23.10.98 (Entr’acte and Bacchanale only)

Grisélidis: 14.7.03 + 2, 17.8.03

Manon: 11.8.94 + 7, 14.8.04 + 1, 21.8.04, 19.6.06 + ?, 18.8.06, 30.3.12 + 2, 1.6.12 + 5,

22.1.13 + 4, 28.1.13, 31.12.13 + 3, 27.4.14, 24.12.14 + 2

Roi de Lahore, Le: 14.5.94 + 13, 25.3.99 + 2

Scènes alsaciennes: 18.7.43

Scènes napolitaines (“La Danse”, “La Procession et L’Improvisateur,” “La Fête”):

13.10.98

Vierge, La, “Under the Linden Tree” and “The Last Sleep”: 9.6.98

MENDELSSOHN, Felix

Athalia, Overture: 29.7.01

Calm Sea and Prosperous Voyage, Overture: 3.9.98

Concerto for violin and orchestra: 10.10.98, 20–21.4.33, 26–27–29.3.36, 9.4.44

276
Hebrides (Fingal’s Cave), Overture: 4.11.45

Midsummer Night’s Dream, A, Overture and Incidental music

Overture: 20.12.96, 15.5.98, 13.4.02, 15–20–23.3.06, 9–13.10.27, 23–24.2.28, 9–

10–13.1.42, 24.1.42, 1.11.47, 10.2.51

Intermezzo: 22.9.98, 9–10.1.42, 1.11.47

Nocturne: 12.5.00, 26–27.5.21, 2–10.6.21, 16–18–22–23–29.6.25, 17.1.26, 1.2.26,

15–16–17–18–25.3.28, 9–11–12–13.4.30, 3–6–8–13–14–19–23–25–26–27.5.30,

2.6.30, 28.11.34, 14.6.35, 26.11.35, 26–27–30–31.12.36, 7–9.1.37, 6–8.3.37,

15.6.40, 1–3–10.7.40, 9–10–13.1.42, 6.9.47, 1.11.47

Song with chorus: 9–10.1.42, 1.11.47

Wedding March: 17.6.09, 8–25–26.5.21, 5–12.6.21, 9–10.1.42, 1.11.47

Scherzo: 9.6.98, 12.5.00, 8–25–26–27–29.5.21, 2–5–9–10–12.6.21, 16–18–22–

23–29.6.25, 17.1.26, 1.2.26, 15–16–17–18–25.3.28, 9–11–12–13.4.30, 3–6–8–13–

14–19–23–25–26–27.5.30, 2.6.30, 21.1.34, 11.2.34, 14.3.34, 28.11.34, 14.6.35,

26.11.35, 26–27–30–31.12.36, 7–9.1.37, 6–8.3.37, 15.6.40, 1–3–10.7.40, 9–10–

13.1.42, 6.9.47, 1.11.47, 19.4.50, 1–9–23.5.50

Melodrama and Finale: 9–10.1.42, 1.11.47

Octet (with augmented string section): 18.3.45 (Scherzo only), 30.3.47

Ruy Blas Overture: 17.3.98

Schöne Melusine, Die, Overture: 1.11.47, 11.12.48

String Quartet in E-flat, Op. 44 No. 3, Canzonetta: 21.6.98

String Quintet in B-flat, Op. 87, Adagio and Lento: 1.11.47

Symphony No. 3 (“Scotch”): 5.4.41

277
Symphony No. 4 (“Italian”): 27–28–30.10.32, 4–15.3.33, 5.2.38, 13–14–16–17–20.4.38,

27.8.38, 14.3.42, 12.3.49, 7.10.49, 28.2.54

Symphony No. 5 (“Reformation”): 3–4–5–6.12.31, 23–24–25.3.33, 22–25.8.35, 19.11.38,

8.11.42, 26–27.2.43, 9.9.45, 30.3.47, 13.12.53

MEYERBEER, Giacomo

Africaine, L’: 5.6.87 + ?

Dinorah: 10.11.04 + 5

Dinorah, Overture: 12.11.38

Huguenots, Les: 21.7.86 + ?, 21.12.88 + ?, 9.2.99 + 13

Prophète, Le: 29.12.91 + 13

MIGNONE, Francisco

Congada: 13–15.6.40

Fantasia brasileira: 14.11.43

Festa da igrejas (Four Brazilian Churches): 2.4.44

MONTEMEZZI, Italo

Amore dei tre re, L’: 2.1.14 + 4, 11.2.15 + 4, 23.3.15, 27.3.26 + 3

Cantico dei cantici (excerpts): 21.6.00

MONTEVERDI, Claudio

Sonata sopra Sancta Maria (arr. Molinari): 29–30.3.28, 1.4.28, 10–12.10.28

MORLACCHI, Francesco

Francesca da Rimini, Overture: 15.5.98, 27.4.99, 3.4.05, Sept.–Oct. 1917 (arr. for band)

MOSSOLOV, Alexander

Iron Foundry: 16–17.3.33

278
MOZART, Leopold

“Toy” Symphony: 15.2.41

MOZART, Wolfgang Amadeus

Adagio and Fugue in C minor: 24–25–27.10.29, 2.11.29

Concerto in B-flat for bassoon and orchestra, K. 191: 8.11.47

Concerto No. 20 in D minor for piano and orchestra: 28–29.3.34

Concerto No. 21 in C for piano and orchestra: 28–29.3.34

Concerto No. 27 in B-flat for piano and orchestra: 20–21–23.2.36, 5.12.43

Concerto for violin and orchestra No. ?: 3.4.05

Divertimento in B-flat, K. 287: 3.11.46, 8.11.47

Don Giovanni: 29.7.06 + ?, 24.8.06

Don Giovanni, Overture: 27.1.46

Masonic Funeral Music: 14–15–17.11.29, 7–8.12.35

Musikalischer Spass, Ein (A Musical Joke): 29.12.39

Nozze di Figaro, Le (The Marriage of Figaro), Overture: 4.4.04, 5.12.43, 8.11.47

Sinfonia concertante K. 364: 15.2.41

Symphony No. 1 in E-flat: 30–31.3.33, 1.4.33

Symphony No. 28 in C: 20–21.10.32

Symphony No. 29 in A: 26–27.11.31, 14–15–16.12.31, 2.4.34

Symphony No. 32 in G (Overture in the Italian Style): 4–5–16–17.2.28

Symphony No. 35 in D (“Haffner”): 7–9.5.08, 7.10.28, 21–22–23–24.2.29, 4–5–6–7–8–

10.3.29, 10.5.30, 22–23–28–29.11.30, 1–3.12.30, 23–24–30.10.33, 23.8.34,

14.6.35, 7.1.39, 5.12.43, 3.11.46

279
Symphony No. 38 in D (“Prague”): 28.9.11, 10.2.18, 7.2.26, 27–28.2.30, 1–2–3–4–

5.3.30, 4.2.39

Symphony No. 39 in E-flat: 31.5.19, 4.6.19, 21–25.1.20, 29–31.10.20, 14–24.11.20,

25.1.21, 4.3.21, 3.9.44, 6.3.48

Symphony No. 40 in G minor: 12.10.25, 16–17–19.4.31, 12–13–14.4.34, 15.8.35,

26.4.36, 14.6.37, 25.12.37, 25.8.38, 23.6.40, 20–21–24.11.42, 27.1.46, 4.12.48,

11.3.49, 21.3.53

Symphony No. 41 in C (“Jupiter”): 21.6.98, 20–22–23–24.11.29, 16.3.30, 30–31.3.33,

1.4.33, 28.11.34, 3.6.38, 20.4.40, 4.2.45

Zauberflöte, Die (The Magic Flute): 12.5.23 + 1, 17.11.23 + 3, 30.7.37 + 3

Zauberflöte, Die (The Magic Flute), Overture: 29.9.98, 14.5.00, 1.4.29, 8.1.38, 19.5.38,

19.6.40, 1.2.41, 31.10.43, 3.11.46, 8.11.47, 26.11.49

MUSSORGSKY, Modest

Boris Godunov: 19.3.13 + 3, 28.11.13 + 5, 28.11.14 + 4, 16.2.22 + 13, 3.3.23 + 9,

12.4.24 + 3, 19.11.24 + 3, 16.4.27 + 1

Boris Godunov, Introduction to Act III and Polonaise: 4.4.43

Khovanshchina, Prelude: 12.3.44, 13.12.53

Night on Bald Mountain: 17.2.18

Pictures at an Exhibition (orch. Ravel): 13–14–15.3.30, 6–9–13.5.30, 3.6.30, 13–14–15–

16.2.36, 9–10–13.10.37, 29.1.38, 20.4.40, 1–10.7.40, 20–21–24.11.42, 19.2.45,

14.2.48, 16.9.48, 24.1.53

NICOLAI, Carl Otto

Lustigen Weiber von Windsor, Die (The Merry Wives of Windsor), Overture: 18.7.43

280
NOVARO, Michele

Inno di Mameli: 26.7.15

OLIVIERI, Alessio

Inno di Garibaldi: 25.2.94, 26.7.15, 9.9.43

OREFICE, Giacomo

Quattro anacreontiche: 3.2.18

Sinfonia del bosco, Suite: 20.10.98

PAER, Ferdinando

Ero e Leandro, Overture: 3.4.05

Maestro di Cappella, Il: 29.2.96 + 3

Sargino, Overture: 27.4.99, 7.10.28, 17–18–19–20.10.29

PAGANINI, Niccolò

Allegro di concerto: 7.9.98

Moto perpetuo: 7.9.98, 6.10.98, 12–13–14.4.34, 29.1.38, 21.2.40, 16.3.40, 14–15–

22.6.40, 3.7.40

PAISIELLO, Giovanni

Nina, Overture: 27.10.98

PANIZZA, Ettore

Medioevo Latino: 21.7.01 + 4

PEDROLLO, Arrigo

Symphony in D minor: 28.6.00

PEROSI, Lorenzo

Mosè: 16.11.01

281
Resurrezione di Lazzaro, La: 22.4.99

PICK-MANGIAGALLI, Riccardo

Notturno e Rondò fantastic: 25.1.20, 8–10–17.6.20, 28.10.20, 4–7–13–15–22.11.20, 8–

11–19.1.21, 10.2.21, 17–18–20–21–.3.21, 23–26.4.21, 22.7.22, 16.10.26

Sortilegi: 13.1.18

PIZZETTI, Ildebrando

Concerto dell’estate: 28.2.29, 1–3–9–16–24.3.29, 3–4–5–6.12.31, 12.10.33

Dèbora e Jaéle: 16.12.22 + 7, 27.2.24 + 3, 28.11.26 + 2

Fra Gherardo: 16.5.28 + 3, 28.11.28 + 2

Introduction to the Agamemnon of Aeschylus: 16–17.4.31

Ouverture per una farsa tragic: 24.2.18

Pisanella, La, Suite: 26.10.20, 10–1.11.20, 4–18.3.21, 27.4.21, 23–24.2.28, 4–9.3.28

Rondò veneziano: 27–28.2.30, 1–2–3–4–5.3.30, 4–8–14–27.5.30

Tre Canzoni: 7.10.28

PONCHIELLI, Amilcare

Gioconda, La: 14.7.86 + ?, 29.10.87 + ?, 26.12.89 + 21, 15.4.93 + 9, 25.5.03 + 1,

2.6.06 + ?, 15.1.07 + 10, 16.2.08 + 8, 15.11.09 + 5, 30.11.09, 2.2.10, 1.3.10 (Act

III, part 2 only), 7.3.10, 4.4.10 + 1, 23.11.10 + 4, 4.4.11, 27.4.11, 21.11.11,

29.11.11 + 4, 24.4.13, 17.11.13 + 2, 24.3.27 + 4

Gioconda, La, “Dance of the Hours”: Sept.–Oct. 1917 (arr. for band), 4.4.43, 31.10.44,

26.7.52

Lituani, I: 5.4.03 + 2

Lituani, I, Overture: 19.5.98, Sept.–Oct. 1917 (arr. for band)

282
Marion Delorme: 5.7.86 + ?

Marion Delorme, Funeral March: 17–18.5.96, 12.11.20

Marion Delorme, Prelude (or Intermezzo) to Act IV: 12.3.98, 11.7.98, 14.5.00, Sept.–

Oct. 1917 (arr. for band)

Promessi Sposi, I: 2.11.88 + 7

Promessi Sposi, I, Overture: Sept.–Oct. 1917 (arr. for band)

PROKOFIEV, Sergei

“Classical” Symphony: 14–15–23.3.29, 21.10.39, 25.6.44, 13.1.46, 15.11.47, 25.3.50,

10.11.51

PUCCINI, Giacomo

Bohème, La: 1.2.96 + 22, 6.6.96 + 11, 22.8.96 + 11, 4.11.96 + 19, 17.4.97 + ?,

21.10.97 + 23, 12.1.98 + 14, 26.12.00 + 9, 14.7.04 + 2, 21.11.10 + 1, 20.6.12 + 4,

29.8.12 (Act III only), 29.12.24

Bohème, La, Concert performance in two parts: 3.2.46 (Acts I and II) and 10.2.46 (Acts

III and IV)

Edgar, Prelude and Funeral Elegy: 3.12.24 (Prelude only), 29.12.24

Fanciulla del West, La: 10.12.10 + 8, 20.12.10, 18.3.11, 12.6.11 + 8, 16.11.11 + 4,

9.1.13 + 2

Madama Butterfly: 2.7.04 + 4, 25.8.04, 29.10.05 + 7, 2.1.06 + 6, 5.6.06 + ?, 30.8.06,

19.11.08 + 7, 22.12.08, 29.12.08, 20.1.09, 23.2.09, 15.4.09 + 1, 28.4.09, 11.4.10,

15.11.10, 19.11.10 + 5, 10.1.11, 21.2.11, 11.11.11, 20.11.11 + 4, 28.11.11,

13.7.12 + 5, 23.12.12 + 5, 25.1.13, 18.3.13 (Act II only), 24.11.13 + 5, 2.12.13,

283
14.4.14 (Act II only), 1.5.14, 19.10.14 (Act II only), 30.11.14 + 4, 29.12.14,

29.11.25 + 3

Manon Lescaut: 8.3.94 + ?, 16.11.97 + 9, 25.7.03 + 3, 16.8.03 + 1, 4.6.04 + 3,

9.6.10 + 4, 11.6.12 + 3, 26.12.22 + 9, 16.12.23 + 1, 14.3.25, 20.11.27 + 3,

12.5.29, 27.5.29

Manon Lescaut, Concert performance, Intermezzo and Act III: 11 and 14.5.46

Manon Lescaut, Minuet from Act II and Intermezzo from Act III: Sept.–Oct. 1917

(Intermezzo only, arr. for band), 29.12.24, 10.12.49 (Intermezzo only)

Tosca: 17.3.00 + 11, 18.5.01 + 7, 19.5.03 + 1, 30.8.03 + 1, 12.6.04 + 1, 15.7.06 + ?,

25.8.06, 29.12.07 + 12, 8.2.11 + 4, 11.12.11 + 4, 19.12.11, 20.2.12, 29.6.12 + 5,

4.1.13 + 3, 4.3.13, 26.4.13, 6.12.13 + 2, 10.2.14, 24.11.14, 4.12.14 + 3,

7.10.15 + 10, 23.4.27 + 5

Turandot: 25.4.26 + 2

Villi, Le: 21.1.90 + 7, 18.5.95 + 4, 2.12.96 + 1, 17.12.08 + 4, 19.1.09

Villi, Le, Prelude to Act II: 29.12.24 x 2

RABAUD, Henri

Procession nocturne: 6.1.18

RACHMANINOFF, Sergei

The Isle of the Dead: 30.1.16

RAFF, Josef Joachim

“Dance of the Dryads”: 29.9.98

String Quartet Op. 192, “The Beautiful Miller-Girl”: 12.5.98

284
Symphony No. 3 (“In the Woods”): 15.5.98 (Andante “Dreaming” and Scherzo “Dance

of the Dryads” only), 29.9.98 (Scherzo only), 19–21–22–23–25.3.06 (Andante

and Scherzo only), 3.3.18, 13.5.20, 7–9.1.31

Symphony No. 5: 10.3.97 (first part only)

RAVEL, Maurice

Boléro: 14–15–17–23.11.29, 3–4–5–7.3.30, 4–9–19–25.5.30, 20.12.31, 12.3.33, 14.1.34,

21.1.39

Daphnis et Chloé, Suite No. 2: 16–17–19–26.2.28, 10–11.3.28, 7.10.28, 14–15–23.3.29,

26–27–28–29.3.31, 12.10.33, 28.1.34, 26–27–29.3.36, 22.5.36, 14–15.11.36,

26.5.37, 26.11.38, 10.1.39, 19.11.49, 19.4.50, 1–9–23.5.50

Rapsodie espagnole: 4.6.09

Valse, La: 27.4.40, 14.5.40, 14–27.6.40, 21.11.43, 19.2.45

REINECKE, Carl H. C.

Concerto for harp and orchestra: 21.6.00 (first movement only)

RESPIGHI, Ottorino

Ancient Airs and Dances: 10.3.18, 28.10.20, 5–7–13–19.11.20, 1–3–21–26–28–29.1.21,

19–27.2.21, 2–4.3.21, 20.4.21, 30.5.21, 3–11.6.21, 12–15.7.22, 16–20–23–26.6.24

Ballata delle gnomidi: 23–30.10.20, 9–16.11.20, 18.3.21, 28.4.21, 24.5.21, 4.6.21, 12–

13.10.27, 23–24–25.3.33

Feste romane: 21–22–23–24.2.29, 4–5–6–7–8–10–17.3.29, 17–18–19–20.10.29, 3.11.29,

12.5.30, 30.3.40, 14–15.11.41

Fontane di Roma: 10–24.2.18, 21.3.18, 31.5.19, 4–21–22–24–28.6.19, 5–6–16.6.20, 1–3–

6–12–15–17–21–23–25–27–29.11.20, 28–30.12.20, 7–17.1.21, 2–13–24.2.21, 1–

285
24.3.21, 5–7–26.5.21, 9–16.6.21, 22.7.22, 13–17–18–21–24–27–29.6.24, 13–14–

15–16.3.30, 4.2.39, 14.3.39, 19.6.40, 4–9.7.40, 24.4.41, 23–25.5.46, 23.3.47,

10.12.49, 17.2.51, 22.12.51

Pini di Roma: 19–20–30.6.25, 14–15–16–17–20–30–31.1.26, 4–5–9–10–21–26.2.28,

27.3.28, 29.11.31, 12.3.33, 12.10.33, 28–29.10.33, 23–24.4.36, 19.3.44, 13.1.45,

22.3.52, 14.3.53

RIETI, Vittorio

Sinfonia tripartite: 25.11.45

RIMSKY-KORSAKOV, Nicolai

“Antar” Symphonic Suite: 2.6.09

“Russian Easter” Overture: 24.2.18

Scheherazade: 19.5.98

Snow Maiden, The, Suite: 8–10–12–18.4.31

ROCCHI, Guido

Gavotte: 22–24.11.89

ROGER-DUCASSE, Jean-Jules

Sarabande: 20.1.18, 24.3.18 (twice), 31.5.19, 4.6.19, 11.1.20, 28–29.1.26, 31.10.29,

1.11.29, 15–16–18.3.34, 27.5.34, 7.4.46

ROSSINI, Gioacchino

Assedio di Corinto, L’ (The Siege of Corinth), Overture: Sept.–Oct. 1917 (arr. for band),

7–9.1.31

Barbiere di Siviglia, Il: 13.3.93 + 5, 18.7.06 + ?, 26.8.06

286
Barbiere di Siviglia, Il, Overture: 9.2.16, Sept.–Oct. 1917 (arr. for band), 6.1.18, 8–10–

17.6.20, 23.1.21, 6–16–20–22.2.21, 24.3.21, 21–25–26–29.4.21, 2–3–5–7–

31.5.21, 10.6.21, 13–27–29–30.6.24, 1–2–4–5–6–7–8–9–11–17–25.3.28, 15.3.31,

9.4.31, 3–5.12.33, 14.3.39, 15–22.6.40, 3.7.40, 21.11.43, 31.10.44, 21.3.54

Cenerentola, La, Overture: 12.3.98, 16–18.5.20, 12–15.7.22, 22.10.38, 31.1.39, 13.6.40,

1.7.40, 8–10.9.49, 27.4.50, 5–10–19.5.50

Gazza ladra, La, Overture: 12.6.98, Sept.–Oct. 1917 (arr. for band), 16.10.25, 13.10.27,

12.4.41, 25.6.44, 11–14.5.46

Guillaume Tell (William Tell): 10.4.99 + 2

Guillaume Tell (William Tell), Overture: 23.8.86, 4.5.95, 12.5.98, 2.6.98, 25.9.98,

31.10.98, 28.4.00, 4–8.5.00, 3–8.4.05, 7–9.5.08, 19.11.11, Sept.–Oct. 1917 (arr.

for band), 24.3.18 (twice), 12–13–18.6.20, 5–6–7–11–12–13–16–18–19–

25.11.20, 1–3–16–21–26–27–29.1.21, 3–10–19–20–27.2.21, 2–3–17–20–21–

22.3.21, 20.4.21, 8–25.5.21, 5–9–12–16.6.21, 21–22–30.3.29, 28.1.39, 16.3.40,

9.9.43, 29.4.50, 13–21.5.50, 15.3.52, 17.1.53

Guillaume Tell (William Tell), “Passo a sei” and “Soldiers’ Dance”: 19.11.38, 21.2.40,

8.7.40, 4.4.43 (“Passo a sei” only), 11–14.5.46 (plus “Wedding Chorus”), 5.7.46

(“Soldiers’ Dance” only), 7.10.49 (“Passo a sei” only), 5.1.52 (“Passo a sei”

only), 31.1.53 (“Passo a sei” only)

Italiana in Algeri, L’: 10–11–13.10.29, 4.11.29, 7–16.3.30, 8–12–21–23.5.30, 1.6.30, 2–

3.2.35, 4–29.4.35, 26.11.35, 14–15–17.3.36, 24–25.4.37, 2–8.6.37, 24.8.37,

25.3.38, 24–25–26.4.38, 6.9.47, 14–17.4.50, 7–17.5.50

Mosè, Prayer: 29.7.01, 11–14.5.46

287
[opera excerpts, unknown: 3.4.05]

Scala di seta, La, Overture: 14.1.34, 19–20–21.4.34, 14–15.10.34, 15–19–22.11.34, 15–

25.8.35, 26–27–30–31.12.36, 7–9–11–12.1.37, 6–8–16.3.37, 29.1.38, 3.6.38,

25.8.38, 16.9.48, 5.3.49, 22.4.50, 15–27.5.50

Semiramide, Overture: 2–4.6.09, Sept.–Oct. 1917 (arr. for band), 3.2.18, 13–14–15–

16.10.32, 17.11.32, 21.1.34, 28.11.34, 24.3.35, 12.6.35, 28.8.36, 25.11.36, 5.2.38,

19.4.45, 13.3.48, 17.11.51

Signor Bruschino, Il, Overture: 17.6.09, 27.5.21, 2.6.21, 20–21–22–23.3.30, 5.4.41,

8.11.42, 11.11.45

Sonata No. 3 in C for strings: 15.11.52

Stabat Mater, “Cujus animam” and “Inflammatus”: 29.7.01

ROUSSEL, Albert

Festin de l’araignée, Le (The Spider’s Feast): 26–31.10.20, 4–6–10–11–18–24–28–

29.11.20, 8–11–19.1.21, 29.4.21, 25–26–28.12.30, 3.1.31, 19–20–21.4.34, 25–

27.5.34, 19.2.38, 7.4.46

Symphony No. 4: 13–14.2.36

RUBINSTEIN, Anton

Valse-Caprice: 21.12.40

SAINT-SAËNS, Charles-Camille

Concerto No. 1 for cello and orchestra: 27.2.28

Concerto [No. 2?] for piano and orchestra: 22.5.36

288
Danse macabre: 10–17.5.96, 14–27.3.97, 15.5.98, 4.7.98, 10.2.18, 5–6–16.6.20,

26.11.35, 14–15.12.35, 23–24–25–26.1.36, 25.2.36, 1.3.36, 8.1.38, 24–25–

26.4.38, 27.6.40, 7.10.49, 25.3.50, 22–29.4.50, 13–21.5.50

Rouet d’Omphale, Le: 16.12.97

Samson et Dalila: 6.1.97 + 13, 26.5.01 + 3

Suite algérienne, “Rêverie du soir”: 26.6.98

Symphony No. 3: 14.7.98, 15.9.98, 23.10.98, 30.11.00, 2.12.00, 13.1.18, 21.3.18, 15–16–

18–24.3.28, 26–27–28.2.31, 8.3.31, 27–28.1.34, 15.11.53

SAMMARTINI, Giovanni Battista

Symphony No. 3: 1–2–4.1.31

SCARLATTI, Domenico (orch. and arr. Vincenzo Tommasini)

The Good-Humored Ladies: 15–16–18–24.3.28, 5.2.38, 10.6.38, 10.1.39, 29.8.39,

24.3.46

SCHELLING, Ernest

Impressions from an Artist’s Life: 14–15.3.29, 20–21.10.32

SCHUBERT, Franz

Ellen’s Song (arr. Brahms): 28–29–31.3.35

“Gastein” Symphony (arr. Weingartner): 15.2.41

“Hungarian Dances” (arr. Liszt): 16.4.99

“Hungarian March” (arr. Liszt): 16.10.98, 22.10.28

Moment musical [which one? arranged by?]: 29.12.39

Serenade Op. 135: 22.10.28

Symphony No. 2: 12.11.38, 5.8.39, 26.3.44

289
Symphony No. 5: 14.3.53

Symphony No. 8 (also numbered 7), “Unfinished”: 16.6.98, 3.9.98, 8–15–16.6.21,

27.7.22, 24.1.26, 22.10.28, 19–21.11.30, 15–16–17–21–27.12.30, 26–27–30–

31.12.36, 7–9.1.37, 6–8.3.37, 14.10.39, 24.1.42, 5.3.49, 11.3.50, 22–29.4.50, 13–

21–27.5.50

Symphony No. 9 (also numbered 7 and 8), “Great C-Major”: 19.3.96, 10.5.96, 22.10.28,

21–22–30.3.29, 16–18–19–20.11.32, 31.1.35, 1.2.35, 4.4.35, 14–15.12.35,

26.4.36, 28.8.36, 25.11.36, 8–13.12.36, 1.1.38, 13–14–16–17–20.4.38, 14–

25.6.40, 14–15.11.41, 11.11.45, 23.2.47, 16.9.48, 7.2.53

Teufel aus Hydraulicus, Der, Overture: 22.10.28

Thekla (arr. Mottl): 22.10.28

Wanderer-Fantasie (arr. Liszt): 19–21.11.30

SCHUMANN, Robert

Abendlied Op. 85 (arr. Berlioz): 21.6.98

Concerto for cello and orchestra: 1.4.29, 23–24.3.33

Hermann und Dorothea Overture: 30.4.07, 2.5.07

Manfred Overture: 25.4.02, 3–4–5–6.10.29, 26–27–29.3.36, 19.11.38, 13–14–26–

27.2.43, 10.11.46, 31.1.53

Symphony No. 2: 22.3.97, 27.3.97 (Adagio only), 13–14–15–16.10.32, 7.11.32, 21.1.34,

11–13.3.36, 17.3.46

Symphony No. 3: 3–4–5–6.4.30, 8.5.30, 29.11.31, 29.1.38, 16.3.40, 18.3.45, 12.11.49

Symphony No. 4: 11.7.98, 28.8.98, 16.4.99, 26–27–28.2.31, 1–9–10–11.3.31

SGAMBATI, Giovanni

290
Concerto for piano and orchestra in G minor: 27.10.98

Symphony in D minor: 12.3.98 (Andante-serenata and Allegro con fuoco only), 16.10.98

(Andante-serenata only), 27.4.99 (Andante-serenata only)

SHOSTAKOVICH, Dmitri

Golden Age, The, Polka: 29.12.39

Symphony No. 1: 8–10–12–18.4.31, 21–22–24.11.36, 10.12.36, 16.3.37, 4.6.37, 14.1.39,

12.3.44, 15.6.46

Symphony No. 7: 19.7.42, 14–16–18.10.42

SIBELIUS, Jean

Finlandia: 11.5.05, 2.6.05, 12.5.16, 17.2.18, 31.10.29, 1.11.29, 18.2.39, 26.7.52

Lemminkaïnen’s Homecoming: 7.12.40

Pohjola’s Daughter: 7.12.40

Saga, En: 17.4.04, 1–8.4.05, 15–21–25.3.06, 23–25.4.07, 6.2.16, 13.1.18, 1–2–4.1.31, 3–

4–6–7.11.32, 28.11.34, 26.11.35, 30.11.35, 1–3.12.35, 26–27–29.3.36, 14.6.37,

18.2.39, 26.2.49, 15.3.52

Swan of Tuonela, The: 29.3.04, 14–17.4.04, 22.2.05, 23–25.4.05, 2.6.05, 3.2.18, 19–20–

30.6.25, 14–15–16–20.1.26, 13–14–15–16.10.32, 17.11.32, 13–14.2.36, 23–

24.4.36, 18.2.39, 7.12.40, 27.8.44, 13.1.45

Symphony No. 2: 15.1.38, 10.6.38, 18.2.39, 7.12.40

Symphony No. 4: 19–20–21–22.3.31, 24.2.34, 27.4.40

SIEGMEISTER, Elie

Western Suite: 25.11.45

SINIGAGLIA, Leone

291
Baruffe chiozzotte, Le, Overture: 7–9.5.08, 20.1.18, 12–13–18.6.20, 27.1.21, 5–17–18–

20–21–22.3.21, 23–27–28.4.21, 4–6–8–22–24–26.5.21, 4–14–16.6.21, 16–18–22–

23–29.6.25, 26–27–29–30–31.1.28, 1–11–12–14.2.28, 13–14–16–17–20.4.38,

23.2.47

Concerto for violin and orchestra: 13.4.02

Hora mystica for string quartet: 31.10.98

Piedmontese Dances (Allegro moderato in A and Allegro con brio in G): 14.5.05

Piedmont Suite Op. 36, “Through the Woods and Fields,” Dance, “Carnival,” and Fugue:

29–31.10.20, 14–11–21–22–23–24–28.11.20, 25.1.21, 6–16–20.2.21, 5–30.5.21,

9–11.6.21, 30.6.24, 12.4.41 (first two pieces only)

String quartet Op. 8, Scherzo: 26.6.98, 4.7.98, 31.10.98

SMAREGLIA, Antonio

Oceàna: 22.1.03 + 5

Oceàna, Overture: 29.11.01, 1.12.01

SMETANA, Bedřich

Bartered Bride, The, Overture: 14–25.3.97, 13–16–??.9.97, 16.12.97, 12.6.98, 22–29–

30.4.00, 3–5–6.5.00, 10.2.18, 8–10–12–18.4.31, 22–23–24.2.34, 14.3.34,

26.11.38, 17.11.46

Moldau, The: 4.4.04, 3.6.05, 24.2.18, 3–4–12–13.4.30, 23.5.30, 1–2–4–5.4.31, 14–

15.12.35, 23–24–25–26.1.36, 16.3.36, 28.8.36, 26.2.38, 25.3.38, 19.5.38, 5.8.39,

13–29.6.40, 3.7.40, 13.12.41, 26.3.44, 9.9.45, 21.9.47, 3–8.9–10.49, 11.3.50,

27.4.50, 5–10–19–25.5.50, 14.3.53

SONZOGNO, Giulio Cesare

292
Negro, Il: 17–18.4

Tango: 17–18.4.34, 14–15.11.36, 10.12.36

SOUSA, John Philip

Capitán, El: 27.8.44

Sempre Fidelis: 27.8.44

Stars and Stripes Forever, The: 4.4.43, 25.5.44, 6.9.47, 7.10.49, 3–5–27.5.50

STANFORD, Charles Villiers

“Irish” Symphony in F minor: 6.10.98

STRAUSS, Johann II

An der schönen, blauen Donau (Blue Danube Waltz): 6.12.41

Frühlingsstimme (Voices of Spring Waltz): 15.2.41, 18.7.43, 13.1.46, 6.9.47

Pizzicato Polka (with Josef Strauss): 29.12.39

Tritsch-Tratsch Polka: 15.2.41

STRAUSS, Josef

See previous: Pizzicato Polka

STRAUSS, Richard

Don Juan: 18–20–23–24–27.3.06, 20.4.07, 2.5.07, 14–18.1.20, 12–13–18.6.20, 26.10.20,

4–10–11–18.11.20, 8–11–19–28.1.21, 3–10–27.2.21, 21–23–27.4.21, 4.5.21,

20.12.31, 27–28–30.10.32, 3–5.12.33, 21.1.34, 29.4.35, 14.10.39, 14.5.40,

20.6.40, 14.2.48, 3–8–10.9.49, 25.3.50, 14–17.4.50, 7–15–17.5.50, 28.2.54

Don Quixote: 27.5.21, 2–8.6.21, 15.6.21, 3–4–5–6.10.29, 19–20–21.3.31, 23.5.38,

22.10.38, 11.12.48, 22.11.53

Heldenleben, Ein: 7–9.5.08, 7–8–10.11.29, 22–23–28–29.11.30, 1–3–4–5–15.3.33, 1.2.41

293
Salome: 26.12.06 + 15

Salome, “Dance of the Seven Veils”: 24–25–26–27.1.35, 14.1.39

Till Eulenspiegel: 30.11.00, 2.12.00, 13–20.4.02, 29.3.04, 13.2.05, 2–4.6.09, 16.9.11, 13–

18.4.13, 22–23–24.3.28, 27–28–29.3.30, 14–30.5.30, 10–11–13.11.32, 21.2.40,

16.3.40, 22.6.40, 17.3.46, 5.3.49, 1.11.52

Tod und Verklärung (Death and Transfiguration): 11.4.05, 11.5.05, 2.6.05, 22.5.21,

30.5.21, 11–14–16.6.21, 12–15.7.22, 30.6.24, 15–16–17–18.3.28, 20–21–22–23–

30.3.30, 16–18–28.5.30, 3.6.30, 18.1.31, 22–23–24.2.34, 15–19.11.34, 17.3.36, 1–

3–5.4.36, 24–25.4.37, 2.6.37, 24.8.37, 1.1.38, 21–22–23.3.38, 15–25.6.40, 9–10–

13.1.42, 15.6.46, 5.7.46, 17.11.46, 8.3.52

STRAVINSKY, Igor

Firebird, The, “Infernal Dance”: 9.10.27

Fireworks: 17–21.3.18, 25.1.20, 24–25–27.10.29, 23.11.29

Petrushka, 1st and 4th tableaux: 6–9.2.16, 10–12.5.16, 3–24.3.18 (twice on the 24th), 16–

18–22–23–29.6.25, 21–22–24.1.26, 6.2.26, 15–16–18.3.34, 21.12.40

STRONG, George Templeton

Nacht, Die: 21.10.39

SUPPÉ, Franz von

Dichter und Bauer (Poet and Peasant), Overture: 18.7.43

SVENDSEN, Johan S.

Carnival of Paris: 3.2.18

Norwegian Rhapsody No. 4, Op. 22: 11–28.5.05

Symphony No. 1, Op. 4: 12.5.98

294
TANSMAN, Alexandre

“Four Polish Dances”: 6–7–8–9–24–25.10.32

TAUBERT, Karl

Pizzicato for strings: 23.8.86

TCHAIKOVSKY, Peter Ilich

Concerto No. 1 for piano and orchestra: 19.4.41, 25.4.43

Evgeny Onegin: 7.4.00 + 2

Evgeny Onegin, Waltz: 27.8.44

“Manfred” Symphony: 16–17–19.3.33, 21.12.40, 21.1.45, 10.11.46, 28.2.48, 3.12.49,

10.1.53

Nutcracker, The, Suite: 19.3.96, 26.4.96, 17.5.96 (Marche—miniature only), 3.9.98

(Overture—miniature only), 6.4.40, 25.4.43, 25.6.44, 17.11.51

Romeo and Juliet, Overture-Fantasy: 14–27.1.34, 14.3.34, 11–13–14–15.3.34, 24–25–

26.4.38, 15.10.38, 6.4.40, 27.6.40, 7.4.46, 16.9.48, 12.11.49, 27.4.50, 5–10–

19.5.50, 21.3.53

String Quartet Op. 11, Andante cantabile: 22.4.00, 6–8.5.00

Symphony No. 6: 25.3.97, 20.10.98 (second movement only), 29.10.38, 13.12.38, 6.4.40,

19.4.41, 6–7–10.2.42, 25.4.43, 18.4.44, 15.11.47, 4.3.50, 19.4.50, 1–9–23.5.50,

21.3.54

Tempest, The: 2.6.97, 5–7–8.4.33, 12.3.44

Voyevoda, Overture: 19.4.41

THOMAS, Ambroise

Hamlet: 16.7.86 + ?, 10.5.92 + 2

295
Mignon: 26.1.88 + ?, 6.3.90 + ?, 14.3.90 + 9

Mignon, Overture: 14.3.42, 7.10.49, 26.7.52

TOMMASINI, Vincenzo

Carnival of Venice: 10–11–13.10.29, 2.4.11.29, 0–12.5.30, 28.5.37, 15.1.38, 29.3.41,

15.6.46, 13.3.48

Chiari di luna: 19.11.16, 27.1.18, 5.11.18 (Serenata only), 19.11.20, 27.11.20 (Serenata

only), 17–18–20–21.3.21 (Serenata only), 1–2–4.1.31 (Serenata only), 27–28.1.34

Paesaggi toscani: 12.10.25, 28–29.1.26

Prelude, Fanfare, and Fugue: 21–22–30.3.29

(see also Scarlatti, Domenico: The Good-Humored Ladies)

TOSCANINI, Arturo

Andante and Scherzo: 25.5.84

TOSI, Alfonso

Nocturne and Concert Etude: 18.9.98

TRUCCO, Edoardo

Piccola Suite in B-flat: 18.5.96

VAUGHAN WILLIAMS, Ralph

Fantasia on a Theme of Thomas Tallis: 19.5.38, 15.10.38, 18.11.45

VERDI, Giuseppe

Aida: 30.6.86 + ?, 22.8.88 + ?, 12.1.89 + ?, 20.10.89 + ?, 4.6.01 + 2, 6.9.02 + ?,

12.7.03 + 3, 22.8.03, 28.2.07 + 3, 16.11.08 + 7, 1.12.08, 20.3.09 (Act II, part 2

only), 24.3.09, 12.4.09, 28.4.09, 9.11.09, 3.12.09 + 4, 17.1.10, 10.3.10, 28.3.10,

8.4.10 + 1, 19.5.10 + 3, 17.11.10 + 7, 18.4.11, 22.4.11, 13.11.11 + 4, 24.5.12 + 4,

296
29.8.12 (Act II only), 6.3.13, 8.12.13 + 4, 21.11.14 + 5, 20.11.23 + 9, 22.4.29 + 5,

29.5.29

Aida, Concert performance in two parts: 26.3 and 2.4.49

Aida, Overture: 30.3.40

Aida, “Ritorna vincitor”: 1.3.36

Attila, “Allor che I forti corrono”: 26.7.15

Ballo in maschera, Un: 16.6.96 + 3, 11.3.03 + 12 (Toscanini did not complete the final

performance), 22.11.13 + 4, 30.4.14, 16.11.14 + 1, 21.10.15 + 5, 14.11.25 + 3

Ballo in maschera, Un, Concert performance in two parts: 17 and 24.1.54

Ballo in maschera, Un, “Eri tu”: 25.7.43, 31.10.44

Ballo in maschera, Un, Duet, “Teco io sto”: 1.2.01

Battaglia di Legnano, La, Hymn and oath-taking from Act I and Hymn and Prayer from

Act IV: 26.7.15

Don Carlo: 14.11.26 + 5, 19.4.28 + 5

Don Carlo, “O don fatale”: 25.7.43

Falstaff: 10.10.94 + 9, 15.11.94 + 9, 26.12.94 + ?, 3.3.95 + ?, 14.4.95 + ?, 16.5.95,

28.12.95 + 4, 11.3.99 + 9, 21.7.04 + 3, 16.3.09, 20.3.09 + 2, 16.2.10 + 1,

3.6.10 + 2, 31.5.11 + 7, 25.7.12 + 5, 29.8.12 (Act II only), 28.9.13 + 1,

21.10.13 + 2, 6.11.15 + 6, 26.12.21 + 10, 2.12.22 + 7, 6.2.24 + 7, 25.4.25 + 4,

1.5.26 + 3, 4.9.26 + ?, 30.4.27 + 4, 15.4.28 + 3, 5.5.29 + 1, 18.5.29, 22.5.29,

29.7.35 + 3, 31.7.36 + 3, 26.7.37 + 2

Falstaff, Concert performance in two parts: 1 and 8.4.50

297
Forza del destino, La: 20.10.88 + 21, 13.2.89 + ?, 22.11.92 + 3, 22.2.95 + ?, 20.4.95 + ?,

19.3.08, 17.11.28 + 8

Forza del destino, La, Overture: 8.5.98, 27.2.01, 26.7.15, Sept.–Oct. 1917 (arr. for band),

31.1.43, 27.1.46, 8.11.52

Forza del destino, La, “Pace mio Dio”: 24.3.35, 25.7.43

Forza del destino, La, “Rataplan”: 26.7.15

Forza del destino, La, Duet, “Solenne in quest’ora” and Finale of Act II: 1.2.01

Inno delle nazioni (Hymn of the Nations): 26.7.15, 31.1.43 (with emendations by

Toscanini), 25.5.44 (with emendations by Toscanini)

Lombardi, I: 19.11.87 + ?

Lombardi, I, Coro della Sete: 26.7.15

Lombardi, I, “O Signore, dal tetto natio” 1.2.01 x 2

Lombardi, I, Trio: 17.10.98, 10.10.27, 31.1.43

Luisa Miller: 28.11.91 + 1, 1.1.03 + 6

Luisa Miller, Overture: 12.3.98, Sept.–Oct. 1917 (arr. for band), 13.5.20, 25.7.43

Luisa Miller, “Quando le sere al placido”: 10.10.27, 25.7.43

Messa da Requiem: 29.7.01 (Lachrymosa only), 27.1.02, 21–28.2.09, 28.3.09, 9.4.09,

6.2.10, 13.3.10, 4–6–8.7.11, 12–14–18.10.13, 22.5.23, 15–16.1.31, 1.11.34,

14.8.37, 4.3.38, 27–30.5.38, 16–17.8.39, 23.11.40, 15–19–22.7.41, 26.4.48, 26–

27.6.50, 27.1.51

Nabucco, Overture: 1.2.01 x 2, Sept.–Oct. 1917 (arr. for band), 11–14.5.46

Nabucco, Chorus, “Va, pensiero”: 27.2.01 x 2, 26.7.15, 31.1.43, 31.10.44, 11–14.5.46

Oberto, Overture: 10.10.27

298
[opera excerpts, unknown: 8.4.05]

Otello: 18.2.94 + ?, 27.12.99 + 6, 4.7.01, 17.11.09 + 5, 23.11.09, 28.2.10, 6.4.10 + 1,

25.5.10 + 2, 19.6.10 (Act IV only), 27.2.11 + 4, 14.3.11, 20.4.11, 25.4.11,

29.4.11, 21.2.12 + 3, 6.1.13 + 2, 22.11.27 + 10, 5.11.28 + 4

Otello, Concert performance in two parts: 6 and 13.12.47

Otello, “Ave Maria”: 24.3.35

Otello, Ballabili: 31.1.43, 27.1.46, 13.3.48, 16.9.48

Quattro pezzi sacri (Four Sacred Pieces): Stabat Mater, Laudi alla Vergine, Te Deum:

26–28–30.5.98, 16.4.99, 19.3.03 (Ave Maria and Laudi alla Vergine only),

10.10.27 (Laudi alla Vergine only), 16–17.4.31 (Te Deum only), 14.8.37 (Te

Deum only), 27–30.5.38, 23.11.40, 2.12.45 (Te Deum only), 11–14.5.46 (Te

Deum only), 26.4.48 (Te Deum only), 26–27.6.50 (Te Deum only), 27.1.51 (Te

Deum only), 14.3.54 (Te Deum only)

Rigoletto: 9.7.86 + ?, 4.4.93 + 3, 13.6.01 + 3, 21.6.03 + 1, 25.5.06 + ?, 29.8.06,

[23.11.08?], 18.7.12 + 4, 14.1.22 + 11, 3.2.23 + 3, 13.2.24 + 1, 9.4.25,

26.3.27 + 4, 28.4.29, 23.5.29

Rigoletto, Act III in concert form: 25.7.43, 25.5.44

Rigoletto, Quartet from Act III: 1.2.01 x 2, 31.10.44

Simon Boccanegra: 7.1.92 + 1

“Suona la tromba”: 26.7.15

String Quartet, Andantino, Prestissimo, Scherzo-Fuga: 14–15.12.35, 23–24–25–26.1.36,

17.3.36, 27.1.46 (without Andantino)

299
Traviata, La: 2.7.86 + ?, 23.8.94 + 4, 27.7.01 + 1, 31.7.03 + 1, 28.6.06 + ?, 21.8.06,

20.9.13 + 2, 30.9.15 + 7, 28.11.23 + 10, 17.1.25 + 6, 11.4.26 + 3, 20.5.28 + 2

Traviata, La, Concert performance in two parts: 1 and 8.12.46

Traviata, La, Preludes to Acts I and III: 1.2.01 x 2 (Prelude III only), 27.2.01 (Prelude III

only), 19.3.03, (Prelude to Act III only, arr. for band), 27.1.18 (Prelude to Act III

only), 11.2.34, 31.1.43 (Prelude to Act III only)

Trovatore, Il: 11.7.86 + ?, 9.2.02 + 13, 20.2.15 + 3, 30.4.25 + 3, 22.11.25 + 4, 26.5.29

Vespri siciliani, I, Overture: 1 evening in July or August 1889, 4.5.95, 17–18.5.96,

27.3.97, 7.3.98, 16.6.98, 17.10.98, 28.4.00, 3.5.00, 1.2.01 x 2, 27.2.01, 26.7.15,

Sept.–Oct. 1917 (arr. for band), 27.1.18, 14–18.1.20, 5–6–16.6.20, 26.10.20, 1–4–

7–10–11–17–18–21–23–29.11.20, 8–11–19.1.21, 22.7.22, 17–18–29.4.35,

22.8.35, 26.11.35, 1–3–6.1.36, 24.1.42, 31.10.44, 11–14.5.46, 8–10.9.49

VIEUXTEMPS, Henri

Ballade and Polonaise: 14.12.40, 6–7–10.2.42

VIOTTI, Giovanni Battista

Concerto in A minor for violin and orchestra: 24–25.11.32

VIVALDI, Antonio

Concerto Grosso in E minor for strings (presumably Op. 3 No. 4): 17.2.18

Concerto Grosso in A (Op. 3 No. 5?): 15–16–18.3.34

Concerto Grosso in A minor, presumably Op. 3 No. 8 (trans. S. Franko): 24.3.18 (twice),

12–13–18.6.20, 30.10.20, 1–3–15–16–17–21–22–23–27–29.11.20, 28–30.12.20,

7–17.1.21, 2–13–24.2.21, 1.3.21

300
Concerto Grosso in D minor (presumably Op. 3 No. 11): 30.6.24, 16.10.25, 21–22–30–

31.1.26, 4.6.37, 9–10–13.10.37, 25.12.37, 14.3.54

Concerto in A minor for violin and orchestra (trans. Nachez): 3.3.18, 22–23–24.3.28

Concerto in B-flat for violin and orchestra: 22.11.47

Quattro stagioni, Le (The Four Season), Primavera/Spring: 9–10–19–26.2.28,

Inverno/Winter: 13–14.2.36

WAGENAAR, Bernhard

Symphony No. 2: 10–11–13.11.32

WAGNER, Richard

Faust-Ouvertüre, Eine: 16.10.98, 28.10.98, 12.5.00, 13–18.4.13, 12.3.16, 14–15–23.3.29,

27–28.3.30, 6–9.5.30, 1–3–4–5–15.3.33, 15.4.34, 26.8.34, 26.10.34, 16–20–

23.11.34, 2.12.34, 5.6.35, 16.6.37, 5.3.38, 5.8.39, 29.3.41, 27.10.46

Feen, Die, Overture: 19.3.98

Fliegende Holländer, Der: 2.3.93 + 9

Fliegende Holländer, Der, Overture: 19.3.98, 10.9.98, 15.3.31, 8–10–12–18.4.31, 26–27–

29.11.31, 14–15–16.12.31, 2.11.32, 20–21–22.4.33, 15–16–18.3.34, 13.2.35, 16–

25.3.36, 26.2.38, 25.2.39, 30.11.42, 31.3.46

Götterdämmerung: 22.12.95 + 20, 21.12.07 + 11, 10.12.08 + 4, 24.4.09, 13.8.12 + 4

Götterdämmerung, Prologue: 26.4.96, 3–10.5.96

Götterdämmerung, “Siegfried’s Rhine Journey” (presumably always with “Daybreak” (or

“Dawn”), 16.11.97, 16.12.97. 5.6.98, 7.9.98, 29.4.00, 11.4.05, 10–11–13.10.29,

2–4–24.11.29, 11–17.1.31, 20–21–22–23.10.32, 19.3.33, 12–13–15.4.33, 17–

18.10.33, 3–5.12.33, 10.10.34, 20.11.34, 23–24–25–26.1.36, 16.6.37, 5.3.38,

301
25.2.39, 14.3.39, 22.2.41 (including vocal duet), 29.6.41, 24.7.41, 30.11.42,

25.5.44, 6.1.46, 24.11.46, 20.3.48, 26.2.49, 17.12.49, 24.11.51, 19.9.52, 4.4.54

Götterdämmerung, “Siegfried’s Funeral Music” (generally beginning with “Siegfried’s

Death”): 27.3.97, 27–28–29–30.4.00, 14.5.00, 29.7.01, 14.4.04, 19–25–28.3.06,

10–11.11.12, 19.11.16 (performance interrupted and not completed), 9–13.5.20,

16.10.25, 14–15–16–20–30–31.1.26, 1.2.26, 27.2.28, 25–31.3.28, 20–22–

24.11.29, 3–4.4.30, 8–18.12.30, 29.4.34, 3–6.6.34, 26.8.34, 10.10.34, 13.2.35,

21.4.35, 3–5.6.35, 19.11.35, 23–24.4.36, 3.12.38, 10.1.39, 13.1.45, 17.12.49,

29.12.51, 19.9.52, 7.3.53

Götterdämmerung, “Immolation Scene,” concert version: 29.4.34, 22.2.41, 30.11.42

Lohengrin: 27.1.00 + 15, 11.7.01 + 2, 24.5.04 + 2, 18.8.04

Lohengrin, Prelude to Act I: 25.3.97, 19.3.98, 19.5.98, 12.6.98, 25.9.98, 27.1.21, 17–20–

21–22.3.21, 28.4.21, 2–4–5–7–25.5.21, 5.6.21, 14.2.28, 31.3.28, 8–18.12.30, 11–

17.1.31, 9.4.31, 19–25.3.33, 22.4.33, 17–18.10.33, 22.4.34, 26.8.34, 15.10.34,

13.2.35, 21–29.4.35, 25.3.36, 16.6.37, 5.3.38, 24–25–26.4.38, 22.2.41, 24.3.43,

7.7.46, 20.3.48, 29.12.51, 4.4.54

Lohengrin, Prelude to Act III: 25.3.97, 15.3.31, 19.3.33, 22.4.33, 17–18.10.33, 22.4.34,

26.8.34, 15.10.34, 13.2.35, 21–29.4.35, 1–25.3.36, 16.6.37, 5.3.38, 24–25–

26.4.38, 24.3.43, 7.7.46, 20.3.48, 7.3.53

Meistersinger, Die: 26.12.98 + 12, 4.8.03 + 2, 27.8.03, 29.10.04 + 17, 26.3.10 + 1,

2.4.10, 18.4.10, 20.1.11 + 4, 6.3.12 + 2, 15.1.14 + 3, 12.3.15 + 3, 23.4.22 + 6,

25.1.23 + 6, 1.4.24 + 3, 9.12.25 + 2, 26.12.28 + 3, 8.8.36 + 3, 5.8.37 + 2

302
Meistersinger, Die, Prelude to Act I: 12.12.97, 19.3.98, 23.6.98, 28.10.98, 27–29–

30.4.00, 1–4–5–8.5.00, 13.4.02, 29.3.04, 17.4.04, 24–25–27–28.3.06, 28.9.11,

31.5.19, 4–21–22–24–28.6.19, 25.1.20, 15.11.20, 25–27.1.21, 6–20–21–22.3.21,

25.4.21, 3–25–29.5.21, 5–12–15–16.6.21, 14.2.28, 31.3.28, 9.3.29, 1.4.29, 14–15–

17–23.11.29, 22.3.30, 16–17.4.30, 4.5.30, 4.6.30, 18.12.30, 11–17.1.31, 22.3.31,

9.4.31, 5–7–8.4.33, 17–18–23–24–30.10.33, 29.4.34, 23.8.34, 15.10.34, 13.2.35,

4–21.4.35, 29.4.36, 15.6.36, 6–8.3.37, 28.5.37, 22.1.38, 27.8.38, 13–27.12.38, 7–

31.1.39, 1–7.2.39, 21.10.39, 13–19.6.40, 1–4–10.7.40, 14.3.42, 30.11.42,

13.14.2.43, 26–27.2.43, 24.3.43, 28.11.43, 4–19.4.45, 6.1.46, 7.7.46, 3.9.49,

18.3.50, 25–29.4.50, 3–13–21–25.5.50, 19.9.52, 7.2.53, 4.4.54

Meistersinger, Die, Prelude to Act III: 25.8.38, 19.11.38, 24.11.51

Parsifal: 16.12.28 + 4, 22.7.31 + 4

Parsifal, Prelude: 18.5.96, 19.3.98, 30.5.98, 12.4.03 + 1, 7–8–10–14–15–16–18.6.19, 22–

24.11.20, 1–2–4–5.4.31, 28.4.32, 12–13–15.4.33, 16–20–23.11.34, 2.12.34,

21.4.35, 5.6.35, 21.2.40, 23.3.40, 12.4.41, 29.6.41, 24.7.41, 6.12.41, 4.4.42,

9.4.44, 6.4.47, 17.12.49, 19.9.52

Parsifal, Klingsor’s Magic Garden: 3.9.98, 28.10.98, 22.4.00, 3–5–6.5.00, 23.3.40

Parsifal, Act III (concert version): 12.4.03 + 1

Parsifal, Act III, excerpts: 22.4.34, 23.3.40

Parsifal, “Good Friday Spell”: 16.12.97, 30.11.00, 2.12.00, 25.4.02, 3.6.05, 19.9.11, 10–

11–17–20.11.12, 7–10.5.16, 7–8–10–14–15–16–18.6.19, 16–18.5.20, 5–11–19–

21.11.20, 16–23–27.1.21, 6–16–22.2.21, 4–20–21–22.3.21, 20.4.21, 2–8–24–

30.5.21, 3–4–10–11.6.21, 13–17–18–21–24–27.6.24, 14.2.28, 22–23–24.3.28, 27–

303
28–31.3.29, 16–17.4.30, 28.4.32, 17–18.10.33, 16–20–23.11.34, 2.12.34, 13.2.35,

21.4.35, 5.6.35, 25.3.36, 12.11.38, 21.10.39, 21.2.40, 23.3.40, 13–19.6.40,

12.4.41, 6.12.41, 4.4.42, 9.4.44, 6.4.47, 17.12.49, 5–10–19.5.50, 19.9.52

Rheingold, Das, Entrance of the Gods into Valhalla: 19.3.96, 16.6.98, 7.7.98, 10.10.98,

22–28.4.00, 1–3–5–6–14.5.00

Rienzi, Overture: 19.3.98, 11.7.98, 3.12.38

Siegfried: 26.12.99 + 11, 9.11.05 + 8, 26.12.05 + 13

Siegfried, “Waldweben” (“Forest Murmurs”): 17–18.5.96, 13.12.96, ? Nov. or Dec. ’97,

19.3.98, 12.5.98, 16.6.98, 13.10.98, 2.5.00, 22.2.05, 1–8.4.05, 10–11.11.12,

19.11.16, 21–22–24–28.6.19, 16–17–19–20.4.30, 15.3.31, 9.4.31, 19.3.33,

22.3.33, 15.4.34, 3–6.6.34, 24.3.35, 16.6.37, 3.12.38, 13–27.12.38, 10–31.1.39, 1–

7.2.39, 23.6.40, 9.7.40, 30.11.42, 27.8.44, 20.3.48, 7.10.49, 14–25.4.50, 3–7–9–

23.5.50, 29.12.51, 19.9.52, 4.4.54

Siegfried Idyll, 22.2.05, 2.6.05, 23–24–26–27.3.06, 17.6.09, 23.9.11, 25.1.20, 22.5.21,

14–16.6.21, 14.10.25, 27.2.28, 8.8.30, 8–18.12.30, 11–17.1.31, 2–20.11.32, 17–

18.10.33, 11.2.34, 14.3.34, 2–15–21.4.34, 13.2.35, 22–25.8.35, 29.4.36, 16.6.37,

12.2.38, 27.8.39, 23.6.40, 24.4.41, 6.1.46, 6.9.47, 26.7.52, 19.9.52, 7.3.53

Tannhäuser: 19.1.95 + ?, 12.10.95 + 14, 21.5.01 + 3, 22.7.30 + 4, 21.7.31 + 4

Tannhäuser, Overture (presumably Dresden version unless otherwise indicated): 4.5.95,

19.3.98, 9.6.98, 17.10.98, 6.5.99, 2.5.00, 8–10–17.6.20, 29–31.10.20, 4–6–14–18–

27.11.20, 5–6–17–20–21–22.3.21, 21–23–27–28.4.21, 6–7.5.21, 16–18–22–23–

29.6.25, 27.2.28, 1–2–11–25–31.3.28, 10–12.10.28, 21–22–23–24.2.29, 4–5–6–7–

8–10–31.3.29, 27–28.2.30 (Paris version, with Bacchanale), 1–2–3–4–5.3.30

304
(Paris), 10–19–25.5.30 (Paris), 1.6.30 (Paris), 8–18–21.12.30 (Paris), 11–17.1.31

(Paris), 22.3.31 (Paris), 9.4.31 (Paris), 2–20.11.32 (Paris), 6–7–8.3.33 (Paris), 17–

18.10.33 (Paris), 29.11.33 (Paris), 22.4.34, 2–3.2.35 (Paris), 19.11.35, 30.11.35,

1–3.12.35 (Paris), 1–3–6.1.36 (Paris), 25.2.36 (Paris?), 25.3.36 (Paris), 6–8.3.37

(Paris), 16.6.37 (Paris), 5.3.38 (Paris?), 25.2.39 (Paris), 14.3.39, 23.6.40, 8.7.40,

24.4.41, 20–21–24.11.42 (Paris), 28.11.43 (Paris), 25.5.44, 15.6.46 (Paris), 7.7.46

(Paris), 20.3.48 (Paris), 4.12.48, 20.4.49 (Paris), 8.11.52 (Paris), 4.4.54 (Paris)

Tannhäuser, “Dich, teure Halle”: 11.2.34, 26.8.34, 22.2.41

Tannhäuser, Prelude to Act III: 15.3.31, 25.2.39, 6.1.46, 29.11.53

Tristan und Isolde: 14.2.97 + 5, 29.12.00 + 13, 1.8.01 + 4, 24.7.06 + ?, 19.8.06,

31.1.07 + 9, 27.11.09 + 4, 4.1.10, 10.1.10, 19.6.10 (Act II only), 4.1.11 + 3,

17.11.11 + 3, 21.5.12 + 6, 30.12.12 + 3, 24.12.13 + 3, 6.1.14, 3.12.14 + 3,

20.12.23 + 5, 23.7.30 + 2

Tristan und Isolde, Prelude and Liebestod: 4.4.04 (?), 13.2.05, 23–25.4.05, 14.5.05, 19–

20–21–22–23–26.3.06, 16–29.9.11, 10–11–17–20.11.12, 12.5.16, 31.5.19, 4.6.19,

21.1.20, 5–6–16.6.20, 23–28–30.10.20, 1–3–7–9–11–12–13–16–17–21–23–25–

28–29.11.20, 28–30.12.20, 7–17–28.1.21, 2–13–20–24.2.21, 1–6.3.21, 26.4.21,

26–31.5.21, 9.6.21, 13–16–20–23–26–29.6.24, 28–29.1.26, 7.2.26, 14–27.2.28, 5–

6–7–8–10.3.28, 1.4.29, 16–29.3.30, 9–11.4.30, 3–14–21–23–26.5.30, 2.6.30, 8–

18.12.30, 11–17.1.31, 2.11.32, 27.11.32 (with soprano), 6–7–8.3.33, 17–18.10.33,

27–28.1.34, 26.8.34 (with soprano), 10.10.34 (with soprano), 22.11.34, 2.12.34,

13.2.35, 21.4.35, 25.3.36, 29.4.36, 15.6.36, 5.3.38, 25.2.39, 3.8.39, 23–29.6.40, 4–

305
8.7.40, 22.2.41 (Prelude only), 30.11.42 (with soprano), 13–14.2.43, 24.3.43,

28.11.43, 25.5.44, 19.4.45, 29.12.51, 19.9.52, 7.3.53

Tristan und Isolde, Love scenes: 11.5.99, 15.4.34 (with voices)

Tristan und Isolde, Liebestod only: 20.12.96, 19.3.98, 8.5.98, 6.10.98

Tristan und Isolde, Suite (arr. Mancinelli): 1.7.98, 4.7.98 (“The Ship’s Arrival” only)

Walküre, Die: 17.2.98 + 8, 26.12.01 + 7, 16.6.06 + ?

Walküre, Die, Act I, scene 3 (concert version): 2–27.11.32, 29.4.34, 22.2.41, 6.4.47,

20.4.49

Walküre, Die, Ride of the Valkyries: 22.3.97, 14.7.98, 20.10.98, 12.5.00, 16–18.5.20, 8–

15.6.21, 20–22–24.11.29, 15.3.31, 2–3.2.35, 25.3.36, 29.4.36, 16.6.37, 5.3.38,

25.2.39, 29.6.40, 28.11.43, 20.3.48, 20.4.49, 17.12.49, 29.12.51, 19.9.52, 7.3.53

Walküre, Die, Wotan’s Farewell: 22–27.3.97

Walküre, Die, Magic Fire Music: 22–27.3.97, 22.5.98, 2.10.98, 28.10.98

Wesendonck-Lieder, “Schmerzen,” “Im Treibhaus,” and “Träume”: 26.8.34, 10.10.34

WALDTEUFEL, Emil

Skaters’ Waltz: 25.6.44, 7.10.49

WEBER, Carl Maria von

Beherrscher der Geister, Der (The Ruler of the Spirits), Overture: 13–14–15.3.30,

26.5.30

Euryanthe: 2.4.02 + 2, 19.12.14 + 4, 19.1.15

Euryanthe, Overture: 2.6.98, 18–22.3.06, 23–25.4.07, 23.9.11, 14–15–16–20.1.26, 6.2.26,

23–24.4.36, 12.2.38, 13.1.45, 3.11.51

Freischütz, Der: 6.8.04 + 1

306
Freischütz, Der, Overture: 13.12.96, 27.3.97, 23.4.97(?), 2.10.98, 20.4.02, 12.10.25, 23–

24–25–26.1.36, 25.2.36, 1–16.3.36, 15.6.36, 19.2.45, 5.1.52

Invitation to the Dance (arr. Berlioz): 23.6.98, 25.10.98, Sept.–Oct. 1917 (arr. for band),

10–11–13.12.31, 24.3.35, 19.2.38, 25.3.38, 19.5.38, 31.1.39, 1–4–7.2.39, 15.6.40,

1–3–10.7.40, 24.4.41, 19.4.45, 12.3.49, 13.12.53

Jubel Cantata, Overture: 10.3.97

Oberon, Overture: 11.7.98, 26–27–28.2.31, 1–9–10–11.3.31, 1–3–5.4.36, 26–27–30–

31.12.36, 7–9.1.37, 13–27.12.38, 27.6.40, 19.3.44, 2.8.52, 28.2.54

[opera excerpts, unknown: 8.4.05]

WEPRIK, Alexander

Dances and Songs of the Ghetto: 16–17.3.33

WETZLER, Hermann Hans

The Basque Venus, Symphonic Dance: 14–15–17.11.29

WILLIAMS, Alberto

Symphony No. 7, “Dancarinas de Aarón” and “Tocadores de Crótales”: 29.6.40

WOLF-FERRARI, Ermanno

Amore medico, L’: 25.3.14 + 3

Donne curiose, Le: 3.1.12 + 4, 5.2.13 + 2

Donne curiose, Le, Overture: 13.1.18, 17–18–21–24.6.24, 18.11.45, 29.11.47

Segreto di Susanna, Il: 23.9.15 + 1

Segreto di Susanna, Il, Overture: 11–12–14.12.30, 18.1.31, 20.1.46

ZANDONAI, Riccardo

Cavalieri di Ekebù, I: 7.3.25 + 5, 24.12.25 + 1

307
Patria lontana, Suite: 17.3.18

196 composers

115 operas by 53 composers. This figure includes 21 world premieres and 35 national premieres,

the latter split among Italy, Argentina, Uruguay, France, and the United States.

Approximately 530 concert pieces by 178 composers. This tally does not include overtures or

other excerpts from operas that Toscanini conducted in their entirety; if those overtures and other

excerpts are included within his concert repertoire, the figures rise to over 600 pieces by 184

composers.

308
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319
NOTES

Dates are given day/month/year, e.g., 9.8.54 = 9 August 1954.

AT = Arturo Toscanini

CT = Conversation tape

NYPLPA TL = New York Public Library for the Performing Arts, Toscanini Legacy

CHAPTER I

Page

5fn “used him as a model for Joseph”: CT 9.8.54.

6 “That night”: Ibid.

6 “five or six”: Gaspare Nello Vetro, I: Toscanini alla Regia Scuola del Carmine in

Parma. Parma: Tipolito La Ducale 1974, pp. 20–22.

7 “That’s all he needs”: Filippo Sacchi, Toscanini. Milano: Longanesi 1960, p. 28.

8 “chronic poverty”: Gustavo Marchesi, Toscanini. Torino: UTET 1993, p. 19.

8 “Women went after him”: CT 9.8.54.

9 “never gave” “These things” “Once, my mother” “seeing those colorful”: Ibid.

11 “a good ear”: CT 1.4.53.

11 “always found us”: CT 9.8.54.

12 “She said to my father”: Ibid.

12 “He began”: Ibid.

13 “Most Illustrious Director”: Vetro, op. cit., p. 15.

320
15 “regular and monotonous”: Gaspare Nello Vetro, II: Il giovane Toscanini. Parma:

Banca del Monte di Parma 1982, p. 69.

16 “in the eight years” “It was a mixture” “I loved those aunts”: CT 9.8.54.

18 “I was a hard-working student” “I could never practice”: CT 1.4.53.

18 “I was the despair”: AT letter to Ada Mainardi, 1.10.37.

18 “I practiced the cello” “I enjoyed everyone’s esteem”: AT letter to Ada Mainardi,

14.9.37.

19 “When I look back”: AT letter to Ada Mainardi, 10.4.37.

19 “Beethoven, Mozart” “and it was a joy”: AT letter to Ada Mainardi, 7.4.37.

20 “Later, when one”: CT 28.2.54.

20–21 “My teacher”: NYPLPA, TL, Document file L2C.

22 “after the first act”: Vetro, II, op. cit., p. 103.

22 “The whole orchestra”: CT 3.1.54.

23 “Miss Bernau” et seq.: Valerio Cervetti (ed.). 1881–1898: Memorie e appunti del

Segretario della Commissione teatrale Giulio Ferrarini,

www.lacasadellamusica.it/ferrarini/quaderno1.htm#4

24 “the first applause”: CT 11.4.53.

24 “I always ate” et seq.: CT 11.4.53.

25 “declare that he wanted”: Vetro I, op. cit., pp. 171–72.

25 “My teacher”: CT 1.4.53.

26 Re: job in Busseto: CT 25.4.54.

26 “I never had”: CT 9.5.54.

26 “comes up to me”: CT 28.2.54.

321
CHAPTER II

Page

31–39 Direct quotes of AT, from “I can’t follow” on p. 31 through “taken me seriously?” on

p. 39 are from CT 1.9.55.

34–36 Quotes from Rio de Janeiro newspapers reproduced in Ayres de Andrede, “Um

episódio brasileiro na carreira de Toscanini’ in O Jornal: Rio de Janeiro, 27 January

to 2 February 1957.

35 “a distinguished musician”: Vetro II, op. cit., p. 142.

39–40 “I was rehearsing”: CT 11.4.53.

40–41 “Edmea had a truly”: Gazzetta musicale di Milano, XLI/46, 14.11.86.

41 Pasquino, 1886, No. 45.

41 “assurance”: Gazzetta Piemontese, 6.11.86.

41 “Arturo Toscanini”: Il trovatore, XXXIII/46, 12.11.86.

41 “with ever-growing”: Gazzetta musicale di Milano, XLI/50, 12.12.86.

42 “I have found”: Alfredo Catalani, letter to Signor Cortella, 5.11.86, NYPLPA TL,

Document file L3A-1.

43–44 Direct quotes of AT are from CT 11.4.53, 22.4.53, 2.1.54, ?.1.54, 7 or 9 or 10.8.54,

28.10.55, 7.11.55.

45 “little provincial hotels”: Sacchi, op. cit., pp. 69–70.

45–46 “All intelligent people”: L’avvenire, Casale Monferrato, 5.6.87.

46 “You are an arrogant”: Howard Taubman, The Maestro. New York: Simon &

Schuster 1951, p. 40.

322
47 “a predetermined”: Fedele D’Amico and R. Paumgartner, ed. La lezione di Toscanini.

Firenze: Vallecchi 1970, pp. 176–77.

47 “I felt uneasy”: CT 11.4.53.

48 “a true, complete”: Il teatro illustrato, February 1888.

48 Toscanini recalled: Gianandrea Gavazzeni, Il sipario rosso. Torino: Einaudi 1992, p.

202.

48 “stupendous”: Verona, Il gazzettino, ?.2.88.

48 “unlimited leave”: Davide Bassi, ed., Museo Casa Natale Arturo Toscanini. Milano:

Mazzotta 2002, p. 122, item 324.

49 “with only one”: CT 7.11.55.

49–50 “any word”: Corriere di Novara, 30.12.88.

51 “Toscanini was really”: Giulio Gatti-Casazza, Memories of the Opera. New York:

Scribner’s 1941, p. 52.

51–52 Most of the information on the Voghera season was found in an article by Giuseppe

Mazza: “Teatro Sociale: Stagione lirica 1889,” in Ultrapadum, Voghera, September

1957.

52 “A heated argument”: Alfredo Segre, “Arturo Toscanini: The First Forty Years,” in

Musical Quarterly No. 2 1947, p. 157.

52 “Maestro Toscanini”: article in Il trovatore, 6.3.90.

53 “sing and don’t shout”: article in Il teatro illustrato, April 1890.

54 “with players”: Gino Monaldi, Memorie di un suggeritore. Torino: Fratelli Bocca

1902.

55 “expansive and a prankster”: Sacchi, op. cit., pp. 74–75.

323
56 “as a young man”: AT letter to Ada Mainardi, 3.7.37.

59 “the attendance”: G. B. Vallebona, Il Teatro Carlo Felice. Genova: Cooperativa

fascista poligrafici 1928, p. 194.

59 “I believe that”: letter of Alfredo Catalani to AT, 6.11.91.

59 “I think that”: letter of Catalanti to AT, 14.12.91.

59 “Yesterday evening’s success”: letter of Catalani to Giulio Ricordi, 19.2.92.

59 “Knowing the intelligent”: copy of telegram of Giulio Ricordi to AT, 19.2.92.

59 “which wall”: AT letter to Luigi Piontelli, 7.3.92.

59 “for services rendered”: Guglielmo Barblan, Toscanini e la Scala. Milano: Edizioni

della Scala 1972, p. 315.

60–61 Most of the direct quotes of AT on Pagliacci are from CT 9.8.54, but one about

Francesco Daddi and another about the opera in its one-act form being “too long”

come from a taped conversation between AT and the baritone Giuseppe Valdengo,

6.12.51.

62 “My mother” et seq.: CT 9.8.54.

63 “unhappy and unfortunate”: in New York American, 1.1.09.

63 “He would say” et seq.: CT 9.8.54.

64 “Let’s go”: CT 9.8.54.

64 “Wally success”: Barblan, op. cit., p. 316.

65 “I’m happy”: Letter of Catalani to AT, 22.9.92.

65 “I arrived” et seq.: 9.8.54.

65 “Last evening”: Genoa, Il caffaro, 11.10.92.

66 “the leonine figure”: Ibid., 23.10.92.

324
66 “I am really happy”: Andrea Della Corte, Toscanini visto da un critico. Torino: ILTE

1958, p. 38.

66 “not too pleasant”: AT letter to Carla De Martini, 5.12.96.

67 “Far from giving up”: Quoted in A. De Angelis, “Le direzioni di Toscanini a Roma,”

in Santa Cecilia, Rome, 1957, No. 2.

67 “the whole audience”: Della Corte, op. cit., p. 38.

68 With the exception of a quote from the Giornale di Sicilia (see the following note),

the direct quotes of AT, pp. 68–71, inclusive, are taken from CT 15.11.53.

70 “unpleasant incident” et seq.: in Giornale di Sicilia, 21–22.2.93.

70 “The orchestra performed it”: in Giornale di Sicilia, 3–4.3.93.

71 “unfortunate and wretched”: quoted in Luciana Frassati, Il maestro. Torino: Bottega

d’Erasmo 1967, p. 20.

72 “If Verdi liked”: Toscanini quoted by Gianandrea Gavazzeni, in conversation with the

author.

72 “a good performance” “functioned as her husband”: CT 15.11.53.

73 “I shut myself in”: AT letter to Ada Mainardi, 5.9.37.

73 “The place he left”: John W. Klein, “Toscanini and Catalani: A Unique Friendship,”

in Music and Letters, XLVIII, No. 3.

74 “If you are so fond”: Mario Morini, “Pagliacci, Leoncavallo e Toscanini,” in

Associazione Amici della Scala: Conferenze 1968–70.

74 “I always say”: Gazzetta dei teatri, LV/39, Milan 19.10.93.

74–75 “a large explosive device” et seq.: La sera, Milan, 26.2.94.

75 “is a cretin”: AT letter to Giacomo Puccini, 1.3.94.

325
75 “had to take”: Florence, La nazione, 12.3.94.

75 “a revelation”: CT 6.2.54.

76 “predestined to occupy”: NYPLPA TL, Document file L13B: unidentified clipping

13.5.94.

77 “[You] did it with me?”: CT 7 or 9 or 10.8.54.

77 “Falstaff is a fiasco!”: Franco Abbiati, Giuseppe Verdi. Milano: Ricordi 1959, Vol.

IV, p. 565.

78 “asked the Maestro” “Piontelli left Pisa”: Garibaldo Bagnolesi, article in Corriere

dell’Arno, 3–4.10.45.

79 “we could close”: AT letter to Enrico Polo; no date but period clear from content; in

Biblioteca Palatina, Conservatorio di Musica “A. Boito,” Parma.

CHAPTER III

Page

82 “It was necessary”: Alberto Basso, ed., L’arcano incanto: Il Teatro Regio di Torino,

1740–1990. Milano: Electa 1991, p. 1991, p. 197.

83 “so that we can”: Turin, Archivio Municipale, Repertorio Gabinetto del Sindaco,

1895.

84 “Very good, gentlemen”: unidentified and undated newspaper article, NYPLPA TL,

Document file L14C-2.

84 “The success was”: La stampa, 23.12.95.

85 “What a wonderful”: article dated 25.12.95; undated clipping (presumably January

1896) from The Song Journal, Detroit.

326
85 “Let me see”: D’Amico and Paumgartner, op. cit., p. 176.

85 “in the first place”: letter quoted in G. Piamonte, “La Bohème, novità assoluta,” in La

Bohème di Giacomo Puccini, program from the 1974–75 season, Teatro alla Scala,

Milan, 1975, p. 18.

86 “I’ve found Toscanini”: letter of Puccini to Luigi Illica, 6.1.96, in Eugenio Gara, ed.,

Carteggi pucciniani. Milano: Ricordi 1958, p. 137.

86 “The orchestra!”: in Mosco Carner, Puccini. London: Duckworth 1974, p. 92.

87 “feeble here and there” “imitates the sound”: in Enzo Siciliano, Puccini. Milano:

Rizzoli 1976, p. 156.

87 “I say I will not” et seq.: in B. H. Haggin, Conversations with Toscanini. Garden

City, NY: Doubleday 1959, p. 79.

88 “A theater such as”: article cited in Barblan, op. cit., p. 37.

88 “Maestro Toscanini surpassed”: in Gazzetta musicale di Milano, No. 18, 30.4.96.

89–90 All quotes from AT-Depanis and Turin city government correspondence from Turin,

Archivio Municipale, Repertorio Gabinetto del Sindaco, 1896.

90 “Can it be true”: AT letter to Carla De Martini, 29.3.96.

91 “Mamma, knowing”: Carla De Martini letter to AT, 31.5.96.

91 “But when you love”: Carla De Martini letter to AT, 1.6.96.

91 “this doesn’t necessarily”: AT letter to Carla De Martini, 4.6.96.

92 “No one’s life”: AT letter to Ida De Martini, 25.6.96.

92 “was accorded”: AT letter to Carla De Martini, 7.6.96.

92 “grandiosely bestial ignorance”: Ibid.

327
92–93 “with the aim” et seq.: Quotes from AT-Depanis correspondence from Turin,

Archivio Municipale, Repertorio Gabinetto del Sindaco, 1896.

93 “She must look hard”: AT letter to Carla De Martini, 6.8.96.

93 “a nice voice” et seq.: AT letters (two) to Carla De Martini, both undated but written

on14.8.96.

94 “liven her up” et seq.: AT letters to Carla De Martini, 11 and 12.10.96.

94 “I leave home”: AT letter to Carla De Martini, 22(?).10.96.

94–95 “desperate” et seq.: AT letter to Carla De Martini, 28.10.96.

95 “how we took”: AT letter to Carla De Martini, 8.11.96.

95 “She isn’t pretty”: AT letter to Carla De Martini, 2.11.96.

95 “a true, unanimous”: AT letter to Carla De Martini, 5.11.96.

95 “As to sending” “nothing is to be denied”: Archivio Ricordi DOC00784 1896–97 No.

8 p. 432, 5.11.96.

95 “splendid”: AT letter to Carla De Martini, 21.11.96.

96 “I’m working listlessly”: AT letter to Carla De Martini, 19.11.96.

96 “The stage manager”: AT letter to Carla De Martini, 1.12.96.

96 “decently” et seq.: AT letter to Carla De Martini, 3.12.96.

97 “received coldly” et seq.: AT letter to Carla De Martini, 21.12.96.

97 “unpleasant” et seq.: AT letter to Carla De Martini, 14.12.96.

97 “a very long”: AT letter to Carla De Martini, 21.12.96.

97 “I’ve had to order”: AT letter to Carla De Martini, 2.1.97.

98 “I’ve not only”: AT letter to Carla De Martini, 4.1.97.

98 “was such a dog”: AT letter to Carla De Martini, 7.1.97.

328
98 “Tristan doesn’t leave me”: AT letter to Carla De Martini, ?.1.97.

98–99 “an elegant red curtain” “At 8:45”: La stampa, 15.2.97.

99 “I thought my head”: AT letter to Carla De Martini, 17.2.97.

99 “a comfortable degree”: unidentified clipping in NYPLPA TL, Document file L16B-

2.

100 “After the exertions”: AT letter to Carla De Martini, 27.2.97.

100 “orchestrating bit”: AT letter to Carla De Martini, 4.3.97.

101 “for the year to come”: photocopies of document in the author’s collection.

101 “an astonishing success”: AT letter to Carla De Martini, 18.4.97.

102 “in the most horrible”: AT letter to Enrico Polo, 22 or 23.5.97.

102 “Mamma remembered”: Renzo Allegri, “Nostro Padre Arturo Toscanini,” in Gente,

1.4.72.

102 “a piano dealer”: CT 16.8.54.

102 “Mamma always said”: Allegri, op. cit.

102 “to fill up”: CT 16.8.54.

102–3 “The hydro-therapeutic”: AT letter to Polo, 3.7.97, Biblioteca Palatina, Conservatorio

di Musica “A. Boito,” Parma.

103 “Toscanini couldn’t get”: Marcello Ballini, “Cento anni di musica nella provincia di

Bergamo (1859–1959),” in Atti dell’Ateneo di Scienze, Lettere ed Arti di Bergamo,

Vol. XXXV, Anni 1970–71. Bergamo: La Stamperia di Gorle. 1971, pp. 32–33.

103 “a little surprised”: L’eco di Bergamo, 7.9.97.

104 “cheated me out of”: AT to Count Torazzo, 25.9.97.

104 “splendidly performed”: Puccini to Tito Ricordi, 23.11.97.

329
104–5 “was able to paint” “suffocated” et seq.: miscellaneous unidentified newspaper

clippings in NYPLPA TL, Document file L16B-2.

105 “keep good company”: AT to Carla Toscanini, 20.3.97.

106 “Sorry negative result”: Archivio Ricordi DOC00814 1897–98 No. 15, p. 267, 3.3.98.

106 “of no importance”: CT 22.11.53.

106 “in tempo”: CT 14.3.54 and elsewhere.

108 “Maestro Toscanini” et seq.: Marcello Conati, Verdi: Interviste e incontri. Torino:

EDT 2000, p. 296.

108 “I know that you went”: Arrigo Boito to AT, undated letter, but probably 25.4.98,

(from collection that formerly belonged to Walfredo Toscanini).

108 “I have a mad craving”: Boito to AT, 15.5.98, (from collection that formerly

belonged to Walfredo Toscanini).

109 “You are too intuitive”: Boito to AT, undated letter, but probably 17.5.98, (from

collection that formerly belonged to Walfredo Toscanini).

CHAPTER IV

Page

111 “It is intended”: in Gazzetta di Lugano, ?.7.1778.

112 “This evening” “I arrive” “There is no society”: Stendhal, Rome, Naples et Florence.

Paris: Editions Julliard 1964, pp. 25–26.

113 “The orchestra will be increased”: unidentified article in NYPLPA TL, Document file

L17B-1.

330
113–14 “Dear Maestro”: Boito to AT, 1.2.98, (from collection that formerly belonged to

Walfredo Toscanini).

114 “The nomination”: Carlo Arner, “Storia della questione della Scala,” in Annuario

dell’arte lirica e coreografica. Milano: 1899.

114 “La Scala was worthy”: quote in Il pianoforte, V/6, Turin, June 1924, p. 175.

114 “I had gone up”: CT 22.5.54.

115 “Dear Maestro”: Boito to AT, 31.7.98 (from collection that formerly belonged to

Walfredo Toscanini).

115 “It may well be”: AT letter to Romeo Orsi, 28.7.98.

115 “I’m leaving Ceresole”: AT to Depanis, 14.8.98.

116 “Signor Maestro Cavaliere”: contract in NYPLPA TL, Document file L17C-1.

116 “had been left”: Gatti-Casazza, op. cit., pp. 71–74.

118 “Shut up!” et seq.: CT 11.4.53.

119 “The overall applause” et seq.: Gazzetta musicale di Milano, 29.12.98.

119 “wonderful”: CT 22.11.53.

119 “Norma opens Wednesday”: letter in the archives of the Museo Teatrale alla Scala,

Milan.

119–20 “turned to Maestro Boito”: CT 7.4.54.

120 “crazy, ridiculous”: Gatti-Casazza letter to Giuseppe Agnelli, 18.1.29, in Triola,

Alberto, Giulio Gatti Casazza: Una vita per l’opera. Varese: Zecchini Editore 2013,

p. 454.

120 “If La Scala is really”: in Il corno, 17.1.99, reproduced in Barblan, op. cit., p. 53.

120–21 “In fifty and more”: CT 22.11.53.

331
121 “to tear the music”: Barblan, op. cit., p. 323.

121 “The ‘absolute ban’”: Ibid., pp. 322–23 (letter of Mascagni to AT, 16.1.99).

121 “was reminiscent”: article in La perseveranza, 20.1.99, reproduced in Giuseppe

Pintorno, Le prime. Bergamo: Grafica Gutenberg 1982, p. 147.

121–22 “had the immediately positive”: undated clipping from L’illustrazione italiana, p. 82,

in NYPLPA TL, Document file L18B-1.

122 “greatly superior”: Romeo Carugati in Lombardia, 20.1.99, quoted in Barblan, op.

cit., p. 45.

123 “Is it permitted”: Gazzetta musicale di Milano, 8.4.97.

123 “I am turning now” et seq.: Archivio Ricordi, DOC00820 1897–98 n. 21, pp. 101–2.

124 “especially one”: La stampa, 9.10.98.

124 “It is a result”: Abbiati, op. cit., p. 637.

124 “a more balanced”: Gazzetta musicale di Milano, 15.2.99.

124 “If Toscanini is not capable”: Abbiati, op. cit., p. 637.

124 “I congratulate”: Letter of Verdi to Boito, 12.3.99.

124 “Grazie”: Telegram of Verdi to AT, 12.3.99.

125 “the orchestra, very precise”: Gazzetta musicale di Milano, 16.3.99.

125 “If things are”: Abbiati, op. cit., p. 638.

125 “One could almost say”: Enrico Carozzi, in Gazzetta teatrale italiana, 11.3.99.

125 “by the person”: Alfredo Colombani, in Corriere della sera, 12–13.3.99.

125 “So you see”: Letter of Verdi to Giulio Ricordi, 7.6.1869.

125 “Afterwards I regretted”: Letters of Verdi to Ricordi, 1.1 and 3.2.1889, in Cesari,

Gaetano, “L’arte superstite del maestro,” in Corriere della sera, 27.1.1926.

332
126 “Everyone was saying”: CT 7.4.54.

126 “sitting on his bed”: Gatti-Casazza, op. cit., p. 81.

126 “The first night”: CT 7.4.54.

126–27 “The public harked back”: L’illustrazione italiana, p. 251 (16.4.99?).

127 “first of all”: Abbiati, op. cit., p. 638.

127 “The performance in the hands”: Abbiati, op. cit., p. 640.

127 “but I could only deplore”: AT postcard to Pietro Sormani, 29.7.99.

128 “Despite a deficient performance”: AT postcard to Sormani, 30.7.99.

128 “those Jews” et seq.: CT 1.4.53, CT 22.11.53, CT 1.3.55.

128 “the year of my first disappointment”: AT letter to Ada Mainardi, 4.10.37.

129 “This procedure”: Gatti-Casazza, op. cit., p. 86.

129 “The two dress rehearsals”: Carla Toscanini letter to Ida Polo, no date but certainly

26.12.99, in NYPLPA TL, Document file L18A.

129 “a complete victory”: New York Times, 21.1.00.

129–30 “I’ve always sung” et seq.: CT 7.4.54.

130 “was so enthusiastic”: Carla Toscanini letter to Ida Polo, no date but certainly

26.12.99, in NYPLPA TL, Document file L18A.

130 “Why does he decorate”: Enrico Carozzi, in Gazzetta Teatrale italiana, 28.12.99.

131 “was breathing every moment”: CT 22.5.54.

131–32 “We had begun” et seq.: Teodoro Celli and Giuseppe Pugliese, Tullio Serafin.

Venezia: Corbo e Fiore 1985, pp. 46–47.

132 “From that time on”: Ibid., p. 52.

132–33 “you must be the one”: Puccini letter to AT, 11.3.98, in Gara, op. cit., p. 158.

333
133 AT’s indirect quotes on Tosca based on CT 22.5.54.

133 “The performance will be superb”: Gara, op. cit., p. 195.

133 “Tosca has conquered”: Ibid., pp. 195–96.

134 “no hostility”: Corriere della sera, 8–9.4.00, quoted in Pintorno, op. cit., p. 155.

134 “an apotheosis”: unidentified newspaper clipping, NYPLPA TL, Document file

L19B-3.

134 “admiration for the German orchestra”: L’illustrazione italiana, 1900 pp. 322–23; in

NYPLPA TL, Document file L19B-2.

135 “was sight-reading”: AT letter to a Signor Fano, 8.3.05.

135 “refined even”: CT 25.3.54.

136 “He didn’t show” et seq.: CT 7.12.53.

137 “to breathe better air”: Gara, op. cit., p. 204.

137–38 “the audience members”: La perseveranza, 30.12.00, in Pintorno, op. cit., p. 157.

138 “Maestro Toscanini swept”: Il sole, 30.12.00, in Pintorno, op. cit., p. 156.

138 “Toscanini has arranged”: New York Times, 10.2.01.

138 “decided to make the tree”: Maria Ida Biggi, “La scenografia nei primi anni del

Novecento,” in Arthur Groos and Virgilio Bernardoni (eds.), Madama Butterfly:

L’orientalismo di fine secolo, l’approccio pucciniano, la ricezione. Firenze: Olschki

2008 p. 67.

138 “told Toscanini”: New York Times, 10.2.01.

138–39 “I have nice things”: letter of Siegfried Wagner, 15.1.01, to Cosima Wagner, on

stationery from Grand Hôtel de Londres, Monte-Carlo.

139–40 “Berlin, 18 January 1901”: Cosima Wagner, letter to AT, in Barblan, op. cit., p. 324.

334
140 “an insuperable conductor”: Ibid., p. 86.

140 “unable to save”: Ibid., p. 79.

140–41 “He has him sing” et seq.: Gatti-Casazza, op. cit., p. 99.

141 “How well Caruso sang”: CT 28.4.53.

141 “An unforgettable evening!” Corriere della sera, 2.2.01.

142 “The sad, impressive notes”: Ibid., 28.2.01.

143 “in the heart of the winter” et seq.: Gatti-Casazza, op. cit., p. 105–110.

143 “who is today considered”: La sera, 18–19.2.01.

144 “looked quite ferocious”: Maxim Gorky, Chaliapin. London: Columbus Books 1988,

pp. 146–47.

144 “But, Maestro”: New York Times, 30.10.21.

144 “No. Certainly not”: Gorky, op. cit., pp. 146–47.

145 “mentally thanked”: New York Times, 30.10.21.

145 “Toscanini [. . .] would come” et seq.: Gorky, op. cit., p. 147.

146 “I have had an awful dream”: Isidor De Lara, Many Tales of Many Cities. London:

Hutchinson 1928(?), pp. 149–54.

146 “Toscanini conducted my score”: Ibid., p. 154.

146 “To Arturo Toscanini”: in La patria degli italiani (newspaper), Buenos Aires,

18.5.01.

147 “the direct, strange”: Andrés de Segurola (George R. Creegan, ed.), Through My

Monocle. Steubenville, OH: Crest Publishing Co. 1990–91, p. 136.

148 “Today the great”: La patria degli italiani, 10.5.01.

148 “Preparations for the opening”: Ibid., 14.5.01.

335
148 “nervous excitement” et seq.: de Segurola, op. cit., pp. 145–47.

148–49 “Maestro Arturo Toscanini”: La patria degli italiani, 22.5.01.

149 “offers us performances”: La patria degli italiani, 5.6.01.

149 “each time with different”: La patria degli italiani, 14.6.01.

149 “conductors, composers”: de Segurola, op. cit., 147.

150–52 “Anyone who sees”: La patria degli italiani, 13.6.01.

153 “go back to Signora Darclée’s”: CT 22.5.54.

156 “one of the best-rounded”: Gatti-Casazza, op. cit., p. 122.

157 “laughing until he cried”: Celli and Pugliese (eds.), op. cit., p. 37.

158 “with infinite care” et seq.: Gatti-Casazza, op. cit., pp. 128–29.

159 “When the curtain fell”: Gazzetta dei teatri, 20.2.02.

160 “precise and mathematical”: Lombardia, 10.2.02.

160 “For many, Toscanini”: Gazzetta musicale di Milano, 10.2.02.

161 “This opera has always”: CT 23(?).4.54.

161–62 “Before starting” et seq.: Celli and Pugliese (eds.), op. cit., p. 53.

162 “I had the curtain go up” et seq.: CT 7.5.53.

163 “where I cut off”: Walter Toscanini’s notes on an article by G. Barblan; NYPLPA

TL, Document file L36D.

163–64 “into consternation and pain” et seq.: AT letters to Rosina Storchio, July 1902;

NYPLPA TL, Document file L21A.

164 “who had accepted”: Sacchi, op. cit., p. 148.

164–65 “Write me lots” “Have you found company?” “I believe in you”: Letters of Carla

Toscanini to AT, 1.9.02, 5.10.02, 12.10.02, NYPLPA TL, Document file L22A.

336
165 “This isn’t a city”: AT letter to Enrico Polo, 1.11.02, in Biblioteca Palatina,

Conservatorio di Musica “A. Boito,” Parma.

165 “thanks to its high priest”: Gazzetta dei teatri, 1.1.03.

166–7 “The child was beautiful”: Sacchi, op. cit., 337–38.

168 “unless the conductor died”: CT 7.11.55.

168–69 “did not appear disposed” et seq.: Corriere della sera, 15.4.03.

169 “because I was afraid”: CT 11.4.53.

169 “to turn up”: Ibid.

170–71 “Although unwillingly”: Giuseppe De Luca letter in the archives of the Museo

Teatrale alla Scala, Milan.

171 “Today, in the early hours”: Susana Salgado, The Teatro Solís: 50 Years of Opera,

Concert, and Ballet in Montevideo. Middletown, CT: Wesleyan University Press

2003, p. 105.

171 “From the moment”: Ibid., p. 107.

171–72 “It’s only a few hours”: Carla Toscanini to AT, 4.10.03.

172 “very much enjoyed” et seq.: Allegri, op. cit., p. 60.

172 “he hated dilettanti” et seq. Wally Toscanini, interviewed by Harvey Sachs at Abano

Terme, 1972.

173 “a certain amount of taste”: CT 18.4.53.

173–74 “a bit of the first act” et seq.: CT 9.8.54.

174 “uno scandalo” et seq.: CT 22.11.53.

175 “That little woman”: CT 9.8.54 and CT 22.11.53.

176 “This is not so bad”: New York Times, 21.12.13.

337
176 “Maestro, where’s your music?” et seq.: in Il pianoforte, V/6, June 1924, p. 171.

176fn “became our second mother”: Allegri, op. cit.

177 “I wouldn’t go back”: CT 18.4.53.

177–78, “Carla and I” et seq.: AT letter to Pietro Sormani, 2.1.05.

178 “horrid”: AT letter to Giuseppe Martucci, 15.2.05.

178 “terribly difficult character”: Enrico di San Martino, Ricordi. Roma: Danesi 1943, p.

100.

179 “how many rehearsals”: AT letter to a Signor Fano, 8.3.05.

179 “the whole audience”: Barblan, Toscanini e la Scala, op. cit., 121.

179 “scrupulous sense”: Ibid., 120.

180 “Once the hot soup”: Mario Medici, ed., Parma a Toscanini: Parma: Comune di

Parma 1958, pp. 61–62.

181 “because he felt”: Walter Toscanini’s notes on an article by G. Barblan; NYPLPA

TL, Document file L36D.

181 “We reached the top”: Barblan, Toscanini e la Scala, op. cit., p. 121.

181 “arduous and beautiful”: Barblan, “Toscanini Alpinista,” in Le vie d’Italia, Milano:

1965, p. 60.

181 “very charming village”: Ibid.

181–82 “Gave up the Grivola”: Ibid.

182 “I securely and tranquilly”: Gara, op. cit., pp. 298–99.

182 “A million thanks”: Ibid.

182 “very beautiful”: CT 6.2.54.

338
183 “Siegfried creates much interest”: photocopy in Walfredo Toscanini’s former

collection: AT’s letter to Marchesi, undated but late December 1905 or early January

1906.

183 “I conducted Siegfried” et seq.: CT 9.8.54.

184 “much thinner”: Carla Toscanini to AT, 26.[3.06], in NYPLPA TL, Document file

L25A-1.

184 “still very weak”: same to AT, [28.3.06], in Ibid.

185 “Heartbroken I announce”: AT cablegram to Enrico Polo, 11.7.06.

185 “He had a sense of duty”: Allegri, op. cit.

185–86 “I’ve always thought” et seq.: AT letters to Ada Mainardi, 24.8.36, 10.9.36, [7.10.37].

187 “the misfortune”: Gatti-Casazza, op. cit., p. 130.

187 “Let’s go have”: CT 18.4.53.

187 “give myself completely”: AT letter to Mario Marchesi, 16.2.06.

187 “I wanted to make him”: CT 18.4.53.

187–88 “I suffered in Milan”: Leonardo Bistolfi letter to AT, 5.4.06, in NYPLPA TL,

Document file L25A-1.

188 “And so I returned”: CT 18.4.53.

189 “ardent desire”: AT letter to Richard Strauss, 27.7.05.

189 “I greatly rejoice”: R. Strauss letter to AT, 2.8.05.

189 “molto bravo” et seq.: CT 22.11.53.

190 “I am very sorry”: R. Strauss letter to AT, 9.10.06.

190 “I am not at all angry”: AT letter to R. Strauss, 9 or 10.10.06.

191 “perfectly stupid”: AT letter to R. Strauss, 12.11.06.

339
191 “the whole opera”: CT 28–29.10.55.

191 “Not being able to give”: Gatti-Casazza, op. cit., p. 12.

192 “The Scala people”: in Gazzetta dei teatri, 27.12.06.

192 “part of the audience”: Corriere della sera, 27.12.06, in Pintorno, op. cit., p. 176.

192 “Toscanini, with a pitilessly”: Richard Strauss, Die Welt um Strauss in Briefen.

Tutzing: Hans Schneider 1967, p. 175.

193 “very good”: CT 6.2.54.

193 “When you see”: George Szell interviewed by Harvey Sachs, 1965.

193 “Strauss went out”: CT 7.11.55.

193 “Morpheus at La Scala”: Lombardia, 18.3.07.

194 “millionth version”: Teatro illustrato, 15–31.3.07.

194 “like a ghost”: AT letter (undated but May 1907) to Giuseppe Martucci, NYPLPA

TL, Document file L26A-2.

195 Wally Toscanini on her sister, Wanda: conversation with the author, 1976.

195 “I said, ‘Maestro, no’”: CT 11.4.53.

195–96 “the invisible orchestra”: Gaetano Cesari, ed., I copialettere di Giuseppe Verdi.

Milano: 1913, pp. 264–65.

196 “panic”: Gara, op. cit., p. 362.

196–97 “exploded in a volley”: Frances Alda, Men, Women and Tenors. Boston: Houghton,

Mifflin 1937, pp. 83–85.

197 “I went to the Scala”: New York Times, 6.2.11.

198 “No, Metropolitan is teatro”: CT 28.4.53.

199 “If you care”: Gatti-Casazza, op. cit., pp. 143–44.

340
199 “as much concerned”: New York Times, 25.4.15.

199 “The securing by Oscar Hammerstein”: New York American, 24.1.08.

199 “will come to America”: New York Times, 25.1.08.

199–200 “has been engaged”: New York Times, 5.2.08.

200 “is held by many”: New York Telegraph, 10.2.08.

200 “The musical directors” et seq.: Musical America, 15.2.08.

200 “If he conducts”: AT letter to Pietro Sormani, 2.1.05.

201 “Look, I came to New York”: CT 1.3.55.

201 “especially pleased”: Musical America, 9.5.08.

201 “Toscanini cut the thing”: Gatti-Casazza, op. cit., p. 148.

201 “all that concerns” et seq.: Metropolitan Opera Archives.

202 “acute dollaritis”: in Ars et Labor, quoted in Barblan, op. cit., p. 145.

202 “a mishmash” et seq.: Frusta Teatrale, 4.4.08.

203 “At that time”: CT 15.11.53.

203 “perfect in their roles”: Gatti-Casazza, op. cit., p. 141.

203 “Casta diva”: Gianandrea Gavazzeni, Il sipario rosso. Torino: Einaudi 1992, p. 79.

203 “You have already”: AT letter to Claude Debussy, 8.3.08, in François Lesure, Denis

Herlin, Georges Liébert (eds.), Claude Debussy: Correspondance, 1872–1918. Paris:

Gallimard 2005. pp. 1072–73.

204 “I put Pelléas’s fate”: Debussy letter to AT, Ibid., no date, but after 10.3.08., p. 1074.

204 Toscanini later admitted: CT 22.5.54.

204 “if we have had”: Gazzetta dei teatri, 2.4.08.

204 “I told the orchestra”: CT 15.11.53.

341
204–5 “brought down the house” “Bravo!”: Ibid.

204–5 “the violence” “also ended”: Perseveranza, 3.4.08, in Pintorno, op. cit., pp. 181–82.

205 “I am happy”: Telegram of AT to Debussy, in Lesure et al., op. cit., p. 1082.

205 “To Maestro Toscanini”: Barblan, op. cit., p. 146.

205 “I can say that”: CT 22.5.54.

206 “madhouse music”: Romeo Carugati in Lombardia, 8.5.08.

206 “I do not doubt”: Boito letter to Luigi Albertini, undated, in former collection of

Walfredo Toscanini.

207 “He realized then”: Walter Toscanini’s notes on an article by G. Barblan; NYPLPA

TL, Document file L36D.

207 “was absorbed”: Allegri, op. cit.

CHAPTER V

Page

210 “Mrs. Ogden Mills”: New York Herald, 11.12.08.

211 “an art institution” et seq.: New York Times, 12.2.08.

211 “Signor Toscanini”: New York Tribune, 10.2.08.

211 “Like Mahler”: New York Times, 17.5.08.

211 “a perfect understanding”: Emma Eames, Some Memories and Reflections. New

York: D. Appleton 1927, p. 294.

212 “is quite as famous”: The Independent, 28.2.08.

212 “to engage the present”: Henry-Louis de La Grange, Gustav Mahler: A New Life Cut

Short (1907–1911). Oxford and New York: Oxford University Press 2008, p. 103.

342
212 part Jewish, on his mother’s side: according to statement by AT in CT 18.4.53.

213 “I find it incomprehensible”: de La Grange, op. cit., p. 201.

213 “his supreme object”: Alma Mahler, Gustav Mahler (ed. D. Mitchell). London: John

Murray 1973, p. 145.

214 “I do not intend”: Jonathan Carr, Mahler. Woodstock and New York: The Overlook

Press 1998. p. 166.

214 “First Master of Concerts”: Metropolitan Opera Archives.

214 “This came in very opportunely”: A. Mahler, op. cit., p. 146.

214–15 “Mahler had accepted”: Carr, op. cit., pp. 166, 172.

215 “Toscanini’s decision”: Jens Malte Fischer, Gustav Mahler. New Haven and London.

Yale University Press 2011, p. 590.

215 “the war had been won”: op. cit., p. 590.

215 “was due neither”: Carr, op. cit., pp. 166, 172.

215 “crazy man”: Haggin, op. cit., p. 77.

216 “very neurotic”: Aida Craig Truxall, ed., All Good Greetings, The Letters of

Geraldine Farrar to Ilka Marie Stotler, 1946–1958. Pittsburgh: Distributed by

University of Pittsburgh Press 1991. p. 104.

216 “Mahler was a fine conductor” “more boorish than now” “the audience could hear”:

CT 7.12.53, CT 1.3.55.

216 “no passion in it”: Taubman, op. cit., p. 119.

216 “I didn’t find” “just stood there”: CT 1.3.55, CT 2.1.54.

217 “distressing”: A. Mahler, op. cit., p. 146.

343
217 “He conducts [Tristan]”: Bruno Walter, Theme and Variations. New York: Alfred A.

Knopf 1947, p. 278.

217 “positively declined”: New York Herald, 15.10.08.

217 “Before he had been”: New York Sun, 15.10.08.

219 “Gentlemen”: notebook in AT’s hand with English-Italian vocabulary and this mini-

speech; NYPLPA TL.

219 “Why, it is simply” “He conducts on his feet” “lasted for more”: New York Post, 20

and 24.10.08.

220 “magnificent!”: CT 7.12.53.

220 “after a few rehearsals”: New York Times, 29.11.08.

220 “was practically in a state” “There were 4,000”: New York Sun, 17.11.08.

220 “There were interruptions”: New York Herald, 17.11.08.

220 “Applause in measure”: New York Press, 17.11.08.

220–21 “a strenuous force”: New York Times, 17.11.08.

221 “a boon to Italian opera”: New York Tribune, 17.11.08.

221 “the conductor has been”: New York Evening Post, 17.11.08.

221 “Toscanini kam”: New-Yorker Staats-Zeitung, 17.11.08.

221 “Signor Arturo Toscanini”: New York Evening Post, 20.11.08.

222 “a bundle of concentrated”: Geraldine Farrar, Such Sweet Compulsion. New York:

The Greystone Press 1938, p. 117.

222 “We carried our differences”: Ibid., p. 121.

222–23 “the clashes of Toscanini” “‘I am a star’”: New York American, 7.12.08.

344
223 “Outside influences”: Geraldine Farrar, The Story of an American Singer, by Herself.

Boston and New York: Houghton Mifflin 1915.

223–24 “a movement to grant”: Farrar, Such Sweet Compulsion, op. cit., p. 118.

224 “MILAN LOOKED FOR STORM”: New York World, 27.12.08.

224 “the greatest artistic success”: New York Times, 6.12.08.

225 “Mr. Toscanini was asked”: New York Herald, 7.12.08.

225 “No other conductor”: New York Herald, 8.2.14.

225 “It would be difficult”: Farrar, The Story of an American Singer, op. cit.

226 “so delighted me”: Geraldine Farrar letters to AT, 7–9.6.[14] and 8.7.[14], from

Walfredo Toscanini’s former collection.

226 “The Gatti-Toscanini administration”: Archives of the Museo Teatrale alla Scala,

Milan.

226 “the most noteworthy”: New York Times, 4.12.08.

226 “a performance of remarkable energy”: 11.12.08.

226 “One must speak”: New-Yorker Staats-Zeitung, 11.12.08.

227 “performance was received”: New York Times, 7.1.09.

227 At the Ansonia one evening: story recounted by AT, CT 1.4.53.

228 “among the most enjoyable”: New York Times, 30.3.09.

228 “any performance of Falstaff”: Alda, op. cit., p. 134.

229 “Speaking foreign languages”: quoted by Margherita De Vecchi, CT 18.4.53.

229 “nothing more gorgeous”: New York Times, 17.11.08.

230 “The Jews”: CT 7.12.53.

230 “giving assistance”: New York Times, 6.4.13.

345
230 “The artistic results”: New York Times, 11.4.09.

230fn “Abraham Lincoln”: CT 7.12.53.

231 “the highest satisfaction”: New York Sun, 16.5.09.

232 “I have enjoyed myself”: AT postcard to Enrico Polo, 12.9.09, in the Biblioteca

Palatina Parma, Sezione staccata, Fondo Barblan.

233–34 “Caruso and Destinn”: de Segurola, op. cit., pp. 280–82.

234 “a certain license”: New York Times, 22.5.10.

234 “indolent”: William Weaver and Simonetta Puccini (eds.), The Puccini Companion.

New York: W. W. Norton 1994, p. 206.

234 “great”: Gara, op. cit., p. 384.

234 “there was little short”: New York Herald, 16.11.09.

234–35 “With the exception”: New York Press, 22.11.09.

235 “I got to know”: Leo Slezak, Meine sämtlichen Werke. Reinbek bei Hamburg:

Rowohlt Verlag 1959, pp. 31–33.

235–36 “when I came onto the stage”: Alda, op. cit., pp. 144–45.

236 “fully justified the enthusiasm”: New York Sun, 28.11.09.

236 “indescribable exaltation”: New York Times, 28.11.09.

236 “he does not achieve”: New York Times, 25.4.15.

236–37 “with more power”: New York Times, 28.12.09.

237 “with electrifying sweep”: Mary Watkins Cushing, The Rainbow Bridge. New York:

G. P. Putnam’s Sons 1954, pp. 133–34.

237 “a fine artist”: CT early March ’55.

237 “dream wish”: Truxall (ed.), op. cit., p. 171.

346
238 “a fine artist”: CT early March ’55.

238 “very beautiful”: 22.11.53.

238 “the most interesting event”: New York Sun, 24.12.09.

238 “completely carried away”: New York Times, 7.2.10.

239 “courteous and pleasant”: New York Times, 23.1.10.

239 “Such uncanny command”: New York Times, 11.4.30.

240 “reached a pitch”: New York Times, 27.3.10.

240 “came up during”: Slezak, op. cit., p. 33.

241 “I had asked”: CT 22.5.54.

242 “The musicians’ ‘delegate’”: Gabriel Astruc, Le pavillon des fantômes. Paris: Pierre

Belfond 1987, p. 242.

242 “We’ve played with Mahler”: CT 22.5.54.

242 “The abandonment of despair”: Alda, op. cit., p. 152.

242 “broad, uneven”: New York Press, 13.6.10.

242 “but at last”: New York Times, 22.5.10.

243 “One should not”: Le figaro, 20.5.10.

243 “When the door opened”: Astruc, op. cit., p. 242.

243 “I still remember”: Emile Vuillermoz, “L’heure de Verdi,” in Candide, No. 590,

4.7.35.

244 “At the end”: New York Times, 15.3.25.

244 “Never again”: New York Times, 13.3.10.

245 “no one in New York”: Boston Daily Globe, 24.5.10.

245 “a storm of hissing”: New York Times, 22.8.10.

347
245 “My heart nearly”: New York Times, 17.10.10.

245–46 “the third act”: CT 12.12.53.

246 “acted with such vigor”: New York Times, 10.6.10.

246 “I think I am the only”: New York Times, 3.7.10.

246 “A real and total”: Gara, op. cit., p. 376.

246–47 “The Ricordi Company”: Ibid., p. 377.

247 “Puccini was satisfied”: CT 22.5.54.

247 “The players were always changing”: Ibid.

247 “The memory of the great”: unidentified French newspaper clipping, 7.6.10.

249 “I’m at the last scene”: Gara, op. cit., p. 378.

250 “It is glorious”: New York American, 18.10.10.

250 “made an unusual number”: Cushing, op. cit., p. 114.

250 “did not exercise”: New York Times, 15.11.10.

250 “if the public fails”: New York Sun, 15.11.10.

251 “odious and detestable”: New York Times, 12.12.10.

251 “It is so much better”: Ibid.

251 “You can’t imagine”: Gara, op. cit., p. 379.

251–52 “surprising number” et seq.: Gabriele Dotto, “Opera a quattro mani: modifiche in

collaborazione nella ‘Fanciulla del West,’” in Puccini, V. Bernardoni (ed.). Bologna:

Il mulino 1996, pp. 355–78.

251fn “Toscanini quite understood”: Farrar, The Story of an American Singer, op. cit.

252 “after I’ve heard”: Gara, op. cit., pp. 389–90.

253 “the first real ‘Bohème’”: New York Evening Post, 22.11.20.

348
253 “of all the marvels”: Metropolitan Opera Archives (name and date of newspaper have

faded from the clipping).

253–54 “At the front of the stage”: New York Times, 5.12.10.

255 “The rehearsals are going”: Carner, op. cit., p. 190.

255 “the house was filled” et seq.: New York Times, 11.12.10.

255 “one of Mr. Toscanini’s”: Ibid.

255–56 “Just here and there” et seq.: New York American, 18.10.10.

256 “the success was great”: Gara, op. cit., 383–84.

256 “Everything has now”: Ibid., p. 383.

257 “has much of Wagner”: New York American, 18.10.10.

257 “it seems better”: New York Times, 27.3.11.

258 “It is hardly to be”: New York Times, 30.3.11.

258 “the highest priced”: New York Times, 19.3.11.

258 “He is straightforward”: Ferruccio Busoni (Martina Weindel, ed.), Briefe an Henri,

Katharina und Egon Petri. Wilhelmshaven: Florian Noetzel GmbH, Verlag der

Heinrichshofen-Bücher 1999, p. 136.

258–59 “and Mr. Busoni”: New York Times, 22.2.11.

259 “It was the most pleasant”: Ferruccio Busoni, Letters to His Wife. New York: Da

Capo Press 1975, p. 184.

260 “so exaggeratedly personal”: Christian Science Monitor, 20.2.26.

260 “did not agree”: CT 18.3.54.

260 “played all Bach” et seq.: CT 16.11.53.

261 “one of the greatest”: AT letter of appeal, July (?) 1937.

349
262 “beautiful voice” et seq.: CT 12.12.53.

262–63 “sat down at the piano”: Mario Labroca and Virgilio Boccardi, Arte di Toscanini.

Torino: ERI 1966, pp. 62–63.

263 “He could not sing piano”: CT 24.12.53.

263 “I join my enthusiastic applause”: Telegram of Giulio Ricordi to AT, undated but

clearly 1.6.11; Archivio Ricordi DOC00???, 1910–11 n.15, p. ?.

263 “I know how much”: Telegram of Ricordi to AT, 13.6.11, as above but n. 16, p. 217.

264 “declamations of whole cantos”: Walter Toscanini’s notes on an article by G.

Barblan; NYPLPA TL, Document file L36D.

264 “tortures me”: AT letter to Giuseppe Depanis, 16.8.11.

264 “My eyes bother me”: AT to Carla Toscanini, August 1911.

265 “induced” et seq.: Gatti-Casazza letter to AT, 7.9.[11], in NYPLPA TL, Document

file L30A-2.

266 “very favorably impressed”: New York Times, 8.8.11.

266 “three policemen”: New York Times, 10.11.11.

267 “most consummate achievements”: New York Times, 4.1.12.

267 “Toscanini came to me”: New York Herald, 1.4.12.

267 “Each successive week”: New York Times, 7.1.12.

268 “Gatti would like” et seq.: AT letter to Carla Toscanini, undated but end of December

1911.

269 “Living like this”: Ibid.

269 “The common courtesy”: letter dated 29.1.12, Metropolitan Opera Archives.

269 “TOSCANINI CAUSES PLAYERS TO BALK”: New York Times, 30.1.12.

350
270 “the Metropolitan orchestra”: Haggin, op. cit., p. 68.

270 “If you are in sympathy”: New York American, 18.10.10.

271 “the tyrant Toscanini”: New York Times, 7.8.32.

271 “endless” et seq.: CT 22.5.54.

271 “what there really is”: New York Times, 31.3.12.

271fn “Compare them”: New York Times, 16.7.10.

272–73 “That tempo goes faster!”: CT 1.3.55.

273 “She wasn’t cut out for it” et seq.: CT early March 1955.

274 “You are going once again”: Boito note to AT, 27.11.[12].

274 “I don’t want to do”: AT letter to Carla Toscanini, undated but early April 1912.

275 “He was warmly greeted”: New York Times, 20.12.12.

275 “rather violently”: New York Times, 21.12.12.

275–76 “It is a very beautiful work”: New York Times, 16.3.13.

276 “conceded that Rimsky’s correction”: Haggin, op. cit., p. 103.

276 “original savage strength”: New York Times, 23.3.13.

276 “no building out”: New York Press, 9.3.13.

277 “had in every scene”: New York Times, 20.3.13.

277 “a beautiful performance”: CT 1.4.53.

277 “It was a distinctly”: New York Herald, 14.4.13.

278 “best I ever have”: Haggin, op. cit., p. 68.

278 “The moment has come”: Gatti-Casazza letter to AT, 11.6.[13], in NYPLPA TL,

Document file L32A.

279 “I thought, not at Sant’Agata”: CT 15.11.53.

351
279 “I taught La Traviata”: Ibid.

279fn “In our family”: Walfredo Toscanini conversation with the author.

280 “an unforgettable celebration”: Enrico Polo letter to Vittore Grubicy de Dragon,

22.9.13, in MART (Museo d’Arte Moderna e Contemporanea di Trento e Rovereto),

Fascicolo Gru.I.1.1.703.

280 “A comic opera”: CT 15.11.53.

280 “every word”: Ibid.

280 “With you, they need” et seq.: Ibid.

281 “At the end of the season”: Ibid.

281 “To my very dear” et seq.: the copy of I copialettere given by Boito to AT is housed

at the Museo Casa Natale di Toscanini in Parma.

282 “AH! HOW WE HAVE BEEN SPOILED”: New York Times, 1.6.13.

283 “out of its century”: New York Times, 23.11.13.

283 “a deep impression” “certain to obtain”: New York Times, 3.1.14.

283 “has been dazzlingly”: AT letter to Ida Polo, 26.1.14.

283–84 “I can’t tell you”: Ibid.

284 “I knew immediately”: Postcard from Walter Toscanini to AT, 25.3.14.

284 “a lot of fun” “torn between”: undated later from Carla Toscanini to Vittore Grubicy

de Dragon, in MART (Museo d’Arte Moderna e Contemporanea di Trento e

Rovereto), Fascicolo Gru.I.1.1.321.

284 “It was the first time”: New York Press, 1.2.14.

284 “Kahn has offered”: AT letter to Ida Polo, 26.1.14.

284 “was a mere formal matter”: New York Times, 12.3.14.

352
284 “The thought of an opera”: New York Times, 26.4.14.

285 “In telling you”: New York Press, 14.3.14.

285 “the idea of conducting”: New York Press, 15.3.14.

285 “the applause rose”: New York Times, 26.4.14.

286 “is going to his home”: New York Times, 5.5.14.

286 “When all is said”: Ignace J. Paderewski and Mary Lawton, The Paderewski

Memoirs. New York: Charles Scribner’s Sons 1938, p. 124.

286 “flying away sooner”: AT draft of letter, presumably to Geraldine Farrar, presumably

summer 1914; former collection of Emanuela Castelbarco.

287 “long and tiring” et seq.: Geraldine Farrar letter to AT, 5–9.6.14, my photocopy.

287 “I muse here”: Farrar letter to AT, 8.7.14, my photocopy.

288 “full of life”: Vittorio Gui letter to AT, 25.7.24, my photocopy.

288 “grumpy”: Wally Toscanini interviewed by the author, 1972.

288 “would discuss music”: Allegri, op. cit.

289 “aroused a tumultuous demonstration”: New York Press, 17.11.14.

289 “suggested the immediate”: Geraldine Farrar, The Story of an American Singer, op.

cit.

289 “one of the most exquisite”: New York Times, 20.11.14.

290 Toscanini commented: CT 22.5.54.

290 “the same” et seq.: CT 28.2.54.

290 “All the singers”: New York Tribune, 20.12.14.

290–91 “considered him to be”: Frieda Hempel, Mein Leben dem Gesang. Berlin: Argon

Verlag 1955, p. 184.

353
291–92 “determined to present”: Giovanni Martinelli, “Singing Verdi,” in Musical America,

March 1963.

292 “must have made”: New York Evening Globe, 22.2.15.

292 “For those who can distinguish”: New York Evening Post, 2.4.15.

293 “take a complete rest”: New York Times, 22.4.14.

293–94 “Let me ask you”: AT letter to Max Smith, undated by probably summer of 1915; in

Barblan, op. cit., pp. 337–38.

294 “My artistic views”: AT letter to Edward Johnson, 27.11.39.

294 “Is no discipline” et seq.: Haggin, op. cit., p. 79.

294–95 “Toscanini is tired”: Gatti-Casazza letter to Otto Kahn, 16.7.15.

295 “I am happy to learn”: Kahn letter to AT, August 1915; my translation of Italian

version in the Metropolitan Opera Archives.

296 “The prolonged uncertainty”: New York Times, 15.9.15.

296 “is very patriotic”: New York Times, 25.9.15.

296 “Maestro Arturo Toscanini”: New York Times, 30.9.15.

296 “felt old, finished”: AT letter to Ada Mainardi, 27.9.37.

297–98 “Dearest”: Geraldine Farrar to AT, 18.5.15.

298 “Poor Giovanni Cena”: AT letter to Ada Mainardi, 28.9.37.

299 “Toscanini is a superman”: New York Times, 25.4.15.

299 “the heart and soul”: Giovanni Martinelli interviewed by Edward Downes,

Metropolitan Opera radio broadcast, March 1967.

CHAPTER VI

354
Page

302 “The events of these”: AT letter to Vittore Grubicy de Dragon, 19.5.15.

302 “would have joined”: New York Times, 25.9.15.

303 “She sent me”: Wally Toscanini conversation with the author, 1976.

303 “Our entry”: AT letter to Ada Mainardi, 27.9.37.

303 “truly memorable”: Ibid.

304 “Latin idealism”: Mary Jane Matz, The Many Lives of Otto Kahn. New York:

Pendragon Press 1984, p. 167.

305 “Can you imagine”: Robert Craft, ed., Stravinsky: Selected Correspondence, Vol. I.

New York: Knopf 1982, pp. 129–30.

306 “I didn’t earn a cent” et seq.: CT 15.11.53.

306–7 “There’s a work proposal?”: Delio Tessa, “Toscanini a casa sua” in Illustrazione

ticinese, 3.3.36, reproduced in Delio Tessa, La bella Milano. Milano: Quodlibet 2013,

p. 263.

308 “place was not filled”: New York Times, 2.4.16.

309 “I am rising up to protest”: AT letter to Uberto Visconti di Modrone; photocopy of

typescript, given to tby Elena Cesari Silva; undated but clearly from 1916.

309–310 “documents that can justify” et seq.: AT to Renzo Sonzogno, 28.7.16, photocopy of

typed document, in Walfredo Toscanini’s former collection.

310 “Your father wants”: Luigi Illica letter to Walter Toscanini, 4.8.16, in NYPLPA TL,

Document file L35A-2.

310 “Maestro Luigi Mancinelli” “For the dead of Padua!”: Labroca and Boccardi, op. cit.,

p. 69.

355
310 Alfredo Casella’s statement: Alfredo Casella, I segreti della giara. Firenze: G. C.

Sansoni 1941, pp. 186–87.

310 “loudly defended”: Robert Craft, ed., Stravinsky: Selected Correspondence, Vol. II.

New York: Knopf 1984, p. 29n.

311 “I compare conductors”: F. T. Marinetti, Taccuini 1915/1921, Alberto Bertoni (ed.).

Bologna: Società editrice il Mulino 1987, pp. 229–30.

311 “Music (German)”: New York Sun, 19.10.14.

311 “but I fear”: Gara, op. cit., p. 450.

312 “carrying their instruments”: John R. Schindler, Isonzo: The Forgotten Sacrifice of

the Great War. Westport, Connecticut: Praeger 2001, pp. 237–38.

312–13 “I stayed there”: AT letter to Walter Toscanini, 31.8.17.

313 “A month ago”: AT letter to Carla Toscanini, 1.9.17.

313 “decorated by the Italian government”: New York Times, 3.9.17.

313–14 “Wherever I have been”: New York Times, 26.9.17.

315 “I still remember”: Allegri, op. cit.

315 “I’m extremely uneasy” et seq.: AT letter to Carla Toscanini, no date but November

1917.

316–17 “enjoyed the film”: Sacchi, op. cit., p. 217.

317 “I spend many hours”: AT letter to Grubicy, in MART (Museo d’Arte Moderna e

Contemporanea di Trento e Rovereto), Fascicolo 871.1.

318 “the works of art”: Tessa, op. cit., p. 261.

318 “He always had a hammer”: Wanda Toscanini Horowitz interviewed by Edward

Downes, Metropolitan Opera radio broadcast, March 1967.

356
319 “Have you received”: AT postcard to Walter Toscanini, undated but probably mid-

1918.

320 “It seems that they”: Dora Setti, Eleonora Duse ad Antonietta Pisa. Milano: Ceschina

1972, pp. 123–24.

321–22 “Various important personages”: Letter of Sidney Sonnino to Italy’s Minister of

Public Education, 24.7.18; copy in NYPLPA TL, Document file L37A-1.

322 “looked with favor”: New York Times, 10.1.26.

322 “He was discouraged”: Allegri, op. cit.

322 “your unemployed Papà”: Giuseppe Barigazzi, La Scala racconta. Milano: Hoepli

2010 (new edition, Silvia Barigazzi and Franco Pulcini, eds.), p. 303.

322–23 “Why do you want to set it?” et seq.: CT February 1955.

323 “I’ve heard about Covent Garden”: Vincent Seligman, Puccini Among Friends.

London: Macmillan 1938, pp. 292–93.

324 “And they say that I”: Taubman, op. cit., p. 141.

324–25 “During the finale”: Della Corte, op. cit., pp. 150–51.

325 “a superman cannot”: New York Times, 31.12.19.

326–27 “made up of the first names” et seq.: Cesare Rossi, Personaggi di ieri e di oggi.

Milano: Ceschina 1960, pp. 178–82.

327 “I compare conductors” et seq.: Marinetti, op. cit., pp. 229–30, 454–55.

327 “clearly pronounced”: C. Rossi, op. cit.

327 “My profession”: CT 30.6.54.

328 “Applause for Mussolini”: Marinetti, op. cit., 455.

328 “all the prerequisites”: document in another hand but signed by AT, 25.10.19.

357
328 “He took it as a joke”: C. Rossi, op. cit., p. 182.

328–29 “I felt that you”: Letter of Riccardo Pick-Mangiagalli to AT, 5.4.18.

329 “Sweetest Elsa”: Note from AT to Elsa Kurzbauer Pick-Mangiagalli, 11.9.18.

329 “but to my shame”: AT letter to Elsa Kurzbauer, 10.4.20.

329 “Your kisses”: AT letter to Elsa Kurzbauer, undated but probably mid-April 1920.

330 “we were tricked”: AT letter to Elsa Kurzbauer, 13.11.33.

331 “with complete success” et seq.: Photocopy of typed English translation of Gatti-

Casazza’s letter to Otto Kahn, in Metropolitan Opera Archives.

332 “Toscanini La Scala Orchestra”: Telegram from a Milanese agent to Otto Kahn,

28.10.19, in Metropolitan Opera Archives.

332 “But now, the man”: Corriere della sera, 11.7.20.

332 “to render a service”: see 331, Gatti-Casazza’s letter to Kahn.

333 “a dear person”: AT letter to Ada Mainardi, 31.7.36.

333–34 “with some misgivings”: Raffaello De Rensis, Musica vista. Milano: Ricordi 1961, p.

65.

334 “and started one” et seq.: Nuccio Fiorda, Arte, beghe e bizze di Toscanini. Roma:

Fratelli Palombi 1969, pp. 20–22.

335 “half-extinguished”: AT letter to Carla Toscanini, 13.8.20.

335 “Wanda was very reserved”: Enzo Biagi, Incontri e addii. Milano: Rizzoli 1992, p.

399.

335 “contempt for materialism”: Ibid., p. 400.

337 “The City of life”: Carlo Santoli, ed., Gabriele D’Annunzio e Arturo Toscanini:

Scritti. Roma: Bulzoni Editore 1999, pp. 20–21.

358
337–38 “not even Serafin”: AT letter to Carla Toscanini, 2.12.20.

338 “didn’t seem to suffer” et seq.: Gustavo Marchesi, op. cit., p. 126.

338 “arrived here yesterday”: New York Times, 14.12.20.

338–39 “The orchestra, reduced”: Fiorda, op. cit., p. 49.

339 “Just a few”: CT 12.12.53.

340 “the thought of possible fulfillment”: Musical Courier, 9.12.20, pp. 25–26.

340–41 “There was a tumult”: New York Times, 29.12.20.

341 “I don’t believe”: Della Corte, op. cit., p. 168.

341 “At first, the press”: De Rensis, op. cit., p. 67.

341 “The subtleties”: New York Times, 4.1.21.

341 “second rate”: Boston Daily Globe, 8.1.21.

341 “The strings have less”: Musical America, 5.2.21.

341 “We have Toscanini back”: Musical America, 1.2.21.

342 “astonished”: quote in Il pianoforte, V/6, Turin, June 1924, p. 170.

342 “I had not previously”: Leopold Auer, My Long Life in Music. New York: F. A.

Stokes Co. 1923, pp. 364–65.

343 “I had never seen”: quote in Il pianoforte, V/6, Turin, June 1924, p. 177.

343 “never to be forgotten”: AT telegram to Walter Damrosch, 29.12.20.

344 “circuses, Masonic lodges” et seq.: Fiorda, op. cit., pp. 60–61.

344–45 “how much humanity”: Marchesi, op. cit., p. 127.

345 “Lucky man!”: AT to Carla Toscanini, 26.1.21.

346 “after this disastrous trial”: Enrico Minetti, Ricordi scaligeri. Milano, Edizioni Curci

1974, 75.

359
346 “Excepting some inconveniences”: De Rensis, op. cit., pp. 65–66.

346–47 “More than 2,000”: Musical America, 9.4.21.

CHAPTER VII

Page

351 “with modern operas” “marvelous” “lost absolutely”: CT 11.4.53.

352 “responded to our desire”: Emilio Caldara letter to AT, 2.8.21.

352 “external manifestations”: Il pianoforte, V/6, Turin, June 1924, pp. 167–68.

353 “so great was my enthusiasm”: Héctor Panizza, Medio siglo de vida musical. Ensayo

autobiografico. Buenos Aires. Ricordi Americana 1952, pp. 99–101.

354 “more tense than ever”: Simonetta Puccini, ed., Giacomo Puccini: Lettere a Riccardo

Schnabl. Milano: Emme Edizioni 1981, p. 153.

355–56 “La Scala was all a mess”: D’Amico and Paumgartner, op. cit., pp. 214–18.

358 permission . . . from Ricordi’s directors: Archivio Ricordi 1923–24, Vol. 1, p. 43;

letter dated 3.7.23.

358 “was always at my side”: Panizza, op. cit., 103–5.

358–59 “I shall always remember”: Toti Dal Monte, Una voce nel mondo. Milano: Longanesi

1962, pp. 107–8.

359 “Maestro, I wouldn’t” et seq.: Giacomo Lauri-Volpi, Voci parallele. Napoli: Ricordi

1955, p. 21.

359 “When Lauri-Volpi”: D’Amico and Paumgartner, op. cit., p. 226.

360 “transforming himself”: Dal Monte, op. cit., p. 108.

360
360–61 “full of doubt” “Imagine what help”: Domenico Silvestrini, Aureliano Pertile.

Bologna: Aldina 1932, pp. 29–30.

361 “instead of a routine”: Ezio Pinza and Robert Magidoff, Ezio Pinza. New York:

Rinehart & Co. 1938, p. 100.

362 “each new production” “For Milan”: NYPLPA TL, Document file L40B.

363fn “He was a good cellist”: CT 20.12.53.

364 “Are you really sure”: Bruno Pizzetti, ed., Ildebrando Pizzetti: Cronologia e

bibliografia. Parma: La Pilotta 1980, p. 49.

364 “The Maestro told me”: Ibid., pp. 193–94.

364–65 “For me, it doesn’t work”: S. Puccini (ed.), op. cit., p. 209.

365 “Encores are no longer permitted”: Carlo Paladini, Giacomo Puccini. Firenze:

Vallecchi 1961, p. 154.

366 “Without Toscanini”: Gara, op. cit., pp. 509–10.

366 “Toscanini is really a bad man”: S. Puccini (ed.), op. cit., pp. 139–140.

366 “really well performed”: Ibid., p. 159.

366 “Toscanini is here”: Ibid., p. 186.

366 “This evening Manon”: Ibid., p. 209.

367–68 “Your music critic states”: Barblan, op. cit., pp. 345–47.

368 “Believe me, never”: S. Puccini (ed.), op. cit., p. 211.

368 “Listen, after having heard”: Ibid., p. 213.

368 “Dear Arturo”: Frassati, op. cit., p. 161.

368 “left or lost interest”: Denis Mack Smith. Mussolini. London: Weidenfeld and

Nicolson 1981, p. 45.

361
369 “some fascists”: Corriere della sera, 9.12.22.

370 “When the opera ended”: Maria Labia, Guardare indietro: Che fatica!. Verona: M.

Bettinelli (1944?), p. 117.

371 “‘The fascist government” et seq.: Corriere della sera, 1.4.23.

371 “greatly disappointed”: Corriere della sera, 23.4.23.

372 “He is not interested”: Wally Toscanini interviewed by the author, 1972.

372 “Of all the theatrical”: Kurt Weill letter to Ferruccio Busoni, 6.3.24, in Musik und

Gesellschaft, Berlin, 3/1990.

372fn “Poor guy”: S. Puccini (ed.), op. cit., p. 214.

373–75 “responded to my greeting”: Dal Monte, op. cit., pp. 117–21.

375 “I did not know”: Silvestrini, op. cit., pp. 29–30.

375 “faced with the novelty”: Barblan, op. cit., p. 231.

376 “If you don’t conduct”: Ibid., p. 206.

375 “I received a telegram”: S. Puccini (ed.), op. cit., pp. 220–21.

376 “Toscanini, who had been sitting”: Berta Geissmar, The Baton and the Jackboot.

London: Hamish Hamilton 1944, p. 35.

377–78 “listened attentively” et seq.: “L’indirizzo della Scala” in La sera, 9.11.23.

378 “one of the most beautiful”: Labroca and Boccardi, op. cit., p. 219.

378 “turned halfway”: La sera, 14.4.24.

378–79 “He considered many voices”: Labroca and Boccardi, op. cit., pp. 99–100.

379 “It was as if”: Ibid., pp. 100–101.

379 “the extraordinary technical”: H. E. Wortham, A Musical Odyssey. London: Methuen

1924, pp. 71–75.

362
380 “All force is moral force”: Gaetano Salvemini, Le origini del fascismo in Italia.

Milano: Feltrinelli 1966, p. 406.

381 “Maestro Gallignani”: AT draft of telegram to Ministry of Public Education,

[14.12.23].

381 “Maestro Gallignani[,] victim”: AT draft of telegram to Benito Mussolini, 14.12.23.

381 “He makes people kill themselves”: Sacchi, op. cit., pp. 298–99.

381 “No! You will not speak!”: Ibid.

381–82 “His Excellency, Minister Gentile”: AT draft of letter to Mussolini, undated, but

December 1923.

383 “Listen to Siegfried”: Labroca and Boccardi, op. cit., p. 159.

384 “a press campaign” and many subsequent details of the Tristan production: Walther

R. Volbach, “Appia’s Productions and Contemporary Reaction,” in Educational

Theatre Journal, Vol. XIII, No 1, March 1961.

384 Larsén-Todsen’s emphatic gestures: Alceo Toni, “Tristano e Isotta alla Scala,” in Il

popolo d’Italia, 21.12.23.

384–85 “to play up the symbolism” et seq.: Philip A. Maxwell’s notes to the author.

385 “we young people”: Gianandrea Gavazzeni, conversation with the author, 1972.

385 “conceived and realized”: Toni, op. cit.

386 “Toscanini hurtled” et seq.: Dal Monte, op. cit., pp. 125–27.

387 “Boito had announced”: Della Corte, op. cit., p. 234.

387fn “I count on”: Gatti-Casazza letter to AT, 1902, NYPLPA TL, Document file L21A.

388 “It was a moral obligation”: CT 7.11.55.

363
388 “sinister” et seq.: Gianni Gori and Marina Petronio (eds.), Antonio Smareglia:

Lettere. Roma: Edizioni dell’Ateneo 1985, pp. 130–31.

388 “I know that Toscanini”: S. Puccini, op. cit., pp. 225–26.

388 “began an exhausting period”: Silvestrini, op. cit., pp. 34–35.

389 “the Tamagno” et seq.: Charles Mintzer, Rosa Raisa. Boston: Northeastern University

Press 2001, pp. 38, 115–16.

389–90 Forzano reported: Giovacchino Forzano letter to AT, 18.7.24.

389fn “I never found”: CT 22.11.53.

390 “We are on the eve”: The Observer, 2.3.24.

390 “The automobiles and carriages”: L’ambrosiano, 2.5.24.

391 “dark-hued piece”: Triola, op. cit., p. 437.

391 “huge difference” et seq.: CT 23.4.54.

391 “Mussolini himself”: Corriere della sera, 2.5.24.

392 “may seem small” et seq.: Archivio Centrale dello Stato, Roma, Direzione generale

Pubblica sicurezza, Corrispondenza ordinaria, No. 7661, 6.6.24.

393 “Toscanini was wonderful”: Irene Busch Serkin (ed.), Russell Stockman (trans.),

Adolf Busch: Letters-Pictures-Memories. Walpole, New Hampshire: Arts & Letters

Press 1991, Vol. 1, p. 240.

393–94 “It was an incredible”: Robert Jacobson, Reverberations. London: Vision Press 1976,

p. 203.

394–95 “collided violently”: Gara, op. cit., pp. 553–54.

395 “Don’t you hear it”: G. Forzano, “L’ultima visita a Giacomo Puccini,” in La lettura,

rivista mensile del Corriere della sera, XXV/1, 1.1.25.

364
395 “Toscanini has just left”: Gara, op. cit., p. 555.

395–96 “Maestro Toscanini was very agitated” et seq.: Forzano, op. cit.

396 “He turned to me”: Giuseppe Adami, Puccini. Milano: Fratelli Treves 1935, p. 218.

398 “Glasses, dishes”: Allegri, op. cit.

399–400 “he went to the best”: Ibid.

400 “You think that morality”: Walfredo Toscanini, conversation with the author.

400 “Judge the man and the artist”: AT letter to Ada Mainardi, 7.11.36.

401 “appeared in an unfavorable light”: Barblan, op. cit., p. 237.

401 “withheld nothing”: Ibid., p. 238.

401 “I can’t tell you”: CT 4.4.55.

402 “Il Trovatore isn’t meant”: Silvestri, op. cit., pp. 29–30.

402 “Toscanini said”: Labroca and Boccardi, op. cit., p. 106.

402. “resuscitated” et seq.: Alfredo Casella, “A General Rehearsal at La Scala,” in

Christian Science Monitor, 21.2.25.

402 “provoked a violent”: Casella, “Toscanini Conquers a Prejudice with ‘Pelléas’ at La

Scala,” Christian Science Monitor, 11.7.25.

403–4 “Gui, beside himself” et seq.: Minetti, op. cit., pp. 76–78.

405 “Now that the festival”: Anton Haefeli, Die Internationale Gesellschaft für Neue

Musik (IGNM). Zürich: Atlantis Musikbuch-Verlag 1982, pp. 122, 124.

405 “Are you really the same”: Artur Schnabel, My Life and Music. New York: Simon &

Schuster 1934, p. 81.

406 “Thank God”: Gavazzeni, conversation with the author, 1993.

406 “MAESTRO COMING”: New York Philharmonic Archives.

365
406 “could not consider”: Ibid.

407 “Decision just communicated”: Ibid.

408 “great interest”: Corriere della sera, 28.12.25.

409 “If it is true”: New York Times, 8.1.26.

410 “the Italian mind”: New York Times, 10.1.26.

410 “very happy”: Carla Toscanini cable to Angelo Scandiani, 10.1.26, in Archivio

storico Teatro alla Scala, 1921–1931, Faldone n. 20, Titolo III, Classe 1, Fascicolo 9.

410 “The concert of the Philharmonic”: New York Sun, 15.1.26.

412 “TOSCANINI CHEERED”: New York Times, 8.2.26.

412 “the completion of negotiations”: New York Times, 9.2.26.

412 “My thoughts follow”: New York Times, 14.1.26.

413 “expressed great admiration”: New York Times, 23.2.26.

415 “Toscanini was very angry”: Interview with Antonino Votto by the author, 1977.

415 “Puccini’s 2nd excerpt”: Archivio Ricordi, 1925–26, vol. 7, p. 140.

415 “What do you have to say”: Frassati, op. cit., p. 182.

415–16 “Glad to announce you”: Mintzer, op. cit., pp. 114 and 318 n. 6.

416 “absolutely ideal”: D’Amico and Paumgartner, op. cit., p. 210.

416 “interpretation of the extraordinarily”: Christian Science Monitor, 29.4.26.

416 “Zamboni, for the quality”: D’Amico and Paumgartner, op. cit., p. 210.

417 “He undertook this task”: Mintzer, op. cit., 129–34.

417 “composers, singers, writers”: Corriere della sera, 27.4.26.

417 “When the lights went out”: Il secolo, 27.4.26.

417 “The audience is overcome”: Corriere della sera, 27.4.26.

366
418 “the audience awaited”: Corriere della sera, 27.4.26.

420 “Next day we were informed”: Elisabeth Ohms, “Reminiscences of Arturo

Toscanini,” in The Gramophone, November 1953, pp. 177–78.

420 “Toscanini received me”: Igor Stravinsky, Stravinsky. New York: Simon and

Schuster 1936, pp. 203–5.

420 “lost all confidence”: Eric Walter White, Stravinsky. Berkeley: University of

California Press 1969, p. 518.

420 “astounded by the high standards”: Stravinsky, op. cit., pp. 203–5.

421 “You always prepare” et seq.: Archivio storico Teatro alla Scala, 1921–1931, Faldone

n. 47, Anno 1926, handwritten page dated March 1926.

421 “artistic censure” et seq.: Sacchi, op. cit., pp. 263–64.

422 “told me [. . .] how happy”: Maurice Van Praag report to Clarence H. Mackay,

undated but from June 1926, New York Philharmonic Archives.

423 “The meeting, casual”: Bruno Walter, op. cit., pp. 306–7.

424 “So I said”: CT 28.4.53.

424 “no performance elsewhere”: Christian Science Monitor, 16.10.26.

424 “Believe me”: Corriere della sera, 18.1.57.

425–26 “His ear for balance”: Louis Fourestier in conversation with the author, 1971.

426 “severe bronchial attack”: New York Times, 12.1.27.

427 “ripped by” “retire from” “begun to lose” “from his directorship”: New York

American, 25.1.27.

428 “Every seat”: New York World, 6.2.27.

428 “approximately 42 concerts”: New York Times, 5.4.27.

367
428 “regular conductor” et seq.: New York Times, 24.5.7.

430 “two or three times”: New York Times, 5.4.27.

431 “very bitter” et seq.: Louise Varèse, Varèse: A Looking-Glass Diary. New York: W.

W. Norton 1972, Vol. I, p. 249.

431–32 “since you are occupied”: Archivio storico del Teatro alla Scala, 1921–1931, Faldone

n. 20, Titolo III, Classe 1, Fascicolo 9, letter 3.3.27.

431fn “immortal maestro”: Carlos Salzedo, “Harpists versus Conductors,” in Symphony,

January 1952; quoted in George Seltzer, The Professional Symphony Orchestra in the

United States. Metuchen, New Jersey: Scarecrow Press 1975, p. 228.

432–33 “Every bar” et seq.: Elisabeth Ohms, op. cit., p. 178.

434 “some one on the stage”: Chicago Tribune, picked up in Houston Daily Globe,

19.6.27.

434 “winter vacation”: Minetti, op. cit., p. 73.

434–35 “it was an altogether”: Gianandrea Gavazzeni conversation with the author, 1972.

436 “radiated over”: New York Times, 22.1.28.

436 “from the stage”: New York Times, 21.10.27.

436–37 “at the request”: New York Times, 31.3.28.

437 “the novelty wore off”: New York Times, 25.1.28.

437–38 “The audience was”: New York Times, 2.4.28.

438 “SYMPHONY MERGED”: New York Times, 27.3.28.

439 “the day we got”: Winthrop Sargeant, Geniuses, Goddesses and People. New York:

Dutton 1949, p. 74.

439–41 “Toscanini’s Ideas” et seq.: New York Times Magazine, 15.4.28, pp. 3 and 23.

368
441 “keeps a piano”: New York Telegram, 29.3.28.

441 “After next season”: New York Philharmonic Archives.

442 “the occupants of galleries”: New York Times, 25.11.28.

442 “We worked together”: Ohms, op. cit., pp. 178–79.

443 “To find a similar occurrence”: Corriere della sera, 27.12.28.

445 “is suffering from”: quoted by Patrizia Veroli in an email to the author, 14.7.2014.

446 “Scarcity?”: De Rensis, op. cit., p. 117.

446fn “You were born well”: Camilla Cederna, in La nuova stampa, Turin, 24.11.54.

448 “crossed his arms”: New York Herald-Tribune, 1.3.29.

448 “Many departed homeward”: New York Times, 31.3.29.

448fn “It already seemed flawless”: Lina Prokofieva in conversation with the author, 1982.

449 “the string sections” et seq.: New York Philharmonic Archives.

449 Mengelberg should be reengaged: Maurice Van Praag memorandum to Arthur

Judson, 23.2.29, New York Philharmonic Archives.

449 “very unhappy”: Irene Busch Serkin, op. cit., Vol. 1, p. 253.

450 “expressed his disapproval” et seq.: New York Times, 29.12.29.

450 “very much disturbed”: New York Philharmonic Archives.

451 “the master of them all”: New York Times, 2.4.29.

452 “showed a keen interest”: New York Times, 6.4.29.

453 “old stand-bys”: New York Times, 11.11.28.

453 “A bit nervous”: Edward Downes interview with Elisabeth Rethberg, Metropolitan

Opera broadcast, March 1967.

454 “despite the storm”: Labroca and Boccardi, op. cit., p. 121.

369
454–63 “When I travel” and various other quotes, including review quotes: Arnaldo

Fraccaroli, “La Scala a Vienna e a Berlino,” in La lettura: Rivista mensile del

Corriere della sera, XXIX/7, 1.7.29, pp 481–88.

455 “From the first bar”: Ernst Haeussermann, Herbert von Karajan. Gütersloh:

Bertelsmann 1968, p. 112.

456 “stock opera” et seq.: Ibid.

457 “in America the quality”: New York Times, 18.5.29.

457 “the bridges in the suburbs”: Labroca and Boccardi, op. cit., p. 126.

458 “The theater in Berlin”: CT 28.4.53.

458 “full, jam-packed”: Labroca and Boccardi, op. cit., p. 126.

459 “elicited the most miraculous”: Corriere della sera, 27.5.29.

459 “Such greatness”: Ibid.

459 “masterly performances”: Bruno Walter, op. cit., p. 286.

460 “One says very little”: Otto Klemperer, “Der Dirigent Toscanini” in Das Tagebuch,

25.5.29; reproduced in Otto Klemperer: Über Musik und Theater: Erinnerungen,

Gespräche, Skizzen. Wilhelmshaven: Heinrichshofen’s Verlag 1982, pp 49–50.

461 “The secret of the precision”: Corriere della sera, 27.5.29.

462 “At one point”: Giornale degli artisti, 13.7.29.

463 “La Scala’s performances”: Ente Autonomo Teatro alla Scala, “Cronistoria della

stagione 1928–29,” p. 142.

464 “Today, as yesterday”: NYPLPA TL, Document file L48A-1.

464 “Since, in these times”: Letter to AT, Milan, 5.6.29.

464 “La Scala weeps”: Manchester Guardian, 14.9.29.

370
464 “a few performances”: Maurice Van Praag letter to Arthur Judson, 23.2.29, in New

York Philharmonic Archives.

464 “After the triumphal”: Archivio del Museo Teatrale alla Scala.

464–65 “Maestro Toscanini has decided”: Ibid.

465 “Then I feel”: Haggin, op. cit., pp. 79–80.

465 “It’s conducting operas”: De Rensis, op. cit., p. 117.

CHAPTER VIII

Page

471 “TOSCANINI CAUSES FUROR”: New York Times, 13.11.29.

472 “I love and always have loved children”: New York Times, 23.3.30.

473 “the greatest master”: New York Times, 26.3.30.

473 “You can abstract”: New York Times, 31.3.30.

475 “At sea, the orchestra musicians” et seq.: Corriere della sera, 2.5.30.

475–76 “And let it be said”: New York Times, 4.5.30.

476 “crossed Paris like a meteor”: Excelsior, 5.5.30.

476 “You know, even though”: New York Times, 16.1.38.

476 “bowed gracefully”: New York Times, 5.5.30.

476 “People were upset”: René Chalupt, Ravel au miroir de ses lettres. Paris: Robert

Laffont 1956, p. 244.

476–77 “If I was seen”: Ibid., pp. 244–45.

477 “My dear friend”: Barblan, op. cit., p. 362.

477 “This is only to tell you”: Ibid., p. 363.

371
478 “serious-looking men”: New York Times, 7.5.30.

478 “an interminable ovation”: Basso (ed.), op. cit., p. 617.

479 “waited on the stage”: Sargeant, op. cit., pp. 176–77.

479 “excused the orchestra”: Archivio Centrale dello Stato, Roma, Ministero dell’Interno

(MI), Direzione generale Pubblica sicurezza (DGPS), Divisione polizia politica

(DPP), Fascicoli personali (FP), No. 449, 28.5.30.

480 “neither Vienna nor the rest”: New York Times, 19.5.30.

480–81 “stood for more than”: New York Times, 3.7.30.

481 “a splendid performance”: Walter, op. cit., p. 290.

481 “a praiseworthy exception” et seq.: From a translation by Leo Wurmser, in Recorded

Sound, No. 24, October 1966, of an article in Neue Zeitschrift für Musik, June 1964.

481 a disparaging essay about Toscanini: Wilhelm Furtwängler, “Toscanini in Germany,”

in Notebooks 1924–1954, edited by Michael Tanner, translated by Shaun Whiteside,

London and New York: Quartet Books 1989, pp 39–46.

482 “alarming inability”: Peter Heyworth, “Transgressions of a high priest,” in Times

Literary Supplement, 19.12.86.

482 “the maestro kept replying”: Archivio Centrale dello Stato, Roma, DGPS DPP FP

51/B, No. 448, 20.6.30.

483 “received an ovation” et seq.: Daily Telegraph, London, 2.6.30.

483 “frequently put up”: Manchester Guardian, 2.6.30.

484 “beamed with happiness”: New York Times, 2.6.30.

484 “That this has been the greatest”: Sunday Times, London, 8.6.30.

485 “they had now surpassed”: New York Times, 2.6.30.

372
485 “formidable, formidable!”: New York Times, 29.6.30.

485 “Dear Maestro”: Sir George Henschel letter to AT, 4.6.30.

485–86 “The thought that”: AT letter to members of the New York Philharmonic, 4.6.30.

486 “the most intelligent”: New York Times, 5.6.30.

486 “The well-known Italian”: Neue Zeitschrift für Musik, Leipzig, 27.5.03, n. 22, p. 332.

488 “beautiful” “they didn’t shout”: CT 18.1.54.

488 “The chorus members”: Kurt Söhnlein, Erinnerungen an Siegfried Wagner und

Bayreuth. Bayreuth: Mühl’scher Universitätsverlag 1980, pp. 83–84.

489 “You’re just like”: Telephone interview with Friedelind Wagner by the author, 1987.

489–90 “It was a thrill”: Ib Melchior. Lauritz Melchior: The Golden Years of Bayreuth. Fort

Worth, Texas, Baskerville 2003, pp. 177–78.

490 “Hier steht”: Labroca and Boccardi, op. cit., pp. 133–34.

490 farabutto: CT 9.8.54.

490 “When King Marke says”: B. H. Haggin, The Toscanini Musicians Knew. New York:

Horizon Press 1967, pp. 63–64.

490 “was a little disappointing”: Labroca and Boccardi, op. cit., p. 133.

491 “given us a wholly new work”: Hans Lebede, “Siegfried Wagner als Regisseur” in

Bayreuther Festspielführer 1931. Bayreuth, Verlag G. Miehrenheim 1931, p. 27.

491 “aversion” “persuade”: AT, draft of note to Blandine von Bülow Gravina, late July or

early August 1930.

492 “A moment later”: Friedelind Wagner and Page Cooper, Heritage of Fire. New York:

Harper & Brothers 1945, p. 54.

492 “The festival must take no notice”: New York Times, 6.8.30.

373
492 “performances have been so extraordinary”: Sunday Times, London, 10.8.30.

493 “to the level which Wagner dreamed”: New York Times, 5.9.30.

494 “I think I should tell you”: Archivio Centrale dello Stato, Rome, Segreteria

particolare del Duce (SPD), Corrispondenza ordinaria (CO), 555 902, No. 1947922,

1.7.30.

494 “Signora Colombo is not only”: Ibid., No. 1947923, 2.7.30.

494 “Affection that binds me”: AT draft of telegram to Victor De Sabata, undated but

probably 25.1.31.

495 “burst into tears”: Tully Potter, Adolf Busch. London: Toccata Press 2010, vol. 1, p.

445.

496 “very good at turning his sails”: AT letter to Carla Toscanini, 1.11.30.

496 “I studied”: Ibid., 8.11.30.

496 “Not bad at all”: Ibid., 11.11.30.

497fn “a young man with a future!”: New York Times, 12.1.31.

498 “little Sadja”: AT draft of letter to Evangeline Stokowski, undated but circa 20–

22.11.30.

498 “so moved with the beauty”: New York Times, 21.11.30.

498 “Great charlatans”: AT letter to Carla Toscanini, 25.11.30.

499 “It was a real joy”: Ibid.

499 “They’re already inviting me”: Ibid.

500 “The orchestra welcomed me”: AT letter to Carla Toscanini, 9.12.30.

500 “I remember a solo”: Haggin, The Toscanini Musicians Knew, op. cit., pp. 44–45.

502 “has a nice voice” et seq.: AT letter to Carla Toscanini, 15.12.30.

374
502 “as the concert was nearing”: New York Times, 19.1.31.

504–5 “If the power of suggestion”: AT letter to Ada Mainardi, 1.12.37.

506 “Where did you find” et seq.: Labroca and Boccardi, op. cit., p. 136.

506 “This happened a few minutes” et seq.: Holographic reproduction of AT’s statement

regarding the Bologna episode, spring 1931, in Barblan, op. cit., insert between pp.

360 and 361.

507 “No, no anthems” et seq.: New York Times, 22.5.31.

509 “Last evening”: Holographic reproduction, as above (Note 2 to p. 506).

509 “As the news reports”: “L’incidente provocato da Toscanini in una nota de

L’assalto,” reprinted in La tribuna, 19.5.31.

510 “Maestro Toscanini’s inexplicable”: Il popolo d’Italia, 16.5.31.

510 “monster, not a genius”: quoted in New York Times, 15.6.31.

510 “A slap at the right time”: La tribuna, 20.5.31.

510–11 “The lesson they wanted”: Holographic reproduction, as above (Note 2 to p. 506).

511 “sent unbeknownst”: Adriano Ariani letter to AT, 15.5.31.

511 “10,000 Italians” “It is one year”: from Archivio Centrale dello Stato, Rome, Fascist

police files.

512 “a measure”: Manchester Guardian, 3.6.31.

512 “the grave assault”: Joseph Szigeti, With Strings Attached. New York: Knopf 1967,

pp. 347–48.

512 “Maestro Toscanini”: Archivio del Teatro alla Scala.

512 “greeted us most cordially”: Clara Clemens, My Husband Gabrilowitsch, New York:

Harper & Brothers 1938, p. 206.

375
513 “Yesterday Maestro Toscanini”: Archivio Centrale dello Stato, Rome, Gabinetto

particolare del Duce, No. 019228.

514 “This morning”: Archivio Centrale dello Stato, Rome, MI etc., No. 435.

514 “[Toscanini] has always”: Ibid., No. 434.

514 “more the cowardly deed” et seq.: Ibid., No. 413.

514 “the Duce, reached”: Ibid., No. 433.

514–15 “has aroused unanimous”: Ibid., No. 419.

515 “From now on”: Ibid., No. 375.

515 “Newspapers of every”: Ibid., No. 358.

515 “a demonstration”: Ibid., Nos. 365–66.

515–16 “Anti-Fascists”: Ibid., Nos. 328–32.

516 “for reasons of health”: New York Times, 29.5.31.

516 “The Scala in Milan”: Berliner Zeitung am Mittag, undated clipping in NYPLPA TL,

Document file L55C-6.

516 “to belong to the same field”: Neueste Nachrichten (Leipzig), 9.6.31, quoted in New

York Times, 21.6.31.

516 “I know I am expressing”: New York Times, 12.6.31.

517 “The Toscanini episode”: Ibid.

517 “TOSCANINI OUT OF ITALY”: 16.6.31.

518 “The whole musical world”: Berliner Montagspost, 20.7.31.

518 “in a few rehearsals”: Frassati, op. cit., p. 206.

518 “Every morning”: Wagner and Cooper, op. cit., p. 62.

519 “Before you begin”: New York Times, 17.6.31.

376
519–20 “Wini is happy” et seq.: Liselotte Schmidt’s file in the Richard-Wagner-Gedenkstätte,

Bayreuth.

520 “The disaster here” et seq.: AT letter to Carla Toscanini, 5.7.31.

520 “was somewhat tight” et seq.: Liselotte Schmidt’s file in the Richard-Wagner-

Gedenkstätte, Bayreuth.

521 “too slow and dull”: Ib Melchior, op. cit., p. 178.

521 “makes history”: New York Times, 16.8.31.

521 “No word of praise”: AT letter to H. P. von Wolzogen, 5.8.31.

521 “screaming with pain”: Samuel Chotzinoff comment, in CT 22.11.53.

522–23 “the doctor asks”: AT letter to Carla Toscanini, 28.7.31.

523 “could not be found”: Enclosure accompanying Wilhelm Furtwängler’s letter of

22.6.32 to Daniela von Bülow Thode, in the Richard-Wagner-Gedenkstätte, Bayreuth.

524 “echt wagnerisch” et seq.: undated clipping from the Chemnitzer Tageblatt und

Anzeiger.

525 “Toscanini was profoundly hurt”: Letter from Eva Wagner Chamberlain to Heinz

Tietjen, in the Richard-Wagner-Gedenkstätte, Bayreuth.

525 “boundless admiration”: Letter from H. Tietjen to Eva Chamberlain, in the Richard-

Wagner-Gedenkstätte, Bayreuth.

526 “always as good”: see note “could not be found” to page 523.

527 “I must stress”: see Harvey Sachs, Reflections on Toscanini, p. 116.

527 “I did not achieve”: D. Thode note to H. Tietjen, in the Richard-Wagner-

Gedenkstätte, Bayreuth.

528 “Disembarked very late”: AT cablegram to Carla Toscanini, 17.11.31.

377
528–29 “both parties were absolutely absent” et seq.: Bruno Zirato memorandum to Arthur

Judson, 27.11.31, in New York Philharmonic Archives.

529–30 “I haven’t felt so terrific”: Irene Busch Serkin, op. cit., Vol. 2, pp. 272–76.

530 “Deeply moved”: Draft of cablegram from AT to Senator Francesco Ruffini,

16.12.31.

530 “overjoyed” “impossible”: AT cablegram to Carla Toscanini, undated but late

November or early December 1931.

531 “with a sometimes workable toilet”: Halina Rodzinski, Our Two Lives. New York:

Scribner’s 1976, p. 76.

531 “shows significant signs”: Giuseppe Richichi, La misteriosa morte del medico di

Arturo Toscanini. Roma: Grafica Gestaff 2007, p. 16.

531 “It seems a very bestial”: Carla Toscanini letter to Bruno Zirato, 23.1.32.

532 “With all my heart”: New York Times, 21.3.32.

532 “make a donation”: carbon copy of typed translation of letter, 26.4.32, from AT to

Arthur Judson, in New York Philharmonic Archives.

533 “in various degrees”: New York Times, 29.4.32.

533 “Concert obtained triumphal”: Cablegram from AT to Carla Toscanini, 28.4.32.

533 “I am truly happy”: Richichi, op. cit., p. 161.

534 “I send you my affectionate”: postcard from AT to Alberto Rinaldi, undated but

probably 1932.

534 “filled with an ardent prayer”: Eva Chamberlain letter to AT, 22.3.32.

534 “My preferences”: Della Corte, op. cit., pp. 281–82.

535 “Winifred come and gone”: AT telegram to Daniela Thode, 19.5.32.

378
536 “created a vacuum”: AT letter to Ada Mainardi, 5.9.33.

537 “the hero of the festival”: New York Times, 17.6.32.

537–38 “If I came [to Paris]”: Letter of Winifred Wagner to AT, 7.6.32, reproduced in

Harvey Sachs, ed., Arturo Toscanini from 1915 to 1946: Art in the Shadow of

Politics. Torino: EDT 1987, p. 79.

538 “I certainly do”: New York Times, 30.9.32.

538 “responding perfectly”: Cablegram from AT to Carla Toscanini, 6.10.32.

538 “tired, very tired”: AT letter to Carla Toscanini, undated but probably 8 or 9.11.32.

539 “we frequently sigh”: AT letter to Lavinia Salvadori, 3.8.32.

539–40 “You have a head that works”: Ibid., 1.6.34.

540 “a dear girl”: Ibid., 18.7.34.

542 “All these protests”: New York Times, 2.4.33.

542 “Not only can you use”: AT letter to Berthold Neuer, 31.3.33.

543 “Your Excellency”: New York Times, 2.4.33.

543 “the audience gave him”: Ibid.

543–44 “According to newspaper”: Clemens, op. cit., p. 212.

544 “From the half”: Wagner and Cooper, op. cit., pp. 88–89.

544–45 “Most Honored Master”: Letter from Adolf Hitler to AT, 3.4.33.

545 “couldn’t keep still”: Wagner and Cooper, op. cit., pp. 88–89.

545 “loyalty and good sense”: Cablegram from Max Smith to Daniela Thode, 11.4.33.

545 “receipt today”: Ibid., 12.4.33.

545–46 “Your Excellency”: AT letter to Hitler, 29.4.33.

379
546 “I felt that”: Fritz Busch, Pages from a Musician’s Life. Westport, Connecticut:

Greenwood Press 1953, p. 217.

547 “The sorrowful events”: AT letter to Winifred Wagner, 28.5.33.

547 “Most Nazi organs”: New York Times, 8.6.33.

547 “see red”: Wagner and Cooper, op. cit., p. 89.

548 “lumbering, uninspired”: New York Times, 22.7.33.

548 “undoubtedly gave Hitler”: Manchester Guardian, 15.8.33.

548 “Today [July] 21st”: AT letter to Ada Mainardi, 21.7.33.

548 “Bayreuth!”: AT letter to Friedelind Wagner, ?.6.37.

548 “The deep emotion”: AT letter to Ada Mainardi, 16.7.33.

548–49 “put Beethoven and Bach” et seq.: AT letter to Ada Mainardi, 21.7.33.

549 “a poet in marble”: AT letter to Ada Mainardi, 5.9.33.

551 “It was a sweet”: AT letter to Ada Mainardi, 9.6.33.

551 “I had thought”: AT letter to Ada Mainardi, 10.7.33.

552 “The orchestra behaved”: AT letter to Ada Mainardi, 8.10.33.

552 “with melancholy”: New York Times, 5.11.33.

553 “An artist can only give”: Bronislaw Huberman letter to AT, ?.6.33; quoted in

Stephen Gallup, A History of the Salzburg Festival. London: Weidenfeld & Nicolson

1987, p. 79.

553 “to show me his letter”: AT letter to Ada Mainardi, 26.7.33.

553 “I have an indomitable desire”: AT letter to Ada Mainardi, 11.8.33.

554 “The orchestra is good”: AT letter to Ada Mainardi, 22.10.33.

380
554 “I never had lived through”: Haggin, The Toscanini Musicians Knew, op. cit., pp.

154–55.

554 “before the rehearsal”: Ibid., p. 192.

554–55 “The other conductors”: AT letter to Ada Mainardi, 23.10.33.

555 “It was the great”: Wiener Tagblatt, 25.10.33.

555 “I kissed his wife”: Margarita Wallmann, Les Balcons du ciel. Paris: Robert Laffont

1976, p. 68.

555–56 “I had plenty to do”: AT letter to Ada Mainardi, 26.10.33.

556 “I can’t begin”: AT letter to Ada Mainardi, 30.10.33.

556 “bored” et seq.: AT letter to Ada Mainardi, 22.10.33.

556 “Photographers”: AT letter to Ada Mainardi, 30.10.33.

556 “What desolation!” et seq.: AT letter to Ada Mainardi, 22.10.33.

556 “At this moment”: AT letter to Ada Mainardi, 27.10.33.

556–57 “while I was walking”: AT letter to Ada Mainardi, 22.10.33.

557 “from that moment on”: Allegri, op. cit.

557 “On my arrival”: AT letter to Ada Mainardi, 30.10.33.

558 “What a tragedy”: AT letter to Ada Mainardi, 1.12.33.

558 “a shadow came over”: Unpublished reminiscences of Iwa Aulin Voghera, who gave

a copy to the author, in the 1970s.

558 “perhaps because of” et seq.: AT letter to Ada Mainardi, 2.12.33.

558 “No, not if”: Stockholm Philharmonic Archives.

558–59 “Last evening”: Ibid.

559 “Busch and other friends”: Allegri, op. cit.

381
559–60 “I started to play”: Harold Schonberg, Horowitz. New York: Simon & Schuster 1992,

pp. 135–36.

561 “What an idea”: AT letter to Ada Mainardi, 18.9.33.

561 “Moglie e buoi” et seq.: Allegri, op. cit.

561 “Wanda is radiant”: AT letter to Ada Mainardi, 15.11.33.

562 “I finally succeeded”: Gregor Piatigorsky, Cellist. Garden City, NY: Doubleday 1965,

p. 242.

562 “I can’t wait”: AT letter to Ada Mainardi, 6.1.34.

562–63 “After having re-rehearsed”: AT letter to Ada Mainardi, 9.1.34.

563 “The orchestra is marvelous”: AT letter to Ada Mainardi, 12.1.34.

563–64 “the conductor kept his eyes”: New York Times, 23.2.30.

564 “Yehudi’s life-dream”: New York Times, 5.6.32.

564–65 “He was always so respectful”: Yehudi Menuhin interviewed by the author, 1971.

565 “Ah, Rethberg” et seq.: CT 1.4.53.

565 “owes it to itself”: New York Times, 7.2.34.

566 “This fourth week”: AT letter to Ada Mainardi, 30.1.34.

567 “My refusal”: Lotte Lehmann, Midway in My Song. Freeport, NY: Books for

Libraries Press 1970 [orig. 1938], p. 157.

567 “I trembled so much” et seq.: Ibid., pp. 225–27.

568–70 All quotes from the AT-Lotte Lehmann correspondence come from one or more of

the following sources:

University of California at Santa Barbara Library, Department of Special Collections,

PA Mss 2, Lotte Lehmann Collection.

382
Beaumont Glass, Lotte Lehmann: A Life in Opera and Song. Santa Barbara,

California: Capra Press 1988.

Michael H. Kater, Never Sang for Hitler: The Life and Times of Lotte Lehmann.

Cambridge: Cambridge University Press 2008.

572 “in recognition” et seq.: New York Times, 24.1.34.

572 “pledge of cooperation”: New York Times, 4.4.34.

573 “I work and work”: AT letter to Ada Mainardi, 30.5.34.

573–74 “He knows, of course”: D. E. Inghelbrecht, The Conductor’s World. London: Peter

Nevill 1953, pp. 19–29.

574 “It’s bad to play”: Wallmann, op. cit., p. 70.

574 “One will never end”: New York Times, 1.7.34.

574 “He immediately broke into”: Rodzinski, op. cit., pp. 78–79.

574 “I’ve never gone to dentists”: AT letter to Ada Mainardi, 23.6.34.

575 “I’m sorry to say it”: Ibid., 4.7.34.

575 “bursting with health”: AT letter to Gelsa Salvadori, 18.7.34.

575 “I would like to learn”: AT letter to Ada Mainardi, undated but postmarked 19.7.34.

575 “Pharisees” “perjurer”: AT telegram to Daniela Thode and Eva Chamberlain, 22.7.34.

576 “Oh! you accursed” “never dreamed”: from AT-Lotte Lehmann correspondence,

University of California at Santa Barbara Library, Department of Special Collections,

PA Mss 2, Lotte Lehmann Collection.

576–77 “at the end” et seq.: Alfredo Amman, La musica nella mia vita. Milano. Società del

Quartetto di Milano 1983, p. 18.

577 “Even he”: New York Times, 24.8.34.

383
577 as Brahms himself: CT 1.4.53.

577 “the correct Wagnerian tempi”: New York Times, 4.9.34.

577 “an immense audience”: Ibid., 31.8.34.

578 “the greatest experience” et seq.: Henry Hardy, ed., Isaiah Berlin: Letters 1928–1946.

Cambridge and New York: Cambridge University Press 2004, pp. 100, 137.

578 “This Toscanini is a wonder” et seq.: Stefan Zweig letters to Romain Rolland, 30.8.34

and 18.3.35, in Romain Rolland, Stefan Zweig, Briefwechsel: 1910–1940. Berlin:

Rütten & Loening 1987, pp. 577 and 593.

578fn “What remained”: Ibid., Rolland letter to Zweig, 3.9.34, p. 579.

579 “Toscanini was greatly taken”: Lehmann, Midway in My Song, op. cit., p. 228.

580 “quite aged”: AT letter to Ada Mainardi, 19.9.34.

580 “It is beautiful”: Carlo Santoli, ed., Gabriele D’Annunzio e Arturo Toscanini: Scritti.

Roma: Bulzoni 1999, pp. 43–44.

580 “Not in glory”: Ibid.

580 “If only you could”: AT letter to Ada Mainardi, 1.10.34.

580 “I’m fed up”: AT letter to Ada Mainardi, 7.10.34.

580 “Tell me you love me”: AT letter to Ada Mainardi, 18.10.34.

581 “To the end of his days”: Lotte Lehmann, taped reminiscences of Toscanini,

Metropolitan Opera broadcast, March 1967.

581 “even the indefatigable”: Wallmann, op. cit., pp. 71–72.

582–83 “already present” et seq.: Erich Leinsdorf. Cadenza: A Musical Career. Boston:

Houghton Mifflin 1976, pp. 36–38.

583 “Maestro!”: Wallmann, op. cit., p. 68.

384
583 “Of course I’ve accepted”: AT letter to Ada Mainardi, 23.9.34.

583 “Viennese seem to me”: AT letter to Carla Toscanini, 27.9.34.

583–84 “Toscanini himself”: Haggin, The Toscanini Musicians Knew, op. cit., pp. 225–26.

584 “as a result”: AT letter to Ada Mainardi, 27.10.34.

584 “at all hours”: AT letter to Ada Mainardi, 18.10.34.

584 “From now on”: AT letter to Ada Mainardi, 31.10.34.

585 “Those Paris days”: AT letter to Ada Mainardi, 20.11.34.

586 “My arm no longer speaks”: Unpublished reminiscences of Iwa Aulin Voghera, op.

cit.

586–87 “divine night” “like one of the damned” et seq.: AT letter to Ada Mainardi, 6.1.35.

587 “Everyone got sick”: Wallmann, op. cit., p. 78.

587–88 “This writer”: AT letter to Ada Mainardi, 16.1.35.

588 “waved his hands”: New York Times, 18.1.35.

588 “in good health”: AT letter to Ada Mainardi, 19.1.35.

589 “It is absolutely”: New York Times, 13.12.34.

589 “[Toscanini] believes”: New York Philharmonic Archives.

589–90 “the orchestra is still magnificent” “et seq.: AT letter to Ada Mainardi, 28.1.35.

590–91 “What have you been doing” “paced the dressing room” “He would not trade”:

Piatigorsky, op. cit., pp. 225–26, 138, 242.

591 “Monday [11 February]”: AT letter to Ada Mainardi, 8.2.35.

591 “The Brahms cycle”: AT letter to Ada Mainardi, 22.3.35.

592 “Sonzogno had a great success”: AT letter to Ada Mainardi, 19.4.35.

592 “trash” et seq.: New York Times, 19.4.35.

385
592 “imprudently had an injection”: AT letter to Ada Mainardi, 19.4.35.

592 “more is demanded”: AT letter to Ada Mainardi, 22.3.35.

593 “in a completely”: AT letter to Ada Mainardi, 27.4.35.

593 “I slept profoundly”: AT letter to Ada Mainardi, 7.5.35.

594 “something about our achieving” et seq.: Sir Adrian Boult, My Own Trumpet.

London: Hamish Hamilton 1973, pp. 101–2.

594–95: “the Maestro expressed”: Manchester Guardian, 14.6.35.

595 “This great conductor”: The Times (London), 6.6.35.

595 “seems to have the power”: Boult quoted in Christopher Dyment, Toscanini in

Britain. Woodbridge, Suffolk: Boydell Press 2012, p. 44.

595–96 “much moved” et seq.: Michael Kennedy, Barbirolli. London: McGibbon & Kee

1971, p. 96.

596 “excellent, intelligent orchestra”: AT letter to Ada Mainardi, 8.6.35.

596 “every departure” “my old and very affectionate”: AT letter to Ada Mainardi,

11.6.35.

597 “It is his opinion”: Hans Lange letter to Bruno Zirato, 7.6.35, in New York

Philharmonic Archives.

597 “seems to like now”: 2nd Lange letter to Zirato, 7.6.35, Ibid.

597 “how Maestro can speak”: Zirato letter to Lange, 14.7.35, Ibid.

597–98 “One must always threaten”: AT letter to Ada Mainardi, 13.7.37.

598 “the most important events”: Manchester Guardian, 7.6.35.

598 “of course the crowd”: Britten quoted in Dyment, op. cit., p. 51.

598 “Toscanini and his wife”: Ibid., p. 49.

386
598–99 “had this reputation” et seq.: Ibid., p. 52.

599–600 “haranguing Maestro”: Rodzinski, op. cit., pp. 128–29.

600–601 “It’s really comfortable”: AT letter to Ada Mainardi, 31.7.35.

601 “crowd around him” “a perpetual” et seq.: Lehmann, op. cit., pp. 231–33.

601 “famous temper tantrums”: Leinsdorf, op. cit., p. 39.

602 “I crossed myself”: Labroca and Boccardi, op. cit., pp. 144–45.

602 “Caniglia isn’t better” et seq.: AT letter to Ada Mainardi, 29.7.35.

602 “a performance of unmatchable”: Leinsdorf, op. cit., p. 41.

602 “leapt” et seq.: B. H. Haggin, “Vienna’s Great Conductors,” in Encounter, July 1977,

p. 34.

602–3 “What a day!” Zweig letter to Rolland, 3.8.35, in Rolland-Zweig, op. cit., p. 602.

603 “just sat around” et seq.: Leinsdorf, op. cit., pp. 41–42.

603 “Maestro, this evening”: Labroca and Boccardi, op. cit., pp. 144–45.

603–4 “when I reached the end”: AT letter to Ada Mainardi, 4.8.35.

604 “burst into a spontaneous ovation”: New York Times, 8.8.35.

604 “To remedy this” et seq.: Leinsdorf, op. cit., pp. 40–41.

604–5 “If they were Italians”: Wallmann, op. cit., p. 71.

605 “What I heard today”: Allan Keiler, Marian Anderson: A Singer’s Journey. Urbana

and Chicago. University of Illinois Press 2002, p. 156.

605 “Heil Hitler!” Incident recounted by Walfredo Toscanini to the author.

605 “wonderful” et seq.: Thomas Mann, Tagebücher 1935–1935. Frankfurt am Main:

Fischer Taschenbuch Verlag 2003.

606 “full to bursting”: AT letter to Ada Mainardi, 27.8.35.

387
606 “very simpatica” et seq.: AT letter to Ada Mainardi, 29.8.35.

606 “I hope you have read”: Zweig to Rolland, 13.8.35, in Rolland-Zweig, op. cit., p. 606.

607 “The genius of mankind”: Paul Stefan, Arturo Toscanini. New York: Blue Ribbon

Books 1936, p. 121.

607 “This is getting”: New York Times, 26.1.36.

607 “You should see me”: AT letter to Ada Mainardi, 2.9.35.

607–8 “And what did I find?”: Wallmann, op. cit., p. 74.

608 “When I work”: AT letter to Ada Mainardi, 14.9.35.

608 “My heart is grieving”: AT letter to Ada Mainardi, 8.10.35.

608–9 “Have you noticed”: Segreteria particolare del Duce, documento n. 4938; telephone

interception made at 17:45 on 19.10.35.

610 “Before the performance”: New York Times, 29.10.35.

611 “The upshot was”: Irene Busch Serkin, op. cit., Vol. 2, p. 343.

611 “Never in my life”: AT letter to Ada Mainardi, 16.12.35.

612 “What a brain!”: Vera Newman, Ernest Newman. London: Putnam 1963, p. 150.

612 “No other conductor”: Zweig letter to Rolland, 7.1.36, in Rolland-Zweig, op. cit., p.

617.

612 “Please inform the Board”: New York Philharmonic Archives.

612 “a dilettante”: CT 7.3.54.

614 “and was told to wait”: Brian A. Shook, Last Stop, Carnegie Hall. Denton, Texas.

University of North Texas Press 2011, pp. 18–19.

615 “Can you give me”: Sam H. Shirakawa, The Devil’s Music Master. New York and

Oxford: Oxford University Press 1992, p. 333n.

388
616 “entirely and solely”: Ibid., pp. 190–93.

616 “Political controversies”: New York Times, 15.3.36.

616 “The happiest outcome”: New York Times, 16.3.36.

617 “Two weeks’ work”: AT letter to Ada Mainardi, 10.4.36.

617 “stood and refused”: New York Times, 27.4.36.

618 “He is sorry”: New York Times, 30.4.36.

618–19 “No other conductor”: Shook, op. cit., p. 31.

619 “It was a unique”: AT cablegram to Ada Mainardi, 30.4.36.

619 “ARTURO TOSCANINI”: New York Times, 30.4.36.

CHAPTER IX

Page

621 “wouldn’t have had time”: AT letter to Ada Mainardi, 10.4.36.

621 “to secure the services”: Manchester Guardian, 20.3.36.

622 “The orchestra is good”: AT letter to Ada Mainardi, 12 or 13.6.36.

622 “I can no longer imagine”: Bruno Walter to AT, 1.6.36, in Barblan, op. cit., p. 366.

622 “a detailed account”: AT letter to Bruno Walter, 17.7.36.

623 “I can’t wait”: AT letter to Ada Mainardi, 26.6.36.

623 “Every time I go back”: AT letter to Ada Mainardi, 18.7.36.

624 “perhaps the last non-political”: Bruno Walter to AT, 1.6.36, in Barblan, op. cit., p.

366.

624 “There was no detail”: Marcia Davenport, Too Strong for Fantasy. London: Collins

1968, p. 195.

389
625 “Stand up straight!” Taubman, op. cit., p. 215.

625 “Everyone sings and plays”: AT letter to Ada Mainardi, 30.7.36.

625 “As soon as we began”: Leinsdorf, op. cit., p. 44.

625 “But it all caused”: AT letter to Ada Mainardi, 5.8.36.

625 “Everything came off”: AT letter to Ada Mainardi, 7.8.36.

625 “For me it was”: Lehmann, op. cit., p. 237.

625 “Maestro himself stood”: Davenport, op. cit., p. 195.

626 “Free from all ponderousness”: Lehmann, op. cit., p. 237.

626 “those subtle modifications”: Haggin, The Toscanini Musicians Knew, op. cit., pp.

169–70.

626 “I don’t think”: AT letter to Ada Mainardi, 9.8.36.

626 “in a daze” et seq.: AT letter to Ada Mainardi, 12.8.36.

626 “humility and vanity”: Ibid.

626 “I would have liked”: AT letter to Ada Mainardi, 15.8.36.

626 “threw her arms”: AT letter to Ada Mainardi, 24.8.36.

627 “three Meistersingers”: Ibid.

627 “and he got on so well”: Lehmann, op. cit., pp. 238–39.

627 “You don’t need me”: Rodzinski, op. cit., p. 149.

627 “They’re real loves” et seq.: AT letter to Ada Mainardi, 4.9.36.

627–28 “was quite another thing”: AT letter to Ada Mainardi, 18.9.36.

628 “were from start to finish”: Leinsdorf, op. cit., pp. 45–46.

628 “Since Leinsdorf is”: CT 28.2.54.

629 “the carnival of”: AT letter to Ada Mainardi, 31.10.36.

390
629 “I’ll stay until”: AT letter to Ada Mainardi, 2.11.36.

629 “I gave Gatti”: AT letter to Ada Mainardi, 7.11.36.

629 “since I can’t”: AT letter to Ada Mainardi, 31.10.36.

629 “tiny flowers”: AT letter to Ada Mainardi, 7.3.37.

630 “Thousands of times”: New York Times, 27.12.36.

630 “Here and there” et seq.: Haggin, The Toscanini Musicians Knew, op. cit., p. 70.

631 “breathing fire”: New York Times, 27.12.36.

631 “a constructive idea”: Bronislaw Huberman letter to AT, 15.2.36.

631 “would constitute”: New York Times, 23.2.36.

631 “it is the duty”: New York Times, 23.2.36.

632 “Honored Master!”: Albert Einstein letter to AT, 1.3.36.

632 “enjoyed a truly fantastic”: AT letter to Ada Mainardi, 28.12.36.

633 “I got to work”: Ibid.

633 “You can well believe”: La bourse egyptienne, 7.1.37.

633 “There are two rehearsals”: Letter of Carla Toscanini to Wanda Horowitz, printed in

Arturo Toscanini, published by America-Israel Cultural Foundation, date?

634 “amazing to observe”: The Observer, 3.1.37.

634 “I can’t begin”: AT letter to Ada Mainardi, 28.12.36.

634 “Such a thing”: Jaap Stotijn, Even uitblazen. Den Haag. Albersen & Co. 1975, p. 29.

634–35 “This has been”: New York Times, 31.12.36.

635 “already convinced”: Observer, 3.1.37.

635 “Several great countries”: Ibid.

391
635–36 “raised in the world”: Bronislaw Huberman Archive, The Felicja Blumental Music

Center and Library, Tel Aviv.

636 “I never before saw”: New York Times, 4.1.37.

636 “magnificent farm”: Letter of Carla Toscanini to Wanda Horowitz, printed in Arturo

Toscanini, published by America-Israel Cultural Foundation, date?

636 “From the moment”: AT letter to Ada Mainardi, 4.1.37.

637 “proved two things”: Observer, 3.1.37.

637 “sought a real knowledge”: Interview with Lorand Fenyves by the author, 1971.

637–38 “the magnificent Cataract Hotel” et seq.: AT letter to Ada Mainardi, 24.1.37.

638 “Cursed Rome”: AT letter to Ada Mainardi, 12.3.37.

638 “a friend who’s coming”: AT letter to Ada Mainardi, 24.1.37.

639 “For this year”: New York Philharmonic Archives.

639 “We should like”: New York Times, 6.1.37.

639 “Toscanini will absolutely”: New York Philharmonic Archives.

639 “Maestro did not think” et seq.: Ibid.

641 “unexpected musical developments”: Samuel Chotzinoff cablegram to AT, 14.1.37.

641 “Think to my age”: AT cablegram to Chotzinoff, 16.1.37.

641 “You are younger”: Chotzinoff cablegram to AT, 16.1.37.

641 “more gratification”: New York Times, 6.2.37.

642 “Very surprised”: Bruno Zirato cablegram to Carla Toscanini, 8.2.37.

642–43 “Was surprised”: Draft of AT cablegram to Zirato, February 1937.

643 “happiest man” et seq.: Artur Rodzinski cablegram to AT, 4.2.37.

644 “great happiness” et seq.: AT letter to David Sarnoff, 8.2.37.

392
644 “Did you find”: AT letter to Chotzinoff, 14.5.37.

644 “It seems to me”: AT letter to Ada Mainardi, 31.5.37.

645 “men from many orchestras”: Donald C. Meyer, The NBC Symphony Orchestra

(dissertation). Davis, California: University of California, Davis 1994, p. 80.

645 “engage Toscanini” et seq.: Stotijn, op. cit., p. 32.

646 “drunk on music”: AT letter to Ada Mainardi, 25.2.37.

646 “this unique event”: Het Vaderland, The Hague, 2.3.37.

646 “this morning”: AT letter to Ada Mainardi, 2(?).3.37.

646 “but Toscanini reacted”: Stotijn, op. cit., p. 33.

646–47 “I spent a ghastly”: AT letter to Ada Mainardi, 2(?).3.37.

647 “There was intense joy”: Stotijn, op. cit., p. 34.

647 The orchestra was transformed”: AT letter to Ada Mainardi, 4.3.37.

647 “very happy to have made”: AT letter to Ada Mainardi, 7.3.37.

647 “the courage”: AT letter to Iwa Aulin Voghera, 17.3.37.

647 “disgusted” et seq.: AT letter to Ada Mainardi, 17.3.37.

648 “received telegrams” et seq.: AT letter to Ada Mainardi, 2.4.37.

648 “After the good wishes”: Stefan Zweig letter to AT, reproduced in Harvey Sachs, ed.,

Arturo Toscanini from 1915 to 1946: Art in the Shadow of Politics, p. 85.

648 “Toscanini grumbled”: Wallmann, op. cit., p. 77.

648 “but one thing”: Eleonora von Mendelssohn to Rudolf Forster, undated but December

1937, in Thomas Blubacher, Gibt es etwas Schöneres als Sehnsucht? Die Geschwister

Eleonora und Francesco von Mendelssohn. Berlin. Insel Verlag 2012, p. 280.

648 “I am now an old man”: Haggin, The Toscanini Musicians Knew, op. cit., p. 174.

393
648 “the old maestro”: AT letter to Chotzinoff, 14.5.37.

649 “My hour”: AT letter to Ada Mainardi, 16.10.37.

649 “I’ve never feared death”: AT letter to Ada Mainardi, 27.11.37.

649 “Benedetto Croce”: AT letter to Ada Mainardi, 10.4.37.

649–50 “agitated, restless” et seq.: AT letter to Ada Mainardi, 2.4.37.

650 “interested me greatly”: AT letter to Ada Mainardi, 13.4.37.

650–51 “The rest was easy”: New York Times, 2.5.37.

651 “practically lived with”: AT letter to Ada Mainardi, 17.4.37.

651 “Most of the tempi”: AT letter to Ada Mainardi, 2.5.37.

652 “kept me at his home”: AT letter to Ada Mainardi, 14.6.37.

652–53 “Only the hours”: Stefan Zweig to Romain Rolland, 14.5.37, Rolland-Zweig, op. cit.,

p. 655.

653 “I saw Freud”: Ibid., 18.2.37, p. 645.

653 “excellent—better”: AT letter to Ada Mainardi, 24.5.37.

653 “If only you knew”: AT letter to Ada Mainardi, 31.5.37.

653 “There have always been”: New York Times, 20.6.37.

653 “Having heard your ‘Meistersinger’”: Maria Richter Loeb letter to AT, 27.8.37.

653–54 “How rare is the artist”: Bernard Shore, The Orchestra Speaks. London: Longmans,

Green & Co. 1938, pp. 161–70.

654 “I have to feel”: Lorand Fenyves interview, op. cit.

655 “found John Barbirolli”: Boult, op. cit., p. 103.

655 “especially inasmuch” et seq.: AT letter to Ada Mainardi, 10.4.37.

655 “The number of people”: Observer, 13.6.37.

394
656 “I’ve become a victim”: AT letter to Ada Mainardi, 14.6.37.

656 “deeply disturbed”: AT letter to Ada Mainardi, 7.8.37.

657 “with so much friendly feeling”: AT letter to Ada Mainardi, 24.6.37.

657 “able to read”: Transcript of AT letter to Friedelind Wagner, June 1937.

657 “to see whether”: AT letter to Ada Mainardi, 29.6.37.

657 “a triumph with respect”: AT letter to Ada Mainardi, 18.6.37.

658 “How many lost illusions”: AT letter to Ada Mainardi, 19.6.37.

658 “a day of divine sky”: AT letter to Ada Mainardi, 23.6.37.

658 “abnormal state” et seq.: AT letter to Ada Mainardi, 25.6.37.

658 “a dream of a child”: AT letter to Ada Mainardi, 13.7.37.

658–59 “scandalous” et seq.: AT letter to Ada Mainardi, 24.6.37.

659 “I’m surprised”: AT telegram to Erwin Kerber copied in AT letter to Ada Mainardi,

2.7.37.

659–60 “a boorish peasant”: AT letter to Bruno Walter, 3.7.37.

660–61 “one of the most representative”: Manchester Guardian, 7.3.36.

661 “German government”: AT telegram to Hans Pertner, 3.7.37, copied in AT letter to

Ada Mainardi, 5.7.37.

661 “an enemy of the regime”: Press conference of 1.6.37, cited in Gallup, op. cit., p. 90.

661 “good” “kind” “inclusion Salzburg Festival”: Draft of AT telegram to Hans Pertner,

undated but shortly after 3.7.37.

661 “futile [. . .] because”: Drafts of telegram from AT to Franz Rehrl, undated but early

July 1937.

662 “I’m so agitated”: AT letter to Ada Mainardi, 5.7.37.

395
662 “I wish it were all over”: AT letter to Ada Mainardi, 8.7.37.

662 “have liked to let” “and he wants everything” et seq.: AT letter to Ada Mainardi,

22.7.37.

663 “excellent, of the highest order”: Ibid.

663 “completely absorbed” et seq.: Haggin, The Toscanini Musicians Knew, op. cit., pp.

68–69.

663 “Everything went marvelously”: AT letter to Ada Mainardi, 24.7.37.

664 “coming to the conclusion” et seq.: AT letter to Ada Mainardi, 24.6.37.

664 “seemed to me still”: AT letter to Ada Mainardi, 30.7.37.

664–65 “brushed clean”: Observer, 29.8.37.

665 “forgot about [Richard] Strauss”: Haggin, The Toscanini Musicians Knew, op. cit.,

pp. 171–72.

665fn “most interested in”: AT letter to Ada Mainardi, 30.7.37.

666 “I arrived at the appointed hour”: Sir Georg Solti, Memoirs. New York: Knopf 1997,

p. 34.

667 “played many other”: Ibid.

667 “More and more obviously”: Emile Vuillermoz, “La saison de Salzbourg” [in Revue

musicale?], 18.8.37.

667–68 “Toscanini’s anti-Fascist” et seq.: Gallup, op. cit., pp. 93–95.

668 “Evviva Toscanini!” “ground his teeth”: New York Times, 6.8.37.

668–69 “an infinitely poetic” et seq.: AT letter to Ada Mainardi, 5–6.8.37.

669 “the orchestra musicians”: AT letter to Ada Mainardi, 23.8.37.

669 “the best of all those”: AT letter to Ada Mainardi, 30.8.37.

396
669–70 “how she would do them”: Haggin, The Toscanini Musicians Knew, op. cit., p. 61.

670 “every day”: AT letter to Ada Mainardi, 4.8.37.

670 “I can’t stand” “saturated in rage” “a sort of concert”: AT letter to Ada Mainardi,

16.8.37.

670 “noblesse oblige”: AT letter to Ada Mainardi, 19.8.37.

671 “You conduct at Bayreuth”: Interview of Elisabeth Furtwängler (the conductor’s

widow) by the author, 1977, and various other sources.

671 “splendidly furious outburst”: Joseph Roth letter to Stefan Zweig, 21.9.37 Michael

Hofmann (trans. and ed.), Joseph Roth: A Life in Letters. London: Granta 2012, p.

512.

671–72 “the letter could be considered”: AT letter to Ada Mainardi, 9.9.37.

672 “fur”: AT letter to Ada Mainardi, undated but October 1937.

672 “has let Dr. Kerber know”: AT letter to Ada Mainardi, 30(?).10.37.

672 “Can you imagine”: AT letter to Ada Mainardi, 22.1.38.

672 “atmosphere is”: Bruno Walter letter to AT, 4.2.38.

673 “Sadness over things”: AT letter to Ada Mainardi, 31.8.37.

673 “Until when”: AT letter to Ada Mainardi, 1.9.37.

673 “I need solitude”: AT letter to Ada Mainardi, 31.8.37.

673 “With a heart like that”: AT letter to Ada Mainardi, 7.9.37.

673–74 “the poet I love best” et seq.: AT letter to Ada Mainardi, 5.9.37.

674 “I’d like to turn”: AT letter to Ada Mainardi, 12.9.37.

674–75 “Do you think that I knew” et seq.: AT letter to Ada Mainardi, 14.9.37.

675 “Never were our bodies”: AT letter to Ada Mainardi, 22.9.37.

397
675 “being a countess”: AT letter to Ada Mainardi, 24.9.37.

675 “entourage!”: AT letter to Ada Mainardi, 27.9.37.

675 “even avoided a visit”: AT letter to Ada Mainardi, 22.9.37.

675 “Stinking old wreck!!!” AT letter to Ada Mainardi, 24.9.37.

675 “the Madman”: AT letter to Ada Mainardi, 29.9.37.

675 “And we look on” et seq.: AT letter to Ada Mainardi, 28.9.37.

676 “I’ll get back to work”: AT letter to Ada Mainardi, 24.9.37.

676 “a completely different man”: AT letter to Ada Mainardi, 26.9.37.

676 “cursing the moment”: AT letter to Ada Mainardi, 29.9.37.

676 “a phenomenon occurred”: Haggin, The Toscanini Musicians Knew, op. cit., p. 158.

677 “These recording sessions”: AT letter to Ada Mainardi, 25.10.37.

677 “superior to all others:” AT letter to Ada Mainardi, 27.10.37.

677–78 “stopped after three-quarters” et seq.: AT letter to Ada Mainardi, 28–29.10.37.

678 “stress and storm”: New York Times, 21.11.37.

679 “a magnificent performance”: AT letter to Ada Mainardi, 28–29.10.37.

679 “I’m a fatalist”: AT letter to Ada Mainardi, 22.10.37.

679 “told me that for the moment”: AT letter to Ada Mainardi, 24.10.37.

680 “The thought of going”: AT letter to Ada Mainardi, 7.11.37.

680 “I’m studying”: AT letter to Ada Mainardi, 10.11.37.

680 “My God”: AT letter to Ada Mainardi, 28.11.37.

680 “For me, it was”: Barblan, op. cit., p. 308.

681 “discharging numerous employees”: Meyer dissertation, op. cit., pp. 75–76.

681 “entirely false”: Ibid.

398
682 “friends, acquaintances”: AT letter to Ada Mainardi, 22.12.37.

682 “My love”: Ibid.

683 “sat nervously rigid”: Samuel Antek and Robert Hupka, This Was Toscanini. New

York: Vanguard 1963, pp. 15–16.

683 “The orchestra is of the highest”: AT letter to Ada Mainardi, 22.12.37.

684 “I work with the new orchestra” et seq.: AT letter to Ada Mainardi, 25.12.37.

685 “Since the modern microphone”: NBC Symphony Orchestra printed program,

25.12.37.

685 “just this moment”: AT letter to Ada Mainardi, 26.12.37.

685 “magnificent performance”: Sergei Prokofiev letter to AT, 7.2.38.

686 “I heard Toscanini”: Harlow Robinson, Sergei Prokofiev. New York: Viking 1987, p.

345.

686 “I conducted, I believe”: AT letter to Ada Mainardi, 6.2.38.

687 “what Maestro thinks”: Lotte Lehmann telegram to Margherita De Vecchi, 16.2.38.

687 “The current political events”: AT cablegram to Erwin Kerber, 16.2.38.

687 “Owing to the unsettled”: New York Times, 17.2.38.

688 “Do not be angry”: Lotte Lehmann telegram to AT, 19.2.38.

688 “Everyone very desperate”: Elsa Kurzbauer cablegram to Carla Toscanini, 18.2.38.

688 “He, the enemy”: Barblan, op. cit., p. 308.

688 “Continuation Austrian cultural”: Bruno Walter cablegram to AT, 19.2.38.

688–89 “If Austria either becomes”: B. Walter letter to AT, 20.2.38.

689 “Futile to await”: Draft of AT cablegram to B. Walter, 20.2.38.

689 “We have always hoped”: Farinacci quoted in Manchester Guardian, 10.3.38.

399
689–90 “In these Borgia-like years”: Gaetano Salvemini letter to AT, 18.2.38.

690 “Otherwise we are forced”: Salzburg Festival administration cablegram to AT, 2.3.38.

690 “I am surprised”: AT cablegram to Salzburg Festival administration, 3.3.38.

691 “for the promotion”: New York Times, 13.2.38.

691 “with my head spinning”: AT letter to Ada Mainardi, 7.2.38.

692 “having achieved outstanding”: New York Times, 1.4.38.

692–93 “What has happened”: AT letter to Ada Mainardi, 17.3.38.

693 “a whole battle of feelings”: AT letter to Ada Mainardi, 30.3.38.

693 “divine peace”: AT letter to Ada Mainardi, 2.4.38.

693 “I spent half an hour”: Ibid.

694 “expressed his delight”: Manchester Guardian, 3.5.38.

694 “It wasn’t necessary” “2,500 workers”: AT letter to Ada Mainardi, 13.4.38.

695 “and not only that”: AT letter to Ada Mainardi, 19.4.38.

695 “Nothing should interfere”: New York Times, 18.4.38.

695 “this marvelous people”: AT letter to Ada Mainardi, 24.4.38.

695 “My heart is torn”: AT letter to Ada Mainardi, 21.4.38.

696 “One thing must be said” “the champion of Jewish art”: New York Times, 8.5.38.

696 “In these sad days”: New York Times, 21.4.38.

697 “Maestro, I am very much ashamed”: Annette Morreau, Emanuel Feuermann. New

Haven and London: Yale University Press 2002, p. 177.

697 “created such a sensation”: Ibid., p. 183.

698 “very simpatico”: AT letter to Ada Mainardi, 25.5.38.

400
698 “the only joys”: Stefan Zweig letter to Romain Rolland, 21.6.38, in Rolland-Zweig,

op. cit., p. 684.

699 “I go from Shelley”: AT letter to Ada Mainardi, 24.6.38.

699 “Walter, that jackass”: AT letter to Ada Mainardi, 1.7.38.

699 “a new Salzburg”: Max Reinhardt cablegram to AT, 4.3.38.

699–700 “for your high esteem”: AT draft of cablegram to Max Reinhardt, [March 1938].

700 “colossal artist”: Erich Singer, Lucerne Festival: Von Toscanini zu Abbado. Luzern:

Pro Libro 2014, p. 58.

700 “created Die Meistersinger”: AT letter to Ada Mainardi, 2.4.38.

701 “bombarding me”: AT letter to Ada Mainardi, 30.6.38.

701 “pretty young woman”: Singer, op. cit., p. 63.

702 “the days in Lucerne”: AT letter to Ada Mainardi, 10.8.38.

702 “I have two rehearsals”: AT letter to Ada Mainardi, 23.8.38.

702 “I am so scared” et seq.: Potter, op. cit., Vol. I, p. 683.

704–11 All of the informers’ reports and Italian government documents in these pages come

from the Archivio Centrale dello Stato, Rome; Ministero dell’Interno (MI), Direzione

generale Pubblica sicurezza (DGPS), Divisione polizia politica (DPP).

705 “The Honorary Jew” et seq.: in Il regime fascista, 1.9.38.

705–6 “Farinacci’s punches”: in Il nuovo avanti, ?.9.38.

707–8 “I received Countess Castelbarco”: Galeazzo Ciano, Diario 1937–1938. Bologna:

Cappelli 1948, entry for 7.9.38.

708 “Impressions in America”: David Sarnoff telegrams to AT, 12 and 15.9.38.

401
708 “unpleasant interpretations”: Carla Toscanini letter to the chief of political police,

16.9.38.

708 “No news regarding”: AT letter to Ada Mainardi, 27.9.38.

708 “I am followed”: AT letter to Ada Mainardi, 28.9.38.

708 “[N]ever have I felt”: AT letter to Ada Mainardi, 27.9.38.

708–9 “I wish only”: AT letter to Ada Mainardi, 28.9.38.

709 “At this tragically difficult moment”: AT letter to Ada Mainardi, 27.9.38.

709 “They’ve forced Giulio Foligno”: AT letter to Ada Mainardi, 29.9.38.

709 “I wanted to say goodbye” “to pull the wool” et seq.: AT letter to Ada Mainardi,

28.9.38.

710 “monstrous beast”: AT letter to Ada Mainardi, 29.9.38.

711–12 “When I got back home”: AT letter to Ada Mainardi, 6.10.38.

712 “was very shaken”: Wanda Toscanini Horowitz letter to Mieczyslaw Horszowski,

6.10.38, in Bice Horszowski Costa, ed., Miecio: Ricordi di Mieczyslaw Horszowski.

Genova: Erga edizioni 2000, p. 297.

712 “It is the newspapers”:

712 “And here I am alone”: AT letter to Ada Mainardi, 6.10.38.

712 “and when you feel nausea”: AT letter to Ada Mainardi, 4.11.38.

712–13 “via the staff’s exit”: AT letter to Ada Mainardi, 10.10.38.

CHAPTER X

Page

715 “I’m in an abnormal state”: AT letter to Ada Mainardi, 26.10.38.

402
716 “Over a question”: AT letter to Ada Mainardi, 13.10.38.

716 “Oh, if only” “tell me that you”: Ibid.

716 “rose to their feet”: New York Times, 16.10.38.

718 “I was afraid”: AT letter to Ada Mainardi, 29.10.38.

719 “pleased on the one hand”: AT letter to Ada Mainardi, 21.10.38.

719 “How are people’s nerves”: Walter Toscanini letter to Margherita De Vecchi,

29.3.39.

720 “dear person” et seq.: CT 7.8.54.

721 “So I said”: CT 1.3.55.

721–22 “raised his shoulders”: Rodzinski, op. cit., p. 168.

722 “I can’t get modern music”: AT letter to Ada Mainardi, 19.7.39.

722 “I have the impression”: Horszowski Costa, op. cit., p. 299.

722 “This is not my tempo”: Ernst Silberstein interviewed by the author, 1965.

722 “dry as dust”: George Szell interviewed by the author, 1965.

723 “You avenge”: AT letter to Ada Mainardi, 24.2.39.

723 “Never say again”: Ibid.

723–24 “than to hear” et seq.: AT letter to Ada Mainardi, 6.5.39.

724 “anxiety about Toscanini”: New York Times, 14.5.39.

724 “The pope and those old men”: CT 14.3.54.

724–25 “hard at work”: Owen Mase, “The Other Dimension,” in Royal Festival Hall program

for AT’s concerts of 29.9 and 1.10.52.

725 “contact with Beethoven’s very mind”: Dyment, op. cit., p. 169.

725 “a unique occasion”: Ibid., pp. 163–64, 170.

403
725–26 “settling me down”: Sir Arthur Bliss, As I Remember. London: Faber and Faber 1970,

p. 116.

726–27 “comfortable, large”: AT letter to Ada Mainardi, 8.6.39.

727 “who martyrs my country”: AT letter to Ada Mainardi, 4.6.39.

727 “however necessary”: AT letter to Ada Mainardi, 23.6.39.

727 “The spirit of the music”: Walter Ducloux, “The Day I Conducted for Toscanini,” in

The Maestro, journal of the Arturo Toscanini Society, Vol. II, January–December

1970, pp. 57–61.

727–28 “morning and evening”: et seq.: AT letter to Ada Mainardi, 5 and 28.7.39.

728 Eleonora was staying nearby, et seq.: Blubacher, op. cit., p. 187.

728 “musical instruction was wonderful”: Anna-Lisa Björling and Andrew Farkas, Jussi.

Portland, Oregon: Amadeus Press 1996, pp. 127–28.

728 “I said, as a joke”: CT 22.2.54.

729 “I’m still under”: AT letter to Ada Mainardi, 25.8.39.

730 “Several times”: Solti, op. cit., pp. 46–47.

732 “were very charming”: New York Times, 1.10.39.

732 “Impossible though it seems”: AT letter to Ada Mainardi, 24.10.39.

732 “Oh, how hard it is”: AT letter to Ada Mainardi, 28.10.39.

732–33 “With six violins”: AT letter to Ada Mainardi, 24.10.39.

732fn “feel the spirit”: New York Times, 5.11.39.

733 “It’s situated”: AT letter to Ada Mainardi, 24.10.39.

734 “I was in good humor” et seq.: AT letter to Ada Mainardi, 24.11.39.

734 “egoist”: AT letter to Ada Mainardi, 4.9.40.

404
735 “when she came to excuse herself” et seq.; “It’s a real joy”: AT letter to Ada

Mainardi, 23.11.39.

735–36 “I love you as I never loved” “Don’t lose time”: AT letter to Elsa Kurzbauer,

November (?) 1939.

736 “I have days”: AT letter to Ada Mainardi, 2.11.39.

737 “drunk with beauty”: AT letter to Ada Mainardi, 19.12.39.

737 “This evening I’ll conduct”: AT letter to Ada Mainardi, 29.12.39.

738 “terribly disappointed”: Potter, op. cit., Vol. II, p. 755.

738 “with such assurance”: CT 3.1.55.

739–40 “so as not to upset myself” et seq.: AT letter to Ada Mainardi, 24.1.40.

740 “into personal touch with greatness”: New York Times, 3.10.43.

740 “Toscanini’s merits for music”: New York Times, 26.3.38.

742 “How do they have the nerve”: AT letter to Ada Mainardi, 20.1.40.

742–43 “rivalry between the two conductors” “a tour by Toscanini”: New York Times,

24.3.40.

743 “I’m afraid to listen”: Reported in Amadeus magazine (Italy), Vol. 5 No. 3, May

1995, p. 34.

743–46 Many technical details of the tour taken from Meyer, op. cit., pp. 233–56.

744 “unparalleled in the history”: New York Times, 7.7.40.

744 “hundreds stood in the rain”: New York Times, 5.7.40.

745 “The tour went magnificently”: AT letter to Ada Mainardi, 10.8.40.

746 “after all, we’re Italian”: Walfredo Toscanini in conversation with the author.

746 “For some months”: AT letter to Ada Mainardi, 10.8.40.

405
746 “What sorrow”: AT letter to Ada Mainardi, 4.9.40.

747 “You are too poisoned”: AT letter to Ada Mainardi, 16.5.41.

747 “I showed your quotation”: Sybil Cholmondeley letter to AT, 27.11.40.

747 “lives here, in America”: AT letter to Olin Downes, 28.10.41.

748 “thirty-five men”: Haggin, The Toscanini Musicians Knew, op. cit., pp. 35–36.

749 “My old age tells me”: AT letter to David Sarnoff, 1.5.41.

750 “for the criticism”: George Szell to AT, 20.3.41.

751 “We rejoice”: Margherita De Vecchi’s copy of AT and Carla Toscanini cablegram to

Friedelind Wagner, 28.3.40.

751 “I’m worried”: AT letter to Ada Mainardi, 13.8.40.

751 “How should I be able”: Eva Rieger, Friedelind Wagner. Woodbridge, UK: Boydell

Press 2013, p. 127.

752 “The performances are”: Friedelind Wagner letter to Margherita De Vecchi, 17.7.41.

752 “was in good humor”: Horszowski Costa, op. cit., p. 314.

753 “He writes like God”: Haggin, Conversations with Toscanini, op. cit., p. 21.

753–54 “I don’t know”: AT letter to Morton Gould, 1.9.42.

754 “I must say”: Eleanor Roosevelt, “My Day” (United Feature Syndicate, Inc.), 15.1.42.

755 “better known as a drunkard”: Walter Toscanini letter to Samuel Chotzinoff, 27.7.42.

756 “to be once more”: AT letter to Maurice Van Praag, 30.10.41.

756 “not six years”: Haggin, Conversations with Toscanini, op. cit., pp. 20–22.

756 “At my tender age”: AT to Wally Toscanini, 8.5.42.

756–57 “He was a friend”: AT conversation with Ubaldo Bertoli, recounted in Il giorno,

25.3.67.

406
757 “marvelous. He enters”: CT 7.3.54.

757 “immediate amnesty”: New York Times, 26.11.42.

758–59 “who strenuously fought” et seq.: AT letter to Leopold Stokowski, circa 20.6.42.

758fn “Never in my long life”: AT unsent letter to Stokowski, 19.10. 41.

759 “I am glad you are willing”: Stokowski letter to AT, date?

759 “renounced to be the first” et seq.: AT to Stokowski, 25.6.42.

759 “This glorious musical occasion”: New York Times, 19.7.42.

759 “How could I have conducted” et seq.: CT 22.5.54.

760 “Oh, you good Bolognese”: Tito Silvio Mursino (alias Vittorio Mussolini), “La

settima sinfonia,” in Il messaggero, Rome, 17.4.43.

760 “a young man full of fire”: Horszowski Costa, op. cit., p. 318.

761 “not only a gesture”: New York Times, 31.10.42.

761 “outstanding service”: Ibid., 15.5.43.

761 “Arturo Toscanini, beaten”: Ibid., 2.2.43.

761 “To Maestro Arturo Toscanini”: Gaetano Salvemini and George [sic] La Piana, What

to Do with Italy. New York: Duell, Sloan and Pearce 1942, p. v.

762 “The crippled children”: Franklin D. Roosevelt letter to AT, 6.4.43.

762 “the highest recompense”: New York Times, 20.4.43.

764 “Non è giusto!” et seq.: Nan Merriman’s account in Amadeus magazine (Italy), Vol. 5

No. 3, May 1995, p. 34.

765 “To the People of America” et seq.: Article signed by AT in Life, 13.9.43.

766 “overwhelemed with joy”: New York Times, 9.9.43.

766 “From this moment on”: AT letter to Count Carlo Sforza, 1.10.43.

407
767 “He was a thousand times”: Armando Borghi, “Esilio americano,” in Il mondo,

14.5.57.

767 “in the strongest way”: AT letter to Vito Marcantonio, 11.6.44.

767 “mishandled and massacred”: AT letter to Wally Toscanini, 9.11.44.

770 “concerning the coming invasion”: New York Times, 14.4.46.

770 “There are Italians”: Ibid. 14.1.45.

771 “deceptively simple”: George Szell interviewed by the author, 1965.

773 “in remembrance of”: Harvey Sachs, Rubinstein: A Life. New York: Grove Press

1995, p. 271.

773 “needed only one invitation”: New York Times, 21.4.45.

774 “The Italians have not forgotten”: Ibid., 5.5.45.

774 “I have been near you”: in Della Corte, op. cit., pp. 337–38.

775 “It is useless”: Walter Toscanini letter to Walter Fletcher, 27.7.45.

776 “He said: ‘Will it make’”: Haggin, The Toscanini Musicians Knew, op. cit., pp. 80–

81.

779 “I didn’t have the nerve”: AT letter to Ada Mainardi, 23.9.46.

780 “artistic intransigence” et seq.: Minetti, op. cit., pp. 67–68.

CHAPTER XI

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783 “I can’t describe”: AT letter to Ada Mainardi, 23.9.46.

784 “Make the bow jump”: Notes made by Lily Seppilli.

784 “Come back soon!”: New York Times, 28.6.46.

408
785 “in complete agreement”: Frassati, op. cit., p. 267.

785 “Most honored Maestro”: Richard Strauss letter to AT, 2.7.46.

786 “When I arrived in Milan” et seq.: from papers left by Walfredo Toscanini.

786 “We are at the end”: Walter Toscanini letter to Margherita De Vecchi, 2.8.46.

787 “Fortunately, Walter”: AT to Carla Toscanini, 10.10.46.

788 “I think it’s time”: AT letter to Ada Mainardi, 23.9.46.

788 “Koussevitzky use celli”: Haggin, Conversations with Toscanini, op. cit., pp. 61–62.

791 “worked very hard”: AT letter to Elsa Kurzbauer, 1.5.47.

791 “that I think I even disgusted”: Ibid., 15.5.47.

793 “prove you are not yet bored”: AT letter to Carlton Cooley, 16.9.47.

793 “felt the unusual charm”: AT letter to Samuel Chotzinoff, 12.9.47.

793 “an outstanding candidate”: in H. Sachs, ed., Arturo Toscanini from 1915 to 1946

(etc.), op. cit., pp. 130–134.

793 “This is Otello”: CT 26.4.53.

794–95 “Without a doubt”: New York Times, 28.3.48.

795 “He knows his onions”: Ibid, 21.3.48.

796–97 “You must stop”: Labroca and Boccardi, op. cit., p. 201.

797 “understood for the first time”: Walter Toscanini letter to Margherita De Vecchi,

1.9.48.

797 “eaten up a lot of money” et seq.: Walter Toscanini letter to Margherita De Vecchi,

16.9.48.

798 “I must personally tell you”: AT letter to Iris Cantelli, 3.3.49.

799–800, “after a couple of pages”: Minetti, op. cit., p. 20.

409
799fn “He sang the notes”: CT 15.11.53.

800 “much faster”: AT to Leonard Bernstein, 15.10.49, in Nigel Simeone, ed., The

Leonard Bernstein Letters. New Haven and London: Yale University Press 2013, p.

262.

801 “the conductor’s ability”: CT 28–29.10.55.

801 “When I hear it”: CT 2.1.54.

802 “It is an old Italian artist”: AT letter to President Luigi Einaudi, 5 or 6.12.49.

804 “sincere desire”: New York Times, 28.5.50.

804 “The performances all along”: Antek and Hupka, op. cit., p. 101.

804 “We’ll have to spend”: New York Times, 10.5.50.

804–5 “He will kill us all”: Philip Hamburger, “Toscanini Train,” in New Yorker, 20.5.50.

805 “I flew down”: Walfredo Toscanini interviewed by the author, 1977.

805 “At ten in the morning”: Antek and Hupka, op. cit., pp. 99–100.

806 “left a very bitter taste” et seq.: fragment of AT letter to Maria Cecchini, summer

1950.

807 “going from bad to worse”: AT to Carla Toscanini, undated but September 1950.

807–8 “I didn’t intend”: Ibid., 31.10.50.

808 “I’m quite a mess”: Ibid., 16.12.50.

808 “My God, so much sadness!”: Ibid., 3.12.50.

808 “I’m very agitated” et seq.: Ibid., 5.1.51.

808–9 “They played magnificently”: Ibid., 23.11.50.

809 “My heart aches”: AT to Wally Toscanini, 14.3.51.

410
809 “I don’t deserve any praise”: AT draft of letter to John Howe Treder, undated but late

January or February 1951.

811 “Doctors have ordered him”: Walter Toscanini letter to Owen Mase, 14.2.51, in

Dyment, op. cit., p. 208.

811 “The hall is magnificent”: Malcolm Sargent cablegram to AT, 5.5.51.

811fn “In Milan he heard a certain”: Walter Toscanini letter to Carl Ebert, 29.1.51.

811fn “It’s not the right kind of voice”: CT 29.11.53.

812 “Papà was very affectionate”: Allegri, op. cit.

813 “After the war”: Wally Toscanini in conversation with the author, 1976.

813 “And what if I do?”: Richard Osborne, “All in Good Time,” in Records and

Recordings, February 1973.

813 “He was always extremely kind”: in Amadeus (Italy), Vol. V, No. 3, May 1995, pp.

48–49.

814 “Unfortunately for my Carla”: Draft (in Walter Toscanini’s hand) of AT cablegram to

Frank Folsom, undated but May or June 1951.

814 “a happy weekend”: David Sarnoff letter to AT, 7.8.51.

814–15 “I’m homesick” “I didn’t feel tired”: AT letter to Wally Toscanini, 3.10.51.

815 “If it was not”: Anne Mischakoff Heiles, Mischa Mischakoff. Sterling Heights,

Michigan: Harmonie Park Press 2006, p. 184.

816 “changes of tone”: Manchester Guardian, 2.10.52.

817 “Now he is the greatest figure”: Henry Hardy and Jennifer Holmes (eds.), Isaiah

Berlin: Enlightening; Letters 1946–1960. London: Chatto & Windus 2009, pp. 258–

59.

411
817 “The only way”: New York Times, 25.3.52.

818 “There was a little church”: in Il giorno, 25.3.67.

818–19 “He looked at me”: Della Corte, op. cit., pp. 394–98.

819 “spryly left the podium”: New York Times, 27.7.52.

820 “I’m embarrassed” et seq.: Labroca and Boccardi, op. cit., p. 274.

820 “I don’t know anyone”: Ray Vir Den letter to Walter Toscanini, ? 1952.

821 “The Philharmonia is a very good orchestra”: CT 1.4.53.

821 “sought to emulate”: Dyment, op. cit., p. 222.

821–22 “seems almost to embarrass him”: Manchester Guardian, 1.10.52.

823 “I’M WELL”: AT to Wally Toscanini, 2 November 1952.

823 “the same amount of time”: Nan Merriman’s account in Amadeus magazine (Italy),

Vol. 5 No. 3, May 1995, p. 34.

824 “If, with my enthusiasm”: AT to Maria Cecchini, 16.3.53.

824–25 “would like to rest”: AT to Wally Toscanini, 12.5.53.

825 “I am not well”: AT to Maria Cecchini, 16.5.53.

825 “they have had the bad taste”: Ibid.

825 “ferocious resistance”: AT to Wally Toscanini, 12.5.53.

829 “We would, but unfortunately”: 1.4.53.

830 “reacted so furiously”: Friedelind Wagner letter to Margherita De Vecchi, 30.9.53.

830 “marvelous”: CT 15.11.53.

830 “I wouldn’t know how”: CT 18.4.53.

831 “I was ashamed of myself” et seq.: CT 6.2.54.

831 “as well as possible”: AT letter to Maria Cecchini’s mother, 25.11.53.

412
832 “But, my friend”: CT ?.12.53.

832 “I’m no longer”: CT 20.12.53.

833 The Maestro made a very sad impression”: Horszowski Costa, op. cit., p. 369.

834 “He’s a man who isn’t well”: CT no date, but second week of January 1954.

834 “I want to see”: Ibid.

834 “But Maestro” et seq.: Haggin, The Toscanini Musicians Knew, op. cit., pp. 118–19.

836–37 “My very dear David” et seq.: AT letter to David Sarnoff, 25.3.54.

837 “He realized that he was very old”: Wally Toscanini interviewed by the author, 1972.

838 “Many years!” et seq.: CT 25.3.54.

839 “Did nothing” et seq. Haggin, Conversations with Toscanini, op. cit., pp. 103–5.

841 “I conducted as if”: Allegri, op. cit.

841 “those Jews”: CT 14.12.54.

843 “Rubinstein came off the stage”: Beniamino Dal Fabbro, Musica e verità. Milano:

Feltrinelli 1967, p. 173.

844 “And you Maestro”: CT 30.6.54.

845 “Sometimes I feel the desire”: CT 9.8.54.

845 “refuses to die” et seq.: New York Times, 22.6.54, 4.7.54.

845 “I stay riveted”: AT letter to Maria Cecchini, ?.8.54.

846 “Why don’t you young people”: D’Amico and Paumgartner., op. cit., pp. 179–80.

846 “He wanted the real Falstaff”: Lucino Visconti, “Il vero Falstaff,” in Il

contemporaneo, Roma, 26.1.57.

846 “Now I’m all right” “Do you have any?” et seq.: Camilla Cederna, La voce dei

padroni. Milano: Longanesi 1962, pp. 10–12.

413
847 “I find this Callas”: John Ardoin and Gerald Fitzgerald, Callas. New York: Holt,

Rinehart & Winston 1974, p. 89.

847 “Toscanini whispered to me”: in Oggi, 31.1.57.

847 “Al nostro Falstaff”: Visconti, “Il vero Falstaff,” op. cit.

847 “That evening”: Carlo Allodi, Arturo Toscanini: Parma nel centenario della nascita.

Parma: 1967, p. 136.

847 “Cardiogram shows”: Anita Colombo cablegram to Walter Toscanini, 21.12.54.

847 “that at last the Falstaff idea”: Walter Toscanini letter to Sandro Cicogna, 18.1.55.

848 “The two engineers”: AT comment at the bottom of Sandro Cicogna’s letter to Walter

Toscanini, 27.7.54.

848 “I’m warning you” et seq.: Sandro Cicogna in conversation with the author, 1977.

848 “that stupid Milanov”: CT 1.3.55.

848 “Evviva Verdi!”: AT comment at the bottom of Sandro Cicogna’s letter to Walter

Toscanini, 7.2.55.

849 “bring me that plane ticket”: Natale Gallini in conversation with the author, 1977.

849 “I told him that La Scala”: Gualtiero Trambali, “Sono vecchissimo, non ne posso

più,” in Epoca, 26.1.77.

850 “My stay gives me”: Anita Colombo letter to Sandro Cicogna, 10.5.55.

850 “drastic mood swings”: Walter Toscanini letter to Sandro Cicogna, 26.5.55.

851 “Never! I don’t know” “to make pee-pee”: CT 1.3.55.

851 “last year I decided”: AT letter to Leopold Stokowski, 8.3.55.

851 “collapse”: Orio Vergani, Misure del tempo: Diario 1950–1959. Milano: Leonardo

1990, p. 378.

414
853 “Owing to unforeseen”: Cablegram from someone in Milan to AT, 24.11.56.

854–55 “Papà, you must be tired” et seq.: Allegri, op. cit.

856 “the memory of his glorious” “The world has lost”: New York Times, 17.1.57.

863 “evolutionary quality”: Gianandrea Gavazzeni in conversation with the author, 1972.

864 “I can’t alienate myself”: AT letter to Ada Mainardi, 18.3.38.

864 “the conduct of my life”: Holographic reproduction of AT’s statement regarding the

Bologna episode, spring 1931, in Barblan, op. cit., insert between pp. 360 and 361.

415