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EIGHTY-NINTH SEASON 1969-1970

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first violins cellos bassoons Jules Eskin Sherman Walt concertmaster Philip R. Allen chair Ernst Panenka Charles Munch chair Martin Hoherman Matthew Ruggiero Alfred Krips Mischa Nieland Max Hobart Karl Zeise contra bassoon Rolland Tapley Robert Ripley Richard Plaster Roger Shermont Luis Leguia Max Winder Stephen Geber horns Harry Dickson Hidenobu Tsuchida* James Stagliano Gottfried Wilfinger Jerome Patterson Charles Yancich Fredy Ostrovsky Ronald Feldman Harry Shapiro Leo Panasevich William Stokking Thomas Newell Noah Bielski Paul Keaney Herman Silberman basses Ralph Pottle Stanley Benson Henry Portnoi Sheldon Rotenberg William Rhein trumpets Alfred Schneider Joseph Hearne Julius Schulman Armando Ghitalla Bela Wurtzler Gerald Gelbloom Roger Voisin Leslie Martin Andre Come Raymond Sird John Salkowski Gerard Goguen second violins John Barwicki Clarence Knudson Buell Neidlinger trombones William Robert Olson Marshall William Gibson Michel Sasson Josef Orosz Ronald Knudsen flutes Kauko Kahila Leonard Moss William Waterhouse Walter Piston chair tuba Ayrton Pinto James Pappoutsakis Chester Schmitz Amnon Levy Phillip Kaplan Laszlo Nagy timpani Michael Vitale piccolo Victor Manusevitch Everett Firth Lois Schaefer John Korman Christopher Kimber percussion oboes Spencer Larrison Charles Smith Ralph Ikuko Mizuno Gomberg Arthur Press John Holmes assistant timpanist violas Hugh Matheny Thomas Gauger Burton Fine Frank Epstein Charles S. Dana chair english horn Reuben Green Laurence Thorstenberg harps Eugene Lehner Bernard Zighera George Humphrey clarinets Ann Hobson Jerome Lipson Robert Karol Gino Cioffi librarians Bernard Kadinoff Pasquale Cardillo Vincent Mauricci Peter Hadcock Victor Alpert Earl Hedberg fb clarinet William Shisler Joseph Pietropaolo Robert Barnes bass clarinet stage manager Yizhak Schotten Felix Viscuglia Alfred Robison personnel manager William Moyer

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1496 I

CONTENTS

Program for April 24 and 25 1970 1499

Program notes

Bach - Cantata no. 140 'Wachet auf, ruft uns die Stimme' 1511 by John N. Burk and Andrew Raeburn

Mahler- Symphony no. 9 in D 1514 by John N. Burk

Reviews of the Orchestra's recent tour 1529

The soloists 1531

The choruses 1532

Season summary 1544

Program Editor ANDREW RAEBURN

1497 I

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1498 ERRATUM AND ADDENDUM

On Friday, April 24, the cello continuo in Bach ! s Cantata no. 140 was played by MARTIN HOHERMAN.

On Friday and Saturday, April 24 and 25, the double bass continuo in Bach's Cantata no. 140 was played by HENRY PORTNOI. 1 EIGHTY-NINTH SEASON 1969-1970

Friday afternoon April 24 1970 at 2 o'clock

Saturday evening April 25 1970 at 8.30

MICHAEL TILSON THOMAS conductor

J. S. BACH Cantata no. 140 'Wachetauf, ruft uns die Stimme' Chorus Recitative (tenor) Aria (soprano and bass with violin solo) Chorale (tenor) Recitative (bass) Aria (soprano and bass with oboe solo) Chorale (tutti) BETHANY BEARDSLEE soprano ROBERT GARTSIDE tenor VERN SHINALL bass JOSEPH SILVERSTEIN violin RALPH GOMBERG oboe JULES ESKIN cello continuo MATTHEW RUGGIERO bassoon continuo JOHN ADAMS harpsichord continuo BERJ ZAMKOCHIAN organ continuo HARVARD GLEE CLUB and RADCLIFFE CHORAL SOCIETY Elliot Forbes conductor

first performance by the Boston Symphony Orchestra in Boston

intermission

MAHLER Symphony no. 9 in D Andante comodo Im Tempo eines gemachlichen Landlers: etwas tappisch und sehr derb (In tempo of a gentle Landler: in a somewhat heavy and very uncouth manner)

Rondo-Burlesque: Allegro assai, sehr trotzig (very boldly) Adagio

The text and translation of Wachet auf begin on page 1512

Friday's concert will end about 4.15; Saturday's about 10.45 BALDWIN PIANO RCA RECORDS

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JOHANN SEBASTIAN BACH Cantata no. 140 'Wachet auf, ruft uns die Stimme' Program note by John N. Burk and Andrew Raeburn

Bach was born at Eisenach on March 21 1685; he died in Leipzig on July 28 1750. He wrote the Cantata no. 140 in 1731 at Leipzig. The first performance by the Boston Symphony Orchestra was given on July 6 1952 at the Berkshire Festival, when Hugh Ross conducted. These are the first performances by the Orchestra in Boston.

The scoring: soprano, tenor and bass soloists; chorus; two oboes, english horn, bassoon, strings, keyboard continuo, and horn doubling the soprano cantus firmus in the opening movement and the melody in the final chorale. The part for horn will be played by trumpet in these performances.

The text is based on the parable of the wise and foolish virgins (St Matthew 25: 1-13).

Unlike many of his church cantatas, Bach designed this one in a sym- metrical form, dramatically developed. A chorale melody from the Freudenspiegel des ewlgen Lebens of Philipp Nicolai (1556-1608) opens and closes the cantata, as well as providing the melody for the fourth movement, which is well known from the transcription in the 'Schubler' chorale preludes for organ. In the first and fourth movements of the cantata the melody is embellished by orchestral counterpoint; the final movement is a simple statement harmonised in four parts.

J. N. B.

Until recent years there was considerable doubt in the minds of schol- ars about the dating of Bach's cantatas; now, thanks to technological advances in photography and paper analysis, a new chronology has been established, based on research into the watermarks of the paper of the original manuscripts, and a comparison of the script of the copyists. The two scholars most closely involved in this work are Alfred Durr and Georg von Dadelsen, who had by the summer of 1966 examined the handwriting in more than 10,000 photographs, and the watermarks of over 5,000 leaves of paper. Their conclusion is that the majority of Bach's Leipzig cantatas date from between 1723 and 1729, and not into the 1740s, as had been conjectured in the past. In his article 'New light on Bach', which was published in the Musical Times of June 1966,

Professor Durr wrote of the Cantata no. 140: 'It was written for a twenty-seventh Sunday after Trinity, a Sunday that seldom occurs [since there are not always so many weeks after Trinity Sunday in the church calendar — it depends on the date of Easter]; and for that reason the first performance can only have taken place in 1731 or 1742. The earlier schol- ars inclined towards 1731, and (as it happened) they were right; but the only reason they could give was that the sentimental, gushing libretto

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1511 couid hardly be reconciled with the strictly orthodox Bach of the 1740s — the date to which many of the other chorale cantatas were then ascribed. The date has now been established as 1731 by other means.'

This new information is perhaps not of enormous value except to students interested in the details of Bach's life and work. Whatever its date Wachet auf remains one of the most striking, dramatic and beauti- ful of the church cantatas. It is however fascinating to learn how present scientific methods can be used to research 'musical history. A. H. R. Chorus

Wachet auf! ruft uns die Stimme Sleepers, wake. The voice of the Der Wachter sehr hoch auf der Zinne: watchman Wach auf, du Stadt Jerusalem! on his lofty tower summons us. Mitternacht heisst diese Stunde; Wake, thou city of Jerusalem.

Sie rufen uns mit hellem Munde: It is the midnight hour; Wo seid ihr klugen Jungfrauen, wo? with clarion voice they call us: Wohl auf! der Braut/gam kommt, Where are you, o wise virgins?

Stent auf! die Lampen nehmt. Rouse yourselves, the bridegroom is Alleluja! coming. Macht euch bereit zu der Hochzeit, Arise, take up your lamps. Ihr musset ihm entgegen gehn. Alleluia. Make ready for the wedding, you must go out to meet him.

Recitative (tenor)

Er kommt, er kommt, der Braut'gam He comes, he comes, the bridegroom kommt! Ihr Tochter Zions kommt her- comes. O daughters of Zion, come aus, sein Ausgang eilet aus der Hohe forth. He hastens from the mountain in euer Mutter Haus. Der Braut'gam heights to reach your mother's house. kommt, der einem Rehe und jungen The bridegroom comes, he who leaps Hirsche gleich auf denen Hugeln from the hills like a roe or a young springt, und euch das Mahl der Hoch- hart, and brings you the wedding zeit bringt. Wacht auf, ermuntert euch! feast. Awake, prepare yourselves to den Braut' gam zu empfangen; dort! receive the bridegroom. There! See, sehet! kommt er hergegangen. he approaches.

Aria (soprano and bass) Wann kommst du, mein Heil? When comst thou, my redeemer?

Ich komme, dein Theil. I come, thy reward.

Ich warte, ich warte mit brennendem I wait, I wait with my lamp aflame.

Ole. I open the door, Ich eroffne den Saal, Open thou the door, Zum himmlischen Mahl To the heavenly banquet.

Komm, Jesu! Ich komme, Come, Jesu; I come; Komm, liebliche Seele! Come, my dearest heart.

Chorale (tenor)

Zion hort die Wachter singen, Zion hears the watchmen singing; Das Herz thut ihr vor Freuden springen, Hearts leap for joy. Sie wachet, und stent eilend auf. They wake and hastily arise. Ihr Freund kommt vom Himmel Your friend comes from heaven, prachtig, the prince, Von Gnaden stark, von Wahrheit Full of mercy and truth. machtig, The light shines bright, the star rises. Ihr licht wird hell, ihr Stern geht auf. Come now, O worthy prince, Nun komm, du werthe Kron,

1512 —

Herr Jesu, Gottes Sohn. Jesu, son of God. Hosianna! Hosanna! Wir folgen All' We all follow Zum Freudensaal, To the joyous chamber Und halten mit das Abendmahl. To celebrate the Lord's supper.

Recitative (bass)

So geh' herein zu mir, du mir erwahlte Enter in with me, my chosen bride. I

Braut! Ich habe mich mit dir in Ewig- am pledged to thee to eternity. I will keit vertraut. Dich will ich auf mein set thee as a seal upon my heart, upon Herz, auf meinen Arm gleich wie ein my arm, and bring joy to thy sorrow- Siegel setzen, und dein betrubtes Aug' ful eyes. Forget, dear heart, the fear, ergotzen. Vergiss, o Seele, nun die the sorrow which thou hast endured. Angst, den Schmerz, den du erdulden On my left hand shalt thou find peace, mussen; auf meiner Linken sollst du while my right shall embrace thee. ruh'n, und meine Rechte soil dich kussen.

Aria (soprano and bass)

Mein Freund ist mein! My love is mine.

Und ich bin dein! And I am thine. Die Liebe soil nichts scheiden. Our love shall not be broken.

Ich will mit dir, I shall with thee, Du sollst mit mir Thou shalt with me, In Himmels Rosen weiden; Wander in the rose gardens of Heaven. Da Freude die Fulle There shall be joy in plenty, Da Wonne wird sein. There shall be bliss.

Chorale (tutti)

Gloria sei dir gesungen Let the choirs of men and angels Mit Menschen und englischen Zungen, sing glory to thee, Mit Harfen und mit Cymbeln schon. with harps and cymbals. Thy city's Von zwolf Perlen sind die Pforten gates are adorned An deiner Stadt; wir sind Consorten with twelve pearls [an allusion to the Der Engel hoch an deinen Thron. gates of Jerusalem; see Revelation 21:21].

Kein Aug' hat je gespiirt, No eye has ever seen, Kein Ohr hat je gehort no ear ever heard Solche Freude. such joy.

Dess sind wir froh, So are we glad - lo, io! io, io — Ewig in dulci jubilo. in sweet exultation for ever.

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During a recent test in the Hall, a note played mezzoforte on the horn measured approximately 65 decibels (dB(A)) of sound. A single 'uncovered' cough gave the same reading. A handkerchief placed over the mouth when coughing assists in obtaining a pianissimo.

1513

Symphony no. 9 in D Program note by John N. Burk

Mahler was born at Kalist, Bohemia, on July 7 1860; he died in on May 18 1911. He made sketches for the Ninth symphony in 1909 and completed the score on April 1 of the following year. The first performance took place after the composer's death, on June 26 1912 in Vienna; conducted. The Boston Symphony Orchestra, conducted by , gave the first American performance on October 16 1931 in Symphony Hall. The most recent performances by the Orchestra in Boston were given in January 1967 when Rafael Kubelik was the conductor.

The instrumentation: 4 flutes, piccolo, 3 oboes, english horn, 3 clarinets, E flat clarinet, bass clarinet, 4 bassoons, contra bassoon, 4 horns, 3 trumpets, 3 trom- bones, tuba, timpani, bass drum, cymbals, triangle, tarn tarn, chimes, glocken- spiel, snare drum, 2 harps and strings.

Mahler completed his Lied von der Erde and his Ninth symphony in the summers of 1908 and 1909 respectively, after his first two winter seasons as conductor in America. Neither was performed in his lifetime. Bruno Walter introduced Das Lied in Munich in November 1911, six months after the composer's death, and the Ninth symphony in Vienna, June 1912.

Mahler was held by the thought of death in these, his last years. Paul Stefan writes: 'Mahler's grief at the death of his eldest daughter (1907); the knowledge of his heart disease; a new and overpowering revelation of nature; these are the springs from which The song of the earth (and a year later the Ninth symphony) sprang . . . The song of the earth would have been the Ninth symphony/ says Stefan, 'but Mahler held back from a "Ninth", which seemed to lead the musical world to new expectations and at the same time to be fatal to the composer. Since the great "Ninths", no composer had yet completed a Tenth. That is

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why the ''Chinese Songs" do not bear this title. The next work was, in spite of all, called so, and, curiously enough, Mahler did not finish his Tenth either/

The following informative description of this Symphony by Alfred H.

Meyer in the Boston Transcript (October 15 1931) is here quoted:

'It has been said that the music of The song of the earth and of the

Ninth symphony is music such as old men might be expected to write — in spite of the fact that Mahler was only at the end of his forties when

he composed both. But death was soon to come; and this music is full

of the feeling that life is complete. Thus in The song of the earth he set "The drinking song of earthly woes", "One lonesome in autumn", "Of youth", "Of beauty", "One drunken in spring", "Farewell". Now in the Ninth symphony he writes an opening Andante of peace and of passion in which death itself finds place; a Scherzo which looks back at life .with irony and as a mockery and fantastic orgy; a third movement which continues the derision of this world in a "Rondo-Burlesque" that

mounts to a tremendous climax; that is in many respects a larger coun- terpart of the "Drinking song of earthly woes" from The song of the earth, but that contains also a melody of transfiguring prophetic vision. This "Rondo-Burlesque" finally exhausts itself in its own fury. (Many a composer has deemed a similar content suffxient for a whole sym- phony). A final Adagio ensues trying to pierce the veil, singing into the

heart the message that (in Bekker's phrase) "Death is Godly Love".

'The orchestra of the Ninth symphony is modest — for Mahler. Wood- winds in threes, except that there are four flutes; four horns, three trumpets and the usual trombone-tuba quartet; the quintet of strings; for percussion only two kettledrums, triangle, glockenspiel. None of

the four movements is in the traditional sonata-form. In all the preced- ing eight , whatever his structural experiments, Mahler had never abandoned this form. The first movement of the Ninth presents the duality of themes which lies at the basis of sonata-form. But, the two themes presented, he places them in opposition to each other and works them with improvisatory freedom. The first theme occurs in the sixth measure, D major; calm resignation, a dream-like peace or hope.

The opposing theme is heard about twenty measures later, D minor intense with passion, which comes to its highest point in sharp chords for trumpets.

'Mahler soon reminds us of the significance of this Symphony, when he introduces reminiscences of the "Death-dance" scherzo of his Fourth symphony. The original title of this scherzo was "Freund Hein spielt auf" and we are told that "Freund Hein" is not an "evil, terrifying god, but a friendly leader, fiddling his flock into the hereafter". No reference could be more suggestive of the mood of this first movement, indeed of the whole Symphony. After much conflict in which the two oppos- ing themes seem at times to devour each other Mahler introduces a solemn march-like music over which he writes the direction, "Wie ein schwerer Kondukt". These words take on especial meaning when one

recalls that "Kondukt" is the Austrian circumlocution for funeral pro- cession. After more interplay of the two principal themes, the move- ment ends on a new note, more quiet, more peaceful even than that of the principal theme, a note somehow prophetic of the final Adagio.

1515 'Introducing the Scherzo, Bekker writes: "As friend and redeemer, as gently lulling comforter, Death came in the first movement. As demon he rules over the two middle movements, Scherzo and Rondo. Not now as in the Fourth symphony, in the medievally mummified form of 'Freund Hein' with his Death-fiddle. This time he exercises the powers of darkness, bids them dance to his tune. The dance-pictures of earlier works return, . . . clothed in a gruesome irony/' After such illuminating remarks, detailed analysis of the themes is superfluous. Suffice it to say that the principal theme is gawky and awkward, that the secondary themes cover a wide range of effect. The introduction of a motif from the first theme of the first movement in one of the waltzes must not be overlooked.

'Well does Mahler name his rondo a "Burlesque". Having found the pleasures of past life a mockery, he turns to more serious things to find them no better. The mood of irony continues, then rises as dance- music gives way to tones of more weighty character. Bekker may resume his description: "The artist mocks himself in a mockery which gives voice to the feelings of all those whose home is not in this world and its errors, who yearn for other shores. A movement of burning scorn

. . . which nevertheless has roots in deep tragedy." Near the middle of the movement a chorale is token of the seriousness of the artist amid all these sarcasms. Toward the end, before the final self-consuming play of the initial mocking theme, comes a melody gently expressive, yet more prophetic of the final Adagio than the close of the first movement.

'Once more Bekker may speak: "Was this life? Senseless confusion, with painful premonitions of a higher world forced down into the fury of aimless struggle?" Two measures of reminiscent agony intro- duce the movement. Then that wondrous Adagio which is solemn revelation of worlds to come. One need not write more. One dare not analyze where such a spell is wrought/ MAHLER THE MAN Mahler's parents were of the tradesman class, in very moderate cir- cumstances. They were ambitious in their longing for education. They moved to Iglau soon after the birth of Gustav. He was a shy, quiet child, sensitive to the hymns and songs of the Moravians and to military music. When he was four years old, he played on an accordion whatever he heard, especially marches of the brass band. Two years later he spent hours with an old piano. When he was eight, he gave lessons at five kreutzers a lesson to a seven-year-old. Music and reading were his passions. He studied at the Iglau Gymnasium, and for a short time at

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[I Prague, but his taste for music was so pronounced that in 1875 his father took him to Julius Epstein, the famous pianist and teacher at the Vienna Conservatory and begged him to say whether the boy's talent warranted the necessary cost of development. Epstein heard Gustav play, talked with him, and declared him to be 'a born genius'.

Mahler was fifteen years old when, in the fall of 1875, he entered the Vienna Conservatory. Like , he was once described by the authorities as 'rebellious', but, unlike Wolf, he was not expelled. He studied piano with Epstein; harmony with Robert Fuchs; composition with Franz Krenn. (Krenn [1816-1897], organist, Kapellmeister at the Michaels Church, composed fifteen Masses and other church music, two oratorios, a symphony, and lesser works, and he wrote treatises.

He has been described as an excellent musician, taciturn, dry. It was said of him that he had never been young.) At the end of the first year Mahler took a prize for piano playing, and one for the first movement of a piano quintet. In the second year the director, Joseph Hellmes- berger, excused him from counterpoint because his compositions showed his knowledge. Mahler in after years regretted that he had been excused. He took other prizes. On July 11 1878, at the 'Schluss produc- tions', a Scherzo from his piano quintet was played, with him as the pianist.

It is often stated that Mahler was a pupil of , but Mahler never studied with him at the Conservatory or in private. They were warm friends and Bruckner would often play passages from his sym- phonies to him. Guido Adler, noting the influence of Bruckner, described him as the 'adopted father-instructor' of the young man, who afterwards gave practical expression of his admiration by con- ducting Bruckner's symphonies. His arrangement for the piano (four hands) of Bruckner's Symphony no. 3, was published probably in 1878. While Mahler was at the Conservatory, he studied at the Gymnasium and entered his name at the Vienna University as a student of philos- ophy and history. Philosophy was a favorite study with him; he was well versed in the writings of Kant, Schopenhauer, and Fechner. Goethe and Schiller were familiar to him; he delighted in historical, biological, and psychological investigations. His favorite authors were E. T. A. Hoffmann and Jean Paul Richter. Dostoievsky impressed him greatly in later years.

Mahler's fellow-students wondered at his piano playing. From all accounts he might have been a great virtuoso. He composed busily: a violin sonata was praised; he wrote a 'Northern' symphony; he worked on an , Die Argonauten. These and other works were discarded.

His Klagende Lied was conceived at first as an opera. There is also men- tion of an opera, Ernst von Schwaben.

While he was at the Conservatory, he added to his small income by giving piano lessons. After he left the Conservatory, he was engaged in the summer of 1880 at Hall, in Upper Austria, to conduct operettas and music for plays of all sorts in a summer theatre, for the sum of thirty guldens, and for each performance fifty kreutzers extra. In the fall he went back to Vienna, where he taught and composed. In 1881-1882 he conducted at a little theatre in Leibach. He again returned to Vienna and worked on an opera, Rubezahl, which he never completed. He

notes continued on page 1527

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COUNCIL OF FRIENDS OF THE BOSTON SYMPHONY ORCHESTRA

Mrs Albert Goodhue, Mrs John L. Grandin Jr co-chairmen

The Friends of the Boston Symphony have risen splendidly to the chal- lenge of our goal of $440,000 for the 1969-1970 season. On April 1 there were 3487 Friends enrolled, whose contributions amounted to $249,191. We are deeply grateful to all of them.

BEETHOVEN FESTIVAL RECEPTION The Benefactors, Guarantors and Patrons of the Friends of the Boston Symphony for the 1969-1970 season were invited to a reception at Symphony Hall on April 6 to meet and Rudolf Serkin, soloists for the Beethoven Festival. After the reception there was a buffet supper and a concert by the Boston Symphony Chamber Players. A WINE TASTING PARTY TO HONOR MICHAEL TILSON THOMAS Thanks to the generosity of the Marriott Motor Hotel in Newton, who donated a selection of German and Austrian wines for the occasion, the Council of Friends, in conjunction with the Ball Committee of the 90th Anniversary Dinner and Ball, planned a gala evening at the Marriott Motor Hotel, to honor the Assistant Conductor of the Boston Symphony Orchestra, Michael Tilson Thomas. Mr Thomas spoke about his plans for the Spring session, and Talcott M. Banks, President of the Board of Trustees, talked about arrangements for the 90th Anniversary Ball and the work of the Council of Friends. ANNUAL MEETING — MAY 20 1970 The Annual Meeting of the Friends of the Boston Symphony Orchestra will be held in Symphony Hall on Wednesday morning May 20 at 11.30. will conduct a rehearsal of the Boston" Pops; afterwards there will be refreshments and a box lunch at the Pops tables. Talcott M. Banks, President of the Board of Trustees, will speak about the develop-

ments of the past year. If you have not yet enrolled as a Friend for the current season, please do so by using the form on page 1579. As a Friend you will receive invitations to the Annual Meeting and to the activities of the 1970-1971 season. Best of all — you will be adding your needed support to the Boston Symphony Orchestra. FRIENDS' PROJECTS The Council of Friends has continued the various projects which help to augment the regular contributions. The pre-Symphony luncheons at Horticultural Hall, now in their third season, have again been fully subscribed; the experimental 'Stage door lectures', informal talks by a member of the Orchestra, followed by a box lunch in the basement of

continued on page 1579

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conducted at the Olutz opera-house in 1882-1883, and was chorus- master of an Italian season in Vienna. He went to Bayreuth to hear . In 1883 he went to Kassel, where he remained for two years as second conductor with the title of 'Koniglicher Musikdirektor'. There he composed his Lieder eines fahrenden Gesellen, began his Symphony no. 1, and wrote music for tableaux vivants illustrative of Scheffel's Trompeter. This music was liked and was performed in other German cities.

A letter written by Mahler to Hans von Biilow in January 1884 has been published in Querschnitt:

'Revered Master: Forgive me for coming to you once more, even at the risk of being held shameless by you, after having been refused

admission by the porter of your hotel. When I first wrote you, I did not dream what manner of firebrand your incomparable art was to

burn into my soul. Without verbiage: I am a musician who is wan- dering about in a nocturnal desert without a lodestar to direct my musical opportunities and ambitions.

'At yesterday's concert, when I beheld all that beauty which I had

imagined and hoped for, everything became clear to me. "Here is

your home; here is your master. Your wandering must end now or

never!" And so now I am here and implore you. Take me with you,

in any capacity you wish. Let me become your pupil, even if I must

pay my tuition with blood. What I can do or might do, I do not know, but this you will soon find out.

'I am twenty-three years old and have been a student at the Uni-

versity of Vienna. I have also studied piano and composition at the conservatory and, unfortunately, have also been the second conduc- tor at the theatre. Whether such husks of experience can be of any avail to a person who believes in art with the deepest yearning and love, you will be the best judge.

'I put myself in your hands, and if you will accept me, I do not

know what would mean greater happiness to me. If you will grant

me a reply, I am prepared to subscribe to anything you demand. Oh, at least give me an answer!'

Bulow was touring with the Meiningen Orchestra in January 1884.

A letter to his wife Marie was dated Kassel, January 21 1884. If he replied to Mahler, the letter is not published in his voluminous corre- spondence. The first mention of Mahler's name in Bulow's letters is in one dated May 5 1885, where he is listed with Weingartner, Nicode and Zumpe. In August 1892, Biilow ranked Mahler with Levi, Mottl, Muck, Paur, Weingartner — operatic conductors of intelligence, good- will and initiative. Having conducted a music-festival at Kassel, Mahler left that city for Prague, where he was second conductor at the German opera-house. Anton Seidl was the first conductor. Rehearsals were entrusted to Mahler, who prepared Rheingold and Die Walkure, but his ability was first recognized publicly by his Don Giovanni. Later he conducted Wagner's music-dramas. At a symphony concert led by him, three of his songs were sung by Fraulein Frank, the first public performance of any of his works.

1527 conducted at this theatre in Prague (1886-1892). Paul Stefan states that Dr Muck conducted Beethoven's Ninth symphony at a Sunday concert in the opera-house; Mahler the Communion scene from Parsifal. The Deutsche Schulpfennig Verein arranged for a repeti- tion of this concert on February 21 1886. As Dr Muck was obliged to be absent, Mahler conducted the symphony and the excerpt from Parsifal with 'true terribilita and without the score'. He received an address of thanks for this and for his work in behalf of Mozart, Beethoven, and Wagner. Later he worked earnestly in Smetana's cause.

From the summer of 1886 till the summer of 1888 Mahler was second conductor at the Leipzig opera-house. was the first, but he had many engagements abroad; he was sick for six months, so Mahler conducted many performances. The relationship was friendly; Mahler was appreciated by the musicians; he left Leipzig because he wished to be the chief conductor. At Leipzig he knew the grandson of Weber, who asked him to complete and revise his grandfather's opera Die drei Pintos. Mah-ler did this. The opera was produced at Leipzig on January 20 1888, with great success.

Mahler was chief conductor at the Budapest opera-house from 1888 to 1891. The opera-house was in a sorry state; he made it famous throughout Europe, but he could not agree with Count Geza Zichy, one-armed pianist, composer, and poet, who became the Intendant early in 1891. Mahler resigned his position and was called by Pollini to Hamburg, where he ruled for six years and conducted as a guest in other cities. He also conducted subscription concerts in Hamburg. In the summer of 1892, with a company made up chiefly of Hamburg's singers and orchestral players, he visited London and gave perform- ances of Tristan and Isolde, the King and Fidelio.

In 1897 he was invited to take the place of Wilhelm Jahns as first con- ductor of the Vienna Opera House. Soon afterwards he was appointed general director. He ruled with an iron hand; began a reformation of the repertoire; insisted on new mise-en-scene of by Mozart, Gluck, Wagner. 'This was the greatest period of the Vienna Opera House', according to Dr Egon Wellesz of that city. Mahler also con- ducted the concerts of the Philharmonic Society in Vienna (1898-1899 till 1901). From 1898 to 1900 he conducted the Gesellschaft concerts.

Late in 1907 — he had married Alma Maria Schindler in 1904 — he came to New York, where for three years he conducted operas at the House. Among the operas were the music-dramas of Wagner; Fidelio, , The bartered bride, and Tchaikovsky's Pique Dame. His first appearance at the Metropolitan was on January 1 1908 (Tristan and Isolde); his first appearance in this country as a concert conductor was on November 29 1908, with the Symphony Society. In 1909 he was made director of the re-organized Philharmonic Society. He held this position during the seasons of

1909-1910 and 1910-1911; before the end of the latter season, ill health obliged him to give up conducting. Hoping to find relief from a disease of the heart, he went to Paris for treatment. He proceeded to Vienna, for it was his wish to die there. Inflammation of the lungs brought the end. He was buried on May 22 1911, in the Grinzing Cemetery. Accord-

1528 ing to his wish, the services were simple. There were no speeches at the grave.

His last year in New York was not a happy one. He was literally sick at heart, worried by trifling matters of detail, and his natural nervousness became a torment to him. Before he sailed for Europe, Theodore Spier- ing, the concertmaster of the Philharmonic Society, was obliged to conduct in his stead. It was well known that Mahler was worried by well-meaning officers of the Society and by critics who protested, not always without reason, against liberties taken by him in rewriting scores of masters.

Mahler visited Boston as conductor of the Metropolitan Opera House and conductor of the Philharmonic Society: at the Boston Theatre on April 8 1908, Die Walkure; April 9 1908, Don Giovanni; April 11 1908, Tristan and Isolde.

He conducted in Symphony Hall on February 26 1910, a concert of the Philharmonic Society, which then visited Boston for the first time: Berlioz, Fantastic symphony; Bach, Suite (an arrangement by Mahler of movements from the second and third Suites, with the use of a 'pianoforte-harpsichord'); Beethoven, Overture Leonore no. 3; Strauss, Till Eulenspiegel's merry pranks.

REVIEWS OF THE ORCHESTRA'S RECENT TOUR TO WASHINGTON AND NEW YORK

WASHINGTON POST (Paul Hume) — March 31 1970 BOSTON SYMPHONY'S YOUNG CONDUCTOR

One of the youngest conductors ever to lead the Boston Symphony

Orchestra made it clear last night in Constitution Hall that he is old enough and good enough to lead one of the world's great orchestras.

The newcomer is Michael Tilson Thomas, whose good fortune this season began with his being assistant conductor of the Boston Sym- phony the year that its new music director, William Steinberg was forced by ill health to forego a substantial percentage of the concerts he was scheduled to conduct with the Boston and the Pittsburgh Or- chestras, both of which are in his charge. . . .

Thomas came off well in every department. True, the players of the Boston Symphony are experts of the highest caliber, capable of playing handsomely if given even the barest cues. But there is a great difference between minimal playing and the poised, informed and strongly directed music-making heard throughout last night's program. The Stravinsky Symphony was introduced to Constitution Hall by the com- poser himself in 1948 on the National Symphony series. So had an early Tchaikovsky symphony been. Thus the pairings of these pieces last night had fine historic precedent.

More than that, they enjoyed something of the same kind of clear, beautifully proportioned readings Stravinsky gave them, allowing for the difference between today's Boston Symphony and the National Symphony of 1948. Thomas touched every essential key in unlocking

1529 both spirit and feeling of the elusive Stravinsky symphony. With beauti- fully pointed work from the orchestra's pianist and harpist, and indeed from the entire ensemble, he read into the music the glow that is its rightful property, but of which it is often robbed.

Benita Valente was the Mozart soloist, lustrous in sound, fluent in tech- nique and radiant in style. The reduced orchestra, buoyed by a fine Marshall Stone organ, offered the finest support.

The Tchaikovsky is a tough piece. It is made of lovely stuff, full of wist- ful thoughts, brash asseverations and little structural steel. Called

'Winter dreams', it carries subtitles like 'Daydreams on a winter road'.

It has to be allowed great latitude in mood, but must not be permitted to sag, lest it fall apart.

Thomas carried it through with fine poetry in the slow movement, an excellent brightness in the scherzo and all the bigness its finale can stand. . . . The Boston is here to repeat the program on Tuesday night.

If you can get a seat, you are lucky.

WASHINGTON DAILY NEWS (M. B.) — March 31 1970 YOUTHFUL CONDUCTOR SCORES

... Mr Thomas had complete command of all three, widely ranging, works. The Stravinsky was bright, incisive, and sensitively balanced.

The Mozart was everything it should be, with the soloist, Benita Valente, singing superbly. The young conductor, whose style is reminiscent of 's, and orchestra partnered her impeccably.

The audience which almost filled the hall warmly applauded with some giving forth with 'bravos'. The Boston Symphony which displayed its traditional virtuosity in the Stravinsky and the Mozart, also revealed its great sound in its exciting performance of the Tchaikovsky.

NEW YORK TIMES (Harold C. Schonberg) — April 2 1970 YOUNG LEADER SHOWS ABUNDANCE OF TALENT

Because of the continued illness of William Steinberg, the 25-year-old Michael Tilson Thomas continues to flourish on the podium of the Boston Symphony Orchestra. Last night he conducted the players at

Philharmonic Hall in a program that consisted of J. C. Bach's Symphony for double orchestra in E flat, Stravinsky's Symphony in three move-

ments and Tchaikovsky's Symphony no. 1. . . .

He is an engaging figure on the podium — slim, intense, youthful, with something of the charisma of a young Bernstein. And he makes music in an equally ardent way, though in his own manner. He still has a bit to learn about the ultimate subtleties of stick technique, though his beat

basically is clear and firm, and he still is capable of a few rhythmic errors. Some occurred during the Stravinsky.

But there is talent to burn, and in one of the works on the program, the

Tchaikovsky, it was hard to fault his work. . . .

Where everybody really dug in was in the Tchaikovsky First, the 'Winter daydreams' Symphony. Mr Thomas's work here suggested that he might

1530 be that rarity among young conductors, one with a real feeling for the post-romantic style.

Without any eccentricity, without trying to underline the music, without

trying to make it his piece, Mr Thomas conducted an authentically big version of the score. The music proceeded in a natural, lyric manner, beautifully planned, handsomely accomplished. In this work there was absolutely no sense of the rhythmic strain that the more difficult Stra- vinsky had posed. Instead there was a continuous forward movement, a big line, and an honest feeling for Tchaikovsky's youthful lyricism.

NEW YORK POST (Harriett Johnson) — April 2 1970 THOMAS LEADS BOSTON SYMPHONY

Michael Tilson Thomas, born in 1944, is an infant as conductors go, and except for music director William Steinberg's illness, he might have continued indefinitely his relatively passive role of assistant conductor. When, however, he replaced Steinberg last December on short notice, he measured up, and from then on he has been busier than he had expected. Last night he returned to lead the final pair of Philharmonic

Hall concerts this season with the Boston Symphony. . . .

Thomas has a swinging air about him, bounding cheerily on and off the podium, and hailing the concertmaster as his friend, but showing his proficiency immediately once the music starts.

It is easy to see and hear that his considerable opportunity and exten- sive experience (despite his youth) were not acquired by luck. Grandson of Boris and Bessie Thomashefsky, founders of the Yiddish Theater in this country, Thomas gives no idea that he is a frustrated actor. His podium technique is relaxed, and not without the few histrionics which almost inevitably accompany the man, both athlete and musician, who wields the baton. Yet Thomas is a sensitive stylist — for the music. He

knows what he is about.

THE SOLOISTS

BETHANY BEARDSLEE, who has appeared on several occasions with the Orchestra here, at and in New York, recently appeared with the Boston Sym- phony Chamber Players in one of the Sand- ers Theater concerts. Born in Michigan, she studied at the Michigan State University and the in New York. A specialist in contemporary music, she was soloist in the premiere of Stravinsky's Threni, and in the first performances of works by Berg, Babbitt, Schoenberg, Webern, Krenek and other major American composers. She has also been the featured soprano with the New York Pro Musica, and sung many baroque and classical works with musical organizations throughout the , as well as giving many solo recitals. Bethany Beardslee has received the Laurel Leaf Cita- tion for modern music and a Ford Foundation grant for concert soloist. Her recordings are on the Columbia, CRI and Epic labels.

1531 ROBERT GARTSIDE first appeared with the Boston Symphony as a member of the Har- vard Glee Club during the time when Serge Koussevitzky was Conductor. Later, when he was Assistant Conductor to G. Wallace Woodworth, he sang the tenor solo in Beethoven's Ninth symphony at one of Charles Munch's open rehearsals. In 1955 he traveled to Europe and lived in Paris for the following twelve years. During that time he studied with Pierre Bernac and Ernst Reichert, and appeared in recitals and concerts, many of which were broadcasts on radio and television throughout England and the Con- tinent. Three years ago he returned to the United States and was appointed to the music faculty of Boston University, where he is now Director of choral activities and a member of the voice faculty. He returned recently from a recital tour of California after which he appeared in the Boston area as soloist in the Te Deum of Berlioz and as Jesus in Beethoven's Christ on the Mount of Olives.

VERN SHINALL, who makes his first appear- ance with the Orchestra at these concerts, started his operatic career, as a bass, at the University of Indiana, where he had orig- inally enrolled with a football scholarship. Later he sang in Europe as bass soloist in a series of US Army choral concerts. His pro- fessional debut took place in St Louis, where he sang Mefisto in Gounod's Faust. He was then invited to join the Metropoli- tan Opera National Company. In the fall of 1968 William Steinberg invited him to sing in a concert performance of Fidelio in Pittsburgh, while other companies with which Vern Shinall has sung in the last two years include the Philadelphia Lyric, the Cincin- nati Summer, the Edmondton Opera, the Connecticut Opera and sev- eral others. Now a baritone rather than a bass, he has sung the roles of Scarpia, Rigoletto, di Luna, Escamillo, Amonasro, and parts in contem- porary American operas. Later this year he is scheduled to sing Rigoletto with the Opera Company of Boston.

THE CHORUSES The HARVARD GLEE CLUB and RADCLIFFE CHORAL SOCIETY, which first appeared with the Boston Symphony in 1917, have sung with the Orchestra on more than 100 occasions since. During their long and suc- cessful history the choruses have toured in many parts of the world, have sung several premieres, including that of Stravinsky's Oedipus rex in 1931, and have appeared with other major American orchestras, the Philadelphia, the Cleveland and the Chicago Symphony Orchestras among them. They have also taken part in many recordings by the Bos- ton Symphony of choral works for RCA. Their conductor Elliot Forbes, a former assistant conductor of the Glee Club, is now Professor of music at Harvard University.

1532

II <\yt!

BOSTON SYMPHONY ORCHESTRA

WILLIAM STEINBERG Music Director

&r^-

NINETIETH ANNIVERSARY SEASON 1970-1971

TWENTY-TWO FRIDAY CONCERTS at 2 o'clock

TWENTY-TWO SATURDAY CONCERTS at 8.30

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FESTIVAL BERKSHIRE ^W^^r1 JULY 3/AUGUST 23 Lenox, Massachusetts 01240 1970 BOSTON SYMPHONY \ TanglewcE>d ORCHESTRA 1

Highlights of the season include

Opening Weekend Concerts JULY 3, 4, 5

Two concerts conducted by , including a performance of Bernstein's Chichester Psalms for chorus and orchestra

Mahler's Second symphony, Resurrection, conducted by Leonard Bernstein, with and Lorna

Haywood as soloists Beethoven Concerts

Two weekends of concerts conducted by William Steinberg, Music Director of the Boston Symphony Orchestra

The six concerts include all the Piano concertos, the Triple concerto, overtures, and symphonies, including the Ninth.

The Beethoven concerts are given in commemoration of the 200th anniversary of the composer's birth. Berlioz Requiem

Conducted by Seiji Ozawa, with Leopold Simoneau as soloist. TANGLEWOOD-ON-PARAD

This performance is given in memory of Charles Munch, is the annual day-long the Boston Symphony Orchestra's Music Director, demonstration of the work of 1949-1962 the Berkshire Music Center,

Tuesday, July 28, culminating i Mozart's Cosl fan tutte the evening with the Gala A concert staging of Mozart's comic masterpiece, Concert by the Boston conducted by Seiji Ozawa. The soloists are Phyllis Symphony Orchestra. This Curtin, , Teresa Stratas, , year it celebrates the BMC's Tom Krause, and 30th anniversary. ) K( A Kl ( ( >KI >S BAI I )WIN IMANK

rhomas I). IVrry, Jr., M.magi i

Festival artists

' &^fe 43^ include conductors Leonard Bernstein iEKEND PRELUDES will continue to offer short Arthur Fiedler )grams by important artists, each Friday evening at Seiji Ozawa m, free to holders of tickets for the 9pm Boston GuntherSchuller nphony concert. William Steinberg >EN REHEARSALS each Saturday morning at 1 0:30 Michael Tilson Thomas er a glimpse of the Orchestra and its conductor at work. pianists Christoph Eschenbach Rudolf Firkusny oston Pops atTanglewood Claude Frank ^THUR FIEDLER, Conductor Lili Kraus Jerome Lowenthal JESDAY, AUGUST 1 1 AT 8:30 P.M. Peter Serkin Yuji Takahashi Andre Watts iontemporary Trends Concerts Alexis Weissenberg

of con- violinists jrther explorations into the broad spectrum brought mporary popular music. This is the series that Joseph Silverstein such artists as Ravi Shankar, the Modern anglewood Paul Zukofsky Quartet, Janis Joplin, Judy Collins, and Mahalia nz cellist Tanglewood program ickson. The 1 969 Fillmore at Jules Eskin and B.B. resented The Jefferson Airplane, The Who, singers ing, and drew an all-time record crowd. Rosalind Elias Ezio Flagello Berkshire Music Center Concerts Lorna Haywood for Tom Krause 'he Boston Symphony's unique summer academy Christa Ludwig dvanced study of music offers concerts nearly every George Shirley season. Orchestra, chamber lay during the Festival Leopold Simoneau presented. nusic, choral and vocal music programs are Teresa Stratas rhe FESTIVAL OF CONTEMPORARY MUSIC, spon choruses Foundation Chorus Pro Musica ored in cooperation with the Fromm Music Harvard Glee Club often called a 'Festival-within-a-festival/ )f Chicago, Framingham Choral Society music capital urns Tanglewood into the contemporary Radcliffe Choral Society of I the world during its intensive presentation new Tanglewood Festival Chorus works, some commissioned especially for the Festival groups Corky Siegal Blues Band and many heard in premiere performances. The

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1543 SUMMARY OF THE SEASON 1969-1970

CONCERTS GIVEN IN THE FRIDAY-SATURDAY SERIES DURING THE SEASON 1969-1970

Program Date Conductor 1 September 26 & 27 WILLIAM STEINBERG 2 October 3 & 4 WILLIAM STEINBERG 3 October 10 & 11 MICHAEL TILSON THOMAS 4 October 17 & 18 WILLIAM STEINBERG ' 5 October 31 & November 6 November 7 & 8 CARLO MARIA GIULINI 7 November 14 & 15 SEIJI OZAWA 8 November 21 & 22 SEIJI OZAWA 9 November 28 & 29 10 December 5 & 6 ERICH LEINSDORF 11 December 19 & 20 WILLIAM STEINBERG 12 January 2 & 3 WILLIAM STEINBERG 13 January 9 & 10 WILLIAM STEINBERG 14 January 16 & 17 WILLIAM STEINBERG 15 January 23 & 24 16 January 30 & 31 CLAUDIO ABBADO 17 February 13 & 14 18 February 20 & 21 COLIN DAVIS 19 March 6 & 7 MICHAEL TILSON THOMAS 20 March 13 & 14 MICHAEL TILSON THOMAS 21 March 20 & 21 MICHAEL TILSON THOMAS 22 March 27 & 28 GUNTHER SCHULLER MICHAEL TILSON THOMAS* 23 April 17 & 18 \ /JOSEPH SILVERSTEINt 24 April 24 & 25 MICHAEL TILSON THOMAS

WORKS PLAYED AT THE FRIDAY-SATURDAY SERIES Program Page

J. S. BACH Symphony for double orchestra in E flat op. 18 no. 1 20 1255 first performance by the Boston Symphony Orchestra

J. S. BACH Violin concerto no. 2 in E BWV 1042t 23 1435 Cantata no. 140 'Wachet auf, ruft uns die Stimme' 24 1511 first performance by the Boston Symphony Orchestra in Boston BARBER Die natali, chorale preludes for Christmas op. 37 12 742 BARTOK no. 2 (1931) 15 937 Music for strings, percussion and celesta (1935)* 23 1463 BEETHOVEN Overture to The consecration of the house' op. 124 1 22 Overture to Goethe's 'Egmont' op. 84 19 1191 BERG Three movements from the 'Lyric suite' arranged for string orchestra 9 550 Five Altenberg songs op. 4 9 551 first performance by the Boston Symphony Orchestra Three excerpts from the opera 'Wozzeck' op. 7 571

1544

+J^!MWfb&M Program Page BONPORTI Concerto a quattro in D op. 11 no. 8 5 278 (transcribed by Guglielmo Barblan) first performance in Boston BRAHMS Symphony no. 2 in D op. 73 4 221 Symphony no. 4 in E minor op. 98 6 363 BRUCKNER Symphony no. 6 in A 14 872 Symphony no. 8 in C minor 10 616 CASELLA Symphonic suite from 'La giara' (The jar) 343 DEBUSSY La mer (The sea), three symphonic sketches 3 170 Three nocturnes 16 1004 DVORAK Piano concerto in G minor op. 33 14 870 first performance by the Boston Symphony Orchestra Violin concerto in A minor op. 53t 23 1449 DONATONI Puppenspiel (Puppet show) no. 2 for flute, piccolo and orchestra 15 935 first performance in America ELGAR Symphony no. 1 in A flat op. 55 17 1069 Symphony no. 2 in E flat op. 63 2 91 Cello concerto in E minor op. 85 11 680 first performance in the Friday-Saturday series 'Nimrod' from Variations on an original theme op. 36 'Enigma' HAYDN Symphony no. 31 in D 'Hornsignal' 22 1383 Symphony no. 55 in E flat 'Schoolmaster' 2 86 first performance by the Boston Symphony Orchestra Symphony no. 94 in G 'Surprise' 6 342 Symphony no. 98 in B flat 3 150

IVES 'Three places in New England', an orchestral set 3 154

LEES Symphony no. 2 4 215 first performance in Boston LISZT A Faust symphony in three character studies 13 809 (after Goethe) MAHLER Symphony no. 9 in D 24 1514 Das Lied von der Erde (The song of the earth) for tenor, contralto and orchestra 12 743 MOZART Symphony no. 34 in C K. 338 & K. 409 21 1345 Symphony no. 35 in D K. 385 'Haffner' 10 614

1545

»?« Program Page

Piano concerto in C minor K. 491 4 219 Piano concerto in D K. 537 'Coronation' 17 1066 Overture to 'Don Giovanni' K. 527 11 678 Overture to 'Idomeneo, Re di Creta' K. 366 17 1062 Eine kleine Nachtmusik K. 525 13 806 Masonic funeral music K. 477 4 — in memory of C. Wallace Woodworth 'Exsultate, jubilate' motet for soprano K. 165 21 1343 first performance by the Boston Symphony Orchestra in Boston 'Ruhe sanft, mein holdes Leben' from Zaide K. 344 21 1342 first performance by the Boston Symphony Orchestra in Boston MUSSORGSKY Pictures at an exhibition, pieces for piano 5 283 (arranged for orchestra by ) ORFF Carmina Burana 7 410 first performance by the Boston Symphony Orchestra PIZZETTI Prelude to 'Fedra' 5 281 first performance in Boston PROKOFIEV Symphony no. 3 op. 44 16 999 RAVEL Pavane pour une infante defunte (Pavane for a dead Infanta) 16 1002 Daphnis et Chloe - suite no. 2 16 1018 READ 'Night flight' tone poem for orchestra op. 44* 23 1452 RUGGLES Sun-treader 21 1320 first performance in Boston SCHOENBERG Five pieces for orchestra op. 16 19 1209 SCHUBERT Symphony no. 4 in C minor 'Tragic' 5 279 Symphony no. 9 in C 1 23 SCHULLER Spectra 22 1385 first performance in Boston SCHUMANN Symphony no. 4 in D minor op. 120 15 940 SEEGER Andante for string orchestra 21 1319 first performance in Boston SIBELIUS Symphony no. 4 in A minor op. 63 19 1192 STARER Concerto for violin, cello and orchestra 2 90 first performance in Boston

1546 Program Page STRAUSS Till Eulenspiegels lustige Streiche op. 28 1 42 STRAVINSKY Violin concerto in D (1931) 8 491 Greeting prelude (for the eightieth birthday of ) 8 486 Suite from the ballet 'L'oiseau de feu' (The firebird) (1919) 8 493 Petrushka (revised version of 1947) 8 488 Scherzo a la russe 18 1127 first performance in Boston Scherzo fantastique 13 808 Symphony in three movements 20 1259 Variations (Aldous Huxley in memoriam) 3 168 first performance in Boston played twice TAKEMITSU November steps no. 1 406 first performance in Boston TIPPETT Symphony no. 2 18 1128 first performance in America TCHAIKOVSKY Symphony no. 1 in G minor op. 13 'Winter daydreams' 20 1271 Symphony no. 4 in F minor op. 36 18 1144 Symphony no. 6 in B minor op. 74 'Pathetique' 9 574 Manfred - symphony in four scenes, after the dramatic poem by Byron op. 58 11 683 WAGNER 'Dawn' and 'Siegfried's Rhine journey' from 'Die Gotterdammerung' 19 1214 Music from Act three of 'Parsifal' 22 1401 WEBERN Six pieces for orchestra op. 6 1 28 Five pieces for orchestra op. 10 22 1387

SOLOISTS Program

BETHANY BEARDSLEE soprano 24 ROBERT CASADESUS piano 4 PHILIP CHO tenor 13 DORIOT ANTHONY DWYER flute and piccolo 15 JULES ESKIN cello 2 RUDOLF FIRKUSNY piano 14 MAUREEN FORRESTER contralto 12 ROBERT GARTSIDE tenor 24 INGRID HAEBLER piano 17 STANLEY KOLK tenor 7 EVELYN LEAR soprano 9 EVELYN MANDAC soprano 7 SHERRILL MILNES baritone 7 ZARA NELSOVA cello 11 violin 23 VERN SHINALL bass 24 JOSEPH SILVERSTEIN violin 2,8

1547 Program KINSHI TSURUTA biwa 7 BENITA VALENTE soprano 21 tenor 12 ALEXIS WEISSENBERG piano 15 KATSUYA YOKOYAMA shakuhachi 7

OTHER ARTISTS JOHN ADAMS harpsichord continuo 24 JULES ESKIN cello continuo 24 RALPH GOMBERC oboe 24 ROBERT JOHNSON tenor 6 HENRY PORTNO! double bass continuo 24 JOSEPH SILVERSTEIN violin 24 MICHAEL TILSON THOMAS piano 8 WILLIAM WRIGHT boy soprano 9 BERJ ZAMKOCHIAN organ continuo 24 FRAMINGHAM CHORAL SOCIETY 13 John Oliver director HARVARD GLEE CLUB and RADCLIFFE CHORAL SOCIETY 24 Elliot Forbes conductor NEW ENGLAND CONSERVATORY CHORUS 7, 16 Lorna Cooke de Varon conductor CHILDREN'S CHORUS OF THE NEW ENGLAND CONSERVATORY 7 Katherine Edmonds Pusztai conductor

CONCERTS GIVEN IN THE TUESDAY A SERIES DURING THE SEASON 1969-1970

Program Date Conductor

1 September 30 WILLIAM STEINBERG 2 October 28 MICHAEL TILSON THOMAS 3 November 11 CARLO MARIA GIULINI 4 November 25 SEIJI OZAWA 5 January 6 WILLIAM STEINBERG 6 January 27 CLAUDIO ABBADO 7 February 17 COLIN DAVIS 8 March 3 MICHAEL TILSON THOMAS coconcertnee in memory of Karl Muck 9 March 17 MICHAEL TILSON THOMAS 10 April 21 MICHAEL TILSON THOMAS

WORKS PLAYED IN THE TUESDAY A SERIES Program

J. C. BACH Symphony for double orchestra in E flat op. 18 no. 1 9 BARBER Die natali, chorale preludes for Christmas op. 37 BARTOK Piano concerto no. 1 (1931) 6 Music for strings, percussion and celesta (1935) 10 BEETHOVEN Overture to 'The consecration of the house' op. 124

1548 Program BRAHMS Symphony no. 2 in D op. 73 8 Symphony no. 4 in E minor op. 98 3 CASELLA Symphonic suite from 'La giara' (The jar) 3 DEBUSSY La mer (The sea), three symphonic sketches 2 DONATONI Puppenspiel (Puppet show) no. 2 for flute, piccolo and orchestra 6 ELGAR Symphony no. 1 in A flat op. 55 7 HAYDN Symphony no. 94 in G 'Surprise' 3 Symphony no. 98 in B flat 2

IVES 'Three places in New England', an orchestral set 2 MAHLER Das Lied von der Erde (The song of the earth) for tenor, contralto and orchestra 5 MOZART Symphony no. 34 in C K. 338 & K. 409 10 Piano concerto in D K. 537 'Coronation' 7 Overture to 'Idomeneo, Re di Creta' K. 366 7 Serenade no. 12 in C minor for winds K. 388 'Night music' 10 SCHUBERT

Symphony no. 9 in C 1 SCHUMANN Symphony no. 4 in D minor op. 120 6 SEEGER Andante for string orchestra 10 STARER Concerto for violin, cello and orchestra 8 STRAUSS Till Eulenspiegels lustige Streiche op. 28 1 STRAVINSKY Violin concerto in D (1931) 4 Greeting prelude (for the eightieth birthday of Pierre Monteux) 4 Suite from the ballet 'L'oiseau de feu' (The firebird) (1919) 4 Petrushka (revised version of 1947) 4 Symphony in three movements 9 Variations (Aldous Huxley in memoriam) 2 TCHAIKOVSKY Symphony no. 1 in G minor op. 13 'Winter daydreams' 9 WAGNER 'Dawn' and 'Siegfried's Rhine journey' from 'Die Gotterdammerung' 8 WEBERN Six pieces for orchestra op. 6 1

1549 SOLOISTS — TUESDAY A SERIES Program DORIOT ANTHONY DWYER flute and piccolo 6 JULES ESKIN cello 8 MAUREEN FORRESTER contralto 5 INGRID HAEBLER piano 7 JOSEPH SILVERSTEIN violin 4,8 JON VICKERS tenor 5 ALEXIS WEISSENBERG piano 6 OTHER ARTISTS — TUESDAY A SERIES PASQUALE CARDILLO clarinet 10 GINO CIOFFI clarinet 10 RALPH GOMBERG oboe 10 JOHN HOLMES oboe 10 ROBERT JOHNSON tenor 3 ERNST PANENKA bassoon 10 HARRY SHAPIRO horn' 10 JAMES STAGLIANO horn 10 MICHAEL TILSON THOMAS piano 4 SHERMAN WALT bassoon 10

CONCERTS GIVEN IN THE TUESDAY B SERIES DURING THE SEASON 1969-1970 Program Date Conductor

1 October 14 WILLIAM STEINBERG 2 November 4 CARLO MARIA GIULINI 3 December 2 ERICH LEINSDORF 4 January 13 MICHAEL TILSON THOMAS televised concert 5 February 10 CLAUDIO ABBADO televised concert MICHAEL TILSON THOMAS* April 14 JOSEPH SILVERSTEINt

WORKS PLAYED IN THE TUESDAY B SERIES Program BACH Violin concerto no. 2 in E BWV 1042t 6 BERG Three movements from the 'Lyric suite' arranged for string orchestra Five Altenberg songs op. 4 Three excerpts from the opera 'Wozzeck' op. 7 BONPORTI Concerto a quattro in D op. 11 no. 8 (transcribed by Guglielmo Barblan) DEBUSSY La mer (The sea), three symphonic sketches Three nocturnes DVORAK Violin concerto in A minor op. 53t ELGAR Symphony no. 2 in E flat op. 63

1550 Program HAYDN Symphony no. 55 in E flat 'Schoolmaster' 1 Symphony no. 98 in B flat 4

IVES Three places in New England', an orchestral set MUSSORGSKY Pictures at an exhibition, pieces for piano (arranged for orchestra by Maurice Ravel)

PIZZETTI Prelude to 'Fedra' PROKOFIEV Symphony no. 3 op. 44 RAVEL Daphnis et Chloe- suite no. 2 SCHUBERT Symphony no. 4 in C minor Tragic' STARER Concerto for violin, cello and orchestra STRAVINSKY Variations (Aldous Huxley in memoriam) played twice TCHAIKOVSKY Symphony no. 1 in G minor op. 13* Symphony no. 6 in B minor op. 74 'Pathetique'

SOLOISTS — TUESDAY B SERIES JULES ESKIN cello EVELYN LEAR soprano EDITH PEINEMANN violin JOSEPH SILVERSTEIN violin

OTHER ARTISTS — TUESDAY B SERIES NEW ENGLAND CONSERVATORY CHORUS Lorna Cooke de Varon conductor WILLIAM WRIGHT boy soprano

CONCERTS GIVEN IN THE CAMBRIDGE SERIES DURING THE SEASON 1969-1970 Program Date Conductor

1 October 7 WILLIAM STEINBERG televised concert 2 November 18 SEIJI OZAWA televised concert 3 December 16 ERICH LEINSDORF 4 December 30 WILLIAM STEINBERG 5 January 20 MICHAEL TILSON THOMAS 6 March 10 MICHAEL TILSON THOMAS televised concert

WORKS PLAYED IN THE CAMBRIDGE SERIES Program BEETHOVEN Overture to, Goethe's 'Egmont' op. 84 6 1551 Program BRUCKNER Symphony no. 8 in C minor 3 DEBUSSY La mer (three symphonic sketches) 5 ELGAR Symphony no. 2 in E flat op. 63 1 Cello concerto in E minor op. 85 4 HAYDN Symphony no. 55 in E flat 'Schoolmaster' 1 Symphony no. 98 in B flat 5

IVES 'Three places in New England', an orchestral set 5 MOZART Symphony no. 35 in D K. 385 'Haffner' 3 Overture to 'Don Giovanni' K. 527 4 ORFF Carmina Burana 2 SCHOENBERG Five pieces for orchestra op. 16 6

SIBELIUS Symphony no. 4 in A minor op. 63 6 STARER Concerto for violin, cello and orchestra 1 STRAVINSKY Variations (Aldous Huxley in memoriam) 5 TAKEMITSU November steps no. 1 2 TCHAIKOVSKY Manfred — symphony in four scenes, after the dramatic poem by Byron, op. 58 4 WAGNER 'Dawn' and 'Siegfried's Rhine journey' from 'Die Gotterdammerung' 6

SOLOISTS — CAMBRIDGE SERIES

JULES ESKIN cello STANLEY KOLK tenor EVELYN MANDAC soprano SHERRILL MILNES baritone ZARA NELSOVA cello JOSEPH SILVERSTEIN violin KINSHI TSURUTA biwa KATSUYA YOKOYAMA shakuhachi

OTHER ARTISTS — CAMBRIDGE SERIES

NEW ENGLAND CONSERVATORY CHORUS 2 Lorna Cooke de Varon conductor CHILDREN'S CHORUS OF THE NEW ENGLAND CONSERVATORY 2 Katherine Edmonds Pusztai conductor

1552 CONCERTS GIVEN IN THE THURSDAY A SERIES DURING THE SEASON 1969-1970

Program Date Conductor 1 October 2 WILLIAM STEINBERG 2 November 20 SEIJI OZAWA 3 December 18 MICHAEL TILSON THOMAS 4 January 29 CLAUDIO ABBADO 5 March 12 MICHAEL TILSON THOMAS MICHAEL TILSON THOMAS* April 16 j /JOSEPH SILVERSTEINt

WORKS PLAYED IN THE THURSDAY A SERIES Program BACH Violin concerto no. 2 in E BWV 1042t 6 BARTOK Piano concerto no. 2 (1931) 4 Music for strings, percussion and celesta* 6 BEETHOVEN Overture to The consecration of the house' op. 124 1 'Overture to Goethe's 'Egmont' op. 84 5 BRAHMS Symphony no. 2 in D op. 73 3 DONATONI Puppenspiel (Puppet show) no. 2 for flute, piccolo and orchestra 4 DVORAK Violin concerto in A minor op. 53t 6 HAYDN Symphony no. 98 in B flat 3

IVES 'Three places in New England', an orchestral set 3 ORFF Carmina Burana 2 READ 'Night flight', tone poem for orchestra op. 44* 6 in honor of Boston University's centenary year first performance by the Boston Symphony Orchestra SCHOENBERG Five pieces for orchestra op. 16 5 SCHUBERT Symphony no. 9 in C 1 SCHUMANN Symphony no. 4 in D minor op. 120 4 SIBELIUS Symphony no. 4 in A minor op. 63 5 STRAUSS Till Eulenspiegels lustige Streiche op. 28 1 TAKEMITSU November steps no. 1 2

1553 Program WAGNER 'Dawn' and 'Siegfried's Rhine journey' from 'Die Gotterdammerung' 5 WEBERN Six pieces for orchestra op. 6 SOLOISTS — THURSDAY A SERIES

DORIOT ANTHONY DWYER flute and piccolo STANLEY KOLK tenor EVELYN MANDAC soprano SHERRILL MILNES baritone EDITH PEINEMANN violin KINSHI TSURUTA biwa ALEXIS WEISSENBERG piano KATSUYA YOKOYAMA shakuhachi OTHER ARTISTS — THURSDAY A SERIES NEW ENGLAND CONSERVATORY CHORUS Lorna Cooke de Varon conductor CHILDREN'S CHORUS OF THE NEW ENGLAND CONSERVATORY Katherine Edmonds Pusztai conductor

CONCERTS GIVEN IN THE THURSDAY B SERIES DURING THE SEASON 1969-1970 Program Date. Conductor

1 January 8 WILLIAM STEINBERG 2 February 19 COLIN DAVIS 3 March 19 MICHAEL TILSON THOMAS

WORKS PLAYED IN THE THURSDAY B SERIES Program J.C. BACH Symphony for double orchestra in E flat op. 18 no. 1 3 ELGAR Symphony no. 1 in A flat op. 55 2 LISZT A Faust symphony in three character studies (after Goethe) 1 MOZART Piano concerto in D K. 537 'Coronation' 2 Eine kleine Nachtmusik K. 525 1 Overture to 'Idomeneo, Re di Creta' K. 366 2 STRAVINSKY Scherzo fantastique 1 first performance in Boston Symphony in three movements 3 TCHAIKOVSKY Symphony no. 1 in G minor op. 13 'Winter Daydreams'

SOLOISTS -THURSDAY B SERIES PHILIP CHO tenor INGRID HAEBLER piano OTHER ARTISTS — THURSDAY B SERIES FRAMINGHAM CHORAL SOCIETY John Oliver director 1554 BEETHOVEN FESTIVAL 1970

Tuesday April 7 MAX RUDOLF conductor ISAAC STERN violin

Symphony no. 3 in E flat op. 55 'Eroica' Violin concerto in D op. 61

Wednesday April 8 MAX RUDOLF conductor RUDOLF SERKIN piano Overture 'Leonore no. 2' Piano concerto no. 1 in C op. 15 Piano concerto no. 3 in C minor op. 37

Thursday April 9 MAX RUDOLF conductor RUDOLF SERKIN piano Overture to 'Coriolan' op. 62 Piano concerto no. 2 in B flat op. 19 Piano concerto no. 5 in E flat op. 73 'The Emperor'

Friday April 10 MAX RUDOLF conductor RUDOLF SERKIN piano CHORUS PRO MUSICA director Fantasy in C minor for piano, chorus and orchestra op. 80 Piano concerto no. 4 in C op. 58 Symphony no. 5 in C minor op. 67

Saturday April 11 LEONARD BERNSTEIN conductor MARTINA ARROYO soprano LI LI CHOOKASIAN contralto RICHARD LEWIS tenor THOMAS PAUL bass CHORUS PRO MUSICA Alfred Nash Patterson director TANGLEWOOD FESTIVAL CHORUS John Oliver director Symphony no. 9 in D minor op. 125

SPECIAL CONCERTS

Two special concerts were given in Symphony Hall by the Orchestra during the 1969-1970 season. On December 17 Arthur Fiedler conducted a gala con- cert in celebration of his 75th birthday. The program included Dvorak's Sym- phony no. 9 in E minor 'From the New World' op. 95, Tchaikovsky's Piano concerto no. 1 in B flat op. 23 with Misha Dichter as soloist, and Respighi's 'Pines of Rome'. On December 29 there was a concert for the American Asso- ciation for the Advancement of Science; William Steinberg conducted Wagner's Prelude to 'Die Meistersinger von Niirnberg', Schubert's Symphony no. 9 in C, Six pieces for orchestra op. 6 of Webern, and 'Till Eulenspiegels lustige Streiche' by Strauss.

1555

\rmm, lawwrri CONCERTS GIVEN IN THE PROVIDENCE SERIES DURING THE SEASON 1969-1970

Program Date Conductor

1 October 9 WILLIAM STEINBERG 2 November 6 CARLO MARIA GIULINI 3 January 15 MICHAEL TILSON THOMAS 4 March 5 MICHAEL TILSON THOMAS 5 March 26 ARTHUR FIEDLER

WORKS PLAYED IN THE PROVIDENCE SERIES Program BEETHOVEN

Overture to The consecration of the house' op. 124 1 Overture to Goethe's 'Egmont' op. 84 4 BONPORTI Concerto a quattro in D op. 11 no. 8 (transcribed by Guglielmo Barblan) 2 DEBUSSY La mer (The sea), three symphonic sketches 3 DVORAK Symphony no. 9 in E minor 'From the New World' op. 95 5 MUSSORGSKY Pictures at an exhibition, pieces for piano (arranged for orchestra by Maurice Ravel) 2 PIZZETTI Prelude to 'Fedra' 2 RESPIGHI 'Pines of Rome', symphonic poem 5 SCHOENBERG Five pieces for orchestra op. 16 4 SCHUBERT Symphony no. 4 in C minor 'Tragic' 2 Symphony no. 9 in C 1 SIBELIUS Symphony no. 4 in A minor op. 63 4 STARER Concerto for violin, cello and orchestra 3 STRAUSS Till Eulenspiegels lustige Streiche op. 28 1 TCHAIKOVSKY Piano concerto no. 1 in B flat op. 23 5 WAGNER 'Dawn' and 'Siegfried's Rhine journey from 'Die Gdtterdammerung' 4 Prelude to 'Die Meistersinger von Nurnberg' 3 WEBERN Six pieces for orchestra op. 6 1

1556 SOLOISTS- PROVIDENCE SERIES Program

JULES ESKIN cello 3 JOSEPH SILVERSTEIN violin 3 piano 5

CONCERTS GIVEN IN THE SERIES AT PHILHARMONIC HALL, NEW YORK, DURING THE SEASON 1969-1970 Program Date Conductor WILLIAM STEINBERG* 1 October 22 MICHAEL TI1SON THOMASt October 24 MICHAEL TILSON THOMAS 2 December 10 & 12 ERICH LEINSDORF 3 February 4 & 6 CLAUDIO ABBADO 4 February 25 & 27 COLIN DAVIS 5 April 1 & 3 MICHAEL TILSON THOMAS

WORKS PLAYED AT THE PHILHARMONIC HALL SERIES Program

J/ C BACH Symphony for double orchestra in E flat op. 18 no. 1 5 BARTOK Piano concerto no. 2 (1931) 3 BEETHOVEN Overture to 'The consecration of the house' op. 124* 1 BERG Three movements from the 'Lyric suite' arranged for 2 string orchestra Five Altenberg songs op. 4 2 Three excerpts from the opera 'Wozzeck' op. 7 2 BRAHMS

Symphony no. 2 in D op. 73* 1 DONATONI Puppenspiel (Puppet show) no. 2 for flute, piccolo and orchestra 3 first performance in New York SCHUMANN Symphony no. 4 in D minor op. 120 3 STARER

Concerto for violin, cello and orchestrat 1 first performance in New York STRAUSS

Till Eulenspiegels lustige Streiche op. 28t 1 STRAVINSKY Scherzo a la russe 4 Symphony in three movements 5 TCHAIKOVSKY Symphony no. 1 in G minor op. 13 'Winter daydreams' 5 Symphony no. 4 in F minor op. 36 4 Symphony no. 6 in B minor op. 74 'Pathetique' 2

1557 Program TIPPETT Symphony no. 2 4 first performance in New York

SOLOISTS — PHILHARMONIC HALL SERIES

DORIOT ANTHONY DWYER flute and piccolo JULES ESKIN cello EVELYN LEAR soprano JOSEPH SILVERSTEIN violin ALEXIS WEISSENBERG piano

OTHER ARTIST— PHILHARMONIC HALL SERIES WILLIAM WRIGHT boy soprano

CONCERTS AT CARNEGIE HALL, NEW YORK, DURING THE SEASON 1969-1970

Program Date Conductor

1 October 25 MICHAEL TILSON THOMAS 2 December 13 ERICH LEINSDORF 3 February 7 CLAUDIO ABBADO 4 February 28 COLIN DAVIS International Festival of Visiting Orchestras April 4 MICHAEL TILSON THOMAS

WORKS PLAYED AT CARNEGIE HALL Program BEETHOVEN Overture to Goethe's 'Egmont' op. 84 5 BRUCKNER Symphony no. 8 in C minor 2 DEBUSSY La mer (The sea), three symphonic sketches 1 Three nocturnes 3 ELGAR Symphony no. 1 in A flat op. 55 4 HAYDN Symphony no. 98 in B flat 1

IVES 'Three places in New England', an orchestral set 1 MOZART Symphony no. 35 in D K. 385 'Haffner' 2 Piano concerto in D K. 537 'Coronation' 4 Overture to 'Idomeneo' K. 366 4 PROKOFIEV Symphony no. 3 op. 44 3 RAVEL Daphnis et Chloe - suite no. 2 3 RUGGLES Sun-treader 5 first performance in New York

1558 Program SIBELIUS Symphony no. 4 in A minor op. 63 5 STRAVINSKY Variations (Aldous Huxley in memoriam) 1 WAGNER 'Dawn' and 'Siegfried's Rhine journey' from 'Die Gotterdammerunj 5

SOLOIST— CARNEGIE HALL INGRID HAEBLER piano OTHER ARTISTS — CARNEGIE HALL NEW ENGLAND CONSERVATORY CHORUS Lorna Cooke de Varon conductor

CONCERTS GIVEN IN THE SERIES AT THE BROOKLYN ACADEMY OF MUSIC DURING THE SEASON 1969-1970

Program Date Conductor

1 December 11 ERICH LEINSDORF 2 February 5 CLAUDIO ABBADO 3 February 26 COLIN DAVIS

WORKS PLAYED AT THE BROOKLYN ACADEMY OF MUSIC BARTOK Piano concerto no. 2 BEETHOVEN Piano concerto no. 4 in G op. 58 BERG Two movements from the 'Lyric suite' arranged for string orchestra DEBUSSY Two nocturnes - 'Nuages' and 'Fetes' ELGAR Symphony no. 1 in A flat op. 55 MOZART Piano concerto in D K.537 'Coronation' Overture to 'Idomeneo' K. 366 SCHUMANN Symphony no. 4 in D minor op. 120 TCHAIKOVSKY Symphony no. 6 in B minor op. 74 'Pathetique'

SOLOISTS — BROOKLYN ACADEMY OF MUSIC piano ALEXIS WEISSENBERG piano INGRID HAEBLER piano

1559 CONCERTS IN OTHER CITIES

October 6- University of New Hampshire Field House, Durham WILLIAM STEINBERG conductor BEETHOVEN Overture to The consecration of the house' op. 124 SCHUBERT Symphony no. 9 in C WEBERN Six pieces for orchestra op. 6 STRAUSS Till Eulenspiegels lustige Streiche op. 28

October 20- University Hall, University of Virginia, Charlottesville WILLIAM STEINBERG conductor BEETHOVEN Overture to The consecration of the house' op. 124 BRAHMS Symphony no. 2 in D op. 73 STARER Concerto for violin, cello and orchestra JOSEPH SILVERSTEIN violin JULES ESKIN cello STRAUSS Till Eulenspiegels lustige Streiche op. 28

October 21 - Lyric Theater, WILLIAM STEINBERG conductor WAGNER Prelude to 'Die Meistersinger von Nurnberg' BRAHMS Symphony no. 2 in D op. 73 STARER Concerto for violin, cello and orchestra JOSEPH SILVERSTEIN violin JULES ESKIN cello

October 23 - University Field House, Villanova MICHAEL TILSON THOMAS conductor

HAYDN Symphony no. 98 in B flat STRAVINSKY Variations (Aldous Huxley in memoriam) IVES Three places in New England', an orchestral set BRAHMS Symphony no. 2 in D op. 73

December 8- Academy of Music, Philadelphia ERICH LEINSDORF conductor

BEETHOVEN Symphony no. 6 in F op 68 The Pastoral' BEETHOVEN Symphony no. 3 in E flat op. 55 'Eroica'

December 9 - Woolsey Hall, New Haven ERICH LEINSDORF conductor

MOZART Overture to 'Die Entfuhrung aus dem Serail' K. 384 BERG Five Altenberg songs op. 4 EVELYN LEAR soprano BERG Three excerpts from the opera 'Wozzeck' op. 7 EVELYN LEAR soprano WILLIAM WRIGHT boy soprano BEETHOVEN Symphony no. 3 in E flat op. 55 'Eroica' - February 3 Bushnel I Memorial Hall, Hartford CLAUDIO ABBADO conductor

DONATONI Puppenspiel (Puppet show) no. 2 for flute, piccolo and orchestra DORIOT ANTHONY DWYER flute and piccolo PROKOFIEV Symphony no. 3 op. 44 SCHUMANN Symphony no. 4 in D minor op. 120

February 24-Orrie DeNooyer Hall, Hackensack COLIN DAVIS conductor

STRAVINSKY Scherzo a la russe TIPPETT Symphony no. 2 TCHAIKOVSKY Symphony no. 4 in F minor op. 36

1560 March 30 & 31 - Constitution Hall, Washington DC MICHAEL TILSON THOMAS

STRAVINSKY Symphony in three movements MOZART 'Exsultate, jubilate' motet for soprano K. 165 BENITA VALENTE soprano TCHAIKOVSKY Symphony no. 1 in G minor op. 13 'Winter daydreams'

CONCERTS GIVEN AT THE BERKSHIRE FESTIVAL 1969 Program Date Conductor 1A July 4 ERICH LEINSDORF 1B July 5 ERICH LEINSDORF 1C July 6 ERICH LEINSDORF 2A July 11 ERICH LEINSDORF 2B July 12 ERICH LEINSDORF 2C July 13 3A July 18 ERICH LEINSDORF 3B July 19 ERICH LEINSDORF 3C July 20 ERICH LEINSDORF 4A July 25 ERICH LEINSDORF 4B July 26 ERICH LEINSDORF 4C July 27 CHARLES WILSON 5A August 1 ERICH LEINSDORF 5B August 2 5C August 3 6A August 8 KAREL ANCERL 6B August 9 ERICH LEINSDORF 6C August 10 JOSEF KRIPS 7A August 15 ERICH LEINSDORF benefit concert for the Berkshire Medical Center 7B August 16 DAVID ZINMAN 7C August 17 HENRY LEWIS 8A August 22 MILTON KATIMS 8B August 23 ERICH LEINSDORF 8C August 24 ERICH LEINSDORF

WORKS PLAYED AT THE BERKSHIRE FESTIVAL 1969 Program BACH Concerto in A minor for flute, violin and harpsichord BWV 1044 2C Suite no. 1 in C BWV 1066 2A Suite no. 2 in B minor BWV 1067 2A Suite no. 3 in D BWV 1068 2A Suite no. 4 in D BWV 1069 2A BARTOK Dance suite (1923) 7B Rhapsody no. 1 for violin and orchestra (1928) 5B Rhapsody no. 2 for violin and orchestra (1928)** 5B BEETHOVEN Symphony no. 1 in C op. 21 4A Symphony no. 3 in E flat op. 55 'Eroica' 7A Symphony no. 5 in C minor op. 67 5C Symphony no. 6 in F op. 68 The Pastoral' 7A Symphony no. 9 in D minor op. 125 8C

** first performance by the Boston Symphony Orchestra

1561 t 1

Program

Piano concerto no. 4 in G op. 58 8B Piano concerto no. 5 in E flat op. 73 The Emperor' 4C Overture to Goethe's 'Egmont' op. 84 4A BERLIOZ Overture 'Le Corsaire' 7C Les nuits d'ete op. 7 7C Royal hunt and storm from '' 8C BRAHMS Symphony no. 4 in E minor op. 98 5A Piano concerto no. 1 in D minor op. 15 6B Piano concerto no. 2 in B flat op. 83 4A DEBUSSY Jeux-poeme danse (1912) 5B La mer (The sea), three symphonic sketches 5B Nocturnes 6B ELGAR Cello concerto in E minor op. 85 5C GRAAF Symphony in C op. 40 no. 4** 2C HANDEL Concerto grosso in G op. 6 no. 1** 2C HAYDN ** Symphony no. 83 in G minor The Hen' 7B Symphony no. 94 in G The Surprise' 6C Sinfonia concertante in B flat for oboe, bassoon, violin and cello op. 84 5B MENDELSSOHN Overture 'Ruy Bias' op. 95t 5C MOZART Symphony no. 29 in A K. 201 1A Symphony no. 35 in D K. 385 'Haffner' 1B Symphony no. 36 in C K. 425 The Linz' 2C Symphony no. 39 in E flat K. 543 1A Symphony no. 40 in G minor K. 550 1B Symphony no. 41 in C K. 551 'Jupiter' 1C Piano concerto no. 21 in C K. 467 1A Piano concerto no. 23 in A K. 488 1B Piano concerto no. 27 in B flat K. 595 1C Six German dances K. 571** 1C Parto, parto from 'La clemenza di Tito' K. 621 7C Die Entfuhrung aus dem Serail (The abduction from the seraglio)** 2B PROKOFIEV Scenes from 'Romeo and Juliet' op. 64 3B RAVEL Daphnis et Chloe - suite no. 2 8A RIMSKY-KORSAKOV Prelude and wedding march from 'Le coq d'or' 3B

ffirst performance at the Festival concerts

**first performance by the Boston Symphony Orchestra

1562 Program ROSSINI Overture to 'La gazza ladra' 8A Overture to 'L'ltaliana in Algeri' 3A Cruda sorte from 'L'ltaliana in Algeri'** 7C SCHARWENKA Piano concerto no. 1 in B flat minor op. 32t 3A SCHOENBERG op. 46t 5A SCHUBERT Symphony no. 9 in C 6C SIBELIUS Symphony no. 2 in D op. 43 4C SMETANA Ma vlast (My country)*** 6A STRAUSS Till Eulenspiegels lustige Streiche op. 28 6C STRAVINSKY Symphony in Ct 5A Suite from the ballet 'The firebird' 8B Le sacre du printemps () 3A TCHAIKOVSKY Symphony no. 4 in F minor op. 36 8A Symphony no. 5 in E minor op. 64 3C Symphony no. 6 in B minor op. 74 'Pathetique' 7B Piano concerto no. 2 in G op. 44t 3B Violin concerto in D op. 35 3C Francesca da Rimini op. 32t 7C Introduction to Act two 'Swan Lake'** 3C VARESE Deserts for orchestra and three interpolations of electronically organized sound (pre-recorded on tape)t 8B VAUGHAN WILLIAMS Fantasia on a theme by Thomas Tallis for double string orchestra 8A VERDI Otello** 4B WEILL Suite from 'Kleine Dreigroschenmusik fur Blasorchester't 6B

\first performance at the Festival concerts

**first performance by the Boston Symphony Orchestra

***first complete performance by the Boston Symphony Orchestra

SOLOISTS AT THE BERKSHIRE FESTIVAL 1969 Program JOHN ALEXANDER tenor 8C VLADIMIR ASHKENAZY piano 4C ARA BERBERIAN bass 4B JOHN BROWNING piano 1B tenor 4B VAN CLIBURN piano 6B

1563 Program

JUSTINO DIAZ bass 8C JACQUELINE DU PRE cello 5C DORIOT ANTHONY DWYER flute 2A, 2C RYAN EDWARDS baritone 4B LUTHER ENSTAD tenor 4B CHRISTOPH ESCHENBACH piano 1A JULES ESKIN cello 5B MALCOLM FRAGER piano 8B CLAUDE FRANK piano 1C RALPH GOMBERG oboe 5B GARY GRAFFMAN piano 3B soprano 7C FLORENCE KOPLEFF contralto 8C ROBERT LEVIN harpsichord 2C RAYMOND MICHALSKI bass 2B SHERRILL MILNES baritone 4B MARALIN NISKA soprano 4B EUGENE RABINE bass 4B JOAQUIN ROMAGUERA tenor 4B GEORGE SHIRLEY tenor 2B JEROLD SIENA tenor 2B soprano 2B, 8C JOSEPH SILVERSTEIN violin 2C, 5B RICHARD TAYLOR baritone 4B ROSE TAYLOR contralto 4B SHERMAN WALT bassoon 5B ANDRE WATTS piano 4A EARL WILD piano 3A PINCHAS ZUKERMAN violin 3C

OTHER ARTISTS AT THE BERKSHIRE FESTIVAL 1969

JULES ESKIN concertino cello 2C ALFRED KRIPS concertino violin 2C ROBERT LEVIN harpsichord continuo 2A, 2C JOHN HOSSZU LONG cimbalom 5B narrator 2B ANDREW RAEBURN stage director 2B, 4B JOSEPH SILVERSTEIN concertino violin 2C BERKSHIRE BOY CHOIR 4B Allan Wicks Music Director BERKSHIRE CHORUS 4B, 6B, 8C Charles Wilson Director John Oliver Assistant Director CHORUS PRO MUSICA 8C Alfred Nash Patterson Director FRAMINGHAM CHORAL SOCIETY CHORALE 4B Charles Wilson Director John Oliver Assistant Director TANGLEWOOD CHOIR 2B, 4B, 8C Charles Wilson Director John Oliver Assistant Director WOMEN OF THE TANGLEWOOD CHOIR 6B Charles Wilson Director John Oliver Assistant Director

1564 WEEKEND PRELUDES AT THE BERKSHIRE FESTIVAL 1969

luly 4 BACH Concerto for two pianos and strings in C BWV 1061

MOZART Sonata for two pianos in D K. 448 CLAUDE FRANK, LILIAN KALLIR pianos VIOLONE ENSEMBLE MAX HOBART violin ALFRED SCHNEIDER violin EARL HEDBERG viola ROBERT RIPLEY cello WILLIAM RHEIN double bass

July 11 BACH Suite no. 5 in C minor for cello unaccompanied BWV 1011 Sonata no. 3 in C for violin unaccompanied BWV 1005 JULES ESKIN cello JOSEPH SILVERSTEIN violin luly 18 WEBERN Vier Stucke op. 7 BUSONI Second sonata for violin and piano op. 36a WEBERN Vier Stucke op. 7 (repeated) PAUL ZUKOFSKY violin GILBERT KALISH piano

July 25 BACH-TAUSIG Organ toccata and fugue in D minor BWV 565 MENDELSSOHN Rondo capriccioso in E op. 14 BRAHMS Capriccio in B minor op. 76 no. 2 MEDTNER Improvisation: Theme and variations op. 47 D'ALBERT Scherzo in F sharp minor BALAKIREV Fantasy on Glinka's Life for the Czar EARL WILD piano

August 1 TIPPETT Dance, clarion air BRITTEN Hymn to St Cecilia VAUGHAN Valiant-for-truth WILLIAMS BRITTEN The ballad of Little Musgrave and Lady Barnard RIDOUT Divertimento on poems of Robert Burns BERKSHIRE BOY CHOIR ALLAN WICKS Music Director LOWELL LACEY, ALLAN WICKS pianos

August 8 BLACHER Trio for trumpet, trombone and piano op. 31 THUILLE Sextet op. 6 BOSTON SYMPHONY CHAMBER PLAYERS with GILBERT KALISH piano

August 15 SCHUBERT String trio no. 1 in B flat D. 471 Quintet in A op. 114 'The Trout' BOSTON SYMPHONY CHAMBER PLAYERS

August 22 A. VIVALDI Sorge vermiglia in ciel la bella aurora

Par che tardo oltre il costume first performances in the United States

STRAUSS Ich schwebe op. 48 no. 2 Amor op. 68 no. 5 Breit' uber mein Haupt op. 19 no. 2

1565 SCHUBERT Der Hirt auf dem Felsen op. 129 BEVERLY SILLS soprano CHARLES WILSON piano and harpsichord MARTIN HOHERMAN cello

GINO CIOFFI clarinet i-

BERKSHIRE MUSIC CENTER 1969

The Berkshire Music Center concluded one of the most exciting and productive eras in its history with the completion of Erich Leinsdorf's tenure as Director at the end of the 1969 season. Mr Leinsdorf's tenure began in 1963, and he was responsible for the development at the Center of the current Fellowship pro- gram and the expanded Tanglewood Institute programs in music education, theater, dance, and visual arts sponsored under the auspices of the Center by

Boston University and the New England Conservatory of Music. It was also under Mr Leinsdorf's Directorship that the now-annual Festival of Contemporary Music was begun in co-operation with the Fromm Music Foundation.

These programs have accomplished much to further the original aim of the Center, established 30 years ago through the vision of Serge Koussevitzky, to create an environment in which the very finest apprentices of the younger generation come to work with and under the tutelage of eminent professionals in the arts. The Fellowship Program in 1969 was designed, as in previous years, for instrumentalists, singers, conductors and composers. The 139 members of the Program received stipends in order to help them meet living expenses for the summer. No tuition fees were charged to participants, who were chosen through a series of rigorous auditions by the Center's faculty, members of the Boston Symphony Orchestra and distinguished guest artists.

The activities of the 1969 Fellowship program included intensive rehearsal and study sessions of chamber and orchestral music, guided by the members of the faculty. Fellows in composition studied privately and in seminars with Gunther Schuller and visiting composers on the faculty. The intensive work in the Fel- lowship program is focused on the particular needs and problems of perform- ance, whether or not works studied actually receive performance at the Center's concerts at Tanglewood. Many of these concerts were performed this year by members of the Fellowship program, culminating in two semi-staged perform- ances of 's opera Wozzeck, involving all the instrumentalists, singers, and conductors in the program under the direction of Mr Leinsdorf. The pro- duction of this monumental and difficult work attracted the most attention from the press and public of any of the Center's projects. Of the performance, commented:

'. . . the performance was not only precise and smooth, but also lustrous

in sound and explicitness in its dramatic, and emotional impact . . . the

effect of the performance was strong upon those who saw and heard it,

but it probably was even greater upon the young musicians from seven countries — most of them between the ages of 21 and 25 — who had a

part in it.'

In addition to Wozzeck, the Berkshire Music Center Orchestra gave concerts conducted by Joseph Silverstein, Charles Wilson, Gunther Schuller, and the three conducting fellows enrolled in the Fellowship program. From the chamber music studied by members, eight programs were given on successive Sunday mornings throughout the session. Four concerts of vocal music, including both opera scenes and lieder, were presented by Fellowship program singers, directed by Charles Wilson. Gunther Schuller directed three Composers' forums featuring music by young composers enrolled in the Program. Tanglewood on parade, August 19, presented concerts from all the programs at Tanglewood, culminating in a concert by the Boston Symphony Orchestra to benefit the Center. 1566 The internationally famous Festival of Contemporary Music, sponsored by the Center and the Fromm Music Foundation, was expanded to two weeks for the

1969 session. It included eight first performances, four of which were commis- sioned by the Center with the co-operation of the Fromm Foundation. A special feature of this year's Festival was the performance of Beyond the ghost spec- trum, a ballet which was a Berkshire Music Center-Fromm Commission. The ballet was performed by dancers from the Indian Hill Summer Arts Workshop, with choreography by James Waring. During Mr Leinsdorf's seven-year tenure as Director, the Center has commissioned 35 works from 34 different com- posers, including 23 chamber works, 5 choral works, 5 orchestral works, an opera and last year's ballet; and since 1964, when Mr Leinsdorf first created the Fellowship program, 24 different composers have taught on the Center's faculty, and 84 composition fellowships have been awarded to aspiring young composers.

The varied activities of the Fellowship program in 1969 included participation by members in two functions directed towards young people. 'Day in the arts' is a program begun in 1968 to give culturally isolated children an opportunity to experience some of the varied activities in the performing arts centered in and around Tanglewood. Last summer the program was focused on youngsters from the Berkshire area, who spent several days at Tanglewood in various groups attending Boston Symphony Orchestra and Berkshire Music Center rehearsals, concerts, special 'classes' and demonstrations given by Fellows, as well as swimming at the Tanglewood Lakefront and participation in other recreational activities. A grant from the Frederick Kennedy Foundation will allow the 'Day in the arts' to be expanded in the next three years, offering a more intensive program for culturally isolated youth from the Boston Public schools. In addition to 'Day in the arts', the Center also sponsored four special Youth concerts in 1969 for children resident in summer camps in the Berkshires. Featuring commentary by the conductors, the concerts were specially designed for young audiences and presented by the Berkshire Music Center Orchestra and the Boston University Young Artists Orchestra.

At the 1969 session Boston University again offered its programs in music and the other arts. The Boston University programs, and those of the New England Conservatory, help to enliven and enhance the Tanglewood atmosphere as well as make it available to larger numbers of young aspiring artists beyond the necessarily restricted membership of the Fellowship program. The Boston

University Young Artists program is modeled after the Fellowship program, except that its rigorous schedule of chamber and orchestral music is geared to talented high school instrumentalists. Boston University holds auditions across the country for the Young Artists program, and, now in its fifth year, the pro- gram has achieved national prominence for the excellence of the high school instrumentalists involved. The 'Young Artists' gave five orchestral concerts (one in Boston at the University) and nine chamber music concerts during the session. The University's music programs also included master classes and seminars for singers and pianists.

In addition to its music programs, Boston University gave summer courses in the visual arts, theater and dance. The art students and faculty exhibited their works throughout the summer at the Exhibition room at the Tanglewood Main gate. Offering both beginning and advanced courses in painting and drawing, the 1969 program was supplemented by an outstanding series of lectures by prominent artists, art historians, and critics. The Playwrights workshop afforded two outstanding young playwrights the opportunity to work on 'plays-in-the- progress' with a company of professional actors and a group of distinguished directors and critics. Final 'open rehearsals' of the two plays, Barking by Lawrence Holofcener and Bartholomew by Philip Magdaleny, were presented to the Tanglewood community. The Dance program (including movement,

1567 dance and mime) presented several student demonstrations as well as per- formances of the Mary Anthony Dance Theater, which was in residence during the sixth week of the Center's session. Members of the Boston University Theater and Dance programs participated in a performance of Stravinsky's L'histoire du soldat with members of the Fellowship program during the Festival of Contemporary Music.

The New England Conservatory added to the quality and variety of the Berkshire Music Center activities with its programs in music education and special sem- inars on jazz and contemporary composition. The New England Conservatory Institute presented two concerts at Tanglewood, including an evening of various forms of jazz and a demonstration-concert of 'exploratory compositions' by students. The Conservatory geared its courses at the Center to the particular problems of music education today, and thus provided an invaluable supple- ment to the other activities of the Center, most of which are directed to active 'performers' in the arts and not to the needs of arts educators. Boston Uni- versity also offered a general seminar in the arts during the 1969 session, which attracted teachers and interested laymen in the arts to Tanglewood. Most of the Boston University and New England Conservatory programs offer college credit.

During the 1969 session, Tanglewood was the site of several other activities sponsored by the Center as part of its expanded educational programs. The 'Contemporary Trends Concerts', begun in 1968 in order to present in concert other kinds of music than the so-called 'classical' forms, were expanded from three to five presentations in 1969. The Contemporary Trends Concerts are sponsored by the Contemporary Music Department of the Center, and last summer included presentations of jazz, folk, and several forms of rock music. The Berkshire Music Center also sponsored, together with the Fromm Music Foundation, a three-week Music Critics Institute (for young critics beginning their careers), and the annual meeting of the Music Critics Association.

The Berkshire Music Center remains the only 'educational' institution in the world wholly operated and supported by a symphony orchestra. Although other orchestras have emulated Tanglewood's summer festival and 'school', the

Center's programs are still unique in terms of their purpose, scope, and financ- ing. The kind of experience offered to members of the Center's programs is especially important today when the cross-currents of the arts are changing so rapidly. The 'apprenticeship' of the young musicians in the Fellowship program to the professionals in the Boston Symphony Orchestra, all within the context of a major music festival, constitutes a situation with a special kind of intensity, challenge, and artistic enrichment which is simply unattainable in the curricula of schools of music. Erich Leinsdorf expressed it this way:

'To live for eight weeks inside a major musical organism is an opportunity which young people cannot often find. My admiration for our leading

music schools is second to none . . . yet there is one need which no conservatory, no university music department can fill: an intensive and protracted contact with actual performance on the highest level. Through this the young musician, en route from studio to stage, can gain a seasoned awareness of the profession's problems.'

It is particularly important that this special kind of experience of the Fellowship program has been offered at the Center without the constraint of the usual financial burdens of tuition and living expenses, thanks to the fellowships pro- vided through the generosity of the Boston Symphony Orchestra and the patronage of interested donors.

1568 BOSTON POPS 1969

The eighty-fourth season of the Boston Pops ran from April 29 to June 28. There were fifty-four regular concerts, as well as a special concert to benefit the Orchestra's Pension Fund. Arthur Fiedler, Conductor, directed thirty-five times; Harry Ellis Dickson, Assistant Conductor, ten times. Guest conductors were Skitch Henderson, who also was piano soloist (four concerts); Lehman Engel and Harry John Brown (three concerts each). Other guest conductors were Daniel C. Abbott, Walter Eisenberg, Rouben Gregorian, William Tesson and Nicholas Van Slyck.

Among the many soloists were Chet Atkins, William Bamberg, Pola Baytelman, Thirzah Bendokas, Peter Chapman, John Covelli, Jeannine Crader, Reginald Hache, Ronald Hodges, Rosalie Hoffman, Hiro Imamura, Eugene Indjic, Joan Kennedy, Chi-Fun Lee, Ikuko Mizuno, Deborah Moriarty, Phyllis Moss, Anthony and Joseph Paratore, Miklos Schwalb, Ruth Slenczynska, Ronald Wayne Tak- vorian and Earl Wild.

Joseph Silverstein, Concertmaster of the Boston Symphony Orchestra was soloist with the Pops, as was Alfred Krips, Concertmaster of the Boston Pops. Other members of the Pops Orchestra who were soloists were Stephen Geber, Martin Hoherman, Robert Karol, Luis Leguia, Leo Litwin, James Pappoutsakis, Julius Schulman, Roger Voisin and Charles Yancich.

ESPLANADE CONCERTS 1969

The 41st consecutive season of Esplanade Concerts, Arthur Fiedler, Founder and Director, was given by members of the Boston Symphony Orchestra in the Edward Hatch Memorial Shell with concerts on the evenings of June 30 through July 5 and July 7 through July 12. There were two concerts for children on the mornings of July 2 and July 9. The concerts were sponsored by the following businesses and organizations:

Boston Edison Company National Shawmut Bank of Boston Boston Globe New England Gas & Electric Boston Herald Traveler Association Boston Manufacturers Insurance New England Merchants Company National Bank Boston Record American- New England Mutual Life Sunday Advertiser Insurance Company Cabot Corporation New England Telephone & Fidelity Management & Telegraph Company Research Company Norfolk County Trust Company Eastern Company Polaroid Corporation Fiduciary Trust Company Provident Institution for Savings Filene's Sons Company RCA (Aero Space Division) First National Bank of Boston Raytheon Company Gillette Company Reed & Barton Corporation Green Shoe Corporation Ryan, Elliot & Company Inc. G. K. Hall & Company Sears Roebuck & Company Harvard Trust Company Sheraton Corporation Honeywell Inc. Shreve Crump & Low Company Houghton Mifflin Company State Street Bank & Trust Howard Johnson Company Company John Hancock Mutual Life Stop & Shop Inc. Insurance Company Time Inc. Liberty Mutual Insurance Company United-Carr Inc. Arthur D. Little Inc. William Underwood Company Lenox National Bank

1569

ariiffiffS PENSION FUND

Three special concerts have been given to benefit the Orchestra's Pension Fund. Arthur Fiedler conducted the Boston Pops in an 'Old Timers' Night' concert on Sunday May 11. A similar program was given on Tuesday August 5 in the Tanglewood shed.

On Sunday January 11 the Boston Symphony Orchestra, conducted by William Steinberg, played a concert which was dedicated to the memory of Henry Lee Higginson. The program included the Overture to 'Benvenuto Cellini' by Berlioz, the Violin concerto in A K. 219 of Mozart and the Violin concerto in D op. 77 by Brahms. was soloist.

Seven open rehearsals were held at Symphony Hall during the 1969-1970 season (October 16, October 30, November 13, December 4, January 22, February 12 and April 23). The revenue from ticket sales benefited the Pension Fund, as did that taken for the eight Saturday morning open rehearsals of the Berkshire Festival.

CONCERTS GIVEN DURING THE 1969-1970 SEASON BY THE BOSTON SYMPHONY CHAMBER PLAYERS

JOSEPH SILVERSTEIN violin GINO CIOFFI clarinet BURTON FINE viola SHERMAN WALT bassoon JULES ESKIN cello JAMES STAGLIANO horn HENRY PORTNOI double bass ARMANDO GHITALLA trumpet DORIOT ANTHONY DWYER flute WILLIAM GIBSON trombone RALPH GOMBERG oboe EVERETT FIRTH percussion MICHAEL TILSON THOMAS piano

October 12- Pequot Library, Southport, Connecticut November 2 - St Mark's, Southboro, Massachusetts March 1 - University of Connecticut, Storrs

BEETHOVEN Trio in C minor op. 1 no. 3 SCHOENBERG String trio MOZART Divertimento in E flat for string trio K. 563

October 15 -St Botolph Club, Boston PISTON Trio for flute, clarinet and bassoon (1926) PERSICHETTI Pastorale (1943) TAFFANEL Quintet

December 7 -Sanders Theater series (1) BEETHOVEN Piano quartet in E flat op. 16b SCHOENBERG String trio op. 45 (1946) STREET String trio SCHUMANN Piano trio in D minor op. 63 January 14 -St Botolph Club, Boston with Ann Hobson harp DEBUSSY Sonata for cello and piano Sonata for flute, viola and harp Sonata for violin and piano

January 18 - Sanders Theater series (2) with John Holmes oboe Pasquale Cardillo clarinet Ernst Panenka bassoon Harry Shapiro horn BEETHOVEN Rondino in E flat for wind octet op. 146

1570 BUDD New work, no. 1 PISTON Trio for flute, clarinet and bassoon (1926) MESSIAEN 'Le merle noir' for flute and piano MOZART Wind serenade in C minor K. 388

January 25 - Pine Manor Junior College, Chestnut Hill with Bethany Beardslee soprano Max Hobart violin Ann Hobson harp Arthur Press percussion Charles Smith percussion PISTON Trio for flute, clarinet and bassoon (1926) LERDAHL 'Wake' for string trio, percussion, harp and voice conducted by David Epstein DEBUSSY Sonata for flute, viola and harp DVORAK String quintet in G op. 77

February 15 - Sanders Theater series (3) with Ann Hobson harp Arthur Press percussion Charles Smith percussion DEBUSSY Sonata for cello and piano Sonata for flute, viola and harp Sonata for violin and piano -LERDAHL 'Wake' for string trio, percussion, harp and voice conducted by Michael Tilson Thomas STOCKHAUSEN 'Kontakte' for piano, percussion and prepared tape

March 1 - Wheaton College, Norton DANZI Quintet in G minor PISTON Trio for flute, clarinet and bassoon (1926) POULENC Trio for horn, trumpet and trombone ANDRIESSEN Trio for flute, oboe and bassoon TAFFANEL Quintet

March 8 -Union College, Schenectady, New York DANZI Quintet in G minor PISTON Trio for flute, clarinet and bassoon (1926) POULENC Trio for horn, trumpet and trombone ANDRIESSEN Trio for flute, oboe and bassoon ETLER Wind quintet no. 2

March 15 - Sanders Theater series (4) with Max Hobart violin Robert Levin harpsichord MOZART Adagio from Divertimento in E flat for string trio K. 563 in memory of Mrs Talcott M. Banks TELEMANN Quartet for flute, oboe, violin and continuo CARTER Sonata for flute, oboe, cello and harpsichord ETLER Wind quintet no. 2 DVORAK String quintet in G op. 77

April 19 - Sanders Theater series (5) BEETHOVEN Serenade in D for flute, violin and viola op. 25 ROCHBERG Duo for oboe and bassoon BEETHOVEN Septet in E flat op. 20

April 26 -Newton Junior College, Newtonville BEETHOVEN Trio in C minor op. 1 no. 3 SCHOENBERG String trio MOZART Divertimento in E flat for string trio K. 563

1571 April 28- University of Massachusetts, Amherst SCHUBERT String trio no. 1 in B flat D. 471 POULENC Trio for horn, trumpet and trombone ANDRIESSEN Trio for flute, oboe and bassoon BEETHOVEN Septet in E flat op. 20

RETIRING MEMBERS, NEW MEMBERS AND AN EXCHANGE

Four members of the Orchestra will retire at the end of the 1969-70 season. They are Phillip Kaplan, flute, who joined the Orchestra in 1939; Buell Neid- linger, double bass, who has played with the Orchestra since 1967; josef Orosz, trombone, who has played with the Boston Symphony since 1943; and Karl Zeise, cello, who joined the Orchestra in 1939.

Two players joined the Boston Symphony Orchestra at the start of the 1969- 1970 season: Ann Hobson, harp, and Ikuko Mizuno, violin.

Hidenobu Tsuchida, principal cello of the Japan Philharmonic Orchestra, has played with the Boston Symphony Orchestra during the 1969-1970 season in a one season exchange with Carol Procter.

RADIO BROADCASTS

The Friday afternoon concerts of the Orchestra in Symphony Hall were broad- cast regularly by WGBH-FM (Boston), WAMC-FM (Albany) and WFCR (Amherst). The Saturday evening concerts in Symphony Hall were broadcast regularly by WGBH-FM (Boston), WCRB-AM-FM (Boston), WFCR (Amherst), WPJB-FM (Provi- dence) and WCRX-FM (Springfield). WGBH and WRCB co-operated in the new and successful four-channel transmissions of the Saturday evening concerts, in association with Acoustic Research Inc. of Cambridge.

Most of the Tuesday evening concerts of the Orchestra in Symphony Hall were broadcast by WGBH-FM (Boston), WAMC-FM (Albany) and WFCR (Amherst). Concerts of the 1969 Berkshire Festival were broadcast delayed by WGBH-FM (Boston). The nine Saturday evening Pops concerts in 1968 were broadcast live by WGBH-FM (Boston), WCRB-AM-FM (Boston) and WFCR (Amherst).

All the concerts of the 1969 Berkshire Festival were broadcast live by WGBH-FM (Boston), WFCR (Amherst) and WAMC-FM (Albany). WCRB-FM .(Boston), WCRX-FM (Springfield) and WPJB-FM (Providence) broadcast the Saturday evening concerts.

During 23 of the 24 weeks of the season WGBH-FM and WFCR have broadcast on Thursday and Saturday This week at Symphony', a program sponsored by the Boston Symphony Orchestra. Andrew Raeburn has been the commentator.

Complete transcriptions of the Friday and Saturday concerts, as well as concerts of the Boston Pops and of the 1969 Berkshire Festival, were broadcast through the Boston Symphony Transcription Trust on the following stations, both com- mercial and educational. Where known, the name of the sponsor is indicated.

UNITED STATES

Akron, Ohio WAKR Prinz Office Supply Company Westside Plymouth Albany, N. Y. WAMC Sustaining Albuquerque, N. M. KHFM Allentown, Pa. WFMZ Georgetown Manor First National Bank & Trust Co. of Bethlehem

1572 Ames, Iowa WOI-AM-FM Sustaining Amherst, Mass. WFCR Sustaining Anchorage, Alaska KNIK First National Bank of Anchorage Matanuska Valley Bank Appleton, Wise. WLFM Sustaining Archbold, Ohio WHFD Sauder Woodworking Gilbert & Heer Drugs Farmers & Merchants State Bank Baltimore, Md. WBAL-FM Von Paris Moving & Storage Birmingham, Ala. WAPI-FM Sustaining

Bloomington, III. WBNQ-FM Park Hill Cemetery Bloomington, Ind. WFIU-FM Sustaining Boston WCRB-AM-FM Acoustic Research Inc. WGBH-FM Sustaining Buffalo, N. Y. WBFO Sustaining Burlington, Vt. WJOY Cedar Rapids, Iowa WMT Champaign, III. WLRW

Chicago, III. WFMT-FM Acoustic Research Inc. First Commercial Bank Oak Park Trust & Savings Bank Cleveland, Ohio WCLV Pioneer Audio Co. Cocoa Beach, Fla. WCKS-FM Lightner Audio Supply Columbus, Ohio WOSU-FM O. M. Scott & Sons Battelle Memorial Institute Daytona Beach, Fla. WNDB-AM-FM News Journal Corp.

Dekalb, III. WNIU-FM Sustaining Denver, Colo. KFML Midland Federal Savings & Loan Public Service Co. of Colorado Des Moines, Iowa KFMG-FM lowa-Des Moines National Bank Detroit, Mich. WDET Sustaining WQRS East Lansing, Mich. WKAR Sustaining Ellsworth, Me. WDEA Sustaining Fairbanks, Alaska KFRB Sustaining KUAC Sustaining Fargo, N. Dak. KFNW-FM Sustaining Fort Lauderdale, Fla. WFTL Boston Rug Co. Lauderdale Abstract Fort Wayne, Ind. WPTH Kaplan's Furniture Co. Gainesville, Fla. WRUF-AM-FM City Utilities Grand Island, Neb. KMMJ Bost Pharmacy First National Bank Nehi-Royal Crown Bottling Co. Kinman Chevrolet-Cadillac Schweser's Fashion Store Stephens-Ryder-Wenger Insurance Agency Grand Rapids, Mich. WOOD Steketee's Audio Shop William Klein's Store for Men Greensboro, N. C. WQMG Greenville, S. C. WMUU Sustaining Hanover, N. H. WDCR The Camera Shop The Hanover Consumer Co-operative Society Honolulu, Hawaii KFOA Indianapolis, Ind. WFMS Kalamazoo, Mich. WMUK Sustaining

1573

mxm Klamath Falls, Ore. KLAD Swan Lake Moulding Miller Bros. Automobiles Montgomery Ward Knoxville, Tenn. WUOT Lansing, Mich. WSWM Voice of Music Las Cruces, N. Mex. KRWG-FM Farmers & Merchants Bank

(El Paso, Texas) Lawrence, Kansas KANU-FM Sustaining Los Angeles, Calif. KFAC-AM-FM Japan Airlines Miami, Fla. WOCN First Federal Savings & Loan Midland, Texas KNFM Citizen's Savings & Loan Milwaukee, Wise. WFMR Marine National Exchange Bank Minneapolis, Minn. KSJR/KSJN Sustaining Nashville, Tenn. WPLN New York City WQXR Japan Airlines WRVR Norfolk, Va. WGH-FM Various Restaurants WRVC-FM Omaha, Neb. WOW-FM Sustaining

Peoria, III. WIVC Commercial National Bank Philadelphia, Pa. WFLN-FM Gerstley, Sunstein & Co. Inc. WUHY-FM Sustaining Pittsburgh, Pa. WLOA Portland, Me. WGAN Portland, Ore. KXL First National Bank of Oregon

Providence, R. I. WPJB-FM Blackstone Valley Electric Co. Gladding's G. H. Walker & Co. People's Savings Bank & Trust Provo, Utah KBYU-FM Sustaining Richmond, Va. WFMV-FM Fidelity Bankers Life Insurance Co. Roanoke, Va. WSLS-FM Shenandoah Life Insurance Co. Rochester, N. Y. WBFB Xerox Corp. St Louis, Mo. KFUO Beiderweiden Funeral Homes San Francisco, Calif. KKHI-AM-FM Japan Airlines Seattle, Wash. KISW Springfield, Mass. WCRX Third National Bank of Hampden County Syracuse, N. Y. WONO Tampa, Fla. WQXM First Federal of St Petersburg Tyler, Texas KDOK Utica, N. Y. WRUN Marine Midland Bank Utica Savings Bank Special Metals Corp. Washington, D. C. WGMS Furs by Gartenhaus Wilkes Barre, Pa. WYZZ The David Ertley Dealerships First Federal Savings & Loan Assoc. Scot's (RCA Victor & RCA Whirlpool) Greenbriar Lodge Restaurant Youngstown, Ohio WYSU

CANADA

Calgary, Alberta CHFM Home Provisioners Edmonton, Alberta CKUA-AM-FM Sustaining Toronto, Ont. CKFM Toronto Telegram Hamilton, Ont. CKDS-FM Sustaining

1574 VIRGIN ISLANDS

St Thomas WBNB Music Committee, St Thomas Arts Council

TELEVISION BROADCASTS

During the 1969-1970 season five concerts have been telecast by WGBH (Channel 2) and recorded on videotape for possible future distribution. Inter- mission features have included four interviews by Andrew Raeburn of the concerts' conductors, and a performance by the Boston Symphony Chamber Players of the Sextuor for piano and woodwind quintet by Poulenc. Jordan M. Whitelaw was producer and William Cosel director of these programs.

During the 1969 Berkshire Festival the concert on August 24 was telecast by WGBH. The program was conducted by Erich Leinsdorf and included the Royal hunt and storm from 'Les Troyens' of Berlioz and Beethoven's Ninth symphony.

During the 1969 Boston Pops season Arthur Fiedler conducted two concerts which were telecast by WGBH: the first, an all-Gershwin program on May 4 with Earl Wild as soloist; the second, on May 11 with Joan Kennedy narrating Prokofiev's Peter and the Wolf.

RECORDINGS

RCA has released the following recordings by the Boston Symphony Orchestra since May 1969: RED SEAL ALBUMS under the direction of Erich Leinsdorf

BEETHOVEN Symphony no. 1 in C op. 21 Symphony no. 8 in F op. 93 \ Symphony no. 6 in F op. 68 'Pastoral'

Symphony no. 9 in D minor op. 125 (Marsh, Veasey, Domingo, Milnes, Chorus Pro Musica, New England Conservatory Chorus) Symphony no. 5 in C minor op. 67 SCHOENBERG A survivor from Warsaw op. 46 (Milnes, New England Conservatory Chorus) BRAHMS Ein deutsches Requiem op. 45 } (Caballe, Milnes, New England Conservatory Chorus) > Four serious songs op. 121 (Milnes, Leinsdorf piano)/

MOZART Symphony no. 36 in C K. 425 'Linz' Symphony no. 39 in E flat K. 543 1 PROKOFIEV Piano concerto 5 in no. G op. 55 (Browning) / WEILL Kleine Dreigroschenmusik )

SCHARWENKA Piano concerto no. 1 in B flat op. 32 (Wild) ) Piano works by Glinka-Balakirev, Medtner, D'Albert (Wild) \ under the direction of William Steinberg

SCHUBERT Symphony no. 9 in C The great' under the direction of Georges Pretre BERLIOZ Symphonie fantastique op. 14a

1575 VICTROLA ALBUMS under the direction of Charles Munch BEETHOVEN Overtures (Coriolan, The creatures of Prometheus, Fidelio, Leonore nos. 1 and 3)

Piano concerto no. 1 in C op. 15 (Richter) ) Piano sonata no. 22 in F (Richter) op. 54 )

SCHUMANN Symphony no. 1 in B flat op. 38 'Spring' ) no. 2 in Symphony C op. 61 ) The following recordings by the , Arthur Fiedler Con- ductor, have been released by RCA since May 1969: RED SEAL ALBUMS Chet picks on the 'Pops' Motion picture classics Arthur Fiedler and the Boston Pops play the Beatles Carmen ballet (Bizet-Shchedrin) Fiedler's choice VICTROLA ALBUMS

Grand Canyon suite (Grofe) / in Paris An American (Gershwin) \ Orpheus in Hades [

Offenbach favorites )

The following album by the Boston Symphony Chamber Players has been released by RCA on the Red Seal label:

BRAHMS Piano trio in B op. 8 DAHL Duettino concertante for flute and percussion MARTINU Nonet POULENC Sextet for piano and woodwind quintet SCHUBERT Quintet in A op. 114 The Trout' WEBERN Concerto for nine instruments op. 24

SPECIAL YOUTH CONCERTS AT SYMPHONY HALL

The Frederick J. Kennedy Memorial Foundation awarded a grant of $180,000 to the Boston Symphony Orchestra in the fall of 1969 to defray the cost of special youth concerts to be presented without charge to Junior High School and ele- mentary level students of the Boston Public Schools, and of allowing 240 of the children who attended the concerts to spend a week at Tanglewood during the coming summer. Six concerts were presented in Symphony Hall in co-operation with Youth Concerts at Symphony Hall Inc., the organization which also pre- sented its own regular series of six subscription concerts. Many of the members of the Boston Symphony Orchestra play in the Youth Concerts Orchestra, and

the conductor is Harry Ellis Dickson, a violinist of the Boston Symphony and Assistant Conductor of the Boston Pops Orchestra.

PROGRAM NOTES

Program notes by the following authors have been printed in the program books: JOHN N. BURK ANDREW RAEBURN EDWARD DOWNES KLAUS G. ROY DONALD T. GAMMONS ERIC SALZMAN DONALD HARRIS GUNTHER SCHULLER BENJAMIN LEES MICHAEL TILSON THOMAS JAMES LYONS SIR

1576 PRINTED IN THE PROGRAMS FOR iDAY SERIES Page

JOHN N. BURK Composer from Connecticut 172 Bruckner - the lone symphonist 619 The old family piece 696 Liszt and the 'eternal feminine' 825 Dvorak and the West 875 The early versions of Schumann's D minor symphony 955 PHILIP HALE The youth of Brahms 235 Schubert, the man and the composer 299 Brahms the man 365 M. A. DeWOLFE Henry Lee Higginson 437 HOWE TAMARA A recollection of Stravinsky 508 KARSAVINA

SIR MICHAEL 'The composer is ... a poet of tones' 1132 TIPPETT IAN WOODWARD Tippett on his music - and on the Beatles' 1130

A new recording contract for the Boston Symphony and

> Boston Pops Orchestras 44 New members of the Orchestra 176 The Cabot-Cahners Room 178 G. Wallace Woodworth - an obituary 214 Members of the Orchestra 239, 303, 889 An exchange member of the Orchestra 239 A new book about the Orchestra 370 Arthur Fiedler's 75th Birthday 892 Four channel stereo 1090 Orchestra chairs named in honor of Charles Munch and Walter Piston 1215 Symphony tickets by auction 1275 Norman S. Shirk -an obituary 1433 The Orchestra's new recording of Schubert's Symphony no. 9 1466 Reviews of the Orchestra's final tour of the season 1529

ARTICLE PRINTED IN THE BEETHOVEN FESTIVAL PROGRAM

VI'CTOR FORD On first hearing Beethoven in Boston EXHIBITIONS AT SYMPHONY HALL

The exhibitions shown in the Gallery through the past season were loaned by the following artists and associations:

Cambridge Art Association (September 26 - October 18) Mrs Virginia Precourt (October 28- December 5) Copley Society (December 16 - January 9) Gallery of World Art (January 13 -January 31) Subscribers' exhibition (February 10- February 21) New England Artists Group (March 3 - March 21) Boston Watercolor Society (March 27- April 25)

A portrait of Beethoven by Ferdinand Schimon, owned by Mr and Mrs F. Michael Bosch, was on view in the Gallery during the Beethoven Festival and until the end of the Symphony season.

1577 MEETING OF THE FRIENDS OF THE BOSTON SYMPHONY ORCHESTRA

The thirty-sixth annual meeting of the Friends of the Boston Symphony Orches- tra will be held in Symphony Hall on Wednesday morning May 20 at 11.30. Arthur Fiedler will conduct a. rehearsal of the Boston Pops; afterwards there will be refreshments and a box lunch at the Pops tables. Talcott M. Banks, President of the Board of Trustees, will speak about the developments of the past year.

1578 COUNCIL OF FRIENDS OF THE BOSTON SYMPHONY ORCHESTRA

Symphony Hall, have been so successful that they will be continued next season. Recordings of the Orchestra on tape and disc are also being sold through the Council of Friends, with order forms always available in Symphony Hall.

These activities will be continued next season, and invitations will be sent to all Friends currently enrolled. The first of the pre-Symphony luncheons will take place on September 25, the date of the first Friday concert of the Ninetieth Anniversary Season; the other dates are Decem-

ber 18, February 12 and a day in March still to be confirmed. Stage door lectures are planned for October 9, November 13, January 22 and February 26. Betsy Goodhue Susanne Grandin

To: Friends of the Boston Symphony Orchestra

Symphony Hall (g^*^- Boston, Mass 02115

J subscribe $...., to the $440,000 goal of the Friends of the Boston Symphony Orchestra toward meeting the Orchestra's esti- mated deficit for the 1969-70 season September 1 1969—August 31 1970

Check enclosed Payable on Please bill me

Name

Address

Zip Code

Everyone making an annual gift to the Friends will be considered a Friend for the current year and invited to the annual meeting. Special events are planned for those in the categories of giving listed below.

$ 15 and over — Contributor $ 500 and over — Patron $ 50 and over — Donor $1000 and over — Guarantor $100 and over — Sponsor $5000 and over — Benefactor

Please make check payable to Boston Symphony Orchestra Inc. Gifts to the Orchestra are deductible under the Federal Income Tax Laws. 1579 &Hi?

THE FUTURE OF THE BOSTON SYMPHONY

. . . rests in large measure with its audiences, the devoted concert goers who, like you, attend its concerts.

You can help insure the Orchestra's future greatness by making a deferred gift to Symphony. The satisfaction of a significant cultural contribution can be joined to the protection of your own financial future.

A bequest ... a life income agreement ... an annuity . . . life insurance: these are the four ways of making such a deferred gift.

Each has it advantages.

The bequest: in his will, the donor provides Symphony with a specific amount or a remainder interest. The life income agreement: the donor gives capital to Symphony and in return receives income for life. The annuity: the donor gives capital and Symphony guarantees to the donor a fixed annual income for life. And lastly, life insurance: if the donor continues to pay premiums, these also constitute chari- table deductions for the donor.

Questions about these alternatives can be answered by your lawyer or tax adviser, by Harold D. Hodgkinson, chairman of Symphony's

Deferred Giving Program, or by any other of the Orchestra's Trustees.

1580

^^^H *;W\ BOSTON POPS

ARTHUR FIEDLER SEVENTY-FIFTH BIRTHDAY SEASON

OPENING TUESDAY NIGHT APRIL 28

April 28 -June 27

SYMPHONY HALL at 8.30

There will be concerts each week Monday through Saturday, except the first, when concerts will be Tuesday through Saturday.

The Pension Fund Concert will be on Sunday May 17.

Tickets will be placed on sale two weeks

in advance of each concert "GENTLEMEN, MORE DOLCE PLEASE!"

An Irreverent Memoir of Thirty Years in the Boston Symphony Orchestra

BY HARRY ELLIS DICKSON

"I sat down and read the whole thing, and with enormous pleasure. It is the work of a fine and gentle man, a splendid musician, and a charming teller of stories. It is perceptive, funny, wise, and pleasingly naughty. Everyone interested in the music world will find it fascinating, and I cannot imagine that anyone with a special interest in the BSO would be able to resist it at all. Moreover, Chevalier Dickson is at least 94% right when he says that critics are an unnecessary evil." — Michael Steinberg, Music Critic for The Boston Globe.

You'll agree with Mr. Steinberg when you read

Harry Ellis Dickson's witty observations of all the people who make the BSO one of the liveliest or- chestras anywhere. Serge Koussevitsky, Gregor Piatigorsky, Pierre Monteux, Danny Kaye and many

others light up a book which is in turn amusing, sad,

and sentimental. It's spiced with photographs, and with drawings by Mme. Koussevitsky. $7.50

beacon Tress: 25 Beacon Street ^stdrt, Mass 02108

1582 1970-71 BOSTON UNIVERSITY CELEBRITY SERIES k Walter Pierce, Managing Director Mrs. Aaron Richmond, Consultant

SELECT YOUR OWN SERIES FROM THE WORLD'S FOREMOST ATTRACTIONS Subscribe Now and Save! Events at Symphony Hall, , John Hancock Hall MAIL APPLICATIONS to Celebrity Series, 535 Boylston St., Boston 02116 uATr, Series orders accepted on this form until May 30. IXvlCi After that date, phone 536-6037 for revised order form. 7-EVENT SELECTIVE SERIES: $42.00, $35.00, $31.50, $24.50 Check any 7 of the 28 events listed below: MARTHA GRAHAM DANCE COMPANY (2 performances) Check One Sat. Aft., Oct. 17 Sat. Eve., Oct. 17

I SOLISTI Dl , HENRYK SZERYNG, Conductor and Violin Soloist Fri. Eve., Oct. 23 JULIAN BREAM, Superb Guitarist-Lutenist Sat. Eve., Oct. 24 , , Conductor Sun. Aft., Oct. 25

BEVERLY SILLS, Renowned Soprano , Fri. Eve., Oct. 30 -YVONNE L0RI0D and OLIVIER MESSIAEN Sun. Aft., Nov. 1 Ranking French pianist in a joint recital with the noted composer-pianist , Remarkable Australian Guitarist Fri. Eve., Nov. 13 JUILLIARD STRING QUARTET Sun. Aft., Nov. 15 PAUL TAYLOR DANCE COMPANY (2 performances) Check One Sat. Eve., Nov. 21 "A giant among modern choreographers. His troupe is one of the rn Sun. Aft., Nov. 22 most successful in modern dance."—Time Magazine VAN CLIBURN, Famous Pianist Sun. Aft., Nov. 22

] ZARA DOLOUKHANOVA, Eminent Soviet-Armenian Soprano Sun. Aft, Nov. 29 RUDOLF SERKIN, Celebrated Pianist Fri. Eve., Dec. 4 CARLOS MONTOYA, Extraordinary Flamenco Guitarist Sat. Eve., Dec. 5 D VIKTOR TRETYAKOV, New Star Among Soviet Violinists Sun. Aft, Dec. 6 Winner 1966 Tchaikowsky Violin Competition ANDRES SEGOVIA, Master of the Classical Sun. Aft, Jan. 17 SIBERIAN DANCERS AND SINGERS OF OMSK Sun. Aft, Jan. 24 Siberian-Russian folk spectacular of 100 includes dance ensemble, mixed chorus, orchestra of bayan accordions and balalaikas. OF NEW YORK Sun. Aft, Jan. 31 Peerless piano, violin, cello trio. DAME JUDITH ANDERSON as "Hamlet" Fri. Eve., Feb. 5 One of the world's foremost actresses portrays the melancholy Dane in a full-scale production BYRON JANIS, One of America's Leading Pianists Sun. Aft, Feb. 7 DIETRICH FISCHER-DIESKAU, Incomparable Lieder Singer Sun. Aft, Feb. 14 GRIGORY S0K0L0V, Exciting Young Soviet Pianist Sun. Aft, Feb. 28 Winner 1966 Tchaikowsky Piano Competition MENUHIN FESTIVAL ORCHESTRA, , Conductor and Violin Soloist Fri. Eve., Mar. 5 ALVIN AILEY AMERICAN DANCE THEATRE (2 performances) Check One Sat. Eve., Mar. 6 it only art r— "A great company and provided not i Sun. Aft Mar 7 but entertainment."— N. Y. Times " "' VLADIMIR ASHKENAZY and ITZHAK PERLMAN Sun. Aft, Mar. 7 Two of the world's leading young virtuosi in a violin-piano recital EMLYN WILLIAMS as CHARLES DICKENS (2 performances) Check One Sat. Eve., Mar. 13

A good size cast in himself, the celebrated Welsh actor r~i Sun. Aft."' Mar. 14 recreates the world of Charles Dickens MAZOWSZE Thurs. Eve., Mar. 18 Poland's Premier Dance Company of 100 , Supreme Soviet Cellist Sun. Aft, Mar. 21 GUARNERI STRING QUARTET Fri. Eve., Mar. 26

EXTRA EVENTS — NOT included in Series. Available ONLY to subscribers if orders are placed NOW with Series subscription. ARTUR RUBINSTEIN, Distinguished Pianist Sun. Aft, Feb. 21 $8.50 $6.50 ^$4.50 $3.50 , Soprano Star of the Metropolitan Opera Sun. Aft, Mar. 28 $7.50 $6.50 $5.50 $4.50 $3.50 .

for three decades . . BALDWIN THE CHOSEN PIANO of the Boston Symphony Orchestra

THE DEFINITIVE PIANO

Baldwin Piano & Organ Company

160 Boylston Street • Boston, Massachusetts 02116 Telephone: 426-0775

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