Boston Symphony Orchestra Concert Programs, Season 81, 1961-1962

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.-J r BOSTON SYMPHONY ORCHESTRA

FOUNDED IN 1881 BY HENRY LEE HIGGINSON

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EIGHTY-FIRST SEASON 1961-1962 ADIVARI

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Boston Symphony Orchestra

CHARLES MUNCH, Music Director

Richard Burgin, Associate Conductor

CON CERT BULLETIN

with historical anii descriptive notes by

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[1476] CONTENTS 1481 A Resolution 1483 §fll$t(ianncAnc. Thirteen Years in Retrospect i486 cFtic3rojfsstau3Coust of33o*Jo* Notes Honegger (Le Chant de Nigamon) H94 Entr'acte

The Early Fortunes of the Ninth Symphony (/. N. B.) 1498 Notes Beethoven (Symphony No. 9) W7

Summary of the Season . . . *537

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

New Hampshire Art Association (Sep- tember 29-October 14) Eliot O'Hara (Courtesy Doll and Richards, October 27-November 11) Paintings by Subscribers, Friends, and Members of the Boston Symphony Orchestra (November 24-Decem- ber 9) Portraits and New England Land- scapes (Courtesy Roger Curtis, Guild of Boston Artists, New Eng- land Artists' Group, Portrait Artists of New England (December 29- January 20) Boston Institute of Contemporary Art (February 2-17) Boston Society of Watercolor Artists (March 2-25) The Gallery of Tyringham, Massachu- setts (March 29-April 28) Photographic portraits of each member of the Orchestra made by Milton Feinberg of Boris and Milton were shown through the season.

• • LIST OF ARTICLES

The Unesco Concert 6 $55.00 New Hampshire Artists 69 54 Central St. An Award for Copland 70 4l6BoylstonSt. Boston 16 Wellesley The "Time Cycle" of Lukas Foss 134 6-6238 CEdar 5-3430 WGBH and the Boston KEnmore Symphony Orchestra 197

Richard Burgin 197

[ 1477 ] .

A Tour of Farewells 261 Exhibition of Watercolors (Listed) 1093 O'Hara Exhibition 326

The Berkshire Music Center. . . . 1158 Frank Martin (By Desmond Shawe-Taylor) 454 Friends Old and New (Council of Friends of the Subscribers' Exhibition (Listed) 518 Boston Symphony Orchestra) . . 1285 Silverstein to be Concertmaster 582 Richard Burgin, Veteran in The Albert Schweitzer Medal 710 Two Careers 1349

Portrait Exhibition (Listed) 773 The Orchestra on Television .... 1372 New York Bohemian Dinner A "Nostalgic" Close 1413 Honors Charles Munch 837 Joseph Silverstein Plays in MR. SIMPSON RETIRES New York 838 Gordon B. Simpson, who has been in Fritz Kreisler 901 charge of the Box Office for many years, Musical Medals 902 has retired. Mr. Simpson has been a New Trustees Elected 965 familiar figure to Symphony Hall audi- Jacques Ibert 966 ences for forty-six years, for he first joined the Box Office staff in the autumn Harvey E. Genereux 966 of 1916. Bruno Walter 1029 Mr. J. Robert Carr who has long been Twenty Years of the in charge of the box office at the Shubert Voice of America 1030 Theatre replaces him.

[1478] RENCH HORN: Great ancestor of the French horn — and, indeed, of all horns — was the lur of Bronze Age Europe, fashioned first from a mammoth's tusk and later from metal. The noble tone of the lur, similar to the modern French horn, was not maintained in the medieval instruments. But the gold or ivory oliphant — the horn of Roland — became a valued insigne of knighthood in the Middle Ages. The first known circular horns came from 14th- century England and settled in France, where the wald- horn began to resemble the modern French horn before

1700. Scarlatti and Handel helped to popularize it; the

Classic composers used it increasingly. Their technical demands led to the development of the valve horn, which gradually supplanted the older hand horn between 1830 and 1880.

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[1479] If you're like most people, one of the last things you'd want to do is to stand up in front of an audience, tuck a violin under your chin and play Brahms' Violin Concerto. Aside from any understandable reticence you may have, you're simply not equipped to be a soloist. And you'd be the first to admit it! Yet, for some strange reason, many people with no training in finance and with no experience in dealing with the ups and downs of the stock market, feel no qualms about managing their own investments. They buy and sell on tips from friends, from barbers, from taxi drivers. Fancy! Investing is like giving a recital — it's best when done by professionals. And that's what we're here for, we at Old Colony Trust Company. We offer many kinds of investment services, all sound, all expertly handled — all for a very modest fee. To find out which one suits your needs best, why not send for our booklet, "Managing Your Money." It's yours for the asking. 4 Old Colony Trust Company

[1480] EIGHTY-FIRST SEASON • NINETEEN HUNDRED SIXTY-ONE-SIXTY-TWO

Twenty-fourth Program

FRIDAY AFTERNOON, April 27, at 2:15 o'clock

SATURDAY EVENING, April 28, at 8:30 o'clock

Honegger "Le Chant de Nigamon" (after Gustave Aimard) INTERMISSION

Beethoven * Symphony No. 9, in D minor, with final chorus on Schiller's Ode to Joy, Op. 125

I. Allegro ma non troppo, un poco maestoso

II. Molto vivace: Presto III. Adagio molto e cantabile IV. Presto: Allegro Allegro assai Presto Baritone Recitative Quartet and Chorus: Allegro assai Tenor Solo and Chorus: Allegro assai vivace, alia marcia Chorus: Andante maestoso Adagio ma non troppo, ma divoto Allegro energico, sempre ben marcato Quartet and Chorus: Allegro ma non tanto Chorus: Prestissimo CHORUS PRO MUSICA Alfred Nash Patterson, Conductor ADELE ADDISON, Soprano FLORENCE KOPLEFF, Contralto JOHN McCOLLUM, Tenor DONALD GRAMM, Baritone

These concerts will end about 3:50 o'clock on Friday Afternoon; 10:05 o'clock on Saturday evening.

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[l 48l] BOSTON

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1482] The Trustees of the Orchestra gave a dinner in honor of Charles Munch at the Isabel Stewart Gardner Museum on April 15. At this dinner, attended by the Trustees, the members of the Orchestra, the Orchestra staff and the Trustees of the Museum, Henry B. Cabot read the following resolution — written by Henry A. Laughlin — in tribute to Doctor Munch.

We are here tonight to express our admiration and affection for you, Charles Munch, and to tell you in a way as simple and earnest as we can how deeply grateful we are for the thirteen years you have dedicated to the making of music with the Boston Symphony Orchestra. There are those who have loved your direction because you have opened new vistas which many of us did not know existed in the great music of France; there are those who have been stirred by your zeal in presenting the works of our contemporaries, especially American contemporaries; those who have been exhilarated by the magnificence of your inspiration, the pace and excitement which leave your audience profoundly stirred; and those who remember with serene pleasure the countless slow passages, illuminated by your gentleness and sweet- ness, yet never lagging, never marred by sentimentality.

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['483] For all this and so much more we shall be forever in your debt, and if what we owe you and the Boston Symphony Orchestra cannot be summed up in a few lines, we still can try to leave an impression and can perhaps do that by recalling what you said to your Orchestra thirteen years ago at your first rehearsal. I am told you said you hoped there would be joy. There has been joy — joy among all your associates in our Orchestra, joy among all of us who have taken such pride in our "Symphony,'' a pride in this Orchestra, which we think of as ours, but which in truth has no such narrow bound, for it has won and held the admiration of the lovers of music throughout the world.

To us not the least of your qualities of greatness is that you have fixed in the memories of your players, your audiences, your trustees the image of that tall, masterful, devoted leader, who was more than a leader. You are one whom we have come to love. O©

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The tmplc ye<>' Liability Assurance Corp., Ltd. • The Employers' Fire Insurance Co. American Employers' Insurance Co. • The Northern Assurance Co. ol America The Employers' Life Insurance Company ol America THIRTEEN YEARS IN RETROSPECT

If the mission of a symphony orchestra is to convey the best of symphonic music old and new to as many listeners as possible in the highest standard of performance, the thirteen seasons of Charles Munch in Boston are a record worth examining. The result is a very considerable repertory (which can be no more than indicated in this space). The range of the Orchestra's activities show a very extensive growth indeed. The concerts of this, Dr. Munch's last season, are listed in this bulletin. Eighty-one concerts have been given in Boston (including the new series of six Monday evenings and the ten Open Rehears- als). There have been 36 concerts on tour, and there will be 24 Berk- shire Festival concerts, making a total of 141. The concerts which are under Arthur Fiedler's direction will consist of 59 Pop concerts and 21 Esplanade concerts. The sum total of concerts this season will there- fore be 221 over a period of 50 weeks. In addition, there have been more radio and television broadcasts than ever before. A paragraph was quoted from Dr. Munch's book, "I am a Conduc- tor," at the completion of his tenth season in Boston. He there gives a "typical example of a program," calling it "one scheme among many which seem reasonable to me: 1 - A classical symphony or a baroque

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The Permanent Fund of the Handel and Haydn Society was established by a deed of trust on May 28, 1866. The net proceeds of the Great Festival of May, 1865, at the end of the Civil War, furnished the foundation of the Fund, and it has grown slowly by gifts and bequests.

Only the income of the' Fund can be used for the benefit of the Society.

This oldest large choral society in America has had a prominent part in the musical life of Boston for 146 years. Gifts to the Fund and Memorial Gifts will be welcome at Christmas time or at any other time. They are deductible from taxable income.

The Trustees of the Permanent Fund are

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[1487] concerto grosso, or an overture; 2 -A difficult work. This is the place lor Berg or Bartok; 3 - A big symphony. "First we prepare the terrain and sharpen the receptivity. Then we can try to make the public love music whose tartness may still be dis- turbing. Finally, the classical, rich and solid, relaxes the atmosphere."

Applied to the repertory until that time (1959), Dr. Munch's. remark may now be compared with his total repertory as the Music Director of this Orchestra. The total number of performances of musical works

through thirteen years is 1046, a figure based on the programs of the Friday and Saturday series in Boston, a piece in each pair of concerts being counted as one (works conducted by guests and by composers invited by Dr. Munch to partake in his programs are included). Of these, 721 were conducted by Dr. Munch himself. Of the sum total, 168 works have been in the category of contemporary music. First performances in Boston numbered 97, and of these, 39 were performed for the first time anywhere.

Of the composers most favored, those who had ten or more performances were as follows:

Beethoven 84 Schumann 21 Mozart 66 Mendelssohn *9

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[1489] 1

Bach 62 Prokofiev ] 9

Brahms 55 Bartok l 7 Ravel 37 Hindemith 16 Tchaikovsky 34 Mahler 16 Strauss 32 Roussel 16

Debussy 3* Sibelius *5 Wagner 30 Copland 12

Berlioz 28 Fa ure 12

Stravinsky 26 Piston 12

Havdn 2 5 Franck 1 Honegger 24 Martinu 10 Schubert 21 Milhaud 10

Composers of birth or long residence in the United States numbered

37- The Guest Conductors were: Ernest Ansermet, Sir John Barbirolli, Sir Thomas Beecham, Leonard Bernstein, Nadia Boulanger, Guido

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Cantelli, Eleazar de Carvalho, Antal Dorati, Arthur Fiedler, Ferenc Fricsay, Carlo Maria Giulini, Vladimir Golschmann, Serge Koussevit- zky, Erich Leinsdorf, Lorin Maazel, Igor Markevitch, Jean Martinon, Pierre Monteux, Eugene Ormandy, Robert Shaw, Thomas Schippers, Izler Solomon, William Steinberg, Martti Turunen, G. Wallace Wood- worth. Richard Burgin, as Associate Conductor, led 33 pairs of concerts. The following composers led their own music at the invitation of Dr. Munch: Samuel Barber, Carlos Chavez, Aaron Copland, Lukas Foss, Roy Harris, Dmitri Kabalevsky, Leon Kirchner, Darius Milhaud, Gardner Read, Virgil Thomson, Heitor Villa-Lobos and Bernard Wagenaar.

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[ H92 ] If you were born in 1925..

There were other important events * tion of the eightieth birthday of that year (besides your arrival). their teacher, Leopold Auer . . . Ottorino Respighi appeared for Here's what was happening in the the first time before an American world of music in 1925: audience — playing his new piano Igor Stravinsky made his Amer- concerto. ican debut as pianist, appearing Whatever year you were born, on January 23rd with the Boston you or some member of your fam-

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[ »493 1 j LE CHANT DE NIGAMON By Arthur Honegger

Born in Le Havre, March 10, 1892; died in Paris, November 27, 1955

Le Chant de Nigamon was performed by the composer when he conducted this Orchestra on January 11 and 12, 1929. It was composed in 1917 when Honegger was in the orchestral class of the Paris Conservatoire. He conducted it there in April,

1919. It was publicly performed in Paris on January 3, 1920 at a Pasdeloup conceit and was conducted by Rhene-Baton, to whom the work is dedicated.

The following instrumentation is required: 2 flutes and piccolo, 2 oboes and English horn, 2 clarinets, 2 bassoons and contra-bassoon, 4 horns, 2 trumpets. 3 trombones and tuba, timpani, suspended cymbals, bass drum, triangle and strings. npHE composer found his subject in a novel, Le Souriquet (The -** Iroquois), by Gustave Aimard. Aimard, whose real name was Olivier Gloux (1818-1883), wrote, so Philip Hale has told us, "many novels of adventure after the manner of Cooper and Mayne Reid, which had great popularity and were translated into several languages." Aimard, like Chateaubriand and others, spun "exotic" tales upon the aborigines of North America for the delectation of readers who had

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[ 1497 ] ENTR'ACTE THE EARLY FORTUNES OF THE NINTH SYMPHONY

T7*or some years after Beethoven's death, his more challenging sym- *- phonies remained incomprehensible to most listeners. The Third, Fifth and Ninth in particular seemed to contradict the traditional concept of a symphony as the smooth and elegant product of eighteenth century good manners. The symphonies of Haydn continued as the most popular, together with the last four by Mozart as these became available in publication. Other symphonies of the new century, such as those by Clementi and Cherubini, flattered rather than shocked the general susceptibilities. The Ninth, with its involved developments, its length, its serious and searching mood, required a new kind of listening. Before it could be grasped it had to be clearly performed, and for this the performing forces in Beethoven's time were simply inadequate. The initial performance in Vienna was given by the composer on

May 7, 1824, and included parts of his as yet unperformed Missa Solemnis. It was undoubtedly a groping and sorry affair. The audience could have no more than vaguely sensed that something stupendous was afoot. Since there was as yet no such thing as an established symphony orchestra in Vienna, Beethoven, organizing a concert (with

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[ *499 ] the help of his more practical friends), hired musicians from the theatre and opera, from the households of his noble patrons, and further augmented the miscellaneous collection (there were about fifty players altogether) with students from the Gesellschaft der Musik- freunde. He had to gather the chorus and soloists, pay for the whole out of his own pocket with the hope of a favorable balance. The tale

of the first performance is absorbingly told by Thayer in his biography. The fact that Beethoven spent many hours over the various arrange- ments, worried over every detail, grew suspicious of his helpful colleagues, would indicate that the hoped-for financial result was not despite his protestations the principal concern of the composer who was first submitting to public inspection the result of his two longest and most intensive symphonic efforts. The two rehearsals (he was deprived of a third to make way for a ballet rehearsal) at the Karntnerthor could have afforded little more than a scrambled reading by players good and bad of the unaccustomed music from parts hastily copied and not free of errors. The quality of the direction was more than doubtful. Beethoven stood in the midst of the orchestra and attempted to lead, while Umlaut, the "Music Director," stood behind him to correct the beat of the poor deaf composer, who would have thrown the whole assemblage out altogether if

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[1500] Qharles <^Munch Qonducts the Boston Symphony

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1 [ 150 ] they had not been warned to ignore him. The faithful Schuppanzigh led in the key position of first violin, Conradin Kreutzer beat out the chords on the piano, either blindly following the surviving tradition of a basso continuo or fulfilling the then-superfluous function lest the whole thing should fall apart. There were thus four "conductors," and the only one of them who had a clear conception of the Symphony was quite useless. The excited applause could hardly have been for the performers, or for the music which must have been thoroughly muddied, but for the touching spectacle of the deaf composer who was not aware when the audience clapped during the scherzo, and did not turn around to bow at the end until Caroline Unger, the contralto, tugged at his sleeve. It was perhaps as well that Beethoven could not hear what must have been a travesty of his all-embracing effort — his last venture in his most beloved form. The house was full, but the expenses had been heavy and the returns were small. A second performance was announced and took place on May 23rd. That day turned out to be a fine spring Sunday, when a walk in the Prater was found to be more enticing than the repetition

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[ 1503 ] of a baffling symphony by a deaf man. There was no more than half an audience, and a deficit twice as large as the former profit. A year later, March 21, 1825, the Symphony, which Beethoven had promised the Philharmonic Society in London, was played there from a specially prepared manuscript copy under Sir George Smart. Schil- ler's verses were sung in Italian. The critic William Ayrton seems to have voiced the general lack of comprehension when he accused the composer of "verbosity" in a review which was hardly free from that failing. The Symphony was undertaken at the Rhine Festival at Frankfurt in the following month, when Ferdinand Ries was not withheld by his friendship for Beethoven from slashing the Adagio and "regretfully" omitting the Scherzo altogether. Since the Scherzo was the only immediately understandable of the four movements, the

omission may have been due to the orchestra's inability to cope with its

tempo. A year after this (March 6, 1826), the Gewandhaus concerts at Leipzig conscientiously attempted the Symphony. It was only at the entrance of the chorus that Pohlenz, the Director, rose to give the

singers the beat. Wagner, who heard the Ninth at Leipzig later, tells

us that Pohlenz had no clear idea of what it was all about. It was not in Germany, but in France that Beethoven's symphonies,

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[1505] and his Ninth in particular, first found an intelligible hearing. Paris alone was sufficiently equipped for the "discovery" of the symphonic Beethoven in performance. The Conservatoire which was unrivaled in turning out talent, together with the Opera which had the best musicians in Europe, furnished an unmatched playing personnel for concerts. Conductors in the modern sense did not yet exist, and it fell to Franc,ois-Antoine Habeneck, a chef d'orchestre of the old school, to solve the riddle of Beethoven. Habeneck had risen from the ranks of the violins. He led opera and concerts, always directing with his bow. He got hold of the first three symphonies of Beethoven while the composer was still living. He was puzzled by the Eroica, but divined something extraordinary, something provocative in this strange score. Accordingly, on November 22, 1826, he invited students from the Conservatoire and various colleagues to come to his house for lunch and to bring their instruments. He distributed the parts of the Eroica and it was tried out. All were bewildered, but intrigued. Work on the Eroica continued at amateur concerts, "Exercices" they were called,

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[1507] and after two years he was ready to organize formally what was to be called the Societe des Concerts du Conservatoire. He gave the first

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[1509] Habeneck, according to all accounts, was no genius, no visionary leader. He was a drillmaster of great pertinacity, and his final achieve- ment would seem to prove that when musicians undertaking enigmatic music work constantly together with devotion to the task, as the mem-

bers of a string quartet will do, it can lead them to a full realization of the composer's intentions. Habeneck's astonishing performances in Paris had a particularly fortunate result when one of the listeners to the Ninth in 1839 was Richard Wagner. The young and still obscure Wagner had closely studied the score but had been assailed by doubt and disillusion by the fumbling performances in Leipzig. He heard Habeneck rehearse the Ninth and was filled with wonder. "The scales fell from my eyes; I came to understand the value of correct execution and the secret of a good performance. The orchestra had learned to look for Beetho-

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11 [JS ] ven's melody in every bar — that melody which the worthy musicians of Leipzig had failed to discover — and the orchestra sang that melody. This was the secret."* When Wagner became the Music Director at Dresden one of his dearest projects was to conduct the Ninth Symphony, which he did at a Pension Fund concert on Palm Sunday, 1846. He found the continuous "melos" of the music in full degree, and with his characteristic energy, brought to pass a performance which was a revelation to all, the players in particular. The recitative passage for the cellos and basses in the last movement was transformed from what had been looked upon as a meaningless aberration of the composer to music of enthralling dramatic expression. It was Wagner indeed who with his searching musical intelligence and his persuasive will to impart, then and there laid the foundations for what was soon to become the virtuoso conductor — the leader who leads and nothing else — who devotes his life to fathoming the music of others and to applying the most scrupulous care to detail. Wagner led the way but he was not a virtuoso conductor; he was a composer- conductor more thorough-going than any predecessor. Nor was Habe-

* Wagner : On Conducting.

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[^is] LINCOLN CENTER FOR THE PERFORMING ARTS Announces With Pride A.n Opening Week Benefit JPerformttnee by

BOSTON SYMPHONY ORCHESTRA Erich Leinsdorf, Music Director on Monday evening, September 24, 1962

PHILHARMONIC HALL Lincoln Center lor the Performing Arts New York City

PROGRAM BRAHMS: Academic Festival Overture BEETHOVEN: Symphony No. 3 ("Eroica") l| BARBER: Piano Concerto (first performance) Soloist: John Browning STRAUSS: Till Eulenspiegel

Philharmonic Hall Lincoln Center for the Performing Arts NAME P.O. Box 10 Please Print Last First Initial New York 23, N. Y. Checks covering the cost of ADDRESS. the tickets must accompany all applications. Checks and money orders should be CITY. .ZONE. .STATE. made payable to Lincoln Center for the Performing CONTRIBUTION. TOTAL Arts, Inc. A portion of the $22.50 Loge $30 NUMBER ticket price is a contribution OF SEATS- and is deductible for income $19.00 Orchestra $25 tax purposes to the extent $15.00 Orchestra $20 allowed by law. $11.00 1st Terrace $15 Applications will be acknowl- $ 7.00 1 st Terrace $10 edged and honored in the AMT. OF order they are received. $ 7.00 2nd Terrace $10 CHECK $- Tickets will be mailed on or $ 3.00 2nd Terrace $ 5 D about September 4th. ——™"—"I'V "''Mill [W3] neck a virtuoso conductor. He lacked "abstract-aesthetical inspiration," as Wagner put it, but he did his pioneering part. He was simply a tireless worker who gave his life to the solution of Beethoven's challenging scores. The answer came through sheer application and repetition. Habeneck set the standard for symphonic performance (he was more fortunate than any in the talent at his disposal), and Wagner set the example of the search for the expressive meaning. The conductor- interpreter, a type which blossomed prodigiously in the last half of the nineteenth century, was brought into existence by the require- ments of increasingly expert players, and these illustrious orchestras were necessitated by the exactions of the "Romantic" composers — Wagner, Berlioz, and before them, Beethoven. Each of these produced scores which in some cases had to wait years for an adequate perform-

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VISIT YOUR LOCAL AUTHORIZED CADILLAC DEALER ance. Wagner and Berlioz succeeded in enforcing the first adequate performances of their music — Beethoven was in no position to do so. Thus a quarter of a century had to pass before Beethoven's Ninth could become a regular part of the repertory of any self-respecting orchestra. Only then could the condition arise when it was not the music of the Ninth which was discussed, but interpretations of it by this or that maestro which were heatedly compared. It is worth noting that Hans von Biilow, who followed Wagner closely as a conductor militantly dedicated to the higher reaches of music, first carried the

Ninth into Italy, and giving a concert in Berlin on March 6, 1889, taxed the well-disposed endurance of audience and singers by performing the Ninth twice over, with a half hour's rest between.

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[1516] SYMPHONY NO. 9 IN D MINOR with Final Chorus on Schiller's "Ode to Joy," Op. 125 By Ludwig van Beethoven

Born in Bonn, December i6(?), 1770; died in Vienna, March 26, 1827

Completed in 1824, Beethoven's Ninth Symphony was first performed at the Kdrnthnerthortheater in Vienna on May 7 of that year and repeated on May 23. The first performance in this country was given by the New York Philharmonic Society, May 20, 1846. The Germania Musical Society in Boston, assisted by a chorus from the Handel and Haydn Society, gave a performance here February 5, 1853. The Symphony was given annually by Georg Henschel to conclude each of the Boston Symphony Orchestra's first three seasons. The most recent performances in this series were on December 19-20, 1958. The Symphony is scored for 2 flutes and piccolo, 2 oboes, 2 clarinets, 2 bassoons and contra-bassoon, 4 horns, 2 trumpets, 3 trombones, timpani, bass drum, triangle, cymbals and strings. The score is dedicated to Wilhelm III of Prussia.

>TpHE Ninth Symphony was the result of long germination. It was * Beethoven's most ambitious venture, his heroic attempt to bring

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[i5i7] together the elements of his life work, to give each symphonic movement a broader and more elevated expression than ever before, to reconcile symphonic and choral writing, to mate the power of the word with the free expressiveness of his beloved instruments. In the finale he strove mightily to solve his problem. Did he actually solve it, and find the satisfactory fusion of every force at his command to carry his mighty thesis? There are those who say he did not. The score, like Schiller's lines, is a challenge, and Beethoven's challenge is an adventure rather than a solution. It is not to be judged with a scrupulous academic eye, or set up as a model. It is roughhewn, even reckless; it can sweep all before it, carry the singers over their difficulties, and carry the audience in its headlong course.

The finale is no mere setting of a text. It would be just to say that Beethoven sought a text to suit his musical intent rather than to exalt Schiller or give us a sermon on universal brotherhood. This concept and Schiller's inspiring lines excited him, but he seized them as material to his purpose. As the instrumental movements strive in each case to bring each component part of the symphony as a form to its fullest,

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[1518] its definitive expression, the choral finale strives to lift the whole to its highest point. The spirit of this finale does not reveal a new Beethoven, but the known Beethoven of the earlier symphonies, now more highly charged, newly ambitious, in the questing spirit of his last years. The finale of the Ninth is still the joyous culmination familiar in previous works. The finales of the "Eroica," the Fifth and the Seventh Sym- phonies are also proclamations, wordless odes to joy. It was during his student days in Bonn that Beethoven had fastened upon Schiller's poem, and for a long time it remained a vague and unpursued notation in his sketchbooks. The heady sense of liberation in the verses must have appealed to him as they appealed to every German. They were in the spirit of the times, the spirit that had swept Europe and America, and Beethoven belonged to his time. He was no politician, nor the kind to discourse learnedly in such phrases as "the brotherhood of man." He was an idealist on such subjects as man, God, and the universe, but a practicing rather than a prating one, whose faith found concrete, powerful, vivid expression in tones. As Berlioz wrote of the choral finale, "The joy is now religious, grave, and

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[1519] immense." Such round and ringing phrases as "Seid wnschlungen, Millionen! Diesen Kuss der ganzen Welt!" ("Millions, myriads, rise and gather! Share this universal kiss!") have become, with the power of massed voices, a provocation to stir actual millions of listeners through the years as a summons to a noble concept. That concept was never as urgent, as indispensable to the future as it is today.

The charge is often repeated that Beethoven treats the vocal quartet "instrumentally," and strains the voices of the chorus. It may be true that if Beethoven had never been deaf he might have been kinder to the capacities of the human voice. Yet the movement as conceived and developed could not do otherwise. Music of mounting tension and overwhelming climax, it finds its end with a sure and also a driving musical logic. Some pedants shake their heads over the Symphony, and particularly the "episodic" finale. Here again, Berlioz gives them the lie: "The only answer for the critic who reproaches the composer for having violated the law of unity is — so much the worse for the law!" Beetho- ven was never the slave to form. Formal procedure was in his artist's nature, to be called upon as it suited his immediate purpose. The first movement is a wondrous example of development as Beethoven had evolved it, but development extended by thematic excursions and by a long coda for the simple reason that the composer had much on his heart and an inexhaustible imagination. Who would cut a single bar?

The scherzo is closest to formal tradition — but again it is greatly extended, and for the same reason. The slow movement is an alterna-

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[1520] tion of two sections in differing tempo and rhythm, treated on the principle of variation. The wayward Beethoven was doing what he did in his last quartets — notably the one in A minor with the adagio in the Dorian mode — reconciling two disparate sections by that magic of his own which eludes analysis. The Symphony is indeed the composer's effort to draw into a single work the musical experience of his life. Romain Rolland in his book La Neuvieme Symphonie (1941) stresses the Ninth Symphony as a "summation" ("une Somme de vie") rather than as the forward-looking work Beethoven would have given us as a younger man. He wrote:

"The Ninth Symphony is a confluence. In it there are brought together and commingled the numerous currents from far back, from various sources, from the dreams and wishes of men in all ages. One might also say that it looks back upon the eight symphonies preceding, and so builds its summit from the past. The long period which transpired between the Eighth Symphony and the Ninth has given it range and perspective, made it a life's summation. It is not the true mirror of that life; it reflects rather a spirit aged, full of wounds, which has seen

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>52i I ] the end, often bitter and deceptive, of experience, of hope. The music

is often shadowed, it is without the power of young illusion. It seeks

fresh life, looks toward new horizons, but nothing is quite as before.

There is lacking the abandon of young love, of young pride and ambition — even of young suffering. The composer finds instead a present which is incomparably godlike — he has found the magic power of the aging Prospero, and with it — almost apart — new life forces."

The Ninth Symphony is thus retrospective, a drawing together of accumulated power from a life's experience, the use of building mate- rials not new. No more than seven years later Berlioz would plot another "new path" for music in his Symphonie Fantastique. But it would be quite wrong to regard the Ninth as a sort of stupendous final curtain to an epoch. While it could not be directly emulated, it had a tremendous effect on the future course of music. It planted in many a composer an irresistible urge toward grandeur. Wagner regarded it with mystic awe. Brahms trembled before the task of adding another to the immortal nine. It can be questioned whether Bruckner and Mahler would have undertaken their grandiose symphonic schemes without the choral Ninth to excite their imaginations. While offering no specific usable material, it fired the ambition for immensity through a whole Romantic century.

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[ 1522 ] Berkshire Music Center

CHARLES MUNCH, Director

announces its 1962 session, July 1 to August 26 with courses for instrumentalists, conductors, composers, choral singers, teachers, amateurs, and listeners at TANGLEWOOD

Choral Faculty includes Hugh Ross, Alfred Nash Patterson and

Lorna Cooke de Varon. Courses are offered in choral conducting and

CHORAL SINGING

Performing groups are the Tanglewood Choir and the Festival Chorus which performs regularly with the

BOSTON SYMPHONY ORCHESTRA

Peter Gram Swing teaches a course for students, teachers, amateurs

and anyone who wishes to enhance his skill at

LISTENING TO MUSIC

"Listeners rehearsals," concerts and rehearsals are among activities. All

may participate in chamber music and in choral performances with the

Boston Symphony. For information, write

BERKSHIRE MUSIC CENTER

SYMPHONY HALL, BOSTON 15, MASSACHUSETTS

[1523] I.

Themes which are gradually unfolded from mysterious murmurings in the orchestra — no uncommon experience nowadays — all date back to the opening measures of the Ninth Symphony, where Beethoven conceived the idea of building a music of indeterminate open fifths on the dominant, accumulating a great crescendo of suspense until the theme itself is revealed in the pregnant key of D minor, proclaimed fortissimo by the whole orchestra in unison. It might be added that no one since has quite equaled the mighty effect of Beethoven's own precedent — not even Wagner, who held this particular page in mystic awe, and no doubt remembered it when he depicted the elementary serenity of the Rhine in a very similar manner at the opening of the Ring. The development in this, the longest of Beethoven's first movements, progresses with unflagging power and majesty through many an episode, many a sudden illumi- nation from some fragment of his themes. At the restatement of the main theme the orchestra is flooded with the triumph of the D major long withheld. The long coda, coming at the point where it would seem that nothing more could be said on a much developed subject, calls forth new vistas from the inexhaustible imagination of the tone magician who needed little more than the common chord upon which to erect his vast schemes. Tovey writes of this movement (in Essays of Musical Analysis) that it "dwarfs every other first movement, long or short, that has been written before or since," attaining its stature, in his opinion, by a perfect balance in the organization of its parts. And Grove goes further still (Beethoven and his Nine Symphonies): "Great as are the beauties of the second and third movements — and it is impossible to exaggerate them — and original, vigorous and impressive as are many portions of the finale, it is still the opening allegro that one thinks of when the Ninth Symphony is mentioned. In many respects it differs from other first movements of Beethoven; everything seems to combine to make it the greatest of them all."

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[1524] OPENING TUESDAY NIGHT, MAY 1

77th Season

May l — June 30

Until June 3 there will be concerts every night except Mondays, with additional concerts on Sunday afternoons.

Tickets on sale at Box Office two

weeks in advance of each concert. (CO 6-1492) SYMPHONY HALL BOSTON

[1525] II.

In this symphony alone among his nine, Beethoven put his scherzo second in order and before the slow movement. A scherzo it is in everything but name, with the usual repeats, trio, and da capo (with bridge passages added). There is the dancelike character of earlier scherzos, and an echo of rusticity in the trio, recalling the Sixth and Seventh. Yet all is lifted to the prevailing mood of rarefied purity as this movement, like the others, adds a new voice to an old form. This scherzo has been called "a miracle of repetition in monotony," by virtue of the incessant impact of its rhythm (associated with the kettledrums, tuned in octaves) which keeps a constant course through the most astonishing variety in modulation, color, counterpoint. The movement begins as a five-voice fugue, recalling the fact that Beethoven first conceived the theme as the subject for a fugue — the earliest of his sketches which eventually found a way into the symphony. The trio continues the contrapuntal interest by the combination of two themes. The famous passage for the oboe against wind chords reminded Berlioz of "the effect produced by the fresh morning air, and the first rays of the rising sun in May."

III.

The slow movement is built upon two themes whose structural relation lies principally in contrast: the first, adagio in B-flat, 4-4 time, the second, andante moderato in D major, triple time. After the almost static adagio, the second theme attains flowing motion in its melody, which Beethoven has marked "espressivo." This theme recurs in alternation with the other, but unlike the other is hardly varied, except in the instrumentation. The adagio theme undergoes variations of increasingly intricate melodic ornament like those by which Beethoven also lifted his last sonatas and quartets to such indescribable beauty.

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[1526] THE BERKSHIRE FESTIVAL PROGRAMS - 1962 BOSTON SYMPHONY ORCHESTRA CHARLES MUNCH, Music Director IN THE MUSIC SHED AT TANGLEWOOD

Friday and Saturday Evenings at 8; Sundays at 2:30 Series 1 — BACH — July 6: Brandenburg Concerto 3, Concerto for Two Pianos in C (Vronsky, Babin), Suites 2 and 4, Jauchzet Gott (Beardslee, Voisin); July 7: Brandenburg Concertos 2 and 6, Piano Concerto in D minor (Foss), Suite 3; July 8: Ricercare, Concertos — Brandenburg 5 and D minor for Oboe and Violin (Gomberg, Silverstein), Trauer Ode.

2 - MOZART - July 13: Serenade for 13 winds, Piano Concerto in C, K.503 (Frank), "Prague" Symphony; July 14: String Divertimento, K.136, Sinfonia Concertante (Posselt, dePasquale), Musical Joke, Symphony in E-flat, K.543; July 15: Eine kleine Nachtmusik, Two-Piano Concerto (Vronsky, Babin), Suite — "Les Petits Riens," Symphony in G minor, K.550.

<< ,, 3 - MOZART - July 20: Masonic Funeral Music, Paris Symphony, Violin Concerto No. 5 (Silverstein), Sinfonia Concertante, K.297b; July 21: "Linz" Symphony, Piano Concerto, K.482 (Crochet), "Jupiter" Sym- phony; July 22: "Haffner" Symphony, Requiem.

4 -July 27: DEBUSSY, "Printemps"; PISTON, Symphony No. 6; BRAHMS, Symphony No. 4. July 28: HANDEL, "Water Music"; HAIEFF, Symphony No. 3; BEETHOVEN, Piano Concerto No. 3 (Janis). July 29 (Monteux): BEETHOVEN, Symphony No. 2; Arias (Gray-Masse, contralto); STRAUSS, Heldenleben.

5 - August 3: DEBUSSY, Three Nocturnes; HONEGGER, Symphony No. 5; SAINT-SAENS, Cello Concerto (Mayes); RAVEL, "La Valse." August 4 (Steinberg): BEETHOVEN, Symphony No. 8; BRUCKNER, Sym- phony No. 8. August 5: BRAHMS, Haydn Variations; Martinu, Sym- phony No. 6; BEETHOVEN, Piano Concerto No. 5 (Serkin). 6 — August 10 (Ormandy): BEETHOVEN, Egmont Overture and Symphony No. 3; BARTOK, Concerto for Orchestra. August 11 (Monteux): WAGNER, "Meistersinger" Prelude; ELGAR, Enigma Variations; BRAHMS, Piano Concerto No. 2 (Fleisher). August 12: RAMEAU, Suite "Dardanus"; FINE, Symphony; TCHAIKOVSKY, Symphony No. 6. 7- August 17: KIRCHNER, Sinfonia (composer conducting); MENDELS- SOHN, "Reformation" Symphony; BERLIOZ, "Harold in Italy" (dePas- quale). August 18 (Ormandy): PROKOFIEV, Classical Symphony and Symphony No. 6; TCHAIKOVSKY, Piano Concerto No. 1 (Isto- min). August 19: SCHUBERT, Symphony No. 5; FOSS, Time Cycle (Addison; composer conducting); BRAHMS, Piano Concerto No. 1 (Graffman). 8 - August 24 (Monteux): WEBER, Overture, Euryanthe; HINDEMITH, Mathis der Maler; BRAHMS, Symphony No. 1. August 25: BERLIOZ, "Symphonie Fantastique"; DEBUSSY, "La Mer"; RAVEL, "Daphnis and Chloe," Suite No. 2. August 26: COPLAND, Quiet City; BEETHO- VEN, Symphony No. 9. Tickets at the Festival Office, Symphony Hall, Boston, Mass., CO 6-1492 [1527] IV.

The finale opens with a frank discord, followed by a stormy and clamorous presto of seven bars. It is as if the composer, having wrested from his first three movements the very utmost drop that was in them, is still restless and unsatisfied. He must still advance upon his divine adventure, cast off his tragic or poignant moods, find some new expression, fulsome and radiant. A few measures of each movement are reviewed, and after each a recitative in the 'cellos and basses gives an answer of plain rejection; in the first two cases brusquely, in the case of the adagio softened by a tender memory. Beethoven's instruments seem on the very verge of speech. A hint of the coming choral theme is breathed in gentle accents by the wood winds, to which the recitative, now no longer confined to the strings, gives a convincing affirmative. Thereupon the theme in full is unfolded in its rightful D major. It is first heard in the utter simplicity* of the low strings in unison, piano. Gradually harmonies and instruments are added, until the exposition has been completely made. Once more there is the noisy presto passage, and the composer introduces words for the first time into a symphony. The baritone has this recitative:

* The choral theme has come in for some slighting remarks, probably on account of its ABC simplicity. It need scarcely be pointed out that a basic simplicity, treated with infinite subtlety and variety, is the very essence of the score from the first measure to the last. It is not without significance that Beethoven refined and polished this theme through two hundred sketches, to attain its ultimate beauty and perfection. There are no lack of distinguished advocates for the theme. Grove wrote: "The result of years and years of search, it is worthy of all the pains which have been lavished on it, for a nobler and more enduring tune surely does not exist." Wagner: "Beethoven has emancipated this melody from all influences of fashion and variations of taste, and has raised it into a type of pure and lasting humanity." Tovey (to use a recent authority) says as much, in his way, in three words, calling it simply "a. great theme."

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[1528] O Freunde, nicht diese Tone, Oh friends, no longer these tones of sondern lasst uns angenehmere sadness! anstimmen, und freudenvollere.' Rather sing a song of sharing and of gladness! Oh Joy, we hail Thee!

There immediately follow the first three verses of Schiller's Ode,t by the solo quartet and chorus:

Freude, schoner Gotterfunken, Joy, thou spark from heav'n immortal Tochter aus Elysium, Daughter of Elysium! Wir betreten feuertrunken, Drunk with fire, toward Heaven ad- Himmlische, dein Heiligthum. vancing Goddess, to thy shrine we come.

Deine Zauber binden wieder, Thy sweet magic brings together Was die Mode streng getheilt; What stern Custom spreads afar; A lie Menschen werden BriXder, All mankind knows all men brothers Wo dein sanfter FliXgel weilt. Where thy happy wing-beats are.

Went der grosse Wurf gelungen, He whose luck has been so golden Eines Freundes Freund zu sein, Friend to have and friend to be, Wer ein holdes Weib errungen, He that's won a noble woman, Mische seinen Jubel ein! Join us in our jubilee.

Ja — wer auch nur eine Seele Oh if there is any being Sein nennt auf dem Erdenrund! Who may call one heart his own Und weir's nie gekonnt, der stehle Let him join us, or else, weeping, Weinend sich aus diesem Bund. Steal away to weep alone.

t The English translation here given has been made for the Boston Symphony Orchestra by Theodore Spencer, and is copyrighted. It may be noted here that of the eight verses of Schiller's poem, Beethoven chose the first three verses, at first without their four-line choruses, and then added three choruses in succes- sion, one of them, "Froh, wie seine Sonnen fliegen," belonging to the fourth verse, which otherwise he did not use, obviously choosing these lines for their militant possibilities. Beethoven could scarcely have set more of the text ; to set three stanzas required from him the longest symphonic movement which had ever been composed. Yet Grove thought that Beethoven was deterred by the "bad taste" of some of Schiller's verses. A line which the Englishman fastens upon in horrified italics as "one of the more flagrant escapades" is this : "Dieses Glas dem guten Geist!" ("This glass to the good Spirit!").

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[1529] Freude trinken alle Wesen Nature's milk of joy all creatures An den Briisten der Natur; Drink from that full breast of hers; Alle Guten, alle Bosen All things evil, all things lovely, Folgen ihrer Rosenspur. Rose-clad, are her followers. KiXsse gab sie uns und Reben, Kisses are her gift, and vine-leaves, Einen Freund, gepruft im Tod; Lasting friend on life's long road; Wollust ward dem Wurm gegeben, Joy the humblest worm is given, Und der Cherub steht vor Gott. Joy, the Seraph, dwells with God.

The four line chorus (to the unused fourth verse) summons in Beethoven's imagination a marching host, and he gives it to proud and striding measures "alia marcia," adding piccolo, double-bassoon, triangle, cymbals, and bass drum to his orchestra (again for the first time in a symphony). This is the verse, given to the tenor solo and chorus:

Froh, wie seine Sonnen fliegen Glad as the suns that God sent flying Durch des Himmels pracht'gen Plan, Down their paths of glorious space, Wandelt, Briider, eure Bahn, Brothers, now forget all sadness Freudig, wie ein Held turn Siegen. Joyful run your hero's race.

After the excitement of this variation, Beethoven allows himself to be alone with his instruments once more, and for the last time, in a double fugue. The chorus next sings (andante maestoso) the following short verse of far-flung import, calling upon three trombones to add to the impressiveness of the sonority:

Seid umschlungen, Millionen! O embrace now all you millions, Diesen Kuss der ganzen Welt! With one kiss for all the world. Briider — uberm Sternenzelt Brothers, high beyond all stars Muss ein lieber Voter wohnen! Surely dwells a loving Father.

A religious adagio in a mood of mystic devotion is the setting of the following verse:

Ihr stiXrzt nieder, Millionen? Kneel before him, all you millions Ahnest du den Schopfer, Welt? Know your true Creator, man! Such' ihn uberm Sternenzelt! Seek him high beyond all stars, Ueber Sternen muss er wohnen. High beyond all stars adore Him.

But the key verse of the movement is the first: "Freude, schbner Gotterfunken," and this, with its chorus: "Seid umschlungen, Millionen," is resumed by the quartet and chorus, and finally exalted to its sweeping climax in the coda, prestissimo.

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CHARLES MUNCH, Music Director

RCA Victor Records released since April 1957 Bach Brandenburg Concertos (Complete) LM-2182, 2198* Barber Medea's Dance of Vengeance LM 2197 Adagio for Strings LM 2105 Beethoven Symphony No. 3, "Eroica" LM 2233* Symphonies No. 8 and 9 LM 6066* Piano Concerto No. 1 (Richter) LM-2544 Berlioz "L'Enfance du Christ" LM 6053 "Harold in Italy" (Primrose) LM 2228* Requiem LM-6077* Overtures LM 2438* Blackwood Symphony No. 1 LM 2352* Block "Schelomo" (Piatigorsky) LM 2109 Brahms Symphony No. 1 LM 2097 Piano Concerto No. 1 (Graffman) LM 2274* Chopin Piano Concerto No. 1 (Graffman) LM 2468* Copland Appalachian Spring and Tender Land ( Copland) LM- 2401* Debussy "La Mer" LM- 2111* Three Images LM- 2282* Dukas The Apprentice Sorceror LM- 2292* Dvorak Cello Concerto (Piatigorsky) LM- 2490* Elgar Introduction and Allegro LM- 2105* Franck Symphony in D minor LM- 2131* Haieff Symphony No. 2 LM- 2352* Ibert "Escales" (Ports of Call) LM- 2111* d'Indy Symphony on a Mountain Air (Henriot-Schweitzer) LM- 2271* Khatchaturian Violin Concerto (Kogan-Monteux) LM- 2220 Mahler "Kindertotenlieder" and "Lieder eines fahrenden Gesellen" (Maureen Forrester) LM- 2371* Mendelssohn "Italian" and "Reformation" Symphonies LM- 2221* Violin Concerto (Heifetz) LM- 2314* Capriccio brillant (Graffman) LM- 2468* "Scottish" Symphony, Scherzo from Octet LM-2520* Poulenc Organ Concerto (Zamkochian) LM-2567* Prokofiev Romeo and Juliet, Excerpts LM- 2110 Piano Concerto No. 2 (Henriot-Schweitzer) LM- 2197 Violin Concerto No. 2 (Heifetz) LM- 2314* Rachmaninoff Piano Concerto No. 3 (Janis) LM- 2237* Ravel "Mother Goose" Suite LM- 2292* Piano Concerto (Henriot-Schweitzer) LM -2271* Daphnis and Chloe (Complete new recording) LM •1893* Saint-Saens Havanaise (Kogan-Monteux) LM-2220 "Omphale's Spinning Wheel" LM 2292* Symphony No. 3 ("Organ") LM 2341* Schubert Symphony in C major (Posthumous) LM- 2344* Schumann Symphony No. 1, "Manfred" Overture LM- •2474* Stravinsky Petrouchka (Monteux) LM- •2376* Card Game LM 2567* Tchaikovsky Symphonv No. 4 (Monteux) LM- 2369* Symphony No. 5 (Monteux) LM 2239* Symphony No. 6 (Monteux) LM -1901* Serenade for Strings LM 2105* Violin Concerto (Szeryng) LM -2363* Wagner Excerpts (Eileen Farrell) LM- 2255* Walton Cello Concerto (Piatigorsky) LM -2109 * Also a stereophonic recording. K^O Overlooking St. Georges Bay, Beirut, Lebanon

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SYMPHONY HALL

Boston Symphony Orchestra

ERICH LEINSDORF, Music Director

Richard Burgin, Associate Conductor

24 FRIDAY AFTERNOON CONCERTS 24 SATURDAY EVENING CONCERTS 10 TUESDAY EVENING CONCERTS 6 SUNDAY AFTERNOON CONCERTS 6 MONDAY EVENING CONCERTS from September 21 to April 13

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[>5S4] Boston Symphony Orchestra (Eighty-first Season, 1961-1962) CHARLES MUNCH, Music Director RICHARD BURGIN, Associate Conductor PERSONNEL Violins Cellos Bassoons Richard Burgin Samuel Mayes Sherman Walt Concert-master Alfred Zighera Ernst Panenka Alfred Krips Jacobus Langendoen Matthew Ruggiero George Zazofsky Mischa Nieland Holland Tapley Karl Zeise Contra Bassoon Joseph Silverstein Martin Hoherman Richard Plaster Vladimir Resnikoff Bernard Parronchi Harry Dickson Richard Kapuscinski Horns Gottfried Wilfinger Robert Ripley James Stagliano Einar Hansen Winifred Winograd Charles Yancich Roger Shermont Louis Berger Harry Shapiro Minot Beale John Sant Ambrogio Harold Meek Herman Silberman Paul Keaney Joseph Leibovici Basses Osbourne McConathy Stanley Benson Georges Moleux Leo Panasevich Henry Freeman Trumpets Sheldon Rotenberg Irving Frankel Roger Voisin Fredy Ostrovsky Henry Portnoi Armando Ghitalla Noah Bielski Henri Girard Andre Come John Barwicki Gerard Goguen Clarence Knudson Pierre Mayer Leslie Martin Ortiz Walton Trombones Manuel Zung Samuel Diamond William Gibson! William Marshall Flutes William Moyer Kauko Kahila Leonard Moss Doriot Anthony Dwyer Josef Orosz William Waterhouse James Pappoutsakis Alfred Schneider Phillip Kaplan Tuba Victor Manusevitch K. Vinal Smith Laszlo Nagy Piccolo Ayrton Pinto George Madsen Timpani Michel Sasson Everett Firth Lloyd Stonestreet Harold Farberman Julius Schulman Oboes Raymond Sird Ralph Gomberg Percussion Gerald Gel bloom Jean de Vergie Charles Smith John Holmes Harold Violas Thompson Arthur Press Joseph de Pasquale English Horn Jean Cauhap£ Louis Speyer Harps Eugen Lehner Bernard Zighera Albert Bernard Clarinets Olivia Luetcke George Humphrey Jerome Lipson Gino Cioffi Manuel Valerio Robert Karol Piano Reuben Green Pasquale Cardillo Bernard Zighera E\) Clarinet Bernard Kadinoff Vincent Mauricci Library Bass Clarinet Earl Hedberg Victor Alpert Joseph Pietropaolo Rosario Mazzeo William Shisler

[*5S5] One wishes that there were a demonstrable, perhaps

dramatic, way in which the Trustees, Doctor Munch,

and the members of the Orchestra could show the

depth of their appreciation to those w7 ho are members

of The Friends of the Boston Symphony Orchestra.

Doctor Munch has written of the conductor and of

the orchestra, likening them to "the hearth to which

thousands have come for warmth and light." If the

Boston Symphony Orchestra has been such a "hearth"

to you, that is not only its pleasure but the only way

in which its appreciation can be expressed.

Although the Orchestra's winter season will conclude

with these concerts, membership in The Friends is

always available to those who, again in the words of

Doctor Munch, "have faith and who wish to serve

music."

6 i53 ] WORKS PERFORMED AT THIS SERIES OF CONCERTS DURING THE SEASON 1961-1962 PAGE Albeniz: "Iberia," Suite (Orchestrated by E. Fernandez Arbos) IX March 16-17 1184

Bach: Suite No. 2, in B minor, for Flute and Strings VIII December 1-2 459

Chorale Prelude, "The Old Year is Past" (Arranged by Charles Munch) X December 29-30 587

Suite No. 3, in D major, for Orchestra X December 29-30 588

Barber: Concerto for Violin and Orchestra (Ruth Posselt) XXII April 13-14 1366

Bartok: Four Orchestral Pieces, Op. 12 IV October 27-28 203

Beethoven: Piano Concerto No. 4, in G major, Op. 58 (Michele Boegner) II October 6—7 78

Symphony No. 3, in E-flat major, Op. 55, "Eroica" III October 13-14 175

Symphony No. 8, in F major, Op. 93 XI January 5-6 651 Violin Concerto in D major, Op. 61 (Erica Morini) XII January 12-13 752

Piano Concerto No. 5, in E-flat major, Op. 73 (Rudolf Serkin) XV February 9-10 945

Symphony No. 9, in D minor, with final chorus on Schiller's Ode to Joy, Op. 125 XXIV April 27-28 1517

Berlioz: "Harold in Italy": Symphony with Viola Solo, Op. 16 (Joseph de Pasquale) VI November 10-11 360

Fantastic Symphony, Op. 14a XXI March 30-31 1291

Boulanger, Lill Du Fond de l'abime (Psalm 130) lis m'ont assez opprime (Psalm 129) La Terre appartient a l'£ternel (Psalm 24) XXIII April 19-21 1456

Brahms: Variations on a Theme by Haydn, Op. 56a I September 29-30 11

Symphony No. 1, in C minor, Op. 68 II October 6—7 109

Symphony No. 2, in D major, Op. 73 IX December 8-9 523

Britten: Variations and Fugue on a Theme of Purcell, Op. 34 XVIII March 9-10 1104

Bruckner: Symphony No. 8, in C minor XI January 5-6 688

[i537] Chausson: Symphony in B -fiat major, Op. 20 XV February 9-10 910

Chopin: Piano Concerto No. 2, in F minor, Op. 21 (Nikita Magaloff) III October 13-14 144

Copland: Quiet City, for Strings, Trumpet and English Horn II October 6-7 75

Debussy: IbeYia ("Images," No. 2) I September 29-30 16

"Prelude a l'Apres-midi d'un Faune" VIII December 1-2 484

"Printemps," Suite symphonique XII January 12-13 715 Three Nocturnes: "Nuages," "Fetes," "Sirenes" XIV February 2-3 843

"La Mer," Three Symphonic Sketches XXI March 30-31 1327

Dvorak: Cello Concerto in B minor, Op. 104 (Andre Navarra) XVI February 16-17 1010

Symphony No. 5, in E minor, "From the New World," Op. 95 XVIII March 9-10 1138 Falla: Suite from the Ballet "El Sombrero de Ties Picas" IX December 8-9 564

Fine: Symphony (1962) XX March 23-24 1227

Foss: "Time Cycle," Four Songs for Soprano and Orchestra, with Improvised Interludes (Adele Addison) V November 3-4 304 Franck: "Le Chasseur maudit," Symphonic Poem XV February 9-10 907

Ghedini: Sonata da Concerto, for Flute, Strings and Percussion (Doriot Anthony Dwyer) XVII March 2-3 1044

Haieff: Symphony No. 3 VI November 10-11 336 Handel: Suite for Orchestra, from "The Water Music" (Arranged by Sir Hamilton Harty) XVI February 16-17 971

Hanson: Elegy to the Memory of My Friend, Serge Koussevitzky, Op. 44 III October 13-14 139

Hartmann, Karl Amadeus: Symphony No. 6, for Large Orchestra IV October 27-28 206

Haydn: Symphony in G major, No. 94 ("Surprise") XVIII March 9-10 1099

Honegger: Symphony No. 5 XIV February 2-3 858

"Le Chant de Nigamon" (after Gustave Aimard) XXIV April 27-28 1494

Kirchner: Sinfonia VII November 24-25 400

[1538] Mahler: Symphony No. 3, in D minor, with Women's Chorus and Contralto Solo XIII January 19-20 806

Martin: Etudes for String Orchestra IX December 8-9 528

Martini: "Fantaisies symphoniques" (Symphony No. 6) XVI February 16-17 986

Mendelssohn: Symphony No. 5, in D minor ("Reformation"), Op. 107 XXIII April 19-21 1426

Moussorgskv: Prelude to Khovanshchina VII November 24-25 395

"Pictures at an Exhibition" (Arranged for Orchestra by Maurice Ravel) VIII December 1-2 491

Mozart: Piano Concerto in E-flat, K. 482 (Evelyne Crochet) X December 29-30 625

Symphony in G minor, K. 550 X December 29-30 618

Masonic Funeral Music, K. 477 XXIII April 19-21 1419 Piston: Symphony No. 6 XII January 12-13 726

Prokofiev: Piano Concerto No. 2, in G minor, Op. 16 (Nicole HENRioT-ScHWErrzER) XX March 23-24 1234

Rachmaninoff: Piano Concerto No. 2, in C minor, Op. 18 (Gary Graffman) VII November 24-25 433

Rami u : Suite from the Opera, "Dardanus" VI November 10- w 331 Ravel: "La Valse," Choreographic Poem XIV February 2-3 880

"Daphnis et Chloe," Ballet, Suite No. 2 XXI March 30-31 1332

Rossini: Overture to "L'ltaliana in Algeri" XVII March 2-3 1035

RousseL: "Bacchus et Ariane," Suite No. 2, Op. 43 V November 3-4 276

Saint-Saens: Piano Concerto No. 2, in G minor, Op. 22 (Jeanne Marie Darre) XIV February 2-3 877

Schoenberg: Variations for Orchestra, Op. 31 XXII April 13-14 1390

Schubert: Symphony No. 5, in B-flat V November 3-4 267

Shostakovich: Symphony No. 5, Op. 47 IV October 27-28 240 Symphony No. 9, Op. 70 XXII April 13-14 1355

Sibelius: Symphony No. 5, in E-flat major, Op. 82 VII November 24-25 412

Stralss: "Tod und Verklarung," Tone Poem, Op. 24 XX March 23-24 1270

[»539] Stravinsky: Symphony in Three Movements VIII December 1-2 464

Zvezdoliki (The Star-Faced), Cantata for Male Chorus and Orchestra XIII January 19-20 779

Tchaikovsky: Symphony No. 6, in B minor, Op. 74, "Path£tique" I September 29-30 44

Symphony No. 2, in C minor, Op. 17 XVII March 2-3 1052

Symphony No. 4, in F minor, Op. 36 XIX March 16-17 1200

Ouverture Solennelle, "1812," Op. 49 XXII April 13-14 1396

Verdi: Three Sacred Pieces: Stabat Mater, Laudi alia Vergine Maria, Te Deum XVII March 2-3 1066

Webern: Six Pieces for Orchestra, Op. 6 XIX March 16-17 11 ^S

The slow movement from Beethoven's last Quartet, Op. 135, was played in Memory of Fritz Kreisler on February 2-3.

GUEST CONDUCTORS

Ernest Ansermet: December 1-2; December 8-9. Sketch . . 453

Nadia Boulanger: April 19-21. Sketch ...... 1286

Richard Burgin (Associate Conductor): October 27-28;

November 24-25; January 19-20; April 13-14. Sketch . . 197

Eleazar de Carvalho: March 16-17. Sketch 1157

Carlo Maria Giulini: March 2-3; March 9-10. Sketch . . . 1029

William Steinberg: January 5-6. Sketch ...... 645

Lukas Foss conducted his "Time Cycle" on November 3-4. Sketch 262

WORKS PERFORMED FOR THE FIRST TIME IN THE FRIDAY-SATURDAY SERIES

Bartok Four Orchestral Pieces, Op. 12

Boulanger, Lili Three Psalms

Fine * Symphony (1962) Foss Time Cycle

Ghedini tSonata da Concerto, for Flute, Strings and Percussion

Haieff Symphony No. 3

Hartmann, Karl Amadeus Symphony No. 6, for Large Orchestra

Kirchner Sinfonia

[ 1540] Mahler Symphony No. 3, in D minor (first complete performance in Boston)

Martin £tudes for String Orchestra

Schoenberg Variations for Orchestra, Op. 31

Stravinsky Zvezdoliki (The Star-Faced), Cantata for Male Chorus and Orchestra

Verdi Stabat Mater

Laudi alia Vergine Maria

Webern Six Pieces for Orchestra, Op. 6

* First performance.

I First performance in the United States.

NUMERICAL SUMMARY OF WORKS PERFORMED

Works by Beethoven — 7; Debussy — 5; Tchaikovsky — 4; Bach, Lili

Boulanger, Brahms, Mozart, Verdi — 3; Berlioz, Dvorak, Honegger,

Moussorgsky, Ravel, Shostakovitch, Stravinsky — 2; Alberiiz, Barber, Bartok, Britten, Bruckner, Chausson, Chopin, Copland, Falla, Fine, Foss, Franck, Ghedini, Haieff, Handel, Hanson, Hartmann, Haydn, Kirchner, Mahler, Martin, Martinu, Mendelssohn, Piston, Prokofiev, Rachmaninoff, Rameau, Rossini, Roussel, Saint-Saens, Schoenberg,

Schubert, Sibelius, Strauss, Webern — 1 each. Total: 80 works by 50 composers.

ARTISTS WHO HAVE APPEARED AS SOLOISTS Adele Addison (Foss: "Time Cycle," Four Songs for Soprano and Orchestra, with Improvised Interludes). November

3-4. Sketch ...... 284

*Michele Boegner (Beethoven: Piano Concerto No. 4, in G major, Op. 58). October 6-7. Sketch 69

Evelyne Crochet (Mozart: Piano Concerto in E-flat, K. 482). December 29-30. Sketch 581

*Jeanne Marie Darre (Saint-Saens: Piano Concerto No. 2, in G minor, Op. 22). February 2-3. Sketch .... 838 Joseph DePasquale (Berlioz: "Harold in Italy," Symphony

with Viola Solo, Op. 16). November 10-11. Sketch . 325

Doriot Anthony Dwyer (Ghedini: Sonata da Concerto, for Flute, Strings and Percussion). March 2-3 .... 1044

Gary Graffman (Rachmaninoff: Piano Concerto No. 2, in C minor, Op. 18). November 24-25. Sketch .... 389 Nicole Henriot-Schweitzer (Prokofiev: Piano Concerto No.

2, in G minor, Op. 16). March 23-24. Sketch . . . 1221

[ 1541 ] *Nikita Magaloff (Chopin: Piano Concerto No. 2, in F minor, Op. 21). October 13-14. Sketch 133

Erica Morini (Beethoven: Violin Concerto in D major, Op. 61). January 12-13. Sketch 709

* Andre Navarra (Dvorak: Cello Concerto in B minor, Op. 104). February 16-17. Sketch 965 Ruth Posselt (Barber: Concerto for Violin and Orchestra). April 13-14. Sketch 1349

Rudolf Serkin (Beethoven: Piano Concerto No. 5, in E-flat

major, Op. 73). February 9-10. Sketch . . . . 902

*Vlado Perlemuter, Pianist appeared in the Tuesday Series (November 7) see page 1545.

* Artists who have appeared for the first time with the Boston Symphony Orchestra.

ARTISTS WHO HAVE ASSISTED IN PERFORMANCES Choruses: Chorus Pro Musica, Alfred Nash Patterson, Conductor (Beethoven: Ninth Symphony; Mahler: Third Symphony; Stravinsky: "Zvezdoliki") Harvard Glee Club and Radcliffe Choral Society, Elliot Forbes, Conductor (Verdi: Three Sacred Pieces) New England Conservatory Chorus, Lorna Cooke de Varon, Director (Lili Boulanger: Psalms; Debussy: Nocturnes) Soprano: Adele Addison (Beethoven: Ninth Symphony) Contraltos: Florence Kopleff (Beethoven: Ninth Sym- phony; Mahler: Third Symphony) * Marguerite Paquet (Lili Boulanger: Psalms)

Tenors: * Roland Gagnon (Lili Boulanger: Psalms) John McCollum (Beethoven: Ninth Symphony) Baritones: Donald Gramm (Beethoven: Ninth Symphony; Lili Boulanger: Psalms) Chamber Ensemble (Lukas Foss Improvisation): * Richard Dufallo (Clarinet); * Charles DeLancey (Percus- sion); * Howard Colf (Violoncello); Lukas Foss (Piano) English Horn: Louis Speyer (Copland: ''Quiet City")

Flute: Doriot Anthony Dwyer (Bach: Suite No. 2) Organ: Berj Zamkochian (Lili Boulanger: Psalms) Trumpet: Roger Voisin (Copland: "Quiet City")

* Artists who have appeared for the first time with the Boston Symphony Orchestra.

[ 1542] ENTR'ACTES PAGE Beranek, Leo L. Concert Hall Acoustics 922 Biancolli, Louis Mahler's Third in New York 821 Burk, John N. Liszt and the Eternal Feminine 24 Music in Mass Production 162 The Chopin-Potocka Letters 171

Whither Contemporary Music? . 286

Rameau — "Le Grand Silencieux" . 342 Rachmaninoff — The Expatriate Who Remained Russian 426 Frank Martin ..... 55°

Mozart and the Symphony . 609 Bruckner — The Lone Symphonist 672 The New Edition of Beethoven's Letters 738 The Mismating of Bruckner and Mahler 79°

Whistler's Nocturnes and Debussy's . 854

Beethoven and the Gift of Melody . 936

Dvorak's Particular Road to Fame . 1002 Stravinsky Speaks His Views Once More 1110

Four Women in Haydn's Life . 1124

Ravel and "Les Apaches" . 1310

How Anton Webem Died . 1176 Thirteen Years in Retrospect i486 The Early Fortunes of the Ninth Symphony 1498 Cardus, Neville Beecham — Maestro of Living .... 216 Copland, Aaron Composers in Russia 100

Gould, Glenn An Argument for Richard Strauss 1246 Honegger, Arthur Honegger's Opinion of New Musical Ways 868

Hughes, Spike How to Write an Overture — The Rossini Recipe 1056 Lockspeiser, Edward Ansermet and the Moderns .... 532

Nabokov, Nicolas Stravinsky — A Composer of Our Time . 478 Newman, Ernest A View of Falla 558 SCHNABEL, ARTl R My Life and Music 88

Schoenberg, Arnold "I Have Never Had a Theory in My Life" *374 Shavve Tailor, Desmond The Complete Webern H94 Should Composers Tell? 1382 Thomson. Virgil Whither Music Now? 802 "Greatest Music Teacher" at 75 1438

Westrup, j. A. Noise — A Personal View 298

Walter, Bruno The Conductor . 594

PENSION FUND CONCERTS

Danny Kaye gave his services for a concert with the Orchestra at Tanglewood on

Thursday evening, July 13. The 128th Pension Fund Concert took place in Symphony Hall on Sunday afternoon, February 18. The soloist was Isaac Stern, who gave his services in the following program: Bach's Violin Concerto in A minor; Mozart's Adagio for Violin and

l [ 543] Orchestra, in E major, K. 261, and Rondo for Violin and Orchestra, in C major,

K. 373, Brahms' Violin Concerto in D major, Op. 77. Ten regular Open Rehearsals at Symphony Hall during the season past (October

12, November 2, December 7, January 4 and 11, February 8 and 15, March 8 and 29, April 26) and a Pop Concert on June 4 benefited the Pension Fund. The seven Saturday morning rehearsals of the Berkshire Festival were open to the public for the benefit of the Pension Fund.

MEETING OF THE FRIENDS OF THE BOSTON SYMPHONY ORCHESTRA The 28th annual meeting of the Friends of the Boston Symphony Orchestra was held in Symphony Hall on Wednesday, October 11, 1961, at 4:00 o'clock. Henry B. Cabot, President of the Trustees, addressed the meeting, after which the Orchestra

played Ravel's "Daphnis et Chloe," Suite No. 2. Dr. Munch and the trustees received the members at tea.

PROGRAMS OF THE SUNDAY AFTERNOON SERIES Six concerts were given in Symphony Hall on Sunday afternoons. Ernest Ansermet conducted the concert on December 3; William Steinberg on January 7, and Carlo

Maria Giulim on March 4.

October 8. Copland: Quiet City, for Strings, Trumpet and English Horn; Debussy:

Iberia ("Images," No. 2); Brahms: Symphony No. 1, in C minor, Op. 68.

December 3. Bach: Suite No. 2, in B minor, for Flute and Strings; Stravinsky: Symphony in Three Movements; Debussy: "Prelude a l'Apres-midi d'un Faune"; Moussorgsky: "Pictures at an Exhibition," Arranged by Maurice Ravel.

January 7. Beethoven: Symphony No. 8, in F major, Op. 93; Bruckner: Symphony No. 8, in C minor.

February 4. Debussy: Two Nocturnes ("Nuages," "Fetes"); Honegger: Symphony

No. 5; Saint-Saens: Piano Concerto No. 2, in G minor, Op. 22 (Jeanne Marie Darre); Ravel: "La Valse."

March 4. Rossini: Overture to "L'ltaliana in Algeri"; Ghedint: Sonata da Concerto, for Flute, Strings and Percussion (Doriot Anthony Dwyer); Tchaikovsky:

Symphony No. 2, in C minor, Op. 17; Verdi: Three Sacred Pieces: Stabat Mater, Laudi alia Vergine Maria, Te Deum (Harvard Glee Club aad Radcliffe Choral Society, Elliot Forbes, Conductor).

March 25. Schubert: Symphony No. 5, in B-flat major; Prokofiev: Piano Concerto

No. 2, in G minor, Op. 16 (Nicole Henriot-Schwfitzer); Strauss: "Tod und Verklarung," Tone Poem, Op. 24.

PROGRAMS OF THE MONDAY EVENING SERIES (The first season of this series) Six concerts were given in Symphony Hall on Monday evenings. Ernest Ansermet conducted the concert on December 18 and Eleazar de Carvalho on March 19.

November 6. Hanson: Elegy in Memory of Serge Koussevitzky, Op. 44; Debussy:

Iberia ("Images," No. 2); Tchaikovsky: Symphony No. 6, in B minor, Op. 74.

December 18. Bach: Suite No. 2, in B minor, for Flute and Strings; Stravinsky: Symphony in Three Movements; Debussy: "Prelude a l'Apres-midi d'un Faune"; Moussorgsky: "Pictures at an Exhibition," Arranged by Maurice Ravel.

] [ 544] January 15. Debussy: "Printemps," Suite symphonique; Piston: Symphony No. 6; Beethoven: Violin Concerto in D major, Op. 61 (Erica Morini).

February 12. Schubert: Symphony No. 5, in B-flat major; Roussel: "Bacchus et

Ariane," Suite No. 2, Op. 43; Beethoven: Piano Concerto No. 5, in E-flat major, Op. 73 (Rudolf Serkin).

March 19. Webern: Six Pieces for Orchestra, Op. 6; Albeniz: "Iberia," Suite

(Orchestrated by E. Fernandez Arbos); Tchaikovsky: Symphony No. 4, in F

minor, Op. 36.

April 23. Berlioz: Fantastic Symphony, Op. 14a; Debussy: "La Mer"; Ravel:

"Daphnis et Chloe," Ballet, Suite No. 2.

PROGRAMS OF THE TUESDAY EVENING SERIES Ten concerts were given in Symphony Hall on Tuesday evenings. Ernest Ansermet conducted the concert on December 5; Richard Burgin on January 30; Carlo Maria

Giulini on March 6, and Eleazar de Carvalho on March 20.

October 3. Brahms: Variations on a Theme by Haydn, Op. 56a; Debussy: Iberia

("Images," No. 2); Tchaikovsky: Symphony No. 6, in B minor, Op. 74.

November 7. Brahms: Symphony No. 1, in C minor, Op. 68; Franck: Symphonic Variations for Piano and Orchestra (Vlado Perlemuter); Ravel: Piano Con- certo for the Left Hand (Vlado Perlemuter).

December 5. Bach: Suite No. 2, in B minor, for Flute and Strings; Stravinsky: Symphony in Three Movements; Debussy: "Prelude a l'Apres-midi d'un Faune"; Moussorgsky: "Pictures at an Exhibition," Arranged by Maurice Ravel.

January 2. Bach: Chorale Prelude, "The Old Year is Past," Arranged by Charles

Munch; Bach: Suite No. 3, in D major, for Orchestra; Mozart: Piano Concerto in E-flat, K. 482 (Evelyne Crochet); Mozart: Symphony in G minor, K. 550.

January 16. Debussy: "Printemps," Suite symphonique; Piston: Symphony No. 6; Beethoven: Violin Concerto in D major, Op. 61 (Erica Morini).

January 30. Stravinsky: Zvezdoliki (The Star-Faced), Cantata for Male Chorus and

Orchestra; Mahler: Symphony No. 3, in D minor (Chorus Pro Musica, Alfred Nash Patterson, Conductor; Florence Kopleff).

February 73. Schubert: Symphony No. 5, in B-flat major; Roussel: "Bacchus et

Ariane," Suite No. 2, Op. 43; Beethoven: Piano Concerto No. 5, in E-flat major, Op. 73 (Rudolf Serkin).

March 6. Rossini: Overture to "L'ltaliana in Algeri"; Ghedini: Sonata da Concerto, for Flute, Strings and Percussion (Doriot Anthony Dwyer); Tchaikovsky:

Symphony No. 2, in C minor, Op. 17; Verdi: Three Sacred Pieces: Stabat Mater, Laudi alia Vergine Maria, Te Deum (Harvard Glee Club and Radcliffe Choral Society, Elliot Forbes, Conductor).

March 20. Webern: Six Pieces for Orchestra; Albeniz: "Iberia," Suite (Orchestrated

by E. Fernandez Arb6s); Tchaikovsky: Symphony No. 4, in F minor, Op. 36.

April 24. Berlioz: Fantastic Symphony, Op. 14a; Debussy: "La Mer"; Ravel:

"Daphnis et Chloe," Ballet, Suite No. 2.

1 [ 545] CONCERTS OUTSIDE BOSTON

Six Tuesday evening concerts in Sanders Theatre, Harvard University, Cambridge: October 31, November 21 (Richard Burgin, Conductor), January 9 (William Steinberg, Conductor), February 27 (Andre Navarra), March 27 (Nicole Henri ot- Schweitzer), April 17.

Five Tuesday evening concerts in the Veterans Memorial Auditorium, Providence: October 10 (Samuel Mayes), November 28 (Richard Burgin, Conductor;

Gary Graffman), December 19 (Ernest Ansermet, Conductor), February 6 (Jeanne Marie Darre), April 10.

Ten concerts in Carnegie Hall, New York City (5 Wednesday evenings and 5 Saturday afternoons): November 15, November 18, December 13 (Ernest Ansermet, Conductor), December 16 (Ernest Ansermet, Conductor), January 24 (Erica Morini), January 27 (Richard Burgin, Conductor; Chorus Pro Musica and Florence Kopleff), February 21 (Jeanne Marie Darre), February 24 (Andre

Navarra), April 4, April 7.

Five Friday evening concerts in the Brooklyn Academy of Music: November 17, December 15 (Ernest Ansermet, Conductor), January 26 (Richard Burgin, Conductor; Chorus Pro Musica and Florence Kopleff), February 23 (Andre Navarra), April 6.

Concerts in other cities: Springfield, October 2; Rochester, October 16 (Samuel

Mayes); Cincinnati, October 17 (Samuel Mayes); Lexington, October 18; Columbus, October 19 (Richard Burgin, Conductor; Samuel Mayes); Detroit, October 20; Ann Arbor, October 21 (Samuel Mayes) and October 22; Storrs, November 13 (Joseph DePasquale); New Haven, November 14 and February 20 (Jeanne Marie Darre); Washington, November 16 and

April 5; Worcester, November 26 (Richard Burgin, Conductor; Gary Graffman); Hartford, December 12 (Ernest Ansermet, Conductor) and February 19 (Andre Navarra); Englewood, December 14 (Ernest Ansermet, Conductor); New London, January 23 (Erica Morini); Baltimore, January

25; New Brunswick, February 22; Princeton, April 3.

POP CONCERTS

The 76th season of the Boston Pops, Arthur Fiedler, Conductor, was given in

Symphony Hall from May 2 through July 1.

ESPLANADE CONCERTS The 33rd consecutive season of Esplanade Concerts by members of the Boston Symphony Orchestra, Arthur Fiedler, Conductor, was given in the Edward Hatch Memorial Shell with scheduled concerts on the evenings of July 2 through July 15 (omitting July 8 and 13), August 21 through 26, and Wednesday mornings on July 5 and 12, and August 23 (Children's Concerts). These concerts were organized by a committee of which Henry B. Cabot is chairman.

BERKSHIRE FESTIVAL, TANGLEWOOD Six concerts by members of the Boston Symphony Orchestra under the direction of Charles Munch were given on Friday and Saturday evenings and Sunday afternoons in the first two weeks. These concerts were all performed in the Music Shed.

July 7. Bach: Suite No. 3, in D major; Suite No. 2, in B minor, for Flute and

Strings (Doriot Anthony Dwyer); Suite No. 1, in C major; Suite No. 4, in D major.

[ !546 ] July 8. Bach: Brandenburg Concerto No. 3, in G major; Brandenburg Concerto

No. 2, in F major, for Trumpet, Flute, Oboe, and Violin (Roger Voisin, Doriot Anthony Dwyer, Ralph Gomberg, Richard Burgin); "Wedding" Cantata, "Weichet nur, betrubte Schatten," for Soprano, No. 202 (Adele Addison); Brandenburg Con-

certo No. 6, in B-flat major; Brandenburg Concerto No. 5, in D major, for Clavier, Flute, and Violin (Lukas Foss, Doriot Anthony Dwyer, Richard Burgin).

July 9. Bach: Sinfonia from the Easter Oratorio; Concerto for Clavier, in D minor (Lukas Foss); Magnificat (Adele Addison, Florence Kopleff, Charles Bressler, Mac Morgan, Tanglewood Choir).

July 14. Mozart: Symphony in C major, "Linz," No. 35, K. 425; Serenade in C minor, for Two Oboes, Two Clarinets, Two Horns, and Two Bassoons, K. 388; Adagio and Fugue for Strings, K. 546; Symphony in G minor, No. 40, K. 550.

July 15. Mozart: Concerto for Bassoon, in B-flat major, K. 191 (Sherman Walt); Concerto for Flute, in G major, K. 313 (Doriot Anthony Dwyer); Sinfonia Concertante, in E-flat, K. 297b (Ralph Gomberg, Gino Cioffi, Sherman Walt, James Stagliano).

July 16. Mozart: Symphony in A major, No. 29, K. 201; Piano Concerto in D minor, No. 20, K. 466 (Seymour Lipkin); Cantata, "Davidde Penitente," K. 469 (Ginetta La Bianca, Gloria Ciricillo, Howard Fried, Tanglewood Choir, conducted by Hugh Ross).

Fifteen concerts by the Boston Symphony Orchestra, under the direction of Charles Munch, were given in the Shed on Friday and Saturday evenings and Sunday afternoons of the last five weeks. Pierre Monteux conducted on July 23, August 4 and 19; Eugene Ormandy conducted on July 29; Richard Burgin conducted on August 11 and Leonard Bernstein conducted on August 12.

July 21. Beethoven: Overture to "Coriolan" (After Collin), Op. 62; Brahms:

Symphony No. 1, in C minor, Op. 68; Poulenc: Gloria, for Soprano Solo, Chorus and Orchestra (Adele Addison, Festival Chorus).

July 22. Schumann: Overture to "Genoveva"; William Schuman: Symphony No.

7; Beethoven: Violin Concerto in D major, Op. 61 (Isaac Stern).

July 23. Respighi: "Old Dances and Airs for the Lute," Suite No. 1; Viotti: Violin Concerto in A minor, No. 22 (Isaac Stern); Falla: Three Dances from the

Ballet, "The Three-Cornered Hat"; Bartok: Rhapsody No. 1, for Violin and Orchestra (Isaac Stern); Strauss: Suite from "Der Rosenkavalier."

July 28. Copland: Preamble for a Solemn Occasion; Appalachian Spring (conducted by the composer); Ravel: "Daphnis et Chloe," Ballet in One Act (Festival Chorus).

July 29. Strauss: "Don Juan," Tone Poem, Op. 20; Harris: Symphony No. 3; Roussel: "Bacchus et Ariane," Ballet, Op. 43, Suite No. 2; Brahms: Symphony No. 2, in D major, Op. 73.

July 50. Beethoven: Symphony No. 4, in B-flat major, Op. 60; Liszt: Piano Con- certo in A major, No. 2 (Byron Janis); Piston: Three New England Sketches; Liszt:

Piano Concerto in E-flat major, No. 1 (Byron Janis).

August 4. Beethoven: Overture to "Fidelio," Op. 72; Schumann: Piano Concerto in A minor, Op. 54 (Eugene Istomin); Strauss: Dance of the Seven Veils from the Opera, "Salome"; Sibelius: Symphony No. 2, in D major, Op. 43.

[1547] August 5. Brahms: Variations on a Theme of Haydn, Op. 56a; Prokofiev: Violin Concerto No. 2, in G minor, Op. 63 (Joseph Silverstein); Franck: Symphony in D minor.

August 6. Beethoven: Symphony No. 7, in A major, Op. 92; Bartok: Concerto for Viola and Orchestra (Joseph DePasquale); Respighi: "Pines of Rome,"Sym- phonic Poem.

August 11, Haydn: Symphony in G major, No. 88; Mahler: Symphony in C

minor, No. 2, for Orchestra, Soprano and Alto Solos, and Mixed Chorus (Nancy Carr, Eunice Alberts, Festival Chorus).

August 12. Shapero: Adagietto from the Symphony for Classical Orchestra; Stravinsky: "Symphonie de Psaumes" for Orchestra with Chorus (Festival Chorus);

Tchaikovsky: Symphony No. 5, in E minor, Op. 64.

August 13. Hanson: Elegy to the Memory of Serge Koussevitzky, Op. 44; Honeg-

ger: Symphony No. 1; Beethoven: Symphony No. 3, in E-flat major, "Eroica," Op. 55.

August 18. Mendelssohn: Octet for Strings, in E-flat major, Op. 20; Debussy:

"'La Mer," Three Symphonic Sketches; Beethoven: Piano Concerto No. 4, in G major, Op. 58 (Claudio Arrau).

August 19. Stravinsky: Suite from the Ballet "Petrouchka" (Bernard Zighera);

Rachmaninoff: Piano Concerto No. 2, in C minor, Op. 18 (Gary Graffman); Tchai-

kovsky: Symphony No. 6, in B minor, "Pathetique," Op. 74.

August 20. Berlioz: "Romeo et Juliette," Dramatic Symphony, Op. 17 (Florence Kopleff, John McCollum, Donald Gramm, Festival Chorus).

Seven chamber music concerts by the following groups were given in the Theatre- Concert Hall:

July 5. Curtis String Quartet

July 12. Budapest String Quartet

July 19. Beaux Arts Trio of New York

July 26. New York Pro Musica

August 2. Boston Fine Arts String Quartet and Joseph dePasquale

August 9. Kroll String Quartet

August 16. Claudio Arrau, Piano

"A Gala Evening" at Tanglewood was presented by the students of the Berkshire Music Center on Thursday, August 17, for the benefit of the school. Arthur Fiedler conducted a concert on Thursday, August 3, "The Boston Pops at Tanglewood," also to benefit the Berkshire Music Center.

On Saturday mornings, July 8, 15, 22, 29, August 5, 12, 19, the Rehearsals were opened to the public for the benefit of the Pension Fund. Danny Kaye appeared with the Orchestra in a Pension Fund concert on Thursday, July 13.

BERKSHIRE MUSIC CENTER The Nineteenth Session of the Berkshire Music Center, Charles Munch, Director, was held at Tanglewood from July 2 to August 20, 1961.

[1548] BROADCASTS

The Friday afternoon concerts of the Orchestra in Symphony Hall were regularly broadcast by WGBH-FM, WAMC-FM (Albany), and WFCR-FM (Springfield).

The Saturday evening concerts in Symphony Hall were regularly broadcast from the beginning of the season by WGBH-FM, WCRB-AM-FM, WFCR-FM (Spring-

field), and WMTW-FM (Mount Washington, N. H.).

The Tuesday evening concerts of the Orchestra in Sanders Theater, Cambridge, were broadcast on WGBH-FM, WAMC (Albany), and WFCR-FM (Springfield). In addition, these concerts were telecast by WGBH, WENH (Durham, N. H.), and WCBB-TV (Augusta, Maine).

The Tuesday evening Symphony Hall concerts were broadcast by WCRB-AM-FM and WMTW-FM (Mount Washington, N. H.)

Complete transcriptions of the Friday-Saturday concerts, as well as concerts of the Boston Pops and from the 1961 Berkshire Festival, were broadcast through the Boston Symphony Transcription Trust on the following stations: WGBH (Boston), WFMT (Chicago), WGMS (Washington), KCBH (Los Angeles), KAFE (San Francisco), WFMR (Milwaukee), KCFM (St. Louis), WBCN (Boston), WXCN (Providence), WHCN (Hartford), WMTW (Mount Washington, N. H.), WAMC (Albany), KXTR (Kansas City), KAIM (Honolulu), WCRB (Boston), WDTM (Detroit), KWFM (Minneapolis), KLSN (Seattle), WQXR-AM-FM (New York), WDCR (Hanover, N. H.), WFLY (Troy), WKOP (Binghamton), WEBR (Buffalo), WJTN (Jamestown), WROC (Rochester), WSYR (Syracuse), WRUN (Utica), WXHR (Boston), WTAG (Worcester), WFMZ (Allentown), WDAS (Philadelphia), WITH (Baltimore), WSNJ (Bridgeton), WRVC (Norfolk), WFMS (Indianapolis), KQAL (Omaha), KIOO (Oklahoma City), KFML (Denver), KODA (Houston), KOGO (San Diego), KPAM-FM (Portland, Oregon), WFCR (Springfield), WCCC (Hartford), WBLG (Lexington, Kentucky).

Concerts of the Berkshire Festival were broadcast delayed by WGBH-FM through the Winter Season. The nine Saturday evening Pops concerts were broadcast by WGBH-FM, WCRB-AM-FM.

The concerts of the Friday-Saturday series and the Berkshire Festival were tape recorded by the Voice of America for distribution to overseas broadcasting stations.

The concerts of the Orchestra in Washington were broadcast by WGMS.

THE FOLLOWING RCA VICTOR RECORDINGS BY THE BOSTON SYMPHONY ORCHESTRA UNDER THE DIRECTION OF CHARLES MUNCH HAVE BEEN RELEASED SINCE MAY, 1961:

Beethoven: Piano Concerto No. 1 (Richter); Poulenc: Organ Concerto (Zam- kochian); Ravel: Daphnis et Chloe; Stravinsky: Card Game.

For information about space and rates in THE BOSTON POPS PROGRAM Call Advertising Department, Symphony Hall COmmonwealth 6-1492 Donald T. Gammons

[1549] MUSICAL INSTRUCTION

GERTRUDE R. NISSENBAUM VIOLIN 340 TAPPAN STREET Tel. LOngwood 6-8348 BROOKLINE 46. MASSACHUSETTS

EDNA NITKIN. M.MUS. PIANOFORTE

Soloist Accompanist Teacher

Studio No. 36 Telephone: 88 Exeter Street KEnmore 6-4062 Copley Square, Boston

BALLING MUSIC STUDIO DEcatur 2-6990 1875 Commonwealth Avenue, Newton 66, Mass. FAirview 3-3461

PIANO taught in the best American and European traditions VOICE

ADOLPHE ROBICHEAU MASTER CLASSES IN CLASSICAL BALLET

Elementary - Intermediate - Professional Children's Division Brochure: 54 Beacon Street, Boston Tel. CApitol 7-2592

MINNIE WOLK KATE FRISKIN PIANOFORTE STUDIO Pianist and Teacher 42 Symphony Chambers 8 CHAUNCY STREET 246 Huntington Avenue, Boston MASSACHUSETTS opp. Symphony Hall CAMBRIDGE, Residence EXport 5-6126 ELiot 4-3891

[1550] The Extraordinary Violinist ERICA MORINI whose recent performance of the Beethoven Concerto with the Boston Symphony Orchestra proved one of the musical peaks of the season, has been added to the

BOSTON UNIVERSITY CELEBRITY SERIES AARON RICHMOND/ MANAGER

Symphony Hall * Jordan Hall

SUBSCRIPTIONS: 143 NEWBURY ST., BOSTON (KE 6-6037)

GREAT SERIES SAVINGS Mail Applications Now. Announcement Upon Request.

Check 7 Events: $26 - $21 - $17 - $13 AARON RICHMOND presents

D BUDAPEST STRING QUARTET Sun. Aft, Oct. 14 BUDAPEST STRING QUARTET with BENAR HEIFETZ Mon. Eve., Oct. 15 D VLADIMIR ASHKENAZY, Exciting Soviet Pianist Fri. Eve., Oct. 26 ADELE ADDISON, Soprano Sun. Aft., Oct. 28 FRENCH NATIONAL ORCHESTRA, MAAZEL, Conductor Sun. Aft, Nov. 4 D DIETRICH FISCHER-DIESKAU, Renowned Baritone Wed. Eve., Nov. 14 D PITTSBURGH SYMPHONY, STEINBERG, Conductor with JEANNE-MARIE DARRE, Piano Soloist Sun. Aft, Nov. 18

F00 HSING CHINESE THEATRE from Formosa Fri. Eve., Nov. 23 JEANNE-MARIE DARRE (All-Chopin program) Sun. Aft, Dec. 9 D NDR SYMPHONY ORCHESTRA OF HAMBURG, SCHMIDT-ISSERSTEDT, Conductor, PHILIPPE ENTREMONT, Piano Soloist Sun. Aft, Jan. 13 VIENNA OCTET, Leading Winds and Strings of Vienna Philharmonic Tue. Eve., Jan. 22 D NETHERLANDS CHAMBER ORCHESTRA, SZYMON GOLDBERG, Conductor and Violin Soloist Sun. Aft, Jan. 27 CLEVELAND ORCHESTRA, SZELL, Conductor Tue. Eve., Feb. 5 ERICA MORINI, World Renowned Violinist Wed. Eve., Feb. 13

POZNAN CHOIR from Poland Fri. Aft., Feb. 22 GOLD AND FIZDALE, Celebrated Duo-Pianists Sun. Aft, Mar. 31

EXTRA EVENTS (not included in Series) but available now only to subscribers:

LENINGRAD PHILHARMONIC, MRAVINSKY, Conductor ($6, $5, $4, $3) Thur. Eve., Oct. 18 BOLSHOI BALLET ($6, $5, $4, $3) Sun. Aft., Nov. 11 DAVID OISTRAKH ($6, $5, $4, $3) Tue. Eve., Nov. 27 ARTUR RUBINSTEIN ($5.50, $5, $4.50, $4, $3, $2.50) Sun. Aft, Jan. 20 JOAN SUTHERLAND, World-Famous Soprano ($6, $5, $4, $3) Sat. Eve., Feb. 23 SVIATOSLAV RICHTER ($5.50, $5, $4, $3) Sun. Aft, Mar. 10 DETAILED ANNOUNCEMENT AT BOX-OFFICE

[1551] PIANO

BALDWIN

at the request

of the Boston Symphony Orchestra and today's

foremost concert artists

in each sphere

of musical expression.

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BALDWIN 160 Boylston Street, Boston 742 Washington St., Braintree