BOSTON SYMPHONY ORCHESTRA

ERICH LEINSDORF, Conductor

SATURDAY EVENING, OCTOBER 30, 1965

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MOE SEPTEE presents BOSTON SYMPHONY ORCHESTRA

ERICH LEINSDORF, Music Director

EIGHTY-FIFTH SEASON 1965-1966

SATURDAY EVENING, OCTOBER 30, 1965

A SIEGFRIED IDYLL" Wagner

[CONCERTO FOR VIOLIN AND ORCHESTRA, i||lN£ MINOR, OP. 64 Mendelssohn

I. Allegro molto appassionato

II. Andante

III. Allegro molto vivace

INTERMISSION

CONCERTO FOR ORCHESTRA Bartok

1* Andante non troppo; allegro vivace IL Giuoco delle coppie: Allegro schefzando

III. Elegy: Andante non troppo IV. Intermezzo interrotto: Allegretto V. Finale: Presto

Soloist JOSEPH SILVERSTEIN

Baldwin Piano *RCA Victor Records

m& PROQRAM NOTES

CONCERTO IN E MINOR FOR VIOLIN, Op. 64 By Felix Mendelssohn-Bartholdy

Born at Hamburg, February 3, 1809; died at Leipzig, November 4, 1847

Mendelssohn completed his Violin Concerto on September 16, 1844. Ferdinand David was the soloist at the first performance, which took place at the Gewandhaus concerts in Leipzig, March 13, 1845. Niels W. Gade conducted. The composer was on hand to conduct the second performance, which was given at the same concerts, October 23, 1845, David again playing the violin part. The third performance was in Dresden, and the soloist Joseph Joachim, then aged fourteen (November 10, 1845). The following violinists have performed this concerto with the Boston Symphony Orchestra in the Friday and Saturday series: Alfred de Seve (February 17, 1882) ; Willis E. Nowell (December 24, 1885) ; Charles Martin Loeffler (December 10, 1886) f Franz Kneisel (March 22, 1895) ; Leonora Jackson (February 16, 1900) ; E. Fernandez

Arbos (October ; 23, 1903) Marie Hall (January 26, 1906) ; Sylvain Noack (December 26, Fritz Kreisler 1913); (January 1, igi5) ; Fredric Fradkin (February 14, 1919); Toscha Seidel (February 9, 1923) ; Nathan Milstein (March 20, 1936) ; Jascha Heifetz (January 29, 1937); Yehudi Menuhin (February 4, 1938); Richard Burgin (April

20 > 2 '> Yehudi 945) Menuhin (December 28, 1945) ; Isaac Stern (February 10, 1950) . The orchestration includes 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, timpani and strings. t t was in 7844, three years before his death, that Mendelssohn put the A last touches upon his concerto for the violin. Such a work was an idea long cherished by him, and dates back to the year 1823 when, a boy of fourteen, he made two attempts at the form. They figured among the astonishing number of manuscripts which he neatly turned out from the age of twelve — symphonies and operas included — and for the most part never published. Among the many accomplishments of the young Felix were the violin and the viola, although the piano remained his chosen instrument.

In July, 1838, he wrote to his friend Ferdinand David, the violinist: "I should like to write a violin concerto for you next winter. One in E minor runs through my head, the beginning of which gives me no peace." Meeting encouragement, he wrote again in the following summer: "It is nice of you to urge me for a violin concerto! I have the liveliest desire to write one for you, and I have a few propitious days here. I shall bring you something of the sort, but it is not an easy task. You want it to be brilliant, and how is such a one as I to manage that? The whole first solo is to be played on the E string!" Still, he proceeded with caution, taking care that the violin part should be written to the best possible advantage. It was not without considerable correspondence with David on one point or another that the work was completed. He made further revision in the solo and orchestral parts both. Even after the score had gone forward to the publishers in December, there was still further polishing of details, David for example touching up the cadenza according to his own (continued) -f

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la THE SOLOIST

Joseph Silverstein succeeded Richard with Joseph Gingold and Mischa Misch Burgin as Concertmaster in 1962. He akoff. He played in the orchestras o became a member of the Boston Sym- Houston, Denver and Philadelphia be phony Orchestra in 1955 when he was fore joining this one. Mr. Silversteii twenty-three and the youngest member has won signal honors here and abroad of the Orchestra at that time. Born in In the autumn of 1961 he was awarde Detroit, he studied at the Curtis Insti- the prize in the Walter W. Naumbur tute of Music in Philadelphia, and later Foundation Competition.

I UNDER NEW MANAGEMENT g/k FRnnK & joHnnys 1 L ^ a?M ^— Essex House Hott 00Mttsel Luncheon • Dinner • Cocktails Closest to Symphony Hall -before and after the show PROQRAM NOTES (continued)

lights. Those who are quick to condemn Mendelssohn for his "fatal facility" should study the meticulous evolution of the violin concerto. The violinist proceeds at once with the songful main theme, to an accompaniment of the string orchestra. After a considerable amount

of displayful passage work, the soloist yields first place to the or-

chestra, which makes its own exposition to a violin obbligato. The

second theme is intoned in soft harmonies by the flutes and clarinets over a pedal G in the solo part. The development of the themes is considerable, following conventional courses. The cadenza before the

recapitulation is conspicuous in trills and arpeggios. The andante follows without break, the violin taking the lead in

the presentation of the theme. The middle section is of an impassioned character, its agitation increased by a tremolo accompaniment which extends to the solo part itself. A short reprise leads, by way of a transi- tional allegretto, to the finale, allegro molto vivace. The violin again

leads off with a scherzo-like theme, which it follows with a constant

sparkle of passage work and thematic iteration. There is hardly a breathing space in the part to the very end of the rondo, and the composer loses no opportunity to set off his soloist with all the or- chestral adroitness of his best scherzo style.

CONCERTO FOR ORCHESTRA ffcy BELA BARTOK IBorn in Nagyszentmiklos, Hungary, March 25, 1881; iDied in New York, September 26, 1945

This Orchestral Concerto was written for the Koussevitsky Music [Foundation in memory of Natalie Koussevitsky. The score is dated October

;8, 1943. This Orchestra gave the first performance of the Concerto Decem- jber 1 and 2, 1944, and repeated it December 29 and 30 of the same season.

The Concerto is scored for 2 flutes and piccolo, 3 oboes and English horn, 3 clarinets and bass clarinet, 3 bassoons and contra bassoon, 4 horns, 3 trumpets, 3 trombones and tuba, timpani, tambourine, bass drum, cymbals, Itriangie, tam-tam, 2 harps and strings.

"The general mood of the work represents," so the composer has hritten, "apart from the jesting second movement, a gradual transition jfrom the sternness of the first movement and the lugubrious death-song

of the third, to the life-assertion of the last one." This is ( remark interesting, in that Bela Bartok composed the piece during his convalescence from a serious illness.

He has further explained why he has not called it a symphony:

"The title of this symphony-like orchestral work is explained by its

(continued) New Jersey Symphony Orchestra

KENNETH SCHERMERHORN, Musical Director 1965-1966 SEASON Special Concerts Subscription Concen

SYMPHONY HALL, NEWARK SYMPHONY HALL, NEWARK (Formerly Mosque) (Formerly Mosque) Friday, November 19, at 8:30 Saturday, November 27 at SALVATION ARMY CENTENNIAL 8: NEW JERSEY SYMPHONY NEW JERSEY YOUTH BAND Nathan Milstei CENTENNIAL SINGERS VIOLINIST Bach A Mighty Fortress Bach .... "St. Anne" Prelude and File Schubert 4th Symphony Tschaikowsky Violin Concerto jb Haydn Heavens Are Telling Mozart Masonic Funeral N/lc Wagner Good Friday Spell Stravinsky "PetroucrJ" Franck 150th Psalm and other works MILLBURN — WED., JAN. IS Tickets: $1, $2, $3, $5, $15, $25 Available at Salvation Army MONTCLAIR — SAT., JAN. 1\ 80 Washington Street, Newark 8:30 P.M.

COLUMBIA HIGH SCHOOL, S. Orange Aaron Rosandl Sunday, November 28 at 4 P.M. VIOLINIST FAMILY CONCERT Sessions Schermerhorn narrates a program about Symphony N |6 (World Premiere) musical taste and criticism. Revel Rapsodie Works of Wagner, Verdi, Debussy, Bach, Espagle Brahms Violin Ulysses, Kay, Weber and Prokofiev. Concerto P Tickets: $1.75 MONTCLAIR — SAT., MARCH 2

MILLBURN — WED., MARCH : 8:30 P.M. Tour Concerts IRVINGTON Louise Ndtale Sunday, March 20, 1966 SOPRANO FAIR LAWN Beethoven Symphony No. 2 D Sunday, March 27, 1966 R. Strauss Four Last 5§gs Revueltas "Sensem EAST BRUNSWICK Respighi "The Pines of Re Saturday, April 2, 1966 Series: $12, $9, $6 Singles: $4.80, $3.60, $2.40 (Newark only: also $1.80)

Mail Orders, please enclosed self-addressed, envelope NEW JERSEY SYMPHONY ORCHESTRA Symphony Hall, 1020 Broad Street, Newark — Tel. 624-820 ;

STUDENT FIELD TRIP CONCERTS — SYMPHONY HALL Wednesday and Thursday, November 17 and 18, 1965, 10:30 A.I For Croup Attendance call Mr. Shumer at MA 3-1815 —

PROQRAM NOTES (continued) tendency to treat the single instruments or instrument groups in a concer- tant' or soloistic manner. The 'virtuoso' treatment appears for instance, in the fugato sections of the development of the first movement (brass instruments), or in the 'perpetuum mobile'-like passage of the principal theme in the last movement (strings), and especially, in the second move- ment, in which pairs of instruments consecutively appear with brilliant passages.

"As for the structure of the work, the first and fifth movements are written in a more or less regular sonata form. The development of the first contains fugato sections for brass; the exposition in the finale is somewhat extended, an-d its development consists of a fugue built on the last theme of the exposition. Less traditional forms are found in the second and third movements. The main part of the second consists of a chain of independent short sections, by wind instruments consecutively introduced in five pairs (bassoons, oboes, clarinets, flutes, and muted trumpets). Thematically, the five sections have nothing in common. A kind of 'trio' a short chorale for brass instruments and sidedrum — follows, after which the five sections are recapitulated in a more elaborate instrumentation. The structure of the fourth movement likewise is chain-like; three themes appear successively. These constitute the core of the movement, which is enframed by a misty texture of rudimentary motifs. Most of the thematic material of this movement derives from the 'Introduction' to the first movement. The form of the fourth movement — 'Intermezzo interrotto' ('Interrupted Intermezzo") — could be rendered by the letter symbols " 'ABC — interruption — BA.'

BOSTON SYMPHONY ORCHESTRA — SHORT HISTORY

A young Yankee, in 1857, made a bold exposure of his heart. Bostonian Henry Lee Higginson wrote from Vienna to his father. "As every one has some particular object of supreme interest to himself, so

I have music. It is almost my inner world; without it, I miss much, and with it I am happier and better." Twenty-four years later Mr. Higginson's supreme interest in music took unique form: he founded the Boston Sym- phony Orchestra.

The first concert was held in the Boston Music Hall on October 22, 1881. The twenty concerts an-d the twenty public rehearsals of the first season, conducted by George Henschel, were attended by 83,359 persons. This caused Mr. Higginson to write to the Boston Advertiser, "When last spring the general scheme for concerts of the Boston Symphony Orchestra was put forth, the grave doubt in my mind was whether they were wanted. This doubt has been dispelled by a most kindly and courteous public, and therefore the scheme will stand."

Wilhelm Gericke succeeded George Henschel as conductor, then Artur Nikisch, Emil Paur, Karl Muck, Max Fiedler and Henri Rebaud before the procession of titans: Pierre Monteux, Serge Koussevitsky, Charles Munch and Erich Leinsdorf.

It would seem that Mr. Higginson's scheme has stood well. 4

ERICH LEINSDORF — A SHORT BIOGRAPHY

Erich Leinsdorf was introduced to the public as Music Director of the Boston Symphony Orchestra at 'its initial concert of the Orchestra's eighty-second season on September 21, 1962. In so doing, Mr. Leinsdorf became the eleventh maestro to lead the orchestra in its history and only

the third over the past thirty-eight years. When a major change is made in the guidance of an orchestra, other changes are bound to follow, but Erich Leinsdorf earlier made a statement concerning the confidence which he had in the Boston Symphony Orchestra: "I am particularly happy

about coming here not as a bricklayer. I don't have to build. I find a magnificent orchestra and a magnificent organization. This enables one to make music without having to go to collect the materials."

The new Music Director comes to Boston with a brilliant record in the opera over recent years. As music consultant and conductor of the Metropolitan Opera, Mr. Leinsdorf established an eminent reputation as a conductor of German opera. One must not assume that he comes to Boston without symphonic credentials, however, as he has been a guest conductor of the major orchestras of the world. In addition, in the period of nine years prior to returning to the Metropolitan in 1957, Erich Leinsdorf brought the Rochester Philharmonic into prominence among the country's orchestras.

Before coming to this country the Vienna-trained conductor studied with two of the world's outstanding conductors — Bruno Walter and . It was Toscanini, in fact, who suggested Leinsdorf W* to the Metropolitan where he served as assistant conductor until 1939 when he was appointed chief conductor of German operas.

An appointment as music director and conductor of the Cleveland Orchestra in 1943 was interrupted by service in the United States Army following which he accepted appointment as conductor in Rochester. In 1956 Mr. Leinsdorf returned to New York as Director of the Opera before resuming his career with the Metropolitan.

Of his discussions with the management of the Boston Symphony Orchestra prior to assuming his new duties as its Music Director, Mr. Leinsdorf made this statement: "Whatever came up, the musical necessity had its way. From having seen musical organizations abroad and in this

country, this is rare. As I don't know all musical organizations, I cannot

in fairness say it is unique, but I have a suspicion it is unique. I am going to do my very best to keep it this way." *< On the subject of soloists in Boston, Leinsdorf commented, "I salute the Boston organization because the system here has been, and I shall

continue it, to engage soloists for works rather than select the works

after the soloists have been engaged. The work is the determining factor. The orchestra's policy on soloists is helped greatly by the enthusiasm and loyalty of the Boston audiences. They enabled the Orchestra to main-

tain the musical policy and 1 suppose these musical policies in turn produce the loyalty of the audiences." .

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Silverstein makes his recording debut with the Boston Symphony under Leinsdorf

A LTHOUGH he has often recorded with the Boston l\ Symphony in his capacity as concertmaster, it is ii two violin concertos, Stravinsky's Concerto in D and Bartbk's Second, that Joseph Silverstein makes his recording debut as its soloist. It is hard to imagine influential a more attractive coupling of these works; the perfonnances are everything one could ask and the Dynagroove sound is superior.

THUS, with this album, Silverstein joins such distinguished Boston Symphony collaborators as which Phyllis Curtin in excerpts from Berg's Wozzeck featuring form a part of the prize-winning album Mahler's Fifth Symphony; Lorin Hollander and Eric Friedman heard in ProkofiefPs Piano Concerto No. 5 Artur and Violin Concerto No. 1; the incomparable Rubinstein playing Beethoven's Fourth and Fifth Concertos and Tchaikovsky's First Piano Concerto a Each in Brahms' First Piano Concerto. of these Red Seal recordings has earned a place BARTOK: Violin Concerto No. 2 in every good record collection. STRAVINSKY: Violin Concerto

Joseph Silverstein

Boston Symphony Orchestra/Erich Leinsdorf

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