/ 4r V ^Br EWOOD ^rfl

SEVENTH WEEK

August 13, 14, 15, 1965

it i y 3TWAL The Boston Symphony Van Cliburn Brahms Concerto No. 1 under Leinsdorf Boston Symphony Orchestra Erich Leinsdorf

This new recording ofBrahms ' First Concerto marks the first collaboration of Van Cliburn and the Boston Symphony under Leinsdorf. Together they meet the challenge of this demanding work in a virtuoso performance that realizes all the passion and intensity of Brahms' score. Also recommended: the Boston Symphony under Leinsdorf in a vibrant reading of Beethoven's "Eroica." RCA Victor m ftfifflThe trusted name in Both albums in superb Dynagrgoye sound. most sound ^*tT^ Boston Symphony Orchestra ERICH LEINSDORF, Music Director

Richard Burgin, Associate Conductor

Berkshire Festival, Season 1965 TWENTY-EIGHTH SEASON MASSACHUSETTS MUSIC SHED AT TANGLEWOOD, LENOX,

SEVENTH WEEK

notes by Concert Bulletin, with historical and descriptive John N. Burk Orchestra, Inc. Copyright, 1965 by Boston Symphony

ORCHESTRA, Inc. The Trustees of The BOSTON SYMPHONY Treasurer President Vice-President Banks Richard C Paine Henry B. Cabot Talcott M. Edward G. Murray Abbam Berkowitz Andrew Heiskell Hodgkinson John T. Noonan Theodore P. Ferris Harold D. Mrs. James H. Perkins Robert H. Gardiner E. Morton Jennings, Jr. Sidney R. Rabb Francis W. Hatch Henry A. Laughlin Raymond S. Wilkins John L. Thorndike

Trustees Emeritus Edward A. Taft Palfrey Perktns Lewis Perry Oliver Wolcott

Tanglewood Advisory Committee Lawrence K. Miller Jesse L. Thomason Alan J Blau Robert K. Wheeler Lenges Bull George E. Mole H. George Wilde George W. Edman Whitney S. Stoddard

Officio): Chairmen of the Boards of Selectmen (Ex Pignatelli Lee, William O'Brien Stockbridge, Robert Minkler Lenox, John

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— 2 —

BOSTON SYMPHONY ORCHESTRA

Friday Evening, August 13, at 8:00

ELEAZAR de CARVALHO, Conductor

HAYDN Symphony in E-flat, No. 99

I. Adagio; Vivace assai

II. Adagio

III. Minuetto (Allegretto)

IV. Vivace

LUTOSLAWSKI f Jeux Venitiens

Intermission

STRAVINSKY "Le Sacre du Printemps" ("") Pictures of Pagan Russia

I. The Adoration of the Earth

Introduction—Harbingers of Spring—Dance of the Adolescents Abduction—Spring Rounds—Games of the Rival Towns—The Procession of the Wise Men—The Adoration of the Earth (The Wise Man) —Dance of the Earth.

II. The Sacrifice

Introduction—Mysterious Circles of the Adolescents—Glorification of the Chosen One—Evocation of the Ancestors—The Sacrificial Dance of the Chosen One.

t First performance at the Festival concerts

BALDWIN PIANO RCA VICTOR RECORDS

3 —

hi ELEAZAR DE CARVALHO was born the . He made his in Iguatu in the state of Ceara, . first world-wide fame as he built this He spent his childhood at the farm of organization to great eminence. In 1938 his parents who were of Dutch extrac- he resigned as Music Director. He has tion on his father's side and pure Indian since been the Director of the American on his mother's. Youth Orchestra, the Hollywood Bowl To his theoretical knowledge through Orchestra, the schooling he added practical experience (in association with Mitropoulos), the by playing in the naval and marine Houston Symphony, the Contemporary bands and in small orchestras. He Music Society in New York, and in 1962 played the double bass and, joining the created the American Symphony Orches- orchestra of the Teatro Municipal, the tra which he still conducts. opera house of , played the tuba. He meanwhile attended the University of Brazil. It was in 1941 that VAN CLIBURN was born in Shreve- he became the conductor of the Orques- port, Louisiana, and at six was taken by tra Sinfonica Brasileira. He has con- his family to Kilgore, Texas. His mother ducted many operas in the Teatro Munic- was his teacher before he studied (in ipal de Janeiro. 1951) with Rosina Lhevinne. He was It was in 1946 that he came to the helped by a number of scholarships United States and to Lenox to study which led to a sort of climax when in conducting under , 1958 he went to Moscow and won the and since then he has conducted many Tchaikovsky Competition. Mr. Cliburn times in various parts of the world, in- has appeared on several occasions with cluding Boston and at the Berkshire this Orchestra in Boston and at Tangle- Festivals during six seasons. Last au- wood. tumn he became the Music Director of the St. Louis Symphony Orchestra. The performance of Wagner's Lohen- grin at the three concerts of the final returns for week of the Berkshire Festival (August a second season's visit at the Berkshire 20, 21, 22) is planned by Erich Leinsdorf Festival, having conducted this Orches- as an event of particular interest. Mr. tra in Boston last season. Leinsdorf has stated: Mr. Stokowski was born in London From an artistic point of view I feel that April 18, 1882. The country of his the Lohengrin weekend is a true festival father's birth was Poland. He obtained idea, something which one could not his musical education in London and on schedule during the more rigid aspects the continent, and first came to America of a winter season but which lends itself in 1905, and was organist at St. Barthol- ideally to the more relaxed and experi- omew's in New York for three years. mental atmosphere of a summer festival." In 1909 he became the conductor of the Tickets for the three "Lohengrin" Cincinnati Symphony Orchestra, resign- concerts may still be obtained at the ing in 1912 to become the conductor of season rate.

^rir^ boston university 111 ^1 SCHOOL OF FINE AND APPLIED ARTS B^B m \ Edwin E. Stein, Dean Roy T. Will, Music Chairman I NK 1 Applications for 1966-67 now being proc- 1 essed. Auditions held monthly. Scholarship IB 1 awards to outstanding candidates. For com- I mm V V[ jj plete information write: I 'a Boston University WL 1 School of Fine and Applied Arts ^llk, jMm ®->5 Commonwealth Avenue Massachusetts 02215 ^^^i ^gridlfflf' Boston,

4 — 'Program U^otes

Friday Evening, August 13

SYMPHONY IN E-FLAT MAJOR, No. 99 By Joseph Haydn

Born in Rohrau, Lower Austria, March 31, 1732; died in Vienna, May 31, 1809

In Vienna, in 1793, Haydn composed this Symphony in preparation for his second visit to London and added five more (Nos. 100-104) to be intro- duced at the second series of six concerts under the management of Johann Peter Salomon. This one was duly performed at the opening concert in the Hanover Square Rooms on February 10, 1794. As almost without exception in his London symphonies, Haydn opens this one with a reflective and free adagio, no pompous or ceremonious portal, but tender and mysterious, foreshadowing Beethoven. The principal differ- ence, in this case, is that instead of leading the hearer by a subtle transition into the main body of the movement, Haydn dismisses the introductory mood with not so much as a gesture, as he breaks into the sprightly theme of his vivace assai. The second theme is for violins and clarinet, an instrument which takes its place in these later symphonies. The development progresses through chameleon-like modulations with a wit and daring which almost equals the whimsical fancy and legerdemain of the finale. The adagio, in G major, opens with a theme for the first violins, cantabile, which is ornamented with passages in the woodwinds, the flutes predominating. The second theme is inseparable from the elaboration of sixteenth notes upon which its sustained songfulness subsists. This is a slow movement of lyric intensity with aspects of nineteenth- century romanticism, and there is a passage in stormy triplets which again almost makes one exclaim "Beethoven!" There is a lusty minuet, allegretto, based upon a simple descending chord of E-flat. In the trio the oboe, cantabile, is combined with the strings. The final rondo, vivace, brings a more inde- pendent and distinct use of the various woodwind voices. There is the characteristic pause of suspense upon the main theme, slowed to adagio and played by the first violins, before the coda.

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— 5 —

I JEUX VENITIENS By WlTOLD LlJTOSLAWSKI

Born in Warsaw, January 25, 1913

Lutoslaw ski's "Venetian Games" (in the sense of "Interplay") was introduced to America by Mr. Carvalho as Conductor of the St. Louis Orches- tra on February 19 of last season. It was written shortly before the composer visited this country in the summer of 1962, when he came to the United States and Tanglewood. to teach in the Composition Department of the Berkshire Music Center. At the end of the Tanglewood season he was interviewed by Alan Rich of the New York Times (August 12) and spoke of his then newest score: "I have just made what I regard as a new beginning, or, at least, a new concretization of everything I believe about music. My new style dates from my feux Venitiens, which was done last year at the Warsaw Festival. That work makes considerable use of the techniques of chance, or aleatoric music, and now I am working solely in that direction. My early works, even the ones that have been played in the United States, I have now come to regard as passe."

Of the four movements of the Jeux Venitiens, the first and last could be considered the most "alleatory." In these two movements especially there is a chance conjunction of playing groups where each keeps its own note values according to a tempo conditioned by an overall number of seconds. Thus each

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— 6 — will not necessarily coincide with the holds to its own independence which music being played by the other groups. which are five panels with The score opens to a folded double page on first group is for woodwinds, notes for various groupings of instruments. The fourth for percussion and the the second for brass, the third for timpani, the these five panels is performed fifth for piano with two players. The music on rhythmic signature, the simultaneously. Since there are no bar lines and no beat. The music in the conductor can do no more than give the opening down nevertheless varies in different panels being given a fixed duration (which will come to the end of its part and is instructed each of them) , a shorter group the longer continuing ones. at this point to repeat from the beginning against in the first movement, those fol- This is the first of eight consecutive sections variously lowing being mostly confined to the strings. The sections drawing upon each panel are approximately as follows:

A. Woodwinds, brass, timpani, percussion, pianos B. Strings C. Woodwinds, percussion, timpani D. Strings E. Woodwinds, brass, percussion, timpani

F. Strings, percussion G. Woodwinds, brass, timpani, percussion, pianos H. Strings, percussion

At the Berkshire VAN CLIBURN Festival this season MALCOLM FRAGER these Artists CLAUDE FRANK EUGENE ISTOMIN play ONLY RUDOLF SERKIN VITYA VRONSKY THE STEIWAY and VICTOR BABIN

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— 7 — . ; :

The conductor indicates the opening of the second section which intro- duces the strings. There is now a regular beat bar by bar (with the rhythmic

indication 2/4) . Before the close the two pianos play note clusters by depress- ing the keys with cardboard cylinders. One is for the white keys, one for the black, and they are of a precise length to determine the range of the notes played. According to a general direction "the bar lines, rhythmical values and meter are intended merely for orientation; the music should be played with the greatest possible freedom."

The third movement is a flute solo throughout (whether the solo is

"melodic" is a question of terms). The part begins and ends pianissimo, and has percussive accompaniment.

The last movement has a regular bar beat except when various sections

are juxtaposed with overlapping. Again the tempo of certain phrases is deter- mined by an indicated number of seconds. The work ends softly with an extended string chord and a piano punctuation.

The composer remarked in the interview quoted above: ' 'The major impetus for this turn to the avant-garde came during the years 1956-59, when the influence of such composers as Boulez, Stockhausen and your own John

Cage became noticeable in Poland. But that stage is already over, because now our composers are beginning to develop their own personalities along these lines.'

MARLBORO MUSIC FESTIVAL

RUDOLF SERKIN, Artistic Director, presents Music from Marlboro

A series of three concerts in Boston, New York, Philadelphia, Montreal and other Eastern cities.

Program I Program III

Mendelssohn : Piano Quartet No. 1 ; Irv- Schubert: Shepherd on the Rock for

ing Fine : String Trio ; Brahms : Two Soprano, Clarinet and Piano ; Bartok Songs for Contralto, Viola and Piano Contrasts for Piano, Violin and Clari-

Faure : Piano Quartet No. 1 net ; Mozart : Trio in E-flat for Clarinet, Florence Koplepf, contralto; Ruth Viola and Piano.

Laredo, piano ; Jaime Laredo, violin Benita Valente, soprano; Peter Ser- Samuel Rhodes, viola; Madeline kin, piano; Harold Wright, clarinet; Foley, cello. Arnold Steinhardt, violin.

Program II

Beethoven : Piano Trio in B-flat (one NEW YORK: November 8, Febru- movement) ; Irish, Scottish and Welsh ary 15 and April 28 Songs for Soprano, Tenor, Piano, Violin

and Cello ; Brahms : Piano Quintet in BOSTON: November 4, February 9

F minor ; Schoenberg : String Sextet, and April 26

"Verklaerte Nacht" ; Dvorak: Duets for Soprano and Tenor. PHILADELPHIA : October 25, Feb- ruary 14 and May 9 Mary Burgess, mezzo-soprano ; Jon

Humphrey, tenor ; Richard Goode, MONTREAL: October 17, January piano; Felix Galimir, violin (other 30 and May 1 artists to be announced).

Ticket information : Marlboro Music Festival, Eastern Tour, Marlboro, Vt. Steinway Piano Columbia Records

— 8 — "How, Mr. Lutoslawski was asked, is the public taking to all this?

'Surprisingly well,' was his reply. 'Naturally, there is the Beethoven-Tchai- kovsky public, but many of them at least accept the new music. I said "accept," of course, not "support."

' 'But our own audience is growing. Some years ago I organized a series of "tape seances" in Warsaw, where new trends in electronic music were explored. We had a large young audience, not only musicians but also people from other arts, and their only complaint was that we had too few meetings.

I asked one of them once if he also went to the Philharmonic concerts. "No," he replied. "Why?" "Because Beethoven bores me."

'The point is that we are developing a public that is exclusively inter- ested in the new. Perhaps this is a bad thing; I don't know. But at least it is " preferable to having no public at all.'

Mr. Lutoslawski, according to Alan Rich, "then let his glance wander over the spacious Tanglewood grounds. 'This is an extraordinary place, and an extraordinary tribute to the vision of its founder, Serge Koussevitzky. My summer here has inspired me to return to Poland and attempt something like this there.

' 'I have met some interesting students here, and some with very real talent. I find, however, that with most of the students there has still been very

\ little real contact with very new music. I think that many young composers

espouse avant-garde principles as a kind of rebellion from learning. I decided therefore to give them a number of problems in extremely advanced tech- niques, along with others more classical in scope. The best students are very perceptive, and they pick up new ideas quickly.

: 'This all proves, I think, that there is need—here and throughout the " world—for a great deal more in the way of real avant-garde training.'

Lutoslawski studied at the Warsaw Conservatory with Jerzy Lefeld and Witold Maliszewski, a pupil of Rimsky-Korsakov and Glazounov. After the interruption of the war he became active in the cause of international music. In 1959 he was elected to the Committee of the ISCM (International Society for Contemporary Music). His music, some of which has been performed in various countries, includes a Symphony (1947), Triptyque Silesien for soprano and orchestra (1951), Concerto for Orchestra (1954) and various works for smaller combinations.

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— 10 — LE SACRE DU PRINTEMPS ("THE RITE OF SPRING"): Pictures of Pagan Russia, in Two Parts By

Born in Oranienbaum, near St. Petersburg, Russia, June 17, 1882

Stravinsky composed Le Sacre du Printemps in the years 1912 and 1913. The first perfomance was by the Ballet Russe of Diaghilev, at the Theatre des Champs-filysees, Paris, May 29, 1913. conducted, and introduced the music in concert form at his own concerts at the Casino, April 5, 1914.

Descriptions of the first performance have been conflicting as well as

colorful. Commentary is varied, even reaching the psychological: "In con- formity with some interesting law of music perception by heterogeneous groups," writes Nicolas Slonimsky, "the individual reaction became general, and assumed the power of a heterogeneous opposition." Let us confine our- selves to the account of a first hand witness most deeply concerned—the con- ductor himself.

Pierre Monteux wrote (Dance Index, 1947) : "My first meeting with

Stravinsky took place in 1911 when I was guest conductor of the Diaghileff Ballet Russe. Stravinsky, outstanding among the new composers of the modern

school, had just achieved his first success with L'Oiseau de Feu. We met when

I conducted the world premiere of his second ballet, Petrouchka. Petrouchka was an immense success. In the field of ballet many still consider it Stravin- sky's masterpiece.

There is a New School of Music graduate \ playing with almost every major

symphony orchestra in the country.

Scholarship competition for (2) violins, (2) violas, (2) cellos and (2) double basses now through September 6, 1965. Our distinguished faculty includes:

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Brochure on request/ Address all inquiries to The New School of Music Max Aronoff, Director/ 1738 Pine Street, Philadelphia 3, Pa.

11 — "One day in 1912, after I had become the regular conductor for the Ballet Russe, Diaghileff summoned me to a tiny rehearsal room in a theatre of Monte Carlo where the Ballet was at that time appearing. We were to hear Stravinsky run through the score of his new work, Le Sucre du Printemps. "With only Diaghileff and myself as audience, Stravinsky sat down to play a piano reduction of the entire score. Before he got very far I was con- vinced he was raving mad. Heard this way, without the color of the orches- tra which is one of its greatest distinctions, the crudity of the rhythm was emphasized, its stark primitiveness underlined. The very walls resounded as Stravinsky pounded away, occasionally stamping his feet and jumping up and down to accentuate the force of the music. Not that it needed such emphasis. "I was more astounded by Stravinsky's performance than shocked by the score itself. My only comment at the end was that such music would surely cause a scandal. However, the same instinct that had prompted me to recog- nize his genius made me realize that in this ballet he was far, far in advance of his time and that while the public might not accept it, musicians would delight in the new, weird though logical expression of dissonance. "Le Sacre du Printemps was presented in 1913 at the Theatre des Champs

Elysees in Paris, and cause a scandal it certainly did. The audience remained quiet for the first two minutes. Then came boos and cat-calls from the gallery, soon after from the lower floors. Neighbors began to hit each other over the head with fists, canes or whatever came to hand. Soon this anger was concen-

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— 12 — trated against the dancers, and then, more particularly, against the orchestra, the direct perpetrator of the musical crime. Everything available was tossed in our direction, but we continued to play on. The end of the performance was greeted by the arrival of gendarmes. Stravinsky had disappeared through a window backstage, to wander disconsolately along the streets of Paris. "A year later at the Casino de Paris I was conducting the Concerts Monteux, a series in which I introduced works by new composers. Here the music played was definitely the music of tomorrow. I suggested to Stravinsky that he arrange a concert version of the Sacre, and anxious himself to prove a few points, he readily agreed. The presentation was an instant success. "Time has caught up with Stravinsky. Now he is recognized as one of the great of the world. He has advanced musical expression tremendously and almost every contemporary composer owes him an acknowledged debt."

Time had demonstrably "caught up with Stravinsky" when on May 8, 1952, in the Theatre des Champs-Elysees, the scene of the scandalous premiere almost exactly thirty-nine years before, Mr. Monteux repeated the Sacre with the Boston Symphony Orchestra to a wildly but this time favorably excited

audience, while the composer sat, much moved, in his seat.

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DUALS THE FINEST. . . THE RECORD PROVES IT SINCE 1900 14 BOSTON SYMPHONY ORCHESTRA

Saturday Evening, August 14, at 8:00

ERICH LEINSDORF, Conductor

STRAUSS "Don Juan," Tone Poem (after Nikolaus Lenau), Op. 20

COPLAND t "Music for a Great City"

I. Skyline

II. Night Thoughts

III. Subway Jam IV. Toward the Bridge

(Conducted by the Composer)

Intermission

# BEETHOVEN Concerto for Pianoforte, No. 5, in E-flat major, Op. 73

1. Allegro

II. Adagio un poco mosso

III. Rondo : Allegro ma non tanto

Soloist: VAN CLIBURN

Mr. CLIBURN plays the Steinway Piano

t First performance at the Festival concerts

BALDWIN PIANO *RCA VICTOR RECORDS — 15 —

. — —

Saturday Evening, August 14

"DON JUAN," Tone Poem (after Nikolaus Lenau), Op. 20 By Richard Strauss

Born in Munich, June 11, 1864; died in Garmisch, September 8, 1949

The Grand Ducal Court Orchestra at Weimar acquired in the autumn

of 1889 a first Court Conductor, whose proven abilities belied his years. Richard Strauss was then only twenty-five, but he had taken full charge of the Meiningen Orchestra for a season (1885-86), and then had taken sub- ordinate control at the Munich Opera. As a composer he had long made his

mark, and from orthodox beginnings had in the last three years shown a disturbing tendency to break loose from decorous symphonic ways with a "Symphony" Aus Italien, and a "Tone Poem" Macbeth, He had ready for his Weimar audience at the second concert of the season a new tone poem, Don Juan, which in the year 1889 was a radical declaration indeed. If many in the auditorium were dazed at this headlong music, there was no

resisting its brilliant mastery of a new style and its newly colorful instru- mentation. There were five recalls and demands for a repetition. Hans von Biilow, beholding his protege flaunting the colors of the anti-Brahms camp, was too honest to withhold his enthusiasm. He wrote to his wife: "Strauss

is enormously popular here. His Don ]uan, two days ago, had a most unheard-

of success." And producing it at Berlin a year later, he wrote to its creator, "Your most grandiose Don ]uan has taken me captive." Only the aging Dr. Hanslick remained unshaken by the new challenger of his sworn standards.

He found in it "a tumult of dazzling color daubs," whose composer "had a great talent for false music, for the musically ugly."

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OPEN REHEARSALS The rehearsals by the Boston Symphony Orchestra each Saturday morning at 10:00 o'clock are open to the public. The final rehearsal will be on Thurs- day, August 19, at 4 o'clock. Admission: $1.50 for adults, $.50 for children. These open rehearsals will benefit the Orchestra's Pension Fund.

— 16 — MUSIC FOR A GREAT CITY By

Born in Brooklyn, New York, November 14, 1900

This work was commissioned by the London Symphony Orchestra in celebration of its sixtieth anniversary season, and is dedicated to the members of the orchestra. The music was first performed in London's Festival Hall on May 26, 1964, the composer conducting.

Aaron Copland has explained the origin of this music as follows: "I began to work on the score during the latter part of 1963, completing it in April of 1964. The musical materials are derived in part from a film score I composed in 1961. Starring Miss Carroll Baker and directed by Jack Garfine, the script was based on a novel by Alex Karmel called Mary- Ann. The picture was released for distribution in December, 1961, under the title Something Wild. The action of the story takes place in New York where all of the film was shot. Indoor scenes of tense personal drama are inter- spersed with the realistic sights and sounds of a great metropolis. "The nature of the music in the film seemed to me to justify extended concert treatment. No attempt was made to follow the cinematic action. The four movements of the work alternate between evocations of big city life with its external stimuli, and the more personal reactions of any sensitive nature to the varied experiences associated with urban living. Music for a Great City reflects both these aspects of the contemporary scene."

Aaron Copland as a growing and later as a fully matured artist has been closely connected with this Orchestra since, in 1925, when he was little known, his Symphony with Organ was performed. This was a significant beginning at the Boston Symphony concerts—Nadia Boulanger with whom he had studied for three years at Fontainebleau was the organist. Serge * Koussevitzky conducted and forthwith established a life-long association. Mr. Copland has conducted this Orchestra as guest on several occasions, including the oriental tour when he conducted in Japan, the Philippines, and Australia. From the first session of the Berkshire Music Center at Tangle- wood (in 1940) he has been active as head of the Composition Department and also in an administrative capacity.

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17 — CONCERTO No. 5, IN E-FLAT, FOR PIANOFORTE AND ORCHESTRA, Op. 73 By

Born in Bonn, December 16(?), 1770; died in Vienna, March 26, 1827

Notations for the last of Beethoven's piano concertos appear in the sketchbooks of 1808, together with sketches for the Choral Fantasia. Evi- dently he put his ideas for the Concerto aside, to resume and complete the work in the summer or early autumn of 1809. The conditions in Vienna at that time were anything but conducive to creative contemplation, and it is additional proof of Beethoven's powers of absorption and isolation in his art that he could compose this work of proud assertion, and others as well, in such a period. The vanguard of the French army marched upon Vienna, and when the Archduke Maximilian refused to capitulate, erected a battery on the Spittel- berg and opened fire on the night of May 11, with twenty howitzers. The population crowded indiscriminately into every possible underground shelter (a reminder to us that methods of warfare have since changed only in the direction of deadliness). Beethoven's windows on the Wasserkunst Bastei, chosen for their outlook, were in direct line of the bombardment. He fled to the house of his brother Karl on the Rauhensteingasse, and crouched in the cellar, holding a pillow over his head to spare his poor, sensitive ears the pain of the concussive reports. Shells were fired into the city without cessation through the night. Many houses burst into flames; wounded civilians were carried through the streets to safety. On the following afternoon, Vienna capitulated—it could have done nothing else—and forthwith endured the French occupation for the two months that remained of the campaign. Napo- leon set himself up in state at the Schonbrunn Palace once more. General Andreossy had issued a proclamation to the inhabitants of Vienna, assuring them of the good will of his sovereign the Emperor Napoleon, "King of Italy, Protector of the Confederation of the Rhine." On May 15th the

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— 18 — Commandant Razout quartered the soldiery upon all lodgings in Vienna. Next, a levy was imposed upon house rentals, whereby a quarter of Beetho- ven's rent money went to the conquerors. Beethoven's well-born acquaint- ances had for the most part fled to other parts. The parks about Vienna, his favorite haunts in the summer season, were closed to the public until the end of July. Young Rust met him one day in a coffee-house and saw him shake his fist at a passing French officer, with the exclamation: "If I were a general, and knew as much about strategy as I know about counterpoint, I'd give you !" something to do In spite of these disturbing conditions, Beethoven probably completed the "Lebewohl" Sonata at this time, as well as this Concerto and the String Quartet, Op. 74 (called the "Harp Quartet"); he also devoted many hours to the laborious task of copying extracts from earlier musical theorists for the use of his aristocratic pupil of twenty-two, the Archduke Rudolph. It was to the Archduke that Beethoven—dedicated the Concerto, and the Sonata as well, the titles of the movements "Farewell, Absence, and Return"—being occa- sioned by this gentleman's flight from existing conditions in Vienna. The tonality of E-flat seems to have possessed Beethoven at the time, for the Con- certo, the Sonata, and the Quartet are all in that key.

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9 — £eopold^tokowski

Stokowski's volatile genius has many facets. He Villa-Lobos :'BachianasBrasileiras No. 5 andRach- is a conductor, an arranger, a man devoted to maninoff's Vocalise. This RCA Victor Red Seal displaying talents other than his own. In this album, recorded in Dynagroove sound, exhibits new recording, he is joined by the beautiful Anna the characteristic Stokowski brilliance and shows Moffo in Canteloube's Songs of the Auvergne, off the Moffo voice at its loveliest. Hear it soon.

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— 20 — OSTON SYMPHONY ORCHESTRA

Sunday Afternoon, August 15, at 2:30

LEOPOLD STOKOWSKL Conductor

BACH Passacaglia and Fugue in C minor

SCHUBERT Symphony in B minor, * "Unfinished"

I. Allegro moderate

II. Andante con moto

Intermission

SHOSTAKOVITCH Symphony No. 5, Op. 47

I. Moderato

II. Allegretto

III. Largo

IV. Allegro non troppo

t First performance at the Festival concerts

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— 21 — 106th WORCESTER MUSIC FESTIVAL 'avasPch OCTOBER 18-23, 1965 A COUNTRY INN '

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22 Sunday Afternoon, August 15

PASSACAGLIA AND FUGUE IN C MINOR By Johann Sebastian Bach Born in Eisenach, March 21, 1685; died in Leipzig, July 28, 1750

This "Symphonic Transcription" by Leopold Stokowski was published in 1951. The famous organ Passacaglia has been known to these concerts in an orchestration by Heinrich Esser in this Orchestra's early years, and in that by Ottorino Respighi which has been performed at the Festival concerts.

Mr. Stokowski has signed this prefatory statement in his score:

"Bach's passacaglia is in music what a great Gothic cathedral is in archi- tecture—the same vast conception—the same soaring mysticism given eternal form. He left us no orchestral compositions of this grandeur, probably because the orchestra was too little developed in his time. His Brandenburg concerti and the orchestral suites are more intimate works written for the salon. The most free and sublime instrumental expressions of Bach are his greater organ works, and one of the greatest of these is the Passacaglia in C minor. Many do not often enough have the opportunity to hear it, and so to bring it nearer to those who love Bach's music, I have made this symphonic transcription.

"This Passacaglia is one of those musical conceptions whose content is so full and significant that its medium of expression is of relative unimpor- tance. Whether played on the organ or by the greatest of all instruments—the orchestra—it is one of the most divinely inspired creations ever conceived."

Unlike Respighi, who used an organ pedal, notably for the first statement of the theme, but treated the score in orchestral fashion, Leopold Stokowski uses no organ, but so treats the music that the alternate registers of the organ are clearly conveyed. The string basses alone state the theme, and are joined \ by the higher strings in the second eight bars. The twenty variations of the Passacaglia alternate between the string choir and the woodwind choir used in separate juxtaposition, the brass some- times heard separately, and notably in support of the full sonority as the climax approaches. The Fugue also follows this plan of alternating choirs. The Boston Symphony STRING QUARTET quartet in residence at the New England Conservatory • Joseph Silverstein • George Zazofsky • Burton Fine • Jules Eskin The New England Conservatory * A College of Music 290 Huntington Avenue, Boston 02115

— 23 — It is built up in a gradually more fused sonority. An allargando brings the culmination in full power to the final C major chord.

It is supposed that Bach wrote his Passacaglia as an organ piece in the latter part of the Weimar period (1708-17). The piece existed earlier in a form for two-manual clavicembalo with pedals. The first half of his eight-bar theme Bach derived from a trio en passacaiile by the seventeenth-century French composer and organist, Andre Raison. There are twenty variations.

In the double fugue which follows, Bach uses the first half of his Passacaglia theme for his leading subject.

SYMPHONY IN B MINOR, "UNFINISHED" By Franz Schubert

Born in Lichtenthal, near Vienna, January 31, 1797; died in Vienna, November 19, 1828

This Symphony, sometimes listed as No. 8, was composed in 1822 (it was begun October 30), and first performed thirty-seven years after the composer's death. It was conducted by Herbeck at a concert of the Gesellschaft der Musikfreunde in Vienna, December 17, 1865.

"That incomparable song of sorrow which we wrong " every time we call it 'Unfinished.' —Alfred Einstein.

The world, discovering some forty-three years past facto a "master- piece," which, for all its qualities, seems but half a symphony, has indulged in much conjecture. Did Schubert break off after the second movement on account of sudden failure of inspiration, or because he was careless of the work (which he certainly seems to have been) and did not realize the degree of lyric rapture which he had captured in those two movements ? Or perhaps it was because he realized after a listless attempt at a scherzo that what he had written was no typical symphonic opening movement and contrasting slow movement, calling for the relief of a lively close, but rather the rounding out of a particular mood into its full-moulded expression—a thing of beauty and completeness in itself. The Schubert who wrote the "Unfinished" Symphony

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— 24 was in no condition of obedience to precept. He found his own law of balance by the inner need of his subject. There were indeed a few bars of a third movement. Professor Tovey found the theme for the projected scherzo "mag- nificent," but was distrustful of what the finale might have been, for Schubert's existing finales, with the possible exception of three, he considered entirely unworthy of their premise. There are others who find little promise in the fragment of a scherzo before the manuscript breaks off and are doubtful whether any finale could have maintained the level of the two great move- ments linked by a distinctive mood and a moderate tempo into a twofold unity of lyricism.

SYMPHONY No. 5, Op. 47 By Dmitri Shostakovitch

Born in St. Petersburg, September 25, 1906

Shostakovitch composed his Fifth Symphony for performance in celebration of the twentieth anniversary in 1937 of the Republic of Soviet Russia. The first of a series of performances was given at Leningrad, November 21 of that year.

The Fifth Symphony is conceived, developed and scored for the most part with great simplicity. The themes are usually melodic and long-breathed in character. The manipulation of voices is plastic, but never elaborate. The composer tends to present his material in the pure medium of the string choirs, notably in the opening and slow movements, where wind color and sonority are gradually built up. The first movement and the last gain also in intensity as they unfold by a gradual increase of tempo throughout, effected by con- tinual metronomic indications. CRANE MUSEUM Exhibits showing steps in making all-rag papers and the prog- ress of paper-making from Revolutionary times to the present. Open 2 to 5 p.m. Monday through Friday, from June through September. Five miles east of Pittsfield on Route No. 9. DALTON, MASSACHUSETTS

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25 — The first movement opens with an intervallic theme, stated antiphonally between the low and high strings. From it there grows a theme (violins) in extensive, songful periods. The development is in the nature of melodic cumulative growth. The first theme returns in horns and trumpets, and sub- sides to the gentle voice of the violins, over a characteristic triple rhythmic figure. As the tempo quickens, the rhythms tighten and become more propul- sive, while the melody, sounding from the brass choir, becomes exultant in animation. The recapitulation suddenly restores the initial slow tempo as the first theme is repeated by the orchestra in unison, largamente. The fortissimo strings and deep brass give way to a gentler reminiscent mood, as the wood- wind voices, here first fully exploited, bring the movement to a close.

The second movement is in the historical scherzo form with clear traces in the course of the music of the traditional repeats, trio section and da capo. The themes are in the triple time of the Austrian handler, from which, in the past, scherzos have sprung. The slow movement, like the first, is one of gradual melodic growth, from string beginnings. The theme, too, is reminis- cent of the first theme in the opening movement. The individual voices of the woodwind enter, and the tension increases as the strings give a tremolo accom- paniment, and sing once more, muted and in the high register. The move- ment attains, at its climax, an impressive sonority without the use of a single brass instrument.

The finale, in rondo form, devolves upon a straightforward and buoyant march-like rhythm and a theme unmistakably Russian in suggestion. There is a slow section in which the characteristic triple rhythm of the first movement reappears. The first theme of that movement is treated by the violin solo with fresh melodic development. There is a constant increase in tempo as the con- clusion is approached.

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— 26 ENTR'ACTE

VIVE L'AMATEUR!

/colonel Pickering remarked in Shaw's Pygmalion (the remark was ^* somehow missed in My Fair Lady) on the hazard of passing off Eliza Doolittle as a duchess:

"I was quite frightened once or twice because Eliza was doing it so well. . . . Theres always something professional about doing a thing superlatively well." That air of slick competence, of superlative mastery, certainly applies to the musical profession. You can usually (if not always) spot an amateur. There is at least a technical dividing line between those who perform for pay and those who do not. It is set by unionism, but it is less distinct than it used to be. If the amateur is sometimes conde- scended to by the professional for his lesser skill, and if the professional is at times looked at askance by the amateur because he is by definition a mercenary of his art, there is still the common impulse which draws the two sorts together. All professionals have been amateurs until they have crossed the line, nor do the better ones ever lose their love of music. Many orchestral musicians and most solo artists have a hanker- ing to play chamber music for the fun of it; Marlboro, Vermont, is one

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— 27 of many places where they are to be found. If a fine string quartet group didn't continue to love what they were doing they would no

longer be first rank. There is certainly no stigma in playing for money. A good concert artist does it as a matter of circumstance — he would have no better way to meet his bills than by what he could do best and enjoy most. This provided that the pressure of much playing doesn't abrade his enthusiasm. The amateur class, which means almost every- body else, are fortunate in being able to take just as much as they desire. The degree of their love for music extends from the highest point of avid listening down to the vanishing point of tone deafness. Nevertheless the amateur has a full right to his title, which claims a

"lover" of music for its own sake. His claim may not be his exclusive

possession, but he is at least indispensable to the art, being the con- sumer, and in the vast majority. Without him public musical per- formance would expire quickly enough. Professionals hardly flock to public concerts (except perhaps to check on their colleagues). Amateurism comes in many shades. Many, perhaps most, amateurs define themselves when they state, somewhat ruefully, that they know what music they like but that they are not among those who "under-

stand" it. The implication is that the real core of musical enjoyment

is a mystery to be penetrated only by the elect who have the technical equipment. If music were a mathematical science (which, except in

certain extreme cases at this moment, it is not), it would indeed require technical understanding. In that case this noble art would soon cease,

because it would become an intellectual exercise, mechanical and heart-

less. The emotional art par excellence is surely meant to be enjoyed directly by the music lover rather than to be considered as a test to be passed upon by the technical expert alert for deficiencies. A botanist isn't expected to have a greater enjoyment of the fragrance of a flower than an average garden fancier. A fugue of Bach, a Romantic sym- phony or tone poem for all their elaborations and complexities are readily savored by the layman, or at least by the listener who has

acquired a taste for them by experience. Even if he misses certain

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— 28 —

»^L points along the way, the ardor of his response to the whole is plain enough. When Beethoven was probing his inmost tonal imagination to bring a symphony into its final form, he must have been less con- scious of the constructive implementation (which was nevertheless in full operation) than the overall thrust and current of an emotional outpouring. He was addressing his message directly to all who would listen — in effect a vast future audience, and these would respond to the grandeur of his structure, the propulsion of his rhythms, to his dramatic power, to his poignant slow movements, all this without the aid of the analysts. When the Ninth Symphony is performed, many are carried away by the finale while others, certain learned ones, shake their heads over it, and over the main vocal theme in particular. Is it an empty, elementary tune, or is it a melody of universal significance, great in its simplicity? The difference of opinion may last as long as there are professionals and amateurs. Another unanswered argument is in the case of Mahler. An audience will be swept into something very like rapture by one of his symphonies while certain skeptics will remain unmoved and aloof, pointing to its longueurs, its "commonplace" themes. Again, perhaps each may be right according to his point of view. There will be no doubt about who is having the best time. If the contemporary composer is unable to feel emotional music, the loss is his. If the professional performer pooh-poohs it, he is suspect of having become impervious through much repetition. An average lis- tener at a concert, glowing with what seems to have been a magnificent performance, may meet at the intermission an acquaintance who, quite unexcited, only remarks that the soprano flatted, or that the conductor took a wrong tempo. Perhaps they both did. The likelihood remains that the professionally informed friend was too aware of technical flaws or deviation from his fixed concept of the particular piece to be lifted into sheer delight. He would be equipped to perceive more felicities of detail in the score and to find an even keener enjoyment if his ears were not dulled by over-familiarity. The amateur can have an advantage in blissful ignorance.

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— 29 — !

The amateur most enviable of all is the fortunate one who has heard the standard works just often enough to long to hear them again, who has had enough experience in playing or singing to have felt the satis- faction of participation. He has a distinct advantage over the profes- sional, who, after many hours of practicing, rehearsing and performing, must find his diversion away from music. The professional may have heard the standard works too often for a fresh approach. He must always be a craftsman at heart, watchful of technical points, for his ideal of performance can never be too high. The time was when amateurism, far from embracing a general pub-

lic, was limited to a small minority, a minority in full control. To be an amateur in the eighteenth century, a Liebhaber, a Musikjreund, was the badge of a gentleman. He was at the top of social rank, while his musicians were his servants, not far from the bottom. The mon- archs, princes, cardinals and other eminences felt themselves the

custodians of the arts, especially the noble art of music, cultivated it as a mission and called themselves the connoisseurs. Musical taste was as a matter of course their taste. If their understanding fell short of their Kapellmeisters' innovations, they are at least due the credit for having provided these house-bound composers with a living and an opportunity for performance. Bach's Prince Leopold at Cothen may have had some inkling of the importance of the Brandenburg Con- certos. He had zealously studied the viola da gamba in Italy, and probably had a try at the Sixth. Emanuel Bach, as cembalist to Fred- JRBk erick the Great, endured innumerable sessions with the flute-playing

King, and fled to Hamburg at last. Haydn's Prince at Esterhazy ordered a great number of gamba sonatas for his own use and his Kapellmeister had to comply. Mozart's Archbishop cultivated the

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— 30 — violin and sometimes played in his Kapelle while the fiddlers around him tactfully covered his lapses. These amateurs, each a fumbling player in his way, were at least aware of a mission to support musical endeavor. It was with the industrial revolution in the early nineteenth century that a burgeoning, prosperous middle class took for its own the bene-

fits of the art that had been confined exclusively to a few palaces and mansions. The listeners who once came in hundreds soon came in thousands and now come in millions. Music, now a universal com-

modity, is a boon and a joy for the taking. Are the amateurs as a whole slow to accept innovation and too ready to fall for obvious appeal? Their acceptance or rejection, determined by the winnowing test of the passing years, makes them the final arbiters.

J. N. B

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"Berkshire 44iILs Conference INCORPORATE D 100 NORTH STREET PITTSFIELD, MASSACHUSETTS

Phone HI 3-9186, Area Code 413

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ERICH LEINSDORF, Music Director

RICHARD BURGIN, Associate Conductor PERSONNEL First Violins Cellos Bassoons Joseph Silverstein Jules Eskin Sherman Walt Concert-master Martin Hoherman Ernst Panenka Alfred Krips Mischa Nieland Matthew Ruggiero George Zazofsky Karl Zeise Rolland Tapley Richard Kapuscinski Contra Bassoon Bernard Parronchi Roger Shermont Richard Plaster Max Winder Robert Ripley John Sant Ambrogio Harry Dickson Horns Gottfried Wilfinger Peter Schenkman James Stagliano Einar Hansen Luis Leguia Charles Yancich Fredy Ostrovsky Jascha Silberstein Thomas Newell Leo Panasevich Harry Shapiro Herman Silberman Basses Paul Keaney Stanley Benson Georges Moleux Osbourne McConathy Sheldon Rotenberg Henry Freeman Noah Bielski Irving Frankel Trumpets Alfred Schneider Henry Portnoi Armando Ghitalla Julius Schulman Henri Girard Roger Voisin Gerald Gelbloom John Barwicki Andre Come Leslie Martin Second Violins Gerard Goguen Bela Wurtzler Clarence Knudson Joseph Hearne Pierre Mayer Trombones Manuel Zung William Gibson Flutes Samuel Diamond William Moyer William Marshall Doriot Anthony Dwyer Kauko Kahila Leonard Moss James Pappoutsakis Josef Orosz William Waterhouse Phillip Kaplan Michel Sasson Tuba I Raymond Sird Piccolo K. Vinal Smith Laszlo Nagy George Madsen Ayrton Pinto Timpani Victor Manusevitch Everett Firth Giora Bernstein Oboes Minot Beale Ralph Gomberg Percussion Michael Vitale John Holmes Charles Smith Amnon Levy Hugh Matheny Harold Thompson Violas Arthur Press, Ass't Timpanist Gauger Burton Fine English Horn Thomas Reuben Green Laurence Thorstenberg Eugen Lehner Harps Albert Bernard Clarinets Bernard Zighera George Humphrey Olivia Luetcke Gino Cioffi Jerome Lipson Manuel Valerio Robert Karol Librarians Pasquale Cardillo Jean Cauhape Victor Alpert E\) Clarinet I Vincent Mauricci William Shisler Earl Hedberg Bernard Kadinoff Bass Clarinet Stage Manager Joseph Pietropaolo Rosario Mazzeo Alfred Robison

ROSARIO MAZZEO, Personnel Manager BALDWINfestival time is TIME

Allegheny Music Festival Aspen Music School Berkshire Music Center and Festival Boston Arts Festival Brevard Music Foundation Cincinnati May Festival Cincinnati Sum- mer Opera Grant Park Concerts, Chicago Great Composers Festival, Lakeside, Ohio Lake Placid Music Festival Long Island Arts Festival Moravian Music Festival Music & Arts Festival, Jackson Hole, Wyoming Ojai Festivals Peninsula Music Festival Ravinia Festival

Yes, year after year, an ever-increasing number of spring and summer festivals find that Baldwin standards of musical ex-

cellence and sturdy dependability best meet the rugged re- quirements of alfresco music. Here at the internationally famous Berkshire Festival and Music Center, Baldwin instru-

ments are in daily use for concert, teaching, illustration and practice, by soloists, faculty, and advanced students. Music Director Erich Leinsdorf says of the Baldwin Piano,

"The Baldwin is the ideal piano for solo and orchestral work

and particularly for chamber music. Its wide range of tonal

color and its easy action fulfill all possible wishes." You, too, will choose wisely when you choose Baldwin.

BALDWIN

BALDWIN ACROSONIC • HAMILTON HOWARD PIANOS/DALDWIN • ORGA SONIC ORGANS