BOSTON SYMPHONY ORCHESTRA
SEIJI OZAWA Music Director
COLIN DAVIS & MICHAEL TILSON THOMAS Principal Guest Conductors
NINETY-THIRD SEASON 1973-1974
TUESDAY B3
THE TRUSTEES OF THE BOSTON SYMPHONY ORCHESTRA INC. TALCOTT M. BANKS President
PHILIP K. ALLEN ROBERT H. GARDINER JOHN L. THORNDIKE Vice-President Vice-President Treasurer
VERNON R. ALDEN MRS HARRIS FAHNESTOCK MRS JAMES H. PERKINS ALLEN G. BARRY HAROLD D. HODGKINSON IRVING W. RABB MRS JOHN M. BRADLEY E. MORTON JENNINGS JR PAUL C. REARDON RICHARD P. CHAPMAN EDWARD M. KENNEDY MRS GEORGE LEE SARGENT ABRAM T. COLLIER EDWARD G. MURRAY SIDNEY STONEMAN ARCHIE C. EPPS III JOHN T. NOONAN JOHN HOYT STOOKEY
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ADMINISTRATION OF THE BOSTON SYMPHONY ORCHESTRA
THOMAS D. PERRY JR THOMAS W. MORRIS Executive Director Manager
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HARRY NEVILLE Program Editor
copyright © 1973 by Boston Symphony Orchestra Inc.
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BOSTON* CHESTNUT HILL? NORTHSHORE SHOPPING CENTER'SOUTH SHORE PLAZA- BURLINGTON MALL' WELLESLEY CONTENTS
Program for November 20 1973
Future programs
Tuesday B series 51
Program notes
Schumann - Overture to Byron's 'Manfred' op. 115 by John N. Burk 11
Dvorak - Serenade in E for strings op. 22 by Jack Diether 21
Prokofiev- Symphony no. 5 op. 100 by John N. Burk 25
The Music Director 33
The Conductor 41
The Statues of Symphony Hall 43
^tS We've rented this space to remind you of us.
Old Colony Trust A DIVISION OF THE FIRST NATIONAL BANK OF BOSTON BOSTON SYMPHONY ORCHESTRA
SEIJI OZAWA Music Director COLIN DAVIS & MICHAEL TILSON THOMAS Principal Guest Conductors
NINETY-THIRD SEASON
Tuesday evening November 20 1973 at 7.30
JOSEPH SILVERSTEIN conductor
SCHUMANN Overture to Byron's 'Manfred' op. 115
DVORAK Serenade in E for strings op. 22 Moderato Tempo di valse Vivace Larghetto Allegro vivace
intermission
*PROKOFIEV Symphony no. 5 op. 100 Andante Allegro moderato Adagio Allegro giocoso
THE BOSTON SYMPHONY ORCHESTRA RECORDS EXCLUSIVELY FOR DEUTSCHE GRAMMOPHON
BALDWIN PIANO DEUTSCHE GRAMMOPHON & *RCA RECORDS ^
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ROBERT SCHUMANN Overture to Byron's 'Manfred' op. 115 Waterville Valley Program note by John N. Burk New Hampshire Schumann composed his music for Byron's Manfred in the latter part of 1848. The Overture, completed on November 4 at Dresden, had its first concert per- formance at the Gewandhaus, Leipzig, on March 14 1852. It was played as part of a 'Schumann Evening,' and the composer conducted from the manuscript. The first performance of the complete music — a stage production — was given at Weimar under the direction of Franz Liszt on June 13 1852. The Overture was first performed by the Boston Symphony on February 24 1882. Its most recent performances here were those directed by Erich Leinsdorf during the 1964-1965 season.
The instrumentation: two flutes, two oboes, two clarinets, two bassoons, four horns, two trumpets, three trombones, timpani and strings.
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• An aging or ill person is . A o-kerb QJcluittMinn convalescing ifier u purriretSt int * '(xLoll>Ji. ^ 'K^n-< •A person under psychiatric treatment needs temporary care 'Does anybody read Manfred or for that matter Childe Harold today?' in the home wrote Philip Hale as long ago as 1899 (Boston Journal, April 9). 'Is not • Parents need a vacation the hero at rest and buried with the Giaour, Lara, Childe Harold, and the other scowling, mysterious, gloomy, melodramatic puppets con- • Handicapped people need help trived and dressed by the noble Lord, whose favorite tipple was gin • Chronic illness strikes and water?' •A terminal patient needs We shall refrain from inquiring how many people read Manfred these homecare many years later, or, doing so, respond to the dark despair of the Byronic figure as, oppressed by a past guilt, he stands upon the Jung- frau and rejects nature with its beauties as well as mankind with its Call. . frailties, commands all wisdom, Faust-wise, except the riddle which even the supernatural spirits he summons cannot answer for him. That Suburban Homemaking riddle is the riddle of Hamlet: Will death bring the release of oblivion? and Maternity Agency, Inc. Byron, like Goethe, like Shakespeare, had a tremendous hold upon the BROOKLINE 232-7650 imaginations of composers in the mid-century. Schumann's belief in FR AM INGHAM 879-1516 Manfred, as expressed in music, can still move us a hundred years later, even though the pulse of the poem itself may have weakened for some.
The apt imagery of Byron and his adroit euphony could have meant little to Schumann; no more than it could have meant to Tchaikovsky, writing his Manfred Symphony, or Berlioz, writing his Harold in Italy.
11 *fm Indeed it is doubtful whether the three composers together could have mustered enough English to savor two consecutive lines in the original. But the sense of contemplation withdrawn from the world, the luxury THE PLACE TO BUY of pessimism and extravagance of fervor, the fascination of the super- natural, some of the praise of nature, evidently came through in the EVERYTHING translations into many languages. It must have been so, for Byron was from what's in style often more admired and praised on the continent of Europe than in his own country. to what's traditional
Schumann, according to his biographer Wasielewski, read Manfred aloud before two friends at Dusseldorf (presumably in the translation 5jC * # by Posgaru), 'burst into tears, and was so overcome that he could go further.' The writer explains this by the close affinity of Schumann no OPEN THURSDAY EVENINGS UNTIL 8:30 and the hero of the poem. 'For what is this Byronic Manfred but a restless, wandering, distracted man, tormented by fearful thoughts, 'wOUNS MC^ and the mad, soul-destroying intercourse with spirits — which must of *£ course be taken symbolically — was also the culminating point of THE Schumann's last illness. . . . The overture, indeed, might contend for superiority with all others; it is a powerful soul painting, full of PREP SHOPy tragico-pathetic flights, and quite surpassing all his other instrumental works in intellectual grandeur. We feel that it was composed with rare devotion and unusual outlay of mental power. Its nature is in concord with the poem — of a gloomy, melancholy, but sometimes passionate and demoniac tint.' 1-HOUR FREE PARKING at the Church Street Garage (right next door) The Overture has often been singled out for praise. Robert Schumann, who without conceit could be confident as well as dubious about his own music, thought well of the Overture in particular and wrote to his friend Liszt, who was about to produce Manfred at Weimar: 'As to the * * * music, dear friend, I hope you will like the Overture. I really consider it one of the finest of my brain children and wish you may agree with me.' When the first section of the Manfred music, including the Over- 31 CHURCH ST. • CAMBRIDGE ture, was completed on November 14 1848, Robert brought home a UNiversity 4-2300 bottle of champagne, according to a pleasant custom of the Schumann household, and Clara invited friends for a little 'birthday celebration' of the new score. The complete music, which consists of entr'actes, choruses of 'spirits,' and an occasional undercurrent to the spoken text, has been performed with success, but the Overture has received the highest praise. Frederick Niecks, Schumann's principal biographer, considered it not only Schumann's 'greatest achievement as a com- poser of program music,' but his greatest 'as a composer generally,' and 'one of the most original and greatest orchestral compositions ever conceived, one of the most powerful . . . one of the most sombre soul portraits ever painted. . . . The sombreness is nowhere relieved, although contrast to the dark brooding and the surging agitation of despair is obtained by the tender, longing, regretful recollection of Astarte, the destroyed beloved one.' H. E. Krehbiel considered this as the 'most profoundly subjective' of Schumann's works, 'as consistently as the prelude to Wagner's Tristan und Isolde an effort to delineate soul states and struggles without the help of external things. To understand it one must recall the figure in Byron's poem — the strong man torn by re- morse, struggling with himself, bending supernatural powers to his will, yearning for forgiveness and death, tortured by a pitiless con- science, living in a solitude which was solitude no more, "but peopled with the furies," condemned by his own sin to number TO. METCALF CO. PRINTERS "Ages — ages — Space and eternity — and consciousness,
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The rhythmic precipitancy in the first measure of the Overture trans- ports us at once into a state of excited expectation. After a short slow movement, the development begins in passionate tempo, the portrayal Specializing in of the restless and tormented mood. It is the syncope, employed con- tinually in the motive, that indicates the conflict of the soul. This storms itself out, and then appears the expression of a melancholy milder mood. Mysteriously, in the pianissimo, three trumpets are introduced in isolated chords: a warning from another world. But Lincoln the evil spirits cannot be reduced to silence; with increased intensity of passion the struggle begins anew. The battle rages hotly, but in the and other pauses of the fight resound voices of reconciliation. At last the strength desirable is exhausted, the pulse beats slower, the unrest is assuaged, the music gradually dies away. A slow movement, nearly related to the introduc- West-of-Boston tion, leads to the conclusion. With this Overture Schumann has created one of his most important instrumental works.' Communities A. H.Tetreault.G.R. President
APHORISMS OF ROBERT SCHUMANN On Composing People compose for many reasons: to become immortal; because the pianoforte happens to be open; to become a millionaire; because of the praise of friends; because they have looked into a pair of beautiful eyes; or for no reason whatsoever. TETREAULT'Nc Florestan. REALTOR
Believe me, Eusebius — and it may be told in your own colorful lan- U cotN 259922 guage — if Theory be the faithful yet lifeless mirror that reflects truth uN silently, remaining dead, without an object to animate it, Imagination Quality The VaUmark of is the seeress with blindfolded eyes from whom nothing is withheld and whose errors often add to her charm. What do you say to this, master? — mm* Psyche in repose, her wings folded, is only half of beauty; she must soar. — E. Similar forces annul each other; dissimilar ones enhance each other. o Raro. c The emptiest head thinks it can hide behind a fugue; fugues are only C0 for great masters. — Raro. Consider how many circumstances must favorably unite before the o beautiful can emerge in all its dignity and splendor. We need lofty, serious intention and great ideality; enthusiasm in presentation; vir- 3 tuosity of workmanship and harmonic cooperation; inner desire and need of the giver and the receiver; momentarily favorable mood in audi- Q. ence and artist alike; a fortunate combination of time, place, and gen- eral conditions, as well as of the auspicious moment; direction and A communication of impressions, feelings, views; a reflection of the joy CO A complete service from of art in the eyes of others. Is not such a combination a happy throw <5" planning to installation with six dice of sixes? — E. for kitchens, baths, Music resembles chess. The queen (melody) has the greatest power, 3 bedrooms, family rooms but the king (harmony) decides the game. — F. 3 and playrooms. Red is the color of youth. Bulls and turkeys become enraged when (Q they see it. — F. CALL FOR FREE INITIAL CONSULTATION: 237-1069
The wealth of youth: What I know I throw away; what I have I give away! — F.
A flower may be painted merely in blue and green, a waltz may be built on tonic and dominant, but when painting a landscape one must cAdlnhnitum know how to use colors freely. Let the musician courageously strike the 0) keys. A passing false tone will quickly be covered up by a powerful Sandra Kraft idea. . . . For aught I care the fifths may ascend or descend chromati- 60 Scotch cally, the melody may be doubled in every interval in octaves. Yes, lately Z Pine Rd. Weston, I Mass. 02193 heard (in a dream) an angelic music filled with heavenly fifths, and o this happened, so the angels assured me, because they had never found it necessary to study thorough-bass. Those for whom my words are intended will understand my dream. ^an's touch
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Just so that genius exists it matters little how it appears, whether in the depths, as with Bach; on the heights, as with Mozart; or simultane- ously in the depths and on the heights, as with Beethoven. — F. fIRELLI Nature would burst should she attempt to produce nothing save Beethovens.
We must speak a word in favor of every one of the more powerful, CINTUR4TO masculine expressions in music today (which so preponderantly and in CN75R4DIN. : its most beloved masters tends to the contrary); as if Beethoven had not lived a short time ago and plainly said: 'Music must strike fire from 4DU4NCED STEEL BELTED the spirit of a man; emotionalism is only meant for women.' Few MATCHING SNOW TIRES AVAILABLE remember what he said; the majority aim at emotional effects. They ought to be punished by being dressed in women's clothes. DESIGNED FOR AMERICAN CARS German composers usually fail because they are too anxious to please "THE 40.000 MILES TIRE"... the public. Let only one of them give us something personal, simple, and deeply felt, and he will see for himself that he can accomplish more in this way. The public is apt to turn a cold shoulder on the man who
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Robert Schumann (1847) You'll applaud the way a lithograph by Kaiser The Garber handles every arrangement for the solo traveler: with On Critics soloist sensitivity, concern Music impels nightingales to sing, pug-dogs to yelp. and the considerable expertise for which Sour grapes — bad wine. Garber is known — as New England's largest They cut up timber, turning the lofty oak into sawdust. travel agency. Whether
it's vacation, business One voice that blames has the strength of ten that praise. F. — or professional travel Alas! — E. ... go Garber. You'll never feel alone. Comparisons lead to results its by detours; rather judge everything on Call 734-2100 and tell own merits and demerits. — F. them Bernie Garber said to take good Critics and reviewers differ; the former stand closer to the artist, the care of you. latter to the artisan. — F.
17 "
Remarkable true story that will end in 1983.
How 'The Merchants"nursed I $ $ a 5y2 million estate into 25 million so somebody could give it all away.
It began in 1931 when a famous New England businessman died, leaving a substantial trust fund for his wife. Subsequently the entire income went to their only child, Alice. In 1937 "The Merchants," serving as trustee under the will, received $55/2 million and began making a series of investments to provide a lifelong income for Alice. In 1955 she established a Foundation in memory of her father to serve as a vehicle for charitable giving during the course of her lifetime. "In terms offiduciary assets When Alice died five years ago, all of the managed, amounting to almost principal of the trust fund under her father's $2 billion, 'The Merchants' ranks will plus all of among the 50 largest banks in her own property the United States. went to the Foundation. By the terms will, The wide variety of experi- of her all of the princi- ence available within the pal as well as income was to be structure ofour Trust Divison committed to charity during a 15 enables 'The Merchants' to year period. She preferred that recipients primarily provide safe, efficient and sophis- be medical ticated investment service to care and research and medical, both institutional and individual educational organizations, hospi- tals and health facilities, accounts. This is achieved care through innovative investment especially those in Boston. From strategies specifically tailored to 1937 until today, "The Merchants" account objectives, taking into has served as the sole trustee. By consideration current and careful management and prudent anticipated social, legislative investments they have turned the original and economic factors. $5^2 million into $25 Successful investment million for the Foundation while providing a healthy income for management is a profession which, like any other, demands Alice. In more years, in accord- dedication to the client's 10 ance with her will, the Founda- interests. This total effort, we tion will have given believe, continues to be translated away every penny of the family money. into a consistent, demonstrable And thanks to the investment record ofsuperior personal serv- managers at "The Merchants," ice and investment performance. they had more to give. v^W ^lK
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mh Maxims for Young Musicians
Play in time! The playing of some virtuosos resembles the walk of a drunken man. Do not make these your models.
Never strum! Always play energetically and never fail to finish the piece Rent-K-Parent
I you have begun. When Mommas and Poppas Dragging and hurrying are equally great faults. want to go away on an over- No children can be brought to healthy manhood on sweetmeats and night or extended trip, they
pastry. Spiritual like bodily nourishment must be simple and solid. The can take advantage of a sit- have provided it; cleave to them. masters ting service that sends young As you grow older, converse more frequently with scores than with married couples in to take virtuosos. Industriously practice the fugues of good masters; above all, care of the children and the those of S. Bach. Let The Well-tempered Clavier be daily meat. J. your house. University Home Ser- Then you will certainly become an able musician. vices screens couples for Seek out among your comrades those who know more than you do. moral character, responsibil- ity and good judgment, then Much is to be learned from singers male and female. But do not believe all they tell you. sends them to your home for an interview and approval. Behind the mountains there also dwell people. Be modest. You have Couples will prepare all never invented or discovered anything that others have not invented or meals, do the laundry, main- discovered before you. And even if you have, consider it as a gift from
above which it is your duty to share with others. tain the house, and manage details such as garbage dis- Listen attentively to all folk songs. These are mines of the most beautiful posal melodies and will teach you the characteristics of the different nations. and snow plowing.
From a pound of iron which costs only a few pennies, thousands of For more information call watch-springs worth many times more can be made. Faithfully use the University Services pound entrusted to you by Heaven. Home Lynnfield 595-4045 Nothing worth while can be accomplished in art without enthusiasm. Needham 449-3590
Art was not created as a way to riches. Strive to become a true artist; Randolph 961-1616 all else will take care of itself.
Only when the form is quite clear to you will the spirit become clear to you.
Possibly genius alone entirely understands genius. There is no end to learning. Unearthing General Observations It is the artist's lofty mission to shed light into the very depths of the China's human heart.
Can that which has cost the artist days, weeks, months, and even years of reflection be understood in a flash by the dilettante? Past
Nothing worse can happen to a man than to be praised by a rascal. — F.
Scorn not the short piece. A certain broad basis, a leisurely develop- UNEARTHING ment and conclusion may be the ornament of many a work. But there CHINA'S PAST. The first are tone-poets who know how to express in minutes what for others major exhibition of the most requires hours. The interpretation and reception of such concentrated recent archaeological compositions, however, are exacting matters for the performer and for the listener, and they call for a special effort and for a favorable hour discoveries made by the and time. Beautiful, broad form may be enjoyed at all times, but pro- Peoples' Republic of China, fundity of meaning is not communicable at every moment. opens November 15 at the The fate of a concert piece depends on half minutes; one too many, Boston Museum of Fine Arts. and somebody begins to cough — and gone is all enthusiasm. Better One hundred works of too little. Chinese art ranging from 1200 B.C. to 1600 A.D., from FOR YOUR NEIGHBORS' SAKE .... 25 American and European The acoustics of Symphony Hall are as sensitive and beauti- museums will be displayed. ful as those of any other concert hall in the world. They are Nov. 15, 1973—Feb. 3, unfortunately as sensitive to coughing as to music. Patrons 1974. Boston Museum of are earnestly requested, for the sake of their neighbors, to stifle their coughs to the quietest pianissimo. Fine Arts.
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Dvorak composed two serenades only a few years apart, just as Brahms had done about eighteen years earlier. He wrote the first of them in 1875, the same year that Brahms himself first entered into Dvorak's own pro- Sand Castles: fessional life. Two years previously the Czech musician had begun to cast off the early radical influence of Wagner and Liszt, and to acquire a $33,500 and up slightly more 'classical' image of himself as a composer. He had also mar- Sea Pines condominiums in ried the younger sister of a former lady friend, just as Mozart had done, Brewster offer a way of life on the ocean, and settled down as organist at St. Adalbert's church in Prague. close to nature. Sounds like a dream. It is.
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In 1874, encouraged by his wife and friends, he applied to Vienna for one of the periodic state grants for 'young, poor, and talented painters, c sculptors and musicians in the Austrian half of the Empire,' submitting in evidence two symphonies and a string quartet. In February, 1875, he was awarded 400 gulden — the first of several such awards he was to receive. One of the judges was Eduard Hanslick, the noted anti-Wagnerian critic; and another was Johannes Brahms himself, who wrote in 1877: 'In con- nection with the State stipend, I have for several years been delighted a with the works of Antonin Dvorak.'
It could therefore be easily taken as an overt or implied tribute to Brahms that Dvorak composed a serenade in 1875 and a second one in 1878. Brahms, however, had scored his first Serenade for large orchestra and his second one for small orchestra. Dvorak followed the example of a SPORI Jack Diether, an American musicologist born in Vancouver BC, regu- larly contributes notes to the programs of many of the world's major 443-8500 orchestras. He is Editor of Chord and Discord, a contributor to The 424 Boston Post Road« Sudbury American Record Guide and a music critic of Villager. The For his stud- Open Monday to Friday 9-9, ies of the life and works of Custav Mahler he was awarded the Mahler Saturday to 5:30 p.m. Medal of Honor of The Bruckner Society of America. i 21 STIffMjS m m Old i&lativeg of modern^ guitat*
From specimens in the remarkable Casadesus Collection of Antique Instruments at Symphony Hall. Drawings by Sylvia Gilman. Historic data by Laning Humphrey. These instruments date only from the 18th century, but they have very ancient historical relationships. One of the earliest approaches to music-making was by plucking a tensed string, such as that of a hunting-bow. The addition of some kind of sound-box as a resonating chamber produced harps, lyres, and all manner of lute-like instruments. Some came to be played with an arched bow. STAGE Thus, the violin has been classified as a "bowed lute." From about 1400 to 1700 the lute itself was the instrument of virtuosos. But this long supremacy ran out in the 18th ENTRANCE century, giving way to the guitar and mandolin. But in fashioning these, instrument-makers cast a backward look of admiration at the beauty of form shown in examples of the lute family.
2. MANDOLIN of Milanese design, relating it to mandola of 17th c. Typical mandol of 18th c. are Neapolitan.
1. NEO-MANDOLA, 18th c. Vir- tually big mandolin. A mandola- like body is joined to a guitar fingerboard.
3. TROMPETTE MARINE. This one-string "fiddle" traces its ancestry far back through centuries. In 6th c. B.C. Pythagoras formed an exact musical scale by plucking a taut string at precisely measured distances. 3.1 After four centuries as a tuning device called MONO- CHORD, it was raised to musical instrument status — in late 11th c. First it was plucked. Later, bowed, it proved capable of trumpet-like, as well as cello and double-bass tones. It was used for the tuning of organs in 19th c.
4. LYRE-GUITAR. French, late 18th c. The nickname of this hybrid creation — "lady's guitar" — indicates its attractiveness to women from Pans to London. Although Schubert's baritone friend, Johann Voel, played it, most men considered it too awkward. Ladies thought it beautiful — even to look at on a table if one could not play it. And if a lady did, she could pose with it goddess-like, in her flowing Empire-style gown.
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OBRION, RUSSELL & CO. Insurance of Every Description One Boston Place, Boston, Mass. 02106 723-7100 Derrick Te Paske 22 number of Mozart's works in that form, scoring his Serenade in E for string instruments alone and his Serenade in D minor for winds alone.
His biographer Alec Robertson writes: 'The influence Brahms came to exercise over his young friend was considerable, and for the most part admirable, though it is fortunate that he did not persuade Dvorak to come and live in Vienna for regularly prescribed inoculations against Wagnerism. The result of losing touch with his own soil might have been to turn him into a pale shadow of his master.' So far was this from being the case that, in both of the other sets of works which the mature Dvorak was to compose after specific Brahmsian models — the Sym- phonic Variations and the Slavonic Dances — it is the general consen- sus that he actually equaled or surpassed the model. $276 and up
It is also not merely gratuitous that Dvorak turned at that time to the medium of the string orchestra. He had by then composed seven of his eventual dozen or so string quartets. Some of these seven were experi- mental in form, most of them were unpublished during his lifetime, and all of them were as yet unperformed. The string quartet seems to have been, for the young Dvorak, simply a congenial medium for tonal and structural exploration, as the piano had been for Beethoven, Schubert and others. $356 His Quartet in E minor of 1870, for example, was an experiment in the and up Lisztian synthesis of several movements into one. This work was soon abandoned,' after he had salvaged the hypnotic music of its Andante fabric selection, in solid white religioso section. Dvorak intended at first to use this Andante (with added Huge oak or walnut; unfinished or with contrabass part) as an extra slow-movement in his new Quintet in G. various natural or stained finishes. In lieu of this he next turned it into a separate piece for string orchestra For free brochure with prices, call or entitled Notturno, with an extensive coda added. The Notturno and the write: Serenade in E are Dvorak's only published works for string orchestra.
The Serenade antedates Tchaikovsky's Serenade for strings by five years. Creative Comfort Co.
It was polished off in just eleven days: May 3 to 14 1875. Dvorak was 471 Mass. Ave. Central SqM Camb. at this time about to begin work on his Fifth Symphony. It was intended Open 9-9 Tues. Thru Thurs. 9-6 Mon., Fri. that Hans Richter should present the Serenade in Vienna the following & Sat. Phone 491-1755 season, but this premiere did not materialize. Instead the five-movement work was introduced by Adolf Cech and the Prague Philharmonic on December 10 1876.
The opening Moderato movement, in simple ABA form, is charming inc.: and sentimental. It shows the same partiality to singing subjects in the housewright, cellos shown in most of Dvorak's orchestral and chamber music — cul- a contemporary revolution minating in 1895 with what many regard as the finest cello concerto in existence. The pastoral flavor of the initial theme, with cellos gravely replying to violins in canon, is not very foreign to what Grieg was writing at the same time. The theme of the middle section in G has the stateliness of a bridal march; and when it is restated, the cellos join in with a broad tune that begins startlingly like the Christmas carol Adeste fidelis. The main section then returns with richer harmony and texture, particularly beautiful in the closing page.
The second movement, Tempo di Valse, brings a piquant change to a minor key (C sharp) and to dance rhythms in triple time (waltz and mazurka). In the Trio section, the music changes again to major (D flat) to introduce a gentle tune, of which more will be said later.
A scherzo follows, marked Vivace, in which the modes of the second movement are reversed. The main section is in F major, introduced this time with violins canonically replying to cellos. It is infectiously gay, while the Trio section (F sharp minor) is rather pensive. Housewright, Inc. is building on some of the best land in Sudbury The initial sad-sweet theme of the fourth movement, Larghetto, has and Concord. We are prepared to been 'lifted' virtually intact for the motto-theme of a highly popular design and build per client specifi- 2 Italian film of the 1950s, La strada. Actually the theme, whose drooping cations. Call us if you want a line also follows that of Saint Saens' famous piece The Swan (com- different kind of house. posed eleven years later, however), is a recasting in fewer notes of the Trio tune from the second movement noted above. Tel. 443-5163 Homes from $75,000.
'It was posthumously published by Supraphon Edition in 1968. Model house at intersection of Havnes Rd. 2 Still later the composer Nino Rota made a vocal setting (to the words 'What is and Pantry Rd. (off Route 117), north Sudbury. a youth?') of a closely related tune in his film music for Shakespeare's Romeo Co-Brokerage and Juliet. Welcome
23 When horse drawn carriages were speeding along at ten miles an hour Napoleon III was Emperor of France and Abraham Lincoln was a struggling lawyer in Springfield, Illinois, Edward F. Kakas and Sons, Inc. opened their Boston store to
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INDUSTRIAL SCHOOL FOR CRIPPLED CHILDREN 241 St. Botolph Street, Boston, Mass., 02115
Provides For The Handicapped Child In A Free, Private, Day School
A 12 Year Academic Program
Vocational Training • Recreation
Health Program • Transportation
The Industrial School for Crippled Children
solicits funds for its operation either through Bequests, Annuities or Life Insurance.
In case of a life agreement a donor gives capital to the Industrial School for Crippled Children and in return receives income for
life.
Donors are invited to discuss these matters with the Treasurer.
Charles E. Cotting, Treasurer 28 State St., Boston 02109
William 0. Taylor, President, William B. Bacon, M.D., V.P., Arthur H. Downing, V.P., David S. Lee, V.P.. John L. Thorndike, Asst. Treas., William B. Osgood, Sec, Charles F. Adams, Charles H. Bradford, M.D., Francis H. Burr, H. Phelps Edwards, Jr., John H. Gardiner, Augustus P. Loring, Paul P. Perkins, Jr., Charles H. Taylor, Augustus Thorndike. 'It is no surprise,' remarks the Dvorak biographer John Clapham, 'to find that the finale [Allegro vivace] begins in F sharp minor instead of E major, for during the years 1875-76 Dvorak composed no fewer than five works with finales that commence in foreign keys.' This one offers
dramatic as well as harmonic surprises. It opens with another canon, this time a high-spirited one between all the violins and all the lower strings, and the music subsequently whips up some of the momentum and excitement associated with Dvorak's symphony movements. In place of a regular development, though, the composer reduces the sound to a mere whisper of the first violins, against which the theme of the Larghetto movement makes a brief reappearance. In the soft 3 cellos, it sounds more than ever like Saint-Saens' soulful solo swan,
but it is no sooner heard than it is gone again. Following a reprise of the Allegro themes, there is a more formal return, in lieu of a coda, to the tempo and graceful theme of the opening Moderate movement; then the work concludes in a brief burst of energy.
SERGEI PROKOFIEV Symphony no. 5 op. 100 Program note by John N. Burk
Prokofiev was born in Sontsovka, Russia, on April 23 1891; he died near Moscow on March 5 1953. Prokofiev composed his Fifth Symphony in the summer of 1944, and it was first performed in Moscow on January 13 1945, when the composer conducted. Serge Koussevitzky and the Boston Symphony gave the American premiere on November 9 1945. The Orchestra's most recent per- formance of the symphony was at the Berkshire Festival on August 17 1973, when Lawrence Foster conducted.
The instrumentation: two flutes, two clarinets, E flat clarinet and bass clarinet, two oboes and English horn, two bassoons and contrabassoon, four horns, three trumpets, three trombones and tuba, timpani, bass drum, cymbals, harp, piano, military drum and strings.
Prokofiev composed his First ('Classical') Symphony in 1916-1917 and his Fourth (Op. 47) in 1929, dedicating it to this Orchestra on its fiftieth anniversary. It was after fifteen years of much music in other forms that he composed another. The entire score of the Fifth was written in one month in the summer of 1944, at a climactic point of the War. SYMPHONY IN GOLD
'My Fifth Symphony,' wrote Prokofiev in his autobiographical sketch, Musical pins in \8 karat gold. 'was intended as a hymn to free and happy Man, to his mighty power, Illustrations actual size his pure and noble spirit.' The sentiment had a fine sound. It was broad enough to be called patriotic; it was in accord with official pronounce- Clef $195 Violin ments that the arts should be addressed directly to the people in a $230 language they would all understand. It was also broad enough to be Harp $230 applicable to any of the composer's more serious works. In fact it could have a universal application. Prokofiev evidently felt a deeply personal Also available-. Piano, Tuba, claim to this, one of his proudest achievements, for he added: 'I cannot Balalaika, Banjo, Trumpet,
say I that deliberately chose this theme. It was born in me and clamored Clarinet, Mandolin, Trombone, for expression. The music matured within me, it filled soul.' my Alto Horn, Folk Guitar, Flute
At this point Prokofiev concludes his paragraph with this enigmatic Saxophone, Electric Guitar, remark: 'This is the music — or perhaps the idea — that is so distasteful French Horn and Lyre. to some people in Utah. Doubtless they prefer music that debases man, blunts his perceptions and warps his finer feelings.' AT ALL OF LONG'S FIVE STORES Then he proceeded to marvel that although his music had long been Boston - Wellesley - Peabody heard and liked, even published and recorded in America, a faction Burlington - Braintree bespoken by 'some people in Utah' had turned against his Symphony. Use your Long 's Charga-Plate, Mastercharge. BankAmericard or American Express
Massachusetts residents add 3% tax 3 Actually there are no important cues for any solo instrument in the entire Sere- nade.
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Rt. 2A & Strawberry Hill Rd., ACTON 263-3186 OPEN THURS. & FRI. EVE UNTIL 9 Merchants Co-operative Bank He supposed that his Symphony had found enemies because he had called it something so un-American as 'a hymn to the freedom of the human spirit.' Prokofiev thus explains his curious deduction: 'A short Longy while ago a rather curious sidelight on musical life in Salt Lake City came to my attention in the shape of an Associated Press dispatch from School r that city stating that the conductor of the Utah Symphony Orchestra, Maurice Abravanel, had been warned by an anonymous telephone Music caller that he would be killed or injured if he conducted Prokofiev's Fifth Symphony as scheduled on the program of his concert. The pro- gram, however, was not revised, and the concert took place as sched- Private instrumental and vocal uled, the dispatch stated.' instruction; courses leading to Diploma and Bachelor of Music Degree
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VIRTUOSOPERFORMANCEIN Sergei Prokofiev HAND-FINISHED LAUNDRY
Prokofiev's thinking was a good deal clearer when he confronted officialdom with a claim for personal credit in his Symphony than when he allowed the report of a single telephoned threat by some anony- / mous crackpot to work upon his imagination. /
The treatment of the Symphony, though traditional in outward form, is subjective and daring, and seems possessed at times with the dramatic \mst\ir\e tension of the war year in which it was composed. LAUNDRY The opening movement, Andante, is built on two full-voiced melodic themes, the first in triple, the second in duple beat. Contrast is found DRY CLEANSERS in the alternate rhythm as both are fully developed. There is an 10 Penniman Rd., Allston, Mass. impressive coda. The second movement has earmarks of the classical 783-1 166 scherzo. Under the theme there is a steady reiteration of a staccato ROUTE SERVICE accompaniment, 4/4. The melody, passed by the clarinet to the other woodwinds and by them variously treated, plays over the marked and unremitting beat. A bridge passage for a substantial wind choir ushers in (and is to usher out) the trio-like middle section, which is in 3/4 time and also rhythmically accented, the clarinet first bearing the burden of the melody. The first section, returning, is freshly treated. At the close the rhythm becomes more incisive and intense. The slow movement, Adagio, 3/4 (9/8), has, like the scherzo, a persistent accompaniment figure. It opens with a melody set forth espressivo by the wood winds, carried by the strings into their high register. The movement is tragic in mood, rich in episodic melody. It carries the symphony to its deepest point of tragic tension, as descending scales give a weird effect of out- Fleuriste Francais cries. But this tension suddenly passes, and the reprise is serene. The finale opens Allegro giocoso, and after a brief tranquil (and reminis- 34 CHARLES STREET cent) passage for the divided cellos and basses gives its light, rondo-like theme. There is a quasi-gaiety in the development, but, as throughout BOSTON, MASS. the Symphony, something ominous seems always to lurk around the corner. The awareness of brutal warfare broods over it and comes forth Est. 1891 Tel. CA 7-8080 in sharp dissonance — as at the end. 27 8. Delmonico's 710 Boylston Street 536-5300
* 9. DuBarry 159 Newbury Street 262-2445
10. Fenway Motor Inn 1271 Boylston Street 267-8300 Kenmore Square 267-3100 Symphony Hall 11. Half-Shell 743 Boylston Street-536-2211 12. Joseph's 279 Dartmouth Street 266-1502
13. Kyoto 337 Massachusetts Avenue 536-9295 *14. La Crepe 733 Boylston Street 267-1534 15. Locke-Ober Cafe 3 Winter Place 542-1340 16. Midtown Motor Inn > Restaurants 220 Huntington Avenue 262-1000 17. Nick's 100 Warrenton Street 482-0930 1. Benihana of Tokyo 201 Stuart Street 542-1166 *18. Ritz Carlton 15 Arlington Street 536-5700 2. Boraschi 793 Boylston Street 536-6300 19. Sheraton-Boston Hotel 39 Dalton Street 236-20 3. Cafe Amalfi 536-6396 10 Westland Avenue Cafe Riviera/Falstaff Room/Kon Tiki Ports 4. Cafe Budapest 90 Exeter Street 734-3388 20. Sheraton-Plaza Hotel Copley Square 267-5300 5. Cervantes 333 Newbury Street 536-2020 Cafe Plaza/Copenhagen
6. Charley's Eating and Drinking Saloon 21. Statler Hilton Hotel Park Square 426-2000 344 Newbury Street 266-3000 Trader Vies 7. Colonnade Hotel 120 Huntington Avenue 22. Symphony Sandwich Shop 261-2800 252 Massachusetts Avenue 536-3068 Promenade Cafe*Zachary's 247-9014 23. Top of the Hub Prudential Center 536-1775 Five Chateaux 5 Cambridge Parkway, Cambridge !'24. 57 Restaurant 200 Stuart Street 423-5700 491-3600 25. Admiralty Room 38 Cornhill Street 742-9595 Warren Tavern 2 Pleasant Street, Charlestown 26. Bette's Rolls Royce One Union Street 227-0675 241-8500 i*27. Cafe Marliave 10 Bosworth Street 423-6340 *See advertisement elsewhere in the program book 28. Dini's 94 Tremont Street 227-0380
29. Dunfey's at the Parker House 60 School Street Parking 227-8600 30. Les Tuileries 370 Commonwealth Avenue A. Auditorium Garage 266-0423 50 Dalton Street, Prudential Center 267-9875 '31. 227-3370 Maison Robert 45 School Street B. Church Park Garage "32. Maitre Jacques 10 Emerson Place 742-5480 35 Westland Avenue 267-0139
''33. Mama Leone's 165 Dartmouth Street 262-6600 C. Colonnade Hotel 34. Newbury Steak House 94 Massachusetts Avenue 120 Huntington Avenue 261-2800 536-0184 D. Fitz-lnn Auto Park 35. The Point After 271 Dartmouth Street 536-6560 150 Huntington Avenue 262-8988 .36. Scanbo 16-18 North Street 227-7881 E. Westland Garage 37. The Bull 400 Commonwealth Avenue 267-9010 41 Westland Avenue 536-8862 38. Casa Romero 30 Gloucester Street 261-2146 F. Prudential Center Garage Athenian Taverna 569 Massachusetts Avenue, Exeter Street and Huntington Avenue 267-2965 Camhridge 547-6300 Arena Parking Lot 238 St. Botolph Street Fenway Motor Inn 777 Memorial Drive, Cambridge 492-7777 Uptown Garage 10 Cainsboro Street 266-7260 Drink a little. Dine
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For a pleasant change of Authentic pace enjoy the excellent cuisine of The Colony Room French Specialties Restaurant. An infinite variety of delicious crepes, omelettes, • Luncheon from $1.35 quiche, onion soup, mousse, and • Dinner from $3.25 French wines. from 5 to 8:30 p.m. • Free Parking while dining. In Boston: I diagonally from 731 Boylston Street (across from Lord & Taylor) across Symphony Hall Open until after midnight 267-1534. and opposite Prudential Center In Cambridge: 220 Huntington Avenue 1274 Massachusetts Avenue Boston, Mass. Tel: 262-1000 (across from Widener Library) 876-3990.
Derrick Te Paske 31 PlanOi
RECENT RECORD RELEASES BY THE BOSTON SYMPHONY ORCHESTRA anew bequest idea
for Symphony conducted by SEIJI OZAWA BERLIOZ Symphonie fantastique DG/2530 358 Each year, the Friends of the Boston Sym- phony set a goal for annual giving, as do the Friends of Music at Tanglewood. Each THE GREAT STRAVINSKY BALLETS gift is vitally needed and often given by album includes Petrushka and Suite from a Friend throughout a lifetime of devotion to the Orchestra. The firebird RCA VCS 7099
But what then? Even though a Friend has made a bequest provision in his or conducted by EUGEN JOCHUM her will, as so many do, this annual giving MOZART & SCHUBERT (October release) ceases. It needn't. Symphony no. 41 in C K. 551 'Jupiter' If you, as a Friend, leave a legacy to Symphony no. 8 in B minor 'Unfinished' DG/2530 357 Symphony of at least twenty-five times the
amount of your annual gift, it will guaran- tee the continuing of that gift, in your conducted by WILLIAM STEINBERG name, year after year. It will create an HINDEMITH Annual Gift Endowment in your name. Symphony 'Mathis der Maler' } DG/2530 246 Your bequest establishing an Annual Gift Concert music for strings and brass ) Endowment can thus help provide a new and solid foundation for Friends income. This base, combined with continued an- conducted by MICHAEL TILSON THOMAS nual giving of active Friends and gifts STRAVINSKY from new Friends, will furnish ever- Le sacre printemps increasing resources to preserve the Bos- du ton Symphony's traditional place of lead- Le roi d'etoiles DG/2530 252 ership in the world of music.
For any information concerning legacies, conducted by CHARLES MUNCH bequests or gifts, please write call or the THE WORLD'S FAVORITE CONCERTOS Development Department at Symphony album includes Mendelssohn's Violin concerto Hall (telephone 536-8940) or any member of the Board of Trustees, at Symphony with Jascha Heifetz RCA LSC 3304 Hall, Boston, Massachusetts 02115. THE WORLD'S FAVORITE CONCERTOS album includes Beethoven's Violin concerto with Jascha Heifetz RCA LSC 3317
conducted by ERICH LEINSDORF THE WORLD'S FAVORITE CONCERTOS album includes Tchaikovsky's Piano concerto no. 1 with Artur Rubinstein RCA LSC 3305 ADVERTISING IN THE ORCHESTRA'S PROGRAMS conducted by ARTHUR FIEDLER For information about advertising THE WORLD'S FAVORITE SYMPHONIES space and rates in the programs of of Dvorak LSC 3315 the Boston Symphony Orchestra, album includes the 'New World' symphony RCA please call Mr Stephen Campbell at Media-Rep Center Inc., 1425 Statler THE BOSTON SYMPHONY ORCHESTRA Office Building, Boston, Massachu- setts 02116, telephone (617) 482-5233. ON AND MBUQ THE MUSIC DIRECTOR
SEIJI OZAWA, Music Director of the Boston and San Francisco Sym- phony Orchestras, was born on September 1 1935 in Hoten, Manchuria, which was then a part of Japan. The third son of a Buddhist father and a Christian mother, he became accustomed to the sounds of both West- ern and Oriental music during his infancy. Recognizing his love of music, his family arranged for him to receive lessons on traditional Japanese instruments at an early age. The young Ozawa discovered, however, that the instrument he was most attracted to was the piano, and at age seven he asked for a teacher to study that instrument as well as Western compositional techniques.
SPECTRUM CONCERT SERIES
3rd season
MICHAEL TILSON THOMAS conductor
A series of three concerts Thursdays at 8.30
\ November 29 A PROGRAM OF TRANSCRIPTIONS CAGE- HARRISON Suite for toy piano MONTEVERDI- ORFF Lamento d'Arianna SIBELIUS- STRAVINSKY Canzonetta op. 62a SCHUMANN- RAVEL Carnaval (excerpt) BRAHMS- Piano quartet in G minor SCHOENBERG op. 25
2 January 24 BOULEZ Eclats KNUSSEN Symphony no. 3 FELDMAN Cello and orchestra REICH Music for mallet instruments
3 April 11
MOZART Divertimento no. 15 in B flat K. 287 BERIO Recital
SCHUMANN ) WEBER V Melodramas with piano
LISZT J DEBUSSY Nocturnes
programs subject to change
It was as a piano student, then, that Mr Ozawa entered the Toho School of Music, Tokyo, when he was sixteen years old. There, however, he Prices for the series: suffered a finger injury while playing soccer. As a result of that accident, $6, $9, $12, $15 he decided to devote his time to composition and conducting, which available from the he studied under the guidance of Professor Hideo Saito. His first con- Symphony Hall Subscription Office ducting appearances were with the NHK and the Japan Philharmonic Orchestras, and his success was such during these early years of his career that in January 1959 he was chosen by the NHK and the Friends of Music magazine as the outstanding talent of the year.
At the urging of Professor Saito, Mr Ozawa left Japan for Europe in the fall of 1959, in order to broaden his musical experience. The enterpris- ing young conductor persuaded a Japanese firm to give him a motor 33 LOCAL GALLERY LOCAL GALLERY GUIDE GUIDE
Alberts-Langdon Colonnade Hotel 120 Huntington Avenue National Center of Afro-American Boston Artists Elma Lewis School 122 Elm Hill Avenue
Art/Asia Roxbury 8 Story Street Cambridge
Nielsen Gallery 179 Newbury Street Art Institute of Boston Boston 700 Beacon Street Boston
Nordest Gallery Ashton Gallery 232 Newbury Street 667 VFW Parkway Boston W. Roxbury
Cambridge Art Association Old Print & Frame Shop 23 Garden Street 42 Bromfield Street Cambridge Boston
Childs Gallery 169 Newbury Street Origins Art Gallery Boston 134 Newbury Street Boston
Copley Society 158 Newbury Street Oriental Decor Boston 125 Newbury Street Boston i '
Doll & Richards 172 Newbury Street Boston Parker Street 470 470 Parker Street Boston Gallery of Visual Arts 67 Long Wharf Boston Pucker Safrai Gallery 171 Newbury Street Graphics One & Two Boston 168 Newbury Street Boston
Rolly-Michaux Galerie 125 Newbury Street Guild of Boston Artists Boston 162 Newbury Street Boston
Judi Rotenberg Gallery Harcus Krakow Gallery 130 Newbury Street 167 Newbury Street Boston Boston
Kanegis Gallery Vose Galleries 244 Newbury Street 238 Newbury Street Boston Boston
Derrick Te Paske scooter and free transportation for the trip in exchange for his promo- tion of their product. Travelling around the continent on motor scooter and supporting himself with various odd jobs, he entered the Interna- tional Competition of Orchestra Conductors at Besancon, France, in the fall of 1959 and won first prize. One of the judges was the Music it's Director of the Boston Symphony Orchestra, the late Charles Munch, who invited the young conductor to study at Tanglewood the following summer. At the end of the Tanglewood season Mr Ozawa received the Koussevitzky Memorial Scholarship as the outstanding young conductor the at the Berkshire Music Center. real thing
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Shortly after his Tanglewood triumph, Mr Ozawa won a scholarship to 491-2792 study with Herbert von Karajan in West Berlin. It was there that Leonard Bernstein, who was touring Europe with the New York Philharmonic, asked him to accompany him and his orchestra on a tour of Japan dur- Hors d'Oeuvres Plastic Gl asses ing the spring of 1961 and to return to New York during the 1961-1962 season as one of his assistants. He directed several concerts of the Personnel
Philharmonic that season, though it was with the San Francisco Sym- Liquor Service Partyware phony Orchestra, during the same season, that he made his first full- - length professional concert appearance in North AmericaT
35 mmm RADIO BROADCASTS _ Howto
The concerts of the Boston Symphony Orchestra are heard regularly in many puSUV upVour parts of the United States and Canada by delayed broadcast. In addition the Friday afternoon concerts in Symphony Hall are grdarjasthis broadcast live by WGBH-FM (Boston, 89.7), WAMC-FM (Albany, 90.3), and WFCR-FM (Amherst, 88.5). The Saturday evening concerts in Symphony Hall are Jail also broadcast live by WGBH-FM, WCRB- AM-FM (Boston, 102.5FM & 1330AM), WFCR-FM and WPJB-FM (Providence, 105.1). WGBH-FM and WCRB-FM co- operate in four-channel transmission of the Saturday evening concerts, in associa- tion with Acoustic Research Inc. of Cambridge.
The majority of the Tuesday evening con- certs are broadcast live by WGBH-FM, WAMC-FM and WFCR-FM.
Acoustic Research Speaker Systems are used to monitor the radio broadcasts of the Boston Symphony Orchestra.
THE ADVERTISERS IN THE PROGRAM BOOK ACTIVELY SUPPORT THE BOSTON SYMPHONY BY MAKING THE CONTENTS OF THE BOOK POS- SIBLE. PLEASE GIVE THEM YOUR PATRONAGE, AND, IF THE OPPOR- TUNITY ARISES, MENTION THAT YOU SAW THEIR MESSAGE IN THE PROGRAM. Whether you have an eye for landscape design or not, you will prob- ably require some assistance in selecting the "right" tree or shrub for fall planting. Our staff is prepared to help you with anything from
the simplest to the most complex landscape plan. If you are just
beginning, you may want to bring a plot plan with you, or if contin- uing work already begun, a snapshot. Fall is a safe time to plant almost any growing thing, and the best time to plant many varieties. Planting now not only enhances the looks of your grounds immedi- THANKS TO THE GENEROSITY OF ately, but gives the plantings a fine start for next spring and summer. SUBSCRIBERS WHO ARE UNABLE TO Why not visit us soon. We'll treat you to a look at over a thousand ATTEND THE CONCERTS OF THEIR varieties of growing things, and show you how many of them would SERIES AND WHO RELEASE THEIR look around your own home. of SEATS, A NUMBER OF TICKETS IS Weston Nurseries, growing New England's largest variety USUALLY AVAILABLE FOR EACH landscape size plants, shrubs and trees. Route 135, near 495, BOSTON SYMPHONY CONCERT. Hopkinton, Mass. 01748. Tel: 435-3414. From the Boston area, call
PLEASE TELEPHONE 266-1492 AND 235-3431 . Open year 'round Monday thru Saturday. ASK FOR RESERVATIONS. Weston Nurseries of Hopkinton During the summer of 1963 he flew to Chicago on forty-eight hour notice to replace an ailing conductor for two Ravinia Festival concerts with the Chicago Symphony. His appearances there were received with high critical acclaim, and the Festival immediately engaged him to be- come its Music Director for the following summer, a summer in which KEnmore 6-1952 he also conducted again at Tanglewood and led the United States tour of the Toho String Orchestra.
AJLCLUS^9
f i n c r f u r s
Newbu ry Street E ighteen
Boston, Mass.
Welcome to the 19th Century*
Return with us now to a golden age in America's cre-
ative history. Visit Confiden t
Mr Ozawa's debut with the Toronto Symphony occurred during the America, an exhibition 1963-1964 season and his success there led to his appointment as Music of monuments in painting, Director of that Orchestra beginning with the 1965-1966 season. During sculpture, and prints. Artists his initial season with the Toronto he guest conducted a number of include John Singer Sargent, major orchestras in the United States and Europe, having in the previous season added the London Symphony and Lamoureux Orchestras to the William Rimmer, Frank list of his European debuts. At the end of the 1968-1969 season he Duveneck, William Morris resigned his post with the Toronto Symphony and devoted the following Hunt, and William Wetmore season to guest conducting. Story. Many of these works During the summer of 1969 he conducted opera for the first time, Cosi are on view for the first time. fan tutte at Salzburg, and served as principal guest conductor of the Ravinia Festival. He opened the 1969-1970 season of the New York October 3 through Dec. 2 Philharmonic and later guest conducted L'Orchestre de Paris, the Phila- delphia and Cleveland Orchestras and the Berlin Philharmonic. In 1970 MUSEUM OF FINE ARTS he was made artistic co-director, with Gunther Schuller, of the Berkshire 479 Huntington Avenue, Boston Music Festival. That same summer he also returned to the Salzburg cocktails Festival, conducted Berlin Philharmonic concerts and co-directed, with Enjoy and lunch or Leonard Bernstein, another New York Philharmonic tour of Japan. dinner at the Museum Restaurant
37 THE BOSTON HOME, INC Established 1881 2049 DORCHESTER AVENUE • BOSTON, MASS. A Home for the Care and Treatment of Women Who Are Afflicted with Incurable Diseases
Your Contributions and Bequests Are Earnestly Solicited
President Charles E. Cotting Secretary John B. French
Treasurer David W. Lewis, 1 Washington Mall, Boston
reat Symphonies
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IKIrC AN0 L0AN HOME OWNERS FEDERAL SAVINGSIIIUO ASSOCIATION 21 MILK STREET PARKER HOUSE OFFICE DORCHESTER OFFICE BOSTON, MASS. 60 TREMONT ST. 347 WASHINGTON ST. He began his inaugural season as Conductor and Music Director of the San Francisco Symphony Orchestra in December 1970, and his triumphs with that Orchestra have included recording sessions — the Orchestra's first in twelve years — and a tour of Europe and the Soviet Union — the Orchestra's first ever. Beginning with the 1972-1973 season, Mr VISITING ORCHESTRAS Ozawa was made Music Adviser to the Boston Symphony, and this fall he The following orchestras will became that Orchestra's Music Director, a post he holds concurrently give concerts in Symphony Hall with his positions at Tanglewood and in San Francisco. His many record- ings for the RCA, Angel and Deutsche Grammophon labels include per- during the 1973-1974 season: formances by the Boston Symphony of Stravinsky's Firebird and Petrushka Vienna Johann Strauss Orchestra suites, Orff's Carmina Burana and Berlioz's Symphonie fantastique. Walter Goldschmidt conductor Sunday October 7 at 3 pm
Leningrad Philharmonic Orchestra Gennady Rozdestvensky conductor Friday October 19 at 8.30 pm
Cleveland Orchestra Lorin Maazel conductor Wednesday February 6 at 8.30 pm
English Chamber Orchestra Pinchas Zukerman conductor Friday April 19 at 8.30 pm
Further information may be obtained from the offices of the BOSTON UNIVERSITY CELEBRITY SERIES, 420 Boylston Street (536-6037).
THOUSANDS OF PEOPLE INCLUDING CHILDREN ARE GOING BLIND FROM RETINAL DEGENERATIONS. RESEARCH SUPPORT IS NEEDED.
Give to the Massachusetts Chapter Retinitis Pigmentosa Foundation Box 158 Allston, Mass. 02134 266-8069
The photographs on these pages were taken by Danny Pitts of Jet Photographers during the performance of Berlioz' La damnation de Faust on October 9 1973.
CABOT-CAHNERS ROOM 112 Newbury St. The is Cabot-Cahners Room open for refreshments one hour Boston, Mass. 267-6660 before the start of each concert, and remains open until a reasonable time after the concert's end. Among the fine liquors available at the bar are those advertised in the program book, Handwoven Area Rugs Jack Daniels and Beefeater Gin. 4x6 Rya Rugs - $49.00
Open Mon. thru Sat. 10 A.M. to 5:30 P.M.
39 Pamper yourself. Luxury and elegance. The first two words that come to mind as you enter our 2 and 3 bedroom apartments. Plush wall-to-wall carpeting, elevator service, individual heat and air-conditioning, tasteful decor, recreation facilities and more. It's all waiting for you. Now. See our TICKET RESALE AND decorator model. 2 bedrooms from $365. RESERVATION PLAN For further information, call: 599-1000 Swampscott Or, R.W. Carlson Associates, Inc. Exclusive Rental
Symphony Hall has 2631 seats available Agent. 631-8800 for each concert during the winter season. Summit There are more than two million people Estates living in the Boston area, many of whom in Swampscott* want to hear the Orchestra in concert, but can only make an occasional visit to Symphony.
You, as a subscriber, can help. If you cannot come to a concert in your series, please avoid leaving your seat empty.
You help yourself, you help the Orchestra, you help the other members of the com- munity, by releasing your ticket for resale.
You help yourself, since you receive by mail a written acknowledgment of your gift to the Orchestra, which can be 1000 Paradise Road claimed as a tax deduction.
You help the Orchestra, since if your ticket is resold, the added income helps to reduce the annual deficit. (Last year the Orchestra benefited by more than $9,000 from this scheme.)
You help the community by making it possible for those who cannot buy com- plete subscriptions to obtain single tickets.
Whenever you can't sit under All you need do is telephone Symphony Napoleon's palm trees . . . you're Hall (266-1492), and give your name and seat location to the switchboard operator. invited to our other late-night oasis. Your ticket will then become available for resale. The French Room awaits you—for late supper or a nightcap—night after
night. But, once in a while, it may be engaged as a function room
Then visit the lounge next door. No SURPRISE^MONTH gilded palm trees (like those under which Napoleon drank toasts to gourmet Q/&5frvm around&.eabr/c£ sent coat. r^io/ztA. fat* a. c/eas- Josephine)—but the same generous HOKJEFYS TETrrfbuRS. Ritz drinks and dining and hospitality. Pates Candied After- the- theater or late-evening in Boston can still be what you always Cakes Ffeu/r^ thought it should be. Cheeses Jams
5Crci cp/7 tfV<<- ctaif cfotc choose. The "Regular ^ZS \)w\u*A5o Ritz-Carlton 5£not Uour cAscm:, f**?/recs on&r- cr CrraG r CczraL na*rrfc>£s~ a/ana u#&\ Hotel BRUNJ FARMS COUNTRTSTORE THE CONDUCTOR JOSEPH SILVERSTEIN, Assistant conductor of the Boston Symphony Orchestra since the beginning of the 1971-1972 season and concertmaster since 1962, joined the Or- chestra in 1955. He was then, at the age of '"< twenty-three, the youngest member. Born V in Detroit, he studied at the Curtis Institute » in Philadelphia, and later with Josef Gingold V V and Mischa Mischakoff. He was a prize winner in the 1959 Queen Elisabeth of Belgium International Competition, and a year later won the Naumberg Foundation Award. Before coming to Boston he played in the orchestras of Houston, Denver and Philadelphia.
Joseph Silverstein has established an international reputation as soloist and as first violinist of the Boston Symphony Chamber Players. In 1967 he led their tour to the Soviet Union, Germany and England, in 1969 a tour to the Virgin Islands and Florida. During past seasons he has per- formed many concertos with the Orchestra, and has recorded those by Bartok and Stravinsky for RCA. m He is violinist of the Boston Symphony String Trio and first violinist of the Boston Symphony String Quartet, and as violinist of the Boston Sym- phony Chamber Players Joseph Silverstein has made many recordings of chamber music for Deutsche Crammophon. Chairman of the Faculty of
the Berkshire Music Center at Tanglewood, he is also Associate Professor of Music at Yale University, and teaches privately. In 1970 he received an honorary Doctorate of Music from Tufts University. During the 1969- 1970 season he made his debut as conductor with the Boston Symphony and Boston Pops Orchestra.
A MEMBER OF THE ORCHESTRA MAKES HIS CONDUCTING DEBUT * >-
Boston Symphony violinist Max Hobart recently made his debut as a conductor. On November 11, Mr Hobart led the North Shore Philhar- monic in a program of Rossini, Schubert, Grieg and Respighi. On No- vember 25, he is scheduled to conduct a pops concert by the New Hampshire Philharmonic in Manchester.
CLASSES IN SYMPHONY ANALYSIS The Friends of the New England Conservatory are again offering their Symphony analysis class on Fridays at 12 o'clock at the Conservatory on Huntington Avenue. Mrs Mac Morgan will discuss the afternoon's Symphony pro- gram so that members of the class may be prepared to enjoy the concert. This year, with the increased number of concerts, there will be several guest lecturers as well. After the class, an aperitif and an informal salad or sandwich lunch are available at the dormitory lounge. The classes will be held each Friday on which there is an afternoon concert by the Orchestra, with the exceptions of November 23 and January 4. Information about the Symphony analysis class and the other interesting seminars offered by the Friends of the New England Conservatory may be obtained by calling the Friends' office at 262-1120. 41 A1ALEOF TWOSIORIES (in one city) Most upper stories aren't separated from their lower stories by fifteen city blocks, so ifs pretty easy to get from one to the other. Ours is, so it isn't. Take your Greatest Expectations with you and start at either end of the map. At the Upper end, you'll find an absolutely beautiful store, filled with the very latest imports from the world's very best craftsmen: wrought iron candleholders from the Boda Glassworks; dinnerware by Arabia; crystal vases by Strombergshyttan; Rya rugs by Egetaep- per; stainless steel by Dansk; and furniture by Thayer Coggin. At the Lower end, you'll find a store thafs a different kind of beautiful. Because ifs filled with things that are just as exciting and about half as expensive. We call it our twelve-months-a-year sale. Ifs the place you've heard about but never have been able to find. Two stories in one city. Even Dickens couldn't ask for more than that. THE UPPER STORY THE LOWER STORY 1045 Massachusetts Ave. THE 171 Huron Ave, Cambridge. 547-3994 LOWER Cambridge. 547-5938 Mon.-Sat. 10-6. Thurs.-til 9. Mon.-Sat. 9:30-5:30 Free Parking in rear. STORY Thursday 9:30-8:30 THE STATUES IN SYMPHONY HALL McKim, Mead, and White, architects of Symphony Hall, and Professor Wallace C. Sabine, their acoustical adviser, found in statuary the solu- tion to several of their most pressing problems. Faced with the necessity of relieving the large wall surfaces above the second balcony, Professor Sabine found that niches, suitable to holding statues, would be a perfect solution to his problem. In addition, the backs of the niches, protected by natural shadows and the statues, would, if necessary, provide admir- able places for experimentation with acoustical building materials too rough to be put on exposed wall surfaces. At the same time, the statues themselves would help considerably to solve the architects' decorative problem in a suitable and dignified way. A committee of two hundred interested symphony-goers, under the leadership of Mrs J. W. Elliot, selected and donated casts of eighteen well-known statues. They were not in place for the dedicatory concert in Symphony Hall, October 15 1900, but were added as they were com- pleted by Pietro Caproni in his Boston studio. Diana of Versailles (Paris) The statues chosen were selected not only for their beauty, but in most cases with an eye to the appropriateness of the subject to the use of the new auditorium. Thus, there are two statues of Apollo, god of music and poetry, and one of Athena, goddess of learning. Their apostles are represented by statues of the dramatists Sophocles and Euripedes; the orators Aeschines and Demosthenes; Anacreon, chief Greek poet of love and wine; as well as of three satyrs. Apollo and two of the satyrs are the only musically-minded ones in the group: one statue shows Apollo playing on his cithara; and the satyrs hold cymbals, with which they are evidently beating out time for their dancing. Phidias, best known of all Greek sculptors, was most famous for his mammoth statues of Athena and Zeus on the Acropolis, for his design and supervision of the sculpture for the Parthenon, and for his Lemnian Athena. (In Symphony Hall, this statue is the fourth from the stage on the left-hand side of the auditorium.) It was the Lemnian Athena that the ancients found the most impressive of his work. Pausanias, who traveled extensively in the second century A.D., wrote: 'The most 43 1 For 20 years, we have specialized in importing cars. Our experience and knowledge will help in your pref- erence whether it be the exotic, the unconventional, the safest or perhaps the best engineered automobile ever built. Expert service. Overseas delivery. Come in and road test the car of your choice. /Into Engineering, Inc. 436 Marrett Road (Rt. 2-A) Lexington 862-6700 S& ^HaSB km mm mm ^H^^Hpr &m SHE whL shIhBiI JHB h g JHfct Mh 1 mxmBF HaHL ^BiiiniB l^wifflwi HH Mm jjH ^PfH ip M ii wiwrai A lot of people find out about us by process of elimination. SAGES Founded 1898. A delightful alternative to the big store chains. Conveniently located at 60 Church St., Cambridge / Belmont Center, Belmont Charles River Park, Boston / 1241 Centre St., Newton Ctr. Ask about our free delivery Telephone: 876-221 YOUTH CONCERTS AT SYMPHONY HALL HARRY ELLIS DICKSON Music Director with members of the Boston Symphony Orchestra 1973-1974 Season Three series of three Concerts Series subscription — $7 Saturdays at 11 am November 3, January 12, March 30 November 10, January 19, April 6 Fridays at 10.15 am Lemnian Athena (Dresden, head in Bologna) Youth Concerts announces the addi- tion of a mid-week subscription series for young people in grades five and over who are unable to attend the Saturday morning series. Programs and prices are the same for the three series and seating is available for school groups. The dates for this series are November 9, January 18 & April 5. Applications available at SYMPHONY HALL BOX OFFICE or by calling Mrs Manuel Kurland 266-1492 or 267-0656 The. Flu t-nq l_Lna u.cTt€_ -rHrov/ -thtma-t fcKe. -irajp-vf-e. &rdL tfrey 06±O\ onto th£ -trajOOLt. or &^ other. reel or b Lvjl.. CSjCVx gjLroha.'tr Amazon (Berlin) The. V\3jrv^rd. J^qy^r^ &ajr<3.Qz_ 34 Boy^-kon 5t. Ca.^hrid.^f- PLANS OF SYMPHONY HALL The auditorium of Symphony Hall can be emptied in a few minutes. Patrons are asked to make a note of the exit nearest to their seat. In case of emergency they should walk (not run) to that exit. All exits in these plans are indicated with a star. FLOOR 'fr A FIRST BALCONY SECOND BALCONY 46 remarkable of the works of Phidias, an image of Athena, called Lemnian, after the dedicators.' Lucian had this to say in dialogue form: 'Lyk: Which of the works of Phidias do you praise most highly? 'Pol: Which but the goddess of Lemnos, whereon Phidias deigned to inscribe his name. Phidias and the Lemnian goddess shall bestow on her the outline of her countenance, her delicate cheeks and finely pro- portioned nose.' A SUBSCRIPTION FOR ALL SEASONS If you don't hold a subscription to one of the Boston Symphony Orchestra series, you should consider doing so next sea- son — even if it is too late for the current season. Just call the subscription office for information on the varied options. There are truly subscriptions for all tastes and budgets: — ranging from 3 to 22 concerts — concerts on Tuesdays, Thursdays, Fri- days and Saturdays — some starting at 2.00 pm, some at 8.30 pm and some at 7.30 pm — from $6 to $229 This is how they are packaged: Friday -— 22 concerts at 2.00 Saturday — 22 concerts at 8.30 (or you can have only 11 Saturdays, odds or evens) Apollo Citharoedus (Rome) Tuesday A — 10 concerts at 8.30 Tuesday B — 6 concerts at 7.30 Thursday A 6 concerts at 8.30 The body of an excellent Roman copy of this Athena had been in the — Thursday B 3 concerts at 8.30 collection of the museum at Dresden for some time before it was dis- — ('Romantic' series) covered that a head in the Bologna museum obviously belonged to it. The cast of the reassembled Lemnian Athena enables us to get some Spectrum — 3 Thursdays at 8.30 idea of the masterwork of Athens' greatest sculptor. Most of these series start in September and October. Spectrum starts after Thanksgiving. And the Romantic series starts in the New Year, making tickets ideal for Christmas gifts. When you subscribe to the Boston Sym- phony Orchestra, your own seat is always waiting for you. Although we cannot al- ways guarantee you your first choice of location, we will give you the best we have. At renewal time in the spring, re- mind of us your preference, and we can improve your locations. If you are too late to subscribe this year, we suggest you call the subscription office and make an application so you will not be left out next season. Dancing Faun (Rome) Subscription Office The Resting Satyr which stands nearest the stage on the left-hand side Symphony Hall of the hall is best known for supplying Hawthorne with the title of one Boston, Massachusetts 02115 of his best-known books. Now, as often as not, the satyr is known by (266-1492) the name of the book, The Marble Faun. Praxiteles executed the original in the fourth century B.C., and the Roman copy by which we know the work stands in the Capitoline Museum in Rome. 47 The Amazon by Polyclitus (which is next to the Marble Faun) is a statue BOSTON UNIVERSITY with a 'story.' The tale is told that statues of the Amazons were wanted CELEBRITY SERIES for the Temple of Artemis at Ephesus, where the female warriors had WALTER PIERCE refuge from Dionysus in ages past. The greatest sculptors of taken Managing Director Greece, including Phidias of Athens and Polyclitus of Argos, brought MRS. AARON RICHMOND statues of Amazons for the occasion. The competing artists were then Consultant called upon to choose the best statue. In the first poll, each man voted for his own work; but as soon as they had shown this faith in their own SAT. DEC. 1 , 8:30 work, they agreed upon the statue of Polyclitus as the winner. JORDAN HALL (KE 6-2412) The statue from which the cast was taken is now in Copenhagen. Sev- eral other Amazons gracing various European museums are assumed to be copies of the statues submitted by the unsuccessful competitors in Chamber Music the fifth century B.C. Society Of Lincoln Center Jaime Laredo, Violin Ani Kavafian, Violin Walter Trampler, Viola Leslie Parnas, Cello Laurence Lesser, Cello Program Beethoven, £ flat String Trio, Op. 3 Kodaly, Duo for Violin & Cello Tchaikowsky, Sextet for Strings, Op. 70 i SUN. DEC. 9 at 3 SYMPHONY HALL — CO 6-1492 $6.50, $5.50, $4.50, $3.50 Joint Recital: Evelyn Thomas Lear Stewart soprano baritone Malcolm Sitting Anacreon (Copenhagen) LIST OF CASTS IN SYMPHONY HALL Fraoer piano As you face the stage, the casts on the right, beginning with the one Lieder, Songs & Duets by Wolf, nearest the stage, are as follows: Brahms, Copland, Ives & Lehar Faun with Infant Bacchus (Naples). Apollo Citharoedus (Rome). Girl of Herculaneum (Dresden). Dancing Faun (Rome). FRI. DEC. 14, 8:30 Demosthenes (Rome). Sitting Anacreon (Copenhagen). SYMPHONY HALL — Euripedes (Rome). Seats Now Diana of Versailles (Paris). $7, $6, $5, $4. The casts on the left are: Resting Satyr of Praxiteles (Rome). RUDOLF Amazon (Berlin). Hermes Logios (Paris). SERKin Lemnian Athena (Dresden, head in Bologna). Sophocles (Rome). Famous Pianist in Recital Standing Anacreon (Copenhagen). Bach, Italian Concerto Aeschines (Naples). Schubert, "Wanderer" Fantasie Apollo Belvedere (Rome). Brahms, Four Klavierstucke The reliefs in the passage are: Beethoven, "Waldstein" Sonata Bacchic Procession (Naples). Steinway Piano Orpheus, Eurydice, and Hermes (Naples). 49 y/ie J/vusseau y/oi/sr o/'jOos/o/t +j7~adltionecl *jt~of ^Jlte I lew Reason Our hostess coat ... a simple sweep of multicolor plaid wool . . . outlined in gold. Front closing. Sizes 8 to 16. $160.00 416 Boylston Street, Boston • 54 Central Street, Wellesley All the selections heard at this concert are available in the special "Events at Symphony Hall" section of the Coop, which has the largest classical record department in Greater Boston. Bostons biggest ^^AOM Harvard Souare, Record Shop ^s^x r^S? Cambridge. 50 FUTURE PROGRAMS TUESDAY B SERIES Tuesday evening January 22 1974 at 7.30 MICHAEL TILSON THOMAS conductor BACH Suite no. 3 in D S. 1068 PISTON Toccata TCHAIKOVSKY Suite no. 3 in G op. 55 Tuesday evening March 5 1974 at 7.30 SEIJI OZAWA conductor RALPH GOMBERG oboe, SHERMAN WALT bassoon JOSEPH SILVERSTEIN violin, JULES ESKIN cello JEROME ROSEN violin HAYDN Symphony no. 1 in D Sinfonia concertante in B flat for oboe, bassoon, violin and cello op. 84 BACH Concerto in D minor for two violins S. 1043 SCHOENBERG Verklarte Nacht op. 4 programs subject to change BALDWIN PIANO DEUTSCHE GRAMMOPHON & RCA RECORDS Derrick Te Paske 51 ' COUNCIL OF FRIENDS OF THE BOSTON SYMPHONY ORCHESTRA Date Set for 1974 Musical Marathon The fourth annual Musical Marathon, sponsored by the Council of Friends of the Boston Symphony Orchestra, will be broadcast over WCRB (102.5 FM and 1330 AM) from Thursday evening, March 7 through Sunday night, March 10. Volunteers will man the telephones round the clock to accept requests for music selected from thousands of tapes of Boston Symphony and Boston Pops concerts. None of these tapes is available commercially, which makes the Musical Marathon a unique opportunity for those within reach of WCRB's transmitters to hear the music of their choice. Through arrangement with the members of the Boston Symphony Orchestra and with the approval of the American Federation of Musi- cians, tapes from the Boston Symphony Transcription Trust will be played during the fund-raising period of the Marathon itself and during the following week. Thus WCRB's listeners will be treated to two weeks of programming of the Boston Orchestras, a remarkable demonstration of cooperation among the station's management, staff and advertisers, public-spirited music lovers and those who make it all possible, the musicians themselves. Arthur Fiedler, Talcott M. Banks and Seiji Ozawa at last year's Musical Marathon preview party. Again the Orchestra members will give generously and imaginatively of their time and talents, both musical and otherwise, in the form of premiums. Last season the public was offered lessons and recitals, talks and dinners, golf and tennis games, rides, books and records as well as dozens of other exciting, amusing and valuable premiums. This sea- son's list will be no less diverse, as will be seen when the Musical Marathon catalog is released in February. Last season's Marathon raised the formidable sum of $76,000 plus. This is only one reason why those who work for the Marathon find it such a rewarding experience. Remember the dates and join in the fun and drama of the Boston Symphony Musical Marathon, March 7 through 10, 1974. For further information, write the Musical Marathon Office, Symphony Hall, Boston 02115, or call (617) 266-1492. Derrick Te Paske 52