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LIGHTING ERICH LEINSDORF, whose ten- POST ROAD MILFORD ure as Music Director of the Roston Symphony Orchestra ended last Au- gust when he conducted a perform- ance of Reethoven's Ninth symphony to close the Rerkshire Festival at Tanglewood, made a significant con- tribution to American musical life dur- ing his seven years with the Orchestra. Under his leadership the Orchestra presented many premieres and revived INSURANCE many forgotten works, Among the latter were the complete Schumann FOR YOU... Faust, the original versions of Reetho- YOUR FAMILY... ven's Fidelio and Strauss' , and the Piano concerto no. 1 AND YOUR BUSINESS of Xaver Scharwenka, while among the numerous world and American premieres were works like Rritten's War requiem and Cello symphony, the piano concertos of Rarber and Carter, Schuller's Diptych for brass quintet and orchestra, and Piston's Symphony ABRAHAM SILVERMAN no. 8. Despite his heavy schedule, leading the majority of the concerts 265 CHURCH ST • NEW HAVEN, CONN. • 865-4146 during the lengthy Roston Symphony SINCE 1930 winter season, the Rerkshire Festival DEPENDABLE • EXPERIENCED in the summer, and heading the ac- IT IS ALL IN THE SERVICER tivities of the Rerkshire Music Center, the academy operated by the Roston Symphony at Tanglewood, as well as making recordings with the Orchestra (Continued on page three) for RCA, Erich Leinsdorf found time PROGRAM NOTES to make several guest conducting 1 4 tours with European orchestras, and to Overture to Die Enlf'uhrung record full-length operas for RCA Re- aus dem SeraiF cords, the most recent of which were Wolfgang Amadeus Mozart Mozart's Cosi fan tutte, a Grammy award winner, Verdi's Masked ball By John N. Burk and Salome by Strauss. Immediately Mozart was born in Salzburg on after his final concert at Tanglewood, January 27, 1756; he died in Vienna Erich Leinsdorf flew to Buenos Aires, on December 5, 1791. The abduction and conducted five performances each from the seraglio, 'Singspiel' in three of Berg's , Strauss' Der Rosen- acts, was composed to a libretto by kavalier and Wagner's Parsifal, all in Gottlob Stephanie, who had made an new productions, at the Teatro Colon. adaptation of C. F. Bretzner's Bel- He recently returned to this country monte und Constanze: Mozart's opera to conduct the Chicago Symphony. was first performed in Vienna on For the past two weeks he has con- July 12, 1782, and there were innumerable ducted the Boston Symphony in their performances in Austria and in other home city. After his appearances this parts of Europe after the composer's week with the Orchestra, Erich Leins- death. The first American perform- dorf goes to Amsterdam, where he will ance was given in New York by the conduct the Concertgebouw Orchestra operatic school. for two months. Later plans include The Boston Symphony Orchestra appearances in Milan, Warsaw and first played the overture on London. Erich Leinsdorf has made December 22, 1882; George Henschel conducted. many recordings not only for RCA but 'Die Entfilhrung aus SeraiY was for the Capitol, London, Westminster dem and Pickwick labels. Mozart's first great popular success in opera. Several reasons can be given for this. Mozart entered the field of the Singspiel, which bears some formal resemblance to our operetta. The Singspiel, using the language of its audiences, relying upon intelligibility by spoken lines, dipping unashamed into broad comedy, resorting to color- ful scenery and costumes, was in great vogue in Vienna at the time. Enter- tainment alia Turca was then in similar MUNSON GALLERY favor, and Mozart, choosing an Ori- ental subject, made free use of such outlandish instruments as the bass For fine drum, cymbals, triangle, and piccolo. pictures These reasons in themselves would and excellent not have been enough to account for framing the immediate and spreading success

of 'Die Entfilhrung , which was per- formed seventeen times in Vienna in EST. 1860 its first season and quickly taken up by theatres in other cities. Mozart plunged into his subject with his usual 275 Orange Street New Haven enthusiasm and turned out music which on the stage and in the pit was Free parking for customers so full of verve, sparkle and true dra- L (Continued on page four) PROGRAM NOTES THE SOLOIST (Continued from page three)

matic delineation that there was no

resisting it. Copyright by Boston Symphony Orchestra Inc.

Five Altenberg songs op. 4 By Donald Harris The following paragraphs are taken from an extensive note which appeared recently in the Orchestra's program books in Boston. The note itself came from parts of various chapters in a forthcoming biography of Alban Berg which Donald Harris is presently com- pleting. The biography, which is orig- inally written in French, is scheduled for publication in 1970 by the Editions du Seuil, Paris, France. EVELYN LEAR spent her early five Altenberglieder T finished my years in New York City. After formal during the summer and the fall (of musical training as a child — she though they are con- 1912). Even learned to play the piano and French ceived as a cycle, they can be per- horn — she began serious vocal study (Continued on page six) at the age of seventeen. She joined the opera workshop of the , and in 1957 she and her singer- COHEN husband Thomas Stewart went to Berlin on Fulbright scholarships. Two A years later she took the place of an ill colleague and at very short notice sang Strauss' with the Lon- OWELL don Symphony and Sir Adrian Boult. LOCAL AND LONG DISTANCE MOVERS The same year she was engaged by the Deutsche Oper and in 1960 sang PACKING - CRATING - SHIPPING - the title role in Berg's . Her career STORAGE WAREHOUSES was then assured. She was soon mak- ing records — she is now a DGG re- cording artist — and has performed in major opera houses and at music fes- tivals in all parts of the world. Vienna, Salzburg, Buenos Aires, Frankfurt, Kansas City, Brussels, San Francisco, London, Stuttgart, Edinburgh, Prague and New York are among the cities where she has sung in opera, given Agents recitals or appeared in concert with ALLIED VAN LINES, INC. orchestras. Her enormous operatic Telephone 865-3181 repertoire includes Lavinia in Mourn-

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419 WHALLEY AVENUE NEW HAVEN. CONN. 06515 • 777-6333 421 Main St., Stamford • 20 East Main St., Waterbury PROGRAM NOTES orchestra op. 6 of Webern, followed (Continued from page four) by the Four orchestra songs (texts of Maurice Maeterlinck) of Alexander formed separately. They are all very von Zemlinsky, the Chamber sym- short, the second, third and fourth phony op. 9 of Schoenberg himself, very short indeed. If I were permitted two songs from the Altenberglieder, to suggest one in particular, it would and the Kindertotenlieder of Mahler. be the fifth ( Passacaglia ) , especially The prospect for Berg must have been since the vocal line is easy to sing. exulting, to say the least. Rarely has a Rehearsals for the orchestra would not young composer, barely in his twenty- be too difficult either. Even though it eighth year, been offered the occasion is the longest of the five songs, it is of a world premiere in such august still very short, only fifty-five measures surroundings, accompanied, as he

. . . but since you are so kind as to ask would be, by his teacher and idol, me for one or two songs, I would like Arnold Schoenberg, his intimate friend to suggest another; either the third or and fellow student in Schoenberg's the fourth song in addition to the class, Anton von Webern, the com- fifth. . : poser and conductor, Zemlinsky, Such is part of the reply which Schoenberg's brother-in-law and one Alban Berg sent to Schoenberg in of the prime movers in avant-garde Berlin on January 9, 1913, answering Viennese musical life, and, to head the the latter's request for a recent com- list, Gustav Mahler, the spiritual father position to be performed at a concert of them all, whose death two years of contemporary music which Schoen- earlier had deprived Schoenberg and berg himself was planning to conduct his followers of their most powerful in Vienna later that year. The program ally. was to begin with the Six pieces for (Continued on page ten)

The Yale Symphony Orchestra

John Mauceri, director

Beethoven — Symphony No. 9

Commemorating the bicentennial year of Beethoven's birth.

Judith Fay, soprano Joy Zornig, mezzo-soprano Blake Stern, tenor Richard Anderson, bass Yale Glee Club Fenno Heath, director Yale Women's Chorus Bruce E. More, assistant director

Saturday, December 13, 8:30 p.m. — Woolsey Hall

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Tuesday evening, December 9, 1969 at 8:30 Third Concert of the Woolsey Hall Concert Series Season 1969-70

Daggett M. Lee • Harold Kendrick Managers

Boston Symphony Orchestra

EIGHTY-NINTH SEASON 1969 - 1970 WILLIAM STEINBERG Music Director MICHAEL TILSON THOMAS Assistant Conductor ERICH LEINSDORF conductor

Overture to 'Die Entfuhrung aus dem Serail' K. 384 Mozart

Five Altenberg songs op. 4 Berg Seele, wie bist du schoner (Soul, you are more beautiful) Sahst du nach dem Gewitterregen (After the summer rain did you see the forest?) tjber die Grenzen des All

( Over the brink of beyond

Nichts ist gekommen

( Nothing is come

Hier ist Friede

(Here is Lethe) EVELYN LEAR soprano

Three excerpts from the opera 'Wozzeck' op. 7* Berg

1. Marie's room — evening. Military march and cradle song.

2. Marie's room — night. She talks to her child.

3. Drowning of Wozzeck. Children in front of Marie's house. EVELYN LEAR soprano WILLIAM WRIGHT boy soprano

- INTERMISSION -

»# Symphony no. 3 in E flat op. 55 'Eroica Beethoven Allegro con brio Marcia funebre: adagio assai Scherzo: allegro vivace Finale: allegro molto

Baldwin Piano — RCA Records* PROGRAM NOTES Excerpts from the opera (Continued from page six) 'Wozzeck' op. 7 Alban Berg If this concert had an air cle famille, By John N. Burk for surely these were the outstanding personalities in pre-First World War Georg Buchner (1813-1837) contemporary Viennese musical life, sketched a play, Wozzeck (originally the Viennese were, as usual, scarcely spelled 'Woyzeck') in the year before ready to recognize the talent in their his death. Alban Berg witnessed a midst. Rare indeed were those who stage performance in May 1914, and at were able to understand that the prin- once began to cast it into a libretto. He cipal initiators of musical thought and completed his text in 1917, and the creativity for the next fifty years to full score of his opera in 1921. The come, to say the least, were all score was published in a piano ar- gathered together for a concert which rangement by subscription in 1923. It could have become an historical event was acquired bv the Universal Edition of immense musical significance. The in 1924. 'skandalkonzerf which ensued (some The entire opera was first heard at three months previous to a similarly the Staatsoper in Berlin on December fateful May 29th premiere the same 14, 1925 under the direction of year of Stravinsky's he sacre du prin- Erich Kleiber. Performances followed temps in Paris) is, of course, all that throughout Europe. The first stage history has noted. Not only were both performance in America was given by premieres frequently interrupted, con- Leopold Stokowski conducting the tinually disturbed by yelling and whis- Philadelphia Orchestra, augmented by tling, accompanied by insults and al- members of the Curtis Symphony most general lack of willingness on the Orchestra, in Philadelphia, March 19, part of the public to give this music a 1931. The performance was repeated hearing, but in the case of Berg's in New York on the following Novem- Altenberglieder, forty years were to ber 24. Dimitri Mitropoulos conducted elapse before these songs were per- the entire opera in concert perform- formed once again. Not until 1953 in ance at a New York Philharmonic con- fact were these songs given in their cert on April 12, 1951. Wozzeck was entirety, since three of them had never performed by the New York City been performed at all, when the entire Opera on April 3, 1952. More recently cycle was presented in Paris and Rome two performances were given at under the direction of Jascha Horen- Tanglewood, in August 1969, by vocal stein. and instrumental fellows of the Berk- shire Music Center, conducted by Program note copyright 1969 Erich Leinsdorf. by Donald Harris (Continued on page fifteen)

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10 BOSTON SYMPHONY ORCHESTRA

ALBAN BERG

Five Altenberg songs

7.

Seele, wie bist du schoner, tiefer, nach Soul, you are more beautiful, pro- Schneestiirmen. founder, after snowstorms. Auch du hast sie, gleich der Natur. And you have them, child of nature, too. Und uber beiden liegt noch ein truber And over both, there still lies a breath Hauch, eh das Gewolk sich verzog! of melancholy gloom till the clouds blow away!

2.

Sahst du nach dem Gewitterregen den After the summer rain did you see Wald?!?! the forest? Alles raster., blinkt und ist schoner als All is glitter, quiet, and more beautiful zuvor, than before. Siehe, Fraue, auch du brauchst See, good woman, you too sometimes Gewitterregen! need summer rainstorms!

3.

Uber die Grenzen des All blicktest du Over the brink of beyond musingly sinnend hinaus; wandered your gaze; Hattest nie Sorge um Hof und Haus! Never a care for house and hold!

Leben und Traum vom Leben . . . Living a dream of life — suddenly, all

Plotzlich ist alles aus. is over. Uber die Grenzen des All blickst du Over the brink of beyond musingly noch sinnend hinaus! wandered your gaze.

4.

Nichts ist gekommen, nichts wird Nothing is come, nothing will, to still kommen fur meine Seele. my soul's longing.

Ich habe gewartet, gewartet oh, So long have I waited, have waited gewartet! so long, ah, so long! Die Tage werden dahinschleichen, und The days will slip stealthily, and in vain umsonst wehen meine aschblonden flutters my ashblonde silken hair seidenen Haare um mein bleiches round my pallid countenance! Antlitz!

5. 5.

Hier ist Friede. Hier weine ich mich aus Here is Lethe, here my tears flow, uber alles! my heart weeps out its sadness!

Hier lost sich mein unfassbares, uner- Here I give cry to my unfathomable, messliches Leid, das mir die Seele measureless sorrow that would

verbrennt . . . consume my very soul . . . Siehe, hier sind keine Menschen, keine Behold, not a sign of mankind, Ansiedlungen. not a soul around me:

Hier ist Friede! Hier tropft Schnee leise Here is Lethe! Here the snow drops in Wasserlachen. softly into pools of water.

Universal Edition (Alfred A. Kalmus Ltd) Excerpts from the opera 'Wozzeck' op. 7

There are five scenes in each of the three acts of the opera, making

fifteen in all, and these are connected by orchestral interludes. Three

excerpts ('Bruchstucke' - literally 'fragments') were extracted from the

score by the composer for concert use before the first stage perform- ance was possible.

Wozzeck is a pitiable figure, a social underling, a humble soldier, unable

to face his family problem, pursued by paranoia, beaten by poverty. He

and his mistress, Marie, have a child. He is the orderly of the Captain of

the regiment, who for amusement teases him about his 'morals', and he

is bound by necessity to let the regimental Doctor experiment upon him.

The first excerpt introduces Marie in their poor tenement, her child beside her. A regiment passes, and she sings:

Soldaten, Soldaten Soldiers, soldiers Sind schone Burschen! Are handsome fellows!

The troop is led by a gorgeous drum major, who waves to her at her window. The strains of the march are suddenly shut out as she closes

the window. She rocks the child to sleep with a lullaby.

Komm, mein Bub! Was die Leute Come, my boy, what do people wollen! expect? Bist nur ein arm' Hurenkind und You are only a whore's child; machst Yet you give your mother joy Deiner Mutter doch so viel Freud' With your unhallowed face. Mit deinem unehrlichen Gesicht. Lullaby. Eiapopeia.

Madel, was fangst du jetzt an? Girl, what now can be done? Hast ein klein Kind und kein You have got a child and no Mann! husband.

Ei, was frag' ich darnach? What's the good of asking?

Sing' ich die ganze Nacht: If I should sing all night: Eiapopeia, mein siisser Bu', 'Hush, my sweet baby,' Gibt mir kein Mensch nichts Not a soul would come to my help. dazu! Hansel, harness your six white Hansel, spann deine sechs Schim- horses, mel an, Give them food, give them drink. they'll eat, Gib sie zu fressen auf's neu . . . No food Kein Haber fresse sie, No water they'll drink! Kein Wasser saufe sie, Only cool wine must it be! Lauter kiihle Wein muss es sein!

iu (In the intervening scenes, Marie is seduced by the drum major, who gives her a pair of pretty earrings, and the Captain and the Doctor taunt

Wozzeck with the fact. Wozzeck is maddened by jealousy and almost

strikes Marie. The drum major baits him in a dance hall, and later in the barracks provokes a fight, leaving him beaten and bloody.)

In the second excerpt Marie in her room is reading from the Bible the

story of Mary Magdalen and reproaching herself for her sin. The music takes the form of a theme and variations:

'Und ist kein Betrug in seinem 'And there is no guile found in

.' .' Munde erfunden worden . . his mouth . . Herr Gott, Herr Gott! sieh mich Lord, Lord, look not upon me! nicht an!

Variation 1 (Marie continues reading):

'Aber die Pharisaer brachten ein 'But the Pharisees brought unto Weib zu ihm, so im Ehebruch him a woman that lived in lebte. adultery. 'Jesus aber sprach: 'Jesus said:

Variation 2:

'So verdamme ich dich auch 7 condemn thee not; go now and nicht, geh' hin, und sundige sin no more!' hinfort nicht mehr!'

Variation 3 (Marie looks at her child):

Herr Gott, der Bub gibt mir einen Lord God, the boy stabs me to the Stich ins Herz! heart! Fort! Das brust' sich in der Sonne! Go! You're nothing to brag about!

Variation 4 (Marie cries suddenly):

Nein, komm, komm her! Komm No, no! Come here! Come to me! zu mir!

Variation 5 (Marie begins to tell the child a story):

'Es war einmal ein armes Kind 'Once there was a poor child und hatt' keinen Vater und that had neither father nor kein Mutter; war alles tot und mother — war niemand auf der Welt, und Both were dead and there was no es hat gehungert und geweint one else in the world —

Tag und Nacht . . . And he was hungry and wept day

and night . . .

Variation 6 (continues the narration)

'Und weil es niemand mehr hatt' 'And since he had no one left in

.' .' auf der Welt . . the world . . Der Franz ist nit kommen, Franz has not come, not yester-

gestern nit, heut' nit . . . day, not today . . . PLEASE TURN THE PAGE QUIETLY Variation 7 (turning quickly to the Bible):

Wie steht es geschrieben von der What is written here about Mary Magdalena? Magdalen?

Fugue (Marie reads, then beats her breast):

'Und kniete hin zu seinen 'And she knelt and kissed His Fussen und weinte and kusste feet and wept, moistening them seine Fusse and netzte sie mit with her tears, and anointed

Tranen und salbte sie mit them with ointment . . /

.' Salben . .

Heiland! Ich mochte Dir die Holy one, I would anoint Thy Fusse salben; Heiland, Du hast feet also. Lord, Thou hadst pity Dich ihrer erbarmt, erbarme on her; have pity on me, too! Dich auch meiner!

(A night scene by a pond shows Marie and Wozzeck. She points out that the moon is blood-red, and at the word he is possessed by one of his wild hallucinations. He thrusts his knife into her throat. He runs away in terror, but returns to recover the knife, throws it into the pond.

He wades blindly into the water, which in his imagination has turned to blood. He stumbles and is drowned.)

The last excerpt begins at this point, and after an orchestral adagio in D minor leads to the final scene. It is the street in front of Marie's house. Her little boy is playing with other children. They hear about the murder and tell the child that his mother is dead. The children sing a snatch of a play song. The boy does not know what 'dead' means, but continues to play on his hobby-horse, calling 'Hopp! Hopp!' The children run off to see the body and the little boy follows, still calling 'Hopp! Hopp!' At KLH, we believe that music often leaves you no choice but to listen.

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12 CALENDAR OF EVENTS - 1969-70 SEASON DECEMBER

9 WOOLSEY HALL CONCERT SERIES - Boston Symphony Woolsey Hall 8:30 p.m. L2 SPRAGUE HALL FACULTY RECITAL SERIES - Ensemble Sprague Hall 8:30 p.m. Program 13 YALE SYMPHONY ORCHESTRA - John Mauceri, conductor Woolsey Hall 8:30 p.m. 16 NEW HAVEN SYMPHONY ORCHESTRA - Woolsey Hall 8:30 p.m. Itzhak Perlman, violin 17 YALE BACH SOCIETY - Paul Althouse, conductor Battell Chapel 8:30 p.m. J. S. Bach: B-Minor Mass JANUARY 6 WOOLSEY HALL CONCERT SERIES - London Symphony Woolsey Hall 8:30 p.m. CHAMBER MUSIC SERIES - Bartok Quartet Sprague Hall 8:30 p.m. 11 GUITAR CONCERT - Alirio Diaz Sprague Hall 4:00 p.m. 13 NEW HAVEN SYMPHONY ORCHESTRA - Woolsey Hall 8:30 p.m. Janet Baker, Mezzo; Lois Marshall, Soprano; Blake Stern, Tenor 17 NEW HAVEN SYMPHONY ORCHESTRA - Lyman Hall 11:00 a.m. YOUNG PEOPLE'S CONCERTS S.C.S.C. 1:00 p.m. 3:00 p.m. 18 CHAMBER PLAYERS OF THE NEW HAVEN Sprague Hall 4:00 p.m. SYMPHONY 20 WOOLSEY HALL CONCERT SERIES - Sviatoslav Richter, Woolsey Hall 8:30 p.m. piano 25 GUITAR CONCERT - Oscar Ghiglia Sprague Hall 4:00 p.m. 30 COLLEGIUM MUSICUM ORCHESTRA - Robert Nagel, trumpet Sprague Hall 8:30 p.m. FEBRUARY 3 NEW HAVEN SYMPHONY ORCHESTRA - Woolsey Hall 8:30 p.m. David Oistrakh, violin 6 SPRAGUE HALL FACULTY RECITAL SERIES - Sprague Hall 8:30 p.m. Ward Davenny, piano 10 YALE WIND ENSEMBLE - Keith Wilson, conductor Sprague Hall 30 p.m. 15 CHAMBER PLAYERS OF THE NEW HAVEN SYMPHONY Sprague Hall 00 p.m. 17 WOOLSEY HALL CONCERT SERIES - Cleveland Symphony Woolsey Hall 30 p.m. 18 COLLEGIUM MUSICUM ORCHESTRA CONCERT Alice Tully Hall New York City 30 p.m. 20 YALE SYMPHONY ORCHESTRA - John Mauceri, conductor Woolsey Hall 30 p.m. 21 YALE BAND - Winter Concert Woolsey Hall 30 p.m. 24 CHAMBER MUSIC SERIES - Guarneri Quartet Sprague Hall 30 p.m. 27 COLLEGIUM MUSICUM ORCHESTRA - Francis Whang, piano Sprague Hall 30 p.m. MARCH 7 NEW HAVEN SYMPHONY ORCHESTRA Lyman Hall 11:00 a.m. YOUNG PEOPLE'S CONCERTS S.C.S.C. 1:00 p.m. 3:00 p.m. CHAMBER MUSIC CONCERT Alice Tully Hall

New York City 3 : 00 p.m. 10 NEW HAVEN SYMPHONY ORCHESTRA - Andre Watts, piano Woolsey Hall 8:30 p.m. 21 THE NEW HAVEN OPERA SOCIETY, INC. S.C.S.C. 8:30 p.m. 22 JOHANN STRAUSS "THE BAT" (Fledermaus) S.C.S.C. 7:00 p.m. 29 SUNDAY BICENTENNIAL SERIES, Samuel Yaffe, pianist Jewish Com. Center of New Haven 3:00 p.m. 31 CHAMBER MUSIC SERIES - Yale Quartet Sprague Hall 8:30 p.m. APRIL 1 YALE STRING QUARTET Alice Tully Hall New York City 30 p.m. 4 YALE BAND Woolsey Hall 30 p.m. 7 WOOLSEY HALL CONCERT SERIES - Henryk Szeryng Woolsey Hall 30 p.m. 12 COLLEGIUM MUSICUM ORCHESTRA CONCERT - Woolsey Hall 30 p.m. Yale/Vassar Glee Clubs, Fenno Health, conductor W. A. Mozart Requiem. 25 NEW HAVEN CHORALE CONCERT - Gustav Meier, conductor Woolsey Hall 8:30 p.m. J. S. Bach: B-Minor Mass 26 SUNDAY BICENTENNIAL SERIES, Samuel Yaffe, pianist Jewish Com. Center of New Haven 3:00 p.m. 28 NEW HAVEN SYMPHONY ORCHESTRA - Van Cliburn, piano Woolsey Hall 8:30 p.m. MAY 9 YALE SYMPHONY ORCHESTRA - John Mauceri, conductor Woolsey Hall 8:30 p.m. 15 COLLEGIUM MUSICUM ORCHESTRA - Concerto Concert Woolsey Hall 8:30 p.m. 24 SUNDAY BICENTENNIAL SERIES, Samuel Yaffe, pianist Jewish Com. Center of New Haven 3:00 p.m.

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mm*m*mm mmuiffiwf h i h i Macy's Fine Wine and Liquor Store, Permit No. 06951, 71 Temple Street, New Haven PROGRAM NOTES of imaginative power, has not hap- (Continued from page ten) pened since. That enviable century produced two composers whose am- exeerpts prepared Three were by plitude of resource and consistency of before the performance the composer growth were such that over and above the entire work was possible and of the continuing traits of their personal were presented in Frankfurt-am-Main style, the succession of their greater on June 11, 1924, Herman Scherchen works unfolded, one after another, conducting. The three excerpts were new and distinct tonal concepts. first performed by the Boston Sym- Tristan or Die Meistersinger has each phony Orchestra on February 28, a character completely its 1958, Richard Burgin conducting; own. Each of Patricia Neway took the soprano part. Beethoven's symphonies from the Copyright by Third to the Ninth opens a fresh vista Boston Symphony Orchestra Inc. of its own — this in varying degree, but most strikingly in the Third. Symphony no. 3 in E flat 6 Beethoven's remark to Krumpholz in op. 55 Eroica' 1802 while Ludwig Van Beethoven sketching his Third sym- phony that he was taking a new road' By N. Burk John is often quoted, and rightly so. Beetho- Beethoven was born in Bonn in ven's phrase, reported by Czerny, was December 1770 (probably the 16th); an understatement, for no single musi- he died in Vienna on March 26, 1827. cal work in history can compare with He composed the Eroica Symphony it as a plunge into new ways. When between 1802 'and 1804, and the first Schumann published his article on the place privately at performance took youthful Brahms in 1852 under the the house of Prince von Lobkowitz in title 'Neue Bahnen [New paths], he Vienna in December 1804, Beethoven was going too far if he had in mind himself directing. The first public per- Beethoven's "Neuen Weg\ Brahms's formance was at the Theater-an-der- First Symphony would vindicate this Wien on April 7, 1805. The Boston clear-visioned prophet, but that Symphony Orchestra first performed Sym- the Symphony on November 18,^1881 phony was arrived at only after years under Georg Henschel's direction. of germination and accumulating Erich Leinsdorf and the Boston Sym- force. The Eroica was a new road both phony Orchestra have recorded the in the composer's meaning of a sudden Eroica Symphony for RCA. broadening in his own development, The liberation of music in the nine- and in the universal sense that it teenth century brought about a re- changed the whole course of music. markable result which had been im- possible before on account of stylistic Copyright by constriction, and which, for sheer lack Boston Symphony Orchestra Inc. INSURANCE MANAGEMENT

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