>,%* »-»v JHmsH '-^,—~i'6Ct-'/s& u. r BOSTON SYMPHONY ORCHESTRA FOUNDED IN 1881 BY 1/ HENRY LEE HIGGINSON TUESDAY EVENING "CAMBRIDGE" SERIES *4£&- » • 1 • 7// £&!£». >a»4 ^ >aU EIGHTY-SIXTH SEASON 1966-1967 - b "Erich Leinsdorfand the Mihtef SecKlv of Kcnaa chestra Boston Symphony9 who gav us the finest version of tht produce the Phyllis Cur Fifthf now first stereo Sixth..." recording in the Boston Syi This distinguished 2 LP, Qynagroove acclaim from , phony's Mahler series has received rousing critical Berg's LeVm, sung quarters. Coupled with this performance is recording rca Victor French by Phyllis Curtin. And along with Leinsdorf's @The most trusted name in sound T"k-. by Miss Curtin Mahler's Fifth is a performance -again sung excerpts from Berg's Wozzeck. EIGHTY-SIXTH SEASON, 1966-1967 1 CONCERT BULLETIN OF THE Boston Symphony Orchestra ERICH LEINSDORF, Music Director Charles Wilson, Assistant Conductor The TRUSTEES of the BOSTON SYMPHONY ORCHESTRA, Inc. Henry B. Cabot President Talcott M. Banks Vice-President John L. Thorndike Treasurer Philip K. Allen E. Morton Jennings, Jr. Abram Berkowitz Henry A. Laughlin Theodore P. Ferris Edward G. Murray Robert H. Gardiner John T. Noonan Francis W. Hatch Mrs. James H. Perkins Andrew Heiskell Sidney R. Rabb Harold D. Hodgkinson Raymond S. Wilkins TRUSTEES EMERITUS Palfrey Perkins Lewis Perry Edward A. Taft Oliver Wolcott Thomas D. Perry, Jr., Manager Norman S. Shirk James J. Brosnahan Assistant Manager Business Administrator Sanford R. Sistare Harry J. Kraut Press and Publicity Assistant to the Manager Andrew Raeburn M Assistant to the Music Director SYMPHONY HALL BOSTON [3] This man is a dreadful lawyer In fact, he's no lawyer at all. But that didn't stop him from writing his own Will. (Why not save the legal fees? thought he.) The cost will be enormous. For example, when he dies, his estate will dwindle under taxes that a well-drawn Will can avoid. Worse — a good part of what's left after taxes, claims and settle- ment costs may well end up in the wrong hands. It's so easy to have your Will drawn by a lawyer . and so ex- pensive, so wasteful, so downright unfair to your heirs not to! See your lawyer about your Will. Keep it up to date. Maybe there will be a place for us in the picture, as executor or trustee. THE FIRST & OLD COLONY The First National Bank of Boston and Old Colony Trust Company [4] EIGHTY-SIXTH SEASON NINETEEN HUNDRED SIXTY-SIX-SIXTY-SEVEN First Program TUESDAY EVENING, October 18, at 8:30 o'clock Mahler Symphony No. 3, in D minor, with Women's Chorus and Contralto Solo I. Kraftig, entschieden (Vigorous, decisive) INTERMISSION II. Tempo di Menuetto: Sehr massig (Very moderately) III. Comodo; scherzando IV. Sehr langsam, misterioso (Slow, mysterious) (with Contralto solo) V. Lustig in Tempo und keck im Ausdruck (Lively in tempo and jaunty in expression) (with Chorus and Contralto solo) VI. Langsam, ruhevoll, empfunden (Slow, peaceful, expressive) NEW ENGLAND CONSERVATORY CHORUS Lorna Cooke deVaron, Conductor BOSTON BOYCHOIR John Oliver, Director Contralto Solo: SHIRLEY VERRETT BALDWIN PIANO RCA VICTOR RECORDS [5] SYMPHONY NO. 3 By Gustav Mahler Born in Kalischt, Bohemia, July 7, i860; died in Vienna, May 8, 1911 Mahler began his Third Symphony in 1895 and finished it in August of 1896. The first complete performance took place at the music festival given by the Krefeld Tonkunstler on June 9, 1902. The composer conducted. There followed other per- formances of the Symphony, in whole or in part, in central Europe. The first com- plete performance in America took place at a May Festival in Cincinnati, May 9, 1914, when Ernst Kunwald conducted. Willem Mengelberg, as conductor of the New York Philharmonic Society orchestra, performed the complete symphony at its concerts, February 28, 1922. Richard Burgin conducted the first movement only at the concerts of the Boston Symphony Orchestra March 19-20, 1943. The first complete performance of the Symphony in Boston was conducted by Mr. Burgin at the concerts of January 19-20, 1962. The score calls for these instruments: 4 flutes and 2 piccolos, 4 oboes and English horn, 3 clarinets, 2 E-flat clarinets and bass clarinet, 4 bassoons and contra-bassoon, 8 horns and post horn, 4 trumpets, 4 trombones and tuba, timpani, glockenspiel, tambourine tam-tam, small drum, bass drum, cymbals, triangle, 2 harps and strings. There is a contralto solo in the fourth movement and likewise a chorus of boys' and women's voices in the fifth. TV yTAHLER achieved a full performance of his Third Symphony seven -L * -* years after its completion — and with considerable difficulty. The admired conductor had not until that time won general recognition as a composer. His first two symphonies had been sporadically applauded but liberally picked to pieces. The Fourth had been pro- duced in Munich the year before by Weingartner. The Third was inevitably delayed a hearing by its difficulties, the large performing forces required, and its length. Mahler was anxious that his Symphony should be performed in full, and when a chance offered in the Rhenish GERTRUDE R. NISSENBAUM VIOLIN 34 TAPPAN STREET Tel. LOngwood 6-8348 BROOKLINE 46, MASSACHUSETTS KOBEBT GOMBEKG, Violinist Curtis Philadelphia Institute Orchestra Accepting Intermediate and Advanced Students • Coaching in Chamber Music For information write 143 Beaconsfield Road, Brookline Call LO 6-1332 [6] 1 |U Pirn & PmB mm Boston's~~Most Distinguished Gift Shop A New England landmark combining uniquely the finformality of a Country Store, the flavor of a Ship Chandler and the sophistication of London's Bond or Regent streets. PINE & PRINT gifts are exclusive but not extravagant. 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Frankly all quite irrestible! 601 Boylston Street (near the corner of Dartmouth St.) in Boston's Historic Copley Square* Totes Open Mon. thru Fri. 'til 9 p.m. * & Carryalls J?^ vast variety of Americana Sat. 'til 6 p.m. and other prints. 'British Men-of-War anchored on this site during the Revolution . years Totes from $3.95 before prestigious Back Bay was created. Carryalls from $5.95 The date but not the flavor has changed. town of Krefeld in 1902 he overrode the objection to the cost of prep- aration by offering to pay for the rehearsals out of his own pocket. He conducted the performance, but only after thirty rehearsals. The sym- phony was a definite success. The Third Symphony is in two parts, the first movement, which is by far the longest, comprising the first part. The second and third movements are in effect scherzos. In the fourth movement, slow and mysterious, a contralto sings the night wanderer's song from Nietzche's "Zarathustra," in which man's suffering is found transitory, his joy eternal. In the fifth movement, a chorus sings naive devotional verses from the medieval "Des Knaben Wunderhorn." Mahler had intro- duced a text from this poem into his Second and would again do so in his Fourth. He had intended to use an angel's text in a seventh move- ment to his Third Symphony, but wisely decided to end with six move- ments and used the projected finale, with soprano solo, for the Fourth. The slow movement, which thus ends the Third, a serene and tender adagio, is the most affecting of all, and the final pianissimo D major chord which he holds for thirty bars, as if reluctant to let his huge score pass into silence, shows one of his characteristic traits. When Mahler had composed his Third Symphony he had become cautious about divulging titles to explain his music. The titles which he gave out for the first performance, but eliminated from the pub- lished score, were: I - Introduction: Awakening of Pan; Summer enters; II - Minuet: What the flowers tell me; III - Scherzo: What the animals in the forest tell me; IV - Contralto solo; What man tells me; V - Women's Chorus, Boys' Chorus, Contralto: What the angels tell me; VI -Adagio: What love tells me.