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CONCERT BULLETIN

OF THE Boston Symphony Orchestra

ERICH LEINSDORF, Music Director

Charles Wilson, Assistant Conductor

Copyright, 1967, by Boston Symphony Orchestra, Inc.

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

Thomas D. Perry, Jr., Manager

S. Norman Shirk James J. Brosnahan Assistant Manager Business Administrator

Sanford R. Sistare Harry J. Kraut Press and Publicity Assistant to the Manager Andrew Raeburn Assistant to the Music Director SYMPHONY HALL BOSTON

[HIS] New Recording of Beethoven's Concerto No. 3 by RUBINSTEIN with the Boston Symphony Orchestra under Leinsdorf "The world's greatest pianist" (Time) collaborates with Erich Leinsdorf in Beethoven's Piano Concerto No. 3, newest album in their highly acclaimed recordings of Beethoven's piano concertos.

rcaVictor The most trusted name in sound CONTENTS • 1479 §ft(a&ann

Smetana ("The Moldau") . 1481 Nielsen (Concerto for Flute

and Orchestra) . 1488

A Letter to our Subscribers

from Erich Leinsdorf • i5°4 Entr'acte Schubert's Vienna (J.N.B.) 1534 Notes Schubert (Symphony in C major) .... 15!2

THE SOLOIST Doriot Anthony Dwyer, principal flute of the Boston Symphony Orchestra, is the first woman to hold a first chair in this Orchestra. She was born in Strea- tor, Illinois, and her first teacher was her mother, a professional flutist. She attended the Eastman School of Music, where she studied with Joseph Mariano. Other teachers she has worked with are Ernest Liegl, first flute of the Chicago Symphony, and the late Georges Bar- rere. During her first professional en- gagement, as second flute of the Na- tional Symphony, she continued her studies under the late William Kincaid, and later joined the Los Angeles Phil- harmonic, also playing first flute in the Hollywood Bowl Orchestra. She joined the Boston Symphony Orchestra as prin- cipal flute in the autumn of 1952, and has also played in many chamber combina- tions, including many performances with the Boston Symphony Chamber Players, since the formation of this group in 1964. RETIRING MEMBERS Five members of the Orchestra are leaving at the conclusion of the present season. The years in which they joined

the Orchestra are here given : Minot Beale (1929), Albert Bernard (1925), Jean Cauhape (1925), Irving Frankel (1919), Henry Freeman (1945). The Trustees take this opportunity to express their gratitude to these gentle- men for their long, faithful and careful service to the Orchestra and to wish Our packable, washable acetate robe them well.

will take you everywhere. . . . Pink ANNOUNCEMENT floral print on a White background. Petite, Small, Large. The Council of Friends is planning a Medium, $35.00 series of Pre-Symphony luncheons on 416 BOYLSTON STREET 54 CENTRAL STREET Friday afternoons beginning next season. BOSTON 021 16 WELLESLEY KEnmore 6-6238 CEdar 5-3430 An invitation will be sent to all the Friends of the Boston Symphony Or-

[ 1475 ] 1

chestra later this spring. There is much enthusiasm surrounding this newest proj- ect of the Council, and we hope to welcome all our old and new Friends to these luncheons.

ART SALE FOR THE COMMITTEE isten TO RESCUE ITALIAN ART Artists, collectors and galleries throughout New England have been in- vited to contribute works for an art exhibition and sale at the Carpenter Listening is a way of learning. Center, Harvard University, to raise funds for the Committee to Rescue Italian Art. The exhibition will be open By listening, we feel an orchestra's depth to the public without charge from Sat- that might never show in the conductor's urday, April 22, through Sunday, April score. 30. from 11 a.m. to 10 p.m. daily. The Committee to Rescue Italian Art, organized to give financial and technical Listening is a way of learning about assistance in the task of restoring count- Christian Science, too. less art treasures damaged in the No- vember floods, has its headquarters in Every Wednesday evening at The Mother New York with Mrs. John F. Kennedy as honorary president. Although several Church, you may hear individuals from months have passed since the flood the congregation tell how their lives have waters swept through Florence, Venice, been touched and enriched by an under- and numerous smaller cities and towns, the need for aid in the massive restora- of God. Listening may bring you standing tion project is by no means past. something of the inspiration they have Churches, museums and monuments suffered severe damage from water, oil, found. and mud ; but the damage, in many cases irreparable, to hundreds of thousands Wednesday You are invited to come. Any of priceless books and manuscripts in evening at 7:30. the National Library and Archives of Florence is an even greater loss. It has been estimated that the work of restor- FIRST CHURCH OF CHRIST, SCIENTIST THE ing those treasures not beyond repair IN BOSTON will take at least twentv vears.

Across from Symphony Hall on Falmouth Street EXHIBITIONS

- 1 1 The exhibitions shown in the Gallery

I i *i» through the past season were loaned by ft I * '-—.., I j the following artists and associations: New Hampshire Art Association - ^ i . M (September 23 - October 8) Doll and Richards Gallery 1 *& ^£ (October 18 - November 12) ^p^- .. & *^fl Boston Society of Watercolor Painters (November 22 -December 10) ; i v wf "#f| "lb Subscribers' Exhibition (December 13 - January 3) Shore Galleries $ i£i f (January 6-21) •**** ' Gallery of World Art, Inc. 1 r ./ift^. p£*w (January 31 - February 14) r

i* ; % New England Artists' Group (February 17 - March 14) Tyringham Galleries j (March 17 -April 1)

[1476] IT'S TV AUCTION TIME AGAIN IN BOSTON CHANNEL 2 MAY 29-JUNE 3 MONDAY- SATURDAY 2:00 P.M. -MIDNIGHT

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Pick up the phone — maybe your bid will take val- uable items for less.

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[•478] EIGHTY-SIXTH SEASON NINETEEN HUNDRED SIXTY-SIX-SIXTY-SEVEN

Twenty-fourth Program

FRIDAY AFTERNOON, April 21, at 2:00 o'clock

SATURDAY EVENING, April 22, at 8:30 o'clock

Smetana "The Moldau" ("Vltava"), Symphonic Poem

Nielsen Concerto for Flute and Orchestra

I. Allegro moderato

II. Allegretto; Poco adagio; Tempo di marcia

(First performance at these concerts)

IN TERM IS S ION

Schubert * Symphony in C major (Posthumous)

I. Andante; Allegro ma non troppo

II. Andante con moto III. Scherzo IV. Finale

SOLOIST DORIOT ANTHONY DWYER

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[1480] SYMPHONIC POEM, "THE MOLDAU" ("VLTAVA") By Bedrich (Friedrich) Smetana

Born in Leitomischl, Bohemia, March 2, 1824; died in Prague, May 12, 1884

The Symphonic Poem The Moldau was composed in November and December,

1874. The first performance was at Zofin, April 4, 1875. The cycle of symphonic poems of which this was the second, and which was dedicated to the city of Prague, was performed there for the benefit of the composer on November 5, 1882. The first performance of The Moldau at the concerts of the Boston Symphony Orchestra took place November 21, 1890. There were performances December 1, 1893; February 11, 1898; April 14, 1899; October 30, 1908; February 10, 1911; April 12, 1918; December 22, 1922; January 23, 1942; January 29, 1943, and January 13-14, 1961. The Moldau is scored for 2 flutes and piccolo, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 3 trombones and tuba, timpani, bass drum, cymbals, triangle, harp, and strings.

npHE cycle of six symphonic poems, Md Vlast (My Country), was a -*- consistent part of its composer's efforts to establish an active musical culture in his country which should be in accord with the character and tradition of his people. Smetana's efforts in Prague in this direc- tion had for a long time little recognition and little reward. Circum- stances were against him. His father, who was a brewer in humble

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4«i 1 circumstances, opposed a career in so unpromising a field as music. The German language and culture was obligatory in Bohemia, and the cultivation of a truly Czechish music was difficult. After the revolution of 1848, the restrictions against any patriotic expression were particu- larly oppressive. The private music school he started at Prague, combined with his efforts as concert pianist, were insufficient for a living, and in 1856 he went to Goteborg in Sweden and taught there. He had been warmly befriended by Liszt at Prague, and consequently composed three symphonic poems somewhat in the Lisztian style. As a result of Austria's defeat by the Italians in 1859, the domination of that monarchy was weakened, an increased autonomy was conceded to Bohemia and there was a corresponding upsurge of national effort. A new National Opera house was erected and intended for operas in the native language and character. Smetana returned to Prague in

1861, and accordingly composed his first opera, The Brandenburgers in Bohemia. It was produced in the new theatre in 1866 with some success; and in the same year The Bartered Bride was rapturously received, and its composer was appointed the first conductor at the opera house. Dalibor (1868) brought accusations of Wagnerian influ- ence, nor did The Two Widows (1874) or Libussa (belatedly performed in 1881) repeat the success of The Bartered Bride. Smetana became

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[1483] discouraged and, afflicted with total deafness in 1874.. resigned his conductorship.

It was then that he turned to orchestral music and composed his set of six symphonic poems, Ma Vlast, between 1874 and 1879. They were therefore the works of a deaf composer. Quite unlike his earlier attempts in this form, they were immersed in folk legend. He also composed in this period the String Quartet From my Life, which reflects the tragedy of his deafness. Two more operas, The Kiss in 1876, and The Secret in 1878, were a vindication of the ability of the composer of The Bartered Bride. The failure of another opera, The Devil's Wall, in 1882, was an indication of rapidly failing health. In 1884 he entered an insane asylum, where after a few weeks he died.

"Vltava" is known outside of Bohemia as "The Moldau," a name which derives from the Latin Multava. Smetana's fellow countryman Zeleny wrote a detailed program for each of the six symphonic poems, and, as Smetana accepted these programs, they may be taken as authen- tic. Concerning Vltava he wrote as follows:

Two springs pour forth their streams in the shade of the Bohemian forest, the one warm and gushing, the other cold and tranquil. Their waves, joyfully flowing over their rocky beds, unite and sparkle in the

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[M85] morning sun. The forest brook, rushing on, becomes the River Moldau, which, with its waters speeding through Bohemia's valleys, grows into a mighty stream. It flows through dense woods from which come the joyous sounds of the chase, and the notes of the hunter's horn are heard ever nearer and nearer. It flows through emerald meadows and lowlands where a wedding feast is being celebrated with song and dancing. At night, in its shining waves, wood and water nymphs hold their revels, and in these waves are reflected many a fortress and castle — witnesses of bygone splendor of chivalry, and the vanished martial fame of days that are no more. At the rapids of St. John the stream speeds on, winding its way through cataracts and hewing the path for its foaming waters through the rocky chasm into the broad river bed, in which it flows on in majestic calm toward Prague, welcomed by time-honored Vysehrad, to disappear in the far distance from the poet's gaze.

J. N. B.

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The first woman to hold a first chair in the Boston Symphony, Mrs. Dwyer has been Principal Flute since 1952. Once the storm of controversy surrounding her appointment had

abated, it was quickly clear that she was in- deed an ornament to the ensemble — in more ways than one! BORIS AND MILTON -Boston

A native American who was born in Streator, Illinois, she was suc- cessively a pupil of her mother, also a distinguished flutist; of Ralph

Johnson; of Ernst Liegl, first flute of the Chicago Symphony; of the late Georges Barrere; and, at the Eastman School, of Joseph Mariano. During her first professional engagement, as second flute of the National Sym- phony, she continued her studies under the famous William Kincaid. Soon afterward, she became second flute of the Los Angeles Philharmonic, a chair she held for seven years. In this same period she was chosen by the late Bruno Walter to be principal flutist in the Hollywood Bowl Symphony.

When, in 1952, the great Georges Laurent retired after 30 years of leading the Boston Symphony's brilliant flute section, the identity of his successor became a matter for suspenseful speculation. It was resolved when Charles Munch said simply, "At Tanglewood I auditioned many flute-players. The best was Miss Doriot Anthony."

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[1487] CONCERTO FOR FLUTE AND ORCHESTRA By Carl Nielsen

Born in Norre-Lyndelse, near Odense, on the Island of Fyn, June 9, 1865; died in Copenhagen, October 2, 1931

The orchestral accompaniment of the Concerto is scored for 2 oboes, 2 clarinets, 2 bassoons, 2 horns, bass trombone, timpani and strings.

Musical people in Denmark have long had a proprietary fondness for the music of Carl Nielsen and a reverence for the modest composer of country origin who for years was a familiar figure pre- siding over the Royal Orchestra at Copenhagen, where his symphonies, his tone poems and choral works were often heard and applauded. His musical eccentricities (Nielsen called his Second Symphony "The Four Temperaments," and others: "The Expansive Symphony" [No.

3], "The Inextinguishable" [No. 4], and "Sinfonia Semplice" [No. 6]) were accepted by his compatriots as the part of genius. For a long time this "strange" composer in Denmark had little attention in the rest of the musical world. He was inconvenient to musical commentary because he was unclassifiable — a modest and unassuming man who did sudden and unprecedented things in music.

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[ 1488 Besides the Boston Symphony, the best thing about Symphony Hall is

Symphony Hall ranks today among the finest acoustical auditoriums in the world, even though it was built over a half century ago. For this we can thank Professor Wallace Clement Sabine of Harvard University's physics depart- ment. He designed and built the interior. Professor Sabine disregarded the accepted theory that it was impossible to judge the acoustical excellence of a hall before it was built. Gathering the opinions of experts, he learned that the Boston Music Hall, then the Symphony's home, and Gewandhaus in Leipzig were generally consid- ered to be the two best acoustical auditoriums in the world. After studying these two concert halls, and armed with the minimum number of seats the new building had to contain in order to be economically feasible, Professor Sabine went to work. He determined that the best acoustical response for the hall would be a reverberation period of 2.31 seconds. And he designed his hall to achieve that measure. People laughed at him. No one could predict from blueprints what the rever- beration period would be. But when Symphony Hall opened in 1905, the reverberation period was exactly 2.31 seconds. Professor Sabine's triumph was the birth of modern acous- tical science.

An interesting story ? We thought so. And we hope you enjoyed it. Just as we hope you enjoy tonight's performance.

We Bostonians are pretty lucky, come to think of it : one of the world's finest symphony orchestras and music halls. And they're both here.

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[H89 He was surprisingly "different," an individual who followed no "mod- ern" trend, and at the same time had no affiliation with the post- Wagner Romanticism in Germany. He was like Sibelius in this respect, and indeed he was exactly six months older than Sibelius. But he had

to wait still longer than Sibelius before his music won general attention. He turned to the old masters, betrayed in his symphonies a frank ven- eration for Brahms, and embraced classical forms long before other

composers, then still "romantically" inclined, had become "neo-classi- cal." His symphonies were at length played in Central European cities and the composer visited Amsterdam and London where he conducted his own music in 1923. Frederick Stock made known his First Sym- phony in Chicago in 1906, but pursued this path no further. Erik Tuxen conducted the Fifth Symphony at the Edinburgh Festival in 1950 with the visiting Danish State Radio Orchestra, and subsequently brought it to the United States. Since then, the music of Nielsen has been frequently played by major symphony orchestras the world over, and there have been many recordings, both of his symphonic works

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1 [H9 ] and of his chamber music. The result has been a constantly increas- ing admiration for his music.

Mr. Tuxen has this to say about the composer:

"It is very strange that the name of Carl Nielsen has never earned for itself a musical public outside of Denmark, while the name of Sibelius, who was born the same year, is known the world over. I should not like to make any comparisons concerning the importance of these two composers, but I think I can say, without appearing biased, that Carl Nielsen was so great a personality as to be undeserving of this isolation. "There have probably been different reasons for the difficulty of Carl Nielsen's music until now to win friends outside Scandinavia. His music is very closely associated with the nature of his country, as is Sibelius's. The Finnish composer had a very inspiring background for his dramatic tone poems in the landscape of Finland, with its thousand lakes and big, mysterious forests. Carl Nielsen's music is born out of

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[ H93 J the ethereal and calm Danish nature, with its soft colors and lack of dramatic accents. Carl Nielsen is definitely a romantic, but a romantic without sentimentality. In all his compositions there are quick changes of mood from tranquillity to dramatic intensity, from lyrical simplicity to humor, now gruff and now buoyant as if in laughter. "Brought up with the music of the late romantics, his strong-willed and truth-seeking musical self soon was unsatisfied with the already developed musical idiom. He began his own education and the development of his individual style of composing by studying exten- sively the masterworks of Palestrina and his contemporaries. Here he learned to appreciate the value of those bricks of music-making, the intervals; and long before Hindemith and his counterparts created the slogan "linear music," Carl Nielsen had already, in practice, developed his style. This mixture of his education in romantic music, combined with the most radical principles of modern art, made it difficult for the public to accept this musical language. Lovers of the classics found him terribly modern, while addicts of the modern school found his style old-fashioned. Maybe that is one of the reasons that Nielsen's music was slow to find friends, but now that the distance of time has equalled these differences, as small hills in a landscape disappear when they are seen from the top of a mountain, due acknowledgment of his genius may be forthcoming. ..."

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A representative selection at Peabody, Framingham, and Bedford, N. H. A non-Danish estimate of Nielsen was given by Desmond Shawe- Taylor, writing from Copenhagen for the New York Times:

"Nielsen's musical personality is commonly described as 'optimistic/ but the adjective should be used with caution. He was above all things spontaneous, and a spontaneous man of intelligence is not so easily classified. What emerges from his work is a quality for which optimism is too crude, too intellectual and too political-sounding a name: it is a kind of harmonious virility, a strength which is predominantly good- tempered and easy-going. There is a large free air about his themes; they seem to roam around and do what they like, diverging every now and then into one of those lazy lyrical backwaters (usually for wood- wind) which are typical of his style."

In writing a concerto, Nielsen felt no need for the large form which Brahms and Dvorak had used before him; instead he thought of the concerto as a more intimate structure. As early as 1911, he had written a violin concerto, and set the pattern for two later concertos, for flute and for clarinet, which did not appear until more than a decade later.

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[»497] Nielsen had always been intrigued in writing for woodwind instru- ments. One of his greatest works is probably the Wind Quintet, Op. 43, but even in his early days he had written two fantasias for oboe and piano, and the Canto Serioso for horn and piano. When he completed the Wind Quintet he decided that he would like to write a concerto for each of the five instruments, but in the end he completed only two. The Flute Concerto was written in 1926 and dedicated to his friend Holger Gilbert Jesperson. The first performance was in the same year, with Mr. Jesperson as soloist, and was conducted by Emil Telmanyi.

The Concerto is in two movements and is essentially a study of moods, one succeeding another in quick succession. Nielsen had said himself, speaking of the flute as a solo instrument: "The flute cannot belie its true nature. It is at home in Arcadia and prefers pastoral moods. A composer must therefore fit in with its gentle nature if he doesn't want to be branded as a barbarian." Although there are certainly "pastoral moods" in the Concerto, Nielsen gives the lie to his own statement, for he uses the instrument in many ways: now dramatic, now tender, now vigorous, now wistful. It seems remarkable that the single voice of the flute can create such a diversity of mood.

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"adagio ma non troppo" presents a totally different mood, one of great tranquillity and tenderness, at the conclusion of which the original theme reappears with reminiscences of the first movement. A new section marked "tempo di marcia" introduces a variation of the original theme, this time in 6/8 rhythm.

The coda apparently never satisfied the composer, and after the first performance in Paris, Nielsen revised it for a performance in Oslo in 1928. Even this ending shows some traces of indecision, and for this performance Mrs. Dwyer is using a few concluding bars written by Mr. Ingolf Dahl, an American composer of Swedish origin. For those who heard the Sixth Symphony last year, this Concerto will show a somewhat different aspect of Nielsen's thinking. The Symphony had portrayed an angry and sarcastic point of view which even became bitter at times. In the Concerto on the other hand, while there is still a suggestion of subjective gloom, there is nevertheless a beginning of a much more hopeful frame of mind.

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[ >5°3] A LETTER TO OUR SUBSCRIBERS FROM ERICH LEINSDORF

Audiences and performers need constant interaction, without which no vital musical life is possible. In 1962, I made a promise that I would report to you, our subscribers, from time to time, especially on matters which may not be easily visible or audible. We here at the Boston Symphony recognize that we are indeed fortunate that we do not suffer from the necessity for "instant box office appeal," as they do in countries without our subscription system. Subscribers, with their loyalty and faith, are our guarantee of artistic freedom; hence my concern that you should be as fully informed as possible. Before going into the challenging and often controversial question of programs, I should mention that during the years 1962-1967, the following members will have retired from the Boston Symphony

Orchestra (with its extremely fine pension plan) or will have departed from the Orchestra to continue their professional pursuits in other areas: Richard Burgin (Concertmaster 42 years, Assistant Conductor 8 years, and Associate Conductor 23 years); Minot Beale (38 years in the Orchestra); Louis Berger (10); Albert Bernard (43); Jean Cauhape (43); Joseph dePasquale (17); Jean deVergie (39); Harold Farberman (12); Irving Frankel (46); Henry Freeman (22); Henri Girard (46);

Einar Hansen (39); George Madsen (30); Pierre Mayer (40); Samuel Mayes (16); Rosario Mazzeo (31); Osbourne McConathy (21); Harold Meek (20); Bernard Parronchi (20); Vladimir Resnikoff (32); Peter

Schenkman (3); Jascha Silberstein (2); Kilton V. Smith (27); Louis Speyer (45); Lloyd Stonestreet (43); Manuel Valerio (32); Winifred

Winograd (7); Alfred Zighera (38); Manuel Zung (40). We very much regret the death of Georges Moleux, who was in the Boston Symphony for 36 years (as principal bass for 27 years of that time). These musi- cians have been replaced by others who have competed in auditions for these vacant chairs. Our audition system, which I inherited but which I shall continue because it is an eminently fair one, consists of two parts. Any qualified member of the American Federation of Musicians who learns of a vacancy may apply to our personnel manager. On the appointed day a large number of candidates appear at Symphony Hall, where they are heard by a committee of first-desk players from our Boston Sym- phony Orchestra. During this audition the candidates play behind a heavy curtain, and the judges do not know the name of the player, if he is male or female, young or old, etc. The candidate is judged solely on the basis of his performance, the best being selected for the "finals," to which I listen, assisted by the committee who can thus recheck their earlier impressions. Even advances within the Orchestra (especially

[ '504] when chairs of the first two or three desks of string sections are involved) are filled by audition — not only with the consent but actually by the wish of the Orchestra members. This seems to be artistically a most satisfactory practice, as our members get the gratification of not only keeping their solo work on a high level but also a chance to shine in their own rights on a number of occasions. Perhaps the most significant development during my five years with the Boston Symphony has been the establishment of the Boston Sym- phony Chamber Players, a group of first-desk men who, at the con- clusion of this season will make a six-weeks' tour including the Soviet Union. They toured in the United States during the spring of 1966. They record for RCA Victor a repertoire not usually associated with regular chamber organizations. This project was developed at a time when we felt that the very highly accomplished solo players of this Orchestra would get an additional sense of gratification and their artistic identity by playing not only the orchestral repertoire but chamber music as well. Our seasonal division into Symphony season and Pops season (nine weeks each spring when the first-desk men do not take part) makes such a project particularly feasible for the Boston Symphony. The overall program, promised five years ago, of presenting to our public a fairly complete coverage of repertoire, old and new, has, I think, proceeded according to this plan; and I hope to have fulfilled at least most of my promises.

The winter season is of course divided into many different subscrip- tion series, varying in length from the twenty-four Friday/Saturday series in Boston to one Thursdav series which has three concerts. There are many variations in between. There is a Tuesday series of ten concerts, two Tuesday series of six concerts each, a Thursday series of six concerts, a series of seven Thursday open rehearsals; two series of five concerts each in New York, and a Providence series of five concerts.

Naturally with these different numbers of subscription concerts, it is not possible to give to six the same broad coverage of the repertoire as to twenty-four; yet I pay much attention to having the short series well-balanced — to attain as much variety as possible, to balance late eighteenth century music with early twentieth century, the classical period with the romantic, and to select contemporary pieces well distributed, through these series. As in all the arts, cultivation of the contemporary spirit seems controversial. No admonitions or apologies are here offered. I am delighted to receive (as I do frequently) letters from our subscribers, giving me their views of what they like to hear and what they reject.

Considering that the Boston Symphony Orchestra has twelve dif- ferent subscription audiences, the total number of our subscribers,

J [ 5 5] not counting those who split tickets with friends, may reach well over 30,000 people in the communities of Boston, Providence, and New

York. It is evidently impossible to play everybody's favorite every time. But I am aware that in every program I must try to resolve as best as possible the conflicting tastes of our many groups of listeners. We have been very fortunate in some of our premiere performances. (In the appendix are listed all the premieres we have done. Of course something which may have been a Boston premiere may not have been a "first" for New York. You may not have heard a specific work if it was not in your short series. I am trying to give you a full round-up of these five years and what went into the building of our program.) I feel that the two works of Benjamin Britten, the War Requiem and the Symphony for Cello and Orchestra with Rostropovich, were significant American premieres to name just two. This season, 1966- 1967, we have premiered among other works the Piano Concerto of Elliott Carter with the pianist Jacob Lateiner, and in Boston, a set of seven pieces, As Quiet As by Michael Colgrass. A recording of the Carter and the Colgrass constitutes an important step in a system of foundation sponsorship, of ventures which at first glance do not seem to promise large sales yet which should be made available to people who are interested in following the latest trends in music and who need repeated hearings to do so. It was with par- ticular gratification that I received notice from the National Council on the Arts (Roger Stevens, Chairman) of a grant which they gave us for the recording of these contemporary works. It had as its one con- dition the free availability of this record to libraries asking for it. RCA has very generously and graciously not only agreed to this, but has also agreed to keep the work in their catalogue for seven years — the stipulation of the Martha Baird Rockefeller Foundation, which also helped with this project. In addition, RCA also contributed the entire technical part of the recording process, sending up their crew and equipment, and processing and issuing the record — their donation to this singularly important enterprise. Finally the Steinway Foundation added the balance. We trust that this combination of foundation and recording company, in conjunction with a non-profit organization such as a symphony orchestra, will in increasing measure contribute to the distribution of problematic and difficult works, which require special attention from performer and listener. At Tanglewood in the summer of 1963 I focused the Festival around a cycle of Prokofiev compositions, which led to RCA recording Pro- kofiev with us on a cyclic basis. We devoted the 1964 Festival to a centennial observation of Richard Strauss, featuring some of his lesser- known and lesser-played compositions. In 1966 we started our "Prel- ude Concerts" on Friday evenings. We had found in the past that

[1506] Friday evening concerts caused somewhat of a problem for our ''com- muting" audience, which could not arrive from Boston or New York as early as eight p.m. following a normal business day. By starting our Orchestra concerts at nine o'clock, we were able to do, from seven to eight p.m., programs of works for smaller casts, be that vocal or instru- mental. These Prelude Concerts have proved highly successful for the public already in the Berkshires. In the last two summers we also gave concert performances of Lohengrin and Die Zauberflote. During the summer of 1967 I plan to perform the first (1805) version of Beethoven's only opera. Accord- ing to the best available information this will be an American pre- miere of Fidelio/Leonore. The work is sufficiently different from the later 1814 Fidelio to justify this claim. The chamber orchestra weeks at Tanglewood, traditionally devoted to Bach and Mozart, have covered many works by these masters not previously heard at Tanglewood. Of particular interest to me is the presentation of all the piano concerti of Mozart, which I promised when I started, and which is proceeding at a deliberate but steady pace. I have also paid attention to wide spacing of the best-known and best-loved works of the classic and romantic repertoire; they should never be taken for granted, and I hope to keep them "fresh." This is only possible for both public and performers when these works are brought back after broad intervals, allowing each reading to be a renewal rather than a repeat.

If there is a single idea that animates my planning and program making and my musical work with the Boston Symphony, it is the endeavor to give to our audiences the most idiomatic readings of the many styles which a great American orchestra in the 1960s must cul- tivate to warrant the definition of belonging to the "major leagues" of music. I shall, from time to time, take the liberty of writing a similar report to you and want you to know how much we all appreciate the loyalty and the support of you, our audience.

FIRST PERFORMANCES (WORLD PREMIERES) 1962 • 1967

Barber Piano Concerto (played in Philharmonic Hall during the opening week of Lincoln Center) Carter Piano Concerto HUGGLER Music in Two Parts, Op. 64 Sculptures, Op. 39

[1507] Ibert Mouvement symphonique (Munch) Lees Violin Concerto Moevs Et Occidentem Illustra Piston Symphony No. 8

schuller Diptych (first performance in this version)

Sessions Psalm 140, for Soprano and Orchestra Sydeman In Memoriam John F. Kennedy

Study for Orchestra No. 2

Study for Orchestra No. 3 Toch Fifth Symphony

WORKS PERFORMED FOR THE FIRST TIME BY THE BOSTON SYMPHONY ORCHESTRA IN BOSTON 1962 • 1967

Barber Music for a Scene from Shelley, Op. 7 (Torkanowsky)

Symphony No. 1

Bartok fConcerto for Piano and Orchestra, No. 2

Concerto for Piano and Orchestra, No. 3 Concerto for Two Pianos and Percussion Berger Polyphony

Bernstein *Symphony No. 3 ("Kaddish") (Munch) Blacher Variations on a Theme by Paganini (Burgin) Britten * Symphony for Cello and Orchestra, Op. 68 j-War Requiem Busoni fRondo Arlecchinesco (Copland) Carter Variations for Orchestra (Burgin)

Colgrass fAs Quiet As Constant f24 Preludes for Orchestra (Martinon) Copland Music for a Great City (Copland) j-Preamble for a Solemn Occasion (Burgin) Dallapiccola Two Pieces for Orchestra

Dello Joio fFantasy and Variations for Piano and Orchestra Etler fConcerto for Wind Quintet and Orchestra Fine Notturno for Strings and Harp (Burgin) Serious Song HlNDEMITH Concerto for Woodwinds, Harp and Orchestra "Der Schwanendreher" Hovhaness Prelude and Quadruple Fugue for Orchestra (Stokowski)

* First performance in America t First performance in Boston [1508] Ives Symphony No. 2 (Burgin)

fSymphony No. 4 (Schuller) Janacek *Suite from "The Cunning Little Vixen"

KlRCHNER j-Piano Concerto No. 1 KODALY Variations on a Hungarian Folk Song, "The Peacock" Lewis -[Designs for Orchestra lutoslawski -j-Jeux Venitiens (De Carvalho)

Mahler fSymphony No. 6, in A minor Martinon Overture for a Greek Tragedy (Martinon) Martinu Double Concerto for Two String Orchestras, Piano and Timpani (Kubelik) Menotti Apocalypse (Schippers)

•j-The Death of the Bishop of Brindisi

MlLHAUD j-Viola Concerto Nielsen Flute Concerto ^Symphony No. 6

Piston Symphony No. 7 Prokofiev -(-"Alexander Nevsky" fOverture to "War and Peace"

fSymphony No. 3, Op. 44 -fSymphony-Concerto for Cello and Orchestra Reger Concerto in F minor for Piano and Orchestra Rochberg Night Music ROREM Eagles (Stokowski) RUGGLES fPortals (Copland)

SCHOENBERG -j- Introduction and Song of the Wood-Dove from "Gurre-Lieder"

Second String Quartet, Op. 10, with Soprano Voice (Orchestral version by the composer)

-j-Violin Concerto

SCHULLER Diptych (first performance in this version) fSeven Studies on Themes of Paul Klee SCHUMAN t"A Song of Orpheus," Fantasy for Cello and Orchestra Schumann "Faust's Death," from "Scenes from Goethe's Faust" Scenes from Goethe's "Faust" (complete)

Shostakovitch jConcerto for Violin and Orchestra, Op. 99 Symphony No. 10 Strauss Concerto for Oboe and Small Orchestra

"Daphne," Op. 82, Final Scene

f"Die Tageszeiten" Stravinsky f'Tulcinella," Ballet with Song, in One Act (complete) Webern Passacaglia

* First performance in America t First performance in Boston

[!5°9] WORKS PERFORMED FOR THE FIRST TIME AT TANGLEWOOD

Bach St. John Passion

Britten War Requiem (first performance in America) Haydn Cantata "Applausus" Mendelssohn Overture and Incidental Music to "A Midsummer Night's Dream" (complete) Mozart Adagio for Violin and Orchestra, in E major, K. 261 Cantata ("Eine kleine Freimaurer-Kantate") for Male Chorus, with Tenor and Bass, K. 623 Piano Concerto No. 8, in A major, K. 414 Piano Concerto in B-flat, K. 595 Piano Concerto No. 9 in C major, K. 415 Piano Concerto No. 5 in D major, K. 175 (conducted by Sir Adrian Boult) Piano Concerto No. 16 in D major, K. 451 Piano Concerto in E-flat major, K. 271 Piano Concerto No. 1 1 in F major, K. 413 Piano Concerto in F major, K. 459 Concerto-Rondo for Piano and Orchestra in A major, K. 386 Concerto-Rondo for Piano and Orchestra in D major, K. 382

Violin Concerto No. 1 in B-flat major, K. 207 Six German Dances, K. 509 Divertimento in D major, K. 131 Divertimento in D major, K. 205 Divertimento in F, for Strings and Two Horns, K. 247 (played with K. 248) March in D major, K. 237 March in F, for Strings and Two Horns, K. 248 (played with K. 247) Three Marches, K. 408 Motet for Soprano, "Exsultate, Jubilate," K. 165 Nocturne for Four Orchestras, K. 286 The Magic Flute Overture to "The Impresario," K. 486 Rondo (Aria with Solo Violin) "L'amero, saro constante" from "II R£ pastore," K. 208 Scena ("Ch'io mi scordi di te") with Rondo ("Non temer, amato bene") with Soprano and Piano Obbligato, K. 505 Serenade in D major, K. 203

Symphony in A major, K. 1 34 Symphony in F major, K. 130 Symphony in G minor, K. 183 Prokofiev "Alexander Nevsky"

Strauss Incidental music to "Der Burger als Edelmann," based on Moliere's Comedy-Ballet, "Le Bourgeois Gentilhomme" (complete) Verdi Requiem Mass Wagner "Lohengrin"

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11 [ '5 ] SYMPHONY IN C MAJOR (POSTHUMOUS) By Franz Schubert

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

This posthumous Symphony was composed in 1828. What was probably its first performance was given at the Gewandhaus in Leipzig, March 21, 1839, Felix Men- delssohn conducting. The first performance in America was by the Philharmonic Society in New York, January 11, 1851. The first performance in Boston was on

October 6, 1852, with a small orchestra led by Mr. Suck. The most recent perform- ances at the Friday and Saturday concerts of the Boston Symphony Orchestra were on March 15-16, 1963. Schubert's posthumous Symphony in C major has been variously numbered. After the accepted six there were two more — this one and the "Unfinished" Symphony. Since the great C major Symphony was composed last, it has been called No. 8; since

it was discovered before the "Unfinished" it has been called by others No. 7. By the

inclusion of sketches for symphonies in D and in E minor-major, it has been num-

bered "9" and "10." The cautious chronicler avoids argument and gives it no number.

The Symphony is scored for 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, 3 trombones, timpani and strings.

TT was 128 years ago that this Symphony was resurrected and per- -* formed in Leipzig, at which time eleven years had passed since the

composition of the symphony and the death of its composer.

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[W3] Schubert turned out six symphonies in his earlier composing years, from the time that, as a pupil of sixteen at the Konvikt (the school of the Imperial Choir at Vienna) he filled sheets with ready music for the small school orchestra in which he was a violinist. In 1816 he wrote his Fourth ("Tragic") Symphony and his Fifth (without trumpets and drums); in 1818, reaching his twenty-first year, he pro- duced his Sixth in C major, still for a small orchestra. These three works, containing many of the beautiful pages characteristic of the young Schubert, were yet modest in design, having been planned for the immediate uses of the "Amateur Society," the outgrowth of a friendly quartet which had long met as such in his father's house. Having come of age, the young man turned his musical thoughts away from symphonies, a form which he fulfilled only twice in the remainder of his life.* In 1822 he wrote another, or at least two move-

* He did make, in 1821, a complete outline of a symphony in E minor-E major with the nota- tion and scoring only partly filled in. The symphony was performed in Vienna in the season 1934-1935 by Felix Weingartner. A "Gastein" Symphony, vaguely referred to in the corre- spondence, remains a legend, for no trace of it has been found. There are no grounds for considering the Piano Duo in C major as a draft for this Symphony. Maurice Brown, in his "Critical Biography" of Schubert, summons plausible evidence to show that the "Gastein" was in reality an early sketch for the great C major Symphony.

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Tomorrow is today at Wedding Rings, Peter Lipman-Wulf. Original Prudential Center in Sculpture Under the Sky collection. Repro- duction from Brentano's at Prudential Center. Three hundred dollars. ments of another. The "Unfinished" Symphony may be said to be the first which Schubert wrote entirely to the prompting of his free musi- cal inclinations, and not to the constricted proportions of a group of half-skilled friends who could with difficulty muster a trumpeter or a set of kettledrums. Anselm Hiittenbrenner, to whom he dispatched the score for the Styrian Society at Gratz, casually laid the unplayed symphony in a drawer and forgot it. This indifference did not visibly disturb the composer, to whom the act of creation seems always to have been infinitely more important than the possibilities (which were usually meagre enough) of performance or recognition. Once more, six years later, Schubert spread his symphonic wings, this time with no other dictator than his soaring fancy. Difficulty, length, orchestration, these were not ordered by the compass of any orchestra he knew. Schubert in his more rarefied lyrical flights composed far above the heads of the small circle of singers or players with whom his music-making was identified. Consciously or unconsciously, he wrote at those times for the larger world he never encountered in his round of humble dealings and for coming generations unnum- bered. In this wise did the symphony in C major come into being — the symphony which showed a new and significant impulse in a

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savored. The savoring is unmitigated Open Mon. thru Fri. 'til 9 P.M. fun. There's no intrusion from us. Sat. 'til 6 P.M. Browsing is the pattern — with friendly help when you want help only. Your PINE & PRINT Greeting Cards choices will be made from a wide array are de rigueur. Nothing prosaic of exclusive but not extravagant gifts. here. Do come often — with both Frankly all quite irresistible. your card and gift lists! talent long since of immortal stature; the symphony which it became the privilege and triumph of Schumann to resurrect years later, and make known to the world. Expressions of opinion by Schubert on his works are here, as else- where, scanty and unreliable. It is known that he presented the score to the Philharmonic Society in Vienna. The parts were actually written out and distributed, and the Symphony tried in rehearsal. "The Sym- phony was soon laid aside," so reports Schubert's early biographer, Kreissle von Hellborn, who in 1861 first published his findings of Schubert's life after consultation with those who knew and remem- bered him. The score was found to be "too long and difficult, and

Schubert advised them to accept and perform in its stead his Sixth

Symphony (also in C)." The tale has been doubted, but it is easy to believe — not that the composer had any qualms about the essential practicability of his score — but that he hastily withdrew his Pegasus before its wings could be entirely clipped by the pedestrian Gesell- schaft. A symphony in C major was performed by the Society a month after Schubert's death (December 14, 1828) and repeated in March,

1829. Whether it was the great "C major" or the Sixth Symphony in the same key is a point which will never be cleared up. In any case, Schubert's last Symphony was unperformed in his lifetime and lay in

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[ '5'9] oblivion until ten years afterwards, when Schumann visited Vienna and went through a pile of manuscripts then in possession of Franz's brother, Ferdinand Schubert, fastened upon the C major Symphony, and sent a copied score with all dispatch to his friend Mendelssohn, who was then the conductor at Leipzig. Mendelssohn was enthusiastic — as enthusiastic perhaps as his nature permitted, although beside the winged words of Schumann on the same subject his written opinion as expressed to Moscheles sounds cool and measured: "We recently played a remarkable and interesting symphony by Franz Schubert. It is, with- out doubt, one of the best works which we have lately heard. Bright,

fascinating and original throughout, it stands quite at the head of his instrumental works." The performance at the Gewandhaus (March 21, 1839) was a pronounced success and led to repetitions (there were cuts for these performances) .* Mendelssohn urged the score upon the secretary of the Philharmonic Society in London, and attempted to put it on a program when he visited England. The players found this straightforward music unreasonably difficult and laughed at the

* Yet a reviewer of the first performance wrote that the work lasted "five minutes less than an hour." Eugene Goossens once wrote: "Its heavenly, but rather excessive length has often brought up the vexed question of 'cuts,' and even the purists admit that the work does not suffer to a noticeable degree by judicious pruning of the slow movement and finale. I use the word 'judicious,' for there are only two 'cuts' possible which do not in any way disturb the shape or development of the movement in question. Preferably, however, let us have it unmutilated —" (Chesterian, November, 1928).

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(April 5, 1856); even then, it was finally achieved by performances in two installments of two movements at each concert. It is said that a similar derision from the players in Paris also met Habeneck's efforts to introduce the symphony there. It may seem puzzling that these famous triplets, to a later posterity the very stuff of swift impul- sion, a lifting rhythm of flight, could have been found ridiculous. But a dull and lumbering performance might well turn the constantly reiterated figure into something quite meaningless. The joke lay, not in the measures themselves, but in the awkward scrapings of the players who were deriding them. The work, thus put aside in England for some fifteen years, meanwhile found its first American performance by the Philharmonic Society in New York (January 11, 1851), Mr. Eisfeld conducting. It had been published a year previous.

The very fact that Schubert wrote this masterwork in his last year, an eloquent sign, and not the only one, of a new subtilization and

unfolding of the still youthful composer, has been the subject of much conjecture, wise, futile, or foolish, on the part of his biographers. Some have foretold in the C major the heralding of what might have

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[ K^] become a mighty symphonist, another Beethoven (which composer Schubert held in the deepest veneration). This despite the fact that the mild and unassuming little Viennese music-maker showed no inclination, then or at any time, to become a philosopher and spiritual titan, an insurrectionary artist who might face the world at large with a glance of arrogant independence. More than one writer has discerned premonitions of death in the final symphony, and Sir George Grove, disclaiming superstition, could not help remarking darkly that Schubert signed a friendly letter of that year: "Yours till death." Any words from Schubert about his music, written or spoken, are as always scantily available. One remark Schubert is said to have made,* on handing the manuscript of this symphony to the Musikverein — "that he hoped now to hear nothing more about Lieder, and that henceforth he should confine himself to Opera and Symphony." He did write more songs; in fact probably his last application of pen to paper was to correct the proofs of his "Winterreise" series, wherein a new current of melancholy, almost Tchaikovskian, is discernible. It is none the less reasonable to assume that the symphony — that resplend- ent sample of a newly widened instinct of orchestral beauty — would have had its successors.

* Kreissle repeats this as a "well-authenticated confession."

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h523] of which is first After the broad and serene introduction, the theme the main body intoned by the horns in unison, there comes the allegro, first appear. "It is an of the movement, in which the corrections writes Professor impressive (though not yet the most impressive) sign," written that the Tovey, "of the white heat at which this huge work is fully scored before Schubert whole 'first movement (if not more) was into the all-pervading noticed that he really must put more meaning

his main theme. . . . The figure that constitutes the first two bars of literally hundreds of times." alteration is neatly made with a pen-knife insipid reiteration of tonic and The theme in its original shape is an early sketches for dominant - as characterless as some of Beethoven's apparently, was achieving a new his finally pregnant themes. Schubert, facile habits of spin- power of discrimination, was outgrowing certain engendered in the uncritical ning a good idea too thin, habits no doubt Schabertiaden in and glow of endless Biedermeierisch evenings and one shoot of lyric flores- about Vienna. But here there is a new mettle; redundancy, which would cence begets another; instead of the spectre of profuse fertility, the unexpected be fatal in so long a work, there is the to a new and rarefied plane. twist to lift the discourse again and again

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present in the 1966-67 Boston University CELEBRITY SERIES

THIS SUN. AFT., APR. 23 • JORDAN HALL MUSIC FROM MARLBORO Under the Artistic Direction of Rudolf Serkin (Final Concert in the Series) THE ARTISTS PROGRAM Raquel Adonaylo, Soprano Beethoven,' Piano Quartet in E-flat maior, Op. 16 Lee Luvisi, Piano „ , ,,., Felix Galimir, Violin Debussy, Ariettes oubhees H^Z^SSiS^ola Schoenberg, String Quartet No. 2 in F-sharp minor Bonnie Hampton, Cello with soprano, Op. 10 Remaining tickets on sale at Jordan Hall

MAY 9-13 (7 Performances) SAVOY THEATRE BALLET F0LKL0RIG0 OF MEXICO 5 EVENINGS AT 8:30 • THURS. AND SAT. MATINEES AT 2.30 MAIL ORDERS NOW to Ballet Folklorico of Mexico, Savoy Theatre, 539 Washington Street, Boston 02111 Enclose self-addressed stamped envelope and make checks payable to Ballet Folklorico of Mexico. Prices: Tues., Wed., Thurs. Eves, and Sat. Mat. Orch. $5.50,$4.50; Loges $5.50; Bale. $4.50, $3.50, $2.50 Fri. and Sat. Eves. Orch. $6.50, $5.50; Loges $6.50; Bale. $5.50, $4.50, $3.50 Thurs. Mat. Orch. $4.50, $3.50; Loges $4.50; Bale. $3.50, $2.50, $2.00

MAY 30 - JUNE 3 (6 Performances) • WAR MEMORIAL AUDITORIUM THE ROYAL BALLET (Formerly The Sadler's Wells Ballet)

MAIL ORDERS NOW to Royal Ballet, Box 500, Prudential Center Station, Boston 02199. Enclose self-addressed stamped envelope and make check payable to Royal Ballet. To avoid disappointment, list alternate choice of performance. REPERTORY (The Royal Ballet will announce casting on or about May 23)

TUES. EVE., MAY 30 at 8: ROMEO AND JULIET (Boston Premiere) WED. EVE., MAY 31 at 8: ROMEO AND JULIET

THURS. EVE., JUNE 1 at 8:30: PARADISE LOST (Boston Premiere), THE DREAM, LES SYLPHIDES FRI. EVE., JUNE 2 at 8:30: PARADISE LOST, THE DREAM, LES SYLPHIDES SAT. MAT., JUNE 3 at 2:30, SAT. EVE. at 8:30: CINDERELLA (Boston Premiere)

Scale of Prices All Evenings — Orchestra: $10.00, $8.oo, $6.oo, $4.50 ($3.00 Partial View) Ring and Balcony: $10.00, $8.00, $6.00, $4.50

Saturday Matinee — Orchestra: $7.50, $6.50, $5.50, $4.50 ($2.50 Partial View) Ring and Balcony: $7.50, $6.50, $5.50, $4.50 NOTE: Entire stage not visible from partial view seats. Opening Night, May 30: All $10.00 tickets purchased by N. E. Conservatory/ Castle Hill Foundation Benefit. Inquire: Castle Hill Foundation, Box 228, Ipswich, Mass. Phone: 1 - 356-4351. All other prices for opening night available. Tickets will be filled on post-marked basis. No Telephone Orders Please. Box-Office sale will open on or about May 22.

[*525] "The second subject, reached, as usual in Schubert by a very simple

coup de theatre, starts in a minor key in which it is not going to settle. This glorious theme veers round towards the normal key of the domi- nant G major; whence, however, it wanders away into the most wonder- ful of all Schubert's unorthodox digressions; a locus classicus for the imaginative use of trombones in a pianissimo. This passage, which derives from the introduction, and leads to a triumphant climax in G

major, is so masterly in design as well as in poetic power that it is incomparably more like a new artform than a failure to execute an old one. Many of Schubert's outwardly similar digressions are weak-

nesses, but every case must be taken on its individual merits; and noth- ing will induce me to believe that Beethoven would have tolerated a

word against this passage in its present position if he had lived to see it.

"The Coda is in quicker tempo, and has the energy to make a splen- did climax; a marked contrast to most of Schubert's codas, which are apt to collapse with a frank gesture of exhaustion. Here the movement ends with an apotheosis of the Introduction. "The slow movement, in A minor, after establishing its indomitable RVOTO RESJCAHBAtfT SUPERB JAPANESE CUISINE • 536-9295 337 MASS. AVE., BCSTON, Near Symphony Hall

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\$0% o**-**' march-rhythm in a few wintry bars of introduction, sets out bravely with a heart-breaking show of spirit in adversity. The burden of the song goes, with Schubert's characteristic half-Italian pathos, into the major mode. There is an energetic sequel, marching along in the same rhythm and with the same brave figures.

"The Second Subject is a broad working out of a serene melody of consolation, in F major. The return from this to A minor is famous as one of the simplest and most romantic passages ever written for horns. They toll like a bell haunted by a human soul; and when the First

Subject returns there is a new trumpet-part that enlivens and deepens the pathos. The energetic continuation is worked up to a great climax from which the reaction, after a dramatic pause, is intensely tragic: and then the Second Subject enters in A major, with radiant new colours and a flowing accompaniment which continues even through the returning passage (where clarinets now replace the horns). Then frag- ments of the First Subject are built up into a mournful Coda; even the burden of the song being now in the minor mode. "The Scherzo yields to nothing in music as regards the perfection and freedom of the treatment. Like the Scherzo of Beethoven's Ninth

Symphony, the main body of the movement is in miniature but highly organised sonata-form. The variety of rhythm throughout is inex- haustible. As for the Trio, it is a huge single melody (in 'binary' form with repeats, as usual) — one of the greatest and most exhilarating melodies in the world. "The truest lover of Schubert confesses that he would not wish the Unfinished Symphony to have a typical Schubert finale. But Schubert wrote two finales which are typical Schubert without being his typical finales. These two are the finale of the string quintet and the finale of this Symphony. Possibly we might add a third, also in C major: the Investment issues throwing you off key?

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[1529] finale of the Grand Duo that ought to have been a symphony. And, of course, there are other finales that have magnificent themes and passages, notably in the three great string quartets. But these two finales are such as nobody can accuse of being weaker than the rest of the works. The finale of the C major Symphony is in fact an example of grotesque power fully as sublime as the griffin which Ruskin described so splendidly in the chapter on the Grotesque Ideal in Volume III of 'Modern Painters.'

"The two themes of its First Subject set up a very energetic spin which, like all Schubert's openings, promises well, but which does not, to people who know their Schubert, offer any security that it will maintain its energy in the tropical ease of its composer's mood after he has got through the three other movements so triumphantly. And indeed Schubert had a narrow escape here! If ever a powerful piece of music had a backbone to it, that backbone is the sublimely grotesque main theme of the Second Subject, arising so inevitably and so aston- ishingly out of the four premonitory repeated notes of the horn, and stretching itself ad infinitum while the violins madly turn somersaults with a persistent figure. This was the passage which, when Mendelssohn rehearsed it with the London Philharmonic, caused the players to giggle and behave so badly that he had to withdraw the work; and even within

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J [ 53i] living memory it roused the pedagogue and blinded the humorist in

that great musician, Hans von Biilow. Well, it is to be hoped that we

know better now. But here is what happened in Schubert's autograph — he had got as far as the four premonitory notes of the horns; and then he dashed off into a schoolmasterly little fugue from which the only possible reaction would have been a schoolboy's practical jokes. By good luck almost unique in Schubert's short career, he lost interest

in this project before he had written nine bars of it — or perhaps the real gigantic inspiration came before he developed interest in the

frivolity which he had started. Whatever the mental process was, it

cannot have taken three-quarters of a minute: the dingy little fugue- subject was struck out before the answer had well begun; the danger was past, and instead of a weak facility, we have the momentum of a

planet in its orbit." j. N. b.

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[ '532] 82nd SEASON

OPENING MONDAY NIGHT, APRIL 24

APRIL 24 — JUNE 24

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Tickets on sale at Box Office two

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Symphony Hall, Boston CO 6-1492

h533 ENTR'ACTE SCHUBERT'S VIENNA

Vienna, the busiest musical center in Europe in the 1820s, was then witnessing the last decade of two great composers as they reached the apex of the symphony and the song. And yet it is probable that Beethoven and Schubert, knowing musicians in common, walking the same streets, never met until Beethoven was on his deathbed. The reason most often stressed is that Schubert was shy of the older master. He was twenty-seven years younger (although he was destined to outlive him by only twenty-two months) and was as obscure as Beethoven was widely known. He looked upon Beethoven with adora- tion as far as the earlier music was concerned. He often played the first two symphonies with groups of friends. It is intriguing to imagine that the first performance of the Ninth Symphony, which he is assumed to have heard in 1824, opened to him a new vision of symphonic expanse and spurred him to his own final C major Symphony. He held Beethoven nevertheless in awe and unease, for the eruption and wilful aggressiveness in such scores as the Appassionata or the Hammer- klavier Sonatas would have been personally alien, not in the scope of his art.* A second reason for the non-mergence of this immiscible two was the division between the circles of their companions and music-making, a division as sharp as if there were two Viennas — which in a way there were. There was the Vienna of the titled nobility, who patronized Beethoven, subscribed to his music, and gave it performance in their mansions, opened their purses, sometimes housed him. Quite apart from these there was Schubert's Vienna, the Vienna of the newly grow- ing middle class, a sort of enlightened intelligentsia, what might now be looked upon as a glorified artists' colony. They were musicians, poets, actors, painters, merchants who avidly embraced the arts, who gathered in their more modest houses for an endless round of vocal and instrumental music, for readings, for earnest conversation. These were "salons" of a bilrgerlicher breed, surpassing in numbers and some- times in distinction the French variety. Schubert was their moving

* Schubert once wrote in his diary of the bizarrerie attributable "to one of our greatest

German artists ; that eccentricity which joins and confuses the tragic and the comic ... to goad people to madness instead of dissolving them in love." He was referring to Beethoven, but that was in the year 1816.

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[ '534] AN UNEXPECTED BUT WELCOME GIFT

Concord, Massachusetts February 22, 1967 Dear Mr. Thorndike:

Three seasons ago the Concord Ladies of the Friday Afternoon Symphony series decided to charter a bus to take them to and from the concert.

This has proved to be a great success although we had no intention of making money from the enterprise. However, we do have a surplus fund and so decided that it was appropriate to forward some of this accumulation on to the Orchestra.

I enclose our check for $250.00 with best wishes for the continued success of our great Orchestra.

Most sincerely,

Priscilla O. Barker for the "Chartered Bus" and "The Concord Ladies of the Friday Afternoon series of the BSO"!

'535 ] spirit, their shining light. When he was present a meeting became a "Schubertiade." He wrote songs for them in profusion, chamber music, piano music for two or four hands. The opportunity to perform these pieces, in which he invariably took his place at the piano, was the immediate goal and principal satisfaction of most of his creative effort. His presence was eagerly anticipated at these evenings, the more so when he would bring with him his older friend and sympathetic interpreter Michael Vogl, the baritone of the Court Opera. This art- loving stratum of society suited Schubert perfectly. They were mostly untitled — counts or barons among his personal friends were excep- tional. (One or two had been elevated by the prefix "von.") Schubert's nickname "Kannewas" came from his usual remark after meeting a stranger — "Kann er was?" Not "What is his rank?", but "What can he do?" There was only one aristocratic house in which he had occasion to dwell — the Hungarian Schloss of Count Johann Karl Esterhazy at Zseliz. He was three times engaged as music master to the Countess and her two daughters.* He replenished his meager cash, consorted with the manorial staff (especially with one of the housemaids) — and pined for his more congenial friends in Vienna. Schubert and Beethoven, leading so active a musical life in Vienna, were of course certain to have mutual acquaintances among the resi- dent musicians. It is surprising that there were so few of them. One need only glance at the personalia in the biographies of each (the friends of the increasingly reclusive Beethoven were fewer). Musicians like Schuppanzigh and his string quartet were too useful for a first reading of a new score not to have been drawn in by each. A man like Grillparzer, the foremost poet of the day, was a typical case. Beethoven approached him hopefully for an opera libretto, but could reach no true rapport. Schubert, to whom a song text was inseparable from his tonal thinking, found in him a close friend. Much the same may be said of Joseph von Sonnleithner. Karl Holz, Beethoven's last handy- man, was also a quartet-playing violinist, and was useful to Schubert in the same way. If the noble nouses of Lobkowitz, Lichnowsky, Kin- sky, etc., who warmly befriended Beethoven, had any particular aware- ness of Schubert's presence around a corner, there is no record of it. The unreliable Anton Schindler, who cultivated celebrities for his own glory, boasted after the death of both that he had brought them together, that Schubert saw Beethoven on his deathbed and attended his funeral. Schindler claimed that he put a sheaf of Schubert's songs before the older master the month before his death. Copies of these songs, sixty in all, were indeed found later among Beethoven's posses-

* That he may have had an undeclared affection for the younger one, Karoline, is a favorite subject for later romantic fiction. JEWELERS 81 Charles St. BEACON HILL HICHAM M. l>ANA,inc A custom designing service is available

['536] sions. Beethoven, quick to perceive exceptional qualities in a score, might well have befriended Schubert if he had become acquainted with them sooner. Schubert would have been likely to remain deferential; his simpler, more fragile, more traditional esthetic would have been overborn. The two composers had publishers in common, with the difference that those who competed for Beethoven's scores were more hesitant about the scores of Schubert. The publishers have been unjustly castigated by the various biographers. Publishers, then as now, could not be expected always to nose out hidden genius. They were then as now merchandisers who well knew how the market stood. They looked upon Schubert not as we do but as a young pianist who accompanied his own songs here and there and never travelled beyond Vienna and a few nearby towns, and even at home was known only to his personal friends, however numerous. It is not to be denied that his circle, cultivating the expression of tender sentiment unabashed, helped to generate the artist in their midst. His own attempts at poetry show him as not so different from the Biedermeier level. It was when music took hold of them, even though he was setting verses of flaccid quality, that all were lifted out of themselves. Not until his last year did ne really leave them behind. The pessimistic Winterreise puzzled them because the mood of sociable gaiety was missing. The String Quintet, the "Unfinished" and final C major Symphonies might have touched them, but these works, of a different Schubert, lay for years unseen, unperformed, unknown. What had been labelled Biedermeier Vienna consisted especially of musicians, writers and delineative artists (accountable for the abun- dance of sketches and reminiscenses of Schubert and his cronies). The artists were abetted by lawyers, merchants, civic and court officials, professors, doctors. Almost all were ardent amateurs who visited each other's homes to revel in sentiment together. Karl Kobald has opened his book "Franz Schubert and His Times" with a chapter on "The Vienna of Biedermeier," that romantic phe- nomenon which the translator (Beatrice Marshall) there describes: "Biedermeier was originally a comic figure whose verses, Biedermeier- lieder, first appeared in the Fliegende Blatter. His name, used to denote an honest, ingenuous kind of Philistine, became proverbial. It was given to a period — Bie dermeierzeit — when people with simple tastes cultivated music and art inexpensively. . . . Today it is associ- atedly with Biedermeierstil, i.e., Chippendale furniture, polished floors, decorations of true lovers' knots and garlands of roses, and dresses with full skirts and flounces." Kobald gives a picture of the Biedermeier efflorescence in appropri- ately flowery language: "There was singing, dancing and social games. Then shyly, a somewhat corpulent little young man would go to the piano — Franz Schubert, the genius of the party — and begin to impro- vise. His short thick fingers glided over the keys of the Streicher instru- ment, from which he brought forth wonderful pictures in sound which flooded the room with beauty. Often he would play duets with the daughter of the house or with his friend the medical practitioner, Josef von Gahy. And the whole family and all the guests of the house gathered round the little spectacled man, the musician absorbed in the sweet sounds he was producing. Now and again he would raise fiery and melancholy eyes to his spell-bound listeners . . . this prince of

[1537] genius-land who strewed with generous hands the pearls of his soul before the reverently attentive audience. Walls and doors began to ring, the room changed into an arena for the singing muses and graces. The miracle of human genius transformed this little everyday life into a dream-world of divinest beauty. And late at night when the party broke up still saturated with Schubert's music, humming his melodies to themselves, alone or in groups, the guests, in the light of flickering lanterns, made their way home through the quiet narrow streets and benighted courts and alleys of the deserted Glacis." The Schubertiaden were not wholly dedicated to sentiment. If the hearers were moved to tears, which sometimes happened even among the men, good cheer was not long absent. Punch was handed around, and on the impulse of the moment vows of long-lasting friendship would be made with the adoption of the intimate "du." Schubert's music was a social effluvium written for piano solo, piano duet, chamber combinations, vocal groups or solo voice, quite in compliance with who happened to be available to try them out. He could change the mood in a moment, oblige with his own waltzes* (sometimes impro- vised) while the others danced even into the morning hours. Public concerts were few in those times; even Beethoven seldom ventured an "Academy" for his own benefit, and Schubert ventured only one. It was in his last year and was crowded — with the host of his devoted friends (including every solo performer on the stage). Schubert made eight hundred florins, probably the largest sum that he ever took at one time. He was always short of money. He constantly attempted to set opera librettos, well knowing that a successful opera was the surest road to fame and affluence. Only two achieved the stage while he lived, and were promptly forgotten.! This was the age of the amateur. Most performances were by ama- teurs, bolstered by professional players. The Augarten concerts were like this. The transformation from a limited aristocratic dilettantism to a more general movement is attributed to the social change spurred by the Congress of Vienna in 1815. Gesellschaften were organized everywhere: The "Societies" at Linz and in Graz received Schubert, performed his music and made him an "honorary member." It is sig- nificant that these two middle class "Gesellschaften" were preceded in

* This was the day of Lanner and the senior Johann Strauss.

t "Die Zwillingsbriider" and "Die Zauberharfer" were mounted in 1820. The charming inci- dental music to the play "Rosamunde" could not survive its text.

FUNERAL SINCE SERVICE 1832

J. S. Waterman § Sons, Inc. BOSTON WELLESLEY WAYLAND

r ' >38 Vienna by societies under noble auspices in the spirit of the 18th century: The "Society of Associated Cavaliers," founded by Baron Gottfried van Swieten and the "Society of Noble Ladies for the Promo- tion of the Good and the Useful." Josef Sonnleithner was the Secretary of the latter, founded in 1814. There was the Concert Spirituel founded in 1819 by Gebauer. Far less exclusive was the Gesellschaft der Musik- freunde, with no claim to rank in its attendance, which gave concerts to large crowds in the Riding School at the Hofburg. This society took pride in its amateur standing and refused membership to their warmest adherents when they became professional singers at the Court Opera. Schubert was an honorary member, later appointed to their board, and was grateful when one of his songs was chosen for each of their pro- grams. A "Kleine Verein" of the Musikfreunde was semi-public. It was free, but tickets had to be distributed in advance on account of limitation of space. For the greater part of his life, Schubert was quite content with his busy round of Schubertiaden in private houses, which filled his eve- nings after a day of composing. It was a convivial life. He was much loved by those of his many friends who knew him well and understood his occasional moods. Among these were the four Frohlich sisters, all singers, all good looking. Kathi, the youngest of these (it was she who was courted in vain by Grillparzer) wrote of his simplicity: "Yes, indeed, our poor Schubert, his was a wonderful nature. Never was he envious and jealous as so many others are. On the contrary, if some- thing beautiful in the way of music was performed, he would put his hands together against his mouth and sit there quite enraptured. The innocence and simplicity of his nature were quite indescribable. Very often he would sit with us on the sofa, joyfully rubbing his hands, and " say: 'Today I have done something which is really good.' The Schubertiaden were his delight, but provided no living. He disliked teaching and had few commissions. His dedications were seldom mercenary — they were usually gifts to the performer on the

"The Man Who Cares, Prepares"

SHARON MEMORIAL PARK SHARON. MASSACHUSETTS

Telephone Boston Area 364-2855

[»539] spur of the moment. Publication by subscription never came his way. It was in his last three years that his status began to change. Pub- lishers began to take notice. He could pay his petty debts and no longer had to depend on a friend for a lodging. But at the moment when his musical plans began to extend beyond the customary household require- ments for performers and pleasure, there descended upon him the ill- ness which was to finish him in his thirty-second year. In his last months he entertained soaring symphonic thoughts. He had never finished a symphony after 1818 (unless the apocryphal Gastein Symphony of 1825 De called one), for one reason because there were no orchestras at hand to perform it. The great C major was one of those works where the composer, with no prospect of a performance, lets his imagination range at will solely for his own personal satisfaction. This was not the first case of the sort. Mozart's superlative last three apparently passed unnoticed while he lived. None of Beethoven's nine could find an adequate performance in Vienna. Schubert's C major could find no performance there. Even beyond Vienna, in Paris and London, where his songs were beginning to penetrate at last, there was no orchestra capable of bringing it to life. These posthumous works were not of Schubert's Vienna, nor was Vienna the first center to awake to them.

j. N. B.

HUNTmoTOM Avenue corridor

[ '54oJ Boston Symphony Orchestra ERICH LEINSDORF, Music Director CHARLES WILSON, Assistant Conductor First Violins Cellos Bassoons Joseph Silverstein Jules Eskin Sherman Walt Concertmaster Martin Hoherman Ernst Panenka Alfred Krips Mischa Nieland Matthew Ruggiero George Zazofsky Karl Zeise Rolland Tapley Robert Ripley Contra Bassoon Soichi Katsuta* Roger Shermont Richard Plaster Max Winder John Sant Ambrogio Luis Leguia Harry Dickson Horns Gottfried Wilfinger Stephen Geber James Stagliano Fredy Ostrovsky Carol Procter Charles Yancich Leo Panasevich Richard Sher Harry Shapiro Noah Bielski Herman Silberman Thomas Newell Basses Paul Keaney Stanley Benson Henry Freeman Ralph Pottle Sheldon Rotenberg Henry Portnoi Alfred Schneider Irving Frankel Trumpets Julius Schulman John Barwicki Gerald Gelbloom Armando Ghitalla Leslie Martin Roger Voisin Raymond Sird Bela Wurtzler Andre Come Hearne Second Violins Joseph Gerard Goguen Clarence Knudson William Rhein William Marshall John Salkowski Trombones Michel Sasson William Gibson Samuel Diamond Flutes Josef Orosz Leonard Moss Doriot Anthony Dwyer William Waterhouse Kauko Kahila James Pappoutsakis Giora Bernstein Phillip Kaplan Ayrton Pinto Tuba Amnon Levy Chester Schmitz Laszlo Nagy Piccolo Michael Vitale Lois Schaefer Timpani Victor Manusevitch Everett Firth Minot Beale Oboes Knudsen Ronald Ralph Gomberg Percussion Max Hobart Holmes Charles Smith John Korraan John Hugh Matheny Harold Thompson Violas Arthur Press, Ass't Timpanist Thomas Gauger Burton Fine English Horn Reuben Green Laurence Thorstenberg Harps Eugen Lehner Albert Bernard Bernard Zighera Clarinets Olivia Luetcke George Humphrey Gino Cioffi Jerome Lipson Librarians Jean Cauhape Pasquale Cardillo Konosuke Ono* Peter Hadcock Victor Alpert E\) Clarinet Vincent Mauricci William Shisler Earl Hedberg Bernard Kadinoff Bass Clarinet Stage Manager Joseph Pietropaolo Felix Viscuglia Alfred Robison

William Mover, Personnel Manager

* members of the Japan Philharmonic Symphony Orchestra participating in a one season exchange with Messrs. Robert Karol and Richard Kapuscinski

[ 1W1 ] TANGLEWOOD — BERKSHIRE FESTIVAL Boston Symphony Orchestra Erich Leixsdorf, Music Director Fridays at 9:00 • Saturdays at 8:00 • Sundays at 2:30 FIRST WEEK SECOND WEEK

JULY 7 • FRIDAY JUNE 30 • FRIDAY Weekend Prelude, 7:00 P.M. Weekend Prelude, 7:00 P.M. MOZART: Piano Music Crochet BEETHOVEN and PROKOFIEV: Piano Music Frager MESTER MOZART PROGRAM: LEINSDORF Symphony No. 33, K. 319 PROKOFIEV: Symphony No. 5 Piano Concerto, K. 466 Frank BEETHOVEN: Violin Concerto Menuhin Adagio and Fugue. K. 546 Symphony No. 35, K. 385

JULY 1 • SATURDAY JULY 8 • SATURDAY B.S.O. Open Rehearsal 10:30 A.M. B.S.O. Open Rehearsal 10:30 A.M.

LEINSDORF LEINSDORF BEETHOVEN: Symphony No. 4 MOZART PROGRAM: PROKOFIEV: Lt. Kije Suite March, K. 408 Clatworthy Piano Concerto, K. 456 Crochet BEETHOVEN: Symphony No. 7 Haffner Serenade, K. 250

• JULY 2 SUNDAY JULY 9 • SUNDAY LEINSDORF LEINSDORF PROKOFIEV: Scenes from Romeo MOZART PROGRAM: and Juliet Divertimento, K. 205 BEETHOVEN: Piano Concerto No. 4 Piano Concerto, K. 491 Frager Frank Symphony No. 40, K. 550

THIRD WEEK FOURTH WEEK

JULY 14 • FRIDAY JULY 21 • FRIDAY Weekend Prelude, 7:00 P.M. Weekend Prelude, 7:00 P.M. BACH: Organ Music Biggs Berkshire Boy Choir Partsongs

JANIGRO LEINSDORF VIVALDI PROGRAM: MENDELSSOHN: Midsummer Night's Sinfonia in C Dream Overture Cello Concerto in D (Janigro) SCHULLER: Diptych Flute Concerto (Dwyer) BARTOK: Concerto for Two Pianos Concerto "Alia Rustica" and Percussion Bassoon Concerto in E minor (Walt) POULENC: Concerto for Two Pianos Oboe Concerto in D minor (Gomberg) Eden and Tamir Piccolo Concerto in C minor (Schaefer) STRAUSS: Till Eulenspiegel Concerto Grosso in A JULY 22 • SATURDAY JULY 15 • SATURDAY B.S.O. Open Rehearsal 10:30 A.M. B.S.O. Open Rehearsal 10:30 A.M. LEINSDORF OZAWA BACH: B minor Mass MENDELSSOHN: Hebrides Overture Boatwright, Wolff, Kopleff, TAKEMITSU: Requiem for Strings Bullard, Krause, Tanglewood Choir, LIGETI: Atmospheres Berkshire Chorus BERLIOZ: Symphonie Fantastique

• JULY 16 SUNDAY • BACH PROGRAM: JULY 23 SUNDAY LEINSDORF LEINSDORF SCHUMANN: Symphony No. 1 Suite No. 3 Excerpts Wedding Cantata (Boatwright) BERG: "Wozzeck" Concerto Violin Concerto in A minor (Silverstein) MENDELSSOHN: Piano in G minor Cantata No. 174 Kallir Wolff, Bullard, Krause, Tanglewood Choir STRAVINSKY: Firebird Suite FIFTH WEEK SIXTH WEEK

4 • FRIDAY JULY 28 • FRIDAY AUGUST Weekend Prelude, 7:00 P.M. Weekend Prelude, 7:00 P.M. Lieder Recital BRAHMS: Liebeslieder Waltzes Kuhse Frank, Kallir with Singers STEINBERG KUBELIK BEETHOVEN PROGRAM: HAYDN: Symphony No. 102 Symphony No. 8 MARTINU: Double Concerto Piano Concerto No. 3 Lettvin FRANCK: Symphony in D minor Symphony No. 5

JULY 29 • SATURDAY AUGUST 5 • SATURDAY B.S.O. Open Rehearsal 10:30 A.M. B.S.O. Open Rehearsal 10:30 A.M.

KUBELIK LEINSDORF SMETANA: Moldau BEETHOVEN: "Fidelio" (original version of 1805) ELGAR: Violin Concerto Kuhse, Shirley, Krause, Pracht, Ashkenasi Berberian, Castel, Enns, BRAHMS: Symphony No. 4 Tanglewood Choir, Berkshire Chorus

JULY 30 • SUNDAY AUGUST 6 • SUNDAY LEINSDORF LEINSDORF WEBERN: Six Pieces, Op. 6 BRAHMS PROGRAM: SCHUBERT: Symphony No. 9 Academic Festival Overture GRIEG: Piano Concerto Symphony No. 3 Cliburn Violin Concerto Silverstein

SEVENTH WEEK EIGHTH WEEK

AUGUST 11 • FRIDAY AUGUST 18 • FRIDAY Weekend Prelude, 7:00 P.M. Weekend Prelude, 7:00 P.M. WAGNER: Siegfried Idyll RACHMANINOFF and PROKOFIEV: Boston Symphony Chamber Players Piano Music Browning VERDI and IVES: Songs Curtin LEINSDORF SCHULLER MOUSSORGSKY: Khovanchina Prelude DVORAK: "Othello," Overture SCHUBERT: Symphony No. 8 TCHAIKOVSKY: Symphony No. 6 IVES: Symphony No. 4 SIBELIUS: Violin Concerto Perlman AUGUST 19 • SATURDAY AUGUST 12 • SATURDAY B.S.O. Open Rehearsal 10:30 A.M. B.S.O. Open Rehearsal 10:30 A.M. LEINSDORF VERDI: Requiem STEINBERG Arroyo, Troyanos, GLINKA: Kamarinskaya Molese, Flagello, Tanglewood Choir, BORODIN: Symphony No. 2 Berkshire Chorus TCHAIKOVSKY: Manfred Symphony AUGUST 20 • SUNDAY AUGUST 13 • SUNDAY LEINSDORF LEINSDORF WAGNER PROGRAM: "Die Meistersinger," Prelude RIMSKY-KORSAKOV: Coq d'Or Suite "Die Walkure," Ride of the Valkyries, Farewell PROKOFIEV: Piano Concerto No. 1 Wotan's Browning Flagello "Gotterdammerung," Dawn, Rhine COLGRASS: As Quiet As Journey, Interludes, Siegfried's RACHMANINOFF: Paganani Rhapsody Death, Immolation Scene Browning Home

Further information and tickets at Festival Office, Symphony Hall CO 6-1492 ^im^£&l^

-^ r BOSTON SYMPHONY ORCHESTRA Erich Leinsdorf r. Musk. Director

The Trustees, Mr. Leinsdorf and the members

of the Orchestra extend warm thanks to the

Council and the Friends of the Boston Symphony

Orchestra for their enthusiasm and significant

support of the Orchestra during the 86th Season.

Although the Orchestras winter season concludes

with this concert, may we remind you that mem-

bership in the Friends is always available to every-

one interested in the work of the Orchestra.

[ '544] WORKS PERFORMED AT THIS SERIES OF CONCERTS DURING THE SEASON 1966-1967 PAGE Bach: The Passion According to Saint John XXII March 24-25 *353

Suite No. 3, in D major, for Orchestra VI November 4—5 33i

Violin Concerto No. 1, in A minor (Richard Burgin) IV October 21—22 203

Bartok: Concerto for Two Pianos and Percussion (Bracha Eden and Alexander Tamir) VII November 11-12 420

Beethoven: Overture, Leonore No. 2 XI December 16—17 651

Piano Concerto No. 1, in C major, Op. 15 (Claude Frank) V October 28—29 309

Symphony No. 2, in D major, Op. 36 XVIII February 17—18 1097

Symphony No. 4, in B-flat major, Op. 60 XI December 16—17 664

Symphony No. 7, in A major, Op. 92 II September 30- October 1 iof;

Berg: Suite from "Lulu," Opera in Three Acts (Phyllis Bryn-Julson) V October 28-29 286

Berlioz "L'Enfance du Christ," Sacred Trilogy, Op. 25 X December §— 10 588

Overture, "King Lear," Op. 4 XVI February 3—4 971

Bizkp: Symphony in C major XX March 10-11 1228

Borodin: Symphony in B minor, No. 2, Op. 5 VII November 11—12 424

Brahms: Violin Concerto in D major, Op. 77 (Joseph Silverstein) XVIII February 17—18 1134

Bruckner: Symphony No. 9, in D minor XXI March 17-18 1322

Carter: Piano Concerto (Jacob Lateiner) XIII January 6—7 792

Colgrass: As Quiet As XVIII February 17— 18 1132

Dvorak: Concerto for Violin and Orchestra in A minor, Op. 53 (Shmuel Ashkenasi) III October 7-8 150

JDy^rtufe, "Othello," Op. 93 VIII November 25—26 459

Sympftony No. 7, in D minor, Op. 70 XVI February 3—4 1010

Symphony No. 9, in E minor, "From the New World," Op. 95 XIII January 6—7 809

Faure: "Peji&rs~et Melisande," Suite from the Incidental <^<&iusic to Maeterlinck's Tragedy, Op. 80 IX December 2-3 524

FRANplv: Symphony in D minor XIV January 13-14 880

[ !545 ] page Haydn: Mass in B-flat major ("Schopfungsmesse") XIX February 24—25 1161

Symphony in D major, No. 13 XXIII March 31-April 1 1417

Symphony in D Major, No. 93 VII November 11— 12 395

Symphony in B-flat major, No. 102 XIV January 13—14 843

Hindemith: "Der Schwanendreher," Concerto for Viola and Small Orchestra (Burton Fine) XII December 30—31 7i5

Syjnpnonia Serena IV October 21—22 210

Honegger: Symphony No. 2, for String Orchestra IX December 2—3 544 tvf£ST"'Symphony No. 4 VIII November 25—26 468

Janacek: Suite from "The Cunning Little Vixen" II September 30- October 1 75

Mahler: Symphony No. 3, in D minor, with Women's Chorus and Contralto Solo (Shirley Verrett) I September 23—24 11

Symphony No. 9 XV January 20—21 926

MARTiNUj^Double Concerto for Two String Orchestras, ..^^Piano and Timpani XIV Ja nuary 13— 14 874

MENOFfi: "Apocalypse" XX March 10—11 1238

Moevs: Et Occidentem Illustra XIX February 24—25 1184

Moussorgsky: "Pictures at an Exhibition" (Arranged for ^Orchestra by Maurice Ravel) XX March 10-11 1258

Mozart: Piano Concerto in B-flat major, K. 456 (Evelyne Crochet) XXI March 17-18 1298

Overture to "Die Entfuhrung aus dem Serail" XXI March 17—18 1289

Serenade in D major ("Haffner"), K. 250 XII December 30-31 740

Symphony No. 26, in E-flat major, K. 184 XV January 20-21 9°7

Symphony in G minor, K. 550 V October 28—29 267

Nielsen : Concerto for Flute and Orchestra (Doriot Anthony Dwyer) XXIV April 21-22 1488

Prokofiev: Scenes from "Romeo and Juliet," Op. 64 XVII February 10- 11 !035

Scythian Suite, Op. 20 III October 7-8 175

Violin Concerto No. 2 in G minor (Itzhak Perlman) XI December 16—17 688

Rachmaninoff: Piano Concerto No. 2, in C minor, Op. 18 (Gina Bachauer) XVII February 10— 11 1077

[1546] 5

PAGE I^avelT "La Valse," Choreographic Poem IX December 2-3 565

Schj^b-ert: Symphony No. 2, in B-flat major IX December 2—3 55 6

Symphony in B minor, "Unfinished" VIII November 25—26 462

Symphony in C major (Posthumous) XXIV April 21-22 1512

Schuller: Diptych for Brass Quintet

and Orchestra XXIII March 31-April 1 1420

Schumann: Concerto for Violoncello and Orchestra in

A minor, Op. 129 (Jules Eskin) II September 30—October 1 100

Symphony No. 1, in B-flat major, Op. 38 VI November 4— 362

Shostakovitch: Symphony No. 5, Op. 47 IV October 21—22 234

Sibelius: Symphony No. 5, in E-flat major, Op. 82 III October 7-8 139

Smetana: "The Moldau" ("Vltava"), Symphonic Poem XXIV April 21-22 1481

Strauss: "Daphne," Op. 82, Final Scene (Beverly Sills) XIX February 24—25 1189

Till Eulenspiegel's Merry Pranks, After the Old-fashioned, Roguish Manner —

in Rondo Form, Op. 28 XXIII March 31-April 1 1422

Stravinsky: Suite from the Ballet

"L'Oiseau de feu" XXIII March 31-April 1 1456

SyrnphOny in Three Movements (1945) XVI February 3—4 998

Sydeman: In Memoriam John F. Kennedy (E. G. Marshall) VI November 4—5

Wagner: Overture to "Tannhauser" XIII January 6—7 779

Weber—Berlioz: Invitation to the Dance, Op. 65 XI December 16—17 695

Webern: Six Pieces for Orchestra, Op. 6 XXIII March 31-April 1 1446

GUEST CONDUCTORS

Richard Burgin: October 21-22 Gunther Schuller: November 25-26

Charles Munch: December 2-3; 9—10

Rafael Kubelik: January 13—14; 20-21 Colin Davis: February 3-4 Thomas Schippers: March 10—11

[1547] WORKS PERFORMED FOR THE FIRST TIME IN THE FRIDAY-SATURDAY SERIES

Bartok Concerto for Two Pianos and Percussion

Carter * Piano Concerto

Colgrass -fAs Quiet As

Haydn Mass in B-flat major, "Schopfungsmesse"

Symphony No. 13

Hindemith "Der Schwanendreher"

Ives -f-Symphony No. 4

Janacek §Suite from "The Cunning Little Vixen"

Martinu Double Concerto for Two String Orchestras, Piano and Timpani

Menotti Apocalypse

Moevs *Et Occidentem Illustra

Mozart ^Serenade in D major, "Haffner," K. 250 Symphony No. 26

Nielsen Flute Concerto

Schuller +Diptych

Strauss "Daphne," Op. 82, Final Scene

Sydeman *In Memoriam John F. Kennedy

* First performance t First performance in this version

§ First performance in America t First performance in Boston % First complete performance at these concerts

NUMERICAL SUMMARY OF WORKS PERFORMED

Works by Beethoven and Mozart— 5 each; Dvorak, Haydn — 4; Bach,

Prokofiev, Schubert — 3; Berlioz, Hindemith, Mahler, Schumann, Strauss,

Stravinsky — 2; Bartok, Berg, Bizet, Borodin, Brahms, Bruckner, Carter,

Colgrass, Faure, Franck, Honegger, Ives, Janacek, Martinu, Menotti, Moevs,

Moussorgsky, Nielsen, Rachmaninoff, Ravel, Schuller, Shostakovitch, Sibelius,

Smetana, Sydeman, Wagner, Weber-Berlioz, Webern — 1 each. Total: 67 works by 41 composers.

[548] ARTISTS WHO HAVE APPEARED AS SOLOISTS PAGE Shmuel Ashkenasi (Dvorak: Violin Concerto). October 7—8. Sketch. 133

*Gina Bachauer (Rachmaninoff: Piano Concerto No. 2). February 10- 11. Sketch 1029

Ara Berberian (Haydn: Mass in B-flat major, "Schopfungsmesse"; Bach: Johannespassion). February 24—25; March 24—25. Sketch 1156

*Phyllis Bryn-Julson (Berg: Suite from "Lulu"). October 28-29. Sketch 262

*Gene Bullard (Bach: Johannespassion). March 24-25. Sketch . 1348

Richard Burgin (Bach: Violin Concerto No. 1, in A minor). October 21-22. Sketch 199

Evelyne Crochet (Mozart: Piano Concerto in B-flat major, K. 456). March 17-18. Sketch 1284

Phyllis Curtin (Bach: Johannespassion). March 24-25. Sketch. . 1347

*Placido Domingo (Haydn: Mass in B-flat major, "Schopfungsmesse"). February 24—25. Sketch 1156

Doriot Anthony Dwyer (Concerto for Flute and Orchestra). April 21-22. Sketch 1475

*Bracha Eden (Bartok: Concerto for Two Pianos and Percussion). November 11—12. Sketch 390

Jules Eskin (Schumann: Cello Concerto). September 30—October 1. Sketch ...... 6g Burton Fine (Hindemith: "Der Schwanendreher"). December 30-31. Sketch 709

Claude Frank (Beethoven: Piano Concerto No. 1). October 28-29. Sketch 261

Donald Gramm (Berlioz: "L'Enfance du Christ"). December 9-10. Sketch 582

Ernst Haefliger (Bach: Johannespassion). March 24-25. Sketch . 1347

Florence Kopleff (Berlioz: "L'Enfance du Christ"). December 9- 10. Sketch 581

Jacob Lateiner (Carter: Piano Concerto). January 6-7. Sketch . 773

John McCollum (Berlioz: "L'Enfance du Christ"). December 9-10. Sketch 582

*Itzhak Perlman (Prokofiev: Violin Concerto No. 2 in G minor).

December 16-17. Sketch ...... 645

* Artists who have appeared for the first time with the Boston Symphony Orchestra.

[*549] PAGE Beverly Sills (Haydn: Mass in B-flat major, "Schopfungsmesse" Strauss: "Daphne," Op. 82, Final Scene). February 24—25 Sketch

Joseph Silverstein (Brahms: Violin Concerto). February 17—18 Sketch 1091

* Alexander Tamir (Bartok: Concerto for Two Pianos and Percussion) November 11—12. Sketch ...... 390

Norman Treigle (Bach: Johannespassion). March 24—25. Sketch 1348

*Theodor Uppman (Berlioz: "L'Enfance du Christ"). December 9—10 Sketch 581

Shirley Verrett (Mahler: Symphony No. 3 in D minor). September 23—24. Sketch 5

Beverly Wolff (Haydn: Mass in B-flat major, "Schopfungsmesse"; Bach: Johannespassion). February 24—25; March 24—25. Sketch 11 oo

* Artists who have appeared for the first time with the Boston Symphony Orchestra.

ARTISTS WHO HAVE ASSISTED IN PERFORMANCES

Choruses: Boston Boychoir, John Oliver, Director (Mahler: Sym-

phony No. 3) Chorus pro Musica, Alfred Nash Patterson, Conductor (Bach: Johannespassion) Harvard Glee Club and Radcliffe Choral Society, Elliot Forbes, Conductor (Berlioz: "L'Enfance du Christ") New England Conservatory Chorus, Lorna Cooke deVaron,

Conductor (Mahler: Symphony No. 3); John Oliver, Acting Conductor (Ives: Symphony No. 4) Rutgers University Choir, F. Austin Walter, Director (Haydn: Mass in B-flat major, "Schopfungsmesse"; Moevs: Et Occidentem Illustra)

Narrator: E. G. Marshall (Sydeman: In Memoriam John F. Kennedy)

Violin: Joseph Silverstein (Mozart: Serenade in D major, "Haffner," K. 250)

Brass Quintet: Armando Ghitalla, Trumpet' Roger Voisin, Trumpet (Schuller: Diptych for Brass James Stagliano, Horn Quintet and Orchestra William Gibson, Trombone Chester Schmitz, Tuba

Piano: Yuji Takahashi (Ives: Symphony No. 4) Charles Wilson (Martinu: Double Concerto for Two String Orchestras, Piano and Timpani)

Erich Leinsdorf played the harpsichord continuo in Haydn's Symphony in D major, No. 13.

[ »55°] ENTR'ACTES PAGE Burk, John N. The Simplicity of Dvorak 158 Brief Words About the Symphonies of Shostakovitch 240 Alban Berg 300 Haydn in London .... 404 Gabriel Faure 534

Honegger, the French Symphonist . 547 Berlioz and God .... 629 Kapellmeister Haydn and his Prince 850 Mozart and the Symphony 912

The Virtuoso Conductor . 1056 Beethoven's Vienna .... 1114 The Adventurous Listener 1248

Mozart's Piano Concertos . 1312

The Legend of Tyll Owlglass . 1432 Schubert's Vienna .... 1534 Cardus, Neville Gustav Mahler — Miracle of Artistic Creation 34 Revolt and Tradition 355 What Is a Banal Tune? 1170 Carter, Elliott An American Destiny 483 The Time Dimension in Music 800

Cockshott, Gerald On Saying Nothing New . 944 Copland, Aaron A Modernist Defends Modern Music 675 Gammons, Donald T. Mozart at Twenty .... 749 King Lear in Music .... 992 Harrison, Jay S. Hindemith — His Art and his Views 724

Hindemith, Paul Perceiving Music Emotionally . 218 Hollander, Hans Janacek's Development 92 Ives, Charles E. Prologue from "Essays Before a Sonata" 495 Leinsdorf, Erich Toscanini ...... 1396 Nabokov, Nicolas Prokofiev's Style 1044 Stravinsky, Igor A Comment on Commissions 1071 Trenner, Franz The Daphne-Myth as Subject for an Opera ii94

PENSION FUND CONCERTS The 140th Pension Fund Concert took place in Symphony Hall on Sunday evening, December 11. Misha Dichter was piano soloist; Stephen Kates, cello soloist; Senator Edward M. Kennedy, narrator, in the following program: Dvorak, Concerto for Cello, in B minor, Op. 104; Copland, Lincoln Portrait; Tchaikovsky, Piano Concerto No. 1, in B-flat minor, Op. 23. Seven regular Open Rehearsals at Symphony Hall during the past season (Septem- ber 22, October 20, November 10, December 1, January 12, March 23 and 30) and a previous Pop Concert on May 8 benefited the Pension Fund. The eight Saturday morning rehearsals of the Berkshire Festival were open to the public for the benefit of the Pension Fund.

MEETING OF THE FRIENDS OF THE BOSTON SYMPHONY ORCHESTRA The 33rd annual meeting of the Friends of the Boston Symphony Orchestra was held in Symphony Hall on Wednesday, March 15, 1967, at 3:30 o'clock. Henry B. Cabot, President of the Trustees, addressed the meeting, and Mr. Leinsdorf spoke briefly, before conducting the Orchestra in a rehearsal of Mozart's Piano Concerto in B-flat major, K. 456, with Evelyne Crochet as soloist. Following the meeting, the trustees received the members at tea. The Council of Friends of the Boston Symphony Orchestra, Mrs. Louis W. Cabot and Mrs. Norman L. Cahners, Co-Chairmen, have continued their activity in further- ing interest in the Orchestra.

1 [155 ] AN EVENING AT THE HOTEL SOMERSET Members of the Orchestra and Trustees, dressed in eighteenth-century costume, participated in an evening at the Hotel Somerset on Monday, March 27, to launch the fund drive for the Boston Symphony Orchestra. The evening was planned by Mrs. Harris Fahnestock and Mrs. Benjamin C. Tilghman, Co-Chairmen of Special Events for the Fund for the Boston Symphony. The music performed at this occasion was the Toy Symphony by Leopold Mozart, conducted by Henry B. Cabot, and Haydn's Farewell Symphony, conducted by Erich Leinsdorf. The performance was televised by WGBH, Channel 2, Boston.

PROGRAMS OF THE TUESDAY EVENING "A" SERIES Ten concerts were given in Symphony Hall on Tuesday evenings. Richard Burgin conducted the concert on October 25; Gunther Schuller conducted on November 29; Charles Munch on December 6, and Rafael Kubelik on January 17. SEPTEMBER 27

Mahler Symphony No. 3, in D minor (Shirley Verrett; New England Con- servatory Chorus, Lorna Cooke deVaron, Conductor; Boston Boychoir, John Oliver, Director) OCmBElf25

Bach Violin Concerto No. 1, in A minor (Richard Burgin) Hindemith Symphonia Serena Shostakovitch Symphony No. 5, Op. 47 NOVEMBER 8 Beethoven Overture to "Coriolan," Op. 62 Sydeman In Memoriam John F. Kennedy (E. G. Marshall)

Beethoven Symphony No. 7, in A major, Op. 92 NOVEMBER 29 Dvorak Overture, "Othello," Op. 93 Schubert Symphony in B minor, "Unfinished" Ives Symphony No. 4 (New England Conservatory Chorus, John Oliver, Acting Conductor) DECEMBER 6 Faure "Pelleas et Meiisande," Suite from the Incidental Music to Maeter- linck's Tragedy, Op. 80

Honegger Symphony No. 2, for String Orchestra

Schubert Symphony No. 2, in B-flat major Ravel "La Valse," Choreographic Poem DECEMBER 27 Hindemith "Der Schwanendreher," Concerto for Viola and Small Orchestra (Burton Fine) Mozart Serenade in D major ("Haffner"), K. 250 JANUARY 17 Haydn Symphony in B-flat major, No. 102 Martinu Double Concerto for Two String Orchestras, Piano and Timpani Franck Symphony in D minor FEBRUARY 21 Beethoven Symphony No. 2, in D major, Op. 36 Colgrass As Quiet As Prokofiev Scenes from "Romeo and Juliet," Op. 64 MARCH 7 (Concert postponed front February 7) Dvorak Symphony No. 9, in E minor, "From the New World," Op. 95 Brahms Violin Concerto in D major, Op. 77 (Joseph Silverstein) MARCH 28 Mozart Overture to "Die Entfiihrung aus dem Serail" Piano Concerto in B-flat major, K. 456 (Evelyne Crochet)

Bruckner Symphony No. 9, in D minor

['552] PROGRAMS OF THE TUESDAY EVENING "B" SERIES Six concerts were given in Symphony Hall on Tuesday evenings at 7:30 o'clock. Gunther Schuller conducted the concert on January 10; Richard Burgin on Feb- ruary 14, and Thomas Schippers on March 14. OCTOBER 4

Mahler Symphony No. 3, in D minor (Shirley Verrett; New England Con- servatory Chorus, Lorna Cooke deVaron, Conductor; Boston Boychoir, John Oliver, Director)

NOVEMBER 1 Mozart Symphony in G minor, K. 550 Berg Suite from "Lulu," Opera in Three Acts (Phyllis Bryn-Julson)

Beethoven Piano Concerto No. 1, in C major, Op. 15 (Claude Frank) DECEMBER 20 Beethoven Overture to "Coriolan," Op. 62 Symphony No. 4, in B-flat major, Op. 60 Sibelius Concerto for Violin and Orchestra, in D minor, Op. 47 (Itzhak Perlman) Weber-Berlioz Invitation to the Dance, Op. 65 JANUARY 10 Dvorak Overture, "Othello,'^pp\93 Schubert Symphony in B minor, "Unfinished" Ives Symphony No. 4 (New England Conservatory Chorus, John Oliver, Acting Conductor) FEBRJ^RY 14 Weber Overture to "Oberon"^

Shostakovitch Symphony No. 5, Op. 47 Rachmaninoff Piano Concerto No. 2, in C minor (Gina Bachauer) MARCH 14 Bizet Symphony in C major Menotti "Apocalypse" moussorgsky "Pictures at an Exhibition" (Arranged for Orchestra by Maurice Ravel)

PROGRAMS OF THE TUESDAY EVENING "CAMBRIDGE" SERIES Six concerts, the "Cambridge" Series formerly held in Sanders Theatre, Harvard University, were given in Symphony Hall on Tuesday evenings. Charles Munch conducted the concert on December 13, and Rafael Kubelik on January 31. OCTOBER 18

Mahler Symphony No. 3, in D minor (Shirley Verrett; New England Con- servatory Chorus, Lorna Cooke deVaron, Conductor; Boston Boychoir, John Oliver, Director) NOVEMBER 22

Bach Suite No. 3, in D major, for Orchestra Sydeman In Memoriam John F. Kennedy (E. G. Marshall) Schumann Symphony No. 1, in B-flat major, Op. 38 DECEMBER 13 Berlioz "L'Enfance du Christ," Sacred Trilogy, Op. 25 (John McCollum, Flor- ence Kopleff, Theodor Uppman, Donald Gramm; Harvard Glee Club-Radcliffe Choral Society, Elliot Forbes, Conductor)

JANUARY 3 Beethoven Overture to "Coriolan," Op. 62

Symphony No. 4, in B-flat major, Op. 60

Symphony No. 7, in A major, Op. 92

[1553] PROGRAMS OF THE TUESDAY EVENING "CAMBRIDGE" SERIES (Continued) JANUARY Haydn Symphony in B-flat major, NoCic^ Martinu Double Concerto for TweTString Orchestras, Piano and Timpani Franck Symphony in D minor APRIL 18 Beethoven Symphony No. 2, in D major, Op. 36 Colgrass As Quiet As Brahms Violin Concerto in D major, Op. 77 (Joseph Silverstein)

PROGRAMS OF THE THURSDAY EVENING "A" SERIES Six concerts were given in Symphony Hall on Thursday evenings. Richard Burgin conducted the concert on October 27; Charles Munch on December 15, and Colin Davis on February 9. SEPTEMBER 29

Mahler Symphony No. 3, in D minor (Shirley Verrett; New England Con- servatory Chorus, Lorna Cooke deVaron, Conductor; Boston Boychoir, John Oliver, Director) OCTOBER 27

Bach Violin Concerto No. 1, rffA minor (Richard Burgin) Hindemith Symphonia Serena Shostakovitch Symphony No. 5, Op. 47 DECEMBER"l5 Berlioz "L'Enfance du Christ," Sacred Trilogy, Op. 25 (John McCollum, Florence Kopleff, Theodor Uppman, Donald Gramm; Harvard Glee Club and Radcliffe Choral Society, Elliot Forbes, Conductor) DECEMBER 29 Hindemith "Der Schwanendreher," Concerto for Viola and Small Orchestra (Burton Fine) Mozart Serenade in D major ("Haffner"), K. 250 FEBRUARY 9 Berlioz Overture, "King Lear," Op. 4 Stravinsky Symphony in Three Movements Dvorak Symphony No. 7, in D minor, Op. 70 APRIL 20 Beethoven Symphony No. 2, in D major, Op. 36 Colgrass As Quiet As Brahms Violin Concerto in D major, Op. 77 (Joseph Silverstein)

PROGRAMS OF THE THURSDAY EVENING "B" SERIES Three concerts were given in Symphony Hall on Thursday evenings. Charles Munch conducted the concert on December 8, and Thomas Schippers on March 9. OCTOBER 6

Mahler Symphony No. 3, in D minor^ (Shirley Verrett; New England Con- servatory Chorus, Lorna Cooke deVaron, Conductor; Boston Boychoir, John Oliver, Director) DECEMBER 8 Faure "Pelleas et Melisande," Suite from the Incidental Music to Maeter- linck's Tragedy, Op. 80 honegger Symphony No. 2, for String Orchestra Schubert Symphony No. 2, in B-flat major Ravel "La Valse," Choreographic Poem MAR€H 9 Bizet Symphony in C major Menotti "Apocalypse" Moussorgsky "Pictures at an Exhibition" (Arranged for Orchestra by Maurice Ravel)

[1554] CONCERTS OUTSIDE BOSTON NEW YORK CITY

Five Wednesday evening and five Friday evening concerts in Philharmonic Hall:

OCTOBER 12 and 14 Sibelius Symphony No. 5 in E-flat major, Op. 82 Dvorak Concerto for Violin and Orchestra in A minor, Op. 53 (Shmuel Ashkenasi) Prokofiev Scythian Suite, Op. 20

NOVEMBER 16 and 18

Bach Suite No. 3 in D major Sydeman In Memoriam John F. Kennedy* (E. G. Marshall, Narrator)

Schumann Symphony No. 1, in B-flat major, Op. 38

JANUARY 25 and 27 (RAFAEL KUBELIK, Conductor) Mozart Symphony No. 26, in E-flat major, K. 184 Mahler Symphony No. 9

MARCH 1 and 3

Beethoven Symphony No. 2, in D major, Op. 36 Colgrass As Quiet As*

Rachmaninoff Piano Concerto No. 2, in C minor, Op. 18 (Gina Bachauer)

APRIL 12 and 14

Haydn Symphony in D major, No. 13 Schuller Diptych for Brass Quintet and Orchestra Strauss Till Eulenspiegel's Merry Pranks, Op. 28 Webern Six Pieces for Orchestra, Op. 6 Stravinsky Suite from the Ballet, "L'Oiseau de feu"

Four concerts were given on Saturday evenings in Carnegie Hall, sponsored by the Carnegie Hall Corporation: OCTOBER 15

Mahler Symphony No. 3, in D minor, with Women's Chorus and Contralto Solo (Shirley Verrett; New England Conservatory Chorus, Lorna Cooke deVaron, Conductor; Boston Boychoir, John Oliver, Director) NOVEMBER 19 Beethoven Overture to "Coriolan," Op. 62 Mozart Symphony in G minor, K. 550 Berg Suite from "Lulu" (Phyllis Bryn-Julson)

Beethoven Piano Concerto No. 1, in C major, Op. 15 (Claude Frank)

MARCH 4 Haydn Mass in B-flat major, "Schopfungsmesse" (Beverly Sills, Beverly Wolff, Placido Domingo, Ara Berberian, Rutgers University Choir, F. Austin Walter, Director) Moevs Et Occidentem Illustra* (Rutgers University Choir, F. Austin Walter, Director)

Strauss "Daphne," Op. 82, Final Scene (Beverly Sills)

APRIL 15 Mozart Overture to "Die Entfiihrung aus dem Serail" Piano Concerto in B-flat major, K. 456 (Evelyne Crochet)

Bruckner Symphony No. 9, in D minor

[ 1555 ] CONCERTS OUTSIDE BOSTON (Continued)

Two conceits were given in Carnegie Hall as part of the International Festival of Visiting Orchestras: NOVEMBER 17

Bach Violin Concerto No. 1, in A minor (Richard Burgix. Conductor and Soloist Bartok Concerto for Two Pianos and Percussion (Bracha Edex and Alexander Tamir) Beethoyex Symphony No. 7. in A major, Op. 92

JANUARY 28 (RAFAEL KUBELIK, Conductor) Haydn Symphony in B-flat major. No. 102 Martixu Double Concerto for Two String Orchestras.. Piano and Timpani Fraxck Symphony in D minor

* First performance in New York.

CONCERTS IN OTHER CITLES Five Thursday evening concerts in the Veterans Memorial Auditorium.. Providence:

November 3 Phyllis Bryn-Julsox: Claude Frank January January 19 Rafael Kubelik. Conductor February 16 Richard Burgix. Conductor; Gixa Bachauer March 16 Evelyne Crochet

Three Thursday evening concerts in the Brooklyn Academy of Music:

October 13 Jules Eskin January 26 Rafael Kubelik. Conductor * April 13 Evelyns Crochet

The following additional concerts:

November 15 Washington E. G. Marshall February 2S January 23 Hartford Rafael Kubelik. Conductor January 24 New Haven Rafael Kubelik. Conductor March 2 New Brunswick Beverly Sills. Beverly Wolff, Placido Domingo, Ara Berberlyx, Rutgers University Choir, F. Austin Walter, Director April 10 New London April 11 Philadelphia

A concert sponsored bv The Cultural Foundation of Boston. Inc., was given in Symphony Hall on February 23. as part of the "Winterfest" events. Joseph Silver- stein appeared as soloist, and Beverly Sills. Beverly Wolff. Placido Domingo. Ara Berberian. and the Rutgers University Choir, F. Austin Walter. Director.

* Charles Wilson conducted the first half of the program. MIDWESTERN TOUR

In April. 1967. the Orchestra, under the direction of Erich Leinsdorf. made a tour of the following cities: Rochester, April 3: Toledo. April 4; Bloomington, April 5; Chicago. April 6 and 7: Ann Arbor, April 8. The programs were chosen from the following repertoire:

Beethovex Svmphonv No. 2. in D major. Op. 36 Symphony No. 7. in A major. Op. 92 Brahms Svmphonv No. 1, in C minor, Op. 68 Bruckner Svmphonv No. 9. in D minor Colgrass As Quiet As Haydn Svmphonv in D major. No. 13 Mozart Overture to '"Die Entfiihrung aus dem Serail Schiller Diptych for Brass Quintet and Orchestra Strauss Till Eulenspiegel's Merry Pranks. After the Old-fashioned, Roguish Manner — Rondo Form, Op. 28 Stravinsky Suite from the Ballet, "L'Oiseau de feu" Wfrfrn Six Pieces for Orchestra, Op. 6

6 [»55 ] BOSTON SYMPHONY CHAMBER PLAYERS This ensemble, formed under the advisory direction of Erich Leinsdorf and composed basically of the principal players of the Orchestra and Claude Frank, piano, was assisted in its third season by the following Associates: Virginia Eskin, Judith Geber, Richard Goode, Lois Schaefer, Luise Vosgerchian and George Zazofsky. Concerts were given in the 1966-1967 season as follows:

October 5 Radcliffe College October 16 November 20 January 22 Parke-Bernet Galleries, New York February 12* March 5 April 16

-November 2 January 4 February 8* Jordan Hall, Boston March 29 April 19* November 6 All-Newton Music School November 30 Providence, Rhode Island December 4 Portland, Maine January 29 Washington, D. C. April 9 Ann Arbor, Michigan * These concerts were sponsored by the New England Conservatory and performed by the Boston Symphony String Quartet.

The programs for the above concerts were chosen from the following repertoire: Angerer Chanson Gaillarde Barber Summer Music

Bart6k String Quartet No. 3 Beethoven Duet No. 3 in B-flat, for Clarinet and Bassoon Quintet in E-flat for Piano and Woodwinds, Op. 16 Septet in E-flat, Op. 20 Serenade in D major, Op. 25 String Trio No. 1 in E-flat, Op. 3 Brahms Trio in E-flat for Piano, Violin and Horn, Op. 40 Coker Concertino for Bassoon and Strings Faure Piano Quartet in C minor, Op. 15 Fine Fantasia for String Trio Haieff Three Bagatelles for Oboe and Bassoon Haydn Quartet in C major, Op. 20, No. 2 Hindemith Quintet for Wind Instruments, Op. 24, No. 2 Milhaud Pastorale Mozart Quintet in A major for Clarinet and Strings, K. 581 Piano Trio in C major, K. 542 Piston Woodwind Quintet Poulenc Trio for Oboe, Bassoon and Piano Prokofiev Quintet for Oboe, Clarinet, Violin, Viola and Bass, Op. 39 Reicha Quintet in E-flat for Woodwinds, Op. 88, No. 2 Schubert Quintet in A major, for Violin, Viola, Cello, Bass and Piano, Op. 114 ("Trout")

String Trio No. 1 in B-flat String Trio No. 2 in B-flat Trio No. 1 in B-flat, for Violin, Cello and Piano, Op. 99 Spohr Nonet, Op. 31 Zachau Trio for Oboe, Bassoon and Piano

[1557] A private concert was given at the Gardner Museum on November 7, for the "Silver Anniversary Friends" of the Boston Symphony Orchestra. A series of six Wednesday evening concerts were presented for the membership of the St. Botolph Club: October 26, November 30, December 28*, January 18, February 15, March 15.

In May, 1966, the Chamber Players made their first transcontinental tour, giving concerts in the following cities: New York, May 2; Syracuse, May 3; Kansas City, Missouri, May 6; Carbondale, Illinois, May 8; Hammond, Louisiana, May 10 and 11; Denver, May 13 and 14; Scottsdale, Arizona, May 18; Tempe, Arizona, May 19; Ojai, California, May 20 and 22. The programs were chosen from the following repertory:

Beethoven Septet in E-flat, Op. 20 Brahms Quartet in C minor for Piano and Strings, Op. 60 Trio in E-flat for Piano, Violin and Horn, Op. 40 Britten Phantasy Quartet, Op. 2, for Oboe, Violin, Viola and Cello Carter Woodwind Quintet Dohnanyi Serenade in C major, Op. 10 Fine Fantasia for String Trio Haieff Three Bagatelles for Oboe and Bassoon Mozart Quartet in D major for Flute and Strings, K. 285 Quartet in F major for Oboe and Strings, K. 370 Quartet in G minor for Piano and Strings, K. 478 Quintet in E-flat for Piano and Woodwinds, K. 452 Poulenc Sonata for Trumpet, Horn and Trombone Trio for Oboe, Bassoon and Piano

Schubert Trio No. 1, in B-flat, for Violin, Cello and Piano, Op. 99 String Trio No. 2 in B-flat

BERKSHIRE FESTIVAL, TANGLEWOOD (1966) Three concerts by the Boston Symphony Orchestra under the direction of Erich Leinsdorf were given in the Music Shed on Saturday evening, Sunday afternoon and Monday afternoon of the first week.

July 2 Wagner Overture to "Tannhauser" Stravinsky Suite from the Ballet "Petrouchka" Brahms Violin Concerto in D major, Op. 77 (Shmuel Ashkenasi)

July 3 Brahms Concerto in A minor for Violin and Violoncello, Op. 102 (Joseph Silverstein, Jules Eskin)

Mahler Symphony No. 4, in G major (Anne Elgar)

JulY 4 Prokofiev "Classical" Symphony, Op. 25 Sessions Psalm 140 for Soprano and Orchestra (Anne Elgar) Strauss Till Eulenspiegel's Merry Pranks, Op. 28 Brahms Piano Concerto No. 2, in B-flat major, Op. 83 (Abbey Simon)

Six concerts by members of the Boston Symphony Orchestra under the direction of Erich Leinsdorf were given on Friday and Saturday evenings and Sunday after- noons in the second and third weeks. Sir Adrian Boult conducted on July 10 and Szymon Goldberg conducted on July 15. These concerts were all performed in the Music Shed.

July 8 Mozart March No. 3 in C major, K. 408 Symphony No. 31 in D major, "Paris," K. 297 Piano Concerto No. 15 in B-flat major, K. 450 (Malcolm Frager) Symphony No. 41, in C major, "Jupiter," K. 551

July 9 Mozart Symphony No. 29 in A major, K. 201 Piano Concerto No. 25, in C major, K. 503 (Claude Frank) Serenade in D major (with the Posthorn), K. 320

['558] BERKSHIRE FESTIVAL, TANGLEWOOD (1966) (Continued)

July^r^ Mozart Symphony No. 34 in C major, K. 338 Piano Concerto No. 5, in D major, K. 175 (Malcolm Frager) Symphony No. 39, in E-flat major, K. 543

uuly^*5 ]Bach Concerto for Violin, No. 2, in E major (Szymon Goldberg) J ! Suite No. 2, in B minor, for Flute and Strings (Doriot Anthony Dwyer) The Art of Fugue Suite No. 4, in D major

July 16 Bach The Passion According to Saint John (Ernst Haefliger, Norman Treigle, Phyllis Curtin, Beverly Wolff, Walter Carringer, Thomas Paul, Donald Miller, Tanglewood Choir, prepared by Alfred Nash Patterson)

July 17 Bach Brandenburg Concerto No. 1, in F major Cantata 55 (Ernst Haefliger, Tanglewood Choir, prepared by Alfred Nash Patterson) Magnificat in D major (Phyllis Curtin, Beverly Wolff, Batyah Godfrey, Ernst Haefliger, Norman Treigle, Tanglewood Choir, prepared by Alfred Nash Patterson)

Fifteen concerts by the Boston Symphony Orchestra, under the direction of Erich Leinsdorf, were given in the Shed on Friday and Saturday evenings and Sunday afternoons of the last five weeks. Seiji Ozawa conducted on July 22; Thomas Schip- pers conducted on July 31; Stanislaw Skrowaczewski conducted on August 5 and 7; Sixten Ehrling conducted on August 12.

JulyUy 222 William Schuman American Festival Overture Schubert Symphony No. 5, in B-flat Mendelssohn Concerto for Violin and Orchestra, in E minor, Op. 64 (Joseph Silverstein) Stravinsky Suite from the Ballet, "L'Oiseau de feu"

July 23 Brahms Tragic Overture, Op. 81 Schumann Symphony No. 2, in C major, Op. 61 Rachmaninoff Piano Concerto No. 3, in D minor (Van Cliburn)

July 24 Beethoven Overture to "Coriolan," Op. 62 Chopin Piano Concerto No. 2, in F minor, Op. 21 (Lilian Kallir) Mozart "Et incarnatus est," from the Mass in C minor, K. 427 (Veronica Tyler) Verdi "Ella giammai m'amo: Dormiro sol" from "Don Carlo" (Simon Estes) Tchaikovsky Tatiana's Letter Scene from "Eugene Onegin" (Jane Marsh) Verdi Aria, "O patria mia," from "Ai'da" (Jane Marsh)

July 29 Smetana Overture to "The Bartered Bride" Schumann Concerto for Violoncello and Orchestra in A minor, Op. 129 (Jules Eskin) Debussy Three Nocturnes (Tanglewood Choir, prepared by Iva Dee Hiatt) Elgar Variations on an Original Theme, Op. 36

July 30 Weber Overture to "Der Freischiitz" Schumann Introduction and Allegro appassionato, Concert Piece for Piano and Orchestra, Op. 92 (Lilian Kallir) Fantasy for Violin in C major, Op. 131 (Joseph Silverstein) Dvorak Symphony No. 8, in G major, Op. 88

July Rossini Overture to "La Gazza Ladra" Schumann Piano Concerto in A minor, Op. 54 (Claude Frank) moussorgsky "Pictures at an Exhibition" (Arranged for Orchestra by Maurice Ravel)

[!559] BERKSHIRE FESTIVAL, TANGLEWOOD (1966) (Continued)

August Prokofiev Romeo and Juliet, Op. 64, Suite No. 2 Saint-Saens Violoncello Concerto No. 1, in A minor, Op. 33 (Leslie Parnas)

Schumann Symphony No. 4, in D minor, Op. 120

August 6 Mozart Die Zauberflote (George Shirley, Jane Marsh, Joanna Simon, Batyah Godfrey, John Reardon, Beverly Sills, Nico Castel, Judith Raskin, Veronica Tyler, Ara Berberian, Ezio Flagello, Robert Jones, Anne Elgar, Mac Morgan, Tanglewood Choir, prepared by Iva Dee Hiatt)

August^- Barber Medea's Meditation and Dance of Vengeance, Op. 23-A

Saint-Saens Piano Concerto No. 4, in C minor, Op. 44 (Grant Johannesen)

Beethoven Symphony No. 3, in E-flat major, "Eroica," Op. 55

August:12 Sibelius Symphony No. 1 in E minor, Op. 39

Tchaikovsky Symphony No. 4, in F minor, Op. 36

August 13 Beethoven Overture "Leonore" No. 3, Op. 72 Shostakovitch Concerto for Cello and Orchestra, Op. 107 (Stephen Kates) HlNDEMITH Symphonic Metamorphosis of Themes by Carl Maria von Weber Charpentier "Depuis le jour" from "Louise" Puccini "Si, mi chiamano Mimi" from "La Boheme" (Veronica Tyler) Wagner Dawn and Siegfried's Rhine Journey from "Die Gotterdammerung"

August 14 Wagner Prelude to Act III, "Lohengrin"

Brahms Symphony No. 1, in C minor, Op. 68 Prokofiev Violin Concerto No. 2 in G minor (Masuko Ushioda) Schuller Two Movements from "Seven Studies on Themes of Paul Klee"

Tchaikovsky Piano Concerto No. 1, in B -flat minor, Op. 23 (Misha Dichter)

August 19 Bruckner Symphony No. 4 in E-flat, "Romantic" Liszt "Todtentanz," Paraphrase on the "Dies Irae," for Piano and Orchestra

Piano Concerto in E-flat major, No. 1 (Jeanne-Marie Darre)

August 20 Wagner Prelude to "Tristan and Isolde"

Brahms Symphony No. 4, in E minor, Op. 98 Liszt Fantasia on Themes from Beethoven's "The Ruins of Athens," for Piano and Orchestra

Piano Concerto in A major, No. 2 (Jorge Bolet)

August 21 Verdi Te Deum, for Double Chorus and Orchestra

Beethoven Symphony No. 9, in D minor, Op. 125 (Phyllis Curtin, Eunice Alberts, Richard Cassilly, Thomas Paul, Festival Chorus, prepared by Iva Dee Hiatt)

15(10 WEEKEND PRELUDES

For the first time, a series of "Weekend Prelude" concerts were presented in the Music Shed on Friday evenings at 7:00 o'clock. Concerts were given as follows:

JulyS Mozart Canons (Tanglewood Choir, Alfred Nash Patterson, Director) Sonata for Two Pianos, in D major, K. 448 (Claude Frank and Lilian Kallir)

July 15 Bach Brandenburg Concerto No. 6, in B-flat major Brandenburg Concerto No. 3, in G major (Members of the Boston Symphony Orchestra)

July 22 Brahms Sonata in A major for Piano and Violin, Op. 100 (Joseph Silverstein, Lilian Kallir) Mendelssohn Songs for Mixed Chorus (Tanglewood Choir, Alfred Nash Patterson, Director)

July 29 Schumann Andante and Variations for Two Pianos, Two Cellos and Horn, Op. 46 (Claude Frank, Lilian Kallir, Martin Hoherman, Mischa Nieland, James Stagliano) Lieder (Ara Berberian and Claude Frank)

August 5 Mozart Songs for Voice and Piano (Phyllis Curtin and Richard Woitach) Fantasia in F minor, for Organ, K. 608 (John Ferris)

August 12 Tchaikovsky Trio in A minor for Piano, Violin and Cello, Op. 50 (The Lenox Trio: Paul Hersh, Peter Marsh, Donald McCall)

August 19 Liszt Piano Transcriptions (Jorge Bolet)

Seven chamber music concerts by the following groups were given in the Theatre- Concert Hall:

July 5 Boston Symphony Chamber Players, with Claude Frank July 12 The Guarneri Quartet July 19 Roman Totenberg, Violin; Richard Corbett, Piano July 26 Boston Symphony Chamber Players, with Claude Frank August 2 Phyllis Curtin August 9 The Lenox Quartet August 16 Composers Quartet (Included in the Festival of Contemporary American Music)

A Festival of Contemporary American Music was sponsored by the Berkshire Music Center in cooperation with the Fromm Music Foundation. Concerts were given at Tanglewood on August 14, 15, 16, 17 and 18.

A Gala Evening at Tanglewood was presented by the students of the Berkshire Music Center and the Boston Symphony Orchestra on Wednesday, August 10, for the benefit of the school. Arthur Fiedler conducted "The Boston Pops at Tangle- wood" on Wednesday, August 3, for the benefit of the Orchestra's Pension Fund.

BERKSHIRE MUSIC CENTER The Berkshire Music Center, Erich Leinsdorf, Director, was held at Tanglewood concurrently with the Berkshire Festival, from June 26 to August 21, 1966.

POP CONCERTS The 81st season of the Boston Pops, Arthur Fiedler, Conductor, was given in Symphony Hall from April 28 through June 29, 1966.

[ 1561 ] ESPLANADE CONCERTS The 38th consecutive season of Esplanade Concerts by members of the Boston Symphony Orchestra, Arthur Fiedler, Conductor, was given in the Edward Hatch Memorial Shell with scheduled concerts on the evenings of July 5 through July 16 (omitting July 10) and Wednesday mornings on July 6 and 13 (Children's Concerts). These concerts were organized by a committee of which Henry B. Cabot is chairman.

BROADCASTS The Friday afternoon concerts of the Orchestra in Symphony Hall were regularly broadcast by WGBH-FM (Boston), WAMC-FM (Albany) and WFCR (Amherst).

The Saturday evening concerts in Symphony Hall were regularly broadcast by WGBH-FM (Boston), WCRB-AM-FM (Boston), WFCR (Amherst), WCRQ-FM (Providence) and WCRX-FM (Springfield).

The "Cambridge" Tuesday evening concerts and two of the Tuesday "B" concerts of the Orchestra in Symphony Hall were broadcast by WGBH-FM (Boston) and WAMC (Albany). In addition, these concerts were telecast by WGBH (Channel 2, Boston) and WENH (Channel 11, Durham, New Hampshire).

Concerts of the 1966 Berkshire Festival were broadcast delayed by WGBH-FM (Boston) through the Winter Season. The nine Saturday evening 1966 Pops concerts were broadcast live by WGBH-FM (Boston), WCRB-AM-FM (Boston) and WFCR (Amherst).

All the 1966 Berkshire Festival concerts were broadcast live by WGBH-FM (Boston), WFCR (Amherst) and WAMC (Albany). WCRB-FM (Boston) and WCRQ (Providence) broadcast the Saturday evening concerts.

The 1966 Berkshire Music Center concerts were broadcast live by WGBH-FM (Boston), WFCR (Amherst) and WAMC (Albany).

Complete transcriptions of the Friday-Saturday concerts, as well as concerts of the Boston Pops and from the 1966 Berkshire Festival, were broadcast through the Boston Symphony Transcription Trust on the following stations: Armed Forces Radio & TV Service, KFMN (Abilene), WAMC (Albany, N. Y.), KHFM (Albuquer- que), WFMZ (Allentown), WFCR (Amherst), KNIK (Anchorage), WOUB (Athens, Ohio), WSB-FM (Atlanta), WBAL-FM (Baltimore), WQXY (Baton Rouge), WJBC (Bloomington, 111.), WCRB-AM-FM (Boston), WGBH-FM (Boston), WBUR-FM (Boston), WBEN (Buffalo), WXBR (Cape Kennedy), WLRW (Champaign, 111.), WBT-FM (Charlotte), WDOD (Chattanooga), WFMT (Chicago), WCLV (Cleveland), KCMS (Colorado Springs), WCLI (Corning, N. Y.), KFML (Denver), KFMG (Des Moines), WDTM (Detroit), WVIC-FM (East Lansing), WTRC-FM (Elkhart), WDEA (Ellsworth, Me.), KUAC (Fairbanks), WFTL (Fort Lauderdale), WPTH-FM (Fort Wayne), WRUF (Gainsville, Fla.), WQMG (Greensboro), WJFM (Grand Rapids), KAIM (Honolulu), WAHR (Huntsville, Ala.), WAIV (Indianapolis), WFMS (Indian- apolis), WVBR (Ithaca), WJCW-FM (Johnson City, Tenn.), KCMO-FM (Kansas City), KLAD (Klamath Falls, Ore.), KFAC-FM (Los Angeles), WLRS (Louisville), WMCS (Machias, Maine), WVNO (Mansfield, Ohio), WVCG (Miami), WFMR (Mil- waukee), KSJR (Minneapolis), WKRG-FM (Mobile), WAJM (Montgomery), WSIX (Nashville), WWMT (New Orleans), WQXR-AM-FM (New York), WGH-FM (Nor- folk), WRVC (Norfolk), WMNB (North Adams), KFNB-FM (Oklahoma City), WOW (Omaha), WQXT-FM (Palm Beach), WIVC (Peoria), WFLN (Philadelphia), WLOA (Pittsburgh), WYDD (Pittsburgh), KUEQ (Phoenix), WGAN (Portland, Maine), WCRQ (Providence), WPTF (Raleigh), WGCB (Red Lion, Pa.), KNEV (Reno), WFMV (Richmond), KNXR (Rochester, Minn.), WCMF (Rochester, N. Y.), KSHE (St. Louis), KSL-FM (Salt Lake City), KMFM (San Antonio), KKHI (San Francisco), KATY (San Luis Obispo), KLSN (Seattle), WCRX-FM (Springfield, Mass.), WTAX- FM (Springfield, 111.), WONO (Syracuse), WTHI (Terre Haute), WFLY (Troy), WRUN (Utica), WGMS (Washington, D. C), WYZZ (Wilkes Barre), WRFD (Colum- bus, Ohio), WBBW (Youngstown), CHFM (Calgary, Alberta), CHUM (Toronto), CKFM (Toronto), CHML (Hamilton, Ont.), CKVL (Montreal), CKKW (Kitchener, Ont.), CFMQ (Regina, Saskatchewan).

['562] Twenty-six one-hour television programs, produced by the Boston Symphony Management Trust and distributed by Seven Arts Television, have been shown on the following stations: KOAT-TV (Albuquerque), WGTV (Athens), WMAR-TV (Baltimore), WABI-TV (Bangor), WGR-TV (Buffalo), WWTV (Cadillac), WCIV-TV (Charleston, S. C), WITV (Charleston, S. C), WIS-TV (Columbia, S. C), WTVN-TV (Columbus), WWWW-TV (Des Moines), WHO (Des Moines), WJBK-TV (Detroit), WICU-TV (Erie), WFIE-TV (Evansville), WDAY-TV (Fargo), KMJ-TV (Fresno), WFMY-TV (Greensboro), WBTV (Greenville), KTRG-TV (Honolulu), WAFG-TV (Huntsville), WLBT-TV (Jackson), WFGA-TV (Jacksonville), KTTV-TV (Los Angeles), WGAL-TV (Lancaster), WKYT-TV (Lexington), WAVE-TV (Louisville), WHA-TV (Madison), WSM-TV (Nashville), WNEW (New York), WOW-TV (Omaha), WPHL-TV (Philadelphia), WCSH-TV (Portland, Maine), KWSC-TV (Pullman), KOLO-TV (Reno), WREX (Rockford), WBNB-TV (St. Thomas), KCHU-TV (San Bernadino), KNTV (San Jose), KRON-TV (San Francisco), KEYT-TV (Santa Bar- bara), KGO-TV (San Francisco), KGUN-TV (Tucson), WTTG-TV (Washington, D. C), WTRF (Wheeling), WBRE (Wilkes Barre), CJPM-TV (Chicoutimi, Quebec), CJCH-TV (Halifax, Nova Scotia), CFPL-TV (London, Ontario), CFCM-TV (Quebec City, Quebec).

These programs are also distributed in Argentina /Uruguay, Australia, Austria, Bulgaria, Chile, Costa Rica, Cyprus, Eire, France, Hong Kong, Italy, Malta, Por- tugal, Singapore, Spain, United Kingdom (Wales and West of England), United Kingdom (London and Sheffield).

THE FOLLOWING RCA VICTOR RECORDINGS BY THE BOSTON SYMPHONY ORCHESTRA HAVE BEEN RELEASED SINCE MAY, 1966:

Under the direction of Erich Leinsdorf: Berg, "Le Vin" (Phyllis Curtin); Brahms,

Piano Concerto No. 1 (Artur Rubinstein), Symphony No. 3 and Tragic Overture; Bruckner, Symphony No. 4; Fine, Symphony 1962, Toccata Concertante, and Serious Song for String Orchestra; Mahler, Symphony No. 6; Prokofiev, Piano Concertos

Nos. 1 and 2 (John Browning), Symphony No. 3, and Scythian Suite; Schuller, Seven Studies on Themes of Paul Klee; Stravinsky, Agon; Tchaikovsky, Piano Concerto

No. 1 (Misha Dichter); Wagner, Lohengrin (Sandor Konya, Lucine Amara, Rita Gorr, William Dooley, Jerome Hines, Calvin Marsh, Chorus Pro Musica).

The first album of recordings by the Boston Symphony Chamber Players was released by RCA Victor. The following works are included: Beethoven, Serenade in D for Flute, Violin and Viola, Op. 25; Brahms, Quartet in C minor for Piano and Strings, Op. 60; Carter, Woodwind Quintet; Copland, Vitebsk; Fine, Fantasia for String Trio; Mozart, Quartet in D for Flute and Strings, K. 285 and Quartet in F for Oboe and Strings, K. 370; Piston, Divertimento for Nine Instruments.

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RUTH POLLEN GLASS MINNIE WOLK Teacher of Speech PIANOFORTE STUDIO 42 Symphony Chambers • in Industry • in Education 246 Huntington Avenue, Boston • in Therapy • in Theatre opp. Symphony Hall Near Harvard Square KI 7-8817 Residence 395-6126 HARRY GOODMAN KATE FRISKIN Teacher of Piano Pianist and Teacher 143 LONGWOOD AVENUE 8 CHAUNCY STREET

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Mrs. Aaron Richmond and Walter Pierce present in the 1967-68 Boston University CELEBRITY SERIES

Symphony Hall • Jordan Hall • Back Bay Theatre

SELECT YOUR OWN SERIES EROM THE WORLD'S FOREMOST ATTRACTIONS Subscribe Now and Save! 535 BOYLSTON ST. *2gXSS* Tel. KE 6-6037 u/vtc. Series orders accepted on this form until MAY 30. nv/ I C# After that date, phone KE 6-6037 for revised order form.

7-EVENT SELECTIVE SERIES: $31.50 - $24.50 - $21.00 - $17.50 Check any 7 of the 22 events listed below: D GUARNERI STRING QUARTET ("One of the best"—N. Y. Times) Sun. Aft., Oct. 15 L'ORCHESTRE NATIONAL FRANCAIS, Maurice Le Roux, Music Director Fri. Eve., Oct. 27

MUSIC FROM MARLBORO I (Artists include violinist Pina Carmirelli. Partial Program: Boccherini piano quintet; Cambini string quartet). ...Sun. Aft, Oct. 29 SABICAS, Outstanding Flamenco Guitarist Sat. Eve., Nov. 4 ALICIA DE LARROCHA, Acclaimed Spanish Pianist Sun. Aft., Nov. 5 REGIMENTAL BAND of the WELSH GUARDS and PIPES, DRUMS, HIGHLAND DANCERS of the SCOTS GUARDS Fri. Eve., Nov. 24 VLADIMIR ASHKENAZY, Brilliant Soviet Pianist Sun. Aft, Nov. 26

I SOLISTI Dl ZAGREB, Widely-hailed Yugoslavian Chamber Orchestra Sun. Aft, Dec. 3 RUDOLF SERKIN, Internationally Famous Pianist Sun. Aft, Dec. 10

MUSIC FROM MARLBORO II (Artists include singers Benita Valente. Jon Humphrey. Partial Program: Brahms vocal quartets; Schumann Liederspiel for four solo voices) Fri. Eve., Jan. 19 D CINCINNATI SYMPHONY ORCHESTRA, Max Rudolf, Conductor; Lili Kraus, Piano Soloist Sun. Aft, Jan. 21 ALYIN AILEY AMERICAN DANCE THEATRE (2 performances) ("Theatrical Sensation of the International Dance World." Sat. Mat, Jan. 27 N. Y. Times) Sat. Eve., Jan. 27 JUDITH RASKIN, Leading Metropolitan Opera Soprano Sun. Aft, Jan. 28

] DAVID OISTRAKH, Renowned Soviet Violinist Sun. Aft, Feb. 4 CLEVELAND ORCHESTRA, George Szell, Conductor Wed. Eve., Feb. 7 G ANTONIO and the BALLETS DE MADRID, The Supreme Spanish Dancer and his Brilliant Company Wed. Eve., Feb. 21 G BACH ARIA GROUP, All-Star Ensemble of Vocalists and Instrumentalists includes Maureen Forrester and Lois Marshall Fri. Eve., Feb. 23 ANDRES SEGOVIA, World-Famous Guitarist Sun. Aft, Mar. 3 Q MARTHA GRAHAM DANCE COMPANY ("Dancing such as no other company in the world can surpass."—N. Y. Times) Thurs. Eve., Mar. 7 G VAN CLIBURN, Celebrated American Pianist Sun. Aft, Mar. 17 G MILLIARD STRING QUARTET, Peerless Quartet Sun. Aft, Mar. 24 G MUSIC FROM MARLBORO III (Artists include Leslie Parnas, cello; Harold Wright, clarinet. Program: Beethoven clarinet trio; Brahms cello sonata; Hindemith quartet for piano, clarinet, violin and cello) Sun. Aft, Apr. 28 EXTRA EVENTS

NOT included in Series. Available ONLY to subscribers if ordered NOW with Series subscription at the following prices: VIENNA PHILHARMONIC, Karl Boehm, Conductor ($7.00, $6.00, $5.00, $4.00, $3.00) Mon. Eve., Oct. 9 ARTUR RUBINSTEIN, Distinguished Pianist ($6.00, $5.50, $5.00, $4.00, $3.50, $3.00) Sun. Aft, Feb. 25 ...the sight and sound offine music BALDWIN PIANO & ORGAN COMPANY 160 Boylston Street Boston, Massachusetts, 02116 BALDWIN Telephone 426-0775 PIANOS • ORGANS