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Boston Symphony Orchestra Concert Programs, Summer, 1963-1964

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Boston Symphony Orchestra Concert Programs, Summer, 1963-1964 ewoo %,m A.-;£> r^ u* BOSTON SYMPHONY ORCHESTRA ERICH LEINSDORF ^ Music Director -T^jj^i % Berkshire Festival 1963 I^^HMMUBBI^BB AN INVITATION TO HEAR THE DEBUT RECORDING BY LORIN HOLLANDER WITH THE BOSTON SYMPHONY UNDER THE DIRECTION OF ERICH LEINSDORF mmmv«Mx::miiWmi :: W>i Lorm Hollander was the first soloist chosen by Mr. " Leinsdorf to record with "The Aristocrat of Or- SSI»Y«M6 chestras." is in The album recorded RCA Victor's Dello Joio/ Fantasy and Variations new DYNAGROOVE system and captures to per- Ravel/Concerto in G Boston Symphony Orch./Leinsdorf fection Hollander's dazzling performance of The Aristocrat of Orchestras Ravel's Concerto in G , and the first recorded per- formance of Dello Joio's Fantas y, composed es- " pecially for Mr. Hollander. Acclaimed as . the outstanding member of his generation," watch for more recordings by Hollander and by the Boston Lorin Hollander Symphony under Mr. Leinsdorf's direction, exclu- sively on the Red Seal label. This album is avail- RCA VICTOR able in Living Stereo, Mono. Hi-Fi and on Tape. THE MOST TRUSTED NAME IN SOUND ^l, i Boston Symphony Orchestra ERICH LEINSDORF, Music Director Richard Burgin, Associate Conductor Berkshire Festival, Season ig6^ TWENTY-SIXTH SEASON MUSIC SHED AT TANGLEWOOD, LENOX, MASSACHUSETTS SEVENTH WEEK Concert Bulletin, with historical and descriptive notes by John N. Burk Copyright, 1963 by Boston Symphony Orchestra, Inc. The Trustees of The BOSTON SYMPHONY ORCHESTRA, Inc. President Vice-President Treasurer Henry B. Cabot Talcott M. Banks Richard C Paine Abkam Berkowitz E.. Morton Jennings, Jr. Sidney R. Rabb Theodore P. Ferris Henry A. Laughlin Charles H. Stockton Francis W. Hatch John T. Noonan John L. Thorndike Harold D. Hodgkinson Mrs. James H. Perkins Raymond S. Wilkins C. D. Jackson Trustees Emeritus Palfrey Perkins Lewis Perry Edward A. Taft Oliver Wolcott Tangleivood Advisory Committee Alan J. Blau Henry W. Dwight George E. Mole Lenges Bull George W. Edman Whitney S. Stoddard Robert T. Capeless Lawrence K. Miller Tesse L. Thomason Robert K. Wheeler H. George Wilde Chairmen of the Boards of Selectmen (Ex Officio): Stockbridge, Robert Williams Lenox, William T. McCormack Lee, William O'Brien \ I Thomas D. Perry, Jr., Manager Norman S. Shirk, Assistant Manager James J. Brosnahan, Business Administrator Rosario Mazzeo, Personnel Manager 3 — HOW MUCH DOES A CADILLAC COST? Take a guess — and then check it with your authorized Cadillac dealer. Odds are you 11 have guessed too high —for a Cadillac can he remarkably modest in cost. And this is one year you ought to be sure — for the 1963 "car of cars''' is simply too beautiful and too fine to miss because of a misunderstanding about price. Better pay your authorized Cadillac dealer a visit soon — and learn firsthand why more motorists than ever have moved up to the Cadillac car this year. What are you doing tomorrow? VISIT YOUR LOCAL AUTHORIZED CADILLAC DEALER . i BOSTON SYMPHONY ORCHESTRA Friday Evening, August 16, at 8:00 RICHARD BURGIN, Conductor STRAVINSKY f Divertimento, "Le Baiser de la Fee," Allegorical Ballet I. Sinfonia II. Danses Suisses III. Scherzo IV. Pas de deux Adagio—Variation—Coda PROKOFIEV t Piano Concerto No. 5, in G major, Op. 55 I. Allegro con brio; Tempo meno mosso II. Moderato ben accentuato III. Toccata: Allegro con fuoco IV. Larghetto V. Vivo; poco meno mosso; coda ( Soloist: LORIN HOLLANDER Intermission SIBELIUS Symphony N I. Allegretto II. Tempo andante ma rubato in. Vivacissimo; Lento e suave IV. Finale: Allegro moderato Mr. HOLLANDER plays the Baldwin Piano t First performance at the Festival concerts BALDWIN PIANO RCA VICTOR RECORDS Program Notes Friday Evening, August 16 DIVERTIMENTO FROM "LE BAISER DE LA FEE" ("THE FAIRY'S KISS"), Allegorical Ballet in Four Scenes By Igor Fedorovitch Stravinsky Born in Oranienbaum, near St. Petersburg, June 17, 1882 Stravinsky, on an introductory page of his score, finds four lines sufficient to give the plot of his ballet: "A Fairy has marked with her mysterious kiss a young man in his childhood. She withdraws him from life on the day of his greatest happiness to possess him and thus preserve this happiness forever. Again she gives him the kiss." But the kiss of the Ice Maiden, the tale of Hans Christian Andersen which was Stravinsky's source, was the dread kiss of frost. TIRED OF THE CITY GRIND? LOCATE IN THE BERKSHIRES WHERE YOU CAN MIX BUSINESS WITH PLEASURE-PROFITABLY Wouldn't it be nice to be at your office 1 minutes after leaving your home? No subway hordes to buck. And year-round outdoor fun only minutes away. Anyway you look at it, you'll live better, feel better by locating your busi- ness here in the Berkshires permanently. We have skilled labor, industrial plant sites and shell buildings, educational facilities, accessibility to major markets and financiers eager to help solve your problem. Why not get full details now at the address below? Your inquiry will be handled confidentially and promptly. T2erkshire -frills Conference INCORPORATED 100 NORTH STREET. PITTSFIELD. MASS. • PHONE HI 3-9186. AREA CODE 413 — 6 — Stravinsky dedicates the piece "To the muse of Tchaikovsky," and further explains on his score: "I dedicate this ballet to the memory of Pierre Tchai- kovsky, identifying his muse with the Fairy, and it is from this fact that the ballet becomes an allegory. His genius has in like degree marked the score with a destined kiss—a mystic influence which bespeaks the whole work of the great artist." Herbert Fleischer further particularized this curious alliance (Russischer Musik Verlag, Berlin, 1913): "Stravinsky takes as the basis of the composition the melodies and characteristic turns of expression of Tchai- kovsky. He removes the often too sweet and rather feminine meltingness of Tchaikovsky's melos. He recasts the tones of the master, so reverenced by him, in his own rigid tonal language. Yet the lyrical tenderness of Tchai- kovsky's melos is not lost. "Tchaikovsky's 'Wiegenlied im Sturm' constitutes the fundamental motive of the ballet. With it, it begins, and with it, it ends. From the suc- cession of Tchaikovskyan melodies that have been drawn upon, of most importance are the Humorescjue for piano—used in the splendidly colored material of the second tableau; in the same scene, the melody of the waltz 'Natha' [from the Piano Suite, Op. 51], and the piano piece 'The Peasant Plays the Harmonica' from the Children's Album." There is also an unmis- takable allusion to the Romeo and Juliet Overture. CARNEGIE HALL EASTMAN THEATES ER .. THE SUNlN\ »N T Springtime J7* ,„ e av.p rom^ oncerts MOS« „d FaU- a a jnd . concerts a„ NORTI at ctessical ^ ranks ch0Sen is EVEB^JJumversal*y the Piano EMY RAVIN I A PASjK LEWISOHN M KINLEY AUJO KIEL Al PALAIS H O L LYlV Off D I B O W I M. STEINERT & SONS 162 boylston st. boston • Worcester, Springfield — 7 PIANO CONCERTO NO. 5, Op. 55 By Serge Prokofiev Born in Sontsovka, Russia, April 23, 1891; died near Moscow, March 5, 1953 In 1933 Prokofiev had returned to Soviet Russia after having lived in the West with only occasional visits to his native country since his departure in 1918. The Fifth Piano Concerto, together with the Fourth Concerto for Left Hand Only (a commissioned work only lately published) were his last works in this form and among the last he composed before his return. The Fifth Concerto he played frequently on tour in Europe and America, including Boston on December 30, 1932. The composer remarks in his autobiography that "more than ten years had passed since I had written a piano concerto. Since then my conception of the treatment of this form had changed some- what. Some new ideas had occurred to me (a passage running across the entire keyboard with the left hand overtaking the right; chords in the piano and orchestra interrupting one another, etc.), and finally, I had accumulated a good number of vigorous major themes in my notebook. I had not intended the concerto to be difficult and at first had even contemplated calling it 'Music for Piano with Orchestra' partly to avoid confusing the concerto numberings. But in the end it turned out to be complicated, as indeed was the case with a good many other compositions of this period. What was the explanation? In my desire for simplicity I was hampered by the fear of repeating old formulas, of reverting to the 'old simplicity,' which is something all modern composers seek to avoid. I searched for a 'new simplicity' only to discover that the new simplicity with its novel forms and, chiefly, the new tonal structure was not understood. The fact that here and there my efforts to BENJAMIN BRITTEN LENOX NATIONAL WAR BANK REQUIEM General Banking Service VOCAL SCORE 12.50 Travellers Cheques STUDY SCORE 10.00 Safe Deposit Boxes BOOSEY and HAWKES route 20 HANCOCK SHAKER VILLAGE 5 Miles West of Pittsfield 70 furnished buildings open, crafts demonstrations, herb garden in preparation, famous round stone barn DAILY 9:30 TO 5:00 ADULTS $1 CHILDREN 50* — 8 write simply were not successful is beside the point. I did not give up hoping that the bulk of my music would in time prove to be quite simple when the ear grew accustomed to the new melodies, that is when these melodies would become the accepted idiom." It is evident that Prokofiev was then undergoing a period of self- questioning. In Russia the newly formed Union of Soviet Composers was bringing up for new consideration the proper aesthetic approach. Prokofiev had obviously been influenced by the reaction of western audiences while composing this concerto for concert use, and yet his independent spirit dis- approved of catering to the public taste.
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