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Trust r'/i^^ /^U^2^5^ ^ 1973-1974 SEASON THE CARNEGIE HALL CORPORATION Features Isaac Stern, President Frederick W. Richmond, Chairman of the Board 8 HowGina Richard A. Debs, Chairman, Executive Committee Improves Each Col. Harold Riegelman, Vice President and General Counsel Shining Hour Eugene M. Becker, Harry Van Arsdale, Vice Presidents by Harriett Johnson Lucien Wulsin, Treasurer The "Queen of the Keyboard" reviews Raymond S. Rubinow, Secretary twenty-five years of her career Alan Ditchik, Assistant Secretary

Board of Trustees Leonard Altman Mrs. George W. Naumburg 12 Pete Seeger— Martina Arroyo FredehckW. Richmond Sings Again Hon. George W. Ball Col. Harold Riegelman With Guthrie Eugene M. Becker Raymonds. Rubinow by Robert V. Weinstein T. Roland Berner Lewis Rudin Julius Bloom Constantino Sidamon-Eristoff Richard A. Debs Aye Simon James S. Deely Isaac Stern 22 Folk Art JackdeSimone Roger L. Stevens at the Whitney Hon. Abe Fortas Harry Van Arsdale by Elaine B. Steiner Hon. Roy M. Goodman Hon. Robert F. Wagner An Exhibit "A"' (for American) in the Mrs. Dorothy Hirshon Mrs. Philip Wise case for the people Laurence C. Leeds, Jr. James D. Woltensohn Hon. MacNeil Mitchell Lucien Wulsin

Departments Honorary Trustees Marian Anderson Hon. John V. Lindsay

Roberts. Benjamin John Barry Ryan III 6 Carnegie Calendar Mrs. Marshall Field Norman K. Winston Jacob M. Kaplan David L. Yunich facing 16 The Program Mrs. Albert D. Lasker

Julius Bloom, Executive Director 21 Fashionably Yours Ronald J. Geraghty, Controller

Stewart J. Warkow, House Manager Roger Villeneuve, Associate IHouse Manager 25 Concert Notes loanaSatescu, Booking Manager Gilda Barlas Weissberger, Associate Bool

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March Saturday, March 16, at 9:45 April DAVID BAR-ILLAN, Piano Tuesday, April 2, at 8:00

Friday, March 1, at 8:00 Concert for the benefit of the American AN EVENING WITH MARIA CONTEMPORARY CHAMBER Committee for Shaare Zedek Hospital in AND GIUSEPPE ENSEMBLE Jerusalem Maria Gallas and Giuseppe Di Stefano Arthur Weisberg, Director "Homage to Webern" Sunday, March 1 7, at 3:00 ALFRED BRENDEL, Piano Wednesday, April 3, at 8:00 Works of Haydn, Beethoven, Schumann BENNY GOODMAN and Sextet Sunday, March 3, at 3:00 BYRON JAMS, Piano Sunday, March 1 7, at 8:00 Thursday, April 4, at 8:00 YEHORAM GAON, Israeli singer Sunday, March 3, at 8:00 MILWAUKEE SYMPHONY BILLY ECKSTINE, COUNT BASIL ORCHESTRA Monday, March at 8:00 AND HIS ORCHESTRA 18, Kenneth Schermerhorn, Conductor singer YEHORAM GAON, Israeli Hilde Somer, Piano Monday, March 4, at 8:00 Carol Neblett, Soprano Tuesday, March 19, at 8:00 NEW YORK JAZZ REPERTORY Works of Berlioz, Ginastera*, Mahler COMPANY ROY BUCHANAN *N.Y. Premiere of "Concerto No. 2" Music Directors: Stanley Cowell, (I.F.V.O.*) Gil Evans, Sy Oliver, Billy Taylor Wednesday, March 20, at 8:00 GINA BACHAUER, Piano Friday, April 5, at 8:00 Wednesday, March 6, at 8:00 OPERA ORCHESTRA OF NEW Thursday, March 21, at 8:00 THE CARNEGIE-MELLON YORK NEW YORK JAZZ REPERTORY UNIVERSITY KILTIE BAND Eve Queler, Conductor COMPANY Richard E. Strange, Conductor Soloists: Montserrat Caballe, Louis Music Directors: Stanley Cowell, Quilico, James Morris, Jerome Pruett, Gil Evans, Sy Oliver, Billy Taylor Saturday, April 6, at 8:00 Eleanor Bergquist NEW YORK JAZZ REPERTORY Friday, March 22, at 8:00 COMPANY Friday, March at 8:00 8, Paul Butterfield's Better Days Music Directors: Stanley Cowell, and PETE SEEGER ARLO GUTHRIE Bobby "Blue" Bland Gil Evans, Sy Oliver, Billy Taylor

Saturday, March 9, at 8:00 Saturday, March 23, at 8:00 An Evening with "ABETI," the Golden BOSTON SYMPHONY ORCHESTRA Sunday, April 7, at 3:00 Voice of Africa ALFRED BRENDEL, Piano William Steinberg, Conductor Works of Haydn, Schumann, Bruckner's Symphony No. 7 Sunday, March 10, at 3:00 Beethoven VLADIMIR ASHKENAZY, Piano Sunday, March 24, at 3:00 STRING GUARNERI QUARTET Sunday, April 7, at 8:00 Sunday, March 10, at 8:30 THE BYRNE CAMP CHORALE AND Pinchas Zukerman, Viola BIRGIT NILSSON, Soprano ORCHESTRA Works of Haydn, Brahms, Mendelssohn Byrne Camp, Conductor Sunday, March 24, at 8:00 Tuesday, April 9, at 8:00 LYDIA NIKOLSKAYA, Lyric soprano THE NATIONAL ORCHESTRAL

Monday, March 1 1, at 8:00 ASSOCIATION DENVER SYMPHONY ORCHESTRA Monday, March 25, at 8:00 Leon Barzin, Conductor Brian Priestman, Conductor AMERICAN SYMPHONY Dvorak's "Requiem" John Ogdon, Piano ORCHESTRA Works of Cherubini, Shostakovich, Kazuyoshi Akiyama, Conductor Friday, April 12, at 8:00 Richard Rodney Bennett,* Dvorak Jerome Hines, Bass DIETRICH FISCHER-DIESKAU, *N.Y. Premiere of "Concerto for Rutgers University Choir Baritone Orchestra" Works of Barber, Strauss, Mussorgsky JORG DEMUS, Piano (I.F.V.O.*) Schumann: Heine Lieder Tuesday, March 26, at 8:00 First of three recitals Tuesday, March 12, at 8:00 HANDEL SOCIETY CHORUS AND NEW YORK JAZZ REPERTORY ORCHESTRA COMPANY Brian Priestman, Conductor Saturday, April 13, at 3:00 Music Directors: Stanley Cowell, "Alcina" YOUTH SYMPHONY Gil Evans, Sy Oliver, Billy Taylor ORCHESTRA OF N.Y. Wednesday, March 27, at 8:00 David Stahl, Conductor Wednesday, March 13, at 8:00 CHRISTOPH ESCHENBACH, Piano PITTSBURGH SYMPHONY ORCHESTRA Thursday, March 28, at 8:00 Sunday, April 14, at 2:30 William Steinberg, Conductor BIRJU MAHARAJ AND COMPANY "Cecilia Valdes," Cuban Operetta Marilyn Home, Soprano Kathak, the dance of northern India in concert form Works of Schubert, Mahler, Beethoven Friday, March 29, at 8:00 Monday, April 15, at 8:00 Thursday, March 14, at 8:00 THE COLLEGIATE CHORALE AN EVENING WITH MARIA AND CARMEL QUINN Richard Westenburg, Conductor GIUSEPPE Handel's "Israel in Egypt" Maria Callas and Giuseppe Di Stefano Friday, March 15, at 8:00 JEAN-PIERRE RAMPAL, Flute Saturday, March 30, at 8:00 MILES DAVIS Saturday, March 16, at 2:30 International Festival of Visiting Orchestra conducted by Sunday, March 31, at 3:00 CHARLOTTE Orchestras BERGEN DANIEL BARENBOIM, Piano Monteverdi's "La Favola L'Orfeo" PINCHAS ZUKERMAN, Violin Programs subject to change ' fftfrf^Twrfri ^ m^ m

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How Gina Improves Each Shining Hour by HARRIETT JOHNSON vary her hair style or her concert alities before the public. In 1951 he dress. She wears elegantly fitted black, left his own conducting career based When I rang the bell at Gina Bach- often made of free-flowing chiffon, en- in London to become her alter-ego on auer's Park Avenue hotel suite hanced by jet beads or other discreet tour. "Two careers were impossible," recently, I heard her, as I stood out- decoration. She is a powerhouse at the they agreed. side the door, enjoying what she likes piano and she looks it. With pene- The Bachauer-Sherman person- to do best in the world: playing the trating, brown slanting eyes and a alities are as diff"erent as their color- piano. She practices eagerly, and head so unadorned it is a sculpture, ing. Relaxed in a red turtleneck proves it by staying at the keyboard she is severely feminine, and after 22 sweater, he admitted to being a ton vi- probably more hours throughout the years of marriage, still very much in vant; he is a connoisseur of wines and year than any other living concert love. takes pleasure in the taste, while she pianist. "I adore to play the piano," she said never touches alcohol— at the very She didn't stop playing to open the with a bright smile and a burst of most, a sip at a celebration. "I think it door. It was her husband, former Brit- energy as vital as the bravura that interferes with my memory," she says ish conductor Alec Sherman, who bounds spontaneously from her fin- simply. greeted me. Mme. Bachauer, her gers. "I also am terribly nervous every Sherman has no regrets for having stocky body glamorously enveloped in time I play in public." She tempers given up his own career. "I said to a lavender dressing gown topped by a her apprehension by being super-pre- myself that there are many conductors frilly collar—her practice "uniform"— pared. She practices constantly. On a but only one Gina Bachauer." soon joined us. plane, where she cannot, she catches He was not only referring to her ex- Only five-foot four, the Greek pia- up on her reading. She takes a few traordinary pianism which puts her nist appeared taller because of her days off" during her yearly vacation. among the highest paid women pia- erect carriage and the severe upsweep Mme. Bachauer is on tour approxi- nists performing today. She is also of her black, touch-of-white hair mately 1 1 months of the year, five of much loved for her simplicity, gen- which reached low into her neck in a which have been spent, during the uineness, exuberance and gifts of modish chignon. Bachauer (accent on past 24 seasons, in the United States. friendship. "She can make a friend in the second syllable, please) is an Aus- "She is the hardest working pianist a minute," said a colleague. Her first trian name but her forebearers have I know," says Mr. Sherman, a little priority, after performing in a city she lived in Greece for four generations. "I shorter than his wife, with cherubic visits, is to hear any young artist who feel that I am Greek," she says. blue eyes, white hair and a keen in- seeks her advice. She has heard hun- On stage, Mme. Bachauer doesn't telligence emancipated enough to dreds throughout the world. She

Harnett Johnson is music critic have accepted a practical solution to heard Barenboim when he was only of the New York Post. the problem of two musical person- continued on page 10

8 THE BANKOF NEWYORK ISSiWm^ 48 WALL STREET, NEWYORK, NY. 10015/MEMBER FDIC MEMBER OF THE BANK OF NEWYORK COMPANY INC.

Tomorrow. you're going to work out a realistic financial Your son's going to law school. Or maybe plan: medical school. Figure out what you are and probably will be You're going to see the Taj Mahal. Or maybe worth-taking into consideration company Kilimanjaro. m^^i^f benefits, as well as graduate school expenses You're going to retire to Block Island. and retirement income. Or maybe a Greek Island. Decide on guardians for your children. You're going to be a millionaire. Or maybe a Make a will, along with your attorney. two-millionaire. Set up a trust that could save your heirs How dayou know? You don't. Nobody does. thousands in estate taxes.

But you're going to do all you can to make it the And get advice on your portfolio. tomorrow you want. Today. You're going to talk to a financial planning At The Bank of New York. The bankihat officeratTheBankof New York. Together, manages money. How Gina Improves . son she is playing 16 different con- in this country. May 2, 1951, was a continuedfrom page 8 certos with orchestras here and in Eu- benefit with the New York Philhar- rope, in addition to four different monic under his direction. recital programs. The night of her recital debut she On stage, she walks to the piano as had no festive party given for her af- a woman, but with the thrust and terward. "Dimitri came backstage, 11 and was sure he was a genius. She vigor of a man. She uses her strong put his arms around me and said: heard Van Cliburn before he went to arms on the keyboard to produce an 'You don't need me,' and departed. Russia, Rado Lupu, Rafael Oroszco orchestral style. She creates an ex- Everybody told me the critics were and Murray Perahia. She enjoys panded sonority, the mesmerism of terribly severe. Perhaps the reviews people and responds to them and likes multiple vibrations interacting would be very bad. There were only especially to keep in touch with the through the magic of an almost super- about 100 people in the hall. young, aspiring artist. Although her heavy concert sched- ule prevents her from private teach- ing, she gives master classes under the auspices of the American Music Scholarship Association, of which she

is Chairman of the Board. She will have one such class in April.

Mme. Bachauer's normal day is to rise at 8 A.M., have a light breakfast, then practice until 2:30 P.M. She wears her practice gown all day be- cause she always has a piano in her hotel suite, and, in order not to break her concentration, almost never goes out for a walk. After a light lunch, she may or may not take a short rest, but eventually she returns to the piano and remains there until 7 or 8 P.M. Those who knew her well marvel at the inner energy which sustains her ability to work for long periods with- out interruption. In her London Bachauer with husband Alec Sherman: 'There are many conductors " apartment at Nash Terraces, facing but only one Bachauer. Regent's Park, she practices in her big human physique, an incredible will When I returned to the St. Moritz

salon during the day when her neigh- and a highly developed intellect and where I was staying, I knew I couldn't

bors are in and out; then at night, she imagination. Mme. Bachauer is proud sleep so I walked all alone in Central goes into a studio built over the ga- of her 60 years (she was born May 21, Park until the time the hotel manager rage facing the mews. One thing is 1913), and next season marks the 25th had let me know I could get the no-

certain: she is unremittingly dedi- anniversary of her first recital in this tices of the morning papers. Then I

cated. Every concert she gives is for country in Town Hall, October 29, went to Times Square and read them the moment the most important one 1950. standing by myself under a lamp

in her life. "I must feel that whatever I "When I first came here, nobody post."

am playing at the moment is the most knew whether I played the piano or How life has changed in our city beautiful music in the world." the triangle. When I wrote Dimitri since then! She gives approximately 100 con- Mitropoulos that I was coming and "I was very fortunate in my teach-

certs a year and is prepared for any invited him to the recital, he wrote ers," she says emphatically, men- challenge. Last January 21st at Car- back that he couldn't do anything for tioning Waldemar Freeman in negie Hall, when she played the me. 'If I was good, I wouldn't need Greece, Alfred Cortot in Paris and Beethoven "Emperor" Concerto with him,' he said. That made me mad be- Rachmaninoff. "But this didn't help Walter Susskind conducting the St. cause I only asked him to come. I me on to an easy road to a career. I Louis Symphony, few in the Hall real- pride myself on my independence." began three times." ized that her triumph was achieved She and Mitropoulos were always After playing in Vienna, Paris and without any orchestra rehearsal. She good friends but his integrity as an Italy, she returned home to teach at

went on cold. The instruments didn't artist made it impossible for him to the Athens Conservatory. Her father, arrive in time. During 1972-73 she encourage her before he knew her a dealer in foreign cars, had lost his made 15 appearances in 19 days with worth. Subsequently she played many money, and there were young brothers ^U the Israel Philharmonic, and this sea- times with him. Her orchestral debut to be educated. She taught all day 10 and practiced at night. "I earned very don Symphony. I was excited to make Pleaisiire little money and worked like a lu- a debut in a 12,000-seat auditorium.

natic." Obviously he wouldn't hear me with- We found a way to bottle it. Eventually the family picture out an audition. I spoke no English changed and she returned to Paris at and he spoke no Greek, but we man- the end of 1938 to begin again. The aged."

war broke out after she had gone to As Sherman tells it, the orchestra Cairo and Alexandria to give six con- gave her a standing ovation after their certs. She stayed in Egypt for seven rehearsal of the Grieg Concerto. The years, giving 620 concerts in hospitals, concert was January 21, 1946. Follow- barracks, on battlefields in the blazing ing the enthusiastic notices, off"ers sun—mostly on terrible pianos. came in from many places in Europe. "I played what the wounded That was the real beginning of her in-

wanted and it varied from 'Home ternational career. Sweet Home' and the 'Warsaw' Con- On November 21, 1951, some time certo to the concert repertoire. Some- after her first husband, a businessman body would always ask for a Bach who controlled a chain of cinemas, prelude, a Chopin nocturne or some had died of a heart attack, she and other classical music. I returned many Sherman were married. Thus began a

times to the same places and gradu- union which is obviously made to or- ally I found that their love for classi- der for Mme. Bachauer's career and cal music grew more and more. At the her happiness. end I was playing straight recitals. "Alec helps me with everything: ho- "The day the Germans walked into tels, tickets, programs, publicity. I Athens and put the Nazi flag on the have only to think on my piano."

Parthenon, a monument for us that is Mme. Bachauer's English, though ac-

sacred, I felt terrible. I was performing cented and colored by her special with the Palestine Orchestra in Alex- phraseology, is excellent. (Besides her andria. The news came over the own Greek tongue, she speaks Italian

ticker-tape just before I was to leave and French.) "But even better. Alec

for the concert. While playing I found has a wonderful conception of music. myself crying— the problem was that He is my most severe critic. He re- my tears went all over the piano and members everything that went wrong my fingers slipped." and takes what was right for granted. It was in Egypt that she became He knows the orchestra so well. He such a good friend of the Greek royal will say: 'I didn't hear the bassoon family. "King Paul was an accom- there— give the clarinet time to plished pianist and we made a lot of breathe in that beautiful melody— too music together." Much later, due to much ritard here, etc' 'Wasn't there her encouragement. Princess Irene, at anything which was right?' I cry. But To end the day 18, began to study the piano with in the end I very grateful. am or to start the evening. Mme. Bachauer. "But our lessons "After every performance we talk at To share with friends at were mostly by correspondence. When length about it. The most terrifying a party or with a friend, alone. she really became serious I knew she thing for an artist is to come back af- needed constant study with the best ter the concert to an empty hotel The joy of Scotland.

teacher. At present she is studying all room. You cannot sleep, you want to Distilled and brought to branches of music— theory, orches- discuss if the concert was good or bad, perfection in every bottle tration, piano—with Nadia Boulanger to share your joy or sorrow. You want of J & B Rare Scotch. in France. Princess Irene is talented to scream that you had some hours of

and music is her life." sheer bliss. To have a good concert is The war over, Mme. Bachauer re- the greatest happiness an artist can turned to London and tried for the feel." third time to make her way in the Before Sherman's retirement, they RARE concert world. Again, after two played together in Dallas, Texas, and SCOTCH months, her resources exhausted, she with the New York Philharmonic. JUSTERINI& BROOKS was about to depart. "I lost all my "But the situation was impractical. Foundedl749 courage; it's no use," I said. "Then a One cannot always have one's hus- lady from a musical society rang up band on the podium." Alec, who needed a replacement for an Albert Hall concert with his Lon- continued on page 26 86 Proof Blended Scotch Whisky ® 1974 Paddlngton Corp., N. Y.

11 Pete Seeger—Sings Again with Guthrie

For many music lovers, Pete Seeger Pete Seeger and Woody Guthrie. success that made them folk heroes of has come to symbolize the folk song. From the early '30s they became stature. Woody Guthrie, a prolific He fully upholds the premise that folk forceful musical tools for succeeding writer, has contributed a wealth of music is an instrument of social generations. The roots of Bob Dylan's material to American folk music. He change as well as an entertainment "The Times They Are A-Changin'," wandered about the United States, medium. Music and social change are which poetically documented the freely improvising songs for worth- inextricable threads that run through- struggle for peace at home and while causes. Guthrie died in 1967 at out his career. Through his father, abroad during the late '60s, can be the age of 55, after undergoing a long Charles Seeger, a professor of music, a more than casually linked to Seeger's bout with Huntington's chorea. prominent ethnomusicologist and at and Guthrie's early songs. Guns and Woody Guthrie's son, Arlo, who ap- one time active in the Workers Music wars were ineffective instruments for pears with Pete Seeger at Carnegie League (a group formed in 1931 to change, according to Seeger. It was Hall on March 8, has developed a re- provide music for the working classes the song that offered a healthy outlet, laxed folk singing style that is slightly of America), Seeger realized early that having the power to bring men to- reminiscent of his father's raspy, hard- music could be used as a weapon and gether. At one point, Seeger had edged manner. as an effective instrument against so- printed on his banjo, "This Machine In his travels about the U.S., Seeger cial injustice. In a forcefully written Surrounds Hate and Forces It to Sur- first met Alan Lomax, who was then article on "Proletarian Music," render." At an earlier date Woody connected with the folk music division Charles Seeger noted that "music is Guthrie had, on his guitar "This Ma- of the Library of Congress. Lomax one of the cultural forms through chine Kills Fascists." was compiling an extensive collection which the work of humanizing and While appearing at a benefit for of American folk music. Seeger's songs preparation operates. Thus it becomes migratory workers in March 1940, and lyrics were molded to shape the a weapon in the class struggle." Seeger met Woodie Guthrie. Some cries of oppressed dairy workers, coal While still in his teens, Pete Seeger folk historians cite this date as a turn- miners and unskilled transients. See- naturally gravitated toward the leftist ing point in the history of American ger made his way to New York to help movement. In 1939, at the age of 20, folk music. Two of the strongest and form a singers cooperative, the Alma- he abandoned Harvard after complet- most fertile spokesmen of the folk nac Singers. The Almanac Singers ini- ing his sophomore year and began to miovement formed a friendship that tially consisted of Millard Lampell, tour the country with three other was to last for many years. Following Lee Hays, a former labor college in- young people, singing to farmers, mi- that meeting, Seeger and Guthrie structor, and Seeger. The group later grant workers and just about anybody hitchhiked across the country, appear- expanded to include Woody Guthrie, who would listen. ing before unions and political action Arthur Stern, Sis Cunningham and The song of protest, or song of per- groups. It was their reluctance to sac- suasion, was a natural for folk singers rifice their ideals for commercial continued on page 20

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The Carnegie Hall Corporation presents the Boston Symphony Orchestra

NINETY-THIRD SEASON 1973-1974 '

SEIJI OZAWA, Music Director COLIN DAVIS and MICHAEL TILSON THOMAS, Principal Guest Conductors

Saturday Evening, March 23, 1974, at 8:00

William Steinberg conducting

BRUCKNER Symphony No. 7 in E major (1883) Allegro moderato Adagio: Sehr feierlich und sehr langsam Scherzo: Sehr schnell—Trio: Etwas langsamer Finale: Bewegt, doch nicht schnell

The Boston Symphony Orchestra records exclusively for Deutsche Grammophon Baldwin Piano Deutsche Grammophon and RCA Records moved— it was the greatest impression of my life." PROGRAM NOTES byjohnn.burk The first movement opens with a sol- and a success such as the new Symphony emn theme from the cellos and horns, ris- Symphony No. 7 in E major had had in Leipzig, Munich and Graz ing in its opening phrase through a chord (1883) could not be countenanced. of two octaves. Accompanying the theme ANTON BRUCKNER The concert began at 12:30 (what was is a continuous tremolo by the violins, a

(1824-1896) lunchtime in Vienna?) and traversed an device which is to pervade the first and The Seventh Symphony was the direct overture by Mehul and a piano concerto last movements and which, derived from means of Bruckner's general (and tardy) of Beethoven before the audience was sub- Wagner, aroused considerable scorn on recognition. For years he had dwek and jected to the difficult new work. It was the part of the composer's pure-minded taught in Vienna under the shadow of vir- evident when the first movement had opponents (this was what Hanslick called tual rejection from its concert halls. In ended that the audience had passed judg- "Jieberhafte Uberreizung"). The second prin- this stronghold of anti-Wagnerism there ment in advance and that that judgment cipal theme is quiet and more flowing, could have been no greater offense than was not undivided. There were demon- with a characteristic gruppetto. In the con- the presence of a symphonist who ac- strations of applause, but also many de- siderable development both themes are cepted the tenets of the "music of the fu- partures. After the long Adagio and after inverted, with the fortunate result that ture" with immense adoration. Bruckner, the Scherzo both the applause and the ex- each sounds quite natural in its new with his characteristic zeal to which noth- odus increased. At the end Bruckner was shape. The ascending nature of the open- ing could give pause, composed symphony called out four or five times. He beanned ing becomes more placid in its descending after symphony, each bolder and more with joy and made short and form. searching than the last. awkward bows, murmuring "Kuss d'Hand, The long Adagio has been associated When the Seventh Symphony was in- kuss d'Hand. " A laurel wreath was with the memory of Richard Wagner, the troduced to Vienna on March 21, 1886, it presented by the Wagner-Verein. At a master whose death on February 13, 1883, had become a sort of obligation upon the Festbankett given in the Spatenkeller by occurred just three months after the com- composer's adopted city. Sensational re- that Society, Hans Richter admitted in a pletion of the first draft. The whole score ports of some of the performances else- congratulatory speech that he had ap- was completed before the year had ended. where reminded Vienna that the com- proached the new Symphony with mis- This movement was connected in the poser they had hardly noticed through the trust which was replaced by glowing en- composer's mind with his own religious years was being discovered as a sym- thusiasm, a feeling shared by every player music. Thematic quotations from his Te phonist to be reckoned with. Thus Bruck- from the concertmaster to the timpanist Deum and from his Mass in D minor have ner was, for the first time, included in the as they had given their best in the per- been pointed out. Bruckner was also in- subscription programs of the Vienna Phil- formance. Bruckner shed tears when he fluenced by the slow movement of Beetho- harmonic Orchestra. Circumstances were was presented with a bust of his god, ven's Ninth Symphony, for the general otherwise unfavorable, for the Wagner Richard Wagner. A telegram from Jo- form is similar: two alternating sections, haters were necessarily Bruckner haters. hann Strauss Jr. was read: "Am much the first very slow and the second with

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B more motion. The first section, somber

and deeply felt, is followed by a moderato

which is a flowing cantilena in triple time. The first part recurs, and then briefly the alternate moderato theme. The first section

is finally repeated and brought to a new sense of urgency with an accompaniment of rising string figures to a climax in triple forte. The coda which follows recedes to pianissimo but reaches an ultimate point of expression. Bruckner uses a supple- mentary quartet of Wagnerian tubas in this Symphony for the first time, in the Sehr feierlich und sehr langsam portions and in the grandeur of the final movement.

The Scherzo is based on an incessant

rhythmic figure which is relieved by a Trio in slower tempo and melodic rather

than rhythmic in character. The da capo is literal. The Finale again uses the full brass choir and carries the Symphony to its greatest point of sonority. The opening theme has a resemblance to the opening of the first movement, rising arpeggios with

a new rhythmic accent which give it a new character of propulsion. The move- ment has an extended development with new thematic episodes, and builds to & for- tissimo close. MEET The considerable controversy in the quest of the "original Bruckner" has been THE applied to the Seventh, if in lesser degree than to the Eighth and Ninth Sym- CONDUCTOR phonies. The prolonged argumentation need hardly bother the general listener, William Steinberg Department, conducted performances at

for it is mostly concerned with passing was born in Co- the Metropolitan Opera and was a princi- matters of orchestration, particulars logne, Germany, in pal conductor of the New York Philhar- 1899. gradu- he conducted per- which would never be noticed except by a tftLj^^^^^^ Upon monic. In addition, P^iB^^^^TB ation from the Co- formances of the Israel Philharmonic on conductor who had studied the score or a logne Conservatory their first tour in 1967, and in 1968 be- trained musician following the score with in 1920, he became came the Music Director of the Boston a careful eye. Bruckner went over his Sev- assistant to Otto Symphony, succeeding Erich Leinsdorf, enth with young zealots like Nikisch or Klemperer at the and until 1973 was the first conductor Schalk in a piano reduction or in re- Cologne Opera, and ever to hold the position of Music Direc- hearsal; he respected their practical expe- was soon appointed tor simultaneously with two major Ameri- of rience and was inclined to benefit by it. one the opera's principal conductors. In can orchestras. Their suggestions did not disturb the 1925 he was engaged as first conductor of the German Theater in Prague, becoming composer's fundamental conception of the Opera Director two years later. In 1929 he Boston Symphony music; about details or orchestration he moved to Frankfurt as Music Director of was always open to suggestion. In this sit- both the Opera and Museum concerts, Orchestra uation the "authentic" could only mean and at the same time was regular guest SEIJI OZAWA, Music Director the "original" version, which the compo- conductor of the Berlin State Opera. The Season 1974-75 at Carnegie Hall ser was often quite ready to alter. Nazis dismissed him from all posts in Four Saturday Evenings At these performances William Stein- 1933; he consequently founded the Jewish October 26: Seiji Ozawa conducting; berg uses the edition of Leopold Nowak, Culture League in Frankfurt, conducting concerts and opera for Alexis Weissenberg, soloist which is based on the original manuscript Jewish audiences there, and later in Berlin. In 1936 Dr. Seiji conducting in the Music Collection of the Austrian November 23: Ozawa Steinberg left Germany and with Bronis- National Library. The distinction be- January 18: Colin Davis conducting; lav Huberman, helped found the Israel tween what Bruckner originally wrote and Janet Baker and Richard Cassilly, Philharmonic, becoming its first conduc- soloists what he changed after the first perform- tor after the inaugural concert, directed in March 15: Seiji Ozawa conducting ance is clear, and Professor Nowak gener- December 1936 by Toscanini. Toscanini ally prefers the second version of the com- invited him to the United States in 1938 Subscription: Series of four concerts poser's manuscript, which carries several to assist in the formation and training of First Tier Boxes: $30, $26. additions in hands other than Bruckner's. the NBC Symphony Orchestra. He be- Second Tier Boxes: $23. Director But various letters, particularly those of came Music of the Buffalo Phil- Parquet: $26. harmonic in 1945, and in 1952 became Josef Schalk to his brother Franz, and of Dress Circle: $19. Music Director of the Pittsburgh Sym- the composer himself to Arthur Nikisch, Balcony: $16, $12. phony, with which he has a lifetime con- show that the changes were made at tract. Between 1958 and 1960 Dr. Stein- Present subscribers should renew no later Bruckner's verbal instructions. berg commuted between Pittsburgh and than June 3rd. New subscribers: Send or- London, where he served as Music Direc- ders (and make checks payable) to Car- tor of the London Philharmonic. In 1964 negie Hall Box Office, 154 West 57th he toured Europe and the Near East with Street, 10019. Program notes ropyrighl @ 1974 by the Boston Symphony Or New York, N.Y. chestra Inc. the Pittsburgh Symphony for the State Boston Symphony Orchestra

SEIJIOZAWA Music Director COLIN DAVIS and MICHAEL TILSON THOMAS Principal Guest Conductors

JOSEPH SILVERSTEIN Assistant Conductor

FIRST VIOLINS Robert Ripley CONTRABASSOON Joseph Silverstein Luis Leguia Richard Plaster Concertmaster Carol Procter Charles Munch Chair Ronald Feldman HORNS Jerome Rosen Joel Moerschel Charles Kavaloski Max Hobart Jonathan Miller Helen Rolland Tapley Martha Babcock Sagoff Roger Shermont Slosberg Chair Max Winder Charles Yancich Harry Dickson BASSES Harry Shapiro Gottfried Wilfinger Henry Portnoi Fredy Ostrovsky David Ohanian Richard Leo Panasevich William Rhein Mackey Ralph Pottle Sheldon Rotenberg Joseph Hearne Alfred Schneider Bela Wurtzler Stanley Benson Leslie Martin TRUMPETS Gerald Gelbloom John Salkowski Armando Ghitalla Raymond Sird John Barwicki Andr6 Come Ikuko Mizuno Robert Olson Rolf Smedvig Cecylia Arzewski Lawrence Wolfe Gerard Goguen Amnon Levy TROMBONES FLUTES William Gibson SECOND VIOLINS Doriot Anthony Dwyer Clarence Knudson Walter Piston Chair Ronald Barron Fahnestock Chair Pappoutsakis James Gordon Hallberg William Marshall Paul Fried Michel Sasson Ronald Knudsen Leonard Moss TUBA William Waterhouse PICCOLO Chester Schmitz Lois Schaefer Laszlo Nagy Michael Vitale Spencer Larrison TIMPANI Marylou Speaker Everett Firth Darlene Gray OBOES Ralph Gomberg Ronald Wilkison Harvey Seigel Bo Youp Hwang John Holmes PERCUSSION Wayne Rapier by furnishing tlieir recorded Victor Yampolsky Charles Smith educationai books free of charge Arthur Press anywhere in the United States Assistant Timpanist Thomas Ganger VIOLAS ENGLISH HORN Worftyouglvoto: Laurence Thorstenberg Frank Epstein Burton Fine RECORDING FOR THE BUND, INC. Charles S. Dana Chair 215 East 58th Street New York, N.Y. 10022 Reuben Green Eugene Lehner CLARINETS HARPS George Humphrey Harold Wright Bernard Zighera Jerome Lipson Ann S. M. Banks Chair Ann Hobson Robert Karol Pasquale Cardillo Bernard Kadinoff Peter Hadcock Vincent Mauricci E-flat clarinet LIBRARIANS Earl Hedberg Victor Alpert Joseph Pietropaolo William Shisler Robert Barnes Michael Zaretsky BASS CLARINET Felix Viscuglia STAGE MANAGER CELLOS Alfred Robison Jules Eskin BASSOONS Philip R. Allen Chair Sherman Walt Martin Hoherman Mischa Nieland Ernst Panenka PERSONNEL MANAGER Jerome Patterson Matthew Ruggiero William Moyer

D .

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Try something MARCH, 1974 METROPOLITAN OPERA the work masters nutty AVERY FISHER HALL of ALICE TULLY HALL beaff'sHimr name after dinner. CARNEGIE HALL • Francis N. Ehrenberg Chairman of the Board

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Their songs, which de- compete that they were once again reunited for picted the troubled 1930s, were picket the historic Carnegie Hall concert line songs, and spontaneous musical that was recorded by Vanguard with the gestures that decried poverty and fas- Records. cism. Other well-known musicians Seeger decided at that point in his giants? who joined the Almanacs from time to life to go it alone. Few singers have time were Josh White, Cisco Houston, traveled the globe as extensively as he. Brownie McGhee, Sonny Terry and Audiences from Africa to the back Earl Robinson. Use hills of Kentucky have watched his After serving in the army, from 6'!" figure stand as straight as an ar- 1942 to Seeger returned to New York's 1946, row, his head tilted ever so slightly America to become active in the towards the sky, and both his hands group. Peoples Songs, Inc. Many in- largest rapidly picking out the melody of a fluential musicians played a part in song on his banjo. Message and song PSI's short life span. It grew to na- are one for Seeger. From the workers bank! tional stature but, like the Almanac That means Citibank! The bank that singers, PSI's efforts ended in bank- manages $17 billion in investment ruptcy in 1949. The next important assets. The bank that also offers the development in Seeger's active musi- Investment Selection Service to help cal/political career was the formation you, the investor with $10,000 to of the Weavers in the latter part of $200,000 in cash or securities. Our Investment Selection Service 1949. Under that name, Pete Seeger, draws on the expertise of Citibank's Lee Hays, Fred Hellerman and Ron- 84 research analysts, economists and nie Gilbert performed as a group until statisticians. the end of 1952. The Weavers, with What we do is this. We make specific recommendations on what Pete Seeger assuming the unofficial stocks to buy. Which ones to sell and role of lead singer, were, to the sur- which ones to hold. (All final decisions prise of all its members, commercially are yours.) We watch these stocks for successful. They appeared on radio you and keep you abreast of what's and television and in nightclubs and happening in the market and in the economy. We help you in a market concert halls throughout the country. increasingly affected by giant One source estimated that the 1952 financial institutions. sales of their recordings exceeded Citibank has long recognized the 4,000,000 copies. Their recordings of need to make available professional Leadbelly's "Goodnight Irene," and investment advice to the individual The Weavers: top: Ronnie Gilbert, Lee Hays, investor. In fact, we introduced our Woody Guthrie's "So Long, It's Been bottom: Pete Seeger, Fred Hellerman. first service for moderate-size ac- Good to Know You," and renditions counts back in 1965. Since then, this of "Tzena, Tzena," "Wimoweh" and movement of the '30s, to the peace service has grown to the point where "Kisses Sweeter than Wine" sold very movement of the '60s, Seeger was we now provide advice on Investment their there to donate his talents ser- Selection portfolios valued at about well. While some of songs con- and 70 million dollars. tained political overtones, their mate- vices. For all the facts on how rial captured a mass audience in an Three generations have been moved we can help you, just call overwhelming stream of enthusiasm. by his songs, his love of America and (212)559-6009. Contrary to their predecessors (The the rich storehouse of folk music he Or use the coupon below. Almanacs), the Weavers appeared on has compiled from his travels around INVESTMENT SELECTION SERVICE stage in concert attire rather than as the world. Just as Bob Dylan (Robert FIRST NATIONAL CITY BANK drab clad spokesmen of the working Allen Zimmerman), Joan Baez, Judy class. Their success was short lived, Collins, Tom Paxton and a host of Mr. John Terry, First National City Bank CH-3 I 399 Park Avenue. New York, N.Y. 10022 but the Weavers were one of the first others were strongly influenced by Please send me more informotion obout Citibonk s folk groups to gain widespread recog- Seeger and Guthrie, the Sesame Street Investment Selection Service. My ob|ective in purchosing nition, quite unintentionally to is fervently stocks IS to emphosize (check one): and generation now absorbing

IZI long-term growth of copital achieve a high degree of commercial that same music. Why has he lasted so LJ moderate growth with moderote income success. However, their activities were long, and why, in the face of gener- Name_ curtailed in 1952, when each of the ational conflicts, does he remain age- Please type or prmt Weavers was blacklisted. During the less? Whether in Australia or in the Address. McCarthy period it became almost United States, the feeling he commu-

City. impossible for the Weavers to per- nicates reaches out in a way that with- form. They found that their engage- stands age and changing times. Stole. .Z,p_ I ments were often cancelled or they ROBERT V. WEINSTEIN

20 .

J>cL6Jhionabli^ jipiViiu By Joanne Winship

'*^i

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With winter almost behind us, some pre- smashing rain gear includes an almost less and oh so hard to find, is one perfect views of spring are in order, and ladies weightless, long, black cire wrap coat top and two or three matching pieces. it's going to be yummy. You can forget which can be worn as an evening coat or We love the chic of Oscar de la Renta IPs the blue jeans and T-shirts. Put the over a bathing suit on a windy day at the soft navy crepe blouse worn with a short kooky thrift shop gear back in the trunk beach. This coat also is done in a shorter matching skirt with stitched pleats over or send them to Goodwill Industries. version like a poet's shirt, great with the hips and wrapped at the waist with a

Kooky and poormouth have had it. white pants. sash of the same crepe (shown here). Thank goodness! We're going to look Since we're back to elegance in This is a two-piece dress with a total look like femmes again—from Paris to Pasa- clothes, the spotlight is on one of New for day or evening. A blazer or long dena—soft, feminine, sexy without vul- York's last remaining couture houses- sweater can turn it into a suit. Don the garity and sheer heaven. Even sport Arnold Scaasi. Scaasi's evening clothes same shirt blouse at night with either a clothes are softer. Dresses are back, and— are exquisite, always romantic and sen- long skirt or matching pants with the hold on— so are gloves. Freshen up all suous—full, soft skirts, flat over the hips, blouse worn outside. Accessorize this in those little white kids you haven't worn irresistible fabrics and colors. Satin chif- many ways, perhaps a little white or in years. You'll be using them now. fon, organza, georgettes, silks in colors of navy French beret or a soft little felt hat Geoffrey Beene, who designs many of coral, sky blue, petunia pink, black and for daytime. Try a divine little gold and his own fabrics, has one of the most well white. Ombre (shadow) chiffons in jade silver harlequin-patterned python clutch thought out collections around. His green shading into pale green and orange and a matching python belt with jeweled clothes embrace elegance in a relaxed grading into peach. Scaasi is a master of head for evening or the new little nxi- way. They define the figure and flatter. tiny pleats. See the red crystal organza naudiere (by Ben King, shown here) Crepe de chine dresses and lightweight with the low dipping back hemline and Accessories are bigger than ever, and wool jerseys, striped in lovely colors, are matching scarf shown here. King does some trendy ones for evening soft and easy. His weightless, double- Now that the short dinner dress is such as clutch bags in gold and silver kid, faced wool travel coats are seasonless, back, Scaasi does some beauties, pleated or combinations of python and kid, and many with their own gossamer muffler. and tucked chiffons, see-thru laces, all charming little belts with jeweled clasps. Beene's crepe de chine evening pajamas moving and swirling with the body. His King's version of the minaudieie are in are superb, notably in bold stripes with a daytime clothes are ladylike and lovely all colors, plain or jeweled, with shoulder matching flowing kimono coat. (no pants and shirts in this house). His straps or without, in satin, patent or calf. Beene's poplins, for rain or shine, in day dresses all have matching jackets or For day, his clutch in lizard and calf with coats and suits are practical and chic for matching coats. They are complete en- matching belts come in a wide range of shopping at the supermarket or a round- sembles. Evening pajamas are as glam- beautiful colors, perfect with dresses or the-world trip. Shown here, at the Lin- orous as the gowns— sequins and jersey pants suits. coln Center Plaza, is a deep-sleeved wrap are combined, or crystal-pleated satin or It all adds up to a dashing spring, with jacket and skirt in cotton poplin with a chiffon. goodies for every taste, especially for flowing crepe de chine muffler. Other Another fresh look for spring, season- good taste. Folk Art at the Whitney

If the upcoming Bicentennial celebration provides the in- centive for shows like "The Flowering of American Folk Art 1776-1876," now through March 24th at the Whitney Museum, then "hooray" for the Bicentennial. Here is a retrospective which delights the eye and nourishes the spirit. All the honesty, vitality, originality and individual style we like to think of as our American heritage are re- captured. Social historians and art lovers seeking to dis- cover the full range of life in the 18th and 19th centuries— at home, at work, at sea, at war, in school and church- may view it here in works of artistic integrity and personal "Exselene Georg General Waschingdon and Lady Waschingdon": commitment. What unifies the more than 200 pieces as- Watercolor. Abby Aldrich Rockefeller Folk Art Collection, sembled from public and private collections is the high es- Williamsburg, Va. thetic quality. This is the legacy of talented but non-aca- demically trained artists. A man who earned his livelihood as a sign painter or house painter became a portrait artist "after hours." Car- penters, tinsmiths and stonecutters were the sculptors of their era. Women who needed warm bedding or floor cov- ering saved valued bits of fabric and pieced them together into quilts and rugs whose designs continue to inspire con- temporary artists. Schoolgirls brought literary and reli- gious tales to life on canvas. Landscapes and seascapes cel- ebrated the triumph of man over nature and good over evil—appealing concepts in any age. Guest curator, Alice

Winchester, in the Introduction to the catalogue, offers Pie Crimper: Steel, c. 1810, Pennsylvania. ". Metropolitan Museum of Art, New York. the most sensitive explanation of the phenomenon: . . it is the eye of the artist directing the hand of the crafts- man that gives it [folk art] its esthetic validity." Sponsored by a public service grant from Philip Morris Inc. (a company whose liaison with colonial America stems from that native American leaf, tobacco), this ex- hibit of American folk art is very much at home at the Whitney. The Museum's first Director, Juliana Force, presented the very first display of folk art exactly 50 years ago at the Whitney Studio Club. A Whitney staff" mem- ber, Jean Lipman, Editor of Publications (in the good company of Alice Winchester, former editor o{ Art in Amer- ica organized the current exhibit; the architect of the Whitney Museum, Marcel Breuer, designed the exhibi- tion's installation. A handsome book, bearing the show's title and written by Mrs. Lipman and Miss Winchester, brings The Viking Press into the picture. In soft cover

(priced at $10.00 and sold at the Museum), it serves as the catalogue. "The Flowering of American Folk Art 1776- 1876" will be seen at the Virginia Museum of Fine Arts in Richmond from April 22 through June 2 and at the M.H.

De Young Memorial Museum in San Francisco from June Dower chest with drawers: Painted wood, 50" wide, 1823, vicinity oj 24 through September 15. ELAINE B. STEINER Pennsburg, Pa. Collection ofHoward andJean Lipman. rule W57 1857

Phebe Kriebel, "Townscape," wool embroidery on canvas, 1857, Towamencin Township, Pa. Schwenkfelder Museum, Pennsburg, Pa.

Dancing doll: Painted wood with metal. Edward Hicks, "Noah's Ark," oil, 1846, Newtown, Pa. Copiedfrom the 1844 lithograph of the Collection ofMr. and Mrs. Alastair B. Martin. subject issued by Nathaniel Currier, Philadelphia Museum of Art. General Telephone & Electronics presents S/MPHONY HALL where Symphonic brilliance has been the hallmark since July, 1939 8:06 to 9:00 PM Monday through Friday

WQXR 1560 AM 96.3 FM:I STEREO for the better part of your day

Radio Stations of The New York Times

V-K- CONCERT NOTES

The St. Louis Symphony will soon be Andre Previn, who has been Principal of the University of Southern Califor- engaged in a task no orchestra rel- Conductor of the London Symphony nia are sponsoring the creation of the ishes, especially when its affairs are in Orchestra since 1968, has decided to Arnold Schoenberg Institute. A group good order—looking for a new Music become a British subject. This will be of educational and foundational en- Director. Walter Susskind, whose a third national identity for Previn. tities have banded together into a con- present contract expires at the end of He was born in Berlin in 1929 and at- sortium to raise the funds and create the 1974-1975 season, has advised the tended the Berlin Conservatory before the personnel to administer the Orchestra's President that he would migrating to America and graduating Schoenberg legacy—library, papers, prefer to be free for a wider range of from Beverly Hills High in California. manuscripts, etc. Schoenberg spent guest engagements, especially in op- He began his professional career with the last years of his life in Los Angeles. era. At the end of the 1974-1975 sea- the MGM studios in 1948, and after a His educational affiliation was not son, Susskind can look back on a pe- varied career in film music, became with use but with the University of riod of seven years in which he has Conductor-in-Chief of the Houston California (in West Los Angeles), materially improved the standard of Philharmonic in 1967. During March which has been invited to participate playing he inherited, nearly doubled he will be appearing as guest conduc- in the effort to enable ground to be the attendance to its present level of tor with the Detroit Symphony. broken by September 13, 1974, the more than 500,000 and restaffed the commemorative date. USC's Presi- playing personnel, including 21 out of dent, Dr. John R. Hubbard, has au- 33 key posts. thorized Grant Beglarian, Dean of its As a commemorative gesture on be- School for Performing Arts, to pro- half of Arnold Schoenberg on the cen- ceed with the Schoenberg Institute According to word from England, tenary of his birth in 1874, the trustees project.

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25 1

How Gina Improves Liszt. Harold C. Schonberg of The "Never mind if you can play all the New York Times has described her Beethoven sonatas in public; you continuedfrom page 1 playing of the last movement of the must have time to digest your music, Chopin B-minor Sonata as "a thrill- you can't just learn and play immedi- ing exhibition of virtuosity— a blazing, ately. Everything must be in your Mme. Bachauer has never canceled controlled virtuosity of an unabashed blood. Everything must become a a concert because of illness and only intensity." complete unity with yourself. It was once for any other reason: ice at the She plays many other composers as fortunate that my career developed airport which grounded her plane. "I well, but no closer to the present time slowly because I had a long time to have played with a high temperature, than Stravinsky and Bartok. Yet she prepare." with terrible pains; once with my in- insists: "We must care and know what Once a year for about five weeks, testines askew. I couldn't keep my happens around us. We cannot close she returns to her native Greek home food down, but somehow I did on our eyes and ears and I know there is in the mountains to relax and as- stage. important music being written to- semble her programs for the following

"Once I played with George Szell— day." season. Her complete rest is only for a the Third Rachmaninoff— and he For the young artist she has much few days, then back to the piano. gave me the great compliment of tell- advice. "The greatest thing is perse- Though at present she never plays in

ing me that my playing of it had verance and work. It is difficult to de- Greece, she loves her country and en-

made him appreciate the work for the fine what talent is. One must have it. joys seeing her aged aunt and uncle first time. I had a terrible cold and But everything else is work, work and who live in her home there all year. cough. He told Alec, 'She plays the the courage after every disappoint- She also visits her one remaining Rachmaninoff like nobody else on ment to start all over again from the brother. earth but she has no business playing beginning and say: 'I will go on what- In addition to swimming, she also it like nobody on earth when she has a ever happens.' One must be a rock in enjoys occasional sessions in the bad cold.' At a dinner party that the face of adversity. A young musi- kitchen. She has a few specialties in- night after the concert, he at first cian must also know how to wait. cluding a chicken dish with almonds avoided me because he didn't want to When he starts a career he must not served with rice; and Dolmades, a na- catch the virus, then he decided he be eager to arrive at the top from one tive Greek dish of vine leaves stuffed

had to take the risk, 'because if I don't year to the next. A great career comes with meat. sit beside you everybody will think very slowly. For a young musician to To honor the 100th anniversary of " we've had a fight.' be exhibited before he is ready is a ca- the birth of Max Reger (March 19, One of her saddest moments was tastrophe. 1973), both Mme. Bachauer and Ru- playing for her musical colleague, the "The experience to know how to dolf Serkin are performing this season late Ilona Kabos, a great teacher who deal with your public— to control his long, staggeringly difficult Vari- had taught in London for years and yourself, your nerves, your playing— ations and Fugue on a Theme of more recently at The Juilliard School. takes years. And you must have a very Bach. This work by the erudite Bava-

"She knew she was dying and she large and solid repertoire before you rian is monstrously intricate and only wanted to hear me play once more. I start to play constantly in public. those with the most overpowering in- went to her apartment and played When you have a concert every other tellectual and technical command

through the Mozart E-flat Concerto I day and are learning your music at ever attempt it. Each pianist, how- was to do that night with the New the same time, then you can have a ever, has played it here before. York Philharmonic. breakdown. The difference in the style and tem-

"For me, Ilona was something I had perament of two great artists is illus- never experienced before. She had trated by the fact that Serkin, a ears the like of which I have never Beethoven specialist, followed his Re- met. When she didn't like something, ger with two Beethoven sonatas, while I always found out why in the edi- Mme. Bachauer, for her March 20th tions. She was extraordinary in her Carnegie recital, chose the 24 Preludes musical perception. I played for her of Scriabin. many times, particularly when I had a She remarked that the reason she new program prepared. We would probably plays less Beethoven than have long discussions." many pianists is that her innate gifts

While Mme. Bachauer is vitally in- have led her more in the direction of terested in contemporary avant-garde the later Romantics. When it was sug- music and is a great admirer of the gested that she might play the titanic Greek composer Xenakis, she feels "Hammerklavier" Sonata marve- that she didn't grow up in this aural lously—and her husband agreed—in world and that it is not in her blood. her particular English she replied "I would never play in public some- quickly: "You know, I never believe thing that I don't love very much. I that I do something marvelously." love Romantic music; it is not only Here lies the essence of Mme. Bach- great music, but it suits me." auer's remarkable artistry: she reaches Thus on her typical programs one At the Athens Festival with H.R.H. Princess to a horizon that's never anything but finds Chopin, Schumann, Brahms and Irene: 'Music is her life ..." infinite.

26 If you wonder who reads this publication, look around.

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It's also a large audience. A total of 400,000 people read our programs each month. At the Metropolitan Opera House, Avery Fisher Hall (formerly

Philharmonic Hall) , Alice Tully Hall and Carnegie Hall. LINCOLN CENTER PROGRAMS offers the only opportunity in the world for advertisers to reach this great audience all at once.

So as you turn our pages, it shouldn't surprise you to see leading advertisers in banking, entertainment, travel and consumer products. There are more good reasons for joining them. But just by looking around, you've already seen the best one. So why not tell your ad agency. If you give us a call at 212-541-4520, we'll tell them too.

Lincoln Center Programs The world's greatest audience at the Metropolitan Opera House, Avery Fisher Hall (formerly Philharmonic Hall), Alice Tully Hall and Carnegie Hall. CARNEGIE HALL DIRECTORY OF FACILITIES AND SERVICES

>'-V' Box Office (247-7459) Hours: 10 A.M. to 5 P.M.—Monday through Saturday; 12 Noon to 5 P.M.—Sunday and legal holidays. Note: The Box Office is not open on Sundays and legal holidays when there is no performance in the Hall. Box Office hours are extended to 8:30 P.M. on weekdays when there is to be a performance that evening.

Cafe Carnegie is located on the main floor to the left of the Parquet. Food, liquors and soft beverages are served be- fore, during and after each concert. Cafe Carnegie also provides an elegant setting for receptions held in conjunc- tion with concerts and other events in Carnegie Hall. For information call 586- 6208. Refreshment bars are located on the 2nd Tier, Dress Circle and Balcony floors.

Elevator service to the Dress Circle and Balcony is available in the foyer of the Carnegie Hall Studio entrance at 154 West 57th Street. Smoking and the lighting of matches are forbidden in any part of the Main Hall. Smoking is permitted only in the Cafe Carnegie, at the refreshment bars and in the lobbies. iiist a shoii walk Join the Payroll Public telephones are located off the fwm this theater Parquet on the Seventh Avenue side, in the 57th Street lobby (studio en- Savings Plan. the ladies' lounge on the First getsyou to a trance) , in and Second Tier levels. one in a million Lost and found articles should be re- ivstaurant. ported or turned in at the House Man- ager's Office at the 56th Street Entrance. Where you can get light snacks after 265-9651. the show. Or complete dinners (from Or call 4.95). Fondues (cheese, beef, choco- Men's rest rooms are off the Parquet, late) Quiche Lorraine. Cheese, fruit on the 2nd Tier level and off the Dress and sausage snacks Wine Cocktails Circle and Balcony. Rich desserts. Lots more. La Fondue. Just a few blocks away Ladies' rest rooms are on all levels of on 55th Street. Between 5th and 6th the Main Hall. Avenues. As long as you're in the may be obtained for use neighborhood, drop in. A wheelchair from the street to seat locations. For information, call House Manager's Of- lafbndue fice, 247-1350. 43 West 55 St., N.Y.C. 581-0820 The management is not responsible for personal apparel or other property Sweeten your savings. of patrons unless these items are It just so happens that you are checked. Patrons are advised to take coats and wraps with them whenever hungry & thirsty — and it just Take stock in America. they leave their seats. so happens we have two very Buy US. Savings Bonds good answers to your dilemma. Doctors who expect to be called dur- ing performances may give their seat lo- Bftloon for a quick /CyAMffjP^* cations to an usher, who will advise the House Manager. answer and TTLip HAMILTON GARAGE The taking of photographs and the use GINGER of recording devices is strictly forbid- ENTRANCE DN BROADWAY den. MAN BETWEEN 62nd & GSRD STREETS Call or write: for the more leisurely approach. For rental information NEW YORK CITY 247-1350, Booking Manager, Suite 100, ONEALS BALOON—63rd St At Columbus Ave. THE GINGER WEST 64th St. SC 4-7272 Carnegie Hall, 154 West 57 th Street, MANS! TEL. JU 2 8 1 25 New York, New York 10019. {>MMe^ 43 W. 65th St. Res. 799-7600 After Lincoln Center we are open for your convenienca 'till 1 AM Lurtcheon • Dinner • Supper Amef. Exp.— Diner's—Closed Sun.

MlliiC. wii^e Irene Kuo's

3 Blocks from LINCOLN CENTER

1 99 Amsterdam Ave, (69th St) Tel, 799-5457 L Lunch C Cocktails D Dinner S Supper Open Every Day Free Parking

^•-^

West Side COCKTAILS • DINNER 4 P.M.—12

for BARBETTA, 321 W. 46th St. CI 6-9171. Open 'til midnight. LA FONDUE, 43 W. 55 St. 581-0820. Favorite spot au- Closed Monday thentic fondues, cheese boards, rich Chamber music ensemble plays Thurs., Fri. nights, in this Swiss & sausage desserts. Cocktails, wines. L fr la carte from $2.95; 40 West 72nd Street elegant north Italian restaurant that serves fresh white $1.95, a comp. D from $4.95. Until 1 A.M. Closed Sundays. truffles hunted by its own truffle hounds. Pre-theater Qestau/iant EN 2-2050 $11.50.

LE POULAILLER, 43 W. 65 St. 799-7600. Classic French cuisine. Large, airy. Joan Pages murals. Crepes fromage, CARACALLA, 168 Amsterdam Ave. (67 St.) 799-4600. mousse a cafe. Open for L, D, S until 12:30 A.M. Closed Spacious, comfortable. Superior North-Italian cuisine. L a Sundays. la carte $2.50-$5.75; D a la carte $3.25-$6.95. Open every day. Free parking for entire evening. Ichadkovsky had MRS. J'S SACRED COW, 228 W. 72 St. (bet. B'way & W. Blini End) 873-4067. Moments from Lincoln Center. Superb 9 plates o! CATTLEMAN WEST & THE CATTLEMAN, 51 St & 7 Ave prime steaks, roast beef and seafood. Pianist and enter- before starting tainment nightly. daily for and 5 East 45 St. 265-1737; MO 1-1200. Great steaks, sea- Open C, D & S. A la carte en- trees $4.25-$7.95. food & salads in opulent San Francisco splendor. D En- his 5th tree: $3.50-$8.95. Daily L & D. Free self-parking after 5 PM 3yinphony! O'NEALS' BALOON, 48 W. 63 St. 765-5577. A fun, jumping place for hamburgers, fish 'n' chips, chili, etc. Noon to 1 ECLAIR, 141 W. 72nd St. 873-7700. Continental pastry A.M. daily. Same menu all day: from $1 . 1 5 for a hamburger shop and restaurant. Superb Viennese-Hungarian cuisine to $3 for a steak sandwich. Beers & Wines. Open daily till 1 A.M. Special L $1.55- $2.50, Sat. $3.50. Comp. D $4.95-$5.95. Fri., Sat., Sun. come, $5.75-$6.25. Complimentary glass of wine with dinner. RED BARON, 201 Columbus (69 St.). 799-8091. Popular with show folk Swiss brasserie with a pub decor. Serving superb regional specialties, steaks and chops. A la carte inspired $1.85 to $7.90. Open noon to 2:30 A.M. daily. be EL FARO 72, 40 W. 72 St. EN 2-2050. Classic Spanish cuisine. Paellas, mariscadas. Graceful decor, pleasant THE RUSSIAN TEA ROOM atmosphere. Dinner 4-12, Fri.-Sat. 1 A.M., Sun. 1-12. A la RIKYU, 21 Columbus (70 St.). 799-7847. A new restaurant carte $4-$6. Closed Mondays. with much promise, serving authentic Japanese special- ties. Open daily for L, D & S until midnight. Same menu all 150 West 57th Street day. Comp. meals $4-$4.95, a la carte $.75-$4.00. m,n CO 5-0947 ENRICO & PAGLIERI, 7th Avenue near 51st Street; 64 West 11th Street. Charming Italian ristorante. D features ROAST BEEF & BREW, B'way at 64, Madison at 59, Madi- unlim. beer, wine, sangria, antipasto—plus Italian spec. fr. son & 79. Pub L entrees $2.95-$5.95 with unlimited salad, $3.95-$6.25. L& D at 51st St.; 11th D only. Casual. pitcher of beer, wine or sangria & Fr. fries. Prime ribs of beef, regular $5.75, full rib $6.95. Other entrees $3.75- Ct>eof the $8.95. pice t>ew tl>io^ FINE & SCHAPIRO, 138 W. 72 St. (bet. B'way & Columbus) 7-2721. Delicatessen restaurant. dinner TR & Complete & RUSSIAN TEA ROOM, 150 W. 57 St. 265-0948. A favorite sandwich menu. Serving Jewish delicacies for nearly 50 about NewYorH.. with show folk Beef Stroganoff, chicken Kiev, blini, blin- years. until Fridays till P.M. OON BERGMAN'S Open midnight, 9 chiki. L (entree, dessert, beverage) $3.75-$7.95; complete jm sandwich L $4.25; D table d bote $7.50-$11.75; supper a la carte $3.50-$1 1.50 until 1 A.M. Come be inspired.

FLEUR DE LIS, 141 W. 69 St. 874-9837. Tasty French vi- ands served in authentic Gallic ambience. Seafood, re- i^ 44 WEST 58th STREET TOP OF THE PARK, in Gulf & Western BIdg. 333-3800 3 bet. 5th & 6th Aves. gional specialties, in game season. L 12-4, entrees $2.25- blocks south of Lincoln Center. 43 floors above Central A fine pew restaurant conceived $4.75; D 4-12; Sun. 12-12, entrees $3.50-$9. Park. Superb dining with NY's most magnificent view. in the tradition of a bygone Comp. D$7.95-$11.50. Closed Sundays. era when gracious dining was a way of life. GINGER MAN, 51 W. 64 St. SC 4-7272. A West Side favor- LUNCH- COCKTAILS' ite. Celebrity hangout. Publike decor. French-American IMNNHK $2- cuisine. Open daily until 2 A.M. A la carte only. Lunch American -Continental $4.65; Dinner $4.85-$7.35; Supper $2-$7.25. East Side Cuisine Res.: 751-8897

GINGKO TREE, 1 99 Amsterdam Ave. (69 St.) 799-5457. A large elaborate menu featuring specialties from all the Chi- for until 11:30 PM nese provinces. Open daily L D & S THE ARARAT. 4 E. 36 St. 686-4622. Praised by all major parking. Fri. 1 A.M.; Sat. 1 A.M.; Sun. 1 P.M. Free restaurant editors. Armenian cuisine at its best served in leisure and comfort, L, a la carte $4,75-$6,25- Comp D Your theater stubs $7.75-$8,95. with a la carte $4,75-$6.25 Open daily No parking problems after 7 PM, are worth $1 .00 HENRY STAMPLER'S FILET MIGNON, CPW and 61 St. PL Present one pair of stubs 7-3165. An old favorite in LC area. Superb steaks, chops, from Lincoln Center, Carnegie Hall seafood. L and daily. Present programs for after-dinner THE MAGIC PAN, FAMOUS SAN FRANCISCO CREPERIE, cordials. new in New York at 149 E. 57 St, 371-3266. Cocktails, & City Center theaters. Valid on day wines, European atmosphere, lunch, dinner, late supper. Open 7 days. Moderate of performance only, Sunday

JUSTIN, 44 W 58 Street (751-8897) Superior American- through Friday. Continental cuisine served in a spacious, comfortable PANCHO VILLA, Second Ave. at 78 St. 734-9144; 145 club-like ambiance L a la carte entrees are $3 25-$8 95, D Larchmont Ave., Larchmont, NY. (914) 834-6378. A happy $6.95-$9 95, including salad and potato or vegetable blend of Mexican food, Spanish colonial decor and stroll- TOWER PARKING Closed Sunday ing guitars. Daily for lunch, dinner & supper. * 68 Street & Amsterdam Ave. '^ 69 Street & Broadway SIGN OF THE DOVE, 1110 Third Ave. (65 St) UN 1-8080. A " 51 Street, LA CREPE. 57 W 56 247-1136: 158 W 44. CI 6-5388: 59 beautiful showplace serving delectable Continental spe- W. 56 (bet 5&6 Aves.) Nassau. 2-8680: cialties. Cocktail lounge, entertainment nightly. A la carte RE 15 Greenwich Ave . CH 3-2555; 1974 * 140 W. 51 Street, (bet. 6&7 Aves.) Broadway (67 St). TR 4-6900, 110 varieties of Brittany only. L $3.50-$7, D $6.50-$10.50 until midnight. Closed for crepes, onion soup, salads, desserts, 75C to $4.25 L on Mondays.

29 ,-A'

Denver Symphony Guameri String Quartet Mihu/aukee Symphony Brian Priestman, conducting Steinhardt and John Ogdon, piano Arnold John Dalley, vio- Kenneth Schermerhorn, conducting lins; Michael Tree, viola; David Soyer, Hilde Sommer, piano Monday, March 11 at 8:00 p.m. cello Carol Neblett, soprano Overture to "Anacreon" (Cherubini), Thursday, April 4 at 8:00 p.m. Piano Concerto No. 2 (Shostakovich), Two Sunday Afternoons at 3:00 p.m. Concerto for Orchestra (Richard Rodney Symphony No. 4 (Mahler), Piano Con- Bennett: N.Y. Premiere), Symphony No. 7 certo No. 2 (Ginastera: N.Y. Premiere), (Dvoral<) March 24 "Le Corsaire" Overture (Berlioz) Tickets: $7.00, $6.00, $5.00, $4.00, $3.00 Assisting artist to be announced Tickets: $7.00, $6.00, $5.00, $4.00, $3.00 Quartet in D Major, Op. 20, No. 4 (Haydn), Quartet in B-flat Major, Op. 67, No. 3 (Brahms), Quintet in B-flat Major, Op. 87 (Mendelssohn) B Buffialo Philharmonic Michael Tilson Thomas, conducting Rttsbui^ Symphony May 5 Cathy Berberian, mezzo-soprano; Jesse with Peter Serkin, piano William Steinberg, conducting Levine, viola; Michael Wager, narrator; Quartet in Marilyn Home, soprano E-flat Major, Op. 74 ("Harp") Wendy Hilton and Baroque Dancers (Beethoven), Piano Quartet in C Minor, Wednesday, March 13 at 8:00 p.m. Op. 60 (Brahms), Quartet in G Minor, Op. Thursday, April 18 at 8:00 p.m. 10 (Debussy) Symphony No. 3 (Schubert), RiJckert Spectrum Concert. Suite No. 1 (Bach), Songs and Songs of a Wayfarer (Mahler), Orpheus* (Foss), Melodramas (Schumann, Symphony No. 5 (Beethoven) Tickets, each concert: $6.00, $5.00, Liszt, C.P.E. Bach), Recital— A Tour-de- force* (Berio). (*N.Y. Premiere) Tickets: $7.00, $6.00, $5.00, $4.00, $3.00 $4.00, $3.00, $2.00 Tickets: $7.00, $6.00, $5.00, $4.00, $3.00

Kiju Maharaj Baltimore Symphony

American Symphony Sergiu Comissiona, conducting and Company Itzhak Perlman, violin March 25 at 8:00 p.m. Friday, May 10 at 8:00 p.m. Thursday, March 28 at 8:00 p.m. Violin Concerto in Minor (Glazunov), An unusual performance of Kathak, the A Kazuyoshi Akiyama, conducting Introduction and Rondo Capriccioso dance of northern India, revolving around Jerome Mines, bass (Saint-Saens), Symphony No. 6 (Proko- the story of Krishna and his consort, the fieff), Imagio milkmaid Radha. Second Essay for Orchestra (Barber), Suite Mundi (George Rochberg: from "Der Rosenkavalier" (Strauss), Pro- N.Y. Premiere) Tickets: $5.00, $4.00, $3.00, $2.00 logue and Coronation Scene from "Boris Tickets: $7.00, $6.00, $5.00, $4.00, $3.00 Godunoff," (Mussorgsky) with Rutgers University Choir

April 29 at 8:00 p.m.

Kazuyoshi Akiyama, Conducting Dietrich Alfred Brendel Gary Graffman, piano Requiem for Strings (Takemitsu), Piano Fischer- Dieskau Three Sunday Afternoons at 3:00 p.m. Concerto No. 1 (Brahms), Classical Sym- phony (Prokofieff), Don Juan (Strauss) with March 17 Sonata in E-flat Major, No. 59 (Haydn); Tickets, each concert: Six Bagatelles, Op. 126, Sonata in A $6.00, $5.00, Daniel Barenboim Major, Op. 101 (Beethoven); Fantasy in C $4.00, $3.00, $2.00 Major, Op. 17 (Schumann) Three Evenings at 8:00 p.m. April 7 Friday, April 12 Sonata in C Minor, No. 33 (Haydn); Schumann: Heine Lieder- -Four Songs, Symphonic Etudes, Op. 13 (Schumann); Liederkreis, Dichterliebe Sonata in E Major, Op. 109, Sonata in Wednesday, April 17 Aflat Major, Op. 1 10 (Beethoven) Schubert: Six songs from "Schwanenge- April 21 All prices are per seat. Mail orders are sang," Six Songs, Seven Songs from Poems in Major, of Goethe Sonata C No. 58 (Haydn); available up to two weeks prior to each Kreisleriana, Op. 16 (Schumann) ; Sonata Monday, April 22 concert. Make checks payable and mail to in E Minor, Op. 90, Sonata in C Minor, Mahler: Five Songs, Songs of a Wayfarer, Op. 1 1 1 (Beethoven) Carnegie Hall Box Office, 154 West 57th Eight Songs from "Des Knaben Wunder- Tickets, each concert: horn" $5.00, $4.00, Street, New York, N.Y. 10019. Please $3.00, $2.00 Tickets, each concert: $9.00, $8.00, enclose a stamped self-addressed envelope. $7.00, $6.00, $5.00, $4.00 U h

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