, \.l,*-**&&& $ K... r BOSTON SYMPHONY 1 ORCHESTRA FOUNDED IN 1881 BY HENRY LEE HIGGINSON TUESDAY EVENING --/ SERIES i \$S<xZu<L i>SN .-. «-<55PJ?te»»- 'ZZ&&2*- Z. ¥ r \ ^ ^il ar EIGHTY-SIXTH SEASON 1966-1967 EXCELLAIT SURTOUT POUR LES FANFARES!" Although it is difficult to trace the origin of the French horn, it is generally accepted that it was developed in France during the 17th century • An outgrowth of the earty primitive and the later sophisticated hunting horn, its value in the use of Fanfar was acclaimed during the reign of Louis XIII • It was also discovered that strange and wonderful musical effects could be had by inserting the hand in the bell • One o\ the first orchestral uses came in 1717 when Handel included the French horn in his score of the "Water Music" • The modern instrument embodies a main tube measuring approximately 7 feet 4 inches in length, coiled in circles and finally expanding into a widely flared bell • As the French horn lends its importance to the value of the modem symphony orchestra, so too does the trained and reliable insurance office develop a modern and sensible insurance program for business and personal accounts • We would welcome an opportunity to analyze your need for complete protection. We respectfully invite your inquiry CHARLES H. WATKINS & CO. Richard P. Nyquist — Charles G. Carleton 0BRI0N, RUSSELL & CO. 147 MILK STREET BOSTON, MASSACHUSETTS Insurance of Every Description Telephone 542-1250 EIGHTY-SIXTH SEASON, 1966-1967 CONCERT BULLETIN OF THE Boston Symphony Orchestra ERICH LEINSDORF, Music Director Charles Wilson, Assistant Conductor The TRUSTEES of the BOSTON SYMPHONY ORCHESTRA, Inc. Henry B. Cabot President Talcott M. Banks Vice-President John L. Thorndike Treasurer Philip K. Allen E. Morton Jennings, Jr. Abram Berkowitz Henry A. Laughlin Theodore P. Ferris Edward G. Murray Robert H. Gardiner John T. Noonan Francis W. Hatch Mrs. James H. Perkins Andrew Heiskell Sidney R. Rabb Harold D. Hodgkinson Raymond S. Wilkins TRUSTEES EMERITUS Palfrey Perkins Lewis Perry Edward A. Taft Oliver Wolcott Thomas D. Perry, Jr., Manager Norman S. Shirk James J. Brosnahan Assistant Manager Business Administrator Sanford R. Sistare Harry J. Kraut Press and Publicity Assistant to the Manager Andrew Raeburn Assistant to the Music Director SYMPHONY HALL B O S T Q N [3] 1 The Boston Symphony BEETHOVEN •EROICA" SYMPHONY BOSTON SYMPHONY ORCH, under Leinsdorf ERICH LEINSDORF should never be lost',' "There is a daring quality in Beethoven that Symphony says Leinsdorf with particular reference to the great Third quality in Mahler's ...the "Eroica". There is also a daring, prophetic Leinsdorf and First Symphony, though in a very different idiom. performances the Boston Symphony give each of these works characterized by profound understanding and sonic beauty. Hear Seal albums. them in Dynagrooye sound on RCA Victor Red RCA Victor ©)The most trusted name in sound NEW ENGLAND CONSERVATORY AND BOSTON SYMPHONY ORCHESTRA VI present BOSTON SYMPHONY CHAMBER MUSIC SERIES BOSTON SYMPHONY STRING QUARTET GINO CIOFFI Assisting Artist Wednesday, January 4, at 8:30 Jordan Hall . Program . HAYDN String Quartet in C major MOZART Quintet in A major for Clarinet and Strings, K. 581 BARTOK String Quartet No. 3 Joseph Silverstein Burton Fine Violin Viola George Zazofsky Jules Eskin Violin Cello GlNO ClOFFI Clarinet Tickets: $4.50, $3.75, $3.25, $2.50 NOW ON SALE AT JORDAN HALL BOX OFFICE 30 Gainsborough Street, Boston, Mass. 02115 • KE 6-2412 BALDWIN PIANO RCA VICTOR RECORDS [7] When you take a quick glance at the stock market, is this the animal you see? Congratulations. You have spotted a very interesting North American species: the Bully Bear, also known as the Grizzly Bull. This beast is the common enemy of investors. You probaby have the skill to eventually figure this animal out — but we bet you don't have the time. And that's why we're asking you to let us help you do your hunting. You can use us for advice. You can use us for the day-to- day chores of investing, and make more time for thinking. Or you can turn the whole thing over to us: selecting securities, buying and selling, collecting dividends, keeping tax records. Old Colony has a larger full-time investment staff than any other bank in New England. Won't you call on us? THE FIRST & OLD COLONY The First National Bank of Boston and Old Colony Trust Company [8] EIGHTY-SIXTH SEASON NINETEEN HUNDRED SIXTY-SIX-SIXTY-SEVEN Third Program TUESDAY EVENING, December 20, at 7:30 o'clock Beethoven Overture to "Coriolan," Op. 62 Beethoven Symphony No. 4, in B-flat major, Op. 60 I. Adagio; Allegro vivace II. Adagio III. Allegro vivace IV. Allegro, ma non troppo INTERMISSION Sibelius Concerto for Violin and Orchestra, in D minor, Op. 47 I. Allegro moderato II. Adagio di molto III. Allegro ma non tanto Weber-Berlioz Invitation to the Dance, Op. 65 SOLOIST ITZHAK PERLMAN BALDWIN PIANO RCA VICTOR RECORDS [9] entertaining thought , add cheer to your festivities with the handsome practicality of an imported punch bowl set in hand-blown Austrian crystal. BOSTON: At the start of The Freedom Trail, 140 Tremont Street, 482-0260 CHESTNUT HILL 232-8100. SOUTH SHORE PLAZA: 848-0300 [10] OVERTURE TO "CORIOLAN," Op. 62 (after Collin) By Ludwig van Beethoven Born in Bonn, December i6(?), 1770; died in Vienna, March 26, 1827 Beethoven composed his overture on the subject of "Coriolanus" in the year 1807. It was probably first performed at subscription concerts of Prince Lobkowitz in Vienna, in March, 1807. The Overture was published in ?8o8, with a dedication to Court Secretary Heinrich J. von Collin. The orchestration is the usual ori of Beethoven's overtures: 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, timpani and strings. After Fidelio, Beethoven was ambitious to try his hand at another . opera, and entertained several subjects, among them a setting of Shakespeare's Macbeth for which Heinrich Joseph von Collin, a dramatist of high standing and popularity in Vienna at the time, wrote for him the first part of a libretto. Beethoven noted in his sketchbook: "Overture Macbeth falls immediately into the chorus of witches." But the libretto did not progress beyond the middle of the second act, and was abandoned, according to Collin's biographer, Laban, "because it threatened to become too gloomy." In short, no opera emerged from Beethoven in 1^07. But his association with Collin resulted in an overture intended for performance with the spoken tragedy Coriolan. The play had been first performed in 1 wi tit a cJDifPeerenee Bring her something unusual from Thailand, Sweden, Ghana, Italy, France or where you will. You'll find them all at - TWENTY NEWBURY STREET J I "I. 1802 (then with entr'acte music arranged from Mozart's Idomeneo), and had enjoyed a considerable vogue which was largely attributable to the acting of Lange in the title part. The popularity of Coriolan had definitely dropped, however, when Beethoven wrote his overture on the subject. Thayer points out that the play was billed only once in Vienna between the years 1805 and 1809. The single performance was on April 24, 1807, and even at this performance Thayer does not believe that the Overture was played. Beethoven seems, then, to have attached himself to the subject for sheer love of it rather than by any set commission. The piece was accepted forthwith as a concert overture, and in this form became at once useful at the concerts, or "academies" as they were called, where Beethoven's music was played. There has been speculation in print as to whether Beethoven de- rived his concept of the old Roman legend from Collin or Shakespeare. \ The point is of little consequence for the reason that both Shakespeare and Collin based their characters directly upon the delineation of Plutarch. Beethoven himself could well have been familiar with all three versions. His library contained a much-thumbed copy of Plu- tarch's Lives, and a set of Shakespeare in the translation of Eschenburg, with many passages underlined. The tale of Coriolanus, as related by Plutarch, is in itself exciting dramatic material (details of which have been questioned by histo- rians) . Coriolanus, according to Plutarch, was a patrician general of the Romans, a warrior of the utmost bravery and recklessness who, single- Christian Science Sunday services 10:45 a.m., 7:30 p.m. (July, August 10:45 a.m. only) Sunday School, Nursery, 10:45 a.m. Wednesday Testimony Meetings 7:30 p.m. The Mother Church The First Church of Christ, Scientist in Boston Falmouth and Norway Streets off Huntington Ave. (Symphony Station) [12] FE33W*.-:*& i 8si n* he deluxe approach to Christmas Jackets of natural mink, sse —with the added excitement f horizontally worked skins n natural Autumn haze* or dark ranch mink, $900. Fur Salon, fifth floor Filene's Boston *EMBA trademark 3J handed, had led Rome to victory against the neighboring Volscians. Rome was at this time torn by bitter controversy between the patricians and the plebeians who declared themselves starved and oppressed be- yond endurance. Coriolanus, impulsive and overbearing, had scorned and openly insulted the populace in terms which roused the general anger, and when the military hero was proposed as consul, the senate was swayed by the popular clamor, and voted his permanent exile from Rome in the year 491 b.c. Swept by feelings of bitterness and desire for revenge, he took refuge with the Volscians, the traditional enemies of the Romans, and made compact with them to lead a campaign against his own people. The fall of Rome seemed imminent, and emissaries were sent from the capital to the Volscian encampment outside the city walls.