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Boston Symphony Orchestra Concert Programs, Season 84, 1964-1965

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Boston Symphony Orchestra Concert Programs, Season 84, 1964-1965 l***~ zy >fcv. u. BOSTON SYMPHONY ORCHESTRA FOUNDED IN 1881 BY ,/y HENRY LEE HIGGINSON SUNDAY AFTERNOON ->» . SERIES fTSi fe^ ^\ ,4 ^•^.•"j^w w. ^""vj <~u : r—'ZT /J ---•^— -<£;-' EIGHTY-FOURTH SEASON 1964-1965 TAKE NOTE The precursor of the oboe goes back to antiquity — it was found in Sumeria (2800 bc) and was the Jewish halil, the Greek aulos, and the Roman tibia • After the renaissance, instruments of this type were found in complete families ranging from the soprano to the bass. The higher or smaller instruments were named by the French "haulx-bois" or "hault- bois" which was transcribed by the Italians into oboe which name is now used in English, German and Italian to distinguish the smallest instrument • In a symphony orchestra, it usually gives the pitch to the other instruments • Is it time for you to take note of your insurance needs? • We welcome the opportunity to analyze your present program and offer our professional service to provide you with intelligent, complete protection. We respectfully invite your inquiry i . , ... CHARLES H. WATKINS & CO. /oBRION, RUSSELL & CO. Richard P. Nyqtjist — Charles G. Carleton / 147 milk street boston 9, Massachusetts/ Insurance of Every Description 542-1250 EIGHTY-FOURTH SEASON, 1964-1965 CONCERT BULLETIN OF THE Boston Symphony Orchestra ERICH LEINSDORF, Music Director Richard Burgin, Associate Conductor with historical and descriptive notes by John N. Burk The TRUSTEES of the BOSTON SYMPHONY ORCHESTRA, Inc. Henry B. Cabot President Talcott M. Banks Vice-President Richard C. Paine Treasurer Abram Berkowitz Henry A. Laughlin Theodore P. Ferris John T. Noonan Francis W. Hatch Mrs. James H. Perkins Harold D. Hodgkinson Sidney R. Rabb E. Morton Jennings, Jr. John L. Thorndike 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 Rosario Mazzeo Harry J. Kraut Orchestra Personnel Manager Assistant to the Manager SYMPHONY HALL BOSTON [3] Erich Leinsdorf and the Boston Symphony: • Mahler's Symphony No. 5 • Excerpts from "Wozzeck" Erich Leinsdorf and the Boston Symphony interpret the complexi- ties of Mahler's score with a rare depth of understanding. In this impressive new Dynagroove album, the emotions, tensions and tonal spectrum of the work come through with brilliant clarity. Soprano Phyllis Curtin is featured as Marie in highlights from Berg's stark, tragic opera, "Wozzeck" Handsomely packaged 2-record set in- cluding text piece by Neville Cardus. "D (^ A VlPtnr ® }The most trusted name in sound [4] CONTENTS Program Notes Huggler ("Sculptures") . 11 Entr'actes The Well-intentioned Annotator (/. N. B.) 40 The Mismating of Bruckner and Mahler (/. N.B.) . 5 1 Notes Mahler (Symphony No. 6) . 16 EXHIBITION Paintings loaned by the Doll and Richards Gallery are now on view. THE SOLOIST Bethany Beardslee, born in Michigan, graduated from its State University, and attended the Juilliard School of Music. She has long been prominent as a member of the New York Pro Musica, and has also sung with various organiza- tions featuring contemporary music. She has appeared as soloist at the Berkshire Festivals in 1959 and 1962. IS MAHLER BANAL? By Arnold Schonberg Rede iiber Mahler is here quoted as translated by Gabriel Engel from ex- cerpts included in a privately printed Pamphlet issued by Schonberg's friends and pupils in celebration of his sixtieth birthday. \Jne ZJiouch of- ^citin In place of many words, it would per- On the scalloped collar of our haps be best for me to say, "I believe velvet at-home coat. Black with firmly and unshakably that Gustav Mah- Pink. Sizes 10- 18. $75.00 ler was one of the greatest of men and artists." For there are only two possible ways to convince anyone of an artist's quality: the first and better way, to pro- cfliecFrousscaiuJCouse oj'Jioslon duce his work; the second, which I must now use : to communicate to others one's 416 BOYLSTON STREET 54 CENTRAL STREET BOSTON 02116 WELLESLEY own faith in that work. KEnmore 6-6238 CEdar 5-3430 In reality there is only a single tower- ing goal for which an artist strives: to [5] express himself! If he succeeds in that he has won the greatest success an artist may achieve; beside that everything else is minor. Self-expression embraces all: death, resurrection, fate, etc., as well as the lesser, though not unimportant hu- man problems. I believe that Mahler simply did not notice that his themes were banal. And, to be sure, for a single reason : that they are not banal. I must confess here: I also belonged at first to those who found these themes banal. I believe it im- portant to admit that I was Saul before I became Paul, for it may be deduced therefrom that I too was misled by that fine sense of discrimination of which his opponents are so proud. Rather, only now have I come to heed that fine sense no longer, since my ever growing im- pression of the beauty and grandeur of Mahler's work has convinced me that such judgments arise not from a truly fine sense of discrimination, but on the contrary, from the total lack of ability to discriminate. I had found Mahler's themes banal, although the work as a whole had made a great impression upon me. Today I could no longer maintain such a stand, even with malice. Just think! If those themes were really banal, I could not help finding them still more banal today than I did at first. Banal means rustic, signifying a retarded state of culture. Such a state of culture does not imply anything bad or false. It merely rep- resents something superseded, obsolete, dipping once-right, but no-longer-true. The peas- ant behaves not badly, but in an out- empire dated manner, aping those of a once higher cultural state. Banality, then, implies an out-dated state of manners fluid crepe column and A and outlook, once really the manners glowing velvet bodice band- and outlook of the more cultured; not ed in satin. Wine and pink, banality from the outset, but merely moss and mortar, red or roy- grown to be such when supplanted by the succeeding stratum of cultural prog- al and white. 6-16. 29.95 ress. But it can never become valid Gowns — Third Floor again; once rendered banal, it must re- BOSTON main banal. And when I now declare that I can no longer find these themes PEABODY • FRAMINGHAM banal today, I know they could never [6] ; have been banal ; for a banal idea, that is an idea that strikes me as outmoded, Really darlings ... I know trite, can seem to me, upon further ac- quaintance, only more banal, more trite. it's low, low priced Certainly, never more significant. Fur- for what is obviously the thermore, when I keep discovering in highest quality ... and even this idea, the more I contemplate it (and this is my experience with Mahler) new those, er . Top Value Stamps facets, fresh beauties, splendors, then with it all . ... but, there can remain no doubt: the idea is what do I do with it? the very opposite of banal. It is not something that has been long since by- passed for reasons that cannot be mis- understood, but rather something the inmost meaning of which has yet to be fathomed, something that was too deep to permit immediate grasp of more than its outer form. And in reality it has gone thus not only with Mahler; almost all the other great composers were sub- jected to the censure of banality. I need only mention Wagner and Brahms. Equally silly is another criticism hurled against Mahler: that his themes are unoriginal. In the first place, just as in art the isolated detail, so in music the theme alone, is not the main thing. For an artwork, like a living organism, emerg- es an entity. Exactly as with a child, it is not just an arm nor a leg that is first created. Not the themes, but the entire work is the inspiration. The true gift of invention lies not in him who creates a good theme but rather in him who con- ceives a whole symphony at once. In the second place, however, Mahler's themes are original. Naturally, one who singles Satisfy out the first four notes will detect rem- iniscences, but he is no less ridiculous your fondest than one who hunts for original words compulsions in an original poem. The theme consists economically not of a few notes, but of the musical products of these notes. The little struc- at ture we call a theme should never be the sole yardstick of the large form of which it is the relatively smallest element. Schopenhauer once remarked that the Stop Shop most unusual things have to be said with SUPER the most usual words. That must of MARKETS necessity be the case with music as well that the most unusual things have to be said with the most usual sequences of Top Value Stamps, too tone. [7] This man is a dreadful lawyer In fact, he's no lawyer at all. But that didn't stop him from writing his own Will. (Why not save the legal fees? thought he.) The cost will be enormous. For example, when he dies, his estate will dwindle under taxes that a well-drawn Will can avoid. Worse — a good part of what's left after taxes, claims and settle- ment costs may well end up in the wrong hands. It's so easy to have your Will drawn by a lawyer .
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