BOSTON SYMPHONY

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COLIN DAVIS & MICHAEL TILSON THOMA£ Principal Guest Conductors

NINETY-SECOND SEASON 1972-1973

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COLIN DAVIS & Principal Guest Conductors

NINETY-SECOND SEASON 1972-1973

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SEIJI OZAWA Music Adviser COLIN DAVIS & MICHAEL TILSON THOMAS Principal Guest Conductors

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Program for April 13, 14 and 17 1973 1085

A tribute to Reverend Theodore P. Ferris by the Right Reverend Monsignor Edward C. Murray 1107

Program notes by John N. Burk

Mozart - Piano in B flat K. 450 1087

Beethoven - Symphony no. 9 in D minor op. 125 1092

The conductor 1101

The soloists 1101

The chorus 1105

Season summary 1120

ANDREW RAEBURN Program Editor

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Old Colony Trust A DIVISION OF THE FIRST NATIONAL BANK OF BOSTON BOSTON SYMPHONY ORCHESTRA

SEIJI OZAWA Music Adviser COLIN DAVIS & MICHAEL TILSON THOMAS Principal Guest Conductors

NINETY-SECOND SEASON

Friday afternoon April 13 1973 at 2 o'clock Saturday evening April 14 1973 at 8.30 Tuesday evening April 17 1973 at 7.30

BERNARD HAITINK conductor

MOZART Piano concerto in B flat K. 450

Allegro Andante Allegro

NERINE BARRETT

intermission

*BEETHOVEN Symphony no. 9 in D minor op. 125

Allegro ma non troppo, un poco maestoso Molto vivace - presto Adagio molto e cantabile Finale with soloists and chorus: Schiller's 'Ode to joy'

KAREN ALTMAN soprano JOANNA SIMON contralto DEAN WILDER tenor THOMAS PAUL bass CHORUS PRO MUSICA Alfred Nash Patterson conductor

Nerine Barrett plays the Steinway piano

The concert on Friday will end about 4.10, the concert on Saturday about 10.40, and the concert on Tuesday about 9.40.

THE BOSTON SYMPHONY ORCHESTRA RECORDS EXCLUSIVELY FOR DEUTSCHE GRAMMOPHON

BALDWIN PIANO DEUTSCHE GRAMMOPHON & *RCA RECORDS

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WOLFGANG AMADEUS MOZART

Piano concerto in B flat K. 450 Program note by John N. Burk

Mozart was born in Salzburg on January 27 1756; he died in Vienna on Decem- ber 5 1791. He finished this concerto on March 15 1784, and himself played the solo part at the first performance, given nine days later at the Trattnerhof in Vienna. The Boston Symphony Orchestra first played the Concerto, with Webster Aitkin the soloist and the conductor, on March 4 1940. was both soloist and conductor in the most recent performances in the subscription series, given in November and December 1949.

The instrumentation: , 2 oboes, 2 bassoons, 2 horns, strings and solo piano.

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Mozart as a Knight of the Golden Spur

Piano were extremely useful to Mozart in Vienna in the Lenten Newton-Wellesley season, when concerts could be profitably given at the houses of wealthy patrons, and bolstered by a new composition in which Mozart could Nursing appear as virtuoso. The spring of 1784 was no exception. The Piano Home concerto in E flat (K. 449) is dated February 9; the present Concerto, 694 Worcester Road March 15; a Concerto in D (K. 451) was completed on March 22; and the Concerto in G (K. 453) on April 12. The G major and E flat concertos Route 9 were written for the particular use of Mozart's pupil in Vienna, Barbara (or Babette) von Ployer. We have the composer's word that 'Fraulein Wellesley Babette' played the G major concerto at a concert in her father's house in Dobling, a suburb of Vienna. 237-6450 479-4650 That Mozart thought well of his spring crop of concertos in 1784 is indicated in the following letter written to his father on May 26 of that year: 'In your last note,' he wrote, T have the news that you received my letter and the music safely. I thank my sister for her letters and as soon as time permits I shall certainly write also to her. Meanwhile pray tell her that

Herr Richter is mistaken as to the key of the concerto, or else I have read incorrectly a letter of yours. The concerto Herr Richter praised so warmly to her is that in B flat, the first I made and the one he praised so highly to me at the time. I really cannot make a choice between these two concertos [B flat and D]. I regard them both as concertos to make the performer sweat; but as regards difficulty, the B flat concerto has the advantage over that in D. For the rest I am very curious to know which of these three concertos, in B flat, D and G, pleased you and my sister 1087 \J ' <^T\ ^nrxiOz^i

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most. The one in E flat does not enter into the matter. It is a concerto He who neglects the Muses of quite a peculiar kind and written rather for a small orchestra than for In his youth has wasted All lost a big one -so I speak only of the three big concertos. I am curious to the past and know whether your judgment accords with the general opinion here and True life for all the Future also with mine. Candidly, it is necessary to hear all these well performed Sophocles

with all their parts. I am quite willing to wait patiently until they are

returned to me, as long as nobody else is allowed to lay hands on them.

! could have got twenty-four ducats for one of them today, I think but ouUi_ QUALITY it better to keep them by me a year or so and then make them known INSTRUCTION by publication.' in the PERFORMING & The orchestra takes in hand unassisted the expository matter, which VISUAL ARTS cail 749-5348 devolves upon an up-sliding chromatic figure. The soloist, assuming at James C. Simpson, last the burden of discourse, makes up for a long delayed entrance by Director dominating the situation with a sparkling bombardment of scale passages hWmfcw of Nofoool Guild I Common, fy Mu., C Schoolt and sixteenth notes in a rippling legato. Again in the Andante (in E flat, I07 MAIN STREET ,te a*,*,.,,, 5,™- ta 3/8), the piano delivers an uninterrupted and ornate obbligato, the HINGHAM. MASSACHUSETTS 03043 Jack Conway & Co., Realtors orchestra for the most part merely fortifying the melody, which comes often from the pianist's left hand. In the final rondo, the composer sees

fit to give his tutti an additional edge of brilliance by.the inclusion of a flute (hitherto silent). The cadenzas in the first and last movements are Mozart's own. Storst

Sacheverell Sitwell discusses Mozart's piano concertos in his book on this composer (1932). He makes no attempt at studious research, but Street calls himself 'a complete and uninitiated amateur'. He touches fondly upon his especial favorites in the treasury of 'the greatest artist of the

Rococo period', as if eager to share with everyone his delight in them.

Like many others he places great value upon the piano concertos. 'This

is one of the most delightful of the forms in which Mozart's genius as- Smiths serted itself. Freedom of imagination, neatness, and poetry could go no further. These things are apparent at the first hearing of a Mozart con- certo, and deeper acquaintance with them leaves this impression unim-

paired, while it discovers a much greater difference in style than would is^tso- -0Q&&m 5 r

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I be thought possible when the quantity of his work in this direction is

considered. Perhaps the reason for this is that his personal contact with the music was much closer than in, for instance, one of his own sym- Longy phonies. In fact, he played the solo part in both his and pianoforte concertos, and his very evident personal fastidiousness made him as School r

careful of the effect he produced as if it was a question of the suit of clothes he was wearing at the concert. Of course his own actual playing Music of the solo part was designed to show off his particular talents of execu- tion. We have, therefore, in the concertos Mozart, himself, as though these beautiful compositions were a set of frames for his own portrait. Private instrumental and vocal 'But they were much more than a mere machinery of display for the instruction; courses leading to Diploma and Bachelor of Music Degree instrument. Some of them may be described as copious patterns of decoration in the manner of the very finest Rococo stucchi, but such

comparative easiness is only to be remarked in the least good of them. One Follen Street, Cambridge, Mass. In others of there is his very best level. are pastoral, them work on There Telephone 876-0956 02138 Arcadian scenes of an indescribable poetry, and so apparently simple that they are the very breath of inspiration itself. In some instances he

has given a military turn to the finale so that it has all the stir and clang of martial music with the colours of bright uniforms. Then, again, with a flourish or two of the cor-de-chasse he evokes all the romance of Small Wonders hunting in the autumn woods; the winding of horns through the trees, the burnished leaves, even the early frost and the bonfire-smoke. Other a toy store movements may be more serious, like intellectual problems, set, and solved of themselves with all the ease of a successful card-trick. In the later of his concertos the atmosphere becomes grave and solemn, charged with tragedy. On the lighter side there are delightful moments like a brilliant conversation in a charming room; and, to end with, there are often enough his rondos, which, alone, and in themselves, embody so many different forms of gaiety.'

Sitwell delights in the fact that there are as many as twenty-five piano

concertos, 'for this makes it impossible for any number of the ordinary public to become satiated with them. And this astonishing number does not take account of four more concertos which are adaptations, by Mozart, of works by other composers; nor of concertos by him for two and three pianofortes and orchestra. Of the twenty-five works more directly in question the author has heard a bare half-dozen, and his ignorance has had to be supplemented by reference to all the available

published accounts of them. But it taken for a certainty, that, if may be Photo by Anita R. Olds all are delightful, at least a dozen of these pianoforte concertos are works of the very quality, are, in fact, highest possible undisputed "Where the touch masterpieces of their sort. It is, therefore, the more remarkable that they is the test of the toy" are so seldom performed, since more of the Mozart that the world loves lies concealed in them than in any other branch of his protean activity. worldwide imports creative playthings games and learning toys bits of whimsies

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1091 \ r Symphony no. 9 in D minor op. 125 Program note by John N. Burk

Beethoven was born in Bonn in December 1770 (probably the 16th); he died in Vienna on March 26 1827. He completed the Ninth symphony in 1824. The first performance took place at the Karntnertortheater in Vienna on May 7 of that year. The first performance in the was given by the New York j v Philharmonic Society on May 20 1846. The Germania Musical Society in Boston a r with a chorus from the Handel and Haydn Society gave a performance here on February 5 1853. Ceorg Henschel conducted annual performances of the Ninth symphony to conclude the first three seasons of the Boston Symphony Orches- tra. The most recent performances by the Orchestra in the Boston subscription series were conducted by in April 1969.

The instrumentation: 2 flutes, piccolo, 2 oboes, 2 clarinets, 2 bassoons, contra bassoon, 4 horns, 2 trumpets, 3 trombones, timpani, bass drum, triangle, cym- j v. bals and strings.

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• Custom selected U.S. Choice and Beethoven in 1823 Prime steer beef The Ninth Symphony was the result of long germination. It was Bee- • Hand made bakery thoven's most ambitious venture, his heroic attempt to bring together the products fresh daily elements of his life work, to give each symphonic movement a broader and more elevated expression than ever before, to reconcile symphonic • Farm fresh produce and choral writing, to mate the power of the word with the free ex- delivered fresh daily pressiveness of his beloved instruments. In the finale he strove mightily • Service Delicatessen to solve his problem. Did he actually solve it, and find the satisfactory fusion of every force at his command to carry his mighty thesis? There and Fish Departments are those who say he did not. The score, like Schiller's lines, is a chal-

lenge, and Beethoven's challenge is an adventure rather than a solution.

It is not to be judged with a scrupulous academic eye, or set up as a SAGE'S FINE model. It is roughhevvn, even reckless; it can sweep all before it, carry the singers over their difficulties, and carry the audience in its headlong FOOD STORES course. The finale is no mere setting of a text. It would be just to say that conveniently located at Beethoven sought a text to suit his musical intent rather than to exalt • 60 Church St., Cambridge Schiller or give us a sermon on universal brotherhood. This concept and Schiller's inspiring lines excited him, but he seized them as material • Belmont Center, Belmont to his purpose. As the instrumental movements strive in each case to • Charles River Park, Boston bring each component part of the symphony as a form to its fullest, its

lift the whole to its • 1241 Centre St., Newton Ctr. definitive expression, the choral finale strives to highest point. The spirit of this finale does not reveal a new Beethoven, but the known Beethoven of the earlier symphonies, now more highly 1092 charged, newly ambitious, in the questing spirit of his last years. The finale of the Ninth is still the joyous culmination familiar in previous works. The finales of the 'Eroica', the Fifth and the Seventh symphonies are also proclamations, wordless odes to joy.

It was during his student days in Bonn that Beethoven had fastened upon Schiller's poem, and for a long time it remained a vague and unpursued notation in his sketchbooks. The heady sense of liberation in the verses must have appealed to him as they appealed to every German. They were in the spirit of the times, the spirit that had swept Europe and America, and Beethoven belonged to his time. He was no politician, nor the kind to discourse learnedly in such phrases as 'the brotherhood of man'. He was an idealist on such subjects as man, God, and the universe, but a practicing rather than a prating one, whose CREATIVE PEAR TREE faith found concrete, powerful, vivid expression in tones. As Berlioz There are four Partridges in this Pear wrote of the choral finale, 'The joy is now religious, grave, and im- Tree. A beautiful Tote Bag to em- mense'. Such round and ringing phrases as 'Seid umschlungen, Milli- broider — it will carry your sundries onen! Diesen Kuss der ganzen Welt!' ('Millions, myriads, rise and gather! to the slopes, your needlework to Share this universal kiss!') have become, with the power of massed Naples, or your purse to Bonwits. Varied green yarns for the leaves; reds, voices, a provocation to stir actual millions of listeners through the blues and yellows color the birds. years as a summons to a noble concept. That concept was never as Complete kit includes bag printed on urgent, as indispensable to the future as it is today. quilted ticking, lining, 100% crewel yarns, needle, base, zipper closure The charge is often repeated that Beethoven treats the vocal quartet and simple instructions. 20" tall, 15" wide. 'instrumentally', and strains the voices of the chorus. It may be true $7.95 and 75c postage. Mass. residents that if Beethoven had never been deaf he might have been kinder to add 3% sales tax. the capacities of the voice. the as conceived and human Yet movement Send 25c for catalogue of unusual developed could not do otherwise. Music of mounting tension and new kits. overwhelming climax, it finds its end with a sure and also a driving musical logic. ewomer»m Some pedants shake their over and particularly heads the Symphony, DEPT. S the 'episodic' finale. Here again, Berlioz gives them the lie: 'The only P.O. BOX 488 answer for the critic who reproaches the composer for having violated WESTON MASS the law of unity is — so much the worse for the law!' Beethoven was 02193 never the slave to form. Formal procedure was in his artist's nature, to be called upon as it suited his immediate purpose. The first movement is a wondrous example of development as Beethoven had evolved it, but development extended by thematic excursions and by a long coda for the simple reason that the composer had much on his heart and an inexhaustible imagination. Who would cut a single bar? The scherzo is closest to formal tradition — but again it is greatly extended, and for BOSTON the same reason. The slow movement is an alternation of two sections in differing tempo and rhythm, treated on the principle of variation. "Home offine luggage, The wayward Beethoven was doing what he did in his last quartets — leather goods, and notably the one in A minor with the adagio in the Dorian mode — gifts - for reconciling two disparate sections by that magic of his own which eludes analysis. nearly 200 years"

The Symphony is indeed the composer's effort to draw into a single W.W. WINSHIP work the musical experience of his life. Romain Rolland in his book 372 Boylston Boston La neuvieme symphonie (1941) stresses the Ninth symphony as a 'sum- Wellesley Northshore mation' Cune Somme de vie') rather than as the forward-looking work Beethoven would have given us as a younger man. He wrote: 'The

Ninth symphony is a confluence. In it there are brought together and commingled the numerous currents from far back, from various sources, from the dreams and wishes of men in all ages. One might also say that it looks back upon the eight symphonies preceding, and so builds its summit from the past. The long period which transpired between the

Eighth symphony and the Ninth has given it range and perspective,

made it a life's summation. It is not the true mirror of that life; it re- flects rather a spirit aged, full of wounds, which has seen the end, often

bitter and deceptive, of experience, of hope. The music is often

shadowed, it is without the power of young illusion. It seeks fresh life,

looks toward new horizons, but nothing is quite as before. There is lacking the abandon of young love, of young pride and ambition — Fleuriste Francais even of young suffering. The composer finds instead a present which is incomparably godlike — he has found the magic power of the aging 34 CHARLES STREET

Prospero, and with it — almost apart — new life forces.' BOSTON, MASS. The Ninth symphony is thus retrospective, a drawing together of ac- Est. 1891 Tel. 7-8080 cumulated power from a life's experience, the use of building materials CA not new. No more than seven years later Berlioz would plot another 1093 HELPYOURSELE (8 free booklets to help you understand about trusts)

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New England Merchants National Bank Trust Department Member of the FDIC 'new path' for music in his Symphonie fantastique. But it would be quite wrong to regard the Ninth as a sort of stupendous final curtain to an epoch. While it could not be directly emulated, it had a tre- THE PLACE TO BUY mendous effect on the future course of music. It planted in many a

composer an irresistible urge toward grandeur. Wagner regarded it EVERYTHING with mystic awe. Brahms trembled before the task of adding another from what's in style to the immortal nine. It can be questioned whether Bruckner and Mahler would have undertaken their grandiose symphonic schemes to what's traditional without the choral Ninth to excite their imaginations. While offering no specific usable material, it fired the ambition for immensity through * * * a whole Romantic century.

Themes which are gradually unfolded from mysterious murmurings in OPEN THURSDAY EVENINGS UNTIL 8:30 the orchestra — no uncommon experience nowadays — all date back to the opening measures of the Ninth Symphony, where Beethoven con- ceived the idea of building a music of indeterminate open fifths on the & dominant, accumulating a great crescendo of suspense until the theme ,£> THEi tie. ^s™ itself is revealed in the pregnant key of D minor, proclaimed fortissimo - ( by the whole orchestra in unison. It might be added that no one since JPREP SHOPy has quite equaled the mighty effect of Beethoven's own precedent — not even Wagner, who held this particular page in mystic awe, and no

doubt remembered it when he depicted the elementary serenity of the Rhine in a very similar manner at the opening of the Ring. 1-HOUR FREE PARKING at the The development in this, the longest of Beethoven's first movements, Church Street Garage (right next door) progresses with -unflagging power and majesty through many an epi- sode, many a sudden illumination from some fragment of his themes. At the restatement of the main theme the orchestra is flooded with the * * * triumph of the D major long withheld. The long coda, coming at the

point where it would seem that nothing more could be said on a much developed subject, calls forth new vistas from the inexhaustible imagi- 31 CHURCH ST. • CAMBRIDGE nation of the tone magician who needed little more than the common chord upon which to erect his vast schemes. Tovey writes of this move- UNiversity 4-2300

ment (in Essays in musical analysis) that it 'dwarfs every other first move- ment, long or short, that has been written before or since', attaining its stature, in his opinion, by a perfect balance in the organization of its

parts. And Grove goes further still (Beethoven and his nine sympho- nies): 'Great as are the beauties of the second and third movements — and it is impossible to exaggerate them — and original, vigorous and impressive as are many portions of the finale, it is still the opening The &Z& allegro that one thinks of when the Ninth symphony is mentioned. In many respects it differs from other first movements of Beethoven; Permamatic® everything seems to combine to make it the greatest of them all.' You may want another In this symphony alone among his nine, Beethoven put his scherzo one someday but second in order and before the slow movement. A scherzo it is in you'll probably never need everything but name, with the usual repeats, trio, and da capo (with one., bridge passages added). There is the dancelike character of earlier a new scherzos, and an echo of rusticity in the trio, recalling the Sixth and

Seventh. Yet all is lifted to the prevailing mood of rarefied purity as this movement, like the others, adds a new voice to an old form. This scherzo has been called 'a miracle of repetition in monotony',

by virtue of the incessant impact of its rhythm (associated with the ket- tledrums, tuned in octaves) which keeps a constant course through the most astonishing variety in modulation, color, counterpoint. The move- ment begins as a five-voice fugue, recalling the fact that Beethoven first conceived the theme as the subject for a fugue — the earliest of his " sketches which eventually found a way into the symphony. The trio 23"xl7"x7y2 In black or navy continues the interest themes. contrapuntal by the combination of two blue nylon $55.00 The famous passage for the against wind chords reminded Berlioz of 'the effect produced by the fresh morning air, and the first rays of the Stamp on it, pummel it, bury it at the rising sun in May'. the bottom of baggage cart. The Lark Permamatic will come out looking as good as new. A unique The slow movement is built upon two themes whose structural rela new construction makes it virtually tion lies principally in contrast: the first, adagio in B flat, 4/4 time, indestructible, yet featherlight. In the second, andante moderato in D major, triple time. After the almost short, it's one of the world's great- In variety static adagio, the second theme attains flowing motion in its melody, est travel investments. a of sizes and coverings at better which Beethoven has marked 'espressivo'. This theme recurs in alter- stores. nation with the other, but unlike the other is hardly varied, except Luggage Corp., in the instrumentation. The adagio theme undergoes variations of in- Empire State Building, N.Y.

creasingly intricate melodic ornament like those by which Beethoven '• ^^^^ Copyright ' 1971, 1972. Lark Lurk^kc* Corp. also lifted his last sonatas and quartets to such indescribable beauty. All rights reserved Made in USA 1095 SPRINGTIME ROMANCE

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From our Beacon Hill Shop Second Floor. BOSTON JORDAN MARSH The finale opens with a frank discord, followed by a stormy and The ultimate motor car clamorous presto of seven bars. It is as if the composer, having wrested from his first three movements the very utmost drop that was in them,

is still restless and unsatisfied. He must still advance upon his divine adventure, cast off his tragic or poignant moods, find some new expression, fulsome and radiant. A few measures of each movement are reviewed, and after each a recitative in the cellos and basses gives an answer of plain rejection; in the first two cases brusquely, in the case of the adagio softened by a tender memory. Beethoven's instruments seem on the very verge of speech. A hint of the coming

choral theme is breathed in gentle accents by the woodwinds, to which the recitative, now no longer confined to the strings, gives a

convincing affirmative. Thereupon the theme in full is unfolded in its

rightful D major. It is first heard in the utter simplicity of the low strings in unison, piano. Gradually harmonies and instruments are added, until the exposition has been completely made.

(The choral theme has come in for some slighting remarks, prob-

ably on account of its A B C simplicity. It need scarcely be pointed out that a basic simplicity, treated with infinite subtlety and variety,

is the very essence of the score from the first measure to the last. It is not without significance that Beethoven refined and polished this theme

through two hundred sketches, to attain its ultimate beauty and per- fection. There is no lack of distinguished advocates for the theme. engineered to a standard, not to a price.

Grove wrote: 'The result of years and years of search, it is worthy

of all the pains which have been lavished on it, for a nobler and more enduring tune surely does not exist.' Wagner: 'Beethoven has eman- AUTO ENGINEERING

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Once more there is the noisy presto passage, and the composer introduces words for the first time into a symphony. The baritone has this recitative:

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O Freunde, nicht diese Tone, Oh friends, no longer these tones of sondern lasst uns angenehmere sadness! anstimmen, und freudenvollere. Rather sing a song of sharing and of gladness! Lincoln Oh joy, we hail Thee! and other

desirable There immediately follow the first three verses of Schiller's Ode to joy, by the solo quartet and chorus. (The English translation here West-of-Boston given has been made for the Boston Symphony Orchestra by Theo-

dore Spencer, and is copyright.) Communities

(It may be noted here that of the eight verses of Schiller's poem, Bee- thoven chose the first three verses, at first without their four-line choruses, and then added three choruses in succession, one of them, 'Froh, wie seine Sonnen fliegen', belonging to the fourth verse, which otherwise he did not use, obviously choosing these lines for their mili- tant possibilities. Beethoven could scarcely have set more of the text; to set three stanzas required from him the longest symphonic move- ment which had ever been composed. Yet Grove thought that Bee- thoven was deterred by the 'bad taste' of some of Schiller's verses. A line which the Englishman fastens upon in horrified italics as 'one of TETREAULT'-c the more flagrant escapades' is this: 'Dieses Glas dem guten Geist!' REALTOR (This glass to the good Spirit!').) u 2599220 $. LINCOLN fr^dSf*

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1097 Tve got a chance to buy into this ." dress shop . .

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PERSONAL TRUST DEPARTMENT The National Shawmut Bank i of Boston A Shawmut Association Bank Member F.D.I.C. Freude, schoner Gotterfunken, Joy, thou spark from heav'n immortal Tochter aus Elysium, Daughter of Elysium! Wir betreten feuertrunken, Drunk with fire, toward Heaven ad- Himmlische, dein Heiligthum. vancing PlanOi Coddess, to thy shrine we come.

Deine Zauber binden wieder, Thy sweet magic brings together Was die Mode streng getheilt; What stern Custom spreads afar; Alle Menschen werden Briider, All mankind knows all men brothers Wo dein sanfter Fliigel weilt. Where thy happy wing-beats are.

Wem der grosse Wurf gelungen, He whose luck has been so golden Eines Freundes Freund zu sein, Friend to have and friend to be, Wer ein holdes Weib errungen, He that's won a noble woman, anew bequest idea Mische seinen Jubel ein! Join us in our jubilee. for Symphony

Ja — wer auch nur eine Seele Oh if there is any being Sein nennt auf dem Erdenrund! Who may call one heart his own Und wer's nie gekonnt, der stehle Let him join us, or else, weeping, Each year, the Friends of the Boston Sym- Weinend sich aus diesem Bund. Steal away to weep alone. phony set a goal for annual giving, as do Freude trinken alle Wesen Nature's milk of joy all creatures the Friends of Music at Tanglewodd. Each An den Briisten der Natur; Drink from that full breast of hers; gift is vitally needed and often given by Alle Guten, alle Bosen All things evil, all things lovely, a Friend throughout a lifetime of devotion Folgen ihrer Rosenspur. Rose-clad, are her followers. to the Orchestra. Kusse gab sie uns und Reben, Kisses are her gift, and vine-leaves, But what then? Even though a Friend Einen Freund, gepruft im Tod; Lasting friend on life's long road; has made a bequest provision in his or Wollust ward dem Wurm gegeben, Joy the humblest worm is given, her will, as so many do, this annual giving Und der Cherub steht vor Gott. Joy, the Seraph, dwells with Cod. ceases. It needn't.

four line in The chorus (to the unused fourth verse) summons Bee- If you, as a Friend, leave a legacy to thoven's imagination a marching host, and he gives it to proud and Symphony of at least twenty-five times the

striding measures 'a//a marc/a' adding piccolo, contra bassoon, triangle, amount of your annual gift, it will guaran- cymbals, and bass drum to his orchestra (again for the first time in a tee the continuing of that gift, in your

year. It will create symphony). This is the verse, given to the tenor solo and chorus: name, year after an Annual Gift Endowment in your name. Froh, wie seine Sonnen fliegen Clad as the suns that Cod sent flying Your bequest establishing an Annual Gift Durch des Himmels pracht'gen Plan, Down their paths of glorious space, Endowment can thus help provide a new Wandelt, Briider, eure Bahn, Brothers, now forget all sadness and solid foundation for Friends income. Freudig, wie ein Held zum Siegen. Joyful run your hero's race. This base, combined with continued an- nual giving of active Friends and gifts After the excitement of this variation, Beethoven allows himself to be from new Friends, will furnish ever- alone with his instruments more, for the last time in a once and increasing resources to preserve the Bos- double fugue. The chorus next sings (andante maestoso) the following ton Symphony's traditional place of lead- short verse of far-flung import, calling upon three trombones to add ership in the world of music. to the impressiveness of the sonority: For any information concerning legacies, bequests or gifts, please write or call the Seid umschlungen, Millionen! O embrace now all you millions, Development Department at Symphony Diesen Kuss der ganzen Welt! With one kiss for all the world. Hall (telephone 536-8940) or any member Briider — iiberm Sternenzelt Brothers, high beyond all stars Muss ein lieber Vater wohnen! Surely dwells a loving Father. of the Board of Trustees, at Symphony Hall, Boston, Massachusetts 02115.

A religious adagio in a mood of mystic devotion is the setting of the following verse:

Ihr stiirzt nieder, Millionen? Kneel before him, all you millions Ahnest du den Schopfer, Welt? Know your true Creator, man! Such' ihn iiberm Sternenzelt! Seek him high beyond all stars, Uber Sternen muss er wohnen. High beyond all stars adore Him.

But the key verse of the movement is the first: 'Freude, schoner Gotter- funken', and this, with its chorus: 'Seid umschlungen, Millionen', is ADVERTISING IN THE resumed by the quartet and chorus, and finally exalted to its sweeping ORCHESTRA'S PROGRAMS climax in the coda, prestissimo. For information about advertising space and rates in the programs of the Boston Symphony Orchestra, please call Mr Philip E. Nutting at MediaRep Center Inc., 1425 Statler There are available two recordings of the Ninth symphony made by the Office Building, Boston, Massachu- Boston Symphony Orchestra for RCA: in the earlier Charles Munch con- setts 02116, telephone (617) 482-5233. ducts and the soloists are , Maureen Forrester, David Poleri and Giorgio Tozzi and the choral parts are sung by the New England Conservatory Chorus; in the more recent recording the soloists are Jane Marsh, Josephine Veasey, Placido Domingo and Sherrill Milnes; the choral parts are sung by the Chorus Pro Musica and the New England Conservatory Chorus, and Erich Leinsdorf conducts.

1099 fl snffw§S Old relative^ of I moderti guitaiT

From specimens in the remarkable Casadesus Collection of Antique Instruments at Symphony Hall. Drawings by Sylvia Gilman. Historic data by Laning Humphrey. These instruments date only from the 18th century, but they have very ancient historical relationships. One of the earliest approaches to music-making was by plucking a tensed string, such as that of a hunting-bow. The addition of some kind of sound-box as a resonating chamber produced harps, lyres, and all manner of lute-like instruments. Some came to be played with an arched bow. Thus, the violin has been classified as a "bowed lute." From about 1400 to 1700 the lute itself was the instrument of virtuosos. But this long supremacy ran out in the 18th century, giving way to the guitar and mandolin. But in fashioning these, instrument-makers cast a backward look of admiration at the beauty of form shown in examples of the lute family.

2. MANDOLIN of Milanese design, relating it to mandola of 17th c. Typical mandolins of 18th c. are Neapolitan.

I. NEO-MANDOLA. 18th c. Vir- tually big mandolin. A mandola- like body is joined to a guitar fingerboard.

3. TROMPETTE MARINE. This one-string -fiddle" traces its ancestry far back through centuries. In 6th c. B.C. Pythagoras formed an exact musical scale by plucking a taut string at precisely measured distances. After four centuries as a tuning device called MONO- CHORD, it was raised to musical instrument status — in late 11th c. First it was plucked. Later, bowed, it prosed capable of -like, as well as and double-bass tones. It was used for the tuning of organs in 19th c.

4. LYRE-GUITAR. French, late 18th c. The nickname of this hybrid creation — "lady's guitar" — indicates its attractiveness to women from Pans to London. Although Schubert's baritone friend, Johann Vogl. played it. most men considered it too awkward. Ladies thought it beautiful — even to look at on a table if one could not play it. And if a lady did, she could pose with it goddess-like, in her flowing Empire-style gown.

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1100 THE CONDUCTOR For the finest in music, BERNARD HAITINK, Artistic Director and follow the Boston Symphony Conductor of the Concertgebouw Orches- tra of Amsterdam, and Principal Conductor of the London Philharmonic, was, like many conductors, originally a violinist. He was in his mid-twenties when he became prin- cipal conductor of Holland's Radio Phil- For the finest in savings banking harmonic Orchestra. Shortly afterwards he Follow the Leader/ made his debut with the Concertgebouw Orchestra, and was invited soon to be a South Boston guest conductor with other in Savings Bank Europe and the United States. In 1961 Bernard Haitink became joint permanent conductor of the Concertgebouw with Eugen Jochum, and 109 years of great banking for Greater Boston toured with the Orchestra to many parts of the world, including Japan W. Broadway, South Boston, Mass. 268-2500 and the United States.

In 1964 Bernard Haitink became sole conductor of the Concertgebouw, and three years later was appointed to his post with the London Phil- harmonic. In recent seasons he has appeared not only with his own Now Appearing at Symphony, orchestras, but also with the Boston Symphony, the Los Angeles Philhar- monic, the Halle, the BBC Symphony and the Berlin Philharmonic. He has been awarded the Bruckner and Mahler medals for his devotion to the work of these composers, all of whose symphonies he has recorded for Philips. He has also made many other recordings on the Philips label. RIMUSS of Switzerland

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NERINE BARRETT made her first appearance Red* White •Sparkling with the in March 1972 soon after being named winner of the Imported by M&M Importing Co. Arlington, Mass. first Michaels Award of Young Concert Artists. The winner of the new Michaels Award has the opportunity to give a recital at Alice Tully Hall in Lincoln Center, and to appear with the orchestras of Boston, quilts Chicago, St Louis and Denver, and the rugs Musica Aeterna of New York. Nerine Bar- baskets rett was born in Jamaica in 1944. She lived sunbonnets in London for many years, studying with Nona Kabos. Her performances gee haw whammy diddles in England included extensive recital tours and appearances with lead- stuffed animals ing orchestras, including the English Chamber and Royal Philharmonic. cornshuck dolls During her five seasons in America, she has given recitals throughout the United States and Canada, including three in New York, and has Handcrafted by mountain people in played with the orchestras of Seattle, Spokane, New Jersey, Charleston, West Virginia, Kentucky, Virginia, Greenwich and Norwalk. She makes her debut with the Boston Sym- Tennessee, and North Carolina phony at these concerts. 1776 MASS. AVE., CAMBRIDGE Tuesday-Saturday 11-5, Thurs. till 9

KAREN ALTMAN makes her debut with the Boston Symphony Orchestra at these per- formances. A native of McDonald, Pennsyl- Next time you run vania, she studied at the Juilliard School, IIIIAj (even during Intermission) then became a member of the Metropolitan IIIW Studio. During recent seasons she Don't tell me where you've has taken part in performances of Leonard J9^ just come back from Bernstein's Mass, and of Schoenberg's ... or where you're Moses und Aron and Wagner's Cotterdam- going next — IF you merung and Rheingold with the Chicago I haven't gone or aren't planning to go with the Symphony. She has sung frequently in New help of GARBER York at Carnegie Hall and Philharmonic Hall, while other engagements TRAVEL. I work for with orchestras have included appearances with the Washington National them. Call me. The Symphony, the , the Buffalo Philharmonic, the number is 566-2100. And ask for Bernie. It's Kansas City Philharmonic and the Rochester Philharmonic. In Europe, no bother. Honestly. Karen Altman has sung with the Frankfurt and Bordeaux , taking the roles of Pamina and Fiordiligi. 1101 Quality Construction and luxury comfort at reasonable prices.

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JOANNA SIMON, who has appeared with the Orchestra in recent seasons here in

Boston, at Tanglewood, and New York, is an artist of many talents. As a child she trained as a pianist, then began to study for an acting career, spending three seasons in summer stock. Finally she started serious vocal studies, and joined the International Opera Studio in Zurich. In 1962 she made her debut with the Opera as Cherubino in Mozart's Figaro. Quality workmanship with a specialization Since that time she has appeared regularly with the New York City in the careful Opera, making a particular success in the world premiere of Ginastera's restoration and renovation Bomarzo, and has been a guest with the Bordeaux Opera in the title role of , a performance she repeated with the Philharmonic of fine old buildings. in Tel-Aviv and on tour in Israel. With the American National Opera Company Joanna Simon performed the role of Countess Geschwitz in Berg's Lulu, with the New York Philharmonic she has sung Brangane in Tristan und Isolde, and with the New York Chamber Soloists the title For information please role in Purcell's Dido and Aeneas. She has appeared with the major contact: American symphony orchestras and at many summer festivals, is a Vincent Fredrickson frequent guest on national television talk shows, and has made several General recordings on the Command and Columbia labels. Manager Century Park During 1972 Simon appeared at the Teatro Colon, Buenos Joanna Construction Company Aires, in Bomarzo, at Tanglewood, at the Salzburg Festival, as well as 640 North Main Street with many orchestras and opera companies in the United States. Leominster, Mass. 01453

DEAN WILDER, who is Head of the voice department at the Westminster Choir Telephone: (617) 534-3030 School, won his bachelor's degree from Cascade College in Portland, Oregon. He came to the New England Conservatory to take his master's degree, then continued graduate work at Stanford and Northwest- ern Universities. He made advanced opera and lieder study with Hertha Klust at ATTENTION the Deutsche Oper, Berlin, with Boris Goldovsky at the Goldovsky Opera Theatre, with Arthur Schoep at the Denver Lyric Opera, and with Frederic Popper at the NBC Opera. In 1964 Dean Wilder was awarded the Petri Foundation Fellowship for European study, and the following year was FRENCH LIBRARY selected as one of the 'Outstanding Young Men of America'. In recent IN BOSTON seasons he has appeared with many orchestras and choruses, among them the National Symphony, the Rhode Island Symphony, the Portland OFFERS YOU (Oregon) Symphony, the Cambridge Festival and Bach Society Orches- tras, and with the Framingham Choral Society, the Harvard University A selection of Choir and the MIT Choral Society. His engagements this season include books from the classics appparances at Carnegie Hall and the Dorothy Chandler Pavilion in to the best sellers Los Angeles. Until recently he taught at the New England Conservatory and Boston University. Magazines* Films Records • Cassettes THOMAS PAUL, who has appeared on many occasions with the Boston Symphony Tues., Thurs., Friday 10-4 here in Boston, in New York and at Tangle- wood, is well known to opera and concert Wed. 10-7 audiences. He began violin study as a boy Sat. 10-noon and later also took up the . After grad- uating from Occidental College in Los 53 Marlborough St Angeles, he moved to New York and at- Boston CO 6-435 tended the Juilliard School as a graduate student in . During his military service he was a member of the United Merci States Army Chorus in Washington DC. When he was discharged in et 1960 he decided that singing was to be his career. Bonjour! Since that time Thomas Paul has been a member of the Company for seven seasons and has appeared in opera in many .

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North American cities from San Francisco to New Orleans. His many roles include Figaro, Boris Godunov, Bluebeard, Rocco, Sparafucile and the title role in Boito's Mefistofele. Meanwhile he has given many solo recitals and has appeared with leading orchestras, the New York Phil- harmonic, the Chicago Symphony, the Pittsburgh Symphony, the Cleve- land Orchestra, the Los Angeles Philharmonic, the San Francisco Sym- Compliments of phony, the Montreal Symphony and the London Symphony among them. Thomas Paul has made recordings on the RCA, Columbia, Command BUDWEISER and Marlboro Recording Society labels. He most recently sang with the Boston Symphony Orchestra at the 1970 Berkshire Festival. "KING OF BEERS"

THE CHORUS

Soon after the CHORUS PRO MUSICA was formed in 1949, Serge Distributed by: Koussevitzky invited the Chorus to take part in a contemporary work by Henri Barraud, The mystery of the holy innocents. That occasion was August A. Busch & Co. the first of many performances by the Chorus pro Musica with the of Massachusetts, Inc. Boston Symphony Orchestra. Alfred Nash Patterson, the founder and present conductor, has prepared choral music for the Orchestra with conductors Charles Munch, Erich Leinsdorf, Robert Shaw, Leonard Bern- stein, , Max Rudolf and Richard Burgin. The Chorus pro Musica has also taken part in several of the Orchestra's recordings for RCA, among them Mozart's , Lohengrin, Beethoven's Ninth II I Sixth Street symphony, and Verdi's Requiem. The Chorus has also taken part in Cambridge, Massachusetts several first performance with the Boston Symphony, including the American premiere of Britten's . They have performed with the Orchestra not only in Boston, but also in New York and at

Tanglewood. Alfred Nash Patterson is Music Director at the Old South 661-0900 Church, and Music Director of the Worcester County Music Association.

BOSTON SYMPHONY ORCHESTRA

NINETY-THIRD SEASON 1973-1974

When . . SEIJI OZAWA Music Director • A mother is unable to care for COLIN DAVIS & MICHAEL TILSON THOMAS children

Principal Guest Conductors • Serious illness disrupts family life

• An aging or ill person is convalescing

•A person under psychiatric treatment needs temporary care in the home

• Parents need a vacation

• Handicapped people need help

• Chronic illness strikes

•A terminal patient needs er

Call . .

TWENTY-TWO FRIDAY CONCERTS AT 2 o'clock Suburban Homemaking TWENTY-TWO SATURDAY CONCERTS AT 8.30 and Maternity Agency, Inc. BROOKLINE 232-7650 F RAM INGHAM 879-1516

Renewal cards will be mailed to subscribers shortly

1105 Henry IHoore LOCAL GALLERY LOCAL GALLERY GUIDE GUIDE Ben Hichol/on Alberts-Langdon Colonnade Hotel 120 Huntington Avenue morch 240pril 13 National Center of Afro-American Boston Artists Elma Lewis School 122 Elm Hill Avenue Roxbury Art/Asia fliel/en Gallery 8 Story Streel Cambridge 179 fleuibury /r. Nielsen Gallery Bo/ton > 179 Newbury Street Art Institute of Boston v Boston 700 Beacon Street Boston

Nordest Gallery \shton Gallery 232 Newbury Street 667 VFW Parkway N.R. Boston W. Roxbury Weiss f Weiss

Cambridge Art Association Baroque Works of Art Old Print & Frame Shop 23 Garden Street • 42 Bromfield Street Cambridge Boston Specialists in European and Oriental Ceramics Childs Gallery Mornings by Appointment Only 169 Newbury Street Origins Art Gallery Boston 61 7- 723 -7475 134 Newbury Street Boston, Massachusetts Boston

Copley Society 158 Newbury Street Oriental Decor Boston 125 Newbury Street the old Boston

Doll & Richards PRINT& FRAME 172 Newbury Street shop, inc. Boston AZ BROMFIELD STREET Parker Street 470 BOSTON. MASS. 02108 470 Parker Street 542-7195 Boston Gallery of Visual Arts 67 Long Wharf Boston Pucker Safrai Gallery 171 Newbury Street Graphics One & Two Boston 168 Newbury Street Boston

Rolly-Michaux Galerie 125 Newbury Street Guild of Boston Artists Boston 162 Newbury Street Boston

)udi Rotenberg Gallery Harcus Krakow Gallery 130 Newbury Street 167 Newbury Street Boston Boston Custom Framing Contemporary Graphics

Prints available for Kanegis Gallery Vose Galleries 244 Newbury Street Purchase or Rental 238 Newbury Street Boston Boston Inquiries invited A TRIBUTE TO REVEREND THEODORE P. FERRIS

by the Right Reverend Monsignor Edward G. Murray

Theodore Packer Ferris, a priest of the Protestant Episcopal Church, occupied for more than thirty years the Trinity Church pulpit of the now legendary Phillips Brooks. In his own manner, which was instinct with gentleness and grace, he came to occupy a place in the religious and public life of Boston which grew in importance with each passing year. As an author, preacher, administrator and pastor of souls he enriched the life and ex- perience of countless thousands here and throughout the English- speaking world.

He was from his early years a lover of music, and while always disclaiming any expertise on the matter, he studied it with great seriousness, as for example taking two summers' course of study in composition under Nadia Boulanger. His interest in the Boston

Symphony Orchestra was a constant, even when in later years de- clining health made his appearance at Board meetings and con- certs increasingly rare. To his colleagues on the Board of Trustees his passing is an occasion of reflection on having been in the presence of true greatness, and a time to express our common loss.

At the last he fulfilled Shakespeare's phrase on Macbeth: 'nothing in his life more became him than the leaving of it'. In the midst of very great pain he was considerate of others and thoughtless of himself to the very end. He followed truly in the footsteps of his Master, and we are the richer and better for having known him.

1107 Marriage is an "alternative life-style."

Some genius in the sex instruction and the nuclear family to be out of business discovered the other day that style ought, in fairness to him or her- monogamous marriage was an "alter- self, to spend a Sunday morning in the native life-style," a revelation which cafeteria on the corner of Boylston may tend to render matrimony more Street and Massachusetts Avenue in acceptable to the emancipated. the Back Bay. Those of us who elected to marry The patrons are mostly elderly. without giving much thought to the They linger over their store-boughten modishness of the contract may be breakfasts gazing into the middle dis- reassured that we are not to be exiled tance, mumbling, sometimes to them- beyond the Pale of cultural change. selves, as though a bran muffin and a A sexual bourgeoisie has, after all, the cup of coffee were company. They have social utility of providing the revolu- no one, or they would not be there. tionaries with an erotogenic sense of If that is too dreary, hang around naughtiness. the cosmetics counter of any given It is not unlikely that the atavism of department store and listen to the the repentant at leisure has done at lonely women shopping for some scent least as much for what used to be or unguent that will make them bear- called dalliance as Helen Gurley able to themselves. Brown, Radley Metzger or Andy There are other places, too. There Warhol. are a lot of free spirits at the Pine I've forgotten who said that in all Street Inn in the South End. And, if passion there must be a sense of you think a cup of coffee or an electric

adultery, but there is truth in it, blanket is a substitute for a cuddly according to sources among the pas- spouse, look again. sionate and adulterous. Take away True, marriage is an alternative the sense of sin, and what you have life-style, but even if the contractual left is calisthenics. Maybe. inhibitions chafe from time to time, But anybody who believes monog- it is worthy of consideration.

amous marriage to be a dreary state DAVID B. WILSON,./«». 1. H>?.i

David B.Wilson writes forThe Globe.

The Boston Globe. Morning/Evening/Sunday. For home delivery, call 288-8000. BOSTON POPS ^m

EIGHTY-EIGHTH SEASON

OPENING TUESDAY NIGHT MAY 1

May 1 - June 30

SYMPHONY HALL at 8.30

During the first week of the season, concerts will be held Tuesday through Sunday. Thereafter there will be concerts each Monday through Saturday.

The Pension Fund Concert will be on Sunday May 27

Tickets will be placed on sale two weeks in advance of each concert i.M i U > 'symphony \ [orchestra!

COUNCIL OF FRIENDS OF THE BOSTON SYMPHONY ORCHESTRA

As the winter season nears its end, the Council wishes to express its gratitude and appreciation to all Friends, members of the Orchestra and Staff for their energetic support during the past months. By March 15 the 4,002 Friends enrolled for the season September 1 1972 to August 31 1973 had contributed $448,335. Thanks and congratulations

to all.

In addition to their financial contributions, many Friends have supported the various special activities:

The Stage Door Lectures have completed their fourth season, now ex- panded to two series. Special thanks to the speakers for giving two lectures.

The Pre-Symphony Suppers, also expanded this season to four series, have been equally popular. The 'Table Talkers' made the occasion espe- cially enjoyable. Thanks too to them.

The Symphony Spirals. Congratulations to all 12,000 of you who took part in this enjoyable project. The total amount raised for the Orchestra was more than $25,000. A special welcome to all the new Friends, who joined through the Spirals.

Tours of Symphony Hall. These will continue through the spring. Indi- viduals and groups interested in this exciting look 'behind the scenes' — especially fascinating during the Pops season — should call the Friends Office (266-1348).

Needlepoint kits. New designs, relating to music and the Boston Sym- phony, are constantly being added. See them in the Friends Office. Why not plan to make a glasses case, a pair of slippers or a belt during the summer? You'll help the Orchestra and delight a friend.

Know Your Orchestra. Nearly 4,000 have been sold so far. If you haven't bought your copy of this informative booklet, get one at the Friends Office now. Copies will also be available at Tanglewood.

The Musical Marathon. Warmest thanks to all the tireless volunteers, to the premium donors in the Orchestra, to WCRB and all others involved, as well as all the good people who called in their pledges. The total was more than $77,000. Bravissimo! Derrick Te Paske 1110 3

^-> -*--'-

COUNCIL OF FRIENDS OF THE BOSTON SYMPHONY ORCHESTRA

ACTIVITIES STILL TO COME The Annual meeting of the Friends will take place at Symphony Hall on Wednesday morning May 9 at 11.15. will rehearse the Pops Orchestra, Talcott M. Banks will speak, and there will be refresh- ments and a box lunch. Invitations will be mailed to all current Friends. €&\W

The Annual meeting of the Council will be held on May 30, when Com- mittee chairmen will report to the Council on their season's activities.

WASO. Mrs George L. Sargent and Mrs John M. Bradley will represent the Council at the meeting of the Women's Association for Symphony Orchestras to be held in Montreal in June. They will exchange reports on fund-raising activities by all the orchestras represented.

A Talk and Walk at Tanglewood with special guest speaker Armando Ghitalla will take place on Thursday July 26. There will be a tour of the beautiful grounds, a Berkshire Festival or Berkshire Music Center re- hearsal, and Lunch in the Tanglewood Tent. Sign up now! Reservations at $10 each include round trip bus fare and box lunch. Call 266-1348 for further details. This is an event organized by the Friends of Music at Tanglewood for the Friends of the Boston Symphony.

The Council extends renewed thanks to all our wonderful Friends and supporters, and to the members of our incomparable Orchestra. Have a marvelous summer. See you at Pops, at the Esplanade concerts, at Tanglewood. We shall look forward to welcoming you back to the exciting new season next September!

There's still time to join the family of Friends for the current season. Please use the form printed below.

Friends of the Boston Symphony Orchestra

Please enroll me as a Member of the Friends of the Boston Symphony Orchestra for the Season of 1972 - 73, and

I would like to receive an invitation to the annual meeting of Friends on Wednesday, May 9.

$5000 and over — Benefactor $1000 and over-— Guarantor

$500 and over— Patron

f~J $250 and over — Sustaining

Total Contribution $- $100 and over — Sponsor

Paid herewith $- |7J $50 and over — Donor

Balance due $- Q $15 and over — Contributor

Gifts to the Boston Symphony Orchestra are deductible under the Federal Income Tax Laws. Please make check payable to Boston Symphony Orchestra, Inc.

Note: Contributors giving $100 or more will be listed in next year's Concert Programs by categories. Please check

here if you do NOT wish to be listed.

111 We can suggest several places to invest your money that have nothing to do with insurance.

Like most big companies, the drug rehabilitation unit, and an Prudential has a budget for contribu- Education Fund for inmates at tions to worthy community service Concord, Norfolk, Framingham and groups. Walpole.

The problem is, with a limited They're not necessarily very popu- budget, how to decide which of them lar causes. But that's one reason why are the most worthy. you probably haven't heard of them.

So at our Northeastern Home Profiles of all the groups recom- Office in Boston, what we've done is mended by our Committee are avail- to establish a "task force" of our able, along with addresses where you younger employees to make thorough might mail your own contributions. analyses of the needs of each com- Write the Community Relations munity service group, and make Committee, The Prudential Insur- contributions accordingly. ance Company of America, North- So far, this Community Relations eastern Home Office, P.O. Box 141, Committee has come up with a day 2nd Floor, Boston, Mass. 02199. care center in Roxbury, an organiza- tion that's trying to improve the doc- tors-to-people ratio in the ghetto, a Prudential

1112 jwmiiiir h

THE FINAL SPECTRUM CONCERTS OF THE SEASON it's Friday & Saturday evenings miMi April 20 & 21 at 8.30 the MICHAEL TILSON THOMAS KENNETH RIEGEL DAVID EVITTS TANGLEWOOD FESTIVAL CHORUS real thing John Oliver director

FROM THE CATHEDRALS OF VENICE — an evening of sacred music for organs, brass and vocal choirs

17th century antiphonal works from multiple locations within Symphony Hall Opticus M. processional and ceremonial music by the Gabrielis, Schutz and You won't Vivaldi believe your eyes!

Stravinsky's 1956 homage to San Marco, Canticum Sacrum for Eyeglass Prescriptions Filled soloists, organ, chorus and orchestra One Day Service When Possible Free Parking a concluding celebration with audience joining chorus in Stravin- hoch. sky's setting of Bach's chorale, Vom Himmel 537 Commonwealth Ave. Boston KENMORE SQUARE 261-5140 Tickets: $3, $4.50, $5.50 & $6 at Symphony Hall Box Office (266-1492) and the Harvard Coop (492-1000)

INDUSTRIAL SCHOOL FOR CRIPPLED CHILDREN 241 ST. BOTOLPH STREET BOSTON

Provides For The Handicapped Child In A Free, Private, Day School

A 12 Year Academic Program

Vocational Training • Recreation

Health Program • Transportation

The Industrial School for Crippled Children

solicits funds for its operation either through Bequests, Annuities or Life Insurance. ««» In case of a life agreement a donor gives capital to the Industrial School for Crippled Children and in return receives income for

life.

Donors are invited to discuss these matters with the Treasurer. FAR YOU

Treasurer, CHARLES E. COTTING, 28 State Street, Boston MflLOEN CHARLES H. TAYLOR MRS. CHARLES E. COTTING rjooPERRTiUE mm President Chairman Ladies Committee MALDEN, MEDFORD, NORTH READING

1113 Wellesley Green Condominiums. units have been provided with the finest Nestled amid seven beautifully wooded conveniences for comfortable living. acres in the sophisticated college town of Wellesley Green. Wellesley, three secluded buildings pro- Satisfying the taste of the vide gracious suburban living. discriminating person. Owners of Wellesley Green condo- Model condominiums shown miniums will enjoy distinctive one, two, or by appointment. Visit our showroom at two bedroom with library homes. Spa- 59 Grove Street weekdays from 11-5, ciously designed with private balconies Saturdays from 1-4, and evenings overlooking green lawns and trees. All by appointment, 237-4040.

Spaulding and Slye Housing Associates One Washington Mall. Boston. Massachusetts 02108 61 7-523-8000

1114 • .• Journey Moscow to BOLSHOI BALLET VISIT TO TCHAIKOVSKY'S ESTATE AT KLIN, Music NEAR MOSCOW EUROPE '73.

22 Days — From Boston Sept. 2, 19 Helsinki v y% Thos. Cook and Son is proud to announce that once again INTERNATIONAL FESTIVAL John Salkowski, member of the Boston Symphony Or- A DAY DEVOTED TO chestra, will escort a tour of musical Europe. FINNISH COMPOSER Journey to Music — 73 has been planned by Mr. Salkowski JEAN SIBELIUS in conjunction with Thomas Cook and Son for a limite number of those of you who love music. You will attend 1 outstanding concert and opera performances in Helsinki, Leningrad, Moscow, Budapest, Vienna, and .

Sightseeing included, will emphasize the musical heritage »& *-. of each city, with opportunities to meet personalities in- volved with the musical world of today. Leningrad Mr., CONCERTS & BALLET Tour Fare $1,850.00m Per Person Tour Fare Includes 1. Air transportationion fromfro Boston to Helsinki, over the Itinerary and return to Boston by Lufthansa Airlines. 2. Accommodations in superior first class hotels throughout, based on sharing a twin-bedded room with bath. Single occupancy supplement will be Budapest $200.00 per person. 3. All meals; breakfast, lunch and dinner. OPERA AND FOLKDANCING 4. First class train transportation between Leningrad VISIT LAND OF LISZT and Moscow, as well as, hydrofoil between Budapest ANDBARTOK and Vienna. \ J All transfers between airports and hotels, vice versa, as well as, transfers between hotels and theatres for all evening performances. 6. Baggage handling throughout the tour. 7. Sightseeing by motor coach as outlined in the Itinerary. Vienna 8. All performances as outlined in the Itinerary, totaling 15. STATE OPERA 9. Services of the escort, Mr. John Salkowski. MUSICAL VIENNA 10. Service charges, gratuities and taxes at hotels

fj Yes, I am interested in your Journey to Music Tour and would like to be contacted concerning it.

Name:. unich OKTOBERFEST CONCERT Address AT THE ISLAND CASTLE Phone:_ HERRENCHIEMSEE

COOKS WORLD TRAVEL SERVICE STATLER OFFICE BUILDING (SUITE 1020) MAIL TO BOSTON, MASS. 02116 PHONE (617) 267-5000 262-2445 * 9. DuBarry 159 Newbury Street 10. Fenway Motor Inn 1271 Boylston Street 267-8300 Kenmore Square 267-3100 536-2: 11. Half-Shell 743 Boylston Street 266-1 12. Joseph's 279 Dartmouth Street 536 13. Kyoto 337 Massachusetts Avenue 267-1534 Symphony Hall *14. La Crepe 733 Boylston Street 542- 15. Locke-Ober Cafe 3 Winter Place 16. Midtown Motor Inn 220 Huntington Avenue 262-1000 482-09: 17. Nick's 100 Warrenton Street 536-57 *18. Ritz Carlton 15 Arlington Street Dalton Street Restaurants 19. Sheraton-Boston Hotel 39 Cafe Riviera/Falstaff Room/Kon Tiki Port 1. Benihana of Tokyo 201 Stuart Street 542-1166 20. Sheraton-Plaza Hotel Copley Square i 2. Boraschi 793 Revision Street 536-6300 Cafe Plaza/Copenhagen 3. Cafe Amalfi 536-6396 10 Westland Avenue 426-2( 21. Statler Hilton Hotel Park Square 4. Cafe Budapest 90 Exeter Street 734-3388 22. Symphony Sandwich Shop 5. Cervantes 333 Newbury Street 536-2020 252 Massachusetts Avenue 536-3068 barley's Eating and Drinking Saloon 247-9014 Street 266-3000 536-1/ -23. Top of the Hub Prudential Center e Hotel 120 Huntington Avenue 261-2800 Stuart Street 423-57 lafe "Zachary's *24. 57 Restaurant 200 742-' 595 Boylston Street 536-5300 *25. Admiralty Room 38 Cornhill Street

1116 :;.

><> Belle's Rolls Royce One Union Street 227-0675

'• Cafe Marliave 10 Bosworth Street 423-6340 Parking 28. Dini's 94 Tremont Street 227-0380 A. Auditorium Garage -'9. Dunfey's at Ihe Parker House 60 School Street 50 Dalton Street, Prudential Center 267-9875 -J~-%00 B. Church Park Garage

' JO. Les Tuileries 370 Commonwealth Avenue 35 Westland Avenue 267-0139 C. Colonnade Hotel W. Maison Robert 45 School Street 227-3370 120 Huntington Avenue 261-2800 32 Mai,re - Jacques . 10 Emerson Place 742-5480 Fitz-lnn Auto Park 8. Mama Leone's 165 Dartmouth Street 262-6600 150 Huntington Avenue 262-8988 H Newbury Steak House 94 Massachusetts Avenue Westland Garage )!6-0184 41 Westland Avenue 5)6-8862 The • Point After 271 Dartmouth Street 536-6560 F. Prudential Center Garage fc Scanbo 16-18 \orth Street 227-7881 Exeter Street and Huntington Avenue '•• The Bull 400 Commonwealth Avenue 267-9010 ; Arena Parking Lot 2 18 Si Botolph 5tr< i J8 Casa - Romero 30 Gloucester Street 261-2146 Uptown Garage 10 Gainsboro 260 TaVema 569 Massachuse,,s Avenue, ir-WOO Cambridge F M° ,0r ,n " 77? Memonal Dnve Cambndge 4 92-T"7 <

F V e eaUX 5 Cambr,d e Parkway, 4 § Cambridge 9 i S' Warren Tavern 2 Pleasant Street, Charlestown 241-8500

dvertisemenl elsewhere in the program book 1117 AT YE OLD PROVINCE STEPS ON THE FREEDOM TRAIL

Live it up . . . way up at Stouffer's Top of the Hub. The

view is totally Boston. The food, totally delicious. The cocktails, totally potent. Open daily 11:30 A.M. to

1 A.M. Sunday brunch 11 A.M. to 2:30 P.M. Dinner 4 to 9 P.M. fffA- Entertainment Monday through Saturday. Call 536-1775. $ta6art-(_^me/tican (Vsine

OPEN DAILY 11 A.M. - 10 P.M. EXCEPT SUNDAYS 10-11 BOSWORTH ST., BOSTON, MASS. TEL. 423-6340

52nd Floor — Prudential Tower mr The Restaurant 200 Stuart Street. Luncheon

CUISINE FRANCHISE and dinner from 1 1 :30 AM till 2 AM. Open 12 noon OLD CITY HALL Du Barnj Sun- days and holidays. Parking 45 SCHOOL STREET for 1 ,000 cars. Function BOSTON. MASS. French rooms available. For reserva- tions call 423-5700. 227 3370 AND 227 3371 Restaurant maison robert

mMre • Private dining room • Open garden in summer The touch of Athens • Fine selection of imported wines • Lunch and dinner is in Cambridge • Mon. thru Sat., Sun., 5-9 p.m.

AWNAH TAYtWlA

Restaurant Francais 159 Newbury Street/Boston (near Copley Square & Prudential Center) Finest Greek Cuisine 10 Emerson Place. Boston 262-2445/247-8280 Lucien Robert Authentic Grecian Atmosphere

Chef and owner OPEN 1 1 :30 AM to 1 1 :00 PM 567 Mass. Ave., Central Square MAITRE JACQUES Cambridge 547-6300

1118 ) -.' •:;!4N;, 2

' ' '.'I . . . . _ . _. v

Authentic A perfect French Specialties An infinite variety of prelude. delicious crepes, omelettes, quiche, onion soup, mousse, and & French wines. <£& The complete (across from Lord & Taylor) Open until after midnight 267-1534 Another La Crepe Opening Soon coda* at Harvard Square

THE WARREN TAVERN 2 Pleasant St. * Thompson Triangle Charlestown Luncheon 11:30 A.M. — 3:30 P.M. Fine Food and Drink Dinner 3:30 P.M. — 1:00 A.M. For reservations call: (617)241-8500 There's nothing like sitting down at Drinking til 2:00 AM. Mamma Leone's. You sit, and zing! There's a giant wedge of cheese. You look, and thunk! Crusty bread arrives. #«J j-JOIN OR .DIE You cut into the cheese, and bing! wr bowl of A celery and olives shows up Then ripe tomatoes and green peppers and scallions. And you VQ haven't even ordered yet!

( With such a big menu, FREE VALET PARKING • LADIES INVITED it's hard to decide. As you scale the heights 344 NEWBURY ST. 266-3000 of Mamma's Antipasto, a chef is whipping up your main course. And soups and pastas arrive. Ld I And the wine you ordered. the point after Eat, eat. And save room for a 271 DARTMOUTH STREET AT COPLEY SQUARE BOSTON. MASSACHUSETTS 02116 • 617/536-6560 wonderful dessert. Mamma goes by one rule: "Cook good Italian food and give people plenty. They'll come." So come! What a great place for your next party!

THE FOOD, THE MOOD, THE MUSIC!

The Admiralty Room CALM at the sign of the lobster. about the check Mamma Leone's 'WHERE STRONG APPETITKS ARK MKT AND CONQUERED." 165 DARTMOUTH STREET (ATOP MASS TURNPIKE NEAR COPLEY SQUARE) A festival of Continental dining 262-6600 A celebration of sea food. OPEN FOR LUNCH, COCKTAILS, DINNER, AFTER-THEATRE. An exhilaration in eating. FROM 11 :00 AM TO 11 :00 I'M WEEKDAYS, New England's Finest Cuisine TILL VERY LATE ON SATURDAY. SUNDAY 2:00 PM TO 10:00 PM. FREE PARKING AT THE HANCOCK GARAGE, EXCITINGLY SENSIBLE! CLARENDON STREET ENTRANCE. Sears Crescent Building. City Wall Plaza. THAT'S THE POINT, AFTER ALL. course you're in York. 742-9595. Of if New Mamma's still at the same place. 1119 SUMMARY OF THE SEASON 1972-1973

CONCERTS GIVEN IN THE TRIDAY-SATURDAY SERIES DURING THE SEASON 1972-1973

Program Date Conductor

1 September 22 & 23 MICHAEL TILSON THOMAS 2 September 29 & 30 3 October 13 & 14 WILLIAM STEINBERG 4 October 20 & 21 COLIN DAVIS 5 October 27 & 28 COLIN DAVIS T 6 November 10 & 11 DANIEL BARENBOIM 7 November 17 & 18 DANIEL BARENBOIM 8 November 24 & 25 LEONARD BERNSTEIN 9 December 8 & 9 LEONARD BERNSTEIN 10 January 5 & 6 MICHAEL TILSON THOMAS 11 January 26 & 27 EUGEN JOCHUM 12 February 2 & 3 WILLIAM STEINBERG 13 February 16 & 17 SEIJI OZAWA 14 February 23 & 24 COLIN DAVIS 15 March 2 & 3 COLIN DAVIS 16 March 9 & 10 WILLIAM STEINBERG 17 March 16 & 17 WILLIAM STEINBERG 18 March 23 & 24 19 April 6 & 7 BERNARD HAITINK 20 April 13 &14 BERNARD HAITINK R

WORKS PLAYED AT THE FRIDAY-SATURDAY SERIES

Program Author's Page initials BARTOK no. 2 16 KGR 869 RUGGIERO RICCI BEETHOVEN Overture to 'Egmont' op. 84 18 JNB 975 Symphony no. 2 in D op. 36 5 JNB 279 /r^H Symphony no. 6 in F op. 68 'Pastoral' 9 JNB 475 Symphony no. 7 in A op. 92 1 JNB 31 Symphony no. 9 in D minor op. 125 20 JNB 1092 KAREN ALTMAN soprano JOANNA SIMON contralto f<4 DEAN WILDER tenor THOMAS PAUL bass CHORUS PRO MUSICA Alfred Nash Patterson conductor Piano concerto no. 4 in G op. 58 18 JNB 977 VLADIMIR ASHKENAZY BERLIOZ Overture to 'Les francs-juges' op. 3 5 AHR 267 Te Deum, for tenor soloist and three choruses, with orchestra and organ op. 22 14 AHR 756 KENNETH RIEGEL tenor TANGLEWOOD FESTIVAL CHORUS John Oliver director ST PAUL'S SCHOOL BOY CHOIR Theodore Marier director BERJ ZAMKOCHIAN organ first performance by the Orchestra in Boston Symphonie fantastique op. 14a 13 JNB 695 Lelio, or the return to life op. 14b 13 AHR 701 COLIN FOX Lelio MALLORY WALKER Horatio & the imaginary voice of Lelio DAVID EVITTS Captain of the brigands TANGLEWOOD FESTIVAL CHORUS John Oliver director 'Nuits d'ete' op. 7 5 JL 272 JANET BAKER mezzo-soprano Three orchestral excerpts from 'Romeo et Juliette' 8 JNB 437 BRUCKNER Symphony no. 9 in D minor GHLS 324

1120 '

•: i

Afjflgnria. and Corrigenda

page 112U CELEBRATION April 20 & 21 VENICE - A MUSICAL

delete , „ a oA gIgABRIELI Canzon duodecimi toni SERIES WORKS PLAYED IN THE TUESDAY A add MCH c • n q xupu1050 10 Brandenburg concerto no. 5 in D b. JOSEPH SILVERSTEIN violin DORIOT ANTHONY DWYER flute piano PETER SERKIN 10 Piano concerto in E S. 1053 PETER SERKIN

page 1126 B SERIES CONCERTS GIVEN IN THE TUESDAY DURING THE SEASON 1972-1973 1 LEVINE P^ April 26 JAMES

add HAITINK April 17 BERNARD

SERIES WORKS PLAYED IN THE TUESDAY B delete 6 kl in C K. 551 'Jupiter- S^ony no. 6 Piano concerto in A K. **14

JAMES LEVINE . and viola Sinfonia concertante for violin in E flat K. 36U JOSEPH SILVERSTEIN violin BURTON FINE viola

add BEETHOVEN 125 Symphony no. 9 in D minor op. KAREN ALTMAN soprano JOANNA SIMON contralto DEAN WILDER tenor THOMAS PAUL bass CHORUS PRO MUSICA Alfred Nash Patterson conductor MOZART Piano concerto in B flat K. 450 NERINE BARRETT page 1127

WORKS PLAYED IN THE THURSDAY A SERIES add BACH Brandenburg concerto no. 5 in D S. 1050 JOSEPH SILVERSTEIN violin DORIOT ANTHONY DWYER flute PETER SERKIN piano Piano concerto in E S. 1053 PETER SERKIN COPLAND Symphony no. 3 10 AHR&AC 537 DEBUSSY 'Jeux', poeme danse (1912) 10 JNB 536 Prelude a I'apres-midi d'un faune 8&10 JNB 447 &533 ELGAR Violin concerto in B minor op. 61 AHR 221 JOSEPH SILVERSTEIN 'Falstaff', symphonic study op. 68 7 JL 375 Funeral march from 'Crania and Diarmid' op. 42 7 AHR 371 HANDEL Overture to 'Agrippina' 11 AHR 585 HAYDN Symphony no. 86 in D 6 JNB 319 MAHLER Symphony no. 1 in D 19 JD 1037 Symphony no. 2 in C minor 'Resurrection' 2 JNB 69 BENITA VALENTE soprano BEVERLY WOLFF contralto HARVARD-RADCLIFFE COLLEGIUM MUSICUM F.John Adams director MOZART Symphony no. 39 in E flat K. 543 14 JNB 751 Symphony no. 40 in G minor K. 550 8&16 JNB 427 &863 Symphony no. 41 in C K. 551 'Jupiter' 11 JL 587 Piano concerto in B flat K. 450 20 JNB 1087 NERINE BARRETT Clarinet concerto in A K. 622 15 JNB 809 HAROLD WRIGHT Minuet in C K. 409 15 AHR 807 PISTON 1 KGR&WP 16 DORIOT ANTHONY DWYER vsorld premiere PROKOFIEV Scythian suite 'Ala and Lolli' op. 20 1 DTG 13 RAVEL Rapsodie espagnole 8 JNB 449 SAINT-SAENS Piano concerto no. 2 in G minor op. 22 3 JNB 171 THEODORE LETTVIN SCHUBERT Symphony no. 8 in B minor 'Unfinished' 11 JNB 593 SCHUMANN Symphony no. 2 in C op. 61 JNB 981

SIBELIUS Symphony no. 3 in C op. 52 JNB 217 STRAUSS Tod und Verklarung, tone poem op. 24 16 JNB 875 Dance of the seven veils from 'Salome' 12 JNB 653 Don Quixote op. 35 12 JNB 644 JULES ESKIN cello BURTON FINE viola Suite from 'Le bourgeois gentilhomme' op. 60 12 JNB 639 Till Eulenspiegel op. 28 11 JL 599 STRAVINSKY Concerto in D for string orchestra (1946) 7 JNB 383 Oedipus rex, opera-oratorio in two acts 9 AHR 481 after Sophocles RENE KOLLO Oedipus Jocasta TOM KRAUSE Creon EZIO FLAGELLO Tiresias DAVID EVITTS Messenger FRANK HOFFMEISTER Shepherd MICHAEL WAGER Speaker HARVARD GLEE CLUB

F. John Adams director Suite from 'L'oiseau de feu' (1911) JNB 391 Whileslnno Photo 1121 r< IIAIKOVSKY Symphony no. 5 in E minor op. (>4 3 |NB 172 VAUGHAN WILLIAMS Fantasia on a theme by Thomas Tallis 2 AHR in commemoration of the centenary oi the composer's birth VERDI Requiem mass for four solo voices, chorus and orchestra 17 JNB 933 MARTINA ARROYO soprano LI LI CHOOKASIAN mezzo-soprano CARLO COSSUTTA tenor ROBERT HALE bass NEW ENGLAND CONSERVATORY CHORUS Lorna Cooke de Varon conductor WAGNER Overture to 'Der fliegende Hollander' 3 JNB 167 Funf Gedichte von Mathilde Wesendonk 15 AHR 813 JESSYE NORMAN soprano first complete performance by the Orchestra in Boston Prelude and Liebestod from 'Tristan und Isolde' 8 JNB 433 Prelude and Liebestod from 'Tristan und Isolde' 15 JNB 813 JESSYE NORMAN soprano WALTON 19 AHR 1031 ZARA NELSOVA

The authors of the notes, whose initials appear in the summary, are: JNB — JOHN N. BURK WP — WALTER PISTON AC — AHR— ANDREW RAEBURN JD — JACK DIETHER KGR — KLAUS G. ROY DTG— DONALD T. GAMMONS GHLS— GEORGE H. L. SMITH

J L— JAMES LYONS

GENERAL ARTICLES PRINTED IN THE PROGRAMS OF THE FRIDAY-SATURDAY & SPECTRUM SERIES & SPECTRUM

Page

HECTOR BERLIOZ The program for the Fantastic symphony 705 JOHN N. BURK Bruckner — The lone symphonist 331 Arnold Schoenberg's estimate of Gustav Mahler 85 EDWARD G. MURRAY A tribute to Theodore P. Ferris 1107 ANDREW RAEBURN Lelio — a synopsis of the spoken text and a translation of the words set to music 707 Margaret Ruthven Lang 41 New members of the Orchestra 39 New Trustees of the Orchestra 345 Tchaikovsky on his methods of composition 177 Theodore P. Ferris 1908-1972 475 The Boston Symphony Orchestra 120 The opening of Symphony Hall in 1900 137 Tanglewood 140 The Berkshire Music Center 143 Shooting Symphony 987 Derrick Te Paske 1122 CONCERTS GIVEN IN THE SPECTRUM SERIES DURING THE SEASON 1972-1973

October 6 & 7 VARIATIONS ON THE ORCHESTRA

MICHAEL TILSON THOMAS conductor

MUSIC OF THE COURT OF FRANCE c. 1675 MOURET Symphonies de chasse (ed. Renee Viollier) MUSIC OF MANNHEIM c. 1770 STAMITZ Presto assai from Sinfonia a 8 in G op. 3 no. 1 RICHTER Allegro spiritoso and Andante grazioso from Sinfonia a 8 in C op. 4 no. 3 FILTZ Presto from Sinfonia a 11 in D MUSIC OF VIENNA c. 7900 WEBERN Im Sommerwind MUSIC OF THE WORLD c. 7972 BERIO Epifanie CATHY BERBERIAN mezzo-soprano CAGE Variations IV All the works on the program were performed for the first time by the Boston Symphony Orchestra

January 12 A SALUTE TO DIAGHILEV parti

MICHAEL TILSON THOMAS conductor

DEBUSSY Prelude a I'apres-midi d'un faune PROKOFIEV Scythian suite 'Ala and Loll i' op. 20 STRAVINSKY Les noces SUSAN LARSON soprano JAN CURTIS mezzo-soprano ALEXANDER STEVENSON tenor MARK PEARSON bass NEWTON WAYLAND )

LUISE VOSGERCHIANf . P ianos CHRISTOPHER KIES ( YASUO WATANABE ) EVERETT FIRTH timpani CHARLES SMITH ARTHUR PRESS

THOMAS GAUGER )> percussioi FRANK EPSTEIN FRED BUDA NEW ENGLAND CONSERVATORY CHORUS Lorna Cooke de Varon conductor first performance by the Boston Symphony Orchestra

January 13 A SALUTE TO DIAGHILEV part 2

MICHAEL TILSON THOMAS conductor

STRAUSS Josephslegende - an excerpt first performance by the Boston Symphony Orchestra SATIE Parade first performance by the Boston Symphony Orchestra RAVEL A suite from 'Daphnis et Chloe' NEW ENGLAND CONSERVATORY CHORUS Lorna Cooke de Varon conductor Dcrru k Te Paskc 1123 April 20 & 21 VENICE — A MUSICAL CELEBRATION MICHAEL TILSON THOMAS conductor KENNETH RIEGEL tenor, DAVID EVITTS bass TANCLEWOOD EESTIVAL CHORUS John Oliver director BERJ ZAMKOCHIAN organ

G. GABRIELI Organ intonation Sonata pian e forte a 8, from Symphoniae sacrae (1597) Organ intonation SCHUTZ 'Vater unser, der du bist im Himmel', from

Symphoniae sacrae III (1650) G. GABRIELI Organ intonation Canzon duodecimi toni a 10 (no. 4), from Symphoniae sacrae (1597) Organ intonation 'In ecclesiis', motet in 15 parts from Symphoniae sacrae (1615) VIVALDI Sinfonia in B minor for strings 'Al santo sepolcro'

F. XI no. 7 G. GABRIELI Organ intonation

Canzon duodecimi toni a 10 (no. 2) , from Symphoniae sacrae (1597) SCHUTZ 'Cantate Domino canticum novum', for four voices G. GABRIELI 'Cantate Domino canticum novum', in six parts Organ intonation Toccata SCHUTZ 'Es ging ein Samann aus', verse anthem from Symphoniae sacrae (1650) G. GABRIELI Organ intonation

Canzon septimi toni a 8 (no. 2), from Symphoniae sacrae (1597) Canzon duodecimi toni a 8 STRAVINSKY Canticum sacrum ad honorem Sancti Marci nominis

J. S. BACH Choral variationen uber das Weihnachtslied 'Vom Himmel hoch da komm' ich her', arranged by Igor Stravinsky All pieces except Stravinsky's Canticum sacrum were first performances by the Boston Symphony Orchestra

vjordon Harlott The following pieces, unannounced, were played at the Spectrum concerts: ^* fj incorporated STRAUSS Introduction to Also sprach Zarathustra op. 30 LUGGAGE played at October 6 & 7 concerts AND STRAVINSKY The song of the Volga boatmen LEATHER played at January 12 concert SPECIALTIES

23 Church St., Harvard Square Cambridge, Mass. 02138 CONCERTS GIVEN IN THE TUESDAY A SERIES Phone (617) 868-7887 DURING THE SEASON 1972-1973

Program Date Conductor

1 September 26 MICHAEL TILSON THOMAS Authentic 2 October 17 COLIN DAVIS 3 November 14 DANIEL BARENBOIM French Specialties 4 January 2 MICHAEL TILSON THOMAS 5 January 23 MICHAEL TILSON THOMAS An infinite variety of 6 February 13 SEIJ I OZAWA delicibus crepes, omelettes, 7 February 27 COLIN DAVIS quiche, onion soup, mousse, and 8 March 13 JOSEPH SILVERSTEIN French wines. 9 April 3 LORIN MAAZEL 10 April 24 JOSEPH SILVERSTEIN

731 Boylston Street I (across from Lord & Taylor) WORKS PLAYED IN THE TUESDAY A SERIES Open until after midnight 267-1534 Program Another La Crepe Opening Soon BARBER at Harvard Square Overture 'The school for scandal' op. 5 9

1124 BARTOK Violin concerto no. 2 (1938) RUGGIERO RICCI

BEETHOVEN Overture to 'Coriolan' op. 62 Allegretto from Symphony no. 7 in A op. 92 played in memory of former President Lyndon Baines Johnson Symphony no. 7 in A op. 92 Piano concerto no. 2 in B flat op. 19 JEROME LOWENTHAL

BERLIOZ Overture 'Le carnaval romain' op. 9 6 Symphonie fantastique op. 14a 6 BRAHMS Symphony no. 2 in D op. 73 4 Symphony no. 3 in F op. 90 2

BRUCKNER Symphony no. 9 in D minor

ELCAR Introduction and allegro for strings op. 47 7 Variations on an original theme op. 36 'Enigma' 7 HAYDN Symphony no. 86 in D MOZART Symphony no. 40 in G minor K. 550 8 Symphony no. 41 in C K. 551 'Jupiter' 10 Violin concerto no. 4 in D K. 218 6 JOSEPH SILVERSTEIN

PISTON Flute concerto DORIOT ANTHONY DWYER

PROKOFIEV Piano concerto no. 3 in C op. 26 9 ISRAELA MARGALIT Scythian suite 'Ala and Lolli' op. 20 1

RAVEL A suite from 'Daphnis et Chloe' NEW ENGLAND CONSERVATORY CHORUS Lorna Cooke de Varon conductor

SIBELIUS Symphony no. 2 in D op. 43 9 Symphony no. 3 in C op. 52 7 *\ i> Tapiola op. 112 7

STRAUSS Tod und Verklarung, tone poem op. 24

STRAVINSKY Les noces SUSAN LARSON soprano JAN CURTIS mezzo-soprano ALEXANDER STEVENSON tenor MARK PEARSON bass NEWTON WAYLAND LUISE VOSGERCHIAN ianos CHRISTOPHER KIES i( P YASUO WATANABE ) EVERETT FIRTH timpani CHARLES SMITH ^ ARTHUR PRESS / THOMAS GAUGER \ percussion FRANK EPSTEIN \ FRED BUDA ) NEW ENGLAND CONSERVATORY CHORUS Lorna Cooke de Varon conductor

TCHAIKOVSKY Violin concerto in D op. 35 JOSEPH SILVERSTEIN

I )erri( k le Paske 1125 CONCERTS CIVEN IN Till TUESDAY B SIKHS DURING THE SEASON 1972-1973

Program Date Conductor

1 October 3 WILLIAM STEINBERG 2 October 24 COLIN DAVIS 3 December 5 LEONARD BERNSTEIN 4 February 20 COLIN DAVIS 5 March 20 LORIN MAAZEL 6 April 26

WORKS PLAYED IN THE TUESDAY B SERIES

Program BARBER Overture 'The school for scandal' op. 5 5 BEETHOVEN Symphony no. 3 in E flat op. 55 'Eroica' BERLIOZ Three orchestral excerpts from 'Romeo et Juliette' ELGAR Violin concerto JOSEPH SILVERSTEIN MAHLER Symphony no. 2 in C minor 'Resurrection' BENITA VALENTE soprano BEVERLY WOLFF contralto HARVARD-RADCLIFFE COLLEGIUM MUSICUM F. John Adams director MOZART Symphony no. 40 in G minor K. 550 3

Symphony no. 41 in C K. 551 'Jupiter' ft Clarinet concerto in A K. 622 4 HAROLD WRIGHT MALBEIS'S Piano concerto in A K. 414 6 THE "COMPLETE" JAMES LEVINE GOURMET SHOPPE Sinfonia concertante for violin and viola in E flat K. 364 6 100 NATURAL CHEESES JOSEPH SILVERSTEIN violin BURTON FINE viola FRESH CAVIAR Minuet in C K. 409 4 PRIME MEATS PROKOFIEV FANCY FRUITS & Piano concerto no. 3 in C op. 26 5 VEGETABLES ISRAELA MARGALIT RAVEL Free Delivery Rapsodie espagnole 15* Massachusetts Ave., Boston 267-5026 SIBELIUS 378 Boylston Street. Boston Symphony no. 2 in D op. 43 5 2IM-1646 267-1647 Symphony no. 3 in C op. 52 2 VAUGHAN WILLIAMS Fantasia on a theme by Thomas Tallis VIRTUOSO PERFORMANCE IN HAND-FINISHED LAUNDRY

CONCERTS GIVEN IN THE CAMBRIDGE SERIES DURING THE SEASON 1972-1973 ivmsr\ir\e LAUNDRY Program Date Conductor 1 October 10 MICHAEL TILSON THOMAS DRY CLEANSERS 2 November 21 LEONARD BERNSTEIN 3 January 9 MICHAEL TILSON THOMAS 10 Penniman Rd., Allston, Mass. 4 January 30 WILLIAM STEINBERG ROUTE SERVICE 783-1166 5 March 6 COLIN DAVIS 6 April 10 BERNARD HAITINK

1126 .-.,;,•. ' -:-[,g

WORKS PLAYED IN THE CAMBRIDGE SERIES

Program BEETHOVEN Symphony no. 7 in A op. 92 1 BERLIOZ Three orchestral excerpts from 'Romeo et Juliette' 2 COPLAND i " M Symphony no. 3 3 DEBUSSY I Prelude a Papres-midi d'un faune 3 'Jeux', poeme danse (1912) 3 ELGAR Introduction and allegro for strings op. 47 5 Variations on an original theme op. 36 'Enigma' 5 MAHLER Symphony no. 1 in D MOZART Symphony no. 40 in G minor K. 550 2 Clarinet concerto in A K. 622 5 HAROLD WRIGHT Sinfonia concertante in E flat for violin and viola K. 364 JOSEPH SILVERSTEIN violin BURTON FINE viola Minuet in C K. 409 5 PISTON

Flute concerto 1 DORIOT ANTHONY DWYER STAGE PROKOFIEV Scythian suite 'Ala and Lolli' op. 20 1 ENTRANCE SAINT-SAENS Cello concerto no. 1 in A minor op. 33 4 JULES ESKIN TCHAIKOVSKY Symphony no. 5 in E minor op. 64 WAGNER Overture to 'Der fliegende Hollander' 4 Prelude and Liebestod from 'Tristan und Isolde' 2

CONCERTS GIVEN IN THE THURSDAY A SERIES DURING THE SEASON 1972-1973

Program Date Conductor

1 September 28 WILLIAM STEINBERG 2 November 9 DANIEL BARENBOIM 3 January 11 MICHAEL TILSON THOMAS 4 February 15 SEIJI OZAWA 5 March 22 LORIN MAAZEL 6 April 26 JOSEPH SILVERSTEIN

WORKS PLAYED IN THE THURSDAY A SERIES

Program BARBER Overture 'The school for scandal' op. 5 5 BERLIOZ Symphonie fantastique op. 14a 4 Lelio, or the return to life op. 14b 4 COLIN FOX Lelio MALLORY WALKER Horatio & the imaginary voice of Lelio DAVID EVITTS Captain of the brigands TANGLEWOOD FESTIVAL CHORUS John Oliver director first performance by the Boston Symphony Orchestra BRUCKNER Symphony no. 9 in D minor Derric k !<• Paske 1127 COPLAND Symphony no. 3 \ffl&£z HAYDN - W Symphony no. 86 in D 4, MAHLER Symphony no. 2 in C minor 'Resurrection' BENITA VALENTE soprano BEVERLY WOLFF contralto HARVARD-RADCLIFFE COLLEGIUM MUSICUM F. John Adams director MOZART X Symphony no. 41 in C K. 551 'Jupiter' 6 PROKOFIEV Piano concerto no. 3 in C op. 26 5 ISRAELA MARGALIT

SIBELIUS Symphony no. 2 in D op. 43 5 TCHAIKOVSKY Violin concerto in D op. 35 3 JOSEPH SILVERSTEIN 4f > VAUGHAN WILLIAMS Fantasia on a theme by Thomas Tallis

< "> % ^\ *

CONCERTS GIVEN IN THE THURSDAY B SERIES DURING THE SEASON 1972-1973

Program Date Conductor

1 November 22 LEONARD BERNSTEIN 2 January 25 EUGEN JOCHUM 3 March 1 COLIN DAVIS

WORKS PLAYED IN THE THURSDAY B SERIES

Program BERLIOZ Three orchestral excerpts from 'Romeo et Juliette', dramatic symphony op. 17 ELGAR Introduction and allegro for strings op. 47 Variations on an original theme op. 36 'Enigma' HANDEL Overture to 'Agrippina' first performance by the Boston Symphony Orchestra MOZART Symphony no. 40 in G minor K. 550 1 Symphony no. 41 in C K. 551 'Jupiter' 2 SCHUBERT Symphony no. 8 in B minor 'Unfinished' SIBELIUS Symphony no. 3 in C op. 52 3 'Tapiola', tone poem op. 112 3 STRAUSS Till Eulenspiegel op. 28 2 WAGNER Prelude and Liebestod from 'Tristan und Isolde' 1 Derrick Te Paske 1128 ...... , ,

CONCERTS GIVEN IN THE PROVIDENCE SERIES DURING THE SEASON 1972-1973 Program Date Conductor 1 October 19 COLIN DAVIS 2 November 16 DANIEL BARENBOIM 3 January 4 MICHAEL TILSON THOMAS

WORKS PLAYED IN THE PROVIDENCE SERIES

Program COPLAND Symphony no. 3 3 DEBUSSY 'Jeux', poeme danse 3 Prelude a I'apres-midi d'un faune 3 ELGAR Violin concerto in B minor op. 61 1 JOSEPH SILVERSTEIN violin Funeral march for 'Grania and Diarmid' op. 42 2 first performance by the Boston Symphony Orchestra 'Falstaff' symphonic study op. 68 2

SIBELIUS Symphony no. 3 in C op. 52 STRAVINSKY Concerto in D for string orchestra (1946) 2 Suite from L'oiseau de feu (The firebird) (1910) 2

CONCERTS GIVEN IN THE SERIES AT PHILHARMONIC HALL, NEW YORK, DURING THE SEASON 1972-1973

Program . Date Conductor

1 November 1 & 3 COLIN DAVIS 2 November 29 & December 1 WILLIAM STEINBERG 3 January 17 & 19 MICHAEL TILSON THOMAS 4 February 7 & 9 WILLIAM STEINBERG 5 March 28 & 30 LORIN MAAZEL

WORKS PLAYED AT PHILHARMONIC HALL

Program BEETHOVEN Overture to 'Egmont' op. 84 5 Symphony no. 2 in D op. 36 1 Symphony no. 7 in A op. 92 3 Piano concerto no. 4 in G op. 58 5 VLADIMIR ASHKENAZY BERLIOZ Overture to 'Les francs-juges' op. 3 'Nuits d'ete' op. 7 JANET BAKER mezzo-soprano COPLAND Symphony no. 3

1129 MAHLER Symphony no. 2 in C minor 'Resurrection' JOY CLEMENTS soprano BEVERLY WOLFF contralto WESTMINSTER SYMPHONIC CHOIR David Agler conductor SCHUMANN Symphony no. 2 in C op. 61 5 STRAUSS Don Quixote op. 35 4 JULES ESKIN cello BURTON FINE viola Suite from 'Le bourgeois gentilhomme' op. 60 4 Dance of the seven veils from 'Salome' 4 VAUGHAN WILLIAMS Fantasia on a theme by Thomas Tallis v;

CONCERTS AT CARNEGIE HALL, NEW YORK, • DURING THE SEASON 1972-1973 A November 4 COLIN DAVIS conductor BEETHOVEN Overture to 'Coriolan' op. 62 \v Piano concerto no. 2 in B flat op. 19 k\ JEROME LOWENTHAL BRAHMS Symphony no. 3 in F op. 90

January 18 A CONCERT OF MUSICAL MULTIPLES (First Spectrum Concert in New York) MICHAEL TILSON THOMAS conductor

J. C. BACH Grand overture for double orchestra in E flat op. 18 no. 1 IV BARTOK Music for strings, percussion and celesta (1935) I REICH Four organs LISZT etal. 'Hexameron' for six pianos and orchestra RAYMOND LEWENTHAL, VIRGINIA ESKIN, MARILYN NEELEY, CRAIG SHEPPARD, PETER BASQUIN, ANTONIO BARBOSA first New York performance in this version January 20 A SALUTE TO DIAGHILEV MICHAEL TILSON THOMAS conductor PROKOFIEV Scythian suite 'Ala and Lolli' op. 20 STRAVINSKY Les noces SUSAN LARSON soprano, JAN CURTIS mezzo-soprano, ALEXANDER STEVENSON tenor, MARK PEARSON bass, NEWTON WAYLAND, LUISE VOSGERCHIAN, CHRISTOPHER KIES, & YASUO WATANABE pianos, EVERETT FIRTH timpani, CHARLES SMITH, ARTHUR PRESS, THOMAS GAUGER, FRANK EPSTEIN, FRED BUDA percussion NEW ENGLAND CONSERVATORY CHORUS Lorna Cooke de Varon conductor RAVEL A suite from 'Daphnis et Chloe' NEW ENGLAND CONSERVATORY CHORUS Lorna Cooke de Varon conductor \ February 10 WILLIAM STEINBERG conductor WAGNER Overture to 'Der fliegende Hollander' ^1 SAINT-SAENS Piano concerto no. 2 in G minor op. 22 THEODORE LETTVIN TCHAIKOVSKY Symphony no. 5 in E minor op. 64

March 31 LORIN MAAZEL conductor BARBER Overture 'The school for scandal' op. 5 PROKOFIEV Piano concerto no. 3 in C op. 26 ISRAELA MARGALIT SIBELIUS Symphony no. 2 in D op. 43

1130 CONCERTS GIVEN IN THE SERIES AT THE BROOKLYN ACADEMY OF MUSIC DURING THE SEASON 1972-1973

Program Date Conductor 1 November 2 COLIN DAVIS 2 February 8 JAMES LEVINE 3 March 29 LORIN MAAZEL

WORKS PLAYED AT THE BROOKLYN ACADEMY OF MUSIC

Program BARBER Overture 'The school for scandal' op. 5 3 BEETHOVEN Piano concerto no. 2 in B flat op. 19 JEROME LOWENTHAL BRAHMS

Symphony no. 3 in F op. 90 1 MAHLER Symphony no. 6 in A minor 2 MOZART Violin concerto no. 4 in D K. 218 2 JOSEPH SILVERSTEIN PROKOFIEV Piano concerto no. 3 in C op. 26 ISRAELA MARGALIT SIBELIUS Symphony no. 2 in D op. 43 3 WAGNER

Overture to 'Der fliegende Hollander' 1

CONCERTS IN OTHER CITIES

November 28 - Woolsey Hall, New Haven MICHAEL TILSON THOMAS conductor BEETHOVEN Overture to 'Egmont' op. 84 PISTON Flute concerto DORIOT ANTHONY DVVYER STRAUSS Till Eulenspiegel op. 28 BEETHOVEN Symphony no. 7 in A op. 92

November 30 - Orrie DeNooyer Auditorium, Hackensack, New Jersey MICHAEL TILSON THOMAS conductor BEETHOVEN Overture to 'Egmont' op. 84 TCHAIKOVSKY Violin concerto in D op. 35 JOSEPH SILVERSTEIN BRAHMS Symphony no. 2 in D op. 73

December 2 - C. W. Post Center Auditorium, Brookville, Long Island WILLIAM STEINBERG conductor WAGNER Overture to 'Der fliegende Hollander' VAUGHAN

WILLIAMS Fantasia on a theme by Thomas Tall is TCHAIKOVSKY Symphony no. 5 in E minor op. 64

January 16 - Bushnell Memorial Hall, Hartford MICHAEL TILSON THOMAS conductor BEETHOVEN Symphony no. 7 in A op. 92 COPLAND Symphony no. 3

1131 April 12 - Springfield Municipal Auditorium, Springfield BERNARD HAITINK conductor BEETHOVEN Overture The consecration of the house' op. 124 Symphony no. 9 in D minor op. 125 KAREN ALTMAN soprano, JOANNA SIMON contralto, DEAN WILDER tenor, THOMAS PAUL bass, CHORUS PRO MUSICA Alfred Nash Patterson conductor

SPECIAL CONCERTS

Two special concerts were given in Symphony Hall on Friday and Saturday evenings December 15 & 16 1972. LEONARD BERNSTEIN conductor BEETHOVEN Symphony no. 9 in D minor op. 125 JOHANNA MEIER soprano JOANNA SIMON contralto DEAN WILDER tenor ARA BERBERIAN bass TANCLEWOOD FESTIVAL CHORUS John Oliver director

CONCERTS GIVEN AT THE BERKSHIRE FESTIVAL 1972

Program Date Conductor

1A June 30 SEIJI OZAWA 1B July 1 STANISLAW SKROWACZEWSKI 1C July 2 SEIJI OZAWA 2A July 7 SEIJI OZAWA 2B July 8 BRUNO MADERNA 2C July 9 SEIJI OZAWA 3A July 14 WILLIAM STEINBERG 3B July 15 WILLIAM STEINBERG 3C July 16 SEIJI OZAWA 4A July 21 BRUNO MADERNA 4B July 22 LEONARD BERNSTEIN 4C July 23 KAREL ANCERL 5A July 28 5B July 29 EUGENE ORMANDY 5C July 30 JAMES LEVINE 6A August 4 MICHAEL TILSON THOMAS 6B August 5 ALDO CECCATO 6C August 6 MICHAEL TILSON THOMAS 7A August 11 COLIN DAVIS 7B August 12 COLIN DAVIS 7C August 13 COLIN DAVIS 8A August 18 SEIJI OZAWA 8B August 19 MICHAEL TILSON THOMAS 8C August 20 SEIJI OZAWA

WORKS PLAYED AT THE BERKSHIRE FESTIVAL 1972

Program BACH Brandenburg concerto no. 2 in F S. 1047 1A ARMANDO GHITALLA trumpet DORIOT ANTHONY DWYER flute RALPH GOMBERG oboe JOSEPH SILVERSTEIN violin Brandenburg concerto no. 5 in D S. 1050 1A DORIOT ANTHONY DWYER flute JOSEPH SILVERSTEIN violin ROBERT LEVIN harpsichord

Suite no. 2 in B minor S. 1067 1A DORIOT ANTHONY DWYER flute Suite no. 3 in D S. 1068 1B Cantata no. 191 ' in excelsis Deo' 1A soprano SETH McCOY tenor TANGLEWOOD FESTIVAL CHORUS John Oliver director first performance by the Boston Symphony Orchestra

1132 BARTOK Concerto for orchestra 5A Suite from 'The miraculous mandarin' 8A first performance at the Berkshire Festival BEETHOVEN Overture 'Leonore no. 3' op. 72b 5B Symphony no. 1 in C op. 21 3B Symphony no. 3 in E flat op. 55 'Eroica' 7C Symphony no. 5 in C minor op. 67 3A If Symphony no. 4 in B flat op. 60 3C lT^* * Symphony no. 6 in F op. 68 'Pastoral' 3A Symphony no. 9 in D minor op. 125 3B i'*"* JEANNINE CRADER soprano JOANNA SIMON contralto DEAN WILDER tenor ROBERT HALE bass TANGLEWOOD FESTIVAL CHORUS S John Oliver director Piano concerto no. 1 in C op. 15 1B CLAUDE FRANK wM Piano concerto no. 3 in C minor op. 37 2C GARRICK OHLSSON Piano concerto no. 4 in G op. 58 7B GINA BACHAUER Concerto for piano, violin and cello in C op. 56 3C PETER SERKIN piano JOSEPH SILVERSTEIN violin JULES ESKIN cello Fantasy for piano, chorus and orchestra in C minor op. 80 3C / PETER SERKIN piano TANGLEWOOD FESTIVAL CHORUS John Oliver director BERLIOZ Overture 'Les francs-juges' op. 3 7B first performance at the Berkshire Festival Te Deum, for tenor soloist and three choruses, with orchestra and organ op. 22 7C KENNETH RIEGEL tenor TANGLEWOOD CHOIR TANGLEWOOD FESTIVAL CHORUS John Oliver director Girls from INDIAN HILL SCHOOL Jerome Rosen director '**

EARLE BROWN Available forms 1 for chamber ensemble 2B first performance by the Boston Symphony Orchestra \i CHOPIN l, Piano concerto no. 1 in E minor op. 11 8A ALEXIS WEISSENBERG COPLAND Eight poems of Emily Dickinson 6A PHYLLIS CURTIN soprano first performance by the Boston Symphony Orchestra DVORAK Symphony no. 8 in G op. 88 4C Symphony no. 9 in E minor op. 95 'New world' 6B

G. GABRIELI Canzona a 12 4A first performance by the Boston Symphony Orchestra Ricercare (arr. Maderna) 2B first performance by the Boston Symphony Orchestra GLUCK Overture to 'Iphigenie en Aulide' 4C

1133 3

HAYDN

Symphony no. 60 in C 'II distrait'/ 2C first performance by the Boston Symphony Orchestra in C (attributed) 6C RALPH GOMBERG first performance at the Berkshire Festival Die Jahreszeiten 1C PHYLLIS CURTIN soprano SETH McCOY tenor ROBERT HALE bass TANGLEWOOD FESTIVAL CHORUS John Oliver director first performance at the Berkshire Festival HINDEMITH Symphony 'Mathis der Maler' 5B

IVES Tone roads no. 1 2B first performance by the Boston Symphony Orchestra Tone roads no. 2B first performance by the Boston Symphony Orchestra The unanswered question 2B Scherzo (Over the pavements) 2B first performance by the Boston Symphony Orchestra

LIGETI 'Melodien' for orchestra (1971) 8A first performance by the Boston Symphony Orchestra MAHLER Symphony no. 5 in C sharp minor 6C Symphony no. 6 in A minor 5C first performance at the Berkshire Festival 1>V Symphony no. 8 in E flat 'Symphony of a thousand' 8C Magna peccatrix DEBORAH O'BRIEN Una poenitentium (Gretchen) LINDA PHILLIPS Mater gloriosa JANE BRYDEN Mulier Samaritana SUSAN CLICKNER z=1 Maria Aegiptica EUNICE ALBERTS Doctor Marianus JOHN ALEXANDER Pater ecstaticus Pater profundus ARA BERBERIAN TANGLEWOOD FESTIVAL CHORUS r,u TANGLEWOOD CHOIR John Oliver director ST PAUL'S SCHOOL BOY CHOIR Theodore Marier director BERJ ZAMOCHIAN organ first performance by the Boston Symphony Orchestra MENDELSSOHN Symphony no. 1 in C minor op. 11 6B first performance at the Berkshire Festival

MESSIAEN Et exspecto resurrectionem mortuorum 8B first performance at the Berkshire Festival \i MOZART Symphony no. 31 in D K. 297 '' 8B Symphony no. 39 in E flat K. 543 1B Symphony no. 41 in C K. 551 'Jupiter' 2B Violin concerto no. 4 in D K. 218 5C JOSEPH SILVERSTEIN in B flat K. 191 2A SHERMAN WALT Concerto in C for flute and harp K. 299 2A ^ DORIOT ANTHONY DWYER flute ANN HOBSON harp *

RAVEL Ma mere I'oye 2C

1134 RUGGLES 'Evocations' for orchestra 6A first performance by the Boston Symphony Orchestra SCHUMANN Piano concerto in A minor op. 54 4C \m ALICIA DE LARROCHA 0* SIBELIUS Symphony no. 5 in E flat op. 82 5A STRAUSS Ein Heldenleben op. 40 5B JOSEPH SILVERSTEIN violin STRAVINSKY Concerto for piano and wind orchestra 4A w EARL WILD first performance at the Berkshire Festival Le sacre du printemps 6A VEJVANOVSKY Sonata a 7 & Sonata a 10 4C B) first performance by the Boston Symphony Orchestra VERDI Quattro pezzi sacri 7A TANGLEWOOD FESTIVAL CHORUS TANGLEWOOD CHOIR John Oliver director JOAN HELLER soprano first complete performance by the Boston Symphony Orchestra mk WAGNER Overture to 'Der fliegende Hollander' 7A Funf Gedichte von Mathilde Wesendonk 7A JESSYE NORMAN soprano first complete performance by the Boston Symphony Orchestra Prelude and Liebestod from 'Tristan und Isolde' 7A JESSYE NORMAN soprano WUORINEN Concerto for amplified violin and orchestra, in three continuous movements 6A PAUL ZUKOFSKY violin world premiere

"•i WEEKEND PRELUDES AT THE BERKSHIRE FESTIVAL |Pfcl*t|i /

June 30 J. S. BACH Toccata and fugue in D minor S. 565 I Concerto no. 2 in A minor (after Antonio Vivaldi) S. 593 'O Mensch, bewein' dein' Sunde gross', chorale prelude S. 622 Prelude and fugue in A minor S. 543 BERJ ZAMKOCHIAN organ

July 7 MOZART Fugue in C minor for two pianos K. 426 Andante and five variations in G for piano - four hands - K. 501 Sonata in D for two pianos K. 448 CLAUDE FRANK & LILIAN KALLIR pianos

July 14 BEETHOVEN Trio for piano, clarinet and cello in B flat op. 11 \*r l Piano trio in E flat op. 70 no. 2 PETER SERKIN piano >' 1^ HAROLD WRIGHT clarinet JULES ESKIN cello JOSEPH SILVERSTEIN violin

1135 July 21 CHOPIN Noc turnc in C minor op. 48 no. 1 Ballade in G minor op. 23 Ballade in F minor op. 52 Berceuse in D flat op. 57 Etudes from op. 10 and op. 25 Polonaise in A flat op. 53 EARL WILD piano

July 28 BEETHOVEN String trio in G op. 9 no. 1 BRAHMS Piano quartet in C minor op. 60 JOSEPH SILVERSTEIN violin BURTON FINE viola JULES ESKIN cello GILBERT KALISH piano

August 4 COPLAND Twelve poems of Emily Dickinson Piano variations 'Vitebsk' study on a Jewish theme PHYLLIS CURTIN soprano JOSEPH SILVERSTEIN violin JULES ESKIN cello AARON COPLAND piano MICHAEL TILSON THOMAS piano

August 11 MOZART Piano sonata in F K. 332 RAVEL Gaspard de la nuit

BRAHMS Variations on a theme by Paganini, set 2, op. 35 GINA BACHAUER piano

August 18 BEETHOVEN Quintet in Eflat for piano and woodwinds op. 16 MUSSORGSKY Pictures at an exhibition ALEXIS WEISSENBERG piano RALPH GOMBERG oboe HAROLD WRIGHT clarinet SHERMAN WALT bassoon CHARLES KAVALOSKI horn

BERKSHIRE MUSIC CENTER 1972 SUMMARY

Thirty-two years after its founding, the Berkshire Music Center remains unique:

it is the only educational endeavor of its kind and scope wholly operated and supported by a symphony orchestra. With the guidance of Artistic Directors Seiji Ozawa and Gunther Schuller, and with Leonard Bernstein as Adviser, the Center's programs attempt what no college or conservatory can: intense con- frontation with all aspects of musical performance under the guidance of manv of the world's finest professional musicians and within the environment of one of the world's major music festivals.

The intensity of the Tanglevvood experience can be shown by a few observations. During the fifty-seven days between June 25 and August 20, seventv-seven concerts were presented at Tanglevvood; of these fifty-three were presented by the students of the Berkshire Music Center (an average of 6.6 concerts a week); the remaining twenty-four were the weekend concerts of the Berkshire Festival. Included in the Music Center concerts were orchestral, chamber, vocal, and music-theatre programs in which music of nearly six hundred years was explored.

The 107 instrumentalists of the Fellowship Program attended an average of 167 class hours each, exclusive of independent practice time and participation in public performance. A total of 153 compositions was performed in concert bv \ Fellowship students (one-third of these by living composers); 236 additional works were studied and performed in class.

The Music Theatre Project, begun in 1971, continued to receive unusual notice

and praise for its innovative productions of Kurt Weill and Bertolt Brecht's The Yes Man, Monteverdi's The coronation of Poppea, and the specially-commis- sioned Chocorua by Robert Selig. The singers, instrumentalists and production 4. <-* assistants were all regular members of the Fellowship Program. Members of the

1136 HI '

'

Program gave ten concerts of chamber music, as well as seven orchestral con- certs, conducted by Seiji Ozawa, Leonard Bernstein, Joseph Silverstein, and the Conducting Fellows of the Center. Leonard Bernstein's program, played in memory of Serge Koussevitzky, attracted so large an audience that one-half hour before beginning its venue was moved from the 1200-seat Theatre-Concert Hall to the 5000-seat Shed. The Vocal Music Fellows presented several programs of song recitals, and Tanglewood on parade featured the combined Boston Symphony and Berkshire Music Center Orchestras under Michael Tilson Thomas' direction. The Festival of Contemporary Music, held from August 4th to the 10th in co-operation with the Fromm Music Foundation at Harvard, offered twenty-eight works by twenty-four composers, including premiere performances of works by Gunther Schuller, Bruno Maderna and Charles Wuorinen, which had been commissioned by the Foundation in observance of

its twentieth anniversary. Additional new music by composers enrolled in the Fellowship Program was presented at two Composers Forums. The Boston University Tanglewood Institute, consisting of six educational programs with an enrollment of 213, enhanced the Tanglewood milieu for the seventh con- secutive season. Eighteen concerts were presented by Boston University Tangle- wood Institute students, as well as a number of exhibits of paintings by students of the B. U. art program.

The Boston Symphony Orchestra's determination to continue the Music Center

is supported by the generosity of the individual and corporate sponsors who help provide funds for the Fellowship Program, the very core of the Center. Of special importance among these sponsors are the Fromm Music Foundation at Harvard, which this year provided increased assistance for an expanded contemporary music program; the National Opera Institute and The Baird Rockefeller Fund for Music, who continued their support of the Music Theatre Project. The Federal Government, with a grant through the National Endowment for the Arts, greatly aided the Center for the second consecutive season. This support, and that of over 1,400 individual contributors, made possible the 1972 session of the Center.

BOSTON POPS

The eighty-seventh season of the Boston Pops ran from April 25 1972 through June 24 1972. The gave fifty-four regular concerts as well as a special concert to benefit the Orchestra's Pension Fund.

Arthur Fiedler, Conductor, directed thirty-five times; Harry Ellis Dickson, Assistant Conductor, fifteen times. Guest conductors were (six times); Gunther Schuller, Rouben Gregorian, Kenneth MacKillop Jr, John Finnegan, Jerome D. Cohen, George Wright Briggs Jr and Ranny Weeks (once each). As their Musical Marathon premium Laura Avery and David Bird also directed once each.

The many soloists and guest artists included: Steve Allen, Adriana Anca, Cecylia Arzewski, , Martin Bookspan, members of the Boston Ballet Company, John Buttrick, Charlie Byrd, Richard Casper, Lynn Chang, Corinne Curry, William Dawson, Helen Zoe Duncan, Alicia Edelberg, Lorraine Ippolito Di Gregorio, Donn-Alexandre Feder, Ferrante & Teicher, Roberta Flack, , Paul Fried, Lilit Gampel, Max Hobart, Acting Concertmaster of the Boston Pops, Ann Hobson, Ronald Hodges, Martin Hoherman, Mee Joo Kang, Vahan Khanzadian, Ronald Knudsen, Anne Koscielny, Michael Kramer, lldefonso Lauron, Luis Leguia, Leo Litwin, Louis Marce Lopardi, Patricia Michaelian, Nina Milkina, New England Conservatory Chorus, Lorna Cooke de Varon, conductor, Deborah O'Brien, Anthony, Joseph and Joanne Paratore, Roberta Peters, Doc Severinsen, Joseph Silverstein, Susan Starr, Nancy Stokes, Erica Whipple, Andrew Wolf, Your Father's Mustache, and Stephen Zank.

Twelve of the Pops 1972 concerts were recorded by WGBH-TV for delayed color telecast over the Public Broadcasting Service network throughout the nation. At Tanglewood 1972 the Boston Pops, Arthur Fiedler, Conductor, gave a concert to benefit the Orchestra's Pension Fund. Guest artists were Louise Russell, Corinne Curry, Vahan Khanzadian, Richard Fredricks, and the Tangle- wood Festival Chorus, John Oliver, director.

During the winter season 1972-1973 the Pops Orchestra gave concerts in Hartford (October 31; Earl Wild, soloist), in Comack, New York (February 5; Earl Wild, soloist), and at Carnegie Hall, New York (March 27; Ralph Votapek, soloist). Arthur Fiedler conducted all these concerts. ESPLANADE CONCERTS 1972

The forty-fourth season of the Esplanade Concerts, Arthur Fiedler, Founder and Director, was given, under the joint sponsorship of the Boston Symphony Orchestra and the Metropolitan District Commission, from June 26 through July 6. There were concerts at the Hatch Memorial Shell, and, as part of Summerthing 1972, at Bunker Hill, Charlestown; Towne Field, Dorchester; Rogers Park, Brighton; Boston City Hall Plaza; Smith Field, Hyde Park. The concert on June 26 was dedicated to the memory of the nine members of the Boston Fire Department who lost their lives in the fire at the Hotel Vendome.

The following is the list of business firms and organizations who gave their support to the Esplanade Concerts: Boston Edison Company William Filene's Sons Company First National Bank of Boston The Gillette Company John Hancock Mutual Life Insurance Company The Hearst Foundation New England Merchants National Bank New England Telephone

*r The concerts were also supported by grants from the National Endowment for Hi the Arts in Washington DC, and the Metropolitan District Commission (John W. Sears, Commissioner).

<«*>: The concert on June 27 was dedicated to General Robert Cutler to honor his or untiring efforts for the Boston Symphony Orchestra. *v roi

*$% m V*>

PENSION FUND

Three special concerts have been given to benefit the Orchestra's Pension Fund. Arthur Fiedler conducted the Boston Pops Orchestra on Sunday May 28 in an Is* 'Old Timers' Night' concert with guest artists Your Father's Mustache and Leo Litwin. At Tanglewood Arthur Fiedler conducted a Lerner and Loewe concert with guest artists Louise Russell, Corinne Curry, Vahan Khanzadian, Richard Fredricks and the Tanglewood Festival Chorus, John Oliver, director. On 'V/* February 18 Seiji Ozawa conducted a concert in Symphony Hall. The program m consisted of the Overture 'Le carnaval romain' of Berlioz, Piano concerto no. 4 in G by Beethoven, Symphony no. 60 'II distratto' by Haydn, and Suite from >> 'The miraculous mandarin' by Bartok. Alexis Weissenberg, who was soloist, joined members of the Boston Symphony Chamber Players two hours earlier in a performance of the Quintet for piano and winds in E flat op. 16 by *2W Beethoven. The chamber concert was the first to given in the new Cabot- •#** fe be Cahners Room.

Eight open rehearsals were held at Symphony Hall during the 1972-1973 season (September 21, October 12, October 26, December 7, February 1, February 22, March 15, April 5). The revenue from ticket sales benefited the Pension Fund, as did that taken for the eight Saturday morning open rehearsals of the Berkshire Festival. Mr-

CONCERTS GIVEN SINCE APRIL 16 1972 BY THE BOSTON SYMPHONY CHAMBER PLAYERS

JOSEPH SILVERSTEIN violin HAROLD WRIGHT clarinet BURTON FINE viola SHERMAN WALT bassoon JULES ESKIN cello CHARLES KAVALOSKI horn HENRY PORTNOI ARMANDO GHITALLA trumpet DORIOT ANTHONY DWYER flute WILLIAM GIBSON RALPH GOMBERG oboe EVERETT FIRTH percussion ^*vAoj^Btfc* 7 April 25 - Leverett Festival of the Arts, Harvard College, Cambridge SCHUBERT String trio in B flat D. 581 BEETHOVEN String trio in G op. 9 no. 1 :t MOZART Divertimento in E flat for string trio K. 563

1138 April 27 - Kane School, Lawrence, Massachusetts* MOZART Duo in B flat for violin and viola K. 424 PERF FRI. M. HAYDN Divertimento in B flat for oboe, bassoon, violin, viola MAY 4, 8:30 VJLY and double bass AQUARIUS-™™^* MOZART Quartet in D for flute and strings K. 285 13 WASH-_E=- ^iW STRAVINSKY Concert suite from 'Histoire du soldat' ed Eahceu V ** April 30 - Theresa Kaufmann Auditorium, New York City SCHUBERT String trio in B flat D. 581 CohwmW BEETHOVEN String trio in C minor op. 9 no. 3 pirtote MOZART Divertimento in E flat for string trio K. 563

May 1 - Marshfield Junior High School, Marshfield, Massachusetts* MOZART Duo in B flat for violin and viola K. 424 M. HAYDN Divertimento in B flat for oboe, bassoon, violin, viola HAL and double bass MOZART Quartet in D for flute and strings K. 285 STRAVINSKY Concert suite from 'Histoire du soldat' HOLBR

May 2 - Weston Auditorium, Fitchburg State College, Fitchburg, Massachusetts* MOZART Duo in B flat for violin and viola K. 424 Toqight!" M. HAYDN Divertimento in B flat for oboe, bassoon, violin, viola and double bass STRAVINSKY Concert suite from 'Histoire du soldat'

May 4 - Leverett Festival of the Arts, Harvard College, Cambridge • BEETHOVEN String trio in C minor op. 9 no. 3 LENINGRAD PHIL SCHOENBERG String trio op. 45 • ORCHESTRA DOHNANYI Serenade in C for violin, viola and cello op. 10 • ENGLISH CHAMBER ORCHESTRA May 5 - Nauset Regional High School, North Eastham, Massachusetts* • VILLA-LOBOS Quatuor for woodwinds YEHUDI and BLACHER Trio for trumpet, trombone and piano op. 31 HEPHZIBAH MENUHIN DAHL Duettino concertante for flute and percussion • VAN CLIBURN SCHUBERT Piano quintet in A D. 667 'Trout' • DAVID 0ISTRAKH May 6 - Mattacheese Middle School, West Yarmouth, Massachusetts* • JACQUELINE DU PRE VILLA-LOBOS for Quatuor woodwinds and DANIEL BARENBOIM BLACHER Trio for trumpet, trombone and piano op. 31 • DAHL Duettino concertante for flute and percussion EVELYN LEAR and SCHUBERT Piano quintet in A D. 667 'Trout' THOMAS STEWART with There were also clinics for Cape Cod area high school age instrumentalists* MICHAEL TILSON THOMAS at the Piano May 8 - Berkshire Museum, Pittsfield, Massachusetts* • VILLA-LOBOS Quatuor for woodwinds JEAN-PIERRE RAMPAL BLACHER Trio for trumpet, trombone and piano op. 31 and ROBERT VEYRON- DAHL Duettino concertante for flute and percussion LACROIX SCHUBERT Piano quintet in A D. 667 'Trout' • There were also clinics for Berkshire area high school age instrumentalists* JOHN BROWNING •TOKYO STRING QUARTET - July 14 Berkshire Festival Prelude Concert, Tanglewood, Massachusetts • CHAMBER MUSIC with Peter Serkin guest pianist BEETHOVEN Trio for piano, clarinet and cello op. 11 SOCIETY OF LINCOLN CTR Piano trio in E flat op. 70 no. 2 • AMADEUS QUARTET • ALVIN AILEY CITY July 28 - Berkshire Festival Prelude Concert, Tanglewood, Massachusetts CENTER DANCE THEATER with Gilbert Kalish guest pianist • BEETHOVEN String trio in G op. 9 no. 1 PAUL TAYLOR DANCE CO BRAHMS Piano quartet in C minor op. 60 • MARTHA GRAHAM DANCE COMPANY August 18 - Berkshire Festival Prelude Concert, Tanglewood, Massachusetts with Alexis Weissenberg guest pianist are among the more than BEETHOVEN Quintet in E flat for piano and winds op. 16 30 outstanding music and dance events coming in the 1973-74 Boston University August 28 - Festival Musical de Medellin** Celebrity Teatro Tobon Uribe Series. Medellin, Colombia Current subscribers will soon re- ceive the first announcement of with Harold Martina guest pianist the new season. If you are not a Celebrity Series BEETHOVEN String trio in C minor op. 9 no. 3 subscriber and would like to receive our 1973-74 DAHL Duettino concertante for flute and percussion brochure, write to Celebrity Series, BEETHOVEN Quintet in E flat for piano and winds op. 16 420 Boylston St., Boston 02116. Phone 536-6037. STRAVINSKY Concert suite from 'Histoire du soldat'

1139 I I

August 29 - Festival de Medellin** nimm Catedral Basilica Metropolitana Medellin, Colombia MOZART Quartet in D for flute and strings K. 285 POULENC Sonata for horn, trumpet and trombone VILLA-LOBOS Quartet for woodwinds BEETHOVEN Septet for violin, viola, clarinet, horn, bassoon, cello and double bass in E flat op. 20

August 31 - Teatro Colon** Bogota, Colombia with Harold Martina guest pianist BEETHOVEN String trio in D minor op. 9 no. 3 DAHL Duettino concertante for flute and percussion BEETHOVEN Quintet in E flat for piano and winds op. 16 STRAVINSKY Concert suite from 'Histoire du soldat'

September 2 - Teatro Colon** T.O. METCALF CO. PRINTERS Bogota, Colombia MOZART Quartet for flute and strings K. 285 FIFTY ONE MELCHER STREET POULENC Sonata for horn, trumpet and trombone VILLA-LOBOS Quartet for woodwinds BOSTON MASSACHUSETTS 02210 BEETHOVEN Septet for violin, viola, clarinet, horn, bassoon, 617426-5050 1871 ESTABLISHED cello and double bass in E flat op. 20

November 12 Sanders Theatre Series 1*** Harvard University with Gilbert Kalish guest pianist Max Hobart violin, Ann Hobson harp, Felix Viscuglia bass clarinet BEETHOVEN Quintet in E flat for piano and winds op. 16 MARTIN BOYKAN Concerto for thirteen players (1971) world premiere BRAHMS Quintet in B minor for clarinet and strings op. 115

$eabobp=Jfflaaon November 13 - Irving Fine Memorial Concert Slosberg Recital Hall JWugtc with Gilbert Kalish guest pianist Jfounimtton Max Hobart violin, Ann Hobson harp, Felix Viscuglia bass clarinet IRVING FINE Partita for wind quintet (1948) MARTIN BOYKAN Concerto for thirteen players (1971) BRAHMS Piano quartet in C minor op. 60 1973

January 21 - Boston University Celebrity Series, Jordan Hall with Phyllis Curtin soprano Ryan Edwards guest pianist/harpsichordist FESTIVAL WINDS BACH 'Stumme Seufzer' for soprano, oboe and continuo from Wednesday, April 11 Cantata no. 199 'Mein Herz schwimmt im Blut' 'Gott versorget' for soprano, oboe and continuo from Cantata no. 187 'Es wartet alles auf dich' SHOSTAKOVICH Seven romances on words of Alexander Block op. 127 All concerts at Sanders VILLA-LOBOS Suite for voice and violin (1923) Theatre, Cambridge SCHUBERT Auf dem Strom for soprano, horn and piano 8:30 P.M. CHABRIER L'invitation au voyage, for soprano, bassoon and piano STRAVINSKY Concert suite from 'Histoire du soldat'

Tickets without charge required.

For tickets apply no earlier than February 4 - Sanders Theatre Series 2*** one month prior to concert at: Harvard University P.O. Box 153 with Gilbert Kalish guest pianist Back Bay Annex BACH/MOZART Preludes and fugues for string trio K. 404a Boston, Mass. 0211" WILLIAM SYDEMANDuo for trumpet and percussion (1965) CARL NIELSEN Woodwind quintet op. 43 DVORAK Piano quartet in E flat op. 87

1140 March 11 Sanders Theatre Series 3*** Harvard University with Gilbert Kalish guest pianist HAYDN String trio in D op. 53 no. 3 Brass trio (1969) LEO KRAFT 'Line drawings' for flute and percussion HINDEMITH Kleine Kammermusik op. 24 no. 2 BRAHMS Piano quartet in A op. 26

April 9 -Johnson Theatre, Paul Creative Arts Building University of New Hampshire with Phyllis Curtin soprano Ryan Edwards pianist/harpsichordist BACH 'Stumme Seufzer' for soprano, oboe and continuo from Cantata no. 199 'Mein Herze schwimmt im Blut' 'Gott versorget' for soprano, oboe and continuo from Cantata no. 187 'Es wartet alles auf dich' SHOSTAKOVICH Seven romances on words of Alexander Block op. 127 VILLA-LOBOS Suite for voice and violin (1923) SCHUBERT Auf dem Strom for soprano, horn and piano CHABRIER L'invitation au voyage, for soprano, bassoon and piano STRAVINSKY Concert suite from 'Histoire du soldat'

*co-sponsored by the Massachusetts Council on the Arts and Humanities **tour of Colombia, South America, sponsored by Partners of the Americas Organization ***co-sponsored by the Harvard University Department of Music

RETIRING MEMBERS

One member of the Orchestra will retire at the end of the 1972-1973 season, Roger Voisin, formerly principal trumpet, who joined the Orchestra in 1935. Stephen Geber, a member of the cello section, leaves the Boston Symphony Orchestra to assume the chair of principal cello of the .

NEW MEMBERS Two players joined the Orchestra at the start of the 1972-1973 season: Jerome W&ttt j« Rosen, assistant concertmaster, and Charles Kavaloski, principal horn.

RADIO BROADCASTS

The concerts of the Boston Symphony Orchestra are heard regularly in many parts of the United States and Canada by delayed broadcast. In addition the Friday afternoon concerts in Symphony Hall are broadcast live by WGBH-FM (Boston, 89.7), WAMC-FM (Albany, 90.3), and WFCR-FM (Amherst, 88.5). The Saturday evening concerts in Symphony Hall are also broadcast live by WGBH-FM, WCRB-AM-FM (Boston, 102. 5FM & 1330AM), WFCR-FM, WPJB-FM (Providence, 105.1) and WCRX-FM (Springfield, 102.1). WGBH-FM and WCRB-FM co-operate in four-channel transmission of the Saturday evening concerts, in association with Acoustic Research Inc. of Cambridge.

The majority of the Tuesday evening concerts are broadcast live by WGBH-FM, WAMC-FM and WFCR-FM.

Acoustic Research Speaker Systems are used to monitor the radio broadcasts of the Boston Symphony Orchestra.

All regular weekend concerts by the Orchestra during the 1972 Berkshire Festival were broadcast live by WGBH-FM (Boston), WFCR (Amherst) and WAMC-FM (Albany). WCRB-FM (Boston) and WPJB-FM (Providence) broadcast the Saturday evening concerts.

Complete transcriptions of the Friday and Saturday concerts, as well as concerts of the Boston Pops and of the 1972 Berkshire Festival, were broadcast through the Boston Symphony Transcription Trust on the following stations, both com- mercial and educational. Where known, the name of the sponsor is indicated.

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ADVERTISERS IN THE PROGRAM UNITED STATES

SINCE APRIL 1972 Albany, New York WFLY Pearl-Gran t-Richmans Abele Tractor Latham Motors The Trustees and Overseers of the Adams Jewelers Boston Symphony Orchestra acknowl- Allentown, Pa. WFMZ Nan Carlby Clothes edge with appreciation the support of First Valley Bank the following advertisers in helping to Ames, Iowa WOI-AM-FM Educational-Sustaining make the contents of the winter sea- Austin, Texas KNFA The Sound Gallery son, Pops and Berkshire Festival pro- Baltimore, Maryland WBAL-FM Sustaining grams possible: Berrien Springs, Mich. WAUS Educational-Sustaining Binghamton, New York WHRW Educational-Sustaining Birmingham, Alabama WAPI-AM-FM Sustaining Agfa Gevaert Boston, Massachusetts WCRB-AM-FM Acoustic Research Inc. Alberts-Langdon, Inc. WGBH Educational Appalachia Shop Champaign, Illinois WILL Educational-Sustaining Artisan Chicago, Illinois WFMT Sansui Arts Across the River Cincinnati, Ohio WGUC Educational-Sustaining Art/Asia Cleveland, Ohio WCLV Sustaining Athenian Taverna Columbia, Missouri KBIA Sustaining Atlantic Records Columbus, Ohio WOSU-FM Educational-Sustaining Audio Lab Davis, California KDVS-FM Educational-Sustaining Auto Engineering Daytona Beach, Florida WNDB-AM-FM News Journal Corporation Auto Engineering South Dekalb, Illinois WNIU-FM Educational-Sustaining Avaloch Inn Denver, Colorado KVOD Public Service Co. of Colorado Baldwin Piano & Organ Co. Midland Federal Savings & Loan Barre Publishers Detroit, Michigan WDET Educational-Sustaining Becket Woods in the Berkshires WQRS Sustaining Berkshire Common Ellsworth, Maine WDEA Sustaining Berkshire County Savings Bank Gainesville, Florida WRUF Educational-Sustaining Berman & Sons Grand Island, Nebraska KMMJ Bost Pharmacy Boston Ballet Company Kinman Chevrolet-Cadillac Boston Edison Co. Schwesers Boston Five Cents Savings Bank Meyer's Jewelry Boston Flea Market First National Bank Boston Globe Grand Rapids, Mich. WOOD Sansui The Boston Home Greenville, So. Carolina WMUU Educational-Sustaining Boston Museum of Fine Arts Hartford, Connecticut WTIC Sustaining Boston Music Co. Hershey, Pennsylvania WITF Educational Boston Safe Deposit & Trust Co. Houghton, Michigan WGGL Educational-Sustaining Boston University Celebrity Series Houston, Texas KLEF Houston Chronicle Branded Liquors Bank of Texas Branding Iron Hyannis, Mass. WQRC Sustaining Brookline Liquor Mart Independence, Missouri KXTR Plaza Savings M. Brown Company Royal Imports August A. Busch Co. of Boston Indianapolis, Indiana WFMS Sustaining Cafe Amalfi Iowa City, Iowa WSUI Educational-Sustaining Canada Dry Jonesboro, Arkansas KASU Educational Carlings Brewery Kalamazoo, Michigan WMUK Educational-Sustaining Cave Atlantique Knoxville, Tennessee WUOT Educational-Sustaining Cecilia Society Lawrence, Kansas KANU-FM Sustaining Century Park Realty Company Lima, Ohio WLSR Public Service Cervantes Los Angeles, Calif. KFAC Sustaining Charley's Eating & Drinking Saloon Louisville, Kentucky WHAS Sustaining Chesterwood Maryville, Missouri KXCV Educational Church Park Garage Memphis, Tennessee WMPS Sustaining Christmas Revels Milwaukee, Wisconsin WFMR Marine National Exchange Bank Clouds in Water, Inc. Zimdar Motors Coca-Cola Bottling Co. of Boston Minneapolis, Minn. KSJR KSJN Educational-Sustaining The Codman Company WLOL Sansui Colonial Hilton Monroe, Louisiana KMLB Ouachita National Bank The Colonnade Nashville, Tennessee WPLN Educational Columbia Records Newark, Ohio WNKO The Park National Bank Converse Rubber Company The Furniture House Creative Comfort New York City, N. Y. WQXR Sports Illustrated Magazine La Crepe Newport News, Virginia WGH-FM Riverside Funeral Homes Jack Daniels Distillery Poquoson Leasing Company Decor International Notre Dame, Indiana WSND Gilbert's Men's Clothing Deutsche Grammophon Electro-Voice Dubarry French Restaurant Omaha, Nebraska KIOS Sustaining Fabrications Pensacola, Florida WPCS Sustaining Fiduciary Trust Company Philadelphia, Pa. WFLN DeHaven & Townsend Brokers "57" Restaurant Crouter & Bodine Brokers

1 14: Pittsburgh, Pa. WLOA Second Federal Savings & Loan ADVERTISERS IN THE Portland, Oregon KBOO-FM Educational-Sustaining PROGRAM -continued Providence, R. I. WPJB-FM Blackstone Valley Electric Co. Provo, Utah KBYU Educational-Sustaining Filene's Richmond, Virginia WRFK Educational-Sustaining First National Bank of Boston Rochester, New York WBFB Sustaining First Realty of Boston St Louis, Missouri KFUO Sustaining Fishelson's Florist San Francisco, Calif. KKHI-AM-FM Sustaining Fit for Life Springfield, Missouri KTXR Bank of Springfield French Library Syracuse, New York WONO First Federal Savings & Loan Kate Friskin Tacoma, Washington KPLU Educational-Sustaining Garber Travel Tyler, Texas KNUE Rose Tree Antiques Claus Gelotte Rimmer Hardware Ruth Pollen Glass Peoples National Bank Halcyon Karl's Cameras Hancock Shaker Village Johnson's Jewelers Handel & Haydn Society Utica, New York WRUN Marine Midland Bank Central Harvard Coop Society Perry's Cleaners Harvard-Radcliffe Collegium Musicum Washington, D. C. Voice of America Harvard-Radcliffe Orchestra WETA Educational Harvard Student Agencies Catering WGMS Furs by Gartenhaus Service Wilkes Barre, Pa. WYZZ First National Bank of Eastern Pa. Harvard University Press Wisconsin Rapids, Wis. WWRW Sustaining Joseph D. Hayes Company Youngstown, Ohio WYSU-FM Educational Heublein, Inc. Holiday Inn, Lenox CANADA Homeowners Federal Savings & Loan Hooper Ames Edmonton, Alberta CKUA Alberta Government Telephone Industrial School for Crippled Children Toronto, Ontario Educational CJRT Jenifer House CKFM Jordan Wines Jordan Marsh Company Verdun, Quebec CKVL Sustaining Louis Joseph Auction Galleries, Inc. Edward Kakas & Sons TELEVISION BROADCASTS King's Chapel Kobrand, Inc. During the 1972 Pops season twelve concerts were recorded on videotape by Lark Luggage WGBH Channel 2 and subsequently telecast in color nationwide on the net- Leisure Lee work of the Public Broadcasting Service. William N. Cosel was producer, Syrl Lenox Art Center Silberman was associate producer; David Atwood and William N. Cosel were London Records directors of the programs. Longy School of Music During the 1972-1973 winter season four concerts were recorded on videotape Ludwig, Inc. by WGBH, and telecast in color on Channels 2 and 44. Jordan M. Whitelaw M & M Imports was producer; David Atwood and William N. Cosel were directors. Four addi- La Maisonette tional concerts from past seasons were rebroadcast. Maitre Jacques Maison Robert RECORDINGS Makanna, Inc. Malbens The following new recordings have been released since May 1972: Maiden Cooperative Bank BOSTON SYMPHONY ORCHESTRA Mamma Leone's Manhattan School of Music on DEUTSCHE GRAMMOPHON Manning Travel HINDEMITH Symphony 'Mathis der Maler' Marliave Restaurant, Inc. Concert music for strings and brass Mass. Music Education Association conducted by William Steinberg T. O. Metcalf Company Merchants Cooperative Bank STRAVINSKY Le sacre du printemps (Philips) Le roi des etoiles Midtown Inn conducted by Micbael Tilson Thomas Motor Miller Brewing Company on RCA Arthur Murray Dance Studios THE GREAT STRAVINSKY BALLETS Music Inn conducted by Seiji Ozawa National Shawmut Bank THE WORLD'S FAVORITE CONCERTOS volume 7 New England Merchants Bank conducted by Charles Munch New England Mutual Life Insurance Co. THE WORLD'S FAVORITE CONCERTOS volume 2 Newton-Wellesley Nursing Home conducted by Charles Munch Nielson Gallery THE WORLD'S FAVORITE CONCERTOS Edna Nitkin Nordblom Company conducted by Erich Leinsdorf North Shore Bavarian Motors THE WORLD'S FAVORITE SYMPHONIES Ogden Foods conducted by Arthur Fiedler Old Colony Trust The Old Corner House BOSTON POPS, Arthur Fiedler conductor The Old Print & Frame Shop on POLYDOR Opticus EVENING AT POPS Orpheus Ascending GOTTA TRAVEL ON Paine Furniture Company THE REEL THING

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Publick I louse THE WORLD'S FAVORITE BALLETS volume 2 Les Pyrenees

S. Garrelt Queen Gallery of Visual Arts THE STRAUSS FAMILY ALBUM Quechee Lakes Corp. THE GREAT GERSHWIN RCA Reo with Earl Wild Barney Rabin Red Lion Inn GREATEST HITS OF THE '70s ixitz-Carlton Hotel GREATEST HITS OF THE '60s Irma Rogcl HITS '50s Gallery GREATEST OF THE

iri in East Africa GREATEST HITS OF THE '40s E. R. Sage Company GREATEST HITS OF THE '30s Samia Imports Sea N'Surf GREATEST HITS OF THE '20s Sheraton-Boston Hotel Shipton Realty Company Shreve, Crump & Low Company Small Wonders Sona AT HALL South Boston Savings Bank YOUTH CONCERTS SYMPHONY South Shore Center for the Performing Harry Ellis Dickson and members of the Boston Symphony Orchestra recently Arts presented the final program in the 1972-1973 Youth Concert season, entitled South Shore Conservatory of Music 'Folk dances of many countries'. The Orchestra, in co-ordination with local jpaulding & Slye groups of folk dancers in native costumes, depicted the composers' use of Springs Motor Inn & Restaurant traditional ethnic tunes as the roots of symphonic compositions. The program te Street Bank & Trust Company was arranged by Conny and Marianne Taylor. R. H. Stearns Earlier in season Youth Concerts presented a performance of Prokofiev's Stitzel-Weller Distilling, Inc. the Suburban Homemaking & Maternity 'Peter and the wolf, narrated by Daniel Windham and illustrated with svn- Agency, Inc. chronized slides. The art work for the slides was produced by students of Sunshine Laundry elementary schools in Boston and a junior high school in Lexington. That concert Tamarack Gallery also included a work written especially for Youth Concerts, 'The earth's children' A. H. Tetreault, Inc. written by Phil Wilson of the . Instrumentation for The Toby Jug 'The earth's children' includes full symphony orchestra augmented by an eigh- Top of the Hub teen piece jazz band. The winter concert explored the theme 'Music for fun' Travel World, Inc. and featured the Boston premiere of Richard Hayman's 'Freddie the football', Treadway Williams Inn narrated by the former kicker of the New England Patriots, Gino Cappelletti. United Artists Record Div. WGBH Each of the three programs was presented five times to thousands of young people from more than 100 Massachusetts communities and other New England M. S. Walker Company states. There were free performances for public school children from the inner Walls &• Coverings Thereof cities of greater Boston, in addition to the Saturday and weekday subscription Walnut Hill School series. The free concerts were made possible through the generosity of the Margot Warner Frederick Kennedy Memorial Foundation, Inc., the Committee of the Perma- Warren Tavern J. nent Charity Fund, the Massachusetts Council on the Arts and Humanities, the Wasserman Development Corporation William Inglis Morse Trust, and the Mabel L. Riley Charitable Trust. Charles H. Watkins Company

^usan & Norman Weiss Antique The schedule for the 1973-1974 season is now available and information may Ceramics be obtained from Anita Kurland at Symphony Hall. Wellington jewels Westenhook Gallery Williamstown Theatre The Williamsville Inn W. W. Winship EXHIBITIONS Worcester County Music Association AT SYMPHONY HALL Gordon Yarlott The exhibitions shown in the new Cabot-Cahners Room throughout this season were loaned by the following artists and associations:

Museum of Fine Arts School (October 20- December 6) Institute of Contemporary Art Reeta Karmarkar (December 14 - January 17) Marjorie Furrer (January 18- February 21) Cambridge Art Association (February 22 - March 26) Art/Asia (March 26 - May 6)

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I lie concerts of the Boston Symphony Orchestra are heard regularly in many parts of the United States and Canada by delayed broadcast. In addition the Friday afternoon concerts in Symphony Hall are broadcast live by WGBH-FM (Boston, 89.7), WAMC-FM (Albany, 90.3), and WFCR-FM (Amherst, 88.5). The Saturday evening concerts in Symphony Hall are Here's your view from the riverside of 250 Beacon Street. also broadcast live by WGBH-FM, WCRB- (Boston, 102. 1330AM), AM-FM 5FM & And it is especially magnificent at night. This well-established WFCR-FM, WPJB-FM (Providence, 105.1) apartment building in prestige Back Bay location is being care- and WCRX-FM (Springfield, 102.1). fully converted into twenty-one spacious condominiums. Fine WGBH-FM and WCRB-FM co-operate in residential character in large rooms, modern conveniences four-channel transmission of the Saturday and almost total privacy. Each condominium has two large evening concerts, in association with bedrooms, both with a private, full bath. There is a full-size Acoustic Research Inc. of Cambridge. modem kitchen which connects to a breakfast or utility room. Adjacent is half-bath and a TV room or small study. Master The majority of the Tuesday evening cop- a bedroom, fireplace living room and formal dining room look certs are broadcast live by WGBH-FM, WAMC-FM and WFCR-FM. out over the Charles River to the north, or Beacon Street to the south. Many walk-in closets, extra storage space, large entrance Acoustic Research Speaker Systems are foyer. Service elevator and stairs in addition to passenger

used to monitor the radio broadcasts of elevator and main stairway. 2,075 sq. ft. of usable space, more the Boston Symphony Orchestra. than in an average suburban home. Prices range from fifty to seventy-five thousand dollars. Seen by appointment only. Call Reid Morrison at 482-7000.

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THE ADVERTISERS IN THE PROGRAM BOOK ACTIVELY SUPPORT THE BOSTON SYMPHONY BY MAKING THE CONTENTS OF THE BOOK POS- SIBLE. PLEASE GIVE THEM YOUR PATRONAGE, AND, IF THE OPPOR- TUNITY ARISES, MENTION THAT YOU SAW THEIR MESSAGE IN THE PROGRAM.

There's room at the top. THANKS TO THE GENEROSITY OF SUBSCRIBERS WHO ARE UNABLE TO Above the ten floors of are open Monday - Satur- spacious apartment dwell- day from 10 - 4:30, Sunday ATTEND THE CONCERTS OF THEIR ings we have created from 12 -4:30. Our tele- SERIES AND WHO RELEASE THEIR unusual work and recrea- phone number is 261-5060. SEATS, A LIMITED NUMBER OF TICK- tion areas for all our ten- All units are available ants will ETS IS USUALLY AVAILABLE FOR who enjoy a most on an open occupancy 360° EACH BOSTON SYMPHONY CON- spectacular panorama basis. Building is financed of Boston and her sub- by Massachusetts Housing CERT. PLEASE TELEPHONE 266-1492 urbs, while resting on the Finance Agency with AND ASK FOR RESERVATIONS. sundecks, working in the leasing and management glassed-in laundry facili- by Niles Company, Inc. ties or relaxing in the com- fortable leisure room. CHURCH Model apartments at 255 Massachusetts Avenue PARK 1148 I •-<,!: V

BEETHOVEN RECORDINGS BY THE BOSTON SYMPHONY ORCHESTRA &^ under the direction of ERICH LEINSDORF

LSC Symphony no. 1 [ 3098 Symphony no. 8 )

Symphony no. 2 3032 Music from 'The creatures of Prometheus •l

Symphony no. 3 'Eroica' 2644 YOUTH CONCERTS Leonore Overture no. 3 AT SYMPHONY HALL

Symphony no 4 3006 Leonore Overture no. 2 GOES TO POPS

Symphony no. 6 3074

Symphony no. 7 2969 THE BOSTON POPS ORCHESTRA conducted by Symphony no. 5 Symphony no. 9 (Marsh, Veasey, Domingo, ARTHUR FIEDLER

> records 7055 Milnes, Chorus Pro Musica, New England 2 and Conservatory Chorus) with SCHOENBERG's A survivor from Warsaw HARRY ELLIS DICKSON

Piano concerto no. 1 (Rubinstein) 3013

Piano concerto no. 3 (Rubinstein) 2947 you are most cordially invited

Piano concerto no. 4 (Rubinstein) 2848 to come along for a sparkling musical evening Piano concerto no. 5 'Emperor' (Rubinstein) 2733

The five piano concertos (Rubinstein) (4 records) vcs 6417

Wednesday May 9 1973 under the direction of CHARLES MUNCH 8.30 pm

Symphony Hall Symphony no. 3 'Eroica' vies 1626

Symphony no. 5 with SCHUBERT'S Symphony no. 8 'Unfinished' vies 1035 Ticket prices from $5-$12

Symphony no. 9 (Price, Forrester, Poleri, Tozzi, New England Conservatory Chorus) vies 1660

Piano concerto no. 1 (Richter) vies 1478 Proceeds from this Benefit Evening

will help defray expenses for Violin concerto (Heifetz) LSC 3317 presenting admission-free Youth Concerts for 7500 young people. many of these recordings are also available on 8-track cartridge and cassette tapes

THE BOSTON SYMPHONY ORCHESTRA For information please call Anita Kurland at Symphony Hall PLAYS BEETHOVEN ON 266-1492 LME/JD

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THE WORLD'S GREATEST MUSIC recorded by the BOSTON SYMPHONY ORCHESTRA geo h. ellis

BARTOK printing Concerto for orchestra (Leinsdorf) RCA/LSC 2643

BEETHOVEN for the The nine symphonies (Leinsdorf) RCA/VCS 6903 The five piano concertos (Rubinstein/Leinsdorf) RCA/VCS 6417 symphony Violin concerto (Heifetz/Munch) RCA/LSC 3317

BERLIOZ since 1883 Romeo et Juliette (Munch) RCA/VICS 6042 Symphonie fantastique (Munch) RCA/LSC 2608 Requiem (Grande messe des morts) (Munch) RCA/VICS 6043

BRAHMS A German requiem (Caballe, Milnes, NEC Chorus, Leinsdorf) RCA/LSC 7054

Piano concerto no. 1 (Rubinstein/Leinsdorf) RCA/LSC 2917 Piano concerto no. 1 (Cliburn/Leinsdorf) RCA/LSC 2724 270

DEBUSSY congress st. Nocturnes (Abbado) DG/2530 038 Images (Thomas) DG/2530 145 Prelude a I'apres-midi d'un faune boston DVORAK 542-7800 'New World' symphony (Fiedler) RCA/LSC 3315

HOLST The Planets (Steinberg) DG/2530 102

IVES Three places in New England (Thomas) DG/2530 048 RUGGLES Sun-treader

KODALY Hary Janos suite (Leinsdorf) RCA/LSC 2859 Peacock variations

MAHLER Symphony no. 1 (Leinsdorf) RCA/LSC 2642 Symphony no. 5 (Leinsdorf) RCA/LSC 7031 Symphony no. 6 (Leinsdorf) RCA/LSC 7044

MOZART Symphonies 36 and 39 (Leinsdorf) RCA/LSC 3097

'Jupiter' Symphony (Leinsdorf) ) RCA/LSC 2694

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