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J §^*#>' BOSTON SYMPHONY

FOUNDED IN 1881 BY /y HENRY LEE HIGGINSON VETERANS MEMORIAL

At ^^

EIGHTY-FOURTH SEASON 1964-1965 Erich Leinsdorf and the Boston Symphony:

' Mahler's Symphony No. 5 • Excerpts from "Wozzeck"

!tii W«iiiiiiiiiii*i

Erich Leinsdorf and the Boston Symphony interpret the complexi- ties of Mahler's score with a rare depth of understanding. In this impressive new Dynagroove album, the emotions, tensions and tonal spectrum of the work come through with brilliant clarity. Soprano Phyllis Curtin is featured as Marie in highlights from Berg's stark, tragic opera, "Wozzeck" Handsomely packaged 2-record set in- cluding text piece by Neville Cardus. "D (^ A Vl^tAf

$The most trusted name in sound E I G H T Y - F O U R T H SEASON, 1964-1965

CONCERT BULLETIN

OF THE Boston Symphony Orchestra

ERICH LEINSDORF, Music Director

Richard Burgin, Associate Conductor

with historical and descriptive notes by

John N. Burk

The TRUSTEES of the BOSTON SYMPHONY ORCHESTRA, Inc.

Henry B. Cabot President Talcott M. Banks Vice-President Richard C. Paine Treasurer Abram Berkowitz Henry A. Laughlin Theodore P. Ferris John T. Noonan Francis W. Hatch Mrs. James H. Perkins Harold D. Hodgkinson Sidney R. Rabb

E. Morton Jennings, Jr. John L. Thorndike Raymond S. Wilkins TRUSTEES EMERITUS Palfrey Perkins Lewis Perry Edward A. Taft Oliver WoLCOTr

Thomas D. Perry, Jr., Manager

S. Norman Shirk James J. Brosnahan Assistant Manager Business Administrator

Rosario Mazzeo Harry J. Kraut Orchestra Personnel Manager Assistant to the Manager SYMPHONY HALL BOSTON

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[4] EIGHTY-FOURTH SEASON * NINETEEN HUNDRED SIXTY-FOUR -SIXTY-FIVE

Three Hundred and Seventy-seventh Concert in Providence

Second Program

SUNDAY AFTERNOON, November 22, at 3:30 o'clock

Schumann Overture to Byron's Manfred, Op. 115

Kodaly Variations on a Hungarian Folk Song, "The Peacock" Introduction: Moderato IX. Piano

I. Con brio X. Molto vivo

II. Pianissimo XI. Andante espressivo III. Forte (appassionato) XII. Adagio IV. Poco calmato XIII. Tempo di marcia funebre V. Forte appassionato XIV. Andante — poco rubato VI. Calmato XV. Allegro giocoso VII. Vivo XVI. Maestoso VIII. Piu vivo Finale — Vivace INTERMISSION

Mendelssohn *Symphony No. 3, in A minor, "Scottish," Op. 56

I. Andante con moto; Allegro un poco agitato II. Vivace non troppo III. Adagio IV. Allegro vivacissimo; Allegro maestoso assai

By order of the Chief of the Providence Fire Department, smoking is allowed only in the ticket lobby and the lower lobby of the auditorium.

BALDWIN PIANO *RCA VICTOR RECORDS

[5] OVERTURE TO BYRON'S "MANFRED," Op. 115 By

Born in Zwickau, Saxony, June 8, 1810; died in Endenich, near Bonn, July 29, 1856

Schumann composed his music for Byron's "Manfred" in the latter part of 1848. The Overture, completed on November 4 at Dresden, had its first concert perform- ance at the Gewandhaus in Leipzig, March 14, 1852, as part of a "Schumann evening," when Robert conducted from the manuscript. The first performance of the complete music — a stage production — was given at Weimar under the direction of , June 13, 1852. The Overture calls for the following orchestra: 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 3 trumpets, 3 trombones, and strings.

t^voes anybody read Manfred or for that matter Childe Harold **-* today?" wrote Philip Hale as long ago as 1899 {Boston Journal,

April 9). "Is not the hero at rest and buried with the Giaour, Lara, Childe Harold, and the other scowling, mysterious, gloomy, melo- dramatic puppets contrived and dressed by the noble Lord, whose favorite tipple was gin and water?" We shall refrain from inquiring how many people read Manfred these many years later, or, doing so, respond to the dark despair of the Byronic figure as, oppressed by a past guilt, he stands upon the Jung- frau and rejects nature with its beauties as well as mankind with its frailties, commands all wisdom, Faust-wise, except the riddle which

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[6] even the supernatural spirits he summons cannot answer for him. That riddle is the riddle of Hamlet: Will death bring the release of oblivion? Byron, like Goethe, like Shakespeare, had a tremendous hold upon the imaginations of composers in the mid-century. Schumann's belief in

Manfred, as expressed in music, can still move us a hundred years later, even though the pulse of the poem itself may have weakened for some.

Yet there is cosmic expanse in Manfred, in the Alpine altitude, as when, standing "alone upon the cliffs," he sees an eagle passing: "Ay, Thou winged and cloud-cleaving minister, Whose happy flight is highest into heaven, Well may'st thou swoop so near me — I should be Thy prey, and gorge thine eaglets; thou art gone

Where the eye cannot follow thee; but thine « Yet pierces downward, onward, or above, With a pervading vision. — Beautiful! How beautiful is all this visible world! How glorious in its action and itself; But we, who name ourselves its sovereigns, we, Half dust, half deity, alike unfit To sink or soar, with our mix'd essence make A conflict of its elements, and breathe The breath of degradation and of pride, Contending with low wants and lofty will Till our mortality predominates, And all men are — what they name not to themselves And trust not to each other." r [copyrighted]

RHODE ISLAND PHILHARMONIC ORCHESTRA FRANCIS MADEIRA, Musical Director

SATURDAY EVENINGS VETERANS MEMORIAL AUDITORIUM, PROVIDENCE

February 6 POPS NIGHT — Erich Kunzel, Conductor

February 27 Soloists: Jacob Krachmalnick, Violin William Dinneen, Harpsichord

March 27 Puccini's "TOSCA" in Concert Form

April 24 The Triumphant Finale to the Twentieth Season Soloist: Jerome Lowenthal, Pianist

REMAINING TICKETS: $2 • $3 • $4

Available at Avery's, Axelrod's, Gregory's in Centredale, or Rhode Island Philharmonic Orchestra 49 Westminster Street, Providence • TEmple 1-3123

[7) VARIATIONS ON A HUNGARIAN FOLKSONG ("THE PEACOCK") By ZOLTAN KODALY

Born in Kecskemet, Hungary, December 16, 1882

These variations (Folszallott a Pava) were composed in 1938 and 1939 by commis- sion of the Concertgebouw for its fiftieth anniversary. It was first conducted by that Orchestra in Amsterdam by Mengelberg on November 23, 1939. The following orchestra is called for: 2 flutes and piccolo, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 3 trumpets, 3 trombones, timpani, triangle, cymbals, bells, harp and strings. Kodaly and Bartok were closely allied for years in the collection and setting forth in specific notation of the folksongs of their people. Bartok's investigations were wider than Kodaly's, which were mostly confined to Magyar folk music. There is the general difference in their own music that whereas Bartok used the folk idiom freely without literal use of folk themes, Kodaly made closer use of his find- ings, albeit treating them in his own way. The Hungarian folk idiom was little known and less regarded in the professional musical life of Budapest until these two brought it to light. Nor was western music known there until Kodaly went to Paris and became acquainted with the scores of Debussy. He brought them to the attention of Bartok who, like him, was intrigued to find that the music of the Hungarian peasantry had a similar pentatonic scale. Kodaly used this idiom, and turned away from chamber forms to write choral music, stage music and orchestral music national in subject and patriotic in appeal. Both spread their nationalism abroad by their music, but while Bartok left his country on the eve of the Second World War, irked by interference and curtailment, Kodaly has stayed there with another sort of courage to propagate his own music in his own way for his own people. He has been eventually fortunate, for under Soviet control his nationalist ways have not run counter to the doctrines of the Communist party. Jones Warehouses, Inc For over 71 years rendering an exceptionally fine service in Furniture Storage, and in Dependable World Wide Moving.

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[8] The subject of his Peacock Variations is in fact a popular song which, according to the biography of the composer by Laszlo Eosze "expresses all the bitterness of a down-trodden peasantry." The song was trans- formed by Endre Ady into a poem of militant insurrectionary implica- tions, and this text Kodaly used for a rousing choral piece entitled The Peacock. Its performance was on several occasions banned by the police as subversive. When in 1939 the same melody was developed by the composer into an elaborate set of variations these implications were not forgotten, and the orchestral work likewise was frowned upon. Mr. Eosze writes of the variations: "The theme is a parlando-rubato, pentatonic melody of a descending character with a structure built on interchanging fifths." The work was described by Bartok as "a classic example of incomparable musical concision, from which everything superfluous has been excluded." Eosze further writes: "The Peacock is both an expression of Kodaly's faith in the inexhaustible creative imagination of the common people and a proof of his own continually renewed melodic invention, a work in which almost complete identity between the art of the individual and of the community is achieved." Variations such as these permit the composer so to elaborate upon a basic melodic theme that the result becomes completely his own.

The theme is a folk tune first published by Kodaly in a Hungarian Folk Music Recording (No. 12) in Budapest, 1937, collected by Vilmos Seemayer in the County of Somogy in Southwest Hungary.

y. 120 & T^=^ P^ s m ± Le - sz&l - lott a pa - va Var - me - gye ha

ra-bok du-la"

The text of the song, translated in the score, is defiant:

Fly, Peacock fly The Peacock flew The Peacock flew Upon the Country House Upon the Country House Upon the Country House Poor prisoners But not prisoners Poor Prisoners To deliver To deliver To deliver John S. Weissmann writes of the Variations: "It belongs to the so-called old-style Magyar folksong and displays all the essential characteristics of its class, viz. a four-line isometric stanza of six syllables each, free rhythm requiring a rubato perform- PIANO TUNING HERBERT E. WOOD

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[9] ance, considerably ornamented melodic outline, unadulterated penta- tonic scale — disregarding, of course, its ornamental notes — lack of recognizably musical architecture — taking the principle of recapitu- lating the opening phrase or its variant to be the sign of conscious formal planning. Nevertheless the tune has a highly significant formal scheme which is characteristic of most of the genuinely Magyar melodies and also of the musical style of certain ethnically related Central Asian peoples."

• •

The English critic Colin Mason wrote in the Manchester Guardian Weekly on the occasion of the composer's eightieth birthday in 1962: "Kodaly was lucky to have had no nationalist predecessors in the nineteenth century to discover their native folk music; he could con- tribute something new to European music merely by the simplest

arrangements of it. This freshness also enabled him to treat his material in a conservative style without any hint of staleness, and, being a con- servative by nature, as he had already shown in his early chamber music, he took advantage of this to the full — which again contributed to the popularity of his work. "Although on close examination many details of his musical vocab- ulary are essentially post-Debussian, in spirit and idiom it is closer to that of the great nineteenth-century nationalists of half a century earlier in the neighbouring countries than to anything in twentieth- century music. . . . [copyrighted]

RHODE ISLAND CHAMBER MUSIC CONCERTS Sponsored by the Department of Music, 1964-1965 SEASON Tuesday, 20 October JUILLIARD QUARTET Tuesday, 24 November MARLBORO TRIO Tuesday, 9 February HARTT WOODWIND QUINTET Tuesday, 20 April NEW YORK STRING SEXTET

All concerts will be held at 8:30 p.m. in the Rhode Island School of Design Auditorium Season Tickets: $9.00, $7.50, $6.00 ($4.00 Students)

Single Admission: $2.50, $2.25, $1.75, $1.25

Apply BROWN UNIVERSITY, Box 1903 or AVERY PIANO CO.

[10] SYMPHONY NO. 3 IN A MINOR, "SCOTTISH," Op. 56 By -Bartholdy

Born in Berlin, February 3, 1809; died in Leipzig, November 4, 1847

This symphony was finished January 20, 1842, and first performed at the Gewand- haus concerts in Leipzig on March 3 following, the composer . The first performance in this country was by the Philharmonic Society in New York, George Loder conducting, November 22, 1845. The first performance in Boston was by the

Academy of Music at the Melodeon, November 14, 1846, G. J. Webb conducting. The instrumentation includes 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, timpani, and strings.

The score is inscribed as "composed for and dedicated to Her Majesty Queen Victoria of England." It was published in 1843.

IN the spring of 1829, Felix Mendelssohn, promising pianist and composer of twenty, visited England, played with the Philharmonic

Orchestra in London and conducted it, was entertained by delightful people, and enjoyed himself thoroughly. In July he undertook a tour of Scotland with his friend Carl Klingemann. The people and the landscape interested him. He wrote of the Highlanders with their "long, red beards, tartan plaids, bonnets and feathers, naked knees, and their bagpipes in their hands." The moorlands intrigued him too, and

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[»] when fogs and rains permitted, the insatiable tourist brought out his

sketchbook and put it to good use. He wrote home of the Hebrides and the Cave of Fingal — also of the Palace of Holyrood, then a picturesque ruin, in which Mary of Scotland had dwelt. "In the evening twilight we went today to the palace where

Queen Mary lived and loved; a little room is shown there with a wind- ing staircase leading up to the door; up this way they came and found

Rizzio in that little room, pulled him out, and three rooms off there is

a dark corner, where they murdered him. The chapel close to it is now roofless, grass and ivy grow there, and at that broken altar Mary was

crowned Queen of Scotland. Everything around is broken and mould-

ering, and the bright sky shines in. I believe I found today in that old chapel the beginning of my Scottish Symphony." There follow sixteen measures which were to open the introduction of the first movement. These measures have also been attributed to the incident that, returning to the inn at Edinburgh, Mendelssohn there listened to a plaintive Scotch air sung by the landlord's daughter. In this way Mendelssohn carried out of Scotland two scraps of melody that were to be put to good use — this one and the opening measures of the "FingaFs Cave" Overture. Smaller works for piano, and for voice, were also suggested by Scotland. [copyrighted]

Boston Symphony Orchestra

ERICH LEINSDORF, Music Director

Richard Burgin, Associate Conductor

The remaining Sunday afternoon concerts in Providence

will be as follows:

December 13 RICHARD BURGIN, Conductor

January 10 ERICH LEINSDORF, Conductor

March 21 ERICH LEINSDORF, Conductor

Tickets are on sale at the Avery Piano Company 256 Weybosset Street, Providence

BALDWIN PIANO RCA VICTOR RECORDS

[12] •M BOSTON SYMPHONY ORCHESTRA] Erich Leinsoorf Mu.^ic Director

"I AM PROUD TO BE LISTED ON THE ROLL OF THE FRIENDS OF THE BOSTON SYMPHONY ORCHESTRA"

So wrote an elderly lady from Huntsville, Alabama who has heard the Orchestra only rarely but remembers these occasions with joy. Her letter continued:

Enclosed is a small check for your Orchestra's fund. I have had much joy whenever I have had the privilege

of hearing it. Though I am old now and travel little,

I enjoy the Orchestra in retrospect . . . and I should like to be included in your annual appeal for funds to

offset the deficit.

The Friends of the Boston Symphony Orchestra trust that those who are privileged to hear the Orchestra frequently will be pleased and "proud to be listed on the roll of the Friends."

Contributions to the Friends are gratefully accepted at the Friends Office, Symphony Hall.

[13] PROVIDENCE MUSIC TEACHERS DIRECTORY

AVIS BLIVEN CHARBONNEL CONCERT PIANIST and TEACHER

123 BENEVOLENT STREET GA 1-5691

OTTO VAN KOPPENHAGEN, Prof. Em. INSTRUCTOR OF CELLO

Ensemble Music—Solfeggio—Eartraining—Elementary Harmony

Studio: 48 COLLEGE STREET • Phone: JA 1-5742

1 CONCERT PIANIST AND TEACHER State Accredited in Germany dMx^ Beginners to Artist Pupils Studios: 168 Lloyd Avenue Phone: DE 1-5667

ROSAMOND WADSWORTH, Soprano M. M. Eastman School of Music

National Association of Teachers of Singing

Tel. 246-0943

4 ELEANOR DRIVE • BARRINGTON, R. I.

Edna Bradley Wood PIANIST - TEACHER Beginners to Artist Pupils

Pupils prepared for Public Performances

434 BROOK ST., PROVIDENCE - GA 1-8781

[14] Boston Symphony Orchestra ERICH LEINSDORF, Music Director

RICHARD BURGIN, Associate Conductor First Violins Cellos Bassoons Joseph Silverstein Jules Eskin Sherman Walt Concertmaster Martin Hoherman Ernst Panenka Alfred Krips Mischa Nieland Matthew Ruggiero George Zazofsky Karl Zeise Rolland Tapley Richard Kapuscinski Contra Bassoon Roger Shermont Bernard Parronchi Richard Plaster Max Winder Robert Ripley Harry Dickson John Sant Ambrogio Horns Gottfried Wilfinger Peter Schenkman James Stagliano Einar Hansen Luis Leguia Charles Yancich Fredy Ostrovsky Jascha Silberstein Thomas Newell Leo Panasevich Harry Shapiro Herman Silberman Basses Paul Keaney Stanley Benson Georges Moleux Osbourne McConathy Sheldon Rotenberg Henry Freeman Noah Bielski Irving Frankel Trumpets Alfred Schneider Henry Portnoi Roger Voisin Julius Schulman Henri Girard Armando Ghitalla Gerald Gelbloom John Barwicki Andre Come Second Violins Leslie Martin Gerard Goguen Clarence Knudson Bela Wurtzler Pierre Mayer Joseph Hearne Trombones Manuel Zung William Gibson Samuel Diamond Flutes William Moyer William Marshall Doriot Anthony Dwyer Kauko Kahila Leonard Moss James Pappoutsakis Josef Orosz William Waterhouse Phillip Kaplan Michel Sasson Tuba Raymond Sird K. Vinal Smith Laszlo Nagy Piccolo George Madsen Ayrton Pinto i Timpani Victor Manusevitch Everett Firth Giora Bernstein Oboes Minot Beale Ralph Gomberg Michael Vitale Percussion Amnon Levy John Holmes Charles Smith Hugh Matheny Harold Thompson Violas Arthur Press, Ass't Timpanist Burton Fine English Horn Thomas Gauger Reuben Green Laurence Thorstenberg Eugen Lehner Harps Albert Bernard Bernard Zighera Clarinets George Humphrey Olivia Luetcke Jerome Lipson Gino Cioffi Robert Karol Manuel Valerio Librarians Jean Cauhape Pasquale Cardillo Victor Alpert E\) Clarinet Vincent Mauricci William Shisler Earl Hedberg Bernard Kadinoff Bass Clarinet Stage Manager Joseph Pietropaolo Rosario Mazzeo Alfred Robison

Rosario Mazzeo, Personnel Manager "The Baldwin is the ideal piano

BOSTON for solo and orchestral work and SYMPHONY particularly for chamber music. ORCHESTRA Its wide range of tonal color Erich Leinsdorf and its easy action Music Director fulfill all possible wishes."

— Erich Leinsdorf

You choose wisely when you choose

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