BOSTON SYMPHONY a? 'i ORCHESTRA

FOUNDED IN 1881 BY HENRY LEE HIGGINSON

EIGHTY-SIXTH SEASON

1 966- 1 967 ; The Boston Symphony BOSTON SYMPHONY under Leinsdonf ERICH LBlNSWrn?

'The Boston Symphony never sounded finer' was one critic's reac- tion to their performance of Strauss' challenging Ein fieldenleben. Certainly, the orchestration of the semi-autobiographical masterpiece provides a superior showcase for the rich, brilliant sound that is characteristic of the Bostonians. Similarly, the complexities of the score give Leinsdorf ample opportunity to show his directorial bril- liance. Orchestra and conductor together yield a superbly realized whole which has been recordedin D ynagroove on RCA VictorRedSeal. rca Victor The most trusted n*me m sound > @ &^\ r EIGHTY-SIXTH SEASON, 1966-1967

CONCERT BULLETIN

OF THE

Boston Symphony Orchestra

ERICH LEINSDORF, Music Director

Charles Wilson, Assistant Conductor

The TRUSTEES of the BOSTON SYMPHONY ORCHESTRA, Inc.

Henry B. Cabot President Talcott M. Banks Vice-President John L. Thorndike Treasurer

Philip K. Allen E. Morton Jennings, Jr. Abram Berkowitz Henry A. La ugh l in Theodore P. Ferris Edward G. Murray Robert H. Gardiner John T. Noonan Francis W. Hatch Mrs. James H. Perkins

! Andrew Heiskell Sidney R. Rabb

Harold D. Hodgkinson Raymond S. Wilkins TRUSTEES EMERITUS

Palfrey Perkins Lewis Perry Edward A. Taft Oliver Wolcott

Thomas D. Perry, Jr., Manager

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

Sanford R. Sistare Harry J. Kraut Press and Publicity Assistant to the Manager Andrew Raeburn Assistant to the Music Director

S Y M PHONY HALL BOSTON

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Three Hundred and Eighty-ninth Concert in Providence !

Fourth Program

THURSDAY EVENING, February 16, at 8:30 o'clock

RICHARD BURGIN, Guest Conductor

Weber Overture to "Oberon"

Shostakovitch * Symphony No. 5, Op. 47

I. Moderato II. Allegretto III. Largo IV. Allegro non troppo INTERMISSION

Rachmaninoff Piano Concerto No. 2, in C minor, Op. 18

I. Moderato II. Adagio sostenuto III. Allegro scherzando

fii SOLOIST GINA BACHAUER Mme. Bachauer plays the Steinway Piano

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 RICHARD BURGIN

There may be those in Symphony Hall today who recall the Friday afternoon in early October, 1920, when a young man, Richard Burgin, first appeared as Concertmaster of this Orchestra. He was young in years but rich in experience — in his youth he had studied with Joseph Joachim and Leopold Auer, two of the most distinguished teachers of the day, and at the age of eleven had made his first concert appearance with the Warsaw Philharmonic Society. In 1912, Mr. Burgin was appointed Concertmaster of the Helsinki Orchestra, and this engagement was fol- lowed by an appointment in a similar capacity with the Oslo Symphony in 1916, where he stayed until he came to Boston at the invitation of Pierre Monteux, the Conductor at that time.

As Concertmaster of this Orchestra, Richard Burgin has made over eighty solo appearances in concertos ranging from Bach to Lopatnikov. His keen musical mind has spanned the repertoire from the classical concertos to those of Prokofiev and Hindemith. His performances of the Sibelius Concerto were particularly noteworthy because of his close association with the Finnish composer.

Mr. Burgin first conducted the Boston Symphony Orchestra in 1924, substituting for the indisposed Serge Koussevitzky, and from then on his appearances on the podium were frequent. He was appointed Assistant Conductor in 1935, and eight years later became Associate Conductor. Over the years he has conducted more than 320 Boston Symphony Orchestra concerts in the United States, Australia and Japan. These concerts have included many United States and world premieres. Among

the latter were the Symphony No. 1 by Easley Blackwood, and Attis by Robert Moevs. His early appreciation of Shostakovitch led him to be the first to perform the First and Fifth Symphonies by that composer at these concerts. He conducted the first Boston performance of the Symphonia Serena of Hindemith, a composer whom he has highly regarded.

At the end of last summer's Berkshire Festival, Mr. Burgin retired as Associate Conductor of the Boston Symphony Orchestra. He actively continues his career as Professor of Music at Florida State University at Tallahassee, where he teaches violin and is a member of the University's String Quartet-in-Residence, as is his wife, the violinist Ruth Posselt. He has conducted Beethoven's Ninth Symphony at the University, and has also been in charge of the annual Florida State University Conduct- ing Symposium since joining the faculty. Last summer he was active in the Daytona Beach Festival, during which he conducted the London Symphony Orchestra.

This Orchestra has been uncommonly fortunate to have as one of its central members a man of such musical gifts, intellectual force and complete dedication. The Trustees gratefully acknowledge their debt and offer their warm wishes to Mr. and Mrs. Burgin in their future careers.

[6] OVERTURE TO THE OPERA "OBERON" By Carl Maria von Weber

Born in Eutin, Oldenburg in Germany, November 18, 1786;

died in London, June 5, 1826

The Opera Oberon, or The Elf King's Oath, completed April 9, 1826, had its first production at Covent Garden, London, on April 12, the composer conducting. Weber composed it by order of Charles Kemble, Manager of the Covent Garden. The text, by James Robinson Planche, was an English translation of C. M. Wieland's Oberon. Planche was helped by the earlier translation of W. Sotheby. Oberon was first heard in Germany in Leipzig, December 23 of the same year. The first performance in America has been stated as given at the Park Theatre, New York, October 9, 1828. Philip Hale, remarking that Oberon has undergone many revisions on account of its bulk of spoken text, doubts whether this performance was "exactly as Weber wrote it" and names the "first veritable performance" as one given at the Academy of Music in New York by the Parepa-Rosa English opera company, March 29, 1870. The first performance in Boston was in Music Hall by this same company, May 23, 1870. The opera was revived at the Metropolitan Opera House in New York, December 28, 1918, when Artur Bodanzky conducted; Rosa Ponselle sang Rezia; Giovanni Marti- nelli, Sir Huon. The Overture is scored for 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, timpani, and strings. At the end of the manuscript score of the romantic opera Oberon, the composer wrote the customary words "Soli Deo Gloria!" Weber had good reasons to offer this exclamation of pious relief. The text of the opera had been hurried to him act by act for composition.

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[7] Its production at the Covent Garden on April 12 was but three days away. He had been compelled to work in great haste and likewise to learn English, for the libretto of James Robinson Planche was in that language.* The plot was as involved as most opera plots were apt to be at that time. He objected in a letter to the librettist, "The intermixing of so many principal actors who do not sing — the omission of the music in the most important moments — all these things deprive our Oberon of the title of an opera, and will make him [sic] unfit for all other &P theatres in Europe, which is a very bad thing for me, but — passons Wkl la-dessus." Weber was correct in his assumption. Oberon as a drama with inci- dental music was not suitable for the opera houses of the continent, and accordingly was to undergo revisions with the insertion of recita- tives and even numbers from his other operas. The plot was full of the extravagant conceits of magic and love under tribulation which were the fashion of the time. Oberon quarrels with Titania (hers was a silent part), swears that peace will not be made between them until a pair of mortal lovers prove faithful under the severest trials. The hero, Sir Huon, travels to the East under the supernatural guidance of Puck as Oberon's agent, abducts the Princess Rezia. Both are captured by pirates and condemned to death. But the intervention of the magic

horn of Oberon (it is also heard in the Overture) saves their lives. One

suspects that the popularity of Oberon in London (it ran through

thirty-one performances in its first season) had something to do with its resemblance to a pantomime even more than an opera. Mr. Planche"

* Weber, in "one hundred and fifty-three lessons," made himself sufficiently familiar with English for the purposes of composing Oberon. He could express himself in letters to Planche at length and clearly, if not accurately. When Planche sent him a French translation of the text, he answered: "I thank you obligingly for your goodness of having translated the verses in French ; but it was not so necessary, because I am, though yet a weak, however a diligent student of the English language."

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• Dec. 28 - Holiday Festival Concert

• Feb. 4 - Joseph Conte and Joseph Conte, Jr., Violinists

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TWENTY-SECOND SEASON 1966-1967

[9] confirms this impression when in his "Recollections and Reflections" he describes the unmusical nature of the London public: "A dramatic situation in music was 'caviar to the general' and inevitably received with cries of 'Cut it short!' from the gallery and obstinate coughing and other significant signs of impatience from the pit." On top of a series of tribulations Weber was a very sick man. His system was so wasted with tuberculosis that he fulfilled his many obli- gations only with great effort. He knew that a sentence of death hung over him, and he undertook the English opera for the gold it would bring to his wife and children. When his friend Gubitz, in Berlin, tried to dissuade him from undertaking the journey to London, he answered: "Whether I can or no, I must. Money must be made for my family — money, man. I am going to London to die there. Not a word! I know it as well as you." The completion of the last act of Oberon was indeed a race with death. As his son and biographer, Max Maria von Weber, wrote, "All the light and life and freshness and geni- ality of the work gushed forth from the brain of a weak, sick, bowed- down, irritated man, who was shattered by an incessant cough, who sat at his work table wrapped up in furs, with his swollen feet in wadded velvet boots, and yet shivered with cold in his heated room; as though the genius which created all had nothing in common with the poor suffering body." When he led performances for the fee they would bring, ladies, observing his condition, would shower him the next day with lozenges and jellies, but nothing was done really to spare him; over-adulation hastened the end. He died in London within two months of the first performance. [COPYRIGHTED]

RHODE ISLAND CHAMBER MUSIC CONCERTS 1966 • 1967 Tuesday, 25 October Guarneri String Quartet Wednesday, 30 November Boston Symphony Chamber Players Tuesday, 7 February Quartetto Italiano Thursday, 9 March Die Wiener Solisten Chamber Orchestra

All concerts will be held at 8:30 p.m. in the Rhode Island School of Design Auditorium. These concerts are sponsored by the Music Department in Brown University. Season Tickets: $15.00, $10.00, $8.00 ($5.00 Students) Single Admission: $2.75, $2.25 ($1.50 Students) Apply: BROWN UNIVERSITY, Box 1903 or AVERY PIANO CO.

Providence, R. I.

[10] SYMPHONY No. 5, Op. 47 By Dmitri Shostakovitch Born in St. Petersburg, September 25, 1906

Shostakovitch composed his Fifth Symphony for performance in celebration of the twentieth anniversary in 1937 of the Republic of Soviet Russia. The first of a series of performances was given at Leningrad, November 21 of that year. The first per- formance at Moscow was on the 20th of January following. The Symphony had its first American hearing at a broadcast concert of the National Broadcasting Company, in New York, April 9, 1938, Artur Rodzinski conducting. The Symphony was per- formed by the Boston Symphony Orchestra, January 20, 1939, Richard Burgin con- ducting, and later for the most part under the direction of Serge Koussevitzky: October 18, 1940, January 3, 1941, December 26, 1941, April 30, 1943, November 12, 1943, March 5, 1948; November 24, 1944 (Leonard Bernstein conducting); October 24-25, 1952, December 28-29, 1956, October 27-28, 1961 (Richard Burgin conduct- ing); and March 12-13, 1965 (Leopold Stokowski conducting). The Symphony is scored lor 2 Mutes and piccolo, 2 oboes, clarinets in A, B-flat, and E-flat, 2 bassoons and contra- bassoon, 4 horns, 3 trumpets, 3 trombones and tuba, timpani, bass drum, cymbals, triangle, military drum, tam-tam, xylophone, bells, celesta, piano, harp and strings.

The Fifth Symphony is conceived, developed and scored for the most part with great simplicity. The themes are usually melodic and long-breathed in character. The manipulation of voices is plastic, but never elaborate. The composer tends to present his material in the pure medium of the string choirs, notably in the opening and slow movements, where wind color and sonority are gradually built up. The first movement and the last gain also in intensity as they unfold by a gradual increase of tempo throughout, effected by continual metronomic indications. The first movement opens with an intervallic theme, stated anti- phonally between the low and high strings. From it there grows a theme (violins) in extensive, songful periods. The development is in the nature of melodic cumulative growth. The first theme returns in horns and trumpets, and subsides to the gentle voice of the violins, over a characteristic triple rhythmic figure. As the tempo quickens, the rhythms tighten and become more propulsive, while the melody, sounding from the brass choir, becomes exultant in animation. The recapitulation suddenly restores the initial slow tempo as the first theme is repeated by the orchestra in unison, largamente. The fortis- simo strings and deep brass give way to a gentler reminiscent mood, as the wood-wind voices, here first fully exploited, bring the movement to a close. Jones Warehouses, Inc. For over 76 years rendering an exceptionally fine service in Furniture Storage, and in Dependable World Wide Moving.

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"3 The second movement is in the historical scherzo form with clear traces in the course of the music of the traditional repeats, trio section and da capo. The themes are in the triple time of the Austrian hand- ler, from which, in the past, scherzos have sprung. The slow movement, like the first, is one of gradual melodic growth, from string beginnings. The theme, too, is reminiscent of the first theme in the opening move- ment. The individual voices of the wood wind enter, and the tension increases as the strings give a tremolo accompaniment, and sing once more, muted and in the high register. The movement attains, at its climax, an impressive sonority without the use of a single brass instrument. The finale, in rondo form, devolves upon a straightforward and buoyant march-like rhythm and a theme unmistakably Russian in suggestion. There is a slow section in which the characteristic triple rhythm of the first movement reappears. The first theme of that move- ment is treated by the violin solo with fresh melodic development. There is a constant increase in tempo as the conclusion is approached.

• •

Shostakovitch has given forth a statement about his intentions on composing the Fifth Symphony: "The theme of my symphony is the making of a man. I saw man with all his experiences in the centre of the composition, which is lyrical in form from beginning to end. The finale is the optimistic solution of the tragically tense moments of the first movement." Dmitri Rabinovich in his valuable book on Shostakovitch* believes that the "invisible hero" of the Fifth Symphony depicts a "young Rus- sian intellectual" of the early Revolution period who seeks the "new social system" of his land as "the way out of his spiritual isolation." Mr. Rabinovich, in the course of a florid description of the score, points out an allusion in the return during the finale of the second part of the main theme from the first movement. It is "played softly on the cellos and double-basses accompanied by the same short, contemplative phrase, repeated sixteen times, at first by the violins and then by a flute. This very same phrase is repeated eight times in the piano accom- paniment to the last lines of Shostakovich's romance Rebirth (to Pushkin's lyric, op. 46, 1936), the words of which are: And the waverings pass away From my tormented soul As a new and brighter day Brings visions of pure gold.

This romance was written by Shostakovitch literally on the eve of his work on the Fifth Symphony. The dramatic significance of this coincidence is not open to doubt even if the repeated use of the phrase from the romance in the symphony was only dictated by subconscious memorv." [copyrighted]

1 Dmitri Shostakovich (Lawrence and Wishart, London, 1959).

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[12] CONCERTO No. 2, IN C MINOR FOR PIANOFORTE WITH ORCHESTRA, Op, 18 By Sergei Vassilievitch Rachmaninoff

Born in Onega in the government of Novgorod, April 1, 18/73; died in Beverly Hills, California, March 28, 1943

Composed in the year 1900, Rachmaninoff's Second Concerto for Pianoforte was first performed by the Philharmonic Society of Moscow on October 27, 1901, the composer as soloist. (There had been a performance of the last two movements at a benefit concert December 2, 1900.) It was published in the same year. The orchestral portion of the Concerto is scored for 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 3 trombones and bass tuba, timpani, bass drum, cymbals, and strings. This Concerto gained for the composer, in 1904, the Glinka prize of five hundred roubles, founded by the publisher Belaiev. It was his Second Concerto which contributed more than any other piece to the early popularity of Rachmaninoff. The curious circum- stances under which he wrote it have been disclosed in his memoirs.* For two years Rachmaninoff suffered from a "mental depression," con- nected with certain contretemps in his career as composer and conduc- tor in Moscow. His friends, alarmed at his state of apathy, tried various means of rousing him. A visit to Tolstoy at Yasnaya Polyana was inef- fective, but treatment under Dr. Nicolai Dahl, a radical in his profes- sion, and a pioneer in the field of auto-suggestion, had very decided results. "My relations had told Dr. Dahl," wrote Mr. Rachmaninoff, "that he must at all costs cure me of my apathetic condition and achieve such results that I would again begin to compose. Dahl had asked what manner of composition they desired and had received the answer, 'A Concerto for pianoforte,' for this I had promised to the people in London and had given it up in despair. Consequently I heard the same hypnotic formula repeated day after day while I lay half asleep in an armchair in Dahl's study. 'You will begin to write your Concerto. . . .

You will work with great facility. . . . The Concerto will be of an

.' excellent quality. . . It was always the same, without interruption. Although it may sound incredible, this cure really helped me. Already at the beginning of the summer I began again to compose. The mate-

* "Rachmaninoff's Recollections," told to Oskar von Riesemann. PROVIDENCE MUSIC TEACHERS* DIRECTORY

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[13] rial grew in bulk, and new musical ideas began to stir within me — far more than I needed for my Concerto. By the autumn I had finished two movements of the Concerto — the Andante and the Finale — and a sketch for a Suite for two pianofortes whose Opus number 17 is explained by the fact that I finished the Concerto later by adding the first movement. The two movements of the Concerto (Op. 18) I played during the same autumn at a charity concert directed by Siloti. The two movements of my Concerto had a gratifying success. This buoyed up my self-confidence so much that I began to compose again with great keenness. By the spring I had already finished the first movement of the Concerto and the Suite for two pianofortes. "I felt that Dr. Dahl's treatment had strengthened my nervous system to a miraculous degree. Out of gratitude I dedicated my second Con- certo to him. As the piece had had a great success in Moscow, everyone began to wonder what possible connection it could have with Dr. Dahl. The truth, however, was known only to Dahl, the Satins,* and myself." Rachmaninoff's latest biographer, Victor Seroff, tells us that the second theme of the last movement was actually composed by Rach- maninoff's friend, Nikita Morozov. "Sergei heard this melody which Morozov composed and remarked: 'Oh, that is a melody I should have composed.' Morozov, who worshiped his friend, said calmly: 'Well, " why don't you take it?' [copyrighted]

* The Satins were the friends with whom he stayed at that time. He was married to Natalie Satin, April 29, 1902.

THE SOLOIST GINA BACHAUER, who is making later under Pierre Monteux. At the be- her first appearances with the Boston ginning of the Second World War, Mme Symphony Orchestra at these concerts, Bachauer was stranded in Cairo. She was born in Athens and gave her first remained in the Middle East for nearly recital there at the age of eight. She six years, during which time she played began serious study at the University some six hundred concerts for Allied of Athens, where she also studied law troops and hospitals in the area. At the for two years. Following this period, end of the War she began her career she went to Paris to study with Alfred again in London. European successes Cortot, and graduated from the Paris were followed by a New York debut in Conservatory with high honors. She Town Hall in 1950. Since this time made her debut in Athens under Dimitri Mme Bachauer has been regarded as Mitropoulos, and her Paris debut a year one of the foremost pianists in the world.

Boston Symphony Orchestra ERICH LEINSDORF, Music Director Charles Wilson, Assistant Conductor

The remaining Thursday evening concert in Providence will be as follows: March 16 ERICH LEINSDORF, Conductor EVELYN CROCHET, Piano

Tickets are on sale at the Avery Piano Company 256 Weybosset Street, Providence BALDWIN PIANO RCA VICTOR RECORDS

[H] Boston Symphony Orchestra ERICH LEINSDORF, Music Director CHARLES WILSON, Assistant 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 Robert Ripley Contra Bassoon Shermont Soichi Katsuta* Roger Richard Plaster Max Winder John Sant Ambrogio Harry Dickson Luis Leguia Horns Gottfried Wilfinger Stephen Geber Fredy Ostrovsky Carol Procter James Stagliano Charles Yancich Leo Panasevich Richard Sher Noah Bielski Harry Shapiro Herman Silberman Thomas Newell Basses Paul Keaney Stanley Benson Henry Freeman Ralph Pottle Sheldon Rotenberg Henry Portnoi Alfred Schneider Irving Frankel Trumpets Julius Schulman John Barwicki Gerald Gelbloom Armando Ghitalla Leslie Martin Roger Voisin Raymond Sird Bela Wurtzler Andre Come Hearne Second Violins Joseph Gerard Goguen Clarence Knudson William Rhein William Marshall John Salkowski Trombones Michel Sasson William Gibson Samuel Diamond Flutes Josef Orosz Leonard Moss Doriot Anthony Dwyer William Waterhouse Kauko Kahila James Pappoutsakis Giora Bernstein Phillip Kaplan Ayrton Pinto Tuba Amnon Levy Chester Schmitz Laszlo Nagy Piccolo Michael Vitale Lois Schaefer Timpani Victor Manusevitch Everett Firth Minot Beale Oboes Ronald Knudsen Ralph Gomberg Percussion Max Hobart Charles Smith Korman John Holmes John Hugh Matheny Harold Thompson Arthur Press, Ass't Timpanist Violas Thomas Gauger Burton Fine English Horn Reuben Green Laurence Thorstenberg Harps Eugen Lehner Zighera Albert Bernard Bernard Clarinets Olivia Luetcke George Humphrey Gino Cioffi Jerome Lipson Pasquale Cardillo Librarians Jean Cauhape Konosuke Ono* Peter Hadcock Victor Alpert E\) Clarinet William Shisler Vincent Mauricci Earl Hedberg Stage Manager Bernard Kadinoff Bass Clarinet Joseph Pietropaolo Felix Viscuglia Alfred Robison

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