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EIGHTY-FIFTH SEASON 1965-1966 The Boston Symphony BEETHOVEN "EROICA SYMPHONY

BOSTON SYMPHONY ORCH. |! under Leinsdorf ERICH LEINSDORF

"There is a daring quality in Beethoven that should never be lost" says Leinsdorf with particular reference to the great Third Symphony

. . . the " Eroica". There is also a daring, prophetic quality in Mahler's First Symphony, though in a very different idiom. Leinsdorf and the Boston Symphony give each of these works performances characterized by profound understanding and sonic beauty. Hear them in Dynagroove sound on RCA Victor Red Seal albums.

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@The most trusted name in sound ! EIGHTY-FIFTH SEASON, 1965-1966 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 John L. Thorndike • Treasurer

Abram Berkowitz E. Morton Jennings, Jr. Theodore P. Ferris Henry A. Laughlin Robert H. Gardiner Edward G. Murray Francis W. Hatch John T. Noonan Andrew Heiskell Mrs. James H. Perkins Harold D. Hodgkinson Sidney R. Rabb

Raymond S. Wilkins TRUSTEES EMERITUS Palfrey Perkins Lewis Perry Edward A. Taft Oliver Wolcott

Thomas D. Perry, Jr., Manager

S. Shirk Norman James J. Brosnahan Assistant Manager Business Administrator Rosario Mazzeo Harry J. Kraut Orchestra Personnel Manager Assistant to the Manager Sanford R. Sistare Andrew Raeburn Press and Publicity Assistant to the Music Director SYMPHONY HALL BOSTON

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4j EIGHTY-FIFTH SEASON NINETEEN HUNDRED SIXTY-FIVE -SIXTY-SIX

First Program

TUESDAY EVENING, October 19, at 8:30 o'clock

Wagner "Siegfried Idyll"

INTERMISSION

Beethoven Symphony No. 9, in D minor, with final chorus on Schiller's Ode to Joy, Op. 125

I. Allegro ma non troppo, un poco maestoso

II. Molto vivace: Presto

III. Adagio molto e cantabile

IV. Presto: Allegro Allegro assai Presto Baritone Recitative Quartet and Chorus: Allegro assai Tenor Solo and Chorus: Allegro assai vivace, alia marcia Chorus: Andante maestoso Adagio ma non troppo, ma divoto Allegro energico, sempre ben marcato Quartet and Chorus: Allegro ma non tanto Chorus: Prestissimo

HARVARD GLEE CLUB and Elliot Forbes, Conductor NEW CONSERVATORY CHORUS Lorna Cooke deVaron, Conductor

Jane Marsh, Soprano Richard Cassilly, Tenor Eunice Alberts, Contralto Thomas Paul, Bass

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[5] SIEGFRIED IDYLL By Richard Wagner

Born in Leipzig, May 22, 1813; died in Venice, February 13, 1883

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"'Siegfried Idyll" was composed in November, 1870, and first performed at Trib- sclien on December 25 of that year.

It is scored for a small orchestra: flute, oboe, 2 clarinets, bassoon, trumpet, 2 horns and strings. npHE Siegfried Idyll, a birthday gift to Cosima from Wagner in the

-*• first year of their marriage, was performed as a surprise to her on Christmas day in the Wagners' villa on Lake Lucerne, at half-past seven in the morning. There were elaborate secret preparations — the copying of the parts, the engaging of musicians from Zurich, rehearsals in the foyer of the old theatre and at the Hotel du Lac in Lucerne. Christmas morning at Tribschen the musicians tuned in the kitchen, and assem- bled quietly on the stairs. There were fifteen players, Hans Richter taking both viola and trumpet, having practiced in seclusion upon the latter unaccustomed instrument. Wagner conducted from the top of the stairs what turned out to be, in the perhaps fatuous testimony of Richter, a "faultless" performance.

The Siegfried Idyll is far more than an occasional piece of music, a passing incident of Wagner's family life at Tribschen. It could well be

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[6] called the unflawed reflection of the first moment of deep serenity and felicity in the constantly unsettled life of the composer. The cradle folk-song, "Schlaf, mein Kind, schlaf ein," the only theme in the Idyll which does not also occur in the Third Act of Sieg- fried, of course implicates the namesake of the Norse hero, the son of Richard and Cosima. Their "Fidi," as they fondly called him, was eighteen months old when the Idyll was written. It was not less an expression of the peace of soul that Wagner had found at Tribschen, their idyllic promontory, as well protected as possible by the blue waters of Lake Lucerne from the pressing creditors, the prying visitors, che enemies at court and gossip mongers from which the pair had taken precipitate flight at Munich. Tribschen was a second "Asyl" a refuge at last, where Wagner could give himself to of scores with- out fear of sudden stress and disruption. A "Tribschener Idyll" was Wagner's first title for the work.

But in a deeper sense, Cosima is the true center of the Idyll. It was her love which brought his content, and the themes of the Idyll, deriv- ing from 'he love scene of Siegfried and Brunnhilde, had their inner source in the first union of Richard and Cosima.* When Wagner at Tribschen played her excerpts from the Third Act of Siegfried, which had just come into being, so writes du Moulin-Eckart, in his life of Cosima, "she felt as though she must faint for mingled pain and bliss. Then did she realize the object and duty of her life at Tribschen. But he rose and pointed to her portrait, saying that 'this was what he beheld as he had written it all; life still remained upon the heights.' . . . She

* Associating each of Wagner's heroines with one of the women who profoundly influenced his emotional development. Paul Bekker identities Cosima von Biilow with Brunnhilde — not the Valkyrie of the earlier drama, but the very different Brunnhilde whom Siegfried aroused to a great and human passion. "She was an experience Wagner had to live through before he could express in music the love-story of Brunnhilde and Siegfried, the awakening of Woman by Man."

[7] really felt that this third act of Siegfried was intimately bound up with her, and with her whole being; for the Master was now drawing upon the themes which had come into being during that period at Starnberg when she had come to him. At the time the two had intended them for quartets and trios, but now they found their true application, for they formed the setting of Briinnhilde's song: 'Ewig war ich, ewig bin ich.'

And in this is revealed a wondrous mystery of love and creation." This song found its way into the Siegfried Idyll as its principal theme.

Liszt, receiving the score from his son-in-law, aptly called it "that wondrous hymn in praise of domestic sentiment," and indeed, the Idyll was in spirit a true forerunner of the Symphonia Domestica. When, in 1878, Wagner felt that the time had come to release the score to the world in publication, Cosima was deeply distressed. "The Idyll is going off today," she wrote in her diary. "My secret treasure is becoming common property; may the joy it will give mankind be commensurate with the sacrifice that I am making." Indeed, the Idyll was never intended for public knowledge but for the intimacy of the family circle. Ernest Newman points out in an article in the London Sunday Times ' that Wagner allowed it to be published with great reluctance and "under financial duress." [copyrighted]

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[8] SYMPHONY NO. 9 IN D MINOR with Final Chorus on Schiller's "Ode to Joy," Op. 125 By

Born in Bonn, December i6(?), 1770; died in Vienna, March 26, 1827

Completed in 1824, Beethoven's Ninth Symphony was first performed at the Karnthnerthortheater in Vienna on May 7 of that year and repeated on May 23. The first performance in this country was given by the Society, May 20, 1846. The Germania Musical Society in Boston, assisted by a chorus from the Handel and Haydn Society, gave a performance here February 5, 1853. The Symphony was given annually by Georg Henschel to conclude each of the Boston Symphony Orchestra's first three seasons. The Symphony is scored for 2 flutes and piccolo, 2 oboes, 2 clarinets, 2 bassoons and contra-bassoon, 4 horns, 2 trumpets, 3 trombones, timpani, bass drum, triangle, cymbals and strings. The score is dedicated to Wilhelm III of Prussia.

Themes which are gradually unfolded from mysterious murmurings in the orchestra — no uncommon experience nowadays — all date back to the opening measures of the Ninth Symphony, where Beethoven conceived the idea of building a music of indeterminate open fifths on the dominant, accumulating a great crescendo of suspense until the theme 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 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. The development in this, the longest of Beethoven's first movements, progresses with unflagging power and majesty through many an episode, many a sudden illumi- nation 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 imagination of the tone magician who needed little more than the common chord upon which to erect his vast schemes. Tovey writes of this movement (in Essays of Musical Analysis) that it "dwarfs every other first movement, 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 TAKE NOTE

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[9] Nine Symphonies): "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 allegro that one thinks of when the Ninth Symphony is mentioned. In many respects it differs from other first move- ments of Beethoven; everything seems to combine to make it the greatest of them all."

II.

In this symphony alone among his nine, Beethoven put his scherzo second in ordei and before the slow movement. A scherzo it is in everything but name, with the usual repeats, trio, and da capo (with bridge passages added). There is the dancelike character of earlier scherzos, and an echo of rusticity in the trio, recalling the Sixth ana Seventh. Yet all is lifted to the prevailing mood of rarefied purity as this move- ment, luce 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 kettledrums, tuned in octaves) which keeps a constant course through the most astonishing variety in modulation, color, counterpoint. The movement begins as a five-voice fugue, recalling the fact that Beethoven firs' conceived the theme as the subject for a fugue — the earliest of his sketches which eventually found a way into the symphony. The trio continues the contrapunta interest by the combination of two themes. The famous passage for the oboe against wind chords reminded Berlioz of "the effect produced by the fresh morning air, and 1 the first rays of the rising sun in May."

III.

The slow movement is built upon two themes whose structural relation lies principally in contrast: the first, adagio in B-flat, 4-4 time, the second, andante moderato in D major, triple time. After the almost static adagio, the second theme attains flowing motion in its melody, which Beethoven has marked "espressivo."

This theme recurs in alternation with the other, but unlike the other is hardly 1 varied, except in the instrumentation. The adagio theme undergoes variations of! increasingly intricate melodic ornament like those by which Beethoven also lifted' his last sonatas and quartets to such indescribable beauty.

IV.

The finale opens with a frank discord, followed by a stormy and 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.

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[10 INTERNATIONAL CHORAL FESTIVAL

Boston • October 3-31

lebrating the 130th Anniversary of America's Oldest Active Chorus The Handel and Haydn Society of Boston

Sunday Evening, October 3rd Tuesday Evening, October 26th INTERNATIONAL UNIVERSITY CHORAL NIGHT HUDDERSFIELD CHORAL SOCIETY (Great Britain) Zo-sponsored with -Radcliffe Sir Malcolm Sargent conducting Choral Society and One of the world's most famous choruses makes its for Performing Arts.) American premiere with a performance of Handel's rigai da Universidade da Bahias (Brazil) " in Egypt," accompanied by the Handel and de Camara de Valparaiso (Chile) Haydn Symphony Orchestra. nsei Gakuin Glee Club (Japan) emic Chorus of the M.V. Lomonosov, Wednesday Evening, October 27th Moscow State University (U.S.S.R.) WESTMINSTER () )ian Universitario, Universidad Central (Venezuela) Jemic Chorus "Mirce Acev," Dr. George Lynn conducting University of Skopje (Yugoslavia) The well-known American chorus presents the H/ard Glee Club-Radcliffe Choral Society (United States) Mozart's "" and a program of shorter Sola Cantorum, Oxford University (Great Britain) works, with the Handel and Haydn Symphony Bht university choruses presenting choral music Orchestra. tfheir native lands.

Saturday Evening, October 9th Thursday Afternoon, October 28th CHILDREN'S CHOIR () CHORAL SEMINAR r ALEKiA Botka, Dr. Laszlo Csanyi conducting Open free of charge to the public. Featuring noted international authorities discussing various subjects ty-jive children' s voices, trained by the Koddly dealing with the composition hod, singing the music of the four seasons, by and performance of choral music. :tok, Koddly, Schumann, Weber, Lesur, Copland, tten, Szokolay and Nakada. Friday Evening, October 29th Sunday Afternoon, October 10th HUDDERSFIELD CHORAL SOCIETY (Great Britain) HRISTCHURCH HARMONIC SOCIETY (New Zealand) Sir Malcolm Sargent conducting Juan Matteucci conducting A second performance by the famous British w Zealand's most famous chorus makes its chorus, featuring Walton's "Belshazzar's Feast," erican premiere with a performance of the Elgar's "Music Makers" and Handel's "Zadok the •di "/i'<'(iuiem," accompanied by the Handel and Priest." Handel and Haydn Symphony Orchestra. ydn Symphony Orchestra.

Sunday Afternoon, October 24th Saturday Evening, October 30th TORONTO MENDELSSOHN CHOIR (Canada) DEL AND HAYDN SOCIETY OF BOSTON (United States) Dr. Edward F. Gilday conducting Elmer Iseler conducting host for the Festival, one hundred fifty voices This well-known Canadian chorus makes its first g, presents 's "The Passion Boston appearance by performing Stravinsky's ording to St. Luke," commissioned for the occa- "," Ridout's "The Dance," by the Society. Handel and Haydn Symphony Vaughan Williams' "Serenade to Music," Poulenc's hestra accompanies. "Gloria" and "Blanche comme la Neige" by Mac- Millan. Accompanied by the Handel and Haydn Monday Evening, October 25th Symphony Orchestra. HELSINKI UNIVERSITY CHORUS (Finland) Sunday Afternoon, October 31st Ernst Pohjola conducting BACH CHOIR OF BETHLEHEM (United States) nd's famous all-male university chorus per- ijma a varied program of choral music, including Dr. Ifor Jones conducting (\Ulaume de Machaut's "Messe Notre Dame," Jos* The host to the annual Bach Festival gives its first tin des Pres' "Psalm" and "Ave verum Corpus Boston performance in a concert featuring its Jwisti" Leevi Madetoja's "De Profundis" and trademark—the Bach "B Minor Mass." One hun- t\.er works by Sibelius, Mendelssohn, Brahms, and dred Vittoria. fifty voices accompanied by the Handel and Haydn Symphony Orchestra.

All afternoon performances begin at 3:00 o'clock; all evening concerts at 8:30 o'clock. All performances will be held in Symphony Hall with the exception of the October 9th concert, which will take place in Jordan Hall.

Tickets may be ordered from THE HANDEL AND HAYDN SOCIETY, P.O. Box 466, Boston 02117.

SYMPHONY HALL JORDAN HALL (October 9th only) Orchestra — $5, $4.50, $4, $3.50 Orchestra — $4, $3.50 First Balcony — $5, $4.50, $4, $3.50 Orchestra Circle — $3.50, $3 Second Balcony — $3.50, $3, $2, $1 .50 First Balcony — $3, $2, $1 .50 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 wood winds, 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. 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:

'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! Oh Joy, we hail Thee!

There immediately follow the first three verses of Schiller's Ode.t by the solo quartet and chorus:

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 Goddess, to thy shrine we come.

* The choral theme has come in for some slighting remarks, probably on account of its ABC 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 perfection. There are no lack of distinguished advocates for the theme. 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 emancipated this melody from all influences of fashion and variations of taste, and has raised it into a type of pure and lasting humanity." Tovey (to use a recent authority) says as much, in his way, in three words, calling it simply "a great theme." t The English translation here given has been made for the Boston Symphony Orchestra by Theodore Spencer, and is copyrighted. It may be noted here that of the eight verses of Schiller's poem, Beethoven chose the first three verses, at first without their four-line choruses, and then added three choruses in succes- sion, one of them, "Froh, wie seine Sonnen ftiegen," belonging to the fourth verse, which other- wise he did not use, obviously choosing these lines for their militant possibilities. Beethoven could scarcely have set more of the text; to set three stanzas required from him the longest symphonic movement which had ever been composed. Yet Grove thought that Beethoven 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 the more flagrant escapades" is this: "Dieses Glas dem guten Geist!" ("This glass to the good Spirit!"). MALBEN'S A gourmet's delight

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[12] NOT

X

Bernard Zighera, the Boston Symphony's Princi- pal Harp — who also ap- pears with the Orchestra as piano soloist — celebrates his 40th anniversary with the Boston Symphony in 1966. Born in Paris of a

Roumanian father and an Photograph by Arthur Griffin Austrian mother, he won highest honors in both harp and piano at the Conservatoire National de Musique de Paris and played in the Societe des Concerts du Conservatoire and the Paris Opera.

Since joining the Boston Symphony in 1926, he has appeared as both piano and harp soloist with the Orchestra and in concerts abroad. In 1936, he founded the Zighera Chamber Orchestra, with which for several seasons he presented a notable series of chamber concerts.

A member of the faculty of the New England Conservatory and the

Berkshire Music Center, he is also a member of the French Legion of Honor.

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[«S] Deine Zauber binden wteder, Thy sweet magic brings together Was die Mode streng getheilt; What stern Custom spreads afar; Alle Menschen werden Bruder, All mankind knows all men brothers Wo dein sanfter Fltigel weilt. Where thy happy wing-beat* 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, Mische seinen Jubel ein! Join us in our jubilee.

Ja — wer auch nw einc Seele Oh if there is any being Sein nennt auf dem Erdenrund! Who may call one heart his own Und wer's nie genonnt, der stehle Let him join us, or else, weeping, Weinend sich aus diesem Bund. Steal away to weep alone.

Freude trinken alle Wesen Nature's milk of joy all creatures An den Brilsten der Natur; Drink from that full breast of hers; Alle Guten, alle Bosen All things evil, all things lovely, Folgen ihrer Rosenspur. Rose-clad, are her followers. Kilsse gab sie uns und Reben, Kisses are her gift, and vine-leaves, Einen Freund, gepruft im Tod; Lasting friend on life's long road; Wollust ward dem Wurm gegeben, Joy the humblest worm is given, Und der Cherub steht vor Gott. Joy, the Seraph, dwells with God.

Boston Symphony Orchestra

ERICH LEINSDORF, Music Director

Tuesday Evenings at 8:30 ("CAMBRIDGE" SERIES)

The remaining concerts in this series will be as follows: NOVEMBER 2 ERICH LEINSDORF, Conductor JOSEPH SILVERSTEIN, Violin; BURTON FINE, Viola DECEMBER 14 ERICH LEINSDORF, Conductor CLAUDE FRANK, Piano JANUARY 4 ERICH LEINSDORF, Conductor

FEBRUARY 8 ERICH LEINSDORF, Conductor MALCOLM FRAGER, Piano MARCH 22 ERICH LEINSDORF, Conductor

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[15] The four line chorus (to the unused fourth verse) summons in Beethoven's imagination a marching host, and he gives it to proud and striding measures "alia marcia," adding piccolo, double-bassoon, triangle, cymbals, and bass drum to his orchestra (again for the first time in a symphony). This is the verse, given to the tenor solo and chorus:

Froh, wie seine Sonnen fliegen Glad as the suns that God sent flying Durch des Himmels prdcht'gen Plan, Down their paths of glorious space, Wandelt, Briider, eure Bahn, Brothers, now forget all sadness Freudig, wie ein Held zum Siegen. Joyful run your hero's race.

After the excitement of this variation, Beethoven allows himself to be alone with his instruments once more, and for the last time, in a double fugue. The chorus next sings (andante maestoso) the following short verse of far-flung import, calling upon three trombones to add to the impressiveness of the sonority:

Seid umschlungen, Millionen! O embrace now all you millions, Diesen Kuss der ganzen Welt! With one kiss for all the world. Bruder — uberm Sternenzelt Brothers, high beyond all stars Muss ein lieber Vater wohnen! Surely dwells a loving Father.

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

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

But the key verse of the movement is the first: "Freude, schoner Gotterfunken," and this, with its chorus: "Seid umschlungen, Millionen," is resumed by the quartet and chorus, and finally exalted to its sweeping climax in the coda, prestissimo. [copyrighted]

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THE SOLOISTS H appearing V JANE MARSH's appearances at these RICHARD CASSILLY is the first time with this Orchestra. concerts are her first with a leading sym- for Washington, D. C, he makes phony orchestra. She made her operatic A native of his home in Maryland. Shortly after debut last June at the Festival in Spole- graduating from the Peabody Institute to, where she sang Desdemona in Verdi's sang in Beethoven's Ninth Symphony Otello. She has also participated in a he Pittsburgh. His career has been concert of chamber music at the Library in largely in opera, in which, taking many of Congress. She is twenty-two at this, parts with the Opera, the beginning of her professional career, sung in various parts of this which this season includes further im- he has last season extending his en- portant engagements. Born in San Fran- country, gagements to Europe. cisco, she graduated from Oberlin Col- lege in 1963. THOMAS PAUL is remembered as the bass soloist with this Orchestra last EUNICE ALBERTS is remembered Seasons and in for her many notable performances with season in Haydn's The Pulcinella. is a gradu- this Orchestra. She has appeared in Stravinsky's He Beethoven's Ninth Symphony here dur- ate of the Juilliard School of Music and ing three previous seasons, and likewise has long been associated with the New in twice in that composer's Missa Solemnis. York City Opera. He has also sung Berkshire Festival performances.

HUNTINGTOH AVEMUE COWUDOU

[17] *Sd& 1*%^

The 85 th Anniversary Dinner and The Golden Trumpet Ball

held in this hall on September 24 was an enormous success

and produced approximately $150,000 for the Orchestra. We

owe a debt of gratitude to the ladies who worked so hard and

so successfully to create this splendid tribute.

The financial success of the occasion means a great deal in the

long-term financial health of our splendid Orchestra, particu-

larly since, to a very large extent, this money came from people

not heretofore contributors. It is our hope that these people

will now understand the great need of the Orchestra and that

they will, in the future, join the thousands of Friends on whose

continued support the Orchestra must rely.

The Friends still must be the indispensable and primary founda-

tion of this Orchestra. We are delighted that this support could

be supplemented so generously by the Gala, particularly when

it resulted in such a memorable and pleasant evening.

FOR THE TRUSTEES Henry B. Cabot, President

[18] 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 Robert Ripley Richard Plaster Max Winder John Sant Ambrogio Luis Leguia Harry Dickson Horns Gottfried Wilfinger Jascha Silberstein Stephen Geber James Stagliano Fredy Ostrovsky Charles Yancich Leo Panasevich Carol Procter Harry Shapiro Noah Bielski Thomas Newell Herman Silberman Basses Paul Keaney Stanley Benson Georges Moleux Osbourne McConathy Sheldon Rotenberg Henry Freeman Schneider Alfred Irving Frankel Trumpets Julius Schulman Henry Portnoi Armando Ghitalla Gerald Gelbloom Henri Girard Roger Voisin Raymond Sird John Barwicki Andre Come Second Violins Leslie Martin Gerard Goguen Bela Wurtzler Clarence Knudson Joseph Hearne William Marshall Trombones Michel Sasson William Gibson Samuel Diamond Flutes Leonard Moss William Moyer Doriot Anthony Dwyer William Waterhouse Kauko Kahila James Pappoutsakis Josef Orosz Giora Bernstein Phillip Kaplan Ayrton Pinto Tuba Amnon Levy Laszlo Nagy Piccolo K. Vinal Smith Michael Vitale Lois Schaefer Victor Manusevitch Timpani Everett Firth Minot Beale Oboes Ronald Knudsen Ralph Gomberg Max Hobart Percussion John Korman 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 Clarinets Zighera George Humphrey Olivia Luetcke Jerome Lipson Gino Cioffi Robert Karol Pasquale Cardillo Librarians Peter Jean Cauhape Hadcock 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 Baldwin: on stage with the Boston Symphony ...at home where ever fine music is loved.

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