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Boston Symphony Orchestra Concert Programs, Season 93, 1973-1974

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Boston Symphony Orchestra Concert Programs, Season 93, 1973-1974 BOSTON SYMPHONY ORCHESTRA SEIJI OZAWA Music Director COLIN DAVIS & MICHAEL TILSON THOMAS Principal Guest Conductors NINETY-THIRD SEASON 1973-1974 FRIDAY-SATURDAY 7 TUESDAY A3 THE TRUSTEES OF THE BOSTON SYMPHONY ORCHESTRA INC. TALCOTT M. BANKS President PHILIP K. ALLEN ROBERT H. GARDINER JOHN L. THORNDIKE Vice-President Vice-President Treasurer VERNON R. ALDEN MRS HARRIS FAHNESTOCK MRS JAMES H. PERKINS ALLEN G. BARRY HAROLD D. HODGKINSON IRVING W. RABB MRS JOHN M. BRADLEY E. MORTON JENNINGS JR PAUL C. REARDON RICHARD P. CHAPMAN EDWARD M. KENNEDY MRS GEORGE LEE SARGENT ABRAM T. COLLIER EDWARD G. MURRAY SIDNEY STONEMAN ARCHIE C EPPS III JOHN T. NOONAN JOHN HOYT STOOKEY TRUSTEES EMERITUS HENRY B. CABOT HENRY A. LAUGHLIN PALFREY PERKINS FRANCIS W. HATCH EDWARD A. TAFT ADMINISTRATION OF THE BOSTON SYMPHONY ORCHESTRA THOMAS D. PERRY JR THOMAS W. MORRIS Executive Director Manager MARY H. SMITH JOHN H. CURTIS Concert Manager Public Relations Director FORRESTER C. SMITH DANIEL R. GUSTIN RICHARD C. WHITE Development Director Administrator of Assistant to Educational Affairs the Manager DONALD W. MACKENZIE JAMES F. KILEY Operations Manager, Operations Manager, Symphony Hall Tanglewood HARRY NEVILLE Program Editor copyright © 1973 by Boston Symphony Orchestra Inc. SYMPHONY HALL BOSTON MASSACHUSETTS Flawless mood-maker. Fits like it's made for you. Close 'n clingy with tapered sleeves, jewel neck. Soft "n slinky with lean sweep of body-hugging polyester knit. Done in dramatic print over black, sizes 10-16. $78 Misses Dresses BOSTON -CHESTNUT HILL • NORTHSHORE SHOPPING CENTER 'SOUTH SHORE PLAZA • BURLINGTON MALL' WELLESLEY CONTENTS Program for November 23, 24 and 27 1973 343 Future programs Friday-Saturday series 383 Tuesday A series 385 Program notes Beethoven - Symphony No. 5 in C Minor op. 67 by John N. Burk 345 Bartok- Concerto for Orchestra by James Lyons 349 A Bartok Tribute by Tibor Serly 355 The Music Director 367 The Conductor 375 341 We've rented this space to remind you of us. Old Colony Trust A DIVISION OF THE FIRST NATIONAL BANK OF BOSTON - BOSTON SYMPHONY ORCHESTRA SEIJI OZAWA Music Director COLIN DAVIS & MICHAEL TILSON THOMAS Principal Guest Conductors NINETY-THIRD SEASON Friday afternoon November 23 1973 at 2 o'clock Saturday evening November 24 1973 at 8.30 Tuesday evening November 27 1973 at 8.30 RAFAEL KUBELIK conductor *BEETHOVEN Symphony No. 5 in C minor op. 67 Allegro con brio Andante con moto Allegro Allegro intermission *BARTOK Concerto for Orchestra (1943) Andante non troppo - allegro vivace Giuoco delle coppie: allegro scherzando Elegy: andante non troppo Intermezzo interroto: allegretto Finale: presto The concert on Friday will end about 3.35, the concerts on Saturday and Tuesday about 10.05 THE BOSTON SYMPHONY ORCHESTRA RECORDS EXCLUSIVELY FOR DEUTSCHE GRAMMOPHON BALDWIN PIANO DEUTSCHE GRAMMOPHON & *RCA RECORDS 343 $2000 for braces but not one cent more for goodies. A 12-year-old's pocket money is not State Street Bank's normal concern. But she and her trust fund are. And we don't overlook the details. We have to be sure we give the right answers when requests for trust money are made. And we get requests for just about everything. From dentist bills to school bills. From new kitchens to new cars. Of 350 requests in a typical six months, we've had to say "no" to only nine. Because we don't give pat answers. In every case we respect not just the letter of the trust but its original intent. Which means putting ourselves in the shoes of the person who established it. And giving his beneficiaries the same answers he would have. If that means we have to disburse principal, we do it. Which may not fit your stereotype of a banker. Stern, conservative, remote. But neither would the trust officer we'd assign to your account. More than a trained professional, he or she is someone who becomes thoroughly involved with a family, and all its needs. And State Street Bank works in a one-to-one relationship, almost as a member of the family We do our homework. That's why our 12-year-old is dressed up for a "date." Braces Personal Trust Division 225 Franklin Street Boston, Mass. 02101 and all. Her trust officer is taking her to lunch. he's promised And Wholly-owned Subsidiary of State a hot dog with all the trimmings. Street Boston Financial Corporation . LUDWIG VAN BEETHOVEN Symphony No. 5 in C Minor op. 67 Waterville Valley Program note by John N. Burk New Hampshire Beethoven was born in Bonn in December 1770 (probably the 16th); he died in Vienna on March 26 1827. He completed the Fifth symphony near the end of 1807 and himself directed the first performance at the Theater-an-der-Wien on December 22 1808. The first performance by the Boston Symphony Orchestra was given on December 18 1881; Ceorg Henschel conducted. The most recent performances in these series were given on November 24 and 25 1967; Erich Leinsdorf conducted. The instrumentation: 2 flutes, piccolo, 2 oboes, 2 clarinets, 2 bassoons, contra bassoon, 2 horns, 2 trumpets, 3 trombones, timpani and strings (the piccolo, trombones and contra bassoon, here making their first appearance in a sym- phony of Beethoven, are used only in the Finale). Windsor Hill RESORT CONDOMINIUMS Studios, 1, 2, and 3 Bedrooms from under©$25,000 Jennings Peak Rd. Waterville Valley, N.H. (603) 236-8388 (Waterville Office) (617) 482-5080 (Boston Office) When . • A mother is unable to care for children • Serious illness disrupts family life • aging or ill person is Ludwig van Beethoven (ca. 1804) An convalescing Something in the direct impelling drive of the first movement of the •A person under psychiatric C minor symphony commanded general attention when it was new, treatment needs temporary care challenged the skeptical, and soon forced its acceptance. Goethe heard in the home it with grumbling disapproval, according to Mendelssohn, but was • Parents need a vacation astonished and impressed in spite of himself. Lesueur, hidebound pro- • fessor at the Conservatoire, was talked by Berlioz into breaking his vow Handicapped people need help never to listen to another note of Beethoven, and found his prejudices •Chronic illness strikes and resistance quite swept away. A less plausible tale reports Maria •A terminal patient needs Malibran as having been thrown into convulsions by this symphony. The homecare instances could be multiplied. There was no gainsaying that forthright, sweeping storminess. Call . Even if the opening movement could have been denied, the tender melodic sentiment of the Andante was more than enough to offset Suburban Homemaking conservative objections to 'waywardness' in the development, and the and Maternity Agency, Inc. lilting measures of the scherzo proper were more than enough to com- 232-7650 pensate the 'rough' and puzzling Trio. The joyous, marchlike theme of BROOKLINE FRAMINGHAM 879-1516 the finale carried the symphony on its crest to popular success, silencing at length the objections of those meticulous musicians who found that movement 'commonplace' and noisy. Certain of the purists, such as Louis Spohr, were outraged at hearing the disreputable tones of trom- bones and piccolo in a symphony. But Spohr could not resist Beethoven's uncanny touch in introducing a reminiscence of the scherzo before the 345 final coda. Even Berlioz, who was usually with Beethoven heart and soul, felt called upon to make a half-apology for the elementary finale theme. It seemed to him that the repetitiousness of the finale inevitably lessened the interest. After the magnificent first entrance of the theme, the major THE PLACE TO BUY tonality so miraculously prepared for in the long transitional passage, EVERYTHING all that could follow seemed to him lessened by comparison, and he from what's in style was forced to take refuge in the simile of a row of even columns, of which the nearest looms largest. to what's traditional It has required the weathering of time to show the Beethoven of the Fifth Symphony to be in no need of apologies, to be greater than his * * * best champions suspected. Some of its most enthusiastic conductors in the century past seem to have no more than dimly perceived its OPEN THURSDAY EVENINGS UNTIL 8:30 broader lines, misplaced its accents, under or over shot the mark when they attempted those passages which rely upon the understanding and dramatic response of the interpreter. Wagner castigated those who hurried over the impressive, held E flat in the second bar, who sus- tained it no longer than the 'usual duration of a forte bow stroke'. THE Many years later, Arthur Nikisch was taken to task for over-prolonging PREP SHOP> those particular holds. Felix Weingartner, in 1906, in his 'On the Performance of the Symphonies of Beethoven', felt obliged to warn conductors against what would now be considered unbelievable liber- ties, such as adding horns in the opening measures of the symphony. 1-HOUR FREE PARKING at the He also told them to take the opening eighth notes in tempo, and Church Street Garage (right next door) showed how the flowing contours of the movement must not be obscured by false accentuation. Those — and there is no end of them — who have attempted to describe * * * the first movement have looked upon the initial four-note figure with its segregating hold, and have assumed that Beethoven used this frag- ment, which is nothing more than a rhythm and an interval, in place 31 CHURCH ST. • CAMBRIDGE of a theme proper, relying upon the slender and little used 'second theme' for such matters as melodic continuity. Weingartner and others UNiversity 4-2300 after him have exposed this fallacy, and what might be called the enlightened interpretation of this movement probably began with the realization that Beethoven never devised a first movement more con- spicuous for graceful symmetry and even, melodic flow.
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