S E V E N T Y - N I N T H SEASON, 1959-196 o

Boston Symphony Orchestra

CHARLES MUNCH, Music Director

Richard Burgin, Associate Conductor

CONCERT BULLETIN

with historical and descriptive notes by John N. Burk

Copyright, 1960, by Boston Symphony Orchestra, Inc.

The TRUSTEES of the BOSTON SYMPHONY ORCHESTRA, Inc.

Henry B. Cabot President

Jacob J. Kaplan Vice-President Richard C. Paine Treasurer Talcott M. Banks Henry A. Laughlin Theodore P. Ferris John T. Noonan Francis W. Hatch Palfrey Perkins Harold D. Hodgkinson Charles H. Stockton C. D. Jackson Raymond S. Wilkins E. Morton Jennings, Jr. Oliver Wolcott TRUSTEES EMERITUS Philip R. Allen M. A. DeWolfe Howe N. Penrose Hallowell Lewis Perry Edward A. Taft

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[1474] CONTENTS Program 1479 uhurrVJy- BROS. Notes

Mai tinon (Prelude and Toccata) 1481

Blackwood (Symphony No. 1) . 1486

Entr'acte

The Decline of Program Music (/. N. B.) 1498 Notes

Brahms (Symphony No. 2) 1506

Symphoniana

EXHIBITIONS

The exhibitions shown in the Gallery through the past season were loaned by the following artists and associations:

North Shore Arts Association (Octo- ber 2-17).

DeCordova and Dana Museum of Lin- coln, Mass. (October 30-November 14). take Boston Society of Water Color long Painters (November 27-December spring 12), at Subscribers' Exhibition (December starting with 21-January 2). this new long- Exhibition of Photographs by Nicholas jacketed suit . . . Dean, John Brook, Paul Caponigro perfect exponent and Fred Stone (January 8-16). of spring's new Exhibition of Ceramics, Colored Prints and Scale Models (January breezy feeling

29-February 13). . . . the great

Contemporary Portraits, Vose Gal- sleeve, stand- lery (February 25-March 19). offish collar, and Tyringham Gallery (April 1-19). tailored chic • • which distinguish LIST OF ARTICLES H.B.'s latest PAGE collection. Three Great Musicians. 3 New Members 4 +wen+y new bbur North Shore Arts Association 7 (List) 67

[>475j PAGE Jorge Bolet 68 Joseph Silverstein 131 The Autumn Tour 132 3b*3ro«sseau3touse of33oslom Youth Concerts 132 Visiting Orchestras 132 Thomas Schippers 195 The Vienna Philharmonic 196 A Portrait of Henschel 196 Isaac Stern 259 Russian Visitors 259 Manon Gropius 260 The Guests of This Week 323 Samuel Mayes 324 New York Recital by Mrs. Dwyer 324 Eugene Ormandy 387 Strasbourg and Boston 451 Boston Society of Water Color Painters (List) 452 Ania Dorfmann 515 New Music Made Known 515

Richard Burgin . . . 579 A Tour of the Orient 580 Youth Concerts 580 Aaron Copland to Tour with this Orchestra 643

Subscribers' Exhibition (List) . . . 643 William Steinberg 707 Ruggiero Ricci 836 A Comparison 836 Transatlantic Broadcast 836 In the Gallery 899 Gregor Piatigorsky 900 "Attis" 930 Mahler's Second Symphony 963 An Anniversary (Richard Burgin) 1027 Portrait Exhibition (List) 1091

Margrit Weber . . 1092 Anniversaries 1092 Gary Graffman 1155

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[H78] SEVENTY-NINTH SEASON • NINETEEN HUNDRED FIFTY-NINE-SIXTY

Twenty-fourth Program

FRIDAY AFTERNOON, April 22, at 2:15 o'clock

SATURDAY EVENING, April 23, at 8:30 o'clock

Martinon Prelude and Toccata (First performance)

Blackwood *Symphony No. 1

I. Andante maestoso; Non troppo allegro, ma con spirito

II. Andante comodo

III. Scherzo: Allegretto grotesco — Molto rigoroso il tempo IV. Andante sostenuto

INTERMISSION

Brahms *Symphony No. 2, in D major, Op. 73

I. Allegro non troppo II. Adagio non troppo III. Allegretto grazioso, quasi andantino IV. Allegro con spirito

These concerts will end about 3:55 o'clock on Friday Afternoon; 10:10 o'clock on Saturday Evening.

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[1480] PRELUDE AND TOCCATA, Op. 50 By Jean Martinon

Born in Lyons, France, January 10, 1910

Sketched in 1959 and orchestrated in the present year, this work is dedicated "a Charles Munch, mon ami et mon maitre."

The following orchestra is required: 2 flutes and piccolo, 2 oboes and English horn, 2 clarinets and bass clarinet, 2 bassoons and contra-bassoon, 4 horns, 3 trumpets, 3 trombones and tuba, timpani, piano, triangle, cymbals and suspended cymbal, snare drum, bass drum, gong, rattle.

The Prelude, maestoso, in full orchestral scoring, sets forth thematic material for the main part of the work, the Toccata, which follows without break (allegro maestoso). The prelude, in 4/4, reaches /// and subsides to introduce the Toccata which begins pp in a triple beat with the fragment of a theme which is to figure importantly throughout.

The treatment is wholly orchestral with no conspicuous solo parts — even the piano is integral to the general texture.

When Jean Martinon conducted this Orchestra as guest on March

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[l 4 8l] 29~3°> 2 957> ne introduced his Hymne a la vie, Op. 37, which then had its first performance in this country. (The program also included Handel's Concerto Grosso for Strings, Op. 6, No. 11, Schumann's First Symphony and Stravinsky's Ballet Suite, "L'Oiseau de feu.")

Jean Martinon studied at the Conservatory in Lyons and later in the Conservatory of Paris. The violin was the instrument of his choice but composition his principal pursuit, Albert Roussel his principal "maitre." He has devoted himself to conducting in recent years, notably to the Concerts Lamoureux in Paris, where he has conducted other orchestras. He has traveled widely as guest conductor in Europe — England, Italy, Germany, Spain, Holland, Poland. His travels have extended as far as Japan, Australia and the Americas. Before the war, Martinon composed a Symphoniette (1935) and a Symphony in C major (1934-36). In the first years of the war he was a prisoner in Germany and in the Stalag composed a Chant des captijs, a choral work with narrator, based on Psalms 136 and 137 of the Vul- gate. This was awarded in 1946 the Grand Prix de Composition de la Ville de Paris. Also in the time of his captivity he wrote Absolve

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1v>«vjvJJLvJ. Probably the happy result of one of those grandiose expansions of single in- struments into large "families", the piccolo is a miniature flute. The name itself means "small", and the arrangement of keys is very similar to that of an ordinary flute. But the piccolo is an octave higher than a flute in C and reaches almost to the upper limit of recognizable pitch, though the highest notes (4th oc- tave above middle C) are too piercing to be often used. While the piccolo first became popular in the military

bands of the late 18th century, it was quickly accepted in the symphony. Gluck and Beethoven used its hard, bright tone to accentuate "storm" music; Wagner and a great many modern composers have also put its birdlike brilliance to good use.

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[ H83 ] Domine for men's chorus and orchestra (1940), and in a lighter vein, Musique d'exil, an experiment in jazz rhythms. He wrote Hymne a la vie after his liberation, which took place in 1942. After the war he composed a Concerto lyrique for string quartet and orchestra, an "Irish" Symphony, and a Concerto giocoso for violin and orchestra. A String Quartet took the Bela Bart6k Prize in 1948. His first venture in the field of opera is Hecube to a libretto of Serge Moreau based on Euripides, which has been recently staged in Strasbourg.

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[1484] Picture windows on BOS

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[H85] SYMPHONY NO. 1 By Easley Blackwood

Born in Indianapolis, Indiana, April 21, 1933

Mr. Blackwood completed his Symphony in December 1955 in Paris. It is scored for 4 flutes and 2 piccolos, 3 oboes and English horn, 3 clarinets, E-flat and bass clarinet, 3 bassoons and contra-bassoon, 6 horns, 4 trumpets, 3 trombones and tuba, timpani (including small timpanum in B-flat), percussion (cymbals, paired and sus- pended, antique cymbals, bass drum, triangle, snare drum, gong, celesta) and strings. The Symphony had its first performance at the concerts of the Boston Symphony Orchestra, April 18, 1958, when Richard Burgin conducted, and was repeated November 7-8, 1958, when Charles Munch conducted. This Symphony has been recorded through the American International Music Fund Project. Easley Blackwood studied piano at an early age, reaching the point of playing as soloist with the orchestra of his native city when he was fourteen. In the summer of the following year he attended the Berkshire Music Center at Tanglewood, returned in 1949 and studied composition with Olivier Messiaen. He also attended the school in 1950. He later studied composition with Bernhard Heiden and at Yale with Hindemith. He was awarded a Fulbright grant for three years in Paris, during the first two of which he studied with Nadia Boulanger.

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[•487] In the summer oi 1955 he attended the American Conservatory at Fontainebleau, taking the first prize in composition, a Lili Boulanger Memorial Award. He received a commission from the Fromm Music Foundation for a string quartet which has been played by the KrolJ Quartet and the Budapest Quartet.* He has composed a sonata for viola and piano, and a chamber symphony for fourteen wind instruments. Mr. Blackwood informs us that he began his Symphony in November 1954 in Paris and had sketched most of the first three movements, when in the Spring the progress of the Symphony was interrupted for a summer at the American Conservatory at Fontainebleau where he composed another work in a competition. In the autumn he completed the orchestration for the first part and finished the entire Symphony on December 9th of that year. The Symphony, according to the composer, "is conceived along completely abstract lines, and has no direct or implied parallel with

literature or any of the other arts. It is an expression of musical ideas and nothing more. There are no radical innovations in the handling of any of the material, formal or otherwise; I am convinced that such innovations are too often inherently non-musical in their approach.

* First performed at Tanglewood July 23, 1957 by the Boston Symphony String Quartet.

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"The work is in four movements, and lasts about 30 minutes. The first movement is a modified sonata form with a slow introduction. From this introduction grows the first theme, which is then elaborately developed right away. The second theme is entirely new material, and is of a much different nature. It too is developed immediately after its first appearance. The unusual feature of this movement is that the development and recapitulation are combined. The development is actually a variation on the exposition, all in the proper sequence. The movement ends with a brief coda, the material of which is used to con- clude each of the four movements. This motif also serves as the starting point for several of the themes in other movements: namely the first theme of the second movement and the second theme of the third movement.

"The second movement consists of two themes which are much more alike in character than are those of the first movement. There is no real development of either theme; they are juxtaposed and changed in register and harmony rather than being worked out.

"The third movement is a scherzo, but is in classical sonata form. The striking feature of this movement is that it is entirely built on ostinato figures which range in length from one to eighteen measures. The second theme is based on the material which concludes each movement. This is heard near the beginning played by a single horn unaccompanied. The first part of the development is entirely canonic;

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[H9°] orchestration

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[»49»] later, the two themes are heard together. The recapitulation is in the proper order, but the first theme is considerably curtailed, while the second is changed in character.

"The last movement is much freer in form than are the other three. This movement is in large part a variation on the first, although it contains some new material which has not been heard before. Of special interest is a progression of two chords which recurs throughout, taking on greater importance as the end is reached. This movement is quiet throughout, except for a brief climax near the end. There is a coda immediately following the climax which makes extensive use of the material which concludes all of the movements (this has not pre- viously appeared in the fourth). The work concludes on the progres- sion of two chords reiterated by muted violins pianissimo."

The following comment was made by Klaus G. Roy when this Symphony was introduced at the concerts of the Cleveland Orchestra on March 3, i960:

"The composer does not say, but it will at once be noted by hearers, that the Symphony is tonal. Though the sense of tonality is free and fluid, keycenters persist; the triad plays a steadying role, and the twelve-tone method appears to be left unutilized except by occasional

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[ M93 ] implication. The influence of his teacher, Hindemith, is particularly strong in this stressing of the form-giving potentialities of tonal writing. The close, with its nostalgic augmented chord, harks back even to an idiom thought long abandoned; that of Wagner and Liszt. An unmis- takable mark is left on this music by the work of Gustav Mahler, in certain folk-like melodic turns, in the color of instrumental doublings, and particularly in the satiric distortion of a simple tune, grotesco, in the scherzo movement. Bart6k, too, has a share in the third move- ment, as do Shostakovich and Prokofieff. But when it is said that a composer of 22 is eclectic (i.e., choosing from many sources), the issue is from what sources he chooses, and how well he integrates into his own style what the masters have to give him. History teaches us that the best composers are usually those who first absorb — before they are thirty — all that is valuable to them in the music of their great con- temporaries and predecessors, and are then ready to build, on the firmest of foundations, new artistic worlds of their own."

• •

Blackwood's symphony was discussed by Howard Taubman in the New York Times on November 23, 1958, Dr. Munch having introduced it in New York City on November 12. Under the heading "Forget Posterity," Mr. Taubman wrote:

"In the arts, where boldness and originality in new creations may earn scorn or neglect, time is often regarded as the great corrective. It shuffles values relentlessly. What once seemed rare and audacious becomes commonplace and tame. What once looked prickly turns smooth and accessible. "Creative men and women, who find themselves ignored or rejected, may derive what bitter consolation they can from the thought that their day will come. The public, even the part that is cultivated and responsible, may shrug away a failure to get anything out of a difficult work with the feeling that it is not ready for it. Leave it to posterity, which will know how to redress wrong and dispense justice.

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[ M95 ] "Heavy are the burdens placed on posterity. Occasionally it func- tions just as sentimental tradition would have it do. More often than not it remains as perversely indifferent as its progenitors. Whether it magnifies or minimizes old reputations, posterity will carry on as it pleases. What it thinks will no longer matter to the creative artist. But what a difference it could be to him if his contemporaries cared."

After discussing the music of Charles Ives and Anton von Webern in this connection, Mr. Taubman wrote about Easley Blackwood as follows:

"Thirty or forty years from now Easley Blackwood may loom as a significant figure in American composition. Whether that happens is immaterial to us at the moment. What counts is that our generation is paying some mind to a richly talented young American composer. "His Symphony No. 1 was introduced to New York [November 1958] by Charles Munch and the Boston Symphony Orchestra. In its inde- pendence of thought and maturity of approach it disclosed a composer who had gone far in a short time. This listener thought that the pre- vailing somberness of the work reflected the mood of the beat genera- tion. There was no intention to suggest that this was a deliberate design. It does not matter anyhow. A man should write as he feels, and this is how Mr. Blackwood felt. He was only twenty-three when he composed the symphony. He is now all of twenty-five. His talents have received recognition in the form of awards, fellowships and per- formance. It is comforting to observe a composer of uncommon gifts receiving attention here and now. Let posterity look after itself."

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[!497] ENTR'ACTE THE DECLINE OF PROGRAM MUSIC

composer's title is his flag. Not too many years ago, anyone who A wrote the single word "symphony" over a score was open to sus- picion as being a classical pedant. Now, symphonies being the rule, a composer who would dip into legend and quote a colorful passage from a poet on his title-page would be correspondingly under suspicion as a hopeless romantic. One can even observe the switch in point of view in those composers whose years have spanned the aesthetic trans- formation. Sibelius was one of the first to displace tone poems with symphonies; Stravinsky did not commit himself to a symphony which really was a symphony until his fifty-eighth year (1940). Vaughan Williams in his advancing years would hardly have turned back to sights and sounds of London, nor dwelt again upon sea or landscapes. When Honegger wrote his Fifth Symphony, any thoughts of putting locomotives or football teams into music were well behind him. One no longer hears heated argumentation over the comparative virtues of "program music" and "absolute music," for the tone poem

is no longer a defensible method — it has become an historical fact.

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VISIT YOUR LOCAL AUTHORIZED CADILLAC DEALER The great tone poems of the past are treasurable relics. They are looked upon by an up-to-date composer with a certain amount of condescension as something outside of his immediate ken. They are enjoyed by audiences, but not on account of the pictorial images or inspiring thoughts they offer to evoke. The title is now taken as little more than an identifying tag, and the music survives in performances on its straight musical appeal. There is something not quite honest about some composers of the programmistic era. They are under sus- picion of having concocted a titular banner to attract attention, and in some cases the titles were conceived post musicam. Other com- posers, particularly the earlier great ones of the nineteenth century, acted quite naturally according to the temper of the time. They were simply a part of the general mid-century flowering of the imagination, the liberation of fantasy and stress upon sentiment through all the arts. The Pastoral Symphony seems to have afforded a conspicuous prece- dent. There had also been Rameau's neat trick of decorative titles, but where Rameau had been pleasantly piquant, the Romantics became deadly serious about the practice and pushed it to preposterous lengths. They became infatuated with new developments in colorful instru- ments, dynamics, rich chromatic harmonies, formal freedom. Berlioz, Liszt, Wagner, Strauss found ways to hypnotize the hearer, to soothe or excite the nerves, to build suspense, surprise, to make a tonal assault — all the elements of dramatic sensation with nothing more than a pretense of a dramatic plot.

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i5<» [ ] No one can say that this is anything but an enrichment of tonal means — when not abused. The most interesting thing about the march towards immensity is that it has been most successful when it has been least representational. In this way it can more effectively stimulate our imagination. Our sense of wonder is aroused, as when we see pictures in glowing embers or cloud formations. The composer can be the supreme hypnotist, and the results have been marvelous, so long as audiences were not distracted from direct tonal apprehension. When composers got into the way of attaching literary titles to their scores, they usually diverted their listeners from the music as such. This was always unfortunate. Some cases have been fairly harmless, such as the "heroic" overtures where one hero would really do quite as well as another. Berlioz went further and was too literary-minded for his own good; his titles attracted general attention, which they were no doubt intended to do, but they also stirred up prejudice, argumenta- tion, and a considerable amount of obfuscation. Liszt must be sus- pected of having climbed on the shoulders of Tasso or Lamartine in his efforts to reach a higher altitude. There is probably not a tone poem in existence where the hearer would have arrived at the com- poser's title without having been prompted.

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J 5<>2 [ ] The point was reached where critics would pass judgment on a piece by the test of whether or not it lived up to its program. Strauss learned to regret his mistake of carrying the program idea to its extremity. People settled upon his titles as if they had been his starting points and berated him for attempting to make music out of family domes- ticity, Nietzschean philosophy, sheep, or adverse critics, when all he had done was to compose entirely self-sufficient scores, allowing his fantasy to condition his constructive plan, and to play quite inci- dentally on a passing quizzical simulation of this or that. He realized only too well that his detractors were approaching his tone poems from a false literary angle and, since they were of the conservative persuasion, confusing his programmistic with his purely musical daring. On the stage, and only on the stage, program music has a real raison d'etre, the support of the plot and the visual action. Yet the music in an opera never really depicts the story; it rather underlines it, or at its best enraptures us as vocal and orchestral music not inap- propriate to the occasion but still of primary importance as music. Strauss lifts us with his own kind of orchestral eloquence, whatever subject is in hand. The Straussian orchestra well suits the high tension of Greek tragedy or the mystic deification of Ariadne; it can meet momentarily the macabre episodes in Salome, or seduce us with waltz

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l [ 5°3 ] measures in The Cavalier of the Rose, it is still the Straussian plum pudding. Wagner was more successful at musical depiction, in iact the most successful of all, partly because he was more systematic about it, but mostly because he was Wagner. Apart from his often cumbrous texts, he could be called the supreme magician of musical suggestion, the composer who has come nearest to making the "program" legitimate. His characters are closely associated with their motives not simply because he contrived chromatic sinuousness for the semblance of pas- sion, undulating arpeggios for the Rhine, the lowest register for giants, a darting figure for Loge's flames, etc. Under another composer these imitations would have seemed crude and more than a little silly. Wagner succeeded by intensity of conviction, by immersing his affec- tions, his years of thought in his legendary subjects and by making them a deep part of his nature as artist. He went as far toward the fusion of tones and a theatrical story as genius, confuting reasonable- ness, can go. J. n. b.

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[1505] SYMPHONY NO. 2, IN D MAJOR, Op. 73 By Johannes Brahms

Born in Hamburg, May 7, 1833; died in Vienna, April 3, 1897

The Second Symphony was composed in 1877, and first performed in Vienna on December 30 of the same year. A performance followed at Leipzig on January 10,

1878, Brahms conducting. Joachim conducted it at the Rhine Festival in Dusseldorf, and the composer led the symphony in his native Hamburg, in the same year.

France first heard it at a popular concert in Paris, November 21, 1880. The first

American performance was given by Theodore Thomas in New York, October 3,

1878. The Harvard Musical Association introduced it to Boston on January 9, 1879. It was then that John S. Dwight committed himself to the much quoted opinion that "Sterndale Bennett could have written a better symphony." Georg Henschel

included this symphony in the orchestra's first season (February 24, 1882). The most recent performances were on January 30-31, 1959, when Sir John Barbirolli conducted. The orchestration: 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, tuba, timpani, strings.

T ooking back over the eighty years which have passed since Brahms'

<—' Second Symphony was performed for the first time, one finds good support for the proposition that music found disturbingly "modern" today can become universally popular tomorrow. This symphony, surely the most consistently melodious, the most thoroughly engaging

of the four, was once rejected by its hearers as a disagreeable concoc- tion of the intellect, by all means to be avoided.

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[15071 In Leipzig, when the Second Symphony was introduced in 1880, even

Dorflel, the most pro-Brahms of the critics there, put it down as "not distinguished by inventive power"l It was a time of considerable anti- Brahms agitation in Central Europe, not unconnected with the Brahms- versus-Wagner feud. There were also repercussions in America. When in the first season of the Boston Symphony Orchestra (February 24, 1882) Georg Henschel conducted the Second Symphony, the critics fell upon it to a man. They respected Mr. Henschel's authority in the matter because he was an intimate friend of Brahms. For Brahms they showed no respect at all. The Transcript called it "wearisome," "turgid"; the Traveler, "evil-sounding," "artificial," lacking "a sense of the beautiful," an "unmitigated bore." The Post called it "as cold- blooded a composition, so to speak, as was ever created." The critic of the Traveler made the only remark one can promptly agree with: "If

Brahms really had anything to say in it, we have not the faintest idea what it is." This appalling blindness to beauty should not be held against Boston in particular, for although a good part of the audience made a bewildered departure after the second movement, the coura- geous believers in Mr. Henschel's good intentions remained to the end, and from these there was soon to develop a devout and determined type known as the "Boston Brahmin." New York was no more enlightened, to judge by this astonishing suggestion in the Post of that city (in

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NEW YORK • CHICAGO • SAN FRANCISCO • OTTAWA CANADA November, 1887): "The greater part of the Symphony was antiquated before it was written. Why not play instead Rubinstein's Dramatic

Symphony, which is shamefully neglected here and any one movement of which contains more evidence of genius than all of Brahms' sym- phonies put together?" Many years had to pass before people would exactly reverse their

opinion and look upon Brahms' Second for what it is — bright-hued throughout, every theme singing smoothly and easily, every develop- ment both deftly integrated and effortless, a masterpiece of delicate tonal poetry in beautiful articulation. To these qualities the world at large long remained strangely impervious, and another legend grew up: Brahms' music was "obscure," "intellectual," to be apprehended only by the chosen few. What the early revilers of Brahms failed to understand was that the "obscurity" they so often attributed to him really lay in their own non- comprehending selves. Their jaws would have dropped could they have known that these "obscure" symphonies would one day become (next to Beethoven's) the most generally beloved — the most enduringly

popular of all.

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[1510] Alfred Nash Patterson

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10th ANNIVERSARY CONCERT YEAR Nov. 22, 1959 -Bach: B Minor Mass, Symphony Hall

. . . superb vocalism; magnificent" . . . Kevin Kelly, Boston Globe

Dec. 17, 1959- Handel: Messiah, Museum of Fine Arts (an impromptu performance)

... in the grand manner" . . . "unusual musical occasion" The Christian Science Monitor

Jan. 20, 1960 - Antiphonal Concert, Trinity Church ... a high point of this or any musical season ..." Lyon Phelps, Boston Herald Feb. 25-26, 1960 -Mahler: Second Symphony, Symphony Hall, conducted by Richard Burgin with the Boston Symphony Orchestra

. . . choral singing of the first order" Cyrus Durgin, Boston Globe

March 29, 1960 - Concert of Contrasts, Sanders Theatre. A benefit concert to aid WGBH Educational Founda tion 1960 Fund Drive. Music contrasting 16th and 20th Century settings of the same texts.

. . . one of the major occasions of the season" Cyrus Durgin, Boston Globe

April 6, 1960 -Beethoven: Ninth Symphony, Symphony Hall. A Pension Fund Concert for the Boston Symphony Orchestra, conducted by Pierre Monteux celebrating his 85th Birthday.

. . . lustrous sonority" Robert Taylor, Boston Herald

COMING . . . May 22, 1960 - Monteverdi and Ray Wilding-White, Jordon Hall, 8:30 p.m. (Date subject to change) Vespers of 1610 - Monteverdi sung by Russell Ober- lin, counter tenor, Ship of Death (on a poem by D. H Lawrence) written by Boston contemporary composer Ray Wilding-White.

June 19, 1960 -Final Program Boston Arts Festival. Chorus will sing with symphonic wind ensemble

[^"l .

Brahms' mystifications and occasional heavy pleasantries in his letters to his friends about an uncompleted or unperformed score show more than the natural reticence and uncommunicativeness of the composer. A symphony still being worked out was a sensitive subject, for its maker was still weighing and doubting. It was to be, of course, an intimate emotional revelation which when heard would certainly become the object of hostile scrutiny by the opposing fac- tions. Brahms' closest friends dared not probe the privacy of his creative progress upon anything so important as a new symphony. They were grateful for what he might show them, and usually had to be content with hints, sometimes deliberately misleading. Brahms almost gave away the secret of his Second Symphony when, in 1877, he wrote to Hanslick from Portschach on the Worthersee, where he was summering and, of course, composing. He mentioned that he had in hand a "cheerful and likable" ['heiter and lieblich"] sym-

phony. "It is no work of art, you will say — Brahms is a sly one. The

Worthersee is virgin soil where so many melodies are flying about

that it's hard not to step on them." And he wrote to the more in- quisitive Dr. Billroth in September: *'! don't know whether I have a pretty symphony or not — I must inquire of skilled persons" (another

jab at the academic critics) . When Brahms visited Clara Schumann in BIGELOW- KENNARD CO-

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['5'*] her pleasant summer quarters in Lichtenthal near Baden-Baden on

September 17, 1877, Clara found him "in a good mood" and "delighted with this summer resort." He had "in his head at least," so she reported in a letter to their friend Hermann Levi, "a new symphony in D major

— the first movement is written down." On October 3, he played to her the first movement and part of the last. In her diary she expressed her delight and wrote that the first movement was more skillfully contrived [in der Erfindung bedeutender] than the opening move- ment of the First, and prophesied: "He will have an even more strik- ing public success than with the First, much as we musicians admire the genius and wonderful workmanship" of that score. When Frau Schumann and her children were driven from Lichtenthal by the autumn chill, Brahms remained to complete his score. In Vienna in December the Symphony was given the usual ritual of being read from a none-too-legible four-hand arrangement by Brahms.

He and Ignaz Bnill played it in the piano warerooms of Friedrich Ehrbar. C. F. Pohl attended the rehearsals of the Vienna Philhar- monic and reported to the publisher, Simrock, (December 27) : "On Monday Brahms' new Symphony had its first rehearsal; today is the second. The work is splendid and will have a quick success. A da capo [an encore] for the third movement is in the bag [in der Tasche]." And three days later: "Thursday's rehearsal was the second, yesterday's

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t'5'3] was the final rehearsal. Richter has taken great pains in preparing it and today he conducts. It is a magnificent work that Brahms is giv- ing to the world and making accessible to all. Each movement is gold, and the four together comprise a notable whole. It brims with life and strength, deep feeling and charm. Such things are made only in the country, in the midst of nature. I shall add a word about the result of the performance which takes place in half an hour. [Decem- ber 30, 1877.]

"It has happened! Model execution, warmest reception. 3rd move- ment (Allegretto) da capo, encore demanded. The duration of the movements 19, 11, 5, 8 minutes.* Only the Adagio did not convey its expressive content, and remains nevertheless the most treasurable movement."

If Brahms as a symphonist had conquered Vienna, as the press reports plainly showed, his standing in Leipzig was not appreciably raised by the second performance which took place at the Gewandhaus on June 10. Brahms had yet to win conservative Leipzig which had praised his First Symphony, but which had sat before his D Minor

* This shows the first two movements as far slower than any present-day practice. A timing of a Boston performance under Dr. Munch is as follows: 14%, 8, 5, 9. However, Richter may have repeated the exposition of the first movement, a custom now usually omitted.

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[15M] EvLE JVl PE R,E R, "Klemperer has touched new heights," exclaimed Gramophone, Great Britain, when the Klemperer-Philharmonia performance of the Beethoven Ninth Sym- phony first appeared in England. "Klemperer emerges the supreme interpreter of the classics," commented the London Observer. American critics agreed. Hear Klemperer — at the pinnacle of his art — one of the great conductors of all times — on Angel Records. wr/l /

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BEETHOVEN AND KLEMPERER ON ANGEL

. . . with The Phflharmonia Orchestra THE SYMPHONIES THE OVERTURES No. I in C Minor, Op. 21 35657* No. 8 in F Major, Op. 93 "The Consecration of the No. 2 in D Major, Op. 36 35658* House," Op. 124 35329

No. in E-flat, 3 Op. 55 35328 "Coriolan," Op. 62 35658* No. 5 in C Minor, Op. 67 35329 "Prometheus," Op. 43 No. 6 in F Major, Op. 68 35711* The Great Fugue, Op. 133 35401 No. 7 in A Major, Op. 92 35330 Incidental Music to "Egmont". No. 9 in D Minor, Op. 125. . .3571 -B* .3577-B*

*Also available in Stereo

h5 l 5] Piano Concerto in frigid silence. Florence May, Brahms pupil and biographer, reports of the Leipzig concert that "the audience main- tained an attitude of polite cordiality throughout the performance of the Symphony, courteously applauding between the movements and recalling the master at the end." But courteous applause and polite recalls were surely an insufficient answer to the challenge of such a music! "The most favorable of the press notices," continues Miss May, "damned the work with faint praise," and even Dorffel, the most Brahmsian of them wrote: "The Viennese are much more easily satisfied than we. We make different demands on Brahms and require

from his music something which is more than pretty and 'very pretty' when he comes before us as a symphonist." This music, he decided,

was not "distinguished by inventive power," it did not live up to the writer's "expectations" of Brahms. Dorffel, like Hanslick, had praised Brahms' First Symphony for following worthily in Beethoven's

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Five Outstanding Musical Events in Jordan Hall MAY 4- MAY 18

I Opera Twinbill by the Opera Department Boris Goldovsky Director

The Spanish Hour, Ravel Sister Angelica, Puccini Fully staged and costumed — with orchestra — sung in English

II Recital by Miklos Schwalb, Pianist

Sonatas by J. C. Bach, Liszt; Prelude, Aria et Finale, Franck Valses nobles et sentimentales, Ravel

III 20th Century Music for Violin and Keyboard Robert Brink, Violin Allen Barker, Piano Daniel Pinkham, Harpsichord Works of Debussy, Copland, Hovhaness, Henning, Bavicchi, Pinkham

IV Recital by Mac Morgan, Baritone Willard Straight, Pianist Works of Beethoven, Duparc, Mozart, Hugo Wolf, Copland and others

V Conservatory Symphony Orchestra James Dixon, Conductor Conservatory Chorus Lorna Cooke deVaron, Conductor

Mahler : Symphony No. 2 in C minor, for Orchestra, Soprano and Alto Solos, and Mixed Chorus JAMES DIXON Conducting

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[»5i7] footsteps, while others derided him for daring to do so. Now Dorffel was disappointed to miss the Beethovenian drive. This was the sort of talk Brahms may have had in mind when he wrote to Billroth that the Symphony must await the verdict of the experts, the "gescheitc Leute."

Considering the immediate success of the Second Symphony in

other German cities, it is hard to believe that Leipzig and Herr Dorffel could have been so completely obtuse to what was more than

"prettiness" in the Symphony, to its "inventive power," now so

apparent to all, had the performance been adequate. But Brahms, who conducted at Leipzig, was not R ichter, and the Orchestra plainly

did not give him its best. Frau Herzogenberg who was present wrote in distress to her friend, Bertha Farber, in Vienna that the trombones

were painfully at odds in the first movement, the horns in the second until Brahms somehow brought them together. Brahms, she said,

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If you're in business these days you're certain of something besides taxes: your commercial ethics and advertising statements are being sifted for naughtiness by the FTC, FCC, SEC, and a possibly infinite number of less edgy guardians of customer weal. Barnum's picture has been removed from its frame, replaced by Kefauver. Demolitions experts in charge of the impending population explosion have promised not to produce a new sucker every minute, or at least to improve the ratio. Just possibly we've seen our last Semi-Monthly Birthday Sale, and the daily Million Dollar Clearance will give way to something closer to reality ... for example a Colossal Nervous Treasurer Event followed by First Annual Outwit 'Em Day, etc.

Radio Shack has decided to pledge not to specify in its announcements that it will never be undersold. We were undersold by four Manhattan record shops in 1958-9, for example. Not every day, to be sure, but darn near. All four went bankrupt at 33V3 rpm shortly before rock and roll died at 45 rpm; it was a lean year for best sellers!

Now we sound a happier note. By an odd collection of special discounts, cajoling, wishful-thinking and cynical markdown theories, Radio Shack enters I960 with an Ethical Mid-Winter Sale of stereophonic LP disks on the RCA-Victor and London labels.

These regularly sell for $5.98 ^nd $4.98 wherever records are sold at list. Where they are not sold for list the going price is $4.88 for a $5.98, and $3.87 for a $4.98, for reasons clearly brilliged by Lewis Carroll in his treatise on "Discount Operations and the Mirror Image."

Radio Shack, living precariously on a diet of curds and brinksmanship, is now selling all these $5.98 and $4.98 stereo LP's for $2.99 and $2.88 without tie-ins or nail-downs — in fact without even wincing.

For public record, our $2.99/$2.88 price is actually below regular dealer cost! You ask: how can it be? Aha! Now it is clear you are not in business! Dear friend, being in business in I960 requires of you a certain quality. No, not faith in one's factory — that is suicide. The quality you need is Massive Lack of Resistance.

If a thing normally worth $6 suddenly costs you $3 — don't resist! Massively! Buy your head off! Tomorrow or next week or next month the tables will be turned; the $6 object will again cost you $6; the manufacturer will be heard muttering about raising the price to $6.65 due to increase in nylon rivets and antimagnetic plywood.

Radio Shack cannot accurately predict how long we will be able to offer Victor and London stereodisks below $3. All we can do, conservatively, is urge you to buy with abandon until the curtain falls. Fill your Jaguar to the gunwales. Bring your big- gest wheelbarrow. It's truly a whale of a sale . . . nothing but nothing fishy about it

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The foreign tours of this Orchestra, made at the expense of the State Department, have the special endorsement of the President. Mr. Eisen- hower wrote to Mr. Henry B. Cabot in the autumn of 1956, after the second European tour:

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f 1527 1 .1 HARVARD GLEE CLUB RABCLIFFE CHORAL SOCIETY ELLIOT FORBES, Conductor

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PISTON: Choral Setting — The Psalm and Prayer of David* WALTER PISTON Conducting

LASSO : Madrigals — Lagrime di San Pietro STRAVINSKY: Mass* Assisted by the HARVAE.D-RADCLIFFE ORCHESTRA Michael Senturia, Conductor

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[1528] ANNOUNCEMENT 80th SEASON, 1960-1961

SYMPHONY HALL

Boston Symphony Orchestra

CHARLES MUNCH, Music Director

Richard Burgin, Associate Conductor

24 FRIDAY AFTERNOON CONCERTS 24 SATURDAY EVENING CONCERTS

9 TUESDAY EVENING CONCERTS 6 SUNDAY AFTERNOON CONCERTS

from October 7 to April 29

GUEST CONDUCTORS AND SOLOISTS TO BE ANNOUNCED

Have you returned your renewal card for next season?

May 1st is the deadline for options.

If you have any questions, please inquire at the SEASON TICKET OFFICE SYMPHONY HALL CO 6-1492

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[i53°] Boston Symphony Orchestra

CHARLES MUNCH, Music Director

RCA Victor Records released since April 1956 BACH Brandenburg Concertos (Complete) LM-2182, 2198* Barber Medea's Dance of Vengeance LM-2197 Adagio for Strings LM-•2105

Beethoven Overtures: "Fidelio" (4) ; "Coriolan" LM-2015 Symphony No. 3, "Eroica" LM-2233* Symphony No. 6, "Pastoral" LM-1997 Symphony No. 9 LM-6066* Violin Concerto (Heifetz) LM-1992* Berlioz "L'Enfance du Christ" LM- 6053 "Harold in Italy" (Primrose) LM-2228* Blackwood Symphony No. 1 LM- 2352* Bloch "Schelomo" (Piatigorsky) LM- 2109 Brahms Symphony No. 1 LM •2097 Symphony No. 2; "Tragic" Overture LM-1959 Piano Concerto No. 1 (Graffman) LM-•2274* Debussy "The Martyrdom of St. Sebastian" LM-2030 "La Mer" LM-2111* "Prelude to the Afternoon of a Faun" LM 1984* Three Images LM-•2282* DUKAS The Apprentice Sorceror LM-•2292* ELGAR Introduction and Allegro LM 2105* Franck Symphony No. 1 in D minor LM -2131* Haiefp Symphony No. 2 LM- 2352* Ibert "Escales" (Ports of Call) LM- 2111* DlNDY Symphony on a Mountain Air

( Henriot-Schweitzer ) LM- 2271 Khatchaturian Violin Concerto (Kogan-Monteux) LM-1760 Mahler "Kindertotenlieder" and "Lieder eines fahrenden Gesellen" (Maureen Forrester) LM- 2371* Martinu "Fantaisies Symphoniques" LM-2083 Mendelssohn "Italian" and "Reformation" Symphonies LM-2221* Violin Concerto (Heifetz) LM--2314* Mozart Clarinet Concerto; Clarinet Quintet (Goodman, Boston Symphony String Quartet) LM-2073 Piston Symphony No. 6 LM-2083 Prokofieff Romeo and Juliet, Excerpts LM -2110 Piano Concerto No. 2 (Henriot-Schweitzer) LM-•2197 Violin Concerto No. 2 (Heifetz) LM--2314* Rachmaninoff Piano Concerto No. 3 (Janis) LM -2237* Ravel "Bolero," "La Valse," "Rapsodie Espagnole" LM -1984* "Mother Goose" Suite LM-2292* Piano Concerto (Henriot- Schweitzer) LM-2271* Roussel "Bacchus et Ariane" Suite LM<-6113 Saint-Saens Havanaise (Kogan-Monteux) LM -1760 "Omphale's Spinning Wheel" LM- 2292* Schubert Symphony in C major (Posthumous) LM -2344 Tchaikovsky "Francesca da Rimini"; "Romeo and Juliet" Overtures LM -2043 Symphony No. 4 LM -1953 Symphony No. 5 (Monteux) LM -2239* Serenade for Strings LM -2105* Violin Concerto (Szeryng) LM -2363* Wagner Excerpts (Eileen Farrell) LM -2255* Walton Cello Concerto (Piatigorsky) LM<•2109 * Also a stereophonic recording. A LIFE IS IN HIS HANDS...

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[!532] Boston Symphony Orchestra

(Seventy-ninth Season, 1959-1960) CHARLES MUNCH, Music Director RICHARD BURGIN, Associate Conductor PERSONNEL

Violins Cellos Bassoons Richard Burgin Samuel Mayes Sherman Walt Concert-master Alfred Zighera Ernst Panenka Alfred Krips Jacobus Langendoen Theodore Brewster George Zazofsky Mischa Nieland Rolland Tapley Karl Zeise Contra Bassoon Joseph Silverstein Martin Hoherman Richard Plaster Vladimir Resnikoff Bernard Parronchi Harry Dickson Richard Kapuscinski Horns Gottfried Wilfinger Robert Ripley James Stagliano Einar Hansen Winifred Winograd Charles Yancich Joseph Leibovici Louis Berger Harry Shapiro Emil Kornsand John Sant Ambrogio Harold Meek Roger Shermont Paul Keaney Minot Beale Osbourne McConathy Herman Silberman Basses Georges Moleux Stanley Benson Trumpets Leo Panasevich Henry Freeman Roger Voisin Sheldon Rotenberg Irving Frankel Armando Ghitalla Fredy Ostrovsky Henry Portnoi Andre" Come Noah Bielski Henri Girard Gerard Goguen John Barwicki Clarence Knudson Leslie Martin Pierre Mayer Trombones Ortiz Walton Manuel Zung William Gibson Samuel Diamond Flutes William Moyer William Marshall Kauko Kahila Doriot Anthony Dwyer Leonard Moss Josef Orosz William Waterhouse James Pappoutsakis Alfred Schneider Phillip Kaplan Tuba Victor Manusevitch K. Vinal Smith Laszlo Nagy Piccolo Ayrton Pinto George Madsen Timpani Michel Sasson Everett Firth Lloyd Stonestreet Oboes Harold Farberman Saverio Messina Ralph Gomberg Percussion Melvin Bryant Jean deVergie John Holmes Charles Smith Violas Harold Thompson de Pasquale Arthur Press Joseph English Horn Jean Cauhap6 Eu gen Lehner Louis Speyer Harps Albert Bernard Bernard Zighera Clarinets George Humphrey Olivia Luetcke Jerome Lipson Gino Cioffi Robert Karol Manuel Valerio Piano Reuben Green Pasquale Cardillo Bernard Zighera Bernard Kadinoff E\) Clarinet Vincent Mauricci Library John Fiasca Bass Clarinet Victor Alpert Earl Hedberg Rosario Mazzeo William Shisler

[ »533 ] Seventy-fifth Season POPBOSTON ARTHUR FIEDLER, Conductor

Harry Ellis Dickson, Assistant Conductor

Opening Night

Tuesday, April 26

The Pops will be given every night except on Mondays, through July 2.

Tickets will be on sale at the Box Office two weeks in advance of each concert.

(CO 6-1492)

SYMPHONY HALL BOSTON

[1534] THE BERKSHIRE FESTIVAL PROGRAMS Boston Symphony Orchestra Charles Munch, Music Director At Tanglewood

SERIES X (July 8, 9, 10) SERIES Y (July 15, 16, 17) MUSIC OF BACH MUSIC OF MOZART SERIES A SERIES C

Friday Evening, July 22 Friday Evening, August 5 Beethoven Symphony No. 3 Wagner Act 3 Excerpts, Faure Requiem "Die Meistersinger" (Chorus and Soloists) Sibelius Violin Concerto Conductor: Charles Munch (Ruggiero Ricci) Mendelssohn Symphony No. 3, "Scotch" •ft -ft Conductor: Charles Munch Saturday Evening, July 23 ft ft Cherubini Overture, "Anacreon" Saturday Evening, August 6 Beethoven Piano Concerto No. 5 Beethoven "Prometheus" Overture (Claudio Arrau) Dutilleux Symphony No. 2 Respighi Fountains of Rome Brahms Piano Concerto No. 2 Strauss Till Eulenspiegel (Eugene Istomin) Conductor: Pierre Monteux Conductor: Charles Munch

ftr ft- ft -ft Sunday Afternoon, July 24 Sunday Afternoon, August 7 Dello Joio Variations, Chaconne Vaughan Williams Fantasia on a and Finale Theme by Thomas Tallis Mendelssohn Violin Concerto Beethoven Piano Concerto No. 3 (Jaime Laredo) (Leon Fleisher) Beethoven Symphony No. 5 Brahms Symphony No. 4 Conductor: Charles Munch Conductor: Pierre Monteux SERIES B SERIES D

Friday Evening, July 29 Friday Evening, August 12 Stravinsky Jeu de Cartes Beethoven Symphony No. 2 Khrennikov Symphony No. 1 Liszt Piano Concerto in E-flat Rachmaninoff Piano Concerto No. 3 (Jorge Bolet) (Byron Janis) Stravinsky Suite, "The Firebird" Conductor: Charles Munch Conductor: Pierre Monteux

-ft -ft ftr -ft Saturday Evening, July 30 Saturday Evening, August 13 Berlioz Fantastic Symphony Handel Suite from "The Water Music" 6 Piston Symphony No. Chopin Piano Concerto in E minor Ravel Daphnis and Chloe, Suite No. 2 (Gary Graffman) (with chorus) Copland Symphony No. 1 Conductor: Charles Munch Conductor: Charles Munch

ft ft ft -ft Sunday Afternoon, July 31 Sunday Afternoon, August 14 35 Mozart "Haffner" Symphony No. Berlioz The Damnation of Faust Beethoven Symphony No. 9 (Chorus and Soloists) (Chorus and Soloists) Conductor: Pierre Monteux Conductor: Charles Munch

Tickets at the Festival Office, Symphony Hall, CO 6-1492 Berkshire Music Center CHARLES MUNCH, Director AARON COPLAND, Chairman RALPH BERKOWITZ, Dean

The Boston Symphony Orchestra's TANGLEWOODSummer Music School at JULY 3 — AUGUST 14

DEPARTMENT OF INSTRUMENTAL MUSIC Eleazar de Carvalho Advisers: Pierre Monte ux, Gregor Piatigorsky Leonard Bernstein Orchestral Playing and Chamber Music Richard Burgin, William Kroll 23 Members of the Boston Symphony Orchestra Ruth Posselt DEPARTMENT OF CHORAL MUSIC Hugh Ross Lorna Cooke DeVaron Alfred Nash Patterson OPERA DEPARTMENT Boris Goldovsky DEPARTMENT OF COMPOSITION Aaron Copland Luciano Berio, The Lenox Quartet DEPARTMENT OF LISTENING AND ANALYSIS G. Wallace Woodworth Florence Dunn Two to six week enrollments are accepted in this newly revised and expanded Department; members of the Department participate in listeners'- rehearsals, in the Festival Concerts and in the Festival Chorus with the Boston Symphony Orchestra.

Information available at the Berkshire Music Center office in Symphony Hall or write to P. Bossler, Registrar, Symphony Hall, Boston 15.

6 h53 l One wishes that there were a demonstrable, perhaps dramatic, way in which the Trustees, Doctor Munch, and the members of the Orchestra could show the depth of their appreciation to those who are members of The Friends of the Boston Symphony Orchestra.

Doctor Munch has written of the conductor and of the orchestra, likening them to "the hearth to which thousands have come for warmth and light." If the

Boston Symphony Orchestra has been such a "hearth" to you, that is not only its pleasure but the only way in which its appreciation can be expressed.

Although the Orchestra's winter season will conclude with these concerts, membership in The Friends is always available to those who, again in the words of

Doctor Munch, "have faith and who wish to serve music."

[>5S7] WORKS PERFORMED AT" THIS' SERIES OF CONCERTS DURING THE SEASON 1959-1960 PAGE Amirov: Kyurdi-Ovshari Mugami VI November 13-14 329

Bach: Brandenburg Concerto No. 6, in B-flat major, for Strings III October 16-17 137

Violin Concerto No. 1, in A minor (Isaac Stern) V November 6-7 265

Suite No. 3, in D major, for Orchestra XXI April 1-2 1289

Cantata No. 4, "Christ lag in Todesbanden" XXIII April 14, 16 1417

Barber: Medea's Meditation and Dance of Vengeance, Op. 23a IV October 30-31 210

Beethoven: Symphony No. 5, in C minor, Op. 67 XIV January 29-30 878

Symphony No. 2, in D major, Op. 36 XVI February 12-13 969

Suite from "Die Geschopfe des Prometheus," Ballet, Op. 43 XVIII March 4-5 1097

Overture to "Leonore" No. 3, Op. 72 XIX March 11-12 1161

Symphony No. 3, in E-flat major. "Eroica," Op. 55 XXII April 8-9 1353

Berg: Concerto for Violin and Orchestra (Isaac Stern) V November 6-7 278

Berlioz: Fantastic Symphony, Op. 14a XX March 18-19 1262

Blackwood: Symphony No. 1 XXIV April 22-23 x 486

Brahms: Symphony No. 1, in C minor, Op. 68 VII November 27-28 432

Symphony No. 2, in D major, Op. 73 XXIV April 22-23 1506

Bruckner: Symphony No. 5, in B-flat major X December 24, 26 585

Chopin: Piano Concerto in E minor, Op. 1 1 (Gary Graffman) XIX March 11-12 1172

Copland: Orchestral Suite from the Opera, "The Tender Land" VI November 13-14 342

First Symphony XI January 1-2 694

Dello Joio: Variations, Chaconne and Finale XX March 18-19 1240

Diamond: Rounds for String Orchestra XI January 1-2 686

[1538] Durante: Concerto for Strings, in F minor, No. 1 (Edited by Adriano Lualdi) IV October 30-31 201

Dutilleux: Symphony No. 2, for Large Orchestra and Chamber Orchestra IX December 11-12 532

Dvorak: Concerto for Cello, in B minor, Op. 104 (Gregor Piatigorsky) XV February 5-6 952

Faure: Prelude to "Penelope" IX December 11-12 521

Ballade, for Piano and Orchestra, Op. 19 (Nicole Henriot-Schweitzer) XXI April 1-2 1334 France: "Le Chasseur maudit," Symphonic Poem II October 9-10 116

"Variations symphoniques" for Piano and Orchestra (Jorge Bolet) II October 9-10 114

Handel: Suite for Orchestra, from "The Water Music" (Arranged by Sir Hamilton Harty) XX March 18-19 1225

Harris: Symphony No. 3 (in one movement) VII November 27-28 429

Haydn: Symphony No. 100, in G major, "Military" II October 9-10 73

Symphony in C minor, No. 95 XI January 1-2 666

Symphony in E-flat, No. 99 XII January 8-9 713 Hindemith: Pittsburgh Symphony XIII January 15-16 780

Konzertmusik for String and Brass Instruments, Op. 50 XVII February 26-27 1033

Honegger: Symphony No. 2, for String Orchestra XVIII March 4-5 1141

Kabalevsky: Concerto for Cello and Orchestra, Op. 49 (Samuel Mayes) VI November 13-14 361

Kirchner: Toccata for Strings, Solo Winds and Percussion XV February 5-6 916

Khrennikov: Symphony No. 1, Op. 4 VI November 13-14 366

La Montaine: Concerto for Piano and Orchestra, Op. 9 (Jorge Bolet) II October 9-10 82

Loeffler: "A Pagan Poem" (After Virgil), Op. 14 VIII December 4-5 498

Lopatnikoff: Music for Orchestra, Op. 39 XIV January 29-30 841

Mahler: Adagio and Allegretto moderato ("Purgatorio") from the Tenth Symphony (Posthumous) VIII December 4-5 478

[*539] Symphony in D major, No. 1 XII January 8-9 752

Symphony in C minor, No. 2, for Orchestra, Soprano and Alto Solos, and Mixed Chorus XVII February 26-27 1060

Martinon: Prelude and Toccata XXIV April 22-23 1481

Martinu: "The Parables" I October 2-3 20 Fantasia Concertante for Piano and Orchestra (Margrit Weber) XVIII March 4-5 1106

Mendelssohn: Symphony No. 3, in A minor, "Scottish," Op. 56 V November 6-7 304

Capriccio brillante, for Piano and Orchestra, Op. 22 (Gary Graffman) XIX March 11-12 1205

Messiaen: "L'Ascension," Four Symphonic Meditations VII November 27-28 404

Moevs: "Attis," for Orchestra with Chorus and Tenor Solo XVI February 12-13 998

Moussorgsky: "Pictures at an Exhibition," Piano Pieces (Arranged for Orchestra by Maurice Ravel) X December 24, 26 621

Mozart: Symphony No. 38, in D major, "Prague," K. 504 I October 2-3 9

Violin Concerto No. 4, in D major, K. 218 (Joseph Silverstein) III October 16-17 x 4^

Piano Concerto in E-flat, K. 271 ("Jeunehomme Concerto") (Ania Dorfmann) IX December 11-12 550

Symphony No. 39, in E-flat major, K. 543 XV February 5-6 905

Requiem Mass, in D minor, K. 626 XXIII April 14, 16 1447

Piston: Symphony No. 6 XXI April 1-2 1337

Purcell: Fantasias for Strings XI January 1-2 649

Ravel: "Tzigane," for Violin and Orchestra (Joseph Silverstein) III October 16-17 168

"Daphnis et Chloe," Ballet, Suite No. 2 IX December 11-12 554

Concerto for Piano and Orchestra (Nicole Henriot-Schweitzer) XXI April 1-2 1294

Respighi: "Fountains of Rome," Svmphonic Poem XXII April 8-9 1382

Roussel: Symphony No. 4, Op. 53 III October 16-17 180

"Bacchus et Ariane," Suite No. 2, Op. 43 XIX March 11-12 1208

[!54°] ERRATA

p. 1541—TCHAIKOVSKY: Symphony No. 2, in C minor, Op. 17 XVI February 12-13 p. 1541—RICHARD BUROIN also conducted the concerts of February 5-6

Schubert: Symphony in B minor, "Unfinished" VIII December 4-5 457

Symphony No. 2, in B-flat major XIII January 15-16 809

Schuman: New England Triptych; Three Pieces for Orchestra after William Billings XI January 1-2 672

Schumann: Symphony No. 1, in B-flat major, Op. 38 1 October 2-3 46

Sibelius: Concerto for Violin and Orchestra, in D minor, Op. 47 (Ruggiero Ricci) XIV January 29-30 846 Strauss: "Don Juan," Tone Poem (after Nikolaus Lenau), Op. 20 VII November 27-28 393

"Tod und Verklarung," Tone Poem, Op. 24 XII January 8-9 722

Till Eulenspiegel's Merry Pranks, After the Old-fashioned, Roguish Manner — in Rondo form, Op. 28 XXII April 8-9 1389

Stravinsky: Suite from the Ballet, "L'Oiseau de feu" XIII January 15-16 818

Tchaikovsky: Symphony No. 4, in F minor, Op. 36 IV October 30-31 240

Wagner: Prelude to "Die Meistersinger von Nurnberg" IV October 30-31 218

Overture to "Tannhauser" XIII January 15-16 777

Excerpts, from Act III, "Die Meistersinger von Nurnberg" XVIII March 4-5 1142

GUEST CONDUCTORS

Richard Burgin (Associate Conductor): December 24, 26; Feb- ruary 12-13; February 26-27. Sketch .... 579 Aaron Copland: January 1-2.

Pierre Monteux: April 8-9. Eugene Ormandy: November 27-28. Sketch .... 387

Thomas Schippers: October 30-31. Sketch . . . .195

William Steinberg: January 8-9; January 15-16. Sketch . 707

The following composers conducted their own works: Aaron Copland: November 13-14.

Dmitri Kabalevsky: November 13-14. Sketch . . . 364 Leon Kirchner: February 5-6. Sketch 922

[ *54» ] WORKS PERFORMED FOR THE FIRST TIME IN THE FRIDAY-SATURDAY SERIES

Amirov Kyurdi-Ovshari Mugami

Durante Concerto for Strings, in F minor, No. 1 (Edited by Adriano Lualdi)

Dutilleux * Symphony No. 2, for Large Orchestra and Chamber Orchestra

Faure Ballade, for Piano and Orchestra, Op. 19

HlNDEMITH Pittsburgh Symphony

Khrennikov Symphony No. 1, Op. 4

KlRCHNER Toccata for Strings, Solo Winds and Percussion

La Montaine Concerto for Piano and Orchestra, Op. 9 lopatnikoff Music for Orchestra, Op. 39

Martinon * Prelude and Toccata

Martinu Fantasia Concertante for Piano and Orchestra

Mendelssohn Capriccio brillante, for Piano and Orchestra, Op. 22

Messiaen "L'Ascension," Four Symphonic Meditations

#< Moevs \Attis," for Orchestra with Chorus and Tenor Solo

PURCELL Fantasias for Strings

Schuman New England Triptych; Three Pieces for Orchestra after William Billings

* First performance.

NUMERICAL SUMMARY OF WORKS PERFORMED

Works by Beethoven, Mozart — 5; Bach — 4; Haydn, Mahler, Ravel, Strauss, Wagner — 3; Brahms Copland, Faure, Franck, Hindemith, Martinu, Mendelssohn, Roussel, Schubert, Tchaikovsky — 2; Amirov, Barber, Berg, Berlioz, Blackwood, Bruckner, Chopin, Dello Joio, Diamond, Durante, Dutilleux, Dvorak, Handel, Harris, Honegger, Kabalevsky, Kirchner, Khrennikov, La Montaine, Loeffler, Lopatnikoff, Martinon, Messiaen, Moevs, Moussorgsky, Piston, Purcell, Respighi,

Schuman, Schumann, Sibelius, Stravinsky — 1 each. Total: 81 works by 50 composers.

[ !542 ] ARTISTS WHO HAVE APPEARED AS SOLOISTS Jorge Bolet (La Montaine: Concerto for Piano and Orchestra; Franck: "Variations symphoniques"). October 9-10. Sketch 68

Ania Dorfmann (Mozart: Piano Concerto in E-flat). December 11-12. Sketch 5*5

Gary Graffman (Chopin: Piano Concerto in E minor; Men- delssohn: Capriccio brillante). March 11-12. Sketch

Nicole Henriot-Schweitzer (Faure: Ballade; Ravel: Concerto for Piano and Orchestra). April 1-2. Sketch 1284

Samuel Mayes (Kabalevsky: Concerto for Cello and Orchestra) November 13-14. Sketch ..... 324

Gregor Piatigorsky (Dvorak: Cello Concerto in B minor)

February 5-6. Sketch . 900

Ruggiero Ricci (Sibelius: Violin Concerto in D minor) January 29-30. Sketch 836

Joseph Silverstein (Mozart: Violin Concerto in D major Ravel: "Tzigane"). October 16-17. Sketch 13 1

Isaac Stern (Bach: Violin Concerto in A minor; Berg: Con- certo for Violin and Orchestra), November 6-7. Sketch 259

*Margrit Weber (Martinu: Fantasia Concertante for Piano and Orchestra). March 4-5. Sketch .... 1092

* First appearance with the Boston Symphony Orchestra.

ARTISTS WHO HAVE ASSISTED IN PERFORMANCES Choruses: Chorus Pro Musica, Alfred Nash Patterson, Con- ductor (Mahler: Symphony No. 2) Harvard Glee Club and Radcliffe Choral Society, Elliot Forbes, Conductor (Moevs: "Attis") New England Conservatory Chorus, Lorna Cooke de Varon, Conductor (Bach: Cantata No. 4, "Christ lag in Todesbanden"; Mozart: Requiem)

Sopranos: Nancy Carr (Mahler: Symphony No. 2) Saramae Endich (Mozart: Requiem)

Contraltos: Eunice Alberts (Mahler: Symphony No. 2) Betty Allen (Mozart: Requiem)

[»543] Tenors: * Charles K. L. Davis (Mozart: Requiem)

* Robert Price (Moevs: "Attis")

Bass: Mac Morgan (Mozart: Requiem)

English Horn: Louis Speyer (Loeffler: "A Pagan Poem")

Piano: Bernard Zighera (Loeffler: "A Pagan Poem")

* First appearance with the Boston Symphony Orchestra.

ENTR'ACTES

Bernstein, Leonard An Imaginary Conversation

Broder, Nathan Samuel Barber . Burr, John N. The "Cosmopolitan" Martinu

Words About Music . Mozart and the Violin

Wagner's "Opera Buffa" .

Francesco Durante .

Another Book on Mozart . Music's Lesser Partner Mozart's Piano Concertos The Quest for the Authentic Bruckner England's Great Composer William Schuman

The Definitive Sibelius? . From a Trickle to a Torrent A Roman Orgy

Ottorino Respighi . The Chopin-Potocka Letters The Impressionists and Debussy Further Quest of the "Immortal Beloved" "A Lightning Bolt at a Family Reunion"

Mozart's Church Music . Odd Bits About Composers The Decline of Program Music Cardus, Neville The Closed Mind

Copland, Aaron The Gifted Listener . Cousins, Norman Don Pablo .... "C. E. C." Amirov and the Caucasus Ferris, Rev. Theodore P. A Meditation in Grand Central Station Gauthier, Eva Reminiscences of Maurice Ravel Gilman, Lawrence The Master of the Grand Style Hale, Philip "The Legendary Hunter" Harrison, Jay Sir Thomas and His Latest Views Munch and Music; Current Views Honegger, Arthur "Penelope" .... Jung, E. Ernest Munch ....

Krenek, Ernst Krenek and Mahler's Tenth .

Landon, H. C. R. Haydn's Esterhaza is Still There LAng, Paul Henry The Role of the Conductor

Longus Daphnis and Chloe . .

[»544] Nettel, Recinald Haydn's Orchestra in London ...... 73° Perkins, Francis To Boo or Not to Boo, That is the Question 1136 Piston, Walter More Views on Serialism .... 1318

Reich, Willi Alban Berg's Violin Concerto . 296

Rogers, Harold Doors to the New Musical World . 1129

Roy, Klaus G. Thoughts on the Fifth Symphony . 868 Ballades in General and Faure's in Particular 1311 Rubinstein, Artur Monologue on Chopin .... 1192 Salzman, Eric Paul Hindemith — Master of Many Trades 790

Schonberg, Arnold Schonberg's Estimate of Gustav Mahler . 1038 Slonimsky, Nicolas Of Orchestral Conductors 1054 Stravinsky, Igor Apropos "Le Sacre du Printemps" 798 Taubman, Howard A Pampered Age? 1302 Thomson, Virgil Ravel — The Super Artisan 160 Walter, Bruno Mahler and His First Symphony 748

Werfel, Alma Mahler Mahler and Boston . 487

PENSION FUND At the 125th Pension Fund concert, in honor of Pierre Monteux's 85th birthday,

Mr. Monteux conducted Beethoven's Ninth Symphony on Wednesday, April 6, the Chorus Pro Musica and the following soloists assisting: Eleanor Steber, soprano; Freda Gray-Masse, alto; John McCollum, tenor; David Laurent, bass. Mr. Monteux opened the concert with the "Haffner" Symphony of Mozart. Seven regular Open Rehearsals at Symphony Hall during the season past (Novem- ber 5, December 10, January 3, February 11, February 25, March 10, April 13) and three extra Open Rehearsals (February 5, March 3, April 21) benefited the Pension Fund. The six Saturday morning rehearsals of the Berkshire Festival were open to the public for the benefit of the Pension Fund.

MEETING OF THE FRIENDS OF THE BOSTON SYMPHONY ORCHESTRA The 26th annual meeting of the Friends of the Boston Symphony Orchestra was held in Symphony Hall on Wednesday, November 4, 1959 at 4:00 o'clock. Henry A. Laughlin, Chairman of the Friends, addressed the meeting, after which the Orchestra played "Le Chasseur maudit" of Franck. Dr. Munch and the trustees received the members at tea.

PROGRAMS OF THE SUNDAY AFTERNOON SERIES Six Sunday concerts were given in Symphony Hall on Sunday afternoons. William Steinberg conducted the concert on January 10 and Richard Burgin on February 28.

November 8. Bach: Violin Concerto No. 1, in A minor (Isaac Stern); Berg: Con-

certo for Violin and Orchestra (Isaac Stern); Mendelssohn: Symphony No. 3, in A minor, "Scottish," Op. 56.

January 10. Haydn: Symphony in E-flat, No. 99; Strauss: "Tod und Verklarung,"

Tone Poem, Op. 24; Mahler: Symphony in D major, No. 1.

January 31. Schubert: Symphony in B minor, "Unfinished"; Sibelius: Concerto for Violin and Orchestra, in D minor, Op. 47 (Ruggiero Ricci); Beethoven: Symphony No. 5, in C minor, Op. 67.

[ »545 February 28. Beethoven: Symphony No. 2, in D major, Op. 36; Tchaikovsky:

Symphony No. 5, in E minor, Op. 64.

March 13. Beethoven: Overture to "Leonore" No. 3, Op. 72; Chopin: Piano Con- certo in E minor, Op. 11 (Gary Graffman); Mendelssohn: Capriccio brillante, for Piano and Orchestra, Op. 22 (Gary Graffman); Roussel: "Bacchus et

Ariane," Suite No. 2, Op. 43.

April 3. Bach: Suite No. 3, in D major, for Orchestra; Piston: Symphony No. 6; Faure: Ballade, for Piano and Orchestra, Op. 19 (Nicole Henriot-Schweitzer); Ravel: Concerto for Piano and Orcheestra (Nicole Henriot-Schweitzer).

PROGRAMS OF THE TUESDAY EVENING SERIES Nine Symphony concerts were given in Symphony Hall on Tuesday evenings.

William Steinberg conducted the concert on January 12, Richard Burgin on

March 1.

October 6. Mozart: Symphony No. 38, in D major, "Prague," K. 504; Copland: Party Scene and Finale from the Opera, "The Tender Land"; Beethoven:

Symphony No. 5, in C minor, Op. 67.

November 10. Bach: Violin Concerto No. 1, in A minor (Isaac Stern); Berg: Con-

certo for Violin and Orchestra (Isaac Stern); Mendelssohn: Symphony No. 3, in A minor, "Scottish," Op. 56.

December 8. Schubert: Symphony in B minor, "Unfinished"; Mozart: Piano Con- certo No. 24, in C minor, K. 491 (Claude Frank); Mahler: Adagio and Alle- gretto moderato ("Purgatorio") from the Tenth Symphony (Posthumous).

December 22. Faure: Prelude to "Penelope"; Dutilleux: Symphony No. 2, for Large Orchestra and Chamber Orchestra; Franck: "Le Chasseur maudit," Sym-

phonic Poem; Ravel: "Daphnis et Chloe," Ballet, Suite No. 2.

January 12. Haydn: Symphony in E-flat, No. 99; Barber: Souvenirs, Ballet Suite,

Op. 28; Mahler: Symphony in D major, No. 1.

February 9. Mozart: Symphony No. 39, in E-flat major, K. 543; Kirchner: Toccata for Strings, Solo Winds and Percussion; Dvorak: Concerto for Cello, in B minor, Op. 104 (Gregor Piatigorsky):

March 1. Hindemith: Konzertmusik for String and Brass Instruments, Op. 50;

Harris: Symphony No. 3 (in one movement); Tchaikovsky: Symphony No. 5, in E minor, Op. 64.

March 15. Beethoven: Overture to "Leonore" No. 3, Op. 72; Schubert: Symphony

No. 2, in B-flat major; Honegger: Symphony No. 2, for String Orchestra; Wagner: Excerpts from Act III, "Die Meistersinger von Nurnberg."

April 19. Beethoven: Symphony No. 3, in E-flat major, "Eroica," Op. 55; Barber: Medea's Meditation and Dance of Vengeance, Op. 23a; Debussy: "La Mer," Three Orchestral Sketches.

CONCERTS OUTSIDE BOSTON

Six Tuesday evening concerts in Sanders Theatre, Harvard University, Cambridge:

November 3, December 1 (Claude Frank), January 5 (Aaron Copland, Conductor), February 2 (Ruggiero Ricci), March 8, April 12.

J [ 546 ] Five Tuesday evening concerts in the Veterans Memorial Auditorium, Providence: October 13, November 24, December 29 (Richard Burgin, Conductor), February 23, April 5 (Nicole Henriot-Schweitzer).

Ten concerts in Carnegie Hall, New York City (5 Wednesday evenings and 5 Saturday afternoons): November 18 (Samuel Mayes), November 21 (Samuel Maves); December 16 (Ania Dorfmann), December 19 (Claude Frank); January 20 (William Steinberg, Conductor), January 23 (William Stein- berg, Conductor); February 17 (Ruggiero Ricci), February 20 (Gregor Piatigorsky); March 23, March 26 (Gary Graffman).

Five Friday evening concerts in the Brooklyn Academy of Music: November 20, December 18 (Claude Frank), January 22 (William Steinberg, Conductor), February 19 (Gregor Piatigorsky), March 25 (Gary Graffman).

Concerts in other cities: Utica, October 19; Syracuse, October 20 (Samuel Mayes); Rochester, October 21; Toledo, October 22; Detroit, October 23; Ann Arbor, October 24 (Samuel Mayes) and October 25; Northampton, November 16; New Haven, November 17 and March 22; Englewood, November 19; Wash- ington, December 17 and February 18; Newark, January 19 (William Stein- berg, Conductor); Baltimore, January 21 (William Steinberg, Conductor); Storrs, February 15 (Ruggiero Ricci); New London, February 16 (Ruggiero Ricci); Hartford, March 21; Philadelphia, March 24 (Gary Graffman).

POP CONCERTS The 74th season of concerts by the Boston Pops Orchestra, Arthur Fiedler, Conductor, was given in Symphony Hall from April 28 to June 27

ESPLANADE CONCERTS The 31st consecutive season of Esplanade Concerts by members of the Boston Symphony Orchestra, Arthur Fiedler, Conductor, was given in the Edward Hatch Memorial Shell with scheduled concerts on the evenings of June 28 through July 10

(omitting July 4), August 10 through 15, and Wednesday mornings on July 1 and 8 (Children's Concerts).

BERKSHIRE FESTIVAL, TANGLEWOOD Six concerts by members of the Boston Symphony Orchestra, under the direction of Charles Munch, were given on Friday and Saturday evenings and Sunday after-

noons of the first two weeks. The concerts on July 4, 10 and 11 were performed in the Shed. The other concerts were performed in the Theatre-Concert Hall.

July 3. Bach: Brandenburg Concerto No. 3, in G major; Suite No. 2, in B minor, for Flute and Strings (Doriot Anthony Dwyer); Musical Offering; Cantata No. 50, "Nun ist das Heil und die Kraft" (Festival Chorus).

July 4. Bach: Suite No. 4, in D major; Clavier Concerto in F minor, No. 5

(Lukas Foss); Concerto for Three Claviers, in D minor, No. 1 (Lukas Foss, Ralph

Berkowitz, Bernard Zighera); Clavier Concerto in D minor, No. 1 (Lukas Foss); Concerto for Three Claviers, in C major, No. 2 (Lukas Foss, Ralph Berkowitz, Bernard Zighera).

July 5. Bach: Brandenburg Concerto No. 6, in B-flat major; Cantata No. 51, "Jauchzet Gott in alien Landen" (Bethany Beardslee, Roger Voisin); Concerto for Violin and Oboe, in D minor (Ruth Posselt, Ralph Gomberg); Suite No. 3, in D major.

[1547] 'July 10. Mozart: Overture to "Don Giovanni"; Piano Concerto in G major, K. 453 (Nicole Henriot-Schweitzer); Divertimento in B-flat major, for Strings and Two Horns, K. 287; Symphony No. 35, in D major, "Haffner," K. 385.

July 11. Mozart: Symphony No. 39, in E-flat major, K. 543; Symphony No. 40, in G minor, K. 550; Symphony No. 41, in C major, "Jupiter," K. 551.

July 12. Mozart: Symphony No, 38, in D major, "Prague," K. 504; Requiem Mass, in D minor, K. 626 (Adele Addison, Florence Kopleff, Blake Stern, Donald Grarara, Festival Chorus).

Twelve concerts by the Boston Symphony Orchestra, eight under the direction of Charles Munch, were given in the Shed on Friday and Saturday evenings and Sunday afternoons of the last four weeks. Pierre Monteux conducted on July 19 and 24,

August 1 and 8.

July ij. Berlioz: "The Corsaire" Overture, Op. 21; Martinu: "The Parables";

Tchaikovsky: Symphony No. 6, in B minor, "Pathetique," Op. 74.

July 18. Weber: Overture to "Oberon"; Foss: Symphony of Chorales (Lukas Foss, conducting); Tchaikovsky: Violin Concerto in D major, Op. 35 (Isaac Stern).

July 19. Rimsky-Korsakov: Introduction and Wedding March from "Le Coq d'Or"; Debussy: "Prelude a l'Apres-midi d'un faune"; d'Indy: Symphony for Orchestra and Pianoforte on a French Mountain Song, Op. 25 (Nicole Henriot-

Schweitzer); Tchaikovsky: Symphony No. 5, in E minor, Op. 64.

July 24. Bach: Passacaglia and Fugue in C minor (Orchestrated by Ottorino Respighi); Brahms: Violin Concerto in D major, Op. 77 (Isaac Stern); Eleven Chorale Preludes, Op. 122 (Orchestrated by Virgil Thomson); Strauss: "Don Juan," Tone Poem (after Nikolaus Lenau), Op. 20.

July 25. Piston: Symphony No. 3; Bloch: "Schelomo," Hebrew Rhapsody for

Cello and Orchestra (Samuel Mayes); Brahms: Symphony No. 2, in D major, Op. 73.

July 26. Brahms: Variations on a Theme of Haydn, Op. 56a; Copland: Orches- tral Suite from the Opera, "The Tender Land" (Aaron Copland, conducting);

Brahms: Piano Concerto No. 1, in D minor, Op. 15 (Rudolf Serkin).

July 31. Berlioz: Grande Messe des Morts, Op. 5 (John McCollum, Festival Chorus).

August 1. Mendelssohn: Symphony No. 4, in A major, "Italian," Op. 90; Piano

Concerto No. 1, in G minor, Op. 25 (Rudolf Serkin); Schumann: Manfred Overture, Op. 115; Introduction and Allegro appassionato, Concert Piece for Piano and Orchestra, Op. 92 (Rudolf Serkin); Wagner: Prelude and "Liebestod," from "Tristan und Isolde."

August 2. Tcherepnin: Symphony No. 4, in E, Op. 91; Mendelssohn: Violin Concerto, in E minor, Op. 64 (Isaac Stern); Schumann: Symphony No. 2, in C major, Op. 61.

August 7. Beethoven: Symphony No. 4, in B-flat major, Op. 60; Fantasy in C minor, for Piano, Chorus and Orchestra, Op. 80 (Festival Chorus); Piano Concerto

No. 4, in G major, Op. 58 (Rudolf Serkin).

August 8. Beethoven: Overture to "Fidelio," Op. 72; Symphony No. 6, in F major, "Pastoral," Op. 68; Symphony No. 5, in C minor, Op. 67.

[•548] August p. Beethoven: Overture to "Coriolan," Op. 62; Symphony No. 9, in D minor, with final chorus on Schiller's Ode to Joy, Op. 125 (Adele Addison, Florence Kopleff, Blake Stern, Donald Gramm, Festival Chorus). : ''.-' t ..

Six chamber concerts by the following groups were given in the Theatre-Concert Hall:

July 1. Kroll String Quartet July 8. New York Pro Musica July 15. Beaux Arts Trio of New York July 22. Bel Arte Trio July 29. Alexander Schneider, Violin and Leon Kirchner, Piano

August 5. Kroll String Quartet

"Tanglewood on Parade," a benefit for the Berkshire Music Center, was given

on Thursday, August 6. Arthur Fiedler conducted the Boston Pops Orchestra in a Gershwin program which included "An American in Paris," Concerto in F, for Piano and Orchestra (Earl Wild), "Porgy and Bess," Rhapsody in Blue, for Piano and Orchestra (Earl Wild), and "Strike Up the Band."

On Saturday mornings, July 4, 11, 18, 25, August 1 and 8, the Rehearsals were opened to the public for the benefit of the Pension Fund.

BERKSHIRE MUSIC CENTER The Seventeenth Session of the Berkshire Music Center, Charles Munch, Director,

was held at Tanglewood from June 29 to August 9, 1959.

BROADCASTS The Friday afternoon concerts of the Orchestra in Symphony Hall were regularly broadcast by WGBH-FM and WXHR-FM, and intermittently through the season by WAMC-FM (Albany).

The Saturday evening concerts in Symphony Hall were regularly broadcast from the beginning of the season by WGBH-FM, WCRB-AM-FM, WQXR-AM-FM (New York) and the following FM stations of the QXR Network: WXHR-FM (Boston), WTAG-FM (Worcester), WNHC-FM (New Haven), WFIL-FM (Philadelphia), WFMZ-FM (Allentown), WFLY-FM (Troy), WITH-FM (Baltimore), WNBF-FM (Binghamton), WGR-FM (Buffalo), WRRA-FM (Ithaca), WJTN-FM (Jamestown), WHDL-FM (Olean), WROC-FM (Rochester), WSYR-FM (Syracuse), WRUN-FM (Utica), WSNJ-FM (Bridgeton).

The Sunday afternoon and Tuesday evening series of the Orchestra in Symphony Hall were broadcast by WXHR (Boston). During the season WXHR broadcast every concert by the Orchestra performed in Symphony Hall.

The Tuesday evening concerts of the Orchestra in Sanders Theater, Cambridge, were broadcast on WGBH-FM and WAMC (Albany). In addition, these concerts were telecast by WGBH and WENH (Durham, N. H.) and videotaped for distribu- tion through the National Educational Radio and Television Center to almost 50

v educational TV stations in the United States. . v

[1549] Complete transcriptions of the Friday-Saturday concerts, as well as concerts of the Boston Pops and from the 1959 Berkshire Festival, were broadcast through the Boston Symphony Transcription Trust on the following stations: WGBH (Boston), WFMT (Chicago), WGMS (Washington), KCBH (Los Angeles), KAFE (San Fran- cisco), KEFM (Oklahoma City), WKRC-FM (Cincinnati), WFMR (Milwaukee),

KCMF (St. Louis), WBCN (Boston), WXCN (Providence), WHCN (Hartford), WMTW (Mount Washington, N. H.), WAMC (Albany), WVCG (Miami), KFMK (Houston), WTVN (Columbus), WJR (Detroit), WLVL (Louisville), KXTR (Kansas City), KAIM (Honolulu), KRCW (Santa Barbara), KQXR (Bakersfield), KJML (Sacramento), KEYM (Santa Maria), WCRB (Boston).

Eighteen concerts of the Berkshire Festival were broadcast delayed by WGBH-FM through the Winter Season. The nine Saturday evening Pops concerts were broad- cast by WGBH-FM, WCRB-AM-FM, WQXR and the QXR Network.

The Boston Pops Orchestra participated in the Voice of Firestone program on the ABC television network. Several of the concerts kinescoped by WGBH at Sanders Theater were distributed to television stations in Japan, Australia, Korea, the Philippines, and New Zealand in connection with the Far Eastern Tour.

The concerts of the Friday-Saturday series and the Berkshire Festival were tape recorded by the Voice of America for distribution to overseas broadcasting stations.

The concerts of the Orchestra in Washington were broadcast by WGMS. The concert of October 24 in Ann Arbor was broadcast, in observance of United Nations Day, by WUOM (Ann Arbor) and WFUM (Flint).

The six Saturday evening concerts of the Berkshire Festival were broadcast live by WQXR and the QXR Network. In addition, delayed broadcasts of the Festival were made by the stations noted above.

THE FOLLOWING RCA VICTOR RECORDINGS BY THE BOSTON SYMPHONY ORCHESTRA UNDER THE DIRECTION OF CHARLES MUNCH HAVE BEEN RELEASED SINCE MAY, 1959:

Beethoven: Symphony No. 9; Berlioz: Requiem; Blackwood: Symphony No. 1;

Haieff: Symphony No. 2; Mahler: " Kindertotenlieder" and "Lieder eines fahren- den Gesellen" (Maureen Forrester); Mendelssohn: Violin Concerto (Heifetz);

Prokofieff: Violin Concerto No. 2 (Heifetz); Saint-Saens: Symphony No. 3; Schubert: Symphony in C major (Posthumous); Tchaikovsky: Violin Concerto (Szeryng).

THE FOLLOWING WERE RECORDED UNDER THE DIRECTION OF PIERRE MONTEUX:

Stravinsky: Petrouchka; Tchaikovsky: Symphony No. 4. THE FOLLOWING RCA VICTOR RECORDINGS BY THE BOSTON POPS ORCHESTRA UNDER THE DIRECTION OF ARTHUR FIEDLER HAVE BEEN RELEASED SINCE MAY, 1959:

Music from Million Dollar Movies; Pops Christmas Party; Rhapsody in Blue; American in Paris; Slaughter on Tenth Avenue; The Song of India. RCA VICTOR RELEASES INCLUDE STEREO RECORDINGS AND TAPES.

[1550] )

2 WEEKS ONLY BEG. MAY 2 Opening Night, 8:00 P.M. Other Eves. 8:30. Mats. Wed. & Sat., 2:30. FOLLOWING ITS SUCCESSFUL BROADWAY RUN

'Theatregoers will take delight in seeing Miss Cornell and Mr. Aherne again. They are two of our most cherished

actors.' Atkinson, N. Y. Times

"A RICH THEATRICAL TREAT. DELIGHTFULLY STIMULATING." - Watts, N. Y. Post

"An entertaining evening of quips, quarrels and rarified

romance." - Life Magazine

"A BRILLIANTLY CIVILIZED AND DIVERTING EVENING with Katharine Cornell at her most enchanting and Brian Aherne giving the best performance of his career." — John Mason Brown GUTHRIE McCLINTIC

in association with

S. HUROK presents

KATHARINE BRIAN CORNELL AHERNE n JEROME KILTY'S

A COMEDY OF LETTERS Adapted for the stage from the correspondence of MRS. PATRICK CAMPBELL and BERNARD SHAW Decor by DONALD OENSLAGER Costumes by CECIL BEATON Music by SOL KAPLAN Lighting by JEAN ROSENTHAL Directed by MR. KILTY

MAIL ORDERS NOW! Eves.: Orch. $4.95; 1st Bale. $3.85, 3.30, 2.75; 2nd Bale. $2.20. Mats.: Orch. $4.40; 1st Bale. $3.85, 3.30, 2.75; 2nd Bale. $2.20. Please make checks payable and mail with self-add., stamped env. to Wilbur Theatre, Boston 16, Mass.i

[ i55» J

MUSICAL INSTRUCTION

™~

GERTRUDE R. NISSENBAUM VIOLIN

500 BOYL8TON STREET

Tel. COMMONWEALTH 6-336 1 BOSTON 16. MASSACHUSETTS

EDNA NITKIN Pianist Teacher Accompanist

5°° B( >YLSTON SlREEl Copley Square, Boston KE 6-4062

BALLING MUSIC STUDIO DEcatur 2-6990 1875 Commonwealth Avenue, Newton 66, Mass. FAirview 3-3461

PIANO taught in the best American and European traditions VOICE

MINNIE WOLK ROBERT GOMBERG PIANOFORTE STUDIO ASSOCIATES 42 Symphony Chambers, Boston ARTIST REPRESENTATIVE - 246 Huntington Avenue CONCERT MANAGEMENT opp. Symphony Hall 143 Beaconsfield Road Residence EXport 5-6126 Brookline 46, Mass. LOngwood 6-1332

HARRY GOODMAN

Teacher of Piano

ASpinwall 7-1259

[ 1552 ]