PHILHARMONIC HALL LINCOLN CENTER FOR THE PERFORMING ARTS 19 6 2-1963 ’ A NEW CONSTITUENT FOR THE CENTER

With the structure of the New York State Theater be­ ginning to rise above the plaza level of Lincoln Center directly opposite Philharmonic Hall, plans are also begin­ ning to emerge for its use. The first of these to achieve definition has just been announced, and it calls for the creation of another constituent to join the five ^Philhar­ monic-Symphony Society, Metropolitan Opera, The Juil- liard School of Music, The Lincoln Repertory Company and the New York Public Library (which will operate the Library-Museum of the Performing Arts)—now in existence. Richard Rodgers and William Schuman Titled the New York Music Theater, the new entity will be formed as a non-profit membership corporation, and will contribute any net proceeds from its operation to Music Theater will have world importance. It will have Lincoln Center. It will be under the direction of Richard great meaning to New Yorkers. To our thousands of visi­ Rodgers, who will serve without financial compensation in tors, it will be a prime attraction. But the thing that interests the double capacity of president and producing director of me is that the New York Music Theater will be a showcase the Center’s newest constituent unit. The composer of some for an art, a kind of entertainment, keeping alive great and of America’s most beloved music, Mr. Rodgers will head cherished traditions, and hopefully, creating new ones. a unit which will be represented on the Lincoln Center Plays with music—and it may mean new kinds of plays and Council as well as by membership on the Center’s Board new kinds of music—take on new promise and opportunity of Directors. in The New York Music Theater.” Present plans call for the New York Music Theater to The New York State Theater derives its identity from present two new productions from the recognized classics the underwriting it received as part of New York State’s during its first season, to coincide with the World’s Fair participation in the 1964 World’s Fair. Its facilities will be of 1964. It is expected that the New York State Theater utilized for functions relating to that participation as host will be ready for occupancy in the spring of 1964, and the state of the Fair. Among these are a spacious Grand Foyer, opening of the Music Theater’s first attraction will occur with encircling promenade balconies, which can be used about July 4, 1964. The company will perform there until for receptions, banquets, and other functions. September when it will go on tour. It will be followed in the The Theater itself, which is designed by Philip Johnson New York State Theater by activities of other constituent Associates, will seat 2,735 on six levels—the orchestra elements to come. level and six surrounding “rings” or balconies. This total In the subsequent seasons, it is probable that new works qualifies it as larger than most of the celebrated opera will also be presented in the New York State Theater by houses of Europe, including Vienna, Covent Garden and the New York Music Theater, possibly by Mr. Rodgers Paris. On the orchestra level, the seating will extend from himself. In accepting his appointment which he described side to side with no central aisle. The pit will be ample in “the greatest honor of which I can conceive,” Mr. Rodgers size to accommodate a full size orchestra for ballet, operetta said: “An undertaking such as the projected New York or most operas.

©1962 by Saturday Review, Inc. All rights reserved. Reproduction in whole or in part of any article without permission is prohibited. Printed in the United States of America. Cover photograph by Gjon Mili.

The Philharmonic Hall Program, published by Saturday Review, Inc., 25 West 45th Street, New York 36, N. Y. Staff for the Philharmonic Hall Program: J. R. Cominsky, Publisher; W. D. Patterson, Associate Publisher; Irving Kolodin, Editorial Director; Norman Cousins Chairman of the Editorial Board, Martin Bernheimer, Managing Editor; Irving Spellens, Art Director; Richard Freed, Assistant to the Editorial Director; Joseph Gasparino, Production Manager; Robert A. Burghardt, Assistant to the Publisher; Herbert J. Teison, Advertising Director Chicago Of­ fice: Raymond W. Welch, Jr., 919 N. Michigan Ave., Chicago 11, Illinois. Detroit Office: Ben R. Donaldson, Ford Auditorium, 20 E. Jefferson Detroit 26, Michigan. West Coast Offices: Fletcher S. Udall, Fletcher Udall & Company, 1221 Hearst Building, San Francisco 3, California, and 2252 West Beverly Blvd., Los Angeles 57, California.

2 LINCOLN CENTER FOR THE PERFORMING ARTS, INC.

OFFICERS AND DIRECTORS John D. Rockefeller 3rd CHAIRMAN Charles M. Spofford Arthur A. Houghton, Jr. Devereux C. Josephs VICE-CHAIRMEN William Schuman PRESIDENT Edgar B. Young EXECUTIVE VICE-PRESIDENT Robert E. Blum TREASURER Anthony A. Bliss Rev. L. J. McGinley, S.J. Gilbert W. Chapman Robert Moses John W. Drye, Jr. Irving Olds Clarence Francis Frank Stanton C. D. Jackson George D. Stoddard David M. Keiser Harry Van Arsdale, Jr. Gustave L. Levy George D. Woods

EX-OFFICIO The Mayor of New York The Commissioner of Parks Reginald Allen EXECUTIVE DIRECTOR, OPERATION William F. Powers EXECUTIVE DIRECTOR, CONSTRUCTION John W. Mazzola SECRETARY

LINCOLN CENTER COUNCIL Reginald Allen Carlos Moseley Rudolf Bing Mark Schubart Edward G. Freehafer Robert Whitehead

STAFF FOR PHILHARMONIC HALL John J. Totten, House Manager John Scott, Assistant House Manager Louise Homer, Booking Director Vern Armstrong, Box Office Treasurer Kay Schwender, Assistant Box Office Treasurer Betty Lipton, Secretary, Lincoln Center Patrons’ Desk DIRECTORY OF STOCK FACILITIES AND SERVICES Philharmonic Hall’s Philharmonic Hall two great

ESCALATORS Southeast rnrn^r [ 3t PlaZa level Southwest corner j “guest”orchestras

ELEVATORS West side [" from Plaza level to-] appear every week East side Lail levels and terracesJ

BOX OFFICE Plaza level . . Box Office corridor onWQXR (Entrance from Columbus Avenue, America’s Number One Fine Music Station from North Plaza, or from interior of the hall, by Café area)

TELEPHONE NUMBERS Box Office TR 4-2424 Philharmonic Hall TR 4-4000 Booking Manager’s Office TR 4-4000

REFRESHMENT SERVICES Café on Plaza level, facing South Bar service before and after concerts and during intermission Lunch, dinner and after-concert sup­ per service. Reservations: TR 4-2050 ORMANDY AND THE PHILADELPHIA...

REST ROOMS memorable concerts at Philadel­ Plaza level, rear of Café area phia’s Academy of Music...every Auditorium levels: in East and West Thursday evening at 8:05. Promenades on all levels

HOUSE MANAGER’S OFFICE Northeast corridor on Plaza level, adjacent to Columbus Ave. entrance

GREEN ROOM Northwest corner of Loge Promenade

LOST AND FOUND House Manager’s Office

TELEPHONES, COAT ROOMS Adjacent to Café on Plaza level LEINSDORF AND THE BOSTON...in its TELEPHONES first season under its noted new Vestibules to the Rest Rooms on all Auditorium levels conductor, at Boston’s Symphony clearly... Hall... every Saturday evening at House Doctor and First Aid facilities 8:05. the dry-est are available at all performances. Ask Vermouth the nearest usher Both in dramatic FM Stereo on Doctors who expect to be called during performances may give their seat lo­ WQXR IMPORTED DRY & SWEET VERMOUTHS • BRANDIES • cations to an usher, who will advise 96.3 FM 1560 AM the House Manager Radio station of The New York Time»

6 Brahms F. Mraninsky uses body and .

k a

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Balance! with the left hand restraining ' in the left hand, with the right

In the mass, orchestras of the world have few elements to distinguish them one from another: the uniforms (tails), the instruments, the playing postures are largely identical. Visitors from Leningrad But the mass is made up of individuals and these have their distinctive traits, especially such as an in­ dividual as Eugene Mravinsky who conducted the Leningrad Philharmonic's first appearance in Philhar­ Russia’s Oldest Orchestra Visits Philharmonic Hall monic Hall. A graduate of the Kirov Theatre, Mravin­ sky has developed his own methods of communication, During Its First American Tour as depicted in the accompanying photo sequence. photos by John Ardoin A typical Sunday afternoon at the Café Figaro. Eric Leber, harpsichord, Martha Bixler, soprano recorder, and Morris Newman, bassoon, play a seldom-heard Handel sonata Eine Kleine Kaffee-Musik

ver sixty city blocks separate country and this age, at least) has made the big, shiny Philharmonic Hall its impact on the local scene, bringing Oand the small, relatively dingy coffeewith it a new audience. houses of Greenwich Village. But both The quality of the music-making in­ establishments represent current links volved is surprising, as is the freshness with long-standing musical traditions. of the programming, not to mention the Though the coffee-house concerts can­ devotion and sophistication of the listen­ not compete with those of Lincoln Cen­ ers. (Coffee, by the way, is not served ter in scope, their purposes are musically simultaneously with the music, and no complementary. one is seated while the music is being It all began 250 or so years ago, made. The audiences may not be as when the coffee houses of central Eu­ well-dressed as their uptown counter­ rope functioned somehow as artistic parts — shaggy sweaters and equally meeting places as well as artistic market shaggy hairdos dominate — but their places. In Bach’s days, coffee—that manners are beyond reproach.) exotic and relatively unknown beverage The succession of events that pre­ —lured intellectuals away from their ceded the establishment of this neo­ books and learned occupations. Tinged Baroque musical development involves with the attractiveness of novelty per two kinds of struggle—one predictable, se, its serving frequently provided the and one rather surprising. Anyone fa­ framework for creative demonstrations. miliar with the facts of musical life is The famous “Coffee Cantata” of Bach also familiar with the financial prob­ had a dual purpose, for it satirized lems that beset any new undertaking. coffee’s popularity at the same time as And if the newness is to involve so it furnished a specific university coffee­ unreliable a variable as a non-paying house with entertainment. audience composed primarily of beard­ “Schweiget Stille, plaudert nicht!” the ed poets, intellectuals, students, a few singer implores his audience at the be­ beatnicks and non-conformists of other ginning of the “Coffee Cantata”—“Be catégories, the attending problems might still, stop chatting.” Such an admoni­ give even the most determined im­ tion is seldom necessary, however, in presario-to-be a head-ache. the Village today, where several coffee­ The minds behind the first Village house concerts have become Sunday- coffee-cup serenade were prepared for afternoon institutions. A new brand of difficulties in this respect. They were chamber-music concert (new for this continued on page 43 10 Neighbor to the North

i C FJThe largest and most complete out. Then, too. Riverside Drive was from Mrs. Rector of Rector’s Restau­ 1 apartment hotel in the world’’ opening up from the foot of West 72nd rant fame to the evangelist Charles H. and in its day Broadway's biggest and to Grant’s Tomb, a march of mansions Parkhust and W. L. Stoddard of Stod­ most pretentious, the Hotel Ansonia at which briefly threatened the supremacy dard's Lectures, with stops in between Broadway and 73rd Street, has always of Fifth Avenue itself. A location just for theatrical stars like David Warfield, been a mecca for the music-minded. off the Drive and above Lincoln Square Frances Starr (who later helped run Designed at the turn of the century by seemed ideal for a luxury hotel, where Washington’s Wardman Park Hotel, for Stanford White, it cost about $4,000,- suites ranged from five rooms and bath which the Ansonia may have been the 000. (John Jacob Astor’s original St. to eighteen rooms and four baths. More inspiration), DeWolf Hopper and com­ Regis, opened in 1904, cost about than half a century later, some of edian Al Shean of the vaudeville team $2,000,000.) Architecturally, it was a Stokes’ dreams may come true; with of Gallagher and Shean. period in which everything aped a Eu­ Philharmonic Hall, the new Metropoli­ Essentially the Ansonia with its thick, ropean model, even Pennsylvania Sta­ tan Opera, a repertory theatre, a cham­ virtually soundproof walls and ’’hung'' tion was adapted from the Baths of ber music and recital hall, and the new ceilings, was a natural center of gravity Caracalla in Rome, and nobody thought home of the Juilliard School of Music for musicians. Thus pianists Moriz Ros­ there was anything odd about a seven­ all within easy walking distance, no- enthal and Alexander Siloti (composer teen-story French chateau. The Ansonia iow knows for sure. and mentor of Rachmaninoff, his fre­ still occupies forty-two city lots span­ roster of leading singers, conduc­ quent guest) rubbed elbows in the ele­ ning the Broadway block between 73rd tors, instrumentalists and impresarios vators with Metropolitan singers Emmy Verdi Square, wùh statue of composer (and pidgeon). In background, and 74th streets, but, though it houses who once called the Ansonia home pro­ Destinn, Titta Ruffo, Friedrich Schorr, about 1,000 persons, it no longer boasts vides a kind of who's who in music in Giacomo Lauri-Volpi and others. Two the list of accommodations that once Manhattan for the first quarter of the of the Metropolitan Opera's three prin­ cleaned up Verdi. To cap the climax, surpassed the Waldorf—a lobby foun­ century. And part of the Ansonia’s cipal conductors, Giuseppe Sturani and ified Miss Ponselle sang "Pace, Prize-winning playwright Elmer Rice. to the infinite relief of the switchboard, tain, for instance, where live seals dis­ charm for musicians lay in the fact that Alfred Hertz, were residents, along with o dio" (‘‘Peace, O Peace, my Despite the annoyance created by little ended the confusion over the Ochs- ported, one of New York’s first rooftop major managers lived there too. It used Toscanini’s son, Walter, and his balleri- rom Verdi's La Forza del Des- Yehudi Menuhin (the prodigy practiced Oakes nomenclature. ‘‘Miss Nanny" restaurants, two swimming pools and an to be said that anybody who wanted to the accompaniment of swirling his fiddle downstairs in the summer- Ochs of The New York Times publish­ art gallery. But as the Lincoln Square start a concert bureau needed only to Gcnnaro Papi, the friend of Caruso (an­ y traffic. The story made won­ time when the windows were open), ing family refused to go along with the Redevelopment Program flattens the move in—there were more than enough other familiar visitor). Maestro Sturani, derful copy, and everybody except the Rice remained in residence from 1931 younger generation in the Anglicization blocks below it from 70th Street to the musicians in the bizarre building to go who conducted many of Mary Garden’s Park Commissioner was happy. Now to 1940, while ten of his plays, includ­ of the name, with the result that mem­ Coliseum, the Ansonia may, after a around; and others, equally well known, first American performances, lived that Miss Ponselle is living in her Villa ing Counselor-at-Law; We, The People; bers of the same family who spelled and quarter of a century, be due for a come­ came often as visitors. At the time when there long before he became a vocal Pace near Baltimore, however, the pi­ Judgement Day and Flight to the West pronounced their names differently still back in terms of the fame, mostly mu­ Giulio Gatti-Casazza, longtime General coach for such performers as Helen geons have gone back to the great were produced on Broadway. Less well lived in the same apartment. sical, of its residents. Manager of the Metropolitan Opera, Gleason, radio's Lanny Ross, and Bar­ Giuseppe. The Ansonia still houses resident mu­ The builder of the Ansonia was and his wife, leading soprano Frances bara Gibson. The leading Met soprano Artists themselves helped keep the Henry Bellaman, who ground out one sicians like the Metropolitan’s Thelma W. E. D. Stokes (1852-1926), who in­ Alda, occupied a suite, the spectacular Rosa Ponselle frequently visited her Ansonia’s name in the news. When Votipka and conductor Fausto Cleva, fortune estimated at $11,000,- showman Florenz Ziegfeld, then mar­ accompanist, Romano Romani. Lauritz Melchior returned from hisAfrica wife helped balance the budget by and such former stars as Bidu Sayao, spent it on real estate specula- ried to Billie Burke, lived in another. Diagonally across from the Ansonia’s laden with trophies from a big game giving singing lessons. In a private hide­ her husband Giuseppe Danise, and bari­ spcctacular divorces—and the Somewhere in between Gatti and Ziggy Broadway entrance is Verdi Square, a hunt, his press agent, Constance Hope, away, uninterrupted by maid service, tone Herbert Janssen. And the massive named for the little Connecti­ lay the province of Sol Hurok, who saw tiny triangle in traffic, bench-lined and got Zuck to install an archery target at the telephone or the sound of music old pile is honeycombed with teacher’s near New Haven in which he to it that many of his attractions, like graced with a statue of the composer in one end of the 110-foot corridor out­ lessons, Bellaman finished the requested studios. As it was in the beginning, the When Stokes was young, the the great Russian basso Chaliapin, vio­ whose operas Ponselle often appeared. side the Great Dane's seven-room suite. revisions to his greatest success, King's corridors still echo with “Un Bel Di" headquarters for show business, which linist Mischa Elman, and the Habimah The soprano once complained to Man­ Then she called in the photographers Row. and the evidently endless efforts of pian­ also included opera and the sporting Players, made the Ansonia their head­ ager Louis Zuck that pigeons in the and the mighty hunter posed with bow In the late 'twenties, the neighbor­ ists to master Chopin. The pit-a-pat of world, were on Manhattan’s East Side quarters. as did Hurok himself from square were desecrating the memory of and arrow in hand, taking aim (at no hood gradually went to seed, and the aspirants to the rank of ballerina, en between 14th Street and Madison 1923 to 1927. the master. After endless correspon­ risk to, but much to the annoyance of, hotel which had once averaged more route to practice in their flat-heeled Square. Almost as if in unison, these Celebrities were a dime a dozen in a dence with the Park Commissioner, who. the other tenants in the corridor). Of than $ 1,000 a year per room went with slippers with such a coach as Mar­ had leap-frogged up and across town hotel in which even the night room in effect, refused to clean up the statue, kova’s teacher, Vincenzo Celli, is com­ to Longacre Square—since renamed clerk was destined to become Mayor erected in 1906 by the same Italian letting 0y, but the papers responded ap­ embarrass the Ansonia florist by send­ monplace in the bleak, uncarpeled halls, Times Square—at Broadway and 42nd. of the city. (Vincent Impelleteri. stud­ community which had commemorated propriately. ing great bouquets to Geraldine Farrar haunted by the shades of Chaliapin. No­ Nothing, Stokes felt, would stop another ied law between requests at the desk Columbus at Columbus Circle and Other tenants, too, helped fix the An­ are over (Toscanini’s floral tributes just body knows when another Lily Pons long leap north to Columbus Circle and from, among others, the diplomat John Dante, of all people, at 63rd and Broad­ sonia's role as G.H.Q. for musicians. happened to be identical with those sent may soar to fame overnight: it has hap­ to Lincoln Square at Broadway and Bassett Moore and Senator Royal S. way, Zuck called in the newspapers and Singer Maria Guy, wife of the tenor her by the famous silent screen star Lou pened before at the Ansonia. Perhaps 65th. Construction of handsome new Copeland, who had an eleven-room roof­ newsreels. While a battery of leading Zcnatcllo and friend of Toscanini dur- Tellegan, whom she later married); it will again. theatres in the area seemed to bear him top apartment.) Other residents ranged musicians looked on, porters in An- aestro’s ten-year tenure in the even the florist himself is gone. So also, NELSON LANSDALE was not an official Metropoli- 14 , but she had heard a young soprano, unknown in Paris, in a pro­ vincial French opera house. Miss Guy brought the singer and her Dutch first husband to New York, installed them quietly at the Ansonia, and within three weeks saw her sign contracts with Vic­ tor. the Metropolitan, and a major mu­ sical manager. This fast work soon resulted in Lily Pons' sensational debut at the Met in Lucia di Lammermoor in 1930. Although the Algonquin downtown was New York’s foremost hotel for wTiters. some preferred the bejeweled Bohemian atmosphere at 73rd Street. One long-time Ansonia resident was Theodore Dreiser, another the Pulitzer In anticipating the response to his performances with the Philharmonic, Katchen admits more concern for the opinion of the audience than for that of the critics. He is the first to acknowl­ edge that critical approval is a pleasant reinforcement, but adds that the audi­ ence itself has always been the decisive stimulant in his career. It is the audi­ ence, he claims, that ascertains the validity of his musical convictions. Ap­ plause provides the primary gauge of a performer’s success (or failure) in com­ ulius Katchen, whose current ap­ younger. Also a former prodigy, Maazel municating the composer’s ideas, and pearances with the New York Phil­ temporarily gave up music for literature his own. Jharmonic are his first in America forstudies, went to Europe on a grant, re­ Cool receptions, he adds, have been more than a decade, is something of a turned to music, and this year made a just as instructive as enthusiastic ones, pianistic paradox. Although American belated U.S. comeback as an established especially when that reception contra­ born (Long Branch, New Jersey), performer.] dicted his own impression of the per­ American trained, and already popular Talking a few weeks before his Phil­ formance in question. The artist’s prob­ through a prolific LP repertory, this harmonic Hall debut, Julius Katchen lem, as Katchen sees it, is to find the young virtuoso has made his adult seemed fully aware of his paradoxical proper balance between accuracy and career almost exclusively outside his career and its possible consequences. emotion. To judge his own success in own country. He could refer to past successes real­ that delicate balancing act, he trusts Katchen approaches his return to istically, with neither false modesty nor immediate applause more than his own the States much as an established Euro­ undue conceit. He looked to the im­ feelings—or those expressed later in pean artist might approach an Ameri­ mediate future with a combination of print. can debut. His problem is a familiar the insecurity that comes from facing Katchen insists, however, that it is one to musical expatriates—how to a new obstacle, and the security of foolhardy to patronize an audience. transform European achievements and having conquered similar ones in the “The basic challenge to an artist is prestige into native acceptance. The past. getting people to listen, and to trust feat has as much to do with conquering In terms of actual preparation, there him. Once rapport is established,” he snobbism and the-grass-is-always-green- was little to be done beyond rehearsing, continues, “you can play the Diabelli er attitudes as it does with demonstrat­ and, perhaps, getting to know Philhar­ variations for Ritual Fire Dance fan­ ing artistic prowess. (“Being young, monic Hall. To accomplish the latter, ciers.” known here, and an American to boot he planned to hear Eugene Istomin In general, the pianist disapproves of is not always advantageous,” Mr. Kat­ play Brahms’ Second with the Philhar­ the “mixed grille” programs so popular chen claims.) monic (Katchen likes listening to his in America, especially outside the larger The Katchen career began when the colleagues), and, if possible, roam cities. Playing too wide a variety of pianist made his first public appearance around the house during a concert to works in a single evening, he feels, can at eleven. Soon he found himself play­ test the acoustics in different locations. do justice neither to the composer nor ing concertos with major orchestras The results of this personal sound sur­ the styles represented. At the same under such maestros as Ormandy and vey, he said, might affect his pedal time, it deprives the audience of sub­ Barbirolli, and comparisons with Men­ technique. stantial insight into any single musical uhin (translated in terms of the key­ Among European concert halls, he area. board, of course) became standard. confessed special affection for the “old He admits that a varied program can His parents insisted, however, that he fashioned” Concertgebouw; but the serve as an effective “calling card” for retire from professional life, and the “drier” sound of auditoriums like the a new artist, who must demonstrate career was temporarily interrupted so Royal Festival Hall in London—to his skills as much as possible in a that the fourteen-year-old prodigy which Philharmonic Hall has been com­ limited time. Speaking of himself, how­ might have a “normal” education. Upon pared—poses no problem. He has ever, Katchen declares (hopefully): “I graduation from Haverford (Phi Beta played in Festival Hall alone over must no longer prove that I can play Kappa in literature, and at the head seventy times. everything from Bach to Bartók.” He of his class), he received a fellow­ prefers to concentrate on one composer ship from the French government. In or period, or play two or three “com­ Europe, he once again supplemented plementary masterworks” per evening. scholarly activities with music. Engaged “The ‘lollipops’ are fine for encores, but to open the first international UNESCO a concert, for me, is more than mere festival in 1946, Katchen returned to entertainment.” the keyboard. Soon thereafter, he found We wondered how an artist so sensi­ himself one of the busiest pianists on tive to niceties of programming and the continent. audience rapport adjusts to record-mak­ The adjective “busy” is justified by ing. Katchen claimed that there was appearances on six continents in forty- very little difference between the live two countries, an active repertory of and tape media as far as his approach thirty-one concertos (performed with was concerned. He likes to record in 122 orchestras under 140 conductors), long “takes,” seldom breaking up move­ and thirty-four LP recordings. ments for corrections or improvements. [In many ways, the Katchen career After a section has been recorded two finds a remarkable parallel in that of or three times, it is his custom to “re- Lorin Maazel, who is two years continued on page 30

18 SPEAKING OF PROGRAMS

who has some fund of coordinate com­ N reviewing the materials on which with a five-part Handel suite, proceeds with somebody’s theme and variations, parison to draw upon as he listens. He “Speaking of Programs” has been is almost certain to derive from the im­ Ibased—a fair share of years of listening and is then followed by the music from Strauss’s “Bourgeoise Gentilhomme,” mediate impact of the work to which to same—the thought occurred that the he is listening some stimulus toward longest and shortest of them stand out, with Respighi’s “The Birds” to con­ clude, and the likelihood is strong that other creations of the same composer, frequently enough, in a ratio inverse to or men whose careers have been tan- their actual content. That is to say, its interest will begin to wane before it is half over. So many alterations of gental. If so, why not provide them chronological time and elapsed time directly, as in the pairing previously have very little to do with each other tempo and mood, emphasis and propor­ tion, so little that is consecutive and noted? This has the advantage of creat­ where a musical experience is con­ ing a common focus of interest among cerned. cumulative must inevitably cause a musioal sequence to seem much length­ all the listeners, which is always a subtle So far as occupational effort is con­ formula for that community of attention cerned, singers have much the better ier than it actually is. Indeed, the experience that is con­ which makes time seem to pass quickly. of their colleagues, whether pianists, One misfortune, of course, is that too violinists, or whatever. The sober facts secutive and cumulative, no matter the form it takes, is almost always going to many programs, whether symphonic or were forcibly impressed at an early point solo, are made to suit the interests of the of journalistic experience when circum­ seem deceptively short. A singer per­ forming Schubert’s “Winterreise” or performer rather than the listener. stances required attention to two events Rather than proceding on the premise on the same evening. One was a pianist “Schöne Müllerin,” a pianist undertak­ ing the Schumann “Fantasy” or “Kreis- that a musical sequence of interest performing a usual pianistic program to the audience will automatically be in Carnegie Hall; the other was a well- leriana,” a violinist doing the D-minor unaccompanied Partita of Bach—assum­ of interest to the performer, the known baritone of the time performing listener will find himself serving the kind of miscellany most well-known ing that each can deal with his task on reasonably equal terms—is automatical­ the ends of the performer, and baritones of any time perform in Town not vice versa. As, for example, when Hall. ly assured of much more concentrated listening for the simple reason that the a certain conductor wanted to perform Justice tempered by convenience the sixth symphony of Mahler, balanced prompted attention first to the pianist— sustaining line for attention has been built into the music by the composer, by the E minor concerto of Chopin with a toccata or two, a sonata, a fantasy or a favorite pianist. Common sense as well so, and it was intermission time. In less and need not be fabricated by the per­ former. All he (or she) need do is to as musical justice decreed that the con­ time than it takes to tell, attention had certo MUST come first, followed by the been shifted from Carnegie to Town take advantage of the ground plan pro­ vided by the creator. But, let him take symphony. But not the common sense Hall; but even so, not soon enough. of this conductor, who, apparently, For in about the time it had taken the on a sequence of Schubert waltzes, say, or a miscellany of Chopin etudes, or a feared that he might lose his Chopin- pianist to play a toccata, a sonata and satisfied audience due to their Mahler- a fantasy, the well-known baritone had random collection of Debussy preludes, and he is deprived of an ally beyond apathy. Needless to say, they found the done everything expected of him, and Mahler all the more interminable for more. This was a useful lesson learned compare—the sense of progression and fulfillment developed (in the course of having to wait it out to hear the Chopin. at the expense of hearing the baritone Needless to say, the surest formula (it happened to be John Charles his career) by any composer whose music is worth performing. for a musical experience that will seem Thomas) only perform his last encore. to have passed “in no time” is a per­ The only thing that remained was to In the arrangement of symphony pro­ grams, one of the shortest known to formance so absorbing that time itself commend the Thomas performance of will seem to have been at a standstill the encore, and congratulate him pub­ me is the partnership of Beethoven’s first and ninth. It may be alleged that while it was in progress. This is much licly for having chosen a form of career easier to prescribe than to realize. Such so sparing of his evenings’ time. Con­ this is as much a psychological matter as a musical, that it embodies such extra being the case, a sequence of works so siderable experience since then has artfully collated, balanced and juxta­ demonstrated beyond question that it is musical considerations as the span of time between the works as well as the posed that the mere anticipation of them a rare singer, beginning at 8:30 or is enough to arouse delight, may share thereabouts, who hasn’t finished by a actual contents of the works themselves —in short, that the mind may be re­ some of the burden of proof otherwise few minutes after ten. wholly on the performer. The rub is, of Of course, this is no guarantee that viewing, as the first is being performed, the panorama of music that followed, course, that a performer capable of the evening has seemed as short as it arranging such a menu is probably a . has actually been. Nothing strains the and, while the ninth is unfolding, the retrospect of music that preceded. fair hand at serving it tastefully; while attention, whether directed toward an the one who overloads the table with individual performer or the playing of If so, that much the better. No musi­ cal experience is complete in and of too many starches, carbohydrates and a symphony orchestra, more than a calories, generally is likely to over- or plethora of small pieces—or “move­ itself as it is progressing—at least, not undercook them too. irving kolodin ments.” Show me a program that begins for the reasonably experienced listener,

22 LINCOLN When you CENTER have “nothing TEACHERS to wear’.’ 'a try on INSTITUTE / Je Reviens Perfume One of the major problems fac­

ing students of the Arts in America involves the gap that currently sepa­ rates education and performance. There is a growing scarcity of active teachers who have had (or have) professional experience. And, equally serious, communications between ed­ ucational and professional institu­ tions tend to be either skimpy or non-existent. Each year, countless numbers of young musicians, actors and the like leave their graduating classes only to find that, although their studies have been satisfactorily completed, both experience and necessary contact with the working professions to which they aspire are still lacking. A new project at Lincoln Center, however, promises to do much in the future to ease that predicament. The Lincoln Center Teachers In­ stitute will be developed soon in co­ operation with educational systems throughout the country. The purpose PARFUMS of the Institute will be to offer teach­ ers the opportunity of advancing WORTH their own professional performing PARIS skills. YOU’LL SCARCELY NEED anything MORE. Je Reviens perfume is a unique concentration Under this plan Lincoln Center of the world’s finest scented oils, blended with the care of the original House of Worth will bring some 400 to 600 teachers (circa 1859). Your wardrobe can contain Perfume, Cologne, Talc, Bath Oil, Soap and of the performing arts to the Center each summer to study with leading Powder, all made and sealed in France. From $45. to $4. plus tax. At stores of distinction. artists in their fields. Every teacher will be given a pro­ gram of independent work for the winter months, leading to a resump­ tion of studies the following summer. The winter program will include the Buy or Sell assembling of other teachers in vari­ ous communities across the country PIANO BROKERAGE SERVICE to form their own performing groups Exclusively arranges purchases and sales of Steinway, Baldwin, Knabe, in music, drama, and dance. Mason and Hamlin and other fine used pianos ’directly from seller to Lincoln Center will implement the buyer. program by sending leading artists to the local communities during the We charge only a flat 5% commission at time of sale. winter to observe, evaluate, and guide Without obligation or charge we will gladly appraise and offer infor­ the group activity. Participation in mation on how to repair a family worn instrument. the local group program need not be limited to teachers but can include Write for our free up to date lists of pianos wanted or for sale. students and adults gifted in the per­ PIANO BROKERAGE SERVICE forming arts. Box 274, Old Chelsea Station Further details pertaining to the New York 11, N.Y. Teachers Institute will be announced at a later date.

24 PHILHARMONIC HALL LINCOLN CENTER

Sunday Evening, November 18, 1962, at 8:30

S. Hurok

PRESENTS Artur Rubinstein PIANIST

BACH-BUSONI Chaconne

BRAHMS Capriccio in B minor, Opus 76 Rhapsody in E flat major, Opus 119

BEETHOVEN Sonata in C major, Opus 2, No. 3 Allegro con brio Adagio Scherzo: Allegro Allegro assai

INTERMISSION

RAVEL Vaises nobles et sentimentales

PROKOFIEFF March, from “The Love for Three Oranges”

DEBUSSY Hommage a Rameau Poissons d’or

LISZT Hungarian Rhapsody No. 12

STEINWAY PIANO RCA VICTOR RECO1

Exclusive Management: HUROK CONCERTS INC., 730 Fifth Avenue, N.Y. 19, N.Y.

A THE TWO RUBINSTEINS

s some but not all of the public are being Artur. you meet them in Cleveland or Kansas aware, there are not one but two Arthur is quite another sort alto­ City or Seattle after a concert . . .” Aworld famous persons named Rubingether.­ From his carefully barbered, When something was said about his stein, whose name, picture, and atten­ well brushed hair to the soles of his technique of dealing with the situation, dant activities frequently appear in the immaculately polished boots, he is less he answered: “Oh, it’s easy. I always press. One is the personality of the con­ a fashion plate than a man of fashion, say, ‘And how is the family?’ and cert stage, usually shown in the uniform gregarious and communicative, suited from then on, I’m on safe ground.” of his profession—white tie and tails— and shirted to a casual elegance as well On some other occasions, the line seated at the piano. He is, of course, considered as it is unostentatious. Orna­ may be actually obliterated, as he Artur Rubinstein. The other is a person ments are confined to a pearl stick-pin, brought to mind at another meeting. of private (well, relatively private) life, which, being very small, is no doubt very Something in the conversation turned who has had life-long friendships with costly. He likes to stroll the streets with his thoughts to Italy, and his experi­ many of the notables of his time, rang­ the more expensive shops of the city in ences of recital giving in that country. ing from the present Duke of Windsor which he happens to be, with an eye The commitment of the day was to go in various earlier phases to authors and to what is elegant and interesting. by train to play a recital in such a me­ painters, actors and playwrights. He, by Thus enjoying the professional efforts dium sized city as Parma or Palermo, choice, is Arthur Rubinstein. of Artur, alter ego Arthur may fre­ or maybe it was Pisa. In any case, as the I know of no other contemporary quently be seen on non-concert days in journey progressed, he became increas­ who leads a similar kind of double ex­ a restaurant that momentarily appeals ingly uncomfortable, and by the time istence, in which he is Artur before re­ to him, in a leisurely luncheon with a the train reached his destination, he was cital time and during the discharge of friend, or a particularly favored mem­ suffering acutely from a digestive upset. his public function, following which ber of the press. If it is Cote Basque or He made his way to the hotel, and he reverts to being Arthur. In the course Le Pavilion, he is almost as much at asked for a doctor at once. Something of a busy season, during which he may home as under his own spacious roof, had to be done if he was to give his play two or three times a week, this occupying a table where few passers-by concert that night. could be a taxing challenge in self-iden­ escape his attention and hardly many Dusk was settling down as an elderly tification. But, so far as I have heard, more are strangers to him. He enjoys medico appeared, obviously annoyed he has not been known to complain. this world not only for the eminence he with a call at that in-between hour. He Artur (a professional name which has occupies in it, but also because he knows examined him in a cursory way, anxious become mandatory in recent years) is a the subject,of the table—liquids as well to make the call as short as possible. nose-to-the-grindstone fellow, who still as solids—as well as friend Artur knows “This is a great inconvenience,” he practices dutifully because, so he says, the well-thumbed contents of his com­ complained, as he wrote a prescription he cut corners in youth and thus doesn’t plete Chopin. Schubert, Beethoven, for a powder to relieve his patient’s have the automatic kind of muscular Brahms. Artur may puzzle about which distress. “I must go home to dress to response. In the time of concert giving, of the fifteen ways to play a phrase is take my daughter to a concert. Rubin­ he makes few engagements, rarely goes the only one, but Arthur knows there stein is playing here tonight.” out during the day, sticks to the key­ is only one way to light a cigar—with “But,” said the recumbent figure on board and no other companionship than a wooden match, the end ignited before the bed, “I am Rubinstein, and I can’t a favorite cigar. There, in concentrated the smoke is drawn. play tonight unless you give me some­ absorption with his problem, he works Sometimes, of course, the line be­ thing to make me feel better.” at the music he is to play with the prac­ tween Artur and Arthur is rather thin, The dottore looked at him, shook his tical fanatacism of a man who knows to the point where it may become in­ head and went away. there are fifteen ways to play the visible. One such occasion occurred “It was not that he didn’t believe simplest phrase and isn’t sure he has when I was trailing him through the I was Rubinstein,” he went on. “He yet found the best, the perfect, the pre­ lobby of the Hotel Plaza en route to a just didn’t want to associate this ill, ordained one. Surrounded — when at lunch. It was the holiday season (Ar­ sickly fellow in a rather gloomy hotel home in Manhattan or Paris—by walls thur’s favorite time in New York, if room with the man in the white tie with now-priceless paintings (many ac­ not Artur’s) and he was suddenly the and tails he was looking forward to quired in his earlier years when he got center of a knot of adults and young­ seeing on the stage that night. I realized to know art from the artists who were sters, clearly in town from out of town. that, so I couldn’t get angry with him.” his friends), Rubinstein, though clad in He was all affability, smiles and friendli­ Which shows that come what may a silk dressing gown, is as concentrated ness. Later he explained: “I never saw and difficult as it may be for one to as a debutant as he strives mightily and those people before, so far as I could cope with the other, Arthur is still by the hour to satisfy the importance of tell now. But it happens all the time— Artur’s best friend. irving kolodin MANHATTAN SCHOOL OF MUSIC AT JUILLIARD

When the Juilliard School of Music moves into Lincoln Center, an occurrence now scheduled for 1966, another educational institution will take over Juilliard’s former building. The Manhattan School of Music, it was announced recently, has pur­ chased the Juilliard property at 122nd Street and Claremont Avenue (for a reported $4,000,000) and is pre­ pared to transfer activities as soon as Juilliard vacates. Negotiations for the sale were in­ itiated by William Schuman, who resigned the presidency of Juilliard in January to become president of Lincoln Center, together with the director of the Manhattan School, John Brownlee. (Before becoming associated with the academic world, Mr. Brownlee was a leading baritone The Baldwin Piano Company, observing its 100th —and later stage-director—at the year in music, salutes Lincoln Centerforthe Perform­ Metropolitan Opera.) When Juilliard moves to the Cen­ ing Artsand each of the distinguished musical artists ter, it will become a smaller school featured in its opening series of concerts in Phil­ devoted exclusively to the training of harmonic Hall. The qualifications that recommend exceptional students in all perform­ ing arts. By moving to larger prem­ Baldwin to noted artists are a guide to your own ises, the Manhattan School, in turn, selection of a superior instrument. will be able to expand its program for college-age students and continue the ambitious preparatory division now maintained by Juilliard. This divi­ sion will function as a combined project of both institutions. Dr. Peter Mennin, president elect of Juilliard, expressed satisfaction with the new plan. “It is logical,” he said, “that the superb Juilliard plant should continue to be utilized for the twenty east fifty-fourth, street, new york. purpose for which it was originally designed. This marks another major step in the further development of musical training . . . and will reflect positively in future years on the musical scene.” The “superb Juilliard plant” men­ tioned by Mr. Mennin is seven stories high, and includes a concert hall seating 991, a smaller recital hall, 4 large rehearsal halls, 45 studios, 20 classrooms, 45 practice rooms, a library, a recording studio, 10 faculty offices, lounges, adminis­ THE RESTAURANT OF AUTUMN trative offices, and a cafeteria. The building was erected in 1930. 99 EAST 52nd STREET, NEW YORK

P L a z a 1-4300

J COMING PHILHARMONIC PROGRAMS

Thursday, Friday, Saturday, Sunday, Thursday, Friday, Saturday, Sunday December 6, 7, 8, 9 November 22, 23, 24, 25 BARBIROLLI BOEHM Aldo Parisot, ’Cellist Julius Katchen, Pianist Haydn: ’Cello Concerto, D major Einem: Suite, “Dantons Tod” Mahler: Symphony No. 9 Schumann: Piano Concerto Beethoven: Symphony No. 7

Thursday, Friday, Saturday, Sunday, Thursday, Friday, Saturday, Sunday, December 13, 14, 15, 16 November 29, 30, December 1, 2 MAAZEL, Conducting BARBIROLLI Christian Ferras, Violinist Gina Bachauer, Pianist Mendelssohn: Symphony No. 5 (“Reformation”) Milhaud : Ouverture Philharmonique (World Premiere) Berg: Violin Concerto Delius: Interlude, “Fennimore and Gerda” Beethoven: Symphony No. 5 Beethoven: Piano Concerto No. 4 Brahms: Symphony No. 2

From the artist’s point of view the choice of ARTUR RUBINSTEIN is the Steinway ... the name that stands for the finest in tone and technical precision ... for the home as well as the concert hall.

STEINWAY* SONS STEINWAY HALL / 109 West 57th Street, New York 19, N.Y. MEET THE ARTISTS

OTTO KLEMPERER ARTUR RUBINSTEIN concerts abroad for some seasons, he The noted German The celebrated pi­ resumed tours of Europe in the 1950s, conductor, who is anist, who made his extending his territory into Scandinavia returning to Amer­ American debut and Spain. Mr. Goldsand, who is fond ica to lead the Phil­ (with the Philadel­ of giving his programs unity in terms adelphia Orchestra phia Orchestra) in of the composers or subject-matter in at Philharmonic 1906, made New volved, has presented in New York six Hall, was born in York piano history concerts devoted to Chopin, seven to Breslau in 1885. last year with ten the sonatas of Beethoven, and three to His mother taught different concerts modern piano music, as well as radio him to play the pi­ within forty days cycles covering the entire keyboard out­ ano at the same at Carnegie Hall. put of Bach, Schumann, Schubert and time she taught him the alphabet. Klem­ In tribute to what the pianist called “the Brahms. Recently, he presented three perer gave up his studies at the age of indulgence of the New York public,” recitals under the title “Creators of sixteen to enter the Frankfurt Conserva­ he donated the receipts of that series Piano Music,” which involved a survey tory, from which he eventually moved to charities. After preliminary lessons of works by thirty composers from to Berlin to work with Pfitzner, Schar- in his native Warsaw, Mr. Rubinstein Mozart to the present. He is one of wenka and Kwast. His conducting debut studied piano with Heinrich Barth and four musicians currently holding the took place in 1905, when he led Rein­ theory with Max Bruch in Berlin. He honorary degree of Doctor of Letters, hardt’s production of Offenbach’s Or­ made his European debut with Joachim conferred by Miami University. pheus in the Underworld. Soon there­ as conductor in a Mozart concerto, and after, Gustav Mahler recommended soon toured Russia with an orchestra Klemperer for a conducting post with under Koussevitzky. Mr. Rubinstein, RUGGIERO RICCI the Prague Opera; more imposing duties now an American citizen, revisited Po­ Born in San Fran­ in Hamburg, Bremen, Strasbourg, Co­ land in 1958, after an absence of twenty cisco in 1920, Rug­ logne and Berlin soon followed. His years, and was reecived with tremen­ giero Ricci was the first American performances took place dous enthusiasm there. (A weeping second of seven in 1924, when he appeared as guest con­ audience in Warsaw gave him the children of an im­ ductor of the New York Symphony. second standing ovation in the country’s migrated Italian One of his most responsible positions, musical history; the first had gone to family. At the age however, was the directorship of Ber­ Paderewski.) In addition to his well of five, he had lin’s Kroll Opera, which he took over in known musical achievements, one could learned all about 1927; here he championed experimental mention cinematic ones, for Mr. Rubin­ music that his fa­ works of Hindemith, Schoenberg and stein has appeared in several Hollywood ther, a trombonist Janacek. With the ascent of Hitler, films—playing himself. He also pro­ and bandmaster, could teach him, and Klemperer came to the United States, vided the soundtrack “hands” of Robert he was accepted as a pupil by Louis becoming music director of the Los and Clara Schumann, Brahms, and Persinger. When he was nine years old; Angeles Philharmonic, making guest ap­ Liszt. he made his New York debut, playing pearances with a number of major or­ the Mendelssohn concerto. A Carnegie chestras, and, in 1937, founding the Hall recital the following year launched Pittsburgh Orchestra. In 1946 he re­ a career that included a legal battle turned to Europe to become director of ROBERT GOLDSAND which obliged Mayor “Jimmy” Walker to the Budapest Opera, and, in 1951, he Mr. Goldsand, who bar both performer and audience from a began his association with the Phil­ has concertized for sold-out house while charges of “juven­ harmonic Orchestra of London, an as­ more than a quar­ ile exploitation” were being weighed by sociation that continues on recordings ter of a century on the New York Supreme Court. While as well as in concerts. Mr. Klemperer three continents in the army, Ricci was often called upon has conquered the impediments of ill since his debut at to entertain troops, despite the absence health sufficiently to supplement his ten, was first heard of a pianist or piano or both. This en­ busy orchestral schedule of recent years in the States when forced specialization led to subsequent with opera productions in which he he was sixteen. concerts devoted exclusively to the un­ functions as stage director as well as The Austrian-born accompanied violin in London, Paris, conductor; in this dual capacity he virtuoso, whose Berlin and New York. Mr. Ricci’s in­ recently staged Fidelio in Zurich and teachers included Moriz Rosenthal strument is a 1734 Guarnerius del Gesu, London, and Die Zauberfloete at Covent and Joseph Marx, is now an Ameri- which once belonged to the late Bronis­ Garden. can citizen. After an absence from law Huberman. continued on page 40

29 i__...... Entrances and Exits continued from page 18 ■; DISCernment..J lax and do it again.” This version, he peal of the German approach. Since finds, is usually the most spontaneous, his first idol was Rachmaninoff and his and it usually represents seventy-five second Schnabel (“Idols change as one ON percent or so of the ultimate version grows older.”), his pianistic course put on discs. seems intelligently oriented. The ex­ In that “relaxed take,” Katchen tries tent and effect of that orientation, how­ DECCA to recreate the conditions of a concert ever, will become clear in the next hall. He feels that perfection per se weeks—possibly at the time these lines (in terms of correot notes) is un­ are read. Martin Bernheimer RUGGIERO RICCI desirable, that the excitement of crea­ tion—or recreation—is far more im­ RICCI PLAYS SARASATE • portant than a few minor flaws. In this is, Opp. 21, 22, 23, and 26 • on and Tarantella, Op. 43 • respect, he sides with Claudio Arrau KATCHEN ON LP Caprice Basque, Op. 24 • Serenade Andalouse,.Op. 28 and other musicians who rebel against (with Brooks Smith, piano) the idealized, sterile perfection of over­ A selective listing DL 10044(M), DL 710044(S) spliced recordings. CM 9304 "Encores” Katchen’s recorded repertory has fol­ CS 6235 lowed carefully planned lines. At pres­ CS 6158 Brahms: Variations and ent, for instance, he is involved in a Fugue on a Theme by Handel Variations on a theme by gigantic new project—the entire piano Paganini output of Brahms. If all goes well, the CS 6096 Beethoven: Concerto No. 3 series will be released by Christmas of and Rondo in B Flat 1963. London Symphony Orchestra, Pierino Gamba, Conductor His most recent release, however, is CM 9272 Beethoven: Diabelli aimed at a less specialized audience. CS 6203 Variations i With the Israel Philharmonic he plays CM 9264 Brahms: Concerto No. 2 CS 6195 London Symphony Orchestra, i the concertos of Schumann and Grieg. i The pianist takes special pride in these Janos Ferencsik, Conductor CM 9262 Rachmaninoff: Rhapsody performances because they are con­ ’ phenorr CS 6153 on a Theme of Paganini ducted by Istvan Kertesz. Katchen con­ Dohnanyi: Variations on a siders the young Hungarian maestro Nursery Theme London Philharmonic, the most talented of the small handful Sir Adrian Boult, Conductor of younger-generation conductors now CM 9254 Rachmaninoff: Concerto active. No. 2 Though Katchen is only thirty-six CS 6064 Balakirev: Islamey himself, he is not very optimistic about London Symphony Orchestra, Georg Solti, Conductor the present supply of young musicians. CM 9193 Liszt: Concertos No. 1 and He regrets the fact that undiscovered No. 2 "Ricci sounds more like the younger Kreisler professionals have such limited outlets CS 6033 London Philharmonic than any other violinist now active" for their talent, both here and abroad. Ataulfo Argento, Conductor Saturday Review CM 9083 Bartók: Concerto No. 3 Nevertheless, he disapproves of the Prokoffiev: Concerto No. 3 much-publicized contests currently in Orchestre de la Suisse vogue. They are meaningless, he says, Romande, Ernest Ansermet, if the contestants are really of top­ Conductor professional calibre, as most entrance CM 9030 Brahms: Concerto No. 1 I CS 6151 London Symphony Orchestra, i requirements specify. “The individual Pierre Monteux, Conductor i values of first-rate musicianship are not LL 1569 Brahms: Sonatas No. 2 and ■ ■ comparable,” he explains, “and not No. 3 for Violn and Piano ■ with Ruggiero Ricci i easily isolated. If you were to put Mil- i LL 1423 Tchaikowsky: Concerto stein, Oistrakh, Stern and Heifetz in the No. 1 ■ same contest, who should win,” he asks, Liszt: Hungarian Fantasa “and why?” London Symphony Orchestra, A TRIBUTE TO KREISLER • When Julius Katchen last returned Pierino Gamba, Conductor Praeludium and Allegro • LL 1357 Mozart: Concerto No. 13 Sicilienne and Rigaudon • to make brief appearances in New York Chanson Louis XIII and Pavane • K. 451; Concerto No. 20, Rondino on a theme of Beethoven • during the 1950-51 season, there was K. 466 Variations on a theme by Corelli • unanimous agreement that his technique New Symphony of London, Recitativo and Scherzo-Caprice • Caprice Viennois • Tambourin Chinois • was phenomenal, but reservations were Peter Maag, Conductor Liebesfreud • Liebesleid • Schon Rosmarin • LL 1164 Mozart: Sonatas No. 11, La Ghana • The Old Refrain • expressed in some quarters concerning K. 331; No. 13, K. 333; La Chasse (with Brooks Smith, piano) the depth of his interpretations. There­ DL 10052(M), DL 710052(S) No. 15, K. 545 upon, according to Time magazine, LL 1163 Chopin: Sonatas No. 2 and Katchen “returned to his Left Bank No. 3 LL 1123 Britten: Diversions for apartment and more European appear­ Piano (Left Hand) ances.” London Symphony Orchestra, Realistic self-appraisal and hard Benjamin Britten, Conductor work had given the pianist reason to LL 824 Liszt and Mendelssohn: hope that he is a better artist today Piano Music LL 759 Bartók : Mikrokosmos, Vol. 6 than he was in 1951. He stresses the Ned Rorem: Sonata No. 2 GOLD LABEL ! ■ necessity for finding a middle-ground LL 330 Moussorgsky: “Pictures at RECORDS !./ ■ between the brilliance of the so-called an Exhibition” r I ■a Russian school and the intellectual ap-

30 f DISCOVER 1 CZECH PHILHARMONIC ORCHESTRA

Parliament Records 8 New Releases only each* BEETHOVEN t Symphony No. 4. King Stcplicn Overture— FF.RENCSIK...... PI.P-165 Leonard Bernstein (right) receives 1st Edition of Beethoven’s Ninth JANACEK Symphony from David M. Keiser, President of the New York Philharmonic, Taras Bulba. Sinfonietta- in recognition of the conductor’s 500th concert with the Orchestra ANCERL...... PI.P-166

SHOSTAKOVICH Symphony No. 5-ANCF.RI...... PLP-168 A MILESTONE FOR BERNSTEIN BEETHOVEN Violin Concerto-SUK and KONWITSCHNY ...... PI.P-169 Though he only recently (August 25) phony Society, Bernstein received four celebrated his forty-fourth birthday, Beethoven symphonies in first edition DVORAK Leonard Bernstein passed a milestone scores: the N. Simrock publication of reached by few other conductors in the No. 4 (1823), the Breitkopf and Haer- ANCF.RI...... PLP-170 long history of the New York Phil­ tel editions of Nos. 5 and 6 (1826), and harmonic when he conducted his five the B. Schott and Sons original issue BRAHMS hundredth concert with the orchestra. of No. 9 (1826). Symphony No. 1 — ANCERI...... PLP-172 This took in the numerous appearances According to figures issued by the SCHUBERT he made with the orchestra in the years press department of the Philharmonic, Symphony No. 9 “The Great" - between his unheralded debut on No­ the only conductor-music director of KONWITSCHNY ...... PI.P-173 vember 14, 1943, and his appointment the orchestra with a higher total of ap­ as music director in 1958. In the pre­ pearances in the period 1928-1962 than □ PERA OVERTURES vious year he had shared the title of Bernstein was the late Dimitri Mi­ ANCF.RL and CHALABALA .... PI.P-167 principal conductor with Dmitri Mi­ tropoulos, with 620. (The year of 1928 ‘Suggested List Prices tropoulos. Thus, in a fifteen year span, was used as a base because it was then Bernstein had filled every possible niche that the Philharmonic began its recent for other from assistant conductor (his status history after consolidation with the with Artur Rodzinski at the time of his New York Symphony Orchestra). In releases by the debut) to guest conductor and principal the years between 1925 and 1945, when Czech Philharmonic conductor to music director (not to he last appeared with the Philharmonic, Orchestra and other omit composer-conductor and pianist­ Arturo Toscanini conducted 498 con­ great musical organizations conductor) . certs. In observance of the attainment of For other Music Directors between write this round number of half a thousand Toscanini and Mitropoulos, the count appearances, David M. Keiser, presi­ ARTIA-PARLIAMENT dent of the New York Philharmonic stands at 173 for Sir John Barbirolli INDUSTRIES, INC. Orchestra, made a presentation to Bern­ and 322 for Artur Rodzinski. In his 555 Fifth Avenue stein during an intermission of the many years’ association with the New N.Y. 17, N.Y. concert on Saturday night, October 27. York Philharmonic, Bruno Walter con­ \______/ On behalf of the Philharmonic-Sym­ ducted 244 concerts.

34 THINGS OF Beauty

MASTER ARTISTS For Symphony nights . . . The imperfect perfection of great baroque pearls faintly flushed with rose, a diamond- OF OUR TIME clasped double strand is $3100 at Varga Jewelry, 619 Madison Avenue. The taitSnqm -numms «<«»>• i deeper pink of tourmalines, matched % - with chunks of fresh-water pearls set into rough hewn gold for a ring that must demand attention, is displayed at ■ Eve, 794 Madison Avenue . . . also at Eve’s, a wedding ring with a message, intricately entwined circlets in contrast­ ing shades of gold. A shimmering strip of time . . . this watch in platinum and Mvmp pgfgeKgg-JSS 35* ... 35" masses of blue-white diamonds is at JANOS STARKER HENRYK SZERYNG Herbert I. Berrent, 737 Madison Ave­ DVORAK Cello Concerto; BRUCH Koi BRAHMS Violin Concerto nue. From Italy comes a great black Nidrei. London Symphony, Dorati London Symphony, Dorati London Symphony, Skrowaczewski 35-mm magnetic film recording 35-mm magnetic film recording 35-mm magnetic film recording chain bright with the frozen sparkle of SR90303/MG50303 SR90308/MG50308 SR90301/MG50301 jet, $25 at Revatti, 798 Madison Ave­ nue. Turn-of-the-century belles gam­ boled in feathered finery similar to the bright boas at Bonwit Teller’s. The belles of the roaring ’twenties loved the hand-painted luxury of Italian silk stoles and Edith Claire has brought some new ones to her shop, 816 Madison Avenue. Annas’ Russian sable beret brings out the apache in us, $225 at her shop, 689 Madison Avenue. It’s Dana’s, 11 E. 57th CELEDONIO, CELIN, PEPE Street, for a collection of the loveliest RAFAEL PUYANA French enamel compacts! So deliciously The Golden Age of Harpsichord and ANGEL ROMERO. The Royal Family Music. SR90304/MG50304 of the Spanish Guitar. SR90295/MG50295 beautiful, so softly sensuous to your touch, such an array of passionate pas­ tels that you can hardly take your eyes away ... all this in one hand-painted and etched velvet Parisian evening bag, set on a golden frame studded with mock turquoises, $220 at Jacomo, 25’/2 E. 61st Street. Also in this find of a shop, a rare white crocodile handbag swinging on an 18 karat gold and emer­ ald bracelet—which can be replaced by a crocodile handle for daytime wear. You can wear the bracelet . . . $650. For program viewing—eye-size gold­ framed glasses which slip into a sliver of golden kid (we almost said calf), $22 at Aitchison & Co., 655 Madison Ave­ nue. Lenses for viewing conductor and soloists slide from a compact-shaped square of gold, $75 at Mark Cross . . . comes with one of their marvelous leather cases. We don’t know if you’ll want to slip these cuff-links into your dress shirt, but for other occasions the ceramic piano keys or music pages to be found at Guy Russell, 216 W. 4th Street, sound a new note. For the Listen­ ing Corner . . . made for a music room ... a slim chaise longue in striped satin on a graceful gilded frame is fine for a stretch of symphonic music, $4500 at Sidney Brown, 860 Madison Avenue. Equally comfortable are the reed-mace chairs to set about the den or terrace, $20 at Little Portugal, 15 Christopher Street . FLORENCE STEVENSON

3* LINCOLN CENTER FESTIVALS Philharmonic Hall

CONSULTANTS AND CONTRACTORS TJLhe summer of 1966 is sched­ uled to bring with it an event that will fill two gaps in our cultural cal­ A rcliitect endar — extensive artistic activities Max Abramovitz between the close of one “season” and the start of another, and a festi­ val whose scope is so broad that none Consultants of the recognized art forms need be STRUCTURAL ENGINEERS excluded from it. The project is called, appropriately enough, “Lin­ Ammann and Whitney coln Center Festival ’66.” New York 11, New York June, July, and August have been MECHANICAL AND ELECTRICAL barren months in the past, musically ENGINEERS speaking, largely because of climate Syska and Hennessy, Inc. problems (i.e. air conditioning) and New York, New York column artistic considerations (major per­ formers are lured to other centers ACOUSTICAL CONSULTANTS when our opera houses and concert Bolt, Beranek & Newman, Inc. halls are inactive). Cambridge, Mass. The term for a structure used to The performing media involved in support a building may also refer— the “Festival ’66,” however, will in­ ADVISORY ACOUSTICAL CONSULTANT clude opera, drama, dance, operetta, Hope Bagenal by extension—to anything that seems orchestras, choruses, chamber music, Hertford, England slender and upright. For instance, a recitals (both vocal and instrumen­ column of figures. tal), motion pictures, folk music, INTERIOR DESIGN CONSULTANT And if the column of figures that creative jazz, and educational pro­ Donald Oenslager represents your investment portfolio grams. Not even the Edinburgh Fes­ New York, New York seems sometimes rather too slender tival of Scotland — probably the broadest of “Festival ’66’s” Euro­ LIGHTING CONSULTANT (how ever upright)... perhaps we, as pean counterparts—can claim such Richard Kelly professional financial advisers, could diversity of activity. New York, New York show you how it could be strength­ The emphasis in programming will ARCHITECTURAL SEATING ened. be on premiere performances of new CONSULTANT works. The Lincoln Center Council, We serve a wide variety of clients Ben Schlanger with the advice of other professionals ... individual investors, institutions, New York, New York corporations, and governmental in the performing arts, will select the composers, dramatists, and choreog­ THEATRE SEAT DESIGN bodies. All of them tell us that they raphers who are to create new works CONSULTANT feel more secure when their own for the first Festival. Although pri­ Don Wallance judgment about their financial struc­ mary consideration will be given to Croton-on-Hudson, New York tures is augmented by our professional Americans, commissions will also be assistance. extended to artists of other national­ If you could use some sound, ities. In this way, the project will Sculpture knowledgeable help with your invest­ serve to enrich repertories and foster ‘ORPHEUS AND APOLLO” BY young talent, just as it provides a ment problems . . . we’d be happy to Richard Lippold new entertainment outlet. Locust Valley, New York show you how we could provide that It is expected that the Festival, help for you. Together, we can work once established, will become an an­ to build your investment columns nual event. Its inauguration is not General Contractors straight and sturdy. scheduled until 1966, however, be­ Fuller-Turner-Walsh-Slattery, cause Lincoln Center will be other­ a joint venture, composed of wise occupied during the summer George A. Fuller Company, Smith, Barney & Co. months until then. Varied arts pro­ Members New York Stock Exchange Turner Construction Company, and other leading exchanges grams will be held there during the Walsh Construction Company, 20 Broad Street, New York 5, N. Y. two World’s Fair years. and Slattery Contracting 529 Fifth Avenue, New York 17, N. Y. “Festival ’66” is expected to run Company Philadelphia • Chicago from four to six weeks. All the Cen­ Boston • San Francisco ter’s air-conditioned theatres, audi­ Albany • Allentown • Cleveland • Dallas toriums, and concert halls will be Hartford • Milwaukee • Minneapolis | used.

38 Meet the Artists continued from page 29 Where do Siili Ki X good minks go VRONSKY AND BABIN after they’ve “had it” Vitya Vronsky and Victor Babin have on Park Avenue? y BFTjE *K’cn husband- Hk'' fc and-wife team as well as a duo-piano CARNEGIE HALL 1933- I hey first came to America, IUESDAYEVE., 111 19??- Vronsky , I was bom m I \p.i- toria, Crimea, and DEC. 4.8:30 P.M. educated at the Kiev Conservatory. Her illustrious list of teachers includes Sonata in A major...... Schubert Sonata in C-sharp minor Petri, Schnabel, and Cortot. Babin, who (quasi fantasia) studied at the conservatory of Riga, is Op. 27, No. 2...... Beethoven Moscow-born, and also a former pupil Bagatelles, Op. 119. .Beethoven of Schnabel. He finds time, when pos­ Fantasy in C major, Op. 15 sible, to supplement piano-playing with ...... Schubert composing, and has written a concerto, appropriately enough, for two pianos, Ticket prices: Parquet $5.95, Dress as well as a series of Etudes for the Circle $4.00, Balcony $3.00, $2.50, same combination. Much of the exten­ $2.00, 1st Tier Box Seats $5.95, 2nd sive Vronsky and Babin repertory has Tier Box Seats $5.00 (tax included). been made permanent by recordings on Now on sale at Carnegie Hall Box no less than four different labels. Office, 154 W. 57th St., New York 19 Also on sale at Judson Hall Box JOSE ITURBI Office, 165 West 57th Street Although illness For mail orders: address and make forced the cancel­ payable to Carnegie Hall Box Office lation of one of his — 154 West 57th Street (enclose two Philharmonic stamped addressed envelope). Hall concerts last month, José Iturbi has the distinction of being the first pianist to give a solo recital at Lin­ coln Center. Born in Valencia, Spain in 1895, Iturbi was sent for his musical training to Paris, where he graduated with honors from the Conservatoire in 1912. His inter­ national career began in 1923, when his playing of Spanish music attracted attention throughout Europe, and, later, South America. His first appearances in the United States took place in 1928. Eight years later, he began a second career, as a conductor. Iturbi led the Rochester Philharmonic for several seasons, and often appeared in the dual capacity of conductor and soloist. His further activities include composition— mostly of pieces with a Spanish flavor, such as the Pequeña danza—and film­ acting. M.B. To the Ritz Thrift Shop ... because Ritz runs a home for temporarily orphaned furs. (They come from the very best families.) Fabulous coats, Columbia Artists Management Inc. jackets, stoles.They’re called second­ hand used, but you'd never know it Personal Direction: to look at them. Why not adopt a Judson, O’Neill i Judd Ritz mink, or sable, beaver or broad­ tail. Hundreds to fondle. One for you. Ritz Thrift Shop 107 West 57th St., N.Y.C.

40 who’s who Eine Kleine Kaffee-Munsilt continued from page 10 GAMI IN THE HALL armed, abo ith faith in good (New works by such composers as John about the headlines that signaled the COLUMBIA ARTISTS MANAGEMENT Inc. music and or the people in­ Huggler, Hunter Johnson, Eric Leber, end of the dispute in the same paper. terested in tey were not pre­ Ronald Roseman, Boris Koutzen, Wil­ The controversy ended with a headline presents pared for the intervention of the law. liam Sydeman, Milton Babbitt, Bulent question; over a five-column picture Hopefully, the celebrated fracas be­ Arcl, Otto Luening, Vladimir Ussachev- spread the Times asked, “take a res- tween Bach and the police may now be sky, and Edgar Varese have also been TAURANT, ADD A BAND FOR MUSIC, A 2nd GALA CONCERT AT CARNEGIE HALL CELEBRATING consigned to history. The Caté Figaro, performed frequently.) This concert, TABLE FOR CHESS, A SCREEN FOR MOVIES 10th ANNIVERSARY OF FIRST NEW YORK APPEARANCE oldest of the Village music-bistros, cur­ which supposedly ended the news-ap­ rently gives concerts every other Sun­ peal of the venture, attracted music PITTSBURGH SYMPHONY day; it even commissions new works, critics as well as reporters (the two are and celebrates significant occasions with not usually synonymous). In general, William Steinberg, Music Director special concerts—without threats, sum­ however, music editors have not given Monday, November 19 at 8:30 mons, or other forms of intervention. the concerts as much attention as their Robert Casadesus, Pianist And new projects, such as that of the counterparts at the drama desk, for Times’ question. They are too busy ar­ Program includes Beethoven's Deux Mégots further on the East side instance, have lavished on off-Broadway ranging concerts and performing in of 7th St., have been permitted to some of them. blossom on a more modest but equally Since neither coffee house Captain Schroeter answered without hesi artistic scale, even charging a nominal piano, the keyboard involved must be a 99 cents for admission. But things have stories with equally unusual headlines. harpsichord or nothing. This lack repre­ not always run as smoothly. sents no obstacle at all as far as music of Carnegie Hall, November 16, 1962 at 8:15 P.M. They ran rather roughly, in fact, back the 18th century is concerned, and, at in August, 1959, when the Figaro gave the Figaro, it has even contributed to the The University of Rochester presents its first concert. It seems that word permit?" asked the Washington Square introduciion of such alternatives as spread rather quickly—not that the the EASTMAN PHILHARMONIA café was offering first-rate professional performances of unhackneyed works for Dr. Howard Hanson, Conductor free, but that the management dispensed culture along with coffee without the company of "My Fair l.ady,” the José sanction of a cabaret license. Limón Dance Co., the Georgian State The fact that a coffee house, by its Town Hall, Friday evening, November 16, 1962 at 8:30 Dance Co. of the U.S.S.R., and the Euro­ owner's definition, is not a cabaret, for pean tour of the Grand Ballet du Marquis it serves no liquor and normally has no HYMAN BRESS Violinist de Cuevas. He has also been stage manager cover charge, failed to impress the for a long list of plays including “Kismet," police authorities. The situation reached Charles Reiner at the Steinway “Gentlemen Prefer Blondes," and “Lady in the Dark.” Mr. Scott, who has traveled all a showdown on August 2, when two over Europe and Latin America, is pro­ officers came into the Figaro (they were ficient in six languages. the only ones “admitted” in mid-con­ cert), and unceremoniously served the Masalco Ito is the first owner, Charles Ziegler, with a sum­ Town Hall, Wednesday evenings at 8:30 Chief of Ushers at Phil­ mons. Equally unceremoniously, a Schu­ harmonic Hall. Most of bert trio was halted in mid-movement. the ESTERHAZY ORCHESTRA and she herself studies The reactions were both brisk and piano at the New York heated. One patron invited the entire David Blum, Musical Director College of Music. Of Figaro audience to his apartment, where Journal (New York University) on Oc­ medieval saebuts and modern tape re­ Japanese parentage. the concert resumed. The indignant Mr. tober 6. The question was answered, corders. The repertories are limited only November 28, William Primrose, Viola Sidney Harth, Violin Miss Ito came to this country in 1955 from Ziegler made his first statement to the temporarily, when the case was first dis­ by the number of performers available. January 30, Gianna D’Angelo, Soprano Sao Paulo, Brazil. Since that time, she press (“I don’t see how Bach and Schu­ missed. The Voice ran a photo of Mr. The Figaro’s most ambitious undertak­ made her debut at Carnegie Recital Hall bert can be evil enough to require a Ziegler smiling through the “O” of “WE ing to date was a full-scale Histoire du March 20, Fou Ts’ong, Pianist (on February 4, 1961). She also performed special license”), and newspaper editors WON,” painted in big letters on the soldat; the Deux Mégots, which, unlike at Radio City Music Hall, and is a mem­ throughout the city had a new source of Figaro window. The accompanying the Figaro, relies solely on a gifted ber of the Musicians Emergency Fund, a headline (Oct. 29, 1959), read “bach semi-professional roster of performers, The initial case, when it finally came FIGARO GETS HIM has thus far concentrated on a more she entertains hospital patients. to court, was dismissed for lack of evi­ modest but equally unhackneyed musi- dence. Temporarily, the concerts could The New York Times reverted to continue, and they did so with added musical terminology on September 23, Along with sonatas and trios by Vi Milton Cross popularity as a result of the publicity. 1960, when it informed its readers that raldi, Handel, Teleman, and J. J But late in 1960, a second summons HIT. OWNfcK UlVfcS A FOK11SSIMO NO. Quantz, a recent concert ended—ap- was issued. The case was finally ruled by reading OPERA* NEWS, the popular magazine It relied upon less colorful language propriately enough — with an excerpt upon by City Magistrate Walter Bayer, for its sub-head, however, which ex­ from Bach’s "Coffee Cantata.” The me of The Metropolitan Opera Guild. who vindicated the Figaro and its emu­ plained that the owner “Again De­ Iodic line was familiar, “Schweiget stille, The new. enlarged OPERA NEWS brings the lators. He defined the coffee-house con­ fies Law Requiring License for Bach plaudert nicht!” In the absence of a world of opera into your home with news, pictures, Switzerland, he has worked in hotels all over Europe. In 1954, he came to the certs, not as mere entertainment, but as Concerts.” singer, however, the vocal part was as­ plus detailed information covering each -Saturday U. S. and enrolled in the Cornell School something of a higher esthetic value. As Ziegler's defiance continued, so signed, resourcefully, to an oboe. But afternoon opera broadcast from the Metropolitan. of Hotel Management, from which he grad- Characteristically, the victory was did the headlines, “coffee house since no one was making noise or chat­ For a year’s subscription (24 issues), send only $6 celebrated at the Figaro by a special HOLDS FORBIDDEN CONCERT; POLICE ting anyway, this little bit of stylistic -with your name and address-to: Lincoln Center. Mr. Gotsche was the Head concert. It featured, among other com­ stay away,” the Times stated, in rather impurity didn’t matter at all. The au THE METROPOLITAN OPERA GUILD of Food Service for American Airlines. 1425 Broadway New York 18, N. Y. positions, a specially commissioned elec­ ominous headlines three days later. thentic spirit was there. A Photos by Bob Serating tronic piece by Charles Whittenberg. ominous, however, MARTIN BERNHEIMER Seating Plans for CAMI Philharmonic Hall COLUMBIA ARTISTS MANAGEMENT INC. PRESENTS

PHILHARMONIC HALL AT LINCOLN CENTER MONDAY, NOVEMBER 19 AT 8:30 THE ORFEON OF COIMBRA 80 Voice Male Chorus

MONDAY, NOVEMBER 26 AT 8:30 GRANT JOHANNESEN

CARNEGIE HALL A magnificent hotel. FRIDAY, NOVEMBER 16 AT 8:15 World’s tallest hotel. The University of Rochester presents EASTMAN PHILHARMONIA Dr. Howard Hanson, conductor

MONDAY, NOVEMBER 19 AT 8:30 PITTSBURGH SYMPHONY ORCHESTRA WILLIAM STEINBERG, cenductor

Beethoven Piano Concerto No. 4 in G

Moxart Symphony No. 38 '(“Prague”) .

Vital facts about the Hall LENINGRAD Capacity 2,646 PHILHARMONIC Orchestra 1,384 Loge 392 EUGEN MRAVINSKY, conductor 1st Terrace 454 DAVID OISTRAKH, soloist 2nd Terrace 416 FRIDAY. JANUARY 18 AT 8:00

Stage dimensions FRIENDS OF 61 feet wide 40 feet deep FRENCH OPERA With additional elevator space 48 or 56 feet deep