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s - __. BOSTON SYMPHONY ORCHESTRA

FOUNDED IN 1881 BY HENRY LEE HIGGINSON THE BROOKLYN ACADEMY OF MUSIC c^

iSsX «^

EIGHTY-SECOND SEASON 1962-1963 1962-1963

9 The Women s Committee for the Boston Symphony Orchestra Concerts in Brooklyn

Mrs. Andrew L. Gomory, Chairman

Mrs. Laurance E. Frost Mrs. James B. Donovan Mrs. Albert C. Magee * Vice-Chairman Vice- Chairman Vice-Chairman

Mrs. John W. Faison, Jr. Mrs. James Vincent Keogh Mrs. John R. Bartels Treasurer Secretary Membership Chairman

Mrs. Irving G. Idler Mrs. Robert F. Warren Box Chairman Subscription Chairman

Mrs. Elias J. Audi Mrs. John T. Gallagher Miss Helen M. McWilliams Mrs. Bernard S. Barr Mrs. Edwin L. Garvin Mrs. Alfred L. Megill Mrs. H. Haughton Bell * Mrs. Elizabeth L. Giddings Mrs. Harold R. Merwarth Mrs. Milton S. Berman Mrs. R. Whitney Gosnell Mrs. Philip T. Morehouse Mrs. George M. Billings Mrs. D. Frank Guarini Miss Emma Jessie Ogg Mrs. John R. H. Blum Mrs. Warren L. Hafely Mrs. Harold L. Ostergren Mrs. Robert E. Blum Mrs. Arthur C. Hallan Mrs. William B. Parker

Mrs. Lawrence J. Bolvig Mrs. J. Victor Herd Mrs. Raymond King Pendleton Mrs. Walter Bruchhausen Mrs. William B. Hewson Mrs. Edward T. Reilly Mrs. Otis Swan Carroll Mrs. James M. Hills Mrs. Allan G. Richtmyer Mrs. Francis T. Christy Mrs. John W. Hoffmann Mrs. Abraham M. Sands Mrs. Benjamin J. Conroy Mrs. David S. Hunter Mrs. Eliot H. Sharp Mrs. Donald M. Crawford Mrs. Raymond V. lngersoll Mrs. Donald G. C. Sinclair Mrs. Russell V. Cruikshank Mrs. Henry A. Ingraham Mrs. Ainsworth L. Smith Mrs. William T. Daily Mrs. Darwin R. James, III Mrs. Sidney L. Solomon Mrs. Frederick I. Daniels Mrs. John W. James, III Mrs. Harry H. Spencer Miss Ruth G. Davis Mrs. Walter M. Jeffords, Jr. Mrs. Monroe D. Stein Mrs. Berton J. Delmhorst Mrs. William F. Kerby Mrs. Hollis K. Thayer * Mrs. Carroll J. Dickson Mrs. John Bailey King Mrs. Gilbert H. Thirkield Mrs. Joseph J. Dreyer Mrs. Abbott A. Lippman Mrs. John F. Thompson, Jr. Mrs. Remick C. Eckardt Mrs. Everett J. Livesey Mrs. Theodore N. Trynin Mrs. Alfred H. Everson Mrs. J. Frederick Lohman, Jr. Mrs. Franklin B. Tuttle * Mrs. James F. Fairman Mrs. John J. Madden Mrs. Adrian Van Sinderen Mrs. Frederic Feichtinger Mrs. Eugene R. Marzullo Mrs. Thomas K. Ware Mrs. Merrill N. Foote Mrs. Carleton D. Mason Dr. Virginia T. Weeks Mrs Edward M. Fuller Mrs. Edwin P. Maynard, Jr. Miss Elizabeth T. Wright Mrs. Richard S. Maynard

• Former Chairmen

SEASON BOX SUBSCRIBERS

Box 1 St. Francis College Box 6 Packer Collegiate Institute Box 2 Brooklyn Friends School Box 7 The Guild of the Box 3 The Berkeley Institute Long Island College Hospital Box 4 Mrs. Darwin R. James, III Box 8 Packer Collegiate Institute Box 5 Rev. William Mowat Box 10 Misses Irene and Margaret Wester Miss Emma Jessie Ogg Mrs. William B. Parker

The Women's Committee for the Boston Symphony Orchestra Concerts in Brooklyn con- tinues its Box Subscription to provide seats for the Blind elsewhere in the Opera House.

The Kiwanis Club of Brooklyn continues its Box Subscription to provide seats for Students elsewhere in the Opera House. EIGHTY-SECOND SEASON, 1962-1963

Boston Symphony Orchestra

ERICH LEINSDORF, Music Director

Richard Burgin, Associate Conductor

CONCERT BULLETIN

with historical ariii descriptive notes by

John N. Burk

The TRUSTEES of the BOSTON SYMPHONY ORCHESTRA, Inc.

Henry B. Cabot President Talcott M. Banks Vice-President Richard C. Paine Treasurer Abram Berkowitz John T. Noonan Theodore P. Ferris Mrs. James H. Perkins Francis W. Hatch Sidney R. Rabb Harold D. Hodgkinson Charles H. Stockton C. D. Jackson John L. Thorndike E. Morton Jennings, Jr. Raymond S. Wilkins Henry A. Laughlin Oliver Wolcott TRUSTEES EMERITUS Palfrey Perkins Lewis Perry Edward A. Taft

Thomas D. Perry, Jr., Manager

Norman S. Shirk James J. Brosnahan Assistant Manager Business Administrator Leonard Burkat Rosario Mazzeo Music Administrator Personnel Manager SYMPHONY HALL BOSTON 15

rsi Boston Symphony Orchestra (Eighty-second Season, 1962-1963) , Music Director RICHARD BURGIN, Associate Conductor PERSONNEL Violins Cellos Bassoons Joseph Silverstein Samuel Mayes Sherman Walt Concert-master Alfred Zighera Ernst Panenka Alfred Krips Martin Hoherman Matthew Ruggiero George Zazofsky Mischa Nieland Contra Bassoon Rolland Tapley Karl Zeise Roger Shermont Richard Kapuscinski Richard Plaster Vladimir Resnikoff Bernard Parronchi Horns Harry Dickson Robert Ripley James Stagliano Gottfried Wilfinger Winifred Winograd Charles Yancich Einar Hansen John Sant Ambrogio Harry Shapiro Fredy Ostrovsky Louis Berger Harold Meek Minot Beale Peter Schenkman Paul Keaney Herman Silberman Osbourne McConathy Stanley Benson Basses Trumpets Leo Panasevich Georges Moleux Sheldon Rotenberg Henry Freeman Roger Voisin Armando Ghitalla Noah Bielski Irving Frankel Alfred Schneider Henry Portnoi Andre Come Henri Girard Gerard Goguen Clarence Knudson John Barwicki Pierre Mayer Trombones Leslie Martin William Gibson Manuel Zung Bela Wurtzler Samuel Diamond Joseph Hearne William Moyer William Marshall Kauko Kahila Leonard Moss Flutes Josef Orosz William Waterhouse Doriot Anthony Dwyer Tuba Michel Sasson James Pappoutsakis K. Vinal Smith Victor Manusevitch Phillip Kaplan Laszlo Nagy Timpani Pinto Ayrton Piccolo Everett Firth Julius Schulman George Madsen Harold Farberman Lloyd Stonestreet Raymond Sird Percussion Oboes Gerald Gelbloom Charles Smith Max Winder Ralph Gomberg Harold Thompson Jean de Vergie Arthur Press Violas John Holmes Harps Joseph de Pasquale Jean Cauhape English Horn Bernard Zighera Eugen Lehner Louis Speyer Olivia Luetcke Bernard Albert Piano George Humphrey Clarinets Bernard Zighera Jerome Lipson Gino Cioffi Robert Karol Manuel Valerio Library Reuben Green Pasquale Cardillo Victor Alpert Bernard Kadinoff E\) Clarinet William Shisler Vincent Mauricci Earl Hedberg Bass Clarinet Stage Manager Joseph Pietropaolo Rosario Mazzeo Alfred Robison

[4] EIGHTY-SECOND SEASON • NINETEEN HUNDRED SIXTY-TWO -SIXTY-THREE

Third Program

THURSDAY EVENING, January 10, at 8:30 o'clock

Mendelssohn Overture to "A Midsummer Night's Dream," Op. 21

Mozart Piano Concerto No. 24, in C minor, K. 491

I. (Allegro)

II. Larghetto

III. (Allegretto)

INTERMISSION

Shostakovitch Symphony No. 10, in E minor, Op. 93

I. Moderato

II. Allegro

III. Allegretto

IV. Andante; Allegro

SOLOIST GABRIEL TACCHINO Mr. Tacchino plays the Steinway Piano

BALDWIN PIANO RCA VICTOR RECORDS

[5] —

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[6] OVERTURE (Op. 21) TO "A MIDSUMMER NIGHT'S DREAM" By Felix Mendelssohn

Born in Hamburg, February 3, 1809; died in Leipzig, November 4, 1847

Mendelssohn composed his Overture to Shakespeare's play in 1826. It was first publicly performed at Stettin in February, 1827, under Karl Lowe, and published in 1835. It was first performed at the concerts of the Boston Symphony Orchestra

February 9, 1883, and last performed January 8, 1954. The Overture is dedicated to "His Royal Majesty, the Crown Prince of Prussia." The instrumentation requires 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, ophicleide (here replaced by the contra bassoon and tubas), timpani, cymbals, triangle and strings, often divided.

TV >Tendelssohn, reading translations of Shakespeare by Schlegel and -*--" Tieck, composed this Overture as a concert number in his seven- teenth year, when he was living at 3 Leipziger Strasse, Berlin, a sub- urban house with ample gardens, a garden house for amateur theatri- cals included. Discernible in the Overture are the fairy chords of the introduction and scherzo-like character of the main theme, the refer- ences to the Bergomask Dance from the fifth act of the play, the imita- tion of the braying of Bottom, and a descending cello passage which is supposed to have been suggested to the composer by the buzzing of a fly as he worked in his summer garden. The Overture was originally written for piano duet. It was not until 1843, in tne height of Mendelssohn's fame, that he added to the Overture the incidental numbers intended for Shakespearean perform- ances at the Royal Theatre in Berlin. There is no more extraordinary instance of Mendelssohn's precocious artistry than the perfect fusion of his boyhood overture and its fuller treatment seventeen years later. When Friedrich Wilhelm IV took the throne of Prussia in 1840, his first step was to establish an Academy for an illustrious representation of the arts at his court. His choice of a musician for this department fell at once upon the celebrated and popular Mendelssohn, who had dedicated the overtures "Melusina," "Midsummer Night's Dream," and "Hebrides" to him as Crown Prince. Mendelssohn found Berlin far less responsive and congenial than Leipzig, and the circuitous ways of officialdom and court etiquette were onerous; but he composed what was required of him for the most part cheerfully enough. Incidental music for stage productions was no small part of these requirements, which included Sophocles' "Antigone" in 1841, and according to a royal command in the following year, Racine's "Athalie," Sophocles' "Oedipus at colonus," Shakespeare's "A Midsummer Night's Dream." Mendelssohn worked industriously upon his commissions, of which "Antigone" and "A Midsummer Night's Dream" were produced in the autumn of 1843. [copyrighted]

[7] PIANO CONCERTO NO. 24, in C minor, K. 491 By

Born in , January 27, 1756; died in Vienna, December 5, 1791

This Concerto was composed in March, 1786.

The orchestral portion consists of flute, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, timpani and strings.

/°VF Mozart's twenty-seven concertos for piano* there are two in a ^^ minor tonality: this one and the Concerto in D minor, K. 466 (numbered 20, and composed in the year previous). The minor mode was often for Mozart a signal for serious, even tragic matters. Einstein wrote that Mozart here "evidently needed to indulge in an explosion of dark, tragic, passionate emotion." The composer's motive is of course pure conjecture. The plain and astonishing fact is that Mozart, tied up with many duties, absorbed in the preparations for Figaro (this was the Figaro year), turned out not a casual piece in the entertainment pattern, but what is generally considered his most independent and challenging, his most prodigious work in this form.

It is his ultimate venture, his furthest exploration of the piano con- certo; for the three which were to follow were to be a further refine- ment on what he had done. If Mozart could be said ever to have ignored his public in a concerto and followed completely his own inner promptings, it was here. The first audience must have been dismayed when instead of the usual diatonic opening subject they were presented with a tortuous, chromatic succession of phrases with upward skips of diminished sevenths. This was a new and strange tonal world, and not a gracious one. Their dismay would not have been lessened when the whole orchestra proclaimed the theme with dire emphasis. A soft theme introduced by the woodwinds gives only momentary relief, for the first theme sweeps it away. The piano enters with a new theme, still in C minor, but is drawn into the ubiquitous theme, adding an octave to the wide interval. The theme dominates the movement, the soloist (as in the D minor Concerto) adding to the excitement with agitating scale passages. It is a less stormy opening movement than that of the P minor Concerto, but it is more vivid, more subtle, and more deeply felt. Although the cadenza brings a long coda, ending pianissimo, there is no assuagement, and the serenity of a major mode is imperative. Nothing could be more serene than the melody of the Larghetto. The three elements — piano, strings and winds — are com- bined each way with wondrous results. In treating the wind choir, the composer obviously gloried in having a full quota, clarinets and oboes included, and he made the most of them (the trumpets and

* Twenty-three are original.

|8] drums had no place here but are mustered in the other movements). The final Allegretto brings no happy ending as the finale of the D minor does. It begins and ends in C minor, traversing many keys.

It is a series of variations on two subjects, the second of which opens the way for astonishing chromatic development — a chromaticism which serves for thematic individualization, modulation and transition equal in skill to the manipulations in the G minor Symphony which would come two years later. These variations defy description — they are surely one of Mozart's highest achievements in the form. This concerto combines range, intensive direction and extraordinary adventurousness. It speaks to the nineteenth century, and was a favorite with Beethoven. Under the immediate spell of a performance, one is strongly moved to give it some sort of crown — the crown, let us say, for the ultimate point, as Mozart through his life sought to bring the orchestra and his own instrument into ever closer communion. [copyrighted]

THE SOLOIST

Gabriel Tacchino was born in 1934 at America in 1958, returned to ,

Cannes, France, of an Italian father and took his military service, and has since a French mother. At the age of twelve then lived in . He is making his he went to Paris to continue his studies first visit to the United States and is at the Conservatoire, and at nineteen, playing for the first time here with the after taking honors, had graduate study Boston Symphony Orchestra in Boston, with and Jacques Fev- Brooklyn and New York . rier. After giving a number of concerts Mr. Tacchino will play the cadenzas in Europe he made a tour of South of Heidsieck in the Concerto of Mozart. Q^

A?alfan-&{rittn*r (Drgatt dmnpatuj Designers of the instruments for: THE BOSTON SYMPHONY ORCHESTRA THE DETROIT SYMPHONY ORCHESTRA THE PHILADELPHIA ORCHESTRA THE NEW YORK PHILHARMONIC

[91 ENTR'ACTE MOZART'S PIANO CONCERTOS

tt could almost be said that Mozart created the piano concerto as a

* form — it is certainly true that he developed it from almost negli- gible beginnings to great ends. His first direct model was Christian Bach, and this Bach owed much to his older and more exploratory brother, Carl Philip Emanuel. Emanuel Bach's gropings toward the sonata form were still heavily overlaid with the tradition of the con- certo grosso — a chamber ensemble in which the keyboard was a sup- porting continuo instrument. Only exceptionally, as in the father

Bach's splendid specimens, had it become a prominent part of the counterpoint, assuming an occasional solo function, not yet an inde- pendent, thematic function. Mozart, the virtuoso perpetually on show, had a lifelong inducement to develop both factors in a concerto. No phase of his art was pressed upon him so persistently as this, and the result was prodigious both in quantity and quality. He achieved the spectacular metamorphosis quite alone and unaided, not even by the example of Haydn. Haydn's concertos were unprogressive — he readily filled in at the clavier but never cultivated it as a conspicuous solo performer.

The concerto as Mozart found it was little more than a harpsichord sonata with a backing of string players. He left it a full orchestral form, an organization even more complex than the symphony, in which the two elements of solo and orchestra each blended or alternated with the other in a perfect integration. Any one of the later concertos is fully symphonic — often richer in color, variety and individual expres- sion than the symphonies. Beethoven, on whom the mantle of successor was to fall, assumed it with uneasiness, for he had a deep admiration for Mozart's concertos. With a strengthened piano and orchestral sonority at his command and a new impulse of dramatic intensity, he could have made the concerto a mere vehicle for virtuosos. He did not because he was Beethoven, and because unlike pianistic lions of a still later day to whom the concerto was to be .thrown, he had a healthy respect for Mozart's ideal — the balancing of both elements for one expressive purpose. Beethoven's

hesitancy to commit his first two concertos to publication must have come from a sense that in magnification a certain peak of perfection would be destroyed. The light Mozartean orchestra, the light-toned piano, made a transparent ensemble in which every detail was lumi- nously clear, the voices of the individual and the group wonderfully matched. It was indeed a state of felicity doomed to succumb to new ways. The sacrifice was organizational too. Mozart had developed as

lioj :

a personal skill the ordering and reordering of manifold themes, their changing applicability, their fusion into a fluent whole. This complex had to go, for new needs called for new construction.

To appreciate what Mozart did for the piano concerto it is not enough to compare the first and last — one must compare his very first efforts with the models about him at the time. As a small boy in London he encountered concertos by Wagenseil and other composers now for- gotten, but particularly the concertos as well as the symphonies of Johann Christian Bach. This youngest Bach frankly purveyed to fash- ionable audiences with gracefully ornamented melodies and elementary accompaniments calculated not to disturb. His earlier concertos were composed for harpsichord and strings, with sometimes a light reinforce- ment of oboes and horns. The later ones were published for "harpsi-

chord or forte-piano," but the string group was still constricted by the fainter instrument. A typical concerto at the time (there were of course exceptions) began with a principal subject by the string tutti, this later repeated in a series of ritornelli, each followed by a display of passage work from the soloist, to which the orchestra would add a gingerly bass or an occasional short interjection. The result was wooden alternation and thematic repetitiousness, which, when one principal theme was FOURSQUARE FUND, INC. Boston, Massachusetts music lovers love A diversified mutual fund whose basic Hill M goal is possible long-term growth of capital and income. Stated Policy: Foursquare Fund invests in no alcohol, tobacco or drug companies. Free prospectus from your Investment Dealer or FOURSQUARE CORPORATION (CtanBUlarniet VA 27 State Street, Boston 9, Mass. A L'ORANGE D LIQUEUR (0 80 Proof PRODUCT OF FRANCE Name C.Sole U.S. Agent CARILLON IMPORTERS LTD., N. Y. Street

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[»] relied upon, became a squirrel cage. The orchestra was the servant to the soloist, bowing him in and out and standing ready with discreet pizzicati or obsequious bass notes where required. The following move- ments the soloist had even more to himself, carrying in the rondo an almost continuous pattern of running sixteenths. In old Sebastian

Bach's concerti grossi, the clavier had been pushed forward from its function of figured bass, and while promoted from its solo duty of providing chord accompaniment, was still a voice in the general tex- ture. The result was beautiful and exciting until counterpoint went out of fashion. As a melodic instrument in the newer regime of Bach's sons, the harpsichord became in concertos a weakling ruler incapable of sustaining any position of tonal eminence. Mozart thought and worked from the beginning in terms of the sturdier pianoforte. He began at once to treat the orchestra as a respected partner and to break up the sectional block procedure. His first original piano concerto (K. 175), written in Salzburg late in 1773, at once leaves all previous concertos far behind. The scheme of those to follow is already laid out and needs only to be amplified, eased, subtilized. The piano and orchestra proceed like good dancing part- ners instead of an ill-assorted and stilted pair, each afraid of stepping on the toes of the other. Since the true valuation of any of Mozart's concertos lies in its inner impulse, its buoyancy and invention rather than its anatomy, it need only be said that the very first brought the piano concerto to life as a new apparition in music, and those to follow would range variously according to the adventuring imagination of the growing artist. A cynical view of the concertos stresses the point that Mozart as a child was initiated in an atmosphere of galanterie at its most superficial. Concertos were necessarily made to entertain light-minded audiences. As he grew up he continued to appear before such audiences, to impress them as a remarkable , and was expected to furnish new scores for this plain purpose. It could be said that he was catering to contin- gencies all along, the limitations of available performers even more than the limitations of his audiences. The more perceptive view is that he brushed aside such annoyances as insufficiency around him and dilet- tantism before him, and poured into the music, beneath the unruffled surface of the accustomed graceful style, the utmost of his musical nature. The concertos contain something of Mozart's every aspect — the chamber, the symphonic, the operatic composer. We have all of his moods from light playfulness, sheer joyousness, to the sombre, the violent. The slow movements are unexcelled elsewhere. The finales in the aggregate are unequaled. They repeat favorite rhythms but treat them in as many fresh ways as there are concertos. Most astonishing of all is the variety of treatment. No concerto is reminiscent of any other

[12] .

either in large plan or small detail. There is even constant variety in patterns of figuration, and this includes the piano parts. Any composer other than Mozart, in the position of perpetually having to dazzle his audiences, could not have avoided, even if he had wished to, the displacement of musical interest in his concertos by sterile bravura. Mozart continued to dazzle, but while doing so, his scales, arpeggios,

trills, became at one with the long melodic line, integral to the ensemble. There are no really weak links in the chain of twenty-seven.* There

is no other group of works in the orchestral repertory by any composer where there are so many truly great ones that no conductor or soloist can get around to performing them all. Even an ardent Mozartean is necessarily guilty of important omissions. A conductor with the enter- prise to perform all of them over a period of time would be making concert history. j. N. B.

* Only twenty-three are original.

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Born in St. Petersburg, Russia, September 25, 1906

This symphony was composed in 1953 and completed on October 27 of that year. The first performance was given in Leningrad on December 17 following, and con- ducted by Eugene Mravinsky, who introduced it in Moscow on December 28. The first performance in the United States was on October 14, 1954, by the Philharmonic Symphony Society of New York under the direction of Dimitri Mitropoulos.

The symphony is scored for 2 flutes and 2 piccolos, 3 oboes and English horn, 3 clarinets and E-flat clarinet, 3 bassoons and contra-bassoon, 4 horns, 3 trumpets, 3 trombones and tuba, timpani, percussion and strings. The percussion includes bass drum, triangle, snare drum, cymbals, tambourine, tam-tam and xylophone.

>t^he symphony opens softly in the lower strings with a thematic

*- "motto" which is to recur. The motto is somber, even ominous; it generates a melodic current within the realm of the string orchestra until a clarinet solo enters to play what could be called the principal theme, which develops naturally from the undulant voice weaving of the introduction. After treatment by the full orchestra and a return

of the clarinet solo, a contrasting theme is introduced by the flute, a theme in rhythmic eighths, which, in combination, adds brilliance and spirit to what has been a flowing legato movement. The development

is a gradual building up of tension to climaxes of increasing strength.

There is a subsidence and a return of the rhythmic theme now by two clarinets in thirds. At last the motto theme in the low strings returns to bring a pianissimo close. The second movement, replete with rapid rhythmic passages, recalls the scherzo style of the earlier Shostakovitch, but the mood belies the

word, which indeed does not appear in the score. It is a movement of almost frenzied excitement, strongly underlined by the percussion sec- tion, in which the snare drum becomes dominant. The third movement maintains in its opening theme the poised and staccato rhythm associated with the traditional term "allegretto," but

it has none of the lightness and airiness associated with that tempo.

The key is C minor. After a largo section featuring the French horn and English horn over a pizzicato accompaniment, the music becomes incisive, biting, relentless, and again brings the full percussion into play. The movement dies away at last on fragments of the theme. The final movement opens in an andante tempo in a mood resem- bling that of previous slow movements of this composer. The oboe, flute and bassoon alternately carry the melody over low sustained

strings, the flute at last probing its highest range (as in the Sixth Sym- phony). The allegro brings in a sudden and tumultuous E major,

music of great brilliance built on rapid string passages. There is a [H] quiet section conspicuous for a bassoon solo, and a close in triple fortissimo. Nicolas Slonimsky, an authority on Soviet music, points out the

Schumannesque significance of the opening "motto." "It is simply

Shostakovitch's musical signature. It appears first in the violins at the

opening, in the form of initials, D.S. (Es), is trilled a lot at the climax when drums come in fortissimo, significantly marked espressivo. The

ascending semitone of the motto is thematic in the second movement. The expanded signature appears in permutation in the main subject

of the third movement (C, D, Es, H) and is explicitly stated in the tutti

D. SCHostakovitch). In the finale it is trumpeted and tromboned solo, and finally appears in the horns fortissimo, accelerating in diminution. From then on, the motto assumes sweeping proportions. In the coda, timpani solo pounds it out, D, E-flat, C, H.

"Shostakovitch's Eighth String Quartet, composed in i960, is based entirely on the D. SCHostakovitch theme, rarely departing from the actual notes spelling his initials. The anxious contrapuntal develop- ments against the motto may be of biographical significance: Shosta- kovitch experienced during this period a personal loss (the death of his wife) and other misfortunes. But his basic dualism — from darkness and gloom to light and joy, with the synthesis on the assertively opti- mistic note — has remained in these 'signature' works." [copyrighted]

eighty-second season • nineteen hundred sixty-two -sixty-three

Boston Symphony Orchestra

ERICH LEINSDORF, Music Director

Thursday Evenings at 8:30

The remaining concerts will be as follows:

FEBRUARY 21 Soloist: HENRYK SZERYNG, Violin

MARCH 21

The concerts by this Orchestra in Boston on Saturday evenings are broadcast complete by Station WQXR-AM-FM, New York, on Saturday evenings at 8:05. (The concert of the previous week in Symphony Hall, Boston.)

ACADEMY OF MUSIC • BROOKLYN BALDWIN ... choice of ERICH LEINSDORF, Music Director, the BOSTON SYMPHONY ORCHESTRA ...and today's foremost concert artists in each sphere of

musical expression. This distinguished recognition is further assurance that your choice of a Baldwin

for your home or studio is the wisest.

BALDWIN PIANOS, ORGANS • 160 BOYLSTON ST. • BOSTON, MASSACHUSETTS