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1970-1971 NINETIETH ANNIVERSARY SEASON STRADIVARI

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NINETIETH ANNIVERSARY SEASON 1970-1971

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WILLIAM STEINBERG Music Director

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NINETIETH ANNIVERSARY SEASON 1970-1971

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1352 CONTENTS

Program for March 31 and April 1 1971 1355

Program notes

Hindemith - Concert music for string orchestra and 1367 brass instruments op. 50 by John N. Burk

Mozart- Piano concerto in E flat K. 271 'Jeunehomme' 1368 by John N. Burk

Schuller- Five bagatelles for orchestra 1370 by the composer

Beethoven - Symphony no. 5 in C minor op. 67 1372 by John N. Burk

The soloist 1375

Season summary 1394

Program Editor ANDREW RAEBURN

1353 On April 13th,Virgo arrives on Earth. For five days, April 13th to April 17th, Virgo and her astro- logical playmates will make a rare, wild and hilarious visit to Earth. In person. The stars say, don't Her escapades will miss this once-in-a- take place at New millennium opportunity. England Life Hall, as Old Colony Trust A part of "High Sign", DIVISION OF THE FIRST NATIONAL BANK OF BOSTON the 79th annual Vincent Show for the benefit of Vincent Memorial Hospital. Get your tickets now at the box office (225 Clarendon St.), or call 267-6812. — Tl -

NINETIETH ANNIVERSARY SEASON 1970-1971

Wednesday evening March 31 1971 at 8.30

Thursday afternoon April 1 1971 at 2 o'clock

WILLIAM STEINBERG conductor

HINDEMITH Concert music for string orchestra and brass instruments op. 50

Massig schnell, mit Kraft (Moderately fast, with energy) Lebhaft- langsam - Lebhaft (Lively - slow - lively)

MOZART Piano concerto in E flat K. 271 'Jeunehomme'

Allegro Andantino Rondeau: presto JOHN BROWNING

intermission

SCHULLER Five bagatelles for orchestra

BEETHOVEN Symphony no. 5 in C minor op. 67'

Allegro con brio Andante con moto Allegro Allegro

John Browning plays the Steinway piano

The concert on Wednesday will end about 10.30; that on Thursday about 4 o'clock

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1362 Besides the Boston Symphony, the best thing about Symphony Hall is

Symphony Hall ranks today among the finest acoustical auditoriums in the world, even though it was built over a half century ago. For this we can thank Professor Wallace Clement Sabine of Harvard University's physics depart- ment. Professor Sabine disregarded the accepted theory that it was impossible to judge the acoustical excellence of a hall before it was built. Gathering the opinions of experts, he learned that the Boston Music Hall, then the Symphony's home, and Gewandhaus in Leipzig were generally consid- ered to be the two best acoustical auditoriums in the world. After studying these two concert halls, and armed with the minimum number of seats the new building had to contain in order to be economically feasible, Professor Sabine went to work. He determined that the best acoustical response for the hall would be a reverberation period of 2.31 seconds. And he designed his hall to achieve that measure. People laughed at him. No one could predict from blueprints what the rever- beration period would be. But when Symphony Hall opened in 1900, the reverberation period was exactly 2.31 seconds. Professor Sabine's triumph was the birth of modern acous- tical science.

An interesting story ? We thought so. And we hope you enjoyed it. Just as we hope you enjoy tonight's performance.

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1364 MHTJ m PAUL HINDEMITH Concert music for string orchestra and brass instruments op. 50 Program note by John N. Burk

Hindemith was born in Hanau, near Frankfurt, on November 16 1895; he died in Frankfurt on December 28 1963. He composed the Konzertmusik fur Streich- orchester und Blechblaser for the fiftieth anniversary of the Boston Symphony Orchestra. The first movement of the autograph score, which the Orchestra possesses, is inscribed 'Berlin, December 1930', the second movement, 'Ander- matt, December 27 1930'. The world premiere was given by the Orchestra in Symphony Hall during the anniversary season, on April 3 1931. Serge Koussevitzky conducted. The most recent performances in Boston by the Orchestra were given in January and February 1966; Jean Martinon was the guest conductor.

The composer directed in the score that 'the orchestra consist of the strongest four-voiced string section possible, 4 horns, 4 trumpets, 3 trombones and tuba'.

Hindemith left home at the age of eleven, owing to parental opposition to a musical career. He immediately found work in cafe and dance bands, and earned enough money to study at Hoch's Conservatory at Frankfurt. By 1915 he was already concertmaster of the Orchestra of the Frankfurt Opera. He had acquired a great proficiency on the viola, and soon became part founder and playing member of the Amar-Hindemith Quartet. With this organization he travelled throughout central Europe until 1929, and frequently appeared as soloist. In 1927 he had been appointed a Professor at the Berlin Hochschule fur Musik. Under the Nazi regime, however, these activities were brought to an end and he was forced to leave the country. For a while he took an active part in organizing musical life in Turkey, and later frequently toured in the United States where, in 1939, he decided to settle down for good. In 1942 he became head of the Music Department at Yale University, and he also taught at the Berkshire Music Center at Tanglewood.

During all these years Hindemith was an active and prolific composer. In his early years his composition's were somewhat eclectic and experi- mental. However, he soon discovered that his ideal was really to be based on a certain sort of neo-classicism. 'Back to Bach and Mozart' was his motto, although it must be understood that he did not neglect to take advantage of modern harmonic procedures. His music is strongly contrapuntal and marked by an intense and almost impersonal objectivity.

It is now nearly a decade since Hindemith died, and the gradual win- nowing out of his great compositions from those of lesser value is taking place. Hindemith himself once wrote: 'If there is anything still in this world that is on one side basically aristocratic and individualistic and on the other as brutal as the fight of wild animals, it is artistic creation, brutal because works that have no strength are eliminated and forgotten

. . . and no reasoning, no excuse can prolong their life or protect them against the crude power of the stronger work.' It now appears that some five or six of his major compositions are being frequently played by major orchestras all over the world, and one of them is the Concert music for string orchestra and brass instruments op. 50. This composition was written to celebrate the fiftieth anniversary season of the Boston Symphony. Hindemith had heard this Orchestra and had been impressed by the brilliance of the string section. Having that in mind, he called

1367 for 'the strongest four-voiced string section possible'. Against these he pitted a brass ensemble comprising four horns, four trumpets, three trombones and tuba. No woodwind instruments or percussion are used. In design the Konzertmusik follows the tradition of the eighteenth- century concerto grosso. Occasionally the full orchestral complement makes music in massed ensemble; more often, the strings or brass act as separate entities, vying with each other in exchange of ideas or moving momentarily to a solo position.

The work is divided into two main sections. The opening portion, marked 'Moderately fast, with energy', consists of two related but contrasted movements played without pause: the first a vigorous one in which the two instrumental bodies are set into sharp contrast; the second a slow one in which the horns join with the strings in a broad melody punctuated bv heavier brass. The last and longer section is marked 'Lively, slow, lively'. It begins as a fugue, handled at the outset mainly by the strings. A slow section introduces new melodic material which passes alternatingly between the two orchestral choirs. Finally the fugue returns in a powerful statement by the massed instrumental body.

WOLFGANG AMADEUS MOZART Piano concerto in E flat K. 271 'Jeunehomme' Program note by John N. Burk

Mozart was born in Salzburg on January 27 1756; he died in Vienna on Decem- ber 5 1791. He composed this concerto in Salzburg during January 1777. The first recorded performance took place in Munich on October 4 of that year at an informal concert during which the composer played this and two other of his concertos (K. 246 in C and K. 238 in B flat). (Mile Jeunehomme may well have played the work before that date.) The first performance by the Boston Symphony Orchestra was given on April 9 1943, when Emma Boynet was soloist and Serge Koussevitzky conducted. The most recent performances by the Orchestra in Boston were given in December 1959; Ania Dorfmann was the soloist, Charles Munch the conductor.

The instrumentation: 2 oboes, 2 horns, strings and solo piano.

John Browning plays Mozart's own cadenzas.

This concerto is sometimes called the 'Jeunehomme'. Mozart wrote it for Mile Jeunehomme, a distinguished Parisian pianist who evidently visited Salzburg in the course of a tour in the year 1777. The composer encountered the pianist again when he went to Paris in 1778. Mozart wrote her name in letters to his father — once as 'Mile Jeunehomme' and once as 'Madame Jenome'. The name also appears as 'Jenomi', evidently an Italianization.

When Mozart composed this concerto he was just twenty-one and little known outside of Salzburg. He was soon to make his journey with his mother to Mannheim and Paris. His great operas, symphonies and quartets were still to be written. This, the ninth of the twenty-eight

1368 numbered concertos, was the third original piano concerto. Its probing

range and emotional depth make it, at so early a point in his career, one of his most extraordinary achievements. We cannot know whether or not he was moved by the skill of the visiting pianist to extraordinary effort, but the music itself shows a considerable advance over anything he had done in any form. He had already solved the basic problem of

the concerto combination, but here it acquired its full stature. He struck out boldly, molded his materials at will in untried ways. The orchestra

imposed upon him still consisted of oboes and horns, which for the most part must be supported by string doubling. Within these limitations the orchestra becomes newly eloquent, closely fused with the piano to the advantage of both. Einstein compared this 'monumental' concerto with Beethoven's 'Eroica' symphony for its 'originality and boldness'. He could have carried the comparison further. It is in the same key and reaches the unprecedented length of more than thirty minutes. It was the case of a young man who took hold of a polite form and

poured into it a flood from an astonishingly abundant imagination in

such a way that its profusion throughout is compact with fresh beauty.

Like the 'Eroica', too, the first movement is built on a complex of themes which merge into a continuous melodic current in development; the

slow movement is a deep lament, the finale an outpouring of ebullient

strength. It establishes a custom which was to make Mozart the supreme master of the piano concerto — a cluster of six themes in the opening tutti, to be heard from later in varied sequence and manipulation, usually shared with the piano, which introduces subjects of its own.

At the very beginning the composer breaks precedent as the orchestra gives out a phrase and the pianist, who should be quietly waiting for his proper entrance much later, completes it. This was a happy trouvaille which Mozart did not have occasion ever to repeat. The first part of the principal subject is an orchestral proclamation, its melodic cadence is pianistic, whereby holy matrimony is declared at the outset. As in any ideal union, there is later a congenial interchange of thoughts. The thematic material of the first movement according to current custom could have furnished three.

The Andantino is in C minor — the first of Mozart's concerto move- ments in the minor tonality. Its plaint in the low strings is strongly suggestive of the slow movement of the Sinfonia concertante for violin and viola (K. 364) to be composed more than two years later. There is even a suggestion of duet in its first statement. The feeling becomes more intense as the orchestra introduces the soloist with a cadential phrase like a singer's recitative, as if emotion were striving for words.

(One is reminded that Beethoven, whose music this concerto foretells, sometimes used quasi-recitative passages in his sonatas. The Piano concerto in D of 1772, by C. P. E. Bach, which Mozart may have known, breaks into a long instrumental recitative, which, however, lacks tension and dissipates its effect.)

The passage recurs and softly closes the movement, but not before a suspensive pause on the dominant (instead of the usual tonic six-four chord) introduces a cadenza which carries the whole magic, veiled discourse to its true summit.

The rondo (presto) is based on an extended theme for the pianist,

1369 proposed and carried through with swift brilliance. In place of the third section, Mozart unexpectedly introduces and develops the theme of a

slow minuet. This is a long movement, for the young composer had

much in his heart. There is a cadenza which becomes a crucial part of the development and brings back the recitative passage as a soft reminiscence before the close. The bridge to the return of the presto

is quite indescribable. It has trappings of elegant grace, but with a new

and personal meaning. This is a concerto of daring, as if the usually compliant Mozart were suddenly possessed. Every bar supersedes formal gallantry.

GUNTHER SCHULLER Five bagatelles for orchestra Program note by the composer

Schuller was born in New York City on November 22 1925. The Five bagatelles were commissioned in 1962 by the Fargo-Moorhead Symphony Orchestra, and first performed by that orchestra on March 22 1964, the composer himself conducting.

The instrumentation: 2 flutes, piccolo, 2 oboes, english horn, 2 clarinets, bass clarinet, 2 bassoons, contra bassoon, 4 horns, 3 trumpets, 3 trombones, tuba, timpani, snare drum, bass drum, torn torn, cymbals, suspended cymbals, tarn tarn, tambourine, triangle, glockenspiel, piano, harp and strings.

The audience in our time finds itself, mostly unknowingly, in a historic- ally unprecedented situation. What the average listener experiences as a loss of communication between the composer and himself is in fact the result of two major musical revolutions which have taken place in our twentieth century, and which have fundamentally changed the face of music. The radical changes that followed in the wake of the Schoen- bergian revolution some 60 years ago have long since attained perma- nence, and will continue to affect the course of music in the forseeable future. No amount of nostalgia for the nineteenth century past will bring it back, just as surely as the horse and buggy will not replace the automobile.

Although realization of this fact is perhaps the first prerequisite to an understanding of today's music, it will not of itself provide an insight into the specifics of today's new musical language. But it will at least prepare one for the further realization that an appreciation of the new language entails new (and perhaps more concentrated) ways of listening.

It is, for example, useless to look for a 'tune' with a simple chordal accompaniment in today's music. It is, in fact, useless to look for a 'theme', certainly in the Beethovenian sense. For the most part, con- temporary music is non-thematic. This is not to say that it is non-melodic.

(Melody, by definition, is simply a linear succession of notes in a particular shape. The definition does not require that melody be tonal or immediately hummable!) Having no 'themes', today's music obviously

1370 cannot have constant reference to thematic material, as in a nineteenth century symphony or tone poem. Its forms and structures are cumulative and additive, and for the most part reject repetition. Such forms — and this seems to be hard for audiences to accept — require more con- centrated listening habits. To put it quite simply, if through lack of attention a listener has missed most of the exposition of a classical Rondo theme, let us say, he can rest assured that the same material will reappear at least two or three more times later on in the movement. Thus he can enjoy the security of recognition in familiar territory. In today's music, by comparison, the listener is constantly confronted by new material, or at least old material restated and reshaped. Thus the listener must be like an explorer, constantly seeking out new territory.

He must, in other words, be an adventurer. If he is not prepared to be this in some minimal way, he cannot expect to receive anything at all from contemporary music.

All the elements of music — melody, harmony, rhythm, tone-color, dynamics etc. — have undergone the aforementioned radical changes, and all of them must be experienced in a new way, heard in terms of their new relationships to one another. Far from imposing limitations on music, these changes have freed music in a wondrous and funda- mental way. They have made possible an absolutely unprecedented multiplicity of musical expression. They have made us aware of music as a purely acoustical phenomenon, not merely a means of telling a story (as in the tone poems of the nineteenth century), but something much subtler, much deeper and grander — a means of expressing abstract ideas and emotions in the most personal of all creative lan- guages: music. For the twentieth century has liberated the composer to create works which are, in very specific ways, unique unto themselves, works which evolve on their own principles, create their own laws, and in turn their own universe, so to speak. This is the artistic and creative individualism Beethoven dreamed of, and indeed initiated 150 years ago. The twentieth century has now achieved this vision, but its audiences have for the most part rejected it. However, history teaches us that this is normal in periods of transition and change; and there are now numer- ous signs on the musical horizon that the gap between composer and audience is gradually closing.

The Five bagatelles represent these new musical ideals and conceptions.

That is to say, these pieces are abstractions which do not tell stories, but rather create moods, states of mind, and present the ear with a variety of musical ideas and structures which speak for themselves as music. Each movement isolates one of the new problems orchestral players face in the performance of new music. Each movement can be seen as a study in one aspect of contemporary orchestral techniques.

Thus the first Bagatelle is a study in contrasting sonorities, exploiting the rich timbral variety inherent in the modern orchestra.

The second movement is a study in dynamic contrast. Here the player is required to project the element of surprise inherent in sudden, unpre- pared dynamic changes, without impairing the structural unity of the music.

The third Bagatelle is a study in Klangfarbenmelodie (a term invented by Schoenberg, meaning 'tone-color-melody'), in which a long melody

1371 is projected as a constant interchange of instrumental colors (timbres), analogous to the interchanges in a relay race, for example. This melody starts in the violins, goes to the clarinet, is taken over by the violas and cello, returns to the violins, and continues in this fashion throughout the movement, often only one or two notes per instrument, until the

melody is carried from brass via woodwinds to string sonorities. All this is stated in a lyrical, song-like expression. Here the player can learn how the seemingly isolated fragments of his own part are part of a larger entity and must be expressed as such in order to have an over-all meaning.

The fourth Bagatelle is a study in rhythm. Here a single rhythmic pattern forms the structural basis of the piece. It is heard at various speed levels, sometimes separately, sometimes several levels together, and at one point all seven versions appear simultaneously in a polyrhythmic complex.

The fifth movement is essentially a summation of the previous four. Aside from the opening idea, consisting of only four notes in four con- trasting sonorities (this idea returns twice more), there are four other

brief 'events' in this movement: 1) one is a lyrical phrase (a reference to the third Bagatelle); 2) the next a rhythmic idea (referring to movement four); 3) a highly fragmented structure in contrasting sonorities (move- ment one); and 4), a short dramatic phrase of great dynamic and regional contrast (movement two).

The term Bagatelle has been used by many composers including Bee-

thoven and, in our own time, Anton Webern. It generally refers to a piece of music brief in duration and light in character, a 'moment musicale'.

LUDWIG VAN BEETHOVEN

Symphony no. 5 in C minor op. 67 Program note by John N. Burk

Beethoven was born in Bonn in December 1770 (probably the 16th); he died in Vienna on March 26 1827. He completed the Fifth symphony near the end of 1807 and himself directed the first performance at the Theater-an-der-Wien on December 22 1808. The first performance by the Boston Symphony Orchestra was given on December 18 1881; Ceorg Henschel conducted. The most recent performances in these series were given on November 24 and 25 1967; Erich Leinsdorf conducted.

The instrumentation: 2 flutes, piccolo, 2 oboes, 2 clarinets, 2 bassoons, contra bassoon, 2 horns, 2 trumpets, 3 trombones, timpani and strings (the piccolo, trombones and contra bassoon, here making their first appearance in a sym- phony of Beethoven, are used only in the Finale).

Something in the direct impelling drive of the first movement of the

C minor symphony commanded general attention when it was new, challenged the skeptical, and soon forced its acceptance. Goethe

1372 tfWB tMfsrlffi fern

heard it with grumbling disapproval, according to Mendelssohn, but was astonished and impressed in spite of himself. Lesueur, hidebound professor at the Conservatoire, was talked by Berlioz into breaking his vow never to listen to another note of Beethoven, and found his prej- udices and resistance quite swept away. A less plausible tale reports Maria Malibran as having been thrown into convulsions by this sym- phony. The instances could be multiplied. There was no gainsaying that forthright, sweeping storminess.

Even if the opening movement could have been denied, the tender melodic sentiment of the Andante was more than enough to offset conservative objections to 'waywardness' in the development, and the lilting measures of the scherzo proper were more than enough to compensate the 'rough' and puzzling Trio. The joyous, marchlike theme of the finale carried the symphony on its crest to popular success, silencing at length the objections of those meticulous musi- cians who found that movement 'commonplace' and noisy. Certain of the purists, such as Louis Spohr, were outraged at hearing the disreputable tones of trombones and piccolo in a symphony. But Spohr could not resist Beethoven's uncanny touch in introducing a reminiscence of the scherzo before the final coda. Even Berlioz, who was usually with Beethoven heart and soul, felt called upon to make a half-apology for the elementary finale theme. It seemed to him that the repetitiousness of the finale inevitably lessened the interest. After the magnificent first entrance of the theme, the major tonality so miraculously prepared for in the long transitional passage, all that could follow seemed to him lessened by comparison, and he was forced to take refuge in the simile of a row of even columns, of which the nearest looms largest.

It has required the weathering of time to show the Beethoven of the Fifth symphony to be in no need of apologies, to be greater than his best champions suspected. Some of its most enthusiastic conductors in the century past seem to have no more than dimly perceived its broader lines, misplaced its accents, under or over shot the mark when they attempted those passages which rely upon the understanding and dramatic response of the interpreter. Wagner castigated those who hurried over the impressive, held E flat in the second bar, who sus- tained it no longer than the 'usual duration of a forte bow stroke'.

Many years later, Arthur Nikisch was taken to task for over-prolonging those particular holds. Felix Weingartner, in 1906, in his 'On the Performance of the Symphonies of Beethoven', felt obliged to warn conductors against what would now be considered unbelievable liber- ties, such as adding horns in the opening measures of the symphony. He also told them to take the opening eighth notes in tempo, and showed how the flowing contours of the movement must not be obscured by false accentuation.

Those — and there is no end of them — who have attempted to describe the first movement have looked upon the initial four-note figure with its segregating hold, and have assumed that Beethoven used this frag- ment, which is nothing more than a rhythm and an interval, in place of a theme proper, relying upon the slender and little used 'second theme' for such matters as melodic continuity. Weingartner and others

1373 J

after him have exposed this fallacy, and what might be called the enlightened interpretation of this movement probably began with the realization that Beethoven never devised a first movement more con- spicuous for graceful symmetry and even, melodic flow. An isolated tile cannot explain a mosaic, and the smaller the tile unit, the more smooth and delicate of line will be the complete picture. Just so does Beethoven's briefer 'motto' build upon itself to produce long and regular melodic periods. Even in its first bare statement, the 'motto' belongs conceptually to an eight-measure period, broken for the

moment as the second fermata is held through an additional bar. The

movement is regular in its sections, conservative in its tonalities. The composer remained, for the most part, within formal boundaries.

The orchestra was still the orchestra of Haydn, until, to swell the jubilant outburst of the finale, Beethoven resorted to his trombones.

The innovation, then, was in the character of the musical thought. The artist worked in materials entirely familiar, but what he had to say was astonishingly different from anything that had been said before.

As Sir George Grove has put it, he 'introduced a new physiognomy into the world of music'. No music, not even the 'Eroica', had had nearly the drive and impact of this first movement.

The Andante con moto (in A flat major) is the most irregular of the

four movements. It is not so much a theme with variations as free thoughts upon segments of a theme with certain earmarks and recur- rences of the variation form hovering in the background.

The third movement (allegro, with outward appearance of a scherzo) begins pianissimo with a phrase the rhythm of which crystallizes into the principal element, in fortissimo. The movement restores the

C minor of the first and some of its rhythmic drive. But here the

power of impulsion is light and springy. In the first section of the

Trio in C major (the only part of the movement which is literally

repeated) the basses thunder a theme which is briefly developed, fugally and otherwise. The composer begins what sounds until its

tenth bar like a da capo. But this is in no sense a return, as the hearer

soon realizes. The movement has changed its character, lost its steely

vigor and taken on a light, skimming, mysterious quality. It evens off into a pianissimo where the suspense of soft drum beats prepares a new disclosure, lightly establishing (although one does not realize this until the disclosure comes) the quadruple beat. The bridge of mystery leads, with a sudden tension, into the tremendous outburst of the Finale, chords proclaiming C major with all of the power an orchestra of 1807 could muster. Traditional preconceptions are swept away in floods of sound, joyous and triumphant. At the end of the development the riotous chords cease and in the sudden silence the scherzo, in what

is to be a bridge passage, is recalled. Again measures of wonderment fall into the sense of a coda as the oboe brings the theme to a gentle resolution. This interruption was a stroke of genius which none could deny, even the early malcontents who denounced the movement as vulgar and blatant — merely because they had settled back for a rondo and found something else instead. The Symphony which in all parts overrode disputation did so nowhere more unanswerably than in the

final coda with its tumultuous C major.

1374 JOHN BROWNING made his debut with the Boston Symphony Orchestra nine years ago, when he was soloist in the world pre- miere of Samuel Barber's Piano concerto no. 1, and has appeared with the Orchestra on many occasions since in Boston, New York and at the Berkshire Festival. He has also recorded the five piano concertos of Prokofiev with the Orchestra, under Erich Leinsdorf's direction, for RCA.

John Browning first appeared in public at the age of ten, in Denver, his home town, when he played Mozart's 'Coronation' concerto with members of the Denver Symphony. His family later moved to Los Angeles, where he studied with Lee Pattison. He won a scholarship to the Juilliard School in New York, where he became a pupil of Rosina Lhevinne. In 1954 he won the Steinway Cen- tennial award, and the following year the Leventritt award. He made his debut with the New York Philharmonic in 1956, and the same year won the Gold Medal Award of the Concours International Musical in Brussels.

Since that time he has played solo recitals and appeared with major orchestras in many parts of the world. During the present season alone he has appeared with the Chicago Symphony, the Washington National Symphony, the San Francisco Symphony, the Detroit Symphony, the Pittsburgh Symphony, the Toronto Symphony, the Atlantic Symphony, and the Minnesota Orchestras. He recently toured in the Soviet Union and in many European countries. In past seasons he has also appeared, among others, with the Cleveland Orchestra, the New York Philharmonic, the London Symphony and the Concertgebouw Orchestras. John Brown- ing's plans for the 1971-1972 season include tours to Europe and Japan, as well as engagements with many American orchestras. He records for RCA.

EACH TIME YOU BUY A RECORD BY THE BOSTON SYMPHONY OR THE BOSTON POPS ORCHESTRA, YOU HELP TO REDUCE THE ORCHESTRA'S DEFICIT.

1375 BOSTON SYMPHONY ORCHESTRA

WILLIAM STEINBERG Music Director

NINETY-FIRST SEASON 1971-1972

TWENTY FRIDAY CONCERTS AT 2 o'clock

TWENTY SATURDAY CONCERTS AT 8.30

in

SYMPHONY HALL

beginning on

September 24 & 25 1971

Renewal cards will be mailed to all subscribers in the near future.

To insure your present location, please be sure to return your card by May 1st. If you have any queries, please consult the

SUBSCRIPTION OFFICE SYMPHONY HALL

BOSTON MASSACHUSETTS 02115 Wouldn't you know who'd play the lead! vwnH

JULY 2/AUGUST 22

Highlights of the season include

Brahms — Beethoven Concerts July 16, 17,23, 24, 25

Five concerts conducted by William Steinberg, Music Director of the Boston Symphony Orchestra, and Leonard Bernstein, Advisor to Tanglewood.

The two all-Brahms concerts feature Vladimir Ashkenazy playing the second piano concerto, and Pinchas Zukerman and Zara Nelsova playing the Concerto for violin and celio.

The three all-Beethoven concerts feature Itzhak Perlman playing the violin concerto, Symphonies

3, 5, 7 and . . .

Beethoven's Missa Solemnis

Conducted by Leonard Bernstein with Arlene Saunders, Florence Kopleff, William Cochran and Sherrill Milnes as soloists.

The performance is given in memory of Serge Koussevitzky, the Boston Symphony's Music Director, 1924-1949, and conductor of the Orchestra's first Berkshire Festival concerts.

Berlioz Damnation of Faust

Seiji Ozawa conducts Berlioz dramatic oratorio. Soloists are Lois Marshall, John Alexander, Ezio Flagello, and the Tanglewood Festival Chorus. Festival 1 artists include

ElCEND PRELUDES will offer short programs by conductors free ITrtant artists, each Friday evening at 7 pm, Daniel Barenboim Aiders of tickets for the 9 pm Boston Leonard Bernstein llhony concert. Colin Davis Arthur Fiedler at 10:30 Leon Fleisher J REHEARSALS each Saturday morning Maderna a relaxed look at the Orchestra and its Bruno Ormandy uctor at work. Eugene Seiji Ozawa William Steinberg glewood-on-Parade Michael Tilson Thomas

day July 27 pianists Vladimir Ashkenazy Stephen Bishop iton Pops-at-Tanglewood Christoph Eschenbach HUR FIEDLER conductor Byron Janis Garrick Ohlsson ,day August 3 at 8:30 pm Alexis Weissenberg Earl Wild Center Concerts rkshire Music violinists Boston Symphony's unique summer academy Itzhak Perlman advanced study of music offers concerts nearly Joseph Silverstein ry day during the Festival season. Orchestra, Pinchas Zukerman music, choral and vocal programs mber cellists presented. Jules Eskin CONTEMPORARY MUSIC, Zara Nelsova 5 FESTIVAL OF msored in cooperation with the Fromm Music flute jndation of Chicago, often called a 'Festival- Doriot Anthony Dwyer hin-a-festival', turns Tanglewood into the temporary music capital of the world during singers John Alexander intensive presentation of new works, some David Clatworthy nmissioned especially for the Festival and many Ezio Flagello ard in premiere performances. Maureen Forrester Florence Kopleff Sherrill Milnes Judith Raskin Benita Valente Beverly Wolff

choruses Tanglewood Festival Chorus Berkshire Boy Choir ensembles • further information: chamber Symphony rkshire Festival, Symphony Hall, Boston, Mass. Boston Players ;G AND RCA RECORDS BALDWIN PIANO Chamber Boston Symphony String Trio iomas D. Perry Jr., Manager

t* E

BOSTON POPS

EIGHTY-SIXTH SEASON

OPENING MONDAY NIGHT APRIL 26

April 26 - June 26

SYMPHONY HALL at 8.30

There will be concerts each week Monday through Saturday. The Pension Fund Concert will be on Sunday May 16.

Tickets will be placed on sale two weeks in advance of each concert

1381

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I COUNCIL OF FRIENDS OF THE BOSTON SYMPHONY ORCHESTRA

A MUSICAL MARATHON

Please put the dates of Friday May 21, Saturday May 22 and Sunday May 23 into your calendars now. From early that Friday morning until midnight Sunday, radio station WCRB AM and FM will broadcast a 'Musical Marathon' devoted entirely to music played by the Boston Symphony Orchestra. The material will include tapes of pieces per- formed in concert (which are not available commercially), and selected Deutsche Grammophon and RCA recordings. The trustees and owners have kindly lent us the tapes and albums for this special occasion.

The Marathon, an event to raise funds for the Orchestra, works like this. In about ten days time 20,000 catalogues listing all the musical selec- tions available will be mailed to Friends of the Boston Symphony Orchestra, subscribers to concert series, subscribers to the WCRB pro- gram guide, and others. Another 20,000 will be distributed throughout the Boston area. You will then be able to choose from the catalogue a piece of music you would like to have played, by making a donation to the Orchestra. The sum will depend on the length of the work you choose.

There will also be a number of prizes: Mr. Richard Kaye of WCRB has already arranged that these include a color television set, an outboard motor, 150 Deutsche Grammophon albums, 50 RCA albums and a num- ber of steak dinners. During the three days and nights there will be special 'Marathon Hosts' to read the names of contributors and the pledges. Volunteers will man special telephones, and distinguished personalities will make guest appearances on the air.

The Council of Friends is most grateful to WCRB for generously giving the air time for the Marathon; to the trustees and owners of tapes and records for permission for their use; and to the players and staff of the Boston Symphony Orchestra for their enthusiastic co-operation.

Your invitation catalogue will arrive soon. Please be on the alert for it, tell your friends about this exciting Marathon, and plan to take part in it yourself. The chance to hear the Orchestra's historic concert per- formances under the direction of Serge Koussevitzky, Charles Munch, Erich Leinsdorf, William Steinberg and distinguished guest conductors

— as well as works with the world's greatest soloists — is rare indeed.

Don't miss it!

1383 I'

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Saturday evenings WASHINGTON HOUSE I'm here listening to Symphony. 1 RESIDENTIAL HOTEL The rest of the week GRACIOUS RETIREMENT LIVING IN ONE OF THE EARLY 1900's MOST BEAUTIFUL MANSIONS m listening for the phone to ring. Waiting for you 600 WASHINGTON STREET to ask me to arrange a WELLESLEY, MASSACHUSETTS flight, a vacation, a 237-3636 ruise, a sales incentive trip, a group trip. Any kind of trip. To anywhere. For you, your wife, the kids or

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1388 Often it's only an oversight. Does your Or a husband's desire to spare his wife "annoying" financial details. For husband's whatever reason, many successful men secretary leave family money matters in the office. Sometimes, too, it's these same men know more who expect their wives to serve as their executors. They're unaware of the many about benefits to a widow in having a professional executor close at hand, ready with immediate his financial assistance at this most difficult time. affairs than State Street Bank has the advantage of being readily accessible in two important you do? ways. Our downtown office, with free parking in the building, offers a pleasant, private place to discuss financial

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1389 Glamors! High-fliers!

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1391 Council of Friends

Symphony Hall, Boston, Mass. 02115 — 266-1348

The drive is on again! Mrs Howard Davis, Chairman of the Campaign for New members, is leading an energetic crusade to enlist and enroll new Friends. All Area chairmen ano committees are at work. So — won't you help?

On March 3rd this year, there were 3,960 current Friendi who had contributed $326,362; twelve months earlier the figures were 3,421 and $235,749. This is already a good step in the right direction towards our goal of $550,000 this season.

Co- Chairmen As an incentive to recruiting, the Council has planned Mrs. Albert Goodhue a Mrs. John L. Grakdin, Jr. scheme whereby anyone enlisting ten or more new Friends will receive as a gift Secretary a recording by the Orchestra. Top prizesi Mrs. Josiah A. Spaueding for those recruiting the largest number will be a 'Gold Pass' to a series Treasurer of concerts next season, a weekend for two at Mrs. John H. Knowees Tanglewood, and a table at Pops for three nights. Executive Secretary Mrs. Frank W. Whitty Apart from 266-1348 the satisfaction of contributing to one of the world's great orchestras, membership in the Friends provides Chairman of Areas Mrs. several William J. Mixter, Jr. tangible benefits: there are lectures by members of Area Chairmen the Orchestra, Pre-Symphony Luncheons, and Table Talk Mrs. James H. Grew Suppers before evening Anclover concerts. Friends have first choice of Mrs. Herbert C. Lee any new recordings, financial reductions on European tours, Belmont and personally conducted tours of Symphony Hall. All Mrs. George Draper Mrs. Walter Watson II Friends are invited to attend the Annual Meeting, which Boston includes a rehearsal of the Boston Pops Orchestra by Mrs. Walter Cahners Arthur Mrs. Allen P. Joslin Fiedler, and a luncheon in Symphony Hall. All these events Brookline-Chestnut Hill are available to Friends of the Boston Mrs. Edwin T. Green Symphony Orchestra Cambridge making an annual donation in any amount between $15 and Mrs. Howard W. Davis $5,000. Anyone giving less than Mrs. Donald B. Sinclair $15 will be invited to the Concord Annual Meeting only. Special events are also planned for Mrs. Richard R. Higgins contributors in each category of giving. Mrs. Thomas E. Jansen, Jr. Dedham-Dover-Westwood BOSTON SYMPHONY of giving are as follows: iategories ORCHESTRA 15 and over — Contributor $250 and over — Sustaining

50 and over — Donor $500 and over — Patron 8^ 100 and over — Sponsor $1000 and over — Guarantor r

$5000 and over — Benefactor

Traveler: Alison Arnold wrote recently in the Boston Herald According to the dictionary, a friend is one attached to nother by esteem, respect or affection. So why not be a riend to the Boston Symphony Orchestra? It certainly rates /our esteem, respect and affection/

Area Chairmen Mrs. Richard M. Burnes Framingham Mrs. Robert Siegfried FRIENDS OF THE BOSTON SYMPHONY ORCHESTRA Lexington Mrs. Edwin M. Cole to the $550,000 goal of the Lincoln I subscribe $ Abrams of the Boston Symphony Orchestra toward meeting Mrs. Herbert Friends Lowell estimated deficit for the 1970-1971 season the Orchestra's Mrs. Erick Kauders Marblebead September 1 1970 to August 31 1971 Mrs. Lewis W. Kane Milton Mrs. Robert M. P. Kennard Check enclosed Mrs. Samuel A. Levine Newton

F. Corning Kenly, Jr. Please bill me Mrs. Payable on Mrs. Richard Russell North Shore

Mrs. C. Russell Eddy Name South Shore Mrs. Francis Devlin Wayland

Address Mrs. Howard E. Hansen Wellesley Zip Code Mrs. Richard Ely Weston Mrs. Harold Blanchard Please indicate series you attend Winchester

Mrs. Harlan Pierpont, Jr. Worcester Please make check payable to Boston Symphony Orchestra Inc. Mrs. Charles T. Gallagher Federal Income Tax Gifts to the Orchestra are deductible under the Mrs. John Kennard New Hampshire Laws.

ft* VlDK SUMMARY OF THE SEASON 1970-1971

CONCERTS GIVEN IN THE FRIDAY-SATURDAY SERIES DURING THE SEASON 1970-1971

Program Date Conductor

1 September 25 & 26 WILLIAM STEINBERG 2 October 2 & 3 MICHAEL TILSON THOMAS 3 October 9 & 10 WILLIAM STEINBERG 4 October 23 & 24 WILLIAM STEINBERG 5 October 30 & 31 MICHAEL TILSON THOMAS 6 November 6 & 7 SEIJI OZAWA 7 November 13 & 14 SEIJI OZAWA 8 November 27 & 28 DONALD JOHANOS 9 December 4 & 5 MICHAEL TILSON THOMAS 10 December 11 & 12 WILLIAM STEINBERG 11 December 18 & 19 WILLIAM STEINBERG 12 January 1 & 2 MICHAEL TILSON THOMAS 13 January 8 & 9 MICHAEL TILSON THOMAS 14 January 22 & 23 ERICH LEINSDORF 15 January 29 & 30 RAFAEL FR0HBECK DE BURGOS 16 February 5 & 6 CLAUDIO ABBADO 17 February 12 & 13 ERICH LEINSDORF 18 February 26 & 27 BERNARD HAITINK 19 March 5 & 6 RAFAEL KUBELIK 20 March 12 & 13 RAFAEL KUBELIK 21 March 26 & 27 MICHAEL TILSON THOMAS 22 March 30 & April 1 WILLIAM STEINBERG

WORKS PLAYED AT THE FRIDAY-SATURDAY SERIES Program Author's Page initials BACH Brandenburg concerto no. 3 in G S. 1048 12 JNB 732 Suite no. 2 in B minor S. 1067 4 JNB 217 DORIOT ANTHONY DWYER flute Suite no. 4 in D S. 1069 2 JNB 87 BARTOK Concerto for orchestra (1943) 17 JL 1067 BEETHOVEN Symphony no. 3 in E flat op. 55 'Eroica' 16 JL 1002 Symphony no. 5 in C minor op. 67 22 JNB 1372 Symphony no. 7 in A op. 92 1 JNB 44 Symphony no. 8 in F op. 93 5 JNB 279

BERLIOZ Symphonie fantastique op. 14a JNB 426 BRAHMS Symphony no. 1 in C minor op. 68 20 JNB 1257 Tragic overture op. 81 21 JNB 1303 BRUCKNER Symphony no. 7 in E (1883) 3 JNB 153 CHOPIN Piano concerto no. 2 in F minor op. 21 10 JL 604 JOSEPH KALICHSTEIN piano

1394 Program Author's Page initials COPLAND Short symphony AHR 407 in honor of the composer's seventieth birthday first performance by the Boston Symphony Orchestra 21 AC 'Appalachian spring', ballet for Martha 1304 INB DAHL Concerto for alto saxophone and wind orchestra 12 746 HARVEY PITTEL alto saxophone first performance in Boston DEBUSSY 'Images' pour orchestre 12 JNB 749 Prelude a I'apres-midi d'un faune, after the eclogue 6 JNB 343 of Stephane Mallarme DVORAK Symphony no. 7 in D minor op. 70 8 JNB 476 ERB Symphony of overtures (1964) 8 DE 473 first performance in Boston FALLA 'El amor brujo', ballet-pantomime 15 JL 919 EUNICE ALBERTS mezzo-soprano Suite from the ballet 'The three-cornered hat' 15 JL 924 LOU HARRISON Canticle no. 3 9 AHR insert

J. HAYDN Symphony no. 97 in C 9 JNB 537

M. HAYDN Trumpet concerto in C 4 AHR 218 ARMANDO GHITALLA trumpet first performance by the Boston Symphony Orchestra HINDEMITH Concert music for strings and brass op. 50 22 JNB 1367 HOLST The planets op. 32 JL 23 WOMEN OF THE NEW ENGLAND CONSERVATORY CHORUS Lorna Cooke de Varon director HONEGGER Symphony no. 2 for strings and trumpet 20 JNB 1242

LIGETI Atmospheres DTG 425 first performance by the Orchestra in Boston LOPATNIKOFF Festival overture op. 40 AHR 215 first performance in Boston MAHLER Symphony no. 7 11 JNB 665

1395 Program Author's Page initials MOZART Bassoon concerto in B flat K. 191 21 AHR 1307 SHERMAN WALT bassoon Divertimento no. 2 in D K. 131 8 JNB 471 first performance by the Orchestra in Boston March in D K. 249 21 first performance by the Boston Symphony Orchestra Piano concerto in E flat K. 271 'Jeunehomme' 22 JNB 1368 JOHN BROWNING piano Serenade no. 6 in D K. 239 'Serenata notturna' 18 JL 1111 Serenade no. 9 in D K. 320 'Posthorn' 14 AHR 855 ARMANDO GHITALLA posthorn Symphony no. 31 in D K. 297 'Paris' 21 JNB 1321 Symphony no. 36 in C K. 425 'Linz' 11 JNB 663 Symphony no. 38 in D K. 504 'Prague' 20 PB 1239

NIELSEN Symphony no. 5 op. 50 9 KGR 553 PARTOS 'Paths', symphonic elegy 1 AHR 42 first performance in America PEROTIN Sederunt principes 13 AHR 791 HARVARD GLEE CLUB F. John Adams conductor PISTON Symphony no. 2 (1943) 2 KGR 90 PROKOFIEV Piano concerto no. 3 in C op. 26 6 JL 345 MAURIZIO POLLINI piano RAVEL Daphnis et Chloe - suite no. 2 15 JNB 942 La valse - choreographic poem 2 JNB 112 Ma mere I'oye 18 AHR 1115 REGER Variations and fugue on a theme by Mozart op. 132 AHR 151 SCHOENBERG Five pieces for orchestra op. 16 5 JNB 282 Variations for orchestra op. 31 17 JNB 1050 SCHUBERT Symphony no. 8 in B minor D. 759 'Unfinished' 17 JNB 1047 SCHULLER Five bagatelles for orchestra 22 GS 1370 Museum piece 10 GS 599 world premiere in celebration of the centennial of the Museum of Fine Arts, Boston SCHUMAN Violin concerto SK 108 PAULZUKOFSKY violin SCHUMANN Piano concerto in A minor op. 54 15 JNB 938 CHRISTOPH ESCHENBACH piano Symphony no. 3 in E flat op. 97 'Rhenish' 13 JL 795 IBM rWHIHIHillfff THfrTnT*1

ADDENDUM

The performance of Gunther Schuller f s Five bagatelles for orchestra on March 31 1971 was the first performance by the Boston Symphony Orchestra.

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aifi Program Author's Page initials SCRIABIN Le poeme de I'extase op. 54 16 JNB 986 SMETANA Ma vlast (My country) 19 JL 1175 first complete performance by the Orchestra in Boston STOCKHAUSEN Punkte (Points) 13 AHR 792 first performance in Boston STRAUSS GHLSJ Ein Heldenleben op. 40 1130 JNB \ STRAVINSKY Le sacre du printemps 4 JL 234 Petrushka (1911 version) 14 JNB 857 NEWTON WAYLAND piano Renard AHR 298 ROBERT GARTSIDE, ALEXANDER STEVENSON tenors MARK PEARSON, RICHARD GILL basses TONI KOVES-STEINER cimbalom first performance by the Boston Symphony Orchestra TCHAIKOVSKY Divertissement from Act 3 of 'Swan Lake' AHR 301 first performance by the Boston Symphony Orchestra 'Romeo and Juliet', overture-fantasy 16 JL 983 Symphony no. 6 in B minor op. 74 'Pathetique' 6 JNB 361 TOCH Symphony no. 2 op. 73 10 JNB) 602 ET S VAUGHAN WILLIAMS Tuba concerto in F minor AHR 220 CHESTER SCHMITZ tuba first performance by the Boston Symphony Orchestra WAGNER Prelude to 'Die Meistersinger von Numberg' 10 JNB 620 WEBERN Six pieces for orchestra op. 6 12 AHR 727

The authors of the notes, whose initials appear in the summary, are; JNB — JOHN N. BURK JL— JAMES LYONS PB— PETER BRANSCOMBE AHR— ANDREW RAEBURN AC— AARON COPLAND KGR— KLAUS G. ROY DE— DONALD ERB GS — GUNTHER SCHULLER DTG— DONALD T. GAMMONS GHLS— GEORGE H. L. SMITH SK— SHEILA KEATS ET— ERNST TOCH

GENERAL ARTICLES PRINTED IN THE PROGRAMS OF THE FRIDAY-SATURDAY SERIES Page JOHN N. BURK The mismating of Bruckner and Mahler 667

1397 Page

JOHN N. BURK The Impressionists and Debussy 754 Schoenberg's musical logic 1052 PHILIP HALE Berlioz and the Fantastic symphony 430 Smetana's last years 1194 TAMARA KARSAVINA A recollection of Stravinsky 860 ANDREW RAEBURN The opening of Symphony Hall in 1900 239 DIGGORY VENN Back Bay Boston: institutions and patrons 623 The Boston Symphony Orchestra in 1970 170 The Berkshire Music Center- 1970 305 New Trustees of the Boston Symphony Orchestra Inc. 438 New Members of the Orchestra 560 876 Recent record reviews 682

A salute to James J. Brosnahan 811

CONCERTS GIVEN IN THE TUESDAY A SERIES DURING THE SEASON 1970-1971

Program Date Conductor

1 September 29 WILLIAM STEINBERG 2 October 20 MICHAEL TILSON THOMAS 3 November 3 MICHAEL TILSON THOMAS 4 November 24 JOSEPH SILVERSTEIN 5 December 15 WILLIAM STEINBERG 6 January 5 MICHAEL TILSON THOMAS 7 January 26 MICHAEL TILSON THOMAS 8 February 9 ERICH LEINSDORF 9 March 2 BERNARD HAITINK 10 March 30 MICHAEL TILSON THOMAS

WORKS PLAYED IN THE TUESDAY A SERIES Program BACH Brandenburg concerto no. 3 in G S. 1048 6 Suite no. 4 in D S. 1069 2 BEETHOVEN Symphony no. 7 in A op. 92 1 Symphony no. 8 in F op. 93 3 BERLIOZ Symphonie fantastique op. 14a 4 BRAHMS Tragic overture op. 81 10 CHOPIN Piano concerto no. 2 in F minor op. 21 5 JOSEPH KALICHSTEIN piano COPLAND 'Appalachian spring', ballet for Martha 10 DAHL Concerto for alto saxophone and wind orchestra HARVEY PITTEL saxophone DEBUSSY 'Images' pour orchestre HAYDN Symphony no. 97 in C

1398 Program HINDEMITH 'Entombment', from Mathis der Maler 3 in memory of Richard Cardinal Gushing HOLST The planets op. 32 1 WOMEN OF THE NEW ENGLAND CONSERVATORY CHORUS Lorna Cooke de Varon director

LIGETI Atmospheres 4 MOZART Bassoon concerto in B flat K. 191 10 SHERMAN WALT bassoon March in D K. 249 10 Serenade no. 6 in D K. 239 'Serenata notturna' 9 Serenade no. 9 in D K. 320 'Posthorn' 8 ARMANDO GHITALLA posthorn Symphony no. 31 in D K. 297 'Paris' 10 PARTOS 'Paths', symphonic elegy 1 PISTON Symphony no. 2 (1943) 2 RAVEL La valse - choreographic poem 2 Ma mere I'oye 9 SCHOENBERG Five pieces for orchestra op. 16 3 SCHUBERT Symphony no. 5 in B flat D. 485 4 SCHULLER Museum piece 5 in celebration of the Centennial of the Museum of Fine Arts, Boston SCHUMAN Violin concerto 2 PAUL ZUKOFSKY violin SCHUMANN Symphony no. 3 in E flat op. 97 'Rhenish' 7 STRAUSS Ein Heldenleben op. 40 9 JOSEPH SILVERSTEIN violin STRAVINSKY Petrushka (complete version of 1911) 8 NEWTON WAYLAND piano

Renard 3 ROBERT GARTSIDE, ALEXANDER STEVENSON tenors MARK PEARSON, RICHARD GILL basses TONI KOVES-STEINER cimbalom TCHAIKOVSKY Divertissement from Act 3 of 'Swan Lake' 3 TOCH Symphony no. 2 op. 73 5 VIOTTI Violin concerto no. 22 in A minor 7 JOSEPH SILVERSTEIN violin 1399 ..--.-•

WAGNER Prelude to 'Die Meistersinger von Niirnberg' WEBERN Six pieces for orchestra op. 6

CONCERTS GIVEN IN THE TUESDAY B SERIES DURING THE SEASON 1970-1971

Program Date Conductor

1 October 6 WILLIAM STEINBERG 2 October 27 MICHAEL TILSON THOMAS 3 December 1 DONALD JOHANOS 4 December 29 MICHAEL TILSON THOMAS 5 February 2 RAFAEL FRUHBECK DE BURGOS 6 February 23 ERICH LEINSDORF

WORKS PLAYED IN THE TUESDAY B SERIES Program BACH Suite no. 4 in D S. 1069 2 BARTOK Concerto for orchestra 6 BEETHOVEN Symphony no. 7 in A op. 92 1 DVORAK Symphony no. 7 in D minor op. 70 3 ERB Symphony of overtures (1964) 3 FALLA El amor brujo 5 EUNICE ALBERTS mezzo-soprano Suite from the ballet 'The three-cornered hat' 5 LOU HARRISON Canticle no. 3 2 HAYDN Symphony no. 97 in C 4 HOLST Suite from 'The planets' op. 32 1 MOZART Divertimento no. 2 in D K. 131 3 NIELSEN Symphony no. 5 op. 50 4 PISTON Symphony no. 2 (1943) 2 RACHMANINOV Rhapsody on a theme of Paganini op. 43 1 THEODORE LETTVIN piano RAVEL Daphnis et Chloe- suite no. 2 La valse- choreographic poem

1400 Program SCHOENBERG Variations for orchestra op. 31 6 SCHUBERT Symphony no. 8 in B minor 'Unfinished' 6 SCHUMANN Piano concerto in A minor op. 54 5 CHRISTOPH ESCHENBACH piano VIOTTI Violin concerto no. 22 in A minor JOSEPH SILVERSTEIN violin

CONCERTS GIVEN IN THE CAMBRIDGE SERIES DURING THE SEASON 1970-1971

Program Date Conductor

1 October 13 MICHAEL TILSON THOMAS 2 November 10 SEIJI OZAWA 3 December 8 WILLIAM STEINBERG 4 January 19 MICHAEL TILSON THOMAS 5 February 16 ERICH LEINSDORF 6 March 23 WILLIAM STEINBERG

WORKS PLAYED IN THE CAMBRIDGE SERIES Program BACH Suite no. 4 in D S. 1069 1 BEETHOVEN Overture 'Leonore no. 3' op. 72b 6 Symphony no. 7 in A op. 92 3 BRAHMS Symphony no. 2 in D op. 73 6 DAHL Concerto for alto saxophone and wind orchestra 4 HARVEY PITTEL saxophone DEBUSSY 'Images' pour orchestre Prelude a I'apres-midi d'un faune, after the eclogue of Stephane Mallarme LOU HARRISON Canticle no. 3 first performance in Boston LOPATNIKOFF Festival overture op. 40 MOZART Serenade no. 9 in D K. 320 'Posthorn' ARMANDO GHITALLA posthorn PEROTIN Sederunt principes HARVARD GLEE CLUB F. John Adams conductor PISTON Symphony no. 2 (1943)

1401 Program PROKOFIEV Piano concerto no. 3 in C op. 26 2 MAURIZIO POLLINI piano RAVEL La valse - choreographic poem 1 STRAUSS Also sprach Zarathustra op. 30 6 STRAVINSKY Petrushka (original version of 1911) 5 NEWTON WAYLAND piano TCHAIKOVSKY Symphony no. 6 in B minor op. 74 'Pathetique' Violin concerto in D op. 35 JOSEPH SILVERSTEIN violin WEBERN Six pieces for orchestra op. 6

CONCERTS GIVEN IN THE THURSDAY A SERIES DURING THE SEASON 1970-1971

Program Date Conductor

1 October 1 WILLIAM STEINBERG 2 November 5 SEIJI OZAWA 3 December 17 MICHAEL TILSON THOMAS 4 January 21 ERICH LEINSDORF 5 February 25 BERNARD HAITINK 6 March 25 WILLIAM STEINBERG

WORKS PLAYED IN THE THURSDAY A SERIES Program BEETHOVEN Symphony no. 7 in A op. 92 1 DEBUSSY Prelude a I'apres-midi d'un faune, after 2 the eclogue of Stephane Mallarme LOU HARRISON Canticle no. 3 3 HAYDN Symphony no. 97 in C 3 HOLST The planets op. 32 1 WOMEN OF THE NEW ENGLAND CONSERVATORY CHORUS Lorna Cooke de Varon director MAHLER Symphony no. 7 MOZART Serenade no. 6 in D K. 239 'Serenata notturna' Serenade no. 9 in D K. 320 'Posthorn' ARMANDO GHITALLA posthorn Symphony no. 36 in C K. 425 'Linz' NIELSEN Symphony no. 5 op. 50

1402 Program PARTOS 'Paths', symphonic elegy 1 PROKOFIEV Piano concerto no. 3 in C op. 26 MAURIZIO POLLINI piano RAVEL Ma mere I'oye STRAUSS Ein Heldenleben op. 40 JOSEPH SILVERSTEIN violin STRAVINSKY Petrushka (original version of 1911) NEWTON WAYLAND piano TCHAIKOVSKY Symphony no. 6 in B minor op. 74 'Pathetique'

CONCERTS GIVEN IN THE THURSDAY B SERIES DURING THE SEASON 1970-1971

Program Date Conductor

January 7 j MICHAEL TILSON THOMAS* ^JOSEPH SILVERSTEINt February 4 CLAUDIO ABBADO March 4 BERNARD HAITINK

WORKS PLAYED IN THE THURSDAY B SERIES Program BEETHOVEN Symphony no. 3 in E flat op. 55 'Eroica' 2 *DEBUSSY

'Images' pour orchestre 1 tHAYDN Cello concerto in C 1 JULES ESKIN cello MOZART Serenade no. 6 in D K. 239 'Serenata notturna' 3 RAVEL 'Ma mere I'oye' 3 SCRIABIN Le poeme de I'extase op. 54 2 STRAUSS Ein Heldenleben op. 40 3 JOSEPH SILVERSTEIN violin TCHAIKOVSKY 'Romeo and Juliet', overture-fantasy 2 *WEBERN

Six pieces for orchestra op. 6 1

1403 CONCERTS GIVEN IN THE PROVIDENCE SERIES DURING THE SEASON 1970-1971

Program Date Conductor

1 October 22 WILLIAM STEINBERG 2 December 10 MICHAEL TILSON THOMAS 3 January 28 RAFAEL FRUHBECK DE BURGOS

WORKS PLAYED IN THE PROVIDENCE SERIES Program BEETHOVEN Symphony no. 7 in A op. 92 1 FALLA El amor brujo 3 EUNICE ALBERTS mezzo-soprano Suite from the ballet 'The three-cornered hat' 3 HAYDN Symphony no. 97 in C 2 NIELSEN Symphony no. 5 op. 50 2 RACHMANINOV Rhapsody on a theme of Paganini op. 43 1 THEODORE LETTVIN piano RAVEL Daphnis et Chloe- suite no. 2 3 REGER Variations & fugue on a theme by Mozart op. 132 1 SCHUMANN Piano concerto in A minor op. 54 3 CHRISTOPH ESCHENBACH piano TCHAIKOVSKY Violin concerto in D op. 35 JOSEPH SILVERSTEIN violin

CONCERTS GIVEN IN THE SERIES AT PHILHARMONIC HALL, NEW YORK, DURING THE SEASON 1970-1971

Program Date Conductor

1 October 14 & 16 WILLIAM STEINBERG 2 November 18 SEIJI OZAWA* November 20 MICHAEL TILSON THOMASt 3 January 13 & 15 MICHAEL TILSON THOMAS 4 February 17 & 19 ERICH LEINSDORF 5 March 17 & 19 MICHAEL TILSON THOMAS

WORKS PLAYED AT THE PHILHARMONIC HALL SERIES Program BACH Brandenburg concerto no. 3 in G S. 1048 3 Suite no. 4 in D S. 1069 5 BARTOK Concerto for orchestra 4 tBEETHOVEN Symphony no. 8 in F op. 93 2

1404 Program *BERLIOZ Symphonie fantastique op. 14a BRUCKNER Symphony no. 7 in E *COPLAND Short symphony in honor of the composer's seventieth birthday DAHL Concerto for alto saxophone and wind orchestra HARVEY PITTEL saxophone first performance in New York DEBUSSY 'Images' pour orchestre

*t|JGETI Atmospheres tPISTON Symphony no. 2 (1943) t RAVEL La valse - choreographic poem REGER Variations and fugue on a theme by Mozart op. 132 SCHOENBERG Five pieces for orchestra op. 16 Variations for orchestra op. 31 SCHUBERT Symphony no. 8 in B minor 'Unfinished' STRAVINSKY Renard (1922) ROBERT GARTSIDE, ALEXANDER STEVENSON tenors MARK PEARSON, RICHARD GILL basses TONI KOVES-STEINER cimbalom TCHAIKOVSKY Divertissement from Act 3 of 'Swan Lake' WEBERN Six pieces for orchestra op. 6

CONCERTS AT CARNEGIE HALL, NEW YORK, DURING THE SEASON 1970-1971

Program Date Conductor 1 October 17 WILLIAM STEINBERG 2 November 21 MICHAEL TILSON THOMAS 3 January 16 MICHAEL TILSON THOMAS 4 February 20 ERICH LEINSDORF 5 March 20 MICHAEL TILSON THOMAS WORKS PLAYED AT CARNEGIE HALL Program BEETHOVEN

Symphony no. 7 in A op. 92 1

1405 Program DEBUSSY Prelude a I'apres-midi d'un faune, after the eclogue of Stephane Mallarme HAYDN Symphony no. 97 in C HOLST Suite from The planets' op. 32 MOZART Serenade no. 9 in D K. 320 'Posthorn' ARMANDO GHITALLA posthorn NIELSEN Symphony no. 5 op. 50 PARTOS 'Paths', symphonic elegy first performance in New York PROKOFIEV Piano concerto no. 3 in C op. 26 MAURIZIO POLLINI piano SCHUMAN Violin concerto PAUL ZUKOFSKY violin SCHUMANN Symphony no. 3 in E flat op. 97 'Rhenish' STOCKHAUSEN Punkte (Points) STRAVINSKY Petrushka (1911 version) NEWTON WAYLAND piano TCHAIKOVSKY Symphony no. 6 in B minor op. 74 'Pathetique' VIOTTI Violin concerto no. 22 in A minor JOSEPH SILVERSTEIN violin

CONCERTS GIVEN IN THE SERIES AT THE BROOKLYN ACADEMY OF MUSIC DURING THE SEASON 1970-1971

Program Date Conductor

1 January 14 MICHAEL TILSON THOMAS 2 February 18 ERICH LEINSDORF 3 March 18 MICHAEL TILSON THOMAS

WORKS PLAYED AT THE BROOKLYN ACADEMY OF MUSIC Program BACH Brandenburg concerto no. 3 in G S. 1048 3 Suite no. 4 in D S. 1069 3 HAYDN Symphony no. 97 in C

1406 Program MOZART Serenade no. 9 in D K. 320 'Posthorn' ARMANDO GHITALLA posthorn SCHUMANN Symphony no. 3 in E flat op. 97 'Rhenish' STOCKHAUSEN Punkte (Points) STRAVINSKY Petrushka (1911 version) NEWTON WAYLAND piano Renard (1922 version) ROBERT GARTSIDE, ALEXANDER STEVENSON tenors MARK PEARSON, RICHARD GILL basses TONI KOVES-STEINER cimbalom VIOTTI Violin concerto no. 22 in A minor JOSEPH SILVERSTEIN violin

CONCERTS IN OTHER CITIES November 17 - Woolsey Hall, New Haven SEIJI OZAWA conductor DEBUSSY Prelude a I'apres-midi d'un faune PROKOFIEV Piano concerto no. 3 in C op. 26 MAURIZIO POLLINI piano TCHAIKOVSKY Symphony no. 6 in B minor op. 74 'Pathetique'

January 11 -Jorgensen Auditorium, University of Connecticut, Storrs MICHAEL TILSON THOMAS conductor VIOTTI Violin concerto no. 22 in A minor JOSEPH SILVERSTEIN violin STOCKHAUSEN Punkte (Points) SCHUMANN Symphony no. 3 in E flat op. 97 'Rhenish'

January 12 - Bushnell Memorial Hall, Hartford MICHAEL TILSON THOMAS conductor WEBERN Six pieces for orchestra op. 6 HAYDN Cello concerto in C JULES ESKIN cello DEBUSSY 'Images' pour orchestre

March 15 - Constitution Hall, Washington DC RAFAEL KUBELIK conductor SMETANA Ma vlast (My country)

March 16- Constitution Hall, Washington DC MICHAEL TILSON THOMAS conductor BACH Suite no. 4 in D S. 1069 SCHOENBERG Five pieces for orchestra op. 16 CHOPIN Piano concerto no. 2 in F minor op. 21 JOSEPH KALICHSTEIN piano TCHAIKOVSKY Divertissement from Act 3 of 'Swan Lake'

CONCERTS GIVEN AT THE BERKSHIRE FESTIVAL 1970 Program Date Conductor

1A July 3 SEIJI OZAWA 1B July 4 SEIJI OZAWA 1C July 5 LEONARD BERNSTEIN

1407 Program Date Conductor 2A July 10 MICHAEL TILSON THOMAS 2B July 11 SEIJI OZAWA 2C July 12 SEIJI OZAWA 3A July 17 SEIJI OZAWA 3B July 18 SEIJI OZAWA 3C July 19 MICHAEL TILSON THOMAS 4A July 24 AARON COPLAND 4B July 25 JORGE MESTER 4C July 26 KENNETH SCHERMERHORN 5A July 31 WILLIAM STEINBERG 5B August 1 WILLIAM STEINBERG 5C August 2 ANTAL DORATI 6A August 7 ALAIN LOMBARD 6B August 8 MICHAEL TILSON THOMAS 6C August 9 CHARLES MACKERRAS 7A August 14 WILLIAM STEINBERG 7B August 15 WILLIAM STEINBERG 7C August 16 MAX RUDOLF 8A August 21 GUNTHER SCHULLER 8B August 22 SEIJI OZAWA 8C August 23 SEIJI OZAWA in memory of Charles Munch

WORKS PLAYED AT THE BERKSHIRE FESTIVAL 1970 Program C.P.E. BACH Symphony in D (1775)* 4B

J.S. BACH Cantata no. 51 'Jauchzet Gott in alien Landen' for 3C soprano and orchestra with trumpet obbligato BETHANY BEARDSLEE soprano ARMANDO GHITALLA trumpet BARTOK Concerto for orchestra 8B BEETHOVEN Fantasy in C minor for piano, chorus and orchestra op. 80 7B JEROME LOWENTHAL piano CHORUS PRO MUSICA Alfred Nash Patterson director Overture to 'Coriolan' op. 62 5B Overture to 'Egmont' op. 84 5C Overture to 'Konig Stephan' op. 117 7A Overture 'Leonore no. 2' op. 72a 7C Overture 'Leonore no. 3' op. 72b 5A Piano concerto no. 1 in C op. 15 7C JEROME LOWENTHAL piano Piano concerto no. 2 in B flat op. 19 5A CLAUDE FRANK piano Piano concerto no. 3 in C minor op. 37 5C VLADIMIR ASHKENAZY piano Piano concerto no. 4 in G op. 58 5B ANDRE WATTS piano Piano concerto no. 5 in E flat op. 73 'Emperor' 7A RUDOLF FIRKUSNY piano

* first performance by the Boston Symphony Orchestra

1408

mm Program

Symphony no. 3 in E flat op. 55 'Eroica' 7A Marcia funebre from Symphony no. 3 in E flat op. 55 'Eroica' 5A in memory of Sir John Barbirolli and George Szell Symphony no. 4 in B flat op. 60 5B Symphony no. 5 in C minor op. 67 7C Symphony no. 7 in A op. 92 5C Symphony no. 8 in F op. 93 5A Symphony no. 9 in D minor op. 125 7B GWENDOLIN SIMS soprano EUNICE ALBERTS contralto WILLIAM COCHRAN tenor THOMAS PAUL bass CHORUS PRO MUSICA Alfred Nash Patterson director TANGLEWOOD FESTIVAL CHORUS John Oliver director BERLIOZ Grande messe des morts op. 5 8C LEOPOLD SIMONEAU tenor TANGLEWOOD FESTIVAL CHORUS John Oliver director FRAMINGHAM CHORAL SOCIETY John Oliver director MIT GLEE CLUB Klaus Liepmann director in memory of Charles Munch Symphonie fantastique op. 14a 1A BERNSTEIN Chichester psalms for mixed choir, boy solo and orchestra* 1A ROBERT PULEO boy alto TANGLEWOOD FESTIVAL CHORUS John Oliver director HARVARD GLEE CLUB and RADCLIFFE CHORAL SOCIETY Elliot Forbes conductor BRITTEN Serenade for tenor, horn and strings op. 31* 3A JOHN ALEXANDER tenor JAMES STAGLIANO horn BUSONI Rondo arlecchinesco op. 46t 4A RICHARD BURKE tenor (off stage) COPLAND Concerto for clarinet and string orchestra with harp and piano* 4A GERVASE DE PEYER clarinet Dance panels* 4A DEBUSSY La mer (The sea), three symphonic sketches 6B Prelude a I'apres-midi d'un faune, after 6B the eclogue of Stephane Mallarme DVORAK Cello concerto in B minor op. 104 6C JULES ESKIN cello GLINKA Overture to 'Russian und Ludmila' 2A

* first performance by the Boston Symphony Orchestra

t first performance at the Festival concerts

1409 Program HAYDN Symphony no. 83 in G minor 'The Hen' 4C Symphony no. 86 in D 3A Symphony no. 88 in G 6A Symphony no. 98 in B flat 3C IBERT Divertissement (1930)* 3A KRENEK Concert aria 'Die Nachtigall'* 3C BETHANY BEARDSLEE soprano

LIGETI Atmospheres 1A LUTOSLAWSKI Concerto for orchestra 8B MAHLER Symphony no. 2 in C minor 'Resurrection' 1C LORNA HAYWOOD soprano CHRISTA LUDWIG contralto HARVARD GLEE CLUB and RADCLIFFE CHORAL SOCIETY Elliot Forbes conductor TANGLEWOOD FESTIVAL CHORUS John Oliver director MOZART Cosi fan tutte K. 588* 2B PHYLLIS CURTIN soprano ROSALIND ELIAS mezzo-soprano TOM KRAUSE baritone GEORGE SHIRLEY tenor TERESA STRATAS soprano EZIO FLAGELLO bass TANGLEWOOD FESTIVAL CHORUS John Oliver director ANDREW RAEBURN stage director Overture to 'Le nozze di Figaro' K. 492 1B Piano concerto in F K. 459 4C CHRISTOPH ESCHENBACH piano Piano concerto in D minor K. 466 3B LI LI KRAUS piano Piano concerto in A K. 488 3A YUJI TAKAHASHI piano Serenade no. 10 in B flat for thirteen wind instruments K. 361 3B Symphony no. 36 in C K. 425 'Linz' 1B Symphony no. 41 in C K. 551 'Jupiter' 4B MUSSORGSKY Prelude to 'Khovanshchina' 6B PROKOFIEV Piano concerto no. 3 in C op. 26 6B GARY GRAFFMAN piano Suite from 'Romeo and Juliet' op. 64 2C RACHMANINOV Piano concerto no. 3 in D minor op. 30 8B ALEXIS WEISSENBERG piano

*first performance by the Boston Symphony Orchestra

1410 1

Program ROUSSEL

Bacchus et Ariane op. 43 (suite no. 2) 6A RUSSO Three pieces for blues band and symphony orchestra op. 50^ 2C CORKY SIEGEL'S HAPPY YEAR BAND

SATIE Deux gymnopediest 6B SCHOENBERG Piano concerto op. 42t 2C PETER SERKIN piano SCHUBERT Symphony no. 5 in B flat D. 485 4A SCHULLER Spectrat 8A SCRIABIN Le poeme de I'extase op. 54t 8A SHOSTAKOVICH Symphony no. 5 op. 47 6C STRAUSS Orchestral suite from 'Der Burger als Edelmann', based 4B on Moliere's play 'Le bourgeois gentilhomme' STRAVINSKY Concert suite from the ballet 'Pulcinella' 3C Concerto in D for string orchestrat 4C Le sacre du printemps (The rite of spring) 2A Suite from the ballet 'L'oiseau de feu' (The firebird) (1919) 1B Petrushka (1947) 6A NEWTON WAYLAND piano Violin concerto in D (1931)t 1B JOSEPH SILVERSTEIN violin SZYMANOWSKI Violin concerto no. 1 op. 35t 8A PAUL ZUKOFSKY violin TCHAIKOVSKY Symphony no. 1 in G minor op. 13 'Winter daydreams't 2A Suite no. 4 'Mozartiana' op. 61 4C WAGNER Overture to 'Rienzi' 8A WEBERN Six pieces for orchestra op. 6 6C

* first performance by the Boston Symphony Orchestra

t first performance at the Festival concerts

WEEKEND PRELUDES AT THE BERKSHIRE FESTIVAL 1970

July 3 MAHLER Songs from 'Des Knaben Wunderhorn' ROSE TAYLOR mezzo-soprano RICHARD TAYLOR baritone DENNIS HELMRICH piano

1411 July 10 GIBBONS O Lord, in thy wrath GABRIELI Benedictus Dominus Deus PHILIPS Ne reminiscaris Domine VICTORIA Ascendens Christum in altum MESSIAEN O sacrum convivium BRUCKNER Three motets WALTON Set me as a seal upon thine heart THE CHOIR OF ST JOHN'S COLLEGE, CAMBRIDGE, ENGLAND George Guest conductor

Partita in S. I illy 17 BACH no. 3 A minor 827 Partita no. 6 in E minor S. 830 MESSIAEN Canteyodjaya YUJI TAKAHASHI piano

July 24 COPLAND Twelve poems by Emily Dickinson FAURE Six poems of Paul Verlaine PHYLLIS CURTIN soprano RYAN EDWARDS piano

July 31 BEETHOVEN Variations for piano, violin and cello on Wenzel Muller's song 'Ich bin der Schneider Kakadu' op. 121a Piano trio in E flat op. 70 no. 2 JOSEPH SILVERSTEIN violin JULES ESKIN cello RICHARD GOODE piano

August 7 PALESTRINA Exultate Deo WHYTE Christe, qui lux es

WEELKES Alleluia, I heard a voice

ANONYMOUS There is no rose CASCIOLINI Angelus Domini ORR Bessie Bell and Mary Gray MORRIS Blow away the morning dew VAUG HAN- WILLIAMS Ca' the yowes SEIBER Three Hungarian folk songs BERKSHIRE BOY CHOIR George Guest conductor

August 14 BEETHOVEN Piano sonata in E minor op. 90 Piano sonata in C op. 53 'Waldstein' CLAUDE FRANK piano

August 21 BACH Chromatic fantasy and fugue in D minor S. 903 CHOPIN Sonata no. 3 in B minor op. 58 ALEXIS WEISSENBERG piano

BERKSHIRE MUSIC CENTER 1970

A full report of the Center's activities appears in the fifth program book of the Friday-Saturday series, on page 305.

BOSTON POPS 1970

The eighty-fifth season (the Arthur Fiedler seventy-fifth birthday season) of the Boston Pops ran from April 28 through June 27. The Boston Pops Orchestra gave fifty-four regular concerts as well as a special concert to benefit the

1412 Orchestra's Pension Fund. Arthur Fiedler, Conductor, directed thirty-five con- certs; Harry Ellis Dickson, Assistant Conductor, ten. Guest conductors were Harry John Brown (three concerts), Frederick Fennell, Erich Kunzel, and Joseph Silverstein (two concerts each), and Rouben Gregorian and William Tesson (one concert each).

The many soloists included Chet Atkins, Boston Ballet Co., Lynn Chang, Nancy Cirillo, Lorraine Ippolito di Gregorio, Virginia Eskin, Donn-Alexandre Feder, Johanna Fiedler, the Four Statesmen, Reginald Hache, Edward Harney, Richard Hayman, Ronald Hodges, Eugene Indjic, Betty Jones, Senator Edward Kennedy, Philip Kraft, Patricia Michaelian, Moog Quartet, Peter Nero, New York Rock & Roll Ensemble, Janet Packer, Anthony and Joseph Paratore, the Romeros, 'Doc' Severinsen, George Shearing, Debbie Sobel, Roman Totenberg, Robert Tumarkin, Veronica Tyler, Peter Warsaw, Earl Wild, Mason Williams and Andrew Wolf.

Joseph Silverstein, Concertmaster of the Boston Symphony, was soloist with the Pops, as was Alfred Krips, Concertmaster of the Boston Pops. Other members of the Pops Orchestra who were soloists were Max Hobart, Martin Hoherman, Christopher Kimber, Leo Litwin, Ralph Pottle, Yizhak Schotten, William Stokking, and Roger Voisin, who appeared with his son, Peter Voisin. George Zazofsky, a former member of the Boston Symphony, appeared with his son, Peter Zazofsky.

Thirteen of the Pops concerts were recorded by WGBH-TV for delayed color telecast over the Public Broadcasting Service network throughout the nation.

ESPLANADE CONCERTS 1970

The forty-second season of Esplanade Concerts, Arthur Fiedler, Founder and Director, was given from July 13 through July 25. In an effort to broaden the base of these concerts, the Boston Esplanade Orchestra for the first time gave evening performances in Charlestown, Hyde Park, Somerville and Brighton, and a morning concert at Government Center, Boston. While this reduced the number of evening concerts at the Hatch Shell, it did awaken interest in good music in these other communities. One morning children's concert was given at the Hatch Shell. The concerts were sponsored by the following businesses and organizations: Arkwright-Boston Insurance National Shawmut Bank of Boston Arthur D. Little Inc. New England Life Boston Edison Company New England Merchants National Bank Boston Globe New England Telephone & Boston Herald-Traveler Telegraph Company Eastern Company Old Colony Trust Company of Boston Filene's Sons Company Polaroid Corporation Garland Corporation Raytheon Company Gillette Company Sears Roebuck & Company Houghton-Mifflin Company Stop & Shop Inc. Instron Corporation Time Inc. John Hancock Mutual Life United-Carr Inc. Insurance Company United States Steel Liberty Mutual Insurance Company U.S.M. Corporation Marsh & McLennan William Carter Company Maynard Plastics William Underwood Company

PENSION FUND

Three special concerts have been given to benefit the Orchestra's Pension Fund. Arthur Fiedler conducted the Boston Pops in an 'Old Timers' Night' concert on Sunday May 17. Mr Fiedler also conducted the Pops Orchestra in a Gershwin concert, at which Earl Wild was soloist, on Tuesday August 11 at Tanglewood.

1413 On Sunday February 28 the Boston Symphony Orchestra, conducted by Joseph Silverstein, was joined for an afternoon of musical madness by Professor Peter Schickele, the discoverer of P.D.Q. Bach, some of whose oeuvre was performed to a packed and unbelieving audience in Symphony Hall.

Six open rehearsals were held at Symphony Hall during the 1970-1971 season (September 24, October 29, November 12, December 3, February 11, March 11). The revenue from ticket sales benefited the Pension Fund, as did that taken for the eight Saturday morning open rehearsals of the Berkshire Festival.

CONCERTS GIVEN SINCE MAY 1970 BY THE BOSTON SYMPHONY CHAMBER PLAYERS

JOSEPH SILVERSTEIN violin HAROLD WRIGHT clarinet* BURTON FINE viola SHERMAN WALT bassoon JULES ESKIN cello JAMES STAGLIANO horn HENRY PORTNOI double bass ARMANDO GHITALLA trumpet DORIOT ANTHONY DWYER flute WILLIAM GIBSON trombone RALPH GOMBERG oboe EVERETT FIRTH percussion

*GINO CIOFFI, clarinetist of the Chamber Players since the group was formed in 1964, retired at the end of the Orchestra's eighty-ninth season.

May 5 - University of Florida, Gainesville with Richard Goode guest pianist ROCHBERG Duo for oboe and bassoon PISTON Three pieces for flute, clarinet and bassoon COLGRASS Variations for four drums and viola BRAHMS Trio in E flat for violin, horn and piano op. 40

May 6 - University of Florida, Gainesville with Richard Goode guest pianist DANZI Woodwind quintet in G minor op. 56 no. 2 KOPER Kammermusik for oboe, bassoon, percussion and piano BLACHER Trio for trumpet, trombone and piano op. 31 ETLER Wind quintet no. 2

May 7- University of Florida, Gainesville with Richard Goode guest pianist BEETHOVEN String trio in C minor op. 9 no. 3 SCHOENBERG String trio op. 45 (1946) BEETHOVEN Piano trio in E flat op. 70 no. 2

May 8- University of Florida, Gainesville with Richard Goode guest pianist BEETHOVEN Serenade in D for flute, violin and viola op. 25 Quintet in E flat for piano and winds op. 16 Septet in E flat for winds and strings op. 20

May 16 - Oliver School, Lawrence SCHUBERT String trio in B flat no. 2 D. 581 DANZI Woodwind quintet in G minor op. 56 no. 2 BEETHOVEN Septet in E flat for winds and strings op. 20

May 1 7 - Kane School, Lawrence SCHUBERT String trio in B flat no. 2 D. 581 DANZI Woodwind quintet in G minor op. 56 no. 2 BEETHOVEN Septet in E flat for winds and strings op. 20

,May 18 - Williams College, Williamstown BEETHOVEN String trio in C minor op. 9 no. 3 Serenade in D for flute, violin and viola op. 25 Septet in E flat for winds and strings op. 20

1414 May 19 - Berkshire Community College Auditorium, Pittsfield SCHUBERT String trio in B flat no. 2 D. 581 ETLER Wind quintet no. 2 ROCHBERG Duo for oboe and bassoon MOZART Divertimento in E flat for string trio K. 563

May 20- Nauset Regional High School, Orleans SCHUBERT String trio in B flat no. 2 D. 581 ETLER Wind quintet no. 2 BEETHOVEN Septet in E flat for winds and strings op. 20

May 21 - Lawrence High School, Falmouth SCHUBERT String trio in B flat no. 2 D. 581 ETLER Wind quintet no. 2 BEETHOVEN Septet in E flat for winds and strings op. 20

May 22 - Barnstable High School, Hyannis SCHUBERT String trio in B flat no. 2 D. 581 ETLER Wind quintet no. 2 BEETHOVEN Septet in E flat for winds and strings op. 20

July 31 - Prelude Concert, Berkshire Festival with Richard Goode guest pianist BEETHOVEN Variations for piano, violin and cello on Wenzel Muller's song 'Ich bin der Schneider Kakadu' op. 121a Piano trio in E flat op. 70 no. 2

August 11 - A Mostly Mozart Festival - Philharmonic Hall, New York City SCHUBERT String trio in B flat no. 2 D. 581 MOZART Flute quartet in D K. 285 Sonata in B flat for bassoon and cello K. 292 Divertimento in E flat for string trio K. 563

October 11 - Annhurst College, Woodstock, Connecticut Boston Symphony Chamber Soloists: Violin Viola Bass Joseph Silverstein Burton Fine Henry Portnoi Max Hobart Reuben Green Roger Shermont Cello Max Winder Jules Eskin Clarence Knudson Martin Hoherman John Korman

BACH Violin concerto in A minor Joseph Silverstein VIVALDI Bassoon concerto in E minor Sherman Walt HANDEL Oboe concerto in G minor Ralph Gomberg HAYDN Violin concerto in G Joseph Silverstein MOZART Serenade in C K. 525 'Eine kleine Nachtmusik'

November 4 -St Botolph Club, Boston with Max Hobart violin MOZART String quartet in G K. 387 RAVEL String quartet in F

November 15 American Civil Liberties Union, Symphony Hall with Max Hobart violin Gerald Berlin guest clarinetist MOZART String quartet in G K. 387 RAVEL String quartet in F

1415 BRAHMS Clarinet quintet in B minor op. 115

December 13 - Sanders Theatre series (1) ROSSINI Quartet no. 2 in A for strings PISTON Woodwind quintet (1956) SCHUBERT Octet in F for strings and winds D. 803

January 20 -St Botolph Club, Boston BEETHOVEN Variations on 'La ci darem la mano' from Mozart's 'Don Giovanni' for two oboes and english horn, arranged for oboe, clarinet and bassoon FRAN^AIX Woodwind quintet IBERT Trois pieces breves

January 24 - Sanders Theatre series (2) with Gilbert Kalish guest pianist BRAHMS Trio for clarinet, cello and piano in A minor op. 114 VARESE Octandre (1924) WEBERN String trio op. 20 MENDELSSOHN Piano trio no. 1 in D minor op. 49

February 14 - Sanders Theatre series (3) with Ann Hobson harp Max Hobart violin Gilbert Kalish guest pianist MOZART Piano quartet in E flat K. 493 RIEGGER Concerto for piano and woodwinds op. 53 RAVEL Introduction and allegro for harp, wi.th string quartet, flute and clarinet STRAVINSKY Concert suite from 'Histoire du soldat'

RETIRING MEMBERS, NEW MEMBERS AND AN EXCHANGE

Three members of the Orchestra will retire at the end of the 1970-1971 season. They are Paul Keaney, horn, who joined the Orchestra in 1937; Herman Silber- man, violin, who joined in 1944; and William Stokking, who has played with the Orchestra since 1968, and leaves to become principal cello of the Cleveland Orchestra. Nine players joined the Boston Symphony Orchestra at the start of the 1970-1971 season: Cecilia Arzewski, violin; Ronald Barron, trombone; Paul Fried, flute; Joel Moerschel, cello; David Ohanian, horn; Wayne Rapier, oboe; Marylou Speaker, violin; Lawrence Wolfe, double bass; and Harold Wright, principal clarinet.

Hironaka Sugie, principal viola and librarian of the Japan Philharmonic Sym- phony Orchestra, has played with the Boston Symphony Orchestra during the 1970-1971 season in an exchange with Yizhak Schotten.

RADIO BROADCASTS

The Friday afternoon concerts of the Orchestra in Symphony Hall were broad- cast regularly by WGBH-FM (Boston), WAMC-FM (Albany) and WFCR (Amherst). The Saturday evening concerts in Symphony Hall were broadcast regularly by WGBH-FM (Boston), WCRB-AM-FM (Boston), WFCR (Amherst), WPJB-FM (Provi- dence) and WCRX-FM (Springfield). WGBH and WCRB co-operated in four- channel transmissions of the Saturday evening concerts, in association with Acoustic Research Inc. of Cambridge.

Most of the Tuesday evening concerts of the Orchestra in Symphony Hall were broadcast by WGBH-FM (Boston), WAMC-FM (Albany) and WFCR (Amherst).

The nine Saturday evening Pops concerts in 1970 were broadcast live by WGBH-

1416

rn^rn FM (Boston), WCRB-AM-FM (Boston), WAMC-FM (Albany), WFCR (Amherst), WPJB-FM (Providence) and WCRX-FM (Springfield).

All regular weekend concerts by the Orchestra during the 1970 Berkshire Festival were broadcast live by WGBH-FM (Boston), WFCR (Amherst) and WAMC-FM (Albany). WCRB-FM (Boston), WCRX-FM (Springfield) and WPJB-FM (Providence) broadcast the Saturday evening concerts.

Complete transcriptions of the Friday and Saturday concerts, as well as concerts of the Boston Pops and of the 1970 Berkshire Festival, were broadcast through the Boston Symphony Transcription Trust on the following stations, both com-

mercial and educational. Where known, the name of the sponsor is indicated.

UNITED STATES

Akron, Ohio WAKR Prinz Office Supply Company Westside Plymouth Albany, N. Y. WAMC Sustaining Allentown, Pa. WFMZ Georgetown Manor First National Bank & Trust Co. of Bethlehem Ames, Iowa WOI-AM-FM Sustaining Amherst, Mass. WFCR Sustaining Anchorage, Alaska KNIK First National Bank of Anchorage Matanuska Valley Bank Archbold, Ohio WHFD Sauder Woodworking Gilbert & Heer Drugs Farmers & Merchants State Bank Baltimore, Md. WBAL-FM Von Paris Moving & Storage Belleville, III. WMRY Birmingham, Ala. WAPI-FM Sustaining Bloomington, Ind. WFIU-FM Sustaining Boston WCRB-AM-FM Acoustic Research Inc. WGBH-FM Sustaining Buffalo, N. Y. WBFO Sustaining Burlington, Vt. WJOY Cedar Rapids, Iowa WMT Champaign, III. WILL Educational Chicago, III. WFMT-FM Acoustic Research Inc. First Commercial Bank Oak Park Trust & Savings Bank Cincinatti, Ohio WGUC Educational Cleveland, Ohio WCLV Pioneer Audio Co. Columbus, Ohio WOSU-FM O. M. Scott & Sons Battelle Memorial Institute Corpus Christi, Texas KIOU Kelly Music, Taylor Bros. Jewelers Dallas, Texas WRR Sustaining Daytona Beach, Fla. WNDB-AM-FM News Journal Corp. Dekalb, III. WNIU-FM Sustaining Denver, Colo. KVOD Midland Federal Savings Detroit, Mich. WDET Sustaining WQRS

Dover, N. J. WDHA-FM East Lansing, Mich. WKAR Sustaining Ellsworth, Me. WDEA Sustaining Fairbanks, Alaska KFRB Sustaining KUAC Sustaining Fargo, N. Dak. KFNW-FM Sustaining Fort Lauderdale, Fla. WFTL Boston Rug Co. Lauderdale Abstract

1417 Fort Wayne, Ind. WPTH Kaplan's Furniture Co. Gainesville, Fla. WRUF-AM-FM City Utilities Grand Island, Neb. KMMJ Bost Pharmacy First National Bank Nehi-Royal Crown Bottling Co. Kinman Chevrolet-Cadillac Schweser's Fashion Store Stephens-Ryder-Wenger Insurance Agency Grand Rapids, Mich. WOOD Steketee's Audio Shop William Klein's Store for Men Greensboro, N. C. WQMG Greenville, S. C. WMUU Sustaining Honolulu, Hawaii KAIM Hawaiian Airlines Houston, Texas KLEF Houston Chronicle Indianapolis, Ind. WFMS Kalamazoo, Mich. WMUK Sustaining Knoxville, Tenn. WUOT Lafayette, Ind. WBAA Lafayette National Bank (Grantor) Lawrence, Kansas KANU-FM Sustaining Lima, Ohio WLSR The Leader Store Los Angeles, Calif. KFAC-AM-FM Japan Airlines Miami, Fla. WOCN First Federal Savings & Loan Milwaukee, Wise. WFMR Marine National Exchange Bank Minneapolis, Minn. KSJR/KSJN Sustaining Nashville, Tenn. WPLN New York City WQXR Norfolk, Va. WGH-FM Various Restaurants WRVC-FM Omaha, Neb. KIOS Educational-Public Service

Peoria, III. WIVC Commercial National Bank Philadelphia, Pa. WFLN-FM Gerstley, Sunstein & Co. Inc Pittsburgh, Pa. WLOA Portland, Me. WGAN Portland, Ore. KXL First National Bank of Oregon

Providence, R. 1. WPJB-FM Blackstone Valley Electric Co. Gladding's G. H. Walker & Co. People's Savings Bank & Trust Provo, Utah KBYU-FM Sustaining Rochester, N. Y. WBFB Xerox Corp. St Louis, Mo. KFUO Beiderweiden Funeral Homes San Francisco, Calif. KKHI-AM-FM Japan Airlines

Seattle, Wash. KISW ,;.: Springfield, Mass. WCRX Third National Bank of Hampden County Syracuse, N. Y. WONO Tyler, Texas KDOK Utica, N. Y. WRUN Marine Midland Bank Utica Savings Bank Special Metals Corp. Washington, D. C. WGMS Furs by Gartenhaus Wilkes Barre, Pa. WYZZ The David Ertley Dealerships First Federal Savings & Loan Assoc. Scot's (RCA Victor & RCA Whirlpool) Greenbriar Lodge Restaurant Youngstown, Ohio WYSU

1418 CANADA

Edmonton, Alberta CKUA-AM-FM Sustaining Toronto, Ont. CKFM Toronto Telegram Hamilton, Ont. CKDS-FM Sustaining

TELEVISION BROADCASTS

During the 1970 Pops season thirteen concerts were recorded on videotape by WGBH (Channel 2) and subsequently telecast over the National Educational Television network from coast to coast. Jordan M. Whitelaw was producer; David Attwood, William Cosel, Russell Fortier and Christopher Sarson were directors of these programs.

During the 1970-1971 winter season three concerts have been telecast by WGBH (Channel 2) and recorded on videotape for possible future distribution. Intermission features have included interviews of the concerts' conductors by Andrew Raeburn, Robert Baram and Newton Wayland. William Cosel was producer and director of these programs.

RECORDINGS

The following recordings have been released since Mayn970: BOSTON SYMPHONY ORCHESTRA DEUTSCHE GRAMMOPHON

On record, 8 track cartridge, MusiCassette and Open Reel: IVES Three places in New England RUGGLES Sun-treader conducted by Michael Tilson Thomas DEBUSSY Nocturnes RAVEL Daphnis et Chloe- suite no. 2( Pavane for a dead Infanta conducted by Claudio Abbado

On record, MusiCassette and Open Reel HOLST The planets conducted by William Steinberg

TCHAIKOVSKY Symphony no. 1 in G minor 'Winter dreams' conducted by Michael Tilson Thomas

On record: SCHUMAN Violin concerto (Zukofsky) PISTON Symphony no. 2 conducted by Michael Tilson Thomas RCA On record, Stereo-8, Cassette and Quad-8: DVORAK Symphony no. 9 in E minor 'New world' conducted by Arthur Fiedler

STRAVINSKY 'Firebird' suite Petrushka conducted by Seiji Ozawa

On record: ORFF Carmina Burana conducted by Seiji Ozawa

BEETHOVEN The five piano concertos (Rubinstein) conducted by Erich Leinsdorf

1419 BEETHOVEN The nine symphonies conducted by Erich Leinsdorf

SIBELIUS Symphony no. 2 in D) conducted by Serge Koussevitzky On Stereo-8 and Cassette: BEETHOVEN Symphony no. 4 in B flat Overture 'Leonore no. 2' conducted by Erich Leinsdorf On Stereo-8: BRAHMS Symphony no. 1 in C minor conducted by Charles Munch WAGNER Excerpts from Tannhauser, Die Walktire and Siegfried conducted by Charles Munch On Cassette:

BEETHOVEN Symphonies no. 1 and no. 8 )

conducted by Erich Leinsdorf )

BEETHOVEN Violin concerto in D (Heifetz) )

conducted by Charles Munch ) BOSTON POPS, Arthur Fiedler conductor DEUTSCHE GRAMMOPHON On record, 8 track cartridge, MusiCassette and Open Reel: Fabulous Broadway A Christmas festival Fiedler's greatest hits Those were the days Fiedler's favorite overtures RCA On record, Stereo-8 and Cassette: Fiedler's choice Fiedler on the roof Have a ball with Arthur On record and Stereo-8: Fiedler and his friends Yankee Doodle Dandy Tchaikovsky's greatest ballets Opera's greatest hits On record: American family album of Christmas music On Stereo-8 and Cassette: Nutcracker excerpts On Cassette: 'Tenderly' and other Romantic favorites Arthur Fiedler and the Boston Pops play 12 big band hits Grand Canyon Suite and 4 Pops favorites On Quad-8 and 3 3A tape: The best of Arthur Fiedler and the Boston Pops On Quad-8: Up, up and away Carmen ballet (Bizet-Shchedrin) Music from million dollar movies On 3 3A tape: Fiedler's all time favorites Pops roundup

1420 BOSTON SYMPHONY CHAMBER PLAYERS DEUTSCHE GRAMMOPHON On record, 8 track cartridge and MusiCassette: Sonatas by Debussy

On record: American chamber music of the twentieth century (Ives, Porter and Carter) RCA On record: Music by Schubert, Milhaud and Hindemith

SPECIAL YOUTH CONCERTS AT SYMPHONY HALL

Youth Concerts at Symphony Hall, under the direction of Harry Ellis Dickson, began its twelfth season of concerts on November 6 with a program devoted to Beethoven, in honor of the composer's 200th anniversary. The finale of the Ninth symphony was sung by a combined chorus of students from two Boston high schools. The season consisted of three programs, each performed four times. The six subscription concerts were again sold out; groups from more than 85 local communities attended. The special series of six concerts, made possible by the Frederick J. Kennedy Memorial Foundation grant to the Boston Symphony Orchestra, was presented for the second year to 5,000 elementary and junior high school students from low income areas of Boston. (The Kennedy grant also makes it possible for 240 young people who attend the Youth Concert Boston series to spend four days at Tanglewood as part of the Days in the Arts program.) The second concert program included four high school soloists, chosen by competition to appear with the Orchestra. The final concert was an abbreviated version of the opera Carmen. Professional singers took leading roles, the choral parts were sung by the Lincoln-Sudbury Regional High School Chorus and St Paul Choir School's Boys' Chorus, and a dance group from the Elma Lewis School of Fine Arts also took part. The performance was staged by the Opera Department of the New England Conservatory. The orchestra for all concerts consisted of members of the Boston Symphony Orchestra.

EXHIBITIONS AT SYMPHONY HALL

The exhibitions shown in the Gallery throughout this season were loaned by the following artists and associations:

Cambridge Art Association (September 21 - October 13) Adelson Galleries Inc. (October 20- November 14) Art/Asia (November 24 - December 15) Ashton Gallery (December 17- January 19) Subscribers Exhibition (January 21 - February 6) New England Artists Group (February 11 - March 7) Boston Watercolor Society (March 11 -April 1)

1421 NINETIETH ANNIVERSARY DINNER AND BALL

The ninetieth anniversary dinner and ball was held on April 27 1970. Symphony Hall was especially decorated for the occasion by Maurice Carrere of Maxim's, Paris, and Paul Vogler of Filene's, Boston, in association with Bertrand Goldberg Associates, Boston. Maxim's, Paris, provided dinner. Other major donations were made by the Gillette Company, Pan American World Airways, the Count and Countess Robert de Vogue, Conzorzio Costa Smerelda and Alisarda Air- lines, Mr William Draper, Mr and Mrs Peter D. Fuller, Mr and Mrs James H. Perkins, Dr Dera and Ernest Ruegg, Mr Michael Welch, Mr Seymour Weller, and by an anonymous donor.

The Boston Pops Orchestra, conducted by Arthur Fiedler, played for the ball, as did Ruby Newman and his orchestra. Co-chairmen of the Ball Committee were Mrs Lewis P. Cabot and Mrs Jerome Rosenfeld.

The net gain to the Orchestra from the dinner and ball was over $129,000.

MEETING OF THE FRIENDS OF THE BOSTON SYMPHONY ORCHESTRA

The thirty-seventh annual meeting of the Friends of the Boston Symphony Orchestra will be held in Symphony Hall on Thursday morning May 20 at 11.45. Arthur Fiedler will conduct a rehearsal of the Boston Pops; afterwards there will be refreshments and a box lunch at the Pops tables. Talcott M. Banks, President of the Board of Trustees, will speak about the developments of the past year.

THE ADVERTISERS

IN THE PROGRAM BOOK

ACTIVELY SUPPORT

THE BOSTON SYMPHONY

BY MAKING THE

CONTENTS OF THE

PROGRAM POSSIBLE.

PLEASE GIVE THEM

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1424 «°«5

THE FUTURE OF THE BOSTON SYMPHONY

. . . rests in large measure with its audiences, the devoted concert

goers who, like you, attend its concerts.

You can help insure the Orchestra's future greatness by making a

deferred gift to Symphony. The satisfaction of a significant cultural

contribution can be joined to the protection of your own financial

future.

A bequest ... a life income agreement ... an annuity . . . life

insurance: these are the four ways of making such a deferred gift.

Each has it advantages.

The bequest: in his will, the donor provides Symphony with a specific

amount or a remainder interest. The life income agreement: the

donor gives capital to Symphony and in return receives income for

life. The annuity: the donor gives capital and Symphony guarantees

to the donor a fixed annual income for life. And lastly, life insurance:

if the donor continues to pay premiums, these also constitute chari-

table deductions for the donor.

Questions about these alternatives can be answered by your lawyer or tax adviser, by Harold D. Hodgkinson, chairman of Symphony's

Deferred Giving Program, or by any other of the Orchestra's Trustees. BEETHOVEN RECORDINGS BY THE BOSTON SYMPHONY ORCHESTRA under the direction of ERICH LEINSDORF

LSC Symphony no. 1 3098 Symphony no. 8

Symphony no. 2 [ 3032 Music from 'The creatures of Prometheus' (

Symphony no. 3 'Eroica' 2644

Symphony no. 4 3006 Leonore Overture no. 2

Symphony no. 6 3074

Symphony no. 7 2969

Symphony no. 5 Symphony no. 9 (Marsh, Veasey, Domingo, Milnes, Chorus Pro Musica, New England 2 records 7055 Conservatory Chorus) with SCHOENBERG'S A survivor from Warsaw

Piano concerto no. 1 (Rubinstein) 3013

Piano concerto no. 3 (Rubinstein) 2947

Piano concerto no. 4 (Rubinstein) 2848

Piano concerto no. 5 'Emperor' (Rubinstein) 2733 under the direction of CHARLES MUNCH

Violin concerto (Heifetz) 1992 Victrola Symphony no. 5 1035 with SCHUBERT'S Symphony no. 8

Symphony no. 9 (Price, Forrester, Poleri, ) Victrola Tozzi, New England Conservatory Chorus) 2 records 6003 J- Overtures: Fidelio, Leonore no. 3, Coriolan

THE BOSTON SYMPHONY ORCHESTRA ON MBUU 1426 "Basic reference material for the rest of this century." —New Republic

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FOR INFORMATION ABOUT SPACE AND RATES IN PRO- THE BOSTON SYMPHONY ORCHESTRA'S GRAMS CALL CARL GOOSE AT MEDIAREP CENTER BOSTON, INC 1127 STATLER OFFICE BUILDING, MASSACHUSETTS 02116, TELEPHONE (617) 482-5233

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A SELECTION OF RECORDINGS BY THE BOSTON SYMPHONY ORCHESTRA

under the direction of WILLIAM STEINBERG

SCHUBERT LSC Symphony no. 9 in C 3115

under the direction of ERICH LEINSDORF

DVORAK Symphony no. 6; Slavonic dances no. 2 and 8 3017

HAYDN Symphony no. 93; Symphony no. 96 'The Miracle' 3030

MENDELSSOHN Incidental music to A midsummer night's dream 2673 (Peardon, Metropolitan Opera Chorus)

MOZART Symphony no. 36 'Linz'; Symphony no. 39 3097 Symphony no. 41 'The Jupiter'; Eine kleine Nachtmusik 2694 Requiem Mass (for President John F. Kennedy) (2 records) 7030

RAVEL Piano concerto in G (Hollander) with 2667 DELLO JOIO Fantasy and variations

STRAUSS Ein Heldenleben 2641 Salome excerpts; Egyptian Helen excerpts (Price) 2849

STRAVINSKY Firebird suite with 2725 RIMSKY-KORSAKOV 'Le coq d'or' suite

Tru a ! i/r^\/ci/v

Piano concerto no. 1 (Rubinstein) 2681 Piano concerto no. 1 (Dichter) 2954 Violin concerto (Perlman) with 3014 DVORAK Romance (Perlman)

THE BOSTON SYMPHONY ORCHESTRA 7040 ON DUCBZ/D 1428 —

"I don't know her name, No wine is as but that's a Nanfelt fur." beautiful as the Gavatina from Beethoven's Opus 130

is less . . . but the comparison shocking than it seems. Some wine comes remarkably close.

Each plot of land, each grape variety, each method of vinification gives its own character to the wine it produces. Some of the loveliest countryside of Europe is concealed within each bottle.

If you are interested in People wear all discussing the expressive kinds of furs to the theater. But the qualities of wine, come to see Nanfelt fur never if goes unnoticed us at the Wine Cask. Or When you meet you want to talk about late Ken Nanfelt, you'll know why. Beethoven quartets, we He knows the right do that too. decision can't be rushed. So he built a store wine, in the country, the We may be lyrical about Fur Shop at Lakeville. Country but we provide sound value Ken has more room in the country. And more time to show you his as well. We offer the largest beautiful furs. selection of fine wines in New So don't be surprised if he brings out his entire collection. He's only trying England tfes ban marcM. to make your selection perfect. Ken Nanfelt likes to take a little a copy of our new wine extra time. For

And it shows. list, please send us your name and address, or call us at 623-8656.

m%Ken Nanfelt Furs 'me iyad. COUNTRY FUR SHOP 407 Washington Street Route 79 - Lakeville Phone: (617) 947-6400 Somerville, Mass. 02143

1429 A SELECTION OF RECORDINGS BY THE BOSTON SYMPHONY ORCHESTRA

under the direction of WILLIAM STEINBERG

SCHUBERT LSC Symphony no. 9 in C 3115

under the direction of ERICH LEINSDORF

BRAHMS LSC

Symphony no. 1 2711 Symphony no. 2 2809

Symphony no. 3; Tragic Overture 2936 Symphony no. 4 3010 The four symphonies (boxed edition) (three records) 6186

Piano concerto no. 1 (Cliburn) 2724

Piano concerto no. 1 (Rubinstein) 2917 Ein deutsches Requiem (Caballe, Milnes, New England Conservatory Chorus) with Y j records 7054 Four serious songs (Milnes, Leinsdorf piano) )

BRUCKNER Symphony no. 4 'Romantic' 2915

MAHLER

Symphony no. 1 2642 Symphony no. 3 (Verrett, New England Conservatory Chorus, 7046

Boston Boychoir) (2 records) Symphony no. 5 with 7031

BERG Wozzeck excerpts (2 records) Symphony no. 6 with 7044

BERG Le vin (Curtin) (2 records)

THE BOSTON SYMPHONY ORCHESTRA ON {MBIM 1430 MERCHANTS CO-OPERATIVE BANK Conveniently located 125 Tremont at Park Street Boston WHERE YOU ARE ALWAYS WELCOME Pole ar is TO SAVE MONEY Internationally Famous Deposits accepted up to Italian Restaurants $40,000 ALL ACCOUNTS INSURED IN FULL NO NOTICE REQUIRED HYANNIS Tel. 775-6700 WP* Fleuriste Francais

34 CHARLES STREET

Est. 1891 BOSTON, MASS.

Tel. CA 7-8080

mu i AMERICA'S No.1 SCOTCH

THE BUCKINGHAM CORPORATION, IMPORTERS • NEW YORK, N Y^~ • DISTILLED AND BOTTLED IN SCOTLAND • BLENDED 86 PROOF A SELECTION OF RECORDINGS BY THE BOSTON SYMPHONY ORCHESTRA under the direction of ERICH LEINSDORF

BRAHMS LSC Symphony no. 1 2711 Symphony no. 2 2809 Symphony no. 3; Tragic Overture 2936 Symphony no. 4 3010 The four symphonies (boxed edition) (three records) 6186 Piano concerto no. 1 (Cliburn) 2724 Piano concerto no. 1 (Rubinstein) 2917 Ein deutsches Requiem (Caballe, Milnes,

New England Conservatory Chorus) with ) , 1 7054 Four serious songs (Milnes, Leinsdorf piano) \

BRUCKNER Symphony no. 4 'Romantic' 2915

MAHLER Symphony no. 1 2642 Symphony no. 3 (Verrett, New England Conservatory Chorus, 7046 Boston Boychoir) (2 records) Symphony no. 5 with 7031 BERG Wozzeck excerpts (2 records) Symphony no. 6 with 7044 BERG Le vin (Curtin) (2 records)

TCHAIKOVSKY Piano concerto no. 1 (Rubinstein) 2681 Piano concerto no. 1 (Dichter) 2954 Violin concerto (Perlman) with 3014 DVORAK Romance (Perlman)

WAGNER Leinsdorf conducts Wagner 3011 Lohengrin (Konya, Amara, Gorr, Dooley, Hines, Chorus pro Musica) (5 records) 6710

THE BOSTON SYMPHONY ORCHESTRA ON ducb/td

1432 THE PLACE TO BUY KEnmore 6-1952 EVERYTHING FROM WHAT'S IN STYLE to what's traditional OPEN THURSDAY EVENINGS UNTIL 8:30

finer furs

1-HOUR FREE PARKING at the Church Street Garage (right next door) Newbury Street Eighteen 31 CHURCH ST. • CAMBRIDGE Boston, Mass. UNiversity 4-2300

XX #^ ^fc la maisonette THE QUINCY

CO-OPERATIVE BANK the little house of many designers 115 newbury street, boston

personally selected fashions for IN SPECIALIZING country SAVINGS AND HESLIP E. SUTHERLAND town and President HOME FINANCING QUINCY HANOVER

ADELSON GALLERIES, INC.

FINE PAINTINGS OF THE NINETEENTH AND TWENTIETH CENTURIES

154 NEWBURY STREET Boston (617)266-6631 PLAN OF SYMPHONY HALL

The auditorium of Symphony Hall can be emptied in a few minutes. Patrons are asked to make a note of the exit nearest to their seat. In case of emergency they should walk (not run) to that exit. All exits are clearly marked.

SYMPHONY HALL Huntington and Massachusetts Avenues

HUNTINGTON AVENUE COfcWDOK

1434 RECORDINGS BY THE BOSTON SYMPHONY CHAMBER PLAYERS

ON THE DEUTSCHE GRAMMOPHON LABEL

DEBUSSY Violin sonata Cello sonata 2530049 Sonata for flute, viola and harp (1 record) Syrinx

ON THE RCA LABEL

SCHUBERT Piano trio in B flat op. 99 MILHAUD 'Pastorale' for oboe, clarinet LSC 3166 and bassoon (1 record) HINDEMITH Kleine Kammermusik op. 24 no. 2

BRAHMS Piano trio in B op. 8 DAHL Duettino concertante for flute and percussion MARTINU Nonet LSC 6189 (3 records) POULENC Sextuor for piano and wind quintet SCHUBERT Piano quintet in A op. 114 Trout' WEBERN Concerto for nine instruments op. 24

BRAHMS Horn trio in E flat op. 40 COLGRASS Variations for four drums and viola HAIEFF Three bagatelles for oboe and bassoon MOZART Piano quartet in G minor K. 478 Quintet for piano and winds LSC 6184 in E flat K. 452 records) POULENC Trio for oboe, bassoon and (3 piano (1926) SCHUBERT String trio no. 1 in B flat VILLA-LOBOS Bachianas Brasileiras no. 6 for flute and bassoon

BEETHOVEN Serenade in D op. 25 BRAHMS Piano quartet in C minor op. 60 CARTER Woodwind quintet LSC 6167 COPLAND Vitebsk (3 records) FINE Fantasia for string trio MOZART Flute quartet in D K. 285

1435 after symphony

The sophisticated saloon from the Victorian era. Enjoy your favorite libation, while Gladys Toupin tenderly tickles the ivories. Nightly. At Boston's most convenient meeting place THE LENOX Boylston at Exeter St

(Next time you are coming to

Symphony, dine at Delmonico's . . . we'll park your car and give you a ride to Symphony Hall in our 1938 Rolls Royce or London Taxi.)

DAVID and JOSEFS HAUTE CUISINE

Parties with a European Touch French — Viennese - Hungarian

From the simplest to the most elegant, the smallest to the largest function

Full Hostess Service CALL Turner 9-2973 we repeat stands for T.O.METCALFCO.PRINTERS 51 MELCHER STREET BOSTON MA 02210

HIGH SAVINGS SAVINGS INSURED By U.S. Gov't annual rate INTEREST Agency $100,000 CERTIFICATES minimum CHOICE OF SAVINGS 1-3 years 0/Q2-10 1-10 years ,000 minimum 5% $1,000 minimum 90 Day Notice 1 B/o Regular * Passbook Account S** Savings 5 a \ No Notice Required after the First 90 Days HOME OWNERS FEDERAL SAVINGS and Loan Association - 21 Milk St.. Boston. Mass.®- Phone HU 2-0630

DORCHESTER OFFICE: 347 WASHINGTON STREET - PHONE CO 5-7020

1436 MUSICAL INSTRUCTION

IRMAROGELL HARPSICHORD

31 DEVON ROAD, NEWTON CENTRE, MASS. 332-9890

RUTH SHAPIRO KATE FRISKIN PIANIST • TEACHER Pianist and Teacher 1728 BEACON STREET 8 Chauncy Street BROOKUNE, MASSACHUSETTS Cambridge, Massachusetts

Telephone REgent 4-3267 ELiot 4-3891

EDNA NITKIN, M.MUS. PIANO Telephone: 88 EXETER STREET KEnmore 6-4062 COPLEY SQUARE, BOSTON

voice studios MARGOT WARNER, Soprano VOICE TECHNIQUE — LANGUAGES — REPERTOIRE June through August Summer and Winter 189 John Wise Avenue (Route 133) 2 Symphony Road Essex, Mass. 01929 Boston, Mass. 02115 (617) 768-6853 (617) 267-0332

GIUSEPPE de LELLIS — PIANO Will accept a limited number of students for 1971 Grad. of Longy School. Fours years in Fontainebleau, Paris, London. Isidore Philipp, Tobias Matthay, Sanroma Soloist Boston Pops

Tel. 332-3336 27 Harding St., W. Newton 02165

RUTH POLLEN GLASS MINNIE WOLK Teacher of Speech PIANIST and TEACHER • in Industry • in Education New Studio Location • in Therapy • in Theatre 108 Pelham Hall 1284 Beacon St. Near Harvard Square Kl 7-8817 Brookline, Mass., Tel: 232-2430 & 734-1734

LUCILLE MONAGHAN Pianist and Teacher Now Accepting Limited Number of Students 46 The Fenway KE 6-0726

M The best wayto get the news out of Washington is to get someone in.

The Globe is the only Boston newspaper that has a five-man, full-time staff of reporters in Washington. We could get the facts from the wire ser- vices, but we want you to have more than the facts. We want to give you a feeling for the news ;i that you can only get from someone who's

watching it happen. The Globe reporter who covers the Supreme Court is a lawyer. He doesn't just take notes on decisions. He reads briefs. The Globe reporter who covers the Sen- ate uncovered auto-repair rackets in this state that might have cost you hundreds of dollars. And the chief of our Washington Bureau

puts it all together in the best sense possible, by relating how what happens in Washington affects the rest of the country.

We could sit back and wait for the news

from Washington. But we think it's better if we

go and get it ourselves.

The BostonGlobe puts it all together. 1970-71 BOSTON UNIVERSITY CELEBRITY SERIES k Walter Pierce, Managing Director Mrs. Aaron Richmond, Consultant

SUN. APR. 4 at 3 • SYMPHONY HALL DIETRICH FISCHER-DIESKAU

Celebrated German Baritone in Recital SCHUBERT PROGRAM

NOTE: This Concert Postponed From February 14 STEINWAY PIANO

MON. TUES. WED. EVES. & WED. MAT., MAY 31, JUNE 1,2* MUSIC HALL STUTTGART BALLET

"One of the Few Great Companies of the World!" — N. Y. Times

Order form describing repertory and prices will soon be available. Write now to Boston University Celebrity Series, 420 Boylston Street, Boston 02116.

CHICAGO SYMPHONY ORCHESTRA, Georg Solti, Conductor

NEW PHILHARMONIA ORCHESTRA OF LONDON, Lorin Maazel, Conductor

VAN CLIBURN, Pianist ANDRE WATTS, Pianist

ANDRES SEGOVIA, Guitarist

ARTURO BENEDETTI MICHELANGELI, Pianist

ALWIN NIKOLAIS DANCE THEATER

JUILLIARD STRING QUARTET

JAMES WHITMORE in "WILL ROGERS, U.S.A."

NETHERLANDS CHAMBER ORCHESTRA, Szymon Goldberg, Conductor and Soloist

are among the more than thirty events in the

1971-72 BOSTON UNIVERSITY CELEBRITY SERIES

Current Celebrity Series subscribers will receive the first announcement of the new Season in early April. If you are not a subscriber and would like to receive the brochure for the 1971-72 season, write to Boston University Celebrity Series, 420 Boylston Street, Boston 02116.

HEXb OFFICIAL PIANO

Boston Symphony Orchestra

The Sound Investment for Your Child

Baldwin Piano & Organ Company

160 Boylston Street • Boston, Massachusetts 02116 BALDWIN PIANOS ORGANS Telephone: 426-0775