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EIGHTY-SIXTH SEASON 1966-1967 BEETHOVEN j^£ FAe Boston Symphony "EROICA" SYMPHONY skssS BOSTON SYMPHONY ORCH. under Leinsdorf

Leinsdorfand the Boston Symphonygive Beethoven 's "Er one of the boldest performances you are likely to hear. M daring is their acute reading of Schumann 's Fourth Sympi an exquisite fabric of sound. In their first recording of Ru ballet repertoire, the Bostoniansproduce a shimmering Fir and a glittering Le Cog d'Or. Recorded in Dynagroove sc

Schumann /Symphony No. 4 « Beethoven /Leonore Overture No. 3 Boston Symphony /Leinsdorf

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Boston Symphony Orchestra /Erich Leinsdorf Rimsky-Korsakoif /"LE COQ D'OR" SUITE Stravi^

rca Victor JThe most trusted name in sound i*L EIGHTY -SIXTH SEASON, 1966-1967

CONCERT BULLETIN

OF THE Boston Symphony Orchestra

ERICH LEINSDORF, Music Director

Charles Wilson, Assistant Conductor

Copyright, 1967, by Boston Symphony Orchestra, Inc.

The TRUSTEES of the BOSTON SYMPHONY ORCHESTRA, Inc.

Henry B. Cabot • President Talcott M. Banks Vice-President John L. Thorndike Treasurer

Philip K. Allen E. Morton Jennings, Jr. Abram Berkowitz Henry A. Laughlin Theodore P. Ferris Edward G. Murray Robert H. Gardiner John T. Noonan Francis W. Hatch Mrs. James H. Perkins Andrew Heiskell Sidney R. Rabb Harold D. Hodgkinson Raymond S. Wilkins TRUSTEES EMERITUS

Palfrey Perkins Lewis Perry Edward A. Taft

Thomas D. Perry, Jr., Manager

S. Shirk Norman James J. Brosnahan Assistant Manager Business Administrator Sistare Sanford R. Harry J. Kraut Press and Publicity Assistant to the Manager Andrew Raeburn Assistant to the Music Director SYMPHONY HALL BOSTON

[3] IF YOU THINK YOU KNOW CADILLACS-JUST DRIVE THE NEW ONE I

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mark of excellence Cadillac Motor Car Division EIGHTY-SIXTH SEASON • NINETEEN HUNDRED SIXTY-SIX-SIXTY-SEVEN

PALMER AUDITORIUM (Connecticut College, New London)

^Program

MONDW EVENING, April 10, at 8:30 o'clock

Haydn Symphony in D major, No. 13

I. Allegro molto

II. Adagio cantabile III. Minuet IV. Finale: Allegro molto

Colgrass As Quiet As A Leaf Turning Colors An Uninhabited Creek An Ant Walking Children Sleeping Time Passing A Soft Rainfall The First Star Coming Out

INTERMISSION

Beethoven Symphony No. 7, in A major, Op. 92

I. Poco sostenuto; Vivace

II. Allegretto III. Presto; Assai meno presto; primo IV. Allegro con brio

BALDWIN PIANO RCA VICTOR RECORDS

[5] SYMPHONY IN D MAJOR, No. 13 By Franz Joseph Haydn

Born in Rohrau, March 31, 1732; died in Vienna, May 31, 1809

The Symphony is scored for flute, 2 , , 4 horns, , strings and continue itthen Haydn wrote his Symphony No. 13, he was thirty-one years * * old and had been at Esterhazy for two years. This appointment apparently brought great pleasure to the young Haydn because he had orchestral forces competent to his needs which he could exploit to the fullest extent. There is in this early Symphony a zest and exuberance which seem to indicate that Haydn was happy in his appointment. Of course to a certain extent the work is music of synthesis, and we are aAvare of its indebtedness to the Italianate sinfonia.

The first three movements — fast, slow, and fast — definitely reflect the sort of overture then commonly used in Italy. To these three movements Haydn adds as a fourth movement a finale which is based on the same four-note theme which is immortalized in Mozart's "Jupi- ter" Symphony.

The Symphony is unusual for its extensive use of wind instruments. Four horns are used instead of the usual two, and the pair of oboes and the flute and timpani on the bottom form a solid wind sound unlike earlier Baroque compositions.

After an exciting first movement, which seems to sparkle with energy and excitement, the second movement is a long cello solo supported by the gentle chords of the string body, with the winds silent. The gay minuet is interrupted by a trio which features an extended flute solo.

As we have said, the finale adopts a four-note theme which is developed in contrapuntal fashion. Undoubtedly this theme was in common use as a workable contrapuntal device, but it is fascinating to see how two masters, Haydn and Mozart, developed the material into music of permanent value. D. T. G.

AS QUIET AS By Michael Colgrass

Born in , Illinois, in 1932

The following instrumentation is required: 3 flutes, alto flute and piccolo, 3 oboes and English , 3 clarinets and bass clarinet, 3 , 4 horns, 3 , 3 trombones and tuba, timpani, 2 harps, piano, celeste and harpsichord, sleighbells, wood blocks, glockenspiel, tam-tam, vibraphone, tenor drum, suspended cymbal, tubular chime, Indian drum, glass wind chimes, triangles, sizzle cymbal, crotale, bass drum and strings.

[6] A<> Quiet As was commissioned In the Fromm Music Foundation for performance at the Berkshire Festival, and was fust pel formed at Tanglewood by the Berkshire

Music Centei Orchestra, conducted b) Gunther Schuller, on August i8, j 966.

Mr. Colgrass has kindly supplied the fol- lowing information about his composition.

As Quiet As was inspired by the answers of fourth-grade children **- asked In then teacher to complete the sentence beginning "Let's ." be as quiet as. . . From the twenty-one answers compiled by Con- stance Fauci and printed in the New York Times in December, 1961, i (hose seven that seemed to make a nature study as might be per- ceived by a child. My purpose was to depict the very nature of each metaphor, as if I were demonstrating to a blind person the essence of a leal as it changes color, of a creek abandoned even by birds, and of an ant — or many ants — skittering about. "Children Sleeping" and

I inn Passing" are like a dream sequence. Following light breathing and heartbeats, a sonatina written by Beethoven as a child appears through a montage of "sleeping sound," and then reappears frag- mentarily in musical styles from 1800 to the present — Haydn, Sibelius,

Ravel, Stravinsky, Count Basie — as if one were taking a fleeting glance at music history moving through time. The Jazz is interrupted by a distant "sound" which ends the dream, and the last setting (Webern) is in post-war style. "A Soft Rainfall" and "The First Star Coming Out" are the spring and summer counterparts of the autumnal leaf and creek, and are related musically as well. The creek is now a rain- fall, and the leaf a soft blanket of night across which stars flicker like a million raindrops turned to crystal. As Quiet As is dedicated to children, with love and with hope.

Following graduation from the University of Illinois in 1954, Michael Colgrass went to where he performs as a free-lance musician with most of New York's major musical organizations. Recent works include Rhapsodic Fantasy for fifteen drums (one player) and orchestra, which the composer premiered as soloist with the Danish Radio Orchestra in in November, 1965, and a ballet score to Gerald Arpino's Sea Shadows. Mr. Colgrass has studied primarily with Paul Price, Eugene Weigle and Ben Weber. Rhapsody for clarinet, violin and piano was commissioned in 1963 by the clarinetist Arthur Bloom, who premiered the trio in New York City that year with the Group for Contemporary Music at Columbia University.

[7] .

SYMPHONY No. 7 IN A MAJOR, Op. 92 By Born in Bonn, December i6(?), 1770; died in Vienna, March 26, 1827

The Seventh Symphony, finished in the summer of 1812, was first performed on December 8, 1813, in the hall of the University of Vienna, Beethoven conducting. The Symphony is scored for 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, timpani and strings. The dedication is to Moritz Count Imperial von Fries. Beethoven was long in the habit of wintering in Vienna proper, and summering in one or another outlying district, where wr oods and meadows were close at hand. Here the creation of music would closely occupy him, and the Seventh Symphony is no exception. It was in the summer of 1812 that the work was completed. Four years had elapsed since the Pastoral Symphony, but they were not unproductive years, and the Eighth was to follow close upon the Seventh, being completed in October, 1812. Beethoven at that time had not yet undertaken the devastating cares of a guardianship, or the lawsuits which were soon to harass him. His deafness, although he still attempted to conduct, allowed him to hear only the louder tones of an orchestra. He was not without friends. His fame was fast growing, and his income was not inconsiderable, although it showed for little in the haphazard domestic arrangements of a restless bachelor. The sketches for the Seventh Symphony are in large part indeter- minate as to date, although the theme of the Allegretto is clearly indi- cated in a sketchbook of 1809. Grove* is inclined to attribute the real inception of the work to the early autumn of 1811, when Beethoven, staying at Teplitz, near Prague, "seems to have enjoyed himself thoroughly — in the midst of an intellectual and musical society — free and playful, though innocent. "Varnhagen von Ense and the famous Rahel, afterwards his wife, were there; the Countess von der Recke from ; and the Sebalds, a musical family from the same city, with one of whom, Amalie, the susceptible Beethoven at once fell violently in love, as Weber had done before him; Varena, Ludwig Lowe the actor, Fichte the philosopher, Tiedge the poet, and other poets and artists were there too; these formed a congenial circle with whom his afternoons and evenings were passed in the greatest good-fellowship and happiness." There was more than one affair of the heart within the circle, and if the affairs came to no conclusion, at least they were not unconducive to musical romanc- ing. "Here, no doubt," Grove conjectures, "the early ideas of the Seventh Symphony were put into score and gradually elaborated into the perfect state in which we now possess them. Many pleasant traits are recorded by Varnhagen in his letters to his fiancee and others. The coy but obstinate resistance which Beethoven usually offered to extem-

* Sir George Grove: Beethoven and his Nine Symphonies (1896) pori 'id entirely aside, and his Eriends probably heard,

On ill- man) a portion of the new Symphony which was

,11 his 1 md brain, even though no word was dropped by the might) playei to enlighten them."

• •

• I would requi] e more than a technical yardstick to measure the true proportions of the Seventh Symphony — the sense of immensity which it conv< B< etho • ma to have built up this impression by wil- fully driving a single rhythmic figure through each movement, until the musii attains (particularly in the body of the first movement, and in swift the Final* | a propulsion, an effect of cumulative growth which is akin to extraordinary size. The three preceding symphonies have hoik of tins quality — the Blow movement ol the Fourth, many parts of the "Pastoral itati< by comparison. Even the Fifth Symphony dwells in violent dramatit contrasts which are the antithesis of sus-

tain* d, ( xpansive motion. s< hul i\ Symphony in C major, ver) different oi course from Beethoven's Seventh, makes a similar effect of grandeui b) similai means in its Finale.

1 Ik Long introduction (Beel boven had not used one since his Fourth Symphony) leads, by many repetitions on the dominant, into the main bodv of the movement, where the characteristic rhythm, once released, holds its swifl course, almost without cessation, until the end of the movement. Where a more modern composer seeks rhythmic interest by rhythmic variety and complexity, Beethoven keeps strictly to his repetitious pattern, and with no more than the spare orchestra of Mozart to work upon finds variety through his inexhaustible inven- tion. It is as if the rhythmic germ has taken hold of his imagination and, starting from the merest fragment, expands and looms, leaping through every part of the orchestra, touching a new magic of beauty at every unexpected turn. Wagner called the Symphony "the Dance in its highest condition; the happiest realization of the movements of the body in an ideal form." If any other composer could impel an inexorable rhythm, many times repeated, into a vast music — it was Wagner. In the Allegretto Beethoven withholds his headlong, capricious mood. But the sense of motion continues in this, the most agile of his sym- phonic slow movements (excepting the entirely different Allegretto of the Eighth). It is in A minor, and subdued by comparison, but pivots no less upon its rhythmic motto, and when the music changes to A major, the clarinets and bassoons setting their melody against triplets in the violins, the basses maintain the incessant rhythm. The problem of the proper tempo for this Allegretto has troubled conductors over the years. Their concern was heightened by the fact that Beethoven in his last years seemed to disapprove of the lively tempo often used.

[9] Nevertheless, in most modern performances and including that by

Mr. Leinsdorf, the movement Ls considered definitely as an Allegretto, with no hint of a funereal character.

The third movement is marked simply "presto,*" although it is a scherzo in effect. The whimsical Beethoven of the first movement is still in evidence, with sudden outbursts, and alternations of fortissimo and piano. The trio, which occurs twice in the course of the move- ment, is entirely different in character from the light and graceful presto, although it glows directly from a simple alternation of two notes half a tone apart in the main body of the movement. Thayer reports the refrain, on the authority of the Abbe* Stadler, to have derived from a pilgrims' hymn familiar in 1 OWCT Austria. The Finale has been called typical of the '"unbuttoned" knopft) Beethoven. Grove finds m it, far the Brit time in his music. "a vein of rough, hard, personal boisterousness, the same feeling which inspired the strange jests, puns and nicknames which abound in his letters. Schumann (alls it "hitting all aiound' hlagtn um sich").

'The force that reigns throughout this movement is literally prodi- gious, and reminds one of ( arlyle's hero Ram DasS, who had "fire enough in his belly to hum up the entin world," Years ago the resemblano en the first subject oi the Finale and Beethoven's accompaniment to the lush air "Nora Creina," which he 1 was working upon at this time for G rhomson of Edinburgh.

December 8, 1813, is named bj Paul Bekker .is the date of "a great concert which plays .1 part in world history/' for then Beethoven's

Seventh Symphony had its lust performance, it the importance of the occasion is to he- reckoned .is the dazzling emergence of a masterpiece upon the world, then the statement may be questioned. We have plen- tiful evidence ol the inadequacy oi the with which Beetho- ven had to deal. Beethoven conducting this concert was so deaf that he could not know what the players were doing, and although there- was no obvious slip at the c one c 1 1. thei c w as much trouble at rehearsals. The violinists once laid down their bows and refused to play a passage which they considered impossible. Beethoven persuaded them to take their parts home to study, and the next day all went well. A pitiful picture of Beethoven attempting to conduct is given by Spohr, who sat among the violins. So far as the bulk of the audience is concerned, they responded to the Allegretto of the Symphony, but their enthusiasm

•In an interesting article, "Celtic Elements in Beethoven's Seventh Symphony" (Musical Quarterly, July, 1935), James Travis goes so far as to claim: "It is demonstrable that the themes, not of one, but of all four movements of the Seventh Symphony owe rhythmic and melodic and even occasional harmonic elements to Beethoven's Celtic studies." However plausibly Mr. Travis builds his case, basing his proofs upon careful notation, it is well to remember that others these many years have dived deep into this Symphony in pursuit of special connotations, always with doubtful results. D'Indy, who called it a "pastoral" sym- phony, and Berlioz, who found the scherzo a "ronde des paysans," are among them. The indus- trious seekers extend back to Dr. Carl Iken, who described in the work a revolution, fully hatched, and brought from the composer a sharp rebuke. Never did he evolve a more purely musical scheme.

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Ml (in must. in' irable i<> thi tu< B thoven Km ing now aco pted in Vieni verj considerable persona

.in "entirely new lymphony" by him, and a piece on so topical a iub-

jeci as Wellington's Victory, musi have had a strong attraction, rhe nature oi the charitable auspices was also favorable. The vicissitudes

.it the rehearsals and their final smoothing out have been described. When the evening itself arrived, Beethoven was not alone in the carriage, driving to the concert lull.* A young musician by the name of (.lot^l h.itl obtained permission to attend the rehearsals, and all seats toi the < otu ei l being sold, had contrived to gain admission undei the protecting wing of tbe composer himself. I hey got into tbe car- riage together, with tbe scores of tbe Symphony and the Wellingto Victory; but nothing was said on tbe road, Beethoven being quite absorbed in what was coming, and showing where his thoughts w< by now and then beating time with his hand. An ived at the hall, Gloggl was ordered to take the scores under his arm and follow, and thus he passed in, found a place somewhere, and heard the whole concert without difficulty."

* This incident actually pertains to the second performance, but the circumstances were almost identical.

I" I THE BERKSHIRE FESTIVAL PROGRAMS Boston Symphony Orchestra Erich Leinsdorf, Music Director At Tanglewood FIRST WEEK SECOND WEEK

Friday, June 30 • Leinsdorf Friday, July 7 • Mester

Prokofiev Symphony No. 5 Mozart Symphony No. 33, K. 319 Mozart Piano , K. 466 Beethoven Violin Concerto (Frank) (Menuhin) Mozart Adagio and Fugue, K. 546 Mozart Symphony No. 35, K. 385

Weekend Prelude at 7 '.00 Piano works by Beethoven and Prokofiev Weekend Prelude at 7 '.00 (Frager) Piano works by Mozart (Crochet)

Saturday, 1 • Leinsdorf July Saturday, July 8 • Leinsdorf Symphony No. 4 Beethoven Mozart March, K. 408 Prokofiev Lt.Kije Suite Mozart Piano Concerto in B-flat, K. 456 (CLATWORTHY) (Crochet) Beethoven Symphony No. 7 Mozart Haffner Serenade, K. 250 Sunday, July 9 • Leinsdorf Sunday, July 2 • Leinsdorf Mozart Divertimento in D major, K. 205 Prokofiev Scenes from Romeo and Juliet Mozart Piano Concerto in C minor, K. 491 Beethoven Piano Concerto No. 4 (Frank) (Frager) Mozart Symphony No. 40, K. 550

THIRD WEEK FOURTH WEEK

• Friday, July 14 Janigro Friday, July 21 • Leinsdorf Vivaldi Sinfonia in major C Mendelssohn Overture, "Midsummer Vivaldi Cello Concerto in major D Night's Dream" (Janigro) Vivaldi Flute Concerto Schuller Diptych (Dwyer) Bartok Concerto for Two Pianos Vivaldi Concerto "Alia Rustica" and Percussion Vivaldi Bassoon Concerto in E minor (Eden and Tamir) (Walt) Vivaldi Concerto in D minor Poulenc Concerto for Two Pianos (Gomberg) (Eden and Tamir) Vivaldi Piccolo Concerto Strauss Till Eulenspiegel (Schaefer) Vivaldi Concerto Grosso in A major Week>2nd Prelude at 7 '.OO Weekend Prelude at 7 '.00 Organ works by Bach Part songs (Berkshire Boychoir) (Biggs) Saturday, July 22 • Ozawa Saturday, • July 15 Leinsdorf Mendelssohn Hebrides Overture Bach B minor Mass (Boatwright, Wolff, Kopleff, Takemitsu for Strings bullard, krause, tanglewood Ligeti Atmospheres Choir, Berkshire Chorus) Berlioz Symphonic Fantastique Sunday, July 16 • Leinsdorf • Bach Suite No. 3 Sunday, July 23 Leinsdorf Bach Wedding Cantata Schumann Symphony No. 1 (Boatwright) Bach Violin Concerto in A minor Berg Excerpts, "Wozzeck" (Silverstein) Mendelssohn Piano Concerto in G minor Bach Cantata No. 174 (Kallir) (Wolff, Bullard, Krause, Tanglewood Choir) Stravinsky Firebird Suite FIFTH WEEK SIXTH WEEK

Friday, July 28 • Kubelik Friday, August 4 * Steinberg

1 Haydn Symphony No. 102 Beethoven Symphony No. 8

Martinu Double Concerto Beethoven Piano Concerto No. 3 Franck Symphony in D minor (Lettvin) Beethoven Symphony No. 5

Weekend Prelude at 7:00 Brahms Liebeslieder Waltzes Weekend Prelude at 7:00 (Frank, Kallir and singers) Lieder recital (Kuhse)

Saturday, July 29 • Kubelik Saturday, August 5 • Leinsdorf

Smetana Moldau Beethoven "Fidelio" (original version) Shirley, Elgar Violin Concerto (Kuhse, Krause, Pracht, (ASHKENASl) Berberian, Castel, Enns, Tanglewood Brahms Symphony No. 4 Choir, Berkshire Chorus)

Sunday, July 30 • Leinsdorf Sunday, August 6 • Leinsdorf

Webern Six Pieces, Op. 6 Brahms Academic Festival Overture Schubert Symphony No. 9 Brahms Symphony No. 3 Grieg Piano Concerto Brahms Violin Concerto (Cliburn) (Silverstein)

SEVENTH WEEK EIGHTH WEEK

Friday, August 11 • Leinsdorf Friday, August 18 • Schuller Moussorgsky Prelude, "Khovanchina" Dvorak Overture, "Othello" Tchaikovsky Symphony No. 6 Schubert Symphony No. 8

Sibelius Violin Concerto Ives Symphony No. 4 (Perlman)

Weekend Prelude at 7:00 Wagner Idyll Weekend Prelude at 7:00 (Boston Symphony Chamber Players) Piano works by Rachmaninoff Songs by Verdi and Ives (Curtin) and Prokofiev (Browning) Saturday, August 19 • Leinsdorf Saturday, August 12 • Steinberg Verdi Requiem Glinka Kamarinskaya (Arroyo, Troyanos, Molese, Flagello, Borodin Symphony No. 2 Tanglewood Choir, Berkshire Chorus)

Tchaikovsky "Manfred" Symphony Sunday, August 20 • Leinsdorf Wagner Die Meistersinger: Prelude Sunday, August 13 • Leinsdorf

Die Walkiire : Ride ; Wotan's Prokofiev Piano Concerto No. 1 (Browning) Farewell (Flagello) Colgrass As Quiet As Die Gotterdammerung: Dawn, Rhine Rachmaninoff Rhapsody on a Theme Journey, Interludes, of Paganini Siegfried's Death, Immolation (Browning) Scene (Horne)

Further information and tickets at Festival Office, Symphony Hall • CO 6-1492 )

Recordings by the BOSTON SYMPHONY ORCHESTRA • -IIS IHSTH $ VOICE' under the direction of rcaVictor Erich Leinsdorf: Bartok Concerto for Orchestra LM-2643 Violin Concerto (Joseph silverstein) LM-2852 Beethoven Symphony No. 3 ("Eroica") LM-2644 Overture to "Leonore" No. 3 LM-2701 Piano Concerto No. 4 (artur rubinstein) LM-2848 Piano Concerto No. 5 (artur rubinstein) LM-2733 Berg Excerpts from "Wozzeck" (phyllis curttn) LM-7031 "Le Vin" () LM-7044 Brahms Symphony No. 1 LM-2711 Piano Concerto No. 1 (van cliburn) LM-2724 Piano Concerto No. 1 (artur rubinstein) LM-2914 Symphony No. 2 LM-2809 Bruckner Symphony No. 4 LM-2915 Ravel «*«*»> LM-2667 Dello Joio S^^lLL 1 <— Faure Elegy for Cello and Orchestra (samuel mayes) LM-2703 Fine Symphony 1962 Toccata Concertante > LM-2829

Serious Song for String Orchestra J Kodaly Suite from "Hary Janos" a Song, Variations on Hungarian Folk \ LM-2859

"The Peacock" J Mahler Symphony No. 1 LM-2642 Symphony No. 5 LM-7031 Symphony No. 6 LM-7044 Mendelssohn A Midsummer Night's Dream LM-2673 (Incidental music with chorus, soloists and speaker) Menotti The Death of the Bishop of Brindisi LM-2785 (With chorus and soloists) Mozart Symphony No. 41 and Eine kleine Nachtmusik LM-2694 Requiem Mass-KENNEDY Memorial Service LM-7030 Prokofiev Piano Concerto Nos. 1 and 2 (john browning) LM-2897 Symphony No. 5 LM-2707 Symphony No. 6 LM-2834 Symphony-Concerto (samuel mayes) LM-2703 Violin Concerto No. 1 (erick friedman) LM-2732 Piano Concerto No. 5 (lorin Hollander) LM-2732 RlMSKY-KORSAKOV Suite from "Le Coq d'Or" LM-2725 schoenberg "Gurre-Lieder," Excerpts () LM-2785 schuller Seven Studies on Themes of Paul Klee LM-2879 Schumann Symphony No. 4 LM-2701 Strauss "Ein Heldenleben" LM-2641 Excerpts from ""; The Awakening of Helen from "The Egyptian Helen" () LM-2849 Stravinsky Agon LM-2879 Suite from The Firebird LM-2725 Violin Concerto (joseph silverstein) LM-2852 Tchaikovsky Piano Concerto No. 1 (artur rubinstein) LM-2681 Verdi Requiem (, lili chookasian, , EZIO FLAGELLO, CHORUS PRO MUSICA) LM-7040 Wagner (sandor konya, lucine amara, RITA GORR, , JEROME HINES, CALVIN MARSH, CHORUS PRO MUSICA LM-6710 (MONAURAL AND STEREOPHONIC) H Boston Symphony Orchestra ERICH LEINSDORF, Music Director CHARLES WILSON, Assistant Conductor

1 1 ks i Violins ( I I.LOS Bassoons Joseph Silvei stein Jules Eskin Sherman Walt Concertmaster Martin Hoherman Ernst Panenka Vlfred Ki ipa Mischa Nieland Matthew Ruggiero George Zazofsky Karl Zeise Rolland I apley Robert Ripley Contra Bassoon Soichi Katsuta* Roger Shermont Richard Plaster Max Winder John Sant Ambrogio I.uis Leguia 1 lai iv Die kson Horns Gottn ied Wilfinger Stephen Geber James Stagliano Fredy Ostrovsky Carol Procter Charles Yancich Leo Panascvich Richard Sher Noah Bielski Harry Shapiro Thomas Newell 1 1< i man Silbcrman Basses Paul Keaney Stanley Benson Henry Freeman Ralph Pottle Sheldon Rotenberg I lenry Portnoi Alfred Srhneidei [n ing Frankel Trumpets } uli Schulman us John Barwicki \imando Ghitalla Gerald Gelbloom Leslie Martin Roger Voisin Ra\ mond Sird Bela Wurtzler Andre Come Si Hearne i ond Violins foseph Gerard Goguen William Clarence Knudson Rhcin William Marshall John Salkowski Trombones Mi( hel Sasson William Gibson Samuel Diamond Flutes Moss Josef Orosz Leonard Doriot Anthony Dwyer William Watcrhouse Kauko Kahila James Pappoutsakis Giora Bernstein Phillip Kaplan Ayi ton Pinto Tuba Amnon Levy Chester Schmitz Las/lo Nagy Piccolo Michael Vitale Lois Schaefer Timpani Victor Manusevitch Everett Firth Mi not Beale Oboes Ronald Knudsen Ralph Gomberg Percussion Max Hobart Holmes Charles Smith John Korman John Hugh Matheny Harold Thompson Violas Arthur Press, Ass't Timpanist Thomas Ganger Burton Fine English Horn Reuben Green Laurence Thorstenberg Harps Eugen Lehner Albeit Bernard Bernard Zighcra Clarinets Olivia Luetcke George Humphrey Gino Cioffi Jerome Lipson Librarians Jean Cauhap£ Pasquale Cardillo Konosuke Ono* Peter Hadcock Victor Alpert E\) Clarinet Vincent Mauricci William Shisler Earl Hedberg Bernard Kadinoff Bass Clarinet Stage Manager Joseph Pietropaolo Felix Viscuglia Alfred Robison

William Mover, Personnel Manager

* members of the Japan Philharmonic Symphony Orchestra participating in a one season exchange with Messrs. Robert Karol and Richard Kapuscinski [15] The Baldwin is the ideal piano for solo and orchestral work and particularly for chamber music.

Its wide range of tonal color

and its easy action

fulfill all possible wishes." — Erich Leinsdorf

...the sight and sound offine music BALDWIN PIANO & ORGAN COMPANY 160 Boylston Street Boston, Massachusetts, 02116 BALDWIN Telephone 426-0775 PIANOS • ORGANS