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' >; o BOSTON SYMPHONY w ORCHESTRA a FOUNDED IN 1881 BY LEE HIGGINSON HENRY V w.ri PALMER AUDITORIUM i NEW LONDON >>Ar> ///// z&Z*' ;>. ^ < EIGHTY-SIXTH SEASON 1966-1967 BEETHOVEN j^£ FAe Boston Symphony "EROICA" SYMPHONY skssS BOSTON SYMPHONY ORCH. ERICH LEINSDORF 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 'ym Z/frtdwrtit'm&medfmi 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 No matter how many Cadillacs you've owned and driven—you will still find yours< unprepared for the pleasures of driving the Cadillacs of 1967. For here is performan beyond anything ever offered before in a motor car. The totally new Eldorado combin front-wheel drive, variable ratio power steering and automatic level control for a kir of personal driving entirely its own. And all of Cadillac's twelve models offer an ale ness of response, an elegance of ride and a sense of safety that must be experience to be believed. Your authorized Cadillac dealer invites you to take the wheel— ar^ bring yourself up to date on the most brilliant new performers ever to be called Cadill Standard of the World K 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; Tempo 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 oboes, bassoon, 4 horns, timpani, 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 opera 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 Chicago, Illinois, in 1932 The following instrumentation is required: 3 flutes, alto flute and piccolo, 3 oboes and English horn, 3 clarinets and bass clarinet, 3 bassoons, 4 horns, 3 trumpets, 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 New York City 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 Copenhagen 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 Ludwig van Beethoven 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.

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