BOSTON SYMPHONY ORCHESTRA FOUNDED IN I88I BY 'i HENRY LEE HIGGINSON In, ||te;-|. 3X3^ EIGHTY-THIRD SEASON 1963-1964 TAK E NOTE The precursor of the oboe goes back to antiquity — it was found in Sumeria (2800 bc) ami was the Jewish halil, the Greek aulos, and the Roman tibia • After the renaissance, instruments of this t^e were found in complete families ranging from the soprano to the bass. The higher or smaller instruments were named by the French "haulx-bois" or "hault- bois" which was transcribed by the Italians into oboe which name is now used in English, German and Italian to distinguish the smallest instrument • In a symphony orchestra, it usually gives the pitch to the other instruments • Is it time for you to take note of your insurance needs? • We welcome the opportunity to analyze your present program and offer our professional service to provide you with intelligent, complete protection. We respectfully invite your inquiry i . ' t rl 'th CHARLES H. WATKINS CO. & /oBRION, RUSSELL 8c CO. Richard P. Nyquist — Charles G. Carleton / 147 MILK STREET BOSTON 9, MASSACHUSETTS/ lusurance of Every Description 542-1250 N E I G M 1 \ 1 H 1 R D SEASON, 1963-1964 CONCERT B U L L E T 1 OF THE Boston Symphony Orchestra ERICH LEINSDORF, Music Director Richard Burgin, Associate Conductor with historical and descriptive notes by John N. Burk Copyright, 1964, by Boston Symphony Orchestra, Inc The trustees of the BOSTON SYMPHONY ORCHESTRA, Inc. Henry B. Cabot President Talcott M. Banks Vice-President Richard C. Paine Treasurer Abram Berkowitz Henry A. Laughlin Theodore P. Ferris John T. Noonan Francis W. Hatch Mrs. James H. Perkins Harold D. Hodgkinson Sidney R. Rabb C. D. Jackson Charles H. Stockton E. Morion Jennings, [r. John L. Thorndike Raymond S. Wilkins TRUSTEES EMERITUS Palfrey Perkins Lewis Perry Edward A. Taft Oliver VV^oicoi r I). Perr^ |r., Manager Thomas , Norman S. Shirk Rosario Mazzeo James |. Brosnahan Assistant Manager Orchestra Personnel Manager Business Administrator Assist at) I A dm /;/ islralors Sarah ^f. Hem pel Harry J. Kraut SYMPHONY HALL BOSTON ['475] RCA VICTOR few The most trusted name in sound Erich IjCsa^idorf (a new Dynagroove recording) The very essence of romance: Schumann played bythe Boston Symphony During his second year of marriage, Robert Schumann completed his Fourth Symphony and presented it to his beloved wife Clara on her birthday. Erich Leinsdorf's choice of this symphony as the first truly "romantic" symphony he has recorded with the Boston Symphony is indeed propitious. The work is imbued with the very essence of romance, traceable to Schumann's profound love for Clara. The work is coupled with a perform- ance of the "Leonore Overture No. 3" which dramatically reveals the affinity of Mr. Leinsdorf and "The Aristocrat of Orchestras" for the music of Beethoven. The Dynagroove sound on this album Is wonderful. Hear it soon. [1476] CONTENTS Program 1481 ®T(aRanwa5lnc. N o [ V s Mozart (Symphony in G minor) 1483 cTlic Gfro«5scau3l>5us? of33osloii Strauss (Interlude from *'Die Frau ohne Schatten") 1 488 Entr'actes Igor Stravinsky at Eighty (by John McC lure) . 1501 How Anton Webern Died (y.N-^.) 1521 Notes Webern (Passacaglia) , . -1514 Stravinsky ("The Fire-Bird") 1526 EXHIBITIONS The exhibitions shown in the Gallery through the past season were loaned by the following artists and associations: Photographs of the Transcontinental Tour by George Humphrey (Sep- tember 27-October 3) New Hampshire Art Association (Oc- tober 4-19) The Shore Galleries (November 1-19) Subscribers' Exhibition (November 22-December 9) Doll and Richards Gallery (December 13-January 12) Boston Society of Watercolor Painters (January 16-February 11) New England Artists* Group (Febru- ary 14-March 10) Institute of Contemporary Art (March 13-22) Gallery of Tyringham, Massachusetts (March 24-April 18) • • LIST OF ARTICLES PAGE ^outnward (fSoitnd - Tanglewood 1963 5 Our lightweight "Traveller" packs Britten's War Requiem 69 beautifully, takes to warmer climes. The New Members 133 Rayon surah, colorfully printed in Pink or Small, Large Phyllis Curtin 197 Aqua. Medium, $22.95 Tom Krause 197 416 BOYLSTON STREET 54 CENTRAL STREET Nicholas DiVirgilio 198 BOSTON 16 WELLESLEY KEnmore 6-6238 CEdar 5-3430 The Columbus Boychoir 198 [ 1477 ] PAGE The Chorus Pro Musica 198 The Youth Concerts 261 Jeanne-Marie Darre 325 The Organ Concerts 326 George Zazofsky 389 Manon Gropius 389 Idil Biret 453 A Gesture of Friendship 454 When You Cannot Attend 518 A Candidate for Repertory 581 Portraits 645 A Continuing Career (Pierre Monteux) 646 JLabel Louis Speyer 646 Ancient Instruments 710 assures you Mozart's Requiem - In Memory of John F. Kennedy 773 the finest in Lorin Hollander 774 fashion Paul Hindemith 774 Mozart's Requiem 837 Charles Munch 901 The Kennedy Memorial to be perpetuated on Records 902 New Principal Violist and Cellist Announced 902 Nicole Henriot-Schweitzer 965 Concerts Through Television 965 Rudolf Serkin 1029 Berkshire Festival, 1964 1030 Phyllis Curtin 1093 The Berkshire Music Center 1093 Distinctive Clothes Leopold Stokowski 1157 and ''Symphony Week" 1158 Accessories A Concert at the White House 1221 far Uw wilt dreued wemin Van Cliburn 1221 Ruth Posselt 1285 Berkshire Festival, 1964 1285 Remaining Programs 1349 Erick Friedman 1413 12re BOYLSTON STREET . CHESTNUT HILL Paul Klee 1413 125 NEWBURY STREET . BOSTON Q^ [M78] CMffon'Ught wool . shapes this dress of graceful simplicity — sheer delight to wear throughout the summer in any clime, any place . thanks to the thermostatic adaptability of wool. 7/1 glowing while only, French Sh^ps.^ seventh floor Filene's Boston only $90 Love of music can't be passed on by your will — unlike a prized Chippendale chair or your grandfather's watch fob. But you can do Something even better for your children — or grandchildren. You can give them the financial security which leaves them free to follow their own interests and develop their own preferences. Setting up a trust is one way — and a good way — to go about it. We at Old Colony are old hands at planning long-range security. Our trust department is the largest in New England. And our services are both persofial and flexible; they can be tailored to suit your specific needs. The next time you're in the vicinity of One Federal Street, by all means Old Colony stop in and have a talk with us. Trust Company Meanwhile, let us send you a copy of ''The Living Trust." It describes one of the many ways that Old Colony can be of help to you. [1480] EIGHTY-THIRD SEASON • NINETEEN HUNDRED SIXTY-THREE -SIXTY-FOUR Twenty-fourth Program FRIDAY AFTERNOON, April 17, at 2:00 o'clock SATURDAY EVENING, April 18, at 8:30 o'clock Mozart Symphony in G minor, K. 550 I. Molto allegro II. Andante III. Menuetto: Allegretto IV. Allegro assai Strauss Interludes from the Opera "Die Frau ohne Schatten" INTERMISSION Webern PassacagHa, Op. i (First performance at these concerts) Stravinsky Suite from the Ballet, "L'Oiseau de feu" Introduction: Jardin enchante de Katschei et danse de I'oiseau de feu Supplications de I'oiseau de feu Jeu de princesses avec les pommes d'or Ronde des princesses Danse infernale de tous les sujets de Katschei Berceuse Finale These concerts will end about 3:50 o'clock on Friday Afternoon; 10:20 o'clock on Saturday Evening. BALDWIN piano RCA VICTOR records [ 1481 ] ft l_avtaurt?c45l^op 6t(neg m^ [1482] SYMPHONY IN G MINOR (K. 550) By Wolfgang Amadeus Mozart Born in Salzburg, January 27, 1756; died in Vienna, December 5, 1791 This symphony was composed in July, 1788, in Vienna. It was last performed at the Friday and Saturday concerts of the Boston Symphony Orchestra on December 29-30, 1961. The original orchestration calls for flute, 2 oboes, 2 bassoons, 2 horns and strings. Mozart subsequently added parts for 2 clarinets, and this version is used in the present performances. 'T^HE G minor Symphony is cast as plainly as any symphony of -•- Mozart in a pervasive mood and style. It is a strongly incisive music which attains its strength by deftness and concentration instead of by massive means.* The special coloring of the G minor Symphony * Mozart dispenses altogrether with trumpets and timpani, attaining contrasts by delicate adjustment within a limited orchestral plan. The first autograph indicated two oboes but no clarinets ; later Mozart wrote out extensive parts for two clarinets, robbing the oboes of many passages and retaining the oboes principally for ensemble, as if to preserve a requisite touch of acidity. Editions are current with clarinets and without. Tovey has this to say about the use of the horns : "Another point in the study of the small orchestra is the ingenious use Mozart makes in his symphony of two horns pitched in two different keys, both of them high ; by which means he anticipates Berlioz in a device which doubles the normal number of notes possible in his time on the limited scale of the horn. Much of the surprising fullness of tone in the first movement and finale of this symphony comes from the fact that the horns are able to contribute to the harmony when in normal circumstances they would have to be silent." in 1964 as in 1898 ^adltion •^peciaiidtd 3or Ijiouna Woi/i/omen TWENTY NEWBURY STREET [1483] is illustrated by Mendelssohn's retort to a declaration of Liszt that the pianoforte could produce the essential effects of an orchestral score. "Well," said Mendelssohn, "if he can play the beginning of Mozart's G minor Symphony as it sounds in the orchestra, I will believe him." (The Symphony begins with a delicate piano in the string quartet, the lightly singing violins supported by darkly shaded chords of the divided violas.) The opening theme shows at once the falling semi-tone to the dominant which for generations seems to have been the composers* convention for plaintive sadness.