PHILHARMONIC HALL LINCOLN CENTER FOR THE PF°FORMING ARTS

1963-1964 NEW YORK STATE THEATER Designed primarily as a home for ballet and musical One year and seven months after the opening of Philhar­ theater, under the direction, respectively, of George Balan­ monic Hall on September 23, 1962, the second unit of chine and Richard Rodgers, the New York State Theater Lincoln Center for the Performing Arts takes its place as also includes public areas of unusual spaciousness and a functioning part of the evolving operational plan. This, utility. Entrance from the plaza level brings one to the by coincidence rather than choice, is the 23rd of April, box office facilities, with corridors to either side from when New York State Day is observed at the World’s which there is access to the orchestra floor of the theater. Fair following formal opening of the Fair the day before. A pair of staircases lead to the Promenade, which faces Governor Nelson D. Rockefeller and other high officials across the plaza to the orchestral level of Philharmonic will be present for the inaugural ceremonies of the New Hall. The Promenade itself, with a floor area of 200 feet York State Theater, in which the two resident companies, by 60 feet, provides bar facilities and ample space for the New York City Ballet and the Music Theater of walking or smoking during intermissions. Each ring above Lincoln Center, will take part. opens on galleries that surround the Promenade on four Though its exterior is designed to be a congruent part sides. The Promenade can also seat 600 or more for of the total Lincoln Center complex and thus balances Philharmonic Hall, which it faces, the interior treatment banquets and other ceremonials. Back of the house arrangements of the New York State is altogether different. As may be observed from the view Theater are of a spaciousness to balance the front of the of the interior above (taken from the stage) it is a spacious house, and as functionally designed to serve totally different though compact theater layout, with an orchestra floor purposes. A completely autonomous arrangement for office seating 1,044, a series of three rings seating 329, 312, and space and rehearsal rooms makes it possible for both resi­ 310, with a fourth and fifth ring of smaller capacity (141 dent companies to work on future repertory even when and 32). Gallery space is provided for 551 patrons, with the auditorium is occupied by a visiting attraction. This an additional possibility of 42 standees. This brings the includes a ballet rehearsal room of a size equal to the total to 2,729. In circumstances where the full orchestra pit is not required for players, the capacity can be increased stage area, and an orchestra hall in which the largest or­ chestra possible for the pit (80 plus) can be seated. to 2,804.

The Philharmonic Hall Program, published by Saturday Review, Inc., 25 W?stA5th EaitoHal’kD?réctor^’l^orman0'cousins? Chairman of the Program: J. R. Cominsky, Publisher; W. D. Patterson. Associate Publisher; Irving Kolodin Editor^ Rector N Robert A Bul.ghal.dt, Editorial Board; Martin Bernheimer, Managing Editor; Irving SpeHens, Art Director, Joseph Gaspanno. rroaucuon gichigan Ave., Chicago 11, Assistant to the Publisher; Herbert J. Teison, Advertising D1jec^r-T Chicago Office. Raymond W. Welchj J . Q Fletcher S. Udall, Fletcher Illinois. Detroit Office: Ben R. Donaldson, Ford Auditorium, 20 B._Jefferson, Detroit 26,Michigan, west coast uffic^^ Udall & Company, 1221 Hearst Building, San Francisco 3, California and 422 South Western Ave., Los g

2 I I LINCOLN CENTER FOR THE I these are I PERFORMING ARTS, INC. I I OFFICERS AND DIRECTORS I Garrard’ John D. Rockefeller 3rd I CHAIRMAN OF THE BOARD I William Schuman I I automatic PRESIDENT I Charles M. Spofford I Arthur A. Houghton, Jr. I turntables ■ ■■ Devereux C. Josephs VICE-CHAIRMEN OF THE BOARD I Edgar B. Young I EXECUTIVE VICE-PRESIDENT I Gustave L. Levy I TREASURER I Amyas Ames I C. D.Jackson I Hoyt Ammidon David M. Keiser I Anthony A. Bliss Rev. L. J. McGinley, S.J. I Robert E. Blum I Robert Moses I Gilbert W. Chapman Frank Stanton I John W. Drye, Jr. George D. Stoddard I I Clarence Francis Harry Van Arsdale, Jr. I George D. Woods I I EX-OFFICIO I Honorable Robert F. Wagner, Mayor of New York I Honorable Newbold Morris, Commissioner of Parks I I John W. Mazzola, Secretary of the Corporation I LINCOLN CENTER COUNCIL I Rudolf Bing, Metropolitan Opera Association Edward G. Freehafer, The New York Public Library I I Peter Mennin, Juilliard School of Music I Carlos Moseley, The Philharmonic-Symphony Society of New York I Richard Rodgers, The Music Theater of Lincoln Center I William Schuman, Lincoln Center I Robert Whitehead, The Repertory Theater of Lincoln Center I I ADMINISTRATIVE OFFICERS I I Schuyler G. Chapin, Vice-President, Programming I William F. Powers, Vice-President, Engineering I This new concept in record playing Mark Schubart, Vice-President; Executive Director, I units combines the flawless perform­ The Lincoln Center Fund I ance- of dynamically balanced tone Henry E. Bessire, Director of Development I arms, full-size heavy turntables and Carl Cannon, Director, Visitors Services I I the Laboratory Series® motor with the Thomas DeGaetani, Managing Director, Theaters and Concert Halls I tremendous convenience of automatic Arno C. Zeyn, Controller play when you want it. Build your com­ I CAMPAIGN AND DEVELOPMENT LEADERSHIP I ponent music system around a I Garrard or look for it as the hallmark Clarence Francis I CHAIRMAN of quality in the finest consoles. I Hoyt Ammidon Mrs. Robert L. Hoguet, Jr. I Anthony A. Bliss Devereux C. Josephs George S. Moore I I EX-OFFICIO The Chairman of the Board of Lincoln Center I There’s a Garrard for every high fidelity system. Type A $84.50; AT6 $59.50; Autoslim $44.50. The President of Lincoln Center For literature, write GY-1764. Garrard Division, British Industries Corp.. Port \ N.Y. From Amsterdam A Greeting

April brings the opening of the 1964 World’s Fair and also a visit from a hundred or so of the most distin­ guished residents of Amsterdam, the Netherlands. Clearly these are representatives of old Amsterdam bearing greetings to the city originally known as New Amsterdam, which, despite a change of name, still bears Columbia Records traces of its Dutch heritage in such designations as the Hudson River, the Bronx, Harlem, Spuyten Duyvil, and Brooklyn. The greetings they bear are hearty enough, but they have even more to do with 1964 than they have with the fact that it happens to be the year in which a World’s Fair begins here. For it is written on the record that, as late as 1664, the maps described the island city as New Amsterdam, so that it is now 300 years since the Dutch influence in the most prominent settlement in the New World came to an end. It had endured since 1608 when Henry Hudson made his famous voyage of dis­ covery and sailed up the river (now bearing his name) as far as the present location of Albany. Old Amsterdam has little resemblance to its relative in the United States, but once seen, is hardly forget­ table. Typical of its life and atmosphere are the endless streams of bicyclists pedaling from home to school or office, shopping, visiting, or merely taking the air. When the rains come in from the North Sea, the streams do not

Columbia Records diminish, merely change appearance as slickers and hoods appear as if by magic, and all—children as well as grown-up—pedal on. Recently the concentration of traffic flowing through the narrow, canal-bound streets and spilling over into Columbia Records the occasional “pleins” or squares has tended to in­ clude more and more of the automated kind. Typical at mid-day is the scene (middle picture) at the Leidse Plein, a hub for some of the principal spokes of Am­ sterdam life. Here at the left is the Stadsschouwburg (Municipal Theater) familiar to many Americans as the scene of theatrical presentations (opera, ballet, etc.) during the Holland Festival. to New Amsterdam in Music

Like the Gewandhaus Orchestra of Leipzig, which takes its name from the “Draper’s Hall” in which it plays, the Orchestra of the Amsterdam Concertgebouw is, simply, the orchestra of the Amsterdam Concert Hall. But this is a name that transcends a mere physical identity and comprehends a history as proud and almost as long as that of the New York Philhar­ British Combine monic, the Vienna Philharmonic or the Boston Sym­ phony. The sturdy building at 98, Van Baerle Straat, which looks both ageless and timeless, has now passed its seventy-fifth birthday, with the centenary mark in prospect for 1988. Thus it is a greeting from one of Europe’s oldest concert halls to the youngest of the New World which the Amsterdam Concertgebouw brings when it performs in Philharmonic Hall on April 24, as part of the ceremonies inaugurating the World’s Fair. The orchestra will also give two concerts in Carnegie Hall, on April 25 and 26. Though the orchestra has been giving regular concert series for nearly seventy-five years, it has had only four permanent conductors in that time. The first was Willem Kes, who was succeeded in 1895 by the then twenty- four year old Willem Mengelberg. This world-famous musician, and conductor of the New York Philharmonic in the 1920s, was replaced in 1941 by Eduard Van Beinum, who remained in command until his death of a heart attack during a rehearsal in 1959. The com­ mittee of the orchestra which selects its leader gave its preference thereafter to Bernard Haitink, in keeping with its tradition of choosing a musician of Dutch birth as its permanent director. At thirty-five, Haitink, who has guest conducted many orchestras in Europe and America, can look forward to many seasons and many tours with the great ensemble he is privileged to direct. Haitink’s principal associate is Eugen Jochum, who is frequently heard with the orchestra in Amsterdam and on tour. DIRECTORY OF Today’s FACILITIES AND SERVICES most interesting Philharmonic Hall people read The New York Times MANAGER’S OFFICE Northeast corner of Plaza level in Executive Offices area. AUDIENCE WARNING SIGNAL Ten minutes prior to start or resump­ tion of concert—3 signals. Five minutes prior to start or resump­ tion of concert—2 signals. Two minutes prior to start or resump­ tion of concert—1 signal. ESCALATORS Southeast and Southwest corners of the Plaza level. ELEVATORS East elevator provides service until one-half hour following the perform­ ance. West elevator provides service until one hour following the performance. column BOX OFFICE North Side of Plaza level. TELEPHONE NUMBERS Box Office TR 4-2424 The term for a structure used to Philharmonic Hall TR 4-4000 support a building may also refer— Booking Director’s Office TR 4-4000 Lost and Found TR 4-4000 by extension—to anything that seems REFRESHMENT SERVICES slender and upright. For instance, a Rendezvous Cafe on Plaza level. Bar column of figures. service before and after concerts and And if the column of figures that during intermission. represents your investment portfolio Lunch, dinner and after-concert sup­ seems sometimes rather too slender per service. Reservations: LW 4-3048 (how ever upright)... perhaps we, as professional financial advisers, could LOST AND FOUND show you how it could be strength­ Receptionist’s Desk, Executive Office area. ened. REST ROOMS We serve a wide variety of clients Plaza level, rear of Cafe area. ... individual investors, institutions, Auditorium levels: east and west. Promenades: on all levels. corporations, and governmental bodies. All of them tell us that they GREEN ROOM Northwest corner of Loge Promenade feel more secure when their own judgment about their financial struc­ COAT ROOMS Adjacent to Rendezvous Cafe on Plaza tures is augmented by our professional level, east and west. assistance. PUBLIC TELEPHONES If you could use some sound, Vestibules to the Rest Rooms on all knowledgeable help with your invest­ Auditorium levels and opposite Coat ment problems . . . we’d be happy to Rooms. WHEELCHAIRS show you how we could provide that Wheelchairs may be located in place help for you. Together, we can work of certain regular seats on the audi­ to build your investment columns torium floor. House wheelchairs may straight and sturdy. also be obtained for use from the street to seat locations. For informa­ Smith, Barney & Co. tion call TR 4-4000. HOUSE DOCTOR AND FIRST AID Incorporated Members New York Stock Exchange Available at all performances. Ask the and other leading exchanges nearest usher. 20 Broad Street, New York 5, N. Y. 529 Fifth Avenue, New York 17, N. Y. Doctors who expect to be called during Philadelphia • Chicago performances may give their seat lo­ Boston • San Francisco cations to an usher, who will advise Albany • Allentown • Cleveland • Dalia» the Manager’s Office. Hartford • Milwaukee • Minneapolis York Times, Department GD, Times Square, New York 10036.

8 Guide to European Music Festivals—1964 PRELIMINARY FORECAST INFORMATION DATE______LOCATION TITLE DETAILS NOW AVAILABLE & TICKETS May 1- Wiesbaden, International Opera : "Salome,” "Elektra,” "Rosenkavalier,” State Theatre, May 31 Germany May Festival “Die Schweigsame Frau” (R. Strauss) ; Wiesbaden. Ballet; Drama: Shakespeare festival.______Tel. 5 95 58______May 2- Opera: "Wozzeck” (Berg), "Die Glückliche Teatro Communale, June 23 Hand,” “Erwartung” (Schönberg), "Doctor 16 Corso Italia, Faust” (Busoni), “The Nose” (Shostakovich), Florence. “Pantea” (Malipiero), “Salome” (R. Strauss) ; Tel. 29 61 11 Ballet: “The Miraculous Mandarin” (Bartók) ; Concerts; Chamber Music; Recitals.______May 12- Prague, international Opera; Concerts; Chamber Music. “Prague Spring," June 4 Czechoslovakia Music Festival Czech Philharmonic, Warsaw National House of Artists, “Prague Spring” Philharmonic, Prague Symphony, et al. Alesovo Nabrezi 12, Andrade, Gilels, Oistrakh, Soukupova, Prague I. Rampal, et al.______Tel. 638 56______May 15- Copenhagen, Royal Danish Opera; Concerts; Ballet. Festival Ticket Office, May 31 Denmark Ballet and Music Banegardsplads 5, Festival Copenhagen. Tel. C 4220-14760 May 16- Lisbon, Festival Opera: Covent Garden; Symphonic and Fundaçao Calouste June 8 Portugal Gulbenkian Choral Concerts; Chamber Music; Gulbenkian, Recitals. Berlin Radio Symphony, Munich Pro Arte Orchestra, Gulbenkian Chamber Tel. 76 21 46 Music Orchestra, et al.______May 21- Glyndebourne, Glyndebourne "Macbeth” (Verdi), “Incoronazione di Glyndebourne Box Office. August 16 Great Britain Festival Opera Poppea” (Monteverdi), “Pietra del Paragone” 23 Baker St., (Rossini), “Capriccio” (Strauss), “Magic London W.l, or Flute,” “Idomeneo” (Mozart). Lewes. Sussex. May 22- Bergen, International Opera: “Don Giovanni” (Mozart), “Tann­ Festspillene I. June 7 Norway Grieg Festival häuser” (Wagner) ; Ballet; Concerts: Bergen, Daily recital at Grieg’s home and others. Norway. Orchestre National de la Radiodiffusion Télévision Française, Bergen Symphony, et al. May 22- Bordeaux, Festival of Oratorio: “Jeanne d’Arc au Bûcher” Commissariat du Festival. June 7 France Music (Honegger) ; Concerts: Orchestre National 252 Faubourg St. Honoré, de la Radiodiffusion Télévision Française, Paris 8. Lucerne Festival Strings; Ballet; Recitals: Tel. WAG 9728 Casadesus, Francescatti, L. Kogan, et al. Drama : Théâtre National Populaire.______May 23- Vienna Vienna Festival Opera: “Dantons Tod” (Von Einem), Österreichisches June 21 Austria Weeks “Daphne” (Strauss), “Last Days of Verkehrsbüro, Humanity” (Kraus) ; Concerts: Vienna Friedrichstrasse 7, Philharmonic, Warsaw Philharmonic, Prague Vienna. Philharmonic. Chamber Music: Recitals. Tel. 57 23 15 or 57 36 72 May 26- Stockholm, Stockholm Opera: “The Dream of Therese” ( Werle- Stockholm Festival, June 12 Festival première), “Iphigenia in Aulis” (Gluck), Klara V. Kyrkogata 3A, “Cosi fan tutte,” “Marriage of Figaro” Stockholm. (Mozart), “Aida,” “Masked Ball,” “Requiem” Tel. 23 30 70 (Verdi), “Signor Bruschino” (Rossini), “Rosenkavalier” (Strauss), “Wozzeck” (Berg), “La Belle Hélène” (Offenbach) ; Concerts; Recitals: Nilsson, Hi Fischer-Dieskau, Grumiaux; Ballet.______May 30 Zürich, Zürich Opera: Gala performances honoring 100th Tourist Office, July 4 Switzerland June Festival birthday of Richard Strauss; Drama: Hauptbahnhof, performances in German, French, English, Postfach Italian; Recitals: Fischer-Dieskau, Zürich 23. Francescatti. Szeryng, et al, June 3- Helsinki, Sibelius Concerts : Sibelius Cycle, Violin Concerto, Sibelius Festival Foundation, June 11 Finland Festival classicil and modern music; Chamber Taivaskalliontie 17, Music; Recitals: Grumiaux, Gedda. Helsinki.______June 3- Bib, Bath Concerts: Bath Festival Orchestra and Harold Holt, Ltd., June 14 Great Britain Festival London Symphony Orchestra. 122 Wigmore St., De los Angeles, Igor Oistrakh, London W.l, G. Cassado, Y. and H. Menuhin, et al. Tel. WEL 2331 Chamber Music: Bath Festival Ensemble, Nadia Boulanger, Amadeus Quartet.______June 12- Strasbourg, International Concerts; Chamber Music; Ballet: Festival de Strasbourg, June 28 France Music Festival Recitals. Bamberg Symphony, Munich Pro 24, Rue de la Mésange, Arte Orchestra, Byron Janis, Segovia, et al. Strasbourg. Tel. 32 43 10 June 15- The Hague, Holland Opera: “Iphigenie auf Tauris” (Gluck), Amsterdam: July 15 Amsterdam, Festival “Boris Godunov” (Moussorgsky), “Nabucco” Honthorstraat 10, Scheveningen, (Verdi), “Katarina Ismailova” (Shosta­ Tel. 72 33 20 The Netherlands kovich) ; Concerts; Ballet; Drama. Vienna The Hague: Philharmonic, Concertgebouw Orchestra, Tel. 55 87 00 Hague Residentie Orchestra, et al. continued on page 12 10 Guide to European Music Festivals—1964 continued from page 10 PRELIMINARY FORECAST INFORMATION DATE LOCATION TITLE DETAILS NOW AVAILABLE & TICKETS

June 19- Spoleto, Festival of the Opera: “Rosenkavalier” (Strauss). “L’Enfant Festival Foundation, July 19 Italy Two Worlds et les Sortilèges” (Ravel) and “Le Con- 119 W. 57 St., venienze e le inconvenienze teatrali” New York 19. (Donizetti) ; Oratorio: “Stabat Mater” Tel. JU 2-2746 4'- ■ ( . (Rossini) ; Chamber Music; Ballet. Beaux Arts Quartet, Toronto Woodwinds, Gary Karr. John Browning, et al. June 23- Granada, International Opera; Concerts; Chamber Music; Dirección Bellas Artes, July 6 Spain Festival of Ballet; Recitals. Alcalá 34, Music and Dance Madrid. Tel. 2 21 06 46 July 9- Aix-en-Provence, International Opera: “Don Giovanni,” “Marriage of Festival Bureau, July 31 France Music Festival Figaro” (Mozart), “Falstaff” (Verdi), 3 Rue Frédéric-Mistral, “Incoronazione di Poppea” (Monteverdi) ; Aix-en-Provence. Concerts. July 10- Dubrovnik, Festival of Opera; Ballet; Concerts; Chamber Dubrovnik Festival, August 24 Yugoslavia Music, Drama Music; Drama: Folklore. Palmoticeva 2, and Folklore Dubrovnik. Tel. 23 39 July 15- Athens, Athens Opera; Concerts; Ballet; Drama: Festival Bureau, September 15 Greece Festival Aeschylus, Sophocles, Euripides, Aristo­ 6 Avenue Venizelos, phanes. Bamberger Symphoniker, Orchestre Athens. de la Suisse Romande, Cleveland Orchestra, New York City Ballet. July 17- Munich, Opera Festival "Arabella,” “Ariadne auf Naxos,” “Capriccio,” Opera Festival, August 16 Germany “Daphne,” “Elektra,” “Frau ohne Schatten,” Bayerische Staatsoper, ‘ Intermezzo,” “Rosenkavalier” (Strauss) ; P.O. Box 1, “Cosi,” “Magie Flute,” “Marriage of Figaro” Munich 1. (Mozart), “Lohengrin,” “Meistersinger” Tel. 22 94 91 (Wagner) ; “Paride ed Elena” (Gluck) ; “Julius Caesar” (Handel) ; “Die Verlobung in Santo Domingo” (Egk) ; “The Rake’s Progress” (Stravinsky); Recitals; Ballet. July 18- Bayreuth, Richard Wagner “Tristan,” “Tannhäuser,” “Meistersinger,” Ticket Office, August 21 Germa ny Festival “Parsifal,” “Ring” cycle. Bayreuth 2. P.O. Box 2148. Tel. 57 22 July 24- Bregenz, Bregenz Opera: "La Cenerentola” (Rossini) ; Austrian State Tourist Dept. August 23 Austria Festival Operetta: “Land of Smiles” (Lehar) ; 444 Madison Avenue. Ballet: ‘Sleeping Beauty” (Tchaikovsky) ; New York, N.Y., Drama; Concerts. Tel. MU 8-0355 July 26- Salzburg, Salzburg Opera : "Marriage of Figaro,” “Cosi,” “Magic Same as above. August 31 Austria Music Festival Flute,” “Lucio Silla” (Mozart) ; “Macbeth” (Verdi) ; “Ariadne auf Naxos,” “Elektra” (Strauss) : Ballet: Concerts; Drama. July Prades, Pablo Casals Pablo Casals Festival, France Festival Prades. July- Rome and Verona, Open air opera Teatro dell’Opera, August Italy at the Baths of Roma ; Caracalla, Rome, Via G. Patucci 9, and the Verona Arena Verona. August 1- Menton, International Bureau du Festival August 14 Festival of de Musique de Menton, Chamber Music 45 Rue la Boétie. Paris 8.

August 1- Santander, International Concerts: Chamber Music; Ballet; Dirección del Festival, August 31 Spain Music Festival Recitals; Drama; Art Exhibits. Plaza Velarde, P.O. Box 258, Santander. Tel. 22 4 25, 27 3 82 August 15- Yehudi Menuhin Tourist Office, August 27 Switzerland Festival Gstaad. August 15- Lucerne, International Concerts; Recitals. Swiss Festival Tourist Office, September 6 Switzerland Festival of Music Orchestra, Lucerne Festival Strings, Vienna Schweizerhofquai 4, Philharmonic, Zürich Collegium Musicum, Lucerne. et al. Anda, Richter. Della Casa, Cliburn, Tel. 041-2 52 22 Firkusny, Rubinstein, Fournier, Janis, Morini, Schneiderhan, Pears. Szeryng, Zabaleta, et al. August 16- Edinburgh, Edinburgh Opera: Prague Opera; Concerts; Recitals; Festival Office, September 5 Scotland International Drama. Orchestre de la Radiodiffusion 11 Cambridge St. Festival Télévision Française, London Symphony, Edinburgh 1. Firkusny, Fischer-Dieskau, Morini, Richter, Tel. FOU 14 32 Rostropovich, Serkin, et al.

HEDY D. J ELLIN EK 12 had were in burlesque theaters and dance halls. On one occasion, though, I was allowed to replace Mr. Friese when he got sick at the last minute. The work happened to be Petrouchka, which was considered very difficult in those days. The current avant-garde makes it look like a simple exercise, but that’s an­ other matter. [Mr. Goodman likes to spice his narrative with verbal foot­ notes, but he never loses sight of the conversation’s direction.] To make mat­ ters worse, the conductor that night was Toscanini. These conditions added up to a situation that would terrify any professional, never mind a teen-age neo­ phyte from Brooklyn. But somehow I got through that ‘trial by fire.’ ” Toscanini’s name brought forth some reminiscences on conductors. Saul Goodman at work “Toscanini was in a class by himself, especially in the Twenties and early Thirties—that is, before his perform­ ances began to lose some of their dra­ matic impact and relaxation. I have al­ ways felt that the Toscanini perform­ ances of the Forties and Fifties, though brilliant in their own way, tended to seem a bit hurried and even insensitive. Most visitors to Philharmonic Hall are enough to assess reactions, he embarked During my first season I also played familiar with the work of Saul Good­ on the story of his career’s inception. with Mengelberg and Furtwängler— man in one form or another, but rela­ “I really wasn’t very much interested tively few are conscious of the fact. in music when I was a kid,” he said. “I quite a triumverate by any standard! “After that, the conductors I seem Mr. Goodman is one of the busiest, took piano lessons for a while—reluc­ most productive musicians currently ac­ tantly—and I did play in the drum and to remember best are those I can as­ tive, yet he is never in the spotlight or bugle corps with the Boy Scouts. But sociate with a specific work or a par­ ticular repertory. There was Kleiber, the recipient of solo applause. The rea­ none of this meant very much until, one son is simple: he has devoted a lifetime day, I happened to pass a Brooklyn for instance, who did an avant-garde to music without ever really entering theater in which the New York Phil­ cycle back in 1930-31 that was as ex­ the areas that offer rewards in terms harmonic was giving a concert. I could citing as it was daring. And what a of ego stimulation. Chances are, he hear the music even though I was out Strauss conductor he was! When it came couldn’t care less! on the street. Some kindly person His accomplishments? He has written at the box office saw how intrigued I several instruction manuals on perform­ was and let me sneak in; it was the ance techniques; he has designed and middle of the concert. They were play­ built numerous revolutionary instru­ ing Tchaikovsky’s Fourth, and I had ments; he devotes much of his time to never heard anything like it in all my teaching; he devotes much of his time to fourteen years. Above all, I was fascin­ six published works to his credit; he is ated by the timpani part. My fate was a vivid raconteur and photographer, decided then and there, I guess. I could currently putting both talents to use in barely wait for the concert to end so I a book of memoirs. Most important of might talk to the solo timpanist. When all, as far as the general public is con­ I eventually found him backstage—he cerned. he has been the head of the was none other than the great Alfred Philharmonic’s percussion section for Friese—I begged him to teach me. over thirty-eight years. “He did just that, to my surprise as Such a list of credentials led this well as his. Before long, I was studying writer to expect an elderly “scholar’s piano—not so reluctantly any more— scholar” when interview-time came. A and harmony, and composition. All cane, white or no hair, possibly a gray thoughts of a career in medicine sud­ beard—these were the images inspired denly went out the window. And within by his curriculum vitae. But the “man a couple of years they even hired me as behind the legend” turned out to be ‘extra percussion’ with the Philharmon­ just the opposite: vital, earthy, incapa­ ic. When Mr. Friese retired, five years ble of affectation, and younger than the after I wandered in on Tchaikovsky, seemed to have any right to be. they let me take his place.” Mr. Goodman volunteered explana­ We asked what actual playing experi­ “To the Timpani ‘Wunderkind’ S. tions for some of the apparent contra­ ence he had acquired before taking over Goodman with best regards! Erich dictions. “I was only nineteen when I Friese’s position. Kleiber.” Philharmonic bass player became the Philharmonic’s solo timpan­ “Practically none! I knew the so- Frederick Zimmerman drew this ist back in 1926.” Pausing between called standard repertory second-hand, caricature of the maestro during a puffs on a giant-size cigar only long but the only previous engagements I rehearsal in 1930

16 to Mozart, no one equalled Bruno seems some people out front had com­ occasion by their assistants.” Walter—he communicated a very spe­ plained about ‘that drummer who is so Like Alfred Friese before him, Mr. cial ethereal quality whenever he was bored he reads a book during the per­ Goodman is flanked in the percussion on the podium. Dimitri Mitropoulos formance!’ ” section by three of his own pupils, past was less of a specialist, a man who ap­ Having established the fact that a and present (Walter Rosenberger, Elden pealed equally to the intellect and emo­ good timpanist must be a patient man, Bailey and Morris Lang). When assign­ tions; he was remarkable effective, I Mr. Goodman outlined some of his ments are unusually complex and de­ think, in Mahler. And one certainly other prerequisites. manding, as they often were during the can’t overlook Lenny [Significantly, “A good timpanist needs a good recent avant-garde series, Mr. Good­ Goodman felt no surname was needed memory—for cues and entrances—not man drafts as many as five additional to identify his current boss]. I don’t to mention a reliable sense of rhythm, players from his classes at Juilliard. think anyone duplicates the barbaric pitch, and dynamics. A flair for the The still-growing pool of Goodman­ qualities and the rhythmic bite of his dramatic helps too, because lots of con­ trainees, by the way, has provided tim­ Sacre du Printemps.” ductors leave matters of shading and panists for practically every orchestra We asked if Mr. Goodman had any nuance to your discretion. Most impor­ in America. special musical favorites. tant, a good timpanist has to be a good Our final question involved the Phil­ “Too many to isolate,” he replied. all-round musician, sensitive to prob­ harmonic’s new home. We wondered if Any ««favorites? lems of balance, tone quality, and Philharmonic Hall posed any special “Plenty of those too, but most frus­ phrase construction. Even an affinity problems that had not cropped up in trating of all are the pieces that require for melody is important—just look at more tha nthree decades at Carnegie. long waits. Take Mahler’s Lied von der the solo timpani melody in the Shosta­ “Yes, one. The air conditioning some­ Erde, for instance. What a glorious kovich First, or the one in the Strauss times does crazy things to my drum work it is! But there are only about 10 Burleske.” Mr. Goodman hummed the heads. Any abrupt changes in the air’s measures of timpani in it!” tunes in case we missed the point. moisture affect both pitch and tone.” What do you do while you’re wait­ Because the timpanist is on his feet Undaunted by the advances of mod­ ing, we asked? and moves about during a concert, he ern science, however, Saul Goodman “I listen to the others. Sometimes is more conspicuous to the audience has found a solution to the musical even this can be problematic, though. than many of his colleagues. “I play humidity problem. He always carries Once when we were doing the Lied I more works per season than most of with him a batch of wet sponges— decided to get the most out of being in­ the other first-desk men. But whenever ordinary kitchen sponges cut in tiny active by following the performance I'm not there, someone invariably thinks pieces. When things get too dry he sim­ with a score. I learned a lot, but was I’m sick or something. The audience ply pops a sponge into the air hole at astonished when an official came back- doesn’t seem to realize that all the the bottom of the “kettle.” stage to reprimand me afterwards. It orchestra’s ‘principals’ are covered on Martin Bernheimer

The setting tropical sun is just one of the delights of a Grace cruise. Dream time away on a cruise to Haiti And five other ports of call on a Grace Caribbean Cruise

Grace Line’s Santa Rosa and Santa Paula Every stateroom is outside, has its own pri­ are the only ships specially designed for vate bathroom and individually-controlled Caribbean cruising. You enjoy three air conditioning. ■ 13-day Grace cruises vacations in one—fine resort-hotel living, sail every Friday from New York for foreign travel, and the flavor of a private Curacao, Aruba, Venezuela, Jamaica, yacht. ■ You’ll find more living space per passenger Nassau or Haiti, and Ft. Lauderdale. See a Travel than on any other ship; an outdoor swimming pool Agent. Grace Line, 3 Hanover Sq. or 628 Fifth that’s the largest afloat; superb ocean-view dining. Ave. (Rockefeller Center), New York. DI 4-6000.

18 Last Year WQXR at Bad Gastein ...

PRESENTS n the beautiful village of Bad and these same musical and emotional Gastein, surrounded by the Aus­ experiences have been part of me ever I trian Alps, one meets people from since. They may not always be active. THE BOSTON all over the world. They stream in to Sometimes, no doubt, they are dormant, enjoy the wine-like air and to take the but the restimulation brought all Leinsdorf and the Boston Sym­ famed thermal baths, the Kur. These senses to the fore as I read that magi­ waters which come boiling out of the cal name, Arthur Nikisch. phony Orchestra . . . another earth are said to contain magical, cura­ For four weeks I wondered about full season of superb music tive powers. the relationship, but my curiosity was from Boston's Symphony Hall Bad Gastein is not a fad; it is an soon appeased. I met the son of the every Saturday evening at established truth. It has been famous great conductor. It was a thrilling, ex­ 8:05-10:00 P.M. for many years. People from all walks citing, and gratifying experience. A of life journey here in quest of re­ courtly gentleman, in years slightly juvenation, a strengthening and re­ beyond three score and ten, but with vitalizing of the human organism, and the enthusiasm, agility of motion, and a fresh outlook on life plus the bless­ exuberance of a man less than half ings which a hopeful future might his age. He was dressed in the most offer. exquisitely refined taste without being During the Kur season this village fastidious. His courtly manner and his of less than a few thousand people sensitive face reproduced the emotions grows to an international, cosmopoli­ he felt while we both, in animated con­ tan metropolis. A kaleidoscope of hu­ versation, discussed his father. Every manity entertains the eye, while many word he uttered, every change of facial languages spoken simultaneously con­ expression, every nuance of sparkle AND THE fuse the ear. continued on page 44 A small publication, The Gasteiner Blatt, appears twice a week. The prin­ PHILADELPHIA cipal purpose of this newspaper is to promote the curative powers of the baths and to announce the names of Ormandyand the Philadelphia the guests as they eagerly arrive to Orchestra ... memorable con­ reap the benefits of the Kur. Everyone certs at Philadelphia's Acad­ reads this little journal, either because emy of Music... every Sunday misery loves company or, on the more evening at 7:05-9:00 P.M. optimistic side, because they wish others to share their joy of participa­ tion. Early in July, while reading the little Gasteiner journal, I came across the name Arthur Nikisch. What a flood of memories surged through my brain, and what emotions besieged my body! Like the waving of a magic wand more than fifty years of my existence vanished. Could this Arthur Nikisch have any connection, even the faintest, with the EVERY famed Arthur Nikisch who was the Toscanini of the turn of the twentieth century? How many times had I wor­ shipped at his musical shrine when I WEEK was a pupil of Leopold Godowsky in Both in dramatic FM Stereo on WQXR Berlin during the years 1905-1910! 96.3FM 1560AM Those wonderful, unforgettable per­ Radio station of The Neto York Times formances I can hear even at this moment. And how well do I remember the electric current that went through the entire audience the moment this quiet, magnetic poet stepped onto the Arthur Nikisch, Sr. (photo courtesy stage! That was my first impression, of Arthur Nikisch, Jr.)

20 PHILHARMONIC HALL LINCOLN CENTER

New York Philharmonic LEONARD BERNSTEIN, Music Director

ONE HUNDRED TWENTY-SECOND SEASON 1963-1964

GALA PENSION FUND BENEFIT CONCERT Tuesday Evening, April 7, 1964, at 8:30 6744th Concert

George Szell, conductor ARTUR RUBINSTEIN, Pianist

brahms Concerto No. 1 for Piano and Orchestra, D minor, Opus 15 Maestoso Adagio Rondo: Allegro non troppo

ARTUR RUBINSTEIN

INTERMISSION

brahms Concerto No. 2 for Piano and Orchestra, B flat major, Opus 83 Allegro non troppo Allegro appassionato Andante Allegretto grazioso

ARTUR RUBINSTEIN

Mr. Rubinstein plays the Steinway Piano

Steinway Piano Columbia Records

The use of cameras in this auditorium is not allowed

Members of the audience who must leave the auditorium before the end of the concert are earnestly requested to do so between numbers, not during the performance.

A By Edward Downes

Concerto No. 1 for Piano and Orchestra, D minor, Opus 15 JOHANNES BRAHMS Born May 7, 1833, Hamburg; died April 3, 1897, Vienna.

Brahms’ friends were impatient for him to produce an orchestral work.

Maestoso But where is Johannes? [wrote Schumann to Joachim, in 1854, only a few months after meeting Brahms]. Is he flying high or only under the flowers? Is Adagio he not yet ready to let drums and trumpets sound? He should always keep in mind the beginning of the Beethoven symphonies; he should try to make Rondo: Allegro non troppo something like them. The beginning is the main thing; if only one makes the beginning, then the end comes of itself. Artur Rubinstein But it was not as easy as Schumann made it sound, and this was partly Schumann’s own fault. For in his famous article “New Paths,” published in his Neue Zeitschrift fiir Musik on October 28, 1853, Schumann had praised the twenty-year-old so highly that he alienated many influential musicians. He greeted Brahms as a “musician called to give ideal expression to his time ... a young man over whose cradle Graces and Heroes have stood watch,” and he continued:

Sitting at the piano, he began to disclose wonderful regions to us. We were drawn into even more enchanting spheres. Besides, he is a player of genius who can make of the piano an orchestra of lamenting and loudly jubilant voices. There were sonatas, veiled symphonies rather; songs the poetry of which would be understood even without words . . . every work so different from the others that it seemed to stream from its own individual source. Should he direct his magic wand where the massive powers of chorus and orchestra may lend him their forces, we can look forward to even more wondrous glimpses of the secret world of spirits. . . . His fellow musicians hail him on his first step through a world where wounds perhaps await him, but also palms and laurels. In him we welcome a strong champion.

It was generous, heartfelt praise, intended to smooth the way for a man whose genius was every bit as great as Schumann believed. But Brahms seems to have had less confidence in his own powers than Schumann. It was nearly a quarter of a century before he produced his first symphony. What was to have been his first symphony turned into the D-minor Piano Concerto. It first took shape as a sonata for two pianos, which Brahms brought to show to Schumann’s pianist wife, Clara. Together, they played the sonata through several times. As Clara wrote in her diary: “It struck me as quite powerful,

Notes on the Program copyright © by The Philharmonic-Symphony Society of New York, Inc. 1964. AU rights reserved.

B quite original, conceived with great breadth and more clarity than his earlier things.” Obviously, Brahms’ thought was orchestral, symphonic in scope. In the fol­ lowing months, he set about making a symphony of the sonata, but he had technical difficulties with the orchestration, despite the help of a scholarly friend, Julius Grimm. Finally, Grimm suggested a solution to this conflict be­ tween pianistic and orchestral concepts, namely a piano concerto. Brahms agreed. The first two movements of the sonata became the Maestoso and the Adagio of the D-minor Piano Concerto. (The third movement of the sonata, set aside for many years, eventually became the chorus, “Behold All Flesh,” in Brahms’ A German Requiem.) After many revisions of the first two movements and the addition of a new finale, the Concerto was completed in its first version early in 1858. It was first performed on January 22, 1859, with Brahms himself at the piano and Joachim conducting. Five days later, Brahms again played the Concerto at a Gewandhaus concert in Leipzig. After further revisions, the piano part was published in 1861, and the orchestral parts the following year. I. Maestoso. What an opening theme for a timid young man starting his first orchestral score! Brahms hurls his heavy theme like a thunderbolt:

The timpani roar in the background and the heavy trills of the theme descend like a shower of fiery sparks, as this figure is developed in the orchestral intro­ duction. Several contrasting lyric phrases are heard before the solo piano enters with an adaptation of one of them before it takes up the great trills and plunging intervals of the main theme. The serenity of the contrasting melody given to the piano alone provides the opposite pole of feeling in this tremendous first movement:

II. Adagio. The manuscript of this gentle movement originally bore the inscription: Benedictus qui venit in nomine Domini. Brahms used to refer to Schumann as the master or “Domine” and the “blessed person” who came “in the name of the master” probably was his gentle wife, Clara Schumann. This supposition is strengthened by a letter of Brahms to Clara on December 30, 1856 in connection with the Concerto, saying: “I am also painting a lovely portrait of you. It is to be the Adagio.” III. Rondo: Allegro non troppo. This colossal finale combines the brilliance of a traditional nineteenth-century show-piece, with a symphonic weight which almost balances the first movement. The rondo refrain:

serves also as the principal theme of an exuberant conclusion to this powerfully original work. Concerto No. 2 for Piano and Orchestra, B flat major, Opus 83

JOHANNES BRAHMS

T IKE DUERER, Goethe, Mendelssohn and many a German artist before him, . Brahms mellowed in Italy. He was forty-four when he made his first trip, under the guidance of his close friend, Dr. Billroth. It was spring, and Allegro appassionato their journey took them as far south as Rome, Naples and finally, Sicily. On his return to Austria, Brahms sketched the themes of this concerto on the Andante evening before his birthday, in the little resort town of Pörtschach. It is far Allegro non troppo from an Italian work, but it does reflect the age-old German nostalgia and affection for the sun-lit grace of Italy. He seems to have put aside his sketches until three years later. Again it Allegretto grazioso was spring. Again he visited Italy. This time as his own guide, he visited Venice, Florence, Siena, Orvieto and again, Rome, Naples and Sicily. On his Artur Rubinstein forty-eight birthday, he was back in Vienna and, with the Italian spring in his veins once more, he resumed work on the concerto. Two months later, on July 7, 1881, the score was finished. During his trip, Brahms had written en- thusujsticafly to a German friend of “the Italian spring turning to summer.” A full measure of this vernal strength and warmth found its way into the score of the B-flat Concerto. Brahms himself was the soloist in the first performance at Budapest on November 9, 1881. On the twenty-seventh of the same month, the Concerto was repeated at Meiningen, again with Brahms as soloist and Hans von Bülow conducting. I. Allegro non troppo. The first movement is dominated by the beautiful horn call which opens the score like a magical summons to the other instruments:

mp

The piano responds with garlands of arpeggios between the phrases of the horn. The woodwinds add a lyric comment, and the piano plunges into a solo cadenza. The overall form of the movement is a grandiose expansion of tradi­ tional first movement form, or sonata-allegro form. The exposition presents such a profusion of thematic beauties that they might, in another composer’s hands, have been an embarrassment of riches. But Brahms’ powerful sense of structure is never overwhelmed by detail. The central section is a stormy development of these ideas, but still with the chief emphasis on the opening horn call. This same horn call, in a mellow orchestral harmony, ushers in the return of the opening material. The close is bnlhant, with flashing octave trills for the solo piano against fanfarelike reiterations of the horn-call theme. II. Allegro appassionato. It is rare for a concerto to include a scherzo and this one is of symphonic proportions and richness. The principal theme’boils upward in a crashing pianistic wave, while the bass instruments in the depths Of ? J °rchestra tug away in the opposite direction. This excitement is suc­ ceeded by a plaintive melody for the violins, which is taken up by the piano and developed in a typically Brahmsian rocking, see-saw movement. The rich development of both themes culminates in a heroic D-major “trio” section after whteh the opening scherzo material is brought back for a stormy close’ III. Andante. The sensuous warmth of the French horn, which opened the first movement, is matched by the nostalgic melody of the sdlo' cello which dominates the songful Andante and returns often throughout the movement with the most poetic effect: 'callo mpaspr«ss/ro

The melodic lead passes to the violins and then the woodwinds before the orchestra gives way to the piano, which in turn unfolds its own nocturne­ like melody. There is an agitated middle section, with shuddering tremolos for the orches­ tra and fierce trills and plunging arpeggios for the solo instrument. Then a hush falls upon the orchestra for a brief but poignant dialogue of clarinet and piano. The song of the cello returns, embellished now with delicate trills of the piano, rising higher and higher as they fade into silence. IV. Allegretto grazioso. The finale is an unorthodox and beguiling rondo, a fusion of rondo form with sonata-allegro techniques. Such combinations had of course been practiced since Haydn’s day but never with quite the ingenious surprises that greet us here. The principal rondo refrain, a bright skipping figure for the piano, opens the movement. This refrain serves to punctuate the middle of the movement and to round it off at the end. It also is a thematic seed which sprouts many fascinating branches as the movement develops. There are two contrasting episodes, which share each other’s melodies and are richly developed in themselves. The piano part is of the utmost brilliance, particularly in the final return of the rondo refrain, where the tempo grows even faster. The conclusion comes with more glittering arpeggios for the piano and a sudden, powerful crescendo for the full orchestra. Notes on the programs may not be printed in their entirety without the written consent of the Philharmonic; excerpts from the notes may be quoted if due acknowledgement is given to the author and to the Philharmonic. THE PHILHARMONIC-SYMPHONY SOCIETY OF NEW YORK, INC. Philharmonic Hall, Lincoln Center, Broadway at 65th St., New York 23, N. Y. Carlos Moseley, Managing Director William L. Weissel, Assistant Manager

LEONARD BERNSTEIN plays the BALDWIN

Baldwin, Acrosonic, Hamilton and Howard Pianos Baldwin and Orga-sonic Organs twenty east fifty-fourth street, new york

F NEW YORK PHILHARMONIC Promenades”

Produced by Roger Englander

KOSTELANETZ conducting SARGENT conducting Wed. May 20 “Preview” Wed.-Thurs.-Fri. June 3-4-5 (Same program as Opening Night May 21) "ENGLISH PROMENADE" Soprano to be announced Thurs. May 21 Opening Night sullivan Overture, “Di Ballo” ardiner "GALA PROMENADE" G Shepherd Fennel’s Dance JOHN BROWNING, pianist walton Suite, “Façade” GILBERT and SULLIVAN Arias from NORMAN WALKER and “Mikado” and “Yeomen of the CORA CAHAN, dancers Soprano to be announced Guard” Britten Variations and Fugue on a Khachaturian Masquerade Suite Theme by Purcell Shostakovich Excerpts holst Mars, Venus, Jupiter from “Lady Macbeth from Mtsensk” “The Planets” ravel Piano Concerto, G major hovhaness Meditation of Orpheus Sat.-Sun. June 6-7 (First N.Y. Performance) "A SHAKESPEARE PROMENADE" ives-schuman Variations on “America” (Premiere) Soloists and Chorus to he announced salute TO BROADWAY (Excerpts from walton Fanfare from “Hamlet” “Kiss Me Kate,” “South Pacific,” berlioz Overture, “Beatrice and “My Fair Lady”) Benedict” quilter Three Shakespeare Songs Fri.-Sat. May 22-23 Tchaikovsky “Romeo and Juilet” vaughan williams Serenade to Music "ITALIAN PROMENADE" Mendelssohn Excerpts from PHYLLIS CURTIN, soprano “A Midsummer Night’s Dream” FRANK PORRETTA. tenor PATRICIA WILDE AND COMPANY, dancers KOSTELANETZ conducting verdi Overture, “La Forza del destino” puccini “La Rondine,” Excerpts Wed.-Thurs.-Fri. June 10-11-12 rossini-britten Soirees musicales "FRENCH PROMENADE" respighi Pines of Rome OZAN MARSH, pianist SCHOLA CANTORUM, chorus Sun. May 24 saint-saens Overture, “La Princesse "GALA PROMENADE" jaune” (Same program as Wed.-Thurs. ravel Une barque sur l’océan May 20-21) FOLKSONGS OF FRANCE poulenc Piano Concerto Wed.-Thurs. May 27-28 offenbach Gaité Parisienne "ITALIAN PROMENADE" (Same program as Fri.-Sat. May 22-23) Sat.-Sun. June 13-14 (May 27 Benefit for Internat’l Synagogue "INTERNATIONAL PROMENADE" For ticket information call TR 9-8415) TOSHIYA ETO, violinist chabrier España Fri.-Sat.-Sun. May 29-30-31 Shostakovich Excerpts "AMERICAN PROMENADE" “Lady Macbeth from Mtsensk” LORIN HOLLANDER, pianist Tchaikovsky Violin Concerto Narrator to be announced hovhaness Meditation of Orpheus sousa Stars and Stripes Forever offenbach Gaité Parisienne gershwin Piano Concerto in F Work to be announced Programs and soloists subject to change TcTlrare kern Mark Twain I ” K sc°^c^ arlen Blues Opera PRICES (Not including refreshments) Orchestra: Single seat at table $4, $5 CJ JJ whisky Table seating 6 $24, $30 Loge (regular seat) $4.50 First Terrace (regular seat) $3.50, $4.50 ■ PENNIES MORE IN COST' WORLDS APART IN QUALITY Second Terrace (regular seat) "WORLD'S FINEST” 86 PROOF BLENDED SCOTCH WHISKY $2.50, $3.50 SOLE IMPORTERS: THE PADDINGTON CORP.. NEW YORK. Metropolitan Opera NEW YORK PHILHARMONIC LEONARD BERNSTEIN, Music Director

WORLD’S FAIR GALA SEASON CLAUDIO ABBADO, PEDRO CALDERON, ZDENEK KOSLER, Assistant Conducton

FIRST WEEK ORCHESTRA PERSONNEL APRIL 27, at 8:00 Falstaff VIOLINS William Carboni BASSOONS Raymond Sabinsky Manuel Zegler Tucci, Raskin, Resnik, Elias John Corigliano Frank Ruggieri Colzani, Alva, Sereni, Velis, Scott, Caruso Concertmaster CELLOS Harold Goltzer Conductor: Bernstein Frank Gullino Carl Stern Asst. Concertmaster Nathan Stutch CONTRABASSOON APRIL 28, at 8:00 Rudolph Sims Bert Bial Joseph Bernstein Naoum Dinger Macbeth William Dembinsky HORNS Martin Ormandy Nilsson, Ordassy, Clements, Pracht Bjoern Andreasson George Feher James Chambers MacNeil, Bergonzi, Ghitti, Tozzi, Pechner Carlo Renzulli Bernard Altmann Joseph Singer Conductor: Santi Alfio Micci Asher Richman A. Robert Johnson Leon Temerson Lorin Bernsohn John Carabella APRIL 29, at 8:00 Kenneth Gordon Avron Coleman Ranier De Intinis Don Giovanni Max Weiner Paul Clement William Namen Leon Rudin Avram A. Lavin Price, Della Casa, Peters William Nowinski TRUMPETS Siepi, Gedda, Corena, Uppman, Macurdy Louis Fishzohn BASSES William Vacchiano Conductor: Rosenstock Carmine Fornarotto Morris Borodkin Robert Brennand Joachim Fishberg Frederick Zimmermann John Ware APRIL 30, at 8:00 Newton Mansfield Carlo Raviola James Smith Mordecai Dayan John Schaeffer TROMBONES Otello George Rabin Tebaldi, Dunn Robert Gladstone Edward Herman, Jr. McCracken, Merrill, Alexander, Nagy, Leopold Rybb Walter Botti Gilbert Cohen Macurdy, Harvuot, Marsh Arthur Schuller William Rhein Allen Ostrander Conductor: Santi Armand Neveux Benjamin Schlossberg Edward Erwin Enrico Di Cecco Mario Polisi Luigi Carlini TUBA MAY 1, at 8:00 FLUTES Carlos Piantini Joseph Novotny John Wummer Aida Robert de Pasquale Robert Morris TIMPANI Nilsson, Dalis, Pracht Martin Eshelman Paige Brook Saul Goodman Corelli, London, Flagello, Diaz, Nagy Michael de Stefano Conductor: Varviso Stanley Hoffman PICCOLO PERCUSSION Morris Kreiselman F. William Heim Walter Rosenberger MAY 2, at 2:00 W. Sanford Allen Eiden Bailey Leopold Busch OBOES Morris Lang Il Trova tore Oscar Weizner Harold Gomberg Price, Gorr, Martin Eugene Bergen Jerome Roth HARP Tucker, Sereni, Wildermann, Nagy Robert Menga Albert Goltzer Myor Rosen Conductor: Schippers ENGLISH HORN VIOLAS Orchestra Personnel Mgr. MAY 2, at 8:00 Engelbert Brenner William Lincer Joseph De Angelis Leonard Davis Manon CLARINETS Assistant Personnel Mgr. David Kates Moffo, Scovotti, Baldwin, Grillo Stanley Drucker Armand Neveux Sol Greitzer Michael Burgio Librarian Morell, Guarrera, Tozzi, Caruso, Walker Ralph Mendelson Conductor: Schippers Howard Keresey Selig Posner E-FLAT CLARINET Eugene Becker Assistant Librarian MAY 3, at 8:00 Peter Simenauer Robert Weinrebe Joseph Zizza La Sonnambula Henry Nigrine BASS CLARINET Stage Representative Leonard Schaller Francis Nelson Sutherland, Scovotti, Chookasian Larry Newland Alexander, Hines, Sgarro, Graham Conductor: Varviso casts subject to change

A* A äl A A A A A A A j£* A äl A äl A A A A A A A A A A

H PATRONS OF THE NEW YORK PHILHARMONIC 1963-1964 NEW YORK Mr. and Mrs. Amyas Ames Mrs. Arthur Lehman PHILHARMONIC Mrs. Oakes Ames Mrs. Edgar M. Leventritt Mr. and Mrs. Bernard Aronson The Philharmonic- Mr. and Mrs. Philip J. Levin The Avalon Foundation Mr. and Mrs. Gustave L. Levy Symphony Society of Baldwin Piano and Organ Company Mr. and Mrs. Robert J. Lewis Mr. and Mrs. Gerald F. Beal New York, Inc. Mr. and Mrs. Henry A. Loeb Mr. and Mrs. George F. Berlinger Mr. and Mrs. David H. McAlpin Mrs. Richard J. Bernhard Mr. Frasier McCann Mr. and Mrs. Leonard Bernstein BOARD OF DIRECTORS Mrs. William G. Maguire The Bowery Savings Bank David M. Keiser Mr. and Mrs. Stanley R. Miller Chairman Mrs. William C. Breed Mrs. Joseph A. Neff Amyas Ames Mr. and Mrs. Edgar M. Bronfman President The New York Times Foundation Mrs. Samuel Bronfman Mrs. John T. Pratt Mrs. Donald M. Oenslager Vice-President Mr. and Mrs. Alvin G. Brush Mrs. Robert L. Hoguet, Jr. Mr. and Mrs. David Ogilvy Vice-President Mr. and Mrs. Benjamin J. Buttenwieser Mr. and Mrs. Paul G. Pennoyer Gerald F. Beal Cedarpine Foundation Vice-President Mr. and Mrs. Harvey D. Picker John Holbrook Mrs. Elbridge Gerry Chadwick Vice-President Amb. and Mrs. Francis T. P. Plimpton The Chase Manhattan Bank Foundation Sampson R. Field Mrs. George D. Pratt Treasurer Clairol, Inc. Mrs. H. Irving Pratt William Rosenwald Assistant Treasurer Miss Janet D. Coleman Mrs. John T. Pratt Chester G. Burden Columbia Broadcasting System Assistant Treasurer Mrs. Richardson Pratt Columbia Records Paul G. Pennoyer Baroness Theresa Radvanszky Secretary Mrs. William H. Conroy Reader’s Digest Foundation Mrs. Joseph F. Cullman III Floyd G. Blair Mrs. James Reeves Mr. and Mrs. Leonard Dalsemer Mrs. William C. Breed Mr. and Mrs. George Roberts Mrs. J. Frank Dunn Edgar M. Bronfman Mrs. Ralph K. Robertson Mr. and Mrs. Frederick L. Ehrman Alvin G. Brush Mr. and Mrs. David Rockefeller Mrs. C. Sterling Bunnell Dr. and Mrs. Jacob Feld Mrs. John D. Rockefeller, Jr. H. S. Mackenzie Burns Mr. and Mrs. Sampson R. Field Benjamin J. Buttenwieser Rockefeller Brothers Fund, Inc. First National City Bank of N. Y. Mrs. George A. Carden Rockefeller Center, Inc. Mrs. Walter S. Fischer Mrs. Elbridge O. Chadwick Mr. and Mrs. Richard Rodgers Maitland A. Edey The Ford Foundation Mr. and Mrs. William Rosenwald Nevil Ford Mr. and Mrs. Andrew A. Fraser Mr. and Mrs. Samuel Rubin Francis Goelet Mr. and Mrs. Mathew L. Gladstein G. Lauder Greenway Mr. and Mrs. Harry J. Rudick Mr. Francis Goelet Mrs. Charles Guggenheimer Schenley Industries Inc. William R. Herod Mrs. John P. Goulandris Mrs. J. Myer Schine Arthur A. Houghton, Jr. Mrs. Elizabeth N. Graham Mr. Edward A. Schrader Mrs. Lytle Hull Mrs. Louis A. Green Mrs. Arthur Lehman Mrs. M. Lincoln Schuster David Ogilvy Mr. G. Lauder Greenway Joseph E. Seagram and Sons, Inc. Francis T. P. Plimpton Mr. and Mrs. Monroe C. Gutman Mrs. George H. Shaw* Mrs. David Rockefeller Mr.* and Mrs. Chauncey J. Hamlin Shell Oil Company Richard Rodgers Mr. and Mrs. William R. Herod Mr. and Mrs. Leo Simon Carleton Sprague Smith Mrs. Lester Hofheimer* Mr. Gregory B. Smith Gregory B. Smith Mrs. Robert L. Hoguet, Jr. Mr. and Mrs. Rudolf G. Sonneborn Mr. and Mrs. John Holbrook Steinway and Sons TRUSTEES Mr. and Mrs. Arthur A. Houghton, Jr. Mr. and Mrs. Edgar Stern Floyd G. Blair Mrs. Lytle Hull Chairman Mr. and Mrs. John W. Straus Mr. and Mrs. Kenneth A. Ives Amyas Ames Miss Jean Tennyson Mr. and Mrs. Jacob M. Kaplan Gerald F. Beal Mrs. Carll Tucker Benjamin J. Buttenwieser Mr. and Mrs. David M. Keiser Miss Alice Tully Paul G. Pennoyer Kidder, Peabody and Company Advisor to the Board: Mr. and Mrs. Edward R. Wardwell Bruno Zirato Mr. Chester J. LaRoche Mr. and Mrs. John Hay Whitney Mr. Jack S. Lasdon Mr. and Mrs. Robert I. Wishnick Mr. and Mrs. William S. Lasdon Mrs. Samuel Yaffe 'Deceased 9 Anonymous Patrons J PATRONS OF THE NEW YORK PHILHARMONIC 1963-1964 NEW YORK Mr. and Mrs. Amyas Ames Mrs. Arthur Lehman PHILHARMONIC Mrs. Oakes Ames Mrs. Edgar M. Leventritt Mr. and Mrs. Bernard Aronson The Philharmonic- Mr. and Mrs. Philip J. Levin The Avalon Foundation Mr. and Mrs. Gustave L. Levy Symphony Society of Baldwin Piano and Organ Company Mr. and Mrs. Robert J. Lewis Mr. and Mrs. Gerald F. Beal New York, Inc. Mr. and Mrs. Henry A. Loeb Mr. and Mrs. George F. Berlinger Mr. and Mrs. David H. McAlpin Mrs. Richard J. Bernhard Mr. Frasier McCann Mr. and Mrs. Leonard Bernstein BOARD OF DIRECTORS Mrs. William G. Maguire The Bowery Savings Bank David M. Keiser Mr. and Mrs. Stanley R. Miller Chairman Mrs. William C. Breed Mrs. Joseph A. Neff Amyas Ames Mr. and Mrs. Edgar M. Bronfman President The New York Times Foundation Mrs. Samuel Bronfman Mrs. John T. Pratt Mrs. Donald M. Oenslager Vice-President Mr. and Mrs. Alvin G. Brush Mrs. Robert L. Hoguet, Jr. Mr. and Mrs. David Ogilvy Vice-President Mr. and Mrs. Benjamin J. Buttenwieser Mr. and Mrs. Paul G. Pennoyer Gerald F. Beal Cedarpine Foundation Vice-President Mr. and Mrs. Harvey D. Picker John Holbrook Mrs. Elbridge Gerry Chadwick Vice-President Amb. and Mrs. Francis T. P. Plimpton The Chase Manhattan Bank Foundation Sampson R. Field Mrs. George D. Pratt Treasurer Clairol, Inc. Mrs. H. Irving Pratt William Rosenwald Assistant Treasurer Miss Janet D. Coleman Mrs. John T. Pratt Chester G. Burden Columbia Broadcasting System Assistant Treasurer Mrs. Richardson Pratt Columbia Records Paul G. Pennoyer Baroness Theresa Radvanszky Secretary Mrs. William H. Conroy Reader’s Digest Foundation Mrs. Joseph F. Cullman III Floyd G. Blair Mrs. James Reeves Mr. and Mrs. Leonard Dalsemer Mrs. William C. Breed Mr. and Mrs. George Roberts Mrs. J. Frank Dunn Edgar M. Bronfman Mrs. Ralph K. Robertson Mr. and Mrs. Frederick L. Ehrman Alvin G. Brush Mr. and Mrs. David Rockefeller Mrs. C. Sterling Bunnell Dr. and Mrs. Jacob Feld Mrs. John D. Rockefeller, Jr. H. S. Mackenzie Burns Mr. and Mrs. Sampson R. Field Benjamin J. Buttenwieser Rockefeller Brothers Fund, Inc. First National City Bank of N. Y. Mrs. George A. Carden Rockefeller Center, Inc. Mrs. Walter S. Fischer Mrs. Elbridge O. Chadwick Mr. and Mrs. Richard Rodgers Maitland A. Edey The Ford Foundation Mr. and Mrs. William Rosenwald Nevil Ford Mr. and Mrs. Andrew A. Fraser Mr. and Mrs. Samuel Rubin Francis Goelet Mr. and Mrs. Mathew L. Gladstein G. Lauder Greenway Mr. and Mrs. Harry J. Rudick Mr. Francis Goelet Mrs. Charles Guggenheimer Schenley Industries Inc. William R. Herod Mrs. John P. Goulandris Mrs. J. Myer Schine Arthur A. Houghton, Jr. Mrs. Elizabeth N. Graham Mr. Edward A. Schrader Mrs. Lytle Hull Mrs. Louis A. Green Mrs. Arthur Lehman Mrs. M. Lincoln Schuster David Ogilvy Mr. G. Lauder Greenway Joseph E. Seagram and Sons, Inc. Francis T. P. Plimpton Mr. and Mrs. Monroe C. Gutman Mrs. George H. Shaw* Mrs. David Rockefeller Mr.* and Mrs. Chauncey J. Hamlin Shell Oil Company Richard Rodgers Mr. and Mrs. William R. Herod Mr. and Mrs. Leo Simon Carleton Sprague Smith Mrs. Lester Hofheimer* Mr. Gregory B. Smith Gregory B. Smith Mrs. Robert L. Hoguet, Jr. Mr. and Mrs. Rudolf G. Sonneborn Mr. and Mrs. John Holbrook Steinway and Sons TRUSTEES Mr. and Mrs. Arthur A. Houghton, Jr. Mr. and Mrs. Edgar Stern Floyd G. Blair Mrs. Lytle Hull Chairman Mr. and Mrs. John W. Straus Mr. and Mrs. Kenneth A. Ives Amyas Ames Miss Jean Tennyson Mr. and Mrs. Jacob M. Kaplan Gerald F. Beal Mrs. Carll Tucker Benjamin J. Buttenwieser Mr. and Mrs. David M. Keiser Miss Alice Tully Paul G. Pennoyer Kidder, Peabody and Company Advisor to the Board: Mr. and Mrs. Edward R. Wardwell Bruno Zirato Mr. Chester J. LaRoche Mr. and Mrs. John Hay Whitney Mr. Jack S. Lasdon Mr. and Mrs. Robert I. Wishnick Mr. and Mrs. William S. Lasdon Mrs. Samuel Yaffe 'Deceased 9 Anonymous Patrons J COMING AT PHILHARMONIC HALL EVENTS Thursday, April 9, 2:15 Friday, April 10, 2:15 Saturday, April 11, 8:30 WHEELER BECKETT YOUNG NEW YORK PHILHARMONIC NEW YORK PHILHARMONIC PEOPLE’S CONCERT Same program as April 9 Same program as April 9

Thursday, April 9, 8:30 Friday, April 10, 8:30 Sunday, April 12, 11:00 a.m. NEW YORK PHILHARMONIC CAMERATA SINGERS CHURCH OF THE TRUTH Leonard Bernstein, Music Director Abraham Kaplan, Conductor Dr. Ervin Seale, Minister Jennie Tourel, Mezzo-Soprano Felicia Montealegre, Narrator Saturday, April 11, 3:00 Sunday, April 12, 3:00 Camerata Singers VIRGIL FOX, Organist NEW YORK PHILHARMONIC Columbus Boychoir Same program as April 9 Bernstein: Symphony No. 3: Kaddish

WEEK OF APRIL ™-----

Tuesday, April 14, 8:30 Friday, April 17, 8:30 Sunday, April 19, 11:00 ajn. NEW YORK PHILHARMONIC ROGER WILLIAMS, Pianist CHURCH OF THE TRUTH Same program as April 9 Dr. Ervin Seale, Minister Saturday, April 18, 8:30 Thursday, April 16, 8:30 MIRIAM MAKEBA, Folk Singer Sunday, April 19, 8:30 SCHOLA CANTORUM MARC BLITZSTEIN MEMORIAL Hugh Ross, Music Director CONCERT Honegger: King David,

THE NEW YORK philharmonic will give eight special concerts under the direction of Lukas Foss for students of Junior and Senior High Schools on April 14, 15, 16 and 17. Concerts begin at 1:00 for Junior High Schools and at 2:45 for Senior High Schools. They are presented as part of the Lincoln Center Student Program. Tickets are available only through participating schools.

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> STEINWAV&SONS \ STEINWAY HALL / 109 West 57th Street, New York 19. N.Y. Huneker and the Seven Arts

ot many critics, especially those wrote, know from a long series of books whose specialty is music, on library shelves that “Jim the Pen­ N achieve the sizeable feat of man” (as he was known to some of his creating a book that outlives their own intimates) ranged over the whole world existence. How much more rare, then, of art from painting to playwriting, em­ is the critic whose work is enduring bracing sight as well as sound. At bot­ enough to cause a book to be written tom, however, he was more of a Melo­ about himself? Rare enough for James maniac (one of his own terms!) than Gibbons Huneker, Critic of the Seven anything else, and his study of Chopin Arts by Arnold T. Schwab (Stanford remains evocative and provocative to­ University Press) to be the first of its day when much else of his time has kind in years. faded. Perhaps the clue to a continuing in­ For this the reasons are clear. Hune- terest in Huneker (whose name was ker’s musical bent, which first shared pronounced by some as Huhneker, by an interest in the theater and painting others as Hueneker and still others as during his youthful days in Philadelphia, Whohuneker) is contained in the title gradually took precedence over all else, itself. Even those who came too late on reaching a point where he practiced the the scene—he died in 1921—to follow piano long enough and hard enough to his work in the papers for which he venture an audition for the Paris Con- James Gibbons Huneker 86 PROOF AND 100 PROOF BOTTLED IN BOND • BOTH KENTUCKY STRAIGHT BOURBON WHISKY • © I.W. HARPER DISTILLING CO., LOUISVILLE. KENTUCKY

25 servatoire. He wasn’t accepted, but he Dine Heartily & Leisurely settled for a private instructor, spending in the style of OLDE ENGLAND nearly a year in France. The ferment of artistic activity he encountered in the aftermath of the Franco-Prussian War prompted a series of reports to the Philadelphia Bulletin which left little doubt that his true vocation was writing. How, from this modest beginning of five dollars an article, Huneker emerged as the critic most generally admired by Stratford the critics of his time (as well as by the musicians he praised, if not by those he fnib denounced), is developed at length and DIADEM in depth by Schwab, who is Assistant Professor of English at Long Beach the theatre glass State College. The time of Huneker was the time of Paderewski and Mary with the elegant air Garden, de Pachmann (to whom Hune­ ENGLAND HAS COME...in its heartiest fash­ ion... to New York in the shape of THE ker gave the name of the Chopinzee) In bright lights or dim, the superb optics of STRATFORD PUB. and Caruso, Shaw and Richard Strauss an elegant Diadem theatre glass will bring Here you are our guest in the ageless and —to mention but a scattering. These every subtle detail on stage into close, graceful tradition of the hospitable inn­ were, for Huneker, not merely idols but clear view. Fashionably mounted in gold, keeper. The food selection is choice... human beings, to whom he gave life silver, mother-of-pearl, or brilliant jewel meant to be savored and enjoyed. and animation for his readers. tones, these glasses dramatically comple­ OPEN FOR DINNER & AFTER-THEATRE SUPPER. This, of course, was no more than an ment the most alluring ensemble. A soft, FREE PARKING extension of Huneker’s own personality, beautifully decorated case accompanies FOR DINING & HOTEL GUESTS. each wonderful glass. CREDIT CARDS HONORED. FOR RESERVATIONS TEL: 212-SU 7-6800 SEE THE DIADEM The New THEATRE CLASS AT LINCOLN SQUARE MOTOR INN Willoughby Camera at Lincoln Center 110 West 32nd Street, N.Y.C. Peerless Camera West 66th Street and Broadway, N.Y.C. _____ 43rd St. at Lexington Ave., N.Y.C. TEhert’s a certain Wl don't care! whose life and animation transcended the expression of it in his writings. It is magic within the They shouldn't dash up from his impact on such younger men of the time as Mencken and Nathan (now walls of keen’s the aisle during the both deceased), and what they remem­ bered of him as well as what they wrote curtain calls even about him, that Schwab has been able to assemble a likeness of the man even if they are headed more revealing than the photos, formal for sandwiches and informal, with which the book is illustrated. and cheese cake at As a critic of the seven arts, Huneker has long had a unique place in the affec­ Tip Toe! n tions of those who relish distinction in any field. It is to Schwab’s enduring With appetite sharpened in antici­ credit that he has made him, as well, an pation of the superlative food, you exponent of the art of living—one of the most difficult of all to master, and enter Keen’s and are welcomed into rarely exemplified so well. I.K. the most genial aspects of a vener­ able past. Everywhere about you “RECITAL HALL” is something of interest, antiquity A program presented by WNBC-TV and charm. You never tire of it. You in association with Lincoln Center always feel stimulated. for the Performing Arts and its edu­ cational member constituent, the Juilliard School of Music Saturday evenings, 6:00 WNBC Channel 4 74th ANO B’WAY • 86th AND B’WAY April 4 Irene Jordan, Soprano (yes, now there are two; April 18 Walter Trampier, Violist April 25 Gary Graffman, Pianist

26 “Cin-Cin sounds so THINGS OF Beauty European.” “It is. It’s made For Symphony Nights . . . Helena with Cinzano Vermouth. Rubinstein, 655 Fifth Avenue, hints at Half Italian Sweet, a hat by ringing black roses with glint­ ing wisps of veiling, $3. Sylvia Rutkin, half French Dry. Sip?” 520 Madison Avenue, holds that tiger print in umbrella form, $7.95. Esther Dorothy, 68 E. 56th Street, trims eighty- five inches of pure white chiffon with matching fox . . . fine for foiling spring breezes, $495. Both buttons and bows are displayed at the Lily Dache Bou­ tique, 78 E. 56th Street ... the buttons, dashing, delectable and detachable for jackets or blouses, $2.50 to $6.50 . . . the bows, in organdy or or rhinestone-studded silk, or made to match a favorite fabric, are an inspiration of Chanel, $7.50 to $12.50. Mary Chess, 106 E. 57th Street, lavish­ es loops of golden beads on a satin evening bag, $30. Amethysts, as deeply purple as autumn grapes, wreathed with old gold, Dior copies of antique pins and earrings . . . $45 the set at Cleo of Petite Paris, 944 Madison Avenue. For The Listening Corner . . . Serendi­ pity III, 225 E. 60th Street, grounds a mobile, cunningly calls it Stay-bile . . . flighty floral arrangement of faces at­ tached to springy metal stems, dubbed Gossips, $25. As the world turns, it can be viewed on an oiled walnut stand and lit from within . . . this glowing is set on a bronze axis, sells for 19 at F. B. Arthur, Inc., 149 E. 57th Street. Two marble-based gold-bronze L_ matching Russian directoire candelabra support quivering swirls of crystal fringe Non-slip grip cage the light from triple candles, $1400 at Nesle, 151 E. 57th Street. Massab’s, 782 Lexington Avenue, has an Soap sculpted to fit the Indian rice measure, a pyramid grip of your hand. Soap carved brass-bound pots which can that doesn’t go flying its used for plants, ashes, candy or rice, $90. Smilow-Thielle, 856 Lexington own merry way when Avenue, has a chair with a flair and you’re in the shower. talents: lean back and it will too, Arden For Men Soap. and, furthermore, out flies a furtive footstool . . . $69.95. Henri Bendel’s, Milled eight extra times Port o’ Call Shop, 10 W. 57 th Street, is to stay hard, last longer. filled with museum-like masterpieces from somewhere East of Suez and North Scented with fabulous to the Orient ... a pair of grimacing Sandalwood. Comes in golden Burmese dragons perch on betel­ three sizes (one is a hand­ nut boxes . . . ancient and authentic, the world's most $500. A viking ship sailing forth from somely cased traveler). popular vermouth the dark fjords of Norway is captured 1.25 to 6.00 plus tax. At in pale yellow, grey, white and black mosaic on a coffee table from Norway, [NATIONAL DISTILLERS PROD. CO., N.Y..N.Y. $200 at Norsk, Inc., 114 East 57th arden for men SOLE U.S. DISTRIBUTORS Street. Florence stevenson 1 East 54 Street

29 NEW ADDITIONS TO PHILHARMONIC ROSTER Rewards Observant subscribers to the New York Philharmonic’s concerts this sea­ FOR THE READERS son have noticed four unfamiliar faces among the orchestra’s personnel. Two new cellists, a trumpeter, and a trom­ bonist joined the Philharmonic last Sep­ tember. They are Paul Clement and Avram A. Lavin (cellists), Carmine Fornarotto (trumpet), and Gilbert Cohen (trombone). Mr. Clement, who was born in An­ FOR THE PRINTER twerp, Belgium, in 1920, was formerly a member of the Ballet Theater Or­ chestra, the Pittsburgh Symphony. NBC Symphony, Symphony of the Air, Busch Blanchard Press became printers for Chamber Players, and the Galimir the Saturday Review in 1946. Then, String Quartet. A graduate of City Col­ in 1959 the Metropolitan Opera lege of New York and Teachers College Programs, followed last season by the of Columbia University, Mr. Clement studied cello with Diran Alexanian, new Philharmonic Hall Programs. Emanuel Feuermann, and Frank Miller. Mr. Cohen, a graduate of the Juilli- We share with the management of the ard School of Music, was born in Saturday Review, pride in the two Brooklyn, New York, in 1925. He Programs that are setting new standards studied with Simon Karasick and with Allen Ostrander of the New York Phil­ for similar publications the world over, harmonic. Mr. Cohen has been a mem­ as well as in the growth of their fast ber of the Houston Symphony, Sym­ moving, influential, national weekly. phony of the Air. New York Pro Mu- sica, New York City Opera Orchestra, The problems involved in printing daily Brooklyn Philharmonia, and the Musica Aeterna Orchestra. (and sometimes twice a day) programs, Mr. Fornarotto. born in Hoboken. are many and varied. But so are the New Jersey, in 1930, is a graduate of rewards—for us, as well as opera and the Juilliard School of Music and concert audiences, who are being re­ Teachers College of Columbia Uni­ warded with the latest, most authorita­ versity. Mr. Fornarotto. who has played with the New York City Center Ballet tive information available to enhance and Opera Orchestras. Goldman Band their enjoyment of each performance. (first cornet), and Bainbridge Naval Blanchard Press is proud to have Training Station Band, studied with been the recipient of two coveted Ned Mahoney and William Vacchiano, awards from the Printing Industries of solo trumpeter of the New York Phil­ harmonic. Metropolitan New York, Incorporated. Mr. Lavin is a native of Chicago, Illinois, where he was born in 1925. Using our minds and experience, as The A graduate of the Eastman School of well as our vast, modern printing facili­ PRESENTATION Music, his teachers included Diran ties, we serve as creative members on Alexanian, Hans Hess, and Luigi Silva. the teams of America’s leading pub­ Mr. Lavin has been a member of the “White Shoulders” Cleveland Orchestra, the St. Louis Sym­ lishers, helping them solve their pro­ Perfume and Cologne phony, and the Metropolitan Opera duction problems. We welcome inquiries Orchestra. from publishers everywhere who want A magnificent gift their publications to reflect their own good taste and high standards. for yourself and others

Presentation packages also in “Most Precious” and “Great Lady” Blanchard Press, Inc. EVYAN PERFUMES, INC Garden City, N. Y. tor. He will guest conduct the Philadel­ phia Orchestra in its home city and in make \bz.s7r | ¡T™ New York, and also direct a series of concerts at Philharmonic Hall with an excellent orchestra assembled for the purpose. A new attempt to establish an artistic enterprise in Saratoga Springs, New Though the court proceedings in Dallas recordings York, has chosen Richard P. Leach as were remote from any connection with its Executive Director. He recently re­ the world of music, there is a link in signed as Executive Director, Program­ the person of Melvyn Belli, who con­ anywhere! ming, of the Lincoln Center for the ducted the defense procedures. It is Performing Arts, where he had been noted in a recent article in the London active in its pre-opening phases begin­ Sunday Observer that, in January. Belli ning in 1959. Previously Leach had won an award of $1,000,000 in dam­ been director of the Metropolitan Opera ages for the widow of pianist William, Guild, and director of the Aspen Fes­ Kapell, after an eleven year suit. The tival. At Saratoga, Leach will assist in action was against British Common-' fund raising and programming plans wealth Pacific Airlines (which has since for a center costing $3,000,000 and ac­ become part of Qantas), operators of commodating 5,200 in an open-sided, a plane on which Kapell was returning covered amphitheater, with space for from a tour of Australia when it crashed as many more on surrounding lawns. into a mountainside outside San Fran­ Plans for the plant are intended to make cisco. The Observer says “Belli proved it suitable for staged opera and ballet, wilful misconduct by the plane crew.” as well as concerts.

Lorin Maazel, who had to cancel his Friday, July 10, has been set aside appearances this season at the Metro­ by the Berkshire Symphonic Festival politan Opera because of an injured (Tanglewood) for a memorial concert elbow, has accepted a position as Mu­ dedicated to the late Gertrude Robinson sical Director of the Berlin Opera. He Smith, the founder of that activity in will also be the head of the city’s Radio the Thirties, whose death last fall was Symphony, a pair of positions formerly remarked in this space. Erich Leinsdorf held by the late Ferenc Fricsay. will conduct a Schubert program de­ voted to the Third Symphony and the Mass in E flat. In the course of the Mark P. Huber, who has been Manager summer, the Boston Symphony will be of the Portland (Ore.) Symphony Or­ conducted by Max Rudolf and Leopold chestra for three years, has resigned to Stokowski, both for the first time. take a similar position with the Denver Symphony, according to an announce­ Work is under way on the conversion ment from Fred M. Buchwalter, presi­ of the old Avon Theater in Stratford, dent of the Portland Symphony Society. Ontario, into an up-to-date facility for During the period of Huber's activity, use in the famous Shakespeare Festival the number of concerts increased from in that town. It is intended, when reno­ twenty-two to forty-two, and the total vations are completed in early July, budget has risen from $194,000 to that it will serve as home for the musi­ $271,000. In Denver, Huber will take cal attractions at the Festival, which on management of an orchestra now will this year comprise the Gilbert and giving sixty concerts which has plans Sullivan Yeoman of the Guard and for expansion to a ninety-concert sea­ Mozart’s Marriage of Figaro. For the son. present, effort is concentrated on the interior work, to provide the stage fa­ TRANSISTOR TAPE RECORDER cilities and orchestra pit for the pro­ As a special attraction, next summer’s WORKS ON FLASHLIGHT BATTERIES . . . jected attractions. Exterior renovations Stockholm Festival is advertising the No cords, no sockets! The new Continental ‘101’ and reconstruction of the theatre’s lobby presence of Birgit Nilsson. Though Swe­ was designed for recording (and playback) any­ will be deferred until after the summer den is her native country and the time, anywhere! Only 7 pounds, yet handles all Stockholm Opera was for years “home” standard 3, 3‘A and 4" reels and gives you up schedule is completed. The new Avon to 4 hours on a single reel of tape. Simple to will seat 1,089. to her, Miss Nilsson has not been operate, professionally engineered, amazingly among its regulars in recent years, j low-priced. Features constant-speed motor and Among the dates for which she has capstan drive and dynamic microphone. At your New York music lovers are offered a been announced is June 5, when she j camera or hi-fi dealer or wherever good sound long-deferred promise of concerts to is sold. Send for brochure K-4 to: North Ameri­ will take part in a performance of can Philips Company, Inc., High Fidelity Prod­ be directed next fall by Hermann Verdi's Requiem. Other members of the ucts Division, 100 E. 42nd St., N.Y., N.Y. 10017. Scherchen, German - born conductor quartet will be Kerstin Meyer, Nicolai now living in Switzerland. It will be a Gedda and Kim Borg, all of whom have first time in America for Scherchen, sung at the Metropolitan. Sixten Ehr­ who has amassed a formidable reputa­ ling, who is now head man of the tion in a fifty-year career as a conduc­ Detroit Symphony, will conduct.

34 and Ben Jonson’s Eulogy from the Firs: Folio. A Lover's Complaint is found or RECORD the final side of the album of The Twc Gentlemen of Verona, and The Phoenix and the Turtle serves as filler for The Tempest. Sil ELI— Caedmon’s Shakespeare Recording Society series so far includes less than half the plays, but the stunning casts make these offerings unusually attrac­ tive. Gielgud is in two of them, but SHAKESPEARE ON LP: THE PLAY’S THE THING Paul Scofield is the superb Hamlet. Other participants include Rex Harri­ son, Sir Ralph Richardson, Rachel ne of the most striking phenomena sonnets and other poems are also avail­ Roberts, Max Adrian, Claire Bloom, O of the microgroove era — along able. There are as many as four cur­ Stanley Holloway, Richard Burton, with the rediscovery of Vivaldi andrent versions of some of the plays, with Siobhan McKenna. Dame Peggy Ash­ early Haydn, baroque “masterpieces” such popular ones as Hamlet and Romeo croft, Pamela Brown, Gwen Ffrang$on served up by the dozen, integral cycles and Juliet even offered in German (on Davies, Cyril Cusack, Albert Finney, of the Beethoven and Brahms sym­ the imported Amadeo label). Dame Edith Evans and Boris Karloff. phonies, and original cast recordings of The six plays missing from the Shake­ Howard Sackler and Peter Wood are nearly all current musical comedies—is speare discography now are Richard the directors. All the plays are offered the dramatic rekindling of interest in the Third (formerly available in the in both mono and stereo, and each is “spoken word” recordings. This has Olivier-Gielgud film version in RCA accompanied by full printed text. provided us not only with Shelley Ber­ Victor set LM-6126); Pericles, Prince Caedmon/SRS presents all the man in depth and some historical docu­ of Tyre; Titus Andronicus, and the poems, in three two-disc sets: Gielgud mentaries, but, in this quadricentennial three parts of King Henry the Sixth. reads the sonnets in one; Claire Bloom year, with a discography of declaimed These gaps will all be filled before the and Max Adrian give us Penws and Shakespeare such as no one would have quadricentennial year ends, completing Adonis and A Lover’s Complaint in an­ seriously imagined a scant twenty years the extraordinary series of the plays on other, and in the third we have The ago. London Records. There will also be Passionate Pilgrim, The Phoenix and Back in the pre-LP days, recordings additions to the complete Shakespeare the Turtle, The Rape of Lucrece, and of spoken Shakespeare were generally series under way on two other labels, Sonnets to Sundry Notes of Music, with limited to such excerpts as would fit and contributions from other sources Burton, Evans and Sir Donald Wolfit. comfortably on a single 78-r.p.m. side, as well. The recordings from Ireland on the usually the famous soliloquies by such London's series is not only the near­ Spoken Word label cover still fewer actors as John Barrymore, Maurice est to completion, but also the most plays—about half of the comedies and Evans and John Gielgud (not yet Sir truly “integrated,” in the same sense as tragedies, none of the histories so far John then). There were a few albums a recorded cycle of, say, the Beethoven (though Henry V is among the addi­ of extended excerpts, a memorable symphonies played by one orchestra tional material announced as “in prep­ abridged Macbeth on RCA Victor with under the direction of a single con­ aration”). The comedies are performed Evans and Judith Anderson, and Co­ ductor. All these recordings, made by by the Dublin Gate Theatre Players, lumbia did record five of the plays in Argo Records under the auspices of the featuring Micheál MacLíammóir and their entirety: Orson Welles’ Mercury British Council, are by the Marlowe directed by Hilton Edwards. Except for Theatre productions of Julius Caesar, Society of Cambridge University (aug­ Coriolanus (directed by W. Bridges- Macbeth, The Merchant of Venice and mented by professionals in key roles), Adams), the tragedies are all directed Twelfth Night, and the Paul Robeson- directed by George Rylands. All fol­ by Anew McMaster, who also reads José Ferrer-Uta Hagen Othello. This low the text of “The New Shakespeare” the sonnets in the Spoken Word series. Othello, transferred from eighteen 78s edited for the Syndics of the Cambridge None of the other poems is included, to three LPs. is still available as Colum­ University Press by Sir Arthur Quiller- and recordings are in mono only. Cam­ bia set SL-I53. (The Welles Julius Couch and John Dover Wilson. All but bridge editions are followed for The Caesar enjoyed a brief resurrection on seven of the plays are offered in stereo Taming of the Shrew and A Midsum- | two LPs in Entré set EL-52, but a copy as well as mono. mer Night’s Dream, Oxford in the son­ would be hard to come by now.) Of the poems, the London series nets and other plays. Confusingly, sin­ Today, however, in addition to the features a three-disc set of the sonnets, gle discs of excerpts, apparently from numerous “abridged” versions, all but a two-record album of The Rape of these very recordings, are offered on six of the thirty-seven plays may be Lucrece, and a two-disc Venus and the unrelated Spoken Arts label. had in complete recordings, and all the Adonis which includes the Dedications There are very few complete record­ ings of any of the plays now outside these three series. The Robeson Othello has already been noted. The Old Vic recordings of Romeo and Juliet and Hamlet, formerly on RCA Victor, have been deleted, as has the Helpmann Mid­ summer Night’s Dream (in which the Mendelssohn music was played by the BBC Symphony under Sargent) on the same label. EMI has indicated no in- 36 tention of reissuing any of these in this ings of the plays available now and as you like it. Marlowe Society, Lon­ country. Claire Bloom repeats her Juliet scheduled for release later this year, don A-4336 (3); Vanessa Redgrave, in the Caedmon recording (to Albert and the recordings of the poems in the Keith Michell, Stanley Holloway, Max Finney’s Romeo), but EMI’s decision “integrated” series described above. Adrian, Caedmon SRS-210 (V)-, Dub­ will be regretted by admirer’s of Giel­ Reference to the Schwann Catalog will lin Gate Theatre, Spoken Word A-4 gud’s Hamlet, for Sir John was fea­ disclose dozens of recordings of abridg­ (3). tured in the deleted recording, and it ments and excerpts (including single a COMEDY of errors. Marlowe Society, was truly complete, running to four discs and anthologies extracted from London A-4252, OSA-1252 (2). discs. The still-available Gielgud Ham­ the complete recordings), and still other love’s labour’s lost. Marlowe So­ let in RCA Victor two-disc set LM- new items may well be added before the ciety, London A-4363, OSA-1363 6007 derives from a Theatre Guild of year is out. (3) . the Air production and, of course, is As noted earlier, all the Caedmon/ measure for MEASURE. Marlowe So­ substantially cut. The very newest Ham­ SRS plays are available in stereo; the ciety, London A-4417, OSA-1411 let in RCA Victor two-disc set LM- same catalog number applies to both (4) ; John Gielgud, Ralph Richard­ Columbia, promises to be of special editions, with the suffix M or S to son, Margaret Leighton, Caedmon interest, for it gives us Gielgud as di­ designate mono or stereo. Stereo num­ SRS-204 (3); Dublin Gate Theatre, rector, with Richard Burton in the title bers for other labels are shown here in “Spoken Word A-19 (3). role. italics. The number of discs in each MUCH ADO ABOUT NOTHING. Marlowe Sir John may also be enjoyed in his album is shown in parentheses. Aster­ Society, London A-4362, OSA -1362 two Shakespeare “recitals” on single isks (*) indicate recordings announced (3); Rex Harrison, Rachel Roberts, Columbia LPs: “The Ages of Man” for release later this year. Caedmon SRS-206 (3); Dublin Gate (OL-5390) and “One Man in His Time” Theatre, Spoken Word A-6 (3). (OL-5550), as well as a Decca disc THE TAMING OF THE SHREW. Marlowe (DL-9504) on which he performs ex­ Society, London A-4367, OSA-1367 cerpts from Romeo and Juliet with (3); Trevor Howard, Margaret Pamela Brown and recites the Hamlet Leighton, Caedmon SRS-211 ( 2 ) ; soliloquies and a few of the sonnets. Dublin Gate Theatre, Spoken Word And. of course, in the Caedmon/SRS A-7 (3). series, as noted, he reads all the sonnets THE COMEDIES the tempest. Marlowe Society (with and takes part in two of the plays. all’s well that ends well. Mar­ The Phoenix and the Turtle), London The listing which follows here in­ lowe Society, London A-4370, OSA- A-4346, OSA-1318 (3); Dublin Gate cludes only the really complete record­ 1370 (3). Theatre, Spoken Word A-10 (3).

37 FOR AN OLD “1 twelfth night. Marlowe Society, Lon­ Seating Plans for FASHIONED don A-4354, OSA-1326 (3); Siobhan McKenna, Paul Scofield, John Ne­ Philharmonic Hall TREAT, VISIT ville, Vanessa Redgrave, Caedmon SRS-213 (3); Dublin Gate Theatre, Spoken Word A-3 (3). HaRvey THE TWO GENTLEMEN OF VERONA. Marlowe Society (with A Lover’s Complaint), London A-4344, OSA- 1315 (3); Dublin Gate Theatre, * Spoken Word A-23 (3). the winter’s tale. Marlowe Society, London A-4420, OSA-1408 (4); Everything about us Harveymen is modern except John Gielgud, Peggy Ashcroft, Caed­ the way we treat you - that's old-fashioned. If you have a need for good music in your home, mon SRS-214 (3). treat yourself to a visit to Harvey. You’ll feel a warm, unhurried, comfortable atmosphere ... a 37-year tradition of thoughtful customer service. You'll also experience how the wizardry of mod­ THE TRAGEDIES ern electronics as expressed in high fidelity components brings into your home the finest ANTONY AND Cleopatra. Marlowe So­ music with the vividness of the concert hall. ciety, London A-4427, OSA-1427 Only components afford the flexibility necessary to match a music system to your personal taste (4); Anthony Quayle, Pamela and to the acoustics of your home ... and the technically competent Harveymen are ready to Brown, Caedmon SRS-235 (3). serve you when asked. Come in ... browse ... ORCHESTRA listen leisurely, to your heart’s content. Coriolanus. Marlowe Society, London A-4415 (4); Richard Burton, Jessica Tandy, et al., Caedmon SRS-226 (3); Dublin players, Spoken Word A-17 (4). cymbeline. Marlowe Society, London "Stereo Compact” A-4425, OSA-1416 (4); Cfaire Recorder Model 88 RMQ Bloom, Pamela Brown, Boris Karloff, versatile 2-speed tape recorder that Caedmon SRS-236 (3). records 1/4 track stereo or mono, and plays back »/4 and V2 track stereo or mono. The 3 head hamlet. Richard Burton, Hume Cro­ design allows you to monitor from the tape as nyn, Alfred Drake, Eileen Herlie, you record. VU meters give precise recording volume indication and the tape counter permits Linda Marsh, ’Columbia D4L 302, accurate access to any part of the recorded tape. Designed by professionals for the home. D4L 702; Marlowe Society, Lon­ Price $339.95 don A-4507, OSA-1503 (4); Paul Scofield, Zena Walker, Diana Wyn- Sherwood ward, Roland Culver, Caedmon SRS- 80 Watt Stereo 232 (4). Multiplex Receiver Julius caesar. Marlowe Society, Lon­ S-8000 III don A-4334 (3); Dublin players, A superbly designed instrument. Behind this Spoken Word A-15 (3). most attractive front panel is a compact chassis housing a dual 40 watt stereo power amplifier king lear. Marlowe Society, London with dual preamplifiers plus an FM multiplex LOGE stereo tuner for receiving standard FM broad­ A-4423, OSA-1414 (4); Dublin play­ casts and also multiplexed stereocasts. Add ers, Spoken Word A-9 (4). speakers and a record player, then relax to music as it was meant to be heard. macbeth. Alec Guinness, Pamela Price $319.50 (less cabinet) Brown, Old Vic Company, RCA Vic­ tor LM-6010 (2); Marlowe Society, Vital facts about the Hall London A-4343, OSA-1316 (3); Shure Anthony Quayle, Gwen Ffranggon Stereo Dynetic Cartridge With several rows of seats re­ M44-5 moved and the elevators depressed, Your recordings come to life with thisuh» uennew an orchestra pit can be provided. Shure Dynetic stereo cartridge. Tracking weight has been reduced to only % off a» gram------which The stage is also equipped with a virtually eliminates record wear.r. The■ uiamuuudiamond stylus retracts whenever undue pressure is put center-stage elevator to facilitate the upon the cartridge which prolongs the life of delivery and removal of a concert the diamond and protects your record collection. Price $29.95 grand piano when it is required.

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38 Davies, Stanley Holloway, Caedmon THE LIFE OF KING HENRY V. Marlowe Gielgud, Michell, McKern, Caedmon SRS-231 (2). Society, London A-4424, OSA-1415 SRS-216 (3). THE TRAGEDY OF KING RICHARD III. Mar­ Othello. Robeson, Ferrer, Hagen, Co­ (4); Dublin players, *Spoken Word lumbia SL-153 (3); Marlowe Society, A-8 (3). lowe Society, *London A-4430, OSA- London A-4414 (4); Frank Silvera, king henry vi, part 1. Marlowe So­ 1430 (4). Cyril Cusack, Anna Massey, Caed­ ciety, ♦London A-4374, OSA-1374 THE POEMS mon SRS-225 (3). (3) . PERICLES, PRINCE OF TYRE. Marlowe king henry Vi, part 2. Marlowe So­ the rape of lucrece. Marlowe So­ Society, ♦ London A-4377, OSA-1377 ciety, ♦London A-4428, OSA-1428 ciety, London A-4251, OSA-1251 (3) . (4) . (2). THE RAPE OF LUCRECE; THE PASSIONATE ROMEO AND Juliet. Marlowe Society, king henry vi, part 3. Marlowe So­ London A-4409, OSA-1407 (4); ciety, *London A-4429, OSA-1429 pilgrim; the phoenix and the tur­ Claire Bloom, Albert Finney, Edith (4). tle; SONNETS TO SUNDRY NOTES OF Evans, Caedmon SRS-228 (3); Dub­ THE FAMOUS HISTORY OF THE LIFE OF music. Richard Burton, Edith Evans, lin players, Spoken Word A-16 (4). king henry viii. Marlowe Society, Donald Wolfit, Caedmon SRS-239 timon OF Athens. Marlowe Society, London A-4426, OSA-1426 (4). (2). London A-4350, OSA-1322 (3). THE LIFE AND DEATH OF KING JOHN. the sonnets. Marlowe Society, London TITUS ANDRONICUS. Marlowe Society, Marlowe Society, London A-4418, A-4341 (3); Gielgud, Caedmon SRS- ♦London A-4371, OSA-1371 (3). OSA-1413 (4). 241 (2, mono only); Anew McMas­ troilus and cressida. Marlowe Society, THE TRAGEDY OF KING RICHARD II. Mar- ter, Spoken Word A-18 (3). London A-4413 (4); Jeremy Brett, lowe Society, London A-4335 (3); venus and adonis. Marlowe Society Diane Cilento, Cyril Cusack, Max (with Dedications and Ben Jonson's Adrian, Caedmon SRS-234 (3). Eulogy from the First Folio), Lon­ don A-4250, OSA-1250 (2); Claire THE HISTORIES Bloom, Max Adrian (with A Lover’s KING HENRY iv, part 1. Marlowe So­ Complaint), Caedmon SRS-240 (2). ciety, London A-4421, OSA-1409 In addition to the foregoing, of (4) . king henry iv, part 2. Marlowe So­ course, the catalog is rich in music in­ ciety, London A-4422, OSA-1410 spired by Shakespeare’s plays and poems. Among the latest additions are (4).

ar from the blare of crowds and the com­ mon pressures, the unique experience of Fa Sunlane cruise to Europe awaits you. One of the last In the Mediterranean you will actually see a new port every day: fascinating cities like Lisbon, Tangier, Naples, Genoa, Cannes, unspoiled vacation spots Barcelona, Palma, Gibraltar and Madeira. No matter the port, you will know that you can always return to American comfort: to sleep on the finest American bed in your spa­ cious air-conditioned stateroom, to dine on superb continental and American cuisine; or just to mull over the day in peace and quiet under the stars. The atmosphere is friendly and the service speaks your language. This is the sensible way to see Europe. Your own experience will tell you that. See Europe this way and you dispense with the details that waste your energy and your time. You don’t have to wait for connections, check in and out of hotels, or search for a good place to eat. You tour and relax. That is all. This year cruise on the Independence, Constitution or Atlantic. You will enjoy the vacation experience of a lifetime. American Export ISBRANDTSEN LINES

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39 JOSEF FIDELMAN PLAYS RECITAL No. 3

the Verdi Falstaff conducted by Georg BACH MOZART SCARLATTI ON A NEW Solti, with Geraint Evans, Giulietta PARLIAMENT RELEASE Simionato, Ilva Ligabue. Robert Merrill (RCA Victor LM/LSC-6163), and the Angel disc (36198, S-36198) on which Sir William Walton conducts the Phil- harmonia Orchestra in some of his mu­ TWO ON THE AISLE sic for the films Sir Lawrence Olivier made of Henry V, Hamlet and Richard Ill in the Forties and Fifties. Sound with a realism so vivid your living It is said that Cervantes’ Don Quixote "... a performer of sensitivity t room becomes the concert hall. No stereo good deal of musical perceptivene: is the single literary work most widely Herbert Kupferberg, N. Y. Her. broadcasting set-up anywhere compares with . Had the pianist. . . remainei represented in music, but Romeo and sia, he would undoubtedly now WABC/FM. From turntable to transmitter Juliet cannot be far behind, and surely over the world as a great Rus: His playing speaks for itself, and the finest equipment in the world. WABC/FM no single wordsmith can be credited permitted to speak everywhere .. . alone beams its stereo signal from the Barney Glazer, Syndicated with engendering so much music with .Mr. Fidelman has...a fine, lyric touch heights of the Empire State Building. brings the music to life — his total output as Shakespeare. Mozart, ight to the heart . . . greai ...... Programs span the spectrum of creative Bach and Puccini seem to be among the subtlety ..." McLellan, The Pilot. Boston remarkable . .. pianist, L music. Bach to Broadway, Vivaldi to jazz. relatively few “non - Shakespearean” • . p truly remarkable performance Engrossing talks with performing artists in composers. Numbered among those should Wf'n hi'b ' t"*- rec°8’ person. Authoritative news at intelligent in­ whose works do include operas, tone Gerald Ashford. San Antonio Express & News tervals. Commentaries that truly inform. poems, incidental music or some other Presented for you, the discerning listener. tonal homage, one finds Sibelius, Verdi, WABC/FM knows music, knows radio, knows Mendelssohn, Beethoven, Tchaikovsky, you. That's why, when you tune to Berlioz, Faure, Schubert, Richard WABC/FM, you have two on the aisle. Strauss, Ibert, Josef Foerster, Hermann 6 P.M. to midnight...every night for the Goetz, Gounod, David Diamond, Am­ sound of perfection brose Thomas, Benjamin Britten, Liszt, WABC F^^SS.S Kabalevsky, Walton, Constant Lambert, Handel, Prokofiev, Zandcnai, Bellini, available at all good record shops Wagner. Dvorak, Smetana, Nicolai, Stravinsky, Vaughan Williams, Rossini ' and Elgar, not to mention one of the most recent initiates, Salvatore Marti- rano, whose choral O, O, O, O, That “the only automatic Shakespeherian Rag was released last year on CRI. Such works as Shostako- 1 vich’s Lady Macbeth of Mzensk and I ...for the finest systems” Delius’ A Village Romeo and Juliet The American Record Guide January, ¡964 stand on the periphery, as music not directly concerned with Shakespearean texts, but which could not have come into being without them. While the more familiar pieces by Tchaikovsky, Mendelssohn. Berlioz, and convenient, Lincoln Center. Verdi are certainly well represented on records now, some of the most inter­ esting of the lesser-known music has disappeared from the catalog. Among centrally air conditioned 21-story the works whose reappearance on discs the incomparable and penthouse opposite Lincoln would be particularly welcome this year, Center for the Performing Arts. one might mention Elgar’s Falstaff, which many consider his masterpiece; | DUAL 1009 • Adjacent to Lincoln Sq. Motel Ibert’s charming Suite Elizabethaine, • 24-hour Doorman AUTO/PROFESSIONAL • TV Security System music for A Midsummer Night’s Dream • Carpeted Corridors based on themes by seventeenth-century tracks with startsand changes • Picturesque views of the English composers; and Sibelius’s fanci­ finest stops auto­ records River, Park, & Skyline ful incidental music for The Tempest, cartridges matically when desired IMMEDIATE OCCUPANCY of which the luminous “Berceuse” will ... at ...at ...at be remembered as a Stokowski specialty J/2 gram! and the “Dance of the Nymphs” and ¥2 gram! V2 gram! “Caliban’s Song” are also noteworthy. Write for complete reprints of sensational Westminster at one time had all three reviews in all leading high fidelity maga­ titles in its catalog, and conceivably is | zines. Better yet, see the Dual 1009 perform in a position to reissue at least two of at your United Audio dealer. You’ll find them. But new recordings of the Elgar | it an extraordinary value at $99.50. and Sibelius are really in order now. UNITED AUDIO DU AL ichard reed R F | 12-A WEST 18th ST.. N.Y. N.Y. 10011

40 Seating Plans for Philharmonic Hall

OPERA NEWS is America’s only all-opera magazine ... big, colorful, filled with news, information, pictures of your favorite operas, singers, composers, conductors. Plus a special center section containing detailed notes about each Saturday afternoon broadcast from the Metropolitan. OPERA NEWS is published 24 times a year—weekly during the broadcast season-by The Metropolitan Opera Guild, Inc., a non­ profit organization founded in 1935 by Mrs. August Belmont. A full year’s subscription is included as a benefit of membership in the Guild. To enroll, send only $7—with your name and address—to: THE METROPOLITAN OPERA GUILD, INC. 1425 Broadway New York 18, N. Y. Willoughby PEERLESS WORLD S LARGEST CAMERA STORES Bk The complete system of Leica 35mm precision photography for pleasure _____ or professional use. Choice of AT______\ the world’s

I LEICA t. STAFF FOR PHILHARMONIC HALL \ ■ See also the 8mm Leicina! Joseph Salyers, Manager Richard Benter, Technical Director Louise Homer, Willoughby PEERLESS Booking Director 110 West 32nd St. Near Herald Square 10 4-1600 43rd St. and Lexington Avenue • MU 7-1000 Vern Armstrong, Box Office Treasurer Kay Schwender, AMERICA’S Assistant Box Office Treasurer GREATEST If you want to know what the college Betty Kramer, crisis means to you, write for a free book­ Secretary, Lincoln Center Patrons’ ASSET* let to: HIGHER EDUCATION, Box 36, Desk Times Square Station, New York 36, N.Y.

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41 Last Year at Bad Gastein . . . passage was played over and over un­ cause of his generous nature was al­ continued from page 20 til it satisfied the Maestro. The mu­ ways a sizeable contributor. sicians were never made to feel that In the inner recesses of my musical from his vivacious eyes betrayed the they were servants of a despotic con­ experiences Arthur Nikisch’s art oc­ feelings he experienced while his father ductor. Both conductor and m'usicians cupies a pre-eminent place. It is more was brought into our midst, even were a community, servicing and wor­ than a memory. It is an everlasting ex­ though he had left us in 1922, forty- shipping the great composers. In his perience. Its roots are getting deeper, one years ago. The father-son relation­ wielding of the baton Nikisch never and its branches are spreading out as ship — his professional activities and resorted to unnecessary gyrations. His the years roll on. To have heard Nikisch home-life retreat — his relationship to baton was never raised beyond the level with Saint-Saëns, Backhaus, Busoni, his fellow musicians were keenly re­ of his cheeks. He produced volumes of D’Albert, Carreno. Godowsky, Elman, membered and graphically told. sound — beautiful sound. He reached Kreisler. Ysaye. and others too many Arthur Nikisch was the permanent unheard-of climaxes, particularly in the to mention is to have dwelt in Nirvana. conductor of the Leipzig Gewandhaus romantic and dramatic music. At the He was a perfect example of the god and Berlin Philharmonic Orchestras end of an intensely passionate sequence in man. It was my great fortune to for twenty-seven consecutive years. of phrases he would bring all his forces have known him and to have met his Twenty-two concerts, besides the week­ close together by a broadening of the son. Arthur, Junior, and through the ly public rehearsals, were given in each tempo. The effect was staggering, in­ son to have felt the reincarnation of city. In twenty-seven years, from 1895 toxicating — and the senses began to the father. Clarence Adler to 1922, he never missed a concert, reel. Many conductors accelerate the not even a rehearsal. He was gentle at tempo toward the end of a climax, all times —- moderate in private life, Clarence Adler., who celebrated the which produces an anti-climactic effect. fiftieth anniversary of his American debut intensely passionate in his music life. Though Nikisch reveled in moun­ in February, was born on March 10, 1886. He controlled his associates with gentle tains of sound in his profession, in After studying in his native Cincinnati and authority. The whip was never in his private life he abhorred noise. It grated Berlin (with Godowsky), he toured Europe hands. With a divine patience and a on his sensitive ears. He lived within as a member of the Hekking Trio. In caressing persuasion he cajoled his men himself, in his own world, moderate 1941 he made radio history by broadcast­ to produce the effect his genius de­ and self-controlled at all times. He ing a series devoted to all twenty-eight manded. He would go over a passage never seemed to be nervous, and never Mozart piano concert!. In addition to his varied activities as a performer, Mr. Adler many times, and after each playing he displayed anger. During his evening has been occupied as a teacher and com­ would say: “That was very nice, but I meal he would sip several glasses of poser. He has published numerous piano think you can make it sound even wine, and after supper smoked one pieces, and made arrangements of works by more beautiful. Let’s try again.” The cigar. He loved to play poker, and be­ Dvorak and Franck.

he Hamilton Watch Company hopes you will enjoy the performance —and provides this space for you to record your impressions and other details of the event.

Date:

The performance :

Autographs :

H A/7/L. TO /\/ Creators of the World’s First Electric Watch Hamilton Watch Co., Lancaster, Pa., U.S.A. Titan II, 505 Electric, $125. Volante, $89.50. All prices plus tax

44 Printed by Blanchard Press, Inc. Garden City, N. Y.