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Program for March 12 and 13 1971 1227
Future programs 1272
Program notes
Mozart - Symphony no. 38 in D K. 504 'Prague' 1239 by Peter Branscombe
Honegger - Symphony no. 2 for string orchestra and trumpet 1242 by John N. Burk
Brahms - Symphony no. 1 in C minor op. 68 1257 by John N. Burk
The Guest Conductor 1260
Appearance by a member of the Orchestra 1273
Program Editor ANDREW RAEBURN
1225 When you feel like laugh ng
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ft^dfe NINETIETH ANNIVERSARY SEASON 1970-1971
Friday afternoon March 12 1971 at 2 o'clock Saturday evening March 13 1971 at 8.30
RAFAEL KUBELIK conductor
MOZART Symphony no. 38 in D K. 504 'Prague'
Adagio - allegro Andante Finale: presto
HONEGGER Symphony no. 2 for string orchestra and trumpet
Molto moderato Adagio mesto Vivace non troppo
intermission
BRAHMS Symphony no. 1 in C minor op. 68*
Un poco sostenuto - allegro Andante sostenuto Un poco allegretto e grazioso Adagio - allegro non troppo ma con brio
The concert on Friday will end about 4 o'clock; that on Saturday about 10.30.
The Boston Symphony Orchestra records exclusively for Deutsche Grammophon
BALDWIN PIANO DEUTSCHE GRAMMOPHON AND RCA* RECORDS
1227 i%wK:n<
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Perhaps your needs are for a special checking account, a savings account or a conveniently So said a college located safe deposit box. musk: chairman after play- ing Mason & Hamlin's new Style 50 vertical We emphasize quality and per- piano. Fifty inches high, it is the largest stu- dio piano made today. Private teachers and sonal service in the manage- music educators alike have acclaimed these ment of estates, trusts and special features: investments, and in the hand- LARGEST VERTICAL SOUNDING BOARD ling of your personal banking IMPROVED BRIDGE PLACEMENT FULL needs. 7-INCH HAMMER SHANKS EXCLUSIVE TENSION RESONATOR 6-P0ST BACK The Mason & Hamlin Style 50 is the ideal choice for teachers, students and serious pianists. Our special brochure provides full details. We have a free copy for you. for further information please call or write Mr. Edmund G. 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After studying these two concert halls, and armed with the minimum number of seats the new building had to contain in order to be economically feasible, Professor Sabine went to work. He determined that the best acoustical response for the hall would be a reverberation period of 2.31 seconds. And he designed his hall to achieve that measure. People laughed at him. No one could predict from blueprints what the rever- beration period would be. But when Symphony Hall opened in 1900, the reverberation period was exactly 2.31 seconds. Professor Sabine's triumph was the birth of modern acous- tical science. An interesting story? We thought so. And we hope you enjoyed it. Just as we hope you enjoy tonight's performance. We Bostonians are pretty lucky, come to think of it : one of the world's finest symphony orchestras and music halls. And they're both here. LX Life Insurance . it'll sound a lot better if the heat is sotto voce. And flameless electric heat is quiet. The quietest you can get. So when you're listening to a symphony in your own home, you can enjoy the full range of the melody. Without an Anvil Chorus of old fashioned heating problems. Find out about flameless electricity tomorrow . . . allegro. Emson 1236 JORDAN MARSH bright outlook for a Spring evening Ankling in now in the new soft shape of things to brilliant come . . . skirted in red, orange and yellow Indian print, the top in sunny yellow, designed by RODRIQUES, from our new Spring collection, I 10.00 a^mV^SU ''.'.' WOLFGANG AMADEUS MOZART Symphony no. 38 in D K. 504 'Prague' Program note by Peter Branscombe Mozart was born in Salzburg on January 27 1756; he died in Vienna on Decem- ber 5 1791. He completed the Symphony no. 38 in Vienna on December 6 1786, and it was first performed in Prague the following January 19. The first perform- ance by the Boston Symphony Orchestra was given on January 27 1882; Georg Henschel conducted. Erich Leinsdorf conducted the Orchestra's most recent series of performances in Boston in March 1968. The instrumentation: 2 flutes, 2 oboes, 2 bassoons, 2 horns, 2 trumpets, timpani and strings. The 6th [December 1786] A symphony. — 2 violini, 2 viole, 2 flauti, 2 oboe, 2 corni, 2 fagotti, 2 clarini, timpany e Basso/ In this way, followed by the opening bars of its slow introduction in short score, Mozart entered in his autograph List of all my works the symphony which has since become known as the 'Prague'. In Germany it is often referred to as the 'Symphony without minuet' — appropriately enough, but this title could equally well be applied to the 'Paris' and to many of Mozart's earlier symphonies which are more obviously Italian overtures in their fast-slow-fast pattern of three movements. It is true that the 'Prague' is the only one of the six symphonies of Mozart's Vienna years to lack a minuet, but considerations of time are certainly not responsible for the three-movement form, and it is indeed highly questionable whether one is right to talk of a 'lack' at all in so carefully-integrated and superb a work. The summer and autumn of 1786 was not a particularly settled or happy period for Mozart, yet between June and the end of the year he produced such masterpieces (this list is not complete) as the E flat Piano quartet, the fourth Horn concerto, the G major Trio K. 496, the F major Sonata for piano duet, the Clarinet trio, the D major String quartet K. 499, the B flat Trio, the wonderful but often underestimated C major Piano concerto K. 503, and the present D major Symphony K. 504. Not an especially prolific six months for Mozart, perhaps, but an incredible achievement none the less. Mozart was not the sort of man who could finish a work some time before it was required (there are numerous more or less well authenti- cated anecdotes about his last minute completion of this or that com- missioned work), yet in the field of the symphony we have the interest- ing fact that the last three were composed in a period of six weeks in the summer of 1788 without any real chance of their being performed. The 'Prague' symphony may well have been conceived with the series Peter Branscombe was born in Kent in 1929. He has been Lecturer in German literature at St Andrews, Scotland's oldest university, since 1959. Collaborator on two of Otto Erich Deutsch's Mozart books and author of various musical studies, some time critic on The Financial Times and other papers, he has recently been working on a study of the role of music in the Viennese theatre of the late eighteenth and nineteenth centuries; an edited anthology of Heine's verse was published by Penguin Books in 1968. 1239 of Advent concerts in mind which Mozart planned for the end of 1786, but was obliged to abandon owing to lack of public interest and support. He took it to Prague with him when he, his wife Constanze and the violinist Franz Hofer (his future brother-in-law) set out from Vienna for the Bohemian capital on January 8 1787. This was the first of four visits which Mozart paid to Prague in the last years of his life — visits which gave him lively pleasure because of the warmth and apprecia- tion which was far more readily accorded there to him, his works and his piano playing than was the case with the increasingly fickle Viennese public. The especial attraction that drew Mozart to Prague in January 1787 was the enthusiastic welcome shown to Le nozze di Figaro. After the premiere at the Burgtheater, Vienna, on May 1 1787, Figaro had enjoyed great success. The number of performances, however, soon fell off. It was given for the eighth time on November 15, two days before the premiere of Martin y Soler's charming, rather superficial and immediately popular Una cosa rara, and after one further per- formance on December 18 Figaro disappeared from the repertory in Vienna until August 1789. The fact that Figaro continued to occupy Mozart's thoughts during the disappointing autumn of 1786, is in no way more apparent than in the almost literal quotation as the main theme of the 'Prague' symphony finale of the duettino from Act 2 of Figaro ('Aprite presto, aprite') as Susanna breathlessly hustles Cherubino out of the Countess's boudoir and the window. There are abundant further reminiscences of Figaro in the gaily bubbling wind passages, and perhaps too in the lovely cantilena of the slow move- ment. Mozart found an almost indescribable enthusiasm for Figaro in Prague. He arrived there on January 11, he attended a performance of the opera on the 17th, he conducted it himself on the 22nd. His concert on the 19th at which the 'Prague' symphony was given for the first time also included a solo piano extemporization on Figaro's 'Non piu andrai'. And in the only letter we have from this first visit Mozart writes to his friend and pupil Gottfried von Jacquin in Vienna, 'Nothing is spoken of here but Figaro, nothing is played, sung and whistled but Figaro, no opera is filling the theatre but Figaro and always Figaro/ We unfortunately have no record of how the 'Prague' symphony was received, but we can be sure that the excellent citizens appreciated its links with their favorite opera. What they could not then have known was that darker, more urgent elements in the symphony look forward towards the opera which Mozart was about to be invited to compose specially for Prague, Don Giovanni — and in the contra- puntal brilliance of the first movement there is even a pointer to the overture to Die Zauberflote. Don Giovanni did not follow until the autumn of 1787, but it is not fanciful to hear in the ominous dramatic tread of the Adagio intro- duction to the first movement a foreshadowing of the inexorable approach of the Stone Guest, nor to perceive a close relationship between the opening of the Allegro sections of the two pieces. It should also be said here that although slow introductions to overtures 1240 and to symphonic first movements were not uncommon in the 1780s, no work composed by this time has so weighty, extended and grand an introduction. The whole has a unity and is planned on a scale which make it fully the equal of the more famous last three sym- phonies of 1788. Of course structural perfection (which here embraces structural daring) is nothing by itself — we have a wealth of musical ideas, some almost trivial, some of great intrinsic beauty: what Mozart does supremely well is to combine every facet of his conception so that even the commonplace could be mistaken for the work of no one else. The mastery of polyphony displayed in the first movement is worthy to be set beside the finale to the 'Jupiter' symphony. What if we can recognize here Mozart's antecedents in Bach's and Handel's sovereign control of counterpoint, and Haydn's of the emergent symphonic tradition? But what Mozart the alchemist distils is something entirely his own. If he keeps us waiting a long time — 96 bars to be exact — before giving us a real melody, it is because the motivic fragments of first subject and transition need precisely the gentler lines of the second subject to set them off, in terms of both symmetry and thematic contrast. The Andante is again a miracle of interweaving strands. It is rich in contrasts as the opening four bars make clear: two of diatonic simplicity, two of chromatic richness. Yet the total impression left by this movement is of simplicity and melodic beauty. The quicksilver exchanges of the concluding Presto apparently owe little to what has gone before, yet in the alternating passages for wind and strings it is not fanciful to hear an extension of a procedure found in the Andante. Syncopations mark the first subject, running eighth notes both subjects, and although the movement as a whole is as much in sonata form as were the first two, the frequent recurrence of the finale's opening theme makes it also something of a rondo. Rollicking laughter and genial high spirits hold sway at the end, but graver utterance is con- tained in the brief yet firm forte chordal passages. Truly a wonderful symphony. copyright © 1971 by Peter Branscombe STUDENT TICKETS A limited number of student tickets is available for each Boston Sym- phony Concert, with the exception of those in the Cambridge series. They are priced at $3 each, regardless of face value. Student tickets can be bought only in the Huntington Avenue lobby. They go on safe on Fridays and Saturdays as soon as the 'Rush Line' seats are sold out; on other days one half hour before the start of the concert. The number of student tickets available varies from concert to concert. They are available only to students who can show valid ID cards. RUSH LINE SEATS 150 seats, located in different parts of Symphony Hall, are available for each Friday and Saturday concert by the Orchestra. These are put on sale in the Huntington Avenue foyer two hours before the start of the concert, 12 o'clock on Friday afternoon, and 6.30 on Saturday evening. They are priced at $1 each. 1241 ARTHUR HONEGGER Symphony no. 2 for string orchestra and trumpet Program note by John N. Burk Honegger was born in Le Havre, France, on March 10 1892; he died in Paris on November 27 1955. He composed the Second symphony in 1941. It was pub- lished the following year with a dedication to Paul Sacher. The first performance was given on May 18 1942 in Zurich; Sacher conducted the Collegium Musicum. The first performance in America was given by the Boston Symphony Orchestra on December 27 1946; Charles Munch was the guest conductor. The most recent performances by the Orchestra, also conducted by Charles Munch, were given in December 1966. THE SYMPHONY At the end of the printed score is written 'Paris, October, 1941'. Willi Reich, writing from Basel for the Christian Science Monitor, (May 19 1945), remarked that the Symphony for strings 'embodies much of the mood of occupied Paris, to which the composer remained faithful under all difficulties'. The first movement opens with an introductory Molto moderato, pp, with a viola figure and premonition in the violins of things to come. The main Allegro brings full exposition and development. The intro- ductory tempo and material returns in the course of the movement for development on its own account and again briefly before the end. The slow movement begins with a gentle accompaniment over which the violins set forth the melody proper. The discourse is intensified to ft, and gradually subsides. The finale, 6/8, starts off with a lively, rondo-like theme in duple rhythm, which is presently replaced by another in the rhythmic signa- ture. The movement moves on a swift impulsion, passes through a tarantella phase, and attains a presto coda, wherein the composer introduces a chorale in an ad libitum trumpet part, doubling the first violins (a procedure unprecedented in a piece for string orchestra). The chorale theme is the composer's own. HONEGGER'S MUSIC To call Honegger a 'middle of the road' composer is to give him a due and a considerable stature. He was never an extremist, never an invertebrate colorist nor a rigid classicist. Alert to the musical trends about him, which in Paris particularly were intensely stimulating, he never became overly indebted to any composer, any school. He was always an independent artist, increasingly strong in inward resource and conviction. Every great composer has had a ready ear for usable technical material in developing his own metier. If eclecticism means further reliance upon others than readiness to profit by the musical thinking of his era, then Honegger was no eclectic. Most of the 'tendencies' which Honegger incorporated into his music 1242 were gathered in Paris where the composer spent the greater part of his life and made his closest musical friendships. His biographers have made much of his Swiss origins to account for his ultimate pref- erence for classical form, so giving him the 'Teutonic' label. It is true that he lived in Zurich until he was nineteen (it was incidental to the subject that he was born in Le Havre), but it is also true that his prin- cipal musical growth was in France, that although he was often in Geneva or Zurich through the years, France at length won his interests, his affections and loyalties, and claimed him, not without reason. The extent of inborn national characteristics in an artist is more open to literary theorizing that to factual proof. The Flemish strain in Beethoven's blood heritage has been propounded at book length; how Belgian was the music of Franck, how Italian the music of BoTto or Busoni? These cases, like the case of Honegger, seem to indicate that a composer reflects his surroundings more than is sometimes supposed. The composer who stays at home, studies and composes among his own people, may likewise reflect his surroundings rather than fulfill inherited racial characteristics. Honegger was subjected at his most impressionable age to a musical milieu in an exciting state of flux, adventurous, young, enterprising. Even before he was numbered among the 'Nouveaux jeunes', he was engrossed in technical instruction at the Conservatoire under Gedalge and Widor. As would have been expected, he was not the rebellious sort of student. He was eager for advice when he submitted his first attempts at composition to the beneficent eye of d'lndy. Soon the young man became very much at home in these surroundings. He was momentarily touched by the impressionism of Debussy which his col- leagues of the avant garde were trying to talk down as outdated. It was in 1919 that he read in Comoedia an article in which Henri Collet announced the existence of a new 'Croupe des six', so named by himself, a sort of French version of the Russian 'Mighty five'. They were Milhaud, Poulenc, Durey, Auric, Mile Tailleferre, and Honegger. These six were really no more than chance companions who could line up pretty well in disputation at a cafe table, but who were by no means solemnly dedicated to a single creed. They made the most of a windfall of newspaper publicity which lifted them from the obscurity of students to press attention. When Satie became their focal point and esthetic liberator, Honegger loved and respected that mentor of youth, but could not have followed him beyond a certain point. Con- stitutionally serious, he could not go to the extremity of picking up crumbs of musical insouciance in the music halls. He was the first to go his own way, and also the first to hit upon a popular success. He accepted an order for a 'Symphonic psalm', Le roi David, to a text of Rene Morax, and in 1921 suddenly found that he had become a widely acclaimed oratorio composer. This defection from the strict line of esthetic chastity was inevitably disapproved by the others. He was accused by his colleagues of capitulation to vulgar taste. It was not so, as his subsequent development has proved. He simply took advantage of an opportunity which opened up his genuine inclina- tions. The biblical subject appealed to his religious nature, and also the chance for vivid dramatization — strong tonal impacts by large performing forces. Horace victorieux, which shortly followed, showed 124^ that he had not sold his soul to the conservatives. 'The rear guard', wrote Roland Manuel (Nos musiciens, 1925), 'were embarrassing the composer of King David with welcoming smiles while the advance guard, disgusted, were ready to bestow upon him the contemptuous label of "The Virtuous Arthur, Hero of the Philistines". But, oblivious to the rumble of factions, the "virtuous Arthur" sat undisturbed in his study, smoking his pipe.' Honegger continued to 'smoke his pipe', unperturbed, going his own way. Pacific 2-3-1 (1924) attracted general attention as a novel venture in descriptive music. It had so happened that the composer had matched his liking for locomotives with the mode for 'machine' music, and found in the two an opportunity to indulge the exuberant outbursts of tonal power which appealed to him at the time. This exuberance later sobered down, but always remained a feature of his music. In his later years, Honegger was increasingly serious and introspective, increasingly at home in symphonic writing. His early readiness to pro- vide descriptive music for the ballet, the spoken stage or for films never quite left him until his last years when illness forced him to husband his energies. The record shows a dozen ballets, from 1920 to 1946, incidental music for twenty stage productions. He was not averse to film music, of which there is a still longer list over the same period (mostly French, never Hollywood). The results are considerably above the sort of complaisance usually found in the contributors to this department of the art of music. Let no man judge a composer by his 'practical' efforts so long as his more purely inspired ones remain untouched by the demon Expediency. Honegger's delineative music found broad and imposing expression in his choral scores. Jeanne d'Arc au bucher (1935) in itself proves that large forces and a deeply moving subject could draw from him the best he could give. This was unquestionably an act of faith on the part of the composer, who was plainly engrossed by Claudel's text. Nevertheless it was the symphonies that received his more direct, deeper, more personal sentiment. Thus, the five symphonies became the most outstanding works of his later years. As a symphonist of France he has stood pretty much alone. In pursuit of the form his sense of constructive balance, of thematic treatment, of contrapuntal manipulation has been more thorough-going than in the case of Milhaud or Roussel. The symphonies show an increasing sense of bitterness, an acridity which takes the form of dra- matic dissonance. The dissonance of the First (written in 1930 for the fiftieth anniversary of this Orchestra) is still buoyant dissonance. The Second, written a decade later under the pall of the German occupa- tion of France, moves from what might be called pessimism to an asser- tion of strength and final defiance. The Third (Liturgique) has too a sort of wartime pessimism, at last gently resolved. The Fourth is gay by contrast, built on folk airs of Basel. The Fifth is the most poignant, the most inward and deeply felt of his works. After the peak of tension in the slow movement, it gives a sense of inward peace, even of life assertion, as if the composer had found a confident optimism in accept- ance. The Symphony recalls and confirms a line which Rene Chalupt once wrote about the earlier Honegger: 'Une serenite toute goethienne, indice de sa bonne sante intellectuelle.' 1244 \+.A?S± Often it's only an oversight. Does your Or a husband's desire to spare his wife "annoying" financial details. For husband's whatever reason, many successful men secretary leave family money matters in the office. Sometimes, too, it's these same men know more who expect their wives to serve as their executors. They're unaware of the many about benefits to a widow in having a professional executor close at hand, ready with immediate his financial assistance at this most difficult time. affairs than State Street Bank has the advantage of being readily accessible in two important you do? ways. Our downtown office, with free parking in the building, offers a pleasant, private place to discuss financial affairs. Or if a woman prefers a meeting closerto home, a phone call can arrange it. Isn't this something you and your husband should be discussing— now — with one of State Street's knowledgeable Trust Officers? To arrange an early appointment, dial 466-3721. (If you'd ike advance briefing on how women use our trust services, we'll be glad to send you a copy of "A Word to the Wives" featured in our current State Street JOURNAL.) PERSONAL TRUST DIVISION 225 Franklin Street Third Floor, State Street Bank Building State Street Bank 1^ AND TRUST COMPANY , | BOSTON. MASS. Glamors! High-fliers! Go-go's! I've had it with the market Mr Marks! Whatever you've done for my partner at Lentrone, I take it you're not happy I wish you'd do for me. with the way your investments are performing. We sit down with your portfolio and figure out whether No miracles, but you need growth we can put together or income or Amen. I never want a long-term investment some of both. to hear the word program based on Let's do the performance again. sound values with long-range planning can Seems sensible. So what you first. It could save reasonable rates Where do start? do for me? we of growth. trouble later. Long-range planning Now you're talking! That's how built Lentrone! believe you, Mr. Rose. Where the man you talk to is NewEngland Merchants National Bank See Ralph Marks in our Trust Department, New England Merchants Bank Building, 28 State St., Boston, Mass. 02 109. Member FDIC. JEWELERS Watches By: Omega • Rolex HICHAM) M- MNA.IK Silver By: Tiffany & Co. • Georg Jensen 43 Central Street, Wellesley 237-2730 Kirk Tuttle hcmdwoven area rugs Rugs from across the seas, from lands of antiquity, from hidden villages and se- svLo.A cluded provinces where tradition has been passed on from generation to generation. We are proud to show our exciting collec- tion of handwoven and handknotted area rugs, tapestries and bedspreads. Come and browse. decor international 112 newbury street, boston— 262-1529 The symphony isn't finished till you stop at the Sheraton-Boston. The nicest closing cadences are played at the Sheraton-Boston, c natural congregating point of Boston's beautiful after-concert people, and conveniently close to Symphony Hall. Choose among the seven Sheraton places for intimate nightcaps, informal snacks, or romantic sipping, supping and dancing. Never a cover or minimum. Don't be a Schubert. Come to the Sheraton for a finished symphony. 236-2000 Sheraton-Boston Hotel (S) PRUDENTIAL CENTER ^fT SHERATON HOTELS AND MOTOR INNS A WORLDWIDE SERVICE OF ITT iiflm^miiiiiiiiiHiiiiiiiiiiiiniiiiiiiiiiiiiiii ihiiiiiiihiiiiihiiiiiiihiiiiihiiiiiiih iiiiiiiiiiiiihiiiiihiiiiihiiiiiiiiiiiiiiihiiiii iiiiiiiiiiiiiiiiiiiiiiiimiiiiiim 1247 Council of Friends Symphony Hall, Boston, Mass. 02115 — 266-1348 The drive is on again! Mrs Howard Davis, Chairman of the Campaign for New members, is leading an energetic crusade to enlist and enroll new Friends. All Area chairmen and committees are at work. So — won't you help? On March 3rd this year, there were 3,960 current Friends who had contributed $326,362; twelve months earlier the figures were 3,421 and $235,749. This is already a good step in the right direction towards our goal of $550,000 this season. Co- Chairmen As an incentive to recruiting, the Council has planned a Mrs. Albert Goodhue scheme whereby anyone enlisting ten or more new Friends Mrs. John L. Grandin, Jr. will receive as a gift a recording by the Orchestra. Top prizes Secretary Mrs. Josiah A. Spaulding for those recruiting the largest number will be a 'Gold Pass' Treasurer to a series of concerts next season, a weekend for two at Mrs. John H. Knowles Tanglewood, and a table at Pops for three nights. Executive Secretary Mrs. Frank W. Whitty Apart from the satisfaction of contributing to one of the 266-1348 world's great orchestras, membership in the Friends provides Chairman of Areas several tangible benefits: there are lectures by members of Mrs. William J. Mixter, Jr. Area Chairmen the Orchestra, Pre-Symphony Luncheons, and Table Talk Mrs. James H. Grew Suppers before evening concerts. Friends have first choice of Andover recordings, financial tours, Mrs. Herbert C. Lee any new reductions on European Belmont and personally conducted tours of Symphony Hall. All Mrs. George Draper Mrs. Walter Watson II Friends are invited to attend the Annual Meeting, which Boston includes a rehearsal of the Boston Pops Orchestra by Arthur Mrs. Walter Cahners Mrs. Allen P. Joslin Fiedler, and a luncheon in Symphony Hall. All these events Brookline-Chestnut Hill are available to Friends of the Boston Symphony Orchestra Mrs. Edwin T. Green Cambridge making an annual donation in any amount between $15 and Mrs. Howard W. Davis $5,000. Anyone giving less than $15 will be invited to the Mrs. Donald B. Sinclair Concord Annual Meeting only. Special events are also planned for Mrs. Richard R. Higgins contributors in each category of giving. Mrs. Thomas E. Jansen, Jr. Dedham-Dover-Westwood Categories of giving are as follows: $15 and over — Contributor $250 and over — Sustaining $50 and over — Donor $500 and over — Patron $100 and over — Sponsor $1000 and over — Guarantor $5000 and over — Benefactor Alison Arnold wrote recently in the Boston Herald Traveler: 'According to the dictionary, a friend is one attached to another by esteem, respect or affection. So why not be a Friend to the Boston Symphony Orchestra? It certainly rates your esteem, respect and affection/ Area Chairmen Mrs. Richard M. Burnes Framingham Mrs. Robert Siegfried FRIENDS OF THE BOSTON SYMPHONY ORCHESTRA Lexington Mrs. Edwin M. Cole I to of the subscribe $ the $550,000 goal Lincoln Friends of the Boston Symphony Orchestra toward meeting Mrs. Herbert Abrams Lowell the Orchestra's estimated deficit for the 1970-1971 season Mrs. Erick Kauders September 1 1970 to August 31 1971 Marblehead Mrs. Lewis W. Kane Milton Check enclosed Mrs. Robert M. P. Kennard Mrs. Samuel A. Levine Newton f~\ Payable on Please bill me Mrs. F. Corning Kenly, Jr. Mrs. Richard Russell North Shore Mrs. C. Russell Eddy Name . South Shore Mrs. Francis Devlin Wayland Address Mrs. Howard E. Hansen Welle sley zip Code Mrs. Richard Ely Weston Mrs. Harold Blanchard Please indicate series you attend Winchester Mrs. Harlan Pierpont, Jr. Please make check payable to Boston Symphony Orchestra Inc. Worcester Gifts to the Orchestra are deductible under the Federal Income Tax Mrs. Charles T. Gallagher Mrs. John Kennard Laws. New Hampshire At peak volume, the only thing your neighbors will hear is your humming. When there are times that you want to get \ balance and volume to match each musical away from it all, nobody will fault you if you selection. And it's always try to do it through the panacea of music. f free of distortion on both Music that is intimately yours. channels. 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Result: you can dial perfect stereo 178 Commerce Road, Carlstadt, N. J. 07072 (U) PIONEER WEST COAST: 1335 WEST 134TH ST.. GARDENA, CALIF. 90247 • IN CANADA: S. H. PARKER CO. 67 LESMILL RD„ OON MILLS, ONTARIO Request a Demonstration at Your Franchisee! Pioneer Dealer AUDIO LAB CRAMER ELECTRONICS 16 Eliot St., Cambridge, Mass. 817 Boyleston St., Boston, Mass. 1645 Beacon St., Waban, Mass. North Shore Shop Center, Peabody, Mass. Newburgh St., Boston, 215 Mass. SOUND SPECIALISTS AUDIOSONICS, INC. 7 Waterfield Road, Winchester, Mass. 159 Massachusetts Ave., Arlington, Mass. 1 Post Office Ave., Andover, Mass. MILO OF NEW ENGLAND STOP, LOOK & LISTEN, INC. 3 Wolcott Ave., Lawrence, Mass. 18 Thoreau, Concord, Mass. Fiduciary Trust Company 10 POST OFFICE SQUARE, BOSTON BOARD of DIRECTORS Robert H. Gardiner President Edward H. Osgood Ralph B. Williams Vice President Vice President Edmund H. Kendrick Philip Dean Vice President Vice President John W. Bryant John L. Thorndike Vice President Vice President John Plimpton John W. Cobb Vi'ce President & Treasurer Vice President & Secretary John Q. Adams James Barr Ames Vice President, Ropes & Gray John Hancock Mutual Life Insurance Co. Edward L. Emerson Scudder, Stevens & Clark Samuel Cabot President, Samuel Cabot, Inc. John B. Gray Robert W. Emmons, Jr. Vice President, Dennison Palmer & Dodge Manufacturing Co. Henry R. Guild Francis W. Hatch, Jr. Herrick, Smith, Donald, Beverly Farms, Mass. Farley & Ketchum George S. Johnston Albert B. Hunt Scudder, Stevens & Clark Trustee New York, New York Ronald T. Lyman, Jr. Scudder, Stevens & Clark Malcolm D. Perkins Herrick, Smith, Donald, Philip H. Theopold Farley & Ketchum Chairman of Exec. Comm. Real Estate Investment Robert G. Wiese Trust of America Scudder, Stevens & Clark We act as Trustee, Executor, Agent & Custodian 1251 Variations on a theme byPastene. Pastene e nobile Aimez-vous Pastene? Le Nozze di Pastene Bolla Valpolicella. 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Next time you run ( WASHINGTON JV HOUSE into me (even during Intermission) SBL RESIDENTIAL HOTEL GRACIOUS RETIREMENT LIVING IN ONE OF THE EARLY 1900's MOST BEAUTIFUL MANSIONS Don't tell me where you've just come back from 600 WASHINGTON STREET ... or where you're WELLESLEY, MASSACHUSETTS 237-3636 going next — IF you haven't gone or aren't planning to go with the help of GARBER TRAVEL. I work for them. Call me. The number is 566-2100. And ask for Bernie. It's no bother. Honestly. Boston for lovers, si gourmets, photographers, history buffs, sports nuts, shoppers, and kids who I ike to ride in elevators. TheSkywalk. 50 stories high in the Prudential Building. 9 a.m. to midnight, weekdays. 1 to 11 p.m. Sundays. Adults 75 cents, children (under 13) 25 cents, under 6 free. Call 236-3313 for information and group rates. JOHANNES BRAHMS Symphony no. 1 in C minor op. 68 Program note by John N. Burk Brahms was born in Hamburg on May 7 1835; he died in Vienna on April 3 1897. He started sketches on the First symphony in 1856 and completed the work twenty years later. Felix Dessoff conducted the premiere on November 4 1876 at Karlsruhe. Georg Henschel conducted the first performance by the Boston Sym- phony Orchestra on December 9 1881. The most recent performances in this series were given on April 26 and 27 1968; Erich Leinsdorf conducted. The instrumentation: 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, contra bassoon, 4 horns, 2 trumpets, 3 trombones, timpani and strings. There are two recordings of the First symphony by the Boston Symphony Orches- tra available on the RCA labels: the first is conducted by Charles Munch, the second, and more recent, by Erich Leinsdorf. It is not without significance that Brahms required twenty years to complete his First symphony and that only in his forty-second year was he ready to present it for performance and public inspection. An obvious reason, but only a contributing reason, was the composer's awareness of a skeptical and in many cases a hostile attitude on the part of his critics. Robert Schumann had proclaimed him a destined symphonist, thereby putting him into an awkward position, for that was in 1854 when the reticent composer was young, unknown, and inexperienced. When two years later he made his first sketch for a symphony he well knew that to come forth with one would mean to be closely judged as a 'Symphoniker', accused of presuming to take up the torch of Beethoven, whose Ninth symphony had in the course of years had nothing approaching a successor. Brahms was shaken by this thought. The most pronounced skeptics were the Wagnerians who considered the symphonic form obsolescent. A symphony by Brahms would be a challenge to this point of view. Brahms, hesitant to place a new score beside the immortal nine, was nevertheless ambitious. His symphonic thoughts inevitably took broader lines, sturdier sonorities, and more dramatic proportions than Schubert's, Schumann's or Mendelssohn's. He approached the form cautiously and by steps, not primarily because he feared critical attack, but because, being a thorough self-questioner, he well knew in 1856 that he was by no means ready. As it turned out, twenty years was the least he would require for growth in character, artistic vision, craft. These twenty years give us plentiful evidence of such growth. From the point of view of orchestral handling, the stages of growth are very clear indeed. His first orchestral scores, the two serenades (1857-1859), were light-textured, of chamber proportions as The exhibition on view in the Gallery is loaned by the Boston Watercolor Society. It will continue through Thursday April 1. 1257 if growing from the eighteenth century. The D minor Piano concerto, completed after a long gestation in 1858, had grandeur of design, was at first intended as a symphony, and became in effect a symphonic concerto, a score in which the composer could not yet divorce himself from the instrument of his long training to immerse himself entirely in the orchestral medium. The Haydn Variations of 1873 show that he had by this time become a complete master of orchestral writing but indicate that he was not yet ready to probe beneath the surface of agreeable and objective lyricism. Nevertheless the earlier Brahms of 1856, the Brahms of twenty-three, was already the broad schemer whose tonal images were often dark, often wildly impetuous. He was then in his 'storm and stress' period, when he was deeply disturbed by the misery of the Schumann couple whom he loved, anxious for the master in the last stages of his insanity, concerned for the distraught 'Frau Clara'. This was the openly romantic Brahms who had not yet acquired a sobering reserve in his music, who was at the moment looked upon hopefully by Liszt as a possible acquisition for his neo-German stronghold at Weimar. This violent mood found expression in the D minor Piano concerto, first conceived as a symphony in 1854. Two years later, similarly inclined, he sketched what was to be the opening movement of the C minor Symphony. The Concerto required four years to find its final shape. The Symphony took much longer because the composer had far to go before he could satisfy his own inner requirements. Another composer would have turned out a succession of symphonies reflecting the stages of his approach to full mastery. Brahms would not commit himself. It was not until 1872 that he took up his early sketch to re-cast it. He composed the remaining three movements by 1876. The Symphony thus became a sort of summation of twenty years of growth. Some of the early stormy mood was retained in the first move- ment. The slow movement and scherzo with their more transparent coloring were a matured reflection of the lyric Brahms of the orchestral variations. The finale revealed the Brahms who could take fire from Beethoven's sweep and grandeur and make the result his own. In the same tonality as the Fifth symphony, Brahms' First begins darkly, proceeds with dramatic power, and in the last movement emerges Beethoven-wise, in a resplendent C major. Brahms was aware that there would be derisive comparisons. He knew that the broad hymn-like C major theme would be called an imitation of the theme of Beethoven's 'Ode to joy'. The character was similar, the shape of the notes was not. He faced such comparisons knowing that his Sym- phony followed but did not imitate Beethoven — its strength was his own. Its strength was also the strength of integration, so pervasive that the movements, traversing the earlier and the intermediate Brahms, became a coherent unity. Brahms first yielded the manuscript of his Symphony to Otto Dessoff in Karlsruhe on its completion in 1876, to give himself a preliminary sense of reassurance. He sought the favorable setting of a small com- munity, well sprinkled with friends, and nurtured in the Brahms cause. 'A little town,' he called it, 'that holds a good friend, a good conduc- tor, and a good orchestra.' Brahms' private opinion of Dessoff, as we 1258 know, was none too high. But Dessoff was valuable as a propagandist. He had sworn allegiance to the Brahms colors by resigning from his post as conductor of the Vienna Philharmonic because Brahms' Sere- nade in A major was refused. A few years before Dessoff at Karlsruhe, there had been Hermann Levi, who had dutifully implanted Brahms in the public consciousness there. The audiences at Karlsruhe very likely felt honored by the distinction conferred upon them — and were in equal degree puzzled by the Symphony itself. Brahms himself conducted the Symphony in Mannheim a few days later, and shortly afterwards in Munich, Vienna, Leipzig and Breslau. There was no abundance of enthusiasm at these early performances, although Karlsruhe, Mannheim and Breslau were markedly friendly. In Leipzig a group of resident adherents and such loyal visitors from elsewhere as Frau Schumann, Joachim, and Stockhausen gave weight to the occasion, established at a general rehearsal, and sealed by a post- concert banquet. In Vienna the work got, on the whole, good notices. In Munich considerable hostility was to be expected, for Munich had become a Wagnerian redoubt. Kalbeck hazards that the applause was 'an expression of relief when it had at last ended. The Symphony reached England where it was heard in Cambridge and London under Joachim in the following spring. Brahms had by then won public esteem, having proved his choral ability with A German Requiem, and had enjoyed marked success with smaller works. A full-sized symphony was regarded as a real test. Many found a stumbling block in the First symphony, and these included some of Brahms' friends, who spoke of disunity in it, and disharmony. Even Florence May, his adoring ex-pupil and biographer, wrote of 'shrill, clashing dissonances' in the introduction. Levi, the conductor who had been his loyal promoter as conductor at Karlsruhe, found the middle movements out of keeping with the more weighty and solidly scored first and last. Only Hans von Bulow among the current con- ductors was an unqualified enthusiast. Time has long since dissolved lingering doubts and vindicated the initial judgment of the Sym- phony's creator. No doubt the true grandeur of the music, now so patent to everyone as by no means formidable, would have been generally grasped far sooner, had not the Brahmsians and the neo- Germans immediately raised a cloud of dust and kept their futile controversy raging for years. The First symphony soon made the rounds of Germany, enjoying a particular success in Berlin, under Joachim (November 11 1877). In March of the succeeding year it was also heard in Switzerland and Holland. The manuscript was carried to England by Joachim for a performance in Cambridge (March 8 1878) and another in London in April, each much applauded. The first performance in Boston had taken place January 3 1878, under Carl Zerrahn with the Harvard Musical Association. When the critics called it 'morbid', 'strained', 'unnatural', 'coldly elaborated', 'depressing and unedifying', Zerrahn, who like others of his time knew the spirit of battle, at once announced a second performance for January 31. Georg Henschel, an intrepid friend of Brahms, performed the C minor Symphony with other works of the composer in the Boston Symphony Orchestra's first year. 1259 Still more ink has been expended on a similarity admitted even by Florence May between the expansive and joyous C major melody sung by the strings in the Finale, and the theme of the Ode to Joy in Beethoven's Ninth. The enemy of course raised the cry of 'plagiarism'. But a close comparison of the two themes shows them quite different in contour. Each has a diatonic, Volkslied character, and each is intro- duced with a sudden radiant emergence. The true resemblance between the two composers might rather lie in this, that here, as patently as anywhere, Brahms has caught Beethoven's faculty of soaring to great heights upon a theme so naively simple that, shorn of its associations, it would be about as significant as a subject for a musical primer. Beethoven often, and Brahms at his occasional best, could lift such a theme, by some strange power which entirely eludes analysis, to a degree of nobility and melodic beauty which gives it the unmistakable aspect of immortality. THE GUEST CONDUCTOR RAFAEL KUBELIK, Music Director and Con- ductor of the Bavarian Radio Orchestra in Munich, appeared most recently with the Boston Symphony Orchestra during 1967. Born in Czechoslovakia in 1914, he began violin lessons with his father, the famous virtuoso Jan Kubelik, later studying compo- sition, violin, piano and conducting at the Prague Conservatory. For two years he joined his father for violin and piano recit- als in Europe and the United States, then in 1936 was appointed Music Director of the Czech Philharmonic Orches- tra, a post he held for twelve years. From 1939 to 1941 he was also Music Director of the Opera House in Brno. In 1948 he left Czechoslovakia after the political coup d'etat, and has since refused to revisit his native country. From 1950 to 1953 Rafael Kubelik was Music Director of the Chicago Symphony, then became Music Director of the Royal Opera House, Covent Garden, from 1955 to 1958. In 1961 he was appointed to the position in Munich which he now holds. Meanwhile Rafael Kubelik has appeared regularly at the chief Euro- pean music festivals, and has been guest conductor with the world's great orchestras, among them the Berlin Philharmonic, the Vienna Philharmonic, the Concertgebouw, the Royal Philharmonic, the New York Philharmonic, the Los Angeles Philharmonic, the Pittsburgh Sym- phony, the Philadelphia and the Cleveland Orchestras. During the 1968-1969 season he returned to the United States to tour with the Bavarian Radio Orchestra. Rafael Kubelik is also a composer. He has written several operas and a variety of instrumental pieces. In August 1962 he conducted the premiere of his Requiem, dedicated to the memory of his late wife. He records for Deutsche Grammophon. Rafael Kubelik is now married to the distinguished singer Elsie Morison, and makes his home in Lucerne, Switzerland, with his family. 1260 Cadillac Motor Car Division Wouldn't you know who'd play the lead! A SELECTION OF RECORDINGS BY THE BOSTON SYMPHONY ORCHESTRA under the direction of WILLIAM STEINBERG SCHUBERT LSC Symphony no. 9 in C 3115 under the direction of ERICH LEINSDORF DVORAK Symphony no. 6; Slavonic dances no. 2 and 8 3017 HAYDN Symphony no. 93; Symphony no. 96 'The Miracle' 3030 MENDELSSOHN Incidental music to A midsummer night's dream 2673 (Peardon, Metropolitan Opera Chorus) MOZART Symphony no. 36 'Linz'; Symphony no. 39 3097 Symphony no. 41 The Jupiter'; Eine kleine Nachtmusik 2694 Requiem Mass (for President John F. Kennedy) (2 records) 7030 RAVEL Piano concerto in G (Hollander) with 2667 DELLO JOIO Fantasy and variations STRAUSS Ein Heldenleben 2641 Salome excerpts; Egyptian Helen excerpts (Price) 2849 STRAVINSKY Firebird suite with 2725 RIMSKY-KORSAKOV 'Le coq d'or' suite TCHAIKOVSKY Piano concerto no. 1 (Rubinstein) 2681 Piano concerto no. 1 (Dichter) 2954 Violin concerto (Perlman) with 3014 DVORAK Romance (Perlman) THE BOSTON SYMPHONY ORCHESTRA 7040 ON MB/A] 1262 I o ONm i oo 0) c o a H (N 3 GO (U O K c o X GO GOW z I— z < < 1263 WMKKMM PIANIST lily Oralis IN RECITAL Friday, March 26 8:00 P.M. MERRIMACK COLLEGE Reserved Seats $3.00 MAIL ORDERS: Box 893, Merrimack College No. Andover, Mass. 01845 INFORMATION: 688-6175 STEREO 8 TAPES BY THE BOSTON SYMPHONY ORCHESTRA under the direction of ERICH LEINSDORF BEETHOVEN Symphony no. 3 'Eroica' R8S-1058 Leonore Overture no. 3 BRAHMS Symphony no. 1 R8S-1030 BRAHMS Symphonies nos. 3 and 4 R8S-5055 MAHLER Symphony no. 1 R8S-1080 THE BOSTON SYMPHONY ORCHESTRA ON DUCBZ/D 1264 — No wine is as RECORDINGS BY THE beautiful as the BOSTON SYMPHONY Cavatina from CHAMBER PLAYERS and Beethoven's Opus 130 CLAUDE FRANK guest artist with notes and commentary by . . . but the comparison is less PETER USTINOV shocking than it seems. ALBUM ONE Some wine comes remarkably close. BEETHOVEN Serenade in D op. 25 Each plot of land, each BRAHMS grape variety, each method Piano quartet in C minor op. 60 of vinification gives its own CARTER character to the wine it Woodwind quintet produces. Some of the loveliest COPLAND countryside of Europe is Vitebsk concealed within each bottle. FINE Fantasia for string trio If you are interested in MOZART discussing the expressive Flute quartet in D K. 285 qualities of wine, come to see us at the Wine Cask. Or if ALBUM TWO' you want to talk about late Beethoven quartets, we BRAHMS that too. Horn trio in E flat op. 40 do COLGRASS We may be lyrical about wine, Variations for four drums and viola but we provide sound value HAIEFF as well. We offer the largest Three bagatelles for oboe and bassoon selection of fine wines in New MOZART England tfes bon march^. Piano quartet in G minor K. 478 Quintet for piano and winds For a copy of our new wine in E flat K. 452 list, please send us your POULENC name and address, or call us Trio for oboe, bassoon and piano (1926) at 623-8656. SCHUBERT String trio no. 1 in B flat VILLA-LOBOS Bachianas Brasileiras no. 6 for flute and bassoon DQfJBdD 407 Washington Street Somerville, Mass. 02143 . "Excellent before. . better now." -N. Y. Times Book Review "Home offine luggage, Harvard leather goods, and gifts - for Dictionary nearly 200 years" Of" Second Edition, Revised W.W. WINSHIP and Enlarged. Willi Apel. 372 Boylston Boston Illustrated. 3rd large printing. $20.00 at Wellesley Northshore bookstores Belknap Press HARVARD UNIVERSITY PRESS FOR INFORMATION ABOUT SPACE AND RATES IN THE BOSTON SYMPHONY ORCHESTRA'S PRO- GRAMS CALL CARL GOOSE AT MEDIAREP CENTER INC, 1127 STATLER OFFICE BUILDING, BOSTON, MASSACHUSETTS 02116, TELEPHONE (617) 482-5233 MALBEN'S THE "COMPLETE" GEO. H. ELLIS CO. GOURMET SHOPPE 100 NATURAL CHEESES FRESH CAVIAR PRIME MEATS FANCY FRUITS & mce VEGETABLES 270 Congress St., Boston, Mass. LI 2-7800 158 Massachusetts Ave., Boston OFFSET LITHOGRAPHY • BINDING Free Delivery 266-1203 1266 CONCERT POSTPONEMENTS There have been very few occasions in the history of the Boston Sym- phony Orchestra when it has been necessary to postpone a concert because of inclement weather or a mishap like the power failure in November 1965. Today most of the Orchestra's many subscribers and the players themselves live some distance from Symphony Hall, and travel many miles, usually by automobile, to the concerts. When there is a winter storm and the traveling becomes difficult, the switchboard at Symphony Hall is swamped with calls about the possibility of a postponement. To make it easier to discover what plans the Orchestra has made, sev- eral radio stations in the Boston area have kindly offered to broadcast any notice of a change in the concert schedule. If you are in any doubt about a concert's taking place, please tune to one of the following radio stations rather than call Symphony Hall. These stations will announce the Orchestra's plans as soon as a decision has been made. WBZ 1030 kc AM WCRB 1330 kc AM and 102.5 mc FM WEEl 590 kc AM and 103.3 mc FM WEZE 1260 kc AM WHDH 850 kc AM and 94.5 mc FM WRKO 680 kc AM Boston's Biggest Art Print Shop 9 isn t in Boston ! Ws in Harvard Square, Cambridge. dgfb READING DYNAMICS INSTITUTE (offices in major cities throughout the world STOP READING THE WAY THEY DID 100 YEARS AGO (Your time is too valuable) • Classes begin monthly. • Special group classes are now being conducted on the premises of businesses, industries and schools. For information call 536-6380 "MY AVERAGE STUDENT READS 4.7 TIMES FASTER THAN HIS STARTING SPEED" BOSTON / 17 Arlington St. •PROVIDENCE / lODorrance St. / Suite 644 SPONSOR: JOHN W. KILGO ASSOCIATES, INC. 1268 TICKET RESALE AND RESERVATION PLAN Symphony Hall has 2631 seats available for each concert during the winter season. There are more than two million people living in the Boston area, many of whom want to hear the Orchestra in concert, but can only make an occasional visit to Symphony. You, as a subscriber, can help. If you cannot come to a concert in your series, please avoid leaving your seat empty. You help yourself, you help the Orchestra, you help the other members of the community, by releasing your ticket for resale. You help yourself, since you receive by mail a copy of the program book of the concert you miss, and a written acknowledgment of your gift to the Orchestra, which can be claimed as a tax deduction. You help the Orchestra, since if your ticket is resold, the added income helps to reduce the annual deficit. (Last year the Orchestra benefited by more than $10,000 from this scheme.) You help the community by making it possible for those who cannot buy complete subscriptions to obtain single tickets. All you need do is telephone Symphony Hall (266-1492), and give your name and seat location to the switchboard operator. Your ticket will then become available for resale. TO RESERVE TICKETS Those who wish to obtain tickets for a specific concert should telephone Symphony Hall (266-1492) and ask for 'Reservations'. Requests will be handled in the order in which they are received. Since the manage- ment has learned by experience how many returned tickets to expect, no reservation will be confirmed unless the caller can be assured of a seat. Tickets ordered in this way may be bought and collected from the box office on the day of the concert two hours before the start of the program. Tickets not claimed half an hour before concert time will be released. KEnmore 6-1952 The Mariachis from Mexico City are back again to open Boston's newest Supper Club. Entertainment nightly except Monday finer f u r s from 8 P.M. to 1 A.M. With the same excellent food and service, a restau- rant with great atmosphere for dining and dancing. Special Newbury Street Eighteen late-nite menu from 10 P.M. to midnight. Cover charge: $1.25 from 9 P.M. til midnight. Boston, Mass. Sat. from 8 P.M. 491-3600 / Free parking <^ «fc THE QUINCY la maisonette CO-OPERATIVE BANK the little house of many designers 115 newbury street, boston personally selected fashions SPECIALIZING IN for SAVINGS AND HESLIP E. SUTHERLAND town and HOME FINANCING President country QUINCY HANOVER ADELSON GALLERIES, INC. FINE PAINTINGS OF THE NINETEENTH AND TWENTIETH CENTURIES 154 NEWBURY STREET Boston (617)266-6631 1270 A SELECTION OF RECORDINGS BY THE BOSTON SYMPHONY ORCHESTRA under the direction of ERICH LEINSDORF BRAHMS LSC " Symphony no. 1 2711 Symphony no. 2 2809 Symphony no. 3; Tragic Overture 2936 Symphony no. 4 3010 The four symphonies (boxed edition) (three records)s) 6186 Piano concerto no. 1 (Cliburn) 2724 Piano concerto no. 1 (Rubinstein) 2917 Ein deutsches Requiem (Caballe, Milnes, New England Conservatory Chorus) with records 7054 Four serious songs (Milnes, Leinsdorf piano) BRUCKNER Symphony no. 4 'Romantic' 2915 MAHLER Symphony no. 1 2642 Symphony no. 3 (Verrett, New England Conservatory Chorus, 7046 Boston Boychoir) (2 records) Symphony no. 5 with 7031 BERG Wozzeck excerpts (2 records) Symphony no. 6 with 7044 BERG Le vin (Curtin) (2 records) TCHAIKOVSKY Piano concerto no. 1 (Rubinstein) 2681 Piano concerto no. 1 (Dichter) 2954 Violin concerto (Perlman) with 3014 DVORAK Romance (Perlman) WAGNER Leinsdorf conducts Wagner 3011 Lohengrin (Konya, Amara, Gorr, Dooley, Hines, Chorus pro Musica) (5 records) 6710 THE BOSTON SYMPHONY ORCHESTRA ON MB/A] FUTURE PROGRAMS Friday afternoon March 26 1971 at 2 o'clock Saturday evening March 27 1971 at 8.30 MICHAEL TILSON THOMAS conductor SHERMAN WALT bassoon BRAHMS Tragic overture op. 81* COPLAND 'Appalachian spring' MOZART Bassoon concerto in B flat K. 191 MOZART Symphony no. 31 in D K. 297 'Paris' Next week the Orchestra makes its final regular tour of the season. Rafael Kubelik will conduct a concert in Washington D C on Monday; then on the following days Michael Tilson Thomas will conduct in Washington, in Philharmonic Hall and Carnegie Hall in Manhattan, and in Brooklyn. The next concerts in the Friday-Saturday series will be in two weeks time. Four years separate Mozart's Bassoon concerto and 'Paris' Symphony. He composed the concerto at the age of eighteen, probably for an amateur bassoonist named Thadaeus von Durnitz. The symphony, a remarkable work for a twenty-two year old, was written specifically for the orchestra of the Concert spirituel in Paris, with the tastes of the Parisian audience in mind. It is brilliant, witty and concise. The score of Appalachian spring was completed in 1944 for Martha Graham. The ballet depicts a pioneer celebration in the spring of a year in the early nineteenth century. The scene is a newly-built farmhouse in the Pennsylvania hills. One critic has described Aaron Copland's music as 'perhaps one of the most beautiful works from his pen'. Friday's concert in two weeks will end about 3.40; Saturday's about 10.10. 1272 FUTURE PROGRAMS Wednesday evening March 31 1971 at 8.30 (Saturday series) Thursday afternoon April 1 1971 at 2 o'clock (Friday series) WILLIAM STEINBERG conductor JOHN BROWNING piano HINDEMITH Konzertmusik for strings and brass op. 50 MOZART Piano concerto in E flat K. 271 SCHULLER Five bagatelles BEETHOVEN Symphony no. 5 in C minor op. 67* programs subject to change BALDWIN PIANO DEUTSCHE GRAMMOPHON AND RCA* RECORDS APPEARANCE BY A MEMBER OF THE ORCHESTRA Gerald Gelbloom will give, with pianist Kenneth Wolf, the last of three recitals devoted to the sonatas for piano and violin of Beethoven on Friday March 26. The concert, which begins at 8.30 pm, will be held at the Pickman Concert Hall, Longy School of Music, Cambridge. 1273 ) 156th season handel and hayon society Thomas Dunn, Music Director Saturday, March 20, 1971 8:00 p.m., Symphony Hall Fleuriste Francais HAYDN THE SEASONS (complete, in German, full orchestra) Diane Higginbotham, soprano Charles Bressler, tenor 34 CHARLES STREET Ara Berberian, bass Tickets at Symphony Hall Box Office Est. 1891 BOSTON, MASS. Prices: $7.00, $6.00, $5.00, $4.00, $3.00. Further information: Handel and Haydn Society (536-2951 Tel. CA 7-8080 BOSTON Tel. 742-4142 MERCHANTS CO-OPERATIVE BANK Conveniently located 125 Tremont at Park Street Boston WHERE YOU ARE ALWAYS WELCOME |pok art's TO SAVE MONEY Internationally Famous Deposits accepted up to Italian Restaurants $40,000 ALL ACCOUNTS INSURED IN FULL NO NOTICE REQUIRED HYANNIS Tel. 775-6700 THE BUCKINGHAM CORPORATION, IMPORTERS • NEWYORK, N.Yi~ • DISTILLED AND BOTTLED IN SCOTLAND • BLENDED 86 PROOF BEETHOVEN RECORDINGS BY THE BOSTON SYMPHONY ORCHESTRA under the direction of ERICH LEINSDORF LSC Symphony no. 1 / 3098 Symphony no. 8 ) Symphony no. 2 / 3032 Music from The creatures of Prometheus' ) Symphony no. 3 'Eroica' 2644 Symphony no. 4 3006 Leonore Overture no. 2 \ Symphony no. 6 3074 Symphony no. 7 2969 Symphony no. 5 Symphony no. 9 (Marsh, Veasey, Domingo, Milnes, Chorus Pro Musica, New England >2 records 7055 Conservatory Chorus) with SCHOENBERG'S A survivor from Warsaw Piano concerto no. 1 (Rubinstein) 3013 Piano concerto no. 3 (Rubinstein) 2947 Piano concerto no. 4 (Rubinstein) 2848 Piano concerto no. 5 'Emperor' (Rubinstein) 2733 under the direction of CHARLES MUNCH Violin concerto (Heifetz) 1992 Victrola Symphony no. 5 1035 with SCHUBERT'S Symphony no. 8 Symphony no. 9 (Price, Forrester, Poleri, ) Victrola Tozzi, New England Conservatory Chorus) \l records 6003 Overtures: Fidelio, Leonore no. 3, Coriolan THE BOSTON SYMPHONY ORCHESTRA ON M&IB 1275 ssxstfteMt-r The sophisticated saloon from the Victorian era. Enjoy your favorite libation, while Gladys Toupin tenderly tickles the ivories. Nightly. At Boston's most convenient meeting place THE LENOX Boylston at Exeter St (Next time you are coming to Symphony, dine at Delmonico's . . . we'll park your car and give you a ride to Symphony Hall in our 1938 Rolls Royce or London Taxi.) ill DAVID and JOSEFS HAUTE CUISINE ffimm mmt Parties with a European Touch mmmmmmm French - Viennese - Hungarian ranmmmm From the simplest to the most elegant, HIHIfflmmmm the smallest to the largest function imiihimmmm Full Hostess Service CALL Turner 9-2973 mmmmmmi we repeat stands for T.O.METCALFCO.PRINTERS 51 MELCHER STREET BOSTON MA 02210 HIGH SAVINGS SAVINGS INSURED By U.S. Gov't annual rate INTEREST Agency $100,000 CERTIFICATES minimum CHOICE OF SAVINGS 1-3 years 0/n 2-10 years 0/n 110 years ,u $1,000 minimum 5*9•^ 10 $1,000 minimummil 0/0 Regula m Of 90 Day Notice 1 1/ 10 PassbookPacchnnk AccountArrt /** Savings 4 No Notice Required after the First 90 Days HOME OWNERS FEDERAL SAVINGS and Loan Association - 21 Milk St.. Boston. Mass. - Phone HU 2-0630 DORCHESTER OFFICE: 347 WASHINGTON STREET - PHONE CO 5-7020 1276 MUSICAL INSTRUCTION IRMAROGELL HARPSICHORD 31 DEVON ROAD, NEWTON CENTRE, MASS. 332-9890 RUTH SHAPIRO KATE FRISKIN PIANIST • TEACHER Pianist and Teacher 1728 BEACON STREET 8 Chauncy Street BROOKUNE, MASSACHUSETTS Cambridge, Massachusetts Telephone REgent 4-3267 ELiot 4-3891 EDNA NITKIN, M.MUS. PIANO Telephone: 88 EXETER STREET KEnmore 6-4062 COPLEY SQUARE, BOSTON Voice Studios MARGOT WARNER, Soprano VOICE TECHNIQUE -- LANGUAGES — REPERTOIRE June through August Summer and Winter 189 John Wise Avenue {Route 133] 2 Symphony Road Essex, Mass. 01929 Boston, Mass. 02115 (617) 768-6853 (617) 267-0332 GIUSEPPE de LELLIS - PIANO Will accept a limited number of students for 1971 Grad. of Longy School. Fours years in Fontainebleau, Paris, London. Isidore Philipp, Tobias Matthay, Sanroma Soloist Boston Pops Tel. 332-3336 27 Harding St., W. Newton 02165 RUTH POLLEN GLASS MINNIE WOLK Teacher of Speech PIANIST and TEACHER • in Industry • in Education New Studio Location • in Therapy • in Theatre 108 Pelham Hall 1284 Beacon St. Near Harvard Square Kl 7-8817 Brookline, Mass., Tel: 232-2430 & 734-1734 LUCILLE MONAGHAN Pianist and Teacher Now Accepting Limited Number of Students 46 The Fenway KE 6-0726 The best wayto get the news out of Washington is to get someone in. The Globe is the only Boston newspaper that has a five-man, hill-time staff of reporters in Washington. We could get the faets from the wire ser- v ices, hut we want you to have more than the facts. We want to give you a feeling for the news that vou can onh get from someone who's watching it happen. The ( \ lobe reporter who covers the Supreme Court is a lawyer. lie doesn't just take notes on decisions. He reads briefs. The Globe reporter who covers the Sen- ate uncovered auto-repair rackets in-this state that might have cost you hundreds of dollars. And the chief of our Washington Bureau puts it all together in the best sense possible, by relating how what happens in Washington affects the rest of the country. We could sit back and wait for the news from Washington. But we think it's better if we go and get it ourselves. TheBostonGlobe puts it all together. 1970-71 BOSTON UNIVERSITY CELEBRITY SERIES k Walter Pierce, Managing Director Mrs. Aaron Richmond, Consultant THIS SAT. EVE., SUN. AFT., MAR. 13-14 • JORDAN HALL EMLYN WILLIAMS AS "CHARLES DICKENS" The celebrated Welsh actor's famous impersonation of the great author. "Master of acting. Acting in the grand manner! He draws living portraits in the words, finds humor or the pathos in the key phrases." — New York Times Remaining Tickets at Box-office THIS SUN. MAR. 14 at 3 • SYMPHONY HALL VIENNA CHOIR BOYS Program includes "Hansel and Gretel" in Costume WED. & THURS. EVES., MAR. 17, 18 • SYMPHONY HALL MAZOWSZE Poland's Renowned Song and Folk Dance Company of 700 Tickets Now at Box-office SUN. MAR. 21 at 3 SYMPHONY HALL BYRON JANIS Distinguished American Pianist Haydn, E flat major Sonata; Mendelssohn, Two Songs Without Words; Chopin, Two Waltzes & Sonata in B flat minor, Op. 35; Debussy, Three Preludes; Scriabin, Sonata No. 10, Opus 70 and Nocturne for the Left Hand; Prokofieff, Toccata, Op. 11. Tickets Now at Box-office BALDWIN PIANO FRI. EVE. MAR. 26 • JORDAN HALL GUARNERI STRING QUARTET Mozart, Quartet in D Minor, K. 421; Dohnanyi, Serenade for String Trio, Op. 10; Debussy, Quartet in G Minor, Op. 10. Tickets Now at Box-office SUN. MAR. 28 at 3 • SYMPHONY HALL LEONTYNE PRICE World Famous Soprano in Recital Program of Songs and Arias OFFICIAL PIANO Boston Symphony Orchestra The Sound Investment for Your Child Baldwin Piano & Organ Company 160 Boylston Street • Boston, Massachusetts 02116 BALDWIN Telephone: 426-0775 PIANOS • ORGANS mJm