NEW HAVEN SYMPHONY

. FRANK BRIEFF, MUSIC DIRECTOR

WOOLSEY HALL CONCERT SERIES

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}W^ New Haven Symphony Orchestra OFFICERS 1973-4 Season Louis L. Hemingway, Jr., President Anthony V. DeMayo ^EXT CONCERT First Vice President Brooks Shepard, Jr., Second Vice President Robert C. French, Treasurer Elizabeth Harvey, Secretary Mrs. Christopher Tunnard ^""^ Recording Secretary fj^ C. Cannon %^ Beekman President Emeritus T^ VICE PRESIDENTS ^'jI^^^ Mrs. Arnold M. Baskin Herman Copen James Greenfield Mrs. Richard L. Jacobs Mrs. Donald F. Keefe W Mrs. William B. McAllister James M. Osborn William Waite DIRECTORS TO 1974 Mrs. Charles Brennan III Mrs. George Conklln Paul V. Elsberry, Jr. J John D. Kernan Mrs. Harold Lemkin Mrs. Herman Liebert Mrs. Carleton F. Louc:ks LowRY Nelson, Jr. Mrs. Shih Chang Shen YOUNG PEOPLE'S CONCERT SERIES Mrs. Raynham Townshend, Jr. DIRECTORS TO 1975 SATURDAY — FEBRUARY 9th Mrs. Michael L. Adley Spencer M. Berger Performances at 1 and 3 p.m. Mrs. Jean Boorsch Joel Cohn Lyman Auditorium Philip Nelson Helen H. Roberts (on the campus of Southern Connecticut State College) Oyarma Tate G. Harold Welch, Jr. Tickets: $1.50 (child or adult) for 3 P.M. only Kenneth A. Wendrich Available at the New Haven Symphony Office, DIRECTORS TO 1976 254 College Street, Room 412 Mrs. Robert Adnopoz Leroy Anderson weekdays — 10 to 4 p.m. H. Langedon Bell Donald R. Eglee Mail orders accepted please include self-addressed, Dr. William Lattanzi Mrs. Charles W. Morgan stamped envelope. Dr. Irving Polayes John B. Stevens GUEST ARTISTS: GuRDON B. Wattles PICKWICK PUPPET THEATRE Paul D. Wingate HONORARY DIRECTORS Mrs. James Rowland Angell PROGRAM Mrs. Edward G. Armstrong Mrs. Kingman Brewster, Jr. Scheherazade Rimsky-Korsakov Mrs. Lewis P. Curtis Josephine B. Foster Mrs. a. Whitney Griswold Mrs. Frederick W. Hilles Mrs. C. Beecher Hogan Mrs. John Day J.\ckson Lionel S. Jackson Earle E. Jacobs TABLE OF CONTENTS Judge Herbert S. MacDonald .\I Ks. Hugh CALuwELL-Secre««r[/ Mrs. Louis Nahum M ^s. John Cordes— Boo/c/cee);er RnarH nf Dirertors 3 ' i«. Frank ORUAN-C/er/c Mrs. Quincy Porter M Artist Biographies 8 Welch, Sr. G. Harold Programs: February 5 5 MUSIC DIRECTOR Programs: February 19 7 Frank Brieff Calendar of Events 16 DIRECTORS EX OFFICIO Mrs. Herman Copen For inforniation concerning acKcrtising in the program, please President, Auxiliary contact Mrs. Caldwell, at tlie S)inphon\- Office, 776-1444 Mrs. J. Sprightly Kelly Chairman, Young People's Concerts R.VTES: ONE ISSUE -6M COPIES Mrs. Alan Lichtenstein Full page - $100 Chairman, Register Sujwlement Half page — $ 75 Harold Kendrick, Manager ;/> column — 45 Doris Cousins, Assistant Manager $ ORCH. REPRESENTATIVES OPUS 1, Volume 5, No. 3 DECEMBER 1973 Daniel Stepner Susan Poliacik 1

The Man Who Thought He Couldn't Own a Steinway.

To him it had always been "the only piano." Yet, a little voice in the back of his head kept whispering, "You can't afford it." Then one day he sharpened a pencil, quieted the voice in the back of his head, and did some serious figuring. To his surprise he discovered that the Steinway" was not too much more expen- sive than the piano he'd been considering. Which didn't have the tone of a Steinway. Or the Steinway touch.- It didn't have Steinway's Hexagrip Wrestplank. Or Steinway's Diaphramatic" Soundboard. Or any of the exclusive features that make a Steinway feel and sound like a Steinway. "I'm being penny-wise but pound-foolish," he cried. So he bought the Steinway he'd always wanted, which he and his wife and family are all enjoying. He has only one regret. "I should have done it years ago," he says.

EST 60 WHITNEY AVENUE DIAL 562-2166 '» € IL i N T€ N !> 1894 OPEN DAILY 9 TO 5:30 THURS. EVE. TILL 9 P.M. SYMPHONY PROGRAM NOTES

The New Haven Symphony Orchestra hy Paul Affelder

Excerpts from the Dramatic 80TH SEASON Symphony Romeo et Juliette, Op. .17

Fifth Concert HECTOR BERLIOZ Tuesday Evening, February 5, 1974 (Born December 11, 1803, in 8:30 p.m. La Cote-Saint-Andreo et Juliette;

died March 8, 1869, in Paris)

As early as 1821, Berlioz was FRANK BRIEFF formulating plans for a dramatic MUSIC DIRECTOR symphony on the subject of Shakes- peare's Romeo and Juliet. Six years JOHN NELSON later, when he first saw the Irish Guest Conductor actress Henrietta Smithson as Juliet, his imagination was further kindled. It was his wild infatuation for Miss ITZHAK PERLMAN, Violinist Smithson that inspired him to com- Guest Artist pose the Symphonic fantastique. It was this same Miss Smithson who later became his wife and who made his life miserable. And if the story is true, it was a certain per- formance of the Symphonic fantasti- que which was responsible for Berlioz's ultimate opportunity to compose Romeo et Juliette. Romeo and Juliet Berlioz In December 1838, so the story goes, the great violinist, Niccolo Introduction ( Combat-Tumult-Intervention of the Prince) Paganini, attended a performance Romeo alone — Melancholy-Distant sounds of music and dancing- of the Symphonic fantastique. He Great festivities in Capulet's palace was so moved by the music that he after the con- Starlight night — Capulet's garden — Love scene came up on the stage cert and in front of the entire Mab — Scherzo or Queen (Queen Mab The Dream Fairy) audience fell on his knees before the Romeo at the tomb of the Capulets — Invocation — Juliet's awakening — embarrassed Berlioz. The verv next Delirious joy, despair — Anguish and death of both the day, a messenger brought Berlioz a lovers draft for twenty thousand francs from Paganini. What has never INTERMISSION been determined is whether the money came from the notoriously tight-fisted violinist- himself or from Concerto for Violin and Orchestra in D Major, Op. 77 Brahms benefactor who, wishing ITZHAK PERLMAN some other to remain anonymous, presented it Allegro non troppo through Paganini. At any rate, the Adagio money enabled Berlioz to devote more than half a year without in- Allegro giocoso, ma non troppo vivace terruption to the composition of Romeo et Juliette, which he dedi- cated to Paganini. Berlioz worked on the score of Romeo et Juliette between January The New Haven Symphony Orchestra is a member of the and September 1839, and he himself American Symphony Orchestra League. conducted its first performance at the Paris Conservatory on Novem- To make your evenings more enjoyable and avoid disturbing our patrons, ber 24 of that year. On that occa- sion, there were 98 singers in the latecomers will not be seated while the performance is in progress. chorus and 160 instrumentalists in the orchestra. The use of cameras and tape recorders is strictly prohibited at Although Romeo et Juliette is a New Haven Symphony Orchestra Concerts. work of large proportions, complete with vocal soloists, chorus and or- (Continucd on page 13) The first in a series of case histories on how Second New Haven Bank works with businesses. 66'They kept the bank open on a holiday to get my payroll out on time.^^

Mr. Raymond Neal, Financial Manager, American Powdered Metals Company.

Q: American Powdered Metals me to ask them about helping us system is that you can grow into Company sounds like an exciting with other accounting problems. it. You only have to use what you need right now, and you place. What's it all about? Q: Like what? can add to it in the future. Mr. Neal: We make complex metal Mr. Neah Well, we were starting Has all of this parts for a whole variety of indus- from scratch on our accounting Q: saved you money? tries. We do this using a rather procedures. And the bank put me unique process of compacting in touch with Woody Stem at the Mr. Neah Let me say this: We powdered metals under pressure. Accounting Systems Corporation. didn't buy a computer, and one or Our trick is that we can make high We all worked together on how to two people are doing the work that quality parts more economically get the whole thing started. Every- it would normally take four or five than other processes. one had to get really involved in to do. Q: How's the company doing? our business. Within two months, Q: What was the real value of working with Second New Haven Mr. Neal: Well, it just changed over any other bank? hands last September and I was new on the job. Now we're really Mr. Neah That's a loaded question. growing fast, because we're in an But I can tell you this: You can get industry where technical ability is technical advice at a lot of places. What you can't always get is the important and that's where I think we've got the competitive edge. kind of support I get from Second New Haven. Q: Can you tell me something The people there are professional about how you got together with and they all they to help Second New Haven? do can if we have a problem, like one Mr. Neah The first thing I wanted time when the bank was closed was a payroll system. I went over lor President Johnson's funeral. I to see Bob Johnson at Second New had to get my payroll out. It was Haven's North Haven branch just on a Thursday and they came into to talk about it. We've got 200 em- work so they could get my payroll ployees here and before I knew it out on time. That kind of support we had my whole payroll system is what earns my respect. computerized in less than a week. That includes processing checks, Second New Haven likes to deductions of all kinds, W-2 forms Mr. Raymond NeoL hear this kind of talk. at the end of the year — the works. And we hope we had our accounts payable you do too. Is all that in pretty Q: doing a week completely computerized. I mean, I If you run a business, you need fast work? can pull out a complete reconcilia- a bank that will do more than just

Mr. Neah I'd say so. The man I tion of all our vendors' accounts in a good job. You need people who talked to at the bank was Pete two seconds. And I can see a com- want to mind your business as well Wilkinson. He's a real pro and plete breakdown of all expenses on as they mind their own. grasped the problem quickly. The a weekly basis. It's essential that That's what the people at actual system I worked out with a management be able to see our Second New Haven are all about. lady called Esther D'Albero. It was financial picture very quickly and Call Norm Skinner at 772-1500 and the willingness, ability, and real accurately, and that's what we can let's work together to make your interest everyone showed that led now do. Another advantage of the business work better. i Second Deuu Haven Bank Member FDIC . )

Tuesday evening, February 19, 1974 at 8:30 p.m.

Fifth Concert of the Woolsey Hall Concert Series Schubert, when Harold Kendrick, Manager he could not 1973-74 Season attain the peak he sought,

left unfinished his"Unfinished', Boston Symphony Orchestra We leave noth-

ing unfinished in Ninety-third Season finding, buying and selling houses. Peak per- COLIN DAVIS. Conductor formance.withnonotesskipped, no beats missed, nochords lost.

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* Overture to 'Coriolan', op. 62 Beethoven

Symphony No. 87 in A major . Haydn WOOLSEY PROGRAM NOTES Vivace Adagio hy John N. Burk

Menuet e trio Overture for Heinrich Joseph von Collin's tragedy 'Coriolan op. 62 Finale: Vivace LUDWIG VAN BEETHOVEN INTERMISSION 1770-1827 The tale of Coriolanus, as related by Plutarch, is in itself exciting dra- matic material (details of which Symphony No. 1 in E minor, op. 39 Sibelius have been questioned by histor-

ians . Coriolanus, according to Plu- Andante ma non troppo-allegro energico ) tarch, was a patrician general of the Andante ma non troppo lento Romans, a warrior of the utmost Allegro bravery and recklessness who, sin- gle-handed, had led Rome to vic- Finale (quasi una fantasia): andante-allegro molto tory against the neighboring Vols- cians. Rome was at this time torn by bitter controversy between the patricians and the plebeians who declared themselves starved and oppressed beyond endurance. Cor- iolanus, impulsive and overbearing, had scorned and openly insulted the populace in terms which roused Thomas D. Perry, Executive Director Jr., the general anger, and when the Thomas W. Morris, Manager military hero was pioposed as con- sul, the senate was swayed by the The Boston records exclusively for Symphony Orchestra Deutsche Grammophon popular clamor, and voted his per- BALDWIN PIANO manent exile from Rome in the year 491 B.C. Swept by bitterness and DEUTSCHE GRAMMOPHON & *RCA RECORDS desire for revenge, he took refuge Continued on page 18 ( ITZHAK PERLMAN. COLIN DAVIS, (February 5th, (February 19th, New Haven, Symphony) Woolsey Series). The artistry of Itzhak Perlman is Principal Guest Conductor of the known throughout the world. Every Boston Symphony Orchestra, is season since his 1964 Leventritt Musical Director of the Royal Opera Competition victory, he has returned House, Covent Garden. His to the major music capitals of the conducting career began in 1949, world for orchestral and recital and his early experience was with the appearances. This season he Kalmar Chamber Orchestra, the performs in more than fifty Chelsea Opera Group, the Festival American cities, makes three separate Ballet and the Ballet Russe. In tours of Europe, concertizes in 1957 he became assistant conductor Australia for a month, adds to his of the BBC Scottish Orchestra. Two growing list of recordings and rejoins years later he was called at short his friend Vladimir Ashkenazy in a notice to take the place of Otto of recitals. series duo Klemperer, who became ill, in a Born in Tel Aviv in 1945, he doesn't concert performance of remember when he didn't want to "Don Giovanni." play the violin. Although his first This marked a turning point in instrument was a toy, he soon Colin Davis' career: he was shortly progressed to a $6.00 second-hand afterwards appointed Musical fiddle. He was stricken with polio at Director of the Sadler's Wells Opera, the age of four, but the illness made his debut with the CBC and a year's convalescence left his Symphony in Canada, and appeared musical ambitions unchanged. His for the first time in the United States first studies were at the Tel Aviv as guest conductor with the Academy of Music. He gave numerous Minneapolis Symphony. He directed concerts in and around Tel Aviv and the Berlin Philharmonic in the and was an experienced radio German premiere of Britten's "War performer by the age of ten. requiem," and in the 1962-1963 Ed Sullivan brought him to the United season led the London Symphony States in 1958 to appear on his in a tour of Europe, Japan and television program. He decided to Australia. stay in the U.S. With the help In 1967 Colin Davis took up his of scholarships from the America- appointment as Chief Conductor of Israel Cultural Foundation and the the BBC Symphony Orchestra, which Juilliard School, he studied with he relinguished at the end of the Ivan Galamian and Dorothy Delay 1970-1971 season to take up his at the Juilliard. He made his first duties at Covent Garden. He has in Carnegie Hall appearance in 1963 recent years been guest conductor and in the intervening ten years has with the world's leading orchestras, established himself as one of the among them the Israel Philharmonic, world's great violinists. the Philadelphia, the Montreal He now lives in Manhattan with his Symphony, the Toronto Symphony, wife and two children. the Los Angeles Philharmonic, and the New York Philharmonic.

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^v-r^ 1973-74 SEASON COMMITTEES EXECUTIVE Anthony V, DeMayo, Chairman Beekman C. Cannon Mrs. Herman Copen Virtuoso James R. Greenfield Elizabeth Harvey Louis L. Hemingway, Jr. James .\1. Osborn Brooks Shepard, Jr. Mrs. Christopher Tuiinard William Waite AUXILIARY NEW H.WEN SYMPHONY Mrs. Herman Copen, President CHAIR SPONSOR Herman Copen, Chairman H. Langedon Bell, Jr. CONDUCTOR SELECTION Beekman C. Cannon, Chairman Leroy Anderson Louis L. Hemingway, Jr. Herberts. .MacDonald Brooks Shepard, Jr. William Waite Philip Nelson, Consultant EDUCATION Beekman C. Cannon, Chairman Philip Nelson BrooKs Shepard, Jr. William Waite T__ HE virtuosity of a concert artist can produce a Kenneth Wendrich memorable musical experience. FINANCE and INVESTMENT James M. Osborn, Chairman In the management of trust affairs, virtuosity is something John B. Stevens G. Harold Welch, less than inspirational. At First New Haven National Jr. LIAISON virtuosity takes a back seat to the teamwork effort of William Waite, Chairman experienced individuals, each a professional in his or her Louis L. Hemingway, Jr. .Mrs. Richard Jacobs own field. Brooks Shepard, Jr, MAINTENANCE FUND Management decisions on investments, estate Brooks Shepard, Jr., Chairman Mrs. Christoper Tunnard, administration, pension & profit sharing, employee benefit Co-Chairman plans, taxation and other areas are subjected to the Mrs. .Michael L. Adley Mrs. Robert Adnopoz analytical scrutiny of this experienced group. Spencer M. Berger .Mrs. Arnold Baskin Mrs. Jean Boorsch In the concert hall virtuosity is to be admired. Mrs. Charles Brenn.in, III Mrs. George Conklin Donald R. Eglee Trust Department we can't tolerate it. \'. In our Paul Elsberry, Jr. Robert C. French Mrs. Donald Keefc Dr. William Lattanzi

Mrs. Harold J. Lemkin Mrs, Herman Lielicvt Mis. William B. McAllister Mrs. Charles Morgan %# THE FIRST IMEXA/HAVEM Lowry Nelson, Jr. Oyarnia Tate Mrs. Raynham Townshend, Jr. /% IMATIOIMAL BAIMK Paul Wingate Trust Department • 497-2886 MUSIC William Waite, Chairman One Church Street, New Haven Lero)' .Anderson Spencer M. Berger Mrs. Arnold M. Baskin Frank Brieff Herman Copen .Mrs. Lewis P. Curtis Dr. Irving Polayes Mrs. Shi Chang Shen Brooks Shepard, Jr. Gurdon B. Wattles NOMINATING MuNSON Gallery .Mrs. Donald F. Keefe, Chairman James Greenfield g Since 1860 Dr. William Lattanzi Mrs. Raynham Townshend, Jr, -.Mrs, Christopher Tunnard PERSONNEL .Anthony V. DeMayo, Chairman HK^^ FINE PRINTS James Greenfield ^B John Kernan PAINTINGS REGISTER SUPPLEMENT £^^ Mrs. Alan C. Lichtenstein, Chairman nC YOUNG PEOPLE'S '"^/vmp CONCERTS 'f ' Mrs. John Sprightly Kelly, Chairman "OBOIST" /;[/ Arthur Cohen Mrs, Carleton F". Loucks Mrs. Herman Liebert

11 Our sincere thanks to the following firms, who through their support of the NEW HAVEN SYMPHONY ORCHESTRA CHAIR SPONSOR PROGRAM, have helped to build and maintain your NEW HAVEN SYMPHONY.

American Airlines ^Armstrong Rubber Company

Auxiliary of the ISeiv Haven Symphony

Bic Pen Corporation

Joseph Cohn and Son, Incorporated

Hamden Steel and Aluminum Corporation

Hartford National Bank and Trust Company

Insilco Foundation

Knights of Columbus Supreme Council

New Haven Register

^ISew Haven Terminal, Incorporated

Michael Schiavone and Sons, Incorporated

David Dean Smith

United Illuminating Company

Van Leeuwen Advertising, Incorporated

Wallace Silversmiths, Incorporated

Wyatt, Incorporated ' sponsor of two orchestra chairs

Participation in the CHAIR SPONSOR PROGRAM of the NEW HAVEN SYMPHONY helps to subsidize the services of one or more musicians for an entire season. We cordially invite your firm to join in helping to maintain the high standards and cultural heritage of the SYMPHONY. For further information, please call 865-0831.

THE CHAIR SPONSOR PROGRAM OF THE NEW HAVEN SYMPHONY

12

"II : ^ , h ''i ::'-^":'-/^ 1 SYMPHONY PROGRAM NOTES quiet retreat—usually in the Aus- trian Alps—where he could compose {Continued from page 5) undisturbed. For three consecutive summers-1877, 1878 and 1879-he Our Annual chestra, Berlioz was quick to em- chose the picturesque little town of phasize that he did not intend it as Portschach an opera or cantata but as a sym- on the Worthersee in SWREWIDE Austria. phony, in which the vocal sections Lower He described the air there as being so full of melodies UghtingSALE serve only to set the stage for the purely orchestral movements. De- that he had "to be careful not to tread on them." It was here that spite its great length, the symphony such great works as the does not attempt to tell in words Second Symphony, the or music the whole of this tragic Second Piano Con- Feb.9 to certo, the G Major Violin Sonata love story. Instead, it presents, in disconnected episodes, the high and the Violin Concerto were con- points of the drama that appealed ceived. Feb.. 23. particularly to Berlioz. It was he The Violin Concerto was com- who selected the Shakespearean posed during the summer of 1878. passages he wished to use; he then As early as August, Brahms sent a copy of the manuscript to his friend, SHEMII2 made a prose sketch, and gave it to his friend, Emile Deschamps, to put the noted violinist Joseph Joachim, IIEHIIHC into verse form. in order that he might have his POST Romeo et Juliette is divided into suggestions as to the playability of ROAD MILFORO three main parts, each with sub- the solo part. Such consultaitions divisions. The excerpts to be heard continued up until the time the con- on this program, all of them pure- certo was published in October berything in ly instiTjmental, comprise the fol- 1879, Joachim providing the bow- ings and fingerings and also the sight reduced lowing: From Part I: Introduction: Tumult and Strife— The Prince In- cadenza. Brahms had met Joachim 20to50^o. tervenes; from Part II: Romeo in 1853 while the former was on Alone—Sadness—Distant Sounds of tour with the Gypsy violinist Music and Dancing—Great Festivi- Remonyi, and the friendship that ties at Capulet's House; Love Scene, grew between them lasted for near- and the feathery Scherzo, Queen ly half a century. Mah or the Dream-Sprite, and from The concerto received its first Part III: Romeo at the Tomb of the performance on New Year's Day Capulets — Invocation — Juliet's 1879 at a concert of the Gewand- Awakening—Frenzied Joy and Des- haus Orchestra in Leipzig. Brahms pair—Agony and Death of the Tioo conducted, and quite naturally, Lovers. Joachim was the soloist. A word is in order concerning the Reports on the success of the Queen Mah Scherzo. It had its concerto at its initial presentation origin in Mercutio's speech in Act are of a conflicting nature. In her I, Scene 4, of Shakespeare's play, biography of Brahms, Florence May which begins: quotes Dorffel, the critic for the Where your insurance "O, then, I see, Queen Mab hath been Leipziger Nachrichten, as follows: with you. "Joachim played with a love and She is the fairies' midwife; and she comes problems and needs In shape no bigger than an agate-stone devotion which brought home to us On the fore-finger of an alderman, in every bar the direct or indirect are in the hands of Drawn with a team of little atomies share he has had in the work. As, to Athwart men's noses as they lie asleep." experienced the reception, the first movement Berlioz's instrumental require- was too new to be distinctly appre- ments for Romeo et Juliette include professionals.. ciated by the audience, the second two flutes, piccolo, two oboes, Eng- made considerable way, the last lish horn, two clarinets, four bas- aroused great enthusiasm." soons, four horns, two trumpets, two On the other hand, another of cornets, three trombones, tuba, Brahms' biographers, Max Kalbeck, kettledrums, bass drum, cymbals, relates that "the work was heard triangle, two tambourines, antique respectfully, but it did not awaken cymbals, two harps and sti-ings. a particle of enthusiasm. It seemed that Joachim had not sufficiently studied the concerto or he was severely indisposed. Brahms con- 205 WHITNEY AVENUE NEW HAVEN, CONN. Concerto for Violin and Orchestra ducted with visible excitement." 772-2700 in D Major, Op. 77 Brahms must have been quite ex- JOHANNES BRAHMS cited, for Kalbeck tells us of "a (Born May 7, 1833, in Hamburg; comical incident" which occurred

MADISON OFFICE died April 3, 1897, in Vienna) during the performance. It seems 245-2764 that the composer had paid a hur- Brahms was in the habit of spend- (Continued on page 15) ing his summer vacations at some 13 Tonighfs Guest Conductor... JOHN NELSON

John Nelson was born in Costa Rica thirty-one years ago of American missionary parents. He began studying piano at seven years of age and while a piano student of Lillian Powers Wadsworth at Wheaton College, won awards in piano and composition. He attended the Juilliard School where he received graduate degrees both in choial and orchestral conducting, won the Irving Berlin conducting prize and was awarded assistantships in the orchestral, choral and opera departments. As a student he conducted operatic productions such as "Don Pasquale" and numerous premieres in-

cluding the American premiere of Berio's "Passaggio," ( co-conduct- ing with the composer). While still at Juilliard, Mr. Nelson made his New York debut conducting the New York Chamber Orchestra and the Mozart Festival Chorus at the Mostly Mozart Series at Philharmonic Hall, and assumed the musical directorship of two methropolitan area organizations; the Pro Arte Chorale and Orchestra, and the Green- wich Philharmonia Orchestra. Under his directorship both have grown from infancy to highly respectable positions in their fields. The Pro Arte Chorale, an amateur choral group of 35 singers in 1965 is now three choruses in one; the Chorale — 80 select singers for Baroque and Classic works, the Chamber Singers — 25 voices chosen from the Chorale for the madrigal literature, and the Festival Chorus— 130 voices designed for the- larger choral literature. Its performances in New York have concenti-ated principally in the Bach literature with one notable exception - the concert version of Berlioz' monumental "Les Troyens" which brought international acclaim both to Pro Arte and its director. During the summer of 1974, the chorale and Mr. Nelson will tour Germany, Austria, Italy, and Yugo- slavia in commemoration of its tenth anniversary. In an era of financial gloom, the Greenwhich Philharmonia Orchestra is an enigma. In five years of Nelson's leader- ship, it has grown from an amateur community chamber orchestra to a professional orchestra of full size, whose budget and audience have more than tripled. In the summer of 1968 Mr. Nelson was invited to conduct at the Aspen Music Festival and establish a choral program. This resulted in the Aspen Choral Institute sponsored by the Rockefeller Foundation and recognized as one of the leading centers of choral teaching in the country. In addition to the choral responsibility, Mr. Nelson conducted numerous operas and orchestial works at the Festival. Following the success of his "Les Troyens" performance at Carnegie Hall in 1972, Mr. Nelson was engaged by three important American opera houses: the New York City Opera to conduct: Carmen" in the fall of 1972 and a new production of Monteverdi's "L; Incoronazione de Poppea" in the Spring of 1973; Santa Fe Opera for the American premiere of Benjamin Britten's "Owen Wingrave"; and the Metropolitan Opera to succeed Mr. Kubelik in the conducting of the company's new production of "Les Troyens." His debut at the Metropolitan, however, came two years early and was the kind of event that dreams are made of. On one day's notice, Mr. Nelson stepped in for the ailing Kubelik and in the words of the New York Post "won the extraordinary ovation from the cast, chorus and audience — not to mention a pit full of cheering musicians." Mr. Nelson's success this season is backed up by performances with the orchestras of Chicago. Cincinnati, Atlanta and the musical directorship of the Lincoln Center International Choral Festival. Here is a young conductor who within one season has achieved the pinnacle of the operatic, choral and orchestral fields.

As a service to New Haven Symphony Orchestra subscribers, and as an inducement to future subscribers, The Auxiliary of the New Haven Svmphony is pleased to announce the continua- tion of the courtesy bus service — operating from the Park Plaza Hotel, Unixersity Towers, Crown Garage Parking and Woolsey Hall.

We have selected these locations because we feel they are centrally located, well lit and offer adequate parking.

The bus may be used in either or both directions without reservations in advance.

There will be continuous service from 7:30 p.m. — 8:30 p.m. and up to an hour after the concert.

The last bus will leave the Park Plaza at 8:15 and University Towers at 8:20 p.m.

The return bus Irom Woolsey Hall after the concert will be continuous until 11:15 p.m. You will be returned to either the Park Plaza, Crown Parking or University Towers destination.

There will be signs posted at these locations

14 )

SYMPHONY PROGRAM NOTES

(Continued from page 13) lied visit to a friend just before the concert and, arriving at the hall late, had not had time to make a com- plete change from street to concert February, 1974 dress. Consequently, he walked on- stage wearing his gray street trou- Dear Friends of the Symphony, sers. What was far worse, however, President The Au.xiliary of The New Haven Symphony Mrs. Herman Copen he had neglected to fasten his sus- Orchestra is most pleased to present three mornings First Vice President so that his lively motions of music entitled, "From Rennaisance to Rock." penders, Mrs. J. Ritner Weaver on the podium caused his shirt to Secorid Vice President Wednesday, March 6, 10:00 a.m. show between his trousers and Mrs. Carleton S. Loucks Gallery of Statues, Yale Art Gallery vest. "These laugh-provoking tri- Reco{ding Secretary Mrs. Irving Polayes fles," wrote the serious Kalbeck, ALEJANDRO PLANCHART - "CAPELLA "were not calculated to elevate Corresponding Secretary CORDINA" Mrs. Jean Boorsch one's mood." Mr. Planchart of the Yale School of Music faculty Treasurer will present a 15th century manuscript as well as The character of the opening Mrs. Harold J. Lemkin other musical works of the Rennaisance, illustrated movement of the concerto, which is Assistant Treas\irer marked Allegro non troppo, was Mrs. Robert Bemeike with voice and ancient instruments. described by the late Pitts Sanborn COMMITTEE CHAIRMEN Tuesday, April 2, 10:00 a.m. as "idyllic," a term that well fits it. The Neighborhood School of Music The second movement. Adagio, is Hospitality Mrs. Sidney Goldstein like a beautiful song whose prin- ROBERT BLOOM and students of The Yale Assistant Chairman School of Music. cipal singers are the solo oboe and Mrs. Michael Kashgarian solo violin. The finale. Allegro demonstration of the Baroque Period. VIr. the Membership A giecoso, ma non troppo vivace, has Mrs. F. F. Baker Bloom, also on the faculty of the Yale School of a certain irresistible swing to it. It Nominating Music will present representative music from the Mrs. Arnold M. Baskin is in rondo form and is marked by Baroque period for bo-th voice and instrument. a decided Hungarian flavor, pos- Program Mrs. J. Ritner Weaver Wednesday, May 15, 10:00 a.m. sibly as a gesture to the Hungarian- Publicity The Neighborhood School of Music born Joachim. Mrs. A. Peter Delifini As originally conceived, the work THOMAS FAYE Supplement also had a scherzo movement, but Mrs. Alan Lichtenstein A lecture-demonstration. Mr. Faye, a member of

Brahms dropped it, as it did not Subscriptions the faculty of the Yale School of Music will speak Herman W. Liebert fit in with the style of the rest of Mrs. on The Significant Developments of Jazz and Rock. the concerto. Kalbeck beHeves that Handicapped Children He will give examples at the piano and also on tape. Mr. Fenmore R. Seton this scherzo eventually became the Auxiliary members will soon receive announce- Young People's Concerts second movement of the Piano Con- mail. Non-members, interested in attend- Mrs. John Sprightly Kelly ments by certo No. 2. ing, may call the Symphony office for further in- The orchestral part of the Violin MEMBERS-AT-LARGE formation.

Concerto is scored for two flutes, Mrs. Harry Bartocetti This series is presented as part of our educational two oboes, two clarinets, two bas- Mrs. Beekman C. Cannon program. Our lecture series last year won national Mrs. Donald F. Keefe soons, four horns, two trumpets, Mrs. Edwin R. Meiss acclaim and we hope to be equally successful this Mrs. Kenneth Nesheim kettledrums and strings. Mrs. Mildred Root season. Space is limited so be sure and make your Mrs. G. Harold Welch ( Copyrighted reservations early. Mrs. Herman Copen President

THE AUXILIARY OF THE NEW HAVEN SYMPHONY ORCHESTRA

Enclosed: Annual Dues - Single - $5.00; Family - $7.50 September 1973 — September 1974 u Family Membership ( ) New Membership ( ) Name Please Print

Address ....

Phone No. Zip Code

Please make your check payable to: The Auxiliary, N.H.S.O. and mail to: Mrs. Harold Lemkin 270 Knoltwood Drive New Haven, Conn. 06515 THANK YOU

15 Calendar of Events -1973

NOV. 6 Woolsey Hall, 8:30 p.m. WOOLSEY SERIES Whittemore and Lowe, duo pianists

NOV. 20 Woolsey Hall, 8:30 p.m NEW HAVEN SYMPHONY Frank Brieff, Conductor "Vladimir Ashkenazy, pianist

DEC. 4 Woolsey Hall, 8:30 p.m. NEW HAVEN SYMPHONY Michael Charry, Guest Conductor Janos Starker, cellist

DEC 8 Lyman Auditorium 1:00 and 3:00 p.m. Young People's Concert Michael Charry, Guest Conductor

DEC. 11 Woolsey Hall, 8:.30 p.m. WOOLSEY SERIES Rudolf Serkin, pianist

1974

JAN. 12 Lyman Auditorium 1:00 and 3:00 p.m. Young People's Concert Michael Charry, Guest Conductor

JAN. 15 Woolsey Hall, 8:30 p.m. NEW HAVEN SYMPHONY Making $200,000 to invest was a Gerhard Samuel, Guest Conductor John Browning, pianist

full time job for you. JAN. 22 Woolsey Hall, 8:30 p.m. WOOLSEY SERIES Misha Dichter, pianist Investing it is a full time job for us. FEB. 5 Woolsey Hall, 8:30 p.m. NEW HAVEN SYMPHONY In- We don't need to teil you that Our long experience, the professionals m our John Nelson, Guest Conductor Itzhak Perlman, violinist running a business expertly is coupled with the up-to-the- vestment Department at afull-timeoccupation. That's minute market information, Union Trust can helpyou FEB. 9 Lyman Auditorium investment how you built up your ti nan- puts us in a position to judge (Tianage your 1:00 and 3:00 p.m. Young People's Concert cialworth And that's how we which investments best meet portfolio wisely, contact Michael Charry, Guest Conductor manage investments your own objectives And John Field (497-4583) or our performance record bears George Wilson (497-4357) FEB. 19 Woolsey Hall, 8:30 p.m. Day after day. week after this out Over the past years in New Haven, WOOLSEY SERIES week, ourteamof specialists Boston Symphony Orchestra our investment performance for IS involved in investment man- We're ready to go to work CoHn Davis, Conductor has consistently out-paced agement. They continuously you . . full-time. MAR. 5' Woolsey Hall, 8:30 p.m. the Dow Jones averages, analyze not only individual NEW HAVEN SYMPHONY and Standard & Poor's 500 com.panies. but industries Union Trust Erich Kunzel, Guest Conductor Rampal, flutist and the entire economy. To explain more about how Jean-Pierre

MAR. 12 Woolsey Hall, 8:30 p.m. and Fairfield Counties Offices m New Haven. New London Litchfield. Middlesex WOOLSEY SERIES i'ehudi and Hephzibah Menuhin, SEASON SUBSCRIBERS violinist and pianist APR. 2 Woolsey Hall, 8:30 p.m. Naturally, we hope you will be able to attend all the concerts of the WOOLSEY SERIES Woolsey Hall and New Haven Symphony Series during the 1972-73 Opera Highlights Featuring Boris Goldovsky, season. However, due to the increasing demand for tickets, if you are commentator, at the piano unable to attend please call the Symphony Office, 776-1444 between the hours of 9:30 a.m. - 4:30 p.m., Monday through Friday and we will re-sell APR. 9 Woolsey Hall, 8:30 p.m. your tickets for the benefit of the Orchestra. Your thoughtfulness makes NEW HAVEN SYMPHONY BEKTHQVEN NINTH it possible for a non-subscriber to attend our concerts. You will receive a Frank Brieff, Conductor notice from the Symphony Office which may be ued for purposes of tax with Yale Glee Club Chorus deduction. Fenno Heath, Director The night of the concert the box office at Woolsey Hall will, open at Soloists 7:30 p.m. and calls may be made to 787-0900.

16 BOSTON SYMPHONY ORCHESTRA

SEIJI OZAWA Music Director

COLIN DAVIS & MICHAEL TILSON THOMAS Principal Guest Conductors

JOSEPH SILVERSTEIN Assistant Conductor

first violins cellos bassoons

Joseph Silverstein Jules Eskin Sherman Walt concertmaster Philip R. Allen chair Ernst Panenka Charles Munch chair Martin Hoherman Matthew Ruggiero lerome Rosen Mischa Nieland Max Hobart Jerome Patterson Rolland Tapley Robert Ripley contra bassoon Roger Luis Leguia Shermont Richard Plaster Max Winder Carol Procter Harry Dickson Ronald Feldman Gottfried Wilfinger Joel Moerschel horns Fredy Ostrovsky Jonathan Miller Charles Kavaloski Leo Panasevich Martha Babcock Helen Sagoff Slosberg chair Sheldon Rotenberg Charles Yancich Alfred Schneider Harry Shapiro Stanley Benson basses David Ohanian Gerald Gelbloom Henry Portnoi Richard Mackey Raymond Sird William Rhein Ralph Pottle Ikuko Mizuno Joseph Hearne Cecylia Arzewski Bela Wurtzler trumpets Amnon Levy Leslie Martin Armando Ghitalla John Salkowski Andre Come John Barwicki Rolf Smedvig Robert Olson Gerard Goguen Lawrence Wolfe second violins trombones Clarence Knudson fahnestocfe chair flutes William Gibson William Marshall Doriot Anthony Dwyer Ronald Barron Michel Sasson Hallberg Walter Piston chair Gordon Ronald Knudsen James Pappoutsakis Leonard Moss Paul Fried William Waterhouse tuba Laszio Nagy Chester Schmitz

Michael Vitale , piccolo Spencer Larrison Marylou Speaker Lois Schaefer timpani Darlene Gray Everett Firth Ronald Wilkison Harvey Seigel oboes Bo Youp Hvk/ang Ralph Gomberg percussion Victor Yampolsky John Holmes Charles Smith Wayne Rapier Arthur Press assistant timpanist Thomas Gauger english horn Frank Epstein violas Laurence Thorstenberg Burton Fine harps Charles S. Dana ch air Bernard Zighera Reuben Green clarinets Ann Hobson EugeneO Lehner George Humphrey Harold Wright

1 1 ' Ann S. M. Banks chair Jerome Lipson Pasquale Cardillo librarians Robert Karol Peter Hadcock Bernard Kadinoff Victor Alpert Eb clarinet Vincent Mauricci William Shisler Earl Hedberg Joseph Pietropaolo bass clarinet stage manager Robert Barnes Michael Zaretsky Felix Viscuglia Alfred Robison

personnel manager William Moyer WOOLSEY PROGRAM NOTES

(Continued from page 7)

with the Volscians, the traditional enemies of the Romans, and made compact with them to lead a cam- paign against his own people. The fall of Rome seemed imminent, and emissaries were sent from the capi- tal to the Volscian encampment outside the city walls. Coriolanus met every entreaty with absolute rejection. In desperation, a delega- tion of women went out from the city, led by his mother and his wife. They went to his tent and be- seeched him on their knees to spare his own people. The pride and de- termination of the soldier were at last subdued by the moving words of his mother, who pictured the eternal disgrace which he icould certainly inflict upon his own fam- ily. Coriolanus yielded and with- drew the forces under his com- mand, thus bringing the anger of the Volscian leaders upon his own head. He was. slain by them, ac- cording to the version of Shake- speare; according to Collin, he was driven to suicide. Shakespeare's famous scene in which the inner struggle of honor, pride and love reaches its climax seems to be the direct subject of Beethoven's overture. The opening chords, proud, ferocious, implac- The Model Thirty is successor to the cartridge, and a KLH designed and able, limn Coriolanus in a few bold famous (and now classic) Model built amplifier and tuner section. The strokes. The second subject, gentle Twenty which revolutionized the low Model Thirty has twice the acoustic and middle priced component market output of any other four hundred and melodious, seems to introduce and established a standard of sound dollar music system and can easily the moving protestations of his reproduction that is still an industry fill a good sized room with quality mother. The contrasting musical goal. The Model Thirty Is designed to sound. Because of the acoustic subject of Coriolanus recurs, at first be as flexible as components, but less suspension design of the Model resistant gradually softening, obtrusive and much easier to assemble. Seventeen loudspeakers, the bass is but firm and clean. until at the end there is entire ca- It is built around two KLH Model pitulation. Seventeen lo' speakers with newly The Model Thirty costs four hundred

designed enclosures, o Garrard dollar's. We will sell if to you for The overstressing of literary con- turntable fitted with a Pickering $359. cepts and allusions by the explain- ers of Beethoven has had abundant play in the Coriolan overture. But it would be hard to deny that the composer's imagination must have been illuminated by this heroic and ean smi kindred subject in the making of one of his noblest works. It is of course not hard to see in Coriolanus the figure of Beethoven himself. Any Damage Rewoven Like The composer must have felt Rugs and New In Clothing;— strangely close to the Roman noble, BufutA Furn iture. Guaranteed for infinitely daring, the arch individ- life of article. uahst, the despiser of meanness and RIPS - HOLES - TEARS ignorance who, taking his own reck- SkilKully rawovan by Double Knits Repaired less course, yielding to none, at last Wondarwaav* in all found himself alone against the Fabrics world, clad in an armor of implaca- WONMRWWERS bility which only one power could penetrate — the tenderness of fem- 525 WHALLEY AVENUE inine persuasion. (Continued on page 20) 18 MAINTENANCE FUND OF THE NEW HAVEN SYMPHONY - 1973-74

The Directors of the New Haven Symphony Orchestra, Incorporated, are grateful to the following contributors for their support of the Symphony's Maintenance Fund. Since the drive is still in progress the list is incomplete and represents only those names received prior to program press time.

PATR01\S AND BENEFACTORS FRIENDS CONTRIBUTORS (continued) Miss Olive Mrs. Vincent Ardenghi A. Ailing Miss Mildred Brencher Howard Bayne Fund Mr. and Mrs, Arnold Astman Mrs. Dirk Brouwer Mrs. C. A. Asher Mr. and Mrs. Beekman C. Cannon Mrs. E. P. Carter Mr. and Mrs. David L. Dr. and Mrs. David H. Clement Bacon Mr. and Mrs. William N. Chandler Mrs. Albert Bailey Mr. and Mrs. Herman Copcn Mr. and Mrs. William R. Connell Mrs. Albert H. Barclay, Mr. and Lewis P. Curtis Jr. Miss Frances Consiglio Mrs. Florence J. Mr. and Mrs. James Greenfield D. Beisiegel Mr. C. Marvin Curtis Mr. Mrs. Louis L. Hemingway and Mrs. H. Langedon Bell, Jr. Mr. William DeGroat Mrs. C. Beecher Dr. and Mrs. Robert I^. Bemeike Mr. and Hogan Dr. and Mrs. Chris J. DeProspo William Inglis Morse Trust Mr. and Mrs. David Bixon Mr. and Mrs. Marshall J. Doclge, Jr. Miss Helen H. Roberts Mr. Piatt Brightwell Miss Kay Dolan Mr. and Mrs. Christopher Tunnard Dr. and Mrs. Massimo Calabresi Mr. Lee C. Dunkle Mrs. William S. Coffin Mr. and Mrs. Edward R. Eidukonis Mr. Joseph C. Cooper Miss Esther S. R. Fade Mr. and Mrs. Kenneth P. Davis Mr. and Mrs. David P. Faulkner Mr. Mrs. Aldo DONORS and DeDominiois Dr. and Mrs. John E. Fenn Mr. and Mrs. John N. Deming Mr. and Mrs. James A. Fickes Mrs. Walter Dombek Mrs. Michael L. Adley Dr. and Mrs. Gerald Fishbone Mr. and Mrs. Jesse Dow Miss Mildred Flynn Mr. Leroy Anderson Mr. Leonard P. Drabkm Mr. and Mrs. John W. Barclay Reverend and Mrs. Donald H. Frazier Mrs. Lawrence B. Dunham, Jr. Mr. and Mrs. Ernest V. Goodwin Mrs. Horace Barry Mr. and Mrs. Robert Eisner Dr. Mrs. Miss Grace J. Gaffney and Arnold M. Baskin Mr. and Mrs. John S. Ellsworth Mr. and Mrs. Spencer M. Berger Mr. and Mrs. Victor M. Gordon Dr. and Mrs. Leonard R. Farber Mr. Stanley V. Greimann Mr. and Mrs. Henry P. Brightwell Mr. and Mrs. Robert W. Fletcher Mr. and Mrs. James W. Cooper Mrs. Ingeborg C. Gross Mrs. Herbert Gfroerer Dr. and Mrs. Peter A. Gross Mr. and Mis. John G. Dinkeloo Mr. and Mrs. N. Charlton Gilbert Mr. James D. English Mr. and Mrs. Ira B. Grudberg Mr. and Mrs. Samuel J. Glazer Mr. and Mrs. Philip English Miss H. Elizabeth Hoadley Mr. and Mrs. Sidney Goldstein Dr. and Mrs. Robert Hurowitz Miss Ruth M. Ferry Mr. and Mrs. Arnold W. Gordon Mr. and Mrs. Lawrence W. lannotti Mr. Robert C. French Dr. and Mrs. Andrew Graham Mrs. Robert Dudley French J. Dr. and Mrs. Yasukimi lizuka Miss G. Sarah Greer Mrs. William A. James Mrs. John F. Fulton Mrs. H. Gibson Guion Mrs. Dalton V. Garstin Mrs. Walter Jarecki Mrs. Arthur B. Hague Miss Anna A. Johnson Mr. and Mrs. Frank M. Grazioso Elizabeth Mrs. Hamburger Mr. and Mrs. Richard G. Jordan Mr. John S. Gummere Mr. and Mrs. Dean E. Hanna Reverend and Mrs. Erdman Harris Mr. and Mrs. William Karraker Mr. and Mrs. Richard Hegel Dr. and Mrs. Frederick Kessler Paul H. Hershey Foundation Miss M. Louise Hemingway Mrs. Carroll C. Hincks Mr. and Mrs. Frank W. Knight Dr. and Mrs. Donald C. Higgins Mrs. Siegfried Kra Miss Dorothy M. Hooker Mr. and Mrs. Joseph Hurley J. Mrs. Frances S. Landorf Mr. and Mrs. Allan Hubbard Dr. and Mrs. Richard A. Isay Mr. and Mrs. Richard L. Jacobs Mr. and Mrs. A. A. Lappin Mr. and Mrs. Earle E. Jacobs Miss Margaret Anne Lawrence Mr. and Mrs. Donald F. Keefe Miss Dora E. Jillson Gilbert Dr. and Mrs. Robert E. Lebson Mr. Kenna Mrs. James S. Johnson Dr. and N>rs. Gerald Krosnick Mr. and Mrs. Morris Lefsetz Mr. and Mrs. John S. Kelly Mr. and Mrs. Harold Lemkin Mr. and Mrs. George DeForest Lord Mr. Mrs. Louis J. and F. Kemp Dr. and Mrs. Howard Levitin Mr. and Mrs. Peter J. Loro Mr. Charles Kingsley C. Dr. and Mrs. Lewis Levy Mrs. Samuel C. Lovejoy Mr. and Mrs. Clayton A. Kolstad Dr. and Mrs. William B. McAllister, Miss Helen H. Livingston Jr. Mrs. David Levine Mr. and Mrs. Emerson N. Ludington Miss Katharine Matthies Dr. and Mrs. Vernon Lippard Mr. and Mrs. Maynard Motz Mr. and Mrs. Charles Ludwig Mr. and Mrs. Alan J. McBean, Jr. Dr. Mrs. New Haven Federation of Musicians and Robert W. Lyons Mr. John O. C. McCrillis Mr. and Mrs. William M. Mack Mr. and Mrs. Henry Pierce, Jr. Dr. Evelyn B. Man Mr. John C. Pope Mr. and Mrs. Leonard Marcus Mr. Richard W. Meyer Mrs. William Masten Mr. and Mrs. Paul W. Redfield Mrs. John P. Miller Mr. Allen S. Meier Mr. and Mrs. Robert S. Reigeluth Mrs. Samuel J. Mills Mr. and Mrs. C. Newton Schenck Miss Patricia Meyer Mrs. Charles F. Montgomery Mrs. Bobbins H. Miller Mr. and Mrs. Bruce Simonds Miss Alice Morse Miss C. Rachel Trowbridge Mrs. W. Haviland Morriss Mr. Lowry Nelson, Jr. Mr. Herman M. Pastore Mr. Louis Van Leeuwen Mr. and Mrs. Rollin Osterweis Dr. Orlando Pelliccia, Jr. Mr. and Mrs. William G. Waite Mr. and Mrs. Bernard Packtor Mr. and Mrs. Eugene Wailh Mr. and Mrs. Robert H. Peters The Peck Bindery, Inc. Mr. and Mrs. Lawrence K. Pickett Mrs. Howard R. Weir Dr. and Mrs. Joseph V. Petrelli Mrs. Donald G. Wing Mr. and Mrs. John L. Preisner Miss Dorothy M. Pryde Mrs. Frank Rapp Mr. and Mrs. Paul Wingate Mrs Richard A. Rathbone Mr. and Mrs. Alexander Winnick Miss Louise A. Rausch Mrs. Victor Reid Miss Joyce M. Redinger Mr. and Mrs. Lloyd Reynolds Dr. and Mrs. John P. Riesm.an Mr. and Mrs. John C. I^obinson Dr. and Mrs. Thomas Robinson Mr. and Mrs. Robert S. Rosnagle Mrs. George Rowboltom, 2iid SPONSORS Mrs. Arthur Mr. and Ross, Jr. Mrs. Leah S. Ruehkin Mr. and Mrs. Atwood F. Sedgwick Mrs. Seymour B. Sarason Mr. Mrs. Herbert D. Setlow Mr. and Mrs. Edward G. Armstrong and Mr. and Mrs. Lawton G. Sargent, Jr. Mr. Donald Augenblick Mr. and Mrs. Fenmore R. Seton Mr. and Mrs. Steven Scher Dr. and Mrs. Murray Brodoff Mr. William A. Sherry Mr. and Mrs. Solomon Schwartz Mr. and Mrs. Ralph S. Brown, Jr. Mr. Warren H. Smith Dr. and Mrs. David Seligson Mrs. Charles Stephenson Dr. and Mrs. M. G. Carter Mr. and Mrs. Charles Seymour, Jr. Mr. and Mrs. A. Goodwin Cooke Mr. and Mrs. Robert L. Sykes Mr. and Mrs. James H. Shattuck Mr., and Mrs. John E. English Miss M. Elizabeth Tennant Dr. and Mrs. A. Lewis Shure Mr. and Mrs. Franklin Farrel, -Srd Mr. Edgar Tullock Mr. and Mrs. Sichiey Silverberg Miss F. Bemice Field Mr. and Mrs. Kenneth A. Wendrich Dr. Jerome L. Singer Mrs. Morgan Firth Mrs. M. C. Wintemitz Mr. and Mrs. Harry Spivack Miss Dorothy Clock Freeman Mr. Edward Wittstein Mr. and Mrs. Morris Sweetkind Mr. and Mrs. A. Pharo Gagge Mr. and Mrs. Howard Stein Dr. Alan L. Gans Mrs. Dorothy M. Steinberg Mrs. William T. Gilbert CONTRIBUTORS Miss Shirley A. Stevenson Mrs. A. Whitney Griswold Dr. and Mrs. W. E. Swift, Jr. Mr. and Mrs. S. Ellsworth Grumman Ms. Jean G. Allen Mr. and Mrs. C. P. Twichell Mrs. James William Hook Mrs. Pugsley Alley Mr. and Mrs. Franz B. Tuteur Mr. Darwin P. Kingsley Dr. and Mrs. Thomas T Amatruda Miss Marie Van Cleve Dr. and Mrs. J. Wister Meigs Mrs. John M. Archer Mrs. A. von Graevenitz Mr. John Palmer Mrs. David G. Baillie, Jr. Dr. and Mrs. Byion H. Waksnian Dr. E. Anthony Pitrclli Miss Jane Baird Mr. Donald K. Walker Mrs. Stephen W. Reed Mr. and Mrs. Robert E. Bamberg Mr. and Mrs. William W. Watson Mr. and Mrs. Joseph St. John Mrs. E. Trewin Beecher Mr. and Mrs. J. F. Weilfenbach Dr. and Mrs. Shih Chang Shen Mrs. D. Spencer Berger Mr. Gilbert Whitlock Dr. and Mrs. Howard W. Smith Dr. and Mrs. Robert W. Berliner Mr. L. M. Wiggin Miss Holly Stevens Mr. and Mrs. Peter G. Bill Miss Susan R. Wilcox Mrs. J. A. Van Heuven Mr. Chester L Bliss Mr. and Mrs. Lawrence Winer Mr. and Mrs. Stephen A. Wareck Mr. and Mrs. Norman Botwinik Mr. and Mrs. Edward B. Winnick Mr. and Mrs. John A. Wilkinson Mr. and Mrs. C. Braman John Mrs. Helen J. Yampanis WOOLSEY PROGRAM NOTES It was in this kind of atmosphere that the six symphonies (Continued from page 18) were intro- duced in 1787 to the Parisian pub- Next Concert lic, a public which, to judge from by Harry ISeville the evidence of contemporary HAVEN Symphony No. 87 in A newspaper accounts, took them to NEW FRANZ JOSEPH HAYDN its heart. SYMPHONY ORCHESTRA Since that time, some of these Haydn's 'Paris' Symphonies (Nos. symphonies — No. 82, 83 and 85 — March 5, 1974 82-87) were products of the next- have retained a place in the reper- to-last phase of a long symphonic tory; others, however, gradually Erich Kunzel career which began around 1759 disappeared, not to re-emerge until and ended in 1795 with the last of many years later. No. 87 disap- Guest Conductor the 'London' Symphonies. These peared entirely for a while, not to six works were commissioned in be revived until the 1939-40 season Jean-Pierre Rampal 1784 or 1785 (the year is not cer- of the New Friends of Music in Flutist tain) by Le Concert de la Loge New York, where Fritz Stiedry con- Olympique, a Paris concert organi- ducted it in an edition by Alfred zation which was a sort of subscrip- Einsten. As the present perform- aris- tion series with a wealthy and ances attest ( these are the first ever tocratic clientele. Haydn was, and by the Boston Symphony), No. 87 had been for some time, a famous is even now seldom played, a fact man in Paris, where his works were which prompted H. C. Bobbins Symphony No. 2 Brahms so much in demand that unscrupu- Landon, the eminent Haydn schol- lous publishers were not above at- ar, to label it the 'stepchild of the Flute Concerto Ibert taching his name to works by other "Paris" Symphonies.' Farewell Symphony Haydn composers. The practice became so The symphony begins with a extensive, in fact, that at one point Vivace, one of those vigorous, bust- there were more spurious than au- Tickets: $3.00 to $6.00 Zing opening movements that we thentic works of Haydn on the Paris think of as typically Haydn, though music market. The organizers of Ticket Office: some writers have in fact drawn the Loge Olympique concerts may attention to the Mozartean charac- 254 College Street, Boom 412 have felt that twenty-five louis d'or ter of some of the themes. Unmis- per symphony was a reasonable fee takably Haydnesque is the devel- Telephone: for something they could be sure opment, with its concentrated, the real article, and that was was unleisurely harmonic excursions. 776-1444 - 10-4 weekdciys the princely amount Haydn re- Especially noteworthy in the broad ceived. and hymn-like Adagio is the coda, It is likely that all six symphonies described by H. C. Bobbins Lan- first performed under Haydn's were don as pervaded with "a strong Next Concert direction the resident orchestra by sense of autumnal beauty, of slant- Eszterhaza, but there can be lit- at ed rays of the sun." The sturdy WOOLSEY HALL tle that Haydn wrote Nos. doubt Menuet, propelled by a whip-like at least, with the special 85 and 86, rhythmic figure, has a Trio famous CONCERT SERIES capabilities of the Paris orchestra for its stratospheric oboe solo. The in mind. Parisian orchesti-as of this finale is a busy and light-hearted were generally larger than March 12, 1974 period creation whose momentum comes those to be found in the provincial largely from the repitition of its ac- Austrian and German courts. More- companiment figurations. The flor- over, they were celebrated for the Yehutli and Hephzihah id principal theme has been devised excellence of their woodwinds and with an eye to contrapuntal possi- Menuhin brass. At Eszterhaza Haydn had bilities. but twenty-four players in all, while violinist and pianist the orchestra of the Loge Olym- pique had a string section that

boasted forty violins and ten dou- by John I\. Burk ble-basses, which meant that it had Tickets: $3.50 to $7.00 more violins than the modern sym- Symphony no. 1 in E minor op. 39 phony orchestra and as many dou- JEAN SIBELIUS Ticket Office: ble-basses. Such splendor was not confined to the orchestra, for the The First Symphony is probably 254 College Street, Boom 412 auditorium, too, of the Loge Olym- less racial than has been supposed pique was a sumptuous affair. Built — though more so than, for exam- Telephone: on an opera house scale, it con- ple, the unmistakably personal boxes for the fashion- all the tained tiered Fourth or Seventh. It has 776-1444 - 10-4 weekdays able, elegantly dressed patrons. The seeds of its composer's symphonic musicians, who wore sky-blue tmi- maturity although only a modi- forms with elaborate lace ruffles, cum of a device in which he was played with swords at their sides. to become a pre-eminent master —

20 )

WOOLSEY PROGRAM NOTES himself to rely largely upon repeti- gate. The first movement has no tion, holding the interest partly by less .than six themes of striking Continued from page 20 ( shifting his background in harmony beauty, nor does the flood of mel- and color. His great reliance re- ody fail him in the later move- the gradual moulding of a theme mained in the strangely penetrating ments. Points in common between from the merest fragment. There is beauty of the themes themselves, the themes would elude technical indeed theme transformation in this which grow upon the hearer as they demonstration, yet they follow each symphony — the accumulation of are reiterated, gradually altered to other as if each grew naturally from significance in the heat of discourse their further enhancement, intensi- the last — as indeed it does. The — but there is the difference that fied in the instrumentation. This score and its themes are all of a his starting points in this work were melodic ascendancy makes a sym- piece, unified by the indescribable themes full rounded, and of indeli- phonic development in full sense penetrating and poignant mood ble vividness in their very first impossible, and later on Sibelius which runs through them . statement. The 'accumulative' sacrificed it to the cultivation of his method of Sibelius is of course not field, he first two symphonies have without precedent: Beethoven, as become a precious and distinct part has often been remarked, devel- Program notes copyright © 1974 of the Sibelius heritage for the full- oped his greatest movements from by the throated songfulness that is in the shghtest beginnings — the first Boston Symphony Orchestra Inc. them. theme of the 'Eroica', for example, The symphonist is not yet fully or the theme of its final variations. awakened. Sibelius is still the bard The striking difference of course of the northland, harp at his side, between Beethoven and the later still singing, perhaps, of the legend- Sibelius was the earlier composer's ary heroes of his people, coloring full exposition — a rule of proce- dure to which custom bound him, and which lacked force when the theme as first heard was without marked character. Beethoven, con- triving a theme with a careful eye toward its possibilities of manip- ulation, dissection, combination, of- ten used the . mere skeleton of a chord — a brief and pliable phrase eminently useful but in itself fea- tureless. The less experienced Sibel- ius of the First Symphony, who had not yet learned the trick of forfeit- ing exposition and unfolding his theme as he went along, here chose recklessly themes of full contour and extended beauty — themes which seize the hearer on their first his tale with a full orchestral palette statement, but are corresponding- which he was later to simplify. So ly resistant to development in the abundant was his lyric invention full symphonic sense. He bound that he could afford to be profli-

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21 Orchestra Personnel FLUTES

Anabel Brieff, Principal Michael Mennone, Assistant Marjorie Shansky

OBOES Harry Bartocetti, Principal Phyllis Bohl, Assistant

CLARINETS MUSICAL DIRECTOR Nancy Buckingham, Principal Frank Brieff Michael Borschel, Assistant

VIOLINS (first) Daniel Stepner, Concertmaster BASSOONS Jennie Wagner, Assistant Robert Martenson, Principal Edward Feld JoANN Wich Richard Luby William Cobb Walter Kuczynski David Gordon Peter Loro Ralph Evans Kunie De Vorkin Ann Clemmons HORNS Alice Buczynsky Christine Snyder, Principal Lisa Hollust Emily Fine Elias Gerald Charles Baxter, Assistant Ralph Matson John Davis David Marshall

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CELLI PERCUSSION Donald Green, Principal Howard Zwickler Andrew Salvo, Assistant Frank Shaffer William D'Amato Richard Ettleson Thomas Mansbacher Laura Schlessinger Susan Poliacik Madalena Marx HARP Susan Mustard Green Assunta Dell'Aquila Joseph Cerino Sara Cutler Sherill Roberts

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