Boston Symphony Orchestra Archives

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Boston Symphony Orchestra Seiji Ozawa, Music Director Colin Davis, Principal Guest Conductor Joseph Silverstein, Assistant Conductor 16, 18, 21 October 1975 at 8:30 pm 17 October 1975 at 2:00 pm 25 November 1975 at 7:30 pm Symphony Hall, Boston Ninety-fifth season Program Program Notes Joseph Silverstein conducting Wolfgang Amadeus Mozart, 1756 -1791 Symphony No. 25 in G minor K.183 Mozart: Symphony No. 25 in G minor K.183 Only twice in his life (here and in the more famous C Allegro con brio minor Symphony in 1788) did Mozart compose a sym- Andante phony in the minor mode. G minor must have held a spe- Menuetto cial somber significance for him — the late symphony in Allegro that key, the String Quintet (K.516, 1787) and the Piano Quartet (K.478, 1785) all show a strain of pathos unusual at Copland: Concerto for Clarinet and String that time. Orchestra with Harp and Piano The theme of the first Allegro gives a definitely somber minor cast to the opening, although it is relieved by the Harold Wright, clarinet tripping countertheme in B-flat major. The development is First performance by the BSO in Boston brief, but agitated and modulatory. Commentators have found brightness and relief from the dark colorings of this Slowly and expressively — Cadenza —Rather fast symphony in the short, lyric Andante in E-flat major. But if there is a romantic movement in the symphony it is this Intermission one. The Minuet brings us back to G minor and the full orchestra. Again in contrast is the G major Trio for the Dvorak: Symphony No. 8 in G, Opus 88 winds only. We imagine a peasant-like German dance, which none but an Austrian could have composed. The Allegro con brio Finale is again in sonata form in a brilliant ferocity of G Adagio minor, justifying (if it can be justified) the coupling of the Allegretto grazioso two G minor symphonies by scholars. The movement scin- Finale: allegro ma non troppo tillates in its progress, displaying the twists and turns of the composer's wit along the way. The concert on Friday will end about 3:40, the concerts on Tues- This symphony was last performed in Boston in 1948 day, October 21, Thursday, October 16 and Saturday, October 18 under Leonard Bernstein's direction. The most recent per- will end about 10:10. The concert on Tuesday, November 25 will formance was in the 1963 Berkshire Festival conducted by end about 9:10. Erich Leinsdorf. Notes by John N. Burk Seiji Ozawa and the Boston Symphony Orchestra record exclusively for Deutsche Grammophon Aaron Copland, 1900 - Baldwin Piano Deutsche Grammophon Concerto for Clarinet and String Orchestra with Harp and Piano "Copyright 1952 by Aaron Copland. Reproduced by permission of the pub- lishers, Boosey & Hawkes, Inc." The Clarinet Concerto is cast in a two-movement form, played without pause and connected by a cadenza for the solo instrument. The first movement is simple in structure, based upon the usual A–B–A song form. The general The Next Program characteristic of this movement is lyric and expressive. The cadenza that follows provides the soloist with considerable Thursday, October 23 at 8:30 pm opportunity to demonstrate his prowess, at the same time Friday, October 24 at 2:00 pm Saturday, October 25 at 8:30 pm introducing fragments of the melodic material to be heard in the second movement. Some of this material represents Seiji Ozawa, conductor an unconscious fusion of elements obviously related to North and South American popular music. (For example, a Alexis Weissenberg, piano phrase from a popular Brazilian tune, heard by the com- Penderecki: Ofiarom hiroszimy — Tren poser in Rio, became embedded in the secondary material (To the Victims of Hiroshima-Threnody) First Performance by the BSO Strauss: Tod and Verkl3rung (Death and Transfiguration) Tchaikovsky: Piano Concerto No. 1 in B-flat minor (In commemoration of the 100th Anniversary of the World Premiere in Boston.) for up-to-date recorded concert information please call C-O-N-C-E-R-T in F major.) The overall form of the final movement is that of a free rondo, with several side issues developed at some Joseph Silverstein length. It ends with a fairly elaborate coda in C major. Joseph Silverstein, assistant conductor of the Boston The Concerto was composed partly in 1947 when the Symphony Orchestra since the beginning of the 1971-72 composer was on a tour of Latin America, and was com- season, and concertmaster since 1962, joined the Orchestra pleted at Sneden's Landing, New York in October 1948. At in 1955 at the age of twenty-three. Born in Detroit, he stud- the first performance, part of a broadcast by the NBC Sym- ied at the Curtis Institute in Philadelphia and with Josef phony Orchestra on November 6, 1950, Benny Goodman, Gingold and Mischa Mischakoff. He was a prize winner in for whom the Concerto was commissioned, played the solo the Queen Elisabeth of Belgium International Competition part. and a year later won the Naumburg Foundatiori Award. The Concerto was first performed by the Boston Sym- Before coming to Boston, he was a member of the orches- phony Orchestra at the Berkshire Festival on July 24, 1970 tras of Houston, Denver and Philadelphia. Joseph Silver- under the composer's direction. The soloist was Gervase stein has established an international reputation as soloist de Peyer. The present performances are the first by the and as first violinist of the Boston Symphony Chamber Boston Symphony in Boston, and are given to honor the Players. During past seasons he has performed over 30 con- composer on the occasion of his 75th birthday on certos with the Boston Symphony and has recorded those November 14, 1975. by Bartok and Stravinsky for RCA Victor. Notes copyright 1970 by Aaron Copland As violinist of the Boston Symphony Chamber Players, Mr. Silverstein has made many chamber music recordings Antonin Dvotak, 1841-1904 for Deutsche Grammophon. He is Chairman of the Faculty of the Berkshire Music Center at Tanglewood, and teaches Symphony No. 8 in G, Opus 88 privately. During recent seasons he has been Adjunct Pro- The G major Symphony was composed between October fessor of Music at Yale University and Boston University. 26 and November 8, 1889, and published as No. 4 in 1892. The composer directed the first performance in Prague on Harold Wright February 2, 1890. Artur Nikisch conducted the first per- Harold Wright, principal clarinet of the Boston Sym- formance by the Boston Symphony Orchestra on February phony Orchestra, was born and brought up in Wayne, 26, 1892. The most recent performances of the work by the Pennsylvania. He started to play the clarinet at the age of Boston Symphony were in October 1968 in Boston with twelve, and later studied at the Curtis Institute in Philadel- Erich Leinsdorf conducting, and at the 1972 Berkshire Fes- phia with Ralph McLane. He played with the Houston and tival under the direction of Karel Ancerl. Dallas Symphonies before his appointment as principal Dvoi-ak proudly identified himself with his race. The clarinet of the Washington National Symphony. For five Czech music, words and language remained always his years he took part in the Casals Festivals, and played at the own. The dance rhythms and melodic turns with which he Marlboro Festival for nineteen. In past years he has made grew up filled his music. The Eighth symphony was some- many recordings including albums of Brahms sonatas, times called the 'English' symphony, but like all of his sym- Copland's Sextet, Mozart's Clarinet Quintet, and Schu- phonies, including the 'New World,' it is thoroughly Czech bert's 'Shepherd on the Rock' with Benita Valente and in spirit, abounding even more than its fellows in folkish Rudolf Serkin. His chamber music activities have included melody and dance rhythms. The title probably comes from appearances with the Galimir, Guarneri, Juilliard and the fact that the firm of Novello in London published it and Budapest Quartets and he has toured both with the because the composer, receiving the degree of Doctor of National Symphony and the Marlboro Festival players. Music at Cambridge University on June 16, 1891, conducted Harold Wright is a member of the Boston Symphony this work in recognition of the honor. Chamber Players with whom he has recorded for Deutsche Grammophon. First violins Cellos Contra bassoon Joseph Silverstein Jules Eskin Richard Plaster Concertmaster Philip R. Allen chair Charles Munch chair Martin Hoherman Horns Emanuel Borok Mischa Nieland Charles Kavaloski Max Hobart Jerome Patterson Helen Sagoff Slosberg chair Rolland Tapley Robert Ripley Charles Yancich Roger Shermont Luis Leguia Max Winder Carol Procter David Ohanian Harry Dickson Ronald Feldman Richard Mackey Gottfried Wilfinger Joel Moerschel Ralph Pottle Fredy Ostrovsky Jonathan Miller Leo Panasevich Martha Babcock Trumpets Sheldon Rotenberg Armando Ghitalla Alfred Schneider Basses Andre Come Stanley Benson William Rhein Rolf Smedvig Harold D.

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