New York Philharmonic

ONE HUNDRED AND TWENTY-NINTH SEASON 1970-71

Wednesday Evening, January 20, 1971, at 8:30 7951st Concert

GALA PENSION FUND BENEFIT CONCERT

Daniel Barenboim, Conductor ARTUR RUBINSTEIN, Pianist

WEBER Overture to “Euryanthe”

BEETHOVEN Concerto No. 4 for Piano and Orchestra, G major, Opus 58 I Poco sostenuto; Vivace ( II Andante con moto (III Rondo: Vivace ARTUR RUBINSTEIN

INTERMISSION

BRAHMS Concerto No. 1 for Piano and Orchestra, D minor, Opus 15 I Maestoso II Adagio III Rondo: Allegro non troppo ARTUR RUBINSTEIN

Mr. Rubinstein plays the Steinway Piano

Assistance in underwriting of the costs of presenting this concert has been provided by The Julia D. Steinway Fund.

Steinway Piano Columbia Records

In consideration of the performing artists and members of the audience, those who must leave before the end of the concert are asked to do so between numbers, not during the performance.

The taking of photographs and the use of recording equipment are not allowed in this auditorium. The Julia D. Steinway Fund was recently established by the Society in memory of Mrs. Frederick T. Steinway, one of the most beloved personalities in the musical life of New York and a patron of the arts long active in New York Philharmonic affairs. Mrs. Steinway was a member of the Philharmonic’s Auxiliary Board from its inception in 1923 and a Director of the Society from 1934 until her death in 1958. The setting up of the Fund was made possible by an initial contribution from The Steinway Founda­ tion, Inc., to which the Society is most deeply grateful.

Notes on the Program

By EDWARD DOWNES Overture to “Euryanthe” CARL MARIA von WEBER Born November 18, 1786, Eutin, Oldenburg; died June 5, 1826, London. 6 6 IVI Y RECEPTION> when 1 appeared in the orchestra, was the most enthusiastic and IVI. brilliant that one could imagine,” wrote Weber to his wife the day after the première of his Euryanthe. “There was no end to it. At last I gave the signal for begin­ ning. Stillness of death. The Overture was applauded madly, and there was a demand for a repetition; but I went ahead so the performance might not be too long or drawn out.” The epochal success of Der Freischiitz in Berlin had earned Weber a commission for the Karntnertor Court Opera in Vienna. Weber began his Euryanthe in 1821 and worked at it, with interruptions, for nearly two years. He composed the Overture between Sep­ tember 1 and October 19, 1823. The première of the opera on October 25 was extremely successful. Despite the opposition of the Italian faction, which dominated the Viennese Court Opera, there were 20 performances in the first season. But after the first season, Euryanthe was handicapped by its foolish libretto. On the other hand, the brilliance, spontaneity and imaginativeness of the music have aroused enthusiasm whenever the opera has been revived. Schumann was enchanted by it. “This music is too little known and appreciated,” he wrote in 1847. “It is heart’s blood, the noblest he had, and this opera certainly cost him a part of his life; but he is also immortal. It is a chain of sparkling jewels from beginning to end—all brilliant and flawless. How splendid the character­ ization of certain figures such as Eglantine and Euryanthe—and how the instruments sound! They speak to us from the innermost depths.” Euryanthe took long to cross the ocean. The first clearly documented performance here was at the Metropolitan Opera House on December 23, 1887, under the direction of Anton Seidl. Lilli Lehmann sang the title role in a distinguished cast including Max Alvary, Marianne Brandt and Emil Fischer. The most recent Metropolitan performance in December, 1914, was conducted by Arturo Toscanini. The Overture has always been popular in the concert hall. It opens with a brilliant flourish for full orchestra, Allegro marcato, con molto fuoco. The brass and woodwinds

Notes on the program copyright © The Philharmonic-Symphony Society of New York, Inc. 1971. All rights reserved. Notes on the programs may not be printed in their entirety without the written consent of the Philhar­ monic; excerpts may be quoted if due acknowledgement is given to the author and to the Philharmonic.

SUBSCRIBERS ARE EARNESTLY REQUESTED when unable to use their tickets, to return them to the Philharmonic Subscription offices, Broad­ way at 65th Street, or call 799-9595 to place them on sale. Such tickets will enable some of the many people who wish to attend concerts to do so when tickets would otherwise not be available, and their sale benefits the Philharmonic’s Pension Fund. Tickets that are returned will be acknowledged and constitute income tax deductions as provided by law. We hear it first in the hushed voice of the piano, unaccompanied. The orchestral strings answer softly, as if from a far distant key—a Romantic color effect which still sounds as fresh as if it had not been imitated through the hundred years that followed. By way of gentle contrast, the first violins, followed by a solo oboe, sing a more lyric, lilting phrase.

Allegromoderato

v 1st Violin*

The piano solo returns, with an almost pensive cadenza-like passage, to join the orchestra in a restatement and development of the basic themes. One graceful phrase chases another across these melodious opening pages, and in spite of the stormy grandeur with which they are all developed, the sweeping arpeggios, the brilliant scales and sudden dynamic contrasts, this is supremely lyrical music from beginning to end. II. Andante con moto. The striking dialogue between orchestra and piano in this movement was once compared by Franz Liszt to Orpheus taming the wild beasts. Beet­ hoven’s orchestra may not be exactly a wild beast, not in this movement anyway, but the harsh peremptory octaves in which it speaks, and the soft, pleading phrases with which the piano replies might easily have been inspired by the thought of Orpheus sup­ plicating the powers of the underworld. Gradually the stern voice of the orchestra melts, the octaves dissolve into harmony, and at the very end, orchestra unites with solo in a little sigh of acquiescence. The last movement follows without pause. III, Rondo: Vivace. The melancholy spell of the Andante is broken by whispering strings in the following vivacious theme, the refrain of the Rondo finale:

The piano answers with graceful variants of the string phrases. But after this discreet be­ ginning, the orchestra tutti bursts in with a boisterous repetition of the refrain, and the Rondo turns out to be full of surprises. The violence of its gaiety, following the deep shadows of the slow movement, recalls the stories of Beethoven’s sudden fluctuations of mood when improvising for his friends. Sometimes, when he had finished and turned around to find his listeners shattered, overwhelmed with emotion, he would burst into a roar of laughter. “We artists don’t want tears,” he would mock, “we want applause.” The finale is rich in sudden contrasts. It charms, it blusters, it crackles, and after the grand flourish of the cadenza and some humorous afterthoughts, it launches into a triumphant presto, with the obstinate refrain still dominating the grand orchestral frenzy. The Fourth Piano Concerto is scored for 1 flute, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, kettledrums and the standard string choir.,

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

rahms was a pianist from his earliest, child-prodigy years. Yet with all his early facility, his approach to the piano had something orchestral about Bit, and this shows in his compositions. Robert Schumann spotted this quality when the obscure twenty-year-old first ventured to visit him. In the privacy of the Schumann home, with only the master and his wife, Clara, as audience, Brahms played his own music. Maestoso “Sitting at the piano, he began to disclose wonderful regions to us,” wrote Schumann barely a fortnight later in a famous article of October 28, 1853, Adagio entitled “New Paths” (Neue Bahnen). Schumann’s tribute continued:

Rondo: Allegro non troppo Besides, he is a player of genius who can make the piano an orchestra of lamenting and loudly jubilant voices. There were sonatas, veiled sym­ phonies rather; songs the poetry of which would be understood even without Artur Rubinstein words . . . every work so different from the others that it seemed to stream from its own individual source. Should he direct his magic wand where the massive powers of chorus and orchestra may lend him their forces, we can look forward to even more wondrous glimpses of the secret world of spirit. . . . His fellow musicians hail him on his first step through a world where wounds perhaps await him, but also palms and laurels. In him we welcome a strong champion.

It was generous, heartfelt praise, intended to smooth the way for a man whose genius was every bit as great as Schumann believed. But Brahms seems to have had less confidence in his own powers than Schumann. It was nearly a quarter of a century before he produced his first symphony. What was to have been his first symphony turned into the D-minor Piano Concerto. It first took shape as a sonata for two pianos, which Brahms brought to show to Schumann’s pianist wife, Clara. Together, they played the sonata through several times. Clara wrote in her diary: “It struck me as quite powerful, quite original, conceived with great breadth and more clarity than his earlier things.” Obviously, Brahms’ thought was orchestral, symphonic in scope. In the fol­ lowing months, he set about making a symphony of the sonata, but he had technical difficulties with the orchestration, despite the help of a scholarly friend, Julius Grimm. Finally, Grimm suggested a solution to this conflict be­ tween pianistic and orchestral concepts, namely a piano concerto. Brahms agreed. The first two movements of the sonata became the Maestoso and the Adagio of the D-minor Piano Concerto. (The third movement of the sonata, set aside for many years, eventually became the chorus, “Behold All Flesh,” in Brahms’ A German Requiem.) After many revisions of the first two movements and the addition of a new finale, the Concerto was completed in its first version early in 1858. It was first performed on January 22, 1859, with Brahms himself at the piano and Joachim conducting. Five days later, Brahms again played the Con­ certo at a Gewandhaus concert in Leipzig. After further revisions, the piano part was published in 1861, and the orchestral parts the following year. I. Maestoso. What an opening theme for a timid young man starting his first orchestral score! Brahms hurls his heavy theme like a thunderbolt.

The timpani roar in the background as the stormy second half of the theme repeats and develops, culminating in a burst of heavy trills that cascade through the orchestra like a shower of fiery sparks. The storm breaks off as dramatically as it began. A long, wave-like strand of melody, a gently rocking figure, leads to a chain of lyric episodes. And it is with one of these that the piano makes its unobtrusive entrance, before seizing upon the great trills and vaulting intervals of the main theme. The serenity of a marvelous contrasting melody, given out first by the piano alone:

H provides the opposite pole of feeling in this first movement, which is a grandiose Romantic expansion of the classical sonata-allegro pattern. II. Adagio. The manuscript of the gentle slow movement originally bore the inscription: Benedictus qui venit in nomine Domini. Aside from its religious connotation, the words suggest a double dedication to the deceased Schumann and his widow, whom Brahms had come to worship. Since Brahms had used to refer to Schumann as master, or “Dominus,” the “blessed one who comes in the name of the master” must have been the gentle Clara. This supposition is strengthened by a letter of Brahms to Clara on December 30, 1856 in connection with the Concerto, saying: “I am also painting a lovely portrait of you. It is to be the Adagio. III. Rondo: Allegro non troppo. This colossal finale combines the brilliance of a traditional nineteenth-century show-piece with a symphonic weight which almost balances the first movement. The rondo refrain:

Piano solo

serves also as the principal theme of an exuberant conclusion to his powerfully original work. The Concerto is scored for 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 2 kettledrums and string choir.

NEW YORK PHILHARMONIC The Philharmonic-Symphony Society of New York, Inc. Philharmonic Hall, Lincoln Center, Broadway at 65th Street, New York, N. Y. 10023

OFFICERS AND DIRECTORS Howard Phipps, Jr. Chairman Gerald F. Beal Amyas Ames Mrs. William C. Breed Harvey Picker Honorary Chairman LeeH. Bristol, Jr. Francis T. P. Plimpton David M. Keiser Mrs. C. Sterling Bunnell Richard Rodgers President Benjamin J. Buttenwieser Axel G. Rosin Carlos Moseley Carleton Sprague Smith Vice-Chairmen Mrs. George A. Carden Mrs. Lytle Hull Maitland A. Edey Albert C. Stewart Mrs. Robert L. Hoguet Gianluigi Gabetti Mrs. John Straus Robert V. Lindsay Francis Goelet Miss Alice Tully Treasurer Peter Heller Robert A. Uihlein, Jr. Sampson R. Field Mrs. Sophie G. Untermeyer Assistant Treasurers Wm. Rogers Herod William Rosenwald J. Buckhout Johnston Cornelius V. Whitney Chester G. Burden Mrs. Hampton S. Lynch Advisor to the Board Maynard Steiner Mrs. Flagler Matthews Bruno Zirato Secretary Ethan A. Hitchcock TRUSTEES Sampson R. Field Amyas Ames Gerald F. Beal Benjamin J. Buttenwieser ADMINISTRATION Albert K. Webster, Assistant Manager Helen M. Thompson, Manager William Weissel, Assistant Manager Frank Milburn, Press Director and Music Administrator Sophie G. Untermeyer, Fund Raising Director Maynard Steiner, Controller Leon Thompson, Director of Educational Carola E. Wadle, Head, Subscription Department Hal De Windt, Assistant to the Manager Winston Fitzgerald, Administrative Assistant Activities John M. Chappell, Administrative Assistant Ken Miller, Press Assistant proclaim a gallant phrase with which the hero affirms his reliance on God and his beloved Euryanthe: "Ich bau’ auf Gott und meine Euryanth’.” A tender, contrasting phrase sung by the first violins is taken from the hero’s second-act aria and is sung to the words: “O Seeligkeit, dich fass’ ich Kaum” (“O bliss which I scarce can grasp”):

The development section is introduced by a famous passage of Romantic ghost music. It is taken from a first act narrative in which Euryanthe describes the funeral vault of the unfortunate Emma, who had taken poison when her beloved was killed in battle. The appearance of Emma’s ghost is depicted by the veiled sound of eight muted solo violins. Halfway through this brief passage the eight violins are joined by the viola section playing the merest whisper of a tremolo. The ghost music is followed by an impetuous development of the Overture’s opening themes and a return of the lyric melody, ' O Seeligkeit, dich fass’ ich Kaum,” leading to a triumphant orchestral peroration. The Overture is scored for 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trum­ pets, 3 trombones, timpani and the usual strings.

Concerto for Piano and Orchestra, No. 4, G major, Opus 58 LUDWIG VAN BEETHOVEN Born December 16(?), 1770, Bonn; died March 26, 1827, Vienna. eethoven, like Mozart before him, wrote most of his piano concertos for himself as a performing virtuoso. They were his stock in trade, especially during the early Byears when he was far more popular as a performer than as a composer. And since there were no copyrights, he took the precaution of withholding his concertos from publication until he himself had made good use of them. Thus the Fourth Concerto, which he com­ posed ih 1805 and 1806, was not published in the orchestral parts until August 1808. The Allegro moderato first performance of the Fourth Concerto was given in private, on one of two subscription concerts, both all-Beethoven programs, given at the palace of Prince Lobkowitz in March Andante con moto of 1807. The first public performance of the Concerto, again with Beethoven as the soloist, was presented at the incredible concert of December 22, 1808, in the Theater an Rondo: Vivace der Wien, which included the world premières of four major masterpieces: his Fifth and Sixth Symphonies, his Fourth Piano Concerto and his Choral Fantasia, to say nothing of four movements from his Mass in C and the soprano aria, “Ah! Perfido.” The theater was freezing cold. The audience struggled through more than four hours Artur Rubinstein of modern music, most of it never before heard in public. The performances were so rough that at one point the orchestra broke down entirely and had to begin over again. Nevertheless, Beethoven’s performance of his own Concerto seems to have been over­ whelming. J. F. Reichardt, who heard Beethoven on this occasion, wrote: “He played . . . with astounding cleverness and in the fastest possible tempi. The Adagio, a masterly movement of beautifully developed song, he sang on this instrument with a profund melancholy that thrilled me.” I. Allegro moderato. From Beethoven’s sketchbooks we know that the serene motive at the beginning of this Concerto grew out of the same thought which supplied the tem­ pestuous opening of his Fifth Symphony—the imperious motive of which Beethoven is said to have declared, “Thus Fate knocks on the door”:

But how gentle and ingratiating it sounds here, and how it can sing: rCARNEGIE HALL • 12 Perfs. Only! JAN. 28-FEB. 6 SEATS NOW AT BOX OFFICE COLUMBIA ARTISTS MANAGEMENT INC. and J. H. ZAROVICH present

Meet the Artist

Few musicians in history have held such a commanding position in the ar­ tistic world as does Artur Rubin­ stein. For decades, around the world, Mr. Rubinstein’s PRICES-Opening Night: $10.00 (Boxes Only), $8.50, 7.50, 6.50, 5.50, 5.00, following, not only 4.00. ALL OTHER PERFS.: $7.50, 6.50, 5.50, 4.50, 4.00, 3.00. of audiences but of 9Ä ÜÄÄÄJÄA1 critics and his fellow musicians, has SUN. MAT., Jan. 31 at 2:30. Tickets also at Ticketron neighborhood outlets. For locations: (212) 644-4400. poured forth to hear him wherever and THIS IS AN OFFICIAL PRESENTATION UNDER THE _____ whenever he plays. Last season’s three U.S.A.-U.S.S.R. CULTURAL EXCHANGE AGREEMENT. concerts in New York were sold out months in advance, and Paris, London, Toyko, Warsaw, Rome and Moscow re­ act in the same way. The Polish-born pianist first came to the United States in 1906 as a prodigious teenager. During OPERA “NEW AND NEWER MUSIC” the next twenty years he appeared here SET FOR ALICE TULLY HALL several times, but never to the kind of ac­ ON FILM claim he enjoyed in Europe and South Five leading contemporary composers America. Then more than thirty years are conducting their own music as part ago, S. Hurok persuaded Mr. Rubinstein Sunday, February 7 at 7:00 of a new series, "New and Newer Mu­ to return after more than a decade of ab­ COSI FAN TUTTE sic,” being presented by Lincoln Center sence. Now an American citizen, he is a Unitel Production at Alice Tully Hall on Sunday afternoons Karl Bohm, Conductor, true citizen of the world. Last season Janowitz, Ludwig, Miljakovic, Alva, at 3:00. The five composers are Henri Artur Rubinstein played nineteen times Prey, Berry Pousseur (November 29), Bruno Mader- over a two-month period in the United na (January 31), Karlheinz Stockhausen States alone. This included three con­ Sunday, February 14, at 2:00 (February 28), Luciano Berio (April 5) certs in New York with orchestra and and Pierre Boulez (April 25). Pousseur, conductor Alfred Wallenstein at each of THE YOUNG LORD Berio and Madema are conducting the Deutsche Oper Berlin which he performed three major con­ Christoph von Dohnanyi, Conductor world premières of new works commis­ certos. The remainder of the year Mathis, Grobe, Driscoll, McDaniel sioned for the series by The Juilliard found him concertizing all over the School. Stockhausen is leading a pro­ world. Also last season Artur Rubin­ Sunday, February 28 at 7:00 gram devoted entirely to his own music, stein became the first great international including several first New York per­ pianist to star in a full-length color film ZAR UND ZIMMERMANN formances. Boulez, the new Music Di­ Hamburg State Opera Production made in France and called L’Amour de Charles Mackerras, Conductor, rector of the New York Philharmonic, la Vie, a true portrait of the artist. The Popp, Wolansky, Haage, Sotin has included his own Le Marteau sans film won him an Oscar which was pre­ maître on his program. Other contemporary composers who sented to him by Gregory Peck, Presi­ Sunday, March 7 at 7:00 dent of the Academy of Motion Picture will be represented in “New and Newer Arts and Sciences. NBC added special DIE MEISTERSINGER Music” include Stravinsky, Ligeti, Con- material and used the film for television. VON NÜRNBERG tinescu, Wuorinén, Schoenberg and Lif­ It won two 1970 Emmy Awards, one for Hamburg State Opera Production shitz. The performers for all programs Leopold Ludwig, Conductor, the production and Rubinstein won a Saunders, Tozzi, Wiemann, Cassilly (except the Stockhausen concert) will personal Emmy for his commentary. be members of the Juilliard Ensemble, This year Mr. Rubinstein again tours the Dennis Russell Davies conductor. major cities of North America and will Sunday, March 21 at 7:00 The five concerts are presented by make some special appearances abroad. FIDELIO Lincoln Center under the sponsorship of In between concerts he is writing his Deutsche Oper Berlin Production the Lincoln Center Fund, with assist­ Karl Bohm, Conductor, autobiography, which will be published Jones, King, Neidlinger, Taivela ance from the New York State Council by Alfred Knopf. AMERICAN PREMIERE on the Arts. Patrons of the NEW YORK PHILHARMONIC 1970-1971 First National City Bank of New York The New York Times Foundation CORPORATE PATRONS Reader’s Digest Foundation Altman Foundation, Inc. The Ford Foundation American Telephone and Telegraph Co. General Telephone Rockefeller Center, Inc. Baldwin Piano and Organ Company & Electronics Corporation Jos. Schlitz Brewing Co. The Bank of New York Glen Alden Corporation Shell Companies Foundation The Bowery Savings Bank IBM Corporation Standard Oil Company Inc. in Bristol Myers Fund Kidder Peabody & Company, Inc. New Jersey Chemical Bank Kraftco Corporation Steinway and Sons Consolidated Edison of New York Inc. Lanvin-Charles of the Ritz, Inc. Touche Ross & Co. Continental Can Company, Inc. Marsh and McLennan Foundation, Inc. Morgan Guaranty Trust Company Trans World Airlines Crowell Collier and Macmillan United States Steel Foundation Foundation New York Telephone Company

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Brimberg Mr. and Mrs. Alfred Winslow Jones Mrs. Karl Robbins Dr. and Mrs. Lee Hastings Bristol, Jr. Mr. and Mrs. Archie O. Joslin Mrs. George Roberts The J. M. Kaplan Fund Inc. Mr. and Mrs. David Rockefeller Mr. and Mrs Edgar M. Bronfman Mrs. John D. Rockefeller, Jr. Mrs. Alvin G. Brush Mr. and Mrs. Irving D. Karpas Mr. and Mrs. Aaron Kaufman Mrs. John D. Rockefeller, III Mr. and Mrs. Walker G. Buckner Rockefeller Brothers Fund, Inc. Mr. and Mrs. C. Sterling Bunnell Mr. and Mrs. David M. Keiser Mrs. William S. Kies Mr. and Mrs. Richard Rodgers Mr. and Mrs. Chester G. Burden Mr. and Mrs. Harold L. Rosenthal Mrs. Donald F. Bush Mr. David Klee Mr. and Mrs. Benjamin J. Buttenwieser The Jack Kriendler Memorial Foundation Mr. and Mrs. William Rosenwald Mr. and Mrs. Samuel R. Callaway Mr. Jack S. Lasdon Mr. Louis Rosoff Dr. and Mrs. George A. Carden Mr. and Mrs. Stanley S. Lasdon Mrs. Harry J. Rudick Mrs. Elbridge Gerry Chadwick Mr. and Mrs. William Lasdon Mrs. Harry Scherman Mrs. Gilbert W. 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Hitchcock Mrs. Ogden Phipps Eight Anonymous Patrons N NEW YORK PHILHARMONIC Conductors 1970-71: Leonard bernstein, daniel barenboim, karl boehm, PIERRE BOULEZ, ALDO CECCATO, AARON COPLAND, DEAN DIXON, MILTON KATIMS, SEIJI OZAWA, ROBERT SHAW, STANISLAW SKROWACZEWSKI, KARLHEINZ STOCK­ HAUSEN, ANDRE kostelanetz (Special Saturday Evenings; Artistic Director & Conductor, ‘‘Promenades’’). Assistant Conductors: phillippe bender, mario ben- Meet the ZECRY, DAVID GILBERT Conductor ORCHESTRA PERSONNEL Orchestra Personnel Manager James Chambers Within a brief two- month period this VIOLINS CELLOS CONTRABASSOON 0 season, 28-year-old Frank Gullino Lome Munroe Bert Bial Daniel Baren­ Acting Concertmaster Nathan Stutch boim performed the Bernard Altmann HORNS cycle of Beethoven Joseph Bernstein Gerald K. Appleman Joseph Singer Sonatas in eight Acting Asst. Concertmaster George Feher L. William Kuyper concerts at Tully William Dembinsky Lorin Bernsohn John Cerminaro Hall, appeared with Acting 2nd Asst. Paul Clement John Carabella British cellist Jac­ Concertmaster Avram A. Lavin Ranier De Intinis queline Du Pre in Thomas Liberti Aubrey Facenda two joint recitals at Philharmonic Hall Bjoern Andreasson Evangeline Benedetti and is conducting a Beethoven series Alfio Micci Asher Richman TRUMPETS with the Chicago Symphony. These events Kenneth Gordon Toby Saks William Vacchiano will be followed by his customary exten­ Max Weiner Carmine Fornarotto sive concert tours of North America and Carlo Renzulli BASSES John Ware Europe and a heavy recording schedule. Leon Rudin Robert Brennand James Smith Acknowledged as a front-rank keyboard Newton Mansfield John Schaeffer artist, the Israeli artist has been acquiring William Nowinski Walter Botti TROMBONES an equal reputation as a conductor since Enrico Di Cecco Homer R. Mensch Edward Herman, Jr. 1966, when he began to work with the Nathan Goldstein Orin O’Brien Gilbert Cohen English Chamber Orchestra, and later Gino Sambuco James V. Candido Allen Ostrander with the Israel Philharmonic, both in its Marc Ginsberg Lew Norton Edward Erwin home country and on its world tour. Two Theodor Podnos Jon C. Deak years ago, on short notice, he conducted Gabriel Banat Michele Saxon TUBA the London Symphony at Carnegie Vacancy Joseph Novotny Hall in four concerts; and later he con­ Oscar Weizner FLUTES ducted the English Chamber Orchestra Jacques Margolies Julius Baker TIMPANI in a series of four concerts at Philhar­ Eugene Bergen Robert Morris Saul Goodman monic Hall. He has also conducted The Luigi Carlini Paige Brook Philadelphia Orchestra and the Los An­ geles Philharmonic at Robin Hood Dell Martin Eshelman PERCUSSION Carlos Piantini PICCOLO Walter Rosenberger and the Hollywood Bowl. Born in F. William Heim Bernard Robbins Elden Bailey Buenos Aires to parents who were both accomplished pianists, Mr. Barenboim Allan Schiller Morris Lang W. Sanford Allen OBOES began his piano studies with his mother Oscar Ravina Harold Gomberg and father at five, and gave his first re­ Jerome Roth HARP cital at seven. His mentors were, first, Richard Simon Myor Rosen Matitiahu Braun Albert Goltzer Adolf Busch in Buenos Aires, and in Michael Gilbert Israel, where the family moved when he ENGLISH HORN ORGAN, HARPSICHORD was ten, Igor Markevitch, with whom he Vacancy Bruce Prince-Joseph Vacancy Engelbert Brenner studied conducting and who invited him Vacancy to Salzburg where he gave a noteworthy CLARINETS PIANO, CELESTE performance of Bach’s D-minor Con­ VIOLAS Stanley Drucker Paul Jacobs certo at the Mozarteum. His Salzburg William Lincer Michael Burgio studies were also with Edwin Fischer and Leonard Davis Assistant Personnel Mgr. Enrico Mainardi. His first American ap­ David Kates E-FLAT CLARINET John Schaeffer pearances in 1957 under the Hurok aegis Sol Greitzer Peter Simenauer followed triumphs in London and Ralph Mendelson Librarian other European capitals. Since then he Selig Posner BASS CLARINET Howard Keresey has played in every major country in Eugene Becker Stephen Freeman Europe, the Soviet Union, in Australia Robert Weinrebe Assistant Librarian and the Far East. This season he will Henry Nigrine BASSOONS Robert De Celle lead The Philadelphia Orchestra on 15 Larry Newland Manuel Zegler occasions. Mr. Barenboim made his de­ William Carboni Frank Ruggieri Stage Representative but with the Philharmonic in November Raymond Sabinsky Harold Goltzer Francis Nelson 1964, as pianist, when he performed Mo­ zart’s E-flat major Concerto K. 482, un­ der the direction of William Steinberg.