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Boston Symphony Orchestra Concert Programs, Summer, 1959-1960

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Boston Symphony Orchestra Concert Programs, Summer, 1959-1960 I *u# Berkshire Festival i960 ; THE WORLD'S GREATEST RECORDING CHARLES MUNCH The famed interpreter of Berlioz' Requiem con- ducts a towering per- formance of the French masterpiece, with the Boston Symphony and the New England Con- servatory Chorus... two records, in a gala Soria Series Library Edition. Other recent Munch al- bums - BACH: Bran- denburg Concertos m. (Complete) ; BEETHO- VEN : Symphonies Nos. 3 ("Eroica") and 9; RAVEL: Bolero, and other French music DEBUSSY: La Mer, and IBERT: Escales. All available in Living Stereo and monophonic. THESE OUTSTANDING RECORDING ARTISTS APPEAR EXCLUSIVELY ON Partita : ; J. S. : miracle+si khu JAIME LAREDO -BRAHMS Sonata No. 3 BACH 3j living 1 stereo fc No. 3. Jaime Laredo, winner of the Queen Elisabeth of Belgium The JAIME LAR award, is the most promising violinist to appear in decades. album combines two works -one romantic, one baroque -from Laredo's triumphant Carnegie Hall debut, both interpretively challenging, both magnificently realized. Available in Living Stereo and monophonic versions. Also by Jaime Laredo : PRESENTING Suite Popu- JAIME LAREDO. Contains : Sonata No. 2 (Vivaldi) ; String (J. S. Bach) ; and late Espagnole (Falla) ; Air on the G five other selections. Living Stereo and monophonic. ARTISTS ARE YOURS ON RCA VICTOR miracles-surface 4 Wing | stereo ^ STRAVINSKY IBPllAUiJ.lffO PETROUCHMA ^^ PIERRE BOSTON SYMPHONY MONTEUX MONTEUX In 1911, Pierre Monteux conducted the debut per- formance in Paris of Stravinsky's ballet "Petrouchka." It was Monteux who originally introduced the work to American audiences. This recent album pre- sents Monteux's first recording of the com- plete score in stereo and monophonic. Other re- cent Monteux record- ings-TCHAIKOVSKY. Symphonies Nos. 5 and 6; BERLIOZ: Sym- phonie Fantastique; STRAVINSKY: Rite of Spring; HAYDN: "Clock" Symphony and "Surprise" Symphony. Sj living stereo iiiraue*si kfau - : Piano Concerto No. j GARY GRAFFMAN BEETHOVEN 3, fc Beethoven rcaV'ctor ^te with the Chicago Symphony Orchestra, Walter Hendl conducting. CONCERTO No. 3 Gary Graffman has been "preparing" this concerto for twenty ORAFFMAN CHICAGO SYMPHONY of his 31 years. The result of this painstaking study is an inter- Walter Hendl conducting pretation without peer. The recording is the latest artistic achievement of one of the most eminent of the younger genera- tion of pianists. Stereo and monophonic. Also by Graffman: CHOPIN : Ballades, and Andante Spianato and Grande Polonaise. BRAHMS : Concerto No. 1. Both albums in stereo and monophonic. GRAFFMAN PLAYS SCHUMANN. Monophonic only. 4Z&f f&p THE CADILLAC "V" AND CREST Interpreted in Gold and Diamonds BY C. D. PEACOCK It is no secret, to be sure, that Cadillac owners a higher return on their original stands alone in the brilliance of its styling investments than any other motor car . and the graciousness of its interiors built in the land. And this is, we believe, . and the excellence of its performance. the final compliment to Cadillac's leader- But there is another, less apparent ship in craftsmanship and design. We measurement of Cadillac greatness that hope you will visit your dealer soon — is equally real and equally rewarding: its and let him explain why the move to unrivaled resale value. Year after year, Cadillac is as logical as it is tempting! The Cadillac continues to realize for its car and the keys are awaiting your call. VISIT YOUR LOCAL AUTHORIZED CADILLAC DEALER BOSTON SYMPHONY ORCHESTRA CHARLES MUNCH, Music Director Richard Burgin, Associate Conductor Berkshire Festival, Season ig6o (TWENTY-THIRD SEASON) MUSIC SHED — TANGLEWOOD, LENOX, MASSACHUSETTS THIRD WEEK Concert Bulletin, with historical and descriptive notes by John N. Burk Copyright, i960 By Boston Symphony Orchestra, Inc. Trustees of the Boston Symphony Orchestra, Inc. Henry B. Cabot, President Jacob J. Kaplan, Vice-President Richard C. Paine, Treasurer Talcott M. Banks Harold D. Hodgkinson Henry A. Laughlin Charles H. Stockton Theodore P. Ferris C. D. Jackson John T. Noonan Raymond S. Wilkins Francis W. Hatch E. Morton Jennings, Jr. Palfrey Perkins Oliver Wolcott Trustees Emeritus Philip R. Allen M. A. DeWolfe Howe N. Penrose Hallowell Lewis Perry Edward A. Taft Tanglewood Advisory Committee Alan J. Blau Henry W. Dwight Lawrence K. Miller Whitney S. Stoddard Lenges Bull George W. Edman Robert K. Wheeler H. George Wilde Jesse L. Thomason George E. Mole Chairmen of the Boards of Selectmen (Ex Officio). Stockbridge, Robert G. Williams Lenox, David H. Mackey Lee, Michael J. Sullivan Thomas D. Perry, Jr., Manager Norman S. Shirk Leonard Burkat James J. Brosnahan Rosario Mazzeo Assistant Manager Music Administrator Business Administrator Personnel Manager 1960 BERKSHIRE FESTIVAL... TAN GLEWOOD KLM IS PROUD TO BE THE AIRLINE PREFERRED BY THE BOSTON SYMPHONY ORCHESTRA KLM Royal Dutch Airlines is privileged to have been chosen by the Boston Symphony Orchestra for its most recent transatlantic trip to Europe. KLM looks forward to welcoming patrons of the Boston Symphony on boardl the "Flying Dutchmen" serving all six continents. KLM serv ice features superb Continental cuisine and traditional Dutch hospitality. KLM ROYAL DUTCH AIRLINES 80 Boylston THE Street, Liberty 2-9355. Boston, Massachusetts. WORLD'S FIRST AIRLINE BOSTON SYMPHONY ORCHESTRA y V V W W W V Gabriel Faure Friday Evening, July 22, at 8:30 CHARLES MUNCH, Conductor Beethoven .*Symphony No. 3, in E fiat major "Eroica," Op. 55 I. Allegro con brio II. Marcia funebre: Adagio assai III. Scherzo: Allegro vivace IV. Finale: Allegro molto INTERMISSION Faure . Requiem, for Chorus and Orchestra, with Soprano and Baritone Solo, Op. 48 i. Introit and Kyrie IV. Pie Jesu ii. Offertorium V. Agnus Dei in. Sanctus VI. Libera me VII. In Paradisum In Memory of Serge Koussevitzky SARAMAE ENDICH, Soprano DONALD GRAMM, Baritone FESTIVAL CHORUS, Hugh Ross, Director BALDWIN PIANO •RCA VICTOR RECORDS 8 1960 I BERKSHIRE F E S T V A L . T A N G L E W O O D VVV V WVWVW' "Program ^A(^otes &eoltan=^feimter ©rgart Companp INC. Friday Evening, July 22 Designers of instruments for: Symphony No. 3 in E flat, "Eroica," Op. 55 Ludwig van Beethoven THE BOSTON SYMPHONY ORCHESTRA THE DETROIT SYMPHONY ORCHESTRA Born in Bonn, December 16(?), 1770; died in Vienna, March 26, 1827 THE PHILADELPHIA ORCHESTRA Composed in the years 1802-1804, the Third Symphony was first performed at a private concert in the house of THE NEW YORK PHILHARMONIC Prince von Lobkowitz in Vienna, December, 1804, the com- poser conducting. The first public performance was at the Theater an der Wien, April 7, 1805. Those who have listened to the Eroica Symphony have been reminded, perhaps too often, that the com- poser once destroyed in anger a dedication to Napo- leon Bonaparte. The music, as one returns to it in the course of succeeding years, seems to look lofitmi 27, Mms. beyond Napoleon, as if it really never had anything to do with the man who once fell short of receiv- ing a dedication. Sir George Grove once wrote: "Though the Eroica was a portrait of Bonaparte, it is as much a portrait of Beethoven himself — but that is the case with everything he wrote." Sir George's second remark was prophetic of the present point of view. The name of Napoleon is now little associated with the score, except in the form of an often repeated anecdote. CRANE MUSEUM The concept of heroism which plainly shaped this symphony, and which sounds through so much of Beethoven's music, would give no place to a self- Exhibits showing steps in making all-rag styled "Emperor" who was ambitious to bring all papers and the progress of paper-making Europe into vassalage, and ready to crush out count- less lives in order to satisfy his ambition. If the from Revolutionary times to the present. Eroica had ever come to Napoleon's attention, which it probably did not, its inward nature would have been quite above his comprehension — not to speak, of course, of musical comprehension. Its suggestion is of selfless heroes, those who give their lives to overthrow tyrants and liberate oppressed peoples. Egmont was such a hero, Leonore such a heroine. The motive that gave musical birth to those two characters also animated most of Beethoven's music, varying in intensity, but never in kind. It grew from the thoughts and ideals that had nurtured the French Revolution. Beethoven was never more completely, more erup- Open 2 to 5 p.m.. Monday through Friday, tively revolutionary than in his Eroica Symphony. from June through September. Five miles Its first movement came from all that was defiant in his nature. He now tasted to the full the intoxi- east of Pittsfield on Route No. 9. cation of artistic freedom. This hunger for free- DALTON, MASSACHUSETTS dom was one of his deepest impulses, and it was piqued by his sense of servitude to titles. Just or not, the resentment was real to him, and it increased 1960 BERKSHIRE F E S T I V A L . T A N G L E W O O D his kinship with the commoner, and his ardent repub- licanism. The Eroica, of course, is no political docu- ment, except in the degree that it was the deep and inclusive expression of the composer's point of view at the time. And there was much on his heart. Saturday evenings at 8:30 This was the first outspoken declaration of inde- pendence by an artist who had outgrown the mincing restrictions of a salon culture in the century just WQXR brings you the ended. But, more than that, it was a reassertion of will power. The artist, first confronted with the downright threat of total deafness, answered by Boston Symphony's an unprecedented outpouring of his creative facul- ties. There, especially, lie the struggle, the domi- nation, the suffering, and the triumph of the Eroica Berkshire Festival Symphony.
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