. ^^ J J , - ...... L, r BOSTON SYMPHONY ORCHESTRA FOUNDED IN 1881 BY HENRY LEE HIGGINSON VETERANS MEMORIAL AUDITORIUM 1 .^c^-^S-iX"JC**^**"^.8*"- -Tint i \w Jz*%&> Nvj V*\ EIGHTY-SIXTH SEASON 1966-1967 pny Mo. 6 "Erich Leinsdorf and th fi«l nxiirdmfl Hi ' Mtthh-t Society ni Vienna rchestra Boston Symphony, who g us the finest version of i Ber Phyllis Fifth, now produce the *^Bi first stereo Sixth..." -Cue This distinguished 2 LP., Dynagmove recording in the Bosk phony's Mahler series has received rousing critical acclaim Victor quarters, including HiFiIStereo Review who, praising it a cording of Special Merit," said "The recorded sound is alt wfi*)The most trusted name in sound splendid..." Hear it soon, along with Phyllis Curtin's perform Berg's Le Vin . EIGHTY-SIXTH SEASON, 1966-1967 CONCERT BULLETIN OF THE Boston Symphony Orchestra ERICH LEINSDORF, Music Director Charles Wilson, Assistant Conductor The TRUSTEES of the BOSTON SYMPHONY ORCHESTRA, Inc. Henry B. Cabot President Talcott M. Banks Vice-President John L. Thorndike Treasurer Philip K. Allen E. Morton Jennings, Jr. Abram Berkowitz Henry A. Laughlin Theodore P. Ferris Edward G. Murray Robert H. Gardiner John T. Noonan Francis W. Hatch Mrs. James H. Perkins Andrew Heiskell Sidney R. Rabb Harold D. Hodgkinson Raymond S. Wilkins TRUSTEES EMERITUS Palfrey Perkins Lewis Perry Edward A. Taft Oliver Wolcott Thomas D. Perry, Jr., Manager Norman S. Shirk James J. Brosnahan Assistant Manager Business Administrator Sanford R. Sistare Harry J. Kraut Press and Publicity Assistant to the Manager Andrew Raeburn Assistant to the Music Director SYMPHONY HALL BOSTON [3] STEINWAY Concert programs show that the Steinway is, a!rr Steinway without exception, the choice of pianists playing v America's leading orchestras. Small wonder. C official Steinway has the tonal range, the response and po artists rely on for their most expressive performar piano of Only the Steinway sounds like a Steinway, here in your home. The Instrument of the Immortals. pianists You are invited to see and hear our new Steinway Grands and Consoles. l^Jt/Ptrf* Established 1924 Exclusive Steinway Piano Representative for All This Territory 256 Weybosset Street 421- 1434 EIGHTY-SIXTH SEASON NINETEEN HUNDRED SIXTY-SIX-SIXTY-SEVEN Three Hundred and Eighty-sixth Concert in Providence First Program THURSDAY EVENING, November 3, at 8:30 o'clock Mozart Symphony in G minor, K. 550 I. Molto allegro II. Andante III. Menuetto; Allegretto IV. Allegro assai Berg Suite from "Lulu," Opera in Three Acts (after Frank Wedekind I. Ostinato II. Lied der Lulu III. Variationen IV. Adagio Soprano soloist: Phyllis Bryn-Julson intermission Beethoven Piano Concerto No. 1, in C major, Op. 15 I. Allegro con brio II. Largo III. Rondo: Allegro SOLOIST CLAUDE FRANK Mr. Frank plavs the Steinwav Piano By order of the Chief of the Providence Fire Department, smoking is allowed only in the ticket lobby and the lower lobby of the auditorium. BALDWIN PIANO RCA VICTOR RECORDS [51 : THE SOLOISTS CLAUDE FRANK was born in Nurem- PHYLLIS BRYN-JULSON was born berg in 1925, and has made his home in in Bowdon, North Dakota, and moved the United States since 194L He studied at an early age to Moorhead, Minnesota. piano and composition with Artur Schna- She attended Concordia College, where bel for several years, a period which she studied voice with Mrs. Joseph Kise was interrupted by two years of service and was soloist of the Concordia College in the American Army (1944-46), in Choir. She is currently a senior at Syra- both Germany and Japan. During his cuse University and studying voice with military service he gave innumerable Helen Boatwright. recitals in Europe, over Radio Tokyo At the suggestion of the composer and in many other Japanese cities. After Gunther Schuller, Miss Bryn-Julson was his discharge from the Army he spent a awarded a Fromm Vocal Fellowship at summer at Tanglewood studying con- the Berkshire Music Center at Tangle- ducting with Serge Koussevitzky and wood in the summer of 1964. She sang also served for a time as assistant con- in the Festival of Contemporary Ameri- ductor of the renowned Dessoff Choirs. can Music program, and in the 1965 ses- In 1947 he made a highly successful sion, was a soloist in the Music Cen- New York debut and in 1948 he joined ter Orchestra's performance of Ravel's the faculty of Bennington College in L'Enfant et les Sortileges, conducted by Vermont. He joined the faculty of Erich Leinsdorf. Rudolf Serkin's Marlboro Music Festi- In the 1965-66 season, Miss Bryn- val in 1953, and there he found himself Julson appeared as soloist with the more and more the performing artist Contemporary Chamber Ensemble un- rather than artist teacher. Since 1959 der Arthur Weisberg in New York and he has appeared with the Boston Sym- Washington. Last summer, her third phony Orchestra in Boston, New York, year at Tanglewood, she once again took and Tanglewood; the New York Phil- part in numerous performances of new harmonic, and the orchestras of Pitts- works, and at the end of the summer burgh, Cincinnati, Chicago, Detroit, received the High Fidelity Magazine Baltimore, Denver, Zurich, Lausanne, prize and the Composition Performance Hamburg, Frankfurt, Amsterdam, and Award. Barcelona. He is well known for his understanding of chamber ensemble and has served as pianist of the Boston Sym- phony Chamber Players since its organ- ization two years ago. Jones Warehouses, Inc. For over 76 years rendering an exceptionally fine service in Furniture Storage, and in Dependable World Wide Moving. Member 59 CENTRAL STREET Aero Mayflower PROVIDENCE, R. I. Nation-wide GA 10081 "Rhode Island's Largest Moving Service Household Storage Firm" [6] SYMPHONY IN G MINOR, K. 550 By Wolfgang Amadeus Mozart Born in Salzburg, January 27, 1756; died in Vienna, December 5, 1791 The original orchestration calls for flute, 2 oboes, 2 bassoons, 2 horns and strings. Mozart subsequently added parts for 2 clarinets, and this version is used in the present performances. The G minor Symphony is cast as plainly as any symphony of Mozart in a pervasive mood and style. It is a strongly incisive music which attains its strength by deftness and concentration instead of by massive means. The special coloring of the G minor Symphony is illustrated by Mendelssohn's retort to a declaration of Liszt that the pianoforte could produce the essential effects of an orchestral score. "Well," said Mendelssohn, "if he can play the beginning of Mozart's G minor Symphony as it sounds in the orchestra, I will believe him." (The Symphony begins with a delicate piano in the string quartet, the lightly singing violins supported by darkly shaded chords of the divided violas.) The opening theme shows at once the falling semi-tone to the dominant which for generations seems to have been the composers' convention for plaintive sadness. (In Tchaikovsky's Sixth Symphony it reaches a sort of peak.) The melodic phrasing tends to descend, and to move chromatically. The harmonic scheme is also chromatic and modulatory. Conciseness and abruptness are the first characteristics of the score. The composer states his themes directly without preamble or bridge. The first movement could be said to foreshadow the first movement of Beethoven's C minor Symphony in that it is constructed compactly upon a recurrent germinal figure which is a mere interval; RHODE ISLAND CHAMBER MUSIC CONCERTS 1966 • 1967 Tuesday, 25 October Guarneri String Quartet Wednesday, 30 November Boston Symphony Chamber Players Tuesday, 7 February Quartetto Italiano Thursday, 9 March Die Wiener Solisten Chamber Orchestra All concerts will be held at 8:30 p.m. in the Rhode Island School of Design Auditorium. These concerts are sponsored by the Music Department in Brown University. Season Tickets: $15.00, $10.00, $8.00 ($5.00 Students) Single Admission : $2.75, $2.25 ($1.50 Students) Apply: BROWN UNIVERSITY, Box 1903 or AVERY PIANO CO. Providence, R. I. [7] in this case, the falling second. The second theme is conspicuous by a chromatic descent. The development, introduced by two short, arbitrary chords which establish the remote key of F-sharp minor, moves by swift and sudden, but deft, transitions. Its strength is the strength of steel rather than iron, the steel of a fencer who commands the situation by an imperceptible subtlety, whose feints and thrusts the eye can scarcely follow. After pages of intensity, the music sub- sides softly to the last chord of its Coda. The Andante states its theme, as did the first movement, in the strings, the basses giving another chromatic figuration. The affecting beauty of the working out has been praised innumerable times, Wagner comparing the gently descending figures in thirty-second notes to "the tender murmuring of angels' voices." Writers on Mozart have found harshness and tension in the Minuet — all agree that the Trio, in the major tonality, has no single shadow in its gentle and luminous measures. The Finale has a bright and skipping first theme; a second theme which shows once more the plaintive chromatic descent. Like the first movement, the last is compact with a manipula- tion which draws the hearer swiftly through a long succession of minor tonalities. The development of the movement (which is in sonata form) reaches a high point of fugal interweaving, the impetus carrying to the very end. j. N. B. [COPYRIGHTED] J3s==) The Only Maternity Shop in Downtown Providence Every Wardrobe Need for the Mother-to-be One- and two-piece dresses • suits • jackets • skirts sweaters • slacks • lingerie • girdles • bras THE MATERNITY SHOP 172 MATHEWSON STREET • PROVIDENCE [8] SUITE FROM "LULU," OPERA IN THREE ACTS (AFTER THE TRAGEDIES, "ERDGEIST" AND "BVCHSE DE PANDORA" BY FRANK WEDEKIND) By Alban Berg Born in Vienna, February 9, 1885; died there, December 24, 1935 The instrumentation for the Suite is as follows: 3 flutes and piccolo, 3 oboes and English horn, 3 clarinets and bass clarinet, alto saxophone, 3 bassoons and contra- bassoon, 4 horns, 3 trumpets, 3 trombones, tuba, timpani, bass drum, cymbals, snare drum, large tam-tam, small tam-tam, triangle, vibraphone and strings.