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: s II U il 1 r -- ^>< r^*****^ ^X% r BOSTON SYMPHONY ORCHESTRA FOUNDED IN 1881 BY HENRY LEE HIGGINSON y' J TUESDAY EVENING \y^ . "CAMBRIDGE" SERIES >^S^\^ (jjfo )^. ^" rvi ...,/ EIGHTY-FIFTH SEASON 1965-1966 [IC The Boston Symphony BEETHOVEN "EROICA" SYMPHONY BOSTON SYMPHONY ORCH. under Leinsdorf ERICH LEINSDORF " There is a daring quality in Beethoven that should never be lost" says Leinsdorf with particular reference to the great Third Symphony . the " Eroica". There is also a daring, prophetic quality in Mahler's First Symphony, though in a very different idiom. Leinsdorf and the Boston Symphony give each of these works performances characterized by profound understanding and sonic beauty. Hear them in Dynagroove sound on RCA Victor Red Seal albums. RCA Victor* ictoH namo in cnnnrl ^ :IGHTY-FIFTH SEASON, 1965-1966 CONCERT BULLETIN OF THE Boston Symphony Orchestra ERICH LEINSDORF, Music Director Richard Burgin, Associate Conductor with historical and descriptive notes by John N. Burk The TRUSTEES of the BOSTON SYMPHONY ORCHESTRA, Inc. Henry B. Cabot • President Talcott M. Banks • Vice-President John L. Thorndike Treasurer Abram Berkowitz E. Morton Jennings, Jr. Theodore P. Ferris Henry A. Laughlin Robert H. Gardiner Edward G. Murray Francis W. Hatch John T. Noonan Andrew Heiskell Mrs. James H. Perkins Harold D. Hodgkinson Sidney R. Rabb Raymond S. Wilkins TRUSTEES EMERITUS Richard C. Paine Palfrey Perkins Lewis Perry Edward A. Taft Oliver Wolcott Thomas D. Perry, Jr., Manager Norman S. Shirk James J. Brosnahan Assistant Manager Business Administrator Rosario Mazzeo Harry J. Kraut Orchestra Personnel Manager Assistant to the Manager Sanford R. Sistare Andrew Raeburn Press and Publicity Assistant to the Music Director SYMPHONY HALL BOSTON [3] "I'm sure Father would have wanted me to have a Rolls." We're used to being given plenty of rope in our work as trustee. And most of the time the requests we get are reasonable. But every once in a while, a beneficiary throws us a curve. Then we have to be firm. That's why this young man probably won't get his Rolls Royce. Acting as trustee — as executor or guardian, too — is a big and responsible job. We try to face each problem with a steady eye to both sides of the equation — the financial and the human. We feel it is this basic philosophy, as much as anything else, that has made us the largest trust institution in New England. We'll be glad to work with you and your lawyer to make your future plans come true. THE FIRST & OLD COLONY The First National Bank of Boston and Old Colony Trust Company 4j EIGHTY-FIFTH SEASON NINETEEN HUNDRED SIXTY-FIVE -SIXTY-SIX Fifth Program TUESDAY EVENING, February 8, at 8:30 o'clock Viola Concerto for Bassoon and Orchestra I. Andante — Allegro II. Andante — Largo III. Allegro Soloist: Sherman Walt (First performance in this series) Prokofiev Symphony No. 3, Op. 44 I. Moderato II. Andante III. Allegro agitato IV. Andante mosso (First performance in this series) INTERMISSION Beethoven *Piano Concerto No. 4, in G major, Op. 58 I. Allegro moderato II. Andante con moto III. Rondo: Vivace SOLOIST MALCOLM FRAGER Mr. Frager plays the Steinway Piano BALDWIN PIANO RCA VICTOR RECORDS The next concert in this series will be given in Symphony Hall on Tuesday Evening, March 22, 1966, Erich Leinsdorf, conductor. [5] CONCERTO WITH BASSOON OBBLIGATO By Anselmo Viola T Born in Toruella (Girona), Spain, in July, 1738; died in Montserrat, January 25, 1798 W six The instrumentation used is as follows: 2 flutes, 2 oboes, 2 horns and strings. Mr. Sol Schoenbach, Director of the Settlement School of Music in Philadelphia, writes as follows about Padre Viola and his Concerto: li- ar. 4 4"T)assoonists are always searching for solo compositions to enlarge *-* the meager repertoire for the bassoon and the search usually turns to music composed in the pre-classical period, as well as to con- th: temporary works. "I heard about the existence of a bassoon concerto by Anselmo Viola from a colleague in Italy, who related that it was to be found in the Monastery of Montserrat outside of Barcelona. I had occasion to visit the Monastery in connection with a tour of the Philadelphia Orchestra in 1955, but was unsuccessful in my attempts to locate it. Some years later, I had occasion to discuss the matter with Gordon Mapes, Librarian at the Curtis Institute of Music, and he remembered that a collection from Montserrat was in the Library and might include the Bassoon Concerto; so, after many years of hunting all over the world, I found this charming work in Philadelphia. Aided by my son Peter, who combines an interest in the bassoon with a profound knowledge of Spanish, further research revealed that the Bassoon Concerto by Anselmo Viola is a particularly fine example of Spanish music of the eighteenth century. "Anselmo Viola was born at Toruella (Girona) in July, 1738, and died at Montserrat January 25, 1798. At an early age he went to study for the priesthood at the Benedictine Monastery, located on the side of the jagged mountain peaks of Montserrat near Barcelona. Con- nected to the Monastery was a school known as Escolania, which was at devoted to the education of musicians. Swinburne recounts in his ti k; bass car; 'Music must take rank as the highest of the fine arts—as the one which, more than any other, ministers to human welfare." corr. HERBERT SPENCER We like to think we minister to human welfare too. Why not try us out! CAMBRIDGE TRUST COMPANY 1336 Massachusetts Avenue • Cambridge, Massachusetts Member Federal Deposit Insurance Corporation [6] Travels in Spain: 'The Spanish make the claim that the Escolania of Montserrat is the oldest music school in the world, antedating the sixteeenth century Music School of Naples.' "Young Viola soon gained proficiency in the art of writing music and was appointed successor to the director, Padre Marti. Mary Neale Hamilton describes in her definitive monograph Music in 18th Cen- tury Spain that 'He fought against the operatic style of the Italians and the dramatic and theatrical tendencies of the Catalan School . made up of progressives who utilized a "polyphonic style, following contrapuntal rules," bitterly opposed by Viola and his followers at the Escolania as servile imitators of Italian music.' "Despite his conservative position, Viola was the greatest figure in Spanish music toward the middle of the century. His music, as one can observe in the Bassoon Concerto, is marked by a 'distinct originality, unusual skill in modulation, and was especially noted for the purity of counterpoint.' "The Concerto is in three movements, marked: Andante — Allegro Andante — Largo Finale — Allegro with an accompaniment of violins, oboes, horns, and bass. We think it is an important addition to the repertoire of bassoon music and compares favorably with the recently discovered bassoon concerti of Vivaldi." [copyrighted] THE SOLOIST Sherman Walt, first bassoon of the Bronze Star. He joined the Chicago Boston Symphony Orchestra, was born Orchestra as principal bassoon in 1947, in Virginia, Minnesota. On a scholarship and five years later, the Boston Sym- at the Curtis Institute, he studied cham- phony Orchestra. An outstanding teach- ber music with Marcel Tabuteau and er of his instrument, he is on the faculty bassoon with Ferdinand del Negro. His of both the New England Conservatory career was interrupted by distinguished and the Berkshire Music Center, and is combat service during World War II, in a member of the Boston Symphony the course of which he received the Chamber Players. JEWELERS 81 Charles St. BEACON HILL HICHAM) M. tWW. A custom designing service is available [7] SYMPHONY No. 3, Op. 44 By Serge Prokofiev died near Moscow, March 4, 1953 Born in Sontsovka, Russia, April 23, 1891; flutes and piccolo, 2 oboes and English horn, The Symphony is scored for 2 and contra-bassoon, horns, 3 trumpets, 2 clarinets and bass clarinet, 2 bassoons 4 timpani, bass drum, snare drum, tam-tam, tambourine, cym- 3 trombones and tuba, bals, castanets, bells, 2 harps and strings. Prokofiev was blessed in having a most understanding mother. She was an accomplished amateur pianist, and from his earliest years for serious music. instilled in the young Prokofiev an intense love Moscow, When the boy was only seven years old, he was taken to where he heard Gounod's Faust and Borodin's Prince Igor. Stimulated home, composed an by this experience, Prokofiev, upon returning contained no opera of his own, The Giant, a work however which in vocal part for a solo voice and which was written, like the operas his mother's library, in a piano score. At the age of ten Prokofiev commenced his studies with Taneyev and Gliere. While studying with them he wrote a symphony, several piano sonatas and later two operas, this time orchestrated and with vocal parts. In 1904 he entered the Conservatory of St. Petersburg The David L German Travel Service interest Philadelphia's leading travel agency specializing in tours of musical and cultural is pleased to announce that their three SUMMER MUSIC FESTIVAL TOURS TO EUROPE September 14 July to 4 August • 26 July to 16 August • 5 August to 7 will be highlighted by attendance at the glamorous OPENING NIGHTS OF THE LUCERNE AND EDINBURGH FESTIVALS as well as the Festivals of AIX-en-PROVENCE MUNICH STRATFORD BAYREUTH ROME VERONA GLYNDEBOURNE SALZBURG VIENNA Each touring party will be accompanied by a distinguished former member of the International Music Scene who will act as tour host. Gala gourmet dinners will be a feature of each tour which also will be- made memorable by visits to many superb private and public art collections of those in the company of a knowledgeable art historian.

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