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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 for 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. : 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 , 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

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[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 , The Symphony is scored for 2 and contra-bassoon, horns, 3 , 2 clarinets and bass clarinet, 2 4 , 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

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[«] where he remained for ten years, studying piano composition and conducting. He graduated from the Conservatory in 1914, and soon earned a reputation as a brilliant pianist. His first important orches- tral work was the Scythian Suite, followed by a choral composition, Seven, They Are Seven. Both of these works were introduced by Serge Koussevitzky to these concerts. In fact Koussevitzky acted as Prokofiev's publisher and was his champion, introducing succeeding works during all his tenure with the Boston Symphony Orchestra. Prokofiev made several visits to America and appeared with this Orchestra at six pairs of Friday-Saturday concerts from 1926 until 1938. In March, 1938 he conducted a program consisting entirely of lis own compositions. Now that more than a decade has passed since Prokofiev's death, we are in a better position to assess his ultimate status as a world com-

poser. It is interesting that Mr. Leinsdorf has undertaken to present gradually all of the seven symphonies. These symphonies fall into three definite categories. Symphony No. 1, the so-called "Classical,"

Drobably one of the most popular of his compositions, is a successful re-creation of the formal style of the eighteenth century, with sudden modulatory shifts and a subtle element of grotesquerie which betray

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[91 a twentieth-century hand. The next three symphonies were all derived from thematic material taken from earlier works. Prokofiev himself defends this as not at all unusual. Bach and Handel certainly utilized

thematic material in various compositions, sometimes with totally ! different implications. Prokofiev, however, spoke particularly of Beethoven and his use of material from Prometheus, which figures in] the fourth movement of the "Eroica" Symphony and in several other compositions. Altogether Beethoven treated the theme in thirty-four

j different ways. After these three symphonies there was a gap of fourteen years before Prokofiev again entered the symphonic field. By that time he had reached complete maturity, and the Fifth, Sixth and Seventh Sym- phonies were probably richer in content than his earlier works in this field. It has been said that the works of Prokofiev are played more

often than those of any other twentieth-century composer. This is probably true, but many of these performances have been repetitions of a small number of works such as the Fifth Symphony, "Lieutenant Kije," "Peter and the Wolf," and the Violin and Piano . This

makes it all the more interesting to have the opportunity of hearing relatively unknown compositions such as the Third Symphony.

Prokofiev's Third Symphony was completed at Paris November 3,

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10] The Principal Second Violin of the Boston Sym- phony was accepted into the Orchestra by Pierre Monteux in 1920, shortly before his seventeenth birthday. He was appointed to his present posi- tion by Serge Koussevitzky in 1934.

Born in Lynn, Mass., he BORIS AND MILTON— Boston later moved to Beverly, where his early musical activities were guided by his father, an ardent amateur musician. Serious study began with Claude Phillips of Salem, who also in- troduced his young protege to the world of orchestral playing.

After graduating from the New England Conservatory, where his in- structor was Timothee Adamowski, he continued his studies with Richard Burgin and Nicholas Kassman.

A devotee of chamber music, Mr. Knudson has belonged to several chamber groups, including the Chardon Quartet and the Zimbler Sinfonietta.

He is a faculty member of the Berkshire Music Center.

An ardent outdoorsman, he has long enjoyed tennis, skating, hiking, and mountain climbing. He and his wife now live in Wellesley; one of their

four sons, Paul, is carrying on the family's musical tradition as a pianist.

This salute to a member of the Orchestra is brought to you by the Trust Department of New England Merchants Bank, which would welcome the opportunity to serve you.

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[»] 1928. The first performance was given May 17, 1929 in Paris by the Orchestre Symphonique under the direction of Pierre Monteux. The

Symphony is based on thematic material contained in Prokofiev's opera, The Flaming Angel. Regarding this Symphony we quote from a very valuable book: Prokofiev, by Israel V. Nestyev, published by Stanford University Press, i960.

"When it became clear that The Flaming Angel would not be pro- duced, Prokofiev decided to use the music from it for a symphonic suite. During the summer of 1928, however, the suite blossomed into a large four-movement symphony (the Third). Although this symphony is based on themes from The Flaming Angel, it is an independent non- program work and not a symphonic embodiment of the opera's story. In a statement published several years later, the composer vehemently protested against the tendency to regard this symphony as a program work, pointing out that the principal themes of the opera were orig- inally conceived as instrumental themes and that the symphony only returned them, as it were, to the domain of pure instrumental music.

"The Third Symphony is the most dramatic of Prokofiev's four early symphonies. After the witty and elegant Classical Symphony and the harsh, constructivist Second compounded of 'iron and steel,' Prokofiev created a symphonic drama, very complicated in its musical language and filled with hauntingly expressive images. "In the first movement, a sonata allegro with an introduction, three sharply contrasting themes are developed: the first two are those of Renata's mental anguish in The Flaming Angel — the chromatic osti- nato theme of the introduction (her despair), and the agitated melody of the main theme (the leitmotiv of her love for Madiel). Completely different in character is the quiet, confident subordinate theme (the theme of Ruprecht the Knight in the opera). The development section, HIGH NOTE

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[12| filled with darkly raging sounds, repeats almost entirely one of the opera's entr'actes. The suffering and pain in this music are presented with expressionistic emphasis in strident dissonances and complex counterpoint.

"In sharp contrast to the first movement is the mystical, other- worldly Andante, with its archaic, diatonic quality (taken from one of the episodes in Act V of The Flaming Angel depicting Renata's emotions in the convent). "According to the composer, the tempestuous motion of the demonic Scherzo (the third movement) was suggested by the finale of Chopin's

B-flat minor Sonata. But here the image of a terrible whirlwind is intensified many times by a chaotic torrent of orchestral sounds, which give an overpowering energy to this frenzied music. Only in the middle section do we find a more peaceful theme, echoes of which are heard later in the reprise. "The finale brings back the dark world of medieval mysticism with images of suffering, torture, and monstrous exorcisms. Funereal rhythms contrast with tense, piercing themes. The calmest of the finale's three themes is related to the music of the Andante. In the recapitulation the composer returns to the subordinate theme of the first movement, combining it with the basic theme of the finale." "I believe that in this Symphony I succeeded in deepening my musi- cal language," Prokofiev wrote some years later. [copyrighted]

0^5

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[14 CONCERTO FOR PIANO AND ORCHESTRA, NO. 4, IN G MAJOR, Op. 58 By

Born at Bonn, December i6(?), 1770; died at Vienna, March 26, 1827

The Fourth Concerto of Beethoven, performed at a subscription concert at the house of Prince von Lobkowitz in Vienna, in March, 1807, was first heard at a public concert at the Theater-an-der-Wien, Vienna, December 22, 1808, the composer as soloist. The orchestral portion of the Concerto is scored for flute, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, timpani, and strings. It is dedicated to "His Imperial Highness, the Archduke Rudolph of Austria."

Beethoven offered his Fourth Concerto for publication in the year 1806; just when he began and worked on it cannot be definitely established.* It was first performed at one of two private concerts in the house of his patron Prince Lobkowitz, in March of 1807. Disregarding the usual requirements of flash and display in the first movement of a concerto, Beethoven builds the initial allegro on gently melodic material, through which the piano weaves its embroidery of delicate figurations. The piano opens softly (and contrary to prece- dent) with a five-bar phrase of the first theme, and then yields place to the orchestra, which completes this and sings a second, again intro- ducing it softly in the strings. The development, with voices of solo and orchestra blended, brings to pass in its course two further themes, each lyrical in character.

* With all the circumstantial records of Beethoven's life that exist, there remain many mysteries over which the authorities are sadly at variance. Nottebohm, studying the sketch- books, decides that the Concerto in G major must have been composed in 1805. Schindler dates it 1804, "according to information given by F. Ries." Breitkopf and Hartel's thematic catalogue places it at 1805. and Thayer entertains the "confident opinion" that "this work remained still unfinished until the approach of the concert season, towards the end of the year 1806. Beethoven offered it to Hoffmeister and Kiihnel in March, and to Breitkopf and Hartel in July of that year." Sketches for the Fifth Symphony appear together with those for the Concerto. 'TO LEAD, NOT TO FOLLOW >>

The following remarks were excerpted from a talk delivered at the American Symphony Orchestra League's Annual Conference, June 1965, by Samuel Rosenbaum, Trustee, Recording Industries Music Performance Trust Fund; Board Member, Philadelphia Orchestra.

"I don't believe in the truism that 'first you see what money

you've got, then you cut your cloth to fit your -pattern, stay- ing within your means' That's not the way to create great art. You've got to lead, not to follow. Merely following is entertainment. There are plenty of people who furnish that. No, the true patron of the performing arts tries to stay a step or two ahead of the current taste and aptitude of the community and to lead them on."

Almost from its inception in 1881, when it was one of two or three symphony orchestras in this country, the Boston Symphony Orchestra

under the early guidance of its founder Henry Lee Higginson, became

recognized as a musical leader: Pops concerts, 1885; its own hall, Symphony Hall, 1900; Players Pension Fund, 1903; free concerts on the Esplanade, 1929; summer season, Berkshire Festival, 1936; educa- tional center, Berkshire Music Center, 1940; Open Rehearsals, 1950;

first Western orchestra to visit the Soviet Union, 1956; Boston Sym-

phony Chamber Players, 1964. With the extension of its playing year into the spring and summer months and the addition of several series of concerts in Boston, the Orchestra has had for some time year-round

employment for its players. In 1917 the Boston Symphony Orchestra became a pioneer in recording, and later in radio and television broad-

casting of its concerts. Through the years the Trustees have earnestly attempted to keep the Orchestra in the forefront. The Trustees, the Orchestra, and the Friends look hopefully to each of you who reads this program for the help necessary to enable the Boston Symphony Orchestra to continue a position of leadership. FRIENDS of the BOSTON SYMPHONY ORCHESTRA

[16] The andante con mo to, which has no like in the literature of con- certos, contains within its seventy bars a message whose import words cannot convey. It consists of a dialogue between the string choir and the piano. The former states a short, imperious phrase in octaves, forte and staccato: it is a recitative, and yet it is more. The piano answers with a melody of indescribable tenderness. The two opposing voices continue their alternate phrases, but before the soft plea of the piano, increasingly irresistible, the austerity of the strings is gradually mollified, until its capitulates altogether, subsiding into a breathless pianissimo. One is reminded of the similar opposition and capitula- tion in the Overture to Coriolanus. The last whispering suspended chord of the piano is gently swept away as the vivace theme of the rondo (further brightened by the restoration of the major mode) is delivered pianissimo by the strings, with its sprightly answering theme in the piano. The finale follows a more usual course to a lively and sparkling conclusion, light in mood, with memorable pianissimo episodes. [copyrighted]

THE SOLOIST

Malcolm Frager, born in St. Louis in as in this country. He has won several 1935, was a magna cum laude graduate prizes, notably the Edgar M. Levintritt of Columbia University in New York. Award in the United States in 1959, and He studied there with Carl Friedberg, the Queen Elisabeth of Belgium Inter- and later at the American Conserva- national Music Competition in Brussels tory at Fontainebleau and the Marlboro in 1960. He has appeared with the Music School. Since his debut recital Boston Symphony Orchestra at the in New York in 1952 he has toured Berkshire Festival concerts in 1963, 1964 extensively; in the Soviet Union, South and 1965. America, Europe and Iceland, as well MALBEN'S A gourmet's delight

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[*7] To The Boston Symphony Orchestra on its 85th Anniversary

The greetings in this series were written at the invitation of Mr. Leinsdorf

and first appeared in the Souvenir Program of the 85th Anniversary Dinner and Golden Ball last September 24. Unfortunately it is not pos- sible to reproduce here the many musical quotations which were included.

It was in 1885, the very year of the great Boston Symphony Orchestra's inception, that Tchaikovsky was inspired by Shakespeare's "Romeo and Juliet" to write one of his most beautiful Overtures. Eighty years after- wards, in congratulating this glorious Orchestra on its long years of fine achievement, I can think of nothing more fitting than a quotation from what might perhaps be considered Shakespeare's most musical play:

"When griping grief the heart doth wound And doleful dumps the mind oppress, Then music with her silver sound With speedy help doth lend redress."

For all these years of ravishing "silver sound," we thank the Boston Symphony Orchestra. Clifford Curzon

With best wishes and congratulations on this important anniversary in celebration of its outstanding artistic achievements and stature in the music world. Rudolf Firkusny

Few composers are more indebted to the Boston Symphony Orchestra and to its distinguished conductors, Serge Koussevitzky, Charles Munch and Erich Leinsdorf, than am I. A large number of my scores, including three symphonies, have had the privilege of premieres by this great Orchestra and I have been permitted to assist in the celebration of its 50th and 75th anniversaries.

It is a great joy to salute the Boston Symphony Orchestra and Erich Leinsdorf on this 85th anniversary. Howard Hanson

For the Boston Symphony's 85th anniversary, with memories — all in

treble clef . . . Affectionately, Lukas Foss

[»8] Boston Symphony Orchestra ERICH LEINSDORF, Music Director

RICHARD BURGIN, Associate Conductor First Violins Cellos Bassoons Joseph Silverstein Jules Eskin Sherman Walt Concertmaster Martin Hoherman Ernst Panenka Alfred Krips Mischa Nieland Matthew Ruggiero George Zazofsky Karl Zeise Rolland Tapley Richard Kapuscinski Contra Bassoon Roger Shermont Robert Ripley Richard Plaster Max Winder John Sant Ambrogio Luis Leguia Harry Dickson Horns Gottfried Wilfingcr Jascha Silberstein Stephen Geber James Stagliano Fredy Ostrovsky Charles Yancich Leo Panasevich Carol Procter Harry Shapiro Noah Bielski Thomas Newell Herman Silberman Basses Paul Keaney Stanley Benson Georges Moleux Osbourne McConathy Sheldon Rotenberg Henry Freeman Alfred Schneider Irving Frankel Trumpets Julius Schulman Henry Portnoi Armando Ghitalla Gerald Gelbloom Henri Girard Roger Voisin Raymond Sird John Barwicki Andre Come Second Violins Leslie Martin Gerard Goguen Bela Wurtzler Clarence Knudson Joseph Hearne William Marshall Trombones Michel Sasson William Gibson Samuel Diamond Flutes Leonard Moss William Moyer Doriot Anthony Dwyer William Waterhouse Kauko Kahila James Pappoutsakis Josef Orosz Giora Bernstein Phillip Kaplan Ayrton Pinto Tuba Amnon Levy Laszlo Nagy Piccolo K. Vinal Smith Michael Vitale Lois Schaefer Victor Manusevitch Timpani Everett Firth Minot Beale Oboes Ronald Knudsen Ralph Gomberg Max Hobart Percussion Holmes John Korman John Charles Smith Hugh Matheny Harold Thompson Violas Arthur Press, Ass't Timpanist Burton Fine English Horn Thomas Ganger Reuben Green Laurence Thorstenberg Eugen Lehner Harps Albert Bernard Bernard Zighera Clarinets George Humphrey Olivia Luetcke Jerome Lipson Gino Cioffi Robert Karol Pasquale Cardillo Librarians Peter Jean Cauhape Hadcock Victor Alpert E\) Clarinet Vincent Mauricci William Shisler Earl Hcdberg Bernard KadinofT Bass Clarinet Stage Manager Joseph Pietropaolo Rosario Mazzeo Alfred Robison

Rosario Mazzeo, Personnel Manager Baldwin: on stage with the Boston Symphony ...at home where ever fine music is loved.

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