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Symphony Orche Stra SYMPHONY ORCHE STRA FOUNDED IN 1881 BY HENRY LEE HIGGINSON 4 411) 6 ..,. .•• _ EIGHTY-SEVENTH SEASON 1967-1968 Exquisite Sound From the palaces of ancient Egypt to the concert halls of our modern cities, the wondrous music of the harp has compelled attention from all peoples and all countries. Through this passage of time many changes have been made in the original design. The early instruments shown in drawings on the tomb of Ratneses II (1292-1225 B.C.) were richly decorated but lacked the fore-pillar. Later the "Kinner" developed by the Hebrews took the form as we know it today. The pedal harp was invented about 1720 by a Bavarian named Hochbrucker and through this ingenious device it be- came possible to play in eight major and five minor scales complete. Today the harp is an important and familiar instrument providing the "Exquisite Sound" and special effects so important to modern orchestration and arrange- ment. The certainty of change makes necessary a continuous review of your insurance protection. We welcome the opportunity of providing this service for your business or personal needs. We respectfully invite your inquiry CHARLES H. WATKINS & CO. Richard P. Nyquist — Charles G. Carleton 147 Milk Street Boston, Massachusetts Telephone 542-1250 OBRION, RUSSELL & CO. Insurance of Every Description EIGHTY-SEVENTH SEASON 1967-1968 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 EDWARD M. KENNEDY 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 PALFREY PERKINS LEWIS PERRY EDWARD A. TAFT 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 MARY H. SMITH Program Editor Executive Assistant Copyright 1968 by Boston Symphony Orchestra Inc. SYMPHONY HALL BOSTON MASSACHUSETTS 3 erst. *Now BEIIII0q11 SYMPHONY No 1 CORIORINIRIOIE BOSTON SYMPHONY EHICH "Big, booming Boston recording!" High Fidelity BEETHOVEN/•EROICA- SYMPHONY BOSTON SYMPHONY ORCH. ERICH LEINSDORF - 94 - .44i/irm/e/aifdat., "Their reading is majestic." Associated Press RCAVICTOR 4■- .•;The most trusted name in sound *Available on Stereo 8 Cartridge Tape BOSTON SYMPHONY ORCHESTRA ERICH LEINSDORF Music Director CHARLES WILSON Assistant 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 Robert Ripley CONTRA BASSOON Roger Shermont John Sant Ambrogio Richard Plaster Max Winder Luis Leguia Harry Dickson Stephen Geber HORNS Gottfried Wilfinger Carol Procter Jerome Patterson James Stagliano Fredy Ostrovsky Charles Yancich Leo Panasevich Ronald Feldman Noah Bielski Harry Shapiro Thomas Newell Herman Silberman BASSES Stanley Benson Paul Keaney Henry Portnoi Ralph Pottle Sheldon Rotenberg William Rhein Alfred Schneider Joseph Hearne TRUMPETS Julius Schulman Bela Wurtzler Gerald Gelbloom Armando Chitalla Leslie Martin Roger Voisin Raymond Sird John Salkowski John Barwicki Andre Come SECOND VIOLINS Buell Neidlinger Gerard Goguen Clarence Knudson Robert Olson William Marshall TROMBONES Michel Sasson William Gibson FLUTES Samuel Diamond Josef Orosz Leonard Moss Doriot Anthony Dwyer Kauko Kahila William Waterhouse James Pappoutsakis Ayrton Pinto Phillip Kaplan TUBA Amnon Levy Chester Schmitz Laszlo Nagy PICCOLO Michael Vitale TIMPANI Victor Manusevitch Lois Schaefer Toshiyuki Kikkawa• Everett Firth Max Hobart OBOES John Korman PERCUSSION Christopher Kimber R al ph Gomberg Charles Smith Spencer Larrison John Holmes Harold Thompson Hugh Matheny Arthur Press Assistant Timpanist VIOLAS ENGLISH HORN Thomas Gauger Burton Fine Laurence Thorstenberg Reuben Green HARPS Eugen Lehner CLARINETS Bernard Zighera Jerome Lipson Olivia Luetcke Robert Karol Gino Cioffi Akio Akaboshi* Pasquale Cardillo LIBRARIANS Bernard Kadinoff Peter Hadcock Victor Alpert Vincent Mauricci Et, Clarinet Earl Hedberg William Shisler Joseph Pietropaolo Robert Barnes BASS CLARINET STAGE MANAGER Yizhak Schotten Felix Viscuglia Alfred Robison WILLIAM MOYER Personnel Manager *members of the Japan Philharmonic Symphony Orchestra participating in a one season exchange with Messrs George Humphrey and Ronald Knudsen 5 Rat2i2AM At the UingrousseataouseoP3osion Boston Symphony Concerts / this year, these Pianists . JOHN BROWNING RITA BOUBOULIDI MALCOLM FRAGER GARY GRAFFMAN GRANT JOHANNESEN LILIAN KALLIR play only -liofiday 5rimming the STEINWAY IN MASSACHUSETTS AND NEW HAMPSHIRE Our teagown of luxurious brocade —the deep fur cuffs of Ranch Mink NEW STEINWAYS AVAILABLE ONLY FROM or Sable. In Emerald or Champagne. 416 BOYLSTON STREET 54 CENTRAL STREET M. STEINERT & SONS BOSTON 02116 WELLESLEY 162 BOYLSTON STREET • BOSTON KEnmore 6-6238 CEdar 5.3430 ALSO WORCESTER and SPRINGFIELD 6 BOSTON SYMPHONY ORCHESTRA ERICH LEINSDORF JACK BENNY Conducting Violin Soloist PENSION FUND CONCERT Sunday, February 11, 1968 3:00 p.m. Symphony Hall Tickets: $10, $8, $7, $6, $5 Symphony Hall Box Office CO 6-1492 Those who become Patrons at $100 per ticket are invited to sup with Mr. Benny after the concert. Only 200 Patrons' reservations will be accepted. Subscribers who did not receive their Patrons' invitations should tele- phone Mrs. Whittall at Symphony Hall. 7 . first resort for resort fashions Typical of our ready-for- takeoff collections . this halter swimsuit and apres-swim coat designed by Tina Leser for Gabar. Sportswear. BOSTON: At the start of The Freedom Trail, 140 Tremont Street, 482-0260. CHESTNUT HILL: 232-8100. SOUTH SHORE PLAZA: 848-0300. 8 Contents Program for January 16 1968 Future programs 61 Program notes by Leonard Marcus Mozart — Don Giovanni — Overture 12 Beethoven — Symphony no. 7 in A major 14 Tchaikovsky — Hamlet 22 Mussorgsky — Excerpts from Boris Godunov 24 The virtuoso conductor 30 by John N. Burk Today's conductor 46 9 "I happen to know this stock is going to skyrocket." Make no mistake, we're always open to suggestion. And from time to time, a little-known stock turns up that has all the earmarks of a brilliant future. If, after thorough professional analysis, it still looks promising, we're only too happy to put that stock to work to the advantage of our customers. Unfortunately, though, this is pretty rare. So, as it turns out, most of the so-called "red-hot" ones get a cool reception from us. Which is precisely why so many people with sizable holdings let us manage their investments. We protect them from themselves. And their friends. We don't get carried away by hot tips. We have the experience, the judgment, and the staff to dig deep into promising investment opportunities and come up with solid recommendations for our customers. The point: for our investment officers and analysts, investing is a full-time career; for you, it's probably not. We can help you. Now then. What was the name of that stock? THE FIRST OLD COLONY The First National Bank of Boston and Old Colony Trust Company 10 EIGHTY-SEVENTH SEASON 1967-1968 Fourth Program Tuesday evening January 16 at 8.3o LEOPOLD STOKOWSKI guest conductor MOZART Don Giovanni — Overture BEETHOVEN Symphony no. 7 in A major op. 92 Poco sostenuto — vivace Allegretto Presto — assai meno presto — tempo primo Allegro con brio INTERMISSION TCHAIKOVSKY Hamlet — Fantasy Overture op. 67a MUSSORGSKY Excerpts from Boris Godunov (transcribed for orchestra by Leopold Stokowski) BALDWIN PIANO RCA VICTOR RECORDS 11 Program notes by Leonard Marcus WOLFGANG AMADEUS MOZART Don Giovanni — Overture Mozart was born in Salzburg on January 27 1756, and died in Vienna on December 5 1791. He composed Don Giovanni in 1787 and conducted the first performance of the opera in Prague on October 29 of that year. The instrumentation: 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, 3 trombones, timpani and strings. 'Mozart should have composed Faust', said Goethe after having heard Don Giovanni. The Don Juan captured by Mozart, like Goethe's Faust, has passions too great for the confines of either convention or reality. And like Faust, he is released from his predicament only by death. The legend of the libertine nobleman from Seville, Don Juan de Tenorio, who murders the father of a lady he is trying to seduce, and who is later carried to hell by his victim's statue, was two centuries old by the time Mozart and his librettist, Lorenzo Da Ponte, brought it to its highest artistic peak. Nor did Da Ponte create an original libretto. The text was actually based on a libretto of Giovanni Bertati, who also had written the text for Cimarosa's Secret Marriage. Legend has another author giving a hand in creating the text of Don Giovanni. This was the contemporary libertine Casanova himself (whose first name, by the way, was Giovanni). Casanova, now in his sixties, was in Prague in 1787, when Mozart was working there on Don Giovanni. He happened one day to meet Da Ponte, an old friend, who introduced him to Mozart as 'our Don Giovanni'. The three apparently had many sessions together over a period of ten days and Casanova reportedly finished one scene when Da Ponte was called out of town. The night before the premiere in Prague the overture was still un- written. Mozart devoted the night to its composition so that a copyist could get it in the morning. The following evening, October 29 1787, Mozart conducted the premiere at the Prague Opera. It was an immediate success. In concert versions of the overture — which in the opera leads directly to Scene I — various endings have been used, written by such musicians as Christian Cannabich, A. E. Marschner, and J. P. Schmidt. The one we usually hear is by Johann Anton Andre.
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