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March 1970 Issue 111

WASHINGTON NATIONAL CONTENTS SYMPHONY EDITION HAROLD GREENWALD 4 NATIONAL SYMPHONY sales director ASSOCIATION

JOHN V. B. SULLIVAN 6 BOXHOLDERS 1969-70 president

THOMAS A. STEINFELD v.p. & national sales director 9 THE PROGRAM LEO LERMAN senior editor 34 FOCUS: EUROPEAN FESTIVALS by Janet Leslie Bush ARTHUR T. BIRSH publisher RUSSELL CANNIZZARO 38 WASHINGTON NATIONAL SYMPHONY 1969-' comptroller CONCERT SCHEDULE MIMI HOROWITZ publication coordinator 40 WASHINGTON NATIONAL SYMPHONY STAF

Washington National Symphony edition of is published monthly in Washington, D.C. playbill is published month- ly in Washington, D.C, New York, Chicago, Philadelphia, Boston, St. Louis, Cleveland, Atlanta, Dallas and Great Britain. The Performing Arts Magazine serves as the and editions of Playbill. Washington edition of Playbill is published by the Publishing Division of Metromedia, Inc. 277 Park Avenue, New York, New York 10017. Pres. John W. Kluge; Secy. George Etkin; Tres. Clem Weber. Printed in U.S.A. Title Playbill. Copyright © Metromedia, Inc. 1970. All rights reserved. Subscription to National Edition: U.S. & Possessions $4.00 a year; $7.50 for two years; $11.50 for three years. Single price 35t. Write Dept. S., Playbill Magazine, 3 East 54th Street, New York, N.Y. 10022.

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Lloyd Symington, President Honorary Vice Presidents Lee D. Butler, Vice President Edward R. Finkenstaedt Mrs. Charles Maddox, Mrs. Charles C. Glover, Jr. Vice President Mrs. Merriweather Post Dr. Arthur W. Sloan, Vice President Mrs. Jouett Shouse Mrs. John W. Hechinger, Secretary Robert W. Alvord, Treasurer Carl L. Shipley, Counsel M. Robert Rogers, Managing Director\ BOARD OF DIRECTORS David Lloyd Kreeger, Chairman, Executive Committee

Mrs. Christopher T. Bever, President, Women's Committee

Term Expires in 1970 Term Expires in 1971 Term Expires in 1972 Mrs. A. Marvin Braverman Mrs. John M. Dimick Mr. Robert W. Alvord Mr. Lee D. Butler Mrs. John D. Ehrlichman Mrs. Cyrus S. Ching Mr. Lloyd N. Cutler Mr. Peter Ladd Gilsey Mrs. Raymond E. Cox Mr. David Ginsburg Mrs. Hubert H. Humphrey Mrs. John W. Hechinger Mrs. C. Leslie Glenn Mrs. George Dudley Iverson V Mr. Edwin K. Hoffman Mr. Jacob Epstein Katz Mrs. Frank R. Jelleff Mr. Larry Israel Mrs. Edward M. Kennedy Mr. Milton W. King Mr. Richard G. Kleindienst Mrs. Hans A. Klagsbrunn Mrs. Elizabeth Klee Mr. David Lloyd Kreeger Mrs. Guy Martin Dr. Warner Lawson Mrs. Demarest Lloyd Mr. Dale Miller Mr. William L. Lindholm Mrs. Paul Magnuson Mr. Gerson Nordlinger, Jr. Mr. Robert Grayson McGuire, Jr. Mrs. Merriweather Post Mrs. Julian C. Perry Mrs. Charles Hamilton Maddox Mrs. Pat Munroe Mr. Henry Strong Mrs. Paul Nitze Mr. Carl Shipley Mrs. Wynant D. Vanderpool Mrs. Eugene Rietzke Mrs. Carleton D. Smith Mr. Osby L. Weir Mrs. Erwin Frees Seimes Mr. Lloyd Symington Mrs. Robert E. Sher Mrs. Charles F. Willis, Jr. Dr. Arthur W. Sloan Mr. Herman Wouk Mr. Sidney S. Zlotnick

MAJOR SPONSORS D.C. Transit Co. Mr. and Mrs. Eugene Rietzke The Alvord Foundation Meyer Davis/Emery Davis Riggs National Bank Mrs. J. Breckenridge Bayne Eastern Airlines The Rockport Fund, Inc. Estate of Mrs. Robert Woods Bliss Eaton, Yale and Towne, Inc. The Rouse Company In Memory of Empresas Longoria, S.A. Hotel Ruiz Galindo Fortin de las Mrs. George Bram-Soroko Mr. and Mrs. Charles W. Engelhard Flores Mr. and Mrs. Raymond E. Cox The Evening Star Newspaper Co. Safeway Stores, Inc. Mr. and Mrs. John M. Dimick Executive Jet Aviation Inc. Sears, Roebuck and Company The Filene Foundation, Inc. The Firestone Foundation Mr. and Mrs. Carl L. Shipley Mrs. Frank R. Jelleff Ford Motor Company Mr. and Mrs. Leonard Silverstein The Frank Jelleff Charitable Trust Friday Morning Music Club Mrs. Charles E. Stuart Mr. Milton W. King The Hon. and Mrs. George A. Mr. and Mrs. Lloyd Symington David Lloyd Kreeger Charitable Garrett Telesistema Mexicano, S.A. Foundation General Telephone and Electronics Texaco, Inc. Mrs. Demarest Lloyd Mr. and Mr. Charles C. Glover, III Texas Gulf Sulphur Co. Mrs. Charles Hamilton Maddox Groupo Hyslsa Steel Foundation Mr. and Mrs. Forrest E. Mars Gulf Oil Co. Mr. and Mrs. Wynant D. Mrs. Merriweather Post Sidney L. Hechinger Foundation Vanderpool, Jr. Mrs. Jouett Shouse The Ruth Smith Hopkins Foundation The Washington Gas Light Company Dr. and Mrs. Arthur W. Sloan Hughes Aircraft Company The Washington Post and WTOP The Hattie M. Strong Foundation Ingenieros Civiles Asociados, S.A. Mr. and Mrs. Osby L. Weir Mr. and Mrs. Henry L. Strong International Telephone and Dr. and Mrs. Paul S. Weisberg Estate of Mr. L. Corrin Strong Telegraph Westinghouse Corporation Mr. and Mrs. E. Russell True Jelleff's Inc. The Hon. and Mrs. Charles F. Women's Committee for the Wash- S. Kann Sons Company Willis, Jr. ington National Symphony Mr. and Mrs. Jacob Epstein Katz Woodward and Lothrop Francis Scott Kev Bookshop. Mr. and Mrs. Herman Wouk SPONSORS Mr. Milton W. King Wygood, Weis, Florin, Inc. American Airlines Mr. and Mrs. Hans A. Klagsbrunn Mr. and Mrs. J. Burke Wilkinson American Security & Trust Co. Mr. and Mrs. John A. Logan Mr. and Mrs. Sidney Zlotnik Anderson and Co. Mrs. Paul B. Magnuson Bacardi y Cia. The Marriott Foundation DONORS Balsa Hotels of Mexico Mr. and Mrs. J. Willard Marriott Mr. and Mrs. Robert E. Aikman Banco de Industria y Comercio, S.A. Marsh and McLennan, Inc. The George E. Allen Foundation Banco National de Mexico, S.A. Mr. and Mrs. Guy Martin Allstate Foundation Mr. and Mrs. William R. Biggs Mr. Paul Mellon The April Fund A. Smith Bowman Distillery Merrill, Lynch, Pierce, Fenner and Arts Club of Washington Mr. and Mrs. Lee D. Butler Smith Cpt. and Mrs. Peter Belin Byron Motion Pictures, Inc. Mr. and Mrs. Dale Miller Mr. Martin W. Bell Morris and Gwendolyn Cafritz Mr. Juan Sanchez Navarro The Hon. Frances P. Bolton Foundation The Hon. and Mrs. Paul Nitze The Braverman Foundation, Inc. Chrysler Corporation Mr. Gerson Nordlinger, Jr. Brotherhood of Painters, Decorators Collins Securities Mr. and Mrs. Bruno Pagliai and Paperhangers Compania General de Aceptaciones, Mrs. Jefferson Patterson Alex Brown and Sons S.A. The Jefferson Patterson Foundation The Hon. and Mrs. David K. E. The Hon. and Mrs. John T. Connor Perpetual Building Association Bruce CREI/McGraw Hill Book Co. The Marjorie M. Post Foundation Mrs. Joseph Cherner Credito Minero y Mercantile, S.A. Potomac Electric Power Company Mr. and Mrs. C. Thomas Mr. Lloyd N. Cutler Radio Station WGMS Claggett, Jr. Gilda Dahlberg Raleigh Haberdasher Mr. and Mrs. Kenneth M. Crosby H Eau de Lanvin

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ARPEGE by Lanvin MONDAY, MARCH 30, 1970 AT 8:30 P.M. TUESDAY, MARCH 31, 1970 AT 8:30 P.M. IN CONSTITUTION HALL WASHINGTON NATIONAL SYMPHONY M. ROBERT ROGERS, Managing Director presents BOSTON SYMPHONY ORCHESTRA Assistant Conductor

PROGRAM MICHAEL TILSON THOMAS conductor BENITA VALENTE, soprano

STRAVINSKY Symphony in Three Movements Allegro Andante — Interlude: l'istesso tempo — Con moto

MOZART "Exsultate, jubilate," Motet for Soprano, K. 165 Allegro — Recitativo — Andante — Vivace MISS VALENTE INTERMISSION

TCHAIKOVSKY Symphony No. 1 in G minor, Op. 13 Allegro tranquillo (Daydreams on a wintry road) Adagio cantabile, ma non tanto (Land of gloom; land of mists) Scherzo: Allegro scherzando giocoso

Finale : Andante lugubre — allegro maestoso — Allegro vivo.

Baldwin is the official of the Boston Symphony Orchestra The Boston Symphony Orchestra records for RCA Records Thomas D. Perry, Jr., Manager

Chamber Organ by Marshall Stone & Co., Alexandria, Va.

nway Piano RCA Victor and Westminster Records

THE USE OF CAMERAS AND TAPE RECORDERS IS NOT PERMITTED AT THESE CONCERTS

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PROGRAM NOTES Margaret Flower, Editor

SYMPHONY IN vinsky wrote a Symphony in E-flat major THREE MOVEMENTS and dedicated it to his teacher. Stravin- sky's Symphonies pour instruments a vent

Program note by John N . Burk and his Symphonie de psaumes, despite Stravinsky was born at Oranienbaum on their titles, were not symphonies in any fune 17, 1882. He composed the sym- formal sense of the word. But his Sym- 5hony between 1942 and 1945, and him- phony in C, completed in 1940, and per- ;elf conducted the first performance with formed by the Boston Symphony on Jan- he Orchestra on uary 17, 1941 and January 14, 1944 (the January 24, 1946. The work is dedicated in each case), could the New York Philharmonic Symphony be called his closest approach to the tradi- Society. The composer also conducted the tional symphony. The Symphony in three irst Boston performance, given by the movements is less symphonic in construc- Boston Symphony Orchestra in a program tion. , describing it in the pro- levoted to Stravinsky's music, on Feb- grams of the New York Philharmonic uary 22, 1946. Symphony, remarked: The instrumentation: 2 flutes, piccolo, "The musical world, which has hardly

1 oboes, 3 clarinets, bass clarinet, 2 bas- taken cognizance of the fact that in Stra-

;oons, contra bassoon, 4 horns, 3 trumpets, vinsky's Symphony in C (1940) it was trombones, tuba, timpani, bass drum, given a masterful example of classical sym- )iano, harp and strings. phonic procedure, already will have to While he was studying with Rimsky- take notice that with his new Symphony Corsakov between 1905 and 1907, Stra- (1945) Stravinsky has moved on to the

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exact opposite of traditional symphonic mensely, and an integral part is played by form. In this new work there is no sonata many of the intervals which gave the pe- form to be expounded, there is no "de- riod from Sacre to the Symphonies pour velopment" of closely defined themes, instruments a vent its character.' which would be stated, restated, inter- Mr. Dahl's analysis follows: locked, combined and metamorphOsized, 'First movement, Allegro: This is the as symphonic themes are wont to be. Here, weightiest of the three, both in size and on the contrary, we have another example content. The best name to describe its of that additive construction, for the in- form would be "Toccata", but the score vention of which Stravinsky is justly fam- indicates just the metronome marking of ous and which has proved so influential on the speed. The normal symphonic instru the younger composer. It is a formal prin- mentation is enlarged by a piano which ciple which conceives of music as the suc- plays an important role in the middle sec- cession of clearly outlined blocks, or tion, forming by itself a "concertino" planes, which are unified and related against the rest of the orchestra. through the continuity of a steadily and 'The thematic germs of this movement logically evolving organic force. This, of are of ultimate condensation. They con- course, is the exact opposite- of classic and sist of the interval of the minor third (with romantic symphonic thought, just as the its inversion, the major sixth) and an as- comparable additive principle of roman- cending scale fragment which forms the esque architecture is differentiated from background to the piano solo of the mid- the interlacing connectivity of the gothic dle part. After an opening "motto" in for- or baroque. tissimo unison, and its extension, the horns 'Harmonically, too, the new Symphony state the first of these thematic nuclei. This speaks a language which its composer has basic interval of the minor third then be- not spoken for a long time. His immedi- comes the ostinato bass to a forward rhyth- ately preceding diatonicism is widened im- mical section and constitutes the back-

( Continued]

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bone, either melodically or harmonically, written without trumpets, trombones and of all of the following short groups which percussion. The concertino is formed by evolve in free toccata-like fashion. The harp and flute. An opening string motif tone of agitated power and the angular which is associated with both Mozart's brillance of sound come to an end when and Rossini's barber reaffirms Stravinsky's violas and cellos state it with short-lived affinity to the classic style, and it accom- tranquillity to lead into the central section panies the halting lyricism of these two of the movement. Here the solo piano solo instruments. Even the tender grace takes over, and the orchestral tutti is re- of this music bears the markings of the duced both in sound and size. With utmost heaviness of this world and many of its inventiveness the thematic germs and con- passages continue the mourning song of stantly new a-thematic material are woven the composer's recent Ode. The dialogue into a web of increasingly polyphonic tex- of flute and harp is joined by strings and ture. A trio of two oboes and flutes opens woodwinds alternately and in a modified a soft codetta which makes use of intervals three-part form the beginning is recapitu- of high tension, suddenly interrupted by a lated. A short transitional bridge leads repetition of the driving rhythmical os- without interruption into the next move- tinato from the first part. A recapitulation ment. in reverse order follows, so that the motto 'Third movement, Con moto: The full of the opening is reached at the end, and orchestra opens with an introduction of with the extension of this motto trans- psalmic elevation. It sets the scene for formed into elegiac chords, the brass in- three distinct sections which could be struments bring the movement to a soft classified as either "variations", as this close. term is understood in the ballet, or as pre- 'Second movement, Andante: Between ludes to the final fugue. The first of these the expansive orchestral forces of the outer sections, opening with a duet for two bas- movements this delicate intermezzo is soons, contains already the hidden fugue

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theme; the second is based on a major- ing events, of despair and hope, of con- minor arpeggio figure which weaves tinual torments, of tension and, at last, around in strings and woodwinds; the third cessation and relief, it may be that all elaborates the material of the introduction those repercussions have left traces in this of this movement. The subsequent fugal Symphony. It is not I to judge.' section opens with the theme stated by the Later on, in his Dialogues, Stravinsky trombone and piano. Its development is made further explanations concerning the of the highest ingenuity and intricacy and score, particularly about the first and third it shows again how Stravinsky makes this movements. prescribed form serve his stylistic inten- The first movement, he wrote, was in- tions without becoming its slave. The fugal spired by a documentary film of 'scorched- form does never become an end in itself, earth tactics in China;' and the central epi- the composer even takes pains to disguise sode for clarinet, piano and strings 'was it in order not to obscure with any obvious- conceived as a series of instrumental con- ness of procedures the free expressivity versations to accompany a cinematograph- of the music. The driving impulse of a tut- ic scene showing the Chinese people coda, that is a remarkable example of scratching and digging in their fields.' The metrical spacing, creating a rhythm of second movement was derived from inci- silences within the rhythms of sound, leads dental music which had been planned for the Symphony to a sonorous ending.' the scene of 'The apparition of the Virgin' The composer himself was quoted in in the film of Werfel's Song of Bernadette. the New York program: Stravinsky states that the beginning of This Symphony has no program, nor is the third movement was partly 'a musical it a specific expression of any given occa- reaction to the newsreels and documen- sion; it would be futile to seek these in my taries that he had seen of goose-stepping work. But during the process of creation soldiers;' and the latter part of the move- p this our arduous time of sharp and shift ment, from the exposition of the fugue to

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the coda of the Symphony, was associated The instrumentation: 2 flutes, piccolo, in his thought with 'the rise of the Allies 2 oboes, 2 clarinets, 2 bassoons, 4 horns, after the overturning of the German war 2 trumpets, 3 trombones, tuba, timpani, machine.' bass drum, cymbals and strings. Program note Copyright © by the Boston Symphony The patrician Lawrence Gilman was not Orchestra, Inc. given to invective, but there was more thai irony in his remarking on the 'general im- SYMPHONY NO. 1 IN G MINOR, pression among a considerable number of OP. 13 music-lovers . . . that Tchaikovsky com- Peter Ilyich Tchaikovsky posed only three symphonies, which hej Program note and Copyright © designated, a bit eccentrically, as "no. 4," "no. 5," 6" [the Pathetique]. by James Lyons and "no. That I Tchaikovsky was born in Kamsko- impression is excusable. For those three Votinsk in the government of Viatka on symphonies are virtually the only ones by May 7, 1840; he died at St. Petersburg on Tchaikovsky that most music-lovers ever November 6, 1893. He composed the orig- hear.' inal version of the First Symphony in 1 866. Happily, this is not quite the state of After revisions suggested by Anton Rubin- affairs today, but it certainly was an under- stein and Nicholas Zaremba had been statement of the situation at the time— made, it was first performed by the Rus- 1937—when Gilman was writing. So much sian Musical Society in Moscow on Feb- for the notion that while-worth music ruary 15, 1868; Nicholas Rubinstein con- 'holds its own' in the international reper- ducted. The first performance by the Bos- toire. ton Symphony Orchestra was given as The long neglect of Tchaikovsky's first part of a Tchaikovsky Festival on April three symphonies is fascinating, neverthe- 27 and 28, 1934; was less, because he was the only one of all the the conductor. symphonic Big Names whose fame rested

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STANDARD OF THE WORLD upon half of his output. The other half was he had composed anything (except a few not despised. It was merely unknown. trifles for the piano). Not quite a year At this late date the younger reader later, at twenty-three, he horrified his especially may suspect hyperbole, but the family by resigning from the civil service. fact is that until Igor Stravinsky unearthed This difficult step taken, Tchaikovsky the Op. 17 and Op. 29 to serve as guest- turned his entire energies to the Conserva- conducting vehicles in the 'thirties they tory, accepting some elementary piano were terra incognita to concert audiences pupils to make ends meet. The inference everywhere in the western world. The Op. (lent credence by a silver medal) is that 13 had been introduced in Boston, finally, he impressed the faculty hugely. For it in 1934, but neither of the other two works was the director himself, Anton Rubin- had been heard in that center of the mu- stein, who arranged for his subsequent sical universe for nearly four decades. And appointment to the Moscow Conserva- much the same was the case elsewhere: tory, presided over by Anton's brother Nos. 1 and 3 never had been performed Nicholas. in Chicago, none of them had been pre- Understandably delighted at the honor sented in New York for more than a quar- and the prospect of a decent income, ter-century, and none of the three ever Tchaikovsky did not hesitate to accept. had been played in Philadelphia! By mid-January of 1866 he was ensconced Had the estimable Gilman lived to wel- in his new position. After a brief awkward- come the long-playing record he would ness he proved to be as good a teacher as have had occasion to marvel at many ex- he had been so recently a student. He liked traordinary changes in musical tastes. The teaching. He liked Moscow. He liked his recent emergence of Tchaikovsky's first colleagues. Inevitably, there was soon a three symphonies is among the more sen- "great leap forward" in his composing. sational instances of belated justice for First came a revised version of his which the tonal art will be indebted to the earlier Overture in F. It was performed phonograph. To be sure, these works had on March 16 and received enthusiastically. begun to enjoy a limited advocacy as a Thus encouraged, Tchaikovsky began to consequence of the Stravinskyan imprima- jot down ideas for a symphony that he had tur. But until our own time no one in his been thinking about. Already he had a an right mind would have conceived of titie— Zimniye Gryozi ( Winter day- integral recorded edition—and on the in- dreams) . ternal evidence it is objectively impossible It is the consensus of biographers that to say why, for each of these symphonies this work caused Tchaikovsky more real in turn is worthy of its composer, and all anguish than any other he was ever to write. three bear the hallmark of his genius. They Herbert Weinstock discerns in the psycho- could have been written only by Peter somatic picture a crisis engendered by the Ilyich Tchaikovsky, and approaching them composer's adjustment to homosexuality. consecutively provides an opportunity to Be that as it may, Tchaikovsky was ill pre- observe the birth and growth of his singu- pared to cope with the complexities of lar creative personality. To this extent they symphonic form. The more stubbornly his offer a perspective that is not to be had materials refused to cohere, the more pro- from their more familiar sequels, and their nounced became his neurasthenia. Night- felicities otherwise are by no means incon- mares ruined his sleep. Nameless dread siderable. Tchaikovky was Tchaikovsky pursued him the day through. Towards right from the beginning. August, a nervous wreck, he collapsed. Properly, we should begin a bit. before When physicians ordered him to stop com- the beginning. For music may have been posing for a while, he was only too willing Tchaikovsky's first love, but his vocational to comply. training was in another direction altogeth- That summer he submitted the unfin- er. And beset as ever by insecurities, he ished manuscript of the symphony to An- was at pains not to relinquish his clerkship ton Rubinstein and to Nicholas Zaremba, in the Ministry of Justice when, in 1862, his former theory professor. To his cha- he started his second regimen of formal grin, both men disapproved of his work. education (his earlier training had been in They condemned the very features that he law) as a part-time student at the St. most liked and concurred in urging spe- Petersburg Conservatory. cific changes. Reluctantly, that November Even so, he could say to his elder broth- the composer set about implementing their er that same autumn: "I promise you that counsel, though in the end he was to re- some day you will be proud of me." So store the original intact but for the second that musically, at least, the burgeoning theme of the first movement, which he composer knew his own measure before had forgotten in the interim.

23 —

The third movement alone was given has insisted that the theme of the intro- at Moscow on December 22, 1866. Its re- duction, which becomes the second sub- ception is not chronicled, but we know ject of the maestoso, is an actual Russian that Tchaikovsky thereafter rewrote the folk tune (though he does not volunteer whole score (i.e., reassembled it substan- the title—elsewhere we are told that it is known as the 'garden bloomed'. tially as it had been in the first place) . The following February, not in Moscow but The jolly first theme of the closing sec- in St. Petersburg, the middle movements tion is strongly rhythmic and, manifestly, were performed with moderate success. fair game for contrapuntal exploitation. A year later the piece was at last heard The work closes sanguinely, in G major, in its entirety. The formal premiere was with an extended coda in the festive-finale given in Moscow by the Russian Musical tradition which is a hallmark of Russian Society, Nicholas Rubinstein conducting. symphonies almost without exception. Contemporary reports suggest that the Those who wonder why Tchaikovsky symphony was an unqualified triumph. affixed subtitles to the front movements, Latter-day critics were wont to compare or why he affixed no subtitles to the back it unfavorably with Tchaikovsky's more movements, might reflect on his dictum mature works. James Gibbons Huncker, that the symphony is "the most purely lyr- for example, took umbrage at its "damn- ical of musical forms." More profitably, able fluency." More perspicaciously, Er- however, they might ponder the compos- er's rhetorical nest Newman described it as the "desper- question: "Should not a ate attempt" of a nonconformist genius symphony reveal those wordless urges that "to look at music and life through the eyes hide in the heart, asking earnestly for ex- of a formalist." None of the estimates is pression?" Remember that for Tchaikov- without mention of Mendelssohn. sky a symphony without a program was As indicated, the First Symphony un- a 'symphony that meant nothing'. He made folds in fairly orthodox, predictable fash- whatever obeissance he could to sonata ion. The opening Allegro tranquillo pre- form; but symmetry he valued much low- sents at the outset a lovely and apparently er than sentiment, and symmetry for its original (though folklike) melody that own sake did not interest him at all. The circles between the intervals of the third result was not really structural weakness and the fourth. Another affecting theme, —you will find that only if you demand in B minor, is introduced by the clarinet. classical rigor of an unashamed romantic This movement bears the subtitle: "Day- —but rather what might be described with dreams on a wintry road." more fairness as a quite deliberate am- Also programmatic is the ensuing biguity of image. In short, Tchaikovsky Adagio cantabile ma non tanto. Rather was not a symphonist, in the quasi-philo- more cryptically, Tchaikovsky subtitled it sophical, 'absolute' central European "Land of gloom; Land of mists." The mold; he was a Russian composer who was movement is based on another presumably impelled to express himself orchestrally, original theme of indigenous flavor. The hence (in his own terms) symphonically. composer merely added ornamental coun- By any system of logic this premise can- terpoint and varied the orchestral colors. not be upheld merely by demonstrating an He entrusts the disconsolate melody to the inner consistency of argument. A mo- oboe. The tonality is E-flat, with excur- ment's reflection on the latter does, how- sions to C-sharp minor and A flat. ever, oblige us to reconsider something Students will recognize the Scherzo as about which Tchaikovsky himself was (in an elaboration of the counterpoint in the his prose, not his music) confused, con- C sharp minor Sonata, Op. posth. The tradictory and misleading. It is this: he transcription is straightforward. The had his identity crises, yes, but decidedly marking is Allegro scherzando giocoso. not over his role as a svmphonist. The The key is C minor, and there is a con- simple truth is that for all his many dis- trasting second theme that emerges in pairing words on this subject he never, E-flat before reverting to the tonic in a ever, wavered in perceiving the symphony whisper punctuated by the terminal as others perceive the symphonic poem chords. But a rather special interest at- a medium for a message. This was not a taches to the trio section, a prototype of posture. It was the essence of his creative the 'symphonic waltz' genre in which being, and it was as strongly manifest in Tchaikosvky was to achieve unparalleled his first symphony as it would be in his mastery. last. An Adante lugubre prefaces the Finale Otherwise stated (ignoring its inevitable proper (Allegro moderato, then maes- smidge of eclecticism), Winter daydreams toso). The English critic Martin Cooper clearly codifies every last characteristic of

24 I that style we call Tchaikovskyan. If mu- sicology ever sheds its contempt for the A NEW RESTAURANT romantic aesthetic, we may expect a IN WASHINGTON learned monograph in support of that as- sertion. Meantime to describe the work SUPERB FOOD as 'prophetic' is only to affirm what our ears tell us without benefit of scholarly en- dorsement: that in all the world there was but one man who could have composed this music.

EXSULTATE, JUBILATE' MOTET FOR SOPRANO K. 165

Wolfgang Amadeus Mozart

Program note by Andrew Raeburn (Copyright © by Boston Symphony) Mozart was born at Salzburg on Jan- uary 27, 1756; he died in Vienna on De- cember 5, 1791. He composed Exsulante, jubliate some time before January 17, 1773, when it was first performed at the Church of the Theatines, Milan, by Ve- niKIIII'S Kilt nanzio Rauzzini. The Boston Symphony 21 ST ST. AND PENN. AVE., N.W. Orchestra has twice played the motet at BEFORE THEATRE DINING the Berkshire Festival, most recently on AFTER THEATRE IN THE RIB CAGE July 6, 1968, when Beverly Sills was solo- FOR RESERVATIONS: MR. NICKOLAS ist and Erich Leinsdorf conducted. 659-1881 The instrumentation: 2 oboes, 2 horns, organ and strings. Mozart must have been one of the most traveled children of his century. Leopold was ruthless in his exploitation of the child 'prodigy, and by the time of their first Ital- ian tour—began in December 1767—they jhad already journeyed from their home in

i Salzburg to , Paris, London and jto many of the cities in countries known jtoday as Austria, Germany, Holland and (Switzerland. There were Italian musicians tin all the musical capitals of , Ital- ian was spoken at the court in Salzburg, and when the Mozarts arrived in Italy, Wolfgang could already speak the lan- guage with some fluency. After a year of traveling around the country, they ended up in Milan, where the opera Mitradate Re di Ponto was first performed. The Mozarts returned to Milan in No- vember 1772, and the first performance of Lucio Silla took place exactly two years after that of Mitradate, on December 26, 1772. It was one of those disastrous op- : eratic 'happenings ' a letter from Leopold tells how the archduke arrived three hours late, and without him the opera could not start; a replacement singer, brought in at the last moment overplayed his part so grossly that the audience burst into laugh- ter at the moment of greatest tragedy. The prima donna meanwhile was out of sorts,

and became even more upset when she 'The Detchema Collection' by Parfums Revillon, Paris. , At discriminating stores. 25 noticed the ostentatious applause of the archduchess for the primo uomo's first ap- pearance on stage. This 'leading man' was Venanzio Rauzzini, a castrato of whom Michael Kelly, the English tenor, wrote The in his memoirs, 'He was a great musician, had a fine voice, was very young, and so Symphony proverbially handsome that he always per- formed the part of the prima donna.' In 1774, according to Charles Burney, he Notebook 'was a beautiful and animated young man, by as well as an excellent musician, who not only knew his business well as a singer, M. ROBERT ROGERS but that of a composer: being as able to Managing Director set an opera as to sing in it .... He played the harpsichord neatly, and had a real genius for writing.' Rauzzini remained in London for many years, then moved in THE BOSTON SYMPHONY has been 1787 to Bath, the fashionable spa in the appearing on the Constitution Hall series west of England. He died there in 1810. of the Washington National Symphony It was for Rauzzini that Mozart wrote since the 1956-57 season. It has performed Exsultate, jubilate, an unbelievably ad- an annual pair of concerts in each season vanced work for a boy of sixteen, and the since, except for that of 1963-64. During castrato sang the first performance on Jan- this period the orchestra has performed uary 17, 1773 at the Church of the Thea- twenty-two concerts under the direction tines in Milan. Alfred Einstein wrote : 'The of three conductors, Charles Munch and work is not an ecclesiastical one, and is Erich Leinsdorf during their regimes as likened by Abert to a dramatic solo can- Music Director, and Robert Shaw, now tata the three sec- .... The sequence of conductor of the Atlanta Symphony, as tions corresponds exactly to the form of a guest on January 15, 1959. The first the Italian "Overture" (Sinfonia) : a lively appearance of Eric Leinsdorf on the series Allegro Andante Vivace; with this dif- — — was also as a guest conductor on February ference however, namely, that a little re- 16, 1961. citative is played before the Andante, and The Boston Symphony was founded by that Mozart has more closely connected Major Henry Lee Higginson in 1881. the final movement with the Andante by a Major Higginson personally financed the notable transition of key, A major to F orchestra for almost forty years, during major, which was such a favorite with which its succession of German conduc- Beethoven. tors included George Henschel, Arthur Exult and rejoice, you blessed souls; and Nikisch and Karl Muck. In the seasons let the heavens resound with sweet chants, following 1918, when Major Higginson answering with me your song. entrusted the orchestra to a Board of The beautiful day shines radiant; clouds Trustees, the principal conductors were and storms are gone. For the righteous Henri Rabaud, , Serge there is a sudden calm. Till now murky Koussevitzky, Charles Munch and Erich night was everywhere king. So rise up hap- Leinsdorf. In i 1940, under Koussevitsky, py now, you who were afraid, and be hap- the orchestra founded the famous Berk- py in the blessed dawn. With open hand shire Music Center at Tanglewood and bring gifts of garlands and lilies. during Charles Munch's term as conduc- Thou crown of virgins, give us peace, and tor (1949-1962) the orchestra started calm the passions which trouble our hearts. touring abroad, in addition to its frequent A lleluia. tours in this country. The principal mem- Exsulate, jubilate, o vos animae beatae bers of the orchestra have formed the dulcia cantica canendo, cantui vestro re- Boston Symphony Chamber Players who spondendo, psallant aethera cum me. make extensive tours at home and abroad. Fulget arnica dies, jam fugere et nubila et procellae; exortus est justis inexspectata quies; undique obscura regnabat nox. Surgite tandem laeti, qui timuistis adhue, et jucundi auorae fortunatae; frondes dex- tera plena et lilia date. Tu virginum corona, tu nobis pacem dona, MICHAEL TILSON THOMAS, Assist- tu consolare affectus unde suspirat cor. ant Conductor of the Boston Symphony Alleluja. and pianist for the Boston Symphony

26 The Sun of Miami. It's not the same as the sun that rises over New York, Chicago or Boston. Miami is where the sun spends the winter. Where it's just as warm in January as it is in June. Where you am lie on the beach or beside one of a thousand different pools. And be pampered like a maharajah in one of a hundred different hotels as luxuri- ous as the Taj Mahal. Eastern can take you there more easily than any other airline because we have more flights to Miami from more cities than anybody else. Come with Eastern to Miami. And feel just as warm and comfortable in the sky as you will feel when you arrive under the sun of Miami. Call your travel agent or Eastern for reservations to Miami, or any of the seven suns of Eastern. © EASTERN The Wings of Man. If the

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It's such a rewarding car to get rid of. Putting you first, keeps us fi Chamber Players, is the fourth conductor in Germany and Holland. Her appear- to appear with the Boston Symphony on ances with major American in- the National Symphony series. Mr. clude the and

Thomas is replacing William Steinberg, Detroit Symphony, and last summer she the Boston Symphony's new music direc- took part in the Festival of two worlds at

tor, whose scheduled appearances with Spoleto, Italy. the orchestra this month had to be can- celled due to illness. He began his ap- pointment as Assistant Conductor of the Boston Symphony last fall, at the start of the present season, and at the same time as Mr. Steinberg. Mr. Thomas was born in Hollywood in 1944. His family has been connected with the theatre for NEXT WEEK in Constitution Hall Tues- many years, his father being the cele- day/Wednesday subscription audiences

brated . The young will hear the first part of a two-week conductor is a graduate of the University Washington National Symphony Bach of Southern California, where he studied Festival, Rosalyn Tureck will be guest with Ingolf Dahl and John Crown and, in conductor and keyboard soloist; appear- 1966, was awarded the Alumni Prize for ing with her will be concertmaster Miran being the outstanding graduate. From Kojian, violin; Wallace Mann, flute and 1965 to 1969 he was conductor of the James Caldwell, oboe. Young Musicilans Foundation Debut Or- These concerts of April 7 and 8 will chestra at the Los Angeles Music Center. replace those of October 21 and 22. He has also been the pianist for the classes Holders of tickets for October 21 and 22 of Gregor Piatigorsky, the eminent cellist. should use them for these concerts. In 1968 he received the Koussevitsky con- The program will open with the Ricer- ducting prize and last year he won the care in Six Parts from "The Musical Of- Musical America Young Artists Award. fering" and continue with the First Violin His latest conducting engagements in- Concerto in A minor and the Fourth clude the Youth Concerts of the Los An- Clavier Concerto in A major. After the in- geles Philharmonic and guest appearances termission the Fifth Brandenburg Con- with the Boston Philharmonia. certo and the Seventh Clavier Concerto in G minor will be heard. The following week, on Tuesday/ Wednesday, April 14/15, the second part of the Bach Festival will take place. These concerts will replace those of Nov- ember 4 and 5. Holders of tickets for November 4 and 5 should use them for BENITA VALENTE made her debut these concerts. The program opens with with the Boston Symphony in January, the Second in E major 1969, singing the role of Najade in the and continue with Four Contrapuncti and American premiere of the original version Two Canons from "The Art of the Fugue" of Strauss's Ariadne auf Naxos. The so- and the Third Clavier Concerto in D ma- prano comes from Delano, California, jor. After the intermission the program and won the Metropolitan Opera Audi- will conclude with the First Clavier Con- tions in 1960. Two years later she started certo in D Minor. The program will be touring Europe, including appearances at repeated on Thursday, April 16 at 8 p.m. the Zurich and Freiburg Operas. She re- in Ritchie Coliseum, University of Mary- cently appeared in several music centers land.

29 words onmusic

The distinguished look preferred by Washingtonians for over 57 years. 7 great Shaw: A Raleighs Stores, all featuring Hart, Schaffner & Marx, The road to immortality for a music critic bears one solitary signpost: Proceed Hickey - Freeman clothes for men Against Traffic. History reserves its laurels and the most exciting collections for the likes of Eduard Hanslick, whose for today's fashionable women. violent hatred of the music of Wagner drove the composer to caricature him as the odious Beckmesser in Die Meistersing- er; one Johann Nepomuk Moser lives on 1310 F Street, N.W. ". because he wrote of Beethoven that . . Chevy Chase, Md. Montgomery Mall, Md. if (he) could control himself more and Pr. Georges Plaza, Md. Landmark Center, Va. Wheaton Plaza, Md. Tysons Corner Center go the way of nature he could with his diligence and talent certainly write many fine compositions," while asserting that he had not as yet done so; whether or not you DYLAN THOMAS' like his own music, you can always re- member Charles Gounod as the man who pronounced Cesar Franck's Symphony "the affirmation of incompetence pushed to dogmatic lengths."

Nevertheless, there is one music critic from the past whose name survives in the annals for his good deeds as well as his bad. True, he achieved even greater im- mortality in other fields; he was the creator "tote of Eliza Doolittle, the Lion's friend An- drocles and Major Barbara Undershaft of Adapted for the stage by the Salvation Army. But, before he had Andrew Sinclair done any of that, George Bernard Shaw Continues at 1632 Street N.W. had shaken up the musical life in London whose HELD OVER! as a critic of brilliance and insight like has seldom appeared since. To read "A glittering musical revue" today the barbs and bouquets that Shaw Coe, Post flung with equal accuracy is a sobering THE DECLINE AND FALL experience for any budding critic, but a OF THE ENTIRE WORLD sheer delight to anyone else. Any critic AS SEEN THROUGH would trade his sharpest lance today to THE EYES OF COLE PORTER have written a line so simple, so haunting, Continues at 23rd and L Streets N.W. so indisputable as this, by Shaw about the WASHINGTON THEATER CLUB arias of Sarastro in Mozart's The Magic Call 265-4700 For Reservations Flute: "The only music which could be

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George Bernard Shaw put into the mouth of God without blas- phemy." In 1888, at the age of 32, Shaw was hired by the London Star as a political columnist. He was at the time an ardent Marxist and had even been preaching So- cialism on street corners. His first columns aroused the ire of the publisher, who re-

31 Ring, not only as an awesome work of art, but as a sublime Socialist tract denouncing the evils of capitalism; his long essay The Perfect Wagnerite mingles, with no less

skill than Wagner's own, artistic proclama- tion and polemic. Shaw loved music with a love untainted by scholarly sophistication. He regarded anyone who bored him in the concert hall as a mortal enemy; his chosen foes in- cluded in particular and of long, gloomy choral works (an art-form beloved by all proper Victorians) in general. Listening to the Brahms Requiem, he proclaimed, is "a sacrifice which should not be demanded twice from any man." Verdi was one of his great idols, but not the prancing prima- George Bernard Shaw donnas who grew fat at the expense of chatting with Charlie Chaplin. singing the music properly. He reserved some of his scorn for audiences, as well fused to print them and snorted something as concerts, and delivered himself of at that insured his own immortality: that it least one intemperate outburst at a lady would be 500 years before such stuff who sat in front of him, blocking his view would become good political journalism. with what he described as "a dead bird ." "He was too goodnatured to sack me. . nailed to her head." He could see clearly Shaw reminisced in a preface to his col- through the headiest artifice. "She travels lected musical articles published in 1935, with enormous baskets of flowers," he "so I got him out of his difficulty by asking wrote of a touring American whistler, him to let me have two columns a week for "which are handed up to her at the con- music." To lend a magisterial tone to his clusion of her pieces. No matter how often

columns, Shaw chose the pseudonym of this happens, she is never a whit the less Corno di Bassetto, a deep-voiced, seldom- astonished to see the flowers come up." used instrument of the clarinet family. We need such clear-headedness today, Shaw's mother had been an excellent to do battle with the occasional stodginess amateur singer who held musicales at of concert life and with ladies who come

home; beyond this he had no formal mu- to concerts, if not with aviary headgear, sical training. This didn't matter; what did at least with clanking chains on their matter was the tremendous innate sensitiv- wrists. Meanwhile, the wit and wisdom ity his early exposure to music had de- of Corno di Bassetto lives on, in the four veloped in him. This, plus his own sym- volumes of his vibrant musical criticism pathy for the underdog avant-gardist, got published in London by Constable, or in him brilliantly through his six-year musical the single volume of selections that Hill career—first on the Star, then on the rival and Wang brought out in 1961 under the World. He fought ardently for the music title How to be a Musical Critic. Note that: of Wagner, then making its first difficult musical critic, not music critic. Shaw, that

headway in a London still mired in Vic- rare and live bird, was one of the few who torian conservatism. He saw Wagner's could claim to be both. Unfortunately, the best things in life are not free.

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33 FODUSzTravel by Janet Leslie Bush

European Festivals

Each summer in Europe, a gentle ex- plosion of music festivals offers trav- elers the chance to hear great music per- formed in magnificent settings — castles and churches, outdoor plazas and gardens, and against the silhouettes of ancient ruins. These events draw some of the world's most celebrated performers and discerning audiences. If you plan to travel abroad this summer, add any of Europe's most popular music festivals to your itinerary:

Bayreuth (West Germany) is Europe's oldest music fete, founded in 1876. The city has always been associated with music and the arts (the eighteenth-century court above: Siegfried staged at Bayreuth by Wagner's attracted artists from all over Europe) and grandson, below: Salzburg's music festival, cele- it was here that designed brated for the sound of Mozart. his revolutionary Vespielhasse theatre with an enormous deep stage for productions of a new kind of dramatic opera. Only Wagner's works could be performed in the Vespielhasse, a strict tradition to the present. Current productions, however, under the supervision of Wagner's grand- sons, Wolfgang and the late Wieland, have been totally modern (scandalously so, ac- cording to the "Old Guard").

Bayreuth is in the northern section of Bavaria, that relaxed region of southern Germany that seems to be a nation unto itself. To reach Bayreuth, fly to Munich, a lively and sophisticated city which has

an earlier wonderful opera festival of its own from July 14 to August 6. From Munich, fly to Nuremberg, south of Bay- reuth, or better, drive. You can go via a slight detour west of Nuremberg, from Augsburg to Wurzburg, through a string

3' will also be a Bach cycle, and plenty of Schubert and Haydn.

The city of Salzburg is filled with Mozart memorabilia and its baroque arch- itecture, dominated by a twelfth-century fortress, and encircling mountains, makes

it a glorious setting for . Concerts and recitals take place at the Mozarteum (the music academy), at the prince-bishop's residence where Mozart himself performed, in the candlelit Schloss Mirabell, a dazzling palace, and in a col-

lection of small festival halls. There is drama at the Felsenreitschule, a large out- door theatre carved from natural rock.

IrppER right: Spoleto's Festival of Two Worlds, Tickets should be ordered at least six punded by Gian Carlo Menotti. above: The months ahead by writing to the Austrian /lilitary Tattoo on the Esplanade of Edinburgh National Tourist Office, 545 Fifth Avenue, Castle (Edinburgh Festival), lower right: The iolshoi at the Helsinki Festival. New York, N.Y. 10017. Hotel accommo- dations are scarce. Two local bureaus will

)f unchanged medieval cities called "The arrange rooms in pensions, but these must Romantic Road." be booked in advance. You can also stay The Wagner Festival has the air of a in one of the neighboring lake resorts and ulgrimage; tickets tend to be costly, from commute to Salzburg by car or bus. 8.00 - $26.50 each. Order at least six Fly to Salzburg from New York on nonths in advance and request room in a Austrian Airlines' direct flight connection; private house at the same time. Most of or fly to Vienna and drive. Visiting Aus- iayreuth's limited hotel space is reserved tria without a stop in the capital is like or performers.

Dates: July 24 - August 27. Write: Ticket Office, P.O. Box 2320, 8580, Bay- euth, 2.

Salzburg (Austria) marks its fiftieth sea- ion from July 26 - August 30. Probably Europe's most celebrated festival, the sound of Mozart, born here, is ritual, but xpect at least one Fidelia in honor of Beethoven's Bicentennial this year. There

35 sampling Sachertorte without the jam. Bee- the counterpoint of a Noguchi or Calder thoven, Schubert, Mozart, Haydn, Gluck, sculpture displayed on a cobbled street. Something happens Brahms, Mahler all lived and worked here, around the clock: q and the city wears her illustrious past like chamber music concert at noon, poetry reading at four, a jewel. It is easy to comprehend why so dance concert at six; opera at eight, and a much of the world's lyrical music was writ- midnight "Happening" ij I ten in Vienna, amidst the grandeur of the Buckminster Fuller geodesic dome, called the "Spoletosphere." The its buildings and parks. Today the Vienna presence I State Opera Company and Philharmonic of Spoleto's founder, Gian Carlo Menotti j may be the most consistently superb is felt not only by his operatic direction groups anywhere. Vienna's music festival but by his regular attendance at noon con-j stretches from May 23 to June 21. certs and poetry readings. The Festival of Two Worlds at Spoleto, Last year all tickets cost $1.60, and the Italy, a medieval hill town halfway be- popular price format is expected to conj tween Rome and Florence, has the air of tinue. Tentative 1970 dates: June 26^ a sophisticated workshop. A showcase for July 12. For information, write: Festival young unknowns as well as recognized ar- of Two Worlds, 119 West 57th Street]et,

tists (with young ideas), the atmos- New York, N.Y. 10019. Britain's phere is experimental and enthusiastic, Edinburgh Festival sells mor)re than 300,000 tickets during three richlly with modern untried ventures juxtaposed ; packed weeks of cultural against the classics . events, which I

Relatively undiscovered until the first give the ancient capital of Scotland a H

festival thirteen years ago, Spoleto has young, dynamic, cosmopolitan flavor. The 1

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I F.MI&OT ^^H film competition is world renowned) and good music in the capitals of Scandinavia, orchestras travel from as far as the USSR particularly Helsinki, where to play. Soloists last year included Rudolf and are scheduled to ap- Firkusny, , ; pear. One festival where the setting is the Aeolian and Bartok String Quartets. probably as great a joy as the music is The Festival's popular signature is the Dubrovnik, Yugoslavia, a magnificent Military Tattoo, a display of massed bag- walled city by the Adriatic. Over two pipe bands and drill done by searchlight dozen open-air stages in palace courtyards, at night on the Esplanade of Edinburgh gardens, terraces and forts provide the Castle, with the ramparts as backdrop. The backdrop for plays, opera and concerts. cultural events themselves take place in The Mayfair Travel Service, 119 West the city's theaters, halls and galleries. You 57th Street, New York, N.Y. 10019, the can reserve tickets and hotel through a American representative of the European travel agent or by writing directly to the Association of Music Festivals, will book Festival Office, 21 Market Street, Edin- tickets at 31 member organizations, in- burgh, 1. Dates: August 23 -September 12. cluding most of the above. Local tourist

There is a plethora of other musical offices in major cities should have per- events eminently worth attending: Lu- formance schedules, if you prefer to book cerne, Switzerland, whose festival was on your own. founded by Toscanini; , Rot- Finally, remember that although tickets terdam, the Hague, and Scheveningen, all should be ordered in advance, there are in the Netherlands; Aix-en-Provence in always last-minute cancellations and you outhern France, in the luminous country- can take your chances. At worst, you'll wide that inspired Cezanne. You can hear see some of Europe's loveliest scenery.

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We mail all over the world. Customs Formalities arranged. WASHINGTON NATIONAL SYMPHONY 1969-70 CONCERT SCHEDULE Howard Mitchell, Music Director/M. Robert Rogers, Managing Director DAR CONSTITUTION HALL May 19/20 TUES.-WEDNESDAY SERIES, 8:30 P.M. Paul Paray, Guest Conductor May 26/27 Paray, Guest Conductor November 25/26 Paul , Pianist DAR CONSTITUTION HALL Howard Mitchell conducting SUNDAY SERIES, 4 P.M. December 2/3 Westminster Choir December 7 Howard Mitchell conducting Joan Kennedy, Narrator December 9/10 Howard Mitchell conducting Philippe Entremont, Pianist January 18 Howard Mitchell conducting Winners of the Van Cliburn and December 16/17 Merriweather Post Competitions , Soprano Howard Mitchell conducting Mitchell conducting Howard March 1 January 6/7 Leonard Pennario, Pianist William Kroll, Violinist Howard Mitchell conducting Amerigo Marino, Guest Conductor March 22 January 13/14 , Violinist , Guest Conductor and Myung Wha Chung, Cellist Violinist Howard Mitchell conducting January 20/21 London Symphony Orchestra January 26/27 Artur Rubinstein, Pianist LISNER AUDITORIUM, G.W.U. Howard Mitchell conducting THURSDAY MATINEE SERIES, 2 P.M. February 3/4 Michael Rabin, Violinist December 4 Arthur Fiedler, Guest Conductor John Ogdon, Pianist February 10/11 Howard Mitchell conducting Joao Carlos Martins, Pianist January 8 Mesru Mehmedov, Guest Conductor William Kroll, Violinist February 17/18 Amerigo Marino, Guest Conductor David Oistrakh, Guest Conductor and February 5 Violinist Michael Rabin, Violinist February 24/25 Arthur Fiedler, Guest Conductor Leonard Pianist Pennario, February 26 Howard Mitchell conducting Leonard Pennario, Pianist March 3/4 Howard Mitchell conducting David Bar-Illan, Pianist March 19 Howard Mitchell conducting Kyung Wha Chung, Violinist March 10/11 Myung Wha Chung, Cellist Zino Francescatti, Violinist Bucknell University Chorus Howard Mitchell conducting Howard Mitchell conducting March 17/18 May 21 Kyung Wha Chung, Violinist Paul Paray, Guest Conductor Myung Wha Chung, Cellist Bucknell University Chorus Howard Mitchell conducting March 24/25 Wagner's PARSIFAL UNIVERSITY OF MARYLAND SERIE Acts I & III as a Stage Oratorio RITCHIE COLISEUM THURSDAY 8 P.IV Howard Mitchell conducting March 30/31 December 11 Boston Symphony Orchestra Philippe Entremont, Pianist William Steinberg, Conductor Howard Mitchell conducting April 7/8 February 12 Bach Festival I Joao Carlos Martins, Pianist Rosalyn Tureck, Director Mesru Mehmedov, Guest Conductor April 14/15 March 12 Bach Festival 11 Zino Francescatti, Violinist Rosalyn Tureck, Director Howard Mitchell conducting April 28/29 April 16 Harvard Glee Club Bach Festival Program Radcliffe Choral Society May 21 Howard Mitchell conducting Paul Paray, Guest Conductor NORTHERN VIRGINIA SERIES DAR CONSTITUTION HALL WOODSON HIGH SCHOOL, FAIRFAX INTERNATIONAL SERIES FRIDAYS 8 P.M. Friday, October 10, 8:30 p.m. January 9 Santa Cecilia Orchestra of Rome William Kroll, Violinist Fernando Previtali, Conductor Amerigo Marino, Guest Conductor Sunday, February 22, 4 p.m. March 6 Stockholm Philharmonic David Bar-Illan, Pianist Antal Dorati, Conductor Howard Mitchell conducting Saturday, April 4, 8:30 p.m. Rotterdam Philharmonic Daniel Wayenberg, Pianist Jean Fournet, Conductor

MONTGOMERY COUNTY SERIES ROCKVILLE CIVIC CENTER AT 8 P.M.

Friday, January 16 Winners of the Van Cliburn and DAR CONSTITUTION HALL Merriweather Post Competitions SATURDAY DANCE SERIES, 8:30 P.M. Howard Mitchell conducting Friday, February 27 1 L/VvvlllUvlripppmhfr X *7^ Leonard Pennario, Pianist Fiesta Mexicana Howard Mitchell conducting January 24 Danzas Venezuela March 14 Phakavali Dancers BALTIMORE SERIES LYRIC THEATRE AT 8:30 P.M.

Friday, December 12 Philippe Entremont, Pianist Howard Mitchell conducting Friday, February 6 DAR CONSTITUTION HALL Michael Rabin, Violinist SPECIAL EVENTS

Arthur Fiedler, Guest Conductor I Saturday, February 28 Saturday, October 11, 2:30 and 8:30 p.m. Leonard Pennario, Pianist Osipov Balalaika Orchestra of Moscow Howard Mitchell conducting with Stars of the Bolshoi and Russian Saturday, March 14 Dancers Zino Francescatti, Violinist

Howard Mitchell conducting 1 Friday, December 26 through Saturday, January 3 Washington Ballet Company New York City Ballet principals NEW YORK SERIES Friday, April 3, 8:30 p.m. ; PHILHARMONIC HALL Anna Moffo, Soprano SUNDAYS AT 3 P.M. Franco Bonisolli, Tenor Saturday, April 11, 8:30 p.m. December 14 Peter Schickele (P.D.Q. Bach) Philippe Entremont, Pianist Howard Mitchell conducting January 11 William Kroll, Violinist Amerigo Marino, Guest Conductor February 8 Michael Rabin, Violinist SHERATON PARK HOTEL Arthur Fiedler, Guest Conductor 1 March 15 Friday, February 13, 8:30 p.m. David Bar-lllan, Pianist Valentine Pops Howard Mitchell conducting An Evening of Lerner and Loewe

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39 Washington National Symphony 1969-70 Season HOWARD MITCHELL, Music Director LLOYD GEISLER, Associate Conductor ARMAND SARRO, Personnel Manager

VIOLINS Abe Cherry PICCOLO TRUMPETS Richard Townsend Miran Kojian Leo Jaakkola Lloyd Geisler, Concertmdster Peter Lindemann Principal Carlos Quian OBOES Adel Sanchez, Andres Archila, Ramon Scavelli James Caldwell, Co-Principal Assoc. Concertmaster Michael Yacovone Principal David Flowers Milton Schwartz Murray J. Labman Vernon Kirkpatrick G. Harrison Bowling Carlton Herrett William Foster Fred Gruenebaum Ralph Pfister Richard White Gutheil VIOLONCELLOS TROMBONES Crystal John Guido Mansuino ENGLISH HORNS Marcellus, John Martin, Richard White Principal Wayne Angel Principal Fred Gruenebaum Armand Sarro, Bela Martay Dorothy Stahl, Andreas Makris Co-Principal Co-Principal CLARINETS Robert Isele William Haroutounian Harold Wright Robert Kraft Eduardo Berrio Franz Vlashek Principal Frank Gasparro Lane Anderson Bass Trombone William R. Wright Florencio Reyes Morris Kirshbaum Robert Genovese Hinton Catharina Caldwell TUBA Kathleen Lawrence M. Bocaner (Vacancy) Robert J. Blatt David Bragunier Frederick Zenone E-FLAT CLARINET Virginia Harpham, Janet Frank William R. Wright TIMPANI Principal Alice La Sota Fred Begun, Donald Radding BASS CLARINET Principal William Bruni DOUBLE BASSES Lawrence M. Bocaner John A. C. Kane Janet Rogers H. Stevens Brewster, Jr. SAXOPHONE Rafael Salazar Principal William R. Wright PERCUSSION Jacqueline Anderson Michael Ferrick Frank Anthony Ames, Levy Samuel Edward Skidmore BASSOONS Princival Andrejs Lindbergs Charles Sturgis Kenneth Pasmanick, Frank Sinatra (on leave) Daniel Hanlon Principal John A. C. Kane Herbert Sokolove Richard Webster Linda Harwell Harry Cherkassky Donald Havas Susan I. Wadsworth PIANO AND CELESTA Booker Rowe, Jr. Albert Webster Joseph Reines Russell Woollen Sheldon Lampert Dotian Carter Edwin S. Johonnott HARP DOUBLE BASSOON Jonathan Mott Joseph Reines Dotian Carter LIBRARIANS FRENCH HORNS Vernon Kirkpatrick FLUTES John O. Wunderlich, Andrejs Lindbergs Wallace Mann, Principal (on leave) VIOLAS Principal George Parker Richard Parnas, Thomas Perazzoli William Arsers STAGE PERSONNEL Principal John D. Dennis Daniel Carter Charles King, Mgr. Nicholas Marlowe Richard Townsend Douglas Stevens Ernest McNeal

M. ROBERT ROGERS, Managing Director

MARYRUTH KING, Development Director ROBERT K. STULL, Business Manager

Mary E. Johns Linda Reynolds Hanna Blank Loretta Klein Nancy Sies Pamela S. DeLaittre Nancy Krohn Carol Stoudt Johanna Fiedler Alice Patlan John Stoudt Margaret Flower Cavanaugh T. Reid Wanda Kay Strange

CONSTITUTION HALL, DAR CAPT. DONALD O. LACEY, Managing Director The Daughters of the American Revolution endorse no individual or group of individuals, or any sentiment expressed by any speaker or other participant in any program given in Constitution Hall, except by resolution or motion approved by a vote of its own members. Patrons are required to occupy the seats assigned to them and not change to other locations. Ladies' and Gentlemen's Rest Rooms are downstairs, approached from either side of the 18th Street lobby. Patrons finding lost articles are requested to leave them with coatroom attendant or the Head Usher. We are not responsible for personal property unless checked in cloakrooms, which are located in the lobbies on the 18th, C and D Streets sides. This auditorium, under normal conditions, can be emptied in less than three minutes, Look around now, choose the nearest exit to your seat, and, in cas« of disturbance of any kind, to avoid the dangers of panic, WALK (do not run), to that exit. Exits are designated by red lights. LISNER AUDITORIUM, G.W.U. F. J. EARLY, Manager National Symphony concerts at Lisner Auditorium are sponsored by The George Washington University.

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