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BOSTON SYMPHONY ORCHESTRA

FOUNDED IN 1881 BY HENRY LEE HIGGINSON VETERANS MEMORIAL AUDITORIUM

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EIGHTY-FIFTH SEASON 1965-1966 The Boston Symphony MAHLER/ SYMPHONY N

BER&W'OZZECK^Extaptii.'J'hr^fe Cuiti».& under Leinsdorf BOSTON SYMPHONY ORCKES" ERICH LErNSDORF

"It is a revelation" said HiFi/Stereo Review of the Leinsdorf, Boston Symphony recording of Mahler's Fifth Symphony. In this remarkable performance the emotions, tensions and, perhaps most of all, the superb structure of the work come through with brilliant clarity. Coupled with it in a 2-record album are excerpts from Wozzeck with Phyllis Curtin as Berg's non-heroine, Marie. Another symphonic masterpiece, Brahms' First Symphony, exhibits the Bostonians' famed "glorious mellow roar" in a Dynagroove recording which, Jike the Mahler, cannot fail to enrich any collection of fine music. RCA Victor ©The most trusted name in sound 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 Wilkins TRUSTEES EMERITUS Richard C. Paine Palfrey Perkins Lewis Perry Edward A. Taft Oliver Wolcott

Thomas D. Perry, Jr., Manager

S. Shirk Norman 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 [31 1 llWBsH3h Steinway at any stage

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41 Thursday, February 17, 1966

Tonight's concert will be conducted by Richard Burgin.

SfMiel

Ighty-fifth season NINETEEN HUNDRED SIXTY-FIVE -SIXTY-SIX

Three Hundred and Eighty-fourth Concert in Providence

?(1

Fourth Program

THURSDAY EVENING, February 17, at 8:30 o'clock

iRAHMS Symphony No. 3, in F major, Op. 90

I. Allegro con brio

II. Andante

III. Poco allegretto

IV. Allegro

INTERMISSION

ahms Concerto in D major, Op. 77

I. Allegro non troppo

II. Adagio

III. Allegro giocoso, ma non troppo vivace

SOLOIST ZINO FRANCESCATTI

By order of the Chief of the Providence Fire Department, smoking is allowed only in the ticket lobby and the lower lobby of the auditorium.

BALDWIN PIANO RCA VICTOR RECORDS

[5] SYMPHONY NO. 3, IN F MAJOR, Op. 90 By

Born in Hamburg, May 7, 1833; died in , April 3, 1897

Composed in 1883, the Third Symphony was first performed at a concert of th Vienna Philharmonic Orchestra, December 2, 1883, conducting. Th first American performance was in New York, October 24, 1884, at a Novelty Concer by Mr. Van der Stucken. The first performance in Boston was by the Boston Sym phony Orchestra, under Wilhelm Gericke, on November 8, 1884. The Symphony is scored for 2 flutes, 2 oboes, 2 clarinets, 2 bassoons and contra bassoon, 4 horns, 2 trumpets, 3 trombones, timpani and strings.

>t*he world which had waited so many years for Brahms' First Sym

*• phony was again aroused to a high state of expectancy when si:

years elapsed after the Second before a Third was announced a< written and ready for performance. It was in the summer of 1883, a Wiesbaden, that Brahms (just turned fifty) completed the symphon which had occupied him for a large part of the previous year. Brahms

attending the rehearsals for the first performance, in Vienna, expressec himself to Bulow as anxious for its success, and when after the per formance it was proclaimed in print as by far his best work, he wai angry, fearing that the public would be led to expect too much of it and would be disappointed. He need not have worried. Those who while respecting the first two symphonies, had felt at liberty to weigl

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and argue them, were now completely convinced that a great sym- phonist dwelt among them; they were only eager to hear any new score, to probe the beauties which they knew would be there. The Vienna premiere was a real occasion. There was present what Kalbeck called the "Wagner-Bruckner ecclesia militans" whose valiant attempt at a hostile demonstration was quite ignored and lost in the general enthu- siasm. For the second performance, which was to be in , Brahms made conflicting promises to Wiillner and Joachim. Joachim won the honor and Brahms repeated the new symphony, with Wiillner's orches- tra, three times in Berlin, in the month of January. Biilow at Mein- ingen would not be outdone, and put it twice upon the same program. City after city approached Brahms for a performance, and even from France, which to this day has remained tepid to Brahms, there came an invitation from the Societe des Concerts modernes over the signature of Benjamin Godard. When the work was published in 1884 (at an initial fee to the composer of $9,000), it was performed far and wide.

"Like the first two symphonies, the Third is introduced by a 'mot- to,' "* also writes Geiringer; "this at once provides the bass for the grandiose principal subject of the first movement, and dominates not only this movement, but the whole Symphony. It assumes a particularly important role in the first movement, before the beginning of the recapitulation. After the passionate development the waves of excite- ment calm down, and the horn announces the motto, in a mystic E-flat major, as a herald of heavenly peace. Passionless, clear, almost objective serenity speaks to us from the second movement. No Andante of such

* F-A-F. "The best known of his germ-motives" (Robert Haven Schauffler: "The Unknown Brahms"), "was a development of his friend Joachim's personal motto F-A-E. This stood for Frei aber einsam (Free but lonely), which young Johannes modified for his own use into F-A-F, Frei aber froh (Free but glad). The apparent illogicality of this latter motto used to puzzle me. Why free but glad ? Surely there should be no 'ifs' or 'buts' to the happiness conferred by freedom ! Later, however, when I learned of Brahms' peasant streak, the reason for the 'but' appeared. According to the Dithmarsh countryman's traditional code, a foot-free person without fixed duties or an official position should go bowed by the guilty feeling that he is no better than a vagabond. Brahms the musician was able to conquer this conventional sense of inferiority, but Brahms the man—never." RHODE ISLAND CHAMBER MUSIC CONCERTS 1965 • 1966 Wednesday, 13 October BRAHMS QUARTET (Piano and Strings) Tuesday, 16 November NETHERLANDS

Tuesday, 1 February BAROQUE CHAMBER PLAYERS (Harpsichord, Flute, Oboe, and Double Bass) Tuesday, 19 April KROLL STRING QUARTET

All concerts will be held at 8:30 p.m. in the Rhode Island School of Design Auditorium. These concerts are sponsored by the Music Department in Brown University.

Season Tickets : $9.00, $7.50, $6.00 ($4.00 Students) Single Admission: $2.50, $2.25, $1.75, $1.25 Apply BROWN UNIVERSITY, Box 1903 or AVERY PIANO CO. M emotional tranquillity is to be found in the works of the youthful Brahms. Particularly attractive is the first theme of the following Poco Allegretto, which (in spite of its great simplicity) is stamped with a highly individual character by its constant alternation of iambic and trochaic rhythms. Further, Brahms contrived to make the concise three- fold form of the work more effective by orchestrating the da capo of the first part in quite a different manner. Such a mixture of simplicity and refinement is charactertistic of Brahms in his later years. The Finale is a tremendous conflict of elemental forces; it is only in the Coda that calm returns. Like a rainbow after a thunderstorm, the motto, played by the flute, with its message of hope and freedom, spans the turmoil of the other voices."

Walter Niemann stresses the major-minor character of the symphony, pointing how the F major of the first movement and the dominant C major of the second is modified to C minor in the third, and F minor in long portions of the Finale. This is the procedure by which Brahms'

"positive vital energy is limited by strongly negative factors, by melan- choly and pessimism. ... It is these severe, inward limitations, which have their source in Brahms' peculiarly indeterminate 'Moll-Diif nature, that have determined the course of the 'psychological scheme'

[innere Handlung] of this symphony." Thus is Brahms the "first and only master of the 'Dur-MolV mode, the master of resignation." As elsewhere in Brahms' music, this symphony has called forth from commentators a motley of imaginative nights. Hans Richter, its first conductor, named it Brahms' "Eroica," a label which has clung to it ever since. Kalbeck traced its inspiration to a statue of Germania near Rudesheim. Joachim found Hero and Leander in the last movement, and W. F. Apthorp found Shakespeare's Iago in the first. Clara Schu- mann more understandably described it as a "Forest Idyl." In despera- tion, one falls back upon the simple statement of Florence May that it "belongs absolutely to the domain of pure music." [copyrighted]

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[»] :

CONCERTO IN D MAJOR FOR VIOLIN, Op. 77 By Johannes Brahms

Born in Hamburg, May 7, 1833; died in Vienna, April 3, 1897

Composed in the year 1878, Brahms' had its first performance by the Gewandhaus Orchestra in on January 1, 1879, Joachim playing the solo and Brahms conducting.

The orchestral part of the concerto is scored for 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, timpani and strings. The concerto has been performed at Boston Symphony concerts by Franz Kneisel

(December 7, 1889); (November 28, 1891); Franz Kneisel (April

15, 1893, February 13, 1897, December 29, 1900) ; Maud McCarthy (November 15, 1902, December 19, 1903); Fritz Kreisler (March 11, 1905);

(November 25, 1905) ; Carl Wendling (October 26, 1907); (November

26, 1910); Anton Witek (January 20, 1912) ; Carl Flesch (April 3, 1914) ; Anton Witek (November 24, 1916); Richard Burgin (December 17, 1920); Georges Enesco (Jan- uary 19, 1923) ; (January 15, 1926) ; Albert Spalding (December 2, 1927); (March 15, 1929); Nathan Milstein (March 13, 1931); Jascha Heifetz (December 17, .1937); Joseph Szigeti (March 17, 1944); Efrem Zimbalist (March 29, 1946); Jascha Heifetz (February 28, 1947); Ginette Neven (October 24,

1947); Isaac Stern (January 23-24, 1953); Joseph Szigeti (December 31 -January 1, 1954-5); David Abel (February 17-18, 1956). More recent performances were on January 10-11, 1958, when conducted and Leonid Kogan was the soloist.

Like Beethoven, Brahms tried his hand but once upon a violin con- j certo — like Beethoven, too, he was not content to toss off a facile display piece in the style of his day. The result was pregnant with sym- phonic interest, containing much of Brahms' best. Joachim, for whom the concerto was written, might protest and threaten, as violinists or pianists have before and since against obdurate composers. Brahms consulted his friend readily and at length, but mainly for such work-a- day practicalities as fingering and bowing. For years the concerto was avoided as unreasonably exacting by the rank of violinists seeking a convenient "vehicle" in which to promenade their talents. The work

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[91 has triumphantly emerged and taken its secure place in the repertory of concertos for its high musical values — and as such has become the ultimate test of breadth and artistic stamina in the violinist who dares

choose it. It was inevitable than Hans von Billow, who called Brahms' piano concertos "symphonies with piano obbligato," should have coined a corresponding epigram for this one. , said Bulow, wrote concertos for the violin, and Brahms a concerto against the violin. We hasten to add Huberman's improvement on Bulow in his dissertation

about the concerto form: "Brahms' concerto is neither against the vio-

lin, nor for the violin, with orchestra: but it is a concerto for violin against orchestra, — and the violin wins." The word, "concerto," say the etymologists, derives from the Latin "certare," to strive or wrestle. Brahms wrote his concerto for Josef Joachim (Joachim's copy of

the score is inscribed "To him for whom it was written") . It is to be taken for granted that Brahms, who had often consulted his old friend about such works as the First Piano Concerto and the First Symphony, should in this case have looked for the advice of the friend who was

to play it. Writing to Joachim early in the autumn of 1878, he hesi- tated about committing himself, yielding the manuscript for a per- formance in the coming winter. He even "offered his fingers" as an

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[10] H3 mil

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RHODE ISLAND PHILHARMONIC ORCHESTRA dH

39 THE ARCADE • PROVIDENCE, R. I.

TEmple 1-3123

The Twenty-first Season

FRANCIS MADEIRA, Music Director

EIGHT SATURDAY EVENING CONCERTS VETERANS MEMORIAL AUDITORIUM • 8:30 p.m.

OCTOBER 23 • NOVEMBER 20 • DECEMBER 18

FEBRUARY 5 • FEBRUARY 26 • MARCH 26

APRIL 23 • MAY 21

FIFTEEN CHILDREN'S CONCERTS

Held during the school day for 35,000 public, parochial and independent elementary school children from the entire State.

CHAMBER MUSIC CONCERTS

100 Quartet and Quintet programs, taken to the individual schools, played by two string quartets, one brass and one woodwind quintet.

HIGH SCHOOL CONCERTS

Nine concerts by 35 to 40 musicians played in high schools in various communities.

FAMILY CONCERTS

Presented in community schools in the Spring, providing full orchestral programs at low cost so that whole families may attend.

"POPS'' ORCHESTRA

Available for your enjoyment. Played at Brown University Bi- centennial last June. YOUTH ORCHESTRA

Under the leadership of its director, Joseph Conte, Concertmaster of the Philharmonic. Continues its program of musical instruction for the performance of orchestral music. Over 110 young Rhode Islanders perform in this group.

[»i alternative, for a concert in Vienna. The score, with a fair copy of the solo part, which he sent for Joachim's inspection, was in its ultimate form of three movements, proper to concertos. He had first worked upon the symphonic procedure of two middle movements, but gave up the scherzo, and considerably revised the adagio. "The middle movements have gone," he wrote, "and of course they were the bestl But I have written a feeble adagio." Kalbeck conjectures the derelict scherzo may have found its way into the Second Piano Concerto, where Brahms succumbed to the temptation of a symphonic four movement outlay. There was an interchange of correspondence about the solo part, of which Brahms sent Joachim a rough draft on August 22. Joachim complained of "unaccustomed difficulties." The composer seems to have held his own with considerable determination. An initial per- formance for Vienna was discussed, and given up. The problem was approached once more in mid-December, when Brahms sent Joachim a "beautifully written" copy of the solo part, presumably with correc-

tions. "Joachim is coming here," he then wrote from Vienna, "and I should have a chance to try the concerto through with him, and to decide for or against a public performance." The verdict is reported on December 21: "1 may say that Joachim is quite keen on playing

the concerto, so it may come off after all." It "came off" in Leipzig, at a Gewandhaus concert on New Year's Day, 1879. Joachim of course played, and Brahms conducted. The composer had protested a plan to have his C minor symphony played on the same program, "because the orchestra will be tired as it is, and 1 don't know how difficult the concerto will prove." Accordingly, Beethoven's Seventh ended the concert, which otherwise consisted of an overture, and some airs sung by Marcella Sembrich (then twenty- adding, for measure, Bach's Chaconne. The critic one) , Joachim good Dorffel, in a rapturous review, admits: "as to the reception, the first movement was too new to be distinctly appreciated by the audience, the second made considerable way, the last aroused great enthusiasm." Yet Kalbeck reports a lack of enthusiasm, which he attributes to the soloist: "It seemed that Joachim had not sufficiently studied the con- certo or he was severely indisposed." Apparently the violinist was not

wholly attuned to the piece at first, for after he and Brahms had played

it in Vienna, the latter wrote from that city: "Joachim played my piece more beautifully with every rehearsal, and the cadenza went so mag-

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[121 nificently at our concert here that the people clapped right on into my coda" (so much for concert behavior in Vienna, 1879) . In April of that year, having further played the work in Budapest, Cologne, and twice in , Joachim seems to have had a musical awakening. Writing to Brahms about further changes he said: "With these excep- tions the piece, especially the first movement, pleases me more and more. The last two times I played without notes."

• •

"This concerto for violin is now more than half a century old," wrote Lawrence Gilman in an analysis which is informative yet characteristically free from dry dissection. "It is still fresh, vivid, companionable — unaged and unaging. "The main theme of the first movement (Allegro non troppo, D major, 3-4) is announced at once by 'cellos, violas, bassoons, and horns. "This subject, and three contrasting song-like themes, together with an energetic dotted figure, marcato, furnish the thematic material of the first movement. The violin is introduced, after almost a hundred measures for the orchestra alone, in an extended section, chiefly of passage-work, as preamble to the exposition of the chief theme. The caressing and delicate weaving of the solo instrument about the melodic outlines of the song themes in the orchestra is unforgettable.

"This feature is even more pronounced in the second movement

(Adagio, F major, 2-4), where the solo violin, having made its compli- ments to the chief subject (the opening melody for oboe), announces a second theme, which it proceeds to embroider with captivating and tender beauty. Perhaps not since Chopin have the possibilities of deco- rative figuration developed so rich a yield of poetic loveliness as in this Concerto. Brahms is here ornamental without ornateness, florid

Boston Symphony Orchestra

ERICH LEINSDORF, Music Director Richard Burgin, Associate Conductor

The remaining Thursday evening concert' in Providence will be as follows:

March 31 ERICH LEINSDORF, Conductor

Tickets are on sale at the Avery Piano Company 256 Weybosset Street, Providence BALDWIN PIANO RCA VICTOR RECORDS

[13] without excess; these arabesques have the dignity and fervor of pure lyric speech.

"The Finale (Allegro giocoso, ma non troppo vivace, D major, 2-4)

is a virtuoso's paradise. The jocund chief theme, in thirds, is stated at

once by the solo violin. There is many a hazard for the soloist: ticklish

passage work, double-stopping, arpeggios. Also there is much spirited and fascinating music — music of rhythmical charm and gusto." [copyrighted]

THE SOLOIST Years after Paganini's death, the father Briere, is also a violinist, though no of Zino Francescatti studied violin with longer professionally active. Frances- Sivori, then the only surviving Paga- catti toured Europe extensively before nini pupil. The father, leaving he first came to the in and becoming a naturalized Frenchman, 1939. He appeared with this Orchestra played for years as cellist at the Mar- October 27, 1944, in Paganini's First seilles Opera, and in that city Zino was Concerto; on March 31, 1950, in Bach's born August 9, 1905. He learned to play Concerto in A minor and Saint-Saens' the violin from his father as a small Concerto No. 3 ; on April 23, 1954, in child and gave his first recital at the age Beethoven's Violin Concerto; on April of five. By these circumstances, Zino 13, 1956, in Prokofiev's Concerto No. 2 Francescatti can trace an unbroken in G minor and, with Samuel Mayes, in thread of tradition handed down from Brahms' Concerto for Violin and Violon- the Genoese phenomenon. cello; on November 1, 1957, in Tchai- Francescatti's mother was a violinist. kovsky's Concerto. His wife, nee Yolande Potel de la PROVIDENCE MUSIC TEACHERS DIRECTORY

OTTO van KOPPENHAGEN, Prof. Em. INSTRUCTOR OF CELLO

Ensemble Music—Solfeggio—Eartraining—Elementary Harmony

Studio: 48 COLLEGE STREET • Phone: JA 1-5742

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ROSAMOND WADSWORTH, Soprano M. M. Eastman School of Music

National Association of Teachers of Singing Tel. 246-0943

4 ELEANOR DRIVE • BARRINGTON, R. I.

[14 Boston Symphony Orchestra ERICH LEINSDORF, Music Director RICHARD BURGIN, Associate Conductor

First Cellos Bassoons Joseph Silverstein Jules Eskin Sherman Walt C oncertmaster Martin Hoherman Ernst Panenka Alfred Krips Mischa Nieland Matthew Ruggiero George Zazofsky Karl Zeise Rolland Tapley Richard Kapuscinski Contra Bassoon Ripley Roger Shermont Robert Richard Plaster Max Winder John Sant Ambrogio Luis Leguia Harry Dickson Horns Gottfried Wilflnger 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 Raymond Sird John Barwicki Andre Come Second Violins Leslie Martin Gerard Goguen Bela Wurtzler Clarence Knudson William Marshall Joseph Hearne Trombones Michel Sasson William Gibson Samuel Diamond Flutes William Moyer Leonard Moss Doriot Anthony Dwyer Kahila William Waterhouse Kauko James Pappoutsakis Josef Orosz Giora Bernstein Phillip Kaplan Ayrton Pinto Tuba Amnon Levy K. Vinal Smith Laszlo Nagy Piccolo Michael Vitale Lois Schaefer Timpani Victor Manusevitch Everett Firth Minot Beale Oboes Ronald Knudsen Ralph Gomberg Max Hobart Percussion John Holmes John Korman Charles Smith Hugh Matheny Harold Thompson Violas Arthur Press, Ass't Timpanist Burton Fine English Horn Thomas Gauger Reuben Green Laurence Thorstenberg Eugen Lehner Harps Albert Bernard Bernard Zighera Clarinets George Humphrey Olivia Luetcke Gino Cioffi Jerome Lipson Robert Karol Pasquale Cardillo Librarians Jean Cauhape Peter Hadcock Victor Alpert E\) Clarinet Vincent Mauricci William Shisler Earl Hedberg Bernard Kadinoff Bass Clarinet Stage Manager Joseph Pietropaolo Rosario Mazzeo Alfred Robison

Rosario Mazzeo, Personnel Manager

[15] Baldwin CHOICE OF BOSTON SYMPHONY ORCHESTRA AND ERICH LEINSDORF

MUSIC DIRECTOR MMMMNMaMMaaaMMN

Baldwin: on stage with the Boston Symphony ...at home where ever fine music is loved. (

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