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Boston Symphony Orchestra Concert Programs, Season

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Boston Symphony Orchestra Concert Programs, Season BOSTON SYMPHONY ORCHESTRA EIGHTY-SECOND SEASON 1962-1963 STRADIVARI created for all time a perfect marriage of precision and beauty for both the eye and the ear. He had the unique genius to combine a thorough knowledge of the acoustical values of wood with a fine artist's sense of the good and the beautiful. Unexcelled t anything before or after, his violins have such purity of tone, they are said to speak with the voice of a lovely soul within. In business, as in the arts, experience am ability are invaluable. We suggest you take advantage of our extensive insurance background by letting us review your needs either business or personal and counsel you to an intelligent program. We respectfully invite your inquiry. CHARLES H. WATKINS & CO. Richard P. Nyquist — Charles G. Carleton — Robert G. Jennings 147 MILK STREET BOSTON 9, MASSACHUSETTS No LIBERTY 2-1250 Associated With OBRION, RUSSELL & CO. Insurance of Every Description EIGHTY-SECOND SEASON, 1962-1963 Boston Symphony Orchestra ERICH LEINSDORF, Music Director Richard Burgin, Associate Conductor CONCERT BULLETIN with historical and descriptive notes by John N. Burk Copyright, 1963, by Boston Sjnnphony Orchestra, Inc. The trustees of the BOSTON SYMPHONY ORCHESTRA, Inc. Henry B. Cabot President Talcott M. Banks Vice-President Richard C. Paine Treasurer Abram Berkowitz Henry A. Laughlin Theodore P. Ferris John T. Noonan Francis W. Hatch Mrs. James H. Perkins Harold D. Hodgkinson Sidney R. Rabb C. D. Jackson Charles H. Stockton E. Morton Jennings, Jr. John L. Thorndike Raymond S. Wilkins TRUSTEES EMERITUS Palfrey Perkins Lewis Perry Edward A. Taft Oliver Wolcott Thomas D. Perry, Jr., Manager Norman S. Shirk Rosario Mazzeo James J. Brosnahan Assistant Manager Personnel Manager Business Administrator SYMPHONY HALL BOSTON [1283] £rich J^insdorf conducts The "Boston (Symphony ''The Aristocrat of Orchestras^^ Under Mr. Leinsdorf's direction, this season the Processed in Dynagroove — the magnificent new Boston Symphony has been heard in many brilliant sound developed by RCA Victor, it is like having performances. The Mahler First Symphony the best seats in Symphony Hall! Hear also the brought cheers when played in concert. You will be delightful Bartok Concerto for Orchestra. Both pleasantly surprised by the RCA Victor recording. in Living Stereo, Monaural Hi-Fi and on Tape. BYWflEMflWE N£W SOUND Mahler/Symphony No. 1 Boston Symphony Orch. Erich Leinsdorf '^^ ".^ru/tvm/f/Ofdtj/M^ RCA VICTOR, (©ITHE MOST TRUSTED NAME IN SOUND ' 1284 I CONTENTS Program (for this week) . • 1289 Program (March 29-30) . • 1339 <Rtc?coit$$eatt3tioiise ofSojlon Program (April 5-6) . • 1341 Notes Liszt ("Orpheus," Symphonic Poem No. 4) . • 1291 Schuman (Symphony No. 3) • 1298 Entr'actes The Question of Repertory . 1306 The Dream Repertory (Irving Kolodin) . • 1314 Notes Schubert (Symphony in C major (Posthumous) ) • 1321 EXHIBITION The exhibition now on view in the Gallery is by the Boston Society of Watercolor Painters. INSIDE SYMPHONY HALL The last of four telecasts showing "behind the scenes" in Symphony Hall will be given on Tuesday evening, March 19, at 8:30 on WGBH-TV, Channel 2. • « SYMPHONY WEEK The week of March 24 through March 31 is to be called "Symphony Week." It will include a series of eighteen parties in the Greater Boston area on March 31. The Council of Friends has issued in- vitations to the Friends of the Boston Symphony Orchestra. LEINSDORF AND THE M^prlna rvo BERKSHIRE MUSIC CENTER Erich Leinsdorf has entered with zeal Pink, Blue or Yellow Roses printed into the preparations for the Orchestra's School at Tanglewood, of which he will on cotton sateen. Our Hostess be the Director next summer. He has Coat In sizes 8-18. $17.95 written the following introduction to 416 BOYLSTON STREET 54 CENTRAL STREET the catalogue just published: BOSTON 16 WELLESLEY "For the advanced study of music, the KEnmore 6-6238 CEdar 5-3430 Berkshire Music Center is beacon, fo- rum, source, and arena. [1285] "The beacon provides guidance for the performance, techniques, editions, and many younger and newer orchestras, materials. Those who show up best in their conductors, and their professional the concert arena at the Berkshire Festi- players. The forum presents varieties val and Berkshire Music Center will find of new and rare music without prejudice, their way upward in the musical world yet weeding out critically what is merely less hindered by hurdles. fashionable. The source commends in- "My first concern is to give as much formation to young musicians and the as possible to young musicians in their young musicians to the world of music. quest for growth and recognition. I will The arena accepts the young people who guide the Berkshire Music Center at enroll and places them in competition Tanglewood toward the constantly mov- with their peers. ing goal of making the most vital con- "Only the best of the younger genera- tribution it can to the musical world of tion of musicians will be enrolled in the the present. Berkshire Music Center, and the beacon "As the educational arm of a perform- of the Boston Symphony Orchestra will ing organization, we offer instruction and guide them toward new high standards information which supplements that of of performance in their own orchestras. the professional schools and conserva- The forum of Tanglewood will allow tories. I invite young musicians of suf- music conceived in all the present sys- ficient advancement to join us at the tems and schools of composition to be Berkshire Music Center and spend a heard. Our Faculty will be a source of summer living and working in music." information on the latest findings about fY»«Y> -.? o9o o 5/iUi>n(^ ieuhicms i% (jjaii come see how hurwitch reflects its lighthearted mood in our souffle tweeds . textured silks ^" I menswear worstedsworsi . superb colIlection of llY^/i)r*Pl) '" ^^^ V I w I U vib suits, coats, an<id qowns TWENTY NEWBURY BOSTON for spring 1963 [1286] -rkyy. lines to a lovely lady all subtle curves; the scoop of neckline, slope of shoulder, the soft arch of bodice, the diagonal flare of skirt. Easy relaxed, yet very elegant in Seascape blue silk twill. Sizes 8 to 12. French Shops, seventh floor, Boston. ^145. 1287 If you're like most people, one of the last things you'd want to do is to stand up in front of an audience, tuck a violin under your chin and play Brahms' Violin Concerto. Aside from any understandable reticence you may have, you're simply not equipped to be a soloist. And you'd be the first to admit it! Yet, for some strange reason, many people with no training in finance and with no experience in dealing with the ups and downs of the stock market, feel no qualms about managing their own investments. They buy and sell on tips from friends, from barbers, from taxi drivers. Fancy! Investing is like giving a recital — it's best when done by professionals. And that's what we're here for, we at Old Colony Trust Company. We offer many kinds of investment services, all sound, all expertly handled — all for a very modest fee. To find out which one suits your needs best, why not send for our booklet, * 'Managing Your Money." It's yours for the asking. 4 Old Colony Trust Company [1288] EIGHTY-SECOND SEASON • NINETEEN HUNDRED SIXTY-TWO -SIXTY-THREE Twenty-first Program FRIDAY AFTERNOON, March 15, at 2:15 o'clock SATURDAY EVENING, March 16, at 8:30 o'clock Liszt Symphonic Poem No. 4, "Orpheus" William Schuman Symphony No. 3 I. a. Passacaglia b. Fugue II. a. Chorale b. Toccata INTERMISSION Schubert Symphony in C major (Posthumous) I. Andante; Allegro ma non troppo II. Andante con moto III, Scherzo IV. Finale These concerts will end about 4:15 o'clock on Friday Afternoon; 10:30 o'clock on Saturday Evening. BALDWIN PIANO RCA VICTOR RECORDS [1289] LONGWOOD SHOP for young misses 3 O >* fc.3 O E o ft. o 3 c 'ftl O oft. o o Q. E o O o N o I. fi^i Boston Chestnut Hill ^ [1290] "ORPHEUS," SYMPHONIC POEM NO. 4 By Franz Liszt Born in Raiding, near Odenburg, Hungary, October 22, 1811; died in Bayreuth, July 31, 1886 Composed in 1854 and published in 1856, Orpheus was first performed at Weimar, February 16, 1854. The first performance in Boston was at a Theodore Thomas con- cert on November 14, 1874. The first performance by the Boston Symphony Orches- tra was on January 17, 1885. There were repetitions in 1894, 1906, and in 1921 (March 11-12) when Pierre Monteux was the Orchestra's conductor. The score calls for 2 flutes and piccolo, 2 oboes and English horn, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 3 trombones and tuba, timpani, 2 harps and strings. LISZT was rehearsing Gluck's Orjeo at the Weimar Theatre when he was moved to write a symphonic poem as a prelude to the opera. This music was duly performed, and likewise a postlude to the opera. A preface in French by Liszt is printed in the score: "I once had to conduct the Orpheus of Gluck. During the rehearsal it was almost impossible to keep my imagination from dwelling upon the subject, moving and sublime, which this great master had treated; I saw again, in my mind's eye, an Etruscan vase in the Louvre, repre- senting the first poet-musician, draped in a starry robe, his brow encircled by a mystically royal fillet, his lips parted and breathing forth divine words and songs, and his fine, long, tapered fingers energetically at' Cj(/ujj(jicut ucimxu^ CAoMjcA u€n(/ccj^ Sunday Services 10 :45 a.m.
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