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Boston Symphony Orchestra Concert Programs, Summer, 1963-1964

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Boston Symphony Orchestra Concert Programs, Summer, 1963-1964 TANGLEWOOD VAyf PT-TOM JL JL VX X II v/1 i Erich Leinsdorf Music Director i^pi FOURTH WEEK July 24, 25, 26, 1964 DLKLonlKL r LM 1 VAL Erich Leinsdorf and the Boston Symphony: • Mahler's Symphony No. 5 • u Excerpts from Wozzeck" MAHLER/ SYMPHONY No. 5 BERG/WOZZECK(Excerptt)/Phyllis Curtin, Soprano BOSTON SYMPHONY ORCHESTRA ERICH LEINSDORF Erich Leinsdorf and the Boston Symphony interpret the complexi- ties of Mahler's score with a rare depth of understanding. In this impressive new Dynagroove album, the emotions, tensions and tonal spectrum of the work come through with brilliant clarity. Soprano Phyllis Curtin is featured as Marie in highlights from Berg's stark, tragic opera, "Wozzeck" Handsomely packaged 2-record set in- cluding text piece by Neville Cardus. T% f^ k \f\r*4-f\r 1^. Available July 17th at the Tanglexvood Music Store 1Wjl\ V IdOl AS| ©The most trusted name in sound ^*L Boston Symphony Orchestra ERICH LEINSDORF, Music Director RICHARD BURGIN, Associate Conductor Berkshire Festival, Season 1964 TWENTY-SEVENTH SEASON MUSIC SHED AT TANGLEWOOD, LENOX, MASSACHUSETTS FOURTH WEEK Concert Bulletin, ivith historical and descriptive notes by John N. Burk Copyright, 1964 by Boston Symphony Orchestra, Inc. The Trustees of The BOSTON SYMPHONY ORCHESTRA, Inc. President Vice-President Treasurer Henry B. Cabot Talcott M. Banks Richard C. Paine Abram "Berkowitz C D. Jackson Sidney R. Rabb Theodore P. Ferris E. Morton Jennings, Jr. Charles H. Stockton Francis W. Hatch Henry A. Laughlin John L. Thorndike Haroed D. Hodgkinson John T. Noonan Raymond S. Wilkins Mrs. James H. Perkins Trustees Emeritus Palfrey Perkins Lewis Perry Edward A. Taft Oliver Wolcott Tanglewood Advisory Committee Alan J. Blah Heney W. Dwight George E. Mole Lenges Bull George W. Edman Whitney' S. Stoddard Robert T. Capeless Lawrence K. Miller Jesse L. Thomason Robert K. Wheeleb H. George Wilde Chairmen of the Boards of Selectmen (Ex Officio): Stockbridge, Robert Minkler Lenox, John Pignatelli Lee, William O'Brien Thomas D. Perry, Jr., Manager Norman S. Shirk Rosario Mazzeo James J. Brosnahan Assistant Manager Orchestra Personnel Manager Business Administrator Assistant Administrators Sarah M. Hempel Harry J. Kraut — 3 — EUGENE ORMANDY has conducted Berkshire Festival concerts in the sea- sons 1961, 1962, 1963 and in the present season on July 19. The Music Director and Conductor of these are the Philadelphia Orchestra for twenty- six years, he has meanwhile conducted the Boston Symphony Orchestra as guest Garrard's in Boston as well as Tanglewood. Eugene Ormandy was born in Buda- pest in 1899. He was a violin prodigy, at studied with his father and with Hubay, and received his diploma from the Royal Academy of Music in his native city in UIIIIGviii 1914. After an early career as violinist in Europe he came to the United States in 1921, where he had various engage- ments as conductor. In 1931 he was ap- pointed conductor of the Minneapolis Orchestra, in 1936 Associate Conductor of the Philadelphia Orchestra with Leo- pold Stokowski. As the permanent conductor of that orchestra since 1938, his leadership has been inextricably associated with its fame at home and abroad. WILLIAM STEINBERG was born in Cologne, Germany, August 1, 1899, he showed an interest and talent for music as a boy, studying violin, piano, and also composing. In 1924 he became the con- ductor of the Cologne Opera, and later held similar posts in Prague and in Frankfurt. In 1933 the Nazi government deprived him of his position. In 1936 he became the founder-con- ductor of the Palestine Symphony Or- chestra, now the Israel Philharmonic Orchestra. In 1938, he was invited by Toscanini to become Associate Conduc- tor and in the next year regular Conduc- tor of the NBC Orchestra in New York. He also conducted numerous orchestras in America as guest. He was appointed Music Director of the Buffalo Philhar- monic in 1945 and in 1952 took his present position as the Conductor in Pittsburgh. He conducted the Berkshire Festival concert on August 4, 1962. VAN CLIBURN was born in Shreve- port, Louisiana in 1934, and grew up in Texas. With his mother as teacher, he became a child prodigy. He went to New York in 1961 to study with Rosina Lhevinne at the Juilliard School. As a concert pianist he won several awards, including that of the Edgar M. Leven- tritt Foundation. It was in 1957 that he took the first prize at the Tchaikovsky International Piano Competition in Moscow. BOSTON SYMPHONY ORCHESTRA Friday Evening, July 24, at 8:00 EUGENE ORMANDY, Conductor STRAUSS "Don Juan," Tone Poem (after Nikolaus Lenau), Op. 20 SIBELIUS Symphony No. 5 in E-flat major, Op. 82 I. Tempo molto moderato II. Allegro moderato, ma poco a poco stretto III. Andante mosso, quasi allegretto IV. Allegro molto Intermission DEBUSSY "Iberia" ("Images" for Orchestra, No. 2) I. Par les rues et par les chemins (In the streets and byways) II. Les parfums de la nuit (The fragrance of the night) III. Le matin d'un jour de fete (The morning of a festival day) RAVEL *"Daphnis et Chloe," Ballet, Suite No. 2 Lever du jour—Pantomime—Danse generate BALDWIN PIANO ''RCA VICTOR RECORDS — 5 NEVER LESS e <««4329KH*> LZJ Paul Hinbemfth Mathfe ber Molet THAN PERFECT Symphonic Mttomorphoeee of Thtmee by Cad Mono oon Webtt The Philadelphia Orcheetra/EugeneOrmanby The Philadelphia Orchestra has been described as sounding like "one great violin in the sky," a tribute to the rapport between Eugene Or- mandy and his 105 virtuosos. Their brilliance in handling an impressive variety of complex and demanding scores is nowhere more ap- parent than in their many Columbia record- ings. Whoever the composer, whatever the work, Ormandy and The Philadelphia are never ML 5962/ MS 6562* less than perfect. EUGENE ORMANDY AND THE PHILADELPHIA ORCHESTRA ON COLUMBIA RECORDS \f(< ML 5724/ MS 6324* ML 5397/ MS 6077* SIBELIUS SYMPHONY NO. 4 IN A MINOR. OP. 63 SYMPHONY NO. 5 IN E-FLAT MAJOR, OP. 82 THE PHILADELPHIA ORCHESTRA EUGENE ORMANDY CONDUCTOR ISSUED IN COMMEMORATION Of THE COMPOSER'S BOTH BIWTXDAV ML 5045 -Stereo I Program Notes I ———I— Friday Evening, July 24 "DON JUAN," Tone Poem (after Nikolaus Lenau), Op. 20 By Richard Strauss Born in Munich, June 11, 1864; died in Garmisch, September 8, 1949 Don Juan was published in 1890, and dedicated "to my dear friend Ludwig Thuille." The first performance of "Don Juan" took place at Weimar under the com- poser's direction, November 11, 1889. Arthur Nikisch led the first American perform- ance at a Boston Symphony concert, October 31, 1891. The Grand Ducal Court Orchestra at Weimar acquired in the autumn of 1889 an "assistant Kapellmeister" whose proven abilities belied his years. Richard Strauss was then only twenty-five, but he had taken full charge of the Meiningen Orchestra for a season (1885-86), and then had taken sub- ordinate control at the Munich Opera. As a composer he had long made his TIRED OF THE CITY GRIND? LOCATE IN THE BERKSHIRES WHERE YOU CAN MIX BUSINESS WITH PLEASURE-PROFITABLY Wouldn't it be nice to be at your office 1 minutes after leaving your home? No subway hordes to buck. And year-round outdoor fun only minutes away. Anyway you look at it, you'll live better, feel better by locating your busi- ness here in the Berkshires permanently. We have skilled labor, industrial plant sites and shell buildings, educational facilities, accessibility to major markets and financiers eager to help solve your problem. Why not get full details now at the address below? Your inquiry will be handled confidentially and promptly. T2erkshire 44ills Conference INCORPORATED 100 NORTH STREET. PITTSFIELD. MASS. PHONE HI 3-9186. AREA CODE 413 — — mark, and from orthodox beginnings had in the last three years shown a dis- turbing tendency to break loose from decorous symphonic ways with a "Sym- phony" Aus Italien, and a "Tone Poem" Macbeth. He had ready for his Weimar audience at the second concert of the season a new tone poem, Don Juan, which in the year 1889 was a radical declaration indeed. If many in the auditorium were dazed at this headlong music, there was no resisting its brilliant mastery of a new style and its elaborate orchestration. There were five recalls and demands for a repetition. Hans von Biilow, beholding his protege flaunting the colors of the anti-Brahms camp, was too honest to with- hold his enthusiasm. He wrote to his wife: "Strauss is enormously popular here. His Don ]uan, two days ago, had a most unheard-of success." And producing it at Berlin a year later, he wrote to its creator, "Your most gran- diose Don Juan has taken me captive." Only the aging Dr. Hanslick remained unshaken by the new challenger of his sworn standards. He found in it "a tumult of dazzling color daubs," whose composer "had a great talent for false music, for the musically ugly." IHIc The Don Juan of Lenau, whom Strauss evidently chose in preference to the ruthless sensualist of Byron or Da Ponte, was a more engaging figure of romance, the philosopher in quest of ideal womanhood, who in final disillu- sion drops his sword in a duel and throws his life away. Lenau said (accord- At the ONLY the Berkshire Festival this Season STEINWAY M. STEINERT & SONS 162 boylston st. boston • Worcester, Springfield 8 — ing to his biographer, L. A. Frankl) : "Goethe's great poem has not hurt me in the matter of Faust and Byron's Don ]uan will here do me no harm. Each poet, as every human being, is an individual 'ego.' My Don Juan is no hot- blooded man eternally pursuing women.
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