THIRD WEEK July 14, 15, 16, 1967 7 ns Mozart "Jupiter" Symphony The Boston Symphony Eine Kleine Nachtmusik Boston Symphony Orchestra under Leinsdorf Erich Leinsdorf With tonal warmth and sparkling accuracy., the Boston phony, under Leinsdorf, perfectly captures the contra/: wizardry of Mozart's "Jupiter " Symphony and the vitai Eine Kleine Nachtmusik. Recorded in brilliant Dynag sound. The Boston Symphony's "live" recording of Mo Requiem in D Minor — a historic 2-L. P. Red Seal albui one that every American, and music lover, should own. A Solemn Pontifical Requiem Mass in memory of John Fitzgerald Kennedy celebrated by Richard Cardinal dishing Mozart's Requiem performed by the Boston Symphony Orchestra Erich Leinsdorf, Music Director Cathedral of the Holy Cross Boston. Massachusetts Sunday, January 19, 1864 RCA VICTOR most trusted name in sound &^H- @The II EIGHTY-SIXTH SEASON 1966-1967 BOSTON SYMPHONY ORCHESTRA ERICH LEINSDORF, Music Director Charles Wilson, Assistant Conductor Thirtieth Berkshire Festival - 1967 MUSIC SHED AT TANGLEWOOD Concert Bulletin of the THIRD WEEK Copyright, 1967, by Boston Symphony Orchestra, Inc. The Trustees of The BOSTON SYMPHONY ORCHESTRA, Inc. President Vice-President Treasurer Henry B. Cabot Talcott M. Banks John L. Thobndikb Philip K. Allen Fbancis W. Hatch Henry A. Laughlin Abeam Bebkowitz Andrew Heiskell Edwabd G. Mubbay Theodobe P. Febbis Habold D. Hodgkinson John T. Noonan ROBEBT H. GaBDINEB E. Mobton Jennings, Jb. Mrs. James H. Perkins Sidney R. Rabb Raymond S. Wilkins Trustees Emeritus Palebey Pebkins Lewis Pebby Edward A. Taet Tangleivood Advisory Committee Alan J. Blah George E. Mole Jesse L. Thomason Lawbence K. Miller Whitney S. Stoddard Robert K. Wheeler H. George Wilde Chairmen of the Boards of Selectmen (Ex Officio): Stockbridge, Arthur W. Maskell, Jr. Lenox, John Pignatelli Lee, Andre Jaouen Thomas D. Perry, Jr., Manager Norman S. Shibk James J. Bbosnahan Assistant Manager Business Administrator William Moyeb Harry J. Kraut Orchestra Personnel Manager Assistant to the Manager Sanfobd R. Sistabe Andrew Raebubn Press and Publicity Assistant to the Music Director James F. Kiley, Tangleivood Superintendent TANGLEWOOD LENOX, MASSACHUSETTS 7 DS PROGRAM NOTES At the conclusion of last year's season at Tanglewood, John N. Burk brought to To hi-fi people, a close 48 years of service as program annotator for the Orchestra's concerts. the word Dual doesn't mean His work is internationally known, and double or twofold. by many he was considered the dean of program annotators. He is also the author of distinguished books on Bee- thoven, Mozart and Clara Schumann. With his permission, much of his writ- ing is being used for this season's program notes. The editor of the pro- grams this summer will be Donald T. Gammons. ANTONIO JANIGRO It means perfection. It would be almost easier to list the countries where Antonio Janigro has not performed or conducted than those where he has. Born in Milan, he studied there and in Paris, and began his pro- fessional career at the age of sixteen. Since then he has been soloist with most of the world's finest orchestras, and has himself been guest conductor with many of them. In 1953 he founded in Yugo- slavia a chamber group of twelve play- ers, I Solisti di Zagreb, of which he has been conductor ever since. Mr. Janigro makes his first appearance at Tangle- wood this weekend, following a tour of Hi-fi experts, who fifty cities with I Solisti. choose Dual for their own stereo systems, agree that e. power biggs was born in England Dual automatic turntables and graduated from London's Royal play your records as they Academy of Music with distinction. His were meant to be played. career started in Britain, but he later Perfectly. With low-friction came to the United States, settled in tonearm bearings for flaw- Boston and became an American citizen. He is largely responsible for the revival less V^-gram tracking, to- of interest in music for the organ, and tally accurate anti-skating by his recitals, broadcasts, phonograph compensation for balanced records, lectures and technical articles he tracking on both groove has become known internationally. He walls, and with extra- was for many years the official organist gentle cueing for precise of the Boston Symphony Orchestra and has appeared as soloist with this Orches- placement of stylus on rec- tra and many others throughout the ord. world. The Dual 1015, $89.50. Principal flute of the Boston Symphony Other models from $69.50 Orchestra, doriot anthony dwyer is to $129.50. For full informa- the first woman to hold a first chair in tion, write United Audio the Orchestra. Born in Streator, Illinois, Products, Inc., Dept. CP, she studied with her mother, a profes- 535 Madison Avenue, New sional flutist, and then attended the Eastman School of Music. Her other York, N.Y. 10022. teachers were Joseph Mariano, Ernest Liegl, Georges Barrere and William (Continued on page 4) — 2 — II WEEKEND PRELUDE Friday Evening, July 14, at 7:00 E. POWER BIGGS, Organ BACH CONCERTO IN A MINOR, AFTER ANTONIO VIVALDI Allegro—Adagio—Allegro Bach, like all great men of genius, was a much indebted man. He was acquainted with his predecessors when he wrote for organ, and was alert to his contemporaries, such as Vivaldi in Italy or Couperin in France. Further- more, in his time a musical work of art was not considered unalterable; it could be subjected to new treatment and forms. Consequently Bach was able to take up the instrumental concerto already made familiar by Vivaldi (who seemed particularly stimulating to Bach), and rearrange it as an organ concerto. The concerto played tonight is only one of three organ concertos adapted from music of Vivaldi. TOCCATA IN F MAJOR The F major Toccata is probably from Bach's Cothen period, 1717-23. In writing for organ Bach was free from the difficulties which he may have encountered in writing for choral or instrumental groups who were probably not too skilled. He could indulge in free fantasy and utilize his prodigious technical skill as organist. When Mendelssohn played this work on one of his concert tours, he wrote to his family: "The modulation at the end makes it sound as though the church were collapsing. He was a terrifying Cantor." PASSACAGLIA AND FUGUE IN C MINOR Many people think of Bach as primarily a superb composer for the organ. This is undoubtedly true, but in point of fact only five of the volumes of the Bach Gesellschaft out of some fifty are devoted to organ music. Un- doubtedly much was written that has not survived. Perhaps the greatest of all Bach's compositions for organ is the Passacaglia and Fugue in C minor. Here Bach adopts a form which had been utilized by his predecessors, and builds a mighty structure almost unique even for him. He wrote no other Passacaglia, either because he felt this was the last word he could say in this form, or because he realized that to a certain extent the Passacaglia form as an art device was on the wane. It is not until we come to the last movement of Brahms' Fourth Symphony that we find again a master utilizing this variation form with complete mastery. 7 — 3 — ns Kincaid. She played in the National Symphony, the Los Angeles Philharmon- the ic and the Hollywood Bowl Orchestras At / before her appointment as principal flute of the Boston Symphony Orchestra in 1952. She has played in many chamber Berkshire Festival groups and was a founder member of the Boston Symphony Chamber Players. She was recently soloist with the Orches- tra in performances of Nielsen's Flute Concerto. Born in Virginia, Minnesota, sherman walt won a scholarship to the Curtis Institute, where he studied with Marcel Tabuteau and Ferdinand de Negro. Dur- ing the second World War he served with distinction in the U. S. Forces and was awarded the Bronze Star. He joined the Chicago Orchestra as principal bas- soon in 1947, and five years later was appointed to the first chair in the Boston Symphony Orchestra. An outstanding performer and teacher, he is a member of the Boston Symphony Chamber Play- ers and is on the faculty of the New England Conservatory and of the Berk- shire Music Center here at Tanglewood. The Gomberg family is well known for its musicians, and the principal oboe these Pianists . of the Boston Symphony Orchestra is one of its most distinguished members. The last of seven children, ralph gom- JOHN BROWNING berg was at fourteen the youngest pupil ever accepted by Marcel Tabuteau. After his studies at the Curtis Insti- VAN CLIBURN tute he joined Leopold Stokowski's All American Youth Orchestra as prin- EVELYNE CROCHET cipal oboe at the age of seventeen. Later he became principal of the Balti- MALCOLM FRAGER more, New York City Center and Mutual Broadcasting Orchestras. He joined the Boston Symphony Orchestra in 1949. He CLAUDE FRANK teaches at Boston University, the New England Conservatory and the Berkshire LILIAN KALLIR Music Center, and has recently returned from the Boston Symphony Chamber EDEN and TAMIR Players' tour of the Soviet Union, Britain and West Germany. lois schaefer joined the Boston Sym- phony Orchestra in 1965. She studied at play only the New England Conservatory with Georges Laurent, for many years Prin- cipal Flute of the Boston Symphony Orchestra. Before returning to Boston, the she was assistant first flute in the STEINWAY Chicago Symphony and first flute of the New York City Opera Company. She has played in the RCA Victor M. STEINERT & SONS Orchestra, the orchestras of major broad- casting companies in the United States, 162 BOYLSTON STREET • BOSTON and has been soloist with the Boston ALSO WORCESTER and SPRINGFIELD — 4^ Pops, Chicago and Springfield Symphon- ies.