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Boston Symphony Orchestra Concert Programs, Season 89, 1969-1970

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Boston Symphony Orchestra Concert Programs, Season 89, 1969-1970 Carnegie Ha %mfwE&5£'3t'lHr* . <S) •COLUMBIA.' WmARCASREG PRINTED IN U S .A. Columbia Records announces a distinguished recording event. Columbia celebrates the Beethoven Bicentennial with a special salute to the great master from Leonard Bernstein and the New York Philharmonic. "Leonard Bernstein brings to his readings of Beethoven an overwhelming dramatic dynamism and surge of human feeling. One is swept into the world of Beethoven's own creative furies." —Stereo Review On Columbia Records Outside the United States and Canada, Columbia Records bear the CBS Records label THE CARNEGIE HALL CORPORATION Isaac Stern, President Frederick W. Richmond, Chairman of the Board Robert W. Dowling, Chairman, Executive Committee John Barry Ryan III, Executive Vice President Hon. Eugene M. Becker, Harry Van Arsdale, Gerald F. Warburg, Vice Presidents Lucien Wulsin, Treasurer Raymond S. R ubi now, Secre tary Nordlinger, Riegelman, Benetar and Charney, Counsel Board of Trustees Leonard Altman Hon. MacNeil Mitchell Hon. George W. Ball Mrs. George W. Naumburg Hon. Eugene M. Becker Frederick W. Richmond T. Roland Berner Col. Harold Riegelman Julius Bloom Raymond S. Rubinow James S. Deely John Barry Ryan III Jack deSimone Hon. Constantine Sidamon-Eristoff Robert W. Dowliny Aye Simon Hon. Abe Fortas Isaac Stern Hon. Roy M. Goodman Harry Van Arsdale Mrs. Dorothy Hirshon Gerald F. Warburg Mrs. Jacob M. Kaplan Mrs. Philip Wise Hon. John V. Lindsay Lucien Wulsin Joseph B. Martinson Honorary Trustees Marian Anderson Mrs. Albert D. Lasker Robert S. Benjamin Norman K. Winston Dr. Ralph J. Bunche David L. Yunich Mrs. Marshall Field Julius Bloom, Executive Director Ronald J. Geraghty, Controller Stewart J. Warkow, House Manager Roger Villeneuve, Associate House Manager Mrs. loana Satescu, Booking Manager Mrs. Jane B. Sebastian, Public Relations Nathan Posnick, Box Office Treasurer 9 Ybu don't just rent a car. \bu rent a company. Renting you a good, clean Ford is just where we begin, RT/ 'J, t".". Tf M 1 j)HL , IN'", Ob DropAnchorTonight CHINA PAVILION at the Mermaid Room COMPLETE ROAST BEEE DINNER $575 Enjoy wonderful cuisine, plus dancing every night (except Sunday). Deli- cious a la carte dishes plus popular roast beef dinner, which includes soup, hearty slice of beef, huge baked 200 West 57th Street (7th Ave.) potato, salad, dessert and coffee. Only $5.75. No minimum. No £r-^& -ERBERTO cover. Reservations: CI 7-8000 J 1^^ 5 ?. LANDI ANNAMOFFO Saturday, Feb. 14. Park-SheratonHotel Carnegie Hall 7TH AVENUE AT 56TH STREtT SHERATON HOTELS AND MOTOR INNS A WORLDWIDE SERVICE OF ITT PRES ENTS . Wrm ! THE PUBLIC AND NEW MUSIC by ERNST ROTH Now approaching his mid-seventies. Dr. public-or at least no public which could Ernst Roth has had a distinguished career as a keep both that music and its composers musician, friend musicians and music pub- of alive. There is a fundamental difference lisher. Formerly publications head at Universal between the new visual arts and new Edition, he joined Boosey & Hawkes in London music. Economically and artistically it is in 1938 and is now its Chairman. His recent sufficient for a new painting or sculpture book. The Business of Music, is a heady distilla- if a single enthusiast eccentric tion, of his experiences and reflections in the or million- course of music of our time. An exerpt from aire or even speculator is found to pay his book is printed below. a high price for a few blobs on a canvas As a rule the public feels instinctively or an unidentifiable lump of stone. But the topical nature of any art, and loves music needs tens or hundreds of thou- it. The artist formulates what is vaguely sands to understand and appreciate and in people's minds and they are grateful pay for it. As a publisher I cannot be for being offered this expression of what misled by the fact that now and then a they cannot express themselves. Where hall is filled with curious people and then is the public of new music? In perfunctory applause. Sales and perform- those highly intellectual circles where it ance figures speak a language which can- is bred and appreciated it is said that not be silenced by even the most vo- in this age of mass civilization true art ciferous propaganda. must be reserved for an elite, and that This is very strange. I must insist the thinking man or woman must choose again and again that this new music is between Boulez and Menotti (though I what it must be, the legitimate child and suspect they meant Britten), between the the true expression of our time. There- all-too-difficult and the all-too-easy, the fore there ought to be a deep under- forward-looking or the left-behind, the standing between composers and public avant-garde or the straggler. Such radical- and the urge which compels the com- ism is no less dangerous in artistic matters poser to compose should encourage the than in politics. When Mozart-was writing listener to listen. This is what has hap- Die Entfiihrung, his father reminded him, pened to music from its earliest days. 'I advise you to think not only of the mu- More decidedly and more violently than sical but also of the unmusical public— with any other art the public turned you know there are a hundred ignorant away from old music to new. This is people for every ten true connoisseurs, why music has not accumulated and why therefore do not forget the popular.' And 'old' music has been lost. Past music his son replied, 'You need not worry was never felt to be an adequate ex- about the so-called popular, for in my pression of the present; it was not worth opera there is music for people of every preserving for the future, it was discarded type.' and forgotten. There was never any per- In mass civilization (or should we say manent value or wisdom in any musical mass education?) too, ignorant people work, however celebrated in its time, are divided from connoisseurs. The pro- that was found to be acceptable to a portion of ten to one may not have new generation. changed since Mozart, but both classes One has to realize the magnitude of have greatly increased in numbers and the change which has taken place in the the more numerous connoisseurs have a last half-century and to see it in its claim to new music, just as new music context of the importance that music has a claim to them. generally has acquired in our time. A These claims are unsatisfied today. hundred and fifty years ago an opera It must be said quite brutally that the season at Shrovetide without one or more new serial, electronic, improvised, deter- new operas was unthinkable. Haydn had minate or indeterminate music has no to write innumerable new symphonies, continued on page 12 Our greatest yet! London leads the way again— another ' almost unbelievable step forward in the history of recording. Another operatic triumph slated for world-wide acclaim. Der Rosenkavalicr Regine Crespin, Yvonne Minton, Helen Donath, Manfred Jungwirth, Luciano Pavarotti, Otto Wiener, Emmy Loose, ®; Alfred Jerger, Anton Dermota and many other superb artists. mam.. Georg Solti and The Vienna Philharmonic Orchestra The Royal Family of Opera THE MANNES COLLEGE OF MUSIC Bachelor of Science Degree • Bachelor of Music Degree Diploma • Post-Graduate Diploma Extension and Preparatory Divisions Cpcio Workshop catalog upon request 157 East 74th Street, New York, N.Y. 10021 (212) 737-0700 For over 17 years on THE RECORD HUNTER DAVID Major Piano Faculty of SAPERTON The Curtis Institute of (new on) 57th STREET Music. Assistant to Di- Mus. D. rector, Josef Hofmann, 140 WEST-A FEW DOORS AWAY Member of famed Busoni Taught: "Circle" in Berlin. Son- JORGE BOLET in-law of the late Leo- you are specially SIDNEY FOSTER pold Godowsky, many of SEYMOUR LIPKIN whose compositions and invited with this ad ABBEY SIMON paraphrases he recorded. SHURA CHERKASSKY Recordings: Victor Red JULIUS KATCHEN Seal, Command Pefrom- WILLIAM MASSELOS ance Records, Inc. and l "st and famous others Kapp. Steinway Piano. 2d a 344 West 72nd St., New York, N. Y. 10023 Tel. SU 7-1745 open io a.m. 'TIL MIDNIGHT THE NEW RECORDS BEVERLY SILLS: Scenes and Arias from in this recording, yet always within the disci- French Opera. The Royal Philharmonic Or- pline of the song's musical and dramatic struc- chestra and Amhrosian Opera Chorus, Charles ture. The results are eminently satisfying. In Mackerras conducting. Chorus master: John the Goethe group, Ludwig sings the Mignon McCarthy. Westminster WST-17163. lieder and Berry those from 'Wilhelm Meister.' The two alternate in Schumann's 'Liederkreis.' The amazing Beverly Sills displays the luster of her voice in repertoire ideally suited both A TEBALDI FESTIVAL. Record I: Arias from to her temperament and to her technique. 'Tannhauser,' 'Lohengrin' and 'Tristan and I- Not that her previous Westminster recording of solde,' sung in Italian (side I): Arias from Bellini and Donizetti roles impressed us any 'Carmen,' 'Samson et Dalila' and 'Manon,' the less, for her vocal art is too compelling sung in Italian (side 2). The New Philharmonia to merit only the standard expressions of Orchestra, conducted by Anton Guadagno. praise. But in the great show pieces of nine- Record II: Arias from 'Aida' and 'La Boheme,' teenth-century French opera, the actress must Rossini's 'La Regata Veneziana' (side 1); songs emerge through the singer, or else the music in Spanish, Italian and English (side 2). The might well miss its emotional target. Miss Sills New Philharmonia Orchestra, conducted by ranges through a spectrum of passions in scenes Richard Bonynge.
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