fi ;n1qs CI_Opp 2 (1:)E■s r ull

PPpizz. utwo Ali

PPpizz. [about 60 = oh of Symphony Orchestra Seiji Ozawa, Music Director

Colin Davis, Principal Guest Conductor Joseph Silverstein, Assistant Conductor

Thursday, February 5, 1976 at 8:30 p.m. Friday, February 6, 1976 at 2:00 p.m. Saturday, February 7, 1976 at 8:30 p.m.

Symphony Hall, Boston Ninety-fifth Season

Baldwin Piano Deutsche Grammophon Records Philips Records Program Program Notes

Seiji Ozawa conducting George Crumb (1929– ) 'Echoes of Time and the River' Crumb: 'Echoes of Time and the River' Four Processionals for Orchestra Four Processionals for Orchestra This work was commissioned in 1967 by the University of • I. Frozen Time Chicago for the celebration of its 75th anniversary and was II. Remembrance of Time premiered by the Chicago Symphony Orchestra in May of III. Collapse of Time that year. In 1968 the work was awarded the Pulitzer Prize IV. Last Echoes of Time for Music. This is the first performance by the Boston Sym- phony, although the work was performed by the Berkshire Bernstein: Serenade (after Plato's Symposium) for Music Center Orchestra during the 1970 Tanglewood season. Violin and String Orchestra with Percussion 'Echoes of Time and the River' is scored for 3 piccolos, 3 flutes, 3 clarinets, 3 trumpets, 3 horns, 3 trombones, harp, Lento-allegro mandolin, 2 pianos, strings, and 6 percussionists who play Allegretto a large variety of instruments. Pairs of antique cymbals are Presto played by all the percussionists as well as by a number of Adagio the wind players. Molto tenuto— allegro molto vivace George Crumb was born in West Virginia and like Charles Ives whose work is heard later on this same pro- Joseph Silverstein, violin gram, was the son of a bandmaster who was his first teacher. He later studied with composers Ross Lee Finney and Boris Blacher and was a student at the universities of Intermission Illinois and Michigan, the Berkshire Music Center at Tan- glewood, and the Hochschule fur Musik in Berlin. He is Ives: Symphony No. 4 presently on the music faculty of the University of Pennsylvania. I. Prelude: Maestoso 'Echoes of Time and the River' combines musical and II. Allegretto theatrical elements into a kind of ritualistic drama. In III. Fugue: Andante moderato speaking of the work the composer has explained that the IV. Very slowly—Largo maestoso title has no connection with Thomas Wolfe and that it is not programmatic. The main title and the titles of each of the Tanglewood Festival Chorus four movements are metaphors chosen more for poetic val- ues than for specific meanings. The composer writes: 'The John Oliver conductor unifying theme is "time." I wanted to express in musical terms the various qualities of metaphysical and psychologi- Ives Symphony No. 4 copyright 1965; reprinted by arrangement of Associated Music Publishers cal time. 'The "river of time" is an ancient metaphor which inter- Antique cymbals in 'Echoes of Time and the River' courtesy of the Avedis Zildjian prets time as a continuum without beginning or end. I have Company further implied the concept of continuum by structuring a number of "processionals" into my score. These proces- The Friday program will end about 3:55 p.m.; the Thursday and sionals, conceived as both visual and sonic events, are exe- Saturday programs about 10:25 p.m. cuted by small bands of percussionists and wind players who must perform while marching. Next Program 'Three motto phrases, intimately connected with the (The Orchestra is on tour in New York on February 11/12/13) sense of the music, are whispered (or shouted) by players February 20, 1976 at 2:00 p.m. of the orchestra: "Mon tani semper liberi" — mountaineers are February 21, 1976 at 8:30 p.m. always free (the state motto of West Virginia); "Los areas

rotos donde sufre el tiempo" — the broken arches where time Brahms: Symphony No. 1 in C minor Dvorak: Cello Concerto in B minor suffers (from a poem by Federico Garcia Lorca); and Mstislav Rostropovich, cello "Krektu - dai" [a purely phonetic invention which has an ominous, apocalyptic meaning for the composer]. The Friday concert will end at approximately 3:50 p.m. 'An element of nostalgia is suggested by the (distorted) The Saturday concert at approximately 10:20 p.m. quotation of the spiritual "Were You There When They Crucified My Lord?" at the conclusion of the second move- Call C-O-N-C-E-R-T for up-to-date program information ment. The "Collapse of Time" is portrayed by progression from metrically notated music to aleatoric notation. The concluding gesture of the work is an oscillating figure of perfect fourths intoned by a choir of forty whistlers from the orchestra. Mary Ann Feldman in her notes for performances of 'Echoes of Time and the River' by the Minnesota Orchestra in September 1975 gives the following analysis of the work: 'Crumb's forms are simple, his procedures non- praise of love. The "relatedness" of the movements does academic; traditional counterpoint has no place in the evo- not depend on common thematic material, but rather on a lution of his sonic metaphors. While hallmarks of his style system whereby each movement evolves out of elements in may suggest other composers—the nocturnal atmospheres the preceding one, a form I initiated in my second sym- of Bartok or perhaps the fragile textures of Webern, the phony, The age of anxiety. sum total of his music is fresh, unique, stirring. 1. Phaedrus: Pausanias(Lento-allegro). Phaedrus opens I. The glinting ring of percussion eerily tools through the the symposium with a lyrical oration in praise of Eros, the unworldly atmosphere of Frozen Time. Overlapping pat- god of love. (Fugato, begun by the solo violin.) Pausanias terns of seven beats dissolve the bondage of traditional continues by describing the duality of the lover as com- meter. Three percussionists march solemnly across the pared with the beloved. This is expressed in a classical stage chanting in staccato whispers, "Montani semper sonata-allegro, based on the material of the opening fugato. liberi?" Suddenly the music swells to quadruple forte, 2. Aristophanes (Allegretto). Aristophanes does not play marked by shrieking glissandi gliding across the strings. the role of clown in this dialogue, but instead that of the Standing to play, the mandolinist exits while echoing the bedtime-storyteller, invoking the fairy-tale mythology of motto of the state of West Virginia. love. The atmosphere is one of quiet charm. II. A gossamer texture of piano, harp, and percussion 3. Erixymathus (Presto). The physician speaks of bodily creates the haunting mood of Remembrance of Time. As if harmony as a scientific model for the workings of love- from afar, trumpets and horn blow through their instru- patterns. This is an extremely short fugato scherzo, born of ments to evoke the wailing of the wind, prefacing a a blend of mystery and humor. fragment of Lorca, "Los arcos rotos donde sufre el tiempo," 4.Agathon (Adagio). Perhaps the most moving (and whispered into the trombones. Joyous interruptions from famous) speech of the dialogue, Agathon's panegyric winds and brass, offstage and on, break the gloom, and a embraces all aspects of love's powers, charms and func- circle of exuberant phrases is passed from one instrument tions. This movement is simply a three-part song. to another. The conclusion, however, is serene. Muted vio- 5. Socrates: Alcibiades (Molto tenuto-allegro molt() vivace). lins, seeming distant, offer the poignant hymn tune, "Were Socrates describes his visit to the seer Diotima, quoting her You There When They Crucified My Lord?" speech on the demonology of love. Love as a daemon is III. The sharp croaking of nonsense syllables, "Krek-tu- Socrates' image for the profundity of love; and his seniority dai!" announces the dramatic Collapse of Time; meanwhile, adds to the feeling of didactic soberness in an otherwise softly and timidly, the xylophone taps out the composer's pleasant and convivial after-dinner discussion. This is a name in Morse code. The cautious whispering gradually slow introduction of greater weight than any of the preced- builds to loud shouting, and more passages of circle music ing movements, and serves as a highly developed reprise of indulge first the brass and then pianos and percussion. the middle section of the Agathon movement, thus suggest- IV. The foregoing overlaps with the finale, Last Echoes of ing a hidden sonata-form. The famous interruption by Time, designated "Extremely slow, as if poised in time." Alcibiades and his band of drunken revellers ushers in the Echoing what has come before, Crumb's vision loses all Allegro, which is an extended rondo ranging in spirit from contact with the regularity of time symbolized by the clock; agitation through jig-like dance music to joyful celebration. the feeling is that of awesome solitude as the music fades to If there is a hint of jazz in the celebration, I hope it will not whistling.' be taken as anachronistic Greek party-music, but rather the natural expression of a contemporary American composer imbued with the spirit of that timeless dinner-party.' (1918– Serenade (after Plato's Symposium) for Violin and String Orchestra with Percussion Charles Ives (1874-1954) The first performance of the Serenade was given by the Symphony No. 4 Orchestra of the Teatro La Fenice in Venice in September, The first performance of this Symphony was given on 1954, the year of the work's completion. Isaac Stern was April 26, 1965, under the direction of . soloist, and the composer conducted. The first performance At that time he found it expedient to use three conductors. in the United States was given by the Boston Symphony in Since then, Gunther Schuller has conducted the Sym- April 1955 with Charles Munch conducting and Isaac Stern phony in Berlin and in London, and has made slight revi- again the soloist. The work was most recently heard at the sions which enable the work to be performed with only one 1971 Berkshire Festival with Seiji Ozawa conducting and conductor. The first performance of the Symphony by the Joseph Silverstein soloist. The work was commissioned by Boston Symphony was given on November 25, 26, 1966 the Koussevitzky Music Foundation and dedicated "to the with Mr. Schuller conducting and the New England Con- beloved memory of Serge and Natalie Koussevitzky." servatory Chorus. The instrumental accompaniment consists of full string The instrumentation is as follows: 4 flutes (2 also play orchestra, harp and the following percussion instruments: piccolo), 2 oboes, 3 clarinets, 3 bassoons, B-flat tenor saxo- timpani, snare drum, tenor drum, bass drum, triangle, sus- phone, 4 horns, 2 cornets, 4 trumpets, 4 trombones and tuba, pended cymbal, tambourine, 2 Chinese blocks, glocken- orchestral piano 4-hands, solo piano, celesta, piano with spiel, xylophone, and chimes. quarter-tone tuning, organ (optional), timpani, snare The composer writes of the work: drum, military drum, tom-tom, bass drum, triangle, cym- 'There is no literal program for this Serenade. The music, bals, bells (high, low), 2 gongs (light, heavy) 2 harps and like Plato's dialogue, is a series of related statements in strings. Writing about his Fourth Symphony, Charles Ives said: "The aesthetic program of the work is that of the searching questions of 'What?' and 'Why?' which the spirit of man asks of life. This is particularly the sense of the Prelude. The three succeeding movements are the diverse answers in which existence replies." I. Prelude: Maestoso The first movement is scored for two distinct groups, the main orchestra (including piano and voices) and a dis- tant, ethereal chamber ensemble of harp and solo strings. It is a setting of the hymn "Watchman, Tell Us of the Night," a particular favorite of Ives', which he had used in many ways in previous compositions. The Prelude opens with the orchestral basses playing heavily and loudly against the soft background provided by the chamber group, which repeats a middle phrase from the hymn "Nearer, My God, to Thee." The melody is in the harp, and, with brief respites, the motif continues to the end of the movement. Violins enter with a tune that sounds like My Bonnie Lies Over the Ocean but is actually the verse to In the Sweet Bye and Bye. Flute and first violins begin to play Nearer, My God, to Thee from the beginning, at the same moment that the chorus enters with its hymn: Watchman, tell us of the night, What the signs of promise are: Traveler, o'er yon mountain's height, See that Glory-beaming star! Watchman, aught of joy or hope? Traveler, yes; it brings the day, Promised day of Israel Dost thou see its beauteous ray? II. Allegretto Of this first answer to the "What?" and "Why?" of the first movement, Ives wrote: "The second movement is not a scherzo in an accepted sense of the word, but rather a comedy—in which an exciting, easy and worldly progress through life is contrasted with the trials of the Pilgrims in their journey through the swamps and rough country. The occasional slow episodes—Pilgrims' hymns—are con- stantly crowded out and overwhelmed by the former. The dream, or fantasy, ends with an interruption of reality —the Fourth of July in Concord—brass bands, drum corps, etc." The "comedy" is of the utmost complexity, superimpos- ing complex rhythms with accelerandos, ritardandos and unbarred passages. Dozens of tunes are quoted, including Marching Through Georgia; In the Sweet Bye and Bye; Turkey in the Straw; Camptown Races; Throw Out the Lifeline; Beulah Land; Yankee Doodle; Jesus, Lover of My Soul; and Ives' peren- nial favorite, Columbia the Gem of the Ocean. III. Fugue: Andante moderato Ives characterized the second answer to the first movement as "an expression of the reaction of life into formalism and ritualism." It is actually an orchestral tran- scription of the first movement of the First String Quartet, subtitled "A Revival Meeting," written in 1896. The move- ment is a double fugue on the hymns From Greenland's Icy Mountains and All Hail the Power. After a brief exposition of the first hymn, the trombone, doubled by the horn, intro- duces the second, which eventually demonstrates that it can provide a pleasing counterpoint to the first. An organ is brought in, first for a brief one-measure interlude and then, at the fugue's pedal point, to double the orchestra. [Note: the organ is optional and is not always used. ] And so it goes, until close to the end of this lone diatonic movement, Ives cannot resist a humorous touch, and the fugue ends with a trombone singing out a phrase from Handel's ever popular Joy to the World. IV. Largo Maestoso "The last movement," explains the composer, "is an apotheosis of the preceding content, in terms that have something to do with the reality of existence and its reli- gious experience." This slow, ominous finale begins softly in the percussion, which exists as an entity in itself —and which marches throughout the movement in a tempo dis- tinct from the rest of the orchestra. Superimposed on the percussion, the double basses intone the opening motif of Nearer, My God, to Thee, upon which hymn the entire movement is built. When the main orchestra enters, it is answered by a distant choir of five violins and harp. Thus, there are three independent instrumental groups in this finale: the percussion, the main orchestra, and the distant ensemble. To them, at a later point, a wordless chorus is added. [In some performances a chorus is not used.] At the close of the movement, all gradually fade away, leaving the final word to the faint percussion.

Seiji Ozawa, Music Director Seiji Ozawa became Music Director of the Boston Sym- phony Orchestra in the fall of 1973 and is the thirteenth conductor to head the Orchestra since its founding in 1881. Mr. Ozawa will resign his position as Music Director of the , which he assumed in 1970, at the close of the 1975-76 season and will be Music Director only in Boston. He owns a home in the Boston area, where he lives with his wife, Vera, and two children, Seira and Yukiyoshi.

Joseph Silverstein Joseph Silverstein, assistant conductor of the Boston Symphony Orchestra since the beginning of the 1971-72 season, and concertmaster since 1962, joined the Orchestra in 1955 at the age of twenty-three. Born in Detroit, he stud- ied at the Curtis Institute in Philadelphia and with Josef Gingold and Mischa Mischakoff. He was a prize winner in the Queen Elisabeth of Belgium International Competition and a year later won the Naumburg Foundation Award. Before coming to Boston, he was a member of the orches- tras of Houston, Denver and Philadelphia. Joseph Silver- stein has established an international reputation as soloist and as first violinist of the Boston Symphony Chamber Players. During past seasons he has performed over 30 con- certos with the Boston Symphony and has recorded those by Bartok and Stravinsky for RCA Victor. As violinist of the Boston Symphony Chamber Players, Mr. Silverstein has made many chamber music recordings for Deutsche Grammophon. He is Chairman of the Faculty of the Berkshire Music Center at Tanglewood, and teaches privately. During recent seasons he has been Adjunct Pro- fessor of Music at Yale University and . BOSTON SYMPHONY ORCHESTRA

SE IJI OZAWA iR

First violins Cellos Contra bassoon Joseph Silverstein Jules Eskin Richard Plaster Concertmaster Philip R. Allen chair Charles Munch chair Martin Hoherman Horns Emanuel Borok Mischa Nieland Charles Kavaloski Assistant Concertmaster Jerome Patterson Helen Sagoff Slosberg chair Helen Horner McIntyre Chair Robert Ripley Charles Yancich Max Hobart Luis Leguia Rolland Tapley Carol Procter Roger Shermont Ronald Feldman David Ohanian Max Winder Joel Moerschel Richard Mackey Harry Dickson Jonathan Miller Ralph Pottle Gottfried Wilfinger Martha Babcock Fredy Ostrovsky Trumpets Leo Panasevich Armando Ghitalla Sheldon Rotenberg Basses Andre Come Alfred Schneider William Rhein Harold D. Hodgkinson chair Rolf Smedvig Stanley Benson Gerard Goguen Gerald Gelbloom Joseph Hearne Bela Wurtzler Raymond Sird Leslie Martin Ikuko Mizuno Trombones John Salkowski Cecylia Arzewski Ronald Barron John Barwicki Amnon Levy William Gibson Robert Olson Norman Bolter Lawrence Wolfe Gordon Hallberg Second violins Henry Portnoi Victor Yampolsky Fahnestock chair Flutes Tuba Personnel Managers Marylou Speaker Doriot Anthony Dwyer Chester Schmitz William Moyer Michel Sasson Walter Piston chair Harry Shapiro Ronald Knudsen James Pappoutsakis Timpani Leonard Moss Paul Fried Bo Youp Hwang Everett Firth Librarians Sylvia Shippen Wells chair Laszlo Nagy Victor Alpert Michael Vitale Piccolo William Shisler Darlene Gray Lois Schaefer Percussion Ronald Wilkison Charles Smith Stage Manager Harvey Seigel Oboes Arthur Press Alfred Robison Jerome Rosen Ralph Gomberg Assistant timpanist Sheila Fiekowsky Mildred B. Remis chair Thomas Gauger Gerald Elias John Holmes Frank Epstein Vyacheslav Uritsky Wayne Rapier Program Editor Mary H. Smith Harps Violas English Horn Bernard Zighera Burton Fine Laurence Thorstenberg Ann Hobson Charles S. Dana chair Reuben Green Eugene Lehner Clarinets George Humphrey Harold Wright Jerome Lipson Ann S.M. Banks chair Robert Karol Pasquale Cardillo Bernard Kadinoff Peter Hadcock Vincent Mauricci E-flat clarinet Earl Hedberg Joseph Pietropaolo Bass Clarinet Boston Symphony Orchestra, Robert Barnes Felix Viscuglia Michael Zaretsky Symphony Hall, Boston, 02115. (617) 266-1492. Bassoons Thomas D. Perry, Jr., Executive Director Sherman Walt Edward A. Taft chair Thomas W. Morris, Manager Roland Small Matthew Ruggiero Fiduciary Trust Company 10 POST OFFICE SQUARE, BOSTON

BOARD of DIRECTORS

ROBERT H. GARDINER President

EDWARD H. OSGOOD EDMUND H. KENDRICK Vice President Vice President

JOHN W. BRYANT JOHN L. THORNDIKE Vice President Vice President

JOHN PLIMPTON JOHN W. COBB Vice President & Treasurer Vice President & Secretary H. GILMAN NICHOLS, JR. Vice President

JOHN Q. ADAMS JAMES BARR AMES Vice President, Ropes & Gray John Hancock Mutual Life Insurance Co. SAMUEL CABOT President, Samuel Cabot, Inc. MRS. JOHN M. BRADLEY EDWARD L. EMERSON Manchester, Mass. Scudder, Stevens & Clark PHILIP DEAN JOHN B. GRAY Trustee Vice President, Dennison Manufacturing Co. ROBERT W. EMMONS, JR. Palmer & Dodge BAYARD HENRY Corporate Consultant FRANCIS W. HATCH, JR. Beverly Farms, Mass. GEORGE S. JOHNSTON Scudder, Stevens & Clark ALBERT B. HUNT New York, New York Trustee MALCOLM D. PERKINS RONALD T. LYMAN, JR. Herrick, Smith, Donald, Scudder, Stevens & Clark Farley & Ketchum

PHILIP H. THEOPOLD ROBERT G. WIESE Trustee Scudder, Stevens & Clark

RALPH B. WILLIAMS Trustee

We act as Trustee, Executor, Agent & Custodian

Through this advertisement, the above organization has become a Friend of the BSO. The Friends' support helps insure the future of the Orchestra. You can become a Friend by contributing as little as $15. Remember, your ticket to a BSO concert is for your enjoyment; your contribution is for our future.