BOSTON SYMPHONY ORCHESTRA

EIGHTY-FOURTH SEASON 1964-1965 Strauss '&?"'£ The Boston Symphony EIN HELDENLEBEN "'*°" BOSTON SYMPHONY under Leinsdorf ERICH LEINSDORF

"The Boston Symphony neversounded finer" was one critic's reaction to their perform- ance of Strauss' Ein Heldenleben. The Boston Symphony's sound is magnificently appar- ent in the RCA Victor Red Seal recording of this complex masterpiece. Leinsdorf's inter- pretation of Brahms' great First Symphony yields yet another example of the orchestra's "glorious mellow roar" Both these perform- ances have been recorded in Dynagmove. RCA Victor teflThe most trusted name in sound E I G H T Y - F O U R T H SEASON, 1964-1965

CONCERT BULLETIN

OF THE Boston Symphony Orchestra

ERICH LEINSDORF, Music Director

Richard Burgin, Associate Conductor

with historical and descriptive notes by i John N. Burk

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 E. Morton Jennings, Jr. John L. Thorndike Raymond S. Wilkins TRUSTEES EMERITUS Palfrey Perkins Lewis Perry Edward A. Taft Oliver Wolcotj:

Thomas D. Perry, Jr., Manager

Norman S. Shirk James J. Brosnahan Assistant Manager Business Administrator

Rosario Mazzeo Harry J. Kraut Orchestra Personnel Manager Assistant to the Manager SYMPHONY HALL BOSTON

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[4] SIXTY-FIVE EIGHTY-FOURTH SEASON • NINETEEN HUNDRED SIXTY-FOUR-

Three Hundred and Seventy-eighth Concert in Providence

Third Program

SUNDAY AFTERNOON, December 13, at 3:30 o\clock

RICHARD BURGIN, Conductor

in C minor , "Tragic" Schubert . Symphony No. 4,

I. Adagio molto; Allegro vivace II. Andante ill. Menuetto: Allegro vivace IV. Allegro

Carter Variations for Orchestra Introduction — Allegro Theme — Andante Variations — Vivace leggero Pesante Moderato Ritardando molto Allegro misterioso Accelerando molto Andante Allegro giocoso Andante Allegro molto

(First performance in Providence) INTERMISSION

MOUSSORGSKY "Pictures at an Exhibition" (Piano Pieces, Arranged for Orchestra by Maurice Ravel)

Promenade — Gnomus — Promenade — II vecchio castello — Tuileries — Bydlo — Promenade — Ballet of Chicks in Their Shells — Samuel Goldenburg and Schmuyle — Limoges: The Marketplace — Catacombs (Con mortuis in lingua mortua) — The Hut on Fowls' Legs — The Great Gate of Kiev

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[5] SYMPHONY NO. 4, in C minor ("Tragic") By Franz Schubert Born in Lichtenthal, near Vienna, January 31, 1797; died in Vienna, November 19, 1828

Schubert completed his Fourth Symphony on April 27, 1816, in Vienna. The first performance is stated by Otto E. Deutsch to have been given by the Euterpe Musical

Society in Leipzig, November 19, 1849, A. F. Riccius, conductor. August Manns introduced it at the Crystal Palace in Sydenham (south of London), February 29, 1869. A performance by Sam Franko's American Symphony Orchestra in New York, March 26, 1901, was announced as the first in this country. npHE tardy appearance of Schubert's Fourth Symphony in publication

* and performance is a fair example of the snail-like emergence of the Schubert heritage into the daylight of publication, performance, and general attention. Not one of his symphonies was published while he lived, nor adequately performed in a public concert. The two sym- phonies of his maturity — the great C major and the "Unfinished," were dug out and performed by individual enthusiasts in 1839 anc^ 1867 respectively. The first six symphonies were left to lie in oblivion as early works. The Thematic Catalogue by Otto Erich Deutsch shows that the first four were first published in 1884, in the Gesamtausgabe, the Fifth in the following year, and the Sixth in 1895. (The Andante

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[6] of the Fourth was published by Peters in 1871.) Only the Fourth and Fifth had been published in four hand piano arrangements (how much of their special delicate fragrance could have been divined by home readers in that once eagerly cultivated but slightly barbarous combina- tion?). Only when these six symphonies, which as much as any in existence have the special charm of youth, became at last accessible in full score could they win their way into the permanent affection of the musical world.* The full score of the Fourth Symphony therefore did not appear until sixty-eight years after Schubert had written it as a boy of nineteen. He evidently intended it for the amateur group to which he belonged (sitting in at viola), and which performed symphonies (not too difficult) at the Gundelhof, under the direction of the violinist Otto Hatwig. The pre-publication performances were made possible by the crusad- ing energies of Sir George Grove, who journeyed to Vienna in 1867, made copies from the manuscripts of this Symphony and the Sixth, then in the possession of Nikolaus Dumba.t "Even in Vienna," wrote

Sir George, the dauntless Schubertian, "he is not the object of that general enthusiasm which is felt for him by the best musicians and amateurs of England, or, as we should imagine, by the countrymen of one of the most remarkable geniuses that ever was born or resided in Vienna. ... In general, the Viennese are cold towards their great brother; and so, I regret to say, we found the chief musicians in the large towns of more northern Germany."

* It is perhaps an indication of the changed attitude towards Schubert and orchestral music in general that all of his eight symphonies, in eighty different performances, are available at this moment on phonograph records. t They were acquired from C. F. Peters, and left on Dumba's death in 1900, to the Gesellschaft der Musikfreunde. [copyrighted]

RHODE ISLAND CHAMBER MUSIC CONCERTS Sponsored by the Department of Music, Brown University 1964-1965 SEASON Tuesday, 20 October JUILLIARD QUARTET Tuesday, 24 November MARLBORO TRIO Tuesday, 9 February HARTT WOODWIND QUINTET Tuesday, 20 April NEW YORK STRING SEXTET

All concerts will be held at 8:30 p.m. in the Rhode Island School of Design Auditorium Season Tickets: $9.00, $7.50, $6.00 ($4.00 Students)

Single Admission: $2.50, $2.25, $1.75, $1.25

Apply BROWN UNIVERSITY, Box 1903 or AVERY PIANO CO.

[7] VARIATIONS FOR ORCHESTRA By Elliott Carter

Born in New York City, December 11, 1908

The Variations for Orchestra were composed on a commission from the Louisville Orchestra and were introduced by that orchestra on May 19, 1956. The work is scored for wood winds in twos, 4 horns, 2 trumpets, 3 tubas, percussion, harp and strings. Mr. Carter described his Variations in an address given at Prince- ton before the first performance. A student composer asked about the method of transformation as a treatment of the variation form, and the composer answered: As musicians you are all familiar with the problems of program notes. Technical discussions baffle the greater part of the audience and the few who do understand are apt to feel that the composer is a calcu- lating monster, particularly since musical terms are ponderous, not always very definite in meaning, and too often give the impression of complexity when describing something very obvious to the ear. If I had described the augmentations, diminutions, retrograde inversions as they occur, this would have been positively bewildering to the public and would not have helped it to listen — certainly not the first time. So I tried to find a comparison that would help the listener grasp my general approach. Serious music must appeal in different ways. Its main appeal, however, emerges from the quality of the musical material or ideas and perhaps even more from their use in significant continuities, but does not always depend on grasping the logic of the latter on first hearing. There has to be something left for the second time, if there ever is a second time.

As in all my work, I conceived this one as a large, unified musical action of gesture. In it, definition and contrast of character decrease during the first variations, arriving at a point of neutrality in the central variation, then increase again to the finale, which comprises many different speeds and characters. This work was thought of as a Jones Warehouses, Inc For over 71 years rendering an exceptionally fine service in Furniture Storage, and in Dependable World Wide Moving.

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[8] series of character studies in various states of interaction with each other both within each variation and between one and the next. Activity, development, type of emphasis, clearness or vagueness of definition, I hoped would contribute to characterization. Form, rhythmic and development processes as well as texture and thematic material differ in each for this reason.

The individual effort of the serious composer, as I see it, is not so much in the invention of musical ideas in themselves as in the inven- tion of interesting ideas that will also fill certain compositional require- ments and allow for imaginative continuations. Serious music appeals to a longer span of attention and to a more highly developed auditory memory than do the more popular kinds of music. In making this appeal, it uses many contrasts, coherences, and contexts that give it a wide scope of expression, great emotional power and variety, direction, uniqueness, and a fascination of design with many shadings and qual- ities far beyond the range of popular or folk music. Every moment must count somehow, as must every detail. For a composer it is not always easy to find a passage that fits the particular situation and moment at which it appears in the composition, that carries to a further point some idea previously stated, that has the appropriate expressive quality motivated by what has been heard and yet is a passage that sounds fresh and alive. [copyrighted]

Boston Symphony Orchestra

ERICH LEINSDORF, Music Director

Richard Burgin, Associate Conductor

The remaining Sunday afternoon concerts in Providence

will be as follows:

January 10 ERICH LEINSDORF, Conductor

March 21 ERICH LEINSDORF, Conductor

Tickets are on sale at the Avery Piano Company 256 Weybosset Street, Providence

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[9] "PICTURES AT AN EXHIBITION" (Pianoforte Pieces) By Modest Petrovitch Moussorgsky

Born in Karevo, district of Toropeta, in the government of Pskov, March 21, 1839; died in St. Petersburg, March 28, 1881 Arranged for Orchestra by Maurice Ravel Born in Ciboure, Basses-Pyrenees, March 7, 1875; died in Paris, December 28, 1937

Moussorgsky composed his suite of piano pieces in June, 1874. Maurice Ravel made his orchestral setting of them in 1923. The first performance of this orches- tration was at a "Koussevitzky Concert" in Paris, October 19, 1922. Moussorgsky composed his suite of piano pieces on the impulse of his friendship for the architect Victor Hartmann, after the post- humous exhibit of the artist's work nine months after his death. It is characteristic of this composer, here as in his songs or operas, that his music, born of an extra-musical subject, yet always transcends the literal. Nothing could seem more representational than a picture sub- ject, as here, yet each picture loses all but its title as Moussorgsky's lively tonal fantasy finds its own tonal image. If Moussorgsky had been as much at home with an orchestra as with his piano, he might well have carried these images to the orchestral palette they seem to cry for.

Promenade. As preface to the first "picture," and repeated as a link in passing from each to the next, in the early numbers, is a promenade.

RHODE ISLAND PHILHARMONIC ORCHESTRA FRANCIS MADEIRA, Musical Director

SATURDAY EVENINGS VETERANS MEMORIAL AUDITORIUM, PROVIDENCE

February 6 POPS NIGHT — Erich Kunzel, Conductor

February 27 Soloists: Jacob Krachmalnick, Violin William Dinneen, Harpsichord

March 27 Puccini's "TOSCA" in Concert Form

April 24 The Triumphant Finale to the Twentieth Season Soloist: Jerome Lowenthal, Pianist

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[10] It is an admirable self-portrait of the composer, walking from picture to picture, pausing dreamily before one and another in fond memory of the artist. Moussorgsky said that his "own physiognomy peeps out through all the intermezzos," an absorbed and receptive face "nel modo russico." The theme, in a characteristically Russian 11-4 rhythm suggests, it must be said, a rather heavy tread.

Gnomus. There seems reason to dispute Riesemann's description: "the drawing of a dwarf who waddles with awkward steps on his short, bandy legs; the grotesque jumps of the music, and the clumsy, crawling movements with which these are interspersed, are forcibly suggestive."

Il Vecchio Castello. No such item occurs in the catalogue, but the Italian title suggests a group of architectural water colors which Hartmann made in Italy. "A mediaeval castle," says Stassov, "before which stands a singing troubadour." Moussorgsky seems to linger over this picture with a particular fascination. (Ravel used the saxophone to carry his nostalgic melody.)

Tuileries. Children disputing after their play. An alley in the Tuileries gardens with a swarm of nurses and children. (The catalogue names this drawing merely as Jardin des Tuileries.)

Bydlo. "Bydlo" is the Polish word for "cattle." A Polish wagon with enormous wheels comes lumbering along, to the tune of a "folk song in the Aeolian mode, evidently sung by the driver."

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[Hi Ballet of Chicks in Their Shells. Hartmann made sketches for the costumes and settings of the ballet "Trilbi," which, with choreog- raphy by Marius Petipa and music by Julius Gerber, was performed at the Bolshoi Theater in St. Petersburg in 1871. The sketches described in the exhibition catalogue show canaries "enclosed in tggs as in suits of armor. Instead of a head-dress, canary heads, put on like helmets, down to the neck."

Samuel Goldenberg and Schmuyle. Riesemann calls this number "one of the most amusing caricatures in all music — the two Jews, one rich and comfortable and correspondingly close-fisted, laconic in talk, and slow in movement, the other poor and hungry, restlessly and fussily fidgeting and chatting, but without making the slightest impression on his partner, are musically depicted with a keen eye for characteristic and comic effect. These two types of the Warsaw Ghetto stand plainly before you — you seem to hear the caftan of one of them blown out by the wind, and the flap of the other's ragged fur coat.

Limoges. The Market-place. Market women dispute furiously.

Catacombs. According to the catalogue: "Interior of Paris cata- combs with figures of Hartmann, the architect Kenel, and the guide holding a lamp." In the original manuscript, Moussorgsky had written above the Andante in D minor: "The creative spirit of the dead Hartmann leads me towards skulls, apostrophizes them — the skulls are illuminated gently from within."

The Hut on Hens' Legs. The drawing is listed as "Baba Yaga's hut on hens' legs. Clock, Russian style of the 14th century. Bronze and enamel." The design, of Oriental elaboration, shows the clock in the shape of a hut surmounted by two heads of cocks and standing on the legendary chickens' feet, done in metal. The subject suggested to the composer the witch Baba Yaga, who emerged from her hut to take flight in her mortar in pursuit of her victims.

The Great Gate at Kiev. Six sketches for the projected gate at Kiev are listed in the catalogue and thus described: "Stone city-gates for Kiev, Russian style, with a small church inside; the city council had planned to build these in 1869, in place of the wooden gates, to com- memorate the event of April 4, 1866." [copyrighted]

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[12] 9* BOSTON SYMPHONY ORCHESTRA Erich Leinsdorf Music Director

"I AM PROUD TO BE LISTED ON THE ROLL OF THE FRIENDS OF THE BOSTON SYMPHONY ORCHESTRA"

So wrote an elderly lady from Huntsville, Alabama who has heard the Orchestra only rarely but remembers these occasions with joy. Her letter continued:

Enclosed is a small check for your Orchestra's fund. I have had much joy whenever I have had the privilege

of hearing it. Though I am old now and travel little,

I enjoy the Orchestra in retrospect . . . and I should like to be included in your annual appeal for funds to

offset the deficit.

The Friends of the Boston Symphony Orchestra trust that those who are privileged to hear the Orchestra frequently will be pleased and "proud to be listed on the roll of the Friends."

Contributions to the Friends are gratefully accepted at the Friends Office, Symphony Hall.

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AVIS BLIVEN CHARBONNEL CONCERT PIANIST and TEACHER

123 BENEVOLENT STREET GA 1-5691

OTTO van KOPPENHAGEN, Prof. Em. INSTRUCTOR OF CELLO

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Studio: 48 COLLEGE STREET • Phone: JA 1-5742

1 CONCERT PIANIST AND TEACHER State Accredited in Germany M^ Beginners to Artist Pupils Studios: 168 Lloyd Avenue Phone: DE 1-5667

ROSAMOND WADSWORTH, Soprano M. M. Eastman School of Music

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[H] Boston Symphony Orchestra ERICH LEINSDORF, Music Director RICHARD BURGIN, Associate Conductor First Violins Cellos Bassoons Joseph Silverstein Jules Eskin Sherman Walt Concertmaster Martin Hoherman Ernst Panenka Alfred Krips Mischa Nieland Matthew Ruggiero George Zazofsky Karl Zeise Rolland Tapley Richard Kapuscinski Contra Bassoon Roger Shermont Bernard Parronchi Richard Plaster Max Winder Robert Ripley Harry Dickson John Sant Ambrogio Horns Gottfried Wilfinger Peter Schenkman James Stagliano Einar Hansen Luis Leguia Charles Yancich Fredy Ostrovsky Jascha Silberstein Thomas Newell Leo Panasevich Harry Shapiro Herman Silberman Basses Paul Keaney Osbourne McConathy Stanley Benson Georges Moleux Sheldon Rotenberg Henry Freeman Bielski Noah Irving Frankel Trumpets Alfred Schneider Henry Portnoi Roger Voisin Julius Schulman Henri Girard Armando Ghitalla Gerald Gelbloom John Barwicki Andre Come Gerard Goguen Second Violins Leslie Martin Bela Wurtzler Clarence Knudson Trombones Pierre Mayer Joseph Hearne Manuel Zung William Gibson Samuel Diamond Flutes William Moyer William Marshall Doriot Anthony Dwyer Kauko Kahila Leonard Moss James Pappoutsakis Josef Orosz William Waterhouse Phillip Kaplan Michel Sasson Tuba Raymond Sird K. Vinal Smith Laszlo Nagy Piccolo George Madsen Ayrton Pinto Timpani Victor Manusevitch Everett Firth Giora Bernstein Oboes Minot Beale Ralph Gomberg Michael Vitale Percussion Amnon Levy John Holmes Charles Smith Hugh Matheny Harold Thompson Violas Arthur Press, Ass't Timpanist Burton Fine English Horn Thomas Gauger Reuben Green Laurence Thorstenberg Eugen Lehner Harps Albert Bernard Bernard Zighera Clarinets George Humphrey Olivia Luetcke Jerome Lipson Gino Cioffi Robert Karol Manuel Valerio Librarians Jean Cauhape Pasquale Cardillo Victor Alpert E\) Clarinet Vincent Mauricci William Shisler Earl Hedberg Bernard Kadinoff Bass Clarinet Stage Manager Joseph Pietropaolo Rosario Mazzeo Alfred Robison

Rosario Mazzeo, Personnel Manager "The Baldwin is the ideal piano

BOSTON for solo and orchestral work and SYMPHONY particularly for chamber music. ORCHESTRA Its wide range of tonal color Erich Leinsdorf and its easy action Music Director fulfill all possible wishes."

— Erich Leinsdorf

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