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Boston Symphony Orchestra Concert Programs, Season 84, 1964-1965

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Boston Symphony Orchestra Concert Programs, Season 84, 1964-1965 £*# )J •l--\ s-^^V. BOSTON SYMPHONY ORCHESTRA FOUNDED IN 1881 BY Sk HENRY LEE HIGGINSON -7 PALMER AUDITORIUM NEW LONDON T^ls fS?%* 2^*^. *""»& ""^s§£ EIGHTY-FOURTH SEASON 1964-1965 EIGHTY-FOURTH SEASON, 1964-1965 CONCERT BULLETIN OF THE Boston Symphony Orchestra ERICH LEINSDORF, Music Director Richard Burgin, Associate Conductor with historical and descriptive notes by 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 WoLCOTr Thomas D. Perry, Jr., Manager Norman S. Shirk Rosario Mazzeo James J. Brosnahan Assistant Manager Orchestra Personnel Manager Business Administrator Assistant Administrators Sarah M. Hering Harry J. Kraut SYMPHONY HALL BOSTON EIGHTY-FOURTH SEASON • NINETEEN HUNDRED SIXTY-FOUR- SIXTY-FIVE PALMER AUDITORIUM (Connecticut College, New London) ^Program SUNDAY AFTERNOON, November i, at 3:30 o'clock SIR JOHN BARBIROLLI, Guest Conductor Berlioz Overture, "The Roman Carnival," Op. 9 Delius "The Walk to the Paradise Garden," Intermezzo from "A Village Romeo and Juliet" Vaughan Williams Symphony No. 6 I. Allegro II. Moderato III. Scherzo: Allegro vivace IV. Epilogue INTERMISSION Sibelius Symphony No. 2, in D major, Op. 43 I. Allegretto II. Tempo andante ma rubato III. Vivacissimo; Lento e suave IV. Finale: Allegro moderato BALDWIN PIANO RCA VICTOR RECORDS [3] SIR JOHN BARBIROLLI By Neville Cardus Sir John Barbirolli returns to Boston had a centre cold as ice while he was after an absence five years, having of composing the surging passionate cli- this Orchestra guest conducted as on maxes of the meeting of Tristan and January 30-31, 1959. Since 1961 he has Isolde in the garden in Act II. So is it divided his time between the Halle Or- with Barbirolli. I once sat in the ranks of chestra and the Orchestra of Houston, the Halle Orchestra during a wonder- Texas, where he has just been re-engaged fully vital and uninhibited performance three seasons. descrip- for The following of the Ninth Symphony of Mahler. It tion him was written the music of by was on this occasion that I saw the tears critic of the "Manchester Guardian." in Barbirolli's eyes, the tumult in his John Barbirolli is proud to call himself breast. But at the end of an interpreta- a Londoner. He was born in Southamp- tion which Mahler himself might have ton Row fifty years ago. But his father found emotionally exhausting, Barbirolli and grandfather, both musicians, played told me that he had seen me sitting in the first of all performances of Verdi's amongst the double-basses and hoped I "Otello" at La Scala; and his mother had been comfortable. came from the South of France. He has He is ruthless in his demands on him- the Italianate look, the dark complexion, self ; consequently he expects everybody the eyes. He is London in his speech, his else who serves music to be as unsparing sometimes "Cockney" wit and impish- and inexhaustible. Where his energy ness. Also he has Napoleonic aspects; comes from is hard to say, or rather it is small of stature, inclined to bury his chin hard to say how the charging of it is in his upper chest while talking; inclined maintained. He is physically lithe and to walk to the conductor's rostrum with strong-fibred. But he goes hours without left arm bent as though about to go under food. I believe he eats a substantial meal his jacket's lapel. once a day, usually at midnight, cooking He can be Napoleonic too, in his im- it himself for preference. He is a con- peribusness, his uncompromising exercise noisseur of food and wine—in those of his own will, his unhesitating trust in snatched moments when he becomes con- his intuitions. He is, of course, an egoist, scious of flesh, hunger and other material terrifically so, but in a way that is en- satisfactions. tirely lovable. He really believes that The complex in Sir John of austerity by his conducting he is able not only to and sensuous love of life, of Spartan interpret a composer but to endow the and Epicure, of kindly consideration and composer with new life. I have seen him ruthless integrity, is the secret of his wrestling with himself, tears in his eyes, universal range as interpreter. He has while he has been conducting Mahler. In kin and sympathy with Vaughan Wil- such moments he has gone wholly into liams; he has equal kin and sympathy the composer's mind and being. with Mahler. These two composers are poles apart at any rate I imagine Dr. Here is the paradox—this most egoisti- — cal of all British conductors forgets him- Vaughan Williams would hope so ! Bar- self in the music he presents; forgets, birolli is as ready to dance with Johann Strauss as to kneel and pray with Bach. that is, his own consciousness of self. But he does not forget his technical con- His interpretation of Elgar's The Dream is priestliness poetic trol. The disinterested spectator watches of Gerontius made from the seat of detached musical judg- and sensuous. His interpretations of Si- the ment, even while the imagination is belius are as impersonally grand as riding on apparently unharnessed. The Finnish landscape and Sibelius's own vis- professional conductor watches the ar- age and granitic baldness. tist. Wagner's brain, it has been said, 4] His re-creation of the Halle Orchestra as we have gained from Barbirolli's from the ruins during Hitler's war has "Halle." For Barbirolli, au fond, is an been his great unselfish service to British opera conductor. music. To come to Manchester in war- Years ago, when he was one of the time, to build anew from the ashes, he old British National Opera Company, gave up the conductorship of the Phil- I heard Barbirolli conduct Strauss's harmonic Orchestra of New York, which "Rosenkavalier." It remains in my mem- position of renown he inherited from ory as the equal of anything done with Arturo Toscanini. His devotion to his the same opera by Krauss or Kleiber. Sir Halle "boys" (and "girls") persuaded John is today in his prime. If he will him to turn away from temptations to only try to harbour his physical re- direct Covent Garden Opera. Here we sources, it may be that the best in him have possibly lost much—if not as much is still to come. OVERTURE, "LE CARNAVAL ROMAIN/' Op. 9 By Hector Berlioz Born in La Cote Saint-Andre, December 11, 1803; died in Paris, March 9, 1869 The opera Benvenuto Cellini from which the overture is derived was first per- formed at the Opera in Paris, September 10, 1838. The concert overture, written in 1843, was first performed at the Salle Herz, Paris, February 3, 1844, under the com- poser's direction. It was published in June, 1844. A Tany an artist, whether of letters, pigment, or tones, has visited -* -*V Italy, come under the spell of its sights and sounds and allowed them to color his creative thoughts. This was certainly true of Men- delssohn. Berlioz went to Rome on a Prix de Rome scholarship in March 1831 and left there on May 1, 1832. His subsequent music, such as Harold in Italy (1834), Benvenuto Cellini (1837) fr°m which the Roman Carnival Overture was derived, and the Requiem Mass (also in 1837) which had its inception in the spectacle of St. Peter's Basilica — these are evidence of the lasting impression which Italy made upon his fervid imagination. Travelling about Europe and conducting orchestras in city after city, Berlioz fpund certain orchestral numbers, such as the excerpts from The Damnation of Faust or Romeo and Juliet extremely serviceable. Of this sort was his overture The Roman Carnival. He could usually count upon making something of a sensation, as when it was performed at Vienna and, to use his own words, "it exploded like a mass of fire- works, and was encored with a noise of feet and hands never heard except in Vienna." Elsewhere the piece had different fortunes, such as at St. Petersburg, where, amidst loud acclamations for other of his works, it passed scarcely noticed. "A Viennese would hardly credit this," wrote Berlioz in his memoirs, "but scores have their destiny, like books and dramas, roses and thistles." The Overture begins with the theme of the saltarello brilliantly announced. Over a pizzicato accompaniment, the English horn then sings a love song of Benvenuto, from the first act. The theme is devel- [5] oped in counterpoint. The main body of the overture begins with a theme for the strings, taken from a chorus in the second act. The sal- tarello returns to bring the conclusion. [copyrighted] "THE WALK TO THE PARADISE GARDEN" Intermezzo from "A Village Romeo and Juliet" By Frederick Delius Born in Bradford, England, June 29, 1862; died in Grez-sur-Loing, France, June 10, 1934 The opera, composed in 1900-01, was first written to a German text and produced as Romeo und Julia auf dem Dorfe at the Komische Oper in Berlin under the direc- tion of Fritz Cassirer. It was presented by Sir Thomas Beecham at Covent Garden with an English text on February 22, 1910, and revived by him in the same theater in 1920. There was another production at the Royal College of Music in 1934.
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