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BOSTON SYMPHONY ORCHESTRA

FOUNDED IN 1881 BY 1/ HENRY LEE HIGGINSON SANDERS THEATRE ^ ()

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EIGHTY-SECOND SEASON 1962-1963 Under the distinguished baton of Maestro Erich Leinsdorf, new musical director, the 1962 season promises to be one of the greatest in the history of the Symphony Orchestra.

Enjoy this great orchestra in recent Red Seal recordings, Charles Munch conducting: a jewel- like Berlioz Romeo and Juliet, and two superb works by Milhaud — Suite Provencale and La Creation du Monde. Both beautifully pack- aged Soria Series albums and both available in Living Stereo, Monaural and also on Tape.

Erich Leinsdorf and the Boston Symphony record exclusively on RCA VICTOR (®)The most trusted name in sound EIGHTY-SECOND SEASON, 1962-1963

Boston Symphony Orchestra

ERICH LEINSDORF, Music Director

Richard Burgin, Associate Conductor

CONCERT BULLETIN

with historical an t i 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 John T. Noonan Theodore P. Ferris Mrs. James H. Perkins Francis W. Hatch Sidney R. Rabb Harold D. Hodgkinson Charles H. Stockton C. D. Jackson John L. Thorndike E. Morton Jennings, Jr. Raymond S. Wilkins Henry A. Laughlin Oliver Wolcott TRUSTEES EMERITUS Palfrey Perkins Lewis Perry Edward A. Taft

Thomas D. Perry, Jr., Manager

Norman S. Shirk James J. Brosnahan Assistant Manager Business Administrator Leonard Burkat Rosario Mazzeo Music Administrator Personnel Manager SYMPHONY HALL BOSTON 15 Boston Symphony Orchestra (Eighty-second Season, 1962-1963) ERICH LEINSDORF, Music Director RICHARD BURGIN, Associate Conductor PERSONNEL Violins Cellos Bassoons Joseph Silverstein Samuel Mayes Sherman Walt Concert-master Alfred Zighera Ernst Panenka Alfred Krips Martin Hoherman Matthew Ruggiero George Zazofsky Mischa Nieland Contra Bassoon Rolland Tapley Karl Zeise Roger Shermont Richard Kapuscinski Richard Plaster Vladimir Resnikoff Bernard Parronchi Horns Harry Dickson Robert Ripley James Stagliano Gottfried Wilfinger Winifred Winograd Charles Yancich Einar Hansen John Sant Ambrogio Harry Shapiro Fredy Ostrovsky Louis Berger Harold Meek Peter Schenkman Minot Beale Paul Keaney Herman Silberman Osbourne McConathy Stanley Benson Basses Leo Panasevich Georges Moleux Trumpets Sheldon Rotenberg Henry Freeman Roger Voisin Armando Ghitalla Noah Bielski Irving Frankel Alfred Schneider Henry Portnoi Andre Come Henri Girard Gerard Goguen Clarence Knudson John Barwicki Pierre Mayer Trombones Leslie Martin William Gibson Manuel Zung Bela Wurtzler Samuel Diamond Joseph Hearne William Moyer William Marshall Kauko Kahila Leonard Moss Flutes Josef Orosz William Waterhouse Doriot Anthony Dwyer Tuba Michel Sasson James Pappoutsakis K. Vinal Smith Victor Manusevitch Phillip Kaplan LaszlO Nagy Timpani Ayrton Pinto Piccolo Everett Firth Julius Schulman George Madsen Harold Farberman Lloyd Stonestreet Raymond Sird Percussion Oboes Gerald Gelbloom Charles Smith Max Winder Ralph Gomberg Harold Thompson Jean de Vergie Arthur Press Violas John Holmes Joseph de Pasquale Harps Jean Cauhape English Horn Bernard Zighera Eugen Lehner Louis Speyer Olivia Luetcke Albert Bernard Piano George Humphrey Clarinets Bernard Zighera Jerome Lipson Gino Cioffi Robert Karol Manuel Valerio Library Reuben Green Pasquale Cardillo Victor Alpert Bernard Kadinoff E\) Clarinet William Shisler Vincent Mauricci Earl Hedberg Bass Clarinet Stage Manager Joseph Pietropaolo Rosario Mazzeo Alfred Robison

[4] EIGHTY-SECOND SEASON • NINETEEN HUNDRED SIXTY-TWO -SIXTY-THREE

Third Program

TUESDAY EVENING, December 4, at 8:30 o'clock

Bach Cantata No. 18, "Gleich wie der Regen und Schnee vom Himmel fallt" (Sinfonia and Chorale)

Haydn Symphony in D major, No. 96

I. Adagio; Allegro

II. Andante III. Menuetto IV. Finale: Allegro vivace

Milhaud Concerto for Viola and Orchestra

I. Anim6

II. Lent III. Souple et anime IV. Vif INTERMISSION

Mahler Symphony in D major, No. 1

I. Langsam. Schleppend wie ein Naturlaut II. Kraftig bewegt, doch nicht zu schnell III. Feierlich und gemessen, ohne zu schleppen IV. Sturmisch bewegt

SOLOIST JOSEPH de PASQUALE

BALDWIN PIANO RCA VICTOR RECORDS

The next concert in this series will be given on Tuesday evening, January 15.

[5] .

CANTATA NO. 18, "Gleich wie der Regen und Schnee vom Himmei fallt" (Sinfonia and Chorale) By Johann Sebastian Bach

Born in Eisenach, March 21, 1685; died in Leipzig, July 28, 1750

This Cantata, in A minor, was composed for Sexagesima Sunday (the second Sunday before Lent), probably in the year 1714 (when it would have been performed on

February 4). The Sinfonia is scored for 2 flutes,* violas in four parts, bassoon, cello and continuo.t

T) ach set a text by Erdmann Neumeister, a contemporary divine who -*-* wrote a large number of texts for cantatas and hymns. This Cantata was also set by Telemann. The opening words, sung as a dramatic bass

recitative, are taken from the Book of Isaiah (XVI, 10):

"For as the rain cometh down, and the snow from heaven, and returneth not thither, but watereth the earth, and

maketh it bring forth and bud, that it may give seed to the sower, and bread to the eater."

Between the introductory Sinfonia and the final chorale here per- formed, there are a bass recitative, a tenor recitative (litany) with choral interjections and a soprano aria.

* The score indicates Blockfluten ( recorders )

t The continuo will be played on a positive organ, by Daniel Pinkham.

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16] The Sinfonia is considered by Albert Schweitzer as expressing "stead- fast and confident faith. It will not seem an improbable assumption that here he is symbolizing the steadfastness and inviolability of the word of God that is uttered later." This introduction is in the form of a Chaconne based upon the following opening theme:

The first two violas are paired with the two flutes throughout, while the remaining two violas support the bass continuo. The final chorale with the same orchestral accompaniment has the following text:

Ich bitt' o Herr aus Herzens Grund, Du wollst nicht von mir nehmen. Dein heil'ges Wort aus meinem Mund; So wird mich nicht beschamen

Mein Siind' und Schuld, denn in dein' Huld Setz ich all mein Vertrauen. Wer sich nur fest darauf verlasst Der wird den Tod nicht schauen. [copyrighted]

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[7] SYMPHONY IN D MAJOR, NO. 96 By Joseph Haydn

Born in Rohrau, March 31, 1732; died in Vienna, May 31, 1809

This symphony was composed in 1791, and first performed at the Square Rooms in London on March 11, 1791. What may have been the first performance in Boston was given by the Harvard Musical Association orchestra, Carl Zerrahn con- ductor, January 21, 1869. There have been subsequent performances in Boston, but not by the Boston Symphony Orchestra until November 16, last. The instruments required are 2 flutes, 2 oboes, 2 bassoons, 2 horns, 2 trumpets, timpani and strings. The number 96 would imply that this was the fourth of the London Symphonies, the twelve which rounded out the total of 104. According to the assembled evidence of H. C. Robbins Landon, No. 96 was actually the first. The current and now gen- erally accepted numbering of Haydn's symphonies is not always chronological, but is being carefully preserved in order that there may be no relapse into the state of con- fusion which existed for years, when they were variously numbered — and lettered — by various editors. Any chronology of the symphonies must depend upon the dates of first performances, since dates of composition are in many cases unobtainable.

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Twelve subscription concerts were given by Johann Peter Salomon in the Hanover Square Rooms on successive Fridays, from March

11, 1791 through June 3. Haydn, whom Salomon had brought to London at the beginning of the year, was the special guest and the main attraction. A "new" symphony was announced and performed at each evening, always opening the second part which was the place of honor in the program. Haydn presided at the harpsichord* while Salomon, as "leader," was the concertmaster. Salomon had announced a new symphony by Haydn for each concert, having contracted for six. The assignment was met to the public's satisfaction, although only two actually new symphonies were then composed (Nos. 96, and 95 in C minor). The "new" symphonies presented each Friday were actually either new to London, or a repetition "by particular desire" of one which had been played in the week before. The ninety-sixth was per- formed at four of the concerts, if not more. It was announced in the ninth week as "the favorite overture." Which symphonies were per- formed cannot always be known, since the printed announcements merely said: "New Overture" or "New Grand Overture," omitting any identification. No. 95 was performed at least twice.

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[9] The Adagio of this symphony, an introduction of sixteen measures,

has a special grace of phrasing in the first violin part, which is to become characteristic of the whole symphony, exploiting the alternation of expressive dotted and slurred notes. The Allegro has a main subject extended in presentation and treated with adroit modulation, as a

subsidiary subject grows from it. The Andante is in a 6/8 grazioso manner, with a violin subject elaborated by grace notes. The move- ment gains animation by the use of six triplets to a bar, two violin solos

set against ripieno parts. There are light suspensive woodwind trills

before the final cadence. There is a rather ceremonial Minuet and a light and contrasting trio with oboe solo. The final Vivace, again favor- ing the violins, has a supple, purling sort of theme like a perpetuum

mobile, sparkling with much chromatic manipulation. There is a minor section that casts no shadow. The key transitions are Haydn's

adroit fantasy at its best. He seldom spoke specifically about his music, but when he sent his first two London Symphonies to Frau von Gen- zinger in Vienna to be delivered to the Ritter Bernhard von Kees, in order that this wealthy patron might have them performed and add

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[10J them to his collection, he urged special care for the Finale of this one, realizing that it would be ruined by heavy-handed treatment: "Please tell Herr von Kees that I ask him respectfully to have a rehearsal of both these symphonies because they are very delicate, especially the last movement of that in D major, for which I recommend the swiftest piano and a very quick tempo." [copyrighted]

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[»] CONCERTO FOR VIOLA AND ORCHESTRA By

Born in Aix-en-Provence, September 4, 1892

The Concerto pour Alto et Orchestre was composed in 1929, and first performed by the Concertgebouw Orchestra in Amsterdam on December 15, 1929. Paul Hinde- mith was the soloist. The first performance in the United States was by the Cincin- nati Orchestra, February 27, 1931, when Vladimir Bakaleinikov was soloist. The orchestra required includes 2 flutes and piccolo, 2 oboes, 2 clarinets and bass clarinet, 2 bassoons, 2 horns, 2 trumpets, single trombone and tuba, harp, timpani, tambourine, cymbals, triangle, bass drum, tarn tam, and strings. Milhaud wrote a second viola concerto for William Primrose (the catalogue gives the date November 2, 1954, at Mills College in Oakland, California). Mr. Primrose has played it in Aspen, Colorado.

npHE first movement proceeds at a lively pace, the soloist having both -* the thematic lead and a succession of chords and running figures

which leave him not a single bar unoccupied. The slow movement is based on a melody in 5/8 measure. A duet by the muted strings and then the woodwinds is echoed by the viola, which presently accom-

panies them with arpeggios, and is ultimately paired with the oboe. More arpeggios close the movement. The finale in 2/4 opens as the viola gives the lilting theme. The solo part becomes ornamental with

unaccompanied passages, and after a prolonged trill, restates the theme

which is developed over passage work by the soloist without cessation and with increasing elaboration to the end. [copyrighted]

Joseph de Pasquale was born in , October 14, 1919.

He is a graduate of the Curtis Institute, having studied with Louis Bailly, Max Aronoff and William Primrose. For the duration of the war he played in the Marine Band of Washington, D. C, subsequently joining the viola section of the American Broadcasting Company Orchestra in New York. He became first viola of the Boston Symphony Orchestra in 1947. BRIGGS & BRIGGS, INC. presents on RCA VICTOR RECORDS BERLIOZ Romeo and Juliet MILHAUD |La Creation du Monde [Suite Provencale CHARLES MUNCH with the BOSTON SYMPHONY ORCHESTRA ALL BOSTON SYMPHONY RECORDINGS available at BRIGGS & BRIGGS, INC. 1270 MASS. AVE. HARVARD SQUARE Opp. Widener Library KI 7-2007

[12] SYMPHONY NO. 1 in D major By Gustav Mahler

Born in Kalischt in Bohemia, July 7, i860; died in Vienna, May 18, 1911

Completed probably in 1888, Mahler's First Symphony had its initial performance at , November 20, 1889. It was performed in Hamburg in the autumn of 1892, and through the efforts of Richard Strauss at Weimar, in June, 1894. The sym- phony was heard in as part of a Mahler program, March, 1896. The first performance in the United States was at a concert of the Philharmonic Society of New York, December 16, 1909, Mahler conducting. The orchestration requires 4 flutes (with 2 piccolos), 4 oboes, English horn, 3 clarinets, 2 clarinets in E-flat, bass clarinet, 3 bassoons, contra-bassoon, 7 horns, 4 trumpets, 3 trombones, tuba, timpani, bass drum, cymbals, triangle, tam-tam, harp, and strings. The symphony was published in 1898. The printed score showed considerable revision, and the entire omission of a second movement, "A Chapter of Flowers."

When Mahler sketched out the vast proportions of his First Sym- phony, he was a youthful idealist of soaring artistic ambitions and little recognition. He had written much, but his music lay in manuscript, unperformed. He had lit his torch from Wagner and Bruckner, steeped himself in the romancers of 's past — her poets and philosophers. But while his head was in the clouds, his feet were planted before the conductor's desk of one provincial theater and another, where there fell to him the "second" choice of operas by Lortzing or Meyerbeer. When he had the opportunity to conduct Wagner and Mozart at Olmiitz, he could not bring himself to "profane" their music with the sorry forces at his disposal. That Mahler profited by his conductorial apprenticeship is indicated by the detailed com- mand of orchestration shown in this symphony; also by his sudden success and popularity as conductor when the opportunity came to him in Leipzig in 1884. Mahler probably worked upon his First Symphony in the years 1883 and 1884, when he was second conductor at Cassel. The "Lieder eines jahrenden Gesellen" ("The Songs of a Journeyman," for voice and orchestra) were also written about this time, and one of them found its way into the symphony. His duties as conductor were far from inspiring. Where his heart lay is indicated by a pilgrimage to Bayreuth, where he was deeply moved by the disclosure of "Parsifal," and another to Wunsiedel, to sense the landscape of Jean Paul Richter. Having become a conductor

Designers of the instruments for: THE BOSTON SYMPHONY ORCHESTRA THE DETROIT SYMPHONY ORCHESTRA THE PHILADELPHIA ORCHESTRA THE

[13] of outstanding fame through engagements at Leipzig and at , Mahler became Director of the Royal Opera at Pesth in 1888, and in 1889 had the opportunity to perform his symphony at a Philharmonic concert (November 20) , before a public which had come to admire and respect his abilities in the highest degree. It must be reported that, with every good will towards their conductor, the Hungarian audience found the symphony perplexing. It was with later experience that Mahler learned to abhor "pro- grams" for his symphonies. This one was first heard with fanciful titles sanctioned by the composer. At the original Budapest per- formance, it was named as a "Symphonic Poem in two parts." Mahler, hoping perhaps to induce an understanding of his emotional approach, gave out a title for the subsequent performances in Hamburg and Weimar: "The Titan," referring to the novel of that name by Jean Paul, and these indications of the movements:

"Part I. Days of Youth. Youth, flowers and thorns.

1. Spring without end. The introduction represents the awakening of nature at early dawn. [In Hamburg, it was called 'Winter Sleep.']

2. A Chapter of Flowers. [This movement, an andante, was omitted altogether after the Weimar performance.]

3. Full sail! (Scherzo.)

Part II. Commedia umana.

4. Stranded. A funeral march a la Callot. [At Weimar it was called 'The Hunter's Funeral Procession.'] The following remarks may serve as an explanation, if necessary. The author received the external incitement to this piece from a pictorial parody well known to all children in South Germany, 'The Hunter's Funeral Procession.' The forest animals accom- pany the dead forester's coffin to the grave. The hares carry flags; in front is a band of Gypsy musicians and music-making cats, frogs, crows, etc.; and deer, stags, foxes, and other four-footed and feathered denizens of the forest accompany the procession in comic postures. In the present piece the imagined expression is partly ironically gay, partly gloomily brooding, and is immediately followed by

5. Dall' Inferno al Paradiso (allegro furioso), the sudden outbreak of a pro- foundly wounded heart."

Mahler, composing, no doubt, in a spirit of romantic fantasy, prob- ably wrote down such word images as occurred to him, in something of the free and ranging mood of Jean Paul, who, describing the in- toxicating idealism and godlike virtue of his hero, could catch up a listener sufficiently attuned into a sympathetic transport. It was a state of mind in which Jean Paul, a Callot engraving, and a naive French canon could merge into a single musical episode without inconsistency. Mahler had cause to learn that the general understanding was not so fancy-free and pliable. There are those who must have the full story, if there is any hint of one. If there is a funeral march they demand the full particulars — and ask, "Who is being buried?" [copyrighted]

[14] THE HARVARD GLEE CLUB THE

Elliot Forbes, Director

THE HARVARD-RADCLIFFE ORCHESTRA

Henry Swoboda, Director

present

«Le Mystere de la Nativite"

by the distinguished Stviss composer FRANK MARTIN

Henry Swoboda Conducting

Two Preview Performances

of the CARNEGIE HALL AMERICAN PREMIERE

Friday, Saturday, December 14, 15 • 8:30 P.M.

SANDERS THEATRE

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