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71 r BOSTON SYMPHONY ORCHESTRA

FOUNDED IN 1881 BY HENRY LEE HIGGINSON *Ift7 TUESDAY EVENING "CAMBRIDGE" SERIES

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EIGHTY-SIXTH SEASON 1966-1967 BARTOK: Violin Concerto No. 2 ^% The Boston Symphony STRAVINSKY: Violin Concerto «£ { Joseph Silverstein Boston Symphony Orchestra/Erich Leinsdorf under Leinsdorf

In a recording of remarkable sonic excellence, concertma Joseph Silverstein and the Boston Symphony under Leinsc capture the atmospheric sorcery of two of the most in fluet violin works of this century: Bartbk's Concerto No. 2 and S

vinsky's Concerto in D . If ever a composer could be ca a "musical poet" it is Schumann and— in a beautifully pa performance of his Fourth Symphony — Leinsdorf and Bostonians movingly portray its simple eloquence, from *&' melancholy slow-moving opening to the dramatic rusi

Schumann /Symphony No. 4 ess scales that herald one of the most exciting codas of s Beethoven /Leonore Overture No. 3 phonic literature. Both albums in D ynaproove sound. Boston Symphony /Leinsdorf

rca Victor 5The most trusted name in sound JGHTY-SIXTH SEASON, 1966-1967

CONCERT BULLETIN

OF THE

Boston Symphony Orchestra ERICH LEINSDORF, Music Director

Charles Wilson, Assistant Conductor

Inc. Copyright, 1967, by Boston Symphony Orchestra,

The TRUSTEES of the BOSTON SYMPHONY ORCHESTRA, Inc.

Henry B. Cabot President Talcott M. Banks Vice-President John L. Thorndike Treasurer

Philip K. Allen E. Morton Jennings, Jr. Abram Berkowitz Henry A. Laughlin Theodore P. Ferris Edward G. Murray Robert H. Gardiner John T. Noonan Francis W. Hatch Mrs. James H. Perkins Andrew Heiskell Sidney R. Rabb Harold D. Hodgkinson Raymond S. Wilkins TRUSTEES EMERITUS Palfrey Perkins Lewis Perry Edward A. Taft

Thomas D. Perry, Jr., Manager

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

Sanford R. Sistare Harry J. Kraut Press and Publicity Assistant to the Manager Andrew Raeburn Assistant to the Music Director SYMPHONY HALL BOSTON [31 To the prosperous, overworked man who'd like to get off the night shift

If we could talk more of you men into giving up part of your night-time investment work and getting to sleep earlier, we think we'd be doing a service to you and your families. And to your companies. You might think about giving us some of the mechanical chores: keeping books, collecting dividends, clipping cou- pons, keeping tax records. You may want to turn the whole thing over to us. Or use us as an advisor. But the important thing right now is to get you down here to talk with our investment managers and let them show you how easy it is to help you out. Old Colony has a larger full-time investment staff than any other bank in New England. Won't you call on us? THE FIRST & OLD COLONY The First National Bank of Boston and Old Colony Trust Company

[4] EIGHTY-SIXTH SEASON NINETEEN HUNDRED SIXTY-SIX-SIXTY-SEVEN

Sixth Program

TUESDAY EVENING, April 18, at 8:30 o'clock

Beethoven Symphony No. 2, in D major, Op. 36

I. Adagio molto; Allegro con brio

II. Larghctto

III. Scherzo: Allegro

IV. Allegro molto

( Iolgr vss As Quiet As

A Leaf Turning Coloi s An Uninhabited (reck An Ant Walking Children Sleeping Time Passing

A Soft Rainfall

The First Star Coming Out

(First perforttiance in this series)

INTERMISSION

Brahms Violin Concerto in D major, Op. 77

I. Allegro non troppo

II. Adagio

III. Allegro giocoso, ma non troppo vivace

SOLOIST JOSEPH SILVERSTEIN

BALDWIN PIANO RCA VICTOR RECORDS

[5] ^><

AN UNEXPECTED BUT WELCOME GIFT

Concord, Massachusetts February 22, 1967 Dear Mr. Thorndike

Three seasons ago the Concord Ladies of the Friday Afternoon Symphony series decided to charter a bus to take them to and from the concert.

This has proved to be a great success although we had no intention of making money from the enterprise. However, we do have a surplus fund and so decided that it was appropriate to forward some of this accumulation on to the Orchestra.

I enclose our check for $250.00 with best wishes for the continued success of our great Orchestra.

Most sincerely,

Priscilla O. Barker for the "Chartered Bus" and "The Concord Ladies of the Friday Afternoon series of the BSO"!

«] SYMPHONY No. 2, IN D MAJOR, Op. 36 By Ludwig van Beethoven Born in Bonn, December i6(?), 1770; died in Vienna, March 26, 1827

The Second Symphony, composed in 1802, was first performed April 5, 1803, at the Theater- an- der-Wien in Vienna. Dedicated to Prince Carl Lichnowsky, the Symphony is scored for 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, timpani and strings. At Heiligenstadt in 1802, Beethoven expressed himself almost simul- taneously in two startlingly different ways. In October he wrote the famous "Heiligenstadt testament," pouring out his grief at the full realization that his deafness was incurable into a document carefully sealed and labelled "to be read and executed after my death." Before this and after, working intensively, making long drafts and redrafts, he composed the serene and joyous Second Symphony. Writers have constantly wondered at the coincidence of the agonized

"testament" and the carefree Symphony in D major. Perhaps it must be the expectation of perennial romanticism that a "secret sorrow"

must at once find its voice in music. Beethoven at thirty-two had not yet reached the point of directly turning a misfortune to musical account — if he ever reached such a point. He was then not quite ready to shake off the tradition of Haydn and Mozart, who had their own moments of misery, but to whom it would never have remotely

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162 BOYLSTON STREET, BOSTON • ALSO WORCESTER, SPRINGFIELD [7] occurred to allow depressed spirits to darken the bright surfaces of , their symphonies. Beethoven found a way, soon after, to strike notes of poignant grief or of earth-shaking power such as music had never known. He found the way through the mighty conception of an imagi- nary hero — not through the degrading circumstance that the sweet strains of music were for him to be displaced by a painful humming and roaring, the humiliating thought that he was to be an object of ridicule before the world — a deaf musician. That terrible prospect might reasonably be expected to have driven him to take glad refuge in his powers of creation, to exult in the joyous freedom of a rampant imagination, seizing upon those very delights of his art from which the domain of the senses were gradually shutting him out.

And indeed it was so. Writing sadly to Dr. Wegeler of his infirmity, he added: "I live only in my music, and I have scarcely begun one thing when I start another. As I am now working, I am often engaged on three or four things at the same time." He composed with unflagging industry in the summer of 1802. And while he made music of unruffled beauty, Beethoven maintained the even tenor of his outward life. Ferdinand Ries, who was very close to Beethoven at this time, has told the following touching incident: "The beginning of his hard hearing was a matter upon which he was so sensitive that one had to be careful not to make him feel his deficiency by loud speech. When he failed to understand a thing he generally attributed it to his absent-mindedness, to which, indeed, he was subject in a great degree. He lived much in the country, whither I went often to take a lesson from him. At times, at 8 o'clock in the morning after breakfast, he would say: 'Let us first take a short walk/ We went, and frequently did not return till 3 or 4 o'clock, after having made a meal in some village. On one of these wanderings Beethoven

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Offices in Cambridge, Arlington, Belmont, Concord and Littleton MEMBER E.D.I.C. [9] concerning which gave me the first striking proof of his loss of hearing, Stephan von Breuning had already spoken to me. I called his attention on a flute to a shepherd who was piping very agreeably in the woods made of a twig of elder. For half an hour Beethoven could hear nothing, and though I assured him that it was the same with me (which was not the case), he became extremely quiet and morose. When occasionally he seemed to be merry it was generally to the extreme of boisterousness; but this happened seldom." which It may have been this pathetic episode of the shepherd's pipe brought before Beethoven with a sudden vivid force the terrible dep- rivation of his dearest faculty. It may have precipitated the Heiligen- stadt paper, for in it he wrote: "What a humiliation when one stood beside me and heard a flute in the distance and / heard nothing, or someone heard the shepherd singing and again 1 heard nothing; such incidents brought me to the verge of despair. A little more, and I would have put an end to my life — only art it was that withheld me. all Ah, it seemed impossible to leave the world until I had produced

1 felt called upon to produce." To his more casual friends there could have been no suspicion of

the crisis, the thoughts of suicide which were upon him at this time. He dined with them as usual, made music and joked with them, wrote peppery letters to his publishers, composed constantly. His serious

FIRST BOSTON APPEARANCE! The Entire Company and Orchestra of the NEW YORK CITY BALLET Sponsored by THE CAMBRIDGE SCHOOL OF BALLET

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[»] attentions to Giulietta Guicciardi were then brought to an abrupt end, it is true, but it was known that this was not his first affair of the heart. Only after his death did the publication of the "Heiligenstadt Testa- ment" make known the hopeless and anguished mood of Beethoven in 1802. This remarkable document was signed on October 6, and must have been written at the end of his summer's sojourn in the then idyllic district of Heiligenstadt. The Symphony in D major had been sketched in part by the spring of that year (Nottebohm, studying the teeming sketchbooks of the time, found extended and repeated drafts for the Finale, and the theme of the Larghetto — first written for horns). The symphony must have been developed in large part during the summer. It was certainly completed by the end of the year in Beethoven's winter quarters. It hardly appears that Beethoven spent this period in futile brooding. The three Violin Sonatas, Op. 30, were of this year; also the first two Pianoforte Sonatas of Op. 31, the Bagatelles, Op. 33, the two sets of variations, Op. 34 and Op. 35, and other works, including, possibly, the Oratorio Christ on the Mount of Olives, and the Piano- forte Concerto in C minor, the date of whose completion is uncertain.

"De profundis clamavit!" added Thayer, quoting the Heiligenstadt will, and others have looked upon it as a poignant and intimate con- fession, made under the safety of a seal by one who had in conversation kept a sensitive silence on this subject. Sceptics have looked rather askance at the "testament" on account of its extravagance of language, its evident romantic self-dramatization, its almost too frequent apos- trophes of the Deity. It was indeed the effusion of a youthful romantic, whose lover's sighs had lately produced something as enduring as the "Moonlight" Sonata. The sorrow of the "testament," however expressed, was surely real enough to Beethoven. He was brought face to face at last with the necessity of openly admitting to the world HIGH

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[12] Both son and father of noted clarinetists, Gino Cioffi is an acknowl- edged master of the instrument. From

his student days at the Conservatory in his native Naples, where he studied under the celebrated Piccone and Carpio and graduated at seventeen, the First Clarinet of the Boston Symphony was distinguished for his warm and singing tones and dexterous phrasing.

Following his arrival in America, he played with a virtual "Who's Who" of musical organizations: the Pittsburgh Symphony under Fritz Reiner, the Cleveland Symphony under Rodzinsky and Leinsdorf, the NBC Symphony under Toscanini, the Metropolitan Opera Orchestra, and the New York Philharmonic under Bruno Walter. When he came

to the Boston Symphony in 1950, it was under the baton of Dr. Charles Munch.

A clarinet teacher at the New England Conservatory, at Boston University, and at Tanglewood, Gino Cioffi is particularly proud of his musician sons: Andrew, assistant first clarinet with the U.S. Army Band, and Albert, a music teacher who departs from family tradition by performing professionally on — the trumpet!

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h3l what had long been only too apparent to all who knew him, although he had mentioned it only to his most intimate friends. The knowledge of his deafness was not new to him. In the summer of 1800 (or as Thayer conjectures, 1801), he wrote to Carl Amenda, "Only think that the noblest part of me, my sense of hearing, has become very weak," and spoke freely of his fears. In the same month (June) he wrote at length to his old friend Dr. Wegeler at Bonn: "I may truly say that my life is a wretched one. For the last two years 1 have avoided all society, for it is impossible for me to say to people 'I am deaf.' Were my profession any other, it would not so much matter, but in my profession it is a terrible thing; and my enemies, of whom there are not a few, what would they say to this?"

The Second Symphony is considerably more suave, more freely dis- cursive than the First. The success of the First had given Beethoven assurance, but, more important, the experience of the First had given him resource. The orchestral colors are more delicately varied, making the music clear and luminous from beginning to end, giving the first

movement its effect of brilliant sunshine, the Larghetto its special sub- dued glow, emphasizing the flashing changes of the scherzo and the dynamic contrasts of the finale. The symphony can be called the con- summation of the classical concept where smoothly rounded forms are clothed in transparent, sensuous beauty of tone. This was the kind of music which Beethoven had long been writing in his sonatas, and which he had lately transferred, with superb mastery, to stringed instru- ments in his first set of quartets. Opus 18, like his pieces for wind groups, was as a preparation for the Symphony in D major, which became the most striking, tonally opulent, and entirely remarkable achievement of the "pupil of Haydn." This manner of music could go no further -no further at least in the restless and questing hands of

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601 BOYLSTON STREET are not filled. Mail and telephone orders (near the corner of Dartmouth Street) do not ship. A catalog is not issued. We In Boston's Historic Copley Square PINE & PRINT must be personally unmitigated Mon. thru Fri. 'til 9 P.M. savored. The savoring is Open us. fun There's no intrusion from Sat. 'til 6 P.M. friendly Browsing is the pattern — with Your help when you want help only. PINE & PRINT Greeting Cards wide array choices will be made from a are de rigueur. Nothing prosaic extravagant gifts. of exclusive but not here. Do come often — with both^ Frankly all quite irresistible. your card and gift lists Beethoven. Indeed, beneath its constructive conformity, its directly appealing melody and its engaging cheerfulness, the Symphony was full of daring episodes threatening to disrupt the amiable course of orches- tral custom. It seems incredible that this music, so gay and innocuous to us, could have puzzled and annoyed its first critics. But their words were unequivocal, one finding the Finale an unspeakable monstrosity. This was the movement which shocked people most, although, strangely enough, the Larghetto was not always favored. Berlioz has told us that at a Concert Spirituel in Paris in 1821 the Allegretto from the Seventh was substituted for this movement — with the result that only the Allegretto was applauded. The first movement always commanded respect and admiration; in fact, one critic referred to it as ''colossal" and "grand," adjectives made strange to us by what has followed. Probably the sinewy first theme, suddenly following the long and

meandering introduction, elastic and vital in its manipulations, was found startling, and the second theme, which Rolland has called a revolutionary summons to arms, surely stirred the blood of Vienna in 1803. There were also the rushing intermediate passages and the thundering chords in the coda. Certainly Beethoven had never used

his ingenuity to greater effect. But it is the melodic abundance of the Larghetto in A major which first comes to mind when the Symphony

is mentioned. This movement reaches lengths not by any involved ornamental development, but by the treatment of its full-length phrases and episodes in sonata form. Never had a movement generated such an unending flow of fresh, melodic thoughts. Even the bridge passages contribute to make the songfulness unbroken. As Beethoven for the first time turned the orchestral forces on the swift course of one of his characteristics scherzos, with its humorous accents, the effect was more startling than it had been in chamber combinations. The trio in particular plunges the hearer unceremoniously into F-sharp, where- upon, as suddenly returning to D, it beguiles him with a bucolic tune. In the finale, Beethoven's high spirits moved him to greater bold- ness. Sudden bursts of chords, capricious modulations, these were regarded as exhibitions of poor taste. The explosive opening, coming instead of the expected purling rondo tune, must have had the effect of a sudden loud and rude remark at a polite gathering. Success, they would have said, had gone to the young man's head. J. n. b. JEWELERS 81 Charles St. BEACON HILL WHKto M- !>ANA,inc A custom designing service is available

[16] off key? Investment issues throwing you every t.ck of the metro- is always allegro. With in the financial world, the tempo estate changes hands, corporations sue and bonds rise and fall, real nome,nome stockssocks _°°^ someone must know the manage*substantialwan capitalp profitably, ceed and fa. . To ^^^ js Boston Safe for the job. It is not S^SESl CompTnTloslon frust is eminently qualified does not finance home mort- the usual commercial bank. It clubs. Its pri- automobiles, or organize Christmas gages and BOSTONDEPOSIT AND and helping it grow-and SAFE JJ|^ mary function is conserving capital phase of skilled specialists in every to this task it brings TRUSTS oPPortunityof work- Mass 02106 we have the 100 FranM"1 Sfeet. Boston. cap management 1! May investment needs and objectives? ing in accord with your [i7l AS QUIET AS By Michael Colgrass Born in Chicago, Illinois, in 1932

The following instrumentation is required: 3 flutes, alto flute and piccolo, 3 oboes and English horn, 3 clarinets and bass clarinet, 3 bassoons, 4 horns, 3 trumpets, 3 trombones and tuba, timpani, 2 harps, piano, celeste and harpsichord, sleighbells, wood blocks, glockenspiel, tam-tam, vibraphone, tenor drum, suspended cymbal, tubular chime, Indian drum, glass wind chimes, triangles, sizzle cymbal, crotale, bass drum and strings. As Quiet As was commissioned by the Fromni Music Foundation for performance at the Berkshire Festival, and was first performed at Tanglewood by the Berkshire Music Center Orchestra, conducted by Gunther Schuller, on August 18, 1966.

Mr. Colgrass has kindly supplied the fol- lowing information about his composition. As Quiet As was inspired by the answers of fourth-grade children **- asked by their teacher to complete the sentence beginning "Let's ." be as quiet as. . . From the twenty-one answers compiled by Con- stance Fauci and printed in the New York Times in December, 1961,

I chose seven that seemed to make a nature study as might be per- ceived by a child. My purpose was to depict the very nature of each

metaphor, as if 1 were demonstrating to a blind person the essence of

a leaf as it changes color, of a creek abandoned even by birds, and of an ant — or many ants — skittering about. "Children Sleeping" and "Time Passing" are like a dream sequence. Following light breathing and heartbeats, a sonatina written by Beethoven as a child appears through a montage of "sleeping sound," and then reappears frag- mentarily in musical styles from 1800 to the present — Haydn, Sibelius,

Ravel, Stravinsky, Count Basie — as if one were taking a fleeting glance

at music history moving through time. The Jazz is interrupted by a distant "sound" which ends the dream, and the last setting (Webern)

is in post-war style. "A Soft Rainfall" and "The First Star Coming Out" are the spring and summer counterparts of the autumnal leaf

and creek, and are related musically as well. The creek is now a rain-

fall, and the leaf a soft blanket of night across which stars flicker like

a million raindrops turned to crystal. As Quiet As is dedicated to children, with love and with hope.

• •

Following graduation from the University of Illinois in 1954, Michael Colgrass went to New York City where he performs as a free-lance musician with most of New York's major musical organizations. Recent works include Rhapsodic Fantasy for fifteen drums (one player) and orchestra, which the composer premiered as soloist with the Danish Radio Orchestra in Copenhagen in November, 1965, and a ballet score to Gerald Arpino's Sea Shadoius. Mr. Colgrass has studied primarily with Paul Price, Eugene Weigle and Ben Weber. Rhapsody for clarinet, violin and piano was commissioned in 1963 by the clarinetist Arthur Bloom, who premiered the trio in New York City that year with the Group for Contemporary Music at Columbia University.

[18] A LETTER TO OUR SUBSCRIBERS FROM ERICH LEINSDORF

without which DIENCES and performers need constant interaction, a promise that A no vital musical life is possible. In 1962, I made subscribers, from time to time, especially I would report to you, our the on matters which may not be easily visible or audible. Wc here at that we do Boston Symphony recognize that we are indeed fortunate appeal," as they do not Buffer horn the necessity for "instant box office Subscribers, with their in countries without our subscription system. hence my loyalty and faith, are our guarantee of artistic freedom; concern that you should be as fully informed as possible. controversial question Before going into the challenging and often that during the years 1962-1967, the of programs, 1 should mention Boston Symphony following members will have retired from the or will have departed Orchestra (with its extremely (me pension plan) pursuits in other from the Orchestra to continue their professional Assistant Conductor areas: Richard Burgin (Concertmaster 42 years, Beale years in 8 years, and Associate Conductor 23 years); Minot (28 Cauhape the Orchestra); Louis Berger (10); Albert Bernard (43); Jean Jean deVergie (39); Harold Farberman (43); Joseph dePasquale (17); Freeman Henri Girard (46); (12); Irving Frankel (46); Henry (22); Pierre Mayer Samuel Einar Hansen (39); George Madsen (30); (40); McConathy (21); Harold Mayes (16); Rosario Mazzeo (31); Osbourne Vladimir Resnikoff Peter Meek (20); Bernard Parronchi (20); (32); Kilton V. Smith (27); Louis Schenkman (3); Jascha Silberstein (2); Manuel Valerio (32); Winifred Speyer (45); Lloyd Stonestreet (43); Manuel Zung (40). We very much Winograd (7); Alfred Zighera (38); Symphony regret the death of Georges Moleux, who was in the Boston that time). These musi- for 36 years (as principal bass for 27 years of in auditions cians have been replaced by others who have competed for these vacant chairs. Our audition system, which I inherited but which I shall continue two parts. Any qualified because it is an eminently fair one, consists of a member of the American Federation of Musicians who learns of vacancy may apply to our personnel manager. On the appointed day Hall, where they a large number of candidates appear at Symphony Boston Sym- are heard by a committee of first-desk players from our phony Orchestra. During this audition the candidates play behind a heavy curtain, and the judges do not know the name of the player, if candidate is judged solely he is male or female, young or old, etc. The on the basis of his performance, the best being selected for the "finals," recheck their to which I listen, assisted by the committee who can thus (especially earlier impressions. Even advances within the Orchestra [19] when chairs of the first two or three desks of string sections are involved) are filled by audition — not only with the consent but actually by the wish of the Orchestra members. This seems to be artistically a most satisfactory practice, as our members get the gratification of not only keeping their solo work on a high level but also a chance to shine in their own rights on a number of occasions. Perhaps the most significant development during my five years with the Boston Symphony has been the establishment of the Boston Sym- phony Chamber Players, a group of first-desk men who, at the con- clusion of this season will make a six-weeks' tour including the Soviet Union. They toured in the United States during the spring of 1966. They record for RCA Victor a repertoire not usually associated with regular chamber organizations. This project was developed at a time when we felt that the very highly accomplished solo players of this Orchestra would get an additional sense of gratification and their artistic identity by playing not only the orchestral repertoire but chamber music as well. Our seasonal division into Symphony season and Pops season (nine weeks each spring when the first-desk men do not take part) makes such a project particularly feasible for the Boston Symphony. The overall program, promised five years ago, of presenting to our public a fairly complete coverage of repertoire, old and new, has, I think, proceeded according to this plan; and I hope to have fulfilled at least most of my promises.

The winter season is of course divided into many different subscrip- tion series, varying in length from the twenty-four Friday/Saturday series in Boston to one Thursday series which has three concerts. There are many variations in between. There is a Tuesday series of ten concerts, two Tuesday series of six concerts each, a Thursday series of six concerts, a series of seven Thursday open rehearsals; two series of five concerts each in New York, and a Providence series of five concerts.

Naturally with these different numbers of subscription concerts, it is not possible to give to six the same broad coverage of the repertoire as to twenty-four; yet I pay much attention to having the short series well-balanced — to attain as much variety as possible, to balance late eighteenth century music with early twentieth century, the classical period with the romantic, and to select contemporary pieces well distributed, through these series. As in all the arts, cultivation of the contemporary spirit seems controversial. No admonitions or apologies are here offered. I am delighted to receive (as I do frequently) letters from our subscribers, giving me their views of what they like to hear and what they reject. Considering that the Boston Symphony Orchestra has twelve dif- ferent subscription audiences, the total number of our subscribers,

[20] not counting those who split tickets with friends, may reach well over 30,000 people in the communities of Boston, Providence, and New-

York. It is evidently impossible to play everybody's favorite every time. But 1 am aware that in every program I must try to resolve as best as possible the conflicting tastes of our many groups of listeners. We have been very fortunate in some of our premiere performances. (In the appendix are listed all the premieres we have done. Of course something which may have been a Boston premieie may not have been a "first" for New York. You may not have heard a specific work if it was not in your short series. I am trying to give you a full round-up of these five years and what went into the building of our program.)

I feel that the two works of Benjamin Britten, the War Requiem and the Symphony for Cello and Orchestra with Rostropovich. were significant American premieres to name just two. This season, 1966- 1967, we have premiered among other works the Piano Concerto of Elliott Carter with the pianist Jacob Lateiner, and in Boston, a set of seven pieces, As Quiet As by Michael Colgrass. A recording of the Carter and the Colgrass constitutes an important step in a system of foundation sponsorship, of ventures which at first glance do not seem to promise large sales yet which should be made available to people who are interested in following the latest trends in music and who need repeated hearings to do so. It was with par- ticular gratification that I received notice from the National Council on the Arts (Roger Stevens, Chairman) of a grant which they gave us for the recording of these contemporary works. It had as its one con- dition the free availability of this record to libraries asking for it. RCA has very generously and graciously not only agreed to this, but has also agreed to keep the work in their catalogue for seven years — the stipulation of the Martha Baird Rockefeller Foundation, which also helped with this project. In addition, RCA also contributed the entire technical part of the recording process, sending up their crew and equipment, and processing and issuing the record — their donation to this singularly important enterprise. Finally the Steinway Foundation added the balance. We trust that this combination of foundation and recording company, in conjunction with a non-profit organization such as a symphony orchestra, will in increasing measure contribute to the distribution of problematic and difficult wr orks, which require special attention from performer and listener. At Tanglewood in the summer of 1963 I focused the Festival around a cycle of Prokofiev compositions, which led to RCA recording Pro- kofiev with us on a cyclic basis. We devoted the 1964 Festival to a centennial observation of Richard Strauss, featuring some of his lesser- known and lesser-played compositions. In 1966 we started our "Prel- ude Concerts" on Friday evenings. We had found in the past that

[21] Friday evening concerts caused somewhat of a problem for our "com- muting" audience, which could not arrive from Boston or New York as early as eight p.m. following a normal business day. By starting our Orchestra concerts at nine o'clock, we were able to do, from seven to eight p.m., programs of works for smaller casts, be that vocal or instru- mental. These Prelude Concerts have proved highly successful for the public already in the Berkshires. In the last two summers we also gave concert performances of Lohengrin and Die Zauberflote. During the summer of 1967 1 plan to perform the first (1805) version of Beethoven's only opera. Accord- ing to the best available information this will be an American pre- miere of Fidelio/Leonore. The work is sufficiently different from the later 1814 Fidelio to justify this claim. The chamber orchestra weeks at Tanglewood, traditionally devoted to Bach and Mozart, have covered many works by these masters not previously heard at Tanglewood. Of particular interest to me is the presentation of all the piano concerti ot Mozart, which I promised when I started, and which is proceeding at a deliberate but steady pace. I have also paid attention to wide spacing of the best-known and best-loved works of the classic and romantic repertoire; they should never be taken for granted, and I hope to keep them "fresh." This is only possible for both public and performers when these works are brought back after broad intervals, allowing each reading to be a renewal rather than a repeat.

If there is a single idea that animates my planning and program making and my musical work with the Boston Symphony, it is the endeavor to give to our audiences the most idiomatic readings of the many styles which a great American orchestra in the 1960s must cul- tivate to warrant the definition of belonging to the "major leagues" of music. I shall, from time to time, take the liberty of writing a similar report to you and want you to know how much we all appreciate the loyalty and the support of you, our audience.

FIRST PERFORMANCES (WORLD PREMIERES) 1962 • 1967

Barber Piano Concerto (played in Philharmonic Hall during the opening week of Lincoln Center) Carter Piano Concerto Huggler Music in Two Parts, Op. 64 Sculptures, Op. 39

[22] Ibi.k i Mouvement symphonique (Munch) Lees Violin Concerto

Moevs J r Occidentem Illustra Piston Symphony No. 8

smi i ller Diptych (first performance in this version)

Si SSIONS Psalm 140, for Soprano and Orchestra

S^ dim an Iii Memoriam John F. Kennedy

Study for Orchestra No. 2

Study for Orchestra No. 3 foCH Fifth Symphony

WORKS PERFORMED FOR THE FIRST TIME BY THE BOSTON SYMPHONY ORCHESTRA IN BOSTON 1962- 1967

lot a B \KIIER Music Scene from Shelley. Op. 7 (Torkanowsky)

Symphony No. 1

Bar 1 6k (Coin ci to for Piano and Orchestra, No. 2

Concerto for Piano and Orchestra, Xo. 3 Concerto for Two Pianos and Percussion Berger Polyphony

Bernstein •Symphony No. g ("Kaddish") (Munch) Blacher Variations on a Theme by Paganini (Burgin) Britten *Symphony for Cello and Orchestra, Op. 68 j-War Requiem

Busoni fRondo Arlecchinesco (Copland) Carter Variations for Orchestra (Burgin)

Colgrass fAs Quiet As

Constant -f-24 Preludes for Orchestra (Martinon) Copland Music for a Great City (Copland) j-Preamble for a Solemn Occasion (Burgin) Dallapiccola Two Pieces for Orchestra Dello Joio -[-Fantasy and Variations for Piano and Orchestra Etler •(Concerto for Wind Quintet and Orchestra

Fine Notturno for Strings and Harp (Burgin) Serious Song Hindemith Concerto for Woodwinds, Harp and Orchestra "Der Schwanendreher" hovhaness Prelude and Quadruple Fugue for Orchestra (Stokowski)

* First performance in America t First performance in Boston

[23 Ives Symphony No. 2 (Burgin) -j-Symphony No. 4 (Schuller) Janacek *Suite from "The Cunning Little Vixen"

KlRCHNER fPiano Concerto No. 1 KODALY Variations on a Hungarian Folk Song, "The Peacock" Lewis fDesigns for Orchestra lutoslawski fjeux Venitiens (De Carvalho)

Mahler -j-Symphony No. 6, in A minor Martinon Overture for a Greek Tragedy (Martinon) Martinu Double Concerto for Two String Orchestras, Piano and Timpani (Kubelik) Menotti Apocalypse (Schippers)

-f-The Death of the Bishop of Brindisi

MlLHAUD fViola Concerto Nielsen Flute Concerto -j-Symphony No. 6

Piston Symphony No. 7 Prokofiev •{"Alexander Nevsky"

fOverture to "War and Peace" -j-Symphony No. 3, Op. 44 fSymphony-Concerto for Cello and Orchestra Reger Concerto in F minor for Piano and Orchestra Rochberg Night Music Rorem Eagles (Stokowski) RUGGLES iPortals (Copland)

SCHOENBERG fIntroduction and Song of the Wood-Dove from "Gurre-Lieder" Second String Quartet, Op. 10, with Soprano Voice (Orchestral version by the composer) -(Violin Concerto

SCHULLER Diptych (first performance in this version)

fSeven Studies on Themes of Paul Klee SCHUMAN t"A Song of Orpheus," Fantasy for Cello and Orchestra Schumann "Faust's Death," from "Scenes from Goethe's Faust" Scenes from Goethe's "Faust" (complete)

Shostakovitch j-Concerto for Violin and Orchestra, Op. 99 Symphony No. 10 Strauss Concerto for Oboe and Small Orchestra

"Daphne," Op. 82, Final Scene fDie Tageszeiten"

Stravinsky f"Pulcinella," Ballet with Song, in One Act (complete) Webern Passacaglia

* First performance in America t First performance in Boston

[24] WORKS PERFORMED FOR THE FIRST TIME AT TANGLEWOOD

Bach St. John Passion iikii i i Wax Requiem (first performance in America) Haydn Cantata "Applausus"

Mendi i ssohn Overture and Incidental Music to "A Midsummer Night's Dream" (complete) MO/ ART Adagio for Violin and Orchestra, in E major, K. 261 Cantata ("Eine kleine Freimaurer-Kantate") for Male Chorus, with Tenor and Bass, K. 623 Piano Concerto No. 8, in A major, K. 414 Piano Concerto in B-flat, K. 595 Piano Concerto No. 9 in C major, K. 415 Piano Concerto No. 5 in D major, K. 175 (conducted by Sir Adrian Boult) Piano Concerto No. 16 in D major, K. 451 Piano Concerto in E-flat major, K. 271

Piano Concerto No. 1 1 in F major, K. 413 Piano Concerto in F major, K. 459 Concerto-Rondo for Piano and Orchestra in A major, K. 386 Concerto-Rondo for Piano and Orchestra in D major, K. 382

Violin Concerto No. 1 in B-flat major, K. 207 Six German Dances, K. 509 Divertimento in D major, K. 131 Divertimento in D major, K. 205 Divertimento in F, for Strings and Two Horns, K. 247 (played with K. 248) March in D major, K. 237 March in F, for Strings and Two Horns, K. 248 (played with K. 247) Three Marches, K. 408 Motet for Soprano, "Exsultate, Jubilate," K. 165 Nocturne for Four Orchestras, K. 286 The Magic Flute Overture to "The Impresario," K. 486 Rondo (Aria with Solo Violin) "L'amero, saro constante"

- from "II Re pastore," K. 208 Scena ("Ch'io mi scordi di te") with Rondo ("Non temer, amato bene") with Soprano and Piano Obbligato, K. 505 Serenade in D major, K. 203 Symphony in A major, K. 134 Symphony in F major, K. 130 Symphony in G minor, K. 183 Prokofiev "Alexander Nevsky"

Strauss Incidental music to "Der Burger als Edelmann," based on Moliere's Comedy-Ballet, "Le Bourgeois Gentilhomme" (complete) Verdi Requiem Mass Wagner "Lohengrin"

[25] CONCERTO IN D MAJOR FOR VIOLIN, Op. 77 By Johannes Brahms

Born in Hamburg, May 7, 1833; died in Vienna, April 3, 1897

Composed in the year 1878, Brahms' Violin Concerto had its first performance by the Gewandhaus Orchestra in Leipzig on January 1, 1879, Joachim playing the solo and Brahms conducting. The orchestral part of the Concerto is scored for 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, timpani and strings. The Concerto has been performed at Boston Symphony concerts by Franz Kneisel (December 7, 1889); Adolph Brodsky (November 28, 1891); Franz Kneisel (April 15, 1893, February 13, 1897, December 29, 1900); Maud McCarthy (November 15, 1902, December 19, 1903); Fritz Kreisler (March 11, 1905); Hugo Heermann (November 25, 1905); Carl Wendling (October 26, 1907); Felix Berber (November 26, 1910); Anton Witek (January 20, 1912); Carl Flesch (April 3, 1914); Anton Witek (November 24, 1916); Richard Burgin (December 17, 1920); Georges Enesco (January 19, 1923); Jacques Thibaud (January 15, 1926); Albert Spalding (December 2, 1927); Jascha Heifetz (March 15, 1929); Nathan Milstein (March 13, 1931); Jascha Heifetz (Decem- ber 17, 1937); Joseph Szigeti (March 17, 1944); Efrem Zimbalist (March 29, 1946); Jascha Heifetz (February 28, 1947); Ginette Neveu (October 24, 1947); Isaac Stern (January 23-24, 1953); Joseph Szigeti (December 31-January 1, 1954-55); David Abel (February 17-18, 1956). More recent performances were on January 10-1 j, 1958, when Pierre Monteux conducted and Leonid Kogan was the soloist; on March 6-7, 1959, when Christian Ferras was soloist; October 14-15, i960, when Jacob Krach- malnick as soloist; and February 18-19, 1966, with Zino Francescatti as soloist. The Concerto has also been performed at two recent Pension Fund concerts: December 15, 1955 by David Oistrakh; and February 18, 1962 by Isaac Stern. Like Beethoven, Brahms tried his hand but once upon a violin con- j certo — like Beethoven, too, he was not content to toss off a facile display piece in the style of his day. The result was pregnant with sym- phonic interest, containing much of Brahms' best. Joachim, for whom the concerto was written, might protest and threaten, as violinists or pianists have before and since against obdurate composers. Brahms consulted his friend readily and at length, but mainly for such work-a- day practicalities as fingering and bowing. For years the concerto was avoided as unreasonably exacting by the rank of violinists seeking a convenient "vehicle" in which to promenade their talents. The work MALBEN'S A gourmet's delight 100 varieties of the world's finest natural cheeses • BRIE • CHESHIRE • STILTON • GOURMONDISE • BEL PAISE • GORGON- ZOLA plus choice cuts of fresh prime meats including HAMS, BACONS, SAUSAGES FRESH FRUITS, TOOI Swiss Imported Grapillon A Delightful Non-A/coho/ic Beverage IMPORTED PROSCIUTTO 158 Massachusetts Avenue BOSTON, MASS. Phone 266-1203

[26] 82nd SEASON

OPENING MONDAY NIGHT, APRIL 24

APRIL 24 — JUNE 24

There will be concerts every night with the exception of Sundays.

Tickets on sale at Box Office two

weeks in advance of each concert.

Symphony Hall, Boston CO 6-1492

[27] has triumphantly emerged and taken its secure place in the repertory of concertos for its high musical values — and as such has become the ultimate test of breadth and artistic stamina in the violinist who dares

choose it. It was inevitable than Hans von Biilow, who called Brahms' piano concertos "symphonies with piano obbligato," should have coined a corresponding epigram for this one. Max Bruch, said Biilow, wrote concertos for the violin, and Brahms a concerto against the violin. We hasten to add Huberman's improvement on Biilow in his dissertation

about the concerto form: "Brahms' concerto is neither against the vio- lin, nor for the violin, with orchestra: but it is a concerto for violin against orchestra, — and the violin wins." The word, "concerto," say the etymologists, derives from the Latin "certare," to strive or wrestle. Brahms wrote his concerto for Josef Joachim (Joachim's copy of

the score is inscribed "To him for whom it was written") . It is to be taken for granted that Brahms, who had often consulted his old friend about such works as the First Piano Concerto and the First Symphony, should in this case have looked for the advice of the friend who was

to play it. Writing to Joachim early in the autumn of 1878, he hesi- tated about committing himself, yielding the manuscript for a per- formance in the coming winter. He even "offered his fingers" as an alternative, for a concert in Vienna. The score, with a fair copy of the solo part, which he sent for Joachim's inspection, was in its ultimate form of three movements, proper to concertos. He had first worked upon the symphonic procedure of two middle movements, but gave up the scherzo, and considerably revised the adagio. "The middle movements have gone," he wrote, "and of course they were the best! But I have written a feeble adagio." Kalbeck conjectures the derelict scherzo may have found its way into the Second Piano Concerto, where Brahms succumbed to the temptation of a symphonic four movement outlay.

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[28] There was an interchange of correspondence about the solo part, of which Brahms sent Joachim a rough draft on August 22. Joachim complained of "unaccustomed difficulties." The composer seems to have held his own with considerable determination. An initial per- formance for Vienna was discussed, and given up. The problem was approached once more in mid-December, when Brahms sent Joachim a "beautifully written" copy of the solo part, presumably with correc-

tions. "Joachim is coming here," he then wrote from Vienna, "and I should have a chance to try the concerto through with him, and to

decide for or against a public performance." The verdict is reported

on December 21: "I may say that Joachim is quite keen on playing

the concerto, so it may come off after all." It "came off" in Leipzig, at a Gewandhaus concert on New Year's Day, 1879. Joachim of course played, and Brahms conducted. The composer had protested a plan to have his C minor symphony played

on the same program, "because the orchestra will be tired as it is,

and I don't know how difficult the concerto will prove." Accordingly, Beethoven's Seventh ended the concert, which otherwise consisted of an overture, and some airs sung by Marcella Sembrich (then twenty- one) adding, for good measure, Bach's Chaconne. The critic , Joachim

Dorffel, in a rapturous review, admits: "as to the reception, the first movement was too new to be distinctly appreciated by the audience, the second made considerable way, the last aroused great enthusiasm." Yet Kalbeck reports a lack of enthusiasm, which he attributes to the soloist: "It seemed that Joachim had not sufficiently studied the con- certo or he was severely indisposed." Apparently the violinist was not

wholly attuned to the piece at first, for after he and Brahms had played it in Vienna, the latter wrote from that city: "Joachim played my piece more beautifully with every rehearsal, and the cadenza went so mag- nificently at our concert here that the people clapped right on into

my coda" (so much for concert behavior in Vienna, 1879) . In April of that year, having further played the work in Budapest, Cologne, and twice in London, Joachim seems to have had a musical awakening. Writing to Brahms about further changes he said: "With these excep- tions the piece, especially the first movement, pleases me more and more. The last two times I played without notes." "This concerto for violin is now more than half a century old,"

wrote Lawrence Gilman in an analysis which is informative yet characteristically free from dry dissection. "It is still fresh, vivid, companionable — unaged and unaging. "The main theme of the first movement (Allegro non troppo, D major, 3-4) is announced at once by 'cellos, violas, bassoons, and horns. "This subject, and three contrasting song-like themes, together with an energetic dotted figure, marcato, furnish the thematic material of

[29] the first movement. The violin is introduced, after almost a hundred measures for the orchestra alone, in an extended section, chiefly of passage-work, as preamble to the exposition of the chief theme. The caressing and delicate weaving of the solo instrument about the

melodic outlines of the song themes in the orchestra is unforgettable.

"This feature is even more pronounced in the second movement

(Adagio, F major, 2-4), where the solo violin, having made its compli- ments to the chief subject (the opening melody for oboe), announces

a second theme, which it proceeds to embroider with captivating and tender beauty. Perhaps not since Chopin have the possibilities of deco- rative figuration developed so rich a yield of poetic loveliness as in

this Concerto. Brahms is here ornamental without ornateness, florid without excess; these arabesques have the dignity and fervor of pure lyric speech.

"The Finale (Allegro giocoso, ma non troppo vivace, D major, 2-4) is a virtuoso's paradise. The jocund chief theme, in thirds, is stated at once by the solo violin. There is many a hazard for the soloist: ticklish passage work, double-stopping, arpeggios. Also there is much spirited and fascinating music — music of rhythmical charm and gusto."

j. n. B.

THF SOLOIST Joseph Silverstein succeeded Richard Mr. Silverstein has played many times Burgin as Concertmaster in 1962. He as soloist with the Boston Symphony became a member of the Boston Sym- Orchestra. He is one of the organizers phony Orchestra in 1955 when he was and first violin of the Boston Symphony twenty-three and the youngest member Chamber Players. This group, which is of the Orchestra at that time. Born in composed of the principal players of the Detroit he studied at the Curtis Insti- Orchestra, will make a tour under the tute of Music in Philadelphia, and later auspices of the State Department this with Joseph Gingold and Mischa Misch- spring, and will appear in Great Britain, akoff. He played in the orchestras of the Soviet Union and West Germany.

Houston, Denver and Philadelphia be- Mr. Silverstein is also the first violin fore joining this one. Mr. Silverstein of the Boston Symphony String Quartet, has won signal honors here and abroad. whose appearances have been greeted In the autumn of 1961 he was awarded enthusiastically wherever they have per- the prize in the Walter W. Naumburg formed. Foundation Competition.

For information about space and rates in THE BOSTON POPS ORCHESTRA PROGRAM Call Advertising Department, Symphony Hall Commonwealth 6-1492 Donald T. Gammons

[30] SYMPHONY HALL

EIGHTY-SEVENTH SEASON

1967 • 1968

Boston Symphony Orchestra

ERICH LEINSDORF, Music Director

x Chaki i Wilson, Assistant Conductor

SIX TUESDAY EVENING CONCERTS

"Cambridge" Series at 8:30

beginning on

OCTOBER 17 \/

Renewal cards have been mailed to all subscribers.

To assure your present location, they should be

returned by May 1st. If you have any questions, please consult the SUBSCRIPTION OFFICE

Symphony Hall

Boston, Massachusetts 02115

[31] THE BERKSHIRE FESTIVAL PROGRAMS Boston Symphony Orchestra Erich Leinsdorf, Music Director] At Tanglewood FIRST WEEK SECOND WEEK

Friday, June 30 • Leinsdorf Friday, July 7 • Mester

Prokofiev Symphony No. 5 Mozart Symphony No. 33, K. 319 Mozart Piano Concerto, K. 466 Beethoven Violin Concerto (Frank) (Menuhin) Mozart Adagio and Fugue, K. 546 Mozart Symphony No. 35, K. 385

We*?kend Prelude at 7:00 Piano works by Beethoven and Prokofiev Weekend Prelude at 7:00 (Frager) Piano works by Mozart (Crochet)

Saturday, July 1 • Leinsdorf Saturday, July 8 • Leinsdorf Beethoven Symphony No. 4 Mozart March, K. 408 Prokofiev Lt. Kije Suite Mozart Piano Concerto in B-flat, K. 456 (Clatworthy) (Crochet) Beethoven Symphony No. 7 Mozart Haffner Serenade, K. 250

Sunday, July 9 • Leinsdorf Sunday, July 2 • Leinsdorf Mozart Divertimento in D major, K. 205 Prokofiev S cenes from Romeo and Juliet Mozart Piano Concerto in C minor, K. 491 Beethoven Piano Concerto No. 4 (Frank) (Frager) Mozart Symphony No. 40, K. 550

THIRD WEEK FOURTH WEEK

• Friday, July 14 Janigro Friday, July 21 • Leinsdorf Vivaldi Sinfonia in major C Mendelssohn Overture, "Midsummer Vivaldi Cello Concerto in major D Night's Dream" (Janigro) Vivaldi Flute Concerto Schuller Diptych (Dwyer) Bartok Concerto for Two Pianos Vivaldi Concerto "Alia Rustica" and Percussion Vivaldi Bassoon Concerto in E minor (Eden and Tamir) (Walt) Vivaldi Oboe Concerto in D minor Poulenc Concerto for Two Pianos (Gomberg) (Eden and Tamir) Vivaldi Piccolo Concerto Strauss Till Eulenspiegel (Schaefer) Vivaldi Concerto Grosso in A major Week end Prelude at 7:00 Weekend Prelude at 7:00 Organ works by Bach Part songs (Berkshire Boychoir) (Biggs) Saturday, July 22 • Ozawa Saturday, July 15 • Leinsdorf Mendelssohn Hebrides Overture Bach B minor Mass (boatwright, wolff, kopleff, Takemitsu Requiem for Strings bullard, krause, tanglewood Ligeti Atmospheres Choir, Berkshire Chorus) Berlioz Symphonie Fantastique Sunday, July 16 • Leinsdorf • Bach Suite No. 3 Sunday, July 23 Leinsdorf Bach Wedding Cantata Schumann Symphony No. 1 (Boatwright) Excerpts, "Wozzeck" Bach Violin Concerto in A minor Berg (Silverstein) Mendelssohn Piano Concerto in G minor Bach Cantata No. 174 (Kallir) (Wolff, Bullard, Krause, Tanglewood Choir) Stravinsky Firebird Suite I II I II WEEK SIXTH WEEK

Friday, July 28 • Kubelik Friday, August 4 • Steinberg

Haydn Symphony No. 102 Beethoven Symphony No. 8 Martinu Double Concerto Beethoven Piano Concerto No. 3

Fhanck Symphony in D minor (Lettv n) Beethoven Symphony No. 5

w eekend Prelude at 7:00 Brahms Liebeslieder Waltzes w eekend Prelude at 7:00 (Fka NK, Kallir and singers) Lieder recital (Kuhse)

Saturday, July 29 • Kubelik Saturday, August 5 • Leinsdorf SMETANA Moldau Beethoven "Fidelio" (original version) (KUHSE, Shirley, Krause, Pracht, Elgar Violin Concerto (ASHKENASl) Berberian, Castel, Enns, Tanglewood Brahms Symphony No. 4 Choir, Berkshire Chorus)

Sunday, July 30 • Leinsdorf Sunday, August 6 • Leinsdorf

Wbbbrn Six Pieces, Op. 6 Brahms Academic Festival Overture Schubert Symphony No. 9 Brahms Symphony No. 3

Gun G Piano Concerto Brahms Violin Concerto (Cliburn) (Silverstein)

SEVENTH WEEK EIGHTH WEEK

Friday, August 11 • Leinsdorf Friday, August 18 • Schuller Moussorgsky Prelude, "Khovanchina" Dvorak Overture, "Othello"

Tchaikovsky Symphony No. 6 Schubert Symphony No. 8 Sibeuus Violin Concerto Ives Symphony No. 4 (Perlman)

Weekend Prelude at 7:00 Wagner Siegfried Idyll Weekend Prelude at 7:00 (Boston Symphony Chamber Players) Piano works by Rachmaninoff Songs by Verdi and Ives (Curtin) and Prokofiev (Browning) Saturday, August 19 • Leinsdorf Saturday, August 12 • Steinberg Verdi Requiem Glinka Kamarinskaya (Arroyo, Troyanos, Molese, Flagello, Borodin Symphony No. 2 Tanglewood Choir, Berkshire Chorus)

Tchaikovsky "Manfred" Symphony Sunday, August 20 • Leinsdorf Wagner Die Meistersinger: Prelude Sunday, August 13 • Leinsdorf

Die Walkure : Ride ; Prokofiev Piano Concerto No. 1 Wotan's (Browning) Farewell (Flagello) Colgrass As Quiet As Die Gotterdammerung: Dawn, Rachmaninoff Rhapsody on a Theme Rhine Journey, Interludes, of Paganini Siegfried's Death, Immolation

( Browning) Scene (Horne)

Further information and tickets at Festival Office, Symphony Hall • CO 6-1492 LIST OF WORKS Performed in the Tuesday Evening ("Cambridge") Series DURING THE SEASON 1966-1967

Bach Suite No. 3, in D major, for Orchestra II November 22

Beethoven Overture to "Coriolan," Op. 62

IV January 3

Symphony No. 2, in D major, Op. 36 VI April 18

Symphony No. 4, in B-flat major, Op. 60

IV January 3

Symphony No. 7, in A major, Op. 92

IV January 3

Berlioz "L/Enfance du Christ," Sacred Trilogy, Op. 25 Soloists: John McCollum, Florence Kopleff, Theodor Uppman, Donald Gramm; Harvard Glee Club-Radcliffe Choral Society, Elliot Forbes, Conductor III December 13

Brahms Violin Concerto in D major, Op. 77 Soloist: Joseph Silverstein VI April 18 Colgrass As Quiet As VI April 18

Franck Symphony in D minor V January 31

Haydn Symphony in B-flat major, No. 102

V January 31

Mahler Symphony No. 3, in D minor, with Women's Chorus and Contralto Solo Soloist: Shirley Verrett New England Conservatory Chorus, Lorna Cooke deVaron, Conductor Boston Boychoir, John Oliver, Director I October 18

Martinu Double Concerto for Two String Orchestras, Piano and Timpani

Piano Solo: Charles Wilson V January 31

Schumann Symphony No. 1, in B-flat major, Op. 38 II November 22

Sydeman In Memoriam John F. Kennedy Narrator: E. G. Marshall II November 22

Charles Munch conducted the concert on December 13, and Rafael Kubelik on January 31.

[34] Boston Symphony Orchestra ERICH LEINSDORF, Music Director CHARLES WILSON, Assistant Conductor First Violins Cellos Bassoons Joseph Silverstcin Jules Eskin Sherman Walt Concertmaster Martin Hoherman Ernst Panenka Alfred Krips Mischa Nieland Matthew Ruggiero George Zazofsky Karl 7,cise Holland Tapley Robert Ripley Contra Bassoon Soichi Katsuta* Roger Shermont Richard Plaster Max Winder Jolin Sant Ambrogio Luis Leguia I larry Dickson Horns Con fried Wilfinger Stephen Geber Fredy Ostrovsky Carol Procter James Stagliano Charles Yancich Leo Panascvich Richard Sher Noah Bielski Harry Shapiro Herman Silbcrman Thomas Newell Basses Paul Keaney Stanley Benson Henry Freeman Ralph Pottle Rotenherg Sheldon Henry Portnoi Alfred Schneider Ir\ ing Frankel Trumpets Julius Schulman John Barwicki Gerald Gelbloom Armando Ghitalla Leslie Martin Sird Roger Yoisin Raymond Bcla Wurtzler Andre Come Hearne Second Violins Joseph Gerard Goguen Clarence Knudson William Rhein William Marshall John Salkowski Trombones Michel Sasson William Gibson Samuel Diamond Flutes Leonard Moss Josef Orosz Doriot Anthony Dwyer William Watcrhouse Kauko Kabila James Pappoutsakis Giora Bernstein Phillip Kaplan Ayrton Pinto Tuba Amnon Levy Chester Schmitz Laszlo Nagy Piccolo Michael Vitale Lois Schaefer Timpani Victor Manuscvitch Everett Firth Minot Bcale OliOES Ronald Knudsen Ralph Gomberg Percussion Max Hobart Holmes Charles Smith John Korman John Hugh Matheny Harold Thompson Violas Arthur Press, Ass't Timpanist Thomas Ganger Burton Fine English Horn Reuben Green Laurence Thorstenberg Eugen Lehner Harps Albert Bernard Bernard Zighera Clarinets George Humphrey Olivia Luetcke Gino Cioffi Jerome Lipson Jean Cauhape Pasquale Cardillo Librarians Konosuke Ono* Peter Hadcock Victor Alpert E\) Clarinet Vincent Mauricci William Shisler Earl Hedberg Bernard Kadinoff Bass Clarinet Stage Manager Joseph Pietropaolo Felix Viscuglia Alfred Robison

William Moyer, Personnel Manager

* members of the Japan Philharmonic Symphony Orchestra participating in a one season exchange with Messrs. Robert Karol and Richard Kapuscinski "The Baldwin is the ideal piano

for solo and orchestral work and particularly for chamber music.

Its wide range of tonal color

and its easy action

fulfill all possible wishes." — Erich Leinsdorj

...the sight and sound offine musk BALDWIN PIANO & ORGAN COMPANY 160 Boylston Street Boston, Massachusetts, 02116 BALDWIN Telephone 426-0775 PIANOS • ORGANS

m M