1<*

" '-,***>&*&:&£, "\ r BOSTON SYMPHONY \\^ OKCHE STRA

FOUNDED IN 1881 BY Sk HENRY LEE HIGGINSON VETERANS MEMORIAL AUDITORIUM o*J *j£Z2Z. -.

/^ \Wh,S^K /, W/fi

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EIGHTY-FIFTH SEASON 1965-1966 BARTOK: Violin Concerto No. 2 ^% The Boston Symphony STRAVINSKY: Violin Concerto £w Joseph Srlverstein Boston Symphony Orchestra/Erich Leinsdorf under Leinsdorf (3JL 's/n&cnti/firJtstm

In a recording of remarkable sonic excellence master Joseph Silverstein and the Boston Sym^, der Leinsdorf capture the atmospheric sorcery the most influential violin works of this century Concerto No. 2, and Stravinsky's Violin Conce equal imagination, Leinsdorf and the Orchestra ize the riot of color inherent in the scores of Boston Symphony Orchestra / Erich Leinsdorf Korsakoff's " Le Cog d'Or" Suite and Stravinsk Rimsky-Korsakoff/"LE COQ D'OR" SUITE bird" Suite. Both albums recorded in Dynagroox Stravinsky/"FIREBIRD*' SUITE

RCA Victor The most trusted name in sound UGHTY-FIFTH SEASON, 1965-1966 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 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

Richard C. Paine Palfrey Perkins Lewis Perry Edward A. Taft Oliver Wolcott

Thomas D. Perry, Jr., Manager

S. Shirk Norman James J. Brosnahan Assistant Manager Business Administrator Rosario Mazzeo Harry J. Kraut Orchestra Personnel Manager Assistant to the Manager Sanford R. Sistare Andrew Raeburn Press and Publicity Assistant to the Music Director SYMPHONY HALL BOSTON

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[4] HUNDRED SIXTY-FIVE-SIXTY-SIX IIGHTY FIFTH SEASON • NINETEEN

Three Hundred and Eighty-fifth Concert in Providence

Fifth Program

THURSDAY EVENING, March 31, at 8:30 o'clock

Mozart March No. 3 in C major, K. 408

Op. JUGGLER Music in Two Parts, 64 (First performance)

Orchestra Jchuman "A Song of Orpheus," Fantasy for Cello and

INTERMISSION

minor, Op. Brahms ^Symphony No. 4, in E 98

I. Allegro non troppo

II. Andante moderato

III. Allegro giocoso

IV. Allegro energico e passionato

SOLOIST JULES ESKIN

Department, smoking is By order of the Chief of the Providence Fire the auditorium. allowed only in the ticket lobby and the lower lobby of

BALDWIN PIANO *RCA VICTOR RECORDS MARCH No. 3 IN C MAJOR, K. 408 By Wolfgang Amadeus Mozart

Born in Salzburg, January 27, 1756; died in Vienna, December 5, 1791

score requires 2 flutes, 2 bassoons, 2 horns, 2 trumpets, timpani and strings The 1 st IN 1782 Mozart, then twenty-six years old, spent his first summer in 01 Vienna. He had recently enjoyed a reasonable success with a perl formance of Die Entfiihrung, and now found himself engaged in s semi elopement of his own. His courtship of Costanza Weber was opposed by his father and not exactly welcomed by the mother of the« bride. However, the couple were married on the fourth of August.

Meanwhile Leopold Mozart in Salzburg, although slow in sending his blessing, asked for new compositions — first, for a symphony for a Haffner family feast, and then for a symphony which we now know as the "Haffner" Symphony. With this Symphony Mozart sent a short; march, and this is now known as K. 408, No. 2. At the same time pre- sumably he wrote the first and third Marches. All of the Marches are written in a melodic sonata form. Even in his smaller works Mozart demonstrated his inexhaustible melodic facility. At the time Ditters- dorf, complaining somewhat wistfully to the Emperor Josef, wrote:

V:

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[6] I have never met a composer with such an astonishing wealth of ideas, wish he were not so extravagant with them. He gives the listener no reathing space." Popular music in the eighteenth century did not have, as now, separate category of composers. Mozart was called upon at any loment to provide any music whatsoever, from the most solemn Mass o the lightest stage entertainment; music for concerts, music for ancing. Music by the yard for social functions did not in the least

other him. He provided it with enthusiasm, for he was incapable of urning out music automatically. Taste, resource, skill, enthusiasm Lever lapsed. He neither wrote above the heads of his audience, nor lid he demean his art. He knew the pulse of popularity, in the sense hat Johann Strauss in another century, and Offenbach, and Tchai- kovsky knew it. Often he gave his patrons not only surface charm, but mdying beauty of detail which, even if they were more attentive than hose at social gatherings are now, they must have missed altogether. [copyrighted]

I

The David L German Travel Service

Philadelphia's leading travel agency specializing in tours of musical and cultural interest

is pleased to announce that their three SUMMER MUSIC FESTIVAL TOURS TO EUROPE 14 July to 4 August • 26 July to 16 August • 5 August to 7 September

will be highlighted by attendance at the glamorous OPENING NIGHTS OF THE LUCERNE AND EDINBURGH FESTIVALS

as well as the Festivals of AIX-en-PROVENCE MUNICH STRATFORD BAYREUTH ROME VERONA GLYNDEBOURNE SALZBURG VIENNA

Each touring party will be accompanied by a distinguished former member of the International Music Scene who will act as tour host. Gala gourmet dinners will be a feature of each tour which also will be made memorable by visits to many superb private and public art collections in the company of a knowledgeable art historian. The first two groups will be composed of those who cannot conveniently be away for longer than three weeks and who will be able to take advantage of the reduced rate 21-Day Excursion trans-Atlantic airfare. The third group will enjoy a more leisurely journey with never less than four days in each festival city, allowing an opportunity to relax amidst some of Europe's loveliest scenery while savoring some of its most exciting musical and dramatic events. Tour price, including jet airline transportation from Boston's Logan Airport, excellent hotels and meals, cultural touring and the best performance tickets:

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For further information and your choice of a detailed itinerary apply to: The David L German Travel Service 1400 South Penn Square, Philadelphia, Pa. 19102 Telephone: 1-215-563-7045

[7] :

MUSIC IN TWO PARTS, Op. 64 By John Huggler

Born in Rochester, New York, August 30, 1928

The score requires the following instrumentation: 4 flutes, 2 piccolos, 3 clarinets. 4 horns, 4 trumpets, 3 trombones and tuba, timpani, side drum, bass drum, tenon drum, tambourine, triangle, crash cymbal, suspended cymbal, sizzle cymbal, tam-tam, chimes, xylophone, harp and strings.

Mr. Haggler has kindly contributed the following note concerning his composition.

nr^HE present work is the third of a series of works all with the same

-"- title and reflecting the same preoccupations. Basically, the formi consists of a fairly involved movement followed by, and thrown into relief by, a shorter and simpler one using the same basic ideas. They are meant to complement each other by virtue of their uneven weights. The first movement begins slowly, and gradually and haltingly aspires;

to the pulse of the second movement: this pulse is maintained through- out the remainder of the piece.

Mr. Huggler was born in Rochester, New York. He studied at the Eastman School of Music, where he took his degree as Bachelor of Music in Musicology and Clarinet. He later studied with Otto Gom- bosi in Chicago, and with Dante Fiorello in New York. For several years he was second clarinetist with the Oklahoma City Symphony. In 1962-63 he was a Guggenheim Fellow in Rome, and following this, served in the Music Department at Cornell University. During the year 1964-65 he was awarded a Rockefeller grant which allowed him to work closely with the Boston Symphony Orchestra as composer-in- residence. At the present time he is on the faculty of the Music Depart- ment at M.I.T. He is also teaching at the University of Massachusetts at Boston, and at the Longy School of Music. [COPYRIGHTED]

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[8 RHODE ISLAND PHILHARMONIC ORCHESTRA

39 THE ARCADE • PROVIDENCE, R. I.

TEmple 1-3123

The Twenty-first Season

FRANCIS MADEIRA, Music Director

EIGHT SATURDAY EVENING CONCERTS

VETERANS MEMORIAL AUDITORIUM • 8:30 p.xM.

OCTOBER 23 • NOVEMBER 20 • DECEMBER 18

FEBRUARY 5 • FEBRUARY 26 • MARCH 26

APRIL 23 • MAY 21

FIFTEEN CHILDREN'S CONCERTS

Held during the school day for 35,000 public, parochial and independent elementary school children from the entire State.

CHAMBER MUSIC CONCERTS

100 Quartet and Quintet programs, taken to the individual schools, played by two string quartets, one brass and one woodwind quintet.

HIGH SCHOOL CONCERTS

Nine concerts by 35 to 40 musicians played in high schools in various communities.

FAMILY CONCERTS

Presented in community schools in the Spring, providing full orchestral programs at low cost so that whole families may attend.

"POPS" ORCHESTRA

Available for your enjoyment. Played at Brown University Bi- centennial last June. YOUTH ORCHESTRA

Under the leadership of its director, Joseph Conte, Concertmaster of the Philharmonic. Continues its program of musical instruction for the performance of orchestral music. Over 110 young Rhode Islanders perform in this group.

[9] "A SONG OF ORPHEUS" FANTASY FOR CELLO AND ORCHESTRA By William Schuman

Born in New York City, August 4, 1910

Mr. Schuman has kindly supplied the following information concerning the composition of his work. Song CCA of Orpheus," Fantasy for Violoncello and Orchestra, was -** commissioned by the Ford Foundation for the American cellist, Leonard Rose, and is dedicated to my wife on the occasion of our twenty-fifth wedding anniversary. It was begun on September 28, i960, and completed July 4, 1961. The first performance was on February 17, 1962 by the Indianapolis Symphony Orchestra, Izler Sol omon, conductor. Leonard Rose was the soloist. In addition to the solo cello, the work is scored for strings, wood- winds and harp. The song, "Orpheus with His Lute," upon which the Fantasy is based, was composed in 1944 for a production of "Henry VIII." Some years ago my friend Vincent Persichetti, the composer, suggested that the song would make an excellent theme for a set of variations. His suggestion came to mind when I was searching for an idea for the] work I had agreed to compose for Mr. Rose. Although the composi- tion is not in the form of set variations, all the music grows out of the melodic line of the song which is stated at the very beginning of the composition. The words of the song are written in the cello part in I order to enable the soloist to perform the melody with the clarity of the singer's projection.

"Orpheus with his lute made trees, And the mountain tops that freeze, Bow themselves when he did sing; To his music plants and flow'rs Ever sprung, as sun and show'rs There had made a lasting spring.

"Every thing that heard him play, Even the billows of the sea, Hung their heads, and then lay by.

In sweet music is such art, Killing care and grief of heart Fall asleep, or hearing die."

[copyrighted]

Free parking is provided for patrons of these concerts at the STATE OFFICE BUILDING LOT.

[10] To The Boston Symphony Orchestra on its 85th Anniversary

The greetings in this series were written at the invitation of Mr. Leinsdorf Anniversary Dinner and first appeared in the Souvenir Program of the 85th and Golden Trumpet Ball last September 24. Unfortunately it is not pos- sible to reproduce here the many musical quotations which were mcluded.

The Boston Symphony Orchestra has become over the years an integral part of the best in American musical life and its high standards and excellence set an example for other great orchestras to follow.

I pride in joining in the celebration of this wonderful institution. Nathan Milstein

It is my honor and my privilege to salute the venerable Boston Symphony Orchestra on its eighty-fifth birthday. May its future be as glorious as its past! George Szell

I am sending these opening measures from the second move- ment of my First Cello Concerto together with congratulations and a heartfelt greeting to the splendid ensemble of remarkable musicians, The Boston Symphony Orchestra, on the occasion

of its 85 th Anniversary.

Perhaps these measures will recall to the memory of the orchestra's artists our meetings in Moscow and Boston.

These meetings will remain in my memory forever as one of the most distinct and joyful impressions of my musical life.

Today, in congratulating the orchestra's artists and directors,

I send my very best wishes and express my admiration for their great artistry. Dmitri Kabalevsky

[»] )

SYMPHONY No. 4 IN E MINOR, Op. 98 By Johannes Brahms

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

The first two movements were composed in the summer of 1884; the remaining two in the summer of 1885. The Symphony had its first performance at Meiningen, October 25, 1885, under the direction of the composer. The Fourth Symphony was announced for its first performance in America by the Boston Symphony Orchestra, November 26, 1886. Wilhelm Gericke duly conducted the Symphony on Friday, November 25, but he was not satisfied with the performance, and withdrew the score for further preparation, substituting the First Symphony by Robert Schumann. Since the Friday performance was considered a "public rehearsal," although, according to a newspaper account, Mr. Gericke did not at any point stop* the Orchestra, this was not called a "first performance," and the honor went to the Symphony Society of New York on December 11, Walter Damrosch conducting. The) Boston performance took place on December 23. The instrumentation includes 2 flutes and piccolo, 2 oboes, 2 clarinets, 2 bassoons

and contra-bassoon, 4 horns, 2 trumpets, 3 trombones, timpani, triangle and strings. ,

T Then Brahms returned to Vienna at the end of September T 1885, j

* * Max Kalbeck sat with him over a cup of coffee and pressed him 1 as far as he dared for news about the musical fruits of the past summer. He asked as a leading question whether there might be a quartet. " 'God forbid,' said Brahms, according to Kalbeck's account in his

biography, 'I have not been so ambitious. I have put together only a few bits in the way of polkas and waltzes. If you would like to hear

them, I'll play them for you.' I went to open the piano. 'No,' he

protested, 'let it alone. It is not so simple as all that. We must get hold of Nazi.' He meant Ignaz Briill and a second piano. Now I realized that an important orchestral work, probably a symphony, was

afoot, but I was afraid to ask anything more for I noticed that he already regretted having let his tongue run so far. "A few days later he invited me to an Ehrbar evening — a musical gathering in the piano warerooms of Friedrich Ehrbar. There I found

RHODE ISLAND CHAMBER MUSIC CONCERTS 1965 • 1966 Wednesday, 13 October BRAHMS QUARTET

( Piano and Strings Tuesday, 16 November NETHERLANDS STRING QUARTET

Tuesday, 1 February BAROQUE CHAMBER PLAYERS (Harpsichord, Flute, Oboe, and Double Bass) Tuesday, 19 April KROLL STRING QUARTET

All concerts will be held at 8:30 p.m. in the Rhode Island School of Design Auditorium. These concerts are sponsored by the Music Department in Brown University.

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.

[12] OPENING THURSDAY NIGHT, APRIL 28

81st Season

April 28 — June 29

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

Tickets on sale at Box Office two

weeks in advance of each concert.

(CO 6-1492) SYMPHONY HALL BOSTON

[•31 Hanslick, Billroth, Brahms, Hans Richter, C. F. Pohl, and Gustav Dompke. While Brahms and Brull played, Hanslick and Billroth turned the manuscript pages. Dompke and I, together with Richter, read from the score. It was just as it had been two years before at the

trying-out of the Third Symphony, and yet it was quite different. After the wonderful Allegro, one of the most substantial, but also four- square and concentrated of Brahms' movements, I waited for one of those present to break out with at least a Bravo. I did not feel impor- tant enough to raise my voice before the older and more famous friends of the master. Richter murmured something in his blond beard which might have passed for an expression of approval; Brull cleared his throat and fidgeted about in his chair. The others stubbornly made no sound, and Brahms himself said nothing to break the paralyzed silence. Finally Brahms growled out. 'Na, denn mann weiterV — the sign to con-

tinue: whereupon Hanslick uttered a heavy sigh as if he felt that he

must unburden himself before it was too late, and said quickly, 'The whole movement gave me the impression of two people pummelling each other in a frightful argument.' Everyone laughed, and the two continued to play. The strange-sounding, melody-laden Andante impressed me favorably, but again brought no comment, nor could I bring myself to break this silence with some clumsy banality." Kalbeck, who had borne nobly with Brahms up to this point, found the Scherzo "unkempt and heavily humorous," and the finale a splendid set of variations which nevertheless in his opinion had no place at the end of a symphony. But he kept his counsel for the moment, and the party broke up rather lamely with little said. When he met Brahms the next day it was clear that the composer had been taken aback by this reception of his score. " 'Naturally I noticed yesterday that the symphony didn't please you and I was much troubled. If people like

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h4 Billroth, Hanslick, or you others do not like my music, who can be

expected to like it?' '1 don't know what Hanslick and Billroth may

'think of it,' I answered, 'for I haven't said a word to them. I only of I know that if I had been fortunate enough to be the composer such the satisfaction of knowing that I had put | a work, and could have three such splendid movements together, I would not be disturbed.

If it were for me to say, 1 would take the scherzo with its sudden main theme and banal second thoughts and throw it in the wastebasket, while the masterly chaconne would stand on its own as a set of variations, leaving the remaining two movements to find more suitable compan- ions.' " Kalbeck was surprised at his own temerity in venturing so far with the sensitive and irascible composer, and waited for the heavens to descend, but Brahms received this judgment meekly, only protesting that the piano could give no adequate idea of the scherzo, which had no connection whatever with the keyboard, and that Beethoven in the Eroica and elsewhere had made use of a variation finale. It was plain that he was in serious doubt as to whether the symphony would be accepted at all. He decided, however, after a long conversation, that having gone so far he must see it through, and that a rehearsal with orchestra at Meiningen could be hoped to give a more plausible account of the symphony and even to give the "nasty scherzo" a pre- sentable face.

PROVIDENCE MUSIC TEACHERS' DIRECTORY

OTTO VAN KOPPENHAGEN, Prof. Em. INSTRUCTOR OF CELLO

Ensemble Music—Solfeggio—Eartraining—Elementary Harmony

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

CONCERT PIANIST AND TEACHER

State Accredited in Germany

Beginners to Artist Pupils

Studios: 168 Lloyd Avenue Phone: DE 1-5667

ROSAMOND WADSWORTH, Soprano M. M. Eastman School of Music National Association of Teachers of Singing Tel. 246-0943

4 ELEANOR DRIVE • BARRINGTON, R. I.

[15] The opinion of the discerning Von Biilow was more encouraging.

He wrote after the first rehearsal: "Number four is stupendous, quite original, individual, and rock-like. Incomparable strength from start to finish." But Brahms may have discounted this as a personally biased opinion, as he certainly discounted the adoring Clara Schumann and Lisl Herzogenberg, when he weighed their words against the chilling skepticism of his male cronies.

The Fourth Symphony was greeted at its first performances with a good deal of the frigidity which Brahms had feared. The composer was perforce admired and respected. The symphony was praised — with reservations. It was actually warmly received at Leipzig, where there was a performance at the Gewandhaus on February 18, 1886. In

Vienna, where the symphony was first heard by the Philharmonic under

Richter, on January 17, it was different. "Though the symphony was applauded by the public," writes Florence May, "and praised by all but the inveterately hostile section of the press, it did not reach the hearts of the Vienna audience in the same unmistakable manner as its two immediate predecessors, both of which had made a more striking impression on a first hearing in Austria than the First Symphony in G minor" (apparently Vienna preferred major symphonies!). Even in Meiningen, where the composer conducted the Symphony with

Billow's orchestra, the reception was mixed, it took time and repetition to disclose its great qualities.

• •

All was not serene between Brahms and Biilow on this memorable Sunday, a circumstance which Lamond has not mentioned. Although Biilow had rehearsed the symphony, Brahms took over the baton for the performance. Biilow, whose outstanding qualities as a conductor were in complete contrast with the clumsiness of the composer, con- sidered his abilities slighted, and shortly resigned from his post as Hofkapellmeister at Meiningen. The incident proves the tactlessness of Brahms and the touchiness of Biilow. Yet Biilow carried the sym- phony, in that same season, through a "crusading" tour of Germany, Holland, and Switzerland. [copyrighted]

THE SOLOIST Jules Eskin joined this Orchestra as principal cellist last year. Mr. Eskin became the principal cellist of the Cleveland Orchestra in 1961. He was born in Philadelphia and has also been a former student at the Curtis Institute where he studied with Leonard Rose. Before going to Cleveland Mr. Eskin played with the Dallas Symphony, and was first cellist with the New York City Center Opera and Ballet Orchestra. He made a recital tour of Europe in 1961 and has given recitals in Town Hall, New York. He has also played annually in the Casals Fes- tival Orchestra in Puerto Rico.

I16] VETERANS MEMORIAL AUDITORIUM Eighty-sixth Season

1966 - 1967

Boston Symphony Orchestra

ERICH LEINSDORF, Music Director

Richard Burgin, Associate Conductor

FIVE THURSDAY EVENING CONCERTS

at 8:30

NOVEMBER 3

JANUARY 5

JANUARY 19

FEBRUARY 16

MARCH 16

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

[17] 11

LIST OF WORKS

Performed in the Providence Series

DURING THE SEASON 1965-1966

Bartok Concerto for Orchestra I November 4

Brahms Piano Concerto No. 1, in D minor, Op. 15 Soloist: Claude Frank II December 2

Symphony No. 1, in C minor, Op. 68 II December 2

Symphony No. 3, in F major, Op. 90 IV February 17

Violin Concerto in D major, Op. 77 Soloist: Zino Francescatti IV February 17

Symphony No. 4, in E minor, Op. 98 V March 3

Constant 24 Preludes for Orchestra III January 13

Haydn Concerto for Cello, in C major Soloist: Jules Eskin I November 4

Huggler Music in Two Parts, Op. 64 V March 3

Mendelssohn Symphony No. 4 in A major ("Italian"), Op. 90 III January 13

Mozart Sinfonia Concertante for Violin and Viola, in E-flat, K. 364 Soloists: Joseph Silverstein, Burton Fine I November 4

March No. 3 in C major, K. 408 V March 3

Schuman "A Song of Orpheus," Fantasy for Cello and Orchestra

Soloist: Jules Eskin V March 31

Strauss "Ein. Heldenleben," Tone Poem, Op. 40 III January 13

Richard Burgin conducted the concerts on December 2 and February 17; Jean Martinon conducted on January 13.

[18] Boston Symphony Orchestra ERICH LEINSDORF, Music Director

RICHARD BURGIN, Associate Conductor

First Violins Cellos Bassoons Hoscph Silvcrstein Jules Eskin Sherman Walt Concert master Martin Hoherman Ernst Panenka [Alfred Krips Mischa Nieland Matthew Ruggiero Ceorgc Zazofsky Karl Zeise Rolland Tapley Richard Kapuscinski Contra Bassoon Ripley Roger Shermont Robert Richard Plaster Max Winder John Sant Ambrogio Luis Leguia Harry Dickson Horns Gottfried Wilfinger Jascha Silberstein Stephen Geber James Stagliano Fredy Ostrovsky Charles Yancich Leo Panasevich Carol Procter Harry Shapiro Noah Bielski Thomas Newell Herman Silberman Basses Paul Keaney Stanley Benson Georges Moleux Osbourne McConathy Sheldon Rotenberg Henry Freeman Alfred Schneider Irving Frankel Trumpets Julius Schulman Henry Portnoi Armando Ghitalla Gerald Gelbloom Henri Girard Roger Voisin Raymond Siid John Barwicki Andre Come Second Violins Leslie Martin Gerard Goguen Bela Wurtzler Clarence Knudson Joseph Hearne William Marshall Trombones Michel Sasson William Gibson Samuel Diamond Flutes Leonard Moss William Moyer Doriot Anthony Dwyer William Waterhouse Kauko Kahila James Pappoutsakis Josef Orosz Giora Bernstein Phillip Kaplan Ayrton Pinto Tuba Amnon Levy Laszlo Nagy Piccolo K. Vinal Smith Michael Vitale Lois Schaefer Victor Manusevitch Timpani Everett Firth Minot Beale Oboes Ronald Knudsen Ralph Gomberg Max Hobart Percussion John Korman 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 Pasquale Cardillo Librarians Peter Jean Cauhape Hadcock Victor Alpert E\) Clarinet Vincent Mauricci William Shisler Farl Hedberg Bernard Kadinoff Bass Clarinet Stage Manager Joseph Pietropaolo Rosario Mazzeo Alfred Robison

Rosario Mazzeo, Personnel Manager Baldwin Piano & Organ Company, 160 Boylston Street, Boston