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Boston Symphony Orchestra Concert Programs, Season 87, 1967-1968

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1 J MIT t / ^ii "fv :' • "" ..."?;;:.»;:''':•::•> :.:::«:>:: : :- • :/'V *:.:.* : : : ,:.:::,.< ::.:.:.: .;;.;;::*.:?•* :-: ;v $mm a , '.,:•'•- % BOSTON ''•-% m SYMPHONY v. vi ORCHESTRA TUESDAY A SERIES EIGHTY-SEVENTH SEASON 1967-1968 -^^VTW-s^ Exquisite Sound From the palaces of ancient Egypt to the concert halls of our modern cities, the wondrous music of the harp has compelled attention from all peoples and all countries. Through this passage of time many changes have been made in the original design. The early instruments shown in drawings on the tomb of Rameses II (1292-1225 B.C.) were richly decorated but lacked the fore-pillar. Later the "Kinner" developed by the Hebrews took the form as we know it today. The pedal harp was invented about 1720 by a Bavarian named Hochbrucker and through this ingenious device it be- came possible to play in eight major and five minor scales complete. Today the harp is an important and familiar instrument providing the "Exquisite Sound" and special effects so important to modern orchestration and arrange- ment. The certainty of change makes necessary a continuous review of your insurance protection. We welcome the opportunity of providing this service for your business or personal needs. We respectfully invite your inquiry CHARLES H. WATKINS & CO. Richard P. Nyquist — Charles G. Carleton 147 Milk Street Boston, Massachusetts Telephone 542-1250 OBRION, RUSSELL & CO. Insurance of Every Description EIGHTY-SEVENTH SEASON 1967-1968 BOSTON SYMPHONY ORCHESTRA ERICH LEINSDORF Music Director CHARLES WILSON Assistant Conductor 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 EDWARD M. KENNEDY THEODORE P. FERRIS HENRY A. LAUGHLIN ROBERT H. GARDINER EDWARD G. MURRAY FRANCIS W. HATCH JOHN T. NOONAN ANDREW HEISKELL MRS JAMES H. PERKINS HAROLD D. HODGKINSON SIDNEY R. RABB RAYMOND S. WILKINS TRUSTEES EMERITUS PALFREY PERKINS LEWIS PERRY EDWARD A. TAFT THOMAS D. PERRY JR Manager S. NORMAN SHIRK JAMES J. BROSNAHAN Assistant Manager Business Administrator R. SISTARE SANFORD HARRY J. KRAUT Press and Publicity Assistant to the Manager ANDREW RAEBURN MARY H. SMITH Program Editor Executive Assistant Copyright 1968 by Boston Symphony Orchestra Inc. SYMPHONY HALL BOSTON MASSACHUSETTS Hear the brighter side of Bruckner performed by the Boston Symphony HARi- Orchestra under Leinsdorf. IRv' This is the Boston Symphony's first recording of Bruckner. And the Fourth Symphony (the "Romantic") is an ideal introduction to this 19th-century composer's genius. This composition is happy . charming . and more spirited than you might expect Bruckner to be. Hear it soon, performed by the Bostonians under Leinsdorf. In brilliant Dynagroove sound. Earn '. tot!' fed- Bruckner/ Symphony No. 4 in E-Flat("Romantic") Boston Symphony Orchestra/ Erich Leinsdorf 7kt, /turttaat »£ (kcJurtuu BOSTON SYMPHONY ORCHESTRA ERICH LEINSDORF Music Director CHARLES WILSON Assistant Conductor FIRST VIOLINS CELLOS BASSOONS Joseph Silverstein Jules Eskin Sherman Walt Concertmaster Martin Hoherman Ernst Panenka Alfred Krips Mischa Nieland Matthew Ruggiero George Zazofsky Karl Zeise Rolland Tapley Robert Ripley CONTRA BASSOON John Sant Ambrogio Roger Shermont Richard Plaster Max Winder Luis Leguia Harry Dickson Stephen Geber HORNS Gottfried Wilfinger Carol Procter Fredy Ostrovsky Jerome Patterson James Stagliano Leo Panasevich Ronald Feldman Charles Yancich Noah Bielski Harry Shapiro Herman Silberman BASSES Thomas Newell Stanley Benson Paul Keaney Henry Portnoi Sheldon Rotenberg Ralph Pottle William Rhein Alfred Schneider Joseph Hearne [ulius Schulman TRUMPETS Bela Wurtzler Gerald Gelbloom Armando Ghitalla Leslie Martin Raymond Sird Roger Voisin John Salkowski John Barwicki Andre Come SECOND VIOLINS Buell Neidlinger Gerard Goguen larence Knudson Robert Olson William Marshall TROMBONES Vlichel Sasson FLUTES William Gibson Jamu el Diamond Josef Orosz Leonard Doriot Anthony Dwyer Moss Kauko Kahila William Waterhouse James Pappoutsakis \yrton Pinto Phillip Kaplan TUBA \mnon Levy Laszlo Nagy Chester Schmitz Michael Vitale PICCOLO Victor Manusevitch Lois Schaefer TIMPANI Toshiyuki Kikkawa* Everett Firth Max Hobart OBOES fohn Korman PERCUSSION Ralph Gomberg Christopher Kimber Charles Smith Jpencer Larrison John Holmes Harold Thompson Hugh Matheny Arthur Press VIOLAS Assistant Timpanist ENGLISH Thomas Gauger Surton Fine HORN Laurence Reuben Green Thorstenberg HARPS Eugen Lehner ferome Lipson CLARINETS Bernard Zighera Olivia Luetcke Robert Karol Gino Cioffi \kio Akaboshi* Pasquale Cardillo Bernard Kadinoff LIBRARIANS Peter Hadcock Vincent Mauricci Victor Alpert E\) Clarinet Earl Hedberg William Shisler foseph Pietropaolo Robert Barnes BASS CLARINET STAGE MANAGER ifizhak Schotten Felix Viscuglia Alfred Robison WILLIAM MOYER Personnel Manager \ members of the Japan Philharmonic Symphony Orchestra participating in a one season exchange with Messrs George Humphrey and Ronald Knudsen THE ©T(aRanrccdtic; At the / cfh? cfroxtsseau^Cous^ of33osloa Boston Symphony [on Concerts / this year, these Pianists . h JOHN BROWNING le RITA B0UB0ULIDI 6,5 MALCOLM FRAGER ifa GARY GRAFFMAN we GRANT JOHANNESEN k. LILIAN KALUR play only ^hrolldc ^Jrimmitit the STEIWAY IN MASSACHUSETTS AND NEW HAMPSHI . Our teagown of luxurious brocade NEW STEINWAYS AVAILABLE ONLY FR0$ —the deep fur cuffs of Ranch Mink orSable. In Emerald orChampagne. M. STEINERT & SONS 416 BOYLSTON STREET 54 CENTRAL STREET BOSTON 02116 WELLESLEY 162 BOYLSTON STREET • BOSTON KEnmore 6-6238 CEdar 5-3430 ALSO WORCESTER and SPRINGFIELD THE FUND FOR THE BOSTON SYMPHONY To name a seat at Symphony . 'Nothing, nothing yesterday meant — and will forever mean to me — as much as this blessed surprise!' So wrote Margaret Ruthven Lang to Henry B. Cabot, President of the Symphony Trustees, after Mr Cabot, in behalf of the Symphony Family, recently named the seat in the first balcony, right, B-1 in Miss Lang's honor and as a 100th birthday gift. Mr Cabot made the gift as part of the Commemorative Gifts Program of The Fund for The Boston Symphony. With the announcement, others have expressed interest in making simi- lar gifts. The process is simplicity itself. Provided no one has requested the particular seat location, for a contribution to the fund of $2,500, any seat in Symphony Hall may be named in honor of a family member, friend, teacher, or musician. Or a donor may well choose to signalize his personal affection for the Sym- phony by attaching his own name to a seat location. Those who [I have already contributed to The Fund for The Boston Sym- phony may wish to make an additional contribution in order to name a seat at Symphony. All are invited to discuss this Commemorative Gift Program with The Fund office at Symphony Hall, with a Symphony Trustee, or with a Fund volunteer. TO iaW . first resort for resort fashions Typical of our ready-for- takeoff collections . this halter swimsuit and apres-swim coat designed by Tina Leser for Gabar. Sportswear. BOSTON: At the start of The Freedom Trail, 140 Tremont Street, 482-0260. CHESTNUT HILL: 232-8100. SOUTH SHORE PLAZA: 848-0300. 8 sr^ "'I Contents Program for January 2 1968 11 Future programs 61 Program notes Bach - Cantata no. 35 12 'ti by Stanley Sadie Bruckner - Symphony no. 7 in E major 20 by John N. Burk Bruckner's Seventh Symphony in 1887 The chamber organ 38 by Fritz Noack A new Trustee - Edward M. Kennedy 44 The soloist 46 The members of the orchestra 48 *p This is an executrix. Should you have one? They're not hard to come by. Do you have a sensible wife? A capable daughter? A smart sister? If anybody can watchdog your estate after your death, draw up an inventory of your property and appraise it, document the assets, settle bills and claims, pay expenses, avoid unnecessary taxes and make wise investment decisions, she can. Or can she? Here at Old Colony, we know it takes a lot more than a level head and good grades in math to settle an estate properly. And when some- one names us executor of his Will, we split the job up and put invest- ment analysts, real estate experts, tax specialists and a host of other knowledgeable individuals to work on it. (We also have a flair for getting along with relatives.) Collectively, these full-time professionals bring a great deal more skill and assurance to the job than you could rightfully expect of any individual. And we'll just bet that your sensible wife would be the first to agree. THE FIRST & OLD COLONY The First National Bank of Boston and Old Colony Trust Company 10 EIGHTY-SEVENTH SEASON 1967-1968 Sixth Program Tuesday evening January 2 at 8.30 ERICH LEINSDORF conductor BACH Cantata no. 35 'Geist und Seele wird verwirret' for contralto and orchestra with organ obbligato BEVERLY WOLFF contralto CHARLES WILSON organ NEWTON WAYLAND harpsichord MARTIN HOHERMAN cello HENRY PORTNOI double bass INTERMISSION BRUCKNER Symphony no. 7 in E major Allegro moderato Adagio: Sehr feierlich und sehr langsam Scherzo: Sehr schnell - Trio: Etwas langsamer Finale: Bewegt, doch nicht schnell BALDWIN PIANO RCA VICTOR RECORDS 11 Program Notes JOHANN SEBASTIAN BACH Cantata no. 35 'Geist und Seele wird verwirret' (Spirit and soul are put in turmoil) Program note by Stanley Sadie Bach was born at Eisenach on March 21 1685, and died in Leipzig on July 28 1750. He composed the Cantata in 1726, and it was first performed on September 8 of that year. The instrumentation: 2 oboes and english horn, bassoon, strings, harpsichord con- tinuo and organ obbligato. Until the last decade, the dating of Bach's cantatas has been largely a matter of intelligent guesswork. But it has now been shown that most of the guesswork wasn't quite intelligent enough. Two German scholars, Alfred Diirr and Georg von Dadelsen, have examined afresh the manuscripts and early copies: using evidence like the watermarks on the paper, the handwriting of Bach's original copyists, even the positioning of the stitch-holes from the original bindings, they have produced a new and definitive dating.
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  • Arthur Foote (1853-1937)

    Arthur Foote (1853-1937)

    Old Becoming New: Little Known “Gems” of the String Orchestra Repertoire Sandra Dackow, Clinician Looking for “new” and exciting compositions for your string orchestra? Led by renowned arranger and educator Sandra Dackow, teachers will have the opportunity to hear and learn about the forgotten historical gems of the standard string repertoire. Perfect for concert, festival and competition performances; explore or revisit selections that have been “lost” in the mix of the vast history of string literature. Exhilarate students and audiences alike with these old, yet “new” pieces of music history! Bring your instruments to participate in the reading orchestra! Presented by www.lucksmusic.com (800) 348-8749 2018 TODA Conference Johann Pachelbel (1653-1706) Gigue (from Canon and Gigue) #01494 • Grade III+ (Upper Intermediate or Intermediate) We all know the Canon in D, but how many have experienced the very short Gigue, with which it is paired? Written for the same three violins and bass line as the Canon, the Gigue is a great palate cleanser after the endless repetitions of the Canon progression. Imitative, but not canonic, it is a joyful little dance with an active bass line that’s fun for everyone. The third violin part does not require notes on the E string, and therefore could be played by violas reading treble clef. Very short (two Baroque halves, each repeated), each half builds to a rhythmic climax, showcasing the brilliance which an upper intermediate group can achieve. Learn More about Pachelbel German composer and organist, Johann Pachelbel is best known for his Canon in D. He composed a large body of both sacred and secular music, including works for organ.