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">». >. v mi PHILADELPHIA ALL STAR-FORUM SERIES MOE SEPTEE, Director

BOSTON SYMPHONY ORCHESTRA

Eighty-Ninth Season 1969-1970

WILLIAM STEINBERG Music Director MICHAEL TILSON THOMAS Assistant Conductor

MONDAY EVENING, DECEMBER 8, 1969

at 8:30 at

The Academy of Music, Philadelphia

ERICH LEINSDORF Conductor

a^&

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Program BEETHOVEN

Symphony no. 6 in F op. 68 'The Pastoral'*

Awakening of happy feelings on reaching the countryside: allegro ma non troppo

At the brook's edge: andante molto mosso

Festive gathering of the country people: allegro

Thunderstorm: allegro

Shepherd's song—happy and thankful feelings after the storm: allegretto

Intermission

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BEETHOVEN Symphony no. 3 in E flat op. 55 'Eroica'*

Allegro con brio

Marcia funebre: adagio assai

Scherzo: allegro vivace

Finale: allegro molto

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attunement to a mood which lingers Program Notes fondly and unhurried. There are the listeners sudh as an English critic of 1823, by John N. Burk who found it 'always too long, particular- ly the second movement, which, abound- LUDWIG VAN BEETHOVEN ing in repetitions, might be shortened without the slightest danger of injuring Symphony no. 6 in F op. 68 The Pastoral that particular part, and with the cer- Beethoven was born in Bonn in Decem- tainty of improving the effect of the ber 1770 (probably the 16th); he died whole. One can easily reach this unnen- in Vienna on Mardh 26, 1827. He com- viable state of certainty by looking vain- pleted the 'Pastoral' Symphony in 1808. ly for the customary contrasting episodes The premiere took place at the Tneater- and at the same time missing the detail an-der-Wien (Vienna) on December 22 of constant fresh renewal within the more of 1808, the concert consisting entirely obvious contours of thematic reiteration. of unplayed music by Beethoven, includ- ing the C minor Symphony, the Fourth It was with care and forethought that Piano concerto and the Choral fantasia. Beethoven wrote under the title of his Pastoral of The first Boston Symphony performance symphony: 'A recollection life. of took place on January 6, 1882 when country More the expression Georg Henschel conducted. feelings than painting.' Beethoven was probably moved to special precautions The instrumentation: 2 flutes and pic- against the literal-minded, in that he was colo, 2 oboes, 2 clarinets, 2 bassoons, 2 divulging provocative subtitles for the horns, 2 trumpets, 2 trombones, timpani first and only time. and strings. Beethoven had many haunts about Some have not needed the warning in Vienna which, now suburbs, were then a symphony where 'feelings' control real countryside. Here, in 1808, probably every page, where the 'painting' is never in the neighborhood of Heiligenstadt he more than a suggestive course to thoughts completed the Pastoral Symphony, and which are purely musical. Yet Beetho- the C minor Symphony as well. The ven's wisdom in giving this plain road sketchbooks indicate that he worked sign (whatever his motive may have been upon the two concurrently. Preliminary for withdrawing it) is proved by the notations have been found in the sketch- abundance of critics (early and late) books as early as that of the Eroica Sym- who have been inclined to object to the Dhony in 1803-1804, where there ap- birds, the brook, the storm, or the peas- ants. at various times in peared the country dance theme in the Those who Eng- land during the past century have tied the trio of the third movement—also a pre- monition of the murmuring brook. Both music to stage tableaux, sometimes with he Fifth and Sixth symphonies were action, would have done well to pay a little attention composer's injunc- :ompleted in the spring or early summer to the Df 1808. tion. Beethoven had, no doubt, very definite pictures in his mind while at After the tension and terseness, the work upon the symphony. Charles Neate iramatic grandeur of the Fifth sym- has reported a conversation on the very phony, its companion work, the Sixth, is subject of the Pastoral symphony, in i surprising study in relaxation and which Beethoven said: 'I have always a placidity. One can imagine the composer picture in mind while composing, and ireaming away lazy hours in the summer work up to it.' ieat at Dobling or Grinzing, lingering n the woods, by a stream, or at a fa- He might have added (except that the /orite tavern, while the gentle, droning evidence is plain enough in his music) hemes of symphony hummed in his head, that these images were always complete- aking limpid shapes. The symphony, of ly transmuted into the tonal realm, where, ourse, requires in the listener something as such, they took their place in his musi-

"i)f this patient relaxation, this complete cal scheme. W Hi H

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LUDWIG VAN BEETHOVEN and above the continuing traits of their Symphony no. 3 in E flat op. 55 Eroica personal style, the succession of their greater works unfolded, one after another, Beethoven composed the Eroica Sym- new and distinct tonal concepts. Tristan phony between 1802 and 1804, and the or Die Meistersinger have each a charac- first performance took place privately at ter completely its own. Each of Beetho- the house of Prince von Lobkowitz in ven's symphonies from the Third to the Vienna in December 1804, Beethoven Ninth opens a fresh vista of its own — himself directing. The first public per- this in varying degree, but most striking- formance was at the Theater-an-der-Wien ly in the Third. on April 7, 1805. The Boston Symphony Beethoven's remark to Krumpholz in Orchestra first performed the Symphony 1 802 while sketching his Third symphony on November 18, 1881 under Georg that he was taking a 'new road' is often Henschel's direction. Erich Leinsdorf and quoted, and rightly so. Beethoven's the Boston Symphony Orchestra have phrase, reported by Czerny, was an un- recorded the Eroica Symphony for RCA. derstatement, for no single musical work instrumentation: flutes, The 2 2 oboes, in history can compare with it as a 2 clarinets, 2 bassoons, 3 horns, 2 trum- plunge into new ways. When Schumann pets, timpani and strings. published his article on the youthful The liberation of music in the nine- Brahms in 1852 under the title 'Neue teenth century brought about a remark- Bahnen' [New paths], he was going too able result which had been impossible far if he had in mind Beethoven's 'Neuen before on account of stylhtic constriction, Weg'. Brahms' First symphony would and which, for sheer lack of imaginative vindicate this clear-visioned prophet, but power, has not happened since. That that Symphony was arrived at only after enviable century produced two composers years of germination and accumulating whose amplitude of resource and con- force. The Eroica was a new road both sistency of growth were such that over in the composer's meaning of a sudden A DREAM

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No fee for initial consultation broadening in his own development, and indiscretion. Schubert wrote several

in the universal sense that it changed which had a few amateur performance*^ the whole course of music. or none at all while he lived. A more Symphonies, even Beethoven's first two, practical man like Rossini knew where

still retained relics of the gallant, style of his bread and butter lay. Beethoven, who the salon where the form was born. Even wrote to publishers as if he considered the last symphonies of Mozart and himself a shrewd businessman, but would Haydn were not out of place in such have been alone in that opinion, gave his surroundings — they had wit and seemly full attention to symphonies through restraint rather than challenge and thrust. some unexplained urge. When he wrote Beethoven, always an intuitive composer the Eroica only opera, and Italian opera who never theorized about music, leaves in particular, spelled success. Instrument- no sign of having taken his 'new road' al groups, When needed, which was with conscious purpose or awareness of seldom, were largely recruited from the making an aesthetic revolution. He could opera orchestras. The men were usually have had no motive of expediency. From hired to accompany singers and virtuosos. the publisher's point of view no score A symphony on a concert program was could have been less saleable. Sym- a routine opening or closing piece. While phonies were no longer being written at occupying himself with the Eroica, Bee- that time, partly because no contempo- thoven had no prospect of a suitable per- rary composer wanted to match his talent formance, for Vienna had no established with what Mozart and Haydn had left, orchestra. Prince Lobkowitz, to whom but also because there was no particular it was dedicated, would have preferred a demand for them. Here Clementi failed more negotiable string quartet. Beetho- by comparison with those two; Cherubini ven, alone with his thoughts, must simply wrote only one, on an inescapable com- have been possessed by his sketches as mission; Weber wrote one as a youthful he allowed his themes to expand in de- ;

~\, * ' > .'A. l^

"CURTAIN CALL" Come and applaud our dinners velopment into unheard-of ways. He was before the show. Then visit for the first time turning away from thei the Ritz Cocktail Lounge a popular rendezvous musical world about him, the expectations fit after the theatre. of his friends, whether patrons or musici- it ans. The much sought pianist, the favorite of society, was first facing the dreadful

Ten Banquet Rooms prospect of deafness which would end his Ideal for luncheons, career as performer. It was in the sum- dinners and parties. of 1802 at Heiligenstadt, Menus arranged for mer shortly be- every occasion fore he wrote his tragic 'Heiligenstadt Delicious food, Testament', that he probably his Moderate prices. made first sketches for the Eroica. The threat HOTEL of deafness was a spur to set him on his 'new road', but this alone cannot begin yluan la to account for the intrepidity of the art- S ist, nor for the full flux of power which Locust St. Just Off Broad in the growing Beethoven must have ( FOR SOCIAL AND BUSINESS FUNCTIONS been an eventual certainty. The sym- CALL THE SYLVANIA, PE 5-7200 phony as a form which had ceased to be written with the previous century was

being reborn in very different guise.

There has been a good deal of romanc- ing about Napoleon as the subject of the JACQUINS symphony. The exploits of that con- queror would have been at the time an vudka interesting news topic rather than the TOAST OF THE TOWN central core of Beethoven's most personal and intimate tonal concept. That he put

that name on the title page and then

struck it off meant that he no longer con- sidered Napoleon worthy of the honor, but did not mean that he took the name

musically to heart in the first place. When he later wrote on the score on

offering it to Breitkopf and Hartel, that

it was 'really entitled Bonaparte', he was saying in effect that a name on every- body's tongue, whatever the man's charac-

ter, might be a good selling point.

Program notes copyright © by Boston Symphony Orchestra, Inc.

Charles Jacquin et Cie Inc. Phila.. Pa. /Est. 1884 Distilled from Grain 80 Proof ERICH LEINSDORF The Conductor

ERICH LEINSDORF, whose tenure PARTICULARLY of the Boston Sym- FOR YOU as Music Director phony Orchestra ended last August when

he conducted a performance of Beetho-

ven's Ninth Symphony to close the Berk-

shire Festival at Tanglewood, made a

significant contribution to American

musical life during his seven years with

the Orchestra. Under his leadership the Orchestra presented many premieres and original one-of-a-kind revived many forgotten works. Among jewelry creations latter were the complete Schumann the using minerals Faust, the original versions of Beetho- combined with sculptured

1 ven's Fidelio and Strauss Ariadne auf Gold & Diamonds

Naxos, and the Piano concerto no. 1 of Xaver Scharwenka, while among the Since 1906 numerous world and American premieres were works like Britten's War requiem and Cello symphony, the piano concertos of Barber and Carter, Schuller's

Diptych for brass quintet and orchestra, 7 1 9 Sansom St. WA 2-3202

and Piston's Symphony no. 8. Despite his heavy schedule, leading the majority of the concerts during the lengthy Boston Symphony winter season, the Berkshire Festival in the summer, and heading the activities of the Berkshire Music Center, the academy operated by the Boston Sym- phony at Tanglewood, as well as making LOOK OUT recordings with the Orchestra for RCA, ... at the ever changing city panorama as the Erich Leinsdorf found time to make rooftop restaurant gently turns. Dine devinely in several guest conducting tours with the dazzling decor. It's a profound experience! European orchestras, and to record full- length operas for RCA Records, the most recent of which were Mozart's Cosi fan tutte, a Grammy award winner, Verdi's 23 stones overlooking City Line Avenue . . . Masked ball and Salome by Strauss. Im- And there's dancing too, from 9 every night. mediately after his final concert at Tan- If you can't make dinner catch the changing scene at lunch, cocktails or late supper. iglewood, Erich Leinsdorf flew to Buenos

Aires, and conducted five performances On the lobby level . . . A daringly different "now" room each of Berg's Wozzeck, Strauss' Der The UjBT Rosenkavalier and Wagner's Parsifal, all It's all at the KALEIDOSCOPE in new productions, at the Teatro Colon. Exciting New Ss. Restaurant & He recently returned to this country to Cocktail Lounge conduct the Chicago Symphony. For the past two weeks he has conducted the Boston Symphony in their home city. After his appearances this week with the Orchestra, SvwC Erich Leinsdorf goes to Am- City Line Avenue sterdam, where he will conduct the Con- 877-4900 certgebouw Orchestra for two months. IN TASTl THE ULTIMATE GOOD Later plans include appearances in Milan, Warsaw and London. Erich Leinsdorf has made many recordings not only for RCA but for the Capitol, London, West- minster and Pickwick labels.

THE BOSTON SYMPHONY Orchestra

The Boston Symphony Orchestra, now

in its eighty-ninth season, gave its first concert on October 22, 1881 in the Music

Hall, Boston. It moved to their present home, Symphony Hall, in 1900. The Orchestra has become one of the world's most widely known and best loved

through its concerts, its radio and tele-

vision broadcasts, its records and its tours WINE FOR A SUPERB BOTTLE OF through America, Europe and Asia. VISIT YOUR NEARBY STATE STORE Today the 101 men and 5 women of the AND ASK FOR THE WINES OF MAISON jACQUIN Boston Symphony Orchestra play con- certs for seven months of the year dur- ing the fall and winter, making their home in Boston. During July and August the Orchestra moves to Lenox and plays deGIVENCHY twenty-four concerts at the Berkshire MONSIEUR Festival at Tanglewood. The Boston Pops Orchestra, whose players are all members of the Boston Symphony Orchestra, gives concerts each spring in Symphony Hall under the direction of Arthur Fiedler, and in the early summer on the Charles River Esplanade in Boston, also under Mr. Fiedler's direction. The principal players of the Orchestra form the Boston Symphony Chamber Players, a groupi which has given concerts during the pastj seasons in many parts of the United States, in the Virgin Islands, in England, for the man West Germany and the Soviet Union. who is, by the

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Press Representative Eugene Palatsky

Administrative Assistant Thelma Loving

PHILADELPHIA ALL STAR-FORUM SERIES, INC.

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Mrs. Matthew T. Moore Mrs. Mary Van Doren BOARD OF DIRECTORS John Pennink Reeves Wetherill Mrs. William L. Batt William Brodsky David Pesin Leslie Woods

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