TANGLEWOOD EIGHTH W^EEK August 21, 22, 23, 1964 RT?PFQTITPr 17FCTTVAT DLKKonlKL i to 1 1 VAL - ERICH LEINSDORF CONDUCTS TWO SUPERB PERFORMANCES In his semi-autobiographical Ein Heldenleben, Strauss composed a score of fiendish difficulty. The Boston Symphony under Leinsdorf meets this challenge in a virtuoso performance — a Dynagroove re- cording of which the New York Times says: ''The Boston Symphony never sounded finer." In Wagner's tempestuous Die Walkiire, Leinsdorf directs the London Symphony in a work with which he has long been asso- ciated. This 5-LP album — the only com- plete Walkiire on records—features Birgit Nilsson as Brunnhilde, George London as Wotan and Jon Vickers as Siegmund in a the called Strauss performance New York Times Va " EIN HELDENLEBEN"" little short of stupendous." Handsome BOSTON SYMPHONY Soria package with libretto. ERICH LEINSDORF RCA victor H^The most trusted name in sound $^'i (Highlights from this album also available on 1 record) Boston Symphony Orchestra ERICH LEINSDORF, Music Director RICHARD BURGIN, Associate Conductor Berkshire Festival, Season 1964 TWENTY-SEVENTH SEASON MUSIC SHED AT TANGLEWOOD, LENOX, MASSACHUSETTS EIGHTH WEEK Concert Bulletin, ivith historical and descriptive notes by John N. Burk Copyright, 1964 by Boston Symphony Orchestra, Inc. The Trustees of The BOSTON SYMPHONY ORCHESTRA, Inc. President Vice-President Treasurer Henry B. Cabot Talcott M. Banks Richard C Paine Abeam Bebkowitz C. D. Jackson Sidney R. Rabb Theodobe P. Ferbis E. Morton Jennings, Jr. Charles II. Stockton Francis W. Hatch Henry A. Laughlin John L. Thorndike Harold D. Hodgkinson John T. Noonan Raymond S. Wilkins Mrs. James H. Perkins Trustees Emeritus Palfrey Perkins Lewis Perry Edward A. Taft Oliver Wolcott Tanglewood Advisory Committee George E. Mole Alan J. Blau Henry W. Dwight Lenges Bull George W. Edman Whitney S. Stoddard Robert T. Capeless Lawrence K. Miller Jesse L. Thomason Robert K. Wheeler H. George Wilde Chairmen of the Boards of Selectmen (Ex Officio): Stockbridge, Robert Minkler Lenox, John Pignatelli Lee, William O'Bbien Thomas D. Perry, Jr., Manager Brosnahan Norman S. Shirk Rosario Mazzeo James J. Assistant Manager Orchestra Personnel Manager Business Administrator Assistant Administrators Sarah M. Hempel Harry J. Kraut -3 — RICHARD STRAUSS Mr. Leinsdorf will conclude the Festi- val season with one of the six tone poems by Richard Strauss which have been included in the course of the con- these are certs in celebration of the centenary of the composer's birth. Seven works from Strauss' s music for the stage, for voice Garrard's and for piano and orchestra will have also been performed. omatic ir; rum iffin miii lit iinn ^at UTfirntables... ' ' FAREWELLS ' ; '^'f' ^S. Six distinguished musicians are play- ing this summer for the last time as members of the Boston Symphony Or- chestra. Joseph de Pasquale, the first viola, Samuel Mayes, the first cello and Winifred Winograd, of the cello section, .r-J> ,. who is in private life Mrs. Mayes, are leaving the Orchestra and will join the Philadelphia Orchestra. Three are re- tiring: Louis Speyer who has been in- valuable as English horn soloist for TYPE A $84. 50 many years, having joined the Orchestra in 1918 and who will continue next sum- mer his work with the Berkshire Music Center at Tanglewood; Vladimir Res- nikoff, of the first violin section, who has been a member since 1933; and Jean de Vergie, oboist, who is retiring after having been with the Orchestra since 1925. AT6 $59. 50 LEOPOLD STOKOWSKI, who is conducting for the first time at Tangle- wood, and who conducted this Orchestra for the first time in the season past, was This new concept in record playing born in London on April 18, 1882. After units combines the flawless perform- studying in Europe he came to this ance of dynamically balanced tone country in 1905 at first as organist. In arms, full-size heavy turntables and 1909 he became the conductor of the the Laboratory Series® motor with the Cincinnati Orchestra, resigning in 1912 tremendous convenience of automatic to become the conductor of the Phila- play when you want it. Build your com- delphia Orchestra. He made his first ponent music system around a worldwide fame as he built this organi- Garrard or look for it as the hallmark zation to eminence. Since 1941 he has of quality in the finest consoles. conducted his own "All-American Youth Orchestra," the NBC Orchestra in asso- ciation with Toscanini, the Hollywood Bowl Orchestra, and the New York Philharmonic in association with Mi- tropoulos. He has conducted the Hous- There's a Garrard for every high fidelity system. Type A, $84.50; AT6, $59.50; Autoslim. $44.50. ton Symphony and the Contemporary For literature, write Dept. GY-634, Music Society in New York. In 1962 he Garrard, Port Washington, N.Y. created the American Symphony Orches- tra, which he still conducts. {Continued on page 13) 4 — BOSTON SYMPHONY ORCHESTRA Friday Evening, August 21, at 8:00 LEOPOLD STOKOWSKI, Conductor MOZART Sinfonia Concertante, in E-flat, K. 297b I. Allegro II. Adagio III. Andantino con variazioni Oboe: Ralph Gomberg Bassoon: Sherman Walt Clarinet: Gino Cioffi Horn: James Stagliano STRAUSS "Tod und Verklarung," Tone Poem, Op. 24 Intermission HOVHANESS t Prelude and Quadruple Fugue for Orchestra, Op. 128 ROREM f Eagles (After Walt Whitman) STRAVINSKY Suite from the Ballet "Petrouchka" Russian Dance—Chez Petrouchka—Grand Carnival—Nurses' Dance—The Bear and the Peasant Playing a Hand Organ—The Merchant and the Gypsies—The Dance of the Coachman and Grooms—The Masqueraders Piano Solo: Bernard Zighera t First performance at the Festival concerts BALDWIN PIANO RCA VICTOR RECORDS — 5 Program6 Notes Friday Evening, August 21 SINFONIA CONCERTANTE in E-flat, for Oboe, Clarinet, Horn and Bassoon, with Orchestra, K. 297b (Appendix, No. 9) By Wolfgang Amadeus Mozart / Born in Salzburg, January 27, 1756; died in Vienna, December 5, 1791 Composed in Paris between April 5 and 20, 1778, the score of this work disap- peared without performance. A copy was found in the State Library in Berlin and was published in the collected edition of Mozart's work in 1886. This music is the very definition of the title (which is more accurate than "Konzertantes Quartett" as it was first published). Like the Konzertante Sinfonie for Violin and Viola (K. 364), it is symphonic in its expanse, in the character of the development. At the same time it resembles a concerto grosso by the setting of the solo quartet, which is a sort of concertino against the orchestral tutti. The quartet is a unified group rather than a succession of soloists—a Harmonie-musik, where the individual voices are alternated, At the ONLY the Berkshire Festival this Season ...STEINWAY is played by Van Cliburn Malcolm Frager Menahem Pressler Paul Ulanowsky M. STEINERT & SONS i62Boylston st. boston- Worcester, Springfield — 6 blended, interlaced, backed by the accompanying orchestra or relieved by the predominant string tone of the tutti. Only in the adagio, where the melodic line is lengthened in time, does each soloist have his extended phrase while accompanied by his fellows. The first movement, which is the longest, is thematically rich and tends to prolong the development by the varied possibilities of color combination and alternation which the composer has given himself. The long "cadenza" before the close is not used for virtuoso display but is a sort of coda where the group as a group demands the sole attention. The slow movement is signified by Einstein as in reality an andante rather than an adagio. The solo players carry the melody in turn, the bassoon providing in one place a sort of dulcet "Alberti bass" to the higher instruments. The variation finale naturally permits solo virtuosity to come to the fore, but always in a musically integrated way. The ten variations give special solo opportunities to the oboe or clarinet or the two together. The second variation gives the bassoon special opportunities and the eighth provides a duet by a melodic bassoon and an ornamental oboe in arpeggios. The horn has no extensive solos, but its function is by no means subordinated. Each variation is rounded off by a recurring refrain from the tutti. At last there is an adagio passage and an allegro coda in a tripping 6/8. Manhattan School of Music John Brownlee, Director In the Musical Center of Our Country. Offering Artist Training by an Internationally Renowned Faculty. Courses Lead to the Bachelor and Master of Music Degrees. For information concerning admission and scholarships write to: Admissions Officer MANHATTAN SCHOOL OF MUSIC 238 EAST 105th STREET, NEW YORK, N. Y. 10029 7 — "TOD UND VERKLARUNG" ("DEATH AND TRANSFIGURATION"), Tone Poem, Op. 24 By Richard Strauss Born in Munich, June 11, 1864; died in Garmisch, September 8, 1949 Tod und Verkldrung was first performed from the manuscript, the composer con- ducting, at Eisenach, June 21, 1890, when his "Burleske" was also first heard. When Death and Transfiguration first appeared, an unrhymed poem was printed in the score, giving a more explicit story than Strauss, always reticent about such matters, usually attached to his symphonic poems. The verses were unsigned but were soon discovered to be from the pen of none other than Alexander Ritter, the militant champion of Wagner and Liszt, who had recruited the youthful Strauss at Meiningen to the cause of "program music." The verses, it was found out, were actually written after the music had been composed, and were inserted in the score as it went to the printer. The analysts forthwith questioned the authenticity of the words as a direct guide to the music. But surely Strauss and Ritter must have been too intimately asso- ciated at this time not to have a clear understanding.