„'"'

CarnegieH NEW YORK ^J NOVEMBER 1974 Where does the Russianlea Room Stand? Slightly to the left of Carnegie Hall.

RUSSIAN SPECIALTIES SERVED IN A EUROPEAN CAFE ATMOSPHERE. OPEN DAILY FROM NOON TO 1 A.M. FOR LUNCH, DINNER AND AFTER-THEATRE SUPPER

150 WEST 57th STREET • TELEPHONE 265-0947 It seems hardly necessary at this time to make the point that the acoustics of Carnegie Hall are great. In common with many other fine halls around the world (notably, Boston's Symphony Hall and Am- sterdam's Concertgebouw). Carnegie Hall boasts a fine balance of what acousticians call "room effects". The net result of these characteristics is to enable the sound being produced on- stage to get optimally to the audience. This sounds like a simple definition, and indeed it is too simple. Consider what is involved. From the bare whisper of a solo instrument to the ninety or so decibels generated by a full orchestra, the variety of musical sound in all its infinite possible com- binations must be transmitted or trans- ferred from a relatively small area at one end of an enormous enclosed space to all portions of that space. Ideally, in that transfer every musical nuance must be preserved; nothing must be added or deleted. The ideal is,

CONCERT ML ACOUSTICS By NORMAN EISENBERG most observers agree, not quite ever character." This can vary con- would seem to be a further enhance- attained, but remarkably close ap- siderably, from the non-reverberant ment of the "live acoustic" idea proaches to it have been made. wool-like silence of an anechoic cham- rather than the more overtly sen- How? What is the secret of good hall ber to the overly reverberant, ex- sational feature of squirting sound at design? Most of the great concert halls cessively random-noise ambience of a you from four corners of the room.) were built long before modern subway station. Between these two ex- If the problem of what happens to technology and particularly elec- tremes is a fairly broad area of what the sound produced in a room is basic tronics and the quantitative may be called "agreeable acoustics." to concert hall acoustics, so too is the measurement of acoustical character But what is "agreeable" for one question of keeping unwanted sounds were developed. Attempts to un- listener may be unpleasant to another. (i.e., noise) out of that room. derstand these halls in the light of Moreover, within one concert hall it is Overcoming these potential noises modern acoustical technology have often possible to perceive different and the distraction they can introduce been made, and various halls have acoustical response from one listening into a musical performance is itself a been analyzed in terms of various spot to another. This becomes even complex (and costly) activity, involving characteristics, but these studies are more pronounced when the music the entire range of building materials inconclusive and remain the subject of being played is tonally rich and har- and their acoustical and structural in- disagreement. Attempts to build con- monically complex, as with a sym- terrelationships. Small wonder then cert halls "by the numbers" have of- phony orchestra. But the interesting that one of the most challenging ten proven less than successful, and thing here is that even in relatively and—when successful—rewarding often have required revision of the poor locations within a hall, there assignments for an architect is to "numbers" and perhaps too a little in- remains a sense of the "liveness" of build a new concert hall. And no less a tuition to make right. the performance because there always wonder it is that a hall like Carnegie, One of the key elements in acoustics is a mixture, somehow, of direct sound built without benefit of modern is "reverberation" which refers to the and reflected sound, as determined by technology, qualifies so admirably as a "life span" of a sound created in a the hall's reverberation time. (As an fine place to hear music. room. A sound, once created, may be aside here, one of the main virtues of a There is of course one source of reflected several times from surfaces high-quality stereophonic music- "noise" and "ambience" over which inthe room (mainly the walls, ofcourse). reproducing system is its ability to no designer or builder has control, The size of the room, the ab- recreate, far more realistically than a and that is the audience. No formula sorption qualities of the walls and monophonic reproducer, this sense of and no insulating material has yet other surfaces, even the number of acoustical liveness. From a musical- been devised to silence the rever- persons present at any given time all enjoyment standpoint, this quality beration of a cough, the rustling of influence the sound build-up and its outweighs , in my opinion, the "left program pages, or the whispering to "decay". In general, the build-up oc- and right" directional projection someone in the next seat. curs rapidly, reaches a near-steady feature of stereo. By the same token, moment, and then the decay occurs. whatever advances in sound recording The exact times involved for these and reproduction may be attributed to three "events"—as determined by the the recent "quadriphonic" or "four- internal architecture of the channel" technique, their ultimate Norman Eisenberg is the editor of Stereo place—lend the room its "acoustical usefulness in musical perception terms Magazine and executive editor of High Fidelity. 3 .

This story is reprinted with permission of Chrysler-Plymouth Spectator magazine.

Tuny AsfeKs cued as-tto/tf>4>cc&&cc6

Step inside the little red schoolhouse the same manner that Taskin fashion- on a shaded street in the town of ed his masterworks. Nelson, Ohio, and you walk back into Slowly. Patiently. One piece at a the world of Johann Sebastian Bach time. They even follow the designs of and Paskal Taskin. Taskin's harpsichords. No shortcuts. Bach you undoubtedly recognize as Each harpsichord is one of a kind, one of the great composers of music made for a specific client. history. Both Phil and David are self-taught. Taskin? The name probably means There is no school for harpsichord nothing unless you are a student of makers. What is required is dedica- European music of the early 1700s. He tion, and the same standards of

was to the harpsichord. . .the fore- excellence and the same pride that

runner of the piano. . .what Stradivari distinguished craftsmen of the past. was to the violin. Paskal Taskin One does not become wealthy carefully designed and constructed the making harpsichords. Costs are high finest harpsichords of his day. In the because of the need for custom tools early ,1700s, the harpsichord was the and exotic woods such as mahogany, instrument used by most composers. A African ebony, rosewood, Alaska Sitka Taskin harpsichord was the supreme spruce, and others from distant places. instrument in the music halls of Vienna Sometimes they are difficult to find. and other centers of great music. Authentic European hardware trim Bach was noted for his music for cannot be purchased at the corner harpsichord. Even today his counter- store; it must be sought. And the point seems particularly suitable to the 22-carat gold leaf used for decoration short, metallic sounds of the harpsi- adds considerably to the expense. chord. There are many critics who But Cucchiara and Pierce make insist that the true effect of Bach everything in every harpsichord except

music. . .and that of many composers. the strings. can be appreciated only when heard on "See that glass jar?" asks Phil. the harpsichord. "Believe it or not, that pint and a half In the harpsichord, the strings are of metal screws set us back $800. And plucked by leather-tipped or quill here are 10,000 pilot screws worth pincers. In the piano, the strings are $1000". struck by leather- tipped hammers for a Since joining together four years fuller sound. The piano succeeded the ago, Cucchiara and Pierce have made harpsichord mostly because it can and sold five harpsichords, built to produce more variations of volume and tone and particularly because it can hold notes longer. Photos: Top left, Another harpsichord is ready Both Bach and Taskin would be for its first owner; top right, craftsman Cuc- chiara relies on sight and touch in final in- interested in the little red schoolhouse spection; center, Phil Cucchiara fingers exotic, in Nelson, and even more interested in imported wood; bottom, with partner David Phil Cucchiara and David Pierce. For Pierce, he fashions the precision inner parts. Phil and David manufacture harpsi-

4 chords, and they make them much in (Continued on page 8) MAGAZINE

VOLUME 1» BOOK 2 NOVEMBER 1974

LEWIS FIELDS Founder and Publisher THE CARNEGIE HALL CORPORATION Pubisfters Enterprises Corporation 4405 East- West Highway Bethesda, Maryland 20014 Te). 301/986-1966 Isaac Stern, President Frederick W. Richmond, Chairman of the Board Z. J. FIELDS President Richard A. Debs, Chairman, Executive Committee

BENJAMIN S. HELLER Col. Harold Riegelman, Vice President and General Counsel Vice President Eugene M. Becker, Harry Van Arsdale, Vice Presidents L. FIELDS Lucien Wulsin, Treasurer Executive Editorial Director Raymond S. Rubinow, Secretary JOSEPH McLELLAN Senior Editorial Consultant Donald L. Baraf, Assistant Secretary GARY a GAY Graphics Production Manager JACK RALPH General Sales Director Board of Trustees National Advertising Sates Representatives Arroyo Frederick W. Richmond SALES ARM INC Martina 31 Union Square West Hon. George W. Ball Col. Harold Riegelman Suite 801 S. Rubinow New York, New York 10003 Eugene M. Becker Raymond Tel. 21 2/989-6780 Norton Belknap Lewis Rudin T. Roland Berner Hon. Constantine Sidamon-Eristoff Julius Bloom Aye Simon Richard A. Debs Joseph E. Slater ALTON MILLER Arena Stage and Kreeger Theater Editor James S. Deely Isaac Stern JEROME FERRAIRA Jack deSimone Roger L. Stevens New Jersey Symphony Editor Hon. AbeFortas Harry Van Arsdale SUE DOLAN Hon. Roy M. Goodman Hon. Robert F. Wagner Saratoga Festival Editor Mrs. Dorothy Hirshon Mrs. Philip Wise MARY PORTER New York City Ballet Editor Laurence C. Leeds, Jr. James D. Wolfensohn PATTE PARKER Hon. MacNeil Mitchell Lucien Wulsin Philadelphia Orchestra Editor Mrs. George W. Naumburg

Honorary Trustees

OnStage Magazine is pubSsned monthly in Washington, DC. and distributed to the audience free of charge for Leonard Altman Mrs. Albert D. Lasker each performance at: Marian Anderson Hon. John V. Lindsay Carnegie Hall and Carnegie Recital Hall Robert S. Benjamin John Barry Ryan III New York, New York Arena Stage, Kreeger Theater. National Theatre Mrs. Marshall Field Norman K. Winston Washington, DC. Jacob M. Kaplan David L. Yunich New Jersey Symphony Orchestra New Jersey Saratoga Performing Arts Center Saratoga Springs, New York

Julius Bloom, Executive Director

Ronald J. Geraghty, Controller THIS MONTH'S COVER: The Los Angeles Peter W. Smith, Operations Administrator Philharmonic Orchestra conducted by Richard A. Mead, Head, Development Office Zubin Mehta in a recent performance at Carnegie Hall. Photo by Jim Demetropoulos. Stewart J. Warkow, House Manager Roger Villeneuve, Associate House Manager Ioana Satescu, Booking Manager Gilda Barlas Weissberger, Associate Booking Manager Nathan Posnick, Box Office Treasurer © 1974 by Publishers Enterprises Corporation. All Arnold, Head, Programming lights reserved. Reproduction in whole or in part of any Judith Office contents herein is prohibited without written per- Richard Gottlieb, Head, Publicity Office mission. Subscription rates for each theatre: U.S.A. and possession3-$1 5.00 per year; Canada-$18.00; Wilson R. Utter, Building Superintendent Europe and elsewhere-$20.00. This magazine printed Hess, Segall, Popkin, Guterman, Pelz & Steiner, Counsel in the U.S.A. .

EXPR1NTER AND HOLLAND AMERICA Carnegie Hall Present NOVEMBER 1 974 SCHEDULE OF EVENTS

Monday. November 4, at 8:00 Wednesday, November 13, at 8:00 ORCHESTRE DE LA SUISSE THE BERLIN PHILHARMONIC ROMANDE ORCHESTRA Wolfgang Sawallisch, Conductor Herbert von Karajan, Conductor Alicia de Larrocha, Piano Thursday, November 14, at 8:00 Works by Honegger, Rach- SOLISTI DI ZAGREB JAZZ &JAM maninoff, Mendelssohn Henryk Szeryng, Guest Conductor and Principal Soloist WITH: (International Festival of Visiting Orchestras) Tonko Ninic, Violin LIONEL HAMPTON Works by Vivaldi, Mozart BASIE COUNT Tuesday. November 5, at 8:00 Friday, November 15, at 8:00 SARAH VAUGHAN ORCHESTRE DE LA SUISSE NEW YORK JAZZ REPERTORY CANNONBALL ADDERLEY ROMANDE COMPANY Sunday, November 17, at 3:00 JOE WILLIAMS Sawallisch, Conductor Wolfgang BUFFALO PHILHARMONIC JAMES MOODY liana Vered, Piano ORCHESTRA CARL WARWICK Works by Armin Schibler, Michael Tilson Thomas, Conductor LEONARD FEATHER Schumann, Brahms Rutgers University Choir CECIL AND (International Festival of All-Beethoven program, including CAVRIL PAYNE Visiting Orchestras) seldom heard works December 7-14, 1974 Monday, November 18, at 8:00 $755* Wednesday, November 6, at 8:00 7 days from $460. to ORCHESTRE DE LA SUISSE JULIUS LA ROSA ROMANDE Tuesday, November 19, at 8:00 ONTHE HEEN BABA and His Ensemble Wolfgang Sawallisch, Conductor Dancer from Sri Lanka (Ceylon) Michel Beroff, Piano ROTTERDAM (Performing Arts of Asia series) Ron Golan, Viola To Nassau and Bermuda Wednesday, November 20, at 8:00 Works by Haydn, Frank Martin, ANNA XYDIS, Piano and . . Prokofieff, Schumann Works by Bach-Busoni, Beethoven, Ml (International Festival of Visiting Chopin, Liapounov Orchestras) W Thursday, November 21, at 8:00 WASHINGTON BARRY MANILOW, Composer- Thursday, November 7, at 8:00 SOLISTI DI ZAGREB Singer CRUISE Henryk Szeryng, Guest Conductor Saturday, November 23, at 8:00 and Principal Soloist BOSTON SYMPHONY Listen to, talk with, sail with Tonko Ninic, Violin ORCHESTRA Seiji Ozawa, Conductor Senator Hubert Humphrey, Works by Bach, Vivaldi, Mozart Works Ravel, Loren Rush*, Art Buchwald, Liz Carpenter, by Brahms *N.Y. premiere of "The William Satire, Pierre Salinger, Friday, November 8, at 8:00 Cloud Messenger" David Schoumacher. NEW YORK JAZZ REPERTORY

COMPANY Sunday, November 24, at 3:00 December 14-21, 1974 AMERICAN SYMPHONY * 7 days from $436 to $651 Saturday, November 9, at 8:00 ORCHESTRA THE BERLIN PHILHARMONIC Both sailings from New York ORCHESTRA Morton Gould, Conductor on the world's number one Works by Strauss, Mussorgsky. N.Y. Herbert von Karajan, Conductor luxury cruise liner. premieres of works by Gould (Vivaldi

Reservations Gallery) and Ives (Orchestral Set Sunday, November 10, at 8:00 are limited. No. For additional THE BERLIN PHILHARMONIC 2) information mail coupon below. ORCHESTRA Tuesday, November 26, at 8:00 "Rates per person, MAURICE ANDRE and the based on double occu Herbert von Karajan, Conductor pancy and subject to WERTENBERG CHAMBER availability. The SS Rotterdam is Monday, November 11, at 8:00 ORCHESTRA registered in the THE BERLIN PHILHARMONIC Netherlands Antilles. Wednesday, November 27, at 8:00 ORCHESTRA GILBERT BECAUD Send Coupon to: Herbert von Karajan, Conductor Exprinter International, Dept. P Thursday. November 28, at 8:00 500 Fifth Avenue, New York 10036 Tel: (212) 244-7856 GILBERT BECAUD Tuesday, November 12, at 8:00 Showboat 2 Inside Washington CLAIRE COCI, Organ Friday, November 29, at 8:00 Name Assisting artists: members of the Or- THE SOVIET GEORGIAN pheus Ensemble DANCERS AND SINGERS Address Works by Bach, Haydn, Barber, Saturday, November 30. at 2:30 and 8:00

City State Zip Isadore Freed, Liszt, William Bolcom THE SOVIET GEORGIAN (International Organ Series) DANCERS AND SINGERS No one person has all the knowledge, skills and experience to settle your estate, That's why Manufacturers Hanover gives you two.

And backs them up with 700 more. When you name Manufacturers Hanover executor of your estate, we handle it in a unique way— with teamwork. A typical team is Helen Thome, administrative officer, and Tom Cunningham, investment officer. They are estate and trust specialists who devote their full time to keeping families and funds together. Working closely from the be- ginning with your attorney, partners

1 ike Tom and Helen take on such tasks as paying family bills, settling taxes and managing investments. They are the only individuals in the Bank to whom the family needs to turn, since they act as a personal liaison team between the family and the rest of the Bank. The same concerned team also will handle, in most instances, trusts coming out of the estate. Backing up this partnership are the specialized skills and services which make upa700member-$9 billion trust depart- ment, supported byvast computerfacilities

But from start to finish, it will be people like Tom and Helen who will be working for you and your heirs. You see, where your estate is concerned, Manufacturers Hanover knows from ex- perience that two heads are better than one. MANUFACTURERS HANOVER 350 Park Avenue, New York, New York 10022 ——

Two Men and a Harpsichord Continued from Page 4 customer specifications, at a base price It happened in a roundabout way. menting, the shop in Nelson was of $5900 each. They are making three Phil Cucchiara is from Ohio and opened in 1970. more. spent a year at the Cleveland Institute Pierce, a Bostonian, took a different of Music studying piano. He heard a route to the little schoolhouse. "Other builders might have turned As a harpsichord recital by Rafael Puyana teenager, he happened to hear a few out dozens of them in the time we've and was captivated by the sound. He bars of harpsichord music on been working, but we are particular. a asked Puyana for a job and ended up as recording. Intrigued, he This takes time," say Cucchiara. started a an unpaid secretary-errand boy. While record collection of harpsichord music. One of the five, named the Opus 5, traveling in London with Puyana, he Before long he was hooked. has earned particularly strong acclaim found a steady job with a harpsichord from prominent musicians. It is owned He even bought a do-it-yourself and piano maker, William deBlais. by Frieda Schumacher, a Cleveland model harpsichord kit and, after a long This position helped him develop concert artist and teacher, and is and frustrating time, managed to put it woodworking skills. valued at $13,000. together. "I hated it," he recollects After playing the Opus 5 in a concert After a year in London, Phil decided with a smile. "It's a clock now." with violinist Isaac Stern and the to return to Cleveland to seek employ- David haunted the Boston Museum Cleveland Orchestra, conductor Erich ment. "I wondered where I was going of Fine Arts to examine a valuable Leinsdorf was ecstatic. He sent Cuc- and decided to learn computer pro- Kirkmann harpsichord. The curators chiara and Pierce an autographed gramming for something more perma- thought it should be heard as well as photograph and the plaudits, "To the nent and lucrative," he recalls. "I came seen, so they allowed Pierce to play it. brilliant harpsichord builders." home, went to school and found work." That heightened his interest. Members of the European chamber But the lure of the harpsichord was music group, I Musici di Roma, were so too great. He started scrimping so he He enrolled in Baldwin-Wallace impressed with the Opus 5 that they could start his own shop. College, near Cleveland, where he have ordered a similar model delivered Phil and his father bought an Eng- earned a degree in music. He taught to them in Rome. lish harpsichord, but it still wasn't school in Cleveland, but the harpsi- This acclaim means as much as quite the instrument Cucchiara chord fever wouldn't abate. He bought profit. But Cucchiara and Pierce wanted. "I knew to get what I wanted a used instrument and was struggling recently began to show a profit, too. I'd have to do it myself." with re-voicing it when a friend Not much, but still an encouraging He spent much spare time tinkering suggested that he ask Cucchiara for sum. on various instruments in his basement help. They met, talked for 10 hours, How do two young men find each with a friend, Walter O'Brien. After and the association was born. other and start to build harpsichords? seven years of research and experi- Taskin would understand. A

E0PLE OF NOTE A SCORE OF SYMPHONY FACES

VIOLINS

The VIOLINS have been gregarious Right from the time of Stradivarius And in the worst orchestral weather They like to string along together Producing tones, both high and deep, From hair of horse on gut of sheep. And yet to play the violin

One has to take it on the chin; But violinists take a chance

Because they know it brings romance. With shaking head and swaying hip Thus handily the gypsies gyp Thus easily the fiddlers can Bring life and love to any man And so we see, from this tirade, Why Rome burned up when Nero played.

Poem by LAURENCE McKINNEY Cartoon by GLUYAS WILLIAMS Invite the world's greatest orchestras into your living room.

Herbert von Karajan Leonard Bernstein Karl Bohm Karl Richter

Your television set becomes a concert stage for four "Great Performances," each a significant event in the world of music, to be presented on the stations of PBS, the Public Broadcasting Service.

Berlin Philharmonic Herbert von Karajan conducting Bach's Suite No. 2, Beethoven's Symphony No. 5. Wednesday, November 13, 1974

Boston Symphony Orchestra Leonard Bernstein conducting Tchaikovsky's Symphony No. 5. Christmas Night, December 25, 1974

Vienna Philharmonic Karl Bohm conducting Mozart's Requiem. Ash Wednesday, February 12, 1975.

Munich Bach Orchestra and Choir Karl Richter conducting Bach's Mass in B Minor. Good Friday, March 28, 1975.

These four very special evenings of music are made possible by a grant from Exxon Corporation. They are truly "Great Performances." We urge you not to miss them. In many cities, an FM Stereo Simulcast may be heard. Consult your newspaper or PBS station for the exact time.

E*ON HENRYK SZERTNG - Violin Virtuoso

One handy way to assess the stature of Henryk Szeryng is to listen to his recording of the Brahms Violin Concerto (see discography below), a composition that, at one point or another, asks a violinist to do practically everything in the

instrument's standard technical or expressive scope—no savage pizzicati or tricky glissando double stops a la Bartok, but, within the classical framework, everything that composers have felt free to expect of the instrument's most accomplished masters.

When you give Szeryng this private audition, it doesn't matter what other violinist you may ask for a second view of the

great concerto; I recently compared Szeryng, note for note, with Heifetz, but Stern, the late Oistrakh or any other non-

pareil violinist serves equally well to make the point: Szeryng ranks, technically, with the finest players in the instrument's

history and, like all great violinists, he manages to achieve complete, literal fidelity to the written score while, at the same

time, a distinctive personality emerges in his treatment of the music.

In Szeryng's case (and this helps explain why, although no violinist is better, some are better-known), the artistic personality is serious, not flamboyant, dedicated more to clarity and precise articulation than to rich tone, interested in

exploring the music's structure and inherent emotion rather than the pretexts it may offer for displays of his own technique

and temperament. Not that the tone is less than rich or that there are any areas where his technique falls below the highest

virtuoso levels, but these are not paramount, as they often seem to be (understandably) in the work of other men who have

devoted their whole lives to developing quintessential refinements in this area.

Szeryng himself touched upon this point some time ago, briefly, in one of the rare public addresses he has given in this country: "In order to be able to let your heart, your taste and your sensitivity speak, you've got to acquire a complete command

of your instrument, and this means many, many hours of your life devoted to tedious, and yet unavoidable, practice of all sorts of exercises. Yes, indeed, before we can even think of interpretation and of emotional contents of music, we violinists have to make sure, first, that the fingers of our left hand possess the necessary strength and elasticity, also a great deal of independence and flexibility of the wrist. Our right arm, which alternately has to caress the string or inflict

severe blows on it, has also to go through a very exacting training in order to achieve the necessary balance and control.

"Once you can rely upon your technique, then you can afford to penetrate in the magic realms of the composer's

inspiration and style. I believe that in order to come close to the composer's personality one needs a very accurate knowledge of his life, character, and the main personalities he has been dealing with. You also should know about important historic events which took place during his lifetime, and the relation between these and other occurrences, 10 including his sentimental or emotional involvements, and the compositions he was working on at the time. I find it so mud )

Carnegie Hall INTERNATIONAL FESTIVAL OF VISITING ORCHESTRAS EVENINGS AT 8:00

Monday, November 4 Wednesday, April 2 Tuesday, January 28 Orchestra de la Madrid RTV Detroit Symphony Suisse Romande Symphony AldoCeccato conductor Alonso Wolfgang Sawallisch conductor Dvorak Symphony No. 8 Odon conductor Alicia de Larrocha piano JanacekGlagolitic Mass with Janice Yoes, Marciso Yepes guitar Arriaga Symphony in Major Honegger Horace Victorieux soprano; Lili Chookasian, contralto; D Rodrigo Fantasia for (symphonic pantomime) Henry Grossman, tenor; Ara Berberian, Guitar and Orchestra Cristobal Halffter Anillos(U.S. Premiere) Rachmaninoff Piano Concerto Mo. 2 bass-baritone; JanosSebestyen, organ; Albeniz Iberia Suite Falla Suite No. 2 from Mo. 3 ("Scotch") Wayne State University Symphonic Choir Mendelssohn Symphony "The Three-cornered Hat"

Tuesday, November 5 Tuesday, April 15 Wednesday, January 29 Orchestre de la Detroit Symphony Pittsburgh Symphony Suisse Romande William Steinberg conductor AldoCeccato conductor Sawallisch conductor Isaac Stern violim Wolfgang Lorin Hollander piamo liana vered piano Wagner Overture to "Tannhauser" PianoConcerto in Minor Beethoven Symphony No. 3("Eroica") Armin Schibler Metamorphosis Ebrietatis Bach D Schumann Piano Concerto Strauss "Burleske" for piano and orchestra George Rochberg Violin Concerto No. 9 Premiere) Brahms Symphony No. 4 Shostakovich Symphony (N.Y.

Wednesday, November 6 Thursday, April 24 Orchestre de la Tuesday, February 4 Rotterdam Suisse Romande Cleveland Orchestra Philharmonic Wolfgang Sawallisch conductor Lorin Maazel conductor Edo de Waart conductor Michel Beroff piano Rafael Orozco piamo Kyung-Wha Chung violim viola Chopin Piano Concerto No. 2 Ravel "Daphnis Ron Golan Rachmaninoff Caprice Bohemien No. 44("Trauer") and Chloe" (complete ballet music) Haydn Symphony Piet KettingTime Machine Frank Martin Ballade for Viola Stravinsky Violin Concerto Prokofieff Piano Concerto No. 2 Brahms Symphony No. 1 Schumann Symphony No. 2

Thursday, December 5 Tuesday, February 11 National Arts Centre Cleveland Orchestra Tuesday, May 6 Orchestra of Canada Lorin Maazel conductor Bavarian Symphony Mario Bernardi conductor Mayumi Fujikawa violim Rafael Kubelik conductor Barry Tuckwell fremch horn Prokofieff Symphony No. 7 Mahler Symphony No. 9 Schoenberg Verklarte Nacht Glazunoff Violin Concerto Strauss Horn Concerto No. 2 Bartok Suite from "The Miraculous Mandarin"

Tadeusz Baird Elegy ( N.Y. Premiere) Mozart Symphony No. 38 ("Prague")

Friday, December 6 Wednesday, February 19

National Arts Centre Baltimore Wednesday, May 7 Orchestra of Canada Symphony Bavarian Symphony Mario Bernardi conductor Sergiu Comissiona conductor Rafael Kubelik conductor Berlioz "L'Enfance du Christ" with Leon Fleisher piamo Gabrielle Lavigne, mezzo-soprano; Smetana "Ma Vlast" ( complete Overture to be announced PaulTrepanier, tenor; Gaston Germain, baritone; Prokofieff Piano Concerto Claude Corbeil, bass; Rutgers University Choir No. 4 Mahler Symphony No. 5

Tickets, each concert: $7.50, $6.50, $5.50, $4.50, $3.50. MAIL ORDERS ACCEPTED (JNTILTWO WEEKS PRIOR TO DATE OF CONCERT. MAKE CHECKS PAYABLE TO: CARNEGIE HALL BOX OFFICE. Auspices: The Carnegie Hall Corporation Verdi Otello Vickers/ Freni/ Glossop SCLX 3809 Wagner Tristan und Isolde

Vickers / Dernesch/ Ludwig SEL 3777

Beethoven Fidelio Dernesch/ Vickers /Donath SCL3773 Haydn The Seasons Janowitz/ Hollweg/ Berry SC 3792

Bruckner Symphonies No. 4 "Romantic," & No. 7 SC 3779

Bartok Concerto for Orchestra S 37059 Music for Strings, Percussion, Celesta S 35949

Tchaikowsky

Symphonies Nos. 4, 5, & 6 S 36884/85/86

Symphony No. 9 "New World" Smetana TheMoldau S 35615

Strauss Sinfonia Domestica S 36973 Ein Heldenleben S 37060 In preparation

Mozart The Last Six Symphonies S 36770/71/72 PHILHARMONIC Wind Concertos SC 3783 Concertos for Flute, Flute and Harp In these superb Blau/ Galway/ Helmis Concertos for Oboe, Clarinet, Bassoon

Koch / Leister / Piesk performances Sinfonia Concertante in E Flat Oboe, Clarinet, Bassoon, and Horn on AngelRecords Steins/ Stahr/Braun/Hauptmann Beethoven Piano Concerto in E Flat, "Emperor" Alexis Weissenberg S 37062 "Triple" Concerto Oistrakh/Rostropovich/Richter S 36727

Rachmaninoff Piano Concerto No. 2 in C Minor Franck Angel Symphonic Variations Alexis Weissenberg S 36905

* \fr. Holhceg appears by kind permission of Phonogram International B. V. o

Carnegie Hall Saturday Evening, November 23, 1974 at 8:00 1974-1975 SEASON V^ NEW YORK

The Carnegie Hall Corporation presents the Boston Symphony Orchestra

Ninety-Fourth Season/1974-1975

SEIJI OZAWA, Music Director COLIN DAVIS, Principal Guest Conductor

Seiji Ozawa conductor

RAVEL Le Tombeau de Couperin Prelude Forlane Menuet Rigaudon

RUSH The Cloud Messenger*

INTERMISSION

BRAHMS Symphony No. 2 in D Major, Op. 73 Allegro non troppo Adagio non troppo Allegretto grazioso, quasi andantino Allegro con spirit

•First New York performance

The Boston Symphony Orchestra records exclusively for Deutsche Grammophon

BALDWIN PIANO

DEUTSCHE GRAMMOPHON and fRCA RECORDS —

PROGRAM NOTES

Le Tombeau de Couperin/by Maurice akin to the jig, but not to Bach's because, being 'If I were to refer to The Cloud Messenger as Italian in origin, it is not contrapuntal. Ad- "this difficult achievement with its infinitely Ravel. mirers of Oliver Wendell Holmes will recall his demanding thorough details, strong in its Born: March 7, 1875, Ciboure, St.- use of 'rigadoon' as a synonym for 'sashy' in means of expression, but extremely sensitive Jean-de-Luz; died: December 28, Elsie Venner; Rousseau had ascribed the form and informed throughout by mathematics, the a certain dancing master named Rigaud, but creator of the ineffable mystery of space," I 1937, Paris. to in fact no one can attest to its origins. Whatever would be quoting Le Corbusier on his cathedral Ostensibly this music represents neoclassic the disparate natal circumstances involved, as at Ronchamp at the benediction in 1955.

expression in its purest distillate. And it was, in- importuned by Ravel these old dances become 'I especially notice in the quote the early deed, conceived as a pianistic idealization of the as one in their evocation—or simulation— for an reference to details. Often the artist spends so clavecin aesthetic exemplified by Francois unmistakably Gallic quintessence. much time on the details that when asked about Couperin le Grand. But that was in the fateful JAMES LYONS a particular work he will neglect the primary summer of 1914, and even Ravel's sleepy St. formation and inspiration of the work and give Jean-de-Luz was traumatized by the news of an account of the details. (The painter Jack Archduke Francis Ferdinand's assassination at Bailey is capable of extremely fast execution. Sarajevo. France mobilized overnight, and by The Cloud Messenger/by Loren Rush. When once I asked how his painting was going August was at war. By then the sketches for Le he said that he had spent the entire day on an Born: 1935, Southern California. Tombeau de Couperin were in a desk drawer. old woman's left nostril.) When he returned to them three wretched Loren Rush currently resides in Point Rich- 'After the premiere of Nexus 16 at years later the composer was a very different mond, California. He completed The Cloud Tanglewood in 1964 Erich Leinsdorf asked me man, broken in health and shattered Messenger in Rome during the summer of 1970, to write a piece for the Boston Symphony Or- emotionally by the loss of his mother, who had and its first performance was given the chestra. By the following summer in Point Rich- died barely a week after his medical discharge. following year by the Rome Symphony Or- mond I had a fairly precise mental image of the

Thus it was that the six movements became as chestra (RAD, Giampiero Taverna conducting. piece and even a few sketches, and by the fall of many 'tombstones' (each one inscribed Seiji Ozawa and the San Francisco Symphony 1967 I was able to show him in New York the separately) for friends and regimental comrades Orchestra gave the first American performance score in nearly complete form, except for some who had been killed on the Western Front. on April 8, 1973, in San Francisco, and the work of the detail. He agreed to program the piece as As a work for solo piano—Ravel's last, in- was later performed, under the direction of soon as he received the score in a form complete cidentally Le Tombeau was not a notable suc- Niklaus Wyss, during that orchestra's tour of enough that the performance parts could be cess. Strictly speaking it could not have been the USSR. made. The Cloud Messenger was completed in because it marked a stylistic retrogression after The instrumentation: three flutes, alto flute, the summer of 1970. By then I had been living the harmonic leaps forward in the Valse nobles two piccolos, three oboes, English horn, two in Rome for a year and Erich Leinsdorf had et sentimentales and Gaspard de la nuit. But clarinets, E-flat clainet, bass clarinet, three retired from the Boston Symphony Orchestra. fortunately that was not the end of the matter. bassoons, contrabasoon, four horns, three 'The Cloud Messenger was premiered in 1971 Two years later, by which time Ravel was trumpets, fluegelhorn, four trombones, tuba, with the Rome Symphony Orchestra (RAI) con- healthier celesta, much in body and spirit, he was keyboard glockenspiel, amplified harp- ducted by Giampiero Taverna. It is in one delighted to hear that Jean Borlin wanted to sichord, two harps, acoustic guitar, piano, movement and scored in ninety-nine in- choreograph Le Tombeau for Rolf de Mare's tam-tams, glockenspiels, bass drums, marimba, dividually defined instrumental parts. It is Swedish Ballet (actually the suggestion had cymbals, jazz set, tom-toms, vibraphone, mainly dramatic, a sort of musical "theater of come from Ravel's old Montmartre confrere, xylophone, chimes, strings. the mind" where several musical "characters" the conductor D.E. Inghelbrecht). Whereupon Loren Rush began the study of piano at the are developed in various dramatic relationships. the composer himself scored age of six and gradually his four of the extended studies to Liszt probably would have called it a tone poem. movements as a concert suite, include omitting the bassoon, contrabass, percussion and the 'The title is somewhat more evocative than Fugue and Toccata and also, significantly, Japanese koto, the instrument he uses as a com- descriptive.' LOREN RUSH omitting all of the dedications—as if to testify positional aid. He studied composition with that in this orchestral guise Le Tombeau was Robert Erickson and attended San Francisco not a mere arrangement but a new work State University, the University of California at Symphony No. 2 in D Major, Op. altogether, intended to have life Berkeley, a of its own. and Stanford University, where he 73/by Johannes Brahms. And so it has had, uninterruptedly, ever since its received a doctoral degree. His fellowships and Paris premiere on February 28, 1920. awards include the Rome Prize, the Institute of Born: May 7, 1833, Hamburg; died: Ironically, the orchestral version of Le Tom- Arts and Letters Award and a Guggenheim April 3, 1897, Vienna. beau de Couperin probably has more neoclassic Fellowship. He has been active in the San Fran- purity in its resplendence than the leaner-lined cisco Bay Area both as a conductor and in- Looking back over the ninety-odd years which keyboard prototype; the modern orchestra, af- strumentalist in the performance of new music. have passed since Brahms' Second Symphony ter all, was the instrument Ravel knew best. No As Stanford Artificial Intelligence Project was performed for the first time, one finds good matter, it is a masterpiece of its genre—whether Visiting Scholar, he is currently a member of support for the proposition that music found or not one agrees with Edwin Evans that the the Stanford Computer Music Project, where, in disturbingly 'modern' today can become univer- composer incarnated the 'very spirit of the his own words, 'a small group of composers is sally popular tomorrow. This symphony, surely precise and ordered classicism of the eighteenth using a large computer as a musical in- the most consistently melodious, the most century.' strument.' Mr. Rush .wrote! the following com- thoroughly engaging of the four, was once rejec- The concert suite comprises a Prelude, ments for the American premiere of The Cloud ted by its hearers as a disagreeable concoction Forlane, Menuet, B and Rigaudon. The forlane is Messenger; of the intellect, by all means to be avoided. A -

In Leipzig, when the Second Symphony was introduced in 1880, even Dorffel, the most pro- ABOUT THE ARTIST Brahms of the critics there, put it down as 'not distinguished by inventive power'! It was a time of considerable anti-Brahms agitation in Cen- tral Europe, not unconnected with the Brahms- versus-Wagner Feud. There were also reper- cussions in America. When in the first season of the Boston Symphony Orchestra (February 24, 1882) Georg Henschel conducted the Second

Symphony, the critics fell upon it to a man. They respected Mr. Henschel's authority in the matter because he was an intimate friend of Brahms. For Brahms they showed no respect at all. The Transcript called it "wearisome', 'turgid'; the Traveler, 'evil -sounding', 'ar- tificial', lacking 'a sense of the beautiful', an

'unmitigated bore'. The Post called it 'as cold- blooded a composition, so to speak, as was ever created'. The critic of the Traveler made the only remarks one can promptly agree with: 'If

Brahms really had anything to say in it, we have not the faintest idea what it is.' This appalling blindness to beauty should not be held against Boston in particular, for although a good part of the audience made a bewildered departure after the second movement, the courageous believers in Mr. Henschel's good intentions remained to the end, and from these there was soon to develop a devout and determined type who stoutly defended Brahms. New York was no more enlightened, to judge by this astonishing suggestion in the Post of that city (in November SEDI OZAW 1887): 'The greater part 6f the Symphony was antiquated before it was Written. Why not play Upon his appointment as Music Director in the his time to guest conducting. During the instead Rubinstein's Dramatic Symphony, fall of 1973, Seiji Ozawa became the thirteenth summer of 1969, he conducted opera for the first which is shamefully neglefted here and any one person to head the Boston Symphony Orchestra time, Cosi fan tutte at Salzburg, and served also movement of which contains more evidence of since its founding in 1881. He succeeds such as principal guest conductor of the Ravinia genius than all of Brahms' symphonies put historic figures as Pierre Monteux, Serge Festival. together?' Koussevitzky and Charles Munch. Prior to his That fall he opened the New York Philhar- appointment he was for one year the Orchestra's monic season and later appeared as guest Many years had to pass before people would Music Adviser, and had appeared on numerous conductor with L'Orchestre de Paris, the exactly reverse their opinion and look upon occasions as guest conductor of the Orchestra. Cleveland Orchestra and the Berlin Philhar- Brahms' Second for what it is bright-hued — Born in Hoten, Manchuria, in 1935, he monic. In 1970, Mr. Ozawa was made Artistic throughout, every theme singing smoothly and graduated from the Toho School of Music in Director of the Berkshire Music Festival, and in easily, every development both deftly integrated Tokyo, winning first prizes in composition and December of that year he began his inaugural and effortless, a masterpiece of delicate tonal conducting. He then went to Europe, where he season as Conductor and Music Director of the poetry in beautiful articulation. To these won first prize at the International Competition San Francisco Symphony Orchestra. He holds qualities the world at large long remained of Conducting at Besancon, France. One of the the position of Music Director and Conductor of with his posts strangely impervious, and another legend grew judges was the late Charles Munch, then Music the Boston Symphony concurrent Director of the Boston Symphony, whose at Tanglewood and in San Francisco. up: Brahms' music was 'obscure', 'intellectual', invitation to Tanglewood was the beginning of to be apprehended only by the chosen few. Mr. Ozawa's association with the Orchestra. What the early revilers of Brahms failed to Appointed one of the New York Philharmonic's The next concert by the Boston Symphony Or- understand was that the 'obscurity' they so of- assistant conductors at the beginning of the ten attributed to him really lay in their own non- 1961-62 season, he directed that orchestra chestra will take place on January 18, 1975, will Mozart's Sym- comprehending selves. Their jaws would have several times, though it was with the San when Colin Davis conduct Mahler's Lied dropped could they have known that these 'ob- Francisco Symphony, during the same season, phony No. 29 in A Major and Das that he his first full-length scure' symphonies would one day become (next made professional von der Erde. Janet Baker, mezzo-soprano, concert appearance in North America. Begin tenor, will be guest to Beethoven's) the most generally beloved—the and Richard Cassilly, ning in the summer of 1964, hewas for five seasons most enduringly popular of all. soloists. Music Director of the Ravinia Festival, and at the The Boston Symphony Orchestra, conducted start of the 1965-66 season, he became Music by Erich Leinsdorf, has recorded the Second Director of the Toronto Symphony, a post he Program notes copyright - 1974 by the Boston Symphony for RCA. JOHN N. BURK relinquished after four seasons in order to devote Symphony Orchestra, Inc. A DAY IN THE LIFE OFA RISING YOUNG

His appointment calendar All ages. He injured and crippled head. Talk with his doctor, clergy- might as well read "drinks" all thousands more. And half the time man, whoever he's close to. Let us day long. Because that's what he he ended up dead himself. It's send you a booklet that tells you does— all day long. obvious he can't get himself off how to help keep the problem His business associates may the road, so we have to. drinker from driving. Write. not know it. His friends may only Plenty can be done to help. P DRUNK DRIVER suspect it. But there's one time— You can support enforcement of BOX 1969 one terrible time— when the traffic laws and expanded treat- WASHINGTON, D.C. 20013 problem drinker gives himself ment methods, under the national I want to help. Please tell me how. away. When he climbs into his car Alcohol Countermeasures Program. My name is and drives. Better yet, if you know someone Because last year the problem who's killing himself with alcohol Address drinker was involved in 19,000 — but hasn't yet killed anyone with City. .State. -Zip. traffic deaths. All kinds of people. a car— sit him down. Get into his GET THE PROBLEM DRINKER OFF THE ROAD. FOR HIS SAKE. AND YOURS. A U.S. DEPARTMENT OF TRANSPORTATION. NATIONAL HIGHWAY TRAFFIC SAFETY ADMINISTRATION. the world — a world whose musical stein) Henryk Szeryng RCA LSC 2620. experience he has enormously BRAHMS: Sonatas ! enriched. piano No. 2 in A, Op. 100 and 3 in D, easier to interpret the composer's Henryk Szeryng: Op. 108 (with Rubinstein) RCA LSC work after identifying myself with the Highlights of a Discography 2619. atmosphere he was surround- general BRAHMS: Trios for violin, cello includes also his con- ed by, which The following is not a complete and piano (with Fournier and Rubin- temporaries in other artistic fields." listing of all the records Henryk stein) RCA ARL3-0138, three records. There, in two short paragraphs, is Szeryng has made or of all that the LALO: Symphonie Espagnoie for performing musician's view of a the diligent record -buyer may find still in violin and orchestra, Op. 21: discipline which involves and ex- circulation; it presents highlights — (with the Chicago Svmphonv, the presses the total personality, from which show the scope of his work as a Hendl cond.) RCA VICS 1064. of muscular con- most minute aspects solo virtuoso, a chamber musician and — (with the Monte Carlo Opera Or- areas of trol to the broadest a primus inter pares in the baroque chestra, Van Remoortel cond.) Philips brief, synoptic humanistic study—a concerto repertoire. At the end, an at- 6500195. view of the enormous effort that is tempt is made to list some of the MARTINON: Violin Concerto No. required for what should look like an works, not so far recorded by Szeryng, 2, Op. 51 (with Bavarian Radio Or- on the concert effortless achievement currently difficult to find or available chestra, Kubelik cond.) DG 2530033. stage. only in a recording whose fidelity is MOZART: Sonatas for violin and Szeryng's primary role in public below today's best standards, which piano, K. 454 and 481 (with Haebler) performance, since his debut in 1933, should be parts of an ideal future Philips 6500055. or- has been as a virtuoso soloist with discography. PAGANTNI: Violin Concerto No. 3 chestra; he has more than 40 con- in E (with the London Symphony, certos and other concerto-style works BACH: Sonatas and Partitas for Gibson cond.) Philips 6500175; cas- in his repertoire, ranging from Vivaldi unaccompanied violin. 2709028, DG sette: 7300103. and Bach to the contemporaries who three records; Odyssey 32360013, RAVEL: Tzigane (with Monte have dedicated works to him: Carlos three records. Carlo Opera Orchestra, Van Remoor- Chavez, Benjamin Lees, Jean Mar- BARTOK: Concerto for violin and tel cond.) Philips 6500195. tinon, Manuel Ponce and Roman orchestra (1938) (with the Con- SZYMANOWSKI: Violin Concerto Haubenstock-Ramati. But he has also certgebouw Orchestra, Haitink cond.) No. 2, Op. 81 (with Bamberg Sym- shown his affinity for chamber music Philips 6500021. phony Orchestra, Krenz cond.) Philips in memorable readings of the sonatas BEETHOVEN: Concerto in C for 6500421. of Brahms and Beethoven with Arthur violin, cello and piano, Op. 56 (with TARTINI-KREISLER: Violin Rubinstein, a fellow native of Poland Starker, Arrau and the New Philhar- Sonata inG ("Devil's Trill") (with and a close friend whose artistic help monia Orchestra, Inbal cond.) Philips Reiner) RCA VICS 1037. and encouragement were in- 6500129; cassettes: Philips 730092 or strumental in launching Szeryng's 7505043. career as an internationally known vir- BEETHOVEN: Romances for tuoso in the 1950s. violin and orchestra (with the Con- This month, Szeryng visits Carnegie certgebouw Orchestra, Haitink cond.) Hall in his most recently adopted Philips 6500137; cassettes: Philips musical role, combining the functions 7300088 or 7505043. of soloist and conductor and playing BEETHOVEN: Sonatas for violin Perform a with that uncommonly talented en- and piano No. 5 in F, Op. 24 semble, I Solisti di Zagreb. This role ("Spring") and No. 9 in A, Op. 47 death- gives him access to the concertos of ("Kreutzer") (with Arthur Rubinstein, Bach, Vivaldi and (to a lesser degree) piano) RCA LSC 2377. Mozart in a way that is not available BEETHOVEN: Sonata No. 8 in G defying when performing these works with a for violin and piano, Op. 30, No. 2 large symphony orchestra following (with Rubinstein) RCA LSC 2620. the baton of a separate conductor. It BEETHOVEN: Trios for violin, act. permits a performance style much cello and piano, Nos. 1—8 (with Four- closer to that which the composers nier and Kempff) DG 2720016, six knew and presumably expected for records. their music. And that is, of course, the Individual trios from this set may be kind of performance one expects from obtained individually as follows: No. 4 a conscientious virtuoso of Szeryng's in D ("Ghost") and No. 5 in E-flat, Exercise caliber. Op. 70, Nos. 1 and 2 on DG 2530207. Henryk Szeryng was born in War- No. 6 in B-flat, Op. 97 ("Archduke") regularly. saw, not far from the home of Chopin, on DG 2530147. but today he proudly accepts the BERG: Concerto for violin and or- description, "Mexican violinist." He chestra (with Bavarian Radio Sym- teaches a master class at the Mexican phony, Kubelik cond.) DG 2530033. National University each year and has BRAHMS: Violin Concerto in D, been appointed by the Mexican Op. 77 (with London Symphony, Mon- Ministry of Education to serve as an teux cond.) RCA VICS 1028. Give international ambassador of Mexican BRAHMS: Concerto in A for violin Heart music. He has been a citizen of and cello, Op. 102 (with Starker and Mexico since 1946. the Concertgebouw Orchestra, Fund American Heart Association In another sense, having mastered Haitink cond.) Philips 6500137; seven languages and given concerts in cassettes: Philips 7300088 or 7505043. sixty-four nations on five continents, BRAHMS: Sonata No. 1 in G for he must also be considered a citizen of violin and piano, Op. 78 (with Rubin- 13 TCHAIKOVSKY: Violin Concerto PROKOFIEV: Violin Concerto No. in D, Op. 35 (with Boston Symphony, 2inG,Op. 63. H£W at Munch cond.) RCA VICS 1037. SAINT-SAENS: Havanaise; In- troduction and Rondo Capriccioso. M* VIVALDI: The Four Seasons (with English Chamber Orchestra) Philips SCHUMANN: Violin Concerto. 6500076. SIBELIUS: Violin Concerto. "/ Specia I Complete WIENIAWSKI: Violin Concerto Naturally, these reissues or new recordings are needed with LUNCHEONS & $ No. 2 in D (with the Bamberg Sym- varying 3- degrees of urgency. It is almost un- DINNERS for just ... phony Orchestra, Krenz cond.) Philips thinkable that there should be no Charming, unique restaurants 6500421. serving Szeryng recordings of the Beethoven, 110 varieties of Although this is an impressive authentic French crepes. Mendelssohn, Prokofiev and Sibelius recordings list, it is afflicted with some concertos available. The Schumann is « B'way at 67 St./ 57 W. 56 St. surprising gaps. Notable among these 158 W. 44St./3rd Ave. nr.58St. a less compelling work but are some works which Szeryng has interesting 1 5 Greenwich Ave./59 Nassau St. enough to deserve recorded before but which have been at least one record- ing, and Szeryng's dropped from circulation: some, was a good one. His was also the only recording of rightly, because of outdated sound; the Chavez, which is dedicated to him. others, less comprehensibly, because Also dedicated still of the intangible pressures of a fluc- to Szeryng and unrecorded is the tuating market in classical recordings. Mexican Concerto of Ponce. He has not recorded the first Just a short walk The following are works which Prokofiev concerto and should. And, from this theater getsyou to a Szeryng has recorded and which of course, the third concerto of Saint- one in a million restaurant. should either be reissued or issued in new performances: Saens . . . the list could become very Where you can get light snacks after long. Joseph Mc Lei Ian A the show. Or complete dinners (from BACH: Violin Concertos No. 1 in A 4.95). Fondues (cheese, beef, choco- and 2 in E. late). Quiche Lorraine. Cheese, fruit BEETHOVEN: Violin Concerto in and sausage snacks. Wine. Cocktails. Rich desserts. Lots more. D, Op. 61. La Fondue. Just a few blocks away BRAHMS: Trio in E-flat for horn, on 55th Street. Between 5th and 6th violin and piano, Op. 40 Avenues. As long as you're in the CHAVEZ: Violin Concerto. neighborhood, drop in. MENDELSSOHN: Violin Concerto inE,Op. 64. An authentic Parisian cafe with good, hearty lafurtcUie MOZART: Violin Concertos in A, food, roguish atmosphere and moderate prices. 43 West 55 St., N.Y.C. 581-0820 K. 219 and D, K. 271a. 69 WEST 55th ST. Tel.: 586-0004

{Rje Cngligl) $ub

900 Seventh Avenue [Between 56 and 57 Streets] New York City 10019 Telephone [212)265-4360

Directly across from Carnegie Hall

Authentic English Pub Atmosphere. English & American. Fare at reasonable prices. Wefeature English Beer on Tap and a complete selection of Wines & Liquor. Private room availablefor Catered Parties up to 150 people.

An Eating & Drinking Establishment. Brunch served every Saturday & Sundayfrom Noon.

14 Holiday Stars

' t * *•*

Mozart COSIFAN TUTTE

Davta»-KratM« B^ctpiW the London Phllharanouir SRGEORG SOU!

OSA 1442

Puccini ALICIA DE LARROCHA WORLD PREMIERE Madama Butterfly MOSTLY MOZART RECORDING Raii Pavarotti • Ludwg- terns MOZART;RONDO IN D MAJOR.K.485 Peter Pears & John Shirley-Quirk The Vienna Philharmonic IN K. 331 SONATA A MAJOR, in Karajan FANTASIA IN C MINOR, K. 475 BACH-BUSONI: CHACONNE BENJAMIN BRITTEN'S CS6866 DEATH IN VENICE

Stravinsky THE RITE OF SPRING The Chicago Symphony Orchestra SIRCEORGSOLTI

Arias from: The Daughter Of The Reg iment; La Favorita; U Trovatore; Der

Rosenkavalier; William Tell; I Purilam. La Boheme.

CS6885 * OS26373 *, CSA 2404 „ k # * * 'jmwwxWrr* .FULL FREQUENCY RANGE RECORDING * *, *

', -. • ; The complete cinema.

Now [here's a cinema

which is more than just another art movie house.

A cinema which takes a new approach to retrospective cinema. The Death and A cinema which has a

knowledgeable staff, all of

whom know what film is, what it should be and Transfiguration of what it has been.

A cinema which offers film classics, recent Symphony Orchestras discoveries and forgotten masterpieces — more than 600 a year.

cinema which offers all A [The following article includes no hedge against inflation. The author assumes of this with the ambiance that if this publication can afford the paper to print itself on, come November, the of a place to talk, have chances are that this country will still have its full complement of symphony orchestras. Who would dare to predict farther into the future?] coffee and buy a book.

A cinema which even has By BEN DUNHAM apposite established a sophisticated "Dinosaur" seemed an During the dark days when Car- term, and many who so described the organization devoted to negie Hall was under the shadow of symphony orchestra were ready to film with special film the wrecker's ball, those in the rescue accept the thesis that the whole programs and separate party were able to capitalize upon a orchestra field —from the college measure of optimism about the future orchestras on up, comprising some facilities for its of symphony orchestras. Remember, 1,000 right-down regular organiza- members. that was in 1960, an age of innocence tions —would cannibalize itself until two or three giant super-orches- in symphony orchestra affairs—before only A cinema which treats the tras would be left— serving the public, I Baumol and Bowen's study of the suppose, from the distant reaches of film devotee as a film economic aspects of the performing the recording hall and television devotee and not as arts, before the Ford Foundation's studio, and giving an occasional "time-buying" grant to symphony or- a customer. freak-out at Yankee Stadium. chestras, before Leonard Bernstein's unfortunately The idea took such a powerful hold Now there's a cinema misinterpreted remark about the decline of the symphony. on our imagination— after all, the which is more than just was an anachronism of an By the mid-sixties, the symphony symphony earlier era, fated to economic in- another art movie house. world had drifted into its age of the production anxiety. It efficiency in the age of It's Carnegie Hall Cinema. was clear then to some of the most the more philosophical among us in line— that even to this day to about symphony Drop by and pick up a the mid-sixties that the concert hall common thing read era was over. evidence orchestras is that they are dying. Once schedule-brochure tonight. The was ob- vious: the dominance of television Time Magazine put the death of God went out (replacing the kind of warm social ex- on its cover, everybody one of change that takes place in the hall looking for a similar scoop, and with the cool global tribalism of the the jobs of the public relations director TV generation described by of the American Symphony Orchestra League is to reassure young reporters Carnegie Hall Cinema. McLuhan), declining record sales in the gruesome details. the classical field (or, take your pick, sent out to gather hall for film. The symphony indications that recorded perfection Today we have a burgeoning number 887 Seventh Avenue would replace concert hall reality), of music schools turning out well- trained musicians, brand new schools between 56 and 57 Streets and perhaps most damaging, the ap- parent death of the symphony or- like Rice University's Shepherd School PLaza 7-2131 chestra as a living, breathing in- of Music, dedicated primarily to 16 stitution. preparing orchestral musicians. We —

have arts administration courses start- underwritten by government or busi- warned that this heralds the end of the ing up in every community college. We ness, the worse off it's going to be when symphony era. The warnings are have an abundance of young American it comes time to balance the books. reported so often that the public begins conductors who are climbing over each Under these conditions, extinction may to believe that orchestras have started other for a chance to get in front of one be the price of success. down the road to extinction. After Is this of our larger orchestras. As a public relations problem, it cutting their seasons short, orchestras generation of talented young people defies solution. Every symphony or- like Jacksonville, Kansas City, and now engaged in a charade? chestra wants to call attention to its Dallas have rallied their communities Virgil Thomson observed over thirty own permanent condition of emer- to provide added support— only to find years ago that orchestras continuously gency, but without creating a mood of themselves lodged in the dead persons were going out of business, but added despair about the future of symphonic file of the public consciousness. Most that, for sure, it was the best way for music. Commentators are continually recently the sad situation in Dallas sent them to stay alive. We cannot take that being caught on the horns of this a shock wave through the arts world, quite as glibly as it sounds. We cannot dilemma. One example: ever since causing some people to jump to the dismiss the yearly appeals for funds on Leonard Bernstein wrote that he conclusion that this orchestra had behalf of symphony orchestras. They thought the symphony was a dying closed its doors. Obituaries in leading are deadly serious, since symphony form of music, his agents have been newspapers didn't help. Actually the orchestras raise on the average only 55 trying to correct the impression that situation is far less final. It echoes the percent of their income through ticket Leonard Bernstein said symphony situations that occurred in Jacksonville sales and other earned income. The orchestras are dying institutions. He's in 1970 and Kansas City in 1972. In all rest must come from the public, or the a widely quoted man, and that quote three cities, the orchestra's season was business community, or the founda- dies hard. It may be of some comfort to curtailed because of a lack of funds, tions, or all the most dire predictions realize that there was a period during compounded by a temporary lack of predictions the orchestras themselves the nineteenth century between the conviction within the community that a are quick to make—will come true. symphonies of Schumann and those of local symphony orchestra could be But the underlying distinction that Brahms, when men of music worried supported (caused perhaps by a mood makes the Thomson remark possible is about the same thing; the symphony as of national despair?). In all three cases, the distinction between a kind of a form was being inundated by the new leadership was able to rally economic brinksmanship, which all waves of program music that were public-spirited and culturally minded orchestras are forced to practice and washing over the concert scene. It citizens to save the orchestra. In which is sometimes reported in mor- seemed doubtful that any of the Dallas, over $500,000 was raised with tuary language, and the healthy box classical principles could be reclaimed. the approval of the Dallas Citizen's office statistics of the various sym- But symphony orchestras survived; in Council in the course of three months, phony orchestras around the country fact, as civic institutions they were just allowing them to pay off back as they are reported to the American then beginning. Certainly today, we obligations to musicians and begin Symphony Orchestra League. These can be pleased that a large number of negotiations for a 1974-5 season. figures, even allowing for the sports modern composers are writing for In fact, outside the cities of New practice of counting every seat filled no symphony orchestra, whether they York and Los Angeles where special matter if it's by the same sports nut or write "symphonies" or not. The better "project" orchestras can be assembled symphony fan twenty concerts in a row, composers have tired of playing their from a ready pool of talented musicians show a remarkable growth in the music for each other in university (the Little Orchestra Society, giving its amount of service provided by sym- settings, or have learned what they last season this year, would qualify for phony orchestras in the past ten years. wanted to learn from small-scale this description), the League is aware of Audiences have grown faster than the experiments. Now we hear of major national population. During the five- works by Wuorinen, Del Tredici, year period after the Baumol and Henze, and Penderecki written for Bowen study was published, 1966-71, orchestra. The list of composers the major orcehstras reported a 28 working on Bicentennial commissions THE percent increase in their total audi- is long. There will be a serious body of ence, including new outreach new literature, and a number of TCHERNOV programs and concerts for non- orchestras have taken steps, assisted by Ltd. subscription audiences. In the same the National Endowment for the Arts, GALLERIES, period subscription audiences grew 18 to see that these new works are not percent, far above the national played just once and forgotten, but Paintings population growth. This is dying? rather circulated among themselves, so Sculpture The awful truth is that orchestras are that a work written for Boston is sure to Graphics faced with a bizarre dilemma. No be heard in Cleveland and four other concert pays for itself. Every concert, cities, that a work written for Detroit even if it's sold out, loses money when will be heard in Cincinnati and five 140 West 57th Street all other cities, the bills are added up. So the more and that a work written for New York City 10019 concerts an orchestra plays and one of eighteen Southeastern metropo- — U.S.A. among the major orchestras there has litan orchestras will be played by all been an increase from 3,658 in 1966-7 eighteen. This will be the first major 212 765-3660 to 4,531 in 1972-3— the deeper in debt attempt by the orchestras to structure a it goes. The greater the success of a commissioning program to avoid the symphony orchestra in building its "beget-it-and-forget-it" syndrome. audience, the more services it provides Nevertheless, every time a symphony to the public by means of free concerts orchestra gets into trouble, we are 17 —

only one orchestra of any size that has organizations—have suffered this failed in the past ten years—Mobile, effect as government support was Carnegie Hall Alabama. (This record takes on added increased. In this country, as Nancy DIRECTORY OF significance when it is realized that a Hanks, chairman of the National of orchestras were forced to Endowment for the Arts, told FACILITIES AND SERVICES number the suspend operations from time to time gathered orchestra representatives at Box Office (247-7459) Hours: 10 A.M. during the early years of the century the League's annual conference in private wealth supposedly was Memphis last June, "It is to 5 P.M.—Monday through Saturday; when in the 12 Noon to 5 P.M.—Sunday and legal more adequate to the cultural needs of pluralism of support for the arts that the is holidays. Note: the Box Office is not the nation than at present.) Outside there strength." (Miss Hanks and the open on Sundays and legal holidays city of New York, the symphony National Council on the Arts were is the awarded the League's when there is no performance in the orchestra in each community Gold Baton Hall. Box Office hours are extended to single strongest force for music and the Award at the meeting.) 8:30 P.M. on weekdays when there is to performing arts. It is no longer a toy of Given their record of continuing be a performance that evening. a few arts patrons; it is a civic artistic, audience, and financial to Cafe Carnegie is located on the main institution, intensely responsive strength, perhaps we should be wary of floor to the left of the Parquet. Food, community needs. It is a board of entertaining every suggestion that liquors and soft beverages are served directors, it is a women's association, it comes along to rebuild the American before, during and after each concert. is educational programs in the public symphony orchestra according to some Cafe Carnegie also provides an elegant schools, it may be a symphony standard of mass acceptance. What setting for receptions held in conjunc- association-supported youth orchestra, with the limited number of people that tion with concerts and other events in it is often the means and model for the can effectively hear a symphony Carnegie Hall. For information call local opera and ballet; it is, in short, orchestra at one time, mass acceptance 586-6208. fused to the bedrock of a community's isn't going to help the economic Refreshment bars are located on the self-esteem. Carnegie Hall has been equation that symphony orchestras in recent years fine 2nd Tier, Dress Circle and Balcony surprised by must resolve. It isn't going to make it floors. orchestras from cities like Denver and easier to promote the most exciting Elevator service to the Dress Circle and Milwaukee that travel all the way to literature of the twentieth century, justifiable in Balcony is available in the foyer of the New York to exhibit pride which symphony orchestras are begin- Carnegie Hall Studio entrance at 154 their achievement. ning to play in increasing numbers. West 57th Street. Now, this kind of identification is (The last BMI Orchestra Program Smoking and the lighting of matches working at the state level as well. Survey, taken in 1971, showed that over are forbidden in any part of the Hall. Orchestras like the North Carolina twenty percent of the performances Symphony, the Minnesota Orchestra Smoking is permitted only in the Cafe given by symphony orchestras were of and the New Jersey Symphony draw' Carnegie, at the refreshment bars and music written after 1940, and that support from all across their states. in the lobbies. sixty-six percent of the composers' The New Jersey Symphony, after a Public telephones are located off the names represented on the programs shaky period, has found new assistance Parquet on the Seventh Avenue side, in in the post- 1940 from New Jersey's large industrial and were composers the 57th Street lobby (studio entrance), business community—especially from generation.) Orchestras need to build in the ladies' lounge on the First and Prudential Insurance—and seems well audiences for the future, but they don't Second Tier levels. on its way to establishing a financial need to sell their souls to get them. Lost articles and found should be foundation only slightly less solid than When the Chicago Symphony Orches- reported or turned in at the House the Rock of Gibraltar. tra arrives in town, you can't get a seat, Manager's Office at the 56th Street Actually, the record of private giving but that isn't because they play pop Entrance. Or call 265-9651. to the arts in this country has been arrangements or wear love beads and Men's rest rooms are off the Parquet, heartening, even during the last few hold hands with the audience. Orches- on the 2nd Tier level and off the Dress difficult years. The Ford Foundation's tras can break down barriers between Circle and Balcony. recent report projected a stark picture them and their public, but they will do rest Ladies' rooms are on all levels of for the performing arts based on its it by honestly reaching out with music the Main Hall. figures through 1971. But since 1971, of quality and performances of distinc- A wheelchair may be obtained for use the pace of private support seems to tion. Ways must be found to allow from the street to seat locations. For have kept up with the challenge, orchestra musicians to lead fuller information, call House Manager's according to League figures for major artistic lives; composers must be Office, 247-1350. orchestras. Since 1971, maintenance encouraged to develop stronger ties The management is not responsible for funds, the surest measure of com- with orchestras, and new sources of personal apparel or other property of munity support, have grown from 20.6 funding must be identified and ex- patrons unless these items are checked. percent of the orchestras' total budgets ploited. But through all of these Patrons are advised to take coats and to 22 percent in 1972-3—no weakening developments and possible transfor- wraps with them whenever they leave evident here. Whether private support mations, symphony orchestras will their seats. will be able to keep pace with have to do their thing, and just because Doctors who expect to be called during dramatically increased need in the next it requires talent and discipline on a performances may give their seat five years as it has in the past five years large scale and costs more to produce is locations to an usher, who will advise is a subject of growing concern to no reason to give it up. the House Manager. orchestra managements. While look- When we save symphony orchestras, The taking of photographs and the use ing toward government support as a we save the big thrills in music. Giving of recording devices is strictly forbid- hope of the future, everyone in the arts those up doesn't even seem to be an den. field—government agencies included- option. A rental For information Call or write: realizes that nothing that is done by the 247-1350, Booking Manager, Suite government should work to decrease The author is editor of Symphony News, the 100, Carnegie Hall, 154 West 57th the level of private giving to orchestras. official publication of the American Symphony Street, New York, New York 10019. Other countries—without the tax Orchestra League, with national headquarters 18 exemption for giving to nonprofit arts at Wolf Trap Farm near Washington, D.C. Duncan (Grosset & Dunlap, Inc., 'rJfieoMeu^Bbofcs $35). Between Picasso and Duncan, the celebrated correspondent- photographer, there developed an af- finity over the last eighteen years of With this column we restore our the master's life which enabled each brief commentaries on recently man to respond warmly to the other in published books. Once again, our in- simple as well as more probing ways. tention is to dwell only on publications Duncan took countless pictures of we enjoyed, thus explaining the ab- Picasso engrossed in his work, playing sence of destructive criticism. Our with his children, laughing, brooding space is too limited to permit us the and generating that vitality which was indulgence of wielding sharp knives uniquely his. Some two hundred on unsuspecting authors. We photographs, a great number in color, reiterate, as well, our policy of are strikingly reproduced together covering all types of books that with more than a hundred color would be of interest to people who reproductions of Picasso's works from come to Carnegie Hall, not simply his earliest to his last years. Duncan those on music and its collateral quotes from letters to friends and performing arts. associates in which he reports Among the "big" books of recent Picasso's views on art and politics and vintage, one of the most compelling is catches him in engaging moments. In Goodbye Picasso, by David Douglas the general text of the book, we par-

Pablo Picasso chasing a scorpion in the bathtub at Vauvenargues, from Goodbye Picasso by David Douglas Duncan, p. 93. Released by Grosset & Dunlap, Inc. on October 7,19 74.

ON THE MONDAY HOLIDAYS. IT'S A GREAT PLACE TO VISIT.

19 Inc., each book $7.95 hard BEAUTIFUL ticularly liked the opening line about Company, BEACH HOME Villa La Californie (1957), Picasso's cover, $3.95 paperback). Four AND LOT home, "Maybe this is the happiest volumes have been released, each AT AMERICA'S house on earth." It catches the spirit treating a different aspect of con- of Picasso and of this, Duncan's third temporary photography—advertising, OCEAN PLAYGROUND book on the artist, some three hun- news, documentary, artistic—but all PRICED FOR dred pages of great visual pleasure. stressing the personal style and con- Just as big a book reveals in its full tribution of the photographer. The QUICK SALE splendor another kind of artistry, the profuse illustrations are in color or A large (24' x 60'), almost new glory of Ceanannus Mdr of County black-and-white as originally taken. mobile home, with maintenance- Meath, Ireland. It was there that an The descriptive text is supplemented illuminated copy of the Gospels in in by detailed technical free aluminum siding and more each volume Latin, containing local records, was analysis of the principal photographs. sturdily built and insulated than created by monks in the eighth or nin- The complete titles of each volume in- most homes, sitting on a beautiful th centuries, the magnificent Book of dicate the range of the series: BERT landscaped corner lot (100' x 100') Kells, considered the finest example of STERN, The Photo Illustration, A in a planned year-round vacation early Christian art of its kind known Restless Man's Rewards in Creative community at Rehoboth Beach, to us and now treasured in the library Images from Ideas; MARK & Delaware. of Trinity College, Dublin. The Book LEIBOVITZ, The Photo Journalist, Explore the Modern No, you can 't pull it with your car. of Kells, with text by Francoise Henry Two Women the Emotions In- It has 4 large bedrooms (including (Alfred A. Knopf, Inc., $55 until World and of j dividuals; The a master bedroom, two full baths December 31, $65 thereafter) FUSCO & McBRIDE, Photo Essay, How to Share Action and and showers, a large kitchen reproduces with incredible fidelity of the ninety-two original Ideals through Pictures; ELLIOTT with the latest modern appliances every one full-page illuminations and almost as ERWITT, The Private Experience, (electric range, frigid aire -freezer, many enlarged details which make all Personal Insights of a Professional dishwasher), dining room, family the more remarkable the achievement Photographer. Some of the room, extremely large living room, of the anonymous artists. The text by illustrations will ring a familiar bell, (12' x 24'), central air- Francoise Henry, an authority on Irish others come as a novelty. Not all are conditioning and heating, art, should satisfy both the outstanding, but virtually all merit our washing machine and dryer. Fully knowledgeable and the neophytes. A attention for their special quality. Last month we featured a long ex- furnished and carpeted . . . just treasure of a book! cerpt from a book on the life and work bring your dishes and linens (plus A world few of us knew first-hand of Charles Ives by David Wooldridge. food) and you are in business. emerges from the full-page Now we can praise another kind of Back lawn (100' x 30') fenced in photographs of another big book, The book on the composer whose cen- for privacy with 8-ft, finished Way Was, Photographic Treasury Life tenary has been celebrated with gusto stockade fence, finished patio from the American Past, compiled and as well as piety. It is Charles Ives and written by Jeffrey Simpson landscaping, circular driveway in Remembered, An Oral History, by (Praeger Publishers, $19.95), whose front with front lawn (100' x 46') Vivian Perlis (Yale University Press, work has appeared in American completely trimmed with hedges. $12.50), with an introduction by Heritage magazine. Seventeen themes All wiring is underground, Aaron Copland. The book draws on constitute the book, each illustrated includes cable. various sources, manuscripts and TV with the work of as many is approximately 2 years papers from the Charles Ives Collec- Home photographers, among them Jacob old and used on occasional tion at Yale and, most impressively, Riis the Lives), (How Other Half fifty-eight interviews with people who weekends only. In excellent perhaps better known to us as a jour- knew or encountered Ives at different condition taken care of and used nalist and social reformer, Joseph periods of his life. Completing Mrs. only by original owner. Pennell (Prairie Town), no relation to Perlis' enterprising work are more the graphic artist of the same Yearly taxes are a very low $9.00. name than eighty photographs of Ives, his Reason for selling: Owner and period, and Arnold Genthe family, friends, colleagues and (Chinatown) who roamed the streets of purchased smaller home. memorabilia. If you are an Ives fan, San Francisco in 1890, only twenty- Assessed at $43,000, will sell you will not be able to exist without one years old, a German expatriate on for $35,000. Purchaser would not this book, so full of human and the threshold of a distinguished career require mortgage, an auto loan musical insights, of revealing anec- in photography. The themes of this dotes, and of the quiet yet compelling is all that is needed from your captivating book range from New personality of the composer. If you are bank for this purchase. York's "400" to Indian country, from not an Ives fan, you will enjoy this the brothels of Orleans to the New book anyhow, from cover to cover. farmsteads of New England. Nostalgia For appointment to inspect, Just enough space to remind you by the page for a seemingly less com- Write or call: that John Cage's Silence has been re- plicated life, but social commentary as issued in paperback (Wesleyan well, the acid of which is partly Beach Home University Press, $3.95). These lec- mellowed by time. In all, an tures and articles, spanning the period 2458 Sun Valley Circle irresistible book, prepared and 1939 - 1961, intrigue the reader as Silver Spring, Md. 20906 produced by Chanticleer Press, Inc. much as ever for their to some 301/598-6289 after 6 p.m. While dallying with the camera art, outrageous to others perceptive ob- let us hail Masters of Contemporary servations on music, musicians and by Photography, a new series produced extension, the arts, philosophy, by Lawrence Schuller of Alskog, Inc., mysticism, religion and John Cage 20 Los Angeles (Thomas Y. Crowell himself. J.B. —

LET THEM LISTEN..

Uaeuavfai

ooe

By ARTHUR FIEDLER

It's hard for me to be patient with adults who forever lament the sad state into which young people have fallen. I speak particularly of my field, music, and those "crazes" through which youngsters migrate. The Beatles and their music, as an example, are nothing new. One has only to remember the Charleston, black bottom, big apple, jitterbug, and other dances which sprung up in our own century to realize that young people are always attracted to what seems new, daring, or different. The phenomenon is not unique in our century. A hundred years ago a storm of protest swept through Vienna, then musical capital of the world, when young people began listening and dancing to a "far-out" innovation from Johann Strauss known as the waltz. Such reaction probably accom- panied the introduction of the gavotte and minuet just as now with the twist, frug, bossa nova, swim and fish. We must evaluate the music of any passing craze. I was in England on tour conducting the major symphony orchestras at the time of the Beatles' "swarming." I was intrigued by a music which became popular overnight. Three of my concerts were with the Royal Philharmonic at Liverpool. While there, I listened to the Mersey sound. American rock 'n' roll, undoubtedly one of its sources, is quite similar. As a musician, I was both amazed and pleased that it achieved a significant goal—bringing youngsters together to participate and enjoy. When I returned to America, I decided to adopt the Mersey sound and beat for the Pops. The result was a concert version of the then-current Beatle Hit, J Want to Hold Your Hand, incorporating symphonic sound with music young people already had declared their own. The Boston Pops recording of the song became a hit for the reason that

it "reached" its audience. In this particular arrangement, a full symphony orchestra is used and if the recording did nothing more than expose youngsters to symphonic sound, it will have achieved something worth- while. Exposure is the only road to understanding and appreciation. In recent years we have been blessed by many new means of exposure the radio, recordings and television. Schools conduct music appreciation courses as an integral part of the curricula. The number of symphonic organizations has grown. More and more money is spent on classical music. In the past few years, more money has gone for concert tickets than baseball-game tickets.

The many faces of Arthur Fiedler that are as famous as the American flag. In developing a love for music, the orchestral conductor is constantly Bream is a classical guitarist who has schools do their part. All other outside alert for new methods of capturing become something of an idol because elements contribute, but, as in all other larger audiences, especially among he communicates with young people areas of educating a child, the home is young people, his audience of tomor- on their own musical terms. It has been the place where the most lasting row. a reciprocal situation, however, for education can transpire. A few years ago, an enterprising Bream also has successfully imparted the to the beauties of classical Let them listen. . .they may love it. colleague of mine came up with them I don't mean the conscientious idea that his new recording of English folk music, a field that parent should flood the house with Tchaikovsky's 1812 Overture would be assuredly fell within the limits of the Beethoven from morning until night enhanced by the use of real cannons. esoterica only a few years ago. merely to pound Beethoven into the The recording reached a whole new Heroes do much to enlarge musical child. My career has been compounded audience and became a bestseller. I experience for young people. Thirty- on the theories that listening is a happy would hazard a guess that many buyers five years ago, when the big dance experience and that variety is both an were people who were initially inte- bands were the rage, Benny Goodman essential and desirable part of learn- rested in hearing the record of the was one of the biggest heroes. He was ing. cannon fire and who subsequently also quite a good classical clarinetist, The family living room should be a found themselves loving the music and effectively used his popular appeal place where good music is often on the itself. The popping of champagne to expose the youngsters of that day to turntable, almost a background to corks and sounds of happy people, of classical music. His recording of activities. Much of the music will get laughter and gaiety similarly have Mozart's Clarinet Concerto introduced

through to the offspring! i brought the music of Johann Strauss to Mozart to a new following. Goodman How many youngsters appreciated many people. effectively bridged the gap between the overture to William Tell because its The wonderful thing about children craze and classic. strains means the Lone Ranger was is their open-mindedness. Too often, Another such giant on the popular about to gallop across the radio? Or the laziness or unawareness of parents scene is Al Hirt, the trumpeter. Hirt's how many young folks took to the must take the blame for the lack of recording of Java caught the fancy of Grand Canyon Suite because they were musical broadening in the youngster, the young and became a sensation hit. intrigued by the plodding mule sound and that's too bad because inherent The phenomenon of an instrumen- in its On the Trail movement, or have musicality is in almost every child. talist's becoming a star in the age of been introduced to the classics by such Often young people discover great "Beatle" vocalizing was in itself works as Carnival ofthe Animals, Peter music on their own. The current something surprising. and the Wolf and Britten's Young popularity of folk music and the guitar Officials of the Pops, including Person's Guide to the Orchestra? has created curiosity that has grown to myself and RCA, which records both As the man charged with some of the embrace the folk music of Bach and the the Boston Pops and Al Hirt, saw in responsibility of shaping musical taste, classical repertory of the guitar. Julian Hirt a splendid opportunity for reach- ing the young audience. He is equally at home in Dixieland and popular music. He also is a musician of considerable serious training who frequently has made guest appearances with sym- phonic groups in his home city of New Orleans. Hirt was invited to Boston to perform and record with the Pops. His programs accomplished precisely what we constantly strive for— a balance between familiar music, and Hirt on a more serious level. His fans listened, respectfully at first, because it was their Hirt performing, and then enthusiasti- cally when they discovered that the music of Haydn, which many were possibly hearing for the first time, was pretty listenable in itself. Later, we recorded an album, in which Al Hirt plays Java and Trum- peter's Holiday, but in which he is also

soloist in that Haydn Concerto. I wouldn't be surprised if this album didn't only introduce a lot of people to the music of Haydn, but also caused them to discover that Haydn is not painful! If kids are crazy for the Mersey sound, it may be because it is right for them even if it does seem like discord to their elders. The parent can inject more classical music into the scheme of things without causing indigestion. Let them listen to it. They may just like it. Rare is the person who can like something unless he is exposed to it. QsfmtStb 6

Prudential "Your hair takes more abuse than anyother part of your body Spend 30 minutes with it at least once a month."

even go near them with a styling comb

I use condition* because it's an

intense 30-minute process. It contains more animal protein than any leading

conditioner. It doesn't just coat the hair's surface. Its protein-rich croam

penetrates and fills in dry porous areas on the hair shaft... makes hair look alive.

It restores body, \bu douse it with hairspra texture and manage- ability... makes hair

'I've seen good hair get a little feel healthy to the dry, lack lustre, and become touch. unmanageable from just everyday These kinds of living. improvements take m Normal things like brushing, time. But it's time teasing, spraying, combing and well spent. I've never pinch it with clips

shampooing can do it every time. seen it fail. Hair

So I keep a record of always looks, every condition" Beauty feels and

Pack Treatment I give a acts better after customer. 30 minutes of

And when I find they've condition* gone about a month Every woman and wash the living daylights out of it. without condition; I insist needs it...

that they take the time out every woman should use it." to get their hair back condition into shape... before I'll The CtAIROC 30-minute treatment. conditio

M'ovty ftactTiwrnioni

i 3 Nfl WT8(V

*TM © 1974 CLAIROL INC,