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PAIGE OBRION RUSSELL Insurance Since 1876 BOSTON SYMPHONY ORCHESTRA

ERICH LEINSDORF Music Director

CHARLES WILSON Assistant Conductor

EIGHTY-EIGHTH SEASON 1968-1969

THE TRUSTEES OF THE BOSTON SYMPHONY ORCHESTRA INC.

TALCOTT M. BANKS President HAROLD D. HODGKINSON

PHILIP K. ALLEN Vice-President E. MORTON JENNINGS JR

ROBERT H. GARDINER Vice-President EDWARD M. KENNEDY

JOHN L THORNDIKE Treasurer HENRY A. LAUGHLIN

ABRAM BERKOWITZ EDWARD G. MURRAY

ABRAM T. COLLIER JOHN T. NOONAN

THEODORE P. FERRIS MRS JAMES H. PERKINS

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TRUSTEES EMERITUS

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ADMINISTRATION OF THE BOSTON SYMPHONY ORCHESTRA

THOMAS D. PERRY JR Manager

JAMES J. BROSNAHAN HARRY J. KRAUT Associate Manager, Associate Manager, Business Affairs Public Affairs

MARY H. SMITH MARVIN SCHOFER Concert Manager Press and Public Information

program copyright © 1969 by Boston Symphony Orchestra Inc.

SYMPHONY HALL BOSTON MASSACHUSETTS ANNUAL MEETING OF THE FRIENDS

OF THE BOSTON SYMPHONY ORCHESTRA

Wednesday April 30 at 11.45 am is now the date and time sched- uled for the annual meeting of the Friends at Symphony Hall. This season's meeting will be more elaborate than those of previous years. Since it takes place during the Pops season, Friends will sit at the Pops tables and will hear Arthur Fiedler rehearsing the Pops

Orchestra.

After about a half an hour of rehearsal, Talcott M. Banks, Presi- dent of the Board of Trustees, will speak. Cocktails will then be served in the foyer, followed by a box luncheon with coffee at the tables in the Hall. Friends will be asked to sit in groups of four, so that members of the Orchestra may join them for lunch at the tables. For those who stay after the formal part of the meeting is over, a charge of $3 per person will be made to cover the cost of cocktails and luncheon.

Any member of the Friends who has not yet received an invitation is asked to call Mrs Whitty at Symphony Hall (266-1348). BOSTON SYMPHONY ORCHESTRA

ERICH LEINSDORF Music Director

CHARLES WILSON Assistant Conductor

EIGHTY-EIGHTH SEASON 1968-1969

THE BOARD OF OVERSEERS OF THE BOSTON SYMPHONY ORCHESTRA INC

ABRAM T. COLLIER Chairman

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LEONARD KAPLAN Secretary

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Burton Fine english horn Frank Epstein Reuben Green Laurence Thorstenberg Eugen Lehner harps George Humphrey Bernard Zighera clarinets Jerome Lipson Olivia Luetcke Gino Cioffi Robert Karol Bernard Pasquale Cardillo Kadinoff librarians Peter Hadcock Vincent Mauricci Victor Alpert Eb clarinet Earl Hedberg William Shisler Joseph Pietropaolo

Robert Barnes bass clarinet stage manager Yizhak Schotten Felix Viscuglia Alfred Robison

personnel manager William Moyer member of the Japan Philharmonic Symphony + George Zazofsky is on leave of absence for Orchestra participating in a one season ex- the remainder of the 1968-1969 season. change with Sheldon Rotenberg. The status crocodile

basks on a new polo dress by LACOSTE Oxford Shop Fifth floor CONTENTS

Program for April 18 and 19 1969 1495

Program notes

Schoenberg — A survivor from Warsaw op. 46 1504 by Nicolas Slonimsky

Beethoven — Symphony no. 9 in D minor op. 125 1509 by John N. Burk

The soloists and choruses 1526

A message from Erich Leinsdorf 1530

A message from the President of the Trustees 1531

The Orchestra's recent tour 1532

Special television programs 1533

List of Friends of the Boston Symphony Orchestra 1534

Summary of the season 1968-1969 1556

Program Editor ANDREW RAEBURN

1493

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TWENTY-FOURTH PROGRAM Friday afternoon April 18 1969 at 2 o'clock Saturday evening April 19 1969 at 8.30

ERICH LEINSDORF conductor

SCHOENBERG A survivor from Warsaw op. 46 SHERRILL MILNES narrator NEW ENGLAND CONSERVATORY CHORUS Lorna Cooke deVaron conductor first performance by the Boston Symphony Orchestra intermission

BEETHOVEN Symphony no. 9 in D minor op. 125

1. Allegro ma non troppo, un poco maestoso

2. Molto vivace - presto

3. Adagio molto e cantabile

4. Presto - allegro Allegro assai Presto Baritone recitative Quartet and chorus: allegro assai Tenor solo and chorus: allegro assai vivace, alia marcia Chorus: andante maestoso Adagio ma non troppo, ma divoto Allegro energico, sempre ben marcato Quartet and chorus: allegro ma non tanto Chorus: prestissimo JANE MARSH soprano JOSEPHINE VEASEY contralto PLACIDO DOMINGO tenor SHERRILL MILNES bass CHORUS PRO MUSICA Alfred Nash Patterson conductor NEW ENGLAND CONSERVATORY CHORUS Lorna Cooke deVaron conductor

The text of A survivor from Warsaw is printed on page 1507; the text and trans- lation of Schiller's Ode to joy on pages 1524 and 1525.

Friday's concert will end at about 3.50; Saturday's at about 10.20 BALDWIN PIANO RCA RECORDS

1495 Those new book reviews In The Boston Globe speak volumes.

The man responsible is The Globe's Arts Editor, Herbert Kenny, who has over 200 of the most knowledgeable reviewers around Boston on call.

There's more to it. Maybe that's how come everybody's reading The Globe these days. Steinberg's Choice: the new records by Michael Steinberg, music critic of The Boston Globe

Berlioz, Davis, Romeo &Juliet

Berlioz's dramatic symphony, whose performances tend to in- Romeo et Juliette, almost unknown flate what is already questionable in this century and this country about it. One performance that until Toscanini restored it to the does not is Otto Klemperer's with living repertory less than 30 years the New Philharmonia (Angel). ago, now gets its first good record- Neither strident nor sentimental, ing. The conductor is Colin this reading makes the most of Davis, the best Berlioz man the genuinely imposing musical around for some years now, and qualities of the work. Klemperer's the forces he leads are the conducting is especially strong in London Symphony Orchestra matters of rhythmic and textural and Chorus, the John Alldis definition, and with Monteux's Choir, the vocal soloists Patricia (RCA), this is as splendid a re- Kern, Robert Tear, and John cording of the D minor Symphony Shirley-Quirk (Philips). Romeo et as you can now get. Juliette is a great work, fasci- Two records, finally, more for natingly original as a musico- fun. One has delightful and dramatic concept, and attaining brightly scored orchestral pieces astonishing heights of compas- by Glinka, including "Jota ara- sion, fantasy, and delicacy of gonesa," "Summer Night in feeling. On the RCA recording of Madrid," "Kamarinskaya," the Toscanini's 1947 broadcast, you "Valse-Fantaisie," and excerpts can hear him handle some pass- from his opera Ruslan and Lud- ages with incomparable skill; mila, all of it played with enor- Davis, however, maintains a re- mous vitality by the USSR Sym- markable level throughout, and, phony under Yevgeny Svetlanov with his sense of pace and con- (Melodiya-Angel). The other is tinuity, animation, and refine- still more Spanish, comprising de ment of sensibility, he is far Falla's complete El amor brujo, the ahead of any more recent compe- Intermezzo from Goyescas by tition. This is one of the most Granados, and Ravel's "Pavane" beautiful and most valuable and "Alborada del gracioso," all issues in a long time. excellently done by the New Even if the Romeo finale con- Philharmonia, Rafael Fruehbeck tains some pompously conven- de Burgos conducting, and with tional music, there is no vulgarity Nati Mistral as the hot vocalist about this work. I am not sure in the de Falla (London). that can be said These original record reviews by Michael about the Steinberg are presented by the Trust Department of New Franck D minor England Merchants Bank, Symphony, a which would also be pleased work most of to review your investment portfolio with a view to improving its performance. New England Merchants National Bank (J)l© Trust Department • 28 State Street, Boston • 742-4000 • Member F.D.I. C. Spring is here at the Union — with new treasures throughout our shops. Lovely, often unique, hand- crafted gifts for weddings and anniversaries in the Handwork Shop. Spring clothes for the young, manv handmade, in the Children's Shop.

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When you're out to beat the world ARNOLD SCHOENBERG A survivor from Warsaw op. 46 Program note by Nicolas Slonimsky

Schoenberg was born in Vienna on September 13 1874; he died in Los Angeles on July 31 1951. He composed A survivor from Warsaw, cantata for narrator, men's chorus and orchestra in August 1947. The work was commissioned by the Koussevitzky Foundation and first performed by the Albuquerque Orchestra on November 4 1948; the conductor was Kurt Frederick. The first performance in the Boston area was given at Sanders Theatre by the Harvard-Radcliffe Or- chestra with the Harvard Chorus on December 13 1968; James Yannatos conducted.

The instrumentation: 2 flutes and piccolo, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 3 trumpets, 3 trombones and tuba, timpani, xylophone, bells, chimes, military drum, bass drum, cymbals, triangle, tambourine, tarn tarn, castanets, harp and strings.

On his seventy-fifth birthday Schoenberg sent a circular letter to his friends and admirers, opening with the anguished words, 'To be recog-

.!' nized only after death . . The letter is a bitter summary of the life of a star-crossed genius. Schoenberg recalls in it the question he was asked by the recruiting officer at his induction into the Austrian Army in

World War I: 'Are you the famous composer Arnold Schoenberg?' and

his reply: 'Somebody had to be Schoenberg, but nobody wanted, so I had to be chosen/ In the same letter he quotes a prediction he made in 1912: 'The second half of this century will make amends by excessive praise for the lack of understanding that my work received in the first half of the century/ The biblical flavor of these declarations is in har- mony with Schoenberg's messianic complex. For he truly regarded

Nicolas Slonimsky was born in St Petersburg and studied piano and composition at the Conservatory there. He left Russia after the Revolu- tion, coming to America in 1923; he served as secretary to Serge Kous- sevitzky in Paris and in Boston. He then turned to conducting, and led orchestras in Paris, Berlin, Budapest, Havana, New York and Los Angeles, in programs of ultra-modern music, introducing among others new works by Charles Ives, Edgard Varese, Henry Cowell, and Wallingford Riegger. He conducted the first American performance of Schoenberg's Accompaniment to a cinema scene at the Hollywood Bowl. He also wrote piano music and songs in a fairly advanced idiom for the time. Subsequently he devoted himself chiefly to musicology. Among his books are Music Since 1900, Music of Latin America, Thesaurus of Scales and Melodic Patterns and Lexicon of Musical Invective. He also compiled a completely revised Fifth Edition of Baker's Biographical

Dictionary of Musicians. He is a contributing editor to the Encyclopedia Britannica in the field of American music. As a teacher, he gave courses in numerous American colleges; from 1964 to 1967 he was Lecturer on Music at the University of California, Los Angeles. In 1962-63 he traveled under the auspices of the State Department in Russia, Poland, Yugoslavia, Greece, Israel, Bulgaria and Rumania, giving lectures in various languages on American music.

1504 himself as both martyr crucified by his professional enemies and music critics and the saviour of music as formulated in his new dodecaphonic testament.

The miracle of Schoenberg's phenomenon was that his lofty prophecy has been completely vindicated. His 'method of composition with twelve tones related only to one another', is now universally acknow- ledged as the most potent musical doctrine of the century. No living composer has escaped the magnetic attraction of dodecaphonic music. Schoenberg's greatest victory was the conversion to dodecaphony of the mighty Igor Stravinsky, the man whom Schoenberg had once viciously lampooned, in a satirical chorus, as 'Little Herr Modernsky'. But this recognition, as Schoenberg rightly predicted, came only after his death. Schoenberg's ideas penetrated even into Russia, despite the cordon sanitaire set up by Soviet ideologists. No less a person than Nikita Krushchev paid Schoenberg a left-handed compliment in a speech ad- dressed to Soviet writers, artists and musicians in March 1963. Warning them against the danger of contamination by Western ideas in art, he singled out Schoenberg's music. 'They call it dodecaphony,' he thun- dered, 'but to me it is plain cacophony.' (The assonance works out in Russia as well as in English, or any other language.)

Perusing a volume entitled Lexicon of Musical Invective, containing long quotations from abusive articles in several languages attacking Schoenberg as a charlatan and a fraud, his widow wrote to its compiler: 'And to think that in spite of all this, my husband and our family could live such a happy life!'

In his lifetime Schoenberg had to contend not only with the malice of musical reactionaries, but also with constant financial difficulties. A period of relative prosperity when he held the prestigious position as lecturer at the Prussian Academy of Arts in Berlin ended with the advent of Hitler. After he came to America he obtained a fairly satisfactory appointment at the University of California in Los Angeles, but it was terminated when he reached the mandatory retirement age of seventy. To bolster up his faltering finances he applied for a Guggenheim Fel- lowship, pointing out that he was impelled to ask for a grant because he had three small children to support and that his monthly pension from the University of California amounted to only 38 dollars. He needed time and leisure to complete several of his projects, and specifically the unfinished scores of Moses und Aron and jakobsleiter. The answer came

as if enacted in a Victorian melodrama: request denied. As Stravinsky remarked caustically in one of his chiseled interviews, a few bars added to the score of Moses und Aron would have been of greater importance to music than all the works written by all recipients of Guggenheim Fellowships.

Schoenberg was extremely sensitive in safeguarding the rights to his method of composition. He reacted vehemently to claims of Josef Matthias Hauer, the Austrian musician who went so far as to have a rubber stamp made with the words, 'the sole inventor and despite all pretensions by untalented imitators the true initiator of 12-tone music', which he appended to his signature in correspondence. He objected violently to Thomas Mann's attribution in his novel Doktor Faustus of Schoenberg's method to the mythical syphilitic German composer

1505 Adrian Leverkuhn. In a lengthy letter to the Saturday Review of Litera-

ture he excoriated Mann for this impropriety. 'Leverkuhn is depicted from beginning to end as a lunatic/ Schoenberg fulminated. 'I am

seventy-four I and am not yet insane, and I have never acquired the disease from which this insanity stems/ Schoenberg also raised the spectre of an encyclopedia published in the year 2060 crediting the discovery of the 12-tone method to Leverkuhn or to Thomas Mann himself. Mann tried to assuage Schoenberg's wrath by adding a note of acknowledgment of Schoenberg's dodecaphonic priority in a new edition of Doktor Faustus, but he made an egregious faux pas in refer- ring to Schoenberg as 'a contemporary composer'. This only added fire to Schoenberg's fury. 1 wanted to be nobie to a man who was awarded a Nobel prize/ Schoenberg wrote glorying in the pun, and added acidly: In two or three decades one will know which of the two was the other's contemporary.'

Schoenberg was a philosopher-musician. He argued from the particular to the general. Even in his purely didactic works, such as his Har- monielehre, he formulated the rules as inductive steps into universal concepts. He was also a painter of singular power; his self-portrait, with the keen eyes fixed at infinity, is a remarkable example of psy- chological expressionism. Schoenberg was not, however, an intellectual hermit. He did not remove himself from the world around him. He was a participant in life and had interest in people. He was an excellent tennis player. He also had some quaint ideas for practical inventions. A list of his projects included a musical typewriter, a proposal for equitable transfer fares on Berlin streetcars and a recipe for pumper- nickel.

It is fantastic that a mind as relentlessly logical as Schoenberg's was also prone to common superstition. He regarded it as an ill omen that he was born on the 13th of the month of September 1874, and the consciousness of this numerical accident developed into the state of acute triskaidekaphobia. To be sure, he rationalized it as a numerolog- ical set of probable concomitances, but the seriousness with which he proceeded to eliminate number 13 from his references, even to the point of skipping the 13th measure from the numbering of bars, is extra- ordinary. When he noticed that the number of letters in the title of his opera Moses und Aaron added up to 13, he deleted the second 'a' in

Aaron, despite the fact that the spelling with two a's is standard in German since the time of Luther. When he reached the age of 76, a friend jocularly pointed out to him that the sum of the digits of 76 was 13. Schoenberg became quite disturbed at this, and remarked that he might not live through the year. His premonition was only too true. On July 13 1951, during his last illness, he suffered a collapse, but his mind was clear. He observed to his wife that all would be well if only he would survive the fateful 13th, but he died 13 minutes before midnight.

Like Mahler, whom he admired so greatly, Schoenberg was born in the Jewish faith, but was converted to Catholicism. The anti-Semitic cam- paign unleashed by Hitler moved Schoenberg to return to the religion of his forebears. In a ceremony held in a Paris synagogue on July 24 1933, Schoenberg once more became a Jew. A survivor from Warsaw is an anguished expression of Schoenberg's Jewish consciousness. The

1506 work was commissioned by the Koussevitzky Foundation. He completed the composition in twelve days, between August 11 and August 23 1947. However, its first performance was given not by Koussevitzky with the Boston Symphony Orchestra, but by the Albuquerque, New Mexico Orchestra, under the direction of Kurt Frederick, on November 4 1948.

Schoenberg was singularly proud of his proficiency in English and frequently engaged in argument with American-born friends about the proper usage of words and idioms. The title A survivor from Warsaw was his own. His publishers felt that the preposition 'from' was an unidiomatic rendering of the German 'von', and suggested to change it to 'of. Schoenberg did put 'of in the manuscript, but inserted a de- risive exclamation point in parenthesis after it to indicate his disagree- ment. Eventually he prevailed, and the score was published with the Germanic 'from' in the title.

Schoenberg wrote his own English text for the work, and its curious syntax intensifies the sense of irreality, terror and hopelessness of the situation. The narrative is based on reports Schoenberg received from actual survivors of the hideous hell in the Warsaw sewers where the

Jews were hiding. It tells a moving story of the persecuted people who, at the point of death, summon their last courage and together intone the Hebrew prayer Shema Yisroel.

The scoring is for narrator, men's chorus and orchestra. The narrator's part is written in Sprechgesang, inflected speech which Schoenberg introduced in Gurre-Lieder and developed in Pierrot Lunaire. Its notation is unusual. The relative pitch of the syllables of the text is indicated by varying positions above and below a single central line, but sharps and flats are placed in front of these indeterminate notes, giving the visual impression of a musical staff. The final Hebrew prayer, however, is in regular five-line notation.

The work is written according to Schoenberg's method of composition with twelve tones. No more fitting medium can be imagined for this agonizing subject, with 'squeezed octaves' resulting in the thematic supremacy of atonal major sevenths, with the classical tonic-dominant relationship of a perfect fifth replaced by the tritone, the 'diabolus in musica' of the medieval theorists. The chromatic dispersal inherent in the dodecaphonic technique may well have assumed in Schoenberg's mind the symbolic significance of the diaspora of Israel. The illustrative power of the music is further enhanced by the use of a large section of percussion instruments in the score. It is significant, however, that Schoenberg shuns the obvious dramatics of the military drum. When the Nazi Feldwebel shouts, 'In a minute I will know how many I am going to send off to the gas chamber!' the accompaniment is ominously subdued, limited only to strings.

Schoenberg's text of A survivor from Warsaw, with German sentences interpolated in the original, is as follows:

'I cannot remember everything. I must have been unconscious most of the time; I remember only the grandiose moment when they all started to sing, as if prearranged, the old prayer they had neglected for so many years — the forgotten creed!

'But I have no recollection how I got underground to live in the sewers of Warsaw so long a time. 1507 The day began as usual. Reveille when it still was dark — get out whether you slept or whether worries kept you awake the whole night: you had been separated from your children, from your wife, from your parents, you don't know what happened to them; how could you sleep?

They shouted again: "Get out! The sergeant will be furious!" They came out; some very slow, the old ones, the sick men, some with nervous agility. They fear the sergeant. They hurry as much as they can. In vain! Much too much noise, much too much commotion and not fast enough!

The Feldwebel shouts: "Achtung! Still gestanden! Na wird's mai, oder sol! ich mit dem Gewehrkolben nachhelien? Na jut; wenn Ihr's durchaus

haben wollt!" ["Attention! Stand still! How about it, or should I help you along with a bayonet butt? All right, would you kindly oblige?"]

The sergeant and his subordinates hit everyone: Young or old, strong or sick, guilty or innocent — It was painful to hear the groaning and moaning.

'I heard it though I had been hit very hard, so hard that I could not help falling down. We all on the ground who could not stand up were then beaten over the head.

'I must have been unconscious. The next thing I knew was a soldier saying, "They are all dead!" Whereupon the sergeant ordered to do away with us.

There I lay aside half conscious. It had become very still — fear and

pain — Then I heard the sergeant shouting: "Abzahlen!" ["Count off!"]

They started slowly, and irregularly: One, two, three, four, "Achtung." The sergeant shouted again: "Rascher! Nochmals von vorn anfangen! In einer Minute will ich wissen w/ev/e/e ich zur Gaskammer abliefere! Abzahlen!" ["Faster! Once more, start from the front row! In a minute

I will know how many I am going to send off to the gas chamber! Count off!"]

They began again, first slowly: One, two, three, four, became faster

and faster, so fast that it finally sounded like a stampede of wild horses,

and all of a sudden, in the middle of it, they began singing the Shema Yisroel/

Shema Yisroel Adonoy elohenoo Adonoy ehod. Veohavto es Adonoy eloheho behol levoveho oovehoi nafsheho oovehol meodeho. Vehoyoo haddevoreem hoelleh asher onohee metsavveho hayyom al levoveho. Veshinnantom levoneho vedibbarto bom beshivteho oovelehteho bad- dereh ooveshohbeho oovekoomeho.

[Hear, O Israel, the Lord our God the Lord is One! And thou shalt love the Lord thy God with all thy heart, and with all thy soul, and with all

thy might. And these words, which I command thee this day, shall be in thy heart. And thou shalt teach them diligently unto thy children, and speak of them when thou sittest in thy house, and when thou goest on the way, and when thou liest down, and when thou risest up.]

© 1969 by Performing Arts Magazine, Los Angeles. Reprinted by permission

1508 LUDWIG VAN BEETHOVEN

Symphony no. 9 in D minor op. 125 Program note by John N. Burk

Beethoven was born in December 1770 (probably the 16th); he died in Vienna on March 26 1827. He completed the Ninth symphony in 1824. The first per- formance took place at the Kamthnertortheater in Vienna on May 7 of that year. The first performance in the United States was given by the New York Philharmonic Society on May 20 1846. The Germania Musical Society in Boston with a chorus from the Handel and Haydn Society gave a performance here on February 5 1853. Georg Henschel conducted annual performances of the Ninth symphony to conclude the first three seasons of the Boston Symphony Or- chestra. The most recent performances in this series were given on October 1 and 2 1965; the soloists were Jane Marsh, Eunice Alberts, Richard Cassilly and Thomas Paul; the choruses were the Harvard Glee Club, the Radcliffe Choral Society and the New England Conservatory Chorus; Erich Leinsdorf conducted.

The instrumentation: 2 flutes and piccolo, 2 oboes, 2 clarinets, 2 bassoons and contra bassoon, 4 horns, 2 trumpets, 3 trombones, timpani, bass drum, triangle, cymbals and strings.

The Ninth Symphony was the result of long germination. It was Bee- thoven's most ambitious venture, his heroic attempt to bring together the elements of his life work, to give each symphonic movement a broader and more elevated expression than ever before, to reconcile symphonic and choral writing, to mate the power of the word with the free ex- pressiveness of his beloved instruments. In the finale he strove mightily to solve his problem. Did he actually solve it, and find the satisfactory fusion of every force at his command to carry his mighty thesis? There are those who say he did not. The score, like Schiller's lines, is a chal- lenge, and Beethoven's challenge is an adventure rather than a solution.

It is not to be judged with a scrupulous academic eye, or set up as a model. It is roughhewn, even reckless; it can sweep all before it, carry the singers over their difficulties, and carry the audience in its headlong course.

The finale is no mere setting of a text. It would be just to say that Beethoven sought a text to suit his musical intent rather than to exalt Schiller or give us a sermon on universal brotherhood. This concept and Schiller's inspiring lines excited him, but he seized them as material to his purpose. As the instrumental movements strive in each case to bring each component part of the symphony as a form to its fullest, its definitive expression, the choral finale strives to lift the whole to its highest point. The spirit of this finale does not reveal a new Beethoven, but the known Beethoven of the earlier symphonies, now more highly charged, newly ambitious, in the questing spirit of his last years. The finale of the Ninth is still the joyous culmination familiar in previous works. The finales of the 'Eroica', the Fifth and the Seventh symphonies are also proclamations, wordless odes to joy.

It was during his student days in Bonn that Beethoven had fastened upon Schiller's poem, and for a long time it remained a vague and unpursued notation in his sketchbooks. The heady sense of liberation in the verses must have appealed to him as they appealed to every German. They were in the spirit of the times, the spirit that had swept

1509 Europe and America, and Beethoven belonged to his time. He was no politician, nor the kind to discourse learnedly in such phrases as 'the brotherhood of man'. He was an idealist on such subjects as man, God, and the universe, but a practicing rather than a prating one, whose faith found concrete, powerful, vivid expression in tones. As Berlioz wrote of the choral finale, 'The joy is now religious, grave, and im- mense'. Such round and ringing phrases as 'Seid umschlungen, Milli- onen! Diesen Kuss der ganzen Welt!' ('Millions, myriads, rise and gather! Share this universal kiss!') have become, with the power of massed voices, a provocation to stir actual millions of listeners through the years as a summons to a noble concept. That concept was never as

urgent, as indispensable to the future as it is today.

The charge is often repeated that Beethoven treats the vocal quartet

'instrumental^'', and strains the voices of the chorus. It may be true that if Beethoven had never been deaf he might have been kinder to the capacities oi the human voice. Yet the movement as conceived and developed could not do otherwise. Music of mounting tension and overwhelming climax, it finds its end with a sure and also a driving musical logic.

Some pedants shake their heads over the Svmphony, and particularly the 'episodic' finale. Here again, Berlioz gives them the lie: 'The only answer for the critic who reproaches the composer for having violated the law of unity is — so much the worse for the law!' Beethoven was never the slave to form. Formal procedure was in his artist's nature, to be called upon as it suited his immediate purpose. The first movement is a wondrous example oi development as Beethoven had evolved it, but development extended by thematic excursions and by a long coda for the simple reason that the composer had much on his heart and an inexhaustible imagination. Who would cut a single bar? The scherzo is closest to formal tradition — but again it is greatly extended, and for the same reason. The slow movement is an alternation of two sections in differing tempo and rhythm, treated on the principle of variation. The wayward Beethoven was doing what he did in his last quartets — notably the one in A minor with the adagio in the Dorian mode — reconciling two disparate sections by that magic of his own which eludes analysis.

The Symphony is indeed the composer's effort to draw into a single work the musical experience of his life. Romain Rolland in his book

La. neuvieme symphonie (1941) stresses the Ninth symphony as a sum- mation' f'une Somme de vie'/ rather than as the forward-looking work Beethoven would have given us as a younger man. He wrote: 'The

Ninth symphony is a confluence. In it there are brought together and commingled the numerous currents from far back, from various sources, from the dreams and wishes of men in all ages. One might also say that it looks back upon the eight symphonies preceding, and so builds its summit from the past. The long period which transpired between the Eighth symphony and the Ninth has given it range and perspective,

made it a life's summation. It is not the true mirror of that life; it re- flects rather a spirit aged, full of wounds, which has seen the end, often bitter and deceptive, of experience, of hope. The music is often

notes continued on page 1522

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Have a Personal Banker at your side, on your side. shadowed, it is without the power of young illusion. It seeks fresh life, looks toward new horizons, but nothing is quite as before. There is lacking the abandon of young love, of young pride and ambition — even of young suffering. The composer finds instead a present which is incomparably godlike — he has found the magic power of the aging Prospero, and with it — almost apart — new life forces/

The Ninth symphony is thus retrospective, a drawing together of ac- cumulated power from a life's experience, the use of building materials not new. No more than seven years later Berlioz would plot another

'new path' for music in his Symphonie fantastique. But it would be quite wrong to regard the Ninth as a sort of stupendous final curtain to an epoch. While it could not be directly emulated, it had a tre- mendous effect on the future course of music. It planted in many a composer an irresistible urge toward grandeur. Wagner regarded it with mystic awe. Brahms trembled before the task of adding another to the immortal nine. It can be questioned whether Bruckner and Mahler would have undertaken their grandiose symphonic schemes without the choral Ninth to excite their imaginations. While offering no specific usable material, it fired the ambition for immensity through a whole Romantic century.

Themes which are gradually unfolded from mysterious murmurings in the orchestra — no uncommon experience nowadays — all date back to the opening measures of the Ninth Symphony, where Beethoven con- ceived the idea of building a music of indeterminate open fifths on the dominant, accumulating a great crescendo of suspense until the theme

itself is revealed in the pregnant key of D minor, proclaimed fortissimo by the whole orchestra in unison. It might be added that no one since has quite equaled the mighty effect of Beethoven's own precedent — not even Wagner, who held this particular page in mystic awe, and no doubt remembered it when he depicted the elementary serenity of the Rhine in a very similar manner at the opening of the Ring.

The development in this, the longest of Beethoven's first movements, progresses with unflagging power and majesty through many an epi- sode, many a sudden illumination from some fragment of his themes. At the restatement of the main theme the orchestra is flooded with the triumph of the D major long withheld. The long coda, coming at the point where it would seem that nothing more could be said on a much developed subject, calls forth new vistas from the inexhaustible imagi- nation of the tone magician who needed little more than the common chord upon which to erect his vast schemes. Tovey writes of this move- ment (in Essays in musical analysis) that it 'dwarfs every other first move- ment, long or short, that has been written before or since', attaining its stature, in his opinion, by a perfect balance in the organization of its parts. And Grove goes further still (Beethoven and his nine sympho- nies): 'Great as are the beauties of the second and third movements — and and it is impossible to exaggerate them — and original, vigorous impressive as are many portions of the finale, it is still the opening allegro that one thinks of when the Ninth symphony is mentioned. In Beethoven; many respects it differs from other first movements of everything seems to combine to make it the greatest of them all/

1522 In this symphony alone among his nine, Beethoven put his scherzo second in order and before the slow movement. A scherzo it is in everything but name, with the usual repeats, trio, and da capo (with bridge passages added). There is the dancelike character of earlier scherzos, and an echo of rusticity in the trio, recalling the Sixth and

Seventh. Yet all is lifted to the prevailing mood of rarefied purity as this movement, like the others, adds a new voice to an old form. This scherzo has been called 'a miracle of repetition in monotony', by virtue of the incessant impact of its rhythm (associated with the ket- tledrums, tuned in octaves) which keeps a constant course through the most astonishing variety in modulation, color, counterpoint. The move- ment begins as a five-voice fugue, recalling the fact that Beethoven first conceived the theme as the subject for a fugue — the earliest of his sketches which eventually found a way into the symphony. The trio continues the contrapuntal interest by the combination of two themes. The famous passage for the oboe against wind chords reminded Berlioz of 'the effect produced by the fresh morning air, and the first rays of the rising sun in May'.

The slow movement is built upon two themes whose structural rela- tion lies principally in contrast: the first, adagio in B flat, 4/4 time, the second, andante moderato in D major, triple time. After the almost static adagio, the second theme attains flowing motion in its melody, which Beethoven has marked 'espressivo'. This theme recurs in alter- nation with the other, but unlike the other is hardly varied, except in the instrumentation. The adagio theme undergoes variations of in- creasingly intricate melodic ornament like those by which Beethoven also lifted his last sonatas and quartets to such indescribable beauty.

The finale opens with a frank discord, followed by a stormy and clamorous presto of seven bars. It is as if the composer, having wrested from his first three movements the very utmost drop that was in them, is still restless and unsatisfied. He must still advance upon his divine adventure, cast off his tragic or poignant moods, find some new expression, fulsome and radiant. A few measures of each movement are reviewed, and after each a recitative in the cellos and basses gives an answer of plain rejection; in the first two cases brusquely, in the case of the adagio softened by a tender memory. Beethoven's instruments seem on the very verge of speech. A hint of the coming choral theme is breathed in gentle accents by the woodwinds, to which the recitative, now no longer confined to the strings, gives a convincing affirmative. Thereupon the theme in full is unfolded in its rightful D major. It is first heard in the utter simplicity of the low strings in unison, piano. Gradually harmonies and instruments are added, until the exposition has been completely made.

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1523 (The choral theme has come in for some slighting remarks, prob-

ably on account of its A B C simplicity. It need scarcely be pointed out that a basic simplicity, treated with infinite subtlety and variety,

is the very essence of the score from the first measure to the last. It is not without significance that Beethoven refined and polished this theme through two hundred sketches, to attain its ultimate beauty and per- fection. There is no lack of distinguished advocates for the theme.

Grove wrote: 'The result of years and years of search, it is worthy

of all the pains which have been lavished on it, for a nobler and more enduring tune surely does not exist/ Wagner: 'Beethoven has eman- cipated this melody from all influences of fashion and variations of

taste, and has raised it into a type of pure and lasting humanity/ Tovey

says as much, in his way, in three words, calling it simply 'a great theme'.)

Once more there is the noisy presto passage, and the composer introduces words for the first time into a symphony. The baritone has this recitative:

O Freunde, nicht diese Tone, Oh friends, no longer these tones of sondern lasst uns angenehmere sadness! anstimmen, und freudenvollere. Rather sing a song of sharing and of gladness! Oh Joy, we hail Thee!

There immediately follow the first three verses of Schiller's Ode to joy, by the solo quartet and chorus. (The English translation here given has been made for the Boston Symphony Orchestra by Theo-

dore Spencer, and is copyright.)

(It may be noted here that of the eight verses of Schiller's poem, Bee- thoven chose the first three verses, at first without their four-line choruses, and then added three choruses in succession, one of them,

'Froh, wie seine Sonnen fliegen' , belonging to the fourth verse, which otherwise he did not use, obviously choosing these lines for their mili- tant possibilities. Beethoven could scarcely have set more of the text; to set three stanzas required from him the longest symphonic move- ment which had ever been composed. Yet Grove thought that Bee- thoven was deterred by the 'bad taste' of some of Schiller's verses. A line which the Englishman fastens upon in horrified italics as 'one of

the more flagrant escapades' is this: 'Dieses Glas dem guten Geist!' (This glass to the good Spirit!').)

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1524 Freude, schoner Gotterfunken, Joy, thou spark from heav'n immortal Tochter aus Elysium, Daughter of Elysium! Wir betreten feuertrunken, Drunk with fire, toward Heaven ad- Himmlische, dein Heiligthum. vancing Goddess, to thy shrine we come.

Deine Zauber binden wieder, Thy sweet magic brings together Was die Mode streng getheilt; What stern Custom spreads afar; Alle Menschen werden Bruder, All mankind knows all rqen brothers Wo dein sanfter Fliigel weilt. Where thy happy wing-beats are.

Wem der grosse Wurf gelungen, He whose luck has been so golden Eines Freundes Freund zu sein, Friend to have and friend to be, Wer ein holdes Weib errungen, He that's won a noble woman, Mische seinen Jubel ein! Join us in our jubilee.

Ja — wer auch nur eine Seele Oh if there is any being Sein nennt auf dem Erdenrund! Who may call one heart his own Und wer's nie gekonnt, der stehle Let him join us, or else, weeping, Weinend sich aus diesem Bund. Steal away to weep alone. Freude trinken alle Wesen Nature's milk of joy all creatures An den Briisten der Natur; Drink from that full breast of hers; Alle Guten, alle Bosen All things evil, all things lovely, Folgen ihrer Rosenspur, Rose-clad, are her followers. Kiisse gab sie uns und Reben, Kisses are her gift, and vine-leaves, Einen Freund, gepruft im Tod; Lasting friend on life's long road; Wollust ward dem Wurm gegeben, Joy the humblest worm is given, Und der Cherub steht vor Gott. Joy, the Seraph, dwells with God.

The four line chorus (to the unused fourth verse) summons in Bee- thoven's imagination a marching host, and he gives it to proud and striding measures 'alia marcia' adding piccolo, contra bassoon, triangle, cymbals, and bass drum to his orchestra (again for the first time in a symphony). This is the verse, given to the tenor solo and chorus:

Froh, wie seine Sonnen fliegen Glad as the suns that God sent flying Durch des Himmels pracht'gen Plan, Down their paths of glorious space, Wandelt, Bruder, eure Bahn, Brothers, now forget all sadness Freudig, wie ein Held zum Siegen. Joyful run your hero's race.

After the excitement of this variation, Beethoven allows himself to be alone with his instruments once more, and for the last time in a double fugue. The chorus next sings (andante maestoso) the following short verse of far-flung import, calling upon three trombones to add to the impressiveness of the sonority:

Seid umschlungen, Millionen! O embrace now all you millions, Diesen Kuss der ganzen Welt! With one kiss for all the world. Bruder — iiberm Sternenzelt Brothers, high beyond all stars Muss ein lieber Vater wohnen! Surely dwells a loving Father.

A religious adagio in a mood of mystic devotion is the setting of the following verse:

Ihr sturzt nieder, Millionen? Kneel before him, all you millions Ahnest du den Schopfer, Welt? Know your true Creator, man! Such' ihn iiberm Sternenzelt! Seek him high beyond all stars, Uber Sternen muss er wohnen. High beyond all stars adore Him.

But the key verse of the movement is the first: 'Freude, schoner Gotter-

funken', and this, with its chorus: 'Seid umschlungen, Millionen', is

resumed by the quartet and chorus, and finally exalted to its sweeping climax in the coda, prestissimo. 1525 THE SOLOISTS

JANE MARSH, who made her orchestral debut in 1965 when she sang with the Boston Symphony Orchestra in perform- ances of Beethoven's Ninth Symphony under Erich Leinsdorf's direction, was

born in California. She is a graduate of Oberlin College. After her operatic de- but, also in 1965, as Desdemona in the production of Otello at the Festival of two worlds at Spoleto, she sang with the New York Philharmonic in a per- formance of Mendelssohn's Elijah. The following summer she won first prize for singers at the Tchaikovsky Music Competition in Moscow, and on her return to the United States again appeared with the Boston Symphony and Erich Leinsdorf, this time at the Berkshire Festival.

Since the summer of 1966, Jane Marsh has become a leading soprano with the San Francisco Opera and with the Deutsche Oper am Rhein in Dusseldorf, and divides her time between the United States and Europe. Among her many roles are Pamina in The magic flute, Liu in Turandot, Mimi in La Boheme and Violetta in La Traviata. Her appear- ance at these concerts has been made possible by Dr Grischa Barfus, General Director of the Deutsche Oper am Rhein, who agreed to re- lease her from several scheduled performances in Dusseldorf to allow her to come to Boston. Jane Marsh will sing in the recording of Bee- thoven's Ninth symphony, which will be made next week for RCA by the Boston Symphony Orchestra under Erich Leinsdorf's direction.

JOSEPHINE VEASEY makes her debut with the Boston Symphony Orchestra at these concerts. Born in London, she studied there, and joined the Royal Opera House, Covent Garden, at an early age. Her first role was Cherubino in Mozart's The marriage of Figaro. For many seasons she has been the leading mezzo-soprano at Covent Garden, where her roles have included Carmen, Dorabella in Cos! fan tutte, Octavian in Der Rosenkavalier, Amneris in Aida, and Fricka and Waltraute in The ring. She has also appeared in many major roles at Glyndebourne, and at the Edinburgh, Munich, Lisbon and Ber- gen festivals.

Josephine Veasey appeared with the Metropolitan Opera for the first time in 1968, and returned to sing in productions of Rheingold and Die Walkure this season. Next year she makes her debut at La Scala, Milan. She has made several recordings for the London and DGG labels, and will take part in the recording shortly to be made for RCA of Beethoven's Ninth symphony.

1526 PLACIDO DOMINGO, who last appeared with the Boston Symphony Orchestra two years ago in performances of Haydn's Creation Mass in Boston and New York, made his debut with the Metropolitan Opera earlier this season. Born in Madrid, he moved when he was eight years old to Mexico, where he received most of his musical training. After appearances with the National Opera of Mexico and the Dallas Civic Opera he joined the Hebrew National Opera in Tel Aviv, and sang there for more than two years. He returned to America and joined the New York City Opera, where he has sung leading roles in La Boheme, Madama Butterfly, Don Gio- vanni, Carmen and The tales of Hoffman. He sang the title role in Ginastera's Don Rodrigo on the opening night in the City Opera's new home at Lincoln Center in 1966. During his first season with the Metro- politan he has sung Rodolfo, Cavaradossi, Don Carlo, Calaf and Don Jose among other parts. Placido Domingo will take part in the record- ing for RCA of Beethoven's Ninth symphony.

SHERRILL MILNES, who makes his first appearance with the Orchestra in Boston at these concerts, started his professional career as a member of Margaret Hillis's Chicago Choir, and was soon taking solo parts when the chorus appeared with the Chicago Symphony. He won scholarships to the opera department of the Berkshire Music Center for two consecutive sum- mers, then joined Boris Goldovsky's com- pany for several tours. After winning the Ford Foundation award in 1962, Sherrill Milnes appeared with many leading American opera companies.

Today he is a regular singer at the Metropolitan Opera. He has sung leading roles in Faust, Pique Dame, Fidelio, Aida, Un ballo in maschera, Lohengrin and Mourning becomes Electra. He has appeared abroad in Venice, Florence, Milan and Mexico City. Last summer he made his debut with the Boston Symphony in a performance of Brahms's A German Requiem, and he joined the Orchestra for their recent record- ing of that work for RCA. He will also sing in the recording next week of Beethoven's Ninth symphony.

1527 THE CHORUSES

The CHORUS PRO MUSICA was founded in Cambridge in 1949 by

its present conductor Alfred Nash Patterson. Its members come from

all parts of Greater Boston and surrounding towns in Massachusetts, New Hampshire and Rhode Island. There are many professions repre-

sented in the chorus, doctors, secretaries, professors among them, as well as students and housewives.

The Chorus has sung with the Boston Symphony Orchestra many times

in the past in Boston, New York and Tanglewood. Their first appearance was in 1950 when Serge Koussevitzky conducted; their most recent was last season in performances of Romeo et Juliette by Berlioz, directed

by the late Charles Munch. They have also taken part in many record- ings with the Orchestra for RCA, including Wagner's Lohengrin and Verdi's Requiem, both conducted by Erich Leinsdorf. With the choruses from Harvard and Radcliffe and the New England Conservatory, the Chorus Pro Musica sang under Erich Leinsdorfs direction the historic performance of Mozart's Requiem in memory of the late President John

F. Kennedy. The Chorus Pro Musica will join the other artists taking part in these concerts to record Beethoven's Ninth symphony for RCA.

THE NEW ENGLAND CONSERVATORY CHORUS, under the direction of Lorna Cooke deVaron, has contributed significantly to Boston's musical life, and has become known internationally through its tours and recordings. Composed of students from all departments of the

Conservatory, the chorus has a full and varied program each season.

It has sung several world premieres, including works by Irving Fine and Daniel Pinkham, and introduced several others to America, Bern- stein's Kaddish and Bruckner's E minor Mass among them. Gunther Schuller, Leonard Bernstein and Aaron Copland are some of the com- posers who have conducted the chorus.

The New England Conservatory Tour Chorus has travelled extensively in the United States, and gave a concert tour in Spain and the Soviet Union in 1966 under the auspices of the State Department. On their return Mrs deVaron was awarded the Boston Medal for Distinguished Achievement. Since 1951 the chorus has sung each season with the Boston Symphony Orchestra and made many recordings with the orchestra for RCA.

Earlier this season the chorus sang in performances of A German Re- quiem by Brahms under Erich Leinsdorfs direction; they also took part in the recording of the Requiem for RCA. They will sing in the record- ing next week of Beethoven's Ninth symphony.

1528 BOSTON SYMPHONY .ORCHESTRA A SEAT AT SYMPHONY

Nothing can take the place of a concert in Symphony Hall. The audience assembling, the musicians tuning up or running through difficult passages in parts of the coming program, the hum of conversation from the audience, the lights glinting upon the pol- ished wood and brass of the instruments, and the concert itself sweeping to its conclusion, when the audience again returns to reality from the world of music.

For many members of the audience, Symphony Seats are cher- ished family possessions. Often they are passed along from one generation of subscribers to another.

Donors to the Symphony Development Fund may through a gift of $2,500 for this purpose name a Symphony Seat in honor of individuals, or to mark many years of happy connection with the

Symphony attach to seats their own names, or those of family members, friends, or musicians.

Already a number of donors have done so, and suitable brass plaques have been attached to the arm rests of various seats in

Symphony Hall.

If you would like to use this method of making your gift to the

Boston Symphony Orchestra more meaningful and satisfying, please call the Symphony Fund Office (telephone 536-8940) or write to either Co-chairman of the Development Fund, Philip K. Allen or George H. Kidder, or any member of the Board of Trus- tees, at Symphony Hall, Boston, Massachusetts 02115. A MESSAGE FROM ERICH LEINSDORF

From time to time during the past seven seasons I have reported to you

my ideas about the role of the symphony orchestra in our society, my reasons for programming the music you hear and my plans for the future.

By your loyalty and support you, the subscribers, provide the artistic

freedom which we need to make programs along liberal lines. It is therefore fitting and right that you should be kept fully informed of

the policies of the Boston Symphony and its musical direction. This

message is, of course, my ave atque vale as a 'regular'; but since I shall

return in practically no time as guest conductor, I cannot find the tears

for a sad farewell. This, then, is an affectionate au revoir and a profound thank you for your staunch and invaluable support.

As for my future — I shall travel a good deal more than I could during my tenure here. The Northeast corridor of the United States, that great megalopolis stretching from Washington DC to Boston, has been the

Orchestra's principal playground in recent years. It is indubitably one of the world's most important regions, but not the only one.

Between now and my return to Boston next season I shall conduct one of my favorite works, Schumann's 'Scenes from Goethe's Faust' in Frank- furt. From Germany I go to Switzerland where I shall direct the French Orchestre Nationale at the Lausanne Festival and over French television in a concert which includes the Fourth symphony of Mahler. With the

Tonhalle in Zurich I shall play Stravinsky's Le sacre du printemps. Then comes Tanglewood, where we have an exciting series of programs planned, including complete performances of Mozart's Die Entfuhrung and Verdi's OteUo, lots of Bach and Mozart, and the Ninth symphony of Beethoven. From the Berkshires to Buenos Aires where I shall conduct three works, Der Rosenkavalier of Strauss, Berg's Wozzeck and Wagner's

Parsifal at the Teatro Colon. Then I have been invited to appear with the new French Orchestre de Paris and later to make a film of sym- phonic work with the Vienna Philharmonic.

My seven years with the Boston Symphony have been enormously en- joyable and rewarding for me personally. I look forward with pleasure to my return as guest conductor, and thank all of you again for your

warm support, which I have felt and appreciated immeasureably.

1530 **?jC »v BOSTON [PHONY A MESSAGE FROM THE .orchestra/ PRESIDENT OF THE TRUSTEES

The Trustees wish to express their gratitude to Erich Leinsdorf for his seven years of devoted service to the Orchestra. Mr Leins- dorf has asked that a sum of money be given to Biafran relief in place of the formal presentation which had been planned, and in accord with his wishes the Trustees are arranging such a donation in his honor.

Mr Leinsdorf's years as our Music Director have been distin- guished not only for the comprehensive range of orchestral music he has presented but also for the breadth and depth of his schol-

arship and that musical integrity which is the finest attribute of an artist. Subscribers to the concerts in Boston have heard an ex- ceptionally varied repertoire, ranging through the classical sym- phonic masterworks and including the world premieres of Barber's Piano concerto, Carter's Piano concerto, the Violin and Second Piano concertos of Lees, Piston's Eighth symphony and Psalm 140 of Sessions. Among the American premieres he has given us are those of Britten's War requiem and Cello symphony, the original 1805 version of Beethoven's Fidelio, Schumann's Scenes from Goethe's Faust, and the original version of Richard Strauss' Ariadne auf Naxos when the triumph in Boston in January was repeated in Carnegie Hall.

Boston and our tour cities have been the beneficiaries of Mr Leinsdorf's extraordinary knowledge and mastery of symphonic literature which has brought to us many works, both old and new, which have broadened our experience and given rare musical pleasure. Under his direction there have been striking innovations in the Festival concerts at Tanglewood. His exceptional gifts as a teacher have brought about reorganization of the Berkshire Music Center which has furthered the careers of many students of music and future members of the symphony orchestras of this^and other nations.

The Trustees extend their warmest wishes to Mr Leinsdorf for his future, and we look forward with pleasure to welcoming him as guest conductor through many coming seasons.

Talcott M. Banks President

1531 THE ORCHESTRA'S RECENT TOUR

Bravos, boos and a party in Washington

Audiences of nine thousand saluted Erich Leinsdorf and the Boston Symphony Orchestra with standing ovations at the end of each of the two concerts in the vast William Neal Reynolds Coliseum on the campus of North Carolina State University, Raleigh, North Carolina. With Lilian Kallir as soloist in Mendelssohn's G minor piano concerto, the Orches- tra opened its annual extended tour in Raleigh on March 10 and 11 last. These first two concerts were given in memory of the late Charles

Munch. It was in Raleigh that he conducted the final concert of his life last November.

Atlanta was next, and there the Orchestra played in the 4600-seat Robert Maddox Hall of the new Atlanta Civic Center. Flying then to Florida for its first appearances in that state, the Orchestra played on March 13 in the Bayfront Center Auditorium in St Petersburg, again with Lilian Kallir as soloist. Concerts in War Memorial Auditorium of Fort Lauderdale and the Miami Beach Auditorium, halls of 2560 and 3500 respectively, concluded a week in which it is estimated that the Orchestra played in person to more listeners than in any other single week in its history, including even its Berkshire Festival concerts at Tanglewood.

Booing broke out at the end of Deserts by Edgard Varese as Erich Leins- dorf and the Orchestra began their second tour week with a concert in Constitution Hall, Washington. Cheers instantly contended with the boos in this widely publicized incident, and Erich Leinsdorf won laughter and applause from the audience by lifting his arms for silence and remarking that he was 'glad to learn that in Washington not only politics is controversial.'

After the two concerts in Washington, the Orchestra flew to New York for this season's fifth and final week of Philharmonic and Carnegie Hall concerts, and its last appearance of the season at the Brooklyn Academy of Music. The controversial Varese piece was given a tumultuous recep- tion at Philharmonic Hall, where the concerts also included Mahler's Songs of a wayfarer, with Hermann Prey as soloist. Lilian Kallir was the soloist in Brooklyn. At Carnegie Hall, Erich Leinsdorf conducted an all- Beethoven program, the 'Pastoral' and 'Eroica' symphonies, as his final New York program as Music Director of the Orchestra.

Following the Boston Symphony's first concert in Washington, a party in honor of Erich Leinsdorf and the Orchestra was given by Senator and Mrs Edward M. Kennedy at their home in McLean, Virginia. Trustees, members and staff of the Orchestra, as well as many of its friends and supporters, and members of the press attended. Senator Kennedy is a Trustee of the Boston Symphony Orchestra; two seasons ago he appeared in a Pension Fund concert as narrator in Aaron Copland's A Lincoln Portrait

1532 BOSTON SYMPHONY ORCHESTRA, BERKSHIRE MUSIC CENTER ORCHESTRA AND BOSTON POPS ON SPECIAL TELEVISION PROGRAMS

WGBH (Channel 2) will broadcast in color an NET Festival program 'Bartok at Tanglewood' on Wednesday April 23 at 7.30 pm and Sunday April 27 at 9.30 pm. WGBX (Channel 44) will show the program on Mon- day April 28 at 9 pm.

Jordan M. Whitelaw, the producer, and William Cosel, the director, have edited color television tape to make a new kind of program. Erich

Leinsdorf first rehearses the students of the Berkshire Music Center Orchestra; he explains how a passage should sound. Then the passage

is played in performance by the Boston Symphony. The camera returns to the students and they try the same passage. 'Bartok at Tanglewood'

offers a rare opportunity to look at and hear the way a musical perform-

ance is put together. Only at Tanglewood does a conductor have the op- portunity to rehearse two orchestras, one made up of students, the other

of their senior colleagues, in an identical work.

WHDH (Channel 5) will broadcast, also in color, the CBS Red Skelton

Show on Tuesday April 29 at 8.30, in which Arthur Fiedler and the Boston Pops, with Robert Merrill, are featured. The program was taped

earlier this month in Symphony Hall before an invited audience.

FRIENDS OF THE BOSTON SYMPHONY ORCHESTRA

Membership

When the eighty-ninth season opens in the fall, the Friends of the

Boston Symphony Orchestra will start a new membership program. As

their part in helping to meet the Orchestra's present financial crisis, the

Council of Friends has voted to establish membership categories in the Friends which will entitle the donor of $15 or more to an invitation to

a variety of Friends' activities.

As in the past, the Orchestra welcomes contributions of any size, which make the donor a Friend. Those subscribers as well as occasional concert-goers who have not made a regular habit of supporting the

Boston Symphony Orchestra are particularly encouraged to join this group so important within the Symphony family.

1533 4

FRIENDS OF THE BOSTON SYMPHONY ORCHESTRA —

Mrs Dorothy Rosenthal! Mrs Irving Sanders Mrs David Scudder

Mrs Louis Rosenthal Mrs Russell M. Sanders Mr & Mrs Campbell L. Searle Mrs Morris Rosenthal Miss Phyllis G. Sanderson Mrs Douglas H. Sears Mr & Mrs Richard Rosenthal Miss Ruth D. Sanderson Mrs Francis P. Sears Mr Henry Rosovsky Mr Eliot Sands Mrs John B. Sears Dr Margaret L. Ross Miss Anna Mary Sanford Mrs Richard Sears

Dr & Mrs Ralph A. Ross Miss Dorothy J. Sanford Mr H. A. Secrist Dr Robert S. Roth Mrs Adele W, Sanger Miss Helen C. Secrist

Dr Seymour Rothchild Mr Edward J. Sanger Mr Bruce Seddon Mrs Albert N. Rothermel Miss Ann Sargent Mr & Mrs Mrs William C. Rousseau Mrs George Lee Sargent R. Minturn Sedgwick Miss Marian E. Rowe Mr & Mrs Harry C. Sargent Mr & Mrs. Samuel M. Seegal Mrs George R. Rowland Mr & Mrs Thomas C. Sargent Mr & Mrs S. Clark Seelye

Mr & Mrs Charles F. Rowley Mrs Maurice J. Savitz Mrs Robert E. Segal Mrs Grace M. Roy Mrs Frank M. Sawtell Mr & Mrs Robert M. Segal Miss Celia Rubenstein Mrs Donald F. Sawyer Mr & Mrs Norman Seifert Mr & Mrs Harold Rubenstein Mrs Linda Makanna Sawyer Mr & Mrs Samuel Seiniger Dr Jordan S. Ruboy Miss Mary W. Sawyer Mr & Mrs F. H. Sellman Dr Sylvia Ruby Mr Benjamin Sayles Mrs Henry Seton Mr & Mrs Mrs Robert W. Sayles Jr Mrs Alfred M. Sexton

Alford Paul Rudnick Dr & Mrs Robert T. Sceery Dr & Mrs Lloyd I. Sexton Mr & Mrs Ralph P. Rudnick Mrs Richard Schanzle Mrs Robert Seymour Miss Siglinde Ruehl Dr Harry Schecter Mr Edwin Shain Mrs Helen Whiting Rule Mr & Mrs Dr Rose Wies Shain Mr Anthony T. Ruscio Bertram F. Scheffreen Misses Anne & Celia Shapiro Mrs Allen H. Russell Mrs Fred L. Scheiberg Dr & Mrs B. Shapiro Mrs Gordon B. Russell Mr & Mrs Arthur H. Schein Mrs Carl Shapiro Mrs Otis T. Russell Dr Richard P. Scherman Mrs Clinton H. Shattuck Mrs Renouf Russell Mrs Edward C. Scheu Jr Dr & Mrs George C. Shattuck Mr & Mrs Richard S. Russell Mr E. Robert Schildkraut Mrs Mayo Adams Shattuck Mrs Robert W. Russell Miss Angelina M. Schipellite Mrs Frank R. Shaw Mrs Oscar Mrs Edgar C. Rust Dr & Mrs J. Walter Schirmer M. Shaw Mrs Mrs Edward F. Ryan Mrs Arthur M. Schlesinger Robert H. Shaw Joseph T. Ryerson & Son Inc Ludwig & Anny Schlessinger Mr & Mrs T. Mott Shaw Foundation Inc Mrs Walter K. Shawjr Mrs Mr & Mrs Theodore S. Saad Dr & Mrs Francis O. Schmitt Charles G. Shedd Miss Tyyne M. Saari Miss Elizabeth Schneider Mrs Cyril Shelvey Mrs Stephen W. Sabine Mrs Joseph Schneider Mr & Mrs Frederick Prof & Mrs Albert M. Sacks Dr Morton Schoenbaum J. Shepard Jr Mrs Mrs George S. Safford Mr & Mrs Robert E. Schofield Dwight C. Shepler Mr & Mrs Mr Arnold M. Schreider Mrs O. Herbert Sherbrooke Miss George A. Sagendorph Dr & Mrs Mary G. Sherman Miss Rita Dr & Mrs Walter St Goar Harold F. Schuknecht M. Sherman Mr Mr & Mrs David Saklad Mr & Mrs William Schwann & Mrs George Sherrerd Jr Dr Kent Salter Mrs Grace Schwartz Mr & Mrs Herbert L. Shivek Mr Miss Elizabeth Saltonstall Mr Lowell M. Schwartz Stanley Shmishkiss Hon & Mrs Mr Maurice Schwartz Mrs William Shoer Mrs Leverett Saltonstall Mrs William B. Schwartz Jr Seabury T. Short Mr Mr & Mrs Richard Saltonstall Mr Henry F. Schwarz Jacob W. Shoul Mrs Wilfred Mr & Mrs Robert Saltonstall Mr George G. Schwenk R. Shrigley Mr Mrs Mr William C. Saltonstall Dr & Mrs Alfred W. Scott Jr & Louis Shulman Mrs Mr John Parker Samuels Mr Donald Scott George Sibley Mrs Mrs Ashton Sanborn Mrs Henry R. Scott Robert Sides Dr Mrs Mrs George K. Sanborn Mr & Mrs Thomas Scott & Richard L. Sidman Mrs Irwin Siegel Miss Nadine E. Sander Mr & Mrs Mrs Robert Mrs H. Hayward Sanders Linwood D. Scriven E. Siegfried 1534 Miss Nancy K. Siff Dr Karl Sorger Miss Ruth Stickney Mr Richard Sight Dr & Mrs Carlton R. Souders Mr & Mrs Howell M. Stillman

Mr Coleman Silbcrt Mrs Augustus W. Soule Dr & Mrs J Sydney Stillman Mrs Max M. Silverman Miss Frances M. Southard Mr & Mrs Mr & Mrs Morris Silverman Mr Harry C. Southard Edward S. Stimpson Jr

Mrs Theodore H. Silverman Mrs Richard Southgate Mrs C. J. Stoddard Miss Olive M. Simard Mrs Lamar Soutter Dr John D. Stoeckle Mrs George Henry Simonds Mrs Arthur S. Spangler Mrs Henry W. Stokes Mrs Donald B. Sinclair Mrs Harry Morton Spaulding Mrs Alice W. Stone Major Robert Sinnott Mrs Josiah A. Spaulding Miss Amy E. Stone Mr & Mrs Jay R. Sklar Mr & Mrs Albert R. Speare Dr & Mrs Bartlett H. Stone

Mrs Paul E. Sladish Mrs John K. Speer Sr Mrs David B. Stone Mrs Max Slater Miss Dorothy Spelman Mrs David G. Stone Mr Montgomery Slatkin Mrs David Spence Miss Edith Stone Dr & Mrs Albert E. Sloane Mrs John F. Spence Jr Mr & Mrs Leo Stone Mr & Mrs John R. Sloane Mrs Wilford Spencer Miss Lois V. Stone Mr & Mrs Samuel L. Slosberg Dr & Mrs Michael Sperber Mr Percy N. Stone Jr Mr Thomas Small Mr & Mrs Mr Peter H. Stone Miss Sandia Smalley Nathanial H. Sperber Mrs Robert G. Stone Mrs A. Calvert Smith Miss Louisa Sprague Miss Ruth S. Stone

Mrs Brenton G. Smith Mr & Mrs Donald I. Spund Stone Charitable Foundation Dr Clement A. Smith Mrs Charles G. Squibb Mr & Mrs Mrs Donald Borden Smith Mr Richard Stall Albert H. Stonestreet Miss Edith W. Smith Mrs John B. Stanbury Miss Elizabeth B. Storer

Miss Elizabeth H. Smith Mrs Philip E. Stanley Mrs John J. Stouffer Mrs George Willard Smith Mr & Mrs Peter W. Stanton Mrs Arthur Strang Miss Geraldine D. Smith Mr & Mrs Mrs Mary W. Straub Mrs Howard A. Smith Creighton B. Stanwood Mrs Otto G. T. Straub Miss Janet Smith Mrs Clarke Staples Mr & Mrs

Miss Janet B. Smith Mr Harold R. Starkman Ferdinand Strauss II Dr Judson A. Smith Mrs Erwin Starr Miss Charlotte Street Miss Lilian A. Smith Miss Anna Stearns Mr Henry S. Streeter Mr Malcolm V. Smith Miss Anna B. Stearns Mrs Benjamin W. Streifler Miss Pamela Smith Dean Edwin E. Stein Mr & Mrs

Dr Robert M. Smith Mr Henry J. Stein Vcevold Strekalovsky Mrs Ruth L. Smith Mr Meyer Stein Mr Charles R. Strickland

Mr & Mrs S. Abbot Smith Mr Julius Steiner Dr & Mrs Alvin E. Strock Mrs Stanley W. Smith Mrs Robert S. Steinert Miss Mary H. Stroup Mrs W. Mason Smith Jr Mr & Mrs Frank Steinhilper Mrs Harold C. Stuart Mr & Mrs Mrs Preston T. Stephenson Mr D. S. Studdiford Warren Storey Smith Miss Hanna Stern Miss Myrtle A. Stuntnzer Mrs M. N. Smith-Petersen Miss Helene Stern Misses Anita Mrs Pettengill Mr Robert C. Stern & Susan B. Sturgis Smith-Petersen Abbot and Dorothy Dr & Mrs George P. Sturgis Mr & Mrs Elliot Snider H. Stevens Foundation Mrs John Hale Stutesman Mr Arthur E. F. Snyder Mrs Ames Stevens Miss Faith T. Sulloway Mrs Donald B. Snyder Mr & Mrs Ezra F. Stevens Mr E. H. Summersgill Mr & Mrs Miss Frances S. Stevens Miss Mary B. Sumner Frederick D. Snyder Mrs Robert H. Stevenson Mr & Mrs M. A. Sunderland

Mrs Joseph J. Snyder Mrs Campbell Steward Mrs Roger D. Swaim Mrs Abraham Solomon Mr & Mrs Charles A. Steward Mrs R. L. Swain

Dr Chester I. Solomon Mr David C. Stewart Dr Channing S. Swan Mrs Hannah B. Solomon Dr & Mrs Mrs Dean Russell Swan Dr Paul Solomon Goodwill M. Stewart Mrs H. Hogarth Swann Mrs Sidney Solomon Mr & Mrs H. R. Stewart Mrs O. L. Swats Dr & Mrs Mr & Mrs Herbert F. Stewart Miss Alice C. Sweeney Edmund Sonnenblick Miss Priscilla H. Stewart Miss Helen B. Sweeney Mrs Willard B. Soper Mr Robert W. Stewart Miss Joan Sweeney

1535 Miss Mary S. Sweeney Mrs George H. Timmins Mr & Mrs Miss Nora Sweeney Mr Michael Tinkham Arthur E. Vershbow Mrs Homer N. Sweet Mr & Mrs Mark Tishler Mr & Mrs Mrs George H. Swift Mrs Albert C. Titcomb Daniel R. Vershbow Mrs John B. Swift Mr S. H. Tolles Jr Dr & Mrs

Mrs Robert S, Sylvester Mr & Mrs John M. Tomb Austin L. Vickery Jr Mr Raymond H. Synnestvedt Miss Susanne E. Tompkins Mrs Robert G. Vickery Dr Brona Szuldberg Mrs John C. Toomey Mrs S. Sumner Victor Dr & Mrs Edgar B. Taft Mrs Charles F. Toppan Mrs Dorothy S. Villmont Mr & Mrs Edward A. Taft Miss Katherine Tousey Vingo Trust

Dr & Mrs Nathan B. Talbot Miss Margaret H. Tracy Mr Simon J. Vogel Miss Elizabeth D. Tallman Dr & Mrs Carl E. Trapp Mrs William H. Vogler Dr William C. Tannebring Jr Miss Jessie C. Travis Miss Doris Volland Mrs Robert M. Tappan Mrs Richard Treadway Mrs Andrew Von Hendy Mr & Mrs Samuel E. Tappan Mr & Mrs Irving Troob Mrs Cushing Vose Miss Janice Tarlin Mrs James Truden Mr & Mrs Fredrick Tauber Miss Elizabeth E. Tuck Mr Charles Wadsworth Mrs Charles W. Taussig Mr & Mrs Donald S. Tucker Mrs George P. Wadsworth Mr & Mrs Miss Jane S. Tucker Mr Philip P. Wadsworth Thomas W. Tavenner Mrs Bayard Tuckerman Jr Mr William B. Wadsworth Miss Alice C. Taylor Mrs Frederic Tudor Mr Charles A. Wagner Mr Carl Taylor Tufts College Alumni Mrs Edward Wagenknecht Mr Frederick B. Taylor Mrs Leon Tulchin Dr & Mrs Hans Waine

Mrs John I. Taylor Miss Dorothy M. Tuohy Miss Hazel Waite Miss Margaret E. Taylor Mrs Peter Turchon Mrs Charles F. Walcott Mrs Mary-Low Taylor Miss Dora Turitz Mrs Eustis Walcott Mrs Rosamond S. Taylor Mrs Gardner C. Turner Mr & Mrs Richard Walcott

Mrs William O. Taylor II Mr & Mrs Howard M. Turner Miss Ada S. Wald

Mr Donald K. Tead Dr & Mrs William J. Turtle Mr & Mrs Harold Wald Mr & Mrs Edwin Tebbetts Miss Margaret Tuthili Mr Israel B. Wald Mrs C. G. Tedeschi Mrs Edward G. Twohey Miss Ruth N. Waldron Mrs John W. Teele Mr Albert Twombly Mr William A. Waldron

Dr Melvin Tefft Mrs James W. Tyson II Mr & Mrs Quincy W. Wales Mr & Mrs Karl Terzaghi Mrs Theodore H. N. Wales

Miss Helen I. Tetlow Dr Miriam E. Udin Mr & Mrs Guy W. Walker Mr Anthony Thacher Mr & Mrs Juris Udis Mr Percy L. Walker Mrs Gordon B. Thayer Mrs Edward C. Uehlein Mrs Philip H. Walker Mrs Lucius E. Thayer Dr & Mrs Arthur Uhlirjr Mrs Richard D. Walker Mrs Sherman R. Thayer Mrs Howard Ulfelder Mr Thomas S. Walker

Mr Thornton C. Thayer Mr & Mrs Hyman B. Ullian Mrs George R. Wallace III Mr & Mrs Philip Thibodeau Miss Gene Ulmann MrsJ.M. Waller Mr G. O. Thielens Mrs Edward F. Unger Miss Avis Walsh Mrs Alfred Thomas Mr & Mrs Miss Irene Walsh Miss Genevieve M. Thomas Abbott Payson Usher Mrs Howland Walter Mr & Mrs Mrs Kenneth Shaw Usher Mr & Mrs Maurice A. Walter George B. Thomas Jr Mrs Samuel Usher Miss Dorothea Waltz Mrs H. Emerson Thomas Jr Mr & Mrs Miles Wambaugh

Mr William B. Thomas Mr & Mrs Emery I. Valko Dr Sidney H. Wanzer Mr & Mrs Randall Thompson Dr Suzanne Taets Miss Alice E. Ward Mr Thomas C. Thompson van Amerongen Miss Beatrice Ward Dr & Mrs Miss Catherine S. Van Brunt Mr Eugene C. Ward Augustus Thorndike Mr & Mrs John S. Van Etten Mr & Mrs

Mr & Mrs John L. Thorndike Mrs J. H. Van Vleck Harry DeC. Ward Mr & Mrs Mrs Ralph Van Waters Mrs Katherine L. Ward Richard H. Thornton Mr Nathan Vanzler Mrs Theodora V. W. Ward Mrs Ward Thoron Mr Gordon F. Vawter Mrs Sheldon E. Wardwell Mr & Mrs David W. Tibbott Mrs Arthur Hale Veasey Mrs Edward Winslow Ware Miss E. Katharine Tilton Mrs Harry Vengerow Mrs Alexander Warga

1536 Mrs Henry Warner Mrs Charles J. Wester Mr Richmond G. Wight Mrs Howland S. Warren Miss Nancy R. Westhaver Mrs Benjamin Wilcox

Mr Lowell A. Warren Jr Mrs Winthrop Wetherbee Mrs J. W. Wilcox Rev & Mrs M. M. Warren Mrs D. Mrs W. Lawrence Wilde Mr Milton C. Wasby Bradford Wetherell Jr Prof & Mrs Amos N. Wilder Mrs John C. S. Washburn Mrs Lyon Weyburn Mr S. A. Wilder Leo Wasserman Foundation Mrs Stephen Wheatland Prof Karl L. Wildes Mrs William Waterhouse Miss Frances E. Whedon Mr & Mrs Valleau Wilkie Jr Mr James W. Waters Miss Adaline E. Wheeler Miss Lucile K. Wilkin Miss Agnes Watkins Mrs Alexander Wheeler Hon Raymond S. Wilkins Mr Joseph R. Watkins Mrs Donna Shay Wheeler Mr A. W. Wilkinson Dr & Mrs Carl L. Watson Miss Eunice Wheeler Mrs A. Osborne Willauer Mrs Edward Mrs Henry Wheeler Jr Mrs W. Ward Willett Bowditch Watson Mrs Leeds A. Wheeler Mr Alexander W. Williams The Frederick E. Weber Mrs Leonard Wheeler Dr & Mrs Charities Corporation Miss Marion D. Wheeler Harold W. Williams Mrs Priscilla L. Webster Mrs Mark C. Wheeler Miss Helen L. Williams Mr & Mrs Charles F. Weden Miss Mary L. Wheeler Dr & Mrs Mr & Mrs Miss Mary S. Wheeler John A. Williams Frederick R. Weed Mrs Richard P. Wheeler Mrs John Burr Williams

Miss Lucretia J. Weed Dr & Mrs Mr & Mrs N. Miss Clarice J, Weeden Frank C. Wheelock Jr John Williams Mr & Mrs William D. Weeks Mrs Josiah Wheelwright Mrs Ralph B. Williams

Mrs F. Carrington Weems Mr & Mrs Frank Whelden Mrs Shepard F. Williams Mrs Ira Weinbaum Mrs R.J. Whipple Mr & Mrs Mr Martin B. Weinberg Mrs Sherman L. Whipple Jr Thomas B. Williams Mr & Mrs Mrs Frederick E. Whiskin Mr & Mrs Moses A. Weinman Mr Stetson Whitcher Charles P. Williamson Mr & Mrs Miss Christine White Mr & Mrs Lewis H. Weinstein Miss Elisabeth E. White Robert W. Williamson Dr & Mrs David Weintraub Mrs Harvey White Mrs Arthur H. Willis Mrs Mark Weisberg Mr & Mrs Henry K. White Miss Ruby Willis Mr & Mrs Dudley A. Weiss Miss Katharine H. White Mr & Mrs Mrs Herbert Weiss Mrs Kenneth T. White Alfred W. Willmann Mrs Robert Weiss Mrs Richardson White Mrs Alfred Willstatter Mr John P. Weitzel Mrs Wesley D. White Mrs A. O. Wilson Dr & Mrs Claude E. Welch Miss Ruth M. Whitehill Mrs Benjamin L. Wilson Mr & Mrs James O. Welch Miss Anne Whiteman Mr & Mrs Grafton L. Wilson Miss Helen Weld Dr & Mrs Homer Whitford Mr Harry K. Wilson Mr & Mrs Philip S.Weld Mr John G. Whitman Mrs Martha F. C. Wilson Mr & Mrs Mrs George C. Whiting Dr & Mrs Stephen B. Wellington Mrs Mason T. Whiting Norman L. Wilson Miss Harriet V. Wellman Mrs George K. Whitney Mr & Mrs Mrs A. Turner Wells Mrs John R. Whitney Jr Richard E. Wilson Mr John H. Wells Mr R. H. Whitney Miss Virginia Wing Mrs John M. Wells Miss Mr Willis Kingsley Wing Mr & Mrs Mildred E. Whittemore Mr David H. Winnick John Shippen Wells Mrs James P. Whitters Mrs Henry D. Winslow Mr & Mrs Barrett Wendell Mrs Eugene P. Whittier Mrs Allen P. Winsor Mrs Barrett Wendell Jr Mrs Nathaniel Whittier Miss Agnes M. Winter Mr & Mrs John Werlin Mrs Chester E. Whittle Miss Clara B. Winthrop Mr & Mrs Mrs Peter Wick Mrs Sidney H. Wirt Charles M. Werly Dr Louis Wiederhold Mr Harold Wisan Mr Mark R. Werman Mr Charles G. Wierman Mr William F. Wiseman Mr & Mrs Ralph Werman Dr & Mrs Mrs Samuel E. Wisner Mrs Wilfred B. Werner Robert G. Wiese Mrs Max D. Wit Miss Barbara H. West Mrs Morrill Wiggin Dr Abraham Wolbarsht

Mrs Worthing L. West Mrs Frank Wigglesworth Mrs Oliver Wolcott

1537 Mr Charles L. Wolf Mrs Anna R. Woolf Mr Paul I. Yakovlev

Mr & Mrs Leo E. Wolf Mrs G. Crandon Wooley Mrs John F. Yeager Dr & Mrs Louis Wolf Mrs John M. Woolsey Jr Mr Charles K. Yeremian

Mr William M. Wolf Miss Constance Mr Herschel I. Yesley Mrs Albert B. Wolfe Rulison Worcester Dr & Mrs Morris Yorshis Mr Gerard Wolfe Mr John N. Worcester Mrs H. Melvin Young Mr Eric Wolman Mrs Karl Wormuth Mr Richard W. Young Mr Lee Marc Mrs Frederic P. Worthen

Gordon Wolman Mr & Mrs Paul I. Wren Miss Frances Zahler

Mr Richard L. Wonson Mr George L. Wrenn II Mr & Mrs Sydney Zanditon Mr Cornelius A. Wood Mrs Robert D. Wrenn Mrs Otto Zausmer Miss Ellen Wood Mr Carroll M. Wright Mr & Mrs M. James Zelman Dr & Mrs Mr & Mrs Dr Louis Zetzel Edward F. Woods Kenneth A. Wright Miss Barbara Ziegler Dr & Mrs Mrs Whitney Wright Mr & Mrs Percy R. Ziegler Francis M. Woods Mr & Mrs William Wright Mr Irving P. Zieman Mr & Mrs Mrs Walter C. Wrye Jr Mr & Mrs Robert Zildjian Dana W. Woodward Mr & Mrs Arthur P. Wuth Dr & Mrs Seymour Zimbler Mrs A. Mr Dann Coriat Wyman Mrs William Zopfi Vernon Woodworth Jr Mr Theodore C. Wyman Mrs Sidney R. Zussmann Prof & Mrs G. Mrs Arthur R. Wyzanski Wallace Woodworth Mrs Cyril Wynne Mrs Stewart C. Woodworth

SUPPLEMENTARY LIST OF 1968-1969 FRIENDS

This list includes Friends who enrolled between February 4 and April 4 1969.

Mrs George E. Abbot Mr & Mrs Robert Baldwin Mrs Horace Binney Mrs Weston W. Adams Mr & Mrs Mrs David L. Birch Mr Julian E. Agoos Stephen P. Baldwin Mrs HaroldS. Bird Mr & Mrs George Alberts Miss Margaret S. Ball Mr Carl Birmingham Mrs William T. Aldrich Mr & Mrs Mrs S. Bruce Black Mrs Charles M. Allen Richard H. Barbour Mr & Mrs HarleyT. Blake Mrs R. W. Allen Mr & Mrs F. Stewart Barnaby Mr & Mrs Michael Blake

Mr & Mrs Rudolf Amann Mr & Mrs John Barnard Mrs J. Clark Boas

Mrs Oakes I. Ames Mr & Mrs Drjan Boeke Mrs Theodore G. Ames Charles B. Barnes Mr John E. Boit

Mr & Mrs Albert Anderson Mrs Howard J. Barnet Mrs Lynn L. Bollinger Miss Cornelia M. Anderson Mrs Marilyn M. Barron Mrs Homer W. Bourgeois Mr & Mrs Mr & Mrs Allen G. Barry Mr & Mrs William G. Anderson Mrs Paul Bartlett Nathaniel Bowditch Mrs Claude E. Anibal Mrs Helen Wood Bauman Mrs Paul W. Boyd

Mr & Mrs Reed P. Anthony Mr Paul J. Beere Mr & Mrs Gene F. Boyle Mr & Mrs Mr & Mrs Mr & Mrs

Robert E. Apthorp Franklyn B. Belcour Henry G. Bradlee Jr Mr David L. Armstrong Mrs W. Randal Bell Mr & Mrs Nelson A. Bradt Mrs E. Mrs George W. Benedict Mr Henry W. Bragdon Benjamin Armstrong Mr Norman R. Bennett Mrs H. K. Bramhall Mr & Mrs Mr Richard A. Berenson Mr & Mrs Leon Aronovitz Mr Gerald A. Berlin Harry D. Brenner Misses Meredith & Mr Myer Berman Mrs Lewis A. Brigham Margaret-Lynn Avola Mr & Mrs Mrs Samuel Brody

Mr & Mrs Samuel Ayres Jr Harold E. Bernkopf Mrs John Shaw Broeksmit Miss Ruth Berow Mrs Henry G. Brooks Mrs Ethel M. Babbitt Mr & Mrs Dr Samuel M. Brooks Mrs H. W. Bacon Maurice A. Berry Mr Paul P. Brountas

Mrs Mr & Mrs Richard L. Best Mr & Mrs David W. Brown

William Benjamin Bacon Mrs D. Hardwick Bigelow Mrs William J. Brown Jr

1538 Mrs Edward C. Browne Mrs Raymond E. Cooke Mr Arthur D. Fay

Mrs Page Browne Mr & Mrs Dr & Mrs Merrill I. Feldman

Mrs William Lane Bruce J. Gardner Coolidge Mr & Mrs

Mr Herbert J. Brun Mrs John T. Coolidge Joseph E. Fellows Jr Mrs Mollie W. Bryan Mrs B. Abbott Cope Mr & Mrs Spencer Field

Mrs Richard A. Buck Mrs Saul J. Copellman Mrs A. W. Fish Mrs Edward W. Burgess Mr Chester A. Corney Jr Miss Emily G. Fish Mrs C. Rodgers Burgin Mrs John Cornish Mr Edward P. Fitch

Mr Howard Burkat Mrs J. Holland Cotter Mrs Dudley Fitts Mrs Jeremiah S. Burns Mr William H. Couch Mr Frederick P. Flagg Miss F. Linda Burr Mrs Burton J. Coughlan Mr Terence Flaherty

Mr& Mrs Miss Martha C. Cramer Mrs Arthur J. Flamm Robert P. Burroughs Mrs Paul Crete Dr Solomon Fleishman

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Randolph K. Byers Mr J. F. Crocker Miss Dorothy R. Foster Miss Mary Cunningham Mrs John B. Fox Mr Edwin E. Calvin Mrs Bruce Currie Miss Marion Fox Mrs Morgan S. Campbell Mr Stephen Curtis Miss Minnie B. Fox Mr & Mrs Loring W. Carney Mr Robert Cutler Mr & Mrs Arthur Freedberg Mr & Mrs Miss Esther C. Cutter Mr Samuel Freedman William Eugene Carroll Mrs W. Grant Cutter Mrs Clarke F. Freeman

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EIGHTY-FOURTH SEASON OPENING TUESDAY NIGHT APRIL 29

-A, r BOSTON

ARTHUR FIEDLER J*? Conductor

^

APRIL 29 -JUNE 28 There will be concerts each week Monday through Saturday, except the first, when concerts will be Tuesday April 29 through Sunday May 4.

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The first recording of this symphony by a major orches- tra and conductor. Both works are spectacular. Dyna- groove. LSC-2934

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30 Court Street, Boston Member Federal Deposit %^ . Insurance Corporation In the New Government Center A SELECTION OF RECORDINGS BY THE BOSTON SYMPHONY ORCHESTRA under the direction of ERICH LEINSDORF

BEETHOVEN Symphony no. 2 with 3032 Music from The creatures of Prometheus Symphony no. 3 'Eroica' 2644 Symphony no. 4; Leonore Overture no. 2 3006 Symphony no. 7 2969 Piano concerto no. 1 (Rubinstein) 3013 Piano concerto no. 3 (Rubinstein) 2947 Piano concerto no. 4 (Rubinstein) 2848 Piano concerto no. 5 'The Emperor' (Rubinstein) 2733 BRAHMS

Symphony no. 1 2711 Symphony no. 2 2809 Symphony no. 3; Tragic Overture 2936 Symphony no. 4 3010 The four symphonies (boxed edition) (three records) 6186 Piano concerto no. 1 (Cliburn) 2724 Piano concerto no. 1 (Rubinstein) 2917 BRUCKNER Symphony no. 4 'Romantic' 2915 MAHLER

Symphony no. 1 2642 Symphony no. 3 (Verrett, New England Conservatory Chorus, 7046 Boston Boychoir) (2 records)

Symphony no. 5 with 7031 BERG Wozzeck excerpts (2 records)

Symphony no. 6 with 7044 BERG Le vin (Curtin) (2 records) WAGNER Leinsdorf conducts Wagner 3011 Lohengrin (Konya, Amara, Gorr, Dooley, Hines, Chorus pro Musica) (5 records) 6710

Stereo records are prefixed LSC; mono LM

THE BOSTON SYMPHONY ORCHESTRA RECORDS EXCLUSIVELY FOR UCBzXl

1553 RECORDINGS by the BOSTON SYMPHONY CHAMBER PLAYERS and

CLAUDE FRANK guest artist with notes and commentary by PETER USTINOV

BEETHOVEN Serenade in D op. 25

BRAHMS Piano quartet in C minor op. 60

CARTER Woodwind quintet

COPLAND Vitebsk

FINE Fantasia for string trio

MOZART Flute quartet in D K. 285 Oboe quartet in F K. 370

PISTON Divertimento for nine instruments

LM/LSC-6167

BRAHMS Horn trio in E flat op. 40

COLGRASS Variations for four drums and viola

HAIEFF Three bagatelles for oboe and bassoon

MOZART Piano quartet in G minor K. 478

Quintet for piano and winds in E flat K. 452

POULENC Trio for oboe, bassoon and piano (1926)

SCHUBERT String trio no. 1 in B flat

VILLA-LOBOS Bachianas Brasileiras no. 6 for flute and bassoon

LM/LSC-6184

The Boston Symphony Chamber Players record exclusively for MBIM The Boston Symphony Orchestra and the

New England Conservatory of Music present

THE FINAL CONCERT OF THE SEASON

JORDAN HALL AT 8.30

Wednesday May 7 (postponed from February 26) THE BOSTON SYMPHONY WIND QUINTET

Doriot Anthony Dwyer, Ralph Gomberg, Gino Cioffi, Sherman Walt, James

Stagliano with Gilbert Kalish piano, Armando Ghitalla trumpet and William

Gibson trombone

ROSSINI First quartet (1808) for flute, clarinet, bassoon and horn

BLACHER Trio for trumpet, trombone and piano op. 31

FINE Partita for wind quintet (1948)

THUILLE Sextet op. 6

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1555 SUMMARY OF THE SEASON 1968-1969

CONCERTS GIVEN IN THE FRIDAY/SATURDAY SERIES DURING THE SEASON 1968-1969

Program Date Conductor

1 September 27 and 28 ERICH LEINSDORF 2 October 4 and 5 ERICH LEINSDORF 3 October 11 and 12 ERICH LEINSDORF 4 October 25 and 26 COLIN DAVIS 5 November 1 and 2 ERICH LEINSDORF 6 November 8 and 9 ERICH LEINSDORF concert in memory of Charles Munch 7 November 15 and 16 CHARLES WILSON 8 November 29 and 30 ERICH LEINSDORF 9 December 6 and 7 CEORG SEMKOW 10 December 13 and 14 CHARLES WILSON 11 December 27 and 28 CHARLES WILSON 12 January 3 and 4 ERICH LEINSDORF 13 January 10 and 11 ERICH LEINSDORF 14 January 24 and 25 GEORGES PRETRE 15 January 31 and February 1 GEORGES PRETRE 16 February 7 and 8 PIERRE BOULEZ 17 February 14 and 15 JORGE MESTER 18 February 21 and 22 ERICH LEINSDORF 19 February 28 and March 1 ERICH LEINSDORF 20 March 7 and 8 ERICH LEINSDORF 21 March 28 and 29 HENRY LEWIS 22 April 4 and 5 ERICH LEINSDORF 23 April 11 and 12 ERICH LEINSDORF 24 April 18 and 19 ERICH LEINSDORF

WORKS PLAYED AT THE FRIDAY/SATURDAY SERIES Program Page BACH Suite no. 1 in C BWV 1066 23 1440 Suite no. 4 in D BWV 1069 20 1244 'Wedding' Cantata no. 202 for soprano 'Weichet nur, betriibte Schatten' 276 BEETHOVEN Symphony no. 1 in C op. 21 8 468 Symphony no. 3 in E flat op. 55 'Eroica' 18 1134 in memory of Ernest Ansermet 'Marcia funebre' from Symphony no. 3 in E flat op. 55 'Eroica' 21 in memory of former President Dwight D. Eisenhower Symphony no. 6 in F op. 68 'The Pastoral' 13 798 Symphony no. 9 in D minor op. 125 24 1509 Piano concerto no. 4 in G op. 58 18 1120 Overture to 'Egmont' 22 1376

Scena and aria 'Ah! perfido' op. 65 1 16 BENNETT Symphony no. 1 (1965) 216 first performance in Boston BERG Three pieces for orchestra op. 6 16 1009 first performance in Boston Violin concerto (1935) 152 1556 ADDENDA page 1558

SCHOENBERG A survivor from Warsaw op. 46 add: played twice

page 1574 add: STRAUSS Also sprach Zarathustra op. 30 - 6 B WAGNER Die Walklire - Act one - 8 B

page 1578 RETIRING MEMBERS: While the 24th book was going to press, Karl Zeise was asked to withdraw his resignation from the Orchestra. He agreed to do so.

Charles Wilson, Assistant Conductor of the Boston Symphony Orchestra, retired at the end of the 1968-1969 season to assume the position of principal resident conductor of the New York City Opera Company. H Program Page BERLIOZ Symphonie fantastique op. 14a 15 929 BIZET Symphony no. 1 in C 15 924 BRAHMS Symphony no. 3 in F op. 90 4 232 Symphony no. 4 in E minor op. 98 6 Piano concerto no. 2 in B flat op. 83 21 1330 Ein deutsches Requiem op. 45 5 282 BRUCH Scottish fantasy for violin and orchestra op. 46 23 1443 BRUCKNER Symphony no. 6 in A 22 1378 first performance by the Boston Symphony Orchestra CORELLI Concerto grosso op. 6 no. 8 'The Christmas' 11 660 DEBUSSY Rhapsody for saxophone and orchestra 8 470 Jeux-poeme danse (1912) 16 989 DVORAK Symphony no. 8 in G op. 88 88 FAURF. 'The death of Melisande' from the incidental music to 'Pelleas et Melisande' op. 80 6 FRANCK Symphonic variations for piano and orchestra 13 815 GLUCK Music of the blessed spirits in the Elysian Fields from 'Orpheus and Euridice' in memory of Samuel Diamond HAYDN Symphony no. 90 in C 3 148 Symphony no. 99 in E flat 4 212 Sinfonia concertante in B flat for oboe, bassoon, violin and cello op. 84 16 988 JANACEK Sinfonietta for orchestra op. 60 2 84 first performance by the Boston Symphony Orchestra LALO Overture to 'Le roi d'Ys' 14 860 LISZT Piano concerto no. 1 in E flat 13 819 MAHLER Lieder eines fahrenden Gesellen 19 1185 MESSIAEN 'Chronochromie' for large orchestra (1960) 14 879 first performance in Boston MOZART Symphony no. 34 in C K. 338 17 1057 Symphony no. 35 in D K. 385 'The Haffner' 11 682

1557 Program Page

Symphony no. 39 in E flat K. 543 1 12 Symphony no. 41 in C K. 551 'The Jupiter' 9 536 Piano concerto in B flat K. 595 8 486 first performance in Boston by the Boston Symphony Orchestra Overture to 'Die Entfuhrung aus dem Serail' 9 532 NIELSEN Symphony no. 3 op. 27 'Sinfonia espansiva' 21 1314 first performance by the Boston Symphony Orchestra PISTON Prelude and allegro for organ and strings 13 796 in celebration of Walter Piston's 75th birthday PROKOFIEV Piano concerto no. 5 in G op. 55 22 1373 Scenes from 'Romeo and Juliet' op. 64 10 616 RACHMANINOV Rhapsody on a theme of Paganini op. 43 6 370 RAVEL 'La valse' - choreographic poem 14 885 RESPIGHI Gli uccelli -suite for small orchestra 17 1054 ROSSINI Overture to 'Le siege de Corinthe' 21 1312 first performance by the Boston Symphony Orchestra Overture to 'LTtaliana in Algeri' 10 SCHARWENKA Piano concerto no. 1 in B flat minor op. 32 10 598 SCHOENBERG Kammersymphonie op. 9b 6 340 Variations for orchestra op. 31 20 1247 A survivor from Warsaw op. 46 24 1504 first performance by the Boston Symphony Orchestra SCHUBERT Symphony no. 5 in B flat 1! 664 SCRIABIN Symphony no. 2 in C minor 9 554 first performance in the United States SIBELIUS Symphony no. 2 in D op. 43 7 426 Symphony no. 5 in E flat op. 82 14 862 SMETANA From Bohemia's forests and meadows 80 STRAUSS Ariadne auf Naxos (original version of 1912) 12 724 first performance in the United States Don Juan op. 20 7 404 Suite from 'Der Rosenkavalier' (arranged by Charles Wilson) 20 1266 STRAVINSKY Symphony in C 23 1446 Le sacre du printemps 3 168 Le chant du rossignol 7 408 1558 -

Program Page

Symphonies of wind instruments 16 990 Four studies for orchestra 16 993

first performance in Boston Jeu de cartes (1937) 11 678 Petrushka (revised version of 1947) 17 1070 TCHAIKOVSKY Symphony no. 5 in E minor op. 64 19 1201 VARESE Deserts 19 1180 first performance by the Boston Symphony Orchestra WAGNER Siegfried Idyll 20 1249 Die Gotterdammerung 1 20 Dawn - Siegfried's Rhine journey Interlude from Act one - Prelude to Act two — Siegfried's death music- Brunnhilde's immolation - conclusion of Act three WEBERN Five pieces for orchestra op. 10 18 1116 played twice WEILL Suite from 'Kleine Dreigroschenmusik fur Blasorchester' 491 first performance in Boston

SOLOISTS Program EUNICE ALBERTS contralto 12 JAMES BILLINGS tenor 12 CAROLE BOGARD soprano 12 JOHN BROWNING piano 22 DAVID CLATWORTHY baritone 5 CLIFFORD CURZON piano 21 PLACIDO DOMINGO tenor 24 SARAMAE ENDICH soprano 5 JULES ESKIN cello 16 JOHN FERRANTE tenor 12 CLAUDE FRANK piano 8 RALPH GOMBERG oboe 16 ARTHUR GRUMIAUX violin 3 MARILYN HORNE soprano 1 EUGENE ISTOMIN piano 18 JANE MARSH soprano 24 SHERRILL MILNES bass and narrator 24 ROBERT NAGY tenor 12 LEONARD PENNARIO piano 6 HERMANN PREY baritone 19 JOHN REARDON baritone 12 BEVERLY SILLS soprano 12 JOSEPH SILVERSTEIN violin 16,23 MALCOLM SMITH bass 12 BENITA VALENTE soprano 12 JOSEPHINE VEASEY contralto 24 FELIX VISCUGLIA saxophone 8 SHERMAN WALT bassoon 16 CLAIRE WATSON soprano 12 ANDRE WATTS piano 13 EARL WILD piano 10 BERJ ZAMKOCHIAN organ 13 1559 OTHER ARTISTS Program JULES ESKIN cello 5 RALPH GOMBERG oboe 5 MARTIN HOHERMAN cello 11 ALFRED KRIPS violin 11 ROBERT LEVIN harpsichord 11,20,23 MARK PEARSON baritone 21 HENRY PORTNOI double bass 5 ANDREW RAEBURN speaker 12 JOSEPH SILVERSTEIN violin 5,11 SHERMAN WALT bassoon 5 NEWTON WAYLAND piano 17 CHARLES WILSON harpsichord 5 CHORUS PRO MUSICA 24 Alfred Nash Patterson conductor NEW ENGLAND CONSERVATORY CHORUS 5,24 Lorna Cooke de Varon conductor

CONCERTS GIVEN IN THE TUESDAY A SERIES DURING THE SEASON 1968-1969

Program Date Condu ctor 1 October 8 ERICH LEINSDORF 2 October 22 CHARLES WILSON 3 November 12 CHARLES WILSON 4 December 3 ERICH LEINSDORF 5 January 21 ERICH LEINSDORF 6 February 4 GEORGES PRF.TRE 7 February 18 ERICH LEINSDORF 8 February 25 ERICH LEINSDORF 9 March 25 CHARLES WILSON 10 April 15 ERICH LEINSDORF

WORKS PLAYED IN THE TUESDAY A SERIES Program BEETHOVEN Symphony no. 1 in C op. 21 4 Symphony no. 3 in E flat op. 55 'Eroica' 8 Piano concerto no. 4 in G op. 58 8 Overture to 'Egmont' 10 BERLIOZ Symphonie fantastique op. 14a 6 BIZET Symphony no. 1 in C 6 BRAHMS Symphony no. 3 in F op. 90 3 Symphony no. 4 in E minor op. 98 7 BRUCH Scottish fantasy for violin and orchestra op. 46 10 DEBUSSY Rhapsody for saxophone and orchestra 4 DVORAK Symphony no. 8 in G op. 88 2 FAURF. 'The death of Melisande' from the incidental music to 'Pelleas et Melisande' op. 80 3 in memory of Charles Munch 1560 HAYDN Program Symphony no. 90 in C 2 JANACEK Sinfonietta for orchestra op. 60 MOZART Symphony no. 39 in E flat K. 543 Piano concerto in B flat K. 595 PISTON Prelude and allegro for organ and strings in celebration of Walter Piston's 75th birthday PROKOFIEV Scenes from 'Romeo and Juliet' op. 64 5 RACHMANINOV Rhapsody on a theme of Paganini op. 43 3 SCHARWENKA Piano concerto no. 1 in B flat minor op. 32 5 SCHUBERT Symphony no. 5 in B flat 9 SIBELIUS Symphony no. 2 in D op. 43 9 SMETANA From Bohemia's forests and meadows 2 STRAUSS Don Juan op. 20 7 STRAVINSKY Le sacre du printemps 3 Le chant du rossignol 7 Jeu de cartes (1937) 9 TCHAIKOVSKY Symphony no. 5 in E minor op. 64 10 WAGNER Die Gotterdammerung 1 Dawn -Siegfried's Rhine journey- Interlude from Act one -Prelude to Act two- Siegfried's death music- Conclusion of Act three WEBERN Five pieces for orchestra op. 10 WEILL Suite from 'Kleine Dreigroschenmusik fur Blasorchester'

SOLOISTS — TUESDAY A SERIES Program CLAUDE FRANK piano 4 EUGENE ISTOMIN piano 8 LEONARD PENNARIO piano 3 JOSEPH SILVERSTEIN violin 10 FELIX VISCUGLIA saxophone 4 EARL WILD piano 5 BERJ ZAMKOCHIAN organ 5

1561 —

CONCERTS GIVEN IN THE TUESDAY B SERIES DURING THE SEASON 1968-1969 Program Date Conductor

1 October 15 ERICH LEINSDORF 2 November 5 ERICH LEINSDORF 3 December 10 GEORG SEMKOW 4 January 14 CHARLES WILSON 5 February 11 PIERRE BOULEZ 6 April 1 ERICH LEINSDORF

WORKS PLAYED IN THE TUESDAY B SERIES BACH Program 'Wedding' Cantata no. 202 for soprano 'Weichet nur, betrubte Schatten' 2 BEETHOVEN Symphony no. 1 in C op. 21 6 Symphony no. 3 in E flat op. 55 'Eroica' 6 Overture to 'Egmont' 6 BERG Three pieces for orchestra op. 6 5 BRAHMS Ein deutsches Requiem op. 45 2 DEBUSSY Jeux - poeme danse (1912) 5 HAYDN Sinfonia concertante in B flat for oboe, bassoon, violin and cello op. 84 5 MOZART Symphony no. 39 in E flat K. 543 1 Symphony no. 41 in C K. 551 'The Jupiter' 3 Overture to 'Die Entfuhrung aus dem Serail' 3 SCRIABIN Symphony no. 2 in C minor 3 SIBELIUS Symphony no. 2 in D op. 43 4 STRAUSS Don Juan op. 20 4 STRAVINSKY Le sacre du printemps 1 Symphonies of wind instruments 5 Four studies for orchestra 5 Jeu de cartes (1937) 4 WAGNER Die Gotterdammerung Siegfried's Rhine journey and death music 1

SOLOISTS-TUESDAY B SERIES DAVID CLATWORTHY baritone SARAMAE ENDICH soprano JULES ESKIN cello RALPH GOMBERG oboe JOSEPH SILVERSTEIN violin SHERMAN WALT bassoon 1562 OTHER ARTISTS-TUESDAY B SERIES Program JULES ESKIN cello 2 RALPH GOMBERG oboe 2 HENRY PORTNOI double bass 2 JOSEPH SILVERSTEIN violin 2 SHERMAN WALT bassoon 2 CHARLES WILSON harpsichord 2 NEW ENGLAND CONSERVATORY CHORUS 2 Lorna Cooke de Varon conductor

CONCERTS GIVEN IN THE CAMBRIDGE SERIES DURING THE SEASON 1968-1969

Program Date Conductor

1 October 29 COLIN DAVIS 2 November 26 ERICH LEINSDORF concert in memory of Charles Munch 3 January 7 ERICH LEINSDORF 4 January 28 GEORGES PRETRE 5 March 4 CHARLES WILSON 6 April 8 ERICH LEINSDORF

WORKS PLAYED IN THE CAMBRIDGE SERIES BACH 'Wedding' Cantata no. 202 for soprano 'Weichet nur, betriibte Schatten' BEETHOVEN Symphony no. 3 in E flat op. 55 'Eroica' Symphony no. 6 in F op. 68 'The Pastoral' BENNETT Symphony no. 1 (1965) BRAHMS Symphony no. 3 in F op. 90 1 Ein deutsches Requiem op. 45 2 HAYDN Symphony no. 99 in E flat 1 LALO Overture to 'Le roi d'Ys' 4 MESSIAEN 'Chronochromie' for large orchestra (1960) 4 RACHMANINOV Rhapsody on a theme of Paganini op. 43 5 RAVEL 'La valse'- choreographic poem 4 SIBELIUS Symphony no. 2 in D op. 43 5 Symphony no. 5 in E flat op. 82 4 STRAUSS Don Juan op. 20 5 Ariadne auf Naxos (original version of 1912) 3

1563 SOLOISTS — CAMBRIDGE SERIES Program EUNICE ALBERTS contralto 3 JAMES BILLINGS tenor 3 CAROLE BOGARD soprano 3 JORGE BOLET piano 5 DAVID CLATWORTHY baritone 2 SARAMAE ENDICFT soprano 2 JOHN FERRANTE tenor 3 ROBERT NAGY tenor 3 JOHN REARDON baritone 3 BEVERLY SILLS soprano 3 MALCOLM SMITH bass 3 BENITA VALENTE soprano 3 CLAIRE WATSON soprano 3

OTHER ARTISTS — CAMBRIDGE SERIES RALPH GOMBERG oboe MARTIN HOHERMAN cello HENRY PORTNOI double bass ANDREW RAEBURN speaker JOSEPH SILVERSTEIN violin SHERMAN WALT bassoon CHARLES WILSON harpsichord NEW ENGLAND CONSERVATORY CHORUS Loma Cooke de Varon conductor

CONCERTS GIVEN IN THE THURSDAY A SERIES DURING THE SEASON 1968-1969 Program Date Conductor 1 November 7 ERICH LEINSDORF 2 December 5 CHARLES WILSON 3 January 9 CHARLES WILSON 4 February 6 GEORGES PRF.TRE 5 February 20 JORGE MESTER 6 April 17 ERICH LEINSDORF

WORKS PLAYED IN THE THURSDAY A SERIES BACH 'Wedding' Cantata, no. 202 for soprano 'Weichet nur, betriibte Schatten' BEETHOVEN Symphony no. 3 in E flat op. 55 'Eroica' Symphony no. 6 in F op. 68 'The Pastoral' BERLIOZ Symphonie fantastique op. 14a BIZET Symphony no. 1 in C BRAHMS Symphony no. 4 in E minor op. 98 Ein deutsches Requiem op. 45 MOZART Symphony no. 34 in C K. 338 Overture to 'Le nozze di Figaro' 1564 Program RESPICHI Gli uccelli - suite for small orchestra 5 SIBELIUS Symphony no. 2 in D op. 43 3 STRAUSS Don Juan op. 20 3 •STRAVINSKY Petrushka (revised version of 1947) 5 Le sacre du printemps 1 Jeu de cartes (1937) 3

SOLOISTS — THURSDAY A SERIES DAVID CLATWORTHY baritone SARAMAE ENDICH soprano

OTHER ARTISTS — THURSDAY A SERIES RALPH GOMBERG oboe MARTIN HOHERMAN cello HENRY PORTNOI double bass JOSEPH SILVERSTEIN violin SHERMAN WALT bassoon NEWTON WAYLAND piano CHARLES WILSON harpsichord NEW ENGLAND CONSERVATORY CHORUS Lorna Cooke de Varon conductor

CONCERTS GIVEN IN THE THURSDAY B SERIES DURING THE SEASON 1968-1969 Program Date Conductor

1 January 30 GEORGES PRETRE 2 March 6 CHARLES WILSON 3 April 3 ERICH LEINSDORF

WORKS PLAYED IN THE THURSDAY B SERIES BEETHOVEN Symphony no. 3 in E flat op. 55 'Eroica' Symphony no. 6 in F op. 68 The Pastoral' BERLIOZ Symphonie fantastique op. 14a BIZET Symphony no. 1 in C RACHMANINOV Rhapsody on a theme of Paganini op. 43 SIBELIUS Symphony no. 2 in D op. 43 STRAUSS Don Juan op. 20

SOLOIST — THURSDAY B SERIES JORGE BOLET piano 1565 CONCERTS GIVEN IN THE PROVIDENCE SERIES DURING THE SEASON 1968-1969 Program Date Conductor

1 September 26 ERICH LEINSDORF 2 October 31 ERICH LEINSDORF 3 January 23 GEORGES PRF.TRE 4 February 27 ERICH LEINSDORF 5 April 10 CHARLES WILSON

WORKS PLAYED IN THE PROVIDENCE SERIES Program BEETHOVEN Piano concerto no. 4 in G op. 58 4 Overture to 'Egmont' 5 DVORAK Symphony no. 8 in G op. 88 2 HANDEL Suite from 'The water music' 1 HAYDN Symphony no. 90 in C 2 JANACEK Sinfonietta for orchestra op. 60 2 LALO Overture to 'Le roi d'Ys' 3 MESSIAEN 'Chronochromie' for large orchestra (1960) 3 first performance by the Boston Symphony Orchestra MOZART Symphony no. 39 in E flat K. 543 1 PROKOFIEV Piano concerto no. 5 in G op. 55 5 RAVEL 'La valse' - choreographic poem 3 SIBELIUS Symphony no. 2 in D op. 43 5 Symphony no. 5 in E flat op. 82 3 TCHAIKOVSKY Symphony no. 5 in E minor op. 64 4 WAGNER Die Gotterdammerung 1 Dawn - Siegfried's Rhine journey - Interlude from Act one -Prelude to Act two - Siegfried's death music- Conclusion of Act three

SOLOISTS — PROVIDENCE SERIES JOHN BROWNING piano EUGENE ISTOMIN piano

1566 CONCERTS GIVEN IN THE SERIES AT PHILHARMONIC HALL, NEW YORK, DURING THE SEASON 1968-1969 Program Date Conductor

1 October 16 and 18 ERICH LEINSDORF 2 November 20 and 22 ERICH LEINSDORF 3 December 18 and 20 ERICH LEINSDORF 4 January 15 and 17 ERICH LEINSDORF 5 March 19 and 21 ERICH LEINSDORF

WORKS PLAYED AT THE PHILHARMONIC HALL SERIES Program BEETHOVEN Symphony no. 6 in F op. 68 'The Pastoral' 4 BERG Violin concerto (1935) FAURF. 'The death of Melisande' from the incidental music to 'Pelleas et Melisande' op. 80 in memory of Charles Munch FRANCK Symphonic variations for piano and orchestra HAYDN Symphony no. 90 in C LISZT Piano concerto no. 1 in E flat MAHLER Lieder eines fahrenden Gesellen PISTON Prelude and allegro for organ and strings in celebration of Walter Piston's 75th birthday PROKOFIEV Scenes from 'Romeo and Juliet' op. 64 RACHMANINOV Rhapsody on a theme of Paganini op. 43 ROSSINI Overture to 'L'ltaliana in Algeri' SCHARWENKA Piano concerto in B flat minor op. 32 SCHOENBERG Kammersymphonie op. 9b STRAVINSKY Le sacre du printemps Le chant du rossignol TCHAIKOVSKY Symphony no. 5 in E minor op. 64 VARESE Deserts WEILL Suite from 'Kleine Dreigroschenmusik fur Blasorchester'

1567 SOLOISTS — PHILHARMONIC HALL SERIES Program JORGE BOLET piano 2 ARTHUR GRUMIAUX violin 1 HERMANN PREY baritone 5 ANDRE WATTS piano 4 EARL WILD piano 3 BERJ ZAMKOCHIAN organ 4

CONCERTS GIVEN AT CARNEGIE HALL, NEW YORK, DURING THE SEASON 1968-1969 Program Date Conductor

1 October 19 ERICH LEINSDORF 2 November 23 ERICH LEINSDORF concert in memory of Charles Munch December 21 ERICH LEINSDORF January 18 ERICH LEINSDORF March 22 ERICH LEINSDORF

WORKS PLAYED AT CARNEGIE HALL BACH 'Wedding' Cantata no. 202 for soprano 'Weichet nur, betrubte Schatten' BEETHOVEN Symphony no. 3 in E flat op. 55 'Eroica' Symphony no. 6 in F op. 68 'The Pastoral' Scena and aria 'Ah! perfido' op. 65 BRAHMS Ein deutsches Requiem op. 45 DEBUSSY Rhapsody for saxophone and orchestra MOZART Symphony no. 39 in E flat K. 543 Piano concerto in B flat K. 595 STRAUSS Ariadne auf Naxos (original version of 1912) first performance in New York STRAVINSKY Le sacre du printemps WAGNER Die Gdtterdammerung Dawn - Siegfried's Rhine journey- Interlude from Act one -Prelude to Act two — Siegfried's death music- Brunnhilde's immolation - Conclusion of Act three WEILL Suite from 'Kleine Dreigroschenmusik fur Blasorchester'

SOLOISTS — CARNEGIE HALL EUNICE ALBERTS contralto JAMES BILLINGS tenor CAROLE BOGARD soprano SARAMAE ENDICH soprano

1568 Program JOHN FERRANTE tenor 4 CLAUDE FRANK piano 3 MARILYN HORNE soprano 1 SHERRILL MILNES baritone 2 ROBERT NAGY tenor 4 JOHN REARDON baritone 4 BEVERLY SILLS soprano 4 MALCOLM SMITH bass 4 BENITA VALENTE soprano 4 FELIX VISCUGLIA saxophone 3 CLAIRE WATSON soprano 4

OTHER ARTISTS -CARNEGIE HALL RALPH GOMBERG oboe MARTIN HOHERMAN cello HENRY PORTNOI double bass ANDREW RAEBURN speaker JOSEPH SILVERSTEIN violin SHERMAN WALT bassoon CHARLES WILSON harpsichord RUTGERS UNIVERSITY CHOIR

F. Austin Walter director

CONCERTS GIVEN IN THE SERIES AT THE BROOKLYN ACADEMY OF MUSIC DURING THE SEASON 1968-1969 Program Date Conductor

1 October 17 ERICH LEINSDORF in commemoration of the 50th anniversary of the first Czechoslovak Republic December 19 ERICH LEINSDORF March 20 ERICH LEINSDORF

WORKS PLAYED AT THE BROOKLYN ACADEMY OF MUSIC BEETHOVEN Symphony no. 1 in C op. 21 2 Symphony no. 3 in E flat op. 55 'Eroica' 3 BRAHMS Symphony no. 4 in E minor op. 98 2 DVORAK Symphony no. 8 in G op. 88 1 JANACEK Sinfonietta for orchestra op. 60 1 MENDELSSOHN Piano concerto no. 1 in G minor op. 25 3 MOZART Overture to 'Le nozze di Figaro' K. 492 3 SMETANA From Bohemia's forests and meadows 1 WEILL Suite from 'Kleine Dreigroschenmusik fur Blasorchester' 2

SOLOIST— BROOKLYN ACADEMY OF MUSIC LILIAN KALLIR piano 1569 CONCERTS IN OTHER CITIES

October 24 -John M. Greene Hall, Northampton COLIN DAVIS conductor

HAYDN Symphony no. 99 in E flat BENNETT Symphony no. 1 (1965) BRAHMS Symphony no. 3 in F op. 90

November 18 -Municipal Auditorium, Springfield ERICH LEINSDORF conductor FAURF. 'The death of Melisande' from the incidental music to 'Pelleas et Melisande' op. 80 in memory of Charles Munch MOZART Symphony no. 39 in E flat K. 543 WEILL Suite from 'Kleine Dreigroschenmusik fur Blasorchester' BRAHMS Symphony no. 4 in E minor op. 98

November 19- Woolsey Hall, New Haven ERICH LEINSDORF conductor FAURf: 'The death of Melisande' from the incidental music to 'Pelleas et Melisande' op. 80 in memory of Charles Munch MOZART Symphony no. 39 in E flat K. 543 WEILL Suite from 'Kleine Dreigroschenmusik fur Blasorchester' DVORAK Symphony no. 8 in G major op. 88

November 21 - Rutgers Gymnasium, New Brunswick ERICH LEINSDORF conductor BACH 'Wedding' Cantata no. 202 for soprano 'Weichet nur, betriibte Schatten' SARAMAE ENDICH soprano JOSEPH SILVERSTEIN violin RALPH GOMBERG o6oe MARTIN HOHERMAN cello continuo HENRY PORTNOI double bass continuo SHERMAN WALT bassoon continuo CHARLES WILSON harpsichord continuo

BRAHMS Ein deutsches Requiem op. 45 SARAMAE ENDICH soprano SHERRILL MILNES baritone RUTGERS UNIVERSITY CHOIR F. Austin Walter director

December 17-Bushnell Memorial Hall, Hartford ERICH LEINSDORF conductor

BEETHOVEN Symphony no. 1 in C op. 21 WEILL Suite from 'Kleine Dreigroschenmusik fur Blasorchester' BRAHMS Symphony no. 4 in E minor op. 98

March 10 and 11 -William Neal Reynolds Auditorium, Raleigh ERICH LEINSDORF conductor

BEETHOVEN Symphony no. 8 in F op. 93 MENDELSSOHN Piano concerto no. 1 in G minor op. 25 LILIAN KALLIR TCHAIKOVSKY Symphony no. 5 in E minor op. 64

March 12 -Robert Maddox Hall, Atlanta ERICH LEINSDORF conductor STRAUSS Don Juan op. 20 SCHOENBERG Variations for orchestra op. 31 BEETHOVEN Symphony no. 3 in E flat op. 55 'Eroica'

1570 March 13-Bayfront Center Auditorium, St Petersburg ERICH LEINSDORF conductor

BEETHOVEN Symphony no. 8 in F op. 93 MENDELSSOHN Piano concerto no. 1 in G minor op. 25 LILIAN KALLIR TCHAIKOVSKY Symphony no. 5 in E minor op. 64

March 14 -War Memorial Auditorium, Fort Lauderdale ERICH LEINSDORF conductor

BEETHOVEN Symphony no. 6 in F op. 68 'The Pastoral' SCHOENBERG Variations for orchestra op. 31 STRAUSS Suite from 'Der Rosenkavalier' March 15 -Municipal Auditorium, Miami Beach ERICH LEINSDORF conductor

BEETHOVEN Symphony no. 6 in F op. 68 'The Pastoral' SCHOENBERG Variations for orchestra op. 31 STRAUSS Suite from 'Der Rosenkavalier'

March 17- Constitution Hall, Washington ERICH LEINSDORF conductor VARESE Deserts MENDELSSOHN Piano concerto no. 1 in G minor op. 25 LILIAN KALLIR TCHAIKOVSKY Symphony no. 5 in E minor op. 64

March 18- Constitution Hail, Washington ERICH LEINSDORF conductor

BEETHOVEN Symphony no. 6 in F op. 68 'The Pastoral' BEETHOVEN Symphony no. 3 in E flat op. 55 'Eroica'

MEMORIAL SERVICE FOR CHARLES MUNCH A memorial service for Charles Munch was held at Trinity Church, Copley Square, Boston on Thursday November 14 1968. Details of the service may be found in the tenth program book on page 620.

CONCERTS GIVEN AT THE BERKSHIRE FESTIVAL 1968 Date Program Conductor 1A July 5 ERICH LEINSDORF IB July 6 ERICH LEINSDORF 1C July 7 ERICH LEINSDORF 2A July 12 DAVID ZINMAN 2B July 13 ERICH LEINSDORF 2C July 14 ERICH LEINSDORF 3A July 19 STANISLAW SKROWACZEWSKI 3B July 20 ERICH LEINSDORF 3C July 21 ERICH LEINSDORF 4A July 26 ERICH LEINSDORF 4B July 27 ERICH LEINSDORF 4C July 28 JOSEF KRIPS 5A August 2 SIXTEN EHRLING 5B August 3 ERICH LEINSDORF 5C August 4 WILLIAM STEINBERG 6A August 9 CHARLES WILSON 6B August 10 ERICH LEINSDORF 6C August 11 ERICH LEINSDORF 7A August 16 ERICH LEINSDORF 7B August 17 KAREL ANCERL

1571

t&Sttt Program Date Conductor 7C August 18 ERICH LEINSDORF 8A August 23 AARON COPLAND 8B August 24 ERICH LEINSDORF 8C August 25 ERICH LEINSDORF

WORKS PLAYED AT THE BERKSHIRE FESTIVAL 1968 Program BACH Violin concerto in E BWV 1042 2A Cantata no. 35 'Geist und Seele wird verwirret' for contralto and orchestra with organ obbligatot 2C Cantata no. 51 'Jauchzet Gott in alien Landen' for soprano and orchestra with trumpet obbligato 2B 'Wedding' Cantata no. 202 for soprano 'Weichet nur, betrubte Schatten' 4B BARTOK Concerto for orchestra 3B BEETHOVEN Symphony no. 2 in D op. 36 3C Symphony no. 5 in C minor op. 67 7C Symphony no. 6 in F op. 68 'The Pastoral' 4C Symphony no. 8 in F op. 93 3C Piano concerto no. 5 in E flat op. 73 'The Emperor' 3C Violin concerto in D op. 61 7C Overture to 'Fidelio' op. 72 7C BERLIOZ Overture to 'Benvenuto Cellini' op. 23 5A Overture 'Le corsaire' op. 21 3A BOCCHERINI Sinfonia in A op. 1 no. 3** 2A BRAHMS Symphony no. 1 in C minor op. 68 8C Variations on a theme by Haydn op. 56a 6C Piano concerto no. 2 in B flat op. 83 6C Tragic overture op. 81 6C Ein deutsches Requiem op. 45 4B Schicksalslied for chorus and orchestra op. 54t 8C Nanie for chorus and orchestra op. 82** 8C Gesang der Parzen for chorus and orchestra op. 89** 8C CARTER Holiday Overture** 8A CHAVEZ Sinfonia India 8A COPLAND Suite from the ballet 'Billy the Kid't 8A Inscape** 8A DVORAK Symphony no. 7 in D minor op. 70t 3A Symphony no. 8 in G op. 88 7B

tfirst performance at the Festival concerts

**first performance by the Boston Symphony Orchestra

1572 Program FAURE Suite from the incidental music to 'Pelleas et Melisande' op. 80 8A GLINKA Overture to 'Russian and Ludmila' 6A CLUCK Overture to 'Iphigenie en Aulide't 7B HANDEL Concerto grosso in A minor op. 6 no. 4 2A Suite from 'The water music' 2C HAYDN Symphony no. 24 in Dt 2B Symphony no. 93 in Dt 2A Mass in D minor 'The Nelson' 2B KRAFT Concerto for percussion and orchestrat 4A

LISZT Fantasia on Hungarian folktunes op. 123t 4A LUTOSLAWSKl Concerto for orchestrat 3A MAHLER Symphony no. 1 in D (1888) 5C MENDELSSOHN Symphony no. 3 in A minor op. 56 'The Scottish' 5B Piano concerto no. 1 in G minor op. 25 7A Scherzo from Octet in E fiat for strings op. 20 7A Overture (op. 21) and incidental music (op. 61) to Shakespeare's 'A midsummer night's dream' 7A MOZART Symphony no. 28 in C K. 200t 1B Symphony no. 36 in C K. 425 'The Linz' 1C Symphony no. 38 in D K. 504 'The Prague' 1C Serenade no. 9 in D K. 320 'Posthorn' 1A Eine kleine Nachtmusik K. 525 1B Piano concerto in G K. 453 1C Violin concerto no. 1 in B flat K. 207 1A Overture to 'Le nozze di Figaro' 1A 'Exsultate, jubilate' — motet for soprano K. 165 1B 'Ruhe sanft, mein holdes Leben' from 'Zaide' K. 344** 1B 'Martern aller Artern' from 'Die Entfuhrung aus dem Serail' K. 384** 1B 'Ah se in del, benigne stelle' K. 538** IB NICOLAI Overture to 'Die lustigen Weiber von Windsor't 5B RACHMANINOV Piano concerto no. 2 in C minor op. 18 6B Piano concerto no. 3 in D minor op. 30 6A Rhapsody on a theme of Paganini op. 43 5C

f first performance at the Festival concerts

**first performance by the Boston Symphony Orchestra

1573 Program RAVEL Pavane pour une infante defunte 5A Rapsodie espagnole 5A RIMSKY-KORSAKOV Sheherazade op. 35 6A SCHUMANN Symphony no. 2 in C op. 61 4A Piano concerto in A minor op. 54 (original version)t 5B SHOSTAKOVICH Symphony no. 1 in F op. 10t 7B STRAUSS Don Juan op. 20 4C Suite from 'Der Rosenkavalier' (arranged by Charles Wilson)t 5B STRAVINSKY Suite from the ballet 'The firebird' (1919) 4C Odet 8A TCHAIKOVSKY Symphony no. 5 in E minor op. 64 5A Piano concerto no. 1 in B flat op. 23 3B TELEMANN Triple concerto in A for flute, violin and cellot 2C WALiINhK Siegfried Idyll 6B Overture to 'Der fliegende Hollander' 3B Prelude to 'Die Meistersinger von Niimberg' 5C Das Rheingold The entry of the gods into Valhallat 8B

, Prelude to 'Tristan und Isolde' 8B WEBER Konzertstiick in F minor op. 79t 4A

ffirst performance at the Festival concerts

SOLOISTS AT THE BERKSHIRE FESTIVAL 1968

GINA BACHAUER piano 6A, 6B, 6C HELEN BOATWRIGHT soprano 4B JORGE BOLET piano 4A JAMES OLIVER BUSWELL IV violin 1A VAN CLIBURN piano 3B CLAUDE FRANK piano 1C ENRICO Dl GIUSEPPE tenor 2B SARAMAE ENDICH soprano 2B FRANK EPSTEIN percussion 4A EVERETT FIRTH percussion 4A MALCOLM FRAGER piano 5B THOMAS GAUGER percussion 4A ARMANDO GHITALLA trumpet 2B MARTIN HOHERMAN cello 2C GRANT JOHANNESEN piano 3C LILIAN KALLIR piano 7A ALFRED KRIPS violin 2C

1574 V V, ^rsi";, ***** H

Program HANNE-LORE KUHSE 5oprano 8B SHERRILL MILNES baritone 4B JAMES PAPPOUTSAKIS flute 2C PAUL PLISHKA bass 2B ARTHUR PRESS percussion 4A BEVERLY SILLS soprano 1B JOSEPH SILVERSTEIN violin 2A CHARLES SMITH percussion 7C, 4A JESS THOMAS tenor 8B DAVID WARD bass 8B CHARLES WILSON organ 2C BEVERLY WOLFF contralto 2B, 2C

OTHER ARTISTS AT THE BERKSHIRE FESTIVAL 1968 LAURY CHRISTIE soprano EMILY DERR soprano 8B PHYLLIS ELHADY contralto 8B JULES ESKIN cello 2A, 2B, 2C, 4B ARMANDO GHITALLA posthorn 1A RALPH GOMBERG oboe 4B ROBERT LEVIN harpsichord 2A, 2B, 2C FRANCES PAVLIDES mezzo-soprano 8B PATRICIA PEARDON narrator 7A HENRY PORTNOI double bass 2A, 2B, 2C, 4B DONNA PRECHT soprano 2B JOSEPH SILVERSTEIN violin 4B KATHLEEN TOOHEY soprano 7A SHERMAN WALT bassoon 4B CHARLES WILSON harpsichord 2C, 4B BERKSHIRE CHORUS 4B, 7A, 8C Charles Wilson director John Oliver assistant director TANGLEWOOD CHOIR 2B, 4B, 7A, 8C Charles Wilson director John Oliver assistant director

WEEKEND PRELUDES AT THE BERKSHIRE FESTIVAL 1968 luly 5 MOZART Sonata for piano and violin in E flat K. 302 Sonata for piano and violin in B flat K. 454 LILIAN KALLIR piano JAMES OLIVER BUSWELL IV violin

uly12 BACH Pieces from the Clavier-Ubung- Part three BRIAN RUNNETT organ

uly 19 BEETHOVEN Sonata for piano and cello in A op. 69 BRAHMS Sonata for piano and cello no. 2 in F op. 99 GRANT JOHANNESEN piano ZARA NELSOVA cello

uly26 BRAHMS Piano sonata no. 1 in C LISZT Hungarian rhapsody no. 8 in F sharp minor MALCOLM FRAGER piano

\ugust 2 CHOPIN Ballade in G minor op. 23 Ballade in F op. 38 Ballade in A flat op. 47 Ballade in F minor op. 52 JORGE BOLET piano 1575

Jfc •SA-iJs jfjuj mm August 9 POULENC Timor et tremor venerunt super me BRUCKNER Christus factus est pro nobis obediens PINKHAM Wedding cantata BRITTEN Missa brevis op. 63 DEBUSSY Trois chansons de Charles d'Orleans BERKSHIRE BOY CHOIR BRIAN RUNNETT Music Director LOWELL LACEY organ

August 16 BEETHOVEN Sonata in G op. 31 no. 1 Sonata in A flat op. 110 CLAUDE FRANK piano

August 23 BRAHMS Lieder WAGNER Funf Gedichte von Mathilde Wesendonk HANNE-LORE KUHSE soprano CHARLES WILSON piano

CHAMBER MUSIC CONCERTS AT THE BERKSHIRE FESTIVAL 1968

Eight chamber music concerts by the following groups were given in the Theatre- concert hall: July 7 The Boston Symphony Chamber Players July 14 The Violone Ensemble July 21 The New England Wind Quintet July 28 The Music Guild String Quartet August 4 The Boston Sinfonietta ^-August 11 The Boston Symphony Chamber Players August 18 The Boston Trio ^August 25 The Boston Symphony Chamber Players with Richard Goode piano

BERKSHIRE MUSIC CENTER 1968 A summary of the 1968 session of the Berkshire Music Center appears in the fourth program book on page 236.

BOSTON POPS 1968 The eighty-third season of the Boston Pops ran from April 29 to June 29. There were fifty-four regular concerts, as well as a special concert to benefit the Orchestra's Pension Fund. Arthur Fiedler, conductor, directed thirty-seven times; Harry Ellis Dickson, assistant conductor, nine times. Guest conductors for three concerts each were Abba Bogin, Skitch Henderson and Frederick Fennell. Other guest conductors were Richard Hayman, Rouben Gregorian and Kenneth Mc-

Killop Jr. Among the many soloists were pianists Eugene Indjic, Joella Jones, Leo Litwin, Peter Nero, Jesus Maria Sanroma, Salvatore Sullo and Andrew Wolf. Of the prin- cipals of the Boston Symphony Orchestra Joseph Silverstein, Burton Fine and Jules Eskin were soloists with the Pops. Alfred Krips, concertmaster, was a solo-

ist, as were the following members of the Boston Pops Orchestra: Pasquale Cardillo, John Holmes, Amnon Levy, Fredy Ostrovsky, James Pappoutsakis, Wil- liam Rhein, Lois Schaefer, Roger Voisin, Charles Yancich and George Zazofsky.

On Sunday February 16 1969 at the invitation of the Mayor, Arthur Fiedler and the Boston Pops Orchestra played a program as part of the celebrations for the opening of the new Boston City Hall.

ESPLANADE CONCERTS 1968 The 40th consecutive season of Esplanade Concerts, Arthur Fiedler, Founder and Director, was given by members of the Boston Symphony Orchestra in the Edward Hatch Memorial Shell with concerts on the evenings of July 2 through

1576 July 6 and July 10 through July 12. There were two concerts for children on the mornings of July 3 and July 10. During this period the Orchestra gave three concerts at the Elma Lewis Playhouse in the Park at Franklin Park, on July 8 and July 9. The concerts were sponsored by the following businesses and organizations:

Boston Edison Company Marsh & McLennan Boston Gas Company National Shawmut Bank of Boston Boston Globe New England Gas & Electric Boston Herald Traveler Association Boston Manufacturers Insurance New England Merchants Company National Bank Boston Record American- New England Mutual Life Sunday Advertiser Insurance Company Cabot Corporation New England Telephone & Colonial Provision Company Telegraph Company Fidelity Management & Norfolk County Trust Company Research Company Polaroid Corporation Eastern Company Provident Institution for Savings Fiduciary Trust Company RCA (Aero Space Division) Filene's Sons Company Raytheon Company First National Bank of Boston Reed & Barton Corporation Franklin Management Company Ryan, Elliot & Company Inc. Gillette Company Sears Roebuck & Company Green Shoe Corporation Sheraton Corporation G. K. Hall & Company Shreve Crump & Low Company Harvard Trust Company State Street Bank & Trust Honeywell Inc. Company Houghton Mifflin Company Stop & Shop Inc. Howard Johnson Company Simplex Wire & Cable Company Humble Oil & Refining Company Time Inc. Instron Corporation United-Carr Inc. John Hancock Mutual Life United Shoe Machinery Corporation Insurance Company William Carter Company Liberty Mutual Insurance Company William Underwood Company Arthur D. Little Inc. WNAC Lenox National Bank

PENSION FUND Three special concerts have been given to benefit the Orchestra's Pension Fund. Arthur Fiedler conducted the Boston Pops in an American program in Symphony Hall on Wednesday June 12 1968 with Peter Nero as soloist. A similar program was played at the concert in the Tanglewood Shed on Tuesday August 20 1968. On Sunday December 15 the Boston Symphony Orchestra, conducted by Richard Bonynge, played music by Mozart, Donizetti and Maillart; Joan Sutherland and Anastasios Vrenios sang arias and duets by Handel, Rossini, Auber, Verdi, Doni- zetti and Balfe. Miss Sutherland ended the program with the sleepwalking scene from Bellini's La Sonnambula. Subscribers from Milton, headed by Mrs Edward Bowditch Watson, gave red carnations which were worn by the players, Trustees, members of the staff, ushers and program boys. Bouquets were also presented to the guest artists. Thanks to the generosity of Miss Sutherland, Mr Bonynge and Mr Vrenios, who very kindly donated their services, the Pension Fund benefited by the sum of $17,000.

Seven open rehearsals were held at Symphony Hall during the 1968-1969 sea- son (October 3, October 10, November 14, December 12, January 2, February 13, March 27). The revenue from ticket sales benefited the Pension Fund, as did that taken for the eight Saturday morning open rehearsals of the Berkshire Festival. 1577 ENSEMBLES OF THE BOSTON SYMPHONY ORCHESTRA

Six concerts in the 1968-1969 series at Jordan Hall: V November 4 Boston Musica Antiqua RAMEAU V Concert TELEMANN Quartet in G minor VIVALDI Sonata no. 1 TELEMANN Trio in C minor LOEILLET Sonata a trois TELEMANN Quartet in G

January 8 Boston Symphony String Trio with Gilbert Kalish piano

SCHUMANN Piano quartet in E flat op. 47 EPSTEIN String trio (1964) BEETHOVEN Piano trio in D op. 70 no. 1 January 27 The Violone Ensemble

MOZART Quartet in B flat K. 458 The Hunt' SKORZENY Second suite (1954) DVORAK Quintet in G op. 77

April 2 The Boston String Sinfonietta with James Pappoutsakis flute

BOYCE Symphony no. 1 in B flat MOZART Divertimento in F K. 138 C.P.E. BACH Concerto in C minor for flute and strings ROUSSEL Sinfonietta for strings op. 52 MEKEEL String figures disentangled by a flute first performance HANDEL Concerto grosso in A minor op. 6 no. 4

April 14 Boston Symphony Chamber Players with Gilbert Kalish piano

BEETHOVEN Trio in G for flute, bassoon and piano (1787) LOEFFLER Two rhapsodies for oboe, viola and piano DIEMENTE Quartet for flute, clarinet, vibraphone and bass SCHOENBERG String trio op. 45 BEETHOVEN String trio in G op. 9

May 7 The Boston Symphony Wind Quintet with Gilbert Kalish piano Armando Ghitalla trumpet William Gibson trombone

ROSSINI First quartet (1808) for flute, clarinet, bassoon and horn BLACHER Trio for trumpet, trombone and piano op. 31 FINE Partita for wind quintet (1948) THUILLE Sextet op. 6

RETIRING MEMBERS AND NEW MEMBERS Two members of the Orchestra will retire at the end of the 1968-1969 season. They are Karl Zeise, cellist, who joined the Orchestra in 1939; and Olivia Luetcke, harpist, who has played with the Boston Symphony since 1951.

The following players joined the Boston Symphony Orchestra at the beginning of the 1968-1969 season: William Stokking, cellist, and Frank Epstein, percussionist.

1578 RADIO BROADCASTS

The Friday afternoon concerts of the Orchestra in Symphony Hall were broad- cast regularly by WGBH-FM (Boston), WAMC-FM (Albany) and WFCR (Amherst). The Saturday evening concerts in Symphony Hall were broadcast regularly by WGBH-FM (Boston), WCRB-AM-FM (Boston), WFCR (Amherst), WPJB-FM (Provi- dence) and WCRX-FM (Springfield).

Most of the Tuesday evening concerts of the Orchestra in Symphony Hall were broadcast by WGBH-FM (Boston), WAMC-FM (Albany) and WFCR (Amherst).

Concerts of the 1968 Berkshire Festival were broadcast delayed by WGBH-FM (Boston). The nine Saturday evening Pops concerts in 1968 were broadcast live by WGBH-FM (Boston), WCRB-AM-FM (Boston) and WFCR (Amherst).

All the concerts of the 1968 Berkshire Festival were broadcast live by WGBH-FM (Boston), WFCR (Amherst) and WAMC-FM (Albany). WCRB-FM (Boston), WCRX-FM (Springfield) and WPJB-FM (Providence) broadcast the Saturday evening concerts.

Complete transcriptions of the Friday and Saturday concerts, as well as concerts of the Boston Pops and of the 1968 Berkshire Festival, were broadcast through the Boston Symphony Transcription Trust on the following stations, both com- mercial and educational. Where known, the name of the sponsor is indicated.

UNITED STATES Akron, Ohio WAKR Prinz Office Supply Company Westside Plymouth Albany, N. Y. WFLY Fort Orange Radio Distrib. Co. Inc. Northern Humes Inc. Wallace Dept. Store WAMC Educational Albuquerque, N. M. KHFM Singel Record Center Alexandria, La. KALB-FM Rapides Saving & Loan Association Allentown, Pa. WFMZ Georgetown Manor First National Bank & Trust Co. of Bethlehem Ames, Iowa WOI-AM-FM Educational Amherst, Mass. WFCR Educational Anchorage, Alaska KNIK First National Bank of Anchorage Sears, Roebuck & Company Appleton, Wise. WLFM Educational Baltimore, Md. WBAL-FM Von Paris Moving & Storage Baton Rouge, La. WQXY-FM Guaranty Federal Savings & Loan Association Birmingham, Ala. WAPI-FM Sustaining

Bloomington, III. WBNQ-FM Park Hill Cemetery Bloomington, Ind. WFIU-FM Educational Boston WCRB-AM-FM Acoustic Research Inc. Boit, Dalton & Church Sky Roamers WGBH-FM Educational WBUR-FM Educational Buffalo, N. Y. WBFO Educational Burlington, Vt. WJOY Cedar Rapids, Iowa WMT-FM Chattanooga, Tenn. WDOD Miller Brothers Company

Chicago, III. WFMT-FM Smith, Barney & Co. (Investors) Cleveland, Ohio WCLV Pioneer Audio Co. Cocoa Beach, Fla. WCKS-FM Lightner Audio Supply Columbus, Ohio WNCI August Wagner Brewing WOSU-FM O. M. Scott & Sons

1579 Daytona Beach, Fla. WNDB-AM-FM News Journal Corp. Denver, Colo. KFML Midland Federal Savings & Loan Public Service Co. of Colorado Des Moines, Iowa KFMG-FM lowa-Des Moines National Bank Detroit, Mich. WDET Educational Dubuque, Iowa KFMD Dubuque Packing Company Roshek's Dept. Store East Lansing, Mich. WKAR Educational Ellsworth, Me. WDEA Sustaining Fairbanks, Alaska KFRB Sustaining KUAC Educational Fort Lauderdale, Fla. WFTL Boston Rug Co. Lauderdale Abstract Fort Wayne, Ind. WPTH Lincoln National Bank Gainesville, Fla. WRUF-AM-FM City Utilities Grand Island, Neb. KMMJ Bost Pharmacy Grand Rapids, Mich. WOOD Sustaining Greensboro, N. C. WQMG Mendenhall Lumber Piedmont Fine Arts Association Greenville, S. C. WMUU Educational Hanover, N. H. WDCR The Camera Shop The Hanover Consumer- co-operative Society Honolulu, Hawaii KFOA Hyannis, Mass. WCOD Toyota Indianapolis, Ind. WFMS Kalamazoo, Mich. WMUK Educational Klamath Falls, Ore. KLAD Swan Lake Moulding Miller Bros. Automobiles Montgomery Ward Knoxville, Tenn. WUOT Educational Lafayette, La. KPEL Educational Lansing, Mich. WSWM Voice of Music Lawrence, Kansas KANU-FM Educational Los Angeles, Calif. KFAC-AM-FM Japan Airlines Louisville, Ky. WLRS-FM Sustaining Miami, Fla. WOCN Midland, Texas KNFM Citizen's Savings and Loan Milwaukee, Wise. WFMR Marine Corporation Banks Minneapolis, Minn. KSJR/KSJN Educational New York City WQXR Japan Airlines Norfolk, Va. WGH-FM Various Restaurants WRVC-FM Oklahoma City, Okla. KFNB-FM Audio Specialties Omaha, Neb. WOW-FM Sustaining

Peoria, III. WIVC Commercial National Bank Philadelphia, Pa. WFLN-FM Gerstley, Sunstein & Co. Inc. WUHY-FM Sustaining Pittsburgh, Pa. WLOA Portland, Me. WMTW Twitchell's Farm & Garden Cente

Providence, R. 1. WPJB-FM Blackstone Valley Electric Co. Gladding's G. H. Walker & Co. People's Savings Bank & Trust Reno, Nev. KNEV Richmond, Va. WFMV-FM Fidelity Bankers Life Insurance Co. Roanoke, Va. WSLS-FM Shenandoah Life Insurance Co. Rochester, N. Y. WBFB Xerox Corp.

1580 Sacramento, Calif. KHIQ Bart Carrick Magnavox San Francisco, Calif. KKHI-AM-FM Japan Airlines

Springfield, III. WTAX-FM Luens Shoes Springfield, Mass. WCRX Third National Bank of Hampden County Syracuse, N. Y. WONO Tampa, Fla. WQXM First Federal Savings & Loan Associa- tion of St Petersburg Toledo, Ohio WCWA Broer-Freeman Jewelers Tyler, Texas KDOK Utica, N. Y. WRUN Marine Mid'and Bank Savings Bank of Utica Special Metals Corp. Washington, D. C. WGMS Furs by Gartenhaus Wilkes Barre, Pa. WYZZ The David Ertley Dealerships First Federal Savings & Loan Association Scot's (RCA Victor & RCA Whirlpool) Greenbriar Lodge Restaurant CANADA Calgary, Alberta CHFM Home Provisioners Edmonton, Alberta CKUA-AM-FM Educational Toronto, Ont. CKFM Toronto Telegram Hamilton, Ont. CKDS-FM Sustaining VIRGIN ISLANDS St Thomas WBNB Music Committee, St Thomas Arts Council

TELEVISION BROADCASTS

Equipment for televising concerts of the Boston Symphony Orchestra in color was installed in the fall of 1968. During the season five concerts have been telecast by WGBH and recorded on video tape for possible future distribution.

The Boston Pops Orchestra, Arthur Fiedler conducting, took part in the Red Skelton show on April 7. The program was recorded for a later broadcast on April 29 over the CBS network.

Jordan M. Whitelaw is radio and television producer for the Boston Symphony Orchestra and the Boston Pops.

RECORDINGS

RCA have released the following recordings by the Boston Symphony Orchestra under the direction of Erich Leinsdorf since May 1968:

BEETHOVEN Symphony no. 2 in D op. 36 with Music from 'The creatures of Prometheus' BRAHMS The four symphonies

DVORAK Symphony no. 6 in D op. 60 with Slavonic dances nos. 2 and 8 op. 72

HAYDN Symphony no. 93 in D with Symphony no. 96 in D 'The miracle' PROKOFIEV Symphony no. 2 op. 40 with Lieutenant Kije Suite op. 60 (Clatworthy)

Piano concerto no. 3 in C op. 26 (Browning) with Piano concerto no. 4 for left hand op. 53 (Browning) WAGNER Leinsdorf conducts Wagner

1581 The following recordings by the Boston Pops, Arthur Fiedler conductor, have been released by RCA since May 1968: The Pops goes west Up, up and away

Glenn Miller biggest hits A Pops serenade

GERSHWIN Piano concerto in F (Nero) with NERO Fantasy and improvisations (Nero)

MEETING OF THE FRIENDS OF THE BOSTON SYMPHONY ORCHESTRA

The thirty-fifth annual meeting of the Friends will be held in Symphony Hall on Wednesday April 30 at 11.30 am. Arthur Fiedler will conduct the Boston Pops Orchestra in a rehearsal, Talcott M. Banks, President of the Trustees, will speak. After the meeting cocktails and a box lunch will be served.

PROGRAM NOTES

Program notes by the following authors have been printed in the program books: JOHN W. BARKER WILLIAM MANN JOHN N. BURK ANDREW RAEBURN DONALD T. GAMMONS ALEC ROBERTSON PHILIP HALE KLAUS G. ROY JAMES LYONS NICOLAS SLONIMSKY

GENERAL ARTICLES Page JOHN N. BURK Adolphe Sax and his invention 498 Schubert's Vienna 685 Moments of anger 1072

GABRIEL ENGEL Mahler's first love 1200

JOHN GALE We're sick of being served baked beans on plastic 952

PHILIP HALE Berlioz and the Fantastic symphony 944

MILES MALLESON A translation of the libretto of 'Ariadne auf Naxos'

Board of Overseers of the Boston Symphony Orchestra 104

Henry B. Cabot resigns as President of the Board of Trustees 106

The new President of the Board of Trustees 106 Samuel Diamond 1893-1968 107

Tanglewood 1968 - Berkshire Festival 178

Tanglewood 1968- Berkshire Music Center 236 Charles Munch 1891-1968 339

Community Music Center of Boston 373

Massachusetts Council on the Arts and Humanities and Youth Concerts at Symphony Hall 429

1582 Page Funeral and memorial services for Charles Munch 620

Members of the Orchestra 693

Pension Fund Concert 763

Reviews from New York (Harold C. Schonberg and Harriett Johnson) 821

The financial crisis of the Boston Symphony Orchestra 1052

The Orchestra's recent tour 1532 Tanglewood 1970 1205

Tanglewood - the Berkshire Festival and the Berkshire Music Center 1272

A message from Erich Leinsdorf 1530

A message from the President of the Trustees 1531

EXHIBITIONS AT SYMPHONY HALL

The exhibitions shown in the Gallery through the past season were loaned by the following artists and associations:

Milton Feinberg (September 27-October 15)

Adelson Galleries (October 22-November 12)

Cambridge Art Association (November 14-December 15) Doll and Richards (December 27-January 21)

Subscribers' Exhibition (January 24-February 11)

Boston Watercolor Society (February 13-March 4)

New England Artists and Chetley Rittall (March 6-April 1) Tyringham Galleries (April 3-April 19)

1583 THE BOSTON COMPANY, INC

The "Financial Cabinet" specializing in advisory and management services for private capital.

INVESTMENT, TRUST AND PERSONAL BANKING SERVICES Boston Safe Deposit and Trust Company INVESTMENT COUNSELING Boston • The Boston Company Investment Counsel, Inc. Houston • The Boston Company of Texas Los Angeles • Bailey and Rhodes Louisville • Todd-Boston Company, Inc. New York • John W. Bristol & Co., Inc. • Douglas T. Johnston & Co., Inc. San Francisco • Henderson-Boston Company, Inc. Seattle • Loomis & Kennedy, Inc. INVESTMENT TECHNOLOGY AND RESEARCH The Boston Company, Inc. ECONOMIC AND FINANCIAL COUNSELING Rinfret-Boston Associates, Inc., New York OIL AND GAS INVESTMENT COUNSELING The Boston Company of Texas, Houston REAL ESTATE INVESTMENT COUNSELING Henderson-Boston Company, Inc., San Francisco The Boston Company Real Estate Counsel, Inc., Boston MUTUAL FUND The Johnston Mutual Fund Inc. MANAGEMENT CONSULTING Boston • The Boston Consulting Group, Inc. London • Attwood-Boston Consultants Ltd. Milan • Gennaro Boston Associati, S.p.A. Tokyo • The Boston Consulting Group of Japan K.K.

We will he happy to send you a copy of our annual report. THE BOSTON COMPANY, INC. 100 FRANKLIN STREET . ROSTON. MASSACHUSETTS 02106 TELEPHONE (617) 542-9450 BOSTON SYMPHONY ORCHESTRA

EIGHTY-NINTH SEASON 1969-1970

WILLIAM STEINBERG Music Director

TWENTY-FOUR FRIDAY CONCERTS at 2 o'clock

TWENTY-FOUR SATURDAY CONCERTS at 8.30

in

SYMPHONY HALL

beginning on

September 26 1969

Renewal cards will be mailed to all subscribers in the near future.

To insure your present location, please be sure to return your card by May 1st. If you have any queries, please consult the

SUBSCRIPTION OFFICE

SYMPHONY HALL

BOSTON MASSACHUSETTS 02115 -

MUSICAL INSTRUCTION

GERTRUDE R. NISSENBAUM VIOLIN

340 TAPPAN STREET Tel. LOngwood 6-8348 BROOKLINE 46, MASSACHUSETTS

EDNA NITKIN, M.MUS. PIANO

Telephone: 88 EXETER STREET KEnmore 6-4062 COPLEY SQUARE, BOSTON

"Mr. Sullo's piano playing represents genuine musicality and a formidable technic." Cyrus Durgin, "Boston Globe," 4/18/53 SALVATORE SULLO - PIANO

Foreign Judge at Final Degree Exams in Principal Italian Conservatories: 1965 and 1967

2 Michelangelo St., Boston, Mass. Tel. 227-8591

MIKLOS SCHWALB PIANO of the New England Conservatory of Music accepts a few private students. Contact at 187 Warren Avenue, Boston, Mass. 02116 Telephone 267-8848

MINNIE WOLK KATE FRISKIN Pianoforte Studio Pianist iind Teacher 42 Symphony Chambers 8 Chauncy Street 246 Huntington Avenue., Boston opp. Symphony Hall Cambridge, Massachusetts Residence 395-6126 ELiot 4-3891

RUTH POL LEN GLASS

Teacher crf Speech

• in Industry • in Education

• in Therapy • in Theatre

Near Harvard Squar e Kl 7-8817 Mrs. Aaron Richmond and Walter Pierce

announce the 1969-70 Boston University CELEBRITY SERIES

SELECT YOUR OWN SERIES FROM THE WORLD'S FOREMOST ATTRACTIONS Subscribe Now and Save!

Events at Symphony Hall, Jordan Hall, John Hancock Hall

MAIL APPLICATIONS to Celebrity Series, 535 Boylston St., Boston 02116

MATE. Series orders accepted on this form until May 9. ^V^ t, after that date, phone 536-6037 for revised order form. 7-EVENT SELECTIVE SERIES: $38.50, $31.50, $28.00, $21.00

Check any 7 of the 27 events listed below: * STUTTGART BALLET Thurs. Eve., Oct. 9 1st American tour of one of the world's foremost ballet companies. Ensemble of 125. Music Hall. VLADIMIR ASHKENAZY, Renowned Soviet pianist Sun. Aft., Oct. 19 PHILADELPHIA ORCHESTRA, Eugene Ormandy, Conductor Fri. Eve., Oct. 24 * CHRISTOPHER PARKENING, The Outstanding American Guitarist Sat. Eve., Oct. 25 * PETER PEARS — BENJAMIN BRITTEN Tues. Eve., Oct. 28 Rare lieder recital. Distinguished British tenor with the eminent composer at the piano. * MELOS ENSEMBLE Fri. Eve., Oct. 31 Britain's top chamber group of nine includes the celebrated clarinetist Gervase de Peyer. * MISHA DICHTER Sun. Aft., Nov. 2 TheTchaikowsky Prize Winner is one of the great pianists of the younger generation. SABICAS, King of the Flamenco Guitar Sat. Eve., Nov. 8 * IRINA ARKHIP0VA, Mezzo-Soprano Star of the Bolshoi Opera Sun. Aft, Nov. 9 QUARTETTO ITALIAN0, Superlative String Quartet Fri. Eve., Nov. 14 * PARACHUTE REGIMENT SPECTACULAR Fri. Eve., Nov. 21 300 members of three British Regiments. Ceremonial pageantry on a scale never before witnessed. Marching bands, pipers, and the famous "Red Devils" Parachute Regiment. (BOSTON GARDEN) * ALWIN NIKOLAIS DANCE COMPANY (2 performances) Check One Sat. Eve., Nov. 22

"One of the most entertaining dance companies r— i Sun. Aft. Nov 23 to be found anywhere." N. Y. Times * GARY GRAFFMAN, Remarkable Pianist Sun. Aft, Nov. 23 "One of the superbly accomplished pianists of our time." Washington Post * BEAUX ARTS STRING QUARTET Sun. Aft, Dec. 7 Winner Walter Naumberg first chamber music award. ." "Vital playing . . . Very impressive . . Steinberg, Globe LONDON SYMPHONY ORCHESTRA, Andre Previn, Conductor Sun.Aft.Jan.il SVIAT0SLAV RICHTER, Legendary Soviet Pianist Sun. Aft, Jan. 18 HERMANN PREY, Outstanding Baritone and Master of Lieder Sun. Aft., Jan. 25 MOSCOW PHILHARMONIC, Kiril Kondrashin, Conductor Sun. Aft, Feb. 1 ANDRES SEGOVIA, World's Greatest Guitarist Fri. Eve., Feb. 13 DAVID OISTRAKH, Peerless Soviet Violinist Sun. Aft, Feb. 15 CLEVELAND ORCHESTRA, George Szell, Conductor Wed. Eve., Feb. 18 * MERCE CUNNINGHAM and DANCE COMPANY (2 performances) "One of the leading modern dance companies Check One Sat. Eve., Feb. 21

of the world." N. Y. Times —i g un ^ p e ^ 22 * JACQUELINE DU PRE and DANIEL BARENBOIM Wed. Eve.', Feb. 25 Two of the most exciting artists of the younger generation. The Amazing British cellist with the superb Israeli pianist. * THE ROMEROS, Spain's first family of the guitar Sat. Eve., Feb. 28 VAN CLIBURN, World Famous Pianist Fri. Eve., Mar. 13 JUILLIARD STRING QUARTET Sun. Aft., Mar. 15 * ANDRE WATTS, Dynamic young pianist Sun. Aft., Apr. 5 *First Celebrity Series Appearance

EXTRA EVENT: ARTUR RUBINSTEIN, Distinguished Pianist Sun. Aft, Feb. 8 (NOT included in Series. Available ONLY to subscribers if orders are placed NOW with Series subscription.) Extra tickets for Artur Rubinstein at $8.00 $6.00 $4.50 $3.50 Magnificent Possession

Baldwin Baldwin Piano & Organ Company 160 Boylston Street Boston, Massachusetts 02116 Telephone 426-0775

Baldwin is the official piano of the Boston Symphony Orchestra. Erich Leinsdorf, Music Director.