% EWOOD EIGHTH WEEK August 20, 21, 22, 1965 JjLKLonlKL i I/O 1 1 VAL Boston Symphony Orchestra ERICH LEINSDORF, Music Director RICHARD BURGIN, Associate Conductor Berkshire Festival, Season 1965 TWENTY-EIGHTH SEASON MASSACHUSETTS MUSIC SHED AT TANGLEWOOD, LENOX, EIGHTH WEEK descriptive notes by Concert Bulletin, with historical and John N. Burk Orchestra, Inc. Copyright, 1965 by Boston Symphony ORCHESTRA, Inc. The Trustees of The BOSTON SYMPHONY Treasurer Vice-President President Paine M. Banks Richard C Henry B. Cabot Talcott Edward G. Murray Abram Berkowitz Andrew Heiskell Hodgkinson John T. Noonan Theodore P. Ferris Harold D. Mrs. James H. Perkins Robert H. Gardiner E. Morton Jennings, Jr. Laughlin Sidney R. Rabb Francis W. Hatch Henry A. Raymond S. Wilkins John L. Thorndike Trustees Emeritus Edward A. Taet Pajlfrey Perkins Lewis Perry Oliver Wolcott Tanglewood Advisory Committee " Mieeer Jesse L. Thomason Alan BLau Lawrence K. J. ROBERT K. WhEELER LENGES BULL GEORGE E. MOEE H. George Wiede George W. Edman Whitney S. Stoddard (Ex Officio): Chairmen of the Boards of Selectmen O'Briek Lenox, John Pignateeei Lee, Wieeiam Stockbridge, Robert Minkeer Thomas D. Perry, Jr. Manager James J. Brosnahan Norman S. Shirk f Business Administrator Assistant Manager Harry Kraut Rosario Mazzeo J. Assistant to the Manager Orchestra Personnel Manager — 1 — . There are four new Automatic Turntables. One of them, the LAB 80.. is the first Automatic Transcription Turntable. njprroo supported by the PIPES, DRUMS & DANCERS of the SCOTS GUARDS and ROYAL SCOTS GREYS TWO MILITARY BANDS of The ROYAL MARINES The COMMANDO MOTORCYCLE DISPLAY SQUAD SEE JAMES BOND'S 007 ASTON MARTIN CAR IN ACTION IN MOCK BATTLE WITH COMMANDO MOTORCYCLISTS. BOSTON GARDEN ARENA MADISON SQUARE GARDEN FOR FURTHER INFORMATION ON U.S. AND CANADIAN TOUR, WRITE COLUMBIA FESTIVALS, INC., CJ2 165 W. 57th ST.. NEW YORK CITY 10019 B O S T O N SYMPHONY ORCHESTRA ERICH LEINSDORF, Conductor Friday Evening, August 20, at 8:00 WAGNER "A Siegfried Idyll" Intermission WAGNER f "Lohengrin/' Romantic Opera, Act I Saturday Evening, August 21, at 8:00 BEETHOVEN Overture to "Leonore," No. 2, Op. 72 Intermission WAGNER f'Lohengrin," Act II Sunday Afternoon, August 22, at 2:30 BEETHOVEN Overture to "Leonore," No. 3, Op. 72 Intermission WAGNER t"Lohengrin," Act III Lohengrin: SANDOR KONYA Elsa von Brabant: LUCINE AMARA Friedrich von Telramund: WILLIAM DOOLEY Ortrad, His Wife: RITA GORR King Henry The Fowler: JEROME HINES The King's Herald: CALVIN MARSH Nobles: WILLIAM DuPREE, JOHN GLENN PATON, WILLIAM LEDBETTER, EUGENE THAMON Pages: HELENE FARRAS, BARBARA SMITH CONRAD, JUDITH KELLER, BATYAH GODFREY CHORUS PRO MUSICA Alfred Nash Patterson, Director t First performance at the Festival concerts I BALDWIN PIANO RCA VICTOR RECORDS 3 — Tm — 4 — Program Notes OVERTURES TO "LEONORE" By Ludwig van Beethoven died in Vienna, March 26, 1827 Born in Bonn, December 16(?), 1770; extracted from his confusion Within a few weeks of his death, Beethoven and presented it to Schindler of papers a manuscript score of his opera Fidelio one that cost me the worst with the words: "Of all my children this is the sorrow; and for that reason it birth-pangs, the one that brought me the most is the one most dear to me." three overtures and The composer spoke truly, and the fact that he wrote but more appropriate as a curtain- a fourth called ''Fidelio," less symphonic intensive and prolonged raiser for his Singspiel, is indication enough of the for Vienna. efforts he put into his one fulfilled project of an opera of the score The record of the four overtures is in line with the revisions November 20, 1805, itself. For the first production of Fidelio in Vienna on known as Beethoven wrote the superb overture which later came to be the "Leonore No. 2." Rewriting the overture for the second production in stress, a greater and year following, using similar material, he gave a different more rounded symphonic development. The result was the so-called "Leonore |i Living Gracious Giving Distinctive Gifts for Gracious , for A complete source for China, Glass, Dinnerware, Clocks, Candles, Lamps J 'Lighting Fixtures, Woodenware, Pewter, Brass & Copper, Weathervanes, Hooked Rugs, Linens, Gourmet Cookware, Hardware, Franklin Stoves, tf&t Baskets, Exciting Imports,. Decorative tff Mechanical Banks, Pictures, Accessories, Fabrics, Wallpapers, Upholstered & Early American "Furniture. Museum Reproductions, Authentic Americana fJSli OPEN EVERY DAY Recapture Yesteryear's Nostalgia at Seth & Jed's Country Store flli Herbs and Spices Import'd Delicacies Choice Cheeses Gourmet Foods Jams and Jellies i.I- Oid-Fashioned idlba Candy Maple Products Apothecary Jars In the Big Bed Barns on Stockbridge Road, Route 7 1 Mile North of Great Barrington ^a-xls:etplSLCe MASS. Telephone: Gt. Barr. 1500 Remember, you haven't seen the Berkshire! if you haven't seen JENIFER HOVSE! ^TxM^r I: — 5 — No. 3." When again the opera was thoroughly changed for the Vienna pro- duction of 1814, Beethoven realized that his fully developed overture was quite out of place at the head of his opera and accordingly wrote a typical theatre overture, which was publicly accepted and became one with the opera. There remains to be accounted for the so-called overture to (tLeonore No. 1." This overture was discovered the year after the composer's death and was at first assumed to be his earliest attempt. This was later disputed, but the ulti- mate consensus of opinion has placed it as the first of the four. The Overture Leonore No. 2 holds all of the essentials of its successor, Leonore No. 3. There is in both the introduction, grave and songful, based (e upon the air of Florestan. ln des Lebens Fruhlingstagen," in which the prisoner sings sorrowfully of the darkness to which he is condemned, and dreams hopefully of the fair world outside. The main body of the Overture, which begins with the same theme (allegro) in both cases, rises from a whispering pianissimo to a full proclamation. This section of working out, or dramatic struggle, attains its climax with the trumpet call (taken directly from the opera, where the signal heard off stage, and repeated, as if closer, makes known the approach of the governor, whereby the unjustly imprisoned Florestan will be saved from death). In the "No. 2," the coda of jubilation, introduced by the famous string scales of gathering tension for the outburst, follows almost immediately the trumpet calls of deliverance—surely the inevi- table dramatic logic, even though it went directly against the formal conven- Manhattan School of Music John Brownlee, Director In the Musical Center of Our Country. Offering Artist Training by an Internationally Renowned Faculty. Courses Lead to the Bachelor and Master of Music Degrees. For information concerning admission and scholarships write to: Admissions Officer MANHATTAN SCHOOL OF MUSIC 238 EAST 105th STREET, NEW YORK, N. Y. 10029 — 6 tion which required a reprise at this point. Beethoven, more closely occupied in the "No. 2" with the events of the opera itself, omitted the reprise, fol- lowing the trumpet fanfare with a soft intonation of Florestan's air, a sort of hymn of thanksgiving, as if the joy of the freed prisoner must be hushed and holy in its first moments. The melody is suspended on its final cadence, and the last three unresolved notes, hovering mysteriously, become the motto of the famous string passage in which the emotion is released. Beethoven sacrificed this direct transition in the "No. 3" Overture. He evidently felt the need of a symphonic rounding out, and accordingly inserted a full reprise, delaying the entrance of the coda of jubilation which dramatic sequence would demand closely to follow the trumpet fanfare. But the sub- ject had developed in Beethoven's imagination to a new and electrifying potency. The third Leonore Overture shows in general a symphonic tightening and an added forcefulness. The introduction eliminates a few measures, the development many measures, in which music of the greatest beauty is dis- carded. Beethoven, having thus shortened his development, evens the total length by adding the reprise and enlarging the coda. At the Berkshire VAN CLIBURN Festival this season MALCOLM FRAGER these Artists CLAUDE FRANK EUGENE ISTOMIN play ONIY RUDOLF SERKIN VITYA VRONSKY THE STEIWAY and VICTOR BABIN IN MASSACHUSETTS AND NEW HAMPSHIRE NEW STEINWAY PIANOS ARE SOLD ONLY BY M. STEINERT & SONS 162 BOYLSTON STREET, BOSTON . ALSO WORCESTER, SPRINGFIELD — 1 — . ; :; "LOHENGRIN," ROMANTIC OPERA IN THREE ACTS By Richard Wagner Born in Leipzig, May 22, 1813; died in Venice, February 13, 1883 The present performance in concert form preserves the entire score, and restores a considerable cut in Lohengrin's so-called "narrative" in Act III (see page 00) which Wagner made for the early productions. The cut was restored at Bayreuth in 1936 and 1937, but has not been used in this country. Wagner's Lohengrin and his Parsifal, composed in the early and the late years of his career, have a definite affinity. Each had its main source in medie- val legend, and notably the poem Parzeval by Wolfram von Eschenbach, written in the thirteenth century. The subject of the Holy Grail at Monsalvat held Wagner's thoughts for years and thus produced his two operas on a quasi- religious subject. Lohengrin was accounted the son of Parsifal. Called the "Swan-Knight," he made a Christian mission to the Kingdom of Brabant to rescue Elsa, the maiden in distress, this in the tradition of heroic knighthood. In March of 1848, Wagner put the last touches upon his Lohengrin, and in May of the next year his political activities resulted in his exile from Germany and the shelving of the score in Dresden where he was until then Hofkappelmeister.