PHILHARMONIC HALL LINCOLN CENTER F O R T H E PERFORMING ARTS

1968-1969 MARQUEE

The Chamber Music Society of Lincoln Center is Formed

A new PERFORMiNG-arts institution, The Chamber Music Society of Lincoln Center, will begin its first season of con­ certs next October with a subscription season of 16 concerts in eight pairs, run­ ning through early April. The estab­ lishment of a chamber music society completes the full spectrum of perform­ ing arts that was fundamental to the original concept of Lincoln Center. The Chamber Music Society of Lin­ coln Center will have as its home the Center’s new Alice Tully Hall. This intimate hall, though located within the new Juilliard building, will be managed by Lincoln Center as an independent Wadsworth Carmirelli Treger public auditorium, with its own entrance and box office on Broadway between 65th and 66th Streets. The hall, with its 1,100 capacity and paneled basswood walls, has been specifically designed for chamber music and recitals. The initial Board of Directors of the New Chamber Music Society will com­ prise Miss Alice Tully, Chairman; Frank E. Taplin, President; Edward R. Ward­ well, Vice-President; David Rockefeller, Jr., Treasurer; Sampson R. Field, Sec­ retary; Mrs. George A. Carden; Dr. Peter Goldmark; Mrs. William Rosen- wald and Dr. William Schuman. The Chamber Music Society is being organ­ ized on a non-profit basis and, like other cultural institutions, depends upon voluntary contributions for its existence. Charles Wadsworth has been ap­ pointed Artistic Director of The Cham­ ber Music Society of Lincoln Center. The Society is the outgrowth of an in­ tensive survey of the chamber music field and the New York chamber music audience, conducted by Mr. Wadsworth on behalf of Lincoln Center over the past three years. Not since the New Friends of Music went out of existence in the mid-Fifties has there been a broad, across-the-board activity to which one might become habituated as a sub­ scriber. continued on page 31 Amer de Peyer Goode Cover photo by Sandor Acs 1969 by Saturday Review, Inc. All rights reserved. Reproduction in whole or in part of any article without permission is prohibited. Printed in the United States of America.

The Philharmonic Hall Program, published by Saturday Review, Inc.. 380 Madison Avenue, New York 17,N.Y. Staff for the Philharmonic Hall Program: W. D. Patterson, Publisher; Richard L. Tobin, Associate Publisher; Irving Kolodin, Editorial Director; Norman Cousins, Chairman of the Editorial Board; Robert Jacobson, Managing Editor: Irving Spellens, Art Director; Joseph Gasparino, Production Manager; Herbert J. Teison, Advertising Director. I LINCOLN CENTER FOR THE I I PERFORMING ARTS, INC. I I BOARD OF DIRECTORS I John D. Rockefeller 3rd I CHAIRMAN Charles M. Spofford Devereux C. Josephs VICE-CHAIRMEN I Amyas Ames I CHAIRMAN, EXECUTIVE COMMITTEE I I Gustave L. Levy I TREASURER I Hoyt Ammidon Goddard Lieberson Francis J. Bloustein William F. May Robert E. Blum Rev. L. J. McGinley, S.J. I Gilbert W. Chapman George S. Moore I Richard M. Clurman Frank Stanton John W. Drye, Jr. George D. Stoddard Lauder Greenway Harry Van Arsdale, Jr. Harry Helmsley Lawrence A. Wien Robert L. Hoguet George D. Woods I David M. Keiser Edgar B. Young I EX-OFFICIO Honorable John V. Lindsay, Mayor of New York I Honorable August Heckscher, Commissioner of Parks William Schuman PRESIDENT EMERITUS I Clarence Francis Mrs. Lytle Hull Robert Moses DIRECTORS EMERITUS ADMINISTRATION John W. Mazzola, Executive Vice-President and General Manager Henry E. Bessire, Vice-President, Development I Mark Schubart, Vice-President, Education I Robert P. Brannigan, Director for Productions Carl Cannon, Director, Visitors Services I Joseph Gorman, Jr., Controller George H. Henderson, Secretary and Counsel I Thomas R. Mathews, Director, Editorial Services After dinner, I John O’Keefe, Director, Public Information

THE LINCOLN CENTER FUND light up a BOARD OF TRUSTEES Hoyt Ammidon CHAIRMAN I R. Manning Brown, Jr. George G. Montgomery, Jr. Mrs. Robert L. Hoguet Crocker Nevin Howard B. Johnson William M. Rees Garrard I Devereux C. Josephs Andrew Y. Rogers Edwin S. Marks George Weissman When your mood calls for the deep William F. May Lawrence A. Wien satisfaction that only music, per­ LINCOLN CENTER COUNCIL fectly performed, can provide, it’s George Balanchine, New York City Ballet time to relax with Garrard's great Rudolf Bing, Metropolitan Opera Association SL 95 Automatic Turntable. Enjoy the Edward G. Freehafer, The New York Public Library utmost in reproduction quality; per­ Jules Irving, The Repertory Theater of Lincoln Center fect tracking;cueing and anti-skating John W. Mazzola, Lincoln Center Peter Mennin, The Juilliard School controls; trouble-free performance; Carlos Moseley, New York Philharmonic and safety for your records, both in Richard Rodgers, The Music Theater of Lincoln Center manual and automatic play. The Julius Rudel, New York City Opera unfailing accuracy of synchronous Mark Schubart, Lincoln Center speed assures that the music you Norman Singer, City Center of Music and Drama, Inc. hear is always on pitch as recorded. LINCOLN CENTER COUNCIL The SL 95 is priced at $129.50, | ON EDUCATION PROGRAMS less base and cartridge. It is shown | Mark Schubart, Lincoln Center on the Garrard Power-Matic Base, j CHAIRMAN $15.95, which automatically shuts off | Philip Hart, The Juilliard School the entire music system when the | John Gutman, Metropolitan Opera last record is played. Seven other | Mrs. George A. Carden, New York Philharmonic fine Garrard models, from $37.50. I Mrs. Norman Lassalle, City Center of Music and Drama, Inc. ■ Mrs. Jean Godfrey, T/ie New York Public Library For complimentary literature, ! Alan Mandell, The Repertory Theater of Lincoln Center write Garrard/Westbury, N.Y. 11590. j Ronald Bruguiere, The Music Theater of Lincoln Center British Industries Co., a division of Avnet. Inc. Vital facts about the Hall

With several rows of seats re­ moved and the elevators depressed, an orchestra pit can be provided. The stage is also equipped with a center-stage elevator to facilitate the delivery and removal of a concert grand piano when it is required.

Capacity 2,836 Stage dimensions 61 feet wide Orchestra 1,502 40 feet deep Loge 406 With additional 1st Terrace 480 elevator space 2nd Terrace 448 48 or 56 feet deep

Max Abramovitz, Architect

STAFF FOR PHILHARMONIC HALL Patrick B. McGinnis Manager Louise Homer Booking Director Robert L. Turner Assistant Manager Delmar D. Hendricks House Manager Charles Whiteman Box Office Treasurer Charles Peck Assistant Box Office Treasurer Gigot d’agneau George Cree Assistant House Manager

Tickets for performances at Philhar­ monic Hall, the New York State Thea­ ONLY at Lord & Taylgr, ter and the Vivian Beaumont Theater this sleek, doubleknit may be purchased at six off-location box offices: at Bloomingdale’s, 59th white wool, signed by Street and Lexington Avenue in Man­ hattan, and at the branch in North VALENTINO: our own Hackensack, New Jersey; and at Abra­ ¡superlative copy of ham & Straus stores located in Brook­ lyn, Huntington, Hempstead and Man­ Silver the original we chose hasset. in Rome. 125.00 Associations for the Contessa collections, advancement of dining The Steinway is the official piano of pleasure. in Contempora, Third Philharmonic Hall Rosenthal Studio-Haus in FIRE NOTICE. The exit indicated by a New York at 584 Fifth Ave. red light and sign nearest to the seat you Telephone 757 6164 occupy is the shortest route to the street. In the event of fire or other emergency please do not run—WALK TO THAT EXIT. Frank Lloyd Wright’s Last Monument

At first impact, standing there in the course, is Grady Gammage Auditorium, and enlisted the assistance of the in­ flatlands of this section's Arizona State which celebrated its fifth anniversary of comparably vigorous and mentally com­ University, it looks slightly monstrous use on March 8 and perhaps the last petent nonagenarian, Wright. with its towering circular constructions, monument to the architectural genius of Once embarked on a free tour of the upper rows of slender pillars supporting the incomparable Frank Lloyd Wright. building (guided every half hour, in­ a pavilion-like roof and cut-away stone Oddly enough, it is one with a num­ cluding Sundays, by an alert young stu­ semicircles suggesting draperies. And the ber of similarly magnificent structures dent expert), the inspired vision of sloping ramps with their oversized globes around the world in being a masterpiece Wright begins to glow and to grow. A for illumination have a suggestion of whose creator saw it only in his mental few steps up a ramp and into a side some kook’s idea of how to jazz up a vision. Wright died at the patriarchal entrance from the handsome lobby, one simple, if immense, construction. age of 90 just a decade ago; and so did is at Row 22 of a vast semicircular Once inside the structure and in a Grady Gammage (at a much younger sweep of the auditorium seating over position to judge the logic of form and life term), president of this University 3,000. What this means, really, is that function which dominates its design, the for 27 years. It was he who had the much of the capacity has been dug out monstrous gives way to the memorable vision of a magnificent auditorium for of the earth rather than constructed and the kookie to the clear-eyed solution the performing arts in this less-than-well- above it. Anyone who has been to of a far-from-simple problem. “It,” of favored area of Arizona (culturally) Richard Wagner’s theater at Bayreuth

Ground plan of the structure, with public areas at the right, facilities for classroom work at the left.

10 Frontal view of Grady Ganimage Auditorium, showing ramps at either side for access to balcony level.

will recognize a certain kinship in the basic premise, which is on the stadium plan. But, in addition to a three-fold multiplication of capacity on the orches­ tra level, Grady Gammage Auditorium has something that no construction of Wagner’s time could permit: two upper levels, free floating in the air on huge girders, which require no interior sup­ port. And the overall brownish decor is an extension of the desert tones of the state in which it is situated. Further examination reveals that the free-floating structures also have a func­ tional part in the design. The area be­ hind them with its undulating walls and circulating air chambers performs an important function in assuring acoustical evenness through the gigantic interior. The first level, or Grand Tier (as it is called), is also reached by interior ramps; but, when one gets up to the balcony level, the purpose of the ex­ terior ramps is clarified. They lead from outside in a gentle slope to this top-most area, which from inside can only be achieved by more than a little steep stair-climbing. Typically, a recent commercial attrac­ tion booked into Gammage Auditorium in early February, when the Phoenix- Tempe-Scottsdale area has a fine brisk likeness to good football weather else­ A night view of the building during a break in performance. where, bore the banner of S. Hurok. The Vienna Choir Boys was the billing, A cross section of the interior, and they doubtlessly had a resonant suc­ showing spacious ground-floor cess in this remarkable construction. seating and two upper levels. Gammage Auditorium has been tested and found as good as any auditorium in the world by orchestras such as the Cleveland and the Vienna Philharmonic and doubtlessly responded to the im­ posing attributes of Birgit Nilsson, who was the soloist at the anniversary con­ cert last month. Taking leave, in the newsreel cliche, of beautiful Grady Gammage by car and swinging on to Arizona 60 which leads into Phoenix, one gets a suddenly sharp insight into the reason for this building’s being on this site. The highway sweeps around it in a curve which is carried out by the circular shape of the con­ struction itself and makes it forever (or an Arizonian equivalent of it) as much a part of the landscape as the explosive hill rising out of the flatlands behind it. IRVING KOLODIN

11 equipment was installed at the Victoria Music’s Debt to Ernest Ansermet Hall, “Uncle Ernie” demanded a full ex­ planation from our engineers. He was al­ ways ready to help us by adjusting the dynamic range of his performances to the requirements of the medium, there­ by avoiding arbitrary compression from the control room whenever possible; yet, unlike some conductors, he never sought to usurp the producer’s and engineer’s functions. Indeed, our relationship with Ansermet largely owed its happy and fruitful nature to the complete confi­ dence each felt in the other’s skill and expert knowledge. Ansermet exercised absolute authority over his orchestra, and the players re­ spect — no doubt reinforced by the knowledge that he had the power to fire anyone on the spot—expressed itself in a degree of discipline rarely found in the recording studio. Whenever we listened to playbacks during or after a session, as many of the players as could be ac­ commodated would join us and offer valued suggestions, and Ansermet’s own overriding loyalty to the orchestra he had created showed itself when he Arthur Haddy, Chief Engineer, Lon­ new concepts in hi-fi which Ansermet rejected the possibility of replacing don-Decca, talks with Thomas Heinitz- brought to us in 1946; for I recall how, Charles Munch in Boston after his dis­ at a sandwich lunch between sessions, abling heart attack in 1953. With the death of Ernest Ansermet, at he astonished all of us present by pro­ It was characteristic of Ansermet’s the age of eighty-five, Decca has lost a ducing a tin labeled Nescafe that he musical approach that, when we began friend of long standing and an outstand­ had brought from Switzerland and re­ to use tape for our master recordings, he ing musician whose later career was in­ galed us with our first sight, smell and welcomed the opportunity this gave him timately bound up with the company’s taste of instant coffee. to extend the length of his “takes” to spectacular progress in recording tech­ Although Ansermet had founded his nine or ten minutes. At the same time, niques since the end of World War II. own Geneva orchestra, the Suisse Ro- his feeling for musical pace was incredi­ Although our permanent association with mande, as long ago as 1918, his first bly precise—when he recorded Ravel’s the great Swiss conductor began in 1946, postwar recordings for Decca were made Bolero, the discrepancy between differ­ when he came to London and led the with the London Philharmonic and ent takes never exceeded two seconds— London Philharmonic in the first of sev­ Paris Conservatoire orchestras. However, and this greatly facilitated any splicing eral famous recordings of Stravinsky’s when we established Decca Europe in that had to be done. Petrouchka, Ansermet’s name first ap­ Zurich in 1947, the way was opened for When we began to make stereo re­ peared on Decca as long ago as 1929. us to record Ansermet on his home cordings in 1953—in a separate, ex­ This was almost a decade before I ground. perimental control room, while mono joined the company, and the music he At that time, the Suisse Romande was recordings were made, as before, in the then recorded with a scratch ensemble still a comparatively small ensemble, main control center—Ansermet would (described as the Decca String Orches­ based on six cellos and four basses, but listen to the experimental tapes and pro­ tra) at the Chenil Galleries in Chelsea after a rare outburst from Ansermet in vide much valuable criticism, though he comprised six of Handel’s Opus 6 Con­ reply to a control-room demand for tended to be disturbed initially by the cetti Grossi. When Ansermet came to “more bass”—“How can I make four fact that the orchestral balance differed London in 1946, we had already used basses sound like eight?”—steps were markedly from that which he experi­ our freshly developed ffrr technique on taken to enlarge the establishment to enced on the rostrum. Yet, unlike some a number of recordings by the National normal symphonic proportions. From of his colleagues, he quickly grasped the Symphony Orchestra under Sidney Beer, that time onward, Geneva became our enormous musical potential of the new but it was Ansermet’s set of Petrouchka most fruitful location for orchestral re­ medium, and, by the time stereo discs that first brought home to critics and cordings, and it is surely no exaggera­ were launched in 1958, Ansermet had collectors that recording techniques had tion to claim that Ansermet and his already provided us with a sizable stereo taken a dramatic step forward. polyglot orchestra (which includes not repertoire. At those sessions it soon became clear only Swiss players but also musicians Although his early Decca recordings that Ansermet, with his remarkable ear from France, Italy, Germany and Bri­ established his international reputation for textures and inner balance, his sti­ tain) owed their international reputation as a specialist conductor of early Stra­ mulating yet businesslike approach, and largely to the records they made for us. vinsky and the French impressionists, his keen interest in what we were try­ I have already mentioned Ansermet’s this was not entirely due to Ansermet’s ing to achieve, was the collaborator we very special qualifications as a conductor own predilections but also to the fact needed. Orchestra and recording crew who pursued the very ideals of tonal that our own advances in recording found him most congenial to work with, fidelity and clarity of texture toward techniques were shown to best advan­ and the records that were produced at which we were striving. As a former tage when applied to the more colorful these Kingsway Hall sessions set a stand­ mathematician, he was always keenly in­ music of the late nineteenth and early ard that was not surpassed until the terested in the technical means we em­ twentieth centuries. Indeed, Ansermet arrival of LP. But it was not only ployed; and, whenever a new piece of continued on page 23

12 ackstage at the Metropolitan Opera House to greet a long­ time friend post-performance is a “school of hard knocks” Ball its own. It is to be swept along in the tidal wave of pushing and shoving amidst the mob held at bay behind closed azure doors by dour attendants until the appointed “open sesame” hour. One late Saturday afternoon, the floodgates are momentarily parted and through them into the oncoming rush passes an ele­ gant figure, skin and smile radiant. A faceless voice calls out from the waiting crowd, “Hey, Miss Price, are you singing Trovatore this year?” “That’s what it says in my contract,” she beams back, magically making a path through the throng down the fluorescent corridor. . . . On a frigid winter’s night at the comfily old-fashioned Brooklyn Academy, the American Ballet Theatre is winding up its holiday stand to the applause of all those brave enough to withstand the elements, the subway and/or bus. In the audience, making its intermission way up the aisle, is a fur-swathed Leontyne Price. When it is noted that hers has become a familiar face at New York dance events, she says simply, “I prefer it.” Though she doesn’t specify, she does quickly add, “I find New York scintillat­ ing when I’m not singing,” and she passes with a smile into the lobby. . . . A month later, back at Lincoln Center in the marble-and-glass halls of Philharmonic Hall, a regal Leontyne Price, all in black, is holding court just off Door 6 during the interval of the annual Elisabeth Schwarzkopf recital. “Beautiful, isn’t it,” she nods at those who have come over to give their greetings. In this same hall, where soprano Price has been conspicuous by her absence over the past seasons, she is giving'her first “Great Performers at Philharmonic Hall” recital on Sunday evening, April 27. Encountering Leontyne Price on such occasions and in her frequent New York stage appearances over the years always manages to summon warm memories of a pleasant past: hearing the young soprano as Liu in the 1959 all-star (Nilsson, deStefano) Turandot—the fountain of fresh lyric sound pouring from the rear of the vast Chicago Civic Opera House stage .... the ex­ citement of the soprano’s first Metropolitan broadcast Trovatore, just weeks after a legendary debut .... first hearing the RCA “blue album,” as it affectionately came to be known, with that luxuriant outpouring of “Che il bel sogno di Doretta” .... price­ less (or, rather, Price-full) broadcasts from the Salzburg Festival with Karajan storming the heavens with Trovatore (that was the year of the interpolated high Cs in the “Miserere” and a cast of Simionato, Corelli and Bastianini!) . . . the classical brilliance of the first Price Donna Anna at the old Met in December of ’62.... Since Leontyne Price’s “avacado green and delphinium blue” Federal-era house on Van Dam Street (to quote her press book) is currently off-bounds for reporters, we sat in neutral territory across the table at the Plaza’s Edwardian Room late last August to catch up with the Mississippi-born soprano who has become an international celebrity in the past decade and a half. For the past eight years, the RCA Italian studios, opera at festivals, an apart­ ment in Rome have kept the soprano safely away from the op­ pressive heat and humidity of a New York summer. This one, however, she had spent time with her mother after the passing of her father, and she was now relaxing and working here before opening the San Francisco Opera season in September as Elvira in Verdi’s Ernani. continued on page 16 “I like Elvira, because there are no fact that the spinto and dramatic roles other women in the opera and three have slowly gained a foothold where men are in love with me—and it lies lyrical roles used to dominate. Yes, she well vocally,” she observes, sitting coolly agrees, there has been a good deal of in black with bright splashes of pink. natural vocal development (as opposed More and more over the past few years to a deliberate molding). “I made a few it has been Verdi, along with Mozart, mistakes—we all do—one or two things who has come to dominate the Price I might have left alone. No, Thais in operatic repertoire. She candidly sums Chicago wasn’t one of them—it was up her thoughts on the matter: “I al­ good in my voice, but the sets were from ways say that people can give a care­ Mary Garden’s time, the year I was lessly nailed production of Trovatore or born!” Perhaps it was the risk of sing­ a bad mise en scène for Ballo or a not- ing so demanding a role as Puccini’s very-well-sung Aida, but it is Verdi who Minnie, Girl of the Golden West, in keeps the opera houses open. That’s all 1961 for the opening of the Met season. I have to say. It has been going on since “My voice has grown naturally,” she AUDEMARSÆ? he wrote his first note.” The singer her­ believes, “and I’ve tried to stick to the PIGUET self was well launched on the wings of literature that is best for me—until cer­ Verdi when she sang Alice in a Juilliard tain exuberant demands were made. I production of Falstaff. describe my voice as a ‘juicy lyric,’ I Getting down to the particulars con­ think. A lyric with a dramatic thrust to cerning Price and Verdi, she continues: it, nearly a spinto even though the quali­ “Verdi and Mozart are the best vocal ty is still a healthy lyric.” pals I have—they like me and I like Watching this natural development them. I can’t really explain it, but you and helping her make the necessary ad­ try on a dress and it’s either becoming justments—since the days when an or it isn’t. For me, there is vocal ease in aspiring Leontyne Price came to New Verdi and Mozart—I’m most relaxed York to study at the Juilliard School— here, and I can therefore perform with has been Florence Page Kimball. As abandon. Of course, there are the ex­ Miss Price puts it, “I call her ‘my ears,’ ceptions: Lady Macbeth and Abigaille because she is always aware of the in Nabucco aren’t for me—it’s not the change in my apparatus and can answer department of Verdi’s I’d like to wear. the questions of the growth of my voice “Aida has been a part of me for a long and repertoire. I wouldn’t dream of time. I don’t think of it as a role—it is tackling a role without her. I’m very something I love to do and I don’t have lucky to have her. Her theory is to sing to think about it. And, besides, I’m sav­ on the interest, not the capital. She says The world's finest watches — ing the theater on make-up. For a chal­ that if after a performance you feel you lenge and pure vocalism, I like the differ­ could repeat it, everything is okay.” from the renowned collection ence of mood in the two Leonoras, Tro­ What had made the young potential of limited edition precision timepieces, vatore and Forza—both are challenging music teacher from Laurel, Mississippi, situations. Vocally, there are no more set out on an operatic career—one that hand-crafted in 18-karatgold beautiful roles. Sometimes, when I sing was first set in motion at Juilliard and certain phrases, I can’t believe that such then in Virgil Thomson’s Four Saints in at the ateliers of Audemars Piguet, things could have been written. I enjoy Three Acts for the International Arts Le Brassus, Switzerland. these vocal voyages—no, not ‘orgies,’ Festival. “As a child,” she confesses, “I though sometimes on a good night they knew no opera or singers. It was only in Each watch is either one-of-its-kind or can be this too. As a female, I also can’t 1949, when I came to New York to imagine a more beautiful role than witn but few counterparts. study, that I heard my first operatic per­ Amelia in Ballo for its sheer femininity.” formance: Salome with Welitsch. I really How do some of the lesser-sung Verdi got the bug after I heard Callas. I ladies fit into the singer’s future plans? thought this idea of being in the operatic “I’ve learned Elisabetta in Don Carlo arena (for that’s what it is!) was very and Amelia in Simon Boccanegra, and exciting. The histrionic and vocal com­ they’re on reserve for the future. In bined provided an electric experience. London recently, at Covent Garden, I Ponselle on records is my idea of what heard the full five-act version of Don it’s all about. Callas, of course, is still Carlo and discovered that the most on top—a legend in her own lifetime.” Ultra-thin -$1200 beautiful music for Elisabetta is cut in As she builds her own image as opera the shorter version. In five acts, you star and recitalist, Miss Price admits: enjoy the femininity of Eboli and the “I can’t function without a challenge. full regal character of the Queen. I’d Now I want more recital work, because also like to do Desdemona in Otello, of the growth of the singer in the arms and it’s inevitable that I’ll record it. On of a pianist—you must create nineteen stage, it will need special care and or twenty characters in an evening, not thought in the production by the direc­ just one. It helps in being the one on tor. I’m very provoked by this role and stage—you relearn how to shift gears. Cartier I have learned it.” I have not done much in the way of re­ First, by hearing the soprano in the citals in New York for several years, NEW YORK/PALM BEACH/LONDON ITD./PARIS S.A. opera house and, second, by listening to and there is so much literature I’ve not her over the lunch table points to the continued on page 36 PHILHARMONIC HALL LINCOLN CENTER

New York Philharmonic LEONARD BERNSTEIN, Music Director

ONE HUNDRED AND TWENTY-SEVENTH SEASON 19 68-1969

Tuesday Evening, April 8, 1969, at 8:30 7627th Concert

GALA PENSION FUND BENEFIT CONCERT

George Szell, conductor

ARTUR RUBINSTEIN, Pianist

R. STRAUSS *44Don Juan,” Tone Poem after Nicolaus Lenau, Opus 20

MOZART Concerto for Piano and Orchestra, D minor, K. 466 I Allegro II Romance III Allegro assai ARTUR RUBINSTEIN

INTERMISSION

SCHUMANN Concerto for Piano and Orchestra, A minor, Opus 54 I Allegro affettuoso II Intermezzo: Andantino grazioso III Allegro vivace

ARTUR RUBINSTEIN

*Recorded by the New York Philharmonic

Mr. Rubinstein plays the Steinway Piano

Steinway Piano Columbia Records

The taking of photographs and the use of recording equipment are not allowed in this auditorium.

Members of the audience who must leave the auditorium before the end of the concert are earnestly requested to do so between numbers, not during the performance. Musical ideas, like young wine, should be put in storage and taken up again only after they have been allowed to ferment and ripen. RICHARD STRAUSS

BY EDWARD DOWNES

“Don Juan,” Tone Poem after Nicolaus Lenau, Opus 20 RICHARD STRAUSS Born June 11, 1864, Munich; died September 8, 1949, Garmisch-Partenkirchen. trauss was only twenty-four years old when he began and twenty-five when he fin­ ished this explosive score under the stimulus of his enthusiasm for Wagner’s Tristan Sund Isolde. Many another composer beguiled by Wagner turned into a grandiloquent, magnilo­ quent epigone. Strauss was beguiled and turned into—himself. Don Juan is the first work that shows him complete master, not of Wagnerism, but of a new musical sensibil­ ity of his own: a more nervous pattern of feeling and thinking' in sudden harmonic shifts, in extravagantly leaping melodies, in sensuous techniques of orchestration and a hundred dazzling devices undreamed of, even by the old magician of Bayreuth. In the matter of form, too, Strauss emerges here as the greatest master of the one-movement “tone-poem,” that distinctive creation of the Romantic movement. The speed of Strauss’ growth, and his natural affinity for fame were a source of anxiety to his friends and envy to others. He was only twenty when audiences in faraway New York first heard their Philharmonic play his F-minor Symphony under so august a di­ rector as Theodore Thomas (13 December, 1884). The great turning point in Strauss’ career came only ten months later, when he received his first important job as assistant conductor to Hans von Bulow’s orchestra in Meiningen. Among the violinists of Bulow’s orchestra was the German poet, composer and author, Alexander von Ritter. It was Ritter who taught Strauss the revolutionary “modern” music from which he had been protected by his conservative father. Ritter’s influence, Strauss later recalled, was like “a storm wind. He pushed me into developing the expressive, poetic side of music, follow­ ing the examples of Berlioz, Liszt and Wagner.” It was Tristan (in an Italian production at Bologna, May, 1888) that completed the twenty-four-year-old’s conversion to Wagner. The following year he applied for a posi­ tion as coach at the Festspielhaus in Bayreuth, where Tristan was being prepared. Be­ tween Tristan productions, Don Juan was born.

Notes on the program copyright © The Philharmonic-Symphony Society of New York, Inc. 1969. All rights The legendary Don Juan appears (like Faust) to have been a creation of sixteenth­ century folk imagination. The theme of a man irresistible to all women has always fascinated his potential victims as well as men who could fancy themselves as heroes of the tale. The moral proprieties were preserved by the avenging stone guest: the statue who came to dinner and dragged Don Juan down to hell to do eternal penance for his sins. But Strauss’ Don Juan is based on a variant of the story by the Austrian poet, Nicolaus Lenau. Lenau’s hero is no mere aristocratic rake. His catalogue of conquests represents his search for the ideal, who will be womanhood incarnate; his longing, “to enjoy in one woman all women, since he cannot possess them as individuals.” This Don is a dreamer and philosopher as well as one driven by the storm of youthful desire, and his desertion of one victim after another represents his successive disappointments in his search for the ideal. Disillusion and contempt grow in his heart. Instead of the stone guest and hell­ fire, “At last loathing seizes hold of him,” said Lenau, “and this loathing is the devil that fetches him.” Excerpts from the long Lenau poem are printed on the flyleaf of Strauss’ score. The structure of the tone poem closely resembles the traditional first-movement sonata­ allegro form. After a preliminary flourish, the first important theme of the tone poem shows us the Don on his impetuous way to adventure:

Allegro molto con brio

This is a theme that we will hear again and again, each recurrence seeming to represent the start of a new episode. There follow several passages of love music, each describing the character of the woman in whom Don Juan hopes to find the ideal. Among them we hear the tender, ecstatic voice of a solo violin, sweet, confiding, with a certain aristocratic reticence which gradually gives way to growing warmth as the vio­ lins soar to a great lyric climax. But the new ecstasy is short-lived. Already the Don is off again and we hear his first theme as the search is renewed. Is this the goal? Over gently murmuring strings and horns the oboe sings a song of forgetfulness and bliss. But once again the orchestra rouses itself and the dream disperses. Then through a brilliant tremolo of the high strings there flashes a theme of such knightly pride and magnificence as has hardly been equalled in music. More than any other, this new theme, proclaimed at first by all four horns in unison, portrays the essential nobility of Strauss’ Don Juan: Allegro molto con brio (J =84) taber sehrwuchtigl

4 Horn» molto»«pr»»»ivo • marcato " There is even a touch of scorn in the theme, as though for a moment the Don stood above his own fate. But this does not prevent the theme from being reduced to tiny, mocking phrases, in the glittering tone of the glockenspiel, for example. There are other moments of frivolity. At one of these Richard Strauss stopped the Boston Symphony Orchestra, which he was rehearsing many years ago, during a tour of the United States, and said to the players: “Gentlemen, I must confess, I did not intend this passage to be so beautiful. She was a coarse wench [ein gemeines Mensch]?’ Once again the Don is off on adventure. The orchestra approaches another tremendous climax and then stops dead in its tracks. There is a terrible pause. The music fades sud­ denly as a dissonant trumpet note cuts through—the rapier-thrust of death. There is no lamenting peroration, only stoical acceptance of the end of all man’s searching, and silence. Strauss himself conducted the enormously successful first performance of Don Juan with the Court Orchestra in the Grand Ducal Theater of Weimar on November 11, 1889. The first American performance appears to have been given by the Boston Symphony on October 30, 1891, under the direction of Arthur Nikisch. The opulent-sounding orchestra calls for the relatively modest list of 3 flutes (one alternating with piccolo), 2 oboes, English horn, 2 clarinets, 2 bassoons, contrabassoon, 4 horns, 3 trumpets, 3 trombones, tuba, kettledrums, bells, cymbals, triangle, harp and the usual strings.

D Concerto for Piano and Orchestra, D tninor, K. 466

WOLFGANG AMADEUS MOZART Born January 27, 1756, Salzburg; died December 5, 1791, Vienna. his stormy Concerto is one of Mozart’s most Romantic works. We do not ordinarily think of Mozart as a Romantic composer. Yet as our view of the grand sweep of Thistory not only broadens but, we hope, deepens, and our understanding of Mozart grows, we sense the powerful trends that link Mozart to the Romantic future. And, conversely, we realize how deeply the roots of Romanticism reach into the Classical past. Classicism cannot be separated from Romanticism nor can Mozart from either of those two move­ ments, which are really one. , Allegro The D-minor Concerto is more than a Romantic and Classical work: it is an amaz­ ingly personal document illuminating a side of Mozart’s nature which he did not often Romance reveal. Of his twenty-three piano concertos only two are in minor keys. D minor had a particular significance: Mozart used it only on rare occasions, as a key of deepest pes­ Allegro assai simism, struggle and tragedy. His unfinished Requiem Mass—unfinished because Mozart died during the composition—is in D minor. In Don Giovanni the cataclysmic appear­ ance of the avenging stone guest, the Commendatore, is in D minor. In Mozart’s Idomen- Artur Rubinstein eo the populace of Crete flees before the ravages of the sea monster in the panic-stricken D-minor chorus, “Corriamo, fuggiamo.” How far we are from understanding or even being able to imagine the sound of Mozart’s Concerto at its first performance! Mozart himself was soloist in the town casino (städtisches Casino) in the Mehlgrube, Vienna, on February 11, 1785. He had finished composing the Concerto only one day before! This we know from the date on his manu­ script. There was time for no rehearsal whatsoever! Yet Mozart’s father, who was a sophisticated musician and who had arrived in Vienna that very afternoon, did not seem at all disturbed. In a letter of February 16 to his daughter, father Mozart declared: “The concert was incomparable, the orchestra excellent.” He goes on to say that when he and Wolfgang arrived at the hall the copyist had not yet finished the orchestral parts. And since Mozart felt he had to supervise the copying, there was no time for even a last- minute tryout before the concert began. I. Allegro. The first bars of the D-minor Concerto open a world new to Mozart’s contemporaries, new even to Mozart. Instead of a cleanly outlined principal theme, there is an agitated, syncopated D-minor tonality. Even today the mood seems threatening; how much more so must it have seemed to the elegant subscription audience at that première! Throbbing violins and violas are driven onward by the surge of upthrusting basses and cellos:

The atmosphere of tension is emphasized by the dynamic level, which is kept down al­ most to a whisper until the tension explodes into an orchestral tutti. The piano solo makes its entrance with a plaintive little lyric figure, which remains the property of the soloist throughout. The orchestra retorts with the agitated bars of the beginning. Throughout this movement the clash of contrasting themes and the struggle between soloist and orchestra are heightened by fierce harmonic and dynamic tensions. One of the qualities of the movement which appealed so mightily to the Romantics of a later age is that of unsolved tension. At the end the conflict simply dies away, unre­ solved, but with insistent, whispered references to the menace of the opening bars. II. Romance. What serenity there is in the lovely lyric strain that opens the slow move­ ment. Coming after the storm and stress of the Allegro, it recalls the abrupt transition in Gluck’s Orfeo from the furies of the underworld to the sunlit Elysian Fields. Mozart’s melody is one of his most beguiling inspirations:

ROMANCE Yet he does not hesitate to interrupt it brutally with a stormy, almost frantic G-minor episode, in which the piano plunges from one end of the keyboard to the other. Gradual­ ly peace is restored, the lyric strain returns and the Romance, like the first movement, ends in a whisper. III. Allegro assai. The finale is one of Mozart’s few rondos in the minor mode. Its fiery refrain is far from the dainty charm we associate with so many Classical rondos:

Piano solo

This rondo incorporates much of the dramatic spirit as well as the techniques of the sonata, and it revives the power and the strife of the first movement. Then, after the soloist’s cadenza, the concluding pages take a sudden turn to a joyous D major and a coda of irresistible charm. It is hard to know why such a sudden, happy end does not sound forced or false. But it does not. Mozart’s D-minor Concerto is scored for 1 flute, 2 oboes, 2 bassoons, 2 horns, 2 trum­ pets, kettledrums and string choir. The piano on which Mozart performed the solo part in this and other concertos of this season, was an unusual one. It was longer and far heavier than the usual piano of the day, and it had a pedal keyboard, which Mozart had had specially constructed. This enabled him to play certain passages which, as written in his manuscript, would be unplayable on a normal piano of Mozart’s day or ours. These passages are brief and the chief purpose of the pedal notes appears to have been to sup­ ply a grander sonority to the harmony. Thus it seems conceivable that Mozart, contrary to widespread belief, might have been delighted rather than dismayed, by the heavier bass sonority of our modern concert grand. Mr. Rubinstein is playing the Beethoven cadenza.

Concerto for Piano and Orchestra, A minor, Opus 54 ROBERT SCHUMANN Born June 8, 1810, Zwickau; died July 29, 1856, Endenich, near Bonn. chumann’s only piano concerto reflects in part his relation to his adored wife Clara. Nearly two years before they were married Schumann had planned a. piano con­ certo,S probably even then with Clara in mind. His fiancée, at the age of nineteen, was already a famous pianist, with a poetical and serious turn of mind which was to make her Allegro affettuoso the ideal interpreter of his works. In a letter from Vienna, Schumann wrote her: “My concerto is a compromise between a symphony, a concerto and a huge sonata. I see I Intermezzo: cannot write a concerto for the virtuosos—I must plan something else.” For the moment Andantino grazioso nothing came of it. Schumann was not to complete a single orchestral work until after he and Clara were married. Allegro vivace The day after their wedding, which took place on September 12, 1840, Schumann opened the joint diary that he and Clara were to keep throughout their life together, with the following tender solemnity:

Artur Rubinstein My most beloved young wife! Let me greet you with a tender kiss on this special day, the first of your womanhood, the first of your twenty-first year. The little book which I open herewith has a very particular, intimate meaning; it is to record every­ thing that affects us together in our household and married life, our wishes, our hopes . . . your fair hopes and mine—may heaven blpss them; your anxieties and mine . . . in short, all our joys and sorrows. . . .

A document of almost heartbreaking tenderness, it tells, in the early years, of soaring confidence and joy as Schumann’s genius grew, nurtured and strengthened by their mutual love. His Spring Symphony was sketched in a single burst of inspiration, only a few weeks after the wedding. Shortly thereafter, he wrote: “My next symphony will be called ‘Clara,’ and in it I will paint her picture with flutes, oboes and harps.” He never wrote his “Clara” Symphony, but before the year was out, he did write a Fantasy for Piano and Orchestra which was later to become the first movement of his Piano Concerto, and which became as closely identified with Clara in performance as it had been in the composing.

G Clara played the first performance of the Fantasy at a rehearsal of the Leipzig Gewandhaus Orchestra, held largely for the purpose of making revisions in Robert’s Spring Symphony. She realized at once that it was “magnificent” music. “Carefully studied, it must give the greatest pleasure to those that hear it,” she wrote in the diary. “The piano is most skillfully interwoven with the orchestra. It is impossible to think of one without the other.” This was indeed no music for the virtuosos. There was no display in the shallow sense, but much music for a poet of the keyboard to share with the orchestra. It is hard to imagine that this gentle music was ever considered difficult to understand. Robert made several attempts to have it published as an Allegro affettuoso, then as a Concert Allegro, Opus 48. Nobody wanted it. Four years later Robert added an Inter­ mezzo and Finale, so that, as Clara wrote in the diary: “It has now become a concerto which I mean to play next winter. I am very glad about it for I have always wanted a great bravura piece by him.” And a month later, on July 31,1845: “Robert has finished his concerto and handed it over to the copyist. I am happy as a king at the thought of playing it with the orchestra.” I. Allegro affettuoso. The only introduction is a furious cascade of chords for the piano soloist. The principal, plaintive melody for oboe is taken up by the piano and recurs in tender dialogue between the piano and orchestra:

Allegro affetuoso

* fp es|>ress. - sf ~

It forms the basis of the entire first movement, returning in various impulsive melodic transformations, and in a brilliant march-like version at the close. As a matter of fact, this same theme, or fragments of it subtly transformed, serves as the thematic kernel of all three movements. II. Intermezzo: Andantino grazioso. This playfully lyric interlude has the sensitive, intimate quality of many of Schumann’s most delicate miniatures for piano solo. It is a beguiling little three-part, ABA form, with its opening theme based on a four-note rhythm derived from the theme of the first movement—the four rising notes in the mid­ dle of the theme. At the end of this movement the opening notes of the first-movement theme return to link the Intermezzo to the finale and prepare for the finale’s opening theme. III. Allegro vivace. The main theme of this last movement derives very clearly from the first-movement theme, thus establishing a thematic unity which became dear to the hearts of Romantic composers:

Like the first movement, the finale is in a free sonata form, with a light-footed, delight­ fully syncopated contrasting theme and a coda of infectious rhythmic drive and brilliance. The Concerto is scored for pairs of flutes, oboes, clarinets, bassoons, horns, trumpets, and timpani and the customary strings. Clara, of course, was the soloist at the première of the Concerto, which took place at one of her own concerts in the auditorium of the Hotel du Saxe in Dresden on December 4, 1845. On this occasion the three movements were called: Allegro affettuoso, Andan­ tino and Rondo. She played it again that winter in Leipzig with their friend Mendelssohn conducting, and next year in Vienna with her husband on the conductor’s stand. In the following years they joined hands many times again in this Concerto, and during the tragic years after Robert’s death Clara continued to spread the gospel of her husband’s “difficult” music. The public had listened to her before they had to him, but as a revered elderly artist she had the joy of knowing that in part through her efforts Schumann was respected and loved everywhere as she herself had loved him and that this Concerto, so intimately identified with them both, had played a major role in bringing this about.

Notes on the programs may not be printed in their entirety without the written consent of the Philharmonic; excerpts from the notes may be quoted if due acknowledgement is given to the author and to the Philharmonic.

H NEW YORK PHILHARMONIC The Philharmonic-Symphony Society of New York, Inc. Philharmonic Hall, Lincoln Center, Broadway at 65th Street, New York, N. Y. 10023

BOARD OF DIRECTORS David M. Keiser Amyas Ames Chairman President Mrs. Lytle Hull Mrs. Robert L. Hoguet Gerald F. Beal John Holbrook Mrs. David Rockefeller Vice-President Vice-President Vice-President Vice-President Vice-President Sampson R. Field William Rosenwald Chester G. Burden Ethan A. Hitchcock Treasurer Assistant Treasurer Assistant Treasurer Secretary Mrs. William C. Breed Francis Goelet Richard Rodgers Lee H. Bristol, Jr. Lauder Greenway Axel G. Rosin Edgar M. Bronfman Wm. Rogers Herod Carleton Sprague Smith Mrs. C. Sterling Bunnell Robert V. Lindsay Gregory B. Smith Advisor to the Board: Benjamin J. Buttenwieser Mrs. Hampton S. Lynch Miss Alice Tully Bruno Zirato Mrs. George A. Carden Paul G. Pennoyer Robert A. Uihlein, Jr. Mrs. E. Gerry Chadwick Francis T. P. Plimpton Maitland A. Edey Mrs. Edward R. Wardwell Cornelius V. Whitney

TRUSTEES Amyas Ames Gerald F. Beal Benjamin J. Buttenwieser Sampson R. Field Paul G. Pennoyer ADMINISTRATION Carlos Moseley, Managing Director William Weissel, Assistant Manager Albert K. Webster, Assistant Manager Maynard Steiner, Controller Frank Milbum, Press Director and Music Administrator Sophie Untermeyer, Fund Raising Director Clara Simons, Executive Assistant Helen Franklin, Head, Subscription Department John M. Chappell, Administrative Assistant Kenneth Haas, Assistant to the Managing Director Winston Fitzgerald, Administrative Assistant

George Szell Handel: THE WATER MUSIC—Suite THE ROYAL FIREWORKS —Suite MINUET (from "The Faithful Shepherd") LARGO (from "Xerxes”) The London Symphony Orchestra Stereo CS-6236 ", . . Szell contrasts moods implicit in various movements with keen sensitivity ... wealth of imagination ... The Lon­ don Symphony plays in top form, brilliantly, with luscious scintillating tone ... by far the most gratifying recording of these works." Music Journal

¿ímnoK RECORDS ®

I NEW YORK PHILHARMONIC

LEONARD BERNSTEIN, Music Director

BORIS BROTT, GAETANO DELOGU, ) Francois huybrechts, farhad mechkat \Assistant Conductors

ORCHESTRA PERSONNEL

VIOLINS CELLOS CONTRABASSOON David Nadien Lome Munroe Bert Bial Concertmaster Nathan Stutch Bernard Altmann HORNS Frank Gullino Gerald K. Appleman Joseph Singer Asst. Concertmaster George Feher James Chambers Meet Joseph Bernstein Lorin Bemsohn A. Robert Johnson 2nd Asst. Concertmaster Paul Clement John Carabella Avram A. Lavin Ranier De Intinis William Dembinsky Thomas Liberti William Namen Bjoem Andreasson Asher Richman the Alfio Micci Evangeline Benedetti TRUMPETS Leon Temerson William Vacchiano Kenneth Gordon Carmine Fomarotto Max Weiner BASSES John Ware Conductor Leon Rudin Robert Brennand James Smith Carlo Renzulli John Schaeffer William Nowinski Walter Botti TROMBONES GEORGE SZELL Louis Fishzohn Homer R. Mensch Edward Herman, Jr. Orin O’Brien Gilbert Cohen During his years Morris Borodkin Allen Ostrander in Cleveland, Newton Mansfield James V. Candido Lew Norton Edward Erwin George Szell has Mordecai Dayan Benjamin Schlossberg appeared as guest Enrico Di Cecco TUBA conductor with the Joachim Fishberg Joseph Novotny orchestras of New FLUTES Leopold Rybb Julius Baker York, Boston, Chi­ Oscar Weizner TIMPANI cago, Philadelphia, Robert Morris Saul Goodman Jacques Margolies Paige Brook San Francisco, Los Eugene Bergen Angeles and Wash­ PERCUSSION Luigi Carlini PICCOLO Walter Rosenberger ington; and during Nathan Goldstein his annual mid-winter vacations from F. William Heim Elden Bailey Martin Eshelman Morris Lang Severance Hall, he served for a num­ Carlos Piantini OBOES ber of years as one of the permanent Bernard Robbins HARP Harold Gomberg conductors of the Concertgebouw Or­ Theodor Podnos Jerome Roth Myor Rosen chestra of Amsterdam, to which he Allan Schiller Albert Goltzer frequently returns. He has been a regu­ W. Sanford Allen ORGAN, HARPSICHORD lar podium guest at the Salzburg Festi­ Oscar Ravina Bruce Prince-Joseph vals since 1949, and during the sum­ Michael de Stefano ENGLISH HORN mers he intersperses his vacation with Richard Simon Engelbert Brenner PIANO, CELESTE guest conducting appearances in the Gino Sambuco Paul Jacobs leading European festivals, including CLARINETS VIOLAS Stanley Drucker those of Vienna, Milan, Florence, Vien­ Orchestra Personnel Mgr. William Lincer Michael Burgio na, Lugano, Lucerne, Prague, London, Joseph De Angelis Stockholm, and others. He has been a Leonard Davis regular guest conductor with the New David Kates E-FLAT CLARINET Assistant Personnel Mgr. York Philharmonic for extended peri­ Sol Greitzer Peter Simenauer John Schaeffer ods since 1942 and conducted during Ralph Mendelson Selig Posner BASS CLARINET Librarian the 1965-1966 season a total of 15 con­ Howard Keresey certs. Mr. Szell’s 50th anniversary as a Eugene Becker Stephen Freeman conductor was observed nationwide in Robert Weinrebe Stage Representative 1963, especially by a cover story in Henry Nigrine BASSOONS Francis Nelson Time Magazine, and by lead stories in Larry Newland Manuel Zegler Newsweek and The New York Times William Carboni Frank Ruggieri Com poser-in-Residence Magazine. During the 1969-70 season, Raymond Sabinsky Harold Goltzer Fredric Myrow Mr. Szell will act as Music Advisor and Senior Guest Conductor for the Phil­ harmonic. »L JR J&. Ä JR Æstt. Ä Ä ¿L Ik JR jk Æjte Ä JR Æ”3l Jt “k THE AUXILIARY BOARD OF THE NEW YORK PHILHARMONIC 1968-1969

Mrs. Robert L. Hoguet, Chairman Mrs. Lytle Hull, Honorary Chairman Mrs. A. Neil Lilley ...... First Vice-Chairman Mrs. Richard J. Bernhard Second Vice-Chairman Mrs. Frederick Sheffield . Secretary Miss Barbara Levy Treasurer Mrs. Edward R. Wardweli. Chairman, Nominating Committee Mrs. George A. Carden Co-Chairmen, Student Activities Committee Mrs. John W. Straus Meet Mrs. Horace Brock .... Chairman, Women’s Division, Friends of the Philharmonic CENTRAL COMMITTEE the Mrs. Bartlett Arkell Mrs. William W. Golub Mrs. Donald M. Oenslager Mrs. Richard J. Bernhard Mrs. Louis A. Green Mrs. Walter N. Pharr Mrs. William C. Breed Mrs. Robert L. Hoguet Mrs. William Rosenwald Mrs. Samuel N. Brimberg Miss Marion Huber Mrs. J. Myer Schine Mrs. Samuel Bronfman Mrs. Lytle Hull Mrs. M. Lincoln Schuster Artist Mrs. C. Sterling Bunnell Mrs. Henry Ittleson, Jr. Mrs. Leo Simon Mrs. E. Gerry Chadwick Mrs. William G. Maguire Miss Jean Tennyson Mrs. Gilbert W. Chapman Mrs. Joseph V. McMullan Mrs. Edward R. Wardweli Mrs. Frank Hayden Connor Mrs. Joseph A. Neff Mrs. Samuel Yaffe ARTUR RUBINSTEIN Mrs. Frederick L. Ehrman Mrs. Patricia G. Young Born in Lodz, Po­ MEMBERS land, Artur Rubin­ stein displayed his Mrs. Hulbert S. Aldrich Mrs. William W. Golub Mrs. Joseph A. Neff extraordinary mu­ Mrs. Amyas Ames Mrs. David Granger Mrs. Ralph B. Neuburger Mrs. Chester Ames Mrs. Louis A. Green Mrs. Liston Noble sical talents as early Mrs. Bartlett Arkell Mrs. M. Thompson Greene Mrs. Donald M. Oenslager as age three, play­ Mrs. John B. Aspegren Mrs. Stephen Grob Mrs. Lionel Perera, Jr. ing musical phrases Mrs. Gordon Auchincloss Mrs. Louis Gualandi Mrs. Walter N. Pharr on the piano with Mrs. Howard Austin Mrs. Clarence L. Hay Mrs. Ogden Phipps Mrs. Robert Low Bacon Mrs. James V. Hayes Mrs. Francis T. P. Plimpton greater facility than Mrs. Clendenin Bailey Mrs. Ethan Allen Hitchcock Mrs. John M. Powers most three-year- Mrs. Walter C. Baker Mrs. Gerald T. Hodge Mrs. David A. Prager olds speak simple Mrs. Morton M. Banks Mrs. Robert L. Hoguet Mrs. Harold Irving Pratt sentences. At five, he gave a recital in Mrs. Gerald F. Beal Mrs. Arthur A. Houghton, Jr. Baroness Theresa Radvanszky Mrs. J. Philip Benkard Miss Marion Huber Mrs. Arthur M. Reis Warsaw, and at eight was presented to Mrs. L. D. Thomas Berg Mrs. Lytle Hull Mrs. William Rosenwald the great violinist and a friend of Mrs. Enid Berkall Mrs. Henry Ittleson, Jr. Dr. Marion Rous Brahms, Joseph Joachim who, impressed Mrs. Richard J. Bernhard Mrs. Philip Ives Mrs. J. Myer Schine by the youngster, assumed responsibility Mrs. Leonard Bernstein Mrs. H. Harris Jonas Mrs. Janos Scholz Mrs. Hobart Betts Mrs. Alfred Winslow Jones Mrs. Arthur D. Schulte for his musical education, sending him Mrs. Robert Woods Bliss Mrs. David M. Keiser Mrs. M. Lincoln Schuster to the great teachers of the day. At Mrs. Sterling Boos Mrs. Alfred Kohn Mrs. H. Cecil Sharp eleven, he made his formal debut in Mrs. William C. Breed Mrs. Richard K. Korn Mrs. Frederick Sheffield Berlin, playing the Mozart Concerto in Mrs. Samuel N. Brimberg Mrs. Miltiades P. Kyrtsis Mrs. Leo Simon Mrs. Horace Brock Mrs. Adrian Lambert Mrs. Arthur Stein A major, with his musical godfather Mrs. Samuel Bronfman Mrs. William S. Lasdon Mrs. Gardner D. Stout Joachim conducting. By the age of fif­ Mrs. Alvin G. Brush Mrs. Peter I. B. Lavan Mrs. Donald B. Straus teen, the young pianist had performed Mrs. Hugh Bullock Mrs. Llewellyn Lee Mrs. John W. Straus all over Germany and Poland. His Mrs. C. Sterling Bunnell Mrs. George J. Leness Miss Jean Tennyson American debut took place in Philadel­ Mrs. Samuel R. Callaway Miss Barbara Levy Mme Lilliana Teruzzi Mrs. George A. Carden Miss Jessica Levy Mrs. Robert H. Thayer phia in 1906, followed five days later Mrs. John C. Carrington Mrs. A. Neil Lilley Mrs. Marshall Tulloch by an appearance in Carnegie Hall, also Mrs. E. Gerry Chadwick Mrs. Hampton S. Lynch Mrs. Sophie Untermeyer with The Philadelphia Orchestra. His Mrs. Gilbert W. Chapman Mrs. E. T. MacDermott Mrs. Horst Von Hennig debut with the New York Symphony, Mrs. J. R. Cominsky Mrs. Clarence H. Mackay Mrs. Lowell Wadmond Mrs. Frank Hayden Connor Mrs. William G. Maguire Mrs. Joseph L. R. Wahl which in 1928 merged with the New Miss Clarita Crosby Mrs. Clifford D. Mallory, Jr. Mrs. Edward R. Wardwell York Philharmonic, occurred in 1919. Mrs. Raymond de Clairville Mrs. Frederick W. Marks, Jr. Mrs. Maynard C. Wheeler when he performed Brahms’ Second Marquesa de Cuevas Mrs. G. Stanley McAllister Mrs. Alexander M. White Piano Concerto under the direction of Mrs. William F. Draper Mrs. Arthur V. McDermott Mrs. Richard Whitney Mrs. Frederick L. Ehrman Mrs. Malcolm F. McKesson Mrs. Philip Wiedel Walter Damrosch. Today, fifty years Mrs. Seneca D. Eldredge Mrs. Joseph V. McMullan Mrs. Arthur Wiesenberger later, the pianist has appeared nearly Mrs. Hawley Driggs Ely Mrs. Roy Megargel Mrs. Frederick C. Windisch fifty times with the Orchestra, perform­ Mrs. James H. M. Ewart Mrs. Claire Millard Mrs. William Woodward, Jr. ing in two Pension Fund Concerts over Mrs. Sherman Ewing Mrs. Minot K. Milliken Mrs. Norman S. Woolworth Mrs. Marshall Field Mrs. Seth M. Milliken, Jr. Mrs. Samuel Yaffe the years. His distinguished career has Mrs. Sampson R. Field Mrs. David L. Mitchell Mrs. Patricia G. Young taken him to literally every major city Mrs. Myles S. Friedman Mrs. Edwin A. Muller Mrs. James E. Ziegler, Jr. in the world, including Hollywood, Mrs. Ruth R. Goddard Mrs. Charles A. Munroe Princess zu Wied where he performed in several motion Mrs. Nathaniel L. Goldstein pictures. The pianist became an Amer­ JUNIOR MEMBERS ican citizen in 1946. He has recorded nearly all the major works for keyboard, Mrs. John H. Allan Mrs. Pieter Greeff Mrs. J. Harden Rose Mrs. Thomas A. Burke Mrs. George Montgomery, Jr. Mrs. William T. Seed and currently has over fifty recordings Miss Barbara Gaylord Mrs. Phillips H. Payson Mrs. Hamilton Southworth, Jr. in the catalog. CORPORATE PATRONS Altman Foundation, Inc. Merrill Lynch, Pierce, Fenner PATRONS American Telephone and Telegraph Co. & Smith, Inc. Baldwin Piano and Organ Company Morgan Guaranty Trust Company The Bank of New York National Distillers & Chemical Bonwit Teller Corporation The Bowery Savings Bank New York Telephone Company of the Bristol Myers Fund The New York Times Foundation The Chase Manhattan Bank Foundation Reader’s Digest Foundation Rockefeller Center, Inc. Continental Can Company, Inc. Joseph E. Seagram and Sons, Inc. Crowell Collier and Macmillan Jos. Schlitz Brewing Co. New York Foundation Shell Companies Foundation First National City Bank of New York The Singer Company Foundation The Ford Foundation Standard Oil Company Inc. in General Telephone New Jersey & Electronics Corporation Steinway and Sons Philharmonic IBM Corporation Trans World Airlines Kidder Peabody & Company, Inc. Twentieth Century Fox Film Lanvin-Charles of the Ritz, Inc. Corporation McCrory Foundation United States Steel Foundation 1968-1969 Marsh and McLennan Foundation, Inc. Western Electric Company, Inc.

Mr. and Mrs. Winthrop W. Aldrich Mr. and Mrs. Arthur A. Houghton Mrs. George A. Rentschler Mrs. Francis J. Allen Mrs. Lytle Hull Mr. John L. Riegel Mr. and Mrs. Amyas Ames Mr. and Mrs. Adrian C. Israel Mrs. William C. Riker Mr. and Mrs. Bernard Aronson Mrs. Henry Ittleson, Jr. Mrs. Karl Robbins The Avalon Foundation Mr. and Mrs. Kenneth A. Ives Mrs. George Roberts Mr. Dana Converse Backus Mr. and Mrs. B. Brewster Jennings Mr. and Mrs. David Rockefeller Mr. and Mrs. Giovanni Bagarotti Mr. and Mrs. Alfred Winslow Jones Mrs. John D. Rockefeller, Jr. Mr. and Mrs. Gerald F. Beal The J. M. Kaplan Fund Inc. Mrs John D. Rockefeller, III Mr. and Mrs. William S. Beinecke Mr. and Mrs. Irving D. Karpas Rockefeller Brothers Fund, Inc. Mr. and Mrs. George F. Berlinger Mr. and Mrs. Aaron Kaufman Mr. and Mrs. Richard Rodgers Mr. and Mrs. Leonard Bernstein Mr. and Mrs. David M. Keiser Mr. and Mrs. Elihu Rose Mr. Frederic H. Brandi Mrs. William S. Kies Mr. and Mrs. Harold L. Rosenthal Mrs. William C. Breed Mr. and Mrs. David Klee Mr. and Mrs. William Rosenwald Mrs. Samuel N. Brimberg The Jack Kriendler Memorial Foundation Mr. Axel G. Rosin Dr. and Mrs. Lee Hastings Bristol, Jr. Miss Elma M. Lapp Mrs. Harry J. Rudick Mr. and Mrs. Edgar M. Bronfman Mr. Jack S. Lasdon Mr. Howard J. Sachs Mrs. Samuel Bronfman Mr. and Mrs. Stanley S. Lasdon Mr. and Mrs. Harry Scherman Mrs. Alvin G. Brush Mr. and Mrs. William Lasdon Mrs. J. Myer Schine Mr. and Mrs. Walker G. Buckner Hon. and Mrs. Peter I. B. Lavan Mr. Edward A. Schrader Mr. and Mrs. C. Sterling Bunnell Mr. and Mrs. James F. Lawrence Mr. and Mrs. Arthur D. Schulte Mr. and Mrs. Chester G. Burden Mr. and Mrs. George J. Leness Mrs. M. Lincoln Schuster Mrs. Donald F. Bush Mrs. Edgar M. Leventritt Bernard and Irene Schwartz Mr. and Mrs. Benjamin J. Buttenwieser Mr. and Mrs. Francis S. Levien Miss Muriel Siebert Mr. and Mrs. Samuel R. Callaway Mr. and Mrs. Philip J. Levin Mr. and Mrs. Daniel H. Silberberg Dr. and Mrs. George A. Carden Mr. and Mrs. Gustave L. Levy Mrs. Leo Simon Mrs. John C. Carrington Mr. and Mrs. A. Neil Lilley _ Mr. and Mrs. Herbert M. Singer Mrs. Elbridge Gerry Chadwick Mr. and Mrs. Robert V. Lindsay Mr. Carleton Sprague Smith Mrs. Gilbert W. Chapman Mr. and Mrs. Henry A. Loeb Mr. Gregory B. Smith Mrs. Frederick R. Childs, Jr. Mr. and Mrs. John L. Loeb Mr. Rudolph G. Sonnebom Mr. and Mrs. W. Van Alan Clark Mrs. Farnsworth Loomis The Starr Foundation Mrs. Frank Hayden Connor Mr. Edwin S. Lowe Mr. and Mrs. John H. Stauffer Mrs. William H. Conroy Mr. and Mrs. Hampton S. Lynch Mr. and Mrs. Theodore E. Stebbins Mr. and Mrs. Gardner Cowles Mr. and Mrs. David Hunter McAlpin Mr. and Mrs. Arthur J. Steel Mrs. Cornelius Crane Mr. Frasier McCann Mr. and Mrs. Hoyt P. Steele Mrs. Joseph F. Cullman, III Mr. and Mrs. John R. McGinley Mr. and Mrs. Carl Stern Mr. and Mrs. Nathan Cummings Mrs. Joseph V. McMullan Mr. and Mrs. Gardner D. Stout Mr. and Mrs. Leonard Dalsemer Mrs. William G. Maguire Mrs. Herbert N. Straus Mr. Arthur H. Dean Mr. and Mrs. Frits Markus Mr. and Mrs. John W. Straus Mr. and Mrs. Raymond de Clairville Mrs. Leonard M. Marx Miss Jean Tennyson Mr. and Mrs. Aaron Diamond Mr. and Mrs. Andre Meyer Mr. and Mrs. Emanuel M. Terner Mr. and Mrs. F. M. Eaton Mr. and Mrs. Stanley R. Miller Mr. and Mrs. Alan Tishman Mr. and Mrs. Maitland A. Edey The Ambrose Monell Foundation Mrs. Carll Tucker Mr. and Mrs. Frederick L. Ehrman Mrs. Joseph A. Neff Miss Alice Tully Mrs. Morton Fearey Mr. and Mrs. Albert Nerken Mr. and Mrs. Robert A. Uihlein, Jr. Mr. and Mrs. Richard Feldman Mr. Norman B. Norman Mr. and Mrs. Harold D. Uris Mr. and Mrs. Sampson R. Field The Oaklawn Foundation Mrs. A. L. Van Ameringen Mr. and Mrs. Andrew A. Fraser Mrs. Donald M. Oenslager Mr. Edwin C. Vogel Miss Matilda E. Frelinghuysen Old Dominion Foundation Mr. Chauncey L. Waddell Mr. and Mrs. Albert Fried, Jr. Mr. and Mrs. Paul G. Pennoyer Mr. and Mrs. Frederick M. Warburg Mr. Francis Goelet Mrs. Robert L. Peterson Mr. Gerald F. Warburg Mr. and Mrs. Peter C. Golffing Mrs. Walter N. Pharr Mrs. Paul Felix Warburg Mr. and Mrs. William W. Golub Mr. and Mrs. Howard Phipps Mrs. Allen Wardwell Mr. and Mrs. Albert H. Gordon Mr. and Mrs. Howard Phipps, Jr. Mr. and Mrs. Edward R. Wardwell Mr. and Mrs. Milton A. Gordon Mr. and Mrs. Harvey D. Picker Mrs. Alexander M. White Mr. and Mrs. David Granger Mr. and Mrs. Ned L. Pines Mr. and Mrs. Cornelius V. Whitney Mrs. Louis A. Green Mr. and Mrs. Francis T. P. Plimpton Mr. and Mrs. John Hay Whitney Mr. David J. Greene Mr. and Mrs. Thomas C. Plowden- Mr. Lawrence A. Wien Mr. Thurston Greene Wardlaw Mr. and Mrs. Frederick C. Windisch Mr. Lauder Greenway Mr. and Mrs. Saul Poliak Mr. and Mrs. Robert I. Wishnick Mr. Monroe C. Gutman Mr. and Mrs. David A. Prager Mr. Sidney H. Witty Mrs. Alfred Harcourt Mrs. George D. Pratt Mrs. Willis D. Wood Mr. and Mrs. William R. Herod Mrs. H. Irving Pratt Mrs. Samuel Yaffe Mr. and Mrs. Ethan A. Hitchcock Mrs. Richardson Pratt Mrs. Alfred T. Zoebisch Mrs. Robert L. Hoguet Mr. Francis F. Randolph Five Anonymous Patrons Mr. and Mrs. John Holbrook Patrons of Lincoln Center for the Performing Arts

John D. Rockefeller, Jr. Harold Stirling Vanderbilt Standard Oil Company (New Jersey) Mr. and Mrs. David M. Keiser Mrs. Josephine Lawrence Graeber Avalon Foundation Mrs. Felix M. Warburg Allan P. Kirby First National City Educational and Arthur A. Houghton, Jr. Mr. and Mrs. Walker G. Buckner Charitable Foundation Mr. and Mrs. John D. Rockefeller 3rd Mr. and Mrs. Amyas Ames The Chase Manhattan Bank Foundation Mr. and Mrs. Pierre David-Weill Mr. and Mrs. Gustave L. Levy Manufacturers Hanover Trust Company Mrs. V. Beaumont Allen Mr. and Mrs. Henry J. Heinz II Corning Glass Works Foundation Mrs. John T. Pratt Margaret Mellon Hitchcock Chemical Bank Mrs. Richard Charlton Mr. and Mrs. Seymour H. Knox Morgan Guaranty Trust Company of Frasier W. McCann Mr. and Mrs. Frank Stanton New York Mrs. Joseph V. McMullan Mr. and Mrs. David Hunter McAlpin James Foundation of New York, Inc. Mrs. Arthur Lehman Mr. and Mrs. Douglas Dillon Bankers Trust Company Mrs. Alta Rockefeller Prentice Mr. and Mrs. Lawrence A. Wien The Commonwealth Fund Mrs. Robert Walton Goelet The Family of Carl H. Pforzheimcr The Equitable Life Assurance Society of Francis Goelet Mr. and Mrs. W. Van Alan Clark the United States Mr. and Mrs. John Goelet Mr. and Mrs. Harry B. Helmsley Lazard Freres & Co. Robert G. Goelet Mr. and Mrs. Eugene Ferkauf IBM Mr. and Mrs. Hayward F. Manice Mr. and Mrs. Nathan Cummings Texaco Inc. Alfred P. Sloan, Jr. Mr. and Mrs. Andre Meyer Metropolitan Life Insurance Company Mr. and Mrs. Frank Altschul David and Irene Schwartz New York Life Insurance Company Mr. and Mrs. Robert E. Blum Mr. and Mrs. Edwin S. Marks Juilliard Musical Foundation Mr. and Mrs. David Rockefeller Mr. and Mrs. Richard Rodgers Bell System Companies in New York City Mr. and Mrs. Walter H. Annenberg Mr. and Mrs. Gardner Cowles Union Carbide Corporation Mr. and Mrs. Louis J. Horowitz Mr. and Mrs. Roger L. Stevens United States Steel Foundation John S. Newberry Mr. and Mrs. Louis Calder Consolidated Edison Company of Barbara Hutton C. Michael Paul New Y'ork, Inc. Lauder Greenway Mr. and Mrs. Samuel Lemberg Carnegie Corporation of New York Mr. and Mrs. Francis Kernan Mr. and Mrs. Samuel H. Golding New York Foundation Mrs. Thomas J. Watson Mr. and Mrs. Shelby Cullom Davis Columbia Broadcasting System Mr. and Mrs. Thomas M. Evans The Family of John F. Kennedy Shell Companies Foundations, Incorporated Family of Cornelius N. Bliss The Mazer Family Radio Corporation of America and NBC The Family of Julius Rosenwald James P. Warburg Bloomingdale’s Mr. and Mrs. Kenneth Appleton Ives The Family of Solomon and Rose S. Lasdon Readers Digest Association, Inc. James Donahue Mrs. Edsel Ford Old Dominion Foundation Robert Lehman The Fribourg Family The John A. Hartford Foundation, Inc. Audrey Love Irving Geist The Bodman Foundation Mr. and Mrs. O. Roy Chalk Mr. and Mrs. Joseph A. Neff Mobil Oil Company Nancy Susan Reynolds Enid Annenberg Haupt The Heckscher Foundation for Children Huntington Hartford Mr. and Mrs. Lester Francis Avnet Schenley Industries, Inc. The Family of Edward H. and Mrs. Lytle Hull Revlon Foundation Mary W. Harriman Mr. and Mrs. Leonard Block Charles and Rosanna Batchelor Mr. and Mrs. John N. Irwin II Mr. and Mrs. Joseph L. Mailman Memorial, Inc. The Family of Carl M. Loeb Mr. and Mrs. Harold L. Fierman Standard Oil Company of California Mr. and Mrs. Albert A. List Mr. and Mrs. Richard Salomon Rockefeller Brothers Fund Mrs. Charles V. Hickox Mr. and Mrs. Frank E. Taplin, Jr. Consolidated Natural Gas Company Mr. and Mrs. Henry Ittleson, Jr. Mr. and Mrs. Herbert M. Singer Samuel H. Kress Foundation Mr. and Mrs. John Hay Whitney Stavros S. Niarchos Bethlehem Steel Corporation Mrs. John D. Rockefeller, Jr. Bernice Chrysler Garbisch Vivian B. Allen Foundation, Inc. Mr. and Mrs. Owen Robertson Cheatham The Family of Erwin S. Wolfson Irving Trust Company Mr. and Mrs. Leon Hess Carl A. Morse The Spiros G. I’onty Foundation Mr. and Mrs. Charles W. Engelhard Mr. and Mrs. Jack Linsky Charles Ulrick and Josephine Bay Mr. and Mrs. Irwin Hamilton Kramer The Durst Family Foundation, Inc. Mr. and Mrs. I.ansdell K. Christie Mr. and Mrs. Said Jeffee Josephine Bay Paul and C. Michael Paul Mr. and Mrs. Cornelius Vanderbilt Whitney Mr. and Mrs. Sol Kittav Foundation, Inc. Mr. and Mrs. Percy Uris Mr. and Mrs. Charles H. Dyson Wertheim & Co. Mr. and Mrs. Harold D. Uris Lila A chleson Wallace Firestone Foundation Mrs. Ambrose Monell Mr. and Mrs. Bruce L. Zenkel William S. Paley Foundation, Inc. Mrs. Hazel Hopkins Ford Richard J. Schwartz The Howard Johnson Foundation The Family of Clarence and Anne Dillon Mr. and Mrs. Milton Petrie Lehman Brothers Alice Bigelow Tully Evlvnne and Max M. Low W. H. Charities Mr. and Mrs. John R. Kimberly The Family of Ethel S. Mehlman The George F. Baker Trust Mr. and Mrs. Charles Shipman Payson Aye Simon D. S. and R. H Gottesman Foundation Mr. and Mrs. Willis H. Booth Mrs. Jean Mauzd Glen Alden Corporation Mrs. Vincent Astor Three anonymous donors The Philip and Janice Levin Foundation Carl Marks & Company, Inc. Beinecke Foundation Bear, Stearns, & Co. The Rockefeller Foundation J. P. Stevens & Co., Inc. Foundation Patrons’ desk 765-5100, Daniel P. Butler The Ford Foundation The First Boston Foundation Trust Whiting’s play The Devils (which, in IN turn, was based on Aldous Huxley’s OTHER novel), will mark the Santa Fe debut Mime HALLS of Minnesota Symphony conductor, Stanislaw Skrowaczewski. The director will be Konrad Svinarski of the Warsaw The contemporary game of “share the Mime Theater, with sets and costumes conductor” is being played on two fronts by Rouben Ter-Arutunian. Menotti’s by the Boston Symphony Orchestra, fourteenth opera, The Globolinks, will which once barely gave house room to be given on a double bill with Stravin­ guest conductors. In addition to sharing sky’s Le Rossignol and will be directed William Steinberg with the Pittsburgh by the composer, with Alwin Nikolais Symphony, it has turned over artistic the designer. Santa Fe’s Director John direction of the Berkshire Festival (Tan­ Crosby has also planned three new pro­ glewood) to Seiji Ozawa, who is pres­ ductions from the standard repertory: ently director of the Toronto Symphony Tosca, Così fan tutte and Salome. A and who will succeed Josef Krips in San revival of last season’s The Magic Flute Francisco when the latter’s contract ex­ completes the schedule. A SPECIAL pires. Beginning in 1970, Ozawa will ix share direction of the Festival with Carlyle Floyd’s setting of John Stein­ Gunther Schuller, who also serves as beck’s Of Mice and Men, which was INVESTMENT President of the New England Conserv­ originally scheduled for a New York atory of Music. The areas of responsi­ City Opera première next season—and, bility have been clearly defined: Schuller before that, a San Francisco Opera MANAGEMENT will supervise the academic activities of commission—has become the privilege the Berkshire Music Center, while of the Seattle Opera’s enterprising Glynn SERVICE Ozawa will have the major responsibil­ Ross. The principal roles of Lenny and ity for the Boston Symphony’s summer George will be played respectively by concert season. Casting a fatherly eye tenor Robert Moulson and baritone Creative, vital management, ori­ on both will be Tanglewood’s most dis­ Julian Patrick. The production, in whose tinguished alumnus, Leonard Bernstein, cost the Ford Foundation is participat­ ented to asset growth for a lim­ who came there to study with Serge ing, will be seen during January of 1970. ited number of individuals, trusts, Koussevitzky in the center’s first session in 1940. He has been named Advisor to With an eye to the future of Wagnerian estates, pension funds and other Tanglewood and he, too, is being shared, singing, the Lauritz Melchior Helden- holders of substantial portfolios. as next season he becomes Laureate tenor Foundation awarded cash prizes Conductor of the New York Philhar­ to two young Philadelphian singers, Wil­ Loeb, Rhoades stresses monic. liam Cochran and John Russell, who jx won the final auditions held in New pertormance by marshaling its Eugene Istomin’s current 20-city tour York during February. The judges, full investment resources for the with the Istomin-Stern-Rose Trio is members of the Foundation’s Board of marking the conclusion of the American Directors and Advisory Council, were use of the portfolio manager, pianist’s gala 25th anniversary season, founder-president Lauritz Melchior, a highly motivated professional ending officially on May 15 with the Karin Branzell, Otto Edelmann, Alex­ Trio’s Carnegie Hall concert. Mr. Isto­ ander Kipnis, Peter Mennin, Birgit Nils­ who translates the firm's capa­ min—a winner of both the Levintritt son, Ignace Strasfogel and Gideon Wal­ bilities into a dynamic program Award and The Philadelphia Orchestra drop. As aid to the young heroic tenor Youth Contest, after which he made his career (such as Melchior himself re­ directed toward the clients' debut at the age of eighteen with the ceived before his debut as a Heldentenor objectives. Charges are on an New York Philharmonic—highlighted fifty years ago in 1918), the multi-thou- this anniversary season by performances sand-dollar grants are being based on agreed fee basis. in New York with The Philadelphia Or­ the individual needs of each singer for chestra, the Philharmonic and the Na­ coaching, voice and language lessons, You are invited to write tional Symphony, as well as national and living expenses incurred during the fora complete description of our engagements with the Boston Symphony, singer’s development. Los Angeles Symphony, Detroit Sym­ Investment Management Service. phony and Baltimore Symphony. The March 12 marked the Philadelphia Address Department IM-L. pianist’s twenty-fifth recording, Beeth­ Grand Opera world première of musi­ oven’s Fourth Piano Concerto with Eu­ cian - com pose r - b us i nessman - industrialist gene Ormandy and The Philadelphia Pietro Aria’s Jericho Road, which was Orchestra, has been released by Colum­ composed in 1966 and dedicated to bia to coincide with this event. His Holiness Pope Paul VI. Based on a play by his wife, poetess Isabel Harriss LOEB, RHOADES & CO. Krzysztof Penderecki’s The Devils of Barr, the opera is a dramatization of Loudun and Gian Carlo Menotti’s Help! Christ’s granting of sight to Bartimeus, Members New York Stock Exchange Help! The Globolinks—both given their the blind man of Jericho—it was Pope and other leading Stock Exchanges world premieres by the Hamburg State Paul’s journey to the U.S. and his mes­ 42 WALL STREET, N.Y. 10005 Opera this season—will have their Am­ sage of peace before the United Nations erican premieres during this summer’s Assembly that inspired Aria to write his thirteenth season of the Santa Fe Opera opera. The miracle of sight, Aria has in New Mexico, July 5 to August 23. said, is the symbol of renewal and en­ Penderecki’s first opera, taken from John lightenment, a cry for a renewal of con-

22 science, eliminating violence in man’s Ernest Ansermet . . . way of thinking. continued from page 12 For its fifteenth season as resident opera company, beginning September 26, Chi­ resented the widely held notion that his Canoe. cago’s Lyric Opera will add several musical sympathies were narrow in works to its growing repertory, including range, and in later years he insisted that the opening night Khovanshchina of we give him the opportunity to prove his Mussorgsky, Wagner’s Derfliegende Hol­ mettle in a much wider repertoire— lander, Verdi’s Macbeth and Falla’s El If he’s not Bach, Haydn, Beethoven, Mendelssohn, Amor Brujo, which will share a double Brahms, and even some Wagner and bill with Cavalleria Rusticana. Revivals Sibelius. will be Bellini's I Puritani, Rossini’s The Among his fellow practitioners he Barber of Seville, Mozart’s Don Gio­ worth it, vanni and Puccini’s Madama Butterfly. admired Toscanini most unreservedly: Artists contracted range from sopranos Few things gave him so much pleasure Felicia Weathers, Claire Watson, Ilva in his career as the invitation to conduct Ligabue and Anja Silja to mezzos Grace the NBC Symphony and the opportunity he’s not Bumbry, Fiorenza Cossotto and Marilyn his New York visits gave him of attend­ Horne; tenors Alfredo Kraus, Franco ing the Maestro’s own rehearsals. I also Tagliavini, Renato Cioni and Jean Cox; recall the unusual sight of Ansermet on baritones Tito Gobbi, Sesto Bruscantini, his feet and cheering at the end of a worth it. Piero Cappuccilli and Gian Giacomo Geneva concert by the Leningrad Phil­ Guelfi; and basses Nicolai Ghiaurov, harmonic under Mravinsky—an orches­ Boris Shtokolov, Geraint Evans, Thomas tra which he rated one of the finest in Stewart and Ivo Vinco. his experience. k* During all the years of our acquaint­ The Italian soprano Gabriella Tucci has ance, Ansermet scarcely changed at all; become a “regular” on Italian television when he came to London a few months operatic telecasts. Next fall she will sing ago—to record The Firebird with the Natasha in a Rome TV production of New Philharmonia at Kingsway Hall— Prokofiev’s War and Peace. This winter his eyes were still the bluest and most she completed the taping of Dargomizh- piercing I have ever encountered. sky’s ZZ Convitato di Pietra, an opera on Notwithstanding his desire to be re­ the Don Juan legend. Her performance garded as a general practitioner rather as Liu in the television production of than as a specialist, I am sure that Anser­ Turandot has already been rebroadcast | met will be remembered chiefly for his on the Italian State Network as has been recordings of subtly colorful music of her performance of Aida. the Russian, French and Spanish schools, for he was above all a musician of fas­ As the long-range projection of the tidious taste, whose exceptionally de­ Weather Department calls for the sun veloped sense of sonic structure made to rise at a certain time over the island him the ideal collaborator at a time of of Puerto Rico on Thursday, May 29, unprecedented development in the art so the schedule of the 1969 Festival of recording. The new recording of the Casals calls for the ninety-plus master complete Firebird already mentioned musician to give the downbeat for the was the last he made, and it brought D-major Symphony (Prague) of Mozart Ansermet back full circle to Kingsway at 8:30 p.m. on the same date, and later Hall where it had all begun with Pe- that evening to direct a playing of trouchka twenty-two years earlier. Brahms’ Double Concerto with Yehudi Perhaps I may end by citing one fur­ Menuhin and Leslie Parnas as violin ther facet of Ansermet’s concern for the and cello soloists respectively. Among product he was helping to make. When others noted to participate in the series takes are played back in the control are Sir John Barbirolli and Daniel Bar­ room, the volume level customarily em­ enboim as conductors, likewise the last- ployed far exceeds that normally con­ named’s wife Jacqueline du Pré as cellist. sidered acceptable in the home. This is k" essential when one is trying to detect According to advices from Germany, flaws of ensemble or intonation, extrane­ Herbert von Karajan has established a ous noises, and other, similar imperfec­ foundation, called the Herbert von Kar­ tions. But this was not the whole story ajan Foundation, for the purpose of for Ansermet, who usually insisted on a stimulating interaction among musicians second playback at normal, domestic and those who practice technical disci­ level, so that he might gauge the need plines (physiology, psychology and for further adjustments of balance and Canoe by Dana. acoustics are mentioned). It will also dynamics and thereby produce a disc promote an international competition that would sound well in the average Made in France for men for young conductors, to be held in iving room. Ansermet understood the re­ who make it everywhere. Berlin during the latter part of Septem­ cording process better than most musi­ ber. 100,000 mark’s worth (or about cians, and we at Decca are proud of our $25,000) is the funding to launch the long and fruitful association with this foundation. great artist. 23 Guide to European Music Festivals—1969

PRELIMINARY FORECAST

INFORMATION DATE LOCATION TITLE DETAILS NOW AVAILABLE & TICKETS

May 1- Wiesbaden, International Opera: Die schweigsame Frau (Strauss) ; State Theatre, June 10 Germany May Festival A Masked Ball, Nabucco, Otello (Verdi) ; 6200 Wiesbaden, Postfach Tannhäuser (Wagner) ; IFerther (Massenet) ; Tel. 3 93 31 Lucia di Lammermoor (Donizetti) ; Mosè (Rossini) ; Ballet; Drama.

May 2- Florence, May Music Opera: A'ida (Verdi) ; Abduction from the Teatro Communale, June 30 Italy Festival Seraglio (Mozart) ; Fidelio (Beethoven) ; Corso Italia 16, Moses und Aaron (Schoenberg) ; Florence. Concerts; Chamber Music; Recitals. Tel. 262 841 May 12- Prague, International Opera; Concerts; Chamber Music. “Prague Spring,” June 4 Czechoslovakia Music Festival Berlin Philharmonic, Czech Philharmonic, House of Artists, ■‘Prague Spring” Royal Philharmonic, London, et al. Alesovo Nabrezi 12. Soloists include Oistrakh, Badura-Skoda, Prague I. Ricci, Souzay, Gedda, et al. Tel. 635 82 May 14- Copenhagen, Royal Danish Opera: Albert Herring (Britten) ; Festival Ticket Office. May 31 Denmark Ballet and Return of Ulysses (Monteverdi) ; Bredgade 28, Music Festival Don Giovanni (Mozart); Tristan (Wagner); Copenhagen. Tosca (Puccini) ; Bluebeard’s Castle (Bartók) ; Tel. (01) 11-11-40 Ballet; Concerts; Chamber Music.

May 15- Helsinki, Helsinki Opera: Così fan tutte, Don Giovanni Unioninkatu 28. May 29 Finland Festival (Mozart) ; Boris Godunov (Mussorgsky) ; Helsinki. Ariadne auf Naxos, Elektra (Strauss) ; Tel. 653 690 Tannhäuser (Wagner) ; Concerts; Ballet; Drama. Soloists include Kogan, Taivela, et al.

May 16- Lisbon, Festival Opera: Alcina (Handel) ; El Retablo de Fundagao Calouste June 7 Portugal Gulbenkian Maese Pedro (Falla) ; Hin und zurück Gulbenkian, (Hindemith) ; // mantello (Chailly) ; Avenue de Berne 45-A. Damnation de Faust (Berlioz); Oratorio: Lisbon. world première of L« Transfiguration Tel. 76 21 46 (Messiaen) ; Concerts; Chamber Music; Ballet. Vienna Philharmonic, et al.

May 21- Bergen, International Concerts; Chamber Music; Ballet; Festspillene I. June 4 Norway Grieg Festival Drama; Daily performances at Grieg’s home. Sverresgate 11. Cincinnati Symphony, Scottish National Bergen. Symphony, Prague Chamber Orchestra, et al. Tel. 30 0 10 Soloists include Gilels, Bjoner, Gedda, et al. May 24- Vienna, Vienna Festival Centenary of the Vienna State Opera; Oesterreichisches Verkrehrsbiiro. June 22 Austria Weeks performances by Vienna Konzerthausge- Friedrichstrasse 7. sellschafe of the “Viennese School” Vienna? (Schoenberg, Berg, Webern): International Tel. 57 23 15 Ballet Festival ; Vienna Philharmonic, Vienna Symphony, London Symphony, et al. Visiting ballet companies include Kirov Leningrad, Joffrey, Rambert London, others. May 25- Glyndebourne, Glyndebourne Così fan tutte, Don Giovanni (Mozart) ; Box Office, Glyndebourne, Great Britain Opera Pelléas et Mélisande (Debussy); IFerther Festival Opera, (Massenet). Lewes, Sussex. May 30- Bordeaux, Festival Works by Berlioz: Damnation de Faust, Commissariat du Festival, June 15 France of Music Requiem; Concerts; Chamber Music; 252 Faubourg St. Honoré, Drama. Paris 8. Tel. 924 97 28

May (late) Zurich Opera; Concerts; Chamber Music; Internationale Festwochen, July (early) Switzerland June Festival Ballet; Drama. Postfach 8023, Zurich. Tel. 051 25 6700

June 7 Strasbourg, International Concerts; Chamber Music; Recitals; Festival de Strasbourg, June 28 France Music Festival Stern, Gilels, et al. 24 Rue de la Mesange, Strasbourg. Tel. 32 43 10

June 7- Aldeburgh, The Aldeburgh Opera; Concerts: Chamber Music; Box Office, Festival Office, June 29 Great Britain Festival Recitals. Aldeburgh, Suffolk. June 10- Lyon, Lyon Performances of Berlioz Requiem and Festival de Lyon, July 5 Festival Les Troyens; Concerts; Recitals; Crespin, Hotel de Ville. Chauvet, Milstein, et al. 69 Lyon. Tel. 23 50 31 June 14- Bath, Bath Concerts: Chamber Music; Drama; Bath Festival, June 29 Great Britain Festival BBC Symphony. New Philharmonia. Allegri Linley House, Quartet, et al. Soloists include Arrau, Pierrepont Place, Ashkenazy, Baker. Bream. Shirley-Quirk, et al. Bath. Tel. BAth 2531

June 15- The Hague. Holland Opera: Così fan tutte (Mozart), Le rossignol Holland Festival Office, July 9 Amsterdam, (Stravinsky) ; Das Rheingold (Wagner) ; Gevers Deynootweg. Scheveningen. Reconstruction ( Andriessen, de Leeuw, 134, Scheveningen. The Netherlandi Mengelberg, Schat, van Vlijmen—world The Hague. Tel. 55 87 00 première) : Concerts; Ballet; Drama. Guide to European Music Festivals—1969

PRELIMINARY FORECAST

INFORMATION DATE LOCATION TITLE DETAILS NOW AVAILABLE & TICKETS

.lune 19- Spoleto, Festival of the Opera; Concerts; Chamber Music; Spoleto Festival, July 13 Italy Two Worlds Ballet; Drama. Via Margutta 17, Rome. Tel. 686 762

June 23- Granada, International Concerts; Recitals; Chamber Music; Dirección Bellas Artes, July 6 Spain Festival of Music Ballet. Alcala 34, Madrid. and Dance Tel. 2 2106 46

July 10- Aix-en-Provence, Open Air Opera: Don Giovanni, Cost fan tutte Festival International de July 31 France Festival (Mozart) ; Barber of Seville (Rossini) ; Musique, Concerts; Chamber Music; Recitals. Aix 2 bis, Boulevard de la République. Tel. 26 30 33

July 10- Dubrovnik, Festival of Opera; Ballet; Concerts; Chamber Music; Dubrovnik Festival, August 25 Yugoslavia Music, Drama Drama; Folklore. Ul, Od. Sigurate 1, and Folklore Dubrovnik. Tel. 2617, 2339

July 12- Munich, Opera Opera: Cost fan tutte (new production), Opera Festival, August 5 Germany Festival Don Giovanni, Marriage of Figaro (Mozart) ; Bayerische Staatsoper, Die Meistersinger, Tristan (Wagner) ; P.O. Box 1, I Vespri siciliani (Verdi) ; Ariadne auf Naxos, Munich 1. Salome, Der Rosenkavalier (Strauss) ; Tel. 21851 Prometheus (Orff) ; Spiel von Liebe und Tod

July 22- Bregenz, Bregenz Opera: Elixir of Love (Donizetti); Operetta: Austrian State August 20 Austria Festival Marriage at the Lake of Constance (Stolz) ; Tourist Dept. Ballet; Concerts; Drama. 444 Madison Avenue, New York, N.Y. Tel. MU 8-0355

July 25- Bayreuth, Richard Wagner Der fliegende Hollander (new production), Ticket Office, August 28 Germany Festival Parsifal, Die Meistersinger, Tristan, P.O. Box 2320, 8580, Ring Cycle. Bayreuth 2. Tel. 57 22 July 26- Salzburg, Salzburg Rosenkavalier (Strauss) ; Bastien und Austrian State August 30 Austria Bastienne, Cost fan tutte, Don Giovanni Tourist Dept. Festival (Mozart) ; La Serva padrona (Pergolesi) ; 444 Madison Avenue, Barber of Seville (Rossini) ; Fidelio New York, N.Y. (Beethoven); Concerts; Chamber Music;, Tel. MU 8-0355 Recitals; Drama.

July- Athens, Athens Opera; Concerts; Ballet; Drama; Voukourestiou Street 3, August Greece Festival Aeschylus, Sophocles, Euripides, Aristophanes. Athens. Tel. 230 049

August 1- Santander, International Concerts; Chamber Music; Recitals; Plaza de Velarde, August 31 Spain Festival of Ballets; Drama. Apartado 258, Music and Dance Santander. Tel. 22 425-27 382

August 15- Ghent, Festival of Opera; Concerts; Chamber Music; BRT Studio Ghent, September 15 Brussels, Flanders Ballet. Visiting opera groups, including St. Margrietstraat 26. Bruges, Glyndebourne; Vienna Philharmonic, Ghent. Belgium Concertgebouw, et al. Tel. 09 259740

August 13- Lucerne, International Concerts; Chamber Music; Recitals; Tourist Office, September 7 Switzerland Festival of Music Drama; Master Classes. Swiss Festival Schweizerhofquai 4, Orchestra, Lucerne Festival Strings, Lucerne. Czech Philharmonic, Berlin Philharmonic, Tel. 041-225222 English Chamber Orchestra, Collegium Musicuni Zurich, et al. Soloists include Grumiaux, Berry, Ludwig, many others.

August 24- Edinburgh, Edinburgh Opera: Visiting Teatro Communale of Edinburgh Festival, September 13 Scotland International Florence in performances of Donizetti, 29, St. James’s Street, Festival Verdi, Puccini, Dallapiccola, Malipiero; London. S W 1. Concerts: Czech Philharmonic, London Tel. 01 839 2611 Symphony, New Philharmonia, et al. Soloists include Milstein, Prey, Verrett, many others.

September 2- Besançon, Internationa] Concerts; Chamber Music; Ballet; Syndicat d’initiative, September 14 France Music Festival International competition for young conductors. 19 Rue de la République, Besançon. Tel. 82 52 35 ■Piomenades” To NEW YORK PHILHARMONIC Begin Seventh “PROMENADES” CONCERTS Spring Season KOSTELANETZ, conducting (Programs and soloists subject to The new york Philharmonic will change) launch its seventh season of “Prom­ enades” on May 21 in Philharmonic Hall with a “Promenade Espanol.” Wed., May 21 "Preview" Thurs., May 22, Opening Night Andre Kostelanetz, who inaugrated the Sat., May 24 “Promenades” in 1963, will continue as “PROMENADE ESPANOL" the Artistic Director of the non-sub- Maralin Niska, soprano scription series and will conduct all of Baritone to be announced the nineteen concerts. With the 1968-69 FALLA Dances from "The Three-Cornered Hat" season, Mr. Kostelanetz has been asso­ FALLA Excerpts from opera, "La Vida Breve” CASALS Sardana, Sant Marti del Canigo, and Song ciated with the Philharmonic for 16 of the Birds (Lome Munroe, soloist) SERRANO Aria from zarzuela, “Canción del olvido" consecutive seasons, having conducted CHAPI Aria from zarzuela, “La Revoltosa” special Saturday night concerts since RIMSKY-KORSAKOV Capriccio Espagnole 1953-54, and Pension Fund and out-of- town performances, as well as the “Promenades.” Fri.-Tues.-Wed.-Thurs., May 23-27-28-29 As has been the custom for these “RUSSIAN PROMENADE" concerts, the seats in the main floor of Donald Gramm, bass-baritone the auditorium of Philharmonic are re­ The Bil Baird Marionettes moved, and the area is filled with tables GLINKA Overture. "Russian and Ludmila” BORODIN Excerpts from opera, “Prince Igor” and chairs. Kenneth Haas continues as SHOSTAKOVICH Marionette Ballet, created by Bil Baird “Promenades” Coordinator for the third TCHAIKOVSKY Capriccio Italien season; and Peter Wexler, who has been the “Promenades” designer for the past four seasons, will again continue in this Fri.-Sat.-Tues.-Wed., May 30-31, June 3-4 capacity, designing new scenic elements “HOLIDAY PROMENADE” for the stage, as well as new decorations Veronica Tyler, soprano in the auditorium. The decorations will Robert Mosley, baritone feature for the first time special elec­ Theodore Lettvin, pianist Schola Cantorum tronic effects, including a ten-screen GOTOVAC Kolo from "Ero the Joker” color slide projector unit over the stage. HANDEL-HARTY Water Music Suite Mr. Kostelanetz has chosen to honor LITOLFF Scherzo from Piano Concerto GERSHWIN “Porgy and Bess" Excerpts, two occasions during this season’s con­ (with soprano, baritone and chorus) certs. June 10 and 11 will mark his “Salute to the American Museum of Thurs.-Fri.-Sat., June 5-6-7 Natural History in its Centennial Year,” with Israeli pianist David Bar-Illan as "SPRING PROMENADE" soloist. Music will include excerpts from Michael Rabin, violinist Rimsky-Korsakov’s Le Coq d’Or, Ravel’s WALTON Capriccio Burlesco DEBUSSY Printemps Piano Concerto in G major, excerpts SAINT-SAËNS Introduction and Rondo Capriccioso, from Hoist’s The Planets, Britten’s The for violin and orchestra DELIUS On Hearing the First Cuckoo in Spring Prince of the Pagodas ballet and Res­ SARASATE Zigeunerweisen, and Introduction and pighi’s The Pines of Rome. For the three Tarantella, for violin and orchestra final concerts, the conductor will cele­ STRAVINSKY "The Firebird” Suite brate the 150th anniversary of the birth of Jacques Offenbach. Music will be Tues.-Wed., June 10-11 drawn from La Belle Hélène, La Grand “SALUTE TO NATURE” Duchesse de Gerolstein, La Vie Parisi­ A Salute to the American Museum of Natural History enne and Gaité Parisienne. Metropolitan in its Centennial Year Opera mezzo-soprano Rosalind Elias David Bar-Illan, pianist is the soloist. RIMSKY-KORSAKOV "Le Coq d’or” Excerpts Among the seldom-performed music RAVEL Piano Concerto in G Major HOLST Excerpts from "The Planets” to be heard are excerpts from zarzuelas BRITTEN The Prince of the Pagodas by Serrano and Chapi (sung by soprano RESPIGHI The Pines of Rome Maralin Niska), excerpts from Borodin’s Prince Igor with bass-baritone Donald Thurs.-Fri.-Sat., June 12-13-14 Gramm, the Scherzo from Litolff’s Piano "PROMENADE DE PARIS” Concerto (Theodore Lettvin, soloist), Gotovac’s “Kolo” from Ero the Joker, Rosalind Elias, mezzo-soprano SAINT-SAËNS "La Princesse jaune,” Overture Walton’s Capriccio Burlesco, and Sar- DUPARC Invitation au voyage and Phydile RAVEL Pavane and Alborado del graeioso asate’s Zigeuenerweisen and Introduc­ OFFENBACH Overture, "La Belle Helene” tion and Tarantella for violin with OFFENBACH Four arias from the operettas, “La Belle Helene,” “La Grand Duchesse de Gerolstein" and Michael Rabin as soloist. Bil Baird is “La Vie Parisienne” creating a Marionette Ballet to music OFFENBACH Gaite Parisienne (In celebration of the 150th Anniversary of the of Shostakovich. birth of Jacques Offenbach)

29 Æ Replacement for Barbirolli Accustomed as we are to the idea of change in the direction of American orchestras, so Americans are adjusted to the idea of permanence in the direction of European orchestras. Thus, when an important change impends with a fa­ mous overseas orchestra, English or otherwise, it somehow obtrudes more than it perhaps should. As an instance, there is the upheaval in the affairs of the so-called Orchestre de Paris, whose ambitious plan for world eminence was rudely interrupted by the death recently of its first director, Charles Munch. At the risk of suggest­ ing that no French national is qualified to supervise such an ascension, indica­ tions are that Herbert von Karajan will be given the responsibility on any terms of participation he chooses to arrange. Why not Pierre Boulez? This eminently able Frenchman, who is widely in de­ mand elsewhere, is apparently “out” in his native land while De Gaulle’s admin­ istration is in. A rather different situation currently prevails in Manchester, England, whose famous Hallé Orchestra (named for its founder, Charles Hallé) has long been under the care and supervision of Sir John Barbirolli. On the verge of cele­ brating his 70th birthday this year, Bar­ birolli has decided that he should be relieved of the burden he has borne for the past 25 years. Circumstances alter cases, of course, but one can think of more than a few conductors of Amer­ ican orchestras who regarded 70 as a plateau from which to survey future conquests rather than to rest on past Sir John—‘‘on the verge of celebrating his 70th birthday,” December 2. glories. When the question of a change of conductor whatsoever a few years ago). nearly enough fish of suitable size to be direction in Nfanchester came to be It may surprise some West Coast music caught in it. Manchester, clearly, has no mentioned in a recent article in the lovers that among the names mentioned second worthy of being Barbirolli’s suc­ Sunday Times of London, the answers seriously, in terms of a Manchester ap­ cessor; such English possibilities as Colin seemed to have a somewhat familiar pearance “ecstatically praised” by one Davis and Charles Mackerras are other­ ring. “Giulini,” says the writer, would reviewer, was that of young Lawrence wise committed, and no others present be “an exciting possibility,” referring to Foster, former assistant to Zubin Mehta themselves. It all looks typical of a cur­ the same Carlo Maria Giulini who has in Los Angeles. Other suggested candi­ rent poverty—until it is recollected that been in demand by several American dates were Alexander Gibson, now di­ it was none other than John (not yet orchestras. “Daniel Barenboim,” notes rector of the Scottish National Orches­ Sir John) Barbirolli who was called in the same Philip Radcliffe, “would be a tra, and Moshe Atzmon, a fairly recent to succeed to the direction of the New prestigious catch” (a sizable upgrading winner of the Mitropoulos Competition. York Philharmonic when Arturo Tos­ in the “feathers-in-the-cap” department The net of it all—and it is a very canini retired (at the somewhat similar for Barenboim, who had no status as a large, inclusive net—is that there are not age of only—mind you—67). i.k.

30 Chamber Music Society . . . continued from page 2

Nine individually distinguished instru­ mental virtuosi will form the nucleus of the first subscription season of The Chamber Music Society of Lincoln Cen­ ter. The artists under contract to the Society include the Italian violinist Pina Carmirelli and American violinist Charles Treger, German-born violist Walter Trampier, American cellist Leslie Parnas, California-born flutist Paula Sylvester, New York oboist Leonard Arner, English clarinetist Gervase de Peyer and American pianist Richard Goode. Mr. Wadsworth, himself a world-travelled pianist, will complete the roster. Each an internationally ac­ If you heard that Crown Royal knowledged virtuoso with a special rep­ utation in the chamber music repertoire, is only sold in Canada you they will participate in varying com­ heard ancient history. Today you binations in a majority of the opening can buy this luxurious whisky season’s 16 regular subscription con­ practically anywhere in the States. certs, in accordance with Mr. Wads­ For about $9 a fifth. worth’s concept of “bringing together A trip to the corner has got to be from all parts of the world strong musi­ cheaper than a trip to the border. cal personalities whose combination and interaction will create new excitement in chamber music performance.” Guest Seagram’s Crown Royal is now soloists and visiting ensembles special­ izing in particular areas of the repertoire conveniently located in America. will also be engaged by the Society throughout the season. Seagram’s Crown Royal. Blended Canadian Whisky. 80 Proof. Seagram Distillers Company, N.Y.C. Programs of the Society will provide a comprehensive survey of chamber music literature, including not only rep­ ertoire for standard combinations, but also lesser-known works for unusual combinations of instruments and voices. The Society will also commission new works from composers both established and promising, of this and other coun­ tries. Mr. Wadsworth, a 39-year-old native of Newnan, Georgia, and graduate of The Juilliard School, is a well-known pianist who has collaborated with many leading instrumentalists and singers in recitals and orchestral appearances around the world and has served for the past 10 years as Director of the Cham­ ber Music Concerts at the Festival of You are sitting in one of the few places Two Worlds in Spoleto, Italy. He has created special programs for the Dum­ that plays more continuous music than we do. barton Oaks Museum Concerts in Wash­ ington, D.C., and is a special consultant to the Institute of International Edu­ cation. Mr. Wadsworth is being assisted by Irwin Scherzer, who has been named the Society’s Business Manager. A graduate of Harvard College and the Harvard Graduate School of Business Adminis­ tration, Mr. Scherzer began his activities in music with Columbia Artists Man­ agement Inc. In 1966, he left CAMI wBu-æa to join Grey Advertising Agency as ac­ MORE CONTINUOUS MUSIC THAN ANY OTHER STATION IN NEW YORK. count executive for RCA Records, Red A DIVISION OF CAPITAL CITIES BROADCASTING Seal Division, and last June joined Lincoln Center.

31 RECORD SHELF eJ Operatic Rarities-Reassembled Strauss

Cherubini’s Donizetti’s Donizetti’s Berg’s Lulu Medea Lucia di Lammermoor Daughter of the Regiment with Fischer-Dieskau

ecord releases of the last few production under Pierre Boulez on tions, with Maria Callas as Medea and seasons would seem to reflect a CBS—both works also conducted by Scotto as Lucia. R growing solicitude for the jaded Karl Bohm in Berlin for DGG with Leoncavallo’s La Boheme is another opera buff on the part of several major Evelyn Lear and Dietrich Fischer- of the recent Everest opera set (S- companies as well as their smaller con­ Dieskau) mark a real “coming of 462/3). In this version, Rodolfo is a temporaries. Convenient examples are age” for recorded opera, bringing with baritone (Guido Mazzini in the record­ Montserrat Caballé’s RCA collections of it a new imaginativeness in terms ing) and Marcello is a tenor (Antonio Rossini Rarities (LSC-3015) and Verdi of repertory. It might be, too, that so Annaloro). Mimi is sung by soprano Rarities (LSC-2995), offering excerpts opera-conscious a label as London (Eng­ Antonietta Medici, Musetta by mezzo from La donna del Iago, Otello, A rmida, lish Decca) must seek out unexploited Nedda Casei, and Alberto Zedda con­ Tancredi and L’assedio di Corinto on material to showcase such a “property” ducts the San Remo Philharmonic Or­ the Rossini disc, and selections from Un as Joan Sutherland. Both of these ob­ chestra, with the chorus of Bologna’s giorno di regno, I Lombardi, I due Fos- servations have some validity, and the Teatro Communale. cari, Alzira, Attila, II corsaro and Aroldo circumstance of Everest Records’ having Added to the already long list of re­ on the Verdi. Even more significant, economical access to the Ricordi and cordings Everest has revived from the though, are the recordings of complete Cetra catalogues has not been without old Cetra catalogue, complete with simu­ operas, among which one finds now, if benefits for the collector. lated stereo, are such works as Verdi’s not the Otello of Rossini, a Bohème by It is Everest, in fact, which has made I Lombardi (S-454/3), the same com­ Leoncavallo. available both the Leoncavallo La poser’s Un giorno di regno (S-456/2), Instead of the continued proliferation Boheme and the “other” Barber of Italo Montemezzi’s L’amore dei tre re of Aidas and Puccini Bohèmes one Seville, the one by Giovanni Paisiello. (S-447/2), and another Paisiello opera, might have expected, there has been a The Paisiello Barber (Set S-443/2) is of Nina (or La pazza per amore, S-467/3). conspicuous emphasis on less familiar Ricordi origin, and was formerly avail­ From various other sources, Everest operatic material. Speculation as to how able on the Mercury label, as were has also issued a Belgrade Opera record­ and why this has come about could be several other Everest items, including ing of Massenet’s Don Quichotte with interesting. It might be inferred that Rossini’s La cambiale di matrimonio Miro Changalovich, conducted by Oskar such accomplishments as the complete (S-446/2), Cherubini’s Medea (S- Danon (genuine stereo, S-440/2), and Ring des Nibelungen under Georg Solti’s 437/3) and Donizetti’s hardly unfamil­ an exceptionally exciting Freischiitz direction on London, the Ring building iar Lucia di Lammermoor (S-439/2). recorded by Ariola in Berlin, with Claire now on DGG under Herbert von Kara­ The Paisiello and Rossini operas are Watson, Rudolf Schock and Gottlob jan, and the two recent recordings of conducted by Renato Fasano, with Frick heading the cast and Lovro von each of Alban Berg’s operas (Lulu in Graziella Sciutti in the former, Renata Matacic conducting (S-468/3). the Hamburg production under Leopold Scotto in the latter, and Renato Capec- The Musical Heritage Society, draw­ Ludwig on Angel with Anneliese chi and Mario Petri in both. The Cheru­ ing on more contemporary European Rothenberger, Wozzeck in the Paris bini and Donizetti are La Scala produc­ recordings, has gone all the way back f Just a baton’s throw 1 from Lincoln Center 1 is New York’s only country restaurant. Tavern-on-the-Green.

avern-on-the-Green. Central Park West at 67th St. TRafalgar 3-3200.

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Anneliese Rothenberger and Joanna Simon and Salvador Novoa Erwin Wohlfahrt as Lulu as the courtesan Pantasilea and PENTHOUSE FLOOR. TIME-LIFE BUILDING and The Painter in the Hamburg Duke Orsini in the Washington Opera’s ROCKEFELLER CENTER. JU 6-2100 State Opera production of Lulu staging of Ginastera’s Bomarzo. to the very beginnings of opera, offering born, who edited the score, is the con­ what is evidently the first recording of ductor, with a cast of singers more or the first opera, Jacopo Peri’s Euridice, less familiar from recordings of Bach ...RHODES WHERE SCHOLARSHIP IS A TRADITION on its Orpheus label (OR-344/345). cantatas on various labels. The Milanese production, recorded by Deutsche Grammophon. following its j Arcophon, is conducted by Angelo release of the two Berg operas, issued a '-4 college preparatory school Ephrikian, who also contributed the recording of Hans Werner Henze’s fas­ scholarly annotation in the twenty-eight- cinating Der Junge Lord last year for boys and girls. 6th grade page booklet accompanying the set. (SLPM-139257/259). It is the original through high school. Regular On the regular MHS label there is a production of Berlin's Deutsche Oper, schqol year and summer term. new three-disc set in which Monteverdi’s conducted by Christoph von Dohnànyi, Catalog upon request. Orfeo covers five sides, with a group of with Vera Little, Edith Mathis, Lisa carnival songs by the same composer on Otto, Loren Driscoll, Helmut Krebs and Registered by Member of the Middle States side six (MHS-939/941). This is an Barry McDaniel. Also on DGG is an­ New York Board Association of Colleges Erato recording, with Michel Corboz other contemporary operatic première, of Regents and Secondary Schools conducting the Vocal Ensemble of Lau­ the first recording of Carl Orff’s Oedipus I 11 west 54th st.7n. y. 10019 • PL 7-7900 sanne and an instrumental group includ­ der Tyrann, with Rafael Kubelik con­ ing the Edward H. Tarr Brass Ensemble, ducting the Bavarian Radio Chorus and organist Lionel Rogg and other superb Orchestra, and Gerhard Stolze and players in Orfeo, and with the Quartetto Astrid Varnay heading the cast (SLPM- Barocco di Ginevra in the songs. Denis 139251/252). Stevens’ commentary and translations Columbia, shortly after making two enhance this set. of Janàcek’s operas available on its sub­ Another excellent recording of Mon­ sidiary labels (From the House of the teverdi’s Orfeo, in mono, has been avail­ Dead in CBS set 32 21 0006 and The able for a dozen years in DGG’s Archive Makropoulos Case in Epic B2S-167, series. It is the performance from the both in Prague productions conducted Hitzacker Summer Music Festival of by Bohumil Gregor and recorded by 1955, conducted by August Wenzinger Supraphon), released a complete record­ (ARC-3035/3036). Now. from the ing of Alberto Ginastera’s Bomarzo on Hitzacker Festival of 1965, the Musical its CBS label, derived from the original I ¿aicaJa Gs-lle^j/ -, • Heritage Society, by way of Amadeo, production by the Opera Society of has issued a recording of Telemann’s Washington. Julius Rudel is the conduc­ three-act opera Der geduldige Sokrates tor, with Salvador Novoa and Joanna a ____ » a (MHS-798/799). Günther Weissen- Simon (32 31 0006).

33 Angel, in addition to its regular flow of standard operatic material, has come RESTAURANTS, N.Y.C. out with Sir William Walton’s one-act Specializing in CANTONESE. PEKING. The Bear, an “extravaganza” after SHANGHAI 4 CHUNGKING Cooking. Chekhov, complete on a single disc (S- For those who want VARIETY & the 36477), with James Lockhart conduct­ ULTIMATE in Chinese Cuisine ing the English Chamber Orchestra and a cast comprising Monica Sinclair, John Shaw and Norman Lumsden. On its Seraphim label, Angel has reissued the Gay-Pepusch Beggar’s Opera, conducted by Sir Malcolm Sargent (SIB-6023). QUEENS, 91-16 59th AVE. (Nr. Queens H Max Goberman’s recording of The Beg­ & Woodhaven Blvd.) ELMHURST • 446-1166 B gar’s Opera, formerly on the late con­ SUNNYSIDE, 45-12 Queens Blvd. (Nr. Sunnyside Garden) 361-1328 ■ ductor’s own Library of Recorded Mas­ FLUSHING, 144-08 Northern Blvd. terpieces label, has also been reissued; [ (A£Parsons BlvdJ 4454244 i^j it may be had now as Everest SDBR- 3127/2. During the period covered in these remarks, though, by far the most im­ pressive quantity of unfamiliar opera, in performances and recorded sound of similarly impressive quality, has come from London Records, whose most re­ cent offerings include the first complete Richard Strauss—complete version of set of Catalani’s La Wally, with Renata his Violin Concerto and the longest Tebaldi, Mario del Monaco, Piero Cap- performance of his Burleske for puccilli and Justino Diaz (OSA-1392), Piano and Orchestra. American Continental Cuisine and a new Lakmé with Joan Sutherland, Alain Vanzo and Gabriel Bacquier thing like the popular acceptance won (OSA-1391). The Monte Carlo Opera by his operas, tone poems and songs, tottorb Orchestra plays in both sets, with Fausto that circumstance might be regarded as FACING LINCOLN CENTER Cleva conducting La Wally and Richard a reflection of the limited appeal such Superb Food at Modest Cost Bonynge conducting the Delibes opera. forms as the concerto, the sonata and Nightly Entertainment in the Lounge Bonynge is also the conductor in two the symphony held for Strauss as a com­ LUNCHEON • DINNER • SUPPER BANQUETS & CATERING other recent London recordings starring poser. Surely he was no symphonist: the Dine Here and Park FREE for the Entire Evening Joan Sutherland. One is Donizetti’s La two Strauss “symphonies” which have ¡Fifty cent service charge) Fille du régiment, with Luciano Pava­ made any impact are not symphonies at 66th Street West of Broadway SU 7-4411 rotti, Monica Sinclair, Spiro Maias and all, but post-Heldenleben works of ex­ the Covent Garden Orchestra (OSA- plicitly programmatic nature (the Sym- 1273). The other is a two-disc set titled phonia domestica and Alpensinfonie), A Festival of Baroque Opera, in which while the composer chose not to publish one record is devoted to excerpts from a “genuine” Symphony, in D minor, Karl Heinrich Graun’s Montezuma and written at the age of sixteen, and the Wlfjvtes the other to selections from Bononcini’s one in F minor, published as Opus 12, Griselda. The orchestra in this album is is never performed today (though it 344 West 57th St.-JU 6-7900 the London Philharmonic, with the Am­ may be heard, in a performance con­ A LA CARTE MENU Noon to 10 PM • Open Mon. thru Sat. brosian Singers and such soloists as ducted by Herbert Häfner, on SPA 17). DOWNTOWN 145 Fulton St. * CO 7-2233 Elizabeth Harwood, Monica Sinclair, The concerto was another matter: the Open Monday thru Friday Lauris Elms, Joseph Ward, Margreta two concertos for horn (written more or Elkins and Spiro Maias in addition to less at the beginning and end of Strauss’ Miss Sutherland (OSA-1270). career), the valedictory Oboe Concerto, Among other recent London albums and the Burleske for piano and orchestra worth noting are Benjamin Britten’s have established themselves as repertory Five minutes from Lincoln Sq. Billy Budd and Mozart’s La clemenza di items, both on records and in the con­ FLEUR DE LIS Tito. The splendid Britten set, with the cert hall. The Violin Concerto, however, French Cuisine composer conducting the London Sym­ has fared less well; it is rarely played, A la Carte Lunch and Dinner phony Orchestra and the Ambrosian and until two months ago it had not 141 West 69th St. TR 4-9060 Singers, has Peter Glossop in the title been listed in the regular edition of the role, with Peter Pears, John Shirley- Schwann Catalog for the better part of Quirk, Ronald Tear, Owen Brannigan, a decade. Norman Lumsden and Michael Langdon The Violin Concerto, like the Burleske featured in the all-male cast (OSA-1390). and the First Concerto for Horn, is an Istvan Kertész conducts the Mozart, re­ early work, composed when Strauss was corded in Vienna with Teresa Berganza, seventeen. It did not appear on records Lucia Popp and Werner Krenn (OSA- until the early Fifties, when Urania re­ 1387). leased a disc on which Siegfried Borries was soloist, with Arthur Rother con­ If the non-programmatic music of ducting the (East) Berlin Radio Or­ Richard Strauss has never enjoyed any- chestra (URLP-7032, with the Oboe

T4 AVRS-6352 had been released in Eu­ rope (and made available in this coun­ Just where does the try as an import). For the Odyssey re­ Russian Tea Room lease, however, they were able to insist that the unauthorized cut be restored. stand? So . . . the Odyssey disc not only makes the Strauss Violin Concerto more gen­ erally available, but also makes more of it available than the Amadeo import. The overside Burleske has a unique aspect about it, too, in that it is the Slightly to the left longest performance of the work on of Carnegie Hall. records, running to twenty-one minutes and thirty-five seconds. As Kurt List explained in his annotation for the Amadeo release, while most perform­ ances of the Burleske run from fourteen to seventeen minutes, Strauss indicated a timing of more than twenty-one min­ utes in the score published by Stein- Across from Lincoln Center graber, which was used for the record­ A haven for the hungry ■ of cheese, ing. There is nothing noticeably “slow” glass of u in Eugene List’s sparkling performance, MONK’S INN but the leisurely tempo, as Kurt List puts 35 IT. 64 St. (bet B’way & CPU7J Felix Mendelssohn—new recording of it, transforms the tone of the work from 874-2710 his Symphony No. 2 in B flat, the one of turbulence to a “waltz character.” Lobgesang or “Hymn of Praise,” for the Leipzig Gutenberg Jubilee of 1840. More material in the “rarely heard” category has come from Philips and Concerto on side two). That record has Decca, and there is a curious connection Cafe des Artistes been unavailable for several years now, between the Mendelssohn album on the CONTINENTAL CUISINE (‘ and its only successor, recorded by former label and the New York Pro Lunch $3.25—Dinner $5.50 V Amadeo in Vienna and released in Musica collection on the latter. In a TR 7-3343-EN 2-6700 Europe during the Strauss centennial Philips two-disc set (PHS 2-904) Wolf­ 1 Weet 67th Street. N.Y.C., N.Y. 10023 year, has just been issued on a domestic gang Sawallisch conducts the New Phil- label (Odyssey 32 16 0132). The per­ harmonia Orchestra in Mendelssohn’s formance is by Carroll Glenn, with the Symphonies Nos. 1 (C minor, Opus 11) RESTAURANT & BAR Vienna State Opera (Volksoper) Or­ and 2 (B flat, Opus 52), the latter SIDEWALK CAFE SUNDAY BRUNCH chestra conducted by Kurt List; on side being an elaborate choral work titled two is the Burleske, with Eugene List at Lobgesang, or “Hymn of Praise,” in the piano. (Pianist List is not related to which Mr. Sawallisch and the orchestra 51 WEST 64th STREET, N.Y.C. conductor List, but he is married to Miss are joined by Helen Donath and Rot- ACROSS FROM LINCOLN CENTER Glenn, with whom he has also recorded raud Hansmann, sopranos; Waldemar RESERVATIONS; SC 4-7272 the Strauss Sonata for Violin and Piano.) Kmentt, tenor; and the New Philhar- Although the performances on the monia Chorus. The New York Pro new Odyssey record are the same ones Musica’s latest Decca record, under VORSTS that have been on Amadeo for five John Reeves White’s direction, (DL- CENTURY SEA GRILL years, the Violin Concerto is very con­ 79435) offers Josquin des Prez’ Mass SEAFOOD OF QUALITY STEAKS AND CHOPS ON LINCOLN SQUARE spicuously not the same. The contradic­ Ave Maris Stella and short vocal and VORST & SONS, INC. tion within that statement is suggested instrumental works by Josquin, Ninot COLUMBUS AVENUE by the timings printed on the respective le Petit, Hayne van Ghizeghem and JUST NORTH OF 65th STREET record jackets, and confirmed by hear­ other Renaissance composers. The con­ TRafalgar 4-8760 — 4-9882 ing the two discs. The timings for the nection: Mendelssohn composed his three movements of the Violin Concerto Lobgesang for the Leipzig Gutenberg are given on Odyssey as 15:20, 6:11 Jubilee of 1840, celebrating the quarter­ Before or After the Performance and 8:43, while they appear on the centenary of the invention of printing; Amadeo jacket as 6:40, 5:07 and 9:38. the Pro Musica collection honors Ot­ In the last two movements, the explana­ taviano dei Petrucci, the first printer of Superb Viennese-Hungarian Cuisine tion is simple enough: the Amadeo tim­ music, who published all the works on Continental Pastry Shop ings are simply in error and the Odyssey the Decca record between 1501 and Luncheon • Dinner • Snacks 141 W 72 nd Street TR 3-7700 timings correct. In the case of the first 1508. movement, however, the difference is It was for a London performance of nearly nine minutes and there is no the C-minor Symphony in 1829 that error on either jacket; what happened Mendelssohn made his brilliant orches­ PARKING here is that a huge cut—more than half tration of the Scherzo from his String FOR LINCOLN CENTER the movement!—was made at the time Octet, substituting it on that occasion AMSTERDAM AVE. at 68th ST. of Amadeo’s tape-to-disc mastering for the Symphony’s original third move­ BROADWAY at 69th ST. process. The soloists were not advised ment, a minuet. It is the minuet, not the FAST SERVICE and did not receive test pressings; they Scherzo, however, which is recorded in TOWER PARKING — OPERA CENTER 1-55 W. 68th St. NYC 874-9664 learned of the cut only after Amadeo the Philips album. richard freed

35 Leontyne Price . . . “Normal That’s the gravedigger of all time! I won’t go near it! I’m not bright continued from page 16 sometimes, but I’m not dumb!” done: Ravel, Debussy, Schubert, Schu­ Having played armchair impresario mann and more Brahms. Recitalists are with the soprano, there is wonderment also the medium for new music, espe­ how she manages the never-ending cially American, and I'm on the lookout stream of suggestions that flows from for new works and new composers. The the world’s impresarios. “Yes, they are most important thing is the planning of always asking. I just say thanks, but no, programs in advance. The comfortable sweetie. They can ask and I give the feeling has to be there. The reflex action answers. It’s really very easy when they is needed in both recital and opera— ask me for new things: we talk very you can’t experiment.” nicely and I smile and say ‘No.’ Yes, In the way of operatic challenges to it’s true they offered me Nabucco at the keep her future busy, some names and Met, and I offered it right back!” titles are tossed in Miss Price’s direction, What was the most unusual produc­ only to be bombarded with a quick tion she ever found herself involved in? volley of answers. What about Richard “Without a doubt, Zeffirelli’s Antony Strauss? “Again, I hate to run out of and Cleopatra for the opening of the challenges and this is provocative music, Metropolitan. [Remember the collaps­ repertory with some spice. I’ve not re­ ible pyramid, the mobile sphynx?] If searched it yet, but in the back of my I had any blood left, I’d let you have mind I have Ariadne auf Naxos and some! The most unusual, that’s the only the Empress in Die Frau ohne Schatten. word for it—that's it! I think the most I once saw Egyptian Helen in Vienna exciting production was probably the and maybe I’ll do this too—I love the Salzburg Trovatore. Everything about it one aria. No, I have no interest in was fantastic: the cast, the costumes, Salome, nor in Carmen. People thought the decor. The emphasis was on the I had exhilarating plans to do these roles voice and the grand heroics.” on stage after I recorded them, but Looming in the present near future they’re not for me. I was glad to record for the soprano is the new RCA record­ them, but . . . there’s a great difference ing of two scenes from Barber’s Antony vocally in singing a role on stage and on and Cleopatra, which she sang at the the mike. I really like the roles I can do world première for the opening of the in both places.” new Met in 1965, and the composer’s What about the French repertoire? Knoxville: Summer 1915—“One of the “Selika in Meyerbeer’s L’Africaine is most beautiful things ever written,” Miss something I want to investigate. It has Price says. There will also be an all­ been mentioned for an American revi­ Mozart recording with Peter Herman val, but not here in New York. I’ve Adler (“an old friend from NBC Opera looked at Louise with the thought that days, too”) conducting. She calls it “a this may be something to do, but. . . mixed-sala,d recording of Mozart” with With a wave of the hand, she also two concert arias, plus arias from The rules out Adriana Lecouvreur and Der Magic Flute, Susannah’s “Deh vieni, Freischutz (due for a new production non tardar” and the Countess’ “Porgi next season)—“I love the Adriana arias, amor” from The Marriage of Figaro. but that’s all, just the audience-milkers.” Perhaps not by sheer coincidence, the Lincoln Center And Wagner? “I haven’t the slightest next stage role for the singer will be for the Performing Arts; interest in it or a desire to do it. I do Mozart’s Countess. New York's great not get the Wagner message, I just don’t. Where, when she is not travelling and cultural complex Roles have been suggested, but I say no. singing, does she prefer to be? “I’ve I think that no matter how much effort never become disenchanted with Italy, you put into a role and a performance, which I really love. I have a small apart­ Blanchard Press, the you must have a lot of fun doing it—at ment in Rome near Piazza Navona in printers of this least as much or more than the audience the Argentina area. Everything in it I program, salute this —and I couldn’t have fun with Wagner. got at the gypsy market and painted my­ magnificent concept in If I don’t, then I’m not giving my self. Maybe, that’s why I like it so much. quality entertainment audience an exciting experience. Verdi There’s nothing in it worth over five has the same kind of worshippers as dollars.” Wagner does today, but he’s so much Since the 1968 political candidates more touchable.” As for Puccini—“I were being polled this question last sum­ would like to go back to Puccini, but I mer, Leontyne Price was asked for a don’t know. Two roles I’ve avoided like parting thought: When history is writ­ the plague are Mimi in Boheme and, ten, what would you like your contri­ back to Verdi again, Violetta in Travi- bution to have been, what would you ata. I’m just too healthy for coughing like to be remembered for? “It would spells. I’m not the type, except for the be that I’ve been as true to the art form tragedienne scenes and the legato passa­ that I found myself in as possible—that ges. I would, however, like to take a stab I tried to do my artistic best at all times at Suor Angelica and 11 Tabarro, both and maintained as high artistic stand­ fascinating characters.” And Norma?— ards as possible.” Robert jacobson

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