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// BOSTON T /?, SYMPHONY ORCHESTRA THURSDAY B SERIES EIGHTY-SEVENTH SEASON 1967-1968 wgm _«9M wsBt Exquisite Sound From the palace of ancient Egyp to the concert hal of our moder cities, the wondroi music of the harp hi compelled attentio from all peoples and a countries. Through th passage of time man changes have been mac in the original design. Tl early instruments shown i drawings on the tomb < Rameses II (1292-1225 B.C were richly decorated bv lacked the fore-pillar. Lato the "Kinner" developed by tl Hebrews took the form as m know it today. The pedal hai was invented about 1720 by Bavarian named Hochbrucker an through this ingenious device it b came possible to play in eight maj< and five minor scales complete. Tods the harp is an important and familij instrument providing the "Exquisi* Sound" and special effects so importai to modern orchestration and arrang ment. The certainty of change mak< necessary a continuous review of yoi insurance protection. We welcome tl opportunity of providing this service f< your business or personal needs. We respectfully invite your inquiry CHARLES H. WATKINS & CO. Richard P. Nyquist — Charles G. Carleton 147 Milk Street Boston, Massachusetts Telephone 542-1250 OBRION, RUSSELL & CO. Insurance of Every Description EIGHTY-SEVENTH SEASON 1967-1968 BOSTON SYMPHONY ORCHESTRA ERICH LEINSDORF Music Director CHARLES WILSON Assistant Conductor THE TRUSTEES OF THE BOSTON SYMPHONY ORCHESTRA INC. HENRY B. CABOT President TALCOTT M. BANKS Vice-President JOHN L. THORNDIKE Treasurer PHILIP K. ALLEN E. MORTON JENNINGS JR ABRAM BERKOWITZ EDWARD M. KENNEDY THEODORE P. FERRIS HENRY A. LAUGHLIN ROBERT H. GARDINER EDWARD G. MURRAY FRANCIS W. HATCH JOHN T. NOONAN ANDREW HEISKELL MRS JAMES H. PERKINS HAROLD D. HODGKINSON SIDNEY R. RABB RAYMOND S. WILKINS TRUSTEES EMERITUS PALFREY PERKINS LEWIS PERRY EDWARD A. TAFT THOMAS D. PERRY JR Manager NORMAN S. SHIRK JAMES J. BROSNAHAN Assistant Manager Business Administrator SANFORD R. SISTARE HARRY J. KRAUT Press and Publicity Assistant to the Manager ANDREW RAEBURN MARY H. SMITH Program Editor Executive Assistant Copyright 1968 by Boston Symphony Orchestra Inc. SYMPHONY HALL BOSTON MASSACHUSETTS "A greatest' symphony orchestra does now exi and it is headquartered in Boston, Massachusett High Fideli Red Seal recordings ELLIOTT CARTER: PIANO CONCERTO Jacob Lateiner, Pianist World Premiere Recorded Live it Symphnny Hall, Boston MICHAEL C0L6RASS: AS QUIET AS BOSTON SYMPHONY ERICH LEINSDORF Mt o/niltcrelt/QriLtlHi •caVictm PROKOFIEFF ROMEOAXB boston SYMPHONY LEINSDORF MAHLER SYMPHONY NO. 3 BOSTON (SYM1PHONY LEINSDORF ^gSm/o^™ SHIRLEY VERRETT NEW ENGLAND CONSERVATORY CHORUS. LORNA COOKE DE VARON. Conductor BOSTON BOYCHOIR, JOHN OLIVER. Crtcior [MB//D BOSTON SYMPHONY ORCHESTRA ERICH LEINSDORF Music Director CHARLES WILSON Assistant Conductor FIRST VIOLINS CELLOS BASSOONS Joseph Silverstein Jules Eskin Sherman Walt Concertmaster Martin Hoherman Ernst Panenka Alfred Krips Mischa Nieland Matthew Ruggiero George Zazofsky Karl Zeise Rolland Tapley Robert Ripley CONTRA BASSOON John Sant Ambrogio Roger Shermont Richard Plaster Max Winder Luis Leguia Harry Dickson Stephen Geber HORNS Gottfried Wilfinger Carol Procter Fredy Ostrovsky Jerome Patterson James Stagliano Charles Yancich Leo Panasevich Ronald Feldman Noah Bielski Harry Shapiro Herman Silberman BASSES Thomas Newell Stanley Benson Paul Keaney Henry Portnoi Sheldon Rotenberg Ralph Pottle William Rhein Alfred Schneider Joseph Hearne Julius Schulman TRUMPETS Bela Wurtzler Gerald Gelbloom Armando Ghitalla Leslie Martin Raymond Sird Roger Voisin John Salkowski John Barwicki Andre Come SECOND VIOLINS Buell Neidlinger Gerard Goguen Clarence Knudson Robert Olson William Marshall TROMBONES Michel Sasson FLUTES William Gibson Samuel Diamond Josef Orosz Doriot Anthony Dwyer Leonard Moss Kauko Kahila William Waterhouse James Pappoutsakis Ayrton Pinto Phillip Kaplan TUBA Amnon Levy Chester Schmitz Laszlo Nagy PICCOLO Michael Vitale TIMPANI Victor Manusevitch Lois Schaefer Toshiyuki Kikkawa* Everett Firth Max Hobart OBOES John Korman PERCUSSION Ralph Christopher Kimber Gomberg Charles Smith Spencer Larrison John Holmes Arthur Press Hugh Matheny Assistant Timpanist Thomas VIOLAS Gauger ENGLISH HORN Burton Fine Reuben Green Laurence Thorstenberg HARPS Eugen Lehner Bernard Zighera Jerome Lipson CLARINETS Olivia Luetcke Robert Karol Gino Cioffi Akio Akaboshi* Pasquale Cardillo LIBRARIANS Bernard Kadinoff Peter Hadcock Vincent Mauricci Victor Alpert E\j Clarinet Earl Hedberg William Shisler Joseph Pietropaolo Robert Barnes BASS CLARINET STAGE MANAGER Yizhak Schotten Felix Viscuglia Alfred Robison WILLIAM MOYER Personnel Manager *members of the Japan Philharmonic Symphony Orchestra participating in a one season exchange with Messrs George Humphrey and Ronald Knudsen QfXio&annafltic. At the / cfh? cfroussectiufCouse of33oslon. Boston Symphony Concerts / this year, these Pianists . JOHN BROWNING RITA B0UB0ULIDI MALCOLM FRAGER GARY GRAFFMAN GRANT JOHANNESEN LILIAN KALLIR play only At Home or Away . *, STEINWAY Swirls of pastels on a carefree IN MASSACHUSETTS AND NEW HAMPSHIRE polyester robe! Backzippered. NEW STEINWAYS AVAILABLE ONLY FROM Petite, Small, Medium. $55.00 416 BOYLSTON STREET 54 CENTRAL STREET M. STEINERT & SONS BOSTON 02116 WELLESLEY 162 BOYLSTON STREET • BOSTON KEnmore 6-6238 CEdar 5-3430 ALSO WORCESTER and SPRINGFIELD THE FUND FOR THE BOSTON SYMPHONY A SYMPHONY of giving The Fund for The Boston Symphony takes pleasure in providing you with MOVEMENTS in gift opportunities. The ALLEGRO of a commemorative seat of your choice in Symphony Hall. The ANDANTE of a bequest. The SCHERZO of pledges — extended to your convenience — within a three-year period. The RONDO of designating a chair, concert or room as a Memorial Gift. ALL KEYED to the needs of the Orchestra, its staff, its repertoire. Make it YOUR Symphony by participating in the full ORCHESTRATION of our $5.5 million goal. — After the concert — or any day - visit The Fund Office, second floor. MnA Salute to Spring Wool gabardine coat a la military — over coordinated sleeveless dresSj belted high, buckled smartly, $125 From our costume collection . The Longwood Shop BOSTON: At the start of The Freedom Trail, 140 Trcmont Street, 482-0260. CHESTNUT HILL: 232-8100. SOUTH SHORE: 848-0300. NORTHSHORE: 532-1660 Contents Program for March 21 1968 11 Program notes Mozart — Symphony no. 38 12 by Peter Branscombe Mendelssohn — Capriccio brillantc 20 by John N. Burk Lees — Piano concerto no. 2 22 by Andrew Raeburn and the composer Beethoven — Symphony no. 5 34 by John N. Burk 30,000 hours of music 44 by Andrew Raeburn The soloist 54 She comes to New York from Produced by the Vincent Italy, opens a small restau- Club for the benefit of the rant, and makes a go of it for Vincent Memorial Hospital. 50 years. At New England Life Hall. The story travels through 8:30 curtain on April 2, 3, the speak-easy gaity of the 4, 5, and 6. 2:30 matinee on '20's, the gangsterism of the Saturday, April 6. Depression, and the togeth- For tickets call 267-8092. erness of World War II. Or drop by New England 50 years of songs and Life Hall. The First and Old dances. And then Gabriella Colony hope you won't miss runs into trouble. Gabriella. THE FIRST & OLD COLONY The First National Bank of Boston and Old Colony Trust Company 10 EIGHTY-SEVENTH SEASON 1967-1968 Third Program Thursday evening March 21 at 8.30 ERICH LEINSDORF conductor MOZART Symphony no. 38 in D major K. 504 'The Prague' Adagio - allegro Andante Finale: presto MENDELSSOHN Capriccio brillante for piano and orchestra op. 22 GARY GRAFFMAN LEES Piano concerto no. 2 Allegro enfatico Adagio, vago Allegro tempestoso GARY GRAFFMAN INTERMISSION BEETHOVEN Symphony no. 5 in C minor op. 67 Allegro con brio Andante con moto Allegro — allegro Gary Graffman plays the Steinway piano BALDWIN PIANO RCA VICTOR RECORDS 11 Program Notes WOLFGANG AMADEUS MOZART Symphony no. 38 in D major K. 504 'The Prague* Program note by Peter Branscombe Mozart was born in Salzburg on January 27 1756, and died in Vienna on Decem- ber 5 1791. He finished the Prague Symphony in 1786, and it was first performed at Prague on January 19 1787. The Boston Symphony Orchestra, conducted by George Henschel, first performed the Symphony on January 27 1882. 'The 6th [December 1786] A symphony. — 2 violini, 2 viole, 2 flauti, 2 oboe, 2 corni, 2 fagotti, 2 clarini, timpany e Basso.' In this way, followed by the opening bars of its slow introduction in short score, Mozart entered in his autograph List of all my works the symphony which has since become known as the 'Prague'. In Germany it is often referred to as the 'Symphony without minuet' — appropriately enough, but this title could equally well be applied to the 'Paris' and to many of Mozart's earlier symphonies which are more obviously Italian overtures in their fast-slow-fast pattern of three movements. It is true that the 'Prague' is the only one of the six symphonies of Mozart's Vienna years to lack a minuet, but considerations of time are certainly not responsible for the three-movement form, and it is indeed highly questionable whether one is right to talk of a 'lack' at all in so carefully-integrated and superb a work. The summer and autumn of 1786 was not a particularly settled or happy period for Mozart, yet between June and the end of the year he produced such masterpieces (this list is not complete) as the E flat piano quartet, the fourth horn concerto, the G major trio K. 496, the F major sonata for piano duet, the clarinet trio, the D major string quartet K. 499, the B flat trio, the wonderful but often underestimated C major piano concerto K. 503, and the present D major symphony, K. 504. Not an especially prolific six months for Mozart, perhaps, but an incredible achievement none the less. Mozart was not the sort of man who could finish a work some time before it was required (there are numerous more or less well authenti- cated anecdotes about his last minute completion of this or that com- missioned work), yet in the field of the symphony we have the interest- ing fact that the last three were composed in a period of six weeks in the summer of 1788 without any real chance of their being performed.
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  • Le Corsaire Overture, Op. 21

    Le Corsaire Overture, Op. 21

    Any time Joshua Bell makes an appearance, it’s guaranteed to be impressive! I can’t wait to hear him perform the monumental Brahms Violin Concerto alongside some fireworks for the orchestra. It’s a don’t-miss evening! EMILY GLOVER, NCS VIOLIN Le Corsaire Overture, Op. 21 HECTOR BERLIOZ BORN December 11, 1803, in Côte-Saint-André, France; died March 8, 1869, in Paris PREMIERE Composed 1844, revised before 1852; first performance January 19, 1845, in Paris, conducted by the composer OVERVIEW The Random House Dictionary defines “corsair” both as “a pirate” and as “a ship used for piracy.” Berlioz encountered one of the former on a wild, stormy sea voyage in 1831 from Marseilles to Livorno, on his way to install himself in Rome as winner of the Prix de Rome. The grizzled old buccaneer claimed to be a Venetian seaman who had piloted the ship of Lord Byron during the poet’s adventures in the Adriatic and the Greek archipelago, and his fantastic tales helped the young composer keep his mind off the danger aboard the tossing vessel. They landed safely, but the experience of that storm and the image of Lord Byron painted by the corsair stayed with him. When Berlioz arrived in Rome, he immersed himself in Byron’s poem The Corsair, reading much of it in, of all places, St. Peter’s Basilica. “During the fierce summer heat I spent whole days there ... drinking in that burning poetry,” he wrote in his Memoirs. It was also at that time that word reached him that his fiancée in Paris, Camile Moke, had thrown him over in favor of another suitor.
  • Ambassador Auditorium Collection ARS.0043

    Ambassador Auditorium Collection ARS.0043

    http://oac.cdlib.org/findaid/ark:/13030/kt3q2nf194 No online items Guide to the Ambassador Auditorium Collection ARS.0043 Finding aid prepared by Frank Ferko and Anna Hunt Graves This collection has been processed under the auspices of the Council on Library and Information Resources with generous financial support from the Andrew W. Mellon Foundation. Archive of Recorded Sound Braun Music Center 541 Lasuen Mall Stanford University Stanford, California, 94305-3076 650-723-9312 [email protected] 2011 Guide to the Ambassador Auditorium ARS.0043 1 Collection ARS.0043 Title: Ambassador Auditorium Collection Identifier/Call Number: ARS.0043 Repository: Archive of Recorded Sound, Stanford University Libraries Stanford, California 94305-3076 Physical Description: 636containers of various sizes with multiple types of print materials, photographic materials, audio and video materials, realia, posters and original art work (682.05 linear feet). Date (inclusive): 1974-1995 Abstract: The Ambassador Auditorium Collection contains the files of the various organizational departments of the Ambassador Auditorium as well as audio and video recordings. The materials cover the entire time period of April 1974 through May 1995 when the Ambassador Auditorium was fully operational as an internationally recognized concert venue. The materials in this collection cover all aspects of concert production and presentation, including documentation of the concert artists and repertoire as well as many business documents, advertising, promotion and marketing files, correspondence, inter-office memos and negotiations with booking agents. The materials are widely varied and include concert program booklets, audio and video recordings, concert season planning materials, artist publicity materials, individual event files, posters, photographs, scrapbooks and original artwork used for publicity.