BOSTON SYMPHONY O\ ORCHESTRA
FOUNDED IN 1881 BY f/
HENRY LEE HIGGINSON yJ^X%
VETERANS MEMORIAL Jw\ 4 AUDITORIUM ^%Vh l%& V^<*£~ M
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EIGHTY-FIRST SEASON 1961-1962 Qharles <^ACunch Qonducts the ^Boston Symphony
Champion of Ravel, Charles Munch reveals a full flowering of the entire "Daphnis and Chloe" score. A sumptuous work with a wealth of sensuous beauty. Dr. Munch also presents the charming, urbane "Concerto in G Minor for Organ, Strings and Timpani" by Poulenc; and the witty Stravinsky ballet, "Jeu de Cartes." In Living Stereo and Monaural Hi-Fi.
RCA VICTOR THE MOST TRUSTED NAME IN SOUND EIGHTY-FIRST SEASON, 1961-1962
Boston Symphony Orchestra
CHARLES MUNCH, Music Director
Richard Burgin, Associate Conductor
CONCERT BULLETIN
with historical and descriptive notes by
John N. Burk
The TRUSTEES of the BOSTON SYMPHONY ORCHESTRA, Inc.
Henry B. Cabot President Talcott M. Banks Vice-President Richard C. Paine Treasurer Abram Berkowitz John T. Noonan Theodore P. Ferris Mrs. James H. Perkins Francis W. Hatch Sidney R. Rabb Harold D. Hodgkinson Charles H. Stockton C. D. Jackson John L. Thorndike E. Morton Jennings, Jr. Raymond S. Wilkins Henry A. Laughlin Oliver Wolcott TRUSTEES EMERITUS Philip R. Allen Lewis Perry Edward A. Taft
Thomas D. Perry, Jr., Manager
Norman S. Shirk James J. Brosnahan Assistant Manager Business Administrator Leonard Burkat Rosario Mazzeo Music Administrator Personnel Manager
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[4] EIGHTY-FIRST SEASON • NINETEEN HUNDRED SIXTY-ONE -SIXTY-TWO
Three Hundred and Sixty-fifth Concert in Providence
Fifth Program
TUESDAY EVENING, April 10, at 8:15 o'clock
Berlioz *Fantastic Symphony, Op. 14a
I. Reveries, Passions Largo; Allegro agitato e appassionato assai
II. A Ball Waltz: Allegro non troppo
III. Scene in the Meadows Adagio
IV. March to the Scaffold Allegretto non troppo
V. Dream of the Witches' Sabbath Larghetto; Allegro INTERMISSION
Debussy *"La Mer" (The Sea), Three Symphonic Sketches
I. De l'aube a midi sur la mer (From Dawn to Noon on the Sea)
II. Jeux de vagues (The Play of the Waves)
III. Dialogue du vent et de la mer (Dialogue of the Wind and the Sea)
Ravel *"Daphnis et Chloe," Ballet, Suite No. 2 Lever du jour — Pantomime — Danse generate
By order of the Chief of the Providence Fire Department, smoking is allowed only in the ticket lobby and the lower lobby of the auditorium.
BALDWIN PIANO *RCA VICTOR RECORDS
[5] FANTASTIC SYMPHONY (SYMPHONIE FANTASTIQUE). Op. 14A By Hector Berlioz
Born in la Cote-Saint-Andre (Isere), December 11, 1803; died in Paris, March 8, 1869
Berlioz's title, "Episode in the Life of an Artist," Op. 14, includes two works: the Fantastic Symphony and Lelio; or, The Return to Life, a lyric monodrama. The Symphony, composed in 1830, had its first performance December 5 of that year at the Conservatoire in Paris, Habeneck conducting.
The first performance in the United States was at a concert of the Philharmonic
Society of New York, Carl Bergmann conducting, January 27, 1866. The Symphons was first performed in Boston by the Harvard Musical Association, February 12.
1880, and first performed by the Boston Symphony Orchestra, December 19, 1885.
It is scored for 2 flutes and piccolo, 2 oboes, English horn, 2 clarinets and E-flat clarinet, 4 bassoons, 2 cornets-a-pistons, 2 trumpets, 4 horns, 3 trombones, 2 tubas, timpani, snare drum, bass drum, cymbals, 2 harps, and strings.
The score is dedicated to Nicholas I. of Russia.
'TpHERE have been many attempts to explain the Symphonie Fantas- * tique. Berlioz himself was explicit, writing of the "Episode in the Life of an Artist" as "the history of my love for Miss Smithson, my anguish and my distressing dreams." This in his Memoirs; but he also wrote there: "It was while I was still strongly under the influence of Goethe's poem [Faust] that I wrote my Symphonie Fantastique."
After tonight's concert,
Enjoy a drink and late supper in the
Rhode Island's Only Dining Room with Dancing Nightly
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GEORGE THOMAS CULLEN, General Manager
[6] Yet the "Episode" cannot be put down simply as a sort of lover's
confession in music, nor its first part as a "Faust" symphony. In 1830, Berlioz had never talked to Miss Smithson. He was what would now be called a "fan" of the famous Irish actress, for she scarcely knew of the existence of the obscure and perhaps crazy young French composer who did not even speak her language. Her image was blended in the thoughts of the entranced artist with the parts in which he beheld her on the boards — Ophelia or Juliet — as Berlioz shows in his excited letters to his friend Ferrand at the time. Can that image be reconciled with the "courtesan" of the last movement, who turned to scorn all that was tender and noble in the beloved theme, the idee fixe? The Berlioz specialists have been at pains to explain the "affreuses verites" with which Berlioz charged her in his letter to Ferrand (April 30, 1830). These truths, unexplained, may have been nothing more frightful than his realization that Miss Smithson was less a goddess than a flesh and blood human being who, also, was losing her vogue. The poet's "ven- geance" makes no sense, except that illogic is the stuff of dreams. It would also be an over-simplification to say that Berlioz merely wanted to use a witches' sabbath in his score and altered his story accordingly. Berlioz did indeed decide at last to omit the story from his programs (for performances of the Symphony without the companion piece
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[7] Lelio*). He no doubt realized that the wild story made for distraction and prejudice, while the bare titles allowed the music to speak persua- sively in its own medium. At first, when he drafted and re-drafted the story, he cannot be acquitted of having tried to draw the attention of
Paris to his music, and it is equally plain that to put a well-known stage figure into his story would have helped his purpose. The sensational character of the music could also have been intended to capture public attention — which it did. But Berlioz has been too often hauled up for judgment for inconsistencies in what he wrote, said, and did. His critics
(and Adolphe Boschot is the worst offender in this) have been too ready to charge him with insincerity or pose. His music often contradicts such charges, or makes them inconsequential.
* Lelio was intended to follow the Symphony. The "composer of music" speaks, in front of the stage, addressing "friends," "pupils," "brigands," and "spectres" behind it. He has recovered from his opium dreams and speculates on music and life in general, after the manner of Hamlet, which play he also discusses. [copyrighted]
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For Better Luggage And Leather Goods To suit the taste From a carefully chosen selection of the most discriminating VISIT CZ 52 WASHINGTON STREET • PROVIDENCE, R. I. GARDEN CITY WAYLAND SQUARE [8] "THE SEA" (Three Orchestral Sketches) By Claude Debussy Born in Saint-Germain (Seine-et-Oise), France, August 22, 1862; died in Paris, March 25, 1918 It was in the years 1903-05 that Debussy composed La Mer. The first perform- ance was performed at the Concerts Lamoureux in Paris, October 15, 1905. La Mer is scored for piccolo, 2 flutes, 2 oboes, English horn, 2 clarinets, 3 bassoons, double bassoon, 4 horns, 3 trumpets, 2 cornets-d-pistons, 3 trombones, tuba, cymbals, triangle, tam-tam, glockenspiel (or celesta), timpani, bass drum, 2 harps, and strings. Debussy made a considerable revision of the score, which was published in 1909. T T then Debussy composed "La Mer: Trois esquisses symphoniques," * * he was secure in his fame, the most argued composer in France, and, to his annoyance, the most imitated. L'Apres-midi d'un faune of 1894 and the Nocturnes of 1898 were almost classics, and the first performance of Pelleas et Melisande was a recent event (1902). Piano, chamber works, songs were to follow La Mer with some regularity; of larger works the three orchestral Images were to occupy him for the next six years. Le Martyr de St. Sebastien was written in 1911; Jeux in 1912. In a preliminary draft* of La Mer, Debussy labeled the first move- THE RHODE ISLAND CIVIC CHORALE AND ORCHESTRA DR. LOUIS PICHIERRI, Director FIFTH ANNIVERSARY SEASON - 1961-1962 December 3 — Handel: MESSIAH (Carr, L. Parker, Abusamra, Laurent) March 6 — Bach: ST. MATTHEW PASSION (Carr, Alberts, Nason, Ring, Laurent) May 8 — Verdi: REQUIEM (Boatwright, Alberts, Carelli, Sgarro) All concerts at 8:30 p.m. at Veterans Memorial Auditorium TICKETS ON SALE AT AXELROD'S AND AVERY'S Jones Warehouses, Inc. For 72 years rendering an exceptionally fine service in Furniture Storage, and in Dependable Moving both local and long distance. Member: 59 CENTRAL STREET Aero Mayflower PROVIDENCE, R. I. Nation-wide GA 1-0081 Moving Service "Rhode Island's Largest Household Storage Tirm?* [9] ment "Mer belle aux lies Sanguinaires" ; he was attracted probably by the sound of the words, for he was not familiar with Corsican scenery. The title "]eux de Vagues" he kept; the finale was originally headed "Le Vent fait danser la mer." There could be no denying Debussy's passion for the sea: he fre- quently visited the coast resorts, spoke and wrote with constant enthu- siasm about "my old friend the sea, always innumerable and beautiful." He often recalled his impressions of the Mediterranean at Cannes, where he spent boyhood days. It is worth noting, however, that Debussy did not seek the seashore while at work upon his La Mer. His score was with him at Dieppe, in 1904, but most of it was written in Paris, a milieu which he chose, if the report of a chance remark is trustworthy, "because the sight of the sea itself fascinated him to such a degree that it paralyzed his creative faculties." When he went to the PIANO TUNING HERBERT E. WOOD Repairing - Rebuilding - Demothing SOHMER CONSOLES -GRANDS PIANOS BOUGHT AND SOLD GA 1-8781 434 BROOK STREET, PROVIDENCE The New England Conservatory A COLLEGE OF MUSIC Chester W. Williams, President BACHELOR AND MASTER OF MUSIC In All Fields DIPLOMA AND ARTIST'S DIPLOMA In Applied Music Faculty includes Principals of the Boston Symphony Orchestra Performing Organizations SYMPHONY ORCHESTRA • SYMPHONIC WIND ENSEMBLE OPERA • ORATORIO CHORUS • A CAPPELLA CHOIR Member, New England Association of Colleges and Secondary Schools Charter Member, National Association of Schools of Music For information regarding admission and scholarships, write to the Dean. 298 HUNTINGTON AVENUE BOSTON 15, MASSACHUSETTS [10] country in the summer of 1903, two years before the completion of La Mer, it was not the shore, but the hills of Burgundy, whence he wrote to his friend Andre Messager (September 12): "You may not know that I was destined for a sailor's life and that it was only quite by chance that fate led me in another direction. But I have always retained a passionate love for her [the sea]. You will say that the Ocean does not exactly wash the Burgundian hillsides — and my seascapes might be studio landscapes; but I have an endless store of memories, and to my mind they are worth more than the reality, whose beauty often deadens thought." Debussy's deliberate remoteness from reality, consistent with his cultivation of a set and conscious style, may have drawn him from salty actuality to the curling lines, the rich detail and balanced symmetry of Hokusai's "The Wave." In any case, he had the famous print repro- duced upon the cover of his score. His love for Japanese art tempted him to purchases which in his modest student days were a strain upon his purse. His piano piece, "Poissons d'or" of 1907, was named from a piece of lacquer in his possession. • This draft, dated "Sunday. March 5 at six o'clock in the evening," is in present possession of the Eastman School of Music at Rochester. [copyrighted] Eighteenth Season • Nineteen Hundred Sixty-two — Sixty-three RHODE ISLAND PHILHARMONIC ORCHESTRA FRANCIS MADEIRA, Music Director Four Subscription Concerts October 9, 1962 . . Jaime Laredo, Violinist November 20, 1962 . Leon Fleisher, Pianist February 12, 1963 . . All Orchestral April 16, 1963 . . . Samson and Delilah with Jean Madeira, Contralto TUESDAY EVENINGS VETERANS MEMORIAL AUDITORIUM Season Tickets may be reserved at the orchestra office: 49 Westminster Street Providence 3, Rhode Island TEmple 1-3123 [»'] DAPHNIS ET CHLOE - Ballet in One Act - Orchestral Fragments Second Series: "Daybreak," 'Tantomime," "General Dance" By Maurice Ravel Born in Ciboure, Basses-Pyrenees, March 7, 1875; died in Paris, December 28, 1937 The ballet Daphnis et Chloe was completed in 1911, and first produced June 8, 1912 by Diaghileff's Ballet Russe, at the Chdtelet in Paris, Pierre Monteux conducting. Of the two orchestral suites drawn from the ballet, the second had its first performance at the concerts of the Boston Symphony Orchestra, December 14, 1917 (Dr. Karl Muck conducting), The story comes from a document of ancient Greece, and is attrib- uted to the sophist Longus, who lived in the second or third century a.d. It is the oldest of countless tales of the love, tribulation and final union of a shepherd and shepherdess. The first version of Daphnis and Chloe to appear in print was a French translation by Amyot, which was printed in 1559. The first English translation was made by Angell Dave, printed in 1587. A translation by George Thornley (1657) is in current print. Thornley in a preface "to the criticall reader," com- mends the author as "a most sweet and pleasant writer," and calls the tale "a Perpetual Oblation to Love; An Everlasting Anathema, Sacred to Pan, and the Nymphs; and, A Delightful Possession even for all." R. M. LIGHT & CO. PRINTS AND DRAWINGS New Acquisitions 421 BEACON STREET • BOSTON 15 Tuesday - Saturday — 10 :00 - 5 :00 LES TUIEERIES 370 Commonwealth Ave. PARISH BOSTON (Corner of Mass. Ave.) Going to Paris LUNCH I 11:30 to for Lunch? 2:30 § DINNER I You are if you're going 6:00 to 9:00 j SATURDAY to Les Tuileries, Bos- 6:00 to 9:30 u ton's famous corner of SUNDAY Paris. 5:30 to 9:30 Find light-hearted ele- Private Party gance of Paris with true Room Available All BIAICHAMP French cuisine, amid Call CO 6-0423 99 Mt. Vernon St. life-like Parisian murals: [12] In the third part of the ballet (which is the second suite) the scene is that of the beginning. It is night. Daphnis, mourning Chloe, is still prostrate. As the light of dawn gradually fills the scene, shepherds enter, seeking Daphnis and Chloe. They find Daphnis and wake him; Chloe enters and the lovers embrace. Chloe, beloved of the gods, has been saved by the intervention of Pan. Daphnis and Chloe reenact the story of Pan and Syrinx, the nymph who, according to the legend, successfully evaded the god's pursuit, whereupon he broke off reeds from the thicket into which she had disappeared and fashioned what was to become the traditional ancestor to the flute. The others join in the dance, which becomes wild and bacchanalian. Chloe falls into the arms of Daphnis. The ballet ends in a joyous tumult. * The date is surprising. Diaghileff's Ballet had its first Paris season in 1909 ; 1909, and sometimes 1910, are given as that in which Ravel began "Daphnis et Chloe." Roland-Manuel thinks that Ravel made a "mistake of two years" in naming 1907, which again is surprising, since Roland-Manuel originally wrote the autobiographical sketch at Ravel's dictation. In 1907 Diaghileff was in Paris and probably had met Ravel, but there was no plan as yet for a ballet season in Paris. It is, of course, possible that Ravel's first sketches for "Daphnis et Chloe" were purely symphonic in intent, a fact he might hot have been quick to admit after the vicissitudes of the piece in the theatre. [copyrighted] A?iitiati-&kftttt*r (®rgan (Stompatuj Designers of the instruments for: THE BOSTON SYMPHONY ORCHESTRA THE DETROIT SYMPHONY ORCHESTRA THE PHILADELPHIA ORCHESTRA THE NEW YORK PHILHARMONIC Sponsored by the Department of Music, Brown University 1951-1952 JSsasmt ©ct. 23 (gumtetto Crjtstami jNofr. 30 ^Netrjerlanbs (Quartet Jlatt. 9 Jf. ^jf. (Efyamher J^olststs ^ar. 29 Smfflarb (Quartet JUjafre <3lskttb J8cl]tf0l of •Sbsign JWutarium 8:30 p.m. Reason ©tckets $7.50, $0.00, $5.00, $4.00 ^rngfe jkbmtexvm $2.25, $1.75, $1.50, $1.25 £&tvtbtntz $3.00 Jgferfes, $1.00 JSutgle Apply Brown University Box 1903 [•3] THE BERKSHIRE FESTIVAL PROGRAMS - 1962 BOSTON SYMPHONY ORCHESTRA CHARLES MUNCH, Music Director IN THE MUSIC SHED AT TANGLEWOOD Friday and Saturday Evenings at 8; Sundays at 2:30 Series 1 — BACH — July 6: Brandenburg Concerto 3, Concerto for Two Pianos in C (Vronsky, Babin), Suites 2 and 4, Jauchzet Gott (Beardslee, Voisin); July 7: Brandenburg Concertos 2 and 6, Piano Concerto in D minor (Foss), Suite 3; July 8: Ricercare, Concertos — Brandenburg 5 and D minor for Oboe and Violin (Gomberg, Silverstein), Trauer Ode. 2 - MOZART - July 13: Serenade for 13 winds, Piano Concerto in C, K.503 (Frank), "Prague" Symphony; July 14: String Divertimento, K.136, Sinfonia Concertante (Posselt, dePasquale), Musical Joke, Symphony in E-flat, K.543; July 15: Eine kleine Nachtmusik, Two-Piano Concerto (Vronsky, Babin), Suite — "Les Petits Riens," Symphony in G minor, K.550. 3 - MOZART - July 20: Masonic Funeral Music, "Paris" Symphony, Violin Concerto No. 5 (Silverstein), Sinfonia Concertante, K.297b; July 21: "Linz" Symphony, Piano Concerto, K.482 (Crochet), "Jupiter" Sym- phony; July 22: "Haffner" Symphony, Requiem. 4 -July 27: DEBUSSY, "Printemps"; PISTON, Symphony No. 6; BRAHMS, Symphony No. 4. July 28: HANDEL, "Water Music"; HAIEFF, Symphony No. 3; BEETHOVEN, Piano Concerto No. 3 (Janis). July 29 (Monteux): BEETHOVEN, Symphony No. 2; Arias (Gray-Masse, contralto); STRAUSS, Heldenleben. 5 - August 3: DEBUSSY, Three Nocturnes; HONEGGER, Symphony No. 5; SAINT-SAENS, Cello Concerto (Mayes); RAVEL, "La Valse." August 4 (Steinberg): BEETHOVEN, Symphony No. 8; BRUCKNER, Sym- phony No. 8. August 5: BRAHMS, Haydn Variations; Martinu, Sym- phony No. 6; BEETHOVEN, Piano Concerto No. 5 (Serkin). 6 — August 10 (Ormandy): BEETHOVEN, Egmont Overture and Symphony No. 3; BARTOK, Concerto for Orchestra. August 11 (Monteux): WAGNER, "Meistersinger" Prelude; ELGAR, Enigma Variations; BRAHMS, Piano Concerto No. 2 (Fleisher). August 12: RAMEAU, Suite "Dardanus"; FINE, Symphony; TCHAIKOVSKY, Symphony No. 6. 7- August 17: KIRCHNER, Sinfonia (composer conducting); MENDELS- SOHN, "Reformation" Symphony; BERLIOZ, "Harold in Italy" (dePas- quale). August 18 (Ormandy): PROKOFIEV, Classical Symphony and Symphony No. 6; TCHAIKOVSKY, Piano Concerto No. 1 (Isto- min). August 19: SCHUBERT, Symphony No. 5; FOSS, Time Cycle (Addison; composer conducting); BRAHMS, Piano Concerto No. 1 (Graffman). 8 - August 24 (Monteux): WEBER, Overture, Euryanthe; HINDEMITH, Mathis der Maler; BRAHMS, Symphony No. 1. August 25: BERLIOZ, "Symphonie Fantastique"; DEBUSSY, "La Mer"; RAVEL, "Daphnis and Chloe," Suite No. 2. August 26: COPLAND, Quiet City; BEETHO- VEN, Symphony No. 9. Tickets at the Festival Office, Symphony Hall, Boston, Mass., CO 6-1492 [Hi DON'T READ THIS If you have made a contribution this year and are a "current" Friend of the Symphony. BUT If you have been away, or If you have been too busy, or If you are given to overlooking things now and then, The Providence Committee of Friends will be delighted to have a gift from you now. [>5] LIST OF WORKS Performed in the Providence Series DURING THE SEASON 1961-1962 Bach Suite No. 2, in B minor, for Flute and Strings Soloist: Doriot Anthony Dwyer III December 19 Berlioz Fantastic Symphony, Op. 14a V April 10 Brahms Variations on a Theme by Haydn, Op. 56a I October 10 Debussy "La Mer," Three Symphonic Sketches V April 10 "Prelude a l'Apres-midi d'un Faune" III December 19 Two Nocturnes: "Nuages," "Fetes" IV February 6 Honegger Symphony No. 5 IV February 6 Moussorgsky "Pictures at an Exhibition," Arranged by Maurice Ravel III December 19 Prelude to Khovanshchina II November 28 Rachmaninoff Piano Concerto No. 2, in C minor, Op. 18 Soloist: Gary Graffman II November 28 Ravel "Daphnis et Chloe," Ballet, Suite No. 2 V April 10 "La Valse," Choreographic Poem IV February 6 Saint-Saens Piano Concerto No. 2, in G minor, Op. 22 Soloist: Jeanne Marie Darre IV February 6 Violoncello Concerto No. 1, in A minor, Op. 33 Soloist: Samuel Mayes I October 10 Shostakovitch Symphony No. 5, Op. 47 II November 28 Stravinsky Symphony in Three Movements III December 19 Tchaikovsky Symphony No. 6, in B minor, Op. 74, "Pathetique" I October 10 Richard Burgin conducted the concert on November 28 Ernest Ansermet conducted the concert on December 19 [16] VETERANS MEMORIAL AUDITORIUM 1962-1963 Boston Symphony Orchestra ERICH LEINSDORF, Music Director Richard Burgin, Associate Conductor FIVE TUESDAY EVENING CONCERTS AT 8:15 OCTOBER 2 NOVEMBER 6 JANUARY 15 FEBRUARY 5 MARCH 12 Have you returned your renewal card for next season? April 20th is the deadline for options. If you have any questions or would like a subscription application, please address the SEASON TICKET OFFICE Symphony Hall Boston 15, Massachusetts [17] PROVIDENCE MUSIC TEACHERS DIRECTORY AVIS BLIVEN CHARBONNEL CONCERT PIANIST and TEACHER 123 BENEVOLENT STREET DOROTHY JOSLIN PEARCE PIANIST - TEACHER 296 Benefit Street PL 1-6080 CONCERT PIANIST AND TEACHER State Accredited in Germany Beginners to Artist Pupils Studios: 168 Lloyd Avenue Phone: DE 1-5667 ROSAMOND WADSWORTH Soprano - Teacher Opera - Oratorio - Art Songs 44 PITMAN STREET Tel. TE 1-7928 - 1 Edna Bradley Wood PIANIST - TEACHER Beginners to Artist Pupils Pupils prepared for Public Performances 434 BROOK ST., PROVIDENCE - GA 1-8781 [18] Boston Symphony Orchestra (Eighty-first Season, 1961-1962) CHARLES MUNCH, Music Director RICHARD JBURGIN, Associate Conductor PERSONNEL Violins Cellos Bassoons Richard Burgin Samuel Mayes Sherman Walt Concert-master Alfred Zighera Ernst Panenka Alfred Krips Jacobus Langendoen Matthew Ruggiero George Zazofsky Mischa Nicland Rolland Tapley Karl Zeise Contra Bassoon Joseph Silverstein Martin Hoherman Richard Plaster Vladimir Resnikoff Bernard Parronchi Harry Dickson Richard Kapuscinski Horns Gottfried Wilfinger Robert Ripley James Stagliano Einar Hansen Winifred Winograd Charles Yancich Roger Shermont Louis Berger Harry Shapiro Minot Beale John Sant Ambrogio Harold Meek Herman Silberman Paul Keaney Joseph Leibovici Bassf.s Osbourne McConathy Stanley Benson Georges Moleux Leo Panasevich Henry Freeman Trumpets Sheldon Rotenberg Irving Frankcl Roger Voisin Fredy Ostrovsky Henry Portnoi Armando Ghitalla Noah Bielski Henri Girard Andre Come John Barwicki Gerard Goguen Clarence Knudson Pierre Mayer Leslie Martin Ortiz Walton Trombones Manuel Zung Samuel Diamond William Gibson William William Marshall Flutes Moyer Kauko Kahila Leonard Moss Doriot Anthony Dwyer Josef Orosz William Waterhouse James Pappoutsakis Alfred Schneider Phillip Kaplan Tuba Victor Manusevitch K. Vinal Smith Laszlo Xagy Piccolo Ayrton Pinto George Madsen Timpani Michel Sasson Everett Firth Lloyd Stonestreet Harold Farberman Julius Schulman Oboes Raymond Sird Ralph Gomberg Percussion Gerald Gelbloom Jean de Vergie Charles Smith John Holmes Harold Violas Thompson Arthur Press Joseph de Pasquale English Horn Jean Cauhape Louis Speyer Harps Eugen Lehner Bernard Zighera Albert Bernard Clarinets Olivia Luetcke George Humphrey Jerome Lipson Gino Cioffi Manuel Valerio Robert Karol Piano Reuben Green Pasquale Cardillo Bernard Zighera E\) Clarinet Bernard Kadinoff Vincent Mauricci Library Bass Clarinet Earl Hedberg Victor Alpert Joseph Pietropaolo Rosario Mazzeo William Shisler GREGORY PIANOS AND ORGANS BALDWIN 1985 Smith Street, Centredale, R I.