& standi Is I r BOSTON SYMPHONY ORCHESTRA FOUNDED IN 1881 BY HENRY LEE HIGGINSON TUESDAY EVENING "CAMBRIDGE" SERIES EIGHTY-SIXTH SEASON 1966-1967 BARTQK: Violin Concerto No. 2 The Boston Symphony 1 STRAVINSKY: Violin Concerto Joseph Silverstein Boston Symphony Orchestra/Erich Leinsdorf under Leinsdorf 1 C/7//@Jnj//«m///&ftJ/rfm In a recording of remarkable sonic excellence, concertme Joseph Silverstein and the Boston Symphony under Leins capture the atmospheric sorcery of two of the most influe. violin works of this century: Bartbk's Concerto No. 2 a'ndl vinsky's Concerto in D . If ever a composer could be a a "musical poet" it is Schumann and— in a beautifully pi performance of his Fourth Symphony— Leinsdorf and Bostonians movingly portray its simple eloquence, from melancholy slow-moving opening to the dramatic rusi R( A VlCHW Schumann /Symphony No. 4 scales that herald one of the most exciting codas of s Beethoven /Leonore Overture No. 3 phonic literature. Both albums in Dynagrooye sound. Boston Symphony /Leinsdorf rca Victor («#The most trusted name in sound EIGHTY-SIXTH SEASON, 1966-1967 CONCERT BULLETIN OF THE 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 Henry A. Laughlin Theodore P. Ferris Edward G. Murray Robert H. Gardiner John T. Noonan Francis W. Hatch Mrs. James H. Perkins Andrew Heiskell Sidney R. Rabb Harold D. Hodgkinson Raymond S. Wilkins TRUSTEES EMERITUS Palfrey Perkins Lewis Perry Edward A. Taft Oliver Wolcott Thomas D. Perry, Jr., Manager S. Norman Shirk James J. Brosnahan Assistant Manager Business Administrator Sanford R. Sistare Harry J. Kraut Press and Publicity Assistant to the Manager Andrew Raeburn Assistant to the Music Director SYMPHONY HALL BOSTON [3] Expressly for people who like to keep an eye on their own investments. The Standby Trust You keep the authority... Old Colony takes the drudgery. With a Standby Trust, you have the best of both worlds. You can continue to direct your own investment program so long as you wish, free from worry that the whims of chance might suddenly leave you powerless to act. Old Colony takes the administrative chores off your hands . and stands by, ready to take over full responsibility. Old Colony executes your purchase and sale orders. Collects and remits your income. Gives you timely notice of dates af- fecting your holdings. Maintains your tax records. And if you're incapacitated, or you're off on an extended trip, or perhaps you just tire of "nursemaiding" your portfolio — then a management team of Old Colony experts takes over for you for as long as necessary . permanently, if you wish. Like to know more about Standby Trusts? Write for our booklet or drop by Number One Federal Street. THE FIRST & OLD COLONY The First National Bank of Boston and Old Colony Trust Company [4] EIGHTY-SIXTH SEASON NINETEEN HUNDRED SIXTY-SIX-SIXTY-SEVEN Second Program TUESDAY EVENING, November 22, at 8:30 o'clock Bach Suite No. 3 in D major, for Orchestra I. Overture II. Air III. Gavotte I; Gavotte II IV. Bourree V. Gigue Sydeman In Memoriam John F. Kennedyt I. Adagio lamentoso II. Allegro; Theme and variations E. G. Marshall, Narrator (First performance in this series) INTERMISSION Schumann Symphony No. 1, in B-flat major, Op. 38 I. Andante un poco maestoso; Allegro molto vivace II. Larghetto III. Scherzo: Molto vivace; Trio: Molto piu vivace; Trio II IV. Allegro animato e grazioso BALDWIN PIANO RCA VICTOR RECORDS f The text of the narration will be found on page 14. [5 OVERTURE (SUITE) No. 3 IN D MAJOR for Orchestra By Johann Sebastian Bach Born in Eisenach, March 21, 1685; died in Leipzig, July 27, 1750 This "Overture" calls for 2 oboes, 2 bassoons, 3 trumpets, timpani, first and second violins, violas and basso continue Philip Hale found a record of a performance in Boston under Theodore Thomas, October 30, 1869, and another by the Harvard Musical Association, January 20, 1870. Bach's "overtures," as he called them, of which there are four, have generally been attributed to the five-year period (1717-23) in which he was Kapellmeister to the young Prince Leopold of Anhalt-Cothen. Albert Schweitzer conjectures that they may belong to the subsequent Leipzig years, for Bach included them in the performances of the Telemann Musical Society, which he conducted from the years 1729 to 1736. But the larger part of his instrumental music belongs to the years at Cothen where the Prince not only patronized but practised this department of the art — it is said that he could acquit himself more than acceptably upon the violin, the viola da gamba, and the clavier. It was for the pleasure of his Prince that Bach composed most of his chamber music, half of the "Well-tempered Clavier," the "Inven- tions." Composing the six concertos for the Margraf of Brandenburg at this time, he very likely made copies of his manuscripts and per- formed them at Cothen. The first Suite, in C major, adds two oboes and bassoon to the strings. The second, in B minor, is for solo flute and strings. The last two Suites, which are each in D major, include timpani and a larger wind group; in the third Suite, two oboes, two bassoons and three trumpets; in the fourth Suite, three oboes, bassoon and three trumpets. The harpsichord used in this performance was made by Frank Hubbard and is played by Charles Wilson. GERTRUDE R. NISSENBAUM VIOLIN 340 TAPPAN STREET Tel. LONGWOOD 6-0348 BROOKLINE 46, MASSACHUSETTS ROBERT GQMBEKG, Violinist Curtis Philadelphia Institute Orchestra Accepting Intermediate and Advanced Students • Coaching in Chamber Music For information write 143 Beaconsfield Road, Brookline Call LO 6-1332 [6 Ptwc& Pnijfc Boston's Most Distinguished Gift Shop A New England landmark combining uniquely the informality of a Country Store, the flavor of a Ship Chandler and the sophistication of London's Bond and Regent streets . PINE & PRINT Greeting Cards are de rigueur! Customers remark frequently that PINE & PRINT Greeting Cards are unmatched in excellence. Nothing prosaic here. At PINE & PRINT the Greeting Card has come of age as an important and happy mode of social communication. Card con- noisseurs respond by returning periodi- Superbly done cally from points as distant as Chicago Cargo-light and Los Angeles to buy perhaps a six- Lamp with months supply. Bostonians by the thou- Charles W. sands visit us monthly with their lists of Morgan Birthdays, Anniversaries and other occa- Shade $125. sions. It's a habit you'll be glad to ac- quire. Our downstairs CHRISTMAS GALLERY - __^ — with its charming chandeliers and relaxed atmosphere — is also now open. You can view leisurely the finest collec- tion of Christmas albums and boxed cards we have ever assembled. Musical and theatrical motifs are included among many others. The wide and tasteful va- riety assures your finding the perfect expression of your own individuality. Do come soon A CATALOG IS NOT ISSUED. Mail and telephone orders are not filled. We do not ship. PINE & PRINT must be personally savored. The savoring is unmitigated fun. There's no intrusion from us. Browsing is the pattern — with friendly help when you want help only. Your choices will be made from an extensive array of exclusive but not extravagant gifts. Frankly all quite irresistible. 601 BOYLSTON STREET Totes and Carryalls, made in New England. (near the corner of Dartmouth Street) Done in a range of In Boston's Historic Copley Square* hundreds of Americana Open Mon. thru Fri. 'til 9 P.M. and other striking Sat. 'til 6 P.M. prints. Totes from $3.95. Carryalls from $5.95. 11 British Men-of-War are said to have anchored on this site during the Revolution . years before prestigious Back Bay was created. With the change of date, the flavor is a bit less salty. But the charm of Copley Square has become inimitable. upon The "overtures," so titled by Bach, were no more than variants orchestral suites as an the suite form. When Bach labeled each of his (< ouverture such as Lulli ouverture," there is no doubt that the French regarded, wrote was in his mind. This composer, whom Bach closely slow had developed the operatic overture into a larger form with a and a introduction followed by a lively allegro of fugal character even at operatic reprise. To this "overture" were sometimes added, and performances, a stately dance or two, such as were a customary overtures, with several integral part of the operas of the period. These dance movements, were often performed at concerts, retaining the title movement. Georg of the more extended and impressive "opening" him. Muffat introduced the custom into Germany, and Bach followed but extended Bach held to the formal outline of the French ouverture, and elaborated it to his own purposes. has saic1 In the dance melodies of these Suites, Albert Schweitzer eloquence has beei "a fragment of a vanished world of grace and of the rococc preserved for us. They are the ideal musical picture their blending ol period. Their charm resides in the perfection of strength and grace." j. N.B. [copyrighted] HIGH _ note | NEW H | GHER DIVIDEND ON ALL SAVINGS ACCOUNTS AT HOME OWNERS FEDERAL • SEND FOR FREE SAVE- BY- MAIL KIT • WE PAY POSTAGE BOTH WAYS SAVINGS INSURED BY U.S. GOV'T AGENCY HOME OWNERS FEDERAL SAVINGS Phone: HU .2-0630 and Loan Association - 21 Milk St., Boston, Mass. - [8] IN MEMORIAM JOHN F.