Full text of "Boston Symphony Orchestra concert programs, Season 87, 1967-1968, Subscription"

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SYMPHONY

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FOUNDED IN 1881 BY
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EIGHTY-SEVENTH SEASON 1967-1968

Exquisite
Sound

From the palaces
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changes have been made
in the original design. The
early instruments shown in
drawings on the tomb of
Rameses II (1292-1225 B.C.)
were richly decorated but
lacked the fore-pillar. Later
the "Kinner" developed by the
Hebrews took the form as we
know it today. The pedal harp
was invented about 1720 by a
Bavarian named Hochbrucker and
through this ingenious device it be-
came possible to play in eight major
and five minor scales complete. Today
the harp is an important and familiar
instrument providing the "Exquisite
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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 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

THOMAS D. PERRY JR Manager

NORMAN S. SHIRK

Assistant Manager

SANFORD R. SISTARE

Press and Publicity

ANDREW RAEBURN

Program Editor

JAMES J. BROSNAHAN

Business Administrator

HARRY J. KRAUT

Assistant to the Manager

MARY H. SMITH

Executive Assistant

SYMPHONY HALL

BOSTON

MASSACHUSETTS

TWO MAGNIFICENT RECORDING ACHIEVEMENTS
THE BOSTON SYMPHONY UNDER ERICH LEINSDO

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Complete

Boston Symphony Orchestra/Leinsdorf

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Boston Chorus Pro Musica • Patterson

The first absolutely complete
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BOSTON ■ I NILSSON h
SYMPHONY IcHOOKASlAN r,
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The Fund for the Boston Symphony

The Coal $5.5 million

4.0 million— to match the Ford Foundation
challenge grant of $2 million.

1.5 million — to refurbish Symphony Hall and
Tanglewood.

Why? Last year Symphony income was $3,123,185.
In the same period expense was $3,417,283.

Result — a deficit for the year of $294,098.

When? Now. The Fund has raised nearly $2.5 million
in gifts and pledges already. The objective is an
additional $3 million pledged by Christmas.

A word from Henry B. Cabot

A Symphony Orchestra simply cannot be a "paying" proposition.
There is always a gap between income and expense, a gap which
must be met by gifts from loyal friends of the Orchestra, be they
individuals, corporations, or foundations. The problem is that the
gap between income and expense has in recent years been growing
wider, and so now, with the help and challenge of the Ford Founda-
tion, the Orchestra proposes to increase its financial support.

To cover this widening gap between income and expense, the
Orchestra seeks additional funds for investment and increased annual
support. For both, we must turn to you and all in this community
who value music. I do not say orchestral music, for although this is
a great orchestra, it is also a group of fine musicians who form the
heart and core of the musical life of this city.

Our goals are to maintain annual giving of at least $325,000 through
the season 1970-71, and to raise in addition to our present perma-
nent income producing funds of $3.5 million a further $4 million in
which case the Ford Foundation will give us $100,000 per season for
expenses and $2 million for investment. We also seek an additional
$1.5 million for various purposes, principally renovations at Sym-
phony Hall and Tanglewood.

If we accomplish these purposes, we will add $6 million to income
producing funds, $1.5 million for construction and renovation, and
will have established a wide base for annual contributions. The
Trustees of the Orchestra have set a target of $1 million as their
share of the Fund. Attainment of the total goal depends upon the
thoughtful giving of all who love fine music.

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JOHN N. BURK

We report with great sadness the death on
6 September of John Naglee Burk, who re-
tired at the end of the 1965-66 season after
forty-eight years of service with the Boston
Symphony Orchestra. During thirty-two of
those years he was the Orchestra's official
historian and program annotator.

John Burk was born in San Jose, California in
1891. His father, a gifted amateur, had been
a pupil of Franz Liszt, and passed on to his
son his great love of music. John Burk was
educated for a time in Switzerland, where he
learned to speak fluent French, and went on
to Harvard and majored in English. He

founded The Harvard Musical Review with Roger Sessions, the distinguished

composer, and was graduated in 1916.

After two years as assistant to H. T. Parker on The Boston Transcript, he
came to Symphony Hall as publicity director. On the death of Philip Hale
in 1934, he became program annotator and editor, and during the years he
wrote for the Orchestra, his notes became known throughout the world for
their scholarship and lucidity. Michael Steinberg wrote in The Boston Sunday
Globe in October last year: "By his writing, John Burk has earned the
gratitude, not just of the Boston Symphony, but of that orchestra's large
public. We have, all of us, been the beneficiaries of his conscientious
scholarship and his fastidious style. . . . He is a man sensitive to words, to
their precise meanings, and to their most subtly elusive flavors as well.
Proceeding from a clear and disciplined intellect, his essays are shapely and
forceful."

Mr Burk wrote several books: Clara Schumann, The Life and Works of
Beethoven, Mozart and his Music, Letters of Richard Wagner — the Burrell
Collection; and edited Philip Hale's Boston Symphony Programme Notes. He
also extended M. A. De Wolfe Howe's Boston Symphony Orchestra for the
period between 1914 and 1931. He received an honorary degree of Doctor
of Music from the Curtis Institute in Philadelphia in 1950, and three years
later was named a member of the Harvard Chapter of Phi Beta Kappa.

John Burk was a man of extraordinary gentleness and modesty, and was
known to his friends for his occasional and charming absent-mindedness. He
lived during the last years of his life in Boston and at his country home in
Rockport. Francis W. Hatch has paid a tribute in which Mr Burk's colleagues
at Symphony Hall and the Orchestra's subscribers will surely wish to join:
"The program notes prepared by John Burk will rank as classics in the field
of musical history. For over thirty years, his weekly program feature has
added to the enjoyment of musical scholars. The passing of John Burk is
indeed the end of an era."

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Contents

Program for 28 and 29 September 1967

Future programs

The soloists

The members of the Orchestra

John N. Burk — an obituary

Program notes by Conrad L. Osborne
Der fliegende Hollander — Overture
Die Meistersinger — excerpts from Act III
Die Walkure — Act I

The ring of the Nibelungs — a synopsis

Records of Die Walkure

Your Symphony Hall

Tanglewood 1967

1 1

57
38
41

12
16
20

32
36
46
50

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EIGHTY-SEVENTH SEASON 1967-1968

First Program

Friday afternoon September 29 at 2 o'clock
Saturday evening September 30 at 8.30

WAGNER

Der fliegende Hollander - Overture

Die Meistersinger von Niirnberg - from Act III

Introduction - Dance of the apprentices -
Procession of the mastersingers

INTERMISSION

Die Walkure - Act I

CLAIRE WATSON Sieglinde
JESS THOMAS Siegmund

KENNETH SMITH Hunding

These concerts are given in
memory of John N. Burk

The concerts will end at about 4.10 on Friday
and at 10.40 on Saturday

BALDWIN PIANO
RCA VICTOR RECORDS

Program Notes

&j Conrad L. Osborne

RICHARD WAGNER

Der fliegende Hollander (The Flying Dutchman) - Overture

Wagner was born in Leipzig on 22 May 1813, and died in Venice on 13 February
1883. The Overture was first played by the Boston Symphony Orchestra on 4 April
1890 with Arthur Nikisch conducting. The most recent performances in this series
were conducted by Pierre Monteux on 26 and 27 January 1951.

The instrumentation: 2 flutes and piccolo, 2 oboes and english horn, 2 clarinets,
2 bassoons, 4 horns, 2 trumpets, 3 trombones and tuba, harp, timpani and strings.

There are excellent grounds for the assertion that Der fliegende Hol-
lander marked Wagner's emergence as an artist. He himself felt it:
"From here begins my career as a poet," he remarks, "and my farewell
to the mere concocter of operatic texts."

The dramatic nature of this step can be appreciated by a consideration
of Rienzi, which preceded Flying Dutchman by only a year. Rienzi
has passages of beauty and grandeur, but it is indeed a "concoction" —
a putting-together of certain historical-drama elements with an entirely
conventional love story, cast in a framework of grand opera which
would find a comfortable spot in the Spontini-to-Meyerbeer line. The
essence of Der fliegende Hollander is poetic: the composer, seized by
the expressive possibilities of a subject — its atmosphere, its central

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statement — seeks to cast it in the most direct way, rejecting as irrele-
vant anything which does not contribute to that atmosphere and
statement. If he is yet some distance from the goal, the decisive step
has been taken — it is leagues from the five incident-packed acts of
Rienzi to the single act (though usually not performed as such) and
single essential action of Der fiiegende Hollander.

Wagner saw his Dutchman as a folk-derived blend of Ulysses and The
Wandering Jew, and he saw this tortured, restless figure's potential
salvation in the unquestioning love of a quintessential woman. It is
Wagner's first expression of the notion of redemption through the
intuitive feminine spirit — a notion to which he returns, with increas-
ingly mature and subtle perceptions, throughout the remainder of
his career.

Though Wagner had been interested in the subject as early as 1838,
he actually wrote the opera, in a very short time, in 1841. It received
its premiere on 2 January 1843 at Dresden, with the composer con-
ducting. The famous overture is almost a precis of the opera itself,
expressing in alternate and combined thematic development the tor-
ment and obsession of the Dutchman, the redeeming commitment of
Senta, and the pervading presence of the northern seas and the men
who work on them.

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Die Meistersinger von Nurnberg - from Act III
(The Mastersingers of Nuremberg)

Introduction - Dance of the apprentices -
Procession of the mastersingers

George Henschel conducted the Orchestra's first performance of these pieces on
10 February 1882. The most recent performances in this series were conducted by
Charles Munch on 4 and 5 March i960.
The instrumentation: 2 flutes, piccolo, 2 oboes, 2 clarinets, 2 bassoons, 4 horns,
3 trumpets, 3 trombones and tuba, timpani, glockenspiel, triangle, cymbals, harp
and strings.

Most artists feel impelled, at some point, to meditate aloud on the
subject of art itself — its reasons for existence, its uses, its place in men's
lives. It could not fail to be so with Wagner, that most indefatigable
deliverer of opinions, and in fact he went to the extreme of composing
what may be the greatest of all operatic comedies in order to explain
himself on the matter. In doing so, he returned, for the only time in
his mature career, to an historical basis — a very real city of Nurnberg,
a very real set of traditions, and even a cast of characters drawn, at
least in name, from among the people who had actually walked the
streets of that city and contributed to those traditions. Chief of these,
of course, is the shoemaker-poet Hans Sachs. What Wagner (and
Sachs) have to say on the question of art is (to state it crudely) this:
1) People need art, particularly in its celebrative aspect; 2) Art needs
tradition, a set of groundrules; 3) Genius, by its very nature, must

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violate that tradition; and 4) Genius and tradition must then come to
some sort of positive accommodation, whereby each strengthens and
refreshes the other, so that in the end a new art emerges, an art which
is at once contemporary and free, yet part of an ancient and well-
founded continuity. That all of this is put forth in a work of immense
tenderness, high humor, witty observation, infinite sadness, and, finally,
unbounded exhilaration is in itself Richard Wagner's final comment on
art and life.

The excerpts which we shall hear today are quickly identified. The
Prelude to Act III brings us the mood of profound meditation,
skeptical yet hopeful, which Sachs will soon explore in his famous
Wahnmonolog; the Dance of the apprentices is, unsurprisingly, a
dance of the apprentices, which is played while representatives of the
various guilds gather on the festival meadow for the mastersinging
contest; and the Procession of the mastersingers accompanies the
climactic entrance of the contestants, their fellow guild members, and,
at last, Sachs himself.

It is, of course, Genius which takes the day — but Genius molded and
formed by what is valid in the tradition, and, in the end, subject to the
judgment of the assembled people, for whom art exists.

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Die Walkiire-

The Orchestra has played Act I of Die Walkure in its entirety on two previous
occasions: first in this series on 29 and 30 December 1933, with Serge Koussevitzky
conducting and with Elsa Alsen, Paul Althouse and Fred Patton as soloists; and at
the Berkshire Festival on 21 July 1956, when Charles Munch conducted with soloists
Margaret Harshaw, Albert Da Costa and James Pease.

Wagner's specifications for the instrumentation of Act I of Die Walkure: 16 first
violins, 16 second violins, 12 violas, 12 cellos, 8 double basses, 3 flutes, 1 piccolo
(third flute sometimes doubles second piccolo), 3 oboes, english horn (doubling
fourth oboe), 3 clarinets, bass clarinet, 3 bassoons, 8 horns (4 doubling Wagner
tubas), tuba, 3 trumpets and bass trumpet, 3 tenor trombones, bass trombone
(alternating with contrabass trombone), 2 pairs of timpani, triangle, cymbals, side
drum, glockenspiel, tam tam, 2 harps.

A letter to August Rockel, dated 23 August 1856, affords us one of
Richard Wagner's most self-perceptive prose passages. "The strange
thing is," he comments (in the Ellis translation), "that in all my
intellectual ideas on life ... I was working in direct opposition to the
intuitive ideas expressed in my works. While, as an artist, I felt with
such convincing certainty that all my creations took their coloring

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from my feelings, as a philosopher I sought to discover a totally opposed
interpretation of the world ... I made my most remarkable discovery
in this respect with my Nibelungen drama."

The Nibelungen drama was, indeed, Wagner's means of some impor-
tant self-discoveries; as Hollander had marked out his basic direction,
so the Ring marked his conscious assumption of a new set of dramatic
and compositorial goals. And it was at the very time of the composition
of Die Walkilre (the second half of 1854) that he arrived at some
important clarifications concerning himself, his artistic outlook, and
the material he had concerned himself with. He had sketched his
Nibelungen drama — in a form reasonably close to its final one — as
early as 1848, and had completed the poem by 1852. Yet, although his
journey backward, which led from the original conception of a single
drama based on the figure of the mature Siegfried to a trilogy-with-
prologue combining the Siegfried and Ring legends, indicates his
gradually tightening grip on the true subject matter of his drama, he
still felt that he was not entirely in control of his own materials.

It was at this time (he had just completed the first act of Die Walkilre,
and had busied himself in making a fair copy of the already-completed
Das Rheingold) that he discovered Schopenhauer's Die Welt als Wille
und Vorstellung (The World as Will and Idea). He sensed almost
immediately that he had found the philosophical means by which he
might unite his "intellectual" and "intuitive" perceptions; it was as if
his own work had been explained to him. "Now at last," he states in

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his autobiography, "I could understand my Wotan." The extent to
which this unresolved conflict within himself was also, in a deep sense,
the central conflict of his trilogy (and of its key character) had been
borne in on him. Almost simultaneously, the subject of Tristan und
Isolde came under serious consideration for the first time.

The completion of the Walkilre vocal score went rapidly, but the
orchestration occupied Wagner for well over a year, and it was not
until the spring of 1856 that he had in hand a completed score. And
more than fourteen years were to go by before the piece was produced.
The Bayreuth Festival owes its existence, in roughly equal parts, to
the difficulties Wagner invariably met in securing productions for his
works and to his extreme dissatisfaction with the result whenever they
were produced; it was his intention to withhold each section of the
Ring cycle until the whole could be produced under conditions ap-
proaching his requirements. With respect to Das Rheingold and
Die Walkilre, however, his hand was forced by his protector, King
Ludwig of Bavaria (who was, as it were, the original "Wagner fan"),
who insisted on having these first two evenings of the cycle presented
at Munich. Accordingly, Das Rheingold was mounted in 1869, and
Die Walkilre a year later, without the composer's approval or partici-

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pation. The Walkiire production was apparently what might fairly be
described as a ''good try," and met with a qualified but real success.
In 1876 the opera was finally given as a part of the complete cycle, the
occasion being the first Bayreuth Festival.

Act I of Die Walkiire has often been performed, 111 concert and on
records, as a self-sufficient entity. The reason lies not only in the
extraordinary beauty and power of the writing, but in the dramatic
completeness of the act, which points toward one significant action —
the union of Siegmund and Sieglinde — and carries it out. To be sure,
many important matters are left unresolved; but the relationship which
is the act's subject is thoroughly explored, explained, and fulfilled.

This is the only act of the cycle peopled entirely by characters whose
lives begin and end, for us, in a single evening. It is also the only act
until the beginning of Gotterdammerung in which Wotan does not
appear, except by reference. This seeming coincidence has interesting

John Locke

judgment

Smith, Barney might well adopt as a
motto for its Research Department a
sentence of John Locke's: "He that
judges without informing himself to
the utmost that he is capable cannot
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implications. Wotan is absent from the scene by choice; he wishes it to
appear that developments are proceeding without his interference,
since it is only through the advent of a hero free of his influence that
the disastrous chain of events initiated in Das Rheingold can be
halted.

And so it is that representatives of the human race hold the stage for
the first time in the Ring. But, although they display admirable char-
acteristics and exert a strong pull on our feelings, they soon disappear —
neither they nor the world into which they have come is ready for
their ascendancy. And most particularly is Wotan not ready for it,
for his absence is a calculated one, a sham. Though he pretends to
let events take their course, he has in fact exerted control over the
situation. He has fathered the Wdlsung twins; he has supervised the
upbringing of Siegmund; he has implanted in the ash-tree's stem the
invincible sword for his hero-son to find. And though he makes no
appearance on the stage, he is in fact present in Act I, both in text and
music — he is the Walse apostrophized by Siegmund, the Greis in
grauem Gewand (the old man in grey garb) remembered and described
by Sieglinde.

It is this fact that dooms the lover-twins, for the lesson that Wotan
must learn is that he must truly forego the vainglory of rule, the
attempt to control — that he must lose his life to gain it. It is only
through this renunciation that the truly freed spirit (Siegfried) will
appear, and that Wotan's true will (Briinnhilde, his "wish-maiden")
will at last emerge.

Thus, the three characters who compel our attention in this act have
no lives of their own, but only such life as is granted them in Wotan's
fast disintegrating scheme. Siegmund will live his pursued existence
only long enough to plant the seed of the hero Siegfried, his sister long
enough to bear the infant. Hunding will vanish the moment he has
carried out the task marked for him by Fricka, Wotan's consort: the
killing of Siegmund. The very brevity and hopelessness of their lives
lends them extra poignancy. For the duration of this glorious act, they

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will command our sympathies as only a few characters of the lyric
stage can, for in the excitement of their mutual discoveries they illu-
minate, briefly but powerfully, the far-off goal: the attainment of full
humanity.

Program notes © Conrad L. Osborne

Conrad L. Osborne, born in 1934, decided on a performing career, and
forsook college for a professional acting company. He has since been
a professional actor, singer and opera director. He began work in
musical journalism in 1959 and became chief vocal critic for High
Fidelity magazine. Since then he has contributed to many musical
publications and has been New York music critic for The Financial
Times of London since 1962. In addition he is today a Contributing
Editor for High Fidelity/Musical America and a Senior Editor for
Maco Publications in New York.

"Mr. Sullo's piano playing represents genuine musicality and a formidable technic."

Cyrus Durgin, "Boston Globe," 4/18/53

SALVATORE SULLO

- PIANO -

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2 MICHELANGELO ST., BOSTON, MASS. TEL. 227-8591

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The Ring of the Nibelungs — A Synopsis

Rheingold, the first opera of Wagner's tetralogy, tells the story of the
theft of the magic gold which belongs to the three Maidens of the River
Rhine. Whoever shall make a ring from it shall be master of the
world, if he also forswears love. Alberich, a dwarf from the under-
world, first steals it, but loses it to Wotan, King of the Gods. Wotan
has to pay the giants of the earth, Fafner and Fasolt, for having built
Valhalla, the new home of the Gods; their price is Freia, the Goddess
of Youth. But if Wotan gives Freia up, the gods will grow old; so he
persuades the giants to take the golden ring instead. Alberich puts a
curse of death on the ring as he gives it up, and immediately it begins
to work as Fafner kills Fasolt. The opera ends as the gods move to
Valhalla, their new home.

The Valkyrie, wild riders of the sky, are the nine daughters of Wotan
and Erda, goddess of the earth. The gods will perish unless Wotan
regains the ring, which Fafner, now transformed into a dragon, guards
on earth. Hoping that a son born on earth may be able to take the
ring, Wotan has fathered sons by a woman of earth. The curse of the
gold visits itself on these children, one of whom is Siegmund. Now a
man, he is fleeing from his enemies in a thunderstorm as the first act of
Die Walkiire begins. He finds refuge in the hut of Hunding, husband
of Sieglinde. Not knowing that they are brother and sister, Siegmund

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and Sieglinde fall In love, and she puts a sleeping potion into
Hunding's drink. There is a sword embedded in the tree that serves
as the hut's roof, put there on the day of Sieglinde's wedding by a
stranger, who was in fact Wotan. The man who can draw it out shall
have it. Till now all who have tried have failed, but Siegmund
succeeds. Sieglinde is now certain of their destiny; the two rush out
into the night, as the first act ends.

As the story continues, Siegmund is killed by the pursuing Hunding,
and Wotan, grieving at his son Siegmund's death, strikes Hunding
dead. Brunnhilde, one of the Valkyries, rescues Sieglinde, tells her she
will become the mother of a hero, and warns her to escape from
Wotan's fury. Wotan, angry with Brunnhilde, punishes her: no longer
shall she be a goddess. She shall fall into a deep sleep, and whatever
man shall find her first shall waken her and take her to wife.

Sieglinde dies giving birth to her son Siegfried. The dwarf Mime finds
the child and brings him up. The gold, which Mime now covets, can
only be won by killing its present guardian, Fafner, with a sword made
from the pieces of Siegmund's shattered weapon. Siegfried forges it,
kills Fafner, and tasting by accident the blood of the dragon, under-
stands that Mime plots his death. So he kills Mime. A woodbird tells
him that he shall rescue Brunnhilde, and he goes in search of her.
Wotan meanwhile realizes that the gods cannot survive, and that
Siegfried and Brunnhilde shall be the rulers of the future. He breaks

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his spear, the symbol oi his power. Siegfried awakes the sleeping
Brunnhilde, and puts the magic ring on her finger, as the opera
Siegfried ends.

Siegfried rides away on Briinnhilde's horse, Grane, to prove his love
by deeds of valor. But Hagen, son of the dwarf Alberich, plots with his
half-brother Gunther to steal the ring by giving Siegfried a potion,
which will make him forget Brunnhilde and love Gunther's sister.
Gunther shall then have Brunnhilde and the ring. Siegfried drinks the
potion, and he and Gunther go in search of Brunnhilde.

Wearing a magic helmet to make him look like Gunther, Siegfried
finds Brunnhilde and brings her to Gunther. Restored to his own form
and wearing the ring he took from Brunnhilde, he weds Gutrune,
while Briinnhilde's love turns to hate. She plans to murder him while
he is hunting.

In the last act of Gotterdammerung, the Rhine Maidens ask Siegfried
for the ring, but he will not give it up. They warn him that the curse
will work on him. Hagen gives Siegfried a potion to bring back his
memory, then stabs him as they are hunting together. Siegfried calls
on Brunnhilde as he dies.

Hagen now demands the ring from Gunther, and when he refuses to
give it up, kills him. He tries to take the ring, but Brunnhilde prevents
him. She has a funeral pyre built, bids farewell to Siegfried, and rides
into the flames on Grane. The waters of the Rhine extinguish the fire,
and the Rhine Maidens take back the ring. Hagen drowns in a final
attempt to steal it, and Valhalla collapses, consumed by fire.

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Records of Die Walkure

There are several complete recordings available of Die Walkure. Mr
Leinsdorf conducts the London Symphony Orchestra with Birgit
Nilsson, Gre Brouwenstijn, Rita Gorr, Jon Vickers and George London
in the leading roles, for RCA Victor. Georg Solti conducts the Vienna
Philharmonic with Birgit Nilsson, Regine Crespin, Christa Ludwig,
James King, Hans Hotter and Gottlob Frick for London; Herbert von
Karajan conducts the Berlin Philharmonic with Regine Crespin,
Gundula Janowitz, Josephine Veasey, Jon Vickers, James Stewart and
Martti Talvela for DGG. There is an older complete recording on
Seraphim with Wilhelm Furtwangler and the Vienna Philharmonic,
and a complete version of Act I, recorded in 1935, by Lotte Lehmann,
Lauritz Melchior and Emanuel List, with the Vienna Philharmonic
under Bruno Walter on Angel.

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The soloists

In 1951 CLAIRE WATSON was studying
with Elisabeth Schumann in New York, and
sang one day for Otto Klemperer, who was
so excited that he invited her to Europe to
coach with him. She went, and during her
stay in Vienna she sang for the guests at a
party given in her honor. Emanuel List
was there, and suggested she go immediately
to Graz to audition. The result was a con-
tract to open the fall season at the Graz
Opera as Desdemona in Verdi's Oteilo. It
was her first appearance on stage and was a great success.

But her children kept her away from her career for four years, when
she returned to Europe and was engaged by the Frankfurt Opera. In
1958 she moved to the Bavarian State Opera Company in Munich,
where she still sings regularly, and made her debut at the Royal Opera
House, Covent Garden. Claire Watson is also a member of the Vienna
State Opera, has appeared at the Salzburg Festival, and is a guest of
the Berlin Opera.

Last fall she made her American operatic debut with the San Francisco
Opera Company, and later appeared with the Lyric Opera of Chicago.
Claire Watson makes her first appearance with the Orchestra this week.

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The appearance of JESS THOMAS, his
first with the Boston Symphony Orchestra,
is the start for him of a busy season of
Wagner. Later he will sing in Tristan and
Isolde and Rheingold in San Francisco;
Tannhaiiser in Philadelphia and Parsifal in
New York and Washington.
Born in Hot Springs, South Dakota, he
graduated from the University of Nebraska
and then worked for four years as a high
school counselor. In 1953, he enrolled at
Stanford University in California to prepare for his doctor's degree.
The school's vocal instructor, Otto Schulmann, recognized his potential,
and persuaded him to study voice. Eventually he abandoned psy-
chology for music, and his singing career began at the San Francisco
Opera. From there he moved to Karlsruhe in Germany, and in i960
made his debut at the Munich Festival. The next year he appeared at
Bayreuth as Parsifal, in Berlin as Radames and in Munich as Don
Carlo. In 1962 he sang for the first time at the Metropolitan Opera in
New York as Walther von Stolzing.

From that time Jess Thomas has been in demand in many of the
world's finest opera houses, and at many music festivals. At the cele-
brations commemorating Wagner's 150th birthday, Bayreuth honored
him with a gold medal. Not only an opera singer, he sings many
recitals, with repertoire ranging from Purcell to Barber.

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KENNETH SMITH appeared last with
the Boston Symphony Orchestra two sea-
sons ago, when he sang in a performance
of Beethoven's Ninth Symphony. He was
born in England, but came to the United
States at the age of four and grew up in
Stamford, Connecticut. He studied at the
Manhattan School of Music and the New
York College of Music, and during the
Second World War served with the Air
Force. After the war he made his profes-
sional debut, and sang with many opera companies and orchestras.

In 1957 he had a great success as Wotan in Die Walkiire at Denver,
and in the autumn of the following year he was engaged by the New
York City Opera. He has sung since throughout the United States and
in Europe, and has appeared many times in opera productions on
television. Most recently he has appeared with the orchestras in
Philadelphia, Pittsburgh, Washington, Los Angeles, Cincinnati,
Buffalo and in other cities. Kenneth Smith now lives in Kansas, where
he is Professor of Music at the University of Kansas in Lawrence.

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The Members of the Orchestra

As a regular feature of the program book, space will be given to short
biographical sketches of the members of the Orchestra and the chamber
groups to which they belong. We start this week with players of the
Boston Sinfonietta, formerly the Zimbler Sinfonietta, which is one of
the new Ensembles of the Boston Symphony Orchestra.
The Boston Sinfonietta was founded in 1947 by the late Josef Zimbler,
cellist of the Boston Symphony Orchestra, and was one of the first
string groups to perform without a conductor. From the start it
enjoyed a success which was much enhanced by an annual series of
concerts presented at Jordan Hall, and by its numerous recordings.
In 1957, the U. S. Department of State sponsored a successful tour to
South America. Three years later Josef Zimbler died, and the Sin-
fonietta was reorganized with George Zazofsky as its permanent Music
Director. The Boston Sinfonietta will give its first concert under the
new name in Jordan Hall on 9 October, when music by Corelli,
Barber, Tansman and Vivaldi will be performed. Later in the season
the Ensemble will perform at the Academy of Music in Philadelphia
at the invitation of the Chamber Orchestra Society of that city.

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GEORGE ZAZOFSKY, Concertmaster and
Musical Director of the Boston Sinfonietta,
who will play solo violin in Vivaldi's The
Seasons in the Ensemble's concert in Jordan
Hall on 9 October, was born in Boston.
He studied at the Curtis Institute in Phila-
delphia, where he was the orchestra's con-
certmaster under Fritz Reiner. He joined
Leopold Stokowski's All-American Youth
Orchestra for two tours, and became a mem-
ber of the Boston Symphony in 1941. He
has been Concertmaster of the Boston Opera Group since its founda-
tion, and is on the faculty of the Berkshire Music Center and the New
England Conservatory. He played the solo part of Berg's Violin
Concerto with the Orchestra under Mr Leinsdorf's direction both in
Boston and on tour. George Zazofsky is also Chairman of the Inter-
national Conference of Symphony Orchestras and Opera Musicians, he
is the guiding spirit behind the symphony orchestra members' exchange
scheme under the auspices of the Department of State, now in its
second year with the exchange of players between the Boston Symphony
and Japan Philharmonic, and has been Chairman of the Orchestra
Players' Committee since 1961. He was recently invited to take part in
a panel on Labor and the Performing Arts by the Rockefeller Brothers
Fund. In his spare moments George Zazofsky enjoys ice skating, at
which he is expert, deep sea fishing, skiing and golf.

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HENRY PORTNOI, newly appointed
Principal Bass of the Boston Symphony
Orchestra, also plays in the Boston Sym-
phony Chamber Players, and the Boston
Sinfonietta. A native of Boston, he first
studied violin with Nicholas Kassman, a
former member of the Orchestra, and bass
with Max Kunze, a former holder of his
present chair. Later he was at the Berkshire
Music Center at Tanglewood and at the
MUr/ f Curtis Institute in Philadelphia. He played

in the orchestras of Indianapolis and Pittsburgh, and toured South
America as a member of Leopold Stokowski's All American Orchestra.
Henry Portnoi joined the Boston Symphony Orchestra in 1943 and
teaches at Boston University. He is at present working on a method
book on the double-bass for beginners, which will be finished next year.
He met his wife, who was a member of the Radcliffe Choral Society,
at a rehearsal of Bach's B minor Mass in Symphony Hall in the spring
of 1944, and they were married on the last day of the same year. They
have two children, one of whom, Rebecca, was a guide at Tanglewood
this summer.

Radio Broadcasts

The Friday afternoon concerts at 2 p.m. are broadcast in stereo each
week by WGBH-FM and its educational affiliates, WFCR in Amherst
and WAMC in Albany, New York.

The Saturday evening conceits at 8.30 p.m. are broadcast by WCRB-
AM and its affiliate WCRX in Springfield, by WGBH-FM, and in
stereo by WCRB-FM and its affiliate WCRQ-FM in Providence.
WCRB also broadcasts delayed transcriptions of the Orchestra's con-
certs on Thursdays at 9 p.m.

Some Tuesday evening concerts will be broadcast in stereo by WGBH-
FM, WFCR in Amherst and WAMC in Albany.

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Your Symphony Hail

If you take a moment to look around, you will probably notice some
subtle changes in the decor of the auditorium. The statues are whiter
than they were, the brass chandeliers are gleaming. What you see is in
fact a restoration of the Hall to its original look of 1900.

The work began immediately after the Pops season closed, and was
completed in time for Boston University's Summer School Commence-
ment exercises on August 19. The Edward K. Perry Company, who
painted the Hall sixty-seven years ago, was contracted for the opera-
tion, under the supervision of Lewis F. Perry, grandson of Edward,
and now President of the Company. The colors match exactly the
originals, seven in all, and were checked against samples held in the
files of McKim, Mead and White, the Hall's architects.

Scaffolding was built up to the ceiling, which was stripped, made good,
and redecorated with paint of a chemical formula similar to the
original. Every precaution was taken to make sure that no change
could occur in Symphony Hall's unique acoustics. At the same time
the surface of the sixteen plaster statues was renewed to give them
again the look of marble.

Painting the walls was easy in comparison, as was the repair, cleaning
and polishing of the chandeliers. The organ pipes, the proscenium
arch and the balcony railings, all covered with gold leaf, were washed
and a new protective coat of gelatin was put on.

JLI/lai

TOGS

Boston
Mass.

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The leather doors to the Hall will gradually be recovered by the
Symphony Hall House Crew, who were busy throughout the summer
working on the interior of the auditorium under the supervision of
Edward Charron, House Superintendent, Frank Smith, Maintenance
Carpenter, and Douglas Hume, Chief Electrician.

This redecoration is the first stage of the plans to refurbish Symphony
Hall: public elevators will be installed later, and a new entrance and
foyer will be constructed.

This is the first expenditure from the one and a half million dollars
which is being raised as part of the five and a half million dollar Fund
for the Boston Symphony, to make your Hall more comfortable and
attractive.

Seminars in Symphony Analysis

The Friends of The New England Conservatory announce that Mrs
Mac Morgan will hold a seminar in Symphony Analysis each Friday
when the Boston Symphony Orchestra is playing a concert. The time:
1 1 o'clock to midday; the place: Harrison Keller Room. Mrs Morgan
will discuss selections chosen from the Orchestra's program of the day
with emphasis on new works. Student performers may occasionally
provide illustrations. For further details, please telephone the New
England Conservatory (536-8660) and ask for the Friends' Office.

Gregg and EZ Alphabetic Short-
hand. Start any time; graduate
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Tanglewood 1967

The Berkshire Festival this year presented twenty-four concerts in the
Shed at Tanglewood, eight open rehearsals, two benefit concerts and
six programs of chamber music. In addition there were twenty-four
performances by members of the Berkshire Music Center, including the
six concerts of the fourth Festival of Contemporary American Music.

This works out to be an average of more than one concert a day during
the eight-week season. There was a constant stream of visiting soloists
and conductors, some of whom were also able to give master classes to
members of the Berkshire Music Center, or meet them more informally.
Highlights of the season were performances of Bach's B minor Mass,
Verdi's Requiem, and the premiere in America of Beethoven's original
version of Fidelio, which Mr Leinsdorf presented in concert form.
Most of the singers were American born, but Hanne-Lore Kuhse, who
sang the title role, comes from Germany, where she is leading soprano
of the Berlin State Opera, and Tom Krause, Finnish by birth, who
sang Pizarro, is a member of the Hamburg State Opera. From the
Orchestra itself Joseph Silverstein played concertos by Bach and
Brahms, and in the Vivaldi program conducted by the Italian Antonio
Janigro, Doriot Anthony Dwyer, Lois Schaefer, Ralph Gomberg and
Sherman Walt each played a concerto.

The benefit concert for the Berkshire Music Center, which was broad-
cast live from coast to coast by NBC, included a performance by the
combined Boston Symphony and Berkshire Music Center Orchestras
of the 1812 Overture of Tchaikovsky. The Overture ended with an
accompaniment of cannon shots and an impressive display of fireworks.
In 1936 audiences totaling 15,000 attended the first three concerts at
Tanglewood. This year, despite the rainy weather, attendance for the
twenty-four concerts given in the Shed by the Boston Symphony
Orchestra was over 170,000.

FUNERAL
SERVICE

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BOSTON SYMPHONY ORCHESTRA

ERICH LELNSDORF Music Director
CONCERT SCHEDULE 1967-1968

SEPTEMBER

28 Boston

29-30 Boston

OCTOBER

3 Boston

5 Providence

6-7 Boston

10 Boston

12 Boston

13-14 Boston

17 Boston

18 New York

19 Brooklyn

20 New York

2 1 Newark
24 Boston
26 Boston

27-28 Boston

31 Boston

NOVEMBER

2 Providence

3-4 Boston

7 Boston

9 Boston

10-11 Boston

14 Boston

16 Boston

17-18 Boston

21 Boston

24-25 Boston

28 Boston

29 New York

30 New Brunswick

DECEMBER

1 New York

2 Carnegie Hall
5 Boston

7 Providence

8-9 Boston

12 Boston

14 Boston

15-16 Boston

28 Boston

29-30 Boston

JANUARY

2 Boston

5-6 Boston

9 Boston

1 1 Providence

12-13 Boston

16 Boston

18 Boston

19-20 Boston

Rehearsal i
Fri-Sat I

Tuesday Ai

Fri-Sat II

Tuesday Bi

Rehearsal 2

Fri-Sat III

Cambridge 1

Tuesday A2
Thursday Ai
Fri-Sat IV
Tuesday B2

Fri-Sat V
Tuesday A3
Thursday Bi
Fri-Sat VI
Cambridge 2
Thursday A2
Fri-Sat VII
Tuesday B3
Fri-Sat VIII
Tuesday A4

Cambridge 3

Fri-Sat IX
Tuesday A5
Thursday A3
Fri-Sat X
Rehearsal 3
Fri-Sat XI

Tuesday A6
Fri-Sat XII
Tuesday B4

Fri-Sat XIII
Cambridge 4
Rehearsal 4
Fri-Sat XIV

JANUARY (continued)

23 Boston

25 Boston
26-27 Boston

29 Hartford

30 Philadelphia

31 New York

FEBRUARY

1 Brooklyn

2 New York

3 Carnegie Hall
6 Boston

8 Boston

9-10 Boston

15 Boston

16-17 Boston

20 Boston
22 Boston

23-24 Boston

26 Washington

27 Washington

28 New York

29 Carnegie Hall

MARCH

1 New York

2 Carnegie Hall
8-9 Boston

12 Boston

14 Providence

15-16 Boston

19 Boston

2 1 Boston
22-23 Boston

27 St Louis

28 Chicago

29 Cincinnati

Tuesday A7
Thursday B2
Fri-Sat XV

Tuesday A8
Thursday A4
Fri-Sat XVI
Rehearsal 5
Fri-Sat XVII
Tuesday B5
Thursday A5
Fri-Sat XVIII

Fri-Sat XIX

Tuesday A9

Fri-Sat XX
Cambridge 5
Thursday B3
Fri-Sat XXI

APRIL

1 Boston

2 New Haven

3 New York

4 Brooklyn

5 New York

6 Carnegie Hall
9 Boston

1 1 Boston

12-13 Boston

16 Boston

18 Boston

19-20 Boston

23 Boston

25 Boston

26-27 Boston

American College
of Physicians

5
3
5
4

Cambridge 6
Rehearsal 6
Fri-Sat XXII
Tuesday B6
Thursday A6
Fri-Sat XXIII
Tuesday A 10
Rehearsal 7
Fri-Sat XXIV

For information about space
and rates in

THE

BOSTON SYMPHONY

PROGRAM

Call Advertising Department
Symphony Hall

•

CO 6-1492
Donald T. Gammons

"The Man Who
Cares, Prepares

SHARON MEMORIAL PARK

SHARON. MASSACHUSETTS
Telephone Boston Areo 364-2855

MUHTiNOTOM Avewue comudou

The Boston Symphony Orchestra would like to call to

your attention the four concerts to be given in Symphony Hall

this season by visiting orchestras

VIENNA PHILHARMONIC
Karl Boehm conductor
Monday evening October 9

L'ORCHESTRE NATIONAL FRANCAIS
Maurice Le Roux conductor
Friday evening October 27

CINCINNATI SYMPHONY ORCHESTRA
Max Rudolf conductor
Sunday afternoon January 2 1

CLEVELAND ORCHESTRA

George Szell conductor
Wednesday evening February 7

Further information on the above series of concerts may be
obtained from the offices of the Boston University
Celebrity Series, 535 Boylston Street
KEnmore 6-6037

Mrs. Aaron Richmond and Walter Pierce
present in the 1967-68 Boston University

CELEBRITY SERIES

Symphony Hall • Jordan Hall • Back Bay Theatre

SELECT YOUR OWN SERIES FROM THE WORLD'S FOREMOST ATTRACTIONS
Subscribe Now and Save!

535 BOYLSTON ST. "gBrS^?" Tel. KE 6-6037
NOTE: Series subscriptions are limited. To avoid disappointment, mail your order now.

7-EVENT SELECTIVE SERIES: $31.50 -$24.50 -$21.00

Check any 7 of the 17 events listed below:

*□ GUARNERI STRING QUARTET ("One of the best"— N. Y. Times) Sun. Aft, Oct. 15

D L'ORCHESTRE NATIONAL FRANCAIS, Maurice Le Roux, Music Director Fri. Eve., Oct. 27

□ MUSIC FROM MARLBORO I (Artists include violinist Pina Carmirelli) Sun. Aft, Oct. 29

Program: Boccherini Two Cello Quintet?

Dvorak and Brahms string textets

□ SABICAS, Outstanding Flamenco Guitarist Sat. Eve., Nov. 4

*□ ALICIA DE LARROCHA, Acclaimed Spanish Pianist Sun. Aft, Nov. 5

] REGIMENTAL BAND of the WELSH GUARDS and PIPES, DRUMS,

HIGHLAND DANCERS of the SCOTS GUARDS Fri. Eve., Nov. 24

□ VLADIMIR ASHKENAZY, Brilliant Soviet Pianist Sun. Aft, Nov. 26

□ I SOLISTI Dl ZAGREB, Widely-hailed Yugoslavian Chamber Orchestra Sun. Aft, Dec. 3

□ RUDOLF SERKIN, Internationally Famous Pianist ...Sun. Aft, Dec. 10

□ MUSIC FROM MARLBORO II (Artists include singers Benita Valente,

Jon Humphrey) Fri. Eve., Jan. 19

Program: Beethoven, G Major Variations;

Haydn, G Major Trio?

Shostakovich, Songs on Hebrew Folk Themes

□ CINCINNATI SYMPHONY ORCHESTRA, Max Rudolf, Conductor;

Lili Kraus, Piano Soloist ...Sun. Aft, Jan. 21

□ ALVIN AILEY AMERICAN DANCE THEATRE Sat. Mat, Jan. 27

("Theatrical Sensation of the International Dance World."— N. Y. Times)

□ JUDITH RASKIN, Leading Metropolitan Opera Soprano Sun. Aft, Jan. 28

] ANTONIO and the BALLETS DE MADRID, The Supreme

Spanish Dancer and his Brilliant Company Wed. Eve., Feb. 21

□ BACH ARIA GROUP, All-Star Ensemble of Vocalists and Instrumentalists

includes Maureen Forrester and Lois Marshall Fri. Eve., Feb. 23

□ ANDRES SEGOVIA, World-Famous Guitarist Sun. Aft, Mar. 3

G MUSIC FROM MARLBORO III (Artists include Leslie Parnas, cello?

Murray Perahia, piano) Sun. Aft, Apr. 28

Program: Beethoven, B flat major Trio;

Chopin, G minor Sonata;

Hindemith, Quartet for Clarinet, Violin, Cello and Piano

* Tickers for these events are limited. If selected, please list alternate choice.

EXTRA EVENTS

NOT included in Series. Available ONLY to subscribers if
ordered NOW with Series subscription at the following prices:

CLEVELAND ORCHESTRA, George Szell, Conductor Wed. Eve., Feb. 7

($6.50, $5.50, $4.50, $3.50)

ARTUR RUBINSTEIN, Distinguished Pianist Sun. Aft, Feb. 25

($6.00, $5.00, $4.00, $3.50)

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■

Future Programs
Second Program

Friday afternoon October 6 at 2 o'clock
Saturday evening October 7 at 8.30

CHARLES WILSON Guest Conductor

BRAHMS Academic Festival Overture

HENZE Symphony No. 1

RIMSKY-KORSAKOV Sheherazade

Next week marks the official debut of Charles Wilson, assistant con-
ductor of the Boston Symphony Orchestra. Mr Wilson conducted the
Orchestra last season in Brooklyn at an hour's notice when Mr Leins-
dorf was unwell, and took part of an open rehearsal at Tanglewood
during the summer. He trained the Tanglewood Choir and the Berk-
shire Chorus for performances of Bach's B minor Mass, Beethoven's
original version of Fidelio and Verdi's Requiem, for which he received
extraordinary critical acclaim. Mr Leinsdorf himself, in an interview
with The New York Times, conducted incidentally by transatlantic
telephone between London and New York on the day after the Festival
closed, praised Mr Wilson, "who managed to get such a good chorus.
Up until this season we always had to import a chorus — we never had
a resident chorus of such excellence."

The performance of Henze's Symphony No. 1 is the first by the Boston
Symphony Orchestra not only of this piece, but of any work by the
gifted German composer. Hans Werner Henze, now in his early forties,
is best known for his operas Boulevard Solitude, King Stag and Elegy
for Young Lovers. An article about his life will appear in next week's
program. Rimsky-Korsakov's Sheherazade was last performed in this
series by the Orchestra in 1946, with Serge Koussevitzky conducting.
That the work has not been given for twenty-one years will probably
come as a surprise to many subscribers.

The concert next Friday will end at about 4 o'clock, on Saturday at
about 10.30.

Third Program

Friday afternoon October 13 at 2 o'clock
Saturday evening October 14 at 8.30

BEETHOVEN Excerpts from the ballet Prometheus

SCHOENBERG Piano Concerto

RITA BOUBOULIDI

SCHUMANN Symphony No. 2 in C major

programs subject to change

WGBH-FM goes

STEREO

with

"Live" Boston Symphony Orchestra Concerts
► Morning Pro Musica

CONTRIBUTED BY

GEO. H. ELLIS PRINTING COMPANY

YOUTH CONCERTS AT SYMPHONY HALL, INC,

Members of the Boston Symphony Orchestra

HARRY ELLIS DICKSON

Conductor

Ninth Season • 1907-1968

Two series of concerts will be presented in Symphony
Hall on Saturday mornings, from 11:00 to 12:00 o'clock,
as follows :

FIRST SERIES: Nov. 4 • Jan. 13 •

SECOND SERIES: Nov. 11 • Jan. 20 •

(Repeating the programs of First Series)

Mar. 9
Mar. 16

Tickets are sold by series only. All seats are reserved
at a total cost of $5.00 (tax exempt) for either series of
three concerts.

These concerts are planned for young people from
Grade V through Junior High and High School.

Ticket order, accompanied by check and stamped,
addressed envelope, should be mailed to:
TICKET COMMITTEE
YOUTH CONCERTS AT

SYMPHONY HALL, INC.

251 Huntington Avenue • Boston, Mass. 02115

~%4^3£~&^J<6^fi}^J&l^*j4^&~&^J&2*^-

1928

ANNOUNCEMENT

FORTIETH SEASON

1968

Boston ^Morning ^JMusicales

for benefit of

TUFTS UNIVERSITY

BOSTON SCHOOL OF OCCUPATIONAL THERAPY

STATLER HILTON BALLROOM

Wednesday mornings at eleven o'clock

1967-1968

SUSAN STARR .
GOLD & FIZDALE .
GIUSEPPE CAMPORA
CHRISTIAN FERRAS .
SHIRLEY VERRETT .
TERESA STICH-RANDALL

November 1

November 29

December 13

.January 10

February 7

. March 6

Executive Committee
Mrs John W. Myers Chairman
Mrs Richard A. Winslow V ice-Chairman
Mrs William Emerson Barrett
Mrs John A. Greene
Mrs Arthur John Lockhart
Mrs Carl A. Weyerhaeuser
Mrs Theodore T. Whitney

TUFTS UNIVERSITY BOSTON SCHOOL
OF OCCUPATIONAL THERAPY

136 Harrison Avenue, Boston, Massachusetts 02111

Telephone: 426-1978

BOSTON SYMPHONY ORCHESTRA

ERICH LEINSDORF Music Director

CHARLES WILSON Assistant Conductor

FIRST VIOLINS

Joseph Silverstein
Concertmaster

Alfred Krips
George Zazofsky
Rolland Tapley
Roger Shermont
Max Winder
Harry Dickson
Gottfried Wilfinger
Fredy Ostrovsky
Leo Panasevich
Noah Bielski
Herman Silberman
Stanley Benson
Sheldon Rotenberg
Alfred Schneider
Julius Schulman
Gerald Gelbloom
Raymond Sird

SECOND VIOLINS

Clarence Knudson
William Marshall
Michel Sasson
Samuel Diamond
Leonard Moss
William Waterhouse
Ayrton Pinto
Amnon Levy
Laszlo Nagy
Michael Vitale
Victor Manusevitch
Toshiyuki Kikkawa*
Max Hobart
John Korman
Christopher Kimber
Spencer Larrison

VIOLAS

Burton Fine
Reuben Green
Eugen Lehner
Jerome Lipson
Robert Karol
Akio Akaboshi*
Bernard Kadinoff
Vincent Mauricci
Earl Hedberg
Joseph Pietropaolo
Robert Barnes
Yizhak Schotten

CELLOS

Jules Eskin
Martin Hoherman
Mischa Nieland
Karl Zeise
Robert Ripley
John Sant Ambrogio
Luis Leguia
Stephen Geber
Carol Procter
Jerome Patterson
Ronald Feldman

BASSES

Henry Portnoi
William Rhein
Joseph Hearne
Bela Wurtzler
Leslie Martin
John Salkowski
John Barwicki
Buell Neidlinger
Robert Olson

FLUTES

Doriot Anthony Dwyer

James Pappoutsakis
Phillip Kaplan

PICCOLO

Lois Schaefer

OBOES

Ralph Gomberg

John Holmes
Hugh Matheny

ENGLISH HORN

Laurence Thorstenberg

CLARINETS

Gino Cioffi

Pasquale Cardillo
Peter Hadcock
E\) Clarinet

BASS CLARINET
Felix Viscuglia

BASSOONS

Sherman Walt

Ernst Panenka
Matthew Ruggiero

CONTRA BASSOON

Richard Plaster

HORNS

James Stagliano
Charles Yancich
Harry Shapiro
Thomas Newell
Paul Keaney
Ralph Pottle

TRUMPETS

Armando Ghitalla
Roger Voisin
Andre Come
Gerard Goguen

TROMBONES
William Gibson
Josef Orosz
Kauko Kahila

TUBA

Chester Schmitz

TIMPANI

Everett Firth

PERCUSSION

Charles Smith
Harold Thompson
Arthur Press

Assistant Tirnpanist
Thomas Gauger

HARPS

Bernard Zighera
Olivia Luetcke

LIBRARIANS

Victor Alpert
William Shisler

STAGE MANAGER
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

A selection of recordings by the

SwiHIiLi *

BOSTON SYMPHONY ORCHESTRA

under the direction of

ERICH LEINSDORF

BEETHOVEN

Symphony no. 3 (Eroica)

LM/LSC 2644

Symphony no. 7

LM/LSC 2969

Overture Leonore no. 3

LM/LSC 2701

with Schumann Symphony no. 4

Piano Concerto no. 3 (Rubinstein)

LM/LSC 2947

Piano Concerto no. 4 (Rubinstein)

LM/LSC 2848

Piano Concerto no. 5 (Rubinstein)

LM/LSC 2733

BRAHMS

Symphony no. 1

LM/LSC 2711

Symphony no. 2

LM/LSC 2809

Symphony no. 3

LM/LSC 2936

Piano Concerto no. 1 (Rubinstein)

LM/LSC 2917

Piano Concerto no. 1 (Cliburn)

LM/LSC 2724

BRUCKNER

Symphony no. 4

LM/LSC 2915

MAHLER

Symphony no. 1

LM/LSC 2642

Symphony no. 3

LM/LSC 7046

Symphony no. 5

LM/LSC 7031

Symphony no. 6

LM/LSC 7044

Monaural records are prefixed LM; stereophor

ic LSC.

The Boston Symphony Orchestra

records exclusively for

rca Victor m

@ The most trusted name in sound ^|, *•

MUSICAL INSTRUCTION

GERTRUDE R. NISSENBAUM
VIOLIN

Tel. LOngwood 6-8348

340 TAPPAN STREET
BROOKLINE 46. MASSACHUSETTS

EDNA NITKIN, m.mus.

PIANO

Telephone:
KEnmore 6-4062

88 Exeter Street
Copley Square, Boston

BALLING

MUSIC STUDIO

PIANO

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taught in the

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1875 COMMONWEALTH AVENUE

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DEcatur 2-6990

NEWTON, MASS. 02166

RUTH POLLEN GLASS

Teacher of Speech

• in Industry • in Education

• in Therapy • in Theatre

Near Harvard Square KI 7-8817

HARRY GOODMAN

Teacher of Piano

143 LONGWOOD AVENUE

BROOKLINE • MASS.

ASpinwall 7-1259 — 734-2933

MINNIE WOLK

PIANOFORTE STUDIO

42 Symphony Chambers

246 Huntington Avenue, Boston

opp. Symphony Hall
Residence 395-6126

KATE FRISKIN

Pianist and Teacher

8 CHAUNCY STREET
CAMBRIDGE, MASSACHUSETTS

ELiot 4-3891

RUTH SHAPIRO

PIANIST • TEACHER

1728 Beacon Street

Brookline, Massachusetts

Telephone RE gent 4-3267

Mrs. Aaron Richmond and Walter Pierce
present in the 1967-68 Boston University

CELEBRITY SERIES

MON, EVE., OCT 9 • SYMPHONY HALL

VIENNA PHILHARMONIC

KARL BOEHM, Conductor

Beethoven, Symphony No. 6 "Pastoral"; Schubert, Symphony No. 7 in C Major
SEATS NOW: $7.50, $6.50, $5.50, $4.50

WED. EVE., OCT. 11 • SYMPHONY HALL

The Hilarious Musical Spoof of the recently discovered works of

P. D. Q. BACH (1807-1742)?

with Prof. Peter Schickele
and the Royal P.D.Q. Bach Festival Orchestra and Soloists

SEATS NOW: I4.75, $3.75, $3.00, $2.50

SUN. AFT., OCT. 15 • JORDAN HALL

GUARNERI STRING QUARTET

Haydn, Quartet in G major, Op. 76, No. 1; Berg, Quartet No. 3;
Beethoven, Quartet in C minor, Op. 131

SEATS NOW AT BOX OFFICE

FRI. EVE., OCT. 27 • SYMPHONY HALL

L'ORCHESTRE NATIONAL FRANCAIS

MAURICE LE ROUX, Conductor

Brahms, Variations; Berlioz, Romeo et Juliette (scene d'amour et
mort des amants); Ravel, Tableau d'Expositions

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SUN. AFT., OCT. 29 • JORDAN HALL

MUSIC FROM MARLBORO

Superb chamber music in the tradition of the Marlboro Music Festival
Under the artistic direction of Rudolf Serkin

Participating Artists:

Pina Carmirelli, Violin
Jon Toth, Violin
Philipp Naegele, Viola
Caroline Levine, Viola
Fortunato Arico, Cello
Dorothy Reichenberger, Cello

The Program:

Boccherini, String Quintet in F minor,

Op. 42, No. 1
Dvorak, String Sextet in A Major, Op. 48
Brahms, String Sextet in G Major, Op. 36

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" BOSTON
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ORCHESTRA I

ERICH LEINSDORF

Music Director

^t^>

• •

DIE WALKURE ACT I

THE LIBRETTO

English translation by
Peggie Cochrane and G. M. Holland

SEPTEMBER 1967

ACT ONE

SCENE ONE

The interior of Hunding's dwelling. In the middle

of the room is a great ash tree, whose branches grow through the roof.

It is evening; a thunderstorm is just subsiding.

SIEGMUND SIEGMUND

[entering hastily and sinking wearily down beside the fire]

Wess' Herd dies auch sei,
hier muss ich rasten.

SIEGLINDE

Whose hearth this may be,
here I must rest.

SIEGLINDE

[in the doorway of an inner room]

Ein fremder Mann !

Ihn muss ich fragen.

Wer kam in's Haus

und liegt dort am Herd?

Miide liegt er

von Weges Miih'n:

schwanden die Sinne ihm?

ware er siech?

A stranger!
I must question him.
Who is it that came in
and is lying by the hearth?
He lies there weary
and travel-worn—
is he unconscious,
is he ill?

[iooking more closely at Siegmund]

Noch schwillt ihm der Atem;

das Auge nur schloss er;

mutig diinkt mich der Mann,

sank er mud' auch hin.

SIEGMUND

Ein Quell ! ein Quell !

SIEGLINDE

Erquickung schaff' ich.

He is still breathing;

he has fallen asleep.

He looks to me a brave man,

though he is now so exhausted.

SIEGMUND

Drink! Drink!

SIEGLINDE

I'll bring you refreshment.

[She fetches a horn filled with water.]

Labung biet' ich

dem lechzenden Gaumen:

Wasser, wie du gewollt.

Here is something

for your parched mouth-

the water you called for.

[Siegmund drinks, and as he gives her back the horn,
he fixes his eyes on Sieglinde with growing interest.]

SIEGMUND

Kiihlende Labung

gab mir der Quell,

des Miiden Last

machte er leicht;

Erfrischt ist der Mut,

das Aug' erfreut

des Sehens selige Lust:

wer ist's, der so mir es labt?

SIEGLINDE

Dies Haus und dies Weib

SIEGMUND

The draught has given me

cooling relief,

the burden of my weariness

is lightened;

my courage revives,

my eyes enjoy

the pleasure of sight:

who is it that has so restored me?

SIEGLINDE

This house and this woman

sind Hundings Eigen;

gastlich gonn' er dir Rast:

harre bis heim er kehrt !

SIEGMUND

Waffenlos bin ich:

dem wunden Gast

wird dein Gatte nicht wehren.

SIEGLINDE

Die Wunden weise mir schnell!

SIEGMUND

Gering sind sie,

der Rede nicht wert;

noch fiigen des Leibes

Glieder sich fest.

Hatten halb so stark wie mein Arm

Schild und Speer mir gehalten,

nimmer floh' ich dem Feind;

doch zerschellten mir Speer und Schild.

Der Feinde Meute

hetzte mich mild',

Gewitter-Brunst

brach meinen Leib;

doch schneller als ich der Meute,

schwand die Miidigkeit mir:

sank auf die Lider mir Nacht,

die Sonne lacht mir nun neu.

SIEGLINDE

Des seimigen Metes

siissen Trank

mog'st du mir nicht verschmah'n.

SIEGMUND

Schmecktest du mir ihn zu?

belong to Hunding;

as a guest he will grant you rest:

wait until he comes home.

SIEGMUND

I am unarmed:

your husband will not rebuff

a wounded guest.

SIEGLINDE

Quick, show me your wounds !

SIEGMUND

They are but slight,

not worth speaking of;

my limbs are

in good trim.

Had shield and spear but held out

half as well as my arm,

I should never have fled from the foe;

but spear and shield were shattered.

The enemy's horde

harried me to exhaustion,

the force of the storm

wore me out;

but quicker than I fled from the foe,

my weariness has fled from me:

night closed on my eyelids,

now the sun smiles on me anew.

SIEGLINDE

Perhaps you will not refuse
a sweet draught
of honeyed mead?

SIEGMUND

Will you taste it first?

[After Sieglinde has sipped the drink, Siegmund
takes a long draught.]

Einen Unseligen labtest du—

Unheil wende

der Wunsch von dir!

Gerastet hab' ich

und suss geruht:

weiter wend' ich den Schritt.

SIEGLINDE

Wer verfolgt dich, dass du schon fliehst?

SIEGMUND

Misswende folgt mir

wohin ich fliehe;

Misswende naht mir

wo ich mich neige:

dir Frau doch bleibe sie fern!

Fort wend' ich Fuss und Blick.

SIEGLINDE

So bleibe hier!

Nicht bringst du Unheil dahin,

wo Unheil im Hause wohnt!

You have restored an unfortunate man-

I would avert

misfortune from you !

I have enjoyed

a good rest,

now I must wend my way farther.

SIEGLINDE

Who pursues you, that you must flee?

SIEGMUND

Ill-luck follows me

wherever I fly;

ill-luck draws near

wherever I stop:

may it stay far from you !

I will turn aside both step and glance.

SIEGLINDE

No, stay here!

You cannot bring misfortune

where misfortune dwells already !

SIEGMUND

Wehwalt hiess ich

mich selbst:

Wehwalt [Woeful] was

what I

named

self:

Hunding will i

~h erwarten.

I will await Hunding.

SCENE TWO

[Siegl

nde

hearing the

sound of a horse's hoofs,

opens

the

door to Hunding, who is armed with

spear

and

shield. Hundi

rig enters and pauses at the

threshold on perceiving Siegmund. He turns to Sieg-
iinde with a look of stern inquiry.]

SIEGLINDE

Miid' am Herd

fand ich den Mann:

Not fiihrt ihn in's Haus.

HUNDING

Du labtest ihn?

SIEGLINDE

Den Gaumen letzt' ich ihm,
gastlich sorgt' ich sein.

SIEGMUND

Dach und Trank

dank ich ihr:

willst du dein Weib drum schelten?

HUNDING

Heilig ist mein Herd:
heilig sei dir mein Haus !

SIEGLINDE

I found this man

worn out, by the fire:

need brought him into the house.

HUNDING

You have given him refreshment?

SIEGLINDE

I gave him to drink,
I tended him as a guest.

SIEGMUND

For the shelter and the drink

I give thanks:

would you rebuke your wife therefore?

HUNDING

My hearth is sacred:

let my house be sacred for you !

[to Siegiinde]

Rust' uns Mannern das Mahl ! Prepare a meal for us men !

[As Siegiinde hangs Hunding's weapons on the ash

tree and brings food and drink, Hunding iooks from

her face to Siegmund's.]

Wie gleicht er dem Weibe !

Der gleissende Wurm

glanzt auch ihm aus dem Auge.

How like the woman he is !
The same serpent's glance
glitters in his eye.

[to Siegmund]

Weit her, traun !

kamst du des Weg's;

ein Ross nicht ritt,

der Rast hier fand:

welch' schlimme Pfade

schufen dir Pein?

SIEGMUND

Durch Wald und Wiese,

Haide und Hain,

jagte mich Sturm

und starke Not:

nicht kenn' ich den Weg, den ich kam.

Wohin ich irrte

weiss ich noch minder:

Kunde gewann' ich dess' gem.

You must have

come a long way;

the man who found rest here

was not on horseback:

what rough paths

wore you out?

SIEGMUND

Through forest and field,

heath and woodland,

I was driven

by storm and need:

I do not know the way I came.

Whither I have wandered

still less do I know:

I would gladly be told.

HUNDING

Dess' Dach dich deckt,

dess' Haus dich hegl,

Hunding heisst der Wirt;

wendest von hier du

nach West den Schritt,

in Hofen reich

hausen dort Sippen,

die Hundings Ehre behiiten.

Gonnt mir Ehre mein Gast,

wird sein Name nun mir genannt . . .

Trag'st du Sorge,

mir zu vertrau'n,

der Frau hier gib doch Kunde:

sieh', wie gierig sie dich fragt!

SIEGLINDE

Gast, wer du bist
wiisst' ich gem.

HUNDING

The roof that covers you,

the house that shelters you,

are owned by Hunding;

if from here you turn

your steps to the west,

you will find rich estates

where dwell kinsmen

who guard Hunding's honor.

My guest would honor me

by letting me know his name . . .

If you are uneasy

about trusting me,

tell it to my wife here—

see, how eagerly she questions you!

SIEGLINDE

Guest, I would gladly know
who you are.

[Siegmund, gazing into her eyes, begins gravely.]

SIEGMUND

Friedmund darf ich nicht heissen,

Frohwalt mocht' ich wohl sein:

doch Wehwalt muss ich mich nennen.

Wolfe, der war mein Vater;

zu zwei kam ich zur Welt,

eine Zwillingsschwester und ich.

Fruh schwanden mir

Mutter und Maid;

die mich gebar,

und die mit mir sie barg,

kaum hab' ich je sie gekannt.

Wehrlich und stark war Wolfe;

der Feinde wuchsen ihm viel.

Zum Jagen zog

mit dem Jungen der Alte.

Von Hetze und Harst

einst kehrten wir heim:

da lag das Wolfsnest leer;

zu Schutt gebrannt

der prangende Saal,

zum Stumpf der Eiche

bliihender Stamm;

erschlagen der Mutter

mutiger Leib,

verschwunden in Gluten

der Schwester Spur:

uns schuf die herbe Not

der Neidinge harte Schar.

Geachtet floh

der Alte mit mir;

lange Jahre

lebte der Junge

mit Wolfe im wilden Wald:

manche Jagd

ward auf sie gemacht;

doch mutig wehrte

das Wolfspaar sich.

SIEGMUND

Friedmund [Peaceful] I may not call myself,

Frohwalt [Joyful] fain would I be,

but I must name myself Wehwalt [Woeful]

Wolfe was my father;

two of us were born together,

a twin-sister and I.

Soon my mother

and the girl disappeared;

she who bore me

and she who was born with me

I hardly knew.

Warlike and strong was Wolfe;

and he found many enemies.

The old man used to go

hunting with the boy.

From the chase

we came home one day

and found the Wolf-lair empty;

burned to ashes

was the stately hall,

only a stump remained

of the oak tree's sturdy trunk;

my courageous mother

had been slain,

all trace of my sister

lost in the fire.

The cruel host of the Neidings

had brought this bitter grief upon us.

The old man fled

into exile with me;

for long years

the boy lived

with Wolfe deep in the forest:

often they were hunted

by their foes;

but the Wolf-pair

defended themselves stoutly.

Ein Wolfing kiindet dir das,
den als Wolfing mancher wohl kennt.

HUNDING

Wunder und wilde Mare

kundest du, kiihner Gast,

Wehwalt— der Wolfing!

Mich diinkt, von dem wehrlichen Paar

vernahm ich dunkle Sage,

kannt' ich auch Wolfe

und Wolfing nicht.

SIEGLINDE

Doch weiter kiinde, Fremder:
wo weilt dein Vater jetzt?

SIEGMUND

Ein starkes Jagen auf uns

stellten die Neidinge an:

der Jager viele

fielen den Wolfen,

in Flucht durch den Wald

trieb sie das Wild:

wie Spreu zerstob uns der Feind.

Doch ward ich vom Vater versprengt:

seine Spur verlor ich,

je langer ich forschte;

eines Wolfes Fell

nur traf ich im Forst:

leer lag das vor mir,

den Vater fand ich nicht.

Aus dem Wald trieb es mich fort;

mich drangt' es zu Mannern und Frauen:

wie viel ich traf,

wo ich sie fand,

ob ich um Freund,

um Frauen warb,

immer doch war ich geachtet,

Unheil lag auf mir.

Was rechtes je ich riet,

andern diinkte es arg;

was schlimm immer mir schien,

andern gaben ihm Gunst.

In Fehde fiel ich

wo ich mich fand;

Zorn traf mich

wohin ich zog;

gehrt' ich nach Wonne,

weckt' ich nur Weh':

drum musst' ich mich Wehwalt nennen;

des Wehes waltet ich nur.

HUNDING

Die so leidig Los dir beschied,

nicht liebte dich die Norn:

froh nicht griisst dich der Mann,

dem fremd als Gast du nahst.

SIEGLINDE

Feige nur fiirchten den
der waffenlos einsam fahrt !

This story is told you by a Wolf-cub,
whom as Wolfing many know well.

HUNDING

Marvels and strange tales

do you relate, bold guest,

Wehwalt-the Wolfing!

Methinks, I have heard dark rumors

of this warlike pair,

but I never knew

Wolfe nor Wolfing.

SIEGLINDE

Tell us further, stranger:
where dwells your father now?

SIEGMUND

The Neidings began

a fierce onslaught on us:

many of the hunters

fell to the Wolves,

the quarry chased the hunters

in flight through the forest:

the enemy were scattered like chaff.

But I became separated from my father,

and lost all trace of him

though long I searched;

a wolfskin

was all I found in the wood,

lying there empty.

I did not find my father.

Something urged me to leave the forest;

I was drawn to men and women.

However many I met,

wherever I found them,

if I sought to win

a friend or a wife,

I was always an outlaw,

ill fate hung over me.

Whatever I thought right,

to others seemed wrong,

what I held to be bad,

others approved of.

I fell into feuds

wherever I was;

I encountered anger

wherever I went;

when I sought for joy

I aroused only woe.

Therefore I had to call myself Wehwalt,

for woe alone did I command.

HUNDING

She who allotted you so wretched a fate,

the Norn, did not love you;

no man welcomes you gladly

to whom you come as a stranger-guest.

SIEGLINDE

Only cowards fear

an unarmed, solitary man!

Kunde noch, Gast,

wie du im Kampf

zuletzt die Waffe verlor'st.

SIEGMUND

Ein trauriges Kind

rief mich zum Trutz:

vermahlen wollte

der Magen Sippe

dem Mann ohne Minne die Maid.

Wider den Zwang

zog ich zum Schutz;

der Dranger Tross

traf ich im Kampf:

dem Sieger sank der Feind.

Erschlagen lagen die Briider:

die Leichen umschlang da die Maid;

den Grimm verjagt' ihr der Gram.

Mit wilder Tranen Flut

betroff sie weinend die Wal:

um des Mordes der eig'nen Briider

klagte die unsel'ge Braut.

Der Erschlag'nen Sippen

stiirmten daher;

iibermachtig

achzten nach Rache sie,

rings um die Statte

ragten mir Feinde.

Doch von der Wal

wich nicht die Maid:

mit Schild und Speer

schirmt' ich sie lang',

bis Speer und Schild

im Harst mir zerhau'n.

Wund und waffenlos stand ich—

sterben sah ich die Maid:

mich hetzte das wiitende Heer—

auf den Leichen lag sie tot.

Tell us then, guest,

how in the fight

you finally lost your weapons.

SIEGMUND

An unhappy maiden

called me to her aid:

her kinsfolk wanted

to marry the maid

to a man she did not love.

Against this coercion

I went to her defence;

in battle I met

the heartless horde:

the enemy fell before me.

Dead lay her brothers:

the maid embraced their bodies,

her anger banished by her grief.

In a wild flood of tears,

the unhappy bride

haunted the battlefield,

bewailing the death of her brothers.

The kinsmen of the slain men

charged down upon me;

in overwhelming numbers

they cried for vengeance,

on all sides

the enemy rose against me,

yet the maid did not

leave the field.

With shield and spear

I long protected her,

till spear and shield

were hewn to pieces.

Wounded and weaponless there I stood-

I saw the girl die:

the raging host put me to flight—

upon the bodies she lay dead.

[to Sieglinde, with a look of sorrowful ardor]

Nun weisst du, fragende Frau,
warum ich Friedmund nicht heisse !

Now you know, questioning woman,
why I am not called Friedmund!

HUNDING

[rising gloomily]

Ich weiss ein wildes Geschlecht,

nicht heilig ist ihm

was andern hehr:

verhasst ist es Allen und mir.

Zur Rache ward ich gerufen,

Siihne zu nehmen

fur Sippen-Blut:

zu spat kam ich,

und kehrte nun heim

des fliicht'gen Frevlers Spur

im eig'nen Haus zu erspah'n.

Mein Haus hiitet,

Wolfing, dich heut',

I know a savage race,

for whom the things that others revere

are not sacred:

it is hated by all and by me.

I was summoned for vengeance,

to seek atonement

for my kinsmen's blood:

I arrived too late,

and now am come home to find

the track of the fleeing criminal

in my own house.

My house harbors you

this day, Wolfing.

fur die Nacht nahm ich dich auf :

mit starker Waffe

doch wehre dich morgen;

zum Kampfe kies' ich den Tag:

fur Tote zahlst du mir Zoll.

I will give you shelter over night:

but with stout weapons

you must defend yourself tomorrow.

I choose the day for the fight;

for the murdered I will take toll.

to Sieglinde]

Fort aus dem Saal !

Saume hier nicht !

Den Nachttrunk riiste mir drin,

und harre mein' zur Ruh'.

Out of the room !
Do not linger here !
Prepare me a night draught,
and wait for me within.

[Sieglinde stands for a while undecided and
thoughtful. Slowly and with hesitating steps she
goes towards the storeroom. Then, with quiet reso-
lution, she opens the cupboard, fills a drinking-horn
and shakes some spices into it from a box. She
turns again to Siegmund whose eyes have never
left her. But, perceiving that Hunding is watching
her, she moves towards the bed-chamber. On the
steps she once more turns around, looks yearningly
at Siegmund, and with her eyes indicates, explicitly
and urgently, a particular spot in the great ash tree
that occupies the centre of the hall. Hunding starts
and drives her off with a violent gesture. With a
last look at Siegmund she goes into the inner room.]

HUNDING HUNDING

[taking his weapons down from the tree]

Mit Waffen wehrt sich der Mann.

Dich Wolfing treffe ich morgen:

mein Wort hortest du —

hute dich wohl!

With weapons a man is on guard.
Tomorrow, Wolfing, we shall meet.
You have heard my word-
beware !

[He goes into the inner room, leaving Siegmund

alone by the dim light of the fire. Siegmund sinks

on to the couch and broods silently for some time,

in great agitation.]

SCENE THREE

SIEGMUND

Ein Schwert verhiess mir der Vater,

ich fand' es in hochster Not.

Waffenlos fiel ich

in Feindes Haus:

seiner Rache Pfand

raste ich hier:

ein Weib sah ich,

wonnig und hehr;

entziickend Bangen

zehrt mein Herz:

zu der mich nun Sehnsucht zieht,

SIEGMUND

My father promised me a sword,

which I should find when in dire need.

Unarmed I have stumbled

into the enemy's house;

as a pledge of his revenge

do I lie here.

I have seen a woman,

winsome and pure,

rapturous fear

consumes my heart.

She whom I long for,

die mit siissem Zauber mich sehrt,

im Zwange halt sie der Mann,

der mich wehrlosen hohnt.

Walse! Walse!

Wo ist dein Schwert?

Das starke Schwert,

das im Sturm ich schwange,

bricht mir hervor aus der Brust

was wiitend das Herz noch hegt?

she who wounds me with sweet enchantment

is held in thrall by the man

who mocks me, unarmed as I am.

Walse, Walse,

where is your sword—

the strong sword

that I may wield in strife,

when from my breast breaks forth

the fury harbored in my heart?

[A flicker of flame from the fire lights up a
sword-hilt in the tree.]

Was gleisst dort hell

im Glimmerschein?

Welch' ein Strahl bricht

aus der Esche Stamm?

Des Blinden Auge

leuchtet ein Blitz:

lustig lacht da der Blick.

Wie der Schein so hehr

das Herz mir sengt!

Ist es der Blick

der bliihenden Frau,

den dort haftend

sie hinter sich Hess,

als aus dem Saal sie schied?

Nachtiges Dunkel

deckte mein Aug';

ihres Blickes Strahl

streifte mich da:

Warme gewann ich und Tag.

Selig schien mir

der Sonne Licht,

den Scheitel umgliss mir

ihr wonniger Glanz —

bis hinter Bergen sie sank.

Noch einmal, da sie schied,

traf mich Abends ihr Schein,

selbst der alten Esche Stamm

erglanzte in gold'ner Glut:

da bleicht die Bliite —

das Licht verlischt —

nachtiges Dunkel

deckt mir das Auge:

tief in des Busens Berge

glimmt nur noch lichtlose Glut !

What is glinting brightly

there in the gloom?

What ray of light

shines from the ash tree's trunk?

A lightning flash

strikes the blind man's eye:

the gleam sparkles merrily.

How the glorious light

scorches my heart!

Is it the look

that the beautiful woman

left behind her,

clinging there,

when she went out of the room?

The gloom of night

covered my eyes;

but then her bright glance

touched me,

giving me warmth and daylight.

Blessed to me

seemed the light of the sun;

its gladdening radiance

encircled my head,

till it sank behind the mountains.

Once more, as it departed,

its light fell on me in the evening;

even the trunk of the old ash tree

shone with a golden glow.

Now the splendor fades,

the light dies out,

gloomy darkness

covers my eyes:

but deep in my breast

still smoulders a flameless fire.

[The fire on the hearth dies down as > he muses.
Finally it is extinguished entirely. In the darkness
the door of the bed-chamber opens noiselessly.
Sieglinde, in a white garment, comes out, moving
softly but quickly towards the hearth.]

SIEGLINDE

Schlafst du, Gast?

SIEGMUND

Wer schleicht daher?

SIEGLINDE

Are you asleep, guest?

SIEGMUND

Who steals this way?

SIEGLINDE

Ich bin's: hore mich an!

In tiefem Schlaf liegt Hunding;

ich wiirzt' ihm betaubenden Trank.

Niitze die Nacht dir zum Heil!

SIEGMUND

Heil macht mich dein Nah'n!

SIEGLINDE

Eine Waffe lass' mich dir weisen—

O wenn du sie gewann'st!

Den hehrsten Helden

diirft' ich dich heissen;

dem Starksten allein

ward sie bestimmt.

O merke wohl was ich dir melde!

Der Manner Sippe

sass hier im Saal,

von Hunding zur Hochzeit geladen:

er freite ein Weib,

das ungefragt

Schacher ihm schenkten zur Frau.

Traurig sass ich

wahrend sie tranken:

ein Fremder trat da herein—

ein Greis in grauem Gewand;

tief hing ihm der Hut,

der deckt' ihm der Augen eines;

doch des andren Strahl,

Angst schuf es alien,

traf die Manner

sein macht'ges Drau'n:

mir allein

weckte das Auge

suss sehnenden Harm,

Tranen und Trost zugleich.

Auf mich blickt' er,

und blitzte auf Jene,

als ein Schwert in Handen er schwang;

das stiess er nun

in der Esche Stamm,

bis zum Heft haftet' es drin:

dem sollte der Stahl geziemen

der aus dem Stamm es zog'.

Der Manner Alle,

so kiihn sie sich mtihten,

die Wehr sich keiner gewann;

Gaste kamen

und Gaste gingen,

die Starksten zogen am Stahl—

keinen Zoll entwich er dem Stamm:

dort haftet schweigend das Schwert.

Da wusst' ich, wer der war,

der mich Gramvolle gegriisst;

ich weiss auch

wem allein

im Stamm das Schwert er bestimmt.

O fand' ich ihn heut'

und hier, den Freund;

SIEGLINDE

It is I; listen to me!

Hunding is sleeping soundly;

I gave him a drugged drink.

Under cover of night, make your escape !

SIEGMUND

Your presence gives me life !

SIEGLINDE

Let me show you a weapon—

Oh, if only you could make it your own!

The noblest of heroes

then might I call you;

for the strongest alone

was it decreed.

Oh, heed well what I tell you!

All the kinsmen

sat here in the hall,

invited by Hunding to his wedding:

he took a woman

whom, unasked,

traders gave him to wife.

Sadly I sat there

while they drank:

then a stranger came in—

an old man garbed in grey;

his hat hung down

and hid one of his eyes;

but the gleam of the other

frightened all the men

when they met

its threatening look;

yet in me

his eye aroused only

sweet, yearning sorrow,

tears and consolation together.

He gazed at me,

and glared at the others;

as he swung a sword in his hands;

then he thrust it

into the ash tree's trunk,

buried it up to the hilt:

the blade would fittingly go to the man

who should draw it out of the tree.

Of all the men,

bravely though they strove,

not one could gain the weapon;

guests came

and guests went,

the strongest of them tugged at the sword,

but it did not move an inch:

there, in silence, it still stays.

Then I knew who it was

who had greeted me in my sorrow:

I know, too,

for whom alone

he destined the sword in the tree.

Oh, if today I might find

the friend here,

kam' er aus Fremden

zur armsten Frau:

was je ich gelitten

in grimmigem Leid,

was je mich geschmerzt

in Schande und Schmach—

siisseste Rache

suhnte dann Alles!

Erjagt hatt' ich

was je ich verlor,

was je ich beweint

war' mir gewonnen—

fand' ich den heiligen Freund,

umfing' den Helden mein Arm!

SIEGMUND

if he came from a distant land
to a most wretched woman:
whatever I have suffered
in bitter grief,
however I have smarted
under shame and disgrace-
sweet revenge
would atone for it all!
I should have regained
all I had lost,
all I had wept for
I should have won—
if I found the blessed friend,
if my arms embraced the hero !

SIEGMUND

[embracing Sieglinde ardentJy]

Dich selige Frau

halt nun der Freund,

dem Waffe und Weib bestimmt!

Heiss in der Brust

brennt mir der Eid,

der mich dir Edlen vermahlt.

Was je ich ersehnt,

ersah ich in dir;

in dir fand ich

was je mir gefehlt.

Littest du Schmach,

und schmerzte mich Leid,

war ich geachtet,

und warst du entehrt,

freudige Rache

lacht nun den Frohen!

Auf lach' ich

in heiliger Lust,

halt' ich dich Hehre umfangen,

fiihl' ich dein schlagendes Herz!

SIEGLINDE

Now, happy woman,

you are in the arms of the friend

for whom weapon and wife were decreed!

In my breast fiercely

burns the oath

that weds me in honor to you.

Whatever I have longed for

I see in you;

in you I have found

whatever was wanting.

Though you suffered shame,

and grief distressed me,

though I was outlawed

and you were dishonored,

joyful revenge

now greets us in our happiness !

I laugh aloud

with heavenly joy,

I hold you in your glory,

I feel your heart beating.

SIEGLINDE

[starting back in alarm as the outer door flies open]

Ha, wer ging? wer kam herein? Ha, who went out? Who entered here?

[The door remains wide open. It is a glorious spring
night, and moonlight streams into the room.]

SIEGMUND

Keiner ging—

doch Einer kam:

siehe, der Lenz

lacht in den Saal!

SIEGMUND

No one went out—
but one has come:
see, Spring
smiles in the hall!

[Siegmund, with tender force, draws Sieglinde to

him on the couch, so that she sits beside him. The

moon shines more and more brightly.]

Winterstiirme wichen

dem Wonnemond,

in mildem Lichte

The storms of winter have yielded
to the month of May,
the gentle light

leuchtet der Lenz;

auf linden Liiften,

leicht und lieblich,

Wunder webend

er sich wiegt;

durch Wald und Auen

weht sein Atem,

weit geoffnet

lacht sein Aug'.

Aus sel'ger Voglein Sange

siiss ertont,

holde Dufte

haucht er aus;

seinem warmen Blut entbliihen

wonnige Blumen.

Keim und Spross

entspringt seiner Kraft.

Mit zarter Waffen Zier

bezwingt er die Welt.

Winter und Sturm wichen

der starken Wehr:

wohl musste den tapfern Streichen

die strenge Tiire auch weichen,

die trotzig und starr

uns trennte von ihm.

Zu seiner Schwester

schwang er sich her;

die Liebe lockte den Lenz;

in uns'rem Busen

barg sie sich tief :

nun lacht sie selig dem Licht.

Die brautliche Schwester

befreite der Bruder;

zertriimmert liegt

was je sie getrennt;

jauchzend griisst sich

das junge Paar:

vereint sind Liebe und Lenz!

of Spring shines forth;

on the soft breeze,

light and lovely,

Spring is wafted,

working marvels;

through wood and meadow

blows his breath,

his eyes are bright

with laughter.

In the merry song of birds

his voice resounds,

he breathes out

sweet fragrance;

from his warm blood

flowers burst forth;

buds and shoots

spring up from his strength.

Arrayed with fragile weapons

he conquers the world.

Winter and storm give way

to his attack:

his bold blows

break down even the doors

that harshly and stubbornly

parted us from him.

To his sister

hither he flew;

Spring was drawn to Love;

deep in our bosoms

Love lay hidden—

now she smiles at the light.

The sister-bride

is freed by the brother;

all that kept them apart

now lies in ruins;

the young couple

utter joyful greetings:

united are Love and Spring !

SIEGLINDE

Du bist der Lenz,

nach dem ich verlangte

in frostigen Winters Frist;

dich griisste mein Herz

mit heiligem Grau'n,

als dein Blick zuerst mir erbliihte.

Fremdes nur sah ich von je,

freundlos war mir das Nahe;

als hatt' ich nie es gekannt

war was immer mir kam.

Doch dich kannt' ich

deutlich und klar:

als mein Auge dich sah,

warst du mein Eigen:

was im Busen ich barg,

was ich bin,

hell wie der Tag

taucht' es mir auf,

wie tonender Schall

SIEGLINDE

You are the Spring

that long I have sighed for

in the days of frosty Winter;

my heart greeted you

with holy dread

when your look first lighted oiroie.

All I had ever seen was strange,

all around me was friendless;

I did not seem to recognize

anything that happened to me.

Yet I knew you

clearly and plainly:

as soon as my eyes beheld you,

you were mine.

What I hid in my heart,

what I am,

came to light

as clear as day,

it rang in my ears

schlug's an mein Ohr,

als in frostig oder Fremde

zuerst ich den Freund ersah.

like the peal of a bell,

when in this cold, desert place

I first beheld my friend.

[She ciings rapturously to Siegmund.]

SIEGMUND

O siisseste Wonne!
Seligstes Weib!

SIEGLINDE

O lass in Nahe

zu dir mich neigen,

dass hell ich schaue

den hehren Schein,

der dir aus Aug'

und Antlitz bricht,

und so suss die Sinne mir zwingt !

SIEGMUND

Im Lenzesmond

leuchtest du hell;

hehr umwebt dich

das Wellenhaar;

was mich beriickt

errat' ich nun leicht—

denn wonnig weidet mein Blick.

SIEGLINDE

Wie dir die Stirn

so offen steht,

der Adern Geast

in den Schlafen sich schlingt!

Mir zagt es vor der Wonne,

die mich entztickt!

Ein Wunder will mich gemahnen:

den heut' zuerst ich erschaut,

mein Auge sah dich schon!

SIEGMUND

Ein Minnetraum

gemahnt auch mich:

in heissem Sehnen

sah ich dich schon!

SIEGLINDE

Im Bach erblickt' ich

mein eigen Bild—

und jetzt gewahr' ich es wieder:

wie einst dem Teich es enttaucht,

bietest mein Bild mir nun du !

SIEGMUND

Du bist das Bild—
das ich in mir barg.

SIEGLINDE

O still! lass mich

der Stimme lauschen:

mich dunkt, ihren Klang

hort' ich als Kind —

doch nein! ich horte sie neulich

SIEGMUND

Oh sweetest bliss !
Most blessed of women !

SIEGLINDE

Oh let me press

closer to you,

that I may see clearly

the glorious light

that shines from your eyes

and your face,

and so sweetly rules my senses !

SIEGMUND

In the spring moonlight

your face shines brightly;

framed by your wonderful

waving hair;

what bewitched me

now I see clearly —

and I feast my eyes in rapture.

SIEGLINDE

How broad and open

is your brow,

how the veins twist

in your temples!

I shiver with the ecstasy

that fills me with rapture !

My memory is strangely stirred:

you, whom I first saw today—

my eyes have beheld you before !

SIEGMUND

A dream of love
reminds me, too:
in fervent longing
I have seen you before !

SIEGLINDE

In the stream I looked

at my own image—

and now I perceive it again:

as once it rose from the water,

now you present my picture to me !

SIEGMUND

You are the picture

that I preserved within me.

SIEGLINDE

Hush! Let me

listen to your voice:

methinks I heard its sound

as a child—

but no ! I have heard it of late

als meiner Stimme Schall
mir wiederhallte der Wald.

SIEGMUND

O lieblichste Laute,
denen ich lausche!

SIEGLINDE

Deines Auges Glut
erglanzte mir schon:
so blickte der Greis
griissend auf mich
als der Traurigen Trost er gab.
An dem Blick
erkannt' ihn sein Kind —
schon wollt' ich beim Namen ihn nennen . . .
Wehwalt heisst du fur wahr?

SIEGMUND

Nicht heiss' mich so

seit du mich liebst:

nun wait' ich der hehrsten Wonnen!

SIEGLINDE

Und Friedmund darfst du
froh dich nicht nennen?

SIEGMUND

Nenne mich du,

wie du liebst dass ich heisse:

den Namen nehm' ich von dir!

SIEGLINDE

Doch nanntest du Wolfe den Vater?

SIEGMUND

Ein Wolf war er feigen Fiichsen!

Doch dem so stolz

strahlte das Auge

wie, Herrliche, hehr dir es strahlt,

der war — Walse genannt.

SIEGLINDE

War Walse dein Vater,

und bist du ein Walsung,

stiess er fur dich

sein Schwert in den Stamm —

so lass mich dich heissen

wie ich dich liebe:

Siegmund —

so nenn' ich dich.

SIEGMUND

when my own voice
echoed in the wood.

SIEGMUND

Oh, sweet are the sounds
to which I listen!

SIEGLINDE

The glow of your eyes

has shone on me before:

thus did the old man

look kindly at me

when he consoled me in my grief.

By that glance

his child recognized him—

I almost spoke his name . . .

Are you truly called Wehwalt?

SIEGMUND

I am not called so

since you love me:

now I command the highest bliss !

SIEGLINDE

And now you are happy, may you not
call yourself Friedmund?

SIEGMUND

Call me

what you want me to be called:

I take my name from you !

SIEGLINDE

But you named Wolfe as your father?

SIEGMUND

A wolf he was, to cowardly foxes !
But he whose eye
shone as proudly
as yours, fair one, now shines-
he was named Walse.

SIEGLINDE

If Walse was your father,
and you are a Volsung,
it was for you he struck
his sword into the tree-
then let me call you
as I love you:
Siegmund—
so do I name you.

SIEGMUND

[He springs towards the ash tree and seizes the hilt
of the sword.]

Siegmund heiss' ich,

und Siegmund bin ich:

bezeug' es dies Schwert,

das zaglos ich halte!

Walse verhiess mir,

in hochster Not

Siegmund I am called,
and Siegmund I am:
be witness this sword
that I hold fearlessly !
Walse promised me
that in my sorest need

fand' ich es einst:

ich fass' es nun!

Heiligster Minne

hochste Not,

sehnender Liebe

sehnende Not,

brennt mir hell in der Brust,

drangt zu Tat und Tod:

Nothung! Nothung!

so nenn' ich dich Schwert!

Nothung! Nothung!

neidlicher Stahl!

Zeig' deiner Scharfe

schneidenden Zahn:

heraus aus der Scheide zu mir!

I should find it one day:

and now I grasp it!

Holiest love's

most mighty need,

passionate longing's

feverish need.

now burns bright in my breast,

urging me on to deeds and death:

Nothung! Nothung! [Needful]

Thus do I name thee, sword.

Nothung ! Nothung !

Biting steel!

Show the keen edge

of thy blade:

come forth from the scabbard to me!

[With a mighty effort he draws the sword from the tree and
shows it to the wondering and enraptured Sieglinde.]

Siegmund den Walsung

siehst du, Weib!

Als Brautgabe

bringt er dies Schwert:

so freit er sich

die seligste Frau;

dem Feindeshaus

entfiihrt er dich so.

Fern von hier

folge mir nun,

fort in des Lenzes

lachendes Haus:

dort schiitzt dich Nothung das Schwert,

wenn Siegmund dir liebend erlag!

SIEGLINDE

Bist du Siegmund

den ich hier sehe —

Sieglinde bin ich,

die dich ersehnt:

die eig'ne Schwester

gewannst du zu eins mit dem Schwert!

SIEGMUND

Braut und Schwester

bist du dem Bruder —

so bliihe denn Walsungen-Blut!

Siegmund the Volsung

behold here* wife !

As a bridal gift

he brings this sword:

so he weds

the happiest of women;

from the enemy's house

he carries you away.

Far from here

follow me now,

forth to the

laughing house of Spring:

there Nothung the Sword will protect you

when Siegmund is overcome by love of you

SIEGLINDE

Are you Siegmund

whom I see before me —

I am Sieglinde

who yearned for you:

your own sister

you have won together with the sword !

SIEGMUND

Bride and sister

are you to your brother—

so may the race of Volsungs flourish !

[He draws her to him with fervent passion.
The curtain falls quickly.]

Translation © the Decca Record Company Ltd, exclusive United States
agents, London Records Inc., NY, NY. Reprinted by permission.

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SYMPHONY
ORCHESTRA

FOUNDED IN 1881 BY
HENRY LEE HIGGINSON

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EIGHTY-SEVENTH SEASON 1967-1968

Exquisite
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were richly decorated but
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Hebrews took the form as we
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was invented about 1720 by a
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through this ingenious device it be-
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EIGHTY-SEVENTH SEASON 1967-1968
BOSTON SYMPHONY ORCHESTRA

ERICH LEINSDORF Music Director
CHARLES WILSON Assistant Conductor

THE TRUSTEES OF THE
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JOHN L. THORNDIKE Treasurer

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Press and Publicity

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BOSTON

MASSACHUSETTS

Erich Leinsdoi

...an authority on Brahn

Enjoy both of these recordings, as well as the Brahms Symphony No. 1, as i
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TICKET RESALE AND RESERVATION PLAN

The Ticket Resale and Reservation Plan which has been in practice
for the past four seasons has been most successful. The Trustees are
grateful to those subscribers who have complied with it, and again
wish to bring this plan to the attention of the Orchestra's subscribers
and Friends.

Subscribers who wish to release their seats for a specific concert are
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Since the Management has learned by experience how many returned
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Last season the successful operation of the Ticket Resale and Reserva-
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BOSTON SYMPHONY ORCHESTRA

ERICH LEINSDORF Music Director

CHARLES WILSON Assistant Conductor

FIRST VIOLINS

Joseph Silverstein
Concertmaster

| SECOND VIOLINS

Clarence Knudson
William Marshall

I Michel Sasson

J Samuel Diamond

j Leonard Moss
William Waterhouse

| Ayrton Pinto

I Amnon Levy

| Laszlo Nagy
Michael Vitale
Victor Manusevitch
Toshiyuki Kikkawa*
Max Hobart

J John Korman
Christopher Kimber

i Spencer Larrison

VIOLAS
Burton Fine
Reuben Green
Eugen Lehner
Jerome Lipson
Robert Karol
Akio Akaboshi*
Bernard Kadinoff
Vincent Mauricci
Earl Hedberg
Joseph Pietropaolo
Robert Barnes
Yizhak Schotten

CELLOS

Jules Eskin
Martin Hoherman
Mischa Nieland
Karl Zeise
Robert Ripley
John Sant Ambrogio
Luis Leguia
Stephen Geber
Carol Procter
Jerome Patterson
Ronald Feldman

BASSES

Henry Portnoi
William Rhein
Joseph Hearne
Bela Wurtzler
Leslie Martin
John Salkowski
John Barwicki
Buell Neidlinger
Robert Olson

FLUTES

Doriot Anthony Dwyer

James Pappoutsakis
Phillip Kaplan

PICCOLO

Lois Schaefer

OBOES

Ralph Gomberg

John Holmes
Hugh Matheny

ENGLISH HORN

Laurence Thorstenberg

CLARINETS

Gino Cioffi

Pasquale Cardillo
Peter Hadcock

E\) Clarinet

BASS CLARINET
Felix Viscuglia

BASSOONS

Sherman Walt

Ernst Panenka
Matthew Ruggiero

CONTRA BASSOON

Richard Plaster

HORNS

James Stagliano
Charles Yancich

Harry Shapiro
Thomas Newell
Paul Keaney
Ralph Pottle

TRUMPETS

Armando Ghitalla
Roger Voisin

Andre Come
Gerard Goguen

TROMBONES
William Gibson
Josef Orosz
Kauko Kahila

TUBA

Chester Schmitz

TIMPANI

Everett Firth

PERCUSSION

Charles Smith
Harold Thompson
Arthur Press

Assistant Timpanist
Thomas Gauger

HARPS

Bernard Zighera
Olivia Luetcke

LIBRARIANS

Victor Alpert
William Shisler

STAGE MANAGER
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

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Contents

Program for 6 and 7 October 1967

Future programs

Program notes

Brahms — Academic Festival Overture
by John N. Burk

Henze — Symphony no. 1
by Peter G. Davis

Rimsky-Korsakov — Sheherazade
by James Lyons

Hans Werner Henze by Peter Heyworth

Recordings of today's program

Today's conductor

The members of the Orchestra

75
125

106
123
122
122

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EIGHTY-SEVENTH SEASON 1967-1968

Second Program

Friday afternoon 6 October at 2 o'clock
Saturday evening 7 October at 8.30

CHARLES WILSON conducting

BRAHMS

Academic Festival Overture op. 80

HENZE

Symphony no. 1

Allegretto, con grazia

Lento (Notturno)

Allegro con moto — Tempo giusto — Piu mosso

First performance in Boston
INTERMISSION

RIMSKY-KORSAKOV

Sheherazade op. 35

The Academic Festival Overture has been recorded
by the Orchestra under Serge Koussevitzky

The concerts will end at about 3.45 on Friday
and at about 10.15 on Saturday

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RCA VICTOR RECORDS

Program Notes

JOHANNES BRAHMS

Academic Festival Overture op. 80
by John N. Burk

Brahms was born in Hamburg on 7 May 1833 and died in Vienna on 3 April 1897.
The overture was composed in 1880; first performed 4 January 1881 at the Univer-
sity of Breslau. George Henschel conducted the first performance by the Boston
Symphony Orchestra on 17 November 1882. The most recent performances in this
series were on 25 and 26 September 1964.

The instrumentation: 2 flutes and piccolo, 2 oboes, 2 clarinets, 2 bassoons and
contra-bassoon, 4 horns, 3 trumpets, 3 trombones, tuba, bass drum, timpani,
cymbals, triangle and strings.

Brahms' two overtures, the Akademische Fest-Ouvertiire and the
Tragische Ouverture were composed in one summer — in 1880 at Bad
Ischl. It was his first summer in this particular resort, and although he
was somewhat discouraged by an abundance of rainy weather, its
charms drew him again in later years (1889-96). 'I must give high
praise to Ischl/ he wrote to Billroth in June 1880, 'and although I am
threatened only with one thing — the fact that half Vienna is here —
I can be quiet here — and on the whole I do not dislike it.' Which is
to say that Ischl had already become the gathering point of a constant
round of cronies from Vienna. Brahms' friends of course would scru-

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pulously respect the solitudes of the master's mornings — the creative
hours spent, partly in country walks, partly in his study. Later in the
day he would welcome the relaxation of companionship — of conver-
sation to an accompaniment of black cigars and coffee, of mountaineer-
ing (Brahms was a sturdy walker), or of music-making together.

When the University at Breslau conferred upon Brahms, in the spring
of 1879, the degree of Doctor of Philosophy, the composer responded in
kind, and made the institution the handsome present of an overture on
student airs. Presents of this sort are not to be unduly hastened when
artistic good faith and the heritage of the musical world are considered.
Brahms composed and destroyed another 'Academic' overture before
this one, if Heuberger is not mistaken. The performance came the
following January, when Brahms conducted it at Breslau, while the
Herr Rektor and members of the philosophical faculty sat in serried
ranks, presumably gowned, in the front rows.

It goes without saying that both Brahms and his overture were quite
innocent of such 'academic' formality. It is about a tavern table, the
faculty forgotten, that music enters spontaneously into German college
life. Although Brahms never attended a university he had tasted some-
thing of this life at Gottingen when, as a younger man, he visited with
Joachim, who was studying at the University. Brahms did not forget
the melody that filled the Kneipe, inspired by good company and good
beer. Student songs, with their Volkslied flavor, inevitably interested
him. He found use for four of them. Wir hatten gebauet ein stattliches

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Haus is first given out by the trumpets. Der Landesvater (Hort, ich
sing' das Lied der Lie der) is used rhythmically, delightfully developed.
The Fuchslied or Freshman's Song (Was kommt dort von der Hoh') is
the choice of the unbuttoned Brahms, and leaves all educational
solemnities behind. The air is introduced by two bassoons. When
Brahms wrote Kalbeck that he had composed 'a very jolly potpourri
on students' songs a la Suppe/ Kalbeck inquired jokingly whether he
had used the 'Fox song.' 'Oh, yes,' said Brahms complacently.
Kalbeck, taken aback, protested that he could not imagine any such
tune used in homage to the 'leathery Herr Rektor,' and Brahms
answered: 'That is wholly unnecessary.' Brahmsian horseplay does
not get quite out of hand, and the dignities are saved beyond doubt
when the full orchestra finally intones the hearty college hymn
Gaudeamus Igitur.

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HANS WERNER HENZE
Symphony no. 1
by Peter G. Davis

Henze was born in Giitersloh, Germany, on 1 July 1926. These are the first perform-
ances in Boston of his Symphony no. 1.

The instrumentation: flute alternating with piccolo, alto flute, oboe, english horn,
clarinet, bass clarinet, 2 horns, 2 trumpets, timpani, celesta, piano and strings.

Hans Werner Henze completed his First Symphony in 1947. Although
only twenty-one at the time, the composer was taking an active part in
post-war Germany's musical renaissance, and his compositions were
already attracting a good deal of attention. His Chamber Concerto for
Piano, Flute, and Strings had been prominently featured at the 1946
International Summer Course of Modern Music at Darmstadt — the
first annual gathering at a site that was shortly to become one of the
avant-garde's most formidable strongholds — and during Darmstadt's
1947 summer session Hermann Scherchen directed the second move-
ment of the young composer's new Symphony no. 1. The first complete
performance of the work took place one year later at the Bad Pyrmont
Festival on 25 August, when the conductor was Wolfgang Fortner,
Henze's teacher and a noted composer in his own right.

The Symphony no. 1, as performed by the Boston Symphony Orchestra
today, however, is a different piece altogether: in 1963 Henze thor-
oughly revised the score for small orchestra and subsequently withdrew
the original version. Here we have the familiar case of a composer i

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looking back at a youthful work, no doubt delighted with the origi-
nality and freshness of its conception, but also somewhat appalled by
what he now sees as unacceptable crudities in compositional technique.
Henze has even proclaimed the score an 'utter failure,' and in the
revision his object was to 'reorganize the material, attempting to
reconstruct what I had originally intended: acting like a teacher help-
fully correcting his pupil.' Interestingly enough, this was not the
composer's only Jugendwerk to undergo drastic 'correction' at the
time. The early 1960s saw Henze in the throes of a difficult stylistic
reappraisal, a reordering of his musical language in the direction of
simplicity, economy, and restraint. As a consequence, many of his
earlier works now struck him as either impractical and extravagant
(such as the gigantic four-hour opera Konig Hirsch) or, like the First
Symphony, simply unsuccessful. This stock-taking resulted in a re-
examination and recasting of at least ten major pre- 1958 compositions.
Although the original score of the Symphony no. 1 is no longer avail-
able for study, one has a fairly clear idea of the problems that must

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have troubled Henze. Very nearly all his earliest works — even the
most proficient and attractive of them — are extremely derivative. It
was as if the composer had suddenly stumbled upon Stravinsky,
Schoenberg, Bartok, and Hindemith, and his delight at discovering
such potent twentieth-century creative minds occasioned a series of
compositions that were little more than brilliantly talented copies.
And such indeed was the case. During World War II, Germany had
heard precious little in the way of progressive contemporary music,
and young German composers had a lot of catching up to do. Henze
proceeded to do just this by basing his music on the very best models:
the Concertino for Piano and Wind Orchestra with Percussion (1947),
for example, a lean-textured, neo-classic work that has Stravinsky's
fingerprints on virtually every page; a Bartokian Violin Concerto
(1947) literally bursting with passionate melodic fervor; or the Wind
Quintet (1952), a cheerful exercise expertly cast in Schoenberg' s
twelve-note technique.

Gradually these widely divergent stylistic influences began to coalesce
into a highly individualistic musical character as the composer became
more selective in his choices and more adept at assimilating the ele-
ments necessary to make his own musical points. When Henze took up
residence in Italy after 1952, the change in environment infused his
music with a new-found textural luxuriance and melodic sensuousness.
The Italian sun seemed to be the catalyst he needed for a final syn-
thesis—between 1952 and 1955 Henze wrote Konig Hirsch, which

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marked a pivotal point in his career, a profusive unleashing of creative
energies unmatched by any other composer of his generation. In the
exhilarating wake of Konig Hirsch came NachtstiXcke und Arien, Five
Neapolitan Songs, Sonata for Strings, Three Dithyrambs, the ballet
Ondine — all reveling in a virtuosic security of technique and a natural
ease of expression. Few composers have been quite so lavish with their
talents as Henze during these years and eventually, perhaps inevitably,
he had to check his generosity and take a long, cool look backwards.
One direct result was the new version of the First Symphony.

Clearly the Symphony in its new form reflects less of the twenty-one-
year-old student than the mature composer of thirty-seven. While still
not a work of startlingly individual profile, its musical antecedents
have been thoroughly distilled into melodic and sonorous properties
that Henze may justifiably claim as his own. Structurally the piece is
immaculate — not one note seems superfluous or out of place. And
when compared to the Second and Third Symphonies (1949 and 1950),
one finds a far freer and more personal application of serial procedures.
M elodically and harmonically the work is governed by related intervals
of the second, seventh, and ninth as set forth in the opening measures
of the first movement. The groundwork having been laid, the balance

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of this movement consists of a gradual unfolding of a long-lined,
disjunct melody based on these intervals — first played at maximum
intensity by the upper strings, then continued in turn by the cellos,
horns, solo flute, and finally strings once more, always lightly
accompanied by delicate splashes of orchestral color from the other
instruments.

The second movement, subtitled Notturno, depends almost entirely on
the major second for its harmonies (woodwind chords formed by com-
bining C-minor and B-flat-major triads recur refrain-like throughout
this section) as well as for its slow-moving, conjunct melodies. The
final section of the Symphony contrasts markedly with the prevailing
lyricism of the preceding material. Its restless moto perpetuo character
and sharp brassy interjections actually disguise a highly altered picture
of musical events already encountered in movements one and two.

Peter G. Davis, born in Concord, Massachusetts, grew up in Lincoln
and Cambridge. He was graduated from Harvard College in 1958 with
a B.A. major in music; then studied composition at the Stuttgart
Hochschule filr Musik. He did graduate work at Columbia University,
where his teachers were Jack Beeson and Otto Luening, and was
awarded an M.A. degree in composition. He is now Music Editor of
High Fidelity/Musical America, and New York music correspondent
for The Times of London.

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NIKOLAY ANDREYEVICH RIMSKY-KORSAKOV

Sheherazade op. 35
by James Lyons

Rimsky-Korsakov was born at Tikhvin in the Government of Novgorod on 18 March
1844, and died at St Petersburg on 21 June 1908. The composer conducted the first
performance of Sheherazade at the Russian Symphony concerts in St Petersburg in
the winter of 1888. Its first performance in Boston was on 17 April 1897 by the
Orchestra under the direction of Emil Paur. The most recent performances in this
series were conducted by Serge Koussevitzky on 29 and 30 November 1946.

The instrumentation: 2 flutes and piccolo, 2 oboes and english horn, 2 clarinets,
2 bassoons, 4 horns, 2 trumpets, 3 trombones and tuba, timpani, side drum, bass
drum, cymbals, tambourine, triangle, tam-tam, harp and strings.

Hyperbole is not history, but a case can be made for the proposition
that 'Russian music' as a concert-hall genre was born — and died —
with Rimsky-Korsakov. Secular music came late to Russia. For cen-
turies its performance in any fashion was literally forbidden, and only
the monodic, unaccompanied znamenny chant and its variants were
heard in the land. This is not to say that there were no furtive bards.
There must have been some clandestine music-making even in medieval
Muscovy; Slavic song is an ethnic treasure-trove, and such a heritage
had to be a long time building. But music was indeed proscribed, and
even the mighty Czar Alexis got into trouble when he imported a
group of Western musicians in 1648. The then-mightier Orthodox
Church simply issued a ukase commanding That all musical instru-
ments were to be broken up and burnt.' Whereupon five wagonloads
were destroyed, and the Czar went without music even as his humblest
subjects did.

His son had better luck. Ecclesiastical schisms served to strengthen
Romanov power, and in 1703 Peter the Great was able to lay the
foundation of his glittering new capital at the mouth of the Neva, a
window through which his people might look into Europe, as someone
once put it succinctly. Music was to be another long time coming,
nevertheless. The birth of Mikhail Glinka, the first real Russian com-

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poser, was still a hundred years away. When the violinist Louis Spohr
went to St Petersburg in 1802, he was startled to find that the musical
community was populated mostly by non-Russians. In keyboard
pedagogy, for example, the scene was dominated by an Italian, Muzio
Clementi, and an Irishman, John Field. Two decades later, when
Glinka himself was a burgeoning pianist, what he performed were
concerti by such as Hummel; and when he attended the Imperial
Opera what he heard were works by such as Boieldieu, Cherubini, and
Mehul. Later yet, the so-called Russian school of fiddling would be
founded by the Hungarian emigre Leopold Auer.

But by then (1868) the necessary cross-pollination was accomplished.
The emergence of a truly Slavophilic climate of creativity had been
signalized only the year before with a concert at Mily Balakirev's
institute which prompted Vladimir Stasov to coin the collective
sobriquet (initially pejorative, and as it turned out not at all prophetic)
usually translated as 'The Mighty Five' — namely, Balakirev himself
and four of his proteges: Borodin, Cui (both already in their thirties),
Mussorgsky (born 1839), and Rimsky-Korsakov, at twenty-three by far
the youngest member of Balakirev's inner circle.

After nearly a century of perspective Mussorgsky remains an 'x' factor
in music history. That he was a raw genius and that he was harmoni-
cally and otherwise ahead of his time is beyond question. What is not

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beyond question is the extent of his actual influence. He seems to
have been less seminal than unique (like Tchaikovsky outside the
'Five'). Balakirev had considerable influence on his students, but it
ended there. Borodin had none, but he left behind some marvelous
music. Cui had none, either; and for better or worse his music died
with him.

Rimsky-Korsakov was something else: he was heir to no codified
national heritage; Glinka, for all his deification, had done little more
than put peasant clothes on Italianate models. Rimsky hoisted a new
standard; his art was of international quality, but its essence was
passionately Russian. After his passing (in 1908), that standard went
down with the way of life it had graced. Of his prize pupils, Stravinsky
soon departed the homeland to pioneer other paths and later saw them
paved as roads to neoclassicism. Prokofiev was sworled up in the vortex
of Sovietism and turned his immense gifts to dialectical pamphleteer-
ing. The proud nationalism which Rimsky had implanted in the
musical firmament shone brightly but only briefly, then, before it fell
victim to guilt by association with the Romanov dynasty. But its
resplendent spirit and substance are still there, in the scores; and no
latter-day Russian composer has escaped their influence.

The extent of this influence may be inferred in the irony that for all
his aristocratic background Rimsky is today billed in the Soviet Union
as a hero of communist culture. He must have turned over in his grave

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on the 18th of March 1944, when the Kremlin keepers of 'the people's
music' installed him in their private Pantheon. That date marked the
centennial of Rimsky's birth, and World War II did not deter the
calendar-conscious commissariat from unveiling a statue in Leningrad,
announcing a handsome edition of his complete works, and releasing
a 'scientific but popular' film depicting his dedication to Marxism.
This in memory of a man who had copiously set down his admiration
for the United States — where he had spent seven months in the autumn
through spring of 1863-4. ^ * s true enough that Rimsky had his trou-
bles with the imperial household and its censor-happy functionaries.
But one shudders, reading Rimsky's Chronicle of My Musical Life, to
imagine the ignominies this nonconformist would have suffered at the
hands of their doctrinaire successors.

Parenthetically, anyone who scans the history of Russian music over
the past century is bound to be struck by a further irony: government
support of the creative arts has been a constant factor throughout,
though in dramatically different ways. Balakirev sustained himself
initially by working as a clerk in the imperial railway system. Mus-
sorgsky was an employee of the department of forestry. Borodin was
on the faculty of the imperial academy of medicine. Cui was an army
engineer. Earlier, Dargomyzhsky had been with the department of
justice. (And if Glinka had not been wealthy, nor Tchaikovsky pro-
vided for by a rich widow, probably they too would have been public
servants.) However modestly or indirectly, the house of Romanov pro-
vided a measure of subsidy to aspiring composers long before the
Revolution. Rimsky was perhaps the luckiest of them: he got to 'see
the world' as a cadet, and later an officer, in the imperial navy.

As the scion of an old seagoing family with a distinguished ancestry of
braid and brass, Rimsky donned his uniform as a matter of course
when he was seventeen. As with his French counterpart Albert Roussel,
it was the song of the sirens and not the muse's smile that beckoned
most compellingly. But from 1865 forward he drew shore duty in St
Petersburg, and almost at once he gravitated to the musical group

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therapy of the Balakirev salon. There he 'picked up all sorts of
smatterings' and even produced, not without assistance, the symphonic
poem Sadko (not to be confused with the opera of the same title, which
came three decades later).

Not until he was twenty-seven, however, did Rimsky get down to
learning the musical craft systematically, and under circumstances
without parallel in the history of the tonal art. The short of this
fantastic story is as follows. In 1871 the St Petersburg Conservatory
got a new director, one M. P. Azanchevsky. He had heard Sadko, and
liked it. Sadko was, in fact, all he knew about Rimsky. But for him it
was enough. One of his first executive acts was to seek out the young
officer (Rimsky did not shed his uniform until 1873) and invite him to
join the faculty as a full professor of composition. Evidently the
director was quite unaware of Rimsky's technical incompetence, and
the latter's embarrassed reluctance only made Azanchevsky more deter-
mined to get him. 'Had I ever studied at all,' Rimsky recalled long
years afterward, 'had I possessed a fraction more of knowledge than I
actually did, it would have been obvious to me that I could not and

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should not accept the proffered appointment. ... I was a dilettante and
knew nothing. This I frankly confess and attest before the world.'
But all of Rimsky 's friends urged him to take the job, even though it
was to include conducting the school orchestra — and Rimsky had
never stood before one in his life!

Rimsky did accept the professorship, 'my own delusions, perhaps,'
having prevailed. Whereupon, in darkest secrecy, he started studying.
Somehow he made enough headway before the fall term opened to
stand before his classes unafraid, and for the rest of that academic year
he managed to keep at least a step ahead of the brightest students.
The hoax was indefensible, but Rimsky carried it off brilliantly. He
not only justified his self-confidence but also, in time, earned the
highest esteem of his peers. He was to serve uninterruptedly at the St
Petersburg Conservatory until his death thirty-seven years later —
except for a few months in the ferment of 1905 when he was relieved
of his duties for defending the academic rights of revolutionary stu-
dents. (It is clear enough to any close reader of the Chronicle that he
took his stand as a matter of principle, not politics; but the official
Soviet perception of this episode is of course altogether different.)

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Nor did Rimsky's assiduous pedagogical career detract from his steady
creative growth, which continued to the very end. On the contrary, he
started composing what is probably his greatest work, Coq d'or, only
after completing his memoirs, on the last page of which he suggests
(at the age of sixty-two) that it might be 'high time to write finis to
my career. . . .'

Like most of Rimsky's music the symphonic suite Sheherazade was
turned out between semesters. In the spring of 1888 he had sketched
two pieces. One would become the Russian Easter Overture; the other,
not yet clearly in his mind, would be based on certain episodes from
the 'Arabian Nights' collection. It took shape quickly once he was
ensconced in his retreat for that summer, which was a friend's estate
at Nezhgovitzy, on Lake Cherementz. The score seems to have been
polished to perfection in less than a month; the movements are dated
July 4th, 11th, 16th, and 26th, respectively. It was dedicated to Stasov.

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103

A surfeit of nonsense has been written about the supposed program-
matic content of Sheherazade. All of it, to be charitable, may be traced
to the following few lines, which appeared as a preface to the earliest
published score:

'The Sultan Shahriar, persuaded of the falseness and the faithlessness
of women, has sworn to put to death each one of his wives after the
first night. But the Sultana Sheherazade saved her life by interesting
him in tales which she told him during one thousand and one nights.
Pricked by curiosity, the Sultan put off his wife's execution from day
to day, and at last gave up entirely his bloody plan.

'Many marvels were told Shahriar by the Sultana Sheherazade. For her
stories the Sultana borrowed from the poets their verses, from folk
songs their words; and she strung together tales and adventures.'

Similarly, lyrical annotators have 'strung together tales and adven-
tures,' indeed few works in the standard orchestral repertoire have
been so importuned. True, Rimsky remarked that he had been think-
ing of such 'unconnected episodes' as 'the fantastic narrative of Prince
Kalandar, the Prince and the Princess, the Baghdad festival, and the
ship dashing against the rock with the bronze rider upon it.' He also
spoke of the solo violin as 'delineating Sheherazade herself telling her
wondrous tales to the stern Sultan.' But in his later years Rimsky was
impelled to forswear any intentions of a specific program, and he even

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went so far as to renounce the outline implicit in the movement
designations:

'In composing Sheherazade I meant these hints to direct but lightly
the hearer's fancy on the path which my own fancy had traveled, and
to leave more minute and particular conceptions to the will and mood
of each listener. All I had desired was that the hearer, if he liked my
piece as symphonic music, should carry away the impression that it is
beyond doubt an Oriental narrative of some numerous and varied
fairy-tale wonders. . . .'

Rimsky's belated disclaimer did not stop the flow of foolish words
about Sheherazade, which continues still. But at no time since the
premiere has there ever been a shortage of listeners who 'like' the piece,
either because of its 'story' or in spite of it.

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HANS WERNER HENZE

Germany's Wonder Composer
by Peter Heyworth

As a young soldier of eighteen stationed in Prague near the end of the
war, Hans Werner Henze was spat on by a Czech woman to whom he
had offered his seat in a tram. Less than a year later, he returned to
Germany to find his country in a state of moral and physical disintegra-
tion that has no parallel in modern times. Though he did not then
know it, he was to become the leading composer of a postwar genera-
tion that would have to live with the sins of their fathers, and not
merely with the terrible acts they had committed on other peoples but
with the irreparable damage they had inflicted on themselves.

German energy, like German hatred of nonconformism, is motored by
an almost pathological fear of disorder. Ordnung muss sein, and like
beavers the Germans in 1945 set to work to clean up the mess. Out of
the acres of devastation, stinking of charred flesh, there arose sleek
modern opera houses and concert halls, replete with foyers full of well-
upholstered matrons pushing their way to the cake counter before
embarking on the traditional, one-direction-only promenade. Pub-
lishers, periodicals, orchestras, official hierarchies, were all soon recon-
stituted, and in next to no time the wheels of Germany's great music-
making industry were efficiently turning once more.

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But the Nazis had, of course, done more than merely destroy the outer,
physical manifestation of German musical life. They had done some-
thing far more terrible: they had snapped its creative main-spring.
In twelve years they had turned the country that had for over a cen-
tury and a half been the hub of Western music into a creative desert.
Schoenberg was living out his last impoverished years in California.
Webern, gentle, guiltless Webern, had been shot by an American
soldier, panic-stricken in the darkness of a strange Alpine village.
Hindemith was in exile at Yale; Berg had died of a blood poisoning
that ten years later a couple of shots of penicillin would have cured;
Weill had succumbed to Broadway.

All that remained were two aged representatives of late romanticism:
Pfitzner, a sick and embittered old man, and Strauss, who in the
Metamorphosen, written in the last days of the war, had mourned the
destruction of the Germany of his prime and then removed himself to
the calmer air of Switzerland. Insofar as there was a younger genera-
tion, it was represented by the genuine, if slim, talent of Carl Orff and
the rather spurious figure of Werner Egk. The Nazis had spent lavishly
on the arts. But all the splendors of Bayreuth under the Fuhrer's
personal patronage and a glittering series of premieres of Strauss's late
operas had not been able to disguise the fact that, long before 1945,
German music had come to a full stop.

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It was in these conditions that in 1946 Henze went to Heidelberg to
study with Wolfgang Fortner. To Fortner, Henze owes his thorough
technical schooling. But the only outside influences that his teacher
could offer in those months after the war, when occupied Germany still
remained largely isolated from the outside world, were those of
Hindemith and neoclassical Stravinsky. The latter Henze gobbled up
greedily. But his essentially romantic temperament (the autumnal
melancholy of Trakl, an Austrian expressionist poet, had at that time a
special charm for him) yearned for richer soil. Schoenberg's music was
still largely unknown in Germany, for the bulk of his school had been
scattered over the four corners of the earth. But in 1947 Henze took
his first hesitant steps in dodecaphonic technique. He has related how
this gave him (as it probably still does) both a new-found feeling of
freedom and yet a certain fear of its intellectual severity. In 1948 he
temporarily resolved these doubts and went to study with Rene
Leibowitz in Paris. Thus by the age of twenty-two he had already
encountered the two main musical influences on his style: Schoen-
bergian counterpoint and Stravinskyan neoclassicism.

"Mr. Sullo's piano playing represents genuine musicality and a formidable technic."

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On his return to Germany, Henze threw himself into the world of
ballet and for a while worked in theatres in Constance and Wiesbaden.
On the face of it, this was a curious leap for a freshly baked Schoen-
bergian. But in fact it was altogether characteristic of Henze that,
while other composers of his generation (one thinks of such men as
Boulez, Nono, and Stockhausen) were busy drawing all sorts of radical
conclusions from the dodecaphonic inheritance, he should have em-
braced the least intellectual and most directly sensuous of the theatrical
arts. The distance between the world of Schoenbergian dodecaphonism
and the world of ballet marks the frontiers of the immense musical
territory Henze had set out to colonize.

During the late Forties and early Fifties, the very years when the post-
Webernian school was working out the rigorous dogmas of total
serialism, Henze wrote no less than ten ballet scores, and indeed the
spirit of ballet penetrates most of his early music, the Symphony no. 3
(1949) no less than his first opera Boulevard Solitude. Written at the
age of only twenty-four, this retelling of Prevost's Manon Lescaut in
terms of present-day Paris inevitably suffers from a certain youthful
eclecticism. But it also reveals Henze's phenomenal ability to bend all
sorts of music to his purpose as well as to communicate a strong sense
of atmosphere and drama. By a cruel irony he achieved in this im-
mature score a sense of dramatic timing that has eluded him in most
of his later operas.

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But Henze did not remain for long in Germany. As the Economic
Miracle got under way, there came into existence a new complacent
society, intent on covering the past under a heavy blanket of material
prosperity. Henze himself is certainly no puritan in his style of living,
but he could not bury the past. Born in Westphalia and the son of a
schoolmaster, he had grown up under the Third Reich and had seen
Nazism at close quarters. His loathing of what he experienced is
undying.

But even more than the new rich, Henze hated the cultural elite that
had arisen out of the ashes of the Third Reich. As though to demon-
strate a total break with the immediate past, and at the same time to
reassert its place in Europe, the German musical intelligentsia threw
itself with eclat into a new wave of Modernismus. Had not Germany
led the field before 1933? Very well, she would do so again, and,
bolstered by her unique resources for music making, she had by the
early Fifties reasserted her position as the lynch-pin of the avant-garde.
The money and the musicians were there, the will to use them was
there, the avant-garde critics and publicists were there, the com-
posers. . . .

But before leaders of this avant-garde had realized what had happened,
their brightest star had opted out and left for Italy. For German in-
tellectuals 'das Land wo die Zitronen bliXhen' has traditionally exer-
cised an intense and fruitful fascination. For Henze, Italy was more
than a refuge from everything he most disliked in his own country; it

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was the long sought anima to his German soul. His love affair with
the country of his choice has been long, passionate and lasting. Some-
times his love has taken almost touchingly naive forms, and an Italian's
unkind description of his Five Neapolitan Songs as 'tourist post cards'
contains a tiny element of truth. But for Henze, Italy has brought
liberation and to this extent he is a characteristic expression of the
Europeanized young Germans of today who have sought escape from
an uncomfortable national heritage in wider loyalties.

Above all, Italy meant melody in general and opera in particular, and
Henze had hardly settled in Ischia when he embarked on what he at
that time liked to refer to as 'my Italian opera.' Of course Konig
Hirsch (II Re Cervo or King Stag) is no such thing. It does admittedly
contain many of the outer forms of Italian opera: it has arias,
cabalettas, duets, canzoni, and ensembles in abundance. But Henze was
far more deeply immersed in and committed to the whole symphonic
tradition of German music than he then realized. Some of the finest
things in the score, such as the finale of the second act (which was later
detached and emerged as his Fourth Symphony), are essentially sym-
phonic in conception, while his attempt to find his way to the heart of
Italian melody without aping its outer manners is rarely wholly success-
ful. Equally, nothing could be less Italian than the metaphysical
mystifications of Heinz von Cramer's text after Gozzi. Indeed, the very
notion of an Italian opera that in its original form was almost as long
as Die Meistersinger is not without its comic side. But with all its
faults Konig Hirsch is a cornucopian score. Ideas are poured forth in
spendthrift profusion. Not since young Strauss had any composer
achieved quite this degree of riotous invention. It was a tremendous
achievement for a man of only twenty-nine and it marks both the end
of Henze's youth and the beginning of his maturity.

Such a torrent of invention was possible only on a wide stylistic basis.
Indeed the significance of Konig Hirsch lies less in its much talked of
Italianate elements than in the fact that in it there emerged for the
first time a composer who was the heir of both Schoenberg and Stravin-
sky, who drew nourishment from two schools previously regarded as
irreconcilable. It is this synthesis that has enabled Henze to operate on
such a wide front; and to it all other influences — whether ballet, jazz,
or Italian opera — are subordinate, although they of course play an

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important part in individual works. Inevitably, the cry of 'eclecticism'
went up, and nowhere more vehemently than in Germany, where the
serialist avant-garde was by this time firmly in the saddle.

Blissfully unaware that its leading exponent, Pierre Boulez, was quietly
preparing to leave the ship and that his desertion would be only the
first of many, avant-garde German critics and composers were busy
pouring contempt on all who had not signed on the dotted line.
(Today, of course, a comparable team of critics, publicists, and bureau-
crats serve the aleatoric movement with similar dogmatic fidelity.)
Henze was widely dismissed as ' positionslos' and 'schwankend/ and
his admittedly somewhat culinary three-act ballet Ondine, written for
Frederick Ashton and the Royal Ballet, was considered a final betrayal
of the progressive cause. Henze, for his part, tartly reminded his critics
that music was written not by groups but by individuals. But there
can be no doubt that he felt his isolation keenly. Alienated from the
avant-garde, he had not yet quite established himself as an independent
figure of significance.

Nonetheless he stuck to his guns, and his next big work was an opera
based on Kleist's great play Der Prinz von Homburg. This subject,
which had been suggested to him by Luchino Visconti, was Henze's
first approach to a specifically German theme. Kleist's drama turns on
the inner conflicts of a hero who is both a poetic dreamer and a
Prussian general, and thus embodies both sides of an age-old conflict
in the German breast. Unfortunately, Henze and his librettist, Ingeborg
Bachmann, were so anxious to play down anything that savored of
German nationalism that they reduced the Prince to a mere ninny and
in doing so castrated the play of its inner tensions. This error is
reflected in a score that is 'beautiful' (in particular, its textures have
a translucent sensuality characteristic of much of Henze's later music)
yet theatrically rather spineless.

Fortunately, in his next stage work Henze found what had previously
eluded him — a libretto with dramatic point and intellectual substance.
As a direct result, Elegy for Young Lovers, a chamber opera on a text

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117

by W. H. Auden and Chester Kallman, is the most successful of his
operas up to this stage of his career (1961). Here he was given no
chance to indulge his dangerous gift for mood and atmosphere, but for
the first time in his operatic career was obliged to come to grips with
real characters and the dramatic conflicts that grow out of them. The
opera is not without its faults. In particular the first act lacks pace and
buffo spirit. But it is fascinating to observe how the demands of the
text brought his melodic idiom into sharper focus than he had hitherto
achieved. There were gains in other directions. Henze had long been
a master of orchestration, but here he excelled himself, and in its rich
range of color and texture as well as in its relaxed contrapuntal in-
genuity the opera stands as the culmination of a long time of chamber
works dating from the late Fifties and early Sixties.

Elegy for Young Lovers established Henze as a composer of world-wide
repute. It was performed at the Schwetzingen, Glyndebourne, and
Munich festivals. It was seen in Berlin, Rome, and New York. For the
first time since the prime of Richard Strauss, Germany had a productive
and viable opera composer. Demands for new works poured in from
all corners of the musical world. Leonard Bernstein commissioned a
new symphony (no. 5) for New York, the London Philharmonic
Society commissioned the big cantata Novae de Infinito Laudes, which
is perhaps his most striking concert piece to date. Berlin commissioned
an opera (Der junge Lord), and so did Salzburg. Nureyev asked for a
ballet score for Vienna, Edinburgh a piece for Irmgard Seefried and
her husband Wolfgang Schneiderhan (Ariosi). And all the while there
was a steady stream of minor works, such as the intimate and lyrical
Being Beauteous, a setting of Rimbaud for soprano and four cellos.
Henze also started to be in demand as a conductor of his own music

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and, enraged by the presumption of present-day producers, also began
to produce (and even design) his operas.

Success is often less damaging than the unsuccessful like to suppose,
and Henze has probably gained from the confidence it has brought
him. At all events, he is less preoccupied with his feud with the avant-
garde. But in other ways success has put him into a dangerously
exposed position. The lack of any comparable figure in his generation
means that the demands on his creative energies are unrelenting. Any
festival, opera house, or orchestra wanting a first performance that will
attract the general public (as well as critics and others professionally
concerned with contemporary music) almost inevitably turns to him
with enticing terms. Henze has always been a fast worker, and when
one considers the productivity of Mozart and Schubert, not to mention
Rossini and Donizetti, one may be tempted to dismiss doubts raised by
his huge output as just another reflection of the musical puritanism so
characteristic of our times.

YOUTH CONCERTS AT SYMPHONY HALL, INC.

Members of the Boston Symphony Orchestra

HARRY ELLIS DICKSON

Conductor

Ninth Season • 1967-1968

Two series of concerts will be presented in Symphony
Hall on Saturday mornings, from 11:00 to 12:00 o'clock,
as follows :

FIRST SERIES: Nov. 4

SECOND SERIES: Nov. 11

(Repeating the programs of First Series)

• Jan. 13 • Mar. 9

• Jan. 20 • Mar. 16

Tickets are sold by series only. All seats are reserved
at a total cost of $5.00 (tax exempt) for either series of
three concerts.

These concerts are planned for young people from
Grade V through Junior High and High School.

Ticket order, accompanied by check and stamped,
addressed envelope, should be mailed to :

TICKET COMMITTEE
YOUTH CONCERTS AT
SYMPHONY HALL, INC.

251 Huntington Avenue • Boston, Mass. 02115

119

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120

Still, an impression persists that he writes too hastily and that this
results in marked unevenness of quality. In addition to minor works,
the last two years alone have yielded two large-scale operas, and
between them these well illustrate the strengths and weaknesses of his
recent music. Der junge Lord (1965), Henze's first comic opera, has
been a more immediate success than any of his other stage works.
Nonetheless, it seems to be his shallowest and least precise operatic
score to date.

Ingeborg Bachmann's libretto is intended as another swipe at the
German bourgeoisie. The target is, God knows, large enough, but
neither Henze nor his librettist has taken aim with sufficient precision,
nor has either been scrupulous enough in the choice of an instrument
of chastisement. As is so often the case where a composer has rested
content with attitudes rather than pursuing his subject matter to its
emotional and intellectual conclusions, the failure is directly reflected
in the music. The score of Der junge Lord is skillful, fluent, and (up
to a point) apt. But, like Der Prinz von Homburg, it cuts no dramatic
ice, it reveals little insight into character that goes beyond parody, and,
though it has its farcical moments, it is for a comic opera singularly
lacking in comic spirit. Indeed, it appears that, with belated percep-
tion, Henze has now himself declared the work not to be comic at all.

Fortunately, The Bassarids, which was given its premiere in Salzburg
in August 1966, shows the reverse side of Henze's qualities. Auden and
Kallman have their quirks as librettists and their text is often gratu-
itously obscure in language and allusion. But, unlike the libretto of
Der junge Lord, it does represent a real Auseinandersetzung with its
subject matter. They have taken The Bacchae of Euripides, rethought
it in modern terms, and recast it in operatic form. The result is by far
the most powerful and demanding libretto that Henze has as yet
tackled, and, forced by its quality to come to grips with the subject
matter instead of skating over it as in Der junge Lord, he has responded
with the finest score he has yet written.

The opera is conceived as a vast four-movement symphony played
without interval for two and a half hours. It has its blank spots and
its failures. For instance, the first movement is slow to fulfill its task
of projecting the basic conflict between Dionysus and Pentheus, the
rationalist king of Thebes. A comic intermezzo founders on Henze's
inability to forge a real buffo style. But the score as a whole develops
an emotional power and a dramatic impact far outstripping anything
in the earlier operas. One of the sources of this new-found range is
that, at the insistence of his librettists, Henze has in The Bassarids
finally made his peace with Wagner, with the result that he here has at
his command the resources of motivic technique.

Like Der Prinz von Homburg and Der junge Lord, The Bassarids has
direct relevance to Henze's experience of the Third Reich, for it is
about a society that literally goes off its head. But he has at last come
to terms with his full musical heritage, with Wagner and Strauss as
well as Schoenberg and Berg, and the result is his most strongly sus-
tained and deeply felt opera. In the face of it, those who have chosen
to regard Henze as nothing but a skillful eclectic will have to think
again.

High Fidelity — Musical America. Reprinted by permission.

121

Today's Conductor

This weekend marks the official debut of
CHARLES WILSON, Assistant Conductor
of the Boston Symphony Orchestra. He
came to Boston from New York City, '«»ji

where for six years he was a conductor and
on the musical staff of the New York City - *

Opera Company, performing fourteen dif-
ferent operas and operettas, including Don g|j
Giovanni, Boris Godunov, The Merry
Widow and Street Scene. In the fall of 1966
he conducted the New York City Opera i
Company's production of Menotti's The Consul both at Lincoln Center
and in the Midwest. He is conducting four performances of Mozart's
The Marriage of Figaro during the present season.

Charles Wilson received a Bachelor of Science degree in Music in i960
from the Marines College of Music where he studied organ with Dr
Hugh Giles, and with Carl Bamberger, his only conducting teacher.
For two years Mr Wilson served on the Mannes faculty as Director of
the Mannes Chorus, and during the 1961-1963 seasons was chorus
master for the Philadelphia Lyric Opera Company.

Charles Wilson conducted the opening concert of the Berkshire Music
Center Orchestra at Tanglewood this summer, and was in charge of
the preparation of the Tanglewood Choir and the Berkshire Chorus
for performances of Bach's Mass in B minor, Beethoven's Fidelio and
Verdi's Requiem.

The members of the Orchestra

LOIS SCHAEFER joined the Boston Sym-
phony Orchestra as piccolo player in the
autumn of 1965. She studied at the New
England Conservatory with Georges Lau-
rent, for many years Principal Flute of the
Boston Symphony Orchestra. Before return-
ing to Boston, she was assistant first flute in
the Chicago Symphony and first flute of the
New York City Opera Company. She has
played in the RCA Victor Orchestra, the
orchestras of major broadcasting companies
in the United States, and has been soloist with the Boston Pops,
Chicago and Springfield Symphonies. She was also soloist this past
summer at Tanglewood with the Orchestra in a piccolo concerto by
Vivaldi.

Lois Schaefer is a member of the New England Wind Quintet,
one of the new Ensembles of the Boston Symphony Orchestra, which
will make its debut at Jordan Hall on 23 October. She teaches at the
New England Conservatory and played with the Boston Symphony
Chamber Players on their recent international tour. For relaxation she
enjoys hiking, swimming, tennis and photography.

122

Recordings of today's program

Henze's First Symphony is included in a two-record DGG album of his
symphonies 1 to 5, played by the Berlin Philharmonic Orchestra under
the composer's own direction.

The Academic Festival Overture is currently available in 15 recorded
versions. Performances led by two previous conductors of the Boston
Symphony Orchestra may be of interest: Serge Koussevitzky on RCA
Victor in a recording dedicated to the Bicentennial Anniversary of
Princeton University with the Boston Symphony Orchestra; and Pierre
M onteux with the London Symphony Orchestra on Philips.

There are 20 recordings of Sheherazade to choose from: Mr Leinsdorf
leads the Concert Arts Symphony in a performance on Capitol; there
is a Thase-4' recording by Leopold Stokowski and the London Sym-
phony Orchestra on London; and among others are those by Fritz
Reiner and the Chicago Symphony, Pierre Monteux and the London
Symphony, both on RCA Victor, and Sir Thomas Beecham with the
Royal Philharmonic on Angel.

SYMPHONY HA1X

usi sun

maaaatat tta> mm man u JOBKm

HUNTINGTOM AVEMUE COSMOOR

123

Announcing a new chamber music series

The Boston Symphony Orchestra and the New England Conservatory
present

ENSEMBLES OF THE

BOSTON SYMPHONY ORCHESTRA

TEN CONCERTS AT JORDAN HALL, BOSTON

October 9
October 23
November 13
December 4
January 8
February 5
February 19
March 4

March 18
April 22

Boston Sinfonietta

New England Wind Quintet

Boston Symphony Chamber Players

Boston Symphony String Trio

Music Guild String Quartet

Boston Symphony Chamber Players

Stockbridge String Quartet

Boston Trio

Boston Symphony Chamber Players

Boston Sinfonietta

To encourage the performance of chamber music by members of the Orchestra,
the Management has embarked on the presentation of concerts by various
chamber groups from within the Boston Symphony Orchestra. It is hoped
that this exciting venture will be supported by the Orchestra's regular sub-
scribers and by all chamber music lovers. The first concert, to be given this
coming Monday 9 October by the Boston Sinfonietta, will include music by
Vivaldi, Corelli, Barber and Tansman; the second, on 23 October, will present
music by Danzi, Nielsen, Hindemith and Etler. Season subscriptions at favor-
able prices will remain available until the start of the concert next Monday.

124

FUTURE PROGRAMS

Third Program

Friday afternoon 13 October at 2 o'clock
Saturday evening 14 October at 8.30

BEETHOVEN
SCHOENBERG

Excerpts from the ballet Prometheus
Piano Concerto op. 42

RITA BOUBOULIDI

SCHUMANN Symphony no. 2 in C

There will be another Boston Symphony premiere next week: Schoen-
berg's Piano Concerto op. 42. A strictly twelve-tone composition, it is
so constructed that the effect on the ear is often 'tonal.' The solo part
will be played by the gifted pianist Rita Bouboulidi, Greek by birth,
who lives now in Paris. She has toured extensively in Europe, Africa
and the Soviet Union, and has performed this concerto with several
European orchestras during the last three years.

Beethoven's music to the ballet Prometheus is full of charm, and the
movement for solo cello and solo harp is especially attractive. The
final movement foreshadows the very familiar theme from the last
movement of the Eroica Symphony.

The concerts next Friday will end at about 3.50
on Saturday at about 10.20

I !

Fourth Program

Friday afternoon 20 October at 2 o'clock
Saturday evening 21 October at 8.30

JORGE MESTER Guest Conductor

VERDI I Vepri Siciliani - Overture

STRAUSS Don Quixote

JULES ESKIN, BURTON FINE

RAVEL Le tombeau de Couperin

BARTOK Suite from The Miraculous Mandarin

programs subject to change

BALDWIN PIANO
RCA VICTOR RECORDS

125

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Teacher of Piano

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MINNIE WOLK

PIANOFORTE STUDIO

42 Symphony Chambers

246 Huntington Avenue, Boston

opp. Symphony Hall

Residence 395-6126

KATE FRISKIN

Pianist and Teacher

8 CHAUNCY STREET
CAMBRIDGE, MASSACHUSETTS

ELiot 4-3891

RUTH SHAPIRO

PIANIST • TEACHER

1728 Beacon Street

Brookline, Massachusetts

Telephone RE gent 4-3267

126

Mrs. Aaron Richmond and Walter Pierce
present in the 1967-68 Boston University

CELEBRITY SERIES

THIS MON. EVE., OCT. 9 at 8:30 • SYMPHONY HALL

VIENNA PHILHARMONIC

KARL BOEHM, Conductor

Beethoven, Symphony No. 6 "Pastoral"; Schubert, Symphony No. 7 in C Major

.50, $5.50, $4.50

SEATS NOW:

•50,

THIS WED. EVE., OCT. 11 at 8:30 • SYMPHONY HALL

The Hilarious Musical Spoof of the recently discovered works of

P. D. Q. BACH (1807-1742)?

with Prof. Peter Schickele
and the Royal P.D.Q. Bach Festival Orchestra and Soloists

SEATS NOW: $4.75, $3.75, $3.00, $2.50

SUN. AFT., OCT. 15 at 3 • JORDAN HALL

GUARNERI STRING QUARTET

Haydn, Quartet in G major, Op. 76, No. 1; Berg, Quartet No. 3;
Beethoven, Quartet in C minor, Op. 131

REMAINING SEATS AT BOX-OFFICE

FRI. EVE., OCT. 27 at 8:30 • SYMPHONY HALL

L'ORCHESTRE NATIONAL FRANCAIS

MAURICE LE ROUX, Conductor

Brahms, Variations on a Theme by Haydn, Op. 56A; Berlioz, Romeo et Juliette
(scene d'amour et mort des amants); Ravel, Tableau d'Expositions

SEATS NOW: $6.50, $5.50, $4.50, $3.50

SUN. AFT., OCT. 29 at 3 • JORDAN HALL

MUSIC FROM MARLBORO

Superb chamber music in the tradition of the Marlboro Music Festival
Under the artistic direction of Rudolf Serkin

Participating Artists:

Pina Carmirelli, Violin
Jon Toth, Violin
Philipp Naegele, Viola
Caroline Levine, Viola
Fortunato Arico, Cello
Dorothy Reichenberger, Cello

The Program:

Boccherini, String Quintet in F minor,

Op. 42, No. i
Dvorak, String Sextet in A Major, Op. 48
Brahms, String Sextet in G Major, Op. 36

Box-Office Opens Mon. Tickets: $4.75, $3.75, $3.00, $2.75

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FOUNDED IN 1881 BY
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Exquisite
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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 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

THOMAS D. PERRY JR Manager

NORMAN S. SHIRK

Assistant Manager

SANFORD R. SISTARE

Press and Publicity

ANDREW RAEBURN

Program Editor

JAMES J. BROSNAHAN

Business Administrator

HARRY J. KRAUT

Assistant to the Manager

MARY H. SMITH

Executive Assistant

SYMPHONY HALL

BOSTON

MASSACHUSETTS

131

BEETHOVEN
"EROICA SYMPHONY Ul
BOSTON SYMPHONY OBCH.
ERICH LEINSDORF

Schumann /Symphony No. 4 mt
Beethoven /Leonore Overture No. 3
Boston Symphony /Leinsdorf

<Me<^>titM*ald®) i c&tdtiui

Boston Symphony Orchestra /Erich Leinsdorf

Rimsky-Korsakoff /"LE COQ D'OR" SUITE

Slravinsky/"FIREBIRI)'' SUITE

rca Victor

TOfflThe most trusted name in sound

The Boston Symphony
under Leinsdorf

Leinsdorf and the Boston Symphony give Beethoven's "Et
one of the boldest performances you are likeiy to hear. N
daring is their acute reading of Schumann 's Fourth Symp
an exquisite fabric of sound. In their first recording of Rl
ballet repertoire, the Boston ians produce a shimmering Fh
and a glittering Le Cog d'Or. Recorded in D yna g roove s

THE FUND FOR THE BOSTON SYMPHONY

I Linking a name with Symphony . . .

Symphony Hall and Tanglewood, where Koussevitzky, Kreisler,
Munch, Rachmaninoff, Rubinstein, Muck, Heifetz and many others
have played with the Boston Symphony, are full of great musical and
historical associations.

As part of The Fund for the Boston Symphony, the Trustees of the
Orchestra have established a program of Commemorative Gifts by
'which donors may express a personal interest in the Symphony and
may honor a family member, musician, or friend by linking their
name with this historic past.

Gift opportunities range from $1 million for The Koussevitzky Shed
| at Tanglewood, through $500,000 for a named concert series or The
Concert Master's Chair, to $2,500 to name a seat in Symphony Hall.
They include individual concerts at Symphony Hall and Tanglewood,
guest conductors and soloists, leaders of the sections in the orchestra,
teaching positions at The Berkshire Music Center, and Fellowship
funds. They also include facilities in Symphony Hall and at Tangle-
wood — music studios, music library, Tanglewood seating, grounds
and gardens. The list is broad, designed to appeal to the interests of
all who love music and the Symphony.

Three of these named gifts already have been established:

The Charles Munch Fund of $1 million, for bringing outstanding
conductors to Symphony Hall, with contributions totaling
$540,000 from Henry B. Cabot, Edward A. Taft, Mrs H. Melvin
Young .

The principal Cellist's Chair will be named after Philip R. Allen,
late Trustee of the Boston Symphony Orchestra, with contribu-
tions of $100,000 from Philip K. Allen and other members of the
Allen family.

The Augustus P. Thorndike Fellowship Fund, for a student at the
Berkshire Music Center, with contributions of $25,000 from
John L. Thorndike and members of his family.

(Gifts to The Fund are tax deductible, and may be deducted for in-
jcome tax purposes up to 30 per cent. If a gift exceeds the 30 per cent
jlimit in any one year, the excess may be carried forward for a period
lof five years. Donors considering commemorative gifts are invited
to discuss their wishes with any member of the Board of Trustees, or
with the Fund Office in Symphony Hall.

133

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134

At the /

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Concerts /
this year,

these Pianists . .

JOHN BROWNING

RITA BOUBOULIDI
MALCOLM FRAGER
GARY GRAFFMAN
GRANT JOHANNESEN
LILIAN KALLIR

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ALSO WORCESTER and SPRINGFIELD

BOSTON SYMPHONY ORCHESTRA

ERICH LEINSDORF Music Director

CHARLES 'WILSON Assistant Conductor

FIRST VIOLINS

Joseph Silverstein
Concertmaster

SECOND VIOLINS

VIOLAS

Burton Fine
Reuben Green
Eugen Lehner
Jerome Lipson
Robert Karol
Akio Akaboshi*
Bernard Kadinoff
Vincent Mauricci
Earl Hedberg
Joseph Pietropaolo
Robert Barnes
Yizhak Schotten

CELLOS

Jules Eskin
Martin Hoherman
Mischa Nieland
Karl Zeise
Robert Ripley
John Sant Ambrogio
Luis Leguia
Stephen Geber
Carol Procter
Jerome Patterson
Ronald Feldman

BASSES

Henry Portnoi
William Rhein
Joseph Hearne
Bela Wurtzler
Leslie Martin
John Salkowski
John Barwicki
Buell Neidlinger
Robert Olson

FLUTES

Doriot Anthony Dwyer

James Pappoutsakis
Phillip Kaplan

PICCOLO

Lois Schaefer

OBOES

Ralph Gomberg

John Holmes
Hugh Matheny

ENGLISH HORN
Laurence Thorstenberg

CLARINETS

Gino Cioffi

Pasquale Cardillo
Peter Hadcock

E\) Clarinet

BASS CLARINET
Felix Viscuglia

BASSOONS

Sherman Walt

Ernst Panenka
Matthew Ruggiero

CONTRA BASSOON

Richard Plaster

HORNS

James Stagliano
Charles Yancich
Harry Shapiro
Thomas Newell
Paul Keaney
Ralph Pottle

TRUMPETS

Armando Ghitalla
Roger Voisin

Andre Come
Gerard Goguen

TROMBONES

William Gibson

Josef Orosz
Kauko Kahila

TUBA

Chester Schmitz

TIMPANI

Everett Firth

PERCUSSION

Charles Smith
Harold Thompson
Arthur Press

Assistant Timpanist
Thomas Gauger

HARPS

Bernard Zighera
Olivia Luetcke

LIBRARIANS
Victor Alpert
William Shisler

STAGE MANAGER
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

135

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Contents

Program for 13 and 14 October 1967

Future programs

Program notes

Beethoven — Suite from Prometheus
by John N. Burk

Schoenberg — Piano Concerto
by Michael Steinberg

Schumann — Symphony no. 2

by Eric Sams

Listening to Schoenberg - Part 1
by Peter Heyworth

Recordings of today's program

The soloist

The members of the Orchestra

139

189

140
148
162
170

183

182
185

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137

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138

EIGHTY-SEVENTH SEASON 1967-1968

Third Program

Friday afternoon 13 October at 2 o'clock
Saturday evening 14 October at 8.30

BEETHOVEN

Suite from the ballet Die Geschopfe des Prometheus op. 43

Overture: Adagio — Allegro molto con brio

Introduction to Act I 'La Tempesta': Allegro non troppo

Adagio — Andante quasi allegretto

BERNARD ZIGHERA harp JULES ESKIN cello

DORIOT ANTHONY DWYER flute GINO CIOFEI clarinet

SHERMAN WALT bassoon

Finale: Allegretto — Allegro molto — Presto

SCHOENBERG

Concerto for Piano and Orchestra op. 42

Andante

Molto allegro

Adagio

Giocoso (moderato)

RITA BOUBOULIDI

First performance by the Boston Symphony Orchestra

INTERMISSION

SCHUMANN

Symphony no. 2 in C major op. 61

Sostenuto assai; Allegro ma non troppo
Scherzo: Allegro vivace; Trio I; Trio II
Adagio espressivo
Allegro molto vivace

At these performances Mme Bouboulidi is playing the Steinway Piano

The concert will end at about 3.50 on Friday
and at about 10.20 on Saturday

BALDWIN PIANO
RCA VICTOR RECORDS

139

LUDWIG VAN BEETHOVEN

Suite from the ballet Die Geschopfe des Prometheus op. 43
(The creatures of Prometheus)
by John N. Burk

Beethoven was born in Bonn in December 1770 (probably the 16th), and died in
Vienna on 26 March 1827. The ballet was composed in 1800 and was first performed
in March 1801 at the Imperial Court Theatre in Vienna. The Orchestra has per-
formed various movements from the ballet in the past, most recently in this series
on 4 and 5 March i960 when Charles Munch conducted.

The instrumentation: 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets,
timpani, harp and strings.

Salvatore Vigano, Milanese dancer and designer of ballets in the late
eighteenth century, decided in the year 1800 to pay a tribute to Maria
Theresa and ordered Beethoven to provide music for a ballet Die
Geschopfe des Prometheus. Beethoven had recently dedicated his
septet to this consort of the Emperor Franz of Austria. And yet he
was not an obvious choice for such a commission. At the age of thirty
he had attracted considerable attention as a composer for piano and
chamber combinations, but he had written nothing of orchestral
proportions excepting two piano concertos and a single symphony.

Certainly he had not proved himself an effective writer of music for
the theater (Beethoven had made a youthful attempt at a ballet as a
youth of twenty at Bonn, the Ritterballet, which could hardly have
commended him in Vienna).

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But Beethoven was ambitious to compose for the stage, and coveted
recognition in high quarters. He may well have considered himself
fortunate in being singled out by the celebrated Salvatore Vigano
(1768-1821), a leader in his profession. Vigano had made his mark
in Vienna when he came there in 1793 with his wife, the beautiful,
much admired Spanish dancer, Maria Medina. Under this impulse
the vogue of the ballet was reinstated in Vienna in the 1790's. There
was another ballet master in the reign of Leopold II: Muzarelli, and a
deadly rivalry developed between the two Italians. The public, which
always delighted in such a warfare, took sides as sharply as in a modern
political campaign. The slogan of Signor Vigano was the cultivation
of natural beauty and significance as against the artificial posturing of
which he accused his opponent. Perhaps his cause was enhanced by
the undisputed attractiveness of his wife. 'Two or three pages of spicy
matter might be compiled,' writes Alexander Wheelock Thayer, 'upon
the beautiful Mme Vigano's lavish display of the Venus-like graces
and charms of her exquisite form.' But the sober chronicler of
Beethoven has refrained from such an excursion.

In any case, there was no question of the Spanish dazzler when
Beethoven undertook Die Geschopfe des Prometheus. Fraulein Cas-
sentini had succeeded her as prima ballerina and duly took part in
this ballet. The title has been variously translated as the 'creatures,'
the 'creations,' and the 'men' of Prometheus, for want of any word
which will adequately render 'Geschopfe.' The following description
of the piece is all that has come down to us save for the sixteen musical
numbers which Beethoven provided:

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'The foundation of this allegorical ballet is the fable of Prometheus.
The philosophers of Greece allude to Prometheus as a lofty soul who
drove the people of his time from ignorance, refined them by means
of science and the arts, and gave them manners, customs, and morals. |

As a result of that conception, two statues that have been brought 1
to life are introduced in this ballet; and these, through the might
of harmony, are made sensitive to all the passions of human life.

Prometheus leads them to Parnassus, in order that Apollo, the god of
the fine arts, may enlighten them. Apollo gives them as teachers
Amphion, Arion, and Orpheus to instruct them in music, Melpomene
to teach them tragedy, Thalia for comedy, Terpsichore and Pan for
the shepherd's dance, and Bacchus for the heroic dance, of which he
was the originator.'

The ballet made a pronounced success and survived numerous per-
formances — for reasons probably other than the delights of the music
itself. The Overture has an introduction, adagio, and a lively main
section, allego molto con brio. The swift string figure that runs
through it was probably what caused William F. Apthorp to call it
'a companion piece to Mozart's Overture to Figaro.' When the early
biographers of Beethoven reproached him with having written an
overture in a gay and transparent style on so serious a subject they
surely took too little account of what was expected in this species of
divertissement. There follows without pause the Introduction to Act I,
which is subtitled 'La Tempesta.'

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The Adagio here played is the fifth number, and opened Act II in
the stage production (after a few bars andante). It begins with chords
for the harp, a curiosity in that this instrument appears nowhere else
in Beethoven's music. The winds have the introductory matter over a
light string pedal. The solo cello brings in the Andante quasi alle-
gretto with a cadenza, and returns several times as a connecting voice.

The sixteenth and last movement is a series of short variations on the
theme familiar in the finale of the Eroica Symphony. The theme is
identical, but the variations different. The theme must have been a
favorite one with Beethoven, for he used it four times in all; in a
contradance, in the Variations and Fugue for piano solo op. 35 (1802)
and in the Eroica (1804). Since the date of the contradance is not
known, it is impossible to tell whether its use in Prometheus (composed
in 1800) was the first. There is another theme (in G major) which like-
wise appears as a contradance (no. 1 1 in the same set of 12, without opus
number). Prometheus ends with a brilliant allegro molto and a presto.

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ARNOLD SCHOENBERG

Concerto for Piano and Orchestra op. 42
by Michael Steinberg

Arnold Schoenberg was born in Vienna on 13 September 1874, and died in Brent-
wood, California, on 13 July 1951. He began to sketch his Piano Concerto in July
1942 and completed the score on 30 December of that year. The first performance
was given 6 February 1944 by Edward Steuermann, Leopold Stokowski conducting
the N.B.C. Symphony. The first Boston performance was given in Jordan Hall,
20 October 1965, by Margaret Kitchin, Frederik Prausnitz conducting the New
England Conservatory Symphony Orchestra.

The instrumentation: flutes, oboes, clarinets, and bassoons in pairs (second flute
doubling piccolo), 4 horns, two trumpets, 3 trombones, tuba, timpani, bells, gong,
cymbal, xylophone, bass drum, snare drum, normal strings, and solo piano. The
Concerto is dedicated to Henry Clay Shriver.

In The Memoirs of an Amnesiac, his second book of reminiscences and
what not, Oscar Levant recalls how, after achieving 'a certain fame and
notoriety,' he asked Arnold Schoenberg, who had been his composition
teacher for a while and with whom, in an edgy sort of way, he was on

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rather friendly terms, to write him 'a slight piano piece.' Levant gave
him a payment and reports that Schoenberg was delighted.

His account continues: 'When I returned to New York there was
correspondence and suddenly this small piano piece burned feverishly
in Schoenberg's mind and he decided to write a piano concerto. He
sent me some early sketches and it is possible that in the main row of
tones my name or initials were involved. However, I wasn't prepared
for a piano concerto and in the meantime Hans (sic) Eisler assumed
the role of negotiator for Schoenberg. Among other things, the
fee grew to a vast sum for which, as the dedicatee, I was promised
immortality.'

For personal, but not financial, reasons, Levant came to find the venture
oppressive, and withdrew from it. There is, however, a postscript to
his story: at a meeting with Schoenberg several years later, Levant
'in a spasm of good will said, "I owe you some money." [Schoenberg]
nodded in agreement and I gave him a check. He was very cheerful
about the whole thing. I didn't really owe him any money — it was
just an excuse to ameliorate the old situation.'

1942, the year of the Piano Concerto and also of his setting of Byron's
Ode to Napoleon, is late in Schoenberg's career. Verklaerte Nacht,
which remains his most played piece, was written in 1899. The
Chamber Symphony op. 9, the String Quartet no. 2, his Stefan George
song cycle Das Buch der haengenden Gaerten, the Five Pieces for
Orchestra, Erwartung, and Pierrot lunaire, all come from the period
1906-13. The Serenade, the Wind Quintet, the Suite op. 29, the
Variations for Orchestra, the comic opera Von Heute auf Morgen, were
composed in the twenties. The thirties began with the two completed
acts of Moses und Aron, and that was also the decade in which Schoen-
berg wrote two other works of the greatest importance, the Violin
Concerto and the String Quartet no. 4. The major works to follow the
Piano Concerto are the String Trio, A Survivor from Warsaw, and
the Phantasy for Violin.

150

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In his early years, Schoenberg lived in Vienna and Berlin. In 1933 he
was, as a Jew, dismissed from his position at the Prussian Academy of
the Arts, and on 25 October that year he came to Boston with his
family. He taught at the now defunct Malkin Conservatory and lived
at the Pelham Hall apartments, 1284 Beacon Street, Brookline. He con-
ducted a performance of his symphonic poem Pelleas und Melisande,
with the Boston Symphony, though illness kept him from the scheduled
repeat performance. His health was never strong — he suffered from
asthma all his life — and the climate here affected him particularly
badly. Fear of further Northern winters led him to decline offers from
Juilliard and the Chicago Musical College, and in 1935, he moved to
Los Angeles, first teaching at the University of Southern California
and privately, and then, until his mandatory retirement in 1944, at
U.C.L.A. The Schoenbergs built a house in Brentwood Park in 1936
and became United States citizens in 1941. Schoenberg never went
back to Europe. He toyed with the idea of returning for his 75th
birthday celebrations, but by then he was too ill. In the anniversary
year, 1949, Vienna, whose smug and arch-conservative musical estab-
lishment had hated and rejected his work, now that it was safe,
bestowed the freedom of the city on him.

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Like all of Schoenberg's main works from 1923 on, the Piano Concerto
is composed with the 12-tone technique. Schoenberg himself, inci-
dentally, is the author of the suggestion that the presence of this
method is a criterion for determining whether a work is one of his
main ones, obviously, though, referring only to the post- 192 3 pieces.
The method, anticipated in parts of the Five Pieces for Piano op. 23,
and the Serenade op. 24 (both completed 1923), then fully explored
and consistently used in the Suite for Piano op. 25 (1923) and the
Wind Quintet op. 26 (1924), involves referring all of a work's compo-
sitional activity, at least as much of it as has to do with the choice of
pitches, to a particular ordering of the twelve notes of the chromatic
scale, such an ordering being generally called the row, or, more
learnedly, the series or the set. Rows have properties or characteristics
of their own, for instance the sequence of minor and major triads
spelled out by the one in the Berg Violin Concerto, or the nice sym-
metry of semitones and minor thirds in the one of Webern's Variations
for Orchestra (to be heard later this season), and the composer wishes
to exploit these properties — he needs them, if you will — for the
working out of his composition. His choice of a particular ordering is
personal, therefore, but not arbitrary.

The row may, as well as being a matrix, be a theme in the quite
familiar sense as well. It is in Schoenberg's Piano Concerto. The first
thing you hear is the piano alone playing a lyric melody in a gentle
waltz tempo. Like several hundred other melodies you will hear
during the course of the season, it begins with a phrase of eight meas-
ures, twice four. In the eighth measure, the orchestra inserts a soft,

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three-note punctuation mark. The piano melody up to that point is a
statement of the row: everything that happens thereafter is an out-
growth of those pitches and the pattern of intervals they define. The
row for the Piano Concerto is Eb — Bb — D— F — E — C — F# — Ab —
Db— A — B — G, and, by the way, I find no trace of Oscar Levant's
name in it. The Schoenberg circle did go for a certain amount of
Schumannesque musical cryptography, but this Concerto appears not
to be an example.

But back to the music. The opening piano melody is expansive, and
characteristically it is generated by self-variation; that is, its continuing
phrases consist, each, of the same line as the first, but inverted (with
each downward step of the original replaced by an upward one of the
same size, and vice versa), in retrograde (think of Serutan), or in retro-
grade inversion (subject to both operations at once). Characteristic,
too, is the placement in that melody of the first orchestral punctuation
mark referred to earlier. Examples of piano concertos that begin with
the unaccompanied solo instrument are rare — no doubt because of the
Beethoven Fourth — and the listener is likely to anticipate the first
orchestral entrance with special attention. That entrance, as we have
already seen, is strategically placed at a structurally vital point, the end
of the explicit statement of the musical shape that will be the source
for the entire work. As the piano melody expands, orchestral punctua-
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point even that for four measures the clarinet plays the melody along
with the piano; the sonorous delicacy, however, of the initial three-note
punctuation — clarinet, violas, and cellos only — is typical of the
orchestral texture throughout the Piano Concerto as, indeed, of
Schoenberg's music generally. His ear was remarkably fastidious, and
like Mahler, he treated the large orchestra as a pool that made diverse
chamber combinations available in a continuing, kaleidoscopic varia-
tion procedure.

As for the further course of the first movement, Schoenberg outlined
it in a handwritten note in the holograph near the end of the piano
melody: 'repeated in orchestra, piano adds a countermelody, this
countermelody is repeated in orchestra, piano adds a second counter-
melody, all three together.' Apropos of Schoenberg's glosses, there is
an amusing one, all but one word in English, at measure 117, about
two-thirds through the first movement: '13 mal 9= 117!!! It costs
two days to find out, what wrong. A great error in construction at
measure 13x9= 117.' The Concerto altogether is laid out in four
movements to be played without pause: the lyric first movement is
followed by an energetic, even aggressive, scherzo; then comes a great
Adagio, including both a cadenza for the piano and the one extended
passage in the work for orchestra only; and finally there is a rondo
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Adagio. In the form of an explanatory note evidently intended for
Oscar Levant, Schoenberg paraphrased into English the events of his
Piano Concerto in terms that perhaps seem a bit quaint, but which, in
their concern with meaning, are not altogether surprising from a man
who, in his own metaphor, was not as much concerned with the Chinese
philosopher's speaking Chinese as with wanting to know what he says:

Life was so easy

Suddendly (sic) hatred broke out (Presto)
A grave situation was created (Adagio).
But life goes on (Rondo)

Michael Steinberg, who has been Music Critic of The Boston Globe
since January 1964, was born in Germany in 1928 and trained as a
musicologist at Princeton and in Italy. He taught at Hunter College,
Smith College and Brandeis University, and from 195J to 1964 was
head of the music history department at the Manhattan School of
Music. He has written for The New York Times, The Saturday Re-
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ROBERT SCHUMANN

Symphony no. 2 in C major op. 61
by Eric Sams

Schumann was born at Zwickau on 8 June 1810 and died at Endenich on 29 July
1856. Felix Mendelssohn conducted the first performance at the Gewandhaus Con-
certs in Leipzig on 5 November 1846. The first performances by the Boston
Symphony Orchestra were conducted by George Henschel on 30 and 31 December
1881; the symphony was most recently played in this series on 17 and 18 December
1965 with Erich Leinsdorf conducting.

The instrumentation: 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets,
3 trombones, timpani and strings.

Schumann's genius, perhaps more directly than that of any other com-
poser, transformed into sound-symbols his own personal knowledge of
the life of feeling. Any medium or genre of music would have sufficed
for this purpose; but as a young pianist-composer he naturally chose
the medium that lay under his hand. And so for ten years he wrote
lyric piano pieces.

Most of them were the embodiment in music (including actual musical
themes) of his love and longing for Clara Wieck. In 1840 he finally
married Clara after bitter opposition from her father and the conse-
quent nerve-racking delay. In that year a new voice was added to his
music: he wrote only vocal works, mainly love-songs. In the year
following his paean of praise and thanksgiving reached symphonic
heights; and all his music was orchestral. First there came the 'Spring'

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symphony, already sketched in winter, which opens with the trumpet
prophecying renaissance at a new level of experience and achievement.
Then in the same ebullient vein came the Overture, Scherzo* and
Finale, and most of what later became the Piano Concerto. There fol-
lowed another symphony, of which Schumann had predicted that it
would be called 'Clara,' and that in it he would depict his young wife;
this was the D minor (not published until many years later) which is
fashioned entire from the themes associated with Clara. By the end of
the year this wave of orchestral music had spent itself in sketches for
a C minor symphony, most of which was never heard of again.

The next year was again devoted to one particular genre, this time
chamber music; the three string quartets, the piano quintet and
quartet, and material later used in a piano trio, were all composed in
1842. With similar singlemindedness Schumann in 1843 concentrated
on his oratorio Paradise and the Peri.

But this continual process of change and development was a numbing
strain. He became overtired, irritable, anxious. His temperament had
always been chequered in bright and dark, either in creative frenzy or
in silent despair; and now the dark side began to dominate.

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So in 1844 his only medium of expression was silence. During a concert
tour with his wife he broke down, with fits of weeping, giddy attacks,
and other ominous signs. By August he was suffering from total ner-
vous collapse. The depressed state lasted, with intermissions, until
late in 1846. Some sketching and revision he found possible, but he
wrote little new music of any consequence.

Yet it was in this inauspicious period, towards the lowest point of the
pendulum's downswing, that the idea of the C major symphony began
to take shape. As it happens, we know just what this idea was, and
when. In September 1845 we find Schumann writing to his admired
friend Mendelssohn: Tor some days now there has been a mighty
drumming and trumpeting in my mind (trumpets in C); I can't think
what will come of it.'

By the end of that year the whole symphony was complete in sketch
form. But in Schumann's depressed state the orchestration (a quite
separate process in his normal method of composing) took much longer.
For him the abstract musical idea, not the actual sonority or timbre,
was the vital thing; and in any event he had had very little training in
the highly specialized techniques of instrumentation. For such reasons
many conductors (such as Mahler and Weingartner, and in our own

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166

day Erich Leinsdorf) have made a practice, for the sake of the music,
of rescoring and retouching. Indeed it seems very likely that Men-
delssohn, Schumann's very first conductor, had tactfully helped him
in this way.

It was Mendelssohn who gave the first performance of this symphony,
in November 1846. It was coolly received. As if in extenuation,
Schumann explained to a friend that the music had been written at a
time when he was still very ill physically; he felt that the first move-
ment in particular embodied and symbolized the spirit of resistance by
which he sought to combat his condition. He later described the sym-
phony to one interested music director as 'rather aggressive.' To
another he commented 'I wrote it in December 1845 st iU na ^ iH» no
doubt that can be heard from the music. Not until the last movement
was written did I begin to feel better; and by the time the work was
completed there was in fact real improvement. But otherwise it
reminds me of dark days.'

However, this highly personal impression of illness in the music is hard
for listeners to substantiate. Schumann himself in more cheerful moods
was not so displeased with his symphony; he confided to a friend that
he thought it a success, indeed 'a veritable Jupiter,' referring no doubt
not only to the key but also the scale of the symphony. In his moods
of depression, Schumann was usually incapable of writing anything at
all, let alone music so vital and memorable as this. Since no composer
was ever more thrifty with his musical material, it seems possible that
some of its ideas were taken over from the C minor symphony sketches

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167

of 1841. Many of its themes are closely akin to those Schumann had
used in the D minor symphony of that year to express his feelings of
unworthiness and homage for one whose courage and devotion were
to sustain him in even darker days. Here at the beginning of the
C major symphony too the 'Clara' themes are all brooding tenderness.
Over them the trumpets sound no note of triumph, but rather express
a modest hope; not to fight back, nor even to turn at bay, but just to
rally and stand — for the sake of wife and family not to yield to
despair. From this dark opening the music slowly emerges blinking
into the light.

This is not to suggest that Schumann's work is program music in the
ordinary sense. But it is true that by far the greater part of his output
is associated with words, whether as texts, titles, or known ideas; and
so we have some indication of the kinds of symbolic meaning he
attached to various kinds of musical expression. Thus the jerky
rhythms and climbing themes of the first movement suggest feelings of
manly resolve, while the scherzo has rhythms and phrases associated
with the ideas of children, games and springtime. The beautiful slow
movement (unusually placed third instead of second, for greater con-
trast) is the music of the angel in the house; a portrait drawn in
adoring melodic lines, decorated by a Romantic imagery of violins
soaring and trilling, and colored with somber undertones of regret,
even remorse. The last movement has an air of triumph, yet at the
same time of restraint. Again the trumpet-calls suggest not so much

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victory as deliverance from tribulation, as if they were the signal for
the release from bondage of another Florestan. In this movement too
we hear a further reference to Beethoven, this time his song cycle
An die feme Geliebte, one of Schumann's favorite melodic allusions
to his love for Clara. And throughout the symphony we are subcon-
sciously reminded of other composers: Schubert, Mendelssohn, Weber,
Mozart, even Bach.

Knowing Schumann, one would be rash to assume that these echoes,
however vague, are insignificant or unintentional. They were all an
integral part of his life, and therefore have their share in his expression
of a beleaguered world in which Clara and music were his only ram-
parts. In listening to this great symphony we may recall that in only
ten more years even those ramparts were to fail him against the
onslaught of renewed illness that took first his reason and then his life;
but left his best music untouched.

Eric Sams, author of The Songs of Hugo Wolf, is engaged at present in
a study of Schumann's songs. He has also written a fascinating pair
of articles about Schumann's consuming interest in cipher and its close
relation to his composition, which appeared in The Musical Times in
August 1965 and May 1966. Subscribers who are interested in this
side of Schumann's character are strongly recommended to read Mr
Sams' articles.

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Listening to Schoenberg -Part 1

by Peter Heyworth

Put aside 'the theological fury of theoretical disputes'
begin with the atonal counterpoint of Pierrot Lunaire,
and eventually the ear will adjust itself to the
new harmonic relativity of twelve-note music.

As the dust of time settles over the first half of the twentieth century,
it becomes increasingly clear that the two composers who dominated
that period were Schoenberg and Stravinsky. But whereas most of
Stravinsky's works have now broken out of the hothouse category of
'contemporary music' and forced their way into ordinary concert pro-
grams, Schoenberg remains relatively little performed. True, he is no
longer subjected to the abuse that senior critics used to dole out with
monotonous regularity less than a decade ago. But it is only necessary
to compare the formidable amount of Stravinsky available on record
with the relatively modest number of Schoenberg recordings to see how
far he still is from winning widespread appreciation.

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All sorts of reasons have been given for this failure of Schoenberg to
break out to a wide audience. During his lifetime his paranoid per-
sonality, which collected enemies and nursed feuds with terrifying
pertinacity, certainly did little to help the cause of his music. The
dodecaphonic method of composition, which he evolved in the years
immediately after the first World War, met with such fanatical oppo-
sition that for a long time reaction to Schoenberg's music itself was
entirely obscured by the academic question of whether one were for or
against serialism. And then the pre-dodecaphonic scores of the years
before 1914 seemed to explore such a strange and terrifying under-
world of the human psyche that they inevitably provoked a psycho-
logical as well as musical resistance.

No doubt all these matters played a part in blocking appreciation of
Schoenberg's music, but I don't myself believe that any of them would
have been able to do so had not the music itself been so complex.
There is a tendency today to dismiss the difficulty most of us have in
getting to grips with new music as nothing more than the difficulty of
adjusting our ears to something new. That may be true so far as some
composers are concerned; for instance, Luigi Nono's music sounds and
is fiercely modern, but inasmuch as it is also often extremely simple,
one need only get one's ear tuned to his wavelength to perceive what
it is about. But this is not true of Schoenberg's music. He had a

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uniquely complex and elaborate creative character; he had a rich
imagination and a powerful and drastic intellect. As a result, his
music is almost always both complicated and intense, and no useful
purpose is served in pretending that it is really quite easy to under-
stand. On the contrary, the true parallels lie with late Beethoven or
with Bach's instrumental music, and no one pretends that full com-
prehension of the C sharp minor Quartet or the Goldberg Variations
can be had for the asking.

But there is another reason why Schoenberg's music makes slow head-
way. Bach and Beethoven inherited a musical language adequate to
their purposes, or capable of being extended to accommodate their
profoundest ideas. Schoenberg inherited a language (or at any rate a
grammar) on the brink of disintegration. This has been said so often
that we have perhaps forgotten what it involved. Imagine a writer who
found that English would not bear the strain of what he had to say, and
who as a result had to devise a new verbal grammar. Naturally, the
difficulties in communication would be immense. So they have proved
in Schoenberg's case.

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But why did Schoenberg feel obliged to undertake the destruction of
the musical grammar he inherited? Certainly it was not because he
was a born revolutionary or a man who wanted to startle the world
with some new wonder. On the contrary, a part of Schoenberg's com-
plex character was throughout his life intensely conservative, he was
scathing about much of the overclever Modernismus fashionable in the
Twenties, and he was a fanatical admirer of his great predecessors,
Bach, Mozart, Beethoven, Brahms and Wagner. No, Schoenberg's
difficulties stemmed essentially from what his immensely powerful mind
and imagination wanted to express. It is in the struggle for expression
that language is forged, fashioned and extended. Since the language
of chromaticism Schoenberg inherited had already been driven (by
Wagner in Tristan) almost as far as it would go, there was insufficient
elasticity left for the further push forward which his expressive needs
required. Here, then, is the crux of why after so many years Schoenberg
remains so difficult to understand: that elaborate and drastic creativity
was virtually obliged to devise a new grammar to express what he had
to say. The thought is complex, the language is new.

The difficulties that sprang from all this, were, and are, by no means
confined to the listener, however; for many years few musicians under-
stood what Schoenberg was about well enough to be able to perform
his music convincingly. Or if by any chance they could do so, then the
odds were that there would be insufficient rehearsal time to get it right.
As a result, the cause of Schoenberg's music has again and again been
set back by performances that have, quite literally, been incompre-
hensible. The blind cannot lead the blind.

This is where the gramophone comes in. On the whole it is the musi-
cians who understand and love Schoenberg's music who record it, and

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LEONARD BERNSTEIN
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177

there are now a number of recordings available that can claim to be,
if not necessarily authentic, at any rate lucid and grammatical and
therefore comprehensible. Furthermore a record obviously provides
the possibility of repeated hearings, and in my experience this is the
only way to come to grips with Schoenberg's music.

Wagner had been dead for only sixteen years when, in 1899, Schoenberg
at the age of twenty-five produced his first major work. Superficially,
Verkldrte Nacht is very much a child of a period when the immense
influence of Wagner still exercised an almost hypnotic effect on the
young. Indeed, one might go further and say that in the extreme
chromaticism of the harmonic language of this erotic tone poem one
finds a truer child of Tristan than one does in Richard Strauss's sym-
phonic poems or Mahler's symphonies. But the odd thing about
Verkldrte Nacht is that it was written for the singularly un-Wagnerian
combination of a string sextet. Chamber music was vieux jeu in ad-
vanced circles at the turn of the century. Excitement centered on the
latest effects of Strauss's lavish orchestration, and string quartets
belonged to the sedate square world of that arch-reactionary, Brahms,
who seemed to young men such as Hugo Wolf at once but a weary
remnant of the past and an impediment to the future. This same
Brahms, was, however, much admired by Schoenberg, who saw in him
the true preserver of the great Viennese classical tradition of Haydn,
Mozart and Beethoven. In turning to chamber music Schoenberg was
deliberately attempting to weld a classical sense of architecture and of

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179

thematic development to an expressive world stemming from Tristan.
In a real sense he was striving for a synthesis of the heritages of
Brahms and Wagner.

Thus already in this very early work there is revealed the essential
thing about Schoenberg: by the intensity of what he had to say he was
pushed forward into the most extreme chromaticism, while at the
same time he was forced by his equally intense sense of order and
proportion to look backward for means of ordering the disruptive
elements in that chromaticism. For as Schoenberg well realized,
chromaticism was a waning asset. Heard against a firmly based tonality,
a chromatic note (i.e., a note that does not belong to the key in which
the music is written) had all the spice of an occasional four-letter word
in polite society: it added tension and flavor. But naturally the more
chromatic notes were used, the more their value, their ability to shock,
declined. In Tristan, Wagner had used chromaticism consequentially,
not just here and there but throughout the score, to produce music of
unparalleled intensity and anguish. But composers who set about
exploiting the new harmonic ground opened up in Tristan soon found
it disappearing under their feet, for the simple reason that the excep-
tional chromatic notes became so frequent as to undermine the tonal
language which made them exceptions (and hence so effective) in the
first place.

This is the central crisis of modern music: around 1908 the resources
of chromaticism had been exploited to a point where they had dis-
rupted the whole grammar of tonality, on which the immense achieve-
ments of European music since the seventeenth century had been
based. Appalled by the abyss before them, many composers, such as
Strauss, moved backwards, while others tried to take harmonic side
paths such as the use of folk songs (Bartok, Vaughan Williams) or
neoclassicism of one kind or another (Stravinsky and Hindemith).

Only Schoenberg had the courage to push on, and his heroism was all
the greater because he, more than any of his contemporaries, appre-
ciated the immense achievements of tonality and the magnitude of the
task of finding anything to put in its place.

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180

Indeed, at first he had nothing to offer in its stead except his own
genius and somnambulist sense of direction. From the Gurrelieder —
a huge and masterly essay in Wagnerian music drama which effectively
disposes of the silly accusation that Schoenberg was a theoretician who
devised a new system because he was incapable of using the old one —
he pressed steadily forward in a series of works in which tonality grew
steadily more tenuous. Finally, in 1908, with the Quartet no. 2 in F
sharp minor, he wrote music that crossed the frontier and was without
tonal ties. As I have said, Schoenberg was very well aware of the
immensity of the implications of what he was doing. From henceforth
he was on his own, there were no guiding ropes, no well-worn tracks,
no precedents to help him when he faltered and the world jeered. For
him there could now be only one rule: 'art comes of necessity'; and
it was necessity of self-expression, of giving reality to the new sounds
haunting his inner ear, that drove him forward on his solitary journey
of exploration.

The fruits of this journey are some of the most extraordinary and dis-
turbing works of art ever created. Because he still had no principle of
order to put in place of tonality the scores of this period are either
short or are settings of words that themselves dictate some sense of
shape. In the first category come the Five Pieces for Orchestra, in the
second the monodrama Erwartung. Both were written in 1909, and
both seem to explore a nightmare world of the subconscious. Indeed
this could be said of almost all Schoenberg's music of this period, of
Die glilckliche Hand (1913) and Pierrot Lunaire (1912). It is as
though, having once cast off the conscious order of tonality, he found
himself possessed of a new ability to explore the terrifying paths of the
subconscious mind, which Freud at the same time was exploring by
means of psychoanalysis. If the lurid expressionist frenzy of these
works is not everyone's meat, there can be no question of their musical
power and coherence.

Mr Heyworth's article will be continued in the next program book.
In the second part he suggests how best to listen to twelve-note music in
order to enjoy it fully. Peter Heyworth succeeded Eric Blom as music
critic of the London Observer, and is one of England's most distin-
guished writers on music.

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181

The soloist

RITA BOUBOULIDI began her studies in
Greece, her native country. She made her
debut with the State Orchestra in Athens
before leaving, in 1947, for the Conserva-
toire National in Paris with a scholarship
from the French Government. Between
1950 and 1954 she studied with Edwin
Fischer and Marguerite Long, and made her
debut in 1953. She has toured extensively
since then in Europe, Africa and the Soviet
Union, and has played at various festivals,
including that in Salzburg.

Rita Bouboulidi is a familiar radio artist in France, and has made
recordings of music by Schumann and Brahms.

YOUTH CONCERTS AT SYMPHONY HALL, INC,

Members of the Boston Symphony Orchestra

HARRY ELLIS DICKSON

Conductor

mnth Season • 1967-1968

Two series of concerts will be presented in Symphony
Hall on Saturday mornings, from 11:00 to 12:00 o'clock,
as follows:

FIRST SERIES: Nov. 4 • Jan. 13 • Mar. 9

SECOND SERIES: Nov. 11 • Jan. 20 • Mar. 16

(Repeating the programs of First Series)

Tickets are sold by series only. All seats are reserved
at a total cost of $5.00 (tax exempt) for either series of
three concerts.

These concerts are planned for young people from
Grade V through Junior High and High School.

Ticket order, accompanied by check and stamped,
addressed envelope, should be mailed to:

TICKET COMMITTEE
YOUTH CONCERTS AT
SYMPHONY HALL, INC.

251 Huntington Avenue • Boston, Mass. 02115

182

Recordings of today's program

The music to the ballet Prometheus has been recorded complete by the
Utah Symphony conducted by Maurice Abravenel on Vanguard. The
Suite performed today will appear on a recording for RCA by the
Boston Symphony Orchestra, which will be released next year.

Schoenberg's Piano Concerto is available in two versions: one by
Alfred Brendel with the Southwest German Radio Symphony on Turn-
about; the other by Claude Helffer with the Paris Radio Orchestra on
Period.

There are several records of Schumann's Second Symphony: European
versions include performances by Ernest Ansermet on London and
Rafael Kubelik on DGG.

Radio Broadcasts

The Friday afternoon concerts at 2 p.m. are broadcast in stereo each
week by WGBH-FM and its educational affiliates, WFCR in Amherst
and WAMC in Albany, New York.

The Saturday evening concerts at 8.30 p.m. are broadcast by WCRB-
AM and its affiliate WCRX in Springfield, by WGBH-FM, and in
stereo by WCRB-FM and its affiliate WCRQ-FM in Providence.
WCRB also broadcasts delayed transcriptions of the Orchestra's con-
certs on Thursdays at 9 p.m.

Some Tuesday evening concerts will be broadcast in stereo by WGBH-
FM, WFCR in Amherst and WAMC in Albany.

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TICKET RESALE AND RESERVATION PLAN

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184

The members of the Orchestra

Born in Cambridge, Massachusetts,
HARRY ELLIS DICKSON graduated from
Somerville High School, and from there
went to the New England Conservatory. He
won a scholarship to the Hochschule fur
Musik in Berlin, Germany, where he
studied violin and conducting. He joined
the Boston Symphony Orchestra in 1938,
but was busy before, and has been since, as
a conductor. Many Boston audiences have
seen him on the podium at Pops and

Esplanade concerts, and at the Symphony Hall Youth concerts, which

he founded in 1959.

Harry Dickson leads the second violin section of the Boston Sinfonietta,
and has been a member of the Boston Conservatory String Quartet.
He owns a fine violin, made in Milan in 1755 by Jean Baptiste
Guadignini. He collects stories about other musicians, especially his
conducting colleagues, and has a gift for retelling them with devastating
mimicry. Two years ago he was created a Chevalier in the Ordre des
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185

JAMES PAPPOUTSAKIS was born in
Cairo, Egypt, of Greek parents. He came to
the United States as a boy, and was educated
at the Boston Latin School and the New
England Conservatory. He studied flute
with Georges Laurent, former principal
flute of the Boston Symphony Orchestra.
He joined the Boston Symphony in 1937 as
assistant principal flute, and has also been
principal flute of the Boston Pops since
that time. He acted as principal when the
Orchestra toured under Charles Munch to
Japan and Australia, and was soloist with the Zimbler Sinfonietta on
their tour to Central and South America.

James Pappoutsakis is a member of the Berkshire Woodwind Ensemble
and of the faculties of the New England Conservatory, Boston Univer-
sity and the Longy School. During the last few years he has had eight
Fulbright Scholarship winners among his students. His wife, a prize-
winning graduate of the Paris Conservatory, was harpist with the
Boston Symphony Orchestra under Serge Koussevitzky, and his brother
is professor of music at the University of Vermont. His young daughter
is at preparatory school and her current interests are art and drama.

Boris and Milton

186

COUNCIL OF FRIENDS

Tea in Concord

! i

Mr and Mrs William B. Moses
Jr< opened the season for the
Council of Friends of the Bos-
ton Symphony Orchestra when
they were hosts to the Friday
afternoon Friends and sub-
scribers from the Concord
area. It was a delightful tea
party, and in these beautiful
surroundings Mrs Harris
Fahnestock spoke of the Or-
chestra's plans for the season,
while Mrs James H. Perkins
answered the many interesting
questions.

The Council is proud of the
members in Concord, headed
by Mrs Donald B. Sinclair and
Mrs Howard W. Davis, and
the many Friends.

187

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FUTURE PROGRAMS

Fourth Program

Friday afternoon 27 October at 2 o'clock
Saturday evening 28 October at 8.30
JORGE MESTER guest conductor
VERDI I vespri Siciliani - Overture

STRAUSS Don Quixote

JULES ESKIN, BURTON FINE

RAVEL Le tombeau de Couperin

BARTOK Suite from The Miraculous Mandarin

Next week the Orchestra opens its season in Philharmonic Hall, New
York, and gives concerts in Brooklyn and Newark. The next pair of
concerts in this series will be on 27 and 28 October, not on the dates
published in last week's program.

The talented young conductor Jorge Mester made his debut with the
Orchestra at the Berkshire Festival this summer in a Mozart program.
His appearance in two weeks' time will be his first with the Orchestra
in Boston. Jorge Mester is beginning his first season as Music Director
of the Louisville Symphony Orchestra, and has earned widespread fame
for his conducting of the works of the reluctantly rediscovered com-
poser P.D.Q. Bach.

Strauss' Don Quixote, which was last heard in this series four years ago,
captures beautifully the elements of the bizarre and the eccentric, the
fantasy and the reality of Cervantes' story, and portrays them in some
of his most successful and attractive music.

After the first performance of The Miraculous Mandarin in Prague in
the twenties there was a fight between Bartok's admirers and critics
which lasted for a quarter of an hour. Reactions in Symphony Hall
next week will doubtless be more staid, but the story of violence which
Bartok has set in this pantomime is one as relevant today as it was
forty years ago.

The concert will end at about 3.45 on Friday
and at about 10.15 on Saturday

Fifth Program

Friday afternoon 3 November at 2 o'clock
Saturday evening 4 November at 8.30

MOZART Symphony no. 36 in C The Linz'

KRAFT Concerto for percussion and orchestra

TCHAIKOVSKY Violin concerto in D op. 35

ITZHAK PERL MAN

programs subject to change

BALDWIN PIANO
RCA VICTOR RECORDS

189

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190

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present in the 1967-68 Boston University

CELEBRITY SERIES

THIS SUN. AFT., OCT. 15 at 3 • JORDAN HALL

GUARNERI STRING QUARTET

Haydn, Quartet in G major, Op. 76, No. 1; Berg, Quartet No. 3;
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Dorothy Reichenberger, Cello

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Dvorak, String Sextet in A Major, Op. 48
Brahms, String Sextet in G Major, Op. 36

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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 HENRY A. LAUGHLIN

THEODORE P. FERRIS EDWARD G. MURRAY

ROBERT H. GARDINER JOHN T. NOONAN

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NORMAN S. SHIRK

Assistant Manager

SANFORD R. SISTARE

Press and Publicity

ANDREW RAEBURN

Program Editor

JAMES J. BROSNAHAN

Business Administrator

HARRY J. KRAUT

Assistant to the Manager

MARY H. SMITH

Executive Assistant

SYMPHONY HALL

BOSTON

MASSACHUSETTS

195

Strauss
EIN HELDENLEBEN ■

BOSTON SYMPHONY ORCHESTRA
ERICH LEINSDORF

The Boston Symphony
Orchestra under Leinsdo

The "glorious mellow roar" for which the Boston Symphony Or
tra under Leinsdorf is famous has never been better displayec
in their recording of Richard Strauss' tone poem, Ein Heldeni
played here with stunning verve and power. In highlights from Se
and the seldom-heard The Egyptian Helen, the Bostonians pr
a rich collaboration with the vocal and dramatic gifts of Leo
Price. These two albums, recorded in D vnagroove sound, offer r
collectors a wealth of great listening pleasure.

»ca Vinon

Leontyne Price

Richard Strauss

Salome: Dance of the Seven Veils

Interlude and Final Scene

The Egyptian Helen: Awakening Scene

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THE FUND FOR THE BOSTON SYMPHONY

For the good of us all . . .

As part of the $5.5 million Fund for the Boston Symphony, the
Orchestra Trustees seek the support of foundations and charitable
trusts. A committee headed by General Robert Cutler and Thaddeus
Beal already has raised more than $514,000 from these sources. For
this achievement, the Trustees, musicians, and music lovers
everywhere can only be admiring and grateful. The Committee is
continuing its intensive activity in this area.

! !

This effort is preparing the way for new and long-term support
of the Orchestra. The plain truth is that a symphony orchestra
simply cannot pay for itself. This is why the Orchestra launched
The Fund for the Boston Symphony with its $5.5 million goal, of
which $4 million will match two-for-one the Ford Foundation
$2 million challenge, and an estimated $1.5 million will be
used to refurbish Symphony Hall and Tanglewood.

The Orchestra is also expanding other areas of financial support.
Ticket prices have been raised consistent with other orchestras; the
Friends, in response to the Ford Foundation challenge, have
contributed a record $329,000; the tempo of giving has risen all
along the line.

The support of foundations and charitable trusts is an essential
part of this rising tempo of giving to the entire range of cultural
and educational activities of The Boston Symphony Orchestra.
Foundation officers and trustees are invited to discuss gift
possibilities with General Cutler or Mr Beal or with any
member of The Board of Trustees by telephoning The Fund
office at Symphony Hall (617-536-8940).

197

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BOSTON SYMPHONY ORCHESTRA

ERICH LEINSDORF Music Director

CHARLES WILSON Assistant Conductor

FIRST VIOLINS

Joseph Silverstein

Concertmaster
Alfred Krips
George Zazofsky
Rolland Tapley
Roger Shermont
Max Winder
Harry Dickson
Gottfried Wilfinger
Fredy Ostrovsky
Leo Panasevich
Noah Bielski
Herman Silberman
Stanley Benson
Sheldon Rotenberg
Alfred Schneider
Julius Schulman
Gerald Gelbloom
Raymond Sird

SECOND VIOLINS

VIOLAS

Burton Fine
Reuben Green
Eugen Lehner
Jerome Lipson
Robert Karol
Akio Akaboshi*
Bernard Kadinoff
Vincent Mauricci
Earl Hedberg
Joseph Pietropaolo
Robert Barnes
Yizhak Schotten

CELLOS
Jules Eskin
Martin Hoherman
Mischa Nieland
Karl Zeise
Robert Ripley
John Sant Ambrogio
Luis Leguia
Stephen Geber
Carol Procter
Jerome Patterson
Ronald Feldman

BASSES
Henry Portnoi
William Rhein
Joseph Hearne
Bela Wurtzler
Leslie Martin
John Salkowski
John Barwicki
Buell Neidlinger
Robert Olson

FLUTES

Doriot Anthony Dwyer
James Pappoutsakis
Phillip Kaplan

PICCOLO

Lois Schaefer

OBOES

Ralph Gomberg
John Holmes
Hugh Matheny

ENGLISH HORN
Laurence Thorstenberg

CLARINETS

Gino Cioffi

Pasquale Cardillo
Peter Hadcock

E\) Clarinet

BASS CLARINET
Felix Viscuglia

BASSOONS
Sherman Walt
Ernst Panenka
Matthew Ruggiero

CONTRA BASSOON
Richard Plaster

HORNS

James Stagliano
Charles Yancich
Harry Shapiro
Thomas Newell
Paul Keaney
Ralph Pottle

TRUMPETS

Armando Ghitalla
Roger Voisin
Andre Come
Gerard Goguen

TROMBONES

William Gibson
Josef Orosz
Kauko Kahila

TUBA

Chester Schmitz

TIMPANI

Everett Firth

PERCUSSION

Charles Smith
Harold Thompson
Arthur Press

Assistant Timpanist
Thomas Gauger

HARPS

Bernard Zighera
Olivia Luetcke

LIBRARIANS

Victor Alpert
William Shisler

STAGE MANAGER

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

199

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Contents

Program for 27 and 28 October 1967

203

Future programs

253

Program notes

Verdi — Les vepres siciliennes - Overture
by James Lyons

204

Strauss — Don Quixote
by John N. Burk

210

Ravel — Le tombeau de Couperin
by James Lyons

230

Bartok — Suite from The Miraculous Mandarin
by James Lyons

233

Listening to Schoenberg — Part 2
by Peter Heyworth

240

Today's conductor

250

The soloists

25 1

! 1

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201

"Gerald and I were discussing my money, Daddy,
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tucked away in an investment management account at Old Colony.

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the coupons, exercises the options, keeps the records and supplies
the necessary data at tax time.

Father sleeps better nights, knowing that Lucy's nestegg is under
the full-time care of a team of investment specialists whose expertise
he knows from personal experience.

And Gerald? Frankly, he might as well forget the tip his barber
gave him about sesame-seed futures!

Possibly you know someone in your family whose portfolio could
benefit from this sort of professional attention. If so, send 'em round!

THE FIRST & OLD COLONY

The First National Bank of Boston and Old Colony Trust Company

202

EIGHTY-SEVENTH SEASON 1967-1968

Fourth Program

Friday afternoon 27 October at 2 o'clock
Saturday evening 28 October at 8.30

JORGE MESTER guest conductor

VERDI

Les vepres siciliennes - Overture

First performance at these concerts

STRAUSS

Don Quixote op. 35

Introduction; Theme with variations; Finale

JULES ESKIN cello
BURTON FINE viola

INTERMISSION

RAVEL

Le tombeau de Couperin

Prelude
Forlane
Menuet
Rigaudon

BARTOK

Suite from The Miraculous Mandarin op. 19

The concert will end at about 345 on Friday
and at about 10.15 on Saturday

BALDWIN PIANO
RCA VICTOR RECORDS

203

Program Notes

GIUSEPPE VERDI

Les vepres siciliennes - Overture
by James Lyons

Verdi was born at Le Roncole in the Duchy of Parma on 10 October 1813 and died
in Milan on 27 January 1901. Les vepres siciliennes was first given in Paris on
13 June 1855.

The instrumentation: flute, piccolo, 2 oboes, 2 clarinets, 2 bassoons, 4 horns,
2 trumpets, 2 cornets, 3 trombones, tuba, timpani, snare drum, bass drum, cymbals
and strings.

Most of Verdi's early works are unknown to the operaphile because
they failed to hold the boards. It is more difficult to make excuses for
Les vepres siciliennes because it was his twentieth opera. Its imme-
diate predecessors were Rigoletto, II Trovatore, and La Traviata. Only
seven more were to follow, each of them a masterpiece. What went
wrong with Les vepres?

The trouble is that it was composed expressly for the Paris Opera,
which is to say that it had to be a sprawling five-act affair with plenty
of padding and sizable chunks of 'time out' for balletic divertissements.
The Overture is one of Verdi's best; but what follows is variable in the
extreme, due in no small measure to the somewhat ridiculous and
otherwise poor libretto (by Eugene Scribe and Charles Duveyrier). The

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205

opera nevertheless enjoyed a successful premiere (13 June 1855), and
is still to be encountered in the repertoire of one or another Italian
house — where, of course, it is given as / vespri siciliani.

The title alludes to a specific event. The 'Sicilian Vespers' was a
particularly bloody massacre that took place in Palermo on the Monday
evening after Easter in the year 1282. Its chief target was the despotic
Charles of Anjou, a French nobleman who had become King of Naples
and Sicily with the connivance of several successive Popes. He was
hated by his subjects because he had brought in French lords and
ladies, French soldiers, and French tax agents. He was equally un-
popular with the Emperor Michael of Byzantium, who assumed (cor-
rectly) that Charles meant to conquer the Eastern Empire. Byzantium
had no defenses, but it had money. Michael shrewdly offered an
irresistible amount of it to the King of Aragon, whose prime minister
had been exiled by Charles. The short of it is that the King of Aragon
was grateful enough to offer the services of his prime minister, a former

"Mr. Sullo's piano playing represents genuine musicality and a formidable technic."

Cyrus Durgin, "Boston Globe," 4/18/53

SALVATORE SULLO

- PIANO -

Foreign Judge at Final Degree Exams in Principal Italian Conservatories: 1965 and 1967
2 MICHELANGELO ST., BOSTON, MASS. TEL. 227-8591

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206

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207

Neapolitan physician named John of Procida. The vengeful emigre
worked out an elaborate plan for an uprising, and everything went
according to schedule — beginning with the murder of all the French- j
men in Palermo. Soon afterward the Emperor Michael wrote in his
diary: 'If I should claim I was God's instrument in bringing freedom
to the Sicilians, I should only be stating the truth.'

It remains to be noted that Scribe makes very little of all this in his
libretto. For one reason, he had already done essentially the same
libretto for Donizetti fifteen years before, writing it around the Spanish
occupation of the Netherlands in 1573. Donizetti died before com-
pleting his opera (7/ Duca d'Alba), and the evidence is that Scribe
thereupon simply retrieved the libretto, changed the locale and the cast
of characters, and sold the same goods all over again to Verdi!

John Locke

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209

RICHARD STRAUSS

Don Quixote op. 35
by John N. Burk

Strauss was born in Munich on 11 June 1864 and died in Garmisch-Partenkirchen on
8 September 1949. He completed the score of Don Quixote on 29 December 1897.
He subtitled the work 'Fantastic variations on a theme of a chivalrous nature' and
dedicated it to Joseph Dupont. Fritz Wullner conducted the first performance in
Cologne on 8 March 1898. The orchestra played Don Quixote for the first time
on 12 February 1904, when Wilhelm Gericke conducted and Rudolf Krasselt and
Max Zach were soloists. The composer himself conducted a performance at the
Pension Fund concert in April 1904. The orchestra played Don Quixote most
recently in this series on 29 and 30 November 1963.

The instrumentation: 2 flutes and piccolo, 2 oboes and english horn, 2 clarinets and
bass clarinet, 3 bassoons and contra-bassoon, 6 horns, 3 trumpets, 3 trombones and
tuba, tenor tuba, timpani, snare drum, bass drums, cymbals, triangle, tambourine,
wind machine, glockenspiel, harp, and strings, with solo cello and viola.

Don Quixote, more than any other subject which Richard Strauss fell
upon in the triumphant progress of his tone poems, seemed to match
his musical proclivities. The strain of the bizarre which runs through
all his music, his richly apparelled melodic felicity, the transfiguring
passion which sets the seal of enduring beauty upon each of his more
important scores — these qualities were finely released and closely inte-
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is suddenly touched with the dreams and visions of chivalry. The
rounded picture which Cervantes drew, where such baser elements as
farcical humor and incongruity contribute to the full portrait of a
noble and lovable character, has found its just counterpart in Strauss's
musical narrative.

Strauss is said to have written and allowed to be inserted in the printed
programs of early performances identification of each variation. An
elaborate and detailed explanation by Arthur Hahn appeared in
Schlesinger's Musikfiihrer. The composer has given no authorization
of these. Certain notes were allowed in a published piano arrangement.
In the full score, only two verbal clues appear: over the theme of
Don Quixote is inscribed 'Don Quixote, the Knight of the sorrowful
Countenance', and over the theme of the squire, which shortly follows,
merely his name: 'Sancho Panza'. The variations are no more than
numbered, save when there is an occasional adjective attached to the
tempo indication. The introduction is marked 'Ritterlich und galant',
the second variation 'Kriegerisch'.

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213

INTRODUCTION

Strauss's 'Variations' have no real resemblance to the classical form
of that name. Instead of one theme, there are three, corresponding with
the principal characters in the story almost as leading motives: Don
Quixote, Dulcinea — the lady of his dreams, and Sancho Panza. Each
appears constantly in relation to the succession of musical episodes.
Indeed, the themes are not varied in the traditional sense of ornamen-
tation or modification by development. They rather proceed on their
way basically unchanged, encountering various adventures in a musical
sense corresponding to the story, reflecting the circumstance of the
moment as higher or baser aspirations collide with reality and are
rebuffed. In the introduction, before the composer is ready even to
make the explicit statements of his themes, he has foreshadowed the
character of Don Quixote, and of Dulcinea who dominates Don
Quixote's thoughts. He has developed a preliminary fragment of the
theme with a rich cluster of episodes, and has set the tone of his story
in masterly fashion, establishing a precise mood which is at once
romance and eccentricity, which hovers always between noble dreaming
and madness. The Knight is immediately disclosed, his bold chivalric
outline subsides into tender musing, and the music of Dulcinea is heard
from the solo oboe over a harp accompaniment. Thoughts of Dulcinea
at once engender in the hero's mind thoughts of brave deeds to be
undertaken in her defense. The Knight's theme, stated in heroic
augmentation by the brass, leads to a climax as a harp glissando rises
to a crashing chord. Here is the point, say the analysts, where Don
Quixote goes mad, where, as the book has it, his wits are 'wholly
extinguished'.

The hero of Cervantes, according to the opening of the book, was an
old-fashioned gentleman of a village in La Mancha, who lived sparsely
upon his income.

His pot consisted daily of somewhat more beef than mutton; a gallimawfry each
night, collopes and eggs on Saturdayes, lentils on Fridayes, and a lean pigeon on
Sundayes did consume three parts of his rents. [He had little to do to pass his time
besides reading books on knight-errantry, and meditating upon an outmoded chivalry.

214

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At last — ] through his little sleep and much reading, he dried up his brains in such
sort, as he lost wholly his judgment. [He then — ] fell into one of the strangest
conceits that madman ever stumbled on in this world, to wit, it seemed unto him very
requisite and behooveful, as well for the augmentation of his honors, as also for the
benefit of the commonwealth, that he himself should become a knight errant, and
go throughout the world with his horse and armor to seek adventures, and practice
in person all that he had read was used by knights of yoare, revenging of all kinds
of injuries, and offering himself to occasions and dangers, which being once happily
achieved, might gain him eternal renown.*

Unearthing an ancestral suit of armor, which lacked a helmet, he
devised the missing part from cardboard and, requiring a horse, he
mounted the steed Rozinante, an animal which 'had more quarters
than pence in a sixpence through leanness.'

Upon a certain morning, somewhat before the day (being one of the warmest of
July) he armed himself Cap a pie, mounted on Rozinante, laced on his ill-contrived
helmet, imbraced his target, took his launce, and by a postern-door of his base-court
issued out to the field, marvelous jocund and content to see with what facility he had
commenced his good desires.

THEME

The theme already clearly indicated and developed is first stated in

its rounded fulness by the cello solo. There follows immediately the

theme of Sancho Panza. It emerges from the bass clarinet and tuba with

* The quotations are from the first English translation, made hy James Shelton (Edition o£
1620).

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an earthy peasant plainness and is taken up by the viola solo. For the
remainder of the tone poem, the cello is to depict Don Quixote, and
the viola his squire. Strauss is as apt in his delineation of Pancho Panza
as of his master. 'He had a great belly, a short stature, and thick
legges/ wrote Cervantes, 'and therefore I judge he was called Canca
[thigh bones] or Panca [paunch], for both these names are written
indifferently of him in the history.' He is stolid and loyal, eager for
the material comforts and pleasures of life, but takes his medicine
cheerfully enough when he gets from his master little but a dubious
fare of hopes to an accompaniment of knocks from the world they
encounter. Strauss's Sancho Panza, like the Spanish original, is a home-
spun, good-natured fellow, jogging along stoutly beside his crack-
brained master, and never quite losing his faith in him.

VARIATION I

The first variation ('Gemachlich') is unmistakably the adventure of
the windmills. Don Quixote's theme (cello solo), and that of Sancho
Panza (now bass clarinet) are stated jointly as if the two companions
were trotting along together. One hears the ponderous sails of the
windmills, the wind which stirs them, the onslaught of the Knight, his
downfall (descending harp glissando and drum beats). The Knight is
left with only his tender thoughts of Dulcinea unshaken.

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VARIATION II

This variation, which Strauss indicates as 'warlike', recalls the adven-
ture of the flock of sheep. The bleating of the sheep is accomplished
on the muted brass. Don Quixote finds his new imaginary enemy less
obdurate, but gets another cracked head for his pains.

'How?' quoth Don Quixote. 'Dost not thou heare the horses neigh, the trumpets
sound, and the noyse of the drummes?' 'I hear nothing else,' said Sancho, 'but the
great bleating of many sheepe.'

And so it was indeed, for by this time, the two flocks did approach them very
neere. . . . Don Quixote set spurres to Rozinante, and setting his lance in the rest,
he flung downe from the hillock like a thunderbolt. Sancho cryed to him as loud
as he could, saying 'Returne, good Sir Don Quixote, for I vow unto God, that all
those which you go to charge, are but sheepe and muttons. Returne, I say — alas
that ever I was borne, what madnesse is this? Look, for there is neither gyant, nor
knight, nor cats, nor armes, nor shields, parted, nor whole, nor pure azures, nor
divellish. What is it that you do, wretch that I am?' For all this, Don Quixote did
not returne — but entered into the middest of the flocke of sheep, and began to lance
them with such courage and fury, as if hee did in good earnest encounter his mortall
enemies.

The sheep-heards that came with the flock cried to him to leave off; but seeing
their words took no effect, they unloosed their slings, and began to salute his pate
with stones as great as one's fist.

(Book III, Chapter 4)

VARIATION III

This variation consists of a musical dialogue suggestive of the many
discourses which took place between the Knight and his squire. Don
Quixote seems to speak of the virtues and rewards of chivalry. Sancho

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Panza is dazzled by a glittering vision which his master holds out to him
of an island of which he shall be Governor. But the Knight's specula-
tions upon the ideal, his rapturous musings upon the Lady Dulcinea,
the little serving man cannot follow. He is about to interrupt with his
more prosaic thoughts when the master rebukes and silences him.

VARIATION IV

The two adventurers meet a company of pilgrims singing their hymns
as they go. Don Quixote decides at once that they are desperadoes who
are abducting a great lady. He rushes to the rescue. But the servants
of God stoutly hold their ground, and the Knight falls again as his
victors go on their way placidly resuming their singing. Sancho Panza
hastens to the side of his prostrate master, thinking that he has been
surely killed this time, but there are signs of life.

VARIATION V

This variation has been called the 'Vision of Dulcinea'. Don Quixote
refuses to sleep at night while danger is at hand, and sits beside his
slumbering servant. His thoughts turn again to Dulcinea, as her theme
is tenderly woven with his own. The variation becomes a rapturous
nocturne.

VARIATION VI

Blunt reality follows hard upon the visionary variation. The two pass

on the road a blowsy country wench whom Sancho points out jokingly

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as Dulcinea. It is not she, but it might as well be. The music breaks
in upon romantic illusion, with coarse and boisterous dance measures.
Don Quixote decides that some insidious magic power has worked this
transformation, and he swears vengeance.

VARIATION VII

'The Ride Through the Air'. Don Quixote and Sancho Panza are
seated blindfolded upon a wooden horse, and are led by their imagi-
nation to believe that they are galloping through the air. Rushing
chromatic passages, supported by a wind machine off stage, create a
sense of motion. The pedal in D on drums and basses has been pointed
out as signifying that the pair have never left the ground.

VARIATION VIII

'The Voyage in the Magic Boat'. Don Quixote finds an empty boat
on the shore of a stream, and believes that it has been miraculously
placed at his disposal so that he may accomplish a rescue. The two
push off from the shore as the Knight's theme is transformed into a
barcarolle. But the boat capsizes and they barely manage to swim to
land. Their disputation ends this time in a joint prayer of thanksgiving
for their deliverance from drowning.

VARIATION IX

This variation is marked 'quickly and stormily'. Don Quixote pro-
ceeds upon Rozinante still undaunted. Two mendicant friars appear
upon the road ahead, plodding along peaceably upon their mules. The
Knight sees in them a pair of malignant magicians, the very ones who

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have been playing so many tricks upon him. He interrupts their chant
(two bassoons unaccompanied) by a sudden charge which effectually
puts them to flight.

VARIATION X

A friend of Don Quixote's youth contrives a scheme to cure him of his
mad delusions and suicidal exploits, which have by this time become
a public nuisance. He masquerades in knightly armor and challenges
the Don to combat, on the understanding that the vanquished must
implicitly obey the victor's will. They engage furiously in battle.

They both of them set spurres to their horses, and the Knight of the White Moone's
being the swifter, met Don Quixote ere hee had ranne a quarter of his careere so
forcibly (without touching him with his lance, for it seemed he carried it aloft on
purpose) that he tumbled horse and man both to the ground, and Don Quixote had
a terrible fall; so he got straight on the top of him; and, clapping his lance's point
upon his visor, said, 'You are vanquished, Knight, and a dead man, if you confesse
not, according to the conditions of our combate.' Don Quixote, all bruised and
amazed, without heaving up his visor, as he had spoken out of a toombe, with a
faint and weak voice, said, 'Duncinea del Toboso is the fairest woman in the world,
and I the unfortunatest Knight on earth; and it is not fit that my weaknes defraud
this truth; thrust your lance into me, Knight, and kill mee, since you have bereaved
me of my honor.' 'Not so truly,' quoth he of the White Moone, 'let the fame of my
Lady Dulcinea's beauty live in her entirenesse; I am only contented that the grand
Don Quixote retire home for a yeere, or til such time as I please, as we agreed,
before we began the battell.' . . . And Don Quixote answered that, so nothing were
required of him in prejudice of his lady Dulcinea, hee would accomplish all the
rest, like a true and punctuall knight.

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Don Quixote realizes in anguish that now even his fair intentions and
brave determination are of no avail. He resolves to adopt the simple
life of the shepherd (as the pastoral theme from the sheep variation is
heard). The illusions, the haunting shadows are at last swept away,
and his mind clears.

FINALE

'The Death of Don Quixote'. The Knight has regained his sanity (his
theme loses its eccentric guise) but his spirit is broken and his strength
is ebbing away. His friends and the members of his household, gathered
around him, are incredulous at first as he addresses them in words of
sound sense.

He had no sooner ended his discourse and signed and sealed his will and testament,
but a swouning and faintness surprising him, he stretched himselfe the full length
of his bed. All the company were much distracted and mooved thereat, and ranne
presently to help him; and during the space of three days, that he lived after he
had made his will, he did swoun and fall into trances almost every houre. All the
house was in a confusion and uprore; all which notwithstanding the neece ceased
not to feede very devoutly: the maid servant to drinke profoundly, and Sancho to
live merrily. For, when a man is in hope to inherit anything, that hope doth deface

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or at least moderate in the minde of the inheritor the remembrance or feeling of the
sorrow and griefe which of reason he should have a feeling of the testator's death.
To conclude, the last day of Don Quixote came, after he had received all the sacra-
ments; and had by many and godly reasons made demonstration to abhorre all the
books of errant chivalry.

The notary was present at his death and reporteth how he had never read or
found in any book of chivalry that any errant knight died in his bed so mildly, so
quietly, and so Christianly as did Don Quixote. Amidst the wailefull plaints and
blubbering teares of the bystanders, he yeelded up the ghost, that is to say, hee died.

Strauss rises to the pathos of the last moment in the life of the ridicu-
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in reminiscence enduringly noble and touching. The voice of the cello
ends with an expiring sigh before the final cadence.

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MAURICE RAVEL

Le tombeau de Couperin
by James Lyons

Ravel was born in Ciboure, Basses-Pyrenees on 7 March 1875 and died in Paris
on 28 December 1937. The suite in its orchestral form was first performed at a
Pasdeloup concert in Paris under Rhene-Baton on 28 February 1920. It was intro-
duced in this country by Pierre Monteux at these concerts on 19 November of the
same year. The most recent performances in this series were on 28 and 29 April 1961
under the direction of Charles Munch.

The instrumentation: 2 flutes, 2 oboes and english horn, 2 clarinets, 2 bassoons,
2 horns, trumpet, harp and strings.

Ostensibly this music represents neoclassic expression in its purest
distillate. And it was, indeed, conceived as a pianistic idealization of
the clavecin aesthetic exemplified by Francois Couperin le Grand. But
that was in the fateful summer of 1914, and even Ravel's sleepy St
Jean-de-Luz was traumatized by the news of Archduke Francis Ferdi-
nand's assassination at Sarajevo. France mobilized overnight, and by
August was at war. By then the sketches for Le tombeau de Couperin
were in a desk drawer.

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When he returned to them three wretched years later the composer was
a very different man, broken in health and shattered emotionally by
the loss of his mother, who had died barely a week after his medical
discharge. Thus it was that the six movements became as many
'tombstones' (each one inscribed separately) for friends and regimental
comrades who had been killed on the Western Front.

As a work for solo piano — Ravel's last, incidentally — Le tombeau
was not a notable success. Strictly speaking it could not have been
because it marked a stylistic retrogression after the harmonic leaps
forward in the Valse nobles et sentimentales and Gaspard de la nuit.
But fortunately that was not the end of the matter.

Two years later, by which time Ravel was much healthier in body and
spirit, he was delighted to hear that Jean Borlin wanted to choreograph
Le tombeau for Rolf de Mare's Swedish Ballet (actually the suggestion
had come from Ravel's old Montmartre confrere, the conductor D. E.
Inghelbrecht). Whereupon the composer himself scored four of the
movements as a concert suite, omitting the Fugue and Toccata and
also, significantly, omitting all of the dedications — as if to testify that
in this orchestral guise Le tombeau was not a mere arrangement but
a new work altogether, intended to have a life of its own. And so it
has had, uninterruptedly, ever since its Paris premiere on 28 February
1920.

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231

Ironically, the orchestral version of Le tombeau de Couperin probably
has more neoclassic purity in its resplendence than the leaner-lined
keyboard prototype; the modern orchestra, after all, was the instrument
Ravel knew best. No matter, it is a masterpiece of its genre — whether
or not one agrees with Edwin Evans that the composer incarnated 'the
very spirit of the precise and ordered classicism of the eighteenth
century.'

The concert suite comprises a Prelude, Forlane, Menuet, and Rigaudon.
The forlane is akin to the jig, but not to Bach's because, being Italian
in origin, it is not contrapuntal. Admirers of Oliver Wendell Holmes
will recall his use of 'rigadoon' as a synonym for 'sashy' in Elsie Venner;
Rousseau had ascribed the form to a certain dancing master named
Rigaud, but in fact no one can attest to its origins. Whatever the
disparate natal circumstances involved, as importuned by Ravel these
old dances become as one in their evocation — or simulation — of an
unmistakably Gallic quintessence.

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BELA BARTOK

Suite from The Miraculous Mandarin op. 19
by James Lyons

Bartok was born in Nagyszentmiklos, Hungary on 25 March 1881 and died in New
York on 26 September 1945. The Miraculous Mandarin, a Pantomime in One Act
by Melchior Lengyel, was composed between October 1918 and May 1919, according
to a line in the score, and published in 1925. The first performance was in Cologne
in 1926. The concert version of the ballet, which omits two episodes and the final
pages of the score, had its 'first performance anywhere' by the Cincinnati Symphony
Orchestra under the direction of Fritz Reiner on 1 April 1927. It was last performed
by the Boston Symphony Orchestra under the direction of Richard Burgin on 4 and
5 November i960.

The instrumentation: 3 flutes and 2 piccolos, 3 oboes and english horn, 3 clarinets
(second clarinet alternating B flat, D and E flat clarinets), bass clarinet, 3 bassoons
and contra-bassoon, 4 horns, 3 trumpets, 3 trombones, tuba, timpani, snare drum,
tenor drum, bass drum, cymbals, triangle, tarn tam, xylophone, celesta, harp, piano
and strings.

To state it plainly, Bartok asked for every bit of the trouble and the
neglect that accrued to his three works for the stage: the opera Blue-
beard's Castle (191 1) and the two ballets, The Wooden Prince (1914-16)
and The Miraculous Mandarin (1919).

As to the opera and the earlier ballet, Bartok's difficulties were occa-
sioned by the fact that his librettist/scenarist Bela Balazs was an
avowed Communist, all of whose works were banned when he was
exiled from Hungary with the collapse of the Kun regime shortly after
World War I. (That no Marxist influence is discernible in either of
his collaborations with Bartok, obviously was beside the point.)

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Quite another order of trouble, and consequent neglect, was invited b}j
The Miraculous Mandarin. The book by Menyhert Lengyel is sc|
sordid as to be anathema in the fantasy-world of tarlatan and tulle
Mascagni-like and more recently Menotti-like verismo is taken fol
granted in the lyric theater, but balletomanes still eschew the uglier
aspects of 'reality* and most especially if the locale be here-and-now
(murder and mayhem in ancient Greece are all right, though these
tend to be the province of 'modern dance' in general and Martha
Graham in particular — in a ballet such direct behavior is apt to be
suffused with symbolism, spells, or some other supernatural apparatus).

No wonder, then, that choreographers in droves were put off by the
'Action' summarized in the Universal-Boosey & Hawkes score with
merciful brevity as follows:

'In a shabby room in the slums, three tramps, bent on robbery, force a
girl to lure in prospective victims from the street. A down-at-heel
cavalier and a timid youth, who succumb to her attractions, are found |
to have thin wallets, and are thrown out. The third "guest" is the eerie
Mandarin. His impassivity frightens the girl, who tries to unfreeze him
by dancing — but when he feverishly embraces her, she runs from him
in terror. After a wild chase he catches her, at which point the three
tramps leap from their hiding-place, rob him of everything he has, and
try to smother him under a pile of cushions. But he gets to his feet,

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his eyes fixed passionately on the girl. They run him through with a
sword; he is shaken, but his desire is stronger than his wounds, and he
hurls himself on her. They hang him up; but it is impossible for him
to die. Only when they cut him down, and the girl takes him into her
arms, do his wounds begin to bleed, and he dies.'

The foregoing has been said to delineate 'the unconquerable power of
human aspiration — even beyond death itself.' But to stage this lurid,
macabre, rather repulsive business effectively within the outer limits of
decorum poses a challenge that few companies have chosen to face.

The premiere production, with choreography by Hans Strohbach, came
seven years after Bartok had completed the score; it was banned after
the opening night (Cologne: 27 November 1926). In 1931 Budapest
planned to mount the work in honor of the composer's fiftieth birth-
day, but all plans were canceled after the dress rehearsal; Budapest
never did see a production until Bartok was dead. It has been pre-
sented since then with choreography by, among others, Todd Bolender
(New York City Ballet, 1951), Jack Carter (Bavarian State Opera, 1955),
and Alfred Rodrigues (Sadler's Wells, 1956); but none of these produc-
tions has survived.

Bartok's music is another matter altogether, long since attested by its
sovereign autonomy as an orchestral tour de force. The concert version
is by no means a precis of the whole. It comprises the first two-thirds
of the complete score virtually intact; only two cuts are indicated, and
they are tiny. Specifically, the Suite follows the scenario straight
through to the climactic moment of the Mandarin's 'wild' pursuit of

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the girl. (This work seems to have been given its 'first performance
anywhere' by the Cincinnati Symphony Orchestra under Fritz Reiner
on 1 April 1927. But there is some confusion about this; according to
other reliable sources Reiner offered 'two scenes' from the ballet and
the Suite proper was introduced by the Budapest Philharmonic under
Erno Dohnanyi on 15 October 1928.)

The music proceeds without interruption, although its unfoldment
encompasses several discrete sections. Listeners following the story line
need only keep in mind that each successive 'Seduction Call' (there are
three) is signalized by a floridly obtrusive clarinet solo.

Finally, it is incomprehensible that the composer really could have
expected a typical 'pickup' pit ensemble to cope with the ferocious
demands of this score. Bartok calls for an enormous and maximally
virtuosic orchestra. At times the sheer sonority is overwhelming, not
to speak of the unremitting intensity and the massive kinetic energy
that piles up with merciless ostinati in the apocalyptic peroration.
There is no other music quite like this, by Bela Bartok or anyone else.

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Listening to Schoenberg - Part 2

by Peter Heyworth

In the first part of his article, which appeared in the program book
two weeks ago, Mr Heyworth traced the disintegration of the tradi-
tional nineteenth century musical grammar, and pointed out the chief
difficulty of understanding Schoenberg 's music: not only is his thought
complex but his language in the pieces written after 1908 is also new.
He pointed out that even in the first pieces which Schoenberg wrote
in the twelve-note style the composer already attained a remarkable
musical coherence.

How did Schoenberg arrive at this coherence? To that question there
can be no answer: the subconscious mind has laws of its own and they
certainly stood Schoenberg in good stead. But in Pierrot Lunaire sig-
nificant developments already point the way to the future. This song
cycle is written for a voice using the rather questionable device of
'Sprechgesang' (or singing speech) and a handful of solo instruments
deployed with an extraordinarily prophetic sense of color and texture.

These are side issues, however; the most important thing in Pierrot
Lunaire is the reappearance of pre-classical contrapuntal devices, fugue,
canon, passacaglia, all extremely rare in the music of the time. It is
no coincidence that they should loom large in a chamber work, for the
spirit of chamber music, in which the saturated harmonic texture of a
big orchestra cannot be achieved, usually presupposes a degree of
counterpoint — music conceived or heard horizontally rather than
vertically.

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Of course, even at the apogee of romanticism, counterpoint had never
disappeared: a score like Die Meistersinger is full of it. But the point
is that romantic counterpoint was largely subservient to harmonic
order. Schoenberg arrived on the scene just as the foundations of that
order were collapsing, and as it was growing steadily less able to
impose its will on the movement of contrapuntal lines, which were in
turn just starting to grow bolder and more independent. The impor-
tance of this in the development of Schoenberg's style cannot be over-
emphasized.

Pierrot Lunaire was one of the composer's last scores written before
1914. During the First World War he worked on a huge uncompleted
oratorio, Die Jakobsleiter. But the music did not go well, and unbe-
known to the outside world he set about a profound reexamination of
his art. For over eight years, from 1915 to 1923, he published nothing.
Then in 1923 he surfaced with two new works, Piano Pieces op. 23 and
the Serenade op. 24, both of which for the first time made use of
dodecaphonic methods. In the following year he wrote two further
works, the Suite for Piano op. 25 and the Wind Quartet op. 26, in both
of which he systematically exploited the new technique.

Millions of words have been written about the technique of 'composing
with twelve notes equal to each other,' and I don't intend to add many

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more. It has been claimed again and again that the system is an intel-
lectual construction. To a certain point, of course it is. But why
should this cause so much ado in a world that has accepted The Art of
Fugue? The tempered scale, in which all music since Bach has been
written, is itself an intellectual construction, and so is sonata form,
the da capo aria, rondo form, and so on. The whole conception of art
presupposes intellectual construction. While it cannot of itself pro-
duce art, it provides a basis that renders art possible. And so it is with
twelve-note serialism. It has given rise to thousands of valueless con-
trivances without a spark of creativity, just as sonata form has done.

It has also given rise to a few masterpieces. The important thing for
the listener is to steer clear of the theological fury of the theoretical
disputes which have clouded the whole question, and to concentrate
on the music itself.

How then does one listen to twelve-note music? I am tempted to
answer that one listens to it much as one listens to any other music.
Yet this is true only up to a point, for the fact that tonality is not only
absent but often deliberately banished at first gives the listener the
uncomfortable feeling of there being nothing to hang on to, nothing
to relate the notes to. In this sense it is a new world in which the laws
of tonal gravity no longer apply. But the fact that the notes are not
related to a key note does not mean that they are not related at all.

On the contrary, they are all interrelated one to another, only some
relations do not dominate others as they do in tonal music. To find
one's way about in this new world of harmonic relativity is largely a
knack. Just as in learning to swim there comes a moment when you
take your toe off the bottom without sinking, so in dodecaphonic music
there comes a moment when you no longer seek to relate everything to
a key note but begin to perceive how a sequence of events can make
sense without it.

There is, however, one way in which the listener can help himself.
Pierrot Lunaire, as I have already mentioned, is both atonal and highly,
contrapuntal. In fact, Schoenberg was here already well on the way to

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244

twelve-note music. Because tone rows are much more readily grasped
as rows — that is, as themes, motives, or melodies — than as chords, it is
a good idea to start by listening to dodecaphonic music as atonal
counterpoint, in other words just as one would listen to Pierrot Lunaire.
This is not to say that the vertical, harmonic element does not matter —
but to start by seeking harmonic order almost invariably tempts the ear
to try to account for events by a tonal order which no longer exists.

Certainly, atonal counterpoint is not, at first, easy to grasp. When we
listen to Bach, the harmonic order in the music helps us to relate the
simultaneous melodic lines that make up the counterpoint. Because
in Schoenberg the harmony seems to offer little help, dodecaphonic
counterpoint at first sounds confused and complex, and today I blush
to think of the works that I once had the temerity to describe as over-
stuffed or overelaborate. But the ear is a wonderfully elastic instru-
ment, and once it is given the chance to acclimatize itself, and to train
itself to listen to melodic lines with no tonal relationship, it soon does
so without difficulty, though I will not pretend that Schoenberg's
music — total, atonal, or dodecaphonic — is ever really simple.

Viewed from this angle it becomes clear that Schoenberg arrived at
serialism, not as an abrupt change of front, but rather as a systemization
of what he was already practicing in works like Pierrot Lunaire. In
fact the first proper dodecaphonic piece of music is the Theme and
Variations from the Serenade; this movement fits so effortlessly and
without change of style into the remainder of the work that anyone
not given prior notice would have to study the score itself to say which
is the serial movement.

But if serialism is in itself stylistically neutral, the practice of it natu-
rally had an effect on Schoenberg's development as a composer. In his
prewar atonal music his difficulty had lain in finding some means of
order to enable him to sustain length. Serialism provided that prin-
ciple, and once he had mastered it fully in works like the Wind Quintet
op. 26 (which accordingly preserves something of the feeling of a
prolonged and strenuous exercise) his problem lay in applying it to a
full orchestral work. It is not hard to see why this presented a special
difficulty, for the big romantic orchestra had been developed to its
maximum extent by composers like Strauss, and indeed by the young
Schoenberg himself, to clothe a rich and full-blown harmonic idiom.

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Once music turned with serialism in the direction of counterpoint, the
whole existence and relevance of the big orchestra was called into
question, for the rich textures that so well match rich harmony are not
only unnecessary to counterpoint but an encumbrance to its audibility.

When in 1928 Schoenberg's first orchestral dodecaphonic score, the
Variations for Orchestra op. 31, was performed, it became clear that
he had met this problem by using his instrumental resources with the
utmost restraint. Indeed, many of the variations are written for
chamber orchestra and the full body is employed relatively rarely.
Even so, young postwar composers have criticized Schoenberg for
applying a new technique to materials inappropriate to it.

To dismiss the work on such grounds would be needlessly destructive:
it is, after all, a major work by a major composer. But the Variations
is certainly a score looking backwards as well as forwards, and it is
paradoxical that once Schoenberg had evolved his method, his music
takes on a distinctly classical feeling quite absent from his pre-1914
works. In a sense he remained all his life profoundly envious of his
great Viennese predecessors, who had inherited a viable language in
which to express themselves. Indeed the titanic disruptive activities of
his younger days should perhaps be viewed as demolition preliminary
to forging such an instrument for himself, and once he felt that with
serialism he had done so, he in some sense set about re-creating the past.

ARTHUR FIEDLER CONDUCTS THE
YOMIURI NIPPON SYMPHONY ORCHESTRA
AT SYMPHONY HALL ON 3 NOVEMBER

The first orchestra from Tokyo ever to play in Symphony Hall will
give a concert here on Friday evening 3 November at 8.30. Arthur
Fiedler, who is leading the Yomiuri Nippon Symphony Orchestra on
a tour of the United States, will conduct. The soloist will be Hiro
Imamura, an American pianist whose family was originally from Japan.
She will play Chopin's Piano Concerto no. 2.

The program will be

ROSSINI Semiramide - Overture

CHOPIN Piano Concerto no. 2 in F minor

PROKOFIEV Classical Symphony in D

BERNSTEIN Suite from 'West Side Story*

OFFENBACH Suite from 'Gaite Parisienne'

Tickets are available from the Box Office at Symphony Hall at

$3> $4> $5' $6.

246

Thus his early dodecaphonic works — pieces such as the Wind Quintet,
:he Variations for Orchestra, the Suite op. 29, the Third Quartet — not
Dnly bear classical titles but are more truly neoclassical in spirit than
nost of the wrong-note pastiches which irresponsibly assumed that
designation in the interwar period. It is indeed a fascinating thought
:hat the careers of Stravinsky and Schoenberg, so profoundly different
n almost every way, did for years pursue remote but parallel paths.

But Schoenberg was much more of an operatic composer than he is
usually given credit for, and it was perhaps the dramatic demands of
two utterly different stage works that provided the motive force for his
evolution from this classical phase. The one-act Von Heute auf Morgen
s not exactly a comic riot, and it is dogged by a vulgar and inept
ibretto. But wry humor the music has in abundance and in the
insembles there is a delicate filigree which, improbable though it may
iound, looks back to Cost fan tutte, while the idiom as a whole has a
luidity and ease earlier absent from Schoenberg's dodecaphonic music.
Here at last he appears as total master of his new method.

The other opera is, of course, Moses und Aron. Even in its unfinished
state it stands as a sort of summa of Schoenberg's achievement, a work
of a remarkable grandeur of conception, profundity, and expressive
~ange. Precisely why, in well-nigh twenty years, he never brought
himself to finish this masterpiece remains a mystery. But the fact that
in its unfinished state the opera seems so complete suggests that uncon-
sciously the moment of Moses' total defeat and despair had a deeper
import for Schoenberg than the triumph and justification planned for
ithe final act.

'The second act of Moses und Aron was the last thing that Schoenberg
completed before the Nazis forced him to leave Germany and to seek
refuge in the United States. There is a deep irony in the fact that the
Nazis could see only decadence and distortion in the music of the man
who, as he alighted on the dodecaphonic method, wrote to a friend,
'I have discovered something that will ensure the dominance of German
music for a thousand years.' That would just have lasted out Hitler's
thousand-year Reich. The idea of Schoenberg as a rootless cosmo-
politan is a grotesque perversion of the truth. On the contrary, his
aesthetic horizons rarely reached far beyond his native Mitteleuropa.

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248

ife in America was not altogether easy for so quintessential a central
[European as Schoenberg. His unique blend of paranoia and incor-
ruptibility did not make his path smoother, and there seems little doubt
that the struggle for existence and later for health to some extent
lessened his output. But two of his greatest works belong to this last
period of his life. Behind the classical shape of the Violin Concerto
(1936) there is little of the self-conscious neoclassicism of the Twenties.

In this work form and expressive content go hand in hand. More
remarkable yet is the String Trio of 1946, for in this score, which
Schoenberg completed in a few weeks after an illness that nearly proved
fatal and from which he never fully recovered, there is an elliptical
brevity and concentration, a paring away of all extraneous detail, that
looks directly across to the world of Beethoven's last quartets. The
intensity of expression and the intellectual complexity which some-
times cause Schoenberg's music to sound overelaborate are here carried
on to the Olympian level of the greatest masters. The absence of this
work is the most serious single gap in the catalogue of Schoenberg
recordings.

High Fidelity-Musical America. Reprinted with permission.

Peter Heyworth succeeded Eric Blom as music critic of the London
Observer, and is one of England's most distinguished writers on music.

249

Today's conductor

JORGE MESTER, who starts his duties as
Music Director and Conductor of the Louis-
ville Symphony this fall, was born in Mexico
City in 1935 of Hungarian parents. His
musical career in the United States began
when he was awarded a violin scholarship
at the Berkshire Music Center. His interest
in conducting developed while he was a
student at the Juilliard School of Music,
where he became later the youngest faculty
member in the school's history. He has also
won international fame for his conducting and recording of the works
of the shamelessly revived neo-Baroque composer P.D.Q. Bach. Since
his concert with the Boston Symphony Orchestra at Tanglewood this
summer Jorge Mester has conducted the opening concert of the Mozart
Festival at Lincoln Center and has spent a month guest conducting in
Europe. He makes his first appearance with the Orchestra in Boston
this weekend.

Exhibition

The exhibition on view in the gallery is loaned by the Adelson Gal-
leries, 154 Newbury Street, Boston, which specializes in nineteenth and
twentieth century paintings and represents particularly American
Impressionists and artists of the Hudson River School.

Youth Concerts

The ninth season of Youth Concerts opens at Symphony Hall on Sat-
urday 4 November, when Harry Ellis Dickson conducts members of the
Boston Symphony Orchestra in a program called 'What's in a name?'
The pieces to be played were all written for special occasions and
include The Academic Festival Overture of Brahms, Stravinsky's Fire-
works, and works by Handel, Beethoven, Vivaldi, Kornsand and Sousa.

Further concerts in the first series will be on 13 January and 9 March;
the concerts of the second series will be on 11 November, 20 January
and 16 March. Each starts at 11 a.m. and lasts for approximately an
hour. They are designed for young people from Grade V through
Junior High and High School. The Wayland Jazz Quartet will join
the orchestra in the second program, which is called 'Can jazz be
classical?' And the final program of the series will feature winners of
the Greater Boston High School soloists' competition. The orchestra
will also be joined by the Greater Boston Youth Symphony Orchestra
in a performance of the Prelude to Die Meistersinger by Wagner.

All seats are reserved and cost $5 each for a series of concerts. Ticket
orders, accompanied by check and stamped addressed envelope, and
inquiries should be addressed to Ticket Committee, Youth Concerts at
Symphony Hall, 251 Huntington Avenue, Boston, Massachusetts 02115.

250

'The soloists

JULES ESKIN, Principal cello of the Boston
Symphony Orchestra, came to Boston in
1964 from the Cleveland Orchestra, where
he held the same chair. He was born in
Philadelphia and studied at the Curtis Insti-
tute with Leonard Rose. His other teachers
were Gregor Piatigorsky and Janos Starker.
He won the Naumberg Foundation award
in 1954 and made his debut at Town Hall,
New York, the same year under the Foun-
dation's auspices. He played with the
Dallas Symphony and was first cellist of the New York City Opera and
Ballet Orchestra. He made a recital tour of Europe in 1961 and has
also given many recitals in the United States. He used to play each
year with Pablo Casals in Puerto Rico.

Jules Eskin is on the faculty of the Berkshire Music Center and is a
member of the Boston Symphony Chamber Players, with whom he
went on their international tour earlier this year. He has played
several concertos with the Orchestra, most recently the Schumann
concerto last season.

BURTON FINE joined the Boston Sym-
phony Orchestra as a member of the second
violin section in 1963 and was appointed
Principal of the viola section a year later.
For the preceding nine years he was a re-
search chemist with the National Aeronau-
tics and Space Administration in Cleveland.
A native of Philadelphia, he studied at the
Settlement Music School with Ivan Gala-
mian, then continued at the Curtis Insti-
tute. From there he moved to the Univer-
sity of Pennsylvania where he received his degree in chemistry. He
holds a Ph.D. in chemistry from the Illinois Institute of Technology.
During his time with the Space Agency he was active in Cleveland's
leading chamber groups.

Burton Fine is a member of the faculty of the New England Conserva-
tory and of the Berkshire Music Center, where he also studied in 1950.
He is a member of the Boston Symphony Chamber Players and toured
with them to England, Germany and the Soviet Union earlier this
year. Last season he was soloist with the Orchestra in performances of
Der Schwanendreher by Hindemith.

251

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FUTURE PROGRAMS

Fifth Program

Friday afternoon 3 November at 2 o'clock
Saturday evening 4 November at 8.30

MOZART
KRAFT

DVORAK

Symphony no. 36 in C major K. 425 'The Linz'
Concerto for Percussion and Orchestra

EVERETT FIRTH
HAROLD THOMPSON
THOMAS GAUGER

CHARLES SMITH
ARTHUR PRESS

Romance for violin and orchestra op. 1 1

TCHAIKOVSKY Violin Concerto in D op. 35

ITZHAK PERLMAN

The performance next week of Kraft's Concerto for Percussion and
Orchestra will be a Boston premiere. William Kraft, timpanist and
principal of the percussion section of the Los Angeles Philharmonic
Orchestra, composed the concerto in 1964. He has adapted it specially
for the five players of the Boston Symphony Orchestra, working in
close cooperation with Everett Firth.

Another premiere by the Orchestra will be Dvorak's Romance, a
charming piece based on the second movement of the F minor Quartet.
The soloist will be the talented young violinist Itzhak Perlman, whom
subscribers will remember for his exciting performance of Prokofiev's
Second Violin Concerto last season. He will also play the Tchaikovsky
Concerto next week. For many members of the audience the perform-
ance will probably be the first that they have heard of the concerto
completely without cuts, exactly as the composer originally wrote it.

The concert will end at about 4.05 on Friday
and at about 10.35 on Saturday

Sixth Program

Friday afternoon 10 November at 2 o'clock
Saturday evening 11 November at 8.30

HAYDN Symphony no. 79 in F major

WEBERN Variations op. 30

SCRIABIN Symphony no. 3 'The Divine Poem'

programs subject to change

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254

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Dorothy Reichenberger, Cello

The Program:

Boccherini, Siring Quintet in F minor,

Op. 42, No. 1
Dvorak, String Sextet in A Major, Op. 48
Brahms, String Sextet in G Major, Op. 36

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was invented about 1720 by a
Bavarian named Hochbrucker and
through this ingenious device it be-
came possible to play in eight major
and five minor scales complete. Today
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instrument providing the "Exquisite
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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 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

THOMAS D. PERRY JR Manager

NORMAN S. SHIRK

Assistant Manager

SANFORD R. SISTARE

Press and Publicity

ANDREW RAEBURN

Program Editor

JAMES J. BROSNAHAN

Business Administrator

HARRY J. KRAUT

Assistant to the Manager

MARY H. SMITH

Executive Assistant

SYMPHONY HALL

BOSTON

MASSACHUSETTS

259

debut

Itzhak Perlman with the Boston Sympho
Orchestra under the direction of Leinsdc

". . . his arrival on the scene may just be the happiest

event in fiddling since the generation that produced Heifetz,

Oistrakh and Milstein." (Chicago Daily News)

When Itzhak Perlman and the Bos-
tonians performed these works in
December, critics pulled out all the
superlatives. "Undisputed master of the
Sibelius Concerto." "Perlman brought
to the Prokofieff G Minor Concerto an
assured and easy virtuoso technique."
". . . called forth from Leinsdorf some
of his most eloquent work," wrote the
Boston Globe. The New Yorker has
called Perlman "brilliant." Time Mag-
azine declared, "The U.S. and the world
will be hearing a lot more about Itzhak
Perlman in the very near future." Lis-
ten to this new RCA Victor Red Seal
recording — and see if you don't agree
with The New York Times: "Perlman
carries the mantle of the great virtuosi
of the past."

@ The most trusted name in sound ^U-

ENSEMBLES

OF THE

BOSTON SYMPHONY ORCHESTRA

presented by the Boston Symphony Orchestra
and the New England Conservatory of Music

MONDAY EVENINGS AT JORDAN HALL

AUTUMN PROGRAMS

13 November at 8.30

BOSTON SYMPHONY CHAMBER PLAYERS

HAYDN

BOSTON

SYMPHONY

ORCHESTRA

^"^>

VARESE

JMARTINU

BRAHMS

Trio no. 2 in G for flute, violin
and cello op. 100

Octandre (1924)

Nonet

Piano Quartet in G minor op. 25

S December at 8.30

BOSTON SYMPHONY STRING TRIO
[vith RICHARD GOODE piano

MOZART Piano Quartet in E flat K. 493

MARTINU Two madrigals for violin and viola

BRAHMS Piano Trio in B major op. 8

Vlembers of the Friends of the Boston Symphony Orchestra and
fiends of the New England Conservatory may secure a free ticket
or a guest to accompany them. Friends of the Boston Symphony
)rchestra should telephone Mrs Whittall at Symphony Hall (CO
5-1492 ) for details. Friends of the New England Conservatory
jhould get in touch with Miss Virginia Clay at the Jordan Hall Box
Office (536-2412).

ingle tickets for each concert are available from the
Jordan Hall Box Office, 30 Gainsborough Street,
loston 02115 (telephone 536-2412)
'rices: $1.50, $2, $2.50, $3, $4, $5

261

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BOSTON SYMPHONY ORCHESTRA

ERICH LEINSDORF Music Director

CHARLES WILSON Assistant Conductor

FIRST VIOLINS

Joseph Silverstein
Concertmaster

SECOND VIOLINS

VIOLAS

Burton Fine
Reuben Green
Eugen Lehner
Jerome Lipson
Robert Karol
Akio Akaboshi*
Bernard Kadinoff
Vincent Mauricci
Earl Hedberg
Joseph Pietropaolo
Rf Robert Barnes
Yizhak Schotten

CELLOS

Jules Eskin
Martin Hoherman
Mischa Nieland
Karl Zeise
Robert Ripley
John Sant Ambrogio
Luis Leguia
Stephen Geber
Carol Procter
Jerome Patterson
Ronald Feldman

BASSES

Henry Portnoi
William Rhein
Joseph Hearne
Bela Wurtzler
Leslie Martin
John Salkowski
John Barwicki
Buell Neidlinger
Robert Olson

FLUTES

Doriot Anthony Dwyer

James Pappoutsakis
Phillip Kaplan

PICCOLO

Lois Schaefer

OBOES

Ralph Gomberg
John Holmes
Hugh Matheny

ENGLISH HORN

Laurence Thorstenberg

CLARINETS

Gino Cioffi

Pasquale Cardillo
Peter Hadcock

E\) Clarinet

BASS CLARINET
Felix Viscuglia

BASSOONS

Sherman Walt

Ernst Panenka
Matthew Ruggiero

CONTRA BASSOON
Richard Plaster

HORNS

James Stagliano
Charles Yancich
Harry Shapiro
Thomas Newell
Paul Keaney
Ralph Pottle

TRUMPETS

Armando Ghitalla
Roger Voisin

Andre Come
Gerard Goguen

TROMBONES

William Gibson
Josef Orosz
Kauko Kahila

TUBA

Chester Schmitz

TIMPANI

Everett Firth

PERCUSSION

Charles Smith
Harold Thompson
Arthur Press

Assistant Timpanist
Thomas Gauger

HARPS

Bernard Zighera
Olivia Luetcke

LIBRARIANS

Victor Alpert
William Shisler

STAGE MANAGER
Alfred Robison

ILLIAM MOYER Personnel Manager

"members of the Japan
a one season exchange

Philharmonic Symphony Orchestra participating in
with Messrs George Humphrey and Ronald Knudsen

263

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Contents

Program for 3 and 4 November 1967 267

Future programs 317

Program notes

Kraft - Percussion Concerto 268

Mozart - Symphony no. 36 274

by John N. Burk

Dvorak - Romance for Violin and Orchestra 282

by Andrew Raeburn

Tchaikovsky - Violin Concerto 286

by John N. Burk

The B.S.O. and the Talking Machine - Part 1 296

by Martin Bookspan

The soloists 306

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EIGHTY-SEVENTH SEASON 1967-1968

Fifth Program

Friday afternoon 3 November at 2 o'clock
Saturday evening 4 November at 8.30

KRAFT

Concerto for Percussion and Orchestra

Recitativo quasi senza misura
Allegro con brio
Cadenza e variazioni

EVERETT FIRTH
HAROLD THOMPSON
THOMAS GAUGER

First performance in this version

CHARLES SMITH
ARTHUR PRESS

MOZART

Symphony no. 36 in C major K. 425 'The Linz'

Adagio; Allegro spiritoso
Poco adagio
Menuetto
Presto

INTERMISSION

DVORAK

Romance for violin and orchestra op. 11
ITZHAK PERLMAN

First performance in Boston

TCHAIKOVSKY

Concerto for violin and orchestra in D major op. 35

Allegro moderato
Canzonetta: Andante
Finale: Allegro vivacissimo

ITZHAK PERLMAN

Henryk Szeryng has recorded the Violin Concerto of Tchaikovsky
with the Orchestra under the direction of Charles Munch

The concert on Friday will end at about 4.05
and at about 10.35 on Saturday

BALDWIN PIANO
RCA VICTOR RECORDS

267

Program Notes

WILLIAM KRAFT

Concerto for Percussion and Orchestra

William Kraft was born in Chicago on 6 September 1923. The concerto was written
in 1964 and entitled 'Concerto for four percussion soloists and orchestra'. It was
first performed by the Los Angeles Philharmonic Orchestra conducted by Zubin
Mehta in Los Angeles in March 1967. Mr Kraft has specially adapted the concerto
for the five percussion players of the Boston Symphony Orchestra.

The instrumentation: the solo percussion group plays 4 timpani, 5 graduated wood
drums (3 wood blocks and 2 temple blocks which are played with hard vibraphone
mallets with rattan stems), tambourine, 5 graduated membranic drums (high bongo,
low bongo, snare drum, field drum, tenor drum, which are played with snare drum
sticks), 6 suspended antique cymbals, chimes, glockenspiel, vibraphone, xylophone,
small bell with clapper, 5 graduated metals (2 triangles and 3 cymbals), bass drum,
snare drum, triangle, song bells. The orchestra consists of 2 flutes and piccolo,
2 oboes, 2 clarinets, bass clarinet, 2 bassoons and contrabassoon, 4 horns, 2 trumpets,
2 trombones, tuba, harp, piano, celesta and strings.

William Kraft writes:

'Whatever thoughts I have about composition are somewhat classic in
nature and of necessity somewhat generalized. I believe that music is
an aesthetic function and that whatever disciplines and skills are
employed — as well as matters of balance or symmetry (or imbalance
and asymmetry) — are tools for, and subordinate to, concepts of beauty
and expression. Ugliness and any sort of dramatics, of course, can fall
into the generalized description. There is always the relationship of

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instinct and technique and, in this, one should attain personality and
style. While composers do find general agreement at certain times I do
not think that music must "mirror its age" especially one as techno-
logical as this one. But, at the same time, it is just as valid to mirror
an age's aspirations rather than its practices.

'As to the Percussion Concerto in particular, it was written in 1964
while I was on a fellowship at the Huntington Hartford Foundation.
I took it as a challenge to have the percussion instruments compete
with the traditional concerto instruments on their own terms and laid
the work out in three movements with internal designs meant to show
the percussion instruments in their favorable light. The first movement
opens with a glockenspiel (orchestra bells) solo, the material of which
undergoes some evolution and some commentary by timpani, vibra-
phone and five graduated drums. The second movement is founded on
a jazz-like ostinato. Most of the material was written first for the
percussion instruments to make certain it was idiomatic but is played
first by the winds with brass punctuations. One could — if so dis-
posed — compare the movement to a Japanese fan that folds out
gradually, shows its full design and then folds back on itself. The
third movement is the largest and most pretentious. It opens with a
timpani cadenza on which all subsequent sections or rather variations,
are based. The variations alternate between the orchestra and the
percussion wherein the latter comment on the former, but as the move-
ment progresses, the separation breaks down until all competition is
within the one final variation'.

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William Kraft's major work in composition was done at Columbia
University in New York, where he studied with Otto Luening. He
was a member of the Berkshire Music Center in 1948, 1950 and 1951
where he studied with Irving Fine. He is timpanist and head of the
percussion section of the Los Angeles Philharmonic Orchestra; he also
does a considerable amount of conducting, mostly of contemporary
chamber works for the well known Monday evening concerts in Los
Angeles. He is on the faculty of the University of Southern California.
He will be in Europe for a considerable period next year on a Guggen-
heim Fellowship, and expects to spend some time with Pierre Boulez.

During the last five years William Kraft's major works have included
the Concerto Grosso (1962) which has been performed several times
and recorded by the Louisville Orchestra; a song cycle Silent Boughs
(1963), written for Marilyn Home and performed by her throughout
Europe on a tour of the Los Angeles Chamber Orchestra conducted by
Henry Lewis. Configurations (1966) is a concerto for four percussion
soloists and jazz orchestra, commissioned by Dick Schory and the
Ludwig Drum Company; the Double Trio (1966) for piano, tuba and
percussion versus prepared piano, electric guitar and prepared percus-
sion was performed at Tanglewood during the Festival of Contempo-
rary American Music in August this year. Momentum (1966) is a piece
for eight percussion players, and Contextures was written this year for
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WOLFGANG AMADEUS MOZART
Symphony no. 36 in C major K. 425 'The Linz'
Program note by John N. Burk

Mozart was born in Salzburg on 27 January 1756, and died in Vienna on 5 Decem-
ber 1791. He composed this symphony at Linz in October and November 1763, and
the first performance was given at Count Thun's palace on 4 November. The first
performance by the Boston Symphony Orchestra was on 17 November 1882, and the
symphony was most recently performed in this series on 28 and 29 March 1958, with
Charles Munch conducting.

The instrumentation: 2 oboes, 2 bassoons, 2 horns, 2 trumpets, timpani and strings.

In Vienna, where Mozart spent the last ten years of his life, composing
according to needs, his genius found its full fruition in a quantity of
great works. They embrace his finest string quartets and quintets and
his piano concertos in numbers; also his five great operas in the buffo
style. It must be a reflection on Viennese taste, or lack of musical per-
ception, that he seems never to have been asked to compose a symphony ■;
in Vienna. Of the three great symphonies of 1788 there is no record j
either of commission or performance. Prague, enraptured over Figaro,
asked in 1786 for the Symphony which bears its name. Three years
earlier, while returning from a visit to Salzburg with Constanze a year
after their marriage, he stopped in Linz to visit his friend Count Thun,
and there hastily composed a symphony.

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When it is possible to ascertain the circumstances under which Mozart
wrote his truly surpassing scores, one is invariably astonished that a
triumph of his art, a rare efflorescence of the spirit quite unequalled in
kind, could have come into being apparently with entire casualness.

Mozart had been assured of a welcome at Linz from Count Thun,
father of his pupil in Vienna. 'When we arrived at the gate of Linz/
wrote the composer to his father, 'we were met by a servant sent to
conduct us to the residence of the old Count Thun. I cannot say
enough of the politeness with which we were overwhelmed. On
Tuesday 4 November I shall give a concert in the theatre here, and as
I have not a single symphony with me, I am writing one for dear life
to be ready in time.' Mozart was as good as his word — within the
five days that remained from his arrival to the hour of the concert a
new symphony was written, the parts copied, the piece (presumably)
rehearsed. It is small wonder that the experts have found it hard to
believe that Mozart at a moment's notice, in a strange house, and in
the space of some three days, conceived and completed a full length

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symphony, replete with innovation, daring and provocative in detail
of treatment; the obvious product of one who has taken new thought
and gathered new power. As the years pass, the students of Mozart
have learned to accept what they will never account for — sudden and
incredible manifestations in his development.

Jahn discerned the influence of Joseph Haydn in this symphony,
particularly the 'pathetic somewhat lengthy adagio' which ushers in
the allegro spiritoso. Mozart had until that time never used an intro-
duction to a symphony. But it should also be noted that introductions
in the symphonies of Haydn were decidedly the exception until about
this year, after which both composers were inclined towards them. The
interrelation of the symphonically developing Mozart and Haydn is
always a subject for circumspect opinion. Jahn also points out as
Haydnesque the 'lively, rapid, and brilliant character of the whole,
the effort to please and amuse by turns, and unexpected contrasts of
every kind in the harmonies, in the alternations of forte and piano, and
in the instrumental effects.' Saint-Foix rejects this thesis on its face
value. To begin with, the Mozart who wrote the Linz Symphony had
reached an ebullient and self-reliant point in his growth — he was in
no mood for imitation. 'The small number of symphonies written by
Joseph Haydn in the years 1 780^-1783, which might have had some
connection with the Linz Symphony, actually show none. It might be
more reasonable to suppose a definite effect of this symphony upon the
subsequent ones of Haydn.'

Against this Mozart authority is the opinion of another, Alfred Ein-
stein, who quotes this symphony as showing 'how greatly Mozart had
come under Haydn's influence, not only as a quartet composer, but as
a creator of symphonies'. Mr Einstein instances the 6-8 meter in the
slow movement as a Haydn trait, but he is forced to admit that the
slow introduction to the symphony itself, wherein Mozart was sup-
posedly yielding to a Haydn precedent, had indeed no precedent in
Haydn, 'with its heroic beginning, and the play of light and shade that
follows, leading from the most tender longing to the most intense

278

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agitation'. Mr Einstein further discerns signs of hasty writing in this
symphony. If any demonstrable connection is to be traced, it is a
curious one between Mozart and Haydn's brother Michael, for whom
recently, at Salzburg, Mozart had composed two duos for violin and
viola, the second of which contains a thematic premonition of the
symphony.

To Mozart alone, in the words of M. de Saint-Foix, could be attrib-
uted 'the allegro spirit aso, dreamy and at the same time militant, for
a march crosses it, or rather surges up at moments and disappears. The
noble and serene inspiration of the poco adagio, where clouds gather
to dim the unforgettable rhythm of the Sicilienne, the minuet so
dancing, ardent, and tender, with the counterpoint in the trio which
never leaves the tone of C; finally the presto, where joy at once becomes
frenetic, these features comprise what one is constrained to call the first
great classical vista which Mozart designed in the symphonic genre.'

The absence of flutes and clarinets in the instrumentation would
suggest that Mozart was adapting himself to the limitations of the
ducal orchestra at Linz. It is also worthy of remark that the composer
makes use of the trumpets and drums in the slow movement, although
never intrusively.

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ANTONIN DVORAK

Romance for violin and orchestra op. 11

Dvorak was born in Nelahozeves (Miihlhausen), Bohemia on S September 1841, and
died in Prague on 1 Mav 1904. He composed the Romance at some time between
1S73 and the Near of its first performance, 1S77. Josef Markus was the soloist at the
premiere with the National Theatre Orchestra of Prague, conducted bv Adolf C.ech
on 9 December.

The instrumentation: -2 flutes. 2 oboes. 2 clarinets. 2 bassoons. 2 horns and strings.

Dvorak was married in November 1873 to Anna Cermakova, the daugh-
ter of a goldsmith. He was thirty-two years old and had lived in Prague
for exactly half his life. Durinsr those second sixteen years his life had
been hard. He was the eldest son of a family of eight and his father
had become bankrupt after leaving his home village in the hope of
making a better living by running an inn in a town where he was a
stranger. Only by his own determination and the belief of some of his
relations and teachers in his talent had Dvorak been able to pursue his
bent for music.

He composed energetically during the early years in Prague, and from
what remains of the music, it is clear that his models were Mozart,
Beethoyen. Schubert and Mendelssohn, and later Wagner. But he was
also his own most discerning and severe critic, and burnt many of his

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early manuscripts. He said himself that when he first went to Prague
he always had enough paper to make a fire. The ideas he thought good,
though, he would remember, and from several of his unsuccessful pieces
he would reuse material that he approved; much from the Symphony
No. 1 (The Bells of Zlonice), for instance, composed in 1865, but not
discovered until 1923, reappeared in the Silhouettes for piano of 1879.
The same is true of the Romance: it is based on the andantino move-
ment of the F minor Quartet, composed in 1873, which the leading
chamber musicians of Prague originally rejected for performance.

Dvorak did not earn much money during that period; he had studied
violin and viola as well as organ and piano, and for several years had
worked playing the viola in an orchestra which was popular in the
restaurants of Prague, and which formed the nucleus of the pit orches-
tra of the Czech National Theatre. But in the early seventies his com-
positions began to be recognized, he himself was forming a style which
no longer owed so obvious a debt to his models, and shortly after his
marriage, he resigned from the orchestra and obtained the post of
organist at the Church of St Adalbert in Prague. His evenings were
free, his life less arduous and he devoted more time to composition.

The F minor Quartet is autobiographical in a way similar to Smetana's
Quartet 'From my life', and the second movement is reminiscent of a
Mendelssohnian 'Song without words'. Dvorak based the Romance on
this movement, and it is a piece of simple and gentle charm.

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PETER ILYICH TCHAIKOVSKY

Concerto for violin and orchestra in D major op. 35
Program note by John N. Burk

Tchaikovsky was born in Votkinsk, Russia, on 7 May 1840, and died in St Petersburg
on 6 November 1893. He composed the Violin Concerto in 1878, and it was first
performed by Adolph Brodsky and the Vienna Philharmonic Orchestra on 4 Decem-
ber 1881. The first Boston performance of the Concerto was by Adolph Brodsky
with the Symphony Orchestra of New York, conducted by Walter Damrosch in the
Tremont Theatre on 13 January 1893. The first complete performance of the
Concerto in this series was by Alexandre Petschnikov on 27 January 1900, and the
most recent by Henryk Szeryng on 6 and 7 February 1959.

The instrumentation:
timpani and strings.

2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, i

Violinists have often advised, sometimes aided, composers in the writing
of the solo part in concertos for their instrument; sometimes, too, one
of them has carried a concerto composed under his judicious eye to per-
formance and fame. Tchaikovsky was unfortunate in his soloist when
he wrote his best-known piano concerto, and the same may be said even
more emphatically about his Violin Concerto. Joseph Kotek, who
inspired the work, shied away from it; Leopold Auer, to whom the com-
poser dedicated it, openly repudiated it; and it fell to a third violinist,
Adolph Brodsky, to perform and champion the now popular score.

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The first violinist to come upon the scene was Tchaikovsky's young
friend from Moscow, Joseph Kotek, who visited the composer at
Clarens on the shore of Lake Geneva, in the early spring of 1878.
Tchaikovsky was in the mood for music. He wrote Mme von Meek
on 27 March with enthusiasm about Lalo's Symphonic Espagnole, in
which he found 'freshness, piquant rhythms, beautifully harmonized
melodies'. Lalo, said Tchaikovsky, was like his favorites Delibes and
Bizet in that he 'studiously avoids all commonplace routine, seeks new
forms without wishing to appear profound, and, unlike the Germans,
cares more for musical beauty than for mere respect for the old tradi-
tions'. It would seem that Lalo's persuasive concerto had directed
Tchaikovsky's creative ambitions to that form, for when Kotek took
out his violin and Tchaikovsky sat at the piano, the principal manu-
script in hand turned out to be the sketch for his new violin concerto.
He had put all other plans aside to complete this one, and he wrote to
his publisher Jurgenson on 20 April: 'The violin concerto is hurrying
toward its end. I fell by accident on the idea of composing one, but
I started the work and was seduced by it, and now the sketches are
almost completed.' He did complete his sketch the next day, ran
through it with Kotek, who was still there, but before beginning on
the scoring, he wrote an entirely new slow movement.

Tchaikovsky sent a copy of the Concerto to Mme von Meek before its
publication. With the canzonetta she was 'delighted beyond descrip-
tion,' but evidently the first movement did not entirely satisfy her, for
Tchaikovsky wrote on 22 June: 'Your frank judgment on my violin

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concerto pleased me very much. It would have been very disagreeable
to me, if you, from any fear of wounding the petty pride of a composer,
had kept back your opinion. However, I must defend a little the first
movement of the concerto. Of course it houses, as does every piece
that serves virtuoso purposes, much that appeals chiefly to the mind;
nevertheless, the themes are not painfully evolved: the plan of this
movement sprang suddenly in my head, and quickly ran into its
mould. I shall not give up hope that in time the piece will give you
greater pleasure.'

Tchaikovsky dedicated the new concerto to his friend Leopold Auer,
head of the violin department at the St Petersburg Conservatory, hop-
ing of course that Auer would introduce it in Russia. Auer, however,
shook his head over the score, pronounced it unreasonably difficult.

Nearly four years passed without a performance. At length, another
violinist, Adolph Brodsky, saw the music and took it in hand. He
obtained the assent of Hans Richter to giwe the music a hearing at the
concerts of the Philharmonic Orchestra in Vienna. After this perform-
ance (4 December 1881) there were loud hisses, evidently directed
against the music, which subsided only when Brodsky, to increased
applause, returned three times to bow. Eight of the ten reviews
were what the translator of Modeste Tchaikovsky's life of his brother
has called 'extremely slashing'. The phrase is surely not too strong
for the vicious condemnation by Eduard Hanslick. His review has gone
down into history as a prime instance where the learned Doctor said
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Tor a while the concerto has proportion, is musical and is not without
genius, but soon savagery gains the upper hand and lords it to the end
of the first movement. The violin is no longer played; it is yanked
about, it is torn asunder, it is beaten black and blue. I do not know
whether it is possible for anyone to conquer these hair-raising diffi-
culties, but I do know that Mr Brodsky martyrized his hearers as well
as himself. The Adagio, with its tender national melody, almost con-
cilates, almost wins us; but it breaks off abruptly to make way for a
finale that puts us in the midst of the brutal and wretched jollity of
a Russian kermess. We see wild and vulgar faces, we hear curses, we
smell bad brandy. Friedrich Vischer once asserted in reference to
lascivious paintings that there are pictures that "stink in the eye".
Tchaikovsky's violin concerto brings us for the first time to the horrid
idea that there may be music that stinks in the ear.'

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The composer, particularly sensitive at that time to public criticism,
was deeply hurt by the vicious attack which he remembered word for
word for the rest of his life. One wonders whether the objections,
spoken and written, to music of such obvious popular appeal could
have been mostly due to its novelty, to the certain freedom with which
Tchaikovsky treated the sacrosanct form. The greater likelihood is that
the performance by the orchestra failed to convey a clear or favorable
impression of the piece. Despite its admitted (too freely admitted!)
difficulties, Richter allowed only a single rehearsal in which most of
the time was spent in straightening out numerous errors in the parts.
The players' coolness towards the concerto was not lessened by this
circumstance, nor by the difficulties in the string parts, and their per-
formance was accordingly dull routine. Richter wished to make cuts,
but the youthful champion of Tchaikovsky held his own.

In fact Brodsky, writing to the composer shortly after the first perform-
ance, gives evidence that it could hardly have been intelligible:

'I had the wish to play the Concerto in public ever since I first looked
it through. That was two years ago. I often took it up and often put
it down, because my laziness was stronger than my wish to reach the
goal. You have, indeed, crammed too many difficulties into it. I played

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it last year in Paris to Laroche, but so badly that he could gain no true
idea of the work; nevertheless, he was pleased with it. That journey to
Paris which turned out unluckily for me — I had to bear many rude
things from Colonne and Pasdeloup — fired my energy (misfortune
always does this to me, but when I am fortunate then am I weak) so
that, back in Russia, I took up the concerto with burning zeal. It is
wonderfully beautiful! One can play it again and again and never be
bored; and this is a most important circumstance for the conquering of
its difficulties. When I felt myself sure of it, I determined to try my
luck in Vienna. Now I come to the point where I must say to you that
you should not thank me: I should thank you; for it was only the wish
to know the new concerto that induced Hans Richter and later the
Philharmonic Orchestra to hear me play and grant my participation in
one of these concerts. The concerto was not liked at the rehearsal of
the new piece, although I came out successfully on its shoulders. It
would have been most unthankful on my part, had I not strained every
nerve to pull my benefactor through behind me. Finally, we were
admitted to the Philharmonic concert. I had to be satisfied with one
rehearsal, and much time was lost there in the correction of the parts,
that swarmed with errors. The players determined to accompany every-
thing pianissimo, not to go to smash; naturally, the work, which de-
mands many nuances, even in the accompaniment, suffered accordingly.'

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In gratitude to his soloist-champion, Tchaikovsky wrote to Jurgenson
(27 December 1881): 'My dear, I saw lately in a cafe a number of the
Nene Freie Presse in which Hanslick speaks so curiously about my
violin concerto that I beg you to read it. Besides other reproaches he
censures Brodsky for having chosen it. If you know Brodsky's address,
please write to him that I am moved deeply by the courage shown
by him in playing so difficult and ungrateful a piece before a most
prejudiced audience. If Kotek, my best friend, were so cowardly and
pusillanimous as to change his intention of acquainting the St Peters-
burg public with this concerto, although it was his pressing duty to
play it, for he is responsible in the matter of ease of execution of the
piece; if Auer, to whom the work is dedicated, intrigued against me, so
am I doubly thankful to dear Brodsky, in that for my sake he must
stand the curses of the Viennese journals.'

In spite of its poor start, and in spite of the ill will of Hanslick (Philip
Hale wrote that he 'was born hating program music and the Russian
school'), the concerto prospered. Other violinists (notably Carl Halir)
soon discovered that there lay in it a prime vehicle for their talents.
This, too, in spite of the continuing censure of Leopold Auer. Tchai-
kovsky wrote in the Diary of his tour of 1888: 'I do not know whether
my dedication was nattering to Mr Auer, but in spite of his genuine
friendship he never tried to conquer the difficulties of this concerto.
He pronounced it impossible to play, and this verdict, coming from
such an authority as the Leningrad virtuoso, had the effect of casting
this unfortunate child of my imagination for many years to come into
the limbo of hopelessly forgotten things.'

At today's performance, Mr Perlman and the Orchestra will play the
concerto as Tchaikovsky originally wrote it, without the traditional
cuts.

"Mr. Sullo's piano playing represents genuine musicality and a formidable technic."

Cyrus Durgin, "Boston Globe," 4/18/53

SALVATORE SULLO

- PIANO -

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The B.S.O. and the Talking Machine -Part 1

by Martin Bookspan

The entire Eastern seaboard of the United States was sweltering in the
grip of a brutal Indian Summer heat wave on the first day of October
1917. In a hundred homes in Boston, bags were being packed and
their owners preparing to take the 7.30 p.m. train bound for Phila-
delphia. Embarking on a trip was nothing new to these men: they
were the hundred members of the Boston Symphony Orchestra and
half-a-dozen times each season they went 'on the road' for a week or
more at a time. As a matter of fact, it was barely two years since they
had collected their gear for what had been the most extensive tour in
the orchestra's history — a cross-country trip which had taken them to
San Francisco for a triumphant series of thirteen concerts at the
Panama-Pacific Exposition.

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But there was something different about the preparations this time.
For one thing, the orchestra had not yet officially begun its 1917-18
season on the familiar stage of Symphony Hall — that was still ten days
off, on 12 and 13 October — yet here the men already were preparing
for an expedition. For another, there was the oppressive, debilitating
heat. String players wondered how they would ever be able to keep
their instruments in tune. And what about the sensitive timpani skins,
how would they survive the twin ordeals of weather and transportation?
And then there was the most important difference of all: the orchestra
was going on tour, to be sure, but not for the familiar purpose of
playing a series of concerts in a string of cities before enthusiastic
audiences. No, the only visible audience the Boston Symphony
musicians would have for their impending performances were to be
sound technicians and a couple of enormous acoustical recording horns.

Probably nobody in the official party that day fully realized the signifi-
cance of the occasion, but the Boston Symphony Orchestra was headed
for the Camden, New Jersey, laboratory of the Victor Talking Machine
Company, there to become the first symphony orchestra in the United
States ever to make a phonograph record.

Actually, the Victor Company was late in entering the field of orchestral
recording. The first large-scale symphony orchestra recording, a per-
formance of Tchaikovsky's Nutcracker Suite by the London Palace
Orchestra under Hermann Finck, was released in April 1909, by the
English branch of the German Odeon Company. During the next

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two years the Gramophone Company in England was releasing record-
ings, by Landon Ronald and the New Symphony Orchestra, of such
works as the scherzo from Mendelssohn's A Midsummer Night's Dream,
the Overture to The Marriage of Figaro, and Sibelius' Finlandia (a
score composed only a dozen years before!). Similarly, in Germany
locally made symphony orchestra recordings had been available since
1911, and Odeon in 1913 produced the first complete symphonies ever
issued — Beethoven's Fifth and Sixth.

It was with some excitement, despite the weather, that the early birds
among the members of the Orchestra began to arrive at South Station.
By six in the evening enough of them had gathered so that throughout
the waiting room there were small groups of men playing cards,
checkers, or chess. Shortly before seven Dr Karl Muck, their conductor,
arrived on the scene. He had come directly from his summer home in
Maine; he was wearing knickers, and his face was beaded with per-
spiration. By 7.15 Manager Charles A. Ellis and Assistant Manager
William Brennan had checked in the last members, and at exactly 7.30
the train slowly began to pull out.

The overnight train ride to Philadelphia in that pre-air-conditioned
era was miserable. Sleep was virtually impossible and many players
spent the night wandering through the cars chatting with their
colleagues. In the conductor's stateroom Muck and Leslie Rogers, the

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Librarian, conferred about the repertory to be recorded. Only the
finale from Tchaikovsky's Fourth Symphony was definitely on the
schedule, with the remaining pieces yet to be selected. Muck wanted
to do movements from other symphonies, Rogers strongly favored
shorter, lighter works (and, unknown to Muck, had packed the scores
and parts of several such selections, among them the Prelude to the
Third Act of Lohengrin, the Marche miniature from Tchaikovsky's
First Suite and the Rakoczy March from The Damnation of Faust).

Philadelphia's Broad Street Station was like a steam bath when the
train arrived early on the morning of Tuesday, 2 October. The
sleeping cars had to be vacated at 7 a.m. and so, in the semidarkness
that precedes the rising of the sun, the hundred weary musicians
staggered out of the train and onto the buses which were to take them
across the river to Camden.

When they finally arrived at their destination, tempers were strained
and nobody was in the least enthusiastic about the work at hand —
10 a.m. and 2 p.m. recording sessions in the laboratory each day from
Tuesday through Friday.

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One of those who greeted the orchestra was Victor Herbert, who three
years earlier had formed ASCAP and now was vitally interested in
being present at the sessions. After the preliminary introductions were
concluded, the entire orchestra was ushered into the 'studio' where
the recordings were to be made.

The sight that greeted the musicians' eyes must have looked like some-
thing out of a Rube Goldberg cartoon: 'The studio was formerly a
church, I believe. Inside it were set up two large wooden igloo-type
structures, each with a sort of doorlike opening. We were told that
all the strings were to sit in one of these hovels, the rest of the orchestra
in the other. Outside and in front of these igloos there was set up a
stool and a music stand for the conductor, who would have to peek
into the openings. It seems to me that there was a horn that came out
of these openings and converged on a needle which made the impres-
sion upon the wax in front of the conductor.' The words are those of
Arthur Fiedler, for the past thirty-seven seasons the conductor of the
Boston Pops Orchestra and in October 1917 a member of the Boston
Symphony Orchestra, playing violin and viola.

Seeing the physical conditions under which they would have to work,
the musicians must have been appalled. However, though slowly and
glumly, one hundred instrument cases were opened, and the orchestra's
solo oboe player, the renowned Georges Longy, sounded his A. One

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hundred times the sound was reechoed as there followed that dynamic,
cacophonous bedlam produced when an orchestra tunes up. They
steamed and they fumed, but they were all — in spite of themselves —
beginning to be infected with the challenge and excitement soon to be
felt everywhere in the room.

In the second part of his article Martin Bookspan continues with the
story of the first recording session of the Orchestra, and the subsequent
impact of the finished records on the public.

Martin Bookspan was born in Boston, studied at Harvard, and started
professionally as director of serious music programs with various radio
stations in Boston. He worked for the Boston Symphony Orchestra
from 1954 to 1956 as radio, television and recordings co-ordinator.
Since that time he has been based in New York. He is currently Pro-
gram Consultant to WQXR, the radio station of The New York Times;
host and commentator on the WQXR broadcasts of concerts by the
Boston Symphony Orchestra; member of the Music Advisory Panel of
the USIA; music critic for Channel 7 News in New York; and con-
tributing editor of HiFi/Stereo Review. He is also writing two books
on musical subjects for Doubleday.

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305

The soloists

At the recording of the Violin Concerto by Sibelius

ITZHAK PERLMAN, who last appeared with the Orchestra at Tanglewood
this summer at a Berkshire Festival concert and at the Berkshire Music
Center gala, was born in Tel- Aviv in 1945. He was always determined to
play the violin, and even after having polio at the age of four, he refused
to give up. Since his illness he has had to play sitting down.

His first studies were at the Tel-Aviv Academy of Music, and by the time he
was ten his concerts and broadcasts had made his name well known in his
own country. In 1958 Ed Sullivan was in Israel looking for talented young
performers for his television show, and brought Perlman back to New York
with other young Israeli artists. After two television appearances, Itzhak
Perlman decided to stay in the United States, and went to the Juilliard
School where his teachers were Ivan Galamian and Dorothy DeLay. Five
years later he gave his first concert at Carnegie Hall, and in the following
year he won the Leventritt Award.

Two seasons ago he made an extended tour of the United States and he is
now well known on both sides of the Atlantic. His recording with Mr
Leinsdorf and the Orchestra of concertos by Sibelius and Prokofiev was
recently released by RCA Victor. The critic of Hi Fi Stereo Review said of
his performance of the Prokofiev Concerto no. 2 in G minor, that he cap-
tures with sweet yet penetrating tone the work's lyricism and brilliance .
Leinsdorf's excellent orchestral accompaniments are recorded with more
wealth of detail that I have ever heard before in either the Prokofiev 01
Sibelius concertos — the percussion in the Prokofiev is a striking instance in
point. From a sonic standpoint, all other recordings seem thin and pale
alongside this one.'

306

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30"

EVERETT FIRTH was born in Winchester,
Massachusetts though his family was from
Maine. He studied with Saul Goodman,
timpanist of the New York Philharmonic
Symphony, at the Juilliard School, and with
Roman Szulc, timpanist of the Boston Sym-
phony Orchestra, at the New England Con-
servatory. He was graduated from the
Conservatory with high honors and joined
the Boston Symphony Orchestra in 1952.
On Szulc's retirement three years later Firth

became at the age of 25 the Orchestra's youngest principal in 70 years.

He was also a pupil at the Berkshire Music Center at Tanglewood.

Everett Firth is a member of the Boston Symphony Chamber Players
and is on the faculty of the Berkshire Music Center and the New Eng-
land Conservatory. He has composed music for percussion ensembles
and has written articles and books about the performance of percussion
instruments. He imports instruments from Europe, and supplies not
only his colleagues, but many schools and colleges in North and South
America. He also manufactures sticks. In his spare time Everett Firth
skis, fishes and hunts. His farthest adventures have taken him to Brazil
to hunt jaguar, and to Alaska to hunt elk, moose and bear. An expert
in antiques, he is about to open an art gallery in Dover which will
specialize in primitive and early American art and in American clocks.

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CHARLES SMITH has not missed a re-
hearsal or concert in the 25 years of his
membership of the Boston Symphony Or-
chestra. A native of Newark, New Jersey,
he studied at the Juilliard School, and was
taught by Alfred Frisce, Gene Krupa, Wil-
liam Dorn and Edward Rubsam. Before
coming to Boston he played 600 perform-
ances of Porgy and Bess in an orchestra
conducted by Alexander Smallens.

Charles Smith is on the faculty of Boston
Jniversity, and has had many students who are now successful profes-
ional musicians. He has done considerable research into the history
>f percussion instruments and is keenly interested in contemporary
nusic and jazz. At his home he has a soundproof room which contains
m unusual collection of rare percussion instruments.

lis other interests include literature, the theatre, Italian history and
anguage and cartoons on percussion. His wife is a former professional
nusician and his three daughters all play instruments. One is pres-
:ntly at Boston University, another at the University of Michigan and
he youngest is in Junior High School. The eldest, Joanne, appeared
hree times as a child soloist with the Orchestra during the Esplanade
eason. Charles Smith is a charter member of the Maugus Hill Lodge
)f Masons in Wellesley Hills.

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HAROLD THOMPSON, born in Akron,
Ohio, had a fascinatingly varied career be-
fore he joined the Boston Symphony Orches-
tra in 1952. After his studies at the Cincin-
nati Conservatory, where his teachers were
George Carey and Fred Noak, his career
began on a Mississippi River steamboat in a
four piece Dixie band. He wrote a number
for the famous dancer Mme LaZonga, which
ended with the finale of the 18 12 Overture;
became familiar with the music of the Mid-
west Medicine Shows, whose pitchmen and their 'spiels' are legendary
American folklore; and played in the bands of circuses and Wild West
shows and in traveling dance orchestras at hotels, cabarets and amuse-
ment parks. He then moved to theatre orchestras, and did a consider-
able amount of radio work before the days of television. Sir Eugene
Goossens gave him the opportunity to enter the symphonic field and
he played in opera and ballet orchestras before joining the Boston
Symphony Orchestra.

Harold Thompson is at present compiling an instruction book on per-
cussion, and working on an article designating a special counting system
for percussion players. He is one of the world's leading experts on
cymbals and coaches professionals in his own special field; he chooses
cymbals for his colleagues in orchestras all over the world. He is inter-
ested in the graphic and visual arts, and he enjoys golf and skindiving.
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ARTHUR PRESS joined the Boston Sym-
phony Orchestra in 1956 at the age of 26.
Before coming to Boston he played with the
Little Orchestra Society of New York under
Thomas Scherman and was solo percussion-
ist at New York's Radio City Music Hall.

Born in Brooklyn, he studied at the Juil-
liard School on a full scholarship. His
teachers there were Morris Goldenberg and
Saul Goodman. While he was at Juilliard
he used to play in Latin and jazz bands at
night clubs, and in contrast used to perform avant-garde chamber
music with John Cage and other contemporary composers.

Recently appointed head of the percussion department at the Boston
Conservatory, Arthur Press is also a member of the Boston Symphony
Percussion Ensemble and still keeps alive his interest in jazz and Latin-
american and African folk drumming. Later this season he and Everett
Firth will perform the Sonata for two pianos and percussion by Bartok
at Wellesley College. He lives in Newton Centre with his wife Beverly
and their children Michele and Stuart. His wife is a painter, Stuart is
studying violin by the Suzuki method, and Michele is learning the
piano. Arthur Press enjoys teaching, reads a great deal, plays tennis,
and in the summer spends time fishing and boating with his family on
the Stockbridge Bowl.

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311

TICKET RESALE AND RESERVATION PLAN

Last season the successful operation of the Ticket Resale and Reserva-
tion Plan aided in reducing the Boston Symphony Orchestra's deficit
by more than $22,000.

312

THOMAS GAUGER's interest in music
started when he began learning the french
horn as a child. But before he went to high
school in Wheaton, Illinois, he changed to
the snare drum, and when he moved to the
University of Illinois he studied applied
music with Paul Price and Jack McKenzie.
He played there in the orchestra, the concert
band, the wind and percussion ensembles
and the football band. He won a scholar-
ship to the Berkshire Music Center, and
studied there with Everett Firth.

While still at school, Thomas Gauger went to New York to make a
recording of percussion ensemble music, and after graduation was
assistant percussion instructor at his own university. After his first
professional engagement in Canada at the Saskatoon Festival he went
to Oklahoma City as the Symphony's principal percussionist, and while
he was there also recorded for movies, played in pit orchestras and in
night clubs, as well as teaching at the local universities. He joined the
Boston Symphony Orchestra in 1963, and is now a member of the
Boston Symphony Percussion Ensemble, and teaches and conducts the
percussion ensemble at Boston University. He has written several com-
positions, one of which has been published; another was performed
last year at Boston University. Secretary of the Boston Symphony
Orchestra Players' Committee, he is also a member of the Wind and
Percussion Committee.

There are two pairs of twins in Thomas Gauger's family of five
children, and apart from the time he gives them, he experiments in
improvements to percussion instruments and sticks. He invents chil-
dren's games and toys, and gadgets for the household. He enjoys work-
ing with wood and has recently become interested in oil painting. His
sports include tennis and bowling.

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A selection of recordings by the
BOSTON SYMPHONY ORCHESTRA

under the direction of
ERICH LEINSDORF

FAURE

Elegy for cello and orchestra (Mayes)
with Prokofiev Symphony-Concerto

LM/LSC 2703

MENDELSSOHN

A midsummer night's dream (Saunders, LM/LSC 2673

Vanni, Swenson, New England Conservatory Chorus)

MOZART

Symphony no. 41 — Eine kleine Nachtmusik

Requiem Mass (Kennedy Memorial Service)

LM/LSC 2694
LM/LSC 7030

PROKOFIEV

Symphony no. 5

Symphony no. 6

Symphony-Concerto (Mayes)
with Faure Elegy

Piano Concertos 1 and 2 (Browning)
Piano Concerto no. 5 (Hollander) with
Violin Concerto no. 1 (Friedman)
Violin Concerto no. 2 (Perlman)
with Sibelius Violin Concerto

LM/LSC 2707
LM/LSC 2834
LM/LSC 2703

LM/LSC 2897
LM/LSC 2732

LM/LSC 2962

RIMSKY-KORSAKOV

Le Coq d'Or Suite
with Stravinsky The Firebird Suite

LM/LSC 2725

SCHUMANN

Symphony no. 4

with Beethoven Overture Leonore no. 3

LM/LSC 2701

Monaural records are prefixed LM; stereophonic LSC.

The Boston Symphony Orchestra
records exclusively for

@ The most trusted name in sound

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FUTURE PROGRAMS

Sixth Program

Friday afternoon 10 November at 2 o'clock
Saturday evening 1 1 November at 8.30

MOZART
WEBERN
BRUCKNER

Divertimento in D major K. 205
Variations op. 30
Symphony no. 7 in E major

Next week the Orchestra will play three contrasting works by Austrian
composers. The Mozart Divertimento is a delightful piece, with four
light, gay movements surrounding one of the composer's most beautiful
slow movements.

The works of the classic Viennese school of twelve-note composers are
an essential background to the understanding of the contemporary
musical scene, and the Variations of Webern is the second of these
pieces to be performed this season. The Variations, written in 1940, are
simple and direct and full of beautiful orchestral effects.

Bruckner's Seventh Symphony is the best known of his orchestral works.
The theme of the slow movement is one of the most exquisite in the
whole of the musical literature of the nineteenth century.

The concert on Friday will end at about 4.05
and at about 10.35 on Saturday

Seventh Program

Friday afternoon 17 November at 2 o'clock
Saturday evening 18 November at 8.30

HAYDN

Symphony no. 79 in F major

PROKOFIEV Piano Concerto no. 3 in C major

JOHN BROWNING

DVORAK Symphony no. 6 in D major

programs subject to change

BALDWIN PIANO
RCA VICTOR RECORDS

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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 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

THOMAS D. PERRY JR Manager

NORMAN S. SHIRK

Assistant Manager

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Press and Publicity

ANDREW RAEBURN

Program Editor

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Business Administrator

HARRY J. KRAUT

Assistant to the Manager

MARY H. SMITH

Executive Assistant

SYMPHONY HALL

BOSTON

MASSACHUSETTS

323

Hear the brighter side of Bruckner
performed by the Boston Symphony
Orchestra under Leinsdorf.

This is the Boston Symphony's first recording of Bruckner.
And the Fourth Symphony (the "Romantic") is an ideal
introduction to this 19th-century composer's genius.
This composition is happy . . . charming . . . and more spirited
than you might expect Bruckner to be. Hear it soon,
performed by the Bostonians under Leinsdorf.
In brilliant Dynagroove sound.

Bruckner/ Symphony No. 4 in E-Flat("/?omanfic")
Boston Symphony Orchestra/Erich Leinsdorf

7ki dutttxxat Ojf (hoUOiat

BOSTON SYMPHONY ORCHESTRA

ERICH LEINSDORF Music Director

CHARLES WILSON Assistant Conductor

FIRST VIOLINS

Joseph Silverstein
Concertmaster

SECOND VIOLINS

VIOLAS

Burton Fine
Reuben Green
Eugen Lehner
Jerome Lipson
Robert Karol
Akio Akaboshi*
Bernard Kadinoff
Vincent Mauricci
Earl Hedberg
Joseph Pietropaolo
Robert Barnes
Yizhak Schotten

CELLOS

Jules Eskin
Martin Hoherman
Mischa Nieland
Karl Zeise
Robert Ripley
John Sant Ambrogio
Luis Leguia
Stephen Geber
Carol Procter
Jerome Patterson
Ronald Feldman

BASSES
Henry Portnoi
William Rhein
Joseph Hearne
Bela Wurtzler
Leslie Martin
John Salkowski
John Barwicki
Buell Neidlinger
Robert Olson

FLUTES

Doriot Anthony Dwyer

James Pappoutsakis
Phillip Kaplan

PICCOLO

Lois Schaefer

OBOES

Ralph Gomberg

John Holmes
Hugh Matheny

ENGLISH HORN

Laurence Thorstenberg

CLARINETS

Gino Cioffi

Pasquale Cardillo
Peter Hadcock

E\) Clarinet

BASS CLARINET
Felix Viscuglia

BASSOONS

Sherman Walt

Ernst Panenka
Matthew Ruggiero

CONTRA BASSOON

Richard Plaster

HORNS

James Stagliano
Charles Yancich
Harry Shapiro
Thomas Newell
Paul Keaney
Ralph Pottle

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Armando Ghitalla
Roger Voisin

Andre Come
Gerard Goguen

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William Gibson

Josef Orosz
Kauko Kahila

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Harold Thompson
Arthur Press

Assistant Timpanist
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HARPS

Bernard Zighera
Olivia Luetcke

LIBRARIANS

Victor Alpert
William Shisler

STAGE MANAGER
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

325

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THE FUND FOR THE BOSTON SYMPHONY

Corporations are citizens too . . .

Byron K. Elliott, chairman of John Hancock Mutual Life Insurance
Company, says that leaders in business can no longer live in the
isolation of their ledger sheets. Their organizations must be involved
in larger issues and in the total environment from which they
draw sustenance.

A prominent part of the total environment in Boston is the Boston
Symphony Orchestra, and now, for the first time, the Orchestra asks
the support of the business community in a major capital effort, the
$5.5 million Fund for the Boston Symphony.

The one-to-two matching grant of $2 million by the Ford Foundation
is both opportunity and incentive for the Boston Symphony to raise
an additional $4 million from those whose lives have gained new
meaning through the music of the Orchestra. In addition, the Trus-
tees must raise about $1.5 million for refurbishment of Symphony
Hall and Tanglewood.

The corporate division of the Fund for the Boston Symphony is
headed by Henry B. Cabot, assisted by Allen G. Barry, Abram
Berkowitz, Richard Chapman, John L. Cooper, Harold D. Hodgkin-
son, E. Morton Jennings Jr, Henry A. Laughlin and Sidney R. Rabb.

Serving as an Advisory Council in planning the approach to area
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Kenneth J. Germeshausen, Eli Goldston, Richard R. Higgins, James
Jackson Jr, Alfred L. Morse, Stephen P. Mugar, Samuel L. Slosberg,
Alan Steinert and John I. Taylor.

The Committee has set a goal for corporations of one million dollars.
This will create a Corporate Fund to underwrite certain scheduled
activities of the Orchestra — Esplanade concerts for example —
which are provided at little or no expense to the public. In this way,
corporations can play a meaningful, vital role in the cultural life of
their community.

The Committee suggests that corporations consider as their mini-
mum pledge over the five years of The Fund for the Boston Symphony
a sum equal to fifty per cent of their annual gift to the Massachusetts
Bay United Fund. It is hoped that smaller companies will guide their
thinking by what The Boston Symphony Orchestra has meant to them
in attracting top level personnel.

327

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Contents

Program for November loand 11 1967

Future programs

Program notes

Mozart - Divertimento in D major K. 205
by James Lyons

Webern - Variations op. 30
by James Lyons

Bruckner - Symphony no. 7 in E major

by John N. Burk

The Conservatory's role in music education - Part 1

by Gunther Schuller

A member of the orchestra

331

381

332

344

354

368

375

329

"Gerald and I were discussing my money, Daddy,
and he has some really neat ideas . . . ."

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Possibly you know someone in your family whose portfolio could
benefit from this sort of professional attention. If so, send 'em round!

THE FIRST & OLD COLONY

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330

EIGHTY-SEVENTH SEASON 1967-1968

Sixth Program

Friday afternoon November 10 at 2 o'clock
Saturday evening November 1 1 at 8.30

ERICH LEINSDORF conductor

MOZART Divertimento in D major K. 205

Large - Allegro
Menuetto
Adagio
Menuetto
Finale: Presto

First performance at these concerts

WEBERN Variations op. 30

First performance by the Boston Symphony Orchestra

INTERMISSION

BRUCKNER Symphony no. 7 in E major

Allegro moderato

Adagio: Sehr feierlich und sehr langsam
Scherzo: Sehr schnell - Trio: Etwas langsamer
Finale: Bewegt, doch nicht schnell

The concert will end at about 4 o'clock on Friday
and at about 10.30 on Saturday

BALDWIN PIANO
RCA VICTOR RECORDS

331

Program Notes

WOLFGANG AMADEUS MOZART
Divertimento in D major K. 205
Program note by James Lyons

Mozart was born in Salzburg on January 27 1756, and died in Vienna on December 5

The Divertimento has been performed by the Boston Symphony Orchestra under
the direction of Erich Leinsdorf at Tanglewood on July 5 1963, and July 9 1967.
The instrumentation: strings, 2 horns and bassoon.

To a certain peregrinating Dr Browne, whose travel diary is dated 1684,
it was among the exotic delights of Vienna that 'not an evening passed
without one's hearing a Nachtmusik under our windows'. The good
doctor's astonishment is easily understandable, his journeys having long
antedated Baedeker's invention of the guidebook. From the corrobora-
tion of various contemporary sources, however, it would appear that
this sort of thing was even then a well-established Viennese custom. I
More to the point, who got serenaded apparently was not a consequence
of socioeconomic status. The documentation suggests that a drayman's

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daughter no less than a rich widow could expect to hear her charms
extolled in song from the other side of the casement. On the other
hand, this harmless minimum of democracy hardly could upset the
ecology of a sophisticated capital that had been a seat of empire since
Marcus Aurelius.

Matters were rather different in the provincial archbishopric of Salz-
burg, one hundred and sixty miles to the west and south — and
especially so as of 1772, when the nominally spiritual but in fact all-
pervasive autonomy over this jurisdiction was assumed by the repre-
hensible Hieronymus Joseph Franz von Paula, Bishop of Gurk and
Count of Colloredo ('to the general surprise and grief of the populace',
as one euphemistic account has it). There was plenty of music in the
air on festive occasions, but traditionally it belonged to the upper
classes and to the incumbent ecclesiastical princeling. The smithy and
the egg-chandler, unless they happened to be troubadours on the side,
did their wooing without benefit of song.

The young Mozart — being Mozart — more than once lavished his
genius on works prepared solely for the pleasure of not-so-affluent
neighbors. But most of his divertimenti, serenades, partitas, notturni,
cassations, and otherwise designated 'occasional' pieces were composed
on commission; and ordering music always has been a perquisite of
wealth (once that of individuals, and nowadays more often that of
foundations). So that the 'occasions' involved did include a proletariat
wedding, for instance; but sumptuous banquets or noble name-day
galas predominated.

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334

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THE EMPLOYERS' GROUP OF INSURANCE COMPANIES

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New England Regional Office, 40 Broad St., Boston, Mass.

335

Whatever the event, music was expected merely to add adornment.
Certainly it was not expected to divert attention from the more tangible
delectations of the table. To be sure, few performances of such servizio
di tavola ever could be heard to advantage above the chatter of guests
and the clatter of their refreshment rites; and that was the idea, for
this music was ordained not to complement social graces but to 'cover'
them. The rapt attentiveness that is a concomitant of modern concert
ritual did not become standard until relatively late in the evolution of
manners. Only with the dawning of the nineteenth century, and the
emergence of Beethoven, would the genus composer shed his livery and
take a seat 'above the salt' — in any prandial place of the nobility a
symbolic line of demarcation between the lower orders and the prop-
erly born. (And long after Mozart, too, came the impresarios who per-
ceived that mass chic was more predictable than aristocratic patronage;
to borrow a phrase from the argot of investment brokerage, music
would not 'go public' for many decades.)

In this perspective it is endlessly fascinating to observe the ease with
which Mozart geared his creativity to the imperatives of supply and
demand. On the external evidence not many of his acknowledged
masterworks sprang from innermost impulses. Excepting the piano
concertos and little else until his last years, he composed either C.O.D.
or in calculated anticipation of a sale. And yet the meanest of motiva-
tions did not diminish his artistry. Many of his commissioned pieces

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are as worthy of their author as the most profoundly personal of his
utterances. Surely that compliment is deserved by several of the
'occasional' works; Alfred Einstein singles out the K. 205 as a 'fore-
runner of this chamber music of the finest type. . . .'

How many times Mozart bent to his genius this loosely-defined genre
(part symphony, part suite, part Muzak), no one can say with assurance.
Some three dozen examples survive, the profusion of titles amounting
to a distinction without much difference. Only the divertimenti tend
to be set slightly apart by their relative uniformity of instrumentation:
each asks for horns and a proportionately augmentable string quartet
(with bassoon doubling the cello line in the K. 205).

All of these works are subsumed under the marvelously German rubric j
of U nter haltungsmusik, which might be translated as the eighteenth-
century equivalent of what one gets now from an innocuous supper-
club ensemble. In other words, the music is part of the total atmos-
phere and therefore not expendable; but at the same time it cannot be
heard above the din and is therefore not meant for careful listening.
'Background music' would be a somewhat less equivocal statement of
the original raison d'etre, but the term as it is presently understood
does not begin to delineate the plethora of felicities in this writing.
Mozart was truly the personification of a 'buyer's market' — his cus-
tomers invariably got more than they paid for, and their bargains got
them mentioned in history books, and two hundred years later their

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ORCHESTRA IS THE
JOHN HANCOCK-INSURED
GROUP WE MOST ENJOY
HEARING FROM.

"If anybody in this life insurance business can design
the right plan for you, it's probably us."

339

modest investments are still paying interest not to heirs and assigns
but to the whole world. The foregoing may not conform to classical
economics, but it does describe how uniquely sure a thing was any
transaction in which the producer was Mozart and the commodity was!
music. The consumer never lost.

Mozart was seventeen when he composed the K. 205. The exact date
is unknown, but the consensus places it in the summer of 1773. Much
has been made of a 'romantic crisis' in the young composer's life earlier
that year, while he was sojourning for the third and last time in his
beloved Italy. But this is conjecture. One defensible inference is that
what Einstein perceives as the 'great change' in Mozart's symphonic
style as of 1773 may be attributed to the pangs of adolescence. And it is
tempting to suggest a causal correlation between Mozart's leap forward
artistically and whatever may have happened in Italy that winter.
Still, no one can say what the latter might have been.

Nor is it fair to look for evidences of the symphonic 'great change' in
this Divertimento, which was cut from different cloth. Progress, yes,
and more mastery than we have any right to expect of a teen-ager even
if he is a Mozart. But a symphony represents quite another realm of
expression. The K. 205 is music for entertainment; if it holds any
secrets they have by now reverted to the composer by default. Einstein
tries to imagine its first performance 'in a candle-lit arbor. Here there |
could be no probing of depths; art must remain inconspicuous and I
must clothe itself in charm.' A candle-lit arbor, perhaps; but where?
Kochel says Salzburg. Einstein insists on Vienna, where Mozart pere

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hoped to talk the Empress Maria Theresa into a court appointment
for his son. In one of his letters from Vienna that August the elder
Mozart mentions a garden party at the Landstrasse home of Dr Anton
Mesmer, the celebrated hypnotist. That would have been a logical
setting for the premiere of this music, no matter where it had been
composed.

In addition, there is the fact that Vienna was just then enjoying a
heyday of street serenades. We learn from the Theater Almanac that
these 'do not, however, consist as in Italy or Spain of the simple accom-
paniment of a vocal part by a guitar or mandolin but of trios and
quartets (most frequently from operas) of several vocal parts, of wind
instruments, frequently of an entire orchestra, and the most ambitious
symphonies are performed. . . . No matter how late at night they take
place, one soon discovers people at their open windows and within a
few minutes the musicians are surrounded by a crowd of listeners who
rarely depart until the serenade has come to an end.'

One fancies that the K. 205 would have drawn a pretty sizable audience
under these circumstances. Italophiles would have reveled in its deli-
cious simulation of opera buffa. Both of its Minuets would have
elicited cheers, the first for the canonic richness of its Trio and the
second for its delightfully mock-pompous horn parts. And the whole
work might have told its listeners, had they known what we know, that
Mozart was just about to take leave of la galanterie — that special
amalgam of glister and gold he compounded so well — and thenceforth,
beginning with the G minor Symphony of later that year, to work more
and more intensely with those powerful new elements which were his
alone to mingle. Georges de Saint-Foix asks the question for which
there is no adequate answer: 'whence do all these arise if not from
the very depths of Mozart's soul?'

342

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343

ANTON (VON) WEBERN

Variations for Orchestra op. 30
Program note by James Lyons

Webern was born in Vienna on December 3 1883, and died in Mittersill, Austria on
September 15 1945.

The instrumentation: flute, oboe, clarinet in B flat, bass clarinet, horn, trumpet,
trombone, tuba, timpani, celesta, harp and strings.

Igor Stravinsky has not been noted for cordiality (nor even courtesy) in
his evaluation of co-professionals. But of at least one contemporary
composer Stravinsky has never spoken a splenetic word: to the con-
trary, he has had only the warmest praise for the works of Webern —
'dazzling diamonds' is his estimate.

The analogy is all too accurate. Whatever the multum in this music it
is very much in parvo. Except for some youthful 'pre- Webern Webern'
and a handful of arrangements, his catalogue comprises thirty-one
entries. They average less than six minutes in length, and in the aggre-
gate their performance would involve an elapsed time of something
under three hours. Ironically, this extraordinary succinctness has not
facilitated public popularity for any of these works. But tastes change,
and today a whole generation of young musicians is lending its advo-
cacy to the belated recognition of this tragic genius — this 'threshold'
of modernism, as Pierre Boulez has described him, whose destiny was
to react against all inherited rhetoric 'in order to rehabilitate the
powers of sound'.

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But for his premature death, apparently at the hands of a trigger-happy
American soldier of occupation who mistook him for a black-marketeer
(Hans Moldenhauer has devoted a whole book to this episode),
Webern's life had been undramatic. A native of Vienna, scion of a
noble old Tyrolean landowning family, he had started out to be a
musicologist; and indeed his dissertation was a study of Heinrich
Isaac's Ch oralis Constantinus. But even then he had passed the crucial
turning point; as early as 1904 he had begun to study privately with
Arnold Schoenberg (having first applied to, and been rejected by, the
reactionary Hans Pfitzner!), and no guru ever had a more unwavering
disciple.

Whatever his private creative path, Webern subsequently made a
modest mark as a conductor and teacher. But the Nazi annexation of
Austria dealt a quietus to his career; under the 'new order' his God-in-
nature, devoutly Roman Catholic mysticism was anathema. There
was to be no more conducting, no more teaching. To escape the slave
labor camps Webern was reduced to the ignominy of being a proof-
reader for his former publisher. And his music was declared to be
'inimical to the State' — which is to say that it was banned.

These were the conditions under which Webern composed, in 1940,
his Variations for Orchestra. He heard the music only once, in 1943,
when he somehow secured permission to attend a performance under
Hermann Scherchen in the Swiss industrial city of Winterthur, near
Zurich. It was the first time he had heard a note of his music at a 'live'
concert for some five years. It was also the last time.

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Toward the end of World War II the composer fled Vienna and sought
refuge in the home of his daughter and son-in-law at Mittersill, a
picturesque town in the Pinzgau, southwest of Salzburg. And there,
one fateful evening five months after peace had returned to Europe,
Webern stepped outside to smoke before retiring. A few minutes later
he was dead.

In approaching the op. 30 it is obligatory to cite from a detailed letter
about it written by the composer on May 3 1941 to his friend Willi
Reich. The standard English translation of this document, by Leo
Black, is appended to the Theodore Presser edition of Webern's lec-
tures. The following passages are relevant: 'I should like very briefly
to tell you a little about the work, so that you have an effective counter
to possible objections and can throw at least a certain amount of
light. . . .

'Won't the reaction when they first see the score be "Why, there's
'nothing there' "!!! Because those concerned will miss the many, many
notes they're used to seeing, in R. Strauss, etc. Correct! But that in
fact touches on the most important point: it would be vital to say that
here (in my score) there is indeed a different style. Yes, but what sort?
It doesn't look like a score from before Wagner either — Beethoven,
for instance, nor does it look like Bach. Is one to go back still further?
Yes — but then orchestral scores didn't yet exist!

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'But it should still be possible to find a certain similarity with the type
of presentation that occurs in the Netherlanders. So, something
"archaistic"? Like Josquin orchestrated? The answer would have to
be an energetic "no"!

'. . . What kind of style, then? I believe, again, a new one. Exactly
following natural law in its material, as the earlier, preceding forms
followed tonality; that's to say, building a tonality, but one that uses
the possibilities offered by the nature of sound in a different way,
namely on the basis of a system that does "relate only to each other"
(as Arnold [Schoenberg] has put it) the 12 different notes customary in
Western music up to now, but doesn't on that account . . . ignore the I
rules of order provided by the nature of sound — namely the relation-
ship of the overtones to a fundamental. . . .'

The composer then explicates the serial structure of his op. 30, which
is based on the following tone row: A, B flat, D flat, C / B, D, E flat,
G flat / F, E, G, A flat. It may be helpful for the listener to know that
these subdivided segments are introduced respectively by the double
bass, oboe, and muted trombone.

Webern's letter continues: 'The "theme" of the Variations extends to
the first double bar; it is conceived as a period, but is "introductory" in
character. Six variations follow (each one to the next double bar). The
first bringing the first subject (so to speak) of the overture (andante-

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form), which unfolds in full; the second the bridge-passage, the third
the second subject, the fourth the recapitulation of the first subject —
for it's an andante form!— but in a developing manner, the fifth,
repeating the manner of the introduction and bridge-passage, leads to
the Coda; sixth variation.

'Now everything that occurs in the piece is based on the two ideas
given in the first and second bars (double bass and oboe!). But it's
reduced still more, since the second shape (oboe) is itself retrograde;
the second two notes are the cancrizan [Latin for retrograde, denoting
the backward reading of a melody; literally, crablike motion] of the
first two, but rhythmically augmented. They are followed, on the
trombone, by a repetition of the first shape (double bass), but in
diminution! And in cancrizan as to motives and intervals. That's how
my row is constructed — it's contained in these thrice four notes.

'But the succession of motives takes part in this cancrizan, though with
the use of augmentation and diminution! These two kinds of variation
now lead almost exclusively to the various variation ideas; that's to
say motivic variation happens, if at all, only within these limits. But
through all possible displacements of the centre of gravity within the
two shapes there's forever something new in the way of time-signature,
character, etc. Simply compare the first repetition of the first shape
with its first form (trombone or double bass!). And that's how it goes
on throughout the whole piece, whose twelve notes, that's to say the
row, contain its entire content in embryo! . . .'

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ANTON BRUCKNER
Symphony no. 7 in E major

Program note by John N. Burk

Bruckner was born in Ansfelden in Upper Austria on September 4 1824, and died
in Vienna on October 1 1 1896.

He composed the Seventh Symphony in the years 1882 and 1883. The first perform-
ance was at the Stadttheater in Leipzig with Arthur Nikisch conducting, on Decem-
ber 30 1884. It was introduced in Vienna by Hans Richter on March 21 1886.

The first performance in the United States was in Chicago by the orchestra of
Theodore Thomas on July 29 1886. The first performance in Boston was at a Boston
Symphony concert led by Wilhelm Gericke on January 5 1887. The most recent
performances in their series were on January 10 and 11 1964, with Erich Leinsdorf
conducting.

The instrumentation: 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 3 trombones,
4 Wagner tubas, bass tuba, timpani, cymbals, triangle and strings.
The score is dedicated to King Ludwig II of Bavaria.

The Seventh Symphony was the direct means of Bruckner's general
(and tardy) recognition. For years he had dwelt and taught in Vienna
under the shadow of virtual rejection from its concert halls. In this
stronghold of anti-Wagnerism there could have been no greater offense
than the presence of a symphonist who accepted the tenets of the
'music of the future' with immense adoration. Bruckner, with his
characteristic zeal to which nothing could give pause, composed sym-
phony after symphony, each bolder and more searching than the last.

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On December 29 1884, Hugo Wolf, the intrepid Wagnerian, asked
the rhetorical question: 'Bruckner? Bruckner? Who is he? Where
does he live? What does he do? Such questions are asked by people
who regularly attend the concerts in Vienna.'

The answer came from Leipzig, where, on the next day, a young
enthusiast and ex-pupil of the sixty-year-old Bruckner gave the Seventh
Symphony its first performance. The place was the Stadttheater; the
conductor Arthur Nikisch. It was one of his flaming readings — an
unmistakable act of revelation which the audience applauded for
fifteen minutes. As Bruckner took his bows, obviously touched by the
demonstration, one of the critics was moved to sentiment: 'One could
see from the trembling of his lips and the sparkling moisture in his
eyes how difficult it was for the old gentleman to suppress his deep
emotion. His homely but honest countenance beamed with a warm
inner happiness such as can appear only on the face of one who is too
good-hearted to succumb to bitterness even under the pressure of most
disheartening circumstances. Having heard his work and now seeing
him in person, we asked ourselves in amazement, "How is it possible
that he could remain so long unknown to us?" '

The symphony of the hitherto almost unknown Bruckner made a
quick and triumphant progress. Hermann Levi gave it in Munich
(March 10 1885) and made the remark that this was 'the most signifi-
cant symphonic work since 1827/ An obvious dig at Brahms, who had
lately made some stir in the world with three symphonies. Karl Muck,
another youthful admirer of Bruckner, was the first to carry the sym-
phony into Austria, conducting it at Graz. Even Vienna came to it
(a Philharmonic concert led by Richter, March 21 1886). Bruckner
tried to prevent the performance by an injunction, fearing further
insults, but the success of the work drowned out the recalcitrant minor-
ity. Even Dr Hanslick was compelled to admit that the composer was

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'called to the stage four or five times after each section of the sym-
phony/ but he held out against the music with the stubbornness of a
Beckmesser, finding it 'merely bombastic, sickly, and destructive.'

When the Seventh Symphony was introduced to Vienna, it had become
a sort of obligation upon the composer's adopted city. Sensational
reports of some of the performances elsewhere reminded Vienna that
the composer they had hardly noticed through the years was being
discovered as a symphonist to be reckoned with. Thus Bruckner was
for the first time included in the subscription programs of the Vienna
Philharmonic Orchestra. Circumstances were otherwise unfavorable,
for the Wagner haters were necessarily Bruckner haters, and a success
such as the new Symphony had had in Leipzig, Munich and Graz could
not be countenanced.

The concert began at 12.30 (What was lunchtime in Vienna?) and
traversed an overture by Mehul and a piano concerto of Beethoven
before the audience was subjected to the difficult new work. It was
evident when the first movement had ended that the audience had
passed judgment in advance and that that judgment was not undivided.
There were demonstrations of applause, but also many departures.
After the long adagio and after the scherzo both the applause and the
exodus increased. At the end Bruckner was called out four or five
times. He beamed with joy and made short and awkward bows, mur-
muring 'Kuss d'Hand, Kuss d'Hand.' A laurel wreath was presented
by the Wagner- Verein. At a Fest-Bankett given in the Spatenkeller by

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that Society, Hans Richter admitted in a congratulatory speech that he
had approached the new Symphony with mistrust which was replaced
by glowing enthusiasm, a feeling snared by every player from the con-
certmaster to the timpanist as they had given the best they knew in the
performance. Bruckner shed tears when he was presented with a bust
of his god, Richard Wagner. A telegram from Johann Strauss Jr was
read: 'Am much moved — it was the greatest impression of my life.'

Bruckner's Christmas was more blissful than his New Year's holiday.
On December 30, the enemy descended. Dr Hanslick led the pack.
His review in the Neue Freie Presse was short and to the point. His
tactic was to minimize the applause and exaggerate the hostile demon-
stration. He referred to the Symphony as the 'piece de resistance' of
the concert, dragging in this un-Germanic phrase in order to add:
'The audience snowed very little resistance indeed, for many made
their escape after the second movement of this symphonic monster-
snake (Riesenschlange'); a mob departed after the third, so that at
the end only a small proportion of the listeners were left in a group.
This courageous Bruckner legion applauded and cheered, but with
the weight of a thousand. It has never happened that a composer has
been called out four or five times after each movement. Bruckner is
the newest idol of the Wagnerians. One cannot rightly say that he has
become the fashion, for the public would never accept such a fashion —
But Bruckner has become a stronghold, and the "second Beethoven," an
article of faith of the Wagner-Gemeinde. I frankly admit that I can
scarcely give a right judgment on Bruckner's Symphony, so unnatural,
overblown, wretched and corrupt does it appear to me. As every

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greater work of Bruckner has inspired spots, interesting and even
beautiful places — between these flashes are stretches of impenetrable
darkness, leaden boredom and feverish agitation. One of the most
unregenerate [most anti-Wagnerian?] musicians of Germany writes me
in a letter, saying that Bruckner's Symphony is like the bewildered
dream of a player who has just survived twenty Tristan rehearsals.
That I would call valid and to the point.'

Max Kalbeck and Gustav Dompke fell in line, as was to be expected,
and tried to out-Beckmesser their master. Dompke waited until March
30 to deliver his piece of what Max Auer calls 'journalistic rascality'
i^Lausbuberei') in the Wiener Allgemeine Zeitung. Unlike Hanslick,
who had protected himself by admitting that the Symphony had a few
acceptable moments, Dompke tore it apart bit by bit. One phrase
summed it up: 'Bruckner composes like a drunkard.' Kalbeck leveled
his lance higher, against Bruckner's artistic integrity, this on April 3,
and at even greater length. A tone of ironic humor did not sit grace-
fully upon the destined ponderous biographer of Brahms.

There were favorable reviews. Dr Hans Pachstein, Dr Theodor Helm,
and even Dr Robert Hirschfeld, who was pledged to Brahms, raised an
opposing voice in the newspapers, demonstrating that the Pope-Critic
Hanslick was not infallible after all.

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In the general Gemiltlichkeit of the post-concert banquet Hans Richter
vouched for the eagerness of the Wiener Philharmoniker to be the first
to perform each further new symphony of Bruckner. They did indeed
introduce the Eighth, in 1892, and again under Richter, but did not
repeat it until sixteen years later. The Seventh did not have a second
performance at the Philharmonic concerts while the composer lived,
nor did the Ninth get performed there until Muck brought it out in
1906, ten years after the composer's death. The venerable orchestra and
its city have since made the best possible amends for their neglect.

On Wagner's death, February 13 1883, the Adagio was at once asso-
ciated with his memory, although this movement had been completed
in October 1882. The biographers refer to this as the Adagio of
'premonition,' and indeed Bruckner welcomed the connection between
this poignant movement and the memory of the 'great Master.' He
wrote to Felix Mottl about a coming performance in Karlsruhe, in
1885, mentioning in connection with the Adagio: 'Funeral music for
tubas and horns' and 'Please take a very slow and solemn tempo. At
the close in the dirge (in memory of the death of the Master), think of
our Ideal! — Kindly do not forget the /// at the end of the Dirge.'

The first movement opens with a solemn theme from the cellos and
horns, rising in its opening phrase through a chord of two octaves.
Accompanying the theme is a continuous tremolo by the violins, a
device which is to pervade the first and last movements and which,
derived from Wagner, aroused considerable scorn on the part of the
composer's pure-minded opponents (this was what Hanslick called
'fieberhafte Uberreizung'). The second principal theme is quiet and
more flowing, with a characteristic gruppetto. In the considerable
development both themes are inverted, with the fortunate result that
each sounds quite natural in its new shape. The ascending nature of
the opening becomes more placid in its descending form.

The long adagio has been associated with the memory of Richard
Wagner, the master whose death on February 13 1883 occurred just
three months after the completion of the first draft. The whole score

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was completed before the year had ended. This movement was con-
nected in the composer's mind with his own religious music. Thematic
quotations from his Te Deum and from his Mass in D minor have been
pointed out. Bruckner was also influenced by the slow movement of
Beethoven's Ninth Symphony, for the general form is similar. Two
alternating sections, the first very slow and the second with more
motion. The first section, somber and deeply felt, is followed by a
moderato which is a flowing cantilena in triple time. The first part
recurs, and then briefly the alternate moderato theme. The first section
is finally repeated and brought to a new sense of urgency with an accom-
paniment of rising string figures to a climax in triple forte. The
coda which follows recedes to pianissimo but reaches an ultimate point
of expression. Bruckner uses a supplementary quartet of Wagnerian
tubas in this Symphony for the first time, in the 'Sehr feierlich und
sehr langsam' portions and in the grandeur of the final movement.

The scherzo is based on an incessant rhythmic figure which is relieved
by a trio in slower tempo and melodic rather than rhythmic in charac-
ter. The da capo is literal.

The finale again uses the full brass choir and carries the Symphony
to its greatest point of sonority. The opening theme has a resemblance
to the opening of the first movement, rising arpeggios with a new
rhythmic accent which gives it a new character of propulsion. The
movement has an extended development with new thematic episodes,
and builds to a fortissimo close.

The considerable controversy in the quest of the 'original Bruckner'
has been applied to the Seventh, if in lesser degree than to the Eighth
and Ninth Symphonies. The prolonged argumentation need hardly
bother the general listener, for it is mostly concerned with passing mat-
ters of orchestration, particulars which would never be noticed except
by a conductor who had studied the score or a trained musician follow-
ing the score with a careful eye. Bruckner went over his Seventh with
young zealots like Nikisch or Schalk in a piano reduction or in rehear-
sal; he respected their practical experience and was inclined to benefit
by it. Their suggestions did not disturb the composer's fundamental
conception of the music; about details or orchestration he was always
open to suggestion. In this situation the 'authentic' could only mean
the 'original' version, which the composer was often quite ready to alter.

At today's performance Erich Leinsdorf uses the edition of Leopold
Nowak, which is based on the original manuscript in the Music Col-
lection of the Austrian National Library. The distinction between
what Bruckner originally wrote and what he changed after the first
performance is clear, and Professor Nowak generally prefers the second
version of the composer's manuscript, which carries several additions
in hands other than Bruckner's. But various letters, particularly those
of Josef Schalk to his brother Franz and of the composer himself to
Arthur Nikisch, show that they were made at Bruckner's verbal instruc-
tions. Composers have often made changes in their original scores after
the first performance — indeed part of the first recording of Vaughan
Williams' Sixth Symphony was withdrawn for the composer's revisions
to be incorporated in a second version.

366

jlowcome all
the music-lovers
[ire reading
rhe Globe

these days:

w ^°

hae\

Ste^

The Conservatory's role in music education - Part 1
by Gunther Schuller

Next Thursday Gunther Schuller will be
inaugurated as the ninth president of the
New England Conservatory of Music, and
to salute him and the Conservatory itself,
which has many members of the Boston
Symphony Orchestra on the faculty, we re-
print this week and next a slightly abridged
version of the address Gunther Schuller
delivered at the Conservatory's Centennial
Dinner earlier this year.

The Orchestra has performed Schuller's Diptych and Seven studies on
themes of Paul Klee (which it has also recorded for RCA), and mem-
bers of the Berkshire Music Center, where he is Head of Contemporary
Music activities, have performed many of his other works at Tangle-
wood. One of the leading composers in the United States, Gunther
Schuller has recently had great success in San Francisco with his first
opera The Visitation, which he conducted himself. He is also a distin-
guished french horn player and has written books and articles about
horn technique, jazz and 'third stream music', a term he himself origi-
nated in reference to music combining the 'contemporary classical'
and avant-garde jazz idioms.

The Conservatory is a very special kind of musical institution in our
society, a society which moreover is undergoing far-reaching cultural
and esthetic changes. The Conservatory has — or was intended to
have — a very special function in the musical community. Its very
name — conservatory — indicating a place where something is to be
conserved, presents the educator with a major problem; namely, how
to reconcile the conservatory's basically conservative, tradition-perpet-
uating function with its other obligation to constantly re-evaluate those
traditions lest the conservatory become merely a museum. Conserva-

368

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tories have always had to grapple with containing these essentially
opposite attitudes, but perhaps never has it been so difficult to strike a
rational balance in these respects as in the 20th century, when more
things have happened at a faster rate than ever before, and when vast
social, economic and cultural changes have precipitated an esthetic
tug of war which shows no signs of abating.

Whereas in earlier days conservatories were institutions with a well-
defined function in a relatively stable cultural society, today after a
half a century of (literally speaking) earth-shaking scientific advances
and cultural explosions of one kind or another, we have arrived at a
situation which in the mildest terms must be described as being in a
state of flux. As a result the conservatory's role has become less-defined,
and indeed, many would have us believe that its position has become
very precarious.

Conservatories are threatened in two ways today. One is largely eco-
nomic, in that it is becoming increasingly difficult, given the infla-
tionary tendencies of our times, to be an independent operation — just
as it is increasingly difficult to be or remain a small businessman. We
all know what the pressures of big business on small business can be
and how unequal the competition between the two is. In the overall
set-up of educational institutions, compared to the giant universities,
a conservatory is indeed a small business operation.

The second reason conservatories are threatened is that in the wildly
fluctuating sociological and cultural patterns of our day, the conser-
vatory's traditional function has been questioned. In the days when it
was thought of as the unique supplier of talent for symphony orchestras

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and faculties for other conservatories, this problem did not exist.
There was a certain very specific demand, for which the conservatories
produced a very specific supply, and in the process, certain — again —
well-defined traditions were perpetuated and handed down from gen-
eration to generation.

But today, the universities compete with us conservatories in this same
area on a scale that could not have been imagined fifty years ago.

Moreover, institutions like the symphony orchestra are themselves
undergoing changes, and some people go so far as to say that the
symphony orchestra's survival in our changing world is also a precarious
one. There are those who feel that the future of the symphony orches-
tra depends on whether it can adjust to the demands made upon it by
a radically changing musical repertoire. There are others who feel that
the symphony orchestra and the opera house should ignore all that and
become museum-like repositories for preserving the old traditions.
This is, for example, Mr Rudolph Bing's point of view. Another leader
of the musical community, Leonard Bernstein, says flatly that symphony
orchestras can no longer cope with contemporary music, since compo-
sitional styles and conceptions have become so complex as to place the
orche just such criteria in mind.

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FUTURE PROGRAMS

Seventh Program

Friday afternoon November 17 at 2 o'clock
Saturday evening November 18 at 8.30

ERICH LEINSDORF conductor

HAYDN Symphony no. 79 in F major

PROKOFIEV Piano concerto no. 3 in C major

JOHN BROWNING

DVORAK Symphony no. 6 in D major

There is no record of Haydn's Symphony no. 79 having ever been per-
formed in Boston, and next week's performance may possibly be a
premiere in the United States. Haydn, like Handel, is a composer to
whom extravagant lip service is paid, but only a small number of his
compositions is generally performed. Later in the season Mr Leinsdorf
will present two of Haydn's other less known symphonies.

John Browning, one of the most talented pianists of his generation,
returns to Symphony Hall to play Prokofiev's most popular piano
concerto. A recording will be made soon afterwards by RCA Victor in
continuation of the successful series of Prokofiev records by Erich
Leinsdorf and the Orchestra.

Dvorak wrote his Sixth Symphony, which used to be known as the
First, at the time when his genius had been recognized and when the
material conditions of his life were greatly improved. His happiness
and serenity are reflected in this masterpiece, strangely less often played
than others of his major works.

The concert will end at about 4 o'clock on Friday
and at about 10.30 on Saturday

! I

I ! I

Eighth Program

Friday afternoon November 24 at 2 o'clock
Saturday evening November 25 at 8.30

ERICH LEINSDORF conductor

BEETHOVEN Fidelio - Overture

Violin concerto in D major

JOSEPH SILVERSTEIN

Symphony no. 5 in C minor
programs subject to change

BALDWIN PIANO
RCA VICTOR RECORDS

381

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KATE FRISKIN

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CAMBRIDGE, MASSACHUSETTS

ELiot 4-3891

RUTH SHAPIRO

PIANIST • TEACHER

1728 Beacon Street

Brookline, Massachusetts

Telephone RE gent 4-3267

382

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present in the 1967-68 Boston University

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FOUNDED IN 1881 BY
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EIGHTY-SEVENTH SEASON 1967-1968

Exquisite
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From the palace

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from all peoples and a]

countries. Through thi

passage of time man;

changes have been mad

in the original design. Th

early instruments shown ii

drawings on the tomb

Rameses II (1292-1225 B.C.

were richly decorated bu

lacked the fore-pillar. Late

the "Kinner" developed by th

Hebrews took the form as w

know it today. The pedal har

was invented about 1720 by

Bavarian named Hochbrucker an

through this ingenious device it be

came possible to play in eight majo

and five minor scales complete. Toda;

the harp is an important and familia

instrument providing the "Exquisit

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to modern orchestration and arrange

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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 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

THOMAS D. PERRY JR Manager

NORMAN S. SHIRK

Assistant Manager

SANFORD R. SISTARE

Press and Publicity

ANDREW RAEBURN

Program Editor

JAMES J. BROSNAHAN

Business Administrator

HARRY J. KRAUT

Assistant to the Manager

MARY H. SMITH

Executive Assistant

SYMPHONY HALL

BOSTON

MASSACHUSETTS

387

Qf^

\ C\ i

Browning

"Golden Boy in a Golden Age of Pianists"

Life

In this, the latest Red Seal album in a growinj
series of Prokofieff recordings by the
Boston Symphony under Leinsdorf, John
Browning performs two very different works
These concertos were both composed over
fifty years ago, but are still very modern and
distinctly from each other— one simple and
melodic, the other intricate and fiendishly difi
to play. This album is a thoroughly exciting ;
example of Browning's art. In Dynagroove sod

PROKOFIEFF ■*»
PIANO CONCERTOS N0S.1 AND 2

JOHN BROWNING
BOSTON SYMPHONY ORCHESTRA
_ ERICH LEINSDORF

RCAVlCTOR

©The most trusted name in sound

BOSTON SYMPHONY ORCHESTRA

ERICH LEINSDORF Music Director

CHARLES WILSON Assistant Conductor

FIRST VIOLINS

Joseph Silverstein
Concertmaster

SECOND VIOLINS

VIOLAS

Oij Burton Fine
Reuben Green
Eugen Lehner
Jerome Lipson
Robert Karol
Akio Akaboshi*
Bernard Kadinoff
Vincent Mauricci
Earl Hedberg
Joseph Pietropaolo
Robert Barnes
Yizhak Schotten

CELLOS

Jules Eskin
Martin Hoherman
Mischa Nieland
Karl Zeise
Robert Ripley
John Sant Ambrogio
Luis Leguia
Stephen Geber
Carol Procter
Jerome Patterson
Ronald Feldman

BASSES
Henry Portnoi
William Rhein
Joseph Hearne
Bela Wurtzler
Leslie Martin
John Salkowski
John Barwicki
Buell Neidlinger
Robert Olson

FLUTES

Doriot Anthony Dwyer

James Pappoutsakis
Phillip Kaplan

PICCOLO

Lois Schaefer

OBOES

Ralph Gomberg

John Holmes
Hugh Matheny

ENGLISH HORN

Laurence Thorstenberg

CLARINETS

Gino Cioffi

Pasquale Cardillo
Peter Hadcock

E\) Clarinet

BASS CLARINET
Felix Viscuglia

BASSOONS

Sherman Walt

Ernst Panenka
Matthew Ruggiero

CONTRA BASSOON
Richard Plaster

HORNS

James Stagliano
Charles Yancich
Harry Shapiro
Thomas Newell
Paul Keaney
Ralph Pottle

TRUMPETS

Armando Ghitalla
Roger Voisin

Andre Come
Gerard Goguen

TROMBONES

William Gibson

Josef Orosz
Kauko Kahila

TUBA

Chester Schmitz

TIMPANI

Everett Firth

PERCUSSION

Charles Smith
Harold Thompson
Arthur Press

Assistant Timpanist
Thomas Gauger

HARPS

Bernard Zighera
Olivia Luetcke

LIBRARIANS
Victor Alpert
William Shisler

STAGE MANAGER
Alfred Robison

i ! I

WILLIAM MOYER Personnel Manager

*members of the Japan Philharmonic Symphony Orchestra participating in
a one season exchange with Messrs George Humphrey and Ronald Knudsen

389

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these Pianists . .

JOHN BROWNING

RITA BOUBOULIDI
MALCOLM FRAGER
GARY GRAFFMAN
GRANT JOHANNESEN
LILIAN KALLIR

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THE FUND FOR THE BOSTON SYMPHONY

The Fund for the Boston Symphony now stands at just over $3 mil-
lion in its campaign for $5.5 million. The table shows what has been
accomplished, and what must still be done:

Gifts needed

Range

Gifts received

$500,000-1,000,000

300,000 - 499,999

150,000-249,999

50,000-149,999

10,000-49,999

200

1,000-9,999

278

1,750

100-999

210

2,500

Under $100

779

Every major orchestra in the country is campaigning for funds to
match its own Ford Foundation challenge grant. Several individuals
have already made extraordinarily generous donations, which show
how highly they regard their own orchestra.

an anonymous gift of $1 million, two gifts of
$500,000 each and ten gifts between $100,000
and $500,000 opened their campaign.

a single $2,000,000 gift to guarantee the success
of their effort.

a gift of $1.34 million to help build an outdoor
center for summer concerts.

a $1 million gift to launch its Ford campaign.

a single donation of $250,000 in 'the hope . . .
that this gift . . . will stimulate other significant
gifts to the Endowment Fund'.

a gift of $1.75 million and land for the construc-
tion of an amphitheatre.

Minneapolis a $500,000 gift to name the concertmaster's chair.

If others can do it/ says Philip K. Allen, general chairman of the
Fund for the Boston Symphony, 'we surely can too — and we will.
Warmest thanks to those who have already given. I ask those who
have yet to give, or who feel that they can increase their contribu-
tion, to let their gift be thoughtful and generous, and a measure of
the regard in which they hold this magnificent musical organization/

New York

Indianapolis

Cleveland

St Louis
Denver

Washington

391

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392

Contents

Program for November 17 and 18 1967
Future programs

Program notes by James Lyons
Haydn - Symphony no. 79
Prokofiev - Piano concerto no. 4
Dvorak - Symphony no. 6

The Conservatory's role in music education - Part 2
by Gunther Schuller

The soloist

A member of the orchestra

395
445

406
418

434

443
443

393

This man is a dreadful lawyer

In fact, he's no lawyer at all. But that didn't stop him from writing
his own Will. (Why not save the legal fees? thought he.)

The cost will be enormous.

For example, when he dies, his estate will dwindle under taxes
that a well-drawn Will can avoid.

Worse — a good part of what's left after taxes, claims and settle-
ment costs may well end up in the wrong hands.

It's so easy to have your Will drawn by a lawyer . . . and so ex-
pensive, so wasteful, so downright unfair to your heirs not to!

See your lawyer about your Will. Keep it up to date. Maybe there
will be a place for us in the picture, as executor or trustee.

THE FIRST & OLD COLONY

The First National Bank of Boston and Old Colony Trust Company

394

EIGHTY-SEVENTH SEASON 1967-1968

Seventh Program

Friday afternoon November 17 at 2 o'clock
Saturday evening November 18 at 8.30

HAYDN

Symphony no. 79 in F major

Allegro con spirito

Adagio cantabile — un poco allegro

Menuetto: allegretto

Finale: vivace

First performance in Boston

i 1

PROKOFIEV Concerto for piano and orchestra no. 4 in
B flat major op. 53 for the left hand

Vivace
Andante
Moderato
Vivace

JOHN BROWNING

First performance by the Boston Symphony Orchestra

INTERMISSION

DVORAK Symphony no. 6 in D major op. 60

Allegro non tanto

Adagio

Scherzo (Furiant) : presto — Trio

Finale: allegro con spirito

Mr Browning plays the Steinway Piano

The concert will end at about 4 o'clock on Friday
and at about 10.30 on Saturday

BALDWIN PIANO
RCA VICTOR RECORDS

395

Program Notes

by James Lyons

FRANZ JOSEPH HAYDN
Symphony no. 79 in F major

Haydn was born in Rohrau on March 31 1732, and died in Vienna on May 31 1809.
The instrumentation: flute, 2 oboes, 2 bassoons, 2 horns and strings.

Perhaps fortunately, we cannot as yet quantify the growth of artistic
genius, nor meaningfully correlate it with any other variable. The bell-
shaped curve and all the other apparatus of social science have no
predictive value with this highly select population; there are no
parameters, no standard deviations. Above all, there is no calculating
the interaction effects of a creative impulse and its environment (the
effects of heredity per se being something else again — if a Schubert
could die at thirty-one, what can the actuaries make of a Verdi, whose
greatness was not manifest until the threshold of his eighties?).

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The profound effects of Haydn upon Mozart and vice versa were re-
peatedly acknowledged by both, but the numbers involved can be
misleading in the extreme. It is true enough, for example, that Haydn
had composed seventy symphonies as of his first encounter with Mozart
(1781), whereas the latter, half his age, had composed half as many
symphonies. But it is only a little more relevant, and hardly 'signifi-
cant' in the statistical sense, that Haydn was twenty-five or thereabouts
when he wrote his no. 1, whereas Mozart was eight! Obviously each
responded to a very different homeostasis. And obviously we might
never have heard of Haydn if death had come to him at thirty-five, as
it would to Mozart.

In short, everyone knows that the emergence of a creative genius will
proceed more or less inexorably at its own pace in each unique instance,
life expectancy notwithstanding. That is the genetic imperative. What
is infinitely more arresting in the case of Haydn vis-a-vis Mozart —
viewed as you prefer from the perspective of aesthetics, probability
theory, Zeitgeist, or psychology — is that each was literally ready for
and incredibly responsive to the diametric influence of the other.

This phenomenon has not gone unnoticed, although its ramifications
have received rather short shrift. Delimited for annotative purposes,
no one has put it in sharper focus than the unavoidable Tovey: 'The
mutual influence of Haydn and Mozart is one of the best-known won-
ders of musical history [and one of the least-explored, he might have
added]; and the paradox of it is that while its effect on Mozart was to

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concentrate his style and strengthen his symmetry, the effect on Haydn
was to set him free. . . .' Otherwise stated, Mozart in his mid-twenties
needed to discipline his inexhaustible resource and Haydn was his
model; Haydn at fifty had developed an absolutely total mastery of the
orchestra and was now ready to 'let go' expressively.

As to Haydn it is not difficult to document this proposition on the
internal evidence. But scores are only mute evidence. The problem is
'world enough and time', for the very vastness of his output militates
against real familiarity. Even with the advent of long-playing records
it is a rare listener who can claim acquaintance with more than, say,
two dozen of his one hundred and four authenticated symphonies.
Tovey's estimate that some forty 'splendid' examples of this genre are
'wholly inaccessible except to researchers' is now somewhat modifi-
able — but not much. It could be said today, as he said decades ago,
that the many middle and late-middle Haydn symphonies not known
to us constitute 'the biggest lacunae that yet remain in our public
representation of the main stream of music'.

The Symphony no. 79, dating from either 1783 or 1784, provides a case
in point. It is not recorded, apparently never has been; and the present
performances seem to be the first in the United States. But the esti-
mable Karl Geiringer has noted long since that its opening movement
'deserves special attention' for its resumption of development even in
the recapitulation — a Haydnesque unorthodoxy of the sort that may
be encountered in any number of his symphonies.

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Alfred Einstein once remarked that the 'chief characteristics of thi
middle symphonies of Haydn are found in their incredible originalit
of invention. This does not imply any criticism of the later so-callec
Paris and London symphonies. . . . But the middle period symphonies
written in the seclusion of Eisenstadt and Estoras [Ester haza], breath<
a quite different freshness and independence. This is easy to explain
Haydn was free to write what he wished; every experiment was per
mitted to him; he had to please but one listener. . .'

That 'one listener' was initially Prince Paul Anton Esterhazy o
Galanta, namesake of the legendary figure of a century earlier who hac
insured Hungary's fealty to the Hapsburg dynasty. A ruler as humane
as he was powerful, Paul was also an accomplished musician and ah
perceptive talent scout; and he had been vastly impressed by Haydn's-'
Symphony no. 1 on the occasion of a state visit at the home of Count
Ferdinand Maximilian Morzin in Lucavec. A few months after this
Count Morzin ran into financial troubles and, among other economies,
disbanded his private orchestra. When word of Haydn's availability
reached Prince Paul he let it be known at once that the composer would
be welcome at Eisenstadt Castle. Shortly thereafter, in May of 1761,
Haydn joined the staff. He was to serve the Esterhazy family without
interruption until his pensioning three decades later.

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Prince Paul, however, died less than a year after Haydn's appointment.
It was the composer's good fortune, and ours, that his patron had been
childless. For the brother who thereupon succeeded him was the
Maecenas-like Prince Nicolaus, not without reason known as Nicolaus
der Prachtige — 'the Magnificent'. It was he who cleared the south end
of the Neusiedler See, near Siittor, and erected there the fantastic estate
of neo- Versailles splendor known thenceforth as Esterhaza. At the
going rate in florins, Esterhaza cost something over five million dollars
to build. When it was finished, Nicolaus removed his entire household
to this untold luxury. That was in 1766, the same year in which the
Wiener Diarium described Haydn as 'der Liebling unserer Nation'
('our national darling', or at least 'favorite'). For the next quarter-
century, Haydn was to preside over the most elaborate musical estab-
lishment in all of Europe.

Professionally, those Esterhaza years added up to a triumph without
parallel. Haydn was a servant, yes; but in serving up his music to a
master who knew its worth he became himself the master of a far wider,i
more enduring domain.

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SERGEY SERGEYEVICH PROKOFIEV

Concerto for piano and orchestra no. 4 in B flat major op. 53
for the left hand

Prokofiev was born in Sontsovka, Russia on April 23 1891, and died near Moscow on
March 4 1953.

The instrumentation: 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, trumpet,
trombone, bass drum and strings.

By definition the creator's art is less ephemeral than the interpreter's,
and over the past half-century the music of Prokofiev has substantially
insured him to posterity as a composer. But it is perhaps significant
and certainly not untoward to note that, like several of the most hal-
lowed figures in ages past, Prokofiev was the salesman par excellence
of his own piano concerti.

Notwithstanding the lofty heights to which he attained as a symphonist,
moreover, Prokofiev's innermost sentiments may be said to repose in
the music he wrote for his own instrument — and originally for his own
execution. In much the same fashion as Mozart, Beethoven, Brahms,
Chopin, and other such tandem geniuses, Prokofiev's aesthetic unques-
tionably found its expressive way at the keyboard. It was to be a
meandering way, but in retrospect it can be traced throughout its halt-
ing growth in a long list of piano works beginning, appropriately, with
the sonata catalogued as op. 1 (1907-09), and ending with the revised
version of no. 5 (sometimes called the 'Tenth Sonata'), which dates from
the year of the composer's death.

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In a study of the complete sonatas (nos. 3 and 4 came just prior to the
Concerto op. 26; no. 5 followed it by two years), the present writer
once concluded of the earlier ones that they represent 'the formative,
reluctantly romantic Prokofiev ... a kind of would-be Schubert in
whose music the typical extremes of yearning and exuberance were as
omnipresent, thinly disguised, as the malicious irony that bound them.
Any political inferences as to the latter would be risky. Stylistic trade-
marks tend to be personal rather than proletarian, [no matter] the
internal struggles of Russia during this seminal decade ... all of these
works cry out: Epater le bourgeois! But the voice is unmistakably
Prokofiev's own.'

After some years of reflection the foregoing appraisal still seems to have
a measure of validity, and it is cited with a view to putting into per-
spective as neatly as possible the crowded background of the first three
concerti. (By extension it is relevant also to the later ones — although
the Fourth, a special case, was not to follow for another decade.)

After graduating from the St Petersburg Conservatory at eighteen, and
already recognized as an enfant terrible of heroic pianistic talent if not
yet as a composer worth taking seriously, Prokofiev had spent five post-
graduate years in advanced study with the celebrated Annette Essipova,
pedagogical heiress to Leschetizky, meantime completing further
courses at the Conservatory and composing constantly. This inter-
regnum ended in 1914, ominously coincident with the outbreak of
World War I. (The ripples from Sarajevo soon enough reached Russia,
but as the only son of a widow the composer was exempt from military
service.) By this time Prokofiev had made a mark on musical St Peters-
burg; he was not accepted, exactly, but he was certainly not ignored.
His every appearance touched off further controversy.

Controversy escalated to scandale in 1913, when Prokofiev leaped to
international notoriety with the introduction of his Second Piano
Concerto at Pavlovsk (a suburb of St Petersburg — the latter, inci-
dentally, was to become known as Petrograd a year later; it has been
Leningrad since 1924).

408

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With one notable exception, the critics were aghast. The Peter-
burgskaya Gazeta described the new work as 'a cacophony of sounds
having nothing whatever in common with genuine music'. But the
reviewer of Rech got the message. With extraordinary prescience,
Vyacheslav Karatygin reported the premiere in these prophetic words:
'The public hissed. This means nothing. Ten years from now it will
atone for last night's catcalls by unanimously applauding a new com-
poser with a European reputation.'

Of course Karatygin was wrong about the time this would take. By
1915 the Rech critic was vindicated. In the interim Prokofiev had won
the powerful advocacy of Serge Koussevitzky, of Alexander Siloti, of
the impresario Diaghilev. 'Only three years ago', Rech commented,
'most of our music lovers saw in Prokofiev's compositions merely the
excesses of a mischievous anarchism that threatened to upset the whole
of Russian music. Now they won't let him leave the stage before he
has played innumerable encores.' Even the arch-conservative Russian
Musical Society performed the Second Concerto. No one hissed. By
then Prokofiev was a force not to be denied, and his fame increased
apace — until the Revolution of 1917 marked a turning point in his
career as it did in the history of the world.

The Third Piano Concerto was sketched that fateful winter. Because
the overthrow of Czarism and its immediate consequences marked a
definite change in the direction of Prokofiev's development, it behooves
us to look (perforce superficially) at the influences to which he was
subject between 1917 and 1921, when he completed this score. To
state it bluntly, the 'change' was a sea change, and the influences were
geographic.

Prokofiev was anything but a Marxist in those years. 'Immersed as I
was in art', he wrote later, 'I did not have a clear idea of the scope and
significance of the October Revolution. . . .' What he did know was
that Russia had become an unhealthy place for composers. He wanted
out. And the country that appealed to him above all was America.

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When the People's Commissar of Education attended the premiere of
the Classical Symphony (Petrograd, April 21 1918) and sought out
Prokofiev to express his admiration, the composer saw his opportunity
and expressed in the strongest appropriate language his desire to make
an extended trip abroad. Under the circumstances there was no grace-
ful alternative for the Commissar but to consent, and within days it
was announced that the government had decided to send Prokofiev
across the Pacific in connection with 'matters pertaining to art'. He
departed via Vladivostok in May for Yokohama, whence he proceeded
by slow boat and several stopovers to New York, arriving there in
September and making his first Manhattan appearance a fortnight
after Armistice Day. Every last seat in old Aeolian Hall was filled, and
the debut (a solo recital) launched Prokofiev's American career in
sensational fashion. Even the critics who felt constrained to inveigh
against him as an ambassador of Bolshevism concurred in the unani-
mous verdict on his pianistic ability; the consensus was an enthusiastic
welcome for a veritable titan of the keyboard.

For the next few seasons Prokofiev concertized heavily, and no major
work was forthcoming except The Love for Three Oranges. In the
nature of artistic creation, however, it is inconceivable that the Third
Piano Concerto sat untouched in the composer's luggage until the
summer of 1921, when he is said to have completed the score during a
sojourn at St Brevin, on the coast of Brittany. This was in the wake of
Prokofiev's second transcontinental tour of the United States. To what
extent his experiences in the New World are reflected in the op. 26 we

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have no way of knowing, and the answer could be not at all. But there
is no gainsaying the fact that this music gestated during long, lonesome
days of staring out train windows. Possibly this is rather too fanciful.
What is not, by all accounts, is that the Third Concerto was a success
from the beginning. The composer himself took part in the premiere,'
which was given not in his homeland but in Chicago, Illinois, on D J
cember 16 1921. Americans did not take the piece to their hearts atl
once, as Europe did, but it was cordially received at the very least |
(Prokofiev remarked that we 'did not quite understand' the work at
the time), and its place in the standard repertoire has grown more
secure with each passing season.

During the composer's lifetime no one took the Fourth Concerto to his
heart because no one ever had the opportunity. It was not performed.
The explanation is that Prokofiev himself -no doubt motivated by
deference, but unaccountably on artistic grounds — withheld the work
on the basis of a negative judgment by the artist for whom it had been
written.

This op. 53 dates from 1931, eight years after Prokofiev had settled in
Paris and just one year before he returned more or less permanently to
the Soviet Union. The period separating his Third Concerto and his
Fourth was again spent largely on the international concert circuit,
but in this decade he nevertheless produced several major works!

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Among these were another opera, The Flaming Angel; the Second,
Third, and Fourth Symphonies; the First String Quartet; and two
stunning ballet scores, Pas d'acier and The Prodigal Son. (The latter
represented George Balanchine's, and Prokofiev's, last collaboration
with Diaghilev; a re-creation of the original production has adorned
the New York City Ballet repertoire since 1950.)

The Fourth Concerto was composed for Paul Wittgenstein, a concert
pianist who had lost his right arm in World War I. Determined to
pursue his career, Wittgenstein commissioned works from ten com-
posers. Most of the resulting scores were merely curiosities, or worse;
but one of them was a masterpiece — the Ravel Left-Hand Concerto.
Of the others, only Prokofiev's is comparable in quality. For whatever
peculiar reason, however, Wittgenstein deemed it unsatisfactory and
declined to play it. Perhaps he was expecting a big, richly romantic
vehicle like the Third Concerto. But the Prokofiev of 1931 was not;
unaffected by Stravinsky and the French Six; what he wrote for Witt-
genstein was exquisitely neoclassic, with a virtuosic but ingeniously
graceful solo part and an accompaniment of the utmost transparency.
But the pianist complained that he could 'not understand a single note
of it', and with that the composer chose to regard the matter as closed.

It was not until three years after Prokofiev's death and a quarter-
century after its composition, that the Fourth Concerto finally received
its premiere. The young German pianist Siegfried Rapp — he, too,
lost his right arm in combat — had run across a reference to the work
while searching for repertoire. He wrote to the composer's widow, and
Mme Prokofieva immediately sent the score. The belated first per-
formance was given in September of 1956, with Rapp as soloist, in the
concert hall of the Conservatory in West Berlin. To the Time critic
this music 'no longer seemed aggressively modern, as it had to Witt-
genstein, but more like an old friend. The whole piece is sprayed with
crotchety harmonies, but it always makes the kind of leeway toward a
safe harmonic port that is part of Prokofiev's charm.' That says it all.

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ANTONIN DVORAK

Symphony no. 6 (old no. 1) in D major op. 60

Dvorak was born in Nelahozeves (Miihlhausen), Bohemia on September 8 1841, and
died in Prague on May 1 1904. The Boston Symphony Orchestra first performed the
Symphony on October 26 1883, when Georg Henschel conducted. The most recent
performances at these concerts were on November 15 and 16 1963, with Erich
Leinsdorf conducting.

The instrumentation: 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets,
3 trombones and tuba, timpani and strings.

Quite aside from the fact that he was a 'late bloomer' creatively, the
down-to-earth Dvorak was temperamentally less akin to Hamlet than
any other figure of consequence in all of music history. And yet the
composer, too, could have complained that time was out of joint. In
the century before he was born the Czech nobility had been on the
lookout for local talent, and it was not forthcoming. Now, ironically,
its first flowering — in the person of a butcher's delivery boy — enjoyed
easy access to the fabulous Lobkowitz castle, or at least to its laby-
rinthine kitchens. But long gone by then were Ferdinand Philip, who
had paid off so many of Gluck's debts, and Josef Franz Maximilian,
who had been among Beethoven's staunchest supporters. The incum-
bent Lobkowitz was not at all musically minded. Neither were the
family's fortunes what they had been in a grander epoch. Dvorak had
come too late by about fifty years to taste the fruits of princely patron-
age, and too early by a lifetime to benefit from the largess of founda-
tions. The only way left open to him was the hard way. Perhaps as a
result, however, he was thoroughly prepared for the 'lucky break' that
finally insured his fame.

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1877

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The most celebrated of Slavonic musicians was born in a village just
north of Prague, on the banks of the Vltava, where his father operated
a meat market and a tavern in the shadow of the Lobkowitz palace. As
the eldest of nine children, little Antonin was kept busy between the
two establishments. His introduction to music seems to have come
with his apprenticeship at the inn, where itinerant minstrels fore-
gathered nightly. A report dated c. 1850 is revealing: 'He watched the
violinists and trumpeters as in a trance; his cheeks flushed and his eyes
sparkled as he followed the music. The country bands played only
music of a primitive nature; nevertheless the polkas and marches of his
native Bohemia were powerful enough to set his pulse throbbing.'

(Parenthetically, one recalls what George Bernard Shaw was to say
many years later about Dvorak's use of indigenous rhythms and inter-
vals: that these 'give the analytical programmist an opportunity of
writing about "national traits", and save the composer the trouble of
developing his individual traits'. Dvorak was never that chauvinistic.)

Dvorak pere, for all his assiduous attention to business, was kindly
disposed toward his son's aptitude for higher things. Antonin was given
lessons in violin and voice, with mixed results. On one occasion he
demonstrated his proficiency in both at a church fair; he seems to have
played the fiddle to everyone's satisfaction, and then to have broken
down completely while trying to sing. The lyric muse lost an adherent
then and there. When he was fourteen Dvorak was packed off to a
relative in Zlonice, twenty miles west of his native Nelahozeves (Miihl-
hausen), where he was introduced to the organ and given some ground-
ing in piano and viola. Here, again, his musical career almost ground
to a stop. His teacher, Antonin Liehmann, turned out a steady stream
of repertoire for the town orchestra; and one of Dvorak's duties was to
copy out the parts. Without telling Liehmann, Dvorak orchestrated a

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polka of his own and then made so bold as to distribute the parts.
Imagine his mortification when the first run-through elicited a horrible
cacophony! It was quickly ascertained that he had been careless in his
transposition clefs, so that the errors were put right without much
delay; but it was a narrow escape for the yet-unborn reputation of the
fledgling composer.

Dvorak went on to Bohmisch-Kamnitz, near the Saxon border, pri-
marily to master the German language that was obligatory throughout
Bohemia and Moravia in those days. Then, at sixteen, he matriculated
at the Organ School in Prague — the very institution of which he was
himself to assume the directorship long years afterward (by then it
would be merged with the Prague Conservatory). Things were not
going so well back home, with more and more mouths to feed, and so
Dvorak's tuition was covered by his doting Zlonice uncle. But the boy
managed to pay for his other expenses by fiddling in various restaurants.
He could hardly afford the luxury of a piano in his modest quarters,
but this was a blessing in disguise to the extent that it forced him to
'hear' many of the standard masterworks by studying them in the
silence of his bedroom. Dvorak completed the statutory two years, and
then joined the viola section of a well-known Prague band that played
thrice weekly in the better eating places. Gradually he built a clientele
of private students by day, and by night he continued to play for his
dinner. It was a period of rather ignominious plodding, but Dvorak
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By 1873 he must have felt that he was beginning to be ready. By nature
cautious, he nevertheless made two decisive moves that year (his thirty-
second). For one, he gave up the comfortable security of his violist's
chair in the Czech National Theater to accept an organ job that would
give him more time to compose. For another, he married. And the
match apparently was a good one. It is fascinating to note that, like
Mozart, Dvorak took as his bride a sister of the girl who had spurned
his love. (But unlike Mozart, Dvorak never was to doubt the wisdom
of his decision.) Moreover, as the slightly unscrupulous publisher
Fritz Simrock was soon to discover, here was one composing husband
who was determined to be the breadwinner of an expanding household
and to maintain his artistic integrity despite any economic pressures.
He would achieve this enviable status simply by holding to a ratio of
prudence and productivity which he had arrived at as a young man
and from which he never wavered.

To be sure, there was to come that 'big chance' around which so many
success stories turn; but Dvorak had to be ready for it and he was. The
proof of this is that Dvorak's good fortune came to him by way of two
men who knew him only through his music. But both were perceptive
enough to recognize mastery when they saw it, and 'saw' is literally
correct in this instance. For it was in the course of wading through
stacks of manuscripts submitted by 'young, poor . . . musicians in the
Austrian half of the [Hapsburg] Empire' that the State Prize judges for
1875 were won over completely by the writing of this totally unknown
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in those days). And as fate would have it those judges were two of the
most influential musicians in all of Europe — Eduard Hanslick, power-
ful critic of the Neue freie Presse; and Johannes Brahms. Their enthu-
siasm was unstinting, and it would be ridiculous to suggest that
Dvorak's career was not to be affected enormously by this belated
'discovery' of his talents. But just as surely he would not have won
their advocacy unless he had the goods.

As it happens, the first of Dvorak's two symphonies in D minor was
among the works that won the State Prize — which, incidentally, Dvorak
was to win for several years running. But it was pursuant to the 1875
award that he developed sufficient self-confidence to compose the first
of his numbered symphonies, attesting to a measure of triumph over
the unrest and insecurity that had slowed his progress in this most
formidable of forms. The latter work subsequently came to be known
as the Third, however, because it was overhauled altogether after two
subsequent symphonies had intervened; and more recently it has
become known as no. 5! To forestall further confusion it might be
helpful to interpolate the complete chronology, which was as follows:

1. 1865 Symphony in C minor op. 3
('The Bells of Zlonice')

2. 1865 Symphony in B flat op. 4 (revised in 1887)

3. 1873 Symphony in E flat (originally op. 10; that designation was
later removed by the composer)

4. 1874 Symphony in D minor (originally op. 13; as with the
foregoing, this designation has 'stuck')

5. 1875 Symphony in F op. 76 ('old no. 3')
(originally op. 24; revised in 1887)

6. 1880 Symphony in D op. 60 ('old no. 1')

7. 1885 Symphony in D minor op. 70 ('old no. 2')

8. 1889 Symphony in G op. 88 ('old no. 4')

9. 1893 Symphony in E minor op. 95 ('old no. 5')
('From the New World')

For reasons already intimated, it should not be surprising that the D
major Symphony represented an enormous step forward. (And one
hastens to put that appraisal in more accurate perspective: none less
than Sir Donald Francis Tovey says unequivocally that 'Dvorak's [Sixth]
Symphony shows him at the height of his power'.) But more specific
reasons can be adduced. Two of them date from 1877. One of these
was a magnanimous letter sent by Brahms to Simrock. It read in part:
'I have for several years now been rejoicing over the works by Anton
Dvorak of Prague. This year he sends me amongst others a book of ten
duets for two sopranos [an error; he should have said soprano and
contralto] with pianoforte, which seem to me to be very pretty and
practical for publication. ... I induced him to send the songs to you.
When you play them through you will be as pleased as I am. . . .
Dvorak has written every possible thing. ... he is a very talented man.'
The second event of importance in 1877 was Dvorak's decision to give
up all of his sundry jobs and to devote himself exclusively to compo-
sition, come what may.

426

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Much of Dvorak's time in the years immediately following were to be
wasted on opera, a medium for which his ambition far exceeded his
aptitude. In a sense, too, the weeks he invested in the 1878 series of
Slavonic Dances were misspent because he accrued only an infinitesimal
percentage of the profits they rolled up. But this experience taught
Dvorak how to drive a bargain with entrepreneurs, and never again did
he have to wonder whether or not he could get anything published.

The genesis of the D major Symphony traces to the evening of Novem-
ber 16 1879: after conducting the triumphant Vienna premiere of
Dvorak's Slavonic Rhapsody in A flat, Hans Richter embraced the
composer and then (either at that moment or immediately thereafter)
asked him to write a symphony for the Vienna Philharmonic. This
was to be the op. 60. It was sketched out at Prague between August 27
and September 20 1880, and the score was finished by October 15.
Dvorak delivered the manuscript personally that November. He
reported to his friend Alois Gobi on playing the work at the piano for
Richter; the conductor was so delighted with the work, it seems, that
he kissed Dvorak after every movement!

Richter's continuing enthusiasm was documented in a series of letters,
but after the premiere had been twice postponed that season Dvorak
began to suspect that the conductor's recital of excuses (his wife's
illness, his mother's death, and the like) was not the whole story. As
usual, Dvorak's peasant instincts had been unerring. With a little

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discreet detective work he ascertained that certain important members
of the Vienna Philharmonic objected to performing music by a Czech
composer in two successive seasons. The upshot was that Dvorak grate-
fully inscribed the op. 60 to Richter but entrusted its premiere to
Adolf Cech, who conducted the first performance at Prague on March
25 1881. Richter was deeply honored by the dedication and his affec-
tion for the score never faltered, but as it turned out the piece was
introduced to Vienna by Wilhelm Gericke and the Gesellschaft der
Musikfreunde on February 18 1883.

Students should know that Professor Tovey has performed a
painstaking dissection of the op. 60 (although it is unaccountably
identified as 'op. 63' in Volume II of his Essays in Musical Analysis).
Other listeners will not feel the need for any such explication of this
expressively straightforward music. Lest one's competence be called
into question one must, presumably, mention the apparent influence
of Brahms in general and the latter 's own D major Symphony of 1877
in particular. But those who smell plagiarism, and who are sure that
their ears do not deceive them, are commended to the fascinating essay
by Julius Harrison in the Dvorak anthology edited by Viktor Fischl.
Harrison makes this telling point:

'Brahms takes a D major triad as a kind of thesis in triplicate, from
which, by means of the melodies resulting from that triad, he proceeds
step by step to a logical conclusion. Dvorak takes an odd bit of sound,

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a mere dominant-tonic progression (perhaps the commonest thing in
music), something that could go anywhere or nowhere, something of a
character more terminal than initial, and then, to our great delight
fashions it into a movement structurally classical, yet thematically hav-
ing the nature of an improvisation.' These are words worth pondering.

It remains only to provide a few words of description. The opening
Allegro non tanto is all lyricism and robustness, mingling heather-fresh
woodwinds with marvelous brass sonorities and building to a majestic
coda. The Adagio is an exquisite idyll; there are astonishing points of
resemblance to the slow movement of Beethoven's Ninth (in the same
key of B flat), but only on paper. The most unorthodox feature of
Dvorak's layout is the substitution of an echt-Czech dance — the
strongly cross-accented Furiant — for the more traditional Scherzo. The
closing Allegro con spirito most conspicuously suggests a tug from the
Brahmsian orbit, but again this is more illusory than not. Tovey calls
this finale 'a magnificent crown to this noble work', and Tovey did not
use superlatives lightly. Nor, to be fair, did he often resort to such
cliches. And yet there is something almost irritatingly positive and
ultimately persuasive in this sunny affirmation of the major — a mode
from which Dvorak rarely departed for long, in his music or in his life.

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J _ J

The Conservatory's role in music education - Part 2
by Gunther Schuller

In the first part of this article, which appeared in last week's program,
Gunther Schuller discussed the problems which face the conservatory
in our changing musical world. He proposed a wider and more general
program, so that the student, without sacrificing the basic specialized
requirements of his art, may find at the conservatory the means to
expand the range and depth of his musical perception.

From these remarks you can gather that I lean towards the concept of
the total musician and away from the specialist, the non-musician
virtuoso, although I recognize that there are frequently exceptional
cases whose special musical endowments require a more specialized
treatment. Please do not misunderstand me. When I talk about the
total musician, I am not talking about some monstrous, perfected
genius, some kind of human computer. I'm talking about something
very simple. I'm talking about giving the young musicians the tools
by which they can live a life in music which is rich, meaningful and
rewarding — and not only monetarily rewarding — and not mere
drudgery, as is so often the case. I can perhaps put it best by telling
you of an experience I had when a few weeks ago, I had occasion to be
present at several full days of instrumental auditions. I heard in that
time well over fifty young musicians, all of them either young profes-
sionals or graduates or postgraduates. Of that number I am sorry to
report no more than perhaps 5 per cent seemed to have any idea of
why they were playing music, what a musical phrase meant — indeed
what constituted a musical phrase — and what the expressive and
intellectual range of music can really be. For 95 per cent of them it
was merely a matter of pushing down certain keys at certain times,
moving arms or adjusting embouchures or whatever was involved in
their instrument, to perform what appeared to be a purely mechanical
operation. The whole sense of the joy of music, of the beauty of music,
of the ability to communicate through music, was absent. If the com-
puter ever takes over the world of music, it will not be because this or

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435

that composer wished it so and inflicted it on an unwilling public, but
it will be rather because the passivity and utter boredom of the player
will have reached such a point that he might as well be replaced by the
computer, for at least the computer is efficient.

When I hear that kind of audition — and this was not atypical — I
become very sad. But it also inspires me to try and do something to
prevent that kind of complete emotional, intellectual disassociation
and sterility. For it is not necessary that such a thing should happen.
I know from personal experience that it need not be so, that even under
the most trying professional circumstances, if those roots, emotional
and intellectual roots, that I spoke about earlier have grown deep
enough, one need never lose one's curiosity, one's love, one's identifi-
cation with music and its rewards.

And those rewards are richer today, I believe, than ever before. In
addition to the 19th century repertoire, we have acquired in recent
decades through improved research methods a pre- 18th century reper-
tory which along with the continual additions in contemporary music
provide a total musical feast to whet the most jaded appetite. At the
same time, the development of a wide variety of new communications
media provides an outlet for this expanded repertoire which would
have made an 18th century musician envious. The field of music and
its peripherally related areas provide a range of outlets, and a potential
source of income beyond the wildest dreams of our forefathers. But to
operate efficiently and effectively in this expanded field, the musician
has to be equipped properly — he has to be the total or complete
musician.

I am always saddened when I meet musicians who plod along in their
everyday existence having no understanding or love of the music they
play. They are tolerant, for example, of a few 19th century composers
(which they usually choose on the basis of how well those composers
wrote for their chosen instrument), and they are usually disdainful of
all contemporary music or even of earlier composers, like Bach for
instance, in whose music the intellectual quotient dares to be fairly
high, and are generally speaking pretty ignorant about the incredible
variety, breadth and depth of musical languages. Many of them are
not even very humble about their ignorance, and of course many of
them are teachers who thus perpetuate in their pupils the same kinds
of ignorance and prejudice, though in the meantime they may indeed
be playing a pretty respectable oboe or cello or snare drum or whatever.

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the young auditioners I described earlier — is not only a dangerous
cancer in the music profession, but is depriving himself of the joys and
pleasures oi music. And I say that conservatories must be actively
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maintain further that that kind of musician cannot survive in music
today, or at least he cannot survive as well as the musician who brings
a more sophisticated background and point of view to his profession.
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top. But the top today signifies not just a digital dexterity, but an

436

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intellectual sophistication, an intellectual curiosity, and a depth of
perception. The reason for this is simple: competition. The music
field has become an extremely competitive field. Today when a major
orchestra has an opening for tuba, let us say, there are 40 to 50 appli-
cants for the audition. The implication must be obvious: play your
horn well, but have something else besides; have an extra dimension
which will enable you to fill that room at the top.

But beyond the audition level, once the musician is safely ensconced
in his job, he will be much the better for it if this job continues to have
a meaning for him, a means of expressing himself, a means of reflecting
the impact of the music upon himself, in short the exchange of ideas
and feelings between the composer and the performer, between the
creative and the recreative, and these ideas transmitted then via the
performer to the listener.

Very often in discussions or arguments about the validity of contem-
porary music with musicians (who sometimes are more rigid in their
thinking than lay people), I tend to point out a very simple fact. This
is a hypothetical example involving three musicians in connection with
three composers. Musician 'A' likes and understands only composer
'X', a representative of the romantic school; musician 'B' likes and
understands composer 'Y' in addition to 'X' ('Y' is a Baroque or pre-
19th century composer); musician 'C likes and understands 'X', 'Y',
and 'Z' — 'Z' representing the much feared contemporary music. Is
there any question as to who, purely statistically, has the greater enjoy-
ment in music; and is there any question as to whose life is more
intellectually enriched by music? Can there be any question that the
musician who appreciates and understands the structural perfection of
the Eroica Symphony, who savors while he is performing the hundreds
of harmonic, rhythmic or orchestrational details that contribute to
make that piece one of the masterpieces of our musical heritage,
receives a kind of psychic income from performing music that the
musician who is unaware of such compositional relationships can
simply never enjoy.

We forget today that the musician of the 16th, 17th and 18th centuries
was rarely just a composer or just an instrumentalist. If he was an
oboist, he was also a composer and perhaps a pianist; if he was a com-
poser he was also perhaps a flutist or an organist. The creative and
recreative aspects of music were an integral balance in such a musician's
musical constitution, and the one fructified the other. In more recent
times, this was an ideal embodied and revived by a composer like Paul
Hindemith, himself 'the compleat musician', and one can see this con-
cept still perpetuated at the Yale School of Music where Hindemith
taught and created a music school that in many respects is more like
the ideal conservatory than many conservatories.

This is a crucial point, and it will have a lot to do with the kind of
music our children will be listening to ten or twenty years from now.
How do we produce this complete musician? Very simply, by the com-
plete conservatory. And that is a conservatory which manifests the
same kind of breadth and depth in quality and conception that I have
been speaking about. It is a conservatory where the many subsidiary
disciplines, whether applied or theoretical, whether vocal or instru-
438

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/CONDUCTED BY
LEONARD BERNSTEIN

Leonard Bernstein, the leading Mahler
interpreter of our time, conducts
The Nine Symphonies of Gustav Mahler
in this elegant 14-LP limited edition.
Included in the set are a fascinating 36-page
book and a special bonus 12"record,
"Gustav Mahler Remembered," containing
reminiscences of the composer by his
daughter, Anna, and by colleagues.

(A 14-record set in stereo only)

439

mental, whether individual or collective are all integrated, aware of
each other, enlightened by each other. In that way the student who
goes to such a conservatory will learn to understand — and more
important — absorb intuitively how all these theories and methods
relate to music, which — I must remind you — we call an art in our
society. The student will gradually acquire a vision of that art in
which pushing down keys at a certain moment to produce a certain
acoustic result will not be an end in itself or a means of merely gaining
a livelihood, but will in addition be a vehicle for expressing feelings,
thoughts, ideas — those of the composer he is performing, and even (if
he has earned the privilege) those of himself.

There is one other problem I would like to touch upon, because it
relates directly to my ideas of the complete musician, and the role that
the conservatory must play to create that kind of musician. We are
going through a period in American education involved with an
extremely exaggerated 'degree-consciousness'. We have made a fetish
of the degree, a pedigree, a kind of automatic approval which cannot
be questioned, and we are about to do the same in music with the
doctorate. We evaluate people's ability too much on whether they have
a degree or not, and what kind of degree they have. Literally thousands
of teaching jobs are not available unless the applicant has a degree,
regardless of his unique intrinsic ability. Worse than that, our univer-
sities are full of very worthy teachers who are prevented from becoming,
for example, full professors and receiving the better salaries that are
attached to full professorships, because they do not have a doctorate,
while some less gifted person who has a doctorate moves ahead into
the upper echelons. / think we must stop this madness! We must stop
it because we are indulging here in an abstracted educational process
which puts the emphasis on the number of study hours completed
rather than what has really been comprehended in those study hours.
We push thousands upon thousands of students through a sort of
assembly-line educational process, which remains a process rather than
becoming a really full complete education.

Forgive me for becoming autobiographical for a moment, but I do it
only to make a point. I am one of the original dropouts. I do not
have any degrees, and I do not have even a high school diploma. Now
I am not advocating this necessarily as a road to higher education, and
I am aware of the fact that times have changed tremendously in the
twenty-four years since I left high school. But I have the feeling I
would not have been a very good music student in, for example, the
rigid programs which allow for almost no electives, which some of our
schools demand. What I am trying to say is that we must develop
a new flexibility in our music education, in our programs, in our
curriculi, to make room for the tremendous range in student and
faculty types. We seem to be in the process of doing the opposite.

For the universities, mammoth institutions with mammoth organ-
izational problems, perhaps this factory-type of method is the only
possible and inevitable result. But I believe that the conservatory,
a small independent music school, can show a different approach and
a different result, and this in some cautious way I would like to inves-
tigate and try to do. Institutions just like people must remain flexible,
or else they will atrophy.

440

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441

I realize very well that it is one thing to design an abstract blueprint
such as the one I have just offered. It is quite another thing to infuse
this abstract with life, to make it a consistently productive force. There
is only one way in which that life can be instilled in such a blueprint:
and the key to that is quality — quality of faculty, quality of student.
And here there is no room for compromise. Idealism does not thrive
on compromise, nor does quality. And to the extent that it is possible
for me to achieve this quality in a humane way, with your help and
support, be it spiritual, financial, ideational or moral, I will pursue
that goal. I trust that we will someday all be proud of the results of
this joint effort.

Award for 'An afternoon at Tanglewood'

'An afternoon at Tanglewood', the program telecast on the NBC-TV
network on August 14 1966, has been chosen the winner of the Single
Program Television Award of Sigma Alpha Iota, the internationally
incorporated professional music fraternity for women.

Erich Leinsdorf led the Orchestra in performances of music by Wagner,
Brahms and Gunther Schuller, and the two concertos were played by
winners of the 1966 Moscow Competition: Prokofiev's Second Violin
Concerto by Masuko Ushioda and Tchaikovsky's First Piano Concerto
by Misha Dichter.

Edwin Newman was the NBC commentator, and 'An afternoon at
Tanglewood' was directed by Ted Nathanson, written by June Reig
and produced by George Heinemann. Jordan M. Whitelaw was pro-
ducer for the Boston Symphony.

Sigma Alpha Iota television awards are designed to honor established
network musical programs of high quality and to encourage the devel-
opment of fine musical programming.

WGBH-FM goes

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442

JOHN BROWNING, who gave the world
premiere of Samuel Barber's Piano Concerto
with Erich Leinsdorf and the Boston Sym-
phony Orchestra in 1962, has appeared with
the Orchestra several times since in Boston,
Tanglewood and New York. One of Amer-
ica's foremost young pianists, he was born
in Denver, Colorado, where he made his
orchestral debut with Mozart's Coronation
Concerto at the age of 10. His family moved
to Los Angeles where he studied with Lee
Pattison, and later he went to New York after winning a scholarship to
the Juilliard School, where he studied with Rosina Lhevinne.

In 1954 he won the Steinway Centennial Award and two years later the
Leventritt Award, which led to his successful debut with the New York
Philharmonic. In 1956 he also won the Gold Medal at the competition
in Brussels, founded by Queen Elisabeth of Belgium. From that time
his career was assured. His tours have taken him all over Europe, the
Soviet Union, the Near East, Mexico, and throughout the United
States, where he has played with every major orchestra. During this
past summer he was on the faculty of the Berkshire Music Center at
Tanglewood where he gave a series of master classes.

John Browning's recordings for RCA Victor of the First and Second
concertos of Prokofiev with Erich Leinsdorf and the Boston Symphony
Orchestra have been enthusiastically received, and he will shortly
record the Third and Fourth concertos in continuation of the Orches-
tra's successful Prokofiev cycle.

I- 1

A member of the orchestra

AMNON LEVY, who was born in Tel- Aviv,
Israel, was graduated from the Jerusalem
Conservatory of Music in 1950. Jascha
Heifetz encouraged him to come to the
United States for more intensive study, and
in 1952 he crossed the Atlantic and won a
scholarship to the Curtis Institute, where he
studied for three years with Ivan Galamian.
Before leaving his native country, he enter-
tained troops of the Israeli army on the
front line.

Amnon Levy joined the Boston Symphony Orchestra in 1964 after
haying spent several years with the Minneapolis Symphony and giving
recitals and playing concertos with symphony orchestras throughout
the United States. Last season he played the Boston premiere of Sir
William Walton's Violin Concerto with the Boston Civic Symphony,
a performance which won him high critical praise, and later
played Mozart's Fourth Violin Concerto with the Reading Symphony
Orchestra.

443

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FUTURE PROGRAMS

Eighth Program

Friday afternoon November 24 at 2 o'clock
Saturday evening November 25 at 8.30

ERICH LEINSDORF conductor

BEETHOVEN Fidelio - Overture

Violin concerto in D major

JOSEPH SILVERSTEIN

Symphony no. 5 in C minor

There is probably no other orchestra in the world that can boast so
many virtuoso players among its members, and certainly Joseph Silver-
stein takes his place among the outstanding violinists of his generation.
During past seasons he has performed with the Orchestra concertos by
Bartok and Stravinsky (which he has also recorded for RCA Victor),
and by Bach, Schoenberg and Sibelius. Earlier this year he played the
Brahms Concerto with Erich Leinsdorf and the Boston Symphony
Orchestra in Boston and at Tanglewood, and with Leopold Stokowski
and the American Symphony Orchestra in New York.

The Orchestra last played the Fifth Symphony in this series five years
ago during Erich Leinsdorf's first season as Music Director. RCA
Victor will record the work as part of the Beethoven cycle by the
Orchestra, which is due to be completed in 1970, in time for the bicen-
tennial celebrations of Beethoven's birth.

The concert will end at about 4 o'clock on Friday
and at about 10.30 on Saturday

!- I

Ninth Program

Friday afternoon December 8 at 2 o'clock
Saturday evening December 9 at 8.30

STANISLAW SKROWACZEWSKI guest conductor

BERLIOZ Corsaire - Overture

LUTOSLAWSKI Concerto for orchestra

BRAHMS Symphony no. 2 in D major

programs subject to change

BALDWIN PIANO

RCA VICTOR RECORDS

445

■

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Telephone RE gent 4-3267

446

Mrs. Aaron Richmond and Walter Pierce
present in the 1967-68 Boston University

CELEBRITY SERIES

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SUN. AFT., NOV. 26 at 3 • SYMPHONY HALL

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Schubert, Sonata No. 3 in B flat Major (Posthumous); Chopin, Twelve Etudes,
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REMAINING TICKETS AT BOX-OFFICE

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SYMPHONY HALL

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Schubert, Sonata in A major, D.V. 959; Beethoven, Sonata
in E flat major, Op. 81a (Les Adieux); Brahms, Variations
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SYMPHONY
ORCHESTRA

FOUNDED IN 1881 BY
HENRY LEE HIGGINSON

-<:V

EIGHTY-SEVENTH SEASON 1967-1968

Exquisite
Sound

From the palaces \
of ancient EgyptJ
to the concert halls
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countries. Through this
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changes have been made
in the original design. The
early instruments shown in
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were richly decorated but
lacked the fore-pillar. Later
the "Kinner" developed by the
Hebrews took the form as we
know it today. The pedal harp
was invented about 1720 by a
Bavarian named Hochbrucker and
through this ingenious device it be-
came possible to play in eight major
and five minor scales complete. Today
the harp is an important and familiar
instrument providing the "Exquisite
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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 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

THOMAS D. PERRY JR Manager

NORMAN S. SHIRK

Assistant Manager

SANFORD R. SISTARE

Press and Publicity

ANDREW RAEBURN

Program Editor

JAMES J. BROSNAHAN

Business Administrator

HARRY J. KRAUT

Assistant to the Manager

MARY H. SMITH

Executive Assistant

SYMPHONY HALL

BOSTON

MASSACHUSETTS

451

BARTOK: Violin Concerto No. 2

STRAVINSKY: Violin Concerto

Joseph Silverstein

Boston Symphony Orchestra/Erich Leinsdorf

Qj/if ©/ri4t<wratif$it/it)tm

RC* VlCTttR

Schumann /Symphony No. 4?

Beethoven /Leonore Overture No. 3

Boston Symphony /Leinsdorf

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The Boston Symphony
under Leinsdorf

In a recording of remarkable sonic excellence, conce
Joseph Silverstein and the Boston Symphony under L
capture the atmospheric sorcery of two of the most it
violin works of this century: Bartbk's Concerto No. 2 i
vinsky's Concerto in D . If ever a composer could I
a "musical poet" it is Schumann and— in a beautiful
performance of his Fourth Symphony — Leinsdorf
Boston ians movingly portray its simple eloquence,
melancholy slow-moving opening to the dramatic
scales that herald one of the most exciting codas,
phonic literature. Both albums in Dynagrqoye sounc

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WfflThe most trusted name in sound

BOSTON SYMPHONY ORCHESTRA

ERICH LEINSDORF Music Director

CHARLES WILSON Assistant Conductor

FIRST VIOLINS

Joseph Silverstein
Concertmaster

SECOND VIOLINS
Clarence Knudson
William Marshall
Michel Sasson
Samuel Diamond
Leonard Moss
William Waterhouse
Ayrton Pinto
Amnon Levy
Laszlo Nagy
Michael Vitale
Victor Manusevitch
Toshiyuki Kikkawa*
Max Hobart
John Korman
i Christopher Kimber
Spencer Larrison

VIOLAS

Burton Fine
Reuben Green
Eugen Lehner
Jerome Lipson
Robert Karol
Akio Akaboshi*
Bernard Kadinoff
Vincent Mauricci
Earl Hedberg
Joseph Pietropaolo
Robert Barnes
Yizhak Schotten

CELLOS

Jules Eskin
Martin Hoherman
Mischa Nieland
Karl Zeise
Robert Ripley
John Sant Ambrogio
Luis Leguia
Stephen Geber
Carol Procter
Jerome Patterson
Ronald Feldman

BASSES

Henry Portnoi
William Rhein
Joseph Hearne
Bela Wurtzler
Leslie Martin
John Salkowski
John Barwicki
Buell Neidlinger
Robert Olson

FLUTES

Doriot Anthony Dwyer

James Pappoutsakis
Phillip Kaplan

PICCOLO

Lois Schaefer

OBOES

Ralph Gomberg

John Holmes
Hugh Matheny

ENGLISH HORN
Laurence Thorstenberg

CLARINETS

Gino Cioffi

Pasquale Cardillo
Peter Hadcock

E\) Clarinet

BASS CLARINET
Felix Viscuglia

BASSOONS

Sherman Walt

Ernst Panenka
Matthew Ruggiero

CONTRA BASSOON
Richard Plaster

HORNS

James Stagliano
Charles Yancich
Harry Shapiro
Thomas Newell
Paul Keaney
Ralph Pottle

TRUMPETS

Armando Ghitalla
Roger Voisin

Andre Come
Gerard Goguen

TROMBONES

William Gibson

Josef Orosz
Kauko Kahila

TUBA

Chester Schmitz

TIMPANI

Everett Firth

PERCUSSION

Charles Smith
Harold Thompson
Arthur Press

Assistant Timpanist
Thomas Gauger

HARPS

Bernard Zighera
Olivia Luetcke

LIBRARIANS

Victor Alpert
William Shisler

STAGE MANAGER
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

453

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454

At the /

Boston Symphony
Concerts /
this year,

these Pianists . .

JOHN BROWNING

RITA BOUBOULIDI
MALCOLM FRAGER
GARY GRAFFMAN
GRANT JOHANNESES
LILIAN KALLIR

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162 BOYLSTON STREET • BOST<
ALSO WORCESTER and SPRINGFIELC

A centenary - Margaret Ruthven Lang

On November 27 one of the Boston Symphony Orchestra's most
faithful Friday subscribers, Margaret Ruthven Lang, celebrates her
hundredth birthday. To salute their friend on this happy occasion
Mr Leinsdorf and members of the Orchestra play at the concert on
November 24 the Old Hundredth chorale, and the movement 'Sheep
may safely graze' from J. S. Bach's Cantata no. 208, written to celebrate
another birthday some 250 years ago.

Miss Lang is one of the five women whose music has been played by
the Boston Symphony Orchestra; Arthur Nikisch conducted perform-
ances of her Dramatic Overture in 1893, and Gertrude Franklin sang
her concert aria Armida with Emil Paur conducting in 1896. Philip
Hale reported in his review that 'the Overture was applauded and
there was a vain attempt to call the composer forward'. Margo Miller
of The Boston Globe wrote in an article published earlier this year
that Miss Lang well remembers the incident: 'I crept up to the balcony
and hid.'

Margaret Ruthven Lang's father was the distinguished and enterprising
Boston musician Benjamin Johnson Lang, conductor, teacher and com-
poser. He conducted the world premiere in Boston of Tchaikovsky's
First Piano Concerto with Hans von Biilow as soloist, and the first
American concert performance of Parsifal. Miss Lang spent some of
her early years in Munich, Germany, and met many of the famous
musicians of the time; she knew the Wagner family well.

Talking to Miss Lang today one cannot believe that she grew up before
Symphony Hall was built. She has a vivacity and alertness that would
put many people half her age to shame. The Trustees, Mr Leinsdorf,
the Orchestra and all who work at Symphony Hall wish Margaret
Ruthven Lang a happy birthday.

455

FONDUE A LA DANSK

•«ww>y . i i ini i i i wmTr .i gpa o tga i t a trMwan i ni i nmi iMi > <

BOSTON: At the start of The Freedom Trail, 140 Tremont Street, 482-0260.
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456

Contents

Program for November 24 1967 458

Program for November 25 1967 459

Future programs 509

Program notes

'The Old Hundredth' 462

Bach - 'Schafe konnen sicher weiden'

from Cantata no. 208 462

Beethoven - Fidelio - Overture 464

by Andrew Raeburn

Concerto for violin and orchestra

in D major 470

by John N. Burk

Symphony no. 5 in C minor 482

by John N. Burk

A centenary - Margaret Ruthven Lang 455

The BSO and the Talking Machine - Part 2 494

by Martin Bookspan

Program editor 502

The soloists 504

457

■E

EIGHTY-SEVENTH SEASON 1967-1968

Eighth Program

Friday afternoon November 24 at 2 o'clock
ERICH LEINSDORF conductor

Traditional
BACH

'The Old Hundredth'

'Schafe konnen sicher weiden'
from Cantata no. 208

CHLOE OWEN soprano
In honor of Margaret Ruthven Lang

BEETHOVEN Concerto for violin and orchestra

in D major op. 61

Allegro ma non troppo

Larghetto

Rondo

JOSEPH SILVERSTEIN

INTERMISSION

BEETHOVEN Symphony no. 5 in C minor op. 67

Allegro con brio
Andante con moto
Allegro — Allegro

The concert will end at about 4 o'clock

BALDWIN PIANO
RCA VICTOR RECORDS

458

EIGHTY-SEVENTH SEASON 1967-1968

Eighth Program

Saturday evening November 25 at 8.30
ERICH LEINSDORF conductor

BEETHOVEN Fidelio - Overture

BEETHOVEN Concerto for violin and orchestra

in D major op. 61

Allegro ma non troppo

Larghetto

Rondo

JOSEPH SILVERSTEIN

INTERMISSION

BEETHOVEN Symphony no. 5 in C minor op. 67

Allegro con brio
Andante con moto
Allegro — Allegro

The concert will end at about 10.30

BALDWIN PIANO
RCA VICTOR RECORDS

459

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about the best-selling book that tells you how.

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you pass your property on to your heirs directly without the delay,
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control of it while you're alive. Further, a Living Trust properly
drawn can save your heirs substantial sums in estate taxes.

But be warned! A Living Trust, flexible though it is, is not the
answer to everyone's circumstances. It's not a do-it-yourself project
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So ask him. And if there's a place for us in the picture as executor
or trustee, please call on us. (More people do than on any other in-
stitution in New England.)

THE FIRST & OLD COLONY

The First National Bank of Boston and Old Colony Trust Company

460

THE FUND FOR THE BOSTON SYMPHONY

Margaret Ruthven Lang

Margaret Ruthven Lang and The Fund for The Boston Symphony
have much in common. As a link between Symphony past and Sym-
phony future, she is important to Symphony present. She speaks to
us across the years about the Orchestra's struggle for greatness and
the international renown that it now enjoys. And so by her very
presence at the concerts she tells us of the need for continuing that
excellence.

Within The Fund for The Boston Symphony is a Commemorative
Gifts program, by which a donor may express a personal interest in
the Orchestra, or may honor a friend, teacher, or musician. As part
of this program and to show the esteem which the trustees hold
for Miss Lang, Henry B. Cabot has given a personal contribution of
$2,500 to The Fund to name a seat in Miss Lang's honor.

A plaque will be fixed to the regular seat, first balcony, right, B-1,
occupied by Miss Lang and members of her family almost since
the building opened in 1900. Through all the years to come it will
be known officially as the Margaret Ruthven Lang seat at Symphony.

Congratulations, Miss Lang, on your 100th birthday.

461

Program Notes

<The Old Hundredth'

The melody known as 'The Old Hundredth' appears for the first time
in a copy of the Genevan Psalter of 1554, and was adapted to a version
of Psalm 134, probably by the Psalter's musical editor, Louis Bourgeois.
In 1561 the tune was again adapted, this time for the Anglo-Genevan
Psalter to the familiar paraphrase of Psalm 100 'All people that on
earth do dwell'. At this performance the four part version has been
scored for brass quintet.

JOHANN SEBASTIAN BACH

'Schafe konnen sicher weiden' from Cantata no. 208

Bach was born in Eisenach on March 21 1685, and died in Leipzig on July 28 1750.
The aria is scored for solo soprano, two flutes and continuo.

Bach was in the service of Duke Wilhelm Ernst of Weimar in 1716,
and early in the year accompanied his employer on a visit to Prince
Christian of Sachsen-Weissenfels. February 23 was their host's birth-
day, and in his honor Bach composed and directed a performance of
the secular cantata 'Was mir behagt, ist nur die muntre Jagd' ('The
merry hunt is all my pleasure'). The protagonists in this entertainment
are Diana, goddess of the chase; Endymion, the beautiful youth con-
demned by Jupiter to perpetual sleep; Pan, the god of shepherds;
and Pales, goddess of shepherds and cattle, who sings the aria 'Schafe
konnen sicher weiden'. The following is a literal translation:
'Sheep may safely graze where a good shepherd watches over them. In
a country where the Prince rules well the people find peace and tran-
quillity and all that makes them happy.'

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LUDWIG VAN BEETHOVEN
Fidelio - Overture

Beethoven was born in Bonn in December 1770 (probably the 16th) and died in
Vienna on March 26 1827. He composed the overture for the final version of his
opera in 1814, though it was not completed in time for the first performance. The
last performance in this series was on November 4 and 5 1955 when the Boston
Symphony Orchestra played the Overture to celebrate the reopening of the restored
Staatsoper in Vienna on November 5.

The instrumentation: 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets,
2 trombones, timpani and strings.

On November 13 1805 French troops marched into Vienna. Seven days
later the first performance of Beethoven's only opera Fidelio was given
at the Theater-an-der-W ien 'before stalls full of French officers'. Many
of the regular patrons had deserted the city, the novelty of the piece
did not appeal to the French military, and after two further perform-
ances on November 21 and 22, Beethoven withdrew the opera. It was
hardly an auspicious time for the premiere of a difficult new piece.
The casting was also unfortunate, since none of the principal singers
was more than mediocre.

The critic of the Allgemeine Musikalische Zeitung of Leipzig was
unenthusiastic: 'The oddest among the odd products of last month
was surely Beethoven's opera Fidelio, which we had been eagerly await-
ing. The piece was given for the first time on November 20, but was
received very coldly. . . . The performance itself was not of the first

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rank. Mile Milder has neither sufficient emotional strength nor live-
liness for the role of Fidelio, despite her beautiful voice, and Demmer
[Florestan] sang almost consistently flat. All this, together with the gen-
eral situation, will explain why the opera was given only three times.'

Beethoven was unhappy with the original performances which he con-
ducted himself. Following the advice of well-intentioned friends, he
made revisions (consisting mostly of cuts), and the second version was
presented at the same theatre on March 29 1806, running for four
performances. Beethoven was still not happy. In a letter to Sebastian
Meier, his brother-in-law, who sang the role of Pizarro, he wrote on
April 10, the day of the last of the four performances:

'I beg you ask Herr von Seyfried to conduct my opera today. I should
like to look at and hear it from a distance. At least my patience will
not be so sorely tried as if I have to hear my music botched from
nearby! I cannot help believing it is done on purpose. I shall not say
anything about the wind instruments; but every pianissimo, every
crescendo, decrescendo, every forte, every fortissimo has been elimi-
nated from my opera; at any rate they are disregarded. One really loses
delight in composing anything at all when one hears this kind of
performance. . . . P.S. If the opera is to be given again the day after
tomorrow, we must certainly have another rehearsal tomorrow, if only
with piano, or it will get even worse.'

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466

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For more than seven years Beethoven left Fideiio. But early in 1814
an opportunity for a revival presented itself. Georg Friedrich Triet-
schke, the stage manager and poet of the Karnthnerthor-T heater, re-
vised the libretto, and Beethoven set to work on the score. The first
performance of the opera as it is best known today was given at the
theatre on May 23. It was triumphantly successful.

For the first production in 1805 Beethoven wrote the overture which
is now known as 'Leonore no. 2'. The following year the revised
version began with 'Leonore no. 3', a piece even more elaborately
constructed than its precursor. For the 1814 version of the opera,
Beethoven realized that so long and formal a piece was out of place
before the first act, and wrote the overture now called Tidelio', which
is simpler and more effective theatrically. At its end one is ready for
the curtain to go up on the first scene, during which Marcelline,
daughter of Seville Prison's chief warder, does her ironing, while the
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469

LUDWIG VAN BEETHOVEN

Concerto for violin and orchestra in D major op. 61

Program note by John N. Burk

Ludwig van Beethoven composed the concerto in 1806, and it was first played
by Franz Clement at the Theater-an-der-Wien in Vienna on December 23 that year.
Many famous violinists have performed the concerto with the Orchestra, Sarasate,
Kreisler, Flesch, Heifetz, Szigeti, Francescatti and Menuhin among them. The
concerto was most recently performed at these concerts by Isaac Stern on January 15
and 16 1965. It has been recorded by Jascha Heifetz and the Orchestra under the
direction of Charles Munch for RCA Victor.

The instrumentation: flute, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets,
timpani and strings. The cadenza which Joseph Silverstein plays in the first move-
ment is by Fritz Kreisler; those in the second and third movements he has composed
himself.

The Violin Concerto belongs to the prodigiously abundant year of the
Fourth Symphony, the Rasumovsky Quartets, the first revision of
Tidelio', the Piano Sonata in F minor, the Thirty-two Variations in
G minor, and if Thayer's theory is accepted, the Fourth Piano Con-
certo. Among these the Violin Concerto was the last completed. De-
signed for Franz Clement, celebrated virtuoso of the day, it was per-
formed by him in Vienna, on December 23 1806. Beethoven completed
the score at the last moment. The solo part reached the hands of
Clement too late for the final rehearsal, according to the evidence
which Dr Bertolini gave to Otto Jahn in support of his claim that

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'Beethoven never finished commissioned works until the last minute'.
According to another witness, cited by Thayer, Clement played the
concerto 'at sight'.

Beethoven has left no record of his true musical regard for Franz
Clement. However, in 1794, when the violinist was a prodigy of four-
teen, Beethoven wrote him the following enthusiastic letter:

'Dear Clement

Proceed along the path which you have hitherto trodden so splen-
didly and so gloriously. Nature and art vie in making you one of the
greatest artists. Follow both, and you need not fear that you will fail
to reach the great — the greatest goal on earth to which the artist can
attain. Be happy, my dear young friend, and come back soon, so that
I may hear again your delightful, splendid playing.

Wholly your friend
L. v. Beethoven'

Paul David reports contemporary opinion to the effect that 'his style
was not vigorous, nor his tone very powerful; gracefulness and ten-
derness of expression were its main characteristics. His technical skill
appears to have been extraordinary. His intonation was perfect in
the most hazardous passages, and his bowing of the greatest dexterity'.
On the other hand, there are evidences of the meretricious in Clement,
who was exploited as a boy wonder from the age of nine, and who
liked to exhibit such feats as playing long stretches of an oratorio

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from memory, note for note, upon the piano, after hearing it two or
three times. At the concert where he played Beethoven's Concerto,
he edified the audience with a fantasia of his own, in which he held
his instrument upside down. In any case, Beethoven must have re-
spected the position of Clement as a prominent conductor in Vienna,
to whom fell the direction of his first two symphonies, his 'Mount
of Olives', and other works. Nor could Beethoven have forgotten
that he was leader of the violins at the theater which had lately pro-
duced Fidelio and from which further favors might be expected.
It should be noted, nevertheless, that not Clement, but Beethoven's
friend Stephan von Breuning, received the dedication of the piece on
its publication in 1809, Beethoven's transcription of it into a con-
certo for pianoforte and orchestra bore the dedication to Madame
von Breuning. He had made this artistically doubtful arrangement
at the order of Muzio Clementi.

The autograph score of the Concerto is inscribed with a playful mix-
ture of languages, and a dubious pun on the virtue of clemency:
'Concerto par Clemenza pour Clement, Primo Violino e Direttore al
Teatro a Vienne, dal L. V. Bthvn., 1806'. The pun also brings to
mind that other personage connected with the early fortunes of the
Concerto — Clementi, the musician turned publisher — although the
virtue in question hardly appears in this particular transaction.
Clementi, passing through Vienna in April 1807, called upon Bee-

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thoven with a view to obtaining the English rights to some of his
latest works. He wrote of his crafty approach and his success to his
partner, Collard, in London:

Dear Collard — By a little management and without committing
myself, I have at last made a complete conquest of the haughty beauty,
Beethoven, who first began at public places to grin and coquet with
me, which of course I took care not to discourage; then slid into
familiar chat, till meeting him by chance one day in the street —
'Where do you lodge?' says he: 'I have not seen you this long while!'
— upon which I gave him my address. Two days after I found on my
table his card brought by himself, from the maid's description of his
lovely form. This will do, thought I. Three days after that he calls
again, and finds me at home. Conceive then the mutual ecstasy of
such a meeting! I took pretty good care to improve it to our house's
advantage, therefore, as soon as decency would allow, after praising
very handsomely some of his compositions: 'Are you engaged with any
publisher in London?' — 'No' says he. 'Suppose, then, that you prefer
met — 'With all my heart'. 'Done. What have you ready?' — 'I'll bring
you a list.' In short I agree with him to take in MSS. three quartets,
a symphony, an overture and a concerto for the violin, which is beau-
tiful, and which, at my request he will adapt for the pianoforte with
and without additional keys; and a concerto for the pianoforte, for
all which we are to pay him two hundred pounds sterling.

The symphony which Clementi had thus secured was the Fourth, the
overture was that to 'Coriolanus'. The buyer, who certainly possessed

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a rare combination of business and musical acumen, considered both
'wonderfully fine'. The conversion of the violin concerto into a more
saleable pianoforte work he duly arranged for and received, with an
additional cadenza for this instrument, and a passage connecting the
slow movement and finale. He wanted the quartets and symphonic
scores in arrangements for the pianoforte, but probably thought it the
better part of caution not to propose arrangements which might raise
the price, or worse still might anger the composer and jeopardize the
whole deal. He suggested to his partner: 'The quartets, etc., you may
get Cramer or some other clever fellow to adapt for the pianoforte'.
He added: 'I think I have made a very good bargain. What do you
think?'

Beethoven, on his side, rubbed his hands over his own sharpness as
a man of affairs. He figured to sell this parcel of scores simultaneously
to publishers in three countries. He wrote in high spirits to his friend,
Count Franz von Brunsvik: 'I have come to a right satisfactory arrange-
ment with Clementi. I shall receive 200 pounds Sterling — and besides
I am privileged to sell the works in Germany and France'.

The five introductory taps on the drum become the basic pattern of
the opening movement. The rhythm, squarely measuring off the bar,
becomes omnipresent and gives the whole context a downright, on-
the-beat character. The rhythm is inherent in two phrases of the main

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theme and the last phrase of the second theme. It is echoed between
phrases in the accompaniment. It is double-quickened, used in transi-
tional passages. The movement is one of those in which some early
hearers failed to distinguish between reiteration and repetitiousness.
The themes, profusely set forth, are similar in character, but endlessly
variegated in the placid, untroubled course of the whole.

The Larghetto is subdued by mutes upon the strings; and only three
pairs of instruments to match them — clarinets, bassoons and horns.
The voice of the solo instrument continues in graceful lines of orna-
mental tracery in a musing half light. Only for a few measures in the
middle section does it carry the melody. The Rondo theme is tossed
from the middle to the high range of the instrument and then picked
up by the orchestra. The horns have a theme which peculiarly belongs
to them. As the development progresses the brilliance drops away to
dreaming again as fragments are murmured and the delicate colorings
of the horns, or bassoon, or oboes have their passing enchantments.
In short, a concerto without dazzling qualities, with a solo part which
asks taste, discernment in expression, and warm response. The con-
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481

LUDWIG VAN BEETHOVEN
Symphony no. 5 in C minor op. 67
Program note by John N. Burk

Beethoven finished the Fifth Symphony near the end of 1807 and himself directed
the first performance at the Theater-an-der-Wien on December 22 1808. The dedi-
cation is to Prince von Lobkowitz and Count Rasumovsky. The orchestra last played
the symphony in this series on November 23 and 24 1962 with Erich Leinsdorf
conducting.

The instrumentation: 2 flutes and piccolo, 2 oboes, 2 clarinets, 2 bassoons and
contrabassoon, 2 horns, 2 trumpets, 3 trombones, timpani and strings (the piccolo,
trombones and contrabassoon, here making their first appearance in a symphony of
Beethoven, are used only in the Finale).

Something in the direct impelling drive of the first movement of the
C minor symphony commanded general attention when it was new,
challenged the skeptical, and soon forced its acceptance. Goethe
heard it with grumbling disapproval, according to Mendelssohn, but
was astonished and impressed in spite of himself. Lesueur, hidebound
professor at the Conservatoire, was talked by Berlioz into breaking his
vow never to listen to another note of Beethoven, and found his prej-
udices and resistances quite swept away. A less plausible tale reports
Maria Malibran as having been thrown into convulsions by this sym-
phony. The instances could be multiplied. There was no gainsaying
that forthright, sweeping storminess.

Even if the opening movement could have been denied, the tender
melodic sentiment of the Andante was more than enough to offset
conservative objections to 'waywardness' in the development, and
the lilting measures of the scherzo proper were more than enough to
compensate the 'rough' and puzzling Trio. The joyous, marchlike

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theme of the finale carried the symphony on its crest to popular
success, silencing at length the objections of those meticulous musi-
cians who found that movement 'commonplace' and noisy. Certain
of the purists, such as Louis Spohr, were outraged at hearing the
disreputable tones of trombones and piccolo in a symphony. But
Spohr could not resist Beethoven's uncanny touch in introducing a
reminiscence of the scherzo before the final coda. Even Berlioz, who
was usually with Beethoven heart and soul, felt called upon to make
a half-apology for the elementary finale theme. It seemed to him that
the repetitiousness of the finale inevitably lessened the interest. After
the magnificent first entrance of the theme, the major tonality so
miraculously prepared for in the long transitional passage, all that
could follow seemed to him lessened by comparison, and he was forced
to take refuge in the simile of a row of even columns, of which the
nearest looms largest.

It has required the weathering of time to show the Beethoven of the
Fifth Symphony to be in no need of apologies, to be greater than his
best champions suspected. Some of its most enthusiastic conductors
in the century past seem to have no more than dimly perceived its
broader lines, misplaced its accents, under or over shot the mark when
they attempted those passages which rely upon the understanding and
dramatic response of the interpreter. Wagner castigated those who

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hurried over the impressive, held E flat in the second bar, who sus-
tained it no longer than the 'usual duration of a forte bow stroke'.
Many years later, Arthur Nikisch was taken to task for over-prolonging
those particular holds. Felix Weingartner, in 1906, in his 'On the
Performance of the Symphonies of Beethoven', felt obliged to warn
conductors against what would now be considered unbelievable liber-
ties, such as adding horns in the opening measures of the symphony.
He also told them to take the opening eighth notes in tempo, and
showed how the flowing contours of the movement must not be
obscured by false accentuation.

Those — and there is no end of them — who have attempted to describe
the first movement have looked upon the initial four-note figure with
its segregating hold, and have assumed that Beethoven used this frag-
ment, which is nothing more than a rhythm and an interval, in place
of a theme proper, relying upon the slender and little used 'second
theme' for such matters as melodic continuity. Weingartner and others
after him have exposed this fallacy, and what might be called the
enlightened interpretation of this movement probably began with the
realization that Beethoven never devised a first movement more con-
spicuous for graceful symmetry and even, melodic flow. An isolated
tile cannot explain a mosaic, and the smaller the tile unit, the more
smooth and delicate of line will be the complete picture. Just so does
Beethoven's briefer 'motto' build upon itself to produce long and
regular melodic periods. Even in its first bare statement, the 'motto'
belongs conceptually to an eight-measure period; indeed Erich Leins-
dorf feels that it was Beethoven's specific intention that each of the

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holds should last for five beats: so that there are exactly sixteen beats
from the start to the sixth measure, the equivalent of eight whole
measures. The upper line of the example shows Beethoven's opening
in its orginal form; the lower Mr Leinsdorf s resolution of the problem.
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This is, says Mr Leinsdorf, not only important for determining the
length of the holds, but also has bearing on the fact that in the first
movement there are two distinct beats to each bar: it is not a 'one in
a bar' movement.

The movement is regular in its sections, conservative in its tonalities.
The composer remained, for the most part, within formal boundaries.
The orchestra was still the orchestra of Haydn, until, to swell the
jubilant outburst of the finale, Beethoven resorted to his trombones.

The innovation, then, was in the character of the musical thought.
The artist worked in materials entirely familiar, but what he had to
say was astonishingly different from anything that had been said before.
As Sir George Grove has put it, he 'introduced a new physiognomy
into the world of music'. No music, not even the 'Eroica', had had
nearly the drive and impact of this First Movement.

The Andante con moto (in A flat major) is the most irregular of the
four movements. It is not so much a theme with variations as free
thoughts upon segments of a theme with certain earmarks and recur-
rences of the variation form hovering in the background. The first
setting forth of the melody cries heresy by requiring 48 bars. The first
strain begins regularly enough, but, instead of closing on the tonic
A flat, hangs suspended. The woodwinds echo this last phrase and
carry it to a cadence which is pointedly formal as the strings echo it

488

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at the nineteenth bar. Formal but not legitimate. A close at the eighth
bar would have been regular, and this is not a movement of regular
phrase lengths. Regularity is not established until the end of the
movement when this phrase closes upon its eighth bar at last! The
whole andante is one of the delayed cadences. The second strain of
the melody pauses upon the dominant and proceeds with an outburst
into C major, repeats in this key to pause at the same place and dream
away at leisure into E flat. The two sections of melody recur regularly
with varying ornamental accompaniment in the strings, but again the
questioning pauses bring in enchanting whispered vagaries, such as
a fugato for flutes, oboes and clarinets, or a pianissimo dalliance by
the violins upon a strand of accompaniment. The movement finds
a sudden fortissimo close.

The third movement (allegro, with outward appearance of a scherzo)
begins pianissimo with a phrase the rhythm of which crystallizes into
the principal element, in fortissimo. The movement restores the
C minor of the first and some of its rhythmic drive. But here the
power of impulsion is light and springy. In the first section of the
Trio in C major (the only part of the movement which is literally
repeated) the basses thunder a theme which is briefly developed,
fugally and otherwise. The composer begins what sounds until its
tenth bar like a da capo. But this is in no sense a return, as the hearer
soon realizes. The movement has changed its character, lost its steely
vigor and taken on a light, skimming, mysterious quality. It evens off
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new disclosure, lightly establishing (although one does not realize this
until the disclosure comes) the quadruple beat. The bridge of mystery
leads, with a sudden tension, into the tremendous outburst of the
Finale, chords proclaiming C major with all of the power an orchestra
of 1807 could muster — which means that trombones, piccolo and
contrabassoon appeared for the first time in a symphony. The Finale
follows the formal line of custom, with a second section in the
dominant, the prescribed development section, and a fairly close
recapitulation. But as completely as the first movement (which like-
wise outwardly conforms), it gives a new function to a symphony —
a new and different character to music itself. Traditional preconcep-
tions are swept away in floods of sound, joyous and triumphant. At
the end of the development the riotous chords cease and in the sudden
silence the scherzo, in what is to be a bridge passage, is recalled. Again
measures of wonderment fall into the sense of a coda as the oboe brings
the theme to a gentle resolution. This interruption was a stroke of
genius which none could deny, even the early malcontents who
denounced the movement as vulgar and blatant — merely because they
had settled back for a rondo and found something else instead. The
Symphony which in all parts overrode disputation did so nowhere
more unanswerably than in the final coda with its tumultuous C major.

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The BSO and the Talking Machine - Part 2
by Martin Books pan

In the first part of his article Martin Bookspan described the Orches-
tra's journey to the Victor Talking Machine Company's studios at
Camden, New Jersey, during a sweltering heat wave in October 1917,
and the extraordinary igloo-type structures in which they were to play.

Shortly before ten o'clock the men were marched into their little
'igloos' and Dr Muck took his position outside. They began to work
on the Tchaikovsky. Retake after retake was made, sometimes because
the engineers weren't satisfied, sometimes because fatigue and the
brutal heat caused mistakes.

The late Boaz Piller, who played bassoon and contrabassoon in the
orchestra from 1916 until his retirement in 1952, was another who
remembered the sessions. 'There was trouble getting the different
instruments to register,' Piller recalled. 'There was a very amusing
incident in the transition section of the Tchaikovsky finale. No matter
how hard he tried, Longy was unable to make his oboe solo register.
So he was asked to come out of the little hut and sit right in front of
the large horn. Still that was not satisfactory. They finally had him
put his instrument right inside the recording horn — and this time it
did register. Dr Muck, with his usual sarcasm and dry sense of humor,
got a real kick out of it and the orchestra got a good laugh!

On the sessions went, the rest of Tuesday, all day Wednesday, the same
on Thursday, and again on Friday. When the Tchaikovsky finale was
satisfactorily engraved, it was decided to go ahead and record the
shorter pieces that Librarian Rogers had brought along. No tour that
the orchestra had ever undertaken was more strenuous than this, but
by the end of the last session, on Friday afternoon, everyone shared the
exhilaration of having participated in a great event. Even Dr Muck,
who had at first resented having to leave his comfortable Maine home
a week early, was pleased with the results.

How pleased can best be judged from an anecdote told in the Novem-
ber 1926 issue of The Phonograph Monthly Review, one of the earliest
periodicals in the United States devoted exclusively to news, informa-
tion, and reviews of records. Dr Muck, Victor Herbert, and some of
the recording men were a little late arriving at one of the final sessions.
As they approached the door of the studio, they heard coming from
inside the sounds of the Tchaikovsky finale. 'What are they rehearsing

494

jfowcome all
me music-lovers
are reading
The Globe

these days:

a***-*"

•ytfO&Z

flUR

the Tchaikovsky again for?' someone exclaimed. 'That's all finished
and recorded; they should be rehearsing the Lohengrin Prelude.'
When the door opened, it was discovered that what they had been
hearing was a playback of the record which had been made the day
before!

It was late Friday afternoon, 4 October, when the exhausted musicians
filed slowly out of the Victor laboratory and onto the buses waiting to
take them back to Philadelphia. They spent the early evening in the
City of Brotherly Love, but they were all too tired for anything but
boarding the train back to Boston. At 10.45 P- m - tne Y were on their
way home. In contrast to the trip out, this time there were no card
games, no groups keeping each other awake all night. They remained
in their own cars and slept as though they had been drugged.

A week later the orchestra's season officially began with the traditional
Friday afternoon concert in Symphony Hall. By the time December
arrived, the events of the first week of October seemed like a dream.
But the arrival of the December bulletin of the Victor Talking Machine
Company served to bring them vividly back to memory.

A triumph — first records by the Boston Symphony Orchestra, ran the
proud announcement on the center-page spread. Three discs consti-
tuted that first release of December 1917 — exactly fifty years ago in
a week's time. The finale of the Tchaikovsky Fourth Symphony
occupied two single-faced twelve-inch discs (74553/4), each selling for
$1.50; the Prelude to the Third Act of Lohengrin (64744) was on a
single-faced ten-inch disc which sold for $1.00.

KING'S CHAPEL CONCERT SERIES

Daniel Pinkham, Music Director
Sunday afternoons at five
Dec. 10, 1967: The Christmas Story in Medieval Music
Jan. 28, 1968: Court and Chapel Music of the early Venetian Baroque
Mar. 17, 1968: Netherlands Renaissance Music

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From the response of both critics and public it is clear that no orches-
tral recordings produced anywhere until that time compared in impact
with these first Boston Symphony Orchestra recordings. When he
heard the finished discs, Victor Herbert exclaimed: 'At last it is
possible to present the performances of a symphony orchestra! Now,
everything is possible!' One of the most enthusiastic reviews of the
discs when they were first released came from America's pioneer record
critic, R. D. Darrell, who later edited the invaluable Gramophone Shop
catalogues of recorded music and whose reviews of tapes and discs
enliven the pages of High Fidelity-Musical America to this very day.
Darrell wrote: 'The tone of the wood winds is so exquisite that one
can only marvel. Precision, phrasing, and tone are equaled only by the
balance and clarity. It is hard to avoid superlatives when describing
these records. . . . There was never anything like them before, there
can never be anything quite like them again.' And the announcement
in the Victor bulletin concludes with these words: 'After years of
research and experimentation, we feel that this, our latest achievement,
is worthy of our best traditions, for it makes available a whole province
of music which so far has remained untouched, and offers the music
lover the first of a series of symphony orchestra records which far
surpass any orchestral records obtainable anywhere in the world.' If
this sounds strangely like current pronouncements from this or that
record company about its most recent developments in ultra-fidelity or
stereophony, it proves only that the advertising copy writer of 1967
bears a remarkable likeness to his 1917 counterpart.

WGBH-FM goes

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The ultimate in hi-fidelity reproduction will probably remain forever
unattainable, but whatever victories have been won in the past fifty
years were signalled by the cymbal crash with which the finale of
Tchaikovsky's Fourth Symphony begins, and which the engineers in
Camden attempted so heroically to reproduce in 1917.

One final footnote remains to be added. It was the intent of the Victor
Talking Machine Company to launch the heaviest advertising
campaign in its history in the promotion of the Boston Symphony
Orchestra recordings. Included in the plans was a double-page spread
in the Saturday Evening Post. A few weeks after the discs were
released, however, there began a whispering campaign against Dr Muck
and his alleged pro-German sympathies. America had joined the Allies
in April 1917, and in the era of incendiary emotions which followed
anybody with German ties was suspect; Muck, the most prominent
German conductor of the time and a favorite of the Kaiser's, was
especially vulnerable. He was jailed in March 1918, and then deported.
This unpleasantness brought with it a cancellation by the Victor Talk-
ing Machine Company of all its plans for the promotion of the records
and for a time they even stopped pressing the discs. During the next
ten years the Boston Symphony Orchestra remained conspicuously
absent from the recording studios.

It was not until 13 November 1928, in Serge Koussevitzky's fifth season
as Music Director, that it again made records. A decade of silence is a
long period in phonographic history, but the contribution of those
first hundred musicians who made the grimy trek to Camden assuredly
cannot be measured by quantity alone.

This article, which originally appeared in the pages of High Fidelity,
has been revised, and is reprinted by kind permission of High Fidelity-
Musical America.

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Program Editor

Newly appointed editor of the program book is Andrew Raeburn, who
has been for the last three years assistant to the Music Director. Born
in London, he was educated first at Charterhouse, where he edited the
school magazine and studied classics and music. After service in the
British army, he went on a scholarship to King's College, Cambridge,
and sang in the choir there under Boris Ord and David Willcocks. He
was awarded his degree in history, but devoted much of his time to
music as conductor of two of Cambridge's chamber choirs, one of
which he took on a successful tour to Germany.

For a year he was assistant manager of Philomusica of London, directed
at that time by Thurston Dart, and then became Music Director of
Argo Records. He planned and produced many recordings of choral
and chamber music during his five years there, and the musicians with
whom he worked included Benjamin Britten, Julian Bream, the
Amadeus Quartet, Peter Pears and Mstislav Rostropovich. His record-
ing of Haydn's Nelson Mass won an Edison award. In addition to
editing the programs Andrew Raeburn continues as the Orchestra's
recording co-ordinator.

Exhibition

The pictures hanging in the gallery are by the New England Artists'
Group, which Roger Curtis founded in 1962 with the aim of showing
the work of American artists as widely as possible through exhibitions.
The group has presented shows throughout New England in schools,
colleges and industrial organizations. The exhibition at Symphony
Hall features oil paintings by members of the group.

The wood carvings now on exhibition for the first time in Boston, are
the work of Chetley Rittall of Boothbay Harbor, Maine. Working with
wood has fascinated him since he was a boy, and before he had his own
tools he often borrowed his mother's sharpest knives, unknown to her.
Born on the Kennebec River in Maine in 1931, his schooling was all in
Massachusetts. From 1952 to 1954 he was with the Army and travelled
widely in the Orient observing Oriental wood carving.

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The soloists

CHLOE OWEN received her early musical
training from her parents in Chattanooga,
Tennessee. After post graduate work at
Peabody Conservatory in Baltimore, Mary-
land, she went to New York and toured for
Community Concerts. For the last several
years she has been in Europe where, after
study with Hans Hotter, Germaine Lubin
and Giuseppe Pais, she has been singing
opera, oratorio and solo recitals. She sang
at the Bern Stadttheater for three years and
has since performed in Italy, Switzerland, Germany and Austria, includ-
ing the Salzburg Festival and the Festival of Two Worlds at Spoleto.

Chloe Owen's large repertoire includes 25 operas from Handel and
Mozart to Hindemith, and many oratorios. She is now on the faculty
of Boston University.

JOSEPH SILVERSTEIN, concertmaster of
the Boston Symphony Orchestra since 1962,
joined the Orchestra seven years earlier at
the age of twenty-three, the youngest mem-
ber at that time. Born in Detroit, he studied
at the Curtis Institute in Philadelphia,
and later with Joseph Gingold and Mischa
Mischakoff. He was a prize winner in the
1959 Queen Elisabeth of Belgium Inter-
national Competition, and a year later won
the Naumberg Foundation Award. Before

coming to Boston he played in the orchestras of Houston, Denver and

Philadelphia.

Joseph Silverstein takes his place among the outstanding violinists of
his generation, and has established an international reputation as
soloist and as first violin of the Boston Symphony Chamber Players,
whose recent tour to the Soviet Union, Germany and England he led.
During past seasons he has performed with the Orchestra concertos by
Bartok and Stravinsky (which he has recorded for RCA Victor), and
by Bach, Schoenberg and Sibelius. Earlier this year he played the
Brahms Concerto with Erich Leinsdorf and the Boston Symphony
Orchestra in Boston and at Tanglewood, and with Leopold Stokowski
and the American Symphony Orchestra in New York.

A man of extraordinary energy, Joseph Silverstein is also the violinist
of the Boston Symphony String Trio, organizer of the Boston Sym-
phony Chamber Players, a faculty member of the New England Con-
servatory and Chairman of the Faculty of the Berkshire Music Center.
He finds time occasionally to play a game of squash, a round of golf
and a hand of bridge.

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IN WISHING A LOYAL FRIEND

A VERY HAPPY BIRTHDAY

507

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■■

FUTURE PROGRAMS

Ninth Program

Friday afternoon December 8 at 2 o'clock
Saturday evening December 9 at 8.30

STANISLAW SKROWACZEWSKI guest conductor

BERLIOZ Le Corsaire - Overture

LUTOSLAWSKI Concerto for orchestra

BRAHMS Symphony no. 2 in D major

The next concerts, which take place in two weeks' time after the
Orchestra's second tour to New York, will be directed by Stanislaw
Skrowaczewski, conductor of the Minneapolis Symphony Orchestra.
He first appeared with the Boston Symphony Orchestra at Tanglewood
in 1966 and now makes his debut as guest conductor in Boston. Com-
poser as well as conductor, he is well known on both sides of the
Atlantic.

The performance of Witold Lutoslawski's Concerto for Orchestra will
be the first at these concerts. Lutoslawski is one of Poland's leading
contemporary composers; the Concerto, which he finished in 1954, in
the words of one critic 'at once suggested an affinity with Bartok, tem-
pered by characteristically cool yet colorful instrumental writing'.

The concert will end at about 3.45 on Friday
and at about 10.15 on Saturday

Tenth Program

Friday afternoon December 15 at 2 o'clock
Saturday evening December 16 at 8.30

ERICH LEINSDORF conductor

WAGNER

ELGAR

MOZART

DVORAK

STRAUSS

Tristan und Isolde - Prelude
Falstaff op. 68

Three German dances K. 605
Three Slavonic dances from op. 72
Suite from 'Der Rosenkavalier'

programs subject to change

BALDWIN PIANO
RCA VICTOR RECORDS

509

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510

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IGHTY-SEVENTH SEASON 1967-1968
BOSTON SYMPHONY ORCHESTRA

ERICH LEINSDORF Music Director
CHARLES WILSON Assistant Conductor

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BOSTON

MASSACHUSETTS

515

Erich Leinsdo

...an authority on Bran

Enjoy both of these recordings, as well as the Brahms Symphony No. 1, as
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BOSTON SYMPHONY ORCHESTRA

ERICH LEINSDORF Music Director

CHARLES WILSON Assistant Conductor

FIRST VIOLINS

Joseph Silverstein
C oncer tmaster

SECOND VIOLINS

VIOLAS
Burton Fine
Reuben Green
Eugen Lehner
Jerome Lipson
Robert Karol
Akio Akaboshi*
Bernard Kadinoff
Vincent Mauricci
Earl Hedberg
Joseph Pietropaolo
Robert Barnes
Yizhak Schotten

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Martin Hoherman
Mischa Nieland
Karl Zeise
Robert Ripley
John Sant Ambrogio
Luis Leguia
Stephen Geber
Carol Procter
Jerome Patterson
Ronald Feldman

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Henry Portnoi
William Rhein
Joseph Hearne
Bela Wurtzler
Leslie Martin
John Salkowski
John Barwicki
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Robert Olson

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Doriot Anthony Dwyer

James Pappoutsakis
Phillip Kaplan

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Lois Schaefer

OBOES

Ralph Gomberg

John Holmes
Hugh Matheny

ENGLISH HORN

Laurence Thorstenberg

CLARINETS

Gino Cioffi

Pasquale Cardillo
Peter Hadcock

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Felix Viscuglia

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Ernst Panenka
Matthew Ruggiero

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Charles Yancich

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Thomas Newell
Paul Keaney
Ralph Pottle

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Roger Voisin

Andre Come
Gerard Goguen

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William Gibson
Josef Orosz
Kauko Kahila

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Everett Firth

PERCUSSION

Charles Smith
Harold Thompson
Arthur Press

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Olivia Luetcke

LIBRARIANS

Victor Alpert
William Shisler

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Alfred Robison

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Contents

Program for December 8 and 9 1967

523

Future programs

573

Program notes

■

Berlioz - Overture 'Le Corsaire'

524

by John N. Burk

Lutoslawski - Concerto for orchestra

532

by Leonard Marcus

Brahms - Symphony no. 2 in D major

538

by John N. Burk

Erich Leinsdorf announces his resignation

552

Today's conductor

560

The members of the Orchestra

562

Recent recordings by the Orchestra

568

52!

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EIGHTY-SEVENTH SEASON 1967-1968

Ninth Program

Friday afternoon December 8 at 2 o'clock
Saturday evening December 9 at 8.30

STANISLAW SKROWACZEWSKI guest conductor

BERLIOZ

Overture 'Le Corsaire'

LUTOSLAWSKI Concerto for orchestra

Intrada

Capriccio notturno e arioso
Passacaglia, toccata e corale

First performance in this series

INTERMISSION

BRAHMS

Symphony no. 2 in D major op. 73

Allegro non troppo

Adagio non troppo

Allegretto grazioso, quasi andantino

Allegro con spirito

The concert will end at about 3.45 on Friday
and at about 10.15 on Saturday

BALDWIN PIANO
RCA VICTOR RECORDS

523

Program Notes

HECTOR BERLIOZ
Overture Te Corsaire' op. 21
Program note by John N. Burk

Berlioz was born in Cote-Saint- Andre on December n 1803, and died in Paris on
March 8 1869. He composed the Overture probably in February 1831, and revised
it in 1844. It was first performed in Paris on January 19 1845 at the Champs
Elys^es, when Berlioz conducted from the manuscript. There was a second perform-
ance April 1 1855, at a concert of the St Cecilia Society in Paris. The score was
again revised and first published in this year. The first performance in Boston was
by the Boston Symphony Orchestra on January 10 1896. The most recent perform-
ances in this series were conducted by Richard Burgin on November 1 and 2 1963.
The score is dedicated 'to my friend, Davison' [James Davison (1813-1885), who was
for many years editor of The Musical World and music critic of The Times of
London].

The instrumentation: 2 flutes, 2 oboes, 2 clarinets, 4 bassoons, 4 horns, 2 trumpets,
2 cornets, 3 trombones, ophicleide (or bass tuba), timpani and strings.

Hans von Biilow, after conducting The Corsair Overture at Mein-
ingen, wrote that it 'went like a shot from a pistol', plainly alluding
to the sharp staccato chords for the full orchestra that punctuate light
lyrical passages. It is a dashing and debonair overture, enlivened by
the wit of brilliant string writing.

The title incites one to find in this overture the musical embodiment
of the reckless adventurer of Byron's poem. Unfortunately for those
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Berlioz called this Overture at its first performance La Tour de Nice.
Only later did he change the name to Le Corsaire Rouge, and finally,
Le Corsaire. A close examination of titles in general as bestowed by Is
the Romantics often reveals them as afterthoughts, a last minute dress-
ing-up of a piece of music with a colorful name for its readier consump-
tion. And yet, Byron's Corsair, the sea-roving outlaw with his fine
contempt of all men, his complete ruthlessness matched by a complete
gallantry toward women, must have well fitted the composer's mood
when he sketched the Overture on his journey to Rome in 1831 — if so
he did.

Berlioz makes no mention of this Overture in his memoirs, but the
Signale on the occasion of a performance at Weimar in 1856 made the
statement, presumably extracted from Berlioz, that it was composed in
three days 'during a voyage protracted by a storm'. This would have
been the voyage which Berlioz made from Marseilles to Livorno in
February 1831, as part of his journey to Rome as a Prix de Rome
winner. It was also during his Prix de Rome months that he composed
the Overtures to Rob Roy and King Lear, his Lelio, and his revision
of the Symphonie Fantastique. In his memoirs, Berlioz reveals that the
poetry of Byron held him in captivation at this time. He carried his
Byron into St Peter's Cathedral. 'Never did I see St Peter's without
a thrill. It is so grand, so noble, so beautiful, so majestically calm!
During the fierce summer heat I used to spend whole days there, com-
fortably established in a confessional, with Byron as my companion.

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I sat enjoying the coolness and stillness, unbroken by any sound save
the splashing of the fountains in the square outside, which was wafted
up to me by an occasional breeze; and there, at my leisure, I sat drink-
ing in that burning poetry. I followed the Corsair in his desperate
adventures; I adored that inexorable yet tender nature — pitiless, yet
generous — a strange combination of apparently contradictory feelings:
love of woman, hatred of his kind.

'Laying down my book to meditate, I would cast my eyes around, and,
attracted by the light, they would be raised to Michelangelo's sublime
cupola. What a sudden transition of ideas! From the cries and bar-
barous orgies of fierce pirates I passed in a second to the concerts of
the seraphim, the peace of God, the infinite quietude of heaven; . . .
then, falling to earth again, I sought on the pavement for traces of the
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Berlioz had sailed from Marseilles in a Scandinavian brig, and so had
had his first experience of the sea. One of his travelling companions, a
Venetian, 'an underbred fellow, who spoke abominable French, claimed
that he had commanded Lord Byron's corvette during the poet's adven-
turous excursions in the Adriatic and the Grecian Archipelago. He
gave us a minute description of the brilliant uniform Lord Byron had
insisted on wearing, and the orgies in which they indulged'. The craft
carrying Berlioz was becalmed in the bay off Nice for three days, and
then proceeded under a gale which nearly wrecked them. The quality
of invention in the tales of his fellow traveler was surely more important
to the eager listener than their veracity. In May, Berlioz set out from
Rome by carriage for home at the devastating news that his beloved
Camille Moke had married Pleyel. He reached Nice, recovered from
his rage, which included avowed intentions of murder and suicide,
and basked in that fair spot for three weeks before returning to Rome.
It was a sort of mental convalescence. He records that these days were
the 'happiest' in his life. There he drafted his Roi Lear Overture.
When a police officer, looking upon him as a suspicious character, asked
him what he was doing there, he answered: 'Recovering from a pain-
less illness, I compose and dream and thank God for the sunshine, the
beautiful sea, and the green hills'.

Memories of that earlier and more sanguine period must have returned
to Berlioz when, in August 1844, he went once more to Nice (for
convalescence from jaundice) and then revised his Byronic overture,
naming it La Tour de Nice. The Bellanda tower, last relic of a chateau
long vanished, must have stood conspicuously before his vision on a
promontory of that fair coast as his boat lay at anchor offshore fourteen
years before.

But the listener to Berlioz's Overture, like the police officer, would do
well not to inquire too specifically into the nature of the dreams which
may have produced the musical images — dreams compounded of Shake-
speare, Byron, thwarted love, a host of fresh impressions gathered in
Italy, and the immediate spell of a gleaming Mediterranean spring.

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531

WITOLD LUTOSLAWSKI

Concerto for orchestra

Program note by Leonard Marcus

Witold Lutoslawski was born in Warsaw on January 25 1913. The Concerto for
orchestra received its premiere in Warsaw on November 26 1954, under the direction
of Witold Rowicki.

The instrumentation: 3 flutes, 2 piccolos, 3 oboes and english horn, 3 clarinets and
bass clarinet, 3 bassoons and contrabassoon, 4 horns, 4 trumpets, 4 trombones and
tuba, timpani, snare drum, 3 small drums (soprano, alto, tenor), military drum,
bass drum, cymbals, tarn tarn, tambourine, xylophone, glockenspiel, celesta, 2 harps,
piano and strings.

When scores to Lutoslawski's Funeral Music began to filter into this
country around 1958, they caused quite a sensation among those for-
tunate enough to see them. After a dozen years of 'socialist realism' in
the Eastern European countries, Poland's major composer had written
a twelve-tone work. For musicians, this was a further indication of the
thirst the Poles must have had for the liberalization of life in their
country that occurred in 1956 (just prior to the similar and tragic
attempt in Hungary). Lutoslawski, as a matter of fact, had experi-
mented with twelve-tone techniques during the German occupation in
some short, polyphonic brass pieces. After the war, in 1945, another
element stimulated Lutoslawski's style when the government's pub-
lishing house asked the composer to arrange some Polish folk melodies
for piano, for school use. The result was a combination that Luto-
slawski was subsequently to use in his larger works: simple folk tunes
with atonal, or pseudo-atonal, harmonies. His preoccupation with folk
materials found their way into two of his even simpler, though orches-
tral, works, the Little Suite of 1950 and the Silesian Triptych (with
soprano) of 1951, which are folkish in both melody and harmony.

It was also in 1950 that Lutoslawski began the Concerto for orchestra,
which he finished four years later. The work synthesized all his musical
tendencies up to that time. Poland was still isolated musically from
the West, and Lutoslawski's personal involvement with contemporary
music remained influenced primarily by such relative old-timers as
Stravinsky, Bartok, and Hindemith. On the other side of the ledger,
the Concerto for orchestra is filled with material of a folk origin.

The first and last movements are in F sharp, the middle movement in
B flat minor. Over a pedal F sharp in the basses, bassoons, and harp
at the beginning of the Intrada, cellos give out with the main theme
which, like much folk and Lutoslawski music, revolves around the
repetition of a limited number of notes. The entire movement, Allegro
maestoso, is the 9/8, with little rhythmic adventure, but with an inter-
play of instrumental timbres and a feeling of musical solidity that sets

Leonard Marcus, an alumnus of the Berkshire Music Center and an
honors graduate of Harvard, is a conductor, composer, violinist, scholar,
writer, and is currently Managing Editor of High Fidelity Magazine.
During his varied career he has served in the U.S. Army as conductor-
arranger-cymbal player and writer of musical shows, has been assistant
to Antal Dorati in Minneapolis, and has also been program annotator
for the American Symphony Orchestra.

532

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the stage for the subsequent movements. Near the end the pedal
F sharp reappears, now as a high harmonic in, first, a few violins. I
The pedal lasts some fifty measures before it evolves into a final F sharp
major chord.

The second movement, Capriccio notturno e arioso, serves as a scherzo.
A skittering capriccio, mainly in the strings and winds, with odd beats
thrown in among its basic 3/4 vivace, sandwiches the brassy arioso;
this, acting as a trio, is decidedly slower in movement, while keeping
the same 'beat'. As a matter of fact, all three movements are basically
three beats to a measure, and basically fast.

The finale, however, begins Andante con moto, with divided basses and
harp exposing a passacaglia theme canonicly. Figures in the other
instruments, led by the piano and followed by a horn, pile up on each
other as the tempo imperceptively increases throughout this part of
the movement, with an interruption. After the sudden fall back to the
original tempo, the speed again increases up to — another fall. The
passacaglia is over, but its theme becomes a vigorous toccata, Allegro
giusto, still 'in three'. The various instruments are shown in solo
passages and in combinations. Again the tempo increases, this time by
several stages, and the brass superimpose a chorale on the whole. It
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Lutoslawski studied at the Warsaw Conservatory with Jerzy Lefeld and
Witold Maliszewski, a pupil of Rimsky-Korsakov and Glazunov. After
World War II he became active in the cause of international music,
and in 1959 was elected to the Committee of the International Society
for Contemporary Music. His own style changed drastically just before
he visited the United States in the summer of 1962 to teach in the
composition department of the Berkshire Music Center. In an inter-
view with Alan Rich at that time, he spoke of the changes in Polish
music over the last decade: 'The major impetus for this turn to the
avant-garde came during the years 1956-59, when the influence of such
composers as Boulez, Stockhausen and your own John Cage became
noticeable in Poland. But that stage is already over, because now our
composers are beginning to develop their own personalities along
these lines.

'How is the public taking to all this?' asked Mr Rich. 'Surprisingly
well', was the reply. 'Naturally, there is the Beethoven-Tchaikovsky
public, but many of them at least accept the new music. I said "accept",
of course, not "support".

'But our own audience is growing. Some years ago I organized a series
of "tape seances" in Warsaw, where new trends in electronic music
were explored. We had a large young audience, not only musicians but
also people from other arts, and their only complaint was that we had
too few meetings. I asked one of them once if he also went to the Phil-
harmonic concerts. "No", he replied. "Why?" "Because Beethoven
bores me."

'The point is that we are developing a public that is exclusively inter-
ested in the new. Perhaps this is a bad thing; I don't know. But at
least it is preferable to having no public at all.'

Mr Lutoslawski, according to Alan Rich, 'then let his glance wander
over the spacious Tanglewood grounds. "This is an extraordinary
place, and an extraordinary tribute to the vision of its founder, Serge
Koussevitzky. My summer here has inspired me to return to Poland
and attempt something like this there." '

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JOHANNES BRAHMS

Symphony no. 2 in D major op. 73
Program note by John N. Burk

Brahms was born in Hamburg, Germany, on May 7 1833 and died in Vienna on
April 3 1897. He composed the Second Symphony in 1877, and the first performance
took place in Vienna on December 30 of that year. Theodore Thomas gave the first
American performance in New York on October 3 1878. The Harvard Musical
Association introduced it to Boston on January 9 1879, and after the concert here
John S. Dwight wrote his much quoted criticism that 'Sterndale Bennett could have
written a better symphony'. Georg Henschel conducted the symphony during the
Boston Symphony Orchestra's first season, on February 24 1882. The most recent
performances in this series were led by Erich Leinsdorf on December 11 and 12 1964.
The Orchestra's recording under Erich Leinsdorf's direction has been released by
RCA Victor.

The instrumentation: 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets,
3 trombones, tuba, timpani and strings.

Looking back over the ninety years which have passed since Brahms'
Second Symphony was performed for the first time, one finds good
support for the proposition that music found disturbingly 'modern'
today can become universally popular tomorrow. This symphony,
surely the most consistently melodious, the most thoroughly engaging
of the four, was once rejected by its hearers as a disagreeable concoction
of the intellect, by all means to be avoided.

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In Leipzig, when the Second Symphony was introduced in 1880, even
Dorffel, the most pro-Brahms of the critics there, put it down as 'not
distinguished by inventive power'! It was a time of considerable anti-
Brahms agitation in Central Europe, not unconnected with the Brahms- j
versus-Wagner feud. There were also repercussions in America. When
in the first season of the Boston Symphony Orchestra (February 24
1882) Georg Henschel conducted the Second Symphony, the critics fell
upon it to a man. They respected Mr Henschel's authority in the
matter because he was an intimate friend of Brahms. For Brahms they
showed no respect at all. The Transcript called it 'wearisome',
'turgid'; the Traveler, 'evil-sounding', 'artificial', lacking 'a sense of
the beautiful', an 'unmitigated bore'. The Post called it 'as cold-
blooded a composition, so to speak, as was ever created'. The critic of
the Traveler made the only remark one can promptly agree with: 'If
Brahms really had anything to say in it, we have not the faintest idea
what it is.' This appalling blindness to beauty should not be held
against Boston in particular, for although a good part of the audience
made a bewildered departure after the second movement, the coura-
geous believers in Mr Henschel's good intentions remained to the end,
and from these there was soon to develop a devout and determined type
who stoutly defended Brahms. New York was no more enlightened,
to judge by this astonishing suggestion in the Post of that city (in
November 188*7): 'The greater part of the Symphony was antiquated
before it was written. Why not play instead Rubinstein's Dramatic
Symphony, which is shamefully neglected here and any one movement
of which contains more evidence of genius than all of Brahms' sym-
phonies put together?'

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Many years had to pass before people would exactly reverse their
opinion and look upon Brahms' Second for what it is — bright-hued
throughout, every theme singing smoothly and easily, every develop-
ment both deftly integrated and effortless, a masterpiece of delicate
tonal poetry in beautiful articulation. To these qualities the world at
large long remained strangely impervious, and another legend grew up:
Brahms' music was 'obscure', 'intellectual', to be apprehended only by
the chosen few.

What the early revilers of Brahms failed to understand was that the
'obscurity' they so often attributed to him really lay in their own non-
comprehending selves. Their jaws would have dropped could they
have known that these 'obscure' symphonies would one day become
(next to Beethoven's) the most generally beloved — the most enduringly
popular of all.

Brahms' mystifications and occasional heavy pleasantries in his letters
to his friends about an uncompleted or unperformed score show more
than the natural reticence and uncommunicativeness of the composer.
A symphony still being worked out was a sensitive subject, for its
maker was still weighing and doubting. It was to be, of course, an
intimate emotional revelation which when heard would certainly
become the object of hostile scrutiny by the opposing factions. Brahms'
closest friends dared not probe the privacy of his creative progress upon
anything so important as a new symphony. They were grateful for
what he might show them, and usually had to be content with hints,
sometimes deliberately misleading.

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Brahms almost gave away the secret of his Second Symphony when, in
1877, he wrote to Hanslick from Portschach on the Worthersee, where
he was summering and, of course, composing. He mentioned that
he had in hand a 'cheerful and likable' ['heiter and lieblich'] sym-
phony. 'It is no work of art, you will say — Brahms is a sly one. The
Worthersee is virgin soil where so many melodies are flying about
that it's hard not to step on them.' And he wrote to the more in-
quisitive Dr Billroth in September: 'I don't know whether I have a
pretty symphony or not — I must inquire of skilled persons' (another
jab at the academic critics). When Brahms visited Clara Schumann in
her pleasant summer quarters in Lichtenthal near Baden-Baden on
September 17 1877, Clara found him 'in a good mood' and 'delighted
with this summer resort'. He had 'in his head at least', so she reported
in a letter to their friend Hermann Levi, 'a new symphony in D major
— the first movement is written down'. On October 3, he played to
her the first movement and part of the last. In her diary she expressed
her delight and wrote that the first movement was more skillfully
contrived [in der Erfindung bedeutender] than the opening move-
ment of the First, and prophesied: 'He will have an even more strik-
ing public success than with the First, much as we musicians admire
the genius and wonderful workmanship' of that score. When Frau
Schumann and her children were driven from Lichtenthal by the
autumn chill, Brahms remained to complete his manuscript.

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For the first performance (which was in Vienna, December 30 1877),
the Symphony was given the usual ritual of being read from a none-too-
legible four-hand arrangement by Brahms. He and Ignaz Brull played
it in the piano warerooms of Friedrich Ehrbar. C. F. Pohl attended
the rehearsals of the Vienna Philharmonic and reported to the pub-
lisher, Simrock (December 27): 'On Monday Brahms' new Symphony
had its first rehearsal; today is the second. The work is splendid and
will have a quick success. A da capo [an encore] for the third move-
ment is in the bag [in der Tasche].' And three days later: 'Thursday's
rehearsal was the second, yesterday's was the final rehearsal. Richter
has taken great pains in preparing it and today he conducts. It is a
magnificent work that Brahms is giving to the world and making acces-
sible to all. Each movement is gold, and the four together comprise a
notable whole. It brims with life and strength, deep feeling and charm.
Such things are made only in the country, in the midst of nature. I
shall add a word about the result of the performance which takes place
in half an hour.

'It has happened! Model execution, warmest reception. 3rd move-
ment (Allegretto) da capo, encore demanded. The duration of the
movements 19, 11, 5, 8 minutes.' [This shows the first two movements
slower than present-day practice. A recent timing of a Boston perform-
ance under Erich Leinsdorf is as follows: 1414, 9, 5V2> 9- The timing
of the first movement is misleading, however, since Richter probably
repeated the exposition of the first movement, which conductors today
rarely do.] 'Only the Adagio did not convey its expressive content,
and remains nevertheless the most treasurable movement.'

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546

If Brahms as a symphonist had conquered Vienna, as the press reports
plainly showed, his standing in Leipzig was not appreciably raised by
the second performance which took place at the Gewandhaus on
June 10. Brahms had yet to win conservative Leipzig which had
praised his First Symphony, but which had sat before his D Minor
Piano Concerto in frigid silence. Florence May, Brahms' pupil and
biographer, reports of the Leipzig concert that 'the audience main-
tained an attitude of polite cordiality throughout the performance of
the Symphony, courteously applauding between the movements and
recalling the master at the end'. But courteous applause and polite
recalls were surely an insufficient answer to the challenge of such
a music! 'The most favorable of the press notices', continues Miss
May, 'damned the work with faint praise', and even Dorffel, the most
Brahmsian of them wrote: 'The Viennese are much more easily
satisfied than we. We make different demands on Brahms and require
from his music something which is more than pretty and "very pretty"
when he comes before us as a symphonist.' This music, he decided,
was not 'distinguished by inventive power', it did not live up to the
writer's 'expectations' of Brahms. Dorffel, like Hanslick, had praised
Brahms' First Symphony for following worthily in Beethoven's foot-
steps, while others derided him for daring to do so. Now Dorffel was
disappointed to miss the Beethovenian drive. This was the sort of talk
Brahms may have had in mind when he wrote to Billroth that the
Symphony must await the verdict of the experts, the 'gescheite Leute'.

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Considering the immediate success of the Second Symphony in other
German cities, it is hard to believe that Leipzig and Herr Dorffel could
have been so completely obtuse to what was more than 'prettiness' in
the Symphony, to its 'inventive power', now so apparent to all, had the
performance been adequate. But Brahms, who conducted at Leipzig,
was not Richter, and the Orchestra plainly did not give him its best.
Frau Herzogenberg who was present wrote in distress to her friend,
Bertha Farber, in Vienna that the trombones were painfully at odds in
the first movement, the horns in the second until Brahms somehow
brought them together. Brahms, she said, did not trouble himself to
court the favor of the Leipzig public. He offered neither the smooth-
ness of a Hiller nor the 'interesting' personality of an Anton Rubin-
stein. Every schoolgirl, to the indignation of this gentle lady, felt
privileged to criticize him right and left.

All of which prompts the reflection that many a masterpiece has been
clouded and obscured by a poor first performance, the more so in the
early days when conducting had not developed into a profession and
an excellent orchestra was a true rarity. When music unknown is also
disturbingly novel, when delicacy of detail and full-rounded beauty of
line and design are not apprehended by the performers, struggling
with manuscript parts, when the Stimmung is missed by all concerned,
including in some cases the conductor himself, then it is more often
than not the composer who is found wanting.

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Erich Leinsdorf announces his resignation

Erich Leinsdorf, Music Director of the Boston Symphony Orchestra,
announced on Wednesday December 6 that he has advised the Trustees
of the Orchestra that he will relinquish his post at the end of the
Tanglewood season of 1969. He has done so in accordance with his
contract, which stipulates a minimum period of twenty months for
giving notice. He has agreed at the same time, if the Trustees have not
found his successor by a year from now, to help by remaining as Music
Director until the end of the 1970 Tanglewood season, but under a
guaranteed severe reduction of conducting duties.

His reason for this decision is the heavy work load of concerts, rehear-
sals, recordings and musical planning which is connected with the
regular winter season and Tanglewood.

In announcing his decision, Mr Leinsdorf said, 'My giving notice now
goes back to the end of my first year as Music Director of the Boston
Symphony Orchestra. I first broached the subject of overwork to
Henry B. Cabot, President of the Trustees, four years ago, having
learned by then that conducting between eighty and one hundred
concerts during the winter season of seven months, plus recordings
and, of course, rehearsals, was too much. The duty of the Music
Director of the Boston Symphony Orchestra is further complicated
through planning the entire Berkshire Festival season, conducting
seventeen or eighteen different programs each summer, and the active
directorship of the Berkshire Music Center, which was particularly
asked of me by Mr Cabot. Also, I am a person — and that may be a
very personal trait of mine — who views the music directorship as much
more than merely choosing programs and conducting them. To me
there is complete interdependence of all artistic and administrative
decisions, each musical decision affecting finance and administration,
and each administrative decision affecting music. This, to me, is
especially true now when vast changes are taking place in the structure
of the orchestral world.

'In asking for a reduction of conducting duties, I followed at that time
the advice of my physician. The subject has come up regularly since,
and came to a head last June, when I actually mentioned the word
"resignation" to the President of the Trustees. And so, I have now
taken the ultimate step, notwithstanding my warm personal friendship
with Mr Cabot who, indeed, tried to meet me as much as possible in
my repeated requests for a reduction in conducting duties.

'It might be pointed out that the post of Music Director of the Boston
Symphony Orchestra provides several yearly vacation periods which in
my case, however, were taken up by the necessity to search for new or
rarely heard works, for studying scores and for a minimum of guest
conducting abroad, an activity which I believe to be essential for any
conductor who wishes to broaden his musical horizons and keep abreast
of musical trends elsewhere. I might add that during the first three
years of my contract I did not attempt any guest conducting engage-
ments in an endeavor to reconcile my energies with the duties and
schedules of my post.

552

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'An immense joy has been the audiences of Boston, Tanglewood, New
York and the cities on the regular East Coast tours of the Orchestra
who have enthusiastically endorsed our work, whether in the repertoire
of established classics, forgotten works, or new compositions of the
very modern school. The public attendance and reaction are all the
more gratifying since it is the policy of the Boston Symphony to engage
fewer guest soloists than most of the other major orchestras and to rely
more heavily upon the orchestra and its conductor.

'I also find the members of the Orchestra to be particularly fine human
calibre and I much enjoyed getting to know them and their personal-
ities in a series of informal gatherings in small groups. These days,
when one reads so frequently about strife and strikes, it is important
to realize that these players (who, I know, are not dissimilar to their
colleagues elsewhere) are thoughtful human beings, beset by problems
and vexed by the puzzles of the world. I feel fortunate in my warm
feeling for them.'

In commenting on the news of Mr Leinsdorf's resignation, Mr Cabot
said, 'In bowing to Mr Leinsdorf's request, the Trustees and I reluct-
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great deal — for many memorable hours of music making; for his
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educational work of the Orchestra at the Berkshire Music Center in
Tanglewood, and for the fact that during his tenure our subscriptions
have steadily increased. Mr Leinsdorf s offer to serve as Music Director
for an additional season while we may still be looking for his successor
is both gratifying and helpful, and we are grateful to him. It is also a
pleasure that he has agreed to come to us as a guest conductor for a
period of at least five years upon the termination of his contract, and
we hope and expect that in addition he will guest conduct for us many
additional years in the future. Mr Leinsdorf has our warmest wishes
for all he wishes to accomplish.'

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BBLU2VI

Today's conductor

STANISLAW SKROWACZEWSKI was ap-
pointed music director of the Minneapolis
Symphony Orchestra in i960. He was for-
mer director of the National Philharmonic
of Poland and has conducted in Poland,
France, Italy, England, Austria, Belgium,
Holland, Czechoslovakia, Germany, Hun-
gary, Yugoslavia, the Soviet Union, South
America, Mexico, Israel and the United
States.

Born in Lwow, Poland, he received his early
musical training in the Conservatory of the Lwow Music Society as a
student of piano and violin. He received his diploma from the Lwow
Academy of Music in 1945 and went on to study composition with
Roman Palaster and conducting with Walerian Bierdiajew at the
State Higher School of Music in Krakow. While at Krakow, he served
as assistant in the division of conducting. From there he went to Paris
with a fellowship from the Ministry of Culture and Art where he
became a pupil of Nadia Boulanger in composition and of Paul Kletzki
in conducting.

In Paris, he won international recognition as a composer with his
'Prelude and Fugue' in 1947. The same year he won first prize in the
Karol Szymanowski Competition with his 'Concert Overture'. His
other works include four symphonies, four string quartets (one a
winner at the International Concours of Compositions in Belgium,
1953), an opera, a ballet, several vocal works and music for stage and
screen.

In the season 1947-48, Skrowaczewski was conductor of the Wroclow
(Breslau) Philharmonic Orchestra, and in 1948 was appointed music
director and conductor of the National Philharmonic Katowice, a post
he held until 1954. During this period, he also toured Europe as con-
ductor and composer. In 1955, he became conductor of the Krakow
Philharmonic. From 1957 to x 959» ne conducted the Warsaw Philhar-
monic Orchestra.

It was in Warsaw in 1957 that Mr Skrowaczewksi was noticed by George
Szell. Szell invited Skrowaczewski to America, and the latter made his
widely acclaimed debut with the Cleveland Orchestra in 1958. He
returned to Cleveland the following year, and also conducted the
Pittsburgh and Cincinnati Symphony Orchestras.

Stanislaw Skrowaczewski conducted the Boston Symphony Orchestra at
the 1966 Berkshire Festival, and makes his debut with the Orchestra in
Boston this weekend.

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The members of the orchestra

MICHEL SASSON, who was born in Alex-
andria, Egypt, of French descent, studied
at the Paris Conservatoire National. His
teachers there, among others, were Nadia
Boulanger and Marcel Regnal. A unani-
mous jury, which included Henryk Szeryng,
gave him the first prize in violin when he
graduated, and he came to Boston with a
full scholarship from the New England Con-
servatory. He was the Conservatory Orches-
tra's concertmaster in 1958-59. He has since
performed many recitals and has made solo appearances with the
Boston Pops and other orchestras. Two seasons ago he was one of the
soloists in Vivaldi's Concerto in B minor for four violins with Mr
Leinsdorf and the Orchestra.

In January 1967 Michel Sasson founded the Newton Symphony, of
which he has since been conductor and music director. Numbering 92
members, the orchestra is probably the largest amateur symphony in
Massachusetts. Harvard professors, psychiatrists, plumbers, architects
and surgeons make up its membership, as well as the wives, sons and
daughters of players in the Boston Symphony Orchestra. There are
three programs planned for this season, of which the first takes place
this coming Sunday December 10. The soloist at the first concert will
be Leslie Parnas; Joseph Silverstein will appear on March 3 next year
and Earl Wild on May 10. There will also be two concerts for children,
for which the Newton Symphony has received a grant from the Record-
ing Industries Fund.

When he has time to relax Michel Sasson plays ping pong and is a fan
of the Boston Celtics basketball team.

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MARTIN HOHERMAN was five years old
when he began his musical training at the
Warsaw Conservatory under the violinist
Eli Kochanski. He gave his first concert as
cello soloist with the Warsaw Philharmonic,
of which he was principal cello, and also
conducted the orchestra at that time. When
the 1 939 war broke out he joined the British
Army and later the Army entertainment
group, which took him to Egypt, India and
Ceylon, and later to England.

At the end of the war Martin Hoherman gave recitals in London's
Wigmore Hall and throughout England. He returned to Ceylon as
controller of western music for the Colombo radio station, and taught
several young and very promising Ceylonese cellists, for whom he
arranged further studies in London. After Ceylon he went to Canada
and then came to Boston; he joined the Orchestra in 1953. Martin
Hoherman enjoys composing and has written several songs for children
which were performed by choirs he trained for Radio Ceylon. His
Symphonietta for strings was played in London. He has also written
two string quartets and is working on a cello concerto. He is the first
cello of the Boston Pops and associate first cello of the Boston Sym-
phony. He was a member of the Bel Arte Trio for several years, and is

(continued on page 566)

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06t-

BOSTON
SYMPHONY
.ORCHESTRA,

CONCERT POSTPONEMENTS

There have been very few occasions in the history of the Boston
Symphony Orchestra when it has been necessary to postpone
a concert because of inclement weather or a mishap like the
power failure in November 1965. Today most of the Orches-
tra's many subscribers and the players themselves live some
distance from Symphony Hall, and travel many miles, usually
by automobile, to the concerts. When there is a winter storm
and the traveling becomes difficult, the switchboard at Sym-
phony Hall is swamped with calls about the possibility of a
postponement.

To make it easier to discover what plans the Orchestra has
made, several radio stations in the Boston area have kindly
offered to broadcast any notice of a change in the concert
schedule.

If you are in any doubt about a concert's taking place, please
tune to one of the following radio stations rather than call
Symphony Hall. These stations will announce the Orchestra's
plans as soon as a decision has been made.

WBZ 1030 kc AM

WCRB 1330 kc AM and 102.5 mc FM

WEEI 590 kc AM and 103.3 mc FM

WEZE 1260 kc AM

WHDH 850 kc AM and 94.5 mc FM

WRKO 680 kc AM and 98.5 mc FM

565

principal cello of the Opera Group of Boston. Apart from teaching
and playing the cello Martin Hoherman also plays the tenor saxophone
and the mandolin, both of which he has played with the Orchestra, as
well as celesta, clarinet, banjo, piano, accordion and double bass. In
his spare time he enjoys oil painting, watchmaking, photography and
making movies.

JOSEPH HEARNE, now in his sixth season
with the Boston Symphony Orchestra, is 25
years old. At the time of his appointment
he was the youngest member. Raised in
Portland, Oregon, he studied at the Juil-
liard School under Stuart Sankey. He then
played in the Portland Symphony and the
Aspen Festival Orchestra, before coming to
Boston. He holds a private pilot license for
the operation of light aircraft and has flown
a total of 125 hours.

Joseph Hearne has recently bought eleven acres of hilly and wooded
land near Boston. He plans to build a house and stables there and
stock the pond with trout. He has a daughter who recently celebrated
her first birthday.

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COLUMBIA RECORDSH
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Leonard Bernstein, the leading Mahler
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The Nine Symphonies of Gustav Mahler
in this elegant 14-LP limited edition.
Included in the set are a fascinating 36-page
book and a special bonus 12"record,
"Gustav Mahler Remembered," containing
reminiscences of the composer by his
daughter, Anna, and by colleagues.

(A 14-record set in stereo only)

567

Recent recordings by the Orchestra

Many subscribers like to make gifts of recordings by the Orchestra to
their friends and relatives, especially at this time of year. The follow-
ing is a list of the most recently issued records which should prove
useful to people who are worried lest they duplicate records already
in their friends' collections: Beethoven - Symphony no. 7; Mahler -
Symphony no. 3 with Shirley Verrett and the New England Conserva-
tory Chorus; Violin Concertos by Sibelius and Prokofiev with Itzhak
Perlman; Tchaikovsky - Piano Concerto no. 1 with Misha Dichter;
Brahms - Symphony no. 3.

Other records which have been most popular include the last three
piano concertos of Beethoven with Artur Rubinstein; the Bartok Con-
certo for Orchestra; the Violin Concertos by Bartok and Stravinsky
with Joseph Silverstein; the Fifth Symphony of Mahler; the Fifth and
Sixth Symphonies of Prokofiev; and, for subscribers with a taste for the
contemporary, music of Irving Fine; and the Seven Studies on Themes
of Paul Klee by Gunther Schuller, coupled with Stravinsky's Agon.

Music in Boston

There will be a concert of medieval Christmas music at King's Chapel
this Sunday December 10 at 5 p.m. The program will include fifteenth
century English carols, music from the opening scene of The Play of
Herod and the Tournai Mass, a work written in about 1325. Daniel
Pinkham will conduct soloists, the Choir of King's Chapel and mem-
bers of the Boston Renaissance Ensemble. Among the early instruments
which will be played are psaltery, lute, crumhorn, recorders, bell
carillon, vielle and rauschpfeife. The public is invited and no tickets
are necessary.

Boston Center for Adult Education

The Center announces a course entitled 'This week at Symphony' with
George Zilzer of the instrumental staff at Brandeis University. The
course will begin on January 5, and one-hour sessions will take place
at 10.30 a.m. each Friday on which the Orchestra plays a concert.
George Zilzer will examine each week's program and answer such
questions as 'How does this piece convey this mood?' and 'What makes
that piece a work of art?' All inquiries should be addressed to the
Center at 5 Commonwealth Avenue, Boston (telephone 267-4430).

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THE

BOSTON SYMPHONY

PROGRAM

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Symphony Hall

•

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Donald T. Gammons

569

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ENSEMBLES

OF THE

BOSTON SYMPHONY ORCHESTRA

presented by the Boston Symphony Orchestra
and the New England Conservatory of Music

MONDAY EVENINGS AT JORDAN HALL
FUTURE PROGRAMS

January 8 at 8.30

MUSIC GUILD STRING QUARTET

MOZART Quartet in A major K. 464

BARTOK Quartet no. 3

BEETHOVEN Quartet no. 9 in C op. 59 no. 3

February 5 at 8.30

BOSTON SYMPHONY CHAMBER PLAYERS

BALAKIREV Octet

WEBERN Concerto op. 24

DAHL Duo Concertante for flute and percussion

MOZART Divertimento in E flat K. 563

Members of the Friends of the Boston Symphony Orchestra and
Friends of the New England Conservatory may secure a free ticket
for a guest to accompany them. Friends of the Boston Symphony
Orchestra should telephone Mrs Whittall at Symphony Hall (CO
6-1492) for details. Friends of the New England Conservatory
should get in touch with Miss Virginia Clay at the Jordan Hall Box
Office (536-2412).

Single tickets for each concert are available from the
Jordan Hall Box Office, 30 Gainsborough Street.
Boston 02115 (telephone 536-2412)
Prices: $1.50, $2, $2.50, $3, $4, $5

571

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FUTURE PROGRAMS

Tenth Program

Friday afternoon December 15 at 2 o'clock
Saturday evening December 16 at 8.30

ERICH LEINSDORF conductor

WAGNER

ELGAR

MOZART

DVORAK

STRAUSS

Tristan und Isolde - Prelude
Falstaff op. 68

Three German dances K. 605
Three Slavonic dances from op. 72
Suite from 'Der Rosenkavalier'

The main work in next week's program will be Sir Edward Elgar's
symphonic study Falstaff, which the Orchestra will play for the first
time. The music pictures the fat old knight of Shakespeare's Henry IV,
his disreputable doings at the Boar's Head, his pranks with Prince Hal,
his final rejection by the young Henry V and his death. Elgar injects
into a typically late romantic score an extraordinary flavor of the first
Elizabethan era. After intermission the Orchestra will celebrate
Christmas at Symphony with Mozart's 'The Sleigh Ride', complete with
posthorns and bells. Dvorak's Slavonic Dances will keep the holiday
atmosphere alive and the concert will finish with some of the most
charming and happy music that Richard Strauss wrote.

The concert will end at about 3.50 on Friday
and at about 10.20 on Saturday

Eleventh Program

Friday afternoon December 29 at 2 o'clock
Saturday evening December 30 at 8.30

ERICH LEINSDORF conductor

TELEMANN

HANDEL
BACH

Concerto in A major for flute and violin

JAMES PAPPOUTSAKIS, ALFRED KRIPS

A suite from 'The Water Music'

Cantata no. 35 'Geist und Seele wird verwirret'

BEVERLY WOLFF

programs subject to change

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SYMPHONY

ORCHESTRA

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^";.;>x

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FOUNDED IN 1881 BY
HENRY LEE HIGGINSON

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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 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

THOMAS D. PERRY JR Manager

NORMAN S. SHIRK

Assistant Manager

SANFORD R. SISTARE

Press and Publicity

ANDREW RAEBURN

Program Editor

JAMES J. BROSNAHAN

Business Administrator

HARRY J. KRAUT

Assistant to the Manager

MARY H. SMITH

Executive Assistant

SYMPHONY HALL

BOSTON

MASSACHUSETTS

579

TWO MAGNIFICENT RECORDING ACHIEVEMENT I

THE BOSTON SYMPHONY UNDER ERICH LEINSDM

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BOSTON SYMPHONY ORCHESTRA

ERICH LEINSDORF Music Director

CHARLES WILSON Assistant Conductor

FIRST VIOLINS

Joseph Silverstein

Concertmaster

SECOND VIOLINS

VIOLAS
Surton Fine
Reuben Green
£ugen Lehner
erome Lipson
Robert Karol
\kio Akaboshi*
Bernard Kadinoff
/incent Mauricci
iarl Hedberg
oseph Pietropaolo
lobert Barnes
'izhak Schotten

CELLOS

Jules Eskin
Martin Hoherman
Mischa Nieland
Karl Zeise
Robert Ripley
John Sant Ambrogio
Luis Leguia
Stephen Geber
Carol Procter
Jerome Patterson
Ronald Feldman

BASSES

Henry Portnoi
William Rhein
Joseph Hearne
Bela Wurtzler
Leslie Martin
John Salkowski
John Barwicki
Buell Neidlinger
Robert Olson

FLUTES

Doriot Anthony Dwyer

James Pappoutsakis
Phillip Kaplan

PICCOLO

Lois Schaefer

OBOES

Ralph Gomberg

John Holmes
Hugh Matheny

ENGLISH HORN

Laurence Thorstenberg

CLARINETS

Gino Cioffi

Pasquale Cardillo
Peter Hadcock

E\) Clarinet

BASS CLARINET
Felix Viscuglia

BASSOONS

Sherman Walt

Ernst Panenka
Matthew Ruggiero

CONTRA BASSOON

Richard Plaster

HORNS

James Stagliano
Charles Yancich
Harry Shapiro
Thomas Newell
Paul Keaney
Ralph Pottle

TRUMPETS

Armando Ghitalla
Roger Voisin

Andre Come
Gerard Goguen

TROMBONES

William Gibson

Josef Orosz
Kauko Kahila

TUBA

Chester Schmitz

TIMPANI

Everett Firth

PERCUSSION

Charles Smith
Harold Thompson
Arthur Press

Assistant Timpanist
Thomas Gauger

HARPS

Bernard Zighera
Olivia Luetcke

LIBRARIANS

Victor Alpert
William Shisler

STAGE MANAGER
Alfred Robison

VILLIAM MOYER Personnel Manager

members of the Japan Philharmonic Symphony Orchestra participating in
a one season exchange with Messrs George Humphrey and Ronald Knudsen

581

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MALCOLM FRAGER
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THE FUND FOR THE BOSTON SYMPHONY

To carry on our heritage ....

The final crescendo — the lights come up and ap-
plause fills the hall — but more than applause is
needed to carry on The Boston Symphony Orchestra's
musical heritage.

The Orchestra needs continuing financial support
which in its early years came from Henry Lee Higgin-
son and a small group of wealthy men. But now it
looks for support from music lovers in all walks of life.

Today, thoughtful friends can insure their continued
participation in carrying on our musical heritage as
proudly as before by including The Symphony in their
estate plans.

The Fund for The Boston Symphony has initiated a
deferred gifts program under the leadership of Harold
Hodgkinson, a member of The Board of Trustees, and
Hugh K. Foster. They invite your inquiry.

583

For his den or office, this set from Italy — decanter and

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584

Contents

Program for December 15 and 16 1967

Future programs

Program notes

Wagner - Tristan und Isolde - Prelude
by John N. Burk

Elgar - Falstaff

Mozart - Three German dances

Dvorak - Three Slavonic dances

Strauss - Suite from 'Der Rosenkavalier'
by James Lyons

Notes from the Music Director

Recent recordings by the Orchestra

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586

EIGHTY-SEVENTH SEASON 1967-1968

Tenth Program

Friday afternoon December 15 at 2 o'clock
Saturday evening December 16 at 8.30

ERICH LEINSDORF conductor
WAGNER Tristan und Isolde - Prelude

ELGAR Falstaff - symphonic study for orchestra op. 68

First performance by the Boston Symphony Orchestra

INTERMISSION

MOZART Three German dances K. 605

First performance by the Boston Symphony Orchestra

DVORAK Slavonic dances from op. 72

no. 2 Allegretto grazioso

no. 6 Moderato, quasi menuetto

no. 8 Grazioso e lento, ma non troppo,
quasi tempo di valse

STRAUSS Suite from 'Der Rosenkavalier'

The concert will end at about 3.50 on Friday
and at about 10.20 on Saturday

BALDWIN PIANO
RCA VICTOR RECORDS

587

Program Notes

RICHARD WAGNER

Tristan und Isolde - Prelude
Program note by John N. Burk

Wagner was born in Leipzig on May 22 1813 and died in Venice on February 13
1883. He wrote the poem of Tristan und Isolde in Zurich in the summer of 1857.
He began to compose the music just before the end of the year, completed the
second act in Venice in March 1859, and the third act in Lucerne in August 1859.
The first performance was at the Hoftheater in Munich on June 10 1865. The first
performance in America took place at the Metropolitan Opera House in New York
on December 1 1886; the first Boston performance at the Boston Theatre on
April 1 1895.

The instrumentation: 3 flutes, 2 oboes and english horn, 2 clarinets and bass clarinet,
3 bassoons, 4 horns, 2 trumpets, 3 trombones, tuba, timpani, harp and strings.

Wagner's subjects usually lay long in his mind before he was ready to
work out his text. And he usually visualized the opera in hand as a
simpler and more expeditious task than it turned out to be. He first
thought of Siegfried as light-hearted' and popular, as suitable for the
small theater in Weimar, for which its successor, Die Gotterdammerung,
was plainly impossible. But Siegfried as it developed grew into a very
considerable part of a very formidable scheme, quite beyond the scope
of any theater then existing. When Siegfried was something more than

588

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half completed, its creator turned to Tristan und Isolde for a piece
marketable, assimilable, and performable. It is true that Tristan was
composed in less than two years. But the fateful tale of the lovers
carried their creator far beyond his expressed musical intentions.
Tristan und Isolde waited six years for performance. During two of
them Wagner was still an exile and barred from the personal super-
vision which would have been indispensable for any production. After
a partial pardon he negotiated with Carlsbad, without result, and made
protracted and intensive efforts to prepare a production at the Vienna
Opera, which collapsed for want of a tenor who could meet the exac-
tions of the third act. When Wagner heard Ludwig Schnorr von
Carolsfeld that problem was solved and the opera accordingly produced
in Munich six years after its completion.

The Prelude, or Liebestod,* as its composer called it, is built with great
cumulative skill in a long crescendo which has its emotional counter-
part in the growing intensity of passion, and the dark sense of tragedy
in which it is cast. The sighing phrase given by the cellos in the open-
ing bars has been called 'Love's Longing' and the ascending chromatic
phrase for the oboes which is linked to it, 'Desire'. The fervent second
motive for the cellos is known as 'The Love Glance', in that it is to
occupy the center of attention in the moment of suspense when the

* The finale, now known as the 'Love-Death', was named by Wagner 'Transfiguration'
('Verkldrung').

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pair, having taken the love potion, stand and gaze into each other's
eyes. Seven distinct motives may be found in the Prelude, all of them
connected with this moment of the first realization of their passion by
Tristan and Isolde, towards the close of the first act. In the Prelude
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voluptuous line of melody, so subtle and integrated is their unfolding.
The apex of tension comes in the motive of 'Deliverance by Death', its!
accents thrown into relief by ascending scales from the strings. And
then there is the gradual decrescendo, the subsidence to the tender
motive of longing. 'One thing only remains', to quote Wagner's own
explanation — 'longing, insatiable longing, forever springing up anew,
pining and thirsting. Death, which means passing away, perishing,
never awakening, their only deliverance.'

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Program notes by James Lyons

SIR EDWARD ELGAR

Falstaff - symphonic study for orchestra op. 68

Elgar was born at Broadheath, near Worcester, England on June 2 1857, and died at
Worcester on February 23 1934. Falstaff was composed in 1913 and first performed
at the Leeds Festival on October 2 of that year under the composer's direction.

The instrumentation: 2 flutes and piccolo, 2 oboes and english horn, 2 clarinets
and bass clarinet, 2 bassoons and contrabassoon, 4 horns, 3 trumpets, 3 trombones,
tuba, timpani, bass drum, cymbals, snare drum, tambourine, triangle, tabor (snare
drum without snares), 2 harps and strings.

In the Worcester Papers of 1852, five years before Elgar was born, his
father delivered himself of an almost wistfully patriotic commentary —
in part prophetic, in retrospect poignant — on the state of music in the
early-middle Victorian epoch:

'I consider that the English stand rather in the background as far as
regards Musical affairs. . . . Comparatively speaking how very few
English composers are there when we look at the superior number of
foreign [ones]. ... I hope the time is not very far distant when England
in all her glory will stand pre-eminent, at least in Musical Affairs.'

Little did the senior Elgar suspect that the sun was even then beginning
to set on his beloved Empire. (Indeed, within a century the eclipse
would be so nearly total that performers would puzzle over passages
marked nobilmente — a term not explicated in such otherwise compre-
hensive modern sources as the Harvard Dictionary of Music!)

But even less could William Elgar have suspected that a future member
of his own household would lend credence and realistic hope to his
proud fantasy of national preeminence — that his own youngest child
would bring more musical glory to England than she had known in
the two hundred years since the tragically short-lived Henry Purcell
had flashed across the firmament like some vagrant meteor.

The irony of this is that for all the impressiveness of his latter-day title
in its sonorous entirety, Sir Edward Elgar Bart, OM, KCVO, was of far
from noble birth. His father was in fact a piano tuner by trade. With
his brother he operated a modest music store in Worcester. He was also
a church organist who did itinerant fiddling and other odd jobs to make
ends meet. Like the emigre Handel, then, Elgar rose to the exalted
office of Master of the King's Musick from the humblest of origins.
But unlike Handel, who had known the thoroughgoing regimen of a
Gymnasium and then a year at Halle University, Elgar seems never to
have enjoyed a day's formal education beyond his ensconcement in a
provincial academy for 'young gentlemen' from which he emerged at
the age of fifteen. Whatever else he learned thereafter was on his own

594

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595

initiative. The strength of his motivation to learn about music was
something to marvel at — he would one day be adjudged the 'greatest
of all orchestral technicians' by George Bernard Shaw, who was not
given to kindliness.

To be sure, Elgar had the advantage of a bookish, poetry-writing mother
who tutored him in literature especially. He had been entrusted to
local teachers for instruction in piano and violin, but no doubt his
lessons were much abetted at home. His father taught him the organ,
along with a smattering of harmony and counterpoint. For the rest,
however, he had to fend for himself. At sixteen, the composer-to-be
was playing violin in the community orchestra. A little later, invited
to join a wind quintet, he met and mastered the bassoon. Then he
developed a similar proficiency on the cello. Frequently he 'filled in'
at the Elgar shop, between customers practicing on this or that instru-
ment and variously satisfying an insatiable curiosity about what was
already, it would seem, his chosen way of life. (His father had wanted
him to study law, but that plan evaporated after a few months of
apprenticeship in the office of a Worcester attorney. But the time was
not wasted; typically, Elgar found the job invaluable because it forced
him to perfect his penmanship!)

Such assiduity could not go unrecognized, nor unrewarded; but by this
time the autodidactic Elgar must have learned (perhaps to his sorrow,
though ultimately to his profit) that for him each step forward involved
breaking new ground altogether. Having no alternative he had opted
for the hard way, and his determination seems to have been as bound-
less as his versatility. Conducting the Worcester Glee Club, for exam- I 1
pie, he found to his horror that the available personnel as often as
not did not approximate the complement specified. The inevitable
consequence was that scheduled works had to be tailored to fit those
forces at his disposal — hardly an easy task for the best-trained con-
servatory graduate and something more than that for a 'self-taught'
musician. But the ambitious Elgar was not to be deterred.

596

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His intrepidity was put to an extraordinary test in his twenty-first year,
when he accepted a challenge that remains unique in music history.
To wit, he then became bandmaster (and 'Composer in Ordinary', as
he later recalled with tongue in cheek) at the county mental hospital
in Powick — in those days less euphemistically known as the Pauper
Lunatic Asylum.

In the same year (1877) Elgar was named 'Leader and Instructor' of
the Worcester Amateur Instrumental Society. Actually this was the
more important position because, among other perquisites, it enabled
him for the first time to hear his own music under conditions closely
approaching those of professional performance. But it was the Powick
post that more fully engaged his adaptive talents. There he presided
over a weirdly nonstandard and subject-to-change ensemble generally
comprising piccolo, flute, clarinet, two cornets, euphonium, six or
seven violins, apparently only sometimes one or another of the lower
strings, and piano! And conducting this 'orchestra' was less than half
of the job; Elgar was expected to produce new repertoire, too. Only a
perspicacious sort could have handled this assignment with equanimity
for some five years, learning all the while as he turned out countless
polkas, quadrilles, and other trifles, original and arranged, solely for
the delectation of an audience made up of disturbed public charges
and their keepers. (Elgar's instrumentalists were drawn only from the
latter group; more's the pity, clinicians had not yet recognized the
therapeutic efficacy of involving patients as performers.)

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If one adds to the foregoing a summary of Elgar's activities on other
musical fronts — the steadily increasing demand for his services as a
concertmaster, as a church organist (he was a devout Roman Catholic),
as a teacher, as a guest conductor — one understands why Elgar did not
begin to make his mark as a serious composer until he reached his
forties. But one understands also that this cannot be the whole story.
No matter the burden of Elgar's responsibilities, it would be inferring
too much to say that he was obliged to forego composing. Surely he
could have dropped this or that job without risking starvation, and
many a masterwork has been written in the presence of more threaten-
ing adversities than Elgar ever faced. Whatever the facts, here again is
evidence that the gestation of genius conforms to no calendar, that
artistic maturation proceeds without reference to any preordained
developmental stages.

No matter what impelled Elgar to conserve his creativity, he was mag-
nificently self-prepared when the time came. It came in 1889, when
he married the daughter of Major General Sir Henry Roberts and
removed to London. Mrs Elgar knew her husband's measure, and from
their wedding day forward she urged him to concentrate on compo-
sition. Musical England may not have been ready to recognize a home-
grown master, but Elgar for his part was ready to assume the role. He
took his bride's advice. A decade later, when the Enigma Variations
caused a sensation in St James Hall, the world knew that she had been
right. And those who still had doubts were silenced once and for all in
1902, when Richard Strauss lavished praise on The Dream of Gerontius.
If the topmost eminence in German music could accept Elgar as a
composer of worth, could England be far behind?

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It was in 1902 also that Elgar started sketching out Falstaff, subse-
quently subtitled 'Symphonic study for orchestra, in C minor, with two
Interludes in A minor'. But it was eleven fruitful years later before he
returned to the score (having composed in the meantime several other
major works, among them the first two Symphonies and the glorious
Violin Concerto). He finished it in the spring and summer of 1913.

It would be a pleasure to report that Falstaff has been a concert
favorite ever since. Inexplicably, such is not the case. Perhaps, after
a half-century, its time is nigh. Certainly it ought to be, for by any
criteria this work is the composer's most nearly perfect creation. Those
who admire the writing of Sir Donald Francis Tovey know that it was
not his style to bow before the ineffable, but he very nearly did in his
estimate of this music: 'I have never found in a perishable work any-
thing like the signs of greatness and vitality that abound in Elgar's
Falstaff. How its musical values can ever diminish I cannot see. To
prove the greatness of a work of art is a task as hopeless as it would be
tedious; but, like the candidate who failed in geometry, I think I can
make the greatness of this one highly probable.' He did, at that — and
without having seen the composer's own detailed analysis. So that
Tovey's essay may be read as written (in Volume IV of the Oxford
series), complete with some two dozen corrective footnotes as to the
programmatic implications of the many, many themes. And it is
decidedly worth reading, mistakes and all, for the insight it offers into
the Shakespeare-Elgar psychology.

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The composer's own 'Analytical Essay', which appeared in the Sep-
tember 1913 issue of The Musical Times, was written in anticipation
of the Leeds Festival premiere that October. It ran to something over
a dozen pages and included a profusion of musical examples. Students
are warmly commended to this tour de force of analysis, but they are
forewarned to familiarize themselves with the appropriate Shakes-
pearean contexts; there is no music more unremittingly programmatic
than this.

In lieu of any such musico-dramatic concordance, which could hardly
be accommodated in this space, the following items of information
should be helpful. To start with, the Elgarian conception of Falstaff
bears no relation to the fat fool in The Merry Wives of Windsor.
Rather, this is the Falstaff who appears in Henry IV (Parts I and II)
and who is alluded to in Henry V. (If you know the latter play only
in the film version, you may be excused for thinking that Falstaff
is part of the dramatis personae because he does indeed appear on the
screen; however defensible this liberty may be in cinematic terms there
is no sign of Falstaff in any stage production faithful to the text — his
death scene is described, but not seen.) In the end, Shakespeareans will
remember, 'Prince Hal' (now Henry V) sternly seals the fate of his old
friend Falstaff and thus fulfills the prophecy of Warwick, that 'he will
cast off his followers, and their memory shall a pattern or a measure
live'. Simply (perhaps too simply) stated, that is what Shakespeare's
plays and Elgar's music are about.

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604

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605

The composer's postscript to the Warwick prophecy is further revealing
and, moreover, provocative: 'Their memory does live, and the mar-
vellous "pattern and measure". Sir John Falstaff with his companions
might well have said, as we may well say now, "We play fools with the
time, and the spirits of the Wise sit in the clouds and mock us."

As to the 'real' Falstaff, in contrast to the simplistic stereotype encoun-
tered in The Merry Wives, the respected Shakespearean scholar Edward
Dowden insisted that 'Sir John Falstaff is a conception hardly less
complex, hardly less wonderful, than that of Hamlet'. Moreover, Elgar
was at pains to cite the celebrated 1777 essay on Falstaff by Maurice
Morgann:

'He is a character made up . . . wholly of incongruities; — a man at
once young and old, enterprizing and fat, a dupe and a wit, harmless
and wicked, weak in principle and resolute by constitution, cowardly
in appearance and brave in reality; a knave without malice, a lyar
without conceit; and a knight, a gentleman and a soldier, without
either dignity, decency, or honour.'

Elgar makes it clear that he is above all interested in Falstaff as a
knight, a gentleman, and a soldier — which assuredly Falstaff was, or at
least had been. But even at the very outset of Elgar's 'Symphonic study'
the most important of several Falstaff themes introduces us to the
hero 'in a green old age, mellow, frank, gay, easy, corpulent, loose,
unprincipled, and luxurious' (Morgann). And from then forward he
becomes if anything progressively less lovable. With his every word
and deed, as reflected in Elgar's choice of textual references, he loses
more of our sympathy. Can this be what the composer intended?

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Of course it was not. The present writer claims no expertise as to
Shakespeare's intentions, but it is clear enough what Elgar was up to.
Tovey puts it all in one short sentence: 'He is giving us Falstaff entirely
from FalstafFs own point of view.' The more he studied this work,
Tovey remarked, 'the clearer does it appear that the composer is
achieving something lofty, severe, consistent, and far out of the depth
of opera or even of drama'. Yes.

Musically, it would be convenient but not quite accurate to say that
Falstaff is akin to the Lisztian model. True, it is laid out in one grand, j
continuous movement. But its themes do not germinate from a single
cell. Somewhat more accurately, the work can be said to unfold in
cohesive movements that are also dramatically explicit, the whole being
a sum of its parts in every way. Elgar himself said that the piece 'is
practically in one movement . . . [but] falls naturally into four prin-
cipal divisions which run on without break'. Because these divisions
are not indicated in the score, it might be useful to reproduce the
composer's outline:

1. Falstaff and Prince Henry;

2. Eastcheap — Gadshill — The Boar's Head, revelry and sleep;

3. FalstafFs March — The return through Gloucestershire —
The new King — The hurried ride to London;

4. King Henry V's progress — The repudiation of Falstaff, and
his death.

The opening scene is 'mainly a conversation', devoted largely to the
presentation of thematic motifs. Whatever the subject of FalstafFs talk
with 'Prince Hal' it is the old boy who has his way, for the section ends
with an impetuous reassertion of the initial Falstaff theme. Then the
Prince escapes from his father's court 'to the teeming vitality of the
London streets and the Tavern where Falstaff is monarch. There,
among ostlers and carriers, and drawers, and merchants, and pilgrims,
and loud robustious women, he at least has freedom and frolic' (Dow-
den). Thence to the midnight gambol at Gadshill, and afterward back
to The Boar's Head at Eastcheap, where FalstafFs falling asleep is
unmistakably announced by 'snoring' bassoons and basses.

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At this juncture we get the exquisite 'Dream Interlude' in which the
mendacious old boor suddenly gives way to sweet memories of the
clean-cut lad who was just beginning his career as a page in the service
of the Duke of Norfolk. In these few minutes the 'real' Falstaff — his
perception of himself — is discernible for perhaps the first time.

The third section is plainly a military adventure, or rather misadven-
ture, with 'a dozen captains . . . knocking at the taverns and asking
everyone for Sir John Falstaff' and then a motley march to battle with
a 'scarecrow army'. The unspecified engagement is soon concluded,
apparently in Falstaff 's favor — for off he rides to visit Master Robert
Shallow, Esquire. Elgar does not miss this opportunity to limn the
beautiful English countryside; and then we are in Shallow's orchard,
listening to 'some sadly-merry pipe and tabor music'. This bucolic
episode is interrupted by Pistol, who bursts on the scene to inform
Falstaff that 'Thy tender lambkin [Prince Hal] now is King — Harry
the Fifth's the man'. Falstaff is exultant ('I am fortune's steward'), but
he is in for a rude jolt. 'I know the young King is sick for me', he
exclaims in a moment of supreme self-delusion; 'we'll ride all night'.
And back to London they go.

In the finale we are witness to the coronation; near Westminster Abbey
'There roar'd the sea, and trumpet-clangor sounds'. Falstaff forces his
way to the newly-crowned monarch — his erstwhile boon companion —
and begins to make light with him as once they had done together.
But the boy is now a man. 'How ill white hairs become a fool and
jester', Henry says icily; 'I banish thee on pain of death'. And with
that the King moves on, having looked upon his childhood friend for
the last time. Falstaff 'is so shaked that it is most lamentable to
behold'. And suddenly we hear the poignant voice of the solo cello;
it is as if the pathetic Don Quixote had found himself on a London
street, surrounded by hostile foreigners.

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The composer's own description of his final pages is incomparable:
'True as ever to human life, Shakespeare makes [Falstaff] cry out even
at this moment not only of God but of sack, and of women; so the
terrible, nightmare version of the women's theme [first heard in the
trilling violins and violas during the Eastcheap episode] darkens (or
lightens, who shall say?) the last dim moments. Softly, as intelligence
fades, we hear the complete theme of the gracious Prince Hal [presented
in the opening section by lower winds, horns, and cellos], and then the
nerveless final struggle and collapse; the brass holds pianissimo a full
chord of C major, and Falstaff is dead. In the distance we hear the
veiled sound of a military drum; the King's stern theme is curtly
thrown across the picture, the shrill drum roll again asserts itself
momentarily, and with one pizzicato chord the work ends; the man of
stern reality has triumphed.'

Or has he? Elgar's tone is almost mocking in its righteous affirmation
of the way things are. Was he implying some doubt about reality
itself? The answer to that question is not in the plays. Perhaps it is
not in the music. But Falstaff is a portrait, after all, and not a photo-
graph. The more clearly one sees the subject as Shakespeare did, per-
haps, the more clearly one will hear him as Elgar did. Or vice versa.

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WOLFGANG AMADEUS MOZART

Three German dances K. 605

Mozart was born in Salzburg on January 27 1756, and died in Vienna on December 5
1791. The score is inscribed 'Vienna, February 12 1791'.

The instrumentation: 2 flutes and piccolo, 2 oboes, 2 bassoons, 2 horns, 2 posthorns,
2 trumpets, timpani and strings. There are also 3 parts for sleighbells, the first in
A and F, the second in E and F, the third in G.

All of Central Europe once danced the Deutscher, whose gemutlich
glide was to bridge the transition from the peasant Landler to the
sophisticated lilt of the waltz. In 1787, on the eve of his accession as
Hammermusikus to the dance-drunk Emperor Joseph II, Mozart wrote
from Prague: 'At six o'clock I went with the Count Canal to the
so-called Breiten, a rustic ball. ... I saw with wholehearted pleasure
how these people jumped around with such sincere enjoyment to the
music of my Figaro, which had been turned into all kinds of contres
and Teutsche.' Later that year, the composer found that his imperial
duties consisted almost entirely of supplying new music for the masked
balls which were staged regularly in the Redoutensaale , a wing of the
H of burg on Vienna's Josephplatz. Much of his production were
Deutsche (or Teutsche), and the celebrants took to them in turn despite
Mozart's self-abnegating appraisal; he remarked that his modest salary
was 'too high for what he did'.

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Of course he was wrong, but that is not the point. The point is that
Carnival-time in Vienna, even on the grounds of the palace, meant a
mingling of the bourgeoisie and the aristocracy — although it is true
enough that this unfettered social contact took place behind the pro-
tection of classless costumes and masks. So that in the 'German Dances'
of Mozart, more so than in any of his grander works, we may perceive
the interrelation between high art and popular taste which is too often
overlooked.

What is more usually stressed (the perspective is almost the same, give
or take a few degrees) is that the evolution of dance forms was crucial
to the development of 'serious' music. As early as 1670 there was cur-
rent a tune entitled Ach du lieber Augustin, with a Landler-like refrain
in which is immortalized a merry Austrian musician of elbow-bending
propensities whose alcoholic content allegedly immunizes him against
a plague while thousands of more temperate citizens are done in. And
even in this seventeenth-century item we can discern the outline of all
the waltzes to come: a quite rhythmic three-four pattern, with accentu-
ation on the bass note of the first beat and a limpid, almost limping
quality in the two remaining quarters. Shortly before the Commenda-
tore arrives for supper in Act II of Don Giovanni, written more than a
hundred years later, we hear a waltz melody borrowed from Vicente
Martin y Soler's opera Una cosa rara. And in this little piece, even
more specifically, we can hear the same constituents to be found in the

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best-loved waltzes of Lanner and the Strausses: an eight-measure
melodic period with minor subdivisions and phrases of four bars, and
sometimes even further subdivisions into two-bar motives.

In 1790 Joseph II died, but Leopold II kept Mozart just as busily
grinding out music for Carnival-time. The set of three dances that
make up K. 605 probably dates from January and February of 1791,
along with six or seven other groupings listed immediately before and
after this one in the Kochel catalogue. Before that year's end Mozart
would be dead, but there is nothing premonitory about these 'fun'
miniatures. They even include a sleigh-ride, with posthorns and the
jingle of bells contributing to seasonal verisimilitude.

Hermann Abert, who revised the classic Jahn biography of Mozart, ran
on about the 'inexhaustible inventiveness' of the composer's German
Dances despite the circumscribed expressive limitations of the genre.
Mozart himself may not have esteemed them highly, but the listener
cannot but believe that the Hammermusikus really enjoyed his job.
We know from Michael Kelly that Mozart was 'an enthusiast in danc-
ing', and Mrs Mozart put this in very much stronger language; she
stated flatly that her husband's 'taste lay in that art [dance] rather than
in music'! If this fantastic revelation were to be taken as literally
true — and who is to say it nay? — then the musicologists ought to give
more attention than they ever have to such 'trifles' as the K. 605.

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ANTONIN DVORAK

Three Slavonic dances from op. 72

Dvorak was born in Nelahozeves (Miihlhausen), Bohemia on September 8 1841, and
died in Prague on May 1 1904. The Orchestra last performed these dances on
November 16 and 17 1888 under the direction of Wilhelm Gericke.

The instrumentation: 2 flutes, piccolo, 2 oboes, 2 clarinets, 2 bassoons, 4 horns,
2 trumpets, timpani, triangle, glockenspiel and strings.

It says something about Dvorak's rapid rise to popularity that his
second set of Slavonic Dances (1886) brought him literally ten times the
fee he had received for the first set (1878). Ten times not much is still
not much, however; and in truth the thousand-per-cent leap says more
about the acumen of publisher Fritz Simrock. He paid the equivalent
of $75 for the op. 46, and made a fortune; he paid the equivalent of
$750 for the op. 72, and made another fortune. On the other hand,
Dvorak agreed to write the latter eight Slavonic Dances only if Simrock
would agree to publish the D minor Symphony. All things considered,
the composer made a pretty good deal.

Besides, Dvorak knew (as doubtless Simrock did) that the huge success
of the op. 46 series had brought about his initial invitation to tour
England — whither he had returned four times by 1886 — and, indeed,
that these short pieces had provided just the 'thin edge of the wedge'
necessary with which to establish his reputation securely. If the canny
Simrock wanted eight more of them, the canny Dvorak could be
persuaded.

Unlike the Brahms Hungarian Dances, Dvorak's mostly do not allude
to indigenous tunes; of the melodies nearly all are his own. Nor are
these works exclusively Czech in character. In keeping with their
broad collective rubric, a third of them are expressly based on rhythms
from Slavonic lands to the east, south, and north. One is from the
Ukraine, two are from Serbia, and two others (included in the present
grouping) are from Poland. Numbers 2, 6, and 8 (or 10, 14, and 16 in
the combined sequence) are respectively a mazurka, a polonaise, and a
sousedka — one of the popular Czech waltz forms, akin to the handler.

Dvorak was not given to overstatement, but he knew when he had a
good thing and false modesty was not his way. When he had finished
the op. 72 he told Simrock: 'They will bring the house down.' What
music that must have been to a publisher's ears!

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RICHARD STRAUSS

Suite from 'Der Rosenkavalier'

Strauss was born in Munich on June 11 1864, and died in Garmisch on September 8
1949. The opera was first performed at the Dresden Court Opera on January 26
1911. Ernst von Schuch conducted.

This is the first performance of this particular suite from 'Der Rosenkavalier'. The
suite includes the prelude to the first act, the music to the entrance of the
Marschallin's black serving boy with morning chocolate and the 'Breakfast Waltz'
from Act I. This leads to the familiar waltz from the second act, which is followed
by the prelude to Act III. The 'Riot Waltz', the music for the final exit of the
Marschallin, the duet between Sophie and Octavian, and the last bars of the opera
end the suite.

The instrumentation: 3 flutes and piccolo, 3 oboes and english horn, clarinets in A,
B flat, D and E flat, bass clarinet and basset horn, 3 bassoons and contrabassoon,
4 horns, 3 trumpets, 3 trombones, tuba, timpani, tambourine, glockenspiel, snare
drum, triangle, cymbals, bass drum, ratchet, 2 harps, celesta and strings.

Those concertgoers who are operaphobes might take umbrage at the
proposition that Strauss was first and last a theater man. And yet it is
possible to argue that all his important works — certainly not excepting
the tone poems — are essentially musico-dramatic productions.

As with Wagner, moreover, Strauss's mastery of orchestral resources
was such that an extraordinarily high percentage of his operatic writing
'travels' readily. That is to say, it is heard as often out of context as
it is in the purlieu for which it was conceived. And one surmises that
both of these composers would have been annoyed by the cavil at
'bleeding chunks' of excerpts if it had meant less circulation for their
music; neither of them ever harkened to puristic prattle when the law
of supply and demand was operating in their favor. Wagner obligingly
provided 'concert endings' for various of his preludes; and Strauss went
much further than that, of which more directly.

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'Next time I shall write a Mozart opera', Strauss is reported to have
said after the premiere of Salome (1905) and again after the premiere
of Elektra (1909). No doubt he meant it the first time, but not until
the second time had he found a librettist with whom he could do the
job. By the end of the following year he and Hugo von Hofmannsthal
had done it: Der Rosenkavalier, the fifth and in many respects the
finest of this composer's notable contributions to the lyric stage.

It has been suggested that Der Rosenkavalier is only 'rouged and lip-
sticked' Mozart, that the latter's 'small genuine diamonds' were
synthesized by Strauss into 'large rhinestones'. But the truth is there
can be no reasonable comparison at this level of discourse. Mozart's
librettist, Lorenzo da Ponte, simply did not have the literary where-
withal to strew his texts with infinite subtle ironies. By contrast,
Hofmannsthal was a genius every bit the equal of Strauss; so that their
collaboration was unique in its parity and, happily, in its integration
of their respective abilities. In consequence, Der Rosenkavalier shows
a singleness of artistic purpose without parallel among masterworks of
tandem authorship — which category of course includes virtually all
opera.

As to genre, Der Rosenkavalier might be described as the apotheosis
of musical comedy, subsuming high and low varieties. Its music can be
apprehended and its delights made manifest without a precis of the
plot, but for some listeners the following may help to bring out certain
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The lovely Marschallin von Werdenberg, an 'over-twenty-nine' beauty
in the court of Maria Theresa, is the central figure. She faces middle
age without hysteria, but not without nostalgia. Octavian, a handsome
young man, falls in love with her (or so he thinks). She returns his
affection temperately, as if aware of the inevitable outcome but
reluctant to dispel the flattering fantasy.

Contrapuntally, as it were, the dramatic line limns the darkening twi-
light of the Baron Ochs, a rake who is older than he knows. This
archetypal has-been is engaged to the willowy Sophie von Faninal, but
when he calls upon the Marschallin to arrange for the appointment of
a Knight of the Rose — the Rosenkavalier, whose honorary function it is
to carry the symbolic silver flower to a fiancee — the aging swain is not
above making a play for her maid.

What he does not know is that the maid is not the maid at all, but
Octavian in disguise. Skillfully, but not without difficulty, 'she' eludes
him. Chosen to make the fated presentation, Octavian (now as
Octavian again) himself proceeds to fall in love with Sophie. The wise
Marschallin understands, and if she suffers she is careful to hide her
hurt from Octavian. For his part, he decides to reassume the role of
the maid with a view to showing up Ochs. He succeeds easily, and
Sophie's father is glad to approve the transfer of his daughter's hand
to Octavian.

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Then the focus is once more upon the Marschallin, whose smile is not
entirely happy as she relinquishes her last claims on Octavian. In the
final scene she leaves them in a tender embrace. After this, all with-
draw, the lights dim, the music subsides, and a servant tiptoes in to
pick up Sophie's handkerchief as the curtain falls.

This kind of summary does not, could not, convey more than a super-
ficial sense of Der Rosenkavalier. Aside from the complex Gestalt of
the time and place (Vienna, c. 1745), there is the timeless — one might
say Mozartian? — psychological perfection of the principals. Octavian
may be only seventeen, but he is by no means a cardboard character.
Ochs is much, much more than a dirty old man. And the Marschallin
comes close to representing the quintessence of womankind. But these
are generalities that each listener must bring into meaningful focus
for himself. Suffice it to say that Hofmannsthal's libretto is itself a
masterpiece.

Musically, Der Rosenkavalier is busy beyond description. Alfred
Schattmann's collation of the themes discloses no fewer than one hun-
dred and eighteen! This notwithstanding, the score has demonstrated
an incredible resilience over the years. Thanks to the composer's
cupidity it has been subjected to brutalizing by hack arrangers virtually

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from the day it was published. Strauss was a musical genius, yes; but
in his relentless pursuit of profits he would have embarrassed many a
free-wheeling partisan of private enterprise. At one time, for example,
the house of Chappell offered forty-four separate listings of this or that
tidbit from Der Rosenkavalier arranged for solo piano, piano four-
hands, two pianos, violin unaccompanied and with piano, mandolin,
two mandolins (!), salon orchestra, brass band, and just about every
other conceivable combination of instruments. Strauss even recorded
an egregious medley (not even of his own devising) on a pianola roll.
In the middle 1920s he allowed Otto Singer and Karl Alwyn to over-
haul the score willy-nilly for a film version. In the spring of 1926 he
recorded excerpts from their arrangement! And so it went.

Only in 1944, finally, did the composer get around to preparing his
own concert abridgment of Der Rosenkavalier. And it is not irrelevant
to the present performances to note that the London Philharmonic
premiere of the official Erste Walzerfolge ('First Waltz Sequence') was
entrusted to a young conductor named Erich Leinsdorf.

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Notes from the Music Director - Erich Leinsdorf

In some sketches for an unfinished essay on the artist, Goethe wrote a
sentence which is a favorite of mine, because it hits the mark so
accurately: 'Artists, especially actors and musicians, live by the
applause of the crowd.' And indeed it gives color to our work, that
applause. It may carry us only for a few hours, or into the next day;
we have to hear it again to believe it, to get it into our blood stream,
into our nervous system. Do not get the idea that we professionals
greet the reception that you give us with jaded ears, with indifference;
anyone who pretends indifference to the warmth and attachment of the
public is just not being honest.

Two of the problems which face the musician today hardly troubled
his predecessor of fifty years ago: he often has to perform in this elec-
tronic age with no audience present; and he has to know an incredibly
varied amount of music, written in many different styles.

Symphony Hall will be closed to the public next week, curtains will be
draped round the auditorium, cables will wind out from the Ancient
Instrument Room to the stage, and microphones will tower rather like
ugly metal trees over the orchestra. For six days we shall be making
records, some of music from the regular orchestral repertoire, some of
concertos with our friends Artur Rubinstein and Itzhak Perlman.

Already this season we have spent several days recording, generally on
the Monday of weeks when we can begin our regular rehearsals a day
late. One of our chief difficulties here is that our audience consists of
microphones, a situation Goethe could not foresee. It is of course
harder to perform without you our audience.

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(A 14-record set in stereo only)

631

Obviously for our concert audiences we have played a great quantity
of music in these past three months, and this problem of quantity is
one that concerns and, I am sure, troubles many people in our world,
particularly those responsible for quality and standards. One of my
first endeavors when I map out the season's programs is to vary the
menu sufficiently to avoid the kind of mental fatigue that sets in if we
repeat the same piece too often. Turkey may be delicious two or three
times a year, but you would tire of it quickly enough if you had to eat
it more often. So we do not play the extremely rich and taxing Great C
major Symphony of Schubert more than a few times. The same applies
to the Pathetique of Tchaikovsky. In general I try to avoid the too
frequent appearance of pieces we might call the classical 'Hit Parade'.
They must not be stale for us or for you, or none of us can come to
them with the freshness of approach essential for fine readings and
genuine enjoyment of the familiar masterpieces. It is not that famili-
arity breeds contempt in this instance, but that overfamiliarity can
breed overconfidence.

'We played it three times last week', we may say to ourselves, 'four
times the week before; now we can play it in our sleep'. Dangerous
thinking, for it is so easy to lose the excitement, the emotional fresh-
ness which must always be there. So we must make the familiar rare
for all our sakes. I call it 'the spacing of the Hit Parade' because the
small number of masterpieces which we all love so dearly is not becom-
ing any larger. Indeed — and this may strike you as strange — we dis-
cover that some of the 'immortal' pieces of yesterday do pass away.
One picks up one of the old favorites sometimes, and discovers that its
day is gone. Of course, works like Beethoven's Fifth Symphony,
Schumann's Second and Tchaikovsky's Fifth have a lot of life yet. But
look back at the Hit Parade of twenty-five or thirty years ago; look at
your old programs and you will find that pieces which were as often
played as the Tchaikovsky and Brahms masterpieces show a curious
decline in appearance; some indeed have disappeared. There is no
enormous significance in this: nobody is going to announce 'the posi-
tively last appearance of the Capriccio espagnoV as if it were some

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633

retiring actress. But I could list a goodly number of masterpieces whose
musical joints are starting to creak. They are usually works with a
'period quality', and when our own feeling and awareness for the
period has disappeared, the work itself dies. Just think, by the way, of
the more dramatically fluctuating tastes in the world of the plastic arts.

There are not so very many scores that we can say with any confidence
really supersede fashion and period: a B minor Mass or an Eroica
Symphony do not happen in every generation. Furthermore, we have
to contend with the great cultural divide, which dates back roughly to
the end of the first World War, a divide whose magnitude even today
is not yet appreciated. It is most striking that the public still finds it
very hard fully to accept any music written since that time. This is an
emotional rejection, and while critics and cognoscenti may assure you
that there are many significant and important scores written since 1918,
their importance and significance is not often reflected in the applause
which the artist needs. The gulf grows wider between the contempo-
rary composer and the large musical public, about which there is much
to say.

But I shall leave this vexing problem, about which I think a great deal,
until the New Year. Meanwhile I hope that you will enjoy today's
program with its lighthearted second half, and I wish you all, on behalf
of the whole Orchestra, a Merry Christmas.

634

Exhibition

The pictures currently on view in Symphony Hall are loaned from the
Shore Galleries, which were founded in 1946 in Provincetown. Six
years later the Galleries were moved to Boston. As well as specializing
in American work of the nineteenth and early twentieth centuries, the
Shore Galleries act as agents for several contemporary artists in the
New England area.

Recent recordings by the Orchestra

Subscribers' Exhibition

The annual exhibition of paintings by Friends, subscribers
and members of the Boston Symphony Orchestra will take
place from January 12 to January 27.

Paintings must be brought to Symphony Hall on Monday
January 8 and Tuesday January 9. Application blanks
may be obtained at the Friends' Office, or at the Box Office
on the evenings of concerts. It is essential that applica-
tions be submitted during the week before January 8.

635

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and management services for private capital.

INVESTMENT, TRUST AND
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INVESTMENT COUNSELING

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Los Angeles • Bailey and Rhodes

New York • Douglas T. Johnston & Co., Inc.

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INVESTMENT TECHNOLOGY
AND RESEARCH

The Boston Company, Inc.

ECONOMIC COUNSELING

Rinfret-Boston Associates, Inc., New York

OIL AND GAS INVESTMENT COUNSELING

The Boston Company of Texas, Houston

REAL ESTATE INVESTMENT COUNSELING

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MUTUAL FUND

The Johnston Mutual Fund Inc.

MANAGEMENT CONSULTING

Boston • The Boston Consulting Group
Milan • Gennaro Boston Associati, S.p.A.
Barcelona • RASA Sociedad Internacional
Tokyo • Adams-Boston Company, Limited

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Telephone (617) 542-9450

636

FUTURE PROGRAMS

Eleventh Program

Friday afternoon December 29 at 2 o'clock
Saturday evening December 30 at 8.30

ERICH LEINSDORF conductor

TELEMANN

BACH

HANDEL

Concerto in A major for flute and violin
JAMES PAPPOUTSAKIS, ALFRED KRIPS

Cantata no. 35 'Geist und Seele wird verwirret'
BEVERLY WOLFF

Suite from 'The Water Music'

The Orchestra will be recording for RCA Victor during the coming
week, so that the next concerts in this series will be in two weeks' time.
The program is devoted entirely to music of the Baroque period.
Although recordings of Baroque music have appeared in great pro-
fusion in recent years (indeed Telemann is almost as well represented
in the catalogues as Tchaikovsky), live performances are much rarer.
Telemann was one of the most prolific composers of all time (he wrote
forty-four settings of the Passion alone, with an output of other forms
of music to match), and his concerto for flute and violin is a charming
piece. 'It is a great pleasure to me', says Erich Leinsdorf, 'to present
great artists like James Pappoutsakis and Alfred Krips as soloists from
among our talented associate principals.'

Beverly Wolff, one of America's very talented young singers, who has
sung on many occasions with the Orchestra, will be soloist in the Bach
Cantata. The movements from Handel's Water Music are taken from
the first two of the three original suites, and will be performed exactly
as Handel wrote them rather than in the more familiar arrangements.

The concert will end at about 3.50 on Friday
and at about 10.20 on Saturday

Twelfth Program

Friday afternoon January 5 at 2 o'clock
Saturday evening January 6 at 8.30

ERICH LEINSDORF conductor

HAYDN Symphony no. 24 in D major

PETRASSI Partita for orchestra

MENDELSSOHN Symphony no. 3 in A minor 'Scottish'

programs subject to change

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637

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42 Symphony Chambers

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KATE FRISKIN

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638

ENSEMBLES

OF THE

BOSTON SYMPHONY ORCHESTRA

presented by the Boston Symphony Orchestra
and the New England Conservatory of Music

MONDAY EVENINGS AT JORDAN HALL
FUTURE PROGRAMS

January 8 at 8.30

MUSIC GUILD STRING QUARTET

MOZART Quartet in A major K. 464

BARTOK Quartet no. 3

BEETHOVEN Quartet no. 9 in C op. 59 no. 3

February 5 at 8.30

BOSTON SYMPHONY CHAMBER PLAYERS

BALAKIREV Octet

WEBERN Concerto op. 24

DAHL Duo Concertante for flute and percussion

MOZART Divertimento in E flat K. 563

Single tickets for each concert are available from the
Jordan Hall Box Office, 30 Gainsborough Street.
Boston 02115 (telephone 536-2412)
Prices: $1.50, $2, $2.50, $3, $4, $5

"The Baldwin is the ideal piano
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SYMPHONY
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FOUNDED IN 1881 BY
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EIGHTY-SEVENTH SEASON 1967-1968

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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
TALCOTT M. BANKS
JOHN L. THORNDIKE

President

Vice-President

Treasurer

PHILIP K. ALLEN
ABRAM BERKOWITZ
THEODORE P. FERRIS
ROBERT H. GARDINER
FRANCIS W. HATCH
ANDREW HEISKELL
HAROLD D. HODGKINSON

E. MORTON JENNINGS JR
EDWARD M. KENNEDY
HENRY A. LAUGHLIN
EDWARD G. MURRAY
JOHN T. NOONAN
MRS JAMES H. PERKINS
SIDNEY R. RABB

RAYMOND S. WILKINS

TRUSTEES EMERITUS
PALFREY PERKINS LEWIS PERRY EDWARD A. TAFT

THOMAS D. PERRY JR Manager

NORMAN S. SHIRK

Assistant Manager

SANFORD R. SISTARE

Press and Publicity

ANDREW RAEBURN

Program Editor

JAMES J. BROSNAHAN

Business Administrator

HARRY J. KRAUT

Assistant to the Manager

MARY H. SMITH

Executive Assistant

SYMPHONY HALL

BOSTON

MASSACHUSETTS

643

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BOSTON SYMPHONY ORCHESTRA

ERICH LEINSDORF Music Director

CHARLES WILSON Assistant Conductor

FIRST VIOLINS

Joseph Silverstein

Concert-master

VIOLAS
Burton Fine
Reuben Green
Eugen Lehner
Jerome Lipson
Robert Karol
Akio Akaboshi*
Bernard Kadinoff
Vincent Mauricci
Earl Hedberg
Joseph Pietropaolo
Robert Barnes
Vizhak Schotten

CELLOS

Jules Eskin
Martin Hoherman
Mischa Nieland
Karl Zeise
Robert Ripley
John Sant Ambrogio
Luis Leguia
Stephen Geber
Carol Procter
Jerome Patterson
Ronald Feldman

BASSES

Henry Portnoi
William Rhein
Joseph Hearne
Bela Wurtzler
Leslie Martin
John Salkowski
John Barwicki
Buell Neidlinger
Robert Olson

FLUTES

Doriot Anthony Dwyer

James Pappoutsakis
Phillip Kaplan

PICCOLO

Lois Schaefer

OBOES

Ralph Gomberg

John Holmes
Hugh Matheny

ENGLISH HORN

Laurence Thorstenberg

CLARINETS

Gino Cioffi

Pasquale Cardillo
Peter Hadcock

E\) Clarinet

BASS CLARINET
Felix Viscuglia

BASSOONS

Sherman Walt

Ernst Panenka
Matthew Ruggiero

CONTRA BASSOON
Richard Plaster

HORNS

James Stagliano
Charles Yancich
Harry Shapiro
Thomas Newell
Paul Keaney
Ralph Pottle

TRUMPETS

Armando Ghitalla
Roger Voisin

Andre Come
Gerard Goguen

TROMBONES

William Gibson

Josef Orosz
Kauko Kahila

TUBA

Chester Schmitz

TIMPANI

Everett Firth

PERCUSSION

Charles Smith
Harold Thompson
Arthur Press

Assistant Timpanist
Thomas Gauger

HARPS

Bernard Zighera
Olivia Luetcke

LIBRARIANS

Victor Alpert
William Shisler

STAGE MANAGER

Alfred Robison

ILLIAM MOYER Personnel Manager

rmembers of the Japan
<\ a one season exchange

Philharmonic Symphony Orchestra participating in
with Messrs George Humphrey and Ronald Knudsen

645

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in turn has aided the Orchestra's steady advance to
ts present peak of artistic excellence.

Today it is our turn to be identified by our gifts with
the support of this great orchestra.

The Symphony depends upon the gifts of all whose
ives are affected by its music. It particularly depends
jpon those who are able to make gifts of $5,000 or
nore.

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■

Contents

Program for December 29 and 30 1967 651

Future programs 701

Program notes by Stanley Sadie

Telemann - Concerto in A for flute and violin 652

Bach - Cantata no. 35 656

Handel - The Water Music 666

The chamber organ 674
by Fritz Noack

A new Trustee - Edward M. Kennedy 682

The soloists 684

The members of the Orchestra 690

649

"Gerald and I were discussing my money, Daddy,
and he has some really neat ideas . . . ."

Fortunately, Lucy's father consented to give Gerald only her hand
in marriage — not the tidy sum Aunt Agatha left her. That's safely
tucked away in an investment management account at Old Colony.

Father sleeps better nights, knowing that Lucy's nestegg is under
the full-time care of a team of investment specialists whose expertise
he knows from personal experience.

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gave him about sesame-seed futures!

Possibly you know someone in your family whose portfolio could
benefit from this sort of professional attention. If so, send 'em round!

THE FIRST & OLD COLONY

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650

EIGHTY-SEVENTH SEASON 1967-1968

Eleventh Program

Friday afternoon December 29 at 2 o'clock
Saturday evening December 30 at 8.30

ERICH LEINSDORF conductor

TELEMANN Concerto in A major for flute and violin

Largo
Allegro
Gratioso
Allegro

JAMES PAPPOUTSAKIS flute
ALFRED KRIPS violin

First performance by the Boston Symphony Orchestra

BACH Cantata no. 35 'Geist und Seele wird

verwirret' for contralto and orchestra
with organ obbligato

BEVERLY WOLFF contralto

First performance by the Boston Symphony Orchestra

INTERMISSION

HANDEL

Suite from 'The Water Music'
Ouverture [Largo-Allegro]
Adagio e staccato
[Allegro] — Andante — [Allegro]
Air

Menuet
Bourree
Hornpipe
[Allegro]
[Allegro]
Alia hornpipe

CHARLES WILSON organ and harpsichord
NEWTON WAYLAND harpsichord
MARTIN HOHERMAN cello
HENRY PORTNOI double bass

The concert will end at about 3.50 on Friday
and at about 10.20 on Saturday

BALDWIN PIANO

RCA VICTOR RECORDS

651

Program Notes

by Stanley Sadie

GEORG PHILIPP TELEMANN
Concerto in A major for flute and violin

Telemann was born at Magdeburg, Germany on March 14 1681, and died at Ham-
burg on June 25 1767. The Concerto was published in 1733.
The instrumentation: strings with harpsichord continuo.

Georg Philipp Telemann, whose bicentenary fell in June 1967, was a
close contemporary of Bach and Handel. He was also the most famous
German composer of his day: his reputation far eclipsed Bach's, and
at least in his native country surpassed Handel's. Born at Magdeburg,
he studied science and languages at Leipzig University and obtained
his first musical appointment as organist in Leipzig. After various other
appointments he settled in Hamburg as the city's director of music and
organist of the five main churches there.

Few composers have equalled his output, either for sheer mass or for
variety. He wrote many operas, a vast amount of sacred music, and no
less prodigious a quantity of instrumental works. It scarcely needs to
be remarked that a composer of such enormous output had an ex-
tremely fluent, even facile, technique. Handel is said to have com-
mented that Telemann could write an eight-part fugue as easily as most
people could write a letter. Critics have been inclined to take Tele-
mann to task for the lack of profundity in his music. But Telemann
was a true child of his time: he saw the composer's function as that of
a craftsman as well as an artist, whose duty was to produce well finished
and agreeable music to satisfy the musical appetites of his employers
and of contemporary audiences. In this he triumphantly succeeded, as
Bach and Handel frequently did not; and if we realize that Bach and
Handel were the greater men, whose music has more to say to us today,
we must at least remember that none of the three wrote with an eye to
posterity, and that Telemann is not to be blamed for succeeding in
what he, and most other composers, attempted to do.

Today's concerto comes from Set I of his Musique de Table (or
Tafelmusik), one of his major instrumental works, published in 1733.
Like Handel's Water Music or Mozart's divertimentos, it was intended
as a background to other activities (not necessarily involving eating, as
the title implies). The whole of the Musique de Table at a single
sitting would be as indigestible as the meal it could accompany, for its
three sets (or Productions) each comprise about one-and-a-half hours
of music, each arranged along the same plan: overture and dance
suite; quartet; concerto; trio; solo sonata; conclusion. The plan of the

Stanley Sadie is a leading figure among London's music critics. Editor
of The Musical Times, he is on the music staff of The Times and the
reviewing panel of The Gramophone, and is a frequent broadcaster
for the British Broadcasting Corporation. His books include critical
studies of Mozart and Handel, a volume on Beethoven for children,
and (with Arthur Jacobs) 'Great Operas in Synopsis'.

652

\e*

o\°<

s \v\9

653

work enabled him to use a variety of musical styles — tuneful and pic-
torial French dances in the suites, a highly-wrought chamber music
language in the trios and especially the quartets, a more Italianate
manner in the concertos.

Telemann was particularly skilled at writing in different styles; but
he also had a strong enough personality of his own to be easily recog-
nizable whatever stylistic clothes he chose to wear. The flute and violin
concerto could scarcely be mistaken for the work of an Italian con-
temporary like Vivaldi or Locatelli or Manfredini: it has four move-
ments, starting with a slow one, a pattern long considered outmoded
by the 1730s in Italy; and it lacks true Italian rhythmic momentum,
though in compensation is richer in texture and more elaborately
developed.

The opening Largo is particularly fully worked, with an important
solo cello part carrying the solo material into the heart of the musical
texture. There is plenty of rhythmic bustle, and a characteristic
garrulity about the gay Allegro which follows; it is in three-part (or
da capo) form, with a middle section in dialogue for the soloists with
a light pizzicato accompaniment. In the main part of the movement
there is again a prominent cello part, and in the Gratioso, a movement
in the style of a siciliano, the three soloists have about equal impor-
tance. The sturdy finale, like the second movement, is in da capo
form, the minor-key middle section led off by the cello.

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JOHANN SEBASTIAN BACH

Cantata no. 35 'Geist und Seele wird verwirret' (Spirit and
soul are put in turmoil)

Bach was born at Eisenach on March 21 1685, and died in Leipzig on July 28 1750.
He composed the Cantata in 1726, and it was first performed on September 8 of
that year.

The instrumentation: 2 oboes and english horn, bassoon, strings, harpsichord con-
tinuo and organ obbligato.

Until the last decade, the dating of Bach's cantatas has been largely a
matter of intelligent guesswork. But it has now been shown that
most of the guesswork wasn't quite intelligent enough. Two German
scholars, Alfred Durr and Georg von Dadelsen, have examined afresh
the manuscripts and early copies: using evidence like the watermarks
on the paper, the handwriting of Bach's original copyists, even the
positioning of the stitch-holes from the original bindings, they have
produced a new and definitive dating. It had long been assumed that,
apart from the handful of church cantatas Bach composed in his early
days at Miilhausen (1707-8) and particularly Weimar (1708-17), the
rest were written over a period of many years while he was Cantor at
St Thomas's in Leipzig (1723 to his death in 1750). What is now proved
shows a totally different picture: nearly all the cantatas were written
during a frenziedly busy spell in Bach's first few years at Leipzig. One
complete cycle for the church year was composed in 1723-4, another
in 1724-5 (most of Bach's cantatas built around chorales belong to that
second cycle). In the 1725-6 year he at first performed at the Thomas-
kirche a lot of cantatas by his cousin, Johann Ludwig Bach, so his

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own third cycle is incomplete. Two more cycles followed in the next
two years. Thereafter, with an ample reservoir of cantatas on which
to draw in the execution of his routine duties, Bach was able virtually
to abandon cantata composition.

No. 35 belongs to the third cycle. It was written for the 12th Sunday
after Trinity, and had its first performance on September 8 1726.
Several cantatas in this cycle are for solo voice — Nos 52 and 84 for
soprano, 35, 169, and 170 for alto, 55 for tenor, 56 and 82 for bass.
The other unusual feature of No. 35 is its solo organ part: normalb
the organ was used only in a supporting continuo role. Orgai
obbligati appear in other cantata movements of the third cycle, foi
example Nos 49 and 169.

But none of these was composed in the first place as a cantata move-
ment. The movements in Nos 49 and 169 are more familiar in then
other versions in the E major harpsichord concerto; most likely they
were written originally as part of a violin concerto. Much the same
goes for the two sinfonias of No. 35. Probably these two were originally
the first and last movements of a violin concerto, and later of a
harpsichord concerto. The first aria, 'Geist und Seele', must have
formed the second movement (analogy with No. 169 implies as much):
Bach added the vocal line — you will hear that it is thematically almost
unrelated to the instrumental parts — and may have made other minor
changes, possibly extending it. We cannot be certain about the exist-

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ence of a violin version, but we can about the harpsichord one, for at
the foot of the manuscript of the G minor harpsichord concerto are
to be found its first nine measures; the rest of the work has not survived.
There have been attempts to reconstruct earlier versions — a violin one
by G. Frotscher was given at Halle, east Germany, in 1951, a harpsi-
chord one by Karl Geiringer and graduate students of the University
of California, Santa Barbara, at the English Bach Festival, Oxford,
in 1965.

The Gospel text for the 12th Sunday after Trinity is Mark vii. 3-37 —
the story of Christ laying his hands on a man who stammered and was
deaf, and healing him: in the text, the author of which is unknown,
there is reference to deafness and dumbness before the wonders of God,
to the performance of miracles, and in more general terms to the hands
of Christ removing the miseries of man. The cantata divides into two
sections: Sinfonia - Aria - Recitative - Aria; Sinfonia - Recitative -
Aria. The first aria (mentioned above) is characterized by its extremely
florid organ part with which the expressive, more sustained vocal line
is contrasted. In the second the might and justice of God is praised,
and this demands the more confident mood which is implied by the
use of a major key and by the vigorous scale and arpeggio figuration in
the organ. The cheerful C major triplets in the final aria likewise
portray confidence in divine mercy.

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661

PART ONE
SINFONIA

ARIA

Geist und Seele wird verwirret,
wenn sie dich, mein Gott, betracht;
Denn die Wunder, so sie kennet
und das Volk mit Jauchzen nennet,
hat sie taub und stumm gemacht.

Spirit and soul are put in turmoil when they look upon you, my God.
The soul recognizes your miracles, which the people acclaim with
jubilation, and it becomes deaf and dumb.

RECITATIVE

Ich wundre mich, denn Alles, was man sieht, muss uns Verwund'rung
geben. Betracht' ich dich, du theurer Gottessohn, so flieht Vernunft,
und auch Verstand davon. Du machst es eben, dass sonst ein Wunder-
werk vor dir was Schlechtes ist. Du bist dem Namen, Thun und Amte
nach erst wunderreich, dir ist kein Wunderding auf dieser Erde gleich.
Den Tauben giebst du das Gehor, den Stummen ihre Sprache wieder;
ja, was noch mehr, du off nest auf ein Wort die blinden Augenlieder.
Dies, dies sind Wunderwerke, und ihre Starke ist auch der Engel Chor
nicht machtig auszusprechen.

/ am full of amazement, for everything that Man looks on must astonish
us. I look upon you, dear Son of God, and reason and understanding
flee away: you work in such a way that a miracle of your making seems
to be a thing of evil. You only are full of miracles in name, in deed and
in office; in comparison to you there is no miraculous thing on the
earth. To the deaf you restore hearing and to the dumb speech. And
further, with one word you open the eyes of the blind. These, these
are miracles, and the choir of the angels has not strength enough to
proclaim their power.

ARIA

Gott hat Alles wohl gemacht!

seine Liebe, seine Treu' wird uns alle Tage neu.

Wenn uns Angst und Kummer drucket,

hat er reichen Trost geschicket;

weil er taglich fur uns wacht:

Gott hat Alles wohl gemacht!

God has created all things well. His love for us renews itself each day.
If fear and trouble oppress us, he has sent ample consolation; for every
day he guards over us. God has created all things well.

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PART TWO

SINFONIA

RECITATIVE

Ach, starker Gott, lass mich doch dieses stets bedenken, so kann ich
dich vergniigt in meine Seele senken. Lass mir dein susses Hephata
das ganz verstockte Herz erweichen; ach! lege nur den Gnadenfinger
in die Ohren, sonst bin ich gleich verloren. Ruhr' auch das Zungen-
band mit deiner starken Hand, damit ich diese Wunderzeichen in
heil'ger Andacht preise, und mich als Kind und Erb' erweise.

Oh mighty God, let me always think on this; so can I embrace you to
my soul. Let your sweet breath soften my stubborn heart; place your
finger of grace in my ears, otherwise I am immediately lost. Break the
bonds which hold my tongue with your strong hand, so that I may
praise your miracles by holy devotions and prove myself your child
and heir.

ARIA

Ich wiinsche mir bei Gott zu leben,

ach! ware doch die Zeit schon da,

ein frohliches Halleluja

mit alien Engeln anzuheben.

Mein liebster Jesu, lose doch

das jammerreiche Schmerzensjoch,

und lass mich bald in deinen Handen

mein martervolles Leben enden.

Would that I might live with God. If only the time were already come
to raise a jubilant Halleluja with all the angels. My dearest Jesus,
relieve the troublesome yoke of my pain, let my life of misery soon be
ended, and let me be received into your hands.

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GEORG FRIEDRICH HANDEL

Suite from 'The Water Music'

Handel was born in Halle on February 23 1685, and died in London on April 14

*759-

Handel's original instrumentation: 2 oboes, bassoon, 2 horns, 2 trumpets, harpsi-
chord continuo and strings.

The dust of two-and-a-half centuries has obscured, probably forever,
the true facts of the origins of Handel's Water Music. The most
popular story is the earliest one, coming from the Reverend John Main-
waring, Handel's first biographer, writing in 1760: it tells that the
work was first performed on the River Thames in 1715, and that King
George I, finding himself serenaded from a neighbouring barge,
promptly forgave Handel his truancy (it will be remembered that
Handel had been court composer at Hanover, where George I was
Elector, and had long overstayed his leave of absence). Like most
Handelian anecdotes, this one is doubtful, at best. For one thing, there
is another almost equally plausible story about the reconciliation: that
it was brought about by the famous violinist and composer Francesco
Geminiani who, when asked to play to George I, refused unless Handel
could accompany him, as no-one else could follow his temperamental
playing.

More to the point, perhaps, is that probably no reconciliation was
needed anyway. Before the water-party could have happened, George I

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had heard Handel's music at the opera house and in the Chapel Royal;
there is not a shred of real evidence that ill-will ever existed. Still, it
remains possible that the Water Music, or at least some of it, was heard
at a royal river party on August 22 1715, when the King and his party
sailed from Whitehall to Limehouse, and were regaled with music on
the return journey; versions of a few of the movements existed by then.
What is certainly true is that it was heard on such an occasion two
years later. The event was reported as follows in the Daily Courant
of July 19 1717:

On Wednesday [July 17] Evening, at about 8, the King took Water
at Whitehall in an open Barge, wherein were also the Dutchess of
Bolton, the Dutchess of Newcastle, the Countess of Godolphin,
Madam Kilmanseck, and the Earl of Orkney. And went up the
River towards Chelsea. Many other Barges with Persons of Quality
attended, and so great a Number of Boats, that the whole River in
a manner was cover'd; a City Company's Barge was employ'd for the
Musick, wherein were 50 Instruments of all sorts, who play'd all the
Way from Lambeth (while the Barges drove with the Tide without
Rowing, as far as Chelsea) the finest Symphonies, compos'd express
for this Occasion, by Mr Hendel; which his Majesty liked so well,
that he caus'd it to be plaid over three times in going and returning.
At Eleven his Majesty went a-shore at Chelsea, where a Supper was
prepar'd, and then there was another very fine Consort of Musick,
which lasted till 2; after which his Majesty came again into his
Barge, and return'd the same Way, the Musick continuing to play
till he landed.

This information is supplemented by a report of the event from the
Prussian Resident in London, Frederic Bonet, who mentions that
. . . Next to the King's barge was that of the musicians, about 50 in
number, who played on all kinds of instruments, to wit trumpets,
horns, hautboys, bassoons, German [i.e. transverse] flutes, French
flutes [i.e. recorders], violins and basses; but there were no singers.
The music had been composed specially by the famous Handel, a
native of Halle, and His Majesty's principal Court Composer.

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The river party was arranged by Baron Kielmansegge, an important
court official who had known Handel since before he left Italy, and
whose wife (one of the king's mistresses — the Duchess of Bolton was
another) organized the supper and was present on the royal barge.

It is unlikely ever to be known which pieces were played on this occa-
sion, or indeed any other (there was a royal river party in 1736, for
which Handel may also have composed music). Handel's own manu- I
script scores do not survive, and the Water Music was not published
in anything like complete form until the 1730s: at that time various
versions appeared in print, giving different selections of movements;
some were in keyboard arrangements, and some also included move- [
ments of doubtful authenticity. One point emerges clearly from a I
study of this material and the two manuscript scores in the writing of I
Handel's amanuensis: that the pieces fall into three distinct groups, I
each of them unified both by key (always a significant factor in music I
of this period) and by instrumentation. The Suite in F is the longest, I
and includes horns as well as woodwind and strings; that in G is the I
shortest and the lightest in texture, with its use of flutes and recorders; I
and the one in D, with trumpets, is probably the most splendid — it I
has points of resemblance to the kind of suite written by French com- I
posers to entertain their king during his festivities at Versailles. It I
might not be too fanciful to suggest that the Suite in G, having the f
qualities more of indoor than outdoor music, was intended primarily
to amuse George I over his supper, while those in F and D were
designed for the journey upstream to Chelsea and downstream back to
Westminster respectively — though how Thameside residents may have
reacted to trumpets at three in the morning we can only conjecture.

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The Suite in F, scored for oboes, bassoon, horns and strings (a continuo
harpsichord may also have been present on the barge), begins with
a French overture. After a recitative-like oboe solo, which Erich
Leinsdorf has especially realized for this performance, there comes a
fanfare-like movement whose horn writing must have sounded par-
ticularly fine across the water; this movement has a slower middle
section in D minor incorporating dialogues between woodwind and
strings. The Suite continues with a vigorous fast movement in triple
time, omitted in today's performance. Then comes the famous air. The
sturdy minuet which follows is led off by the horns; its minor-key trio
is unusually scored, with two melodies of equal importance — one in
the first violins, the other in the middle strings and bassoon. The suite
ends with a bourree and hornpipe, each directed to be played three
times over with varying instrumentation.

The next movement is in D minor; its proper place in the Water Music
is hard to determine, either from its position in the early versions
(which varies) or from its key, which qualifies it equally to stand with
the movements in F or those in D. It is a concerto-style movement,
led off by the woodwind, and has a lot of dialogue between wind and
strings. Then on to the more pompous D major movements: first a
fanfare-like piece with trumpets (particularly popular in eighteenth-
century London — there was a keyboard version published and many
times reprinted as 'Mr Handel's Water Piece'!); then a noble Alia
Hornpipe, the movement used by Sir Hamilton Harty to end his
famous, but orchestrally prettified, Water Music Suite.

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673

The chamber organ
by Fritz Noack

In these performances of J. S. Bach's Cantata no. 35 the thorough bass
will be realized not only by a harpsichord but also by a small organ,
which also in this particular work has an independent obbligato part.
While we have in recent years become accustomed to the presence of
a harpsichord where Baroque music is being performed, such a small
organ placed amidst the other instruments is still a much less common
sight. This Tositiv Organ' — or we might use the less correct but more
amiable term 'Chamber Organ' — used however to be a regular member
of the group of instruments playing the thorough bass in the music of
the seventeenth and eighteenth century. While it probably was used
more in sacred music, it was certainly not limited to that. Monteverdi
calls for one in his opera orchestra, and — just to quote another sample
of secular usage — King Christian IV of Denmark entertained his guests
to the sounds of what until this day remains the fanciest chamber organ
ever built.

I have been asked about the history and background of the chamber
organ used here. Anticipating the future, I would like to open by
saying that this is its last appearance in its present form. Not that I
want to change its sound; I shall simply rebuild it completely to make
it much more compact.

I remember arguments that I had some short fifteen years ago with my
unusually competent high school music teacher, who then still made us
play our Telemann and Vivaldi to the perfectly unsuitable accom-
paniment of a piano. Obviously a harpsichord was required not just
for the sake of authenticity but simply to make this music sound
digestible to alert ears.

It was during my training as an organ builder in Hamburg (Germany)
that I was first involved in providing small organs for performances
that supposedly were historically correct. Such groups as the 'Nord-
deutscher Singkreis' certainly did very fine work (some for the Archive
Production of the Deutsche Grammophon Company), but their style
— very much in the wake of the Singbewegung — aimed for a lightness
and clarity most likely exceeding that wanted by the old masters. And
so did the little organs we made. I personally became aware of these
exaggerations first during that time by getting acquainted with some
of the organs built by the great Arp Schnitger.

Fritz Noack, who made the chamber organ which is being used at
today's performance, was born in Greisswald, Germany. At the age of
ten he moved to Munchen-Gladbach in the Rhineland. At high school
there he studied violin and organized his own string group. Performing
in church, he became interested in organ building and started profes-
sionally in 1953 with Rudolf v. Beckerath in Hamburg. After a short
time with Klaus Becker, he moved to Boston where he worked with
Charles Fisk. A year later he founded his own company and since then
has built instruments for many universities and churches, Brandeis,
the Unitarian Church in St Paul, Minnesota, and All Saints Episcopal
Church in New York among them.

674

I would like to say something here about Schnitger's relationship to
Bach. We all know that Bach studied briefly but intensely with
Dietrich Buxtehude in Liibeck. What we easily overlook is the fact
that Buxtehude was an almost fanatic Schnitger fan. We know too
that the one job Bach wanted so much and never got (because he
failed to bribe the church's officers) was at the church in Hamburg
where Schnitger's largest organ was — which, by the way, still stands;
and that Bach never had a new organ installed in any of the churches
he served, with one small but very significant exception: when he was
in Leipzig he had a separate keyboard attached to the so-called Positiv
division of the organ, which was located in a separate case close to the
musicians. Thus he had, in fact, a chamber organ which he also could
play while directing. In his cantatas he not only assigns much of the
continuo to it but often also an obbligato part. Knowing his im-
patience with the poor quality of his instrumentalists it is anyone's
guess how often he actually substituted other obbligato parts during
the weekly cantata performances.

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It was not until I came to Boston that I had the opportunity to get
thoroughly acquainted with one of the instruments built by Handel's
preferred organ builder John Snetzler. Snetzler — like Handel him-
self — was not trained in England, but had become very much of an
Englishman. Musically his work bears no trace of anything outside the
tradition of his adopted home country. Handel possessed several of his
instruments. They were all quite small, and must have been of a
refined, singing, but not very brilliant or powerful sound. There is no
doubt that these organs were in his mind when he composed his organ
concerti, even though we sometimes wonder if he would not have
preferred a larger instrument for this music.

When Daniel Pinkham commissioned Charles Fisk and myself in i960
to build him a chamber organ we tried to keep Snetzler's sound in mind
as much as Schnitger's — but also made sure that the instrument was
small enough to be moved easily. This instrument is still serving its
intended purposes well, but when it was used at Tanglewood a few
years ago, it became quite clear that a somewhat larger organ was
needed there. A larger organ intended for a rather small church was
used another summer in Tanglewood. While the timbre of sound was

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just right, it was simply not loud enough and needed some amplifica-
tion (which among serious musicians is still considered permissible
only in the case of absolute necessity). And then there was the problem
that the player could see the conductor only through a mirror while
sitting at the instrument.

At that time Mr Leinsdorf suggested the present arrangement with
the player seated behind the instrument, facing the conductor. This
resulting instrument has been heard with the Boston Symphony Or-
chestra in a number of performances at Symphony Hall, Tanglewood,
Rutgers University and New York's Carnegie Hall. I shall hope that
this instrument — especially after the modifications have been made —
will help to bring some of the great music of the past back to life in a
way historically correct yet full of life and meaning today.

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681

A new Trustee - Edward M. Kennedy

Henry B. Cabot announced on December 19 the election of Edward M.
Kennedy, senior United States Senator from Massachusetts, to the
Orchestra's Board of Trustees. Senator Kennedy becomes the eighteenth
member of the present Board and assumes his duties immediately.

In recent years Senator Kennedy has shown an active interest in the
Orchestra and its affairs. Through his efforts as President of the
Joseph P. Kennedy Jr Foundation, he arranged for the Orchestra's
participation at a special Symphony Hall program in April 1966 for
the presentation of the Foundation's International Awards. Taking the
role of performer, Senator Kennedy twice appeared with the Orchestra
as narrator in Aaron Copland's Lincoln Portrait. The first occasion
was a benefit for the Orchestra's Berkshire Music Center at Tangle-
wood, and the second, a year ago in Symphony Hall, was at the annual
Boston Symphony Orchestra Pension Fund concert.

Senator Kennedy is a native of Brookline, a graduate of Milton Acad-
emy, Harvard College, and the University of Virginia Law School. He
served in the United States Army from 1951 to 1953. In 1961 he was
Chairman of the American Cancer Crusade in Massachusetts. Presently
he is a member of the Boston University's Board of Trustees, the ad-
visory board of Emmanuel College, and continues as President of the
Joseph P. Kennedy Jr Foundation. Senator Kennedy was elected to
the Senate in 1962 to fill the unexpired term of his brother, the late
President John F. Kennedy.

Give your regards
from Broadway.

Say it with words and music. The words and music of
The American Musical Theater. Available for the first time
in this unique two-record and book package. The records
contain 28 original cast selections from the CBS archives.
The book is by Lehman Engel. The complete package is
selling for $11.88. (The book itself normally lists for $12.50.)

The American Musical Theater

(two records and book) ... $11.88

Open Wednesday evenings 'til 9.

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682

it'll sound

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And flameless electric heat is quiet. The quietest you can get. So
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683

The soloists

BEVERLY WOLFF, who has appeared regu-
larly with the Boston Symphony Orchestra
in recent seasons in Boston, New York, and
at Tanglewood, began her musical career as
first trumpet in the Atlanta Symphony. But
it was not long before her vocal talents were
discovered and she progressed successfully
through the Berkshire Music Center and the
Academy of Vocal Arts in Philadelphia. At
Tanglewood she took part in the first per-
formance of Leonard Bernstein's Trouble
in Tahiti, and later sang the same role in the television premiere with
the NBC Television Opera Company and made several appearances
with the Philadelphia Orchestra. After a short period during which
she devoted herself to her family, she resumed her singing career, and
has appeared with all the major orchestras in the United States. In the
autumn of 1963 she made her debut with the New York City Opera as
Cherubino in Mozart's The Marriage of Figaro, and has sung regularly
with that company ever since. One of the highlights of her appearances
with the company has been Carmen, a role which she sang during the
1965-66 season. Beverly Wolff's performances of music of the Baroque
period are as distinguished as her singing of Mahler and Barber, and
she is now recognized as one of the most talented singers of her
generation.

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684

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Boris and Milton

JAMES PAPPOUTSAKIS was born in

Cairo, Egypt, of Greek parents. He came to

the United States as a boy, and was educated

at the Boston Latin School and the New

England Conservatory. He studied flute

with Georges Laurent, former principal

flute of the Boston Symphony Orchestra.

He joined the Boston Symphony in 1937 as

assistant principal flute, and has also been

principal flute of the Boston Pops since

that time. He acted as principal when the

Orchestra toured under Charles Munch to

Japan and Australia, and was soloist with the Zimbler Sinfonietta on

their tour to Central and South America. He played a Bach Concerto

with the Orchestra at the Berkshire Festival in i960, and has played

several concertos with the Boston Pops.

James Pappoutsakis is a member of the Berkshire Woodwind Ensemble !
and of the faculties of the New England Conservatory, Boston Univer- |
sity and the Longy School. During the last few years he has had eight
Fulbright Scholarship winners among his students. His wife, a prize-
winning graduate of the Paris Conservatory, was harpist with the
Boston Symphony Orchestra under Serge Koussevitzky, and his brother
is professor of music at the University of Vermont. His young daughter
is at preparatory school and her current interests are art and drama.

KEnmore 6-1952

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finer furs

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the MIDTOWN MOTOR INN

cordially invites you to the charming Colony Room
restaurant for pre-Symphony luncheon or a gracious
after-Symphony dinner.

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for reservations call COngress 2-1000.

686

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******

ALFRED KRIPS, who was born in Berlin,
Germany, studied the violin with Willy
Hess, Concertmaster of the Boston Sym-
phony Orchestra from 1904 to 1907, and
began his career as a member of the Berlin
State Opera Orchestra where he played
under many famous conductors, Bruno
Walter, Wilhelm Furtwangler, Otto Klem-
perer and Richard Strauss among them.
During his years in Berlin he toured Europe
as soloist with a chamber orchestra, and
played chamber music with the distinguished pianist Edwin Fischer.
In 1934 he came to the United States, auditioned for Serge Koussevitzky
and was immediately appointed a member of the Boston Symphony.
Twelve years later he became Assistant Concertmaster of the Boston
Symphony and Concertmaster of the Boston Pops. As well as playing
many solos with Pops, he has performed concertos by Mozart and Bach
with the Boston Symphony under Charles Munch and Erich Leinsdorf.

A man completely devoted to his art, Alfred Krips is one of Boston's
most sought after teachers, and is on the faculties of the New England
Conservatory and the Berkshire Music Center. He plays a violin made
by G. B. Guadagnini at Parma in 1760.

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689

The members of the Orchestra

JULIUS SCHULMAN will give a recital at
the Kennedy Junior High School in Wal-
tham on Friday evening January 12, as part
of the Waltham Art Festival, when he will
play a program of music by Paganini,
Wieniawski, Bazzini and Sarasate. A New
Yorker by birth, he started his violin studies
with Jacques Malkin at the age of six. He
attended the Curtis Institute, where his
teacher was Efrem Zimbalist. After four
years as a member of the Philadelphia Or-
chestra he became assistant concertmaster of the Pittsburgh Symphony,
and two years later concertmaster of the Symphony Orchestra of the
Mutual Radio Network. While he held that position he played not
only many concertos, but was active in the Network's sonata and
chamber music series. In 1954 he moved to New Orleans as concert-
master of the Orchestra there, returning two years later to New York
to become concertmaster of the Little Orchestra Society under Thomas
Scherman. He stayed in New York until he came to the Boston Sym-
phony in i960. Two years ago he played one of the solo parts in the
Vivaldi Concerto for Four Violins with Erich Leinsdorf and the
Orchestra.

Julius Schulman is an expert photographer and has a large collection
of his own motion pictures and slides of the countries where he has
travelled during his career, including India, Ceylon, Thailand, Japan
and the Soviet Union. He does his own developing and enlarging.
He owns a large trailer fitted with kitchen, shower and beds, and
greatly enjoys trips to the mountains or the seacoast.

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JOHN SANT AMBROGIO was born in

Glen Ridge, New Jersey, and studied at
Lebanon Valley College, Pennsylvania and
at Ohio University. His cello teachers were
Leonard Rose and Diran Alexanian, and he
studied conducting with Arthur Christman.
In 1952 he won the Piatigorsky Award at
Tanglewood, where he was a member of the
Berkshire Music Center. His orchestral
career began when he joined the Harrisburg
Symphony. From there he went to the
Seventh Army Symphony where he was principal cello and soloist in
France and Germany. He joined the Boston Symphony Orchestra in

*959-

John Sant Ambrogio plays with the Boston Sinfonietta and is a member
of the Boston Trio. He has given many solo recitals, including one in
the Carnegie Recital Hall in 1965. He has made solo appearances with
the Boston Pops, the New Jersey Fine Arts Orchestra and several
orchestras in the New England area. He teaches in Boston and is co-
director of the Red Fox Music Camp in New Marlboro, Massachusetts.

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CONCERT POSTPONEMENTS

To make it easier to discover what plans the Orchestra has
made, several radio stations in the Boston area have kindly
offered to broadcast any notice of a change in the concert
schedule.

WBZ 1030 kc AM

WCRB 1330 kc AM and 102.5 mc FM

WEEI 590 kc AM and 103.3 mc FM

WEZE 1260 kc AM

WHDH 850 kc AM and 94.5 mc FM

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694

®"COLUMBIA,fflMARCAS REG. PRINTED IN U.S.A.

COLUMBIA RECORDSH
PRESENTS THE FIRST
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(A 14-record set in stereo only)

695

A selection of recordings by the

BOSTON SYMPHONY ORCHESTRA

under the direction of
ERICH LEINSDORF

MOZART

Requiem Mass (Kennedy Memorial Service) LM/LSC 7030

SCHOENBERG

Gurre-Lieder excerpt (Chookasian) LM/LSC 2785

with Menotti The Death of the Bishop of Brindisi

SIBELIUS

Violin Concerto (Perlman)

with Prokofiev Violin Concerto no. 2

LM/LSC 2962

STRAUSS

Ein Heldenleben

Salome and The Egyptian Helen

excerpts (Price)

LM/LSC 2641
LM/LSC 2849

STRAVINSKY

Agon

with Schuller Klee Studies

The Firebird Suite

with Rimsky-Korsakov Le Coq d'Or Suite

Violin Concerto (Silverstein)
with Bartok Violin Concerto

LM/LSC 2879
LM/LSC 2725
LM/LSC 2852

TCHAIKOVSKY

Piano Concerto no. 1 (Rubinstein)

Piano Concerto no. 1 (Dichter)

LM/LSC 2681
LM/LSC 2954

VERDI

Requiem (Nillson, Chookasian, Bergonzi,
Flagello, Chorus pro Musica)

LM/LSC 7040

WAGNER

Lohengrin (Konya, Amara, Gorr, Dooley,
Hines, Marsh, Chorus pro Musica)

LM/LSC 6710

Monaural records are prefixed LM; stereophonic LSC.

The Boston Symphony Orchestra
records exclusively for

rca Victor &

@ The most trusted name in sound ^li^

696

Fleuriste Francais

Est. 1891

34 CHARLES STREET • BOSTON, MASS.
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For information about space
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THE

BOSTON SYMPHONY

PROGRAM

Call Advertising Department
Symphony Hall

•

CO 6-1492
Donald T. Gammons

"The Man Who
Cares, Prepares"

SHARON MEMORIAL PARK

SHARON. MASSACHUSETTS
Telephone Boston Area 364-2855

697

Subscribers' Exhibition

The annual exhibition of paintings by Friends, subscribers
and members of the Boston Symphony Orchestra will take
place from January 12 to January 27.

DISTILLED AND OOTTLEb IN SCOTLAND BLENDED 06 PROOF , ,
THE BUCKINGHAM CORPORATION. IMPORTERS; NEW YORK, N. V.

698

ENSEMBLES

OF THE

BOSTON SYMPHONY ORCHESTRA

presented by the Boston Symphony Orchestra
and the New England Conservatory of Music

MONDAY EVENINGS AT JORDAN HALL
FUTURE PROGRAMS

January 8 at 8.30

MUSIC GUILD STRING QUARTET

MOZART Quartet in A major K. 464

BARTOK Quartet no. 3

BEETHOVEN Quartet no. 9 in C op. 59 no. 3

February 5 at 8.30

BOSTON SYMPHONY CHAMBER PLAYERS

BALAKIREV Octet

WEBERN Concerto op. 24

DAHL Duo Concertante for flute and percussion

MOZART Divertimento in E flat K. 563

Single tickets for each concert are available from the
Jordan Hall Box Office, 30 Gainsborough Street.
Boston 02115 (telephone 536-2412)
Prices: $1.50, $2, $2.50, $3, $4, $5

699

THE BOSTON COMPANY, INC.

The "Financial Cabinet" specializing in advisory
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INVESTMENT, TRUST AND
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INVESTMENT COUNSELING

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New York • Douglas T. Johnston & Co., Inc.

San Francisco • Henderson-Boston Company, Inc.

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AND RESEARCH

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REAL ESTATE INVESTMENT COUNSELING

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Boston • The Boston Consulting Group
Milan • Gennaro Boston Associati, S.p.A.
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THE BOSTON COMPANY, INC.

100 FRANKLIN STREET • BOSTON, MASSACHUSETTS 02106
Telephone (617) 542-0450

700

FUTURE PROGRAMS

Twelfth Program

Friday afternoon January 5 at 2 o'clock
Saturday evening January 6 at 8.30

ERICH LEINSDORF conductor

HAYDN Symphony no. 24 in D major

PETRASSI Partita for orchestra

MENDELSSOHN Symphony no. 3 in A minor 'Scottish'

Two of the pieces to be played in next week's program will be given by
the Orchestra for the first time. Haydn's Symphony no. 24 was com-
posed in 1764, three years after he was engaged by the wealthy Prince
Paul Anton Esterhazy. The slow movement is particularly beautiful,
scored for solo flute and orchestra. The other work is Petrassi's Partita
for orchestra, composed fairly early (1932) in this distinguished Italian
composer's career. He was composer-in-residence to the Berkshire
Music Center at Tanglewood in 1956, and his Fifth Concerto for
orchestra was composed for the 75th anniversary of the Boston Sym-
phony Orchestra, and first performed on December 2 1955- The final
work on the program will be Mendelssohn's 'Scottish' Symphony, less
familiar perhaps than the 'Italian', but equally beautiful. The com-
poser dedicated it, incidentally, to Queen Victoria, whom he visited
several times on his visits to London.

The concert will end at about 3.45 on Friday
and at about 10.15 on Saturday

Thirteenth Program

Friday afternoon January 12 at 2 o'clock
Saturday evening January 13 at 8.30

LEOPOLD STOKOWSKI guest conductor
MOZART Overture - Don Giovanni

BEETHOVEN Symphony no. 7 in A major

TCHAIKOVSKY Hamlet - Fantasy Overture
MUSSORGSKY Boris Godunov - orchestral excerpts

programs subject to change

BALDWIN PIANO
RCA VICTOR RECORDS

701

MUSICAL INSTRUCTION

GERTRUDE R. NISSENBAUM
VIOLIN

Tel. LOngwood 6-8348

340 TAPPAN STREET
BROOKLINE 46. MASSACHUSETTS

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HARRY GOODMAN

Teacher of Piano

143 LONGWOOD AVENUE

BROOKLINE • MASS.

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MINNIE WOLK

PIANOFORTE STUDIO

42 Symphony Chambers

246 Huntington Avenue, Boston
opp. Symphony Hall
Residence 395-6126

KATE FRISKIN

Pianist and Teacher

8 CHAUNCY STREET
CAMBRIDGE, MASSACHUSETTS

ELiot 4-3891

RUTH SHAPIRO

PIANIST • TEACHER

1728 Beacon Street

Brookline, Massachusetts

Telephone RE gent 4-3267

702

TICKET RESALE AND RESERVATION PLAN

Last season the successful operation of the Ticket Resale and Reserva-
tion Plan aided in reducing the Boston Symphony Orchestra's deficit
by more than $22,000.

"The Baldwin is the ideal piano
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BOSTON

SYMPHONY
ORCHESTRA

; %,

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FOUNDED IN 1881 BY
HENRY LEE HIGGINSON

12 V

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£$5>

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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
TALCOTT M. BANKS
JOHN L. THORNDIKE

President

Vice-President

Treasurer

PHILIP K. ALLEN
ABRAM BERKOWITZ
THEODORE P. FERRIS
ROBERT H. GARDINER
FRANCIS W. HATCH
ANDREW HEISKELL
HAROLD D. HODGKINSON

E. MORTON JENNINGS JR
EDWARD M. KENNEDY
HENRY A. LAUGHLIN
EDWARD G. MURRAY
JOHN T. NOONAN
MRS JAMES H. PERKINS
SIDNEY R. RABB

RAYMOND S. WILKINS

TRUSTEES EMERITUS
PALFREY PERKINS LEWIS PERRY EDWARD A. TAFT

THOMAS D. PERRY JR Manager

NORMAN S. SHIRK

Assistant Manager

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Press and Publicity

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Business Administrator

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Assist ant to the Manager

MARY H. SMITH

Executive Assistant

SYMPHONY HALL

BOSTON

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BOSTON SYMPHONY ORCHESTRA

ERICH LEINSDORF Music Director

CHARLES WILSON Assistant Conductor

FIRST VIOLINS

Joseph Silverstein
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VIOLAS

3urton Fine
Reuben Green
Eugen Lehner
ferome Lipson
Robert Karol
\kio Akaboshi*
Bernard Kadinoff

incent Mauricci
larl Hedberg

oseph Pietropaolo
lobert Barnes
t'izhak Schotten

CELLOS

Jules Eskin
Martin Hoherman
Mischa Nieland
Karl Zeise
Robert Ripley
John Sant Ambrogio
Luis Leguia
Stephen Geber
Carol Procter
Jerome Patterson
Ronald Feldman

BASSES

Henry Portnoi
William Rhein
Joseph Hearne
Bela Wurtzler
Leslie Martin
John Salkowski
John Barwicki
Buell Neidlinger
Robert Olson

FLUTES

Doriot Anthony Dwyer

James Pappoutsakis
Phillip Kaplan

PICCOLO

Lois Schaefer

OBOES

Ralph Gomberg

John Holmes
Hugh Matheny

ENGLISH HORN

Laurence Thorstenberg

CLARINETS

Gino Cioffi

Pasquale Cardillo
Peter Hadcock

E\) Clarinet

BASS CLARINET
Felix Viscuglia

BASSOONS

Sherman Walt

Ernst Panenka
Matthew Ruggiero

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Richard Plaster

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James Stagliano
Charles Yancich
Harry Shapiro
Thomas Newell
Paul Keaney
Ralph Pottle

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Armando Ghitalla
Roger Voisin

Andre Come
Gerard Goguen

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William Gibson

Josef Orosz
Kauko Kahila

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Chester Schmitz

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Everett Firth

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Charles Smith
Harold Thompson
Arthur Press

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Olivia Luetcke

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Victor Alpert
William Shisler

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Contents

Program for January 5 and 6 1968

Future programs

Program notes

Haydn - Symphony no. 96 in D major
by John N. Burk

Petrassi - Partita per orchestra
by Andrew Raeburn

Mendelssohn - Symphony no. 3 in A minor

'Scottish'

by John N. Burk

Mendelssohn today
by John N. Burk

The members of the Orchestra

A new record by the Orchestra

715

7 6 5

716

728

742

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760

713

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Twelfth Program

Friday afternoon January 5 at 2 o'clock
Saturday evening January 6 at 8.30

ERICH LEINSDORF conductor

HAYDN

EIGHTY-SEVENTH SEASON 1967-1968

Symphony no. 96 in D major
'The Miracle'

Adagio — allegro

Andante

Menuet and Trio: allegretto

Vivace assai

PETRASSI

Partita per orchestra (1932)

Gagliarda

Ciaccona

Giga

First performance by the Boston Symphony Orchestra
NTERMISSION

MENDELSSOHN Symphony no. 3 in A minor 'Scottish*

op. 56

Andante con moto — allegro un poco agitato

Vivace non troppo

Adagio

Allegro vivacissimo — allegro maestoso assai

The concert will end at about 3.50 on Friday
ind at about 10.20 on Saturday

JALDWIN PIANO
HlCA VICTOR RECORDS

715

Program Notes

FRANZ JOSEPH HAYDN

Symphony no. 96 in D major 'The Miracle'
Program note by John N. Burk

Haydn was born in Rohrau, Austria, on March 31 1732, and died in Vienna on
May 31 1809. He composed the symphony in 1792, and the first performance took
place at the Hanover Square Rooms, London, on March 11 1791. What may have
been the first performance in Boston was given by the Harvard Musical Association
orchestra, Carl Zerrahn conductor, on January 21 1869. Erich Leinsdorf conducted
the first performances by the Boston Symphony Orchestra on November 16 and 17
1962, the last occasion on which it was heard in this series.

The number 96 would imply that this was the fourth of the London symphonies,
the twelve which rounded out the total of 104. According to the assembled evidence
of H. C. Robbins Landon, no. 96 was actually the first. The current and now
generally accepted numbering of Haydn's symphonies is not always chronological,
but is being carefully preserved in order that there may be no relapse into the state
of confusion which existed for years, when they were variously numbered — and
lettered — by various editors. Any chronology of the symphonies must depend upon
the dates of first performances, since dates of composition are in many cases
unobtainable.

The instrumentation: 2 flutes, 2 oboes, 2 bassoons, 2 horns, 2 trumpets, timpani
and strings.

Twelve subscription concerts were given by Johann Peter Salomon in
the Hanover Square Rooms on successive Fridays, from March 11 1791
through June 3. Haydn, whom Salomon had brought to London at the
beginning of the year, was the special guest and the main attraction.
A 'new' symphony was announced and performed at each evening,
always opening the second part which was the place of honor in the
program. Haydn presided at the harpsichord* while Salomon, as
'leader', was the concertmaster. Salomon had announced a new sym-
phony by Haydn for each concert, having contracted for six. The
assignment was met to the public's satisfaction, although only two
actually new symphonies were then composed (nos. 96 and 95 in C
minor). The 'new' symphonies presented each Friday were actually
either new to London, or a repetition 'by particular desire' of one
which had been played in the week before. The ninety-sixth was per-
formed at four of the concerts, if not more. It was announced in the
ninth week as 'the favorite overture'. Which symphonies were per-
formed cannot always be known, since the printed announcements
merely said: 'New Overture' or 'New Grand Overture', omitting any
identification. No. 95 was performed at least twice.

Haydn, having contracted with Salomon to visit London and appear
in the performances of six symphonies, an opera, and numerous cham-
ber pieces, arrived on New Year's Day of 1791. He had dreaded the
crossing of strange waters to a strange land. On arriving he found that
he was already a famous figure in London. His quartets, printed in
Amsterdam, had long since been published by Brenner of London, and
other works, most of them pirated, had become familiar. Salomon had
done his part in planting anticipatory paragraphs in the papers. Haydn
wrote to his tenderly regarded friend, Marianna von Genzinger in
Vienna on January 8 1791:

* This obsolescent custom was probably retained so that the public might behold the composer
playing his own music. The scores of the later symphonies have no continuo part.

716

n y

'. . . I did not feel the fatigue of the journey till I arrived in London
but it took two days before I could recover from it. But now I am quiti
fresh and well, and occupied in looking at this mighty and vast towi
of London, its various beauties and marvels causing me the most pro
found astonishment. . . . My arrival caused a great sensation througl
the whole city, and I was sent the rounds of all the newspapers for threi
successive days. Everyone seems anxious to know me. I have alread 1
dined out six times, and could be invited every day if I chose; but |
must in the first place consider my health, and in the next my work
Except the nobility, I admit no visitors till two o'clock in the after
noon, and at four o'clock I dine at home with Salomon. I have a neat
comfortable lodging, but very dear. ... I was yesterday invited to i
grand amateur concert, but as I arrived late, when I gave my ticket
they would not let me in, but took me to an ante-room, where I wai
obliged to remain till the piece which was then being given was over
Then they opened the door, and I was conducted, leaning on the arrr
of the director, up the center of the room to the front of the orchestn
amid universal clapping of hands, stared at by everyone, and greetec
by a number of English compliments. I was assured that such honour;
had not been conferred on anyone for fifty years. . . . All this, my deai
lady, was very flattering to me; still I wish I could fly for a time tc
Vienna, to have more peace to work, for the noise in the streets, anc
the cries of the common people selling their wares, is intolerable. I air
still working at the symphonies, as the libretto of the opera is not yei
decided on, but in order to be more quiet, I intend to engage an apart
ment some little way out of town. . . My address is, Mr Haydn, i£
Great Pulteney Street, London.'

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Haydn had taken rooms on Great Pulteney Street to be conveniently
close to his colleague and impressario Salomon, who dwelt in the same
building. He found that Salomon's Friday concerts were to be vigor-
ously opposed by a rival series in the same rooms on Monday — The
Professional Concerts. Haydn was not too disturbed but rather put on
his mettle when he encountered this not unusual London pastime of
musical warfare. Ignaz Pleyel, the young pianist who was to be the
rival star, was actually his pupil and friend. Haydn amiably agreed to
appear at Pleyel's concerts and direct his own music.

The opening of the Salomon concerts was several times postponed, the
principal reason being that opera subscribers might be displeased if
the newly arrived tenor, Giacomo David, should be heard in concert
before the opening of the opera season.

David duly sang at the first concert on March 11, and so did other
singers (including Nancy Storace, who had sung Susanna for Mozart in
Vienna), and numerous instrumental soloists. There was a furor over
the Symphony, and the Andante was encored. The Morning Chronicle
reported:

'The First Concert under the auspices of HAYDN was last night,
and never, perhaps, was there a richer musical treat.

'It is not wonderful that to souls capable of being touched to music,
HAYDN should be an object of homage, and even of idolatry; for like
our own SHAKESPEARE, he moves and governs the passions at
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'His New Grand Overture was pronounced by every scientific ear to
be a most wonderful composition; but the first movement in particular
rises in grandeur of subject, and in the rich variety of air and passion,
beyond any even of his own productions. The Overture has four move-
ments — An Allegro — Andante — Minuet — and Rondo — They are all
beautiful, but the first is pre-eminent in every charm, and the Band
performed it with admirable correctness.

'We were happy to see the Concert so well attended the first Night;
for we cannot suppress our very anxious hopes, that the first musical
genius of the age may be induced, by our liberal welcome, to take up
his residence in England.'

The title 'Miracle' has been attached to this symphony, with no justi-
fication unless a convenient tag may be an excuse. The legend was
started by the Morning Chronicle, which, describing a much later con-
cert on February 2 1795, reported: 'The last movement was encored,
and notwithstanding an interruption by the accidental fall of one of
the chandeliers, it was performed with no less effect.'

A. K. Dies in his Biographische Nachrichten iiber Haydn (1810) elabo-
rates on this:

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'When Haydn appeared in the orchestra and seated himself at the
Pianoforte, to conduct a symphony personally, the curious audience in
the parterre left their seats and pressed forward towards the orchestra,
with a view to seeing Haydn better at close range. The seats in the
middle of the parterre were therefore empty, and no sooner were they
empty but a great chandelier plunged down, smashed, and threw the
numerous company into great confusion. As soon as the first moment
of shock was over, and those who had pressed forward realized the
danger which they had so luckily escaped, and could find words to
express the same, many persons showed their state of mind by shouting
loudly: 'miracle! miracle!' Haydn himself was much moved, and
thanked merciful Providence who had allowed it to happen that he
[Haydn] could, to a certain extent, be the reason, or the machine, by
which at least thirty persons' lives were saved. Only a few of the audi-
ence received minor bruises.'

The trouble with this story is that the Symphony which opened the
concert on that date and caused the audience to 'press forward' was
not no. 96, which was played in the second part, but the Symphony
no. 102. Haydn, asked by Dies, remembered nothing of the incident.
Perhaps the main interest in the story is the behavior of the audience,
who crowded about the composer to stare at him while he was attempt-
ing to conduct from the pianoforte.

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The Adagio of this symphony, an introduction of sixteen measures,
has a special grace of phrasing in the first violin part, which is to become
characteristic of the whole symphony, exploiting the alternation of
expressive dotted and slurred notes. The Allegro has a main subject
extended in presentation and treated with adroit modulation, as a
subsidiary subject grows from it. The Andante is in a 6/8 grazioso
manner, with a violin subject elaborated by grace notes. The move-
ment gains animation by the use of six triplets to a bar, two violin solos
set against ripieno parts. There are light suspensive woodwind trills
before the final cadence. There is a rather ceremonial Minuet and a
light and contrasting trio with oboe solo. The final Vivace, again favor-
ing the violins, has a supple, purling sort of theme like a perpetuum
mobile, sparkling with much chromatic manipulation. There is a
minor section that casts no shadow. The key transitions are Haydn's
adroit fantasy at its best. He seldom spoke specifically about his music,
but when he sent his first two London Symphonies to Frau von Gen-
zinger in Vienna to be delivered to the Ritter Bernhard von Kees, in
order that this wealthy patron might have them performed and add
them to his collection, he urged special care for the Finale of this one,
realizing that it would be ruined by heavy-handed treatment: 'Please
tell Herr von Kees that I ask him respectfully to have a rehearsal of
both these symphonies because they are very delicate, especially the last
movement of that in D major, for which I recommend the swiftest
piano and a very quick tempo.'

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GOFFREDO PETRASSI

Partita per orchestra

Petrassi was born in Zagarola near Rome on July 16 1904. He composed the Partita
in 1932, and the first performance took place in Rome on June 2 1933, with
Bernardino Molinari conducting the Augusteo Orchestra.

The instrumentation: 2 flutes and piccolo, 2 oboes and english horn, 2 clarinets
and bass clarinet, soprano saxophone in B flat, contralto saxophone in E flat,
2 bassoons, 4 horns, 3 trumpets, 3 trombones, piano and strings.

Goffredo Petrassi was born in the same year as his fellow countryman
Luigi Dallapiccola; both men began composing rather late, both
became known internationally at about the same time, and both have
taught at the Berkshire Music Center. But there the parallels end.
In a country which resisted the Viennese School until the end of the
second World War, Dallapiccola was the pioneer of twelve tone com-
position. Petrassi's music on the other hand has evolved from the
diatonic basis of his early work through chromaticism, and only quite
late to modified serial techniques.

As a boy Petrassi was a chorister at the old school of San Salvatore in
Lauro and in some of the churches in Rome, where he sang the music
of the great polyphonic masters. During his adolescent years he worked
as assistant in a music shop, but did not begin formal musical training
until he was twenty-one, when he took lessons in harmony from
di Donato. Soon afterwards he enrolled at the Conservatory of Santa
Cecilia in Rome. He studied composition there with Bustini, and
organ with Renzi and Germani. He completed his courses in 1932.
Seven years later he became professor of composition at the Conserva-
tory. He was president of the International Society of Contemporary
Music for many years, for three years the artistic director of the
Accademia Filarmonica Romana, and for some time superintendent of
the Teatro La Fenice in Venice.

728

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The Boston Symphony commissioned Petrassi to write his Fifth Con-
certo for Orchestra in celebration of the Orchestra's seventy-fifth
anniversary, and the first performances were given in Symphony Hall
on December 2 and 3 1955 with Charles Munch conducting. The
following summer, when he returned to the United States as guest
instructor of composition at the Berkshire Music Center, the Fifth
Concerto was repeated, he himself conducted his Sonata da Camera,
and there were also performances of Coro di Morti and part of his
opera Morte Dell' Aria.

Petrassi composes slowly — he has never undertaken more than one
commission a year because he dislikes writing under pressure — but his
published works include operas, ballet, orchestral music as well as
chamber music, songs and solo pieces.

The Partita, his earliest major work, won first prize in the competition
organized by the Sindacato Nazionale dei Musicisti, and in the inter-
national contest of the Federation Internationale des concerts in Paris.
Guido Gatti has written: 'The work is a notable achievement on the
part of a composer of twenty-seven: the unity of its style, the balance
of its parts, the firmness of its structure and the assurance of its
orchestral writing show a composer of exceptional gifts.' The three
movements are written in the form of a traditional partita (or suite).
All are in triple time, first the Gagliarda, marked 'mosso e energico'.
There follows the slower Ciaccona, and the Partita ends with a lively
Giga. A. h. r.

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FELIX MENDELSSOHN-BARTHOLDY

Symphony no. 3 in A minor 'Scottish' op. 56
Program note by John N. Burk

Mendelssohn was born in Berlin on February 3 1809, and died in Leipzig on
November 4 1847. He finished the symphony on January 20 1842, and himself
conducted the first performance at the Gewandhaus concerts in Leipzig on March 3
of the same year. The first performance in this country was by the Philharmonic
Society in New York, with George Loder conducting, on November 22 1845.
G. J. Webb conducted the first performance in Boston at the Melodeon on
November 14 1846, and the first performance in this series was on January 19 1883,
with Georg Henschel conducting. Erich Leinsdorf conducted the most recent per-
formances on October 2 and 3 1964.

The score is inscribed as 'composed for and dedicated to Her Majesty Queen Victoria
of England.' It was published in 1843.

The instrumentation: 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets,
timpani and strings.

In the spring of 1829, Felix Mendelssohn, promising pianist and
composer of twenty, visited England, played with the Philharmonic
Orchestra in London and conducted it, was entertained by delightful
people, and enjoyed himself thoroughly. In July he undertook a tour
of Scotland with his friend Carl Klingemann. The people and the
landscape interested him. He wrote of the Highlanders with their
'long, red beards, tartan plaids, bonnets and feathers, naked knees, and
their bagpipes in their hands'. The moorlands intrigued him too, and
when fogs and rains permitted, the insatiable tourist brought out his
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He wrote home of the Hebrides and the Cave of Fingal — also of the
Palace of Holyrood, then a picturesque ruin, in which Mary of Scotland
had dwelt. 'In the evening twilight we went today to the palace where
Queen Mary lived and loved; a little room is shown there with a wind-
ing staircase leading up to the door; up this way they came and found
Rizzio in that little room, pulled him out, and three rooms off there is
a dark corner, where they murdered him. The chapel close to it is now
roofless, grass and ivy grow there, and at that broken altar Mary was
crowned Queen of Scotland. Everything around is broken and mould-
ering, and the bright sky shines in. I believe I found today in that old
chapel the beginning of my Scottish Symphony.' There follow sixteen
measures which were to open the introduction of the first movement.
These measures have also been attributed to the incident that, returning
to the inn at Edinburgh, Mendelssohn there listened to a plaintive
Scottish air sung by the landlord's daughter.

In this way Mendelssohn carried out of Scotland two scraps of melody
that were to be put to good use — this one and the opening measures of
the TingaFs Cave' Overture. Smaller works for piano, and for voice,
were also suggested by Scotland.

It would be a mistake, of course, to look for anything like definite
description in this score, or for that matter in any symphony of
Mendelssohn. He did not even publish it with a specific title, although
he so referred to it in his letters. There have been attempts to prove

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the symphony Scottish in character. George Hogarth, who was beside!
Mendelssohn as he attended the 'competition of Pipers' at Edinburgh,
testified that 'he was greatly interested by the war tunes of the different
clans, and the other specimens of the music of the country. ... In thisi
symphony, though composed long afterwards, he embodied some of'
his reminiscences of a period to which he always looked back with 1 ,
pleasure. The delightful manner in which he has reproduced some of;
the most characteristic features of the national music — solemn, pathetic,
gay, warlike — is familiar to every amateur.'

The trouble with Mr Hogarth's statement is that most hearers, cer-
tainly the German ones, have not followed him so far. An enthusiastic
Britisher would tend to make much of such thematic resemblances; but,
after all, a folkish tune in the British Isles or Germany can have much
in common, and by the time Mendelssohn has in his own way developed
through a dozen measures the quasi jig-like 6-8 of the first movement
or the theme of the scherzo in which one can possibly discern 'national
character', any truly Scottish jauntiness seems to have departed. Ger-
man writers, in a day given to imaginative flights, went far afield from
the Scottish scene. Ambrose was reminded by the 'violent conflicts'
in the Finale (which someone else likened to the gathering of clans) of
'a roaring lion with which we might fancy a young Paladin in knightly
combat. . . . And then the airy, elfish gambols of the Scherzo — we
cannot help it, we invent a whole fairy tale of our own to fit it, a tale
of the genuine old German stamp, something like the Sleeping Beauty
of the Woods, or Cinderella, or Schneewittchen.'

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It is probably nearer the truth that the thoughts of the young German
were swarming with musical images in the summer of 1829, images
which took on a passing shape, a superficial trait or two from what he
heard in a strange land. An indefatigable sight-seer, he must have found
the raucous drones produced by brawny males in skirts less a matter
for musical inspiration or suggestion than an exotic curiosity. It took
an islander such as Chorley to find and stress characteristic Scottish
intervals in the Scherzo of the Symphony. Mendelssohn, who took
pleasure in affixing a picturesque name to a symphony, particularly in
the light chatter of his letters, probably had no serious descriptive
intentions. He hated 'to explain' his music, so it is reported, and
would turn off the elaborate word pictures of others with a joke. When
Schubring went into a transport of fantasy over the 'Meeresstille'
Overture, its composer answered that his own mental picture was an
old man sitting in the stern of the boat and helping matters by blowing
into the sail. 'Notes', wrote Mendelssohn in a letter from Italy, 'have
as definite a meaning as words, perhaps even a more definite one.' But
that meaning, precluding words, would also preclude anything so
concrete as a particular landscape or nation.

In the winter of 1830^31, while he was enjoying himself in Rome
and Naples, themes which had occurred to him on the earlier journey
had grown into rounded and extended form. The Fingal's Cave Over-
ture then occupied him, and two symphonies 'which', he wrote, 'are
rattling around in my head.' But the Italian Symphony took prece-
dence over the other, and even when that was in a fairly perfected

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condition, the Scottish Symphony seemed to elude him. He had good
intentions of presently 'taking hold' of it, but the Italian sunshine
scattered his thoughts. 'Who can wonder that I find it difficult to
return to my misty Scotch mood?' The 'schottische Nebelstimmung'
was to bear fruit in the by no means uncheerful minor cast of the music.
Another score, the Reformation Symphony, also in an unfinished
state, was in his portmanteau at this time. This, with his earlier C
minor Symphony and the later 'Lobgesang', were to be his principal
works in this form.

He carried the Italian, Scottish, and Reformation symphonies about
with him for years, endlessly reconsidering, polishing, touching up,
before he was ready to take the irrevocable step of publication. Had
the symphonies been numbered in the order of their composition, they
would have been as follows: first, the C minor (1824), second the
Reformation (1830-32), third the Italian (1833), fourth the Song of
Praise (1840), and last the Scottish (1842). But the Italian and Refor-
mation symphonies were withheld from publication until after his
death, and thus attained the numbering Fourth and Fifth. By this
circumstance the 'Lobgesang' was published second in order, the
Scottish third, and they were so numbered.

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Mendelssohn today
by John N. Burk

If the denial of Mendelssohn's music by the late German Reich made
no sense, the vaunting of him since as a vindication of Jewish culture
is hardly more applicable, except in the light of a natural reaction.
When Heinrich Edward Jacob* in a recent book dwells on that
momentary aberration of a German regime that was, we remain con-
fident that Mendelssohn's music will continue to enchant when the
racial pros and cons which some have tried to connect with it are quite
forgotten. So with Wagner and his unfortunate polemics. Tristan and
Die Meistersinger will surely continue to enchant multitudes when
Judaism in Music will have been long since forgotten. Those who have
read that piece of warped theory wish that he had not written it. Let
us not, like Mr Jacob, advise a bonfire.

If Mendelssohn's music is racial at all it is broadly so as an efflores-
cence of German culture in the last century — the culture of Goethe
and Schiller. After reading Schiller's Wilhelm Tell in Switzerland in
1831, Mendelssohn wrote to his family: 'There is surely no art like
our German one! Heaven knows why it is so.' And to Goethe, on his
birthday, five days later: 'I want to tell you how much I have appre-
ciated, on this particular day, living in these times, and being born a
German.'

Mendelssohn gives the impression of having lived a life of delightful
experiences in that 'calm sea and prosperous voyage' which was his
well-protected life. The music which came from him seldom bore any
close resemblance to its supposed origins. When he encountered sights
and sounds, poets and literature, peoples at worship, he was stimulated
to compose, but the music was his own, a fortunate result of tonal stim-
ulation, not an adoption of basic character in his subject. He enjoyed
Scotland and Italy, he loved Shakespeare's Midsummer Night's Dream
and Goethe's Faust, the drama of ancient Greece, but his scores were
always Mendelssohn bearing external labels. Music of the church drew
his sympathetic response, but not as an act of faith. He listened avidly
to the Roman services at St Peter's, he studied Lutheran chorales and
set many of them, moved by his never ceasing admiration for the music
of Bach. He never composed in the idiom of the synagogue, no doubt
because the music as music had not sufficient appeal for him. He loved
all cultures, Christian, Jewish, Classicist, a love he inherited from his
family, his sisters and brother, his parents, his grandfather Moses, all
of whom were broadly intellectual and unorthodox. He never ques-
tioned or bothered to mention the fact that his father Abraham had
had him baptized as a small boy. He could absorb himself as keenly
in the New Testament as the Old, in the story of Paul of Tarsus, the
Christian convert, as in the story of the Hebrew prophet Elijah — both
as material for musical treatment rather than as spiritual leaders to
be taken deeply to heart.

* Felix Mendelssohn and His Time, translated by Richard and Clara Winston (Barrie and
Rockliff, London). A still more recent book is Mendelssohn, A New Image of the Composer
and his Age, by Eric Werner (Macmillan, London). It is by far the most informative book
on this composer in the English language.

742

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If Mendelssohn ever openly discussed the problem of Anti-Semitism,
which was a real issue in Germany in his time, the record fails to show
it. To dwell upon a distressing subject would have been a lapse from
the undeviating cultivation of beautiful thoughts, the persistent
warmth and cheer of his letters. Perhaps his calm obliviousness was
the part of wisdom, an example for that day when, as Schiller foretold,
'Alle Menschen werden Bruder' , when ignorant prejudice and defen-
sive racial consciousness are alike forgotten.

Mendelssohn's magnanimity toward all religious sects, his open accept-
ance of all enlightened thought were quite at one with the keen
intelligence of his whole family. The family was as congenial and as
free from occasional inner friction as could be expected among such
strong wills and close consanguinity. Their character bore the stamp
of the example of Moses Mendelssohn, Felix's grandfather, who died
twenty-three years before Felix was born, but who lived on as an
undimmed memory, a model of intelligence. Moses was always poor.
He was deformed, a hunchback. His writings bespeak a brilliant
thinker, but, more important, a humanist of universal understanding.
He was a pupil of Leibnitz and still closer to Lessing, who made him
the central subject of his play, Nathan the Wise. A single anecdote
will point the place of Moses in the practical philosophy of his descend-
ants. It is related by Sebastian Hensel, the son of Fanny Mendelssohn's
painter-husband.

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In 1769 a Christian minister named Lavater, impressed by Moses
Mendelssohn's sympathetic grasp of Christianity, challenged him in
print to adopt the 'only saving faith' and refute his own. Moses
answered that 'he was a Jew by inmost conviction. . . . He did not
annihilate his adversary, as Lessing would have done, but he let the
sun of his clear mind shine so victoriously, so gently, and with such
persuasion, that the mantle of Christian charity sank from the shoulders
of the man of God, and the triumph of Mendelssohn was complete.
Lavater saw with surprise how wrong he had been, and apologized most
humbly.' Others who made bitter attacks on him, trying to provoke
retorts, were disappointed. 'However, disagreeable this affair was to
him, it proved very serviceable to Judaism; never had the Jewish cause
been so gloriously defended, or by such a champion.' Like his grand-
father, Felix never allowed a private disagreement to become an open
issue.

From every accepted point of view, Felix Mendelssohn's given name
could not have been more aptly chosen. Happy is the man who grows
in a loving family circle where music and letters are actively pursued
and his abilities nurtured at every hand, who enjoys the sympathy and
understanding of a sister, herself a musician, and the devotion of a
beautiful wife. Mendelssohn's development as an artist was never

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impeded by a money problem. He acquired, even as a boy, a complete
and confident mastery of his instrument, the piano, and of felicitous
orchestral writing. Finely attuned to the temper of his times, his music
became its perfect and unflecked image. Given good looks and an even
temper which was the soul of tact, his popularity was always assured.
He knew numerous and close friendships. He was welcomed and
adored by a large public in most of the communities where he dwelt.
This happened in Diisseldorf where he directed the festivals, in Leipzig
where he transformed the Gewandhaus Orchesra and founded the
Conservatory, in London which he visited nine times. He broke prece-
dent by standing before the London Philharmonic Orchestra with a
baton (then an unaccustomed instrument) in his faultlessly gloved
hand and showing for the first time the miracle of full orchestral con-
trol. When he took his place at the piano he so charmed the ladies
that, as he put it in a letter to his family, their bright-colored hats
'were agitated like a tulip field swept by the wind'.

Mendelssohn did everything smoothly and acceptably, and one thing,
only one, superlatively well. He was an avid reader, a linguist and
philosopher, a conversationalist. He made a delightful guest and was
asked everywhere. He was an indefatigable tourist, capturing his
impressions in letters, diaries and sketches. The sketches were careful I
literal records. If the camera had been invented he would surely have
relied upon it instead — and not remembered as well the detail his fine
pencil point had noted. His lengthy written descriptions must have

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who had not seen the objects described than to the writer still gloating
over his memories. The letters to family and friends, affectionate, good
natured, with never a hint of disputation, are somehow too irreproach-
able to be humanly communicative. When troubles occasionally dis-
turbed their serenity they were carefully omitted in publication.

Since no man's life can be quite a paradise on earth, there was some-
times in his career a contrary undercurrent of envy and opposition, an
expected undercurrent in view of his overriding success. Eric Werner
in his new book considerably modifies this picture of untroubled felic-
ity; indeed it is the truest account which has appeared in the English
language. When he encountered the inner politics, the petty profes-
sional obstructionism which went with his conducting posts, he con-
trolled his temper with difficulty. This was the case in Berlin, where
he was drawn by family ties, but where his acceptance was somewhat
less than unanimous. His monarch, Wilhelm IV, was well disposed,
but had not the intelligence to understand his best capacities and give
him a free hand. Occasional friction with his colleagues he met with
polite forbearance, an attitude he could well afford to take. The last
year of Felix, the favored of fortune, was clouded by sorrow. Having
lost both parents, he was shaken by the death of his beloved sister
Fanny in May 1847. He was already failing in health, and in the
November following he died at the age of thirty-eight.

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Would the scope of his particular genius have expanded if he had
lived another score of years, the years in which Wagner and Liszt
changed the face of music and Brahms stoutly opposed them by adher-
ing in his own forceful way to the symphonic proprieties? It is very
doubtful. Mendelssohn was no intrepid adventurer — his music was
crystallized into its neat and for him its proper form before he was of
age. Music usually came to him without effort, but he spent his life
refining, polishing, tirelessly improving his scores. He was not without
daring, for his invention was fresh and ever-renewing — within formal
bounds. Had he lived longer he might have given us more orchestral
works as wholly engaging as the 'Italian' and 'Scottish' Symphonies,
the 'Hebrides' Overture, but in much the same pattern. If the King
and Court at Potsdam had not held him to such heavily classical
authors as Sophocles and Racine for the Royal Theatre, he might have
composed another score of incidental music as suitable to his airy and
sparkling style as *A Midsummer Night's Dream'.

That part of Mendelssohn's music which has continued to appeal to
posterity is limited, it must be admitted, by his conceptual limitations
in the shaping of his scores. The tonal language which he made so
intimately his own was too agreeable and unruffled to encompass the
larger subjects, tragic, spiritual, contemplative, which drew him. He
never found a viable libretto for an opera. He had the kind of intellect
that responded to every contact with an alert sensitivity even when it

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was not within the scope of his own artistry. The magnitude of Bach's
Saint Matthew Passion and the eruptive restlessness of Beethoven's
C minor Symphony were quite beyond his usage, but they were close
to his heart. He was a zealous propagandist for both composers; he
first made the world aware of the Passion at the age of twenty, and a
few months later he sat at Goethe's piano at Weimar, and played for
him fugues from the Well-tempered Clavier and the first movement
of the Fifth Symphony. Bach and Beethoven no more than touched
Goethe's probing curiosity. To Mendelssohn they were unapproach-
able gods. Beethoven then (in 1830) was three years dead. He was
still in the category of an avant garde composer. His music was ahead
of Mendelssohn's aesthetic scope but not of his perceptivity. Mendels-
sohn's tonal felicities were the very mirror of his time. His best qual-
ities are for all time. No orchestral scoring will ever quite repeat the
Mendelssohnian lucidity, no scherzo will match in kind those he left.
The composer who invented the 'song without words' so proved his
particular gift for instrumental melody.

Mendelssohn's music has come in for a good deal of condescension
as the years have passed. Wagnerian immensity eclipsed it for a long
time. In the new century, as the taste turned to smaller forms, his too
ready effusion of sentiment became suspect. Now we are becoming
aware that what is lacking in music of today leads up to relish the
warmth and glow of a past age which can never be recaptured. Men-
delssohn has left the heritage of an era which is the more treasurable
to us because he supplies a quality in human nature which we can
receive more easily than express.

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755

The members of the orchestra

left to right Bernard Kadinoff, Gerald Gelbloom, Max Winder, Stephen Geber

The next concert in the successful new chamber music series presented
by the Boston Symphony Orchestra and the New England Conservatory
will be given by the Music Guild String Quartet at Jordan Hall next
Monday January 8 at 8.30 p.m.

MAX WINDER, the first violin of the Music Guild String Quartet,
was born in Paris and studied at the Conservatory there. His career
began when he played with the Concerts Colone under Paul Paray. He
then became Concertmaster of the Nice Opera Orchestra and in 1947
he came to the United States and joined the Orchestra in Cleveland.
From there he moved to the Houston Symphony, where he was Assist-
ant Concertmaster under Leopold Stokowski and Sir John Barbirolli.
He was a member of the Houston Music Guild Chamber Ensemble
and took an active part in Young Audiences Inc. Max Winder joined
the Boston Symphony Orchestra in 1962. In his spare time he is an
enthusiastic photographer.

GERALD GELBLOOM, second violin of the quartet, was at the Juilliard
School and the University of Hartford, and studied with Mischa
Mischakoff and Ivan Galamian. He has had a distinguished profes-
sional career as an orchestral musician, a chamber player and teacher.
He has played in the Cleveland Orchestra, has been Assistant Concert-
master of the Baltimore Symphony, and was Concertmaster of the
Hartford Symphony before joining the Boston Symphony in 1961.

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The chamber ensembles of which he has been a member include the
Busch Chamber Music Players, the Casals Festival Orchestra, the
Peabody Quartet, the Hartford String Quartet and the Boston Fine
Arts Quartet. He has been on the faculty of the Peabody Conservatory,
Chairman of the String Department of the Hartford School of Music,
and also for a time, Artist-teacher at Wesleyan University, as well as
holding other teaching posts. He has been soloist with the Hartford
Symphony, the Boston Pops, and played one of the solo parts in the
performances of Vivaldi's Concerto for Four Violins with Erich Leins-
dorf and the Boston Symphony in 1966. Gerald Gelbloom has been
visiting teacher at Brandeis University during 1967. He owns a violin
made by Giovanni Battista Guadagnini in Piacenza in 1747.

The Music Guild String Quartet's violist is BERNARD KADINOFF,
who was born in New York City. After musical training early in his
life at the Greenwich House Music School he studied viola with Milton
Katims at the Juilliard School. During his service with the U.S. Army
he played French horn in the 332nd ASF Band. After demobilization
he played for three years in the NBC Symphony Orchestra under
Arturo Toscanini, and joined the Boston Symphony in 1951. He
became a member of the Boston Opera Company orchestra in 1963.
He has played as soloist at the Gardner Museum, at the Esplanade
concerts and with the Boston Pops Orchestra.

Bernard Kadinoff has been on the faculty of Boston University since
1965, and taught viola at Wellesley College for two years. He first met
his wife when she sang with the New England Conservatory Chorus at
a Boston Symphony recording session, and they have three young chil-
dren who are all music lovers. His chief hobby is cartography.

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Open 7 D