boston symphony orchestra concert programs, season 82
Post on 19-Dec-2021
5 Views
Preview:
TRANSCRIPT
tf>>^\
4-n ~2&
r BOSTONSYMPHONYORCHESTRA
FOUNDED IN 1881 BYHENRY LEE HIGGINSON
SANDERS THEATRE(Harvard University)
lh
- £
^r^-V
sUfe- -
H
~~~<:
-.«.......~~-
EIGHTY-SECOND SEASON1962-1963
Erich J^einsdorf conducts The Boston Symphony6
The Aristocrat of Orchestras'
'
Under Mr. Leinsdorf's direction, this season the
Boston Symphony has been heard in many brilliant
performances. The Mahler First Symphonybrought cheers when played in concert. You will be
pleasantly surprised by the RCA Victor recording.
OVNflEROOVIus vkuttnatcN6W SOUND
Mahler/Symphony No. 1
Boston Symphony Orch.
Erich Lelnsdorf
Processed in Dynagroove— the magnificent newsound developed by RCA Victor, it is like havingthe best seats in Symphony Hall! Hear also the
delightful Bartok Concerto for Orchestra. Bothin Living Stereo, Monaural Hi-Fi and on Tape.
Bartftk / Concerto for Orchestra'
Boston Symphony Orelttsitra
Erich l^insrforf
RCAVICTORDTHE MOST TRUSTED NAME IN SOUND '
EIGHTY-SECOND SEASON, 1962-1963
Boston Symphony Orchestra
ERICH LEINSDORF, Music Director
Richard Burgin, Associate Conductor
CONCERT BULLETIN
with historical and descriptive notes by
John N. Burk
The TRUSTEES of the
BOSTON SYMPHONY ORCHESTRA, Inc.
Henry B. CabotTalcott M. BanksRichard C. Paine
Abram Berkowitz
Theodore P. Ferris
Francis W. HatchHarold D. Hodgkinson
C. D. Jackson
E. Morton Jennings, Jr.
President
Vice-President
Treasurer
Henry A. Laughlin
John T. NoonanMrs. James H. Perkins
Sidney R. RabbCharles H. Stockton
John L. Thorndike
Raymond S. Wilkins
TRUSTEES EMERITUSPalfrey Perkins Lewis Perry Edward A. Taft
Oliver Wolcott
Thomas D. Perry, Jr., Manager
Norman S. Shirk Rosario Mazzeo James J. BrosnahanAssistant Manager Personnel Manager Business Administrator
SYMPHONY HALL BOSTON!3l
CAMBRIDGE SERIES
IN SYMPHONY HALL
1963-1964
Boston Symphony Orchestra
ERICH LEINSDORF, Music Director
\/
A Series of Six
TUESDAY EVENING CONCERTS
at 8:30
OPENING OCTOBER 15
\S
Applications for the series (at $16 and $12) are now being
accepted at the Season Ticket Office in Symphony Hall
THOMAS D. PERRY, JR., Manager
Symphony Hall, Boston, Massachusetts
[4]
EIGHTY-SECOND SEASON • NINETEEN HUNDRED SIXTY-TWO -SIXTY-THREE
Sixth Program
TUESDAY EVENING, March 26, at 8:30 o'clock
Prokofiev Symphony-Concerto for Cello and Orchestra, Op. 125
I. Andante
II. Allegro giusto
III. Andante con moto; Allegretto; Allegro marcato
INTERMISSION
Schubert Symphony in C major (Posthumous)
I. Andante; Allegro ma non troppo
II. Andante con moto
III. Scherzo
IV. Finale
SOLOIST
SAMUEL MAYES
BALDWIN PIANO RCA VICTOR RECORDS
[5]
SYMPHONY-CONCERTO FOR CELLOAND ORCHESTRA, Op. 125
By Serge Prokofiev
Born in Sontsovka, Russia, April 23, 1891; died near Moscow, March 5, 1953
This work was originally called "Violoncello Concerto No. 2," later "Sinfonia
Concertante," and finally published as a "Symphony-Concerto." It was first per-
formed by the Moscow Youth Orchestra on February 18, 1952, when Mstislav Rostro-
povich was the soloist and S. Richter the conductor. A later revision was performedafter the composer's death, again by Rostropovich, in Copenhagen with the DanishRadio Orchestra. At the first performance in America the same cellist performed it
with the New York Philharmonic Orchestra under the direction of Dimitri Mitrop-oulos on April 19, 1956.The Symphony-Concerto is scored for 2 flutes and piccolo, 2 oboes, 2 clarinets,
2 bassoons, 2 trumpets, 4 horns, 3 trombones and tuba, timpani, bass drum, smalldrum, tambourine, triangle, cymbals, celesta, and strings.
't^he Symphony-Concerto gives a striking instance of Prokofiev's tend-
*• ency to revise and rewrite his earlier works. He first sketched his
Cello Concerto No. 1 in 1933, and did not complete his score until
1938. When it was first performed in America March 8, 1940, it had
undergone further revisions and the addition of a cadenza. This per-
formance was by the Boston Symphony Orchestra with Gregor Piati-
gorsky as soloist. Evidently still unsatisfied with the work, he recast its
material between 1950 and 1952, changing the score enough to justify
the title of a new work. Although the basic form of the movements
So Convenient . . .
for all your financial
needs, including
Checking Accounts,
Savings Accounts
and every type
of loan.'"WWOWOOSAM*
NARVAM VMS!ItiPlIf
MEMBER F. D. I. C.
MAIN OFFICE: HARVARD SQUARE
12 Offices: Cambridge • Arlington • Belmont • Concord • Littleton
L6J
and themes were retained, Prokofiev's colleague Rostropovich advised
him on these transformations and it was he who received the dedication
of the score. It was called the "Second Concerto" when Mitropoulos
introduced it in New York, having presented in the previous week the
Concerto No. 1. The later score is referred to by Nestyev in his biog-
raphy of Prokofiev as the "Sinfonia Concertante." It was in 1959 that
the score was published posthumously as "Symphony-Concerto." Since
Rostropovich edited the music for publication, he presumably followed
the composer's wishes in this final title. The three titles indicate the
desire of Prokofiev to increase the symphonic aspect of the work which
he has done at a greater length and with a larger orchestra, while not
in any way diminishing the conspicuous solo part. [copyrighted]
THE SOLOISTSamuel Mayes joined this Orchestra
as Principal Cello in 1948 and played in
Boccherini's Concerto in B-flat in that
season. He has since appeared in Strauss'
Don Quixote (1950), Kabalevsky's Con-certo (1953), with Zino Francescatti in
Brahms' Double Concerto (1956), in
Bloch's Schelomo (1959), and Kabalev-
sky's Concerto in the season following.
music lovers love
(GtatiBBamterLIQUEUR A L'ORANGE
80 Proof
PRODUCT OF FRANCE
CARILLON IMPORTERS LTD., N. Y. C.Sole U.S. Agent
Born in St. Louis, Mr. Mayes is the
grandson of a Cherokee Indian. At the
age of four, he studied cello with MaxSteindel of the St. Louis Orchestra andappeared as soloist with that Orchestraat the age of eight. Entering the Curtis
Institute at twelve, he studied with Felix
Salmond. At eighteen, he joined the
Philadelphia Orchestra and became first
cellist three years later.
FOURSQUAREFUND, INC.Boston, Massachusetts
A diversifiedmutual fundwhose basicgoal is possible long-termgrowth, of capital and income.
Stated Policy: FoursquareFund invests in no alcohol,tobacco or drug companies.
Free prospectus from yourInvestment Dealer or :
VAName
FOURSQUARE CORPORATION27 State Street. Boston 9, Mass.
00
0)
O
Street
City
State
[7]
SYMPHONY IN C MAJOR (POSTHUMOUS)By Franz Schubert
Born in Lichtenthal, Vienna, January 31, 1797; died in Vienna, November 19, 1828
This posthumous Symphony was composed in 1828. What was probably its first
performance was given at the Gewandhaus in Leipzig, March 21, 1839, Felix Men-delssohn conducting. The first performance in America was by the Philharmonic
Society in New York, January 11, 1851. The first performance in Boston was on
October 6, 1852, with a small orchestra led by Mr. Suck. The most recent perform-
ances at the Friday and Saturday concerts of the Boston Symphony Orchestra were
on October 31-November 1, 1958.
Schubert's posthumous Symphony in C major has been variously numbered. After
the accepted six there were two more — this one and the "Unfinished" Symphony.Since the great C major Symphony was composed last, it has been called No. 8; since
it was discovered before the "Unfinished" it has been called by others No. 7. By the
inclusion of sketches for symphonies in D and in E minor-major, it has been num-bered "9" and "10." The cautious chronicler avoids argument and gives it no number.
The Symphony is scored for 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 2 horns,
2 trumpets, 3 trombones, timpani and strings.
It was 124 years ago that this symphony was resurrected and per-
formed in Leipzig, at which time eleven years had passed since the
composition of the symphony and the death of its composer.
Schubert turned out six symphonies in his earlier composing years,
SCHOENHOFS, INC. Foreign Books
1280 Massachusetts Avenue Harvard Square, Cambridge
Exclusive Headquarters of Assimil Language Record Courses
Grammars and Dictionaries for 100 Languages
All French, German, Spanish and Russian Books,
Classical and Modern
Fine Pictures— Custom Framing on Premises— Moderately Priced
BRIGGS & BRIGGS, INC.presents on RCA VICTOR RECORDS
First Recording with
THE BOSTON SYMPHONY ORCHESTRAConducted by Erich Leinsdorf
Bartok - Concerto for Orchestra
available at
BRIGGS & BRIGGS, IXC.1270 MASS. AVE. HARVARD SQUAREOpp. Widener Library KI 7-2007
8]
from the time that, as a pupil of sixteen at the Konvikt (the school
of the Imperial Choir at Vienna) he filled sheets with ready musicfor the small school orchestra in which he was a violinist. In 1816
he wrote his Fourth ("Tragic") Symphony and his Fifth (withouttrumpets and drums); in 1818, reaching his twenty-first year, he pro-
duced his Sixth in C major, still for a small orchestra. These three
works, containing many of the beautiful pages characteristic of the
young Schubert, were yet modest in design, having been planned for
the immediate uses of the "Amateur Society," the outgrowth of a
friendly quartet which had long met as such in his father's house.
Having come of age, the young man turned his musical thoughts
away from symphonies, a form which he fulfilled only twice in the
remainder of his life.* In 1822 he wrote another, or at least two move-
ments of another. The "Unfinished" Symphony may be said to be the
first which Schubert wrote entirely to the prompting of his free musi-
cal inclinations, and not to the constricted proportions of a group of
* He did make, in 1821, a complete outline of a symphony in E minor-E major with the nota-
tion and scoring only partly filled in. The symphony was performed in Vienna in the season1934-1935 by Felix Weingartner. A "Gastein" Symphony, vaguely referred to in the corre-
spondence, remains a legend, for no trace of it has been found. There are no grounds for
considering the Piano Duo in C major as a draft for this Symphony. Maurice Brown, in his
"Critical Biography" of Schubert, summons plausible evidence to show that the "Gastein" wasin reality an early sketch for the great C major Symphony.
From Records to Radio . . .
You Get COMPLETE STEREO
!
NEW 1963
ADMIRAL®STEREOPHONIC HIGH FIDELITY
with FM/AM and FM STEREO MULTIPLEX
*> Plays All Records v Master Control Center f" "Golden Echo" Aluminum Tone Arm
i* Dual Channel Stereo Hi-Fi Amplifiers v Diamond Stylus v ''Phantom 3rd Channel"
ADMIRAL SALES CORPORATION Boston
(Wholesale Only)DMsion
330 RUTHERFORD AVENUE • BOSTON 29, MASSACHUSETTS
Telephone CHarlestown 2-5040
half-skilled friends who could with difficulty muster a trumpeter or a
set of kettledrums. Anselm Huttenbrenner, to whom he dispatched
the score for the Styrian Society at Gratz, casually laid the unplayed
symphony in a drawer and forgot it. This indifference did not visibly
disturb the composer, to whom the act of creation seems always to
have been infinitely more important than the possibilities (which
were usually meagre enough) of performance or recognition. Once
more, six years later, Schubert spread his symphonic wings, this time
with no other dictator than his soaring fancy. Difficulty, length,
orchestration, these were not ordered by the compass of any orchestra
he knew. Schubert in his more rarefied lyrical flights composed far
above the heads of the small circle of singers or players with whomhis music-making was identified. Consciously or unconsciously, he
wrote at those times for the larger world he never encountered in
his round of humble dealings and for coming generations unnum-bered. In this wise did the symphony in C major come into being —the symphony which showed a new and significant impulse in a
talent long since of immortal stature; the symphony which it became
the privilege and triumph of Schumann to resurrect years later, and
make known to the world.
Expressions of opinion by Schubert on his works are here, as
elsewhere, scanty and unreliable. It is known that he presented the score
to the Philharmonic Society in Vienna. The parts were actually written
BOCA GRANDE PALM BEACH
The Ritz Carlton Hotel
Pretty Clothes for All Occasions
MANCHESTER WATCH HILL
Symphony subscribers, and members of the Orchestra,
occasionally tell our staff that the peace of mind which
comes from their relationships to the Trust Companyadds to their musical enjoyment.
CAMBRIDGE TRUST COMPANYHarvard Square
Complete Banking FacilitiesMember Federal Deposit Insurance Corporation
1 10J
out and distributed, and the symphony tried in rehearsal. "The Sym-phony was soon laid aside," so reports Schubert's early biographer,Kreissle von Hellborn, who in 1861 first published his findings of
Schubert's life after consultation with those who knew and remem-bered him. The score was found to be "too long and difficult, andSchubert advised them to accept and perform in its stead his Sixth
Symphony (also in C) ." The tale has been doubted, but it is easy to
believe — not that the composer had any qualms about the essential
practicability of his score — but that he hastily withdrew his Pegasus
before its wings could be entirely clipped by the pedestrian Gesell-
schaft. A symphony in C major was performed by the Society a monthafter Schubert's death (December 14, 1828) and repeated in March,
1829. Whether it was the great "C major" or the Sixth Symphony in
the same key is a point which will never be cleared up. In any case,
Schubert's last Symphony was unperformed in his lifetime and lay in
oblivion until ten years afterwards, when Schumann visited Vienna
and went through a pile of manuscripts then in possession of Franz's
brother, Ferdinand Schubert, fastened upon the C major symphony,
and sent a copied score with all dispatch to his friend Mendelssohn,
who was then the conductor at Leipzig. Mendelssohn was enthusiastic
— as enthusiastic perhaps as his nature permitted, although beside the
TANGLEWOODThe BERKSHIRE FESTIVAL by the Boston Symphony Orchestra,
Erich Leinsdorf, Music Director, will take place in Tanglewood, Lenox,
Massachusetts, from July 5 through August 25, 1963, with concerts each
Friday and Saturday evening, and Sunday afternoon. There will be two
weeks of Mozart programs, one of music by Bach and Haydn, and five
weeks of concerts by the full Orchestra. A feature of the repertory will
be music by Prokofiev in observance of the tenth anniversary of his death.
The BERKSHIRE MUSIC CENTER, maintained by the Orchestra at
Tanglewood for the advanced study of music, will have Mr. Leinsdorf
as its Director and will hold its twenty-first session from June 30 through
August 25.
For the programs of the Berkshire Festival or the catalogue of the
Berkshire Music Center, please address Berkshire Music Center, Sym-
phony Hall, Boston 15, Massachusetts.
["]
winged words of Schumann on the same subject his written opinion as
expressed to Moscheles sounds cool and measured: "We recently played
a remarkable and interesting symphony by Franz Schubert. It is, with-
out doubt, one of the best works which we have lately heard. Bright,
fascinating and original throughout, it stands quite at the head of his
instrumental works." The performance at the Gewandhaus (March
21, 1839) was a pronounced success and led to repetitions (there were
cuts for these performances) .* Mendelssohn urged the score upon the
secretary of the Philharmonic Society in London, and attempted to
put it on a program when he visited England. The players found
this straightforward music unreasonably difficult and laughed at the
oft-repeated triplets in the finale; Mendelssohn forthwith withdrew
the score, which was not heard in England until many years later
(April 5, 1856); even then, it was finally achieved by performances
in two installments of two movements at each concert. It is said that
* Yet a reviewer of the first performance wrote that the work lasted "five minutes less thanan hour." Eugene Goossens once wrote: "Its heavenly, but rather excessive length has often
brought up the vexed question of 'cuts,' and even the purists admit that the work does notsuffer to a noticeable degree by judicious pruning of the slow movement and finale. I use theword 'judicious,' for there are only two 'cuts' possible which do not in any way disturb
the shape or development of the movement in question. Preferably, however, let us have it
unmutilated —" (Chesterian, November, 1928).
Awiitatt-^kttmer ©rgatt (ftompattgDesigners of the instruments for:
THE BOSTON SYMPHONY ORCHESTRATHE DETROIT SYMPHONY ORCHESTRA
THE PHILADELPHIA ORCHESTRATHE NEW YORK PHILHARMONIC
1908., _ 4W. diredt̂^ctorship
dUrVnl«l MUCK was founded
fKA^L N"J
companywas T
1 Converse Bub;aimthenas
now,
in Mair^he finest
^ casual-
topr°drtingand
^nthletic
sporting
,„offootwear-
waterprooT I
CONVERTdedicatedto qualityfor over50 years
a similar derision from the players in Paris also met Habeneck's
efforts to introduce the symphony there. It may seem puzzling that
these famous triplets, to a later posterity the very stuff of swift impul-
sion, a lifting rhythm of flight, could have been found ridiculous. But
a dull and lumbering performance might well turn the constantly
reiterated figure into something quite meaningless. The joke lay, not
in the measures themselves, but in the awkward scrapings of the
players who were deriding them. The work, thus put aside in England
for some fifteen years, meanwhile found its first American performance
by the Philharmonic Society in New York (January 11, 1851),
Mr. Eisfeld conducting. It had been published a year previous.
[copyrighted]
Q^
KATE FRISKINPianist and Teacher
8 CHAUNCY STREET
CAMBRIDGE, MASSACHUSETTS
ELiot 4-3891
A Fine Specialty Shopcatering from head to toe
to young gentlemen whowear from size 6 to 40
PREP SHOP.
1-HOUR FREE PARKING at the
Church Street Garage (right next door)
31 CHURCH ST., CAMBRIDGEUNiversity 4-2300
"j^ Cf£ C4*S C+4 C+4 C+4 CfJ C+4 CfsS CfS cfJ) <£
i
I
I
I
I
I LES TLILEEIES |
Le RESTAURANT FRANCAISDE BOSTON
I
I
I
I
DINE IN A TRULY MAGNIFICENTPARISIAN ATMOSPHERE DECORATEDBY WORLD RENOWNED PARISIANARTIST J. D. VAN CAULAERT
Speclalite dk la Maison
Coq au Vin de Bourgognc
COCKTAILS AND IMPORTED WINESAFTER THEATRE RENDEZ-VOUS
OPEN 7 DAYS A WEEKTIL 1 A. M.
COR. OF COMMONWEALTH & MASS.AVE. NEXT TO THE HARVARD CLUBFREE PARKING AT NEARBY GARAGE
CO 6-0423
% <?*? T+o r+o f+o r+or+or+* r+* f+° F+3«^
[13]
I
I
LIST OF WORKSPerformed in the Cambridge Series
DURING THE SEASON 1962-1963
Bach Cantata No. 18, "Gleich wie der Regen und Schnee
vom Himmel fallt" (Sinfonia and Chorale)III December 4
Bartok Concerto for OrchestraI October 9
Brahms Variations on a Theme of Haydn, Op. 56aII November 13
Debussy "Prelude a l'Apres-midi d'un Faune"I October 9
Dvorak Symphony No. 7, in D minor, Op. 70V February 26
Haydn .... Symphony in D major, No. 96III December 4
Mahler Symphony in D major, No. 1
III December 4
Mendelssohn Overture (Op. 21), and Incidental Music to
"A Midsummer Night's Dream," Op. 61Speaker: Inga Swenson II November 13
Milhaud Concerto for Viola and OrchestraSoloist: Joseph de Pasquale III December 4
Mozart Serenade in D major, No. 9, K. 320 ("Posthorn")IV January 15
Symphony No. 41, in C major, "Jupiter," K. 551I October 9
Piston Symphony No. 7I October 9
Prokofiev Symphony-Concerto for Cello and Orchestra, Op. 125Soloist: Samuel Mayes VI March 26
Schubert Symphony in C major (Posthumous)VI March 26
Schumann Symphony No. 4, in D minor, Op. 120II November 13
Shostakovitch Symphony No. 10, in E minor, Op. 93IV January 15
Strauss "Ein Heldenleben," Tone Poem, Op. 40Violin Solo: Joseph Silverstein V February 26
Till Eulenspiegel's Merry Pranks, After the Old-fashioned,Roguish Manner — in Rondo Form, Op. 28
II November 13
[Hi
Boston Symphony Orchestra(Eighty-second Season, 1962-1963)
ERICH LEINSDORF, Music DirectorRICHARD BURGIN, Associate Conductor
PERSONNELCellos
Samuel MayesAlfred Zighera
Martin HonermanMischa Nieland
Karl Zeise
Richard Kapuscinski
Bernard ParronchiRobert Ripley
Winifred WinogradJohn Sant Ambrogio
Louis Berger
Violins
Joseph Silverstein
Concert-master
Alfred Krips
George Zazofsky
Rolland Tapley
Roger ShermontVladimir Resnikoff
Harry DicksonGottfried Wilfinger
Einar HansenFredy Ostrovsky
Minot BealeHerman Silberman
Stanley Benson
Leo PanasevichSheldon Rotenberg
Noah Bielski
Alfred Schneider
Clarence KnudsonPierre Mayer
Manuel ZungSamuel DiamondWilliam MarshallLeonard Moss
William WaterhouseMichel Sasson
Victor ManusevitchLaszlo Nagy
Ayrton Pinto
Julius Schulman
Lloyd Stonestreet
Raymond Sird
Gerald GelbloomMax Winder
Violas
Joseph de Pasquale
Jean Cauhape
Eugen LehnerAlbert Bernard
George HumphreyJerome Lipson
Robert KarolReuben Green
Bernard KadinoffVincent Mauricci
Earl HedbergJoseph Pietropaolo
Peter Schenkman
Basses
Georges MoleuxHenry Freeman
Irving FrankelHenry Portnoi
Henri Girard
John Barwicki
Leslie MartinBela WurtzlerJoseph Hearne
Flutes
Doriot Anthony Dwyer
James PappoutsakisPhillip Kaplan
Piccolo
George Madsen
Oboes
Ralph Gomberg
Jean de Vergie
John Holmes
English HornLouis Speyer
Clarinets
Gino Cioffi
Manuel Valerio
Pasquale Cardillo
E\) Clarinet
Bass Clarinet
Rosario Mazzeo
Bassoons
Sherman Walt
Ernst PanenkaMatthew Ruggiero
Contra Bassoon
Richard Plaster
Horns
James Stagliano
Charles Yancich
Harry ShapiroHarold MeekPaul KeaneyOsbourne McConathy
Trumpets
Roger VoisinArmando Ghitalla
Andre ComeGerard Goguen
Trombones
William Gibson
William MoyerKauko KahilaJosef Orosz
TubaK. Vinal Smith
Timpani
Everett Firth
Harold Farberman
Percussion
Charles SmithHarold ThompsonArthur Press
Harps
Bernard ZigheraOlivia Luetcke
Piano
Bernard Zighera
Library
Victor AlpertWilliam Shisler
Stage ManagerAlfred Robison
GOLD AND FIZDALEthe famous duo-pianists
who will be presented by Aaron Richmond
in JORDAN HALL on
SUNDAY, MARCH 31 at 3 P.M.
in the
BOSTON UNIVERSITY CELEBRITY SERIES
USE BALDWIN PIANOS EXCLUSIVELY"It's a rare privilege for us to play
on such wonderfully matched pianos."
Gold and Fizdale
160 BOYLSTON STREET BOSTON
HAncock 6-0775
• Braintree • Framingham • Lawrence
• Lowell • Reading • Medford
• Melrose • Newton • Wellesley
top related