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FOUNDED IN 1881 BYHENRY LEE HIGGINSON

SANDERS THEATRE(Harvard University)

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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

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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.

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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.

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[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,

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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.

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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

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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

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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]

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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

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