BOSTON SYMPHONY ORCHESTRA

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1 BOSTON SYMPHONY ORCHESTRA SEIJI OZAWA Music Adviser COLIN DAVIS & MICHAEL TILSON THOMA Principal Guest Conductors NINETY-SECOND SEASON FRIDAY-SATURDAY 20 TUESDAY B6 THE TRUSTEES OF THE BOSTON SYMPHONY ORCHESTRA INC. TALCOTT M. BANKS President PHILIP K. ALLEN Vice-President VERNON R. ALDEN ALLEN G. BARRY RICHARD P. CHAPMAN ABRAM T. COLLIER ARCHIE C. EPPS III MRS HARRIS FAHNESTOCK GARDINER Vice-President ROBERT H. HAROLD D. HODGKINSON E. MORTON JENNINGS JR EDWARD M. KENNEDY EDWARD G. MURRAY JOHN T. NOONAN JOHN L. THORNDIKE Treasurer MRS JAMES H. PERKINS IRVING W. RABB PAUL C. REARDON MRS GEORGE LEE SARGENT SIDNEY STONEMAN JOHN HOYT STOOKEY HENRY B. CABOT FRANCIS W. HATCH TRUSTEES EMERITUS HENRY A. LAUGHLIN PALFREY PERKINS EDWARD A. TAFT ADMINISTRATION OF THE BOSTON SYMPHONY ORCHESTRA THOMAS D. PERRY JR Manager THOMAS W. MORRIS Assistant Manager, Business Affairs FORRESTER C. SMITH Development Director DAVID ROCKEFELLER JR Assistant Manager, Audience & Public Affairs DANIEL R. GUSTIN Administrator of Educational Affairs MARY H. SMITH Assistant Manager, Concerts & Artists DONALD W. MACKENZIE Operations Manager, Symphony Hall JAMES F. KILEY Operations Manager, Tanglewood RICHARD C. Assistant to the Manager WHITE copyright 1973 by Boston Symphony Orchestra Inc. SYMPHONY HALL BOSTON MASSACHUSETTS

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3 II BOSTON SYMPHONY ORCHESTRA SEIJI OZAWA Music Adviser COLIN DAVIS & MICHAEL TILSON THOMAS Principal Guest Conductors NINETY-SECOND SEASON THE BOARD OF OVERSEERS OF THE BOSTON SYMPHONY ORCHESTRA INC. VERNON R. ALDEN Chairman LEONARD KAPLAN Vice-Chairman MRS STEPHEN V. C. MORRIS Secretary HAZEN H. AYER MRS FRANK C. ALLEN ROBERT C. ALSOP LEO L. BERANEK DAVID W. BERNSTEIN MRS JOHN M. BRADLEY MRS CURTIS B. BROOKS J. CARTER BROWN CURTIS R. BUTTENHEIM MRS MARY LOUISE CABOT MRS NORMAN L. CAHNERS LEVIN H. CAMPBELL III ERWIN D. CANHAM GEORGE H. A. CLOWES JR SILVIO O. CONTE JOHN L. COOPER NELSON J. DARLING JR HENRY B. DEWEY RICHARD A. EHRLICH BYRON K. ELLIOTT PAUL FROMM CARLTON P. FULLER MRS ALBERT GOODHUE MRS JOHN L. GRANDIN JR STEPHEN W. GRANT FRANCIS W. HATCH JR john holt david o. ives mrs c. d. jackson w. seavey joyce mrs louis i. kane george h. kidder leon kirchner maurice lazarus john Mclennan lawrence k. miller mrs charles l. moore frank e. morris david mugar john t. g. nichols david r. pokross mrs brooks potter herbert w. pratt mrs fairfield e. raymond mrs george r. rowland mrs a. lloyd russell donald b. sinclair richard a. smith mrs richard h. thompson stokley p. towles robert g. wiese vincent c. ziegler SYMPHONY HALL BOSTON MASSACHUSETTS 1079

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5 BOSTON SYMPHONY ORCHESTRA first violins Joseph Silverstein concertmaster SEIJI OZAWA Music Adviser COLIN DAVIS & MICHAEL TILSON THOMAS Principal Guest Conductors Charles Munch chair Jerome Rosen Max Hobart Rolland Tapley Roger Shermont Max Winder Harry Dickson Gottfried Wilfinger Fredy Ostrovsky Leo Panasevich Sheldon Rotenberg Alfred Schneider Stanley Benson Gerald Gelbloom Raymond Sird Ikuko Mizuno Cecylia Arzewski Amnon Levy second violins Clarence Knudson Fahnestock chair William Marshall Michel Sasson Ronald Knudsen Leonard Moss William Waterhouse Ayrton Pinto Laszlo Nagy Michael Vitale Spencer Larrison Marylou Speaker Darlene Gray Ronald Wilkison Harvey Seigel violas Burton Fine Charles S. Dana chair Reuben Green Eugene Lehner George Humphrey Jerome Lipson Robert Karol Bernard Kadinoff Vincent Mauricci Earl Hedberg Joseph Pietropaolo Robert Barnes Yizhak Schotten JOSEPH SILVERSTEIN Assistant Conductor cellos Jules Eskin Philip R. Allen chair Martin Hoherman Mischa Nieland Stephen Geber Robert Ripley Luis Leguia Carol Procter Jerome Patterson Ronald Feldman Joel Moerschel Jonathan Miller basses Henry Portnoi William Rhein Joseph Hearne Bela Wurtzler Leslie Martin John Salkowski John Barwicki Robert Olson Lawrence Wolfe flutes Doriot Anthony Dwyer Walter Piston chair James Pappoutsakis Paul Fried piccolo Lois Schaefer oboes Ralph Gomberg John Holmes Wayne Rapier english horn Laurence Thorstenberc clarinets Harold Wright Ann S. M. Banks chair Pasquale Cardillo Peter Hadcock Eb clarinet bass clarinet Felix Viscuglia bassoons Sherman Walt Ernst Panenka Matthew Ruggiero contra bassoon Richard Plaster horns Charles Kavaloski Charles Yancich Harry Shapiro David Ohanian Ralph Pottle trumpets Armando Ghitalla Roger Voisin Andre Come Gerard Goguen trombones William Gibson Ronald Barron Gordon Hallberg tuba Chester Schmitz timpani Everett Firth percussion Charles Smith Arthur Press assistant timpanist Thomas Gauger Frank Epstein harps Bernard Zighera Ann Hobson librarians Victor Alpert William Shisler stage manager Alfred Robison ESTATES Liquidated Appraised Purchased Expertise and knowledge are old-fashioned qualities that have become tradition with Louis Joseph Auction Galleries. For several generations, Louis Joseph Auction Galleries has served New England families by offering personal service as estate appraisers and auctioneers. Whether your requirements are the sale of an entire collection, the contents of a home or a single treasured piece, we provide the same kind of service that has built our reputation as New England' s finest auction galleries. We will liquidate estates either on consignment or through purchase. Call us first. Many of our auctions are nationally advertised. Inquiries are invited. Mr. Milton N. Lubar at (617) Please call ^Louis Joseph (^Auction Qalleries inc. NEW ENGLAND'S OUTSTANDING AUCTION GALLERY FOR THE SALE OF ANTIQUES, WORKS OF ART AND FINE HOUSEHOLD FURNISHINGS 840 Commonwealth Avenue Boston, Massachusettes Telephone (6 17) personnel manager William Moyer 1081

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7 CONTENTS Program for April 13, 14 and A tribute to Reverend Theodore P. Ferris by the Right Reverend Monsignor Edward C. Murray 1107 Program notes by John N. Burk Mozart - Piano concerto in B flat K. 450 Beethoven - Symphony no. 9 in D minor op The conductor 1101 The soloists 1101 The chorus Season summary ANDREW RAEBURN Program Editor MAHLER: Symphony No. 1 in D; Concertgebouw Orchestra, Amsterdam COMPLETE SYMPHONIES AVAILABLE SINGLY LISZT: The Complete Symphonic Poems; London Philharmonic Orchestra RAVEL: Daphnis et Chloe"; Ma Mere l'oye"; Concertgebouw Orchestra, Amsterdam BRUCKNER: Symphony No. 5 in B flat; Concertgebouw Orchestra, Amsterdam BERNARD HAITINK Bearerofa Great Tradition" PHILIPS A product of Phonogram Inc. HOLST:,,The Planets"; London Philharmonic Orchestra BARTOK: Music for Strings, Percussion and Celesta KODALY:,,Hary Janos"; Concertgebouw Orchestra, Amsterdam

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9 BOSTON SYMPHONY ORCHESTRA SEIJI OZAWA Music Adviser COLIN DAVIS & MICHAEL TILSON THOMAS Principal Guest Conductors NINETY-SECOND SEASON Friday afternoon April at 2 o'clock Saturday evening April at 8.30 Tuesday evening April at 7.30 BERNARD HAITINK conductor MOZART Piano concerto in B flat K. 450 Allegro Andante Allegro NERINE BARRETT intermission *BEETHOVEN Symphony no. 9 in D minor op. 125 Allegro ma non troppo, un poco maestoso Molto vivace - presto Adagio molto e cantabile Finale with soloists and chorus: Schiller's 'Ode to joy' KAREN ALTMAN soprano JOANNA SIMON contralto DEAN WILDER tenor THOMAS PAUL bass CHORUS PRO MUSICA Alfred Nash Patterson conductor Nerine Barrett plays the Steinway piano The concert on Friday will end about 4.10, the concert on Saturday about 10.40, and the concert on Tuesday about THE BOSTON SYMPHONY ORCHESTRA RECORDS EXCLUSIVELY FOR DEUTSCHE GRAMMOPHON BALDWIN PIANO DEUTSCHE GRAMMOPHON & *RCA RECORDS 1085

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11 . WOLFGANG AMADEUS MOZART Piano concerto in B flat K. 450 Program note by John N. Burk Mozart was born in Salzburg on January ; he died in Vienna on December He finished this concerto on March , and himself played the solo part at the first performance, given nine days later at the Trattnerhof in Vienna. The Boston Symphony Orchestra first played the Concerto, with Webster Aitkin the soloist and Serge Koussevitzky the conductor, on March Leonard Bernstein was both soloist and conductor in the most recent performances in the subscription series, given in November and December The instrumentation: flute, 2 oboes, 2 bassoons, 2 horns, strings and solo piano. Peace of mind is priceless. Peace of mind... for you or your loved ones... with our professional thoughtful staff to attend you in an atmosphere of gracious living. Conviviality, comfort, care... priceless. Opening soon. Mozart as a Knight of the Golden Spur Piano concertos were extremely useful to Mozart in Vienna in the Lenten season, when concerts could be profitably given at the houses of wealthy patrons, and bolstered by a new composition in which Mozart could appear as virtuoso. The spring of 1784 was no exception. The Piano concerto in E flat (K. 449) is dated February 9; the present Concerto, March 15; a Concerto in D (K. 451) was completed on March 22; and the Concerto in G (K. 453) on April 12. The G major and E flat concertos were written for the particular use of Mozart's pupil in Vienna, Barbara (or Babette) von Ployer. We have the composer's word that 'Fraulein Babette' played the G major concerto at a concert in her father's house in Dobling, a suburb of Vienna. That Mozart thought well of his spring crop of concertos in 1784 is indicated in the following letter written to his father on May 26 of that year: 'In your last note,' he wrote, T have the news that you received my letter and the music safely. I thank my sister for her letters and as soon as time permits I shall certainly write also to her. Meanwhile pray tell her that Herr Richter is mistaken as to the key of the concerto, or else I have read incorrectly a letter of yours. The concerto Herr Richter praised so warmly to her is that in B flat, the first I made and the one he praised so highly to me at the time. I really cannot make a choice between these two concertos [B flat and D]. I regard them both as concertos to make the performer sweat; but as regards difficulty, the B flat concerto has the advantage over that in D. For the rest I am very curious to know which of these three concertos, in B flat, D and G, pleased you and my sister Newton-Wellesley Nursing Home 694 Worcester Road Route 9 Wellesley

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13 ':.'. most. The one in E flat does not enter into the matter. It is a concerto of quite a peculiar kind and written rather for a small orchestra than for a big one -so I speak only of the three big concertos. I am curious to know whether your judgment accords with the general opinion here and also with mine. Candidly, it is necessary to hear all these well performed with all their parts. I am quite willing to wait patiently until they are returned to me, as long as nobody else is allowed to lay hands on them.! could have got twenty-four ducats for one of them today, but I think it better to keep them by me a year or so and then make them known by publication.' The orchestra takes in hand unassisted the expository matter, which devolves upon an up-sliding chromatic figure. The soloist, assuming at last the burden of discourse, makes up for a long delayed entrance by dominating the situation with a sparkling bombardment of scale passages and sixteenth notes in a rippling legato. Again in the Andante (in E flat, 3/8), the piano delivers an uninterrupted and ornate obbligato, the orchestra for the most part merely fortifying the melody, which comes often from the pianist's left hand. In the final rondo, the composer sees fit to give his tutti an additional edge of brilliance by.the inclusion of a flute (hitherto silent). The cadenzas in the first and last movements are Mozart's own. Sacheverell Sitwell discusses Mozart's piano concertos in his book on this composer (1932). He makes no attempt at studious research, but calls himself 'a complete and uninitiated amateur'. He touches fondly upon his especial favorites in the treasury of 'the greatest artist of the Rococo period', as if eager to share with everyone his delight in them. Like many others he places great value upon the piano concertos. 'This is one of the most delightful of the forms in which Mozart's genius asserted itself. Freedom of imagination, neatness, and poetry could go no further. These things are apparent at the first hearing of a Mozart concerto, and deeper acquaintance with them leaves this impression unimpaired, while it discovers a much greater difference in style than would is^tso- -0Q&&m ouui_ He who neglects the Muses In his youth has wasted All the past and lost True life for all the Future Sophocles hwmfcw of Nofoool Guild I Common, fy Mu., C Schoolt QUALITY INSTRUCTION in the PERFORMING & VISUAL ARTS cail James C. Simpson, Director I07 MAIN STREET,te a*,*,.,,, 5, - ta HINGHAM. MASSACHUSETTS Jack Conway & Co., Realtors Storst Street Smiths 5 r M Story street oft brattle street harvard sq. catnb. handmade jewelry Charming love bird pin with ruby eyes separates with a twist of the wrist into two individual pins to be worn as she pleases, 18 kt. yellow gold, $245. Mass. Residents add 3% tax (or if delivered in Mass.) Shown actual size. SHREVE, CRUMP & LOW CO. ESTABLISHED BOYLSTON ST. BOSTON MASS (617) '(j>^30 s^&fc Cleansers <^ Pine Gtefches and F) useh ld Fbumishin^feipa BiStirimiRa^ Gliertd 1089

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15 be thought possible when the quantity of his work in this direction is considered. Perhaps the reason for this is that his personal contact with the music was much closer than in, for instance, one of his own symphonies. In fact, he played the solo part in both his violin and pianoforte concertos, and his very evident personal fastidiousness made him as careful of the effect he produced as if it was a question of the suit of clothes he was wearing at the concert. Of course his own actual playing of the solo part was designed to show off his particular talents of execution. We have, therefore, in the concertos Mozart, himself, as though these beautiful compositions were a set of frames for his own portrait. 'But they were much more than a mere machinery of display for the instrument. Some of them may be described as copious patterns of decoration in the manner of the very finest Rococo stucchi, but such comparative easiness is only to be remarked in the least good of them. In others of them there is work on his very best level. There are pastoral, Arcadian scenes of an indescribable poetry, and so apparently simple that they are the very breath of inspiration itself. In some instances he has given a military turn to the finale so that it has all the stir and clang of martial music with the colours of bright uniforms. Then, again, with a flourish or two of the cor-de-chasse he evokes all the romance of hunting in the autumn woods; the winding of horns through the trees, the burnished leaves, even the early frost and the bonfire-smoke. Other movements may be more serious, like intellectual problems, set, and solved of themselves with all the ease of a successful card-trick. In the later of his concertos the atmosphere becomes grave and solemn, charged with tragedy. On the lighter side there are delightful moments like a brilliant conversation in a charming room; and, to end with, there are often enough his rondos, which, alone, and in themselves, embody so many different forms of gaiety.' Sitwell delights in the fact that there are as many as twenty-five piano concertos, 'for this makes it impossible for any number of the ordinary public to become satiated with them. And this astonishing number does not take account of four more concertos which are adaptations, by Mozart, of works by other composers; nor of concertos by him for two and three pianofortes and orchestra. Of the twenty-five works more directly in question the author has heard a bare half-dozen, and his ignorance has had to be supplemented by reference to all the available published accounts of them. But it may be taken for a certainty, that, if all are delightful, at least a dozen of these pianoforte concertos are works of the very highest possible quality, are, in fact, undisputed masterpieces of their sort. It is, therefore, the more remarkable that they are so seldom performed, since more of the Mozart that the world loves lies concealed in them than in any other branch of his protean activity. Longy School r Music Private instrumental and vocal instruction; courses leading to Diploma and Bachelor of Music Degree One Follen Street, Cambridge, Mass. Telephone Small Wonders a toy store Photo by Anita R. Olds "Where the touch is the test of the toy" worldwide imports creative playthings games and learning toys bits of whimsies 135 Huron Ave., CAMBRIDGE Strawberry Hill Rd., ACTON CABOT-CAHNERS ROOM The Cabot-Cahners Room is open for refreshments one hour before the start of each concert, and remains open until a reasonable time after the concert's end. Among the fine liquors available at the bar are those advertised in the program book, Relska Vodka, Carib Cup, Jack Daniels and Beefeater Gin. ANTHEA CHRISTIAN Brought Up In Kenya Will Arrange Your SAFARI IN EAST AFRICA Economic Group Tours or individual Safaris Tailored to your particular interests. Photographic, Bird Watching, Game Viewing, Hunting, Fishing, Relaxing on the beautiful East Coast of Africa in a perfect climate. Visit East Africa you owe it Representative in U.S.A. for Abercrombie & Kent Nairobi, Kenya to yourself. Tel. Concord We deal directly with you or through your travel agent. 1091

16 \ r j v a r j v. LUDWIG VAN BEETHOVEN Symphony no. 9 in D minor op. 125 Program note by John N. Burk Beethoven was born in Bonn in December 1770 (probably the 16th); he died in Vienna on March He completed the Ninth symphony in The first performance took place at the Karntnertortheater in Vienna on May 7 of that year. The first performance in the United States was given by the New York Philharmonic Society on May The Germania Musical Society in Boston with a chorus from the Handel and Haydn Society gave a performance here on February Ceorg Henschel conducted annual performances of the Ninth symphony to conclude the first three seasons of the Boston Symphony Orchestra. The most recent performances by the Orchestra in the Boston subscription series were conducted by Erich Leinsdorf in April The instrumentation: 2 flutes, piccolo, 2 oboes, 2 clarinets, 2 bassoons, contra bassoon, 4 horns, 2 trumpets, 3 trombones, timpani, bass drum, triangle, cymbals and strings. J v. "TUNE IN TO SAGE'S FOR THE FINEST MEDLEY OF FOODS'" featuring: 1092 Custom selected U.S. Choice and Prime steer beef Hand made bakery products fresh daily Farm fresh produce delivered fresh daily Service Delicatessen and Fish Departments SAGE'S FINE FOOD STORES conveniently located at 60 Church St., Cambridge Belmont Center, Belmont Charles River Park, Boston 1241 Centre St., Newton Ctr. Beethoven in 1823 The Ninth Symphony was the result of long germination. It was Beethoven's most ambitious venture, his heroic attempt to bring together the elements of his life work, to give each symphonic movement a broader and more elevated expression than ever before, to reconcile symphonic and choral writing, to mate the power of the word with the free expressiveness of his beloved instruments. In the finale he strove mightily to solve his problem. Did he actually solve it, and find the satisfactory fusion of every force at his command to carry his mighty thesis? There are those who say he did not. The score, like Schiller's lines, is a challenge, and Beethoven's challenge is an adventure rather than a solution. It is not to be judged with a scrupulous academic eye, or set up as a model. It is roughhevvn, even reckless; it can sweep all before it, carry the singers over their difficulties, and carry the audience in its headlong course. The finale is no mere setting of a text. It would be just to say that Beethoven sought a text to suit his musical intent rather than to exalt Schiller or give us a sermon on universal brotherhood. This concept and Schiller's inspiring lines excited him, but he seized them as material to his purpose. As the instrumental movements strive in each case to bring each component part of the symphony as a form to its fullest, its definitive expression, the choral finale strives to lift the whole to its highest point. The spirit of this finale does not reveal a new Beethoven, but the known Beethoven of the earlier symphonies, now more highly

17 charged, newly ambitious, in the questing spirit of his last years. The finale of the Ninth is still the joyous culmination familiar in previous works. The finales of the 'Eroica', the Fifth and the Seventh symphonies are also proclamations, wordless odes to joy. It was during his student days in Bonn that Beethoven had fastened upon Schiller's poem, and for a long time it remained a vague and unpursued notation in his sketchbooks. The heady sense of liberation in the verses must have appealed to him as they appealed to every German. They were in the spirit of the times, the spirit that had swept Europe and America, and Beethoven belonged to his time. He was no politician, nor the kind to discourse learnedly in such phrases as 'the brotherhood of man'. He was an idealist on such subjects as man, God, and the universe, but a practicing rather than a prating one, whose faith found concrete, powerful, vivid expression in tones. As Berlioz wrote of the choral finale, 'The joy is now religious, grave, and immense'. Such round and ringing phrases as 'Seid umschlungen, Millionen! Diesen Kuss der ganzen Welt!' ('Millions, myriads, rise and gather! Share this universal kiss!') have become, with the power of massed voices, a provocation to stir actual millions of listeners through the years as a summons to a noble concept. That concept was never as urgent, as indispensable to the future as it is today. The charge is often repeated that Beethoven treats the vocal quartet 'instrumentally', and strains the voices of the chorus. It may be true that if Beethoven had never been deaf he might have been kinder to the capacities of the human voice. Yet the movement as conceived and developed could not do otherwise. Music of mounting tension and overwhelming climax, it finds its end with a sure and also a driving musical logic. Some pedants shake their heads over the Symphony, and particularly the 'episodic' finale. Here again, Berlioz gives them the lie: 'The only answer for the critic who reproaches the composer for having violated the law of unity is so much the worse for the law!' Beethoven was never the slave to form. Formal procedure was in his artist's nature, to be called upon as it suited his immediate purpose. The first movement is a wondrous example of development as Beethoven had evolved it, but development extended by thematic excursions and by a long coda heart and an for the simple reason that the composer had much on his inexhaustible imagination. Who would cut a single bar? The scherzo is closest to formal tradition but again it is greatly extended, and for the same reason. The slow movement is an alternation of two sections in differing tempo and rhythm, treated on the principle of variation. The wayward Beethoven was doing what he did in his last quartets notably the one in A minor with the adagio in the Dorian mode reconciling two disparate sections by that magic of his own which eludes analysis. The Symphony is indeed the composer's effort to draw into a single work the musical experience of his life. Romain Rolland in his book La neuvieme symphonie (1941) stresses the Ninth symphony as a 'summation' Cune Somme de vie') rather than as the forward-looking work Beethoven would have given us as a younger man. He wrote: 'The Ninth symphony is a confluence. In it there are brought together and commingled the numerous currents from far back, from various sources, from the dreams and wishes of men in all ages. One might also say that it looks back upon the eight symphonies preceding, and so builds its summit from the past. The long period which transpired between the Eighth symphony and the Ninth has given it range and perspective, made it a life's summation. It is not the true mirror of that life; it reflects rather a spirit aged, full of wounds, which has seen the end, often bitter and deceptive, of experience, of hope. The music is often shadowed, it is without the power of young illusion. It seeks fresh life, looks toward new horizons, but nothing is quite as before. There is lacking the abandon of young love, of young pride and ambition even of young suffering. The composer finds instead a present which is incomparably godlike he has found the magic power of the aging Prospero, and with it almost apart new life forces.' The Ninth symphony is thus retrospective, a drawing together of accumulated power from a life's experience, the use of building materials not new. No more than seven years later Berlioz would plot another CREATIVE PEAR TREE There are four Partridges in this Pear Tree. A beautiful Tote Bag to embroider it will carry your sundries to the slopes, your needlework to Naples, or your purse to Bonwits. 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19 ' 1971, 'new path' for music in his Symphonie fantastique. But it would be quite wrong to regard the Ninth as a sort of stupendous final curtain to an epoch. While it could not be directly emulated, it had a tremendous effect on the future course of music. It planted in many a composer an irresistible urge toward grandeur. Wagner regarded it with mystic awe. Brahms trembled before the task of adding another to the immortal nine. It can be questioned whether Bruckner and Mahler would have undertaken their grandiose symphonic schemes without the choral Ninth to excite their imaginations. While offering no specific usable material, it fired the ambition for immensity through a whole Romantic century. Themes which are gradually unfolded from mysterious murmurings in the orchestra no uncommon experience nowadays all date back to the opening measures of the Ninth Symphony, where Beethoven conceived the idea of building a music of indeterminate open fifths on the dominant, accumulating a great crescendo of suspense until the theme itself is revealed in the pregnant key of D minor, proclaimed fortissimo by the whole orchestra in unison. It might be added that no one since has quite equaled the mighty effect of Beethoven's own precedent not even Wagner, who held this particular page in mystic awe, and no doubt remembered it when he depicted the elementary serenity of the Rhine in a very similar manner at the opening of the Ring. The development in this, the longest of Beethoven's first movements, progresses with -unflagging power and majesty through many an episode, many a sudden illumination from some fragment of his themes. At the restatement of the main theme the orchestra is flooded with the triumph of the D major long withheld. The long coda, coming at the point where it would seem that nothing more could be said on a much developed subject, calls forth new vistas from the inexhaustible imagination of the tone magician who needed little more than the common chord upon which to erect his vast schemes. Tovey writes of this movement (in Essays in musical analysis) that it 'dwarfs every other first movement, long or short, that has been written before or since', attaining its stature, in his opinion, by a perfect balance in the organization of its parts. And Grove goes further still (Beethoven and his nine symphonies): 'Great as are the beauties of the second and third movements and it is impossible to exaggerate them and original, vigorous and impressive as are many portions of the finale, it is still the opening allegro that one thinks of when the Ninth symphony is mentioned. In many respects it differs from other first movements of Beethoven; everything seems to combine to make it the greatest of them all.' In this symphony alone among his nine, Beethoven put his scherzo second in order and before the slow movement. A scherzo it is in everything but name, with the usual repeats, trio, and da capo (with bridge passages added). There is the dancelike character of earlier scherzos, and an echo of rusticity in the trio, recalling the Sixth and Seventh. Yet all is lifted to the prevailing mood of rarefied purity as this movement, like the others, adds a new voice to an old form. This scherzo has been called 'a miracle of repetition in monotony', by virtue of the incessant impact of its rhythm (associated with the kettledrums, tuned in octaves) which keeps a constant course through the most astonishing variety in modulation, color, counterpoint. The movement begins as a five-voice fugue, recalling the fact that Beethoven first conceived the theme as the subject for a fugue the earliest of his sketches which eventually found a way into the symphony. The trio continues the contrapuntal interest by the combination of two themes. The famous passage for the oboe against wind chords reminded Berlioz of 'the effect produced by the fresh morning air, and the first rays of the rising sun in May'. The slow movement is built upon two themes whose structural rela tion lies principally in contrast: the first, adagio in B flat, 4/4 time, the second, andante moderato in D major, triple time. After the almost static adagio, the second theme attains flowing motion in its melody, which Beethoven has marked 'espressivo'. This theme recurs in alternation with the other, but unlike the other is hardly varied, except in the instrumentation. 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21 The finale opens with a frank discord, followed by a stormy and clamorous presto of seven bars. It is as if the composer, having wrested from his first three movements the very utmost drop that was in them, is still restless and unsatisfied. He must still advance upon his divine adventure, cast off his tragic or poignant moods, find some new expression, fulsome and radiant. A few measures of each movement are reviewed, and after each a recitative in the cellos and basses gives an answer of plain rejection; in the first two cases brusquely, in the case of the adagio softened by a tender memory. Beethoven's instruments seem on the very verge of speech. A hint of the coming choral theme is breathed in gentle accents by the woodwinds, to which the recitative, now no longer confined to the strings, gives a convincing affirmative. Thereupon the theme in full is unfolded in its rightful D major. It is first heard in the utter simplicity of the low strings in unison, piano. Gradually harmonies and instruments are added, until the exposition has been completely made. The ultimate motor car (The choral theme has come in for some slighting remarks, probably on account of its A B C simplicity. It need scarcely be pointed out that a basic simplicity, treated with infinite subtlety and variety, is the very essence of the score from the first measure to the last. It is not without significance that Beethoven refined and polished this theme through two hundred sketches, to attain its ultimate beauty and perfection. There is no lack of distinguished advocates for the theme. Grove wrote: 'The result of years and years of search, it is worthy of all the pains which have been lavished on it, for a nobler and more enduring tune surely does not exist.' Wagner: 'Beethoven has emancipated this melody from all influences of fashion and variations of taste, and has raised it into a type of pure and lasting humanity.' Tovey says as much, in his way, in three words, calling it simply 'a great theme'.) engineered to a standard, not to a price. AUTO ENGINEERING SOUTH... the place where they do things right ROUTE 53 AT QUEEN ANNE'S PLAZA NORWELL/HINGHAM LINE TEL Once more there is the noisy presto passage, and the composer introduces words for the first time into a symphony. The baritone has this recitative: O Freunde, nicht diese Tone, sondern lasst uns angenehmere anstimmen, und freudenvollere. Oh friends, no longer these tones of sadness! Rather sing a song of sharing and of gladness! Oh joy, we hail Thee! Specializing in Lincoln and other There immediately follow the first three verses of Schiller's Ode to joy, by the solo quartet and chorus. (The English translation here given has been made for the Boston Symphony Orchestra by Theodore Spencer, and is copyright.) desirable West-of-Boston Communities (It may be noted here that of the eight verses of Schiller's poem, Beethoven chose the first three verses, at first without their four-line choruses, and then added three choruses in succession, one of them, 'Froh, wie seine Sonnen fliegen', belonging to the fourth verse, which otherwise he did not use, obviously choosing these lines for their militant possibilities. Beethoven could scarcely have set more of the text; to set three stanzas required from him the longest symphonic movement which had ever been composed. Yet Grove thought that Beethoven was deterred by the 'bad taste' of some of Schiller's verses. A line which the Englishman fastens upon in horrified italics as 'one of the more flagrant escapades' is this: 'Dieses Glas dem guten Geist!' (This glass to the good Spirit!').) u $. LINCOLN TETREAULT'-c REALTOR fr^dsf* PLEASE TURN THE PACE QUIETLY 1097

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23 Freude, schoner Gotterfunken, Tochter aus Elysium, Wir betreten feuertrunken, Himmlische, dein Heiligthum. Deine Zauber binden wieder, Was die Mode streng getheilt; Alle Menschen werden Briider, Wo dein sanfter Fliigel weilt. Joy, thou spark from heav'n immortal Daughter of Elysium! Drunk with fire, toward Heaven advancing Coddess, to thy shrine we come. Thy sweet magic brings together What stern Custom spreads afar; All mankind knows all men brothers Where thy happy wing-beats are. PlanOi Wem der grosse Wurf gelungen, Eines Freundes Freund zu sein, Wer ein holdes Weib errungen, Mische seinen Jubel ein! Ja wer auch nur eine Seele Sein nennt auf dem Erdenrund! Und wer's nie gekonnt, der stehle Weinend sich aus diesem Bund. Freude trinken alle Wesen An den Briisten der Natur; Alle Guten, alle Bosen Folgen ihrer Rosenspur. Kusse gab sie uns und Reben, Einen Freund, gepruft im Tod; Wollust ward dem Wurm gegeben, Und der Cherub steht vor Gott. He whose luck has been so golden Friend to have and friend to be, He that's won a noble woman, Join us in our jubilee. Oh if there is any being Who may call one heart his own Let him join us, or else, weeping, Steal away to weep alone. Nature's milk of joy all creatures Drink from that full breast of hers; All things evil, all things lovely, Rose-clad, are her followers. Kisses are her gift, and vine-leaves, Lasting friend on life's long road; Joy the humblest worm is given, Joy, the Seraph, dwells with Cod. The four line chorus (to the unused fourth verse) summons in Beethoven's imagination a marching host, and he gives it to proud and striding measures 'a//a marc/a' adding piccolo, contra bassoon, triangle, cymbals, and bass drum to his orchestra (again for the first time in a symphony). This is the verse, given to the tenor solo and chorus: Froh, wie seine Sonnen fliegen Durch des Himmels pracht'gen Plan, Wandelt, Briider, eure Bahn, Freudig, wie ein Held zum Siegen. Clad as the suns that Cod sent flying Down their paths of glorious space, Brothers, now forget all sadness Joyful run your hero's race. After the excitement of this variation, Beethoven allows himself to be alone with his instruments once more, and for the last time in a double fugue. The chorus next sings (andante maestoso) the following short verse of far-flung import, calling upon three trombones to add to the impressiveness of the sonority: Seid umschlungen, Millionen! Diesen Kuss der ganzen Welt! Briider iiberm Sternenzelt Muss ein lieber Vater wohnen! O embrace now all you millions, With one kiss for all the world. Brothers, high beyond all stars Surely dwells a loving Father. A religious adagio in a mood of mystic devotion is the setting of the following verse: anew bequest idea for Symphony Each year, the Friends of the Boston Symphony set a goal for annual giving, as do the Friends of Music at Tanglewodd. Each gift is vitally needed and often given by a Friend throughout a lifetime of devotion to the Orchestra. But what then? Even though a Friend has made a bequest provision in his or her will, as so many do, this annual giving ceases. It needn't. If you, as a Friend, leave a legacy to Symphony of at least twenty-five times the amount of your annual gift, it will guarantee the continuing of that gift, in your name, year after year. It will create an Annual Gift Endowment in your name. Your bequest establishing an Annual Gift Endowment can thus help provide a new and solid foundation for Friends income. This base, combined with continued annual giving of active Friends and gifts from new Friends, will furnish everincreasing resources to preserve the Boston Symphony's traditional place of leadership in the world of music. For any information concerning legacies, bequests or gifts, please write or call the Development Department at Symphony Hall (telephone ) or any member of the Board of Trustees, at Symphony Hall, Boston, Massachusetts nieder, Millionen? Ihr stiirzt Ahnest du den Schopfer, Welt? Such' ihn iiberm Sternenzelt! Uber Sternen muss er wohnen. Kneel before him, all you millions Know your true Creator, man! Seek him high beyond all stars, High beyond all stars adore Him. But the key verse of the movement is the first: 'Freude, schoner Gotterfunken', and this, with its chorus: 'Seid umschlungen, Millionen', is resumed by the quartet and chorus, and finally exalted to its sweeping climax in the coda, prestissimo. There are available two recordings of the Ninth symphony made by the Boston Symphony Orchestra for RCA: in the earlier Charles Munch conducts and the soloists are Leontyne Price, Maureen Forrester, David Poleri and Giorgio Tozzi and the choral parts are sung by the New England Conservatory Chorus; in the more recent recording the soloists are Jane Marsh, Josephine Veasey, Placido Domingo and Sherrill Milnes; the choral parts are sung by the Chorus Pro Musica and the New England Conservatory Chorus, and Erich Leinsdorf conducts. ADVERTISING IN THE ORCHESTRA'S PROGRAMS For information about advertising space and rates in the programs of the Boston Symphony Orchestra, please call Mr Philip E. Nutting at MediaRep Center Inc., 1425 Statler Office Building, Boston, Massachusetts 02116, telephone (617)

24 fl snffw S Old relative^ of moderti guitait I From specimens in the remarkable Casadesus Collection of Antique Instruments at Symphony Hall. Drawings by Sylvia Gilman. Historic data by Laning Humphrey. These instruments date only from the 18th century, but they have very ancient historical relationships. One of the earliest approaches to music-making was by plucking a tensed string, such as that of a hunting-bow. The addition of some kind of sound-box as a resonating chamber produced harps, lyres, and all manner of lute-like instruments. Some came to be played with an arched bow. Thus, the violin has been classified as a "bowed lute." From about 1400 to 1700 the lute itself was the instrument of virtuosos. But this long supremacy ran out in the 18th century, giving way to the guitar and mandolin. But in fashioning these, instrument-makers cast a backward look of admiration at the beauty of form shown in examples of the lute family. 2. MANDOLIN of Milanese design, relating it to mandola of 17th c. Typical mandolins of 18th c. are Neapolitan. I. NEO-MANDOLA. 18th c. Virtually big mandolin. A mandolalike body is joined to a guitar fingerboard. 3. TROMPETTE MARINE. This one-string -fiddle" traces its ancestry far back through centuries. In 6th c. B.C. Pythagoras formed an exact musical scale by plucking a taut string at precisely measured distances. After four centuries as a tuning device called MONO- CHORD, it was raised to musical instrument status in late 11th c. First it was plucked. Later, bowed, it prosed capable of trumpet-like, as well as cello and double-bass tones. It was used for the tuning of organs in 19th c. 4. LYRE-GUITAR. French, late 18th c. The nickname of this hybrid creation "lady's guitar" indicates its attractiveness to women from Pans to London. Although Schubert's baritone friend, Johann Vogl. played it. most men considered it too awkward. Ladies thought it beautiful even to look at on a table if one could not play it. And if a lady did, she could pose with it goddess-like, in her flowing Empire-style gown. The certainty of change makes necessary a continuous review of your insurance protection. We welcome the opportunity of providing this service for your business or personal needs. We respectfully invite your inquiry. CHARLES H. WATKINS & CO.. INC. RICHARD P. NYQUIST, President CHARLES G. CARLETON, Vice President 479 Winter Street at Route 128 Waltham. Mass OBRION. RUSSELL & CO. Insurance of Every Description 1100