Boston Symphony Orchestra Concert Programs, Season 96, 1976-1977

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id. BOSTON SYMPHONY ORCHESTRA SEIJI OZAWA jfo sic Director

Seiji Ozawa, Music Director

Colin Davis, Principal Guest Conductor Joseph Silverstein, Assistant Conductor

Ninety-Sixth Season 1976-77 The Trustees of the Boston Symphony Orchestra Inc Talcott M. Banks President

Philip K. Allen Sidney Stoneman John L. Thorndike Vice-President Vice-President Treasurer Vernon R. Alden Mrs. Harris Fahnestock Mrs. James H. Perkins Allen G. Barry David O. Ives Irving W. Rabb

Mrs. John M. Bradley E. Morton Jennings, Jr. Paul C. Reardon Richard P. Chapman Edward M. Kennedy David Rockefeller Jr. Abram T. Collier Edward G. Murray Mrs. George Lee Sargent

Nelson J. Darling, Jr. Albert L. Nickerson John Hoyt Stookey Archie C. Epps III Trustees Emeritus Harold D. Hodgkinson Henry A. Laughlin John T. Noonan

Administration of the Boston Symphony Orchestra

Thomas D. Perry, Jr. Thomas W. Morris Executive Director Manager Gideon Toeplitz Daniel R. Gustin Assistant Manager Assistant Manager Joseph M. Hobbs Dinah Daniels Director of Development Director of Promotion Richard C. White Anita R. Kurland Niklaus Wyss Assistant to the Manager Administrator of Youth Activities Advisor for the Music Director

Donald W. Mackenzie James F. Kiley Operations Manager, Symphony Hall Operations Manager, Tanglewood

Michael Steinberg Director of Publications

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BOSTON SYMPHONY ORCHESTRA

Seiji Ozawa, Music Director BOSTON Colin Davis, Principal Guest Conductor SYMPHONY Joseph Silverstein, Assistant Conductor ORCHESTRA Ninety-Sixth Season SEIJI OZAWA Music Director &=^

Friday, 18 February at 2

Saturday, 19 February at 8 : 30

SEIJI OZAWA, conductor

RESPIGHI Ancient Airs and Dances, Suite No. 1

MOLINARO : Balletto detto il Conte Orlando

GALILEI : Gagliarda anon Villanella anon: Passo mezzo e mascherada

WILSON Voices

INTERMISSION

RIMSKY-KORSAKOV Sheherazade Symphonic Suite, Opus 35

I Largo e maestoso — Allegro non troppo II Lento — Andantino — Allegro molto — Vivace scherzando — Allegro molto ed animato III Andantino quasi allegretto IV Allegro molto e frenetico — Vivo — Spiritoso — Allegro non troppo maestoso

Friday's concert will end about 3:50 and Saturday's about 10:20.

Seiji Ozawa and the Boston Symphony Orchestra record exclusively for Deutsche Grammophon.

Baldwin piano

Saturday's concert is being recorded by WGBH-TV for telecast later. Occasional shots of the audience may be used. Jerome Lipson Robert Karol Bassoons Bernard Kadinoff Sherman Walt

Edward A . Taft chair Vincent Mauricci Roland Small Earl Hedberg Matthew Ruggiero Joseph Pietropaolo Robert Barnes Michael Zaretsky Contra bassoon Richard Plaster

Cellos Jules Eskin Horns Philip R. Allen chair Charles Kavalovski Martin Hoherman Helen Sagoff Slosberg chair Mischa Nieland Charles Yancich Peter Gordon violins Jerome Patterson First David Ohanian Joseph Silverstein Robert Ripley Richard Mackey Concertmaster Luis Leguia Ralph Pottle Charles Munch chair Carol Procter Emanuel Borok Ronald Feldman Assistant Concertmaster Joel Moerschel Trumpets Homer Mclntyre chair Helen Jonathan Miller Armando Ghitalla Max Hobart Martha Babcock Andre Come Rolland Tapley Rolf Smedvig Roger Shermont Gerard Basses Goguen Max Winder William Rhein Harry Dickson Harold D. Hodgkinson chair Trombones Gottfried Wilfinger Joseph Hearne Ronald Barron Fredy Ostrovsky Bela Wurtzler Norman Bolter Leo Panasevich Leslie Martin Gordon Hallberg Sheldon Rotenberg John Salkowski William Gibson Alfred Schneider John Barwicki Gerald Gelbloom Robert Olson Tuba Sird Raymond Lawrence Wolfe Chester Schmitz Ikuko Mizuno Henry Portnoi Cecylia Arzewski Timpani Amnon Levy Flutes Everett Firth Bo Youp Hwang Doriot Anthony Dwyer Sylvia Shippen Wells chair Walter Piston chair Second violins James Pappoutsakis Percussion Victor Yampolsky Paul Fried Charles Smith chair Fahnestock Arthur Press Marylou Speaker Piccolo Assistant timpanist Michel Sasson Lois Schaefer Thomas Gauger Ronald Knudsen Frank Epstein Moss Leonard Oboes Vyacheslav Uritsky Ralph Gomberg Harps Laszlo Nagy Mildred B. Remis chair Bernard Zighera Michael Vitale Ann Hobson Darlene Gray Wayne Rapier Ronald Wilkison Personnel Managers Harvey Seigel English Horn William Moyer Jerome Rosen Laurence Thorstenber^ Harry Shapiro Sheila Fiekowsky Gerald Elias Clarinets Librarians Lefkowitz Ronan Harold Wright Victor Alpert Ann S.M. Banks chair William Shisler Violas Pasquale Cardillo Burton Fine Peter Hadcock Stage Manager Charles 5. Dana chair E-flat clarinet Reuben Green Alfred Robison Eugene Lehner Bass Clarinet George Humphrey Felix Viscuglia Seiji Ozawa, Music Director

Seiji Ozawa became Music Director of the the beginning of the 1965-66 season he Boston Symphony Orchestra in the fall became Music Director of the Toronto of 1973 and is the thirteenth conductor Symphony, a post he relinquished after to head the Orchestra since its founding four seasons to devote his time to study in 1881. and guest conducting.

He was born in Hoten, Manchuria, in In 1970 Mr. Ozawa became Artistic 1935, and graduated from the Toho Director of the Berkshire Music Festival, School of Music in Tokyo with first and in December of that year he began prizes in composition and conducting. his inaugural season as Conductor and When he wort first prize at the Inter- Music Director of the San Francisco national Competition of Conducting at Symphony Orchestra, titles he held con- Besancon, France, shortly after his gradu- currently with his position as ation, one of the judges of the competition Music Director of the Boston Symphony until was the late Charles Munch, then Music he resigned them in the spring of Director of the Boston Symphony, who 1976. (He will be Honorary Conductor in San invited him to study at Tanglewood Francisco for the 1976-77 season). during the following summer. Mr. Ozawa's association with the Orchestra began during that session of the Berkshire Mr. Ozawa's recordings for Deutsche Music Center as a student of conducting Grammophon include Berlioz's Sym- in 1960. phonie fantastique, La damnation de Faust, and Romeo et Juliette (awarded a Beginning with the summer of 1964, Grand Prix du Disque). This spring, DG Mr. Ozawa was for five seasons Music will release the Ozawa/BSO recording of Director of the Ravinia Festival, and at Charles Ives's Fourth Symphony. The Board of Overseers of the Boston Symphony Orchestra Inc.

David O. Ives, Chairman Hazen H. Ayer, Vice Chairman

Mrs. Arthur I. Strang, Secretary

Charles F. Adams Weston P. Figgins Richard P. Morse Mrs. Frank G. Allen Paul Fromm David G. Mugar Mrs. Richard Bennink Carlton P. Fuller Dr. Barbara W. Newell

Dr. Leo L. Beranek Mrs. Thomas J. Galligan, Jr. Stephen Paine David W. Bernstein Mrs. Thomas Gardiner Mrs. Priscilla Potter David Bird Mrs. John L. Grandin Harry Remis Gerhard Bleicken Bruce Harriman Mrs. Peter van S. Rice Frederick Brandi Mrs. Richard D. Hill Mrs. Samuel L. Rosenberry

Curtis Buttenheim Mrs. Amory Houghton, Jr. Mrs. Jerome Rosenfeld

Mrs. Henry B. Cabot Richard S. Humphrey, Jr. Mrs. A. Lloyd Russell Mrs. Mary Louise Cabot Mrs. Jim Lee Hunt William A. Selke Mrs. Norman L. Cahners Leonard Kaplan Samuel L. Slosberg

Levin H. Campbell, III Leon Kirchner Richard A. Smith

Dr. George H.A. Clowes, Jr. Mrs. James F. Lawrence Mrs. Edward S. Stimpson Arthur P. Contas Roderick MacDougall Mrs. Edward A. Taft The Hon. Silvio O. Conte John S. McLennan Mrs. Richard H. Thompson

Robert Cushman Colman M. Mockler, Jr. Stokley P. Towles

Michael J. Daly Mrs. Elting E. Morison D. Thomas Trigg Mrs. C. Russell Eddy Frank E. Morris Julius Vogel

We'd like to give handicapped kids a free education. i

Yes, free. | The Cotting School for Handicapped Children offers a 12-year academic program for physically and medically handicapped children with mentally normal capabilities. Included in school services are both vocational and college preparatory training, transportation to and from, medical and dental care, speech and physical therapy, social development, noon meal, testing, recrea- tion and summer camping. Without any cost whatsoever to parents. Right now, we have openings for handicapped children. Please pass the word. Call or write William J. Carmichael, Superintendent, The Cotting School for Handicapped Children, 241 St. Botolph St., Boston, Mass. 021 15, 536-9632. (Formerly Industrial School for Crippled Children.) The Cotting School for Handicapped Children is a private, nonprofit, nonsectarian, tuition-free institution supported primarily by private legacies, bequests and contributions. Notes possession, founded a trio dedicated to the performance of early music on original instruments, and spent the years from 1902 to 1909 in Boston teaching Ottorino Respighi some of the craftsmen at the Chickering Ancient Airs and Dances Suite No. 1 piano factory to restore old instruments and to build replicas of them. In 1912, Wanda Landowska had the Pleyel factory was bom imBologna on Ottorino Respighi in Paris build her a harpsichord (or some- died in Rome, 18 April 9 July 1879 and thing very much like one), and a year this orchestral transcrip- 1936. He made later, in Berlin, she became probably the tion lute airs and dances in 1917 , and of first person since the 18th century regu- conducted the first Bernardino Molinari larly to teach that instrument. But de- the Augusteo Orches- performance with voted and energetic as Dolmetsch The first tra, Rome, on 3 March 1917. Landowska, and a handful of others in given by performance America was were, their efforts were isolated, and their the orchestra the Arturo Toscanini and of music-making reached few people. In Teatro alia Scala, Milan, in New York on those days, moreover, scholars who 4 January 1921, the same conductor and studied this music and prepared editions orchestra bringing the work to Boston on of it had, as a rule, no interest in making 20 January that year. Pierre Monteux or in promoting the step from the written conducted the second, third, and fourth copy to performance. There was a real movements only with the Boston Sym- place, then, for the work of an enthu- on October 1923. Serge phony 26 and 27 siast and amateur scholar like Respighi, Burgin took it Koussevitzky and Richard who went on to transcribe two further in later seasons, and the orchestra's up sets of Ancient Airs and Dances, plus most recent performance in Boston was another all of genre pieces collected under led by Charles in December 1955. Munch the title The Birds, and who also orches- Monteux conducted it once more at trated a great many other pieces, from Tanglewood in 1961, reverting, as Burgin Monteverdi and Frescobaldi, through had done also, to the three-movement Bach organ compositions (his version of version. Respighi's suite calls for two the Passacaglia was much played in the flutes, two oboes, English horn, two 1930s) and Rossini piano pieces, all the French horns, trumpet, bassoons, two way to Rachmaninoff's Etudes-Tableaux. harp, harpsichord, and strings. The irony here is that if we assume It is easy enough, in 1977, to hear 16th- Respighi helped to stir up interest in century lute music in concert, on records, ancient music, then we would also have or over the radio, but in 1917, there to say that he provided for his own ob- were no recordings by Julian Bream, solescence. That audiences enjoyed — Walter Gerwig, Eugene Muller-Dombois, and still do enjoy — his transcriptions is Konrad Ragossnig, Anthony Rooley, or sure. That he caused people to become James Tyler, no concerts by the Boston interested in the lute music of, say, Camerata, Calliope, and the Greenwood Simone Molinaro in a way that led them Consort. Early music, as we call it now, to explore the original is more doubtful. or ancient music, as it was called then The musical public is many publics, and (and that is still reflected in the standard these many publics are surprisingly

English rendering of Respighi's title insular. I doubt, for example, that many Antiche arie e danze), was in libraries. Boston Symphony subscribers go to hear

Scholars knew about it, but almost no the Waverly Consort or that Noah Green- one thought to play it and sing it. Yes, berg and David Munrow are household Arnold Dolmetsch, an English instrument- names for them. At the same time, it builder and violinist (pupil of Vieux- would not surprise me at all if most of the temps!), taught himself to play a viola people in the predominantly young d'amore that had by chance come into his audience that goes to concerts of Music ,

for a While and the Renaissance Band, or been fixed up, its melodies smoothed, the whose shelves are loaded with the records form adjusted. And the result is enchant- of the Munich Early Music Quartet had ing. It gives, to be sure, a distorted never heard one of these Respighi suites. picture of the originals, the difference And if they did, they might giggle, which being that Respighi's versions are charm- would be understandable, uncharitable," ingly antiqued, while Julian Bream plays and a bit short-sighted all at the same time. Molinaro's Balletto as new and living music. But to listen to this Respighi suite What the early music movement of the is first of all to get a vivid sense of a last 25 years has been all about is the particular moment in the history of taste emerging dominance of the idea that if and the development of historical per- we are really to make contact with some- ception, and then to enjoy elegant, lov- thing as relatively obscure as the 14th- ingly applied musical craft. Mozart's century Roman de Fauvel or as familiar edition of Messiah no longer convinces as as Handel's Messiah, we must meet that a means of access to Handel, but we can music on its own terms and in sonorities take pleasure in it as wonderful if slightly as close as possible to those the com- kinky Mozart — and hybrids can exercise poser imagined. It used, however, to be a special and seductive charm. In the supposed that early music, to be palatable same terms, the Ancient Airs and Dances or even comprehensible to 20th-century are delightful Respighi, another utterance listeners, required translating — is which of the fantasy that has given us the vivid to say that certain of its aspects, from pictures of the pines on the Janiculum, something as specific as scoring to some- the fountain at the Villa Medici, and the thing as general as the rhetorical and stained-glass Matin of St. Clare. expressive stance as a whole, would have to be altered. In that sense, Respighi's Respighi was a minor master, but a

suites are translations : the music has been master surely. He began as pianist, violin-

given calcium shots and liver pills, it has ist, and violist, and in 1900 became been sentimentalized, its harmonies have principal violist in the opera orchestra at

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~~Ottorino Respighi — the photo is autographed to Leslie J. Rogers, the Boston Symphony's librarian at the time of Respighi's visit here in 1927.~~

8 St. Petersburg. There he had the oppor- ing Greek tragedy led them into the tunity to take some lessons with Rimsky- invention of opera: his setting of the Korsakov — so this program unites Ugolino scene from Dante's Inferno, teacher and student — which accounts in which he used to sing to his own accom- part for his dazzling skill in writing for paniment, was celebrated. The astrono- orchestra. He soon returned to Italy, mer Galileo Galilei was his first-born son. tending more toward composition, but A gagliarda or galliard is a vigorous still active as a performer, particularly as dance, usually alternating 6/8 and 3/4 violist in the Mugellini Quartet. In 1913, meters. he settled in Rome, teaching, later presid- Thomas Morley, in his Plaine and Easie ing over the St. Cecilia Academy, compos- Introduction to Practicall Musicke of ing in many forms, and thoroughly 1597, tells us that a villanella is "clownish enjoying the fame and prosperity his musick to a clownish matter." This music brought him (notably The Foun- example by the prolific and popular tains of Rome in 1917 and The Pines of Anon., however, is distinctly on the gentle Rome in 1924). His interest in old music and melancholic side. also led him to such works as a Piano A passamezzo — often Englished in the Concerto in the mixolydian mode and a 16th century as "passy-measure" — is a Concerto gregoriano for violin. He fairly quick dance in duple meter. traveled widely, and just 50 years ago — Mascherada or mascherata is a song to be on 18 and 19 February 1927 — he had a performed at a masked ball. whole Boston Symphony concert, appear- — Michael Steinberg ing as soloist in the Piano Concerto and conducting the second set Ancient Airs and Dances, the overture to his opera Belfagor, II tramonto (after Shelley's The r~

Sunset) with his wife, Elsa Respighi, as I designed mq eueujear^ soloist, and The Fountains Rome. He of for the free spirit in upu stayed on for a week to hear Koussevitzky give the world premiere of his suite Church Windows. As for the composers behind this first set of Ancient Airs and Dances, Simone Molinaro was born in Genoa about 1565 and died there about 1615, having been in charge of the music in the cathedral for the last twelve or so years of his life. He wrote madrigals and much sacred music, but his reputation rests especially on his idiomatic and inventive works for lute. Balletto or ballo simply means a dance. We don't know of any special significance to the naming of this one after Count Roland. 'Experience my fresh designs 5 Vincenzo Galilei was born in Santa Diane Von furstenberg Maria a Monte, just outside Florence, in 1520 and died in Florence in 1591. He was fashion fuewear a composer, lutenist, and a theoretician lor Optique du Monde Available at: learned in many fields including acoustics MONTGOMERY-FROST- LLOYD'S as as well Greek, Turkish, and Moorish Prescription Opticians Since 1870 music. He was involved in that group of Florentine gentlemen called them- 300 Washington & 414 Boylston Streets • Boston who Kenmore and Harvard Squares • Norwood • Hyannis • Quincy selves the Camerata and whose investiga- Master Charge • BankAmericard • American Express tions into the proper method of perform- OLLY WILSON Voices

Oily Woodrow Wilson was born in St. Louis, Missouri on 7 September 1937. Voices was commissioned by the Berk- shire Music Center and the Fromm Music Foundation, and had its premiere on 16 August 1970, Gunther Schuller conducting the Berkshire Music Center Orchestra at Tanglewood. These performances are the first in Boston. Wilson attended Washington Univer- sity, the University of Illinois, and the University of Iowa, where he received a Ph.D. in music in 1964. His richly varied background includes not only the traditional composition and academic disci- plines, but professional experience as a jazz and orchestral bass player, work in an electronic music studio, and studies of African music in West Africa itself. He has been awarded a number of commis- sions and prizes, including the 1968 Dartmouth Arts Council Prize, a Gug- genheim Fellowship, and awards for outstanding achievement from the Ameri- can Academy of Arts and Letters and the Oily Wilson National Institute of Arts and Letters. Although his compositions include a rack, sleigh bells, wood blocks, temple variety of forms, his orchestral works are blocks, wood drums, bongos, timbalis, especially notable for the distinguished dun-dun drums (West African talking success they have enjoyed in perfor- pressure drums), large West African mances by the Dallas, Baltimore, Oak- master drums, bass drums, tambourine, land, Minnesota, Atlanta, and San and shekere (large African gourd rattle). Francisco Symphonies. Mr. Wilson is String basses are also amplified, and the Professor of Music at the University of contribution of the players of traditional California at Berkeley. instruments is augmented by humming, The score of Voices calls for two flutes whistling, and moving. (one doubling piccolo), two oboes, Although earlier material returns in English horn, two clarinets, bass clarinet, later sections — notably in the richly two bassoons, contrabassoon, four contrapuntal tapestry of its closing horns, three trumpets (doubling on minutes — Voices pursues an essentially piccolo trumpets), three trombones, continuous and linear exploration of strings, and a large array of percussion, sound. Together with its incessant poly- including kettledrums, piano amplified phonic activity, and frequent shifts of with contact mike, vibraphone, glocken- dynamics, timbre, and sound patterns, spiel, xylophone, suspended cymbals, this generates a tensile structure in which sizzle cymbals, four gankoqui (West unpredictability and change become African bell songs), triangles, cow bells, substantive musical elements. At the tam-tams, metal wind chime, glass wind same time, however, this open-formed chime, tuned antique cymbals, high multiplicity is rooted to an almost omni- pitched glass bottles suspended from a present foundation of sustained clusters,

10 a propensity for sinuous lines based on involuted chormatic pitches (articulated clusters, in other words), and a familial :^Wt •&&* resemblance binding its variegated musical gestures. The result is an organic WALLIS WOOLLEN MILL A touch of class from Wales. British woollen clothing, diversity, conti- synthesis of unity and fabrics, home furnishings, knitting yarn and unusual gift items.

nuity and contrast. Tel. 661-2590 In notes for a series of performances last season by the San Francisco Sym- phony Orchestra under Seiji Ozawa, the composer has stated: "Voices is a one- •a movement composition in which diverse ART/ASIA GALLERY kinds of musical motion, timbral com- Asian prints, ceramics, Decorative arts. Custom framing, art leasing. Member, Art Investment Asia. binations, and spatial relationships are Tel: 661-1596 intrinsically combined with specific musical events to project a uniform 49 PALMER STREET musical idea. The work proceeds from Cambridge, Mass. 02138 statements of short, clearly articulated, (LOCATED BEHIND THE COOP IN HARVARD SQUARE? relatively independent sections, to longer, more organically interrelated sections. The pieces is based upon the development of the interrelationship of those sections. vte&S??'** "The composition is called Voices not

r • r," only because members of the orchestra are asked to use their voices as well as their instruments, but also because the basic musical gestures which underlie the composition were conceived as orchestral n£S3 -.£ renderings of vocal musical expressions." ESTABLISHED 1875 — Howard Hersh More than a century Howard Hersh is program annotator of famous of the San Francisco Symphony Associa- Italian foods tion, by whose kind permission this note TEL. 423-6340 is used. 10 BOSWORTH ST., BOSTON, MASS.

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11 The following programme is printed in Nikolai Rimsky-Korsakov Russian and French on a flyleaf of the Sheherazade Symphonic Suite, score: — Opus 35 "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. Nikolai Andreyevich Rimsky-Korsakov But the Sultana Sheherazade t saved her was born at Tikhvin in the Government life by interesting him in tales which she Novgorod on 18 March 1844 and of told him during one thousand and one died at Liubensk near St. Petersburg on nights. Pricked by curiosity, the Sultan 21 June 1908. He sketched Sheherazade put off his wife's execution from day to in June 1888 and completed its four day, and at last gave up entirely his movements on, respectively, 4, 11, 16, bloody plan. and 26 July. Final revisions took three "Many marvels were told Shahriar by more days. He himself conducted the the Sultana Sheherazade. For her stories first performance at the Russian Sym- the Sultana borrowed from poets their phony Concerts in St. Petersburg on 22 verses, from folk-songs their words; and October 1888. Emil Paur introduced the she strung together tales and adventures. work into the Boston Symphony's "I. The Sea and Sindbad's Ship. repertoire at the concerts of 16 and 17 "II. The Story of the Kalander-Prince. April 1897. Conductors who have led it "III. The Young Prince and the with the orchestra since then include Princess. Wilhelm Gericke, Max Fiedler, Karl "IV. Festival at Bagdad. The Sea. Muck, Hanri Rabaud, Pierre Monteux, The Ship goes to Pieces on a Rock sur- and Serge Koussevitzky . The most recent mounted by a Bronze J Warrior. Con- performances were given by Charles clusion." Wilson during the 1967-68 season and at Rimsky-Korsakov has this to say Tanglewood in 1968. The work is dedi- about Sheherazade in My Musical Life, cated to V. V. Stasov, the critic who, in 1867, first grouped Cui, Borodin, Balakirev, Mussorgsky, and Rimsky- *Shahryar (Persian), "City-friend", was ac- Korsakov as "the mighty handful." The cording to the opening tale "the King of the score calls for two flutes and piccolo, Kings of the Banu Sasan in the islands of India two oboes, two clarinets, two bassoons, and China, a lord of armies and guards and four horns, two trumpets, three trom- servants and dependents, in tide of yore and bones, tuba, kettledrums, harp, and in times long gone before." tShahrazad (Persian), "City-freer," was in the strings. On that subject, Rimsky- old version Sheherazade, and both names Korsakov had the following to say: are thought to be derived from Shirzad, "The Capriccio Espagnol, Sheherazade, "Lion-born." She was the elder daughter of and the Russian Easter Overture close the Chief Wazir of King Shahryar and she had this period of my activity, at the end of "perused the books, annals and legends of which my orchestration had reached a preceding Kings, and the stories, examples and instances of by-gone men and things; considerable degree of virtuosity and indeed, it was said that she had collected a bright sonority without Wagner's in- thousand books of histories, relating to fluence and within the limits the usual of antique races and departed rulers. She had make-up of Glinka's orchestra. These perused the works of the poets and knew them con- three compositions also show a by heart ; she had studied philosophy and the siderable falling off in the use of con- sciences, arts, and accomplishments; and she was pleasant and polite, wise and witty, well trapuntal devices . . . The place of the the slaughter of disappearing counterpoint is taken by a read and well bred." Tired of women, she purposed to put an end to the strong and virtuosic development of destruction. every kind of figuration which sustains JThis statue was of brass or yellow copper. the technical interest of my compositions."

~~12 >„." ..-V.~~

~~Rimsky-Korsakov~~

13 translated into English by J. A. Joffe: "The programme I had been guided Thomas by in composing Sheherazade consisted of separate, unconnected episodes and Cook pictures from The Arabian Nights: the presents the SIXTH fantastic narrative of the Prince Kal- ander, the Prince and the Princess, the Bagdad festival, and the ship dashing Journey against the rock with the bronze rider upon it. The unifying thread consisted of the brief introductions to Movements to Music I, II, and IV and the intermezzo in Move- EUROPE 77 ment III, written for violin solo, and delineating Sheherazade herself as telling FROM BOSTON her wondrous tales to the stern Sultan. The conclusion of Movement IV serves September 5-26, 1977 the same artistic purpose.

"In vain do people seek in my suite Tour conducted by leading motives linked always and un- John Salkowski varyingly with the same poetic ideas and conceptions. On the contrary, in the Member Boston Symphony Orchestra majority of cases, all these seeming leit- motives are nothing but purely musical material, or the given motives for sym- exciting phonic development. These given Many performances motives thread and spread over all the and sightseeing movements of the suite, alternating and intertwining each with the other. Appearing as they do each time under EDINBURGH different moods, the self-same motives MOSCOW and themes correspond each time to different images, actions, and pictures. VLADIMIR LENINGRAD "Thus, for instance, the sharply out- lined fanfare motive of the muted trom- NOVGOROD bone and trumpet, which first appears VIENNA in the Kalander's Narrative (Movement MUNICH II) appears afresh in Movement IV, in the delineation of the doomed ship, though this episode has no connection with the Kalander's Narrative. The principal theme of the Kalander's Narrative (B For information or reservations,

minor, 3-4) and the theme of the Princess please send this coupon or call: in Movement III (B-flat major, 6-8, Thomas Cook clarinet) in altered guise and quick tempo WORLD TRAVEL SERVICE appear as the secondary themes of the 156 Federal St., Boston, 02110 Bagdad festival; yet nothing is said in MA (617)267-5000 The Arabian Nights about these persons taking part in the festivities. The unison NAME phrase, as though depicting Sheherazade's ADDRESS stern spouse, at the beginning of the CITY suite, appears in the Kalander's Narrative, where there cannot, however, be any STATE. ZIP thought of Sultan Shahriar.

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"In this manner, developing quite freely Ladies Free the musical data taken as a basis of the Invited Parking composition, I had in view the creation of an orchestral suite in four movements, closely knit by the community of its themes and motives, yet presenting, as it were a kaleidoscope of fairy-tale images and designs of Oriental character, — a method that I had to a certain degree made use of in my Skazka (Fairytale), the First musical data of which are as little distinguishable from the poetic as they are in Sheherazade. Originally I had even intended to label the movements of Sheherazade: No. I. — Prelude; No. II. Chair — Ballade; No. III. — Adagio; No. IV. — Finale; but on the advice of Liadov For and others I did not do so. My aversion Eating & Drinking for the seeking of a too definite program in my composition led me subsequently New York Sirloin (in the new edition) to do away with even those hints of it which had lain in the Prime Rib of Beef headings of each movement, such as: Baked Stuffed Shrimp The Sea and Sindbad's Ship; the Kal- London Broil ander's Narrative, etc. Barbecued Spareribs "In composing Sheherazade I meant these hints to direct but slightly the Boston Scrod hearer's fancy on the path which my own fancy had traveled, and to leave 344 Newbury St., Boston more minute and particular conceptions South Shore Plaza to the will and mood of each listener. Chestnut Hill Mall

All I had desired was that the hearer, if he liked my piece as symphonic music, Luncheon 1 1 :30 A.M. - 3:30 P.M. should carry away the impression that it Dinner 3:30 P.M. - :00 A.M. is beyond doubt an Oriental narrative Drinking til 2:00 A.M. of some numerous and varied fairy-tale wonders, and not merely four pieces played one after the other and composed the basis of themes common to all on Boston's only the four movements. Why, then, if that be the case, does my suite bear the name Head to Toe Salon precisely, of Sheharazade? Because this for today's woman. name and the subtitle ('After The Thousand and One Nights') connote in Featuring everybody's mind the East and fairy-tale Facial Salon • Body Salon wonders; besides, certain details of the Hair Salon musical exposition hint at the fact that all Visit our exciting botique. of these are various tales of some one person (which happens to be Shehera- zade) entertaining therewith her stern husband." am sawHe The programme is deliberately vague. Jk 83 Newbury Street To which one of Sindbad's voyages is reference made? The story of which Kalander, Boston 536-6995

~~16 : "~~

for there were three that knocked on that wreck. And the end comes. Comes the fateful night at the gate of the house of Castle of Burnished Copper, and its gates the three ladies of Bagdad. "The young fly open before them; the forty damsels, Prince and the young Princess," — but each one fairer than the rest, troop out there are so many in the Thousand at their approach; they are bathed in Nights and a Night. "The ship goes to odors, clad in glittering apparel, fed with pieces on a rock surmounted by a brass enchanted meats, plunged fathoms deep warrior." Here is a distinct reference to in the delights of the flesh. There is con- the third Kalander's tale, the marvellous trived for them a private pradise of luxury adventure of Prince Ajib, son of Khazib; and splendor, a practical Infinite of gold for the magnetic mountain which ship- and silver stuffs and jewels and all things wrecked Sindbad on his voyage was not gorgeous and rare and costly; and therein surmounted by "a dome of yellow laton do they abide for evermore. You would from Andalusia, vaulted upon ten say of their poets that they contract im- columns; and on its crown is a horse- mensity to the limits of desire; they ex- man who rideth a horse of brass and haust the inexhaustible in their enormous holdeth in hand a lance of laton; and effort; they stoop the universe to the there hangeth on his bosom a tablet of slavery of a talisman, and bind the visible lead graven with names and talismans." and invisible worlds within the compass The composer did not attempt to interline of a ring." any specific text with music; he en- A characteristic theme, the typical deavored to put the mood of the many theme of Sheherazade, keeps appearing tales into music, so that W. E. Henley's in the four movements. This theme, that — rhapsody might be the true preface : of the Narrator, is a florid melodic phrase

"They do not go questing for accidents in triplets, and it ends generally in a free their hour comes, and the finger of God cadenza. It is played, for the most part, urges them forth, and thrusts them on in by a solo violin and sometimes by a the way of destiny. The air is horrible wood-wind instrument. "The presence in with the gross and passionate figments the minor cadence of the characteristic of Islamite mythology. Afrits watch over seventh, G, and the major sixth, F-sharp, them or molest them; they are made — after the manner of the Phrygian captive of malignant Ghouls; the Jinns mode of the Greeks or the Doric church take bodily form and woo them to their tone, — might illustrate the familiar embraces. The sea-horse ramps at them beginning of all folk-tales, 'Once upon from the ocean floor; the great rock a time.' darkens earth about them with the shadow of his wings; wise and goodly apes come forth and minister unto them; enchanted camels bear them over evil deserts with the swiftness of the wind, or the magic horse outspreads his sail- broad vannes, and soars with them; or they are borne aloft by some servant of South) Boston the Spell till the earth is as a bowl beneath Savings them, and they hear the angels quiring Bank - at the foot of the Throne. So they fare to "ALWAYS THE LEADER" strange and dismal places; through cities of brass whose millions have perished by divine decree; cities guilty of the cult of the Fire and the Light wherein all life has been stricken to stone; or on to the Alfred W. Archibald magnetic mountain by whose horrible President attraction the bolts are drawn from the ship, and they alone survive the inevitable

17 introduce a motive that /. THE SEA AND SINDBAD'S* SHIP. has been called The chief theme of this movement, the SHIP, at first for solo flute, then oboe, announced frequently and in many trans- lastly, clarinet. A reminiscence of the formations, has been called by some the SEA motive is heard from the horn be- SEA motive, by others the SINDBAD tween the phrases. A solo violin-cello motive. It is proclaimed immediately and continues the WAVE motive, which in heavily in fortissimo unison and octaves. one form or another persists almost Soft chords of wind instruments — chords throughout the whole movement. The not unlike the first chords of Men- SHEHERAZADE motive soon enters delssohn's Midsummer Night's Dream (solo violin). There is a long period that overture in character—lead to the SHEH- at last re-establishes the chief tonality, ERAZADE motive, Lento, 4-4, played E major. The SEA motive is sounded by by solo violin against chords of the harp. full orchestra. The development is easily Then follows the main body of the move- followed. There is an avoidance of con- ment, Allegro non troppo, E major, 6-4, trapuntal use of thematic material. The which begins with a combination of the style of the composer in this Suite is chief theme, the SEA motive, with a rising homophonous, not polyphonic. He and falling arpeggio figure, the WAVE prefers to produce his effects by melodic, motive. There is a crescendo. A modu- harmonic, rhythmic transformations and lation leads to C major. Wood-wind by most ingenious and highly colored instruments and violon-cellos pizz. orchestration. The movement ends tranquilly.

"The Arabian Odyssey may, like its Greek II. THE STORY OF THE brother, descend from a noble family, the KALANDER *-PRINCE. Shipwrecked Mariner a Coptic travel-tale of The second movement opens with a the twelfth dynasty (B.C. 3500), preserved on recitative-like passage. solo violin a papyrus at St. Petersburg. In its actual A condition, Sindbad is a fanciful compilation, accompanied by the harp gives out the like De Foe's Captain Singleton, borrowed SHEHERAZADE motive, with a different from travellers' tales of an immense variety cadenza. There is a change to a species of and extracts from Al-Idri si, Al-Kazwini, scherzo movement. The bassoon begins and Ibn al-Wardl. Here we find the Poly- the wondrous tale, accompanied by the the Pygmies, the Cranes of phemus, and sustained chords of four double-basses. Homer and Herodotus; the escape of The beginning of the second part of this Aristomenes; the Plinian monsters, well theme occurs later and transformed. The known in Persia; the magnetic mountains the bagpipe drone. of Saint Brennan (Brandanus); the aero- accompaniment has nautics of "Duke Ernest of Bavaria' and The oboe then takes up the melody, then sundry cuttings from Moslem writers, dating between our ninth and fourteenth centuries. *The Kalander was in reality a mendicant The Shaykh of the Seaboard appears in the monk. The three in the tale of The Porter Persian romance of Kamarupa, translated by and the Three Ladies of Bagdad entered with Francklin, all the particulars absolutely beards and heads and eyebrows shaven, and

~~corresponding. The Odyssey is valuable be- all three, by fate, were blind of the left eye.~~

cause it shows how far eastward the medieval According to d'Herbelot, the Kalander is not Arab had extended; already, in The Ignorance generally approved by Moslems: "He labors he had reached China and had formed a centre to win free from every form and observance." of trade at Canton. But the higher merit of The adventurous three, however, were sons

the cento is to produce one of the most of kings, who in despair or for safety chose charming books of travel ever written, like the garb. D'Herbelot quotes Saadi as accusing Robinson Crusoe the delight of children and Kalanders of being addicted to gluttony: the admiration of all ages" (Sir Richard F. "They will not leave the table so long as they Burton). See also the curious book Remarks can breathe, so long as there is anything on on the Arabian Nights Entertainments, in the table. There are two among men who

which the origin of Sindbad's Voyages and should never be without anxiety : a merchant other Oriental Fictions is particularly con- whose vessel is lost, a rich heir who falls into sidered, by Richard Hole (London, 1797). the hands of Kalanders."

~~18 How do you follow a great performance?~~

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~~19 . .~~

the strings with quickened pace, and at IV. FESTIVAL AT BAGDAD. THE last the wind instruments. The chief SEA. THE SHIP GOES TO PIECES motive of the first movement is heard in AGAINST A ROCK SURMOUNTED the basses. A trombone sounds like a BY A BRONZE WARRIOR. fanfare, which is answered by the CONCLUSION. trumpet; the first fundamental theme is heard, and an Allegro molto follows, "A splendid and glorious life," says Burton, derived from the preceding fanfare, and "was that of Bagdad in the days of the leads to an orientally colored intermezzo. mighty Caliph, when the capital had towered to the zenith of "There are curious episodes in which all grandeur and was already the strings repeat the same chord over trembling and tottering to the fall. and over again in rapid succession, — The centre of human civiliza- tion, which then very like the responses of a congregation was confined to Greece and Arabia, and the in church, — as an accompaniment to the metropolis of an Empire exceeding in extent the SHEHERAZADE motive, now in the widest limits of Rome, it was essentially clarinet, now in the bassoon." The last a city of pleasure, a Paris interruption leads to a return of the of the IXth century . . The city of palaces and government Kalander's tale, con moto, 3-8, which is offices, developed, with a few interruptions from hotels and pavilions, mosques and colleges, the SHEHERAZADE motive. The whole kiosks and squares, bazars ends gayly.

///. THE YOUNG PRINCE AND THE YOUNG PRINCESS. Dixieland at Some think from the similarity of the my place. two themes typical of prince and princess Consider hep. that the composer had in mind the me After years oftrying, adventures of Kamar al-Zaman (Moon I have learned to like of the age) and the Princess Budur (Full Dixieland. moons). "They were the likest of all folk, The process was something like learn- each to other, as they were twins or an ing to like olives. only brother and sister," and over the Therefore, my restaurant in Boston question, which was the more beautiful, now serves Dixielandjazz every Maymunah, the Jinniyah, and Dabnash, Sunday evening. There's no cover charge and no mini- the Ifrit, disputed violently. mum, and the prices are modest enough to bring the family or friends, or anyone This movement consists in the long else who might be a fan of good dining, but simple development of two themes good drinks, and goodjazzbands. of folk-song character, the first being Naturally, however, I'd rather appre- ciate it if, while were here, youjoined sung by the violins. There is a constant you us for dinner: roast beef, fresh fish, J.C. recurrence of song-like melody between Hillary's English Father's Irish Stew . . phrases in this movement, of quickly Or an olive or two, served within a rising and falling scale passages, as a beverage. rule in the clarinet, but also in the flute (The traditional drink ofMartini or first violins. The second theme intro- Street, or whatever, where Dixieland duces a section characterized by highly was born.) original and daringly effective orchestration. There are piquant rhythmic effects J. C. HILLARY'S Music whose time has returned, LI L). from a combination of triangle, tam- at precisely the same sort of restaurant. bourine, snare-drum, and cymbals, while violoncellos (later the bassoon) have a 793 Boylston Street, directly land totally > opposite the Pru 536-6300 Freevalet parking Lunch 1 1 30-3:30. Dmnertill midnight. sentimental counter-phrase.

20 and markets, pleasure grounds and orchards, adorned with all the graceful charms which Saracenic architecture had borrowed from the Byzantines, lay couched upon the banks of the Dijlah- Hiddekel under a sky of marvellous purity and in a climate which makes — the luxury of tranquil mere life a 'Kayf <£JouC&3fie enjoyment. It was surrounded by far- extending suburbs, like Rusafah on the Under New Management Eastern side and villages like Baturanjah, "Boston's Original Creperie" dear to the votaries of pleasure; and with Authentic Brittany Crepes make the rear of a gigantic capital mingled the this favorite Boston restaurant the hum of prayer, the trilling of birds, the ideal spot for before and after thrilling of harp and lute, the shrilling of directly pipes, the witching strains of the pro- Symphony, across from fessional Almah, and the minstrel's lay."* Lord & Taylor on Boylston Street.

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21 The Finale opens with a reminiscence Swiftly . . . and grew. Tearing of the SEA motive of the first movement, their beards, proclaimed in unisons and octaves. Then The sailors wept and prayed; follows the SHEHERAZADE motive but the grave ship, (solo violin), which leads to the fete in Deep laden with spiceries and pearls, Bagdad. The musical portraiture, some- went mad — what after the fashion of a tarantella, is Wrenched the long tiller out of the based on a version of the SEA motive, steerman's hand, and it is soon interrupted by Shehera- And, turning broadside on, zade and her violin. Two or three new As the most iron would, was haled themes, besides those heard in the pre- and sucked ceding movements, are worked up elabo- Nearer, and nearer yet; rately. The festival is at its height — And, all awash, with horrible 'This is indeed life; O sad that 'tis lurching leaps fleeting!" — when there seems to be a Rushed at that Portent, casting a change of festivities, and the jollification shadow now to be on shipboard. In the midst of the That swallowed sea and sky ; and then wild hurrah the ship strikes the magnetic Anchors and nails and bolts rock.* Flew screaming out of her, and with clang on clang, Or, sailing to the Isles A noise of fifty stithies, caught

~~Of Khaledan, I spied one evenfall at the sides A black blotch in the sunset; Of the Magnetic Mountain;~~

~~and it grew and she lay,~~

*The fable of the magnetic mountain is thought that were drawn thither by the adamants to be based on the currents, which, as off for the iron that was in them." See also Eastern Africa will take a ship fifty miles a Rabelais (Book V., chapter xxxvii.); Puttock's day out of her course. Some have thought Peter Wilkins; the Novus Orbis of Aloysius that the tales told by Ptolemy (VII. 2) were Cadamustus, who traveled to India in 1504; perhaps figurative, — "the iron-stealers of and Hole's book already quoted. Burton Otaheite allegorized in the Bay of Bengal." thinks the myth may have arisen from seeing

Aboulfouaris, a Persian Sindbad, is wrecked craft built, as on the East African coast, with- by a magnetic mountain. Serapion, the Moor out nails. Egede, in his Natural History of (1479), "an author of good esteem and reason- Greenland, says that Mogens Heinson, a sea- able antiquity, asserts that the mine of this man in the reign of Frederic the Second, king

stone [the loadstone] is in the seacoast of of Denmark, pretended that his vessel was India, where when ships approach, there is stopped in his voyage thither by some hidden no iron in them which flies not like a bird magnetic rocks, when under full sail. The unto those mountains: and, therefore, their Berlin correspondent of the Pall Mall Gazette ships are fastened not with iron but wood, wrote not long ago that Norwegian news- for otherwise they would be torn to pieces.'' papers were discussing the dangerously Sir Thomas Browne comments on this pas- magnetic properties of a mountain in the sage Vulgar Errors, Book II, chapter iiJ: Joedern province on the Norwegian coast. "But this assertion, how positive, soever, is 'There can be no question as to the existence contradicted by all navigators that pass that of the mountain,' though its dimensions have

~~way, which are now many, and of our own been greatly exaggerated. It is, in fact, a great~~

~~nation ; and might surely have been controlled straggling dune, of about 1,000 yards in~~

~~by Nearchus, the admiral of Alexander, who, length. The bulk of the dune is composed of~~

not knowing the compass, was fain to coast sand, with which, however, is intermingled that shore." Sir John Mandeville mentions such a large portion of loadstone in minute (chapter xxvii.) these loadstone rocks: "I fragments that the compass of a ship coming myself have seen afar off in that sea as though within a certain distance of the coast at once

~~it had been a great isle full of trees and bush, becomes wildly deranged, and it happens far~~

~~full of thorns and briars, great plenty. And from infrequently that the vessel is stranded." the shipmen told us that all that was of ships~~

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~~23 A broken bundle of firewood, strown piecemeal~~

~~About the waters ; and her crewe Passed shrieking, one by one;~~

~~and I was left To drown.~~

~~W. E. Henley's Arabian Nights' Enter- tainment (1893).~~

~~The captain said to Ajib in the story: "As soon as we are under its lea, the ship's sides will open and every nail in plank will fly out and cleave fast to the moun-~~

tain ; for that Almighty Allah hath gifted the loadstone with a mysterious virtue and a love for iron, by reason whereof all of which is iron travelleth towards it." And Ajib continued: "Then, O my lady, the captain wept with exceeding weeping, and we all made sure of death- doom, and each and every one .of us farewelled his friend, and charged him with his last will and testament in case he might be saved."

~~The trombones roar out the SEA motive against the billowy wave motive in the strings. The tempest rages. The storm dies. Clarinets and trumpets scream one more cry on the march theme of the~~

second movement. There is a quiet ending with development of the SEA and WAVE &*ZSie0p motives. The tales are told. Sheherazade, \|etV the narrator, who lived with Shahryar "in all pleasance and solace of life and

its delights till there took them the Destroyer of delights and the Severer of societies, the Desolator of dwelling places and Garnerer of graveyards, and Exciting things from Dansk, Georg Jensen, they were translated to the rule of Al- Arabia, Iron Mountain, Rosenthal, Spode, mighty Allah," fades with the vision and the final note of her violin. Royal Doulton, Lauffer, Kosta, Boda,

~~Denby, Copco, Sonneman, Kovacs . . . — Philip Hale~~

~~Philip Hale — 1854-1934 — was music critic for several Boston newspapers, most notably The Boston Herald, where (ffil~~

~~24 MORE . . .~~

Respighi's three sets of Ancient Airs and translation by N.J. Dawood of Tales Dances are very well recorded by Neville from the Thousand and one nights makes Marriner and the Los Angeles Chamber pleasant reading (Penguin paperback);

~~Orchestra (Angel). Molinaro's balletto that by Andrew Lang is a classic, but it in its original form is on Julian Bream's is in fancy dress rather than English, and~~

Lute music from the royal courts of most readers will find it hard to take Europe (RCA). (Dover paperback). Seiji Ozawa and the Voices is not recorded; however, three BSO will record Sheherazade for other works by Oily Wilson are available. Deutsche Grammophon after these con- They are Akwan for piano, electronic certs. Ozawa already has a recording in piano, amplified strings and orchestra the catalogue with the Chicago Sym- (Richard Bunger with the Baltimore phony (Angel, with the Polovtsian Symphony, Paul Freeman conducting, Dances from Borodin's Prince Igor). with works of TJ. Anderson Jr. and Other good recordings, all imaginative, Talib Rasul Hakim — Columbia); Piano lively, and virtuosic, and listed here in a piece for piano and electronic sounds rough ordering from raw to cooked, are (Natalie Hinderas in the album Music by those by Yevgeny Svetlanov with the black composers, with works of Dett, U.S.S.R. Symphony (Melodiya-Angel), Kerr, Walker, Cunningham, Still, Work, Andre Previn and the London Symphony Chambers, and Smith — Desto); and — (RCA, with Rinsky-Korsakov's Tsar most striking — Piece for four (Robert Saltan march and The flight of the Willoughby, flute, Gene Young, trumpet, bumble-bee), Ernest Ansermet and the Joseph Schwartz, piano, Bertram Paris Conservatory Orchestra (London, Turetzky, bass, with works of Biilent not to be confused with Ansermet's later, Arel and Robert Sterne — CRI). less lively, and less well played record Rimsky-Korsakov's My musical life with the Orchestre de la Suisse Romande, is a cool, intelligent, interesting memoir also on London), and Sir Thomas

~~(transl. J. A. Joffe — Vienna House). Beecham with the Royal Philharmonic~~

~~Russian music by Alfred J. Swan provides (Angel). valuable background (Norton). The -M.S.~~

~~Take the Music home with you—~~

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~~find at the Coop makes it possible to enjoy tonight's selected pieces whenever you like. Choose your favorite renditions from the many different recordings available.~~

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~~25 .~~

~~able amount of time after the concert.~~

SYMPHONY HALL AMENITIES . . For the Friday afternoon concerts, both rooms will open at 12:15, with sand- SYMPHONY HALL, AND ALL wiches available until concert time. CONCERT AND TICKET CAMERA AND RECORDING EQUIP- INFORMATION — (617)-266-1492 MENT may not be brought into Symphony THE BSO IN GENERAL: The Boston Hall during the concerts.

Symphony performs 12 months a year, LOST AND FOUND is located at the in Symphony Hall and at Tanglewood. switchboard near the main entrance. For information about any of the PUBLIC TELEPHONES AND AN Orchestra's activities, please call Sym- ELEVATOR can be found outside the phony Hall, or write the Boston Symphony Hatch Room on the Massachusetts Orchestra, Symphony Hall, Boston, Avenue side of the first floor. Massachusetts 02115. COATROOMS are located on both the THE BOX OFFICE is open from 10 a.m. first and second floors in the corridor on until 6 p.m. through Friday. Monday the first violin side, next to the Huntington Tickets for all Boston Symphony con- Avenue stairways. certs go on sale 28 days prior to the TICKET RESALE : If for some reason you concerts and phone reservations will are unable to attend a Boston Symphony be accepted. For outside events at Sym- concert for which you hold a ticket, you phony Hall, tickets will be available 3 may make your ticket available for resale weeks before the concert. No phone by calling the switchboard. This helps orders will be accepted for these events. bring needed revenue to the Orchestra, FIRST AID FACILITIES for both men and makes your seat available to some- and women are available in the Ladies one who wants to attend the concert. You Lounge on the first floor next to the will receive a tax deductible receipt as main entrance of the Hall. On-call acknowledgement for your contribution. physicians attending concerts should LATE COMERS are asked to remain in leave their names and seat locations at the corridors until they can be seated by the switchboard. ushers during the first convenient pause WHEELCHAIR ACCOMMODATIONS in the program. Those who wish to leave in Symphony Hall may be made by before the end of the concert are requested calling in advance. House personnel to do so between program pieces in order stationed at the Massachusetts Avenue not to disturb other patrons. entrance to the Hall will assist patrons in RUSH SEATS : There is a limited number wheelchairs into the building and to of Rush Tickets available for the Friday their seats. afternoon and Saturday evening Boston LADIES' ROOMS are located on the Symphony concerts (Subscription con- first floor, first violin side, next to the certs only). The Rush Tickets are sold at stairway at the back of the Hall, and on Si. 50 each (one to a customer) in the the second floor on the Massachusetts Huntington Avenue Lobby on Fridays Avenue side near the elevator. beginning at 10 am and on Saturdays MEN'S ROOMS are located on the first beginning at 6 pm. floor on the Massachusetts Avenue side BOSTON SYMPHONY BROADCASTS: by the elevator, and on the second floor Concerts of the Boston Symphony are in corridor next to the coatroom the on heard in many parts of the United States the first violin side. and Canada by delayed broadcast. In

LOUNGES AND BAR SERVICE : There addition, Friday afternoon concerts are are two lounges in Symphony Hall. The broadcast live by WGBH-FM (Boston Hatch Room on the first floor, and the 89.7), WMEH-FM (Bangor 90.9), WHEA- Cabot-Cahners Room on the second, FM (Portland 90.1), WAMC-FM (Albany serve drinks from one hour before each 90.3), and WFCR-FM (Amherst 88.5). performance and are open for a reason- Saturday evening concerts are also broad-

26 cast live by WGBH-FM, WMEH-FM, Friends of the Boston Symphony, please WHEA-FM, WCRB-AM & FM (Boston call the Friends Office Monday through 102.5 FM: 1330 AM), WFCR-FM and Friday between nine and five. If you are WPIB-FM (Providence 105.1). The already a Friend and would like to change majority of the Tuesday evening concerts your address, please send your new are broadcast live by WGBH-FM, address with the label from your BSO WAMC-FM, and WFCR-FM. newsletter to the Development Office, BSO FRIENDS: The Friends are sup- Boston Symphony Orchestra, Symphony porters of the BSO, active in all of its Hall, Boston, Massachusetts 02115. endeavors. Friends receive the monthly Including the mailing label will assure a BSO news publication and priority ticket quick and accurate change of address information. For information about the in our files.

Tuesday, — 7 : 30-9 : COMING CONCERTS . . . 15 March 35 Tuesday 'B' series Tuesday, 8 March — 8:30-10:25 Thursday, 17 March — 7:30-9:35 Tuesday 'C series Thursday '10' series JOSEPH SILVERSTEIN conducting: SEIJI OZAWA conducting: Mozart: Divertimento in D, K.136 Brahms: Piano Concerto No. 1 in D Sinfonia Concertante in E flat, minor, Op. 15 K.297b Symphony No. 1 in C minor,

~~Brahms : Symphony No. 1 in C minor, Op. 68 Op. 68 Maurizio Pollini, piano. Ralph Gomberg, oboe; Harold Wright, clarinet; Sherman Walt, Friday, 18 March — 2-3:35 bassoon; Charles Kavalovski, horn.~~

~~Saturday, 19 March — 8 : 30-10 : 05 SEIJI OZAWA conducting:~~

~~Thursday, 10 March — 8 : 30-10 : 10 Wolf-Ferrari: Overture to Suzanne's Thursday 'A' series Secret Friday, 11 March — 2-3:40 Takemitsu: Quatrain for clarinet, violin,~~

~~Saturday, 12 March — 8 : 30-10 : 10 cello, piano, and orchestra~~

JOSEPH SILVERSTEIN conducting: Strauss : Symphonia Domestica Haydn: Symphony No. 92 in G, Oxford TASHI — Richard Stoltzman Harbison: Diotima (World Premiere) Ida Kavafian Schumann: Symphony No. 1 in B flat, Fred Sherry Op. 38, Spring Peter Serkin

~~27 Let this be yourconscience's guide.~~

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~~28 .~~

~~ON BEQUESTS . .~~

Over the years, the Boston Symphony Orchestra has been the fortunate beneficiary of bequests from many persons. These bequests have added substantially to the orchestra's endowment, and it is unrestricted bequests that have played a critical role in making up the deficit each year. Bequests are a lasting tribute to one's belief in the Boston Symphony, and the orchestra is always deeply grateful to those who find it possible to remember it. Questions concerning bequests and other forms of gifts are welcomed in the Develop- ment Office, Symphony Hall, Boston, MA 02115 (617-266-1492, extension 131).

~~UNRESTRICTED BEQUEST~~

~~I give to the Boston Symphony Orchestra, Inc., a corporation organized under the laws of Massachusetts and situated in Boston, Massachusetts, [$ ].~~

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~~29 It's Bali~~

Come feast. On joyous platters of Polynesian delicacies. Roam through the mysteries of Bo-Bo Canton Sweet and Sour. Adventure through Mahi-Mahi Pineapple Spears and Pago Pago fruits. Present this ad for free hors d'oeuvres when ordering dinner for two. Open daily for Lunch and Dinner and our fabulous Polynesian Sunday Brunch

~~KONTIKI PORTS {% Sheraton-Boston Hotel SHERATON HOTELS & INNS. WORLDWIDE PRUDENTIAL CENTER, BOSTON. MASSACHUSETTS 617/236-2000~~

Quality thoroughbred horses for race, show, hunt and event. ufufr* We also have that very special show pony. "njjj**"^ 4 566 Stow Road IV Marlboro, Mass. 01752 481-3377 Direct inquires to Karl W. Donaghy

~~30 Remember the elizabethgrady/face first first time you heard Debussy's La Mer?~~

~~It was at that little Cafe in Montmartre.~~

when it comes to the care of your skin trust only Pre-symphony, apres symphony or elizabeth grady/face first whenever you're feeling particularly nostalgic. never a charge for consultation/skin analysis

~~Xfe ELI24BE1H GB4DY ENADE '. FACE FIRST ,' at the Colonnade Hotel 120 Huntington Avenue, Boston. call ms. grady for an appt. 536-4447 parking In-hotel 39 newbury street, boston~~

~~^fitvCeu>4e, mc.~~

~~9?j6u>6uny $fa,~~

~~31 Introducing the Bose 901® For the name of the Bose dealer~~

~~Series III: the most innovative new nearest you, call toll-free (800) speaker since the legendary 447-4700; in Illinois call (800)~~

Bose 901 was introduced in 1968. 322-4400. Or, for a full color 901 III The 901 Series HI reproduces brochure, write Bose, Box BSO, music with spaciousness and The Mountain, Framingham, realism unequalled, we believe, by Massachusetts any other speaker. Yet, due to its 01701. new, ultra-high-efficiency drivers, it can produce the same sound volume with a 15 watt amplifier as the original 901 with a 50 watt amplifier. Outstanding bass performance is made possible by the unique injection molded Acoustic Matrix™ enclosure (shown in this photograph of the 901 III with its grille and walnut veneer cabinet panels removed). To fully appreci- ate its spectacular performance, ask a Bose dealer to play the 901

~~32 Accompanist to Boston Symphony Orchestra Boston Pops • Arthur Fiedler • Seiji Ozawa Andre Michel Schub • Tanglewood virtue that separates the extraordinary from the ordinary.~~

~~BEEFEATER Dedication.~~

~~The kind of dedication that produces the identifiable excellence that makes Beefeater Gin, Beefeater Gin.~~

~~THI OVII1 fylfot in to >" LONDON DISTILLED DRYGIN LONDON £ NCl" ^ B URRQUGH LIMITED 0UAP" 94 PROOF t&JLA-i 4/5~~

~~KOBRAND CORPORATION NEW YORK. NY Stat«« "»*••*??,, (I Sole United Wc »i .^STliLED FROM MMn GRAIN NEUTRAL~~