Boston Symphony Orchestra
SEIJI OZAWA, Music Director
# > BOSTON ^ /symphony \ orchestra, ,J\ SEIjI OZAWA A 104th Season \\ ifA MusuD.ncIo, < Vf ^ip.',, 1984-85 SHARE THE SENSE OF 4&f
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EXCLUSIVELY FINE CHAMPAGNE COGNAC Proot Imported By Remy Martin Amerique, Inc , NY. NY 80 Seiji Ozawa, Music Director One Hundred and Fourth Season, 1984-85
Trustees of the Boston Symphony Orchestra, Inc.
Leo L. Beranek, Chairman Nelson J. Darling, Jr., President
J. P. Barger, Vice-President George H. Kidder, Vice-President
Mrs. George L. Sargent, Vice-President William J. Poorvu, Treasurer
Vernon R. Alden Mrs. Michael H. Davis E. James Morton
David B. Arnold, Jr. Archie C. Epps David G. Mugar
Mrs. John M. Bradley Mrs. John H. Fitzpatrick Thomas D. Perry, Jr. Mrs. Norman L. Cahners Mrs. John L. Grandin Irving W. Rabb
George H.A. Clowes, Jr. Harvey Chet Krentzman Mrs. George R. Rowland
William M. Crozier, Jr. Roderick M. MacDougall Richard A. Smith
Mrs. Lewis S. Dabney John Hoyt Stookey
Trustees Emeriti
Philip K. Allen E. Morton Jennings, Jr. John T. Noonan Allen G. Barry Edward M. Kennedy Mrs. James H. Perkins Richard R Chapman Edward G. Murray Paul C. Reardon Abram T. Collier Albert L. Nickerson Sidney Stoneman Mrs. Harris Fahnestock John L. Thorndike
Administration of the Boston Symphony Orchestra, Inc.
Thomas W. Morris, General Manager
William Bernell, Artistic Administrator Daniel R. Gustin, Assistant Manager Anne H. Parsons, Orchestra Manager Caroline Smedvig, Director of Promotion Josiah Stevenson, Director ofDevelopment Theodore A. Vlahos, Director ofBusiness Affairs
Charles S. Fox, Director ofAnnual Giving Anita R. Kurland, Administrator of Youth Activities Arlene Germain, Financial Analyst Richard Ortner, Administrator of Charles Gilroy, ChiefAccountant Tanglewood Music Center Vera Gold, Assistant Director ofPromotion Robert A. Pihlcrantz, Properties Manager Patricia Halligan, Personnel Administrator Charles Rawson, Manager ofBox Office Nancy A. Kay, Director ofSales Eric Sanders, Director ofCorporate Development John M. Keenum, Director of Joyce M. Serwitz, Assistant Director of Development Foundation Support Diane Greer Smart, Director of Volunteers Nancy Knutsen, Production Manager Nancy E. Tanen, Media/ Special Projects Administrator
Steven Ledbetter Marc Mandel Jean Miller MacKenzie Musicologist & Publications Print Production Program Annotator Coordinator Coordinator
Programs copyright ®1985 Boston Symphony Orchestra, Inc. Cover photo by Walter H. Scott Board of Overseers of the Boston Symphony Orchestra, Inc.
Harvey Chet Krentzman Chairman
Avram J. Goldberg Mrs. August R. Meyer Vice-Chairman Vice-Chairman
Ray Stata Mrs. Gordon F. Kingsley Vice-Chairman Secretary
Mrs. Weston W. Adams Mrs. Ray A. Goldberg Mrs. Hiroshi Nishino Martin Allen Jordan L. Golding Vincent M. O'Reilly
Bruce A. Beal Haskell R. Gordon Stephen Paine, Sr. Mrs. Richard Bennink Mrs. R. Douglas Hall III John A. Perkins
Peter A. Brooke Francis W Hatch, Jr. Mrs. Curtis Prout William M. Bulger Mrs. Richard D. Hill Peter C. Read Mary Louise Cabot Susan M. Hilles Robert E. Remis
James F. Cleary Glen H. Hiner Mrs. Peter van S. Rice
John F. Cogan, Jr. Mrs. Marilyn Brachman Hoffman David Rockefeller, Jr. Julian Cohen Mrs. Bela T. Kalman John Ex Rodgers Mrs. Nat King Cole Mrs. S. Charles Kasdon Mrs. Jerome Rosenfeld
Arthur P. Contas Richard L. Kaye Mrs. William C. Rousseau Mrs. A. Werk Cook John Kittredge Mrs. William H. Ryan Phyllis Curtin Mrs. Carl Koch Gene Shalit A.V. d'Arbeloff Mrs. E. Anthony Kutten Malcolm L. Sherman
D.V. d'Arbeloff John P. LaWare Donald B. Sinclair
Mrs. Michael H. Davis Mrs. James F. Lawrence Ralph Z. Sorenson
Mrs. Otto Eckstein Laurence Lesser Mrs. Arthur I. Strang
William S. Edgerly Mrs. Charles P. Lyman Mrs. Richard H. Thompson
Mrs. Alexander Ellis Mrs. Harry L. Marks William F. Thompson
John A. Fibiger C. Charles Marran Mark Tishler, Jr.
Kenneth G. Fisher J. William Middendorf II Luise Vosgerchian Gerhard M. Freche Paul M. Montrone Mrs. An Wang Peter H.B. Frelinghuysen Hanae Mori Roger D. Wellington
Mrs. Thomas J. Galligan Richard P. Morse John J. Wilson Mrs. Thomas Gardiner Mrs. Robert B. Newman Brunetta Wolfman Mrs. James G. Garivaltis Nicholas T. Zervas
Overseers Emeriti
Mrs. Frank G. Allen Paul Fromm Benjamin H. Lacy
Hazen H. Ayer Mrs. Louis I. Kane Mrs. Stephen V.C. Morris David W. Bernstein Leonard Kaplan David R. Pokross MKJ
Officers of the Boston Symphony Association of Volunteers
Mrs. Michael H. Davis President Mrs. Hart D. Leavitt Mrs. Carl Koch
Executive I ice-President Treasurer Mrs. Barbara W. Steiner Mrs. August R. Meyer Secretary Nominating Chairman
Vice - Presidents
Mrs. Gilman W. Conant, Regions Mrs. Craig W. Fischer, Tanglewood Phyllis Dohanian, Fundraising Projects Mrs. Hiroshi Nishino, Youth Activities
Mrs. R. Douglas Hall III, Mrs. Mark Selkowitz, Tanglewood Development Services Mark Tishler, Public Relations
Chairmen of Regions
Mrs. Roman W. DeSanctis Mrs. Charles Hubbard Mrs. Frank E. Remick
Mrs. Russell J. Goodnow, Jr. Mrs. Herbert S. Judd, Jr. John H. Stookey
Mrs. Baron M. Hartley Mrs. Robert B. Newman Mrs. Arthur I. Strang
Symphony Hall Operations
Cheryl Silvia Tribbett, Function Manager James E. Whitaker, House Manager
Earl G. Buker, ChiefEngineer Cleveland Morrison, Stage Manager Franklin Smith, Supervisor ofHouse Crew
Wilmoth A. Griffiths, Assistant Supervisor ofHouse Crew William D. McDonnell, ChiefSteward WE HELPED ED MILLER GET BY ON $125,000. LAST YEAR.
Most people assume that success automatically brings with it a sub- stantially brighter •• and easier -- financial picture. Yet when they reach a comfortable income level, too many find themselves wondering where it all goes. This is one of the most common reasons people come to The Cambridge Group for financial planning. Because success depends as much on preserving and investing your money as on earning it. At The Cambridge Group, our job is to help you focus on your goals.Then help you achieve them. All of them. We can help with business management Investment objectives. Retirement plans Educational needs. Estate planning. And any other special objectives you might have, business or personal. It's only through careful planning All while keeping your taxes at that someone like Ed Miller can feel their lowest legitimate level. comfortable with his income. Knowing To achieve this, we develop an that his money is working as hard for overall, comprehensive financial plan. him as he worked for his money. Our specialists optimize your posi- If you'd like a closer look at what tion in each area giving you a balanced financial planning can do for you, financial picture. Mot a plan skewed we'd be happy to arrange a private toward the stock market by a broker. consultation at no cost or obligation Or toward life insurance by an agent. to you. Just call Charlie Gerrior at But a truly objective perspective. (617)965-7480.
Cambridge Group YOU SET THE GOALS WE HELP YOCJ REACH THEM Symphony" merchandise. Premiums will be available at Chestnut Hill Mall beginning 15 April
and at Quincy Market the weekend of 20 and 21 April. In addition, more than 60,000 catalogues BSO will be mailed, and they will also be available at Symphony Hall. This year, all premium orders Gearing Up For "A Salute to Symphony" will be filled immediately upon receipt. and "Symphony Sunday" The volunteer effort to plan and produce "A The Boston Symphony Orchestra will celebrate Salute to Symphony" involves more than 400 "A Salute to Symphony" the weekend of 20 and persons, with hundreds more donating merchan- 21 April in a community- wide effort to benefit the dise or their services as premium offerings. This BSO and the Boston Pops. Sponsored by the important project is supported this year by Kik- Boston Symphony Association of Volunteers, this koman, the Weston/ Loblaw Group, and the massive fundraising effort —formerly the Prince Company. "Salute to Symphony" Chair- "Musical Marathon" —will begin with a gala man Thelma Goldberg hopes that "everyone who Kick-Off Party at the Chestnut Hill Mall on loves great music or who is proud of Boston and Sunday, 14 April, and be capped by a live, IVi- what the BSO offers the city will be a part of hour telecast from Symphony Hall featuring the 'Salute to Symphony.' If the commitment to date Boston Symphony under Seiji Ozawa and the is any indication, this year's effort should be a Boston Pops under John Williams on Sunday, 21 tremendous success. We are extremely grateful April on WCVB-TV-Channel 5. That day will be to all who are making it possible." declared "Symphony Sunday" by Massachusetts
Governor Michael S. Dukakis, and radio station
WCRB-FM-102.5 will devote its programming to "Symphony Sunday" from 9 a.m. to midnight. Boston Symphony Chamber Players "A Salute to Symphony 1985" brings a new at Jordan Hall name and a new look to one of the BSO's most The Boston Symphony Chamber Players will give its largest important volunteer programs and the final concert of their 1984-85 Jordan Hall public fundraiser. The "Musical Marathon" was series on Sunday afternoon, 31 March at 3 p.m. event for the past fourteen an annual years, The program will feature mezzo-soprano Jan raising a total of more than $2 million for the DeGaetani performing Schumann's Liederkreis, the Boston Symphony and Boston Pops. "A Op. 24. The concert will also include Salute to Symphony" brings a broader scope to Schumann's Quintet in E-flat for piano and this project is to and expected reach many more strings, Op. 44; the same composer's Two Melo- people through its expanded activities. Chestnut dramas for voice and piano, with Ms. DeGaetani; Hill Mall has designated the entire month of April and Robin Holloway's Fantasy-Pieces, Op. 16, on "Boston Symphony Orchestra Month" and will Schumann's Liederkreis, for piano and twelve be welcoming shoppers with series a of musical instruments. For ticket information, call the interludes and special displays the about BSO. Jordan Hall box office at 536-2412. Boston's music lovers will be invited to the Kick- Off Party at the Mall, an evening featuring
champagne, hors d'oeuvres, live musical enter- tainment and dancing, and door prizes contrib- BSO Members in Concert uted by mall stores. Music Director Ronald Knudsen conducts the As in the past, an illustrated premium cata- Newton Symphony Orchestra on Sunday, 17 logue containing hundreds of gifts will be the March at 8 p.m. at Aquinas Junior College in focal point of "Salute to Symphony" activities, Newton. On the program are the Bach Branden-
with one-of-a-kind musical offerings from orches- burg Concerto No. 3, the Mendelssohn Violin
tra members; restaurant, theater, and store gift Concerto with soloist Robert Davidovici, and the certificates, and an exclusive line of "Salute to Dvorak Symphony No. 6 in D. Single tickets are
$8; for information or reservations, call on Sunday, 31 March at 3:00 p.m. at Dwight 965-2555. Hall, Framingham State College. BSO members
BSO assistant principal flutist Leone Buyse Harvey Seigel and Martha Babcock are the will appear in recital at Boston University School soloists in the Brahms. For ticket information, for the Arts, 855 Commonwealth Avenue, on call 924-4939. Sunday, 17 March at 8 p.m. The program Guest artists David Hoose, conductor, and the includes music of Marin Marais, Robert Underground Railway Theatre Company join the Schumann, Verne Reynolds, Jean Cartan, Ernst contemporary music ensemble Collage on Mon- von Dohnanyi and Friedrich Kuhlau. Admission day, 1 April at 8 p.m. at Sanders Theater in is free. Cambridge for music of Andrew Imbrie and Fred
BSO principal flutist Doriot Anthony Dwyer Lerdahl, and Igor Stravinsky's UHistoire du will be guest soloist with the Concert Arts soldat. For complete program and ticket infor-
Orchestra of Boston on Wednesday, 27 March at mation, call 437-0231. 8:00 p.m. at Sanders Theater in Cambridge. Ms.
Dwyer will perform J.S. Bach's Orchestral Suite No. 2 for flute and strings and the world pre- With Thanks miere of Wylie's Flights ofFancy. Also on the program is music of Vivaldi and Dvorak. For We wish to give special thanks to the National further information, call 665-1060. Endownment for the Arts and the Massachusetts Ronald Feldman leads the Mystic Valley Council on the Arts and Humanities for their Orchestra in Stravinsky's Symphony in C and continued support of the Boston Symphony the Brahms Double Concerto for violin and cello Orchestra.
Jhe tohn0liver Chorale V->4 and Orchestra
presents
J.S. BACH Mass in B Minor, BWV 232 Saturday, March 30 at 8 p.m. Jordan Hall at New England Conservatory
soloists—Martha Elliott, Gloria Raymond, David Norris, Mark Fularz, James Kleyla.
For phone orders and information, call: (617) 353-0556 MasterCard and VISA. Bostix
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The 1984-85 season is Seiji Ozawa's twelfth 1961 Japan tour, and he was made an assistant ( as music director of the Boston Symphony conductor of that orchestra for the 1961-62
Orchestra. In the fall of 1973 he became the season. His first professional concert orchestra's thirteenth music director since it appearance in North America came in was founded in 1881. January 1962 with the San Francisco
Born in 1935 in Shenyang, China, to Symphony Orchestra. He was music director Mr. Japanese parents, Mr. Ozawa studied both of the Ravinia Festival for five summers begin areer Western and Oriental music as a child and ning in 1964, and music director for four later graduated from Tokyo's Toho School of seasons of the Toronto Symphony Orchestra, 'rend Music with first prizes in composition and con- post he relinquished at the end of the ducting. In the fall of 1959 he won first prize 1968-69 season. at the International Competition of Orchestra Seiji Ozawa first conducted the Boston Sym Conductors, Besancon, France. Charles phony in Symphony Hall in January 1968; he )pera director of the Munch, then music Boston had previously appeared with the orchestra fo ind to. Symphony and a judge at the competition, four summers at Tanglewood, where he world invited him to Tanglewood, where in 1960 he f became an artistic director in 1970. In h won the Koussevitzky Prize for outstanding December 1970 he began his inaugural seasoi ^ student conductor, the highest honor awarded as conductor and music director of the San by the Berkshire Music Center (now the Francisco Symphony Orchestra. The music Tanglewood Music Center). directorship of the Boston Symphony followed While working with Herbert von Karajan in in 1973, and Mr. Ozawa resigned his San West Berlin, Mr. Ozawa came to the attention Francisco position in the spring of 1976, serv of Leonard Bernstein, whom he accompanied ing as music advisor there for the 1976-77 on the New York Philharmonic's spring season.
8 As music director of the Boston Symphony the Grand Prix de la Critique 1984 in the Orchestra, Mr. Ozawa has strengthened the category of French world premieres. orchestra's reputation internationally as well Mr. Ozawa has won an Emmy for the as at home, beginning with concerts on the Boston Symphony Orchestra's "Evening at BSO's 1976 European tour and, in March Symphony" television series. His award- 1978, on a nine-city tour of Japan. At the winning recordings include Berlioz's Romeo et invitation of the Chinese government, Mr. Juliette, Schoenberg's Gurrelieder, and the Ozawa then spent a week working with the Berg and Stravinsky violin concertos with Peking Central Philharmonic Orchestra; a Itzhak Perlman. Other recordings with the year later, in March 1979, he returned to orchestra include, for Philips, Richard China with the entire Boston Symphony for Strauss's Also sprach Zarathustra and Ein a significant musical and cultural exchange Heldenleben, Stravinsky's Le Sacre du entailing coaching, study, and discussion ses- printemps, Hoist's The Planets, and Mahler's sions with Chinese musicians, as well as con- Symphony No. 8, the Symphony ofa Thou- cert performances. Also in 1979, Mr. Ozawa sand. For CBS, he has recorded music of led the orchestra on its first tour devoted Ravel, Berlioz, and Debussy with mezzo- exclusively to appearances at the major music soprano Frederica von Stade and the Men- festivals of Europe. Seiji Ozawa and the Boston delssohn Violin Concerto with Isaac Stern; in Symphony celebrated the orchestra's one- addition, he has recorded the Schoenberg/ hundredth birthday with a fourteen-city Amer- Monn Cello Concerto and Strauss's Don Qui- ican tour in March 1981 and an international xote with cellist Yo-Yo Ma for future release. tour to Japan, France, Germany, Austria, and For Telarc, he has recorded the complete England in October/ November that same cycle of Beethoven piano concertos and the year. Most recently, in August/September Choral Fantasy with Rudolf Serkin. Mr. Ozawa 1984, Mr. Ozawa led the orchestra in a two- and the orchestra have recorded five of the and-one-half-week, eleven-concert tour which works commissioned by the BSO for its cen- included appearances at the music festivals of tennial: Roger Sessions's Pulitzer Prize- Edinburgh, London, Salzburg, Lucerne, and winning Concerto for Orchestra and Andrzej Berlin, as well as performances in Munich, Panufnik's Sinfonia Votiva are available on Hamburg, and Amsterdam. Hyperion; Peter Lieberson's Piano Concerto
Mr. Ozawa pursues an active international with soloist Peter Serkin, John Harbison's
career. He appears regularly with the Berlin Symphony No. 1, and Oily Wilson's Sinfonia Philharmonic, the Orchestre de Paris, the have been taped for New World records. For I! I French National Radio Orchestra, the Vienna Angel/EMI, he and the orchestra have Philharmonic, the Philharmonia of London, recorded Stravinsky's Firebird and, with so-
and the New Japan Philharmonic. His operatic loist Itzhak Perlman, the violin concertos of credits include Salzburg, London's Royal Earl Kim and Robert Starer. Mr. Ozawa holds
Opera at Covent Garden, La Scala in Milan, honorary Doctor of Music degrees from the and the Paris Opera, where he conducted the University of Massachusetts, the New England world premiere of Olivier Messiaen's opera Conservatory of Music, and Wheaton College St. Francis ofAssist in November 1983. in Norton, Massachusetts. Messiaen's opera was subsequently awarded
,se POSTER AVAILABLE AT THE KENNEDY STUDIOS THE HARVARD COOP. THE ARTIST WORKS (B.U. BOOK STORE) AND PARTICIPATING BALDWIN DEALERS BALDWIN IS THE OFFICIAL PIANO OF THE BOSTON SYMPHONY ANDTANGLEWOOD PHOTOGRAPHER WILLIAM TAYLOR Violas Thomas Martin Burton Fine Peter Hadcock Charles S. Dana chair E-flat Clarinet Patricia McCarty Anne Stoneman chair Bass Clarinet Ronald Wilkison Craig Nordstrom Robert Barnes Bassoons Jerome Lipson Sherman Walt Bernard Kadinoff Edward A. Taft chair Joseph Pietropaolo Roland Small Music Directorship endowed by Michael Zaretsky Matthew Ruggiero John Moors Cabot Marc Jeanneret Betty Benthin Contrabassoon BOSTON SYMPHONY * Mark Ludwig Richard Plaster ORCHESTRA Cellos Horns Charles Kavalovski 1984/85 Jules Eskin Helen SagoffSlosberg chair Philip R. First Violins Allen chair Martha Babcock Richard Sebring Malcolm Lowe Vernon and Marion Alden chair Daniel Katzen Concertmaster Charles Munch chair Mischa Nieland Jay Wadenpfuhl Esther S. and Emanuel Borok Joseph M. Shapiro chair Richard Mackey Assistant Concertmaster Jerome Patterson Jonathan Menkis Helen Horner Mclntyre chair * Robert Ripley Max Hobart Luis Leguia Trumpets Robert L. Heal, and Carol Procter Charles Schlueter Enid and Bruce A. Beal chair Roger Louis Voisin chair Ronald Feldman Cecylia Arzewski Andre Come * Joel Moerschel Edward and Bertha C Rose chair Ford H. Cooper chair Sandra and David Bakalar chair Bo Youp Hwang Charles Daval * Jonathan Miller John and Dorothy Wilson chair Peter Chapman * Max W inder Sato Knudsen Harry Dickson Trombones Forrest Foster Collier chair Basses Ronald Barron Gottfried Wilfinger Edwin Barker J. P. and Mary B. Barger chair Fredy Ostrovsky Harold D. Hodgkinson chair Norman Bolter Leo Panasevich Lawrence Wolfe Maria Stata chair Tuba Carolyn and George Rowland chair Chester Schmitz Sheldon Rotenberg Joseph Hearne Margaret and William Muriel C Kasdon and Bela Wurtzler C. Rousseau chair Marjorie C Paley chair Leslie Martin Alfred Schneider John Salkowski Timpani Raymond Sird John Barwicki Everett Firth Sylvia Shippen Ikuko Mizuno * Robert Olson Wells chair Amnon Levy * James Orleans Percussion Second Violins Charles Smith Flutes Marylou Speaker Churchill Peter and Anne Brooke chair Doriot Anthony Dwyer Fahnestock chair Arthur Press Walter Piston chair Vyacheslav Uritsky Assistant Timpanist Fenwick Smith Charlotte and Irving W Rabb chair Thomas Gauger Myra and Robert Kraft chair Ronald Knudsen Frank Epstein Leone Buyse Joseph McGauley Harp Leonard Moss Piccolo Ann Hobson Pilot Laszlo Nagy Lois Schaefer If illona Henderson Sinclair chair * Michael Vitale Evelyn and C. Charles Marran chair * Harvey Seigel * Jerome Rosen Oboes Personnel Managers Ralph William Moyer * Sheila Fiekowsky Gomberg Mildred B. Remis chair Harry Shapiro * Gerald Elias Wayne Rapier * Ronan Lefkowitz Alfred Genovese Librarians * Nancy Bracken Marshall Burlingame * Joel Smirnoff English Horn William Shisler * Jennie Shames Laurence Thorstenberg James Harper * Nisanne Lowe Phyllis Knight Beranek chair * Aza Raykhtsaum Stage Manager Clarinets * Nancy Mathis DiNovo Position endowed by Harold Wright Angelica Lloyd Clagett * Participating in a system ofrotated Ann S.M. Banks chair Alfred Robison seating within each string section. How to conduct yourself on Friday night. Aficionados of classical music can enjoy the Boston Symphony Orchestra every Friday night at 9 o'clock on WCRB 102. 5 FM. Sponsored in part by Honeywell. Honeywell 12 Do you know where you're going? Are you already there? Boston Safe Deposit and Trust Company Member FDIC "If you really loved me, I you'd know exactly what I want You can spend 40 years with someone and never really know her. Finding someone special something equally as special can be extremely frustrating. Especially when it comes to fine jewelry. Which is why you should come to Harper & Faye. We're personal jewelers. Meaning we don't just sell jewelry. Rather, we help you buy it. By taking the time to find out about the person you want to please. What she's like. What she does. And what she likes. So we can recommend the piece (or pieces) that will be right for her. To arrange a time Gold is precious. But Designer Michael or for our color bro- Harper Good*sl4Kandl8K gold earrings are chure, call 523-4555. priceless. $300 and respectively. &Faye JEWELERS 60 Federal Street Boston, MA 02110 • V ^H hi mSk A Brief History of the Boston Symphony Orchestra For many years, philanthropist, Civil War fulfilling Major Higginson's wish to give veteran, and amateur musician Henry Lee "concerts of a lighter kind of music." These Higginson dreamed of founding a great and concerts, soon to be given in the springtime permanent orchestra in his home town of and renamed first "Popular" and then Boston. His vision approached reality in the "Pops," fast became a tradition. spring of 1881, and on 22 October that year the Boston Symphony Orchestra's inaugural During the orchestra's first decades, there concert took place under the direction of con- were striking moves toward expansion. In ductor Georg Henschel. For nearly twenty 1915, the orchestra made its first transconti- years, symphony concerts were held in the old nental trip, playing thirteen concerts at the Boston Music Hall; Symphony Hall, the Panama- Pacific Exposition in San Francisco. orchestra's present home, and one of the Recording, begun with RCA in the pioneering world's most highly regarded concert halls, days of 1917, continued with increasing fre- was opened in 1900. Henschel was succeeded quency, as did radio broadcasts of concerts. by a series of German-born and -trained con- The character of the Boston Symphony was ductors —Wilhelm Gericke, Arthur Nikisch, greatly changed in 1918, when Henri Rabaud Emil Paur, and Max Fiedler—culminating in was engaged as conductor; he was succeeded the appointment of the legendary Karl Muck, the following season by Pierre Monteux. These who served two tenures as music director, appointments marked the beginning of a 1906-08 and 1912-18. Meanwhile, in July French-oriented tradition which would be 1885, the musicians of the Boston Symphony maintained, even during the Russian-born had given their first "Promenade" concert, Serge Koussevitzky's time, with the employ- offering both music and refreshments, and ment of many French-trained musicians. The first photograph, actually a collage, ofthe Boston Symphony Orchestra under Georg Henschel, taken 1882 13 The Koussevitzky era began in 1924. His extraordinary musicianship and electric per- sonality proved so enduring that he served an unprecedented term of twenty-five years. In 1936, Koussevitzky led the orchestra's first concerts in the Berkshires, and a year later he and the players took up annual summer resi- dence at Tanglewood. Koussevitzky passion- ately shared Major Higginson's dream of "a good honest school for musicians," and in 1940 that dream was realized with the found- ing at Tanglewood of the Berkshire Music Center, a unique summer music academy for young artists. To broaden public awareness of the Music Center's activities at Tanglewood, Henry Lee Higginson the Berkshire Music Center will be known as the Tanglewood Music Center beginning with the 1985 session. Expansion continued in other areas as well. In 1929 the free Esplanade concerts on the Charles River in Boston were inaugurated by Arthur Fiedler, who had been a member of the orchestra since 1915 and who in 1930 became the eighteenth conductor of the Boston Pops, a post he would hold for half a century, to be succeeded by John Williams in 1980. The Boston Pops will celebrate its hundredth birth- day in 1985 under Mr. Williams's baton. Charles Munch followed Koussevitzky as music director in 1949. Munch continued Koussevitzky's practice of supporting contem- Georg Henschel porary composers and introduced much music Karl Muck Pierre Monteux Serge Koussevitzky 14 91 S3OKBfNJt* from the French repertory to this country. gram of centennial commissions—from During his tenure, the orchestra toured abroad Sandor Balassa, Leonard Bernstein, John for the first time, and its continuing series of Corigliano, Peter Maxwell Davies, John .*£ Youth Concerts was initiated. Erich Leinsdorf Harbison, Leon Kirchner, Peter Lieberson, began his seven-year term as music director in Donald Martino, Andrzej Panufnik, Roger 1962. Leinsdorf presented numerous pre- Sessions, Sir Michael Tippett, and Oily mieres, restored many forgotten and neglected Wilson—on the occasion of the orchestra's works to the repertory, and, like his two prede- hundredth birthday has reaffirmed the orches- cessors, made many recordings for RCA; in tra's commitment to new music. Under his addition, many concerts were televised under direction, the orchestra has also expanded its his direction. Leinsdorf was also an energetic recording activities to include releases on the director of the Berkshire Music Center, and Philips, Telarc, CBS, Angel/EMI, Hyperion, under his leadership a full-tuition fellowship and New World labels. program was established. Also during these From its earliest days, the Boston Sym- years, the Boston Symphony Chamber Players phony Orchestra has stood for imagination, were founded, in 1964; they are the world's enterprise, and the highest attainable stan- only permanent chamber ensemble made up of dards. Today, the Boston Symphony Orches- a major symphony orchestra's principal play- tra, Inc., presents more than 250 concerts ers. William Steinberg succeeded Leinsdorf in annually. Attended by a live audience of nearly 1969. He conducted several American and 1.5 million, the orchestra's performances are world premieres, made recordings for heard by a vast national and international Deutsche Grammophon and RCA, appeared audience through the media of radio, tele- regularly on television, led the 1971 European vision, and recordings. Its annual budget has tour, and directed concerts on the east coast, grown from Higginson's projected $115,000 in the south, and in the mid-west. to more than $20 million. Its preeminent posi- Seiji Ozawa, an artistic director of the tion in the world of music is due not only to the Berkshire Festival since 1970, became the support of its audiences but also to grants from orchestra's thirteenth music director in the fall the federal and state governments, and to the of 1973, following a year as music advisor. generosity of many foundations, businesses, Now in his twelfth year as music director, Mr. and individuals. It is an ensemble that has Ozawa has continued to solidify the orchestra's richly fulfilled Higginson's vision of a great reputation at home and abroad, and his pro- and permanent orchestra in Boston. Charles Munch Erich Leinsdorf William Steinberg 15 per•form* ance (par-fof-mans) n. IThe act or style of performing a work or role before an audience. 2. What you can expect from Mutual Bank, whether you're looking for outstanding customer service, con- venient downtown locations or innovative banking and investment services. Mutual Bank What other big bank treats you like apartner? 45 Franklin Street, Boston, MA 02110, 482-7530 Member FDIC 16 BOSTON SYMPHONY ORCHESTRA *Tffl Seiji Ozawa, Music Director One Hundred and Fourth Season, 1984-85 Thursday, 14 March at 8 Friday, 15 March at 2 Saturday, 16 March at 8 MAURIZIO POLLINI, conductor and pianist ALL-MOZART PROGRAM Piano Concerto No. 12 in A, K.414(385p) Allegro Andante Allegretto Mr. POLLINI Symphony No. 34 in C, K.3£#" Allegro vivace Andante di molto Menuett; Trio (K.409[383f]) Allegro vivace INTERMISSION Piano Concerto No. 17 in G, K.453 Allegro Andante Allegretto— Presto Mr. POLLINI Thursday's and Saturday's concerts will end about 10 and Friday's about 4. Philips, Telarc, CBS, Deutsche Grammophon, Angel/EMI, New World, Hyperion, and RCA records Baldwin piano Maurizio Pollini plays the Steinway piano. ShHsk Please be sure the electronic signal on your watch or pager is switched off during the concert. The program books for the Friday series are given in loving memory of Mrs. Hugh Bancroft by her daughters Mrs. A. Werk Cook and the late Mrs. William C. Cox. mm 17 Week 17 LOCATION The Fairways at Chestnut Hill gives you downtown Boston from the perfect vantage point: within sight and within a 15-minute drive. You'll also have a bricked terrace and a balcony overlooking a golf course, where you can relax and look back on the day's accomplishments. Sitting pretty is just one of the advantages of owning a home at The Fairways. We invite you to come view all the others. Two-bedroom townhouses with study from $285,000. Furnished models open 12-5 seven days a week, or by appointment From Centre Street in Newton go east on Commonwealth Avenue, left on Hammond Street which becomes Woodchester Drive which, in turn, becomes Algonquin Road The Fairways AT CHESTNUT HILL 85 Algonquin Road Newton (617)965-8988 Marketed by: The Condominium Collaborative, Inc. 18 Wnj *'''' MrHoi Wolfgang Amade Mozart Piano Concerto No. 12 in A, K.414(385p) Symphony No. 34 in C, K.^Sfr 3* g Piano Concerto No. 17 in G, K.453 Johannes Chrysostomus Wolfgang Gottlieb Mozart, who began to call him- self Wolfgango Amadeo about 1770 and Wolfgang Amade in 1777, was born in Salzburg, Austria, on 27 January 1756 and died in Vienna on 5 December 1791. Mozart composed the A major piano concerto, K.414, late in 1782; the date of its first performance (most like- ly with the composer as soloist) is not known. The first American performance took place at the Academy ofMusic in New York on 4 May 1872; Carl Bergmann conducted the Philharmonic Society and Richard Hoffman was sol- oist. The Harvard Musical Association introduced the concerto to Boston under Carl Zerrahns direction on 19 December 1878, with H.G. Tucker as the pianist, but the Boston Symphony Orchestra did not perform the concerto until Pierre Monteux conducted it in Worcester in April 1953, with Lili Krauss as soloist. Erich Leinsdorf conducted it at Tanglewood in 1965 with Malcolm Frager at the piano, and Colin Davis led the first Symphony Hall subscription performance in 1976, with soloist Peter Frankl. The most recent BSO performances have been led by Sir Colin Davis in Boston in April 1981 with Radu Lupu and by Seiji Ozawa at Tanglewood in August 1982 with Ken Noda. In addition to the solo piano, the score calls for two oboes, two horns, and strings. One of Mozart's urgent concerns upon settling permanently in Vienna and entering into the state of matrimony, which meant that there would soon be children to provide for, was to establish himself financially. And one of the best ways to do this was write and play piano concertos, which would serve the double function of promoting him as composer and performer. Thus began the series of the great Mozart concertos, starting with three rather modest works composed late in 1782 and early the following year, identified as Nos. 413, 414, and 415 in the Kochel catalogue. Actually it is now known that K.414 was the first of the three to be composed, and the latest edition of Kochel provides new numberings to reflect that fact. (For convenience sake, and because we are familiar with the older numbering system, we still refer to the A major concerto by the older number, reserving its designation in the revised system—K.385p—only for purposes of chro- nological accuracy.) It was probably finished before the end of 1782, since on 28 Decem- ber Mozart wrote to his father that he still had two more concertos to write (he was planning to sell the group of three as manuscript copies on subscription). No doubt he was already quite far along in planning the two later concertos, because he was able to describe all three of them to his father in these enthusiastic terms: These concertos are a happy medium between what is too easy and too difficult; they are very brilliant, pleasing to the ear, and natural, without being vapid. There are 19 Week 17 Established 1885 >&£ THE 100th ANNIVERSARY OF OUR AUCTION GALLERIES rare postage stamps manuscripts autographs and archives 40 BROAD STREET BOSTON, MASSACHUSETTS 02109 617-523-3676 617-742-0883 617-542-445O Stanley Richmond, Proprietor J. 20 passages here and there from which connoisseurs alone can derive satisfaction; but these passages are written in such a way that the less learned cannot fail to be pleased, though without knowing why. Mozart shows in this letter that one of his primary concerns was to please the general public, not just the "highbrows," a concern that he had already revealed in the Rondo for piano and orchestra, K.382, composed the preceding March as a decorative and slightly fluffy new finale for the older concerto, K.175. More than simply pleasing the audience in performance, Mozart wanted to sell copies of the music, and the only way he could do that was to make it practical for performance not only by virtuosos appearing in public concert but also by the many ladies of the aristocracy and the middle class who played well but rarely if ever performed outside their private circles. In order to attract this much larger audience of purchasers, Mozart took a leaf from the Opus 3 concertos of Johann Samuel Schroeter, which he had come to know several years earlier (on at least one occasion, he had recommended Schroeter's works highly, and he wrote cadenzas for several of them, proof enough that he either played them himself or assigned them to his students). Schroeter's trick was to write the orchestra part in such a way that the strings carry all of the essential material, with the winds supplying only color and reinforcement. That way, a concerto could be played successfully at home by a pianist with a string quartet. The effect would not, of course, be the same as a performance with a full orchestra in a public hall, but it would offer great musical satisfaction to the performers themselves, and that was the main point. That this was Mozart's intention with this group of three concertos is demonstrated by his letter to The eleven-year-old Wolfgang Mozart 21 Week 17 . Investments are like trees. Tb stay healthy, they must withstand the winds of change. Having a financial strategy that is not firmly rooted can be rather unnerving. Because if the economic climate changes for the worse, the whole thing can get blown away. That's why we recommend the services of our Financial Consulting Group. They can advise you on all aspects of retire- ment income, tax shelters, investment goal setting, employee stock options, partnerships and closely held corporations, portfolio diag- nostics, and estate planning. And they have expertise in giving you tax shelter assistance that isn't linked to a com- missioned sale, and helping you plan a sound strategy for your future So, call our Financial Consulting Group at 1-800-SHAWMUT You'll feel better about your future when you work with bankers who can see the trees for the forest. Shawmut Financial Management W Division Lookto us for direction. 22 KJEwflM the Parisian publisher Sieber on 26 April 1783: "Well, this letter is to inform you that I have three piano concertos ready, which can be performed with full orchestra, or with oboes and horns, or merely a quattro [i.e., with a string quartet]." This description can, however, only apply to the first two of the three concertos, K.414 and 413; the C major concerto K.415 requires larger orchestral forces for performance, and it was, in fact, K.415 that Mozart performed on 23 March and again in early April 1783. There is no evidence that he ever played K.414 in public, except for the fact that he wrote two complete sets of cadenzas for the work, although that might only mean that one of his students played the piece. The earlier group of cadenzas may have been written at about the time of the original composition; the later set apparently dates from the winter of 1785-86 (they survive on a sheet containing sketches for Mozart's later A major concerto, K.488, which was being composed at that time). It is possible that Mozart planned to include K.414 in one of the three concerts he intended to give in December 1785 and that the later set of cadenzas was written at that time. Throughout the A major concerto, the keyboard seems to dominate more than it does in those concertos with larger orchestral complements, as if to compensate in some way Perfect Trio: Rizzoli, CBS Masterworks and the BSO Rizzoli Bookstore, now open on the first level at Copley Place, is pleased to make a special offer to Boston Symphony Orchestra concert-goers. Present your BSO or Boston Pops ticket stub at Rizzoli and you will receive $1 off the price of any CBS record, cassette or compact disc. Offer good through August 31, 1985. CBS.' "Masterworks" are trademarks of CBS Inc. 23 Hear the earth singing* Thursday, March 21, the world will celebrate the On300th birthday of Johann Sebastian Bach. The cele- bration, like the music itself, will take endless, joyful musical forms. All around ° rf\i the world, the air will swell with the tran- scendent power of his great choral works. His church canta- tas will rise from a million WM steeples. His fugues will float from the doorways of concert halls and private rooms. It will be as though, on this one extraordinary day, the earth itself were singing. It will be an extraordinary day on WGBH 89.7 FM, too. Morning pro musica will broad- cast live from Yale University a performance of newly discovered Bach chorale preludes. Later in the day, we'll take you to Leipzig for a live performance of the "St. Matthew Passion! Chamberworks will present a live studio performance of rarely heard arias and concertos. And in the evening, we'll go live to Harvard's Busch-Reisinger Museum where organist James Johnson and the Harvard University Choir will perform excerpts from Bach's wonderful "Clavieruebung, 3'.' '? -• pan And throughout the day, we'll feature recent ,u/ ^ performances of Bach's works by some of the world's most outstanding musicians. Join us for this midnight to midnight Bach birthday celebration. Hear the earth singing. ABach Birthday Festival Midnight to midnight Thursday, March 21 On WGBH 89-7 FM 24 w for the diminutive ensemble. This appears not only in the normal "composed" part of the concerto, but also in the "improvised" cadenza-like passages, of which there are a considerable number—one full cadenza in each of the three movements, as well as an additional Eingang (or "lead-in" to the return) in the middle of the second movement and two in the final movement. And, aside from having less of an orchestral battery to contend with, the piano dominates as always in Mozart's concertos by controlling the musical discourse and introducing new musical ideas of its own. The first-movement "develop- ment" section scarcely develops anything that has been heard in the exposition, but rather provides a comfortable modulatory activity leading back to the home key for the restatement, never suggesting any hint of severely intellectual thematic working-out. The slow movement opens with a quotation from a J.C. Bach symphony. Since the "London Bach," whom Mozart had met and admired as a child on his first London visit, had died on New Year's Day of 1782, Stanley Sadie suggests that the quotation makes the Andante an elegy composed in response to that event. The concluding rondo is a sprightly Allegretto, possibly Mozart's second solution to the choice of a finale, since in October 1782 he had already composed a rondo in A that may have been intended for this position. But that early rondo kept its independence as a concert piece (K.386), and the Allegretto that now stands as the concluding member of the concerto is, in any case, both livelier and more fitting as a conclusion to this graceful and witty work. 't?V Thomas Gainsborough 's portrait ofJ.C. Bach, whom Mozart quotes in the Andante of the A major 1 concerto, K.414 j HH 25 Week 17 Mozart completed the C major symphony, K.338, in Salzburg on 29 August 1780. The date of the first performance is unknown. The symphony was first heard in the United States in a concert given in New York's Central Park by the Theodore Thomas Orchestra on 26 August 1875 in the series entitled "Thomas Summer Night Concerts." Thomas and the orchestra also gave the Boston premiere in the old Boston Music Hall on 17 November 1875. Wilhelm Gericke introduced the symphony to the BSO repertory on 31 March and 1 April 1899. It has also been conducted here by Pierre Monteux, Sir Thomas Beecham, Serge Koussevitzky, Arthur Fiedler, Richard Burgin, G. Wallace Woodworth, Sir Adrian Boult, Jorge Mester, Michael Tilson Thomas, and Riccardo Muti. Colin Davis led the most recent Symphony Hall performances in December 1978; Christoph Eschenbach conducted the most recent Tanglewood per- formance in July 1979. The score calls for oboes, bassoons, horns, and trumpets in pairs, timpani, and strings. This is the last symphony that Mozart wrote in his home town of Salzburg, where he was finding his employment by the antipathetic and brutish Archbishop Colloredo to be more than he could take. Indeed, before long he would leave Salzburg permanently for life in Vienna and for the opportunity to make his mark on a larger stage than Salzburg had to offer. By the beginning of 1781 he had completed and produced in Munich the first of his great operatic scores (Idomeneo, which is finally beginning to take its rightful place in the pantheon of Mozart operas), and he actively looked away from Salzburg for new positions and opportunities to compose. We do not know when the symphony was first performed; presumably it was intended for the archiepiscopal court in Salzburg. Certainly it is festive in its overall character, especially with the trumpets-and-drums C major fanfares of the outer movements. At the same time, though, there is a new expressiveness to Mozart's music here, the discovery of C minor even in the midst of the most assertive C major fanfares. Scarcely has the opening movement begun than an A-natural turns unexpectedly into an A-flat, and our major key has become minor. This same expressive turn lies at the core of Schubert's music four decades later; Mozart shows already the essence of its possibilities and in so doing greatly widens the expressive range of the symphony. The phrases seem to grow in larger steps, and their consequences are cast still farther afield. The secondary theme in M 808 MARK WHITE ASSOCIATES COMMERCIAL INTERIOR DESIGNERS PROVIDING PRACTICAL SOLUTIONS TO YOUR NEED FOR QUALITY INTERIOR SPACE. A Boston Tradition NASHUA. N H 603-883-7407 41 UNION STREET 227-2750 26 ^m v . •' WSSi the dominant key of G takes on a gentle poignancy with its passing chromatic notes. The -1 development is an extended harmonic discussion of the implications of the minor key, thus making the recapitulation sound especially brilliant in its C major return—and perhaps with an ironic twist. With divided violas, and bassoons as the only woodwinds employed, the slow movement is unusually dark in color. The texture is almost that of chamber music — and, in fact, Mozart himself made the genre of the string quintet (with two viola parts) uniquely his own only a few years later. Here, too, he borrows from the minor key to enlarge the range of expression— briefly, but with double effectiveness for its effect of understating the mood. Mozart originally composed a minuet for this symphony, but later tore the music right out of the score (leaving only the first measures, which were on the back of the page that contained the end of the slow movement). It was common enough to omit the minuet in symphonies designed to suit French taste, but for Vienna it would be more normal to have the usual complement of four movements. Alfred Einstein once proposed that a minuet movement in C major (K.409[383f]) composed in Vienna in 1782 was intended by Mozart for performances of this symphony in that city, and the symphony is often performed with K.409 inserted as a third movement (as at these concerts). But it should be noted that the "added" minuet requires two flutes not otherwise called for in the three- movement version. The woodwinds and trumpets return for the finale, which begins with a carefree C major tarantella of rushing scales and high exuberance. The exposition is entirely light and lively, making the development section's turn toward the minor so much the more significant. The recapitulation routs the darkness, at least for the moment; thereafter only the merest passing shadow is cast upon the brilliant conclusion. • If) . >. A lithograph of the Mozart monument in Salzburg 27 Week 17 1 Elegant suppers 5:30-12:00, Mon.-Thurs.; 5:30-8:00, Fri. and Sat. Bostons classic 4-star restaurant at the Dave McKenna, resident pianist . At the Copley Plaza Hotel. Valet parking. 267-5300. Copley Plaza Hotel. Valet parking. 267-5300. "Lighthouse" by Charles Gruppe from Our Gallery of Fine Art. Also featuring Superior Selections in Fine Jewelry, Handwrought Silver & Pewter, Antiques, Porcelains & Other Accents. In the Heart of NewburyporVs Historic Restoration. Wi %ffik OLD NEWBURY 6 Inn St. • Newburyporu MA 01950 • (617)462-9891 28 I Mozart completed the G major concerto, K.453, on 12 April 1784. The first performance took place in the Vienna suburb ofD'obling on 10 June that year; Mozart's pupil Barbara Ployer was the soloist. The concerto evidently received no performances in the United States before the twentieth century It was first heard in a Boston Symphony concert when Pierre Monteux conducted it on tour performances in Philadelphia, Washington, Baltimore, and Brooklyn (but not in Boston!) in March 1921; Ern'6 Dohnanyi was soloist. Leonard Bernstein conducted and played the piano solo in a Tanglewood performance in July 1955. The first Symphony Hall perform- ances were led by Charles Munch, with pianist Nicole Henriot-Schweitzer, in April 1959; they repeated the work at Tanglewood that summer. Since then the concerto has also been given by Erich Leinsdorf with Geza Anda and Claude Frank, by Bernstein again assuming his double role, and—most recently, at Tanglewood in July 1978— by Seiji Ozawa with Vladimir Ashkenazy In addition to the solo piano, the score calls for flute, two oboes, two bassoons, two horns, and strings. This concerto is the fourth in that incredible series of piano concertos —numbering a dozen—that Mozart composed between the beginning of 1784 and the end of 1786, half of them in the year 1784 alone! While his earlier concertos were often half-designed as chamber music (in that they could be performed quite satisfactorily by a piano with a string quartet), these are, for the most part, clearly intended for the concert hall and so require the fuller and more varied orchestra to make its points. Mozart composed four piano concertos, one right after the other, in the late winter of 1782 (we know the dates with considerable accuracy since it was just at this time that the composer began keeping a list of all of his new compositions, dating them as he finished them, and writing out the first few measures of music to identify each work precisely). February 9 saw the A new tradition in Cambridge salutes the fine tradition of the Boston Symphony Orchestra. THE RESIDENCES AT CHARLES SQUARE Harvard Square, Cambridge 86 riverview condominium residences Scheduled for occupancy late 1984 617-491-6790 29 \jins i/~^£i±Uin <^f\ug± of dvzujton A Distinctive Selection of Oriental Rugs and Wall Hangings 1643 Beacon Street, Waban Square Hours: Tues-Sat 11-5, Thurs Evenings til 8 Phone (617) 964-2686 "Ok cMoiz <2/ou D Weknowa good investment whenwehear one. Let's all support the BSO. Tucker, Anthony & R.L. Day, Inc. Serving investors in 33 offices in the U.S. Since 1892. One Beacon Street, Boston (617) 725-2000. Tucker Anthony A John Hancock Company 30 completion of the E-flat concerto, K.449. It was quickly followed by concertos in B-flat (K.450) and in D (K.451) before he turned to the present work, completed on 12 April! After this remarkable outburst, Mozart paused briefly before composing two more piano concertos in the fall of the same year. The first and last concertos of this series were composed for Barbara (Babette) Ployer, daughter of a Privy Councillor from Salzburg living in Vienna. Mozart was proud of his new works, of their difficulty and their brilliance. He noted in a letter to his father in May that the concertos in B-flat and D were "bound to make the performer sweat," and he was curious to learn which of the last three his father and sister preferred (he exempted the E-flat concerto since it was still in the smaller "chamber-like" mode of his 1782 works in the same medium). In general, audiences have made the G major concerto among the most popular of the 1784 works, though each of them has its own delightful originality. Not least of the special features of K. 45 3 is the way Mozart uses the hackneyed conventional march rhythm * t U T t I without ever sounding heavily martial or trite; in fact, he used this rhythm in the first measure of four consecutive piano concertos—to a different expressive effect each time! In K. 45 3, the march rhythm is tempered by the rustling responses from the flutes and oboes and by the harmonic enrichment beyond that expected in fanfares. It is, in fact, only the first of a rich collection of themes—martial, poignant, mysterious, operatic, and witty—which Mozart lavishes on the orchestra before the soloist even makes his appearance. One moment everything seems quite normal, and then we are suddenly thrown into unexpectedly distant harmonic regions—which prefigure some unusual harmonic extensions to come in the development. The soloist begins with the march-like ; :_, Wolfgang Mozart's father Leopold 31 Week 17 r3p Jordan Marsh mm A Unit of Allied Stores. HP theme but soon modulates and introduces an entirely new idea that shows him in a si graceful light. The development, with little in the way of thematic treatment, is harmon- ically daring. The exposition is so rich in themes that many of them return for the first time only in the recapitulation. The Andante provides a full opening tutti introducing most of the material before the piano enters. The soloist's florid melodic line reminds us that no instrumental form is closer to opera than the concerto, with the soloist as protagonist. Here the soloist enters with a repetition of the opening phrase, then— after a pause—begins a startling new theme in the unexpected key of G minor. The development is not long, but nonetheless it ranges expressively to far harmonic horizons before returning home in a few strikingly original measures. The last movement is a set of variations on a little folklike tune that prefigures Papageno. It is both brilliant and amusing, and it is capped off by a finale, Presto, that could come out of an opera, with the pianist once again doing duty for the diva. A few weeks after finishing the concerto, Mozart encountered a birdseller who had a starling that sang something quite like the theme of this finale: M©mT: w > f £r r »T T i i \ iliil t jt \ ? r n mil t f j 4h STt He paid 34 kreuzer for the bird, took it home, and copied its song in the notebook of his accounts, where he added the comment, "Das war schon!" ("That was beautiful"). With reference to the concerto of which the starling inadvertently echoed the theme, we can entirely agree. —Steven Ledbetter HICHAR& MDA^A, inc.- JEWELERS We are specialists in custom design and restoration work in platinum and gold* All work is done on the premises* 43 CENTRAL STREET • WELLESLEY, MASSACHUSETTS 237-2730 33 {Karat Mm More . . . Stanley Sadie's fine Mozart article in The New Grove has been published separately by Norton (available in paperback); Sadie is also the author of Mozart (Grossman, also paperback), a convenient brief life-and-works survey with nice pictures. Alfred Einstein's classic Mozart: The Man, the Music is still worth knowing (Oxford paperback). Much of the older literature on Mozart (including Einstein) needs reconsideration in the light of Wolfgang Hildesheimer's Mozart (Farrar Straus Giroux, available also as a Vintage paperback). When first published in German in 1977, it climbed promptly to the top of the best-seller lists! Much of Mozart's character as presented in the play and the film Amadeus is derived from this book, though with some conscious twisting of historical fact for dramatic purpose. Hildesheimer's book is an extended essay built up out of many short sections dealing primarily with Mozart's character, personality, and genius. Though it is sometimes frustrating to read in this format, the cumulative effect of the author's observations and criticism of the old "haloed" Mozart is to provide a stimulating new point of view to readers who have not followed the recent specialist literature on the composer. There are chapters on the Mozart symphonies by Jens Peter Larsen in The Mozart Companion, edited by Donald Mitchell and H.C. Robbins Landon (Norton paperback), and by Hans Keller in Tlie Symphony, edited by Robert Simpson (Pelican paperback). Cuthbert Girdlestone's Mozart and His Piano Concertos (Dover paperback) contains much information rather buried in decoratively elegant descriptions. The Mozart Com- panion also contains two major chapters on the concertos; Friedrich Blume discusses their sources, Robbins Landon their musical origin and development. Philip RadclifFe's Mozart Piano Concertos is a brief contribution to the useful BBC Music Guides series (U. of Washington paperback). Any serious consideration of Mozart's music must include Charles Rosen's splendid study The Classical Style (Viking; also Norton paperback). Compliments of GUILD, MONRAD & OATES Personal Trustees 50 Congress Street Boston, Massachusetts 02109 Telephone: (617) 523-1320 For Those Who Want Specialized Individual Attention and Care in Management of Investments B. Minturn, Henry R. Guild, Jr. Ernest E. Monrad William A. Oates, Jr. Robert Jr. 34 Specialists in authentic early music performance practice have now progressed beyond J.S. Bach to Mozart, and an important new series of records is in process of appearing which will contain all of the Mozart symphonies under the direction of Christopher Hogwood, performed on original instruments by an orchestra the precise size and physical placement of the various orchestras for which Mozart composed them (neither size nor arrangement was standardized in his day, and the music sometimes reflects the character of a given ensemble). Symphony No. 34 is included in Volume 5 of the series. Played by the Academy of Ancient Music (Oiseau-Lyre), earlier volumes have provided a sound and style of Mozart playing different from anything you have ever heard; I personally find the recordings fresh and bracing. For a stylish performance with modern instruments, I would recommend Neville Marriner's reading with the Academy of St. Martin-in-the-Fields (Argo). For a performance of the A major concerto, K.414, on original instruments, try Malcolm Bilson's reading with the English Baroque Soloists under the direction of John Eliot Gardiner (DG Archiv, coupled with the E-flat concerto, K.449). Of the many other available recordings of this concerto, I would single out Murray Perahia playing and conducting the English Chamber Orchestra (CBS). The splendid series of Geza Anda performances with the orchestra of the Salzburg Mozarteum—available until recently as a complete twelve-record set on DG—seems now to be withdrawn. There are two Geza Anda versions of K.453 still available, both worthwhile, both with the orchestra of the Mozarteum (DG; one is coupled with the C major concerto, K.467, the other with the concertos in C minor and C major, K.491 and 503). Murray Perahia's recording with the English Chamber Orchestra is also fine (CBS, coupled with K.456), as is Richard Goode's performance with the Orpheus Chamber Orchestra (Nonesuch, coupled with the A major concerto, K.488). —S.L. The Boston Home, (formerly The Boston Home for Incurables) Est. 1881 Seeks Your Support for Another Century Write for Centennial Brochure: The Boston Home, Inc David W. Lewis, Treasurer 2049-2061 Dorchester Avenue John Bigelow, Assistant Treasurer Boston, Massachusetts 02124 617/825-3905 35 DEUTSCHE GRAMMOPHON salutes THE ARISTOCRAT OF THE PIANO MAURIZIO POLLINI from his prestigious Compact Disc catalogue CHOPIN' POLONAISES H MAURIZIO POLLINI I 413 794-2 GH 413 795-2 GH 413 796-2 GH Robert Schumann Symphonische Etii den . Arabcskc Maurizio Pollini 410 511-2 GH 413 793-2 GH 410 916-2 GH All selections are also available on LPs and cassettes. 1985 DG/PolyGram Classics, Inc. Barnes & Noble Classical Record Center 395 Washington Street (at Downtown Crossing) NOW ON SALE s ll" per Compact Disc $ Offer Expires: 6" per LP or Cassette March 24. 1985 36 .-v ''•- WMEOHgff Maunzio Pollmi Schumann, Schoenberg, Stravinsky, and Webern. His recording of the Bartok First and Second piano concertos with Claudio Abbado and the Chicago Symphony received the 1979 Grammy award for Best Classical Performance by an Instrumental Soloist with Orchestra. His recording of the Webern Piano Variations and Boulez's Second Piano Sonata won the 1979 Grand Prix International du Disque, and his recording of the late Beethoven sonatas received the Deutscher Schallplattenpreis, the Prix Caecilia, Bruxelles, and Gramophone magazine's award for the Best Instrumental Record of 1977. Born in Milan in 1942, Mr. Pollini studied Pianist Maurizio Pollini is one of today's fore- piano and composition at the Giuseppe Verdi most musicians, equally renowned in recital, Conservatory; his teachers included Lonatti as soloist with orchestra, and as a recording and Vidusso. At the age of eighteen he was artist. Mr. Pollini appears regularly with the first-prize winner at the prestigious Warsaw major orchestras in his native Italy and with Chopin Competition, the first artist from the such world-renowned orchestras as the Berlin West to achieve that honor. Mr. Pollini made Philharmonic, the Vienna Philharmonic, the his first Boston Symphony appearances in London Symphony, the BBC Symphony, the November 1970 playing the Prokofiev Third Bavarian Radio Orchestra, the Hamburg Piano Concerto under the direction of Seiji Philharmonic, and the Orchestre National de Ozawa. He has since returned to perform France. Since his United States debut during Mozart's A major concerto, K.488, the two the 1968-69 season he has appeared with the Brahms piano concertos, Bartok's Piano Con- leading orchestras of North America, includ- certo No. 1, and, most recently, in February ing the New York Philharmonic, the Phila- 1984, the Schoenberg Piano Concerto. Mr. delphia Orchestra, the Chicago Symphony, the Pollini's appearances with the Boston Sym- Boston Symphony, the Cleveland Orchestra, phony Orchestra this week are his first as a the Los Angeles Philharmonic, the Pittsburgh conductor with an American orchestra. Symphony, the Toronto Symphony, and others. He also appears as conductor and led the Berlin Philharmonic for the first time at the 1979 Berlin Festival. Mr. Pollini's recent recital appearances have included Boston, Washington, Chicago, and Carnegie Hall, and he has recently conducted a number of con- certs with the Chamber Orchestra of Europe in Italy, London, and Paris, with engagements this season in Bonn and Amsterdam. iv&r-- • : Em Maurizio Pollini's more than twenty-five H recordings for Deutsche Grammophon include music of Bartok, Beethoven, Boulez, Brahms, '.. Chopin, Mozart, Nono, Prokofiev, Schubert, 37 r M MORE MUSIC FORYOUR MONEY. Whether you're looking for an opera or an oratorio, a ballet or a baroque trumpet fanfare, you're sure to find what you want at the Classical Record Center at Barnes & Noble. When it comes to classical music, you always get more for your money at Barnes & Noble. Classical Record Center at Barnes &NoWe 395 Washington Street (at Downtown Crossing) BARNES Mon.-Fri., 9:30-6:30 Sat., 9:30-6:00 &NOBLE Sun., 12:00-6:00 veW* ftot^ cax° eiV Ct fssv^ ^o^( ^#* 38 The Boston Symphony Orchestra gratefully acknowledges the following corporations and professional organizations for their generous and important support in the past or current fiscal year. (* denotes support of at least $2,500; capitalized names denote support of at least $5,000; underscored capitalized names within the Business Leaders' listing comprise the Business Honor Roll.) 1984-85 Business Honor Roll ($10,000+) Advanced Management Associates, Inc. John Hancock Mutual Life Insurance Company Harvey Chet Krentzman E. James Morton Analog Devices, Inc. Stanley H. Kaplan Educational Center Ray Stata Susan B. Kaplan Bank of Boston Liberty Mutual Insurance Company \^ illiam L. Brown Melvin B. Bradshaw Bank of New England Mobil Chemical Corporation Peter H. McCormick Rawleigh Warner, Jr. BavBanks, Inc. New England Mutual Life Insurance Company William M. Crozier, Jr. Edward E. Phillips Boston Consulting Group, Inc. New England Telephone Company Arthur P. Contas Gerry Freche Boston Edison Companv Raytheon Company Thomas J. Galligan, Jr. Thomas L. Phillips Boston Globe Affiliated Publications Red Lion Inn \^ illiam 0. Taylor John H. Fitzpatrick Cahners Publishing Company, Inc. State Street Bank & Trust Company Norman Cahners William S. Edgerly Country Curtains The Sheraton Corporation Jane P. Fitzpatrick John Kapioltas Digital Equipment Corporation The Signal Companies Kenneth H. Olsen Paul M. Montrone Dynatech Corporation Teradyne Corporation J.P. Barger Alexander V. d'Arbeloff Exxon Corporation Urban Investment & Development Stephen Stamas Company/ Copley Place Wm. Filene's & Sons Company R.K. Umscheid Michael J. Babcock WCRB/Charles River Broadcasting, Inc. GTE Electrical Products Richard L. Kaye Dean T. Langford General Cinema Corporation WCVB-TV 5 Richard A. Smith S. James Coppersmith Wang Laboratories General Electric Company An Wang John F. Welch, Jr. Gillette Company Colman M. Mockler, Jr. 39 th 1984 is our 75 Anniversary Ganteaume & McMullen, Inc. Architects • Engineers 99 Chauncy Street at Lafayette Place, Boston, 617«423«7450 e put nursing care in C wthe proper environment. When visiting the Milton Health Care rehabilitative programs, organized Facility, You experience an elegant activities as well as social services. atmosphere of residents enjoying This individual quality care is carried gourmet meals in the gracious 18th into the Adult Day Care Program, also century dining socializing in the room, available at Milton, offering to its clients Greenhouse Tavern, or relaxing in the a complete program on a dairy basis. charming ice cream parlour or movie At Milton, go beyond the industry theatre. we nursing standards to provide the More important, is the dedicated The very best health care possible. staff of health care profes- For more information, visit sionals providing traditional or call (617) 333-0600. skilled nursing care, com- Milton bined with individual HEALTH CARE AND RETIREMENT FACILITY 1200 Brush Hill Road, Milton, MA 02186 A Mayo Health Facility Division of The Flatley Company 40 fSHmH££R •rBanffcA sSfe? vl flwP£*tt Business Leaders ($1,000+) Ea&to*'** W&St&LfefiaEWJ Accountants BAYBANKS, INC. Electronics wMjNbwhhR?* William Crozier, Arthur Andersen & Co. M. Jr. Mitre Corporation v.« William F. Meagher Chase Manhattan Corporation Robert R. Everett Robert M. COOPERS & LYBRAND Jorgensen *Parlex Corporation Vincent M. O'Reilly *Citicorp (USA), Inc. Herbert W Pollack Charles DiPesa & Company Walter E. Mercer * Signal Technology Corporation William DiPesa Coolidge Bank & Trust Company William Cook Charles Morash Ernst & Whinney W James G. Maguire Framingham Trust Company Employment PEAT, MARWICK, MITCHELL William A. Anastos * Emerson Personnel & COMPANY Mutual Bank Rhoda Warren Herbert E. Morse Keith G. Willoughby Robert Kleven & Company, Inc. *TOUCHE ROSS & COMPANY Rockland Trust Company Robert Kleven James T. McBride John F. Spence, Jr. Russell Reynolds Associates, Inc. * Arthur Young & Company SHAWMUT BANK OF Jack H. Vernon Thomas P McDermott BOSTON *TAD Technical Services Corp. William F. Craig Advertising/ PR. David J. McGrath, Jr. United States Trust Company * Hill, Holliday, Connors, James V. Sidell Cosmopulos, Inc. Energy Jack Connors, Jr. Building/ Contracting Buckley & Scott Company Hill & Knowlton Charles H. Downey National Lumber Company Patricia Butterfield Louis L. Kaitz EXXON CORPORATION c Kenyon & Eckhardt Stephen Stamas J.F. White Contracting Company Thomas J. Mahoney Thomas J. White *HCW Oil & Gas Company, Inc. 'Newsome & Company John M. Plukas Peter Farwell Consdting/ Management Hatoffs ADVANCED Aerospace MANAGEMENT Stanley Hatoff ASSOCIATES, INC. 'Northrop Corporation MOBIL CHEMICAL Harvey Chet Krentzman Thomas V. Jones CORPORATION BLP Associates PNEUMO CORPORATION Rawleigh Warner, Jr. Bernard L. Plansky Gerard A. Fulham Yankee Oil & Gas, Inc. BOSTON CONSULTING Paul J. Montle Apparel GROUP, INC. *Knapp King Size Corporation Arthur P. Contas Finance Winthrop A. Short Jason M. Cortell and *Farrell, Healer & Company, Inc. William Carter Company Associates, Inc. Richard Farrell Leo J. Feuer Jason M. Cortell *The First Boston Corporation Rath & Strong, Inc. Architecture/ Design George L. Shinn Arnold 0. Putnam Jung/Brannen Associates, Inc. Kaufman & Company Small Business Foundation of Yu Sing Jung Sumner Kaufman America, Inc. Selame Design * Richard Giesser Leach & Garner Joe Selame Philip Leach Education *Narragansett Banking Capital *Bentley College - Corporation BANK OF BOSTON Gregory H. Adamian Arthur D. Little William L. Brown STANLEY H. KAPLAN TA ASSOCIATES BB BANK OF NEW ENGLAND EDUCATIONAL CENTER Peter A. Brooke act* Peter H. McCormick Susan B. Kaplan IBM Ira#*1 41 T,he principals of Dumont Kiradjieff & Moriarty invite you to tap the expertise which has built our firm's success in the placement of professional and managerial people throughout New England. DUMONT KIRADJIEFF 79 Milk Street &MORIARTY Boston, ma EMPLOYMENT *%$L X " 617) 451 9212 CONSULTING ( §t IBotofpAjT^stAuratH MAHLER'S SYMPHONY #9 with Solti conducting Chicago Symphony on Digital's Grammy Award Winning Recording. 16.58 Rarely performed. Rarely recorded. GRIEG'S P£ER GYNT with Edo De Waart conducting the San A charming 19th Century Townhouse serving superb continental cuisine Francisco Symphony in contemporary informal elegance. and Chorus Offering lunch and dinner with a variety specials daily, and our 8.29 of fresh seafood after theatre cafe menu till midnight. Serving - Lunch: 12:00-2:30 weekdays Dinner: 6:00-10:30 Sun.-Thurs. 6:00-12:00 Fri.-Sat. Brunch: 11:00-3:00 Sat. & Sun. reservations: 266-3030 99 St. Botolph Street Available at Harvard Sauare, M.I.T. Student Center, Children's behind the Colonnade Hotel Medical Center and One Federal St., Boston. Coop 42 Food/ Hotel/ Restaurant Computer Partners, Inc. Amoskeag Company Paul Crowley Boston Park Plaza Hotel & J. Joseph B. Ely II Towers Data Packaging Corporation BLYTH EASTMAN PAINE Roger A. Saunders Otto Morningstar WEBBER INC. Boston Showcase Company Epsilon Data Management, Inc. James F. Cleary Jason Starr Thomas 0. Jones E.F. Hutton & Company, Inc. CREATIVE GOURMETS LTD. General Eastern Instruments S. Paul Crabtree Corporation Stephen E. Elmont Goldman, Sachs & Company Pieter R. Wiederhold Dunkin* Donuts, Inc. Stephen B. Kay Helix Technology Corporation Robert M. Rosenberg Kensington Investment Frank Gabron Howard Johnson Company Company G. Michael Hostage IBM CORPORATION Alan E. Lewis Paul J. Palmer Inncorp. Ltd. Loomis Sayles & Company Harry Axelrod POLAROID CORPORATION Robert L. Kemp William J. McCune, Jr. Johnson, O'Hare Company, Inc. Moseley, Hallgarten, Estabrook Harry O'Hare RAYTHEON COMPANY & Weeden, Inc. Thomas L. Phillips Fred S. Moseley O'Donnell-Usen Fisheries Corporation Systems Engineering & Tucker, Anthony & R.L. Day, Arnold Wolf Manufacturing Corporation Inc. RED LION INN Steven Baker Gerald Segel John H. Fitzpatrick Transitron Electric Corporation Woodstock Corporation David Bakalar Frank B. Condon Roberts and Associates f barren Pierce Insurance THE SHERATON Arkwright-Boston Legal CORPORATION Insurance Frederick J. Bumpus Gadsby & Hannah John Kapioltas Cameron & Colby Co., Inc. Jeffrey P Somers Silenus Wines, Inc. Graves D. Hewitt Goldstein & Manello James B. Hangstefer Commercial Union Assurance Richard J. Snyder Sonesta International Hotels Companies Herrick Smith Corporation & Howard H. Ward Malcolm D. Perkins Paul Sonnabend Frank B. Hall & Company of Nissenbaum Law Offices THE STOP & SHOP Massachusetts, Inc. Gerald L. Nissenbaum COMPANIES, INC. Colby Hewitt, Jr. Avram Goldberg J. JOHN HANCOCK MUTUAL THE WESTIN HOTEL LIFE INSURANCE COMPANY Manufacturing Bodo Lemke E. James Morton Acushnet Company LIBERTY MUTUAL John T. Ludes Furnishings/ Housewares INSURANCE COMPANY Bell Manufacturing Company COUNTRY Melvin B. Bradshaw CURTAINS Irving W Bell Jane P Fitzpatrick NEW ENGLAND MUTUAL Checon Corporation LIFE INSURANCE COMPANY Donald E. Conaway High Technology/ Computers Edward E. Phillips Dennison Manufacturing AT&T PRUDENTIAL INSURANCE Company COMPANY OF AMERICA Charles R. Grafton Nelson S. Gifford Robert J. Scales Analytical Systems Engineering Econocorp, Inc. Sun Life Assurance Company of Corporation Richard G. Lee Michael B. Rukin Canada FLEXcon John D. McNeil Company, Inc. Aritech Corporation Mark R. Ungerer James A. Synk Investments GENERAL ELECTRIC Automatic Data Processing ABD Securities Corporation COMPANY V Josh Weston Theodor Schmidt-Scheuber John F. Welch, Jr. 43 fill " 1^~ . t 1 • II I r • • REALTORS III I ' |-"---'•• • - Houses • Condominiums • Apartments Sales Rentals Management 1412 B Beacon Street, Brookline, Massachusetts 02146 IE Telephone: (617) 738-5700 MtS COACH Bose® Corporation invites you to experience the revolutionary Acoustic Wave" Music System. NQ505O i7"xii"x2-< Handle Portfolio $130 We make this soft, uncon- structed, legal size portfolio in six colors of real Glove Tanned Cowhide: Black, Burgundy, Mocha, Red, recent "At a British Tan and Tabac. demonstration, this listener shook his head in polite disbelief at You can order it by mail or hearing such sound coming from a single telephone, and we will ship it unit the size of an office typewriter. to you from our factory at no Hans Fantel, The New York Times extra cost. Hear it for yourself in the Salute to Send for our free catalogue. Symphony Office, 3rd floor, or call Bose Corporation, 877-6234 to schedule a free home demonstration. The CoacK Store 75-B Newbury Street, Boston, Mass. 021 16 (617) 536-2777 44 . -'... WEALTH HAS ITS REWARDS. : :"'. '.'- : : -''-. - - -,•'.:• : : ---*~ .'- -- '- '; ™ - ; : : Fora personal appointment, call Dean Ridldnv Vice President; Private Banking Group. ; Bank ofBoston (617)434 -5302. Boston s Financial District and BackBay ©l 984 The First National Ban^dfBoston; Member FD1G GENERAL ELECTRIC Superior Pet Products, Inc. Westinghouse Broadcasting & Cable, COMPANY/LYNN Richard J. Phelps Inc. Lawrence P. Fraiberg James P. Krebs *Towle Manufacturing Company GILLETTE COMPANY Leonard Florence Musical Instruments Colman M. Mockler, Jr. *Trina, Inc. * Baldwin Piano & Organ Guzovsky Electrical Corporation Thomas L. Easton Company Edward Guzovsky Webster Spring Company, Inc. R.S. Harrison A.M. Levine Inland Steel-Ryerson Avedis Zildjian Company Foundation, Inc. Wellman, Inc. Armand Zildjian Robert L. Atkinson Arthur 0. Wellman, Jr. Kendall Company Printing/ Publishing Dale Sherratt J. Media *ADC0 Publishing Company, Inc. L.E. Mason Company BOSTON GLOBE/ Samuel Gorfinkle Harvey B. Berman AFFILIATED PUBLICATIONS Bowne of Boston Ludlow Corporation William 0. Taylor William Gallant Arthur Cohen * Boston Herald CAHNERS PUBLISHING NEW ENGLAND BUSINESS Patrick J. Purcell COMPANY, INC. SERVICE, INC. GENERAL CINEMA Norman L. Cahners Richard H. Rhoads CORPORATION CLARK-FRANKLIN- Norton Company Richard A. Smith KINGSTON PRESS Donald R. Melville *WBZ-TV 4 Lawrence Dress ^Packaging Industries, Inc. Thomas L. Goodgame Customforms, Inc. John D. Bambara WCIB-FM David A. Granoff Parker Brothers Lawrence K. Justice * Daniels Printing Company Richard E. Stearns WCRB/CHARLES RIVER Lee Daniels Plymouth Rubber Company, Inc. BROADCASTING, INC. HOUGHTON MIFFLIN Richard L. Maurice J. Hamilburg Kaye COMPANY Scully Signal Company WCVB-TV 5 Marlowe G. Teig Robert G. Scully S. James Coppersmith * Label Art, Inc. Simplex Time Recorder *WNEV-TV 7/New England J. William Flynn Company Television McGraw Hill, Inc. Glenn R. Peterson Seymour L. Yanoff Joseph L. Dionne We invite you to join us before or after Symphony for a fine dining experience. We're so close you can almost hear the music. I Lunch - 11:30 - 3 pm Dinner - 5 -11pm BAR SPECIALS-* - 6 pm 10 - 12 pm CAFE AMALFI ITALIAN RESTAURANT SPECIAL FUNCTIONS and 8-10 WESTLAND AVENUE LARGE GROUPS ACCOMMODATED BOSTON, MASS./ 536-6396 RESERVATIONS RECOMMENDED 45 COPLEY PLACE • at Copley Square I ( in the Back Bay Prelude. Copley Place is where beautiful evenings begin. Here you can shop for every fashion need. From elegant occasions to casual gatherings with friends. In The Shopping Galleries at Copley Place you will find all that's new and beautiful from this country and abroad. Neiman-Marcus and 100 exceptional shops and boutiques await you! To add to your pleasures there are \ 9 cinemas, 13 restaurants and the new Westin and Marriott hotels. Real Estate/ Development Kay Bee Toy & Hobby Shops, MORSE SHOE, INC. Inc. Manuel Rosenberg Combined Properties, Inc. Howard Kaufman Stanton L. Black THE SPENCER COMPANIES, Marshall's, Inc. INC. Corcoran Mullins Jennison, Inc. Frank H. Brenton C. Charles Marran Joseph Corcoran *Saks Fifth Avenue STRIDE RITE CORPORATION Hilon Development Corporation Ronald Hoffman Arnold S. Hiatt Haim Eliachar J. HI Stuart's Department Stores, Inc. Northland Investment Software/ Information Services Paul Cammarano Corporation 1 Henco Software, Inc. Robert A. Danziger *Zayre Corporation Henry Cochran Maurice Segall Stanmar, Inc. Interactive Data Corporation Stanley W. Snider Science/ Medical Carl G. Wolf URBAN INVESTMENT & * Charles River Breeding DEVELOPMENT COMPANY/ Laboratories, Inc. Travel/ Transportation COPLEY PLACE Henry L. Foster * Heritage Travel R.K. Umscheid Damon Corporation Donald Sohn *Winthrop Securities Co., Inc. David I. Kosowsky *The Trans-Lease Group David C. Hewitt Hospital Corporation of America John J. McCarthy, Jr. Retailing HCA Foundation Donald E. Strange Utilities WM. FILENE'S & SONS BOSTON EDISON COMPANY COMPANY Shoes Thomas J. Galligan, Jr. Michael J. Babcock *Jones & Vining, Inc. * Eastern Gas & Fuel Associates Hills Department Stores Sven Vaule, Jr. William Pruyn Stephen A. Goldberger J. * Mercury International Trading NEW ENGLAND TELEPHONE Jordan Marsh Company Corporation Gerry Freche Elliot Stone Irving Wiseman One word is worth a thousand pictures. Daniels Daniels Printing Company 40 Commercial Street Everett, MA 02149 (617)389-7900 Serving New England's business and financial communities. 47 . where handcraftstnanship A Ooutheast Asian Ireal ^''w^~ ls a fruition tf^MANDALAY BURMESE RESTAURANT * C^elebpates lenth Ycap* 329 Huntington Avenue, Boston. 247-2111 Two Blocks West of Symphony Hall - Reservations Suggested upstairMiYB Main Street, Concord, MA Mon. - SaKl 0-5 Iffl. (6 17). 37 1-1088 IGOR STRAVINSKY SOLDIER'S THE TALE The Gift. AN ANIMATED FILM BY R.O. BLECHMAN It should express your feelings. Celebrate the occasion. Touch the heart. And mean as much years HOME VIDEO from now, as it does today. Extraordinary For that special someone, The Gift Animation on is waiting to be discovered at Home Video Wild Goose Chase. This is a dazzling version of Stravinsky's magical musical, based on a classic Russian fable. Also available . . The Four Seasons The Nutcracker Turnadet See it today from a video dealer below. Box Office Video Entertainment Inc. Beta & VHS Movies Beta & VHS Movies 160 Newbury St. 555 Washington St. Boston- 247-3211 Wellesley • 237-2320 1158 Beacon Street Newton • 332-6665 Videosmith ™ Beta & VHS & CED Movies 275 Dartmouth St. Video Plus Copley Square Beta & VHS Movies Boston - 262-1144 Old Path Village Coolidge Comer 969 Concord St. Brookline • 232-6637 Framingham • 875-6855 WILD GOOSE CHASE The Mall at Chestnut Hill Porter Square Contemporary American Crafts and Gifts Newton • 965-7970 21 White St. at Mass Brookline, 02146, 738-8020 Rt. 9, Worcester Rd. Ave., Cambridge 1431 Beacon St. MA Natick • 651-3044 Opening Soon Hours: Mon. -Sat. , 10-6; Sun. , 12-5 48 if! ppp lIllMi The following Members of the Massa- MASSACHUSETTS chusetts High Technology Council MGH TECHNOLOGY C00HOL support the BSO through the BSO Business & Professional Leadership Program: CORPORATION M/A-COM, INC. Alpha Industries, Inc. DYNATECH Vessarios G. Chigas George S. Kariotis J. P. Barger Technology EPSCO, Inc. Massachusetts High DEVICES, INC. Council, Inc. ANALOG Wayne P. Coffin Stata Howard P. Foley Ray Foxboro Company Sciences Corporation The Analytic Earle W Pitt Millipore d'Arbeloff Corporation GCA Corporation Dimitri Arthur Gelb Milton Greenberg PRIME COMPUTER, INC. *Augat, Inc. GTE ELECTRICAL Joe M. Henson Roger D. Wellington PRODUCTS * Printed Circuit Corporation Wright Corporation Barry Dean T. Langford Peter Sarmanian Sorenson Ralph Z. *GenRad Foundation SofTech, Inc. *Bolt Beranek and Newman Inc. Lynn Smoker Justus Lowe, Jr. Stephen Levy *Haemonetics, Inc. TERADYNE, INC. Computervision Corporation Alexander V. d'Arbeloff John F. White Martin Allen Honeywell Information Systems Thermo Electron Corporation Inc. *Cullinet Software, Warren G. Sprague George N. Hatsopoulos John Cullinane J. Instron Corporation Unitrode Corporation George M. Berman DIGITAL EQUIPMENT Harold Hindman LABORATORIES, INC. CORPORATION Arthur D. Little, Inc. WANG An Wang Kenneth H. Olsen John F Magee Rental apartments for people who'd For rates and rather hear French horns information on than Car hornS* Enjoy easy living within easy reach of Symphony Hall. advertising in the New in-town apartments Boston Symphony, with doorman, harbor views, all luxuries, Boston Pops, health club, and land 2 and Tanglewood program books £ \P3E- WP&fjy bedrooms penthouse duplex P v^fc& (&2^cl!y*s please contact: X^S^**..- apartments. STEVE GANAK AD REPS THE DEVONSHIRE (617)-542-6913 ^. One Devonshire Place. (Between Washington j f=t and Devonshire Streets, off State Street) Boston < Renting Office Open 7 Days. Tel: (617) 720-3410 models 2 Park free in our indoor garage while inspecting 49 Jaeger salutes the Boston Symphony Orchestra. Jaeger International Shop - Copley Place, Boston, MA. (617) 437-1163 Jaeger International Shop - The Mall at Chestnut Hill, Newton, MA. (617) 527-1785 condominiums r ihe elegance of historic Boston. GOLDWEITZ & COMPANY 267-8000 J.J, Hawes, circa 1870 50 Coming Concerts . . . Wednesday, 27 March at 7:30 Open Rehearsal Steven Ledbetter will discuss the program el at 6:45 in the Cohen Annex. Thursday 'A'—28 March, 8-9:55 Friday 'B'—29 March, 2-3:55 Saturday 'B'— 30 March, 8—9:55 Tuesday *C—2 April, 8-9:55 Boodle ANDREW DAVIS conducting Mozart Symphony No. 39 Stravinsky Violin Concerto An Authentic Grill CHO-LIANG LIN, violin Rachmaninoff Symphonic Dances with Aged Steaks Plump Poultry Thursday 'B —4 April, 8-9:55 Friday "A" — 5 April, 2-3:55 Fresh Fish Native Shellfish Saturday "A" —6 April, 8-9:55 grilled on ANDREW DAVIS conducting Woods & Charcoals Knussen Symphony No. 3 of Delius Sea Drift Mesquite Apple RICHARD STILWELL, baritone Sassafras Hickory TANGLEWOOD FESTIVAL CHORUS, JOHN OLIVER, conductor ri In Boston's \aughan \X illiams Symphony No. 2, Back Bay Hilton London Wednesday, 10 April at 7:30 Just steps away between Open Rehearsal The Christian Science Steven Ledbetter will discuss the program Complex and Prudential Center with ample indoor parking. at 6:45 in the Cohen Annex. Dial-(617) BOODLES. Thursday -10*— 11 April, 8-10 Friday 'B—12 April, 2-4 Saturday 'B*— 13 April, 8-10 CHARLES DUTOIT conducting Dutilleux Metaboles Mozart Piano Concerto No. 24 inC minor, K.491 Real Estate Management ANDRAS SCHIFF, piano Brokerage and Consulting Services Stravinsky Petrushka (1911) Since 1898 Thursday '10'— 18 April, 8-9:50 Friday 'A'—9 April, 2-3:50 Saturday 'A'— 10 April, 8-9:50 Tuesday 'B'—23 April, 8-9:50 SEIJI OZAWA conducting SAUNDERS ASSOCIATES Mendelssohn Symphony No. 5, & Reformation • 20 Park Plaza Boston MA 02116 Lalo Symphonie espagnole (617)426-0720 ANNE-SOPHIE MUTTER, violin Ravel Alborada del gracioso Programs subject to change. 51 Self-portrait of a genius With wit and charm, Aaron Copland, America s greatest living composer looks back on the first four decades of his life in music. It is a monumental work about an exceptional era in Americas artistic history and the events, here and abroad, that spawned his genius. Enhanced by "interludes" that feature reminiscences by friends and colleagues like Nadia Boulanger, Virgil Thompson, Agnes DeMille, and Leonard Bernstein, Copland is a stirring chronicle of our cultural times. *c 1900 through 1942 Aaron Copland and Vivian Perlis With over 100 photographs, $24.95 at bookstores or direct from ST. MARTIN'S/MAREK, 175 Fifth Avenue, New York, NY 10010 (Mail orders: Add $1.50 extra for postage. Send Attn: PY) "I love dining with four star^ "I said join me at Aple : The Boston Globe gave it four stars. Then Esquire called it terrific. Oh, and Boston It's becoming a habit Iq v's, please." Symphony Hall Information . . . FOR SYMPHONY HALL CONCERT AND each, one to a customer, at the Symphony Hall- TICKET INFORMATION, call (617) 266-1492. West Entrance on Fridays beginning 9 a.m. and For Boston Symphony concert program informa- Saturdays beginning 5 p.m. tion, call "C-O-N-C-E-R-T." LATECOMERS will be seated by the ushers dur- THE BOSTON SYMPHONY performs ten ing the first convenient pause in the program. months a year, in Symphony Hall and at Tangle- Those who wish to leave before the end of the wood. For information about any of the orches- concert are asked to do so between program tra's activities, please call Symphony Hall, or pieces in order not to disturb other patrons. write the Boston Symphony Orchestra, Sym- SMOKING IS NOT PERMITTED in any part of phony Hall, Boston, MA 02115. the Symphony Hall auditorium or in the sur- THE EUNICE S. AND JULIAN COHEN rounding corridors. It is permitted only in the ANNEX, adjacent to Symphony Hall on Hunt- Cabot-Cahners and Hatch rooms, and in the ington Avenue, may be entered by the Symphony main lobby on Massachusetts Avenue. Hall West Entrance on Huntington Avenue. CAMERA AND RECORDING EQUIPMENT FOR SYMPHONY HALL RENTAL INFORMA- may not be brought into Symphony Hall during TION, call (617) 266-1492, or write the Func- concerts. tion Manager, Symphony Hall, Boston, MA FIRST AID FACILITIES for both men and 02115. women are available in the Cohen Annex near THE BOX OFFICE is open from 10 a.m. until 6 the Symphony Hall West Entrance on Hunt- p.m. Monday through Saturday; on concert eve- ington Avenue. On-call physicians attending con- nings, it remains open through intermission for certs should leave their names and seat locations BSO events or just past starting-time for other at the switchboard near the Massachusetts Ave- events. In addition, the box office opens Sunday nue entrance. at 1 p.m. when there is a concert that afternoon WHEELCHAIR ACCESS to Symphony Hall is or evening. Single tickets, for all Boston Sym- available at the West Entrance to the Cohen phony concerts go on sale twenty-eight days Annex. before a given concert once a series has begun, and phone reservations will be accepted. For AN ELEVATOR is located outside the Hatch and outside events at Symphony Hall, tickets will be Cabot-Cahners rooms on the Massachusetts Ave- available three weeks before the concert. No nue side of the building. phone orders will be accepted for these events. TICKET RESALE: If for some reason you are unable to attend a Boston Symphony concert for which you hold a ticket, you may make your ticket available for resale by calling the switch- board. This helps bring needed revenue to the orchestra and makes your seat available to some- one who wants to attend the concert. A mailed receipt will acknowledge your tax-deductible contribution. RUSH SEATS: There are a limited number of Rush Tickets available for the Friday-afternoon and Saturday-evening Boston Symphony con- certs (subscription concerts only). The continued low price of the Saturday tickets is assured through the generosity of two anonymous donors. The Rush Tickets are sold at $5.00 53 ; ercier ; " ; . ; / : : .:; ; .- :-. " ' : :. v . \ : : . : -. . : . . . : : - :-: :: v..y,/ - ::: ::: . ::. :::: ..... t-" Izi : :e -_-.-- " "...: ' :.;,;; . : . . .. v: : :::/: ..; :>: --z\ . : ; :': ..." .:-:." :-: ...... : . .: :-i : : : :....: . : ./••; - : - .. . : : . . ; . .. ; v AUME & MERCIER iMdy'sBdiime & Merrier quartz watch'in 14 karat gold with dia- mond bezel. S3, 600. 18 karat '{old and diamond: Xecklace, « -:.- o*^ ; A Fine Jeweler Since 1822 LADIES' ROOMS are located on the orchestra concerts are broadcast live by the following FM level, audience-left, at the stage end of the hall, stations: WGBH (Boston 89.7), WFCR (Amherst and on the first-balcony level, audience-right, 88.5), and WAMC (Albany 90.3); in Maine by outside the Cabot-Cahners Room near the WMED (Calais 89.7), WMEA (Portland 90.1), elevator. WMEH (Bangor 90.9), WMEW (Waterville 91.3), and WMEM (Presque Isle 106.1); and in MEN'S ROOMS are located on the orchestra Connecticut by WMNR (Monroe 88.1), WNPR level, audience-right, outside the Hatch Room (Norwich 89.1), WPKT (Hartford 90.5), and near the elevator, and on the first-balcony level, WSLX (New Canaan 91.9). Live Saturday- audience-left, outside the Cabot-Cahners Room evening broadcasts are carried by WGBH and near the coatroom. WCRB (Boston 102.5). If Boston Symphony COATROOMS are located on the orchestra and concerts are not heard regularly in your home first-balcony levels, audience-left, outside the area and you would like them to be, please call Hatch and Cabot-Cahners rooms. The BSO is not WCRB Productions at (617) 893-7080. WCRB responsible for personal apparel or other prop- will be glad to work with you and try to get the erty of patrons. BSO on the air in your area. LOUNGES AND BAR SERVICE: There are two BSO FRIENDS: The Friends are annual donors lounges in Symphony Hall. The Hatch Room on to the Boston Symphony Orchestra. Friends the orchestra level and the Cabot-Cahners Room receive BSO, the orchestra's newsletter, as well on the first-balcony level serve drinks starting as priority ticket information and other benefits one hour before each performance. For the Fri- depending on their level of giving. For informa- day-afternoon concerts, both rooms open at tion, please call the Development Office at Sym- 12:15, with sandwiches available until concert phony Hall weekdays between 9 and 5. If you time. are already a Friend and you have changed your BOSTON SYMPHONY BROADCASTS: Con- address, please send your new address with your certs of the Boston Symphony Orchestra are newsletter label to the Development Office, heard by delayed broadcast in many parts of the Symphony Hall, Boston, MA 02115. Including United States and Canada, as well as interna- the mailing label will assure a quick and accurate tionally, through the Boston Symphony Tran- change of address in our files. scription Trust. In addition, Friday-afternoon Handicapped kids have a lot to give a and the Cotting School has a lot to give handicapped children. We are a 12-year day school providing quality education, medical support services, and pre-vocational training to physically handicapped boys and girls. Support services include occupational, physical and speech therapies, counselling, vision and dental clinics, and fulltime nursing supervision. Computer-based learning programs, summer camping, adapted physical education, art, music and training for independent living help students develop daily living and social skills and increased self-esteem. If you know a child we can help, please pass the word. Call or write Dr. Carl W. Mores, Superintendent, Cotting School for Handicapped Children, 241 St. Botolph Street, Boston, Massachusetts 02115 (617) 536-9632. Cotting School for Handicapped Children is a private, non-profit Ch. 766-approved institution, supported primarily by gifts, grants, legacies and bequests. 55 < W/iat (tetter toays to start tfi& clew? ($irelsongs, mu&io, a/ com^artaM& cx>mfeanion, a/ reasoned assessment? oftAe dcu^s news/, wsense <^tA&uheuxAierba£terns/, ancltAen— more/music. yOnerica/S most; listened'to~jhroip*anv of f classieal, traditional and contem^wrawfmusio, Morningfiro- nucsica? antJi/^loo^ert> ^. ^irtsenia/ is Presented'eoera^ daajront seaen tillnoon on/stations/ tftA&!Su/dil> and'is Aeard in/ tA& Qooston area/ onWm%8j.7jn. 56 In 164(1 moments before Caerlaverock castle fell the And every twelvemonth since GMi on the very eve, tart 45 "»«* she returns, I t*§* *"^,, x, Or so thev sav. 11 v ij&VAiy « w titte LaDcl, ? never varies. i ft // i r Authentic ym Se wineyou „. and PI dine you. PASTENE PasteneWine& Foi Somerville,MA02 GoodfoocLGoodw Since 1874.