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undredth Season

HE BEING THERE...

It can make a performance simultaneously electrifying and deeply personal. Clearly, there is no way to quite equal that experience at home. And even though we at Dahlquist design loudspeakers, we have always under- stood this.

But being there isn't always possible for us, so we've devel- oped a loudspeaker that puts us almost there. It's called IM the Dahlquist DQ-10 Phased Array. And we're proud that over the years, music lovers have been so impressed with its ability to capture the elusive qualities of classical music that the DQ-10 has itself become a classic.

What we've done is to restore the missing third dimension

—depth. The DQ-10 gives the music back its substance and form and lets you explore its inner spaces. Subtlety, power, contrast, shading — perhaps even emotion and intent — stand revealed. There's nothing between you and the

There are good technical reasons for this and if you write to us at the address below, we'll be glad to tell you about

them. But all we want to say here is

this — if music and musicality are im- portant in your life, visit a Dahlquist representative soon to audition the

DQ-10. It's almost like being there.

i : i * • 1 1 j

601 Old Willets Path. Hauppauge, NY 11787 •'.'•i.-.'.=- ''- : .-. .: SWS&fti. sst* MMH

Seiji Ozawa, Music Director

Sir Colin Davis, Principal Guest Conductor Joseph Silverstein, Assistant Conductor

One Hundredth Season, 1980-81

The Trustees of the Boston Symphony Orchestra, Inc.

Abram T. Collier, Chairman Nelson J. Darling, Jr., President Philip K. Allen, Vice-President Mrs. Harris Fahnestock, Vice-President Leo L. Beranek, Vice-President Sidney Stoneman, Vice-President Roderick M. MacDougall, Treasurer John Ex Rodgers, Assistant Treasurer

Vernon R. Alden E. Morton Jennings, Jr. Irving W. Rabb Mrs. John M. Bradley Edward M. Kennedy Paul C. Reardon

Mrs. Norman L. Cahners George H. Kidder David Rockefeller, Jr.

George H. A. Clowes, Jr. David G. Mugar Mrs. George Lee Sargent

Archie C. Epps III Albert L. Nickerson William A. Selke

Mrs. John L. Grandin Thomas D. Perry, Jr. John Hoyt Stookey

Trustees Emeriti

Talcott M. Banks, Chairman of the Board Emeritus Allen G. Barry Edward G. Murray Mrs. James H. Perkins Richard P. Chapman John T. Noonan John L. Thorndike

Administration of the Boston Symphony Orchestra Thomas W. Morris General Manager

Peter Gelb Gideon Toeplitz Daniel R. Gustin Assistant Manager Orchestra Manager Assistant Manager

Joseph M. Hobbs Walter D. Hill William Bernell Director of Director of Assistant to the Development Business Affairs General Manager Joyce M. Snyder Theodore A. Vlahos Richard Ortner Development Controller Administrator, Coordinator Berkshire Music Center Arlene Germain Katherine Whitty Financial Analyst Marc Solomon Coordinator of Production Elizabeth Dunton Boston Council Assistant Director of Sales Caroline E. Hessberg Anita R. Kurland Charles Rawson Promotion Administrator of Coordinator Manager of Box Office Youth Activities E. Judith Gordon James Whitaker James F. Kiley Assistant Promotion Hall Manager, Operations Manager, Coordinator Symphony Hall Tanglewood

Steven Ledbetter Jean Miller MacKenzie Marc Mandel Director of Printing Production Editorial Publications Coordinator Coordinator

Programs copyright ©1980 Boston Symphony Orchestra, Inc. Cover photo by Peter Schaaf The Board of Overseers of the Boston Symphony Orchestra, Inc.

Mrs. Norman L. Cahners Chairman

William J. Poorvu Mrs. William H. Ryan Vice-Chairman Secretary

Charles F. Adams Jordan L. Golding J. William Middendorf II John Q. Adams Haskell R. Gordon Paul M. Montrone Mrs. Frank G. Allen Graham Gund Mrs. Hanae Mori Hazen H. Ayer Christian G. Halby Mrs. Stephen V.C. Morris

J.P. Barger Mrs. R. Douglas Hall III Richard P. Morse Mrs. Richard Bennink Mrs. Howard E. Hansen Stephen Paine, Sr.

David W. Bernstein Frank Hatch, Jr. David R. Pokross

Mrs. Edward J. Bertozzi, Jr. Ms. Susan M. Hilles Mrs. Curtis Prout

David Bird Mrs. Amory Houghton, Jr. Peter C. Read

Gerhard D. Bleicken Richard S. Jackson, Jr. Harry Remis William M. Bulger Mrs. Bela T. Kalman Mrs. Samuel L. Rosenberry

Curtis Buttenheim Mrs. Louis I. Kane Mrs. Jerome Rosenfeld Mrs. Mary Louise Cabot Leonard Kaplan Mrs. George R. Rowland

Julian Cohen Mrs. S. Charles Kasdon Francis P. Sears

Mrs. Nat King Cole Mrs. F. Corning Kenly, Jr. Gene Shalit Johns H. Congdon Mrs. Carl Koch Donald B. Sinclair Arthur P. Contas Robert K. Kraft Richard A. Smith

Mrs. Lewis S. Dabney Harvey C. Krentzman Peter J. Sprague Mrs. Michael H. Davis Benjamin H. Lacy Mrs. Edward S. Stimpson Mrs. C. Russell Eddy Mrs. Henry A. Laughlin Mrs. Richard H. Thompson

William S. Edgerly Mrs. James F. Lawrence Mark Tishler, Jr. Mrs. John H. Fitzpatrick Mrs. Charles P. Lyman Ms. Luise Vosgerchian Peter H.B. Frelinghuysen C. Charles Marran Robert A. Wells Paul Fromm Mrs. August R. Meyer Mrs. Donald Wilson

Carlton P. Fuller Edward H. Michaelsen John J. Wilson

THE SYMBOL OF GOOD BANKING.

Union Warren Savings Bank Main Office: 133 Federal Street, Boston, MA 02110 7t's your lawyer and New England Merchants trust officer, sir. There's been another change in the tax laws."

For good advice on personal trust matters, call our Trust Division at (617) 742-4000. Or write New England Merchants National Bank, 28 State Street, Boston, Massachusetts 02109. The Bank of New England. BSO

BSO Centennial Souvenirs

The sales booth in the first-floor Symphony Hall stairwell near the entrance to the Centennial Exhibit offers two mementos of the BSO's hundredth-anniversary season: the souvenir poster specially created by American artist Robert Rauschenberg to honor the BSO's centennial, and the souvenir booklet, "The First Hundred Years," which offers a wonderful assortment of photographs, many in full color, and essays on the orchestra and various aspects of its history by writers including Aaron Copland- biographer Vivian Pedis; architecture critic Paul Goldberger; the former senior music critic of the New York Times, Harold Schoenberg; Michael Steinberg, and Steven

Ledbetter. The essays include, among others, a survey of the BSO's first century, a profile of Music Director Seiji Ozawa, an appreciation of Symphony Hall, a recollection of the orchestra's triumphant tour of China, and a reminiscence of Aaron Copland's long- standing association with the BSO 1981 BSO/WCRB Musical Marathon Tops Quarter-Million Dollars!

This year's annual BSO/WCRB weekend-long fundraiser, held this year on 27-29 March, continues to draw overwhelming response! By the conclusion of the Marathon's actual radio broadcast time, $254,822 had been pledged; however, a continued momen- tum of donations has promised the BSO at least $257,000. The earliest tabulation shows at least 1,000 new donors, and at least 1,000 donors have increased their pledges from previous years.

Nine hours after the Marathon ended, months of post-Marathon work began. Throngs of volunteers, members of the Council of the BSO, arrive daily at Symphony

Hall from all areas of greater Boston and beyond to do some of the Marathon's most important work: under the direction of Ruth Hertz, Lee Ghublikian, Kitty Mead, and Kate-Alden Hough, they open thousands of envelopes, deposit the checks, multi-file the pledge cards, mail countless premiums, and share the heartwarming, unique, and humorous letters which continue to arrive from BSO/WCRB Musical Marathon listeners. Much appreciation and thanks to our Council volunteer staffers and problem- solvers.

From now and throughout the month of May, the Marathon Office on the third floor of Symphony Hall will be open from 10 a.m. until 4 p.m. for those donors who would like to pick up their premiums.

The Council of the BSO is deeply grateful to everyone who pledged support to the orchestra during the 1981 BSO/WCRB Musical Marathon.

1981 '82 Boston Symphony Subscriptions

Subscribers please note that renewal brochures for the Boston Symphony Orchestra's 1981-82 hundredth-birthday season will be mailed in early May, even though news of the season has already reached local papers. Current subscribers will be given priority in

renewing their present seats and series. Information for new subscribers will be made available through newspaper advertisements in mid-May, after which subscription brochures will be available from Symphony Hall.

Opening Night at Pops

The Junior Council is busy with plans for the 1981 opening performance of John

Williams and the Boston Pops on Tuesday, 28 April. The evening is the seventh annual "Opening Night at Pops" sponsored by the Junior Council for the benefit of the Boston Symphony Orchestra. Conductor John Williams will conduct a brand new march of his own, composed in honor of Arthur Fiedler, and guest soloist for the evening will be trumpeter Doc Severinsen. Symphony Hall doors will open at 5:30 p.m. for cocktails;

supper with wine will be served at 6:30, followed by the concert at 8. Seats are available

throughout the hall, priced from $17.50 to $100; all tickets include supper. For further information, please contact ticket chairman Mrs. Barbara Steiner at 237-5530.

The Junior Council is a group of young men and women who undertake a variety of fundraising activities on behalf of the Boston Symphony Orchestra, including "Open- ing Night at Pops" and sale of the Symphony Mint at all BSO/Symphony Hall events. New members are admitted in September, January, and May. Membership inquiries are most welcome and should be directed to the Friends' Office, Symphony Hall, 266-1492. Symphony Hall Tours

Guided tours of Symphony Hall are available on most Tuesdays, and some Wednesdays, from 12:30 p.m. to 2 p.m. until the end of the Pops season in mid-July; other days may be available by special arrangement. The tours will be conducted for a minimum of ten and a maximum of fifty people, and groups must reconfirm 24 hours ahead of their date by calling the Friends' Office at 266-1348. Dates may be reserved by writing to Symphony Hall Tours, Friends' Office, Symphony Hall, Boston, Massachusetts 021 15.

Cabot-Cahners Room Exhibits

Monthly art exhibitions continue in Symphony Hall's Cabot-Cahners Room during the 1980-1981 season:

30 March — 27 April Pucker-Safrai Gallery

27 April — 1 June Mass College of Art

In addition, specially selected items from the Boston Symphony's own archives are being displayed each month — paintings, letters, scores, photographs, many never before shown publicly. These items are shown on the short wall panel at the side of the room farthest from the Mass Avenue corridor.

Where a little do-re-nii can swell into an "OdetoJoyJ

The Fidelity Group of Companies 82 Devonshire Street, Boston, MA 02109 (617)523-1919

Investment Funds • Brokerage Services • Institutional Money Management With Thanks

We wish to give special thanks to the National Endowment for the Arts and the Massachusetts Council on the Arts and Humanities for their support of the Boston Symphony Orchestra.

Casadesus Collection of Antique Instruments

Among the very welcome new facilities provided by the expansion of Symphony Hall

into its new Huntington Avenue Annex is the newly arranged display of the Casadesus Collection of Antique Instruments. Long confined to necessarily restricted space in a

less accessible area of Symphony Hall, the instruments are now grouped according to the usual orchestra families in six cabinets in the Annex Function Room. The collector was Henri Casadesus (uncle of the pianist Robert Casadesus), founder of the French Society of Ancient Instruments, which was engaged in performing music of the time of Lully and Rameau, the performers using instruments contemporary with those com- posers. When Casadesus retired, the collection was purchased and donated to the BSO by friends of Henry Lee Higginson as a memorial testifying to his wide-ranging musical interest.

Cooks Take Notice: BSO Holds Recipe Auditions!!

The Council of the Boston Symphony Orchestra has a new project, which will come to fruition in 1983, when the as yet untitled Boston Symphony cookbook will be published. Recipes are being collected from Trustees and Overseers, players and visiting

artists, staff and Friends. Every element of the BSO family will be represented in what is expected to be an outstanding example of regional and international cookery. The

deadline for recipes is 1 July 1981. Any questions should be addressed to the Cookbook

Office in Symphony Hall, 266-1492, ext. 187, where a dedicated cadre of volunteers is already hard at work collecting and testing recipes.

9^ine $tafe (Vsine DAVidS 269 NEWBURY STREET

- Dinner/Sun. Thurs. 'til 1 1 :30/Fri. & Sat. 'til 1 2:30 ^ Valet parking 262-481 Seiji Ozawa

In the fall of 1973, Seiji Ozawa became the thirteenth music director of the Boston Sym- phony Orchestra since the orchestra's founding in 1881. Born in 1935 in Shenyang, China, to Japanese parents, Mr. Ozawa studied both western and Oriental music as a child and later graduated from Tokyo's Toho School of Music with first prizes in composition and conducting.

In the fall of 1959 he won first prize at the International Competition of Orchestra Con- ductors, Besancon, France. Charles Munch, then music director of the Boston Sympho- ny and a judge at the competition, invited him to Tanglewood for the summer follow- ing, and he there won the Berkshire Music Center's highest honor, the Koussevitzky Prize for outstanding student conductor. While working with Herbert von Karajan in West Berlin, Mr. Ozawa came to the attention of Leonard Bernstein, whom he accompanied on the New York Philharmonic's spring 1961 Japan tour, and he was made an assistant conductor of that orchestra for the 1961-62 season. His first professional concert appearance in North America came in January 1962 with the San Francisco Symphony Orchestra. He was music director of the Chicago Symphony's Ravinia Festival for five summers beginning in 1964, and music director for four seasons of the Toronto Symphony Orchestra, a post he relinquished at the end of the 1968-69 season in favor of guest conducting numerous American and European orchestras. Seiji Ozawa first conducted the Boston Symphony in Symphony Hall in January of 1968; he had previously appeared with the orchestra at Tanglewood, where he was made an artistic director in 1970. In December of that year he began his inaugural season as conductor and music director of the San Francisco Symphony Orchestra. The music directorship of the Boston Symphony followed in 1973, and Mr. Ozawa resigned his San Francisco position in the spring of 1976, serving as music advisor there for the 1976-77 season. As music director of the Boston Symphony Orchestra, Mr. Ozawa has strengthened the orchestra's reputation internationally as well as at home, leading concerts on the BSO's 1976 European tour and, in March 1978, on a nine-city tour of Japan. At the invitation of the Chinese government, Mr. Ozawa then spent a year working with the Peking Central Philharmonic

Orchestra; a year later, in March of 1979, he returned to China with the entire Boston Symphony for a significant musical and cultural exchange entailing coaching, study, and discussion sessions with Chinese musicians, as well as concert performances. Also in 1979, Mr. Ozawa led the orchestra on its first tour devoted exclusively to appearances at the major music festivals of Europe. Here at home, he and the orchestra have just recently returned from the BSO's fourteen- city Centennial Tour, the orchestra's first transcontinental tour in seventeen years, celebrating the BSO's hundredth birthday.

Seiji Ozawa pursues an active international career and regularly conducts the orchestras of Berlin, Paris, and Japan; his operatic credits include appearances at Salzburg, London's Covent

Garden, and La Scala in Milan, and he is scheduled to conduct Puccini's Turandot at the Paris Opera this spring. Mr. Ozawa has won an Emmy for the BSO's "Evening at Symphony" television series, the Grand Prix du Disque for his recording of Berlioz's Romeo et Juliette, a Grammy award and the Edison prize for his recording of the Berg and Stravinsky violin concertos with Itzhak Perlman, and several awards for his recording of Schoenberg's Gurrelieder, taped live in Symphony Hall. Recent releases with the orchestra include, from Philips, Stravinsky's he Sacre du printemps and, from CBS, a Ravel collaboration with mezzo-soprano Frederica von Stade. Slated for future release are Mahler's Symphony No. 8 and Hoist's The Planets from Philips; and, digitally recorded for Telarc, music of Beethoven— the Egmont Overture, Fifth Symphony, and, with pianist Rudolf Serkin, the Emperor Concerto. Violas Clarinets Burton Fine Harold Wright

Charles S. Dana chair Ann S. M. Banks chair Patricia McCarty Pasquale Cardillo Mrs. David Stoneman chair Peter Hadcock Eugene Lehner E-fkt Clarinet Robert Barnes Jerome Lipson Bass Clarinet Bernard KadinofT Craig Nordstrom Vincent Mauricci Bassoons Earl Hedberg Sherman Walt Joseph Pietropaolo Edward A. Taft chair Michael Zaretsky Roland Small * Marc Jeanneret BOSTON SYMPHONY Matthew Ruggiero * Betty Benthin ORCHESTRA Contrabassoon 1980/81 Cellos Richard Plaster Jules Eskin First Violins Horns Philip R. Allen chair Joseph Silverstein Charles Kavalovski Concertmaster Martin Hoherman Helen Sagoff Slosberg chair Vernon and Marion Alden chair Charles Munch chair Roger Kaza Mischa Nieland Emanuel Borok Daniel Katzen Esther S. and Joseph M. Shapiro chair Assistant Concertmaster Patterson David Ohanian Helen Horner Mclntyre chair Jerome * Richard Mackey Max Hobart Robert Ripley Ralph Pottle Robert L. Beal, and Luis Leguia Enid and Bruce A. Beal chair * Carol Procter Charles Yancich Cecylia Arzewski * Ronald Feldman Edward and Bertha C. Rose chair Trumpets * Joel Moerschel Bo Youp Hwang Rolf Smedvig * Jonathan Miller Max Winder Roger Louis Voisin chair * Martha Babcock Harry Dickson Andre Come Forrest F. Collier chair Timothy Morrison Gottfried Wilfinger Basses Trombones Fredy Ostrovsky Edwin Barker Ronald Barron Leo Panasevich Harold D. Hodgkinson chair ].P. and Mary B. Barger chair Sheldon Rotenberg Joseph Hearne Norman Bolter Alfred Schneider Bela Wurtzler Gordon Hallberg * Gerald Gelbloom Leslie Martin * Raymond Sird John Salkowski Tuba * Ikuko Mizuno John Barwicki Chester Schmitz * Amnon Levy * Robert Olson Timpani * Lawrence Wolfe Second Violins Everett Firth Marylou Speaker Sylvia Shippen Wells chair Fahnestock chair Flutes Vyacheslav Uritsky Doriot Anthony Dwyer Percussion Charlotte and Irving W. Rabb chair Walter Piston chair Charles Smith Ronald Knudsen Fenwick Smith Arthur Press Assistant Timpanist Leonard Moss Paul Fried Laszlo Nagy Thomas Gauger * Michael Vitale Frank Epstein Piccolo * Darlene Gray Lois Schaefer Harp * Ronald Wilkison Evelyn and C. Charies Marran chair Ann Hobson Pilot * Harvey Seigel * Jerome Rosen Personnel Managers Oboes * Sheila Fiekowsky William Moyer Ralph Gomberg * Gerald Elias Harry Shapiro Mildred B. Remis chair * Ronan Lefkowitz Wayne Rapier Librarians * Joseph McGauley Alfred Genovese Victor Alpert * Nancy Bracken William Shisler * Smirnoff Joel James Harper * Jennie Shames English Horn Laurence Thorstenberg Stage Manager Phyllis Knight Beranek chair Alfred Robison Participating in a system of rotated seating within each string section. WHOSBEENAVTIAL PART OF THE NEWENGLAND TRADITION SINCE 1792?

Michael G. Contompasis, Headmaster, the Boston Latin School. Founded in 1635 , the school was already 157 years old and a Boston tradition when State Street Bank and Trust Company was established. THEANSWERISSWE STREET Ensuring that a heritage is passed from one generation to the next has always been a traditional goal of the Boston Latin School, a nationally recognized part of Boston's public school system. Ensuring that your family's financial heritage is protected for future generations has been the traditional goal of State Street's personal trust program. Since 1792, generations of New Englanders have found: For quality banking, the answer is State Street.

State Street Bank and Trust Company, wholly-owned subsidiary of State Street Boston Corporation. 225 Franklin Street.

Boston. MA 02101 , (617) 786-3000. Offices in Boston. New York, London. Munich. Singapore. Personal. Corporate. International Financial Services. Investment Management. Money Market. Personal Trust. Master Trust Services. Portfolio and Shareholder Services. Securities Handling. Correspondent Banking Services. Government Services. Member FDIC.

10 FAREWELL AND THANKS

David Ohanian Ralph Pottle

Rolf Smedvig

Three Boston Symphony members will leave the orchestra at the end of the 1981 Tanglewood season: David Ohanian, a horn player with the BSO since 1970; Ralph Pottle, a horn player with the orchestra since 1966; and principal trumpet Rolf Smedvig, who has been with the orchestra since 1973.

11 For 100 years, their music has filled this great hall.

Now it can fill the nation. The Boston Symphony Orchestra. It's one of the world's best. And along with other top orchestras, it's part of the Bell System's "American Orchestras on Tour" program. Over a four-year period, this program is bringing great concert music to more than 100 American cities. And at New England

sponsor it. (^mermn&rch0r^ Because listening to beauti- / OwjOUX ful music is nice. But sharing. / ^r it is even nicer.

ua) New England Telephone BOSTON SYMPHONY ORCHESTRA

Seiji Ozawa, Music Director

Sir Colin Davis, Principal Guest Conductor

Joseph Silverstein, Assistant Conductor One Hundredth Season, 1980-81

Friday, 24 April at 2 Saturday, 25 April at 8

SEIJI OZAWA conducting

HAYDN Symphony No. 39 in G minor

Allegro assai Andante Menuet; Trio Finale. Allegro di molto

INTERMISSION

MAHLER Symphony No. 6 Allegro energico, ma non troppo / Scherzo (Wuchtig) (Weighty) Andante Finale. Allegro moderato

Friday's concert will end about 4:10 and Saturday's about 10:10.

Philips, Telarc, CBS, Deutsche Grammophon, and RCA records Baldwin piano

The program books for the Friday series are given in loving memory of Mrs. Hugh Bancroft by her daughters Jessie Bancroft Cox and Jane Bancroft Cook.

13 13 Take a seat and help make the BSO comfortable* The BSCMOO Fund was established three years ago to provide an endowment that will help support the BSO and its programs in the future. although our goal 1 And

I of $15. 7 million is now GORDON W B»/% NCI1 **k r in sight, we are still 1 \% f J-Itfwl n *%-

$1 Million short . . . and OB CHESTBA S-SO time is running out. The BSCMOO Fund Drive must be completed this year. One of the ways you can help us reach our goal is to endow a seat in Symphony Hall. In appre- ciation of your $5,000 donation, your name will be engraved on a handsome brass plaque attached to a seat. You will become a part of one of the worlds greatest concert halls, and your contribution to great music will be remembered by music- lovers in Symphony Hall for generations to come. There are other ways to show your support, too, from having your name inscribed on the Centennial Honor Roll to endowing a chair in the Orchestra. Please, stand up and be counted for the BSO- 100 Fund Drive. We need more than your applause; we need your support. For complete information on en- dowment opportunities and commem- orative gifts in the BSO-100 Fund, BSO please contact Joseph Hobbs, Director of Development, Boston Symphony lOO Orchestra, Symphony Hall, Boston, MA 02115. Tel. (617) 236-1823. ^=^y . BAB .

GOING TO SYMPHONY IS NOT GIVING TO SYMPHONY

The BSO wants you to know that subscribing to

Symphony is not commensurate with supporting it. The price of each subscription series covers only 50 percent of the costs of producing each concert. In 1979-80, there were 11,722 subscribers to Symphony, but only 2,713 of these subscribers, or 23 percent

made a contribution. Participation in each series is reflected as follows:

NUMBER OF NUMBER OF SUBSCRIBERS PERCENTAGE OF SERIES SUBSCRIBERS WHO CONTRIBUTE PARTICIPATION FRIDAY 1,515 918 61% SATURDAY 565 164 29% THURSDAY 10 1,133 272 24% TUESDAY 1,131 264 23% CAMBRIDGE (TUES.C) 1,141 255 22% THURSDAY 1,130 240 21% SATURDAY EVEN 514 88 17% SATURDAY ODD 526 80 15% THURSDAY 1,103 136 12%

As the BSO approaches its 100th- birthday season, join in the challenge of helping the Orchestra sustain its level of artistic excellence by contributing to the BSO. We welcome a contribution in any amount, but please remember that in order to break even on each concert, the average contribution must at least equal the price of your subscription series.

I (We) enclose a tax deductible contribution to the Boston Symphony Orchestra's Annual

Fund in the amount of . Please make checks payable to Boston Symphony Orchestra, Inc., and mail to the Development Office, Symphony Hall, Boston, MA 02115. NAME

ADDRESS. CITY.

STATE . ZIP CODE DAY PHONE EVENING PHONE

16 Joseph Haydn Symphony No. 39 in G minor

Franz Joseph Haydn was born in Rohrau, Lower Austria, on 31 March 1732 and died

in Vienna on 31 May 1809. He composed his Symphony No. 39 about 17 66 or 1767; the

date of its first performance, which certainly took place at Esterhaza under the composer's

direction, is unknown. It was first performed by the Boston Symphony Orchestra under Erich Leinsdorf on 17 and 18 January 1964, taken on tour the following week, and repeated at Tanglewood that summer. The

present performances are the first here since

that time. The symphony is scored for two oboes, four horns, and strings, with bassoon and harpsichord continuo. The harpsichord-

ist at these performances is John Gibbons.

Symphonies (and other works) in minor keys are relatively rare in the Classical era, and they almost always aim at the expression of somber or even tragic emotions (as opposed to the treatment of the minor only a short time earlier in the Baroque era, where minor keys were often used for works even of a quite jolly character). At the end of the eighteenth century, string quartets,

piano sonatas, and other similar works were often published in groups of six, with a bow to the minor mode in one of them. But for some reason, Haydn's output beginning in

the last half of the 1760s and continuing for a decade reveals a much greater emphasis on the minor. This change was once called a "romantic crisis" and was later labeled "Sturm und Drang." Both terms reflect the preoccupations of the scholars who use them.

"Romantic crisis" hints at the belief that biographical facts are inevitably reflected in the

music, so that if the work seems somehow more "expressive," the explanation must lie in

the composer's private life. Sturm und Drang ("storm and stress") is a literary term borrowed from the subtitle of a play by Friedrich Maximilian von Klinger to refer to a sudden outpouring of intensely subjective, egocentric plays and stories (among them the earliest large works of Goethe); applying the term to Haydn's music, however, suggests a

literary inspiration that is simply not present. In fact, most of Haydn's so-called Sturm

und Drang symphonies were composed before the literary Sturm und Drang got fairly under way.

Recently Haydn's biographer, H.C. Robbins Landon, observing that many Austrian composers contemporary with Haydn (figures once quite famous, but unknown to the modern concertgoer, like Florian Leopold Gassmann, Carlos d'Ordonez, Karl Ditters von Dittersdorf, and Johann Baptist Vanhal) underwent a similar change at about the

same time, has spoken of "the Austrian musical crisis," a general term that avoids the

biographical and literary fallacies but fails to explain the sudden surge of interest in minor keys and such accompanying expressive devices as increased syncopation, leaping melodies, a wider range of dynamic markings, and the use of contrapuntal forms. There was certainly some influence from the extravagant, even sometimes bizarre works of C.RE. Bach, whom both Haydn and Mozart ranked as a major master. But whatever the reason for this attention to the minor, the so-called Sturm und Drang symphonies of

17 Join morning pro musica's host Robert J. Lurtsema as he surveys the Boston Symphony Orchestra's 100th Anniversary sea- son through a series of informal conversations with featured soloists, conductors, and composers.

Morning pro musica is now heard coast to coast on stations of the Public Radio Cooperative in- cluding, in the New York/New England area:

WGBH (fm 90) Boston, MA WFCR(88.5fm) Amherst, MA

WAMC (90.3 fm) Albany, NY

WNYC (93.9 fm) New York, NY WVPR(89.5fm) Vermont Public Radio

WMEH (90.9 fm) Bangor, ME WMEA(90.1fm) Portland, ME

WMEM (106.1 fm) Presque Isle, ME

WPBH (90.5 fm) Hartford, New Haven, Waterbury, CT Haydn provided a concentrated opportunity to exploit a certain kind of musical expression and to develop techniques that were passed on to other composers.

In the case of Symphony No. 39 (the numbering does not accurately reflect the order

of composition), the first and last movements are high points of the new style; moreover, they introduced a new wrinkle in scoring that was later adopted by Mozart. This was the

use of four horns, two in G and two in B flat. The valveless horns of the day could play only a very limited number of notes closely related to the key in which they were

pitched. This meant that they were all but useless in those sections of the movement in which the composer has modulated away from the home tonic (which was almost always in or very near the key of the horns). By employing sets of horns in the key of the tonic and of the relative major (which would normally be the secondary key of the piece), Haydn was able to use horn sound far more significantly than would have been the case otherwise. His solution to this perpetual problem was adopted by Mozart half a dozen

years later when he wrote his "little" G minor symphony, K.183. Vanhal and J.C. Bach also modeled symphonies on Haydn's. And even when Mozart came to write his "great"

G minor symphony, K.550, his first impulse was to write for two pairs of horns, in G and

B flat; later he reduced the complement of horns to a single pair.

The opening of the first movement is masterful in its new projection of tension through the simplest of means: Haydn keeps the entire full statement of the principal theme at a hushed, piano dynamic, and inserts utterly unexpected bars of rest between

the phrases to throw the rhythmic parsing out of kilter. His attention is hypnotically

fixed on the first subject, using it also in the secondary key of B flat and in contrapuntal

extensions throughout. The slow movement, for strings only, is still somewhat old-

fashioned compared to the rest of the work. The minuet, back in G minor, is stern

enough to match the remainder of the symphony, though the Trio is unexpectedly

fuller and more lush in its scoring (usually it is the lighter element of such dance movements). The finale returns once again to the energy levels and dynamic drive of

the opening movement, with restless leaps, racing scales, and sudden dynamic shifts.

— Steven Ledbetter

Eat, Drink&Be Literary

PROPERTY MANAGEMENT RESIDENTIAL and COMMERCIAL Harvard 1384 COMMONWEALTH AVENUE BookStore Allston, Massachusetts 02134 Telephone: (617) 738-5700 Cafe Breakfast ^ through Late Supper

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19 Handel & Haydn Thomas Dunn, Artistic Director

This is your chance to get in on the ground floor (or either balcony).

George McKinnon of the Boston Globe said of Handel & Haydn's complete season's sell-out, 'It took the city's oldest musical organization to achieve the golden goal of the area's myriad subscription series.'

Now, in celebration of The Haydn Year and to meet the public demand for seats, we are doubling the number of performances at Symphony Hall.

THE BEST SEAT IN THE HOUSE WAITS FOR YOU at a price you can afford. But don't wait to reserve it. Place your order now and we will bill you later.

W %!r

J0K at SymphonyHall 19811982 Season Announcement

Thursday, October 29, 1981 * Thursday, January 14, 1982 1 Saturday, October 31, 1981 Friday, January 15, 1982

Handel / WATER MUSIC Bach / MASS IN B MINOR Haydn / CONCERT ARIAS

* Wednesday.November 18, 1981 Thursday, February 11, 1982 2 Thursday, November 19, 1981 Saturday, February 13, 1982

Haydn / PIANO CONCERTO Shostakovich / PIANO CONCERTO Haydn $c Mozart / ORGAN MASSES Haydn / TRUMPET CONCERTO Poulenc / ORGAN CONCERTO

Friday, December 11, 1981 * Wednesday, March 24, 1982 3 Sunday, December 13, 1981 6 Friday, March 26,1982

Haydn / PARIS SYMPHONIES Handel /MESSIAH Stravinsky / DUMBARTON OAKS

Thursday, April 22, 1982 SUBSCRIPTIONS 7 Saturday, April 24, 1982 $14.50 to Haydn / THE SEASONS

*Shaded areas indicate concerts that are included in the Orchestral Series.

For further details call 266-3605 or write.

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22

4*^1 Gustav Mahler Symphony No. 6

Gustav Mahler was born in Kalischt (Kaliste) near the Moravian border of Bohemia on 7 July 1860 and died in Vienna on 18 May 1911. He began composing the Sixth Symphony during his summer vacation

at Maiernigg in 1903 and finished the work

the following summer. The first performance

took place under Mahler's direction in Essen

on 27 May 1906. The first American per- formance was given by the New York Philharmonic under Dimitri Mitropoulos on

11 December 1947. The symphony entered

the repertory of the Boston Symphony Orchestra on 13-14 November 1964, when

Erich Leinsdorf conducted it here and took it

on tour. William Steinberg led the work in

1971; the most recent performances have been conducted by James Levine at Tanglewood in 1972 and in Brooklyn in 1973. The score calls for a piccolo, four flutes (third and fourth also doubling piccolo), four oboes and English horn (third and fourth oboes also doubling English horn), three clarinets, E-flat clarinet, bass clarinet, four bassoons, contrabassoon, eight horns, six trumpets, four trombones and tuba, timpani (two players), a large complement of percussion including glockenspiel, cowbells, deep bells, Rute (a brush of twigs struck upon a hard surface), wooden hammer, bass drum, side drum, triangle, cymbals, and tam-tam, xylophone, two harps, celesta, and strings.

In 1921, Paul Bekker, in the earliest really substantial study of Mahler's symphonic work, Gustav Mahlers Sinfonien, began the chapter on the Sixth Symphony by noting that at that time the trilogy of purely instrumental symphonies, Nos. 5, 6, and 7, were the works least frequently performed, and that, of these, the Sixth was the rarest of all. For many years the Sixth was the only Mahler symphony never to have been given in America (Serge Koussevitzky intended to remedy that defect in 1933, but apparently was unable to make arrangements with the Leipzig publisher for the parts; it remained for Dimitri Mitropoulos to introduce the symphony to America in 1947, and by then the problems were different: the publisher's original parts had been destroyed in wartime bombings, so new parts had to be copied from the score). Until quite recently, when, true to the composer's own prediction, his time came (with a vengeance), these

"middle" symphonies were still rarely heard. The ice was broken mostly by the

Adagietto movement of the Fifth Symphony, which almost attained a life of its own, but gradually all of them have entered the repertory of the major orchestras and have been recorded several times each. Today it is the Seventh Symphony, in many ways the most problematic and least satisfactory of Mahler's mature works, that is the stepchild of his new popularity; the Sixth has come to be quite firmly established.

Possibly part of the reason for the neglect of the middle symphonies was that audiences found it easier to follow Mahler's highly original approach to symphonic writing when provided with an explicit program (such as those he had produced for the

First and Third symphonies before choosing to suppress them) or with a text (as in the Second, Third, Fourth, and Eighth). His dazzlingly complex and ingenious instrumental symphonies simply overwhelmed the senses, especially before the development of the long-playing record, when one had to catch them at infrequent performances. No —

composer has benefited so much from the development of the recording as Mahler, simply because listeners can now live with his demanding works until they begin to reveal their secrets. We might have expected that the Sixth would be easier to

comprehend than the others, if only because it is one of Mahler's rare productions to follow the traditional four-movement symphonic form, but the somber and disturbing

emotional quality of the score seems to have acted against it. Although Mahler avoided revealing any kind of program for the three symphonies, he did allow the Sixth to be performed with the epithet Tragic; later he removed even that much of a hint. The

mood is, in any event, self-evident, since it is the only Mahler symphony to end unrelievedly in the minor. All the others, even when they start in the minor, proceed to blazing triumph or, at least, to gentle, poignant resignation — in the major mode. But though the fatalism of the ending — for Mahler was indeed a fatalist — may depress listeners who look instead for transfiguration, writers on Mahler increasingly rank the Sixth, taken as a whole, as his greatest symphonic achievement. The composer himself

found the work almost too moving to bear and predicted — correctly, as it turned out

that the Sixth would languish in obscurity until the world knew his first five symphonies.

We might very well wonder why Mahler wrote a "tragic" symphony in 1903 and 1904.

As is usually the case with such queries, the answer is by no means simple; indeed,

perhaps no explanation is possible. On the face of it, tragedy should have been the thing furthest from Mahler's mind. He had married Alma Schindler, around whom his

life henceforth revolved, on 9 March 1902, and their first daughter, Maria, was born in November. The year was one of increasing professional acclaim for Mahler the composer, with the enormously successful premiere of the Third Symphony in Krefeld in May. (As a conductor he had already reached a pinnacle, having served as music director of the Vienna Opera since 1897.) And he had begun composing with renewed vigor after his wedding, spending his summer vacations from the opera house engaged

in feverish creative activity.* The Fifth Symphony, composed during the first summer

after his wedding, is aptly characterized by Michael Kennedy as Mahler's Eroica, a

* We apparently owe at least part of Mahler's new-found prolificacy to the influence of Alma and

the joys of conjugal bliss and stable family life. During the twenty years before his wedding,

Mahler wrote four symphonies (and part of a fifth), a cantata, and some songs; in just five years

after, he completed the Fifth, then went on to write the monumental Sixth, Seventh, and Eighth symphonies as well.

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24 symphonic conquest. But the Sixth, composition of which occupied the next two summers, is quite a different matter. The symphony is rilled with the heavy tread of marching, with dotted rhythms, and, above all, with a motto idea that consists simply of an A major triad that suddenly turns to minor. This major-to-minor motto functions on the smallest scale as a metaphor for the mood of the entire work, which several times in the last movement seems about to culminate in the major mode but finally shrinks from so positive a conclusion and ends tragically — but with defiance — in A minor. We have a tendency, ex post facto, to think of Mahler as a death-obsessed neurotic, virtually incapable of living in the real world but rather pouring out his anguish, longing, and intimations of mortality in his work. To a considerable extent these views derive from Alma's memoirs, which are an indispensable source but must be used with extreme caution, since she had every reason to build up her own role in "sustaining" the composer through his tribulations. Until his heart lesion was discovered in 1907 Mahler maintained a vigorous summer regimen of swimming, hiking, and mountain climbing, activities put in the service of generating and working out his musical ideas. Even Alma recalls that the two summers during which he composed the Sixth were emotionally untroubled. Of 1903, she said:

Summer had come, and with it we resumed our life at Maiernigg and its unvarying

and peaceful routine. Mahler soon began working. This time it was the first sketches for the Sixth Symphony. He played a lot with our child, carrying her about and holding her up to dance and sing. So young and unencumbered he was in those days.*

*Mahler built a summer house at Maiernigg on the shores of Lake Worth, in Carinthia, where Brahms before him had summered when he wrote his Second Symphony, Violin Concerto, and G major violin sonata. Later, Alban Berg was happy to be writing his own Violin Concerto on the shores of the same lake. — S.L.

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25 Of 1904, the summer in which Mahler finished the symphony, Alma noted only that it was "beautiful, serene, and happy." (Their second daughter had been born that June.) Only one thing upset her — or so she remembered years later: in both summers Mahler set to music some poems by Friedrich Riickert dealing with the death of children.

I found this incomprehensible. I can understand setting such frightful words to

music if one had no children, or had lost those one had. Moreover, Friedrich Riickert did not write these harrowing elegies solely out of his imagination: they

were dictated by the cruellest loss of his whole life. What I cannot understand is

bewailing the deaths of children, who were in the best of health and spirits, hardly

an hour after having kissed and fondled them. I exclaimed at the time: "For heaven's sake, don't tempt Providence!"*

The result, of course, was his greatest song cycle, Kindertotenlieder, which was thus being conceived and composed at the same time as the Sixth Symphony.

*Mahler's interest in Ruckert's poems was anything but ghoulish and only in retrospect can be seen as "tempting Providence." He was one of fourteen children, of whom only six survived to adulthood, so there was ample experience in his own childhood to develop an empathy toward

the poems. In any case, his settings, among the most restrained and subtle of all his songs, entirely avoid the exploitation or bathos that are the dangers in attempting to deal with such a topic. -S.L.

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26 Alma claimed similar forebodings upon hearing the completed symphony. (Despite the lengthy gestation period, encompassing two summers, she did not hear the work in progress; Mahler composed in a distant, private little hut in the wood and refused to play his music to anyone before it was finished: "An artist could no more show unfinished work than a mother her child in the womb.") On the day that Mahler finally announced the work to be finished, Alma rushed to get everything done in the house, then walked with him arm-in-arm to the little hut, where he played the whole thing for her.

Not one of his works came so directly from his inmost heart as this. We both wept

that day. The music and what it foretold touched us so deeply. The Sixth is the most completely personal of his works, and a prophetic one also. In the Kindertotenlieder,

as also in the Sixth, he anticipated his own life in music. On him too fell three blows

of fate, and the last felled him. But at the time he was serene; he was conscious of the greatness of his work. He was a tree in full leaf and flower.

We may well believe that the two were overcome by the deep personal expressiveness of this music, but the reference to "what it foretold" is surely wisdom after the fact. The last movement contained, at three decisive points, a single powerful stroke with a

Alma and Gustav Mahler about 1903

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hammer, the instrument being introduced into the score of the symphony solely for

these three notes. According to Alma, the composer described the movement, with its hammer strokes, as "the hero, on whom fall three blows of fate, the last of which fells

him as a tree is felled." With the hindsight of one writing her memoirs, Alma saw three "hammer strokes" that struck Mahler himself in the year 1907 (though her description of the events, which has been followed by most writers, telescopes the time span and gives the impression that the blows came directly one after the other): his resignation from the Vienna Opera in the face of mounting opposition to his reforms, the sudden and devastating death of his elder daughter Maria, at age four-and-a-half, from scarlet fever and diphtheria, and the discovery of his own serious heart condition — the blow

that "felled him." Still, though Alma and Mahler may not have reacted with foreboding

when she first heard the music, the composer after 1907 came to be superstitiously afraid

of the three hammer strokes, and eventually removed the last, "mortal" blow. As the

score is printed in the critical edition of Mahler's works, there are only two such strokes, though many conductors choose to reinstate the missing one. (The present perfor-

mances will contain all three.)

Mahler's use of percussion in the Sixth Symphony provoked ridicule from many critics and, in January 1907, this response from a cartoonist, who portrayed the composer as miffed at having left out a "motor horn" from his percussion battery

29 The hammer blows presented a problem at the first performance. During the rehearsals it was discovered that they could not be heard to proper effect, and the performers tried striking the hammer against various objects (including a specially constructed drum of Mahler's own invention) to improve audibility, but none of them seems to have been entirely satisfactory. The Dutch conductor Willem Mengelberg wrote to the composer with a suggested solution, for which Mahler thanked him in a letter promising to try it when he conducted the symphony in Amsterdam and planning perhaps to add a note to the score by way of explanation. Unfortunately

Mahler never did conduct the Sixth in Amsterdam, Mengelberg's letter to him is lost (so we do not know what his suggestion was), and the composer never changed the explanation in the score, which states simply that the hammer blow should be a "short, strong, but dully reverberating stroke of a non-metallic character (like an axe-stroke)."

Thus the problem of creating the appropriate sound is left, in each case, to the performers.

Alma's memoirs recall the emotions aroused in the composer as he prepared the orchestra for the first performance of the Sixth, to be held at a festival of the United German Music Society in Essen, and the utter insensitivity of the other important composer there, Richard Strauss:

We came to the last rehearsals, to the dress-rehearsal — to the last movement with its

three great blows of fate. When it was over, Mahler walked up and down in the

artists' room, sobbing, wringing his hands, unable to control himself. Fried,

Gabrilovitch, Buths, and I stood transfixed, not daring to look at one another.

Suddenly Strauss came noisily in, noticing nothing. "Mahler, I say, you've got to conduct some funeral overture or other tomorrow before the Sixth — their mayor has died on them. So vulgar, that sort of thing — But what's the matter? What's up with — you? But " and out he went as noisily as he had come in, quite unmoved, leaving us

petrified.*

Apparently one result of Mahler's highly wrought-up reaction to the dress rehearsal was that he did not conduct the premiere itself well, fearing to underline the significance of the last movement. The response of the critics was not especially favorable, with

* Alma had an intense dislike for Strauss and his bourgeois vulgarity, and she had no aversion to

showing it. In any case, Strauss's absorption with his royalties and percentages was not conversa- tional matter congenial to the Mahlers. — S.L.

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One reason for their enthusiasm is that here Mahler achieves his most successful balance between the claims of dramatic self-expression, which is always at the core of his music, and architectural formality. It is, in fact, one of the most striking things about the

Sixth that it is at once deeply personal and classically formal. Three of the four movements are in the tonic key of A minor, the only exception being the slow movement (a symphonic tradition going all the way back to Haydn, though rarely maintained at the end of the nineteenth century). The sinister opening bars introduce the constantly recurring motives of the steady tramping in the bass and a dotted rhythm. The formal exposition (which is repeated, as in earlier classical symphonies) adds to these motives a melody opening with a downward octave leap and more marching, leading to the first explicit statement of the "motto" mentioned earlier. Orchestral timbre plays as important a part as the change from major to minor in coloring this idea: three trumpets attack the A major chord fortissimo but die away to pianissimo as it turns to A minor; three oboes, entering on the same chord, grow from pianissimo to fortissimo, so that the heroic brassy sound of the major chord gradually shifts to the expressive nasality of the double reed. A chorale-like theme in the woodwinds, punctuated by light pizzicato strings, leads to F major and the passionate

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34 second theme (which, according to Alma, was the composer's attempt to depict her), soaring in the violins and upper woodwinds. After a full repeat of the exposition, the development gets underway with rich contrapuntal interchanges between the various thematic ideas. Among the most poetic passages is the surprising appearance of cowbells playing against soft chords in the celesta and high, triple-piano tremolo chords in the violins. Mahler, the ardent alpinist, had no doubt heard the sound of cowbells many times echoing up to him through the clear mountain air; he considered them "the last earthly sounds heard from the valley far below by the departing spirit on the mountain top." But in the score he adds a careful footnote that "the cowbells must be handled very discreetly — in realistic imitation of a grazing herd, high and low-pitched bells resounding from the distance, now all together, now individually. It is, however, expressly noted, that this technical remark is not intended to provide a programmatic explanation." The first movement ends with the "Alma" theme in a temporarily consoling A major.

The middle two movements raise special problems. Mahler originally placed them in the order Scherzo — Andante. Later on he was persuaded that the thematic material of the scherzo was too similar to that of the first movement, and that the order of the middle movements should be reversed for greater variety. The symphony was originally published with the score in that revised sequence. But Mahler himself was not permanently convinced, and apparently he changed his mind on this point repeatedly (sometimes even in the middle of a rehearsal). Arguments can be made either way, but in the end — as the critical edition of Mahler's symphony indicates — the composer finally decided for a reversion to the original order, though the publisher of the first edition never printed the insert sheet that was supposed to explain this fact. In any case, the present performances will use the order that was Mahler's original, and final, choice.

The scherzo opens with an explicit reminiscence of the tramping bass of the opening

movement, and follows it with recollections of other material, now occasionally in a slightly parodistic mode (especially the sarcastic trills of the woodwinds). The Trio, marked Altv'dterisch ("in an old-fashioned style"), features the oboe in a charming passage written in irregular rhythms. According to Alma's memoirs, this section

"represented the arhythmic games of the two little children, tottering in zigzags over the sand." Here again, she found the ending to be ominous and foreboding, dying away

enigmatically, as it does, into A minor and silence.

The Andante moderato, in E flat major, provides the one real passage of consolation

in the symphony (significantly, this occurs in the key that is farthest away from A

minor), though the melodic material is akin to one of the Kindertotenlieder. By placing the Andante here, in third position, Mahler prepares a wonderful contrast for the

beginning of the crushing finale. The slow movement ends softly and lyrically in E flat; the finale begins in the relative minor of that key, C minor — one of Mahler's favorite expressive tonal relationships. A soaring violin theme, beginning with a rising octave, mirrors the falling octave of the first-movement theme. In this finale, Mahler establishes on an imposing scale a contrapuntal texture bringing together elements from through-

out the symphony, especially the first movement. A development section builds toward

a massive climax in D major, but just at the point of arrival the first hammer blow breaks

off the cadence and the major shifts suddenly to minor for a new and still more urgent development. Building to a passage of pure, almost Palestrinian counterpoint in A, the

climactic cadence to D is once again interrupted by the hammer stroke and a deceptive

cadence onto B flat. Another return to the introduction builds a climax in A major,

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36 which bids fair to hold to the triumphant conclusion of the symphony; this is the point

where the third and final hammer stroke is called for (even if it is omitted from a

performance, as it is from the critical edition, the point is marked by the thunderous return of the marching timpani figure from the opening movement),* following which

the only response is a complete collapse, as the brass and woodwinds sound once more the A minor triad — the conclusion of the motto figure — while the heavy timpani march dies away in sullen silence to a soft pizzicato A in the strings.

-S.L.

*The fact that this point is so strongly marked by the timpani and the "motto" seems to me a good

reason for retaining the third hammer blow to complete the sequence; after all, the tragic collapse

occurs here with or without it (this can hardly be overlooked), and leaving it out is not so much a musical decision as a bow to Mahler's superstition.

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38

I .Vfc-V More . . .

Books on Haydn are either small or very large. The best short introduction is Rosemary Hughes's Haydn in the Master Musicians series (Littlefield paperback); at the opposite end of the scale is the mammoth five-volume study by H.C. Robbins Landon, Haydn:

Chronology and Works (Indiana), which is now available complete. Symphony No. 39 is discussed in volume II. There is really only one choice of recording for Symphony No.

39, and that is Antal Dorati's with the Philharmonia Hungarica, which is available only as part of a six-record set containing Haydn's symphonies 36-48 (though at a budget price on London Stereo Treasury); the set is enhanced by a splendid booklet of notes written by H.C. Robbins Landon. The only other available recording, by Leslie Jones with the Little Orchestra of London (Nonesuch), also contains symphonies 3 and 73; it is somewhat less polished than the Dorati, though its availability as a single is an undeniable attraction. Neville Marriner's wonderful performance with the Academy of

St. Martin-in-the-Fields has been inexplicably deleted from the current catalog (Philips, with symphonies 47 and 22).

The best place to start reading about Gustav Mahler is Paul Banks's superbly insightful article in the New Grove. Next, a little larger, is the splendid short study Mahler by Michael Kennedy in the Master Musicians series (Littlefield paperback). Still going by increasing size, we come to Kurt Blaukopf's biography, a readable journalistic account (London), and Egon Gartenberg's, which is especially good on the Viennese milieu if somewhat trivial on the music (Schirmer). Two of the largest Mahler projects are still torsos and do not yet reach the period of the Sixth Symphony. Henry-Louis de

La Grange's Mahler is extremely detailed and may, when completed, well become the standard biography (Doubleday). Donald Mitchell's perceptive study runs so far to volumes on the early years and the Wunderhorn years (California). Alma Mahler's memoirs And the Bridge is Love (Harcourt Brace Jovanovich) and her Gustav Mahler: Memories and Letters (U. of Washington paperback) are essential, but they must be treated with caution and some skepticism. The most recent edition of the latter book provides important corrections and notes by Donald Mitchell and Knud Martner. Martner has also published Gustav Mahler: Selected Letters (Farrar, Straus and Giroux), containing many letters not included in Alma Mahler's selection (plus all of those), though it is still not the complete edition of Mahler letters we need. Of the numerous available recordings, I have a special fondness for Leonard Bernstein's dynamic and Angst-ridden performance with the New York Philharmonic (Columbia, coupled with the Ninth Symphony), the version from which I first learned this work. Jascha Horenstein offers a quite different approach — considerably slower, for one thing, but mellow and beautifully shaped — at a bargain price on Nonesuch, though the Stock- holm Philharmonic is not in the same virtuoso class as the other orchestras that have recorded the work. Claudio Abbado's recent recording with the Chicago Symphony (DG) boasts recorded sound with clear projection of the polyphonic textures. -S.L.

39

mi ,

ANNOUNCING A SEASON TO CELEBRATE!

The BSO's 1 981 -82 season—the Orchestra's lOOth-birthday year —will comprise a glorious season of concert programs, guest conductors and soloists/ highlighted by a dazzling series of centenniai celebrations. Under Music Director Seiji Ozawa, a gala centennial concert with the unprecedented appearance of five of the world's most renowned soloists will take place at Symphony Hall, in addition to a free public performance of Beethoven's Ninth on the Boston Common. The coming season will feature world premieres of two centennial commissions; a retrospective of past masterpieces premiered over the last century by the BSO, and a range of repertoire from Berlioz to Bruckner, Bizet to Brahms, .-* Beethoven to Berio. Share in the tradition of the past 100 years, the excitement of the present, and the anticipation of a second century of excellence subscribing to by

O Sf SYM PHONY IB Q_J O ^B. O RCH E STRA 1

1980-81 SEASON SUMMARY

WORKS PERFORMED DURING THE BOSTON SYMPHONY ORCHESTRA'S 1980-81 SUBSCRIPTION SEASON

Week

ANTONIOU Circle of Thanatos and Genesis (world premiere) 13 MICHAEL BEST, tenor MAC MORGAN, narrator TANGLEWOOD FESTIVAL CHORUS, JOHN OLIVER, conductor

BACHJ.S. St. John Passion, BWV 245 21 KENNETH RIEGEL, tenor (Evangelist)

BENJAMIN LUXON, baritone (Jesus) SHEILA ARMSTRONG, soprano JAN DeGAETANI, mezzo-soprano JOHN ALER, tenor JOHN SHIRLEY-QUIRK, bass-baritone TANGLEWOOD FESTIVAL CHORUS, JOHN OLIVER, conductor BARTOK Concerto for Orchestra

Duke Bluebeard's Castle, Op. 1

YVONNE MINTON, mezzo-soprano (Judith) GWYNNE HOWELL, bass-baritone (Bluebeard)

Piano Concerto No. 1 19 MAURIZIO POLLINI, piano

Piano Concerto No. 2 6 ALEXIS WEISSENBERG, piano

Piano Concerto No. 3 17 PETER SERKIN, piano BEETHOVEN Overture from the Incidental Music to Goethe's Egmont, Op. 84 13

Piano Concerto No. 3 in C minor, Op. 37 1 RUDOLF SERKIN, piano

Piano Concerto No. 5 in E flat, Op. 73, Emperor 13 RUDOLF SERKIN, piano

Symphony No. 2 in D, Op. 36 7 Symphony No. 5 in C minor, Op. 67 13 Symphony No. 7 in A, Op. 92 13,18

41 We wish the BSO A second century

As brilliant as the first.

When the BSO plays We are treated to balance Discipline and creativity

That's how we Manage your money And help you Conduct your financial affairs.

U/T United States Trust Company

Trust Department 40 Court Street, Boston (617) 726-7250 1

Hi " ' HI BUI HH

BERIO Four original versions by Luigi Boccherini of his Ritirata notturna di 16 Madrid, superimposed and transcribed for orchestra

BERLIOZ

Le Corsaire Overture, Op. 2 2 |

Les Francs-juges Overture, Op. 3 Providence III BERNSTEIN

Divertimento for Orchestra (world premiere; commissioned by the 1

Boston Symphony Orchestra for its centennial) BLOCH

Schelomo 7

JULES ESKIN, cello BRAHMS Academic Festival Overture, Op. 80 11

Serenade No. 2 in A, Op. 16 14

Symphony No. 1 in C minor, Op. 68 10

Symphony No. 2 in D, Op. 73 Providence III BRITTEN

Passacaglia and Four Sea Interludes from the opera Peter Grimes, 12 Op. 33 CHIHARA Concerto for Saxophone and Orchestra (world premiere) 14 HARVEY PITTEL, saxophone COPLAND

Dance Symphony 7

Short Symphony (No. 2) 16 DAVIES

Symphony No. 2 (world premiere; commissioned by the Boston 18

Symphony Orchestra for its centennial) DEBUSSY La Mer, Three symphonic sketches 9 Prelude to "The Afternoon of a Faun" 9 DVORAK Symphony No. 4 in D minor, Op. 13 12

Symphony No. 8 in G, Op. 88 2

FINE Symphony (1962) 4 HARRIS

Third Symphony 5

43 This is a Coach Bag It is one of twenty-six small, medium and large Shoulder Bags, Pouches, Clutches, Totes, Satchels and Portfolios that we make in ten colors of real Glove Tanned Cowhide. Coach® Bags are sold in selected stores throughout the country. If you cannot find the one you want in a store near you, you can also order it directly from the Factory. For Catalogue and Store List write or call: Consumer Service, Coach Leatherware, 516 West 34th St., New York City 10001. Tel: (212) 594-3914. HAYDN Symphony No. 39 in G minor 22 Symphony No. 94 in G, Surprise 16 Symphony No. 96 in D, Miracle 4 HINDEMITH Symphony, Mathis der Maler MAHLER Symphony No. 6 22 Symphony No. 8 3

FAYE ROBINSON, soprano (Magna peccatrix) JUDITH BLEGEN, soprano (Una poenitentium)

DEBORAH SASSON, soprano (Mater gloriosa) FLORENCE QUIVAR, mezzo-soprano (Mulier Samaritana) LORNA MYERS, mezzo-soprano (Maria Aegyptiaca) KENNETH RIEGEL, tenor (Doctor Marianus)

BENJAMIN LUXON, baritone (Pater ecstaticus) GWYNNE HOWELL, bass-baritone (Pater profundus) TANGLEWOOD FESTIVAL CHORUS, JOHN OLIVER, conductor BOSTON BOY CHOIR,

THEODORE MARIER, director BROOKLYN BOYS CHORUS,

JAMES MCCARTHY, director JAMES DAVID CHRISTIE, organ MENDELSSOHN

Symphony No. 4 in A, Op. 90, Italian Violin Concerto in E minor, Op. 64

ISAAC STERN, violin MOZART

Overture to The Abduction from the Seraglio 10 (insert) Piano Concerto No. 12 in A, K.414 20 RADU LUPU, piano

Piano Concerto No. 22 in E flat, K.482 10 EMANUEL AX, piano

Piano Concerto No. 25 in C, K.503 12 GARRICKOHLSSON, piano

Rondo in D for piano and orchestra, K.382 17 PETER SERKIN, piano Serenade No. 6 in D, K.239, Serenata notturna 20 Symphony No. 38 in D, K.504, Prague 9,10 MUSSORGSKY/RAVEL

Pictures at an Exhibition

45 Drexel Burnham Lambert salutes the BSO on its centennial.

And the city of Boston itself. For we believe that Boston is a sound investment. And we back our opinion by invest- ing our own capital in Boston's future. Newcomers to Boston by BSO standards, we are nonetheless proud that our Boston office is celebrating its ninth year of operation. We welcome the opportunity to dis- cuss your investment strategy. And our worldwide range ofinvestment products. \bu see, Drexel Burnham Lambert is a big international investment banking and securities firm. But not too big. For we knowyour future determines our future. And we're delighted our future includes Boston.

Drexel Burnham Lambert

MEMBER Of PRINCIPAL STOCK AND COMMODITY EXCHANGES

For more information, write or call: Joseph A. Simons, First Vice President and Manager, Drexel Burnham Lambert, Shawmut Bank Building, One

Federal Street, Boston, MA 02110 (617 ) 482-3600. Offices in principal financial centers worldwide.

46 PAINE Mass in D 15 PHYLLIS BRYN-JULSON, soprano D'ANNA FORTUNATO, mezzo-soprano JOHN ALER, tenor JOHN CHEEK, bass-baritone NEW ENGLAND CONSERVATORY CHORUS, LORNA COOKE deVARON, conductor PROKOFIEV Violin Concerto No. 2 in G minor, Op. 63 PETER ZAZOFSKY, violin RAVEL

Daphnis and Chloe, Suite No. 2 17

Rapsodie espagnole 19, Providence III ROUSSEL Symphony No. 3 in G minor, Op. 42 14 SCHOENBERG Variations for Orchestra, Op. 31 9 SCHUBERT

Symphony No. 5 in B flat, D.485 20 Symphony No. 6 in C, D.589 19 SCHUMAN Symphony No. 3 SHOSTAKOVICH

Symphony No. 5, Op. 47 11

Symphony No. 10, Op. 93 8 SKRYABIN

Prometheus, The Poem of Fire, Op. 60 16 STRAVINSKY

Symphony in Three Movements 17 TCHAIKOVSKY

Violin Concerto in D, Op. 35 18

JOSEPH SILVERSTEIN, violin TUBIN

Symphony No. 10 11 WEBERN

Passacaglia for Orchestra, Op. 1 10

47 TheBoston Symphony Orchestra,

At your place. Friday night.

Tune in at9p.m.WCRB 102.5 FM A Honeywell presentation

Honeywell is also sponsoring the Pops this summer on WGBH-TV, Channel 2, Sundays at 8 p.m. CONDUCTORS OF THE BOSTON SYMPHONY ORCHESTRA DURING THE 1980-81 SUBSCRIPTION SEASON

Week

SEIJI OZAWA, Music Director 1,2, 3,6, 7,8, 13,14,18,21,22

SIR COLIN DAVIS, Principal Guest Conductor 19, Providence III, 20 JOSEPH SILVERSTEIN, Assistant Conductor 4

JAMES CONLON 12 DENNIS RUSSELL DAVIES 16 CHARLES DUTOIT 17 NEEMIJARVI 11 ERICH LEINSDORF 9,10 EUGENE ORMANDY 5 GUNTHER SCHULLER 15

6 floors and 12 unusual shops

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Hours: Open Daily 10 a.m. - 5 p.m.

49 The Colonnade. In Concert.

Banking for Bostonians since %.. 1833.

Those who make a point of attending performances at Symphony Hall often make a point of stopping at The

Colonnade Hotel. This is partly because the two are so close. And because Zachary's always has a special table d'hote menu for those who wish to dine before the performance. Afterwards, the Cafe Promenade serves lighter fare and superb desserts. For those who wish a nightcap and danc- ing, the Bar at Zachary's has classic contemporary jazz. But we expect the real reason so many people include

The Colonnade in their plans is because of the high level of performance they expect, both in music, and in life.

THE COLONNADE BOSTON'S EUROPEAN Suffolk Franklin GRAND HOTEL ln-hotel parking Savings Bank available. 45 Franklin Street, Boston, MA 02110 Tel. (617) 482-7530 A Mutual Savings Bank Member FDIC/DIFM

50 SOLOISTS WITH THE BOSTON SYMPHONY ORCHESTRA DURING THE 1980-81 SUBSCRIPTION SEASON

Week

ALER, JOHN, tenor 15,21 ARMSTRONG, SHEILA, soprano 21 AX, EMANUEL, piano 10 BEST, MICHAEL, tenor 13 BLEGEN, JUDITH, soprano 3 BRYN-JULSON, PHYLLIS, soprano 15 CHEEK, JOHN, bass-baritone 15 CHRISTIE, JAMES DAVID, organ 3 DeGAETANI, JAN, mezzo-soprano* 21 (insert) ESKIN, JULES, cello 7 FORTUNATO, DANNA, mezzo-soprano 15 HOWELL, GWYNNE, bass-baritone 3,6 LUPU, RADU, pianist 20 LUXON, BENJAMIN, baritone 3,21 MINTON, YVONNE, mezzo-soprano 6 MORGAN, MAC, narrator 13 MYERS, LORNA, mezzo-soprano 3 OHLSSON, GARRICK, piano 11 PITTEL, HARVEY, saxophone 14 POLLINI, MAURIZIO, piano 19

QUIVAR, FLORENCE, mezzo-soprano 3 RIEGEL, KENNETH, tenor 3,21

ROBINSON, FAYE, soprano 3

SASSON, DEBORAH, soprano 3 SERKIN, PETER, piano 17 SERKIN, RUDOLF, piano 1,13 SHIRLEY-QUIRK, JOHN, bass-baritone 21 SILVERSTEIN, JOSEPH, violin 18

STERN, ISAAC, violin 1 WEISSENBERG, ALEXIS, piano 6 ZAZOFSKY, PETER, violin

BOSTON BOY CHOIR, THEODORE MARIER, director BROOKLYN BOYS CHORUS, JAMES McCARTHY, director NEW ENGLAND CONSERVATORY CHORUS, 15 LORNA COOKE deVARON, conductor TANGLEWOOD FESTIVAL CHORUS, 3,13,21 JOHN OLIVER, conductor *Lorna Myers indisposed

51 1

WORKS PERFORMED AT SYMPHONY HALL CHAMBER PRELUDES DURING THE 198081 SUBSCRIPTION SEASON

Week

BARTOK Duos for two violins 17

String Quartet No. 3 19 BEETHOVEN Cello Sonata in A, Op. 69 13

Trio in B flat for clarinet, cello, and piano, Op. 1 13

Violin Sonata in A, Op. 31, No. 1 7 BLOCH

Baal Shem, Three pictures of Hasidic life 7 Suite for viola and piano 16 BOCCHERINI Sonata in C minor for viola and piano 16 BRAHMS Trio in B for violin, clarinet, and piano, Op. 8 10

Violin Sonata No. 3 in D minor, Op. 108 11 BRITTEN Sonata for cello and piano, Op. 65 12 COPLAND Duo for flute and piano DONIZETTI Sonata in G minor for violin and harp 11 HAYDN

Divertimento in G for flute, violin, and cello, Op. 100, No. 4 (Hob. IV:9) LECLAIR

Sonata in E minor for two violins, Op. 3, No. 5 17 MENDELSSOHN Trio in C minor for piano, violin, and cello, Op. 66 RAVEL

String Quartet in F 19 SCHUMANN

Trio No. 1 in D minor for piano, violin, and cello, Op. 63 12 SAINTSAENS

Fantaisie, Op. 124, for violin and harp 11

52 1

SHOSTAKOVICH

String Quartet No. 7, Op. 108

Sonata for viola and piano, Op. 147 TELEMANN Canonic Sonata in D for two violins 17 WEBERN

Four Pieces for violin and piano, Op. 7 10

Three Small Pieces for cello and piano, Op. 1 10 WIENIAWSKI

Etudes-caprices, Op. 18, Nos. 1 and 4 17

We'll . . .and do this with a smile and service by professionals. Where simmer else can you see over 50 fans you down all on display? Fans by Casa- and warm blanca, Emerson and Nutone. you up Where? Standard Electric. with our 1339 MAIM STREET paddle WALTHAM* 890-1050 fans From route 128, take exit 49. Follow the signs

to route 1 17 The people who light up route 128

daily. . . Open Wed Thurs Fn Evenings 8 30 p m . Sat 4pm

53 Jordan marsh New England has a store of its own. " A UNIT OF ALLIED STORES CHAMBER PRELUDE PERFORMERS DURING THE 1980-81 SUBSCRIPTION SEASON

Week

BABCOCK, MARTHA, cello 12 BRACKEN, NANCY, violin 8 DEVEAU, DAVID, piano 16 ESKIN, VIRGINIA, piano 12 FELDMAN, RONALD, cello 10 FIEKOWSKY, SHEILA, violin 8 FRANCESCO STRING QUARTET 19

(Bo Youp Hwang, violin; Ron Wilkison, violin; Robert Barnes, viola; Joel Moerschel, cello) GRAY, DARLENE, violin 4 HADCOCK, PETER, clarinet 13 HOBSON PILOT, ANN, harp 11 KADINOFF, BERNARD, viola 8

LEVY, AMNON, violin 7 McCARTY, PATRICIA, viola 16 MILLER, JONATHAN, cello 13 MIZUNO, IKUKO, violin 11 O'RILEY, CHRISTOPHER, piano 7,10 PROCTER, CAROL, cello 4 RIPLEY, ROBERT, cello 8 ROSEN, JEROME, violin 10 SCHAEFER, LOIS, flute 4 SEIGEL, HARVEY, violin 12

SMITH, FENWICK, flute 7

SPEAKER, MARYLOU, violin 17

URITSKY, VYACHESLAV, violin 17

WANGER, FREDRIK, piano 11

WOLF, ANDREW, piano 13

WRIGHT, ELIZABETH, piano 4 YAMPOLSKY, TATIANA, piano ZARETSKY, MICHAEL, viola

55 Itf. !'H* 1 .^&^'.x^V

$$RP1

Bequests to the BSO

Over the years, the Boston Symphony Orchestra has been the recipient of bequests from many friends who have in this way associated themselves with the continuing life of the BSO. Every bequest, however modest, has been welcome and important. The Boston Symphony Orchestra will be glad to assist in every possible way and review the phrasing of any proposed form of bequest to the BSO. A bequest to the Orchestra may take one of several forms. An unrestricted bequest to the BSO may be worded: "I give to the Boston Symphony Orchestra, Boston, Massachusetts, worded: "I give to the Boston the sum of . . . dollars." A bequest for a specific purpose may be

Symphony Orchestra, Boston, Massachusetts, the sum of . . . dollars, the income to be used for ..." A residuary bequest may be worded: "All the rest, residue and remainder of my real and

personal estate, I give to the Boston Symphony Orchestra, Boston, Massachusetts."

A bequest to the BSO may save you many dollars in estate taxes and probate costs. For further information or assistance, please contact the Symphony Hall Development

Office, Symphony Hall, Boston, Massachusetts 02 1 1 5, or call 266- 1 492, ext. 131.

Return to Victorian splendor. To fine mines and attentive service. To gracious, intimate dining. To Delmonico's.

July 5 through 19 at Williams College, Williamstown, Mass. or July 12 through 26 and August 2 through 16 at Skidmore College, Saratoga Springs, N.Y.

Choose your week or weekend! Pro- DELMHGOS gram includes Boston Symphony, Wil- liamstown Theater, Jacob's Pillow, Philadelphia Orchestra, New York City Ballet and much more! Seminars in Art History, Music, Political Science, Psy- chology, Philosophy. Literature, Mo- Continental classics expertly flamed dern Dance. Optional in-depth work- shops in music, drama, art. Swimming, at your table. Valet parking. tennis and golf. Dormitory rooms, limi- - Monday Friday, 5-10pm ted apartments or private suites avail- Saturday, 5-1 1pm able. Fee includes 3 full meals daily and Sunday Brunch, 8am-3pm transportation to all evening events where necessary. Write for brochure.

Aliens Lane Art Center (Dept. B) The Lenox Hotel Aliens Lane & McCallum St. Prudential Center at Copley Square Phila. PA. 19119 (215) 247-7727 Boston 536-2200

57 "I was supposed to go shopping, stop at the library, TucrerAnthony TUCKER. ANTHONY 4 R L DAY. INC do all kinds of things that day. But sometimes it's more important just to listen." Serving Investors from 29 offices in the U.S. and abroad. Since 1892.

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Since 1947 New York Stock Exchange, Inc. and Other Simple. Understated. That's the beauty of our superb Principal Securities Exchanges. classic clothes. Visit our stores in Mass., Conn., New York and Venn. And ask for ourfree catalog. Or call toll-free 800-225-8200 (in Mass. call 800-232-8181) or write The Talbots, Dept. 1L, Hingham, MA 02043.

HOW APPROPRIATE TO CELEBRATE THE SYMPHONY'S 100TH BIRTHDAY WITH THE TOAST OF THE TOWN.

THE CAFE AT THE RITZ.

SERVING COCKTAILS AND A SUPPERS UNTIL MIDNIGHT.

THE RITZ-CARLTON HOTEL FRIENDS' WEEKEND AT TANGLEWOOD by chartered Greyhound motor coach July 24 through July 26, 1981

FRIDAY, JULY 24 12:30 p.m. Leave Boston Stay at Red Lion Inn, Stockbridge 5:00 p.m. Cocktails and dinner in Tent, Tanglewood 7:00 p.m. Prelude 9:00 p.m. Concert (best seat locations)

SATURDAY, JULY 25 Free for breakfast 10:00 a.m. Open rehearsal followed by picnic lunch at Seranak 6:00 p.m. Cocktails and dinner at private home in Berkshires 8:30 p.m. Concert (best seat locations) followed by nightcap in Tent with special guests SUNDAY, JULY 26

Free for breakfast 10:00 a.m. Chamber concert 12:00 noon Leave Tanglewood — box lunch on bus en route home RESERVATIONS FOR FRIENDS ONLY!!

I enclose check for reservation(s) at $300.00 each (double occupancy) including

$50.00 tax-deductible g ift to the Friends of the Boston Symphony Orchestra, Inc. $315.00 for single occupancy.

Name

Address

Please make checks payable to Council, Boston Symphony Orchestra and mail to Friends' Office, Symphony Hall, Boston, Mass. 021 15.

Reservations accepted in order received.

59

HEm SEAFOOD SYMPHONY conductor, UNION J OYSTER

41 Union St.

For rates and information on advertising in the Boston Symphony Boston Pops and Tanglewood program books contact: STEVE GANAK AD REPS (617)-542-6913

To delight the senses with fine dinners, special catering and private lunches. Serving dinner 3:30-10:30 Mondmf thru Saturday.

97\/lL>

SYMPHONY HALL, AND CONCERT AND TICKET INFORMATION -call (617) 266-1492. For Boston Symphony concert program information, call "C-O-N-C-E-R-T."

THE BSO IN GENERAL: The Boston Symphony performs ten months a year, in Symphony Hall and at Tanglewood. For information about any of the orchestra's activities, please call Symphony Hall, or write the Boston Symphony Orchestra, Symphony Hall, Boston, Massachusetts 021 15. THE SYMPHONY HALL ANNEX, adjacent to Symphony Hall on Huntington Avenue, may be entered by the new Symphony Hall West Entrance on Huntington Avenue. FOR SYMPHONY HALL RENTAL INFORMATION, call (617) 266-1492 or write the Hall Manager, Symphony Hall, Boston, Massachusetts 021 15.

THE BOX OFFICE is open from 10 a.m. until 6 p.m. Monday through Saturday; on concert evenings, it remains open through intermission for BSO events or just past starting-time for other events. In addition, the box office opens Sunday at 1 p.m. when there is a concert that afternoon or evening. Single tickets for all Boston Symphony concerts go on sale twenty-eight days before a given concert once a series has begun, and phone reservations will be accepted. For outside events at Symphony Hall, tickets will be available three weeks before the concert. No phone orders will be accepted for these events.

FIRST AID FACILITIES for both men and women are available in the annex on the first floor near the Huntington Avenue west entrance. On-call physicians attending concerts should leave their names and seat locations at the switchboard near the main entrance to Symphony Hall on the Massachusetts Avenue side of the building.

A WHEELCHAIR RAMP is available at the Huntington Avenue west entrance to the Symphony Hall Annex.

LADIES' ROOMS are located on the first floor, first violin side, next to the stairway at the stage side of the hall, and on the second floor on the Massachusetts Avenue side near the elevator.

MEN'S ROOMS are located on the first floor on the Massachusetts Avenue side by the elevator, and on the second floor next to the coatroom in the corridor on the first violin side.

COATROOMS are located on both the first and second floors in the corridor on the first violin side, next to the Huntington Avenue stairways. The BSO is not responsible for personal apparel or other property of patrons.

LOUNGES AND BAR SERVICE: There are two lounges in Symphony Hall. The Hatch Room on the orchestra level and the Cabot-Cahners Room on the first-balcony level serve drinks starting one hour before each performance. For the Friday afternoon concerts, both rooms open at 12:15, with sandwiches available until concert time.

SMOKING is forbidden in any part of the Symphony Hall auditorium and is permitted only in the lobbies and lounges. CAMERA AND RECORDING EQUIPMENT may not be brought into Symphony Hall during the concerts.

LOST AND FOUND is located at the switchboard near the main entrance. AN ELEVATOR can be found outside the Hatch Room on the Massachusetts Avenue

side of the first floor.

61 Fiduciary Trust Company 175 FEDERAL STREET, BOSTON

BOARD of DIRECTORS

Robert H. Gardiner Chairman of the Board Edward H. Osgood President & Chief Executive Officer

Edmund H. Kendrick H. Gilman Nichols, Jr. Vice President Vice President JohnL. Thorndike John Plimpton Vice President Vice President & Treasurer

JohnW. Cobb Daniel A. Phillips Vice President Vice President & Secretary Alexander W. Watson Vice President

James Barr Ames Oliver F. Ames Ropes & Gray Trustee Mrs. Nancy B. Beecher Mrs. John M. Bradley Chair, Board of Trustees, Northfield Manchester, Mass. Mount Herman School JohnW. Bryant Samuel Cabot Treasurer, Perkins School Director, Samuel Cabot, Inc. for the Blind

Edward L. Emerson James M. Fitzgibbons Scudder, Stevens & Clark President, Howes Leather Co., Inc.

Francis W. Hatch, Jr. Bayard Henry Beverly Farms, Mass. President, Transatlantic Capital Corp.

Arnold Hiatt Albert B. Hunt President, Stride Rite Corp. Chairman, Fielderest Mills, Inc.

GeorgeS. Johnston Ronald T. Lyman, Jr. Scudder, Stevens & Clark Scudder, Stevens & Clark New York, New York

Malcolm D. Perkins Ralph B. Williams Herrick & Smith Trustee

We act as Trustee, Executor and Agent for Individuals, as Trustee for Pension Plans and as Investment Managerfor Institutions.

62 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 switchboard. This helps bring needed revenue to the orchestra and makes your seat available to someone who wants to attend the concert. You will receive a receipt acknowledging your tax-deductible contribution.

LATECOMERS are asked to remain in the corridors until they can be seated by ushers

during the first convenient pause in the program. Those who wish to leave before the end of the concert are requested to do so between program pieces in order not to disturb other patrons. RUSH SEATS: There are a limited number of Rush Tickets available for the Friday afternoon and Saturday evening Boston Symphony concerts (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 $4.00 each, one to a customer, at the west entrance to the Symphony Hall Annex on Huntington Avenue on Fridays beginning at 9 a.m. and Saturdays beginning at 5 p.m. BOSTON SYMPHONY BROADCASTS: Concerts of the Boston Symphony Orchestra are heard by delayed broadcast in many parts of the United States and Canada through the Boston Symphony Transcription Trust. In addition, Friday afternoon concerts are broadcast live by WGBH-FM (Boston 89.7), WAMC-FM (Albany 90.3), WMEA-FM (Portland 90.1), WMEH-FM (Bangor 90.9), and WMEM- FM (Presque Isle 106.1). Live Saturday evening broadcasts are also carried by WGBH- FM and WAMC-FM, as well as by WCRB-FM (Boston 102.5), WFCR-FM (Amherst 88.5), and WPBH-FM (Hartford 90.5). Most of the Tuesday evening concerts are

broadcast live by WGBH-FM. If Boston Symphony concerts are not heard regularly in your home area, and you would like them to be, please call WCRB Productions at (617) 893-7080. WCRB will be glad to work with you and try to get the BSO on the air in your area.

BSO FRIENDS: The Friends are supporters of the Boston Symphony, active in all of its endeavors. Friends receive BSO, the orchestra's newsletter, as well as priority ticket information. For information, please call the Friends' Office at Symphony Hall week-

days between 9 and 5. If you are already a Friend and would like to change your address,

please send your new address with your newsletter label to the Development Office,

Symphony Hall, Boston, Massachusetts 021 15. Including the mailing label will assure a

quick and accurate change of address in our files.

Boston's First Bridal Registry Presents Exclusively for Cooley's registered brides, receive a the First 8-4-7 Plan free gift place setting in your pattern of china, crystal or flatware after seven are purchased for you at any Cooley's shop. Eight for seven

34 Newbury St., Boston. 536- 3826. Also Concord, Portland and Marco Polo in wellesley. ROBERT W SKINNER INC. AUCTIONEERS • APPRAISERS

New England's leading auction gallery for buying or selling fine works ofart,

A merica n andEu ropea n fu rn itu re, jewelry, rugs, photographs, books, textiles, andfine accessories.

We welcome your inquiries.

Bolton Gallery: Copley Square Gallery: 585 Boylston Street Route 117 Detail of a fine Persian carpet from Bolton, Mass. 01740 Boston, Mass. 02116 the Charlotte Parker Milne Estate, sold at auction by Robert W. Skinner, Tel. (617)779-5528 Tel. (617)236-1700 July 17, 1980 for $23,000.

Handicapped kids have a lot to give

i. m. and the Cotting School has a lot to give handicapped children. We offer srT2-year day school program for physically handicapped children with normal intellectual capability.

Included in school services are both vocational and college preparatory training, transportation (in Boston), medical, dental, and vision care, speech and physical therapy, social development programs, lunch, testing, recreation 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, Cotting School for Handicapped Children. 241 St. Botolph Street, Boston. Massachusetts 02115. (617) 536-9632.

Cotting School for Handicapped Children a private, non-profit, nonsectarian. Ch. 766-approved institution supported primarily by gifts, grants, legacies and bequests.

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