Boston Symphony Orchestra Concert Programs, Season 111, 1991-1992

Home , Elinor Wylie, Kurt Ollmann, Regina Sarfaty, Vinson Cole, Witter Bynner

Boston Symphony Orchestra

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The Boston Symphony Orchestra presents a special concert honoring NED ROREM, recipient of the BSO's Horblit Award for distinguished composition by an American composer.

Sunday, November 17, 1991, at 8 p.m. Jordan Hall, New England Conservatory

KATHERINE CIESINSKI, mezzo-soprano VINSON COLE, tenor KURT OLLMANN, baritone

LEONE BUYSE, flute MALCOLM LOWE, violin BURTON FINE, viola RONALD FELDMAN, cello RANDALL HODGKINSON, DONALD ST. PIERRE, PATRICK STEPHENS, and BRIAN ZEGER, pianists

MUSIC OF NED ROREM

The Santa Fe Songs (1980), for baritone, violin, viola, cello, and piano Twelve poems of Witter Bynner

1 Santa Fe 7. El Musico 2. Opus 101 8. The Wintry Mind

3. Any other time . . . 9. Water-Hyacinths 4. Sonnet 10. Moving Leaves

5. Coming down the stairs 1 1 Yes I hear them 6. He never knew 12. The Sowers

KURT OLLMANN, baritone MALCOLM LOWE, BURTON FINE, RONALD FELDMAN, and DONALD ST. PIERRE

Rain in Spring (Text by Paul Goodman) Jeanie with the Light Brown Hair (Stephen Foster) Stopping by Woods on a Snowy Evening (Robert Frost) Early in the Morning (Robert Hillyer) Little Elegy (Elinor Wylie) Love (Thomas Lodge) A Child Asleep in its Own Life (Wallace Stevens) VINSON COLE, tenor PATRICK STEPHENS, piano

intermission

program continues Trio for flute, cello, and piano (1960)

I. Largo misterioso— Allegro

II. Largo

III. Andante IV. Allegro molto LEONE BUYSE, RONALD FELDMAN, and RANDALL HODGKINSON

Poems of Love and the Rain (1963), A cycle of seventeen songs for mezzo-soprano and piano

1,17. Prologue, Epilogue; from The Rain (Donald Windham) 2, 16. Stop All the Clocks (W.H. Auden) 3, 15. The Air is the only (Howard Moss) 4, 14. Love's stricken "Why" (Emily Dickinson) 5, 13. The Apparition (Theodore Roethke)

6, 12. Do I love you more than a day? (Jack Larson) 7, 11. In the rain (e.e. cummings) 8, 10. Song for lying in bed during a night rain (Kenneth Pitchford) 9. Interlude (Theodore Roethke) KATHERINE CIESINSKI, mezzo-soprano BRIAN ZEGER, piano

This concert is the closing event of "New Music Harvest," a city-wide festival of contemporary music, November 14-17. a

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NOTES

Although he has composed in virtually every musical genre, including orchestral, chamber, and operatic works, Ned Rorem (born October 23, 1923, Rich- mond, Virginia) is generally regarded as our finest composer of songs, of which he has created hundreds with piano accompaniment and many more with the accompaniment of a chamber ensemble. While studying in Chicago (piano with Belle Tannenbaum, theory and harmony with Leo Sowerby) when he was about fifteen years old, Rorem met Paul Goodman, beginning a friend- ship that lasted until the writer's death. Goodman's work inspired Rorem's first songs -and many others that followed. As the composer noted in his book Setting the Tone: Essays and a Diary:

That I have never in the following decades wearied of putting his words to

music is the highest praise I can show him; since I put faith in my own

work, I had first to put faith in Paul's. ... He was my Goethe, my Blake, and my Apollinaire.

He explained once, in an interview with Philip Ramey, "I didn't write them from interest in the voice but from interest in poetry." Still, they marked the beginning of a lifelong activity with poetry and with singers, who enthusiastically welcome new Rorem songs. It was a later Goodman setting, "The Lordly Hudson," that brought Rorem his first substantial public acclaim as a composer when, in

1948, the Music Library Association declared it the "best published song of the year."

Rorem's interest in literature was always keen and perceptive; it has led him over the years to a wide range of poems. Before 1954 he drew widely from the poetic literature; since that date he has set mostly contemporary American poems, with the addition of Walt Whitman, who appears frequently in his work. And since about 1960 he has tended to write cycles— two of which are included on this program — rather than individual songs.

Song writing has quite naturally affected Rorem's approach to instrumental music as well. Although he is a gifted orchestrator (a skill that he learned mostly from Virgil Thomson), he tends to think in terms of vocal lines even when writing for instruments. "Even when writing for violin or timpani, it's the vocalist in me trying to get out. Music is, after all, a song expression, and any composer worthy of the name is intrinsically a singer whether he allows it or not. . . . Actually, when I'm composing an orchestral piece I try to write 'sing- ably,' in some sense giving a physical pleasure to the instrumentalists."

Of course, the composition of a symphony or a chamber work generally takes much longer than the creation of a single song. The larger scope of the work, and the absence of a text as a formal framework, calls for a different kind of working-out of the musical ideas, even though the basic "songlike" approach remains. Rorem composed the Trio for flute, cello, and piano at Saratoga Springs, New York, in June and July of 1960 on a commission from flutist Bernard Goldberg for his Musica Viva Trio, which premiered the work in Pittsburgh. Goldberg suggested "something to challenge" his virtuosity and that of his colleagues in the ensemble. Rorem's response was a four- movement work that occasionally offers concerto-like roles to one of the participants.

And so the first movement, based entirely on six notes, is a concerto for the flutist upstaging the other two players, while the third movement (conceived on the same six notes) becomes a vocalise for the cellist, who finally melts into a canonic reconciliation with his companions. The second and fourth movements also are built from similar blocks— squeezed sequence of four consecutive tones -but built on another esthetic, and featuring the piano's dazzle. The Largo presents a whispered idiotic conversation between flute and cello: whispered because both play muted and non-vibrato even at their loudest; idiotic because each voice says the same thing at the same time and neither listens to the other. The conversation is punctuated at increasingly frequent intervals by piano crashes formed from the previous tonal matter. The concluding Allegro equalizes the three players, each of whom unsqueezes the four-tone clus-

ter and sprinkles it throughout his whole range like fireworks which ulti- mately explode into a unison. -Ned Rorem, July 1968

When writing a single song, Rorem generally works very quickly. The impe- tus for the song is, of course, the poem that strikes him for its musical possibil- ities, that (to use the parlance of his own Quaker tradition) "speaks to my con- dition." "Having the poem," he has said, "means that half the work is done, for the poem tends to dictate form."

Beyond form, of course, the composer needs to find a musical mood or color, a particular sound world that will capture the feel of the poem in tone. Rorem has been particularly gifted at finding such expressive analogues. This point was illustrated strikingly by the tenor Paul Sperry when he gave a talk at Harvard a few years ago on the subject of American song with an example from the several individual songs on this program. Wishing to demonstrate that, even without the words, a good song evokes the spirit of the poem, Sperry performed Rorem's Early in the Morning, vocalising wordlessly to piano accompaniment, and asked everyone present to write down on a slip of paper the words that came into their minds as they listened. Almost unanimously the audience thought of words like "green," "outdoors," "nostalgia," "morning." After reading aloud the words that Rorem's music had evoked, Sperry sang the song with the words, including:

Early in the morning Of a lovely summer day As they lowered the bright awning At the outdoor cafe,

I was breakfasting on croissants And cafe au lait Under greenery like scenery, Rue Frangois Premier.

The ability to create a vivid link between the mood of the poem and the mood of the music is the mark of a great song composer. The group of individual songs covers some four decades of Rorem's song output: Little Elegy (1952), Love (1953), Early in the Morning (1955), Rain in Spring (1956), A Child Asleep in its Own Life (1971-72) and Jeanie with the Light Brown Hair and Stopping by Woods on a Snowy Evening (1990).

Rorem composed The Santa Fe Songs, for medium voice with the accompaniment of piano quartet, on a commission from the Santa Fe Chamber Music Festival, of which he was composer-in-residence, for the 1980 season. The premiere took place in Santa Fe on July 27, 1980, with William Parker as the soloist. The work sets twelve poems by Witter Bymmer. Given the context of

the commission, a chamber music festival, it is only natural that the work should be conceived not simply as "voice with accompaniment," but as a part- nership of equals in the true sense of chamber music; thus the interplay of voice with piano, violin, viola, and cello is a significant element in the work, . .

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though the voice takes on an increasingly predominant role as the cycle progresses.

For the Poems of Love and the Rain, composed in the winter of 1962-63 on a commission from the Ford Foundation, and dedicated to Regina Sarfaty, who sang the premiere in Madison, Wisconsin, on April 12, 1964, Rorem set himself an unusual and interesting task. I have already mentioned the song composer's desire to find a musical analogy for the expressive world of the poem. But, of course, a great poem is capable of many interpretations, often starkly contrasting. Rorem decided to set each poem twice, and to make each setting as different as possible from the other. He arranged his settings palin- dromically, so that the first poem is also the last, and so on. The result is one of his most intriguing and successful of song cycles. -Steven Led better

THE SANTA FE SONGS Poems by Witter Bynner

1 Santa Fe

Among the automobiles and in a region Now Democrat, now Republican, With a department store, a branch of the Legion, A Chamber of Commerce and a moving-van, In spite of cities crowding on the Trail, Here is a mountain-town that prays and dances

With something left, though much besides must fall Of the ancient faith and wisdom of St. Francis.

His annual feast has come. His image moves Along these streets of people. And the trees And kneeling women, just as they did before, Welcome and worship him because he proves That natural sinners put him at his ease. And so he enters the cathedral door.

2. Opus 101

He not only plays One note But holds another note Away from it- As a lover Lifts A waft of hair 3. Any other time . . From loved eyes. Any other time would have done The piano shivers. But not now When he touches it, Because now there is no time And the leg shines. And when there is no time

It only stands still on its own center Waiting to be wound

Once upon a time somebody will unwind it And then what a time

In no time at all.

Please turn the page quietly. 4. Sonnet

Summer, O Summer, fill thy shadowy trees With a reprieve of cooling sacrament Before we die among the mysteries; Loosen our wreaths and let us be content To bow our heads before thy flower-bells Beneath whose mould we too shall soon be spent,

Lovers desiring this and little else: Thy laurel now, not ours, thy firmament Of blue in which to dedicate our blood To earth, our vernal meaning now but meant; Like the least meaning of thy smallest bud, To go the way the earlier season went. Breath is our fee and dividend and cost: So let us grant the forfeit and be lost!

5. Coming down the stairs

Coming down the stairs She paused midway And turned And assembled the railing Which thereupon went upstairs Leaving her slowly alone

6. He never knew

He never knew what was the matter with him Until one night

He chopped up his bed for firewood 7. El Musico

It was comfortable that way Looking beyond as always

And then another night a year later He played the harp And sang the song with it It came roaring up the street at him As a sunset. A little sharp Or took from one of the others A violin

And sang the song with it

A little thin, Or else he stroked the sand Where he sat

And sang the song with it

A little flat; But whatever song he sang, He seemed to know Exactly in his voice How the winds blow, And how the waves come up Chapala shore,

And how the birds sing a little And then more, And why the birds are careless Of a church-bell. Others sang better than he, But none so well. .

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Winter uncovers distances, I find; And so the cold and so the wintry mind

Takes leaves away, till there is left behind A wide cold world. And so the heart grows blind To the earth's green motions lying warm below Field upon field, field upon field, of snow.

9. Water-Hyacinths

What is so permanent as a first love, Except the impermanence of later loves?

... I sit in a rowboat, watching hyacinths Float down the lake and thinking about people, How they insinuate and change and vanish. How everyone leaves everyone alone, How even the look of a beloved child Is lesser solace than a mountain-rim.

II.

Have I a grievance then against my friends, Against my lovers? Is love so unavailing,

That here in a rowboat I shrug my naked shoulder And watch the hyacinths go down the lake? Do words that were light as air on living lips Last longer when they crumble underground? And is the soul an insecurer thing, Less intimate, than the connecting earth?

10. Moving Leaves

How could I know the wisdom of a world That blows its withered leaves down from the air They gleamed in once and gather their strength again

In the sap of earth, if I set my fervid heart On a leaf unmoved by any wind of change,

If I wanted still that spring when first I loved? No leaves that have ever fallen anywhere Are anywhere but here, heaping the trees.

1 1 Yes I hear them

Yes I hear them Steps on the staircase outside my door With no one attached

I have stopped looking

But always when I snap off the last bulb The footsteps come and wander

And always When the dawn-light follows They wander away Footsteps with no one attached

Please turn the page quietly. I have stopped looking So that last week They changed They came with the daylight and are here now

But we have no railings.

12. The Sowers

Now horses' hooves are treading earth again To start the wheat from darkness into day, And along the heavy field go seven men With hands on ploughs and eyes on furrowing clay,

Six of the men are old; but one, a boy, Knows in his heart that more than fields are sown — For spring is ploughing heaven with rows of joy In the voice of one high bird, singing alone.

SANTA FE SONGS Music by Ned Rorem Poems by Witter Bynner

Reprinted by permission of Farrar, Strauss and Giroux, Inc. "Santa Fe," "Coming Down the Stairs," "He Never Knew What was the Matter," "Sonnet XVI (from "Against the Cold")," "El Musico," "Any Other Time Would Have Done," "Water-Hyacinths," "Moving Leaves," "The Sowers," "The Wintry Mind," and "Opus 101" from SELECTED POEMS by Witter Bynner, Edited, with a critical introduction, by Richard Wilbur.

"Yes I Hear Them" from LIGHT VERSE AND SATIRES by Witter Bynner, Edited and with an introduction by William Jay Smith. © Copyright 1977, 1978 by The Witter Bynner Foundation. Copyright 1915, 1916, 1919, 1920, 1925, 1927, 1928, 1929, 1930, 1931, 1933, 1934, 1935, 1937, 1940, 1942, 1943, 1945, 1947, 1950, 1954, 1955, 1957, 1960 by Witter Bynner. Copyrights Renewed.

Rain in Spring

There fell a beautiful clear rain with no admixture of fog or snow and this was and no other thing the very sign of start of Spring

Not the longing for a lover nor the sentiment of starting over, but this clear and refreshing rain falling without haste or strain.

—Paul Goodman

Jeanie with the Light Brown Hair

I dream of Jeanie with the light brown hair, Borne, like a vapor, on the summer air;

I see her tripping where the bright streams play, Happy as the daisies that dance on her way. Many were the wild notes her merry voice would pour, Many were the blithe birds that warbled them o'er; I dream of Jeanie with the light brown hair, Floating like a vapor, on the soft summer air.

I long for Jeanie with the day dawn smile, Radiant in gladness, warming with winning guile;

I hear her melodies, like joys gone by Sighing round my heart o'er the fond hopes that die;

Sighing like the night wind and sobbing like the rain, Wailing for the lost one that comes not again;

I long for Jeanie and my heart bows low, Never more to find her where the bright waters flow.

—Stephen Foster

Stopping by Woods on a Snowy Evening

Whose woods these are I think I know. His house is in the village though; He will not see me stopping here

To watch his woods fill up with snow.

My little horse must think it queer To stop without a farm house near Between the woods and frozen lake The darkest evening of the year.

He gives the harness bells a shake

To ask if there is some mistake. The only other sound's the sweep Of easy wind and downy flake.

The woods are lovely, dark and deep.

But I have promises to keep,

And miles to go before I sleep,

And miles to go before I sleep.

- Robert Frost

Early in the Morning Little Elegy

Early in the morning Without you Of a lovely summer day No rose can grow; As they lowered the bright awning No leaf be green At the outdoor cafe, If never seen

I was breakfasting on croissants Your sweetest face; And cafe au lait No bird have grace Under greenery like scenery, Or power to sing; Rue Frangois Premier. Or anything They were hosing the hot pavement Be kind, or fair, With a dash of flashing spray And you nowhere. And a smell of summer showers —Elinor Wylie When the dust is drenched away. Under greenery like scenery, Rue Frangois Premier.

I was twenty and a lover And in Paradise to stay, Very early in the morning Of a lovely summer day.

-Robert Hillyer Love A Child Asleep in its Own Life

Turn I my look unto the skies, Among the old men that you know, love with his arrows wounds my eyes; There is one unnamed, that broods

If so I gaze upon the ground, On all the rest, in heavy thought. Love then in every flower is found; They are nothing, except in the universe

Search I the shade to fly my pain, Of that single mind. Love meets me in the shade again; He regards them

Want I to walk in secret grove, Outwardly and knows them inwardly,

E'en there I meet with sacred love; The sole emperor of what they are, if so I bathe me in the spring, Distant, yet close enough to wake

E'en on the bring I hear him sing; The chords above your bed to night.

If so I meditate alone, — Wallace Stevens He will be partner to my moan;

If so I mourn, he weeps with me,

And where I am there will he be. — Thomas Lodge

RAIN IN SPRING Text by Paul Goodman Reprinted by permission of Sarah Goodman. STOPPING BY WOODS ON A SNOWY EVENING Text by Robert Frost © Copyright 1923, 1969 by Holt, Rinehart & Winston. © Copyright 1951 by Robert Frost. Copyright Renewed. Text from the POETRY OF ROBERT FROST edited by Edward Connery Lathem. Reprinted by permission of Henry Holt & Company, Inc.

LITTLE ELEGY Text by Elinor Wylie LOVE Text by Thomas Lodge (1556-1625)

A CHILD ASLEEP IN ITS OWN LIFE Text by Wallace Stevens Poem reprinted from PALM AT THE END OF THE MIND, by Wallace Stevens, edited by Holly Stevens. © Copyright 1967, 1969, 1971, by Holly Stevens. Reprinted by permission of Alfred A. Knopf, Inc.

Poems of Love and the Rain

Nos. 1 and 17. Prologue and Epilogue

"Everywhere, the impossible is happening; two things, the rain and the landscape, are occupying the same place at the same time."

—from "The Rain," by Donald Windham Nos. 2 and 16. Stop All the Clocks

Stop all the clocks, cut off the telephone, Prevent the dog from barking with a juicy bone, Silence the pianos and with muffled drum Bring out the coffin, let the mourners come.

Let aeroplanes circle moaning overhead Scribbling on the sky the message He Is Dead, Put crepe bows round the white necks of the public doves, Let the traffic policemen wear black cotton gloves.

He was my North, my South, my East and West, My working week and my Sunday rest, My noon, my midnight, my talk, my song;

I thought that love would last forever; I was wrong.

The stars are not wanted now; put out every one; Pack up the moon and dismantle the sun; Pour away the ocean and sweep up the woods: For nothing now can ever come to any good. -W.H.Auden

Nos. 3 and 15. The Air is the only

The air is the only Lonely bearer Of the one breath But sing flesh, Of Love's wayfarer. Sinew and bone, The sea's too wet to forgive. Forget And mostly blood, Its salty ranges: The fine wood Change changes. In which we hive The dead and alive, The hollow vein And love's rain.

— Howard Moss

Nos. 4 and 14. Love's stricken "Why'

Love's stricken "why" Is all that love can speak — Built of but just a syllable Nos. 5 and 13. The Apparition The hugest hearts that break. My pillow won't tell me — Emily Dickinson Where he is gone, The soft-footed one Who passed by alone.

Who took my heart, whole,

With a tilt of his eye,

And with it my soul,

And it like to die.

I twist, and I turn, My breath but a sigh.

Dare I grieve? Dare I mourn? He walks by. He walks by. - Theodore Roethke

Please turn the page quietly. Nos. 6 and 12. Do I love you

Part I

Do I love you more than a day? Days used to be faint hours to endure.

Now, through our love, I feel each hour on this spinned world about the sun.

Embodied time, I live creation

Through you. And I love you more than a day.

Part II

Do I love you more than the air? Air used to seem just nothingness.

Through our love, now it seems no less than God's air airing your life's breath; Too rich for space; too dear for death

Through you. And I love you more than the air.

—Jack Larson

Nos. 7 and 1 1 . In the rain

in the rain — darkness,

the sunset being sheathed i sit and think of you the holy city which is your face

your little cheeks the streets of smiles your eyes half-thrush half-angel and your drowsy lips where float flowers of kiss and there is the sweet shy pirouette your hair and then your dancesong soul, rarely beloved a single star is uttered

and i think of you.

— e.e. cummings

POEMS OF LOVE AND THE RAIN

PROLOGUE (from THE RAIN) (No. 1), EPILOGUE (from THE RAIN) (No. 17) by Donald Windham. From the chapter "The Rain" from the book EMBLEMS OF CONDUCT (Scribner's 1964). Reprinted by permission.

LOVE'S STRICKEN "WHY" (No. 4, No. 14) by Emily Dickinson.

THE APPARITION (No. 5, No. 13), INTERLUDE (No. 9) by Theodore Roethke. Reprinted by permission of Beatrice Roethke.

MORE THAN A DAY (No. 6), MORE THAN THE AIR (No. 12) by Jack Larson. Reprinted by permission. Nos. 8 and 1 0. Song for lying in bed during a night rain

How can I wash the lightning away that shines on your closed eyes?

How can I tell the thunder to lie as calm as your hand?

How can I know two sounds as dry as your voice before love and after?

How can I fear what I have never seen in your face?

Street noises ascend from the city beneath us as the rain falls — sounds that merge and blur through my gabled window to reflect the danger all my asphalt nightmare's proffer without the slow pulse beside me of your sleep.

But who are these bleeding strangers, naked as shadow, who stalk at our bedside, calling your name?

When I look their faces are terrible as lightning exposing an instant the white harvest of your breast.

Why do they curse our handclasp, as though we hoarded

what fills their hunger, what falls like rain from their wounds? Why do you lie unmoved as mounds of fruit and take their kisses as so much wetness to redden the white of your face? CONCLUSION: How can the rain wash away such stains as your lips wear?

How can I tell their scars to grow smooth as your skin?

How can I know two sounds as dry as your voice before and after?

How can I love what I have never seen in your face?

Kenneth Pitchford

No. 9. Interlude

The element of air was out of hand. The rush of wind ripped off the tender leaves And flung them in confusion on the land. We waited for the first rain in the eaves. The chaos grew as hour by hour the light Decreased beneath an undivided sky. Our pupils widened with unnatural night,

But still the road and dusty field kept dry. The rain stayed in its cloud; full dark came near; The wind lay motionless in the long grass. The veins within our hands betrayed our fear. What we had hoped for had not come to pass. - Theodore Roethke

From here the texts are repeated in the reverse order.

SONG FOR LYING IN BED DURING A NIGHT RAIN (No. 8, No. 10) by Kenneth Pitchford. Reprinted by permission. ARTISTS

Leone Buyse became acting principal flute of the Boston Symphony Orchestra in the fall of 1990; she joined the orchestra in 1983 as assistant principal flute of the BSO and principal flute of the Boston Pops Orchestra. From 1978 to 1983 she was assistant principal flutist of the San Francisco Symphony. A native of Ithaca, New York, Ms. Buyse studied with David Berman of the Ithaca College faculty and later graduated with distinction from the Eastman School of Music, where she was a stu- dent of Joseph Mariano. She continued her education on a Fulbright grant, studying in France and Switzerland with Michel Debost, Jean-Pierre Rampal, and Marcel Moyse. The only American prizewinner in the 1969 Geneva International Flute Com- petition, Ms. Buyse teaches at the New England Conservatory, Boston University, at the Boston University Tanglewood Institute, and at the Tanglewood Music Center. She has presented recitals and master classes at universities, conservatories, and festivals throughout the United States, as well as in Canada, Japan, Greece, and Turkey.

American mezzo-soprano Katherine Ciesinski first achieved national attention as Erika in the PBS telecast of Barber's Vanessa from Spoleto USA. She made her Metropolitan Opera debut in 1988; her operatic credits also include the Scottish Opera, Chicago Lyric Opera, Netherlands Opera, San Francisco Opera, and Dallas Opera. Her engagements this season have included two appearances with the Bos- ton Symphony: as Pauline in Tchaikovsky's Pique Dame in Boston and New York, and as soloist in the world premiere of Ned Rorem's Swords and Plowshares this weekend. A compelling champion of contemporary music, she has had song cycles written for her by such distinguished composers as Lee Hoiby, Ned Rorem (whose Women's Voices she has recorded with the composer at the keyboard), Libby Larsen, and Jacques Lenot. Born in Delaware, Ms. Ciesinski earned her bachelor's and master's degrees from Temple University and continued her studies at the Cur- tis Institute. She won first prize in the Geneva International Competition and grand prize in the Paris International Competition by unanimous decision.

Tenor Vinson Cole has been acclaimed for his performances in opera, with leading symphony orchestras, and in recital. Born in Kansas City, Missouri, Mr. Cole began studying voice at nine. He studied at the Philadelphia Musical Academy, and then at the Curtis Institute with Margaret Harshaw. In 1976 he won the National Award in Chicago's prestigious WGN "Auditions of the Air"; in 1977 he won the first-prize Weyerhauser Award at the Metropolitan Opera National Auditions and grants from the Rockefeller Foundation. Mr. Cole made his Metropolitan Opera debut in 1987; his opera engagements have also included San Francisco Opera, Seattle Opera, New York City Opera, Paris, Frankfurt, and the companies of St. Louis, Santa Fe, Philadelphia, Toronto, and Ottawa. He made his European debut in 1976 in Angers, France. In 1983 Herbert von Karajan invited him to Salzburg, where he appeared as the Italian Tenor in Der Rosenkavalier, he has returned there every season since. Mr. Cole sings regularly with the world's most important orchestras and conductors, has won international acclaim as a recitalist, and has recorded for the Deutsche Grammophon, Sony Classical, Delos, and Connoisseur Society labels.

Ronald Feldman joined the Boston Symphony Orchestra's cello section in 1967 at nineteen. Increasingly in demand as a conductor, he was appointed Assistant Con- ductor of the Boston Pops Orchestra in 1989. He has been music director of the Worcester Symphony and of the New England Philharmonic. In 1988 he and the New England Philharmonic were awarded the American Symphony Orchestra League's ASCAP Award for Adventuresome Programming of Contemporary Music. Since the 1989-90 season he has been conductor of the Berkshire Symphony. His appearances as guest conductor have included the Pro Arte Chamber Orchestra, the Springfield Symphony, the MIT Experimental Studio, and the Albany Symphony. Born in Brooklyn and a graduate of Boston University, Mr. Feldman has taught at Brown and Brandeis universities. His own cello teachers included Claus Adam, Harvey Shapiro, Joseph Emonts, Leslie Parnas, and John Sant'Ambrogio. Mr. Feld- man currently teaches at the Tanglewood Music Center and at the Boston Conser- vatory, where he is conductor of the orchestra and coordinator of the string department.

BSO principal violist Burton Fine joined the orchestra as a second violinist in 1963 after nine years as a research chemist at the National Space and Aeronautics Administration's Lewis Research Center in Cleveland. He won his present BSO position at the start of his second year with the orchestra. Born in Philadelphia, Mr. Fine studied violin for four years with Ivan Galamian at the Curtis Institute of Music before moving to the University of Pennsylvania, where he earned a B.A. in chemistry; he holds a doctoral degree in chemistry from the Illinois Institute of Technology. Mr. Fine has appeared frequently as soloist playing both viola and viola d'amore. He teaches viola and chamber music at the New England Conservatory of Music; during the summer he teaches at the Tanglewood Music Center and the Boston University Tanglewood Institute. Mr. Fine has performed, toured, and recorded extensively with the Boston Symphony Chamber Players and is the featured violist on the CBS release of Strauss's Don Quixote with cellist Yo-Yo Ma and the Boston Symphony Orchestra under the direction of Seiji Ozawa. He has been featured in chamber music recordings on the CRI, Northeastern, and Gunmar labels.

Pianist Randall Hodgkinson won the International American Music Competition sponsored by Carnegie Hall and the Rockefeller Foundation in 1981 and made his formal New York recital debut at Alice Tully Hall under that competition's auspices in 1986. Earlier honors included top prize in the J.S. Bach International Competi- tion, and the Tanglewood Music Center's Cabot Award in 1971. Recent years have brought a series of successful debuts with orchestra, including collaborations with Leonard Bernstein and Gunther Schuller. In keeping with his keen interest in Ameri- can music, he made his European orchestral debut in 1985 with the Santa Cecilia Orchestra of Rome, performing concertos by MacDowell and Duke Ellington. A featured artist on the Bosendorfer Concert Series aired on WNYC-FM in New York City, Mr. Hodgkinson has recorded for the Nonesuch, CRI, and New World labels. Mr. Hodgkinson earned his bachelor's degree, master's degree, and artist diploma from the New England Conservatory of Music, where his principal mentors were Veronica Jochum and Russell Sherman. He is currently on the Conservatory's piano faculty and is also a Music Tutor at Harvard University.

With his appointment in 1984, Malcolm Lowe became the tenth concertmaster of the Boston Symphony Orchestra. As the orchestra's principal violinist, he also per- forms with the Boston Symphony Chamber Players. Mr. Lowe is equally at home as an orchestral player, chamber musician, solo recitalist, and teacher. He makes frequent solo appearances with the Boston Symphony Orchestra and has performed many times as soloist with the major orchestras of his native Canada. Mr. Lowe is a faculty member at the Tanglewood Music Center, the New England Conservatory of Music, and Boston University. Prior to his appointment in Boston he was concertmaster of the Orchestre Symphonique de Quebec. The recipient of numerous awards, he was one of the top laureate winners in the Montreal International Violin Competition in 1979. Mr. Lowe studied with Howard Leyton-Brown at the Regina Conservatory of Music, and with Ivan Galamian at the Meadowmount School of Music and the Curtis Institute of Music. He also studied violin with Sally Thomas and Jaime Laredo and was greatly influenced by Josef Gingold, Felix Galimir, Alexander Schneider, and Jascha Brodsky.

American baritone Kurt Ollmann has established a wide-ranging career on the concert stage and in opera. In 1987 Mr. Ollmann sang the title role in Peter Sellars' controversial production of Don Giovanni at PepsiCo Summerfare in Purchase, New York. This season he makes his Wexford Festival debut in Ireland in Donizetti's L'assedio de Calais, appears there also in recital, and returns to Santa Fe Opera, in the title role of Jurgen von Bose's The Sorrows of Young Werther. At Tanglewood with the Boston Symphony, he has sung music from Leonard Bernstein's On the Town and West Side Story as part of "Bernstein at 70!" in 1988, and Bernstein's Arias and Barcarolles in 1990. Mr. Ollmann has appeared with numerous American opera companies; his appearances with orchestra have included the New York Phil- harmonic, the Orchestre National de France, the Bavarian Radio Orchestra, the Accademia di Santa Cecilia in Rome, and the National Symphony. He has given recitals in Italy, France, Switzerland, and across the United States. Mr. Ollmann's recordings include West Side Story (Riff), Candide (Maximillian), and Haydn's Cre- ation, all under Leonard Bernstein's direction on Deutsche Grammophon.

Pianist Donald St. Pierre was music director for many seasons of the Skylight Comic Opera in Milwaukee, Wisconsin. He was keyboard player for the Milwaukee Symphony, company pianist for the Milwaukee Ballet, and on the staff of the Wis- consin Conservatory of Music. For the past five summers he has been head coach of the voice department at the Chautauqua Institute. As a recital accompanist, Mr. St. Pierre has performed throughout the United States, for the Almeida Festival in London, and at the Theatre du Chatelet in Paris. He was chorus master for the Vienna State Opera production of Leonard Bernstein's A Quiet Place conducted by the composer and recorded for Deutsche Grammophon. Mr. St. Pierre joined the faculty of the Curtis Institute of Music in September 1990.

Pianist Patrick Stephens began his professional career accompanying Vinson Cole in recital at the Berlin Festival in 1990. Born in New York, Mr. Stephens graduated from Fordham University with a degree in mathematics; he was a marketing and public relations consultant for nine years before embarking on a career in musical performance. Mr. Stephens studies piano with Mordecai Shehori, a prominent pianist and teacher in New York City. Future plans include two Lieder recordings with Vinson Cole for Delos records, and recitals in the United States and Europe.

Pianist Brian Zeger made his New York solo recital debut at Alice Tully Hall as first- prize winner of the American Musical Scholarship Association International Piano Competition. He has performed concertos with members of the Cincinnati Sym- phony, the Greenwich Symphony, and the Manhattan Philharmonia. Mr. Zeger was also a prizewinner in the University of Maryland International Piano Competition and at the Portland Symphony Young Artists Competition. He has appeared at Carnegie Hall, Alice Tully Hall, the 92nd Street Y, Merkin Concert Hall, Wolf Trap, Wigmore Hall in London, and the Aldeburgh Festival. As a chamber musician, Mr. Zeger has collaborated with artists including Itzhak Perlman, Marilyn Home, Arleen Auger, Claire Bloom, Ransom Wilson, Robert White, Eleanor Steber, Evelyn Lear, and Dawn Upshaw. He has participated at the Norfolk Festival and the Aspen Summer Music Festival and has recorded for New World Records. Mr. Zeger has taught at the Juilliard School, Yale School of Music, and the Peabody Conservatory. A TRADITION OF FINANCIAL COUNSEL OLDER THAN THE U.S. DOLLAR. State Street has been providing quality financial service since 1792. That's two years longer than the dollar has been the official currency of the United States. During that time, we have managed the assets of some of New England's wealthiest families. And provided investment advice and performance tailored to each client's individual goals and needs. Today our Personal Trust Division can extend that service to you. We've been helping people manage their money for almost 200 years. And you can only stay in business that long by offering advice of the highest quality. Let us help you get the highest performance from your assets. To enjoy today and to pass on to future generations. For more information contact Peter Talbot at 617-654-3227. State Street. Known for quality? ^State Street

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