BOSTON SOYMPHONY OWRCHESTRA For BestAudience
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THE'FIRST NAME IN COGNAC SINCE 17 2 4. XCLUSIVELY fINf CHAMPAGNE COGNAC f ROM THE TWO BEST DISTRICTS Of THE COGNAC REGION
Sole U.S.A. Distributor Foreign Vintages, Inc. N.Y., N.Y. 80 Prvof. Seiji Ozawa, Music Director
Sir Colin Davis, Principal Guest Conductor Joseph Silverstein, Assistant Conductor
One Hundred and Second Season, 1982-83 Trustees of the Boston Symphony Orchestra, Inc.
Abram T. Collier, Chairman Nelson J. Darling, Jr., President
Leo L. Beranek, Vice-President George H. Kidder, Vice-President Mrs. Harris Fahnestock, Vice-President Sidney Stoneman, Vice-President Roderick M. MacDougall, Treasurer John Ex Rodgers, Assistant Treasurer
Vernon R. Alden Mrs. John H. Fitzpatrick William J. Poorvu L. Irving Rabb J. P. Barger Mrs. John Grandin W. Mrs. John M. Bradley David G. Mugar Mrs. George R. Rowland Mrs. Norman L. Cahners Albert L. Nickerson Mrs. George Lee Sargent
George H.A. Clowes, Jr. Thomas D. Perry, Jr. William A. Selke
Archie C. Epps III John Hoyt Stookey
Trustees Emeriti Talcott M. Banks, Chairman of the Board Emeritus
Philip K. Allen E. Morton Jennings, Jr. Mrs. James H. Perkins Allen G. Barry Edward M. Kennedy Paul C. Reardon
Richard P Chapman Edward G. Murray John L. Thorndike John T. Noonan Administration of the Boston Symphony Orchestra, Inc. Thomas W Morris General Manager
William Bernell Edward R. Birdwell Daniel R. Gustin Artistic Administrator Orchestra Manager Assistant Manager
Caroline Smedvig Walter D.Hill B.J. Krintzman Director of Director of Director of Promotion Business Affairs Planning
Judith Gordon Theodore A. Vlahos Joyce Snyder Serwitz Assistant Director Controller Acting Director of Promotion of Development Marc Solomon Arlene Germain Katherine Whitty Director, Broadcasting Financial Coordinator of and Special Projects Analyst Boston Council
James E. Whitaker Elizabeth Dunton Anita R. Kurland Hall Manager, Director of Administrator of Symphony Hall Sales Youth Activities
James F. Kiley Charles Rawson Richard Ortner Operations Manager, Manager of Administrator, Tanglewood Box Office Berkshire Music Center Steven Ledbetter Marc Mandel Jean Miller MacKenzie Director of Editorial Print Production PubHcations Coordinator Coordinator
Programs copyright ©1982 Boston Symphony Orchestra, Inc. Cover photo by Peter Schaaf
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Board of Overseers of the Boston Symphony Orchestra, Inc.
William J. Poorvu
- Chairman
William M. Crozier, Jr. Mrs. Lewis S. Dabney Vice-Chairman Vice-Chairman Mrs. Richard D. Hill Secretary
John Q. Adams Graham Gund E. James Morton
Mrs. Weston Adams Mrs. R. Douglas Hall III John A. Perkins
David B. Arnold, Jr. Mrs. Richard E. Hartwell David R. Pokross
Hazen H. Ayer Francis W Hatch, Jr. Mrs. Curtis Prout Bruce A. Beal Ms. Susan M. Hilles Mrs. Eleanor Radin Mrs. Richard Bennink Mrs. Marilyn Brachman Hoffman Peter C. Read
i Mrs. Edward J. Bertozzi, Jr. Mrs. Bela T. Kalman Harry Remis
Peter A. Brooke Mrs. Louis I. Kane Mrs. Peter van S. Rice
William M. Bulger Mrs. S. Charles Kasdon David Rockefeller, Jr.
Louise Richard L. Mrs. Rosenfeld j Mary Cabot Kaye Jerome
Julian Cohen Mrs. F. Corning Kenly, Jr. Mrs. William C. Rousseau
Mrs. Nat King Cole Mrs. Gordon F. Kingsley Mrs. William H. Ryan Johns H. Congdon Mrs. Carl Koch Francis P Sears
Arthur P. Contas Robert K. Kraft Mark L. Selkowitz
Ms. Victoria L. Danberg Harvey C. Krentzman Gene Shalit
William S. Edgerly Mrs. E. Anthony Kutten Donald B. Sinclair
Mrs. Alexander Ellis, Jr. Benjamin H. Lacy Richard A. Smith
Frank L. Farwell John P. LaWare Ralph Z. Sorenson
John A. Fibiger Mrs. James F. Lawrence Peter J. Sprague
Kenneth G. Fisher Mrs. Charles P. Lyman Ray Stata
Peter H.B. Frelinghuysen C. Charles Marran Mrs. Arthur I. Strang
Mrs. Thomas J. Galligan, Jr. Mrs. August R. Meyer Mrs. Richard H. Thompson
Mrs. Thomas Gardiner J. William Middendorf II Mark Tishler, Jr. Mrs. James Garivaltis Paul M. Montrone Ms. Luise Vosgerchian
Avram J. Goldberg Mrs. Hanae Mori Roger D. Wellington t Mrs. Stephen Morris Mrs. Donald B. Wilson j Mrs. Ray A. Goldberg VC.
Jordan L. Golding Richard P Morse John J. Wilson
Haskell R. Gordon Mrs. Thomas Spurr Morse Nicholas T. Zervas *
Overseers Emeriti Mrs. Frank G. Allen Paul Fromm David W Bernstein Carlton Fuller Leonard Kaplan
nBfltt_HH. "Harrison, did you know that the dollar is now worth 31 that taxes take 4H? If it weren't for you Bank of New England trust people, every time I made a dollar I'd lose a dime!' For good advice on personal trust and investment matters, call our Trust Division at (617) 742-4000. Or write Bank of New England, 28 State Street, Boston, Massachusetts 02109. wgmmm^jmmmm-mm ENJOY THE CONVENIENCE OF YOUR FILENE CHARGE BSO BSO Members in Concert The Francesco String Quartet closes its 1982-1983 subscription season on Sunday, 1 May at 3 p.m. at the Longy School of Music in Cambridge. The program includes music of Haydn, Bartok, and Beethoven. Tickets are $7, and seats are unreserved. For further information, call 862-0995. The quartet includes BSO violinists Bo Youp Hwang and Ronan Lefkowitz, violist Robert Barnes, and cellist Joel Moerschel. Also on Sunday, 1 May, at 8 p.m. at the Boston Conservatory, Max Hobart conducts the Boston Conservatory Orchestra in a program including Tchaikovsky's Rococo Variations for cello and orchestra and the Brahms Symphony No. 2. Ronald Thomas is cello soloist for the Tchaikovsky. John Williams will be guest conductor at the season's final concert by the Civic Sym- phony Orchestra of Boston, Max Hobart, Conductor. Mr. Williams will conduct his own Fanfare fpr a Festive Occasion, composed especially for the Civic Symphony. The concert Gala Event BOSTON The Ninth Annual CklYT "OPENING NIGHT AT POPS" Presented by the Junior Council of the Boston Symphony Orchestra for the benefit of the BSO Tuesday night, May 3 at 8:00 p.m. A gala concert with John Williams conducting Special guest Marvin Hamlisch For ticket prices and additional information, please call (617) 696-0151. wmm FRIENDS' WEEKEND AT TANGLEWOOD by chartered Greyhound motor coach August 5 through August 7, 1983 FRIDAY, AUGUST 5 12:30 p.m. Leave Boston 1 =00 p.m. Leave Riverside; stay at Red Lion Inn, Stockbridge 5:00 p.m. Cocktails and dinner at Tanglewood 7:00 p.m. Prelude 9:00 p.m. Concert (best seat locations) SATURDAY, AUGUST 6 Free for breakfast 9:30 a.m. Leave Red Lion Inn for 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, AUGUST 7 Free for breakfast 9:30 a.m. Leave Red Lion Inn for 10:00 a.m. Chamber concert 12:00 noon Leave Tanglewood for Blantyre for lunch 5:30-6:00 p.m. (approx.) Arrive home T enclose r.herk fnr reserve tinn(s) at $39.5 DO p$c\\ (d^nbl*3 NTamp AHdrpss Zip Please make checks payable to Council, Boston Symphony Orchestra and mail to Friends' Office, Symphony Hall, Boston, MA 02115. Reservations accepted in order received. takes place in Jordan Hall at 3 p.m. on Sunday, 8 May. Also on the program: Max Hobart conducts Mozart's Posthorn Serenade, K.320, and the Symphony No. 3, the so-called Organ Symphony of Saint-Saens. James David Christie will be organ soloist in the symphony. The North Shore Philharmonic under Music Director and Conductor Max Hobart gives its final concert of the season at Salem High School Auditorium on Sunday 15 May at 7:30 p.m. The program includes Ode to Lord Buckley, Concerto for Alto Saxophone by David Amram, and the Brahms Symphony No. 4. Kenneth Radnofsky will be soloist in the concerto, which was written for him by the composer. 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 continued support of the Boston Symphony Orchestra. 1983-84 BSO Subscriptions Complete program and ticket information is available for the Boston Symphony Orches- tra's 1983-84 subscription season. Guest conductors joining Music Director Seiji Ozawa include Sir Colin Davis, Kurt Masur, Michael Tilson Thomas, and, in his BSO debut, Simon Rattle. Guest soloists include Rudolf Serkin, Frederica von Stade, Maurizio Pollini, Hildegard Behrens, Peter Serkin, and Isaac Stern. For full details, please phone Symphony Hall at (617) 266-1492. Farewell and Thanks Charles Yancich, a member of the Boston Symphony horn section since 1954, and for many years alternate first horn of the BSO and principal horn of the Boston Pops, will leave the orchestra at the end of the 1983 Tanglewood season. Also leaving the orchestra this year are two members of the Boston Symphony staff. As Director of Sales since October 1975, Elizabeth Dunton has been giving her personal attention to many Symphony subscribers and handling advanced bookings for Pops groups for nearly nine years. Of her forty-five years in business, Ms. Dunton considers her time at Symphony Hall as the happiest of her career. Paul Kehayias, the Boston Symphony Orchestra's official driver, has been a fixture around Symphony Hall for almost forty years. During this time he has been chauffeur for Music Directors Munch, Leinsdorf, Steinberg, and Ozawa, for Pops Conductors Arthur Fiedler and John Williams, and for many guest conductors and soloists. The Boston Symphony Orchestra is deeply grateful to Mr. Yancich, Ms. Dunton, and Mr. Kehayias for their dedication and service, and extends best wishes for the future to each of them. 7 1 * - vA'^eK IHHMBflHHal 1 " 1 1 B < I v - ** 1 - J/""i. -^ ' i *$L'Jc$Rji li^tSp Seiji Ozawa This is Seiji Ozawa's tenth season as music assistant conductor of that orchestra for the director of the Boston Symphony Orchestra,- 1961-62 season. His first professional concert in the fall of 1973 he became the orchestra's appearance in North America came in Janu- thirteenth music director since its founding in ary 1962 with the San Francisco Symphony 1881. Orchestra. He was music director of the Chicago Symphony's Ravinia Born in 1935 in Shenyang, China, to Festival for five summers Japanese parents, Mr. Ozawa studied both beginning in 1964, and music * ' director for four seasons of Western and Oriental music as a child and the Toronto Sym- phony Orchestra, later graduated from Tokyo's Toho School of a post he relinquished at the end of the 1968-69 season. Music with first prizes in composition and conducting. In the fall of 1959 he won first Seiji Ozawa first conducted the Boston Sym- prize at the International Competition of phony in Symphony Hall in January of 1968; Orchestra Conductors, Besancon, France. he had previously appeared with the orchestra Charles Munch, then music director of the for four summers at Tanglewood, where he Boston Symphony and a judge at the competi- became an artistic director in 1970. In Decern- * tion, invited him to Tanglewood for the ber of 1970 he began his inaugural season as summer following, and he there won the conductor and music director of the San Fran- Berkshire Music Center's highest honor, the cisco Symphony Orchestra. The music direc- Koussevitzky Prize for outstanding student torship of the Boston Symphony followed in conductor. 1973, and Mr. Ozawa resigned his San Fran- cisco position in the spring While working with Herbert von Karajan of 1976, serving as music advisor there for the \976-77 season. in West Berlin, Mr. Ozawa came to the atten- tion of Leonard Bernstein, whom he accom- As music director of the Boston Symphony panied on the New York Philharmonic's Orchestra, Mr. Ozawa has strengthened the spring 1961 Japan tour, and he was made an orchestra's reputation internationally as well «j as at home, leading concerts on the BSO's 1976 Garden, and La Scala in Milan. Mr. Ozawa has European tour and, in March 1978, on a nine- won an Emmy for the BSO's "Evening at city tour of Japan. At the invitation of the Symphony" television series. His award- Chinese government, Mr. Ozawa then spent a winning recordings include Berlioz's Romeo week working with the Peking Central Phil- et Juliette, Schoenberg's Guirelieder, and the harmonic Orchestra,- a year later, in March of Berg and Stravinsky violin concertos with 1979, he returned to China with the entire Itzhak Perlman. Other recent recordings with Boston Symphony for a significant musical the orchestra include, for Philips, Richard and cultural exchange entailing coaching, Strauss's Also sprach Zarathustra, Stravinsky's study, and discussion sessions with Chinese Le Sacre da phntemps, Hoist's The Planets, musicians, as well as concert performances. and Mahler's Symphony No. 8, the Sym- Also in 1979, Mr. Ozawa led the orchestra on phony of a Thousand; for CBS, a Ravel collab- its first tour devoted exclusively to appear- oration with mezzo-soprano Frederica von ances at the major music festivals of Europe. Stade and the Mendelssohn Violin Concerto Most recently, Seiji Ozawa and the Boston with Isaac Stern,- and, for Telarc, Vivaldi's Symphony celebrated the orchestra's one-hun- Four Seasons with violin soloist Joseph Silver- dredth birthday with a fourteen-city Amer- stein, and music of Beethoven—the Fifth ican tour in March 1981 and an international Symphony, the Egmont Overture, and, with tour to Japan, France, Germany, Austria, and soloist Rudolf Serkin, the Fourth and Fifth England in October/November that same piano concertos. Mr. Ozawa has also recorded year. Roger Sessions's Pulitzer Prize-winning Con- Mr. Ozawa pursues an active international certo for Orchestra and Andrzej Panufnik's career. He appears regularly with the Berlin Sinfonia Votiva, both works commissioned by Philharmonic, the Orchestre de Paris, the the Boston Symphony Orchestra for its cen- French National Radio Orchestra, the Philhar tennial, for Hyperion records. Mr. Ozawa . monia of London, and the New Japan Philhar- recently received an honorary Doctor of monic, and his operatic credits include the Music degree from the New England Conser- Paris Opera, Salzburg, London's Covent vatory of Music. Baldwin Piano & Organ Company pays tribute to the Boston Symphony Orchestra on its first century of achievement. We look forward to continuing our association at this, the start of the Boston's second century of excellence. 10 ii Charles S. Dana chair E-flat Clarinet Patricia McCarty Mrs David Stoneman chair Bass Clarinet Craig Nordstrom Ronald Wilkison Robert Barnes Bassoons Jerome Lipson Sherman Walt Bernard Kadinoff Edward A. Toft chair Joseph Pietropaolo Music Directorship endowed by Roland Small Michael Zaretsky Ruggiero John Moors Cabot Matthew Marc Jeanneret BOSTON SYMPHONY * Betty Benthin Contrabassoon ORCHESTRA * Lila Brown Richard Plaster * Mark Ludwig 1982/83 Horns Charles Kavalovski Cellos First Violins Helen Sagoff Slosberg chair Joseph Silverstein Jules Eskin Richard Sebring Concertmaster Philip R. Allen chair Daniel Katzen Charles Munch chaii Martha Babcock Richard Mackey Emanuel Borok Vernon and Marion Alden chair Jay Wadenpfuhl Assistant Concertmaster Mischa Nieland Helen Horner Mclntyre chair Charles Yancich Esther S. and Joseph M. Shapiro chair Max Hobart Jerome Patterson Trumpets Robert L Beal, and Ripley Enid and Bruce A. Beal chair Robert Charles Schlueter Luis Leguia Roger Louis Voisin chair Cecylia Arzewski Carol Procter Edward and Bertha C. Rose chair Andre Come * Ronald Feldman Bo Youp Hwang Timothy Morrison * Moerschel ]ohn and Dorothy Wilson chair Joel * Jonathan Miller Trombones Max Winder Ronald Barron P. and Mary B. Barger chair Harry Dickson Basses J. Forrest E Collier chair Edwin Barker Norman Bolter Gottfried Wilfinger Harold D. Hodgkinson chair Gordon Hallberg Fredy Ostrovsky Lawrence Wolfe Tuba Leo Panasevich Joseph Hearne Chester Schmitz Carolyn and George Rowland chair Bela Wurtzler Margaret and William C Rousseau chair Sheldon Rotenberg Leslie Martin Alfred Schneider John Salkowski Timpani Raymond Sird John Barwicki Everett Firth Ikuko Mizuno Robert Olson Sylvia Shippen Wells chair Amnon Levy Percussion Flutes Second Violins Charles Smith Doriot Anthony Dwyer Arthur Press Marylou Speaker Churchill Walter Piston chat Fahnestock chair Assistant Timpanist Fenwick Smith Thomas Gauger Vyacheslav Uritsky Mr. and Mrs Robert K. Kraft chair Charlotte and Irving W Rabb chair Frank Epstein Ronald Knudsen Piccolo Harp Joseph McGauley Lois Schaefer Ann Hobson Pilot Leonard Moss Evelyn and C. Charles Marran chair Willona Henderson Sinclair chair Laszlo Nagy * Michael Vitale Oboes Personnel Managers * Harvey Seigel William Moyer Ralph Gomberg * Jerome Rosen Mildred B. Remis chair Harry Shapiro * Sheila Fiekowsky Wayne Rapier * Gerald Elias Librarians Alfred Genovese * Ronan Lefkowitz Victor Alpert * William Shisler Nancy Bracken English Horn * Smirnoff James Harper Joel Laurence Thorstenberg * Jennie Shames Phyllis Knight Beranek chair Stage Manager * Nisanne Lowe Alfred Robison * Aza Raykhtsaum Clarinets Stage Coordinator * Participating in a system of rotated seating Harold Wright within each string section Ann S.M. Banks chat Cleveland Morrison A Brief History of the Boston Symphony Orchestra For many years, Civil War veteran, philan- 1915, the orchestra made its first transconti- thropist, and amateur musician Henry Lee nental trip, playing thirteen concerts at the Higginson dreamed of founding a great and Panama-Pacific Exposition in San Francisco. permanent orchestra in his home town of Recording, begun with RCA in the pioneering Boston. His vision approached reality in the days of 1917, continued with increasing fre- spring of 1881, and on 22 October of that year quency, as did radio broadcasts of concerts. the Boston Symphony Orchestra's inaugural The character of the Boston Symphony was concert took place under the direction of con- greatly changed in 1918, when Henri Rabaud ductor Georg Henschel. For nearly twenty was engaged as conductor; he was succeeded years, symphony concerts were held in the the following season by Pierre Monteux. old Boston Music Hall; Symphony Hall, the These appointments marked the beginning of orchestra's present home, and one of the a French-oriented tradition which would be world's most highly regarded concert halls, maintained, even during the Russian-born was opened in 1900. Henschel was succeeded Serge Koussevitzky's time, with the employ- by a series of German-born and -trained con- ment of many French-trained musicians. ductors—Wilhelm Gericke, Arthur Nikisch, The Koussevitzky era began in 1924. His Emil Paur, and Max Fiedler—culminating in extraordinary musicianship and electric per- the appointment of the legendary Karl Muck, sonality proved so enduring that he served an who served two tenures as music director, unprecedented term of twenty-five years. In 1906-08 and 1912-18. Meanwhile, in July 1885, 1936, Koussevitzky led the orchestra's first the musicians of the Boston Symphony had concerts in the Berkshires, and a year later he given their first "Promenade" concert, and the players took up annual summer resi- offering both music and refreshments, and dence at Tanglewood. Koussevitzky passion- fulfilling Major Higginson's wish to give ately shared Major Higginson's dream of "a "concerts of a lighter kind of music." These good honest school for musicians," and in concerts, soon to be given in the springtime 1940 that dream was realized with the found- and renamed first "Popular" and then "Pops," ing at Tanglewood of the Berkshire Music fast became a tradition. Center, a unique summer music academy for During the orchestra's first decades, there young artists. Expansion continued in other were striking moves toward expansion. In areas as well. In 1929 the free Esplanade con- certs on the Charles River in Boston were inaugurated by Arthur Fiedler, who had been a member of the orchestra since 1915 and who in 1930 became the eighteenth conductor of the Boston Pops, a post he would hold for half a century, to be succeeded by John Williams in 1980. Charles Munch followed Koussevitzky as music director in 1949. Munch continued Koussevitzky's practice of supporting contem- porary composers and introduced much music from the French repertory to this coun- try. During his tenure, the orchestra toured abroad for the first time, and its continuing series of Youth Concerts was initiated. Erich Henry Lee Higginson 12 Leinsdorf began his seven-year term as music Sandor Balassa, Leonard Bernstein, John Cor- director in 1962. Leinsdorf presented numer- igliano, Peter Maxwell Davies, John Harbison, ous premieres, restored many forgotten and Leon Kirchner, Peter Lieberson, Donald Mar neglected works to the repertory and, like his tino, Andrzej Panufnik, Roger Sessions, Sir two predecessors, made many recordings for Michael Tippett, and Oily Wilson—on the RCA; in addition, many concerts were tele- occasion of the orchestra's hundredth birth- vised under his direction. Leinsdorf was also day has reaffirmed the orchestra's commit- an energetic director of the Berkshire Music ment to new music. Under his direction, the Center, and under his leadership a full-tuition orchestra has also expanded its recording activ- fellowship program was established. Also dur- ities to include releases on the Philips, Telarc, ing these years, the Boston Symphony Cham- CBS, and Hyperion labels. ber players were founded, in 1964 they are ; From its earliest days, the Boston Sym- the world's only permanent chamber ensem- phony Orchestra has stood for imagination, ble made up of a major symphony orchestra's enterprise, and the highest attainable stand- principal players. William Steinberg suc- ards. Today, the Boston Symphony Orchestra, ceeded Leinsdorf in 1969. He conducted sever- Inc., presents more than 250 concerts al American and world premieres, made annually. Attended by a live audience of near- recordings for Deutsche Grammophon and ly 1.5 million, the orchestra's performances RCA, appeared regularly on television, led the are heard by a vast national and international 1971 European tour, and directed concerts on audience through the media of radio, tele- the east coast, in the south, and in the mid- vision, and recordings. Its annual budget has west. grown from Higginson's projected $115,000 to Seiji Ozawa, an artistic director of the more than $16 million. Its preeminent posi- Berkshire Festival since 1970, became the tion in the world of music is due not only to orchestra's thirteenth music director in the the support of its audiences but also to grants fall of 1973, following a year as music advisor. from the federal and state governments, and Now in his tenth year as music director, Mr. to the generosity of many foundations, busi- Ozawa has continued to solidify the orches- nesses, and individuals. It is an ensemble that tra's reputation at home and abroad, and his has richly fulfilled Higginson's vision of a program of centennial commissions—from great and permanent orchestra in Boston. Serge Koussevitzky 13 THE BSO SALUTES BUSINESS: PRESIDENTS Presidents Diimer Monday, Ma|^ Ifti3 Presidents at Pops Concert /Kiesday June 21, 1983 conducted by John Williams 'Presidents at Pops', The BSO's program designed to broaden the base of business and corporate support for the orchestra, has inaugurated its second successful year with an early sell out! There is still time, however, to place an advertisement in the Program Journal. For further information, contact Chet Krentzman, General Chairman, 332-3141; Vin O'Reilly, 574-5000 or Mai Sherman, 620-5000, Co-Chairmen', Lew Dabney, Program Journal, 542-8321; or Eric Sanders, Director of Corporate Development, Symphony Hall, 266-1492. The following companies will participate in this year's 'Presidents at Pops' Program. Samuel D. Gorfinkle Treasurer ADCO Publishing Inc. William O. Taylor Chairman Affiliated Publications (The Boston Globe) Andrew S. Kariotis President Alpha Industries Ray Stata President Analog Devices, Inc. Roger D. Wellington Chairman & CEO Augat Inc. Roderick M. MacDougall Chairman Bank of New England Ralph Z. Sorenson President &. CEO Barry Wright Corporation Richard F. Pollard Executive VP BayBanks, Inc. Irving M. Bell President Bell Manufacturing Company Dr. Gregory H. Adamian President * *Bentley College James Cleary Managing Director Blyth Eastman Paine Webber, Inc. Stephen R. Levy President & CEO Bolt Beranek and Newman Inc. Arthur P. Contas Vice President The Boston Consulting Group Thomas J. Galligan, Jr. Chairman & CEO Boston Edison Company William H. Wildes President Buckley and Scott Co. Sherwood E. Bain Chairman **Burgess &. Leith Incorporated Craig L. Burr General Partner * *Burr, Egan, Deleage & Company Norman L. Cahners Chairman Cahners Publishing Co., Inc. Robert A. Cesari Managing Partner Cesari & McKenna Henry L. Foster, D.VM. President Charles River Breeding Laboratories, Inc. Sanford H. England Vice President * *Citicorp, Inc. Lawrence Dress President * *Clark-Franklin-Kingston Press Howard H. Ward President Commercial Union Insurance Companies Paul Crowley Chairman **Computer Partners, Inc. Vincent M. O'Reilly Managing Partner Coopers &. Lybrand Jane P Fitzpatrick Treasurer Country Curtains Stephen E. Elmont President Creative Gourmets, Limited John J. Cullinane President Cullinet Software, Inc. Dr. David I. Kosowsky President Damon Corporation Lee Daniels President Daniels Printing Otto Morningstar Chairman Data Packaging Corporation George A. Chamberlain HI VP & Treasurer Digital Equipment Corporation Robert M. Rosenberg President **Dunkin' Donuts J. P. Barger President Dynatech Corporation William J. Pruyn President Eastern Gas & Fuel Associates Richard E. Lee President Econocorp, Inc. Thomas O Jones President Epsilon Data Management Richard Farrell President Farrell, Healer & Co. Merwin F. Kaminstein Chairman Wm. Filene's Sons George L. Shinn Chairman First Boston Corporation William L. Brown Chairman First National Bank of Boston John Humphrey Chairman * *The Forum Corporation 14 John C. Avallon President GTE Sylvania Inc. Harry R. Hauser Partner Gadsby & Hannah Richard A. Smith President General Cinema Corporation Coleman M. Mockler, Jr. Chairman & CEO The Gillette Company Thomas E. Knott, Jr. President **Giltspur Exhibits/Boston Gordon F. Kingsley President Haemonetics Corporation Webster B. Brockelman, Jr. Sr. VP Frank B. Hall & Co. of Massachusetts E. James Morton President John Hancock Mutual Life Ins. Co. Stanley Hatoff President Hatoff's Donald R. Sohn President Heritage Travel, Inc. rvlalcolm D. Perkins Partner Herrick & Smith Marlowe G. Teig Sr.VP Houghton Mifflin Company S. Paul Crabtree Sr.VP & Regional VP E.F. Hutton &. Company Inc. President Corporation Paul J. Palmer Vice IBM Arthur L. Goldstein President Ionics Incorporated Harry O'Hare President Johnson, O'Hare Co., Inc. G. Michael Hostage President & CEO **Howard Johnson Company Sven Vaule, Jr. President Jones &. Vining, Inc. Sumner Kaufman President Kaufman & Co. Thomas Mahoney Sr.VP . Kenyon &. Eckhardt Winthrop A. Short President Knapp King-Size Corporation Eugene Eisenberg President LEA Group Art, Inc. Leonard J. Peterson Chairman Label Philip Leach Chairman ** Leach & Garner Company" Arthur H. Klein President Lee Shops, Inc. -Stuarts Melvin B. Bradshaw Chairman & CEO Liberty Mutual Life Insurance Co. Harry L. Marks Chairman Markes International Irving Wiseman President **Mercury International Trading Corp. Arthur D. Little Chairman Narragansett Capital Corporation Edward E. Phillips Chairman New England Mutual Life Ins. Co. Gerry Freche President New England Telephone Company Peter Farwell President Newsome & Co., Inc. Irving Usen Executive VP **ODonnel-Usen Fisheries Harold Thorkilsen President Ocean Spray Cranberries Inc. Herbert W Pollack President * *Parlex Corporation Thomas R. Heaslip President * * Patriot Bankcorporation Herbert E. Morse Partner Peat, Marwick, Mitchell & Co. Maurice J. Hamilburg Executive VP Plymouth Rubber Company, Inc. Gerard A. Fulham Chairman & CEO Pneumo Corporation Joe M. Henson President & CEO Prime Computer, Inc. Peter Sarmanian President **Printed Circuit Corporation Robert J. Scales President **Prudential Insurance Company of America Thomas L. Phillips Chairman Raytheon Company William F. Craig President Shawmut Bank of Boston William Cook President Signal Technology Corporation (formerly Microsomes, Inc.) C. Charles Marran President Spencer Companies, Inc. Peter S. Maher Vice Chairman State Street Bank &. Trust Co. Avram J. Goldberg President & CEO The Stop & Shop Companies, Inc. Arnold Hiatt President The Stride Rite Corporation Steven Baker President * *Systems Engineering & Mfg. Corporation Peter A. Brooke President TA Associates David J. McGrath, Jr. President TAD Technical Services Corporation John F. Keydel Partner-in-Charge **Touche Ross &. Co. Leonard Florence Chairman Towle Manufacturing Company Alan Lewis President **Trans National, Inc. R. Willis Leith Chairman Tucker, Anthony & R.L. Day, Inc. James Y Sidell President & CEO United States Trust Company Seymour L. Yanoff VP &. Gen. Mgr. WBZ-TV S. James Coppersmith VP&Gen. Mgr. WCVB-TV Winthrop R Baker President & Gen. Mgr. **WNEV-TV Harry H.S. Chou Executive VP Wang Laboratories, Inc. Paul Montrone Executive VP WheelabratorFrye Frank B. Condon President Woodstock Corporation Malcolm L. Sherman Exec. VP& Gen. Mgr. Zayre Corporation 'New supporters for President at Pops 1983. 15 Strikingly conceived, magnificently executed, and truly unparalleled. 77 Florence Street, Chestnut Hill, MA Ultra-Luxury Condominium Suitesfrom 1350 to 3000 squarefeet, pricedfrom $225,000 to $550,000 (subject to change without notice) We welcomeyour inquiry. Sales Office: Wellesley Office Park, 40 William Street, Wellesley, MA 02181 Call: (617) 431-7447 weekdays and weekends BOSTON SYMPHONY ORCHESTRA Seiji Ozawa, Music Director ^* BOSTON Sir Colin Davis, Principal Guest Conductor SYMPHONY Joseph Silverstein, Assistant Conductor ORCHESTRA One Hundred and Second Season, 1982-83 SEIJI OZAWA Music Dirtctor Thursday, 28 April at 8 Friday, 29 April at 2 Saturday 30 April at 8 SEIJI OZAWA conducting BRUCKNER Symphony No. 8 in C minor (version of 1887/90, ed. Haas) (American premiere given by the Boston Symphony Orchestra on 12 March 1909) Allegro moderato Scherzo: Allegro moderato; Trio: Langsam (Slow) Adagio : Feierlich langsam,- doch nicht schleppend (Solemnly slow, but not dragging) Finale: Feierlich, nicht schnell (Solemn, not fast) Thursday's and Saturday's concerts will end about 9:25 and Friday's about 3:25. Philips, Telarc, CBS, Deutsche Grammophon, and RCA records Baldwin piano Please be sure the electronic signal on your watch or pager is switched off during the concert. The program books for the Friday series are given in loving memory of Mrs. Hugh Bancroft by her daughters Mrs. A. Werk Cook and the late Mrs. William C. Cox. 17 Week 22 mSBsm Strauss » . / "ALSO SPRACH This season ZARATHUSTRA' take the Symphony Boston Symphony Ozawa p 6514 2210 7337 221 Q with you MAHLER 8th IH OZAWA g SYMPHONY OF A THE RITE OF SPRING THOUSAND (LESACREIXJPRINTEMPS) BOSTON SYMPHONY on OZAWA ^*w» BOSTON M PHILIPS SYMPH< ^ Records & 6769 069O 7654 069 £3 9500 7810 7300 855 O TCHAIKOVSKY S Cassettes 1812 OVERTURE HOLST COLIN DAVIS TH€ PIANCTS BOSTON SYMPHONY oznuin BOSTON SVMPHONV 9500 892© 7300 892 Q 9500 782© 7300 856 O Grieg •• Schumann Piano Concertos Arrau Davis Imported Pressings Boston " . Symphony Audiophile Sound 9500 891 © 7300 891 H3 These BSO Records & Cassettes Specially Priced at all Coop Outlets list price $10.98 SALE PRICE $6.99 per disk list price $12.98 SALE PRICE $7.99 per disk Cambridge: 1400 Massachusetts Ave. & 84 Massachusetts Ave. Boston: 396 Brookline Avenue & 1 Federal Street 1982 PolyGram Classics, Inc. —I 9 18 Anton Bruckner Symphony No. 8 in C minor Joseph Anton Bruckner was born in Ansfelden, Upper Austria, on 4 Septem- ber 1824 and died in Vienna on 11 Octo- ber 1896. He composed the first version of his Eighth Symphony between 1884 and 1887. When he could not find a conduc- tor willing to produce the work, Bruck- ner undertook a major revision with the assistance of Joseph Schalk in 1889-90. The score is dedicated to "His Imperial and Royal Apostolic Majesty, Franz Joseph I, Emperor of Austria and Apos- tolic King of Hungary." The first version remained unperformed until a decade ago; it was first heard on a BBC broadcast on 2 September 1973. The revised version received its first performance from the Vienna Philharmonic under the direction of Hans Richter on 18 December 1892. The American premiere performances were given by the Boston Symphony Orchestra on 12 and 13 March 1909, with Max Fiedler conducting. It has also been performed here by Serge Koussevitzky, William Steinberg, and Erich Leinsdorf. The most recent perform- ances were directed by Klaus Tennstedt, who conducted the work in Symphony Hall in December 1974 and at Tanglewood the following July. The musicologist Robert Haas, in 1935, prepared a composite version consisting generally of the 1890 revision supple- mented by a few passages that Bruckner had cut from his 1887 version at the insistence of Schalk. That version was first performed by Wilhelm Furtwangler in Hamburg on 5 July 1939. It remains the most frequently performed version and the one most specialists believe comes closest to Bruckner's final decisions. It is this Haas edition that will be heard at the present performances. In the 1890 version which forms the basis of the Haas edition, the symphony is scored for three flutes, three oboes, three clarinets, three bassoons, contrabassoon, eight horns (four interchangeable with two tenor and two bass Wagner tubas), three trumpets, three trombones, contrabass tuba, timpani, triangle, cymbals, two harps, and strings. When Anton Bruckner arrived in Vienna in 1868 to take up the professorship of har- mony and counterpoint at the Conservatory he was already forty-four years old and had attained some renown as a composer of Masses (all three of his works in that genre were already behind him) and as a superb scholar of musical technique. When he had been tested in 1861 for a diploma from the Conservatory one of his judges had exclaimed, "He should have examined us! If I knew one tenth of what he knows, I'd be happy." His professorship was a position of great prestige in the elegant and fashionable capital of the Austro-Hungarian Empire, but it had been bestowed on a man of peasantlike simplicity in his personal life, a man who had little real understanding of the "proper" way to get ahead in the capital. He must have been a strange apparition in the simple costume he always wore, characteristic of his native Upper Austria: baggy black pants (ending above the ankles so as not to interfere with his pedal-work when playing the organ), a loose coat 19 Week 22 EUHHEBKa If of notably unstylish cut, and comfortable white shirt with an unfashionably broad collar. With his short and stocky build and his hearty appetite, he could easily have been taken for a peasant farmer. But his real difficulties came because he was utterly unable to understand the political aspect of Vienna's musical life—the division into armed camps representing the Brahmsians and the Wagnerians, and the likelihood of a partisan of one side being devoured alive by the partisans of the other side. Vienna was always a conservative city musically, and its Philharmonic Orchestra was the spearhead of that conservatism. The press, too, supported Brahms against Wagner and his adherents. So it was difficult enough for a composer allied in any way with "the music of the future" even to get a hearing,- and once he had gotten it, it was difficult to find a review that provided even the mini- mum standards of fair reporting (such as wildly enthusiastic audience response, which sometimes occurred without being mentioned by Eduard Hanslick and other critics in their intensely pejorative reviews). In that environment, Bruckner made one devastating political mistake and—characteristically— kept on repeating it, quite ignorant of its con- sequences to himself: he expressed and constantly reaffirmed a strong admiration for 'When You Think Of AlH A Smile Can Do.... Great hotels are built around great restaurants. A smile can share your joy, comfort a child, close a deal and catch an eye. Smiling can reflect warmth, confidence and your good health. We dedicate ourselves to providing the ultimate in fine dental care with sensitivity to your comfort and appear- ance. Charles Garzik,DMD.,D.Sc.D. Boston Prosthodontist scituate 267-3011 545-5232 WHERE SMILES ARE A At The Bostonian Hotel PERFORMING ART Overlooking Faneuil I lall Marketplace Telephone 523-3600 20 Wagner. Hanslick himself had written favorable reports of Bruckner's early work— until Bruckner overtly linked himself to Wagner by dedicating his Third Symphony to him. At that point Hanslick's support evaporated instantly. For years thereafter Bruckner's symphonies had to find their way largely against the will of the entrenched critics who were confident that they knew what a symphony was. Yet Bruckner's symphonies are so individual and personal a treatment of the form inherited from Haydn, Mozart, Beethoven, and Schubert that they redefined it— at least for him. Until quite recently Bruckner's name was always linked in the same breath with Mahler's, as if Bruckner-and-Mahler were no less inseparable than Gilbert-and- Sullivan. But aside from the fact that the much younger Mahler admired Bruckner's music and provided the piano reduction of the Third Symphony at the time of its publication, the two composers had little in common. To be sure, both wrote lengthy and demanding symphonies that were rarely per- formed, but in other respects their music looked in opposite directions. Mahler's sym- phonies involved (as he himself said) the creation of entire worlds, filled with existential doubt and anguish, and no matter how assertively positive the endings might sometimes tZSmtm r- afelrihwti •Sip PBILHARMONrSCHE C0ICIRT1 Soxmtag dies 18. December 1892. im frotee* Seele dw G#»*U»ch«ft d*r *Wkfi-.und« 4* Aboaaeraint- Concert MitgiiedWn dies k. k. Hof-Opernorcbe*ter« H A N8 RICHTKR, k k «*«-( -* ft* i'HOt.R AM M. % n I on Urttrknert Symphonie in C-molL Nr. 8. •s> 1 1 1 km mm bmrmmi mum.) (fcrte WtiMg) Text mat ' ; t»»* P**um«fe*i* tmtm Met m 15. timet ma sua. "WlgjffpW "m Program from the first performance of Bruckner's Eighth Symphony 21 Week 22 Brewer &. Lord? Isn't that a discount book Were Brewer & Lord, the insurance firm that's been protecting New England business, and business people, since 1859. MAIN OFFICE: 40 Broad Street, Boston, MA 02109 Tel. (617) 426-0830 BRANCHES: Acton, Framingham, Bedford (Gail Aviation Insurance) &. Falmouth (Lawrence &. Motta) Personal &. Business Fire/Casualty/Surety/Marine/Auto/Homeowners/Risk Management 22 be, the search and the doubt always remain at the core. Bruckner could hardly have been more different. Though socially inept, Bruckner wrote symphonies that ring with the absolute conviction of his faith, and each symphony seems from the beginning to be aiming for a predestined conclusion of grandeur and almost heavenly glory, the embodi- ment in tone of the massive, ornate Baroque churches in which he had served as organist. If Mahler's symphonies are some kind of self-psychoanalysis, Bruckner's symphonies are liturgical acts. Or, to use a very different comparison: Haydn (another composer who came from the peasantry in the Austrian countryside) wrote Mass settings that were profoundly symphonic in character,- Bruckner wrote symphonies that were deeply litur- gical. It is not only that he often quoted themes from his Masses in his symphonies, but rather the nature of the musical rhythm, the grand, measured progress from certainty to certainty, leading in confident assertion to the final glory, that gives his symphonies their special character. (And perhaps this is why today, in an age of endless questioning of values, Mahler's symphonies seem to strike a more generally responsive chord than Bruckner's.) After arriving in Vienna, Bruckner devoted almost his entire creative energy to the composition of symphonies. The years 1871 to 1876 saw the pouring out of symphonies 2, 3, 4, and 5. Hanslick's earlier enthusiasm turned to harsh, even vindictive opposition when Bruckner made no bones about the fact that the Third was a "Wagner symphony." There was thus no question of the Philharmonic playing one of his symphonies for some years, though his reputation began to grow elsewhere, particularly in Germany. The real start of his international fame came with the great success of the Seventh Symphony at its world premiere in Leipzig under the direction of Arthur Nikisch at the end of 1884 ; even greater enthusiasm was aroused in March 1885, when the symphony was per- formed by Hermann Levi in Munich. Bruckner was there to witness the greatest success his work had so far achieved; the German critics lavished praise on the symphony, and King Ludwig II of Bavaria accepted the dedication. These successes came early in the period when Bruckner was composing the Eighth Symphony, and they naturally enough helped put him in a mood of contented assurance. Yet he was still not eager to have his work performed in Vienna, so great was the power of the hostile critics there. Baccarat, the ultimate in crystal from Boston's finest selection. the recognized source of fine china, crystal, and distinctive gifts in New England. 34 Newbury Street, Boston 536-3826 " Spiral box, 5V2 high, $ 1 1 0. 23 No doubt he recalled the humiliating premiere of the Third, under his own direction, when the audience had flocked to the exits during the performance, leaving only a handful of enthusiasts behind to applaud at the conclusion. Even the first performance of the Fourth in 1881, which had been a considerable success, did not immediately over- whelm opposition. But during 1886, when he was well advanced with the Eighth Sym- phony, Vienna heard two successful performances that no doubt kept Bruckner's spirits high. In January, Hans Richter conducted a performance of the Te Deum in which the audience response was so strong that even Hanslick had to make some grudging conces- sions. Then in March, at the first Vienna performance of the Seventh Symphony (again with Richter), Bruckner was called forth for a bow several times after each movement, though Hanslick insisted that the music was "unnatural, bloated, contaminated, and decadent." Finally in July he was awarded the Order of Franz Joseph and a stipend of 300 gulden from the Emperor himself. By this time the Eighth Symphony was virtually achieved. He must have started sketching the first movement early in the summer of 1884. By late July he had gone to Bayreuth, and later to Munich, St. Florian, and Kremsmunster, We know a good investment whenwe hear one. Lets all support the BSO. Tucker. Anthony & R.L. Day, Inc. Serving investors in 30 offices in the U.S. and abroad. Since 1892. One Beacon Street. Boston. (617) 725-2000. Tucker Anthony 24 finally stopping with his sister at Vocklabruck for his sixtieth birthday on 4 September, on which day he finished the composition sketch of the first movement; he spent the rest of the month outlining the scoring of the movement. During the next two years he was intensely busy as a teacher and lecturer, but what little free time he had to compose was dedicated to the Eighth Symphony. He completed the sketch of the Adagio (then intended to be in second place in the score) on 16 February 1885. The summer was devoted to intensive work on the remaining movements; he completed the scherzo and Trio sketch on 26 July starting the finale the next day and completing its draft in some elation, as indicated by his signature at the end giving the date and place: "Steyr, Stadtpfarrhof, 16 August 1885. A. Bruckner. Hallelujah!" But that was only a complete draft of the work—the main creative part, to be sure, but the scoring and polishing took another two years. He began with the Trio, completing a full score by 25 August but retouching it for another month. The scherzo occupied most of October. He turned next to the first movement, which took him through the first week of February 1886. He began the score of the Adagio on 13 February (the third anniversary of Wagner's death; three years earlier he had been completing the Adagio of his Seventh Symphony when the sad news arrived) and worked on it through the sum- mer. The finale took up the entire winter of 1886-87, with the main writing of the score being finished on 22 April, though the last details took until 10 August. Bruckner was pleased with his work. He sent it to the man whose performance of the Seventh Symphony had demonstrated such understanding of his music in Munich, Hermann Levi, whom Bruckner called his artistic father. He wrote to Levi on I sA I ' * „ • % « i »-«•; - ~ *| / / L?'*--*nf: Eiffel 9 Lj /. ,,,..., The conclusion of the Eighth Symphony in Bruckner's sketch draft, with the date and place of completion preceding the composer's signature, and a personal reaction: "Steyr, Stadtpfarrhof, 16 August 1885. A. Bruckner, Halleluha!" 25 Week 22 We've found that many investors are ies that are in vital industries. The uncomfortable with their present in- companies can be long established or vestment advisors. just emerging. But they have to have Because these advisors, it appears, distinct characteristics that set them rely too much on "hot tips." And they above the competition. take unnecessary risks. So call us at (617) 292-2650. Then But you'll find that at Shawmut, you'll have a distinct characteristic that we aren't short-term speculators who sets you above the competition. Us. react nervously to the daily ups and downs of the market averages. We aim Shawmut to capitalize on more definable long- Trust Division term trends. We also invest in leading compan- Look to us for direction. Investment Management. Because money is the last thing you want to gamble with. 26 M 19 September: I am taking the liberty, with your permission, of sending you the full score of my Eighth Symphony, in the hope that it will find favor. I simply cannot describe my feeling of elation at the prospect of its being performed under your masterly direction. Unfortunately Levi, who had truly loved the Seventh, now found himself, to his great embarrassment, unable to comprehend the new work, to take in its vast span. He knew that the rejection would hurt Bruckner terribly and wrote to Bruckner's pupil Joseph Schalk for advice. Schalk broke the news as gently as he could and then (on 18 October) reported to Levi: It is hardly surprising that Professor Bruckner has taken your verdict very badly. He is still very unhappy about it and refuses to listen to a word of comfort ... I only hope he will soon calm down and follow your advice by attempting a revision, which by the way he has already started on in the first movement. For the time being of course it would be better if he stopped work on it because he is upset and in despair and has lost all confidence in himself. The loss of confidence affected not only the Eighth Symphony. Levi's rejection of his newest work revived Bruckner's earlier doubts about his ability and cast a pall over many of his earlier works. In fact, he spent most of the rest of his life revising older, already finished works instead of writing new ones. Though he lived another nine years, he wrote only a few small pieces,- he never managed to complete a new symphony. The Eighth was thoroughly revised with the sometimes misguided "assistance" of Joseph PHILLIPS POND Thirty wooded acres bordering the Charles River as it winds through the South Natick countryside. Broad lawns surround an imposing Geor- gian mansion at the river's bend. Audubon sanctuaries on both sides of the Charles provide tranquil views and insure total privacy. This magnificent estate is the setting for twenty five individual con- dominium residences presently under construction. Their architecture is contemporary, drawing upon traditional New England forms and materials, echoing the dig- nity of the estate's manor house. The de- signs are spacious. The detailing and appointments are exceptional. The natural surroundings are exquisite. Telephone 235-7141, day or evening, for a personal appointment. mi* Exclusively represented by ** Suburban Property Center Vii 255 Washington Street, Wellesley Hills. 27 Schalk and completed on 10 March 1890. He had already begun sketching a Ninth Symphony, but despite nearly a decade of life remaining, his agonized struggles and self- left that work only an unfinished torso he spent the last three years of his life doubt ; trying to create a finale for it. The Eighth, though, which Bruckner completed not once but twice, stands as one of his greatest monuments. Though he was certainly deeply hurt by Levi's rejection of the score in its original form, he nonetheless thought seriously about the work and revised it so thoroughly that scarcely a bar remained untouched. First of all, he rescored the sym- phony from beginning to end, at the same time tightening up the musical discourse. He expanded the size of the orchestra from double to triple woodwinds in the climaxes,- many of the lighter passages still call for the smaller ensemble. But there were other, more readily apparent changes as well. The first movement originally ended with an enormous fortissimo passage. In the 1890 revision Bruckner changed this dramatically to a hushed "death watch" (the composer's own phrase) for strings, timpani, and a single clarinet, closing the movement with an unforgettable, uncanny tension. This was, in For gracious living on a grand scale, share the legacy of this 1 3-acre nineteenth century estate. Landscaped by Frederick Law Olmsted, it preserves two historic mansions transformed into six palatial residences, plus carriage house and gate lodge. Brand-new single and townhouse homes, comparable in scale and quality, provide a total of just thirty-eight estate condominiums. Tennis, outdoor pool, and on-site Estate Manager. Preview priced from $290,000 to $588,000. FISHER HILL ESTATES 575 Boylston Street, Brookline, MA 02146. (617) 739-2277. 28 fact, the first time that Bruckner had ever ended a first movement softly. Two other substantive changes took place in the revision: the Trio of the second movement was entirely rewritten, and the big climax near the end of the Adagio and originally in C was changed to E-flat. Apart from that the main changes were several cuts made at the suggestion of Joseph Schalk. Bruckner seems to have acceded to these cuts reluctantly at best, always hoping that some day the full score could be made available.* But it was the revised and cut version that was finally performed in 1892, in Vienna, at a concert conducted by Hans Richter. The work, of course, had to stand alone on the program, and the orchestra 'There is a complication here. Schalk persuaded Bruckner that one passage appearing both in the exposition and the recapitulation of the last movement too strongly resembled the Seventh Symphony. Bruckner crossed one of them out in his score but forgot to cancel the other. Later, when preparing the symphony for publication in 1892, Schalk noticed this inconsistency and had the other passage removed as well (for musical balance), though he never got Bruckner's approval for his action. Robert Haas, when preparing his edition of the Eighth in the 1930s, used the much improved 1890 version of the symphony as its basis, but he reinstated both passages that Schalk had cut, convinced that the composer had never been reconciled to them. More recently Leopold Nowak has re-edited Haas's volume for the Bruckner complete edition, but he insisted on retaining exactly what appeared in Bruckner's last manuscript, which meant excluding the passage that Bruckner himself had marked out, but leaving in the one that Schalk had removed on his own. Nowak has musicological purity on his side, but his edition creates a musical imbalance that Bruckner almost certainly did not want. Most critics and performers have agreed that the passages in question should either both remain or both disappear. Most people prefer Haas's solution (especially since Schalk linked the passages where he had made cuts with a particularly pointless phrase of his own composition). Actually, the differences between the Haas and Nowak editions amount to less than 2% of the measures in this lengthy symphony and are hardly likely to be noticed except by someone who is following the score or is intimately acquainted with the work. Nowak has also published the 1887 version as it stood before Bruckner began his revisions,- this score makes a fascinating comparison with the revision, but as it is almost never performed and has not been recorded, only score-readers will be able to understand the degree of Bruckner's reworking. 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He pointedly left in the middle of the performance, which spared him having to see the overwhelming ovation at the end and the three gigantic laurel wreaths draped around the aging but gratified composer. Like many of Bruckner's symphonies, the Eighth begins in silence turning to the merest whisper of sound, out of which the musical thought takes shape. The obvious inspiration for this kind of an opening is Beethoven's Ninth Symphony, and Bruckner's response to it here is closer than usual, in that his principal theme is in the same rhythm as Beethoven's opening theme. Moreover this idea contains the germs from which much of the rest of the symphony grows. The opening upbeat (a), a crisp sixteenth-note, reappears everywhere,- indeed, the sym- phony might be described as the apotheosis of the upbeat. And the tail of the opening figure (b) grows in importance throughout the symphony, constantly insinuating itself into the thematic development, starting with echoes in the first oboe and first clarinet almost immediately. Almost at once a new version of the phrase appears with the rhythmic motive that is so characteristic of this composer that it is often called the "Bruckner rhythm"—a pair of even quarter-notes followed by triplet quarters (c). -c 1 *&&t^^ *Vviolas and cellos This rhythm continues in the strings until an orchestral fortissimo starts the entire process over again from the beginning. Throughout this passage Bruckner hints at the home key of C minor, circles around it, but never explicitly establishes it. This is all part of the process of growth that is at the heart of this symphony, a searching for the solidity that is hoped for, but not given, at the outset. A new key, G major, is briefly but firmly established for what is clearly a new theme— essentially a scale figure, though obviously derived from the "Bruckner rhythm." cresc. i 30 This, too, will play a crucial part in the proceedings, both in its original form and inverted. Bruckner's opening movement so far, not surprisingly, suggests the exposition of a sonata form. The further progress of the musical ideas can be followed through an exposition close in E-flat and a development that employs all of the thematic ideas heard so far in intricate interaction and further growth. But at the moment when we expect a full recapitulation—the return to the home key of C minor—Bruckner avoids the self- conscious and obvious return to the very beginning of the movement. In fact, he scarcely presents the opening theme at all (it is heard once in the first oboe, but the flute and the violins compete for attention). This is not an oversight: the composer is purposely with- holding this means of firmly establishing his key—and he continues to withhold it until almost the end of the entire symphony, about an hour from this point! Then it becomes the climax of the entire work. The remainder of the first movement follows from what we expect of a sonata form: the second theme in E-flat, the marchlike closing theme in C minor, building again to a powerful climax. But then suddenly the full orchestra drops out, leaving the horns and trumpets reiterating the rhythm of the opening theme on a unison C. A pianissimo roll on the timpani ushers in the tense "death watch," one of the most important passages in Bruckner's revision of the score. The overall form of the second movement, scherzo—Trio—scherzo repetition, is easy enough to follow. Bruckner is supposed to have said at one point that he was thinking of "the German Michael" in this movement, that is, of a stolid and sturdy peasant type. The comment was a singularly unfortunate one which, like many of Bruckner's Hans Richter, who conducted the first performance of Bruckner's Eighth in December 1892 31 Week 22 Lifestyle... Deluxe We overlook all ofBo$ton~but nothing else nothing that adds to the quality of your life has been overlooked at The Towers of Chestnut Hill. We offer the ultimate in luxury, convenience, and service. At The Towers, a deluxe lifestyle is at your disposal: sound- conditioned and climate-controlled condominium suites; tennis courts, private exercise room and sauna, and enclosed year-round swimming pool; a spectacular view of the Boston skyline. All on 17 magnificently landscaped acres that constitute the area's most prestigious address. The Towers of Chestnut Hill. Don't overlook it. One bedroom condominium suites from $90,000. Two bedrooms from $138,000. Three bedrooms and Penthouse suites available on waiting list basis. 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The Adagio may well be the greatest slow movement ever written by a composer who was particularly a master of sustained musical thought in slow motion. The intricate polyphony, the continuing ramification of ideas from the very opening of the symphony, illumined by sudden outbursts of energy, building from the movement's tonic key of D-flat to a mighty climax in E-flat (a distant key in the context of this movement, but extremely close to the symphony's home key of C minor) demand and reward the most sustained attention. The finale opens with an incredible burst of energy. The strings march on with an F-sharp four octaves deep, heightened by grace notes that hearken back to the scherzo, where they were also prominent. A mighty chorale in the brass resounds in glowing harmonies and the key makes its way to a solid affirmation of the tonic C minor. Lyric passages in the strings and woodwinds turn into an E-flat minor march reminiscent of a passage from the first movement. Indeed, this movement involves further growth of the germinal motives of the opening building to mighty climaxes, the most forceful of which is the utterance of the first movement's main theme, purposely evaded in the recapitulation to that movement, now sounded brilliantly in the trumpets against the entire orchestra to end the main body of the finale. There follows the extended coda, which drops back to a suspenseful hush before achieving the climactic passage of the entire symphony— the one that caused its happy composer to write "Hallelujah!" at the close of his score—a brilliant C major conclusion combining at one moment the principal themes of each of the movements of the symphony in a glorious resonant maelstrom. And to wind it all up, the entire orchestra, in unison, shouts forth a closing gesture derived from the very opening phrase (figure b) of this massive masterwork of symphonic architecture. —Steven Ledbetter 33 Week 22 Ira FOR FIRST QUALITY, CURRENT SEASON NOBODY BUT NOBODY GIVES YOU tarn's 2... THRU 16 BEYOND COMPARE! FROM 20% TO AS MUCH AS 40% ALWAYS, IN ALL OUR DEPARTMENTS Take Exit 56 East Off Route 128, 964 1913 Shop Daily 10-6 Wed. and Thurs. 10-9 Master and Visa Welcome. FASHIONS 201 NEEDHAM STREET, NEWTON 34 . More . . Hans-Hubert Schonzeler's Bruckner is a brief, nicely illustrated life-and-works (Calder, also available as a Marion Boyars paperback). The most penetrating musical discussion of the symphonies is to be found in Robert Simpson's The Essence of Bruckner (Chilton). Philip Barford's Bruckner Symphonies in the BBC Music Guides gives a sympathetic introduction to these works (U. of Washington paperback). Dika Newlin's Bruckner, Mahler, Schoenberg is an interesting study that links the three composers as part of the great Viennese musical tradition (Norton). Though not dealing with every movement of each symphony Deryck Cooke's chapter on Bruckner in the first volume of the sym- posium The Symphony, edited by Robert Simpson, is sympathetic and enlightening (Pelican paperback), with extensive discussion of the first and last movements of the Third Symphony, the slow movement of the Seventh, the scherzo of the Eighth. The complex series of scores, versions, and editions of Bruckner's music, brought on largely by the well-intentioned but misguided efforts of his disciples to spread performances of his work, have caused headaches for everyone performing, studying, or writing about this music. Deryck Cooke brought some order out of this chaos in a series of articles origi- nally published in the Musical Times and later republished in this country by The Musical Newsletter as "The Bruckner Problem Simplified" (available from The Musical Newsletter, 654 Madison Avenue, Suite 1703, New York, N.Y. 10021). There are a number of fine recordings of the Bruckner Eighth Symphony, though you can't always tell from the label or the notes what version you are getting—even the record company sometimes seems not to know what they have issued! A case in point is Herbert von Karajan's reading with the Berlin Philharmonic (DG): the liner note insists that this is the version of 1887, but a comparison with the score demonstrates that it is, in fact, the Haas edition discussed in the program note, representing the 1890 version in toto with the additional insertion of a few passages from 1887 that were later cut at Schalk's insistence. The pianissimo ending of the first movement and the newly-written Trio of 1890 are clear indications that Karajan has used the 1890 revision. Other recommended recordings include those of Bernard Haitink with the Concertgebouw Orchestra on Philips (perhaps my favorite because it lets Bruckner's architectural structures make their own point without too much pushing or prodding) and Eugen Jochum with the Berlin Philharmonic (DG). Daniel Barenboim's recording with the Chicago Symphony (DG) is beautifully played and recorded, but his tempos are so fast—cutting six to eight minutes off the time of any other recording—that they give the symphony a rather driven, Mahleresque character. Wilhelm Furtwangler, who gave the first performance of the Haas edition in 1939, recorded it (with one small cut of ten measures in the Adagio) in 1949 with the Berlin Philharmonic, a reading of noble proportion and careful pacing (Electrola Da Capo import). -S.L. 35 Week 22 """-•'- Mm nil wmM » Boston- in Ptf S O. the and Congrotu.otions best w/'s/ies for a happy hundred- ond-second season. Jordan marsh WW"'" Jordan Marsh mm A Unit of Alliea Stores 36 ' 1 SEIJI OZAWA AND THE BOSTON SYMPHONY ORCHESTRA A TEN-YEAR REPERTORY LIST In his ten years as Music Director, Seiji Ozawa has conducted the Boston Symphony Orchestra in the following repertory at Symphony Hall and at Tanglewood. (This list includes concerts from September 1973 through the 1983 Tanglewood season; 1983 Tanglewood dates are given in brackets since they have not yet taken place. Tour performances are not included.) Season ANJO, KEI/ICHIYANGI, TOSHI/YAMAMOTO, NAOZUMI Three Spaces.- Ten, Chi, Jin (Heaven, Earth, Humankind) TWD 1 975 KINSHI TSURUTA, biwa HIDEO KANZE, noh-kan and utai; } KATSUYA YOKOYAMA, shakuhachi; SEN AMANO, drums ANTONIOU, THEODORE Circle of Thanatos and Genesis (world premiere) 1 980-8 MICHAEL BEST, tenor,- MAC MORGAN, narrator,- TANGLEWOOD FESTIVAL CHORUS, JOHN OLIVER, conductor BACH, CPE. Symphony in D, Wq. 1 83, No. 1 , Hamburg TWD 1 975 BACH, J.C Sinfonia in D, Op. 18, No. 4 TWD 1975 Symphony in E for double orchestra, Op. 18, No. 5 1978-79 BACH, J.S. Brandenburg Concerto No. 5 in D, BWV 1 050 1 982-83 DORIOT ANTHONY DWYER, flute; JOSEPH SILVERSTEIN, violin,- PETER SERKIN, piano Cantata No. 34, "O ewiges Feuer, O Uisprung der Liebe" TWD 1975 PHYLLIS BRYN-JULSON, soprano; ROSE TAYLOR, mezzo- soprano,- KENNETH RIEGEL, tenor,- DAVID ARNOLD, bass,- TANGLEWOOD FESTIVAL CHORUS, JOHN OLIVER, conductor ' Cantata No. 5 1 , 'Jauchzet Gott in alien Landen' TWD 1 975 PHYLLIS BRYN-JULSON, soprano,- ARMANDO GHITALLA, trumpet St. John Passion, BWV 1045 1980-81 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 St. Matthew Passion, BWV 244 KENNETH RIEGEL, tenor (Evangelist),- RICHARD STILWELL, TWD 1 976 baritone (Jesus),- PHYLLIS BRYN-JULSON, soprano,- MAUREEN FORRESTER, contralto,- SETH McCOY, tenor,- BENJAMIN LUXON, baritone; TANGLEWOOD FESTIVAL CHORUS, JOHN OLIVER, conductor; BOSTON BOY CHOIR, THEODORE MARIER, director 37 ROBERT TEAR, tenor (Evangelist); RICHARD STILWELL, •1975-76 baritone (Jesus); ELLY AMELING, soprano; MAUREEN FORRESTER, contralto; JOHN ALER, tenor,- MICHAEL DEVLIN, baritone,- TANGLEWOOD FESTIVAL CHORUS, JOHN OLIVER, conductor Ricercar a six from the Musical Offering, BWV 1079, 1979-80 orchestrated by Anton Webern Violin Concerto No. 1 in A minor, BWV 1041 JOSEPH SILVERSTEIN, violin 1978-79 ITZHAK PERLMAN, violin 1977-78 Violin Concerto No. 2 in E, BWV 1042 1977-78 ITZHAK PERLMAN, violin BALASSA, SANDOR, Calls and Cries, Op. 33 (world premiere,- commissioned by the 1982-83 Boston Symphony Orchestra for its centennial) BARTOK, BELA Concerto for Orchestra TWD 1981,- 1980-81 for String Orchestra TWD 1976 1975-76 Divertimento ; Duke Bluebeard's Castle 1980-81 YVONNE MINTON, mezzo-soprano (Judith); GWYNNE HOWELL, bass-baritone (Bluebeard) The Miraculous Mandarin, Op. 19, Pantomime in one act TWD 1979 TANGLEWOOD FESTIVAL CHORUS, JOHN OLIVER, conductor The Miraculous Mandarin, Suite TWD 1976; 1975-76 Music for Strings, Percussion, and Celesta TWD 1979; TWD 1977; 1976-77 Piano Concerto No. 2 1980-81 ALEXIS WEISSENBERG, piano Violin Concerto No. 2 1975-76 KYUNG WHACHUNG, violin decor international ;! 171 newbury st. boston || ^2-1529 < ™J/ln$nerSeasotv To delight the senses with fine dinners, special catering and private lunches. Serving dinner 3:30-10: 30 Monday thru Saturdm/. handwoven ruqe JhAL^VernotvSl. orientate • kilims -dhurries 6 related folk art ••-"'.•',''• WBBsa wm fSSHffiMKfii BEETHOVEN, LUDWIG VAN Symphony No. 1 in C, Op. 21 1982-83 Symphony No. 2 in D, Op. 36 TWD 1981,- 1980-81 Symphony No. 3 in E-flat, Op. 55, Eroica TWD 1975,- 1974-75 Symphony No. 4 in B-flat, Op. 60 TWD 1979; TWD 1975 Symphony No. 5 in C minor, Op. 67 1980-81,- TWD 1980,- 1979-80 Symphony No. 6 in F, Op. 68, Pastoral 1981-82,- TWD 1980; 1979-80 Symphony No. 7 in A, Op. 92 1980-81,- TWD 1980; 1976-77 Symphony No. 8 in F, Op. 93 1981-82 Symphony No. 9 in D minor, Op. 125 ROBERTA ALEXANDER, soprano,- MAUREEN FORRESTER, TWD 1982 contralto,- JAMES McCRACKEN, tenor,- VICTOR VON HALEM, bass,- TANGLEWOOD FESTIVAL CHORUS, JOHN OLIVER, conductor FAYE ROBINSON, soprano,- KATHERINE CIESINSKI, mezzo- 1981-82 soprano,- DENNIS BAILEY, tenor JOHN CHEEK, bass-baritone,- ; TANGLEWOOD FESTIVAL CHORUS, JOHN OLIVER, conductor HEATHER HARPER, soprano,- EVELYN PETROS, mezzo- 1975-76 soprano,- SETH McCOY, tenor,- BENJAMIN LUXON, baritone,- HARVARD-RADCLIFFE COLLEGIUM MUSICUM, HARVARD GLEE CLUB, and RADCLIFFE CHORAL SOCIETY, F. JOHN ADAMS, director MARITA NAPIER, soprano,- JOY DAVIDSON, mezzo-soprano,- TWD 1974 JOHN ALEXANDER, tenor,- SHERRILL MILNES, baritone,- TANGLEWOOD FESTIVAL CHORUS, JOHN OLIVER, conductor Piano Concerto No. 2 in B-flat, Op. 19 1974-75 VLADIMIR ASHKENAZY, piano Piano Concerto No. 3 in C minor, Op. 37 1982-83,- 1980-81 RUDOLF SERKIN, piano Piano Concerto No. 4 in G, Op. 58 ANDRE WATTS, piano TWD 1979 MURRAY PERAHIA, piano 1976-77 Piano Concerto No. 5 in E-flat, Op. 73, Emperor ALEXIS WEISSENBERG, piano TWD 1981 RUDOLF SERKIN, piano 1980-81 ANDRE MICHEL-SCHUB, piano 1976-77 CHRISTOPH ESCHENBACH, piano 1973-74 Fantasia in C minor for piano, chorus, and orchestra, Op. 80 RUDOLF SERKIN, piano,- FAYE ROBINSON, soprano,- MARY 1982-83 BURGESS, soprano,- LILI CHOOKASIAN, contralto,- KENNETH RIEGEL, tenor,- DAVID GORDON, tenor JULIEN ROBBINS, ; bass-baritone,- TANGLEWOOD FESTIVAL CHORUS, JOHN OLIVER, conductor PETER SERKIN, piano MARGARET CUSACK, soprano,- ; TWD 1982 PENELOPE BITZAS, mezzo-soprano; DEBORAH GRODECKA, mezzo-soprano,- AVERY TRACHT tenor,- MARK FULARZ, baritone,- S. MARK ALIAPOULIOS, baritone,- TANGLEWOOD FESTIVAL CHORUS, JOHN OLIVER, conductor 39 mm ''''*'''"' HJJHU New and Different. ADS "Atelier" components. A record player, receiver, cassette deck in matte black modules with superb electronics and some fascinating design touches. So flexible you can put them anywhere. For details see an ADS dealer or write Analog & Digital Systems, 305 Progress Way, Wilmington, MA 01887 Or call 800-824-7888, Operator 483. ADS. Audio apart m Violin Concerto in D, Op. 61 JOSEPH SILVERSTEIN, violin TWD 1980 ITZHAK PERLMAN, violin 1979-80 Overture to The Consecration of the House, Op. 124 1981-82 Overture to the ballet, The Creatures of Prometheus, Op. 43 1976-77 Overture from the Incidental Music to Goethe's Egmont, Op. 84 1980-81 Overture to Fideho, Op. 11 1982-83 Leonore Overture No. 3 1981-82,- TWD 1979; 1974-75 Fideho, Opera in Two Acts, Op. 72 TWD 1982 HILDEGARD BEHRENS, soprano (Leonore); JAMES McCRACKEN, tenor (Florestan); FRANZ F. NENTWIG, baritone (Don Pizarro); PAUL PLISHKA, bass-baritone (Rocco) VICTOR ; VON HALEM, bass (Don Fernando); MARIA FAUSTA GALLAMINI, soprano (Marzelline); VINSON COLE, tenor (Jaquino); TANGLEWOOD FESTIVAL CHORUS, JOHN OLIVER, conductor Scene and aria, "Ah! perfido," Op. 65 TWD 1982 HILDEGARD BEHRENS, soprano BERG, ALBAN Violin Concerto 1978-79 ITZHAK PERLMAN, violin BERIO, LUCIANO Concerto for Two Pianos and Orchestra TWD 1982; 1981-82 URSULA OPPENS and GILBERT KALISH, pianists BERLIOZ, HECTOR Beatrice et Benedict, Comic opera in two acts 1977-78 FREDERICA VON STADE, mezzo-soprano (Beatrice); SHEILA ARMSTRONG, soprano (Hero); GWENDOLYN KILLEBREW, mezzo-soprano (Ursule/Beatrice); JANICE MEYERSON, mezzo- soprano (Ursule); STUART BURROWS, tenor (Benedict); DAVID ARNOLD, baritone (Claudio); JOSEPH McKEE, bass-baritone (Don Pedro); DOUGLAS LAWRENCE, baritone (Somarone) speakers-. ROHAN McCULLOUGH (Beatrice); RAUL JULIA (Benedick); JOANNE HAMLIN and FREDERICK KIMBALL (narrators) TANGLEWOOD FESTIVAL CHORUS, JOHN OLIVER, conductor he Corsaire Overture , Op. 21 1980-81 The Damnation of Faust, Dramatic legend in four parts, Op. 24 FREDERICA VON STADE, mezzo-soprano (Marguerite); 1982-83 NICOLAI GEDDA, tenor (Faust); THOMAS STEWART baritone (Mephistopheles); ERIC HALFVARSON, bass-baritone (Brander); TANGLEWOOD FESTIVAL CHORUS, JOHN OLIVER, conductor; BOSTON BOY CHOIR, THEODORE MARIER, director JULIA VARADY, soprano (Marguerite); KENNETH RIEGEL, TWD 1979 tenor (Faust); PAUL PLISHKA, bass-baritone (Mephistopheles); DOUGLAS LAWRENCE, baritone (Brander); TANGLEWOOD FESTIVAL CHORUS, JOHN OLIVER, conductor; BOSTON BOY CHOIR, THEODORE MARIER, director 41 7 EDITH MATHIS, soprano (Marguerite); STUART BURROWS, 1973-74 tenor (Faust); HARRY THEYARD, tenor (Faust); DONALD McINTYRE, baritone (Mephistopheles); THOMAS PAUL, bass (Brander); TANGLEWOOD FESTIVAL CHORUS, JOHN OLIVER, conductor,- BOSTON BOY CHOIR, THEODORE MARIER, director Harold in Italy, Op. 16 1978-79 PINCHAS ZUKERMAN, viola Requiem (Grande Messe de morts), Op. 5 JOHN ALER, tenor,- TANGLEWOOD FESTIVAL CHORUS, 1981-82 JOHN OLIVER, conductor KENNETH RIEGEL, tenor TANGLEWOOD FESTIVAL TWD 1977 ; CHORUS, JOHN OLIVER, conductor Romeo and Juliet, Dramatic symphony, Op. 1 JAN DeGAETANI, mezzo-soprano; JEAN DUPOUY, tenor,- TWD 1976 PAUL PLISHKA, bass-baritone,- NEW ENGLAND CONSERVA- TORY CHORUS, LORNA COOKE deVARON, conductor JULIA HAMARI, mezzo-soprano,- JEAN DUPOUY, tenor,- JOSE 1975-76 VAN DAM, bass; NEW ENGLAND CONSERVATORY CHORUS, LORNA COOKE deVARON, conductor Symphonie fantastique, Op. 14 1977-78 How is it possible to dine well before symphony or the theatre? By asking for theTable ? d'Hote menu. olonnat 120 Hunnngton Avenue. Boston -Tel. 424 7000 42 1 5 BERNSTEIN, LEONARD Chichester Psalms for mixed choir, boy solo, and orchestra 1974-75 ERIC AUBIN, boy alto; HARVARD-RADCLIFFE COLLEGIUM MUSICUM, HARVARD GLEE CLUB, and HARVARD- RADCLIFFE CHORUS, F. JOHN ADAMS, conductor Divertimento for Orchestra (world premiere,- commissioned by the 1980-81 Boston Symphony Orchestra for its centennial) Serenade (after Plato's Symposium) for violin solo, string 1975-76 orchestra, and percussion JOSEPH SILVERSTEIN, violin Selections from Songfest TWD 1978 BLOCH, ERNEST Schelomo 1980-81 JULES ESKIN, cello BOULEZ, PIERRE Rituel (In memoham Maderna) 1979-80 BRAHMS, JOHANNES Symphony No. 1 in C minor, Op. 68 [TWD 1983] TWD 1978; ; 1976-77,- TWD 1 976; 1975-76; TWD 1974; 1973-74 Symphony No. 2 in D, Op. 73 [TWD 1983],- 1982-83; 1974-75 Symphony No. 3 in F, Op. 90 [TWD 1983]; 1977-78 Symphony No. 4 in E minor, Op. 98 [TWD 1983],- 1978-79 Piano Concerto No. 1 in D minor, Op. 1 CLAUDIO ARRAU, piano TWD 1977 MAURIZIO POLLINI, piano 1976-77 RUDOLF SERKIN, piano 1973-74 Piano Concerto No. 2 in B-flat, Op. 83 MAURIZIO POLLINI, piano 1982-83 PETER SERKIN, piano TWD 1979; 1978-79 Serenade No. 1 in D, Op. 1 1976-77 Serenade No. 2 in A, Op. 16 1980-81 Ein deutsches Requiem (A German Requiem), Op. 45 TWD 1978,- 1977-78 BENJAMIN LUXON, baritone; JUDITH BLEGEN, soprano; TANGLEWOOD FESTIVAL CHORUS, JOHN OLIVER, conductor BRUCH, MAX Violin Concerto No. 1 in G minor, Op. 26 1982-83 ANNE-SOPHIE MUTTER, violin BRUCKNER, ANTON Symphony No. 3 in D minor 1979-80 Symphony No. 4 in E-flat, Romantic 1975-76 Symphony No. 5 in B-flat 1976-77 Symphony No. 8 in C minor 1982-83 Symphony No. 9 in D minor 1978-79 43 1 m TeDeum 1978-79 TANGLEWOOD FESTIVAL CHORUS, JOHN OLIVER, conductor; CHERYL STUDER, soprano,- JANICE MEYERSON, mezzo-soprano,- KIM SCOWN, tenor DAVID ARNOLD, ; baritone BUSONI, FERRUCCIO Comedy Overture, Op. 38 1981-82 CAGE, JOHN Renga with Apartment House 1776 (world premiere) 197 6-77 HELEN SCHNEYER (the Protestants); NICO CASTEL (the Sephardim); CHIEF SWIFT EAGLE (the American Indians); JEANNE LEE (the Negro Slaves) CARTER, ELLIOTT A Symphony of Three Orchestras 1978-79 CHAUSSON, ERNEST Poeme de 1' amour et de la mer TWD 1977 SHIRLEY VERRETT, mezzo-soprano Poeme for violin and orchestra, Op. 25 1979-80 JOSEPH SILVERSTEIN, violin CHIHARA, PAUL Concerto for Saxophone and Orchestra (world premiere) 1980-81 HARVEY PITTEL, saxophone CHOPIN, FREDERIC Piano Concerto No. 1 in E minor, Op. 1 1974-75 ALEXIS WEISSENBERG, piano Piano Concerto No. 2 in F minor, Op. 21 1982-83 ALEXIS WEISSENBERG, piano Women who prefer the timeless style of contemporary classic clothing agree. When you re looking to the future, but would prefer not to let go of the best of the past, leave it to ITje Talbots. 1W aJboT; Since 1947 458 Boylston Street, Boston. Visit our other stores: Acton, Duxbury, Hingham, Lenox, Osterville, South Hamilton, Wellesley. 44 fTiTlBrTTnnnTinHr liari h wllfffiBiiiiTf' IgBliis VHPIkSS Si Hi mm ills i= .ffl^ ' '''= ' ! ''''' §f§fi|^HB|^BB^^H| Sn^BSI IHB iHl : PBHi- : ;/ II B^BBHH HBhB R9 H - 111 <:9i r.T7 3Tfe Ma// of Chestnut Hill Route 9 at Hammond Pond Parkway in Neivton p mmmm mi nfl '.-•'ma Boston's place for business: Copley Place The four office buildings at Copley Place are the preeminent business address in Boston. They are situated at the heart of historic Back Bay and are part of a $460 million mixed-use complex—the largest private enterprise in Boston's history. Opening next year, the Copley Place offices provide access to an unparal- leled range of amenities: a Westin luxury hotel, a Marriott convention hotel, Neiman-Marcus and 100 elegant shops and boutiques, and restau- rants, cinemas and enclosed parking. The offices at Copley Place. The place to be in Boston for business. Leasing inquiries may be directed to Leggat McCall & Werner Inc. , 60 State Street, ^ Boston, MA 02109; (617) 367-1177. COPLEY PIACE A project of Urban Investment and Development Co One of the AEtna Life & Casualty companies. . Nursing and Retirement Homes for those who appreciate the difference . . Six superb nursing and retirement homes where we cater to the individual personalities and preferences of our guests in a truly elegant fashion. Each home is professionally staffed to meet nursing care needs, yet feels and functions like a fine hotel. Harborview Manor— 173 Smithneck Road So. Dartmouth, Mass. Taber Street— 19 Taber Street New Bedford, Mass. Oakwood—601 Summer Street Manchester, Mass. Cape Cod—Lewis Point Road Bourne, Mass. Elmhurst—743 Main Street Melrose, Mass. Norwood—767 Washington Street Norwood, Mass. Please feel free to visit or call for further information Owned and Managed by Astor & McGregor (617) 542-0573 ?ffima COPLAND, AARON Concerto for Clarinet and String Orchestra with harpsichord 1975-76 and piano HAROLD WRIGHT, clarinet Dance Symphony 1980-81 CRUMB, GEORGE Echoes of Time and the River (Echoes III) TWD 1976,- 1975-76 DEBUSSSY, CLAUDE La Mer, Three symphonic sketches 1973-74 Prelude to "The Afternoon of a Faun" 1981-82 i DEL TREDICI, DAVID Final Alice 1977-78 BARBARA HENDRICKS, soprano-narrator DRUCKMAN, STANLEY Chiaroscuro 1977-78 DVORAK, ANTONIN [TWD 1983] 1981-82 Symphony No. 6 in D, Op. 60 ; Symphony No. 8 in G, Op. 88 TWD 1981,- 1980-8 1; 1975-76 Symphony No. 9 in E minor, Op. 95, From the New World TWD 1980 ! Cello Concerto in B minor, Op. 104 YO-YO MA, cello [TWD 1983],- 1982-83 FRANS HELMERSON, cello TWD 1981 MSTISLAV ROSTROPOVICH, cello TWD 1978,- 1975-76 Stabat Mater, Op. 58 1979-80 PHYLLIS BRYN-JULSON, soprano; JAN DeGAETANI, mezzo- soprano; KENNETH RIEGEL, tenor,- BENJAMIN LUXON, baritone,- TANGLEWOOD FESTIVAL CHORUS, JOHN OLIVER, conductor ELGAR, SIR EDWARD "Nimrod," from Variations on an Original Theme, Op. 36, 1979-80 I » Enigma FALLA, MANUEL DE The Three-Cornered Hat, ballet TWD 1977,- 1976-77 BEVERLY MORGAN, mezzo-soprano FAURE, GABRIEL 7 Requiem, Op. 48 BENJAMIN LUXON, baritone; LUCY PEACOCK, soprano; 1978-79 TANGLEWOOD FESTIVAL CHORUS, JOHN OLIVER, conductor JOHN SHIRLEY-QUIRK, baritone,- JUDITH BLEGEN, soprano,- TWD 1978 TANGLEWOOD FESTIVAL CHORUS, JOHN OLIVER, conductor FINE, IRVING Toccata concertante TWD 1982 GABRIELI, GIOVANNI Canzon per sonar septimi torn 1977-78 Sonata pian e forte 1977-78 Canzona noni toni 1977-78 45 1 GLAZUNOy ALEXANDER Chant du menestrel for cello and orchestra, Op. 71 TWD 1975 MSTISLAV ROSTROPOVICH, cello GLUCK, CHRISTOPH WILLIBALD Orfeo ed Euiidice [TWD 1983] MARILYN HORNE, mezzo-soprano (Orfeo); BENITA VALENTE, soprano (Euridice); ERIE MILLS, soprano (Amor); TANGLEWOOD FESTIVAL CHORUS, JOHN OLIVER, conductor GRIFFES, CHARLES TOMLINSON The Pleasure Dome of Kubla Khan, Op. 8 1975-76 Three Poems of Fiona MacLeod, Op. 1 TWD 1976 PHYLLIS BRYN-JULSON, soprano HANDEL, GEORGE FRIDERIC Concerto grosso in D, Op. 6, No. 5 1981-82 HAYDN, FRANZ JOSEPH Symphony No. 1 in D 1973-74 Symphony No. 30 in C, Alleluia 1977-78 Symphony No. 31 in D, Hornsignal TWD 1976; 1975-76 Symphony No. 39 in G minor TWD 1981; 1980-81 Symphony No. 60 in C, 11 distratto 1975-76 Symphony No. 73 in D, The Hunt TWD 1975 Symphony No. 102 in B-flat TWD 1978; 1978-79 Symphony No. 'B' in B-flat 1974-75 Nottumo No. 1 in C TWD 1975 Overture to Armida 1982-83; TWD 1977 Sinfonia concertante in B-flat for oboe, bassoon, violin, 1973-74 and cello RALPH GOMBERG, oboe,- SHERMAN WALT, bassoon,- JOSEPH SILVERSTEIN, violin,- JULES ESKIN, cello Sonata VI, Consummatum est!, from The Seven Last Words of 1978-79 our Saviour Upon the Cross Trumpet Concerto in E-flat TWD 1979 ARMANDO GHITALLA, trumpet Violin Concerto No. 1 in C TWD 1977 JOSEPH SILVERSTEIN, violin The Creation KATHLEEN BATTLE, soprano,- GOESTA WINBERGH, tenor [TWD 1983] ; TOM KRAUSE, bass-baritone TANGLEWOOD FESTIVAL ; CHORUS, JOHN OLIVER, conductor SHEILA ARMSTRONG, soprano,- DAVID RENDALL, tenor 1982-83 ; JOHN SHIRLEY-QUIRK, bass-baritone NEW ENGLAND ; CONSERVATORY CHORUS, LORNA COOKE deVARON, conductor The Seasons TWD 1978; 1977-78 PHYLLIS BRYN-JULSON, soprano ROBERT TEAR, tenor,- JOHN ; SHIRLEY-QUIRK, baritone; NEW ENGLAND CONSERVA- TORY CHORUS, LORNA COOKE deVARON, conductor 46 Mass in B-flat, Harmoniemesse TWD 1975 PHYLLIS BRYN-JULSON, soprano,- ROSE TAYLOR, contralto,- KENNETH RIEGEL, tenor,- DAVID ARNOLD, baritone,- TANGLEWOOD FESTIVAL CHORUS, JOHN OLIVER, conductor Mass in B-flat, Theresienmesse TWD 1977 RERI GRIST, soprano,- GWENDOLYN KILLEBREW, mezzo- soprano,- JOHN ALER, tenor,- VICTOR BRAUN, baritone; TANGLEWOOD FESTIVAL CHORUS, JOHN OLIVER, conductor Mass in Time of War (Missa in tempore belli) TWD 1976 PHYLLIS BRYN-JULSON, soprano; GWENDOLYN KILLEBREW, mezzo-soprano; ENOCH SHERMAN, tenor BARRY McDANIEL, ; baritone,- TANGLEWOOD FESTIVAL CHORUS, JOHN OLIVER, conductor HOLST, GUSTAV The Hymn of Jesus, Op. 37 1973-74 NEW ENGLAND CONSERVATORY CHORUS, LORNA COOKE deVARON, conductor The Planets, Suite for large orchestra, Op. 32 1979-80 NEW ENGLAND CONSERVATORY CHORUS, LORNA COOKE deVARON, conductor The impeccably made salad is ofequal importance to me as the impeccably made bed. COPLEY PLA The Grande Dame ofBoston. Operated by Hotels ofDistinction, Inc., Copley Square, Boston, Massachusetts 02116. Reservations: tollfree, 800-225-7654, oryour agent. 47 HUMMEL, JOHANN NEPOMUK Trumpet Concerto 1978-79 MAURICE ANDRE, trumpet IBERX JACQUES Escales (Ports of Call) 1982-83 ISHII, MAKI Mono-Prism for traditional Japanese drums and orchestra TWD 1976 (world premiere) ONDEKOZA, Japanese drummers IVES, CHARLES Symphony No. 2 1982-83 Symphony No. 4 TWD 1976; 1975-76 TANGLEWOOD FESTIVAL CHORUS, JOHN OLIVER, conductor Central Park in the Dark 1974-75 Variations on America (orch. Wm. Schuman) TWD 1976 JANACEK, LEOS Sinfonietta TWD 1980; 1979-80 KOLB, BARBARA Soundings 1977-78 KOUSSEVITZKY, SERGE Concerto for Double Bass 1981-82 EDWIN BARKER, double bass LIADOy ANATOL The Enchanted Lake, Legend for orchestra, Op. 62 1979-80 LIEBERSON, PETER Piano Concerto (world premiere,- commissioned [TWD 1983] 1982-83 by the ; Boston Symphony Orchestra for its centennial) PETER SERKIN, piano LIGETI, GYORGY Melodien for orchestra 1973-74 THE SYMBOL OF GOOD BANKING. Union Warren Savings Bank Main Office: 133 Federal Street, Boston, MA 02110 48 KHSI Mtaftft'&wis*? ^MMHH M LISZT, FRANZ Piano Concerto No. 1 in E-flat 1978-79 LIU SHIH-KUN, piano Piano Concerto No. 2 in A 1974-75 ANDRE WATTS, piano Orpheus TWD 1978; 1977-78 MAHLER, GUSTAV Symphony No. 1 in D (with Blumine movement) 1977-78,- 1973-74 Symphony No. 2 in C minor, Resurrection TWD 1975 SUSAN DAVENNY WYNER, soprano; MAUREEN FORRESTER, contralto; TANGLEWOOD FESTIVAL CHORUS, JOHN OLIVER, conductor Symphony No. 3 JESSYE NORMAN, soprano,- TANGLEWOOD FESTIVAL [TWD 1983] CHORUS, JOHN OLIVER, conductor,- BOSTON BOY CHOIR, THEODORE MARIER, director BIRGIT FINNILAE, contralto,- TANGLEWOOD FESTIVAL TWD 1977; 1976-77 CHORUS, JOHN OLIVER, conductor; BOSTON BOY CHOIR, THEODORE MARIER, director Symphony No. 5 TWD 1976; 1975-76 Symphony No. 6 1980-81 Symphony No. 7 1979-80 Symphony No. 8 TWD 1981; 1980-81 FAYE ROBINSON, soprano; JUDITH BLEGEN, soprano,- DEBORAH SASSON, soprano; FLORENCE QUIVAR, mezzo- soprano,- LORNA MYERS, mezzo-soprano; KENNETH RIEGEL, tenor; BENJAMIN LUXON, baritone; GWYNNE HOWELL, bass-baritone; TANGLEWOOD FESTIVAL CHORUS, JOHN OLIVER, conductor; BOSTON BOY CHOIR, THEODORE MARIER, director; [BROOKLYN BOYS CHORUS, JAMES MCCARTHY, director (Symphony Hall)],- [YOUTH PRO MUSICA, ROBERTA HUMEZ, director; ST. PIUS V CHURCH CHOIR OF LYNN, MICHAEL JOSEPH, director,- LEXINGTON BOYS CHOIR, CHRISTOPHER KING, director (Tanglewood)]; JAMES DAVID CHRISTIE, organ Five Songs on texts by Friedrich Ruckert TWD 1978 JESSYE NORMAN, soprano Songs of a Wayfarer 1981-82 FREDERICA VON STADE, mezzo-soprano MAMANGAKIS, NIKOS Anarchia 1976-77 DEAN ANDERSON, percussion,- NEW ENGLAND CONSERVATORY CHORUS, LORNA COOKE deVARON, conductor MARTIN, FRANK Concerto for Seven Wind Instruments, Timpani, Percussion, TWD 1978,- 1977-78 and String Orchestra DORIOT ANTHONY DWYER, flute,- RALPH GOMBERG, oboe,- HAROLD WRIGHT, clarinet,- SHERMAN WALT, bassoon; ARMANDO GHITALLA, trumpet,- CHARLES KAVALOVSKI, hom RONALD BARRON, trombone; EVERETT FIRTH, ; timpani 49 We started softly and quietly as a flute, grew with the depth and resonance dominated with the authority and strength of kettledrums, soared with the confidence of great conducting. 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Contact: James C Christiansen Executive Air Fleet Corporation EAF (617) 523-1579 50 MARTINO, DONALD Concerto for Piano and Orchestra 1979-80 DWIGHT PELTZER, piano MAXWELL DAVIES, PETER Symphony No. 2 (world premiere; commissioned by the Boston TWD 1981,- 1980-81 Symphony Orchestra for its centennial) MENDELSSOHN, FELIX Ruy Bias Overture, Op. 95 TWD 1975 Piano Concerto No. 1 in G minor, Op. 25 TWD 1975 RUDOLF SERKIN, piano Violin Concerto in E minor, Op. 64 1980-81 ISAAC STERN, violin Elijah, Op. 70 SHERRILL MILNES, baritone; ELLY AMELING, soprano; JAN TWD 1980 DeGAETANI, mezzo-soprano,- NEIL SHICOFF, tenor,- TANGLEWOOD FESTIVAL CHORUS, JOHN OLIVER, conductor,- BOSTON BOY CHOIR, THEODORE MARIER, director SHERRILL MILNES, baritone; ELLY AMELING, soprano,- 1979-80 GWENDOLYN KILLEBREW, mezzo-soprano,- NEIL SHICOFF, tenor; TANGLEWOOD FESTIVAL CHORUS, JOHN OLIVER, conductor,- BOSTON BOY CHOIR, THEODORE MARIER, director Incidental Music to Shakespeare's A Midsummer Night's TWD 1975 Dream, Op. 61 ROHAN McCULLOUGH, speaker,- DIANA HOAGLAND, soprano,- DANNA FORTUNATO, mezzo-soprano,- TANGLEWOOD FESTIVAL CHORUS, JOHN OLIVER, conductor MESSIAEN, OLIVIER Three Short Liturgies of the Divine Presence 1978-79 YVONNE LORIOD, piano JEANNE LORIOD, ondes martinot; ; TANGLEWOOD FESTIVAL CHORUS, JOHN OLIVER, conductor Turangalila-symphonie TWD 1975; 1974-75 YVONNE LORIOD, piano,- JEANNE LORIOD, ondes martinot South Boston Savings Bank fi^MANDALAY ' ALWAYS THE LEADER" T BURMESE RESTAURANT MAIN OFFICE: 460 West Broadway, South Boston (o* 'Pie -*76eafae 'peatte NEPONSET CIRCLE OFFICE: 740 Gallivan Boulevard 329 HUNTINGTON AVENUE, BOSTON MASSACHUSETTS, 02115 2C7- 2111 QUINCY OFFICE: ll~ 51 MOZART, WOLFGANG AMADE Symphony No. 25 in G minor, K. 183 1975-76 Symphony No. 28 in C, K.189k(200) 1981-82 Symphony No. 31 in D, K.297(300a), Paris 1982-83 Symphony No. 36 in C, K.425, Linz 1981-82; TWD 1977 Symphony No. 40 in G minor, K.620 TWD 1976 Sinfonia concertante in E-flat, K.364 1978-79 JOSEPH SILVERSTEIN, violin,- PINCHAS ZUKERMAN, viola Bassoon Concerto in B-flat, K.191 TWD 1979; 1978-79 SHERMAN WALT bassoon Clarinet Concerto in A, K.622 TWD 1979 HAROLD WRIGHT, clarinet Piano Concerto No. 9 in E-flat, K.271 TWD 1976 CHRISTOPH ESCHENBACH, piano Piano Concerto No. 12 in A, K.414<385p) TWD 1982 KEN NODA, piano Piano Concerto No. 17 in G, K.453 TWD 1978 VLADIMIR ASHKENAZY, piano Piano Concerto No. 20 in D minor, K.466 1979-80 MURRAY PERAHIA, piano Piano Concerto No. 23 in A, K.488 TWD 1977 PETER SERKIN, piano Violin Concerto No. 5 in A, K.219 1978-79 JOSEPH SILVERSTEIN, violin S*ome say Jaeger is a state of mind. Others that it y is a certain look. Yet still others maintain that it s a way of life. They are all correct. Jaeger fashions create a state of mind which seeks a certain look that does, indeed, become a way of life. Jaeger fashions are created in London and seen the world over. If you are not yet familiar with Jaeger, why not come in and get acquainted. LONDON Ladies' and Gentlemen's Sportswear Jaeger International Shop The Mall at Chestnut Hill, 199 Boylston Street, Newton, MA 02167 (617) 527-1785 52 Serenade No. 9 in D, K.320, Posthorn TWD 1978 Overture to Le nozze di Figaro (The Marriage of Figaro), K.492 TWD 1979 Overture to Die Zauberflote (The Magic Flute), K.620 TWD 1976 Der Schauspieldirektor (The Impresario), K.486, comedy in TWD 1977 one act MAC MORGAN (An Impresario); RERI GRIST, soprano (Mme. Herz); ELIZABETH PARCELLS, soprano (Mile. Silberklang); NEIL ROSENSHEIN, tenor (Herr Vogelsang) Overture to Der Schauspieldirektor, K.486 1979-80 sortite di questo loco!" and aria 1982-83 Recitative, "Temerarif fuori ; "Come scogho immoto resta," from Cos! fan tutte, K.588 HILDEGARD BEHRENS, soprano Scena, "Ch'io mi scordi di te," with Rondo, "Non temer, 1981-82 amato bene," for soprano, with piano obbligato FREDERICA VON STADE, mezzo^oprano; PETER SERKIN, piano MUSSORGSKY, MODEST Scenes from Boris Godunov TWD 1981 NICOLAI GHIAUROY bass-baritone (Boris Godunov); KENNETH PJEGEL, tenor (Prince Shuisky); JACQUE TRUSSEL, tenor (Grigory); MICHEL SENECHAL, tenor (The Simpleton); JOCELYNE TAILLON, mezzo-soprano (Hostess of the Inn) OWEN ; RENFROE, boy soloist (Fyodor); DOUGLAS PERRY, tenor (Missail); DUANE CLENTON CARTER, baritone (Nikitich, Border Guard); J. PATRICK RAFTERY, baritone (Shchelkalov); ARA BERBERIAN, bass (Pimen); AAGE HAUGLAND, bass (Varlaam); TANGLEWOOD FESTIVAL CHORUS, JOHN OLIVER, conductor,- BOSTON BOY CHOIR, THEODORE MARIER, director; YOUTH PRO MUSICA, ROBERTA HUMEZ, director NIELSEN, CARL Symphony No. 2, Op. 16, The Four Temperaments 1982-83 Symphony No. 4, Op. 29, The Inextinguishable 1977-78 PANUFNIK, ANDRZEJ Sinfonia Votiva (Symphony No. 8) (world premiere,- TWD 1982 1981-82 ; commissioned by the Boston Symphony Orchestra for its centennial) PENDERECKI, KRZYSZTOF Threnody for the Victims of Hiroshima 1975-76 PERLE, GEORGE A Short Symphony (world premiere) TWD 1980 PROKOFIEV, SERGEI Piano Concerto No. 3 in C, Op. 26 1979-80 MARTHA ARGERICH, piano Symphony Concerto for cello and orchestra, Op. 125 1976-77 MSTISLAV ROSTROPOVICH, cello Violin Concerto No. 2 in G minor, Op. 63 1980-81 PETER ZAZOFSKY, violin 53 SINCE 1792, FAMILIES HAVE PUT THEIR RUSI IN Thrift and foresight have been bringing families to State CT1TE Street for generations. 5 1J%J £ Our services are sought out because we are more than a CTDEET discreet and attentive trustee. We also provide particularly *# I KKB • well-informed investment management. Whether your objective is the education of your children, a secure retirement, or preservation of capital, we will work closely with you and your lawyer to devise a suitable trust. Naturally, you are welcome to participate in all decisions, or you may choose to leave matters in our care. Whichever you decide, you will be kept regularly apprised of the pro- gress of your account. We invite you to put your trust in us. Call S. Walker Merrill, Jr., Senior Vice President, Investment Management. (617) 786-3279. State Street Bank and Trust Company. Quality since 1792. 9 StateStreet. State Street Bank and Trust Company, wholly-owned subsidiary of State Street Boston Corporation, 225 Franklin Street, Boston, MA 02101. Offices in Boston, New York, San Francisco, London, Munich, Hong Kong, Singapore. Member FDIC. © Copyright State Street Boston Corporation 1982. 54 PUCCINI, GIACOMO Tosca, Opera in Three Acts TWD 1980 SHIRLEY VERRETT, soprano (Tosca); VERIANO LUCHETTI, tenor (Cavaradossi); SHERRILL MILNES, baritone (Scarpia),- ITALO TAJO, bass (Sacristan); DOUGLAS LAWRENCE, bass (Angelotti); KIM SCOWN, tenor (Spoletta); KEITH KIBLER, bass (Sciarrone, Jailer); MARGARET CUSACK, soprano (Shepherd); TANGLEWOOD FESTIVAL CHORUS, JOHN OLIVER, conductor; BOSTON BOY CHOIR, THEODORE MARIER, director RACHMANINOFF, SERGEI Symphony No. 3 in A minor, Op. 44 1973-74- Symphonic Dances, Op. 45 1974-75 Piano Concerto No. 1 in F-sharp minor, Op. 1 1978-79 LYDIA ARTYMIW, piano Piano Concerto No. 2 in C minor, Op. 18 TWD 1980 CECILE LICAD, piano Piano Concerto No. 3 in D minor, Op. 30 1977-78 ALEXIS WEISSENBERG, piano RAVEL, MAURICE AJborada del gracioso TWD 1977; 1975-76; 1973-74 Une Barque sur 1 ocean 1974-75 Bolero TWD 1980; 1979-80 MORE MUSK FORYOUR MONEY. Whether you're looking for an opera or an oratorio, a ballet or a baroque trumpet fanfare, you're sure to find what you want at a Barnes & Noble Classical Record Center. When it comes to classical music, you always get more for your money at Barnes & Noble. Barnes & Noble Classical Record Center 395 Washington Street (at Downtown Crossing) Mon., Thurs., 9:30-7 Tues., Wed., Fri., Sat., 9:30-6 55 7 " I •mH Daphnis et Chloe (complete) TWD 1979; 1974-75 TANGLEWOOD FESTIVAL CHORUS, JOHN OLIVER, conductor LEnfant et les sortileges, Lyric fantasy in two parts PHYLLIS BRYN-JULSON, soprano,- D'ANNA FORTUNATO, TWD 1975 mezzo-soprano,- JOY DAVIDSON, contralto,- NEIL ROSENSHEIN, tenor, DAVID EVITTS, baritone,- MARK PEARSON, bass ; JAN DeGAETANI, mezzo-soprano (The Child); TANGLEWOOD FESTIVAL CHORUS, JOHN OLIVER, conductor PHYLLIS BRYN-JULSON, soprano; D'ANNA FORTUNATO, 1974-75 mezzo-soprano,- MARY DAVENPORT, contralto,- NEIL ROSENSHEIN, tenor,- DAVID EVITTS, baritone,- MARK PEARSON, bass; JAN De GAETANI, mezzo-soprano (The Child),- TANGLEWOOD FESTIVAL CHORUS, JOHN OLIVER, conductor Menuet antique 1973-74 Ma Mere l'oye (complete) 1973-74 Pavane pour une infante defunte 1979-80 Piano Concerto in G TWD 1980 PETER SERKIN, piano Rapsodie espagnole 1973-74 Sheherazade, Three poems for voice and orchestra 1979-80 FREDERICA VON STADE, mezzo-soprano he Tombeau de Coupehn, Suite for orchestra 1974-75 Tzigane, Concert rhapsody for violin and orchestra 1979-80 JOSEPH SILVERSTEIN, violin La Valse, Choreographic poem 1977-78,- TWD 1975,- 1974-75; 1973-74 Valses nobles et sentimentales 1977-78; TWD 1975,- 1974-75 RESPIGHI, OTTORINO Ancient Airs and Dances, Suite No. 1 1976-77 Ancient Airs and Dances, Suite No. 2 1977-78 Ancient Airs and Dances, Suite No. 3 TWD 1976 The Fountains of Rome TWD 1979; 1977-78 The Pines of Rome 1977-78 Roman Festivals TWD 1979; 1977-78 RIMSKY-KORSAKOY NIKOLAI Sheherazade, Symphonic suite, Op. 35 TWD 1977,- 1976-77 ROCHBERG, GEORGE Concerto for Violin and Orchestra TWD 1976 ISAAC STERN, violin ROSSINI, GIOACCHINO Overture to La Cenerentola [TWD 1983] Overture to Semiramide 1975-76 Sonata No. 6 in D for strings 1975-76 ROUSSEL, ALBERT Bacchus and Ariadne, Suite No. 2, Op. 43 1978-79 The Spider's Feast, Symphonic fragments, Op. 1 1978-79 56 W Symphony No. 3 in G minor, Op. 42 1980-81 RUSH, LOREN The Cloud Messenger 1974-75 SAINTSAENS, CAMILLE Symphony No. 3 in C minor, Op. 78 1975-76 Piano Concerto No. 2 in G minor, Op. 22 1977-78 ANDRE WATTS, piano Introduction and rondo capriccioso, Op. 28 1981-82 ITZHAK PERLMAN, violin SCHOENBERG, ARNOLD Concerto for Piano and Orchestra, Op. 42 1974-75 PETER SERKIN, piano Concerto for Violin and Orchestra, Op. 36 TWD 1974 1973-74 ; JOSEPH SILVERSTEIN, violin Five Pieces for Orchestra, Op. 16 1982-83 Gurrelieder JESSYE NORMAN, soprano (Tove) TATIANA TROYANOS, 1978-79 ; mezzo-soprano (Wood-Dove); JAMES McCRACKEN, tenor (Waldemar); KIM SCOWN, tenor (Klaus the Jester); DAVID ARNOLD, baritone (Peasant),- WERNER KLEMPERER, speaker,- TANGLEWOOD FESTIVAL CHORUS, JOHN OLIVER, conductor PHYLLIS CURTIN, soprano (Tove) LILI CHOOKASIAN, 1974 ; TWD contralto (Wood-Dove),- JAMES McCRACKEN, tenor (Waldemar),- JERRY JENNINGS, tenor (Klaus the Jester),- DAVID ARNOLD, baritone (Peasant),- GEORGE LONDON, speaker,- TANGLEWOOD FESTIVAL CHORUS, JOHN OLIVER, conductor Modern Psalm, Op. 50c 1973-74 ANDREW FOLDI, speaker,- NEW ENGLAND CONSERVATORY CHORUS, LORNA COOKE deVARON, conductor Ode to Napoleon Bonaparte, for reciter, piano, and string 1973-74 orchestra, Op. 41b DANIEL WINDHAM, speaker,- PAUL JACOBS, piano Theme and Variations for Orchestra, Op. 43B 1975-76 Verkldrte Nacht, Op. 4 TWD 1974; 1973-74 SCHUBERT, FRANZ Symphony No. 2 in B-flat, D. 125 1979-80 Symphony No. 7 in B minor (old No. 8), D.759, Unfinished 1981-82 SCHULLER, GUNTHER Capriccio stravagante 1973-74 Deai TWD 1979 SCHUMAN, WILLIAM Symphony No. 3 1980-81 SCHUMANN, ROBERT Symphony No. 4 in D minor, Op. 120 1981-82 Piano Concerto in A minor, Op. 54 1981-82 MARTHA ARGERICH, piano 57 QeoenH 'sz Anyone with an ear for music canjoin the BSO. Tune in to concerts by the Boston Symphony Orchestra. Fridays at 9 p.m. WCRB 102.5 FM. A Honeywell presentation. Honeywell 58 d Conzertstuck in F for four horns and orchestra, Op. 86 1982-83 CHARLES KAVALOVSKI, horn RICHARD SEBRING, horn,- ; DANIEL KATZEN, hom RICHARD MACKEY, horn ; SESSIONS, ROGER Concerto for Orchestra (world premiere,- commissioned by the TWD 1982; 1981-82 Boston Symphony Orchestra for its centennial) When Lilacs Last in the Dooryard Bloom' TWD 1977,- 1976-77 ESTHER HINDS, soprano; FLORENCE QUIVAR, mezzo-soprano; DOMINIC COSSA, baritone,- TANGLEWOOD FESTIVAL CHORUS, JOHN OLIVER, conductor SHOSTAKOVICH, DMITRI Symphony No. 10, Op. 93 1980-81 Cello Concerto No. 2, Op. 126 TWD 1975 MSTISLAV ROSTROPOVICH, cello SMETANA, BEDRICH Overture to The Bartered Bride 1977-78 STARER, ROBERT Concerto for Violin and Orchestra (world premiere) 1982-83,- 1981-82 ITZHAK PERLMAN, violin STOLZEL, GOTTFRIED HEINRICH Concerto grosso a quattro chori 1976-77 STRAUSS, JOHANN, JR. Emperor Waltzes, Op. 437 1982-83 STRAUSS, RICHARD Also sprach Zarathustra, Tone poem for large orchestra, free TWD 1982 1981-82 ; after Nietzsche, Op. 30 Death and Transfiguration, Tone poem for large orchestra, Op. 24 1982-83,- 1975-76 Don Quixote, Fantastic variations on a theme of knightly 1974-75 character, Op. 35 JULES ESKIN, cello,- BURTON FINE, viola Em Heldenleben, Tone poem, Op. 40 1981-82; TWD 1979; TWD 1975; 1974-75 Symphonia domestica, Op. 53 1976-77 Four Last Songs [TWD 1983] LEONTYNE PRICE, soprano Interlude and Final scene from Salome HILDEGARD BEHRENS, soprano 1982-83 LEONTYNE PRICE, soprano [TWD 1983] STRAVINSKY, IGOR Apollo, Ballet in two scenes, for string orchestra 1982-83 Movements for orchestra and piano 1975-76 MICHEL BEROFF, piano Concerto for Piano and Wind Instruments 1975-76 MICHEL BEROFF, piano Concerto in D for violin and orchestra 1979-80,- 1977-78 ITZHAK PERLMAN, violin The Firebird (complete) 1982-83,- TWD 1 982,- 1975-76; TWD 1974; 1973-74 59 L'Histoiie du soldat (The Soldier's Tale) TWD 1976 Ode in Three Parts, for orchestra 1979-80 Oedipus Rex, Opera-oratorio after Sophocles TWD 1982 GLENDA MAURICE, mezzo-soprano (Jocasta); KENNETH RIEGEL, tenor (Oedipus); JOHN CHEEK, bass-baritone (Creon); AAGE HAUGLAND, bass (Tiresias); JOHN GILMORE, tenor (The Shepherd),- JOSEPH McKEE, bass-baritone (The Messenger),- SAM WANAMAKER, speaker,- TANGLEWOOD FESTIVAL CHORUS, JOHN OLIVER, conductor Requiem Canticles 1982-83; TWD 1982 MARY WESTBROOK-GEHA, mezzo-soprano; S. MARK ALIAPOULIOS, baritone,- TANGLEWOOD FESTIVAL CHORUS, JOHN OLIVER, conductor he Sacre du printemps, Pictures from pagan Russia 1 98 1-82,- TWD 1 980,- 1979-80,- TWD 1976; 1975-76 Symphony of Psalms TWD 1982 TAKEMITSU, TORU A Flock Descends into the Pentagonal Garden 1978-79 Quatrain for clarinet, violin, cello, piano, and orchestra TWD 1977,- 1976-77 TASHI [Richard Stoltzman, clarinet,- Ida Kavafian, violin,- Fred Sherry, cello,- Peter Serkin, piano] First Chair in Eating & Drinking NEW YORK SIRLOIN • PRIME RIB of BEEF LONDON BROIL • BARBEQUED BABY BACK RIBS BROILED BOSTON SCHROD • BAY SCALLOPS BAKED STUFFED SHRIMP • BROILED SWORDFISH BAKED STUFFED HADDOCK • BOSTON BLUEFISH EATING & £MJMmDRINKING & FREE VALET PARKING • Ladies Invited • 344 Newbury St., Boston, MA • 266-3000 Other Saloons located at The Mall at Chestnut Hill and The South Shore Plaza, Braintree. 60 TARTINI, GIUSEPPE (arr. Jean Thilde) Trumpet Concerto in D 1978-79 MAURICE ANDRE, trumpet TCHAIKOVSKY, PYOTR ILYICH Symphony No. 4 in F minor, Op. 36 1978-79 Symphony No. 5 in E minor, Op. 64 TWD 1982,- TWD 1977; 1976-77 Symphony No. 6 in B minor, Op. 74, Pathetique 1982-83; TWD 1979; 1978-79; 1975-76; TWD 1974; 1973-74 Piano Concerto No. 1 in B-flat minor, Op. 23 HORACIO GUTIERREZ, piano 1978-79 ALEXIS WEISSENBERG, piano 1975-76 ANDRE WATTS, piano TWD 1974 Violin Concerto in D, Op. 35 JOSEPH SILVERSTEIN, violin 1980-81 ISAAC STERN, violin 1978-79 BORIS BELKIN, violin 1977-78 Variations on a Rococo Theme for cello and orchestra, Op. 33 1978-79 LYNN HARRELL, cello Ceremonial Overture, 1812, Op. 49 TWD 1981 TWD 1979 ; Serenade in C for strings, Op. 48 1977-78 Francesca da Rimini, Symphonic fantasy after Dante, Op. 32 1981-82 Swan Lake, Ballet in four acts, Opus 20 1978-79 Eugene Onegin, Lyric scenes in three acts and seven scenes, Op. 24 GALINA VISHNEVSKAYA, soprano (Tatiana); NICOLAI 1976-77 GEDDA, tenor (Vladimir Lensky); BENJAMIN LUXON, baritone (Eugene Onegin); PAUL PLISHKA, bass (Prince Gremin); JEAN DUPOUY, tenor (Monsieur Triquet); LILI CHOOKASIAN, contralto (Filipyevna),- JOY DAVIDSON, mezzo-soprano (Olga); DAVID ARNOLD, baritone (Zaretsky); GREGORY REINHART bass-baritone (A Captain); PAMELA GORE, contralto (Madame Larina); TANGLEWOOD FESTIVAL CHORUS, JOHN OLIVER, conductor JUDITH BECKMANN, soprano (Tatiana); STUART TWD 1974 BURROWS, tenor (Vladimir Lensky); RICHARD STILWELL, baritone (Eugene Onegin); ARA BERBERIAN, bass (Prince Gremin); STEVEN COLE, tenor (Monsieur Triquet); ROSE TAYLOR, mezzo-soprano (Filipyevna); GILLIAN KNIGHT, mezzo-soprano (Olga); LARRY JULIAN, baritone (Zaretsky); MARK CORNELIUS, baritone (A Captain); DANNA FORTUNATO, mezzo-soprano (Madame Larina); TANGLEWOOD FESTIVAL CHORUS, JOHN OLIVER, conductor VAUGHAN WILLIAMS, RALPH The Lark Ascending, Romance for violin and orchestra 1976-77 JOSEPH SILVERSTEIN, violin 61 i VERDI, GIUSEPPE Overture to La forza del destino TWD 1980 1978-79 ; "Ah, si, ben mio" from 11 trovatore TWD 1980 "Niun mi tema" from Otello JON VICKERS, tenor Inno delle nazioni (Hymn of the Nations) TWD 1980 JON VICKERS, tenor; TANGLEWOOD FESTIVAL CHORUS, JOHN OLIVER, conductor Requiem Mass for four solo voices, chorus, and orchestra, in TWD 1981 memory of Alessandro Manzoni MIRELLA FRENI, soprano,- SHIRLEY VERRETT, mezzo-soprano; i ERMANNO MAURO, tenor,- NICOLAI GHIAUROV, bass- baritone,- TANGLEWOOD FESTIVAL CHORUS, JOHN OLIVER, conductor VIEUXTEMPS, HENRI Violin Concerto No. 5 in A minor, Op. 37 1976-77 JOSEPH SILVERSTEIN, violin VIVALDI, ANTONIO The Four Seasons 1981-82; TWD 1976 JOSEPH SILVERSTEIN, violin Bassoon Concerto in F, P318 TWD 1977,- 1976-77 SHERMAN WALT, bassoon Piccolo Concerto in C, P. 79 TWD 1977,- 1976-77 LOIS SCHAEFER, piccolo Magnificat TWD 1976 PHYLLIS BRYN-JULSON, soprano; GWENDOLYN KILLEBREW, mezzo-soprano,- ENOCH SHERMAN, tenor ; BARRY McDANIEL, baritone,- TANGLEWOOD FESTIVAL CHORUS, JOHN OLIVER, conductor WAGNER, RICHARD 1 Prelude to Die Meistersinger von Niirnberg TWD 1982,- 1981-82 Overture to Tannhduser 1976-77 Tristan und Isolde, Act II TWD 1981 JESSYE NORMAN, soprano (Isolde),- GWENDOLYN KILLEBREW, mezzo-soprano (Brangane),- JON VICKERS, tenor (Tristan); AAGE HAUGLAND, bass (King Marke); WARREN ELLSWORTH, tenor (Melot),- KEITH KIBLER, bass (Kurvenal) Die Walkuie, Act I JESSYE NORMAN, soprano (Sieglinde),- JON VICKERS, tenor TWD 1978 (Siegmund),- GWYNNE HOWELL, bass-baritone (Hunding) 4 JESSYE NORMAN, soprano (Sieglinde); KARL-WALTER 1977-78 BOEHM, tenor (Siegmund),- GWYNNE HOWELL, bass-baritone (Hunding) i Songs to five poems by Mathilde Wesendonck TWD 1982 HILDEGARD BEHRENS, soprano WEBER, CARL MARIA VON The Ruler of the Spirits Overture 1978-79 WEBERN, ANTON Five Pieces for Orchestra, Op. 10 1981-82 i 62 . WILSON, OLLY Voices 1976-77 WOLF-FERRARI, ERMANNO Overture to The Secret of Susanna 1976-77 Arr. WANG GUOTONG/Orch. SHEN LIHONG Emancipation Song, for erhu and orchestra TWD 1980 JIANG JIANHUA, erhu Arr. WU ZUQIANG Wailful Wrath by the River, tor erhu and orchestra TWD 1980 JIANG JIANHUA, erhu WU ZUQIANG/WANG YENQIAO/LIU DEHAI Little Sisters of the Grassland, Concerto for pipa and orchestra TWD 1980; 1978-79 LIU DEHAI, pipa To Build A Reputation . . . . . takes three integral ingredients. Excellence in service. A superb ndiSuito... product. And not a little bit of hard work. Panache understands this. In three and one half years, Panache has earned the reputation of serving the Handsomely furnished Executive Office Suites finest French nouvelle cuisine with are available in the Statler Office Building, adjoining the Boston Park Plaza Hotel, a complimentary level of service on a daily, weekly or monthly basis. and ambience. We offer everything you need for immediate operation: Telephone Answering Service • Secretarial Service and Dictaphone Telex • Telecopier • Conference Room with Movie Screen If reputation is important to you, Your Company Name on the Lobby Directory • Photocopier come to Panache. For lunch. For PLUS We offer everything you want in the way of extras: dinner. And keep your reputation Room Service • Convenient Parking Nearby Valet Service • Four Restaurants on the Premises of good taste intact. For information, please call Joanne T. Baker (617)426-9890 lunch: Thurs., Fri. 12-2 Saunders & Associates, AMO dinner: Tues.-Sat. 6-10 Exclusive Leasing and Managing Agents reservations: 492-9500 free parking 798 Main Street, Cambridge 63 llow would you like a location in the heart of downtown Boston, anchored by the flagship stores of Jordan Marsh and Filene's? || A location with a population of more than 3 million to draw from? || A location with all the knowledge, science and art that's ever been learned about successful retailing built into it? J| A location where your neighbors are 187 of New England and America's most successful retailers, including 23 restaurants of varied nationalities and price ranges, and a five-hundred room Intercontinental Hotel? || A location with on-site parking for thirteen hundred cars as well as direct access from every form of public transportation? || A location planned to be New England's major fashion event center? j| A location in a magnifi- cent three-level, multi-use complex destined to be the most important retail center in New England? || You'd like Please send me more information on I ~i Lafayette Place. all that? J§ Welcome to Lafay- Name ette Place, open for business Business Address October, 1983. 4 Now is tne Telephone Number time to plan for your success Type of Store in Lafayette Place. Call Richard Mail coupon to: Richard MacNamara, Lafayette Place LMr. One Boston Place, Boston, Mass. 02108. MacNamara at 617-227-0690. j lojfuatter/iac£^ Structured For Success. md ,. .* >••<*>.»; Centennial Concert Celebration Sunday, 18 October 1981 at 5 p.m. in Symphony Hall BEETHOVEN, LUDWIG VAN Overture to The Consecration of the House, Op. 124 VIVALDI, ANTONIO Concerto in D for two violins and orchestra, RV 512 ITZHAK PERUVIAN, violin ISAAC STERN, violin HAYDN, FRANZ JOSEPH Concerto in C for cello and orchestra, Hob. VllbJ (second and third movements) MSTISLAV ROSTROPOVICH, cello VERDI, GIUSEPPE "D'amor sail' ah rosee" from 71 trovatoie STRAUSS, RICHARD Awakening Scene ("Zweite Braatnacht") from Die agyptische Helena PUCCINI, GIACOMO "Signore, ascolta" from Tuiandot (encore) LEONTYNE PRICE, soprano BEETHOVEN, LUDWIG VAN Fantasia in C minor for piano, chorus, and orchestra, Op. 80 RUDOLF SERKIN, piano BENITA VALENTE, soprano,- SUSAN DAVENNY WYNER, soprano; LILI CHOOKASIAN, contralto; JOHN ALER, tenor,- DENNIS BAILEY, tenor JOHN CHEEK, bass-baritone ; TANGLEWOOD FESTIVAL CHORUS, JOHN OLIVER, conductor BARTOK, BELA Concerto for Orchestra (encore; finale only) Hundredth Birthday Concert Thursday, 22 October 1981 at 7=30 p.m. on the Boston Common BEETHOVEN, LUDWIG VAN Symphony No. 9 in D minor, Op. 125 FAYE ROBINSON, soprano,- KATHERINE CIESINSKI, mezzo-soprano,- DENNIS BAILEY, tenor,- JOHN CHEEK, bass-baritone,- TANGLEWOOD FESTIVAL CHORUS, JOHN OLIVER, conductor 65 HMHfcCaKSh •••• THE CRITICS' CHOICE The Boston Globe gave Apley's its four-star rating and Esquire magazine named it one of the "100 Best New Restaurants in America." We're also pleased with the phrases Boston food critics use to describe their dining experience with us: "first rate," "a wonderful eating place," "unique among restaurants of its type . . .for the moment, no other hotel restaurant in Boston can beat it." We suggest you experience Apley's for yourself. Sheraton-Boston Hotel SHERATON HOTELS & INNS. WORLDWIDE PRUDENTIAL CENTER. BOSTON. MASSACHUSETTS 61 7/236-2000 66 1 1982-83 SEASON SUMMARY WORKS PERFORMED DURING THE BOSTON SYMPHONY ORCHESTRA'S 1982-83 SUBSCRIPTION SEASON Week BACH, J.S. Brandenburg Concerto No. 5 in D, BWV 1050 21 DORIOT ANTHONY DWYER, flute JOSEPH SILVERSTEIN, violin PETER SERKIN, piano BALASSA Calls and Cries, Op. 33 (world premiere,- commissioned by the Boston Symphony Orchestra for its centennial) BARBER Adagio for Strings, Op. 1 16 BARTOK Divertimento for String Orchestra 11 BEETHOVEN Fantasia in C minor for piano, chorus, and orchestra, Op. 80 RUDOLF SERKIN, piano FAYE ROBINSON, soprano MARY BURGESS, soprano LILI CHOOKASIAN, contralto KENNETH RIEGEL, tenor DAVID GORDON, tenor JULIEN ROBBINS, bass-baritone TANGLEWOOD FESTIVAL CHORUS, JOHN OLIVER, conductor Overture to Fidelio 1, Tuesday 'C5' Piano Concerto No. 3 in C minor, Op. 37 Opening Night RUDOLF SERKIN, piano Symphony No. 1 in C, Op. 21 14, Providence III, Tuesday 'B6' BERG Three Pieces for Orchestra, Op. 6 10 BERLIOZ The Damnation of Faust, Dramatic legend in four parts, Op. 24 13 FREDER1CA VON STADE, mezzo-soprano NICOLAI GEDDA, tenor THOMAS STEWART, baritone ERIC HALFVARSON, bass-baritone BOSTON BOY CHOIR, THEODORE MARIER, director TANGLEWOOD FESTIVAL CHORUS, JOHN OLIVER, conductor BRAHMS Piano Concerto No. 2 in B-flat, Op. 83 18 MAURIZIO POLLINI, piano Symphony No. 1 in C minor, Op. 68 16 Symphony No. 2 in D, Op. 73 1, Tuesday 'C5', Providence III Symphony No. 3 in F, Op. 90 10 BRITTEN Les Illuminations, to poems by Arthur Rimbaud, Op. 18 11 VINSON COLE, tenor Spring Symphony, Op. 44, for soprano, alto, and tenor soli, mixed chorus, boys' choir, and orchestra KATHLEEN BATTLE, soprano LINDA FINNIE, mezzo-soprano PHILIP LANGRIDGE, tenor TANGLEWOOD FESTIVAL CHORUS, JOHN OLIVER, conductor BOSTON BOY CHOIR, THEODORE MARIER, director BRUCH Violin Concerto No. 1 in G minor, Op. 26 14 ANNE-SOPHIE MUTTER, violin Handicapped kids have a lot to give I., m and the Cotting School has a lot to give handicapped children. We offer a 12-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 whatsoeverto 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 021 15. (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. 68 9*101 1BI AHmftS BRUCKNER Symphony No. 8 in C minor 22 CHOPIN Piano Concerto No. 2 in F minor, Op. 21 ALEXIS WEISSENBERG, piano DVORAK Cello Concerto in B minor, Op. 104 15 YO-YO MA, cello ELGAR The Dream of Gerontius (words by Cardinal Newman), for mezzo-soprano, tenor, and bass soloists, chorus, and orchestra, Op. 38 JESSYE NORMAN, soprano STUART BURROWS, tenor JOHN SHIRLEY-QUIRK, bass-baritone TANGLEWOOD FESTIVAL CHORUS, JOHN OLIVER, conductor HAYDN The Creation SHEILA ARMSTONG, soprano DAVID RENDALL, tenor JOHN SHIRLEY-QUIRK, bass-baritone NEW ENGLAND CONSERVATORY CHORUS, LORNA COOKE deVARON, conductor Overture to Armida 21 Symphony No. 102 in B-flat 11 Violin Concerto No. 1 in C, Hob. VllaJ 5 JOSEPH SILVERSTEIN, violin HONEGGER Symphony No. 2 IBERT Escales (Pons of Call) 14 IVES Symphony No. 2 18 KIM Violin Concerto 17 ITZHAK PERLMAN, violin LIEBERSON Piano Concerto 21 (world premiere,- commissioned by the Boston Symphony Orchestra for its centennial) 69 MENDELSSOHN Overture to Ray Bias, Op. 95 MOZART Concerto in C for flute and harp, K.299(297c) DORIOT ANTHONY DWYER, flute ANN HOBSON PILOT, harp Divertimento No. 7 in D, K.205(167A) 7 Masonic Funeral Music, K.477(479a) 9 Overture to Die ZauberflQte, K.620 6 Piano Concerto No. 27 in B-flat, K.595 9 MURRAY PERAHIA, piano Recitative, "Temerari! Sortite fuori di questo loco!" 20 and aria, "Come scoglio immoto resta," from Cosi fan tutte, K.588 HILDEGARD BEHRENS, soprano Symphony No. 31 in D, K.297(300a), Paris 20 NIELSEN Symphony No. 2, Op. 16, The Four Temperaments 3 PISTON Symphony No. 6 RIMSKY-KORSAKOV Sheherazade, Symphonie suite, Op. 35 ROSSINI Overture to La Cenerentola 17 SCHOENBERG Five Orchestral Pieces, Op. 16 1 SCHUBERT Overture to Rosamunde [Die Zauberharfe, D.644] 9,10 Symphony No. 7 in B minor (old No. 8), D.759, Unfinished 10 SCHUMANN Conzertstiick in F for four horns and orchestra, Op. 86 Tuesday 'C5' CHARLES KAVALOVSKI, horn RICHARD SEBRING, horn DANIEL KATZEN, horn RICHARD MACKEY, horn Symphony No. 1 in B-flat, Op. 38, Spring 12, Tuesday 'C/B' SHOSTAKOVICH Symphony No. 6, Op. 53 12 70 SIBELIUS Symphony No. 1 in E minor, Op. 39 7, Tuesday 'C/B' STARER Concerto for Violin and Orchestra 17 ITZHAK PERLMAN, violin STRAUSS, J. Emperor Waltzes, Op. 437 21 STRAUSS, R. An Alpine Symphony, Op. 64 4 Death and Transfiguration, Tone poem for large orchestra, Op. 24 20 Don Juan, Tone poem after Lenau, Op. 20 16 Interlude and Final Scene from Salome 20 HILDEGARD BEHRENS, soprano 71 ^ STRAVINSKY Apollo, Ballet in two scenes, for string orchestra 15 The Firebird (complete score of 191 1) 17, Tuesday 'B6' Requiem Canticles 15 MARY WESTBROOK GEHA, mezzo-soprano S. MARK ALIAPOULIOS, baritone TANGLEWOOD FESTIVAL CHORUS, JOHN OLIVER, conductor TCHAIKOVSKY Symphony No. 6 in B minor, Op. 74, Pathetique Opening Night VAUGHAN WILLIAMS Symphony No. 6 in E minor VIVALDI "Beatus vir" (Psalm III, Vulgate), RV 597, in C, for two sopranos, 19 contralto, tenor, bass, two choirs, two orchestras, and two continuos MARGARET MARSHALL, soprano CLAUDINE CARLSON, mezzo-soprano BIRGIT FINNILAE, contralto JOHN GILMORE, tenor JULIEN ROBBINS, bass-baritone TANGLEWOOD FESTIVAL CHORUS, JOHN OLIVER, conductor Introduction to "Dixit Dominus," RV 636, in G, for soprano, 19 string orchestra, and continuo MARGARET MARSHALL, soprano "Dixit Dominus" (Psalm 109, Vulgate), RV 594, in D, for two 19 sopranos, contralto, tenor, bass, two choirs, two orchestras, and two continuos MARGARET MARSHALL, soprano CLAUDINE CARLSON, mezzo-soprano BIRGIT FINNILAE, contralto JOHN GILMORE, tenor JULIEN ROBBINS, bass-baritone TANGLEWOOD FESTIVAL CHORUS, JOHN OLIVER, conductor "Domine ad adiuvandum me" (Psalm 69=2, Vulgate), RV 593, in G, 19 for soprano, two choirs, two orchestras, and two continuos MARGARET MARSHALL, soprano TANGLEWOOD FESTIVAL CHORUS, JOHN OLIVER, conductor WALTON Cello Concerto RALPH KIRSHBAUM, cello WEBER Overture to Der Freischutz 12, Tuesday 'C/B' 72 CONDUCTORS OF THE BOSTON SYMPHONY ORCHESTRA DURING THE 1982-83 SUBSCRIPTION SEASON Week SEIJI OZAWA, Music Director Opening Night, 1,2, 3, 13, Tuesday 'C5,' 14, Providence III, 15, 18, 20, Tuesday 'B6,' 21, 22 SIR COLIN DAVIS, Principal Guest Conductor 8,9,10 17* JOSEPH SILVERSTEIN, Assistant Conductor 7, Tuesday 'C/B,' CHARLES DUTOIT 6 KURTMASUR 11,12 VITTORIO NEGRI 19 EUGENE ORMANDY 16 ANDRE PREVIN 4,5 *Seiji Ozawa indisposed The Boston Home, (formerly The Boston Home for Incurables) Est. 1881 Encore JT Encore ' Another 100 Years for the BSO and Us Write for Centennial Brochures The Boston Home, LlC , David W. Lewis, Treasurer 2049-2061 Dorchester Avenue John Bigelow, Assistant Treasurer Boston, Massachusetts 02124 617/825-3905 73 SOLOISTS WITH THE BOSTON SYMPHONY ORCHESTRA DURING THE 1982-83 SUBSCRIPTION SEASON Week ALIAPOULIOS, S. MARK, baritone 15 ARMSTRONG, SHEILA, soprano 2 BATTLE, KATHLEEN, soprano 5 BEHRENS, HILDEGARD, soprano 20 BURGESS, MARY, soprano 1 BURROWS, STUARX tenor 8 CARLSON, CLAUDINE, mezzo-soprano 19 CHOOKASIAN, LILI, contralto 1 COLE, VINSON, tenor 11 DWYER, DORIOT ANTHONY, flute 9,21 FINNIE, LINDA, mezzo-soprano 5 FINNILAE, BIRGIT, contralto 19 GILMORE, JOHN, tenor 19 GEDDA, NICOLAI, tenor 13 GORDON, DAVID, tenor 1 HALFVARSON, ERIC, bass-baritone 13 KATZEN, DANIEL, horn Tuesday 'C5' KAVALOVSKI, CHARLES, horn Tuesday 'C5' KIRSHBAUM, RALPH, cello 4 LANGRIDGE, PHILIP, tenor 5 MA, YO-YO, cello 15 MACKEY, RICHARD, horn Tuesday 'C5' MARSHALL, MARGARET, soprano 19 MUTTER, ANNE-SOPHIE, violin 14 NORMAN, JESSYE, soprano 8 PERAHIA, MURRAY, piano 9 PERLMAN, ITZHAK, violin 17 PILOT, ANN HOBSON, harp 9 POLLINI, MAURIZIO, piano 18 RENDALL, DAVID, tenor 2 RIEGEL, KENNETH, tenor 1 ROBBINS, JULIEN, bass-baritone 1,19 ROBINSON, FAYE, soprano 1 SEBRING, RICHARD, horn Tuesday 'C5' SERKIN, PETER, piano 21 SERKIN, RUDOLF, piano Opening Night SHIRLEY-QUIRK, JOHN, bass-baritone 2,8 SILVERSTEIN, JOSEPH, violin 5,21 STEWART, THOMAS, baritone 13 74 VON STADE, FREDERICA, mezzo-soprano 13 WEISSENBERG, ALEXIS, piano 3 WESTBROOK-GEHA, MARY, mezzo-soprano 15 BOSTON BOY CHOIR, 5,13 THEODORE MARIER, director NEW ENGLAND CONSERVATORY CHORUS, 2 LORNA COOKE deVARON, conductor TANGLEWOOD FESTIVAL CHORUS, 1,5,8,13,19 JOHN OLIVER, conductor WORKS PERFORMED AT SYMPHONY HALL CHAMBER PRELUDES DURING THE 1982-83 SUBSCRIPTION SEASON Week BARTOK Fourty-four Duos for Two Violins (selections) 11 BEETHOVEN Romance in F for violin and piano, Op. 50 1 Serenade in D for flute, violin, and viola, Op. 25 14 Trio in E-flat for violin, viola, and cello, Op. 3 2 Violin Sonata in A, Op. 12, No. 2 14 BRAHMS Trio in E-flat for violin, horn, and piano, Op. 40 BRITTEN Lachrymae, Reflections on a Song of John Dowland, Op. 48, 11 for viola and piano Phantasy for oboe, violin, viola, and cello, Op. 2 5 DVORAK Sonatina in G for violin and piano 15 Terzetto in C for two violins and viola, Op. 74 15 HAYDN String Quartet in G, Op. 77, No. 1 11 Trio in F-sharp minor for piano, violin, and cello, Hob.XV26 2 HONEGGER Sonata for viola and piano MENDELSSOHN Trio in D minor for piano, violin, and cello, Op. 49 75 MOZART Duo No. 2 in B-flat for violin and viola, K.424 20 Quartet in G minor for piano, violin, viola, and cello K.478 6 SCHUBERT Quartet Movement (Allegro assai) in C minor, D.703 10 String Quartet in D minor, D.810, Death and the Maiden 10 SCHUMANN Five Pieces in Folk Style, Op. 102, for cello and piano Tuesday 'C/B' Trio No. 1 in D minor for piano, violin, and cello, Op. 63 Tuesday 'C/B' [SIBELIUS Sonatina in E for violin and piano, Op. 80 Tuesday 'C/B'*] STRAUSS Sonata in E-flat for violin and piano, Op. 18 20 STRAVINSKY Elegy for solo violin 15 *not performed 76 CHAMBER PRELUDE PERFORMERS DURING THE 1982-83 SUBSCRIPTION SEASON Week BABCOCK, MARTHA, cello 5 BACHELDER, MARGARET, piano 15 BROWN, LILA, viola 2 CHURCHILL, MARYLOU SPEAKER 2 CLODES, MARIA 1 CROMWELL, GRETCHEN, piano 2 DEVEAU, DAVID Tuesday 'C/B,' 14 ELIAS, GERALD, violin 11 FELDMAN, RONALD, cello 11 FIEKOWSKY, SHEILA, violin 1 FRANCESCO STRING QUARTET 10 (Bo Youp Hwang, violin,- Ronan Lefkowitz, violin,- Robert Barnes, viola,- Joel Moerschel, cello) GENOVESE, ALFRED, oboe 5 JEANNERET, MARC, viola 20 KATZEN, DANIEL, horn 1 KIM, JUNG-JA, piano 11 LEFKOWITZ, RONAN, violin 11 LEVY, AMNON, violin 20 LOWE, NISANNE, violin 15 LUDWIG, MARY, viola 5 Mccarty, patricia, viola 11 MILLER, JONATHAN, cello Tuesday 'C/B' MIZUNO, IKUKO, violin 15 NIELAND, MISCHA, cello 6 PASTERNACK, BENJAMIN, piano 20 RIPLEY, ROBERT, cello 2 ROSEN, JEROME, violin Tuesday 'C/B,'* 15 SEIGEL, HARVEY, violin 5 SHAMES, JENNIE, violin 14 SMIRNOFF, JOEL, violin [Tuesday 'C/B']| SMITH, FENWICK, flute 14 URITSKY, VYACHESLAV, violin 6 WANGER, FREDRIK, piano 5 WILKISON, RONALD, viola 14,15 YAMPOLSKY, TATIANA 6 ZARETSKY, MICHAEL, viola 6 * replacing Joel Smirnoff f indisposed 77 This is a CoacK Belt * It is one of ten K models we make out of real Glove I Tanned Cowhide in ten colors and eight length!**1*^ for men and women from size 26 to 40. Coach® Belts 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 Coach Factory in New York. For Catalogue and Store List write: Consumer Service, Coach *i Leatherware, 516 West 34th Street, New York City 10001. 78 mm :..••fin KJBHH The Boston Symphony Orchestra gratefully acknowledges the following corpora- tions and professional organizations for their generous and important support in the past or current fiscal year. (* denotes support of at least $2,500.) Business Honor Roll ($10,000 and over) Bank of New England Arthur D. Little, Inc. Roderick M. MacDougall John F. Magee BayBanks, Inc. Mobil Chemical Corporation William M. Crozier, Jr. Rawleigh Warner, Jr. The Boston Globe Foundation New England Mutual Life Insurance Company William O. Taylor Edward E. Phillips Cahners Publishing Company Inc. New England Tel. &. Tel. Company Norman Cahners Gerry Freche Commercial Union Assurance Companies Prudential Insurance Company of America Howard H. Ward Robert J. Scales Country Curtains Raytheon Company Mrs. John Fitzpatrick Thomas L. Phillips Digital Equipment Corporation Red Lion Inn Kenneth H. Olsen John H. Fitzpatrick Dynatech Corporation Shawmut Bank of Boston J.E Barger William F. Craig Wm. Filene's & Sons Company Wm. Underwood Company Merwin Kaminstein James D. Wells The First National Bank of Boston WCRB/Charles River Broadcasting, Inc. Kenneth R. Rossano Richard L. Kaye Gillette Company WCVB-TV Colman M. Mockler, Jr. S. James Coppersmith John Hancock Mutual Life Insurance Company Wang Laboratories, Inc. E. James Morton An Wang Liberty Mutual Life Insurance Company WheelabratorFrye, Inc. Melvin B. Bradshaw Michael H. Dingman Business Leaders ($1,000 and over) Accountants Banking *Coopers &. Lybrand *Bank of New England Vincent M. O'Reilly Roderick M. MacDougall *Peat, Marwick, Mitchell & Company * BankAmerica International Herbert E. Morse Christopher S. Wilson Touche Ross &. Co. *BayBanks, Inc. John F. Keydel William M. Crozier, Jr. Advertising/'PR. Berkshire Bank &. Trust Company D. R. Ekstrom *Kenyon &. Eckhardt ""Berkshire County Savings Bank Thomas J. Mahoney Robert A. Wells *Newsome &. Company Boston Five Cents Savings Bank Peter G. Osgood Robert J. Spiller Aerospace *City Savings Bank of Pittsfield Northrop Corporation Luke S. Hayden Thomas V Jones *The First National Bank of Boston- *Pneumo Corporation Bank of Boston Gerard A. Fulham Kenneth R. Rossano 79 *New England Bancorp Needlepoint Rugs P. A. Lombardi from Portugal Old Colony Bank of Berkshire County William C. Woodhull II *Shawmut Bank of Boston William F. Craig *State Street Bank & Trust Company William S. Edgerly *U. S. Trust Company James V Sidell *? * Union Federal Savings & Loan William H. McAlister, Jr. Elegant handmade wool rugs from Lisbon. Clothing Choose from our wide assortment or let us help you design your own. Free brochure. The Kendall Company D. Sherratt Arkelyan Rugs J. 67 Chestnut St., Boston, MA 02108 — 617/523-2424 *Knapp King-Size Corporation Winthrop A. Short Construction *J. F. White Contracting Company Thomas J. White Consulting/Management , 5t ^otofpft/}^stAuraMf- * Advanced Management Associates, Inc. Harvey Chet Krentzman * Boston Consulting Group, Inc. Arthur P. Contas '"Devonshire Associates Weston Howland Linenthal Eisenberg Anderson, Inc. Eugene Eisenberg * Arthur D. Little, Inc. John F Magee Education *Stanley H. Kaplan Educational Center Susan Kaplan Electronics * Microsomes, Inc. A charming 19th Century Townhouse William Cook serving superb continental cuisine in contemporary informal elegance. * Valpey-Fisher Corporation Offering lunch and dinner with a variety Neil Bernstein of fresh seafood specials daily, and our after theatre cafe menu till midnight. Energy * Atlantic Richfield Company Serving - Robert O. Anderson lunch: 12:00-2:30 weekdays * Atlas Oil Corporation Dinner: 6:00-10:30 Sun.-Thurs. 6:00-12:00 Fri.-Sat. Fred Slifka * Brunch: 11:00-3:00 Sat. & Sun. Buckley &. Scott Company William H. Wildes reservations: 266-3030 * Eastern Gas & Fuel Associates 99 St. Botolph Street William J. Pruyn behind Hotel the Colonnade *HCW Oil & Gas John M. Plukas & Robert Glassman * 80 ::•;..''.' .'«.'». ^' '':- • * Ha toff's Stanley Hatoff * Mobil Chemical Corporation Rawleigh Warner, Jr. Northeast Petroleum Corporation John Kaneb Yankee Oil & Gas, Inc. Graham E. Jones Finance Buy a *Farrell, Healer & Company, Inc. Condominium Richard Farrell *Fidelity Fund, Inc. with a Edward C. Johnson III The First Boston Corporation strong George L. Shinn Kaufman & Company foundation. Sumner Kaufman *Narragansett Capital Corporation Arthur D. Little TA Associates Peter A. Brooke Food/Hotel/Restaurant *Creative Gourmets Limited Stephen Elmont *Cumberland Farms Food Stores D. B. Haseotes Dunfey Hotels Corporation Canas Jon ^fe^^^^Q Cambridge The Farm Stand Corporation I M t Condominium Crystal Condakes ^^^^^^ Collaborative, Inc. Johnson, O'Hare Company, Inc. 371 Harvard St.. Cambridge (617) 868-5464 Harry O'Hare *Ocean Spray Cranberries, Inc. Harold Thorkilsen *Ogden Food Service Corporation William F. Connell *Red Lion Inn John H. Fitzpatrick *Shaw's Supermarkets Stanton Davis *Sonesta International Hotels Corporation Paul Sonnabend The Stop & Shop Companies, Inc. Avram J. Goldberg * Wm. Underwood Company James D. Wells Furnishings/ Housewares *Country Curtains UNION OYSTER HOUSE Mrs. John Fitzpatrick Boston 's Oldest Restaurant Health Care/Medicine 41 Union St.- 227-2750 * Rudolph Beaver, Inc. John R. Beaver 81 *Haemonetics Gordon F. Kingsley *Healthco, Inc. Marvin Myer Cyker High Technology/Computers t A .1 F? * Analog Devices III II Ray Stata !:• The Analytic Sciences Corporation Dr. Arthur Gelb Analytical Systems Engineering Corporation PROPERTY MANAGEMENT Michael B. Rukin RESIDENTIAL and COMMERCIAL *Augat, Inc. 1384 COMMONWEALTH AVENUE Roger Wellington Allston, Massachusetts 02134 *Bolt, Beranek & Newman, Inc. Stephen Levy Telephone: (617) 738-5700 *Computer Partners, Inc. m Paul Crowley J. *Cullinane Database Systems, Inc. John J. Cullinane *Data Packaging Corporation Otto Morningstar * Digital Equipment Corporation Kenneth H. Olsen *Dynatech Corporation J. P. Barger *Epsilon Data Management, Inc. Thomas O. Jones *The Foxboro Company Bruce D. Hainsworth *GTE Electrical Products C. Avallon Share the warm, traditional John atmosphere of Back Bay's oldest *GenRad, Inc. restaurant. William R. Thurston Enjoy delicious, thick char- broiled steaks, fresh seafoods, IBM Corporation barbequed chicken and ribs, a Bradford Towle limitless salad bar, imported beers Instron Corporation and wine, plus generous sand- Harold Hindman wiches all at modest prices ... luncheons from $3.50 and dinners LFE Corporation from $6.50. Herbert Roth, Jr. Five minutes from Symphony Management Decision Systems, Inc. Hall, the Hynes Auditorium John S. Wurts and Prudential Center. * Polaroid Corporation William J. McCune, Jr. NEWBURY'S * Prime Computer, Inc. STEAKHOUSE John K. Buckner *Printed Circuit Corporation 94 Massachusetts Avenue Peter Sarmanian (Corner of Newbury St.) / "'Raytheon Company 536-0184 Thomas L. Phillips Open from Noon to Midnight Technical Operations, Inc. Free parking at garage on Newbury Street Marvin G. Shorr All major charge cards accepted Thermo Electron Corporation Dr. George N. Hatsopoulos 82 U. S. Components, Inc. B. A. Jackson *Wang Laboratories, Inc. An Wang G * Western Electric Company, Inc. ^rts Donald E. Procknow Uvefy( Insurance Arkwright-Boston Insurance July 1 - 24 & Aug. 7-14 Frederick J. Bumpus at Skidmore College, Saratoga Springs, N.Y. *Berkshire Life Insurance Company July 10 - 17 Lawrence W Strattner, Jr. at Mt. Holyoke College, South Hadley, Mass. Brewer & Lord or July 17-24 Joseph G. Cook, Jr. at Williams College, Williamstown, Mass. *Commercial Union Assurance Companies Howard H. Ward For a memorable experience, enjoy a week or extended weekend vacation with * Frank B. Hall & Company, Inc. the arts! Our unique program includes per- John B. Pepper formances by The Philadelphia Orchestra, *John Hancock Mutual Life Insurance Company New York City Ballet, Boston Symphony, E. Morton James and Williamstown Theater Company, plus a * Liberty Mutual Insurance Company great jazz weekend featuring star perform- Melvin B. Bradshaw ers. Also included are seminars in philoso- *New England Mutual Life Insurance Company phy, literature, economics, art history, mu- Edward E. Phillips sic, and drama. "'Prudential Insurance Company of America Excellent facilities for swimming, tennis and golf are available for sports enthusiasts. Robert J. Scales Accommodations include modern dorm- Sun Life Assurance Company of Canada itories and apartments. John D. McNeil Investments Write for a brochure. Amoskeag Company ALLENS LANE ART CENTER Joseph B. Ely, Jr. (dept B) Aliens St. Moseley Hallgarten Estabrook & Weeden, Inc. Lane and McCallum Phila., PA. 19119 (215) 248-0546 Fred S. Moseley Paine, Webber, Jackson & Curtis, Inc. Francis P. Sears The Putnam Advisory Company, Inc. John Sommers *Tucker, Anthony & R. L. Day, Inc. R. Willis Leith, Jr. * Woodstock Corporation Thomas Johnson Legal Cesari McKenna Robert A. Cesari *Gadsby & Hannah Harry Hauser Goodwin Procter & Hoar yiaxtre* Jacques Edward O'Dell Continental Cui.sin *Herrick &. Smith the Charles Malcolm D. Perkins on 10 Emerson Plate. Boston 742-5480 Leisure 'Heritage Travel Donald Sohn 83 mm i4sG^W0mlf)iMlm9rn4 The elephant and the blind men are no different from you and me. Just as each of the six blind men of Indostan reached a different conclusion when they touched a different part of the elephant, your many financial advisors are often blinded by their specialization and consider only a part of your financial estate. The result is usually fragmentation and unnecessary inefficiency Without a coordinated financial program, taxes may be higher than need be, investment yields lower, and peace of mind absent altogether. It is the role of The Cambridge Group to coordinate the many parts of your financial house, and to form a functional, efficient whole which is in concert with your desires and the realities of todays world. At The Cambridge Group you will have the opportunity to examine all of your options and develop a thorough and systematic approach, designed for success. Take the first step toward controlling your financial future. Come talk with us. The Cambridge Group Singular financial planners 160 Commonwealth Avenue, Boston, Massachusetts 02116 One Burlington Woods Drive, Burlington, Massachusetts 01803 (617)247-3000 86 :• Symphony Hall Information FOR SYMPHONY HALL CONCERT AND concerts (subscription concerts only). The con- TICKET INFORMATION, call (617) tinued low price of the Saturday tickets is 266-1492. For Boston Symphony concert pro- assured through the generosity of two anony- gram information, call "CON-C-E-R-T." mous donors. The Rush Tickets are sold at $4.50 each, one to a customer, at the Sym- THE BOSTON SYMPHONY performs ten phony Hall West Entrance on Fridays begin- ^months a year, in Symphony Hall and at ning 9 a.m. and Saturdays beginning 5 p.m. Tanglewood. For information about any of the . srchestra's activities, please call Symphony LATECOMERS will be seated by the ushers Hall, or write the Boston Symphony Orches- during the first convenient pause in the pro- tra, Symphony Hall, Boston, MA 02115. gram. Those who wish to leave before the end of the concert are asked to do so between THE EUNICE S. AND JULIAN COHEN program pieces in order not to disturb other ANNEX, adjacent to Symphony Hall on patrons. Huntington Avenue, may be entered by the Symphony Hall West Entrance on SMOKING IS NOT PERMITTED in any part Huntington Avenue. of the Symphony Hall auditorium or in the surrounding corridors. It is permitted only in FOR SYMPHONY HALL RENTAL INFOR- the Cabot-Cahners and Hatch rooms, and in MATION, call (617) 266-1492, or write the the main lobby on Massachusetts Avenue. Hall Manager, Symphony Hall, Boston, MA 02115. CAMERA AND RECORDING EQUIP- MENT may not be brought into Symphony THE BOX OFFICE is open from 10 a.m. until Hall during concerts. 6 p.m. Monday through Saturday,- on concert evenings, it remains open through intermis- FIRST AID FACILITIES for both men and sion for BSO events or just past starting-time women are available in the Cohen Annex for other events. In addition, the box office near the Symphony Hall West Entrance on opens Sunday at 1 p.m. when there is a con- Huntington Avenue. On-call physicians cert that afternoon or evening. Single tickets attending concerts should leave their names for all Boston Symphony concerts go on sale and seat locations at the switchboard near the twenty-eight days before a given concert once Massachusetts Avenue entrance. 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. TICKET RESALE: If for some reason you are unable to attend a Boston concert j Symphony 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. A mailed receipt will acknowledge your tax- deductible contribution. RUSH SEATS: There are a limited number of Rush Tickets available for the Friday after- noon and Saturday evening Boston J Symphony 87 I! ! BH WHEELCHAIR ACCESS to Symphony Hall is BOSTON SYMPHONY BROADCASTS: Con- available at the West Entrance to the Cohen certs of the Boston Symphony Orchestra are Annex. heard by delayed broadcast in many parts of the United States and Canada, as well as inter- AN ELEVATOR is located outside the Hatch nationally, through the Boston Symphony and Cabot-Cahners rooms on the Massachu- Transcription Trust. In addition, Friday after- setts Avenue side of the building. noon concerts are broadcast live by WGBH- FM (Boston 89.7), WMEAFM (Portland 90.1), LADIES' ROOMS are located on the orchestra WAMC-FM (Albany 90.3), WMEH-FM level, audience-left, at the stage end of the (Bangor 90.9), and WMEM-FM (Presque Isle hall, and on the first-balcony level, audience- 106.1). Live Saturday-evening broadcasts are right, outside the Cabot-Cahners Room near carried by WGBH-FM, WCRB-FM (Boston the elevator. 102.5), WFCR-FM (Amherst 88.5), WPBH-FM (Hartford 90.5), and WNPR-FM (Norwich MEN'S ROOMS are located on the orchestra 89.1). If Boston Symphony concerts are not level, audience-right, outside the Hatch Room heard regularly in your home area and you near the elevator, and on the first-balcony would like them to be, please call WCRB level, audience-left, outside the Cabot-Cahners Productions at (617) 893-7080. WCRB will be Room near the coatroom. glad to work with you and try to get the BSO on the air in your area. COATROOMS are located on the orchestra and first-balcony levels, audience-left, outside BSO FRIENDS: The Friends are supporters of the Hatch and Cabot-Cahners rooms. The the Boston Symphony, active in all of its endeavors. Friends receive BSO, the orchestra's BSO is not responsible for personal apparel or other property of patrons. newsletter, as well as priority ticket informa- tion. For information, please call the Friends' LOUNGES AND BAR SERVICE: There are Office at Symphony Hall weekdays between two lounges in Symphony Hall. The Hatch 9 and 5. If you are already a Friend and would Room on the orchestra level and the Cabot- like to change your address, please send your Cahners Room on the first-balcony level serve new address with your newsletter label to the drinks starting one hour before each perform- Development Office, Symphony Hall, Boston, ance. For the Friday afternoon concerts, both MA 02115. Including the mailing label will rooms open at 12=15, with sandwiches avail- assure a quick and accurate change of address J able until concert time. in our files. HOW TO HIRE AND HOW TO AN EXPERT. RENT ONE. Talk to the people who know how to find Talk to the temporary accounting and them. With 80 offices in 3 countries, the bookkeeping specialist. All Accountemps Robert Half organization is the largest employees are carefully screened. So recruiter of financial, accounting and when you call, you're likely to get some- edp professionals. So it gives you the one who is slightly overqualified for best choice of first-rate candidates. the job. An expert. BQ ROBERT hulf m OF BOSTON, INC. accounlempsB 100 Summer Street, Boston, MA 02110. (617) 423-1200 an affiliate of Robert Half of Boston, Inc Placement Consultants Member Massachusetts Professional 100 Summer Street. Boston, MA 02110. 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