Boston Symphony Orchestra SeijiOzawa MUSIC DIRECTOR

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THE E.B. HORN COMPANY 429 WASHINGTON STREET, BOSTON, MA BUDGET TERMS ALL MAJOR CREDIT CARDS ACCEPTED AVAILABLE MAIL OR PHONE ORDERS (617) 542-3902 OPEN MON. AND THURS. 'TIL 7 , Music Director

One Hundred and Eleventh Season, 1991-92

Trustees of the Boston Symphony Orchestra, Inc.

Nelson J. Darling, Jr., Chairman Emeritus

J. P. Barger, Chairman George H. Kidder, President Mrs. Lewis S. Dabney, Vice-Chairman Archie C. Epps, Vice-Chairman Mrs. John H. Fitzpatrick, Vice-Chairman William J. Poorvu, Vice-Chairman and Treasurer

David B. Arnold, Jr. Dean Freed Mrs. August R. Meyer Peter A. Brooke Avram J. Goldberg Molly Millman James F. Cleary Francis W. Hatch Mrs. Robert B. Newman John F. Cogan, Jr. Julian T. Houston Peter C. Read Julian Cohen Mrs. Bela T. Kalman Richard A. Smith

William M. Crozier, Jr. Mrs. George I. Kaplan Ray Stata Deborah B. Davis Harvey Chet Krentzman Nicholas T. Zervas Nina L. Doggett R. Willis Leith, Jr. Trustees Emeriti Vernon R. Alden Mrs. Harris Fahnestock Mrs. George R. Rowland Philip K. Allen Mrs. John L. Grandin Mrs. George Lee Sargent Allen G. Barry E. Morton Jennings, Jr. Sidney Stoneman Leo L. Beranek Albert L. Nickerson John Hoyt Stookey Mrs. John M. Bradley Thomas D. Perry, Jr. John L. Thorndike Abram T. Collier Irving W. Rabb

Other Officers of the Corporation

John Ex Rodgers, Assistant Treasurer Michael G. McDonough, Assistant Treasurer Daniel R. Gustin, Clerk

Administration

Kenneth Haas, Managing Director Daniel R. Gustin, Assistant Managing Director and Manager of Tanglewood

Michael G. McDonough, Director of Finance and Business Affairs Evans Mirageas, Artistic Administrator Caroline Smedvig, Director of Public Relations and Marketing Josiah Stevenson, Director of Development Ray F. Wellbaum, Orchestra Manager

Robert Bell, Manager of Information Systems Patricia Krol, Coordinator of Youth Activities Peter N. Cerundolo, Director of Steven Ledbetter, Musicologist & Corporate Development Program Annotator Constance B.F. Cooper, Director of Boston Marc Mandel, Publications Coordinator Symphony Annual Fund John C. Marksbury, Director of Madelyne Cuddeback, Director of Foundation and Government Support Corporate Sponsorships Julie-Anne Miner, Manager of Fund Reporting Patricia Forbes Halligan, Personnel Richard Ortner, Administrator of Administrator Tanglewood Music Center Sarah J. Harrington, Budget Manager Scott Schillin, Assistant Manager, Margaret Hillyard-Lazenby, Pops and Youth Activities Director of Volunteers Joyce M. Serwitz, Associate Director of Russell M. Hodsdon, Manager of Box Office Development/Director of Major Gifts Bernadette M. Horgan, Public Relations Cheryl L. Silvia, Function Manager Coordinator Michelle Leonard Techier, Media and Production Craig R. Kaplan, Controller Manager, Boston Symphony Orchestra Nancy A. Kay, Director of Sales & Robin J. Yorks, Director of Tanglewood Marketing Manager Development Susan E. Kinney, Assistant Director of Development

Programs copyright ©1991 Boston Symphony Orchestra, Inc. Cover by Jaycole Advertising, Inc. s

Board of Overseers of the Boston Symphony Orchestra, Inc.

John F. Cogan, Jr., Chairman Thelma E. Goldberg, Vice-Chairman Mrs. Susan D. Hall, Secretary

Mrs. Herbert B. Abelow Mrs. Haskell R. Gordon Richard P. Morse Amanda Barbour Amis John P. Hamill E. James Morton Harlan Anderson Daphne P. Hatsopoulos David G. Mugar Caroline Dwight Bain Bayard Henry Robert J. Murray Mrs. Leo L. Beranek Glen H. Hiner David S. Nelson Lynda Schubert Bodman Mrs. Marilyn Brachman Hoffman Mrs. Hiroshi H. Nishino Donald C. Bowersock, Jr. Ronald A. Homer Robert P. O'Block William M. Bulger Lola Jaffe Paul C. O'Brien Mrs. Levin H. Campbell Anna Faith Jones Vincent M. O'Reilly Earle M. Chiles H. Eugene Jones Andrall E. Pearson Gwendolyn Cochran Hadden Susan B. Kaplan John A. Perkins William F. Connell Mrs. S. Charles Kasdon Millard H. Pryor, Jr. Walter J. Connolly, Jr. Richard L. Kaye Robert E. Remis Jack Connors, Jr. Mrs. Gordon F. Kingsley William D. Roddy Albert C. Cornelio Allen Z. Kluchman John Ex Rodger Phyllis Curtin Koji Kobayashi Keizo Saji JoAnne Dickinson Mrs. Carl Koch Roger A. Saunders

Harry Ellis Dickson David I. Kosowsky Mrs. Raymond H. Schneider Phyllis Dohanian George Krupp Malcolm L. Sherman Hugh Downs John R. Laird Mrs. Donald B. Sinclair Goetz B. Eaton Mrs. Hart D. Leavitt L. Scott Singleton Harriett M. Eckstein Laurence Lesser Ira Stepanian Deborah A. England Stephen R. Levy William F. Thompson Edward Eskandarian Frederick H. Lovejoy, Jr. Mark Tishler, Jr. Peter M. Flanigan Diane H. Lupean Roger D. Wellington Eugene M. Freedman Mrs. Charles P. Lyman Robert A. Wells Mrs. James G. Garivaltis Mrs. Harry L. Marks Margaret Williams-DeCelles Jordan L. Golding Nathan R. Miller Mrs. John J. Wilson Mark R. Goldweitz

Overseers Emeriti

Mrs. Weston W. Adams Leonard Kaplan Mrs. Peter van S. Rice Mrs. Frank G. Allen Robert K. Kraft Mrs. Jerome Rosenfeld Bruce A. Beal Benjamin H. Lacy Mrs. William C. Rousseau Mrs. Richard Bennink Mrs. James F. Lawrence Mrs. William H. Ryan Mary Louise Cabot C. Charles Marran Francis P. Sears, Jr. Johns H. Congdon Hanae Mori Ralph Z. Sorenson Peter H.B. Frelinghuysen Mrs. Stephen V.C. Morris Mrs. Edward S. Stimpson

Mrs. Thomas J. Galligan Stephen Paine, Sr. Mrs. Arthur I. Strang Mrs. Richard D. Hill David R. Pokross Luise Vosgerchian Susan M. Hilles Daphne Brooks Prout Mrs. Donald B. Wilson

Mrs. Louis I. Kane

Symphony Hall Operations

Robert L. Gleason, Facilities Manager James E. Whitaker, House Manager

Cleveland Morrison, Stage Manager Franklin Smith, Supervisor of House Crew Wilmoth A. Griffiths, Assistant Supervisor of House Crew William D. McDonnell, Chief Steward H.R. Costa, Lighting Officers of the Boston Symphony Association of Volunteers

Molly Beals Millman, President Flornie Whitney, Executive Vice-President Joan Erhard, Secretary Bonnie B. Schalm, Treasurer Betty Sweitzer, Nominating Chairman

Vice-Presidents

Helen A. Doyle, Hall Services Maureen Hickey, Tanglewood Goetz B. Eaton, Fundraising Ileen Cohen, Tanglewood Una Fleischmann, Development Ann Macdonald, Youth Activities Paul S. Green, Resources Development Carol Scheifele-Holmes, Symphony Shop Patricia M. Jensen, Membership Patricia L. Tambone, Public Relations Kathleen G. Keith, Adult Education

Business and Professional Leadership Association Board of Directors

Harvey Chet Krentzman, Chairman James F. Cleary, BPLA President

J. P. Barger George H. Kidder WiUiam D. Roddy Leo L. Beranek William F. Meagher Malcolm L. Sherman William F. Connell Robert P. O'Block Ray Stata Nelson J. Darling Vincent M. O'Reilly Stephen J. Sweeney Thelma Goldberg

Boston Symphony Orchestra concerts are funded in part by the National Endowment for the Arts and the Massachusetts Cultural Council, a state agency.

Celebrating the 100th Anniversary of the Birth of Charles Munch

lOSTON J TRAM

To mark the centennial of the birth of Charles Munch, the Boston Symphony Archives has mounted a display of memorabilia in the Cohen Wing lobby. Using photographs, letters, programs, and other historical documents, the exhibit explores the career of Charles Munch, focusing on his tenure as Music Director of the Boston Symphony Orchestra from 1949 to 1962. In the photograph above,

Munch (right) is shown with guest conductor Pierre Monteux (left), himself music director of the BSO from 1919 to 1924, and the train conductor just prior to departing on the BSO's transconti- nental tour in 1953. The Boston Symphony Archives extends special thanks to Bunnell Frame Shop for its generous assistance in mounting this exhibit. right asset manager could well beyour most important asset.

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Ba/Bank } mRIVATEBANKING Member FDIC celebrity interviews in broadcasts throughout BSO "Salute" weekend. On Monday, April 13, WCVB-TV Channel 5 marks its sixteenth year Chamber Players Boston Symphony of "Salute" telecasts with a live BSO concert at Jordan Hall, from 7:30 to 9 p.m. featuring Seiji Ozawa and Sunday, March 1, at 3 p.m. John Williams. The fourth annual Symphony Hall Open House, a day of free activities and The Boston Symphony Chamber Players per- performances for the entire community, takes form the final concert of their 1991-92 season place on Sunday, April 12, from 11 a.m. to on Sunday, March 1, at 3 p.m. at Jordan Hall 4 p.m. at New England Conservatory. The program Members of the Boston Symphony Associa- includes Haydn's Trio in G for flute, violin, tion of Volunteers will be answering phones in and cello, Opus 100, No. 4, Mozart's Quartet the Cabot-Cahners Room to accept pledges at in E-flat for piano, violin, viola, and cello, (617) 262-8700 or 1-800-325-9400 throughout K.493, Kirchner's Trio for violin, cello, and the weekend. Donors to "Salute to Symphony" piano, and Stravinsky's L'Histoire du soldat 1992 may choose from a number of exclusive concert suite. Tickets at $16.50, $12.50, and incentive gifts. In addition, a contribution of $9.50 are available at the Symphony Hall box $50 or more will make you a Friend of the office or through SymphonyCharge at orchestra, entitling you to a variety of benefits. (617) 266-1200. Watch your mailbox for the "Salute" flyer and this column for more details as "Salute to Art Exhibits in the Cabot-Cahners Room Symphony" 1992 approaches! For the eighteenth year, a variety of Boston- area galleries, museums, schools, and non- Suppers at Symphony Hall profit artists' organizations are exhibiting their work in the Cabot-Cahners Room on the first- The Boston Symphony Association of Volun- balcony level of Symphony Hall. On display teers is pleased to continue its sponsorship of through February 24 is an exhibit featuring the BSO's evening series of pre-concert events. varied black and white photography of Douglas "Supper Talks" combine a buffet supper at Christian and Carolyn Ross. This will be fol- 6:30 p.m. in the Cohen Wing's Higginson Hall lowed by an exhibit celebrating March as with an informative talk by a BSO player or "Youth Arts Month." Coordinated by Leslie other distinguished member of the music com- Ann Miller, a member of the Massachusetts munity. "Supper Concerts" offer a chamber Art Educator Association, the exhibit features music performance by members of the Boston more than fifty works by public school students Symphony Orchestra in the Cabot-Cahners from kindergarten through twelfth grade Room at 6 p.m., followed by a buffet supper

across the state (February 2 4-April 6). These served in Higginson Hall. Doors open for all exhibits are sponsored by the Boston Sym- Suppers at 5:30 p.m. for a la carte cocktails phony Association of Volunteers, and a portion and conversation. These events are offered on of each sale benefits the orchestra. Please con- an individual basis, even to those who are not tact the Volunteer Office at (617) 638-9390, attending that evening's BSO concert. Speak- for further information. ers for upcoming Supper Talks include Tangle- wood Festival Chorus Conductor John Oliver (Tuesday, February 18), former BSO percus- NYNEX Sponsors sionist Charles Smith (Thursday, February "Salute to Symphony" 1992, 20), BSO Archivist Bridget Blagbrough April 10-13 (Thursday, March 5), and BSO principal bas- For the fourth consecutive year, NYNEX is soon Richard Svoboda (Thursday, March 12). corporate sponsor of "Salute to Symphony," Upcoming Supper Concerts will feature music the BSO's annual fundraiser and community of Prokofiev (Saturday, March 14, and Tues- outreach project. WCRB 102.5 FM Classical day, March 17) and music of Judith Weir and Radio Boston, in its twenty-second year of col- Beethoven (Thursday, April 2, and Saturday, laboration on this project, will feature Boston April 4). The suppers are priced at $22 per Symphony and Boston Pops performances and person for an individual event, $61 for any GIORGIO ARMAM 22 Newbury Street, Boston, (617) 267-3200 three, $82 for any four, or $118 for any six. $5 (free with Williams ID). For more informa- Advance reservations must be made by mail. For tion, call (413) 597-3146. reservations the week of the Supper, please call BSO violinist Tatiana Dimitriades is soloist SymphonyCharge at (617) 266-1200. All reser- in Stravinsky's Violin Concerto with Ronald vations must be made at least 48 hours prior to Knudsen and the Newton Symphony Orchestra

the Supper. There is a $.50 handling fee for each on Sunday, March 1, at 8 p.m. at Aquinas Col- ticket ordered by telephone. For further informa- lege, 15 Walnut Park, Newton, on a program

tion, please call (617) 266-1492, ext. 516. also including Mendelssohn's Symphony No. 3, Italian. Single tickets are $14 and $12. For more information, call (617) 965-2555. Ticket Resale

If, as a Boston Symphony subscriber, you find Personal Financial Planning Seminars yourself unable to use your subscription ticket, please make that ticket available for resale by Throughout the 1991-92 season, the Boston calling (617) 266-1492. In this way you help Symphony Orchestra is offering complimentary bring needed revenue to the orchestra and at Personal Financial Planning Seminars featur- the same time make your seat available to ing the BSO's gift planning consultant, John someone who might otherwise be unable to Brown. Learn how you can bypass capital attend the concert. A mailed receipt will gains taxes, increase current income, reduce acknowledge your tax-deductible contribution. current income tax, reduce federal estate taxes, and conserve estate assets for those you love. Remaining seminars are scheduled for the fol- BSO Members in Concert lowing dates: Thursday, February 20, at 5:30 The Boston Artists' Ensemble performs piano p.m.; Friday, March 13, at noon; and Tuesday, trios of Dvorak, Beethoven, and Fritz Kreisler April 28, at 5:30 p.m. They are held in the on Friday, February 21, at 8 p.m. in the Nathan R. Miller Room of Symphony Hall's Chapel Gallery of the Second Church in New- Cohen Wing and include complimentary din- ton, and on Sunday, February 23, at 2:30 p.m. ners or lunches for those attending. Advance at the Peabody Museum in Salem. Violinist reservations are necessary. If you are inter- Arturo Delmoni and pianist Randall Hodgkin- ested in attending one of these meetings, son join the ensemble's founder, BSO cellist please call Joyce Serwitz, Associate Director Jonathan Miller, for these concerts. Single of Development, at (617) 638-9273. tickets are $12 ($10 students and seniors). For more information, call (617) 527-8662. Collage New Music, founded by BSO percus- sionist Frank Epstein, performs the Boston premieres of Stephen Hartke's The King of the Sun and Martin Boykan's Eclogue on Sunday, February 23, at 8:00 p.m. at Boston Universi- ty's Tsai Performance Center, 685 Common- wealth Avenue, on a program also including Steven Mackey's Indigenous Instruments and Joan Tower's Noon Dance. Music Director ASSACH usetK David Hoose conducts. Single tickets are $10 /i*o ($5 students and seniors). For more informa- CtlLLege °F dRJ 1/ tion caU (617) 868-4582. Ronald Feldman conducts the Berkshire Courses & workshops in Art, Crafts, Symphony in Grieg's Holberg Suite and Crock- Design, Media & Performing Arts, Art History ett's Still Life with Bell on a program also & Art Education. featuring winners of the Berkshire Symphony Student Soloist and Composer Competition on International Studios in London, Greece, Saturday, February 29, at 8 p.m. at Chapin Italy and Mexico. Hall at Williams College. General admission is August Studios for High School Students

Program of Continuing Education 621 Huntington Avenue, Boston, MA 021 15 Call 617/232-1555 for brochure SEIJI OZAWA

Now in his nineteenth year as music director of the Boston Symphony Orchestra, Seiji Ozawa was named the BSO's thirteenth music director in 1973, following a year as mnsic adviser. His many tours with the orchestra in Europe, the Far East, and throughout the have included four visits to Japan (most recently in December 1989, on a tour that also included the orchestra's first concerts in Hong Kong), an eight-city North American tour in the spring of 1991, and a seven- city European tour to Greece, Austria, Germany, France, and England following the 1991 Tangle- wood season. His previous tours with the orchestra have included an historic visit to China in March 1979 for coaching, study, and discussion sessions with Chinese musicians, as well as concert performances, marking the first visit to China by an American performing ensemble following the establishment of diplomatic relations; the orchestra's first tour devoted exclusively to appearances at the major European music festivals, also in 1979; and, to celebrate the orchestra's centennial in 1981, a fourteen-city American tour and an international tour to Japan, France, Ger- many, Austria, and England.

Mr. Ozawa pursues an active international career, appearing regularly with the Berlin Philharmonic, the French National Orchestra, the New Japan Philhar- monic, the , the Philharmonia of London, and the Vienna Phil- harmonic. Recent appearances conducting have included the Paris Opera, , Salzburg, and the Vienna Staatsoper; he has also conducted the Royal Opera at Covent Garden. In addition to his many Boston Symphony recordings, he has recorded with the Berlin Philharmonic, the Chicago Symphony, the London Philharmonic, the Orchestre National, the Orchestre de Paris, the Philharmonia of London, the Saito Kinen Orchestra, the San Francisco Orchestra, and the Toronto Symphony, among others. His recordings appear on the Deutsche Grammophon, EMI/Angel, Erato, Hyperion, New World, Philips, RCA, Sony Classical/CBS Mas- terworks, and Telarc labels.

Born in 1935 in Shenyang, China, to Japanese parents, Seiji Ozawa studied Western music as a child and later graduated with first prizes in composition and conducting from Tokyo's Toho School of Music, where he was a student of Hideo Saito. In 1959 he won first prize at the International Competition of Orchestra Conductors held in Besancon, France, and was invited to Tanglewood by Charles Munch, then music director of the Boston Symphony Orchestra and a judge at the competition. In 1960 he won the Tanglewood Music Center's highest honor, the Koussevitzky Prize for outstanding student conductor.

While a student of Herbert von Karajan in West Berlin, Mr. Ozawa came to the attention of Leonard Bernstein. He accompanied Mr. Bernstein on the 's 1961 tour of Japan and was assistant conductor of that orchestra for the 1961-62 season. Mr. Ozawa made his first professional concert appearance in North America in January 1962, with the San Francisco Symphony. He was music director of the Chicago Symphony Orchestra's for five sum- mers beginning in 1964, music director of the Toronto Symphony from 1965 to 1969, and music director of the San Francisco Symphony from 1970 to 1976, fol- lowed by a year as that orchestra's music adviser. He conducted the Boston Sym- phony Orchestra for the first time in 1964, at Tanglewood, and made his first

8 Symphony Hall appearance with the orchestra in 1968. In 1970 he was named an artistic director of Tanglewood.

Mr. Ozawa holds honorary doctor of music degrees from the University of Mas- sachusetts, the New England Conservatory of Music, and Wheaton College in Norton, Massachusetts. He won an Emmy award for the Boston Symphony Orchestra's "Evening at Symphony" PBS television series.

Mr. Ozawa's compact discs with the Boston Symphony Orchestra include, on Philips, Mahler's First, Second, Fourth, Seventh, and Eighth symphonies, Mah- ler's Kindertotenlieder with Jessye Norman, 's Elektra with Hilde- gard Behrens in the title role, and Schoenberg's Gurrelieder, with Jessye Norman, James McCracken, and Tatiana Troyanos. Recordings on Deutsche Grammophon include Poulenc's Gloria and Stabat mater with Kathleen Battle and the Tangle- wood Festival Chorus; Liszt's two piano concertos and Totentanz with Krystian Zimerman; Prokofiev's complete Romeo and Juliet; Berlioz's Romeo et Juliette and Damnation of Faust; and an album of music by Gabriel Faure. Other recordings by Seiji Ozawa and the Boston Symphony Orchestra include Beethoven's five piano concertos and Choral Fantasy with Rudolf Serkin, on Telarc; and, on Sony Classi- cal/CBS Masterworks, Strauss's Don Quixote with Yo-Yo Ma, Mendelssohn's Vio- lin Concerto with Isaac Stern, and Berlioz's Les Nuits d'ete and Debussy^ s La Damoiselle Slue with Frederica von Stade.

; ;P: 5.f Leo Panasevich Carolyn and George Rowland chair Alfred Schneider Muriel C. Kasdon and Marjorie C Paley chair Raymond Sird Ikuko Mizuno Amnon Levy

Second Violins Marylou Speaker Churchill Fahnestock chair Vyacheslav Music Directorship endowed by Uritsky Charlotte and Irving W. Rabb chair John Moors Cabot Ronald Knudsen Edgar and Shirley Grossman chair BOSTON SYMPHONY Joseph McGauley ORCHESTRA Leonard Moss 1991-92 * Harvey Seigel * Jerome Rosen First Violins * Sheila Fiekowsky Malcolm Lowe Ronan Lefkowitz Concertmaster rjrNancy Charles Munch chair Bracken Tamara Smirnova-Sajfar * Jennie Shames Associate Concertmaster *Aza Raykhtsaum Helen Horner Mclntyre chair $Lucia Lin Max Hobart *Valeria Vilker Kuchment Assistant Concertmaster * Robert L. Beal, and Bonnie Bewick Enid L. and Bruce A. Beal chair *Tatiana Dimitriades Laura Park *James Cooke Assistant Concertmaster *Si-Jing Edward and Bertha C Rose chair Huang Bo Youp Hwang Acting Assistant Concertmaster Violas John and Dorothy Wilson chair, Burton Fine fully funded in perpetuity Charles S. Dana chair Fredy Ostrovsky ^Patricia McCarty Forrest Foster Collier chair Anne Stoneman chair, Gottfried Wilfinger fully funded in perpetuity Dorothy Q. and David B. Arnold, Jr., Ronald Wilkison chair, fully funded in perpetuity Lois and Harlan Anderson chair Robert Barnes

*Participating in a system of rotated seating within each string section %0n sabbatical leave

10 Joseph Pietropaolo Piccolo Trombones Michael Zaretsky Geralyn Coticone Ronald Barron Mare Jeanneret Evelyn and C. Charles Marran chair J. P. and Mary B. Barger chair, *Mark Ludwig fully funded in perpetuity Oboes Norman Bolter * Rachel Fagerburg Alfred Genovese *Edward Gazouleas Mildred B. Remis chair Bass Trombone *Kazuko Matsusaka Wayne Rapier Douglas Yeo Keisuke Wakao Cellos Tuba Jules Eskin English Horn Chester Schmitz Philip R. Allen chair Laurence Thorstenberg Margaret and William C. Rousseau chair Martha Babcock Beranek chair, Vernon and Marion Alden chair fully funded in perpetuity Sato Knudsen Timpani Esther S. and Joseph M. Shapiro chair Clarinets Everett Firth Joel Moerschel Harold Wright Sylvia Shippen Wells chair Sandra and David Bakalar chair Ann S.M. Banks chair *Robert Ripley Thomas Martin Percussion Richard C. and Ellen E. Paine chair, fully funded in perpetuity Arthur Press Luis Leguia Bass Clarinet Assistant Timpanist Peter Andrew Lurie chair Robert Bradford Newman chair Craig Nordstrom Thomas Gauger Carol Procter Farla and Harvey Chet Peter and Anne Brooke chair Lillian and Nathan R. Miller chair Krentzman chair *Ronald Feldman Frank Epstein William Hudgins Charles and JoAnne Dickinson chair Bassoons * Jerome Patterson Richard Svoboda * Miller Jonathan Edward A. Taft chair Harp *Owen Young Roland Small Ann Hobson Pilot Richard Ranti Willona Henderson Sinclair chair Basses Sarah Schuster Ericsson Edwin Barker Contrabassoon Harold D. Hodgkinson chair Richard Plaster Lawrence Wolfe Helen Rand Thayer chair Maria Nistazos Stata chair, fully funded in perpetuity Joseph Hearne Horns Assistant Leith Family chair Charles Kavalovski Conductors Bela Wurtzler Helen Sagoff Slosberg chair Grant Llewellyn John Salkowski Richard Sebring Robert Spano *Robert Olson Margaret Andersen Congleton chair Daniel Katzen * James Orleans Personnel Managers Elizabeth B. Storer chair Lynn Larsen *Todd Seeber Jay Wadenpfuhl Harry Shapiro *John Stovall Richard Mackey Jonathan Menkis Librarians Flutes Marshall Burlingame Trumpets William Shisler Walter Piston chair Charles Schlueter James Harper Leone Buyse Roger Louis Voisin chair Acting Principal Flute Peter Chapman Stage Manager Ford H. Cooper Marian Gray Lewis chair chair Position endowed by Fenwick Smith Timothy Morrison Angelica Lloyd Clagett Myra and Robert Kraft chair Thomas Rolfs Alfred Robison

11 Principals of the Boston Symphony Orchestra, with Gilbert Kalish, pianist JORDAN HALL at the NEW ENGLAND CONSERVATORY

SUNDAY, MARCH 1, AT 3PM

HAYDN Trio in G for flute, violin, and cello, Op. 100

MOZART Quartet in E-flat for piano, violin, viola, and cello K.493

KIRCHNER Trio for violin, cello, and piano

STRAVINSKY 'L'Histoire du soldat' (concert suite)

Ticket prices: $16.50, $12.50, $9.50 Visit the Symphony Hall Box Office or call SymphonyCharge at (617) 266-1200, 10am - 6pm, Monday through Saturday

Tickets are also available at the Jordan Hall Box Office (617) 536-2412

Good seats are still available.

12 A BRIEF HISTORY OF THE BOSTON SYMPHONY ORCHESTRA

Now in its 111th season, the Boston Symphony Orchestra gave its inaugural concert on October 22, 1881, and has continued to uphold the vision of its founder, the phi- lanthropist, Civil War veteran, and amateur musician Henry Lee Higginson, for more than a century. Under the leadership of Seiji Ozawa, its music director since 1973, the Boston Symphony Orchestra has performed throughout the United States, as well as in Europe, Japan, Hong Kong, and China, and it reaches audiences numbering in the millions through its performances on radio, television, and recordings. It plays an active role in commissioning new works from today's most important composers; its summer season at Tanglewood is regarded as one of the most important music festi- vals in the world; it helps to develop the audience of the future through the BSO Youth Concerts and through a variety of outreach programs involving the entire Bos-

ton community; and, during the Tanglewood season, it sponsors one of the world's most important training grounds for young composers, conductors, instrumentalists, and vocalists, the Tanglewood Music Center, which celebrated its fiftieth anniversary in 1990. The orchestra's virtuosity is reflected in the concert and recording activities of the Boston Symphony Chamber Players — the world's only permanent chamber ensemble made up of a major symphony orchestra's principal players — and the activi- ties of the Boston Pops Orchestra have established an international standard for the performance of lighter kinds of music. Overall, the mission of the Boston Symphony Orchestra is to foster and maintain an organization dedicated to the making of music consonant with the highest aspirations of musical art, creating performances and pro- viding educational and training programs at the highest level of excellence. This is accomplished with the continued support of its audiences, governmental assistance on both the federal and local levels, and through the generosity of many foundations, businesses, and individuals. Henry Lee Higginson dreamed of founding a great and permanent orchestra in his home town of Boston for many years before that vision approached reality in the spring of 1881. The following October, the first Boston Symphony Orchestra concert was given under the direction of conductor Georg Henschel, who would remain as music director until 1884. For nearly twenty years Boston Symphony concerts were held in the Old Boston Music Hall; Symphony Hall, the orchestra's present home, and one of the world's most highly regarded concert halls, was opened in 1900. Hen- schel was succeeded by a series of German-born and -trained conductors— Wilhelm Gericke, Arthur Nikisch, Emil Paur, and Max Fiedler — culminating in the appoint- ment of the legendary Karl Muck, who served two tenures as music director, 1906-08

The first photograph, actually a collage, of the Boston Symphony Orchestra under Georg Henschel, taken 1882

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14 .

and 1912-18. Meanwhile, in July 1885, the musicians of the Boston Symphony had given their first '"Promenade" concert, offering both music and refreshments, and ful- filling- Major Higginson's wish to give "concerts of a lighter kind of music." These concerts, soon to be given in the springtime and renamed first "Popular" and then "Pops," fast became a tradition. In 1915 the orchestra made its first transcontinental trip, playing thirteen concerts at the Panama-Pacific Exposition in San Francisco. Recording, begun with RCA in 1917, continued with increasing frequency, as did radio broadcasts. In 1918 Henri Rabaud was engaged as conductor; he was succeeded a year later by Pierre Monteux. These appointments marked the beginning of a French-oriented tradition that would be maintained, even during the Russian-born Serge Koussevitzky's time, with the employment of many French-trained musicians. The Koussevitzky era began in 1924. His extraordinary musicianship and electric personality proved so enduring that he served an unprecedented term of twenty-five years. Regular radio broadcasts of Boston Symphony Orchestra concerts began during Koussevitzky's years as music director. In 1936 Koussevitzky led the orchestra's first concerts in the Berkshires; a year later he and the players took up annual summer residence at Tanglewood. Koussevitzky passionately shared Major Higginson's dream of "a good honest school for musicians," and in 1940 that dream was realized with the founding of the Berkshire Music Center (now called the Tanglewood Music Center) In 1929 the free Esplanade concerts on the Charles River in Boston were inaugu- rated by Arthur Fiedler, who had been a member of the orchestra since 1915 and who in 1930 became the eighteenth conductor of the Boston Pops, a post he would hold for half a century, to be succeeded by John Williams in 1980. The Boston Pops Orchestra celebrated its hundredth birthday in 1985 under Mr. Williams's baton. Charles Munch followed Koussevitzky as music director in 1949. Munch continued Koussevitzky's practice of supporting contemporary composers and introduced much music from the French repertory to this country. During his tenure the orchestra toured abroad for the first time and its continuing series of Youth Concerts was initi- ated. Erich Leinsdorf began his seven-year term as music director in 1962. Leinsdorf presented numerous premieres, restored many forgotten and neglected works to the repertory, and, like his two predecessors, made many recordings for RCA; in addition, many concerts were televised under his direction. Leinsdorf was also an energetic director of the Tanglewood Music Center, and under his leadership a full-tuition fel- lowship program was established. Also during these years, in 1964, the Boston Sym- phony Chamber Players were founded. William Steinberg succeeded Leinsdorf in 1969. He conducted a number of American and world premieres, made recordings for Deutsche Grammophon and RCA, appeared regularly on television, led the 1971 European tour, and directed concerts on the east coast, in the south, and in the mid- west. Seiji Ozawa, an artistic director of the Tanglewood Festival since 1970, became the orchestra's thirteenth music director in the fall of 1973, following a year as music adviser. Now in his nineteenth year as music director, Mr. Ozawa has continued to solidify the orchestra's reputation at home and abroad. He has also reaffirmed the orchestra's commitment to new music, through a series of centennial commissions marking the orchestra's 100th birthday, a series of works celebrating the fiftieth anni- versary of Tanglewood Music Center, and a recent series of commissions from com- posers including Henri Dutilleux, Lukas Foss, Alexander Goehr, John Harbison, Hans Werner Henze, and Yehudi Wyner. Under his direction the orchestra has also expanded its recording activities to include releases oh the Philips, Telarc, Sony Clas- sical/CBS Masterworks, EMI/Angel, Hyperion, New World, and Erato labels. Today the Boston Symphony Orchestra, Inc., presents more than 250 concerts annually. It is an ensemble that has richly fulfilled Henry Lee Higginson's vision of a great and permanent orchestra in Boston.

15 References furnished on request

Armenta Adams David Korevaar American Ballet Theatre Garah Landes Michael Barrett Michael Lankester John Bayless Elyane Laussade Leonard Bernstein Marian McPartland William Bolcom John Nauman Jorge Bolet Seiji Ozawa Boston Pops Orchestra Boston Symphony Alexander Peskanov Chamber Players Andre Previn Boston Symphony Steve Reich Orchestra Santiago Rodriguez Boston University School George Shearing of Music Bright Sheng Brooklyn Philharmonic Leonard Shure Dave Brubeck Abbey Simon Aaron Copland Stephen Sondheim John Corigliano Herbert Stessin Phyllis Curtin Tanglewood Music Rian de Waal Center Michael Feinstein Nelita True Lukas Foss Craig Urquhart Philip Glass Earl Wild Karl Haas John Williams John F. Kennedy Center Yehudi Wyner for Performing Arts and 200 others BALDWIN OF BOSTON

98 Boylston, Boston, MA 02116, (617) 482-2525

16 BOSTON SYMPHONY ORCHESTRA

Seiji Ozawa, Music Director Grant Llewellyn and Robert Spano, Assistant Conductors One Hundred and Eleventh Season, 1991-92

Thursday, February 13, at 8 Saturday, February 15, at 8 Tuesday, February 18, at 8

SEIJI OZAWA conducting

VERDI Mass for four solo voices, chorus, and orchestra, in memory of Alessandro Manzoni

Requiem and Kyrie Dies irae Dies irae Rex tremendae Tuba mirum Recordare Mors stupebit Ingemisco Liber scriptus Confutatis Quid sum miser Lacrimosa Offertorio (Domine Jesu Christe) Sanctus Agnus Dei Lux aeterna Libera me

JESSYE NORMAN, soprano AGNES BALTSA, mezzo-soprano LUIS LIMA, tenor ROBERTO SCANDIUZZI, bass TANGLEWOOD FESTIVAL CHORUS, JOHN OLIVER, conductor

These performances of the Verdi Requiem are being recorded by Philips for future release on compact disc and audio cassette. Your cooperation in keeping noise in the Hall at a minimum is sincerely appreciated.

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Please be sure the electronic signal on your watch or pager is switched off during the concert.

17 Week 15 Without You, This Is The Whole Picture,

This year, there is a $10.4 million difference educational and youth programs, and to attract between what the BSO will earn — and what the world's finest musicians and guest artists. we must spend to make our music. Make your generous gift to the Annual Your gift to the Boston Symphony Annual Fund — and become a Friend of the Boston Fund will help us make up that difference. Symphony Orchestra today. Because without It will help us continue to fund outreach, you, the picture begins to fade. r n Yes, I want to keep great music alive.

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begin at $50.) Enclosed is my check for $ payable to the Boston Symphony Annual Fund.

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18 BOSTON SYMPHONY ORCHESTRA

Seiji Ozawa, Music Director One Hundred and Eleventh Season, 1991-92

Thursday, February 13, at 8 Saturday, February 15, at 8 Tuesday, February 18, at 8

We are fortunate to have Deborah Voigt as the soprano soloist in these performances of the Verdi Requiem, replacing Jessye Norman, who is indisposed.

Deborah Voigt

Recipient this month of the prestigious Richard Tucker Award, American soprano Deborah Voigt made her Boston Symphony debut this past December in performances of Mozart's Requiem under Seiji Ozawa's direction. She made her debut in October 1991 as Amelia in Verdi's Un hallo in maschera and sings the role of Chrysothemis in a new Met production of Elektra next month.

Next season at the Met she is scheduled to sing the title role in a new production of Strauss's Ariadne aufNaxos, the role in which she won critical acclaim with Boston Lyric Opera last season. In July 1990 Ms. Voigt was the gold medal winner in the Tchaikovsky Competition in Moscow; segments of the competition featuring Ms. Voigt appeared on Soviet television and in this country on ABC's "Good Morning America" and NBC's "Sunday Today." By this time she had also won first prize in the Verdi Competition in Busseto, Italy, in the summer of 1989, and first prize in the Rosa Ponselle Competition, which had not declared a first-prize winner in several years. Ms. Voigt's 1990 season also included a return to as Amelia in Ballo, a concert performance of Die Walkure with and the Dutch Radio Orchestra, Agathe in Der Freischiitz with Eve Queler and the Opera Orchestra of New York, concert performances and a recording of Mahler's Symphony No. 8 with and the Atlanta Symphony, and her Met company debut singing Ballo in the parks. Other engagements during 1991-92 include performances as Elettra in

Idomeneo at Finnish National Opera, concert performances of La Wally and // piccolo Marat with Netherlands Radio, and the Verdi Requiem with Leonard Slatkin and the Saint Louis Symphony. Ms. Voigt's New York debut was as soloist in a performance of Verdi's Requiem She has also been soloist in Bach's St. John Passion, the Vivaldi and Poulenc Glorias, Handel's Messiah, Mozart's Requiem, the Brahms German Requiem, Shostakovich's Symphony No. 14, and Beethoven's Ninth Symphony. A graduate of San Francisco Opera's Merola Program and an Adler Fellow, Ms. Voigt has appeared in numerous San Francisco Opera productions; she also sang Donna Anna in on tour with the Western Opera Theater and appeared in the San Francisco Opera Center's productions of Hindemith's The Long Christmas Dinner and Rorem's Three Sisters Who Are Not Sisters. Ms. Voigt's numerous honors have included the Metropolitan Opera National Concert Auditions, the Luciano Pa varotti /Opera Company of Philadelphia International Vocal Competition, the Schwabacher Memorial Award, the National Association of Teachers of Singing Competition, and career grants from New York's Opera Index and the Richard Tucker Music Foundation.

Week 15

1 I^B

Giuseppe Verdi Requiem Mass for four solo voices, chorus, and orchestra, in memory of Alessandro Manzoni

Giuseppe Verdi was born in he Roncole, near Bus- seto in the Duchy of Parma, on October 10, 1813, and died in Milan on January 27, 1901. He com- posed the bulk of the Requiem in 1874. The first performance took place in the church of San Marco in Milan on May 22, 1874, with the composer con- ducting. Portions of the work were first heard in the United States in a performance by the choir of St. Ann's Church, New York, under the direction of Louis Dachauer, on October 25, 1874. The full work received its American premiere at the New York

| Academy of Music just a few weeks later, on Novem-

f ber 1 7, with the members of the Strakosch Italian Opera, Company. After portions of the Requiem had 1 been sung in various Boston churches, the first com- plete performance here was given by the Handel and Haydn Society under the direction of Carl Zerrahn on May 5, 1878. Not until December 17, 1954, did the Boston Sym- phony undertake the work; Guido Cantelli conducted, with soloists Herva Nelli, Clara- mae Turner, Eugene Conley, and Nicola Moscona, and the New England Conservatory Chorus, Lorna Cooke deVaron. William Steinberg led the orchestra's only other Sym- phony Hall performances, in March 1973, with Martina Arroyo, Lili Chookasian, Carlo Cossutta, and Robert Hale, also with the New England Conservatory Chorus. All other BSO performances took place at Tanglewood, including two conducted by Erich Leins- dorf (1964, 1967), one by Mstislav Rostropovich (1975), and three by Seiji Ozawa (1973, 1981, and 1987). All performances since Ozawa's in 1973 have included the Tan- glewood Festival Chorus, John Oliver, conductor. The soloists for those performances included sopranos Liucine Amara, Martina Arroyo, Lou Ann Wyckoff, Galina Vish- nevskaya, Mirella Freni, and Susan Dunn; mezzo-sopranos Lili Chookasian, Tatiana Troyanos, Maureen Forrester, and Shirley Verrett; tenors George Shirley, Michele Molese, Seth McCoy, Ermanno Mauro, and Vinson Cole; and basses Ezio Flagello, Nico- lai Ghiaurov, and . The score calls for soprano, alto, tenor, and bass solo- ists, mixed chorus, two flutes and piccolo, two oboes, two clarinets, four bassoons, four horns, four trumpets, four more trumpets offstage, three trombones, tuba (replacing the obsolete ophicleide), timpani, bass drum, and strings.

Few Americans know the name Alessandro Manzoni, and fewer still are familiar with his great historical novel, I promessi sposi ("The Betrothed"). To music lovers the name rings a bell only as the dedicatee of Verdi's "Manzoni Requiem." But to Italians, Manzoni is one of the great central figures of their literary culture; indeed, until very recently (and perhaps even today) it was impossible to obtain admission to an Italian university without passing an examination that included essay questions on two required topics: Dante's Divine Comedy and Manzoni's novel. In Milan, the novel- ist's home town, a popular epigram reflected the local view of the two major features of the city:

Un tempio ed un uomo,

Manzoni ed il Duomo. (A temple and a man, Manzoni and the cathedral.)

And to Giuseppe Verdi, Manzoni was a personal hero. As early as 1840 he set the poet's Ode R cinque maggio ("The Fifth of May"), a poetic treatment of Napoleon's

19 Week 15 death, and some choruses from Manzoni's poetic tragedies, though he never published them. By this time he also knew the novel, Manzoni's major work, which had appeared in 1827, though its definitive revision was not published until 1842.* Verdi admired Manzoni both as an artist and as a man. The novelist's morbid shyness was interpreted by the composer as a dislike of personal publicity and self-promotion, qualities of which Verdi himself totally approved. But Verdi respected Manzoni's pri- vacy as much as he wished his own to be respected, and though he and Manzoni had a close friend in common, the Countess Clarina Maffei, he never dared ask for an introduction, even after his wife, Giuseppina Strepponi, had met Manzoni through the good offices of the Countess while on a visit to Milan and had carried away with her a photograph of the great man inscribed "to Giuseppe Verdi, a glory of Italy, from a decrepit Lombard writer." Verdi framed the photo and hung it in his bedroom, and there, unable to thank Manzoni directly, asked the Countess to tender his gratitude, enclosing a photograph of himself with the inscription, "I esteem and admire you as

*Manzoni's work is a vast historical novel on the grand scale, set in Milan and surrounding regions in the seventeenth century. Inspired in its architecture by the historical novels of Wal-

ter Scott, it easily surpasses any of them in scope, individual characterization, feeling for the

forces of history, and beauty of language. Indeed, it is the last point as much as any of the oth- ers that endeared the novel to nineteenth-century Italians, for Manzoni successfully created a beautiful, flexible, direct Italian (or, rather, Tuscan) prose that showed the way out of the bizarre Baroque adornments and decorations of so much earlier writing in the vernacular and

helped to unify the country linguistically just as it was about to be unified politically. Of course,

readers lacking Italian will not be able to appreciate this aspect of the novel directly, but it is worth reading nonetheless for all of its other fine qualities. It is available in paperback in a brilliant English translation by Bruce Penman (Penguin books). To Italians, Manzoni's one

novel is the equivalent of our Scott, Thackeray, and Dickens rolled into a single book.

Alessandro Manzoni

20 "

much as one can esteem and admire anyone on this earth, both as man and a true honor of our country so continually troubled. You are a saint, Don Alessandro!"

Finally, in the spring of 1868, Verdi visited Milan for the first time in twenty years and through the mediation of the Countess had his one and only visit with his idol. He wrote to her afterwards to express his thanks, asking rhetorically:

What can I say of Manzoni? How to describe the extraordinary, indefinable sen- sation the presence of that saint, as you call him, produced in me. I would have gone down on my knee before him if we were allowed to worship men. They say it is wrong to do so and so it may be; although we raise up on altars many that have neither the talent nor the virtue of Manzoni and indeed are rascals.

In making his visit to Manzoni, Verdi had now met both of the two men that he con- sidered to be Italy's greatest cultural glory— the other being Rossini, whom he had known in Paris.

The connection in Verdi's mind is an important one for the history of the Manzoni Requiem. Rossini died in Paris on September 13, 1868, and Verdi's sense of loss for Italy's cultural life was keen. He noted bitterly in a letter to Countess Maffei that when "the other" glory of Italy (Manzoni) was also no more, all that would remain would be politicians and humiliating defeats in battle. He conceived at once a plan to honor the memory of Rossini by inviting the leading Italian composers to contribute to a special Requiem Mass to be performed just once, on the first anniversary of the composer's death, in Bologna, Rossini's "musical home," after which the score would be sealed up in the archives, to be brought out only at some future time as an occa- sional tribute. No one would be paid for either the composition or the performance. At first the idea was received enthusiastically. The sections of the Requiem were assigned

S///.VS'///

c ceo tnfi%ni&

A note from Manzoni to Verdi: "To Verdi/[engraved] Alessandro Manzoni/an insignificant echo of his public admiration for the great master and his fortunate personal acquaintance with the noble and lovable qualities of the man.

21 Week 15 PHILIPS

22 to composers drawn by lot (though Verdi was diplomatically assigned the closing sec- tion, the Libera me). It is perhaps worth noting that not one of the other composers, famous though they were in their own day, is remembered now — Buzzolla, Bazzini,

Pedro tti, Cagnoni, F. Ricci, Nini, Coccia, Gaspari, Platania, Petrella, and Mabellini. Verdi had his portion of the score ready in good time, but the scheduled performance never came off owing to difficulties in arranging for performers — especially a chorus — at the right time and place. Finally the whole affair was given up as a public fiasco, and each composer received his section of the score back. (A recent recording of the "Mass for Rossini," however, demonstrates that the idea was no bad one, and if the performance had taken place, it would have been a worthy tribute to the master from Pesaro.)

Nearly four years after the contretemps of the "Rossini Requiem" Alessandro Man- zoni died at the age of eighty-nine, on May 22, 1873. The next day Verdi wrote to his publisher Giulio Ricordi:

I am profoundly saddened by the death of our Great Man! But I shall not come to Milan, for I would not have the heart to attend his funeral. I will come soon to visit his grave, alone and unseen, and perhaps (after further reflection, after hav- ing weighed my strength) to propose something to honor his memory. Keep this secret and do not say a word about my coming, for it is so painful to hear the newspapers speak of me, and to make me say and do what I do not say and do.

Verdi had learned from the earlier incident not to begin with a public announcement and not to rely any more than absolutely necessary on the good will of others. This time he wrote on June 3 to Ricordi:

I would also like to demonstrate what affection and veneration I bore and bear that Great Man who is no more, and whom Milan has so worthily honored. I would like to compose a Mass for the dead to be performed next year for the anni- versary of his death. The Mass would have rather vast dimensions, and besides a

big orchestra and a big Chorus, it would also require (I cannot be specific now) four or five principal singers. Do you think the City [of Milan] would assume the expense of the performance? The copying of the music I would have done at my expense, and I myself would conduct the performance both at the rehearsals and

in church. If you believe this possible speak of it to the Mayor; give me an answer as soon as you can, for you can consider this letter of mine as binding.

The response was enthusiastic, and Verdi set to work. After a visit to Milan, where he knelt by the recent grave, he went on to Paris for the summer and began work on the composition, continuing it in Busseto in the fall and in Genoa during the winter. On February 28, 1874, he wrote to Camille Du Locle, who had been his librettist for and had provided French translations for some of his other :

I am working on my Mass, and it really is with great pleasure. I feel as if I had become a serious man, and am no longer the public's clown who with a great bass

drum . . . shouts: "Come on in, step right up, etc." You will understand that on hearing operas mentioned now, my conscience is scandalized and I quickly make the Sign of the Cross!! What do you have say to that!

Verdi spared no pains to assure himself that the soloists, chorus, and orchestra were ready for the premiere, which took place in Milan's Church of St. Mark's on the anniversary of Manzoni's death and was repeated three times in La Scala in the fol- lowing days. The soloists included Teresa Stolz and Maria Waldmann, who had been the original and Amneris in the first Italian production of Verdi's most recent opera. The event was a success in every way, reflecting honor on Manzoni, Verdi, the performers, and the city of Milan. The only sour note came from complaints that Verdi had not composed ecclesiastical music, that he had, in fact, composed an oper- atic score to a Latin text. It is true enough that Verdi's music does not meet the for-

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24 mal requirements for the musical style and performing forces usually thought of as "church music," but after all, he did not write the work for ecclesiastical perfor- mances, but rather as a grand public tribute. Quite aside from the musical "inappro- priateness" for church use is the fact that Verdi introduced a number of textual repetitions — especially of the Dies irae section — to function as a musical refrain; thus the significance of the changes is artistic rather than ecclesiastical.

It has become conventional to reiterate the bon mot that the Requiem is "Verdi's greatest opera," a phrase bearing implicitly the hint of criticism that it shouldn't be operatic at all, though why this should be so is never made clear. Verdi's wife, Giuseppina Strepponi, brought her own good sense to bear in a defense of the score:

I say that a man like Verdi must write like Verdi — that is, according to his own way of feeling and interpreting the text... The religious spirit and the way in which it finds expression must bear the imprint of its time and the individuality of its author.

Certainly many scenes in Verdi's operas had dealt with questions of life or death and the emotions that are aroused by these fundamental facts. Indeed, where could an opera composer hope to find a text that raises the ultimate questions with greater dramatic force than in Thomas of Celano's twelfth-century poem, Dies irae, the heart

WSm/HIsm f ¥^\

Verdi (center) with the soloists from the premiere of the Requiem, all of whom had sung in the La Scala premiere of "Aida" two years earlier

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G f -UM:.T if ''itr-A'.'C IN BOSTON'S BACK BAY of the Requiem Mass? Most of the negative criticism of this dramatic treatment of the score arises from a review of sorts printed by Hans von Billow after the first per- formance. I call it a review "of sorts" because von Biilow was in Milan to hear a per- formance of Glinka's Life for the Tsar, which was a fiasco, and carefully avoided attending any of the four performances of Verdi's Requiem before penning these com- ments, written out of a combination of ignorance, Germanic prejudice, and personal arrogance:

With this work the all-powerful despoiler of Italian artistic taste — and ruler of the taste he has despoiled— presumably hopes to eliminate the last remains, irk-

some to his own ambition, of Rossini's immortality . . . For more than a quarter- century this of the larynx has been exerting himself —with total success — to ensure that Rossini operas such as Tell, Barbiere, Semiramide and Mose are simply no longer playable in Italy. His latest opera in ecclesiastical dress will, after the first token obeisance to the memory of the poet, be straight-

way exposed to secular enthusiasm at La Scala for three evenings, after which it will set off for Paris, with the soloists he has trained up himself, for its corona- tion in the aesthetic Rome of the Italians. Surreptitious glances at this newest

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28 manifestation of the composer of Trovatore and Traviata have not exactly whet-

ted our appetite for this so-called "Festival" . . . and so on, with increasingly bitter invective. The fuss was enough to convince another highly Teutonic musician to study the score himself, and when he did, Johannes Brahms commented, "Billow has blundered, since this could be done only by a genius."

The Requiem quickly became so popular in Italy that Verdi had to ask his pub- lisher to take steps to protect the integrity of the work by prohibiting performances in unauthorized arrangements. The composer himself undertook one revision before allowing the Requiem out of his hands: he rewrote the Liber scriptus entirely. It had originally been a four-part choral fugue; recast as a mezzo-soprano solo, it provided much more striking dramatic contrast and a better connection with the sudden return of the Dies irae that follows directly.

Although he was composing a piece that would be performed outside of the theater, Verdi approached the text of the Requiem Mass exactly as he approached any operatic libretto he had ever set: with a careful reading and numerous re-readings to draw out the passages of the most powerful expressive quality, to find the "parola scenica" the word or phrase that would unleash his dramatic imagination. This is particularly true of the sequence Dies irae and its many sub-sections, where an individual word or phrase sometimes becomes the hinge of an entire lengthy passage: the trumpets spreading their call throughout all the earth, the chilling and stupefying confrontation

First performance of the Verdi Requiem

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We can hear recollections of the orchestration of Aida, Verdi's most recently fin- ished opera, and the flexible and highly personal treatment of chromaticism is found in all of Verdi's late works. But there are connections to opera that are more than stylistic in this score; there is actually an operatic quotation as well, though that fact was not known until very recently. When Verdi's Don Carlos reached its dress rehearsals at the Paris Opera in March 1867, the five-act grand opera was discovered to be too long by a good quarter of an hour: performances had to end in time for patrons to catch the last trains to the suburbs. As a result Verdi was forced to cut some twenty minutes of prime music from the score. It was long believed that the music was totally lost, since the pages in question had been slit right out of the auto- graph score, and presumably destroyed. But in the 1960s and 1970s a great deal of scholarly attention came to Don Carlos, one result of which was Andrew Porter's dis-

covery that the library of the Opera still retained the original manuscript parts used on opening night and that in these parts the cuts were not physically removed: the pages involved were simply sewn together. It has therefore been possible to copy the parts into score and to reconstruct the lost scenes, which have now even made their way into performance and onto a recording. The biggest surprise to come out of this reconstruction occurred in an excised duet for Carlos and Philip which was strikingly familiar. In fact, Verdi, not willing to let a good piece go to waste, elaborated and

refined that father-son duet from the opera and converted it into one of the most hauntingly beautiful passages of the Requiem, the Lacrimosa.

In sum, Verdi's Manzoni Requiem is more than a tribute to a great author; it encapsulates much of what is characteristic of the Italian spirit. It honors both of Verdi's cultural heroes, Manzoni in its dedication and origin, Rossini in motifs that

recall the earlier composer's Stabat Mater. And it reaffirms Verdi's steadfast belief that, to an Italian composer — especially in the time of Wagner's innovations — orchestral music may be important, but the significance of the voice, of the sung word, remains paramount.

Steven Ledbetter

Text for the Requiem begins on the next page.

*Verdi made the acquaintance of Michelangelo's in Florence and found that master's masculine

sculpture greatly to his taste; it would be tempting to connect the frightful vision of the Dies irae with Michelangelo's "Last Judgment" in the Sistine Chapel, but that gigantic fresco was not open for public viewing in those days, especially not to someone who, like Verdi, was con- nected with the government of the united Italy that had taken the temporal power away from the Papacy.

31 Week 15 Requiem and Kyrie

Quartet and Chorus

Requiem aeternam dona eis, Grant them eternal rest, Do-mine; et lux perpetua luceat eis. Lord; and let perpetual light shine upon them.

Te deeet hymnus Deus in Sion; A hymn to Thee, God, is fitting in Sion; et tibi reddetur votum in and a vow to Thee shall be paid in Jerusalem: Jerusalem: exaudi orationem meam; hear my prayer; ad te omnis caro veniet. to Thee all flesh shall come. Kyrie eleison. Lord, have mercy upon us. Christe eleison. Christ, have mercy upon us. Kyrie eleison. Lord, have mercy upon us.

Dies irae

Chorus

Dies irae, dies ilia The day of wrath, that day Solvet saeclum in favilla, the world will dissolve in ash, Teste David cum Sibylla. as David prophesied with the Sibyl.

Quantus tremor est futurus, What great terror there will be Quando Judex est venturus, when the Judge shall have come Cuncta stricte discussurus. to thresh out everything thoroughly.

Tuba mirum spargens sonum The trumpet, spreading a wondrous sound Per sepulchra regionum, through the tombs of all lands, Coget omnes ante thronum. will gather everyone before the throne.

Bass

Mors stupebit et natura, Death and nature will be stunned Cum resurget creatura, when creation rises again Judicanti responsura. to respond to the Judge.

Mezzo-soprano and Chorus

Liber scriptus proferetur, A written book will be brought forth In quo totum continetur, in which is contained everything Unde mundus judicetur, for which the world will be judged.

Judex ergo cum sedebit, Thus when the Judge takes his seat Quidquid latet, apparebit: whatever was hidden shall appear, Nil inultum remanebit. nothing shall remain unpunished.

Soprano, Mezzo-soprano, Tenor, and Chorus

Dies irae, dies ilia The day of wrath, that day Solvet saeclum in favilla, the world will dissolve in ash, Teste David cum Sibylla. as David prophesied with the Sibyl.

Quid sum miser tunc dicturus, What shall I, wretch, say then? Quern patronum rogaturus, to whom may I turn as protector Cum vix Justus sit securus? when even the righteous are scarcely safe?

32 Solo Quartet and Chorus Rex tremendae majestatis, King of fearful majesty, Qui salvandos salvas gratis, who freely saves the redeemed, Salva me, fons pietatis. save me, Fount of Pity.

Soprano and Mezzo-soprano

Eecordare, Jesu pie, Recall, merciful Jesus, Quod sum causa tuae viae, that I was the reason for Thy journey: Ne me perdas ilia die. do not destroy me on that day.

Quarens me, sedisti lassus, Seeking me, Thou didst sit down weary, Redemisti crucem passus: Thou didst redeem me, having endured the cross: Tantus labor non sit cassus. let not such great pains have been vain.

Juste Judex ultionis, Just Judge of punishment, Donum fac remissionis give me the gift of redemption Ante diem rationis. before the day of reckoning.

Tenor

Ingemisco tanquam reus, I groan like a guilty man, Culpa rubet vultus meus, my face blushes with my fault; Supplicanti parce, Deus. spare the suppliant, O God.

Qui Mariam absolvisti, Thou who didst absolve Mary [Magdalen], Et latronem exaudisti, and hear the prayer of the thief, Mihi quoque spem dedisti. hast given hope to me also.

Preces meae non sunt dignae; My prayers are not worthy, Sed tu bonus fac benigne, but thou, good one, show mercy, Ne perenni cremer igne. lest I burn in everlasting fire.

Inter oves locum praesta, Give me a place among the sheep, Et ab haedis me sequestra, and separate me from the goats, Statuens in parte dextra. placing me on Thy right hand.

Bass and Chorus Confutatis maledictis, When the damned are confounded Flammis acribus addictis, and given over to biting flames, Voca me cum benedictis. call me with the blessed.

Oro supplex et acclinis, I pray, a suppliant on my knees, Cor contritum quasi cinis: my heart as contrite as ashes: Gere curam mei finis. take into Thy care my ending.

Dies irae, etc. The day of wrath, etc.

Solo Quartet and Chorus

Lacrimosa dies ilia, That day is filled with tears Qua resurget ex favilla on which the guilty shall rise again Judicandus homo reus. from ashes to be judged.

Huic ergo parce, Deus, Therefore spare this one, God, Pie Jesu Domine, merciful Lord Jesus. Dona eis requiem. Amen. Grant them rest. Amen.

Please turn the page quietly, and only after the music has stopped.

33 Week 15 Offertorium

Solo Quartet

Domine Jesu Christe, Rex Lord Jesus Christ, King gloriae, libera animas omnium of Glory, deliver the souls of all the fidelium defunctorum de poenis faithful departed from the pains inferni, et de profundo lacu; of hell and from the deep pit: libera eas de ore leonis, deliver them from the mouth of the lion, ne absorbeat eas Tartarus, that Tartarus may not swallow them up, ne cadant in obscurum; and they may not fall into darkness, sed signifer sanctus Michael but may the holy standard-bearer repraesentet eas in lucem sanctam. Michael bring them into the holy light; Quam olim Abrahae promisisti, as Thou didst promise of old to Abraham et semini ejus. and to his seed.

Hostias et preces tibi, We offer Thee, O Lord, Domine, laudis offerimus; sacrifices and prayers of praise: tu suscipe pro animabus illis, receive them on behalf of those souls quarum hodie memoriam facimus; whom we commemorate this day. fac eas, Domine, de morte Grant them, Lord, transire ad vitam. to pass from death to life Quam olim Abrahae promisisti, as Thou didst promise of old to Abraham et semini ejus. and to his seed.

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34

I Sanctus

Double Chorus Sanctus, sanetus, sanetus, Holy, holy, holy, Dominus Deus Sabaoth. Lord God of Sabaoth. Pleni sunt coeli et terra gloria tua. Heaven and earth are full of Thy glory. Hosanna in excelsis. Hosanna in the highest. Benedictus qui venit in nomine Blessed is he who cometh in the name Domini. of the Lord. Hosanna in excelsis. Hosanna in the highest.

Agnus Dei

Soprano, Mezzo-soprano, and Chorus

Agnus Dei qui tollis Lamb of God, that takest away peceata mundi, dona eis requiem. the sins of the world: grant them rest. Agnus Dei qui tollis Lamb of God, that takest away peceata mundi, dona eis requiem. the sins of the world: grant them rest. Agnus Dei qui tollis Lamb of God, that takest away peceata mundi, dona eis requiem the sins of the world: grant them sempiternam. eternal rest.

Communio

Mezzo-soprano, Tenor, and Bass

Lux aeterna luceat eis Domine, Let everlasting light shine on them, cum Sanctis tuis in aeternum: Lord, with Thy saints for ever; quia pius es. for Thou art merciful. Requiem aeternam dona eis Domine Grant them eternal rest, Lord, et lux perpetua luceat eis and let everlasting light shine cum Sanctis tuis in aeternum, upon them with Thy saints for ever; quia pius es. for Thou art merciful. Libera me

Soprano and Chorus Libera me, Domine, de morte Deliver me, Lord, from death aeterna in die ilia tremenda, eternal on that awful day quando coeli movendi sunt et when the heavens and earth shall be terra, dum veneris judieare moved: when Thou shalt come to judge saeculum per ignem. the world by fire. Tremens factus sum ego, I am seized with trembling, et timeo, dum discussio and I fear the time when the trial venerit atque ventura ira, shall approach, and the wrath to come: quando coeli movendi sunt et terra. when the heavens and the earth shall be moved. Dies irae, dies ilia A day of wrath, that day calamitatis et miseriae, of calamity and woe, dies magna et amara valde. a great day and bitter indeed.

Requiem aeternam dona eis, Domine , et Rest eternal grant them, Lord, and lux perpetua luceat eis. may light perpetual shine upon them.

Libera me, etc. Deliver me, Lord, etc.

35 Week 15 More About Books . . .

The Verdi revival of recent years has brought with it a fine series of books that make the latest research accessible to the general reader. The best source of information on Verdi's work is the magnificent three-volume study The Operas of Verdi by Julian Budden (Oxford), which deals with the creation of each of his operatic works, their libretto and sources, and the music itself in a way that will not be surpassed for a long time to come. Budden has also written a new one-volume life-and-works survey, Verdi, for the Master Musicians series, an excellent compact account (Vintage paper- back). A collection of varied and interesting essays on general topics related to Verdi's work, plus an annotated Verdi bibliography and a calendar of events in the composer's life, will be found in The Verdi Companion, edited by William Weaver and Martin Chusid (Norton). William Weaver's Verdi, A Documentary Study is large enough and beautiful enough to be a coffee-table book, but it is much more valuable than most volumes that fall into that category (Thames & Hudson, distributed by Norton). In addition to a rich selection of illustrations, Weaver provides a narrative thread con- structed of original documents — letters, memoirs, reviews, and the like — in transla- tion; it is both elegant and useful. 's Verdi: His Music, Life, and Times (out of print) is a straight biography that is particularly useful for its rich cultural and political background. Andrew Porter's informative Verdi article from The New Grove has been reprinted in The New Grove Masters of Italian Opera: Rossini, Bellini, Donizetti, Verdi, Puccini (Norton paperback). -S.L.

More About Records

Philips is recording the Verdi Requiem live at these performances. Meanwhile, a stag- gering assortment of Verdi Requiems on disc — all taking two CDs, unless otherwise noted — confronts anyone scanning the relevant page of the current catalogue, posing a quandary for both the stereophile and the historically-minded. Such relatively recent recordings as Robert Shaw's, with Susan Dunn, Diane Curry, Jerry Hadley, Paul Plishka, and the Atlanta Symphony Orchestra and Chorus (Telarc), and Riccardo

Tanglewood Festival Chorus AUDITIONS

1992 Summer Season at Tanglewood

The Tanglewood Festival Chorus, John Oliver, conductor, has openings in all sections for its 1992 summer season with the Boston Symphony Orchestra at Tanglewood. Among the works to be performed with the Boston Symphony Orchestra under Music Director Seiji Ozawa are Orff's Carmina burana and Prokofiev's Alexander Nevsky (with the film). In addition, Walton's Belshazzar's Feast will be performed with guest conductor Roger Norrington, and Debussy's Nocturnes with Charles Dutoit. There will also be a Friday-evening Weekend Prelude program of choral works by Tallis and Schiitz under the direction of John Oliver.

Auditions will be held on Friday, March 6, at 5:30 p.m. at Symphony Hall, 301 Massachusetts Avenue, Boston. Please call (617) 638-9310 for further information or to schedule an audition.

36 Muti's less good one, with Cheryl Studer, Dolora Zajick, Luciano Pavarotti, Samuel Ramey, and the La Scala Orchestra and Chorus (Angel), vie with important stereo accounts, some of them decades-old, from the likes of— alphabetically by conductor — Carlo Maria Giulini, with Elisabeth Schwarzkopf, Christa Ludwig, Nicolai Gedda, Nicolai Ghiaurov, and the Philharmonia Orchestra and Chorus (EMI, with Verdi's Four Sacred Pieces as a bonus, and not to be confused with Giulini's more recent account for DG); Fritz Reiner, with Leontyne Price, Rosalind Elias, Jussi Bjorling, Giorgio Tozzi, the Vienna Philharmonic, and the Vienna Singverein (London); and , with , Marilyn Home, Luciano Pavarotti, Martti Talvela, the Vienna Philharmonic, and the Chorus (London). Another "commercial" recording, not yet reissued on CD but worth watching for, is a perform- ance with Igor Markevitch leading the Moscow Philharmonic, with Galina Vish- nevskaya, Nina Isakova, Vladimir Ivanovsky, and Ivan Petrov (once on Philips LPs).

Then there are two monaural recordings that simply transcend the label "histor- ical": 's, with Herva Nelli, Fedora Barbieri, Giuseppe Di Stefano, Cesare Siepi, the NBC Symphony, and the Robert Shaw Chorale (yes, the same Robert Shaw named above), drawn from the rehearsals for and performance of January 27, 1953, in Carnegie Hall, now in newly refurbished, full-bodied sound (RCA Gold Seal, with Verdi's Te Deum, the Hymn of the Nations, the chorus "Va, pensiero" from , and the aria "Quando le sere al placido" from with tenor ); and TuUio Serafin's time-honored 1939 account with Maria Caniglia, Ebe Stignani, Beniamino , Ezio Pinza, and the Rome Opera Orchestra and Chorus (Angel Studio, on one disc). Further, collectors not bothered by the lim- ited broadcast-quality sound of the period know that Toscanini's "live" 1940 account, also with the NBC Symphony, but with Zinka Milanov, Bruna Castagna, Jussi Bjor- ling, Nicola Moscona, and the Westminster Choir, is regarded by some as the greatest recording of this music that we have (in a three-disc Melodram set, with Toscanini's equally celebrated 1940 NBC account of Beethoven's Missa Solemnis, with Milanov, Castagna, Bjorling, and Alexander Kipnis; or on Music & Arts, two discs, with Verdi's Te Deum, from the same 1940 Carnegie concert as the Requiem). Then for the truly curious — and this really is just for collectors, though the sound is reasonably accept- able insofar as transfers of old 78s are concerned — there's Carlo Sabajno's 1934 La Scala recording with Maria Luisa Fanelli, Irene Minghini-Cattaneo, Franco Lo Giudice, and Ezio Pinza (on a single Pearl CD, or in a twelve-disc Rodolphe box with other vintage Scala performances, among them complete recordings of Aida, , Rigoletto, R trovatore, and Leoncavallo's I ).

And this is to omit any mention of the various "live" performances (once referred to as "pirated") that show up on various imported, mostly Italian, labels, and that allow you to hear a wide variety of famous — and not — singers and conductors in sound ranging from reasonably acceptable broadcast quality to much worse. Worth mentioning among these are Guido CanteUi's 1955 New York Philharmonic perform- ance with Herva Nelli, Claramae Turner, Richard Tucker, and Jerome Hines (on a single AS Disc) and Herbert von Karajan's 1967 La Scala performance with Leon- tyne Price, Fiorenza Cossotto, Luciano Pavarotti, and Nicolai Ghiaurov (Verona or Claque CDs; apparently also available on laserdisc, at least in Europe). — Marc Mandel

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38

J s

Jessye Norman Jessye Norman regularly appears with the world's most prestigious orchestras, opera companies, and in recital. In September 1990 she opened Chicago Lyric Opera's season in Robert Wilson's production of Gluck's Alceste; that December she appeared at the Tchaikovsky 150th Anniversary Gala in Leningrad, and presented a special Christmas concert at Notre Dame Cathedral in Paris, both of which have since been televised. In the spring of 1991 Ms. Norman sang her first Kundry, in a new Metropolitan Opera production of Wagner's Parsifal, and returned to Carnegie Hall as a participant in its 100th Anniversary Gala and in the first orchestral concert given there by the Metropolitan Opera Orchestra, James Levine conducting. In May 1991 she performed at the White House on the occasion of Her Majesty Queen Elizabeth II' visit to the United States. In the spring of 1990, Ms. Norman joined Kathleen Battle, James Levine, and members of the Metropolitan Opera Orchestra and Chorus in a gala concert of spirituals at Carnegie Hall, subsequently issued on both compact disc and video- cassette. She also returned to the Met as Sieglinde in Wagner's Die Walkure, a production telecast on PBS as part of the company's complete Ring cycle. Next season she returns to the Met for Wagner's Ring and a new production of Ariadne auf Naocos. Born in Augusta, Georgia, Jessye Norman began her professional life as a member of the Deutsche Oper, Berlin, making her debut in December 1969 as Elisabeth in Tannhduser, her first appear- ance on the operatic stage. In addition to her many recital and concert appearances, including her Boston Symphony debut in 1972, she has sung a widely varied operatic repertoire at La Scala, the Teatro Comunale in Florence, London's Royal Opera House, , the Vienna and Hamburg State Operas, the Opera Company of Philadelphia, the Aix-en-Provence Festival, and the Metropolitan Opera, where her debut in Berlioz's Les Troyens opened the company's centennial season in 1983. Ms. Norman has received many prestigious awards and distinctions, including numerous honorary doctorates, the French Legion d'Honneur, and the 1990 Albert Einstein College of Medicine Annual Achievement Award; in June 1990 she was named Honorary Ambassador to the United Nations by U.N. Secretary Xavier Perez de Cuellar. Ms. Norman's recordings have won numerous awards; apart from her long-standing association with Philips, which recently released her Fidelio, she has recorded for EMI/Angel, CBS Masterworks, Decca, Deutsche Grammo- phon, and Erato. Her recordings with Seiji Ozawa and the Boston Symphony Orchestra include Mahler's Kindertotenlieder and Schoenberg's Gurrelieder.

Agnes Baltsa Mezzo-soprano Agnes Baltsa studied at the Academy of Music in Athens and then in on a Maria Callas Scholarship; she was a prizewinner at the Georg Enescu Competition in Bucharest. Fol- lowing her debut in Frankfurt as Cherubino, she appeared in such important European opera houses as those of Vienna, Berlin, La Scala, Covent Garden, Munich, Hamburg, and Paris. She soon became one of the world's most acclaimed mezzo-sopranos, appear- ing as Octavian in , the Composer in Ariadne auf ***, Naxos, Romeo in / Capuleti e i Montecchi, Dorabella in Cost fan tutte, Rosina in R barbiere di Siviglia, Angelina in La Cenerentola, Eboli in Don Carlo, Giulietta in Les Contes d 'Hoffmann, Adalgisa in Norma, Sextus in La clemenza di Tito, and the title role of , a role in which she has been particularly acclaimed throughout the world. Ms. Baltsa made her Salzburg Festival debut in Mozart's Bastien und Bastienne and went on to appear there in numerous productions under Her- bert von Karajan and as Dorabella under Riccardo Muti. She made her United States debut as Carmen in Houston, followed by a guest appearance as Dorabella with the Deutsche Oper, Berlin, in Washington, D.C., and then her Metropolitan Opera debut in 1979 as Octavian. She has since appeared regularly at the Met and with . Besides numerous concerts in Europe and the United States with such conductors as Karajan, Bohm, Bernstein, and Muti, she has toured Japan with the opera companies

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40 of Vienna, Covent Garden, and La Scala. In 1980 Ms. Baltsa was named a Kammersan- gerin at the Vienna Staatsoper; other honors have included the Prix du Prestige Lyrique from the French Minister of Culture and Vienna's "Golden Needle of Honor." In recent years she has taken on such additional roles as Dalila in Samson et Dalila, Elisabetta in Maria Stuarda, Charlotte in Werther, Isabella in L'italiana in Algeri, the title role in Massenet's Therese, and Santuzza in . Recent career highlights have included a new production of Don Carlo with in Vienna, Samson et Dalila with Domingo in Chicago and Vienna, Carmen with Carreras in Vienna, concerts in Tokyo and Osaka, Cavalleria rusticana and L'italiana in Algeri in Munich, gala concerts with Carreras, and a tour of Austria and Germany performing Greek songs. This season, in addition to her BSO debut in the Verdi Requiem, she will sing in the Opening Ceremonies of the 1992 Olympic Games in Barcelona. For the opening of the 1992 Munich Festival she will sing Carmen in a new production with Giuseppe Sinopoli at the .

Luis Lima Luis Lima's international career has encompassed triumphs at the Metropolitan Opera, the Munich State Opera, the Royal Opera at Covent Garden, the Paris Opera, Milan's La Scala, the Vienna Staatsoper, and the opera companies of Hamburg, Frankfurt, * r KfH A Bonn, Strasbourg, Barcelona, Geneva, Caracas, Montreal, San Francisco, Chicago, San Diego, Houston, and Washington, D.C. Highlights of his 1991-92 season include performances of La m boheme with Mirella Freni, Cavalleria rusticana with Agnes Baltsa,

Jg m A M I, and his Boston Symphony debut performing Verdi's Requiem under B|J[ I Seiji Ozawa's direction, to b< j recorded by Philips. Mr. Lima is also scheduled to make a new recording of Don Carlo for the Philips label. In 1992-93 he will open the Houston Grand Opera season with Offenbach's Tales of Hoffmann and return to the Metropolitan Opera in La boheme. Born in Argentina, Mr. Lima studied voice with Carlo Guichandut in and in Italy. His first operatic engagement was as Pinkerton in Lisbon, followed by appearances there as Turiddu in Cavalleria rusti- cana. His success in these roles led to engagements in Mainz, Stuttgart, Munich, Paris, and Barcelona, where he sang the leading role in Donizetti's . It was in that role that he made his American debut opposite Montserrat Caballe at Carnegie Hall in 1976, in a performance recorded by CBS Records. He bowed with that same season, in and La traviata; subsequent appearances included La boheme, Carmen, Rigoletto, Les Contes d'Hoffmann, and R trovatore. Mr. Lima also appears frequently with San Francisco Opera, London's Royal Opera, and the Munich State Opera. He is making his Boston Symphony debut with these performances of the Verdi Requiem.

Roberto Scandiuzzi Bass Roberto Scandiuzzi made his La scala debut in May 1982, in Mozart's Le nozze di Figaro under Riccardo Muti's direction. This was followed by engagements at Covent Garden, the Paris Opera, Munich, Hamburg, Geneva, Amsterdam, Barcelona, Venice, Turin, Naples, and Bologna, with such conductors as Sinopoli, Pretre, Bartoletti, Patane, and Ferro. More recently he has sung Verdi's King Philip in Don Carlo at Turin's Teatro Regio; Zaccaria in Nabucco at the San Carlo in Naples, at the Arena di Verona, and in Toulon; Fiesco in at Venice's La Fenice and in Bilbao; and performances of the Verdi Requiem in Frankfurt, Stuttgart, and Bonn. Other recent engagements include his debut as Sarastro in Die Zauberflote in Bologna, and recordings of Rossini's Tancredi for Frequenz and Franchetti's Cristoforo Colombo for Capriccio. Mr. Scandiuzzi's 1991-92 calendar includes Fiesco at Covent Garden under Sir Georg Solti; performances of the Verdi Requiem under Carlo Maria Giulini in Paris, Sir Colin Davis in Munich, in Los Angeles, and, for 41 his Boston Symphony debut, Seiji Ozawa in Boston, to be recorded by Philips. Other recordings include Ramfis in Aida under Mehta for Philips, Giorgio in / puritani under Mehta for Sony Classical, and Banquo in and Zaccaria in Nabucco for Capriccio. Also this season he sings Rossini's Stabat Mater with Riccardo Muti and the Philadelphia Orchestra and Padre Guardiano in at the Vienna Staatsoper, in Naples, and at the Maggio Musicale in Florence. Future engagements include debuts with the opera companies of San Francisco and Houston; performances as Philip in Don Carlo at La Scala under Muti and in Vienna under Abbado, as well as a recording for Sony under ; and a recording for Capriccio in the title role of Boito's Mefistofele. Other roles in which Mr. Scandiuzzi has appeared include Silva in Ernani, Oroveso in Norma, Rodolfo in La sonnambula, Baldassare in Lafavorita, Timur in , Raimondo in Lucia di Lammermoor, and Marat in Lorenzo Ferrero's Carlotta Corday, a role composed especially for him; Scandiuzzi' s association with Ferrero has also included roles in Lafiglia del mago, Mare nostro, and Salvatore Giuliano. Roberto Scandiuzzi was born in Maserada sul Piave, a district of Treviso in Italy. He studies with Professor Anna Maria Bicciato.

Tanglewood Festival Chorus John Oliver, Conductor

The Tanglewood Festival Chorus was organized in the spring of 1970, when founding conductor John Oliver became director of vocal and choral activities at the Tanglewood Music Center; the chorus celebrated its twentieth anniversary in April 1990. Co-sponsored by the Tanglewood Music Center and Boston Univer- sity, and originally formed for performances at the Boston Sym- phony Orchestra's summer home, the chorus was soon playing a major role in the BSO's Symphony Hall season as well. Now the official chorus of the Boston Symphony Orchestra, the Tanglewood Festival Chorus is made up of members who donate their services, performing in Boston, New York, and at Tanglewood, working with Music Director Seiji Ozawa, John Williams and the Boston Pops, and such prominent guest conductors as Ber- nard Haitink, Roger Norrington, and Simon Rattle. The chorus has also collaborated with Seiji Ozawa and the Boston Symphony Orchestra on numerous recordings, beginning with Berlioz's The Damnation of Faust for Deutsche Grammophon, a 1975 Grammy nominee for Best Choral Performance. An album of a cappella twentieth-century American music recorded at the invitation of Deutsche Grammophon was a 1979 Grammy nominee. Recordings with Seiji Ozawa and the Boston Symphony Orchestra currently available on compact disc include Strauss's Elektra, Mahler's Second and Eighth symphonies, and Schoenberg's Gurrelieder, on Philips; Beethoven's Choral Fantasy with Rudolf Serkin, on Telarc; Poulenc's Gloria and Stabat mater with Kathleen Battle, on Deutsche Grammo- phon; and Debussy's La Damoiselle elue with Frederica von Stade, on CBS Masterworks. The chorus's most recent release, on Philips, is Ravel's Daphnis et Chloe, with the Boston Symphony Orchestra under Bernard Haitink's direction. They may also be heard on the Philips album "We Wish You a Merry Christmas" with John Williams and the Boston Pops Orchestra. In June 1989 the Tanglewood Festival Chorus helped close a month-long International Choral Festival based in Toronto, performing music by Tallis, Ives, Brahms, and Gabrieli under John Oliver's direction and participating in the festival's closing per- formance, the Verdi Requiem with the Toronto Symphony under the direction of Charles Dutoit.

In addition to his work with the Tanglewood Festival Chorus, John Oliver is conductor of the MIT Chamber Chorus and MIT Concert Choir, a senior lecturer in music at MIT, and conductor of the John Oliver Chorale, which he founded in 1977. Mr. Oliver made his Boston Symphony conducting debut at Tanglewood in 1985.

42 Tanglewood Festival Chorus John Oliver, Conductor

Sopranos Paula Polkman Edward J. Kiradjieff Dorrie A. Freedman Daniel A. O'Brien Annette Anfinrud Jennifer L. French Michael K. Patrick Ingrid Bartinique David R. Pickett Deborah Bennett Irene Gilbride Toni Gustus Jeffrey Alani Stanfill Joanne Colella Boag Donna Hewitt-Didham Don Sturdy Sara Brannen Diane Hoffman Spence Wright Susan Cavalieri Evelyn Eshleman Kern Carl Zahn Mary Chin Deborah Kreuze Bonita Ciambotti Dorothy W. Love Basses Lorenzee Cole April Merriam Patricia Cox Peter T. Anderson Lou Ann David Sheryl L. Monkelien Eddie Andrews Roslyn Pedlar Sara Dorfman Daniel Beller-McKenna Susan Quinn Pierce Christine P. Duquette John Cavallaro Jenny Saffran Ann M. Dwelley Kirk Chao Ada Park Snider Nancy Ann Palco Mel Conway Julie Steinhilber Martha R. Golub James W. Courtemanche Karen Thomas Lillian M. Grayton Edward E. Dahl Judith Tierney Cheri E. Hancock John Delia Vecchia Constance L. Turnburke Amy G. Harris Jay Gregory Christina Lillian Wallace Catherine Hatfield David F. Harrison Eileen Lois Hearn West David K. Kim Sue Wilcox Lisa Heisterkamp John Knowles Kristen Hughes Bruce Kozuma Tenors Holly MacEwen Krafka Andrew Krikawa Nancy Kurtz Edward Ajhar Timothy Lanagan Maria Jane Loizou Brad W. Amidon Lee Leach Barbara MacDonald Antone Aquino Andris Levensteins H. Diane Norris John C. Barr Paul M. Lincoln Fumiko Ohara Richard A. Bissell David K Lones Charlotte C. Russell Kenneth I. Blum Greg Macusi-Ungaro Genevieve Schmidt William A. Bridges, Jr. Rene Miville Pamela Schweppe Kenneth R. Burger John W. Norton S. Lynn Shane Andrew 0. Crain Stephen H. Owades Joan Pernice Sherman Wayne N. Curtis Donald R. Peck Deborah L. Speer Reginald Didham Dennis M. Pereira Sarah J. Telford Brian S. Dilg Carl R. Petersheim Jennifer Wehr J. Todd Fernandez Michael J. Prichard Bailey Katherine Whiteman Kent Montgomery French Andrei Roudenko Michael P. Gallagher Vladimir Roudenko Mezzo-sopranos J. Stephen Groff Paul Sanner Karen E. Atwood David M. Halloran Karl Schoellkopf Rachel Baker Dean Armstrong Hanson Frank R. Sherman Debra A. Basile George W. Harper Timothy Shetler Maisy Bennett James Haungs Peter S. Strickland Betty B. Blume David Mack Henderson Paul R. Tessier Nancy Brockway James Hepp N. Charles Thomas Sharon Carter John Hickman Brad Turner Barbara Clemens Richard P. Howell Thomas C. Wang Ethel Crawford Stanley Hudson Terry L. Ward Diane Droste Lance P. Jackson Peter Wender Barbara Naidich Ehrmann James R. Kauffman

Virginia S. Hecker, Manager Shiela Kibbe, Rehearsal Pianist 43 BSO Corporate Sponsorships (25,000 and above

The Boston Symphony Orchestra wishes to acknowledge this distinguished group of corporations for their outstanding and exemplary support of the Orchestra during the 1991 fiscal year.

Digital Equipment Corporation Boston Pops Orchestra Public Television Broadcasts

NEC Boston Symphony Orchestra North American Tour Boston Symphony Orchestra European Tour

MCI Boston Pops Esplanade Orchestra Summer Tour

Northwest Airlines Holiday Pops Series

NYNEX Corporation WCVB-TV, Channel 5 Boston and WCRB 102.5 FM Salute to Symphony

The Boston Company Opening Night At Symphony

Lexus Opening Night at Pops Tanglewood Opening Night

TDK Electronics Corporation Tanglewood Tickets for Children

Country Curtains and The Red Lion Inn BSO Single Concert Sponsor

For information on these and other corporate funding opportunities, contact Madelyne Cuddeback, BSO Director of Corporate Sponsorships, Symphony Hall, Boston, MA 02115, (617) 638-9254.

44

wt: BUSINESSyi A* 1991 -92 Business Honor Roll for ^^\| ffBSg) $10,000 and above

Advanced Management Associates Dynatech Corporation Harvey Chet Krentzman J.P. Barger

Analog Devices, Inc. Eastern Enterprises Ray Stata J. Atwood Ives

Arnold Fortuna Lane EG&G, Inc. Ed Eskandarian John M. Kucharski Ernst Young Arthur Andersen & Co. & William F. Meagher Thomas P. McDermott AT&T Filene's Joseph M. Melvin Bank of Boston First Winthrop Corporation Ira Stepanian Arthur J. Halleran, Jr. Barter Connections Four Seasons Hotel Kenneth C. Barron Robin A. Brown BayBanks, Inc. General Cinema Corporation William M. Crozier, Jr. Richard A. Smith

Bingham, Dana & Gould General Electric Plastics Joseph Hunt Glen H. Hiner

Bolt Beranek & Newman The Gillette Company Stephen R. Levy Alfred M. Zeien, Jr.

The Boston Company Grafacon, Inc. John Laird H. Wayman Rogers, Jr.

Boston Edison Company Greater Boston Hotel Association Bernard W. Reznicek Francois-L. Nivaud The Boston Globe GTE Corporation William 0. Taylor James L. Johnson

Boston Herald Hill, Holliday, Connors, Cosmopulos, Inc. Patrick J. Purcell Jack Connors, Jr.

Cahners Publishing Company The Henley Group Robert L. Krakoff Paul M. Montrone

Connell Limited Partnership Hewlett Packard Company William F. Connell Ben L. Holmes

Coopers & Lybrand Houghton Mifflin Company William K. O'Brien Nader F. Darehshori

Country Curtains IBM Corporation Jane P. Fitzpatrick Paul J. Palmer

Deloitte & Touche John Hancock Mutual Life Insurance Company James T. McBride E. James Morton

Digital Equipment Corporation Lawner Reingold Britton & Partners Kenneth G. Olsen Michael H. Reingold

45 1991-92 Business Honor Roll (continued)

Lexus PaineWebber, Inc. J. Davis Illingworth James F. Cleary

Liberty Mutual Insurance Group People Magazine Gary L. Countryman Peter S. Krieger Loomis-Sayles & Company, Inc. KPMG Peat Marwick Charles J. Finlayson Robert D. Happ Lotus Development Corporation Raytheon Company Jim P. Manzi Dennis Picard MCI Jonathan Crane The Red Lion Inn John H. Fitzpatrick McKinsey & Company Robert P. O'Block Shawmut Bank, N.A. John P. Hamill Millipore Corporation John A. Gilmartin State Street Bank & Trust Company NEC Corporation William S. Edgerly Tadahiro Sekimoto The Stop & Shop Foundation The New England Avram Goldberg Edward E. Phillips TDK Electronics Corporation New England Telephone Company Takashi Tsujii Paul C. O'Brien Thomas H. Lee Company Northern Telecom, Inc. Thomas H. Lee Brian Davis

Northwest Airlines WCRB-102.5 FM Terry M. Leo Richard L. Kaye

Nynex Corporation WCVB-TV, Channel 5 Boston William C. Ferguson S. James Coppersmith

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BUSINESS AND PROFESSIONAL LEADERSHIP ASSOCIATION The Boston Symphony Orchestra gratefully acknowledges these Business Leaders for their generous and valuable support of $1,500 or more during the past fiscal year. Names which are capitalized denote Business Honor Roll leadership support of $10,000 or more. A treble

clef ($) denotes support of $5,000-$9,999. An eighth-note symbol (}) indicates support of $2,500-$4,999.

Accountants LEXUS CSC Index, Inc. J. Davis Illingworth David G. Robinson ARTHUR ANDERSEN & CO. Cordel Associates, Inc. William F. Meagher Banking James B. Hangstefer J1 Charles E. DiPesa & Company BANK OF BOSTON •^Corporate Decisions William F. DiPesa Ira Stepanian David J. Morrison COOPERS & LYBRAND BAYBANKS, INC. Fairfield Financial Holdings William K. O'Brien | William M. Crozier, Jr. John F. Farrell, Jr. DELOITTE & TOUCHE Boston Bancorp The Forum Corporation James T. McBride Richard Laine John W. Humphrey ERNST & YOUNG THE BOSTON COMPANY •^General Electric Consulting P. McDermott Thomas John Laird James J. Harrigan KPMG PEAT MARWICK Chase Manhattan Corporation Jjrma Strategic Marketing Robert D. Happ Mann Brooks Sullivan Irma Mann Stearns ^Theodore S. Samet Company & •^Eastern Corporate Federal J. Peter Lyons Companies Theodore S. Samet Credit Union J. Peter Lyons Tofias, Fleishman, Jane M. Sansone |Lochridge & Company, Inc. Shapiro & Co., P.C. SHAWMUT BANK, N.A. Richard K. Lochridge Allan Tofias John P. Hamill Advertising/Public Relations MCKINSEY & COMPANY South Boston Savings Bank Robert P. O'Block ARNOLD FORTUNA LANE Richard Laine •^Prudential Capital Corporation Edward Eskandarian STATE STREET BANK & Allen Weaver

I Cabot Communications TRUST COMPANY | Prudential Securities William I. Monaghan William S. Edgerly Robert Whelan Clark/Linsky Design ^USTrust $Rath & Strong Robert H. Linsky James V. Sidell Dan Ciampa HILL, HOLLIDAY, CONNORS, Wainwright Bank & Trust Company THOMAS H. LEE COMPANY COSMOPULOS, INC. John M. Plukas Thomas H. Lee Jack Jr. Connors, Building/Contracting •^The Wyatt Company Ingalls, Quinn & Johnson Paul R. Daoust Bink Garrison ^Harvey Industries, Inc. Frederick Bigony LAWNER REINGOLD Yankelovich Clancy Shulman BRITTON & PARTNERS Lee Kennedy Co., Inc. Kevin Clancy Lee M. Kennedy Michael H. Reingold Consumer Goods/Food Service New England Insulation Orsatti & Parrish BARTER CONNECTIONS Louis F. Orsatti Theodore H. Brodie Kenneth C. Barron Aerospace •^Perini Corporation Boston Showcase Company David B. Perini | Jason E. Starr $ Northrop Corporation ^Walsh Brothers Kent Kresa Cordel Associates, Inc. James Walsh II Alarm Systems James B. Hangstefer Consulting: Management/ | Creative Gourmets, Ltd. American Alarm & Communications Financial Stephen E. Elmont Richard Sampson Advanced Management Associates Fairwinds Gourmet Coffee Company Antiques/Art Galleries Harvey Chet Krentzman Michael J. Sullivan

• Galerie Mourlot •^Andersen Consulting Co. |Johnson O'Hare Co., Inc. Sarah Hackett and Eric Mourlot William D. Green Harry "Chip" O'Hare, Jr. Automotive |Arthur D. Little, Inc. $0'Donnell-Usen Fisheries Corp. John F. Magee ' ^J.N. Phillips Glass Arnold S. Wolf

Company, Inc. | The Boston Consulting Group Seasoned to Taste Alan L. Rosenfield Jonathan L. Isaacs Tom Brooks 47 Meeting planners who need help with their budgets should go to business school.

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Guzovsky Electrical Corporation High Technology 3i Corporation Edward Guzovsky Geoffrey N. Taylor ANALOG DEVICES, INC. Mass. Electric Construction |Advent International Company Ray Stata Peter A. Brooke Bill Breen Automatic Data Processing /'Barclay's Business Credit Arthur S. Kranseler J^p.h mechanical Corp. Robert E. Flaherty Paul Hayes BBF Corporation /'Bear Stearns & Company, Inc. Boruch B. Frusztajer |R & D Electrical Company, Inc. Keith H. Kretschmer Richard D. Pedone BOLT BERANEK AND BOT Financial Corporation — NEWMAN, INC. Energy/Utilities Bank of Tokyo Stephen R. Levy E.F. McCulloch, Jr. BOSTON EDISON COMPANY | Bull, Worldwide Information Bernard W. Reznicek Carson Limited Partnership Systems Herbert Carver Axel Leblois 1 J Cabot Corporation Samuel W. Bodman | Essex Investment Management Costar Corporation Company, Inc. Otto Morningstar HEC, Inc. Joseph C. McNay, Jr. Consulting, Inc. David S. Dayton $CSC |Farrell, Healer & Company, Inc. Paul J. Crowley J 1 Mobil Oil Richard A. Farrell, Jr. Data General Corporation Richard J. Lawlor | Fidelity Investment Institutional Ronald L. Skates New England Electric System Group Davox Corporation Joan T. Bok John J. Cook, Jr. Daniel Hosage Engineering /'The First Boston Corporation DIGITAL EQUIPMENT Malcom MacColl CORPORATION J'GZA GeoEnvironmental J1 First Security Services Kenneth G. Olsen Technologies, Inc. Robert L. Johnson Donald T. Goldberg DYNATECH CORPORATION /GE Capital Corporate Finance J. P. Barger Stone & Webster Engineering Group Corporation EG&G, INC. Richard A. Goglia Philip Garfinkle John M. Kucharski /Goldman, Sachs & Company ^EMC Corporation Entertainment/Media Martin C. Murrer Richard J. Egan

THE BOSTON GLOBE | Kaufman & Company Helix Technology Corporation William 0. Taylor Sumner Kaufman Robert J. Lepofsky BOSTON HERALD § Kidder, Peabody & Company THE HENLEY GROUP Patrick J. Purcell John G. Higgins Paul M. Montrone

Continental Cablevision |Krupp Companies HEWLETT PACKARD COMPANY Amos Hostetter, Jr. George Krupp Ben L. Holmes GENERAL CINEMA LOOMIS-SAYLES & IBM CORPORATION CORPORATION COMPANY, INC. Paul J. Palmer Richard A. Smith Charles J. Finlayson Instron Corporation Harold Hindman Loews Theatres PAINEWEBBER, INC. A Alan Friedberg James F. Cleary /Jntermetrics Inc. PEOPLE MAGAZINE ^The Putnam Joseph A. Saponaro Peter S. Krieger Management Co., Inc. ^Ionics, Inc. Lawrence J. Lasser WCRB-102.5 FM Arthur L. Goldstein Richard L. Kaye

49 We salute the Boston Symphony Orchestra on their 111th season

WELCH & FORBES

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The Ritz-Carlton, 15 Arlington Street, Boston, MA 02117. For reservations, call 617-536-5700 or 800-241-3333

50 i^IPL Systems, Inc. GREATER BOSTON Sun Life Assurance Company Robert W. Norton HOTEL ASSOCIATION of Canada LOTUS DEVELOPMENT Francois-L. Nivaud David Horn CORPORATION $ITT Sheraton Corporation Jim P. Manzi John W. Herold Legal |M/A-Com, Inc. THE RED LION INN BINGHAM, DANA & GOULD Thomas A. Vanderslice John H. Fitzpatrick Joseph Hunt

Microcom, Inc. ^The Ritz-Carlton Hotel •^Choate, Hall & Stewart James Dow Thomas Egan Robert Gargill

1 MILLIPORE CORPORATION i Sheraton Boston Hotel and Towers Curhan, Kunian, Goshko, John A. Gilmartin Stephen Foster Burwick & Savran

J 1 The Mitre Corporation •^Sonesta International Hotels Stephen T. Kunian

Barry M. Horowitz Corporation Dickerman Law Offices NEC CORPORATION Paul Sonnabend Lola Dickerman Tadahiro Sekimoto $The Westin Hotel, Copley Place § Goldstein & Manello David King o^Orion Research, Inc. Richard J. Snyder Chane Graziano III | Goodwin, Procter and Hoar Insurance |Parlex Corporation Robert B. Fraser Herbert W. Pollack •^American Title Insurance Company •^Hemenway & Barnes ^Polaroid Corporation Terry E. Cook John J. Madden

I. MacAllister Booth •^Arkwright Hubbard & Ferris |Prime Computer, Inc. Enzo Rebula Charles A. Hubbard II John Shields J 1 Joyce & Joyce $ Berkshire Partners ^Printed Circuit Corporation Carl Ferenbach Thomas J. Joyce Peter Sarmanian ^Caddell & Byers J Lynch, Brewer, Hoffman & Sands RAYTHEON COMPANY Paul D. Bertrand Owen B. Lynch Dennis Picard ^Cameron & Colby Co., Inc. $Mintz, Levin, Cohn, Ferris,

| Signal Technology Corporation Lawrence S. Doyle Glovsky & Popeo, P.C. Kenneth J. Novack Dale J. Peterson 1 J Chubb Group of Insurance Cos. SofTech, Inc. John Gillespie Nissenbaum Law Offices Justus Lowe, Jr. Gerald L. Nissenbaum |Frank B. Hall & Co. | Stratus Computer of Massachusetts, Inc. ^Nutter, McClennen & Fish William E. Foster William F. Newell Michael J. Bohnen

i^TASC JOHN HANCOCK MUTUAL | Palmer & Dodge Arthur Gelb LIFE INSURANCE COMPANY Robert E. Sullivan TDK ELECTRONICS E. James Morton Rackemann, Sawyer & Brewster CORPORATION •^Johnson & Higgins of Stephen Carr Anderson Takashi Tsujii Massachusetts, Inc. Sarrouf, Tarricone & Flemming Termiflex Corporation Robert A. Cameron Camille F. Sarrouf William E. Fletcher •^Keystone Provident Life Sherburne, Powers & Needham |Thermo Electron Corporation Insurance Company Daniel Needham Robert G. Sharp George N. Hatsopoulos Wood, Clarkin & Sawyer fWhistler Corp. Lexington Insurance Company William C. Sawyer Charles A. Stott Kevin H. Kelley

Hotels/Restaurants LIBERTY MUTUAL Manufacturer's Representatives INSURANCE GROUP •^Back Bay Hilton Gary L. Countryman «^Ben Mac Enterprises Thomas McAuliffe James A. Daley THE NEW ENGLAND •^Boston Harbor Hotel Edward E. Phillips Kitchen & Kutchin, Inc. James M. Carmody Melvin Kutchin § Safety Insurance Company •^Boston Marriott Copley Place Richard B. Simches Jurgen Giesbert Manufacturing | Sedgwick James of New Christo's Restaurant England, Inc. •^Alles Corporation Christopher Tsaganis P. Joseph McCarthy Stephen S. Berman

FOUR SEASONS HOTEL Sullivan Risk Management Group Allwaste Asbestos Abatement, Inc. Robin A. Brown John H. Sullivan Paul M. Verrochi

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53 Dinner at 6. If you'd like Symphony at 8.

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54 I *'lSrj

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Aw«UlS

The Boston Herald salutes the Boston Symphony Orchestra. Look for our arts coverage in Scene, every Friday in the Herald.

55 NEXT PROGRAM...

Thursday, February 20, at 8 Friday, February 21, at 2 Saturday, February 22, at 8

SEIJI OZAWA conducting'

HAYDN Symphony No. 86 in D Adagio — Allegro Largo Menuetto; Trio Finale: Allegro con spirito

INTERMISSION

dvoMk Symphony No. 9 in E minor, Opus 95, From the New World Adagio— Allegro molto Largo Scherzo: Molto vivace Allegro con fuoco

Single tickets for all Boston Symphony Orchestra concerts throughout the season are available at the Symphony Hall box office, or by calling "Symphony-Charge" at (617) 266-1200, Monday through Saturday from 10 a.m. until 6 p.m., to charge tickets instantly on a major credit card, or to make a reservation and then send payment by check. Please note that there is a $2.00 handling fee for each ticket ordered by phone.

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56 COMING CONCERTS...

INTIMATE AMBIENCE, Thursday, February 20, at 10:30 a.m. Open Rehearsal COMPLIMENTARY BREAKFAST, Steven Ledbetter will discuss the program at 9:30 in Symphony Hall.

REMARKABLE R ATES. Thursday 'C' — February 20, 8-9:45 Friday 'A'—February 21, 2-3:45 Hotel Wales Saturday 'B' —February 22, 8-9:45 SEIJI OZAWA conducting 1295 Madison Avenue HAYDN Symphony No. 86 New York City DVOItAK Symphony No. 9, Prom the New World For reservations: 2121876-6000 or toll-free, 8001428-5252 Thursday 'B' —March 5, 8.10

Friday 'B' — March 6, 2-4 16,410‹,-ouc,--Aajurr7- Saturday 'A'— March 7, 8-10 VLADIMIR ASHKENAZY conducting SCHOENBERG Pellet's and Metisande SIBELIUS Symphony No. 2 CAREY® LIMOUSINE Wednesday, March 11, at 7:30 p.m. Open Rehearsal • CHAUFFEUR DRIVEN SEDANS, VANS AND LIMOUSINES Mare Mandel will discuss the program FOR ALL OCCASIONS at 6:30 in Symphony Hall. • EXECUTIVE SERVICE Thursday 'A'—Mareh 12, 8-9:45 Est. 1924 Friday 'A' —March 13, 2-3:45 Saturday'W—March 14, 8-9:45 623-8700 Tuesday 'C' — March 17, 8-9:45 24 HR. SERVICE/BOSTON AREA YURI TEMIR.ICANOV conducting A&A LIMOUSINE RENTING INC. PROKOFIEV Symphony No. 1, 161 BROADWAY—SOMERVILLE, MA Classical SERVICE IN 300 CITIES • 60 COUNTRIES .6 CONTINENTS STRAVINSKY Palcinella Suite MAJOR CREDIT CARDS ACCEPTED TCHAIKOVSKY Serenade for Strings NATIONWIDE 1-800-336-4646

Thursday 'C' — March 19, 8-9:45 Friday 'IV—March 20, 2-3:45 Saturday 'B'—March 21, 8-9:45 TutivioNT ST • BOSTON • 3.38•s0:70 MAREK JANOWSKI conducting ZOLTAN KOCSIS, piano MESSIAEN Un sOurire BARTOK Piano Concerto No. 1 BEETHOVEN Symphony No. 5

Programs and artists subject to change.

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58 SYMPHONY HALL INFORMATION . . .

FOR SYMPHONY HALL CONCERT AND TICKET INFORMATION, call (617) 266-1492. For Boston Symphony concert program information, call "C-O-N-C-E-R-T" (266-2378).

THE BOSTON SYMPHONY performs ten months a year, in Symphony Hall and at Tan- glewood. For information about any of the orchestra's activities, please call Symphony Hall, or write the Boston Symphony Orchestra, Symphony Hall, Boston, MA 02115.

THE EUNICE S. AND JULIAN COHEN WING, adjacent to Symphony Hall on Huntington Avenue, may be entered by the Symphony Hall West Entrance on Huntington Avenue.

FOR SYMPHONY HALL RENTAL INFORMATION, call (617) 638-9240, or write the Function Manager, Symphony Hall, Boston, MA 02115.

THE BOX OFFICE is open from 10 a.m. until 6 p.m. Monday through Saturday; on con- cert evenings it remains open through intermission for BSO events or just past starting- time for other events. In addition, the box office opens Sunday at 1 p.m. when there is a concert that afternoon or evening. Single tickets for all Boston Symphony subscription con- certs are available at the box office. For outside events at Symphony Hall, tickets are available three weeks before the concert. No phone orders will be accepted for these events.

TO PURCHASE BSO TICKETS: American Express, MasterCard, Visa, a personal check, and cash are accepted at the box office. To charge tickets instantly on a major credit card, or to make a reservation and then send payment by check, call "Symphony-Charge" at (617) 266-1200, Monday through Saturday from 10 a.m. until 6 p.m. There is a handling fee of $2.00 for each ticket ordered by phone.

GROUP SALES: Groups may take advantage of advance ticket sales. For BSO concerts at Symphony Hall, groups of twenty-five or more may reserve tickets by telephone and take advantage of ticket discounts and flexible payment options. To place an order, or for more information, call Group Sales at (617) 638-9345.

LATECOMERS will be seated by the ushers during the first convenient pause in the pro- gram. Those who wish to leave before the end of the concert are asked to do so between program pieces in order not to disturb other patrons.

IN CONSIDERATION of our patrons and artists, children under four will not be admit- ted to Boston Symphony Orchestra concerts.

TICKET RESALE: If for some reason you are unable to attend a Boston Symphony con- cert for which you hold a subscription ticket, you may make your ticket available for resale by calling (617) 266-1492. 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 Seats available for the Friday- afternoon, and Tuesday-, Thursday-, and Saturday-evening Boston Symphony subscription concerts. The low price of these seats is assured through the Morse Rush Seat Fund. The tickets for Rush Seats are sold at $6.00 each, one to a customer, on Fridays as of 9 a.m. and Tuesdays, Thursdays, and Saturdays as of 5 p.m.

SMOKING IS NOT PERMITTED in any part of the Symphony Hall auditorium or in the surrounding corridors; it is permitted only in the Hatch Room and in the main lobby on Massachusetts Avenue. Please note that smoking is no longer permitted in the Cabot- Cahners Room.

CAMERA AND RECORDING EQUIPMENT may not be brought into Symphony Hall during concerts.

WHEELCHAIR ACCESS to Symphony Hall is available via the Cohen Wing, at the West Entrance. Wheelchair-accessible restrooms are located in the main corridor of the West Entrance, and in the first-balcony passage between Symphony Hall and the Cohen Wing.

59 FIRST AID FACILITIES for both men and women are available. On-eall physicians attending concerts should leave their names and seat locations at the switchboard near the Massachusetts Avenue entrance.

PARKING: The Prudential Center Garage offers a discount to any BSO patron with a ticket stub for that evening's performance, courtesy of R.M. Bradley & Co., Inc., and The Prudential Property Company, Inc. There are also two paid parking garages on Westland Avenue near Symphony Hall. Limited street parking is available. As a special benefit, guar- anteed pre-paid parking near Symphony Hall is available to subscribers who attend evening concerts on Tuesday, Thursday, Friday, or Saturday. For more information, call the Sub- scription Office at (617) 266-7575.

ELEVATORS are located outside the Hatch and Cabot-Cahners rooms on the Massachu- setts Avenue side of Symphony Hall, and in the Cohen Wing.

LADIES' ROOMS are located on the orchestra level, audience-left, at the stage end of the hall, on both sides of the first balcony, and in the Cohen Wing.

MEN'S ROOMS are located on the orchestra level, audience-right, outside the Hatch Room near the elevator, on the first-balcony level, audience-left, outside the Cabot-Cahners Room near the coatroom, and in the Cohen Wing.

COATROOMS are located on the orchestra and first-balcony levels, audience-left, outside the Hatch and Cabot-Cahners rooms, and in the Cohen Wing. The BSO is not responsible for personal apparel or other property of patrons.

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

BOSTON SYMPHONY BROADCASTS: Friday-afternoon concerts of the Boston Sym- phony Orchestra are broadcast live by WGBH-FM (Boston 89.7) and by WAMC-FM (Albany 90.3, serving the Tanglewood area); Saturday-evening concerts are broadcast live by WCRB-FM (Boston 102.5). In addition, concerts of the Boston Symphony Orchestra are heard by delayed broadcast in many parts of the United States and Canada, as well as internationally, through the Boston Symphony Transcription Trust.

BSO FRIENDS: The Friends are annual donors to the Boston Symphony Orchestra. Friends receive BSO, the orchestra's newsletter, as well as priority ticket information and other benefits depending on their level of giving. For information, please call the Develop-

ment Office at Symphony Hall weekdays between 9 and 5, (617) 638-9251. If you are already a Friend and you have changed your address, please send your new address with your newsletter label to the Development Office, Symphony Hall, Boston, MA 02115. Including the mailing label will assure a quick and accurate change of address in our files.

BUSINESS FOR BSO: The BSO's Business & Professional Leadership program makes it possible for businesses to participate in the life of the Boston Symphony Orchestra through a variety of original and exciting programs, among them "Presidents at Pops," "A Company Christmas at Pops," and special-event underwriting. Benefits include corporate recognition in the BSO program book, access to the Beranek Room reception lounge, and priority ticket service. For further information, please call the BSO Corporate Develop- ment Office at (617) 638-9270.

THE SYMPHONY SHOP is located in the Cohen Wing at the West Entrance on Hun- tington Avenue and is open Wednesday, Thursday, and Friday from 11 a.m. until 4 p.m., Saturday from 12 p.m. until 6 p.m., and from one hour before each concert through inter- mission. The Symphony Shop features exclusive BSO merchandise, including The Sym- phony Lap Robe, calendars, coffee mugs, posters, and an expanded line of BSO apparel and recordings. The Shop also carries children's books and musical-motif gift items. A selection of Symphony Shop merchandise is also available during concert hours outside the Cabot-Cahners Room. All proceeds benefit the Boston Symphony Orchestra. For further information and telephone orders, please call (617) 638-9383.

60

Sam A TRADITION OF FINANCIAL COUNSEL OLDER THAN THE U.S. DOLLAR. State Street has been providing quality financial service since 1792.

That's two years longer than the dollar has been the official currency of the United States. During that time, we have managed the assets of some of New England's wealthiest families. And provided investment advice and performance tailored to each client's individual goals and needs. Today our Personal Trust Division can extend that service to you. We've been helping people manage their money for almost 200 years. And you can only stay in business that long by offering advice of the highest quality. Let us help you get the highest performance from your assets. To enjoy today and to pass on to future generations. For more information contact Peter Talbot at 617-654-3227. State Street. Known for quality?

State Street Bank and Trust Company, wholly-owned subsidiary of State Street Boston Corporation, 225 Franklin Street, Boston, MA 02101. Offices in Boston, New York, Los Angeles, London, Munich, Brussels, Tokyo, Sydney, Hong Kong. Member FDIC. Copyright State Street Boston Corporation, 1989. ITALIAN PEELED

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