BOSTON Symphony Orchestra

Seiji Ozawa MUSIC DIRECTOR

i

One Hundred Eleventh Season LASSALE THE ART OF

. SEIKO

/

Our 152 Hd year

GROSSING THE E.B. HORN COMPANY 429 WASHINGTON STREET, BOSTON, MA BUDGET TERMS ALL MAJOR CREDIT CARDS ACCEPTED AVAILABLE MAIL OR PHONE ORDERS (6I7) 542-3902 OPEN MON. AND THURS. TIL 7 Seiji Ozawa, 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. CoUier 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, Director of Richard Ortner, Administrator of Personnel Services 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 ©1992 Boston Symphony Orchestra, Inc Cover by Jaycole Advertising, Inc. 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 Rodgers 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 Been 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 William 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

Boston Sr RCHESTRA • THAN. rouRf i

To mark the centennial of the birth of Charles Munch, the Boston Symphony Archives has mounted a display of memorabiha 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. 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 Luciano Pavarotti Boston Symphony Alexander Peskanov Chamber Players Andre Previn Boston Symphony Steve Reich Orchestra Santiago Rodriguez Boston University School George Shearing of Music 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 bookbag (also $15), a BSO mug or t-shirt ($25), a limited-edition "Salute" CD or cas- BSO umbrella or sette ($40), and a BSO golf Boston Pops beach blanket ($60). In addition, Tribute to the Calvert Trust A a contribution of $50 or more will make you a The appearances of Zoltan Kocsis on March Friend of the orchestra, entitling you to a vari- 19, 20, and 21 have been funded in part by ety of benefits. The Calvert Trust Endowment Fund. The Cal- vert Trust was established in 1965 by the late Art Exhibits in the Cabot-Cahners Room Mrs. Ruth Crary Young and named in honor of For the eighteenth year, a variety of Boston- her father, Calvert Crary. Mrs. Young was a area galleries, museums, schools, and non- faithful Friday-afternoon subscriber and dedi- profit artists' organizations are exhibiting their cated Friend of the Boston Symphony Orches- work in the Cabot-Cahners Room on the first- tra during her lifetime. The Fund was created balcony level of Symphony Hall. On display in 1989 to support the appearance of a guest through April 6 is an exhibit celebrating artist each season. "Youth Arts Month." Coordinated by Leslie "Salute to Symphony" Highlights Ann Miller, a member of the Massachusetts Art Educator Association, the exhibit features NYNEX Corporation, WCRB, WCVB, and the more than fifty works by public school students Boston Symphony Association of Volunteers from kindergarten through twelfth grade join forces to celebrate the Boston Symphony across the state. This will be followed by an and Boston Pops Orchestras during "Salute to exhibit of works from the Copley Society of Symphony" weekend, April 10-13. WCRB Boston, the country's oldest nonprofit art asso- 102.5 FM Classical Radio Boston will begin ciation (April 21 -May 18), and landscapes and dedicating on-air time to BSO and Boston seascapes by ten New England artists from Pops performances on April 1. The station will RE:ART in Newton Centre (May 18-June 15). broadcast "Announcers' Choice: Best of the These exhibits are sponsored by the Boston BSO" on Saturday, April 11, at 8 p.m., and Symphony Association of Volunteers, and a will broadcast live from the Symphony Hall portion of each sale benefits the orchestra. Open House the following day. WCRB will also Please contact the Volunteer Office at (617) be on hand on Friday, April 10, as "Salute to 638-9390, for further information. Symphony" begins in style with a kickoff event at South Station from 11 a.m. to 2 p.m. For Suppers at Symphony Hall the fourth consecutive year, NYNEX is spon- soring the Symphony Hall Open House, a day The Boston Symphony Association of Volun- of free activities and performances for the teers is pleased to continue its sponsorship of entire community, to take place on Sunday, the BSO's evening series of pre-concert events. April 12, from 11 a.m. to 4 p.m. This year's "Supper Talks" combine a buffet supper at instrument demonstrations will include music 6:30 p.m. in the Cohen Wing's Higginson Hall synthesizers as well as modern instruments. with an informative talk by a BSO player or Bringing the "Salute" festivities to a close will other distinguished member of the music com- be a live telecast from Symphony Hall on munity. "Supper Concerts" offer a chamber Monday, April 13, on WCVB-TV Channel 5 music performance by members of the Boston from 7:30 to 9 p.m. Hosted by WCVB's Symphony Orchestra in the Cabot-Cahners Natalie Jacobson, Chet Curtis, and Frank Room at 6 p.m., followed by a buffet supper Avruch, the program will feature the BSO served in Higginson Hall. Doors open for all led by Seiji Ozawa and John Williams. Mem- Suppers at 5:30 p.m. for a la carte cocktails bers of the Boston Symphony Association of and conversation. These events are offered on Volunteers will be answering phones in the an individual basis, even to those who are not Cabot-Cahners Room to accept pledges at attending that evening's BSO concert. Speak- (617) 262-8700 or 1-800-325-9400 throughout ers for upcoming Supper Talks include BSO the weekend. Donors to "Salute to Symphony" Assistant Conductor Grant Llewellyn (Thurs- 1992 may choose from a number of exclusive day, March 26), BSO principal second violin

incentive gifts, including a brass keychain in Marylou Speaker Churchill (Tuesday, April 7), the shape of a concert ticket ($15), a child's and BSO viola Mark Ludwig (Thursday, April EXPLORING THE CULTURAL IMPACT OF THE YEARS 1911, 1912, AND 1913

Tuesday, April 7, 10:30 am Friday, April 10, 2:00 pm Open Rehearsal City of Birmingham Boston Symphony Orchestra Symphony Orchestra Seiji Ozawa, conductor Simon Rattle, conductor Gidon Kremer, violin Elise Ross, soprano Tanglewood Festival Chorus, Emanuel Ax, piano John Oliver, conductor Music of Schoenberg, Prokofiev, Music of Ives, Lourie, and Debussy (1912) and Tchaikovsky Tickets: $19.00 - $49.50 Tickets: $5.00 Saturday, April 11, 5:30 pm

Tuesday, April 7, 8:00 pm A musical encounter with Boston Symphony Orchestra Simon Rattle and the City of Seiji Ozawa, conductor Birmingham Symphony Gidon Kremer, violin Orchestra. A discussion including Tanglewood Festival Chorus, musical demonstrations. John Oliver, conductor Tickets: $5.00 (free with a Music of Ives, Lourie, ticket to the 8:00 pm concert) and Tchaikovsky

Tickets: $19.00 - $49.50 Saturday, April 11, 8:00 pm City of Birmingham

Thursday, April 9, 8:00 pm Symphony Orchestra City of Birmingham Simon Rattle, conductor Symphony Orchestra Music of Stravinsky, Debussy, Simon Rattle, conductor and Elgar (1913) Elise Ross, soprano Tickets: $20.00 to $52.50 Robin Buck, baritone Tanglewood Festival Chorus, Tickets are available at the John Oliver, conductor Symphony Hall Box Office, or call Music of Nielsen and Ravel (1911) SymphonyCharge at (617) 266-1200, Tickets: $19.00 - $49.50 10am - 6pm, Mon. - Sat. m m til

16). Upcoming Supper Concerts will feature Classical Orchestra on Wednesday, March 25, music of Judith Weir and Beethoven (Thurs- and Friday, March 27, at 8 p.m. at Old South day, April 2, and Saturday, April 4) and music Meeting House at Downtown Crossing. The of Brahms (Thursday, April 23, and Tuesday, program includes Handel's Water Music Suite, April 28). The suppers are priced at $22 per Leopold Mozart's Concerto for Trombone and person for an individual event, $61 for any Orchestra with BSO principal trombone Ron- three, $82 for any four, or $118 for any six. ald Barron as soloist, Copland's Quiet City, Advance reservations must be made by mail. and Haydn's Symphony No. 100, the Military. For reservations the week of the Supper, Single tickets are $20 and $13 ($4 discount please call SymphonyCharge at (617) 266- for students and seniors). For further informa- 1200. All reservations must be made at least tion, call (617) 426-2387. 48 hours prior to the Supper. There is a $.50 Collage New Music, founded by BSO percus- handling fee for each ticket ordered by tele- sionist Frank Epstein, performs the Boston phone. For further information, please call premieres of Gerald Humel's Wintergeist, John (617) 266-1492, ext. 516. Harbison's The Natural World, and Daniel Lentz's Talk Radio on Monday, March 30, at 8:00 p.m. at Boston University's Tsai Per- BSO Members in Concert formance Center, 685 Commonwealth Avenue, The Boston Artists' Ensemble performs on a program also including Arthur Jarvinen's D'Indy's Trio for clarinet, cello, and piano and Goldbeater's Skin and Yehudi Wyner's Passage. Brahms's Clarinet Trio on Sunday, March 22, John Harbison conducts. Single tickets are $10 at 2:30 p.m. at the Peabody Museum in Salem, ($5 students and seniors). For more informa- and on Friday, March 27, at 8 p.m. in the tion caU (617) 868-4582. Chapel Gallery of the Second Church in New- The New England Trombone Choir at New ton. BSO clarinetist Thomas Martin and pia- England Conservatory, directed by BSO bass nist Randall Hodgkinson join the ensemble's trombone Douglas Yeo, will give its annual founder, BSO cellist Jonathan Miller, for spring concert in Jordan Hall at the Conserva- these concerts. Single tickets are $12 ($10 stu- tory on Monday, March 30, at 8 p.m. The dents and seniors). For more information, call eighteen-member ensemble will present a 400- (617) 527-8662. year retrospective of chorales and hymns for BSO assistant principal cellist Martha trombone, VOX POSAUNENCHOR. Thomas Babcock and BSO violinist Harvey Seigel per- G. Everett, Director of Bands at Harvard Uni- form with pianist Fredrik Wanger as part of a versity, will be guest conductor, and Mr. Yeo "Brahms Birthday Bash" concert on Sunday, will also be soloist with the ensemble in March 22, at 4 p.m. at the All Newton Music Tommy Pederson's Blue Topaz. Also on the School, 321 Chestnut Street in West Newton. program will be music of Frigyes Hidas, Wag- Messrs. Seigel and Wanger perform Brahms's ner, and Hindemith, plus an arrangement by Violin Sonata No. 3 in G; Ms. Babcock and BSO principal trombone Ronald Barron of the Mr. Wanger perform the Cello Sonata No. 2 in final movement of Bach's Brandenburg Con- F major. To conclude the program, these three certo No. 3. Admission is free. performers are joined by Charles and Consuelo Sherba, violinist and violist, for the F minor Ticket Resale piano quintet. Admission is free. BSO violinist Bonnie Bewick performs music If, as a Boston Symphony subscriber, you find of Tartini, Falla, Wieniawski, and Franck in yourself unable to use your subscription ticket, recital with pianist Timothy Steele on Sunday, please make that ticket available for resale by March 22, at 6:30 p.m. as part of the 1992 calling (617) 266-1492. In this way you help Artists Series at the First Presbyterian bring needed revenue to the orchestra and at Church, 270 Franklin Street, in Quincy. the same time make your seat available to Admission is free. For more information, call someone who might otherwise be unable to (617) 773-5575. attend the concert. A mailed receipt will Harry Ellis Dickson conducts the Boston acknowledge your tax-deductible contribution. GIORGIO ARMAM 22 Newbury Street, Boston, (617) 267-3200 SEUI OZAWA

Now in his nineteenth year as music director of the Boston Symphony Orchestra, Seiji Ozawa became the BSO's thir- teenth music director in 1973, after a year as music adviser. His many tours with the orchestra in Europe, the Far East, and throughout the United States have included four visits to Japan, 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. In March 1979 he and the orchestra made an historic visit to China for coaching, study, and discussion sessions with Chinese musicians, as well as concerts, mark- ing the first visit to China by an American performing ensemble following the estab- lishment of diplomatic relations.

Besides his work with the Boston Symphony, Mr. Ozawa appears regularly with the Berlin Philharmonic, the French National Orchestra, the New Japan Philhar- monic, the Orchestre de Paris, the Philharmonia of London, and the Vienna Phil- harmonic. He has conducted opera at the Paris Opera, La Scala, Salzburg, the Vienna Staatsoper, and 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 Sym- phony, and the Toronto Symphony, among others. His recordings appear on the Deutsche Grammophon, EMI/Angel, Erato, Hyperion, New World, Philips, RCA, Sony Classical/CBS Masterworks, 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. Charles Munch, then music director of the Boston Symphony and a judge at the competition, invited him to attend the Tan- glewood Music Center, where he won the Koussevitzky Prize for outstanding stu- dent conductor in 1960. While a student of Herbert von Karajan in West Berlin, Mr. Ozawa came to the attention of Leonard Bernstein, who appointed him assis- tant conductor of that orchestra for the 1961-62 season. He made his first profes- sional concert appearance in North America in January 1962, with the San Fran- cisco Symphony. He was music director of the Chicago Symphony Orchestra's Ravinia Festival for five summers beginning in 1964, music director of the Tor- onto Symphony from 1965 to 1969, and music director of the San Francisco Sym- phony from 1970 to 1976, followed by a year as that orchestra's music adviser. He conducted the Boston Symphony Orchestra for the first time in 1964, at Tan- glewood, and made his first Symphony Hall appearance with the orchestra in 1968. In 1970 he became 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. 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 Uritsky Music Directorship endowed by 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 Charles Munch chair $Nancy Bracken Tamara Smirnova-Sajfar * Jennie Shames Associate Concertmaster *Aza Raykhtsaum Helen Horner Mclntyre chair tLucia 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 tPatricia 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 %On sabbatical leave

10 Joseph Pietropaolo Piccolo Trombones Michael Zaretsky Geralyn Coticone Ronald Barron Marc Jeanneret Evelyn and C Charles Marran chair J.P. and Mary B. Barger chair, *Mark Ludwig fully funded in perpetuity Oboes Norman Bolter *Raehel 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 Babeock Beranek chair, Vernon and Marion Alden chair fully funded in perpetuity Sato Knudsen Timpani Esther 8. 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, E-flat clarinet fully funded in perpetuity Arthur Press Luis Leguia Assistant Timpanist Bass Clarinet Peter Andrew Lurie chair Robert Bradford Newman chair Craig Nordstrom Carol Procter Thomas Gauger Farla and Harvey Chet Peter and Anne Brooke chair Lillian and Nathan R. Miller chair Krentzman chair *Ronald Feldman Frank Epstein Charles William Hudgins and JoAnne Dickinson chair Bassoons * Jerome Patterson Richard Svoboda * Jonathan Miller 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 Lawrence Wolfe Richard Plaster Helen Rand Thayer chair Maria Nistazos Stata chair, fully funded in perpetuity Joseph Hearne Horns Leith Family chair Charles KavalovsM Assistant Conductors Bela Wurtzler Helen Sagojf Slosberg chair Grant Llewellyn John SalkowsM 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 Marian Gray Lewis chair Ford H. Cooper chair Position endowed by Fenwick Smith Timothy Morrison Angelica Lloyd Clagett Myra and Robert Kraft chair Thomas Rolfs Alfred Robison

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12 BOSTON SYMPHONY ORCHESTRA

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

Thursday, March 19, at 8 Friday, March 20, at 2 Saturday, March 21, at 8

MAREK JANOWSKI conducting

MESSIAEN Un Sourire (American premiere) bart6k Piano Concerto No. 1 Allegro moderato Andante — Allegro molto ZOLTAN KOCSIS

INTERMISSION

BEETHOVEN Symphony No. 5 in C minor, Opus 67

Allegro con brio Andante con moto Allegro — Allegro

The appearance of Zoltan Kocsis is funded in part by income from The Calvert Trust Fund.

The evening concerts will end about 9:50 and the afternoon concert about 3:50.

RCA, Deutsche Grammophon, Philips, Telarc, Sony Classical/CBS Masterworks, EMI/Angel, New World, Erato, and Hyperion records Baldwin piano

Zoltan Kocsis plays the Steinway piano.

Please be sure the electronic signal on your watch or pager is switched off during the concert. The program books for the Friday series are given in loving memory of Mrs. Hugh Bancroft by her daughters Mrs. A. Werk Cook and the late Mrs. William C. Cox.

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14 Olivier Messiaen Un Sourire

Olivier Messiaen was born in Avignon, France, on December 10, 1908, and lives in Paris. He com- posed Un Sourire (A Smile) in 1989 on commission from Marek Janowski, who wanted a piece that would honor the bicentenary of Mozart's death. Janowski conducted the world premiere in Paris on

December 5, 1991, with the Nouvel Orchestre Phil- harmonique, of which he is music director; this week's Boston Symphony performances are the first in America. The score calls for three flutes and pic- colo, three oboes and English horn, three clarinets, three bassoons, four horns, one trumpet, xylophone, xylorimba, tubular bells, suspended cymbal, and strings.

Olivier Messiaen' s musical education began in early childhood. He was already com- posing by the age of seven and entered the Paris Conservatoire at eleven. In 1926 he won the first prize in fugue, following that in 1928 with the prize in piano accompani- ment. In the two years that followed he bore off the palm in music history and in composition. His teachers included Marcel Dupre for organ, Messiaen's principal instrument, and Paul Dukas in composition.

Almost immediately after finishing his studies, Messiaen took up the position of organist at the church of La Trinite in Paris, remaining in the post from 1930 until the early '70s. He began teaching in Paris in the Ecole Normale de Musique and the Schola Cantorum. And, of course, he continued composing. The '30s saw the comple- tion of many organ compositions, as well as piano works, the elegant and expressive song cycle Poemes pour Mi for voice and piano (later orchestrated), and a number of works for orchestra, mostly on religious themes. Already during this period Messi- aen's music was introduced to Boston by Serge Koussevitzky, who led the American premiere of Les Ojfrandes oubliees {The Forgotten Sacrifice) in October 1936. The composer was still two months short of his twenty-eighth birthday.

Messiaen was imprisoned in a Silesian military camp in 1940; there he composed one of his most powerful and moving compositions, the Quatuor pour la fin du temps {Quartet for the End of Time) for violin, clarinet, cello, and piano; the instrumentation was determined by the fact that he knew three other professional musicians in the camp who had their instruments with them, and he wrote the piano part for himself. The first performance took place in those stark surroundings in 1941, with an audi- ence consisting of 5,000 prisoners, who listened to the new piece, running well over a half-hour, with rapt attention.

After his release from the camp in 1941, Messiaen became professor of harmony at the Conservatoire. Not long after he began the series of lessons in the home of a friend that attracted the attention of the brightest young composers at the institution. After the war, Messiaen composed a group of pieces not on religious themes but on poems of love. Even when writing for small forces, as in Harawi, subtitled "Song of love and death" (for voice and piano), settings of poems by the composer, he was making innovations in rhythm and harmony that were to play a role in his work for years to come and to be a strong influence on others, notably Pierre Boulez. The larg- est of these works was the Turangalila-symphonie, which offered another Boston con- nection, having been commissioned by Serge Koussevitzky and first performed by the BSO under Leonard Bernstein in December 1949. Messiaen spent the summer of

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16 1949 as composer-in-residence at Tanglewood. He and Aaron Copland shared the duties of teaching eighteen composition fellows, and Koussevitzky conducted the BSO in his "four symphonic meditations," L'Ascension, of 1933.

During the 1950s Messiaen's fame spread both through performances of his own works and his acknowledged influence on such students as Boulez. He traveled widely and found inspiration in many cultures, not to mention in the bird songs of many lands. He was named professor of composition at the Conservatory in 1966 and was elected a member of the Institute the following year.

Messiaen wrote his new orchestral composition as a tribute to Mozart; it was pre- miered in Paris on December 5, 1991, the two-hundredth anniversary of Mozart's death. The title and character of this short work are explained in the composer's own brief note:

It continuously alternates a very simple melody in the violins and repetitive exotic bird song in the xylos, woodwinds, and horns. In spite of his sorrows, suffering, hunger, cold, the incomprehension of audiences, and the proximity of death, Mozart always smiled. His music also smiled. That is why I have permitted myself, in all humility, to entitle my homage Un Sourire [A Smile].

Messiaen's music has taken its character from his unique and pervading interest in rhythm, his harmonic language combining elements of old and new musical styles — tonal, modal, atonal, and serial — in a personal fusion, in melodic structures that are now lyrically direct, now wildly elaborate (and often based on bird song). Here he combines these elements to produce a highly personal view of the Salzburg master.

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17 Zoltan Kocsis

"...superior recorded sound and playing of enormous character." -GRAMOPHONE

BARTOk

"HE WORKS FOR PIANO & i JRCHKSTRA

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, usz? THE PIANO CONCERTOS DIE KUHRERKONZERTE

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Bela Bartok Piano Concerto No. 1

Bela Bartok was born in Nagyszentmiklos, Transyl- vania (then part of Hungary but now absorbed into Rumania), on March 25, 1881, and died in New York on September 26, 1945. He began composing his Piano Concerto No. 1 in August 1926 and com- pleted the score on November 12. The first perform-

ance took place in Frankfurt on July 1, 1927, with Wilhelm Furtwangler conducting and the composer as soloist. Bartok was also the soloist at the first performances of the concerto by the Boston Sym- phony Orchestra, which took place on February 1 and 18, 1928; Serge Koussevitzky conducted. The

I only other Boston Symphony performances took

I place in March 1981, with Sir Colin Davis conduct- ^m^y vHSH^ ing and Maurizio Pollini as soloist. In addition to tJie solo piano, the score calls for two flutes (second doubling piccolo), two oboes (second doubling English horn), two clarinets (second doubling bass clarinet), two bassoons, four horns, two trumpets, three trombones, timpani, two side drums (one with and one with- out snares), triangle, four cymbals, bass drum, tam-tam, and strings.

Like many composers who were also virtuoso pianists, such as Mozart or Rachman- inoff, Bartok conceived much of his piano music, including his first two concertos, as showpieces for his own talents. Such a procedure had the advantage of killing two birds with one stone: on a concert tour, his bookings with an orchestra could present him simultaneously as composer and performer, and music directors were perhaps more likely to program one of his new pieces if the composer himself could lend his own renown as virtuoso to the performance.

In the case of the First Piano Concerto, the piece was to be used, soon after its first performance, as the vehicle for Bartok's American debut, which was to take place with the New York Philharmonic under Willem Mengelberg. But in that instance, at least, Bartok encountered the most frequent problem of the composer pushing his own new piece — insufficient rehearsal time— with the result that the new and difficult work had to be replaced by something older and more familiar in style (in this particular case, it was his Opus 1 Rhapsody for piano and orchestra, a work already over two decades old). But at least the concerto's very first performance had come off as scheduled at the proving ground of so many new works, the 1927 festival of the International Society for Contemporary Music, then a fledgling organization devoted to airing new music from all over the world. (The ISCM over the years was responsible for the commissioning or first performance of some eight Bartok composi- tions.) Response to the new concerto was not overwhelmingly cordial; its intensely percussive, anti-lyrical quality attracted widespread criticism. Even six years after the premiere, the English composer Constant Lambert complained (in his stimulating, witty, and cranky Music Ho! A Study of Music in Decline) that Bartok's folk-oriented thematic ideas were harmonized in complex, dissonant ways that clashed completely with their basic melodic character (perhaps he would have preferred folk-song harmo- nizations of the gentle rustic type promulgated by one of his teachers, Ralph Vaughan Williams). Lambert felt that Bartok's technique was one of "merely punctuating each pause in an innocent folk song with a resounding, brutal, and discordant crash," and the entire procedure reminded him of a "sadistic schoolmaster chastising some wretched country bumpkin." Bartok's own view on the subject of folk-music harmoni- zation was quite the opposite of Lambert's. To his mind, "the simpler the melody, the

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: lifcfe 4z G/tnp^om RMrm & WCRB 102.5 FM RADIO • NYNEX • WCVB-TV CHANNEL 5 more unusual may be its accompanying harmony."

In the First Piano Concerto, the melodies, as such, are often little more than tiny rhythmic and melodic atoms drawn from characteristically Hungarian musical ges- tures but never extending far enough to suggest the quotation of an actual folk song. Rather Bartok adopts the core of the style without, in this instance, borrowing directly. His procedure is very close to that employed also in his Sonata for piano, composed in June 1926, just over a month before he began the concerto. The two works can thus be viewed as fraternal twins, similar in their melodic and harmonic style and especially in their treatment of the piano.

In much of his piano music at this time, especially music written for himself, Bartok treats the piano as a pitched percussion instrument. His ideas are strongly rhythmic, non-legato, presented on the piano hammered out with full force, often in octaves in both hands for maximum impact. He thickens textures by doubling the pounding lines in thirds or sixths, and to achieve maximum pungency he employs dou- blings in seconds and sevenths. They are so ubiquitous that we hear them less as dis- sonant harmonic elements than as a coloristic effect, etching the melodic lines sharply into the texture and insisting upon the percussive, unsentimental treatment of the melodic lines.

For all its novelty of color, the concerto is built throughout on staunchly classical lines, with a clearly laid out sonata form in the opening movement, preceded by a short introduction that presents some material elaborated further by the soloist in the development section. Although the harmonic relationships are far more complex than would have been found in a classical sonata form, the directness of the recapitulation and its powerful elaboration create a solid climactic finish to the movement.

The Andante might accurately be called a movement from a concerto for piano, percussion, and orchestra. Over the period of a decade Bartok experimented with the combination of piano and percussion instruments, culminating of course in the great Sonata for two pianos and percussion, of which the present movement can easily be regarded as a direct forebear. Almost throughout, the piano is more a percussion instrument than a carrier of melodic lines. Even the principal thematic idea is as much rhythm as melody— three staccato eighth-notes sounding a dissonant second followed by a sustained chord in fourths. The normal percussion instruments are sup- plied with unusually elaborate instructions for special ways of playing the parts: drumsticks struck at the edge of the drumhead, moving to the middle and back again; elaborate special techniques with the cymbals, and so on. Many of the individual per- cussion notes in the score are provided with numbers referring to footnoted instruc- tions that give the precise directions. The woodwind parts weave a dense contrapuntal web over the rhythmic activity, each instrument playing in a different key and mode. The movement is in ternary form with a short allegro transition at the end leading directly to the finale, which races along in motoric rhythms, never letting up the ham- mering of the short motives. The thematic ideas are very similar to those of the first movement: scalar fragments, syncopated elements, pounding repeated notes. All this activity makes for an extraordinarily unified whole from the beginning to the end of this constantly vigorous, tense, difficult work. The mood of powerful driving activity, rarely coming to a resting point, is frequently encountered in Bartok's other works of this period (including the Third and Fourth quartets that were soon to be composed), but never with such single-minded violence as here. -S.L.

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w i i t fi a e IN BOSTON'S BACKBAY Ludwig van Beethoven Symphony No. 5 in C minor, Opus 67

Ludwig van Beethoven was baptized in Bonn, Ger- many, on December 17, 1 770, and died in Vienna on March 26, 1827. He began to sketch the Fifth Symphony in 1804, did most of the work in 1807, completed the score in the spring of 1808, and led the first performance on December 22, 1808, in Vienna. The first documented American perform- ance was given by Ureli Corelli Hill with the Ger- man Society of New York at New York's Broadway Tabernacle on February 11, 1841. That same year,

on April 3, Henry Schmidt conducted the Academy

of Music in the first, second, and fourth movements at the Odeon in Boston. The first Boston Symphony performance of Beethoven's Fifth was led by Georg Henschel on December 17, 1881, the ninth concert of the orchestra's first season; BSO performances have also been conducted by Wilhelm Gericke, Arthur Nikisch, Emit Paur, Karl Muck, Max Fiedler, Henri Rabaud, Pierre Monteux, Serge Koussevitzky, Richard Burgin, Arthur Fiedler, Paul Paray, Charles Munch, Victor de Sabata, Ernest Ansermet, Erich Leinsdorf, William Steinberg, Leon- ard Bernstein, Max Rudolf, Rafael Kubelik, Hans Vonk, Eugene Ormandy, Klaus Tennstedt, Edo de Waart, Joseph Silverstein, Kurt Masur, who led the most recent sub- scription performances in February 1988, and Seiji Ozawa, who led the most recent Tanglewood performance in July 1990. The symphony is scored for two flutes and pic- colo, two oboes, two clarinets, two bassoons and contrabassoon, two horns, two trumpets, three trombones, timpani, and strings.

On December 17, 1808, the Wiener Zeitung announced for the following Thursday, December 22, a benefit concert on behalf of and to be led by Ludwig van Beethoven, with all the selections "of his composition, entirely new, and not yet heard in public," to begin at half-past six, and to include the following:

First Part: 1, A Symphony, entitled: "A Recollection of Country Life," in F major (No. 5). 2, Aria. 3, Hymn with Latin text, composed in the church style with chorus and solos. 4, Pianoforte Concerto played by himself.

Second Part: 1, Grand Symphony in C minor (No. 6). 2, Sanctus with Latin text composed in the church style with chorus and solos. 3, Fantasia for Pianoforte

alone. 4, Fantasia for the Pianoforte which ends with the gradual entrance of the entire orchestra and the introduction of choruses as a finale.

One witness to this event of gargantuan proportion, but which was typical of the time, commented on "the truth that one can easily have too much of a good thing— and still more of a loud one."

The hymn and Sanctus were drawn from Beethoven's Mass in C, the concerto was the Fourth, and the aria, "Ah! perfido^ (with a last-minute change of soloist). The solo piano fantasia was an improvisation by the composer, the concluding number the Opus 80 Choral Fantasy (written shortly before the concert — Beethoven did not want to end the evening with the C minor symphony for fear the audience would be too tired to appreciate the last movement), the symphony listed as "No. 5" the one that was published as the Sixth, the Pastoral, and the one labeled "No. 6" was, of course, the Fifth.

Beethoven was by this time one of the most important composers on the European musical scene. He had introduced himself to Viennese concert hall audiences with a

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24 program including, besides some Mozart and Haydn, his own Septet and First Sym- phony in April 1800, and, following the success of his ballet score The Creatures of Prometheus during the 1801-02 musical season, he began to attract the attention of foreign publishers. He was, also at that time, becoming increasingly aware of the deterioration in his hearing (the emotional outpouring known as the Heiligenstadt Testament dates from October 1802) and coming to grips with this problem which would ultimately affect the very nature of his music. As the nineteenth century's first decade progressed, Beethoven's music would be performed as frequently as Haydn's and Mozart's; his popularity in Vienna would be rivaled only by that of Haydn; and, between 1802 and 1813, he would compose six symphonies, four concertos, an opera, oratorio, and mass, a variety of chamber and piano works, incidental music, songs, and several overtures.

Beethoven composed his Third Symphony, the Eroica, between May and November 1803. From the end of 1804 until April 1806 his primary concern was his opera Leonore (ultimately Fidelio), and the remainder of 1806 saw work on compositions including the Fourth Piano Concerto, the Fourth Symphony, the Violin Concerto, and the Rasumovsky Quartets, Opus 59. Sketches for both the Fifth and Sixth sympho- nies are to be found in Beethoven's Eroica sketchbook of 1803-04 — it was absolutely typical for Beethoven to concern himself with several works at once — and, as noted above, the Fifth was completed in the spring of 1808 and given its first performance that December.

In a Boston Symphony program note some years back, John N. Burk wrote that "something in the direct impelling drive of the first movement of the C minor Sym- phony commanded general attention when it was new, challenged the skeptical, and

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25 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 ~i Yes, I want to keep great music alive.

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soon forced its acceptance. Goethe heard it with grumbling disapproval, according to Mendelssohn, but was astonished and impressed in spite of himself. Lesueur, hide- bound professor at the Conservatoire, was talked by Berlioz into breaking his vow never to listen to another note of Beethoven, and found his prejudices and resistances quite swept away. A less plausible tale reports Maria Malibran as having been thrown into convulsions by this symphony. The instances could be multiplied. There was no gainsaying that forthright, sweeping storminess."

In the language of another age, in an important review for the Allgemeine musikalische Zeitung of July 4 and 11, 1810, E.T.A. Hoffman recognized the Fifth as "one of the most important works of the master whose stature as a first-rate instru- mental composer probably no one will now dispute" and, following a detailed analysis, noted its effect upon the listener: "For many people, the whole work rushes by like an ingenious rhapsody. The heart of every sensitive listener, however, will certainly be deeply and intimately moved by an enduring feeling— precisely that feeling of forebod- ing, indescribable longing— which remains until the final chord. Indeed, many moments will pass before he will be able to step out of the wonderful realm of the spirits where pain and bliss, taking tonal form, surrounded him."

In his Eroica Symphony, Beethoven introduced, in the words of his biographer Maynard Solomon, "the concept of a heroic music responding to the stormy currents of contemporary history." The shadow of Napoleon hovers over the Eroica; for the Fifth Symphony we have no such specific political connotations. But we do have, in the Fifth, and in such post-Eroica works as Fidelio and Egmont, the very clear notion of affirmation through struggle expressed in musical discourse, and perhaps in no instance more powerfully and concisely than in the Symphony No. 5.

So much that was novel in this music when it was first heard — the aggressive, com- pact language of the first movement, the soloistic bass writing of the third-movement Trio, the transition between scherzo and finale, the introduction of trombones into the symphony orchestra for the first time — is now almost taken for granted, given the countless performances the Fifth has had since its Vienna premiere, and given the variety of different languages that music has since proved able to express. And by now, most conductors seem to realize that the first three notes of the symphony must not sound like a triplet, although just what to do with the fermata and rest foDowing the first statement of that four-note motive sometimes seems open to argument. For a while, Beethoven's Fifth seemed to have fallen from grace. Once rarely absent from a year's concert programming, and frequently used to open or close a season, it was for a while widely considered to be overplayed, overpopularized. Audiences appeared to be tired of it, and it was relegated to "popular" programs or Beethoven festivals. More recently the Fifth Symphony has been restored to its rightful place in the reper- tory. For, at least every so often, this symphony demands, even needs, to be heard, representing as it does not just what music can be about, but everything that music can succeed in doing. -Marc Mandel

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27 More . . .

A number of studies exist of Messiaen and his music. First, of course, is the compos- er's own Technique de mon langage musicale, published in Paris in 1944 and trans- lated into English in 1957. R. Sherlaw Johnston's Messiaen, an account of the music, is excellent, though quite technical in orientation (University of California). The least technical, though first-rate, is the book by Roger Nichols, also entitled Messiaen (Oxford).

Paul Griffiths' Bartok, one of the newest additions to the Master Musicians series, provides a superb introduction to Bartok, with imaginative insights on many aspects of the man and his work (Dent paperback; available so far only from the English pub- lisher). Halsey Stevens's The Life and Music of Beta Bartok (Oxford, available in paperback) has long been the standard biographical and critical study and remains valuable. John McCabe's Bartok Orchestral Music is a fine addition to the BBC Music Guides (University of Washington paperback). Agatha Fassett's gripping and personal account of Bartok' s last years was published in hardcover under the somewhat off- putting title The Naked Face of Genius; there is a Dover paperback reprint simply

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• titled Beta Bartoh The American Years. A more technical discussion of Bartok's music may be found in Erno Lendvai's Beta Bartoh An Analysis of his Music (Corvina). Though it is highly technical, the most brilliant analysis of Bartok's music is to be found in the detailed study by Elliot Antokoletz, The Works of Beta Bartoh A Study of Tonality and Progression in Twentieth-century Music (University of California Press). Zoltan Kocsis has recorded Bartok's Piano Concerto No. 1 with Ivan Fischer and the Budapest Festival Orchestra (Philips, a three-disc box also including Bartok's other two piano concertos, the Music for Strings, Percussion, and Celesta, the early Rhap- sody for piano and orchestra, and Scherzo for piano and orchestra). Other recordings worth noting include those of Geza Anda with Ferenc Fricsay and the Berlin Radio Symphony Orchestra (DG Dokumente, three discs, with the Concerto for Orchestra and the other two piano concertos), and Maurizio Pollini with the Chicago Symphony under Claudio Abbado's direction (DG, coupled with the Piano Concerto No. 2).

The excellent Beethoven article by Alan Tyson and Joseph Kerman in The New Grove Dictionary of Music and Musicians is a short book in itself, and has been reis- sued as such (Norton paperback). The standard Beethoven biography is Thayer's Life of Beethoven, written in the nineteenth century but revised and updated by Elliot

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30 Forbes (Princeton, available in paperback). This has been supplemented by Maynard Solomon's Beethoven, which makes informed and thoughtful use of the dangerous techniques of psychohistory to produce one of the most interesting of all the hundreds of Beethoven books (Schirmer, available in paperback). A welcome new general refer- ence on all matters Beethovenian is The Beethoven Companion, edited by Barry Coo- per (Thames & Hudson); like last year's The Mozart Companion, this volume is richly filled with compact and accessible information about almost anything having to do with Beethoven's life, work, personality, and manuscripts, with a great deal of mate- rial about his friends, associates, and milieu. There have, of course, been many stud- ies of the symphonies. George Grove's Beethoven and his Nine Symphonies, though written nearly a century ago from a now-distant point of view, is filled with perceptive observations (Dover paperback). Basil Lam's chapter on Beethoven in the first volume of The Symphony, edited by Robert Simpson, is enlightening (Penguin), as is Simp- son's own concise contribution to the BBC Music Guides, Beethoven Symphonies (Uni- versity of Washington paperback). Donald Francis Tovey's classic essays on the sym- phonies appear in his Essays in Musical Analysis (Oxford paperback). Seiji Ozawa and the Boston Symphony Orchestra have recorded Beethoven's Fifth Symphony for Telarc, with the Egmont Overture. Other BSO recordings of the symphony still avail- able include those of Charles Munch (RCA Gold Seal, with the Schubert Unfinished and some overtures) and Erich Leinsdorf (Victrola, with the Symphony No. 4). Many people, of course, like to obtain all nine symphonies in a single set, of which there are dozens currently available, including long-admired versions by Toscanini with the NBC Symphony Orchestra (RCA, five CDs), Herbert von Karajan and the Berlin Philharmonic (three different versions with the Berlin Philharmonic on DG, of which my favorite is the 1963 series, on five CDs), and Leonard Bernstein with the Vienna Philharmonic Orchestra (DG, six CDs). More recent recordings have often taken into account the results of new information regarding the size of the orchestra and the playing practices used in Beethoven's day. Sometimes this has been employed in an overtly "historical" way, as in the readings of Roger Norrington with the London Classical Players (EMI) or of Christopher Hogwood with the Academy of Ancient Music (Oiseau-Lyre), sometimes simply in a crisper treatment with an established orchestra, as in the recordings of Christoph von Dohnanyi with the Cleveland Orches- tra (Telarc). In the long history of Beethoven symphony recordings, few new sets have attracted such attention or enthusiasm as the recent cycle of the nine Beethoven symphonies played by the Chamber Orchestra of Europe under the direction of Niko- laus Harnoncourt, a veteran of the "early music wars" who here employs an ensemble of modern instruments (Teldec, five CDs); to many this series of discs has set an entirely new standard for hearing the Beethoven symphonies, combining the accuracy of modern playing and the approach of a historically-informed director who nonethe- less brings to his performances a freshness that is a far cry from dusty antiquarian- ism. In addition to the recordings derived from complete Beethoven cycles, there are interesting historical recordings worth looking out for, including a 1926 reading by Wilhelm Furtwangler with the Berlin Philharmonic (Koch International Classics, two CDs, with works by Bach, Mozart, Schubert, Rossini, and Weber) and a 1927 perfor- mance by Felix Weingartner with the Royal Philharmonic Orchestra of London (BBC Records, Vintage Collection, coupled with Beethoven's Seventh). -S.L.

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life are preserved? We feel fortunate to have found a warm environment

that really is a home. Its quite small and beautifully appointed; her doctor

says it's known for fine care. Naturally, Mother was nervous at first, but

now she takes the limo to the Friday afternoon concert. I know we made

the right decision. . .she ordered new stationery.

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32 Marek Janowski The West German conductor Marek Janowski studied in Italy and Germany. Music director at both the Freiburg and Dortmund operas from 1973 to 1979, he has been a regular guest conductor at the leading opera houses in Paris, West Berlin, Hamburg, Cologne, and Munich since 1979. He has also conducted at Chicago Lyric Opera, the San Francisco Opera, and the Metropolitan Opera, at the Teatro Colon in Buenos Aires, at the Dresden Opera, and at the Orange Festival. In May 1991 he returned to the Vienna State Opera to conduct Salome. In the concert hall, Mr. Janowski has worked with the Berlin Philharmonic, Munich Phil- harmonic, Bayerischer Rundfunk, Dresden Staatskapelle, Boston Symphony, Chicago Sym- phony, London Symphony, the Philharmonia, the BBC Symphony Orchestra, other orches- tras throughout Europe, and on several occasions with the NHK Symphony in Tokyo. From 1986 to 1990 he was music director of the Gurzenich Orchestra in Cologne. He has also been closely associated with the Royal Liverpool Philharmonic, of which he was artis- tic advisor from 1983 to 1986. In 1984 he was appointed music director of the Orchestre Philharmonique de Radio France. A noted recording artist, Mr. Janowski is highly acclaimed for the Ariola-Eurodisc release of Wagner's Ring with the Dresden Staatskapelle. Other discs include Weber's Euryanthe and Die schweigsame Frau for EMI, and Penderecki's The Devils of Loudun for Philips. He has recently recorded Bruckner's Fourth and Sixth symphonies for Virgin Classics with the Orchestre Philharmonique de Radio France. Mr. Janowski' s current schedule includes productions of the Ring and Elek- tra in Munich, concert performances of the Ring in Paris, and concerts with the Boston Symphony, Chicago Symphony, Los Angeles Philharmonic, Philadelphia Orchestra, Pitts- burgh Symphony, Leipzig Gewandhaus, and Tonhalle of Zurich. Mr. Janowski made his Boston Symphony debut in February 1989 and has since conducted the orchestra regularly at Symphony Hall and Tanglewood.

We salute the Boston Symphony Orchestra on their 111th season

WELCH & FORBES

JOHN K. SPRING RICHARD OLNEY III

KENNETH S. SAFE, JR. ARTHUR C. HODGES JOHN LOWELL M. LYNN BRENNAN

THOMAS N. DABNEY JOHN H. EMMONS, JR. V. WILLIAM EFTHIM OLIVER A. SPALDING GUIDO R. PERERA, JR. CHARLES T HAYDOCK

Creative financial planning and investment advice since 1838

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33 IMAGINE,,.

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Sound interesting?

For information about the Boston Symphony Orchestra's charitable gift plans, contact Joyce Serwitz, Director of Major Gifts, at (617) 638^9273.

34 Zoltan Kocsis Hungarian pianist Zoltan Kocsis began his international career at eighteen, when he won the Hungarian Radio Beethoven Competi- tion and the Franz Liszt Prize. He has since performed as guest artist with most of the world's major symphonic ensembles and conductors, and has appeared in recital at the major music centers and festivals of Europe, North and South America, and the Far East. In North America, Mr. Kocsis has appeared in recital at Car- negie Hall and the Kennedy Center, as well as with the Chicago Symphony, the Los Angeles Philharmonic, the New York Philhar- monic, the San Francisco Symphony, and the principal orchestras of Canada. European highlights have included performances with the Berlin Philharmonic, the London Symphony, the Royal Philharmonic, and the Vienna Philharmonic. Mr. Kocsis' most recent tour of the United States was in early 1990, as guest soloist with the Warsaw Philharmonic on its transcontinental tour. In addition to his Boston Symphony debut, his schedule for 1992 includes concerts in Europe with the Orchestre de la Suisse Romande, the Royal Concertgebouw, and the Philharmonia. In January 1992 he participated in the Vienna Philharmonic's Mozart week at Salzburg. Mr. Kocsis has recorded extensively for Philips and in 1988 received the Edison Award for his cycle of Bartok's works for piano and orchestra with Ivan Fischer and the Budapest Festival Orchestra; he has also recorded most of that composer's solo pieces, for Denon and Hungaroton. His Debussy recording for Philips was named Instrumental Record of the Year in 1990 by Gramophone; he has recorded the complete Rachmaninoff concertos with Edo de Waart and the San Francisco Symphony. Recent projects have included Beethoven sonatas and Bartok solo pieces for Philips and several Mozart recordings for Quintana, featuring concertos, chamber works, and music for winds, the latter with Mr. Kocsis conducting the Budapest Wind Ensemble. Born in 1952, Zoltan Kocsis began playing the piano at three and was composing while still a child. He received his first serious piano instruction at five and entered the Bela Bartok Conservatory in 1963 to study piano and composition. Five years later he entered the Ferenc Liszt Conservatory, where his teachers were Pal Kadosa and Ferenc Rados. After an early debut and tour throughout Hungary he took a sabbatical from his career to pursue advanced piano studies. He graduated with distinction from the Liszt Academy in Budapest in 1974 and was appointed to a professorship in the Academy's piano depart- ment two years later. In 1975 Mr. Kocsis was honored by Sviatoslav Richter, who invited him to perform at his festival in Tours; not long after, the two artists shared the stage for several duo-recitals in France.

the Garber TYavel gives you an Mass" 'Bay Co. opening night performance.

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35 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.

36 BUSINESS 1991-92 Business Honor Roll $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. P. William F. Meagher Thomas 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 O. 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

37 1991-92 Business Honor Roll (continued)

Lexus PaineWebber, Inc. J. Davis Illingworth James P. 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. Pitzpatrick McKinsey & Company Robert P. O'Block Shawmut Bank, N.A. P. Millipore Corporation John Hamill

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 England Telephone Company New 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

<]aJbach ' V CLASSICAL MUSIC 104.9 FM

Celebrating a Quarter-Century of Classical Music on 104.9 FM.

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38 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 (J>) 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 ^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 Crozier, Jr. M. 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 Thomas P. McDermott John Laird James J. Harrigan KPMG PEAT MARWICK Corporation Chase Manhattan JTrma Mann Strategic Marketing Robert D. Happ 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 Cabot Communications TRUST COMPANY I | Prudential Securities William I. Monaghan William S. Edgerly Robert Whelan Clark/Linsky Design |USTrust $Rath & Strong Robert H. Linsky James V. Sidell Dan Ciampa BILL, HOLLIDAY, CONNORS, Wainwright Bank & Trust Company THOMAS H. LEE COMPANY COSMOPULOS, INC. John M. Plukas Thomas H. Lee Jack Connors, Jr. 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 •PPerini Corporation Boston Showcase Company David B. Perini | Northrop Corporation Jason E. Starr £ JWalsh 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 Malerie 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* J.N. Phillips Glass Arnold S. Wolf Company, Inc. $The Boston Consulting Group Seasoned to Taste Alan L. Rosenfield Jonathan L. Isaacs Tom Brooks 39 MA MARIA LEICA AF-C1 • Fully automatic • Multibeam Top-notch North End IR autofocus • Automatic eatery. . . with outstanding exposure control • Focus and nuova cucina. Romantic and delicious. exposure memory • Auto- Zagat Survey, 1992 matic flash • DX coding • Automatically adjustable focal lengths: 40 mm f / 2.8 and Were it notfor the dramatic 80 f/5.6 • Macro function Boston skyline in the background, mm

you 'd swear you were in Europe. A Taste ofBoston, 1990 E.R Levine is a full stocking Leica dealer. 23 Drydock Avenue All the elements of lapatria without the cliche knickknacks Marine Industrial Park and the pizza-pasta-pudding routine. Boston, 617 951 1499 Business and Beyond, 1989 Fax 951 1466

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40 Welch's WCVB-TV, CHANNEL $Spaulding Investment Everett N. Baldwin 5 BOSTON Company S. James Coppersmith C.H. Spaulding Education Environmental | State Street Development Corp. .Bentley College Management ^ Jason M. Cortell and Gregory Adamian John R. Gallagher III

Associates, Inc. 1 J Tucker Anthony Jason M. Cortell Electrical/Electronics John Goldsmith Toxikon Corporation Analytical Systems ^Woodstock Corporation Laxman S. DeSai Engineering Corporation Nelson J. Darling, Jr. Michael B. Rulrin Finance/Investments

Gnzovsky Electrical Corporation High Technology 3i Corporation Edward Guzovsky Geoffrey N. Taylor ANALOG DEVICES, INC. Mass. Electric Construction |Advent International Ray Stata Company Peter A. Brooke Bill Breen Automatic Data Processing •^Barclay's Business Credit Arthur S. Kranseler ' 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 Carson Limited Partnership Bernard W. Reznicek Systems Herbert Carver Axel Leblois I Cabot Corporation Samuel W. Bodman | Essex Investment Management Costar Corporation Company, Inc. Otto Morningstar HEC, Inc. Joseph C. McNay, Jr. |CSC Consulting, Inc. David S. Dayton $Farrell, Healer & Company, Inc. Paul J. Crowley ^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 ^GZA GeoEnvironmental ^ First Security Services Kenneth G. Olsen Technologies, Inc. Robert L. Johnson DYNATECH CORPORATION Donald T. Goldberg J '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 John G. Higgins Paul M. Montrone Patrick J. Purcell

Continental Cablevision |Krupp Companies HEWLETT PACKARD COMPANY George Ben L. Holmes Amos Hostetter, Jr. Krupp 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 •^Intermetrics Inc. PEOPLE MAGAZINE ^The Putnam Joseph A. Saponaro Inc. Peter S. Krieger Management Co., glomes, Inc. Lawrence J. Lasser Arthur L. Goldstein WCRB-102.5 FM Richard L. Kaye

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

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•^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

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

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

J 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 /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 i'Hemenway & Barnes J. «* Polaroid Corporation Terry E. Cook John Madden

I. MacAllister Booth J'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 1 §Caddell & Byers i Lynch, Brewer, Hoffman & Sands RAYTHEON COMPANY Paul D. Bertrand Owen B. Lynch Dennis Picard $Mintz, Levin, Cohn, Ferris, |, Cameron & Colby Co., Inc. ^Signal Technology Corporation Lawrence S. Doyle Glovsky & Popeo, P.C. Dale J. Peterson Kenneth J. Novack ^ 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

^TASC JOHN HANCOCK MUTUAL | Palmer & Dodge Arthur Gelb LIFE INSURANCE COMPANY Robert E. Sullivan TDK ELECTRONICS E. James Morton Rackemann, Sawyer & Brewster

1 CORPORATION •i 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 |Whistler 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 J 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

43 A world of

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44 Autoroll Machine Corporation •^The Rockport Corporation •''John M. Corcoran & Company William M. Karlyn Anthony Tiberii John M. Corcoran

^Avedis Zildjian Company $The Stride Rite Corporation Keller Co., Inc. Armand Zildjian Arnold S. Hiatt Joseph P. Keller

The Biltrite Corporation •^Superior Brands, Inc. •^Meditrust Corporation Stanley J. Bernstein Richard J. Phelps Jonathan S. Sherwin

^Boston Acoustics, Inc. Textron Charitable Trust Nordblom Company Frank Reed B.F. Dolan Roger P. Nordblom

Century Manufacturing Co., Inc. ^The Tonon Group •^Windsor Building Associates Joseph W. Tiberio Robert Tonon Mona F. Freedman

JC.R. Bard, Inc. •^Watts Industries, Inc. Robert H. McCaffrey Timothy P. Home Retail

1 i Industries, Inc. Wire Belt Company of Chelsea America §Arley Merchandise Corporation Ronald G. Casty F. Wade Greer David I. Riemer

CONNELL LIMITED * Carillon Importers, Ltd. PARTNERSHIP Printing/Publishing Ernest Capria William F. Connell COUNTRY CURTAINS i'Addison-Wesley Publishing Co., Inc. ^Converse, Inc. Jane P. Fitzpatrick Gilbert Ford Warren R. Stone FILENE'S CAHNERS PUBLISHING Dean K. Webster Family Joseph M. Melvin Foundation COMPANY Henri Bendel Dean K. Webster Robert L. Krakoff | Jeff Byron ^FLEXcon Company, Inc. •^Daniels Printing J. Baker, Inc. Mark R. Ungerer Lee S. Daniels Sherman N. Baker ,GTE Corporation GRAFACON, INC. •^Jofran, Inc. James L. Johnson H. Wayman Rogers, Jr. Robert D. Roy GTE Electrical Products HOUGHTON MIFFLIN •^Jordan Marsh Company Dean T. Langford COMPANY Nader F. Darehshori Harold S. Frank GENERAL ELECTRIC Koko Boodakian & Sons, Inc. PLASTICS Little, Brown & Company Harry and Michael Boodakian Glen H. Hiner William R. Hall •^Lancome Paris General Latex and Monadnock Paper Mills, Inc. Steve Morse Chemical Corp. Bill Steel Robert W. MacPherson ,§Neiman Marcus William D. Roddy THE GILLETTE COMPANY Real Estate/Development Alfred M. Zeien, Jr. Prize Possessions § Boston Capital Partners Virginia N. Durfee '.Harvard Folding Box Christopher W. Collins Company, Inc. Purity Supreme, Inc. Herbert F. Collins Melvin A. Ross Frank P. Giacomazzi Richard J. DeAgazio ^Saks Fifth Avenue "'HMK Enterprises John P. Manning Steven Karol Alison Strieder Mayher •''The Chiofaro Company

( Jones & Vining, Inc. Donald Chiofaro THE STOP AND SHOP Sven A. Vaule, Jr. FOUNDATION Combined Properties, Inc. Avram Goldberg Leach & Garner Company Stanton L. Black Edwin F Leach H ^Tiffany & Co. Corcoran-Jennison Companies Anthony Ostrom Legget & Piatt, Inc. Joseph E. Corcoran Alexander M. Levine FIRST WINTHROP Science/Medical New England Business CORPORATION Service, Inc. Arthur J. Halleran, Jr. Baldpate Hospital

Richard H. Rhoads 1 Lucille M. Batal J The Flatley Company Parks Corporation Thomas J. Flatley Blake & Blake Genealogists Lee Davidson Richard A. Blake, Jr. Heafitz Development Company Rand-Whitney Corporation Lewis Heafitz ^Charles River Laboratories, Inc. Robert Kraft Foster Horizon Commercial Henry L. Reebok International Ltd. Management $Damon Corporation Paul Fireman Joan Eliachar Robert L. Rosen

45 GROGAN & COMPANY fine Art Auctioneers and AiPP•raisers

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46 i^HCA Portsmouth Regional Hospital Shaughnessy & Ahern Co. ^AT&T Network Systems William J. Schuler John J. Shaughnessy John F. McKinnon Robert Sanferrare $JA. Webster, Inc. |,TAD Technical Services Corporation John A. Webster David J. McGrath, Jr. ^Cellular One /Lifeline Charles Hoffman Arthur Phipps Travel/Transportation MCI Wild Acre Inns, Inc. NORTHWEST AIRLINES Jonathan Crane Bernard S. Yudowitz Terry M. Leo Services NEW ENGLAND TELEPHONE Patterson, Wylde & Co., Inc. COMPANY Norman Tasgal Asquith Corporation Paul C. O'Brien Lawrence L. Asquith EASTERN ENTERPRISES Telec ommunic ations NORTHERN TELECOM, INC. Brian Davis J. Atwood Ives ^AT&T /Phoenix Technologies Foundation Donald Bonoff NYNEX CORPORATION Neil Colvin Timothy Murray William C. Ferguson

*dtismt& Boston Herald

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

47 NEXT PROGRAM . . .

Thursday, March 26, at 8 Friday, March 27, at 2 Saturday, March 28, at 8

MAREK JANOWSKI conducting

SPOHR Violin Concerto No. 8 in A minor, Opus 47, Gesangsszene

Allegro molto — Recitativo — Adagio — Andante — Allegro moderato MALCOLM LOWE

STRAUSS Metamorphosen, Study for twenty-three solo strings

INTERMISSION

HAYDN Symphony No. 99 in E-flat Adagio — Vivace assai Adagio Menuetto: Allegretto; Trio Finale. Vivace

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.

For rates and BOSTON CAREY' information on SYMPHONY LIMOUSINE ORCHESTRA >

advertising in the SEI OZAWAyS • CHAUFFEUR DRIVEN SEDANS, jX^ J' VANS AND LIMOUSINES Boston Symphony, |y FOR ALL OCCASIONS Boston Pops, •EXECUTIVE SERVICE Est. 1924 and Tanglewood program books 623-8700 please contact: 24 HR. SERVICE/BOSTON AREA A&A LIMOUSINE RENTING INC. STEVE GANAK AD REPS 161 BROADWAY—SOMERVILLE, MA SERVICE IN 300 CITIES • 60 COUNTRIES • 6 CONTINENTS (617)-542-6913 MAJOR CREDIT CARDS ACCEPTED NATIONWIDE 1-800-336-4646

48 COMING CONCERTS . . .

Thursday, March 26, at 10:30 a.m. Open Rehearsal Marc Mandel will discuss the program WE'RE at 9:30 in Symphony Hall. Thursday 'D'- March 26, 8-9:45 Friday 'A' -March 27, 2-3:45 MUSK TO Saturday 'A' -March 28, 8-9:45 MAREK JANOWSKI conducting MALCOLM LOWE, violin

YOUR MOUTH. SPOHR Violin Concerto No. 8, A fresh-from-the-oven overture: Gesangsszene STRAUSS Metamorphosen, for Bruegger's 10 varieties of K k twenty-three solo authentic NY style bagels. * * strings With Supreme Cheese, HAYDN Symphony No. 99 for a tasteful duet. We get rave Thursday 'C -April 2, 8-9:55 reviews Friday Evening— April 3, 8-9:55

daily! Saturday 'A' -April 4, 8-9:55 GRANT LLEWELLYN conducting BERNARD D'ASCOLI, piano WEIR Music, Untangled (composed for the 50th anniversary of the Tanglewood Music Center in 1990) BEETHOVEN Piano Concerto No. 3 279 Mass. WALTON Symphony No. 1 Ave., Boston (Behind Symphony Hall) Tuesday 'C -April 7, 8-10 SEIJI OZAWA conducting GIDON KREMER, violin (617)536-6003 TANGLEWOOD FESTIVAL CHORUS, JOHN OLP7ER, conductor D7ES Symphony No. 4 LOURIE Fragments from the opera The Blackamoor of Peter the Great, for violin and orchestra TCHAIKOVSKY Violin Concerto lASSACllMSgttjjH, .''^V- Programs and artists subject to change. : CflLLege °f dKI \l/.-

Courses & workshops in Art, Crafts, Design, Media & Performing Arts, Art History & Art Education.

International Studios in London, Greece, Italy and Mexico. August Studios for High School Students

Program of Continuing Education 621 Huntington Avenue, Boston, MA02115 Call 61 7/232-1 555 for brochure

49 1992-93 BSO Schedule

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50 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 HaU 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 HaU 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.

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

BOSTON SYMPHONY BROADCASTS: Friday-afternoon concerts of the Boston Sym- phony Orchestra are broadcast five 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.

52 A TRADITION OF FINANCIALCOUNSEL 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. >asteiv? ITALIAN PEEUeJ^

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