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105th Season 1985-86

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Barrel-Blending is the final process of blending selected whiskies as they are poured into oak barrels to marry prior to bottling. Imported in bottle by Hiram Walker Importers Inc., Detroit Ml © 1985. Seiji Ozawa, Music Director One Hundred and Fifth Season, 1985-86

Trustees of the Boston Symphony Orchestra, Inc.

Leo L. Beranek, Chairman Nelson J. Darling, Jr., President

J. P. Barger, Vice-Chairman Mrs. John M. Bradley, Vice-Chairman

George H. Kidder, Vice-Chairman William J. Poorvu, Treasurer Mrs. George L. Sargent, Vice-Chairman

Vernon R. Alden Archie C. Epps Mrs. August R. Meyer David B. Arnold, Jr. Mrs. John H. Fitzpatrick E. James Morton Mrs. Norman L. Cahners Mrs. John L. Grandin David G. Mugar George H.A. Clowes, Jr. Francis W. Hatch, Jr. Thomas D. Perry, Jr. William M. Crozier, Jr. Harvey Chet Krentzman Mrs. George R. Rowland Mrs. Lewis S. Dabney Roderick M. MacDougall Richard A. Smith Mrs. Michael H. Davis John Hoyt Stookey Trustees Emeriti

Philip K. Allen E. Morton Jennings, Jr. John T. Noonan Allen G. Barry Edward M. Kennedy Irving W Rabb Richard P. Chapman Edward G. Murray Paul C. Reardon Abram T. Collier Albert L. Nickerson Sidney Stoneman Mrs. Harris Fahnestock John L. Thorndike Officers of the Corporation

Thomas W Morris, Vice-President, Special Projects and Planning

John Ex Rodgers, Assistant Treasurer Theodore A. Vlahos, Assistant Treasurer Jay B. Wailes, Assistant Treasurer Daniel R. Gustin, Clerk Mary Glenn Goldman, Assistant Clerk

Administration of the Boston Symphony Orchestra, Inc.

Daniel R. Gustin, Acting General Manager

Anne H. Parsons, Orchestra Manager Costa Pilavachi, Artistic Administrator Caroline Smedvig, Director of Promotion Josiah Stevenson, Director of Development Theodore A. Vlahos, Director of Business Affairs Arlene Germain, Financial Analyst Marc Mandel, Publications Coordinator Charles Gilroy, Chief Accountant Richard Ortner, Administrator of Vera Gold, Assistant Director of Promotion Tanglewood Music Center Patricia Halligan, Personnel Administrator Charles Rawson, Manager of Box Office Nancy A. Kay, Director of Sales Eric Sanders, Director of Corporate John M. Keenum, Director of Development Foundation Support Joyce M. Serwitz, Assistant Director Nancy Knutsen, Production Manager of Development Anita R. Kurland, Administrator of Diane Greer Smart, Director of Volunteers Youth Activities Nancy E. Tanen, Media/Special Projects Steven Ledbetter, Musicologist & Administrator Program Annotator Susan E. Tomlin, Director of Annual Giving

Programs copyright ©1986 Boston Symphony Orchestra, Inc. Cover photo by Christian Steiner Board of Overseers of the Boston Symphony Orchestra, Inc.

Harvey Chet Krentzman Chairman

Avram J. Goldbei rg Mrs. Carl Koch 7 Vice-Chairman 1 ice-Chairman

Ray Stata Mrs. Gordon F. Kingsley Vice-Chairman Secretary

John Q. Adams Mrs. Thomas Gardiner Mrs. Hiroshi Nishino Mrs. Weston W. Adams Mrs. James G. Garivaltis Vincent M. O'Reilly Martin Allen Mrs. Ray A. Goldberg Stephen Paine, Sr. Mrs. David Bakalar Jordan L. Golding John A. Perkins Bruce A. Beal Joseph M. Henson Peter C. Read Peter A. Brooke Arnold Hiatt Robert E. Remis Mary Louise Cabot Mrs. Richard D. Hill Mrs. Peter van S. Rice Mrs. C. Thomas Clagett, Jr. Susan M. Hilles David Rockefeller, Jr. James F. Cleary Glen H. Hiner John Ex Rodgers John F. Cogan, Jr. Mrs. Marilyn Brachman Hoffman Mrs. Jerome Rosenfeld Mrs. Nat Cole Mrs. Bela T. Kalman Mrs. William C. Rousseau William H. Congleton Mrs. S. Charles Kasdon Mrs. William H. Ryan Arthur P. Contas Richard L. Kaye Gene Shalit Mrs. A. Werk Cook Robert D. King Mark L. Selkowitz Phyllis Curtin John Kittredge Malcolm L. Sherman A.V. d'Arbeloff Robert K. Kraft W. Davies Sohier, Jr. Mrs. Michael H. Davis John P. LaWare Ralph Z. Sorenson Mrs. Eugene B. Doggett Mrs. James F. Lawrence Mrs. Arthur I. Strang Harriett Eckstein Laurence Lesser William F. Thompson Mrs. Alexander Ellis R. Willis Leith, Jr. Luise Vosgerchian Katherine Fanning Mrs. Charles P. Lyman Mrs. An Wang John A. Fibiger Mrs. Harry L. Marks Roger D. Wellington Kenneth G. Fisher Hanae Mori Mrs. Thomas H.P. Whitney Gerhard M. Freche Richard P. Morse Mrs. Donald B. Wilson Peter H.B. Frelinghuysen Mrs. Thomas S. Morse Brunetta Wolfman

Mrs. Thomas J. Galligan Mrs. Robert B. Newman Nicholas T. Zervas

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Overseers Emeriti

Mrs. Frank G. Allen Paul Fromm Mrs. Stephen V.C. Morris Hazen H. Ayer Mrs. Louis I. Kane David R. Pokross David W. Bernstein Leonard Kaplan Mrs. Richard H. Thompson

i i Benjamin H. Lacy

i i

'

i Symphony Hall Operations

. Cheryl L. Silvia, Function Manager James E. Whitaker, House Manager

Earl G. Buker, Chief Engineer Cleveland Morrison, Stage Manager Franklin Smith, Supervisor of House Crew

Wilmoth A. Griffiths, Assistant Supervisor of House Crew William D. McDonnell, Chief Steward

2

^ I Officers of the Boston Symphony Association of Volunteers

Mrs. Michael H. Davis President Mrs. R. Douglas Hall III Mrs. Carl Koch Executive Vice-President Treasurer Mrs. Harry F. Sweitzer, Jr. Mrs. Gilman W. Conant Secretary Nominating Chairman

Vice-Presidents

Mrs. Eugene B. Doggett, Development Services Mrs. Bela T. Kalman, Youth Activities Ms. Phyllis Dohanian, Fundraising Projects Mrs. Hart D. Leavitt, Regions Mrs. Craig W. Fisher, Tanglewood Mrs. August R. Meyer, Membership Mrs. Mark Selkowitz, Tanglewood Ms. Ellen M. Massey, Public Relations

Chairmen of Regions

Mrs. Thomas M. Berger Ms. Prudence A. Law Mrs. F.L. Whitney Mrs. Charles A. Hubbard Mrs. Robert B. Newman Mrs. Thomas H.P Whitney Mrs. Herbert S. Judd, Jr. John H. Stookey Mrs. Norman Wilson Mrs. Thomas Walker ^sasSEtfS?

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,ua*e *c saN BSO

Ozawa to Lead American Premiere whose symphonic music is scheduled on that of Scenes from evening's BSO concert. Single tickets are Messiaen's "St. Francis of Assisi" available at $16.50. The price of dinner is included. For reservations and further French composer Olivier Messiaen and Seiji information, please call the Volunteer Office at Ozawa made history when Ozawa led the 266-1492, ext. 177. world premiere of Messiaen's six-hour opera St. Francis of Assisi at the Paris Opera in 1983. The opening performance November A Salute Update had been sold out for years, the French press was unanimously enthusiastic, and the work The most important public fundraising event for the Orchestra, Salute was subsequently awarded the Grand Prix de Boston Symphony A WPi la Critique 1984 in the category of French to Symphony (formerly the Musical Mara- world premieres. Messaien worked on his thon), takes place Friday, 11 April through three-act, eight-scene opera for nearly a Monday, 14 April. A project of the Boston decade, composing it to his own libretto, Symphony Association of Volunteers and which traces the spiritual evolution of the chaired by Susan D. Hall, this year's Salute poet-philosopher-monk St. Francis. Next will focus on the theme "Get to Know the month, with Messaien himself in attendance, BSO." WCRB-102.5-FM will devote much of Seiji Ozawa and the Boston Symphony its radio programming to the BSO, featuring Orchestra will give the American premiere of celebrity interviews and musical selections three scenes from St. Francis—"St. Francis from the past thirty years. The broadcast Kisses the Leper," "The Stigmata," and schedule is as follows: Friday, 11 April from "Death and New Life"—with performances in noon to 2 p.m. and 9 to 11 p.m.; Saturday, 12 Symphony Hall on 10, 11, 12, and 15 April, April from 11 a.m. to 1 p.m. and 6 to 8 p.m.; followed by Carnegie Hall performances in Sunday, 13 April from 10 a.m. to midnight; New York on 16 and 17 April. Repeating their and Monday, 14 April from 7 to 11 p.m. The roles from the Paris premiere, baritone Jose kick-off activities, broadcast by WCRB, take van Dam will sing St. Francis and tenor Ken- place at Quincy Market, beginning at noon on neth Riegel the Leper. They will be joined by Friday, and feature Roger Voisin and a stu- soprano Kathleen Battle as the Angel, and the dent brass ensemble. Local performing artists Tanglewood Festival Chorus, John Oliver, will continue to provide midday entertainment conductor. at Quincy Market each day of Salute begin- ning at noon. A highlight of Salute weekend is the elegant brunch and promenade on Sunday, Pre-Concert Supper Series 13 April from 11:30 a.m. to 2:30 p.m. at Subscribers to the BSO evening concerts are Neiman-Marcus, Copley Place, offering delights invited to attend one or all of the outstanding for the ear, the eye, and the palate on all three supper series programs offered during the levels of the store. Tickets are $50 per person 1985-86 season. Sponsored by the Boston and are available by invitation only. To receive Symphony Association of Volunteers, "Supper an invitation, please call the Volunteer Office, Talks" (formerly "Pre-Symphony Suppers") 266-1492, ext. 178. The culmination of A combine dinner and an informative talk by a Salute to Symphony is the live telecast, BSO member. "Supper Concerts" (formerly including a performance by Seiji Ozawa and "Chamber Preludes") give concertgoers the the BSO, on WCVB-TV Channel 5 on Monday, opportunity to hear members of the Boston 14 April from 7:30 to 9 p.m., simulcast on Symphony perform chamber music in the inti- WCRB. Generous corporate support for mate setting of the Cabot-Cahners Room. The Salute has been provided by Neiman-Marcus, final Supper Concert of the season will take Carter Hawley Hale, and Raytheon. Please place at 6 p.m. on 24 April. The one-hour join them and the many Friends of the orches- concert, which is followed by supper in the tra in saluting the great traditions of the BSO Cohen Annex, will feature works by composers and Pops. References furnished request

Aspen Music Festival Liberace Burt Bacharach Panayis Lyras David Bar-Man Marian McPartland Leonard Bernstein Zubin Mehta Bolcom and Morris Metropolitan Opera Jorge Bolet Mitchell-Ruff Duo Boston Pops Orchestra Seiji Ozawa Boston Symphony Orchestra Philadelphia Orchestra Brevard Music Center Andre Previn Dave Brubeck Ravinia Festival David Buechner Santiago Rodriguez Chicago Symphony Orchestra George Shearing Cincinnati May Festival Abbey Simon Cincinnati Symphony Orchestra Georg Solti Aaron Copland Tanglewood Music Center Denver Symphony Orchestra Michael Tilson Thomas Ferrante and Teicher Beveridge Webster Natalie Hinderas Earl Wild Interlochen Arts Academy and John Williams National Music Camp Wolf Trap Foundation for Billy Joel the Performing Arts Gilbert Kalish Yehudi Wyner Ruth Laredo Over 200 others Baldwin® BSO Members in Concert

BSO assistant principal violist Patricia Lexington and on Sunday, 30 March at 3 p.m. McCarty and clarinetist Eric Oddleifson will at Paine Hall, Harvard University. The pro- perform Max Bruch's Double Concerto for clar- gram also includes Haydn's Symphony No. 60, inet and viola with the Hingham Civic Orches- II distratto, Morton Feldman's Intersection #1, tra conducted by John Corley at the South and the Andante from Mendelssohn's E minor Junior High School in Hingham on Sunday, 23 string quartet. Tickets are $6 general admis- March at 4:00 p.m. Tickets are $6 at the door. sion, $4 students, seniors, and special needs. The Newton Symphony Orchestra under its BSO assistant principal flutist Leone Buyse music director Ronald Knudsen will feature will present a faculty recital with Barbara Lister- pianist Anthony di Bonaventura in Rachmani- Sink, piano and voice, in the Concert Room of the noff's Piano Concerto No. 3 on Sunday eve- Boston Conservatory, 8 The Fenway, on Friday, ning, 23 March at 8 p.m. Also on the program 4 April at 8 p.m. The program will include music are Wagner's Siegfried Idyll and Strauss's Till of Telemann, Devienne, Fukushima, Martinii, Eulenspiegel's Merry Pranks. The concert will Roussel, and Prokofiev. Admission is free. be given at Aquinas Junior College, Walnut The Newton Symphony Orchestra under its . n Park, in Newton. Tickets are $8 at the door or music director Ronald Knudsen will perform by advance reservation—call 965-2555. its free annual Youth Concert on Saturday, 5 ^ta The contemporary music ensemble Collage April at 2 p.m. at Newton North High School will present music of John Cage, George auditorium. The program will combine the Walker, Gardner Read, and Mario Davidovsky shadow puppet wizardry of the Underground at the Boston Shakespeare Company Theatre, Railway Puppet Theatre with the orchestra's 52 St. Botolph Street, on Sunday evening, performance of Strauss's Till Eulenspiegel's 23 March at 8 p.m. Guest artists will include Merry Pranks, and will also feature the winner Charles Fussell, conductor, Joan Heller, of the orchestra's Young Soloist Competition. soprano, and the Concert Dance Company of For further information, call 965-2555. Boston. Tickets are $10 general admission, $8 With Thanks for students and senior citizens. For further information, call 437-0231. We wish to give special thanks to the National Ronald Feldman leads the Mystic Valley Endowment for the Arts and the Massachu- Orchestra in a program featuring violinist setts Council on the Arts and Humanities for Jennie Shames in the Dvorak Violin Concerto their continued support of the Boston Sym- on Saturday, 29 March at 8 p.m. at Cary Hall in phony Orchestra.

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Symphony Orchestra, a post he relin- quished at the end of the 1968-69 season.

Seiji Ozawa first conducted the Boston Symphony in Symphony Hall in January 1968; he had previously appeared with the orchestra for four summers at Tanglewood, where he became an artistic director in 1970. In December 1970 he began his inau- gural season as conductor and music director of the San Francisco Symphony Orchestra. The music directorship of the Boston Symphony followed in 1973, and Mr. Ozawa resigned his San Francisco posi- tion in the spring of 1976, serving as music advisor there for the 1976-77 season.

As music director of the Boston Sym- phony Orchestra, Mr. Ozawa has strength- The 1985-86 season is Seiji Ozawa's thir- ened the orchestra's reputation inter- teenth as music director of the Boston Sym- nationally as well as at home, beginning phony Orchestra. In the fall of 1973 he with the BSO's 1976 European tour and, in became the orchestra's thirteenth music March 1978, a nine-city tour of Japan. At director since it was founded in 1881. the invitation of the Chinese government, Born in 1935 in Shenyang, China, to Mr. Ozawa then spent a week working with Japanese parents, Mr. Ozawa studied both the Peking Central Philharmonic Orches- Western and Oriental music as a child and tra; a year later, in March 1979, he returned later graduated from Tokyo's Toho School to China with the entire Boston Symphony of Music with first prizes in composition for a significant musical and cultural and conducting. In the fall of 1959 he won exchange entailing coaching, study, and first prize at the International Competition discussion sessions with Chinese musi- of Orchestra Conductors, Besancon, cians, as well as concert performances. Also France. Charles Munch, then music in 1979, Mr. Ozawa led the orchestra on its director of the Boston Symphony and a first tour devoted exclusively to appear- judge at the competition, invited him to ances at the major music festivals of Tanglewood, where in 1960 he won the Europe. Seiji Ozawa and the Boston Sym- Koussevitzky Prize for outstanding student phony celebrated the orchestra's one-hun- conductor, the highest honor awarded by dredth birthday with a fourteen-city the Berkshire Music Center (now the American tour in March 1981 and an inter- Tanglewood Music Center). national tour to Japan, France, Germany, Austria, in October/November While working with Herbert von Karajan and England that same year. In August/September 1984, in West Berlin, Mr. Ozawa came to the Mr. Ozawa led the orchestra in a two-and- attention of Leonard Bernstein, whom he one-half-week, eleven-concert tour which accompanied on the New York Philhar- included appearances at the music festivals monic's spring 1961 Japan tour, and he was of Edinburgh, London, Salzburg, Lucerne, made an assistant conductor of that orches- and Berlin, as well as performances in tra for the 1961-62 season. His first profes- Munich, Hamburg, and Amsterdam. This sional concert appearance in North February he returned with the orchestra to America came in January 1962 with the San Japan for a three-week tour. Francisco Symphony Orchestra. He was music director of the Ravinia Festival for Mr. Ozawa pursues an active interna- five summers beginning in 1964, and music tional career. He appears regularly with the director for four seasons of the Toronto Berlin Philharmonic, the Orchestre de

8 Paris, the French National Radio Orches- music of Ravel, Berlioz, and Debussy with tra, the Vienna Philharmonic, the Philhar- mezzo-soprano Frederica von Stade and monia of London, and the New Japan the Mendelssohn Violin Concerto with Philharmonic. His operatic credits include Isaac Stern; in addition, he has recorded Salzburg, London's Royal Opera at Covent the Schoenberg/Monn Cello Concerto and Garden, La Scala in Milan, and the Paris Strauss's Don Quixote with cellist Yo-Yo Ma Opera, where he conducted the world for future release. For Telarc, he has premiere of Olivier Messiaen's opera recorded the complete cycle of Beethoven St. Francis ofAssisi in November 1983. piano concertos and the Choral Fantasy Messiaen's opera was subsequently with Rudolf Serkin. Mr. Ozawa and the awarded the Grand Prix de la Critique 1984 orchestra have recorded five of the works in the category of French world premieres. commissioned by the BSO for its centen- Mr. Ozawa will lead the Boston Symphony nial: Roger Sessions's Pulitzer Prize-win- Orchestra in the American premiere of ning Concerto for Orchestra and Andrzej scenes from St. Francis ofAssisi in April Panufnik's Sinfonia Votiva are available on 1986 in Boston and New York. Hyperion; Peter Lieberson's Piano Con- certo with soloist Peter Serkin, John Seiji Ozawa has won an Emmy for the Harbison's Symphony No. 1, and Oily Boston Symphony Orchestra's "Evening at Wilson's Sinfonia have been taped for New Symphony" television series. His award- World records. For Angel/EMI, he and the winning recordings include Berlioz's orchestra have recorded Stravinsky's Fire- Romeo et Juliette, Schoenberg's Gurrelieder, bird and, with soloist Itzhak Perlman, the and the Berg and Stravinsky violin concer- violin concertos of Earl Kim and Robert tos with Itzhak Perlman. Other recordings Starer. with the orchestra include, for Philips, Richard Strauss's Also sprach Zarathustra Mr. Ozawa holds honorary Doctor of and Ein Heldenleben, Stravinsky's Le Sacre Music degrees from the University of Mas- du printemps, Hoist's The Planets, and sachusetts, the New England Conservatory Mahler's Symphony No. 8, the Symphony of of Music, and Wheaton College in Norton, a Thousand. For CBS, he has recorded Massachusetts. or before and after the Symphony, a casual suggestion.

AFE ROfoENADE

Jho

8 O . BUIli T O N

Adjacent to Copley Place. (617) 424-7000.

10 Violas Bass Clarinet Burton Fine Craig Nordstrom Charles S. Dana chair Patricia McCarty Bassoons Anne Stoneman chair Sherman Walt Ronald Wilkison Edward A. Taft chair Robert Barnes Roland Small Jerome Lipson Matthew Ruggiero Bernard Kadinoff Contrabassoon Joseph Pietropaolo Richard Plaster Michael Zaretsky Marc Jeanneret Horns Music Directorship endowed by Betty Benthin Charles Kavalovski John Moors Cabot Mark Ludwig Helen Sagoff Slosberg chair *Roberto Diaz Richard Sebring BOSTON SYMPHONY Daniel Katzen Cellos Jay Wadenpfuhl ORCHESTRA Jules Eskin Richard Mackey 1985-86 Philip R. Allen chair Jonathan Menkis Martha Babcock Vernon and Marion Alden chair Violins Trumpets First Mischa Nieland Malcolm Lowe Charles Schlueter Esther S. and Joseph M. Shapiro chair Roger Louis Voisin chair Concertmaster *Robert Ripley Charles Munch chair Andre Come Max Hobart Luis Leguia Ford H. Cooper chair Acting Associate Concertmaster Carol Procter Charles Daval Helen Horner Mclntyre chair Ronald Feldman Peter Chapman Cecylia Arzewski *Jerome Patterson Acting Assistant Concertmaster Trombones fJoel Moerschel Robert L. Beat, and Sandra and David Bakalar chair Ronald Barron Enid and Bruce A. Beat chair J.P. and Mary B. Barger chair * Jonathan Miller Bo Youp Hwang Norman Bolter Edward and Bertha C. Rose chair *Sato Knudsen Max Winder Bass Trombone John and Dorothy Wilson chair Basses Douglas Yeo Harry Dickson Edwin Barker Forrest Foster Collier chair Harold D. Hodgkinson chair Tuba Gottfried Wilfinger Lawrence Wolfe Chester Schmitz Maria Stata chair Fredy Ostrovsky Margaret and William C. Leo Panasevich Joseph Hearne Rousseau chair Carolyn and George Rowland chair Bela Wurtzler Sheldon Rotenberg Leslie Martin Timpani Muriel C. Kasdon and John Salkowski Everett Firth Marjorie C. Paley chair Sylvia Shippen Wells chair Barwicki Alfred Schneider John *Robert Olson Raymond Sird Percussion Ikuko Mizuno *James Orleans Charles Smith Amnon Levy Peter and Anne Brooke chair Flutes Arthur Press Doriot Anthony Dwyer Assistant Timpanist Second Violins Walter Piston chair Thomas Gauger Marylou Speaker Churchill Fenwick Smith Frank Epstein Fahnestock chair Myra and Robert Kraft chair Vyacheslav Uritsky Leone Buyse Harp Charlotte and Irving W. Rabb chair Ronald Knudsen Piccolo Ann Hobson Pilot Willona Henderson Sinclair chair Joseph McGauley Lois Schaefer Leonard Moss Evelyn and C. Charles Marran chair *Michael Vitale Oboes *Harvey Seigel Ralph Gomberg *Jerome Rosen Mildred B. Remis chair * Personnel Sheila Fiekowsky Wayne Rapier Managers *Gerald Elias Alfred Genovese William Moyer Ronan Lefkowitz Harry Shapiro *Nancy Bracken English Horn Librarians *Joel Smirnoff Laurence Thorstenberg *Jennie Shames Phyllis Knight Beranek chair Marshall Burlingame *Nisanne Lowe William Shisler *Aza Raykhtsaum Clarinets James Harper Harold Wright * Lucia Lin Ann S.M. Banks chair Stage Manager * Participating in a system of rotated Thomas Martin Position endowed by seating within each string section. Peter Hadcock Angelica Lloyd Clagett t On sabbatical leave. E-flat Clarinet Alfred Robison

11 How to conduct yourself on Friday night.

Aficionados of classical music can enjoy the Boston Symphony Orchestra every7 Friday night at 9 o'clock on WCRB 102. 5 FM. Sponsored in part by Honeywell.

Honeywell

12 —

A Brief History of the Boston Symphony Orchestra

For many years, philanthropist, Civil War personality proved so enduring that he veteran, and amateur musician Henry Lee served an unprecedented term of twenty- Higginson dreamed of founding a great and five years. orchestra in his town of permanent home In 1936, Koussevitzky led the orchestra's Boston. His vision approached reality in first concerts in the Berkshires, and a year the spring of 1881, and on 22 October that later he and the players took up annual year the Boston Symphony Orchestra's summer residence at Tanglewood. inaugural concert took place under the Koussevitzky passionately shared Major of conductor Georg Henschel. For direction Higginson's dream of "a good honest nearly twenty years, symphony concerts school for musicians," and in 1940 that were held in the old Boston Music Hall; dream was realized with the founding at Hall, the orchestra's present Symphony Tanglewood of the Berkshire Music Center home, and one of the world's most highly (now called the Tanglewood Music Center), regarded concert halls, was opened in 1900. a unique summer music academy for young Henschel was succeeded by a series of artists. German-born and -trained conductors Wilhelm Gericke, Arthur Nikisch, Emil Expansion continued in other areas as Paur, and Max Fiedler—culminating in the well. In 1929 the free Esplanade concerts appointment of the legendary Karl Muck, on the Charles River in Boston were inau- who served two tenures as music director, gurated by Arthur Fiedler, who had been a 1906-08 and 1912-18. Meanwhile, in July member of the orchestra since 1915 and 1885, the musicians of the Boston Sym- who in 1930 became the eighteenth conduc- phony had given their first "Promenade" tor of the Boston Pops, a post he would concert, offering both music and refresh- hold for half a century, to be succeeded by ments, and fulfilling Major Higginson's John Williams in 1980. The Boston Pops wish to give "concerts of a lighter kind of celebrated its hundredth birthday in 1985 music." These concerts, soon to be given in under Mr. Williams's baton. the springtime and renamed first "Popu- Charles Munch followed Koussevitzky as lar" and then "Pops," fast became a music director in 1949. Munch continued tradition. Koussevitzky's practice of supporting con-

During the orchestra's first decades, temporary composers and introduced much there were striking moves toward expan- music from the French repertory to this sion. In 1915, the orchestra made its first transcontinental trip, playing thirteen con- certs at the Panama-Pacific Exposition in San Francisco. Recording, begun with RCA in the pioneering days of 1917, continued with increasing frequency, as did radio broadcasts of concerts. The character of the Boston Symphony was greatly changed in 1918, when Henri Rabaud was engaged as conductor; he was succeeded the following season by Pierre Monteux. These appoint- ments marked the beginning of a French- oriented tradition which would be main- tained, even during the Russian-born Serge Koussevitzky's time, with the employment of many French-trained musicians.

The Koussevitzky era began in 1924. His extraordinary musicianship and electric Henry Lee Higginson

13 m

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America's Tax-Free Investment. country. During his tenure, the orchestra abroad, and his program of centennial com- toured abroad for the first time, and its missions—from Sandor Balassa, Leonard continuing series of Youth Concerts was ini- Bernstein, John Corigliano, Peter Maxwell

tiated. Erich Leinsdorf began his seven- Davie s, John Harbison, Leon Kirchner, year term as music director in 1962. Peter Lieberson, Donald Martino, Andrzej Leinsdorf presented numerous premieres, Panufnik, Roger Sessions, Sir Michael restored many forgotten and neglected Tippett, and Oily Wilson—on the occasion works to the repertory, and, like his two of the orchestra's hundredth birthday has predecessors, made many recordings for reaffirmed the orchestra's commitment to RCA; in addition, many concerts were tele- new music. Under his direction, the orches- vised under his direction. Leinsdorf was tra has also expanded its recording activi- also an energetic director of the Tangle- ties to include releases on the Philips, wood Music Center, and under his lead- Telarc, CBS, Angel/EMI, Hyperion, and ership a full-tuition fellowship program was New World labels. established. Also during these years, the Boston Symphony Chamber Players were From its earliest days, the Boston Sym- founded, in 1964; they are the world's only phony Orchestra has stood for imagination, permanent chamber ensemble made up of a enterprise, and the highest attainable stan- major symphony orchestra's principal dards. Today, the Boston Symphony players. Orchestra, Inc., presents more than 250 concerts annually. Attended by a live audi- William Steinberg succeeded Leinsdorf ence of nearly 1.5 million, the orchestra's in 1969. He conducted several American performances are heard by a vast national and world premieres, made recordings for and international audience through the Deutsche Grammophon and RCA, media of radio, television, and recordings. appeared regularly on television, led the Its annual budget has grown from 1971 European tour, and directed concerts Higginson's projected $115,000 to more on the east coast, in the south, and in the than $20 million, and its preeminent posi- mid-west. tion in the world of music is due not only to Seiji Ozawa, an artistic director of the the support of its audiences but also to Tanglewood Festival since 1970, became grants from the federal and state govern- the orchestra's thirteenth music director in ments, and to the generosity of many foun- the fall of 1973, following a year as music dations, businesses, and individuals. It is adviser. Now in his thirteenth year as music an ensemble that has richly fulfilled director, Mr. Ozawa has continued to solid- Higginson's vision of a great and perma- ify the orchestra's reputation at home and nent orchestra in Boston.

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

15 ri«

LISTEN TO WCRB-102.5-FM WATCH WCVB-TV CHANNEL 5

Hear celebrity interviews, historic performances, trivia Seiji Ozawa conducts the Boston Symphony Orchestra

contests, and more! in a live performance. Join Chet Curtis, Natalie Jacob- son, Frank Avruch, and Lisa Karlin as they salute the Friday, April 1 1 : noon to 2 p.m. great traditions of the BSO and Pops, Monday, April 14 9 to 1 1 p.m. from 7:30 to 9 p.m., simulcast on WCRB. Call Saturday, April 12: 1 1 a.m. to 1 p.m. 262-8700 and give your pledge to one of the volunteer 6 to 8 p.m. telephone operators. Sunday, April 13: 10 a.m. to midnight

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under the Rotunda. Performances take place on each Tickets, priced at $50 per person, are available by

day of Salute to Symphony beginning at noon. Join invitation only. To receive an invitation, please call

the fun! the Volunteer Office, 266-1492, ext. 178.

If you contribute $40 or more to Salute to Symphony, you become a Friend of the BSO and help the

orchestra maintain the highest artistic standards. You will receive a membership card which entitles you to

the following benefits:

• a special "Friends Day" at Symphony Hall, which includes a BSO musical program,

tours of the Hall, and an exclusive one-day-only discount at the Symphony Shop

• invitations to the annual new Friends reception and other special events

• the opportunity to purchase tickets for the opening night concerts of the BSO and Pops

in advance of public sale

• a subscription to BSO, the quarterly newsletter of the orchestra

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16 BOSTON SYMPHONY ORCHESTRA

Seiji Ozawa, Music Director

One Hundred and Fifth Season, 1985-86

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

CHRISTOPH ESCHENBACH conducting

ZIMMERMAN Photoptosis, Prelude for large orchestra

SCHOENBERG Verklarte Nacht, Opus 4

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SCHUMANN Symphony No. 2 in C, Opus 61 Sostenuto assai—Allegro ma non troppo

Scherzo: Allegro vivace; Trio I; Trio II Andante espressivo Allegro molto vivace

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NAD(USA) INC. • 675 CANTON STREET • NORWOOD, MA 02062, U.S.A. Bernd Alois Zimmermann Photoptosis, Prelude for large orchestra

Bernd Alois Zimmermann was born on 20 March 1918 at Bliesheim, near Cologne, Germany, and died on 10 August 1970 in Konigsdorf. He composed Photoptosis ("Incidence of Light") in 1968—complet- ing the score in November—on a commis- sion to celebrate the one-hundredth anniversary of the Municipal Savings Bank of Gelsenkirchen, a small city on the Ruhr. It was first performed there on 14 February 1969 by the Gelsenkirchen Civic Orchestra under the direction of Ljubomir Romansky. Michael Gielen con-

ducted the first American performance with the National Symphony Orchestra at the Kennedy Center on 30 August 1972. The present performances are the first by the Boston Symphony Orchestra of any work by Zimmermann. The score of Photoptosis calls for two piccolos, four flutes, three oboes, English horn, four clarinets, two basset horns, bass clarinet, three bassoons and contrabassoon, five horns, four trumpets, bass trumpet, four trombones, contrabass trom- bone, tuba, organ, harp, piano, celesta, timpani, cymbals, antique cymbals, suspended cymbals, three triangles of different sizes, two gongs, large tam-tam, side drum, tenor drum, bass drum, three tom-toms, maracas, and strings.

In recent years, Bernd Alois Zimmermann has gradually been recognized as a particularly significant figure in contemporary music. But this recognition came tragically late, only after the composer carefully and deliberately put an end to his own life at the age of fifty-two. Zimmermann belonged to that generation of Germans whose adolescence was essentially nonexistent, whose childhood ended in enforced military service for the glorification of a state and a tyrant. A deeply religious man educated until age seventeen at a boarding school run by the Convent of the Salva- torians at Steinfeld in the Rhineland, Zimmermann first pursued interests in litera- ture and art, though he was also learning to play the organ. At graduation from high school, he planned to pursue a degree in classical philology, but music was becoming a more powerful influence, and in 1939, at the age of twenty-one, he enrolled in the Musikhochschule in Cologne. His education was violently interrupted by his conscrip- tion into the German army the following year, quite against his will (he once wrote in a letter that he never fired a shot at anyone during his entire period in the army). Military service in France did afford him his first acquaintance with scores by Stravinsky and Milhaud, both of whom proved to be influential in his work. Following a period spent in a military hospital in 1942, he was able to resume intermittent studies with his teachers, Heinrich Lemacher, the leading Catholic church musician of his time, and Philipp Jarnach, himself a pupil of Busoni.

But Zimmermann's education was really only completed when he enrolled in the Darmstadt summer courses in the late '40s—and by then a younger generation of talented musicians (including Henze and Stockhausen) was already on the scene. It must have seemed as if his own generation never had a real chance of making its mark. Certainly Zimmermann's own career moved in fits and starts, at least as far as performance and public recognition was concerned. His musical ideas were enriched by his wide knowledge of literature, and he frequently employed ideas drawn from medieval Catholic philosophy. This is particularly apparent in his conception of time, which saw past, present, and future as existing together in a unity (a notion drawn

19 Week 17 .

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20 from the teaching of St. Augustine). One musical result of this view was his predilec- tion for musical collage, for the quotation of musical ideas from older works embedded (sometimes obviously, sometimes very subtly) in his own. The listener was not necessarily expected to hear and recognize all of them (though some, surely, will be unmistakable). Each quotation is an element that once existed in a historical context, which has been stripped away. The absolute details of pitch and rhythm remain as an ingredient in the new musical structure, where it becomes one of many elements in a pluralist universe. The influence of literary techniques espoused by James Joyce and Ezra Pound and of certain techniques of modern art may have played a role.

Zimmermann once described himself as a Rhenish mixture of monk and Dionysian. His music could be ascetic and compressed, with short works of solitude and stillness. Virtually all of his scores—except, significantly, the work he com- pleted just before his suicide—were signed with the letters OAMDG, referring to the Jesuit motto Omnia ad majorem Dei gloriam ("All things to the greater glory of God"). The Dionysian element reveals itself in strong rhythmic profiles (many of his works have been choreographed) and in a love of rich orchestral color.

Zimmermann's life was marked by a continuing personal struggle to reconcile the idea of God with a world filled with war, torture, and tyranny. The questions inherent in this contrast are perhaps most explicitly asked in his gigantic, inclusive opera Die Sot date n (The Soldiers, 1958-64; Bostonians may recall Sarah Caldwell's powerful production of a few years ago), designed to include multiple stages and multi-media. Based on a revolutionary German play of 1775 by the short-lived dramatist Jakob- Michael-Reinhold Lenz, it consists of a series of brief scenes describing the human and social situation, but without a simple linear plot. Zimmermann expanded on this WANTED HELP

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22 notion by superimposing musical scenes and filmed images. The first version of the opera concluded with a finale planned for twelve stages simultaneously; though he ultimately simplified this plan, the work as finished and finally performed is none- theless among the most complex ever written for the opera house. It is widely regarded in Germany as the most important opera to be composed in this century since the work of Alban Berg.

Next to Die Soldaten, the work regarded as Zimmermann's masterpiece is his Requiem fur einen jungen Dichter (Requiem for a Young Poet); it is dedicated to the memory of three poets who committed suicide in their youth: Vladimir Mayakovsky, Sergei Yesenin, and Konrad Bayer. He completed the score scarcely a year before his own suicide. It is a dramatically pluralistic work, calling for a speaker, soprano and baritone soloists, three choirs, electronic sounds on tape, a jazz combo, organ, and an orchestra without violins or violas. The chorus sings passages from the Requiem Mass and the tape tracks add musical and spoken collages in seven languages, including the recorded voices of Hitler and Stalin, sounds of the sea, and the noise of tanks and fighting planes. The 65-minute work represents a view of a half-century of world history (in Harry Halbreich's words) "through the perspective of a Chris- tian conscience and the experience of a hypersensitive ardently committed human individual."

Zimmermann's increasingly dark view of the world was compounded by difficulties in achieving recognition for his own work (at the time of his death scarcely any of his music had been performed outside of Germany) and by deteriorating health. He spoke of an "insidious illness," but nothing further is known about it. Evidently he made a careful decision to end his life—an especially poignant one for a man of his religious

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24 views—and to do so systematically and with thorough premeditation. He finished composing the music for all his outstanding commissions. When filmmaker Horst Brienek asked him to score the music for his next film, Zimmermann wrote a postcard stating that he was "no longer available." The choice of postcard is striking: it was a picture of the Italian author Cesare Pavese (himself a suicide) with a quotation from Pavese's most famous poem, Verra la morte ("Death will come"). In early August 1970, Zimmermann sent his wife and children away on vacation. He put the finishing touches to his final composition, a setting of words from Ecclesiastes ("I turned and saw all the injustice that is done under the sun") elaborated into a despairing view of the human situation, ending in utter loneliness: an interrupted quotation of the Bach chorale Es ist gemig ("It is enough"—the same chorale quoted by Berg in his Violin Concerto) and a single sustained C from a trombone located in the audience. Having completed the score, he calmly put an end to his life. Having offered the foregoing discussion of Zimmermann's two largest—and perhaps greatest—works, it is necessary to add that Photoptosis is something of an exception in his output. The very title, a Greek word meaning "incidence of light," suggests an altogether brighter sort of composition. This is, in fact, an exercise in color, though by no means lacking in the collage element that is so much a part of Zimmermann's world. It is also (according to Halbreich) "one of the very few works of peace and inner poise by that great tortured artist: the last beam of light before the final plunge into the abyss of despair."

The thirteen-minute work is constructed mostly of sustained chords of very particular kinds of sounds: harmonics played sul ponticello for the violins at the very opening; three flutes respectively triple-tongued, double-tongued, and flutter- tongued. The dynamic level is very low. Chords are sustained in one group of instruments or another, punctuated by little whispery gestures in contrasting instru- ments. The dynamic level builds (with more frequent instrumental attacks) to a climax interrupted by a quotation of the dramatic phrase that opens the last movement of Beethoven's Ninth Symphony. Even as this occurs, the organ begins the ancient hymn Veni Creator Spiritus (Come, Creator Spirit). Flute and solo violin quietly allude to Skryabin's Poem of Ecstasy, into which the scherzo of Beethoven's Ninth inserts itself, and the violas begin an arpeggiated figure from Wagner's Parsifal. Over this the woodwinds, in long sustained notes, hymn Veni Creator Spiritus, and Bach's Brandenburg Concerto No. 1 is heard in scattered references against the celesta's summoning up of the Sugar Plum Fairy from Tchaikovsky's Nutcrackerl This collage section ends with a return to the coloristic play that opened the work, and the music gradually builds to a shattering climax for the entire large ensemble. —Steven Ledbetter

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Arnold Sch'onberg was born in Vienna on ".:,. . 13 September 1874 and, having changed mmm the spelling of his name to Schoenberg after coming to the United States in 1933, died in Brentwood Park, Los Angeles, California, on 13 July 1951. He composed his string sextet Verklarte Nacht (Trans- figured Night) in the last half of 1899; the completed score is dated 1 December. In 1917 he arranged the work for string orchestra without changing any actual notes; he multiplied the number of play- ers and called for double basses to rein- force the cello line at certain points. A further revision in 1943 involved mostly thinning out the texture and reducing the plethora of expression marks. The origi- nal version received its first performance at the Vienna Tonkunstlerverein on 18 March 1902 by the Rose Quartet with an extra violist and cellist. The American premiere was given in Boston in a concert by the Kneisel Quartet on 16 March 1915. Pierre Monteux introduced the orchestral version to the Boston Symphony Orchestra repertory on 25 November 1921. Schoenberg himself conducted it in Cambridge in January 1934 and was to have repeated the performance in Symphony Hall, but illness caused him to be replaced by Richard Burgin. Serge Koussevitzky and Erich Lei nsdorf also led performances here. The most recent performances in Boston and at Tangle wood took place in 1974 under the direction of Seiji Ozawa. The score calls for string orchestra divided into first and second violins, first and second violas, and first and second cellos, with double bass parts occasionally reinforcing the bass line.

Arnold Schoenberg, a giant among twentieth-century composers, wrote Verklarte Nacht, his most popular and most frequently performed score, at the very end of the nineteenth century. Its popularity certainly has something to do with its very palpable links to the era that was coming to an end, but it is at the same time a remarkably forward-looking work, anticipating the composer that Schoenberg became.

Throughout the 1890s Schoenberg had composed string quartets, the medium that he knew best as a performer (he played the cello). Most of these he destroyed, but one score, an enormously assured and competent string quartet in D, dating from 1897, shows how much he had learned in his self-directed study and his few formal lessons with his friend Alexander von Zemlinsky. Yet even this could scarcely prepare us for the artistic maturity of the string sextet he was to create two years later.

Like so many Schoenberg scores, Verklarte Nacht (Transfigured Night) was com- posed at a furious pace. The bulk of the work was completed in three weeks in September 1899, though the manuscript shows signs of revision, and the composer was not ready to sign and date his score until 1 December. He began the work while on vacation in Payerheim with Zemlinsky, whose sister Mathilde was also there; she and Schoenberg were, in fact, in the process of falling in love. (They married two years later.)

The overt inspiration was a poem by the German writer Richard Dehmel (1863-1920), whose Weib und Welt (Woman and World) had made something of a stir at its publication in 1896—including attention from governmental censors, who found some of the poems

27 Week 17 offensive. Schoenberg obviously came to know Dehmel's book as soon as it was pub- lished; some of his earliest songs (in his Opus 2 and Opus 3) were settings of texts from Weib und Welt, and his earliest undisputed masterpiece was inspired by a poem,

Verklarte Nacht, that appears in the first edition of that book (it was later put into another Dehmel book, the verse novel Zwei Menschen [1903], the title of which reflects the opening words of the poem). Quite aside from its evocative depiction of two lovers walking together through the night (which might be presumed to have attracted the composer's attention under the circumstances), Verklarte Nacht was a natural choice as an inspiration for musical setting, since Dehmel's poem is laid out almost in a musical way. The last line, for example, is a tranformed echo of the opening line, a device that Schoenberg brilliantly mirrors in the music.

The poem is laid out in five short sections, of which the first, third, and fifth are impersonal narration describing the unnamed woman and man who are walking along on a moonlit night. At first the natural surroundings seem cold and bare. The second is a speech by the woman, who confesses that she is pregnant with another man's child. She explains that, before she met her companion, she had felt that motherhood would provide her with purpose. Now she has fallen in love with him and must confess her fault. The man's response comprises the fourth section of the poem. He is understanding and magnanimous. The radiance of the natural world convinces him that the love they feel will draw them together and make the child theirs as well. The poem closes with another description of the moonlit night—now bright with hope.

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28 Verklarte Nacht Transfigured Night Zwei Menschen gehn durch kahlen, kalten Two people move through the bare, cold Hain; grove; der Mond lauft mit, sie schaun hinein. The moon runs alongside, they look up into it. Der Mond lauft iiber hohen Eichen, The moon glides over high oaks, kein Wolkchen triibt das Himmelslicht, no bit of cloud darkens the sky's light, in das die sehwarzen Zaeken reichen. toward which the black branches reach. Die Stimme eines Weibes spricht: The voice of a woman speaks:

Ich trag ein Kind, und nit von Dir, "I bear a child that is not yours, Ich geli in Siinde neben Dir. I walk in sin beside you. Ich habe mich schwer an mir vergangen. I have grievously offended. Ich glaubte nicht mehr an ein Gliick I believed no more in good fortune und hatte doch ein schwer Verlangen and yet had a deep longing nach Lebensinhalt, nach Muttergliick for a meaning to my life, for maternal joy und Pflicht; da hab ich mich erfrecht, and responsibility; so I grew shameless, da Hess ich schaudernd mein Geschlecht I allowed myself to yield, shuddering, von eineni fremden Mann umfangen, to the embrace of an unknown man, JOT und hab mich noch dafiir gesegnet. and have been blessed in this way. Nun hat das Leben sich geracht: Now life has taken revenge: nun bin ich Dir, o Dirbegegnet. for now I have met you—ah, you."

Sie geht mit ungelenkeni Schritt. She walks with faltering step. Sie schaut empor; der Mond lauft mit. She looks up; the moon runs alongside. Ihr dunkler Blick ertrinkt in Licht. Her dark gaze is flooded with light. Die Stimme eines Mamies spricht: The voice of a man speaks:

Das Kind, das Du empfangen hast, "May the child that you have conceived sei Deiner Seele keine Last, be no burden to your soul. o sieh, wie klar das Weltall schimmert! Look how the universe glimmers! Es ist ein Glanz um Alles her, There is a splendor all around, Du treibst mit mir auf kalteni Meer, you are sailing with me on a cold sea, doch eine eigne Warnie flimmert yet a special warmth flickers von Dir in mich, von mir in Dich, from you to me, from me to you, Die wird das fremde Kind verklaren, which will transfigure that child of another;

Du wirst es mir, von mir gebaren. you will bear it to me, by me. Du hast den Glanz in mich gebracht, You have kindled the splendor within me, Du hast mich selbst zum Kind gemacht. you have turned even me into a child."

Er fasst sie um die starken Hiiften. He caught her round her strong hips. Ihr Atem kusst sich in den Liiften. Their breaths kissed in the air. Zwei Menschen gehn durch hohe, helle Two people move through the high, bright Nacht. night. —Richard Dehmel —translation by S.L.

Perhaps the biggest surprise in the score is Schoenberg's decision to write a piece of program music on this scale for a chamber ensemble. It would not be the first such work, certainly; Smetana's string quartet "From My Life" had programmatic ele- ments, but this is far more closely organized according to a literary model. At the same time, the particular medium chosen by Schoenberg was a new one for him: the string sextet, pairs of violins, violas, and cellos. It is a medium that had twice been employed by Brahms, a composer of whom Schoenberg was a great admirer. Yet the musical style reflects Schoenberg's new absorption of Wagnerian chromatic harmo- ny, which is evident throughout Verklarte Nacht. (Indeed, one of the most notorious comments ever made about the score came from one of the program reviewers of the Vienna Tonkiinstlerverein who was charged with deciding whether to recommend the work for performance: it looked, he said, as if the score of Tristan had been smeared while the ink was still wet.)

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For all its reflection of the original poem, though, Verkl'drte Nacht thoroughly transcends the usual point-to-point descriptiveness of run-of-the-mill romantic pro- gram compositions and provides a thoroughly satisfying musical shape in its own terms. It is the first of several works Pelleas und Melisande, the First String Quartet, and the First Chamber Symphony were to follow—laid out as large single- movement sonata compositions. This one is, in fact, a double sonata. Its organization reflects Dehmel's poem, with five sections—three representing the narrative lines, and two (the second and fourth) representing the words spoken by the woman and the man. The narrative portions are relatively brief. But the two sections represent- ing the human emotions and interaction are full-scale sonata forms. The first of these sonatas is in D minor, the second in D major (though it must be remembered that these keys are already stretched to the limits of tonal function). Moreover, the second is built out of musical ideas that are affirmations of expressive ideas pre- sented more tentatively in the first. This can be seen, from the literary point of view, as a reflection of the anguish and the tentativeness of the woman on the one hand and the magnanimous confidence of the man on the other. But it functions equally well from a purely abstract musical point of view, with the second sonata section truly completing and "transfiguring" the first. Schoenberg is so prodigal in invent-

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The first page of the autograph score of "Verkl'drte Nacht" in the original version for string sextet

31 Week 17 .

ing gradual transformations of his themes that the listener will be able to discover new relationships even after many hearings of the score. The examples given here barely begin to indicate the wealth of his imagination.

The nocturnal scene with its two figures walking along in the moonlight is represented by a soft marchlike descending line, heard in rather bare, cold fashion at the outset,

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but transformed at the very end of the score into something shimmering with light.

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32 The first sonata-form section, in the minor mode, includes the following two-level theme divided between cello and upper parts:

Later on this very Tristanesque material is heard as a "second theme": E§ ^ tHO t-*^ ?W^**s=4 ^rn«m_>m^i "v fl_If: f

The second sonata-form section opens with this characteristic figure in the first cellos: m i but it immediately develops thematic ideas heard earlier as well, now predominantly in the major. The developing changes of sonority reinforce the melodic procedures to provide a rich, satisfying conclusion in which the "transfiguration" of the night is musically suggested by Schoenberg's eloquent and shimmering transformation of the opening music.

It is something of a commonplace for audiences to express regret that Schoenberg did not go on composing in the style of Verkldrte Nacht. Schoenberg was well aware of this desire on the part of listeners, and he explained, shortly before his death, "It was not given to me to continue writing in the style of Verkldrte Nacht . . . Fate led me along a harder path." Yet he also recognized more fundamentally, "I have not discontinued composing in the same style and in the same way as at the very beginning. The difference is only that I do it better now than before; it is more concentrated, more mature." In this comment he reveals how much of a piece his early sextet is with his entire output, how much of the essential Schoenberg is already revealed.

—S.L.

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34 Robert Schumann Symphony No. 2 in C, Opus 61

Robert Alexander Schumann was born at Zwickau, Saxony, on 8 June 1810 and died at Endenich, near Bonn, on 29 July 1856. He began work on the Symphony No. 2 in the latter part of 1845 and com- pleted it the following year. Numbered second in order of publication, it was actually his third symphony to be com- posed, for both the First Symphony and the D minor (known in its revised and final form as the Fourth) had been written in 1841. Felix Mendelssohn conducted the

first performance of the Second Sym- phony on 5 November 1846 at the

Gewandhaus in Leipzig. The first per- formance in this country was given by the Philharmonic Society of New York under the direction of Theodor Eisfeld on

14 January 1854. Boston first heard the Schumann Second when Carl Zerrahn conducted the orchestra of the Harvard Musical Association at the Music Hall on 1 March 1866. The Boston Symphony Orchestra first played it on the tenth program of its inaugural season, on 31 December 1881; Georg Henschel conducted. The Second has also been performed by the BSO under the direction of Wilhelm Gericke, Arthur Nikisch, Franz Kneisel, Emil Paur, Max Fiedler, Henri Rabaud, Pierre Monteux, Serge Koussevitzky, Dimitri Mitropoulos, George Szell, Leonard Bernstein, Charles Munch, Erich Leinsdorf, Lorin Maazel, James Levine, and Joseph Silverstein, who led the most recent Tanglewood performance in 1980. Andrew Davis gave the most recent subscription performances in November 1983. The score calls for two flutes, two oboes, two clarinets, two bassoons, two horns, two trumpets, three trombones, timpani, and strings. At these performances, Christoph Eschenbach conducts the symphony in Schumann's original orchestration.

Schumann suffered a physical breakdown attributed to overwork in 1842 and a much more serious one in August 1844. The second time his condition was ominous: constant trembling, various phobias (especially the fear of heights and of sharp metallic objects), and worst of all, tinnitus, a constant noise or ringing in the ears, which made almost any musical exercise—playing or composing—impossible.* It was not the first time Schumann had been prey to depression so severe that he was unable to work (he had already suffered bouts of "melancholy" in 1828, October 1830, much of 1831, autumn 1833, September 1837, and at various times in 1838 and 1839), but this time the depression was accompanied unmistakably by serious medical indications. It was also doubly unwelcome because of the several extraor- dinarily good years, filled with prolific composition, that he had enjoyed following his marriage to Clara Wieck in 1840; he may even have thought that conjugal felicity had cured his emotional problems. But 1844 was the worst year yet; this time, even with his beloved Clara always at hand to help, he could not overcome his depression.

"There is still a great deal of debate about Schumann's health problems and their causes. One school of thought, which has generally predominated, holds that the tinnitus was one of the first signs of tertiary syphilis, which is also held responsible for Schumann's eventual insanity and death. The latest study of Schumann's medical history, though, demonstrates that his mental

instability showed up already in the composer's early teens, so that it could not have been the result of syphilis. Schumann's medical and emotional history is thoroughly (and fascinatingly) discussed in Peter Ostwald's Schumann: The Inner Voices of a Musical Genius (Northeastern).

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36 Writing music was out of the question; it took weeks even to write a letter. His recuperation took over a year, during which he composed virtually nothing. Then in 1845 he directed his energies toward a thorough study of Bach and composed some fugal essays. But the first completely new large composition after his breakdown was the Symphony in C, published as Opus 61 and labeled second in the series.

Much of Schumann's music is intensely personal in ways more specific than simply reflecting the composer's emotional state. Listening to many of his pieces is like reading a private letter or an intimate diary. He delighted in ciphers and codes, often (in his earlier years) encoding the name or home town of a sweetheart into his music. After he met Clara, the secret messages were directed to her. But with the exception of one passage in the last movement, the Second Symphony is remarkably "classical" in conception, devoid of any apparent literary program or inspiration. If anything, it is inspired by a purely musical source, the heroic symphonies of Beethoven, in which a subdued mood at the opening resolves through heroic struggle to triumph at the end.

More than any of his other symphonies, the Second reveals a progression of mental states reflecting the composer's own life. Three years after its composition he wrote to D.G. Otten, the music director in Hamburg, who had inquired about the work, to say:

I wrote my symphony in December 1845, and I sometimes fear my semi- invalid state can be divined from the music. I began to feel more myself when I wrote the last movement, and was certainly much better when I finished the whole work. All the same it reminds me of dark days.

The opening slow section does suggest "dark days" despite the presence of the brass fanfare in C major. Schumann purposely undercuts the brilliant effect of that opening motto with a chromatic, long-breathed phrase in the strings that contradicts

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one's normal expectations of either joy or heroism. And in the Allegro, the sharply dotted principal theme affects a heroic air, but the chromatic secondary theme denies any feeling of conquest. The development provides an elaborate treatment of all the motivic material presented thus far and ends with an almost Beethovenian power in the return to the recapitulation.

Perhaps it was the high emotional level of the first movement that caused Schumann to put the scherzo second, thus allowing a further release of energy before settling down to the lavish lyricism of the Adagio. The scherzo is officially in C major, like the opening movement, but the very opening, on a diminished-seventh chord (which is brought back again and again), belies once more the qualities we normally expect of C major; this scherzo is no joke. The basic groundplan is one of Schumann's own invention, elaborated from Beethoven's Fourth and Seventh sym- phonies, in which the main scherzo section comes round and round again in double alternation with the Trio. Schumann's innovation is to employ two Trios; the second of these has a brief fugato with the theme presented both upright and upside down a reminder of Schumann's Bach studies earlier in 1845. The motto fanfare of the first movement recurs in the closing bars to recall the continuing and still abortive heroic search.

The Adagio, though delayed from its normal position as the second movement, is well worth waiting for. Here the passion of the musical ideas, the delicacy of the scoring, and Schumann's masterful control of tension and release create a high- voltage sense of yearning. The songlike theme is of an emotional richness not found elsewhere in the symphony, a soaring-upward of large intervals (sixth, octave) return- ing in a pair of sequential descending sevenths that suggest Elgar before the fact.

The last movement has always been the most controversial. Tovey called it incoher- ent, and partisans have both attacked and defended it. Schumann himself insisted that he felt much better while writing it and that his improved condition was reflected in the quality of the music. The movement certainly projects an affirmative character; the second theme, derived from the emotional melody of the third movement, briefly attempts to recall the past, but it is overwhelmed by the onrush of energy. The most unusual formal aspect of the movement is the fusion of development and recapitula- tion, ending in the minor key. An extended coda is therefore necessary to motivate a confident ending—and in this case the coda is almost half the length of the movement! Now, for the first time in this symphony, we may be intruding on one of Schumann's private messages: we hear an elaborate coda-development of a totally new theme, one used earlier by Schumann in his piano Fantasie, Opus 17; it had been borrowed, in its turn, from Beethoven's song cycle An die feme Geliebte, where it was a setting of the words "Nimm sie hin denn diese Lieder" ("Take, then, these songs of mine"). In the

Fantasie, Schumann was unmistakably offering his music to Clara; here, too, it seems, he is offering the music to her, though now the void that separates him from his "distant beloved" is no longer physical but psychological.

The very ending brings back the fanfare motto from the first movement in an assertion of victory, but this victory, unlike Beethoven's in the Fifth Symphony, is a triumph of will power, almost of self-hypnosis. Schumann could not foresee, when he finished Opus 61, that the truly "dark days" still lay ahead. —S.L.

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The fullest information I have found anywhere about Zimmermann is a fine survey of his life and works, "Requiem for a Suicide," by Harry Halbreich, published in the English periodical Music and Musicians in September 1972. Photoptosis has been recorded by the Berlin Radio Symphony under the direction of Hans Zender (Wergo, coupled with Zimmermann's Concerto en forme de "pas de trois" for cello and orchestra [featuring Siegfried Palm] and his Tratto II, a choreographic study for tape). Other Zimmermann works currently available on record include the early (1950) Concerto for violin and orchestra, performed by Suzanne Lautenbacher with the Radio Orchestra of Luxembourg under Siegfried Kohler (Candide; coupled with Hans Werner Henze's Violin Concerto) and the massive and powerful opera, Die Soldaten, in a studio recording made in Cologne under the direction of Michael Gielen (Wergo, three records).

H.H. Stuckenschmidt's Schoenberg (Schirmer) is the fullest and most up-to-date biographical study, but it says little about the music. Discussion of Schoenberg is often tendentious or highly technical, but Charles Rosen's Arnold Schoenberg (Vik- ing paperback), a general introduction aimed at that mythological creature the "intelligent layman," avoids many of the pitfalls. Anthony Payne's Schoenberg in the Oxford Studies of Composers (Oxford paperback) is a fine discussion in rather more technical detail. Arnold Whittall's Schoenberg Chamber Music in the BBC Music Guides series (University of Washington paperback) has some penetrating comments on Verkl'drte Nacht. But the most enlightening discussion by far appears in Richard Swift's "l/XII/99: Tonal Relations in Schoenberg's Verkl'drte Nacht," which was the very first article published in the first issue of Nineteenth-Century Music (1977); the

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42 figures in the title of Swift's article represent the date of completion that Schoen- berg marked on his score—1 December 1899. Not surprisingly, Verklarte Nacht enjoys more recordings than any other work of Schoenberg's. Almost sinfully sensuous is the version by the Berlin Philharmonic under the direction of Herbert von Karajan; this is part of a four-record box containing some of the best perform- ances ever put on vinyl of music by Schoenberg, Berg, and Webern (DG; coupled with Schoenberg's Pelleas und Melisande and the Variations for Orchestra, Berg's Lyric Suite and Three Pieces for Orchestra, and Webern's Five Pieces and Six Pieces for Orchestra, Passacaglia, and Symphony). Von Karajan's reading is also available on a single disc, coupled with Wagner's Siegfried Idyll. One orchestral version well worth looking out for (it has unfortunately been deleted) features Leopold Stokowski conducting his Orchestra (Seraphim; the flip side of the record, equally worth having, is Charles Martin Loeffler's Pagan Poem, the best-known work of one of Boston's leading turn-of-the-century composers). Pierre Boulez leads members of the Ensemble InterContemporain in the original string sextet version on a record that also includes the wind quintet (CBS), and performers from the Santa Fe Chamber Music Festival couple the sextet with Schoenberg's string trio (Nonesuch).

The article on Robert Schumann in The New Grove, by Gerald Abraham, is very fine. Hans Gal's Schumann Orchestral Music in the BBC Music Guides (University of Washington paperback) is one of the best volumes in that fine series; it contains a brief but informative discussion of each of the symphonies. Robert Schumann: The Man and His Music, edited by Alan Walker (Barnes & Noble), is a symposium with many interesting things, among them an enthusiastic chapter on the orchestral music by Brian Schlotel. The most recent discussion of problems inherent in Schumann's much-criticized treatment of the orchestra is Stephen Walsh's article, "Schumann's Orchestration: Function and Effect" in the Musical Newsletter for July 1972. The newest book on Schumann, just out, is Peter Ostwald's Schumann: The Inner Voices of a Musical Genius (Northeastern University Press), a fascinating study of the composer's medical and psychological life, based on the incredibly rich lode of diaries, letters, and other personal documents from Schumann, his wife, and his friends. The author is a San Francisco psychiatrist, who seems to understand more about the composer, his many moods and anxieties, and his physical ailments than the doctors who treated him. Like Maynard Solomon's Beethoven, this book treads carefully and respectfully in the dangerous realm of psychohistory; its careful documentation and generally convincing arguments provide a much richer understanding of this tormented genius than we have had hitherto. Bernard Haitink's recordings of the four Schumann symphonies with the Concertgebouw Orchestra have recently been issued on Philips. Kurt Masur's recordings with the Gewandhaus Orchestra of Leipzig are available in this country only by mail order from the Musical Heritage Society, 1710 Highway 35, Ocean, N.J. 07712. Rafael Kubelik's now-deleted set of all four (plus the Manfred Overture) with the Bavarian Radio Symphony Orchestra (CBS) is particularly splendid (it has the special advan- tage of being recorded with the orchestra in the standard nineteenth-century seating position—with second violins on the right—so that the interplay of violin parts makes the spatial effect that the composer intended); it is worth searching for. George Szell's classic Cleveland Orchestra performances are still available in a boxed set (Odyssey). A recommended single version is the brand-new one by Giuseppe Sinopoli and the Vienna Philharmonic; it is also available as a compact disc (DG; coupled with Manfred). —S.L.

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44 Christoph Eschenbach

Hansen. He won several prizes in his teens, including the Steinway Young Pianist Com- petition and the International Competition in Munich, and continued his studies at the Cologne Conservatory. He began his active career with extensive tours in 1963 and in 1965 took first prize in the Concours Clara Haskil in Lucerne. Mr. Eschenbach's first performance with an American orchestra was as a soloist during the Cleveland Orchestra's European Festival Tour of 1967. He made his Canadian debut in Montreal in October 1967 and his United States debut with George Szell and the Cleveland Orchestra in 1969, the same year that he first appeared with the Boston Sym- phony Orchestra, under Erich Leinsdorf. He has since appeared with all the major Christoph Eschenbach, long regarded as orchestras of this country and has been one of the world's leading pianists, has in widely heard in recital, frequently with the last decade come to prominence as a duo-pianist partner Justus Frantz. He has conductor. Currently principal conductor of continued to appear throughout Europe, the Tonhalle Orchestra of Zurich, he made and he has also toured Japan, South Amer- his first appearance as a conductor in 1972, ica, and Israel. Mr. Eschenbach's extensive and in 1975 he made his American podium discography on the Deutsche Grammophon debut with the San Francisco Symphony. label includes collaborations with Herbert Since that time he has conducted the von Karajan, Hans Werner Henze, Seiji orchestras of Boston, Cleveland, Chicago, Ozawa, Dietrich Fischer-Dieskau, and Pittsburgh, New York, Los Angeles, Justus Frantz, in addition to many solo Houston, Minnesota, and Cincinnati. He albums, including the complete sonatas of has appeared as conductor at the Tangle- Mozart. In the double role of conductor and wood, Blossom, Hollywood Bowl, Ravinia, pianist, Mr. Eschenbach has recorded the and New York's "Mostly Mozart" festivals, Mozart concertos for two and three pianos and he has been principal guest conductor with Mr. Frantz and former West German of the London Philharmonic. He has also Chancellor Helmut Schmidt with the Lon- appeared regularly with the Vienna Sym- don Philharmonic for EMI. His EMI phony, English Chamber Orchestra, Phil- recording of Schubert's four-hand music harmonia, London Symphony, Amsterdam with Mr. Frantz won a 1983 Edison award. Philharmonic, Stockholm Philharmonic, During the 1985-86 season, Mr. Eschen- Israel Philharmonic, Bayerischer bach's appearances as guest conductor also Rundfunk, Bamberg Symphony, Radio include the Pittsburgh Symphony—at their Symphony of Berlin, and Munich Philhar- opening concerts as well as at the Ann monic. Mr. Eschenbach made his operatic Arbor May Festival—the Houston Sym- conducting debut with La traviata at the phony, the Vienna Symphony, and appear- Hessian State Theatre in Darmstadt in ances in Berlin, Munich, Bamberg, and 1978. In April 1984 he made his Covent London. He also appears with Justus Garden debut conducting Cosi fan tutte, Frantz in a series of joint recitals through- and he has been invited to conduct a new out Europe and Japan. Mr. Eschenbach has Stuttgart Opera production oiAlceste star- been a guest conductor with the Boston ring Jessye Norman. Symphony Orchestra at Tanglewood regu- Born in Breslau, Germany, Mr. Eschen- larly since 1978; this week's performances bach began piano lessons with his mother are his first as conductor with the orchestra and continued in Hamburg with Eliza in Symphony Hall.

45 Performance Understanding Accountability

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49 CABOT CORPORATION *Federal Distillers, Inc. High Technology FOUNDATION Alfred J. Balerna ALLIED-SIGNAL, INC. Ruth C. Scheer Gareliek Farms, Inc. Paul M. Montrone EXXON CORPORATION Peter M. Bernon ""Computer Partners, Inc. Stephen Stamas * Johnson, O'Hare Co., Inc. Paul J. Crowley MOBIL CHEMICAL Harry O'Hare *Data Packaging Corporation CORPORATION KIKKOMAN CORPORATION Otto Morningstar Rawleigh Warner, Jr. Katsumi Mogi *Encore Computer Corporation *Yankee Companies, Inc. *0'Donnell-Usen Fisheries Kenneth G. Fisher Paul J. Montle Corporation General Eastern Instruments Arnold S. Wolf Engineering Corporation THE PRINCE COMPANY, INC. Pieter R. Wiederhold Stone & Webster Engineering Joseph P. Pellegrino Corporation * Helix Technology Corporation William F. Allen, Jr. *Roberts and Associates Frank Gabron Richard J. Kunzig Hycor, Inc. Entertainment/Media Ruby Wines Joseph Hyman GENERAL CINEMA Theodore Rubin POLAROID CORPORATION CORPORATION Silenus Wines, Inc. William J. McCune, Jr. Richard A. Smith James B. Hangstefer RAYTHEON COMPANY National Amusements, Inc. *The Taylor Wine Company, Inc. Thomas L. Phillips Sumner M. Redstone Michael J. Doyle Hotel/Restaurant *New England Patriots Football Club WESTON/LOBLAW William H. Sullivan, Jr. COMPANIES LTD. Boston Park Plaza *Williams/Gerard Productions, Inc. Richard Currie Hotel & Towers William J Walsh Roger A. Saunders Footwear FOUR SEASONS HOTEL Finance/Venture Capital Seamus McManus Chelsea Industries, Inc. *Farrell, Healer & Company Ronald G. Casty *The Hampshire House Richard Farrell Thomas A. Kershaw THE FIRST BOSTON * Jones & Vining, Inc. * Howard Johnson Company CORPORATION Sven A. Vaule, Jr. G. Michael Hostage George L. Shinn *Mercury International Mildred's Chowder House Kaufman & Company Trading Corporation James E. Mulcahy Sumner Kaufman Irving A. Wiseman MORSE SHOE, INC. THE RED LION INN *Narragansett Capital Manuel Rosenberg John H. Fitzpatrick Corporation * Arthur D. Little THE SPENCER Sheraton Boston COMPANIES, INC. Hotel & Towers Pioneer Financial C. Charles Marran Gary Sieland Richard E. Bolton STRIDE RITE Sonesta International Hotels *TA Associates CORPORATION Corporation Peter A. Brooke Arnold S. Hiatt Paul Sonnabend Food Service/Industry THE WESTIN HOTEL ARCHER DANIELS Furnishings/Housewares Bodo Lemke MIDLAND COMPANY COUNTRY CURTAINS Insurance Dwayne 0. Andreas Jane P. Fitzpatrick *A.I.M. Insurance Agency, Inc. Azar Nut Company Hitchcock Chair Company James A. Radley Edward Azar Thomas H. Glennon Arkwright-Boston Insurance Boston Showcase Company The Jofran Group Frederick J. Bumpus Jason Starr Robert D. Roy *Cameron & Colby Co., Inc. CREATIVE GOURMETS, LTD. Graves D. Hewitt Stephen E. Elmont Graphic Design •Consolidated Group, Inc. daka Food Service Management, Inc. Clark/Linsky Design, Inc. Woolsey S. Conover Terry Vince Robert H. Linsky Frank B. Hall & Company of Dunkin' Donuts, Inc. *Weymouth Design, Inc. Massachusetts Robert M. Rosenberg Michael E. Weymouth Colby Hewitt, Jr.

50 *

JOHN HANCOCK MUTUAL Moseley, Hallgarten, Rath & Strong, Inc. LIFE INSURANCE COMPANY Estabrook & Weeden, Inc. Arnold 0. Putnam E. James Morton Fred S. Moseley The Wyatt Company Fred S. James & Co. Putnam Mutual Funds, Inc. Michael H. Davis of New England, Inc. Lawrence J. Lasser P. Joseph McCarthy Tucker, Anthony & Johnson & Higgins R.L.Day, Inc. Manufacturers Representatives Robert A. Cameron Gerald Segel Paul R. Cahn & Associates, Inc. LIBERTY MUTUAL Woodstock Corporation R. Cahn INSURANCE COMPANIES Frank B. Condon Paul Associates Melvin B. Bradshaw Richard Dean G. Dean Goodwin MANUFACTURERS LIFE Legal Paul K. O'Rourke, Inc. INSURANCE COMPANY Bingham, Dana & Gould Paul K. O'Rourke E. Sydney Jackson Everett H. Parker Shetland Co., Inc. NEW ENGLAND MUTUAL Cargill, Masterman & Culbert W.M. Sherman LIFE INSURANCE COMPANY Thomas E. Cargill, Jr. Total Market Impact Edward E. Phillips Dickerman Law Offices Ronald J. Monahan Prudential Life Insurance Lola Dickerman Company of America Gadsby & Hannah Robert J. Scales Harry R. Hauser Sullivan Risk Management GOLDSTEIN & MANELLO Manufacturing/Industry Group Richard J. Snyder Acushnet Company John Herbert Sullivan Mintz, Levin, Cohn, Ferris, Glovsky John T. Ludes Sun Life Assurance Company and Popeo, PC. Alles Corporation of Canada Francis X. Meaney Stephen S. Berman David D. Horn Nissenbaum Law Offices Ames Safety Envelope Charles H. Watkins & Gerald L. Nissenbaum Company Company, Inc. Sherburne, Powers & Needham Robert H. Arnold Richard P. Nyquist Daniel Needham, Jr. Avondale Industries, Inc. Investments William P. Connell

*ABD Securities Corporation Management/Financial C.R. Bard, Inc. Theodor Schmidt-Scheuber Consulting Robert H. McCaffrey Amoskeag Company ADVANCED MANAGEMENT Checon Corporation Joseph B. Ely II ASSOCIATES, INC. Donald E. Conaway Harvey Chet Krentzman Bear, Stearns & Company Dennison Manufacturing Stuart Zerner BLP Associates Company Bernard L. Plansky Nelson S. Gifford *E.F Hutton & Company, Inc. S. Paul Crabtree Bain & Company Econocorp, Inc. FIDELITY INVESTMENTS William W Bain, Jr. Richard G. Lee Samuel W. Bodman THE BOSTON ERVING PAPER MILLS CONSULTING GROUP •Fidelity Service Co. Charles B. Housen Arthur P. Contas Robert W. Blucke Flexcon Company, Inc. Goldman, Sachs & Company General Electric Consulting Mark R. Ungerer Stephen B. Kay Services Corporation GENERAL ELECTRIC James J. O'Brien, Jr. HCW, Inc. COMPANY John M. Plukas Kazmaier Associates, Inc. John P. Welch, Jr. Richard W Kazmaier, Jr. Kensington Investment GENERAL ELECTRIC Company Killingsworth Associates, Inc. COMPANY/LYNN Alan E. Lewis William R. Killingsworth Frank E. Pickering KIDDER, PEABODY & CO., McKINSEY & COMPANY, INC. THE GILLETTE COMPANY INCORPORATED Robert P. O'Block Colman M. Moekler, Jr. John G. Higgins Mitchell and Company Harvard Folding Box Co., Inc. LOOMIS SAYLES & Carol B. Coles Melvin A. Ross COMPANY Nelson Communications, Inc. The Horn Corporation Robert L. Kemp Bruce D. Nelson Robert H. Lang, Jr.

51 I

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52 Kendall Company WNEV-TV 7 Boston Financial Technology

J. Dale Sherratt Seymour L. Yanoff Group, Inc. Fred N. Pratt, Jr. Kenett Corporation Musical Instruments Julius Kendall Combined Properties, Inc. Baldwin Piano & Organ Stanton L. Black Leach & Garner Company Company Philip F. Leach John M. Corcoran & Co. R.S. Harrison John M. Corcoran L.E. Mason Company Avedis Zildjian Company Harvey B. Berman Corcoran, Mullins, Jennison, Inc. Armand Zildjian Joseph E. Corcoran Monsanto Company The Flatley Company John P. Dushney Personnel Thomas J. Flatley NEW ENGLAND BUSINESS Dumont Kiradjieff & Moriarty SERVICE, INC. Fowler, Goedecke, Ellis & Edward J. Kiradjieff O'Connor Richard H. Rhoads Emerson Personnel, Inc. William J. O'Connor Plymouth Rubber Company, Inc. Rhoda Warren Hilon Development Corporation Maurice J. Hamilburg TAD Technical Services Haim S. Eliachar Princess House, Inc. Corporation Historic Mill Properties Robert Haig David J. McGrath, Jr. Bert Paley *Rand-Whitney Corporation McGregor Associates Robert Kraft Printing Kathleen McGregor Soundesign Corporation Bowne of Boston, Inc. *Meredith Grew, Incorporated Robert H. Winer Albert G. Mather & George M. Lovejoy, Jr. Superior Pet Products, Inc. Bradford & Bigelow, Inc. Northland Investment Richard J. Phelps John D. Galligan Corporation Customforms, Inc. Tech Pak, Inc. Robert A. Danziger William F. Rogers, Jr. David A. Granoff Ryan, Elliott & Coughlin DANIELS PRINTING Termiflex Corporation John Ryan William E. Fletcher COMPANY Lee S. Daniels Benjamin Schore Company *Towle Manufacturing Company Benjamin Schore Leonard Florence Espo Litho Company Stanmar, Inc. *Trina, Inc. David Fromer Stanley W. Snider Thomas L. Easton In memory of Joseph B. Fromer Urban Investment H.K. Webster Company, Inc. Label Art, Inc. & Development Corp. Dean K. Webster J. William Flynn R.K. Umscheid Lithograph, Webster Spring Company, Inc. United Inc. Leonard A. Bernheimer A.M. Levine Retail

Wire Belt Company of America Child World, Inc. Publishing F. Wade Greer, Jr. Dennis H. Barron *ADCO Publishing Company, Inc. FILENE'S Media Samuel D. Gorfinkle Michael J. Babcock THE BOSTON GLOBE/ Addison-Wesley Publishing AFFILIATED Company Herman, Inc. Bernard A. Herman PUBLICATIONS Donald R. Hammonds William 0. Taylor CAHNERS PUBLISHING Hills Department Stores *The Boston Herald COMPANY, INC. Stephen A. Goldberger Patrick J. Purcell Norman L. Cahners * Jordan Marsh Company WBZ-TV4 HOUGHTON MIFFLIN Elliot Stone Thomas L. Goodgame COMPANY Karten's Jewelers WCIB-FM Marlowe G. Teig Joel Karten Lawrence K. Justice Marshall's, Inc. WCRB/CHARLES RIVER Real Estate/Development Frank H. Brenton BROADCASTING, INC. Amaprop Developments, Inc. Neiman-Marcus Richard L. Kaye Gregory Rudolph William D. Roddy

WCVB-TV5 *J.L. Beal Properties, Inc. * Purity Supreme, Inc. S. James Coppersmith Joanne Beal Frank P. Giacomazzi

53 I

Saks Fifth Avenue HEALTH PROGRAMS ""Heritage Travel, Inc. Ronald J. Hoffman INTERNATIONAL, INC. Donald R. Sohn Donald B. Shaw's Supermarkets Giddon *Lily Truck Leasing Corp. Stanton W. Davis *J.A. Webster, Inc. John A. Simourian THE STOP & SHOP John A. Webster, Jr. THE TRANS-LEASE GROUP John J. McCarthy, Jr. COMPANIES, INC. Services Avram J. Goldberg Travel Consultants International American Cleaning Co., Inc. Phoebe L. Giddon ZAYRE CORPORATION Joseph A. Sullivan, Jr. Maurice Segall *Asquith Corporation Science/Medical Laurence L. Asquith Utilities *Victor Grillo & Associates *Charles River Breeding BOSTON EDISON Victor N. Grillo Laboratories, Inc. COMPANY Stephen J. Sweeney Henry L. Foster Software/Information Services EASTERN GAS & FUEL *Compu-Chem Laboratories, Inc. *First Software Corporation ASSOCIATES Claude L. Buller Rick H.Faulk William J. Pruyn Damon Corporation Interactive Data Corporation David I. Kosowsky John Rutherfurd New England Electric System *HCA Foundation Guy W Nichols Travel/Transportation Hospital Corporation of NEW ENGLAND America Federal Express Corporation TELEPHONE COMPANY Donald E. Strange Frederick W. Smith Gerhard M. Freche

For rates and information on advertising in the Boston Symphony, Boston Pops, and Tanglewood program books please contact:

STEVE GANAK AD REPS 51 CHURCH STREET (617)-542-6913 BOSTON, MASS. 02116

54 VWmmmmmmmjiji "• The following Members of the MASSACHUSETTS * Massachusetts High Technology HKH TECHNOLOGY Council support the BSO through COUHCl the Business Professional ii«tKi a a £ *> BSO & Leadership Program:

*AT&T DYNATECH LOTUS DEVELOPMENT Peter Cassels CORPORATION CORPORATION ANALOG DEVICES, INC. J. P. Barger Mitchell D. Kapor Ray Stata *EG&G, Inc. *M/A-COM, Inc. *The Analytic Sciences Dean W. Freed Vessarios G. Chigas Corporation *Epsilon Data Management, *Masscomp Arthur Gelb Inc. August P. Klein APOLLO COMPUTER, Thomas O. Jones Massachusetts High INC. The Foxboro Company Technology Council, Inc. Thomas A. Vanderslice Earle W. Pitt Howard P. Foley Aritech Corporation GTE ELECTRICAL MILLIPORE James A. Synk PRODUCTS CORPORATION *Augat, Inc. Dean T. Langford John G. Mulvany Roger D. Wellington GenRad Foundation *Orion Research Incorporated BBF Corporation Linda B. Smoker Alexander Jenkins III Boruch B. Frusztajer *Haemonetics, Inc. PRIME COMPUTER, INC. *Barry Wright Corporation John F. White Ralph Z. Sorenson Joe M. Henson Harbridge House, Inc. * Printed Circuit Corporation BOLT BERANEK AND George Rabstejnek INC. Peter Sarmanian NEWMAN Hewlett-Packard Company Stephen R. Levy SofTech, Inc. Alexander R. Rankin *Compugraphic Corporation HONEYWELL Justus Lowe, Jr. Carl E. Dantas Electric Warren G. Sprague *Sprague Company Computervision Corporation John L. Sprague Martin Allen IBM CORPORATION *Tech/Ops, Inc. Paul J. Palmer Corning Glass Works Marvin G. Schorr Foundation Impact Systems, Inc. TERADYNE, INC. Richard B. Bessey Melvin D. Platte Alexander V. d'Arbeloff *Cullinet Software, Inc. Instron Corporation Harold Hindman Thermo Electron Corporation John J. Cullinane George N. Hatsopoulos *Dennison Computer *Ionics, Incorporated Supplies, Inc. Arthur L. Goldstein WANG LABORATORIES, * Charles L. Reed, Jr. Arthur D. Little, Inc. INC. DIGITAL EQUIPMENT John F. Magee An Wang CORPORATION *XRE Corporation Kenneth H. Olsen John K. Grady

55 Gifts may be sent to the Development Offk Symphony Half Boston, MA 0211

I Coming Concerts . . .

Wednesday, 26 March at 7:30 Open Rehearsal Steven Ledbetter will discuss the program at 6:45 in the Cohen Annex. I Thursday 'B'—27 March, 8-10 Friday 'A'—28 March, 2-4 Saturday 'A'—29 March, 8-10 PIERRE BOULEZ, conductor

Stravinsky Song of the Nightingale Boulez Notations I-IV Ravel Daphnis and Chloe Beautiful Books (complete) 1— and Classic Recordings NEW ENGLAND CONSERVATORY Copley Place 437-0700 CHORUS, LORNA COOKE deVARON, conductor

Wednesday, 2 April at 7:30 Open Rehearsal For A Southeast Asian Treat Marc Mandel will discuss the program at 6:45 in the Cohen Annex. Thursday '10'—3 April, 8-9:55 Friday 'B'—4 April, 2-3:55 MANDALAY Saturday 'B'—5 April, 8-9:55 JEFFREY TATE, conductor BURMESE RESTAURANT Beethoven Piano Concerto No. 3 RUDOLF BUCHBINDER Elgar Symphony No. 2

Boston • 329 Huntington Avenue • 247-2111 Thursday 'A'—10 April, 8-10:05 Cambridge • 143 First Street • 876-2111 Friday 'A'—11 April, 2-4:05 Reservation Suggested Saturday 'A'—12 April, 8-10:05 Tuesday 'C—15 April, 8-10:05 SEIJI OZAWA, conductor Messiaen Three Tableaux from St. Francis ofAssisi (American premiere) JOSE VAN DAM, baritone KATHLEEN BATTLE, soprano KENNETH RIEGEL, tenor PHILIPPE ROUILLON, baritone TANGLEWOOD FESTIVAL CHORUS, JOHN OLIVER, conductor WITH (/ US, Programs subject to change. Our performance will please you.

57 We invite you to join us before or after Symphony for a fine dining experience. We're so close you can almost hear the music.

Lunch - 11:30 -3 pm Dinner - 5 - 11 pm

CAFE AMALFI SPECIAL FUNCTIONS and ft 10 WF^sTI AVFMI IF I AMD 1 vv t LAIN in O- U :> u A V t U t lARGE GROUPS ACCOMMODATED BOSTON, MASS. / 536-6396 RESERVATIONS RECOMMENDED

58 Symphony Hall Information . . .

FOR SYMPHONY HALL CONCERT AND make your ticket available for resale by call- TICKET INFORMATION, call (617) ing the switchboard. This helps bring 266-1492. For Boston Symphony concert needed revenue to the orchestra and makes program information, call "C-O-N-C-E-R-T." your seat available to someone who wants to attend the concert. A mailed receipt will THE BOSTON SYMPHONY performs ten acknowledge your tax-deductible months a year, in Symphony Hall and at contribution. Tanglewood. For information about any of the orchestra's activities, please call Sym- RUSH SEATS: There are a limited number phony Hall, or write the Boston Symphony of Rush Tickets available for the Friday- Orchestra, Symphony Hall, Boston, MA afternoon and Saturday-evening Boston 02115. Symphony concerts (subscription concerts only). The continued low price of the Satur- THE EUNICE S. AND JULIAN COHEN day tickets is assured through the gener- ANNEX, adjacent to Symphony Hall on osity of two anonymous donors. The Rush Huntington Avenue, may be entered by the Tickets are sold at $5.00 each, one to a Symphony Hall West Entrance on Hunt- customer, at the Symphony Hall West ington Avenue. Entrance on Fridays beginning 9 a.m. and FOR SYMPHONY HALL RENTAL Saturdays beginning 5 p.m. INFORMATION, call (617) 266-1492, or LATECOMERS will be seated by the write the Function Manager, Symphony ushers during the first convenient pause in Hall, Boston, MA 02115. the program. Those who wish to leave THE BOX OFFICE is open from 10 a.m. before the end of the concert are asked to until 6 p.m. Monday through Saturday; on do so between program pieces in order not concert evenings, it remains open through to disturb other patrons. intermission for BSO events or just past SMOKING IS NOT PERMITTED in any starting-time for other events. In addition, part of the Symphony Hall auditorium or in the box office opens Sunday at 1 p.m. when the surrounding corridors. It is permitted there is a concert that afternoon or evening. only in the Cabot-Cahners and Hatch Single tickets for all Boston Symphony rooms, and in the main lobby on Massachu- concerts go on sale twenty-eight days setts Avenue. before a given concert once a series has begun, and phone reservations will be accepted. For outside events at Symphony Hall, tickets will be available three weeks before the concert. No phone orders will be Rental apartments accepted for these events. for people who'd rather hear French horns THE SYMPHONY SHOP is located in the rns Enjoy easy living within Huntington Avenue stairwell near the than Car ho easy reach of Symphony Hall. Cohen Annex and is open from one hour New in-town apartments before each concert through intermission. ith doorman, harbor The shop carries all-new BSO and musical- views, all luxuries, health motif merchandise and gift items such as club. calendars, appointment books, drinking 1 and 2 glasses, holiday ornaments, children's bedrooms and penthouse duplex books, and BSO and Pops recordings. All I x^^l^^^^Fv^ apartments. proceeds benefit the Boston Symphony Orchestra. For merchandise information, please call 267-2692. THE DEVONSHIRE

One Devonshire Place. (Between Washington TICKET RESALE: If for some reason you ^«^ 1 = l and Devonshire Streets, off State Street) Boston. are unable to attend a Boston Symphony Renting Office Open 7 Days. Tel: (617) 720-3410. Park free in our indoor garage models. concert for which you hold a ticket, you may while inspecting

59 CAMERA AND RECORDING EQUIP- tra are heard by delayed broadcast in many MENT may not be brought into Symphony parts of the United States and Canada, as Hall during concerts. well as internationally, through the Boston Symphony Transcription Trust. In addi- FIRST AID FACILITIES for both men tion, Friday-afternoon concerts are broad- and women are available in the Cohen cast live by WGBH-FM (Boston 89.7); Annex near the Symphony Hall West Saturday-evening concerts are broadcast Entrance on Huntington Avenue. On-call live by both WGBH-FM and WCRB-FM physicians attending concerts should leave (Boston 102.5). Live broadcasts may also be their names and seat locations at the heard on several other public radio stations switchboard near the Massachusetts Ave- throughout New England and New York. If nue entrance. Boston Symphony concerts are not heard WHEELCHAIR ACCESS to Symphony regularly in your home area and you would Hall is available at the West Entrance to like them to be, please call WCRB Produc- the Cohen Annex. tions at (617) 893-7080. WCRB will be glad to work with you and try to get the BSO on AN ELEVATOR is located outside the the air in your area. Hatch and Cabot-Cahners rooms on the Massachusetts Avenue side of the building. BSO FRIENDS: The Friends are annual donors to the Boston Symphony Orchestra. LADIES' ROOMS are located on the Friends receive BSO, the orchestra's news- orchestra level, audience-left, at the stage letter, as well as priority ticket information end of the hall, and on the first-balcony and other benefits depending on their level level, audience-right, outside the Cabot- of giving. For information, please call the Cahners Room near the elevator. Development Office at Symphony Hall MEN'S ROOMS are located on the orches- weekdays between 9 and 5. If you are tra level, audience-right, outside the Hatch already a Friend and you have changed Room near the elevator, and on the first- your address, please send your new address balcony level, audience-left, outside the with your newsletter label to the Develop- Cabot-Cahners Room near the coatroom. ment Office, Symphony Hall, Boston, MA 02115. Including the mailing label will COATROOMS are located on the orchestra assure a quick and accurate change of and first-balcony levels, audience-left, out- address in our files. lit side the Hatch and Cabot-Cahners rooms. The BSO is not responsible for personal BUSINESS FOR BSO: The BSO's Busi- apparel or other property of patrons. ness & Professional Leadership program makes it possible for businesses to partici- LOUNGES AND BAR SERVICE: There pate in the life of the Boston Symphony are two lounges in Symphony Hall. The Orchestra through a variety of original and Hatch Room on the orchestra level and the exciting programs, among them "Presi- Cabot-Cahners Room on the first-balcony dents at Pops," "A Company Christmas at level serve drinks starting one hour before Pops," and special-event underwriting. each performance. For the Friday-after- Benefits include corporate recognition in noon concerts, both rooms open at 12:15, the BSO program book, access to the with sandwiches available until concert Higginson Room reception lounge, and time. priority ticket service. For further informa- BOSTON SYMPHONY BROADCASTS: tion, please call the BSO Corporate Concerts of the Boston Symphony Orches- Development Office at (617) 266-1492.

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