Boston Symphony Orchestra Concert Programs, Season 110, 1990-1991

110th Season 19 9 0-91

Boston Symphony Orchestra

Seiji Ozawa, Music Director Only the Few Will Own an aldemars

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330 BOYLSTON ST., BOSTON, MASS. 02116 (617) 267-9100 • 1-800-225-7088 THE MALL AT CHESTNUT HILL • SOUTH SHORE PLAZA Seiji Ozawa, Music Director Grant Llewellyn and Robert Spano, Assistant Conductors One Hundred and Tenth Season, 1990-91

Trustees of the Boston Symphony Orchestra, Inc.

Nelson J. Darling, Jr., Chairman Emeritus

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

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

William M. Crozier, Jr. Mrs. George I. Kaplan William F. Thompson Mrs. Michael H. Davis Harvey Chet Krentzman Nicholas T. Zervas Mrs. Eugene B. Doggett R. Willis Leith, Jr. Trustees Emeriti Vernon R. Alden Mrs. Harris Fahnestock Mrs. George R. Rowland Philip K. Allen Mrs. John L. Grandin Mrs. George Lee Sargent Allen G. Barry E. Morton Jennings, Jr. Sidney Stoneman Leo L. Beranek Albert L. Nickerson John Hoyt Stookey Mrs. John M. Bradley Thomas D. Perry, Jr. John L. Thorndike Abram T. Collier Irving W. Rabb Other Officers of the Corporation John Ex Rodgers, Assistant Treasurer Michael G. McDonough, Assistant Treasurer Daniel R. Gustin, Clerk

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

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

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

John F. Cogan, Jr., Chairman Mrs. Ray A. Goldberg, Vice-Chairman Mrs. R. Douglas Hall III, Secretary

Mrs. Herbert B. Abelow Haskell R. Gordon Mrs. Thomas S. Morse Harlan Anderson Steven Grossman Richard P. Morse Mrs. David Bakalar John P. Hamill E. James Morton Bruce A. Beal Daphne P. Hatsopoulos David G. Mugar Mrs. Leo L. Beranek Joe M. Henson David S. Nelson Lynda Schubert Bodman Mrs. Marilyn Brachman Hoffman Mrs. Hiroshi H. Nishino Donald C. Bowersock, Jr. Ronald A. Homer Robert P. O'Block William M. Bulger Lola Jaffe Paul C. O'Brien Mrs. Levin H. Campbell Anna Faith Jones Vincent M. O'Reilly Earle M. Chiles H. Eugene Jones Andrall E. Pearson Mrs. C. Thomas Clagett, Jr. Susan B. Kaplan John A. Perkins James F. Cleary Mrs. S. Charles Kasdon Daphne Brooks Prout William H. Congleton Richard L. Kaye Millard H. Pryor, Jr. William F. Connell Robert D. King Keizo Saji Walter J. Connolly, Jr. Mrs. Gordon F. Kingsley Roger A. Saunders S. James Coppersmith Allen Z. Kluchman Mrs. Raymond H. Schneider Albert C. Cornelio Koji Kobayashi Mark L. Selkowitz Phyllis Curtin Mrs. Carl Koch Malcolm L. Sherman

Alex V. d'Arbeloff David I. Kosowsky Mrs Donald B. Sinclair Phyllis Dohanian Robert K. Kraft W. Davies Sohier, Jr. Hugh Downs George Krupp Ralph Z. Sorenson Goetz B. Eaton Mrs. Hart D. Leavitt Ira Stepanian

Edward Eskandarian Laurence Lesser Mrs. Arthur I. Strang Katherine Fanning Stephen R. Levy Mark Tishler, Jr. Peter M. Flanigan Frederick H. Lovejoy, Jr. Roger D. Wellington Dean Freed Mrs. Charles P. Lyman Robert A. Wells Eugene M. Freedman Mrs. Harry L. Marks Mrs. Thomas H.P. Whitney Peter H.B. Frelinghuysen C. Charles Marran Margaret Williams-DeCelles Mrs. James Garivaltis Nathan R. Miller Mrs. John J. Wilson Mark R. Goldweitz

Overseers Emeriti

Mrs. Weston W. Adams Mrs. Louis I. Kane Mrs. Peter van S. Rice Mrs. Frank G. Allen Leonard Kaplan Mrs. Jerome Rosenfeld Mrs. Richard Bennink Benjamin H. Lacy Mrs. William C. Rousseau Mary Louise Cabot Mrs. James F. Lawrence Francis P. Sears, Jr. Johns H. Congdon Hanae Mori Mrs. Edward S. Stimpson Mrs. Thomas J. Galligan Mrs. Stephen V.C. Morris Luise Vosgerchian Mrs. Richard D. Hill Stephen Paine, Sr. Mrs. Donald B. Wilson Susan M. Hilles David R. Pokross

Symphony Hall Operations

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

Cleveland Morrison, Stage Manager Franklin Smith, Supervisor of House Crew Wilmoth A. Griffiths, Assistant Supervisor of House Crew William D. McDonnell, Chief Steward H.R. Costa, Lighting HI I

Officers of the Boston Symphony Association of Volunteers

Susan D. Hall, President Thelma E. Goldberg, Executive Vice-President Joan Erhard, Secretary Patricia A. Maddox, Treasurer Betty Sweitzer, Nominating Chairman

Vice-Presidents

Helen Doyle, Hall Services Marilyn Larkin, Tanglewood Goetz B. Eaton, Fundraising Patricia A. Newton, Regions Paul S. Green, Resources Development Carol Scheifele-Holmes, Public Relations Charles W. Jack, Adult Education F. Preston Wilson, Development Pat Jensen, Membership Pat Woolley, Youth Activities Maureen Hickey, Tanglewood

Chairmen of Regions

Krista Kamborian Baldini Helen Lahage Beverly J. Pieper Judy Clark Ginny Martens Patricia L. Tambone Joan Erhard Paula Murphy Arline Ziner Bettina Harrison Pamela S. Nugent

Business and Professional Leadership Association Board of Directors

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

J.P. Barger Thelma E. Goldberg Malcolm L. Sherman Leo L. Beranek Joe M. Henson Ray Stata William F. Connell George H. Kidder Stephen J. Sweeney Nelson J. Darling, Jr. Vincent M. O'Reilly Roger D. Wellington

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

Celebrating the 90th Anniversary of Symphony Hall

On display in the first-floor Huntington Avenue corridor of the Cohen Wing is an archival exhibit celebrating the 90th anniversary of Symphony Hall. In addition to newspaper accounts of the building's opening in 1900, the exhibit includes period photographs and a tribute to acoustician Wallace Clement Sabine. Articles on various aspects of Symphony Hall will be featured in the BSO program book throughout the season. The cover shows part of an architect's rendering of Symphony Hall, with lettering for "The Boston Music Hall" visible above what was originally the main entrance on Huntington Avenue. The new building was never so named, however, since the old Music Hall, where the BSO performed until Symphony Hall opened in 1900, was not torn down as planned. ^ * ** *

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* \+ 1991 may choose from a number of exclusive BSO gifts, the "Salute" compact incentive including disc (this year featuring memorable BSO performances led by Charles Munch, commemo- A Special Concert by rating the 100th anniversary of his birth), a Collage New Music limited-edition "Salute" t-shirt, and a BSO Hall, at Symphony mug. In addition, a contribution of $50 or Sunday, February 24, at 8 p.m. more will make you a Friend of the orchestra, entitling variety of benefits. On Sunday, February 24, at 8 p.m. at Sym- you to a Watch phony Hall, the Boston Symphony Orchestra your mailbox for the "Salute" flyer and this for details as "Salute to will sponsor a special concert by Collage New column more Sym- Music in collaboration with the MIT Media phony" 1991 approaches! Lab. Entitled "Performing New Music for Live Instruments and Interactive Computers," the Boston Symphony Chamber Players at program will include works by Tod Machover, Jordan Hall, Sunday, March 10, at 3 p.m. Robert Rowe, Jonathan Harvey, and Peter The Boston Symphony Chamber Players, with Child. This unique event will provide an excit- pianist Gilbert Kalish, perform the final con- ing glimpse into the future of music by featur- cert of their 1990-91 subscription season at ing works noteworthy for their contrasting Jordan Hall on Sunday, March 10, at 3 p.m. expressive content and diverse use of technol- The program includes the world premiere of a ogy. Tickets are $10 and may be purchased at new work by Yehudi Wyner for brass trio and the Symphony Hall box office or by calling percussion, Aaron Copland's Elegies for violin SymphonyCharge at (617) 266-1200, Monday and viola and Duo for flute and piano, to be through Saturday from 10 a.m. until 6 p.m. performed in memory of the composer, and Schubert's String Quintet in C, D.956. Tickets NYNEX Sponsors 'Salute to Symphony" are $16, $12, and $9 and may be purchased in 1991 March 1-3 advance at the Symphony Hall box office or by calling SymphonyCharge at (617) 266-1200. For the third consecutive year, NYNEX is cor- They will be available on the day of the concert porate sponsor of "Salute to Symphony," the at the Jordan Hall box office. BSO's annual fundraiser and community outreach project. Throughout "Salute" weekend of An Evening of Bel Canto March 1-3, WCRB 102.5 FM Classical Radio at Symphony Hall, Boston, in its twenty-first year of collaboration Monday, March 11, at 8:15 p.m. on this project, will feature Boston Symphony and Boston Pops performances and celebrity The Boston Opera Association is pleased to interviews. On Sunday, March 3, WCVB-TV present a gala operatic evening with soprano Channel 5 marks its fifteenth year of "Salute" June Anderson and tenor Alfredo Kraus per- telecasts with a live BSO concert from 6:30 to forming excerpts from Donizetti's La Fille du 8 p.m. featuring Seiji Ozawa and John regiment and Lucia di Lammermoor, Gounod's Williams. Since the BSO is celebrating both Romeo et Juliette, and Thomas' Hamlet, with the 90th anniversary of Symphony Hall and Julius Rudel conducting members of the the opening of the new Cohen Wing this sea- Boston Symphony Orchestra on Monday, son, it is especially fitting to continue the more March 11, at 8:15 p.m. Tickets for this recent "Salute" tradition of a Symphony Hall special performance, which is not available on Open House. This day of free activities and any BSO subscription series, are $50, $40, performances for the entire community will $30, and $16, available at the Symphony Hall take place on Saturday, March 2, from 10 a.m. box office or by calling SymphonyCharge at to 3 p.m. (617) 266-1200, Monday through Saturday Members of the Boston Symphony Associa- from 10 a.m. until 6 p.m. A limited number of tion of Volunteers will be answering phones in Gala Tickets including cocktails at 5:30 and the Cabot-Cahners Room to accept pledges at black-tie dinner at 6:15 at the Ritz-Carlton 262-8700 or 1-800-325-9400 throughout the Hotel are available through the Boston Opera weekend. Donors to "Salute to Symphony" Association by calling (617) 482-2840. References furnished on request

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

98 Boylston, Boston, MA 02116, (617) 482-2525 BSO Members in Concert town. The program includes Mozart's Sym- phony No. 31, Paris, the world premiere of The Boston Artists' Ensemble performs Elizabeth Vercoe's Rhapsody for Violin and Schubert's B-flat piano trio, D.898, and Orchestra, with soloist Timothy Baker, Saint- Ravel's Piano Trio on Friday, February 22, Saens' Introduction and Rondo capriccioso, at 8 p.m. at the Chapel Gallery of the Second also featuring Mr. Baker, and Haydn's Sinfo- Church in Newton, and on Sunday, February nia concertante for violin, cello, oboe, and bas- 24, at 2:30 p.m. at the Peabody Museum in soon. Tickets are $5, general admission. For Salem. The performers include BSO members more information, call (413) 597-2127. Tatiana Dimitriades, violin, and Jonathan Ronald Knudsen leads the Newton Sym- Miller, cello, the ensemble's founder, with phony Orchestra in Mozart's Symphony No. pianist Randall Hodgkinson. Tickets are $12 41, Jupiter, and the Brahms Second Piano ($10 students and seniors). For reservations Concerto with pianist Anthony di Bonaventura or further information, call (617) 527-8662. on Sunday, March 3, at 8 p.m. at Aquinas BSO members Alfred Genovese, oboe, Junior College, 15 Walnut Park in Newton. Harold Wright, clarinet, Richard Ranti and Tickets are $14 and $12. Call (617) 965-2555 Roland Small, bassoons, and Richard Mackey for further information. and Richard Sebring, horns, participate in a Richmond Performance Series chamber concert Recognize Someone Special: at the Berkshire Museum in Pittsfield on Sun- Name a BSO Concert day, February 24, at 3 p.m. The program includes Mozart's C minor wind serenade, What finer way to honor someone or commem- K.388, an arrangement for winds of excerpts orate a very special occasion! For a $25,000 from Mozart's Abduction from the Seraglio, contribution to the Boston Symphony Annual and Beethoven's Octet in E-flat for winds, Fund, you may name a BSO concert as a trib- Op. 103. For further information, call (617) ute to, or in memory of, an individual you des- 437-0204 or (413) 443-7171. ignate. In addition, you will become a Patron BSO bass trombonist Douglas Yeo will be of the Higginson Society, the orchestra's circle the featured soloist in the world premiere of of its most generous benefactors. The benefits Vaclav Nelhybel's Concerto for Bass Trom- of naming a concert also include a private bone, with the New England Conservatory champagne reception, complimentary tickets Wind Ensemble conducted by Frank Battisti, for the concert, and prominent acknowledg- as part of the New England Conservatory's ment in the program book, including a biographical appreciation the honoree. first "Brass Spectacular," on Monday, Febru- about For further information about con- ary 25, at 8 p.m. at Jordan Hall. On that naming a BSO same concert, the New England Trombone cert, please call Susan E. Tomlin, Director of Annual Giving, at 638-9274. Choir at NEC, directed by Mr. Yeo, will give (617) the premiere of BSO bassoonist Richard Plas- Books for the Beranek Room ter's Salute . . . 159A, for Moravian Trombone

Choir. The program will also include music of The BSO is seeking used books about music

Gabrieli, Grieg, Dahl, Richard Strauss, Fresco- and musical topics to fill the shelves of Sym- baldi, and others; the Conservatory Honors phony Hall's new Beranek Room. All books Brass Quintet will also participate. Admission will be labeled with a BSO bookplate indicating is free. For more information, call the name of the donor. If you have a book or (617) 262-1120. books you would like to give to the orchestra Ronald Feldman conducts the Berkshire for this purpose, please call Noni Cooper, Symphony on Saturday, March 2, at 8 p.m. in Assistant Director of Annual Giving, at (617) Chapin Hall at Williams College in Williams- 266-1492. Seiji Ozawa

include Richard Strauss 's Elektra, recorded during concert performances at Symphony Hall in Boston with Hildegard Behrens in the title role; and Mahler's First, Second (Resurrection), and Fourth symphonies, part of a continuing Mahler cycle on Phil- ips that also includes the Symphony No. 8 (Symphony of a Thousand). Mahler's Fifth, Seventh, and Ninth symphonies, and his Kindertotenlieder, with Jessye Norman, have been recorded for future release. Mr. Ozawa's recent recordings with the Boston Symphony Orchestra for Deutsche Gram- mophon include Poulenc's Gloria and Sta- bat mater with soprano Kathleen Battle and the Tanglewood Festival Chorus, the two Liszt piano concertos and Totentanz Now in his eighteenth year as music with Krystian Zimerman, an album of director of the Boston Symphony Orches- music by Gabriel Faure, and "Gaite parisi- tra, Seiji Ozawa was named the BSO's enne," an album of music by Offenbach, thirteenth music director in 1973, follow- Gounod, Chabrier, and Thomas. Other ing a year as music adviser. His many Deutsche Grammophon releases include tours with the orchestra in Europe, Japan, Prokofiev's complete Romeo and Juliet, and throughout the United States have Berlioz's Romeo et Juliette and Damnation included the orchestra's first tour devoted of Faust, and, with Itzhak Perlman, an exclusively to appearances at the major award-winning album of the Berg and European music festivals, in 1979; four Stravinsky violin concertos. Also available visits to Japan; and, to celebrate the are Schoenberg's Gurrelieder, on Philips; orchestra's centennial in 1981, a fourteen- the complete Beethoven piano concertos city American tour and an international with Rudolf Serkin, on Telarc; the Dvorak tour to Japan, France, Germany, Austria, Cello Concerto with Mstislav Rostropovich and England. In March 1979 Mr. Ozawa and Tchaikovsky's Pathetique Symphony, and the Boston Symphony Orchestra made on Erato; Strauss 's Don Quixote and the an historic visit to China for a significant Schoenberg/Monn Cello Concerto with musical exchange entailing coaching, Yo-Yo Ma, the Mendelssohn Violin Con- study, and discussion sessions with Chi- certo with Isaac Stern, and Berlioz's Les nese musicians, as well as concert perform- Nuits d'ete with Frederica von Stade, on ances, becoming the first American per- CBS Masterworks; and Stravinsky's Fire- forming ensemble to visit China since the bird, on EMI/Angel. establishment of diplomatic relations. In Mr. Ozawa pursues an active interna- December 1988 he and the orchestra gave tional career, appearing regularly with the eleven concerts during a two-week tour to Berlin Philharmonic, the Orchestre de England, the Netherlands, France, Ger- Paris, the French National Orchestra, the many, Austria, and Belgium. In December Vienna Philharmonic, the Philharmonia of 1989 Mr. Ozawa and the orchestra trav- London, and the New Japan Philharmonic. eled to Japan for the fourth time, on a Recent appearances conducting opera have tour that also included the orchestra's first included La Scala, Salzburg, the Vienna concerts in Hong Kong. Staatsoper, and the Paris Opera; he has

Mr. Ozawa' s recent recordings for Phil- also conducted at Covent Garden. In 1983, ips with the Boston Symphony Orchestra at the Paris Opera, he conducted the world WfRMSSh

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premiere of Olivier Messiaen's St. Francis While a student of Herbert von Karajan ofAssist. In addition to his many Boston in West Berlin, Mr. Ozawa came to the Symphony Orchestra recordings, he has attention of Leonard Bernstein. He accom- recorded with the Berlin Philharmonic, the panied Mr. Bernstein on the New York London Philharmonic, the Philharmonia of Philharmonic's 1961 tour of Japan and London, the Chicago Symphony Orchestra, was made an assistant conductor of that the Orchestre National, the Orchestre de orchestra for the 1961-62 season. In Janu- Paris, the San Francisco Symphony, and ary 1962 he made his first professional the Toronto Symphony Orchestra, among concert appearance in North America, with others. His opera recordings include the San Francisco Symphony. Mr. Ozawa Bizet's Carmen with Jessye Norman and was music director of the Chicago Sym- the Orchestre National, on Philips, and phony Orchestra's Ravinia Festival for five Les Contes d'Hoffmann with Placido Dom- summers beginning in 1964, music director ingo and Edita Gruberova, on Deutsche of the Toronto Symphony Orchestra from Grammophon. 1965 to 1969, and music director of the San Francisco Symphony from 1970 to 1976, followed by a year as that orches- Born in 1935 in Shenyang, China, to tra's music advisor. He conducted the Japanese parents, Seiji Ozawa studied Boston Symphony Orchestra for the first Western music as a child and later gradu- time at Tanglewood, in 1964, and made ated with first prizes in composition and his first Symphony Hall appearance with conducting from Tokyo's Toho School of the orchestra in 1968. In 1970 he was Music, where he was a student of Hideo named an artistic director of the Tangle- Saito. In 1959 he won first prize at the wood Festival. International Competition of Orchestra Conductors held in Besancon, France, and Mr. Ozawa holds honorary doctor of was invited to Tanglewood by Charles music degrees from the University of Munch, then music director of the Boston Massachusetts, the New England Conser- Symphony Orchestra and a judge at the vatory of Music, and Wheaton College in competition. In 1960 he won the Tangle- Norton, Massachusetts. He has won an wood Music Center's highest honor, the Emmy for the Boston Symphony Orches- Koussevitzky Prize for outstanding student tra's "Evening at Symphony" PBS televi- conductor. sion series. Leo Panasevich Carolyn and Ceorge Rowland chair Sheldon Rotenberg Muriel C. Kasdon and Marjorie C. Paley chair Alfred Schneider Raymond Sird Ikuko Mizuno Amnon Levy

Second Violins Directorship endowed by Music Marylou Speaker Churchill Moors Cabot John Fahnestock chair Vyacheslav Uritsky BOSTON SYMPHONY Charlotte and Irving W. Rabb chair ORCHESTRA Ronald Knudsen Edgar and Shirley Grossman chair 1990-91 Joseph McGauley Leonard Moss First Violins * Malcolm Lowe Harvey Seigel Concert-master *Jerome Rosen Charles Munch chair * Sheila Fiekowsky Tamara Smirnova-Sajfar Ronan Lefkowitz Concertmaster Associate * Bracken Helen Horner Mclntyre chair Nancy Max Hobart *Jennie Shames Assistant Concertmaster *Aza Raykhtsaum Robert L. Beat, and *Valeria Vilker Kuchment Enid L. and Bruce A. Beat chair Bewick Lucia Lin *Bonnie Acting Assistant Concertmaster *Tatiana Dimitriades Edward and Bertha C. Rose chair *James Cooke Bo Youp Hwang *Si-Jing Huang Acting Assistant Concertmaster John and Dorothy Wilson chair, fully funded in perpetuity Violas Max Winder Burton Fine Forrest Foster Collier chair Charles S. Dana chair Fredy Ostrovsky Patricia McCarty Dorothy Q. and David B. Arnold, Jr., Anne Stoneman chair, chair, fully funded in perpetuity fully funded in perpetuity Gottfried Wilfinger ^Ronald Wilkison Lois and Harlan Anderson chair Robert Barnes *Participating in a system of rotated seating within each string section %On sabbatical leave

10 Jerome Lipson Piccolo Trombones Joseph Pietropaolo Geralyn Coticone Ronald Barron Michael Zaretsky Evelyn and C. Charles Marran chair J.P. and Mary B. Barger chair, fully funded in perpetuity Marc Jeanneret Oboes Norman Bolter *Mark Ludwig Alfred Genovese * Rachel Fagerburg Mildred B. Remis chair Bass Trombone *Edward Gazouleas Wayne Rapier Douglas Yeo Keisuke Wakao Cellos Tuba Jules Eskin English Horn Chester Schmitz Philip R. Allen chair Laurence Thorstenberg Margaret and William C. Martha Babcock Beranek chair, Rousseau chair Vernon and Marion Alden chair fully funded in perpetuity Sato Knudsen Clarinets Timpani Esther S. and Joseph M. Shapiro chair Everett Firth Joel Harold Wright Moerschel Sylvia Shippen Wells chair Sandra and David Bakalar chair Ann 8.M. Banks chair * Thomas Martin Robert Ripley Percussion Richard C. and Ellen E. Paine chair, fully funded in perpetuity Bass Clarinet Arthur Press Luis Leguia Craig Nordstrom Assistant Timpanist Peter Andrew Lurie chair Robert Bradford Newman chair Farla and Harvey Chet $Carol Procter Krentzman chair Thomas Gauger Peter and Anne Brooke chair Lillian and Nathan R. Miller chair Frank Epstein *Ronald Feldman Bassoons William Hudgins Charles and JoAnne Dickinson chair Richard Svoboda * Jerome Patterson Edward A. Taft chair * Jonathan Miller Roland Small Harp Richard Ranti Ann Hobson Pilot Basses Willona Henderson Sinclair chair Edwin Barker Contrabassoon Sarah Schuster Ericsson Harold D. Hodgkinson chair Richard Plaster Lawrence Wolfe Helen Rand Thayer chair Maria Nistazos Stata chair, fully funded in perpetuity Joseph Hearne Horns Leith Family chair Charles Kavalovski Bela Wurtzler Helen Sagojf Slosberg chair John Salkowski Richard Sebring Margaret Andersen * Robert Olson Congleton chair Daniel Katzen Personnel Managers * James Orleans Elizabeth B. Storer chair Lynn Larsen *Todd Seeber Jay Wadenpfuhl Harry Shapiro *John Stovall Richard Mackey Jonathan Menkis Librarians Flutes Marshall Burlingame Trumpets William Shisler Walter Piston chair Charles Schlueter James Harper Leone Buyse Roger Louis Voisin chair Peter Acting Principal Flute Chapman Stage Manager Marian Gray Lewis chair Ford H. Cooper chair Position endowed by Fenwick Smith Timothy Morrison Angelica Lloyd Clagett Myra and Robert Kraft chair Steven Emery Alfred Robison

11 <^

The Symphony Statues: Casts of Character by Caroline Smedvig

It may come as a surprise to most Symphony subscribers to learn that each concert in Symphony Hah is always attended by a satyr — a dancing one, in fact — as well as by Sophocles, Euripides, Demosthenes, and Apollo, the god of music himself.

These "casts of character," along with a dozen other mythological deities and legendary figures of antiquity, survey Symphony Hall from their second-balcony niches — perhaps the best "seats" in the house. There are sixteen of these statues (actually plaster casts of the originals), which have been ensconced in their present home since the early 1900s, thanks to the generosity of a group of Symphony Friends who selected and donated them at the turn of the century.

While for the average concertgoer the statuary may recede into the overall decora- tive scheme of Symphony Hall, they come alive when Florence Wolsky, a member of the Classical Art Department at the Museum of Fine Arts, talks about the history and iconography of each one. Mrs. Wolsky, who has lectured about the Symphony Hall statues on various occasions, conducted a private tour of the statues for this inquiring writer on a Sunday afternoon with the hall empty and quiet.

Mrs. Wolsky began by explaining that the idea for the statues originated with the Symphony Hall architects McKim, Mead, and White, and their acoustical advisor, Wallace C. Sabine, who found the statuary was the solution to several problems con- fronting them at the time. Not only would the statues help solve part of the decora- tive problem of embellishing the large wall surfaces in the hall, but they would also provide a place in which acoustical adjustments could have been made. "If it became necessary to alter the acoustics at all, fabric or felt could have been placed behind the statues without disturbing the decoration," explained Mrs. Wolsky. "As it turned out, the hall was so masterfully designed, it hasn't been necessary to change it in any way."

The actual selection of the statues was charged to Mrs. John W. Elliot and a committee of about two hundred Friends of Symphony, who went to the Washington Street studios of Pietro Caproni and his brother. The Caproni brothers specialized in making reproductions of Roman copies of Greek statues. Mrs. Wolsky explained that most of what we know of original Greek sculpture is based on Roman copies: "Since most Greek sculpture was rendered in bronze, not marble, most statuary was melted

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down. The Romans, however, adored Greek sculpture, and made numerous copies of Greek statues which have survived."

The use of reproductions, added Mrs. Wolsky, was extremely popular in the nine- teenth century. "At the Paris Exposition in 1867, in fact, a resolution was passed that it should be made possible that everyone in the world be exposed to fine quality reproductions of the great statues of Greece and Rome," she said. "There were very strong feelings of cultural uplift at the time, much the same feeling that was behind Major Higginson's impulse to found the Boston Symphony after he had traveled to Europe and had heard the great symphonies there and had seen the great art. People in Boston had a strong desire to bring great art to this country, since they believed it brought out the noblest instincts in man, and therefore created a better democracy."

The statues were also a most appropriate addition to the Neo-Classic design of Symphony Hall, since it was a very Roman way of decorating an odeon or theatre.

And so Mrs. Elliot and her committee pored over the Caproni brothers' catalogues, eventually choosing the sixteen statues that now occupy the niches in the hall. The statues were not in place for the dedicatory concert on October 15, 1900, but were added one at a time as they came out of the Caproni studios.

Mrs. Wolsky pointed out that the statues appear to have been chosen not only with an eye towards beauty, but also because of their connection with music, art, literature, oratory, and the arts in general. There are two statues of Apollo, the god of music and poetry. The first statue (the second from the right as you face the stage) is known as "Apollo Citharoedus"; the original is located in the Palazzo dei Conservatori in Rome. A copy of a Greek statue from about 430 B.C., this statue shows Apollo

Apollo Belvedere (Rome)

wW'Ji dressed in the long robes of a musician, accompanying his songs and poetry on a cith- ara, an instrument he was said to have invented, similar to the lyre. On his head he wears a laurel wreath, which was given to the victors in the games and contests sacred to Apollo, and which became the symbol of triumph in Greece and Rome.

The second statue of Apollo (the statue to the right as you face the back of the hall) has been named the "Apollo Belvedere" and has been considered to represent the highest ideal of male beauty for generations. While the original is currently in the Vatican Museum, it is thought to be a Roman copy of a fourth-century work by Leo- chares, the court sculptor to Alexander the Great. In this posture, Apollo is shown as a divine hero, wearing the chlamys, or short cloak, and holding a bow in his left hand. (He probably held a spray of the sacred laurel plant in his other hand.) A snake is entwined around the tree stump as a creature of the earth and the underworld, sym- bolizing Apollo's role as a god of prophecy.

To the left of this statue stands Diana of Versailles, currently in the Louvre and also thought to be a copy of a fourth-century work by Leochares. Diana, known to the Greeks as Artemis, goddess of the chase and of the forests, is shown here just about to draw her bow as she strides through the woods. She is in her hunting costume, a short tunic, and in her left hand she once held a bow. Beside her is a small stag. Like her brother Apollo, Diana was a musician, and when she returned from the hunt she would often lead her choir of muses and graces at Delphi.

There are also three statues representing satyrs, or fauns, which were mythological creatures human in form, but with goats' ears and a tail. Satyrs were followers of Dionysus, the god par excellence of drama and music, and it was therefore appropriate for them to be included as Symphony Hall statues. The first satyr (the first statue on

Apollo Citharoedus (Rome)

14 the right as you face the stage) has the infant Bacchus (the Roman name for Dionysus) riding on his shoulders, holding a bunch of grapes. The satyr holds a pair of cymbals; on the stump beside him is a panther skin, which was sacred to Dionysus.

There is also a syrinx or Pan-pipes on the stump, along with some grapes and vine leaves.

The second statue of a satyr (the fourth on the right as you face the stage) is known as "The Dancing Faun"; the original is currently in the Villa Borghese in Rome. This satyr, older and bearded, plays the cymbals while he dances, as he would in a procession honoring Dionysus. A Dionysian panther skin is draped on the stump behind him, with his body twisted in the vigorous "contrapposto" typical of late Hellen- istic art.

The third satyr (first on the left as you face the stage) is taken from the Roman copy of a work in marble by one of the three greatest sculptors of the fourth century, Praxiteles. As Mrs. Wolsky pointed out, Praxiteles was a virtuoso in stone sculpture, who could give marble a translucent and soft surface that could pass for human skin. This statue is a marvelous example of the characteristic grace of a Praxitelean statue, the satyr leaning against the tree stump with a languid, dreamy expression. This satyr is often called "The Marble Faun," from the title of the book by Nathaniel

Hawthorne it is said to have inspired.

Also represented among the Symphony Hall statues are Demosthenes (fifth from the right as you face the stage); two statues of the Greek poet Anacreon (sixth from the right and fifth from the left); Euripides (seventh from the right); Hermes (third

Diana of Versailles (Paris)

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from the left); Athena (fourth from the left); Sophocles (fifth from the left); and the Greek orator Aeschines (seventh from the left).

The one statue for which there is not an obvious connection with the arts is that of the Amazon (second from the left), thought to be a copy of a fifth-century work by Polycleitus. Mrs. Wolsky postulated that the Amazon was probably chosen since it is one of the most famous statues of antiquity, and because the Amazons were followers of Diana, whose association with music has already been discussed. Also, added Mrs. Wolsky, there may have been a desire for another woman to be represented in the statuary, in addition to the statues of Diana, Athena, and the so-called Woman from Herculaneum (third from the right), one of the statues buried by the eruption of Vesuvius in 79 A.D.

The statues of Symphony Hall have not always been hailed as noble additions to the architecture. Since their installation, letters and comments have been registered from Symphony-goers concerned with the statues' state of dishabille. Wrote one gen- tleman as recently as 1947 to former board president Henry B. Cabot:

I dare say no two cocktail bars in Boston are as seductive a medium and raise so much havoc with virgins as does Symphony Hall by means of its suggestive display of male privates.... Symphony Hall is one of the remaining symbols of Bos-

ton culture. Let us keep it serene. I do not know how art would be affected if the privates on the statues should be covered. All these figures have some sort of

scarf about the shoulders, might it not be brought down lower?

Responded Mr. Cabot to the irate subscriber:

I am afraid that were we to take your advice, somebody might quote to us a

stanza from the old rhyme by Anthony Comstock which, as I remember, is:

So keep you temper, Anthony, Don't mind the people's roars. We'll drape the table's dainty legs In cotton flannel drawers.

We'll cover all those nudities That your pure nature fret, And put a bustle on the nag To hide her red rosette.

"The Dancing Faun" (Rome)

17 ANNE-SOPHIE MUTTER on Deutsche Grammophon

MUTTER Mozart • Mutter KARAJAN Violin Concertos Nos. 3 & 5 Karajan • Berlin Philharmonic The Great Violin Concertos

Bhf iif fl Mendelssohn

Bruch • Brahms

Mozart • Beethoven

415 327-2 GH

400 031-2 GH 423 696-2 GH Great recordingsfor your home concert hall.

1990 DG/PolyGram Records

18 BOSTON SYMPHONY ORCHESTRA

Seiji Ozawa, Music Director Grant Llewellyn and Robert Spano, Assistant Conductors One Hundred and Tenth Season, 1990-91

Thursday, February 14, at 8 Saturday, February 16, at 8

SEIJI OZAWA conducting bartOk Violin Concerto No. 2 Allegro non troppo Andante tranquillo Allegro molto ANNE-SOPHIE MUTTER

INTERMISSION

MOZART Mass in C minor, K.427(417a) Kyrie Gloria Gloria in excelsis Laudamus te Gratias agimus tibi Domine Deus Qui tollis peccata mundi Quoniam tu solus sanctus Jesu Christe — Cum sancto spiritu Credo Credo in unum Deum Et incarnatus est Sanctus Benedictus

SYLVIA McNAIR, soprano * SUSANNE MENTZER, mezzo-soprano JERRY HADLEY, tenor JOHN OSTENDORF, bass-baritone TANGLEWOOD FESTIVAL CHORUS, JOHN OLIVER, conductor

These concerts will end at about 10:05.

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20 BOSTON SYMPHONY ORCHESTRA

Seiji Ozawa, Music Director Grant Llewellyn and Robert Spano, Assistant Conductors One Hundred and Tenth Season, 1990-91

Friday, February 15, at 2

SEIJI OZAWA conducting

MORET En Reve, Concerto for violin and chamber orchestra

I. Lumiere vaporeuse II. Dialogue avec l'Etoile III. Azur fascinant (Serenade tessinoise) ANNE-SOPHIE MUTTER

INTERMISSION

SYLVIA McNAIR, soprano SUSANNE MENTZER, mezzo-soprano JERRY HADLEY, tenor JOHN OSTENDORF, bass-baritone TANGLEWOOD FESTIVAL CHORUS, JOHN OLIVER, conductor

This concert will end about 3:50.

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

The program books for the Friday series are given in loving memory of Mrs. Hugh Bancroft by her daughters Mrs. A. Werk Cook and the late Mrs. William C. Cox.

21 Week 16 A SALUTE TO THE BOSTON SYMPHONY & BOSTON POPS

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22 Bel a Bart ok Violin Concerto No. 2

Beta Bartok was born in Nagyszentmiklos, Transyl- vania (then part of Hungary, but now absorbed into Rumania), on March 25, 1881, and died in New York on September 26, 1945. He composed his Vio- lin Concerto No. 2 between August 1937 and Decem- ber 31, 1938, and dedicated the score to Zoltdn Szekely, who was soloist in the first performance on March 23, 1939, in Amsterdam. Willem Mengelberg conducted the Concertgebouw Orchestra. Tossy Spiv- akovsky gave the American premiere with the Cleve- land Orchestra, of which he was then concertmaster, on January 21, 1943, under the direction of Artur H Rodzinski. Yehudi Menuhin was the soloist in the Jt first Boston Symphony performances, on December Hil 28 and 29, 1945, under the direction of Richard Burgin. Later BSO performances were given by Spivakovsky (with Pierre Monteux conducting), Joseph Silverstein (with Erich Leinsdorf), Ruggiero Ricci (with William Steinberg and Silverstein), and Kyung Wha Chung (with Seiji Ozawa), who gave the most recent subscription performances in November 1975. Pinchas Zukerman was the soloist in the most recent Tanglewood performance, under the direction of Gennady Rozhdestvensky, in July 1979. Hie score calls for two flutes and piccolo, two oboes and English horn, two clarinets and bass clarinet, two bassoons and contrabassoon, four horns, two trumpets, three trombones, timpani, side drum, bass drum, cymbals, triangle, harp, celesta, and strings.

When this work was premiered in 1939, and for nearly twenty years after that, it was always billed as the Bartok Violin Concerto. Now, however, it must be regarded as the Second Violin Concerto, owing to the posthumous revival of a work that Bartok had written in 1907-08 for violinist Stefi Geyer, with whom he was particularly close in those years. Later they became estranged, and she never played the work, though she lived until 1956. Only after her death was it premiered — in Basel in 1958 — since which time we must speak of two Bartok violin concertos.

On September 1, 1936, Bartok mentioned to his publishers, Universal Edition, that he had some sketches for a new, unspecified work. A few days later, after finishing the Music for Strings, Percussion, and Celesta, he wrote asking Universal to send some scores of violin concertos, which suggests that he was studying the various technical problems of the genre (particularly, one assumes, the treatment of the orchestra ver- sus the soloist). Universal sent him works by Kurt Weill, Karol Szymanowski, and Alban Berg.

About the same time, Bartok's friend Zoltan Szekely asked if he would write a violin concerto for him. The composer had probably developed his ideas rather far already, since he tended to work out his compositions quite extensively in his head before setting pen to paper. Bartok proposed writing a set of variations for violin and orchestra. Szekely held out for a full concerto. In the end, both men were happy. The concerto that Szekely premiered contained the normal three movements, while Bartok cleverly got his way, too, by making the middle movement a formal set of variations, while the last movement is, in essence, a variation of the first. Even the restatements within the sonata-form structure of the first and last movements are essentially new variations. But all of this is only another example of what Bartok himself called "my natural tendency to vary and transform."

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24 Bartok may have gotten the idea for this kind of treatment from the Faust Sym- phony of Liszt, a work he admired enormously. In that remarkable composition, the first movement depicted Faust himself, while the last movement — treating Mephis- topheles as "the spirit of negation" — is an ironic variation with every thematic idea twisted into a sardonic nose-thumbing version of itself. Bartok's finale does not have

the cynical quality of Liszt's, but it transforms the noble cantabile themes of the first movement into the energetic folk dances of the finale.

First movement:

Last movement: #ipi /

Bartok was normally a fast worker, but the concerto took a long time to finish, and this fact depressed him somewhat. More depressing was the growing threat of Ger- many. At the time Bartok began the piece, he had not yet thought of leaving his

native Hungary; by the time the work was finished, it was becoming increasingly clear that his emigration would be only a matter of time.

Zoltan Szekely, for whom Bartok wrote the work, had studied the violin with Hubay and composition with Kodaly. He was the first violinist of the Hungarian

String Quartet from shortly after its founding until it was disbanded in 1970 (by which time the ensemble had been in the United States for some twenty years). More- over Szekely had been Bartok's frequent partner in duet recitals, clearly motivating the concerto's dedication "To my dear friend Zoltan Szekely."

Following its 1939 premiere in Amsterdam, the concerto quickly traveled abroad and was taken up by several violinists in the United States. Once Bartok settled here, they were further encouraged not only by the composer's presence but by the reaction of conductors. Early in 1944 Bartok wrote to his old friend Joseph Szigeti, who had not yet performed the work, though Bartok strongly hoped to hear him in it.

My dear Joe,

. . . There might still be a possibility with Ormandy. He wrote to me about

another matter and mentioned . . . how he would like to play it with you in Phil., because he had heard it on the radio and thinks that such a viol, concerto had not been written since Beeth., Mendels. and Brahms. Sic Ormandy!

It has often been noted how Bartok's late music found ways of reconciling his advanced sense of form and harmonic structure with a new directness of melodic invention, largely derived from Hungarian folk music, that made these late works far more accessible to audiences than many of the brilliant but knotty compositions of his youth. The Violin Concerto No. 2 certainly demonstrates the immediacy of his late style. It would not be too much to say that the work is in B major (with many shad- ings of the minor), though a typically Bartokian B-major, with its tonal pole not at F-sharp, as traditional harmony would dictate, but at F, a tritone away from the home key, its diametrical opposite in the tonal harmonic system. The opening violin theme, quoted above — is a broad, noble melody in a verbunkos march rhythm that

asserts the key of B while simultaneously beginning to undermine it with the instabil- ity of a generally chromatic language. The chromaticism eventually takes over in the

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i striking form of a new lyrical melody in the violin that is completely chromatic, con- taining all twelve notes of the scale, yet of a singing character throughout.

The movement is cast as a full-scale sonata form, with an elaborate and difficult cadenza shortly before the end. This is introduced by Bartok's first use of quarter- tones, shading the pitches just above and below a unison D, which at least one critic considers to be possibly an ironic reference to the great violin concertos of Beethoven, Brahms, and Tchaikovsky. For all his interest in varying his musical ideas with every restatement, the slow movement of this concerto is Bartok's only complete traditional variation set, with six variations following the statement of the theme, Andante tranquillo. The orchestral coloration offers a wonderful contrast to the vigorous and assertive sound of the outer movements. The instrumentation is exquisitely delicate, with only one brass instrument and wonderful imagination in the percussion writing. The last movement recasts the first, structurally and thematically, as a gigantic variation, filled with tremendous energy and brio to the very end.

— Steven Ledbetter

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For more information call your professional travel agent or 1 800-247-8786. For information on Trump Pak" small package service, call 1-800 869-8472. © 1990 The Trump Shuttle. Inc. 28 Norbert Moret En Reve, Concerto for violin and chamber orchestra

Norbert Moret was born in Menieres, in the canton ^y of Fribourg, Switzerland, on November 20, 1921, and is living in Fribourg. He composed En Reve in 1988. The score is dedicated to Anne-Sophie Mutter,

who gave the first performance on September 9, 1988, in Locarno, Switzerland, with Marc Andre conducting. These performances are the American premiere of the work and the first performances by the Boston Symphony Orchestra of any music by Moret. In additon to the solo violin, the score calls for two horns, celesta, percussion for two players

(I: vibraphone, two tom-toms, tam-tam, two gongs, two suspended cymbals, crotales, maracas, cloves, "'"\'^% „ ^ and guiro; IT. three pedal timpani, suspended cym- Ui bat, suspended triangle), and strings. The duration of the piece is about twenty minutes.

Norbert Moret was born in Fribourg, located at a bend of the Sarine, or Saane, River, which marks the linguistic boundary between the French-speaking and German-speaking regions of Switzerland. Born on the west side of the river, he is a native speaker of French, and this naturally enough led him to advanced musical

with special guests June Anderson, soprano Alfredo Kraus, tenor

Julius Rudel conductor and Members of the Boston Symphony Orchestra

Monday, March 11, 1991 at 8:15pm Symphony Hall

Gala Tickets at $500, $350, $200 are limited and include reception and dinner at The Ritz-Carlton, transportation to and from Symphony Hall, special program recognition, and premier seating for the performance. These tickets are only available through the Boston Opera Association, call (617) 482-2840 or write the Boston Opera Association, 270 Tremont Street, Boston, MA 02116

Tickets at $50, $40, $30, and $16 may be purchased at the Symphony Hall Box Office or through SymphonyCharge at (617) 266-1200, Monday - Saturday, 10am until 6pm.

This event is not available on any Boston Symphony Orchestra subscription series. Program Subject to change No Exchanges or Refunds

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30 studies in Paris, but he also traveled in the other direction, to Vienna. Beginning in 1943 he undertook studies at home in Fribourg and Lausanne, later abroad. His teachers have included Arthur Honegger and Olivier Messiaen for composition, Rene Leibowitz for composition and analysis, and Paul Kletzki for conducting. In the 1950-51 season he held an internship in conducting at the Vienna Philharmonic with two of the most distinguished figures in the history of the institution, Wilhelm Furt- wangler and Clemens Krauss.

Since 1952 Moret has lived in Fribourg, where he was active as a teacher (from 1965 at the ^cole normale of the Canton of Fribourg), composer, music critic, and editor or writer for various journals. His reputation grew markedly after the 1974 Festival of Swiss Composers in Amriswil, where his Germes en eveil, for soprano, chorus, flute, and two percussionists was seen as "a veritable revelation." Since that time he has concentrated primarily on composition.

— Steven Ledbetter

The composer provided the following statement about En Reve for the Anne Sophie Mutter Festival in London in October 1990:

Several sources of inspiration, which sometimes merge and combine, have guided the composition of my works. This "Concerto for Violin" is especially placed under the heading of one of my favorite themes — the dream — hence the title for this work, En Reve.

The first movement is entitled Hazy light. As a tireless walker, I have always loved walking in the country or the forest at the back of our house. In the forest, particularly, I was fascinated by the atmosphere of semi-darkness penetrated by rays of sun- light, giving the impression of a light, hazy mist with precise boundaries, seemingly enclosed by dazzling light. A veritable swarm of gnats fluttered inside this opening, in the shape of a large figure of eight and apparently immobile. Nothing of the sort — inside, this figure of eight was overflowing with life and each gnat, moving within a perfectly organized system, fluttered unceasingly until it found itself at the top of the figure eight, as though the better to draw strength and energy, necessary for its sur- vival, from the heat of the sunbeams. This struggle for life could last for hours. And, as an impassioned witness, I was watching a great magical rite unfolding before my eyes, in an unreal and enchanted atmosphere.

The second movement is entitled Dialogue with the Star. In several of my works I have spoken of this unique Star, which I always write with a capital "S" in order to emphasize that it is unique, especially in the compositional notes to Hymns of Silence (January 1978) and then in the composition of Time (June 1978). Usually, time appears as a line which runs away horizontally and irreparably. But on this Star, time does not run away, for it is miraculously transformed into space. It is the time of poets, of lovers (love always). Moreover this Star announces its presence by the marvellous radiance of perfect D major harmonies. As always in my works, the last movement is a song of hope. Fascinating Blue (with the subtitle Serenade tessinoise, in honor of the Festival of Ancona which asked me to write this work), draws the piece into a hurly-burly of festivity which sings of hope.

This "Concerto for Violin" is dedicated to the delightful virtuoso who inspired its composition: Anne-Sophie Mutter.

— Norbert Moret

31 Week 16 SEIJI OZAWA and the Boston Symphony Orchestra on Deutsche Grammophon

Great recordings foryour home concert hall.

1990 DG/PolyGram Records

32 Wolfgang Amade Mozart Mass in C minor, K.427(417a)

Johannes Chrysostomus Wolfgang Gottlieb Mozart, who began calling himself Wolfgang Amadeo about 1 770 and Wolfgang Amade about 1 777, was born in Salzburg, Austria, on January 27, 1756, and died

in Vienna on December 5, 1791. He composed the Mass in C minor in 1 782-83 and led its first performance at St. Peter's, Salzburg, on October 23, 1 783. Further discussion of its genesis and incomplete state will be found below. The Mass first became known in this century through an edition by Alois Schmitt and Ernst Lewicki performed in

Dresden on April 3, 1901; that version added music from other works by Mozart and Ernst Eberlin to

fill out Mozart's incomplete score. These performances will employ the 1956 edition by H.C. Robbins London, which contains only those movements indubitably written by Mozart. The first Boston performance of the C minor Mass was given by the Polyphonic Choir under the direction of Alfred Nash Patterson on March 21, 1949. Leonard Bernstein conducted the Boston Symphony Orchestra in a performance ofjust the Kyrie and Gloria at Tangle- wood in August 1956 with the Festival Chorus and soloists Phyllis Curtin, Eunice Alberts, and John McCollum. The first complete BSO performance, and the only previous subscription performances, took place in March 1978 with James Levine conducting; the Tanglewood Festival Chorus took part, along with soloists Kathleen Battle, Maria Ewing, Philip Creech, and John Cheek. Charles Dutoit conducted the most recent Tanglewood performance in June 1986 with the Tanglewood Festival Chorus and soloists Benita Valente, Lorraine Hunt, Mark DuBois, and John Ostendorf. The score calls for a mixed chorus divided at various times into four, five, or eight parts; solo parts for first and second soprano, tenor, and bass; and an orchestra offlute, two oboes, two bassoons, two horns, two trumpets, three trombones, timpani, organ, and strings.

This incomplete torso of a grandiose, dramatic, powerfully expressive setting of the Mass Ordinary is both fascinating and frustratingly mysterious. We know roughly when and why Mozart began the composition, and we know that it was performed,

which suggests that he finished it. Yet the surviving manuscripts and other materials for this Mass are incomplete. Why did Mozart never finish the work that would surely have been his greatest Mass? And what was actually performed when the piece was heard in Salzburg (no doubt its only performance until long after Mozart's death)?

The C minor Mass is one of the very few liturgical works that Mozart undertook out of an inner compulsion rather than because of an external commission. It is well known that his father Leopold had objected in 1777 to his son's infatuation with the charming singer Aloysia Weber in Mannheim. She jilted him the following year, but by the time Wolfgang moved from Salzburg to Vienna in 1781, he found the Webers

already present in the capital. Indeed, he lodged with the family for five months, still possibly nursing some degree of passion for Aloysia, despite her marriage in the interim to the painter Joseph Lange. But there were three Weber daughters, and Mrs. Weber seems to have schemed to compromise the reputations of her youngest, Constanze, and of Mozart in order to induce them to marry. Leopold was seriously concerned, and he filled his letters with warnings and advice to his son, all intended to direct him away from a marriage that Leopold could only view as catastrophic.

On August 4, 1782, Wolfgang and Constanze married, though the young man care-

fully avoided informing his father by letter until it was too late for him to take any

33 Week 16 effective countermeasures; Leopold could only grudgingly grant his blessing to the match, with as much good grace as he could muster under the circumstances, and even that arrived the day after the wedding.

Once the marriage was a fait accompli, Wolfgang and Constanze did everything they could to win over the old man's hurt feelings. Leopold was always worried about his son's moral and religious life, particularly once he had moved to what Leopold was bound to view as the fleshpots of Vienna. Wolfgang was determined to prove to his father that he had made a good choice. On August 17 he wrote:

for a considerable time before we were married we had always attended mass and gone to confession and taken communion together; and I found that I never prayed so fervently or confessed and took communion so devoutly as by her side; and she felt the same.

Though Mozart was a sincere believer, he was not normally so fervent as this letter suggests, and its tone must be put down at least partly to his desire to convince Papa that Constanze had had a good effect upon him. On several occasions the newlyweds planned to visit Salzburg, but each time something intervened — illness, or a good commission, or a concert, and eventually Constanze's pregnancy. For several months

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Wolfgang's letters seem to tiptoe around potential disagreements with his father, and

on January 4, 1783, he wrote (referring to a letter from his father that is now lost):

It is quite true about my moral obligation and indeed I let the word flow from my pen on purpose. I made the promise in my heart of hearts and hope to be able to

keep it. When I made it, my wife was not yet married; yet, as I was absolutely determined to marry her after her recovery, it was easy for me to make it— but, as you yourself are aware, time and other circumstances made our journey impossible. The score of half a mass, which is still lying here waiting to be fin-

ished, is the best proof that I really made the promise.

Evidently this refers to a vow that he had made to compose a Mass if Constanze recovered from an illness at some time shortly before their marriage. As the work was

still only half-finished months after her apparent recovery, it seems that the purpose of the vow shifted gradually— from thanks for Constanze's renewed health to thanks

for their marriage, though it is quite possible that the two events followed close upon one another and were joined in Mozart's mind. (One also reads, in Vincent Novello's account of his visit with Constanze in 1829, that Mozart took the vow in praying for his wife's recovery from the birth of their first child; Constanze surely misremembered the facts, since Raimund Leopold Mozart was born on June 17, 1783, six months after Mozart indicated to his father that the Mass was already half-finished; he lived only two months.)

Not until the following summer could the young couple make their long-delayed trip to Salzburg. There Constanze made her peace with her father-in-law, a peace no doubt sealed when she sang the solo soprano part in Wolfgang's C minor Mass at its performance in the church of St. Peter's in Salzburg on October 26, 1783.

We know the Mass was performed. Wolfgang's sister Nannerl noted in her diary that she had attended the rehearsal on the 23rd "in which my sister-in-law sings solo," as well as the service on the 26th, where she noted, "The whole of the court music participated."* Yet half of the piece is missing! In a "Missa solemnis," or High

Mass, such as K.427, the Ordinary of the Mass (that is, those portions of the text that remain unchanged throughout the church year and are the parts normally set to music) consists of the Kyrie, Gloria, Credo, Sanctus (with the Benedictus), and Agnus Dei; often the longer texts are subdivided into several movements. Since the work's first publication by J.A. Andre in 1840, this is what we have of it:

Kyrie Complete. Gloria Complete. Credo Only fragments of the first two sections, "Et in terra pax" and "Et incarnatus est" Sanctus Complete except for the lack of one of the double choruses Benedictus One double chorus missing in the da capo of the Osanna Agnus Dei Entirely missing

Modern audiences have no difficulty in hearing a concert performance of a torso like this, but it would have been inconceivable in 1783 to offer an incomplete liturgical

*Many older sources that discuss the C minor Mass give the date of the first performance as August 25, 1783. This is the result of a twofold error in reading Nannerl's diary, which gives the pertinent facts. Nannerl mentioned the performance in her diary on a day she identified as "den 25ten 8-bris." Like many Austrians of her day, she used a Latin abbreviation for the month: "8-bris" is read "octobris" (the figure "8," of course, is "octo" in Latin). The early Mozart biographer Georg Nikolaus Nissen misread the abbreviation as indicating the eighth month, hence August. As for the day, Nannerl made an entry for "den 25ten" ("the 25th") of October and then repeated the date for her diary entry about the Mass performance. Clearly she had inadvertently written the same number two days in a row, so the performance took place on October 26 at Mass. The following morning Wolfgang and Constanze left for Vienna.

35 Week 16 work as part of a church service (and equally inconceivable to perform a Mass as a concert work). So we are left with some nagging questions: Did Mozart ever complete the piece? If so, what happened to the now-missing sections'? If not, what music was performed in Salzburg that October 26?

As we have seen, even the surviving portions of the Mass are not always complete. This suggests that, in fact, Mozart never really got around to finishing the composition in a formal way. After all, there was no one dangling a tantalizing (and much needed) commission in front of him, payable upon delivery of a complete score. He was his own patron, and he seems not to have been hard-nosed enough to keep himself going to the end in the face of other obligations. Moreover a few of the instru- mental parts used in the original performance — those for the organ and the three trombones— were located in the Holy Cross Monastery in Augsburg, Germany, to which most of Leopold Mozart's manuscripts were sent after his death in 1787. These four parts, actually used in the performance, include the Kyrie, Gloria, Sanctus, and Benedictus, but — surprisingly— they lack the Credo (even the portions that survive!) and the Agnus Dei. The editors of the New Mozart Edition have a clever explanation for the omission of the Credo: October 26, 1783, was the Feast of St. Amand, one of the patron saints of the church where the performance took place. Normally the Credo is omitted from the Ordinary of masses celebrating a saint's day. Unfortu-

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nately, that practice was observed on weekdays, but not on Sundays — and October 26, 1783, was a Sunday. The Credo should have been included. But perhaps the church simply followed its own individual custom in this regard.

As for the lack of the Agnus Dei, H.C. Robbins Landon has an ingenious and plau- sible hypothesis. Many Austrian Mass settings of the classical period repeat music drawn from the Kyrie to round out the work at the end. Robbins Landon suggests that Mozart simply asked the performers to turn back to the beginning of the work, play the Kyrie again, but fit the words of the Agnus Dei to the same music. Any permanent church choir of the day could have done this without rehearsal. (Indeed, Mozart's pupil Siissmayer later completed the unfinished Requiem in much the same way, by quoting its opening.) Thus the work could have been liturgically complete, even if the manuscript seems to lack an entire movement.

Even if these hypotheses could be proved true, we may still lament the fact that Mozart never managed to finish the full work that he had set out to compose, for what is there is remarkable indeed. If it had been brought to conclusion, a performance would run nearly an hour and a half— about the scope of Beethoven's Missa Solemnis. It is a far cry from the Masses that Mozart composed during his Salzburg years, because Archbishop Colloredo, his old enemy, sought for concision and directness in the church service. To that end he had decreed that the musical part of the Mass — not only the Ordinary set for chorus, orchestra, and soloists, but also all the epistle sonata, the Offertory, and a motet — had to fit within about three-quarters of an hour. Mozart felt constrained to be brief, to minimize purely musical expansion in order to move the text right along. By the time he came to compose the Mass in C minor, though, Mozart had left Salzburg. If he thought of a performance venue at all, it was anywhere but the cathedral run by Colloredo. Moreover he was newly under the spell of two of his greatest predecessors in the composition of large-scale works for chorus and orchestra, Bach and Handel.

Soon after Mozart's arrival in Vienna he came into the circle of Baron Gottfried van Swieten, diplomat, musical amateur, composer, and organizer of musical events. Van Swieten was especially enamored of the music of J.S. Bach and of Handel, both composers dead more than a generation and largely unknown in Vienna. He organized a musical circle of like-minded aficionados who played and studied the music of these two masters and a few other older composers. Already on April 20, 1782, Mozart sent his sister a three-part fugue with a prelude that he had just composed, and he added:

My dear Constanze is really the cause of this fugue's coming into the world. Baron van Swieten, to whom I go every Sunday, gave me all the works of Handel and Sebastian Bach to take home with me (after I had played them to him). When Constanze heard the fugues, she absolutely fell in love with them. Now she will listen to nothing but fugues, and particularly (in this kind of composition) the works of Handel and Bach. Well, as she had often heard me play fugues out of my head, she asked me if I had ever written any down, and when I said I had not, she scolded me roundly for not recording some of my compositions in this most artistic and beautiful of all musical forms ....

Though the encounter with Bach and Handel may not have changed Mozart's style as fundamentally as some older writers maintain, it certainly showed him new possibili- ties in contrapuntal writing, and his Mass in C minor makes grand use of these, though many parts — particularly the solo passages — grow clearly out of the traditions of the Austrian cantata Mass in which — as in J.S. Bach'"- ]* Tiss in B minor, more familiar to us than anything Mozart might have known — the sentences or paragraphs of the text are divided into separate numbers — choruses, arias, and ensembles.

The solemnity of this work is striking from the outset. Most Austrian Mass settings of- the period are generally sunny in character, and Mozart's earlier ones are no exception. The first solo entrance in the work is the soprano — a part intended for

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38 Constanze — in the Christe, which demonstrates that Mozart's wife was no mean singer. The Gloria bursts out with trumpets and drums in a brilliant C major, then moves gently to the broad, sunny lines of the Laudamus te, again for the soprano solo, this time with terrifyingly large leaps. The Gratias is marked by the powerful, sharp dotted rhythms of much Baroque music. The Domine Deus presents the delicious interplay of two solo soprano voices, culminating in a magically sensuous moment that has the two voices crossing in large leaps so that each produces the high note in succession. The magnificent double chorus of Qui tollis, over sharply dotted rhythms and a chromatic bass line, builds extraordinary tension. The three upper solo voices intertwine brightly in Quoniam tu solus sanctus. A choral outburst on the words "Jesu Christe" leads into one of Mozart's most extended and brilliant demonstrations of fugal writing, "Cum sancto Spiritu" to close the Gloria. In this closing section, the two fugal themes are subjected to many of the same devices that Mozart was to employ so prodigally in the closing movement of the Jupiter Symphony just five years later. Though the fugue may start out as an homage, in some sense, to his great predecessors, Mozart brings it to a dramatic conclusion quite atypical of the Baroque masters with a great unison choral statement of the subject just before the close.

The opening of the Credo is again in the brilliant style that opened the previous section, though without the trumpets and drums. The second violin and viola parts are mostly missing in this movement and had to be editorially supplied. The Et incarnatus that follows is one of Mozart's most ravishing passages, and certainly one of his greatest musical gifts to his wife: an extended solo for soprano with flute, oboe, and bassoon. Here all the upper string parts are reconstructed, but the delicious woodwind writing is clearly Mozart's own. There should be at least one more movement to finish the Credo in the key of C, but Mozart never composed it.

Mozart clearly cast the Sanctus as a grand double-chorus, though about half the choral parts are missing and had to be reconstructed editorially. The Benedictus is the one passage in the work that offers the entire solo vocal quartet as a unit, though of course Mozart might have employed it elsewhere if he had finished the composition. It closes with a brief restatement of the Osanna. Normally a full Mass setting ends with penitence and tender reconciliation in the Agnus Dei, but lacking that movement entirely, we must content ourselves with the unusually festive close provided by the Osanna.

It is difficult to avoid wishing that we had a complete C minor Mass by Mozart, but regrets are vain. Still, the parts that Mozart finished and the sections that survive are remarkable enough — deeply moving and thrilling by turns — to merit our undying gratitude. -S.L.

Text and translation begin on the next page.

39 Week 16 Kyrie (SATB chorus, Soprano I solo) Kyrie eleison. Lord, have mercy upon us. Christe eleison. Christ, have mercy upon us. Kyrie eleison. Lord, have mercy upon us.

Gloria (SATB chorus) Gloria in excelsis Deo, Glory be to God on high, et in terra pax hominibus and on earth peace to men bonae voluntatis. of good will.

Laudamus te (Soprano I solo) Laudamus te, benedicimus te, We praise thee, we bless thee, adoramus te, glorificamus te. we worship thee, we glorify thee.

Gratias (SSATB chorus) Gratias agimus tibi We give thanks to thee propter magnam gloriam tuam. for thy great glory.

Domine Deus (Soprano I, Soprano II soli) Domine Deus, rex coelestis, Lord God, heavenly king, Deus Pater omnipotens, God the Father almighty, Domine Fill unigenite Lord, the only-begotten son Jesu Christe, Jesus Christ, Domine Deus, Agnus Dei, Lord God, Lamb of God, Filius Patris, Son of the Father,

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40 Qui tollis (SATB/SATB chorus) Qui tollis peccata mundi, that takest away the sins of the world, miserere nobis, have mercy upon us, suscipe deprecationem nostram. receive our prayer. Qui sedes ad dexteram Patris, Thou that sittest at the right hand of miserere nobis. God the father, have mercy upon us.

Quoniam (Soprano I, Soprano II, Tenor soli) Quoniam tu solus sanctus, For thou alone art holy; tu solus Dominus, thou only art the Lord; tu solus altissimus thou only, art most high,

Jesu Christe (SATB chorus) Jesu Christe. Jesus Christ.

Cum sancto Spiritu (SATB chorus) Cum sancto Spiritu With the Holy Ghost, in gloria Dei Patris, Amen. in the glory of God the Father, Amen.

Credo (SSATB chorus) Credo in unum Deum, I believe in one God, Patrem omnipotentem, the Father Almighty, factorem coeli et terrae, maker of heaven and earth, visibilium omnium et invisibilium, and of all things visible and Et in unum Dominum Jesum Christum, invisible, and in one Lord, Jesus Christ, Filium Dei unigenitum; the only-begotten Son of God, et ex Patre natum ante omnia saecula; begotten of his Father before all Deum de Deo, lumen de lumine, worlds, God of God; light of light, Deum verum de Deo vero; very God of very God; genitum, non factum, begotten, not made, consubstantialem Patri, being of one substance with the Father, per quern omnia facta sunt; by whom all things were made; qui propter nos homines who for us men et propter nostram salutem and for our salvation descendit de coelis. came down from heaven.

Et incarnatus est (Soprano I solo) Et incarnatus est de Spiritu Sancto And was incarnate by the Holy Ghost ex Maria virgine, et homo factus est. of the Virgin Mary, and was made man.

[Remainder of Credo text not set.]

Sanctus (SATB/SATB chorus)

Sanctus, sanctus, sanctus, Dominus Holy, holy, holy is the Lord Deus Sabaoth. God of hosts. Pleni sunt coeli et terra gloria eius. Heaven and earth are full of his glory. Osanna in excelsis. Hosanna in the highest.

Benedictus (Soprano I, Soprano II, Tenor, Bass soli SATB/SATB chorus) Benedictus qui venit in nomine Blessed is he that cometh in the name Domini. of the Lord.

Osanna in excelsis. Hosanna in the highest.

41 Week 16 More . . .

Paul Griffiths' Bartok, one of the newest additions to the Master Musicians series, provides a superb introduction to the composer, with imaginative insights on many aspects of the man and his work (Dent paperback; available so far only from the English publisher). Halsey Stevens's The Life and Music of Beta Bartok (Oxford, available in paperback) has long been the standard biographical and critical study and remains valuable. John McCabe's Bartok Orchestral Music is a fine addition to the BBC Music Guides (University of Washington paperback). Agatha Fassett's gripping and personal account of Bartok' s last years was published in hardcover under the somewhat off-putting title The Naked Face of Genius; there is a Dover paperback reprint simply titled Beta Bartok: The American Years. A more technical discussion of Bartok's music may be found in Erno Lendvai's Beta Bartok: An Analysis of his Music (Corvina). The most brilliant analysis of Bartok's music, though it is highly technical, is to be found in the detailed study by Elliot Antokoletz, TTie Works of Beta Bartok: A Study of Tonality and Progression in Twentieth-century Music (University of California Press). Anne-Sophie Mutter will be recording the Bartok Violin Concerto No. 2 with Seiji Ozawa and the Boston Symphony Orchestra in conjunction with these performances (DG). Meanwhile, Itzhak Perlman's recording with the London Symphony Orchestra under Andre Previn is wonderfully spontaneous (London). Kyung Wha Chung gives both tender and intense performances of both Bartok concertos with the London Philharmonic under Sir Georg Solti (London). Two older recordings are of particular interest. Yehudi Menuhin became a leading exponent of the work and recorded it on several occasions; his 1953 reading with the Philharmo- nia Orchestra under the direction of Wilhelm Furtwangler has been reissued along

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recording is naturally of permanent historical significance (Philips).

Very little information about Norbert Moret is available in English, and there are no recordings currently available in this country, but En Reve will be recorded by Anne-Sophie Mutter, Seiji Ozawa, and the Boston Symphony Orchestra in conjunction with these concerts (DG).

Stanley Sadie's fine Mozart article in The New Grove has been published separately by Norton (available in paperback); Sadie is also the author of Mozart (Grossman, also paperback), a convenient brief life-and-works survey with nice pictures. Alfred Einstein's classic Mozart: The Man, The Music is still worth knowing (Oxford paperback). Wolfgang Hildesheimer's Mozart (Farrar Straus Giroux, available also as a Vintage paperback), though frustrating to read since it is built up out of many short sections dealing primarily with Mozart's character, personality, and genius, provides a stimulating point of view for readers who have not followed the recent specialist literature on the composer. Just published in anticipation of this year's many commemo- rations of the 200th anniversary of the composer's death, The Mozart Compendium: A Guide to Mozart's Life and Music, edited by H.C. Robbins Landon (Schirmer Books), is a first-rate single-volume reference work for the Mozart lover, filled with an extraordinary range of information, including things it might never have occurred to you to look up, but which you'll be delighted to know. A distinguished roster of specialists writes about the historical background of Mozart's life, the musical world in which Mozart lived, his social milieu and personality, his opinions on everything from reli- gion and reading matter to sex and other composers. In addition, there are entries for all of Mozart's works with basic information regarding their composition, performance, publication, location of manuscripts, and special features (such as nicknames or borrowed tunes). Finally, a discussion of the reception of Mozart's music, performance practices, myths and legends about Mozart, Mozart in literature, and an evalua- tion of the biographies, analytical studies, and editions of Mozart's music caps a remarkable book. I know nothing quite like this for any other composer: detailed and scholarly for the specialist, wide-ranging, yet accessible for the general music-lover. A glowing, fresh, and dramatic performance of the C minor Mass on period instruments comes from John Eliot Gardiner, the Monteverdi Choir, and the English Baroque Soloists with Sylvia McNair, Diana Montague, Anthony Rolfe Johnson, and Cornelius Hauptmann as soloists. Herbert von Karajan's reading with the Berlin Philharmonic and the Vienna Singverein is beautifully intense; the soloists are Barbara Hendricks, Janet Perry, Peter Schreier, and Benjamin Luxon (DG). Two of the grandest of all Mass settings — Beethoven's Missa Solemnis and the Mozart C minor — are coupled in a two-disc set by Robert Shaw with the Atlanta Symphony Orchestra and Chorus and a quartet consisting of Edith Wiens, Dolores Ziegler, John Aler, and William Stone. -S.L.

43 Week 16

Wm% ara Without You, This Is The Whole Picture* This year, there is an $ 1 1 million difference educational and youth programs, and to attract between what the BSO will earn — and what the world's finest musicians and guest artists. we must spend to make our music. Make your generous gift to the Annual Your gift to the Boston Symphony Annual Fund — and become a Friend of the Boston Fund will help us make up that difference. Symphony Orchestra today. Because without It will help us continue to fund outreach, you, the picture begins to fade. r ~i Yes, I want to keep great music alive.

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44 Anne-Sophie Mutter Internationally renowned violinist Anne- Sophie Mutter returns to North America in February 1991 for a six-week tour including both concert and recital appearances. Beginning in Boston, she performs and records Bartok's Violin Concerto No. 2 and Moret's En Reve with Seiji Ozawa and the Boston Symphony Orchestra. Her other orchestra engagements include the Cleveland Orchestra with Pierre Boulez and the Philadelphia Orchestra with Riccardo Muti, including a performance at Carnegie Hall. Her third North American recital tour in February and March includes engagements in New York (her Avery Fisher Hall recital debut), Toronto, Los Angeles, and San Francisco. Additional highlights of Ms. Mutter's 1990-91 season include a Far East tour featuring concerto performances with the Tokyo Symphony Orchestra and three recitals in Tokyo, as well as recitals in Hong Kong and Osaka. In the fall of 1990 Ms. Mutter appeared in both London and Stuttgart in her own five-concert festival, including recitals, chamber music concerts, and concerto performances of works by Mozart, Beethoven, Brahms, Strauss, Franck, Ravel, Tchaikovsky, Stravinsky, Moret, and Lutosjawski. Other European engagements include a concerto tour of Scandinavia, performances with the Orchestre de Paris, and concerto tours with the Orchestra da Camera di Padova e del Veneto, the Chamber Orchestra of Europe with Sir Georg Solti, the Academy of St. Martin-in-the-Fields with Sir Neville Marriner, and the Norddeutscher Rundfunk Sinfonieorchester with Krzysztof Penderecki. In addition to her concerto recordings with Karajan, Ozawa, and Muti, Ms. Mutter's recent releases include the Tchaikovsky Concerto with the Vienna Philharmonic and Herbert von Karajan, the complete Beethoven string trios with Bruno Giuranna and Mstislav Rostropovich, and concertos of Glazunov and Prokofiev with the National Symphony and Mstislav Rostropovich. Her recording of the Stravinsky Concerto and LutosZawski's Chain 2 and Partita won a 1989 Grand Prix Inter- national du Disque and the 1989 Ovation Concerto of the Year Award; she recently received Gold Record awards in Europe for her four-CD set of "Great Violin Concerti" and Vivaldi's Four Seasons, all with Herbert von Karajan and the Berlin Philharmonic. A strong advocate of contemporary composers, Ms. Mutter has given the world premieres of works by Lutos/awski and Moret; concertos are currently being written for her by Krzysz- tof Penderecki and Wolfgang Rihm. An accomplished chamber musician, she has collabo- rated with Alexis Weissenberg, Lambert Orkis, Yehudi Menuhin, Bruno Giuranna, Phillip

Moll, Salvatore Accardo, Andrei Gavrilov, and Mstislav Rostropovich. She is an Honorary Fellow of the Royal Academy of Music and the first holder of the International Chair of Violin Studies. She has received such awards as the 1979 Deutscher Schallplattenpreis, two Grammy nominations, the Premio Internazionale Accademia Musicale Chigiana, and the most prestigious and popularly acclaimed German award, the classical music "Bambi." Since her BSO debut in February 1983, Ms. Mutter has performed music of Bruch, Lalo, Beethoven, Stravinsky, and Mozart with the orchestra, including appearances in Hong Kong, Japan, and, in conjunction with her most recent appearances in March 1990, at Carnegie Hall.

'&£% Wd Tanglewood Festival Chorus John Oliver, Conductor

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

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46 Tanglewood Festival Chorus John Oliver, Conductor

Sopranos Barbara Naidich Ehrmann James R. Kauffman Annette Anfinrud Paula Folkman Hyung Goo Kim Margaret Aquino Dorrie A. Freedman Edward Kiradjieff Deborah Bennett Irene Gilbride David Norris Deborah Gruber David Raish Jane R. Circle Toni Gustus Roger H. Mary A.V. Crimmins Randall Sara Dorfman Donna Hewitt-Didham Brian Robinson Diane Hoffman David Christine P. Duquette Rose Sandra Hammond Evelyn Eshelman Kern Cheri Hancock Nicole MacAdam Basses Sheryl Monkelien Malinda Julien Eddie Andrews Pedlar Holly MacEwen Krafka Roslyn Mel Conway Linda Kay Smith Barbara S. MacDonald James W. Courtemanche Ada Snider Jan Elizabeth Norvelle Edward E. Dahl Julie Steinhilber Susan Quinn Pierce John Duffy Judith Tierney Sarah Robinson Stephen Palbel Christina Lillian Wallace Charlotte C. Russell Timothy Lanagan Lynn Shane Steven Ledbetter Joan Pernice Sherman Tenors Andris Levensteins Rachel Shetler Antone Aquino David K. Lones Deborah L. Speer Richard A. Bissell Stephen H. Owades Constance Turnburke Kenneth R. Burger Donald Robert Peck Sue Wilcox Andrew 0. Crain Dennis M. Pereira Wayne Curtis Carl R. Petersheim Mezzo-sopranos Michael P. Gallagher Michael J. Prichard Maisy Bennett David Halloran Vladimir Roudenko Betty Blume George W. Harper Paul Sanner Sharon Carter John W. Hickman Timothy Shetler Diane Droste Warren Hutchison Paul R. Tessier

Virginia S. Hecker, Manager Frank Corliss, Rehearsal Pianist

47 Sylvia McNair Soprano Sylvia McNair recently won international acclaim for her Covent Garden debut in 1989 and her Salzburg Festival debut in 1990. This season she appears with the Chicago Symphony, the San Francisco Symphony, the Atlanta Symphony, and the Minne- sota Orchestra. She also sings the Brahms German Requiem at Carnegie Hall under the direction of Robert Shaw and the role of Emmeline in Purcell's King Arthur with Washington Opera. Euro- pean performances include Pamina in The Magic Flute in Vienna, a return to Glyndebourne as Ilia in Idomeneo, Mozart's C minor Mass with John Eliot Gardiner in London, Salzburg, and Vienna, and a return to the Salzburg Festival in 1991. Last season Ms. McNair made her Covent Garden debut as Ilia in Idomeneo. This was also her debut role at the Salzburg Festival, where she also sang Euridice in Gluck's Orfeo ed Euridice with John Eliot Gardiner and the Monteverdi Choir. She made her Berlin Philharmonic debut with Jeffrey Tate and also performed with the London Philharmonic, the New York Philharmonic, the Los Angeles Philharmonic, and the Atlanta Symphony. She made her British opera debut in July 1989, as Anne Trulove in The Rake's Progress at Glyndebourne. Winner of the first Marian Ander- son Award presented by the Charles Ives Center for the Arts in Danbury, Connecticut, Ms. McNair has appeared with opera companies and major orchestras throughout the United States and Europe. Festival appearances have included Tanglewood, Wolf Trap, Aspen, Waterloo, Lucerne, Mostly Mozart at Lincoln Center, and the Festival of Two Worlds in Spoleto, where she made her Italian debut. Born in Ohio into a musical family, Sylvia McNair studied violin through her sophomore year in college, when she decided to take voice lessons. She earned her master's degree in vocal performance from Indiana Univer- sity and, upon winning the 1982 Metropolitan Opera National Auditions, made her London concert debut on the American Artists' Series. Her recordings include Poulenc's Gloria, Handel's Messiah, and Beethoven's Missa Solemnis with Robert Shaw and the Atlanta Symphony on Telarc, Mozart's C minor Mass with John Eliot Gardiner on Philips, Han- del's Semele with John Nelson on Deutsche Grammophon, Peer Gynt with the Berlin Phil- harmonic on EMI, Bach's B minor Mass with the Atlanta Symphony on Telarc, Mozart's Idomeneo and La clemenza di Tito on Deutsche Grammophon, and Mozart's Requiem on Philips. Sylvia McNair made her Boston Symphony debut as Hero in Berlioz's Beatrice and Benedict at Tanglewood in 1984; her most recent BSO appearances were in March 1989, in Haydn's The Seasons.

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48 Susanne Mentzer

I Acclaimed for her singing of Rossini, Mozart, and Strauss, mezzo- soprano Susanne Mentzer has appeared at such leading international opera houses as La Scala, Covent Garden, the Metropolitan Opera, the Paris Opera, the Vienna State Opera, Cologne Opera, Chicago Lyric Opera, the San Francisco Opera, and Washington Opera. Ms. Mentzer began her 1990-91 season with performances as Zerlina in Don Giovanni at the Salzburg Festival, followed by performances of Beethoven's Ninth Symphony with Sir Georg Solti and the Chicago Symphony, appearances as the Composer in Strauss' s Ariadne auf Naxos with Bonn Opera, and concerts with Zubin Mehta and the New York Philharmonic in Mozart's Davidde penitente. In March she sings Cherubino in a new production of Le nozze di Figaro under Bernard Haitink at the Salzburg Easter Festival. After that she sings the role of Romeo in Bellini's / Capuletti ed i Montecchi at Venice's Teatro La Fenice, appears as Dorabella in Cost fan tutte and as Octavian in Der Rosenkavalier at the Vienna Staatsoper, and concludes her season at the Salzburg Festival with performances of Don Giovanni and Le nozze di Figaro. Ms. Mentzer has been a regular visitor to such major summer festivals as Ravinia, Salzburg, Lincoln Center's Mostly Mozart Festival, and the Rossini Opera Festival in Pesaro, Italy, and is also a noted soloist with orchestra. Ms. Mentzer made her recording debut with Seiji Ozawa and the Boston Symphony Orchestra in Debussy's La Damoiselle elue for CBS Masterworks; she may also be heard as Jane Seymour in Anna Bolena with Joan Suther- land on Decca. Future releases include Don Giovanni with Riccardo Muti and A Midsum- mer Night's Dream with Jeffrey Tate for EMI, Mozart's Idomeneo with Sir Colin Davis for Philips, Cavalleria rusticana for Deutsche Grammophon with Giuseppe Sinopoli, and Chabrier's cantata La sulamite with Michel Plasson. Susanne Mentzer is a resident of Chi- cago and studies voice with Norma Newton. She studied and performed at the Juilliard School in New York, sang for two seasons with Texas Opera Theater and Houston Opera Studio, and won a National Opera Institute Silver Medal in lyoo; she was recently the recipient of a Richard Tucker Foundation Study Grant. Her first major success was as Beatrice in Berlioz's Beatrice and Benedict under the direction of John Nelson in 1983 with the Opera Theatre of St. Louis. Ms. Mentzer made her Boston Symphony debut at Tanglewood in 1982, sang subscription performances of Debussy's La Damoiselle elue in 1983, and returned to Tanglewood in 1984.

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49 Jerry Hadley Tenor Jerry Hadley has won acclaim as a persuasive interpreter of the great Mozart tenor roles, as well as in the title roles of Werther and Faust, Des Grieux in Manon, Nadir in The Pearl Fishers, and in Italian repertoire including La boheme, La traviata, Rigoletto, L'elisir d'amore, Anna Bolena, and Lucia di Lammermoor. During the 1989-90 season Mr. Hadley co-starred in the nationwide television broadcast "From Rossini to Showboat" with Prederica von Stade and Samuel Ramey and appeared at the Metropolitan Opera in Cosi fan tutte and Don Giovanni. His 1990-91 season includes a Metropolitan Opera telecast of Don Giovanni and performances in Rigoletto and La traviata; Chicago Lyric Opera performances of The Magic Flute; L'elisir d'amore, La traviata, and Cosi with the Vienna State Opera; and Handel's Rinaldo with the Orchestra of St. Luke's at Avery Fisher Hall. Last season Mr. Hadley completed recordings of Man of La Mancha, Kismet, and Leonard Bernstein's Candide under the composer's direction for Deutsche Grammophon, and Kurt Weill's Street Scene for London. He can also be heard in Showboat on EMI, My Fair Lady with Kiri Te Kanawa on Lon- don, Britten's Serenade for Tenor, Horn, and Strings with William Boughton and the English String Orchestra on Nimbus, Verdi's Requiem under Robert Shaw on Telarc, Puc- cini's La boheme and Mozart's Requiem under Leonard Bernstein on Deutsche Grammo- phon, and Donizetti's Anna Bolena with Joan Sutherland on London. Early in his career, Mr. Hadley appeared frequently at New York City Opera, where he won acclaim for such diverse roles as Tom Rakewell in The Rake's Progress and Werther. He has since appeared in major opera houses throughout North America and Europe and has appeared in concert with major orchestras on both sides of the Atlantic. He has been seen in three "Live From Lincoln Center" broadcasts on PBS, telecasts of Madama Butterfly from New York City Opera and a concert performance of Anna Bolena with Joan Sutherland, and a gala "Pavarotti Plus" concert. In recital, accompanied by his wife Cheryll Drake Hadley, he programs a varied repertory ranging from French chansons and German Lieder to Italian canzone, popular American concert songs, works of Benjamin Britten, and Broadway favor- ites. Since 1978 he has worked closely with the prominent voice teacher and coach Thomas LoMonaco. Mr. Hadley made his Boston Symphony Orchestra debut at Tanglewood in 1984 and participated in the gala Tanglewood concert celebrating the late Leonard Bern- stein's seventieth birthday in August 1988.

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50 John Ostendorf Bass-baritone John Ostendorf appears regularly with such major American ensembles as the Philadelphia Orchestra, the Boston Symphony, the Cleveland Orchestra, and the St. Paul Chamber Orchestra. Festival appearances have included all the U.S. Bach festivals, Tanglewood, Blossom, and Newport. This season he returns to the Philadelphia Orchestra for a seventh season in Handel's Messiah, which he also sings with the Portland Symphony and the Oratorio Singers of Charlotte. In November, at Merkin Hall in New York, he appeared in the first modern performance of Handel's Italian opera Siroe, a score he himself uncovered, edited, and recorded for Newport Classics. Last summer Mr. Ostendorf made his Santa Fe Cham- ber Festival debut in Pergolesi's La serva padrona, Nicolas McGegan directing; his recording of this work, which he will perform again in May in Bogota, Colombia, is scheduled for release this season by Omega. Also this season he makes his debut at the Winter Park Festival in Bach's St. John Passion and returns to the Pittsburgh Oratorio Society. Mr. Ostendorf has portrayed operatic heroes of Handel, Mozart, and Rossini in the United States, Canada, and Taiwan. He made his debut with the Netherlands Opera in the world premiere of Henkemans' Winter Cruise and has performed with Houston Grand Opera, Boston Concert Opera, Baltimore Opera, and San Francisco Spring Opera. His singing with the Martha Graham Dance Company has been heard at Broadway theaters, Covent Garden, La Fenice, and on PBS television. Mr. Ostendorf has recorded for Angel, Vox Cum Laude, CBS Masterworks, Decca, Newport Classic, Omega, Spectrum, and Leonarda. His Decca recording of Stravinsky's Pulcinella with Christopher Hogwood was released last summer, as were an album of Saint-Saens duets with tenor John Aler and Telemann's opera buffa Pimpinone. A new original-instruments recording of Handel's oratorio Joshua is slated for the summer of 1991. John Ostendorf made his Boston Symphony debut as Don Pedro in Berlioz's Beatrice et Benedict at Tanglewood in 1984 and returned there for music of Mozart in 1986 and Bach in 1988. These are his first subscription concerts with the Boston Symphony Orchestra.

51 BUSINESS Business and Professional Leadership Association

The Boston Symphony Orchestra wishes to acknowledge this distinguished group of corporations and professional organizations for their outstanding and exemplary support of the orchestra's needs during the past or current fiscal year.

CORPORATE SPONSORSHIPS $25,000 and above

Digital Equipment Corporation Boston Pops Orchestra Public Television Broadcasts NEC Boston Symphony Orchestra North American Tour 1991 Boston Symphony Orchestra European Tour 1991

NYNEX Corporation WCVB-TV, Channel 5 Boston and WCRB 102.5 FM Salute to Symphony 1990

The Boston Company Opening Night At Symphony 1990

Bay Banks, Inc. Opening Night at Pops 1990

Lexus A Division of Toyota Motor Sales U.S.A., Inc. Tanglewood Opening Night 1990

TDK Electronics Corporation Tanglewood Tickets for Children 1990

Bank of Boston Country Curtains and The Red Lion Inn BSO Single Concert Sponsors 1990

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

52 1990-91 Business Honor Roll ($10,000 and Above)

Advanced Management Associates Grafaeon, Inc. Harvey Chet Krentzman H. Wayman Rogers, Jr.

Analog Devices, Inc. GTE Products Corporation Ray Stata Dean T. Langford

AT&T Network Systems Hill, Holliday, Connors, Cosmopulos, Inc. John F. McKinnon Jack Connors, Jr.

Bank of Boston The Henley Group Ira Stepanian Paul M. Montrone

Barter Connections Houghton Mifflin Company Kenneth C. Barron Nader F. Darehshori

BayBanks, Inc. IBM Corporation William M. Crozier, Jr. Paul J. Palmer

Bingham, Dana & Gould John Hancock Mutual Life Insurance Company Joseph Hunt E. James Morton

Bolt Beranek & Newman Lawner Reingold Britton & Partners Stephen R. Levy Michael H. Reingold

The Boston Company Lexus Christopher M. Condron A Division of Toyota Motor Sales, U.S.A., Inc. Boston Edison Company J. Davis Ulingworth Stephen J. Sweeney Liberty Mutual Insurance Group The Boston Globe Gary L. Countryman

WiUiam 0. Taylor Loomis-Sayles & Company, Inc. Boston Herald Charles J. Finlayson Patrick J. Purcell McKinsey & Company Bull HN Information Systems, Inc. Robert P. O'Block Roland D. Pampel Morse Shoe, Inc. Cahners Publishing Company Manuel Rosenberg Ron Segel NEC Corporation Connell Limited Partnership Tadahiro Sekimoto William F. Connell NEC Deutschland GmbH Coopers & Lybrand Masao Takahashi William K. O'Brien Nestle-Hills Brothers Coffee Company Country Curtains Ned Dean Jane P. Fitzpatrick The New England Deloitte & Touche Edward E. Phillips James T. McBride New England Telephone Company Digital Equipment Corporation Paul C. O'Brien Kenneth G. Olsen Northern Telecom, Inc. Dynatech Corporation Brian Davis J. P. Barger

Eastern Enterprises Nynex Corporation Robert W. Weinig William C. Ferguson

EG&G, Inc. PaineWebber, Inc. John M. Kucharski James F. Geary

The First Boston Corporation KPMG Peat Ma^-ok Malcolm MacColl Robert D. Happ

General Cinema Corporation Polaroid Corporation Richard A. Smith I.M. Booth

The Gillette Company Prudential-Bache Capital Funding Colman M. Mockler, Jr. David F. Remington

53 1990-91 Business Honor Roll (continued)

Raytheon Company TDK Electronics Corporation Thomas L. Phillips Takashi Tsujii The Red Lion Inn USTrust John H. Fitzpatrick James V. Sidell Shawmut Bank, N.A. WCRB-102.5 FM John P. Hamill Richard L. Kaye

The Stop & Shop Foundation WCVB-TV, Channel 5 Boston Avram J. Goldberg S. James Coppersmith

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54 BUSINESS AND PROFESSIONAL LEADERSHIP ASSOCIATION

The Boston Symphony Orchestra gratefully acknowledges these Business Leaders for their generous and valuable support totaling $1,250 and above during the past fiscal year. Names which are both capitalized and underscored in this listing make up the Business Honor Roll denoting support of $10,000 and above. Capitalization denotes support of $5,000-$9,999, and an asterisk indicates support of $2,500-$4,999.

Accountants Banking Lindenmeyr Munroe ARTHUR ANDERSEN & CO. BANK OF BOSTON NESTLE-HILLS BROTHERS William F. Meagher Ira Stepanian COFFEE COMPANY Ned Dean Charles E. DiPesa & Company *Bank of New England William F. DiPesa Corporation O'Donnell-Usen Fisheries COOPERS & LYBRAND Lawrence K. Fish Arnold S. Wolf William K. O'Brien BAYBANKS, INC. Welch's DELOITTE & TOUCHE William M. Crozier, Jr. Everett N. Baldwin James T. McBride THE BOSTON COMPANY ERNST & YOUNG Christopher M. Condron, Jr. Education Thomas M. Lankford Cambridge Trust Company BENTLEY COLLEGE KMPG PEAT MARWICK Lewis H. Clark Gregory Adamian Robert D. Happ CITICORP/CITIBANK Walter E. Mercer Electrical/HVAC Theodore S. Samet & Company Theodore S. Samet First National Bank of Chicago *p.h. mechanical Corporation Richard Spencer Paul A. Hayes Tofias, Fleishman, Shapiro & Co, P.C. * Rockland Trust Company *R & D Electrical Company, Inc. Allan Tofias John F. Spence, Jr. Richard D. Pedone SHAWMUT BANK, N.A. Advertising/Public Relations John P. Hamill Electronics Arnold Advertising * State Street Bank & Alden Electronics, Inc. Edward Eskandarian Trust Company Joseph Girouard Elysee Public Relations William S. Edgerly *Analytical Systems Tanya Keller Dowd USTRUST Engineering Corporation HILL. HOLLIDAY, CONNORS, James V. Sidell Michael B. Rukin COSMOPULOS, INC. Wainwright Bank & Trust Company PARLEX CORPORATION Jack Connors, Jr. John M. Plukas Herbert W. Pollack Ingalls, Quinn & Johnson Bink Garrison Energy LAWNER REINGOLD Building/Contracting CABOT CORPORATION BRITTON & PARTNERS *Harvey Industries, Inc. Samuel W. Bodman Michael H. Reingold Frederick Bigony

J.F. White Contracting Company Aerospace Engineering Philip Bonanno Northrop Corporation *GZA GeoEnvironmental Lee Kennedy Co, Inc. Kent Kresa Technologies, Inc. Lee M. Kennedy Donald T. Goldberg Architects *Moliterno Stone Sales, Inc. The Thompson & Lichtner Kenneth A. Castellucci Cambridge Seven Associates Company, Inc. Charles Redman * National Lumber Company John D. Stelling LEA Group Louis L. Kaitz Eugene R. Eisenberg PERINI CORPORATION Entertainment/Media David B. Perini GENERAL CINEMA CORPORATION Automotive Richard A. Smith J.N. Phillips Glass Consumer Goods/Distributors National Amusements, Inc. Company, Inc. Sumner M. Redstone Alan L. Rosenfeld BARTER CONNECTIONS Kenneth Barron Lexus C. Environmental A Division of Toyota Motor FAIRWINDS GOURMET COFFEE Sales U.S.A, Inc. COMPANY Jason M. Cortell & Associates J. Davis Illingworth Michael J. Sullivan Jason M. Cortell

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Evidently, once you've looked beyond the obvious, it is difficult to see anything less. Finance/Venture Capital High Technology/Electronics POLAROID CORPORATION I.M. Booth *3i Corporation Alden Products Company Ivan N. Momtchiloff Betsy Alden PRIME COMPUTER, INC. John Shields Carson Limited Partnership ANALOG DEVICES, INC. Herbert Carver Ray Stata *Printed Circuit Corporation Peter Sarmanian THE FIRST BOSTON *Aritech Corp. CORPORATION James A. Synk RAYTHEON COMPANY MacColl Thomas L. Phillips Malcolm Automatic Data Processing GE CAPITAL CORPORATE Arthur S. Kranseler SofTech, Inc. FINANCE GROUP BOLT BERANEK AND Justus Lowe, Jr. Richard A. Goglia NEWMAN, INC. *TASC KRUPP COMPANIES Stephen R. Levy Arthur Gelb George Krupp BULL HN INFORMATION TDK ELECTRONICS SYSTEMS, INC. CORPORATION Food Service/Industry Roland D. Pampel Takashi Tsujii

Au Bon Pain * Cerberus Technologies, Inc. THERMO ELECTRON Louis I. Kane George J. Grabowski CORPORATION George N. Hatsopoulos ''Boston Showcase Company Costar Corporation Jason E. Starr Otto Morningstar XRE Corporation John K. Grady Cordel Associates, Inc. CSC PARTNERS, INC. James B. Hangstefer Paul J. Crowley Hotels/Restaurants Johnson O'Hare Co., Inc. DIGITAL EQUIPMENT Harry O'Hare CORPORATION 57 Park Plaza Hotel Nicholas L. Vinios Kenneth G. Olsen Footwear DYNATECH CORPORATION *Back Bay Hilton Carol Summerfield Converse, Inc. J. P. Barger Gilbert Ford *Boston Marriott Copley Place EG&G, INC. Jurgen Giesbert J. Baker, Inc. John M. KucharsM Sherman N. Baker EMC CORPORATION Christo's Restaurant Christopher Tsaganis Jones & Vining, Inc. Richard J. Egan Sven A. Vaule, Jr. THE RED LION INN Helix Technology Corporation John H. Fitzpatrick MORSE SHOE, INC. Robert J. Lepofsky Manuel Rosenberg THE HENLEY GROUP * Sheraton Boston Hotel & Towers Steve Foster Reebok International Ltd. Paul M. Montrone Paul Fireman HEWLETT PACKARD COMPANY *Sonesta International Hotels Corporation The Rockport Corporation Ben L. Holmes Paul Sonnabend Anthony Tiberii IBM CORPORATION *The Westin Hotel, Copley Place THE STRIDE RITE Paul J. Palmer CORPORATION David King *Intermetrics Inc. Arnold S. Hiatt Joseph A. Saponaro Industrial Distributors

Furnishings/Housewares IONICS, INC. *Alles Corporation Arthur L. Goldstein ARLEY MERCHANDISE Stephen S. Berman *Lotus Development Corporation CORPORATION Brush Fibers, Inc. Jim P. Manzi David I. Riemer Ian P. Moss BBF Corporation *M/A-Com, Inc. *Eastern Refractories Company Robert H. Glaudel Boruch B. Frusztajer David S. Feinzig

COUNTRY CURTAINS MILLIPORE CORPORATION Millard Metal Service Center A. Gilmartin Jane P. Fitzpatrick John Donald Millard, Jr. Corporation Jofran Sales, Inc. *The MITRE Robert D. Roy Charles A. Zraket Insurance NEC CORPORATION *American Title Insurance Company Graphic Design Tadahiro Sekimoto Terry E. Cook CLARK/LINSKY DESIGN NEC DEUTSCHLAND GmbH *Arkwright Robert H. Linsky Masao Takahasi Enzo Rebula

INDEPENDENT DESIGN * Orion Research, Inc. Caddell & Byers Patrick White Alexander Jenkins III John Dolan

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58 CAMERON & COLBY CO., INC. PAINEWEBBER, INC. Weiss, Angoff, Coltin, Koski & Lawrence S. Doyle James F. Geary Wolf, P.C. *Charles H. Watkins & Company PAINEWEBBER CAPITAL Dudley A. Weiss Paul D. Bertrand MARKETS Management/Financial/Consulting Chubb Group of Insurance Cos. Joseph F. Patton ADVANCED MANAGEMENT John Gillespie SALOMON INC. ASSOCIATES FRANK B. HALL & CO. OF John V. Carberry Harvey Chet Krentzman INC. MASSACHUSETTS, *Spaulding Investment Company William F. Newell *Arthur D. Little, Inc. C.H. Spaulding John Magee * International Insurance Group * State Street Development John Perkins *Bain & Company, Inc. Management Corp. William W. Bain JOHN HANCOCK MUTUAL John R. Gallagher III LIFE INSURANCE COMPANY THE BOSTON CONSULTING E. James Morton TUCKER ANTHONY, INC. GROUP John Goldsmith Jonathan L. Isaacs *Johnson & Higgins of * Massachusetts, Inc. Whitman & Evans, Art Investments Corporate Decisions Robert A. Cameron Eric F. Mourlot David J. Morrison *Keystone Provident Life *Woodstock Corporation *Haynes Management, Inc. Insurance Company Nelson J. Darling, Jr. G. Arnold Haynes Robert G. Sharp Index Group Legal Lexington Insurance Company David G. Robinson Kevin H. Kelley BINGHAM, DANA & GOULD Irma Mann Strategic Marketing LIBERTY MUTUAL INSURANCE Joseph Hunt Irma Mann Stearns GROUP *Choate, Hall & Stewart Lochridge & Company, Inc. Gary L. Countryman Robert Gargill Richard K. Lochridge

THE NEW ENGLAND Dickerman Law Offices MCKINSEY & COMPANY Edward E. Phillips Lola Dickerman Robert P. O'Block SAFETY INSURANCE COMPANY The Pioneer Group, Inc. *Fish & Richardson Richard B. Simches John F. Cogan, Jr. Robert E. Hillman * Sedgwick James of PRUDENTIAL-BACHE * Gaston & Snow New England, Inc. CAPITAL FUNDING Richard J. Santagati P. Joseph McCarthy David F. Remington Sullivan Risk Management Group GOLDSTEIN & MANELLO *Rath & Strong John H. Sullivan Richard J. Snyder Dan Ciampa *Sun Life Assurance Company GOODWIN, PROCTER AND HOAR * Towers Perrin of Canada Robert B. Fraser J. Russell Southworth

David D. Horn *Hemenway & Barnes *William M. Mercer, Inc. John J. Madden Chester D. Clark Investments Hubbard & Ferris *The Wyatt Company •"Baring International Investment, Ltd. Charles A. Hubbard Paul R. Daoust John F. McNamara * Joyce & Joyce Yankelovich Clancy Shulman "Bear Stearns & Company, Inc. Thomas J. Joyce Kevin Clancy Keith H. Kretschmer * Lynch, Brewer, Hoffman & Sands Manufacturer's Representatives "Essex Investment Management Owen B. Lynch Company, Inc. *Ben Mac Enterprises Joseph C. McNay MINTZ, LEVIN, COHN, FERRIS, Larry Benhardt GLOVSKY & POPEO, P.C. FIDELITY INVESTMENTS/ Thomas McAuliffe Francis X. Meaney FIDELITY FOUNDATION Kitchen, & Kutchin, Inc. Nissenbaum Law Offices Melvin Kutchin Goldman, Sachs & Company Gerald L. Nissenbaum Martin C. Murrer *Paul R. Cahn Associates, Inc. KAUFMAN & COMPANY * Nutter, McClennen & Fish Paul R. Cahn John K P. Stone III Sumner Kaufman Manufacturing/Industry Kidder, Peabody & & Co. PALMER DODGE *AGFA Corporation John G. Robert E. Sullivan Higgins Ken Draeger LOOMIS-SAYLES & COMPANY, *Rackemann, Sawyer & Brewster *AMCEL Corporation INC. Stephen Carr Anderson Lloyd Gordon Charles J. Finlayson Sarrouf, Tarricone & Flemming *Avedis Zildjian Company Merrill Lynch & Co., Inc. Camille F. Sarrouf Armand Zildjian Paul Fehrenbach The Biltrite Corporation Stanley J. Bernstein 59 Hi

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60 Boston Acoustics, Inc. Textron, Inc. *The Flatley Company Prank Reed B.F. Dolan Thomas J. Flatley

*C.R. Bard, Inc. Wire Belt Company of America Heafitz Development Company Robert H. McCaffrey F. Wade Greer Lewis Heafitz Century Manufacturing Company Hilon Development Corporation Media Joseph Tiberio Joan Eliachar THE BOSTON GLOBE *Chelsea Industries, Inc. *John M. Corcoran & Company William 0. Taylor Ronald G. Casty John M. Corcoran BOSTON HERALD CONNELL LIMITED PARTNERSHIP Keller Co., Inc. Patrick J. Purcell William F. Connell Joseph P. Keller PEOPLE MAGAZINE Dennison Manufacturing Company *Leggat McCall Properties, Inc. Peter Kneger Nelson G. Gifford Dennis F. Callahan 102.5 FM ERVING PAPER MILLS WCRB- Nordblom Company Richard L. Kaye Charles B. Housen Roger P. Nordblom WCVB-TV, CHANNEL 5 BOSTON *FLEXcon Company, Inc. Northland Investment Corporation S. James Coppersmith Mark R. Ungerer Robert A. Danziger * Georgia-Pacific Corp. *Trammell Crow Company Personnel Maurice W. Kring Arthur DeMartino SERVICES THE GILLETTE COMPANY TAD TECHNICAL Urban Investment & Development Colman M. Mockler, Jr. CORPORATION Rudy K. Umscheid David J. McGrath, Jr. GTE PRODUCTS CORPORATION *Windsor Building Associates T. Langford Dean Mona F. Freedman HARVARD FOLDING BOX Printing COMPANY, INC. *Bowne of Boston, Inc. Retail Melvin A. Ross Donald J. Cannava *Channel Home Centers, Inc. H.K. Webster Company, Inc. Customforms, Inc. Malcolm L. Sherman Dean K. Webster David A. Granoff FILENE'S *HMK Enterprises, Inc. DANIELS PRINTING COMPANY David P. Mullen Joan L. Karol Lee S. Daniels *Jordan Marsh Company Hudson Lock, Inc. *Espo Litho Co., Inc. Richard F. Van Pelt Norman Stavisky David M. Fromer Karten's Jewelers *Industrial Filter and Equipment George H. Dean Company Joel Karten Corporation Earl Michaud Lancome Paris Donald R. Patnode GRAFACON, INC. Steve Morse Kendall Company Jr. H. Wayman Rogers, *Neiman Marcus J. Dale Sherratt William D. Roddy LEACH & GARNER COMPANY Publishing Out of Town News, Inc. Philip F. Leach Addison-Wesley Publishing Company, Sheldon Cohen Leggett & Piatt, Inc. Inc. *Saks Fifth Avenue Alexander M. Levine Warren R. Stone Alison Strieder Mayher NEW ENGLAND BUSINESS CAHNERS PUBLISHING COMPANY The Stop & Shop Companies, Inc. SERVICE, INC. Ron Segel Lewis Schaeneman Richard H. Rhoads HOUGHTON MIFFLIN COMPANY Tiffany & Co. * Parks Corporation Nader F. Darehshori Anthony D. Ostrom Lee Davidson Little, Brown & Company TJX COMPANIES * Pierce Aluminum Kevin L. Dolan Ben Cammarata Robert W. Pierce

Rand-Whitney Corporation Real Estate/Development Science/Medical Robert Kraft * Boston Capital Partners Baldpate Hospital, Inc. *Statler Tissue Company Christopher W. Collins Lucille M. Batal Leonard Sugerman Herbert F. Collins Blake & Blake Genealogists Richard J. DeAgazio Superior Brands, Inc. Richard A. Blake, Jr. John P. Manning Richard J. Phelps CHARLES RIVER *Tech Pak, Inc. *Combined Properties, Inc. LABORATORIES, INC. J. William Flynn Stanton L. Black Henry L. Foster

61 " The profit from selling my business shows I'm good at making money. But more important is keeping it.... Part of managing money well is knowing when to call professionals.

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Shaughnessy & Ahern Co. AT&T BOSTON EDISON COMPANY John J. Shaughnessy Robert Babbitt Stephen J. Sweeney

Wild Acre Inns, Inc. *AT&T New England Electric System Bernard S. Yudowitz Glenn Swift Joan T. Bok

- Tower Records *+- has the largest selection of Classical, Opera and (Baroque music in (Boston.

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63 Next Program . . .

Thursday, February 21, at 8 Friday, February 22, at 2 Saturday, February 23, at 8 Tuesday, February 26, at 8

SIMON RATTLE conducting

MAHLER Symphony No. 7 Langsam (Adagio) —Allegro con fuoco Nachtmusik. Allegro moderato Schattenhaft. FlieBend, aber nicht schnell (Phantomlike. Flowing, but not fast) Nachtmusik. Andante amoroso Rondo-Finale. Allegro ordinario

Single tickets for all Boston Symphony Orchestra concerts throughout the season are available at the Symphony Hall box office, or by calling "Symphony-Charge" at (617) 266-1200, Monday through Saturday from 10 a.m. until 6 p.m., to charge tickets instantly on a major credit card, or to make a reservation and then send payment by check. Please note that there is a $1.75 handling fee for each ticket ordered by phone.

For rates and information on BOSTON advertising in the SYMPHONY Boston Symphony, ORCHESTRA Boston Pops, | SEIJI OZAWA

and Musk Director £\ » w Tanglewood program books please contact:

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

64 Coming Concerts .

Wednesday, February 20, at 7:30 p.m. Thursday 'D'- February 28, 8-9:50

Open Rehearsal Friday 'A' -March 1, 2-3:50

Marc Mandel will discuss the program Saturday 'A' -March 2, 8-9:50 at 6:30 in Symphony Hall. SIMON RATTLE conducting Thursday 'A' -February 21, 8-9:35 LYNNE DAWSON, soprano Friday 'B'- February 22, 2-3:35 ELISE ROSS, soprano Saturday 'B' -February 23, 8-9:35 DONALD KAASCH, tenor Tuesday 'B'- February 26, 8-9:35 JAMES PATTERSON, bass SIMON RATTLE conducting TANGLEWOOD FESTD7AL CHORUS, MAHLER Symphony No. 7 JOHN OLD7ER, conductor MOZART Music from Thamos, King of Egypt ADAMS Harmonium

Thursday 'A' -March 14, 8-9:45 Friday 'B'- March 15, 2-3:45 Saturday 'B' -March 16, 8-9:45 Tuesday 'C- March 19, 8-9:45 CHRISTOF PERICK conducting THOMAS ZEHETMAIR, violin WAGNER Siegfried Idyll NOW MOZART Violin Concerto No. 5 YOU CAN in A, K.219 OWN STRAUSS he Bourgeois gentilhomme, A LEICA Suite FOR UNDER Thursday 'B'- March 21, 8-9:35 Friday 'A' -March 22, 2-3:35 $400! Saturday 'A' -March 23, 8-9:35 Tuesday 'C- March 26, 8-9:35 Introducing... The Leica AF-C1 HEINZ WALLBERG conducting Full-Featured Automatic BRUCKNER Symphony No. 8

If you've ever thought about Thursday 'C- March 28, 8-9:45 owning a Leica camera, there's Friday 'B'- March 29, 2-3:45 never been a better time! The Saturday 'B' -March 30, 8-9:45 new AF-C1 is a superbly crafted, Tuesday 'B' -April 2, 8-9:45 auto-everything compact, de- MAREK JANOWSKI conducting signed to satisfy even the most BEETHOVEN Symphony No. 4 SCHUBERT Symphony in B minor, demanding enthusiasts who Unfinished want Leica quality with the ease WAGNER "Good Friday Spell" from and convenience of a point-and- Parsifal shoot camera. Come in today and become a Programs and artists subject to change. proud Leica owner for an irresist- ible price. E.P. Levine is a full-line dealer for all Leica products. E. P. LEVINE Boston Marine Ind. Park 23 Drydock Ave. Boston, MA 02210 (617) 951-1499

65 Dear Patron of the Orchestra:

For many years the Boston Sym- phony Orchestra has been known as the "aristocrat of American orchestras." There is indeed a *m distinctive "BSO sound" that has earned worldwide acclaim and has attracted the greatest musicians to audition for membership in the orchestra.

An important ingredient in the creation of this unique sound is having the finest musical instruments on the BSO's stage. However, the cost of many of these instruments

(especially in the string sections) has become staggeringly high, and it is incumbent upon the Symphony to take steps to assure that musicians in key positions who do not themselves own great instruments have access to them for use in the orchestra.

Two recent initiatives have been taken to address this concern: First, in 1988, the Boston Safe Deposit and Trust Company stepped forward with a creative loan program that is making it possible for players to borrow at one and a half percent below prime to purchase instruments.

Second, last fall, the incentive of a Kresge Foundation challenge grant helped launch our effort to raise a fund of $1 million for the Orchestra to draw upon from time to time to purchase instruments for use by the players. The BSO in this case would retain ownership.

Donations of both outright gifts and instruments are being sought to establish the BSO's Instrument Acquisition Fund. Fine pianos, period instruments, special bows, heirloom violins, etc. all make ideal gifts. Opportunities for naming instruments and for other forms of donor recognition may be available according to the wishes of the donor.

If you are interested in this program please contact me or Joyce Serwitz in the orchestra's Development Office at (617) 638-9273. Your support will help make a difference that will be music to our ears!

George H. Kidder President

'$&' Symphony Hall Information . . .

FOR SYMPHONY HALL CONCERT AND THE SYMPHONY SHOP is located in the TICKET INFORMATION, caU (617) 266- Cohen Wing at the West Entrance on Hunting- 1492. For Boston Symphony concert program ton Avenue and is open Tuesday, Thursday, and information, call "C-O-N-C-E-R-T" (266-2378). Friday from 11 a.m. until 3 p.m., Saturday from 1 p.m. until 6 p.m., and from one hour before SYMPHONY performs ten THE BOSTON each concert through intermission. The shop car- months a year, in Symphony Hall and at Tan- ries BSO and musical-motif merchandise and glewood. For information about any of the gift items such as calendars, clothing, appoint- orchestra's activities, please call Symphony ment books, drinking glasses, holiday ornaments, Hall, or write the Boston Symphony Orches- children's books, and BSO and Pops recordings. tra, Symphony Hall, Boston, MA 02115. A selection of Symphony Shop merchandise is also available during BSO concert hours outside THE NEWLY REFURBISHED EUNICE S. the Cabot-Cahners in the Massachusetts AND JULIAN COHEN WING, adjacent to Room Symphony Hall on Huntington Avenue, may be Avenue corridor. All proceeds benefit the Boston Orchestra. For merchandise informa- entered by the Symphony Hall West Entrance Symphony on Huntington Avenue. tion, please call (617) 267-2692. FOR SYMPHONY HALL RENTAL INFOR- TICKET RESALE: If for some reason you MATION, call (617) 638-9240, or write the are unable to attend a Boston Symphony con- Function Manager, Symphony Hall, Boston, cert for which you hold a ticket, you may make MA 02115. your ticket available for resale by calling the switchboard. This helps bring needed revenue THE BOX OFFICE is open from 10 a.m. to the orchestra and makes your seat available until 6 p.m. Monday through Saturday; on con- to someone who wants to attend the concert. A cert evenings it remains open through intermis- mailed receipt will acknowledge your tax-deduct- sion for BSO events or just past starting-time ible contribution. for other events. In addition, the box office opens Sunday at 1 p.m. when there is a con- RUSH SEATS: There are a limited number of cert that afternoon or evening. Single tickets Rush Seats available for the Friday-afternoon, for all Boston Symphony subscription concerts Tuesday-evening, and Saturday-evening Boston are available at the box office. For outside Symphony concerts (subscription concerts only). events at Symphony Hall, tickets are available The low price of these seats is assured through three weeks before the concert. No phone the Morse Rush Seat Fund. The tickets for Rush orders will be accepted for these events. Seats are sold at $6 each, one to a customer, on Fridays as of 9 a.m. and Saturdays and Tues- American TO PURCHASE BSO TICKETS: days as of 5 p.m. Express, MasterCard, Visa, a personal check, and cash are accepted at the box office. To PARKING: The Prudential Center Garage charge tickets instantly on a major credit card, offers a discount to any BSO patron with a or to make a reservation and then send pay- ticket stub for that evening's performance. ment by check, call "Symphony-Charge" at There are also two paid parking garages on (617) 266-1200, Monday through Saturday Westland Avenue near Symphony Hall. from 10 a.m. until 6 p.m. There is a handling Limited street parking is available. As a spe- fee of $1.75 for each ticket ordered by phone. cial benefit, guaranteed pre-paid parking near

Symphony Hall is available to subscribers who GROUP SALES: Groups may take advantage of attend evening concerts on Tuesday, Thursday, advance ticket sales. For BSO concerts at Sym- Friday, or Saturday. For more information, phony Hall, groups of twenty-five or more may call the Subscription Office at (617) 266-7575. reserve tickets by telephone and take advantage of ticket discounts and flexible payment options. LATECOMERS will be seated by the ushers To place an order, or for more information, call during the first convenient pause in the pro- Group Sales at (617) 638-9345. gram. Those who wish to leave before the end IN CONSIDERATION of our patrons and of the concert are asked to do so between pro- artists, children under four will not be admit- gram pieces in order not to disturb other ted to Boston Symphony Orchestra concerts. patrons.

67 SMOKING IS NOT PERMITTED in any Cahners Room on the first-balcony level serve part of the Symphony Hall auditorium or in drinks starting one hour before each perform- the surrounding corridors; it is permitted only ance. For the Friday-afternoon concerts, both in the Hatch Room and in the main lobby on rooms open at 12:15, with sandwiches available Massachusetts Avenue. Please note that until concert time. smoking is no longer permitted in the Cabot- BOSTON SYMPHONY BROADCASTS: Con- Cahners Room. certs of the Boston Symphony Orchestra are CAMERA AND RECORDING EQUIPMENT heard by delayed broadcast in many parts of the may not be brought into Symphony Hall dur- United States and Canada, as well as interna- ing concerts. tionally, through the Boston Symphony Tran- scription Trust. In addition, FIRST AID FACILITIES for both men and Friday-afternoon concerts are broadcast five by (Bos- women are available. On-call physicians attend- WGBH-FM ton ing concerts should leave their names and seat 89.7); Saturday-evening concerts are broadcast live both locations at the switchboard near the Massa- by WGBH-FM and WCRB-FM (Boston Live chusetts Avenue entrance. 102.5). broadcasts may also be heard on several other public radio stations WHEELCHAIR ACCESS to Symphony Hall throughout New England and New York. is available via the Cohen Wing, at the West Entrance. Wheelchair-accessible restrooms are BSO FRIENDS: The Friends are annual donors to the Boston Symphony Orchestra. located in the main corridor of the West Friends receive BSO, the orchestra's newslet- Entrance, and in the first-balcony passageway ter, as well as priority ticket information between Symphony Hall and the Cohen Wing. and other benefits depending on their level of giv- are located outside the Hatch ELEVATORS ing. For information, please call the Develop- and Cabot-Cahners rooms on the Massachu- ment Office at Symphony Hall weekdays setts Avenue side of Symphony Hall, and in between 9 and 5, (617) 638-9251. If you are the Cohen Wing. already a Friend and you have changed your LADIES' ROOMS are located on the orches- address, please send your new address with tra level, audience-left, at the stage end of the your newsletter label to the Development Office, hall, on both sides of the first balcony, and in Symphony Hall, Boston, MA 02115. Including the Cohen Wing. the mailing label will assure a quick and accu- rate change of address in our files. MEN'S ROOMS are located on the orchestra level, audience-right, outside the Hatch Room BUSINESS FOR BSO: The BSO's Business near the elevator, on the first-balcony level, & Professional Leadership program makes it audience-left, outside the Cabot-Cahners Room possible for businesses to participate in the life near the coatroom, and in the Cohen Wing. of the Boston Symphony Orchestra through a variety of original and exciting programs, COATROOMS are located on the orchestra and among them "Presidents at Pops," "A Com- first-balcony levels, audience-left, outside the pany Christmas at Pops," and special-event Hatch and Cabot-Cahners rooms, and in the underwriting. Benefits include corporate recog- Cohen Wing. The BSO is not responsible for nition in the BSO program book, access to the personal apparel or other property of patrons. Higginson Room reception lounge, and priority LOUNGES AND BAR SERVICE: There are ticket service. For further information, please two lounges in Symphony Hall. The Hatch call the BSO Corporate Development Office at Room on the orchestra level and the Cabot- (617) 638-9250.

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