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Boston Symphony Orchestra Seiji Ozawa, Music Director

Colin Davis, Principal Guest Conductor Joseph Silverstein, Assistant Conductor

5 December 1975 at 2:00 p.m. 6 December 1975 at 8:30 p.m. Symphony Hall, Boston Ninety-fifth season Program Program Note

Cohn Davis conducting Ludwig van Beethoven (1770-1827) Missa Solemnis in D Op. 123 Beethoven: Missa solemnis in D Op. 123 Kyrie: assai sostenuto (mit Andacht) • andante assai The Missa Solemnis, which was completed in 1823, was ben marcato • tempo primo first performed in St. Petersburg in April 1824. The first performance in Boston was in 1897 by the Cecilia Society Gloria: allegro vivace • larghetto • allegro maestoso conducted by B. J. Lang, and the Mass was performed at • allegro ma non troppo e ben marcato • poco the dedication of Symphony Hall in 1900, by the same piti allegro • presto group with the Boston Symphony conducted by Wilhelm Gericke. The most recent performance was at Tanglewood Credo: allegro ma non troppo • adagio • andante in 1971 when it was conducted by Leonard Bernstein and • adagio espressivo • allegro • allegro molto played in memory of Serge Koussevitzky. • allegro ma non troppo • allegretto ma non The Mass is scored for two flutes, two oboes, two clari- troppo • allegro con moto • grave nets, two bassoons and contra-bassoon, four horns, two trumpets, three trombones, timpani, organ and strings. Sanctus: adagio (mit Andacht) • allegro pesante • presto Before beginning upon the Missa Solemnis, Beethoven • Preludium: sostenuto ma non troppo made inquiries as to the meaning and implications of the • andante molto cantabile e non troppo mosso Latin text. To him, as the music shows, the text was not filled with ritual associations. There is no clearer evidence Agnus Dei: adagio • allegretto vivace • allegro assai • presto that the faith of Beethoven was direct and uninstructed. • tempo primo 'Coming from the heart, may it again reach the heart,' he wrote over his manuscript score, and he saw to it that eccle- Teresa Cahill, soprano siastical convention did not intervene. Neither did that Anna Reynolds, contralto familiar attribute of choral music, the calculated assault Eric Tappy, tenor upon the ears. Where the Mass makes its dramatic effect it Robert Lloyd, does so simply because Beethoven felt his subject dramatic- Tanglewood Festival Chorus ally, and so expressed it. Intense personal feeling was the John Oliver, director motive origin of the Missa solemnis and its over-riding Berj Zamkochian, organ consummation. Beethoven wrote at the top of the opening Kyrie 'Mit The concert on Friday will end about 4:10, the concert on Saturday Andacht' (with devotion) and the same words appear over the at about 10:40. Sanctus. That direction might well stand for the whole Seiji Ozawa and the Boston Symphony Orchestra record exclusively for score. Each page, when faithfully performed clearly reflects Deutsche Grammophon the intense devotion of its writer. There is an orchestral introduction, a choral ejaculation of the word 'Kyrie' linked Baldwin Piano Deutsche Grammophon and carried into lyric expression by the solo voices, chanted words by the chorus, and contrapuntal development, at length subsiding into a pianissimo 'Eleison.' The solo quar- The Next Program tet, in a flowing andante, and joined by the chorus gives 11, 13, 16 December at 8:30 p.m. the intervening Christe. The Kyrie returns in different treat- 12 December at 2:00 p.m. ment, dying away in a prayerful coda. Michael Tilson Thomas conducting In the Gloria the orchestral forces (without trombones) and the chorus first disclose the full force of the composer Beethoven: Symphony No. 1 in C major op. 21 praising his God. The resounding tumult suddenly falls Berio: Chemins II b/c for Saxophone and Orchestra away as the chorus begins its rhythmic chant 'et in terra pax Harvey Pittel, saxophone hominibus.' The music conforms phrase by phrase to the Ives: Symphony No. 2 text, and yet remains musical logic, self-contained and The Friday concert will end at approximately 3:50 p.m., the Satur- inevitable. A cantabile interlude introduces the Gratias day concert at approximately 10:20 p.m. agimus a hymn of thanksgiving which the Domine Deus soon dispels, the words set against the Gloria motto in the Call C-O-N-C-E-R-T for up-to-date program information orchestra. At the words 'Pater omnipotens' the might of God summons a sustained chord, blazing with organ and orchestra. But again at the mention of Christ there is a long diminuendo to the expressive Larghetto of the Qui tollis, the plea of humanity for Christ's absolution. The Quoniam, brief and majestic, ushers in the great fugal return of the Gloria, the climax of the movement, to be rivalled only by the final fugue of the Credo. The Credo is by far the longest and most comprehensive movement. The music like the text, holds heaven and earth, is a panorama of the Christian faith. The motto of the repeated word 'Credo' is a striking profile, terse, Beetho- vian. As Christ descends to earth the music becomes humbly devotional. The Et incarnatus is in complete con- trast. The tenor solo sings of Christ's birth by the Virgin Mary in a mystic adagio in the Doric mode. 'Et homo factus CREDO est' is briefly set forth in the mortal, earthly major of D. Credo in unum Deum, I believe in one God, The Crucifixus is dramatic, concentrated, moving. Solo Patrem omnipotentem, The Father Almighty, voices sing the first phrase, the chorus enters with a soft Factorem coeli, et terrae, Maker of heaven and earth, Visibilium omnium et Of all things visible and invisible. undercurrent There is a brief, 'sub Pontio Pilato passus est.' invisibilium. And in one Lord Jesus Christ, hushed pause after 'sepultus est' and the Et resurrexit is Et in unum Dominum Jesum Only begotten Son of God; accomplished in a sudden outburst of the chorus unaccom- Christum, And who is born of the Father panied. The 'et ascendit' is as literal as the descent had been. Filium Dei unigenitum; before all ages. The word 'Judicare' is announced by the solo trombone, Et ex patre natum ante omnia God of God, Light of Light, unaccompanied: 'the quick and the dead' get further literal saecula. True God of true God; description. The final words 'et vitam venturi saeculi, Amen' Deum de Deo, Lumen de Lumine; Begotten, not made; becomes the subject of the most extended fugal treatment Deum verum de Deo vero; Consubstantial with the Father, in the Mass—music of formidable choral difficulty ending Genitum, non factum: By whom all things were created. Consubstantialem Patri, Who for us men in two Amens in a fortissimo staccato which floats into Per quem omnia facta sunt. And for our salvation silence. Qui propter nos homines, Came down from heaven. The opening words of the Sanctus are confined to a short Et propter nostram salutem, adagio by the solo quartet, which continues with the Pleni Descendit de coelis. sunt coeli in a short fugato to rushing passages in the Et incarnatus de Spiritu And was incarnate by the orchestra. The Osanna is a presto, again fugal and short. An Sancto ex Maria Virgine; Holy Ghost of the Virgin Mary; orchestral Preludium, the longest instrumental passage in Et homo factus est. And was made man. the Mass, ushers in the Benedictus where the voices of the Crucifixus etiam pro nobis He was crucified for us solo violin with two flutes break in and gently descend with Sub Pontio Pilato; passus et under Pontius Pilate; sepultus est. Suffered and was buried. accompaniment from the choral basses. A renewed Osanna Et resurrexit tertia die, And arose again on the third day is followed by a tranquil close. Secundum scripturas. According to the scriptures. The Agnus Dei opens with the bass solo and other soloists Et ascendit in coelum, And ascended to heaven, entering. The chorus is heard in a poignant undercurrent, Sedet ad dexteram Patris. And sitteth at the right hand of the Father. the Miserere. The chorus then delivers the opening strains Et iterum venturus est And He shall come again of the Dona nobis pacem which Beethoven has labeled 'Prayer Cum gloria judicare vivos et With glory, to judge the living for inward and outward peace.' Interrupted with a suggestion mortuos; and the dead; of distant drums and trumpet like the threatening tread of Cuius regni non erit finis. There shall be no end of his an army, the theme recurs, effectively dispelling the still Et in Spiritum Sanctum, kingdom. Dominum et vivificantem, And in the Holy Ghost, lingering threat of the timpani: truly the answer to the plea Qui ex Patre Filioque procedit; The Lord and Giver of life, 'um innern Frieden.' Qui cum Patre et Filio simul Who proceedeth from the Father Excerpted from a Note by John N. Burk Adoratur et conglorificatur; and the Son; Qui locutus est per prophetas. Who, together with the Father Missa Solemnis Text Et unam sanctam Catholicam and the Son Et Apostolicam Ecclesiam. Is adored and glorified; KYRIE Confiteor unum Baptisma in Who spoke through the prophets. Kyrie eleison. Lord, have mercy upon us. remissionem peccatorum. And one holy Catholic Christe eleison. Christ, have mercy upon us. Et expecto resurrectionem And Apostolic Church. Kyrie Eleison. Lord, have mercy upon us. mortuorum I confess one baptism for the Et vitam venturi saeculi. remission of sins. GLORIA Amen. And I expect the ressurection of Gloria in excelsis Deo, Glory be to God on high, the dead, Et in terra pax hominibus bonae And peace on earth to men of And the life of the world to come. voluntatis. good will. Amen. Laudamus te, benedicimus te, We praise thee, we bless thee, Adoramus te, glorificamus te. We adore thee, we glorify thee. SANCTUS Gratias agimus tibi propter We give thee thanks for thy Sanctus Dominus Deus Sabaoth Holy is the Lord God of Sabaoth. magnam gloriam tuam, great glory, Pleni sunt coeli et terra gloria tua. Heaven and earth are full of Domine Deus, Rex coelestis, O Lord God, heavenly King; Hosanna in excelsis! thy Glory. Deus Pater omnipotens; God, the Father Almighty; Hosanna in the highest! Domine, Fili unigenite, o Lord Jesus Christ, BENEDICTUS Jesu Christe, only-begotten Son, Benedictus qui venit in nomine Blessed is he who cometh in the Domine Deus, Agnus Dei, 0 Lord God, Lamb of God, Domini. name of the Lord. Filius Patris. Son of the Father. Hosanna in excelsis! Hosanna in the highest! Qui tollis peccata mundi, O Thou, Who takest away the Miserere nobis; sins of the world; AGNUS DEI Suscipe deprecationem nostram. Have mercy upon us; Agnus Dei, 0 Lamb of God Qui sedes ad dexteram patris, Receive our prayer. Qui tollis peccata mundi, That takest away the sins of Miserere nobis. the world, Miserere nobis. 0 Thou, Who sittest at the right Have mercy upon us hand of the Father, Have mercy upon us. Dona nobis pacem. Grant us peace. Quoniam to solus sanctus, For Thou only art holy, Tu solus Dominus, Thou only art the Lord, Tu solus altissimus, Thou only art most high, Jesu Christe. Jesus Christ. Cum sancto Spiritu Together with the Holy Ghost, In gloria Dei Patris. In the glory of God the Father. Amen. Amen. , Principal Guest Conductor Robert Lloyd, bass Colin Davis is Musical Director of the Royal Robert Lloyd began his serious study of music following House, Covent Garden, and when in his time is his graduation from Oxford where he read History. He divided between his Covent Garden duties and the soon was offered a three-year contract with Sadler's Wells Symphony Orchestra where he is Principal Guest Conduc- Opera and is now under contract to the Royal Opera tor. He also makes guest appearances with the BBC Sym- House, Covent Garden. He has appeared with the Scottish phony Orchestra. His performances of , Opera and makes his debut this season with the Paris Peter Grimes, and the much-discussed new production of Opera and the San Francisco Opera as well as with the Bos- Wagner's Ring at Covent Garden have been highlights of ton Symphony in these performances. his operatic conducting in the past year. He has been invited to both the Paris Opera and Bayreuth, and has just Tanglewood Festival Chorus completed a period of guest conducting with the Amster- dam Concertgebouw. Mr. Davis records exclusively for The Tanglewood Festival Chorus, sponsored under the Philips Records. joint auspices of the Berkshire Music Center and Boston University, was formed in 1970. John Oliver, who is direc- tor of choral and vocal activities at Tanglewood, a member Teresa Cahill, soprano of the faculty of MIT and director of the MIT Choral Soci- Teresa Cahill makes her Boston Symphony debut with ety, as well as a private vocal teacher, has been director of these concerts. She studied at the Guildhall School of the Festival Chorus since its foundation. Members of the Music in London and has been a member of the Glynde- chorus, who come from the Greater Boston area and from bourne Opera, the Handel Opera Society, the Welsh all walks of life, rehearse throughout the year. They have National Opera and Covent Garden. She made her U.S. performed in Boston and at Tanglewood under Seiji Debut in 1972 at the Santa Fe Opera. Miss Cahill has per- Ozawa, Arthur Fiedler, Colin Davis, Leonard Bernstein, formed the Missa Solemnis with Colin Davis at the William Steinberg and Michael Tilson Thomas. The chorus Brighton Festival and is currently on the roster of the Royal recently participated in the recording of Berlioz 'The Dam- Opera House, Covent Garden. nation of Faust' for Deutsche Grammophon.

Anna Reynolds, contralto Anna Reynolds was born in England and studied in Italy. She appears regularly in Vienna and with the Munich Bach Choir under Karl Richter, and has sung with the Berlin Philharmonic, the New York Philharmonic, the Chicago Symphony and the Cleveland Orchestra. This will be her Boston Symphony debut. Herbert von Karajan encouraged Miss Reynolds in her studies of Wagner repertoire and she has appeared in his productions both at Salzburg and the . She also appears at Bayreuth, and at Covent Garden, Chicago Lyric Opera and La Scala, Milan.

Eric Tappy, tenor Eric Tappy was born in Lausanne, Switzerland and stud- ied in Geneva, Salzburg and Holland. He made his opera debut in 1964 at the Paris Opera Comique and has appeared at the Cologne Opera, the Lyon Opera and Covent Garden. This fall he made his United States debut at the San Fran- cisco Opera and these performances mark his Boston Sym- phony debut. He has appeared at a number of international festivals including Warsaw, Salzburg, Lucerne, Lausanne, Perugia, Israel, Munich, Aix-en-Provence, Holland and Flanders. BOSTON SYMPHONY ORCHESTRA SEIJI OZA04,1

First violins Cellos Contra bassoon Joseph Silverstein Jules Eskin Richard Plaster Concertmaster Philip R. Allen chair Charles Munch chair Martin Hoherman Horns Emanuel Borok Mischa Nieland Charles Kavaloski Max Hobart Jerome Patterson Helen Sagoff Slosberg chair Rolland Tapley Robert Ripley Charles Yancich Roger Shermont Luis Leguia Max Winder Carol Procter David Ohanian Harry Dickson Ronald Feldman Richard Mackey Gottfried Wilfinger Joel Moerschel Ralph Pottle Fredy Ostrovsky Jonathan Miller Leo Panasevich Martha Babcock Trumpets Sheldon Rotenberg Armando Ghitalla Alfred Schneider Basses Andre Come Stanley Benson William Rhein Rolf Smedvig Harold D. Hodgkinson chair Gerald Gelbloom Gerard Goguen Raymond Sird Joseph Hearne Ikuko Mizuno Bela Wurtzler Trombones Cecylia Arzewski Leslie Martin Ronald Barron Amnon Levy John Salkowski William Gibson John Barwicki Norman Bolter Second violins Robert Olson Gordon Hallberg Victor Yampolsky Lawrence Wolfe Personnel Managers Fahnestock chair Henry Portnoi Tuba William Moyer Marylou Speaker Chester Schmitz Harry Shapiro Michel Sasson Flutes Ronald Knudsen Doriot Anthony Dwyer Timpani Librarians Leonard Moss Walter Piston chair Everett Firth Victor Alpert Bo Youp Hwang James Pappoutsakis Sylvia Shippen Wells chair William Shisler Laszlo Nagy Paul Fried Michael Vitale Percussion Stage Manager Darlene Gray Piccolo Charles Smith Alfred Robison Ronald Wilkison Lois Schaefer Arthur Press Harvey Seigel Assistant timpanist Jerome Rosen Oboes Thomas Gauger Program Editor Sheila Fiekowsky Ralph Gomberg Frank Epstein Mary H. Smith Mildred B. Remis chair Gerald Elias Harps Vyacheslav Uritsky John Holmes Wayne Rapier Bernard Zighera Violas Ann Hobson Burton Fine English Horn Charles S. Dana chair Laurence Thorstenberg Reuben Green Clarinets Eugene Lehner Harold Wright George Humphrey Ann S.M. Banks chair Jerome Lipson Pasquale Cardillo Robert Karol Peter Hadcock Bernard Kadinoff E-flat clarinet Vincent Mauricci Earl Hedberg Bass Clarinet Joseph Pietropaolo Felix Viscuglia Robert Barnes Michael Zaretsky Bassoons Boston Symphony Orchestra, Sherman Walt Symphony Hall, Boston, Massachusetts 02115. Edward A. Taft chair (617) 266-1492. Roland Small Thomas D. Perry, Jr., Executive Director Matthew Ruggiero Fiduciary Trust Company 10 POST OFFICE SQUARE, BOSTON

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