Boston Symphony Orchestra Concert Programs, Season 96, 1976-1977, Subscription

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BOSTON SYMPHONY ORCHESTRA SEIJI OZAWA

i Music Director ^\l

Seiji Ozawa, Music Director

Colin Davis, Principal Guest Conductor Joseph Silverstein, Assistant Conductor

Ninety-Sixth Season 1976-77

The Trustees of the Boston Symphony Orchestra Inc. Talcott M. Banks President

Philip K. Allen Sidney Stoneman John L. Thorndike Vice-President Vice-President Treasurer Vernon R. Alden Mrs. Harris Fahnestock John T. Noonan Allen G. Barry Harold D. Hodgkinson Mrs. James H. Perkins Mrs. John M. Bradley David O. Ives Irving W. Rabb

Richard P. Chapman E. Morton Jennings, Jr. Paul C. Reardon Abram T. Collier Edward M. Kennedy David Rockefeller Jr.

Nelson J. Darling, Jr. Edward G. Murray Mrs. George Lee Sargent Archie C. Epps III Albert L. Nickerson John Hoyt Stookey Trustee Emeritus Henry A. Laughlin

Administration of the Boston Symphony Orchestra

Thomas D. Perry, Jr. Thomas W. Morris Executive Director Manager Gideon Toeplitz Daniel R. Gustin Assistant Manager Assistant Manager Joseph M. Hobbs Dinah Daniels Director of Development Director of Promotion Richard C. White Anita R. Kurland Niklaus Wyss Assistant to the Manager Administrator of Youth Activities Advisor for the Music Director

Donald W. Mackenzie James F. Kiley Operations Manager, Symphony Hall Operations Manager, Tanglewood

Michael Steinberg Director of Publications

BOARD of DIRECTORS

Robert H. Gardiner President

Edward H. Osgood Edmund H. Kendrick Vice President Vice President

John W. Bryant John L. Thorndike Vice President Vice President John Plimpton John W. Cobb Vice President & Treasurer Vice President

H. Gilman Nichols, Jr. Vice President

John Q. Adams James Barr Ames Vice President, Ropes & Gray John Hancock Mutual Life Insurance Co. Mrs. John M. Bradley Manchester, Mass. Oliver F. Ames Trustee Philip Dean Samuel Cabot Trustee President, Samuel Cabot, Inc.

Edward L Emerson Robert W. Emmons, Jr. Scudder, Stevens & Clark Palmer & Dodge

John B. Gray Vice President, Dennison Francis W. Hatch, Jr. Manufacturing Co. Beverly Farms, Mass. Bayard Henry Albert B. Hunt Corporate Consultant Trustee George S. Johnston Scudder, Stevens & Clark Ronald T. Lyman, Jr. New York, New York Scudder, Stevens & Clark Malcolm D. Perkins Herrick, Smith, Donald, Robert G. Wiese Farley & Ketchum Scudder, Stevens & Clark

Ralph B. Williams Trustee

We act as Trustee, Executor, Agent & Custodian BOSTON SYMPHONY ORCHESTRA

Seiji Ozawa, Music Director BOSTON Colin Davis, Principal Guest Conductor SYMPHONY Joseph Silverstein, Assistant Conductor ORCHESTRA Ninety-Sixth Season SEIJI OZAWA Music Director ^^5

Thursday, 20 January at 7:30 Friday, 21 January at 2 Saturday, 22 January at 8:30 Tuesday, 25 January at 8:30

SARAH CALDWELL, conductor

HAYDN Symphony No. 8 in G major, Le Soir Allegro molto Andante Menuetto La Tempesta — Presto

CARTER Symphony No. 1 Moderately, wistfully Slowly, gravely — flexible tempo Vivaciously

INTERMISSION

STRAVINSKY Petrushka (1911 version) The Shrove-Tide Fair Petrushka's Room The Moor's Room The Shrove-Tide Fair (towards evening)

Jerome Rosen, piano

Thursday's concert will end about 9:25, Friday's about 3:55, and Saturday's and Tuesday's about 10:25.

Deutsche Grammophon and Philips records

Baldwin piano Jerome Lipson M:l Robert Karol Bassoons - Bernard Kadinoff Sherman Walt Vincent Mauricci Edward A. Taft chair Roland Small BOSTON Earl Hedberg f Matthew Ruggiero SYMPHONY Joseph Pietropaolo | Robert Barnes Michael Zaretsky Contra bassoon V SEin OZAWA Richard Plaster

Cellos Horns m Jules Eskin Philip R. Allen chair Charles Kavalovski Martin Hoherman Helen Sagoff Slosberg chair Mischa Nieland Charles Yancich Peter Gordon First violins Jerome Patterson David Ohanian Joseph Silverstein Robert Ripley Richard Mackey Concerhnaster Luis Leguia Charles Munch chair Carol Procter Ralph Pottle Emanuel Borok Ronald Feldman Assistant Concertmaster Joel Moerschel Trumpets Helen Horner Mclntyre chair Jonathan Miller Armando Ghitalla Max Hobart Martha Babcock Andre Come Rolland Tapley Rolf Smedvig Roger Shermont Basses Gerard Goguen Max Winder William Rhein Harry Dickson Harold D. Hodglcinson chair Trombones Gottfried Wilfinger Joseph Hearne Ronald Barron Fredy Ostrovsky Bela Wurtzler Norman Bolter Leo Panasevich Leslie Martin Gordon Hallberg Rotenberg Sheldon John Salkowski William Gibson Alfred Schneider John Barwicki Gelbloom Gerald Robert Olson Tuba Raymond Sird Lawrence Wolfe Chester Schmitz Ikuko Mizuno Henry Portnoi Cecylia Arzewski Timpani Amnon Levy Flutes Hwang Everett Firth Bo Youp Doriot Anthony Dwyer Sylvia Shippen Wells chair Walter Piston chair Second violins James Pappoutsakis Percussion Victor Yampolsky Paul Fried Charles Smith Fahnestock chair Arthur Press Marylou Speaker Piccolo Assistant timpanist Michel Sasson Lois Schaefer Thomas Gauger Ronald Knudsen Frank Epstein Leonard Moss Oboes Vyacheslav Uritsky Ralph Gomberg Harps Laszlo Nagy Mildred B. Rem is chair Bernard Zighera Michael Vitale Ann Hobson Darlene Gray Wayne Rapier Ronald Wilkison Personnel Managers Harvey Seigel English Horn William Moyer Jerome Rosen Laurence Thorstenberg Harry Shapiro Sheila Fiekowsky Gerald Elias Clarinets Librarians Ronan Lefkowitz Harold Wright Victor Alpert Ann 5.M. Banks chair William Shisler Violas Pasquale Cardillo Burton Fine Peter Hadcock Charles 5. Dana chair E-flat clarinet Stage Manager Reuben Green Alfred Robison Eugene Lehner Bass Clarinet George Humphrey Felix Viscuglia In 1970 Mr. Ozawa became Artistic Seiji Ozawa, Music Director Director of the Berkshire Music Festival, and in December of that year he began Seiji Ozawa became Music Director of the his inaugural season as Conductor and Boston Symphony Orchestra in the fall Music Director of the San Francisco of 1973 and is the thirteenth conductor Symphony Orchestra, titles he held con- to head the Orchestra since its founding currently with his position as Music in 1881. Director of the Boston Symphony until He was born in Hoten, Manchuria, in he resigned them in the spring of 1976. 1935, and graduated from the Toho (He will be Honorary Conductor in San School of Music in Tokyo with first Francisco for the 1976-77 season). prizes in composition and conducting. Mr. Ozawa's recordings with the When he won first prize at the Inter- Orchestra on the Deutsche Grammophon national Competition of Conducting at label include Berlioz's Symphonie fan- Besancon, France, shortly after his gradu- tastique and La damnation de Faust, ation, one of the judges of the competition Beethoven's Piano Concerto No. 5 with was the late Charles Munch, then Music soloist Christoph Eschenbach, and the Director of the Boston Symphony, who complete orchestra music of Ravel. This invited him to study at Tanglewood fall DG has two new Ozawa /BSO during the following summer. Mr. collaborations scheduled for release: Ozawa's association with the Orchestra Berlioz's Romeo et Juliette and Charles began during that session of the Berkshire Ives's Fourth Symphony. Music Center as a student of conducting in 1960. AND IN GENERAL Beginning with the summer of 1964, Mr. Ozawa was for five seasons Music The BSO performs 12 months a year, in Director of the Ravinia Festival, and at Symphony Hall and at Tanglewood. For the beginning of the 1965-66 season he more information about any of the Or- became Music Director of the Toronto chestra's activities, please call Symphony Symphony, a post he relinquished after Hall at 266-1492 or write Boston Sym- four seasons to devote his time to study phony Orchestra, Symphony Hall, Bos- and guest conducting. ton, Massachusetts 02115. The Board of Overseers of the Boston Symphony Orchestra Inc.

David O. Ives, Chairman Hazen H. Ayer, Vice Chairman

Mrs. Arthur I. Strang, Secretary

Charles F. Adams Weston P. Figgins Richard P. Morse Mrs. Frank G. Allen Paul Fromm David G. Mugar Mrs. Richard Bennink Carlton P. Fuller Dr. Barbara W. Newell

Dr. Leo L. Beranek Mrs. Thomas J. Galligan, Jr. Stephen Paine David W. Bernstein Mrs. Thomas Gardiner Mrs. Priscilla Potter David Bird Mrs. John L. Grandin Harry Remis Gerhard Bleicken Bruce Harriman Mrs. Peter van S. Rice Frederick Brandi Mrs. Richard D. Hill Mrs. Samuel L. Rosenberry

Curtis Buttenheim Mrs. Amory Houghton, Jr. Mrs. Jerome Rosenfeld

Mrs. Henry B. Cabot Richard S. Humphrey, Jr. Mrs. A. Lloyd Russell Mrs. Mary Louise Cabot Mrs. Jim Lee Hunt William A. Selke Mrs. Norman L. Cahners Leonard Kaplan Samuel L. Slosberg Levin H. Campbell, III Leon Kirchner Richard A. Smith Dr. George H.A. Clowes, Jr. Mrs. James F. Lawrence Mrs. Edward S. Stimpson Arthur P. Contas Roderick MacDougall Mrs. Edward A. Taft The Hon. Silvio O. Conte John S. McLennan Mrs. Richard H. Thompson Robert Cushman Colman M. Mockler, Jr. Stokley P. Towles

Michael J. Daly Mrs. Elting E. Morison D. Thomas Trigg Mrs. C. Russell Eddy Frank E. Morris Julius Vogel

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Yes, free. | The Cotting School for Handicapped Children offers a 12-year academic program for physically and medically handicapped children with mentally normal capabilities. Included in school services are both vocational and college preparatory training, transportation to and from, medical and dental care, speech and physical therapy, social development, noon meal, testing, recrea- tion and summer camping. Without any cost whatsoever to parents. Right now, we have openings for handicapped children. Please pass the word. Call or write William J. Carmichael, Superintendent, The Cotting School for Handicapped Children, 241 St. Botolph St., Boston, Mass. 021 15, 536-9632. (Formerly Industrial School for Crippled Children.) The Cotting School for Handicapped Children is a private, nonprofit, nonsectarian, tuition-free institution supported primarily by private legacies, bequests and contributions. Notes but that may be one of the dozens of apocryphal stories that have proliferated Joseph Haydn all over Haydn biography. At any rate, by about 1749 he was on his own, and for Symphony No. 8 in G major, Le Soir the next few years he scraped together a minimal living at musical odd jobs: he Franz Joseph Haydn was born in Rohrau, told Griesinger that on any one Sunday Lower Austria, on 31 March 1732 and he might find himself playing violin for died in Vienna, 31 May 1809. He com- the Brothers of Mercy in the suburb of posed Le Soir in 1761 and led its first Leopoldstadt at eight in the morning, performance at Esterhdza Castle, organ in the private chapel of Count Eisenstadt, that year. These performances Haugwitz two hours later, and singing are the first by the Boston Symphony at St. Stephen's for the 11 o'clock mass, Orchestra. with probably a serenade gig in the evening. The little we know about Haydn's early life comes, for the most part, from In the middle 50s, he lived upstairs three biographies that appeared soon from the celebrated opera librettist, Pietro after the composer's death : Biographische Metastasio*, who shared his large Notizen iiber Joseph Haydn by Georg apartment with an old friend, Niccolo August Griesinger, a Saxon diplomat; Martinez, Master of Ceremonies at the Biographische Nachrichten uber Joseph Papal Nunciature. Metastasio got Haydn Haydn by Albert Christoph Dies, a an appointment as teacher to the nine- landscape painter from Hanover; and year old Marianna Martinez, a gifted Le Haydine, ovvero Lettere sulla vita child, and later a favorite duet partner e sulle opere del celebre Maestro Giuseppe of Mozart's. She was already studying Haydn by Giuseppe Antonio Carpani, a voice with the famous Nicola Porpora, Lombard man of letters. Griesinger, a composer, but best remembered as Dies, and Carpani all knew Haydn in his teacher to some of the most renowned last years in Vienna, and in general their castrati of the day, including Farinelli books agree. There is reason, however, and Caffarelli. For teaching Marinanne, to question the accuracy of some of the Haydn got free meals in the Metastasio- old gentleman's reminiscences, and one Martinez household; for accompanying cannot be sure that the writers, all her lessons with Porpora (and soon those dilettantes in music, always understood of other pupils) and for serving that him correctly. Carpani, moreover, has coarse and irascible eminence as valet, been suspected of embroidery. he was renumerated with further training This much seems beyond doubt: in singing, composition, and Italian. Haydn's father was a wagoner who also Not least, through Metastasio, Porpora, did some farming, and there was a lot of and Martinez, Haydn made useful con- singing in the house after working hours. tacts in aristocratic music-loving circles. Then, about the time Haydn was six, he So he came to be music-master to the was sent to the house of an uncle and aunt for the furtherance of his musical edu- *Not as unlikely as it sounds, for, as Rosemary cation. From there, he went to Vienna Hughes puts it in her Haydn book, "the old as a cathedral choirboy. his By own house, like others of its kind, sheltered a account, he listened more than he studied, cross-section of Viennese life. Aristocracy but acquired a basic education in singing, lived at street-level, middle-class culture keyboards, and violin, meanwhile teach- occupied the floors above, and servants, ing himself out of Johann Joseph Fux's tradespeople and poor devils such as music esteemed treatise in composition, Gradus teachers lived under the roof." By strange chance, the aristocracy on this particular ad Parnassum. It is said that Georg ground floor in the Michaeler-Haus was the Reutter, Haydn's choirmaster at St. Dowager Princess Esterhazy, whose sons Stephen's, wanted to have the boy Haydn would be serving for nearly 30 years. castrated when his voice began to change, Who's who in investments.

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8 household of Baron Carl Joseph Fiirnberg, undue familiarity and from vulgarity in for whom he may have written his first eating, drinking and conversation, not string quartets, and it was on Fiirnberg's dispensing with the respect due to him, recommendation that by 1759, perhaps but acting uprightly and influencing his as early as 1757, he at last became a subordinates to preserve such harmony Capellmeister. His employer was Count as is becoming to them, remembering Ferdinand Maximilian Morzin, whose how displeasing the consequences of any castle was at Lukavec, near Pilsen. There discord or dispute would be to his Serene Haydn wrote his first symphonies (in- Highness. cluding the Symphony B conducted by The said Vice-Capellmeister shall be Seiji Ozawa at these concerts in No- under obligation to compose such music vember 1974) and much music for wind- as his Serene Highness may command, band. Soon, financial difficulties obliged and neither to communicate such com- Count Morzin to disband his orchestra. positions to any other person, nor to One of the guests, however, who had allow them to be copied, but he shall heard it during Haydn's incumbency was retain them for the absolute use of his Prince Paul Anton Esterhazy. His own Highness, and not compose for any other Capellmeister, Gregor Joseph Werner, person without the knowledge of his was in his sixties and failing. Learning Highness. that Haydn was free, Paul Anton en- The said Joseph Heyden shall appear gaged him as Vice-Cap ellmeister , and on daily in the ante-chamber before and 1 May 1761, the two entered into an after midday, and inquire whether his arrangement that brought security and Highness is pleased to order a perfor- stimulating working conditions to the 29- mance by the orchestra. On receipt of his year old composer and lustre to the name orders he shall communicate them to the of Esterhazy. other musicians, and take care to be Certain clauses of the contract are here punctual at the appointed time, and to quoted in full (in the translation of H. C. ensure punctuality in his subordinates, Robbins Landon, used by kind permission making a note of those who arrive late of London Records, Inc., New York): or absent themselves altogether. The said Joseph Heyden shall be con- The said Vzce-Capellmeister shall take all musical sidered and treated as a member of the careful charge of music and household. Therefore his Serene Highness instruments, and be responsible for any injury that occur to is graciously pleased to place confidence may them from in his conducting himself as becomes an carelessness and neglect. honorable official of a princely house. For the rest, the contract stipulated that He must be temperate, not showing Haydn be subordinate to Werner in himself overbearing toward his musi- choral music (Werner retained the title cians, but mild and lenient, straight- of Capellmeister) but be independent in forward and composed. It is especially other areas; that he give lessons to the to be observed that when the orchestra female singers so that they "would not shall be summoned to perform before com- forget in the country what they had so pany, the V/ce-Capellmeister and all the expensively learned in Vienna;" that he musicians shall appear in livery and the himself would practice regularly; that he said Joseph Heyden shall take care that would be paid 400 florins annually he and all the members of the orchestra (double what he had received at Mor- follow the instructions given, and appear zin's); that the contract was for three in white stockings , white linen, powdered years, with Haydn obliged to give six and with either a queue or a tie-wig. months' notice if he wished to leave at Whereas the other musicians are re- the end of that time. The final clause ferred for directions to the said Vice- indicated that if his Serene Highness Capellmeister, he shall therefore take were satisfied with Haydn, "he may look more care to conduct himself in an foward to being appointed Capell- " exemplary manner, abstaining from meister. —— — — — - — — - — «, y —"— —

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valet y4 page from the catalogue of Hayden's works, prepared 1805 by the composer's and copyist, Johann Elssler. Le Soir is the third entry in the left column.

10 '

His Serene Highness was a widely- built into the three works we don't know traveled, educated man, an amateur what it was. They were, at any rate, violinist and cellist, and a musical Haydn's introduction to his new patron connoisseur of great refinement. Music and his new orchestra. The former he was something on which he enjoyed wished to persuade that in his new Vice- spending money: he had a splendid Capellmeister he had found an inventive, library, and two years before Haydn's resourceful musician; to the latter he appointment, he had sent his concert- wanted to make a statement of confidence master, Luigi Tomasini, himself a com- in their musicianship and virtuosity. poser of repute, on a study trip to Venice. A movement like the operatic recitative New musicians were engaged along with for violin in Le Midi (No. 7 in C major) Haydn, and the personnel in 1761 will have delighted Esterhazy and amounted to one flutist, two each of flattered Tomasini. Two things dis- oboists, bassoonists, and hornists, five tinguish these first Esterhazy sym- violinists, two cellists, and a bass player. phonies: their expansiveness after the The violists needed in Le Soir would have brevity of most of the Morzin symphonies been borrowed from the parish church (A, B, 1-5, 10, 11, 15, 18, 19*), and the or from a neighboring town. Many of the regular musicians doubled on other *The familiar numbering of Haydn's sym- instruments; Haydn himself would have phonies is the work of the great Rumanian- directed such a symphony from the born scholar and composer, Eusebius harpsichord. Mandyczewski. His list, made 70 years ago, Haydn told Dies that Prince Paul was a pioneering effort in modern Haydn Anton had suggested a Morning, Noon, scholarship; since then, however, much and Night triology of symphonies. information has come to light, and we now know that Mandyczewski's ordering, Le Matin (No. 6 in D major) begins with particularly of the earlier symphonies, was a sunrise, and Le Soir ends with a storm, not always correct. but if any more programmatic detail was

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11 )

prevalence of solos, which turns these works, as Robbins Landon puts it, into "a breathtaking fusion of suite, symphony, concerto grosso, solo concerto, and divertimento. " In he Soir, Haydn gives us <^&V first a very quick movement, concerned with one theme only, and full of rhythmic and harmonic surprise. The andante presents the concertmaster, the leader of the second violins, and the principal cellist as soloists. The bassoonist has solos ESTABLISHED 1875 as well, but is more often occupied lend- More than a century ing firmness and his special timbre to the of famous bass line. As in Le Matin and Le Midi, Italian foods the bass player steps forward with a solo in the trio of the minuet. Then La TEL. 423-6340 10 BOSWORTH ST., Tempesta, with raindrops in the violins, BOSTON, MASS. lightning in the flute, and a brilliant finish for all. — Michael Steinberg BOSTON &

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12 Rite of Spring, practised Scriabin on the ELLIOTT CARTER piano, heard Stokowski conduct Varese, Symphony No. 1 attended the Sunday afternoon sessions in the 14th-Street loft of Katherine Ruth Elliott Cook Carter, Jr. was born on 11 Heyman, pianist, mystic, and theos- December 1908 in New York City and ophist, who played Scriabin, Schoenberg, now lives there and in Waccabuc, New Ives, and Griffes. He heard Arabic, Indian, York. Drawing to some extent on material and Balinese music, went to the Chinese from his 1936 ballet score Pocahontas, opera, looked at modern painting, saw he wrote his Symphony No. 1 — there is the films of Eisenstein and Pudovkin, no Symphony No. 2, but the new work heard Mayakovsky recite, and went to be given its premiere by Pierre Boulez many times to see the Moscow Art and the New York Philharmonic on 17 Theater's Carmencita and the Soldier. February is called Symphony for Three With his father, a well-to-do lace im- Orchestras — in 1942, completing it in porter, he traveled to Europe several Santa Fe, New Mexico, on 19 December times, and there he bought scores and of that year. Howard Hanson and the sheet music — particularly the works of Eastman-Rochester Symphony Orchestra Schoenberg, Berg, and Webern, because gave the first performance at the 14th Paul Rosenfeld, a critic he admired, said Annual Festival of American Music, they were important — and also books Rochester, York, April New on 27 1944. of theory and analysis. When it came time The Symphony, which is dedicated to to go to college, he chose Harvard the composer's wife, Helen Frost-Jones "because of its proximity to the Boston Carter, was revised in 1954. These per- Symphony and to all the advanced formances are the first in Boston. musical activity that was then going on under Koussevitzky." Like Haydn's Le Soir, Carter's Sym- Carter's account in Flawed Words and phony is an early essay by a composer Stubborn Sounds, a book of conversa- whose mature work is much more tions with Allen Edwards, continues:

familiar than his beginnings. Carter "When I got there, though, I began to "took" piano as a boy, hating Chopin, have annoying experiences of enrolling

scales, and the rest of it, and not until in music courses only to discover that the high school did he really make contact professors involved couldn't stand one with music. The music teacher at the single thing about contemporary music

Horace Mann School was Clifton Furness. and considered Koussevitzky 's modernist His classes dealt with the traditional activity at the Boston Symphony an out-

three B's, but after hours and on week- right scandal. Indeed, I found that no

ends, Furness took his bright, Beethoven- one could understand why I wrote what I

hating student to concerts of modern did when I tried doing harmony exercises,

music and also to meet his friend, Charles just as I couldn't understand why I should

Ives. Carter sometimes went as Ives's write harmony exercises at all. In fact, I guest to the Saturday afternoon Boston used to discuss with the late Dr. Davison Symphony concerts in Carnegie Hall, (then a teacher of choral composition was immensely excited by Stravinsky's and director of the Harvard Glee Club)

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13 why one should write choral music that Tennyson); talk with his own con- sounded like Mendelssohn and Brahms temporaries like James Agee, Harry when I disliked (at the time) the way this Levin, and Lincoln Kirstein. sounded. He never gave me an answer After Harvard, and in emulation of that convinced me then. Now I can Walter Piston and Aaron Copland, understand why it might have been Carter decided to go to Paris to study worthwhile, but at the time I felt there with Nadia Boulanger. From her, at last, should be a way of teaching that would he received the technical and analytical help a composer write the kind of music grounding in new music for which he had he really wanted to write. It's very much hungered. The move to Paris was one he harder for me now, as a sometime teacher, undertook virtually without support from to be sure what sort of pedagogy would home: Carter's father was appalled by accomplish this. Certainly I would have and implacably opposed to the frivolity been glad if somebody at Harvard had of a career as composer, and neither explained to me what went on in the parent ever came to take any interest in music of Stravinsky, Bartok, and Carter's work or to gather any sense of Schoenberg, and had tried somehow to its value. When Carter returned to develop in me the sense of harmony and America as a composer with a solid counterpoint that these composers had, command of craft, he wrote informed without going through all that traditional and perceptive criticism for Modern stuff, which I didn't like. But this was Music and other periodicals; served as the order of the day, and finally I got music director for Ballet Caravan, the very angry and decided not to study first company his old Harvard friend, music as an undergraduate ... In the end, Lincoln Kirstein, started for George however, I took my M.A. in music at Balanchine, and thus ancestor to the New Harvard, studying with Hoist, who York City Ballet; and joined the faculty suddenly appeared as an exchange pro- of St. John's College, Annapolis, where, fessor. Up to that time, from 1926 to within the scope of the Great Books pro- 1931, the only person on the faculty really gram, he taught mathematics and Greek interested in modern music was Walter as well as music.

Piston, who was very sympathetic, It was hard for him, in the midst of all having just come back in 1928 from this, to find time for composition, and studying with Nadia Boulanger." he was already beginning to discover that he was a slow writer. In 1942, he took But there was Koussevitzky; there was time off for composition exclusively, and the experience of singing — "as a hoarse the Symphony No. 1 is the harvest of that tenor" — Bach in a cantata club and year. It is an open and lovely American Stravinsky's new Oedipus Rex in the Glee pastoral, and as such, seems unconnected Club with the Boston Symphony; the to The Rite of Spring and to the other Boston Pops concerts, then under the modern works that excited him in the direction of that remarkable Italian 20s and that made him determined to be- musician, Alfredo Casella (and a public come a composer. During the depression, failure for exactly the reasons that made Carter recalled later, "the musical world them appealing to the young Carter); the here had taken a new turn, toward a kind visits to the Cambridge house of the of populism which became the domi- composer, Henry F. Gilbert, a highly nating tone of the entire musical life*." individual and undeservedly forgotton figure; the Chicago Opera coming to *The most familiar examples of that new town with Mary Garden in Pelleas et populism are certain of Aaron Copland's Melisande; the books and lectures of pieces of that period — El Salon Mexico, Alfred North Whitehead; reading Billy the Kid (written for Ballet Caravan), William Carlos Williams, Marianne An Outdoor Overture — which startled, perhaps even dismayed some of the admirers of Moore, T.S. Eliot, e.e. cummings, Joyce, the First Symphony, the Short Symphony, D.H. Lawrence, Gertude Stein (the and the Piano Variations. — M.S. Harvard English department stopped at

14 1

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Helen and Elliott Carter, summer 1975 Baked Stuffed Shrimp London Broil Carter's response to his "natural desire to write something many people could pre- Barbecued Spareribs sumably grasp and enjoy easily at a time Boston Scrod of social emergency" was, then, an act of social consciousness, and one he 344 Newbury St., Boston viewed with some doubt at a quarter South Shore Plaza century's retrospect. Audiences, he said, Chestnut Hill Mall did not go along with this kind of music. They "just wanted to hear Beethoven Luncheon 1 1 :30 A.M. - 3:30 P.M. and Brahms and Mozart. They were — Dinner 3:30 P.M. - :00 A.M. and still are — in the position I was in as Drinking til 2:00 A.M. a little boy, when it comes to modern music — they aren't able to distinguish very much about any of these things; they just know new music doesn't sound very much like Brahms, and that's about Boston's only all, as far as I can see. In fact, I probably Head to Toe Salon should have known better than to try writing works like my First Symphony for today's woman. and Holiday Overture in deliberately a Featuring restricted idiom — that is, in an effort Facial Salon • Body Salon to produce works that meant something Hair Salon to me as music and yet might, I hoped, be understandable to the general musical Visit our exciting botique. public I was trying to reach for a short period after writing Pocahontas." The irony of Carter's career was that he made immense impact at last with another work am scitcHe composed during a year off in the South- Jk 83 Newbury Street west, this one, however, written Boston 536-6995 absolutely to please himself, and un-

15 compromising in its demands on per- formers and listeners — the String Thomas Quartet No. 1 (1951). At that moment, the present and the past were connected Cook in the composer's life. This, at last, is presents the SIXTH the music that grew directly out of those stunning experiences in the 20s. Elliott Carter had hatched unmistakably as Journey Elliott Carter, and the String Quartet No. 1 begins the series of witty, dramatic, masterful works that continued with two to Music more quartets (each of which was EUROPE 77 awarded a Pulitzer Prize), the Sonata for Flute, Oboe, Cello and Harpsichord, FROM BOSTON the Variations for Orchestra, the three concertos of the 60s, the Brass Quintet, September 5-26, 1977 and the Elizabeth Bishop song cycle, A Mirror on Which to Dwell. But history is one thing and listening Tour conducted by to music another. This modestly scored John Salkowski symphony — flutes (one doubling Member Boston Symphony Orchestra piccolo), oboes, clarinets, bassoons, horns, trumpets, all in pairs, plus trombone, kettledrums, and strings — is a kind of by-way in Carter's evolution, Many exciting performances but it is a work of singular and touching charm. Some of its thematic material and sightseeing goes back to the original piano version of Pocahontas as first performed by Ballet EDINBURGH Caravan at the Ogunquit Playhouse, Maine, in August 1936. Carter later MOSCOW thought that the ballet score contained VLADIMIR elements too disparate to live happily with one another. Accordingly, a kind of LENINGRAD sorting out took place in which the more NOVGOROD chromatic elements became the revised orchestral Pocahontas of 1938-39, while VIENNA some of the more diatonic ones were in- MUNICH corporated into the Symphony. The re- writing of the Symphony in 1954 involved a tightening of the structure and, at the same time, the enrichment of harmonic For information or reservations, and orchestral detail. The first movement please send this coupon or call: is a continuous spinning out and development of the idea heard right at the Thomas Cook beginning in the conversation of clarinet WORLD TRAVEL SERVICE and horn. The second movement evokes 156 Federal St., Boston, MA 02110 hymn-tunes, and the finale, its counter- (617)267-5000 point more and and more adventurous, NAME_^ with high spirits on the increase, suggests the world of country fiddling and barn ADDRESS dances. To anticipate an often asked CITY question, the thoroughly American STATE. Z\? themes are all Carter's own. . — M.S.x/tc

16 Leonard Bernstein was the first conductor Igor Stravinsky to give the complete 1911 score at a Petrushka Boston Symphony concert: that was in January 1948, and the pianist was Lukas Igor Fedorovich Stravinsky was born at Foss. The 1911 version has been per- Oranienbaum, Russia, on 5 June 1882 formed since by Pierre Monteux and, (old style) or 17 June 1882 (new style) and most recently, by Erich Leinsdorf in January died in New York City on 6 April 1971. and February 1971, with Newton Wayland He composed Petrushka at Lausanne and at the piano. In 1946, Stravinsky reorches- Clarens, Switzerland, at Beaulieu in the trated Petrushka, the new edition being South of France, and in Rome, between generally identified by the date of its pub- August 1910 and 26 May 1911. The first lication as "the 1947 version." In February performance was given by Serge 1946, the composer conducted a hybrid Diaghilev's Russian Ballet at the Theatre suite at a pair of Boston Symphony du Chatelet, Paris, on 13 June 1911. concerts, playing the first tableau in the Scenario, scenery, and costumes were by revised version, just finished, and the Alexandre Benois, whose name appears fourth in the 1911 original. Since, Eleazar on the title-page as co-author of these de Carvalho (with Bernard Zighera), "scenes burlesques" and to whom the Jorge Mester (with Newton Wayland), music is dedicated. The choreography Seiji Ozawa (with Michael Tilson was by Michel Fokine. Pierre Monteux Thomas), Alain Lombard (with Newton conducted, and the principal roles were Wayland), and Michael Tilson Thomas taken by Vaslav Nijinsky as Petrushka, (with Jerome Rosen), have conducted the Tamara Karsavina as the Ballerina, 1947 Petrushka. Alexander Orlov as the Moor, and Enrico The original Petrushka is scored for Cecchetti as the Magician. It was also four flutes (one doubling piccolo), four Monteux who conducted the first concert oboes (one doubling English horn), four performance on 1 March 1914 at the clarinets (one doubling bass clarinet), Casino de Paris, with Alfredo Casella four bassoons (one doubling contrabas- playing the piano solo. Petrushka came soon), four horns, two cornets, two to the United States with the Russian Bal- trumpets (one doubling high trumpet in let and was danced here for the first time D), three trombones, tuba, kettledrums, at the Century Theatre, New York City, bass drum, cymbals, gong, triangle, on 24 January 1916, Ernest Ansermet tambourine, snare-drum, xylophone, conducting, and with Leonide Miassine glockenspiel, off-stage snare-drum and (later Massine), Lydia Lopokova, and long drum, two harps, piano, celesta, and Adolf Bolm. The same cast gave the work strings. The 1947 score slims this down to at the Boston Opera House on 4 February three each of woodwinds (with doublings 1916 (see p. 22). as before), four horns, three trumpets, the The first hearing of any of the Pet- rest — except for needing only one harp rushka music at a Boston Symphony con- — being as in 1911. At these performances cert was on 26 November 1920, when Sarah Caldwell conducts the complete Pierre Monteux conducted a suite con- 1911 version. sisting of the Russian dance from the first scene and the whole of the second and Here is more young man's music. In fourth scenes. Raymond Havens played 1910-11, Stravinsky was just short of the piano. In later years, Serge Kous- Haydn's age at the time of his first three sevitzky, Richard Burgin, Stravinsky him- symphonies for Prince Esterhazy. But far self, Ernest Ansermet, Leopold Stokowski, more than Haydn at 29 or Carter at 33, and Erich Leinsdorf all conducted suites Stravinsky at 28 was a fully developed put together in various ways from the full artistic personality, dazzlingly and com- score, the pianists including Jesus Maria pletely himself. The Firebird had had an Sanromd, Lukas Foss, Bernard Zighera, immense success when Diaghilev pro- Claude Frank, and Richard Woitach. duced it at the Paris Opera: on 25 June

17 .

1910, Stravinsky became a celebrity — for life. During the last days of finishing the Firebird orchestration, he had a dream in which he had witnessed "a solemn pagan rite : wise elders, seated in a circle, watching a young girl dance herself to death. They were sacrificing her to pro- pitiate the god of spring." This suggested music, which indeed he began to compose — a perplexing task, as it turned out, for, while he could play the complex rhythms he imagined, he did not know how to write them down. He thought of the work as a symphony, but when he played the music to Diaghilev, that great impresario at once saw its possibilities for dance. Eager to consolidate the success of The Firebird, he urged Stravinsky to forge Alexander Benois' view of Stravinsky working ahead with The Rite of Spring. Stravinsky on Petrushka in Rome. agreed, but found that what he really wanted after Firebird was the change and refreshment of writing a short of Konzertstuck for piano and orchestra:

"In composing the music, I had in mind a distinct picture of a puppet, suddenly endowed with life, exasperating the Dixieland at patience of the orchestra with diabolical my place. cascades of arpeggi. The orchestra in turn Consider hep. retaliates with menacing trumpet-blasts. me After years oftrying, The outcome is a terrific noise which I have learned to like reaches its climax and ends in the sorrow- Dixieland. ful and querulous collapse of the poor The process was something like learn- puppet." This — a portion called Petrush- ing to like olives. ka's Cry ("after Petrushka, the immortal Therefore, my restaurant in Boston and unhappy hero of every fair in all now serves Dixielandjazz every countries") and the Russian Dance — was Sunday evening. There's no cover charge and no mini- the music Stravinsky played for the mum, and the prices are modest enough astonished Diaghilev, who had gone to to bring the family or friends, or anyone visit the composer at Lausanne, expecting else who might be a fan of good dining, of course to find him hard at work on good drinks, and goodjazzbands. The Rite of Spring. Once again, Diaghi- Naturally, however, I'd rather appre- joined lev was quick to perceive the possibilities ciate it if, while you were here, you us for dinner: roast beef, fresh fish, J. C. of what Stravinsky was up to. Quickly, Hillary's English Father's Irish Stew . . the two sketched the outlines of a ballet, Or an olive or two, served within a agreed on a commission fee of 1,000 beverage. roubles, and decided that the scenario (The traditional drink of Martini should be worked out by Alexandre Street, or whatever, where Dixieland Benois, the painter who had been one of was born.) Diaghilev's original advisers at the founding of the Russian ballet, who had con- J. C. HILLARY'S Music whose time has returned, LI D. ceived or designed some of the most at precisely the same sort of restaurant. famous of the Diaghilev productions, including Scheherazade and Les Sylphides, 793 Boy Iston Street. directly (and totally lopposite the Pru. 536-6300 Freevaletparking. Lunch 1 1:30-3:30. Dinnertillmidnight. and who had loved puppet theater since

18 boyhood. Stravinsky lost some weeks of himself by falling in love with the Bal- working time when he came down with lerina. She visits him, and for a moment nicotine poisoning in February 1911, but he believes he has succeeded in winning

for the rest, the collaboration went her. But she is frightened by his uncouth smoothly, and on 26 May, in his room at antics and she flees. In his despair, the Albergo d'ltalia, Rome — the Ballet Petrushka curses the Magician and hurls was playing an engagement at the Costanzi himself at his portrait, but succeeds only Theater — the last bars were written in tearing a hole in the cardboard wall of down. Just 18 days later Petrushka went his cell."

on stage, and it was yet another triumph. Scene Three takes us to the Moor's The Paris orchestra required a little per- room, papered with a pattern of green suading at first, and not long after, the palm-trees and fantastic fruits against a Vienna Philharmonic told Monteux the red ground. The Moor is brutal and stupid, score was Schweinerei and tried to sabo- but attractive to the Ballerina. She comes tage its performance. (They could not to visit him and succeeds in distracting foresee what would be in store for them him from the coconut with which he is when Stravinsky returned to his project playing. Their scene together is inter- about spring in pagan Russia.) rupted by the jealously enraged Petrushka, whom, however, the Moor quickly The first and last scenes are public, the throws out. middle two private. The curtain rises to show Admiralty Square, St. Petersburg, The last scene takes us back to the fair-

in the 1830s. It is a sunny winter's day, grounds, but it is now evening. Wetnurses

and the Shrove-Tide Fair is in progress. dance, then a peasant with a trained bear, Crowds move about. Not everyone is and after that a fairly boiled merchant quite sober. Two rival street dancers, one with two gypsy girls. Coachmen and with an organ-grinder and the other with stable-boys appear, first doing a dance by a music-box, entertain. Drummers draw themselves and then one with the wet- the crowd's attention to an old magician, nurses. Finally, a group of masqueraders who descends from his theater, plays the comes in, including a devil, goats, and flute, and presents his three puppets, pigs. Shouts are heard from the little Petrushka, the Ballerina, and the Moor. theater. The scene of something wrong Touching them with his flute, he brings spreads to the dancers, who gradually them to life, and, to the amazement of all, stop their swirling. Petrushka runs from they too step down from the theater and the theater, pursued by the Moor, whom perform a Russian dance in the midst of the Ballerina is trying to restrain. The the crowd. Moor catches up with Petrushka and The second scene is set in Petrushka s strikes him with his sabre. Petrushka room. Its walls are black, decorated with falls, his skull broken. As he plaintively stars and a crescent moon. The door dies, a policeman goes to fetch the leading to the Ballerina's room has devils magician. He arrives, picks up the

painted on it. A scowling portrait of the corpse, shakes it. The- crowd disperses. Magician dominates the space. When the The magician drags Petrushka toward the curtain rises, the door of the cell is opened theater, but above the little structure, and a large foot kicks Petrushka inside. Petrushka s ghost appears, threatening The preface to the score tells us that the magician and thumbing his nose at "while the Magician's magic has imbued him. Terrified, the magician drops the all three puppets with human feelings and puppet and hurries away. emotions, it is Petrushka who feels and Five of the melodies heard in the two suffers most. Bitterly conscious of his fairground scenes are actual Russian folk- ugliness and grotesque appearance, he songs. The waltzes sentimentally played feels himself to be an outsider, and he on cornet, flutes, and harps in the third resents the way he is completely depend- tableau are by Joseph Lanner, Austrian ent on his cruel master. He tries to console violinist and composer, friend and

19 ,

'From Beaulieu, where your son is working on Petrushka"

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colleague of Johann Strauss Sr. In the opening scene, the music for the first street-dancer — the tune for flutes and clarinets, accompanied on the triangle — Classics: is one Stravinsky heard played regularly on a barrel-organ outside his hotel room Beethoven's Fifth in Beaulieu. It is a music-hall song called

Mozart's Jupiter Symphony Elle avait un' jambe en bois. Later it Bach's Brandenburg Concertos turned out that the song was in copyright, and arrangements were made for Emile Zachary's at The Colonnade Spencer, its composer, to be paid a royalty whenever Petrushka was played*. Of the two sections that Stravinsky first played for Diaghilev in August 1910, the Russian Dance is of course the one that occurs in the first scene. Petrushka s Cry became the music for the scene in Petrushka's room. Those are the two places in which Petrushka is closest to retaining its originally imagined character as a Konzertstiick for piano and orchestra. One of the undeniable peculiarities of the finished Petrushka score is the way Stravinsky managed gradually to forget Classic European cuisine for all about the piano, an inattention for luncheon and dinner. which, to some extent, he made amends The Bar at Zachary's, serving in his 1946-47 rescoring. classic drinks nightly, except Sunday. -M.S.

'Forty-four years later, Stravinsky again found that unwittingly he had taken on a collab- at the Colonnade Hotel orator. The Greeting Prelude he wrote for 120 Huntington Avenue, Boston. Monteux's 80th birthday, and which was first Complimentary parking. performed for Monteux by the Boston Sym- phony Orchestra under Charles Munch on 4 April 1955, is based on Happy Birthday. Stravinsky assumed "this melody to be in the category of folk music, too, or, at least, to be

very old and dim in origin. As it turned out, the author [Clayton F. Summy] was alive, but, graciously, did not ask for an indemnity."

South Boston Ladies rooms are located in Symphony Savings Bank Hall on the first floor in the left corridor next to the stairway on the right, and in - "ALWAYS THE LEADER" the Massachusetts Avenue corridor on the second floor near the elevator.

Men's rooms are located in the Massa- chusetts Avenue corridor on the first floor next to the elevator and in the left Alfred W. Archibald corridor on the second floor next to President the coatroom.

21 :

with them. When the Ballerina dances for

Petrushka comes to Boston . . . her beloved Blackmoor, tootling upon her toy trumpet meanwhile, there is just one Diaghilev's Russian Ballet brought sort of tune that suits in such a situation Petrushka (or Petrouchka) to the Boston such as empty-headed like automation Opera House in February 1916. Here is of a puppet show, viz., the cheap and part T. Parker's of H. review in the common tune of ballet music at its lowest Boston Evening Transcript of 8 February terms that the cornets of the orchestra smirk out again and again. Thus, Petrouchka mimed and danced for Scarcely a detail of the action on the the second time in Boston last evening, stage escapes Stravinsky. A newcomer to conveys so much to so many a faculty the fair leads a dancing bear across the that it is hard to isolate the impression of scene and for the moment the orchestra Stravinsky's music from the swarming lumbers and grunts with the passage of sensations of the whole. Obviously, it is the clumsy beast. Yet all this is not merely music written with wholly delineative the fortuitous and expert delineation of and enforcing purpose. The sounds of a externals. Stravinsky's imagination runs folk-fair, like that which fills the stage in much deeper amd finer. Piteous little the first and final scenes of the ballet, are Pe'trouchka returns to his box, his spirit bound to be hard, rough and discordant riven with the impotent love for the dis- and Stravinsky shapes the matter and the dainful Ballerina. He tortures himself manner of his music so that it shall bear with his grief and longing ; he beats him- them unmitigated, and even enhanced, to self against the barriers of fate; he his watching hearers. If two hurdy- imagines himself wooing and winning gurdies are playing in rivalry, as they are her, and in the next instant feels the quite likely to do in such a place and time, futility in this relentless world of all the then shall the orchestra sound with their little ruses with which he would beguile jangling voices in trumpery tunes. The her; of all the little charms that he would dances that the folk dance are sure to be display before her; of even the great stoutly rhythmed and rude-voiced and so affection that moves him to such vanities. the brass-choir beats out the rhythm and He flings his little puppet-body about the blares out the tune until the whole stage, box; he beats the air with his puppet- the whole auditorium and every step on arms and legs; he contorts his blank the one and every ear in the other ring puppet-face with whatever mood or

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23 impulse is for the instant upon him. While salient detail in all three and embody it in Mr. Massin [sic], miming Pe'trouchka, is the music; that can summon and main- projecting all these things upon the spec- tain the illusion of a puppet tragedy in all tator's eye, so Stravinsky's music is pro- its grotesque externals and all its inner jecting them upon his ear until the two ironies. On the other stands the imagina- imparting means bring irresistible illusion. tion in resources and in the application of Thus the spectator knows and feels only them that makes Stravinsky such a master Pe'trouchka's emotions. Yet as the eye of rhythms and timbres as music even in simultaneously sees his puppet-like con- this fortunate day hardly knows, and that tortions, so the music both mirrors these makes him hardly less a master of all the motions and bears the passions within of other delineative and characterizing which they are the futile and comic ex- means of present music. Whatever he will pression. It is music of outward shows seems ready at its call. Melody in the and inner moods; it is music of grotes- conventional sense, as in L'Oiseau de Feu querie, and it is music of tragedy. or his opera of Le Rossignol, as yet

As it should, the purpose of this music unknown in performance in America, has altogether conditioned Stravinsky's answers as readily as do the biting chords procedure with it. If keys must jangle to or the piercing timbres of this or that gain the delineation or the enforcing passage in Petrouchka. He can write suggestion that he seeks, jangle they do. music of a wondrous, sensuous richness If for like end progression or modulation and beauty, as in L'Oiseau de Feu; and he must rasp the ear, Stravinsky lets it rasp can write music that is all astringent sug- it, mindful that at the same time it is gestion and penetration as he has in enkindling the listening imagination to Petrouchka. In both he can write music illusion. If vivid suggestion engenders that is as marvellously lucid, direct, and strange juxtaposition of chords, side by economical in the chosen tonal speech; side, none the less, they go. If timbre music that may sound thin to ears long must be superposed on timbre to gain accustomed to a lush, harmonic, and such an illusion of a particular sound as instrumental procedure, but that in very that of two hand organs, Stravinsky thinness has a new intensity and precision superposes them accordingly. If his of voice. characterizing purpose as in this and Above all, this two-fold imagination that scene of Pe'trouchka himself, can be may have given him the courage — no best accomplished by the voice of a piano, less precious and no less essential — to then that instrument is not only joined to write in his own way for his own ends; the orchestra but the other instruments to let his intent condition his form and are made subordinate to it or even silent procedure, as he quietly ignored the con- beside it. In all this procedure Stravinsky ventions and devised his own expressive seeks and gains the exact sensation that means after his own fashion to achieve to he would convey to his audience. He does the full the taste he had set before him. not spare and he does not waste a note in Whatever else the Russian Ballet has the process. The imagined end stands done in Boston, it has made known to it, clear; the applied means, used with equal as none but it could do since Stravinsky imagination, accomplish it and straight- writes now almost wholly for the stage, way he goes forward briefly, directly. the remarkable music of one of the most illustrious composers of our time and in The wonder of this music is similarly true and vivid images. two-fold. On the one side is the wealth of delineative and characterizing imagina- On-call physicians attending concerts tion that can so transmute into tones and should leave their name and seat loca- individualize there every essential tions at the switchboard. personage, every essential incident, and

every outstanding quality in Petrouchka First aid facilities for both men and conceived as mimed and danced drama women are found in the Ladies Lounge. and picture; that can fasten upon every

24 .

Robert Siohan, not always sympathetic

MORE . . . to the composer's musical aims, is worth knowing for some of the biographical The best introduction to Haydn is the material and for the many pictures (Octo- Rosemary Hughes book in the Master ber House, available in paperback). Musicians series (Octagon). H. C. Robbins Stravinsky's rather close-mouthed auto- Landon has done a fine volume on the biography is in print (October House, symphonies for the B.B.C. Music Guides and Norton paperback), but of the books (University of Washington paperback), of conversations with Robert Craft that and his booklets for the London record- were intended to supplement, even to

ings under Antal Dorati of the complete supplant it, only the last two, Themes symphonies are outstanding. The Grie- and Episodes and Retrospectives and singer and Dies biographies are elegantly Conclusions (both Knopf), neither the translated and interestingly introduced by most interesting nor the most authentic, Vernon Gotwals as Haydn: Two Con- are currently available. Stravinsky in the temporary Portraits (University of Theater, edited by Minna Lederman, is an Wisconsin, available in paperback). exceptionally valuable collection of essays Dorati's recording of the Symphony No. (Da Capo paperback). Petrushka is in-

8, Le Soir, is the liveliest, but it comes only cluded in the Norton Critical Scores : the in a six-record album with Symphonies volume gives the score of the 1911 version 1-19 (London). There are good single and a heap of illuminating supplemen- recordings by Karl Ristenpart and the tary material, chosen and in part written Saar Chamber Orchestra (Nonesuch) and by Charles Hamm (available in paper- by Wilfried Bottcher and the Vienna back). There is excellent and relevant Festival Orchestra (Turnabout), both material also in Richard Buckle's Nijinsky records being completed by Le Matin and (Simon and Schuster) and in Prince Peter Le Midi. Lieven's The Birth of the Ballets-Russes Flawed Words and Stubborn Sounds, (Dover paperback) Elliott Carter's book of conversations Stravinsky in his later years performed with Allen Edwards, is published by W. only the 1947 version of Petrushka, and W. Norton. The rather unsatisfactory his characteristically taut, sharp-edged

recording of Carter's Symphony No. 1 by performance is of that really rather different the Louisville Orchestra under Robert score (Columbia). For the 1911 version, your

Whitney is now out of print, and there best bet is Pierre Boulez with the New has been no other. York Philharmonic (Columbia), though Stravinsky by Eric Walter White is a Pierre Monteux's recording with the big book, full of interesting detail, not all Boston Symphony has fine passages as of it accurate (University of California). well as being of historic and topical Roman Vlad's Stravinsky has interesting interest (RCA). comment on the music (Oxford, available in paperback), while Stravinsky by -M.S.

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25 Guest Artist

Sarah Caldwell

Sarah Caldwell was giving violin recitals before she was ten. Born in Maryville, Missouri, and brought up in Arkansas, she was graduated from high school at 14 and went on to study at Hendricks College and the University of Arkansas, coming finally as a scholarship student to the New England Conservatory. It was here that she discovered her love for opera. Her first production, when she was not yet 20, was of Vaughan Williams' Riders to the Sea at Tanglewood. Following that performance, Serge Koussevitzky appointed her to the faculty of the Berkshire Music Center's opera department. Later, in 1957, while on the staff of the opera department at Boston University, Miss Caldwell founded the Boston Opera Group, whose first production was the Sarah Caldwell — sculpture by Ann Pollon enthusiastically received American premiere of Offenbach's Voyage to the Moon (a work she was many years later Miss Caldwell made her debut as an to perform at the White House for an orchestral conductor when she opened the audience of astronauts and space scien- 1975-76 season of the Milwaukee Sym- tists). Her company, now called The phony. Since, she has conducted the New Opera Company of Boston, has produced York Philharmonic in a Pension Fund more than 40 works, including, along concert of music by women composers, with standard repertory, Luigi Nono's the New Orleans Philharmonic-Sym- Intoileranza, Schoenberg's Moses and phony, the Indianapolis Symphony, and Aron,, Rameau's Hippolyte et Aricie, The the Pittsburgh Symphony. In January Trojans and Benvenuto Cellini by Berlioz, 1976, she made her Metropolitan Opera Prokofiev's War and Peace, and Lulu by debut conducting Verdi's La Traviata. Alban Berg. She has staged several works These concerts are her first with the for the New York City Opera. Boston Symphony Orchestra.

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Friday, 28 January — 2-3 : 45 Tuesday, 8 February — 8:30-10:30 Saturday, 29 January — 8 : 30-10 : 15 Pension Fund Concert Tuesday, 1 February — 7 : 30-9 : 15 Tuesday 'B' series SEIJI OZAWA conducting: MSTISLAV ROSTROPOVICH Mozart: Concerto for Two Pianos, K. 365 conducting Strauss : Death, and Transfiguration

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32 Accompanist to Boston Symphony Orchestra Boston Pops • Arthur Fiedler • Seiji Ozawa Andre Michel Schub • Tanglewood