2•1 A *ONO I -A Ell• I•1M II .11P"f ABM 10•01 INIIIIIMNP"V MUM 1111.11 WI .111111•111•1111 AIMS' I AMU. stli "IIP• 1..A1 UM ' ;, ••••• .0 0= i • Ai= MIL+ 111111.111/1111 SlIfill -I 111111WW1111111111111111111 irla '.' —. me NW • .1 11INII =IN WO Il• .1•IMINV r

Boston Symphony Orchestra , Music Director , Principal Guest Conductor Joseph Silverstein, Assistant Conductor

25,27 September 1975 at 8:30pm 26 September 1975 at 2:00pm 30 September 1975 at 7:30pm Symphony Hall, Boston Ninety-fifth season Baldwin piano Deutsche Grammophon Records Program Program notes

Seiji Ozawa, conducting ► Ottorino Resphigi, 1897-1936 Ancient Dances and Songs for Lute, OResphigi: Ancient Dances and Songs for Lute, Suite No. 3, for String Orchestra Suite No. 3, for String Orchestra The first suite of Ancient Dances and Songs First performance by the BSO for Lute was arranged for small orchestra and published in 1918. The second suite for Italiana large orchestra dates from 1923. It was first Court Airs heard in Boston in 1927 with the Boston Sym- Siciliana phony Orchestra conducted by the composer. The Passacaglia third suite was written in 1931. The first movement of the third suite is Intermission identified only as an anonymous work from the end of the sixteenth century. The heading •Mahler: Symphony No. 5 in C-sharp minor 'Italiana' probably serves to identify its national origin. Part 1 The second movement is a group of Court Trauermarsch (funeral march) Airs by Jean Baptiste Besard who published Stilrmisch bewegt (with stormy movement) several important collections of lute music Part 2 between 1603 and 1617. Six of his short pieces Scherzo have been assembled into one continuous move- Charles Kavaloski, french horn obbligato ment with the first movement repeated at the Part 3 end. Adagietto The third movement is a 'Siciliana' from Rondo--Finale the late sixteenth century. This slow dance form was very popular in late Baroque cantatas and operas. Roncalli, a composer of the seventeenth century is credited with the last movement, a 'Passacaglia'. The passacaglia form origi- nated in the baroque period and is a continuous variation on a single phrase, usually in slow triple meter. The lute is a multi-stringed instrument in the shape of a halved pear which is held in the lap of the player and plucked. Over the years it was improved to the point where it became cumbersome and difficult to play. When this happened it was gradually replaced by the guitar - a simpler and more efficient instru- ment. The present performances are the first of this particular suite by the Boston Symphony. ■ Gustav Mahler, 1860-1911 Seiji Ozawa, Music Director Symphony No. 5 in C sharp minor Seiji Ozawa became Music Director of the Gustav Mahler composed his Fourth Symphony Boston Symphony Orchestra in the fall of 1973 in the summer of 1900. During the two summers and is the thirteenth conductor to head the following he worked upon his Fifth Symphony Orchestra since its founding in 1881. and also during that same period set the He was born in Hoten, Manchuria, in 1935, five Riickert songs and two of the 'Kinder- and graduated from the Toho School of Music in totenlieder'. The Fifth Symphony was completed Tokyo with first prizes in composition and in the summer of 1902. conducting. When he won first prize at the The great conductor, Bruno Walter, who had International Competition of Conducting at an intimate knowledge and understanding of BesanQon, France, shortly after his graduation, Mahler, states: 'The Fifth Symphony is a one of the judges of the competition was the work of strength and sound self-reliance, its late Charles Munch, then Music Director of the face turned squarely towards life, and its Boston Symphony, who invited him to study at basic mood one of optimism. A mighty funeral Tanglewood during the following summer. Mr. march, followed by a violently agitated first Ozawa's association with the Orchestra began movement, a scherzo of considerable dimensions, during that session of the Berkshire Music an adagietto and a rondo-fugue, form the Center as a student of conducting in 1960. movements...It is music, passionate, wild, He was a guest conductor with the Orchestra pathetic, buoyant, solemn, tender, full of first in 1964, and in 1970 became Artistic all the sentiments of which the human heart Director of the Berkshire Festival at Tangle- is capable, but still 'only' music, and wood. no metaphysical questioning, not even from Beginning with the summer of 1964, Ozawa very far off, interferes with its purely was for five seasons Music Director of the musical course.' Ravinia Festival, and at the beginning of the When Mahler composed the Fifth Symphony, 1965-66 season he became Music Director of the he had hoped to assist the audience in follow- Toronto Symphony, a post he relinquished after ing the paths of his free-reigned imagination four seasons in order to devote his time to by suggesting titles to the movements which study and guest conducting. were printed in the early performance programs. During the summer of 1969 he made his debut When he found (as many other composers have as an opera conductor in Salzburg with a per- done) that such signposts usually serve to formance of Mozart's Cosi Fan Tutte, which he divert the public into literary, rather than conducted in concert form later that same musical, channels, he withdrew the titles. summer at Tanglewood. In the summer of 1974, The Fifth Symphony was last performed by he conducted performances of Tchaikovsky's the Boston Symphony Orchestra under the direc- Eugene Onegin at Covent Garden in London, tion of at the 1974 Berkshire again repeating the performance with the same Festival, and with Michael Tilson Thomas during cast during the Berkshire Festival season. the 1971/72 season in Boston. It was recorded Mr. Ozawa will resign his position as Music by the Orchestra for RCA Victor, conducted by Director of the San Francisco Symphony, which . he assumed in 1970, at the close of the 1975/76 season and will be Music Director only in Bos- ton. He owns a home in the Boston area, where he lives with his wife, Vera, and two children.

DCharles Kavaloski Charles Kavaloski, principal horn of the Boston Symphony Orchestra, took up his posi- tion at the start of the 1972 Berkshire Festi- val. Until the fall of 1971 his career was in the world of science. As a professor of physics with a PhD degree in experimental nuclear physics from the University of Minnesota he was engaged in teaching and research at the University of Washington. Before turning to music as a full-time career Mr. Kavaloski played in the Minnesota Orchestra and the Seattle Symphony. In the fall of 1971 he was appointed principal horn of the Denver Symphony. He made his debut as a member of the Boston Symphony Chamber Players during the 1972 Berk- shire Festival and is a member of the faculty of the Berkshire Music Center at Tanglewood.

BOSTON SYMPHONY ORCHESTRA SEW 02A07,1

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

Bassoons Sherman Walt Edward A. Taft chair Roland Small Matthew Ruggiero Arthur Fiedler Michael Tilson Thomas

Through this advertisement, the above organi- zation has become a Friend of the BSO. The Friends' support helps insure the future of the Orchestra. You can become a Friend by contributing as little as $15. Remember, your ticket to a BSO concert is for your enjoyment; your contribution is for our future.