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

110 th Season 19 9 0-91

Boston Symphony Orchestra

Seiji Ozawa, Music Director

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330BOYLSTON ST., BOSTON, MASS. 02116 (617)267-9100 • 1-800-225-7088 THE MALL AT CHESTNUT HILL * SOUTH SHORE PLAZA • ' •

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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. Fitzpatrick, 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 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. What direction will your retirement take?

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BSO

Suppers at Symphony Hall are not attending that evening's BSO concert. The Boston Symphony Association of Volunteers Speakers for upcoming Supper Talks include BSO is pleased to continue its sponsorship of the horn player Jonathan Menkis (Thursday, March BSO's evening series of pre-concert events. "Sup- 21), BSO violinist Sheila Fiekowsky (Tuesday, per Talks" combine a buffet supper at 6:30 p.m. March 26), and BSO principal bass Edwin Barker in the Cohen Wing's Higginson Hall with an (Thursday, April 4). Upcoming Supper Concerts informative talk by a BSO player or other distin- will feature music of Mozart and Brahms (Thurs- guished member of the music community. "Supper day, March 14, and Tuesday, March 19); music of Concerts" offer a chamber music performance by Schubert (Thursday, March 28); and music of members of the Boston Symphony Orchestra in Schubert and Beethoven (Saturday, March 30, the Cabot-Cahners Room at 6 p.m., followed by a and Tuesday, April 2). Please note that the buffet supper served in Higginson Hall. Doors March 28 program will be repeated in Higginson open for all Suppers at 5:30 p.m. for a la carte Hall at noon on Friday, March 29, in conjunction cocktails and conversation. These events are with that afternoon's BSO concert. The suppers offered on an individual basis, even to those who are priced at $22 per person for an individual

James F. Riley September 22, 1924 -February 19, 1991

The Boston Symphony Orchestra has lost a beloved and valued family member with the death of Jim Kiley. Facili- ties Manager of Tanglewood since 1973, Jim began working at the BSO's summer home in 1949 and later became Tanglewood' s Superintendant of Buildings and Grounds. He devoted his considerable working hours to Tanglewood and the Boston Symphony for more than forty years. Among other things, Jim was responsible for maintaining the beauty of the Tanglewood landscape. One of his proud- est achievements was the maintenance of Tanglewood' spacious lawns, through a process that he devised himself over the years. Together with his wife Barbara, he established the tradition of growing every one of Tangle- wood's flowering plants in Tanglewood's own greenhouses. He also found various ingenious, and harmless, means to discourage birds from nesting in the Kousse- vitzky Music Shed; the inflated plastic owls he used in the mid-1980s made national headlines. These were among his most visible achievements; the multitude of hats he wore at Tanglewood were beyond counting. Born in West Stockbridge, James F. Kiley graduated from Williams High School, served in the Navy aboard the U.S.S. Arkansas during World War II, and then worked at General Electric before coming to Tanglewood. He served on the Stock- bridge Board of Selectmen from 1969 to 1978, the last three years as chairman. He was also a Berkshire County sheriff, active in politics, and served on the Boards of the Berkshire Hills Conference and the Berkshire County Extension Service. Jim leaves his wife, Barbara, son David, and daughter Linda — all part of the BSO family at Tanglewood — as well as a brother, two sisters, and four grandchildren. We share their sorrow and their loss. And Tanglewood will not be the same. A memorial fund in Jim Kiley' s name has been established for the landscaping of the new Tanglewood Concert Hall. Donations may be sent to the Tanglewood Office, Symphony Hall, Boston, MA 02115. References furnished on request

Armenta Adams David Korevaar American Ballet Theater Garah Landes Michael Barrett Michael Lankester 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 of Music Bright Sheng Brooklyn Philharmonic Leonard Shure Dave Brubeck Abbey Simon Aaron JCopland Stephen Sondheim John G^rigliano 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

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1 BOSTON

98 Boylston, Boston, MA 02116, (617) 482-2525 event, $61 for any three, or $118 for any six. and seniors available the day of the concert. For Advance reservations must be made by mail. For further information, call (617) 566-2219. reservations the week of the Supper, please call BSO principal trombone Ronald Barron, (617) 638-9390. All reservations must be made at assisted by pianists Fredrik Wanger and Jane least 48 hours prior to the Supper. For further Wanger, appears in recital at the University of information, please call (617) 266-1492, ext. 516. New Hampshire at Durham, in the Bratton Room of the Paul Creative Arts Center, on Wednesday, BSO Members in Concert March 27, at 8 p.m. The program will include works of Hannes Meyer, Hindemith, Mahler, The Terezin Music Foundation, directed by BSO Ellen Taaffe Zwilich, and Arthur Pryor. For fur- violist Mark Ludwig, will perform a benefit con- ther information, call (603) 862-2404 cert on Friday, March 15, at 7 p.m. at the Wang Center for the Performing Arts, to support the Walter Suskind Memorial Fund for the Wang Center's "Young at Arts" program. The program will feature works by three distinguished compos- In Memoriam ers incarcerated at the Theresienstadt concentra- Stephen Malley tion camp — Gideon Klein, Viktor Ullmann, and Hans Krasa — and a work by a nineteen-year-old musician, Robert Dauber. The performers will include the Hawthorne String Quartet (BSO members Ronan Lefkowitz, Si-Jing Huang, Mark Ludwig, and Sato Knudsen) and pianist Virginia Eskin. Remaining tickets, at $250, include a pre- concert reception at 6 p.m. at the Wang Center and dinner following the concert. For reservations, call the Wang Center Friends Office at 482-9393. The Boston Symphony Orchestra notes with The Boston Artists' Ensemble performs sorrow the passing of Stephen Malley (1905- Mozart's Flute Quartet in D, K.285, Kodaly's 1991) this past February 28. Steve began Duo for violin and cello, and Beethoven's G major working at Symphony Hall in 1940, handing string trio, Opus 9, No. 1, on Friday, March 15, out program books. In 1946 he became a at 8 p.m. at the Chapel Gallery of the Second doorman at the Massachusetts Avenue Church in Newton, and on Sunday, March 17, at entrance, where he continued to serve until 2:30 p.m. at the Peabody Museum in Salem. The November 1989. He knew many BSO sub- performers include BSO members Geralyn Coti- scribers on a first-name basis, and entering cone, flute, Burton Fine, viola, and Jonathan the Hall through "Steve's door" became some- Miller, cello, with violinist Arturo Delmoni. thing of a ritual for many Friday-afternoon Tickets are $12 ($10 students and seniors). For subscribers in particular. Until he retired, reservations or further information, call (617) 527-8662. Steve's full-time position was as a maintenance worker for the City of Boston; even Max Hobart leads the Civic Symphony Orches- after his retirement he continued at his Sym- tra on Sunday, March 17, at 3 p.m. at Jordan phony Hall post, for every concert event that Hall. The program includes the first Boston per- took place in the Hall. Honored for his long- formance of Svoboda's Overture of the Season, the term service several years ago, Steve attrib- world premiere of Mennin's Aria for String uted his staying power to his membership in Orchestra, Bartok's Violin Concerto No. 1 with the to his relationship soloist John M. Williams, and Mendelssohn's "Y" and long-term with the BSO. He will be missed. Symphony No. 5, Reformation. Tickets are $12 and $8, with reduced price tickets for students

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Ba/Bank mWATE BANKING For an introduction to Private Banking Trust Services, call Pamela Henrikson, Senior Vice President, at (617) 556-6528, or Stephen Root, Senior Vice President, at (413) 731-4736. Member FDIC Seiji Ozawa

Seiji Ozawa was named music director of the Boston Sym- phony Orchestra in 1973 following a year as the orchestra's music adviser; he is now in his eighteenth year as the BSO's music director. With the Boston Symphony Orchestra he has led concerts in Europe, Japan, and throughout the United States; in March 1979 he and the orchestra made an historic visit to China for a significant musical exchange entailing coaching, study, and discussion sessions with Chi- nese musicians, as well as concert performances, becoming the first American performing ensemble to visit China since the establishment of diplomatic relations. This spring Mr. Ozawa will lead the orchestra on a seven-city North American tour; a tour to seven European cities will follow the 1991 Tanglewood season.

Mr. Ozawa pursues an active international career, appearing regularly with the Berlin Philharmonic, the Orchestre de Paris, the French National Orchestra, the Vienna Philharmonic, the Philharmonia of London, and the New Japan Philharmonic. Recent appearances conducting opera have included La Scala, Salzburg, the Vienna Staatsoper, and the Paris Opera; he has also conducted at Covent Garden. In 1983, at the Paris Opera, he conducted the world premiere of Olivier Messiaen's St. Francis ofAssisi.

Mr. Ozawa has a distinguished list of recorded performances to his credit, with the Boston Symphony Orchestra, the Berlin Philharmonic, the London Philharmonic, the Philharmonia of London, the Orchestre National, the Orchestre de Paris, the Saito Kinen Orchestra, the Chicago Symphony Orchestra, the San Francisco Symphony, and the Toronto Symphony Orchestra, among others. His recordings appear on the CBS, Deutsche Grammophon, EMI/Angel, Erato, Hyperion, New World, Philips, RCA, and Telarc labels.

Born in 1935 in Shenyang, China, to Japanese parents, Seiji Ozawa studied West- ern music as a child and later graduated with first prizes in composition and conducting from Tokyo's Toho School of Music, where he was a student of Hideo Saito. In 1959 he won first prize at the International Competition of Orchestra Conductors held in Besancon, France, and was invited to Tanglewood by Charles Munch, then music director of the Boston Symphony Orchestra and a judge at the competition. In 1960 he won the Tanglewood Music Center's highest honor, the Koussevitzky Prize for outstanding student conductor.

While a student of Herbert von Karajan in West Berlin, Mr. Ozawa came to the attention of Leonard Bernstein. He accompanied Mr. Bernstein on the New York Philharmonic's 1961 tour of Japan and was made an assistant conductor of that orchestra for the 1961-62 season. In January 1962 he made his first professional concert appearance in North America, with the San Francisco Symphony. Mr. Ozawa was music director of the Chicago Symphony Orchestra's Ravinia Festival for five summers beginning in 1964, music director of the Toronto Symphony Orchestra from 1965 to 1969, and music director of the San Francisco Symphony from 1970 to 1976, followed by a year as that orchestra's music adviser. In 1970 he was named an artistic director of the Boston Symphony Orchestra's Tanglewood Festival.

Seiji Ozawa has won an Emmy for the Boston Symphony Orchestra's "Evening at Symphony" PBS television series. He holds honorary doctor of music degrees from the University of Massachusetts, the New England Conservatory of Music, and Wheaton College in Norton, Massachusetts. Leo Panasevich Carolyn and George Rowland chair Sheldon Rotenberg Muriel C Kasdon and Marjorie C Paley chair Alfred Schneider Raymond Sird Ikuko Mizuno Amnon Levy

Second Violins Music Directorship endowed by Marylou Speaker Churchill John Moors Cabot Fahnestock chair Vyacheslav Uritsky BOSTON SYMPHONY Charlotte and Irving W. Rabb chair ORCHESTRA Ronald Knudsen Edgar and Shirley Grossman chair 1990-91 Joseph McGauley First Violins Leonard Moss Malcolm Lowe * Harvey Seigel Concertmaster *Jerome Rosen Charles Munch chair * Sheila Fiekowsky Tamara Smirnova-Sajfar Ronan Lefkowitz Associate Concertmaster * Helen Horner Mclntyre chair Nancy Bracken Max Hobart * Jennie Shames Assistant Concertmaster *Aza Raykhtsaum Robert L. Beal, and *Valeria Vilker Kuchment Enid L. and Bruce A. Beal chair * Lucia Lin Bonnie Bewick 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 %0n sabbatical leave

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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 Jeanneret Marc 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 Harold Wright Everett Firth Joel Moerschel Sylvia Shippen Wells chair Sandra and David Bakalar chair Ann S.M. Banks chair * Thomas Martin Robert Ripley Percussion Richard C. and Ellen E. Paine chair, Arthur Press fully funded in perpetuity Bass Clarinet Luis Leguia Craig Nordstrom Assistant Timpanist Peter Andrew Lurie chair Robert Bradford Newman chair Farla and Harvey Chet Thomas Gauger iCarol Procter Krentzman chair 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 * Patterson Jerome 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 Sagoff Slosberg chair John Salkowski Richard Sebring Margaret Andersen Congleton chair *Robert Olson 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 Acting Principal Flute Peter Chapman Stage Manager Ford H. Cooper chair Marian Gray Lewis chair Position endowed by Fenwick Smith Timothy Morrison Angelica Lloyd Clagett Myra and Robert Kraft chair Steven Emery Alfred Robison

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A View From the Back Row by Douglas Yeo

In my years as a member of the Boston Symphony, I have performed in dozens of concert halls in countries around the world: Vienna's Musikverein, London's Royal Festival Hall, Munich's Deutsehes Museum, New York's Carnegie Hall, the Philhar- monic in Berlin. The list goes on. But my colleagues know that whenever we return to Symphony Hall from a tour, one of the first things I say, invariably— like Dorothy in The Wizard of Oz — is, "There's no place like home."

Symphony Hall's acclaimed acoustics are well-known, both on an aural and scientific level. No one can fail, on hearing a concert here, to note the remarkable quality of sound that the hall helps produce. The Boston Symphony itself is an extraordinary instrument. But at the same time, there is no denying that playing day after day in as responsive a hall as Symphony Hall has contributed to the sound of our so-called "Aristocrat of Orchestras."

However, as good as Symphony Hall is, it's easy to take it for granted. It is only by going on tour and then coming home that we realize what a treasure we truly have here. The New York Philharmonic, Chicago Symphony, and Philadelphia Orchestra all have concert halls that are considered to be inferior for recording, so they use other large spaces for many recording projects. The Boston Symphony, on the other hand, has made nearly every one of its recordings in Symphony Hall — a consistency invaluable to the musicians accustomed to hearing themselves and their colleagues in a particular environment every day.

There are other benefits as well. Observant concertgoers may have noticed that the stage of Symphony Hall is raked, i.e., it slopes downward from back to front, helping to focus and project the sound of the orchestra out into the hall. And even without risers, the slope of the stage helps those of us in the back of the orchestra to see the conductor better. Of course there are occasional interesting consequences, as mutes and bottles of valve oil, carelessly kicked over, tend to travel downstage on their own.

The wood and plaster walls of the stage help to create a warm, inviting sound. But the reverberation and its quality are the real bonus. Because of Symphony Hall's

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13 famed acoustics (thank you, Dr. Wallace Clement Sabine!) the Boston Symphony is an ensemble known for its ease and beauty of playing. Our orchestra doesn't need to force to play loudly, because the hall helps the sound to project so well. Likewise, the softest pianissimo can be heard in the farthest reaches of the hall. It is simply a pleasure to play on stage, knowing that I can play effortlessly and that every nuance will be picked up and translated by the hall. In this respect, Symphony Hall is unlike any hall in the world.

But I must confess that there is far more to my love for Symphony Hall than how it makes the orchestra sound. As a trombonist, I sit in the back row of the orchestra and have a commanding view not just of the orchestra, but of the entire hall — including you, our devoted audience. And because composers often reserve the trombones for moments of high drama, you will notice that we spend a great deal of time waiting to play. So while I'm always keenly aware of my next entrance, I make good use of that time in both rehearsal and concert, and spend much of it studying Sym- phony Hall. And for me, there's no hall in the world as interesting to look at as Sym- phony Hall. Allow me to share some of my observations. Have you ever noticed that

• aside from the stage, the greatest entirely "flat" space in Symphony Hall is made up of the three crosses on the ceiling, the middle cross being the one illumined by the large chandelier.

• above the timpani (kettledrums) is a square box with doors on it; the box houses two clocks — one analogue, one digital — used only during rehearsals and recording sessions so the conductor can keep track of time.

• the large chandelier has 111 light bulbs and the four smaller ones 71 bulbs each.

• there are two American flags on stage, one at stage right, and one furled on the ceiling above the flute and oboe sections, to be lowered only when the brass stand up to play the final strains of The Stars and Stripes Forever! during Pops concerts.

• above the second balcony, the semicircular "suns" on the side walls are really covers for windows which were the hall's primary source of fresh air before the days of air conditioning.

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• hundreds of tiny holes from the pegs of string basses cover the floor of the stage; and that these holes go all around the perimeter of the stage because, over the years, conductors have had the basses stand at stage right, left, and rear.

• four large weights— used to support a large curtain drawn across the main floor during rehearsals, to absorb sound when there is no audience — hang from the ceiling above row H.

• there are 52 angels, 114 Grecian urns, and 56 lyres on the balconies.

• the Greek columns on the walls above the second balcony are of the more ornate Corinthian style, while the ones outside the hall on the Huntington Ave- nue side are of the simpler, Ionic style.

• the statues that grace the walls are not marble, but plaster copies of Greek and Roman originals; as you face the stage, beginning on the right with the one nearest the stage and continuing clockwise around the hall, they are the Faun with Infant Bacchus, Apollo Citharoedus, Girl of Herculaneum, Dancing Faun, Demosthenes, Sitting Anacreon, Euripides, Diana of Versailles, Apollo Belvedere, Aeschines, Standing Anacreon, Sophocles, Lemnian Athena, Hermes Logios, Amazon, and Resting Satyr of Praxiteles.

• behind the two lower windows on the left wall of the stage during the Friday- afternoon and Saturday-evening BSO concerts are announcer William Pierce, producer Richard L. Kaye, and the recording crew and equipment that make live and taped broadcasts of BSO and Boston Pops concerts possible.

• none of the musicians listed on the "Titanic Plaque" — given by Mrs. Jack Gardner, founder of the Gardner Museum — in the Massachusetts Avenue corridor ever played in the BSO. (Actually, I can't really see this from my position on stage!)

Protocol dictates that I not reveal some of my other observations. For example, I know who falls asleep in particular seats at various subscription series, and I know of several men who come to Symphony with a different date for each concert! For while you're probably looking at me, I can't help but notice you.

People often tell me that I smile a lot during concerts. And why not? I have the best seat in the house, I'm listening to glorious music, and I'm doing a job that I dearly love. But often I simply revel in the beauty and glory of Symphony Hall, my home away from home (after all, in my five-and-a-half years in the BSO I've spent countless hours in rehearsal and concert here), and the place where a great orchestra and a great space meet a great audience to combine for what we hope will be a great and sublime musical experience.

Happy birthday, Symphony Hall. May you celebrate another ninety years as Bos- ton's proud "Temple of Music."

Douglas Yeo has been the Boston Symphony Orchestra's bass trombone player since May 1985 and is also Chairman of the Brass and Percussion Department of the New England Conservatory of Music. He has written more than two dozen articles on the trombone and orchestral playing for various journals and magazines, including Christianity Today, The Instrumentalist, the International Trombone Association Journal, and the BSO program book. His interest in the history of the BSO has led him to do extensive research in the Boston Symphony archives, resulting in the publication of four photo/historical articles on BSO brass players from 1881 to the present.

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16 BOSTON SYMPHONY ORCHESTRA

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

Thursday, March 14, at 8 Friday, March 15, at 2 Saturday, March 16, at 8 Tuesday, March 19, at 8

CHRISTOF PERICK conducting

WAGNER Siegfried Idyll

MOZART Violin Concerto No. 5 in A, K.219

Allegro aperto Adagio Tempo di menuetto— Allegro — Tempo di menuetto THOMAS ZEHETMAIR

INTERMISSION

STRAUSS Le Bourgeois Gentilhomme, Orchestral suite, Opus 60

Overture to Act I (Jourdain the Bourgeois) Minuet The Fencing-Master Entrance and Dance of the Tailors The Minuet of Lully Courante Entrance of Cleonte (after Lully) Prelude to Act II (Dorantes and Dorimene, Count and Marchioness) The Dinner (Table Music and Dance of the Kitchen Boy)

The evening concerts will end about 9:45 and the afternoon concert about 3:45.

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Please be sure the electronic signal on your watch or pager is switched off during the concert. 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.

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Richard Wagner Siegfried Idyll

Wilhelm Richard Wagner was born in Leipzig, Sax- ony, on May 22, 1813, and died in Venice on Feb- ruary 13, 1883. He wrote the Siegfried Idyll as a birthday gift for his second wife, Cosima, and conducted its premiere on the staircase of the Wagner home at Tribschen, near Lake Lucerne in Switzer- land, on Christmas morning, December 25, 1870,

Cosima 's thirty-third birthday. (Hans Richter, soon to emerge as one of the great conductors of his generation and already a valuable assistant to Wagner, learned the trumpet for the occasion so he could play the twelve-measure part assigned to that instrument.) The first public performance was given at Mannheim on December 20, 1871, Wagner again conducting. Pressed for money, Wagner reluctantly consented to the publication of the Idyll in 1878, and when Theodore Thomas gave the first American performance with his orchestra in New York on February 28 that year, the program carried the notation "received from Europe only this week. " Georg Hen- schel gave the first Boston Symphony performance on February 16, 1883, just a few days after the composer's death. It has also appeared on BSO concerts under the direction of Wilhelm Gericke, Arthur Nikisch, Emit Four, Karl Muck, Max Fiedler, Otto Urack, Ernst Schmidt, Pierre Monteux, Serge Koussevitzky, Bruno Walter, Charles Munch, Erich Leinsdorf Klaus Tennstedt, Michael Tilson Thomas, who led the most recent subscription performances in December 1983, and Gunther Herbig, who led the most recent Tanglewood performance in July 1988. The Siegfried Idyll is scored for flute, oboe, two clarinets, bassoon, two horns, trumpet, and strings.

When I woke up I heard a sound, it grew ever louder, I could no longer imag-

ine myself in a dream, music was sounding, and what music! After it had died away, R. came in to me with the five children and put into my hands the score of his "symphonic birthday greeting." I was in tears, but so, too, was the whole household; R. had set up his orchestra on the stairs and thus consecrated our

Tribschen forever! The Tribschen Idyll — so the work is called . . .

Thus Cosima Wagner's diary entry for Sunday, December 25, 1870. "R." is of course Richard, Richard Wagner; "the five children" are ten-year-old Daniela and seven-year-old Blandine, daughters of Cosima and Hans von Bulow, five-year-old Isolde and three-year-old Eva, daughters of Cosima von Bulow and Richard Wagner, and Siegfried, Wagner's only son, born to Cosima on June 6, 1869, fourteen months before her marriage to Wagner on August 25, 1870. Tribschen was the country villa near Lucerne, rented for him by King Ludwig II of Bavaria, into which Wagner had moved in April 1866 — he had taken his hasty leave of the Munich court the preceding December and had lived for a short while near Geneva — and where Cosima had joined him the following month; and Tribschen Idyll was the original name of that chamber- musical, intimate Wagnerian composition sent off to the publisher Schott eight years later, prefaced by a dedicatory poem in praise of Cosima and the infant Siegfried (see page 25), and made public property as the Siegfried Idyll.

No easy task, this sorting out of names, dates, places, relationships in the life of Richard Wagner. No easy task, either, coming to grips with the character of this individual about whom, one reads, more has been written than any other historical figure except Jesus Christ. In December 1865, the Bavarian Minister of State, Ludwig Freiherr von der Pfordten, wrote to Ludwig II of "Wagner's unparalleled

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20 presumption and undisguised meddling in other than artistic spheres," of his being

"despised, not for the democratic views he airs . . . but for his ingratitude and betrayal of patrons and friends, for his wanton and dissolute self-indulgence and squandering, for the shameless way he exploits the undeserved favor he has received from Your Majesty ..."

However colored by political intrigues, however shaded by the Wagner-Biilow scan- dal which had become the talk of the Munich court, particularly among Wagner's ene- mies, one cannot avoid a certain ring of truth in this assessment: if one needed to choose a single word summing up Wagner's character and his view of the world, it might very well be "self-serving." In his attitude towards friends, relatives, creditors, landlords, and publishers, in his views on art, politics, and religion, he was a man with a mission, with a goal so important that everyone around him was expected to

recognize it. And it says something of his faith in that mission, and of the power he exerted on those around him, that the "illustrious benefactor" upon whom he called in his preface to the 1863 edition of his Ring poem did appear, in the person of Bavar- ia's Ludwig II, to make possible the productions of Tristan, Die Meistersinger, and, ultimately, Der Ring des Nibelungen; and that so talented a musician as Hans von Billow, whose career was so closely tied to Wagner's success and yet whose personal life was so severely altered by the figure he idolized and had first met in Dresden in 1846, could write to his wife Cosima from Munich on June 17, 1869, in response to her request for a divorce: "You have preferred to devote your life and the treasures of your mind and affection to one who is my superior, and, far from blaming you, I approve your action from every point of view and admit that you are perfectly right ..."

Wagner first met Cosima, the second illegitimate child of Franz Liszt's liaison with the Countess Marie d'Agoult, in Paris, late in 1853, shortly after experiencing the seemingly visionary trance in which he conceived the E-flat opening for the music of Das Rheingold. Cosima and Hans von Billow, who was a student of Liszt's, were married on August 18, 1857, and, eleven days later, arrived for a three-week stay with Wagner at the Asyl, the Wagner cottage on the estate near Zurich of the wealthy German merchant Otto Wesendonck and his wife Mathilde. On another visit to the Asyl a year later, the von Billows witnessed the disintegration of the atmosphere in which Wagner had been composing his Tristan und Isolde and a crucial stage in the collapse of his marriage to his first wife, Minna, in the face of his relationship with Mathilde Wesendonck.*

Cosima's attitude toward Wagner, twenty-four years her senior, had been cool, but repeated encounters and visits by Wagner to the von Billows' Berlin home changed this: in the course of one of these visits, on November 28, 1863, they acknowledged their love for each other. Cosima developed a sense of purpose as strong as Wagner's

"Wagner married Minna Planer, an actress four years older than himself, in November 1836. She was with him through the early years in Magdeburg, Konigsberg, and Riga, through his first period of struggle for recognition in Paris, and, from April 1842, with him in Dresden, where the success of his opera Rienzi, der Letzte der Tribunen in October that year was followed by the premiere of Der fliegende Hollander in January 1843 and by Wagner's appointment as Conductor of the Royal Saxon Court at Dresden that February. There Wagner remained until his involvement in the May 1849 revolution resulted in flight to Switzerland and political exile from Germany. Wagner based himself in Zurich, occupying himself with theoreti- cal writings — including the weighty Opera and Drama of 1851 — and the early stages of work on Der Ring des Nibelungen, lacking regular income, and dependent on friends for support. Among these friends were Otto and, especially, Mathilde Wesendonck, who became a Wagner devotee following a concert performance of the Tannhauser Overture led by the composer in 1851. Otto was a successful German businessman and partner in a New York silk company.

The Wesendoncks first settled in Zurich in 1851, and it was at Mathilde 's instigation that the Wagners were later provided lodging on the Wesendonck estate in a cottage christened "the Asyl" ("refuge") after a reference in Mathilde's letter of invitation to Minna Wagner.

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own, and, as Richard saw it, writing from Lucerne a year before their marriage, "she knew what would help me once and for all, and knew how it might be achieved, and did not hesitate for a moment to offer me that help in the possession of herself ..."

The intimacy and warmth of the Siegfried Idyll are a measure of Wagner's love for Cosima, and the thematic relationship between the Idyll's music and the final duet from Siegfried is, in a general sense, incidental — and this even though Cosima will have recognized much from the already completed Siegfried in the Idyll* In fact, one comes to realize that the "Siegfried" of the published Idyll's title is not the opera, but the Wagners' infant son. So the point is not one of "which came first?" but of under- standing that both the Idyll and the Siegfried duet are manifestations of the same emotional impulse on the composer's part. In fact, Wagner conceived the Idyll's principal musical idea some years earlier as the theme for a projected string quartet in the summer of 1864, following a visit to him by Cosima at the Villa Pellet near Lake Starnberg in Bavaria; their first child, Isolde, was born less than a year later, on April 10, 1865. The lullaby which is the basis for the Idyll's second episode appears among sketches for both Siegfried and Tristan dating from the late 1850s. And the horn call heard in the Idyll along with other motives familiar from Siegfried first

*Wagner had finished the music for Siegfried's third act in August 1869, though he did not com-

plete the autograph score of Act III until February 5, 1871. Prominently featured in the Idyll is the motive, first heard in Act II, of Siegfried's forest- bird, and Wagner calls attention to this, on the title page of the Idyll's autograph manuscript, as "Fidi-Vogelgesang" ("Fidi's bird-song"). "Fidi" was a pet name for the Wagners' infant son Siegfried.

Cosima, Siegfried, and Richard Wagner

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24 came to Wagner during his work on the third act of Tristan, though he immediately recognized it as more appropriate to the hero of his Ring tetralogy.

But the specific sentiments attached to the Idyll's themes as they are heard in the final act of Siegfried should not be altogether ignored. The Idyll's third main idea, introduced after the lullaby episode, is allied in the opera with the words "0 Siegfried! Herrlicher! Hort der Welt!'" ("0 glorious Siegfried, treasure of the world!"), and the principal theme and horn call mentioned earlier give rise in the opera to expressions of everlasting devotion between Siegfried and Brunnhilde. So we have in both the opera Siegfried and the Siegfried Idyll an overflowing of Wagner's personal emotions into, on the one hand, a comparatively small segment in an overall musical project — Der Ring des Nibelungen — of mammoth proportion and significance, and, on the other hand, into music intended for the most intimate of domestic situations. But where so much of Wagner's music cannot achieve its intended effect when transferred from the opera house to the concert hall, the Siegfried Idyll not only survives the change from its original setting, but tells us something very special about Wagner the man, and in a way so much else of his music does not. -Marc Mandel

Richard Wagner's dedicatory poem, which prefaces the score of the Siegfried Idyll:

Es war Dein opfermuthig hehrer Wille, Thy noble sacrifice, thy fearless faith divine, der meinem Werk die Werdestatte fand, Found sanctuary for this work of mine. von Dir geweiht zu weltentriickter Stille, 'Tis thou, who love-lit calm on me bestows wo nun es wuchs und kraftig uns erstand, Wherein the wondrous hero-world in spirit grows, die Heldenwelt uns zaubernd zum Idylle, Shining with magic beauty like a star uraltes Fern zu trautem Heimathland. Born in some ancient home of heaven afar: Erscholl ein Ruf da froh in meine Weisen: Sudden upon my ears a joyous message came —

"Ein Sohn ist da!" — der musste Siegfried A son is thine, Siegfried shall be his name. heiBen.

Fur ihn und Dich durft' ich in Tonen And now for both my loved ones happy danken, — songs awake, wie gab' es Liebesthaten hold'ren Lohn? My soul in music as thy love gift take, Sie hegten wir in uns'res Heimes The joy of memory in secret shrine enclose, Schranken, die stille Freude, die hier ward zum Ton. Soft as the folded sweetness of a rose. Die sich uns treu erwiesen ohne Wanken, Reveal thy grace, let friendship watch above, so Siegfried hold, wie freundlich uns'rem Siegfried, our son, the guerdon of our love, Sohn, mit Deiner Huld sei ihnen jetzt And all the faithful hearts in steadfast erschlossen, band was sonst als tonend Gliick wir still The message of this song will understand. genossen. — translation by H.N. Bantock

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Wolfgang Amade Mozart Violin Concerto No. 5 in A, K.219

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

in Vienna on December 5, 1791. He composed his Fifth Violin Concerto, K.219, during the twelve weeks that separated its date of completion, Decem- ber 20, 1 775, from that of its predecessor, the Violin Concerto No. 4 in D, K.218; it probably had its premiere in Salzburg not long afterward. The first Boston Symphony Orchestra performance of the concerto took place in Providence, Rhode Island, on December 31, 1907; Karl Muck conducted and Carl Wendling was the soloist. The same performers gave the work in Buffalo and Troy, New York, and in

Cambridge, but it was not heard in a subscription concert in Symphony Hall until 1930, when Richard Burgin conducted a performance with Anton Witek as soloist. Other performances have featured violinist Dorotha Powers with conductor Serge Kous- sevitzky, William Kroll, David Oistrakh, and Joseph Silverstein with Charles Munch, Oistrakh with William Steinberg, Silverstein with Peter Maag, Mayumi Fujikawa with Silverstein, Silverstein with Seiji Ozawa (including a performance in Shanghai, China, and the orchestra's most recent Symphony Hall performances, all in March 1979), Cho- Liang Lin with Edo de Waart, and the most recent Tanglewood performance, in August 1988, with Itzhak Perlman and de Waart. In addition to the solo instrument, the score calls for two each of oboes and horns plus orchestral strings.

Wolfgang's father Leopold was himself a musician of some note, a violinist and composer, whose great contribution was a violin method, Versuch einer grilndlichen Violinschule, published in the very year of Wolfgang's birth and for a long time the standard work of its type. Needless to say, when Wolfgang's musical talent became apparent, the father undertook to devote himself wholeheartedly to his training and exhibition, both as a moral obligation and a financial investment. (Alfred Einstein has justly remarked, "The proportions of obligation and investment are not easy to determine.") Mozart's earliest musical training came at the keyboard, a practical choice WHERE TO ACQUIRE GOOD TASTE WHEN YOU'RE NOT AT THE SYMPHONY.

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fe/©:i'|i J^S because it avoids the problems of exact tuning inherent in the strings and because it allows the young performer to visualize the notes with the aid of the various keys of the instrument. At the same time, though, he was provided with a small violin, and he no doubt spent a great deal of time watching his father play and experimenting on his own.

One of the many astonishing stories of Mozart's musical abilities came from a friend of his father's, Andreas Schachtner, who wrote this account after Mozart's death to his sister Nannerl, who was gathering material for a biography. Schachtner recalled an evening in 1762 when a visiting composer, Wenzel Hebelt, brought six new trios he had written. Leopold Mozart was to play the bass line on his viola, the composer to play the first violin part, and Schachtner the second violin. (Schachtner was the court trumpeter, but instrumentalists were far less specialized then than they are today!) Little Wolfgang, six years old, badgered his father to allow him to play the second violin part. Leopold wanted him to leave them alone, since he had never studied the instrument, but Wolfgang replied, "You don't need to have studied in order to play second violin." Schachtner was willing to let Wolfgang play along with him, so Leopold said, "Play with Herr Schachtner, but so softly that we can't hear you, or you will have to go." Schachtner' s letter to Nannerl continues:

Wolfgang played with me; I soon noticed with astonishment that I was quite superfluous. I quietly put my violin down and looked at your Papa; tears of won- der and comfort ran down his cheeks at this scene, and so he played all six trios. When we had finished, Wolfgang was so encouraged by our applause that he insisted he could play the first violin too. For a joke, we made the experiment, and we almost died for laughter when he played this, too, though with nothing but strange and incorrect fingerings, in such a way that he never actually broke down.

Only after this did Wolfgang begin formal training with his father on the violin, yet his progress was so rapid that he appeared in public as the soloist in a concerto only three months later, on February 28, 1763, a month after his seventh birthday! The extraordinary talent of both Wolfgang and Nannerl suggested to Leopold that he should make a grand tour of Europe to show them off to the crowned heads and wealthy patrons of music; this tour began only a few months after Wolfgang's debut as a concerto soloist. Until he moved to Vienna and gave up the violin entirely, Wolf- gang was able to make professional use of his skill on both string and keyboard instruments.

In his maturity Mozart preferred the keyboard as the principal vehicle of his virtu- osity, and it was for the keyboard that he composed his most profound concertos, whether for himself, for his students, or for other virtuosos. But during the earlier years, when he was still concertmaster in the court orchestra of the Archbishop Hieronymus Colloredo of Salzburg, playing the violin was one of his duties — one that he fulfilled with some distaste. His father constantly encouraged his violin playing. In a letter of October 18, 1777, Leopold wrote, "You have no idea how well you play the violin, if you would only do yourself justice and play with boldness, spirit, and fire, as if you were the first violinist in Europe." Perhaps it was the constant paternal pres- sure that caused Wolfgang ultimately to drop the violin as a solo instrument. His move to Vienna was in part a declaration of independence from his father, and his giving up the violin as a concert instrument should probably be understood in that light. (He continued to play the viola, preferring it in chamber music, for the rest of his life, but his concert appearances were as a pianist.)

It is generally said that the five violin concertos were all composed during a single year, 1775, while Wolfgang was nineteen and still concertmaster in Salzburg.

Recently Wolfgang Plath, in a detailed study of Mozart's handwriting and the way it changed over the years, suggested that the first concerto was written in April 1773

29 Week 19 —

(the date on the original manuscript is smudged and illegible, so this is quite possible). Perhaps it was this piece that Leopold meant when he referred in a later letter to "the concerto that you wrote for Kolb [a Salzburg amateur]," which is otherwise a mystery. In any case, the other four concertos were composed in the space of some six months in 1775.

It is not clear whether he wrote them for himself or for Gaetano Brunetti, an Ital- ian violinist also in the Archbishop's orchestra. There is some evidence to suggest the latter possibility: a few years later, when Mozart wrote a new slow movement (Adagio in E major, K.261) to replace the middle movement of the Fifth Violin Concerto

(K.219), Leopold referred to K.261 in a letter of October 9, 1777, as having been written for Brunetti "because he found the other one too studied." But that is cer- tainly not solid proof that the original concerto, much less all five of them, was composed for the Italian instrumentalist.

When Mozart wrote the violin concertos, he was still consolidating his concerto style; he had not yet developed the range and dramatic power of his mature piano concertos. Though he was developing quickly in those years, his violin concertos still resemble the Baroque concerto, with its ritornello for the whole orchestra recurring like the pillars of a bridge to anchor the arching spans of the solo sections. Mozart

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gradually developed ways of using the tutti-solo opposition of the Baroque concerto in a unique fusion with the dramatic tonal tensions of sonata form, but the real break- through in his new concerto treatment did not come until the composition of the E-flat piano concerto, K.271, in January 1777. Thus all of the five violin concertos precede the "mature" Mozart concerto, which is not at all the same thing as saying that they are "immature" pieces.

Even within the space of the six months during which the last four were composed, Mozart's concerto technique underwent substantial development. The last three concertos have long been a regular part of the repertory. Whatever it was that happened during the three months between the composition of the second and the third violin

concertos, it had the effect of greatly deepening Mozart's art, of allowing him to move beyond the pure decoration of the galant style to a more sinewy and spacious kind of melody. The violin seems to have taken on some of the character— both lyric and dramatic — of the human voice in his operas. As the principal "singer" in the concerto, the soloist becomes a real personality from the moment of the violin's first entrance. The Allegro exposition presents several ideas, all in A major, followed by a little unison coda ending with a quirky upward arpeggio:

—J — i^il^f-^-T-F__IL^___-L_^___„_r~F J i_^^_.esr- ) f^_ ^ j

The soloist suddenly enters in a dreamy state — Childe Harold before Byron had conceived him— before reverting to the original tempo, Allegro aperto, with a new theme. Again the unison orchestral coda appears, but the soloist grabs its last figure and uses it to start an entirely new idea that will introduce various passages in the development.

The slow movement is a rapturous contemplation for the soloist in the bright and extremely rare (for Mozart) key of E major. Except for its opening statement, when it is in the foreground, the orchestra mostly provides a rich bed of sonority on which the lush and elaborate violin melody can loll.

The last movement opens with a straightforward but uneventful dance melody in minuet tempo, but the soloist then presents a new melody that breaks out from the formality of the minuet and opens up the rondo form. But any expectation of predict-

ability or regularity is dashed with the surprising appearance of a "Turkish" episode, a sequence of five melodies, of which four are drawn from Hungarian folk music (perhaps transmitted by Mozart's friend Michael Haydn, just back from a trip to Hun- gary), while one (the second tune of this group)

had already appeared in Mozart's ballet music Le Gelosie del Seraglio, K.135a, written at age sixteen for his opera Lucio Silla. There it was in A major; in the concerto it is

presented in the minor, with the addition of violent sforzandi, which seem to give it that "Turkish" air. After this astonishing interruption, balance is restored with the stately minuet tune and a recapitulation that brings the concerto to an end with a rising arpeggio on a charmingly quizzical note.

— Steven Ledbetter

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One Rex Drive • Braintree, Massachusetts 02184 Phone: (617) 848-9090 • Fax: (617) 843-5540 Richard Strauss Le Bourgeois Gentilhomme, Orchestral Suite, Opus 60

Richard Georg Strauss was born in Munich on June 11, 1864, and died in Garmisch-Parten-

kirchen, Bavaria, on September 8, 1949. The period of composition of the music heard in this suite spans from 1 668, when Jean-Baptiste Lully, the thirty-five-year-old composer to King Louis XIV and "maitre de musique" to the Royal Family, wrote the incidental music for Moliere's "George Dandin," produced at Versailles on July 18 that year, to 1917, when Strauss wrote the Courante. / The complicated genesis of the Bourgeois Gentil- homme music is outlined in the note below. The orchestral suite was heard for the first time when Strauss conducted it at Salzburg on January 31, 1920. Pierre Monteux introduced it in America at the Boston Symphony concerts of February 11 and 12, 1921. Later Boston Symphony performances, not always complete, were given under the direction of Serge Kousse- vitzky, Jean Morel, Erich Leinsdorf (including a performance at the White House on March 31, 1964), Jorge Mester, William Steinberg, Klaus Tennstedt, Edo de Waart, who led the most recent subscription performances in February 1988, and Charles Dutoit, who led the most recent Tanglewood performance in August 1990. The score calls for two flutes (both doubling piccolo), two oboes, two clarinets, two bassoons, two horns, trumpet, trombone, timpani, cymbals, tambourine, triangle, bass drum, snare drum, glocken- spiel, harp, piano, six violins, four violas, four cellos, and two basses. Randall Hodgkin- son plays the piano at these performances.

The question was, what to do after Der Rosenkavalier^ For Strauss, who at forty- six was no longer a self-starter but needed the stimulus of collaboration, this was an issue even before the new comedy was produced at Dresden in January 1911. That he would work again with Hugo von Hofmannsthal, whose version of Elektra he had used in 1908 and who had written Der Rosenkavalier for him, was a foregone conclusion, and by October 1910 he was pressing his "dear poet": what about Calderon's Semir- amisl Or something from the French Revolution, like Dantons Tod of Georg Biichner? Von Hofmannsthal, not amused ("No intellectual or material inducements could extract from me a play on the subject [of Semiramis], not even a most determined effort of will"), countered with suggestions of his own, urging particularly the cause of one that by 1919 would turn into Die Frau ohne Schatten (The Woman without a Shadow).

For the moment, though, all these schemes were displaced by the poet's and composer's desire to render thanks to Max Reinhardt, the real and brilliant director of the first Rosenkavalier production, though Georg Toller, resident director at the Dres- den Court Opera, was given official credit. Von Hofmannsthal's and Strauss's plan was to concoct an elegant trifle for Reinhardt's company in Berlin. One of the many sources on which von Hofmannsthal had drawn for Der Rosenkavalier was Moliere, and so it came about that he proposed a much shortened German version of Le Bour- geois Gentilhomme (1670), in which the grand and absurd Turkish ceremony at the end would be replaced by some sort of musical production. The theme for this closing divertissement, von Hofmannsthal proposed in a letter of May 15, 1911, was to be Ariadne, the Cretan princess who helped Theseus escape from the labyrinth after he had slain the Minotaur, but who was nonetheless abandoned by him on the island of Naxos, though afterwards rescued by Dionysus. All this, moreover, could be wed to

33 Week 19 Without You, This Is The Whole Picture This year, there is an $11 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.

I'd like to become a Friend of the BSO for the 1990-91 season. (Friends' benefits

begin at $50.) Enclosed is my check for $ payable to the Boston Symphony Annual Fund.

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Please send your contribution to: Susan E. Tomlin, Director of Annual Giving, Boston Symphony Orchestra, Symphony Hall, Boston, MA 02115. ^3 A portion of your gift may not be tax-deductible. For information call (617) 638-9251. KEEP GREAT MUSIC AUVE L "J

34 another plot idea of von Hofmannsthal's, one of a princess whose three suitors caused an opera company and a troupe of comedians to appear at her palace at the same time.

The upshot — and getting there was harder than you might infer from this com- pressed account— was an entertainment in which von Hofmannsthal's adaptation of Moliere was followed by Strauss's one-act opera, Ariadne auf Naxos. The musical demands went beyond Reinhardt's resources in Berlin, and so this double work was first produced on October 25, 1912, in Stuttgart, with some of Reinhardt's actors involved in Le Bourgeois Gentilhomme or Der Burger als Edelmann. Strauss conducted, and the cast for the opera was a distinguished one, including Mizzi (later Maria) Jeritza, Margarethe Siems (the first Chrysothemis in Elektra and the first Rosenkavalier Marschallin, but now taking the coloratura super- soubrette role of Zer- binetta), and Hermann Jadlowker. Nevertheless, without being an out-and-out failure, the evening was not a success, the theater crowd finding the opera too long, the opera buffs impatient at having to wait two hours for "their" part of the entertainment. Von Hofmannsthal quickly proposed a revision, one that would abandon the Moliere play altogether and make Ariadne auf Naxos into an independent opera, though with a new musical prologue. This was first given in Vienna on October 4, 1916, this time with

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35 Franz Schalk on the podium, but again with Jeritza, who was now joined by Selma Kurz, Bela von Kornyey, and with Lotte Lehmann in the new role of the Composer. The next step was to rescue the Moliere-Hofmannsthal play, and this, expanded, and with incidental music by Strauss, was produced in Berlin in April 1918. The final stage was the extraction of the concert suite from the incidental music.

We have, in sum, four related works:

I. A combined play and opera — Strauss 's Ariadne aufNaxos to be given after von Hofmannsthal's adaptation of Moliere's he Bourgeons Gentilhomme. The operatic half was given its American premiere under Erich Leinsdorf's direction at a Boston Sym- phony concert on January 3, 1969, the cast including Claire Watson, Beverly Sills, Robert Nagy, Benita Valente, Eunice Alberts, and John Reardon.

II. Strauss's opera Ariadne aufNaxos, one act and a prologue, i.e., the opera without the play. This is the version of Ariadne ordinarily produced and recorded.

III. The Moliere-Hofmannsthal play, without the opera, but with incidental music by Strauss. The complete musical score, but with a narration instead of a play, had its American premiere at Tanglewood on July 12, 1964, Erich Leinsdorf conducting the Boston Symphony, and with Helen Boatwright, Helen Vanni, Donald Bell, Mac

Morgan, and a chorus prepared by Lawrence Smith. This score draws on I, but also includes still earlier and newly composed music by Strauss, as well as Straussian arrangements of Lully.

IV. The orchestral suite, consisting of nine movements drawn from III. This is what is heard at these concerts, and here are the movements:

Overture — This was the overture to the original Ariadne opera of 1912. Its jig- gling sixteenth-notes and the scoring of the prominent keyboard part suggest the gait

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36 and texture of Baroque music. The overture is intended as a portrait of Monsieur Jourdain, the bourgeois would-be gentleman whose tax-free income outruns his taste, education, and good sense.

Minuet — The minuet, says Monsieur Jourdain, is his favorite dance, and here he takes instruction in its steps. This graceful music is salvaged from a ballet based on Watteau's painting The Embarkation for Cythera, a project first planned in 1900 and for which he composed a few numbers in the summer of 1901 before abandoning it.

The Fencing Master— As that flamboyant functionary struts his stuff, trombone, trumpet, piano, and horn are put through their paces. The piano is marked "con bravura."

Entrance and Dance of the Tailors — More music from Cythere, first a gavotte chiefly for woodwinds, then a polonaise with a dashing violin solo. (Many tailors in Vienna were Poles.)

The Minuet of Lully — Strauss was scornful about von Hofmannsthal's suggestion that he might adapt some of the music Lully had written for the original production of Moliere's play at Chambord on October 14, 1670. At best, he said, "a little distilled mustiness" might work as a stimulant, like the rotting apples Schiller used to keep in his desk drawer. Here he does, however, use what by 1917 he was willing to call Lully's "charming and famous" minuet.

Courante — Like the Lully Minuet, this dance with all its clever canons was added for the 1918 production in Berlin.

The Entrance of Cleonte — Here is more Lully, a sarabande from his music for Moliere's George Dandin, beautifully scored by Strauss for string octet, followed by a quick dance for woodwinds with triangle and taken from the 1670 Bourgeois Gentil- homme music. The sarabande is then repeated in the richest sonority Strauss can draw from his ensemble.

Prelude to Act II — Another elegant movement from the 1912 Ariadne opera.

The Dinner — In this, the most ambitious section of Strauss's score, we hear first a formal entrance march, after which several courses are served: salmon (from the Rhine, as the strings with their Wagner quotation clearly tell us); mutton (with the famous Don Quixote sheep); song birds roasted on spits (with the larks from the Rosenkavalier sunrise and an unexplained or at least not convincingly explained touch of Verdi); an omelette surprise in which the surprise is a scullion who performs an erotically suggestive dance (as one would probably not infer from Strauss's breezy waltz). After each course is presented there is opportunity for conversation, the cello solo to which the leg of mutton is carved being one of Strauss's most seductively lyri- cal pages.

— Michael Steinberg

Now Artistic Advisor to the Minnesota Orchestra, Michael Steinberg was the Boston Sym- phony Orchestra's Director of Publications from 1976 to 1979.

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The Wagner literature is so enormous that it is scarcely surveyable, and many of the earlier contributions to its bulk are violently partisan, pro or con. Probably the best short introduction available today is the article in The New Grove, with contributions by three leading Wagner scholars, Carl Dahlhaus, Curt von Westernhagen, and Rob- ert Bailey; a revised version, with material by John Deathridge, including a new chap- ter on Wagner's theories of music and drama, has been conveniently issued in paperback as The New Grove Wagner (Norton). All Wagner biographers still depend on Ernest Newman's massive four-volume study (Cambridge paperback). Important single-volume biographies include Robert Gutman's Richard Wagner: The- Man, His Mind, and His Music (Harvest paperback), a very good modern study in a psychoana- lyzing vein. More recent additions include Derek Watson's Richard Wagner (Schirmer) and Martin Gregor-Dellin's Richard Wagner: His Life, His Work, His Century (Har- court Brace Jovanovich). Cosima Wagner's Diaries have been translated into English in two very large, fascinating volumes, covering the years 1869-1877 and 1878-1883 respectively (Harcourt Brace Jovanovich). Peter Burbridge and Richard Sutton's collection of essays, The Wagner Companion (Cambridge paperback), has much useful information. Recommended recordings of the Siegfried Idyll include several interesting historical performances, one of them by the earliest Boston Symphony Orchestra music director to have left any of his work on recordings, Karl Muck, with the Berlin Symphony Orchestra (Opal, coupled with selections from Parsifal). Others include Wilhelm Furtwangler with the Vienna Philharmonic, which has not yet been reissued on compact disc, though a live performance with the Turin Radio Orchestra from 1952 is available on Fonit-Cetra; and Arturo Toscanini with the NBC Symphony Orchestra (RCA, coupled with selections from Tristan and Die Walkiire). More modern recordings that are currently available include those of Herbert von Karajan with the Berlin Philharmonic (DG, with the Tannhauser Overture and the Tristan Pre- lude), Bernard Haitink with the Concertgebouw Orchestra (Philips, coupled with Bruckner's Eighth Symphony), and Vladimir Ashkenazy with the English Chamber Orchestra (London, coupled with Schoenberg's Verklarte Nacht).

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

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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 spe- cialists writes about the historical background of Mozart's life, the musical world in which Mozart lived, his social milieu and personality, and his opinions on everything from religion 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 nick- names 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 evaluation 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. Hyatt King's Mozart Wind and String Concertos, in the BBC Music Series (University of Washington paperback), contains a fairly extensive discussion of the Fifth Violin Concerto. It is possible to study Mozart's own scores of all five violin concertos in a facsimile edition, edited and with an introduction by Gabrial Banat (Raven Press). Mozart's Fifth Violin Concerto is perhaps the most frequently recorded of Mozart's outings in the genre. Among the performances I'd recommend are those of Itzhak Perlman with the Vienna Philharmonic under the direction of James Levine (DG), Arthur Grumiaux with the London Symphony conducted by Sir Colin Davis (Philips), and Cho-Liang Lin with the English Chamber Orchestra conducted by Ray- mond Leppard (CBS); all three are coupled with the Violin Concerto No. 3 in G, K.216.

The big biography of Richard Strauss is Norman Del Mar's, which gives equal space to the composer's life and music (three volumes, Cornell University Press; available in paperback). Michael Kennedy's account of the composer's life and works for the Master Musicians series is excellent (Littlefield paperback), and the symposium Richard Strauss: The Man and his Music, edited by Alan Walker, is worth looking into (Barnes and Noble). Kennedy also provided the Strauss article in The New Grove, available in paperback in The Modern Masters I (Norton). Strauss himself made a fine recording of the Bourgeois Gentilhomme music in 1944 with the Vienna State Opera

Orchestra; until very recently it was available as part of a six-LP set, still worth looking out for, of Strauss's own recordings of his work (Vanguard). An even earlier Strauss performance, from 1930, with the Berlin State Opera Orchestra, has been reissued on CD (Pearl, coupled with Don Juan and Till Eulenspiegel in Strauss-led performances of the same vintage). A more recent recording, still a classic, is that by Fritz Reiner with the Chicago Symphony (RCA compact disc, coupled with the Rosen- kavalier Waltzes). Jeffrey Tate's fine recording with the English Chamber Orchestra, coupled with Metamorphosen, has not yet made the transition to CD, but there is a recent recording by Neeme Jarvi with the Stockholm Sinfonietta (Bis, coupled with the Oboe Concerto). -S.L.

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42 Christof Perick Principal conductor of the Deutsche Oper Berlin, where he con- ducts the German repertoire several weeks each season, Christof Perick was recently named music director of the Los Angeles Chamber Orchestra. His initial contract in Los Angeles is for three seasons, beginning with the 1992-93 season. This season at the Metropolitan Opera Mr. Perick conducted Beethoven's Fidelio. Last year he returned there to conduct Die Fran ohne Schatten, this following his previous engagements for Hansel und Gretel in 1988-89, Fidelio in 1986-87, and Die Meistersinger von Niirnberg in 1984-85. Next season at the Met he is scheduled to conduct Fidelio and Tannhduser. At Lyric Opera of Chicago Mr. Perick led Der fliegende Hollander during the 1983-84 season and Parsifal in the fall of 1986. He made his San Francisco Opera debut in 1979, with a new production of Der fliegende Hollander. In September 1985 he led performances of he nozze di Figaro in Los Angeles while on tour with the Deutsche Oper Berlin. In the fall of 1988 he conducted the Los Angeles Music Center Opera in Cosl fan tutte. In North America in recent seasons Mr. Perick has conducted such orchestras as the New York Philharmonic, the Los Angeles Philharmonic, the Los Angeles Chamber Orchestra, the Detroit Symphony, the Houston Symphony, and the Indianapolis Sym- phony. He also conducted Wagner's Ring cycle on tour with the Deutsche Oper Berlin at the Kennedy Center in Washington, D.C. His present concerts mark Mr. Perick's first appearances with the Boston Symphony Orchestra; future engagements include concerts with the New York Philharmonic, the Los Angeles Philharmonic, the San Francisco Sym- phony, the National Symphony, and the Atlanta Symphony. Christof Perick was born in Hamburg in 1946; his first position was as assistant at the Hamburg State Opera. He has also been principal conductor of Darmstadt Opera, music director of the Saarbrucken Opera House, and general music director of the City of Karlsruhe. He has conducted many of the world's leading orchestras, including the Berlin Philharmonic, the Vienna Philhar- monic, and the NHK Symphony of Japan. He has also conducted at many of Europe's leading opera houses, including the Vienna Staatsoper on several occasions.

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43 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 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

44 Thomas Zehetmair Violinist Thomas Zehetmair was born in 1961 in Salzburg, where both of his parents are violinists and teachers. Early studies on piano and in music theory led to seven years of study on the violin preceding his debut. In 1973 he studied with his father, Helmut Zehetmair, at the Mozarteum; subsequently he attended master classes with Max Rostal, Franz Samokyl, and Nathan Milstein. His numerous honors include first prize at the Young Musicians Com- petition in 1975, first prize at the International Mozart Competi- tion in Salzburg in 1978, and a "Special Mention" from the Mozart Scholarship Foundation in Wiesbaden. Since his 1977 debut during Salzburg's International Mozart Week, Mr. Zehetmair has performed in virtually every major European music center, and abroad in North and South America, Australia, and the USSR. His festival appearances have included Salzburg, Graz, Lucerne, Bonn, Schleswig- Holstein, Ludwigsburg, Lockenhaus, Schwetzingen, and Ansbach. He has performed with such conductors as Harnoncourt, Blomstedt, Marriner, Matacic, Sawallisch, Eschenbach, Hager, Sanderling, Dohnanyi, Norrington, and Macal. Also in great demand as a recital and chamber music artist, he collaborates regularly with such eminent musicians as Mal- colm Frager, Emanuel Ax, and Gidon Kremer. In North America, Mr. Zehetmair made his solo debut in 1985 with the Minnesota Orchestra, followed immediately by an appearance with the Chicago Symphony. He also performed Schnittke's Double Concerto with Gidon Kremer at Carnegie Hall. He made his Cleveland Orchestra debut in 1987 with the Beethoven concerto, returning in 1989 for performances and a recording of the Brahms concerto under Christoph von Dohnanyi's direction. He has also appeared with the Hous- ton Symphony and New York's Mostly Mozart Festival Orchestra. Recital tours have included concerts in San Diego and New York. Thomas Zehetmair records exclusively for the German firm of Teldec; he has recorded concertos of Mozart, Haydn, Mendelssohn, and Sibelius, and chamber music of Beethoven, Ravel, and Ysaye. He performs on the "Fal- mouth" Stradivarius built in 1692. His 1990-91 schedule includes his debuts with the Bos- ton Symphony Orchestra and the San Francisco Symphony, and the beginning of a complete Mozart sonata cycle at New York's Metropolitan Museum of Art with Malcolm Frager.

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45 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

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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.

46 1990-91 Business Honor Roll ($10,000 and Above)

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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 Illingworth Stephen J. Sweeney Liberty Mutual Insurance Group The Boston Globe Gary L. Countryman

William 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. Cleary

The First Boston Corporation KPMG Peat Marwick Malcolm MacColl Robert D. Happ

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

The Gillette Company Prudential-Bache Capital Funding Alfred M. Zeien David F. Remington

47 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

Discover Privacy and Serenity at Windemere in the Berkshires. Only 2Vi Hours from Boston.

The people who buy a country home at Windemere have a desire for privacy. Each is custom built on five or more secluded acres. Windemere people can also be active: minutes away are skiing, golf and tennis. They can also swim or sail in Windemere's own 100 acre lake. At day's end, they can come home and swim in their own private indoor pool (see photo) and then enjoy gourmet dining in nearby Lenox. Interested? Call 413-229-8330 for a private inspection or brochure.

This ad is not an offering to sell. Complete terms are in an offering plan available from sponsor. § Windemere Lake Corporation 1990

Coi

Southfield, Massachusetts 01259/413-229-8330

48 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 Automotive GENERAL CINEMA CORPORATION Richard A. Smith J.N. Phillips Glass Consumer Goods/Distributors National Amusements, Inc. Company, Inc. Sumner M. Redstone Alan L. Rosenfeld BARTER CONNECTIONS Lexus Kenneth C. Barron 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

49 * * 0. n* * *

«% b ^

# %;* */« * W #^

> * J*

Providers of Quality Long-Term Nursing Care and Rehabilitation Services VlA< Cape Heritage sandwich ma 508-888-8222 Cape Regency , N f * centerville ma 508-778-1835 "V - *. v Easton Lincoln north easton ma 508-238-7053

Lafayette NORTH KINGSTOWN Rl 401-295-8816 Mayflower plymouth ma 508-746-4343 Northbridge #' * northbridge ma 508-234-4641 northwood lowell ma 508-458-8773 Oakwood newport ri 401-849-6600 South County NORTH KINGSTOWN Rl 401-294-4545 * # WOODLAWN EVERETT MA 617-387-6560 MANAGED FOR AMERICAN HEALTH FOUNDATION

S <* * lift * %#'/' %,* > v #/*

*y: Finance/Venture Capital ANALOG DEVICES, INC. PRIME COMPUTER, INC. Ray Stata John Shields 3i Corporation Geoffrey N. Taylor *Aritech Corp. * Printed Circuit Corporation James A. Synk Peter Sarmanian Carson Limited Partnership Herbert Carver Automatic Data Processing RAYTHEON COMPANY THE FIRST BOSTON Arthur S. Kranseler Thomas L. Phillips CORPORATION BOLT BERANEK AND SofTech, Inc. Malcolm MacColl NEWMAN, INC. Justus Lowe, Jr. GE CAPITAL CORPORATE Stephen R. Levy *TASC FINANCE GROUP BULL HN INFORMATION Arthur Gelb Richard A. Goglia SYSTEMS, INC. TDK ELECTRONICS KRUPP COMPANIES Roland D. Pampel CORPORATION George Krupp Takashi Tsujii *Cerberus Technologies, Inc. THERMO ELECTRON Food Service/Industry George J. Grabowski CORPORATION Costar Corporation Au Bon Pain George N. Hatsopoulos Otto Morningstar Louis I. Kane XRE Corporation CSC PARTNERS, INC. Boston Showcase Company John K. Grady Jason E. Starr Paul J. Crowley

Johnson O'Hare Co., Inc. DIGITAL EQUIPMENT Hotels/Restaurants Harry O'Hare CORPORATION 57 Park Plaza Hotel Kenneth G. Olsen Nicholas L. Vinios Footwear DYNATECH CORPORATION *Back Bay Hilton Converse, Inc. J. P. Barger Carol Summerfield Gilbert Ford EG&G, INC. *Boston Marriott Copley Place J. Baker, Inc. John M. Kucharski Jurgen Giesbert Sherman N. Baker EMC CORPORATION Christo's Restaurant lones & Vining, Inc. Richard J. Egan Christopher Tsaganis Sven A. Vaule, Jr. Helix Technology Corporation THE RED LION INN IMORSE SHOE, INC. Robert J. Lepofsky John H. Fitzpatrick Manuel Rosenberg *Sheraton Boston Hotel & Towers Reebok International Ltd. THE HENLEY GROUP Steve Foster Paul Fireman Paul M. Montrone *Sonesta International The Rockport Corporation HEWLETT PACKARD COMPANY Hotels Corporation Anthony Tiberii Ben L. Holmes Paul Sonnabend THE STRIDE RITE IBM CORPORATION *The Westin Hotel, Copley Place CORPORATION Paul J. Palmer David King Arnold S. Hiatt *Intermetries Inc. Furnishings/Housewares Joseph A. Saponaro Industrial Distributors ARLEY MERCHANDISE IONICS, INC. *Alles Corporation Arthur L. Goldstein CORPORATION Stephen S. Berman * David I. Riemer Lotus Development Corporation Brush Fibers, Inc. Jim P. Manzi BBF Corporation Ian P. Moss Boruch B. Frusztajer *M/A-Com, Inc. *E astern Refractories Company Robert H. Glaudel COUNTRY CURTAINS David S. Feinzig P. Fitzpatrick Jane MILLIPORE CORPORATION Millard Metal Service Center John A. Gilmartin lofran Sales, Inc. Donald Millard, Jr. Robert D. Roy *The MITRE Corporation Charles A. Zraket Insurance Graphic Design NEC CORPORATION *American Title Insurance Company ^LARK/LINSKY DESIGN Tadahiro Sekimoto Terry E. Cook Robert H. Linsky NEC DEUTSCHLAND GmbH *Arkwright NDEPENDENT DESIGN Masao Takahasi Enzo Rebula Patrick White * Orion Research, Inc. Caddell & Byers Eligh Technology/Electronics Alexander Jenkins III John Dolan

iUden Products Company POLAROID CORPORATION CAMERON & COLBY CO., INC. Betsy Alden I.M. Booth Lawrence S. Doyle

HHi s Presents 1 lie 199 I -Hmternationai L^ultural

at 1 lie ixifz-Oarlfom, Boston

January 7 - March 24, 1991

The Ritz-Carlton Boston

Please call for a complete schedule of events and our complimentary Festival Magazine. For information (617) 536-5700 - Cultural Reservations; For room reservations (800) 241-3333.

SPECIAL OFFER

10% OFF

on all T-shirts and BOSTON SYMPHONY ORCHESTRA sweatshirts i ^ at the Symphony Shop

! Hours: with this coupon.

! Tuesday, Thursday, Friday, 11 AM -3 PM Saturday, 1 PM - 6 PM

J All concert hours Tel. (617) 638-9383 Offer valid until April 30, 1991.

52 Charles H. Watkins & Company PAINEWEBBER CAPITAL Management/Financial/Consulting Paul D. Bertrand MARKETS ADVANCED MANAGEMENT Chubb Group of Insurance Cos. Joseph F. Patton ASSOCIATES John Gillespie SALOMON INC. Harvey Chet Krentzman PRANK B. HALL & CO. OF John V. Carberry *Arthur D. Little, Inc. MASSACHUSETTS, INC. *Spaulding Investment Company John Magee William F. Newell OH. Spaulding *Bain & Company, Inc. [nternational Insurance Group William W. Bain * State Street Development John Perkins Management Corp. THE BOSTON CONSULTING IOHN HANCOCK MUTUAL John R. Gallagher III GROUP LIFE INSURANCE COMPANY Jonathan L. Isaacs TUCKER ANTHONY, INC. E. James Morton Cordell Associates, Inc. I John Goldsmith [Johnson & Higgins of James B. Hangstefer Whitman & Evans, Art Investments Massachusetts, Inc. * Corporate Decisions Eric F. Mourlot Robert A. Cameron David J. Morrison *Woodstock Corporation Keystone Provident Life *Haynes Management, Inc. Nelson J. Darling, Jr. insurance Company G. Arnold Haynes

j Robert G. Sharp Legal Index Group [Lexington Insurance Company David G. Robinson Kevin H. Kelley BINGHAM, DANA & GOULD | Irma Mann Strategic Marketing Joseph Hunt i LIBERTY MUTUAL INSURANCE Irma Mann Stearns CROUP *Choate, Hall & Stewart Lochridge & Company, Inc. Gary L. Countryman Robert Gargill |j Richard K. Lochridge

j THE NEW ENGLAND Dickerman Law Offices MCKINSEY & COMPANY Edward E. Phillips Lola Dickerman Robert P. O'Block 'SAFETY INSURANCE COMPANY *Fish & Richardson The Pioneer Group, Inc. Richard B. Simches Robert E. Hillman John F. Cogan, Jr. feedgwick James of * Gaston & Snow PRUDENTIAL-BACHE New England, Inc. Richard J. Santagati CAPITAL FUNDING I P. Joseph McCarthy GOLDSTEIN & MANELLO David F. Remington Sullivan Risk Management Group Richard J. Snyder *Rath & Strong John H. Sullivan | Dan Ciampa pun Life Assurance Company GOODWTN, PROCTER AND HOAR *Towers Perrin pf Canada Robert B. Fraser J. Russell Southworth I 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 Daoust John F. McNamara R. * Joyce & Joyce Yankelovich Clancy Shulman Bear Stearns & Company, Inc. Thomas J. Joyce Keith H. Kretschmer Kevin Clancy * Lynch, Brewer, Hoffman & Sands Essex Investment Management Owen B. Lynch Manufacturer's Representatives Company, Inc. MINTZ, LEVIN, COHN, FERRIS, *Ben Mac Enterprises Joseph C. McNay GLOVSKY & POPEO, P.C. Larry Benhardt FIDELITY INVESTMENTS/ Francis X. Meaney Thomas McAuliffe FIDELITY FOUNDATION Nissenbaum Law Offices Kitchen, & Kutchin, Inc. xoldman, Sachs & Company Gerald L. Nissenbaum Melvin Kutchin Martin C. Murrer *Paul R. Cahn Associates, Inc. KAUFMAN & COMPANY * Nutter, McClennen & Fish Paul R. Cahn Sumner Kaufman Michael J. Bohnen Kidder, Peabody & Co. PALMER & DODGE Manufacturing/Industry John G. Higgins Robert E. Sullivan *AGFA Corporation LOOMIS-SAYLES & COMPANY, *Rackemann, Sawyer & Brewster Ken Draeger [NO Stephen Carr Anderson *AMCEL Corporation Charles J. Finlayson Sarrouf, Tarricone & Flemming Lloyd Gordon Camille Merrill Lynch & Co., Inc. F. Sarrouf *Avedis Zildjian Company Paul Fehrenbach Weiss, Angoff, Coltin, Koski & Armand Zildjian PAINEWEBBER, INC. Wolf, P.C. The Biltrite Corporation James F. Cleary Dudley A. Weiss Stanley J. Bernstein

53 Boston Acoustics, Inc. Textron, Inc. *The Flatley Company Frank 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 Krieger Nelson G. Gifford Dennis F. Callahan 102.5 ERVING PAPER MILLS WCRB- FM 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 THE GILLETTE COMPANY TAD TECHNICAL SERVICES Urban Investment & Development Alfred M. Zeien CORPORATION Rudy K. Umscheid David J. McGrath, Jr. GTE PRODUCTS CORPORATION *Windsor Building Associates Dean T. Langford 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 S. Lee 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 H. Wayman Rogers, Jr. *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 PUBLISfflNG CAHNERS COMPANY The Stop & Shop Companies, Inc. INC. SERVICE, 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 Superior Brands, Inc. Richard J. DeAgazio Richard A. Blake, Jr. John P. Manning Richard J. Phelps CHARLES RD7ER * *Tech Pak, Inc. Combined Properties, Inc. LABORATORIES, INC. J. William Flynn Stanton L. Black Henry L. Foster

54 CompuChem Corporation Software/Information Services AT&T NETWORK SYSTEMS Gerard Kees Verkerk John F. McKinnon * International Data Group J.A. WEBSTER, INC. Patrick J. McGovern * Cellular One A. Webster Charles Hoffman John * Phoenix Technologies Foundation Portsmouth Regional Hospital Neil Colvin NEW ENGLAND TELEPHONE William J. Sehuler COMPANY Travel/Transportation Paul C. O'Brien Services * Crimson Travel Service/ NORTHERN TELECOM, INC. Don Law Productions Thomas Cook Brian Davis Don Law David Paresky NYNEX CORPORATION EASTERN ENTERPRISES *Heritage Travel, Inc. William C. Ferguson Robert W. Weinig Donald R. Sohn Giltspur Exhibits/Boston Thomas E. Knott Telecommunications Utilities

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

- l^ozuer Records **- has the largest selection of Classical, Opera and 'Baroque music in Boston.

(Located 3 blocks from Symphony Mall) mm nnswiiiui Mass. Ave. At Newbury - In Back Bay Hynes Convention Center/ICA (J) Stop on the Greenline

55 Next Program . . .

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

HEINZ WALLBERG conducting

BRUCKNER Symphony No. 8 in C minor (1887/90, ed. Haas) Allegro moderato Scherzo: Allegro moderato; Trio: Langsam [Slow] Adagio: Feierlich langsam, doch nicht schleppend [Solemnly slow, but not dragging] Finale: Feierlich, nicht schnell [Solemn, not fast]

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 Music Director Jj A « Tanglewood program books please contact: $ STEVE GANAK AD REPS 51 CHURCH STREET (617)-542-6913 BOSTON, MASS. 02116

56 Coming Concerts . . . Broaden Thursday 'B'- March 21, 8-9:35 Your Friday 'A' -March 22, 2-3:35 Saturday 'A' -March 23, 8-9:35 Tuesday 'C -March 26, 8-9:35 View. HEINZ WALLBERG conducting BRUCKNER Symphony No. 8 20X60 Fieldscope

Thursday 'C -March 28, 8-9:45 Friday 'B' -March 29, 2-3:45 Saturday 'B' -March 30, 8-9:45 Tuesday 'B' -April 2, 8-9:45 MAREK JANOWSKI conducting BEETHOVEN Symphony No. 4 SCHUBERT Symphony in B minor, Unfinished WAGNER "Good Friday Spell" from Parsifal

Thursday, April 4, at 10:30 a.m. Open Rehearsal Marc Mandel will discuss the program at 9:30 in Symphony Hall.

9X30 DCF Execulite Thursday 'B' -April 4, 8-9:50

Friday 'B' -April 5, 2-3:50 10X25 CF RC Mountaineer Saturday 'B' -April 6, 8-9:50 • Wide Variety of Styles Fits a Wide Variety of Needs • Fully Coated, Precision-Aligned Optics Provide Bright, ROGER NORRINGTON conducting • Clear Viewing Free of Eyestrain and Headaches Fast, JEANNE OMMERLE, soprano Easy Focusing Gets You in on Distant Action • Rugged Construction • Nikon Inc. 25-year Limited Warranty Inch D'ANNA FORTUNATO, mezzo-soprano JEFFREY THOMAS, tenor all products. E. P LEVINE is a full line dealer for Nikon NATHANIEL WATSON, baritone E.P LEVINE 23 Drydock Ave., Boston, MA 02210 (617) 951-1499 TANGLEWOOD FESTIVAL CHORUS, Nikon JOHN OLIVER, conductor SPORT OPTICS MOZART Ave, verum corpus The Legend Continues HAYDN Mass in B-flat, Harmoniemesse MOZART Symphony No. 41, Jupiter

Wednesday, April 10, at 7:30 p.m. Garber IVavel gives you an Open Rehearsal opening night performance. Marc Mandel will discuss the program at 6:30 in Symphony Hall. Thursday 'D' -April 11, 8-9:55 We invite you to step inside any one of our 55 Friday 'A' -April 2-3:55 offices and experience the 12, talents of our travel Saturday 'A' -April 13, 8-9:55 professionals. They will SEIJI OZAWA conducting expertly plan your piano vacation, giving you a solo KRYSTIAN ZIMERMAN,

performance you won! BEETHOVEN Piano Concerto No. 5, soon forget. Webetyou'll Emperor even ask for an encore! BERLIOZ Symphonie fantastique Call us at 734-21 00

Programs and artists subject to change. Main Office: 1406 Beacon St., Brookline

57 A Symphony in Taste.

Available in gourmet shops and served in Boston's finest restaurants. For information about our specialty coffees, call toll free 1-800-645-4515.

You are cordially invited to sample our Symphony Menu

at The Cafe Promenade

-Jht> olonna

O S 1111111 TON

7or "Reservations Call, 61 7-424-7000 i !

"Reduced paring rates when dining at "The Colonnade for Symphony Matrons. Wjjfl

The Colonnade Motel is located at 120 Huntington Avenue, Boston

58 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 THE BOSTON SYMPHONY performs ten 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 concert hours outside THE NEWLY REFURBISHED EUNICE S. BSO AND JULIAN COHEN WING, adjacent to the Cabot-Cahners Room in the Massachusetts Symphony Hall on Huntington Avenue, may be Avenue corridor. All proceeds benefit the Boston entered by the Symphony Hall West Entrance Symphony Orchestra. For merchandise informa- 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- TO PURCHASE TICKETS: American BSO 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.

59 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 FIRST AID FACILITIES for both men and addition, Friday-afternoon concerts are broadcast live by (Bos- women are available. On-call physicians attend- WGBH-FM ton 89.7); Saturday-evening concerts are broad- ing concerts should leave their names and seat cast five by both locations at the switchboard near the Massa- WGBH-FM and WCRB-FM (Boston chusetts Avenue entrance. 102.5). Live broadcasts may also be heard on several other public radio stations WHEELCHAIR ACCESS to Symphony HaU throughout New England and New York. is available via the Cohen Wing, at the West Friends Entrance. Wheelchair-accessible restrooms are BSO FRIENDS: The are annual donors to the Boston Symphony Orchestra. located in the main corridor of the West Friends receive the orchestra's newslet- Entrance, and in the first-balcony passageway BSO, between Symphony Hall and the Cohen Wing. ter, as well as priority ticket information and other benefits depending on their level of giv- are located outside the Hatch ELEVATORS ing. For information, please call the Develop- the and Cabot-Cahners rooms on 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. Beranek 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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