Boston Symphony Orchestra Concert Programs, Season 108, 1988-1989

Home , Boston Pops Orchestra, Masuko Ushioda, Robert Cohen (cellist)

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• C" ^•>«\ The Mall At Chestnut Hill HlUHl 617-965-5555 Seiji Ozawa, Music Director Carl St. Clair and Pascal Verrot, Assistant Conductors One Hundred and Eighth Season, 1988-89

Trustees of the Boston Symphony Orchestra, Inc.

Nelson J. Darling, Jr., Chairman George H. Kidder, President

J. P. Barge r, Vice-Chairman Mrs. Lewis S. Dabney, Vice-Chairman

Archie C. Epps, Vice-Chairman William J. Poorvu, Vice-Chairman and Treasurer

Vernon R. Alden Mrs. Eugene B. Doggett Mrs. Robert B. Newman David B. Arnold, Jr. Mrs. John H. Fitzpatrick Peter C. Read

Mrs. Norman L. Cahners Avram J. Goldberg Richard A. Smith James F. Cleary Mrs. John L. Grandin Ray Stata Julian Cohen Francis W Hatch, Jr. William F. Thompson William M. Crozier, Jr. Harvey Chet Krentzman Nicholas T. Zervas Mrs. Michael H. Davis Mrs. August R. Meyer Trustees Emeriti

Philip K. Allen E. Morton Jennings, Jr. Mrs. George R. Rowland Allen G. Barry Edward M. Kennedy Mrs. George Lee Sargent Leo L. Beranek Albert L. Nickerson Sidney Stoneman Mrs. John M. Bradley Thomas D. Perry, Jr. John Hoyt Stookey Abram T. Collier Irving W. Rabb John L. Thorndike Mrs. Harris Fahnestock Other Officers of the Corporation

John Ex Rodgers, Assistant Treasurer Jay B. Wailes, Assistant Treasurer Daniel R. Gustin, Clerk

Administration of the Boston Symphony Orchestra, Inc. Kenneth Haas, Managing Director Daniel R. Gustin, Assistant Managing Director and Manager of Tanglewood

Michael G. McDonough, Director of Finance and Business Affairs Anne H. Parsons, Orchestra Manager Costa Pilavachi, Artistic Administrator Caroline Smedvig, Director of Promotion Josiah Stevenson, Director of Development

Robert Bell, Data Processing Manager Marc Mandel, Publications Coordinator Helen P. Bridge, Director of Volunteers John C. Marksbury, Director of Madelyne Codola Cuddeback, Director Foundation and Government Support of Corporate Development Julie-Anne Miner, Supervisor of Patricia F. Halligan, Personnel Administrator Fund Accounting Russell M. Hodsdon, Manager of Box Office Richard Ortner, Administrator of Craig R. Kaplan, Controller Tanglewood Music Center Nancy A. Kay, Director of Sales Scott Schillin, Assistant Manager, John M. Keenum, Director of Pops and Youth Activities Tanglewood Music Center Development Joyce M. Serwitz, Assistant Director Patricia Krol, Coordinator of Youth Activities of Development Steven Ledbetter, Musicologist & Cheryl L. Silvia, Function Manager Program Annotator Susan E. Tomlin, Director of Annual Giving Michelle R. Leonard, Budget Manager

1 Board of Overseers of the Boston Symphony Orchestra, Inc.

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

Martin Allen Haskell R. Gordon E. James Morton Mrs. David Bakalar Steven Grossman David G. Mugar Bruce A. Beal Joe M. Henson Mrs. Hiroshi H. Nishino Mrs. Richard Bennink Susan M. Hilles Robert P. O'Block Mrs. Leo L. Beranek Glen H. Hiner Vincent M. O'Reilly Lynda Schubert Bodman Ronald A. Homer Walter H. Palmer Donald C. Bowersock, Jr. Julian T. Houston Andrall E. Pearson Peter A. Brooke Lola Jaffe John A. Perkins William M. Bulger Anna Faith Jones Daphne Brooks Prout Mrs. Levin H. Campbell H. Eugene Jones Robert E. Remis Earle M. Chiles Mrs. Bela T. Kalman John Ex Rodgers Mrs. C. Thomas Clagett, Jr. Susan B. Kaplan Mrs. William H. Ryan James F. Cleary Mrs. S. Charles Kasdon Keizo Saji Mrs. Nat Cole Howard Kaufman Roger A. Saunders William H. Congleton Robert D. King Mrs. Raymond H. Schneider

Walter J. Connolly, Jr. Mrs. Gordon F. Kingsley Mark L. Selkowitz Albert C. Cornelio Mrs. Carl Koch Malcolm L. Sherman Phyllis Curtin Robert K. Kraft Mrs. Donald B. Sinclair AlexV. d'Arbeloff Mrs. Hart D. Leavitt W Davie s Sohier, Jr. Mrs. Eugene B. Doggett R. Willis Leith, Jr. Ralph Z. Sorenson Phyllis Dohanian Laurence Lesser Ira Stepanian

Harriett M. Eckstein Stephen R. Levy Mrs. Arthur I. Strang Edward Eskandarian Frederick H. Lovejoy, Jr. Mark Tishler, Jr. Katherine Fanning Mrs. Charles P. Lyman Luise Vosgerchian Peter M. Flanigan Mrs. Harry L. Marks Mrs. An Wang Henry L. Foster C. Charles Marran Robert A. Wells Dean Freed Nathan R. Miller Mrs. Thomas H.P. Whitney Peter H.B. Frelinghuysen Hanae Mori Mrs. John J. Wilson Jordan L. Golding Mrs. Thomas S. Morse Brunetta R. Wolfman Mark R. Goldweitz

Overseers Emeriti

Mrs. Frank G. Allen Leonard Kaplan David R. Pokross Hazen H. Ayer Benjamin H. Lacy Mrs. Peter van S. Rice Mary Louise Cabot Mrs. James F. Lawrence Mrs. Jerome Rosenfeld

Mrs. Thomas J. Galligan Mrs. Stephen V.C. Morris Mrs. Richard H. Thompson Mrs. Richard D. Hill Stephen Paine, Sr. Mrs. Donald B. Wilson

Mrs. Louis I. Kane

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

<7/- ( fflSttffia ^ Officers of the Boston Symphony Association of Volunteers

Mrs. Eugene B. Doggett, President Phyllis Dohanian, Executive Vice-President Ms. Helen Doyle, Secretary Mr. Goetz B. Eaton, Treasurer Mrs. Florence T. Whitney, Nominating Chairman

Vice-Presidents

Mrs. Nathaniel Bates, Hall Services Mrs. David Robinson, Fundraising Projects Ms. Kathleen Heck, Development Services Mrs. Harry F. Sweitzer, Jr., Public Relations Mrs. William D. Larkin, Tanglewood Mrs. Thomas S. Walker, Regions Mrs. Anthony Massimiano, Tanglewood Ms. Margaret Williams, Youth Activities Mrs. Jeffrey Millman, Membership and Adult Education

Chairmen of Regions

Mrs. Russell R. Bessette Mrs. Robert Miller Mrs. Ralph Seferian Mrs. James Cooke Mrs. Hugo A. Mujica Mrs. Anthony A. Tambone Mrs. Linda Fenton Mrs. G. William Newton Mrs. Richard E. Thayer Mrs. Harvey B. Gold Mrs. Jay B. Pieper Mr. F. Preston Wilson Mrs. Daniel Hosage

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43 CENTRAL STREET • WELLESLEY, MASSACHUSETTS • 237-2730 References furnished on request

Leonard Bernstein Michael Feinstein Thomas Schumacher Bolcom and Morris Ferrante and Teicher Kathryn Selby Jorge Bolet Philip Glass George Shearing Boston Pops Orchestra Dick Hyman Bobby Short Boston Symphony Interlochen Arts Academy Leonard Shure Orchestra and National Music Camp Abbey Simon

Brevard Music Center Markowski and Cedrone Georg Solti Dave Brubeck Marian McPartland Stephen Sondheim Chicago Symphony Zubin Mehta Tanglewood Music Center Orchestra Mitchell-Ruff Duo Beveridge Webster

Cincinnati Symphony Seiji Ozawa Earl Wild Orchestra Luciano Pavarotti John Williams Aaron Copland Alexander Peskanov Wolf Trap Foundation foi Ivan Davis Philadelphia Orchestra the Performing Arts Denver Symphony Andre Previn Yehudi Wyner Orchestra Santiago Rodriguez Over 200 others Baldwin TODAY'S STANDARD OF MUSICAL EXCELLENCE.

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they pledge to the BSO. Gifts range from a special, limited edition "Salute to Symphony" BSO T-shirt for a donation of $25 to an opportunity to conduct "The Stars and Stripes Forever"

NYNEX Sponsors ;at a Boston Pops concert for a donation of "Salute to Symphony" 1989 $5,000. Other incentive gifts include the 1988 This Weekend Salute compact disc featuring the BSO in his- March 3-6 torical live performances ($35), the new 1989 compact disc or cassette the oppor- For the first time, a Symphony Hall Open ($50), House joins the line-up of "Salute to Sym- tunity to attend a conducting class led by phony" events, which include a weekend-long BSO assistant conductors Carl St. Clair and broadcast on WCRB-102.5-FM and a 90-min- Pascal Verrot ($75), admission for two to a session for Orchestra ute telecast on WCVB-TV-Channel 5. NYNEX taping a Boston Pops telecast advance ticket order forms for is the sponsor of this year's "Salute," the ($100), Boston Symphony Orchestra's major fund- Christmas Pops concerts and Tanglewood raiser and community outreach event, which ($150), and a table at a Boston Pops concert during the 1989 spring season In addi- will take place Friday, March 3, through Mon- ($300). tion, a contribution of or will make day, March 6. $50 more The Symphony Hall Open House, a special you a "Friend" of the orchestra, entitling you day of activities for the entire family on Satur- to a variety of benefits. will Be a part of "Salute to Symphony" 1989 ; day, March 4, from 10 a.m. to 3 p.m., listen to WCRB, visit Symphony Hall, watch ! feature performances throughout the Hall by please call 262-8700 or l-(800)- members of the BSO family, tours of this his- WCVB, and this toric landmark, instrument demonstrations 325-9400 and make a pledge to important (including special performances on Symphony fundraising event. Help keep great music a Hall's famous organ and ancient instrument vital part of our lives! collection), master classes taught by BSO "Bernstein at 70!" to Air on PBS's players, and the opportunity to meet infor- "Great Performances" on WGBH mally with prominent conductors and musi- Sunday, March 19, at 8 p.m. cians closely associated with the BSO. Refreshments will be available throughout the Relive the excitement and the emotion of last day. summer's Gala Birthday Performance cele- This year's Salute broadcast on WCRB- brating Leonard Bernstein's 70th birthday at 102.5-FM will include historic performances Tanglewood when PBS presents "Bernstein of the BSO under its music directors from at 70!" on its "Great Performances" series. Arthur Nikisch to Seiji Ozawa, a tribute to The two-and-one-half-hour program will be Leonard Bernstein, and interviews with some televised in stereo on Sunday, March 19, at of the BSO's illustrious guest conductors and 8 p.m. by WGBH-Channel 2 in Boston (check .soloists, as well as members of the BSO family local listings for the date and time in other and other special guests. areas). "Bernstein at 70!" has already been Once again WCVB-TV-Channel 5 will fea- seen by millions of viewers in more than ture the Boston Symphony Orchestra, Seiji twenty countries worldwide; this is the pro- Ozawa, John Williams, and Harry Ellis gram's first showing in the United States. Dickson in a gala Salute performance to be Joining Seiji Ozawa, John Williams, and the televised live on Monday, March 6, from 7:30 Boston Symphony Orchestra are guest con- p.m. to 9 p.m., simulcast on WCRB. Channel ductors John Mauceri and Michael Tilson 5's Chet Curtis, Natalie Jacobson, and Frank Thomas, and guest artists including Patti Avruch will host this special concert. Austin, Lauren Bacall, Victor Borge, Betty Members of the Boston Symphony Associa- Comden, Lukas Foss, Jerry Hadley, Barbara tion of Volunteers will be answering phones in Hendricks, Quincy Jones, Larry Kert, Christa the Cabot-Cahners Room to accept pledges at Ludwig, Yo-Yo Ma, Bobby McFerrin, Midori, 262-8700 or l-(800)-325-9400 throughout the Kurt Ollmann, Robert Osborne, Mstislav Salute weekend of March 3 through 6. Rostropovich, Dawn Upshaw, and Frederica Donors to Salute this year will be able to von Stade. The program also includes filmed choose from a variety of incentive gifts when greetings from Barbara Cook, James Levine, —

A little praise for a big accomplishment "•TV*?** congratulations to the Boston Symphony on their 108th season!

Living the good life, iorlan marsh

EST. 1851

MASSACHUSETTS CONNECTICUT RHODE ISLAND NEW HAMPSHIRE MAINE NEW YORK Zubin Mehta with the New York Philharmonic Images for Harp and Orchestra on Sunday, and the Israel Philharmonic, Yehudi Menuhin, March 5, at 3 p.m. in Jordan Hall with Max Itzhak Perlman, Harold Prince, Stephen Hobart and the Civic Symphony Orchestra. Sondheim, Isaac Stern, Kiri Te Kanawa, Also on the program is music of Mussorgsky Michael Tilson Thomas with the London Sym- and Ravel, and Brahms's Symphony No. 2. phony, and Richard Wilbur. Bernstein's chil- Tickets are $12 and $8. For more information, dren—Nina Bernstein, Alexander Bernstein, call 437-0231. Jamie Bernstein Thomas, and David BSO flutist Leone Buyse appears in recital Thomas—offer a special birthday tribute to with Michael Webster, clarinet, and Martin their father, whose life and music is celebrated Amlin, piano, on Sunday, March 5, at 7 p.m. at through historic film footage and a taped seg- the First Baptist Church in Needham (Warren ment from Tchaikovsky's Fifth Symphony and Great Plain Avenue), sponsored by the with the Boston Symphony Orchestra as con- Needham Concert Society. The program ducted by Mr. Bernstein on the final concert of includes music of Poulenc, Koechlin, Mes- last summer's Tanglewood season. Don't miss siaen, Amlin, Saint-Saens, and Welcher. Tick- "Bernstein at 70!" on PBS's "Great Perform- ets are $7.50 for adults, $5 for students. For ances," Friday, March 19, at 8 p.m. information or reservations, call 444-7162 or 444-6080. Symphony Spotlight The Boston Artists' Ensemble performs

This is one in a series of biographical sketches Paganini's Quartet for guitar and strings, >- that focus on some of the generous individuals Dohnanyi's Serenade for string trio, Op. 10, who have endowed chairs in the Boston Sym- and Mozart's Divertimento for string trio, phony Orchestra. Their backgrounds are var- K. 5 6 3, on Friday, March 10, at 8 p.m. at the ied, but each felt a special commitment to the Chapel Gallery of the Second Church in New- Boston Symphony Orchestra. ton, 60 Highland Street, West Newton. The performers include BSO cellist Jonathan Mil- Robert Bradford Newman Chair ler, the ensemble's founder; BSO members Robert Bradford Newman, the eminent acous- Tatiana Dimitriades, violin, and Roberto tical architect and teacher, received his mas- Diaz, viola; and guitarist Neil Anderson. Tick- ter's degree in architecture from the Massa- ets are $9 ($6 children under 12 and seniors). chusetts Institute of Technology. He was For further information or reservations, call immediately appointed to the faculty and 527-8662. taught there until his death in 1983. He also BSO violinist Amnon Levy performs the taught at the Harvard Graduate School of Brahms Violin Concerto with the Brookline Design, held a senior Fulbright Scholarship at Symphony Orchestra on Sunday, March 12, at the Royal Danish Academy of Fine Arts, and 2:30 p.m. at the Boston University Concert received many prestigious awards. During an Hall, 855 Commonwealth Avenue. Tickets are outstanding career in applied acoustical archi- $8 ($4 seniors and children). tecture at the firm Bolt Beranek and Newman, The Melisande Trio—Burton Fine, viola, Inc., Mr. Newman worked on many diverse Susan Miron, harp, and Fenwick Smith, buildings, including Boston's Symphony Hall. flute—plays music of Rameau, C.P.E. Bach, Given his sensitivity to sound, he loved music Saint-Saens, Debussy, Ravel, and Ibert on and was an amateur violinist as well as a loyal Sunday, March 12, at 7 p.m. at St. Anne's BSO subscriber. When Mrs. Newman decided Church in Lowell (corner of Merrimack and to endow a BSO chair in honor of her late Kirk Streets) on the University of Lowell Per- husband, she remembered the poignant pieces forming Arts Series. Tickets are $10. For played by Luis Leguia in Robert Newman's more information, call (508) 459-0350. memory; endowing Mr. Leguia's chair seemed a fitting tribute to her husband and to the With Thanks musician. We wish to give special thanks to the National BSO Members in Concert Endowment for the Arts and the Massachu- BSO harpist Ann Hobson Pilot is soloist in setts Council on the Arts and Humanities for Handel's Concerto for Harp and Orchestra their continued support of the Boston Sym- and the east coast premiere of William Marx's phony Orchestra. Seiji Ozawa

phony Orchestra for the first time at Tanglewood, in 1964, and made his first Symphony Hall appearance with the orchestra in 1968. In 1970 he was named an artistic director of the Tanglewood Festival.

Seiji Ozawa was named thirteenth music director of the Boston Symphony Orchestra in 1973, following a year as music adviser; he is now in his sixteenth year as the BSO's music director. His many tours with the orchestra in Europe, Japan, and throughout the United States have included the orchestra's first tour devoted exclusively to appearances at the major European music festivals, in 1979; three visits to Japan; and, to celebrate the orchestra's centennial in Born in 1935 in Shenyang, China, to 1981, a fourteen-city American tour and an Japanese parents, Seiji Ozawa studied international tour to Japan, France, Ger- Western music as a child and later grad- many, Austria, and England. In March 1979 uated with first prizes in composition and Mr. Ozawa and the Boston Symphony conducting from Tokyo's Toho School of Orchestra made an historic visit to China Music, where he was a student of Hideo for a significant musical exchange entailing Saito. In 1959 he won first prize at the coaching, study, and discussion sessions International Competition of Orchestra with Chinese musicians, as well as concert Conductors held in Besancon, France, and performances, becoming the first American was invited to Tanglewood by Charles performing ensemble to visit China since Munch, then music director of the Boston the establishment of diplomatic relations. Symphony Orchestra and a judge at the In December 1988 he and the orchestra competition. In 1960 he won the Tangle- gave eleven concerts during a two-week wood Music Center's highest honor, the tour to England, the Netherlands, France, Koussevitzky Prize for outstanding student Germany, Austria, and Belgium. conductor. Mr. Ozawa pursues an active interna- While a student of Herbert von Karajan tional career, appearing regularly with the in West Berlin, Mr. Ozawa came to the Berlin Philharmonic, the Orchestre de attention of Leonard Bernstein. He accom- Paris, the French National Orchestra, the panied Mr. Bernstein on the New York Phil- Vienna Philharmonic, the Philharmonia of harmonic's 1961 tour of Japan and was London, and the New Japan Philharmonic. made an assistant conductor of that orches- His operatic credits include appearances at tra for the 1961-62 season. In January 1962 Salzburg, London's Royal Opera at Covent he made his first professional concert Garden, La Scala in Milan, the Vienna appearance in North America, with the San Staatsoper, and the Paris Opera, where he Francisco Symphony. Mr. Ozawa was music conducted the world premiere of Olivier director of the Chicago Symphony Orches- Messiaen's St. Francis of Assisi in 1983, a tra's Ravinia Festival for five summers performance recently issued on compact beginning in 1964, music director of the disc. In addition to his many Boston Sym- Toronto Symphony Orchestra from 1965 to phony Orchestra recordings, he has 1969, and music director of the San Fran- recorded with the Berlin Philharmonic, the cisco Symphony from 1970 to 1976, fol- London Philharmonic, the Philharmonia of lowed by a year as that orchestra's music London, the Chicago Symphony Orchestra advisor. He conducted the Boston Sym- the Orchestre National, the Orchestre de Paris, the San Francisco Symphony, and Concerto with Mstislav Rostropovich and the Toronto Symphony Orchestra, among Tchaikovsky's Pathetique Symphony, on others. Erato; Strauss's Don Quixote and the Schoenberg/Monn Cello Concerto with Mr. Ozawa's many recordings with the Yo-Yo Ma, the Mendelssohn Violin Concerto Boston Symphony Orchestra include with Isaac Stern, and Berlioz's Les Nuits Prokofiev's complete Romeo and Juliet, d'ete with Frederica von Stade, on CBS; Berlioz's Romeo et Juliette, and, with Itzhak and Stravinsky's Firebird, on EMI/Angel. Perlman, an award-winning album of the Berg and Stravinsky violin concertos, all on Mr. Ozawa holds honorary doctor of DG; Schoenberg's Gurrelieder, on Philips; music degrees from the University of Mas-

I Mahler's Resurrection Symphony (No. 2), sachusetts, the New England Conservatory Symphony No. 4, and Symphony of a Thou- of Music, and Wheaton College in Norton, sand (No. 8), also on Philips, part of a con- Massachusetts. He has won an Emmy for tinuing Mahler cycle on that label; the com- the Boston Symphony Orchestra's "Eve- plete Beethoven piano concertos with ning at Symphony" PBS television series. Rudolf Serkin, on Telarc; the Dvorak Cello 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

Music Directorship endowed by Second Violins John Moors Cabot Marylou Speaker Churchill Fahnestock chair BOSTON SYMPHONY Vyacheslav Uritsky ORCHESTRA Charlotte and Irving W. Rabb chair Ronald Knudsen 1988-89 Edgar and Shirley Grossman chair Joseph McGauley First Violins Leonard Moss Malcolm Lowe Concertmaster *Michael Vitale Charles Munch chair *Harvey Seigel Tamara Smirnova-Sajfar *Jerome Rosen Associate Concertmaster * Sheila Fiekowsky Helen Horner Mclntyre chair Ronan Lefkowitz Max Hobart * Bracken Assistant Concertmaster Nancy Robert L. Beat, and *Jennie Shames Enid L. and Bruce A. Beal chair *Aza Raykhtsaum Lucia Lin *Valeria Vilker Kuchment Assistant Concertmaster *Bonnie Bewick Edward and Bertha C. Rose chair Bo Youp Hwang *Tatiana Dimitriades John and Dorothy Wilson chair, *James Cooke fully funded in perpetuity Max Winder Violas Forrest Foster Collier chair Burton Fine Fredy Ostrovsky Charles S. Dana chair and David B. Arnold, Jr., Dorothy Q. Patricia McCarty chair, fully funded in perpetuity Anne Stoneman chair, Gottfried Wilfinger fully funded in perpetuity Ronald Wilkison

*Participating in a system of rotated seating within each string section %On sabbatical leave ^Orchestra Fellow, Music Assistance Fund

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Robert Barnes Oboes Trombones Jerome Lipson Alfred Genovese Ronald Barron Joseph Pietropaolo Acting Principal Oboe J.P. and Mary B. Barger chair, Mildred B. Remis chair fully funded in perpetuity Michael Zaretsky Wayne Rapier Norman Bolter Marc Jeaimeret Betty Benthin English Horn Bass Trombone *Mark Ludwig ^Laurence Thorstenberg Douglas Yeo *Roberto Diaz Beranek chair, fully funded in perpetuity Cellos Tuba Chester Schmitz $Jules Eskin Clarinets Margaret and William C. Philip R. Allen chair Harold Wright Rousseau chair Martha Babcock Ann S.M. Banks chair Vernon and Marion Alden chair Thomas Martin Sato Knudsen Peter Hadcock Timpani Esther S. Joseph M. Shapiro chair and E-flat Clarinet Everett Firth Joel Moerschel Sylvia Shippen Wells chair Sandra and David Bakalar chair Bass Clarinet Robert Ripley Craig Nordstrom Percussion 7I Luis Leguia Farla and Harvey Chet Charles Smith Robert Bradford Newman chair Krentzman chair Peter and Anne Brooke chair

Carol Procter Arthur Press IM> Lillian and Nathan R. Miller chair Bassoons Assistant Timpanist M Ronald Feldman Peter Andrew Lurie chair M Sherman Walt Thomas Gauger '•*•' *Jerome Patterson Edward A. Taft chair * Epstein Jonathan Miller Roland Small Frank 'S §Owen Young Matthew Ruggiero Basses Harp 31 Edwin Barker Contrabassoon Ann Hobson Pilot Henderson Sinclair chair Harold D. Hodgkinson chair Richard Plaster Willona Lawrence Wolfe Maria Nistazos Stata chair, fully funded in perpetuity Horns Joseph Hearne Charles Kavalovski Bela Wurtzler Helen Sagoff Slosberg chair Richard Sebring Salkowski John Margaret Andersen Congleton chair *Robert Olson Daniel Katzen Personnel Managers * James Orleans Jay Wadenpfuhl Lynn Larsen *Todd Seeber Richard Mackey Harry Shapiro *John Stovall Jonathan Menkis Librarians Flutes Marshall Burlingame Doriot Anthony Dwyer Trumpets William Shisler Walter Piston chair Charles Schlueter James Harper Fenwick Smith Roger Louis Voisin chair Myra and Robert Kraft chair Peter Chapman Leone Buyse Stage Manager Ford H. Cooper chair Position endowed by Marian Gray Lewis chair Timothy Morrison Angelica Lloyd Clagett Piccolo Steven Emery Alfred Robison Lois Schaefer Evelyn and C. Charles Marran chair

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A Brief History of the Boston Symphony Orchestra

Now in its 108th season, the Boston Sym- ers—and the activities of the Boston Pops phony Orchestra gave its inaugural concert Orchestra have established an international on October 22, 1881, and has continued to standard for the performance of lighter uphold the vision of its founder, the phi- kinds of music. Overall, the mission of the I lanthropist, Civil War veteran, and amateur Boston Symphony Orchestra is to foster musician Henry Lee Higginson, for more and maintain an organization dedicated to ffifll than a century. Under the leadership of the making of music consonant with the Seiji Ozawa, its music director since 1973, highest aspirations of musical art, creating the Boston Symphony Orchestra has per- performances and providing educational v^B formed throughout the United States, as and training programs at the highest level well as in Europe, Japan, and China, and it of excellence. This is accomplished with the reaches audiences numbering in the mil- continued support of its audiences, govern- lions through its performances on radio, mental assistance on both the federal and television, and recordings. It plays an local levels, and through the generosity of active role in commissioning new works many foundations, businesses, and from today's most important composers; its individuals. summer season at Tanglewood is regarded Henry Lee Higginson dreamed of found- as one of the most important music fes- ing a great and permanent orchestra in his tivals in the world; it helps to develop the home town of Boston for many years before audience of the future through the Boston that vision approached reality in the spring I Symphony Youth Concerts and through a of 1881. The following October, the first variety of outreach programs involving the Boston Symphony Orchestra concert was entire Boston community; and, during the given under the direction of conductor Tanglewood season, it sponsors one of the Georg Henschel, who would remain as world's most important training grounds music director until 1884. For nearly for young composers, conductors, instru- twenty years Boston Symphony concerts mentalists, and vocalists, the Tanglewood were held in the Old Boston Music Hall; Music Center, which celebrates its fiftieth Symphony Hall, the orchestra's present anniversary in 1990. The orchestra's vir- home, and one of the world's most highly tuosity is reflected in the concert and regarded concert halls, was opened in 1900. recording activities of the Boston Sym- Henschel was succeeded by a series of phony Chamber Players—the world's only German-born and -trained conductors permanent chamber ensemble made up of a Wilhelm Gericke, Arthur Nikisch, Emil major symphony orchestra's principal play- Paur, and Max Fiedler—culminating in the

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The first photograph, actually a collage, of the Boston Symphony Orchestra under Georg Henschel, H& taken 1882

13 OFFICERS

H. GILMAN NICHOLS President

JOHN L. THORNDIKE JOHN W COBB DANIEL A. PHILLIPS JOHN M.MEYER ROBERT N. KARELITZ JONATHAN R. PHILLIPS EDWARD P. THOMPSON RICHARD W STOKES GEORGE BLAGDEN LAURA N. RIGSBY JOHN F. WINCHESTER FREDERICK D. HOLTON SUSAN R. GUNDERSON CHARLES R. EDDY, JR. DOUGLAS R. SMITH-PETERSEN FREDERIC C R. STEWARD

WILLIAM J. O'KEEFE

GEORGE L. GRAY

JAMES J. ROCHE ARTHUR C. PICKETT JONATHAN B. LORING NATALIE R. DUNHAM DENISE CRONIN ALTON L. CIRIELLO, JR.

J. BRIAN POTTS JAMES G. NULAND, JR. MARY JANE SMITH I NANCY B. SMITH ELLEN COPE-FLANAGAN DONALD P. LEE © FIDUCIARY BOSTON TRUSTEES Fiduciary Trust Company 175 Federal Street, Boston, Massachusetts 02110 I Telephone (617) 482-5270 appointment of the legendary Karl Muck, Charles Munch followed Koussevitzky as who served two tenures as music director, music director in 1949. Munch continued 1906-08 and 1912-18. Meanwhile, in July Koussevitzky's practice of supporting con- 1885, the musicians of the Boston Sym- temporary composers and introduced much phony had given their first "Promenade" music from the French repertory to this concert, offering both music and refresh- country. During his tenure the orchestra ments, and fulfilling Major Higginson's toured abroad for the first time and its wish to give "concerts of a lighter kind of continuing series of Youth Concerts was ini- music." These concerts, soon to be given in tiated. Erich Leinsdorf began his seven- the springtime and renamed first "Popu- year term as music director in 1962. Mr. lar" and then "Pops," fast became a Leinsdorf presented numerous premieres, tradition. restored many forgotten and neglected works to the repertory, and, like his two In 1915 the orchestra made its first trans- predecessors, made many recordings for continental trip, playing thirteen concerts RCA; in addition, many concerts were tele- at the Panama- Pacific Exposition in San vised under his direction. Leinsdorf was Francisco. Recording, begun with RCA in also an energetic director of the Tangle- 1917, continued with increasing frequency, wood Music Center, and under his lead- as did radio broadcasts. In 1918 Henri ership a full-tuition fellowship program was Rabaud was engaged as conductor; he was established. Also during these years, in succeeded a year later by Pierre Monteux. the Boston Symphony Chamber Play- These appointments marked the beginning 1964, ers were founded. of a French-oriented tradition that would be maintained, even during the Russian- William Steinberg succeeded Leinsdorf born Serge Koussevitzky's time, with the in 1969. He conducted a number of Amer- employment of many French-trained ican and world premieres, made recordings musicians. for Deutsche Grammophon and RCA, appeared regularly on television, led the The Koussevitzky era began in 1924. His 1971 European tour, directed concerts extraordinary musicianship and electric and the in the south, in the personality proved so enduring that he on east coast, and served an unprecedented term of twenty- mid-west. five years. Regular radio broadcasts of Seiji Ozawa, an artistic director of the Boston Symphony Orchestra concerts Tanglewood Festival since 1970, became began during Koussevitzky's years as the orchestra's thirteenth music director in music director. In 1936 Koussevitzky led the fall of 1973, following a year as music the orchestra's first concerts in the adviser. Now in his sixteenth year as music Berkshires; a year later he and the players director, Mr. Ozawa has continued to solid- took up annual summer residence at ify the orchestra's reputation at home and Tanglewood. Koussevitzky passionately abroad, and he has reaffirmed the orches- shared Major Higginson's dream of "a tra '$ commitment to new music through his good honest school for musicians," and in program of centennial commissions and a 1940 that dream was realized with the newly initiated program including such founding of the Berkshire Music Center prominent composers as John Cage, Hans (now called the Tanglewood Music Center). Werner Henze, Peter Lieberson, and Bernard Rands. his direction, the In 1929 the free Esplanade concerts on Under orchestra has also its recording the Charles River in Boston were inaugu- expanded activities include releases the Philips, rated by Arthur Fiedler, who had been a to on member of the orchestra since 1915 and Telarc, CBS, EMI/Angel, Hyperion, New who in 1930 became the eighteenth conduc- World, and Erato labels. tor of the Boston Pops, a post he would Today, the Boston Symphony Orchestra, hold for half a century, to be succeeded by Inc., presents more than 250 concerts John Williams in 1980. The Boston Pops annually. It is an ensemble that has richly Orchestra celebrated its hundredth birth- fulfilled Higginson's vision of a great and day in 1985 under Mr. Williams's baton. permanent orchestra in Boston.

15 THE BOSTON SYMPHONY ORCHESTRA AND THE BOSTON POPS DEPEND ON YOU!

SALUTE SYMPH 1 9

Sponsored by NYNEX

MARCH 3-6

LISTEN to WCRB 102.5 FM

Classic performances, anecdotes, and interviews with members of the BSO family and special guests are featured.

Friday, March 3 9 AM to midnight Saturday, March 4 9 AM to midnight Sunday, March 5 10 AM to midnight

Monday, March 6 6 PM to 11 PM ATTEND SYMPHONY HALL OPEN HOUSE

We invite you to be our guest when Symphony Hall opens its doors for a special day of activities for the entire family on

Saturday, March 4, from 10 AM to 3 PM! The Symphony Hall Open House will feature performances throughout the Hall

by members of the BSO family, tours of this historic landmark, a chance to meet the conductors and musicians of the

BSO, instrument demonstrations, including special performances on Symphony Hall's famous organ and ancient

instrument collection, and refreshments.

WATCH WCVB-TV CHANNEL 5

Seiji Ozawa, John Williams, and Harry Ellis Dickson lead the Boston Symphony Orchestra in a gala Salute performance

live from Symphony Hall, Monday, March 6, from 7:30 PM to 9 PM on WCVB-TV Channel 5, simulcast on WCRB.

Channel 5's Chet Curtis, Natalie Jacobson, and Frank Avruch will host this special "Salute to Symphony" event.

PLEDGE TO SALUTE TO SYMPHONY 1989

All donations are appreciated! Just call 262-8700 (outside of the Boston area call 1-800-325-9400) and make a pledge to

Salute to Symphony 1989. In return for your generosity we will send you a special BSO incentive gift! 16 " >

iljfc.

BOSTON SYMPHONY ORCHESTRA

Seiji Ozawa, Music Director Carl St. Clair and Pascal Verrot, Assistant Conductors One Hundred and Eighth Season, 1988-89

Tuesday, February 28, at 8

Friday, March 3, at 8

SEIJI OZAWA conducting

LknfeH HAYDN Symphony No. 103 in E-flat, Drumroll Adagio—Allegro con spirito Andante piu tosto Allegretto Menuet; Trio Allegro con spirito

INTERMISSION I

^M Symphony No. 4 in minor, Opus 98 BRAHMS E • Allegro non troppo Andante moderato i Allegro giocoso Allegro energico e passionato

m ml

These concerts will end about 9:45. RCA, Deutsche Grammophon, Philips, Telarc, CBS, EMI/Angel, Erato, New World, and Hyperion records Baldwin piano

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.

17 Week 17 Deutsche Grammophon welcomes MAURIZIO POLLINI to his 1989 U.S. tour

SCHUBERT Late Piano Sonatas D. 958-959-960 Pollini

These and all Mr. PollinVs Deutsche Grammophon recordings and CD-Video are available at:

1989 DG/PolyGram Records BOSTON SYMPHONY ORCHESTRA

Seiji Ozawa, Music Director Carl St. Clair and Pascal Verrot, Assistant Conductors One Hundred and Eighth Season, 1988-89

Saturday, March 4, at 8

SEIJI OZAWA conducting

ALI^BRAHMS PROGRAM

Piano Concerto No. 1 in D minor, Opus 15 Maestoso Adagio Allegro ma non troppo MAURIZIO POLLINI

INTERMISSION

Symphony No. 4 in E minor, Opus 98 Allegro non troppo Andante moderato Allegro giocoso Allegro energico e passionato

Program notes for this concert begin on page 27. Tonight's concert will end about 9:55. RCA, Deutsche Grammophon, Philips, Telarc, CBS, EMI/Angel, Erato, New World, and Hyperion records Baldwin piano

Maurizio Pollini plays the Steinway piano.

19 Week 17 ' '

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BOSTON SYMPHONY ORCHESTRA Seiji Ozawa conducting March 4, 1989, at 8 p.m.

Late yesterday afternoon, Maurizio : Pollini was forced to cancel I m I his appearance here this evening because of illness. We are fortunate to have secured the services of pianist Russell Sherman, who will perform Beethoven* s Piano Concerto No. 5, "Emperor," in place of the originally scheduled Brahms Piano Concerto No. 1. Mr. Sherman made his Boston Symphony debut in February 1980 and appeared with the orchestra most recently in October 1988. •*:•*

BEETHOVEN Piano Concerto No. 5 in E-flat, Opus 73, "Emperor"

Allegro I Adagio un poco mosso Rondo: Allegro ma non troppo

Russell Sherman

"*'-! ^- J J!W^"-'-«-' +": S-.'"' 1 :|fV."*.)»« Pianist Russell Sherman has performed with many of the

; country's leading orchestras, including the BpSs rt Boston Sym- I ' I I HI phony Orchestra, the Chicago Symphony, the New York Philharmonic, the Philadelphia Orchestra, the Pittsburgh Symphony, and the Los Angeles Philharmonic. Abroad, he has appeared in major cities in Europe and South America. During the 1988-89 season, in the United States, Mr. Sher- man appears with the Boston Symphony Orchestra, gives two recitals at the Metropolitan Museum in New York City, and also gives a recital in S&n Francisco; European engage- 1 1 hm ments include appearances in Germany and London. In the 1 recent past, Mr. Sherman has appeared in recital on the "Distinguished Artists" "•I series at New York's 92nd Street Y and on Boston's Wang Celebrity Series, as well as on Carnegie Hall's "Keyboard Virtuosos" series and on California's Ambassador Foundation series. He has had three engagements with the San Francisco Sym- phony within a three-year period and has also appeared with the Houston Symphony I J and the Czech Philharmonic, with which he has recorded the five Beethoven piano concertos. Mr. Sherman now records exclusively for Pro Arte, which has recently r released his recordings of Liszt's B minor sonata, Don Juan Fantasy, and tran- Mm ft HH scriptions. His recording of the Beethoven sonatas Opus 10, No. 3, and Opus 57, the Appassionato,, was named one of the top ten records of 1982 by the New York Times. E21 Other releases have included Gershwin's Piano Concerto in F with the Orchestra of St. Luke's, the Opus 28 Chopin Preludes and Barcarolle, and the Paganini Varia- tions and Fantasies, Opus 116, Nos. 1 through 7, of Brahms. Mr. Sherman is currently recording the thirty-two Beethoven piano sonatas. 1

Week 17 n —

Joseph Haydn Symphony No. 103 in E-flat, Drumroll

Franz Joseph Haydn was born at Rohrau, Lower Austria, on March 31, 1732, and died in Vienna on May 31, 1809. He composed the Symphony No. 103 in London in the winter of 1794-95 and led its first performance at the King's Theatre on March 2, 1795. He made some changes, notably to the end of the finale, after his return to Vienna that August and reintroduced the work in its revised form on September 21. At this concert we hear the original version of the finale's ending. A.P. Heinrich led the Philo-harmonic and Handel and Haydn Societies

in the first American performance on May 29, 1823, MBfl at Boylston Hall in Boston. Arthur Nikisch introduced the Drumroll Symphony to the Boston Sym- phony Orchestra's repertory in November 1891, with later performances being given by Wilhelm Gericke, Max Fiedler, Karl Muck, Ernst Schmidt, Pierre Monteux, Henry Hadley, Oustav Hoist, Charles Munch, Colin I Davis, who led the most recent subscription performances in March 1976, and Leonard Slatkin, who led the most recent Tanglewood performance in July 1985. The symphony is scored for two each of flutes, oboes, clarinets, bassoons, horns, and trumpets, with timpani and strings. It is likely that the winds were doubled at the first performance and certain that Haydn conducted from the fortepiano.

Haydn, at sixty-three, was at the summit of skill and invention, without rival as the world's most eminent and most loved composer and having found in London an ideally understanding audience. He visited England twice, each time for about a year and a half. What he wrote for his concerts there and for various patrons and -t publishers centers most famously on the twelve symphonies, six for each stay, for the concerts organized first by Johann Peter Salomon, later by Giovanni Battista Viotti. The Drumroll is the last but one in the second series.

Here is what the Morning Chronicle had to say about the premiere of the Drumroll:

Another new Overture, by the fertile and enchanting HAYDN, was performed; which as usual, had continual strokes of genius, both in air and harmony. The Introduction excited the deepest attention, the Allegro charmed, the Andante was encored, the Minuets, especially the Trio, were playful and sweet, and the last movement was equal, if not superior to the preceding.

Well might the introduction have "excited the deepest attention." It begins with the long kettledrum roll on E-flat from which the symphony takes its name, and from this emerges a phrase, quiet, very slow, for low strings with bassoon, with flute and oboes joining in to make a cadence in its fifth and sixth measures.

Right away there is a problem: what to do with the drumroll? Haydn put no dynamic marking on it, neither is there any in the part from which the London timpanist played. Salomon, who made two arrangements of this symphony, one for piano trio and one for piano quintet, put a crescendo and a decrescendo sign (which musicians call hairpins)—into the former and // into the latter. The hairpin version became traditional, making this the first of innumerable symphonies from Schubert's Unfinished to Bartok's Concerto for Orchestra with mysterious creeping- bass beginnings. H.C. Robbins Landon, on the other hand, is a fortissimo man: at his suggestion, Hermann Scherchen adopted that version to exciting effect in his 1950 recording, and Landon also proposes fortissimo-decrescendo as the primary reading

21 Week 17 A WORLD OF STYLE

22 in his Universal complete edition of the symphonies. The choice is the conductor's, and the main thing is that this Intrada, as Haydn labels it, be impressive.

Of what follows the drumroll, Landon writes: "Without knowing the score, and listening to a performance with closed eyes, no one could possibly tell the meter of the opening." He also suggests that the first notes of this theme are an intentional reference, though "oblique," to the Dies irae (as quoted so famously by Berlioz and Rachmaninoff). Haydn does on occasion quote plainchant in his symphonies, for example in No. 26, Lamentations, and in No. 49, La passione. Even so, I was skepti- cal about both of Landon's contentions, only to have someone who was listening to a recording without knowing the score comment both on the mystery of the meter of those slow bass notes and on the fact that the first four notes were those of the Dies irae.

With the unfolding of the introduction comes some clarity but also even more mystery as Haydn, with greatest deliberation, prepares an entry into C minor. The moment the Allegro begins we discover that he meant no such thing. The alternation of G and A-flat with which the Adagio closes is picked up and reinterpreted as belonging to E-flat major, which is just what the first twenty-five measures of the introduction—before the C minor red herring—would have led us to expect. It is an amazingly organic—and subtle—transition from introduction to Allegro; one of the rare precedents is a work Haydn knew and loved well, Mozart's Symphony No. 39, also in E-flat.

But even as Haydn now sets us firmly in place harmonically, he sets us a new metrical puzzle: it takes a full eight measures before we know for certain where "one" is and how to get in step with Haydn's buoyant stride. After so much expan- siveness in the Adagio, the exposition goes by quickly indeed: the contrasting theme is even more of a pop tune than the first one, and just before it—as a present to the sharp-eared and attentive—there is a quick allusion to the matter of the introduction.

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Whatwouldyou have givento hear Horowitz play Chopin when hewas18? Howdoes $8 sound?

That's all it costs to hear some of tomorrow's most distinguished performers today. And while you're discovering these future greats, you'll also hear musicians who are already world famous. It's all in the New England Conservatory Select Series 1989, at NEC's Jordan Hall.

So plan to attend. For just $8 a ticket, it's your opportunity to witness world class performances at economy class prices. March Schedule March 6 First Monday Chamber music with Bernard Greenhouse, Monday Laurence Lesser, Masuko Ushioda and Randall Hodgkinson Artistic Director Haydn, Trio in A Major Schubert, Trio in B^ and other works to be announced March 15 NEC Symphony Alexander Schneider, Conductor Wednesday Orchestra Stravinsky, Apollo Musagete Mendelssohn, Symphony No. 4 ("Italian") Mozart, Clarinet Concerto Ron Chen-Zion, co-winner of NEC Concerto Competition

New England w Conservatory

Jordan Hall at NEC, 30 Gainsborough Street at Huntington Avenue

All performances at 8 p.m. Tickets: $8 adults, $5 students and senior citizens. Jordan Hall at NEC Box Office: M-F 10 am. to 6 p.m., Sat. Noon to 6 p.m. w For ticket information: 536-2412. Or through Bostix /Ticketron®/Teletron® 617-720-3434 or 1-800-382-8080.

24 The development is long (longer than the exposition by a full dozen measures) and adventurous, and among its adventures is another appearance—quite ghostly this time—of the music of the introduction. The recapitulation, on the other hand, is startlingly condensed; it also becomes astonishingly serious, assuming a tone and suggesting harmonic shadows we thought we had left behind us with the Adagio. What all this leads to is nothing less than a third reappearance of that dark introductory music—drumroll and all—but this time in the original slow tempo! A coda, quick and brief, again brings the Adagio theme in allegro tempo, which we now hear as a combination that ties everything together. A touch as surprising as any is added by some new high horn calls.

The Andante which the London audience liked so well that it demanded an encore is based on two folk songs from the region around the Esterhazy estates. The movement is a set of variations; however, Haydn obviously chose the two songs for their consanguinity, so that one gets the impression that the second, C major theme is itself already a variation of the first, C minor one (sharping the F in the second tune is a clever ruse). Haydn makes two variations on each theme, covering a wide range of musical characters from the martial to the playful. Viotti, his distinguished concertmaster, got a rewarding solo, as had his predecessors Tomasini (at Eszterhaza) and Salomon in earlier symphonies. The coda, with its demonstration of how to go from C major to C major by way of E-flat, is wonderful. By the way, Haydn's quickening of the Andante by the addition of "piu tosto Allegretto" ("more like an Allegretto") was one of his Vienna afterthoughts.

The minuet is a moment of relaxation; the Trio is a tour-de-force of textural subtlety, as well as a show of how innocent beginnings may give rise to unlikely complexities. And now the finale, perhaps Haydn's greatest. The first movement had suggested two things, one large and one small. First there was the idea that one theme might estab- lish dominance over an entire movement; at the end, there was that surprising, but so purposefully planted, flourish of horns. Haydn now picks up both threads, the second first. He begins with a call for the two horns alone. This is followed by an unmeasured silence, after which Haydn gives us the horn call again, though now as accompaniment to a springy violin tune. At this point, ten seconds into the movement, we have met all of its thematic material. Haydn is never as lavish with themes as Mozart; indeed, the monothematic movement is a singularly characteristic manifestation of his fantasy. But even for Haydn, this finale is a bravura display of the highest order of making very little go very far. To the very end Haydn keeps us surprised—he wrote only "surprise symphonies"—both with what he does that is new and with what he reveals about what is familiar. Back in Vienna, in keeping with his overriding concern with concentration, he tightened the last pages, heroically sacrificing a joke too good to remain forever unheard. —Michael Steinberg

Now Artistic Adviser of the San Francisco Symphony, Michael Steinberg was the Boston Symphony Orchestra's Director of Publications from 1976 to 1979. His program note on the Drumroll Symphony appeared originally in the program book of the San Francisco Symphony, copyright ©1984, and is reprinted by permission of that orchestra.

25 Week 17 '

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Johannes Brahms Piano Concerto No. 1 in D minor, Opus 15

Johannes Brahms was born in Hamburg, Germany,

on May 7, 1833, and died in Vienna on April 3, 1897. He wrote his Piano Concerto No. 1 in 1858, using some material that goes back as far as 1854 and that was originally intended for other purposes and designs. With Joseph Joachim conducting, Brahms himself played the first performance on January 22, 1859, in Hanover. The first American performance was given on November 13, 1875, by Nannetta Falk-Auerbach, with Carl Bergmann (a former conductor of the Boston Germania Orches- tra and of the Handel & Haydn Society) leading the New York Philharmonic. Harold Bauer was soloist for the first Boston Symphony Orchestra performances, under Wilhelm Gericke's direction, in November and December 1900. Bauer also performed the work here with Karl Muck, Pierre Monteux, and Serge Koussevitzky, whose later soloists included Artur Schnabel, Myra Hess, Ossip Gabrilowitsch, Leonard Shure, Rudolf Serkin, Claudio Arrau, and Rudolf Firkusny. It has also been performed at Boston Symphony concerts by Arrau under Richard Burgin's direction, Jesus-Maria Sanroma (under Leonard Bernstein), Leon Fleisher (Pierre Monteux), Solomon, Rudolf Serkin, and Gary Graffman (Charles Munch), Van Cliburn, Arthur Rubinstein, and Claude Frank (Erich Leinsdorf), Claude Frank with Richard Burgin, Misha Dichter (Michael Tilson Thomas), and Rudolf Serkin, Maurizio Pollini, and Claudio Arrau (Seiji Ozawa). The most recent subscription performances were Maurizio Pollings with Seiji Ozawa, in March 1977. The orchestra has performed the work more recently at Tanglewood, with soloists Garrick Ohlsson (Klaus Tennstedt conducting), Rudolf Firkusny (Eugene Ormandy), Marek Drewnowski (Leonard Bernstein), and most recently, in July 1988, Emanuel Ax (Andrew Davis). Besides the piano soloist, the score calls for two each of flutes, oboes, clarinets, and bassoons, four horns, two trumpets, timpani, and strings.

Admit, when you think of Brahms, you probably think of him as he is in the famous von Beckerath drawing of him at the piano—an older man with grey hair and flowing white beard, stout, sure to light a cigar when he is finished playing, then off to a place called The Red Hedgehog for wine and smoke and conversation, gruff and sometimes outright rude but still capable of turning on charm for the ladies, going for long walks, writing many letters, some of them distressingly arch, spending summers composing in places with names like Portschach, Murzzuschlag, and Bad Ischl, but unable to tolerate any of them more than three years in a row, and of course writing solid masterpiece after solid masterpiece.

Right enough, but it has nothing to do with the twenty-five-year-old Brahms struggling to bring his D minor piano concerto to completion— "I have no judgment about this piece any more, nor any control over it," he writes to Joseph Joachim on December 22, 1857. Four years earlier, on October 28, 1853, Robert Schumann closed his career as music critic with the celebrated, oft-invoked article New Paths:

... I have always thought that some day, one would be bound suddenly to appear, one called to articulate in ideal form the spirit of his time, one whose mastery would not reveal itself to us step by step, but who, like Minerva, would spring fully armed from the head of Zeus. And he is come, a young man over whose

cradle graces and heroes have stood watch. His name is Johannes Brahms . . and he [bears] even outwardly those signs that proclaim: here is one of the elect.

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Ten Post Office Square, Boston, Massachusetts 02109; (617) 7234800 That year, Brahms had come to the Sehumanns in Dusseldorf as a shy, awkward, nearsighted young man, boyish in appearance as well as manner (the beard was still twenty-two years away), blond, delicate, almost wispy. His two longest, closest musical friendships began in 1853—with the violinist, conductor, and composer Joseph Joachim, and with Clara Schumann. Both went through turbulent, painful stages, the one with Joachim much later, but that with Clara almost at once. On February 27, 1854, Robert Schumann, whose career as conductor had collapsed and who had begun to suffer from auditory and visual hallucinations, tried to drown himself, and five days later he was committed to an asylum in Endenich. Clara, pregnant with their seventh child, was desperate, and in the following weeks, Brahms's kindliness, friendship, and gratitude were transmuted into the condition of being passionately in love with this gifted, strong, captivatingly charming and beautiful thirty-five-year-old woman. Moreover, she returned his feelings. In their correspondence there is reference to "the unanswered question." Schumann's death in July 1856 was a turning point in Brahms's relations with Clara, though not the one for which he must have hoped. She seemed more married to Robert than ever, they pulled apart, and it took a while before they settled into the loving, nourishing friendship that endured until Clara's death in May 1896.

All this time, the music we know as the D minor piano concerto was in Brahms's head, occupying more and more pages of his notebooks, being tried out at the piano (or at two), sent to Joachim for criticism, discussed in letters. It is surely marked by the turmoil of these years, by Robert Schumann's madness and death, by Brahms's love for Clara and hers for him, by their retreat from their passion. Its composition was marked as well by purely musical troubles, by the mixed effect of the very young man's originality, his ambition, his inexperience (particularly with respect to writing for orchestra), his almost overpowering feeling for the past, his trembling sense of his own audacity at inserting himself into history as, somehow, a successor of Bach and Handel, Haydn and Mozart, Beethoven, Schubert, and Schumann.

Willy von Beckerath's drawing of Brahms at the piano

29 Week 17 WithoutYouy This Is The Whole Picture,

This year, there is a $9 million difference educational and youth programs, and to attract between what the BSO will earn—and what we the world's finest musicians and guest artists. 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 1988-89 season. (Friends' benefits

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

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City .State. .Zip. Please send your contribution to: Susan E. Tbmlin, Director of Annual Giving, Boston Symphony Orchestra, Symphony Hall, Boston, MA 02115, (617) 2664492.

I Gifts to the Annual Fund are tax-deductible to the full extent allowed by law. KEEP GREAT MUSIC AUVE

30 He set out in 1854 to write a sonata for two pianos, but by June of that year, he was already uncertain about it and wrote to Joachim:

I'd really like to put my D minor sonata aside for a long time. I have often played the first three movements with Frau Schumann. (Improved.) Actually, not even two pianos are really enough for me ... I am in so confused and indecisive a frame of mind that I can't beg you enough for a good, firm response. Don't avoid a negative one either, it could only be useful to me.

In March he had traveled the few miles from Diisseldorf to Cologne in order to hear the Beethoven Ninth for the first time. More than twenty-two years would pass before he allowed himself to complete a symphony and have it performed, but still, from then on, the idea of writing such a work gave him no peace. Before long, the sonata for which two pianos were not enough turned into the symphony it had really wanted to be in the first place (and the choice of D minor, the key of the Beethoven Ninth, for this sonata/symphony is no coincidence). He was reluctant, though, to face the idea of symphony, nor would the sonority of the piano go away. To turn the music into a piano concerto seemed to be the answer, and by April 1856 he was sending drafts to Joachim ("You know how infinitely you could please me—if it's worth the effort at all—by looking at it very carefully and passing on to me even the most trivial of your thoughts and reservations").

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Joachim to Brahms, December 4, 1856:

I don't know whether you will be pleased by my penciled suggestions and wish you'd soon answer that unstated question, best of all by simply sending me the concerto's continuation ... I become more fond of the piece all the time, though certain things don't altogether convince me compositionally: from page 21 to 24 its too fragmentary, not flowing enough—restless rather than impassioned just as in general, after the significant opening and the wonderfully beautiful song in minor, I miss an appropriately magnificent second theme—I do realize that something commensurately elevated and beautiful in major, something that could compete in breadth with the opening idea, must be hard to find—but even these reservations don't blind me to the many glories of the movement.

Brahms to Joachim, December 12, 1856:

So here is the finale, just to be rid of it at last. Will it be good enough for you? I

doubt it. The end was really meant to be good, but now it doesn't seem so to me. A thousand thanks for having looked over the first movement so benevolently

and exactly. I have already learned a lot from your beautiful commentary . . V Scold and cut all you want.

Brahms to Joachim, early January 1857:

You're not embarrassed to make heavy and heavier cuts in the rondo, are you? I know very well that they're needed. Send it soon. Here's the first movement,

copied over for a second and, please, severe going over . . . Oddly enough, an Hufl — — MEkI Adagio is going along as well. If I could only rejoice over a successful Adagio.

Write to me about it, and firmly. If you like a little bit, show it to our dear friend, otherwise not ... I like the little alteration on page 19, line 2, but doesn't it

remind me of Wagner? . . . Dear Joseph, I am so happy to be able to send you my things, it makes me feel doubly sure.

Joachim to Brahms, January 12, 1857: ^m Your finale—all in all, I find it really significant: the pithy, bold spirit of the first H theme, the intimate and soft B-flat major passage, and particularly the solemn reawakening toward a majestic close after the cadenza, all that is rich enough to I leave an uplifting impression if you absorb these principal features. In fact, I even believe that even after the impassioned spaciousness of the first movement and the elevating reverence of the second it would make a satisfying close to the whole concerto—were it not for some uncertainties in the middle of the movement, which disturb the beauty and the total effect through a kind of instability

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So it went for months more, with revisions, with decisions to leave certain things alone ("I'm returning one passage still with the mark of Cain on its forehead"), with inquiries about horn transpositions, the risk involved in assigning a solo to the third horn ("The players in Hamburg and Elberfeld are worthless, and who knows about other orchestras?"), about the advisability of omitting the piccolo altogether (he did, settling finally on a contained and classical orchestra with woodwinds and trumpets in pairs, four horns, kettledrums, and strings). In December 1857 he wrote the despairing sentence already quoted: "I have no judgment about this piece any more, nor any control over it," adding "Nothing sensible will ever come of it." To which Joachim sensibly replied, "Aber Mensch, but I beg you, man, please for God's sake let the copyist get at the concerto." "I made more changes in the first movement," Brahms reported in March 1858 and even risked not sending them to Joachim. That good friend made his orchestra available for a reading rehearsal in Hanover in April, and bit by bit, Brahms came to face the inevitable: he must let it go and perform it.

The premiere in Hanover went well enough, but the performance in the more important city of Leipzig a few days later was a disaster:

No reaction at all to the first and second movements. At the end, three pairs of hands tried slowly to clap, whereupon a clear hissing from all sides quickly put an end to any such demonstration ... I think it's the best that could happen to one, it forces you to collect your thoughts and it raises courage. After all, I'm still trying and groping. But the hissing was really too much, yes?

"For all that," Brahms wrote in the same letter to Joachim, "one day, when I've improved its bodily structure, this concerto will please, and a second will sound very different." He was right on both points (though, in fact, he revised only some details). He became a master. For the solemn, sarabande-like slow movement of the D minor symphony-that-never-was, he found a beautiful use when he set to it the words "For all flesh is as grass, and all the glory of man as the flower of grass" in his German Requiem. And who would want the D minor concerto to be other than it is, great and with rough edges, daring and scarred, hard to make sound well, and u holding in its Adagio, over which he once inscribed the words Benedictus qui venit in nomine Domini,'" all that in his painful, Werther-like loyalty and love he had felt about Robert and Clara Schumann? —Michael Steinberg

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Johannes Brahms Symphony No. 4 in E minor, Opus 98

Johannes Brahms was born in Hamburg, Germany,

on May 7, 1833, and died in Vienna on April 3, 189 7. His first mention of his Fourth Symphony is in a letter of August 19, 1884, to his publisher, Fritz Simrock. The work must have been completed about a year later, and in October 1885 he gave a two- piano reading of it with Ignaz Brull in Vienna for a small group of friends including the critic Eduard Hanslick, the surgeon Theodor Billroth, the conductor Hans Richter, and the historian and Haydn biographer C.F. Pohl. Brahms conducted the first 5C V orchestral performance at Meiningen on October 25, 1885. The American premiere was to have taken place in Boston in November 1886. Wilhelm Gericke in fact conducted the work at the public rehearsal mi on the 26th of that month, but cancelled the scheduled performance after making highly critical remarks to the audience about the new score. He did conduct it at the Boston Symphony concerts of December 22 and 23, 1886, but meanwhile Walter Damrosch had gotten ahead of him with a concert performance with the New York Symphony on >y - - . * December 11. It has also been played by the Boston Symphony under Arthur Nikisch, Emit Paur, Carl Wendling, Max Fiedler, Karl Muck, Pierre Monteux, Serge Kousse- vitzky, Eugene Goossens, Stanley Chappie, George Szell, Charles Munch, Leonard Bernstein, Richard Burgin, Vladimir Golschmann, Erich Leinsdorf, Rafael Kubelik, Carlo Maria Giulini, William Steinberg, Michael Tilson Thomas, Joseph Silverstein, Edo de Waart, Klaus Tennstedt, Colin Davis, Andrew Davis, Seiji Ozawa, Vaclav Neu- mann, and Giuseppe Sinopoli, who led the most recent subscription performances in October 1985. Seiji Ozawa led the most recent Tanglewood performance in July 1987. The score calls for two flutes and piccolo, two oboes, two clarinets, two bassoons and contrabassoon, four horns, two trumpets, three trombones, timpani, triangle, and strings. Piccolo and triangle appear in the third movement only, contrabassoon in the third and fourth movements only, and the trombones in the fourth movement only.

Brahms sat on his First Symphony for close to twenty years. He was making sketches in the late '50s, friends like Clara Schumann and Albert Dietrich saw the

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first movement in more or less completed state in the early '60s, the C major horn call that now floods the introduction to the finale with sunlight served as a birthday- greeting to Clara in 1868, but still, in 1872, Brahms wrote, "I shall never write a symphony! You can't have a notion what it's like always to hear such a giant march- ing behind you." It was late 1876 when he at last released the work for performance. The terror of Beethoven and the terror of the idea of symphony once overcome, three m more such works followed in relatively quick succession. The Second came along almost right away, having been begun, finished, performed, and published, all in 1877. Then there was an interval filled with other work—the Violin Concerto and Second Piano Concerto, the Academic Festival and Tragic overtures, N'dnie and Gesang der Parzen, chamber music including the G major violin sonata, C major trio, and F major string quintet, solo piano pieces, songs, and a second book of Hun- garian Dances. The Third Symphony, begun in 1882, was finished in the summer of •. 1883, and the Fourth seems to have been started during the summer of the following year. That year he chose Murzzuschlag in Styria for his annual holiday*: "The cherries don't ever get to be sweet and edible in this part of the world," he wrote to several of his friends, adding that he feared his new music had taken on something of their flavor.

As always, he announced a work in progress with caution. To his publisher he made only some vague noise about a need for paper with more staves. To Hans von Biilow he reported in September 1885: "Unfortunately, nothing came of the piano concerto that I should have liked to write. I don't know, the two earlier ones are too good or maybe too bad, but at any rate they are obstructive to me. But I do have a couple of entr'actes; put together they make what is commonly called a symphony. On tour with the Meiningen orchestra, I have often imagined with pleasure how it would be to rehearse it with you, nicely and at leisure, and I'm still imagining that now, wondering by the way whether it would have much of an audience."

Meiningen, about 100 miles east and slightly north of Frankfurt, and now just over the border into the German Democratic Republic, was the capital of the tiny principality of Saxe-Meiningen.f In the eighteenth century, when Johann Sebastian Bach's third cousin, Johann Ludwig Bach, was Capellmeister there, Meiningen' orchestra had an excellent reputation. The little town continued to have a vital theatrical and musical community, and during the last part of the nineteenth century, when first Hans von Biilow and then Fritz Steinbach were its conductors, the Meiningen Orchestra was one of Europe's elite musical organizations. Liszt,

< Wagner, and Brahms were associated with it, as was Max Reger in later years; Richard Strauss learned his trade as conductor with von Biilow and the Meiningen players; Richard Muhlfeld, the great clarinetist for whom Brahms wrote his two sonatas, trio, and quintet, was in the orchestra; and Donald Tovey began his career - • as a writer about music when he supplied program notes for the orchestra's visit to London.

Von Biilow, fifty when he began his five-year stint at Meiningen in 1880, was one of the most imposing and brilliant musical personalities of the century. A remarkable pianist, conductor, and polemicist, he was one of the most prominent of the Wag- nerians and conducted the first performances of Tristan and Meistersinger. He was

*During the year, in the city, Brahms sketched new works and read publishers' proofs. He also still gave occasional concerts. Summers, in the country, he did his most concentrated composing. These were working holidays, then, and the choice of site and no place, however lovely, — W^I^^H It6*^1 served him more than three years in a row—was one of the principal preoccupations of each spring. f"Ah, good morning, Your Highness," said Brahms once to Prince George II. "I've just taken a quick pre-breakfast walk through the neighboring kingdoms."

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caught in a wretched personal situation when his wife, the daughter of Franz Liszt, left him for Wagner. He continued to conduct Wagner's music, but he became one of the most fervent admirers and effective champions of Brahms (and thus one of the few to bridge what seemed then a vast gulf between musical ideologies*). He was, in any event, delighted to have Brahms come to Meiningen with his new symphony and cautiously explored the possibility of including composer and work on a tour of the Rhineland and Holland. In due course, Brahms arrived at Meiningen, and the new symphony went into rehearsal. "Difficult, very difficult," reported von Biilow, adding a few days later, "No. 4 gigantic, altogether a law unto itself, quite new, steely individuality. Exudes unparalleled energy from first note to last." The premiere went well, and the audience tried hard but unsuccessfully to get an encore of the scherzo. Von Biilow conducted a repeat performance a week later, after which the orchestra set off on its tour, with Brahms conducting the new symphony in Frank- furt, Essen, Elberfeld, Utrecht, Amsterdam, The Hague, Krefeld, Cologne, and Wiesbaden. It was liked and admired everywhere, though Vienna rather resisted the performance two months later by the Philharmonic under Richter, a performance unfortunately prepared nowhere near as well as the series in Meiningen. n^^^^HM^Hffl

It is curious that while the public took to the Fourth, Brahms 's friends, including 1 1 J 1 • ,»-c , professionals and near-professionals like Eduard Hanslick and Elisabeth von B Herzogenberg, had some difficulty with it. Perhaps that can be explained. The *MQ H^v^t^vi public, except in Vienna, heard superbly realized performances, while Hanslick, for ' •\ ... ,' ' f* example, knew it first from a two-piano reading (he remarked it was like being beaten 9nG up by two tremendously intelligent and witty people), and Frau von Herzogenberg, U 1 v

*He was also the first to play the Tchaikovsky B-flat minor concerto in Boston, on October 25, — m ' 1 1875 that have united the the in their — a commitment would Brahmsians and Wagnerians r 1 disapproval.

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It is fascinating, for example, to learn that the opening was disconcerting to Joseph Joachim. Something preparatory, he suggests, even if it were only two measures of unison B, would help listeners find their way into the piece (in fact, reading his correspondence with Brahms, we learn that originally there were some preparatory measures which were struck out and destroyed). The second statement of the opening melody was difficult to unravel, the theme itself now given in broken octaves and in dialogue between second and first violins,* with elaborate decorative material in violas and woodwinds. Almost everyone was upset over what seems now vv one of the most wonderful strokes in the work, the place where Brahms seems to make the conventional, classical repeat of the exposition but changes one chord after eight measures, thereby opening undreamed-of harmonic horizons, and only then, after so leisurely a start, moves into the closely argued development. On the other hand, everyone admired the dreamily mysterious entry into the recapitulation—the long sequence of sighing one-measure phrases, subsiding, sinking into one of only il'-j four places marked ppp in all of Brahms's orchestral music, from which oboes, clarinets, and bassoons emerge in their severe yet gentle reediness to sound the first *~,tWfl four notes of the opening melody, in immense magnification, strings weaving an m^sm This place presents an excellent reason for reverting sometimes to the old seating of orchestras %** that had first and second violins on opposite sides of the stage. wM

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44 enigmatic garland about the last note. The next four notes are treated the same way, and then the music's melancholy flow resumes in the expected way.

For Brahms to build a slow movement over the same keynote as the first movement is rare indeed; yet he does it here and finds an inspired way of celebrating simultaneously the continuity and the contrast of E minor (the first movement) and E major (the second). Horns play something beginning on E—a note we have well in our ears after the emphatic close of the Allegro—but which sounds like C major. It turns out to be something more like the old Phrygian mode, and it is in any case fresh enough and ambiguous enough to accommodate the clarinets' hushed suggestion that one might place a G-sharp over the E, thus inaugurating an idyllic E major. But the notion of a C major beginning is not forgotten and will be fully pursued in the massively rambunctious scherzo.

For the finale, Brahms goes back to the E minor from which he began, but with a theme whose first chord is A minor and thus very close to the world of the just finished scherzo. Brahms's knowledge of Baroque and Renaissance music was extensive and, above all, profound, and so, when he writes a passacaglia, which must have seemed like sheer madness to the up-to-date Wagnerians, he does it like a man composing living music, with no dust of antiquarianism about it. He had been impressed by a cantata, then believed to be by Bach (listed as No. 150, Nach dir, Kerr, verlanget mich), whose last movement is a set of variations over a repeated bass, and he had maintained that something could still be done with such a bass, though the harmonies would probably have to be made richer. And of course he knew well the great Chaconne for violin solo. The finale of the Haydn Variations of 1873 was a brilliantly achieved trial run, but the scope of the grand and tragic finale of the Fourth Symphony is on another level altogether. Woodwinds and brasses, joined at the last by rolling drums, proclaim a sequence of eight chords. The trombones have been saved for this moment, and even now it is characteristic that the statement is forte rather than fortissimo. The movement falls into four large sections. First, twelve statements of the eight-bar set, with bold variations of texture, harmonic detail, and rhetoric. This phase subsides, to inaugurate a contrasting section, first in minor still, but soon to move into major, in which the measures are twice as long, the movement thus twice as slow. (Brahms is explicit here about wishing the beats, though there are now twice as many of them per measure, to move at the same speed as before: in other words, the double length of the measures is enough to make this "the slow movement" of the finale, and the conductor should not impose a further slowing down of his own.) Four of these bigger variations make up this section. The original pace is resumed with what appears to be a recapitulation. But strings intervene passionately midway through the eight-chord sequence, and the ensuing sixteen variations bring music more urgently dramatic than any yet heard in the symphony. The passion and energy are released in an extensive, still developing, still experiencing coda at a faster speed. Thus the symphony drives to its conclusion, forward-thrusting yet measured, always new in detail yet organically unified, stern, noble, and with that sense of inevitability that marks the greatest music. —M.S.

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Jens Peter Larsen's excellent Haydn article in The New Grove (with work-list and bibliography by Georg Feder) has been reprinted separately (Norton, available in paperback). Rosemary Hughes's Haydn in the Master Musicians series (Littlefield paperback) is a first-rate short introduction. The longest study (hardly an introduction!) is H.C. Robbins Landon's mammoth, five-volume Haydn: Chronology and Works (Indiana); it will be forever an indispensable reference work, though its sheer bulk and the author's tendency to include just about everything higgledy-piggledy make it sometimes rather hard to digest. Highly recommended, though much more technically detailed, is Haydn Studies, edited by Jens Peter Larsen, Howard Ser- wer, and James Webster (Norton); it contains the scholarly papers and panel discus- sions held at an international festival-conference devoted to Haydn in Washington, D.C., at which most of the burning issues of Haydn research were at least aired if not entirely resolved. No consideration of Haydn should omit Charles Rosen's 1 brilliant study The Classical Style (Viking; also a Norton paperback). Antal Dorati's I extended efforts to record the complete Haydn symphonies with the Philharmonia Hungarica resulted in one of the great monuments of recorded history, in seven boxed sets with detailed notes by H.C. Robbins Landon (London Stereo Treasury, unfortunately no longer available, but worth searching for in used record stores). Meanwhile, available recordings of the Drumroll Symphony include Simon Rattle's with the English Chamber Orchestra (Angel, with Symphony No. 100), Georg Solti's with the London Philharmonic (London, with Symphony No. 102), and Herbert von Karajan's with the Berlin Philharmonic (with Symphony No. 104, London). Unfor- tunately, Sir Colin Davis has not yet recorded the Drumroll as part of his continuing series of late Haydn symphonies with the Concertgebouw Orchestra on Philips.

The Life of Johannes Brahms by Florence May, a two-volume biography that came out in 1905, is still available, superb, and expensive (Scholarly). The most recent life- and-works on a more modest scale is Karl Geiringer's (Oxford). John Horton has contributed a good volume on Brahms Orchestral Music to the BBC Music Guides (University of Washington paperback). Donald Francis Tovey's note on the Fourth Symphony in his Essays in Musical Analysis is excellent (Oxford, available in paperback). For the reader with some technical knowledge of music, Arnold Schoen- berg's essay "Brahms the Progressive" is not to be missed; it is contained in Style and Idea (St. Martin's). Bernard Jacobson's The Music of Johannes Brahms is a fine HEga introduction to Brahms's style for those not afraid of musical examples (Fairleigh Dickinson University Press), and there are good things, too, in Julius Harrison's Brahms and his Four Symphonies (Da Capo). Maurizio Pollini has recorded Brahms's D minor concerto with Karl Bohm and the Vienna Philharmonic (DG). Other recommended recordings include those of Claudio Arrau with Bernard Hait- ink and the Concertgebouw (Philips), Alfred Brendel with Claudio Abbado and the Berlin Philharmonic (Philips), and Emanuel Ax with James Levine and the Chicago

Symphony (RCA). Leon Fleisher's performance with George Szell and the Cleveland /''." Orchestra, formerly available on an Odyssey LP, has not yet appeared on compact disc. Recommended recordings of Brahms's Fourth Symphony include Leonard Bernstein's new live-performance recording with the Vienna Philharmonic (DG, with the Tragic Overture), Carlos Kleiber's with the Vienna Philharmonic (DG), Herbert von Karajan's with the Berlin Philharmonic (DG, with the Tragic Overture and the Haydn Variations), Arturo Toscanini's with the NBC Symphony (RCA, with the Gesang der Parzen and the Liebeslieder Waltzes), and Marek Janowski's with the Royal Liverpool Philharmonic (ASV, with the Academic Festival Overture). —S.L.

47 Week 17 Doyou think about moneywhen you shouldn't? Let a Bank of New England Private Banker take care of detallS th y givin y°u the ' § «™ and f^ SMKS SUCCeSS H? " - Y 617 973 1748 ' - Go ahead. You've earned it

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15 jjfcjr

flKs* Maurizio Pollini hmk7

One of the century's great keyboard masters, Maurizio Pollini performs only a limited number of United States fE» engagements each year. This season he joins Seiji Ozawa and the Boston Symphony Orchestra for performances of Wffi Brahms's D minor piano concerto at Symphony Hall in Boston and at Carnegie Hall in New York; as recitalist, he appears twice at Carnegie Hall and also offers recitals in Iv Los Angeles, San Francisco, and Washington, D.C. Mr. Pollini' s work as an exclusive Deutsche Grammophon artist includes a recording of the Brahms First Piano Con- certo with Karl Bohm leading the Vienna Philharmonic. His other recordings include works by Bartok, Beethoven, Boulez, Chopin, Manzoni, Mozart, Nono, Prokofiev, Schubert, Schumann, Schoenberg, Stravinsky, and Webern. Many of these have won the most prestigious international awards, including the Grand Prix International du Disque, the Deutscher Schallplattenpreis, the Prix Caecilia Bruxelles, the Grammy Award for Best Soloist with Orchestra, and Gramophone magazine's award for Best Instrumental Record. Mr. Pollini was born in 1942 in Milan, where he continues to live with his family.

Maurizio Pollini made his first Boston Symphony Orchestra appearances in November 1970, when he performed Prokofiev's Third Piano Concerto. He has returned frequently to perform with the orchestra both in Boston and New York, as soloist in concertos of Mozart, Brahms, Bartok, Schoenberg, and Chopin. His most recent appearances with the orchestra were in November and December 1985, when he performed Chopin's F minor piano concerto in Boston and New York. Mr. Pollini made his American conducting debut with the Boston Symphony Orchestra in March 1985, when he was both soloist and conductor for an all-Mozart program at Symphony Hall in Boston.

* ' XT For rates and I H I I information on BOSTON advertising in the SYMPHONY Boston Symphony, ORCHESTRA Boston Pops, SEIJI OZAWA \" and J Music Director Fs , Tanglewood program books Wr please contact:

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

49 Business/Professional Leadership Program

BUSINESS

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

Corporate Underwriters ($25,000 and above)

Bank of Boston Country Curtains and The Red Lion Inn General Electric Plastics Business Group The Pyramid Companies BSO Single Concert Sponsors

Bank of New England Corporation Opening Night at Symphony

BayBanks, Inc. Opening Night at Pops

NYNEX Corporation, WCVB-TV, Channel 5 Boston, and WCRB 102.5 FM Salute to Symphony 1989

Raytheon Company, WCVB-TV, Channel 5 Boston, and WCRB 102.5 FM Salute to Symphony 1988

NEC Corporation and NEC Deutschland GmbH Boston Symphony Orchestra European Tour

Nabisco Brands, Inc. Boston Pops Esplanade Orchestra Japan Tour

Digital Equipment Corporation Boston Pops Orchestra Public Television Broadcasts

Suntory Limited BSO recording of Elektra

For information on these and other corporate funding opportunities, contact Madelyne Cuddeback, BSO Director of Corporate Development, Symphony Hall, Boston, MA 02115, (617) 266-1492.

50 1988-89 Business Honor Roll ($10,000 and Above)

ADD Inc. Architects HBM/Creamer, Inc. Philip M. Briggs Edward Eskandarian Advanced Management Associates The Henley Group Harvey Chet Krentzman Paul M. Montrone Analog Devices, Inc. Honeywell Bull Ray Stata Roland Pampel AT&T IBM Corporation Robert Babbitt Paul J. Palmer Bank of Boston John Hancock Mutual Life Insurance Ira Stepanian E. James Morton Bank of New England Corporation Liberty Mutual Insurance Company Walter J. Connolly Gary L. Countryman BayBanks, Inc. Loomis-Sayles & Company, Inc. Richard F. Pollard Peter G. Harwood Boston Edison Company McKinsey & Company Stephen J. Sweeney Robert P. O'Block The Boston Globe Mobil Corporation William 0. Taylor Allen E. Murray Boston Herald Morse Shoe, Inc. Patrick J. Purcell Manuel Rosenberg Boston Safe Deposit & Trust Company Nabisco Brands, Inc. James N. von Germeten Charles J. Chapman Comet American Marketing NEC Corporation Douglas Murphy Atsuyoshi Ouchi Con Agra Incorporated NEC Deutschland GmbH Charles M. Harper Masao Takahashi Connell Limited Partnership The New England William F. Connell Edward E.Phillips Coopers & Lybrand New England Telephone Company Vincent M. O'Reilly Paul C. O'Brien Country Curtains Nynex Corporation Jane P. Fitzpatrick Delbert C. Staley

Creative Gourmets, Ltd. PaineWebber, Inc. Stephen E. Elmont James F. Cleary Digital Equipment Corporation Peat Marwick Main & Co. Kenneth G. Olsen Robert D. Happ Dynatech Corporation Pepsico, Inc. J. P. Barger D. Wayne Calloway Eastern Gas & Fuel Associates Prudential-Bache Securities Robert W Weinig David F. Remington EMC Corporation R&D Electrical Company, Inc. Richard J. Egan Richard D. Pedone Ernst & Whinney Rabobank Nederland Thomas M. Lankford Hugo Steemsa Fidelity Investments/ Raytheon Company Fidelity Foundation Thomas L. Phillips General Cinema Corporation The Red Lion Inn Richard A. Smith John H. Fitzpatrick General Electric Plastics Business Group Shawmut Bank, N.A. Glen H. Hiner John P. Hamill The Gillette Company The Sheraton Boston Hotel & Towers Colman M. Mockler, Jr. Robert McEleney Grafaeon, Inc. Sonesta International Hotels Corporation H. Wayman Rogers, Jr. Paul Sonnabend GTE Products Corporation State Street Bank & Trust Company Dean T. Langford William S. Edgerly

51 .

With Boston Coach, getting there and back is as pleasurable as the performance.

Call a professionally driven Boston Coach sedan for getting to the theater or the airport, for business or pleasure. It's Boston's new convenient, reliable alternative-without traffic, parking or weather worries

For reservations call 617-387-7676 or 1-800-672-7676 out of state Gift Certificates Available

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52 1988-89 Business Honor Roll (continued)

• The Stop & Shop Companies, Inc. Watson Mailing/Mail Communications, Inc. Avram J. Goldberg Irving Rawding Suntory Limited WCRB-102.5 FM Keizo Saji Richard L. Kaye Teradyne Inc. WCVB-Ty Channel 5 Boston Alexander V. d'Arbeloff S. James Coppersmith Tucker Anthony & R.L. Day, Inc. Wondriska Associates Gerald Segel William Wondriska m 93 USTrust Zayre Corporation James V. Sidell Maurice Segall

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From Boston; Take Route 3, exit 2 to Herring Pond Road. Take a left; Herring Run is 2.5 miles on the left. Herring Pond Road

From 1-495; Take exit 2 (Route 6, Bourne-Sagamore). Proceed Bourne, Massachusetts counter-clockwise around rotary to Route 6 east. Continue 2.5 mi Left at Flashing light. Herring Run is V2 mi. on the right. m

53 HOTEL MERIDIEN

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54 The Boston Symphony Orchestra gratefully acknowledges these Business and Professional Leadership Program members for their generous and valuable support totaling $1,250 and above during the past fiscal year. Names which are both capitalized and underscored in the Business Leaders listing comprise 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.

Business Leaders ($1,250 and above)

Accountants Automotive/Service "Harvey Industries, Inc. Frederick Bigony ARTHUR ANDERSEN & COMPANY J.N. Phillips Glass Company, Inc. William F. Meagher Alan L. Rosenfield "J.F. White Contracting Company ARTHUR YOUNG & COMPANY Philip Bonanno Banking Sales, Thomas P. McDermott Moliterno Stone Inc. A. *Bank in Liechtenstein, Kenneth Castellucci Charles E. DiPesa & Company AG Christian Norgren William F. DiPesa "National Lumber Company COOPERS & LYBRAND BANK OF BOSTON Louis L. Kaitz Vincent M. O'Reilly Ira Stepanian PERINI CORPORATION David B. Perini DELOITTE HASKINS & SELLS BANK OF NEW ENGLAND CORPORATION Mario Umana Consumer Goods/Distributors Walter J. Connolly ERNST & WHINNEY "August A. Busch & Company BAYBANKS, INC. Thomas M. Lankford Christopher L. Stevens Richard F. Pollard PEATMARWICK Chiquita Brands MAIN & CO. BOSTON SAFE DEPOSIT & TRUST Baron M. Hartley Robert D. Happ COMPANY James N. von Germeten COMET AMERICAN MARKETING PRICE WATERHOUSE Douglas Murphy Cambridge Trust Company Kenton J. Sicchitano Lewis H. Clark CON AGRA INCORPORATED Theodore S. Samet & Company Charles M. Harper * Chase Theodore S. Samet Manhattan Bank William N. MacDonald *Dry Creek Vineyards Tofias, Fleishman, David Stara Chase Manhattan Corporation Shapiro & Co., PC. FAIRWINDS GOURMET COFFEE Allan Tofias CITICORP/CITIBANK COMPANY Walter E. Mercer Michael J. Sullivan idvertising/Public Relations First of Mutual Boston *Hawaiian Department of Agriculture Keith G. Willoughby HBM/CREAMER, INC. * International Paper Company Edward Eskandarian First National Bank of Chicago Marc F. Wray Robert E. Gallery HILL, HOLLIDAY, CONNORS, *Massachusetts Department of Food ]OSMOPULOS, INC. RABOBANK NEDERLAND and Agriculture Jack Connors, Jr. Hugo Steemsa NABISCO BRANDS, INC. 'rma S. Mann, Strategic Marketing, * Rockland Trust Company H. John Greeniaus nc. John F. Spence, Jr. PEPSICO, INC. Irma Mann Stearns SHAWMUT BANK, N.A. D. Wayne Calloway John P. Hamill ierospace SUNTORY LIMITED STATE STREET BANK & TRUST Keizo Saji Northrop Corporation COMPANY United Liquors, Ltd. Thomas V Jones William S. Edgerly Michael Tye PNEUMO ABEX CORPORATION USTRUST Norman J. Ryker Vintners International Company, Inc. James V Sidell Michael Doyle Workingmens Co-operative Bank *Winery Associates irchitects JohnE. McDonald David L. Ready ADD INC. ARCHITECTS Philip M. Briggs Building/Contracting Electrical/HVAC James Stewart Polshek and Partners *A. J. Lane & Company, Inc. L. Rudolph Electrical Company, Inc. James Polshek & Tim Hartung Andrew J. Lane Louis Rudolph

LEA Group Chain Construction Corporation *p.h. mechanical Corporation

Eugene R. Eisenberg Howard J. Mintz Paul A. Hayes

55 YOUR PERMANENT SEASON'S TICKET

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56 rattTv

fcD ELECTRICAL COMPANY, INC. Food Service/Industry BBF Corporation Boruch B. Frusztajer iiehard D. Pedone *Boston Showcase Company Jason E. Starr BOLT BERANEK AND NEWMAN, 'ectronics Cordel Associates, Inc. INC. den Electronics, Inc. James B. Hangstefer Stephen R. Levy ohn M. Alden CREATIVE GOURMETS, LTD. COMPUGRAPHIC CORPORATION ^ALYTICAL SYSTEMS Stephen E. Elmont Carl E. Dantas VJGINEERING CORPORATION Different Tastes Catering COMPUTER PARTNERS, INC. B. Rukin lichael Jack Milan Paul J. Crowley jsco Incorporated daka Inc. Costar Corporation P. Coffin Vayne Terry Vince Otto Morningstar

ie Mitre Corporation Federal Distillers, Inc. DIGITAL EQUIPMENT Iharles A. Zraket i Alfred J. Balerna CORPORATION \RLEX corporation Kenneth G. Olsen Seasons and Occasions, Inc. lerbert W Pollack Dalu Pearson Dynamics Research Corporation Albert Rand xergy Footwear DYNATECH CORPORATION

iBOT CORPORATION J. P. Barger *Jones & Vining, Inc. Samuel Bodman Sven A. Vaule, Jr. EG&G, INC. OBIL CORPORATION MORSE SHOE, INC. Dean W Freed Jlen E. Murray Manuel Rosenberg EMC CORPORATION >wmont Mining Corporation The Rockport Corporation Richard J. Egan lordon R. Parker Stanley Kravetz *General Eastern Instruments Co. STRIDE RITE CORPORATION Pieter R. Wiederhold igineering THE Arnold S. Hiatt HELIX TECHNOLOGY ddberg-Zoino & Associates, Inc. CORPORATION >onald T. Goldberg Furnishings/Housewares Robert J. Lepofsky i one & Webster Engineering ARLEY MERCHANDISING THE HENLEY GROUP rporation CORPORATION Paul M. Montrone homas J. Whelan David I. Riemer HEWLETT-PACKARD COMPANY e Thompson & Lichtner *Barton Brass Associates, Inc. Ben L. Holmes mpany, Inc. Barton Brass HONEYWELL BULL )hn D. Stelling Corona Curtains Roland Pampel Paul Sheiber tertainment/Media IBM CORPORATION COUNTRY CURTAINS Paul J. Palmer ' ston Garden/Boston Bruins Jane P. Fitzpatrick llliam D. Hassett Instron Corporation ^NERAL CINEMA Jofran, Inc. Harold Hindman 'RPORATION Robert D. Roy *Intermetrics Inc. ichard A. Smith Joseph A. Saponaro Graphic Design tional Amusements, Inc. *Ionics, Inc. amner M. Redstone *Clark/Linsky Design Arthur L. Goldstein Robert H. Linsky *KYBE Corporation mnce/Venture Capital The Watt Group Charles Reed, Jr. rson Limited Partnership Don Watt *M/A-Com, Inc. erbert Carver WONDRISKA ASSOCIATES Vessarios G. Chigas RRELL, HEALER & COMPANY, William Wondriska MASSCOMP C. Richard A. Phillips ichard A. Farrell High Technology/Electronics MILLIPORE CORPORATION E FIRST BOSTON ANALOG DEVICES, INC. John A. Gilmartin RPORATION/BOSTON Ray Stata NEC CORPORATION alcolm MacColl APOLLO COMPUTER, INC. Atsuyoshi Ouchi E FIRST BOSTON Thomas A. Vanderslice NEC DEUTSCHLAND GmbH RPORATION/NEW YORK *Aritech Corp. Masao Takahashi amela Lenehan James A. Synk *Orion Research, Inc. 'estors in Industry Corporation AUGAT INC. Alexander Jenkins III an N. Momtchiloff Roger D. Wellington

57 .

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58 PRIME COMPUTER, INC. CHARLES H. WATKINS & MORGAN STANLEY & COMPANY, Joe M. Henson COMPANY INC. RAYTHEON COMPANY Richard P. Nyquist John Lazlo Thomas L. Phillips *Consolidated Group, Inc. PAINEWEBBER, INC. Woolsey S. Conover James F. Cleary SofTech, Inc. Justis Lowe, Jr. FRANK B. HALL OF The Petron Companies MASSACHUSETTS, INC. Ronald M. Pearson The Analytic Sciences Corporation Colby Hewitt, Jr. TASC) *The Putnam Management Company, Arthur Gelb *Fred S. James & Company of New Inc. England, Inc. Lawrence J. Lasser Tech/Ops, Inc. P. Joseph McCarthy Marvin G. Schorr SALOMON BROTHERS, INC. JOHN HANCOCK MUTUAL LIFE Sherif A. Nada TERADYNE INC. INSURANCE COMPANY Alexander V d'Arbeloff * State Street Development j E. James Morton Management Corporation THERMO ELECTRON CORP. * Johnson & Higgins of Massachusetts, Allen D. Carleton George N. Hatsopoulos Inc. TUCKER ANTHONY & R.L. DAY, £RE Corporation Robert A. Cameron INC. John K. Grady LIBERTY MUTUAL INSURANCE Gerald Segel COMPANY Hotels/Restaurants Wainwright Capital Company Gary L. Countryman Bay Hilton John M. Plukas Back THE NEW ENGLAND William Morton WOODSTOCK CORPORATION Edward E.Phillips The Bostonian Hotel Nelson J. Darling, Jr.

Timothy P. Kirwan Robert D. Gordon Adjusters, Inc. Robert D. Gordon Legal Boston Marriott Copley Place

, Alain Piallat SAFETY INSURANCE COMPANY BINGHAM, DANA & GOULD COPLEY PLAZA HOTEL Richard B. Simches Everett H. Parker William Heck Dickerman Law Offices Lola Dickerman THE HAMPSHIRE HOUSE Investments Thomas A. Kershaw *Fish & Richardson ABD Securities Corporation Mildred's Chowder House Theodor Schmidt-Scheuber Richard Dorfman James E. Mulcahy *Gadsby & Hannah Baring America Asset Management Harry F. Hauser THE RED LION INN Company, Inc. John H. Fitzpatrick Stephen D. Cutler GOLDSTEIN & MANELLO Richard J. Snyder >t. Botolph Restaurant * Baring International Investment Ltd. John Harris John F. McNamara GOODWIN, PROCTER AND HOAR Robert B. Fraser MIE SHERATON BOSTON HOTEL BEAR STEARNS & COMPANY, INC

s TOWERS Keith H. Kretschmer Hubbard & Ferris Robert McEleney Charles A. Hubbard *Essex Investment Management iONESTA INTERNATIONAL Company, Inc. * Lynch, Brewer, Hoffman & Sands IOTELS CORPORATION Joseph C. McNay Owen B. Lynch Paul Sonnabend FIDELITY INVESTMENTS/ *Mintz, Levin, Cohn, Ferris, Glovsky & 'HE WESTIN HOTEL, COPLEY FIDELITY FOUNDATION Popeo, PC. J Francis X. Meaney LACE * Goldman, Sachs & Company Bodo Lemke Peter D. Kiernan Nissenbaum Law Offices Gerald L. Nissenbaum ndustrial Distributors * Interact Management, Inc. Stephen Parker *Nutter, McClennen & Fish Admiral Metals Servicenter John K. P. Stone III Company KAUFMAN & COMPANY PALMER & Maxwell Burstein Sumner Kaufman DODGE Robert E. Sullivan Millard Metal Service Center THE KENSINGTON INVESTMENT Sarrouf, Tarricone & Flemming Donald Millard, Jr. COMPANY Alan E. Lewis Camille F. Sarrouf rnsurance *Kidder, Peabody & Company Sherburne, Powers & Needham irkwright Boston Insurance John G. Higgins Daniel Needham, Jr. Frederick J. Bumpus LOOMIS-SAYLES & COMPANY, Weiss, Angoff, Coltin, Koski & Wolf, CAMERON & COLBY CO., INC. INC. PC. Lawrence S. Doyle Peter G. Harwood Dudley A. Weiss

59 1988 Philips/PolyGram Classics

The Boston Home (formerly The Boston Home for Incurables) M Est: 1881 Seeks Your Support for Another Century

Write for Centennial Brochure: The Boston Home, Inc. John Bigelow, Treasurer 2049-206 1 Dorchester Avenue Robert B. Minturn, Jr., Assistant Treasurer Boston, Massachusetts 02124 617/825-3905

60 umviMiPvs

f I ; r I \ m ianagement/Financial/Consulting * Barry Wright Corporation *Rand-Whitney Corporation ADVANCED MANAGEMENT Ralph Z. Sorenson Robert Kraft ASSOCIATES The Biltrite Corporation *Sprague Electric Company Harvey Chet Krentzman Stanley J. Bernstein John L. Sprague ARTHUR D. LITTLE, INC. Boston Sand & Gravel Company The Stackpole Corporation Lyle G. Hall John F. Magee Dean M. Boylan Superior Brands, Inc. 3ain & Company, Inc. CENTURY MANUFACTURING AND Richard J. Phelps William W. Bain TY-WOOD CORPORATION THE BOSTON CONSULTING Joseph Tiberio *Termiflex Corporation 1R0UP CONNELL LIMITED William E.Fletcher Jonathan L. Isaacs PARTNERSHIP Textron, Inc. William F. Connell B.F. Dolan Corporate Decisions, Inc.

David J. Morrison *C.R. Bard, Inc. *Towle Manufacturing Company j Christopher J. McGillivary The Forum Corporation Robert H. McCaffrey John W. Humphrey Dennison Manufacturing Company Webster Spring Company, Inc. Nelson G. Gifford Alexander M. Levine Haynes Management, Inc. G. Arnold Haynes Emhart Corp. Wire Belt Company of America F. Wade Greer HCA Management T. Mitchell Ford Donald E. Strange *Erving Paper Mills Media Jason M. Cortell & Associates, Inc. Charles B. Housen THE BOSTON GLOBE Jason M. Cortell *FLEXcon Company, Inc. William O. Taylor KAZMAIER ASSOCIATES, INC. Mark R. Ungerer BOSTON HERALD Richard W. Kazmaier, Jr. GENERAL ELECTRIC PLASTICS BUSINESS GROUP Patrick J. Purcell Keller Company, Inc. Glen H. Hiner Boston Magazine Joseph P. Keller James Kuhn * Georgia-Pacific Corporation Lochridge & Company, Inc. Maurice W. King 102.5 Richard K. Lochridge WCRB— FM THE GILLETTE COMPANY Richard L. Kaye MCKINSEY & COMPANY Colman M. Mockler, Jr. WCVB-TV, CHANNEL 5 BOSTON Robert P. O'Block S. James Coppersmith PRUDENTIAL-BACHE GTE PRODUCTS CORPORATION Dean T. Langford SECURITIES Personnel David F. Remington HARVARD FOLDING BOX * John Leonard Personnel COMPANY, INC. Rath & Strong Linda J. Poldoian Melvin A. Ross Dan Ciampa TAD TECHNICAL SERVICES H.K. Webster Company, Inc. Robert Boyer CPA CORPORATION Dean K. Webster Robert Boyer David J. McGrath, Jr. Companies, Ltd. William M. Mercer Meidinger HMK Group Joan L. Karol Printing Hansen, Inc. Chester D. Clark Hudson Lock, Inc. BOWNE OF BOSTON, INC. The Wyatt Company Norman Stavisky William Gallant Michael H. Davis Kendall Company * Bradford & Bigelow, Inc.

J. Dale Sherratt John D. Galligan Manufacturer's Representatives Kenett Corporation Customforms, Inc. Ben-Mac Enterprises, Inc. Julius Kendall David A. Granoff I Thomas F. McAuliffe DANIELS PRINTING COMPANY KITCHEN, & KUTCHIN, INC. LEACH & GARNER COMPANY Lee S. Daniels Melvin Kutchin Philip F. Leach NEW ENGLAND BUSINESS *Dickinson Direct Response 'Paul R. Cahn Associates, Inc. SERVICE, INC. Donald Dickinson Paul R. Cahn Richard H. Rhoads *Espo Litho Co., Inc. Manufacturing/Industry *New England Door Corporation David M. Fromer Alles Corporation Robert C. Frank George H. Dean Company Stephen S. Berman Norton Co. Earle Michaud Ausimont Donald R. Melville GRAFACON, INC. Leonard Rosenblatt * Polaroid Corporation H. Wayman Rogers, Jr. *Avedis Zildjian Company I.M. Booth ITEK GRAPHIX CORPORATION Armand Zildjian R. Patrick Forster

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62 ABEL ART, INC. Renaissance Properties *CompuChem Corporation Thomas J. Cobery Roger E. Tackeff Gerard Kees Verkerk tfARK-BURTON PRINTING *Trammell Crow Company DAMON CORPORATION Robert Cohen Arthur DeMartino David I. Kosowsky * Johnson & Johnson ilASSACHUSETTS ENVELOPE Retail James E. Burke Company DEMOULAS SUPERMARKETS, Steven Grossman Lectro-Med Health Screening INC. Services, Inc. Sand Typography, Inc. T.A. Demoulas Allan Kaye

, Mildred Nahabedian *Dudwick Shindler Association Sherman Printing Dennis Krize Services Peter Sherman *Federated Department Stores, Inc. ASQUITH CORPORATION Howard Goldfeder Lawrence L. Asquith

: Publishing FILENE'S *Giltspur Exhibits/Boston 'Addison-Wesley Publishing Company, David P. Mullen Thomas E. Knott

Sine. *Gitano The Prudential Property Company, Warren R. Stone Alison Belaza Inc.

CAHNERS PUBLISHING HARBOR SWEETS R.M. Bradley & Co., Inc. COMPANY Ben Strohecker *Victor Grillo & Associates Saul Goldweitz * Hills Department Stores Victor N. Grillo HOUGHTON MIFFLIN COMPANY Stephen A. Goldberger Software/Information Services Harold T. Miller J. Baker, Inc. CULLINET SOFTWARE, INC. Little, Brown & Company Sherman N. Baker J. Cullinane Kevin L. Dolan John J. BILDNER & SONS Architects, Inc. McGraw-Hill, Inc. James L. Bildner Data Martin Cooperstein W. Jr. Harold McGraw, * Jay B. Rudolph, Inc. TheRobb Report Ronald Rudolph Interactive Data Corporation John M. Rutherfurd, Jr. Samuel Phillips JORDAN MARSH COMPANY *Lotus Development Corporation rime, Inc. Elliot Stone Jim P. Manzi . George Ray Karten's Jewelers Ltd. Yankee Publishing Incorporated Joel Karten *Phoenix Technologies, Neil Colvin Rob Trowbridge *Loblaw Companies Limited David Nichol Travel/Transportation

Real Estate/Development Louis, Boston GANS TIRE COMPANY, INC. THE BEACON COMPANIES Murray Pearlstein David Gans Norman Leventhal NEIMAN-MARCUS HERITAGE TRAVEL, INC. William D. Roddy Benjamin Schore Company Donald R. Sohn Benjamin Schore * Purity Supreme Supermarkets THE TRANS-LEASE GROUP Frank P. Giacomazzi Combined Properties, Inc. John J. McCarthy Stanton L. Black *Saks Fifth Avenue Ronald Hoffman Utilities Corcoran, Mullins, Jennison, Inc. AT&T Joseph E. Corcoran *Sears, Roebuck & Company S. David Whipkey Robert Babbitt Demeter Realty Trust THE STOP & SHOP BOSTON EDISON COMPANY George P. Demeter COMPANIES, INC. Stephen J. Sweeney FIRST WINTHROP CORPORATION Avram J. Goldberg EASTERN GAS & FUEL Arthur J. Halleran, Jr. "Tiffany & Co. ASSOCIATES The Flatley Company William Chaney Robert W Weinig Thomas J. Flatley ZAYRE CORPORATION New England Electric System the Fryer Group, Inc. Maurice Segall Joan T. Bok Malcolm F. Jr. Fryer, NEW ENGLAND TELEPHONE Hilon Development Corporation Science/Medical COMPANY Haim S. Eliachar Baldpate Hospital Paul C. O'Brien Lucille M. Batal Historic Mill Properties NYNEX CORPORATION Bert Paley Cambridge BioScience Corporation Delbert C. Staley 'John M. Corcoran & Company Gerald F Buck John M. Corcoran CHARLES RIVER 'Northland Investment Corporation LABORATORIES, INC. Robert A. Danziger Henry L. Foster

63 Next Program . . .

Thursday, March 9, at 8 Friday, March 10, at 2

Saturday, March 11, at 8

SEIJI OZAWA conducting

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

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64 Coming Concerts . . .

to one of Thursday 'C—March 9, 8-9:35 Go 'A' 2-3:35 Friday —March 10, Saturday 'A'—March 11, 8-9:35 our auctions SEIJI OZAWA conducting MAHLER Symphony No. and you'll be Wednesday, March 15, at 7:30 Open Rehearsal going once, Steven Ledbetter will discuss the program at 6:45 in the Cohen Wing. Thursday 'B'—March 16, 8-10:30 goingtwice, Friday 'A'—March 17, 2-4:30 Saturday 'B'—March 18, 8-10:30 Tuesday 'C—March 21, 8-10:30 HELMUTH RILLING conducting SYLVIA McNAIR, soprano THOMAS RANDLE, tenor tofSes. MARK PEDROTTI, baritone TANGLEWOOD FESTIVAL CHORUS, JOHN OLIVER, conductor HAYDN The Seasons

Thursday 'D'—March 23, 8-10 Friday 'B'—March 24, 2-4 Saturday 'A'—March 25, 8-10 SKINNER CHARLES DUTOIT conducting Auctioneers S? Appraisers VLADIMIR FELTSMAN, piano ROUSSEL Symphony No. 4 A real find. MOZART Piano Concerto No. 27 Rte. 117, Bolton, MA 01740 in B-flat, K.595 508-779-6241 RACHMANINOFF Symphonic Dances 2 Newbury Street, Boston, MA 02116 236-1700 Thursday 'A'—March 30, 8-9:45 Friday Evening—March 31, 8-9:45 Saturday 'A'—April 1, 8-9:45 GEWANDHAUS ORCHESTRA OF LEIPZIG KURT MASUR conducting

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Symphony Hall Information . .

FOR SYMPHONY HALL CONCERT AND THE SYMPHONY SHOP is located in the TICKET INFORMATION, call (617) Huntington Avenue stairwell near the 266-1492. For Boston Symphony concert Cohen Annex and is open from one hour program information, call "C-O-N-C-E-R-T." before each concert through intermission. The shop carries BSO and musical-motif THE BOSTON SYMPHONY performs ten merchandise and gift items such as calen- months a year, in Symphony Hall and at dars, clothing, appointment books, drink- Tanglewood. For information about any of ing glasses, holiday ornaments, children's the orchestra's activities, please call Sym- books, and BSO and Pops recordings. All phony Hall, or write the Boston Symphony .•V proceeds benefit the Boston Symphony Orchestra, Symphony Hall, Boston, MA Orchestra. For merchandise information, 02115. please call (617) 267-2692. THE EUNICE S. AND JULIAN COHEN WING, adjacent to Symphony Hall on TICKET RESALE: If for some reason you Huntington Avenue, may be entered by the are unable to attend a Boston Symphony Symphony Hall West Entrance on Hunt- concert for which you hold a ticket, you may I ington Avenue. make your ticket available for resale by call- FOR SYMPHONY HALL RENTAL ing the switchboard. This helps bring needed revenue to the orchestra and makes rgH INFORMATION, call (617) 266-1492, or your seat available to someone who wants to write the Function Manager, Symphony attend the concert. A mailed receipt will Hall, Boston, MA 02115. acknowledge your tax-deductible THE BOX OFFICE is open from 10 a.m. contribution. until 6p.m. Monday through Saturday; on RUSH SEATS: There are a limited number concert evenings, it remains open through of Rush Tickets available for the Friday- intermission for BSO events or just past afternoon and Saturday-evening Boston starting-time for other events. In addition, Symphony concerts (subscription concerts the box office opens Sunday at 1 p.m. when only). The continued low price of the Satur- there is a concert that afternoon or evening. day tickets is assured through the gener- Single tickets for all Boston Symphony osity of two anonymous donors. The Rush subscription concerts are available at the Tickets are sold at $5.50 each, one to a box office. For outside events at Symphony customer, at the Symphony Hall West Hall, tickets will be available three weeks Entrance on Fridays beginning 9 a.m. and before the concert. No phone orders will be Saturdays beginning 5 p.m. accepted for these events. PARKING for Boston Symphony Orches- TO PURCHASE BSO TICKETS: American A tra evening concerts is available for $4 at Express, MasterCard, Visa, a personal check, the Prudential Center Garage. Enter after and cash are accepted at the box office. To 5 p.m., exit by 1 a.m., and present your charge tickets instantly on a major credit ticket stub when exiting. card, or to make a reservation and then send payment by check, call "Symphony-Charge" LATECOMERS will be seated by the ' *** at (617) 266-1200, Monday through Satur- ushers during the first convenient pause in 9 day from 10 a.m. until 6 p.m. There is a the program. Those who wish to leave handling fee of $1.50 for each ticket ordered before the end of the concert are asked to by phone. do so between program pieces in order not to disturb other patrons. IN CONSIDERATION of our patrons and artists, children under four years of age will SMOKING IS NOT PERMITTED in any not be admitted to Boston Symphony part of the Symphony Hall auditorium or in Orchestra concerts. the surrounding corridors. It is permitted

67 only in the Cabot-Cahners and Hatch BOSTON SYMPHONY BROADCASTS: rooms, and in the main lobby on Massachu- Concerts of the Boston Symphony Orches- setts Avenue. tra are heard by delayed broadcast in many parts of the United States and Canada, CAMERA AND RECORDING EQUIP- as well as internationally, through the Boston MENT may not be brought into Symphony Symphony Transcription Trust. In addi- Hall during concerts. tion, Friday-afternoon concerts are broad- FIRST AID FACILITIES for both men cast live by WGBH-FM (Boston 89.7); and women are available in the Cohen Saturday-evening concerts are broadcast Annex near the Symphony Hall West live by both WGBH-FM and WCRB-FM Entrance on Huntington Avenue. On-call (Boston 102.5). Live broadcasts may also be physicians attending concerts should leave heard on several other public radio stations their names and seat locations at the throughout New England and New York. If switchboard near the Massachusetts Ave- Boston Symphony concerts are not heard nue entrance. regularly in your home area and you would like them to be, please call WCRB Produc- WHEELCHAIR ACCESS to Symphony tions at (617) 893-7080. WCRB will be glad Hall is available at the West Entrance to to work with you and try to get the BSO on the Cohen Annex. the air in your area.

AN ELEVATOR is located outside the BSO FRIENDS: The Friends are annual Hatch and Cabot-Cahners rooms on the donors to the Boston Symphony Orchestra. Massachusetts Avenue side of the building. Friends receive BSO, the orchestra's newsletter, as well as priority ticket information LADIES' ROOMS are located on the and other benefits depending on their level orchestra level, audience-left, at the stage of giving. For information, please call the end of the hall, and on the first-balcony Development Office at Symphony Hall level, audience-right, outside the Cabot- weekdays between 9 and 5. If you are Cahners Room near the elevator. already a Friend and you have changed MEN'S ROOMS are located on the orches- your address, please send your new address tra level, audience-right, outside the Hatch with your newsletter label to the Develop- Room near the elevator, and on the first- ment Office, Symphony Hall, Boston, MA balcony level, audience-left, outside the 02115. Including the mailing label will Cabot-Cahners Room near the coatroom. assure a quick and accurate change of address in our files. fcr? COATROOMS are located on the orchestra a BSO: The BSO's Busi- and first-balcony levels, audience-left, out- BUSINESS FOR ness Professional Leadership program side the Hatch and Cabot-Cahners rooms. & makes it possible for businesses to partici- The BSO is not responsible for personal pate in the life of the Boston Symphony ^1 apparel or other property of patrons. Orchestra through a variety of original and

'«'...* LOUNGES AND BAR SERVICE: There exciting programs, among them "Presi- are two lounges in Symphony Hall. The dents at Pops," "A Company Christmas at Hatch Room on the orchestra level and the Pops," and special-event underwriting. St- Cabot-Cahners Room on the first-balcony Benefits include corporate recognition in >K mi level serve drinks starting one hour before the BSO program book, access to the each performance. For the Friday-after- Higginson Room reception lounge, and noon concerts, both rooms open at 12:15, priority ticket service. For further informa- with sandwiches available until concert tion, please call the BSO Corporate v * time. Development Office at (617) 266-1492.

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