I * -

110th Season 19 9 0-91

Boston Symphony Orchestra

Seiji Ozawa, Music Director

ANNIVERSARY OF Only the Few Will Own an audemars

Classic Straps: Automatic Perpetual Calendar: with date and second-hand in 18K gold. Day, date, month and moon phase in 18K gold.

Only the few will seek the exclusivity that comes with owning an Audemars Piguet. Only the few will recognize «» more than a century of technical in- /j| novation; today, that innovation is reflected in our ultra-thin mech- MeffltusHpet anical movements, the sophistica- tion of our perpetual calendars, and more recently, our dramatic new watch with dual time zones. Only the few will appreciate The CEO Collection which includes a unique selection of the finest Swiss watches man can create. Audemars Piguet makes only a limited number of watches each year. But then, that's something only the few will understand.

SHREVECRUMP &>LOW JEWELERS SINCE 1800

330 BOYLSTON ST., BOSTON, MASS. 02116 (617) 267-9100 • 1-800-225-7088 THE MALL AT CHESTNUT HILL • SOUTH SHORE PLAZA Seiji Ozawa, Music Director Grant Llewellyn and Robert Spano, Assistant Conductors One Hundred and Tenth Season, 1990-91

Trustees of the Boston Symphony Orchestra, Inc.

Nelson J. Darling, Jr., Chairman Emeritus

J. P. Barger, Chairman George H. Kidder, President Mrs. Lewis S. Dabney, Vice-Chairman Archie C. Epps, Vice-Chairman Mrs. John H. Fitzpatrick, Vice-Chairman William J. Poorvu, Vice-Chairman and Treasurer

David B. Arnold, Jr. Avram J. Goldberg Mrs. August R. Meyer Peter A. Brooke Mrs. R. Douglas Hall III Mrs. Robert B. Newman James F. Cleary Francis W. Hatch Peter C. Read John F. Cogan, Jr. Julian T. Houston Richard A. Smith Julian Cohen Mrs. Bela T. Kalman Ray Stata

William M. Crozier, Jr. Mrs. George I. Kaplan William F. Thompson Mrs. Michael H. Davis Harvey Chet Krentzman Nicholas T. Zervas Mrs. Eugene B. Doggett R. Willis Leith, Jr. Trustees Emeriti Vernon R. Alden Mrs. Harris Fahnestock Mrs. George R. Rowland Philip K. Allen Mrs. John L. Grandin Mrs. George Lee Sargent Allen G. Barry E. Morton Jennings, Jr. Sidney Stoneman Leo L. Beranek Albert L. Nickerson John Hoyt Stookey Mrs. John M. Bradley Thomas D. Perry, Jr. John L. Thorndike Abram T. Collier Irving W. Rabb Other Officers of the Corporation John Ex Rodgers, Assistant Treasurer Michael G. McDonough, Assistant Treasurer Daniel R. Gustin, Clerk

Administration Kenneth Haas, Managing Director Daniel R. Gustin, Assistant Managing Director and Manager of Tanglewood

Michael G. McDonough, Director of Finance and Business Affairs Evans Mirageas, Artistic Administrator Caroline Smedvig, Director of Public Relations and Marketing Josiah Stevenson, Director of Development

Robert Bell, Manager of Steven Ledbetter, Musicologist & Information Systems Program Annotator Peter N. Cerundolo, Director of Michelle R. Leonard, Media and Production Corporate Development Manager, Boston Symphony Orchestra Madelyne Cuddeback, Director of Marc Mandel, Publications Coordinator Corporate Sponsorships John C. Marksbury, Director of Patricia Forbes Halligan, Personnel Foundation and Government Support Administrator Julie-Anne Miner, Manager of Fund Sarah J. Harrington, Budget Manager Reporting Margaret Hillyard-Lazenby, Richard Ortner, Administrator of Director of Volunteers Tanglewood Music Center Russell M. Hodsdon, Manager of Box Office Scott Schillin, Assistant Manager, Bernadette M. Horgan, Public Relations Pops and Youth Activities Coordinator Joyce M. Serwitz, Director of Major Gifts/ Craig R. Kaplan, Controller Assistant Director of Development Nancy A. Kay, Director of Sales & Cheryl L. Silvia, Function Manager Marketing Manager Susan E. Tomlin, Director ofAnnual Giving Patricia Krol, Coordinator of Youth Activities

Programs copyright ©1991 Boston Symphony Orchestra, Inc. Cover by Jaycole Advertising, Inc. Board of Overseers of the Boston Symphony Orchestra, Inc.

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

Mrs. Herbert B. Abelow Haskell R. Gordon Mrs. Thomas S. Morse Harlan Anderson Steven Grossman Richard P. Morse Mrs. David Bakalar John P. Hamill E. James Morton Bruce A. Beal Daphne P. Hatsopoulos David G. Mugar Mrs. Leo L. Beranek Joe M. Henson David S. Nelson Lynda Schubert Bodman Mrs. Marilyn Brachman Hoffman Mrs. Hiroshi H. Nishino Donald C. Bowersock, Jr. Ronald A. Homer Robert P. O'Block William M. Bulger Lola Jaffe Paul C. O'Brien Mrs. Levin H. Campbell Anna Faith Jones Vincent M. O'Reilly Earle M. Chiles H. Eugene Jones Andrall E. Pearson Mrs. C. Thomas Clagett, Jr. Susan B. Kaplan John A. Perkins James F. Cleary Mrs. S. Charles Kasdon Daphne Brooks Prout William H. Congleton Richard L. Kaye Millard H. Pryor, Jr. William F. Connell Robert D. King Keizo Saji Walter J. Connolly, Jr. Mrs. Gordon F. Kingsley Roger A. Saunders S. James Coppersmith Allen Z. Kluchman Mrs. Raymond H. Schneider Albert C. Cornelio Koji Kobayashi Mark L. Selkowitz Phyllis Curtin Mrs. Carl Koch Malcolm L. Sherman

Alex V. d'Arbeloff David I. Kosowsky Mrs. Donald B. Sinclair Phyllis Dohanian Robert K. Kraft W. Davies Sohier, Jr. Hugh Downs George Krupp Ralph Z. Sorenson Goetz B. Eaton Mrs. Hart D. Leavitt Ira Stepanian

Edward Eskandarian Laurence Lesser Mrs. Arthur I. Strang Katherine Fanning Stephen R. Levy Mark Tishler, Jr. Peter M. Flanigan Frederick H. Lovejoy, Jr. Roger D. Wellington Dean Freed Mrs. Charles P. Lyman Robert A. Wells Eugene M. Freedman Mrs. Harry L. Marks Mrs. Thomas H.P. Whitney Peter H.B. Frelinghuysen C. Charles Marran Margaret Williams-DeCelles Mrs. James Garivaltis Nathan R. Miller Mrs. John J. Wilson Mark R. Goldweitz

Overseers Emeriti

Mrs. Weston W. Adams Mrs. Louis I. Kane Mrs. Peter van S. Rice Mrs. Frank G. Allen Leonard Kaplan Mrs. Jerome Rosenfeld Mrs. Richard Bennink Benjamin H. Lacy Mrs. William C. Rousseau Mary Louise Cabot Mrs. James F. Lawrence Francis P. Sears, Jr. Johns H. Congdon Hanae Mori Mrs. Edward S. Stimpson Mrs. Thomas J. Galligan Mrs. Stephen V.C. Morris Luise Vosgerchian Mrs. Richard D. Hill Stephen Paine, Sr. Mrs. Donald B. Wilson Susan M. Hilles David R. Pokross

Symphony Hall Operations

Robert L. Gleason, Facilities Manager James E. Whitaker, House Manager

Cleveland Morrison, Stage Manager Franklin Smith, Supervisor of House Crew Wilmoth A. Griffiths, Assistant Supervisor of House Crew William D. McDonnell, Chief Steward H.R. Costa, Lighting Officers of the Boston Symphony Association of Volunteers

Susan D. Hall, President Thelma E. Goldberg, Executive Vice-President Joan Erhard, Secretary Patricia A. Maddox, Treasurer Betty Sweitzer, Nominating Chairman

Vice-Presidents

Helen Doyle, Hall Services Marilyn Larkin, Tanglewood Goetz B. Eaton, Fundraising Patricia A. Newton, Regions Paul S. Green, Resources Development Carol Scheifele-Holmes, Public Relations Charles W. Jack, Adult Education F. Preston Wilson, Development Pat Jensen, Membership Pat Woolley, Youth Activities Maureen Hickey, Tanglewood

Chairmen of Regions

Krista Kamborian Baldini Helen Lahage Beverly J. Pieper Judy Clark Ginny Martens Patricia L. Tambone Joan Erhard Paula Murphy Arline Ziner Bettina Harrison Pamela S. Nugent

Business and Professional Leadership Association Board of Directors

Harvey Chet Krentzman, Chairman James F. Cleary, BPLA President Members

J.P. Barger Thelma E. Goldberg Malcolm L. Sherman Leo L. Beranek Joe M. Henson Ray Stata William F. Connell George H. Kidder Stephen J. Sweeney Nelson J. Darling, Jr. Vincent M. O'Reilly Roger D. Wellington

Boston Symphony Orchestra concerts are funded in part by the National Endowment for the Arts and the Massachusetts Cultural Council, a state agency.

Celebrating the 90th Anniversary of Symphony Hall

On display in the first-floor Huntington Avenue corridor of the Cohen Wing is an archival exhibit celebrating the 90th anniversary of Symphony Hall. In addition to newspaper accounts of the building's opening in 1900, the exhibit includes period photographs and a tribute to acoustician Wallace Clement Sabine. Articles on various aspects of Symphony Hall will be featured in the BSO program book throughout the season. The cover shows part of an architect's rendering of Symphony Hall, with lettering for "The Boston Music Hall" visible above what was originally the main entrance on Huntington Avenue. The new building was never so named, however, since the old Music Hall, where the BSO performed until Symphony Hall opened in 1900, was not torn down as planned. SENIOR LIVING NEVER LOOKED BETTER

Come See For Yourself You're invited to experience the excitement of The Village at Duxbury, an extraordinary senior living community based on hospitality. Visit the spacious model apartment at the Information Center and learn of the advantages of our unique continuum of health care community.

For a 4 -color brochure or to arrange a private visit, call Mrs. Henson at The Village at Duxbury, (617) 934-9744 or at 1-800-696-9744 (in MA only).

The Village at Duxbury 286 Kings Town Way, Duxbury, MA 02332 (617) 934-9744 or 1-800-696-9744 (in MA only) The Village at Duxbury is sponsored by Welch Duxbury Development Corporation, an affiliate of Welch Healthcare & Retirement Group, Inc. and the FIDUX Group, Inc., a limited partner, and an affiliate of

Fidelity Investments Levinson/Kane Gallery (April 16-May 13), works by members of the Monotype Guild (May 13- June 10), and works from the Eliza Spencer Gallery (June 10-July 8). These exhibits are BSO sponsored by the Boston Symphony Association of Volunteers, and a portion of each sale benefits "Music Makers.BSO Profiles" the orchestra. Please contact the Volunteer Available Now at the Office at (617) 638-9390, for further Symphony Shop information.

Supported by a generous grant from NEC to celebrate its sponsorship of the BSO's North "Salome" Dress Rehearsal, American tour this April and the European Tuesday, April 16, at 7:30 pm tour in August, "Music Makers.BSO Profiles" Tickets at $10 and $15 are on sale now at includes portrait photographs and up-to-date the Symphony Hall box office and through biographies of each member, as well as BSO SymphonyCharge (266-1200) for a special, Seiji Williams, Ellis Dick- Ozawa, John Harry non-subscription dress rehearsal of Strauss's son, and the BSO's assistant conductors, Salome. Seiji Ozawa will lead the Boston Sym- librarians, and stage managers. The Boston phony Orchestra, with soprano Hildegard Players Symphony Chamber and Tanglewood Behrens as Salome, mezzo-soprano Mignon Festival Chorus are also included. pub- Newly Dunn as Herodias, tenor Ragnar Ulfung as lished, this handsome, book is avail- 125-page Herod, baritone Jorma Hynninen as Jokanaan, able at the for special now Symphony Shop a and tenor Vinson Cole as Narraboth. Please introductory price of $7.95. note that seating for this event, unlike the reg- ular Open Rehearsals, will be reserved. Charles Munch and the BSO on 1991 "Salute to Symphony" BSO to Tour North America Compact Disc and Cassette April 22 through May 3,

A special, limited-edition compact disc and Sponsored by NEC cassette of historic broadcast performances by The Boston Symphony Orchestra will make its Charles the Munch and Boston Symphony first transcontinental tour since 1981 from Orchestra have been issued to commemorate Monday, April 22, through Friday, May 3, the 100th anniversary of the birth of the with performances in Pittsburgh, Toronto, former BSO music director. This 1991 "Salute Chicago, New York, Cleveland, Los Angeles, to Symphony" gift incentive is available for San Francisco, and Tempe, Arizona. This your contribution of $50 to the orchestra ($40 North American tour — as well as the forth- for the cassette). Produced with the coopera- coming European tour in August — is being tion of WCRB, the album includes the "Royal sponsored by a generous grant from NEC, Hunt and Storm" from Berlioz's Les Troyens, which previously sponsored the orchestra's Far Faure's Pelleas and Melisande Suite, Franck's East tour in 1989 and its 1988 European tour. Symphonic Variations for piano and orchestra, Tour repertoire will include works by Bartok, with soloist Nicole Henriot- Schweitzer, and Beethoven, Berlioz, Brahms, Haydn, Rossini, Bizet's Symphony in C. All four selections are and Schnittke. in stereo, from broadcasts that aired originally in the mid-1960s. Quantities are limited. To Ticket Resale order your compact disc or cassette, please caU the Volunteer Office at (617) 266-1492, Attention, BSO subscribers! If you have a ext. 380. ticket to a subscription concert that you will not be attending, you can benefit the BSO and a potential concertgoer by making your ticket Art Exhibits in the Cabot-Cahners Room available for resale. Simply call the Symphony For the seventeenth year, a variety of Boston- Hall switchboard at (617) 266-1492 and give area galleries, museums, schools, and non-profit the operator your name and seat location. artists' organizations are exhibiting their work in Besides bringing needed revenue to the orches- the Cabot-Cahners Room on the first-balcony tra, this allows someone to attend what might level of Symphony Hall. On display through otherwise be a sold-out performance. You will April 16 are works from the Marlborough Gal- receive a receipt in the mail acknowledging lery. This will be followed by works from the your tax-deductible contribution. .

References furnished on request

Armenta Adams David Korevaar American Ballet Theater Garah Landes Michael Barrett Micha el Lankester John Bayless Elyane Laussa de Leonard Bernstein Marion McPartland William Bolcom jjlfnn %uman Jorge Bolet Seiji Ozl^wa Boston Pops Orchestra Luciano Pavarotti Boston Symphony Alexander Peskanov Chamber Players Andre Previn Boston Symphony Steve Reich Santiago Rodriguez Boston University School George Shearing

' - Bright Sheng Brooklyn Philharmonic Leonard Shure Dave Brubeck Abbey Simon Aaron Copland Stephen Sondheim John Corigliano Herbert Stessin Phyllis Curtin Tanglewood Music Rian de Waal Center Michael Feinstein Nelita True Lukas Foss Craig Urquhart Philip Glass Earl Wild Karl Haas John Williams John F. Kennedy Center Yehudi Wyner for Performing Arts and 200 others BALDWIN OF BOSTON

98 Boylston, Boston, MA 02116, (617) 482-2525 BSO Members in Concert Tenth Annual "Presidents at Pops" on Wednesday, June 5, BSO violinist Valeria Vilker Kuchment, with at Symphony Hall pianist Patricia Zander and cellist Colin Carr, gives a faculty recital at the New England A special "Presidents at Pops" celebration will

Conservatory of Music on Monday, April 8, at take place on Wednesday evening, June 5, as the 8 p.m. at Jordan Hall. The all-Russian pro- BSO salutes ten years of corporate support that gram includes music of Tchaikovsky, Prokofiev, has surpassed the ten-million-dollar mark. "Pres- and Shostakovich. Admission is free. Call 262- idents at Pops" 1991 committee chairman Chad 1120 for more information. Gifford, President of Bank of Boston, will join BSO principal trombone Ronald Barron more than 100 sponsoring companies in the appears in recital at Boston University's Tsai BSO's largest fundraising event of the year. On Performance Center, 685 Commonwealth Ave- Monday, May 13, the senior executives of each nue in Boston, on Sunday, April 14, at 2 p.m., participating organization will be honored at the assisted by pianists Fredrik Wanger and Jane Leadership Dinner, a black-tie dinner dance held Wanger, and BSO percussionist Thomas on the floor of Symphony Hall. "Presidents at

Ganger. The program features Ellen Taaffe Pops" sponsorships are still available for $6,000 Zwilich's Trombone Concerto and works by and include an invitation for two to the Leader- Frank Campo and Boston-area composers ship Dinner and twenty tickets to the "Presi- Michael Weinstein and Richard Cornell. dents at Pops" gala event, complete with pre- Admission is free. For more information call concert cocktails and hors d'oeuvres, a gourmet 353-3345. picnic supper, and a special Boston Pops concert BSO associate concertmaster Tamara led by John Williams. Companies may also sup- Smirnova-Sajfar is soloist in Kurt Weill's Con- port the BSO by advertising in the commemora- certo for Violin and Wind Orchestra with the tive "Presidents at Pops" program book. For Pro Arte Chamber Orchestra, Gunther further information, please call Marie Pettibone, Schuller conducting, on Sunday, April 21, at BSO Corporate Development, at (617) 638-9278. 3 p.m., at Sanders Theater in Cambridge. Also on the program are Wilder' s Serenade for Pooled Income Funds Winds and Mozart's Serenade No. 10 in B-flat for thirteen instruments, K.361. Tickets are If you are interested in gaining income during $22, $15, and $8. For further information, call your lifetime, giving income to a loved one, 661-7067. receiving an immediate income tax deduction, Max Hobart conducts the North Shore Phil- and helping to endow the future of the Boston harmonic in "A Salute to Arthur Fiedler" with Symphony Orchestra, you may want to con- host/narrator Ron Delia Chiesa on Sunday, sider one of the BSO's life income arrange- April 21, at 3 p.m. at the North Shore Music ments. Gifts of cash or securities are invested Theater in Beverly, Massachusetts. For ticket and managed to realize specific investment and information, call 1-631-6513. income objectives. You or your beneficiary Harry Ellis Dickson leads the Boston Clas- receive quarterly payments based upon the sical Orchestra on Wednesday, April 24, and arrangement you select and the amount of Friday, April 26, at 8 p.m. at the Old South your contribution. After the last income distri- Meeting House, 310 Washington Street. bution is made, the remaining principal of your Soprano Andrea Bradford and baritone gift is transferred to the Boston Symphony Robert Honeysucker are soloists in arias from Orchestra's Endowment Fund. If you or Mozart's Don Giovanni on a program also someone you know is interested in learning including the opera's overture, Beethoven's more about this gift planning program, please Contredanses for Orchestra, and Haydn's call or write Joyce M. Serwitz, Director of Symphony No. 101, The Clock. Tickets are $18 Major Gifts, Boston Symphony Orchestra, and $12 ($8 students and seniors). For further Symphony Hall, Boston, MA 02115, telephone information, call (617) 426-2387. (617) 638-9273. N<

Without 'feu, This Is The Whole Picture, This year, there is an $11 million difference educational and youth programs, and to attract between what the BSO will earn — and what the world's finest musicians and guest artists. we must spend to make our music. Make your generous gift to the Annual Your gift to the Boston Symphony Annual Fund — and become a Friend of the Boston Fund will help us make up that difference. Symphony Orchestra today. Because without It will help us continue to fund outreach, you, the picture begins to fade. n Yes, I want to keep great music alive.

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

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

Name Tel.

Address.

City .State .Zip

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

Qvpfjfci "Sijr^T^SPp ^^W»'^^»I^k?5s»k,-m|

INeiman Marcus

W'- -"a

jh

N°5 CHANEL PARFUM ^^l^lllflfl^SiKS

vV-^» f#uvy&&*

Seven ways to say three words. Diamond, emerald, ruby and sapphire rings from Tiffany. Available at Tiffany &Co., Copley Place, 100 Huntington Avenue, Boston 617-353-0222.

Tiffany & Co. Seiji Ozawa

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

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

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

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

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

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

Second Violins Music Directorship endowed by Marylou Speaker Churchill John Moors Cabot Fahnestock chair Vyacheslav Uritsky BOSTON SYMPHONY Charlotte and Irving W. Rabb chair ORCHESTRA Ronald Knudsen Edgar and Shirley Grossman chair 1990-91 Joseph McGauley Leonard Moss First Violins * Malcolm Lowe Harvey Seigel Concertmaster *Jerome Rosen Charles Munch chair * Sheila Fiekowsky Tamara Smirnova-Sajfar Ronan Lefkowitz Associate Concertmaster * Bracken Helen Horner Mclntyre chair Nancy Max Hobart *Jennie Shames Assistant Concertmaster *Aza Raykhtsaum Robert L. Beat, and *Valeria Vilker Kuchment Enid L. and Bruce A. Beal chair * Bonnie Bewick Lucia Lin Acting Assistant Concertmaster *Tatiana Dimitriades Edward and Bertha C Rose chair *James Cooke Bo Youp Hwang *Si-Jing Huang Acting Assistant Concertmaster John and Dorothy Wilson chair, fully funded in perpetuity Violas Max Winder Burton Fine Forrest Foster Collier chair Charles 8. Dana chair Fredy Ostrovsky Patricia McCarty Dorothy Q. and David B. Arnold, Jr., Anne Stoneman chair, chair, fully funded in perpetuity fully funded in perpetuity Gottfried Wilfinger ^Ronald Wilkison Lois and Harlan Anderson chair Robert Barnes *Participating in a system of rotated seating within each string section %0n sabbatical leave

10 Jerome Lipson Piccolo Trombones Joseph Pietropaolo Geralyn Coticone Ronald Barron J. P. and Mary B. Barger chair, Michael Zaretsky Evelyn and C. Charles Marran chair fully funded in perpetuity Marc Jeanneret Oboes Norman Bolter *Mark Ludwig Alfred Genovese *Rachel Fagerburg Mildred B. Remis chair Bass Trombone *Edward Gazouleas Wayne Rapier Douglas Yeo Keisuke Wakao Cellos Tuba Jules Eskin English Horn Chester Schmitz Philip R. Allen chair Laurence Thorstenberg Margaret and William C. Martha Babcock Beranek chair, Rousseau chair Vernon and Marion Alden chair fully funded in perpetuity Knudsen Timpani Sato Clarinets Esther S. and Joseph M. Shapiro chair Harold Wright Everett Firth Joel Moerschel Sylvia Shippen Wells chair Sandra and David Bakalar chair Ann S.M. Banks chair *Robert Ripley Thomas Martin Percussion Richard C. and Ellen E. Paine chair, Clarinet Arthur Press fully funded in perpetuity Bass Craig Nordstrom Assistant Timpanist Luis Leguia Peter Andrew Lurie chair Robert Bradford Newman chair Farla and Harvey Chet Krentzman chair Thomas Gauger $Carol Procter Peter and Anne Brooke chair Lillian and Nathan R. Miller chair Frank Epstein * Ronald Feldman Bassoons William Hudgins Charles and JoAnne Dickinson chair Richard Svoboda * Jerome Patterson Edward A. Taft chair * Jonathan Miller Roland Small Harp Richard Ranti Ann Hobson Pilot Basses Willona Henderson Sinclair chair Ericsson Edwin Barker Contrabassoon Sarah Schuster Harold D. Hodgkinson chair Richard Plaster Lawrence Wolfe Helen Rand Thayer chair Maria Nistazos Stata chair, fully funded in perpetuity Joseph Hearne Horns Leith Family chair Charles Kavalovski Bela Wurtzler Helen Sagoff Shsberg chair John Salkowski Richard Sebring Margaret Andersen Congleton chair *Robert Olson Daniel Katzen Personnel Managers * James Orleans Elizabeth B. Storer chair Lynn Larsen Wadenpfuhl *Todd Seeber Jay Harry Shapiro *John Stovall Richard Mackey Jonathan Menkis Librarians Flutes Marshall Burlingame Trumpets William Shisler Walter Piston chair Charles Schlueter James Harper Roger Louis Voisin chair Leone Buyse Peter Chapman Acting Principal Flute Stage Manager Ford H. Cooper chair Marian Oray Lewis chair Position endowed by Fenwick Smith Timothy Morrison Angelica Lloyd Clagett Myra and Robert Kraft chair Steven Emery Alfred Robison

11 WORCESTER to she fe known, from Sunday Tuesday Rto Upm* the MET to Bologna to L.A. to April 28, 1991 April 30, 1991 Rome . . . everywhere audiences 8:00 p.m. 8:00 p.m. are astonishexi - Symphony Hall Mechanics Hall the music, whc M

For tickets call: Symphony Hall Box Office MECHANICS HALL (617) 266-1492 For tickets call: Join us either at Boston's or M.T. Plante Symphony Hall on April 28th or Ticket Agency T/CK&///iAlW ati=a Worcester's Mechanics Hall on M at Mechanics Hall 752-0888 April 30th as Aprile Millo joins cui-nm-ra (508) (617)931-2000 The Thayer Symphony Tickets: Orchestra in two exquisite Tickets: $29.50, $26.50 $26.50 performances of great operatic $29.50, *$16.50 works. $23.50, $16.50 Senior Citizens & Students

Eve Qtielef, conductor of the Opera Orchestra of New York, #**# "For most of this century there has been only one guest conducts. great Verdi soprano at a time . . . And now there is the shining " promise of ApriJe Millo ... You won't want to miss this m-Ume * ~ richari> dy«, boston GlO&l New England cvmt.

12 Ml

A Brief History of the Boston Symphony Orchestra

Now in its 110th season, the Boston Sym- principal players — and the activities of the phony Orchestra gave its inaugural concert Boston Pops Orchestra have established an on October 22, 1881, and has continued to international standard for the performance uphold the vision of its founder, the philan- of lighter kinds of music. Overall, the mis- thropist, Civil War veteran, and amateur sion of the Boston Symphony Orchestra is musician Henry Lee Higginson, for more to foster and maintain an organization dedi- than a century. Under the leadership of Seiji cated to the making of music consonant Ozawa, its music director since 1973, the with the highest aspirations of musical art, Boston Symphony Orchestra has performed creating performances and providing educa- throughout the United States, as well as in tional and training programs at the highest

Europe, Japan, and China, and it reaches level of excellence. This is accomplished with audiences numbering in the millions through the continued support of its audiences, its performances on radio, television, and governmental assistance on both the federal recordings. It plays an active role in com- and local levels, and through the generosity missioning new works from today's most of many foundations, businesses, and important composers; its summer season at individuals. Tanglewood is regarded as one of the most Henry Lee Higginson dreamed of found- important music festivals in the world; it ing a great and permanent orchestra in his helps to develop the audience of the future home town of Boston for many years before through the Boston Symphony Youth Con- that vision approached reality in the spring certs and through a variety of outreach pro- of 1881. The following October, the first grams involving the entire Boston commu- Boston Symphony Orchestra concert was nity; and, during the Tanglewood season, it given under the direction of conductor Georg sponsors one of the world's most important Henschel, who would remain as music direc- training grounds for young composers, con- tor until 1884. For nearly twenty years Bos- ductors, instrumentalists, and vocalists, the ton Symphony concerts were held in the Old Tanglewood Music Center, which celebrated Boston Music Hall; Symphony Hall, the its fiftieth anniversary this past summer. orchestra's present home, and one of the The orchestra's virtuosity is reflected in world's most highly regarded concert halls, the concert and recording activities of the was opened in 1900. Henschel was suc- Boston Symphony Chamber Players — the ceeded by a series of German-born and world's only permanent chamber ensemble -trained conductors— Wilhelm Gericke, made up of a major symphony orchestra's Arthur Nikisch, Emil Paur, and Max

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

13 Perfect Harmony

Retirement living in tune with your lifestyle.

An arrangement composed just and discover new talents in the for you. From designing your music room or on the putting apartment home to choosing the green. Experience security and tempo of your lifestyle, you'll peace of mind with the complete find that Fuller Village in historic health care available to you at all

Milton offers an opportunity to times. Live a life full of pleasure orchestrate anc independence, your ^tifa*±Ak * own score. Enjoy jg BBIh ^ree °^ burdens, gracious living and M JejSwK! .3 WL Fuller Village. A JMaOiu BBM Wk dining. Meet new ^ perfect arrange- friends as you walk JtULLERVILLAGE ment, perfectly in the garden paths, tune with you.

Look forward to a Fuller lifestyle. FULLER VILLAGE IN MILTON 617-333-0026

14 Fiedler — culminating in the appointment of Charles Munch followed Koussevitzky as the legendary Karl Muck, who served two music director in 1949. Munch continued tenures as music director, 1906-08 and Koussevitzky's practice of supporting con- 1912-18. Meanwhile, in July 1885, the temporary composers and introduced much musicians of the Boston Symphony had music from the French repertory to this given their first "Promenade" concert, offer- country. During his tenure the orchestra ing both music and refreshments, and ful- toured abroad for the first time and its con- filling Major Higginson's wish to give "con- tinuing series of Youth Concerts was initi- certs of a lighter kind of music." These ated. Erich Leinsdorf began his seven-year concerts, soon to be given in the springtime term as music director in 1962. Mr. Leins- and renamed first "Popular" and then dorf presented numerous premieres, restored "Pops," fast became a tradition. many forgotten and neglected works to the repertory, and, like his two predecessors, In 1915 the orchestra made its first made many recordings for RCA; in addition, transcontinental trip, playing thirteen con- many concerts were televised under his certs at the Panama-Pacific Exposition in direction. Leinsdorf was also an energetic San Francisco. Recording, begun with RCA director of the Tanglewood Music Center, in 1917, continued with increasing fre- and under his leadership a full-tuition fel- quency, as did radio broadcasts. In 1918 lowship program was established. Also dur- Henri Rabaud was engaged as conductor; he ing these years, in 1964, the Boston Sym- was succeeded a year later by Pierre Mon- phony Chamber Players were founded. teux. These appointments marked the begin- ning of a French-oriented tradition that William Steinberg succeeded Leinsdorf in would be maintained, even during the 1969. He conducted a number of American Russian-born Serge Koussevitzky's time, and world premieres, made recordings for with the employment of many French- Deutsche Grammophon and RCA, appeared trained musicians. regularly on television, led the 1971 Euro- pean tour, and directed concerts on the east The Koussevitzky era began in 1924. His coast, in the south, and in the mid-west. extraordinary musicianship and electric per- Seiji Ozawa, an artistic director of the sonality proved so enduring that he served Tanglewood Festival since 1970, became the an unprecedented term of twenty-five years. orchestra's thirteenth music director in the Regular radio broadcasts of Boston Sym- fall of 1973, following a year as music phony Orchestra concerts began during adviser. Now in his eighteenth year as music Koussevitzky's years as music director. In director, Mr. Ozawa has continued to solid- 1936 Koussevitzky led the orchestra's first ify the orchestra's reputation at home and concerts in the Berkshires; a year later he abroad, and he has reaffirmed the orches- and the players took up annual summer res- tra's commitment to new music through a idence at Tanglewood. Koussevitzky passion- series of centennial commissions marking ately shared Major Higginson's dream of "a the orchestra's 100th birthday, a series of good honest school for musicians," and in works celebrating the fiftieth anniversary of 1940 that dream was realized with the Tanglewood Music Center, and recent works founding of the Berkshire Music Center commissioned from such prominent compos- (now called the Tanglewood Music Center). ers as John Cage, Hans Werner Henze, In 1929 the free Esplanade concerts on Peter Lieberson, and Bernard Rands. Under the Charles River in Boston were inaugu- his direction the orchestra has also expanded rated by Arthur Fiedler, who had been a its recording activities to include releases on member of the orchestra since 1915 and the Philips, Telarc, CBS, EMI/Angel, Hype- who in 1930 became the eighteenth conduc- rion, New 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 annu- John Williams in 1980. The Boston Pops ally. It is an ensemble that has richly ful- Orchestra celebrated its hundredth birthday filled Higginson's vision of a great and per- in 1985 under Mr. Williams's baton. manent orchestra in Boston.

15 Do your assets belong at J.R Morgan?

For over 150 years, we have protected the wealth and holdings ofprivately held companies and individuals who demand the level of trustfound at J.P Morgan.

The security of our clients' assets is supported by the integrity of our people, the quality of our advice, and the capital strength of ourfirm.

To understand how our New England private banking team can help you manage your assets of $5 million or more, contact Robert S. Devens, Vice President,

Morgan Guaranty Trust Company, at (212) 826-9351.

Private Banking at Morgan

JPMorgan

© 1991 J.R Morgan A Co. Incorporated, parent of Morgan Guaranty Trust Company (Member FDIC) and other J.R Morgan subsidiaries

16 BOSTON SYMPHONY ORCHESTRA

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

Thursday, April 4, at 8

Friday, April 5, at 2

Saturday, April 6, at 8

NICHOLAS McGEGAN conducting

MOZART Ave, verum corpus, K.618 TANGLEWOOD FESTIVAL CHORUS, JOHN OLIVER, conductor

HAYDN Mass in B-flat, Harmoniemesse Kyrie Gloria Credo Sanctus Benedictus Agnus Dei

JEANNE OMMERLfi, soprano D'ANNA FORTUNATO, mezzo-soprano JEFFREY THOMAS, tenor NATHANIEL WATSON, baritone TANGLEWOOD FESTIVAL CHORUS, JOHN OLIVER, conductor

INTERMISSION

MOZART Symphony No. 41 in C, K.551, Jupiter

Allegro vivace Andante cantabile Menuetto: Allegretto Molto Allegro

The appearance of this week's soloists is funded in part by income from the Ethan Ayer Fund.

The evening concerts will end about 9:50 and the afternoon concert about 3:50.

RCA, Deutsche Grammophon, Philips, Telarc, Sony Classical/CBS Masterworks, EMI/Angel, New World, Erato, and Hyperion records Baldwin piano

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 22 One BoodakJan leads to another. Krikor...Levon...Mikhayel...Haratoun... Michael. ..Stephan... Sherry. .Scott. ..Paul

From the secrets of a weave, to the hand' of a wool, to the finest intricacies of the art ...each generation in this Oriental rug family of ours helps to train another.

Big as the family business has grown, the family has grown with it. So whether you want to buy, sell, clean or repair a rug, there's always a Boodakian to talk to. Whose personal attention you can count on and whose expertise you can trust.

Dependability like this is worth going out of your way for.

Which probably explains why one Boodakian customer still leads to another.

And has for over 50 years.

Koko BoodaKian &Sons inc. ORIENTALS • BROADLOOM • CLEANING • RESTORATIONS • APPRAISALS 1026 Main Street 729-5566 Hours: Tu-Sat 9:30-5 Winchester, MA (617) Thur & Fri 'til 9 Closed Sunday & Monday

18 Wolfgang Amade Mozart Ave, verum corpus, K.618

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

in Vienna on December 5, 1791. He completed the motet Ave, verum corpus on June 17, 1791. It was probably first performed at the choir school of Anton Stoll in Baden, just outside Vienna, on the feast of Corpus Christi in 1791. G. Wallace Woodworth led the first Boston Symphony Orchestra performances in March 1956, with the Radcliffe Choral Society and the Harvard Glee Club. Later performances were conducted by Hugh Ross (with the Festival Chorus at Tanglewood), Erich Leinsdorf (the orches- tra's most recent Tanglewood performance, in July 1963, with the Tanglewood Choir), and Seiji Ozawa (with the Harvard-Radcliffe chor- uses). The most recent subscription performances took place in March 1975, with con- ductor Peter Maag and the Tanglewood Festival Chorus. The score calls for four-part mixed chorus, strings, and organ. The organist at these performances is James David Christie.

Ave, verum corpus is one of those rare and astonishing works of utter simplicity and consummate mastery. For all the best reasons it is one of Mozart's most fre- quently performed compositions; it is not beyond the capacity of even the smallest school chorus or church choir, yet in its forty-six measures it achieves an intensity of expression rarely found even in works lasting an hour or more and a perfection of shape almost unmatched. The great Mozart scholar Alfred Einstein wrote about the general problem of style in the church music of Mozart's day— the fact that, owing to tradition and the survival of older practices in the liturgy, old and new musical types were often slapped together without regard for sense or musical sensibility, simply because it was "traditional" to have a fugue here or a change of texture there. Every classical composer, including Haydn and Mozart, had to contend with this situation and find his own solution. But in Ave, verum corpus, said Einstein, "ecclesiastical and personal elements flow together. The problem of style is solved." The work is shaped in four phrases, each growing progressively in harmonic intensity and the last becom- ing ever-so-lightly contrapuntal in building to the climactic word of the text ("mor- tis"), then gently dying away. — Steven Ledbetter

Ave, verum corpus, natum Hail, true flesh, born de Maria virgine: of the Virgin Mary: Vere passum, immolatum who hath truly suffered, in cruce pro nomine; broken on the cross for man;

Cujus latus perforatum from Whose pierced side unda fluxit et sanguine. flowed water and blood. Esto nobis praegustatum Be for us a foretaste in mortis examine. of the trial of death.

19 Week 22 Its Not The Instrument, It's How You Play It.

Satchmo played with astonishing power and beauty. His music was filled with sentiment and sensation, rhythm and romance, fire and fury. In his hands the trumpet was more than a horn. It was an instrument of passion. At MacDonald & Evans, we bring the same kind of devotion to our work that Louis Armstrong did to his.

Naturally, we have the latest in cutting-edge equipment—a Hell digital color scanner, computerized stripping, five- and six-color presses, in-house perfect binding, and the like.

But it's not the equipment that makes MacDonald & Evans a quality printer. It's how we use it. Our people have the skill, knowledge, and experience to turn even the most ordinary printing job into a work of art.

We'd like the chance to prove what we can do for you. For more information or to see samples of our work, give us a call. You'll find we're playing your song.

The proof is in the performance.

One Rex Drive • Braintree, Massachusetts 02184 Phone: (617) 848-9090 • Fax: (617) 843-5540

20 Franz Joseph Haydn Mass in B-flat, Hob. XXII: 14, Harmoniemesse

Franz Joseph Haydn was born in Rohrau, Lower Austria, on March 31, 1732, and died in Vienna on May 31, 1809. He composed his Mass in B-flat, later nicknamed the Harmoniemesse ('Wind Band Mass"), in 1802 for performance at the name-day festivities for Princess Maria Hermenegild, the wife of his patron, at Eisenstadt on September 8, 1802. Seiji Ozawa led the only previous Boston Sym- phony Orchestra performance, which took place at Tanglewood on July 13, 1975, with the Tanglewood Festival Chorus, John Oliver, conductor, and solo- ists Phyllis Bryn-Julson, Rose Taylor, Kenneth Rie- gel, and David Arnold. The score calls for soprano, alto, tenor, and bass soloists (plus a second soprano and second tenor soloist for a few measures in the final fugue of the Credo), mixed chorus, flute, two oboes, two clarinets, two bassoons, two horns in B-flat, two trumpets, timpani, strings, and organ continuo.

The Harmoniemesse marks the end of a great career. Haydn was seventy years old when he finished it, and nearly worn out. Though he lived another six and a half years, he suffered from declining health and never wrote another major work. But by seventy his life had been filled with achievement scarcely matched in the entire history of music, and his final large composition was an entirely fitting conclusion to that great body of work.

After so many years of living in the household of Prince Nikolaus Esterhazy at Eisenstadt, Eszterhaza, and Vienna, Haydn found a home for himself in Vienna upon the Prince's death in 1790. He remained in the Esterhazy service under the new prince but enjoyed a semi-retirement in Vienna, spending the summer months in Eisenstadt, where he evidently had lodgings in the castle. His duties were far lighter under the new prince than they had been under his father.

One of the few obligations that remained after Haydn's return from his last Lon- don visit was that he compose a Mass every summer for the name-day (September 8) of the Princess Maria Hermenegild. Between 1796 and 1802 he composed six such works; these, along with the two oratorios and the nine string quartets of Opus 76 and Opus 77, constitute the bulk of his work during the period — no insignificant cor- pus, to be sure!

By 1802, particularly after his labors on The Seasons, Haydn felt exhausted in mind and spirit. Whereas in earlier years he had allowed himself as little as six weeks to compose the name-day Mass for the princess, (beginning work only in July for a September performance), by 1802 he judged that he was going to need more time to finish the task. On February 8 he wrote to the then popular playwright August von Kotzebue, declining a request that he write music for one of his plays because "I am a seventy-year-old fellow and always sickly." (In a touch of ironic wit, he used the word "Knabe" literally "boy," in describing himself as a septuagenarian.) By mid- April he was already hard at work on the 1802 Mass. Haydn's friend and early biog- rapher Griesinger, who was corresponding on the composer's behalf at this time to spare him for his creative labors, noted that Haydn had plans — "if God wills" — to undertake another large work after he had completed the Mass, evidently an oratorio on the subject of the Last Judgment, a counterpart to The Creation, based on the work of the poet Wieland. Unfortunately both poet and composer were too old to pur- sue the project and nothing ever came of it. On June 14, in the middle of a letter to

21 Week 22 You Can't Afford NOT To Live Here.

... a gracious full-service RENTAL Retirement Community

The Georgian is a unique rental community designed for gracious living. The Georgian offers seniors all the comforts and privacy of an individual apartment home combined with the hospitality and service of the finest residential hotel, as well as an Assisted Living Program.

Unlike most other communities, The Georgian is based on a rental plan with no entrance payment required, thus preserving residents' assets. Our philosophy is to promote and encourage a fulfilling and gracious lifestyle in a caring and secure environment.

332jamaicaway Boston, MA 02130

Call Louise Maclntyre at 617-524-7228

22 his prince on other matters, Haydn noted, "I am laboring wearily on the new Mass, though I am anxious whether I shall receive any applause for it." Perhaps in part because of Haydn's complaints (rare enough from him over his forty years of extra- ordinary service), the prince named an Assistant Kapellmeister in mid-August.

The performance on September 8 was, as always, directed by Haydn. A visiting diplomat and ardent music lover was invited by the prince to attend the service. He wrote in his diary:

Superb Mass, excellent new music by the famous Haydn and directed by him (he

is still in the service of the Prince). — Nothing could be more beautiful or better played. After Mass, return to the castle and a reception by the sovereigns for the

many subjects who came to offer their compliments. . . . After that, an immense

and magnificent dinner . . . music during the meal. A toast to the Princess pro- posed by the Prince, with a response of fanfares and canons, — several more toasts, including one to me, and one to Haydn, who was dining with us and which I proposed.

How much had changed in four decades! From being a simple country boy and then a servant in livery who ate with the other servants, Haydn had become the honored "artist-in-residence" who dined at the prince's table and was the subject of a toast by a visiting ambassador. It is an appropriate ending to a career of unfailing creative imagination. Haydn must have informed the prince about this time that he was not equal to producing any more such works. But the glory of the new Mass was such that the prince decreed for him, as a perpetual grant from the family, a substantial quantity of the prince's own special table wine. (The order to his wine steward says "six buckets" but doesn't specify the size of a bucket!)

For the rest of his life — another six and a half years — Haydn lived in his house in Vienna, loved by all who knew him as a man of warm heart and wit, honored by the

oo

Even The Most Beautiful Piece Of Music Is Nothing Without Those Who Play It.

You see them polishing the brass. Wearing white gloves, tuxedos. Waiting for their cues.

Like talented musicians, it is the dedicated staff that brings The Ritz-Carlton to life. Come enjoy their performance in The Bar, The Lounge, The Cafe, or The Dining Room.

THE RITZ-CARLTON Boston

o c oo Ih

The Ritz-Carlton, 15 Arlington Street, Boston, MA 02117. For reservations, call 617-536-5700 or 800-241-3333

23 am

.*/

J^#4^M)£y W#t/m

~r

@--#^ffi/t : :%Erf

• tM ,**/^Mrs entire musical world as the greatest living composer, presumably enjoying the princely wine, but lacking the strength to attempt another large work. He completed a few folksong arrangements and two movements of a string quartet that remained a torso. The Harmoniemesse remains, for all practical purposes, the last work from his pen.

It may seem a little surprising that Haydn never composed another symphony after having capped off his life's work in that genre with the dozen masterpieces written for London. But appearances are deceiving. The late Mass compositions, in fact, though they call for chorus and soloists in addition to orchestra, are clearly shaped into sym- phonic structures. Haydn simply directed whatever creative drive he continued to feel for symphonic writing into these elaborate choral-orchestral works.

The normal musical practice in the Viennese Mass of the period called for the longer portions of the Mass Ordinary (the Gloria and Credo in particular) to be bro- ken into several movements each. The Credo, for example, was normally divided into three or four sections, with a slow, usually hushed, movement beginning at the words "Et incarnatus est" (corresponding to the point at which the worshippers were to kneel), then a much faster movement at "Et resurrexit" (when the worshippers resume their seats). The closing words, beginning with "Et vitam venturi," were tradi- tionally set as a fugue. It can scarcely surprise us to find the most renowned sym- phonist of the day laying out the four movements of the Credo with all of the stan- dard features of a typical four-movement symphony.

But Haydn does more than this. He also combines the one-movement Kyrie with the three standard sections of the Gloria as another, slightly freer, symphonic struc- ture at the beginning of the Mass, and the Sanctus/Benedictus and Agnus Dei as yet a third symphonic structure at the end. In each of these "choral symphonies," the tempo and key of the first movement and the finale are thoroughly in character with his earlier instrumental symphonies, both in shape and function. The middle move- ments allow somewhat greater freedom, but that, too, is entirely in accord with Haydn's practice in the orchestral symphonies.

The overall plan of the work, if considered as three great choral/orchestral sympho- nies in B-flat, looks like this:

"Symphony No. 1" I Kyrie Poco Adagio, 3/4 B-flat II Gloria Vivace assai, 4/4 B-flat III Gratias Allegretto, 3/8 E-flat, ending in G minor IV Quoniam Allegro spiritoso, 4/4 B-flat

"Symphony No. 2" I Credo Vivace, 4/4 B-flat II Et incarnatus Adagio, 3/4 E-flat III Et resurrexit Vivace, 4/4 C minor, ending on dominant of G minor IV Et vitam Vivace, 6/8 B-flat

"Symphony No. 3" I Sanctus Adagio—, 3/4 B-flat Pleni Allegro, 3/4 B-flat

II Benedictus Allegro molto — , 4/4 F Osanna Allegro, 3/4 B-flat III Agnus Dei Adagio, 3/4 G, ending on dominant of G minor IV Dona nobis pacem Allegro con spirito, B-flat alia breve

25 Week 22 m^

WJ&&>!lM

Of course, this diagram only shows the bare bones of Haydn's plan, which is fairly similar to those of the other late Mass settings. What is truly marvelous — as it is in the long series of instrumental symphonies that preceded it — is the way Haydn finds a fresh musical character every time he returns to the genre. The personality of each of the last six Masses is entirely different from the others. And that brings us, in par- ticular, to the Harmoniemesse and the reason for that title.

The nickname by which this Mass has come to be identified is not Haydn's own, nor is it devoid of ambiguity. The term "Harmonie" was used in the classical era to describe the wind ensemble, most often the octet consisting of oboes, clarinets, bas- soons, and horns in pairs. The term probably arose because these very instruments usually provided the sustained chords that were the harmonic backbone of an orches- tral work. But the ensemble also existed as a medium in its own right, often used for serenades and other outdoor music-making, where the strings would be out of place.

So on the face of it, a title like Harmoniemesse might suggest a Mass accompanied entirely by wind instruments, like Bruckner's magnificent Mass in E minor. In fact, nothing more is intended by the phrase in this case than to describe a Mass setting that has an unusually large wind ensemble in the orchestral make-up. The wind ensemble at Eisenstadt had recently been expanded, and Haydn took advantage of the

26 available players. The name was first used — or at least, first written down — decades after Haydn's death by a librarian working at Eisenstadt; he may have learned it from the older players in the ensemble, who could have taken part in the premiere. Certainly the large wind forces required would have been noted by the players them- selves, and they may have taken to calling the piece the Harmoniemesse as a kind of shorthand. So long as it does not lead the listener to expect an orchestra entirely composed of wind instruments, the nickname is perfectly suitable.

The first "symphony" in Haydn's Mass begins with a daring slow movement, a full- scale symphonic Andante for the opening Kyrie, which is filled with daring and unex- pected harmonic dissonances. The first choral entrance, on a dissonant chord, is a complete surprise, arriving several bars before the anticipated ending of the orchestral ritornello (the bass soloist's entry occurs where we might have expected the singing to begin). The movement unfolds through the constant development of a figure heard in the violins and first clarinet in the third measure:

k #=F m i ^

The harmonic intensity of the opening prayer for mercy gradually lightens and clari- fies to a tranquil and confident close.

The Gloria begins with the soprano soloist singing a lovely, direct, folklike melody of the type that Haydn used so often in his late works. There is a lot of text to be gotten through in the Gloria, and Haydn does not dawdle. At the same time, he rings great and often unexpected harmonic changes from one phrase to the next (the sud- den hushed A-flat on "Et in terra pax hominibus" is only the most striking of these). A restatement of the opening material (though now with the rich addition of the orchestral winds) rounds out the movement. The Gratias, with its 3/8 Allegretto, has a gently rocking, almost dancelike character as each of the soloists contributes a phrase. Here, too, Haydn shapes the continuation of the text through modulations to new keys. The chorus returns on the most intense phrase ("Qui tollis peccata mundi") with a stormy passage in F minor. Just as this ends on the dominant, C, an instanta- neous modulation brings in a brighter A-flat for the prayer "Suscipe ..." The chorus repeats the stormy passage, now in G minor ("Qui sedes . . ."), where the middle part of the Gloria ends. Without a pause, the final section, Quoniam, brings the splendor of the full orchestra with the chorus in vigorous expression. A double fugue (on the words "in gloria Dei patris" and "Amen") demonstrates once again Haydn's mastery of and homage to the great contrapuntal tradition of his predecessors.

One of the ever-intriguing features of the Viennese Mass settings of Haydn and

Mozart is the constant cheek-by-jowl opposition of the old and new, of elements still drawn from Baroque traditions and others that anticipate the Romantic era. The Credo, perhaps of necessity, given its character as a statement of faith, tends toward the conservative side. The rhythmic character of the bass line at the opening could come straight out of a basso continuo part from a half-century earlier, though the choral parts are entirely modern. As with the Gloria, when there is a lot of text to be presented, Haydn moves with dispatch from one idea to the next, with daring and flexible changes of harmony to express the character of each phrase (the sudden har- monic change between "all things visible and invisible" is a wonderful case in point). Often, too, the voices take on something of the character of chanting on repeated notes, as in plainsong, while it is left to Haydn's orchestra to animate the surround- ings—which it certainly does!

Probably the least tradition-bound part of the Mass is the Et incarnatus. As an expression of the central tenet of the Christian faith, it is always set off from the rest

27 Week 22 If This Plane Is Riled

Well GhetouASeatOnThisOne.

, Si>a--. i" -;-- -,.;.- -. -V^i I.;-!-,- • '-.raMpsSJ:

If This Plane Is Riled

We'll Give lfeu A Seat On This One.

If This Plane Is Filled

We're Having One Heck Of A Day.

At The Thimp Shuttle, we have the largest fleet of back-up planes in the shuttle business. Which means if our 8:00 tight fills up, you'll still get a seat on our 8:00 flight. So fly The Thimp Shuttle to Boston or

Washington. We'll make sure you get on the flight you want. No matter how many planes it takes.

For more information call your professional travel agent or 1-800-247-8786. For information on Trump Pak" small package service, call 1-800-869-8472. © 1990 The Trump Shuttle, Inc. 28 of the text, almost always slower in tempo, and certainly more "personal" in its musi- cal style. Often — as here — it is a solo of great warmth. But what might have been all sweetness and tranquility turns to the very dark key of G-flat for the end of the solo- ists' material and the choral entrance on "Crucifixus," in which Haydn compactly depicts the intensity of Christ's sufferings with a few bars of unexpected modulations. The sudden change of mood and tempo at Et resurrexit reflects an old tradition in Mass settings, and Haydn depicts, too, the ascent into heaven with rising melodic lines to a high-floating chord in the winds. As in the opening movement of the Credo, Haydn shapes the text rapidly from phrase to phrase, ending with a sustained soft passage for "mortuorum" ("of the dead"). This is a perfect foil for the final part of the Credo, a livery— one is tempted to say "rollicking" — fugue on "Et vitam venturi"; with its Vivace tempo and 6/8 meter, it ends the second "choral symphony" of the Mass in much the same spirit that a good many of Haydn's instrumental symphonies closed. The Sanctus begins in a rapt mood that serves as a slow introduction to the Alle- gro of "Pleni sunti coeli." The Benedictus presents something of a puzzle. Haydn marked it "Molto Allegro," yet the character of the music has seemed too elaborately detailed, especially in its dynamics, to work at that tempo. In any case, the Benedic- tus has traditionally been a relatively gentle passage coming between the fairly ram- bunctious "Pleni sunt coeli" and "Osanna" (these two movements often sharing the same music, as they do here). It is, in any case, a full-scale sonata-form layout, with the first choral statement of "Benedictus" as the principal subject. The soprano and alto entry, on the dominant, brings in the second subject. There is a full-scale devel- opment and a full recapitulation, too, and the woodwinds are given varied and lus- cious responsibilities throughout. The movement ends with the "Osanna," repeating the music of the "Pleni sunt coeli."

Haydn divides his Agnus Dei into two parts. The first of these is traditionally a prayer for the remission of sins, and is often set to highly poignant music, but Haydn's final thoughts on the subject are delicate and gentle, though not without some remarkable harmonic surprises and an apparent movement from G major in the opening to G minor. But the biggest surprise comes at the end, when, instead of bringing a full cadence in G minor, and silence, the trumpets and horns suddenly add their voices to the strings and woodwinds with a unison D in a new tempo, Allegro con spirito. After a few bars, an F is added. We are still unsure as to what key we are intended to be in until the timpani enter with an electrifying B-flat to assert the home key of the entire composition, an unexpectedly brilliant closing movement for

Dona nobis pacem. The final prayer for peace, after all, is usually either hushed or anguished. But for Haydn's last completed major work, it is buoyant and joyous, as if he felt that the mere act of uttering the prayer assured its fulfillment. There is one brief passage of ominous doubt before all ends in a blaze of triumph. And Haydn could follow his lifelong practice one final time, of signing the last page of a work with his private prayer of gratitude, "Laus Deo." -S.L.

Text for the Mass begins on the next page.

29 Week 22 KYRIE

Kyrie eleison. Lord, have mercy upon us. Christe eleison. Christ, have mercy upon us. Kyrie eleison. Lord, have mercy upon us.

GLORIA Gloria in excelsis Deo, Glory be to God on high, et in terra pax hominibus and on earth peace to men bonae voluntatis. of good will. Laudamus te, benedicimus te, We praise thee, we bless thee, adoramus te, glorificamus te. we worship thee, we glorify thee.

GRATIAS AGIMUS TIBI

Gratias agimus tibi We give thanks to thee propter magnam gloriam tuam. for thy great glory. Domine Deus, rex coelestis, Lord God, heavenly king, Deus Pater omnipotens, God the Father almighty, Domine Fili unigenite Lord, the only-begotten son Jesu Christe, Jesus Christ, Domine Deus, Agnus Dei, Lord God, Lamb of God, Pilius Patris, Son of the Father, Qui tollis peccata mundi, that takest away the sins of the world, miserere nobis, have mercy upon us, suscipe deprecationem nostram. receive our prayer. Qui sedes ad dexteram Patris, Thou that sittest at the right hand of miserere nobis. God the father, have mercy upon us.

QUONIAM TU SOLUS SANCTUS Quoniam tu solus sanctus, For thou alone art holy; tu solus Dominus, thou only art the Lord; tu solus altissimus thou only, Jesus Christ, art Jesu Christe, most high, Cum sancto Spiritu With the Holy Ghost, in gloria Dei Patris, Amen. in the glory of God the Father, Amen.

CREDO

Credo in unum Deum, I believe in one God, Patrem omnipotentem, the Father Almighty, factorem coeli et terrae, maker of heaven and earth, visibilium omnium et invisibilium, and of all things visible and invisible, Et in unum Dominum Jesum Christum, and in one Lord, Jesus Christ, Filium Dei unigenitum; the only-begotten Son of God, et ex Patre natum ante omnia saecula; begotten of his Father before all Deum de Deo, lumen de lumine, worlds, God of God; light of light, Deum verum de Deo vero; very God of very God; genitum, non factum, begotten, not made, consubstantialem Patri, being of one substance with the Father, per quern omnia facta sunt; by whom all things were made; qui propter nos homines who for us men et propter nostram salutem and for our salvation descendit de coelis. came down from heaven.

30 '* WM *V t vt Pv 1 'Uti

ET INCARNATUS EST Et incarnatus est de Spiritu Sancto And was incarnate by the Holy Ghost ex Maria virgine, et homo factus est. of the Virgin Mary, and was made man. Crucifixus etiam pro nobis, And was crucified also for us, sub Pontio Pilato passus under Pontius Pilate he suffered et sepultus est. and was buried.

ET RESURREXIT

Et resurrexit tertia die And the third day he rose again secundum scripturas; according to the Scriptures et ascendit in coelum, and ascended into heaven, sedet ad dexteram Patris; and sitteth at the right hand of the Father;

ET ITERUM VENTURUS EST et iterum venturus est cum gloria and he shall come again with glory judicare vivos et mortuos; to judge the quick and the dead; cuius regni non erit finis. whose reign shall have no end. Et in Spiritum sanctum, And in the Holy Ghost,

Dominum et vivificantem, the Lord and Giver of life, qui ex Patre Filioque procedit, who proceedeth from the Father to the qui cum Patre et Filio simul Son, who with the Father and the Son adoratur et conglorificatur, together is worshipped and glorified, qui locutus est per Prophetas. who spake by the Prophets. Et unam sanctam catholicam et And in one holy catholic and apostolicam ecclesiam. apostolic church. Confiteor unum baptisma in I acknowledge one baptism for the remissionem peccatorum. remission of sins, Et expecto resurrectionem mortuorum, And I look for the resurrection of the dead, et vitam venturi saeculi. Amen. and the life of the world to come. Amen.

SANCTUS

Sanctus, sanctus, sanctus, Dominus Holy, holy, holy is the Lord Deus Sabaoth. God of hosts. Pleni sunt coeli et terra gloria eius. Heaven and earth are full of his glory. Osanna in excelsis. Hosanna in the highest.

BENEDICTUS

Benedictus qui venit in nomine Blessed is he that cometh in the name of Domini. the Lord. Osanna in excelsis. Hosanna in the highest.

AGNUS DEI

Agnus Dei, qui tollis peccata mundi, Lamb of God, that takest away the sins miserere nobis, of the world, have mercy upon us, Agnus Dei, qui tollis peccata mundi, O Lamb of God, that takest away the sins of the world,

DONA NOBIS PACEM dona nobis pacem. grant us peace.

31 What direction will your retirement take?

w«ill you spend your days dealing Life Care Services Corporation, the with household routine? Will health acknowledged leader in the industry care always be a worry in the back with a quarter-century of success. of your mind? Edgewood will be in a naturally Now there's a better direction. wooded setting adjacent to Lake Because life-care retirement at Cochichewick in North Andover, yet Edgewood combines the independent close to Boston's cosmopolitan culture. lifestyle you want with the peace of With entrance fees starting at mind you need. $205,000 and a Return of Capital® At Edgewood, you'll benefit from Plan which refunds 90 percent of the personal services and amenities which entrance fee to you or your estate,

will turn your everyday life into a retire- Edgewood is also an attractive ment as active and financial choice. social as you wish. If you're 62 or You'll also enjoy over, call for more peace of mind, know information or an ing you have a pro- appointment for a

fessional on-site personal tour. It's a Health Center and step in the right direc- management by tion for your future.

Edgew ^jp Developed and Managed by Life Care Services Corporation

Call (508) 689-0202 or call 1-800-649-3343 toll-free, from area codes 508 or 617. 140J2

32 Wolfgang Amade Mozart Symphony No. 41 in C, K.55, Jupiter

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

in Vienna on December 5, 1791. He completed his Jupiter Symphony (the nickname, though, is not Mozart's) on August 10, 1788. That summer also saw the completion of his symphonies 39 and 40. The date of the first performance is not known. Henry Schmidt introduced the symphony in Amer- ica at an Academy of Music concert at the Boston

Odeon on January 7, 1843. Wilhelm Gericke con- ducted the Boston Symphony Orchestra in its first performance of the Jupiter on 6 February 1885. It has also been performed on BSO concerts under the direction of Arthur Nikisch, Emil Paur, Karl Muck, Max Fiedler, Otto Urack, Henri Rabaud, Pierre Monteux, Serge Koussevitzky, Richard Burgin, Vladimir Golschmann, Charles Munch, Ernest Ansermet, Erich Leinsdorf, Georg Semkow, Jorge Mester, Bruno Maderna, Eugen Jochum, David Zinman, Joseph Silverstein, Neville Marriner, Kurt Masur, Christoph Eschenbach, Seiji Ozawa, who led the most recent subscription per- formances in April 1988, and Roger Norrington, who led the most recent Tanglewood performance in July 1989. The score calls for flute, two each of oboes, bassoons, horns, and trumpets, plus timpani and strings.

From time to time in the history of music we are confronted with a case of such astonishing fluency and speed of composition that we can only marvel: Handel

composing his Messiah almost in less time than it would take a copyist to write it out, then, after taking a week off, beginning the composition of his dramatic oratorio Samson, also completed in less than a month; Johann Sebastian Bach turning out church cantatas that were planned, composed, rehearsed, and performed all between one Sunday and the next for week after week during his first years in Leipzig; Mozart writing his Linz Symphony, K.425, "at breakneck speed" in a matter of days because the opportunity for a performance arose suddenly while he was traveling and had no other symphony at hand. But few examples of such high-voltage composi- tion are as impressive as Mozart's feat in the summer of 1788, composing his last three symphonies along with a number of smaller pieces in something under two months.

In the case of the symphonies, our awe stems not so much from the sheer speed with which the notes were put down on paper or even from the evident mastery displayed in the finished works, but rather from the extraordinary range of mood and character represented in these three symphonies. We'd be hard put to find three more strikingly varied works from the pen of a single composer; how much more

miraculous it is, then, that the three symphonies were written almost at one sitting, and not in the happiest of circumstances.

By June 1788 Mozart had entered on the long, steady decline of his fortunes that culminated in his death, at age thirty-five, three-and-a-half years later. Gone were the heady days of 1784, when his music was in constant demand in Vienna (during one hectic eleven-day period, he gave ten concerts) and he was writing a sheaf of

piano concertos and other works. That was, perhaps, the happiest year of his life, certainly the most remunerative. But he seems to have been the sort of openhanded

and generous type who could never stop spending money faster than he earned it,

33 Week 22 MM

The Shape of Things to Come

The lure of pure geometry: the per- fect circle, sparked by a blue mineral glass bezel; a rosy hexagon dazzled by diamonds; and the drama of dark- ness in the simplest octagon. Pure geometry. Pure delight. All with mineral glass crowns and finished in 22K gold.

EB HORN jewelers since

st Our 151 Vear THE E.B. HORN COMPANY 429 WASHINGTON ST., BOSTON, MA ALL MAJOR CREDIT CARDS ACCEPTED MAIL OR PHONE ORDERS 542-3902 OPEN MON. AND THURS. TILL 7

Seiko Time 1990

34 and when the Viennese public found other novelties for their amusement, Mozart's star began to fall.

He had hoped to obtain financial stability through his operas, but The Marriage of Figaro achieved only nine performances during its season in the repertory (1786), partly, at least, because other composers, more conventional and more influentially placed, had their own fish to fry and were not interested in supporting Mozart.

(There is, incidentally, no evidence that Mozart ever suffered from the active oppo- sition of the court composer Salieri, or that Salieri was jealous of Mozart's genius — though he ought to have been! Peter Shaffer's Amadeus is superb drama but seriously contorted, even falsified, history, as the dramatist himself knew perfectly well.) Then came Don Giovanni, composed for the citizens of Prague, who had taken Figaro completely to their hearts. Although it was a sensation in Prague in 1787, the first Viennese performances the following spring did not attract much attention; the piece was simply too serious to suit the taste of the court. Neither opera, then, had much improved the Mozart family exchequer, and by early June 1788, only weeks after the Vienna performance of Don Giovanni, Mozart was forced to write to his friend and fellow Mason, Michael Puchberg, requesting the loan of 100 gulden. Again on June 17 he needed money to pay his landlord and asked Puchberg for a few

CAREY* Dinner at 6. LIMOUSINE • CHAUFFEUR DRIVEN SEDANS, VANS AND LIMOUSINES Symphony at 8. FOR ALL OCCASIONS • EXECUTIVE SERVICE $ Est. 1924 Parking 5. at 623-8700 Make dinner at Boodle's part of 24 HR. SERVICE/BOSTON AREA your night out at the Symphony. A&A LIMOUSINE RENTING INC. When you do, you'll not only enjoy 161 BROADWAY—SOMERVILLE, MA an award winning dining experi- SERVICE IN 300 CITIES • 60 COUNTRIES • 6 CONTINENTS CREDIT ence from Boston's authentic grill, MAJOR CARDS ACCEPTED NATIONWIDE 1-800-336-4646 you'll also get special parking privileges at the Back Bay Hilton's private garage. handwoven rugs Just show us your tickets at dinner on the night of the performance orientals - kilims - tribals park your car for just and $5. And custom designs - tapestries with a deal like that, a night at the Symphony never sounded better. needlepoints

BOODLE'S decor international

OF • BOSTON 1 7 1 ncwbury st, boston 262- 1 529 An Authentic Grill Lunch and dinner daily. In Boston's Back Bay Hilton. free validated parking Phone (617) BOODLES.

35 hundred gulden more "until tomorrow." Yet again on the 27th he wrote to Puchberg to thank him for the money so freely lent him, but also to report that he needed still more and didn't know where to turn for it.

It is clear from these letters that Mozart was in serious financial difficulty (a situation that scarcely changed for the rest of his life). How astonishing, then, to realize that between the last two letters cited he composed the Symphony No. 39! This, the most lyrical of the final three symphonies, gives no hint of the composer's distraught condition (thus eloquently disproving the old romantic fallacy that a composer's music was little more than a reflection of his state of mind).

Mozart's attempt to improve his family's situation during this difficult summer is clearly apparent in the "minor" works he was composing along with the three symphonies. They are all either educational pieces, which could serve students well, or small and easy compositions that might be expected to have a good sale when published. But it is hardly likely that Mozart would have composed three whole symphonies at a time when he was in desperate financial straits if he didn't have some hope of using them in a practical way to support his family. His first letter to

HOTEL MERIDIEN

What would you have for dinner in Paris tonight?

L«ome find out at Julien. Authentic contemporary French cuisine. Where each

meal is created from superb native ingredients, a surprising combination of rare spices and one unique element: the fine art of French cooking.

Please join us for dinner. Four course prix fixe menu. Reservations recommended. Free parking.

Serving lunch and dinner.

Le Meridien, 250 Franklin Street, Boston 617 451-1900

36 Puchberg referred to "concerts in the Casino," from which he hoped to obtain subscription money in order to repay his debts. Probably he wrote all three of the symphonies with the aim of introducing them at his own concerts. But, as far as we know, the concerts never took place. We can only be grateful that the symphonies were composed in any case.

Symphony No. 41 came immediately after the G minor symphony, K.550, a work filled with the intense passion that Mozart always associated with that key. Having gotten that out of his system, though, he turned directly to a work as different as can be imagined, a major-key symphony of festive formality, completed on 10 August. The nickname Jupiter was not attached to this piece until after Mozart's death (no one seems to know where it came from) . Like many inauthentic nicknames for musical compositions, it sticks mainly because it is convenient.

Mozart begins with two brief, strikingly contrasted ideas: a fanfare for the full orchestra followed immediately by a soft lyrical phrase in the strings. These two diverse ideas would seem to come from two different musical worlds, but presently Mozart joins them by adding a single counterpoint for flute and oboes. The motives continue to animate the discourse through the modulation to the dominant, and the presentation of the second theme. After a stormy passage for full orchestra, the skies clear again and Mozart presents a whistleable little tune to round off the end of the exposition and reinforce the new key. This tune was borrowed from an aria that Mozart had composed the preceding May (K.541); the words to which the tune appeared in the aria were

Voi siete un po tondo, mio caro Pompeo, Vusanze del mondo andate a studiar. (You are a little dense, my dear Pompeo; go study the way of the world.)

The second movement seems calm and serene at the outset, but it becomes agitated as it moves from F major to C minor and introduces a figure that seems to change the meter from 3/4 to 2/4; when the thematic material returns, it is decorated in a highly ornate way. The passing chromatic notes so evident throughout the last two symphonies lend a slightly pensive air to the minuet of this one as well.

The finale is the most famous, most often studied, and most astonishing movement in the work. It is sometimes miscalled the "finale with a fugue." Actually there is no formal fugue here, although Mozart forms his themes out of contrapuntal thematic ideas of venerable antiquity, ideas that can and do combine with one another in an incredible variety of ways. But he lays out the movement in the normal sonata-form pattern, employing his thematic materials to signal the principal key, the modulation to the dominant, and the secondary key area. It sounds rather straightforward at first, but gradually we realize that this is going to be something of a technical showpiece. At the beginning of the development we hear some of the themes not only in their original form but also upside down. New arrangements of the material appear in the recapitulation, but nothing prepares us for the sheer tour de force of the coda, when Mozart brings all of the thematic ideas together in a single contra- puntal unity. The closing pages of Mozart's last symphony contain the very epitome of contrapuntal skill (something often decried as a dry and pedantic attainment) employed, most unexpectedly, in the service of an exciting musical climax. We end with a sensation produced by more than one passage in Mozart's works: everything fits; all the world is in tune. -S.L.

37 k22

^ HI Hi Stanley Sadie's fine Mozart article in The New Grove has been published separately by Norton (available in paperback); Sadie is also the author of Mozart (Grossman, also paperback), a convenient brief life-and-works survey with nice pictures. Alfred Einstein's classic Mozart: The Man, the Music is still worth knowing (Oxford paper- back). Wolfgang Hildesheimer's Mozart (Parrar Straus Giroux, available also as a Vintage paperback), though frustrating to read since it is built up out of many short sections dealing primarily with Mozart's character, personality, and genius, provides a stimulating point of view for readers who have not followed the recent specialist liter- ature on the composer. Just published in anticipation of this year's many commemora- tions of the 200th anniversary of the composer's death, The Mozart Compendium: A Guide to Mozart's Life and Music, edited by H.C. Robbins Landon (Schirmer Books), is a first-rate single-volume reference work for the Mozart lover, filled with an extra- ordinary range of information, including things it might never have occurred to you to look up, but which you'll be delighted to know. A distinguished roster of specialists writes about the historical background of Mozart's life, the musical world in which he lived, his social milieu and personality, his opinions on everything from religion and reading matter to sex and other composers. In addition, there are entries for all of Mozart's works with basic information regarding their composition, performance, pub- lication, location of manuscripts, and special features (such as nicknames or borrowed tunes). Finally, a discussion of the reception of Mozart's music, performance prac- tices, myths and legends about Mozart, Mozart in literature, and an evaluation of the biographies, analytical studies, and editions of Mozart's music caps a remarkable book. I know nothing quite like this for any other composer: detailed and scholarly for the specialist, wide-ranging, yet accessible for the general music-lover. The most thor- ough and extended discussion of Mozart's symphonies is Neal Zaslaw's splendid new book, Mozart's Symphonies (Oxford), which assembles just about everything known about each piece: its compositional history, performances in Mozart's day, and analyt- ical commentary. There are chapters on the Mozart symphonies by Jens Peter Larsen in The Mozart Companion, edited by Donald Mitchell and H.C. Robbins Landon (Norton paperback), and by Hans Keller in The Symphony, edited by Robert Simpson (Pelican paperback). Donald Francis Tovey's analysis of the Jupiter Symphony is to be found in his Essays in Musical Analysis (Oxford paperback).

WHERE TO ACQUIRE GOOD TASTE WHEN YOU'RE NOT AT THE SYMPHONY.

Next time, before you go to the symphony, have dinner at Newbury's Steak House. You'll find char-broiled steaks, fresh seafood and chicken, a great salad bar, and ever greater prices. Plus discounted parking. All less than a ten minute walk away. |~TMEWBURYSTnivrnT T nT7ir< 94 Massachusetts Ave. (corner of Newbury St. 536-0184 • Serving noon to midnight —STEAK HOUSE—

38 Sir Colin Davis's recording of Ave, verum corpus with the London Symphony Orchestra and Chorus is part of a distinguished recording of Mozart sacred music that also includes the powerful Kyrie in D, Exsultate, jubilate, and the Vesperae solennes de confessore, K.339 (Philips). For a performance on period instruments, Ave, verum corpus and the foregoing Vespers, K.339, share a disc with Stephen Cleobury conducting the Hilliard Ensemble, the King's College Choir, and the Cambridge Clas-

sical Players, to which is added also the Vesperae de dominica, K.321 (Angel).

It was the Mozart symphonies in the historical-instrument performances by the Academy of Ancient Music under the direction of Christopher Hogwood (Oiseau-Lyre) that sparked the modern interest in attempts to reconstruct the historical styles, sounds, and settings of the classical repertory, including the number of players and their physical placement (neither size nor arrangement was standardized in Mozart's day, different cities and different ensembles having their own character, largely for accidental reasons). Hogwood's performances of the complete Mozart symphonies — including many more works than other "complete" sets — are available on seventeen compact discs divided into seven "volumes." The Jupiter is found in volume VI of the series; on a single compact disc, it is coupled with Symphony No. 34. Other conduc- tors with sets of the traditional forty-one Mozart symphonies currently available include Erich Leinsdorf with the Philharmonic Symphony Orchestra of London (MCA, eight CDs) and Neville Marriner with the Academy of St. Martin-in-the-Fields (Philips, twelve CDs). For stylish performance with modern instruments, I would rec- ommend Jeffrey Tate's reading with the English Chamber Orchestra (Angel, coupled with Symphony No. 40), Sir Colin Davis's with the Dresden State Orchestra (Philips, with Symphony No. 39), or Charles Mackerras's with the Prague Chamber Orchestra (Telarc, coupled with No. 40). And don't forget the version by George Szell and the Cleveland Orchestra on the budget Odyssey label (coupled with Symphony No. 40), also reissued on compact disc with the bonus of Eine kleine Nachtmusik (CBS).

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 introduc- tion!) 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 rather hard to digest. Highly recommended, though much more technically detailed, is Haydn Studies, edited by Jens Peter Larsen, Howard Serwer, and James Webster

(Norton); it contains the scholarly papers and panel discussions held at an interna- tional festival-conference devoted to Haydn, 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 brilliant study The Classical Style (Viking; also a Norton paperback). Martin Chusid analyzes the symphonic structure of the late masses in his article "Some observations on liturgy, text, and structure in Haydn's late masses" in Studies in Eighteenth-Century Music: A Tribute to Karl Geiringer on his Seventieth Birthday (George Allen & Unwin, out of print). The only recording of the Harmoniemesse currently available is a recording featuring the Slovak Philhar- monic Orchestra and Chorus under the direction of Janos Ferencsik (Hungaroton), which I have not been able to hear. If Leonard Bernstein's old recording (CBS) with the New York Philharmonic, the Westminster Choir, and soloists Judith Blegen,

Frederica von Stade, Kenneth Riegel, and Simon Estes is reissued on CD, it is worth getting. -S.L.

39 ** The profit from selling my business shows I'm good at making money. But more important is keeping it.... Part of managing money well is knowing when to call professionals.

I had to consider taxes, investments, and the future security of my family. I called my Private Banker at BayBank.

That's how I heard about Trust Services, I was introduced to my own Trust Officer, who helped me determine long-term investment goals and gave me more objective advice than I've ever had before.

With one Officer assigned specifically to my account. 1 :•;.-"/* ku

Sure, it s good to know ! c

?SS tl"

BayBank mWATEBANKING For an introduction to Private Banking Trust Services, call Pamela Henrikson, Senior Vice President, at (617) 556-6528, or Stephen Root, Senior Vice President, at (413) 731-4736. Member FDIC

40 Nicholas McGegan Music director of Philharmonia Baroque since 1985, Nicholas McGegan has helped establish this San Francisco Bay-area orches- tra as the most prominent and most recorded period instrument orchestra in the United States. Equally active with modern orches- tras, he regularly leads the symphonies of San Francisco, Detroit, and St. Louis, as well as the Los Angeles Chamber Orchestra. He currently serves as Baroque Artistic Consultant for the Santa Fe Chamber Music Festival, and in June 1990 he succeeded John Eliot Gardiner as music director of the Gottingen Handel Festival in West Germany. He is also the founder and director of the Arcadian Academy, a chamber ensemble made up of principal players from Philharmonia Baroque. Born in England and trained at Cambridge and Oxford universities as both musi- cologist and performer, Mr. McGegan has lived and worked in the United States for more than ten years. His opera credits range from Ariodante with John Copley at Santa Fe Opera and Teseo at PepsiCo Summerfare and the Boston Early Music Festival to his col-

laboration with Mark Morris for Handel's L 'allegro, il penseroso ed il moderato at Brooklyn Academy's "Next Wave Festival." At the 1988 Nakamichi Festival in Los Angeles he led the first fully-staged American performance of Landi's R Sant'Alessio with Philharmonia Baroque; the following summer he presented the American premiere of Handel's Giustino at the San Francisco Opera Center, again with Philharmonia Baroque. Upcoming plans include La clemenza di Tito at Scottish Opera and Agrippina at Gottingen in 1991, The Beggar's Opera at Santa Fe Opera in 1992, and Ariodante at English National Opera in 1993. Mr. McGegan began his 1990-91 concert season with an unscheduled tour in Ger- many at the Schleswig-Holstein Festival, when he stepped in at short notice for Trevor Pinnock to lead the Classical Band. The current season brings his debuts with the Hous- ton, Minnesota, and Montreal symphonies, and return visits to San Francisco, St. Louis, Detroit, and the National Arts Centre Orchestra of Ottawa. Mr. McGegan records exclu- sively for Harmonia Mundi USA. Recent releases include Mozart's four horn concertos with Lowell Greer, and Handel's complete Water Musick, La resurrezione, and Susanna, which received a 1991 Grammy nomination. Mr. McGegan is making his Boston Symphony debut with these concerts.

Garber TVavel gives you an St. (BotMpfi Restaurant opening night performance.

• *!! fit lllll! We invite you to step inside any one of our 55 off ices and experience the talents of our travel professionals. They will jfe"^ A Charming 19th Century Brick expertly plan your Townhouse serving fine continental vacation, giving you a solo cuisine in contemporary informal elegance. performance you won! Offering lunch and dinner with a variety soon forget. We bet you'll of fresh seafood specials daily. Located even ask for an encore! minutes away from Huntington Theatre Call us at 734-2100 and Symphony Hall.

99 St. Botolph Street 266-3030 Main Office: behind the Colonnade Hotel 1406 Beacon St., Daily 11:30 - Midnight Brookline

41 Jeanne Ommerle Soprano Jeanne Ommerle made her European debut at the Thea- | tre de la Monnaie in Brussels as soprano soloist in Mark Morris's ballet production based on Handel's Uallegro, il penseroso ed il moderato. Also at the Monnaie she appeared as Despina in Cosifan tutte, in concert performances of Mozart arias under the musical direction of Sylvain Cambreling, and in Parsifal. Her 1990-91 sea- son has included the American premiere of Mr. Morris's ballet, at the Brooklyn Academy of Music; Faure's Requiem with Musica Sacra at Avery Fisher Hall; Dallas Opera performances as Gretel in a new production of Hansel und Gretel directed by John Copley; and Boston Opera Theater appearances as Susanna in the Peter Sellars production of Le nozze di Figaro, which she had previously performed at PepsiCo Summerfare, in Vienna, where it was filmed for broadcast on PBS' "Great Performances" series, and in Paris. Also this season she makes her debut with Atlanta Opera, as Oscar in Vn hallo in maschera under the direction of William Fred Scott. Previous engagements have included frequent appearances with Boston's Handel and Haydn Society, performances with Musica Sacra at Avery Fisher Hall in New York, appearances with the Opera Company of Boston in roles including Pamina in Die Zauberflote and Sophie in Der Rosenkavalier, her Cincinnati Sym- phony debut in Carmina burana under the direction of James Conlon, and the role of Ilia in Idomeneo with Roger Norrington at the Boston Early Music Festival. She has also per- formed with the San Francisco Symphony, the Washington Choral Society, Lake George Opera, and Cleveland Opera. In concert performances, she has sung with the Boston Sym- phony Orchestra (in Faure's Requiem under Seiji Ozawa, at the Worcester Festival in 1978), the New York Philharmonic, the Louisville Orchestra, and at the Newport Music Festival. She has recorded an album of songs by Sir Arthur Sullivan, entitled "Sweet- hearts," with baritone Sanford Sylvan for Northeastern Records and has recently recorded songs by Hugo Wolf under the auspices of Monadnock Music. A native of Kansas, Ms. Ommerle is the recipient of grants from the William Matheus Sullivan Foundation.

GUILD, MONRAD & OATES, INC. Family Investment Advisers

50 Congress Street Boston, Massachusetts 02109 Telephone: (617) 523-1320

For Those Who Want Specialized Individual Attention and Care in the Management of Investments and Tax and Estate Planning

Henry R. Guild, Jr. Ernest E. Monrad William A. Oates, Jr. Robert B. Minturn, Jr.

42 D'Anna Fortunato Mezzo-soprano D'Anna Fortunato is in demand from coast to coast for appearances in opera, recital, and with symphony orchestra. She has appeared with the New York Philharmonic, the Cleveland Orchestra, and the symphony orchestras of Detroit, Pittsburgh, Atlanta, Houston, Dallas, Minnesota, and Louisville, among others. She made her Boston Symphony debut in February 1972, in Mozart's Requiem, and has appeared with the orchestra on numer- ous occasions since then, including performances as Orfeo in Gluck's Orfeo ed Euridice in March 1980 and most recently as Mis- RSI tress Page in act III of Falstaff on last summer's gala BSO concert celebrating the fiftieth anniverary of the Tanglewood Music Center, of which she is an alumna. Her performance of Berio's Folksongs with the New Jersey Symphony under Hugh Wolff was featured on WNET-TV's "Summerfare" series. As a concert and oratorio solo- ist, Ms. Fortunato has appeared internationally, with such groups as the Chamber Music Society of Lincoln Center, St. Luke's Ensemble, Clarion Music Society, Bach Aria Group, Bach Choir of Bethlehem, New York's Musica Sacra, St. Cecilia Chorus, and the Boston Camerata. Festival engagements have included Marlboro, Blossom, the Casals Festival, Brattleboro, Tanglewood, the Bach Festival of Rome, and Monadnock. She has been acclaimed in leading operatic roles with New York City Opera, Glimmerglass Opera, Ken- tucky Opera, the Opera Company of Boston, the Monadnock Festival, Connecticut Grand Opera, and Rochester Opera Theater. Ms. Fortunato has recorded for Harmonia Mundi, Nonesuch, Music Masters, and Vox. Her award-winning interpretation of Dido in Purcell's Dido and Aeneas, for Harmonia Mundi, was cited in Opera on Record as one of the best on record. For Northeastern Records she has recorded songs by Charles Loeffler and an album of songs by Amy Beach; the latter was named a "Best Record of the Year" by the New York Times, the Boston Globe, and New York Magazine. Ms. Fortunato constantly explores new and unusual repertoire. She has researched and performed little-known vocal works of Franz Liszt and such women composers as Clara Schumann, Fanny Mendels- sohn, and Amy Beach. Composers John Harbison, Stephen Albert, and John Heiss have chosen her for premiere performances of their works. Born in Pittsburgh to parents of Italian and German descent, Ms. Fortunato studied at the New England Conservatory of Music with Gladys Miller.

Jeffrey Thomas Making his Boston Symphony debut this week, tenor Jeffrey Thomas has performed with Philharmonia Baroque in San Fran- cisco, the Smithsonian Chamber Players in Washington, D.C., the Handel and Haydn Society in Boston, the Bach Ensemble, the Nakamichi Festival in Los Angeles, at Chicago's Grant Park, and with other orchestras throughout the country. International credits include the New Japan Philharmonic, the Vienna Symphony, the Festwoche der Alten Musik in Innsbruck, and the Teatro Degollado in Guadalajara, Mexico. Conductors with whom he has worked include Seiji Ozawa, Edo de Waart, Christopher Hogwood, Ton Koopman, Gustav Leonhardt, Nicholas McGegan, Anthony Newman, Roger Norrington, Andrew Parrott, Simon Preston, Robert Shaw, and David Zinman. His engagements dur- ing the 1990-91 season include the world premiere of The Auden Poems, a song cycle for tenor by Ned Rorem, plus appearances as featured soloist at the Berkeley Festival, the Nakamichi Baroque Festival in Los Angeles, the "Next Wave Festival" at the Brooklyn Academy of Music, and on a United States tour with Andrew Parrott and the Taverner Players. He also appears with the symphony orchestras of Detroit and San Francisco. Mr. Thomas made his operatic debut at the 1981 Spoleto USA Festival. He made his San Francisco Opera debut shortly thereafter in Die Meistersinger and was awarded one of that company's prestigious Adler Fellowships. While a member of the San Francisco Opera Company for three years, he sang leading roles in productions ranging from Cavalli's

43 7* * ^ * *. * * ^ *

*A% **• 0> t h % #

*s* %> #^ i * X * *' ~

* * # # #

i N * Mk* Providers of Quality Long-Term Nursing Care and Rehabilitation Services *v #^* V Cape Heritage sandwich ma 508-888-8222 Cape Regency *r?*\ centerville ma 508-778-1835 # JC * Easton Lincoln X ; north easton ma 508-238-7053 % \ + Lafayette north kingstown ri 401-295-8816 Mayflower plymouth ma 508-746-4343 Northbridge northbridge ma 508-234-4641 northwood lowell ma 508-458-8773 OAKWOOD newport ri 401-849-6600 South County north kingstown ri 401-294-4545 # # woodlawn everett ma 617-387-6560 MANAGED FOR AMERICAN HEALTH FOUNDATION

*/V v * #/* * * # x^ * % L'Ormindo to Britten's The Rape of Lucretia. He made his first European appearance at the Landestheater in Innsbruck in 1983; a year later he sang the leading role of Renaud in Gluck's Armide at the Opera Lirico in Bologna. Mr. Thomas is also an avid exponent of contemporary music, having recently performed Stravinsky's Persephone, Penderecki's Dies Irae, and Imbrie's Prometheus Bound. As recitalist, he has premiered song cycles by several contemporary composers, including two cycles written especially for him. He has performed Lieder recitals at the Smithsonian and song recitals at various universities and appears regularly with his own vocal chamber music ensemble, "L'Aria Viva!" He has presented master classes recently at the New England Conservatory and at Washington University; in 1989 he was artist-in-residence at the University of California. He has recorded for London/Decca, Harmonia Mundi USA, EMI, and the Smithsonian. A continuing record- ing project is a series of Bach cantatas for the Wild Boar label, with the American Bach Soloists, an ensemble formed by Mr. Thomas.

Nathaniel Watson Baritone Nathaniel Watson has been acclaimed for his perform- ances in a wide variety of musical styles. He was baritone soloist at Carnegie Hall in Beethoven's Ninth Symphony under the direction of Roger Norrington, leading to an additional performance with Norrington's own London Classical Players to close the 1989 PepsiCo Summerfare festival. A frequent guest with period- instrument ensembles, he has performed often with Concert Royal, the Studio de Musique Ancienne de Montreal, the Waverly Consort, and Toronto's Tafelmusik, whose recent Bach B minor Mass, led by Ton Koopman, was broadcast throughout Canada. Mr. Watson also appears regularly with major symphony orchestras, having made his debut last season with the Montreal Symphony, followed by a return engagement with David Zinman and the Baltimore Symphony in Beethoven's Mass in C. Besides his BSO appearances this week, this season's engagements have included the role of Pollux in Rameau's Castor et Pollux at Merkin Hall in New York with Concert Royal and performances of Mozart's Requiem in Toronto with Tafelmusik and Andrew Parrot. Born in Boston, Mr. Watson studied at the Eastman School of Music and at Yale University, where he won first prize in the Connecti- cut Opera Guild Competition in 1982. He also received fellowships to study at the Tangle- wood Music Center and the Aspen Festival. His opera repertoire includes twenty roles, including Silvio in / pagliacci, Schaunard in La oohJeme, Ulysses in R ritorno d'Ulisse in patria, Enrico in Lucia di Lammermoor, the Count in Mozart's Le nozze di Figaro, and Dandini in Rossini's La Cenerentola. He has played Sid in Britten's Albert Herring at the composer's own Aldeburgh Festival and performed the title role in Tchaikovsky's Eugene Onegin at the Banff Festival. Other operatic credits include Virginia Opera, Des Moines Metro Opera, the Opera Ensemble of New York, Whitewater Opera, and, in July 1981, as a Tanglewood Music Center Fellow, the role of Chernikovsky in scenes from Boris Godunov with the Boston Symphony Orchestra under Seiji Ozawa's direction at Tanglewood.

45 Tanglewood Festival Chorus John Oliver, Conductor

The Tanglewood Festival Chorus was organized in the spring of 1970, when founding conductor John Oliver became director of vocal and choral activities at the Tanglewood Music Center; the chorus celebrated its twentieth anniversary last season. Co-sponsored by the Tanglewood Music Center and Boston Univer- sity, and originally formed for performances at the Boston Sym- phony Orchestra's summer home, the chorus was soon playing a major role in the BSO's Symphony Hall season as well. Now the official chorus of the Boston Symphony Orchestra, the Tanglewood Festival Chorus is made up of members who donate their services, performing in Boston, New York, and at Tanglewood, working with Music Director Seiji Ozawa, John Williams and the Boston Pops, and such prominent guest conductors as Ber- nard Haitink, Roger Norrington, and Simon Rattle. In addition, the chorus has collabo- rated with Seiji Ozawa and the Boston Symphony Orchestra on numerous recordings, beginning with Berlioz's The Damnation of Faust for Deutsche Grammophon, a 1975 Grammy nominee for Best Choral Performance. An album of a cappella twentieth-century American music recorded at the invitation of Deutsche Grammophon was a 1979 Grammy nominee. Recordings with Seiji Ozawa and the Boston Symphony Orchestra currently available on compact disc include Strauss's Elektra, Mahler's Second and Eighth sympho- nies, and Schoenberg's Gurrelieder, on Philips; Beethoven's Choral Fantasy with Rudolf Serkin, on Telarc; Poulenc's Gloria and Stabat mater with Kathleen Battle, on Deutsche Grammophon; and Debussy's La Damoiselle elue with Frederica von Stade, on CBS Mas- terworks. The chorus's most recent release, on Philips, is Ravel's Daphnis et Chloe, with the Boston Symphony Orchestra under the direction of Bernard Haitink. They may also be heard on the Philips album "We Wish You a Merry Christmas" with John Williams and the Boston Pops Orchestra. In June 1989 the Tanglewood Festival Chorus helped close a month-long International Choral Festival based in Toronto, performing music by Tallis, Ives, Brahms, and Gabrieli under John Oliver's direction and participating in the festival's closing performance, the Verdi Requiem with the Toronto Symphony under the direction of Charles Dutoit.

In addition to his work with the Tanglewood Festival Chorus, John Oliver is conduc- tor of the MIT Chamber Chorus and MIT Concert Choir, a senior lecturer in music at MIT, and conductor of the John Oliver Chorale, now in its fourteenth season. Mr. Oliver made his Boston Symphony conducting debut at Tanglewood in 1985.

Beacon Street, Brookline, MA 02146 (617) 738-5700

46 Tanglewood Festival Chorus John Oliver, Conductor

Sopranos Diane Droste Hyung Goo Kim Naidich Lee Annette Anfinrud Barbara Ehrmann Thomas Henry Lussier Deborah Bennett Paula Folkman Hewitt-Didham John Maclnnis Bonita Ciambotti Donna Deborah Coleman April Merriam David R. Pickett Sheryl Monkelien David Raish Patricia Cox Sarah Dorfman Susan Quinn Pierce Basses Sandra Hammond Linda Kay Smith Julie Steinhilber Cheri Hancock Eddie Andrews Elizabeth Wallace Taylor Malinda Julien Mel Conway Dianne Terp Barbara S. MacDonald James W. Courtemanche Constance Turnburke Carol McKeen Edward E. Dahl Eileen West Jan Elizabeth Norvelle Timothy Lanagan Sarah Robinson Andris Levensteins Tenors Charlotte C. Russell David K. Lones S. Lynn Shane Richard A. Bissell Stephen H. Owades Joan Pernice Sherman Wayne Curtis Dennis M. Pereira Deborah L. Speer Reginald Didham Carl R. Petersheim Michael P. Gallagher Michael J. Prichard Mezzo-sopranos George W. Harper Paul Sanner Maisy Bennett John W. Hickman Timothy Shetler Betty Blume Warren Hutchison Paul R. Tessier Sharon Carter James R. Kauffinan Terry L. Ward

Virginia S. Hecker, Manager Shiela Kibbe, Rehearsal Pianist

THE TASTE YOU USED TO TAKE FOR GRANTED

If biting into an apple is something you haven't been able to do for a while, call us. Implant Dentistry, with over 20 years of scientific and clinical experience, can now give you the next best thing to your own natural teeth. If you want to bite into an apple, smile with confidence, and have great looking teeth NEW ENGLAND call 651-1344. (508) IMPLANT DENTISTRY

New England Implant Dentistry • Michael R. Nicolazzo, D.M.D.

20 North Main Street, Suite 260 • Sherborn, Massachusetts 01770

47 BUSINESS Business and Professional Leadership Association

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

CORPORATE SPONSORSHIPS $25,000 and above

Digital Equipment Corporation Boston Pops Orchestra Public Television Broadcasts NEC Boston Symphony Orchestra North American Tour 1991 Boston Symphony Orchestra European Tour 1991

NYNEX Corporation WCVB-TV, Channel 5 Boston and WCRB 102.5 FM Salute to Symphony 1990

The Boston Company Opening Night At Symphony 1990

BayBanks, Inc. Opening Night at Pops 1990

Lexus A Division of Toyota Motor Sales U.S.A., Inc. Tanglewood Opening Night 1990

TDK Electronics Corporation Tanglewood Tickets for Children 1990

Bank of Boston Country Curtains and The Red Lion Inn BSO Single Concert Sponsors 1990

For information on these and other corporate funding opportunities, contact Madelyne Cuddeback, BSO Director of Corporate Sponsorships, Symphony Hall, Boston, MA 02115, (617) 638-9254.

48 1990-91 Business Honor Roll ($10,000 and Above)

Advanced Management Associates The Gillette Company Harvey Chet Krentzman Alfred M. Zeien

Analog Devices, Inc. Grafaeon, Inc. Ray Stata H. Wayman Rogers, Jr. AT&T Network Systems GTE Products Corporation John F. McKinnon Dean T. Langford

Bank of Boston Hill, Holliday, Connors, Cosmopulos, Inc. Ira Stepanian Jack Connors, Jr.

Barter Connections The Henley Group Kenneth C. Barron Paul M. Montrone

BayBanks, Inc. Houghton Mifflin Company William M. Crozier, Jr. Nader F. Darehshori

Bingham, Dana & Gould IBM Corporation Joseph Hunt Paul J. Palmer

Bolt Beranek & Newman John Hancock Mutual Life Insurance Company Stephen R. Levy E. James Morton

The Boston Company Lawner Reingold Britton & Partners Christopher M. Condron Michael H. Reingold

Boston Edison Company Lexus Stephen J. Sweeney A Division of Toyota Motor Sales, U.S.A., Inc. The Boston Globe J. Davis Ulingworth William 0. Taylor Liberty Mutual Insurance Group Boston Herald Gary L. Countryman

Patrick J. Purcell Loomis-Sayles & Company, Inc. Bull HN Information Systems, Inc. Charles J. Finlayson Roland D. Pampel McKinsey & Company Cahners Publishing Company Robert P. O'Block Ron Segel Morse Shoe, Inc. Connell Limited Partnership Manuel Rosenberg William F. Connell NEC Corporation Coopers & Lybrand Tadahiro Sekimoto William K. O'Brien NEC Deutschland GmbH Country Curtains Masao Takahashi Jane P. Fitzpatrick Nestle-Hills Brothers Coffee Company Deloitte & Touche Ned Dean James T. McBride The New England Digital Equipment Corporation Edward E. Phillips Kenneth G. Olsen New England Telephone Company Dynatech Corporation Paul C. O'Brien J. P. Barger Northern Telecom, Inc. Eastern Enterprises Brian Davis Robert W. Weinig Nynex Corporation EG&G, Inc. John M. Kucharski William C. Ferguson Ernst & Young PaineWebber, Inc. Thomas P. McDermott James F. Cleary

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

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

49 1990-91 Business Honor Roll (continued)

Prudential-Bache Capital Funding TDK Electronics Corporation David F. Remington Takashi Tsujii Raytheon Company USTrust Thomas L. Phillips James V. Sidell The Red Lion Inn WCRB-102.5 FM John H. Fitzpatrick Richard L. Kaye

Shawmut Bank, N.A. WCVB-TV, Channel 5 Boston John P. Hamill S. James Coppersmith The Stop & Shop Foundation Avram J. Goldberg

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

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

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

Southfield, Massachusetts 01259/413-229-8330

50 BUSINESS AND PROFESSIONAL LEADERSHIP ASSOCIATION The Boston Symphony Orchestra gratefully acknowledges these Business Leaders for their generous and valuable support totaling $1,250 and above during the past fiscal year. Names which are both capitalized and underscored in this listing make up the Business Honor Roll denoting support of $10,000 and above. Capitalization denotes support of $5,000-$9,999, and an asterisk indicates support of $2,500-$4,999.

Accountants Banking Lindenmeyr Munroe ARTHUR ANDERSEN & CO. BANK OF BOSTON NESTLE-HILLS BROTHERS William F. Meagher Ira Stepanian COFFEE COMPANY Ned Dean Charles E. DiPesa & Company *Bank of New England William F. DiPesa Corporation O'Donnell-Usen Fisheries COOPERS & LYBRAND Lawrence K. Fish Arnold S. Wolf William K. O'Brien BAYBANKS, INC. Welch's DELOITTE & TOUCHE William M. Crozier, Jr. Everett N. Baldwin James T. McBride THE BOSTON COMPANY ERNST & YOUNG Christopher M. Condron, Jr. Education Thomas P. McDermott Cambridge Trust Company BENTLEY COLLEGE KMPG PEAT MARWICK Lewis H. Clark Gregory Adamian

• Robert D. Happ CITICORP/CITIBANK Walter E. Mercer Electrical/HVAC iTheodore S. Samet & Company

I Theodore S. Samet First National Bank of Chicago *p.h. mechanical Corporation Richard Spencer Paul A. Hayes (Tofias, Fleishman, Shapiro & Co., P.C. *Rockland Trust Company *R & D Electrical Company, Inc. Allan Tofias John F. Spence, Jr. Richard D. Pedone SHAWMUT BANK, N.A. [Advertising/Public Relations John P. Hamill Electronics Arnold Advertising * State Street Bank & Alden Electronics, Inc.

I Edward Eskandarian Trust Company Joseph Girouard jElysee Public Relations William S. Edgerly *Analytical Systems Tanya Keller Dowd USTRUST Engineering Corporation IHILL, HOLLIDAY, CONNORS, James V. Sidell Michael B. Rukin COSMOPULOS, INC. Wainwright Bank & Trust Company PARLEX CORPORATION Jack Connors, Jr. John M. Plukas Herbert W. Pollack Ilngalls, Quinn & Johnson

I Bink Garrison Energy LAWNER REINGOLD Building/Contracting CABOT CORPORATION BRITTON & PARTNERS * | Harvey Industries, Inc. Samuel W. Bodman Michael !, H. Reingold Frederick Bigony

J.F. White Contracting Company |4erospace Engineering Philip Bonanno jNbrthrop Corporation *GZA GeoEnvironmental Lee Kennedy Co., Inc. Kent Kresa Technologies, Inc. Lee M. Kennedy Donald T. Goldberg Architects *Moliterno Stone Sales, Inc. The Thompson & Lichtner Kenneth A. Castellucci Cambridge Seven Associates Company, Inc. Charles Redman * National Lumber Company John D. Stelling LEA Group Louis L. Kaitz Eugene R. Eisenberg PERINI CORPORATION Entertainment/Media David B. Perini GENERAL CINEMA CORPORATION Automotive Richard A. Smith T.N. Phillips Glass Consumer Goods/Distributors National Amusements, Inc. Company, Inc. Sumner M. Redstone Alan L. Rosenfeld BARTER CONNECTIONS Kenneth C. Barron Lexus Environmental A Division of Toyota Motor FAIRWINDS GOURMET COFFEE iSales U.S.A., Inc. COMPANY Jason M. Cortell & Associates J. Davis Illingworth Michael J. Sullivan Jason M. Cortell

51 Dear Patron of the Orchestra:

For many years the Boston Sym- phony Orchestra has been known as the "aristocrat of American orchestras." There is indeed a distinctive "BSO sound" that has earned worldwide acclaim and has attracted the greatest musicians to audition for membership in the orchestra. u An important ingredient in the creation of this unique sound is l# It" having the finest musical instruments on the BSO's stage. However, the cost of many of these instruments

(especially in the string sections) has become staggeringly high, and it is incumbent upon the Symphony to take steps to assure that musicians in key positions who do not themselves own great instruments have access to them for use in the orchestra.

Two recent initiatives have been taken to address this concern: First, in 1988, the Boston Safe Deposit and Trust Company stepped forward with a creative loan program that is making it possible for players to borrow at one and a half percent below prime to purchase instruments.

Second, last fall, the incentive of a Kresge Foundation challenge grant helped launch our effort to raise a fund of $1 million for the Orchestra to draw upon from time to time to purchase instruments for use by the players. The BSO in this case would retain ownership.

Donations of both outright gifts and instruments are being sought to establish the BSO's Instrument Acquisition Fund. Fine pianos, period instruments, special bows, heirloom violins, etc. all make ideal gifts. Opportunities for naming instruments and for other forms of donor recognition may be available according to the wishes of the donor.

If you are interested in this program please contact me or Joyce Serwitz in the orchestra's Development Office at (617) 638-9273. Your support will help make a difference that will be music to our ears!

George H. Kidder President

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

Johnson O'Hare Co., Inc. DIGITAL EQUIPMENT Hotels/Restaurants Harry O'Hare CORPORATION 57 Park Plaza Hotel Kenneth G. Olsen Nicholas L. Vinios Footwear DYNATECH CORPORATION *Back Bay Hilton Converse, Inc. J. P. Barger Carol Summerfield Gilbert Ford EG&G, INC. *Boston Marriott Copley Place J. Baker, Inc. John M. Kucharski Jurgen Giesbert Sherman N. Baker EMC CORPORATION Christo's Restaurant Jones & Vining, Inc. Richard J. Egan Christopher Tsaganis Sven A. Vaule, Jr. Helix Technology Corporation THE RED LION INN MORSE SHOE, INC. Robert J. Lepofsky John H. Fitzpatrick Manuel Rosenberg * Sheraton Boston Hotel & Towers Reebok International Ltd. THE HENLEY GROUP Steve Foster Paul Fireman Paul M. Montrone *Sonesta International The Rockport Corporation HEWLETT PACKARD COMPANY Hotels Corporation Anthony Tiberii Ben L. Holmes Paul Sonnabend THE STRIDE RITE IBM CORPORATION *The Westin Hotel, Copley Place

I CORPORATION Paul J. Palmer David King Arnold S. Hiatt *Intermetrics Inc. Furnishings/Housewares Joseph A. Saponaro Industrial Distributors IONICS, ARLEY MERCHANDISE INC. *Alles Corporation Arthur L. Goldstein CORPORATION Stephen S. Berman

David I. Riemer *Lotus Development Corporation Brush Fibers, Inc. Jim P. Manzi BBF Corporation Ian P. Moss Boruch B. Frusztajer *M/A-Com, Inc. *Eastern Refractories Company Robert H. Glaudel COUNTRY CURTAINS David S. Feinzig Jane P. Fitzpatrick MILLIPORE CORPORATION Millard Metal Service Center John A. Gilmartin Jofran Sales, Inc. Donald Millard, Jr. Robert D. Roy *The MITRE Corporation Charles A. Zraket Insurance Graphic Design NEC CORPORATION *American Title Insurance Company CLARK/LINSKY DESIGN Tadahiro Sekimoto Terry E. Cook Robert H. Linsky NEC DEUTSCHLAND GmbH *Arkwright INDEPENDENT DESIGN Masao Takahasi Enzo Rebula Patrick White *Orion Research, Inc. Caddell & Byers High Technology/Electronics Alexander Jenkins III John Dolan lAlden Products Company POLAROID CORPORATION CAMERON & COLBY CO., INC. Betsy Alden I.M. Booth Lawrence S. Doyle

53 *• *

The Premier Business Event of the Year!

Come Join in the Festivities as the BSO Salutes the Tenth Annual PRESIDENTS

POPS

June 5, 1991

Give your management team, customers or clients, vendors or business associates a great springtime treat - and. at the same time, support the BSO's biggest tundraising event of the year.

sinesses and professional oraanizc

Annual Presidents at Pops.

For S6.000. your company will receive 20 tickets to this gala event, complete with pre-

concert cocktails and hors d'oeuvres. a gourmet picnic supper, and a special Boston Pops concert under the baton of John Williams - sure to delight you and your

corporate guests. In addition, the senior executive of each participating organization will be invited to attend the prestigious black-tie Leadership Dinner Dance, to be held

on the floor of Symphony Hall on May 1 3.

Advertise in the exclusive Presidents at Pops program book - another great way to support this event!

For further information about President at Pops, June 5, 1991, call:

James F. Cleary. Managing Director. PameWebber. Inc. (617-439-8000) Harvey Chet Krentzman. President. Advanced Management Associates (617-332-3141) Marie Pettibone. BSO Corporate Development (617-638-9278) 'Charles H. Watkins & Company PAINEWEBBER CAPITAL Management/Financial/Consulting Paul D. Bertrand MARKETS ADVANCED MANAGEMENT Chubb Group of Insurance Cos. Joseph F. Patton ASSOCIATES John Gillespie SALOMON INC. Harvey Chet Krentzman FRANK B. HALL & CO. OF John V. Carberry *Arthur D. Little, Inc. MASSACHUSETTS, INC. *Spaulding Investment Company John Magee William F. Newell C.H. Spaulding *Bain & Company, Inc. International Insurance Group William Bain * State Street Development W. John Perkins Management Corp. THE BOSTON CONSULTING JOHN HANCOCK MUTUAL John R. Gallagher III GROUP LIFE INSURANCE COMPANY Jonathan L. Isaacs TUCKER ANTHONY, INC. E. James Morton John Goldsmith Cordell Associates, Inc. Johnson & Higgins of James B. Hangstefer Whitman & Evans, Art Investments Massachusetts, Inc. *Corporate Decisions Eric F. Mourlot Robert A. Cameron David J. Morrison Life *Woodstock Corporation Keystone Provident *Haynes Management, Inc. Nelson J. Darling, Jr. Insurance Company G. Arnold Haynes Robert G. Sharp Legal Index Group Lexington Insurance Company David G. Robinson Kevin H. Kelley BINGHAM, DANA & GOULD Irma Mann Strategic Marketing Joseph Hunt LIBERTY MUTUAL INSURANCE Irma Mann Stearns GROUP *Choate, Hall & Stewart Lochridge & Company, Inc. Gary L. Countryman Robert Gargill Richard K. Lochridge THE NEW ENGLAND Dickerman Law Offices MCKINSEY & COMPANY Edward E. Phillips Lola Dickerman Robert P. O'Block SAFETY INSURANCE COMPANY *Fish & Richardson The Pioneer Group, Inc. Richard B. Simches Robert E. Hillman John F. Cogan, Jr. Sedgwick James of * Gaston & Snow PRUDENTIAL-BACHE New England, Inc. Richard J. Santagati CAPITAL FUNDING P. Joseph McCarthy GOLDSTEIN & MANELLO David F. Remington Sullivan Risk Management Group Richard J. Snyder *Rath & Strong John H. Sullivan Dan Ciampa [Sun Life Assurance Company GOODWIN, PROCTER AND HOAR * Robert B. Fraser Towers Perrin |of Canada J. Russell Southworth David D. Horn *Hemenway & Barnes *William M. Mercer, Inc. John J. Madden Chester D. Clark Investments Hubbard & Ferris *The Wyatt Company faring International Investment, Ltd. Charles A. Hubbard Paul R. Daoust John F. McNamara * Joyce & Joyce Yankelovich Clancy Shulman Sear Stearns & Company, Inc. Thomas J. Joyce Kevin Clancy Keith H. Kretschmer * Lynch, Brewer, Hoffman & Sands }ssex Investment Management Owen B. Lynch Manufacturer's Representatives Company, Inc. MINTZ, LEVIN, COHN, FERRIS, *Ben Mac Enterprises Joseph C. McNay GLOVSKY & POPEO, P.C. Larry Benhardt FIDELITY INVESTMENTS/ Francis X. Meaney Thomas McAuliffe FIDELITY FOUNDATION Nissenbaum Law Offices Kitchen, & Kutchin, Inc. loldman, Sachs & Company Gerald L. Nissenbaum Melvin Kutchin Martin C. Murrer *Paul R. Cahn Associates, Inc. lUFMAN * Nutter, McClennen & Fish & COMPANY Paul R. Cahn Sumner Kaufman Michael J. Bohnen adder, Peabody & Co. PALMER & DODGE Manufacturing/Industry Robert E. Sullivan John G. Higgins *AGFA Corporation .OOMIS-SAYLES & COMPANY, *Rackemann, Sawyer & Brewster Ken Draeger Stephen Carr Anderson [NC. *AMCEL Corporation Charles J. Finlayson Sarrouf, Tarricone & Flemming Lloyd Gordon [errill Lynch & Co., Inc. Camille F. Sarrouf *Avedis Zildjian Company Paul Fehrenbach Weiss, Angoff, Coltin, Koski & Armand Zildjian J AINEWEBBER, INC. Wolf, P.C. The Biltrite Corporation James F. Cleary Dudley A. Weiss Stanley J. Bernstein

55 (fou are cordially invited to sample our Symphony Menu

at The Cafe (Promenade •Oho olonna

O S UUIII TON

7 (For "Reservations Call, 61/ -424-7000

%educedparking rates when dining at I7te Colonnade for Symphony Matrons. *&jiP

The Colonnade !Hotelis located at 120 Huntington Avenue, Boston

We Would Like To Buy From You ROY K. EYGES INC

Buying & Selling Since 1941

Estate Jewelry • Period Jewelry Diamonds • Colored Stones • Antique^ Silver Sterling Silver • Flatware (Assorted Patterns) Hollow Ware • Bric-a-Brack • Art Objects

Buyers and Appraisers of Jewelry, Silver and Antiques Members of the Appraisers Association of America 247-8400

Hours: Monday-Saturday 10am-5pm 38 Newbury Street, 2nd floor, Boston

56 A TRADITION OF FINANCIALCOURSEI OLDER THAN THE U.S. DOLLAR. State Street has been providing quality financial service since 1792. That's two years longer than the dollar has been the official currency of the United States. During that time, we have managed the assets of some of New England's wealthiest families. And provided investment advice and performance tailored to each client's individual goals and needs. Today our Personal Trust Division can extend that service to you. We've been helping people manage their money for almost 200 years. And you can only stay in business that long by offering advice of the highest quality. Let us help you get the highest performance from your assets. To enjoy today and to pass on to future generations. For more information contact Peter Talbot at 617-654-3227. State Street. Known for quality?

®

State Street Bank and Trust Company, wholly-owned subsidiary of State Street Boston Corporation, 225 Franklin Street, Boston, MA 02101. Offices in Boston, New York, Los Angeles, London, Munich, Brussels, Tokyo, Sydney, Hong Kong. Member FDIC. Copyright State Street Boston Corporation, 1989. MMx - - ifife/t

Carleton-Willard Village is an exceptional continuing care retirement community. Gracious independent living accommodations and fully licensed, long-term health care facilities exist in a traditional New England environment.

100 Old Billerica Rd. fTs Bedford, MA 01730 (617) 275-8700 Owned and operated by Carleton-Willard '"^fWTO^ Homes, Inc./ a non-profit corporation lup Boston Acoustics, Inc. *Tech Pak, Inc. *The Flatley Company Prank Reed J. William Plynn Thomas J. Flatley

*C.R. Bard, Inc. Textron, Inc. Heafitz Development Company Robert H. McCaffrey B.P. Dolan Lewis Heafitz * Century Manufacturing Company Wire Belt Company of America Hilon Development Corporation Joseph Tiberio P. Wade Greer Joan Eliachar

*Chelsea Industries, Inc. *John M. Corcoran & Company Media Ronald G. Casty John M. Corcoran THE BOSTON GLOBE CONNELL LPMITED PARTNERSHIP Keller Co., Inc. William 0. Taylor William P. Connell Joseph P. Keller BOSTON HERALD Dennison Manufacturing Company *Leggat McCall Properties, Inc. Patrick J. Purcell Nelson G. Gifford Dennis F. Callahan PEOPLE MAGAZINE ERVING PAPER MILLS Nordblom Company Peter Krieger Charles B. Housen Roger P. Nordblom WCRB- 102.5 FM *FLEXcon Company, Inc. Northland Investment Corporation Richard L. Kaye Mark R. Ungerer Robert A. Danziger WCVB-TV, CHANNEL 5 BOSTON Georgia-Pacific Corp. *Trammell Crow Company S. James Coppersmith Maurice W. Kring Arthur DeMartino THE GILLETTE COMPANY Personnel Urban Investment & Development Alfred M. Zeien TAD TECHNICAL SERVICES Rudy K. Umscheid GTE PRODUCTS CORPORATION CORPORATION *Windsor Building Associates Dean T. Langford David J. McGrath, Jr. Mona F. Freedman HARVARD FOLDING BOX COMPANY, INC. Printing Retail Melvin A. Ross *Bowne of Boston, Inc. *Channel Home Centers, Inc. H.K. Webster Company, Inc. Donald J. Cannava Malcolm L. Sherman Dean K. Webster Customforms, Inc. FILENE'S *HMK Enterprises, Inc. David A. Granoff David P. Mullen Joan L. Karol DANIELS PRINTING COMPANY *Jordan Marsh Company Hudson Lock, Inc. Lee S. Daniels Richard F. Van Pelt Norman Stavisky *Espo Litho Co., Inc. Karten's Jewelers 'Industrial Filter and Equipment David M. Fromer Joel Karten Corporation George H. Dean Company Lancome Paris Donald R. Patnode Earl Michaud Steve Morse Kendall Company GRAFACON, INC. *Neiman Marcus J. Dale Sherratt H. Wayman Rogers, Jr. William D. Roddy LEACH & GARNER COMPANY Out of Town News, Inc. Philip F. Leach Publishing Sheldon Cohen Leggett & Piatt, Inc. Addison-Wesley Publishing Company, *Saks Fifth Avenue Alexander M. Levine Inc. Alison Strieder Mayher Warren R. BNEW ENGLAND BUSINESS Stone The Stop & Shop Companies, Inc. INC. CAHNERS PUBLISHING COMPANY ISERVTCE, Lewis Schaeneman Richard H. Rhoads Ron Segel Tiffany & Co. HOUGHTON MIFFLIN | New England Insulation COMPANY Anthony D. Ostrom Theodore H. Brodie Nader F. Darehshori TJX COMPANIES Little, Brown & Company [Parks Corporation Ben Cammarata Lee Davidson Kevin L. Dolan

'ierce Aluminum Real Estate/Development Science/Medical Robert W. Pierce Baldpate Hospital, Inc. * Boston Capital Partners ind-Whitney Corporation Lucille M. Batal Christopher W. Collins Robert Kraft Herbert F. Collins Blake & Blake Genealogists tatler Tissue Company Richard J. DeAgazio Richard A. Blake, Jr. Leonard Sugerman John P. Manning CHARLES RD7ER Superior Brands, Inc. *Combined Properties, Inc. LABORATORIES, INC.

J Richard J. Phelps Stanton L. Black Henry L. Foster

57 1991 405 models from $15,300 to $21,700. tCall 1-800-447-2882. tMSRP. Excludes tax, title, options, registration and destination charges

After more than a century of building fine automobiles, Peugeot creates cars so well-conceived that some of the best qualities of the car may not be apparent at a glance. But those willing to take the time to look more closely will find themselves richly rewarded. They'll discover a distinctive European automobile whose rare combination of intelligent engineering, legendary driving comfort and enduring style has won the acclaim of automotive enthusiasts the world over. All of which only begins to explain why people who own Peugeots keep them longer than most import cars on the road*

Evidently once you've looked beyond the obvious, it is difficult to see anything less. ICompuChem Corporation Software/Information Services *Cellular One Charles Hoffman Gerard Kees Verkerk * International Data Group

J.A. WEBSTER, INC. Patrick J. McGovern NEW ENGLAND TELEPHONE John A. Webster *Phoenix Technologies Foundation COMPANY Paul C. O'Brien Portsmouth Regional Hospital Neil Colvin NORTHERN TELECOM, INC. I William J. Schuler Travel Brian Davis CRIMSON/THOMAS COOK NYNEX CORPORATION Services TRAVEL William C. Ferguson Don Law Productions David Paresky Don Law * Heritage Travel, Inc. Transportation Donald R. Sohn ;EAS'TERN ENTERPRISES Patterson Wylde Robert W. Weinig Norman Tasgal Tele c ommunic ations Griltspur Exhibits/Boston AT&T Thomas E. Knott Utilities Robert Babbitt

1 Bhaughnessy & Ahern Co. BOSTON EDISON COMPANY 1 AT&T Stephen J. Sweeney i John J. Shaughnessy J Glenn Swift Wild Acre Inns, Inc. AT&T NETWORK SYSTEMS New England Electric System Joan T. Bok Bernard S. Yudowitz John F. McKinnon

- 'Tower Records **- has the largest selection of Classical, Opera and (Baroque music in (Boston.

(Located 3 blocks from Symphony Matt) 1QMR RKKVMQ Mass. Ave. At Newbury In Back Bay

Hynes Convention Center/ICA (J) Stop on the Qteenline

59 I

Next Program . . .

Thursday, April 11, at 8 Friday, April 12, at 2 Saturday, April 13, at 8

SEIJI OZAWA conducting

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

Allegro Adagio un poco mosso Rondo: Allegro ma non troppo KRYSTIAN ZIMERMAN

INTERMISSION

BERLIOZ Symphonie fantastique: Episode de la vie d'un artiste, Opus 14

Reveries, passions A ball Scene in the country March to the scaffold Dream of a witches' sabbath

Single tickets for all Boston Symphony Orchestra concerts throughout the season are available at the Symphony Hall box office, or by calling "Symphony-Charge" at (617) 266-1200, Monday through Saturday from 10 a.m. until 6 p.m., to charge tickets instantly on a major credit card, or to make a reservation and then send payment by check. Please note that there is a $1.75 handling fee for each ticket ordered by phone.

60 Coming Concerts . . . MIT Summer Session Wednesday, April 10, at 7:30 p.m. Open Rehearsal a group of short seminars in the Marc Mandel will discuss the program at 6:30 in Symphony Hall. Humanities, Social Sciences Thursday 'D' -April 11, 8-9:55 and the Arts, Friday A' -April 12, 2-3:55 Saturday A' -April 13, 8-9:55 SEIJI OZAWA conducting for adults, presented on the campus, KRYSTIAN ZIMERMAN, piano

in Cambridge, BEETHOVEN Piano Concerto No. 5, by members of the MIT faculty. Emperor BERLIOZ Symphonie fantastique June, July & August, 1991

Tuesday, April 16, at 7:30 Dress Rehearsal (reserved seating) Thursday 'C -April 18, 8-9:55 Saturday 'B' -April 20, 8-9:55 SEIJI OZAWA conducting HILDEGARD BEHRENS, soprano MIGNON DUNN, mezzo-soprano RAGNAR ULFUNG, tenor VINSON COLE, tenor JORMA HYNNINEN, baritone STRAUSS Salome For further information on content, tuition.scholarships housing, and Friday Evening— April 19, 8-9:50 contact: SEIJI OZAWA conducting MIT Office fo the Summer Session, MALCOLM LOWE, violin E1 9-356, Cambridge, MA 02139 JULES ESKIN, cello Phone: 617-253-2101 ALFRED GENOVESE, oboe RICHARD SVOBODA, bassoon Fax: 617-253-8042 BEETHOVEN Symphony No. 8 HAYDN Sinfonia concertante for violin, cello, oboe, and bassoon ROSSINI Overture to Semiramide

Programs and artists subject to change. "Nationally Outstanding" -Esquire Magazine

61 A seat in Symphony Hall — a gift for all seasons,

® IBLimited

Your tax deductible contribution of $6,000 will endow and name a seat in Symphony Hall, forever associating that certain some- one with one of the world's great symphony orchestras.

For further information about named and memorial gift oppor- tunities at Symphony, please call or write:

Joyce M. Serwitz Boston Symphony Orchestra Boston, Massachusetts 02115 Telephone (617) 638-9273 Symphony Hall Information . . .

FOR SYMPHONY HALL CONCERT AND THE SYMPHONY SHOP is located in the TICKET INFORMATION, call (617) 266- Cohen Wing at the West Entrance on Hunting- 1492. For Boston Symphony concert program ton Avenue and is open Tuesday, Thursday, and information, call "C-O-N-C-E-R-T" (266-2378). Friday from 11 a.m. until 3 p.m., Saturday from 1 p.m. until 6 p.m., and from one hour before THE BOSTON SYMPHONY performs ten each concert through intermission. The shop car- months a year, in Symphony Hall and at Tan- ries BSO and musical-motif merchandise and glewood. For information about any of the gift items such as calendars, clothing, appoint- orchestra's activities, please call Symphony ment books, drinking glasses, holiday ornaments, Hall, or write the Boston Symphony Orches- children's books, and BSO and Pops recordings. tra, Symphony Hall, Boston, MA 02115. A selection of Symphony Shop merchandise is also available during concert hours outside THE NEWLY REFURBISHED EUNICE S. BSO AND JULIAN COHEN WING, adjacent to the Cabot-Cahners Room in the Massachusetts Symphony Hall on Huntington Avenue, may be Avenue corridor. AH proceeds benefit the Boston entered by the Symphony Hall West Entrance Symphony Orchestra. For merchandise informa- on Huntington Avenue. tion, please call (617) 267-2692.

FOR SYMPHONY HALL RENTAL INFOR- TICKET RESALE: If for some reason you MATION, caU (617) 638-9240, or write the are unable to attend a Boston Symphony con- Function Manager, Symphony Hall, Boston, cert for which you hold a ticket, you may make MA 02115. your ticket available for resale by calling the switchboard. This helps bring needed revenue THE BOX OFFICE is open from 10 a.m. to the orchestra and makes your seat available until 6 p.m. Monday through Saturday; on con- to someone who wants to attend the concert. A cert evenings it remains open through intermis- mailed receipt will acknowledge your tax-deduct- sion for BSO events or just past starting-time ible contribution. for other events. In addition, the box office opens Sunday at 1 p.m. when there is a con- RUSH SEATS: There are a limited number of cert that afternoon or evening. Single tickets Rush Seats available for the Friday-afternoon, for all Boston Symphony subscription concerts Tuesday-evening, and Saturday-evening Boston are available at the box office. For outside Symphony concerts (subscription concerts only). events at Symphony Hall, tickets are available The low price of these seats is assured through three weeks before the concert. No phone the Morse Rush Seat Fund. The tickets for Rush orders will be accepted for these events. Seats are sold at $6 each, one to a customer, on Fridays as of 9 a.m. and Saturdays and Tues- TO PURCHASE BSO TICKETS: American days as of 5 p.m. Express, MasterCard, Visa, a personal check, and cash are accepted at the box office. To PARKING: The Prudential Center Garage charge tickets instantly on a major credit card, offers a discount to any BSO patron with a or to make a reservation and then send pay- ticket stub for that evening's performance. ment by check, call "Symphony-Charge" at There are also two paid parking garages on (617) 266-1200, Monday through Saturday Westland Avenue near Symphony Hall. from 10 a.m. until 6 p.m. There is a handling Limited street parking is available. As a spe- fee of $1.75 for each ticket ordered by phone. cial benefit, guaranteed pre-paid parking near Symphony Hall is available to subscribers who GROUP SALES: Groups may take advantage of attend evening concerts on Tuesday, Thursday, advance ticket sales. For BSO concerts at Sym- Friday, or Saturday. For more information, phony Hall, groups of twenty-five or more may call the Subscription Office at (617) 266-7575. reserve tickets by telephone and take advantage of ticket discounts and flexible payment options. LATECOMERS will be seated by the ushers To place an order, or for more information, call during the first convenient pause in the pro- Group Sales at (617) 638-9345. gram. Those who wish to leave before the end IN CONSIDERATION of our patrons and of the concert are asked to do so between pro- artists, children under four will not be admit- gram pieces in order not to disturb other ted to Boston Symphony Orchestra concerts. patrons.

63 SMOKING IS NOT PERMITTED in any Cahners Room on the first-balcony level serve part of the Symphony Hall auditorium or in drinks starting one hour before each perform- the siuToimding corridors: it is permitted only ance. For the Friday-afternoon conceits, both in the Hatch Room and hi the mam lobby on rooms open at 12:15. with sandwiches available Massachusetts Avenue. Please note that until conceit time. smoking is no longer permitted hi the Cabot- BOSTON SYMPHONY BROADCASTS: Con- Cahners Room. ceits of the Boston Symphony Orchestra are CAMERA AND RECORDING EQUIPMENT heard by delayed broadcast hi many parts of the may not be brought into Symphony Hah din- United States and Canada, as well as interna- ing conceits. tionally, through the Boston Symphony Tran- scription Trust. In addition. Friday-afternoon FIRST AID FACILITIES for both men and conceits are broadcast live by WGBH-FM (Bos- women are available. On-call physicians attend- ton 89.7): Saturday-evening conceits are broad- ing conceits should leave then names and seat cast live by both WGBH-FM and AYCRB-FM locations at the switchboard near the Massa- (Boston 102.5). Live broadcasts may also be chusetts Avenue entrance. heard on several other public radio stations WHEELCHAIR ACCESS to Symphony Hall throughout New England and New York. is available via the Cohen Wing, at the West The Friends are annual Entrance. Wheelchair-accessible restrooms are BSO FRIENDS: donors to the Boston Symphony Orchestra. located in the main corridor of the West Friends receive BSO. the orchestra's newslet- Entrance, and in the first-balcony passageway ter, as well as priority ticket information and between Symphony Hah and the Cohen Wing. other benefits depending on their level of giv- outside the ELEVATORS are located Hatch ing. For information, please call the Develop- and Cabot-Cahners rooms on the Massachu- ment Office at Symphony Hah weekdays setts side of Hah. and in Avenue Symphony between 9 and 5. (617) 63S-9251. If you are the Cohen Wing. already a Friend and you have changed your LADIES' ROOMS are located on the orches- address, please send your new address with. tra level, audience-left, at the stage end of the your -newsletter label to the Development Office. hah. on both sides of the first balcony, and in Symphony Hall. Boston. MA 02115. Including the Cohen Wing. the mailing label will assure a quick and accu- rate change of address in our files. MEN'S ROOMS are located on the orchestra level, audience-right, outside the Hatch Room BUSINESS FOR BSO: The BSO's Busmess near the elevator, on the first -balcony level. & Professional Leadership program makes it audience-left, outside the Cabot-Cahners Room possible for businesses to participate in the life near the coatroom. and hi the Cohen Wing. of the Boston Symphony Orchestra through a variety of original and exciting programs, COATROOMS are located on the orchestra and among them "Presidents at Pops." "A Com- first -balcony levels, audience-left, outside the pany Christmas at Pops." and special-event Hatch and Cabot-Cahners rooms, and in the underwriting. Benefits include corporate recog- Cohen Wing. The BSO is not responsible for nition in the BSO program book, access to the personal apparel or other property of patrons. Beranek Room reception lounge, and priority LOUNGES AND BAR SERVICE: There are ticket service. For further information, please two lounges hi Symphony Hall. The Hatch call the BSO Corporate Development Office at Room on the orchestra level and the Cabot- (617) 638-9250.

64 When Marjory and Robert take to the Plus, a flawless array of services and dance floor at Fox Hill Village, people say amenities designed for those whose they move just like Fred Astaire and best years are yet to come. Ginger Rogers. Such grace and style. Yet Fox Hill Village is surprisingly Such flawless execution. affordable, with prices from SI 70. 000 The same can be said of Fox Hill Village. and a unique cooperative plan which Set amid 83 gracefully wooded acres. lets you retain the many investment Fox Hill Village offers a style of retire and tax benefits of home ownership. ment living that's beyond compare. Come see for yourself. Call (617) With an ever- changing schedule of 329-4433 today while preferred social activities. units are still available. Fox Hill Village 10 Longwood Drive, Westwood, MA 02090 Sponsored in part by The Massachusetts General Hospital Health Services Corp. The great Italian artist 1 work in oils.

Ad AND £ m ITALY

PURE ITALIAN OLIVE OIL

3 LITERS

101 ft. 0L ( 3 5TS. 5

And they're not alone. Because everyone knows imported Pastene Olive Oil helps turn meals into masterpieces. So support the arts and stock up with Pastene. Pastene Wine and Food, Somerville, MA 02143