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BOSTON SYMPHONY ORCHESTRA SEIJI OZAWA Music h- Director

107th Season 1987-88 £ 1987 80 Prcx)f. Imported from France by Regal Brands. Inc.. New York, N.Y

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If' Seiji Ozawa, Music Director

Carl St. Clair and Pascal Verrot, Assistant Conductors One Hundred and Seventh Season, 1987-88

Trustees of the Boston Symphony Orchestra, Inc.

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

Mrs. John M. Bradley, Vice-Chairman J. P. Barger, Vice-Chairman

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

Vernon R. Alden Mrs. Eugene B. Doggett Roderick M. MacDougall David B. Arnold, Jr Mrs. John H. Fitzpatrick Mrs. August R. Meyer Mrs. Norman L. Cahners Avram J. Goldberg David G. Mugar William M. Crozier, Jr. Mrs. John L. Grandin Mrs. George R. Rowland Mrs. Lewis S. Dabney Francis W. Hatch, Jr Richard A. Smith Mrs. Michael H. Davis Harvey Chet Krentzman Ray Stata Trustees Emeriti

Philip K. Allen Mrs. Harris Fahnestock Irving W. Rabb Allen G. Barry E. Morton Jennings, Jr. Paul C. Reardon Leo L. Beranek Edward M. Kennedy Mrs. George L. Sargent Richard P. Chapman Albert L. Nickerson Sidney Stoneman Abram T. Collier Thomas D. Perry, Jr. John Hoyt Stookey George H.A. Clowes, Jr John L. Thorndike Other Officers of the Corporation

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

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

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

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

Programs copyright ®1988 Boston Symphony Orchestra, Inc. Cover photo by Christian Steiner/Design by Wondriska Associates Inc. Board of Overseers of the Boston Symphony Orchestra, Inc.

Avram J. Goldberg Chairman

Mrs. Carl Koch John F. Cogan, Jr. Mrs. R. Douglas Hall HI Vice-Chairman Vice-Chairman Secretary

Mrs. Weston W. Adams Mark R. Goldweitz Mrs. Robert B. Newman Martin Allen Haskell R. Gordon Mrs. Hiroshi Nishino Mrs. David Bakalar Joe M. Henson Vincent M. O'Reilly Mrs. Richard Bennink Arnold Hiatt Stephen Paine, Sr. Mrs. Samuel W. Bodman Susan M. Hilles Andrall E. Pearson I William M. Bulger Glen H. Hiner Daphne Brooks Prout Mary Louise Cabot Mrs. Marilyn B. Hoffman Peter C. Read Mrs. C. Thomas Clagett, Jr. Ronald A. Homer Robert E. Remis James F. Clear>^ Anna Faith Jones John Ex Rodgers Julian Cohen H. Eugene Jones Mrs. Jerome Rosenfeld Mrs. Nat Cole Mrs. Bela T. Kalman Mrs. William C. Rousseau William H. Congleton Mrs. S. Charles Kasdon Mrs. William H. Ryan

Walter J. Connolly, Jr. Howard Kaufman Roger A. Saunders Mrs. A. Werk Cook Richard L. Kaye Mrs. Raymond H. Schneider Albert C. Cornelio Robert D. King Mark L. Selkowitz Phyllis Curtin Robert K. Kraft Malcolm L. Sherman Alex V. d'Arbeloff John P. LaWare Mrs. Donald B. Sinclair Mrs. Eugene B. Doggett Mrs. Hart D. Leavitt W Davies Sohier, Jr. Phyllis Dohanian R. Willis Leith, Jr. Ira Stepanian Harriett Eckstein Laurence Lesser Mrs. Arthur L Strang Edward Eskandarian Stephen R. Le\y William F. Thompson Katherine Fanning Frederick H. Lovejoy, Jr. Mark Tishler, Jr. John A. Fibiger Mrs. Charles P. Lyman Luise Vosgerchian Peter M. Flanigan Mrs. Harry L. Marks Mrs. An Wang Gerhard M. Freche C. Charles Marran Roger D. Wellington Dean Freed Hanae Mori Mrs. Thomas H.P Whitney Peter H.B. Frelinghuysen Richard P. Morse Mrs. Donald B. Wilson Mrs. James G. Garivaltis Mrs. Thomas S. Morse Mrs. John J. Wilson Mrs. Ray A. Goldberg E. James Morton Brunetta Wolfman Jordan L. Golding Nicholas T. Zervas

Overseers Emeriti

Mrs. Frank G. Allen Mrs. Richard D. Hill Mrs. Stephen V.C. Morris Hazen H. Ayer Mrs. Louis L Kane David R. Pokross

Mrs. Thomas J. Galligan Leonard Kaplan Mrs. Peter van S. Rice Mrs. Thomas Gardiner Benjamin H. Lacy Mrs. Richard H. Thompson Mrs. James F. Lawrence

Symphony Hall Operations

Robert L. Gleason, Facilities Manager

Cheryl Silvia, Function Manager James E. Whitaker, House Manager

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

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

Vice-Presidents

Mrs. Ray A. Goldberg, Fundraising Projects Mrs. Jeffrey Millman, Membership Ms. Kathleen Heck, Development Services Mrs. Harry F. Sweitzer, Jr., Public Mrs. James T. Jensen, Hall Services Relations Mrs. Eugene Leibowitz, Tanglewood Mrs. Thomas Walker, Regions Mrs. Robert L. Singleton, Tanglewood Ms. Margaret Williams, Youth Activities and Adult Education

Chairmen of Regions

Mrs. Claire E. Bessette Ms. Linda Fenton Mrs. Hugo A. Mujica Mrs. Thomas M. Berger III Mrs. Daniel Hosage Mrs. G. William Newton Mrs. John T. Boatwright Ms. Prudence A. Law Mrs. Ralph Seferian Mrs. Oilman W. Conant Mrs. Robert Miller Mrs. Richard E. Thayer Mrs. James Cooke Mrs. FT. Whitney

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Symphony Spotlight cians, composers, and poets from the Soviet Union will participate in the festival, which also This is one in a series of biographical sketches includes opera and ballet performances, as well that focus on some of the generous individuals as educational programs and workshops for who have endowed chairs in the Boston Sym- area high schools and colleges. During the fes- phony Orchestra. Their backgrounds are var- tival the Boston Symphony Orchestra's con- ied, but each felt a special commitment to the certs will include an all-Russian program with Boston Symphony Orchestra. conductor and Dorothy Q. and David B. Arnold, Jr., Chair Viktoria Postnikova (March 17, 18, 19, and 22), the United States premiere of Schnittke's Sym- For many years David B. Arnold, Jr., has been phony No. 1 under Rozhdestvensky (March 24, a dedicated volunteer of the Boston Sym- 25, and 26), and, as part of another all-Russian phony Orchestra. He was elected a Trustee in program, the Boston premiere of Gubaidulina's 1983, having served previously as an Overseer, "Offertorium" for violin and orchestra, led by and is now chairman of the Personnel Rela- Charles Dutoit with soloist Gidon Kremer tions Committee. He has also served actively (March 31, April 1, 2, and 5). For further infor- on several other BSO committees. Mr. Arnold, mation about "Making Music Together," please who was senior vice-president and a director call (617) 426-5300. of the Shipley Company, Inc., of Newton, Massachusetts, has lent his support to many Boston-area cultural and hospital-related In Appreciation organizations, as has his wife. Dorothy The BSO expresses its gratitude to the follow- Arnold's interest in the BSO is only natural; ing communities that, through providing bus her grandfather, Bentley W. Warren, was transportation to Symphony Hall on Friday President of the BSO from 1931 to 1934. Mrs. afternoons, have made a substantial contribu- Arnold is an artist with a studio in Waltham. tion to the Annual Fund. During the 1986-87 In 1986 the Arnolds generously chose to fund season, these communities generously donated fully in perpetuity the position in the first $7,300 to the orchestra. In Massachusetts: violin section currently held by Fredy Andover, Concord, Dedham, Dover, Marble- Ostrovsky. "We wanted the BSO to have the head, Newton, Wellesley, Weston, Cape Cod, benefit of a chair at this time, rather than later North Shore, and South Shore; in New or by a bequest." Their leadership and dedica- Hampshire: Concord, North Hampton, and tion to the Boston Symphony Orchestra con- Peterborough; and Providence, Rhode Island. tinue to serve as an inspiration to many. The area buses are a project of the Boston Symphony Association of Volunteers.

BSO to Participate in American/Soviet Art Exhibits in the Cabot-Cahners Room Cultural Exchange For the fourteenth year, a variety of Boston- "Making Music Together," a three-week arts area galleries, museums, schools, and non- festival featuring American and Soviet per- profit artists' organizations are exhibiting formers, will open Friday, March 11, at 8 p.m. their work in the Cabot-Cahners Room on the at the Opera House with a performance by the first-balcony level of Symphony Hall. On dis- Festival Orchestra led by Seiji Ozawa and play through March 14 are works from Fra- Soviet conductor Dzhansug Kakhidze with mingham's Danforth Museum. Other organi- violin soloist Maksim Vengerov. Composed of zations to be represented during the coming both Soviet and American musicians, the Fes- months are the Massachusetts College of Art

tival Orchestra will present a program featur- (March 14-April 11), Northeastern University

ing a violin concerto by Andrei Petrov and (April 11-May 9), Howard Yezerski Gallery of

music of Shostakovich, Rodion Shchedrin, and Andover (May 9-June 6), and the Boston Giya Kancheli. More than 285 dancers, musi- Society of Architects (June 6-July 4). S"^

to historical performances of the USTEN WCRB Boston Symphony Orchestra and celebrity interviews on WCRB-102.5-FM Friday, March 4, 1QZ5FM through Sunday, March 6. CLASSICAL RADIO BOSTON

^WCVBIVBoston

Seiji Ozawa and John Williams conducting the WATCH Boston Symphony Orchestra on WCVB-TV Channel 5 with Natalie Jacobson, Chet Curtis, and Frank Avruch as your hosts for the evening, Sunday, March 6, from 7 to 9 PM.

The Boston Symphony Orchestra makes a tremendous contribution to the quality of life in this country. In addition to performing for thousands of concertgoers in Symphony Hall and at Tanglewood, the BSO reaches an audience of millions through its free Pops concerts on the Esplanade, radio broadcasts, and recordings.

SALUTE TO SYMPHONY is your opportunity to be a part of the community that makes great music happen. The Boston Symphony Orchestra and the Boston Pops depend on you. To make your contribution and for further information, call 262-8700.

SALUTE TO SYMPHONY IS A PROJECT OF THE BOSTON SYMPHONY ASSOCIATION OF VOLUNTEERS TO SUPPORT THE BOSTON SYMPHONY ORCHESTRA. Raytheon CORPORATE UNDERWRITER BSO Members in Concert

Max Hobart conducts the North Shore Philhar- Music Director Max Hobart conducts the monic on Sunday, March 6, at 7:30 p.m. at the Civic Symphony Orchestra on Sunday, March Salem High School Auditorium, in a program 13, at 3 pm at Jordan Hall. Virginia Eskin is including Haydn's Surprise Symphony, the soloist for Amy Beach's on a Bruch Violin Concerto No. 1 with soloist Alan program also including Barber's Adagio for Hawryluk, and Elgar's Enigma Variations. Strings and the Dvorak Symphony No. 8. Ronald Knudsen conducts the Newton Sym- Tickets are $10 and $7; for further information, phony Orchestra on Sunday, March 6, at caU 437-0231. 8 p.m. at Aquinas Junior College in Newton BSO violist Roberto Diaz and pianist Judith Comer. Soprano Deborah Sasson is featured in Gordon perform music of Falla, Brahms, Bach, Berlioz's Les Nuits d'ete on a program also Vitali, and Cordero on Simday, March 13, at including Dvorak's Symphony No. 7. Tickets are 3 p.m. at the United First Parish Church, $12; for further information, call 965-2555. 1306 Hancock Street in Quincy. Admission is BSO cellist Jonathan Miller is featured in $5 ($4 students and seniors); for further infor- 's Cello Concerto No. 2 with the mation, caU 773-1290. Metropolitan Symphony of Boston, Wednesday,

March 9, at 8 p.m. at Symphony Hall, on a With Thanks program entitled "Music in the Eire" and also including Sullivan's Overture di Ballo, Leroy We wish to give special thanks to the National Anderson's Irish Suite, and a special appearance Endowment for the Arts and the Massachu- by actress Maureen O'Hara. Tickets are $30, setts Council on the Arts and Humanities for $25, and $20; for further information, call their continued support of the Boston Sym- 266-6550. phony Orchestra.

Charles Rawson February 6, 1927-February 18, 1988

Charles Rawson, who retired recently from his position as manager of the Symphony Hall Box Office, died last month. A native of Medford and a graduate of the Milton Schools, Mr. Rawson attended Bryant and Stratton Col- lege in Boston. His retirement followed more than twenty- five years of dedicated service to the Boston Symphony Orchestra. A World War II Navy veteran, he worked at box offices at the Shubert Theatre, the Boston Garden, and Suffolk Downs before joining the BSO staff in 1961 as one of three box office staff members. He became Symphony Hall Box Office Manager in 1973. Charlie's many fans included not just the entire BSO family, but countless ticket-buyers at Symphony Hall and Tanglewood as well. Always good-natured and cheerful, he possessed an unfailing sense of humor and seemingly limitless patience. Charlie's presence was a special one, and he will be greatly missed. Seiji Ozawa

followed by a year as that orchestra's music adviser.

Seiji Ozawa made his first Symphony Hall appearance with the Boston Sym- phony Orchestra in January 1968; he had previously appeared with the orchestra for four summers at Tanglewood, where he became an artistic adviser in 1970. For the 1972-73 season he was the orchestra's music adviser. Since becoming music director of the Boston Symphony Orchestra in 1973, Mr. Ozawa has strengthened the orchestra's reputation internationally as well as at home, leading concerts in Europe, Japan, and throughout the United States. In March 1979 he and the orchestra traveled to China for a significant musical This is Seiji Ozawa's fifteenth year as music and cultural exchange entailing coaching, director of the Boston Symphony Orchestra. study, and discussion sessions with Chinese The thirteenth conductor to hold that posi- musicians, as well as concert performances. tion since the orchestra was founded in 1881, That same year, the orchestra made its first Mr. Ozawa became the BSO's music director tour devoted exclusively to appearances at in 1973. Born in 1935 in Shenyang, China, to the major European music festivals. In Japanese parents, Mr. Ozawa studied both 1981 Mr. Ozawa and the orchestra cele- Western and Oriental music as a child, later brated the Boston Symphony's centennial graduating from Tokyo's Toho School of with a fourteen-city American tour and an Music with first prizes in composition and international tour to Japan, France, Ger- conducting. In 1959 he won first prize at the many, Austria, and England. They returned International Competition of Orchestra Con- to Europe for an eleven-concert tour in the ductors held in Besangon, France, and was fall of 1984, and to Japan for a three-week invited to Tanglewood by Charles Munch, tour in February 1986, the orchestra's third then music director of the Boston Symphony visit to that country under Mr. Ozawa's and a judge at the competition. In 1960 he direction. Mr. Ozawa has also reaffirmed won the Tanglewood Music Center's highest the orchestra's commitment to new music honor, the Koussevitzky Prize for outstand- with the recent program of twelve centen- ing student conductor. nial commissions, and with a new program, initiated last year, to include such com- While working with Herbert von Karajan posers as Peter Lieberson and Hans in West Berlin, Mr. Ozawa came to the Werner Henze. attention of . He accom- panied Mr. Bernstein on the New York Phil- Mr. Ozawa pursues an active interna- harmonic's 1961 tour of Japan and was tional career, appearing regularly with the made an assistant conductor of that orches- Berlin Philharmonic, the Orchestre de tra for the 1961-62 season. In January 1962 Paris, the French National Radio Orches- he made his first professional concert tra, the Vienna Philharmonic, the Philhar- appearance in North America, with the San monia of London, and the New Japan Phil- Francisco Symphony. Mr. Ozawa was music harmonic. His operatic credits include director of the Ravinia Festival for five Salzburg, London's Royal Opera at Covent summers beginning in 1964, music director Garden, La Scala in Milan, the Vienna of the Toronto Symphony Orchestra from Staatsoper, and the Paris Opera, where he 1965 to 1969, and music director of the San conducted the world premiere of Olivier Francisco Symphony from 1970 to 1976, Messiaen's opera St. Francis ofAssisi in

8 November 1983. Mr. Ozawa led the Amer- Isaac Stem, and Strauss's Don Quixote and ican premiere of excerpts from that work in the Schoenberg/Monn Cello Concerto with Boston and New York in April 1986. Yo-Yo Ma. He has also recorded the complete cycle of Beethoven piano concertos and the Seiji Ozawa has recorded with the Boston Choral Fantasy with Rudolf Serkin for Symphony Orchestra for Philips, Telarc, Telarc, orchestral works by Strauss, CBS, Deutsche Grammophon, EMI/Angel, Stravinsky, and Hoist, BSO centennial com- New World, Hyperion, Erato, and RCA missions by Roger Sessions, Andrzej Pan- records. His award-winning recordings ufnik, Peter Lieberson, John Harbison, and include Berlioz's Romeo et Juliette on DG, Oily Wilson, 's two piano concer- Mahler's Symphony No. 8, the Symphony of a tos and Totentanz wdth pianist Krystian Thousand, and Schoenberg's Gurrelieder, Zimerman for Deutsche Grammophon, and, both on Philips, and, also on DG, the Berg as part of a Mahler cycle for Philips records, and Stra\insky \dolin concertos with Itzhak Mahler's Symphony No. 2, Resurrection, with Perlman, wdth whom he has also recorded the Kiri Te Kanawa and Marilyn Home. violin concertos of Earl Kim and Robert Starer for EMI/Angel. With Mstislav Mr. Ozawa holds honorary doctor of Rostropovich he has recorded the Dvorak music degrees from the University of Mas- Cello Concerto and Tchaikovsky's Variations sachusetts, the New England Conserv^atory on a Rococo Theme for Erato. Other record- of Music, and Wheaton College in Norton, ings, on CBS, include music of Berlioz and Massachusetts. He has won an Emmy for Debussy with mezzo-soprano Frederica von the Boston Symphony Orchestra's "Eve- Stade, the Mendelssohn Violin Concerto with ning at Symphony" PBS television series.

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290 Huntington Avenue Boston, Massachusetts 02115 (617)262-1120 Leo Panasevich Carolyn and George Rowland chair Sheldon Rotenberg Muriel C. Kasdon and Marjorie C. Paley chair Alfred Schneider Ra\Tnond Sird Ikuko Mizuno Amnon Le\y

Music Directorship endowed by Second Violins John Moors Cabot Marylou Speaker Churchill Fahnestock chair Vyacheslav Uritsky BOSTON SYMPHONY Charlotte and Inking W Rabb chair ORCHESTRA Ronald Knudsen 1987-88 Edgar and Shirley Grossman chair Joseph McGauley Leonard Moss First Violins Malcolm Lowe *Michael Vitale Concertmaster *Han'ey Seigel Charles Munch chair * Jerome Rosen Tamara Smimova-Sajfar * Sheila Fiekowsky Associate Concertmaster *Gerald Elias Helen Homer Mclntyre chair Ronan Lefkowitz Max Hobart Assistant Concertmaster *Nancy Bracken Robert L. Beat, and *Jennie Shames Enid L. and Bruce A. Beat chair *Aza Raykhtsaum Lucia Lin *Valeria Vilker Kuchment Assistant Concertmaster * Bonnie Bewick Edward and Bertha C. Rose chair Bo Youp Hwang *Tatiana Dimitriades John and Dorothy Wilson chair, *James Cooke fully funded in perpetuity Max Winder Violas Forrest Foster Collier chair IBurton Fine Gottfried Wilfinger Charles S. Dana chair Fredy Ostrovsky Patricia McCarty Dorothy and David B. Arnold, Jr., Q. Anne Stoneman chair, chair, fully funded in perpetuity fully funded in perpetuity

*Participati)ig in a system of rotated seating within each string section tOn sabbatical leave ^Substituting, 1987-88

10 Ronald Wilkison Piccolo Trumpets Robert Barnes Lois Schaefer Charles Schlueter Jerome Lipson Evelyn and C. Charles Marran Roger Louis Voisin chair chair Joseph Pietropaolo Peter Chapman Ford H. Cooper chair Michael Zaretsky Timothy Morrison Marc Jeanneret Oboes Betty Benthin Alfred Genovese Trombones *Mark Ludwig Acting Principal Oboe Mildred B. Remis chair Ronald Barron *Roberto Diaz J.P. and Mary B. chair, Wayne Rapier Barger fully funded in perpetuity Norman Bolter Cellos English Horn Jules Eskin Laurence Thorstenberg Bass Trombone Philip R. Allen chair Beranek chair, Douglas Yeo Martha Babcock fully funded in perpetuity Vernon and Marion Alden chair Tuba Mischa Nieland Chester Schmitz Esther S. and Joseph M. Shapiro chair Clarinets Harold Wright Margaret and William C. Joel Moersehel Rousseau chair Sandra and David Bakalar chair Ann S.M. Banks chair Robert Ripley Thomas Martin Timpani Peter Hadcock Luis Leguia Everett Firth Robert chair E-flat Clarinet Bradford Newman Sylvia Shippen Wells chair Carol Procter Lillian and Nathan R. Miller chair Bass Clarinet Percussion Ronald Feldman Craig Nordstrom Charles Smith *Jerome Patterson Farla and Harvey Chet Peter and Anne Brooke chair * Jonathan Miller Krentzman chair Arthur Press *Sato Knudsen Assistant Timpanist Peter Andrew Lurie chair Bassoons Thomas Ganger Sherman Walt Frank Epstein Basses Edward A. Taft chair Edwin Barker Roland Small Harold D. Hodgkinson chair Harp ^Matthew Ruggiero Lawrence Wolfe Ann Hobson Pilot §Donald Bravo Maria Nistazos Stata chair, Willona Henderson Sinclair chair fully funded in perpetuity Joseph Hearne Contrabassoon Personnel Managers Bela Wurtzler Richard Plaster Lynn Larsen John Salkowski Harry Shapiro *Robert Olson *James Orleans Horns Librarians Charles Kavalovski Marshall Burlingame Helen Sagoff Slosberg chair William Shisler Flutes Richard Sebring James Harper Doriot Anthony Dwyer Margaret Andersen Congleton chair Walter Piston chair Daniel Katzen Stage Manager Fenwick Smith Jay Wadenpfuhl Position endowed by Myra and Robert Kraft chair Richard Mackey Angelica Lloyd Clagett Leone Buyse Jonathan Menkis Alfred Robison Marion Gray Lewis chair

11 CONSIDER THE ADVANTAGES

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12 —

A Brief History of the Boston Symphony Orchestra

Now in its 107th season, the Boston Sym- Lee Higginson dreamed of founding a great phony Orchestra continues to uphold the and permanent orchestra in his home town vision of its founder Henry Lee Higginson of Boston. His vision approached reality in and to broaden the international reputation the spring of 1881, and on October 22 that it has established in recent decades. Under year the Boston Symphony Orchestra's the leadership of Music Director Seiji inaugural concert took place under the Ozawa, the orchestra has performed direction of conductor Georg Henschel. For throughout the United States, as well as in nearly twenty years symphony concerts Europe, Japan, and China, and it reaches were held in the Old Boston Music Hall; audiences numbering in the millions Symphony Hall, the orchestra's present through its performances on radio, televi- home, and one of the world's most highly sion, and recordings. It plays an active role regarded concert halls, was opened in 1900. in commissioning new works from today's Henschel was succeeded by a series of most important composers, and its summer German-born and -trained conductors season at Tanglewood is regarded as one of Wilhelm Gericke, Arthur Nikisch, Emil the most important music festivals in the Paur, and Max Fiedler—culminating in the world. The orchestra's virtuosity is appointment of the legendary Karl Muck, reflected in the concert and recording activ- who served two tenures as music director, ities of the Boston Symphony Chamber 1906-08 and 1912-18. Meanwhile, in July Players—the world's only permanent 1885, the musicians of the Boston Sym- chamber ensemble made up of a major sym- phony had given their first "Promenade" phony orchestra's principal players—and concert, offering both music and refresh- the activities of the Boston Pops have ments, and fulfilling Major Higginson's established an international standard for wish to give "concerts of a lighter kind of the performance of lighter kinds of music. music." These concerts, soon to be given in In addition, during the Tanglewood season, the springtime and renamed first "Popu- the BSO sponsors one of the world's most lar" and then "Pops," fast became a important training grounds for young musi- tradition. cians, the Tanglewood Music Center, which During the orchestra's first decades celebrates its fiftieth anniversary in 1990. there were striking moves toward expan- For many years, philanthropist. Civil sion. In 1915 the orchestra made its first War veteran, and amateur musician Henry transcontinental trip, playing thirteen con-

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

13 "€""' "'^

F II L E IJ C certs at the Panama- Pacific Exposition in predecessors, made many recordings for San Francisco. Recording, begun with RCA RCA; in addition, many concerts were tele- in the pioneering days of 1917, continued vised under his direction. Mr. Leinsdorf with increasing frequency, as did radio was also an energetic director of the broadcasts of concerts. The character of the Tanglewood Music Center, and under his Boston Symphony was greatly changed in leadership a full-tuition fellowship program 1918, when Henri Rabaud was engaged as was established. Also during these years, in conductor; he was succeeded the following 1964, the Boston Symphony Chamber Play- season by Pierre Monteux. These appoint- ers were founded. ments marked the beginning of a French- William Steinberg succeeded Leinsdorf oriented tradition which would be main- in 1969. He conducted several American tained, even during the Russian-born Serge and world premieres, made recordings for Koussevitzky's time, with the employment Deutsche Grammophon and RCA, of many French-trained musicians. appeared regularly on television, led the The Koussevitzky era began in 1924. His 1971 European tour, and directed concerts extraordinary musicianship and electric on the east coast, in the south, and in the personality proved so enduring that he mid-west. served an unprecedented term of twenty- Seiji Ozawa, an artistic director of the five years. Tanglewood Festival since 1970, became Koussevitzky led the orchestra's In 1936 the orchestra's thirteenth music director in first concerts in the Berkshires, and a year the fall of 1973, following a year as music later the players took annual he and up adviser. Now in his fifteenth year as music residence at Tanglewood. summer director, Mr. Ozawa has continued to solid- Koussevitzky passionately shared Major ify the orchestra's reputation at home and Higginson's dream of "a good honest abroad, and he has reaffirmed the orches- for musicians," in 1940 that school and tra's commitment to new music through his dream was realized with the founding at program of centennial commissions and a Tanglewood of the Berkshire Music Center recently initiated program including such (now called the Tanglewood Music Center). prominent composers as Peter Lieberson Expansion continued in other areas as and Hans Werner Henze. Under his well. In 1929 the free Esplanade concerts direction the orchestra has also expanded on the Charles River in Boston were inau- its recording activities to include releases gurated by Arthur Fiedler, who had been a on the Philips, Telarc, CBS, EMI/Angel, member of the orchestra since 1915 and Hyperion, New World, and Erato labels. who in 1930 became the eighteenth conduc- From its earliest days, the Boston Sym- tor of the Boston Pops, a post he would phony Orchestra has stood for imagination, hold for half a century, to be succeeded by enterprise, and the highest attainable stan- John Williams in 1980. The Boston Pops dards. Today, the Boston Symphony celebrated its hundredth birthday in 1985 Orchestra, Inc., presents more than 250 under Mr. Williams's baton. concerts annually. Attended by a live audi- Charles Munch followed Koussevitzky as ence of nearly 1.5 million, the orchestra's music director in 1949. Munch continued performances are heard by a vast national Koussevitzky's practice of supporting con- and international audience. Its annual bud- temporary composers and introduced much get has grown from Higginson's projected music from the French repertory to this $115,000 to more than $20 million, and its country. During his tenure the orchestra preeminent position in the world of music is toured abroad for the first time and its due not only to the support of its audiences continuing series of Youth Concerts was ini- but also to grants from the federal and tiated. Erich Leinsdorf began his seven- state governments, and to the generosity of year term as music director in 1962. Mr. many foundations, businesses, and individ- Leinsdorf presented numerous premieres, uals. It is an ensemble that has richly restored many forgotten and neglected fulfilled Higginson's vision of a great and works to the repertory, and, like his two permanent orchestra in Boston.

15 References furnished request

Aspen Music Festival Metropolitan Opera Leonard Bernstein Mitchell -Ruff Duo Bolcom and Monis Seiji Ozawa Jorge Bolet Luciano Pavarotti Boston Pops Orchestra Alexander Peskanov Boston Symphony Orchestra Brevard Music Center Andre Previn

Dave Brubeck Ravin ia Festival David Buechner Santiago Rodriguez Chicago Symphony Orchestra George Shearing Cincinnati May Festival Bobbv Short Cincinnati Symphony Orchestra Abbey Simon Aaron Copland Georg Soki Denver Symphony Orchestra Stephen Sondheim Eastern Music Festival Tanglewood Music Center Michael Feinstein Ferrante and Teicher Beveridge Webster Natalie Hinderas Earl Wild Dick HyTTian John Williams Interlochen Arts Academy and Wolf Trap Foundation for National Music Camp the Performing Arts Marian McPartland Yehudi Wyner Zubin Mehta Over 200 others Baldwin

16 BOSTON SYMPHONY ORCHESTRA

Seiji Ozawa, Music Director Carl St. Clair and Pascal Verrot, Assistant Conductors One Hundred and Seventh Season, 1987-88

Thursday, March 3, at 8 Friday, March 4, at 2 Saturday, March 5, at 8

SEIJI OZAWA conducting

HAYDN S3anphony No. 93 in D Adagio—Allegro assai Largo cantabile Menuetto: Allegro Finale. Presto ma non troppo

SHOSTAKOVICH Cello Concerto No. 1, Opus 107 Allegretto Moderato Cadenza Allegro con moto YO-YO MA CHARLES KAVALOVSKI, solo horn

INTERMISSION

BEETHOVEN S3anphony No. 2 in D, Opus 36 Adagio molto—Allegro con brio Larghetto Scherzo: Allegro Allegro molto

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The program books for the Friday series are given in loving memory of Mrs. Hugh Bancroft by her daughters Mrs. A. Werk Cook and the late Mrs. William C. Cox.

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Franz Joseph Haydn was horn at Rohrau, Lower Austria, on March 31, 1732, and died in Vienna on May 31, 1809. He wrote this symphony in England

in the summer of 1791 and led the first performance, in London, on February 17, 1792. Carl Bergmann

and the Philharmonic Society gave the first Amer- ican performance at Niblo's Saloon in New York on

February 12, 1859. Wilhelm Gericke led the first Boston Symphony Orchestra performances of this symphony on November 16 and 17, 1900, the orches- tra's only performances until Guido Cantelli pro- grammed the work in January and February 1953. Erich Leinsdorf gave the most recent subscription performances in November 1966. There have since been two performances at Tanglewood: under David Zinman in 1968, and under Trevor Pinnock in 1986. The score calls for two each of flutes, oboes, bassoons, horns, and trumpets, plus timpani and strings.

The story of Haydn's dramatic meeting with the impresario Johann Peter Salomon (who walked into the composer's home one morning in December 1790 and announced, "I am Salomon from London and have come to fetch you!") is too well known to require elaboration. What is perhaps overlooked in the story of Haydn's whirlwind trip to England and his successes there (which not only left him well off financially for the rest of his life, but also made the Viennese realize that they had a great composer in their midst) is the rather surprising fact that Haydn suddenly had to compose for an audience for the first time in his life. Of course, he had always written music for an audience—that is, he intended it to be played and heard. But until this late period in his life (he was nearing sixty), the only member of the audience who really counted was the prince who paid his salary. As long as he liked whatever Haydn wrote, it didn't matter much what the rest of the world thought.

London, however, had the most varied and active musical life of the time, with extended concert series to which enthusiastic listeners could subscribe. But if they didn't like what they heard, they could stay away in droves. It was the first time in his life that Haydn had to face the test of the box office. The initial concerts were certain to be well attended, since curiosity was high. Yet there was concern that anyone who wrote so much must sooner or later write himself out. But the first concert showed that the English audiences had no cause for alarm; over and over the reviewers noted that Haydn's symphonies were both "pleasing" and "scientific," terms that identified Haydn's unique accomplishment: writing music that was at once immediately accessible (for the naive listener) yet structurally significant and original in its application of a fully refined technique (for the musical connoisseur).

The symphonies that Haydn composed for London have been published with numbers running from 93 to 104. This would suggest that No. 93 was the first to be performed, but the numbering system bears little relationship to the actual chro- nology of the works. During Haydn's first winter in London, he introduced the symphonies we know as Nos. 96 and 95 (in that order). Both were received with great enthusiasm. Haydn was determined not to rest on his laurels. He paid careful attention to the taste of the English public, observing what particularly excited them.

The season was so successful that Haydn decided to stay another year. During the

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Natiual SoimcT. summer of 1791 he worked on two symphonies—the ones we know as Nos. 93 and 94—while paying a long visit to friends in Hertfordshire. And he surely bore in mind the lessons learned during concerts the preceding winter. The result was even greater success than he had enjoyed the year before. When Symphony No. 93 was performed at Hanover Square on February 17, 1792, the Times commented:

Such a combination of excellence was contained in every movement, as inspired all the performers as well as the audience with enthusiastic ardour. Novelty of idea, agreeable caprice, and whim combined with Haydn's sublime and wonted grandeur, gave additional consequence to the soul and feelings of every individ- ual present. The Critic's eye brightened with additional lustre—then was the moment that the great Painter might have caught—that, which cannot be thrown on the human frame, but on such rare and great occasions.

The symphony appealed to "the English taste" from the first moment, with a brief but bold slow introduction that implies some hair-raising harmonic adventures before settling onto the jumping-off point for the Allegro. The principal theme is, as H.C. Robbins Landon has remarked, "born popular," a melody of such directness and familiarity that we seem to have known it always. (In some Protestant churches it has even been converted into a hymn tune.) After the first theme has been pre- sented in the strings, Haydn engineers a modulation to the dominant key and the strings introduce a new, though related theme. The development is devoted almost entirely to a single rhythmic-melodic figure that does not appear in either the first or second themes but seems to fuse elements of both into a new idea.

The slow movement is an original and effective theme and variations that empha- sizes a number of soloists within the orchestra. The theme is presented strikingly by a solo string quartet, then repeated by the full string ensemble with the addition of a bassoon. A dramatic contrast comes with a section in the minor key filled with weighty dotted rhythms; this is surely Haydn's homage to Handel, whose music he was discovering in London (it was still enormously popular in London even thirty years after Handel's death). Alternations between the main theme and orchestral outbursts of various kinds set us up to expect something poignant and serious as delicate solo statements die away in an ethereal silence. Suddenly, though, the bassoons sound a humorous low C, fortissimo—almost the musical equivalent of a Bronx cheer. (This touch of cheerful vulgarity in the elegant context is a much more unexpected "surprise" than the one that gave the nickname to Symphony No. 94.)

Haydn's Menuetto is a much faster movement than he generally wrote in Austria, and it is full of surprises too. Among these is the strikingly scored passage with a flute playing eighth-notes on a high D while the timpanist, in a rare solo, plays sixteenth-notes on a low D. Oboes and violins speak alternately in the empty octaves in between. This astonishing texture already seems to foreshadow sonorities favored by Gustav Mahler a century later. The Trio is marked by repeated fanfares on the woodwinds and brass; each time the strings respond in a different—usually unex- pected—key.

The finale begins with a lighthearted theme that carries a poignant shift to the minor even within its initial statement. Haydn's treatment leads us to the brink of harmonic cliffs, only to pull us back at the last moment. The return to the tonic is especially witty, convincing us first that we are still a long way from home (with a lone cello playing a figure of octave leaps on a note that implies a distant harmony), when suddenly the entire orchestra blares out the octave leap on D, the home key. Another brief silence, as if to take stock, and the restatement begins. —Steven Ledbetter

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Dmitri Shostakovich

Cello Concerto No. 1, Opus 107

*"^ P*^ ^ ' ^*^'^^'*'«xk<^ Dmitri Dmitriyevich ^^aA,' Shostakovich was born in St. Petersburg (now Leningrad) on September 25, 1906, and died in Moscow on August 9, 1975. He composed his Cello Concerto No. 1 in 1959 for Mstislav Rostropovich, who played the premiere performance in Leningrad in October that year. Rostropovich also gave the American premiere, with the Philadelphia Orchestra under , a month later. There have been two pre- vious Boston Symphony Orchestra performances, both at Tanglewood: in August 1966, with Erich Leinsdorf conducting and Stephen Kates as soloist, and in August 1987, with Seiji Ozawa conducting and Yo-Yo Ma as soloist. In addition to the soloist, the score calls for two flutes and piccolo, two oboes, two bassoons and contrabassoon, one horn, timpani, celesta, and strings.

Few composers have been so strongly affected in their careers by political develop- ments as . Partly because of his early success with the Symphony No. 1 (composed when he was just nineteen!), Shostakovich was in the public eye for most of his life, a difficult place to be during periods of governmental control of the arts. The fifteen symphonies that make up the single largest part of Shostakovich's output have, with reason, marked him as a symphonic composer, but his work as a whole is extraordinarily wide-ranging, comprehending opera and ballet, a distin- guished body of chamber music, songs, and choral pieces, film scores, and several of the finest concertos of our century.

Except for his sassy early piano concerto with strings and trumpet, Shostakovich did not evince much interest in the concerto form until rather late in life, but then he wrote a second piano concerto and two works each for the violin and the cello. All of these works were composed only after the death of Stalin had to some degree loosened the strictures under which composers worked in Russia, though in fact Shostakovich had written his first violin concerto, one of his most original works, in the late 1940s, though he withheld it at that time and only brought it out in a "revised" edition in 1955.

The first of the two cello concertos—both of which were written for Rostropovich came a few years later Like the first violin concerto, which had been composed for David Oistrakh, the cello concerto contains an extended cadenza that is virtually a movement in itself, and it makes enormous expressive and technical demands on the soloist.

The soloist begins at once, introducing the fundamental motivic figure G, E, B, B-flat, of which both the melodic outline and the characteristic rhythm dominate the proceedings, lively and chattering, but not really lighthearted. Rather it drives on with unremitting energy, fed by the virtuosic part for the solo horn. At times the intervals of the principal motif are squeezed together to produce a similar motif on C, B, E-flat, D; this is a variant of Shostakovich's musical signature (D, E-flat, C, B, which, in German musical terminology, would be read DSCH, for "Z>. ^Sc/iostakovich"). This personal musical reference is found frequently in Shostakovich's later works.

The slow movement makes the most of the cello's ability to sing poignantly; it is pensive and lyrical throughout, though the cello's ruminations eventually build to an

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24 intense climax, marked by the solo horn. Chill shivering sounds accompany the movement's dying away from the climax.

The lengthy cadenza linking the final two movements begins in the mood of rumination, but builds (with references to the opening motif of the first movement) in speed and intensity to bring in the orchestra in an explosion of energy. Toward the end of the last movement the opening idea of the whole concerto returns again, capping the piece in ingenious combination with the theme of the finale. —S.L.

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26 Symphony No. 2 in D, Opus 36

Ludwig van Beethoven was baptized in Bonn, Ger- many, on December 17, 1770, and died in Vienna on March 26, 1827. The Second Symphony was com- posed during the summer and fall of 1802; its first performance took place on an all-Beethoven concert

given at the Theater-an-der-Wien in Vienna on April 5, 1803 (the program also included the First Sym- phony, as well as the premieres of the Piano Concerto No. 3 and the oratorio ''Christ on the Mount of Olives''). The first American performance (perhaps not complete) was given at Washington Hall in Philadelphia by Charles Hupfeld and the Musical Fund Society on May 8, 1821; the first complete American performance of record was given at the Apollo Room in New York by George Loder and the Philharmonic Society on April 22, 1843. Georg Henschel introduced the Second Sym- phony to Boston Symphony audiences during the orchestra's first season, on November 11 and 12, 1881. It has also been given at BSO concerts under the direction of Wilhelm Gericke, Franz Kneisel, Arthur Nikisch, Emil Paur, Karl Muck, Max Fiedler, Ernst Schmidt, Pierre Monteux, Serge Koussevitzky, Richard Burgin, Leonard Bernstein, Ernest Ansermet, Charles Munch, Erich Leinsdorf, Colin Davis, Eugene Ormandy, Klaus Tennstedt, Seiji Ozawa, who led the most recent subscription performances in November 1980, and Kurt Masur, who led the most recent Tanglewood performance in July 1984. The symphony is scored for flutes, oboes, clarinets, bassoons, horns, and trumpets in pairs, timpani, and strings.

During the summer of 1802 Beethoven left Vienna for several months to live in the nearby suburb of Heiligenstadt, located in the low mountains to the northwest of Vienna. Heiligenstadt would be but one in a lengthy list of temporary residences of the peripatetic Beethoven, were it not for one incident that took place there not long before he returned to the city. Having gone to Heiligenstadt in the first place on the advice of his doctor, who suggested that the rural quiet of the village might improve his hearing, which had already begun to concern him deeply, Beethoven fell into a deep, suicidal despair and on October 6, 1802, gave vent to his emotions by writ- ing—in a document now known as the Heiligenstadt Testament—a lengthy farewell that combined elements of self-justification (trying to explain his apparently mis- anthropic nature) with rhetorical moralisms on the importance of virtue (which, he says, restrained him from taking his own life) and passionate outbursts expressing his unhappiness. After writing this document, Beethoven sealed it up in his papers

(where it was discovered after his death, a full quarter of a century later) and went on with the business of living and composing.

In any case, the musical works sketched and completed at Heiligenstadt that summer—including the Opus 30 violin sonatas, the Opus 31 piano sonatas, and the Second Symphony—seem entirely to have avoided contamination from the mental world of the Heiligenstadt Testament. The symphony, while vigorous and energetic in the unmistakable early Beethoven manner, is nonetheless smiling throughout, filled with such musical wit as befits a composer who once studied, however briefly, with Haydn. At the same time, the Second Symphony is a step forward on the path of The Nine, conquering wider territory than the First.

Following the slow introduction (which is already three times the length of that for the First Symphony), Beethoven presents thematic material that is little more

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The slow movement is one of the most leisurely Beethoven ever wrote ("indolent" is the word that most analysts have used to describe it). It is a full-scale slow-

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30 movement sonata form, complete with development and a good deal of internal repetition. But for all its length, the Larghetto never loses momentum, and it remains deliciously pastoral throughout, with just momentary twinges of pain,

Beethoven uses the term "scherzo" here for the first time in a symphony; the corresponding movement of the First Symphony had been called a ''menuetto,'' though it had passed far beyond the graceful character of that courtly dance. The third movement of the Second Symphony, though, is a hearty joke (which is what the word ''scherzo'' means), with whirlwind alternations of dialogue, tossing back and forth the basic three-note motive between the instruments, then suddenly bending one pitch to lead off to distant keys, only to return home with equal celerity. In the Trio, the strings roar in mock gruffness on the chord of F-sharp major, only to be reminded (by a fortissimo A from the woodwinds) that F-sharp is not the home key here, but simply the third of D, to which the chastened strings immediately return.

The finale is a wonderfully confident achievement, fusing Haydn's wit with Beethoven's newly won breadth and grandeur. The rondo style of the principal theme—a pick-up tossed off in the upper instruments to be answered with a sullen growl lower down—forecasts wit, especially when Beethoven uses that little pick-up to mislead the ear. But the real breadth appears at the end, when a quiet, lyrical idea that has passed almost unnoticed as the transition between first and second themes now takes on an unexpectedly potent force and generates an enormous coda with a whole new developmental section, in which the measured tremolo of the strings, heard here and there throughout the sjnnphony, returns with a fortissimo shake on the same C-natural that had upset the course of the home tonic back in the first movement. From here on, the reaffirmation of that firm tonic is the main order of business, to bring the chain of events to a close.

The size of the last movement and the extended coda clearly unsettled the critic for the Zeitung fur die elegante Welt, who wrote after the first performance: "Beethoven's Second Symphony is a crass monster, a hideously writhing wounded dragon that refuses to expire, and though bleeding in the Finale, furiously beats about with its tail erect." One wonders what he thought of Beethoven's ensuing works.

Basil Lam has noted acutely, apropos of this symphony, "In view of such music as this, let us not lapse into the still received opinion that Beethoven, after writing two promising symphonies, began to brood on Napoleon and found himself great with the Eroicay Beethoven's sense of proportion—which allows him to achieve the greatest effects with the simplest and most abstract materials—is already fully in operation with the Second Symphony. And, while the ways of genius are wondrous strange and no one lacking the advantage of hindsight could predict the extraordi- nary growth that was to come in the Third Symphony, it is not only unfair to patronize Beethoven's Second as an "early work," as "complacently formal," it would be downright foolish. —S.L.

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Jens Peter Larsen's excellent Haydn article in The New Grove (with work-list and bibliography by Georg Feder) has been reprinted separately (Norton, available in paperback). Rosemary Hughes's Haydn in the Master Musicians series (Littlefield paperback) is a first-rate short introduction. The longest study (hardly an 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 sometimes rather hard to digest. No consideration of Haydn should omit Charles Rosen's brilliant study The Classical Style (Viking; also a Norton paper- back). The age of the compact disc has not yet met the challenge of Haydn's 100+ symphonies, but the complete cycle led by Antal Dorati with the Philharmonia Hungarica remains available on LP (London Stereo Treasury; Symphony 93 is in a six-record set containing all twelve of the "London" symphonies). The classic series of recordings by Sir Thomas Beecham of the Haydn symphonies 93 through 98 with the Royal Philharmonic Orchestra remains available on a three-LP set (Arabesque). George Szell's recording of symphonies 93 and 94 with the Cleveland Orchestra has recently been reissued on compact disc (CBS). Also on CD is a spirited performance by Sir Colin Davis with the Concertgebouw Orchestra (Philips; coupled with sym- phonies 94 and 96).

Boris Schwarz's Shostakovich article in The New Grove has been reprinted, along with the articles on Rimsky-Korsakov, Scriabin, Rachmaninov, and Prokofiev, in The New Grove Russian Masters 2 (Norton, available in paperback); the Shostakovich piece benefits especially, in this reprint, from a revised work-list and a much-enlarged bibliography prepared by Laurel E. Fay. The smallest book about Shostakovich is one

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! RACE A beautiful part of your life, of the most informative: Norman Kay's Shostakovich (Oxford) summarizes his musical style through the Twelfth String Quartet of 1968, though it deals with the works selectively. The best general study of music in Soviet Russia is Boris Schwarz's Music and Musical Life in Soviet Russia, 1917-1980 (University of Indiana Press; the older edition, with a cutoff date of 1970, is available as a Norton paperback). As with Prokofiev, but for different reasons, political strains make it hard to find a solidly documented, reliable biographical study of the composer. A highly controversial light was cast on Shostakovich by the publication in English of Testimony: The Memoirs of Dmitri Shostakovich, "as related to and edited by" Solomon Volkov (Harper & Row, available in paperback). The reliability of these memoirs is a matter of serious doubt, yet on publication the book was hailed in the West as an authentic view of the composer's recollections, while the insist that the book is a fake. Volkov claims to have smuggled out of Russia pages dictated to him by the composer and authenticated with his initials. It is true that Shostakovich wrote on the first page of each chapter ''Chital [Read]. D.S.'' But there is no way of telling how many pages he read, and the American musicologist Laurel Fay, a leading Shostakovich specialist, has shown that, despite Volkov's claims to have drawn entirely on extensive interviews with Shostakovich and to have used no previously published material, the beginning of every chapter—precisely the pages Shostakovich initialed—are simply copies of material that was already printed in the Soviet Union; the "revelations" of the book appear much farther back in each chapter, where we have no evidence that Shostakovich ever saw, much less approved them. (Laurel Fay's review of Testimony was published in the Russian Review for October 1980, pp. 484-93.) Politics clearly lie at the heart of the more recent Pages From the Life of Shostakovich by Dmitri and Ludmilla Sollertinsky (Harcourt Brace Jovanovich): it is an "official" Soviet view that completely glosses over most of the difficulties in the composer's life, with rarely a mention of Stalin or the official criticisms of his music, dwelling only on the sunny MUSIC IN THE EIRE

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266-6^^0

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36 side. The book is filled with glaring inaccuracies; it must be regarded as willfully misleading. A more recent volume, D. Shostakovich About Himself and his Times, compiled by Mikhail lakovlev (Moscow: Progress Publishers, 1980), is a generous collection of the composer's own words in speeches and writings over many years; while far less "sensational" than the purported memoirs, it is also more balanced and accurate in its portrayal of the "official" and public side of a very private man. Yo-Yo Ma has recorded the Cello Concerto No. 1 with the Philadelphia Orchestra under Eugene Ormandy (CBS, coupled with the Kabalevsky Cello Concerto). Heinrich Schiff has recorded both Shostakovich concertos with the Bavarian Radio Symphony under the direction of Maxim Shostakovich (Philips). And Raphael Wallfisch has recorded the Shostakovich, coupled with Samuel Barber's Cello Concerto, with the English Chamber Orchestra under the direction of GeofPrey Simon (Chandos). All three of these offer particularly distinguished performances and are technically superb as well.

The excellent Beethoven article by Alan Tyson and Joseph Kerman in The New Grove is a short book in itself, and it has been reissued as such (Norton paperback). The standard Beethoven biography is Thayer's Life of Beethoven, written in the nineteenth century but revised and updated by Elliot Forbes (Princeton, available in paperback). It has been supplemented by Maynard Solomon's Beethoven, which makes informed and thoughtful use of the dangerous techniques of psychohistory to produce one of the most interesting of all the hundreds of Beethoven books (Schirmer, available in paperback). There have been many studies of the symphonies. George Grove's Beethoven and his Nine Symphonies, though written nearly a century ago from a now- distant point of view, is filled with perceptive observations (Dover paperback). Basil Lam's chapter on Beethoven in the first volume of The Symphony, edited by Robert Simpson, is enlightening (Penguin), as is Simpson's own concise contribution to the BBC Music Guides, Beethoven Symphonies (U. of Washington paperback). Donald Francis Tovey's classic essays appear in Essays in Musical Analysis (Oxford, available in paperback). Recordings of Beethoven's works are, if anything, even more numerous than writings about him. Several complete cycles of the nine symphonies exist on compact disc, including distinguished sets from Kurt Masur with the Leipzig Gewandhaus Orchestra (Philips) and Herbert von Karajan with the Berlin Philhar- monic (DG), both issued as six CDs. Important cycles not yet completely available on compact disc (though some are partially so) but still available in other formats include Toscanini's cycle with the NBC Symphony (RCA), George Szell's performances with the Cleveland Orchestra (CBS), and Leonard Bernstein's with the Vienna Philhar- monic (DG). The Beethoven Second can be heard, even on compact disc, in recordings ranging from the classic readings of Toscanini and the NBC Symphony (RCA, coupled with the Seventh) and Bruno Walter with the Columbia Symphony (CBS, coupled with the First) to several recordings featuring period instruments that aim to recreate the sound Beethoven himself heard. Notable among these are Christopher Hogwood's reading with the Academy of Ancient Music (Oiseau-Lyre, coupled with the First Symphony) and a performance by the Hanover Band (Nimbus, coupled with the Piano Concerto No. 3, with Mary Verney). There are also highly worthwhile recordings on LP only. Michael Tilson Thomas uses a modern orchestra—the English Chamber Orches- tra—but brings the sensibility of historical style to his brilliantly shaped and played versions of the first two Beethoven symphonies (CBS). —S.L.

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38 Yo-Yo Ma

Cellist Yo-Yo Ma gave his first public recital when he was five. By the time he was nineteen, he was being compared with such masters of the instrument as Mstislav Rostropovich and Pablo Casals, and he has now appeared with eminent conduc- tors and orchestras throughout the world. Highly acclaimed for his ensemble playing, Mr. Ma is deeply committed to performing and recording the vast chamber music literature. He has played in a string quartet with Gidon Kremer, Kim Kashkashian, and Daniel Phillips, leading to a recently released album of Schubert quartets. He regularly performs duo recitals with Emanuel Ax, a collaboration that has resulted in many recordings, including the complete cello sonatas of Brahms and Beethoven. Together they also give trio performances with Young Uck Kim, with whom they plan to record the Dvorak piano trios this season. Mr. Ma has collaborated with Isaac Stem on various projects, including a recent recording of the Brahms Double Concerto with the Chicago Symphony and a Brahms piano quartet with Emanuel Ax and Jaime Laredo. An exclusive CBS Masterworks artist, Yo-Yo Ma has been honored with Grammy awards in each of the last four years. Mr. Ma's commitment to his art goes far beyond performing and recording. At Tanglewood, in addition to appearing with the Boston Symphony Orchestra and in chamber ensembles, he teaches at the Tanglewood Music Center. He recently conducted a week of master classes at the Gregor Piatigorsky Seminar for Cellists. He currently serves on the Massachusetts Council on the Arts and the Humanities, and he was Honorary Artist Chairman of Young Audiences for 1987. Last summer, in addition to his Tanglewood performances and an appearance with the Philadelphia Orchestra at the Saratoga Performing Arts Center, Mr. Ma performed with Emanuel Ax and Young Uck Kim at the . On the same program, he was joined by students from the Tanglewood Music Center in the Mendelssohn Octet. Highlight's of Yo-Yo Ma's current season include a tour with Isaac Stem and Emanuel Ax throughout the Far East and the United States, culminating at . He again teams with Emanuel Ax for duo-recitals at home and in Europe, and he will tour with and record the Barber and Britten cello concertos with David Zinman and the Baltimore Symphony. Also planned are a tour of the U.S.S.R. and performances of the complete Bach suites in San Francisco, Pasadena, and Boston. Future projects include three new concertos currently being written for him by Andre Previn, Oliver Knussen, and H.K. Gruber.

Bom in Paris in 1955 to Chinese parents, Yo-Yo Ma began his cello studies with his father at the age of four. He later studied with Janos Scholz and in 1962 began his studies with Leonard Rose at the . A graduate of Harvard University, he resides with his wife Jill, son Nicholas, and daughter Emily in Winchester, Massachu- setts. At present he plays two cellos: a 1733 Montagnana from Venice and a 1712 Stradivarius loaned to him by Jacqueline Du Pre. Mr. Ma made his Boston Symphony Orchestra debut in February 1983 and has since performed regularly with the orchestra at Symphony Hall, at Tanglewood, and on tour; with Seiji Ozawa and the orchestra he has recorded Strauss's Don Quixote and the Monn/Schoenberg Cello Concerto for CBS Masterworks.

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

1987-88 Business Honor Roll ($10,000 and Above)

ADD Inc Architects HBM/Creamer, Inc. Philip M. Briggs Edward Eskandarian Advanced Management Associates, Inc. J. Bildner & Sons Harvey Chet Krentzman James L. Bildner Analog Devices, Inc. John Hancock -Mutual Life Insurance Ray Stata E. James Morton Bank of Boston Liberty Mutual Insurance Companies William L. Brown Melvin B. Bradshaw Mall at Chestnut Hill Bank of New England The Peter H. MeConnick Jay Veevers McKinsey & Company BayBanks, Inc. Robert O'Block William M. Crozier, Jr. Merchants Press Boston Edison Company Douglas Clott Stephen J. Sweeney Moet-Hennessy U.S. Corporation The Boston Globe/Affiliated Publications Ambassador Evan G. Galbraith William O. Taylor Morse Shoe, Inc. Bowne of Boston, Inc. Manuel Rosenberg Donald J. Connava Nabisco Brands, Inc. Coopers & Lybrand Charles J. Chapman Vincent M. O'Reilly Neiman-Marcus Country Curtains William D. Roddy Jane P. Fitzpatrick The New England Creative Gourmets, Ltd. Edward E. Phillips Stephen E. Elmont New England Telephone Company Digital Equipment Corporation Gerhard M. Freehe Kenneth G. Olsen PaineWebber, Inc. Dynatech Corporation James F. Cleary J. P. Barger R&D Electrical Company Eastern Gas & Fuel Associates Richard P. Pedone William J. Pruyn Rand-Whitney Corporation EMC^ Corporation Robert K. Kraft Richard J. Egan Raytheon Company Ernst & Whinney Thomas L. Phillips Thomas M. Lankford The Red Lion Inn Fidelity Investments John H. Fitzpatrick Anne-Marie Soulliere Shawmut Bank of Boston Filene's William F. Craig Jerry M. Socol Stanley H. Kaplan Educational Center The First Boston Corporation Susan B. Kaplan Mark S. Ferber State Street Bank & Trust Company General Cinema Corporation William S. Edgerly Richard A. Smith The Stop & Shop Companies, Inc. General Electric Plastics Business Group Avram J. Goldberg Glen H. Hiner TA Associates Peter A. Brooke The Gillette Company Colman M. Mockler, Jr. Teradyne, Inc. Alexander V. d'Arbeloff Goldstein & Manello Corporation Richard J. Snyder UST James V Sidell Grafacon, Incorporated WCRB/Charles River Broadcasting, Inc. H. Wayman Rogers, Jr. Richard L. Kaye GTE Electrical Products Zayre Corporation Dean T. Langford Maurice Segall

41 . :

THE CURRENT STATE OF THE STATE OF THE ART.

The new NAD Monitor Series £1= xrjii=_ er_:re" CD player conibines the latest in state-of-the-art technology with an assortment of elegantly useful features you won't find on any other machine.

5 in compact disc tectmakigy; all you taa\'e to do is look at the new S500 Monitw Seriff L- =n regulated power supi^ies. four times oversampiing. a three-beam laser pickup. 95 poini cL^.^ :. f.:; i-i . -: :^ analog oonvertos ... all the right numbers in all ttie right {daces.

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IWo disc error diqiays indicate the occiurence of correctable and nai-oorrectaUe errors on your compact discs. This system allows useis to evaluate technically flawed discs.

A unique i»tx:essing circuit that cmtrols the dynamic range is included for those times when you want to listen to compact discs as background music. The same drcuit reduces the distortion caused by tape saturation when making cassette copies of CE>s.

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42 The Boston Symphony Orchestra gratefully acknowledges these Business and Professional Leadership Program members for their generous and valuable support totaling $1,250 and above during the past fiscal year. Names that are both capitalized and underscored in the Business Leaders listing constitute the Business Honor Roll denoting support of $10,000 and above. Capitalization denotes support of $5,000-$9,999, and an asterisk indicates support of $2,500-$4,999. Business Leaders ($1,250 and above)

Accountants Banking Boston Sand & Gravel Company Dean M. Boylan ARTHUR ANDERSEN & COMPANY BANK OF BOSTON William F. Meagher William L. Brown Chain Construction Corporation Howard J. Mintz ARTHUR YOUNG & COMPANY BANK OF NEW ENGLAND Inc. Thomas P. McDermott Peter H. MeCormick Harvey Industries, Robert K. Moprison *Charles E. DiPesa & Company BAYBANKS, INC. William F. DiPesa William M. Crozier, Jr. *J.F. White Contracting Philip Bonanno COOPERS & LYBRAND *Boston Safe Deposit Vincent M. O'Reilly & Trust Company Lee Kennedy Co., Inc. Kennedy ERNST &WHINNEY James N. von Germeten Lee M. Thomas M. Lankford Cambridge Trust Company National Lumber Company Lewis H. Clark Louis L. Kaitz PEAT, MARWICK, MAIN & COMPANY *Chase Manhattan Bank *Perini Construction Robert D. Happ William N. MacDonald David B. Perini PRICE WATERHOUSE Chase Manhattan Corp. Kenton J. Sicchitano Robert M. Jorgensen Consumer Goods/Distributors

*Theodore S. Samet & Company CITICORP/CITIBANK Almaden Vineyard Theodore S. Samet Walter E. Mercer Louis de Santis

Tofias, Fleishman, *Eastern Corporate Federal Credit *August A. Busch & Co. Shapiro & Company Union Chris Stevens Allan Tofias Jane M. Sansone Chiquita Brands TOUCHE ROSS & COMPANY First Mutual of Boston Baron M. Hartley Keith G. Willoughby James T. McBride Fairwinds Gourmet Coffee First National Bank of Chicago Pauline Elkin Advertising/Public Relations Robert E. Gallery MOET-HENNESSY *BMC Strategies, Inc. *Framingham Trust Company U.S. CORPORATION Bruce M. McCarthy William A. Anastos Ambassador Evan G. Galbraith THE COMMUNIQUE GROUP, INC. NeWorld Bank James H. Kurland NABISCO BRANDS, INC. James M. Gates Charles J. Chapman HBM/CREAMER, INC. * Patriot Bancorpo ration Edward Eskandarian The Taylor Wine Company, Inc. Thomas R. Heaslip Michael J. Doyle Heller Breene Design & Advertising Provident Financial Services, Inc. Cheryl Heller United Liquors, Ltd. Robert W. Brady Michael Tye HILL KNOWLTON, INC. AND *Rockland Trust Company Peter A. Farwell John F. Spence, Jr. Displays/Flowers *Hill, Holliday, Connors, SHAWMUT BANK OF BOSTON Inc. Carol's Cloths Cosmopulos, William F. Craig Jack Connors, Jr. Carol Burgler STATE STREET BANK & TRUST *Giltspur Exhibits/Boston Aerospace COMPANY Thomas E. Knott, Jr. *Northrop Corporation William S. Edgerly *Harbor Greenery Thomas V. Jones UST CORPORATION Diane Valle PNEUMO ABEX CORPORATION James V. Sidell Norman J. Ryker *Yankee Bank for Finance & Savings Education Richard N. Morash Architecture/Design BENTLEY COLLEGE ADD INC ARCHITECTS Gregory H. Adamian Philip M. Briggs Building/Contracting STANLEY H. KAPLAN LEA GROUP *A.J. Lane & Company, Inc. EDUCATIONAL CENTER Eugene R. Eisenberg Andrew J. Lane Susan B. Kaplan 43

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4.1den Electronics, Inc. Sumner Kaufman ANALOG DEVICES, INC. John M. Alden TA ASSOCIATES Ray Stata Ajialytieal Systems Engineering Peter A. Brooke APOLLO COMPUTER, INC. [Corporation Thomas A. Vanderslice Michael B. Rukin Food Service/Industry *Aritech Corporation The Mitre Corporation James A. Synk *Boston Showcase Company Charles A. Zraket Jason Starr AT&T PARLEX CORPORATION Mare Rosen Cordel Associates Herbert W. Pollack James B. Hangstefer AUGAT, INC. Signal Technology Corporation Roger D. Wellington Creative Capers William E.Cook Paul Schatz BBF Corp. Boruch B. Frusztajer Energy CREATIVE GOURMETS, LTD. BOLT :abot corporation Stephen E. Elmont BERANEK & NEWMAN, INC. Stephen R. Levy ^:^0undati0n, inc. Gourmet Caterers, Inc. Ruth C. Seheer Robert Wiggins COMPUGRAPHIC CORPORATION JBILDNER&SONS Carl E. Dantas 'iJngineering James L. Bildner COMPUTER PARTNERS jreneral Systems Company, Inc. Paul J. Crowley *John Sexton and Company Donald S. Feigenbaum R.C. Judge DIGITAL EQUIPMENT jroldberg-Zoino & Associates, Inc. JOHNSON O'HARE COMPANY, INC CORPORATION T. Kenneth Donald Goldberg Harry O'Hare G. Olsen 5tone & Webster Engineering Dynamics Research Corporation Corporation Albert Rand Footwear William F. Allen, Jr. DYNATECH CORPORATION *Jones & Vining, Inc. The Thompson & Lichtner Company, J. P. Barger Sven A. Vaule, Jr. no. *EG&G, Inc. John D. MORSE SHOE, INC. Stelling Dean W. Freed Manuel Rosenberg 'Jntertainment/Media EMC2 CORPORATION The Rockport Corporation Richard J. Egan JENERAL CINEMA Stanley Kravetz GENERAL COMPUTER COMPANY :'ORPORATION STRIDE RITE CORPORATION Richard A. Smith Kevin G. Curran Arnold S. Hiatt Jew Boston Garden Corporation *General Eastern Instruments William D. Hassett Corporation Furnishings/Housewares Pieter R. Wiederhold 'he New England Patriots ARLEY MERCHANDISING HELIX Patrick J. Sullivan TECHNOLOGY CORPORATION CORPORATION ISA Cinemas David I. Riemer Frank Gabron A. Alan Friedberg COUNTRY CURTAINS THE HENLEY GROUP ''inance/Venture Capital Jane P. Fitzpatrick Paul M. Montrone lattery Ventures L.R HITCHCOCK CHAIR COMPANY HONEYWELL BULL Robert G. Barrett Thomas H. Glennon Warren G. Sprague

Boston Financial Group, Inc. The Jo fran Group IBM CORPORATION Harold A. Howell Robert D. Roy Paul J. Palmer 'arson Limited Linenworks Instron Corporation Herbert Carver Gail Cohen Harold Hindman

45 BALLY

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46 •Ionics, Inc. Sally Ling's Restaurants Essex Investment Management, Inc. Arthur L. Goldstein Sally Ling Liu Joseph C. McNay Loral Hycor, Inc. *Sheraton Boston Hotel & Towers FIDELITY INVESTMENTS Joseph Hyman Robert McEleney Anne-Marie SouUiere M/A-COM, Inc. *Sonesta International Hotels GOLDMAN, SACHS & COMPANY Vessarios G. Chigas Corporation Stephen B. Kay Paul Sonnabend MASSCOMP •Interact Management, Inc. August P. Klein THE WESTIN HOTEL Stephen Parker MILLIPORE CORPORATION Bodo Lemke KENSINGTON INVESTMENT John A. Gilmartin COMPANY Insurance Alan E. Lewis *Orion Research Incorporated *Arkwright Boston Insurance Alexander Jenkins III •Kidder, Peabody & Company, Inc. Frederick J. Bumpus PRIME COMPUTER, INC. John G. Higgins •Atlantic Benefit Group Joe M. Henson Loomis Sayles & Company Brian McNally PRINTED CIRCUIT Robert L. Kemp CAMERON & COLBY CO., INC. CORPORATION MORGAN STANLEY & COMPANY Lawrence Doyle Peter Sarmanian Jack Wadsworth *Charles H. Watkins & Company, Inc. RAYTHEON COMPANY PAINEWEBBER, INC. Richard P. Nyquist Thomas L. Phillips James F. Cleary •Consolidated Group, Inc. SofTech, Inc. •The Putnam Management Woolsey S. Conover Justus Lowe, Jr. Company, Inc. FRANK B. HALL & COMPANY OF Lawrence J. Lasser STELLAR COMPUTER MASSACHUSETTS J. William Poduska SALOMON INC. Colby Hewitt, Jr. TASC Joseph P. Lombard *Fred S. James & Company of New Arthur Gelb •State Street Development Company England, Inc. John R. Gallagher III Tech/Ops, Inc. P. Joseph McCarthy Marvin G. Schorr JOHN HANCOCK MUTUAL LIFE TUCKER, ANTHONY & R.L. DAY, INC. TERADYNE, INC. INSURANCE COMPANY Gerald Segel Alexander V. d'Arbeloff E. James Morton Wainwright Capital *Thermo Electron Corporation •Johnson & Higgins John M. Plukas George N. Hatsopoulos Robert A. Cameron XRE Corporation Kendall Insurance, Inc. *Woodstock Corporation B. John K. Grady Kennett Kendall, Jr. Frank Condon LIBERTY MUTUAL INSURANCE Legal Hotels/Restaurants COMPANIES BINGHAM, DANA & GOULD Melvin 'Back Bay Hilton B. Bradshaw Everett H. Parker William Morton THE NEW ENGLAND Dickerman Law Offices 'Boston Marriott Copley Place Edward E. Phillips Lola Dickerman Alain Piallat Robert D. Gordon Adjusters, Inc. •Edwards & Angell Boston Park Plaza Hotel & Towers Robert D. Gordon Deming E. Sherman Roger A. Saunders Sun Life Assurance of Canada •Fish & Richardson 'Bostonian Hotel David D. Horn John N. Williams Timothy P. Kirwan •Gadsby & Hannah Charly's Saloon Investments Harry Hauser Charles Sarkis Baring America Asset Management GOLDSTEIN & MANELLO Company, Inc. Christo's Restaurant Richard J. Snyder Christopher Tsaganis Stephen Cutler •Mintz, Levin, Cohn, Ferris, Glovsky & FOUR SEASONS HOTEL Baring International Investment, Ltd. Popeo, PC. Hans Willimann John F. McNamara Francis X. Meaney 'The Hampshire House BEAR STEARNS & COMPANY, INC. Nissenbaum Law Offices Thomas A. Kershaw Keith H. Kretsehmer Gerald L. Nissenbaum

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47 .

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49 At the cafe promenade, we offer a slice of europe.

Everv^ night you can enjoy superb specialities de la maison or join us for a symphony of culinar\' delicacies at our Saturday Night Buffet. And the best is served last. Our coupon lets you return after the symphony for a taste of Europe -Viennese pastries, German chocolates, French tortes, and more. Fine cuisine served daily from 7:00am to 11:00pm. For reservations, call 424-7000.

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interested in a part-time oppor-

tunity in the exciting fashion industry, contact: DONCASTER^ Elizabeth H. Wrightson (617)489-1743

50 DANIELS PRINTING COMPANY Table Talk Realty Lectro-Med, Inc. Lee S. Daniels Chris Cocaine Allan Kaye Litho Company, Inc. *Trammell Crow Company *Espo Services David From r Buzz DeMartino Meyers Parking, Prudential Center George H. Dean Company Retail Garage Earle Miehaud G. DEMOULAS SUPERMARKETS, Frank Newcomb GRAFACON, INCORPORATED INC. Out Of Town Ticket Agency H. Wayman Rogers, Jr. T.A. Demoulas Sheldon Cohen Hub Mail Design Pak, Inc. *Victor Grillo & Associates Walter Bernheimer II Paul G. Grady Victor N. Grillo ITEK GRAPHIX CORPORATION FILENE'S Patrick Forster Software/Information Services R. Jerry M. Socol LABEL ART, INC. CULLINET SOFTWARE, INC. *Hills Department Stores William Flynn John J. Cullinane J. Stephen A. Goldberger Data Architects, Inc. MASSACHUSETTS ENVELOPE J. Baker, Inc. Martin Cooperstein COMPANY Sherman N. Baker Grossman Steven JORDAN MARSH COMPANY Interactive Data Corporation John M. Rutherford, Jr. MERCHANTS PRESS Elliot Stone Douglas Clott Phoenix Technologies Ltd. Kappy's Liquors Neil J Colvin Publishing Ralph Kaplan Stohn Associates, Inc. Addison Wesley Publishing Karten's Jewelers Alexander C. Stohn, Jr. Company, Inc. Joel Karten Donald R. Hammonds THE MALL AT CHESTNUT HILL Travel/Transportation CAHNERS PUBLISHING Jay Veevers *Crown Motors COMPANY NEIMAN-MARCUS Allen M. Click Saul Goldweitz William D. Roddy HERITAGE TRAVEL, INC.

HOUGHTON MIFFLIN COMPANY * Purity Supreme, Inc. Donald R. Sohn Harold T. Miller Frank P. Giacomazzi LILY TRUCK LEASING Little, Brown and Company *Saks Fifth Avenue CORPORATION Arthur H. Thornhill Ronald Hoffman John A. Simourian Yankee Publishing Incorporated Sears, Roebuck & Co. New England Lincoln-Mercury Rob Trowbridge S. David Whipkey Dealers Association J. P. Lynch Real Estate/Development THE STOP & SHOP COMPANIES, INC. THE TRANS-LEASE GROUP Benjamin Schore Company Avram J. Goldberg John J. McCarthy, Jr. Benjamin Schore Table Toppers Inc. ^Combined Utilities Properties Inc. Constance Isenberg Stanton L. Black AT&T ZAYRE CORPORATION Demeter Realty Trust Marc Rosen Maurice Segall George P. Demeter BOSTON EDISON COMPANY 'First Winthrop Corporation Science/Medical Stephen J. Sweeney Arthur J. Halleran, Jr. Baldpate, Inc. EASTERN GAS & FUEL "The Flatley Company Lucille M. Batal ASSOCIATES William J. Pruyn Thomas J Flatley Cambridge BioScience Hilon Development Corporation Gerald F. Buck Massachusetts Electric & Gas Assoc. Haim S. Eliachar CHARLES RIVER Ron O'Meara Historic Mill Properties, Inc. LABORATORIES, INC. New England Electric System Bert Paley Henry L. Foster Paul J. Sullivan

'John M. Corcoran & Company *CompuChem Laboratories, Inc. NEW ENGLAND TELEPHONE John M. Corcoran Claude L. Buller COMPANY The Legatt McCall Companies Costar Corporation Gerhard M. Freche William F. McCall Richard Morningstar MEREDITH & GREW, INC. DAMON CORPORATION

George M. Lovejoy David I. Kosowsky

Northland Investment Corporation *J.A. Webster, Inc. Robert A. Danziger John A. Webster, Jr.

51 Inside Stories

MusicAmerica host Ron Delia Chiesa takes you "Inside the BSO" —

a series of special intermission features with members of the Boston

Symphony Orchestra and the people behind the scenes at Symphony Hall.

Inside the BSO

Fridays at 2pm

Saturdays at 8pm

WGBH89.7FM

52 Coming Concerts . . .

Thursday 'B'—March 10, 8-9:55 An Friday 'A'—March 11, 2-3:55 Saturday 'B'—March 12, 8-9:55 Authentic SEIJI OZAWA conducting HAROLD WRIGHT, clarinet Grill! SHERMAN WALT, bassoon With STRAUSS Duet-Concertino for clarinet and Aged Steaks Fresh Fish bassoon BRUCKNER Symphony No. 7 Plump Poultry Native Shellfish

Grilled on woods and charcoals of Thursday 'C—March 17, 8-9:50 Sassafras Mesquite Friday 'B'—March 18, 2-3:50 Saturday 'A'—March 19, 8-9:50 Apple Hickory Tuesday 'B'—March 22, 8-9:50 GENNADY ROZHDESTVENSKY Dinner Lunch conducting 11:30 to 5:00 to VIKTORIA POSTNIKOVA, piano 2:30 p. m 11:00 p.m. RIMSKY- Russian Easter KORSAKOV Overture PROKOFIEV Piano Concerto No. 2 STRAVINSKY The Rite of Spring

Thursday 'B'—March 24, 8-10 Friday 'A'—March 25, 2-4 Saturday 'B'—March 26, 8-10 GENNADY ROZHDESTVENSKY BoomS conducting HAYDN Symphony No. 45, OF • BOSTON Farewell SCHNITTKE Symphony No. 1 In Boston's Back Bay Hilton. (United States Indoor Parking. Phone (617) BOODLES premiere)

Programs subject to change.

^ALFRED J. WALKER FINE ARTS»

158 Newbury Street, Boston, MA 02116 617-247-1319 Gallery Hours: Tues.-Sat. 10-5

Full, estate and appraisal services available.

WUUam Sergeant Kendall 1869-1938

Study for a Portrait of Robert Shaw Mintum, Esquire

Charcoal and chalk on paper, 28% x 24 V4 inches

• itl I- r >«

53 "^

We offer two dramatic features for theatre or cinema goers.

The service is not a farce nor the food a tragedy. Our attentive staff and varied menu selection make J.C. Hillary's the perfect prel- ude or grand fmale. Entrees of steak, barbecued chicken, baby back ribs and daily fresh fish specials. Significantly large deli sandwiches, sirloin burgers and pasta dishes. Whatever you choose will get outstanding reviews.

LUNCHEON • DINNER • SATURDAY & SUNDAY BRUNCH JCHILLARY'S A restaurant whose time has returned. LTD

793 Boylston St.. Boston (across from The Pru) 536-6300

Route 1 at 128. Dedham 329-0800

NATHANIEL PULSIFER & ASSOCIATES

Fomily Trustee and Investment Advisor

27 North Main Street Ipswich MA 01938 617-356-3530

54 Symphony Hall Information . . .

FOR SYMPHONY IIALL CONCERT AND merchandise and gift items such as calen- TICKET INFORMATION, call (617) dars, appointment books, drinking glasses, 266-1492. For Boston Symphony concert holiday ornaments, children's books and program information, call "C-0-N-C-E-R-T." BSO and Pops recordings. All proceeds benefit the Boston Symphony Orchestra. THE BOSTON SYMPHONY performs ten For merchandise information, please call months a year, in Symphony Hall and at 267-2692. Tanglewood. For information about any of the orchestra's activities, please call Sym- TICKET RESALE: If for some reason you phony Hall, or write the Boston Symphony are unable to attend a Boston Symphony Orchestra, Symphony Hall, Boston, MA concert for which you hold a ticket, you may 02115. make your ticket available for resale by call- ing the switchboard. This helps bring THE EUNICE S. AND JULIAN COHEN needed revenue to the orchestra and makes ANNEX, adjacent to Symphony Hall on your seat available to someone who wants to Huntington Avenue, may be entered by the attend the concert. A mailed receipt will Symphony Hall West Entrance on Hunt- acknowledge your tax-deductible ington Avenue. contribution. FOR SYMPHONY HALL RENTAL RUSH SEATS: There are a limited number INFORMATION, call (617) 266-1492, or of Rush Tickets available for the Friday- write the Function Manager, Symphony afternoon and Saturday-evening Boston Hall, Boston, MA 02115. Symphony concerts (subscription concerts THE BOX OFFICE is open from 10 a.m. only). The continued low price of the Satur- until 6 p.m. Monday through Saturday; on day tickets is assured through the gener- concert evenings, it remains open through osity of two anonymous donors. The Rush intermission for BSO events or just past Tickets are sold at $5.50 each, one to a starting-time for other events. In addition, customer, at the Symphony Hall West the box office opens Sunday at 1 p.m. when Entrance on Fridays beginning 9 a.m. and there is a concert that afternoon or evening. Saturdays beginning 5 p.m. Single tickets for all Boston Symphony LATECOMERS will be seated by the subscription concerts become available at ushers during the first convenient pause in the box office once a series has begun. For the program. Those who wish to leave outside events at Symphony Hall, tickets will be available three weeks before the con- cert. No phone orders will be accepted for these events. TO PURCHASE BSO TICKETS: American Express, MasterCard, Visa, a personal check, and cash are accepted at the box office. To charge tickets instantly on a major credit card, or to make a reservation and then send payment by check, call "Symphony-Charge" at (617) 266-1200, Monday through Satur- day from 10 a.m. until 6 p.m. or Sunday from 1 p.m. until 6 p.m. There is a handling fee of $1.25 for each ticket ordered by phone.

THE SYMPHONY SHOP is located in the Huntington Avenue stairwell near the Cohen Annex and is open from one hour before each concert through intermission. The shop carries BSO and musical-motif

55 before the end of the concert are asked to with sandwiches available until concert do so between program pieces in order not time. to disturb other patrons. BOSTON SYMPHONY BROADCASTS: SMOKING IS NOT PERMITTED in any Concerts of the Boston Symphony Orches- part of the SvTnphony Hall auditorium or in tra are heard by delayed broadcast in many the surrounding corridors. It is permitted parts of the United States and Canada, as only in the Cabot-Cahners and Hatch well as internationally, through the Boston rooms, and in the main lobby on Massachu- Symphony Transcription Trust, In addi- setts Avenue, tion, Friday-afternoon concerts are broad- CAMERA AND RECORDING EQUIP- cast live by WGBH-FM (Boston 89.7); MENT may not be brought into Symphony Saturday-evening concerts are broadcast Hall during concerts. live by both WGBH-FM and WCRB-FM (Boston 102,5), Live broadcasts may also be FIRST AID FACILITIES for both men heard on several other public radio stations and women are available in the Cohen throughout New England and New York. If Annex near the Symphony Hall West Boston Symphony concerts are not heard Entrance on Huntington Avenue, On-call regularly in your home area and you would physicians attending concerts should leave like them to be, please call WCRB Produc- their names and seat locations at the tions at (617) 893-7080, WCRB will be glad switchboard near the Massachusetts Ave- to work with you and try to get the BSO on nue entrance. the air in your area. WHEELCHAIR ACCESS to Symphony Hall is available at the West Entrance to BSO FRIENDS: The Friends are annual the Cohen Annex. donors to the Boston Symphony Orchestra. Friends receive BSO, the orchestra's news- is located outside the AN ELEVATOR letter, as well as priority ticket information Hatch and Cabot-Cahners rooms on the and other benefits depending on their level Massachusetts Avenue side of the building. of giving. For information, please call the LADIES' ROOMS are located on the Development Office at Symphony Hall orchestra level, audience-left, at the stage weekdays between 9 and 5. If you are end of the hall, and on the first-balcony already a Friend and you have changed level, audience-right, outside the Cabot- your address, please send your new address Cahners Room near the elevator. with your newsletter label to the Develop- ment Office, Symphony Hall, Boston, MA are located the MEN'S ROOMS on orches- 02115, Including the mailing label will tra level, audience-right, outside the Hatch assure a quick and accurate change of Room near the elevator, and on the first- address in our files. balcony level, audience-left, outside the Cabot-Cahners Room near the coatroom. BUSINESS FOR BSO: The BSO's Busi- ness & Professional Leadership program COATROOMS are located on the orchestra makes it possible for businesses to partici- and first-balcony levels, audience-left, out- pate in the life of the Boston Symphony side the Hatch and Cabot-Cahners rooms. Orchestra through a variety of original and The BSO is not responsible for personal exciting programs, among them "Presi- apparel or other property of patrons. dents at Pops," "A Company Christmas at LOUNGES AND BAR SERVICE: There Pops," and special-event underwriting. are two lounges in Symphony Hall. The Benefits include corporate recognition in Hatch Room on the orchestra level and the the BSO program book, access to the Cabot-Cahners Room on the first-balcony Higginson Room reception lounge, and level serve drinks starting one hour before priority ticket service. For further informa- each performance. For the Friday-after- tion, please call the BSO Corporate noon concerts, both rooms open at 12:15, Development Office at (617) 266-1492.

56 To get a jump on the market, Hen-

drie's planned to increase production "Ittooka capacity by 80%. And that required a significant increase in financing. stick to beat Hendrie's was considering private funding of a $2V2 million Industrial Rev- the ice cream gants.And enue Bond. But BayBanks recom- a bffliker who believed mended taking the issue to the public in\^twewere doingT market to lock in a favorable fixed cost of funds. Working as the liaison between -Robert White, President Hendrie's Inc. Hendrie's and investment bankers, BayBanks helped package the issue and provided the letter of credit to bring the issue to public market. Money, ideas, services. BayBanks

provides Hendrie's with all of these

through one Corporate Financial Officer. Backed by a team of experts, he coordi- nates every aspect of the relationship

from secured and unsecured lines of credit to equipment leasing.

^^ We feel the market is there for quality. It's Robert White remembers when Hendrie's ice cream was famous all the given us a tremendous way from Milton Village to East Milton. edge over our Now, Hendrie's sells millions of gallons of ice cream and over 180,000,000 stick competitors!^ novelties a year Like Hendrie's, BayBanks also ago, ice cream was a sleepy, Years believes there's a market for quality. provincial business. Then one day We're a $6 billion network of corporate the conglomerates saw a big opportunity financial experts committed to provid- in their grocer's freezer. Unable to out- ing businesses the most involved, spend the new competitors, Hendrie's innovative, and comprehensive service decided to outthink them. in New England. ^^Who would believe ice We're known as a leader in personal cream snacks on a stick banking service. You'll find BayBanks is a leader in banking service for business would appeal to a as well. Ask Robert White. Or any of our sophisticated market? many other corporate customers. BayBanks!^

Robert decided to target on-the-go adults with high-quality ice cream snacks on a stick, tying many of his new BayBanks^ novelties to well-known candy products such as Nestle® Crunch® Corporate Banking Network Ca^gbMOM '^TilTE-ZlNI^NDE ^^ i

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