One Hundred and Twelfth Season
1992-93 BOSTON SYMPHONY ORCHESTRA
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SEIJI OZAWA, MUSIC DIRECTOR ART OF THESEIKO
Bracelets, cases, and casebacks finished in 22 karat gold.
E.B. HORN ST. BOSTON 02108 Jewelers Since 1839 429 WASHINGTON 61 7-542-3902 • OPEN MON. AND THURS. TIL 7 Seiji Ozawa, Music Director
One Hundred and Twelfth Season, 1992-93
Trustees of the Boston Symphony Orchestra, Inc.
J. P. Barger, Chairman George H. Kidder, President Mrs. Lewis S. Dabney, Vice-Chairman Nicholas T. Zervas, Vice-Chairman
Mrs. John H. Fitzpatrick, Vice-Chairman William J. Poorvu, Vice-Chairman and Treasurer
David B. Arnold, Jr. Nina L. Doggett R. Wdlis Leith, Jr. Peter A. Brooke Dean Freed Mrs. August R. Meyer
James E Cleary Avram J. Goldberg Molly Beals Millman John E Cogan, Jr. Thelma E. Goldberg Mrs. Robert B. Newman Julian Cohen Julian T. Houston Peter C. Read William E Connell Mrs. BelaT. Kalman Richard A. Smith
Wdliam M. Crozier, Jr. Allen Z. Kluchman Ray Stata Deborah B. Davis Harvey Chet Krentzman Trustees Emeriti Vernon R. Alden Archie C. Epps Irving W. Rabb Philip K. Allen Mrs. Harris Fahnestock Mrs. George R. Rowland Allen G. Barry Mrs. John L. Grandin Mrs. George Lee Sargent
Leo L. Beranek Mrs. George I. Kaplan Sidney Stoneman Mrs. John M. Bradley Albert L. Nickerson John Hoyt Stookey
AbramT. Collier Thomas D. Perry, Jr. John L. Thorndike
Nelson J. Darling, Jr. 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 ofTanglewood
Michael G. McDonough, Director ofFinance and Business Affairs Evans Mirageas, Artistic Administrator Caroline Smedvig, Director ofPublic Relations and Marketing Josiah Stevenson, Director ofDevelopment Ray E Wellbaum, Orchestra Manager
Robert Bell, Manager ofInformation Systems Marc Mandel, Publications Coordinator Madelyne Cuddeback, Director of John C. Marksbury, Director of Corporate Sponsorships Foundation and Government Support Patricia Forbes Halligan, Director ofPersonnel Richard Ortner, Administrator of Services Tanglewood Music Center
Sarah J. Harrington, Budget Manager Myran Parker-Brass, Coordinator ofYouth Activities Margaret Hillyard-Lazenby, Director of Marie B. Pettibone, Director of Corporate* Volunteers Development Scott Schillin, Assistant Russell M. Hodsdon, Manager ofBox Office Manager, Bernadette M. Horgan, Public Relations Pops and Youth Activities Coordinator Joyce M. Serwitz, Associate Director of Craig R. Kaplan, Controller Development IDirector ofMajor Gifts Nancy A. Kay, Director ofSales & Cheryl L. Silvia, Function Manager Marketing Manager Michelle Leonard Techier, Media and Production Susan E. Kinney, Assistant Director of Manager, Boston Symphony Orchestra Development/Director ofBoston Symphony Julie Miner White, Manager ofFund Reporting Annual Fund Robin J. Yorks, Director ofTanglewood Steven Ledbetter, Musicologist & Development Program Annotator
Programs copyright ©1993 Boston Symphony Orchestra, Inc.
Cover by Jaycole Advertising; Inc. I Photo by Steve J. Sherman Ill
Board of Overseers of the Boston Symphony Orchestra, Inc.
Thelma E. Goldberg, Chairman
Robert P. O'Block, Vice-Chairman Jordan L. Golding, Secretary
Mrs. Herbert B. Abelow John P. Hamill Catalina B. Montes
Amanda Barbour Amis Ellen T. Harris Richard P. Morse Harlan E. Anderson Daphne P. Hatsopoulos E. James Morton Caroline Dwight Bain Bayard Henry David G. Mugar
Mrs. David Bakalar Joe M. Henson Robert J. Murray Mrs. Leo L. Beranek Glen H. Hiner David S. Nelson Lynda Schubert Bodman Mrs. Marilyn Brachman Hoffman Mrs. Hiroshi H. Nishino
Donald C. Bowersock, Jr. Lola Jaffe Paul C. O'Brien William L. Boyan Anna Faith Jones Vincent M. O'Reilly Mrs. Levin H. Campbell Susan B. Kaplan Andrall E. Pearson Earle M. Chiles Mrs. S. Charles Kasdon John A. Perkins
Gwendolyn Cochran Hadden Richard L. Kaye Millard H. Pryor, Jr. William H. Congleton Frances Demoulas Kettenbach Robert E. Remis William E Connell Robert D. King William D. Roddy
John M. Connors, Jr. Mrs. Gordon E Kingsley John Ex Rodgers Joan P. Curhan Koji Kobayashi Keizo Saji Phyllis Curtin Mrs. Carl Koch Roger A. Saunders
Nader E Darehshori David I. Kosowsky Mrs. Carl Shapiro JoAnne Dickinson George Krupp Malcolm L. Sherman Harry Ellis Dickson John R. Laird Mrs. Donald B. Sinclair
Hugh Downs Mrs. William D. Larkin, Jr. L. Scott Singleton Goetz B. Eaton Thomas H. Lee Micho E Spring Harriett M. Eckstein Laurence Lesser Ira Stepanian
Deborah A. England Stephen R. Levy Vondal M. Taylor, Jr. Katherine Fanning Diane H. Lupean William E Thompson
J. Richard Fennell Mrs. Charles P. Lyman Robert A. Wells Eugene M. Freedman Mrs. Harry L. Marks Mrs. Thomas H.P. Whitney Mrs. James G. Garivaltis William E Meagher Margaret Williams-DeCelles
Mark R. Goldweitz Nathan R. Miller Mrs. John J. Wilson
Overseers Emeriti
Mrs. Weston W. Adams Leonard Kaplan Mrs. Peter van S. Rice Mrs. Frank G. Allen Robert K. Kraft Mrs. Jerome Rosenfeld Bruce A. Beal Benjamin H. Lacy Mrs. William C. Rousseau Mrs. Richard Bennink Mrs. James E Lawrence Angelica L. Russell
Mary Louise Cabot C. Charles Marran Francis P. Sears, Jr.
Johns H. Congdon Hanae Mori W. Davis Sohier, Jr. Peter H.B. Frelinghuysen Mrs. Stephen V. C. Morris Ralph Z. Sorenson
Mrs. Thomas J. Galligan Mrs. Thomas Spurr Morse Mrs. Edward S. Stimpson
Mrs. Haskell R. Gordon Stephen Paine, Sr. Mrs. Arthur I. Strang Mrs. Richard D. Hill David R. Pokross Luise Vosgerchian Susan M. Hilles Daphne Brooks Prout Mrs. Donald B. Wilson
Mrs. Louis I. Kane
Symphony Hall Operations
Robert L. Gleason, Facilities Manager James E. Whitaker, House Manager
Cleveland Morrison, Stage Manager Wilmoth A. Griffiths, Assistant Supervisor ofHouse Crew William D. McDonnell, ChiefSteward H.R. Costa, Lighting Officers of the Boston Symphony Association of Volunteers
Molly B. Millman, President Florence T. Whitney, Executive Vice-President Patricia L. Tambone, Treasurer Arline Ziner, Secretary Susan D. Robinson, Nominating Chairman
Mc e - Presidents
Kathryn Bray, Public Relations Paul S. Green, Resources Development Ileen S. Cohen, Tanglewood Association Kathleen G. Keith, Adult Education Helen A. Doyle, Symphony Shop Ann E. Macdonald, Youth Activities Elizabeth B. Eaton, Hall Services Carole G. Siegel, Tanglewood Association Joan W. Erhard, Membership Barbara Steiner, Fundraising Una Fleischmann, Development
Business and Professional Leadership Association Board of Directors
Harvey Chet Krentzman, Chairman Emeritus James E Cleary, Chairman
William F. Connell, President Members
J. P. Barger Francis A. Doyle William D. Roddy Leo L. Beranek George H. Kidder Malcolm L. Sherman William L. Boyan William E Meagher Ray Stata
Nader E Darehshori Robert J. Murray Stephen J. Sweeney
Nelson J. Darling, Jr. Robert P. O'Block
Boston Symphony Orchestra concerts are funded in part by the National Endowment for the Arts and the Massachusetts Cultural Council, a state agency.
New, Yet Old: Recent Gifts to the Archives
Since the establishment of a full-time archives program and the construction of a climate- conditioned space in Symphony Hall, the Boston Symphony Archives has acquired many gifts of documents, photographs, recordings, and other memorabilia, all bearing on the history of the BSO and its many facets. Gifts have come from staff members, Trustees, retired and cur- rent orchestra members and their families, and BSO enthusiasts. A selection representing the variety of these acquisitions is currently on exhibit in the display cases in the Cohen Wing lobby. Shown above is former BSO violinist (1920-78) Rolland Tapley as conductor of the New Hampshire Philharmonic, 1960-61. The photograph was a gift to the Archives from his wife, Augusta Tapley. NY HALL
Sunday, March 28, llam-4 pm
Get to Know the BSO! A Day of Musical Festivities For Information Call 617-638-9390 FREE The Symphony Hall Open House is part of the Boston Symphony TO Orchestra's weekend-long "Salute to Symphony," which will take place March 26-28. Other events include daily broadcasts on WCRB 102.5 FM and a telecast of a BSO concert conducted ALL! by Seiji Ozawa and John Williams on WCVB Channel 5, Friday, March 26, from 7:30 to 9 PM.
WCRB 102.5 FM RADIO • NYNEX • WCVB-TV CHANNEL 5
instrument demonstrations, a chance to meet BSO musicians, and an opportunity to hear BSO members perform solo and chamber BSO works. Refreshments will be available throughout the day. Since the BSO's concert John Corigliano Receives schedule this week includes John Corigliano's BSO's Horblit Award for Symphony No. 1, the composer's personal Distinguished Composition response to the AIDS crisis, this year's Open by an American Composer House will also offer visitors a rare opportu- John Corigliano, whose Symphony No. 1 is nity to view portions of the AIDS Memorial being performed at this week's Boston Sym- Quilt, to be displayed in conjunction with phony concerts, has been awarded the BSO's these performances. Mark M. Horblit Award for distinguished Donors to "Salute to Symphony" 1993 may composition by an American composer. The choose from a variety of incentive gifts, in- award was established in 1947 by the late cluding a Boston Pops baseball cap, a limited Boston attorney Mark M. Horblit to, in his edition T-shirt or mug, a BSO totebag, a own words, "foster and promote the writing of Boston Pops beach blanket or umbrella, and symphonic compositions by composers resi- the newest Boston Pops recording, Unforget- dent in the United States . . . in recognition of table (to be released in May). For further meritorious work in that field." It has been information call (617) 262-8700 (outside the presented nineteen times previously, most Boston area call 1-800-394-5200). The BSO recently to Ned Rorem in the fall of 1991. acknowledges the generous support of Past recipients have also included Aaron NYNEX, WCVB-TV Channel 5, and WCRB Copland, Walter Piston, Leonard Bernstein, 102.5-FM and offers special thanks to the Lukas Foss, Gunther Schuller, Roger Sessions, more than 100 volunteers from the greater Earl Kim, Leon Kirchner, and Donald Martino. Boston community whose tireless efforts on behalf of the BSO reflect the spirit of "Salute to Symphony." "Salute to Symphony" 1993 The Boston Symphony Orchestra's largest Attention, Subscribers! fundraiser and community outreach event, "Salute to Symphony," is scheduled for this Renewal information for the 1993-94 season Friday, March 26, through Sunday, March 28. has been mailed to BSO subscribers. Those WCRB 102.5 FM Classical Radio Boston who would like to renew their seats in person will dedicate most of the weekend to broad- should note that Subscription Office staff will casts of the orchestra's most popular record- be accepting renewals at a special table ings, rarely-heard tapes from the BSO located in the Massachusetts Avenue corridor Archives, and two live Boston Symphony outside the Subscription Office before the concerts. WCRB will go behind the scenes BSO concerts on the following dates: Thurs- with conductors and musicians, as well as day, April 8; Thursday, April 15; Saturday, local celebrities whose lives have been influ- April 17; Tuesday, April 20; Thursday, April enced by the BSO, and will also broadcast on 22; Saturday, April 24; and Tuesday, April location from South Station Friday morning 27. Subscribers to the Friday-afternoon series and during the Symphony Hall Open House may renew their seats in person at the Sub- on Sunday. WCVB-TV Channel 5, with hosts scription Office before their concerts. Natalie Jacobson, Chet Curtis, Frank Avruch, and Dixie Whatley, will broadcast a pre-taped gala concert from Symphony Hall featuring Building a New Concert Hall the Boston Symphony Orchestra, Seiji Ozawa, at Tanglewood and John Williams on Friday, March 26, from For the first time in more than fifty years, the 7:30 to 9 p. m. The program will also include Boston Symphony Orchestra is building a musical surprises, and special visits with new concert hall. Located at Tanglewood on Seiji Ozawa and John Williams. On Sunday, the former Highwood estate that is now part March 28, from 11 a.m. to 4 p.m., the Sym- of the Tanglewood grounds, the new Hall will phony Hall Open House, sponsored by provide a performance home for the Tangle- NYNEX, will feature musical performances, wood Music Center and for Tanglewood's
5
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^M^^^B distinguished series of solo and chamber The Boston Artists' Ensemble performs music recitals. The new building will replace Mozart's Piano Trio in B-flat, K.502, and the existing Theatre-Concert Hall, which is Schubert's Piano Trio No. 2 in E-flat, D.929, located to the right of the Main Gate as you on Friday, April 2, at 8 p.m. at the Second enter the Tanglewood grounds, at the far side Church in Newton, 60 Highland Street, West of the lawn opposite the Koussevitzky Music Newton, and on Sunday, April 4, at 2:30 Shed. Designed to harmonize with the sylvan p.m. at the Peabody Museum in Salem. The character of Tanglewood, the new Concert performers are BSO violinist Tatiana Dimi- Hall will offer superior acoustic conditions triades, BSO cellist Jonathan Miller, the and state-of-the-art performance facilities. It ensemble's founder, and pianist Randall promises to set a standard for excellence in Hodgkinson. Tickets are $14 ($12 seniors the vibrant summer music festival tradition. and students). For more information, call Our fundraising goal for the new Hall is (617) 527-8662. $10.7 million dollars; we happily report more The John Oliver Chorale performs music of than $9.4 million raised to date. A Kresge Jannequin, Ravel, Francaix, and Monteverdi Foundation Challenge Grant, as well as a on Saturday, April 3, at 8 p.m. at Old South grant from the National Endowment for the Church, 645 Boylston Street in Boston. Single Arts, will enable us to complete our campaign tickets are $18 and $11. For more information, with matching donor contributions. Attractive call (617) 364-0068. commemorative gift opportunities and recog- Soprano Julie Hanson joins the Hawthorne nition benefits are available. To learn more String Quartet—BSO members Ronan Lef- about the new Concert Hall, please contact kowitz, Si-Jing Huang, Mark Ludwig, and Joyce Serwitz, the BSO's Director of Major Sato Knudsen— in a Richmond Performance Gifts, at (617) 638-9273. Series concert, performing Schoenberg's String Quartet No. 2 and Haydn's Seven Last Words of Christ on the Cross on Sunday, April BSO Members in Concert 4, at 3 p.m. at the Richmond Congregational BSO violinist Amnon Levy performs the Church. Admission is $10 ($8 students and Dvorak Violin Concerto on Sunday, March seniors). For more information, call (413) 28, at 2:30 p.m. with the Brookline Sym- 698-2837 or (617) 731-0004. phony Orchestra, David Callahan, Music Director, at the B.U. Concert Hall, 855 Twenty- Fifth Anniversary Commonwealth Avenue. The program also Celebration Week includes Martinu's Memorial to Lidice and Beethoven's Fifth Symphony. Tickets are $8 Have you been a part of the BSO family for ($5 seniors and students). For more informa- twenty-five years or more? Whether you have tion, call (617) 479-8040. been a subscriber or single-ticket buyer, you BSO violinist Ikuko Mizuno performs are invited to be a part of the BSO's celebra- Beethoven's Violin Sonata No. 5 in F, Spring, tion scheduled for October 20-23, 1993. Prokofiev's Five Melodies for violin and piano, Please send your name, address, and the and Faure's Violin Sonata in A with pianist year of your first subscription, or the year you KayoTatebe on Sunday, March 28, at 3 p.m. first attended a BSO concert, to Deborah at Follen Church, 755 Massachusetts Avenue Hauser, Chairman, 25th Anniversary Cele- in Lexington, for the Japanese Association of bration Week, Boston Symphony Orchestra, Greater Boston. Donations are welcome at Symphony Hall, Boston, MA 02115, or call the door. For more information, call (617) the Development Office at (617) 638-9251 862-3805. and leave a message. A Gift That Always HitsAHieh Note.
The Copley Place Gift Certificate. It lets them choose from over
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COPLEY PLACE In Boston's Back Bay SEIJI OZAWA Now in his twentieth year as music director of the Boston Symphony Orchestra, Seiji Ozawa became the BSO's thir- teenth music director in 1973, after a year as music adviser. His many tours with the orchestra in Europe, the Far East, and throughout the United States have included four visits to Japan, an eight-city North American tour in the spring of 1991, and a seven-city European tour to Greece, Austria, Germany, France, and England following the 1991 Tangle- wood season. In March 1979 he and the orchestra made an historic visit to China for coaching, study, and discussion sessions with Chinese musicians, as well as concerts, mark- ing the first visit to China by an American performing ensemble following the establish- ment of diplomatic relations. In October 1992 he led the orchestra in its first tour to South America, with concerts in Sao Paulo, Buenos Aires, and Caracas.
Besides his work with the Boston Symphony, Mr. Ozawa appears regularly with the Berlin Philharmonic, the French National Orchestra, the New Japan Philharmonic, the Orchestre de Paris, the Philharmonia of London, and the Vienna Philharmonic. He has conducted opera at the Paris Opera, La Scala, Salzburg, the Vienna Staatsoper, and Covent Garden, and made his Metropolitan Opera debut in December 1992. In addition to his many Boston Symphony recordings, he has recorded with the Berlin Philharmonic, the Chicago Symphony, the London Philharmonic, the Orchestre Na- tional, the Orchestre de Paris, the Philharmonia of London, the Saito Kinen Orchestra, the San Francisco Symphony, and the Toronto Symphony, among others. His recordings appear on the Deutsche Grammophon, EMI/Angel, Erato, Hyperion, New World, Philips, RCA, Sony Classical/CBS Masterworks, and Telarc labels. In September 1992 Mr. Ozawa founded the Saito Kinen Festival in Matsumoto, Japan, in memory of his teacher Hideo Saito, a central figure in the cultivation of Western music and musical technique in Japan, and a co-founder of theToho Gakuen School of Music in Tokyo.
Born in 1935 in Shenyang, China, to Japanese parents, Seiji Ozawa studied Western music as a child and later graduated with first prizes in composition and conducting from Tokyo's Toho School of Music, where he was a student of Hideo Saito. In 1959 he won first prize at the International Competition of Orchestra Conductors held in Besan- con, France. Charles Munch, then music director of the Boston Symphony and a judge at the competition, invited him to attend the Tanglewood Music Center, where he won the Koussevitzky Prize for outstanding student conductor in 1960. While a student of Herbert von Karajan in West Berlin, Mr. Ozawa came to the attention of Leonard Bern- stein, who appointed him assistant conductor of that orchestra for the 1961-62 season. He made his first professional concert appearance in North America in January 1962, with the San Francisco Symphony. He was music director of the Chicago Symphony Orchestra's Ravinia Festival for five summers beginning in 1964, music director of the Toronto Symphony from 1965 to 1969, and music director of the San Francisco Sym- phony from 1970 to 1976, followed by a year as that orchestra's music adviser. He conducted the Boston Symphony Orchestra for the first time in 1964, at Tanglewood, and made his first Symphony Hall appearance with the orchestra in 1968. In 1970 he became an artistic director of Tanglewood.
Mr. Ozawa holds honorary doctor of music degrees from the University of Massa- chusetts, the New England Conservatory of Music, and Wheaton College in Norton, Massachusetts. He won an Emmy award for the Boston Symphony Orchestra's "Evening at Symphony" PBS television series. BBHIBiiW
First Violins Violas Malcolm Lowe Burton Fine Concertmaster Principal Charles Munch chair Charles S. Dana chair Tamara Smirnova-Sajfar Patricia McCarty Associate Concertmaster Assistant Principal Helen Horner Mclntyre chair Anne Stoneman chair, fullyfunded in perpetuity Assistant Concertmaster Ronald Wilkison Robert L. Beal, and Lois and Harlan Anderson chair EnidL. and Bruce A. Beal chair Robert Barnes Laura Park Joseph Pietropaolo Assistant Concertmaster Michael Zaretsky Edward and Bertha C. Rose chair Music Directorship endowed by Bo Youp Hwang Marc Jeanneret John Moors Cabot Acting Assistant Concertmaster *Mark Ludwig John and Dorothy Wilson chair, * Rachel Fagerburg fullyfunded in perpetuity BOSTON SYMPHONY *Edward Gazouleas Lucia Lin ORCHESTRA Forrest Foster Collier chair *Kazuko Matsusaka 1992-93 Fredy Ostrovsky Dorothy Q. and David B. Arnold, Jr., Cellos chair, fullyfunded in perpetuity Jules Eskin Gottfried Wilfinger Principal Leo Panasevich Philip R. Allen chair Carolyn and George Rowland chair Martha Babcock Alfred Schneider Assistant Principal Muriel C. Kasdon and Vernon and Marion Alden chair Marjorie C. Paley chair Sato Knudsen Raymond Sird Esther S. and Joseph M. Shapiro chair Ruth and Carl Shapiro chair Joel Moerschel Ikuko Mizuno Sandra and David Bakalar chair Amnon Levy * Robert Ripley Theodore W. and Evelyn Berenson Richard C. and Ellen E. Paine chair, Family chair fullyfunded in perpetuity Luis Leguia Robert Bradford Newman chair Carol Procter Second Molins Lillian and Nathan R. Miller chair Marylou Speaker Churchill * Ronald Feldman Principal Charles and JoAnne Dickinson chair Fahnestock chair *Jerome Patterson Vyacheslav Uritsky *Jonathan Miller Assistant Principal *Owen Young Charlotte and Irving W. Rabb chair Ronald Knudsen Edgar and Shirley Grossman chair Basses Joseph McGauley Edwin Barker Leonard Moss Principal *Harvey Seigel Harold D. Hodgkinson chair Lawrence Wolfe t Jerome Rosen Assistant Principal *Sheila Fiekowsky Maria Nistazos Stata chair, Ronan Lefkowitz fullyfunded in perpetuity * Nancy Bracken Joseph Hearne Leith Family chair *Jennie Shames Bela Wurtzler *Aza Raykhtsaum Joseph and Jan Brett Hearne * Valeria Vilker Kuchment chair *Bonnie Bewick John Salkowski *Tatiana Dimitriades * Robert Olson *James Cooke * James Orleans *Si-Jing Huang *Todd Seeber * Victor Romanul *John Stovall
* Participating in a system of rotated seating within each string section %On sabbatical leave
10 Flutes Bassoons Tuba Richard Svoboda Chester Schmitz Principal Margaret and William C. Walter Piston chair Edward A. Taft chair Rousseau chair Leone Buyse Acting Principal Flute Roland Small Marian Gray Lewis chair Richard Ranti Timpani Fenwick Smith Associate Principal Everett Firth Acting Assistant Principal Sylvia Shippen Wells chair Myra and Robert Kraft chair Contrabassoon Gregg Henegar Percussion Helen Rand Thayer chair Piccolo Peter Andrew Lurie chair Geralyn Coticone Horns Assistant Timpani Evelyn and C. Charles Marran Gauger chair ^Charles Kavalovski Thomas Principal Peter and Anne Brooke chair Helen SagojfSlosberg chair Frank Epstein Sebring Oboes Richard J. Wlliam Hudgins Alfred Genovese Associate Principal Margaret Andersen Congleton chair Principal Harps Mildred B. Remis chair Daniel Katzen Pilot Elizabeth B. Storer chair Ann Hobson Wayne Rapier Principal Jay Wadenpfuhl Keisuke Wakao Willona Henderson Sinclair chair Assistant Principal Richard Mackey Sarah Schuster Ericsson Jonathan Menkis English Horn Librarians Trumpets Laurence Thorstenberg Marshall Burlingame Charles Schlueter Beranek chair, Principal Principal fullyfunded in perpetuity Wlliam Shisler Roger Louis Voisin chair Peter Chapman James Harper Clarinets Ford H. Cooper chair Harold Wright Timothy Morrison Assistant Conductors Principal Principal Associate Grant Llewellyn Thomas Rolfs Ann S.M. Banks chair Robert Spano William Hudgins Trombones Thomas Martin Personnel Managers Assistant Principal Ronald Barron Lynn Larsen E-flat clarinet Principal J. P. and Mary B. Barger chair, Bruce M. Creditor fullyfunded in perpetuity Bass Clarinet Norman Bolter Stage Manager Craig Nordstrom Position endowed by Farla and Harvey Chet Bass Trombone Angelica L. Russell Krentzman chair Douglas Yeo Peter Riley Pfitzinger
11 —
Paul Alan Kaplan March 17, 1955 - November 23, 1991
The family of Paul Alan Kaplan is proud to dedicate this Saturday night's Boston Symphony Orchestra concert to his memory. A young man who in his short life gave so much to so many, Paul died of AIDS at the age of 36,. During his life, Paul made his mark in many ways. Upon graduating from the Wharton School of the University of Pennsylvania in 1977, Paul joined the Stanley H. Kaplan Educational Center as an SAT math teacher, following in his father's footsteps. He became the creative spark of the SAT (Scholastic Aptitude Test) program, and eventually became Corporate Controller. However, Paul's love was the theater, and he was deeply involved with the per- forming arts. As a child, he was probably the youngest-ever subscriber to Variety. At the University of Pennsylvania he was the entertainment critic for the Daily Pennsylvanian. After leaving the Stanley H. Kaplan Educational Center, he im- mersed himself in the world of theater and film. "Show biz" became a business for Paul. He was an associate producer of the 1985 Broadway production of William M. Hoffman's play ^45 Is, one of the first dramas about the impact of AIDS. He produced the off-Broadway production of Spare Parts and was also executive pro- ducer of the 1986 movie Parting Glances. Paul was committed to the principle that each person has, in himself or herself, the ability to make one's life meaningful. Possessing a great love of life and an unquenchable spirit of joy, he never stinted in his efforts to live up to his full poten- tial. He had the unique capacity to draw from others the best they had to offer. Paul loved life and forged literally hundreds of friendships. To him, all the world was a stage. All events had the elements of drama, laughter, conflict, or pathos or a combination of them all. In every sense, Paul danced through life. His family lovingly remembers and honors the vitality, enthusiasm, and creativity Paul con- veyed through his interests, involvement, and passions.
The NAMES Project AIDS Memorial Quilt The NAMES Project AIDS Memorial Quilt has become an international symbol in the fight against AIDS. The Quilt is made of thousands of individual 3'x 6' panels, each bearing the name of someone lost to AIDS. By organizing and displaying the Quilt, the NAMES Project strives to illustrate to individuals and governments the urgency and enormity of the AIDS epidemic and the need for an immediate and compassionate response, by revealing names and lives behind the statistics; to build a powerful, posi- tive, creative symbol of remembrance and hope, linking diverse people worldwide in their response to AIDS; and to encourage donations in communities where the Quilt is displayed, thereby raising funds for people living with AIDS and their caregivers. To date, more than $1 million has been raised at Quilt displays and been distributed to AIDS care service agencies. With more than 22,000 panels contributed from twenty- nine countries, the Quilt has grown too large to be displayed in any one place. But the NAMES Project continues to accept new panels, and sections of the Quilt continue to be shown in the United States and around the world, as they have been since the first display in October 1987. For more information, call or write The NAMES Project Boston, Box 498, Boston, MA 02117, (617) 262-NAME (6283). Panels from the AIDS Memorial Quilt are being displayed in Symphony Hall this week in conjunction with the BSO's performances of John Corigliano's Symphony No. 1.
12 BOSTON SYMPHONY ORCHESTRA
Seiji Ozawa, Music Director Grant Llewellyn and Robert Spano, Assistant Conductors One Hundred and Twelfth Season, 1992-93
Thursday, March 25, at 8 Friday, March 26, at 2 Saturday, March 27, at 8 THE PAUL ALAN KAPLAN MEMORIAL CONCERT Tuesday, March 30, at 8
LEONARD SLATKIN conducting
FINZI Prelude for String Orchestra, Opus 25
STRAUSS Four Last Songs
Friihling [Spring] September [September] Beim Schlafengehen [Before Sleeping] Im Abendrot [In Evening's Glow] HELEN DONATH, soprano
Texts and translations begin on page 22. Please withhold applause until after the last song.
INTERMISSION
CORIGLIANO Symphony No. 1
I. Apologue: Of Rage and Remembrance
II. Tarantella
III. Chaconne: Giulio's Song — Epilogue
The Saturday-evening performance is funded in part by a gift from the Rita J. and Stanley H. Kaplan Foundation; Mr. and Mrs. Stanley H. Kaplan; Susan B. Kaplan and Ami Trauber; and Nancy and Mark Belsky.
The performances of John Corigliano's Symphony No. 1 are part of the AT&T AMERICAN ENCORE series, a program supporting the performance of 20th-century American works.
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.
13 Week 20 —
Without You, This Is The Whole Picture.
This year, there is a $12 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 Fund Your gift to the Boston Symphony Annual and become a Friend of the Boston Symphony Fund will help us make up that difference. Orchestra today. Because without you, the It will help us continue to fund outreach, picture begins to fade. r ~i Yes, I want to keep great music alive.
I'd like to become a Friend of the BSO for the 1992-93 season. (Friends' benefits begin at $50.) Enclosed is my check for $ payable to the Boston Symphony Annual Fund. ^
Name Tel.
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City State. Zip.
Please send your contribution to: Susan E. Kinney, Assistant Director of Development, Boston Symphony Orchestra, Symphony Hall, Boston, MA 021 15. KEEP GREAT MUSIC AUVE LA portion of your gift may not be tax-deductible. For information call (617) 638-9251. J
14 Gerald Finzi Prelude for String Orchestra, Opus 25
Gerald Finzi was born in London, England, on July add 9^^ 14, 1901, and died in Oxford, England, on Septem- M& ^L ber 27, 1956. He composed his Preludefor String f^^^j Orchestra some time in the 1920s; it remained unpub- lished until after his death. Christopher Finzi, the ^ *Cy\ composer's son, led the Newbury String Players in the first performance only on April 27, 1957, at St. Johns Church in Stockkross, Berkshire. These are
the first performances of any Finzi work by the Boston Symphony Orchestra. The score calls for the normal body of orchestral strings.
Gerald Finzi's first composition teacher, Ernest Farrar, with whom he started studying in 1914, was killed in France in 1916. The shock of this death, coupled with that of the composer's father when the boy was eight, and of three elder brothers, caused him to become a private and intro- spective person, devoted to literature and music. When he was twenty-four, the con- ductor Adrian Boult suggested that he study counterpoint with R.O. Morris, and this led to his settling in London after having spent several years in rural seclusion. There he began to be involved with the musical life, met Hoist and Vaughan Williams (who was to be a major influence on his work), and taught at the Royal Academy of Music from 1930 to 1933. After marrying the artist Joyce Black in 1933, he settled in Wilt- shire and lived a quiet life of composition and pacifist activity. He reluctantly decided that the 1939-1945 war was necessary, and he worked for the Ministry of War Trans- port, but he continued also to lead a partly-amateur string orchestra, the Newbury String Players, founded in the winter of 1939, in the conviction that the artist is the prime representative of civilization. Finzi discovered in 1951 that he had leukemia; with his resistance to infection weakened, he died of shingles brought on by an acci- dental contact with chicken pox while attending the Gloucester Festival in 1956.
Finzi's music remains little-known in this country. He is most highly regarded among singers as the composer of a substantial body of songs, many set to the texts of Thomas Hardy, with whom Finzi shared a sense of the fragility of time and the inevita- ble changes that it brought. Beyond that, his best-known music includes Dies natalis
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CARLETON WILLARD VILLAGE u Owned and operated by Carleton-Willard Homes, Inc., a not-for-profit corporation. 100 Old Billerica Road, Bedford, MA 01730 (617)275-8700 for soprano, tenor, and string orchestra (scheduled for the Three Choirs Festival of 1939, though postponed on account of the war) r a clarinet concerto, and his final work, a cello concerto, which was performed in Boston a few years ago by the Pro Arte Chamber Orchestra. The origin of this orchestral prelude for strings is somewhat mysterious. The precise date of composition is unknown; the Grove Dictionary simply suggests "? 1920s." The opus number is not much help, since Finzi seems to have assigned the number when he began the work, but many of his pieces were revised substantially years after their original creation. The prelude was one of a number of instrumental works or sections of works that he had wanted to have published. The work now known as the "Prelude for String Orchestra" was intended to be the opening music for a triptych to be called "The Bud, the Blossom, and the Berry." He abandoned that plan and scored the music he had already composed for string orchestra. The brief composition is cast in a single movement beginning and ending Adagio espressivo, with a slightly faster middle sec- tion. A steady eighth-note pulse runs throughout, often as a drone in the basses, like a slow pulsebeat (though it, too, moves faster in the middle section). Over this the upper strings murmur gently, gradually opening up the musical space with a rising passage. Solo instruments lead the ensemble into the faster middle section. The hushed opening returns, but the ensemble quickly builds to a climactic closing statement, lushly scored. —Steven Ledbetter After the Performance, Take a Look at Our Performance. HOOVER MANAGEMENT COMPANY, Inc. 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Providence, Rl 617-545-1370 508-263-9101 401-438-3250 18 Richard Strauss Four Last Songs Richard Georg Strauss was born in Munich on June 11, 1864, and died in Garmisch-Partenkirchen, Bavaria, on September 8, 1949. These songs were written in 1948 in thefollowing order: Im Abendrot (May 6), Fruhling (July 18), Beim Schlafengehen (August 4), and September (September 20). Kirsten Flagstad sang the first performance on May 22, 1950, at the Royal Albert Hall, London, with Wilhelm Furtwdngler conducting the Philharmonia Orchestra. The Boston Symphony Orchestra has performed the Four Last Songs only twice previously, both times under Seiji Ozawas direction: with Leon- tyne Price on July 8, 1983, at Tanglewood, and with Jessye Norman on September 29, 1987, the Opening Night concert of the orchestra's 1987-88 winter sea- son. The instrumentation varies from song to song, but the whole set calls for three flutes (one doubling piccolo) and an additional piccolo, two oboes and English horn, two clarinets and bass clarinet, three bassoons (one doubling contrabassoon) , four horns, three trumpets, three trombones, bass tuba, harp, celesta, timpani, and strings. Richard Strauss had just turned eighty when World War II finally came to an end, and there seemed to be little for him to do in the musical world as it was constituted. His final opera, the luminous Capriccio, had been produced three years before. He composed a few small orchestral works, including the delicious Duet-Concertino for clarinet and bassoon with strings and harp, and a handful of tiny works including two easy pieces for violin written for his favorite young exponent of that instrument, his teenaged grandson Christian. But the one-time bad boy of German modernist music, whose orchestral tone poems made extraordinary new demands on the technique of players and whose operas Salome and Elektra brought scandal at every performance, had long since mellowed and become, for many young musicians, not a grand old man, but a backward-looking one, writing conservative music that, to many, seemed out of place in the mid-century. Yet Strauss had a final masterpiece in him, and it took the form, appropriately enough, of a set of songs. The appropriateness lies in the fact that his earliest works were songs, and he first achieved renown with his set of Lieder published as Opus 10. He continued writing in that genre for many years especially for his wife, the soprano Pauline de Ahna, for whose voice he had imagined many of his songs and even perhaps operatic roles. They were in the fifty-fourth year of a difficult but enduring marriage when Strauss happened upon a poem by Eichendorff, Im Abendrot. Eichendorff was one of the great masters of German lyric poetry, and his work had been set by any number of earlier composers, but Strauss had never composed a song to his words. Im Abendrot seemed too much to the point not to make an immediate impression: it de- scribes an old couple who have endured joy and sorrow, hand in hand, and who now feel a weariness that may portend death. The composer took Im Abendrot as a personal vision for himself and Pauline, and he set it to music that was clearly to be his farewell to the world. But he also wanted to make a group of songs. While he was vacationing in Switzerland in 1948, an admirer sent him a selection of poems by Hermann Hesse, who had been awarded the Nobel Prize for literature two years earlier. Here Strauss found what he was looking for. He set three of Hesse's poems which, with Im Abendrot, constitute his musical testament. A year after completing the songs he died a peaceful death (commenting to his daugh- 19 Week 20 We salute the Boston Symphony Orchestra on its 112th season WELCH & FORBES JOHN K. SPRING RICHARD OLNEY III KENNETH S. SAFE, JR. ARTHUR C. HODGES JOHN LOWELL M. LYNN BRENNAN THOMAS N. DABNEY JOHN H. EMMONS, JR. V. WILLIAM EFTHIM CHARLES T. HAYDOCK GUIDO R. PERERA, JR. OLIVER A. SPALDING Creative investment management and fiduciary services since 1838 45 School Street, Boston, MA 02108 Tel. (617) 523-1635 BALDWIN m OF BOSTON 98 Boylston St., Boston 1-800-FOR PIANO Boston Symphony Orchestra Boston Pops Orchestra Seiji Ozawa & John Williams 20 ter-in-law Alice that the experience was very much as he had composed it sixty years earlier in Death and Transfiguration). He did not live to hear the premiere of the "Four Last Songs," the title of which (and the performing order) was supplied by Strauss's publisher and longtime friend Ernst Roth. For a composer who made his reputation on music of extraordinary complexity and busyness, the Four Last Songs clearly represent a mellowing, a simplification, a direct- ness that recommends the set even to listeners who find Strauss's earlier work not much to their taste. The orchestra is luminous throughout, and the soprano (no other voice is thinkable in these songs, written as a final tribute to Pauline) soars and vocalizes in the ecstasy of unconstrained lyricism. Three of the texts deal with evening, nightfall, or autumn— all images connected with our sense of mortality. Strauss composes music of autumnal warmth that echoes the poems; words and music alike draw the listener in. And for the listener who knows Strauss's earlier music, there is a special poignancy when the singer asks at the end, "1st dies etwa derTod?" ("Is this perhaps death?"), and the answer comes in the distant melody on the horn (the instrument of Strauss's father), sounding a theme composed six decades earlier for Death and Transfiguration. —S.L. The Stmusses' wedding photo 21 Week 20 Vier letzte Lieder Four Last Songs Friihling Spring In dammrigen Griiften In dusk-dim vaults Traumte ich lang I've long dreamed Von deinem Baumen und blauen Liiften, of your trees and blue skies, Von deinem Duft und Vogelsang. of your fragrance and bird-sonj Nun liegst du erschlossen Now you lie disclosed, In Gleis und Zier, glittering, adorned, Von Licht iibergossen bathed in light Wie ein Wunder vor mir. like a miracle before me. Du kennst mich wieder, You know me once again, Du lockst mich zart, you beckon to me tenderly, Es zittert durch all meine Glieder your blessed presence Deine selige Gegenwart! sets all my limbs trembling! —Hermann Hesse September September Der Garten trauert, The garden mourns, Kiihl sinkt in die Blumen der Regen. the cooling rain falls upon the flowers. Der Sommer schauert The summer shudders, Still seinem Ende entgegen. silently facing his end. Golden tropft Blatt urn Blatt Leaf after golden leaf drops down Nieder vom hohen Akazienbaum. from the high acacia tree. Sommer lachelt erstaunt und matt Summer, surprised and weak, In den sterbenden Gartentraum. smiles at the fading garden-dream. Lange noch bei den Rosen Yet he lingers still, Bleibt er stehn, sehnt sich nach Ruh. among the roses, yearning for rest. Langsam tut er die Slowly he closes Mudgeword'nen Augen zu. his wearied eyes. —Hermann Hesse A Gracious Alternative to Nursing Home Care * Assistance with * Superb dining bathing, dressing ... • Health & Wellness program * Private, elegant * Short & Long term rental 1 & 2 room suites options available. Dignified Retirement Living \m[ 3 Commonwealth Avenue For Information Call 14 Equal Housing (617) 262-3900 Boston, MA 02115 Opportunity 22 — — Beim Schlafengehen Before Sleeping Nun der Tag mich mud gemacht, Now the day has made me weary: Soil mein sehnliches Verlangen let the starry night gather up Freundlich die gestirnte Nacht my ardent longings, lovingly, Wie ein miides Kind empfangen. as it would a tired child. Hande, lasst von allemTun, Hands, leave off all your toil, Stirn virgiss du alles Denken, mind, put aside all your thoughts: Alle meine Sinne nun all my senses long Wollen sich in Schlummer senken. to settle, now, into slumber. Und die Seele unbewacht, And the soul, unencumbered, Will in freien Fliigen schweben, wants to soar in free flight Um im Zauberkreis der Nacht into night's magic realm, Tief und tausendfach zu leben. to live deeply, a thousandfold. -Hermann Hesse Im Abendrot In Evening's Glow Wir sind durch Not und Freude Through pain and joy Gegangen Hand in Hand: we've traveled hand in hand; Vom Wandern ruhen wir let's rest from wandering, now, Nun iiberm stillen Land. above the quiet land. Rings sich die Taler neigen, Around us the valleys are waning, Es dunkelt schon die Luft, already the sky is darkening, Zwei Lerchen nur noch steigen yet, still, two larks, dream-seeking, Nachtraumend in den Duft. soar upward into the air. Tritt her und lass sie schwirren, Step close and let them fly, Bald ist es Schlafenszeit, it's nearly time for sleep: Dass wir uns nicht verirren lest we lose our way In dieser Einsamkeit. in this solitude. weiter, stiller Friede! spacious, silent peace, So tief im Abendrot. so deep in evening's glow! Wie sind wir wandermude How travel-weary we are Ist dies etwa der Tod? Could this perhaps be death? —Josefvon Eichendorff German texts set to music by Richard Strauss copyright Boosey & Hawkes, Inc. , ©1950, renewed 1977, and reprinted here by permission. English translations by Marc Mandel. 23 Week 20 An Outstanding Performance The Result OfA Harmonious Effort. BayBank applauds the continuing success of the Boston Symphony Orchestra. We congratulate all the performers and those behind the scenes for working in perfect harmony to create music loved around the world. Ba/Bank 24 John Corigliano's Symphony No. 1: Music, Message, or Both? by Marc Mandel Is it necessary to know the circumstances behind a musical work's creation to under- stand or appreciate that work fully? Conversely, does lack of such knowledge neces- sarily hinder our understanding or appreciation? Do we need to know, for example, that grief over his mother's death may have led Brahms to write the fifth movement, a late addition for solo soprano, of his German Requiem? Or that Dvorak revised the ending of his Cello Concerto following the death of his sister-in-law, with whom he had once been in love? Though such facts may be of interest, and may even heighten our response to the music, such knowledge is surely incidental to appreciating those works on their own terms. Of course there are also instances where a composer's music is specifically about something, as in the case of Beethoven's Pastoral Symphony or Berlioz's Symphonie fantastique (subtitled "Episode in the Life of an Artist"). In such cases, not knowing the composer's intended meaning behind the notes might well compromise our full appreciation for, and understanding of, the music. Yet, at the same time, the music of these works has its own intrinsic appeal—deriving from the way the music is put to- gether, and from the music's particular emotional content—that should enable a lis- tener unfamiliar with either symphony's extramusical content to appreciate the music nevertheless. Mahler on several occasions suppressed programs he had previously published for his symphonies: he preferred leaving his listeners to their own devices, unencumbered by extramusical concerns. Thus, music, even where the composer may suggest otherwise, retains a life and integrity of its own, independent of any program- matic content. How does this relate to John Corigliano's Symphony No. 1? Written for the Chicago Symphony Orchestra's centennial while Corigliano was that orchestra's composer-in- residence, the work was premiered by that ensemble under Daniel Barenboim's direc- tion in March 1990. It has since been widely played throughout the United States, as well as in Canada, Spain, England, Australia, and Germany, to the acclaim of public, performers, and critics. It won the 1991 Grawemeyer Award for Musical Composition (the music world's equivalent, in stature, to the Nobel Prize) and was released on an award-winning compact disc that held the Billboard charts for sixty-nine weeks—an extraordinary response to a recently composed "classical" work. Yet since its premiere Corigliano's symphony has also won widespread attention extending beyond its purely musical merits; it has taken on a "double life," as both music and messenger. What is the symphony's "message"? Inspired by the illness of one of his best friends (the work's dedicatee), Corigliano's Symphony No. 1 represents the composer's per- sonal response to the AIDS crisis; in it he has memorialized friends lost to, or afflicted by, the disease. As he writes in his program note for the work, his symphony "was generated by feelings of loss, anger, and frustration." The first three movements are individually related to "lifelong musician-friends." In the third movement, "still other friends are recalled in a quilt-like interweaving of motivic melodies"; here Corigliano took his inspiration from the AIDS Memorial Quilt, whose individual panels, hand- crafted by their loved ones, recall individuals lost to the disease. Thus Corigliano's symphony, apart from its existence as a purely musical work, has taken on a separate life. As an emotionally charged response to the effects of AIDS on his, and our, world, it speaks clearly and powerfully to anyone who has been affected by the disease. At the same time, the symphony has become a musical beacon symbolizing the struggle against AIDS, promoting AIDS-awareness, and fostering a message of compassion. Purely as music, Corigliano's symphony ably fulfills the requirements of the genre. It is written for orchestra (and a large orchestra at that). It's in three clear-cut move- 25 Week 20 merits of contrasting character, with a brief Epilogue appended to the third. Each movement is clearly structured—the first, generally slow-moving, in an ABA form; the second basically quick-moving and dance-derived; the third slow again, and based upon the repeated chord-structure of a Spanish dance form called a Chaconne (recall that Brahms based the final movement of his Fourth Symphony on the Passacaglia). The Epilogue is also built upon a series of repeated chords. Further, the three princi- pal movements and the Epilogue are thematically connected— material from the first movement recurs to close the third, and the Epilogue has thematic references to all three preceding movements. The symphony's proportions, in terms of the music's move- ment through time, are well-balanced—the first and third movements each run be- tween thirteen and fourteen minutes; the second movement and Epilogue (itself a bit more than four minutes) total thirteen minutes. And the symphony's musical language —emotionally direct and wide-ranging, juxtaposing elements of tonality and atonality — is compelling and immediately accessible. From its opening measures, this sym- phony engages listeners and draws them into its musical world. Which leaves the question: can one's response to the music of Corigliano's symphony be separated out from one's response to its message? Certainly the composer wants his music to stand on its own terms. He has called his piece simply "Symphony No. 1 for Orchestra," without a subtitle (though he does provide individual movement-headings, and, at specific points in the third movement of the score, identifies some of the friends memorialized therein). "I wanted this to be an abstract work," he has stated, "because I think that abstract music can touch the deepest and most basic emotions." And, as implied above, it is certainly possible to hear the piece purely as music, in terms of its musical language, structural logic, and abstract emotional content. The critical response to Corigliano's work has recognized this from the start. Writing about the Chicago premiere in the New York Times, John Rockwell called the symphony "a major new orchestral score . . . that addresses a terrible crisis of our time and also manages to make impressive sense on abstract esthetic terms'''' [italics added], going on The composer acknowledging the audience's applausefollowing the Chicago Symphony premiere of his Symphony No. 1 in March 1990 26 to describe it as "full of an esthetic coherence that could convince even one utterly ignorant of its inspiration." John Ardoin had this to say in the Dallas Morning News: "What is important about the Corigliano symphony ... is that its power and thrust do not depend on its program. It is music that coheres and has impact and enormous clarity on its own. In short, it stands out with validity purely as music." Robert C. Marsh of the Chicago Sun-Times found it both "socially relevant, since it is about the AIDS epidemic, and musically distinctive." He, too, sensed a musical-emotional resonance separate from the motivation that originally inspired the work's composition: "a listener who has felt no comparable tragedy in his life may respond to it fully as a humanistic document." The Chicago Tribune's John von Rhein may have stated the case most specifically, when he wrote: "To call it an AIDS symphony ... is to miss Corigliano's point. This is music that speaks eloquently to the feelings engendered by human loss of all sorts; it leaves us with a renewed awareness of our humanity." Given the continuing enormity of the AIDS crisis, it is not surprising that presenters of the work see in Corigliano's symphony an opportunity to broaden listeners' aware- ness of the disease. When the piece had its New York premiere in January 1992, the non-musical elements of the event included an AIDS Quilt display and a table of AIDS- related literature in the Avery Fisher Hall lobby, the wearing of red AIDS-awareness ribbons by members of the New York Philharmonic, and an address from the podium by the conductor. This past January, in conjunction with Minnesota Orchestra perform- ances of the piece, a week's worth of AIDS-awareness activities included, among other things, an AIDS Quilt display, a special concert featuring selections from the "AIDS Songbook" (conceived by the American baritone William Parker as an equivalent in song to the AIDS Memorial Quilt, with settings of AIDS-related poetry by a still-grow- ing number of composers), and a performance of Corigliano's recent choral work Of Rage and Remembrance , which shares its title with the first movement of his symphony and draws on the symphony for its musical material. In conjunction with the work's Boston Symphony performances, portions of the AIDS Quilt will be displayed in Sym- phony Hall, the final rehearsal will be open to people affected by the disease, and the Tanglewood Festival Chorus will perform OfRage and Remembrance as part of that rehearsal session. For the time being, and particularly on first hearing, it may not be entirely possible to separate the music of Corigliano's symphony from the circumstances surrounding its composition. As a significant response to the AIDS crisis, the symphony's extra- musical message remains sadly pertinent. But at the same time, it should be no more necessary to keep Corigliano's personal motivation specifically in mind while hearing the work than to envision pastoral scenes while listening to Beethoven's Sixth Sym- phony, or to conjure images of the Symphoniefantastique's opium-clouded protagonist when hearing that work. However hard it may be at present to hear Corigliano's sym- phony without reference to the circumstances that motivated it, that perspective will change over time. In this regard Corigliano suggests a parallel between his own sym- phony and Shostakovich's Leningrad Symphony (No. 7), written in response to the devastating 1941 invasion of Leningrad by the German army; today we can hear that piece without having to relive the horrors that inspired it. As with any piece, the intrinsic value of Corigliano's symphony derives ultimately from our hearing it, to say it once more, purely as music, with respect to its musical- stylistic language, its structural logic, its unique combination of notes, phrases, rhythms, colors, and dynamics, and, in particular, its abstract emotional content. Only through our individual responses to that aspect of Corigliano's work—responses based in our own personal experience— can we move beyond the circumstances of the symphony's composition to appreciate its music on its own terms, for ourselves. 27 Week 20 East Boothbay, Maine Hollis, New Hampshire WATERFRONT COMPOUND - LENEKIN NECK ROCKY POND ESTATE PARCELS DEEPWATER FRONTAGE & BEACH Lovely estate building parcels ranging in size Private 3-5 acre estate including a gracious 4 from 5 to 7 acres on pristine Rocky Pond, a 66- bedroom, 3 1/2 bath colonial, a winterized guest acre great pond. Unspoiled beauty in choice cottage & 345' of deepwater frontage. area with lovely views, privacy & more.From Spectacular water views, formal gardens, $195,000 stonewalls, terrace, a small beach plus Call LANDVEST 603/228-2020 possibility for a dock & float. 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A "truly American" showcase. $2,900,000 Ten Post Office Square, Boston, Massachusetts 02109 (617) 723-1800 28 John Corigliano Symphony No. 1 John Corigliano was born in New York City on February 16, 1938, and lives there now. He wrote his "Symphony No. 1 for Orchestra" on commission from the Chicago Symphony Orchestra and Meet the Composer, Inc., in honor of that orchestras centen- nial. Corigliano was composer-in-residence of the Chicago Symphonyfor three seasons, from 1987 to 1990, under the auspices of the "Meet the Composer' program. He began the work in June 1988 and com- pleted it in the summer of 1989. The symphony had its first performance on March 15, 1990, in Chicago; Daniel Barenboim conducted the Chicago Symphony Orchestra. It is dedicated to the memory ofpianist Sheldon Shkolnik, a longtimefriend of the composer, who had performed Corigliano !s Piano Concerto and also his two major worksfor solo piano: "Etude-Fantasy" and "Fantasia on an Ostinato. " Shkolnik died ofAIDS a week after the symphony's premiere, which he at- tended. In 1991 Corigliano received the prestigious University ofLouisville Grawemeyer Awardfor Music Compositionfor his Symphony No. 1, which has by now been performed widely throughout the United States, as well as in Canada, Spain, England, Australia, and Germany. The recording of the symphony, with Daniel Barenboim and the Chicago Symphony, received two 1991 Grammy Awards:for Best Contemporary Classical Compo- sition and Best Orchestral Performance. These are the first performances by the Boston Symphony Orchestra. The symphony lasts aboutforty-two minutes and is scoredfor a large orchestra consisting of three piccolos, fourflutes, three oboes, English horn, three clarinets, E-flat clarinet, bass clarinet, contrabass clarinet (optional), three bassoons and contrabassoon, six horns, five trumpets in C, trumpet in A, two each of tenor and bass trombones, two tubas, timpani (two players), a large percussion battery (glocken- spiel, crotales, vibraphone, xylophone, marimba, two sets ofchimes, snare drum, three tom-toms, three roto-toms , field drum, tenor drum, two bass drums, suspended cymbal, tam-tam, finger cymbals, three temple blocks, tambourine, anvil, metal plate with ham- mer, brake drum, triangle, flexatone, police whistle, whip, and ratchet), piano, offstage piano, harp, mandolins (played by two stands ofsecond violins), and strings. At these performances, the solo pianist is Randall Hodgkinson and the solo cellist is BSO princi- pal Jules Eskin. John Corigliano grew up surrounded by musical activity. His father, the late John Corigliano, Sr. , was concertmaster of the New York Philharmonic for twenty-three years. His mother is an accomplished pianist. Despite much discouragement from his parents, the younger Corigliano chose composing as a career, at first supporting him- self working for radio stations WQXR and WBAI in New York and for Columbia Rec- ords, as well as writing orchestrations for pop albums. Corigliano maintains that in learning his craft, there was no substitute for listening to the music of others and study- ing their scores. His formal studies were with Otto Luening at Columbia University, where he earned his bachelor of arts degree cum laude in 1959, and later with Vittorio Giannini at the Manhattan School of Music. Recently elected to the Institute of Arts and Letters, he is currently Distinguished Professor of Music at Lehman College, City University of New York, and is on the composition faculty of the Juilliard School of Music. In addition to his symphony, Mr. Corigliano's works include his Concerto for Clarinet and Orchestra, commissioned by the New York Philharmonic and premiered 29 Week 20 fc*5 NORTH AMERICAN MANAGEMENT CORPORATION DAVID B. STONE • HANS H. ESTIN • JACOB F. BROWN II JOHN H. GRUMMON • EARL E. WATSON III • JOHN M. REYNOLDS Providing Investment and Financial Services for Individuals and Families TEN POST OFFICE SQUARE, SUITE 300 BOSTON, MASSACHUSETTS 02109 • 617-695-2100 HI ^j DEVOTED iirfS TOTHE \%fjS CONTINUITY 1 *% OF EXCELLENCE Proudly serving Belmont and neighboring communities with the finest in professional health care. Now completely modernized to offer unsurpassed facilities and services. " l^MS^O^BL. ( 34 Agassiz Avenue, Belmont, MA 02170 TEL 617-489-1200, FAX 617-489-0855 Owned and managed by the Karger family for 25 years. Hi 30 in 1977 with Leonard Bernstein conducting and Philharmonic principal Stanley Drucker as soloist; the Pied Piper Fantasy for flute and orchestra, which had its pre- miere in 1982, and was commissioned and introduced by James Galway with the Los Angeles Philharmonic; Kaleidoscope for two pianos, first heard at the 1961 Spoleto Festival; and the Sonata for Violin and Piano, written for his father, and which in 1964 won first prize at the Spoleto Chamber Music Competition, unanimously awarded by a jury including Walter Piston, Samuel Barber, and Gian Carlo Menotti. Corigliano's Concerto for Piano and Orchestra had its premiere at the opening concert of the 1968 HemisFair in San Antonio and was played the following season by the Chicago Sym- phony Orchestra with the late Sheldon Shkolnik as soloist, The Chicago Symphony has also performed Corigliano's Clarinet Concerto and Tournaments Overture. Other works include his Concerto for Oboe and Orchestra, premiered at Carnegie Hall in 1975; the hour-long Dylan Thomas Trilogy for chorus, soloists, and orchestra; the Etude-Fantasy for piano; Three Hallucinations, based on his music for the film Altered States; and the Promenade Overture, commissioned for the centennial of the Boston Symphony Or- chestra and premiered by the Boston Pops Orchestra on July 10, 1981. The composer has also written two film scores, for Ken Russell's A hered States (1981), for which he received an Academy Award Nomination, and Hugh Hudson's Revolution (1985). For the latter he was named the first recipient of the British Film Institute's Antony Asquith Award for Outstanding Achievement in Film Music. For the Seventh International Van Cliburn Piano Competition, Mr. Corigliano composed Fantasia on an Ostinato, based on a theme from the second movement of Beethoven's Seventh Symphony, in May 1985. On a commission from the New York Philharmonic in 1986 he extended and orchestrated that work in honor of the fiftieth anniversary of the New York City radio station WQXR. The Boston Symphony Orchestra performed that work under Leonard Slatkin's direction at Tanglewood last summer. Corigliano has just recently completed Phantasmagoria for Yo-Yo Ma and Emanuel Ax on a co-com- mission from the Freer Gallery of Art in Washington, D.C. , and the Library of Con- gress. He is currently at work on a guitar concerto to be premiered by Sharon Isbin and the St. Paul Chamber Orchestra. Corigliano's first full-length opera, The Ghosts of Versailles, was commissioned by the Metropolitan Opera in honor of its centennial. Suggested by the third play of Beaumarchais' Figaro trilogy, and with a libretto by award-winning playwright William M. Hoffman, the opera had its world premiere at the Metropolitan Opera on December 19, 1991, under James Levine's direction, and was subsequently telecast on PBS. The Ghosts of Versailles received the International Classical Music Award for Composition of the Year in 1993. John Corigliano once observed (in a 1980 interview) that the pose of the misunderstood artist has been fashionable for quite a while, and it is tiresome and old-fashioned. I wish to be understood, and I think it is the job of every composer to reach out to his audience with all the means at his disposal. Communi- cation should always be a primary goal. In most of Corigliano's scores, the theatrical element is strong. Seemingly disparate and eclectic materials can run the gamut from conventional chords, tonal part-writing, regular metrics, and passages in the style of eighteenth-century drawing-room music to tone-cluster structures, twelve-tone rows, violent offbeat accents, and avant-garde color effects, At the same time, however, Corigliano's use of these elements is motivated by, and governed by, an approach to musical architecture that allows the listener to hear them in the context of a structurally and stylistically unified whole. To coincide with the Boston Symphony Orchestra's performances of his Symphony No. 1, Corigliano has been awarded the BSO's Mark M. Horblit Award for distin- guished composition by an American composer. Established in 1947, the award has 31 Week 20 . jpS*V— Dinner and Symphony. In concert. Our award-winning chef, Charles Grandon, has created a new symphony menu that's a perfect prelude to the performance. The three-course dinners are prepared and served with style. 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Bostons Most Experienced • Over 1000 experienced and accredited executive service translators in all languages LIMOUSINES, SEDANS, VANS AND WAGONS • Complete language services—translation, (617) 623-8700 typesetting and printing Established 1924 * 24-Hour Service • Worldwide access via fax and electronic A & A LIMOUSINE RENTING, INC. networks 161 BROADWAY, SOMERVILLE, MA 02145 • Free call for brochure, client endorsements WORLD-WIDE RESERVATIONS and estimate TOLL FREE DIAL 1 (800) 336-4646 MAJOR CREDIT CARDS ACCEPTED Look for us in the NYNEX Yellow Pages 1-800-WORDNET 32 been presented nineteen times previously, most recently to Ned Rorem in the fall of 1991. Past recipients have also included Aaron Copland, Walter Piston, Leonard Bern- stein, Lukas Foss, Gunther Schuller, Roger Sessions, Earl Kim, Leon Kirchner, and Donald Martino. Mr. Corigliano's program note for his Symphony No. 1 follows. Historically, many symphonists (Berlioz, Mahler, and Shostakovich, to name a few) have been inspired by important events affecting their lives, and perhaps occasionally their choice of the symphonic form was dictated by extramusical events. During the past decade I have lost many friends and colleagues to the AIDS epidemic, and the cumulative effect of those losses has, naturally, deeply affected me. My Symphony No. 1 was generated by feelings of loss, anger, and frustration. A few years ago I was extremely moved when I first saw "The Quilt," an ambitious interweaving of several thousand fabric panels, each memorializing a person who had died of AIDS, and, most importantly, each designed and constructed by his or her loved ones. This made me want to memorialize in music those I have lost, and reflect on those I am losing. I decided to relate the first three movements of the symphony to three lifelong musician-friends. In the third movement, still other friends are recalled in a quilt-like interweaving of motivic melodies. Cast in a free, large-scale A-B-A form, the first movement (Apologue*: Of Rage and Remembrance) is highly charged and alternates between the tension of anger and the bittersweet nostalgia of remembering. It reflects my distress over a concert-pianist friend. The opening (marked "Ferocious") begins with the nasal open A of the violins and violas. This note, which starts and finishes the symphony, grows in intensity and volume until it is answered by a burst of percussion. A repeat of this angry-sounding note climaxes, this time, in the entrance of the full orchestra, which is accompanied by a slow timpani beat. This steady pulse— a kind of musical heartbeat— is utilized in this movement as the start of a series of overlapping accelerandos interspersed with antagonistic chatterings of antiphonal brass. A final multiple acceleration reaches a peak climaxed by the violins in their highest register, which begins the middle sec- tion (B). As the violins make a gradual diminuendo, a distant (offstage) piano is heard, as if in a memory, playing the Leopold Godowsky transcription of Isaac Albeniz's Tango (made in Chicago in 1921), a favorite piece of my pianist-friend. This is the start of an extended lyrical section in which nostalgic themes are mixed with fragmented sugges- tions of the Tango. Little by little, the chattering brass motives begin to reappear, interrupted by the elements of tension that initiated the work, until the lyrical "remem- brance" theme is accompanied by the relentless, pulsing timpani heartbeat. At this point, the lyrical theme continues in its slow and even rhythm, but the drumbeat be- gins simultaneously to accelerate. The tension of a slow, steady melody played against a slow, steady accelerando culminates in a recapitulation of the multiple accelerations heard earlier in the movement, starting the final section (A). But this time the accelerations reach an even bigger climax in which the entire orchestra joins together playing a single dissonant chord in a near-hysterical repeated pattern that begins to slow down and finally stops. Unexpectedly, the volume of this passage remains loud, so that the effect is that of a monstrous machine coming to a halt but still boiling with energy. This energy, however, is finally exhausted, and there is a diminuendo to piano. A recapitulation of the original motives along with a final burst of intensity from the orchestra and offstage piano concludes the movement, which ends on a desolate high A in the first violins. *Apologue: an allegorical narrative usually intended to convey a moral. 33 Week 20 The second movement (Tarantella) was written in memory of a friend who was an executive in the music industry. He was also an amateur pianist, and in 1970 I wrote a set of dances (Gazebo Dances for piano, four hands) for various friends to play and dedicated the final, tarantella movement to him. This was a jaunty little piece whose mood, as in many tarantellas, seems to be at odds with its purpose. For the tarantella, as described in Grove's Dictionary ofMusic, is a "South Italian dance played at continu- ally increasing speed [and] by means of dancing it a strange kind of insanity [attri- buted to tarantula bite] could be cured." The association of madness and my piano piece proved both prophetic and bitterly ironic when my friend, whose wit and intelli- gence were legendary in the music field, became insane as a result of AIDS dementia. In writing a tarantella movement for this symphony, I tried to picture some of the schizophrenic and hallucinatory images that would have accompanied that madness, as well as the moments of lucidity. This movement is formally less organized than the previous one, and intentionally so —but there is a slow and relentless progression toward an accelerated "madness." The ending can only be described as a brutal scream. The third movement (Chaconne: Giulio's Song) recalls a friendship that dated back to my college days. Giulio was an amateur cellist, full of that enthusiasm for music that amateurs tend to have and professionals try to keep. After he died several years ago, I found an old tape recording of the two of us improvising on cello and piano, as we often did. That tape, dated 1962, provided material for the extended cello solo in this movement. Notating Giulio's improvisation, I found a pungent and beautiful motto which, when developed, formed the melody played by the solo cello at this point in the symphony. That theme is preceded by a chaconne, based on twelve pitches (and the chords they produce), which runs through the entire movement. The first several min- utes of this movement are played by the violas, cellos, and basses alone. The chaconne chords are immediately heard, hazily dissolving into each other, and the cello melody begins over the final chord. Halfway through this melody a second cello joins the solo- ist. This is the first of a series of musical remembrances of other friends (the first The composer with Daniel Barenboim (seated), who conducted the world premiere of Corigliano's Symphony No. 1 34 friend having been a professional cellist who was Giulio's teacher and who also died of AIDS). In order to provide themes for this interweaving of lost friends, I asked William M. Hoifman, the librettist of my opera, The Ghosts of Versailles, to eulogize them with short sentences. I then set those lines for various solo instruments and, removing the text, inserted them into the symphony. These melodies are played against the recurring background of the chaconne, interspersed with dialogues between the solo cellos. At the conclusion of the section, as the cello recapitulates Giulio's theme, the solo trum- pet begins to play the note A that began the symphony. This is taken up by the other brass, one by one, so that the note grows to overpower the other orchestral sonorities. The entire string section takes up the A and builds to a restatement of the initial asser- tive orchestral entrance in the first movement. The relentless drumbeat returns, but this time it does not accelerate. Instead, it continues its slow and somber beat against the chaconne, augmented by two sets of antiphonal chimes tolling the twelve pitches as the intensity increases and the persistent rhythm is revealed to be that of a funeral march. Finally, the march rhythm starts to dissolve, as individual choirs and solo instru- ments accelerate independently, until the entire orchestra climaxes with a sonic explo- sion. After this, only a solo cello remains, softly playing the A that opened the work, and introducing the symphony's final part (Epilogue). This last section is played against a repeated pattern consisting of "waves" of brass chords.* Against these waves, the piano solo from the first movement (the Albeniz/ Godowsky Tango) returns, as does the tarantella melody (this time sounding distant and peaceful), and the two solo cellos, interwoven between, recapitulate their dialogues. A slow diminuendo leaves the solo cello holding the same perpetual A, finally fading away. —John Corigliano *To me, the sound of ocean waves conveys an image of timelessness. I wanted to suggest that, in this symphony, by creating sonic "waves," to which purpose I have partially encircled the orchestra with an expanded brass section. Behind the orchestra, five trumpets are placed with the first trumpet in the center; fanning outwards around the orchestra are six French horns (three on each side), four trombones (two on each side), and, finally, one tuba on each end of the semicircle of brass. The waves begin with a high note in the solo trumpet; then they move outward and around the orchestra, so that the descending brass notes form chords. A slowly moving pattern of four chords is thus built; this repeated pattern creates sonic waves through the Epilogue. 35 Choices without Compromise ...in Retirement Living Choose Boston. 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The most immediate source of information on Gerald Finzi is Diana McVeagh's article in The New Grove; she cites also a series of articles on various aspects of his music that have appeared in the British publications, though these deal almost entirely with his songs and other vocal pieces. The Prelude for String Orchestra is available on two recordings: with Rutland Boughton conducting the English String Orchestra (Nimbus, with the Clarinet Concerto, the Romance for string orchestra, and the suite from Love's Labours Lost), and with the conductorless Guildhall String Ensemble (RCA, with Finzi's Romance and other music for string orchestra by Delius, Elgar, Hoist, Ireland, Walton, and Warlock). The most recent and detailed information about John Corigliano can be found in the issues of Opera News that immediately preceded the premiere of his opera The Ghosts of Versailles in the fall of 1991. The Symphony No. 1 is available in a recording by the Chicago Symphony under the direction of Daniel Barenboim (Erato). Many other Corigliano pieces have been recorded. Currently available are the Clarinet Concerto with soloist Stanley Drucker and the New York Philharmonic directed by Zubin Mehta (New World, coupled with Samuel Barber's Essay No. 3), the Sonata for Violin and Enjoy the finest IMAGINE A HEALTH CLUB coffees and desserts SO EXCLUSIVE, YOU'RE THE ONLY MEMBER. It is a health club of your own. It's a TROTTER. TROTTER treadmills are so well regarded that they the exclusive choice of the are <^^J3udap&>£-b> Pritikin Longevity Centers. They are found in over 2800 clubs worldwide, after the BSO concert including La Costa and Canyon Ranch. 90 Exeter Street, Boston in the Copley Square Hotel 266-1979 TROTTER Garber IVavel gives you an opening night performance. We invite you to step inside any one ot our 55 offices and experience the talents of ourtravel professionals. They will > ^ expertly plan your vacation, giving you a solo performance you won't soon forget. We bet you'll even ask for an encore! Call usat 734-2100 (508)371-2000 Main Office: 1406 Beacon St., Or call toll free: 1-800-TLC-WALK Brookline 37 Performance Art MARIA The best of the best... All the elements oflapatria without the cliche knicknacks and the pizza-pasta-pudding routine Time Travel Guide, 1993 The unconventional menu breaks the North End mold... not justforfood, but ambiance as ivell. Zagat Survey, 1992 Beolab 8000 active loudspeaker Were it notfor the dramatic Redefines the relationship between Boston skyline in the background, music, technology, and design you d swear you were in Europe. A Taste of Boston, 1990 Bang & Olufsen 3 NORTH SQUARE, BOSTON (617) 523-0077 Boston Valet Parking 30 Newbury Street • 617-262-4949 Receptions Mass, Broadcasters Association Station of the Year qASBACK W V CLASSICALCI ASSICAL MUSIC 1Q4.9 FM 38 Piano performed by F. Lack, violin, and A. Hersh, piano (Bay Cities), the Fantasia on an Ostinato for piano solo, performed by D. A. Wehr as part of a program of American piano music (Chandos), and the programmatic flute concerto The Pied Piper Fantasy, coupled with Voyage for flute and string orchestra, played by James Galway with the Eastman Philharmonia conducted by David Effron. In addition there is a varied ail- Corigliano program consisting of the Oboe Concerto (Bert Lucarelli, soloist, with Kazuyoshi Akiyama conducting the American Symphony Orchestra), Three Irish Folk Songs for tenor and flute (performed by Robert White and Ransom Wilson), and Poem in October for tenor, flute, oboe, clarinet, string quartet, and harpsichord (with Robert White) on RCA Gold Seal. Corigliano's film score for Altered States is also on RCA. — S.L. The big biography of Richard Strauss is Norman Del Mar's, which gives equal space to the composer's life and music (three volumes, Cornell University Press paperback); the Four Last Songs are given detailed consideration in Volume III. Michael Kennedy's account of the composer's life and works for the Master Musicians series is excellent (Littlefield paperback). The symposium Richard Strauss: The Man and his Music, edited by Alan Walker, is worth investigating (Barnes and Noble). Kennedy also pro- vided the Strauss article in The New Grove Dictionary of Music and Musicians; that article has been reprinted in the paperback volume The New Grove Turn of the Century Masters, which also includes the New Grove articles on Janacek, Mahler, and Sibelius (Norton). Three monaural recordings, all budget-priced, are among the most directly expressive versions of the Four Last Songs on compact disc. The sopranos are Elisa- beth Schwarzkopf, in a 1953 recording with Otto Ackermann and the Philharmonia Orchestra (EMI Great Recordings of the Century, with excerpts from Strauss's operas Arabella and Capriccio; this is much preferable to Schwarzkopf's later recording with George Szell and the Berlin Radio Symphony, on EMI Classics); Lisa Delia Casa, in a 1953 recording with Karl Bohm and the Vienna Philharmonic (London Historic, with excerpts from the operas Arabella, Ariadne aufNaxos, and Capriccio); and Sena Jurinac, in a 1951 broadcast performance with Fritz Busch and the Stockholm Philhar- monic (EMI References, with arias of Mozart, Smetana, and Tchaikovsky; note that this remarkable performance is in somewhat less good sound, and has applause from the audience after each song). Stereo recordings with much to offer include— in random order—those of Lucia Popp with Klaus Tennstedt and the London Philharmonic (EMI Classics, with Strauss's Death and Transfiguration, and the Rhine Journey and Siegfried's Funeral March from Wagner's Gotterdammerung); Gundula Janowitz with Herbert von Karajan and the Berlin Philharmonic (Deutsche Grammophon Galleria, mid-priced, with Strauss's Metamorphosen and Oboe Concerto, seemingly deleted but perhaps still available in the cut-out bins); Felicity Lott with Neeme Jarvi and the Scottish National Orchestra (Chandos, in a generally fine single-disc compilation en- titled "Strauss Orchestral Songs, Volume I," including twelve more orchestrally-accom- panied Strauss songs); Leontyne Price with Erich Leinsdorf and the New Philharmonia Orchestra (RCA Papillon Collection, mid-priced, with Also sprach Zarathustra and Price singing the Empress's Awakening Scene from Strauss's opera Die Frau ohne Schatten); and, despite a damagingly slow tempo in the last song and poorly engi- neered recorded sound, Jessye Norman with Kurt Masur and the Leipzig Gewandhaus Orchestra (Philips, with six other Strauss songs). A "live" recording of the 1950 pre- miere (missing the last few moments), with Kirsten Flagstad, Wilhelm Furtwangler, and the Philharmonia Orchestra, was available on a number of LP labels but seems not yet to have appeared on compact disc. —M.M. 39 Week 20 Leonard Slatkin Music director and conductor of the St. Louis Symphony and festival director of the Cleveland Orchestra's Blossom Festival, Leonard Slatkin is acclaimed for both orchestral and operatic conducting. During his thirteen-year tenure in St. Louis he has brought that city's orchestra worldwide prominence with highly acclaimed tours of Europe, the Far East, and America. Since his debuts with the Chicago Symphony and the New York Philharmonic in the early 1970s, he has been a guest conductor with the world's major symphony orchestras. In recent sea- sons he has also won fame as an opera conductor, leading performances with Lyric Opera of Chicago, the Vienna State Opera, Hamburg Opera, Stuttgart Opera, and the Metropolitan Opera, where he made his debut in October 1991 with a new production of Puccini's Lafanciulla del West later televised by PBS. Mr. Slatkin's engage- ments in 1992-93 include concerts with the Israel Philharmonic, the Philharmonia of London, the Boston Symphony Orchestra, Japan's NHK Symphony, and the New York Philharmonic, among other ensembles, and a return to Lyric Opera of Chicago, for Strauss's Elektra. In Janu- ary 1989 Mr. Slatkin signed an exclusive five-year recording contract with BMG Classics/RCA Victor. He has recorded a diverse repertory with the St. Louis Symphony, including music of Dvorak, Bartok, Tchaikovsky, Haydn, and such American composers as Piston, Schuman, Copland, and Ives. Other discs include Puccini's Fanciulla with the Bavarian Radio Orchestra, works of Walton and Britten with the London Philharmonic, and symphonies of Vaughan Wil- liams with the Philharmonia. He has also recorded with the London Symphony, the English Chamber Orchestra, the Chicago Symphony, and the Minnesota Orchestra. Mr. Slatkin's numer- ous honors include ASCAP awards in 1984, 1986, and 1990 for "adventuresome programming of contemporary music" with the St. Louis Symphony, an honorary doctorate from Juilliard, and the Declaration of Honor in Silver from the Austrian Ambassador to the United States for outstanding contributions to cultural relations between the two countries. Leonard Slatkin was born in Los Angeles into a family of musicians. His parents, conductor-violinist Felix Slatkin and cellist Eleanor Aller, were founding members of the Hollywood String Quartet. After begin- ning his musical career on the piano, Mr. Slatkin first studied conducting with his father, con- tinuing later with Walter Susskind at Aspen and Jean Morel at Juilliard. He has appeared frequently with the Boston Symphony Orchestra since January 1980, most recently at Tangle- wood last summer. A Different Kind ARNOLD HOUSE INCORPORATED Nursing Care! of Dignified Private Residential Care ... in the lifestyle accustomed to. Convenient to family and friends. Emphasis on living life as fully as possible. Family owned & operated since 1949. Truly a place to come home to temporarily or longer. Respite and Hospice care also available. Call for Brochure or Inquiries: (617)438-1116 490 William Street, Stoneham 40 Helen Donath Though soprano Helen Donath has been a favorite soprano on the con- cert, recital, and operatic stages of Europe for three decades, she was "discovered" in America only in the summer of 1989, when she sang Eva in the Seattle Opera production of Wagner's Die Meistersinger. Though she had recorded the role under Herbert von Karajan many years earlier, she did not sing it onstage until 1986 and has since sung the part in Hamburg, Mannheim, Munich, and Vienna. She made her acclaimed Metropolitan Opera debut in 1991, as Marzelline in Fidelio and Susanna in Le nozze di Figaro. That same season brought- her first onstage appearances as the Governess in Britten's Turn of the Screw, with Los Angeles Music Center Opera, and the release of her RCA recording as Susanna under Sir Colin Davis, representing yet another addition to her discography of more than 100 titles. Future engagements at the Met include further performances of Fidelio, her first-ever Countess in Le nozze di Figaro, and Rosina in a revival of John Corigliano's The Ghosts of Versailles. In addition to her opera career, Ms. Donath is acclaimed for her vast concert repertoire and as a recitalist. In recital she is invariably partnered by her husband, the pianist and conductor Klaus Donath; the first of their Lieder recordings won the Deutsche Schallplattenpreis. Among other honors, Ms. Donath was named a Kammersdngerin, the highest award a singer can receive in Germany or Austria, by the Bavarian government in 1988. She began 1992 with recordings of Elijah (with Kurt Masur) and Haydn's opera Orfeo, and returned to the United States last sum- mer for Mahler's Eighth Symphony under James Levine at the Ravinia Festival and for the title role in Lafinta semplice at Lincoln Center's Mostly Mozart Festival. Other engagements this season include Mahler's Symphony No. 2 in Leipzig, Beethoven's Ninth in London and Munich, Pamina in Die Zauberflote in Hamburg, and Opera Pacific's new Le nozze di Figaro, Klaus Donath conducting. Future engagements include Die Meistersinger in Dresden, Der Freischiitz in Berlin, and her first-ever Alice Ford in Falstaff, with Los Angeles Music Center Opera. A native of Corpus Christi, Texas, Ms. Donath began voice lessons with her teacher and mentor Carl Duckwall at the local college when she was fourteen. She arrived in Europe in 1962, mak- ing her Hannover Opera debut in 1964 and her debut at Munich's Bavarian State Opera two years later. The following year she sang before Pope Paul VI at the Vatican in a Karajan-led performance of Mozart's Coronation Mass. International acclaim followed her appearance as Pamina at the Salzburg Festival under Wolfgang Sawallisch's direction. Ms. Donath is making her Boston Symphony debut with this week's concerts. * Debut Season * Three Monday boston Evenings at 8 p.m. players Tsai Performance Ctr. 685 Commonwealth Jonathan Shames, Artistic Director at Boston University MARCH 29 BRAHMS, HINDEMITH and SCHUMANN APRIL 26 SCHUMANN, BRITTEN, STRAVINSKY, and BRAHMS MAY 10 DEBUSSY and TCHAIKOVSKY "Prelude Conversations" at 7 p.m. Tickets available at the Tsai Performance Center Box Office and at All Ticket-Pro Outlets SIO per concert; $5 students and senior citizens 41 Named Endowment Funds The Boston Symphony Orchestra wishes to thank the following donors who, by the establish- ment of a personal named endowment fund, will help perpetuate the Orchestra's future. Maurice Abravanel Scholarship Eleanor Naylor Dana Visiting Artists Fund George W. and Florence N. Adams Fund Darling Family Fellowship Vernon P. and Marion P. Alden Chair Fund Deborah B. and Michael H. Davis Fund Mildred F. and Martin A. Allen Fund Omar Del Carlo Tanglewood Fellowship Philip R. and Anne Allen Chair Fund Charles and JoAnne Dickinson Chair Fund Anderson Family Fund Harry Ellis Dickson Fund for Youth Concerts Dorothy Q. and David B. Arnold, Jr., Nina L. and Eugene B. Doggett Fund Chair Fund Alice Willard Dorr Foundation Fellowship Dorothy Q. and David B. Arnold, Jr., Fellowship Carlotta M. Dreyfus Fellowship Ethan Ayer Fund Charles F and Elizabeth Y. Eaton Fund Mrs. Paul T. Babson Fellowship Otto Eckstein Family Fellowship Sandra and David Bakalar Chair Fund Selly A. Eisemann Memorial Fellowship Jane W. Bancroft Fellowship Ethel Barber Eno Fellowship Anne S.M. Banks Chair Fund Virginia Howard and Richard Erlich Fund Kathleen Hall Banks Fellowship Anna E. Finnerty Fund Mary and J. P. Barger Chair Fund Allyn B. Forbes Memorial Fund BayBanks Fellowship Dr. Marshall N. Fulton Memorial Fellowship Robert L. Beal, & Enid and Bruce A. Beal Judy Gardiner Fellowship Chair Fund Juliet Esselborn Geier Memorial Fellowship Leo L. Beranek Fellowship Gerald Gelbloom Memorial Fellowship Leo L. Beranek Family Chair Fund Dr. and Mrs. Kenneth Germeshausen Youth Leonard Bernstein Scholarship Concerts Fund Caroline Thayer Bland Chair Fund Ann and Gordon Getty Fund John and Jane Bradley Family Fund Armando A. Ghitalla Fellowship Eleanor Cabot Bradley Fund Fernand Gillet Memorial Fellowship Frederic and Juliette Brandi Fellowship Marie Gillet Memorial Fellowship Peter A. Brooke Family Chair Fund Marie L. Audet & Fernand Gillet Concert Fund Rosamond Sturgis Brooks Memorial Fellowship Haskell and Ina Gordon Fellowship Richard Burgin Chair Fund Gordon/Rousmaniere/Roberts Fund William S. Busiek Broadcast Booth Fund Florence Gould Foundation Fellowship John Moors Cabot Music Directorship Fund Grainger Foundation Fund Virginia Wellington Cabot Concert Fund John and Susanne Grandin Fellowship Helene R. and Norman L. Cahners Chair Fund Edgar and Shirley Grossman Chair Fund Helene R. and Norman L. Cahners Fellowship Luke B. Hancock Foundation Fellowship Marion Callanan Memorial Fellowship Margaret L. and Robert G. Hargrove Fund Calvert Trust Guest Soloist Fund Hatsopoulos Family Fund Stanley Chappie Fellowship Fund William Randolph Hearst Fellowship Alfred E. Chase Fellowship Fund Heifetz Scholarship George H.A. Clowes, Jr., Fund George E and Elsie Barnard Hodder Fund Clowes Fellowship Harold D. Hodgkinson Chair Fund Julian and Eunice S. Cohen Fund Mickey L. Hooten Memorial Fellowship Nat Cole Memorial Fellowship Mark M. Horblitt Trust Fund Andre Come Fellowship Henry Hornblower Fund Caroline G. Congdon Memorial Fellowship Rosemary and F. Donald Hudson Fund Margaret Andersen Congleton Chair Fund CD. Jackson Fellowship Arthur P. Contas Fund for the Commissioning Paul Jacobs Memorial Fellowship of New Works Paul Jacobs Memorial Commissions Fund Eugene Cook Scholarship Lola and Edwin Jaffe Fellowship Ford H. Cooper Chair Fund Leah Jansizian Memorial Fellowship Dorothy and Montgomery Crane Scholarship Adele Wentworth Jones Trust Fund Mine S. Crane Fund George E. Judd Fund Wdliam E. Crofut Family Scholarship Kalman Fund Charles E. Culpeper Foundation Fellowship Susan Kaplan and Ami Trauber Fellowship 42 Miriam Ann Kenner Memorial Fellowship Harry and Mildred Remis Fellowship Amey P. Ketchum Memorial Fund Vladimir Resnikoff Pension Fund Mr. and Mrs. Allen Z. Kluchman Fellowship Jane and Peter van S. Rice Fellowship Dr. John H. Knowles Memorial Fellowship Peggy Rockefeller Fellowship Jean Koch Fund Bertha and Edward Rose Chair Fund Robert and Myra Kraft Chair Fund Rosen Memorial Ticket Fund Louis Krasner Fund Elaine and Harvey Rothenberg Fellowship Harvey C. and Farla Krentzman Chair Fund Margaret and William C. Rousseau Chair Fund William Kroll Memorial Fellowship Carolyn and George Rowland Chair Fund George and Lizabeth Krupp Fund Carolyn and George Rowland Fellowship in Philip and Bernice Krupp Fellowship Honor of Eleanor Panasevich Felicia and E. Anthony Kutten Commissioning Lawrence J. and Anne Cable Rubenstein Fund Fund for Youth Concerts Angelica Lloyd Russell Chair Fund LaCroix Family Fund Angelica Lloyd Russell Youth Concerts Fund Germaine Laurent Fellowship Wallace Clement Sabin Fund Barbara and Thomas H. Lee Fund Morris A. Schapiro Fellowship Leith Family Fund Hannah and Raymond Schneider Fellowship I. Norman Levin Trust Fund Esther and Joseph Shapiro Chair Fund Dorothy Lewis Fellowship Malcolm and Barbara Sherman Fund Lucy Lowell (1860-1949) Fellowship Pearl and Alvin Shottenfeld Fund Kathryn Holmes and Edward M. Lupean and Asher J. Shuffer Fellowship Diane Holmes Lupean Fund Evian Simcovitz Fund Nancy Lurie Marks Foundation Chair Fund W H. Sinclair Chair Fund Evelyn and C. Charles Marran Chair Fund Mary H. Smith Scholarship Fannie Peabody Mason Fund Richard A. Smith Family Fund Merrill Lynch Foundation Fellowship Albert Spaulding Fellowship Lillian and Nathan R. Miller Chair Fund Evelyn and Phil Spitalny Conducting Lillian and Nathan R. Miller Conducting Scholarship Fellowship honoring Seiji Ozawa Jason Starr Fellowship Charles L. Moore Fund Starr Foundation Fellowship Stephen and Persis Morris Fellowship Ray and Maria Stata Chair Fund Morse Rush Tickets Fund Harry Stedman Memorial Fellowship Richard P. and Claire Morse Fund for Youth Anne Stoneman Chair Fund Concerts Miriam and Sidney Stoneman Fellowship Ruth S. Morse Fellowship Roberta Strang Memorial Concert Fund Robert G. McClellan, Jr. , IBM Matching Surdna Foundation Fellowship Grant Fellowship Tanglewood Music Center Master Teacher Newman Family Chair Fund Piano Fund Albert L. and Elizabeth Nickerson Fellowship Tappan Dixey Brooks Memorial Fellowship Northern California Audition Fund Frederick B. Taylor Fund Richard C. and Ellen E. Paine Chair Fund William E and Juliana Thompson Fellowship Theodore Edson Parker Fellowship R. Amory Thorndike Fellowship Joanne and Andrall Pearson Fellowship Augustus Thorndike Fellowship Marion G. Perkins Fund Tisch Foundation Scholarship Walter Piston Chair Fund Irving and Edyth Usen Fund David R. and Muriel K. Pokross Fellowship Roger L. Voisin Chair Fund William and Lia Poorvu Fund Sherman Walt Memorial Fellowship William and Lia Poorvu Fellowship Leo Wasserman Fellowship Herbert Prashker Fellowship Madelaine G. von Weber Fund Beatrice Sterling Procter Master Teacher Mrs. Edwin S. Webster Fund Chair Fund Katharine Lane Weems Fund Daphne Brooks Prout Fellowship Roger D. and Diana G. Wellington Fund Claire and Millard Pryor Scholarship Sylvia Shippen Wells Chair Fund Charlotte F and Irving W Rabb Chair Fund John and Dorothy Wilson Chair Fund Readers Digest Fellowship Max Winder Fellowship Mildred B. r Remis Chair Fund Stephen W . Wolfe Fund 43 David L. Babson & Co., Inc. Investment Counsel One Memorial Drive Cambridge, Massachusetts 02142-1300 617-225-3800 Sit- Relax. Rebuilt Steinways and Mason & Hamlin Grands for Sale A Tradition of Excellence in Piano Restoration Acme Piano Craftsmen Lee Doherty President (617) 623 - 0600 North Shore: (508) 281 - 4527 10 Garfield Avenue • Somerville, MA 02145 44 We're here because there's a difference between making a living. And having a life. J*L Fleet Bank A Member of Fleet Financial Group Were here to make a difference: Member FDIC. N U N Philanthropy is an American tradition. Over the years, however, the process of charitable giving has become too time consuming and too complex. fortunately, fidelity Investments has a common sense solution. It simplifies the process while enhancing the value of your contributions. it provides both immediate tax benefits and the luxury of being able to recommend gifts to qualified non-profits at your convenience. The Charitable Gift Fund also eliminates the legal and accounting hassles, distribution requirements and investment management responsibilities typically associated with foundations and other giving plans. The Charitable Gift Fund. New from Fidelity. A common sense solution for individuals and corporations. it will simply revolutionize the way you give. For complete details, please call a Charitable Gift Fund REPRESENTATIVE AT 1 -800-544-0275, EXT. 26. OR, FAX YOUR INQUIRY TO (617) 248-1851 . This ship's lamp is mounted on a gimbal, a device that keeps it upright regardless ofmovement. STABILITY IN ANY WEATHER. People turn to State Street for one of the world's largest custodians the kind of stability they can't find of financial assets and one of the elsewhere. largest money managers in the They know that for nearly 200 United States. years, State Street has guided both Our financial foundation is solid, our individuals and businesses through investment performance superior and good times and bad. our commitment to quality unwavering. Helping to grow and protect their Whatever the weather, you can assets for future generations and count on State Street for your finan- providing their growing businesses cial and investment needs. the kind of investment advice usually For more information, call Peter reserved only for Fortune 500 Talbot at (617) 654-3227. companies. Of course, over the years State Street has grown too. Today we are State Street Bank and Trust Company, wholly-owned subsidiary of State Street Boston Corporation, 225 Franklin Street, Boston, MA 02110. (617) 786-3000. Offices in Boston, Worcester, Manchester, Hartford, New York, Los Angeles, Toronto, Montreal, London, Paris, Munich, Brussels, Luxembourg, Cayman Islands, Tokyo, Sydney, Melbourne, Wellington, Hong Kong. Member FDIC. © Copyright State Street Boston Corporation, 1992. Fortunately For Those Who Once Dared To Dream, There Were Those Who Understood And Helped Make It Happen. Talent, hard work and dedication aren't all it takes to become an accomplished pianist. Success often requires the help of someone who listens to your needs and knows what it takes to meet them. Understanding a person's needs. It's some- thing we feel very strongly about at Shawmut. Shawmut And it's what makes our know-how all the more valuable. A Shawmut National Company KNOW-HOWTHAT PAYS OFF Member FDIC Honoring The Walter Piston Society The following friends of the Boston Symphony Orchestra have informed us that a charitable gift to the BSO has been included in their estate plans. This type of generosity provides an important addition to the orchestra's endowment each year, and the BSO's endowment is the cornerstone of its future. Through membership in the Walter Piston Society, friends are honored and thanked by the orchestra with invitations to events and receptions throughout the year. Rosamond Warren Allen Mrs. Haskell R. Gordon George W Pearce Mr. and Mrs. James B. Ames Mrs. John L. Grandin John B. Pepper Prof, and Mrs. Rae D. Anderson Elinor Lamont Hallowell C. Marvin Pickett, Jr. Dorothy and David B. Arnold, Jr. Mrs. Henry M. Halvorson Ames Samuel Pierce Mr. Zinn Arthur Maralynne Hannah David R. and Muriel K. Pokross Mrs. George E. Bates Margaret and Robert G. Hargrove Charlotte and Irving W. Rabb Mrs. William Baumrucker Mrs. John W. Harrison Dr. Herbert Rakatansky Robert Michael Beech Steven and Joanie Lucas Harth Mr. and Mrs. Ernest H. Rebentisch Dr. and Mrs. Leo L. Beranek Warren Hassmer Mr. and Mrs. Bernard A. Riemer William I. Bernell Robert R. Hayward Dr. and Mrs. Edmund S. Rittner Mrs. Vincent V.R. Booth Madeleine Heyman Mrs. George R. Rowland Mrs. John M. Bradley Mrs. Richard R. Higgins Mr. and Mrs. Robert Saltonstall Mrs. Alice C. Brennan Miss Roberta G. Hill Helen M. Sampson Mrs. Alexander H. Bright Mrs. Marilyn Brachman Hoffman Dr. Nelson R. Saphir Bartol Brinkler Mrs. Edwin I. Hope Ann Sargent Mr. and Mrs. E. Burton Brown Joe and Phyllis Hyman Mrs. George Lee Sargent Ruth Seaman Brush Stella D. Jenkins Dr. Raymond H. and Hannah H. Mary Louise Cabot Keith R. Johnson Schneider Virginia W Cabot Edna S. Kalman Dr. and Mrs. L. R. Schroeder Dr. Charlotte C. Campbell Dr. Alice Kandell Mrs. Alfred M. Sexton David Bruce Cole Renee and Stan Katz Ruth Shapiro Aaron Hillard Cole Mr. and Mrs. Robert J. Kaufmann Mr. and Mrs. Wolf Shapiro Barbara Frank Cole Mrs. F Corning Kenly, Jr. Mrs. Donald M. Smith Mr. and Mrs. Abram T. Collier Lillian Koutras Dr. and Mrs. W. Davies Sohier Johns H. Congdon Ms. Katharine P. Lanctot Dr. Norman Solomon Anne Allen Conklin Dr. Audrey Lewis Mr. and Mrs. Nathaniel H. Sperber Rebecca K. Coup Diane H. Lupean Mr. and Mrs. Samuel Spiker Nelson and Ruth LaC. Darling Mr. and Mrs. Charles P. Lyman Arthur E. Spiller, M.D. Eugene M. Darling, Jr. Roger Magoun Thomas A. Stalker Deborah and Michael Davis Ruth G. Mandalian Mrs. Irma Mann Stearns Mrs. John E. Dawson Franklin J. Marryott Dr. Norman Stearns Carolyn A. Dilts Charlotte N. May Marilyn R. Sternweiler Mrs. Harry Dubbs Robert G. McClellan, Jr. Mr. and Mrs. Josiah Stevenson IV Anne and Warren Dubin Mrs. Charlotte McKenzie Ruth Elsa Stickney Dr. Richard W Dwight Mrs. Willard W McLeod, Jr. Miriam and Sidney Stoneman Mr. and Mrs. Richard S. Emmet Russell P. Mead Mrs. Patricia Hansen Strang Mrs. Harris Fahnestock Jeannette S. Mead Richard K. Thorndike Mrs. Benjamin A. Fairbank Nathan R. and Lillian Miller Mercy B. Thorndike The Feskoe Family Theodore T. Miller Mr. and Mrs. Orlando N. Tobia Mrs. Douglas W. Fields, Jr. Gladys V. Moore Miss Ruth Tucker Anna E. Finnerty Marjorie F Moore Phyllis Waite Watkins L. Antony Fisher Mrs. Richard Morse Carol Andrea Whitcomb Dr. Joyce B. Friedman Mrs. Robert M. Mustard Christine White Mr. and Mrs. George C. Fuller Anne J. Neilson Mr. and Mrs. Peter Wick William and Virginia Ganick Mr. and Mrs. K. Fred Netter Richard and Linda Willett Robert P. Giddings Mr. and Mrs. Albert L. Nickerson Mrs. Sidney B. Williams Mr. and Mrs. Henry C. Gill, Jr. Louise C. Noyes-Balboni Elizabeth Woolley Mary Glenn Goldman Mrs. Edwin N. Ohl Mrs. Josef Zimbler Mrs. Joel A. Goldthwait Mr. and Mrs. Stephen Paine, Sr. Anonymous (118) If you would like to receive information about how you may become a member of the Walter Piston Society, or to let the BSO know that you have already made such provisions in your will, please contact Megan Goldman at Symphony Hall, at 617-638-9257. 45 0f^ B ! BSO Corporate Sponsorships symphony\ I ORCHESTRA | $25,000 and above SEIJI OZAWA iixi Music Director The Boston Symphony wishes to acknowledge this distinguished group of corporations for their outstanding and exemplary support of the Orchestra during the 1992 fiscal year. Digital Equipment Corporation Boston Pops Orchestra Public Television Broadcasts NEC Boston Symphony Orchestra European Tour NYNEX Corporation WCVB-TV, Channel 5 Boston and WCRB 102.5 FM Salute to Symphony Northwest Airlines Holiday Pops Series Lexus Opening Night at Pops Tanglewood Opening Week The Boston Company Opening Night At Symphony Fleet Bank of Massachusetts Esplanade Concert Series TDK Electronics Corporation Tanglewood Tickets for Children Country Curtains and The Red Lion Inn Dynatech Corporation Houghton Mifflin Company BSO Single Concert Sponsors For information on the BSO Corporate Sponsorship Program, contact Madelyne Cuddeback, Director of Corporate Sponsorships, Symphony Hall, Boston, MA 02115, (617) 638-9254. 46 Business Leadership Association ($10,000 and above) The Business Leadership Association forms a strong coalition of corporate support for the BSO and has been instrumental in enabling the Orchestra to pursue its mission of performing at the highest level of musical excellence. The BSO gratefully acknowledges the following organizations for their generous leadership support. (Thefollowing includes annual, capital, and sponsorship support during the BSOs fiscal year beginning September 1, 1991 through August 31 , 1992.) Beethoven Society $500,000 and above NEC Corporation Tadahiro Sekimoto Gold Baton $100,000-$499,999 Digital Equipment Corporation Sony USA, Inc. Robert B. Palmer Michael P. Schulhof Dynatech Corporation WCRB 102.5 FM John F. Reno Cynthia Scullin Northwest Airlines, Inc. WCVB-TV, Channel 5 Boston Terry M. Leo 5. James Coppersmith Silver Baton $75, 000-$99, 999 The Boston Company NYNEX Corporation John Laird William C. Ferguson Fleet Bank of Massachusetts, N.A. Leo R. Breitman Bronze Baton $50,000-$74,999 Bank of Boston Lexus Ira Stepanian J. Davis lllingworth Country Curtains & The Red Lion Inn State Street Bank & Trust Company Jane and Jack Fitzpatrick Marshall N. Carter Conductor's Circle $25,000-$49,999 Coopers & Lybrand New England Telephone Company Francis A . Doyle Paul C. O'Brien Hewlett Packard Northern Telecom, Inc. Ben L. Holmes Brian P. Davis Houghton Mifflin Company PaineWebber, Inc. Nader F. Darehshori James F. Cleary John Hancock Mutual Life Insurance Co. Raytheon Company L. Stephen Brown Dennis J . Picard Liberty Mutual Insurance Group TDK Electronics Corporation GaryL. Countryman Takashi Tsujii 47 Principal Player $15,000-$24,999 Arnold Fortuna Lawner & Cabot General Cinema Corporation Ed Eskandarian Richard A. Smith Arthur Andersen & Co. The Gillette Company William F. Meagher Alfred M. Zeien, Jr. Connell Limited Partnership McKinsey & Co. William F. Connell David G. Fubini Data General Corporation The New England Ronald L. Skates Robert A. Shafto Ernst & Young Orsatti & Parrish Thomas P. McDermott Louis F. Orsatti Essex Investment Management Co. Inc. Royal Appliance Manufacturing Co. Joseph C. McNay, Jr. John Balch Fidelity Investments Shawmut Bank, N.A. SherifA. Nada, Alexander Webb 111 Allen W. Sanborn The First Boston Corporation Von Hoffman Press, Inc. Malcolm MacColl Frank A. Bowman Four Seasons Hotel Robin A. Brown Honor Roll $10, 000-$14, 999 Abex, Inc. Gardner Merchant Food Services/Creative Paul Montrone Gourmets Ltd. Advanced Management Associates Richard T.L. Hutchinson Harvey Chet Krentzman Hill, Holliday, Connors Analog Devices & Cosmopulos, Inc. Ray Stata Jack Connors, Jr. AT&T IBM Corporation Patricia Wolpert Neil Curran, John F. McKinnon Barter Connections Jordan Marsh Company Kenneth C. Barron HaroldS. Frank Peat Marwick BayBanks, Inc. KPMG Robert D. Richard F. Pollard Happ Bingham, Dana & Gould Loomis-Sayles & Company Donald R. Shepard Joseph P. Hunt Millipore Corporation Bolt, Beranek & Newman, Inc. Stephen Levy John A. Gilmartin The Boston Globe North American Mortgage Company William 0. Taylor John F. Farrell, Jr. Boston Herald Signal Technology Corporation Dale L. Peterson Patrick J. Purcell Eastern Enterprises The Stop & Shop Foundation Avram Goldberg J. Atwood Ives EMC Corporation Tucker Anthony, Inc. John Goldsmith Richard J . Egan Hotel, Copley Place Filene's The Westin Joseph M. Melvin David C. King Whistler Corporation Charles A. Stott 48 BUSINESS LEADERSHIP ASSOCIATION (Industry Listing) The Boston Symphony Orchestra wishes to acknowledge the following business leaders for their generous contributions of $1,500 or more during the BSO's 1992 fiscal year. Support of $10,000 or more is indicated in bold capital letters; gifts of $5,000-$9,999 are indicated in capital letters, and an asterisk denotes contributions of $2,500-$4,999. For information about becoming a Business Leadership Association member, contact Marie Pettibone, Director of Corporate Development, at (617) 638-9278. Accounting Antiques/Art Galleries ANDERSEN CONSULTING CO. William D. Green ARTHUR ANDERSEN & CO. *Galerie Mourlot D. LITTLE, INC. William F. Meagher Sarah Hackett and Eric Mourlot ARTHUR Charles Lamantia CHARLES E. DIPESA & Automotive COMPANY BAIN & COMPANY Farkas William F. DiPesa LEXUS Charles M. COOPERS & LYBRAND J. Davis Illingworth THE BOSTON CONSULTING GROUP Francis A. Doyle Banking Jonathan L. Isaacs DELOITTE & TOUCHE BANK OF BOSTON James T. McBride CSC Index, Inc. Ira Stepanian David G. Robinson ERNST & YOUNG * Bankers Trust Cordel Associates, Inc. Thomas P. McDermott M. Howard Jacobson James B. Hangstefer KPMG PEAT MARWICK BAYBANKS, INC. Robert D. Happ *Fenwick Partners Richard F. Pollard James P. Masciarelli PRICE WATERHOUSE THE BOSTON COMPANY The Forum Corporation Kenton J. Sicchitano John Laird John W Humphrey Tofias, Fleishman, *Cambridge Trust Company Shapiro & Co. PC. LOCHRIDGE & COMPANY, INC. Lewis H. Clark Allan Tofias Richard K. Lochridge FLEET BANK OF Wolf & Company MCKINSEY & COMPANY MASSACHUSETTS, N.A. Joseph A. Ribaudo David G. Fubini Leo R. Breitman NORTH AMERICAN Advertising/Public Relations SHAWMUT BANK, N.A. MORTGAGE COMPANY Allen W Sanborn ARNOLD FORTUNA John F. Farrell, Jr. LAWNER & CABOT South Boston Savings Bank *Prudential Capital Corporation Edward Eskandarian Richard Laine Allen Weaver HILL, HOLLIDAY, CONNORS, Sterling Bancshares Corporation RATH & STRONG COSMOPULOS, INC. John Warren Daniel Ciampa Jack Connors, Jr. USTRUST *Thomas H. Lee Company Ingalls, Quinn & Johnson James V. Sidell Thomas H. Lee Bink Garrison Wainwright Bank & Trust Company *The Wyatt Company Irma Mann Strategic Marketing John M. Plukas Paul R. Daoust Inc. Irma Mann Stearns Building/Contracting Yankelovich Clancy Shulman Kevin Clancy McDermott/O'Neill & Associates HARVEY INDUSTRIES, INC. Thomas P. O'Neill III Frederick Bigony Consumer Goods/ Food Service ORSATTI & PARRISH Lee Kennedy Co., Inc. Louis F. Orsatti Lee M. Kennedy BARTER CONNECTIONS Kenneth C. Barron Aerospace New England Insulation Theodore H. Brodie Boston Showcase Company NORTHROP CORPORATION *Walsh Brothers Jason E. Starr Robert W. Smith James H. Walsh III GARDNER MERCHANT FOOD SERVICES/ Alarm Systems Consulting: Management/ CREATIVE GOURMET Financial American Alarm & Richard T.L. Hutchinson Communications Advanced Management Associates Johnson O'Hare Co., Inc. Richard Sampson Harvey Chet Krentzman Harry "Chip" O'Hare, Jr. 49 — Ocean Spray Cranberries LOEWS THEATRES THE FIRST BOSTON Harold Thorkilsen A. Alan Friedberg CORPORATION Malcolm MacColl *0'Donnell-Usen Fisheries Corp. WCRB-102.5FM Arnold S. Wolf Cynthia Scullin *GE Capital Corporate Finance Group * Phelps Industries, Inc. WCVB-TV, CHANNEL 5 Richard A. Goglia Richard J. Phelps BOSTON S. James Coppersmith *Goldman, Sachs *Seasoned-to-Taste & Company Martin C. Murrer Tom Brooks WXKS FM-Kiss 108 John Madison JOHN HANCOCK Welch's MUTUAL LIFE INSURANCE COMPANY Everett N. Baldwin Environmental Stephen L. Brown WHISTLER CORPORATION KAUFMAN & COMPANY Charles A. Stott Jason M. Cortell and Associates, Sumner Kaufman Inc. Education Jason M. Cortell KIDDER, PEABODY & BENTLEY COLLEGE TOXIKON CORPORATION COMPANY B.J. Megargel Joseph M. Cronin Laxman S. DeSai, D.Sc. English Language Center *Krupp Companies Financial Services/ Ellyn Levine George Krupp Investments *Linsco/Private Ledger Electrical /Electronics Adams, Harkness & Hill Todd A. Robinson Joseph W. Hammer *Analytical Systems Engineering LOOMIS-SAYLES & Corporation ADVENT INTERNATIONAL COMPANY, INC. Michael B. Rukin Peter A. Brooke Donald R. Shepard M/A-COM, INC. *Allmerica Financial PAINEWEBBER, INC. Thomas A. Vanderslice John F. O'Brien James F. Cleary p.h mechanical coip. * Barclay's Business Credit *The Pioneer Group Paul Hayes Charles J. Wyrwa III John E Cogan, Jr. R&D ELECTRICAL COMPANY, * Boston Capital Partners THE PUTNAM MANAGEMENT INC. Christopher W Collins CO., INC. Richard D. Pedone Herbert F. Collins Lawrence J. Lasser DeAgazio *Sullivan & McLaughlin Electrical Richard J. SPAULDING INVESTMENT John P. Manning Contractors, Inc. COMPANY John McLaughlin *BOT Financial Corporation C.H. Spaulding Bank of Tokyo Energy/Utilities STATE STREET BANK & E.E McCulloch, Jr. TRUST COMPANY BOSTON EDISON COMPANY Carson Limited Partnership William S. Edgerly Bernard W. Reznicek Herbert Carver STATE STREET DEVELOPMENT EASTERN ENTERPRISES Cowen Company COMPANY OF BOSTON J. Atwood Ives Raymond Moran John R. Gallagher III *Mobil Oil ESSEX INVESTMENT TUCKER ANTHONY Richard J. Lawlor MANAGEMENT COMPANY, John Goldsmith INC. New England Electric System Wellington Management Joseph C. McNay, Jr. JoanT Bok Robert W Doran FARRELL, HEALER & WOODSTOCK CORPORATION Engineering COMPANY INC. Nelson J. Darling, Jr. Richard A. Farrell, Jr. *GZA GeoEnvironmental W P. Stewart & Company Technologies, Inc. FIDELITY CAPITAL MARKETS Wdliam P. Stewart Donald T. Goldberg COMPANY Sherif A. Nada LEA Group High Technology Eugene R. Eisenberg FIDELITY INVESTMENT ABEX, INC. INSTITUTIONAL GROUP Stone & Webster Engineering Paul M. Montrone Paul Hondros Corporation ANALOG DEVICES, INC. Ben Charlson FIDELITY MANAGEMENT TRUST COMPANY Ray Stata Entertainment/ Media Alexander Webb III Automatic Data Processing Arthur S. Kranseler GENERAL CINEMA FIRST BOSTON ASSET CORPORATION MANAGEMENT CORPORATION BBF Corporation Richard S. Smith John J. Cook, Jr. Boruch B. Frusztajer 50 BOLT BERANEK AND RAYTHEON COMPANY FRANK B. HALL & CO. OF NEWMAN, INC. Dennis J. Picard MASSACHUSETTS, INC. Wdliam Tvenstrup Stephen R. Levy SIGNAL TECHNOLOGY J. *Bull, Worldwide Information CORPORATION * Hanover New England Systems Dale J. Peterson J. Barry May Axel Leblois SONY USA, INC. J. Peter Lyons Companies Cambex Corporation Michael P. Schulhof J. Peter Lyons Joseph Kruy STRATUS COMPUTER *Johnson & Higgins COSTAR CORPORATION William E. Foster Edward Buchwald Richard L. Morningstar *TASC Lexington Insurance Company CSC CONSULTING GROUP Arthur Gelb Kevin H. Kelley Paul J. Crowley TDK ELECTRONICS LIBERTY MUTUAL DATA GENERAL CORPORATION INSURANCE GROUP CORPORATION Takashi Tsujii Gary L. Countryman Ronald L. Skates Termiflex Corporation THE NEW ENGLAND DIGITAL EQUIPMENT William E. Fletcher Robert A. Shafto CORPORATION THERMO ELECTRON SAFETY INSURANCE Robert B. Palmer CORPORATION COMPANY DYNATECH CORPORATION George N. Hatsopoulos Richard B. Simches John F. Reno *Sedgwick James of New England, Hotels/Restaurants EG&G, INC. Inc. John M. Kucharski P. Joseph McCarthy * Boston Marriott Copley Place EMC CORPORATION Wdliam Munck Sun Life Assurance Company of Richard J. Egan Canada Christo's Restaurant David Horn Helix Technology Corporation Christopher Tsaganis Robert Lepofsky J. *Copley Plaza Hotel HEWLETT PACKARD James A. Daley Legal COMPANY FOUR SEASONS HOTEL Ben L. Holmes BINGHAM, DANA & GOULD Robin A. Brown IBM CORPORATION Joseph F. Hunt ITT Sheraton Corporation Patricia Wolpert CHOATE, HALL & STEWART John W. Herold Robert W. Gargill Instron Corporation Legal Seafoods Harold Hindman Curhan, Kunian, Goshko, George Berkowitz Burwick& Savran International Data Group THE RED LION INN Stephen T Kunian Patrick J. McGovern Jack and Jane Fitzpatrick Dickerman Law Offices IONICS, INC. *The Ritz-Carlton, Boston Lola Dickerman Arthur L. Goldstein Sigi Brauer *Fish & Richardson IPL SYSTEMS, INC. *Sheraton Boston Hotel and Towers Robert E. Hillman Robert W. Norton Robert J. Morse LOTUS DEVELOPMENT Friedman & Atherton CORPORATION *Sonesta International Hotels Lee H. Kozol Corporation Jim P. Manzi GOLDSTEIN & MANELLO Paul Sonnabend Richard J. Snyder Microcom, Inc. THE WESTIN HOTEL, James Dow GOODWIN, PROCTER & HOAR COPLEY PLACE Robert B. Eraser MILLIPORE CORPORATION David King John A. Gilmartin HALE AND DORR Robert E. Fast *The Mitre Corporation Insurance Barry M. Horowitz *Hemenway & Barnes AMERICAN TITLE INSURANCE NEC CORPORATION COMPANY John J. Madden Tadahiro Sekimoto John F. Shea Hubbard & Ferris Charles A. Hubbard II POLAROID CORPORATION *Arkwright I. MacAllister Booth Frederick J. Bumpus Joyce & Joyce Thomas J. Joyce *Prime Computer, Inc. CADDELL & BYERS John Shields INSURANCE AGENCY, INC. *Lynch, Brewer, Hoffman & Sands PRINTED CIRCUIT Paul D. Bertrand Owen B. Lynch CORPORATION *Chubb Group of Insurance Cos. *McDermott, Wdl & Emery Peter Sarmanian John H. Gillespie Harvey W. Freishtat 51 Dinner, Parking AndThe Shuttle, ForASong. A VACATION FOR YOUR BODY, A TRIP Make dinner at Boodle's part of your FOR YOUR MIND night out at the Symphony. We're offering When you see the world's our customers special parking privileges greatest treasures with Swan Hellenic, in our private garage for just $5, and free you capture, experience, and take them with "Symphony Express" shuttle service home you. Whether an Art Treasures Tuesday and Thursday. Just show us your tour of the world or cruising the Nile, Symphony tickets, and we'll arrange for Aegean, Mediterranean, Black or Red Seas, you will be in the your $5 parking, take you to Symphony company of internationally-recognized experts, Hall after your meal, and return you to who will share their enthusiasm and your car after the performance. With a knowledge with you. Steeped in history, jour- deal like that, a night at the Symphony we ney through lands and myths of time never sounded better. to discover treasures of the past. Contact your local travel agent or Esplanade Tours for more information about these QW/^Mpy unforgettable programs. HELLENIC ESPLANADE TOURS RESTAURANT&BAR 581 Boylston Street, BS Boston, MA 02116 (617) 266-7465 • (800) 426-5492 IN THE BACK BAY HILTON (617) BOODLES Performing to the Highest Standards. For over 30 years, the Solomontfamily has provided the finest care and service to its nursing home residents. Few others can match this performance. We cordially invite you to visit our facilities in Massachusetts. Coolidge House Nursing Home, Brookline • Palm Manor Nursing Home, Chelmsford • Heritage Nursing Care Center, Lowell • Willow Manor Retirement and Nursing Home, Lowell • Prescott House Nursing Home, North Andover • Sutton Hill Nursing and Retirement Center, North Andover • Reservoir Nursing Home, Waltham. Managed by A ID IS Management, Inc. - 508-689-3422 52 MINTZ, LEVIN, COHN, FERRIS, Corona Curtain Manufacturing Wre Belt Company of America GLOVSKY & POPEO, P.C. Co., Inc. E Wade Greer Kenneth J. Novack Paul Sheiber Nissenbaum Law Offices Coz Division of Allied Products Printing/Publishing Gerald L. Nissenbaum Corporation Henry W Coz *Addison-Wesley Publishing Co., *Nutter, McClennen & Fish Inc. Michael J. Bohnen C.R. BARD, INC. Warren R. Stone Richard Thomas PALMER & DODGE J. THE BOSTON GLOBE Robert E. Sullivan *Dean K. Webster Family Wlliam 0. Taylor Foundation Peabody & Brown Dean K. Webster BOSTON HERALD Robert S. Cummings Patrick J. Purcell GTE ELECTRICAL PRODUCTS Rackemann, Sawyer & Brewster Dean T Langford *Cahners Publishing Company Michael F. O'Connell Robert L. Krakoff GE PLASTICS Sarrouf, Tarricone & Flemming Gary Rogers DANIELS PRINTING Camille E Sarrouf Lee S. Daniels GENERAL LATEX AND Wood, Clarkin, Sawyer & Ronan CHEMICAL CORP. George H. Dean Company William C. Sawyer Robert W MacPherson G. Earle Michaud THE GILLETTE COMPANY HOUGHTON MIFFLIN Manufacturer's Alfred M. Zeien, Jr. COMPANY Nader F Darehshori Representatives/ Wholesale HMK ENTERPRISES Distribution Steven Karol Label Art, Inc. Thomas J. Cobery *Alles Corporation *Jones & Vining, Inc. Stephen S. Berman Michel Ohayon * Lehigh Press Company John D. DePaul Asquith Corporation LEACH & GARNER COMPANY Lawrence L. Asquith Edwin F Leach II Little, Brown & Company William R. Hall Ben-Mac Enterprises Leggett & Piatt, Inc. Lawrence G. Benhardt Alexander M. Levine PEOPLE/LIFE MAGAZINE Ann Kenney Kitchen & Kutchin, Inc. NEW ENGLAND BUSINESS Melvin Kutchin SERVICE, INC. *Quebecor Printing (USA) Bartley H. Calder Corporation James A. Dawson Manufacturing *Orion Research, Inc. Chane Graziano VON HOFFMAN PRESS, INC Abbott Box Company, Inc. Frank A. Bowman * Parks Corporation John Abbott Lee Davidson ARLEY MERCHANDISE Real Estate /Development CORPORATION Princess House, Inc. Stephen Zrike Abbey Group, Inc. David I. Reimer RAND-WHITNEY David Epstein Autoroll Machine Corporation CORPORATION Robert Epstein William M. Karlyn Robert Kraft THE CHIOFARO COMPANY AVEDIS ZILDJIAN COMPANY Donald Chiofaro *The Rockport Corporation J. Armand Zildjian Anthony Tiberii *The Codman Company The Biltrite Corporation ROYAL APPLIANCE Edward R. Haddad Stanley Bernstein J. MANUFACTURING COPLEY REAL ESTATE *Boston Acoustics, Inc. COMPANY, INC. ADVISORS Frank Reed John Balch Joseph W O'Connor Cabot Corporation THE STRIDE RITE FIRST WINTHROP Samuel W Bodman CORPORATION CORPORATION Ervin R. Shames Arthur Halleran, Jr. *Century Manufacturing Co., Inc. J. Joseph W. Tiberio *Summit Packaging Systems, Inc. *The Flatley Company Gordon Gilroy Thomas Flatley *Chelsea Industries, Inc. J. Ronald G. Casty Textron Charitable Trust Heafitz Development Company CONNELL LIMITED B.E Dolan Lewis Heafitz PARTNERSHIP THE TONON GROUP HINES INTERESTS William F Connell Robert Tonon Thomas D. Owens CONVERSE, INC. WATTS INDUSTRIES, INC. Horizon Commercial Management Gilbert Ford Timothy P. Home Joan Eliachar 53 1 Tower Records has the largest selection of Classical, Opera and Chamber Music. (Located three blocks from Symphony Hall) TUIUDS TOP 100 ALWAYS ON SALEI • OPEN TIL MIDNIGHT EVERYDAYI CAMBRIDGE BURLINGTON BOSTON 95 Mt. Auburn St. 101 Middlesex Turnpike Mass.Ave. alt Newbury Harvard Square (617) 876-3377 Harvard (x> Stop on the Redline VOCO IMJI • NO ftEHTALSI Experience The HklilHTHiJf rfie • Boston j Reserve Your Groups Tickers Now For Spring 1993 1 08TH SEASON, MAY 1 2 THROUGH JULY 1 JOHN WILLIAMS, CONDUCTOR For Group Soles Information Call The Group Sales Office (61 7) 638-9345. TICKET PRICES: Floor: $33.50, $29.00; First fiolcooy: $24.00, $22.00; Second Balcony: $14.00, $10.50 54 *John M. Corcoran & Company THE TJX COMPANIES, INC. Massachusetts Convention John M. Corcoran Bernard Cammarata Authority Francis X. Joyce Meditrust Corporation Science/Medical David F. Benson Massachusetts State Lottery Commission *New England Development *Astra Pharmaceuticals Products, Inc. Eric Turner Stephen R. Karp Lars Bildman * Phoenix Technologies Foundation *Windsor Building Associates Baldpate Hospital Neil Colvin Mona F. Freedman Lucille M. Batal TAD TECHNICAL SERVICES *Blake & Blake Genealogists CORPORATION Retail Richard A. Blake, Jr. David J. McGrath, Jr. CML Group BLUE CROSS AND BLUE Travel /Transportation Charles M. Leighton SHIELD OF MASSACHUSETTS William C. vanFaasen LILY TRANSPORTATION COUNTRY CURTAINS CORPORATION Boston Scientific Group Jane P. Fitzpatrick John A. Simourian CHARLES RIVER FILENE'S National Retail Systems Joseph M. Melvin LABORATORIES, INC. Norbert J. Walsh Henry L. Foster Grossman's, Inc. NORTHWEST AIRLINES DAMON CORPORATION Thomas R. Schwarz Terry M. Leo Robert L. Rosen *J. Bildner & Sons, Inc. James L. Bildner *Genetics Institute Telecommunications Gabriel Schmergel *Jofran, Inc. AT&T Robert D. Roy *Genzyme Corporation John F. McKinnon Henri A. Termeer JORDAN MARSH COMPANY AT&T NETWORK SYSTEMS Harold S. Frank *HCA Portsmouth Regional Neil Curran Hospital *Marshalls CELLULAR ONE William J. Schuler Jerome H. Rossi Charles Hoffman *J.A. Webster, Inc. Morse Shoe, Inc. *Ericsson Business John A. Webster Malcolm L. Sherman Communications, Inc. *Massachusetts Biotechnology NEIMAN MARCUS John J. McDonald Research Institute William D. Roddy GTE CORPORATION Marc E. Goldberg Edward C. MacEwen *Saks Fifth Avenue The Mediplex Group, Inc. Alison Strieder Mayher * Lifeline Systems, Inc. Jonathan S. Sherwin Ronald Feinstein *Staples, Inc. Wild Acre Inns, Inc. Thomas G. Stenberg NEW ENGLAND TELEPHONE Bernard S. Yudowitz THE STOP AND SHOP Paul C. O'Brien FOUNDATION Services NORTHERN TELECOM, INC. Avram Goldberg Brian P. Davis J. Cambridge Reports/Research *Tiffany & Co. International NYNEX CORPORATION Anthony Ostrom James V. Murphy William C. Ferguson 55 il NEXT PROGRAM . . . Thursday, April 1, at 8 Friday, April 2, at 2 Saturday, April 3, at 8 Tuesday, April 6, at 8 MAREK JANOWSKI conducting CHAUSSON Symphony in B-flat, Opus 20 Lent — Allegro vivo Tres lent Anime INTERMISSION FRANCK Le Chasseur maudit ( The Accursed Hunter), Symphonic poem DEBUSSY La Mer, Three symphonic sketches From Dawn to Noon on the Sea Play of the Waves Dialogue of the Wind and the Sea 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 $2.00 handling fee for each ticket ordered by phone. 56 K . COMING CONCERTS . . Overlooking Boston's Thursday, 'A'—April 1, 8-9:45 2-3:45 Jamaicaway, historic Friday A'—April 2, Saturday 'B' April 8-9:45 Goddard House offers a broad — 3, Tuesday 'B'— April 6, 8-9:45 range of nursing and rehabili- tative services for elderly men MAREK JANOWSKI conducting and women. Private rooms CHAUSSON Symphony in B-flat and gracious public spaces FRANC Le Chasseur maudit create an atmosphere of indi- DEBUSSY La Mer viduality and privacy as well as fellowship and community. Wednesday, April 7, at 7:30 p.m. For information, call 522-3080. Open Rehearsal Steven Ledbetter will discuss the program at 6:30 in Symphony Hall. Thursday 'B'— April 8, 8-9:55 Friday 'B'—April 9, 2-3:55 Saturday A'—April 10, 8-9:55 Tuesday 'C—April 13, 8-9:55 CHARLES DUTOIT conducting CHANTAL JUILLET, violin HAYDN Symphony No. 85, La Reine SZYMANOWSKI Violin Concerto No. 2 HONEGGER Symphony No. 3, Liturgique Thursday, April 15, at 10:30 a.m. Open Rehearsal Steven Ledbetter will discuss the program at 9:30 in Symphony Hall. Thursday 'C— April 15, 8-9:55 Friday A'— April 16, 2-3:55 Saturday 'B'—April 17, 8-9:55 Tuesday 'B'—April 20, 8-9:55 SEIJI OZAWA conducting HAYDN Symphony No. 67 GOEHR Colossos or Panic (world premiere; commissioned by the ** Boston Symphony Orchestra) RIMSKY- Scheherazade # KORSAKOV if / Programs and artists subject to change. ft Bonnie Rapier Robinson (617) 585-5236 57 OS 7 GOLDEN Oxxford Norman Hilton CARE Southwick Burberrys Robert Talbott Geriatric Home Health Care The Sox should have such a line up. Specializing in Live-In Services A 15 Year Tradition INC. 607 Boylston Street Copley Square Boston, MA 02116 ONE LIBERTY SQ. BOSTON, 02109 617 267-5858 350-6070 Symphony Shopping The Symphony Shop is in the Cohen Wing at the West Entrance on Huntington Avenue. Hours: Wednesday, Thursday, Friday, 11-4 BOSTON SYMPHONY ORCHESTRA Saturday 12-6; and from one hour before c^ each concert through intermission. 58 SYMPHONY HALL INFORMATION FOR SYMPHONY HALL CONCERT AND TICKET INFORMATION, call (617) 266-1492. For Boston Symphony concert program information, call "C-O-N-C-E-R-T" (266-2378). THE BOSTON SYMPHONY performs ten months a year, in Symphony Hall and at Tangle- wood. For information about any of the orchestra's activities, please call Symphony Hall, or write the Boston Symphony Orchestra, Symphony Hall, Boston, MA 02115. THE EUNICE S. AND JULIAN COHEN WING, adjacent to Symphony Hall on Huntington Avenue, may be entered by the Symphony Hall West Entrance on Huntington Avenue. IN THE EVENT OF A BUILDING EMERGENCY, patrons will be notified by an announce- ment from the stage. Should the building need to be evacuated, please exit via the nearest door, or according to instructions. FOR SYMPHONY HALL RENTAL INFORMATION, call (617) 638-9240, or write the Function Manager, Symphony Hall, Boston, MA 02115. THE BOX OFFICE is open from 10 a.m. until 6 p.m. Monday through Saturday; on concert evenings it remains open through intermission for BSO events or just past starting time for other events. In addition, the box office opens Sunday at 1 p.m. when there is a concert that afternoon or evening. Single tickets for all Boston Symphony subscription concerts are avail- able at the box office. For most outside events at Symphony Hall, tickets are available.three weeks before the concert at the box office or through Symphony-Charge. 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 Saturday from 10 a.m. until 6 p.m. There is a handling fee of $2.00 for each ticket ordered by phone. GROUP SALES: Groups may take advantage of advance ticket sales. For BSO concerts at Symphony Hall, groups of twenty-five or more may reserve tickets by telephone and take advantage of ticket discounts and flexible payment options. To place an order, or for more information, call Group Sales at (617) 638-9345. LATECOMERS will be seated by the ushers during the first convenient pause in the program. Those who wish to leave before the end of the concert are asked to do so between program pieces in order not to disturb other patrons. IN CONSIDERATION of our patrons and artists, children under four will not be admitted to Boston Symphony Orchestra concerts. TICKET RESALE: If for some reason you are unable to attend a Boston Symphony concert for which you hold a subscription ticket, you may make your ticket available for resale by calling (617) 266-1492. This helps bring needed revenue to the orchestra and makes your seat available to someone who wants to attend the concert. A mailed receipt will acknowledge your tax-deductible contribution. RUSH SEATS: There are a limited number of Rush Seats available for Boston Symphony subscription concerts Tuesday and Thursday evenings, and Friday afternoons. The low price of these seats is assured through the Morse Rush Seat Fund. The tickets for Rush Seats are sold at $6.50 each, one to a customer, on Fridays as of 9 a.m. and Tuesdays and Thursdays as of 5 p.m. Please note that there are no Rush Tickets available on Friday or Saturday evenings. SMOKING IS NOT PERMITTED in any part of the Symphony Hall auditorium or in the surrounding corridors; it is permitted only in the Hatch Room and in the main lobby on Massachusetts Avenue. Please note that smoking is no longer permitted in the Cabot-Cahners Room. CAMERA AND RECORDING EQUIPMENT may not be brought into Symphony Hall during concerts. WHEELCHAIR ACCESS to Symphony Hall is available via the Cohen Wing, at the West Entrance. Wheelchair-accessible restrooms are located in the main corridor of the West Entrance, and in the first-balcony passage between Symphony Hall and the Cohen Wing. 59 FIRST AID FACILITIES for both men and women are available. On-call physicians attending concerts should leave their names and seat locations at the switchboard near the Massa- chusetts Avenue entrance. PARKING: The Prudential Center Garage offers a discount to any BSO patron with a ticket stub for that evening's performance, courtesy of R. M. Bradley & Co. , Inc. , and The Pruden- tial Property Company, Inc. There are also two paid parking garages on Westland Avenue near Symphony Hall. Limited street parking is available. As a special benefit, guaranteed pre-paid parking near Symphony Hall is available to subscribers who attend evening concerts on Tues- day, Thursday, Friday, or Saturday. For more information, call the Subscription Office at (617) 266-7575. ELEVATORS are located outside the Hatch and Cabot-Cahners rooms on the Massachusetts Avenue side of Symphony Hall, and in the Cohen Wing. LADIES' ROOMS are located on the orchestra level, audience-left, at the stage end of the hall, on both sides of the first balcony, and in the Cohen Wing. MEN'S ROOMS are located on the orchestra level, audience-right, outside the Hatch Room near the elevator, on the first-balcony level, audience-left, outside the Cabot-Cahners Room near the coatroom, and in the Cohen Wing. COATROOMS are located on the orchestra and first-balcony levels, audience-left, outside the Hatch and Cabot-Cahners rooms, and in the Cohen Wing. The BSO is not responsible for personal apparel or other property of patrons. LOUNGES AND BAR SERVICE: There are two lounges in Symphony Hall. The Hatch Room on the orchestra level and the Cabot-Cahners Room on the first-balcony level serve drinks starting one hour before each performance. For the Friday-afternoon concerts, both rooms open at 12:15, with sandwiches available until concert time. BOSTON SYMPHONY BROADCASTS: Friday-afternoon concerts of the Boston Symphony Orchestra are broadcast live by WGBH-FM (Boston 89. 7) and by WAMC-FM (Albany 90.3, serving the Tanglewood area). Saturday-evening concerts are broadcast live by WCRB-FM (Boston 102.5). BSO FRIENDS: The Friends are donors to the Boston Symphony Orchestra Annual Fund. Friends receive BSO, the orchestra's newsletter, as well as priority ticket information and other benefits depending on their level of giving. For information, please call the Development Office at Symphony Hall weekdays between 9 and 5, (617) 638-9251. If you are already a Friend and you have changed your address, please send your new address with your newsletter label to the Development Office, Symphony Hall, Boston, MA 02115. Including the mailing label will assure a quick and accurate change of address in our files. BUSINESS FOR BSO: The BSO's Business Leadership Association program makes it possible for businesses to participate in the life of the Boston Symphony Orchestra through a variety of original and exciting programs, among them "Presidents at Pops," "A Company Christmas at Pops," and special-event underwriting. Benefits include corporate recognition in the BSO program book, access to the Beranek Room reception lounge, and priority ticket service. For further information, please call Marie Pettibone, Director of Corporate Development, at (617) 638-9278. THE SYMPHONY SHOP is located in the Cohen Wing at the West Entrance on Huntington Avenue and is open Wednesday, Thursday, and Friday from 11 a.m. until 4 p.m., Saturday from 12 p.m. until 6 p.m., and from one hour before each concert through intermission. The Symphony Shop features exclusive BSO merchandise, including The Symphony Lap Robe, calendars, coffee mugs, posters, and an expanded line of BSO apparel and recordings. The Shop also carries children's books and musical-motif gift items. A selection of Symphony Shop merchandise is also available during concert hours outside the Cabot-Cahners Room. All proceeds benefit the Boston Symphony Orchestra. For further information and telephone orders, please call (617) 638-9383. 60 Because culture touches on the noblest impulses within us all, The Boston Company "Culture believes our cultural insti- Is Not tutions are central to the Just An dignity of every individual. Ornament Which is why, in addition to It Is The our enthusiastic support of Expression many educational and social OfA Nation's causes in our community, " Character. the people of the boston Company continue to W. Somerset Maugham contribute to a variety of cultural institutions. we urge that you, too, lend your continuous and generous support. THE BOSTON COMPANY Boston Safe Deposit and Trust Company Member FDIC An Equal Housing Lender