Boston Symphony Orchestra Concert Programs, Season 101, 1981-1982

BOSTON SOYMPHONY OORCHESTRA

b s sy£phTnv\ Hundredth1 IUNDREDTH BirthdayOIRTHDAY OEASONSi LORCHESTRa; SHJIOZAWA 1881 -OCTOBER 22 -1981 V.S.O.P.^

Uft»*'

COGNAC

L*g>aoT»jni by K.Hvvn MtjrnN*£<£jflg| HNE CHAMPAGNE COOi^

THE FIRST NAME IN COGNAC SINCE 1724 /ELY FiNE CHAMPAGNE C FROM THE TWO FRFYIiER.5 CRTS- O] ,C REGION m

BOSTON ^KM-I i ^ MI'IIDN"! (j| ORCHESTRA j^B -pt\

Seiji Ozawa, Music Director

Sir Colin Davis, Principal Guest Conductor Joseph Silverstein, Assistant Conductor

Hundredth Birthday Season, 1981-82 Trustees of the Boston Symphony Orchestra, Inc.

Abram T. Collier, Chairman Nelson J. Darling, Jr., President

Leo L. Beranek, Vice-President George H. Kidder, Vice-President Mrs. Harris Fahnestock, Vice-President Sidney Stoneman, Vice-President Roderick M. MacDougall, Treasurer John Ex Rodgers, Assistant Treasurer

Vernon R. Alden Archie C. Epps III Thomas D. Perry, Jr.

J.E Barger Mrs. John L. Grandin Irving W. Rabb Mrs. John M. Bradley Edward M. Kennedy Mrs. George Lee Sargent Mrs. Norman L. Cahners David G. Mugar William A. Selke

George H.A. Clowes, Jr. Albert L. Nickerson John Hoyt Stookey Trustees Emeriti Talcott M. Banks, Chairman of the Board Emeritus

Philip K. Allen E. Morton Jennings, Jr. Mrs. James H. Perkins Allen G. Barry Edward G. Murray Paul C. Reardon

Richard P Chapman John T. Noonan John L. Thorndike Administration of the Boston Symphony Orchestra Thomas W. Morris General Manager

William Bernell Edward R. Birdwell Daniel R. Gustin Artistic Administrator Orchestra Manager Assistant Manager

Caroline Smedvig Walter D.Hill Joseph M. Hobbs Director of Director of Director of Promotion Business Affairs Development

Judith Gordon Joyce M. Snyder Theodore A. Vlahos Assistant Director Development Controller of Promotion Coordinator

Marc Solomon Katherine Whitty Arlene Germain Production Coordinator of Financial Analyst Coordinator Boston Council

James E. Whitaker Elizabeth Dunton Richard Ortner Hall Manager, Director of Sales Adminstrator Symphony Hall Berkshire Music Center Charles Rawson James F. Kiley Anita R. Kurland Manager of Box Office Operations Manager, Administrator of Tanglewood Youth Activities

Steven Ledbetter Marc Mandel Jean Miller MacKenzie Director of Editorial Printing Production Publications Coordinator Coordinator

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

Mrs. Norman L. Cahners Chairman

William J. Poorvu Mrs. William H. Ryan Vice-Chairman Secretary

Charles F. Adams Jordan L. Golding Paul M. Montrone John Q. Adams Haskell R. Gordon Mrs. Hanae Mori Mrs. Frank G. Allen Graham Gund Mrs. Stephen YC. Morris

David B. Arnold, Jr. Christian G. Halby E. James Morton

Hazen H. Ayer Mrs. R. Douglas Hall III Stephen Paine, Sr.

Bruce A. Beal Francis W Hatch, Jr. John A. Perkins Mrs. Richard Bennink Mrs. Richard D. Hill David R. Pokross David W. Bernstein Ms. Susan M. Hilles Mrs. Curtis Prout

Mrs. Edward J. Bertozzi, Jr. Mrs. Amory Houghton, Jr. Mrs. Eleanor Radin

Peter A. Brooke Richard S. Jackson, Jr. Peter C. Read

William M. Bulger Mrs. Bela T Kalman Mrs. Peter van S. Rice

Curtis Buttenheim Mrs. Louis I. Kane David Rockefeller, Jr.

Julian Cohen Mrs. S. Charles Kasdon Mrs. George R. Rowland

Mrs. Nat King Cole Mrs. F. Corning Kenly Jr. Francis P. Sears

Johns H. Congdon Mrs. Gordon F. Kingsley Gene Shalit

William M. Crozier, Jr. Mrs. Carl Koch Donald B. Sinclair

Mrs. Lewis S. Dabney Robert K. Kraft Richard A. Smith Mrs. Michael H. Davis Harvey C. Krentzman Ralph Z. Sorenson

William S. Edgerly Mrs. E. Anthony Kutten Peter J. Sprague

Mrs. Alexander Ellis, Jr. Benjamin H. Lacy Ray Stata

Frank L. Farwell Mrs. Henry A. Laughlin Mrs. Edward S. Stimpson

Kenneth G. Fisher Mrs. James F. Lawrence Mrs. Arthur I. Strang

Mrs. John H. Fitzpatrick Mrs. Charles P. Lyman Mrs. Richard H. Thompson

Peter H.B. Frelinghuysen C. Charles Marran Mark Tishler, Jr. Paul Fromm Mrs. August R. Meyer Ms. Luise Vosgerchian

Mrs. Thomas J. Galligan, Jr. Edward H. Michaelsen Robert A. Wells

Mrs. Thomas Gardiner J. William Middendorf II Mrs. Donald Wilson

Avram J. Goldberg John J. Wilson

THE SYMBOL OF GOOD BANKING,

Union Warren Savings Bank Main Office: 133 Federal Street, Boston, MA 02110 "But ifyou turn your back on the market entire ly, will the Dow ever break a thousand again?"

For good advice on personal trust and investment matters, call our Trust Division at (617) 742-4000. Or write New England Merchants National Bank, 28 State Street, Boston, Massachusetts 02109. Bank of New England.

I Join morningpro musica's host Robert J. Lurtsema as he surveys the Boston Symphony Orchestra's 100th Birthday season through a series of informal conversations with featured soloists, conductors, and composers.

morningpro musica is WVPS (107.9 fm) now heard coast to coast Burlington, VT on stations of the Public WMEH(90.9fm) Radio Cooperative Bangor, ME including, in the New York/New England area: WMEA(90.1fm) Portland, ME WGBH(89.7fm) Boston, MA WMEM (106.1 fm) Presque Isle, ME WFCR(88.5fm) Amherst, MA WPBH(90.5fm) Hartford, New Haven, WAMC(90.3fm) Waterbury, CT Albany, NY WEVO (89.1 fm) WNYC(93.9fm) Concord, NH New York, NY

WVPR (89.5 fin) Windsor, VT BSO

BSO/WCRB Musical Marathon '82: Premiums to Run With

The twelfth annual BSO/WCRB Musical Marathon takes place the weekend of 16-18 April 1982. Two years ago, the Musical Marathon was held the weekend immediately preceding the running of the Boston Marathon, and the BSO Marathon's premium T-shirts, shorts, and sweatshirt proved particularly timely. The Boston Marathon follows hard on the heels of our Marathon again this year, and the Marathon Committee anticipates a good deal of interest in its expanded selection of exclusive, athletically- oriented BSO premiums.

For example, there's the terry-lined, velcro-fastened navy wristband with zipper com- partment and BSO colophon imprint. Or white shoelaces with a pattern of blue musical notes may help speed you along. This year brings the return of the classical BSO T-shirt in navy with beige colophon, as well as a colorful child's T-shirt with a specially designed logo in red, blue, and green. And you can keep yourself safe with this year's new fluorescent orange reflecting BSO/WCRB "Flash Sash." Also among the offerings are a navy crewneck sweatshirt with beige colophon and, new this year, navy BSO sweatpants with beige colophon on the left hip. You may want to carry your gear in this year's BSO "Round the World" totebag. And finally, for some after-running refreshment, the BSO's new wine tote, complete with corkscrew, and listing on its navy label some "Vintage BSO" world-premiere performances, may come in particularly handy!

"Art in Support of Art"

The Fine Arts Committee of the BSO/WCRB Musical Marathon '82 is happy to announce that, from 6 April through 30 April, "ART IN SUPPORT OF ART/' an exhibition of painting, sculpture, drawings, prints, and photography, will be on view at

Symphony Hall during all concert hours and by appointment. For more information on this wide-ranging exhibition, please call the Marathon Office in Symphony Hall at 266-1492, ext. 230. An exhibition catalogue will be available early this month.

Since all proceeds from the exhibition benefit the Boston Symphony Orchestra, the orchestra, staff, and hundreds of dedicated volunteer supporters are greatly indebted to the many artists, sculptors, photographers, galleries, and collectors who have so generously donated their work to the 1982 Musical Marathon.

BSOonWGBH

Continuing his series of live interviews with BSO guest artists and personalities, Robert J. Lurtsema talks with noted Haydn specialist, conductor Antal Dorati, on Monday morning, 5 April at 11 on WGBH-FM-89.7's Morning Pro Musica. 'Presidents at Pops"

A very special night at Pops, and a first for the BSO, is being planned by a committee of business leaders, BSO Trustees, and Overseers. Designed to solidify and broaden the

relationship between the BSO and the business community, it will make possible corporate support of the BSO and, at the same time, the establishment of new business contacts, the honoring of employees and spouses, or the conclusion of a company business meeting with a pleasant evening. This "Presidents at Pops" Concert will be held on 15 June 1982 with an outstanding program and gourmet picnic. Tickets will be sold as a "package" to include two adjoining Pops floor tables of five seats each and ten balcony seats. In addition there will be a Presidents Dinner, an elegant and fun evening at Symphony Hall on 10 May 1982 for 100 Presidents of supporting companies who will be guests of the BSO.

So far, more than ninety businesses in the greater Boston area have agreed to sponsor

"Presidents at Pops" at $3,000 each, but a total of 100 is needed for an absolute sell-out. Many business volunteers are active, but chief among them are Chet Krentzman of

Advanced Management Associates,- Malcolm L. Sherman, executive vice president,

Zayre Corp.; Vincent O'Reilly, managing partner, Coopers & Lybrand,- and J.P Barger, president, Dynatech Corp. For details, contact any of the foregoing or Frank Pemberton,

Director of Corporate Development, in the Symphony Hall Development Office, (617) 266-1492.

'Opening Night at Pops'7

For the eighth consecutive year, the Junior Council of the Boston Symphony Orchestra will sponsor "Opening Night at Pops," this year marking the opening of the Boston Pops 1982 season with John Williams beginning his third year as Pops conductor. The evening, to take place on Tuesday, 4 May in Symphony Hall, begins with cocktails at 5:30, followed by supper at 6:30 and the concert at 8:00. A champagne reception with John Williams will follow for Benefactors. The concert will include a piece by William Bolcom especially commissioned for this evening,- many special guests will also be part of the opening celebration. Ticket prices, which include the supper, range from $17.50 to $100. For ticket information, please call Mrs. Deborah Spangler at 899-4982.

The Junior Council of the Boston Symphony Orchestra is a group of young men and women who donate their varied talents and time to fundraising efforts, such as "Opening Night at Pops" and sale of the Symphony Mint, for the Boston Symphony Orchestra. New members are admitted in September, January, and May. For further information, please call the Friends' Office at 266-1348.

BSO Members in Concert

The Berkshire String Trio includes BSO members Marylou Speaker, violin, Patricia McCarty, viola, and Carol Procter, cello. On Sunday evening, 4 April at 8 p.m. they'll perform music of Beethoven, Schubert, and Dohnanyi in Jewett Hall at Wellesley

College. Admission is free.

With Thanks

We wish to give special thanks to the National Endowment for the Arts and the Massachusetts Council on the Arts and Humanities for their continued support of the Boston Symphony Orchestra.

6 Share the BSO with the Kids!!

The final program of this season's Boston Symphony Youth Concerts, Harry Ellis Dickson, Artistic Director, will focus on The Classical Orchestra and feature music of Haydn, Mozart, and Prokofiev. Although weekday concerts are sold out, a limited number of Saturday-morning tickets are available this year due to school budget cuts which have affected group sales. Share the BSO with the kids on either Saturday morning, 27 March at 11, or Saturday morning, 3 April at 11. Please call the Symphony Hall Youth Activities Office at 267-0656 for complete ticket information.

Art Exhibits in the Cabot-Cahners Room

This season's art exhibits in the Cabot-Cahners Room continue with a display by the Boston Architectural Center, which will be shown until 12 April. We would like at this time also to acknowledge the Kezar Gallery and the Experimental Etching Studio for the exhibits they provided in February and March.

From the Gustav Mahler Society

The following letter of 23 February 1982 recently came to BSO Music Director Seiji Ozawa from Avik Gilboa, president of the Gustav Mahler Society USA:

"Dear Maestro Ozawa:

"The Gustav Mahler Society is delighted to inform you that we have chosen your outstanding recording of Mahler's 8th Symphony with the Boston Symphony Orchestra as the 'Best Mahler Recording for 1981.'

"The plaque will follow soon.

"Our congratulations and appreciation for your excellent Mahler performances."

Mahler's Eighth Symphony as recorded by Seiji Ozawa, the Boston Symphony, the Tanglewood Festival Chorus, Boston Boy Choir, and eight internationally acclaimed soloists is available on Philips records.

For rates and wmt, information on BOSTON advertising in the ASA O Mf SYM PHONY g^ {J) Boston Symphony, QlloRCHESTRA SEIJI OZAWA Music _jd Boston Pops, I, Djrtcto, m and Tanglewood program books & a&T22A3 please contact:

STEVE GANAK AD REPS 51 CHURCH STREET (617)-542-6913 BOSTON, MASS. 021 16

i Seiji Ozawa

In the fall of 1973, Seiji Ozawa became the thirteenth music director of the Boston Sym- phony Orchestra since the orchestra's founding in 1881. Born in 1935 in Shenyang, China, to Japanese parents, Mr. Ozawa studied both Western and Oriental music as a child and later graduated

from Tokyo's Toho School of Music with first prizes in composition and conducting. In the fall of 1959 he won first prize at the Interna- tional Competition of Orchestra Conductors, Besancon, France. Charles Munch, then music director of the Boston Symphony and a judge at the competition, invited him to Tanglewood for the summer following, and he there won the Berkshire Music Center's highest honor, the Koussevitzky Prize for outstanding student conductor. While working with Herbert von Karajan in West Berlin, Mr. Ozawa came to the attention of Leonard Bernstein, whom he accompanied on the New York Philharmonic's spring 1961 Japan tour, and he was made an assistant conductor of that orchestra for the 1961-62 season. His first professional concert appearance in North America came in January 1962 with the San Francisco Symphony Orchestra. He was music director of the Chicago Symphony's Ravinia Festival for five summers beginning in 1964, and music director for four seasons of the Toronto Symphony Orchestra, a post he relinquished at the end of the 1968-69 season in favor of guest conducting numerous American and European orchestras. Seiji Ozawa first conducted the Boston Symphony in Symphony Hall in January of 1968; he had previously appeared with the orchestra for four summers at Tanglewood, where he was made an artistic director in 1970. In December of 1970 he began his inaugural season as conductor and music director of the San Francisco Symphony Orchestra. The music directorship of the Boston Symphony followed in 1973, and Mr. Ozawa resigned his San Francisco position in the spring of 1976, serving as music advisor there for the 1976-77 season. As music director of the Boston Symphony Orchestra, Mr. Ozawa has strengthened the orchestra's reputation internationally as well as at home, leading concerts on the BSO's 1976 European tour and, in March 1978, on a nine-city tour of Japan. At the invitation of the Chinese government, Mr. Ozawa then spent a week working with the Peking Central Philharmonic Orchestra; a year later, in March of 1979, he returned to China with the entire Boston Symphony for a significant musical and cultural exchange entailing coaching, study, and discussion sessions with Chinese musicians, as well as concert

performances. Also in 1979, Mr. Ozawa led the orchestra on its first tour devoted exclusively to appearances at the major music festivals of Europe. Most recently, Seiji Ozawa and the Boston Symphony celebrated the orchestra's hundredth birthday with a fourteen-city American tour last March, and, earlier this season, an international tour with concerts in Japan, France, Germany, Austria, and England. Mr. Ozawa pursues an active international career and appears regularly with the orchestras of Berlin, Paris, and Japan; his operatic credits include appearances at the Paris Opera, Salzburg, London's Covent Garden, and La Scala in Milan. Mr. Ozawa has won an Emmy for the BSO's "Evening at Symphony" television series. His award-winning recordings include Berlioz's Romeo et Juliette, Schoenberg's Gurreheder, and the Berg and Stravinsky violin concertos with Itzhak Perlman. Other recent recordings with the orchestra include, for Philips, Stravinsky's he Sacre du printemps, Hoist's The Planets,

and Mahler's Symphony No. 8, the Symphony of a Thousand-, for CBS, a Ravel collaboration with Frederica von Stade and, for Telarc, music of mezzo-soprano ; Beethoven—the Fifth Symphony, the Egmont Overture, and, with pianist Rudolf Serkin, the Emperor Concerto. Violas Clarinets Burton Fine Harold Wright

Charles S. Dana chair Ann S. M. Banks chair

Patricia McCarty Pasquale Cardillo Mrs. David Stoneman chair Peter Hadcock Eugene Lehner E-flat Clarinet Robert Barnes Bass Clarinet Jerome Lipson Craig Nordstrom Bernard Kadinoff Vincent Mauricci Bassoons Music Directorship endowed by John Moors Cabot Earl Hedberg Sherman Walt Joseph Pietropaolo Edward A. Taft chair BOSTON SYMPHONY Michael Zaretsky Roland Small ORCHESTRA : Marc Jeanneret Matthew Ruggiero

: 1981/82 Betty Benthin Contrabassoon First Violins Richard Plaster Cellos Joseph Silverstein Concertmaster Jules Eskin Horns Charles Munch chair Philip R. Allen chair Charles Kavalovski Helen Sagoff Slosberg chair Emanuel Borok Martin Hoherman Assistant Concertmaster Vernon and Marion Alden chair Roger Kaza Helen Homer Mclntyie chaii Mischa Nieland Daniel Katzen Max Hobart Esther S. and Joseph M. Shapiro chair Richard Sebring Robert L. Beal, and Jerome Patterson Richard Mackey Enid and Bruce A. Beal chair : Robert Ripley Jay Wadenpfuhl Cecylia Arzewski Luis Leguia Charles Yancich Edward and Bertha Rose chair C : Carol Procter

: Trumpets Bo Youp Hwang Ronald Feldman John and Dorothy Wilson chat Charles Schlueter ! Joel Moerschel Roger Louis Voisin chair Max Winder : Jonathan Miller

: Andre Come Harry Dickson Martha Babcock Forrest F. Collier chair Timothy Morrison Gottfried Wilfinger Basses Trombones Fredy Ostrovsky Edwin Barker Ronald Barron

Leo Panasevich Harold D. Hodgkinson chair ].P and Mary B. Barger chair Carolyn and George Rowland chair Lawrence Wolfe Norman Bolter Sheldon Rotenberg Joseph Hearne Gordon Hallberg Alfred Schneider Bela Wurtzler * Gerald Tuba Gelbloom Leslie Martin * Chester Schmitz Raymond Sird John Salkowski * Ikuko Mizuno John Barwicki Timpani * Amnon Levy Robert Olson Everett Firth Second Violins Sylvia Shippen Wells chair Marylou Speaker Flutes Fahnestock chair Percussion Doriot Anthony Dwyer Vyacheslav Uritsky Walter Piston chair Charles Smith Charlotte and Irving W Rabb chair Arthur Press Fenwick Smith Assistant Timpanist Ronald Knudsen Mr. and Mrs. Robert K. Kraft chair Thomas Gauger Leonard Moss Paul Fried Laszlo Nagy Frank Epstein * Michael Vitale Piccolo Harp * Darlene Gray Lois Schaefer Ann Hobson Pilot * Ronald Wilkison Evelyn and C Charles Manan chair * Harvey Seigel Personnel Managers * Jerome Rosen Oboes William Moyer * Sheila Fiekowsky Ralph Gomberg Harry Shapiro * Gerald Elias Mildred B. Remis chair * Ronan Lefkowitz Librarians Wayne Rapier * Joseph McGauley Victor Alpert Alfred Genovese * Nancy Bracken William Shisler * Joel Smirnoff James Harper English * Jennie Shames Horn Laurence Thorstenberg Stage Manager

* Participating in a system of rotated seating Phyllis Knight Beranek chair Alfred Robison within each string section. 9 A Brief History of the Boston Symphony Orchestra

For many years, Civil War veteran, philanthropist, and amateur musician Henry Lee Higginson dreamed of founding a great and permanent orchestra in his home town of

Boston. His vision approached reality in the spring of 1 88 1 , and on 22 October of that year the Boston Symphony Orchestra's inaugural concert took place under the direction of conductor Georg Henschel. For nearly twenty years, symphony concerts were held in the old Boston Music Hall; Symphony Hall, the orchestra's present home, and one of the world's most highly regarded concert halls, was opened in 1900. Henschel was succeeded by a series of German-born and -trained conductors—Wilhelm Gericke, Arthur Nikisch, Emil Paur, and Max Fiedler—culminating in the appointment of the legendary Karl Muck, who served two tenures as music director, 1906-08 and 1912-18. Meanwhile, in

July 1885, the musicians of the Boston Symphony had given their first "Promenade" concert, offering both music and refreshments, and fulfilling Major Higginson's wish to give "concerts of a lighter kind of music." These concerts, soon to be given in the springtime and renamed first "Popular" and then "Pops," fast became a tradition.

During the orchestra's first decades, there were striking moves toward expansion. In

1915, the orchestra made its first transcontinental trip, playing thirteen concerts at the Panama-Pacific Exposition in San Francisco. Recording, begun with RCA in the pioneer- ing days of 1917, continued with increasing frequency, as did radio broadcasts of concerts. The character of the Boston Symphony was greatly changed in 1918, when Henri Rabaud was engaged as conductor; he was succeeded the following season by Pierre Monteux. These appointments marked the beginning of a French-oriented tradition which would be maintained, even during the Russian-born Serge Koussevitzky's time, with the employment of many French-trained musicians.

10 The Koussevitzky era began in 1924. His extraordinary musicianship and electric personality proved so enduring that he served an unprecedented term of twenty-five years. In 1936, Koussevitzky led the orchestra's first concerts in the Berkshires, and two years later he and the players took up annual summer residence at Tanglewood. Koussevitzky passionately shared Major Higginson's dream of "a good honest school for musicians," and in 1940 that dream was realized with the founding at Tanglewood of the Berkshire Music Center, a unique summer music academy for young artists. Expansion continued in other areas as well. In 1929 the free Esplanade concerts on the Charles River in Boston were inaugurated by Arthur Fiedler, who had been a member of the orchestra since 1915 and who in 1930 became the eighteenth conductor of the Boston Pops, a post he would hold for half a century, to be succeeded by John Williams in 1 980. Charles Munch followed Koussevitzky as music director in 1949. Munch continued Koussevitzky's practice of supporting contemporary composers and introduced much music from the French repertory to this country. During his tenure, the orchestra toured abroad for the first time, and its continuing series of Youth Concerts was initiated. Erich Leinsdorf began his seven-year term as music director in 1962. Leinsdorf presented numerous premieres, restored many forgotten and neglected works to the repertory, and, like his two predecessors, made many recordings for RCA in addition, many concerts ; were televised under his direction. Leinsdorf was also an energetic director of the Berkshire Music Center, and under his leadership a full-tuition fellowship program was established. Also during these years, the Boston Symphony Chamber Players were founded, in 1964; they are the world's only permanent chamber ensemble made up of a major symphony orchestra's principal players. William Steinberg succeeded Leinsdorf in 1969. He conducted several American and world premieres, made recordings for Deutsche Grammophon and RCA, appeared

11 -'>"v£*

12 regularly on television, led the 1971 European tour, and directed concerts on the east coast, in the south, and in the mid-west. Seiji Ozawa, an artistic director of the Berkshire Festival since 1970, became the orchestra's thirteenth music director in the fall of 1973, following a year as music advisor. Mr. Ozawa has continued to solidify the orchestra's reputation at home and abroad, and his program of centennial commissions—from Sandor Balassa, Leonard Bernstein, John Corigliano, Peter Maxwell Davies, John Harbi- son, Leon Kirchner, Peter Lieberson, Donald Martino, Andrzej Panufnik, Roger Sessions, Sir Michael Tippett, and Oily Wilson—on the occasion of the orchestra's hundredth birthday has reaffirmed the orchestra's commitment to new music. Under his direction, the orchestra has also expanded its recording activities to include releases on the Philips, Telarc, and CBS labels.

From its earliest days, the Boston Symphony Orchestra has stood for imagination, enterprise, and the highest attainable standards. Today, the Boston Symphony Orchestra, Inc., presents more than 250 concerts annually. Attended by a live audience of nearly 1.5 million, the orchestra's performances are heard by a vast national and international audience through the media of radio, television, and recordings. Its annual budget has grown from Higginson's projected $1 15,000 to more than $16 million. Its preeminent position in the world of music is due not only to the support of its audiences but also to grants from the federal and state governments, and to the generosity of many founda- tions, businesses, and individuals. It is an ensemble that has richly fulfilled Higginson's vision of a great and permanent orchestra in Boston.

The Somerset on Commonwealth Avenue,

Offering one-hundred fifty distinguished residential condominiums from $100,000 to $400,000. Covered, secured condominium garages. 50 Units only in Phase 1-30% now sold. Models available for viewing, by appointment only. Somerset, 400 Commonwealth Avenue, Boston, MA 02215 Phone (617) 266-6085

13 Baldwin Piano & Organ Company pays tribute to the Boston Symphony Orchestra on its first century of achievement. We look forward to continuing our association at this, the start of the Boston's second century of excellence. BOSTON SYMPHONY ORCHESTRA

Seiji Ozawa, Music Director

Sir Colin Davis, Principal Guest Conductor

Joseph Silverstein, Assistant Conductor

Hundredth Birthday Season, 1981-82

Thursday, 1 April at 8

Friday, 2 April at 2 Saturday, 3 April at 8

ANTAL DORATI conducting

HAYDN Overture to U ritorno di Tobia

HAYDN Symphony No. 26 in D minor, Lamentatione Allegro con spirito Adagio. Chorale. Menuet

INTERMISSION

HAYDN The Seven Last Words of Our Saviour on the Cross (vocal version)

Introduzione. Maestoso ed Adagio Sonata L Largo ("Father, forgive them") Sonata IL Grave e Cantabile ("This day thou shalt be with me in paradise")

Sonata III: Grave ("Woman, behold thy son") Sonata IV: Largo ("My God, my God, why hast thou forsaken me?") Introduzione: Largo e Cantabile Sonata V: Adagio ("I thirst")

Sonata VL Lento ("It is finished")

Sonata VIL Largo ("Father, into thy hands I commend my spirit")

27 Terremoto (The Earthquake)-. Presto e con tutta la forza

LINDA ZOGHBY, soprano SARAH WALKER, mezzo-soprano CLAES H. AHNSJO, tenor WOLFGANG LENZ, bass NEW ENGLAND CONSERVATORY CHORUS, LORNA COOKE deVARON, conductor

Thursday's and Saturday's concerts will end about 10 and Friday's about 2. Philips, Telarc, CBS, Deutsche Grammophon, and RCA records Baldwin piano

The program books for the Friday series are given in loving memory of Mrs. Hugh Bancroft by her daughters Jessie Bancroft Cox and Jane Bancroft Cook.

15 Week 19 r-U^t s 4d V

Jordan Marsh celebrates on the occasion of the BSO's centennial.

iordan marsh Hi A Unit of Allied Stores

16 Franz Joseph Haydn 31 March 1732 — 31 May 1809

He was born into modest circumstances in a tiny village on the periphery of empire, but he died the most famous and beloved composer in the world. He was the "self-made man" incarnate, though without any of the smugness sometimes implied by that designation. Largely self-taught, and ever experimenting throughout his long life, he was enormously innovative and influential, yet managed never to lose his hold on the musical public. Fame came quickly when his symphonies and string quartets began circulating in the 1760s—and it was so marked that unscrupulous publishers found it to their advantage to pass off other composers' works as his. Working for decades largely alone, free of outside influences and pressures—except the constant demand that he please his princely patron—he was (as he himself said) "forced to become original." This was Joseph Haydn, the oldest composer whose works seem made to measure in the repertories of our symphony orchestras (we sometimes hear older composers in sym- phonic concerts, to be sure, but then we have to import harpsichords or gambas or other instruments no longer part of the domestic economy of a standard orchestra, and the music is pointedly identified as "early").

He wrote voluminously in every medium that existed in his day (and a few that he created almost single-handedly). He was justifiably proud of his own works, but he never lost a modesty that is as rare as it is becoming, so that when he encountered the operas of Mozart in Vienna or the oratorios of Handel in London he readily acknowledged their mastery—and the opportunity to learn. The friendship between Haydn and Mozart

(twenty-four years his junior) is one of the most heartwarming aspects of both their lives. United by mutual respect and admiration, each loved the music of the other frankly and without envy—and each learned from the other. Typical of Haydn's generous nature is his warm comment to Leopold Mozart upon making the acquaintance of Wolfgang: '

"Before God, and as I am an honest man, your son is the greatest composer known to me in person or by name." That friendship was destined to last only ten years,- the news of

Mozart's death, when it reached Haydn in London, was shattering to the older man.

In his last years Haydn's music reached ever wider audiences. His symphonies achieved the remarkable feat of being at once the most advanced works of their type and the most popular with the general music-loving audience. In fact he reached his greatest

popularity with the last symphonies and the two great oratorios composed following his English experience. Thereafter he wrote less, but explored new horizons—particularly in some symphonically conceived Mass settings and elaborate piano trios. But throughout his last years he remained Vienna's most popular and beloved musical figure.

It seems hard to imagine that a composer whose music was performed so widely and so frequently should ever fall out of favor. But times and tastes changed. After Haydn's death his memory slipped rapidly into the shadows. Most romantic composers were unable to appreciate the range and depth of his work, considering him only the creator of endlessly cheerful but shallow music. Of course they knew only a small percentage of his work in all —a handful of symphonies and string quartets, the two great oratorios, and very little else. It is to the romantics' high regard for self-dramatization, for Angst and Weltschmerz, that we owe the debasement of Joseph Haydn into the cozy, familiar, and essentially false image of "Papa Haydn," the porcelain figure in princely livery turning out his "charming" (invidious adjective!) pieces to fill the idle hours in the lives of his aristocratic patrons.

The recovery of Haydn's music and of a truer understanding of his life has been the

17 April 6, seven stars will turn Symphony Hall into the Kennedy Center.

HARRY BELAFCME LBÂRD BERNÊIN GRACE BUMBRY BETTY COMDEN AEXXPH GREEN FHYLLIS NEWMAN orrJMÎSLAV RGHROPCVICH

Come see these great entertainers perform for the benefit of Senator Edward M. Kennedy's re-election campaign. Tuesday, April 6— Symphony Hall-7:30 PM. Tickets $25.00, $50.00, $100.00, $250.00, $500.00. Call 426-7454 for more information.

Paid for by the committee to Re-elect Senator Kennedy.

18 noble work of several generations of individual scholars and performers who dedicated

themselves to this task and whose record is one of heroic achievement especially in the

last forty or fifty years. After several false starts and failed attempts, we are now finally within reach of a complete, authentic edition of Haydn's works, allowing us at long last the opportunity to appreciate not only the symphonies and string quartets but also the piano sonatas, the string trios, the piano trios, the baryton trios, the divertimentos, the songs, and the Masses. Even the operas, long the stepchildren of Haydn's career, belittled in comparison with Mozart (rather than being more fairly evaluated in the context of the overall operatic life of the time, wherein they reveal themselves to be truly original creations), are at last receiving the treatment they deserve —performance and recording. We have large and thorough biographical and critical studies to help us understand the composer, his achievement, and the background against which it should be measured.

But most important, we have Haydn's music once again re-establishing itself in all its variety and richness at the core of our musical lives. For years it has been a commonplace to call Haydn the "Father of the Symphony" or the "Father of the String Quartet." While his role in creating those genres is undeniably crucial, it may make more sense today to look at the broader perspective: Haydn was fortunate enough to come along at a time of social change, when the public concert was becoming the standard means of delivering music to an audience. And he wrote many of his works—certainly most of the best- known pieces— for a concert situation similar to the one we know today. There were, of course, hundreds of other composers alive at that time, but it is Haydn we remember. His works remain the core and backbone,- we treasure their wit, their endlessly imaginative melodic and harmonic variety, their rhythmic life, and their architectural invention.

(When the great series of the last twelve symphonies were appearing in Haydn's London concerts, each more successful than the one before, one reviewer expressed concern that even Haydn would eventually run out of ideas after lavishing so much originality on his latest works. How much more should we marvel, who can survey a full half-century of active composition!) They continue to challenge new generations. We return to them time and again to experience the wellsprings of this musical river that has now run so broad and deep for a good two centuries. On the 250th anniversary of his birth, Haydn deserves to be recognized at last as the true "father of our concert life."

—Steven Ledbetter

r-:.-.-""\l\V.

19 A celebration of the senses and the spirit

^/HUTIDO Joseph Haydn

Overture to 11 ritorno di Tobia Symphony No. 26 in D minor, Lamentatione The Seven Last Words of Our Saviour upon the Cross (vocal version)

Franz Joseph Haydn was born in Rohrau, Lower Austria, on 31 March 1732 and died in Vienna on 31 May 1809. He com-

posed the Italian oratorio II ritorno di Tobia in 1774 for performances in Vienna on 2 and 4 April 1775. The work was revised and performed again in 1784.

These are the first performances of the overture by the Boston Symphony Orchestra. The score calls for oboes, bassoons, and horns in pairs, timpani, and

strings.

The Symphony No. 26, called

Lamentatione , was composed probably in late 1768 or perhaps early 1769. The date

of the first performance is unknown, but

it may well have taken place on Good Friday of 1769 in one of the many Austrian monasteries in which music was highly cultivated. These are the first performances by the Boston Symphony Orchestra. The symphony is scored for two oboes, two horns, and strings; a bassoon is also included as a doubling instrument for the bass line, following Haydn's practice. A harpsichord (not written into the score) is employed as continuo instrument. The harpsichordist at these performances is Mark Kroll.

The Seven Last Words has a complicated genealogy going back to 1786, when Haydn composed a work for orchestra only, consisting of an Introduction, seven slow movements, and a fast finale entitled "Earthquake" for performance as part of the Good Friday liturgy at the Cathedral of Cadiz, Spain. In 1796, after hearing an attempt to convert the work into an oratorio by the addition of vocal parts, Haydn decided to undertake the conversion himself. Working with Baron Gottfried van Swieten, who later wrote the libretti for The Creation and The Seasons, he expanded the orchestration and created choral parts which fit into the context of the previously composed orchestral score, also adding a movement for wind instruments to introduce the fourth "word" and a series of a cappella choral "intonations" to present the actual Biblical text before each movement.

The new version was premiered in Vienna on 26 and 27 March 1796. These are the first performances by the Boston Symphony Orchestra. The vocal version is scored for soprano, alto, tenor, and bass soloists, mixed chorus, two flutes, two oboes, two clarinets, two bassoons and contrabassoon, two horns, two trombones, and strings.

Every year the Viennese Tonkunstler-Societat (Musicians' Society) gave a benefit concert to establish pension funds for the widows and children of members. These concerts were major public events which naturally aimed at attracting the largest possible audience by inviting the composition of new works from the most popular composers. This music would be performed by an enormous massed ensemble much larger than the standard orchestras of the day (or now, for that matter). In general the standards of orchestral performance in Vienna were higher than elsewhere, if only because the various noble houses had permanent bands of musicians who gathered together into

21 5

orchestral societies, where they had more experience playing together in large ensembles than was apparently the case elsewhere. A certain Baron Riesbeck, who was visiting Vienna, was astonished at the orchestral playing:

. . . one can hardly imagine anything in the world more beautiful. I have heard 30 or 40 instruments playing together [an unusually large ensemble for the time], and they

all produce one tone so correct, clean and precise that one might think one is hearing one single string instrument. The violins are one stroke of the bow, the wind instruments one breath.

The Baron went on to describe what he was told about the benefit performances (which he had not heard himself):

On a certain day of the year these 400 artists come together and give a concert for the

benefit of the widows of musicians. I am assured that all 400 instruments play

together just as correctly clearly and purely as if they were 20 or 30. This concert is surely unique in the world.

Haydn was commissioned to write the oratorio to be featured in the benefit concert for

the Lenten season of 1775. The chosen subject, II ritorno di Tobia (The Return of Tobias), was drawn from a melodramatic story in the Apocryphal Book of Tobias. The tale, apparently written during the Babylonian Captivity and replete with demons and monsters from Babylonian mythology, might well have been attractive to a composer whose fine hand at creating colorful pictures in sound was already evident (and, of course, became even more so in the later oratorios The Creation and The Seasons). But

Haydn's librettist, Giovanni Gastone Boccherini, the brother of the composer Luigi, was determined to reduce the action and emotional force of the story to the limits allowed in the Age of Reason. Following the by-then classic models of Pietro Metastasio, he

converted the story into a string of recitatives and arias,- the scenes of action—such as a fight with a water monster—are reduced to a few seconds of description in one line of recitative so that the aria to follow can expand endlessly on the moral.

Shreve, Crump and Low has been buying Antiques for over 100 years. Our clients come to us because of our well established reputation and long history of expertise with English and American Antiques. Our service means a direct sale with no hidden fees. Unlike the auction houses we add no insurance, transportation, S* photography or catalogue fees. There is ~F no seller's commission, and your payment

is prompt. We will be happy to help with ^""^Ite "*" referrals for estate items outside our \* area of expertise to ensure you will get the best price. When you have fine American or English antiques to sell, call directly to the head of our Antiques Department, Kevin Jenness. ^Kr~— SHREVE c fir £323taMi It wouldn't be the same without Shreve's.

Shreve, Crump & Low, Inc. Jewelers Since 1800. 330 BoylstonSt.,Boston, Mass.02116 (617) 267-9100 The Mall at Chestnut Hill • South Shore Plaza

22 Of course, that was exactly what was desired in 1775, and the performance was a rousing success, bringing in a record amount for the pension fund. In the next few years there were performances as far afield as Rome (where Haydn remained a little-known composer) and Lisbon. Nine years later, Haydn, recognizing the changes of taste that had occurred in the intervening time, cut down the length of the oratorio considerably and added two splendid choral numbers for a Vienna revival. It was performed again in 1808, the year before the composer's death, but by that time the changes of taste were simply too great—and they were, ironically, brought about by Haydn's own immensely successful late oratorios. One critic called the work "an antiquated potboiler, not well received."

It remained for the modern Haydn revival, and especially the availability of a recording, for the many beauties of the score to be made evident to all who care to listen.

The dark, slow introduction of the overture twines oboe and bassoon lines over a rich harmonic background that dies away on the dominant to bring in a cheery C major tune for the main theme of the Allegro. Haydn enjoys feinting toward the dominant, seeming always just about to settle down, but usually evading the final point of rest. The development begins with the main theme in the dominant, a sudden change to the minor mode leading away into the broad sequence of modulations. What seems to be a half-remembered version of the main theme in the relative minor suddenly turns into the theme itself and the recapitulation. When the oratorio is given entire, the overture is designed (like that of Don Giovanni) to run directly into the opening scene by moving to a key different from the tonic. When the overture is performed by itself, a concert ending is used instead.

Some of the most active music-making in eighteenth-century Austria was in the large monastic establishments, where music functioned not only as an adornment to the liturgy but also as a social, artistic, and intellectual pastime. Many of the monasteries had their own orchestras as well as all kinds of smaller chamber-music ensembles. (One THE HOLLOWS 335-341 NEWTON STREET • CHESTNUT HILL • BROOKLINE

A naturally wooded hideaway, just minutes from Boston.

The Hollows is an exclusive community of 1 1 elegant condominiums, nestled within a natural hollow overlooking the rolling hills of Putterham Golf Course. This secluded

two-and-one-half acre site, adjacent to The Country Club, is just minutes away from downtown Boston.

The ultimate in luxury, security, and privacy, each condominium ranges from 1,900 to 2,700 square feet. Living rooms feature spectacular 20-foot cathedral ceilings. Dramatic picture windows showcase breathtaking views of the magnificent natural setting. In the bedroom, sliding doors open onto a private landscaped courtyard. For truly gracious living, each home is equipped with a designer kitchen. Luxury baths include a Jacuzzi in the master suite.

We encourage you to purchase your condominium at The Hollows before its comple- tion in early 1982, so you can select finishing touches. For an exclusive preview, by appointment only, call Marcia Goodwin Associates at (617) 969-0380, or 738-1300, or Cnestnut Development at (617) 437-1031. Units available from $307,000. tfl^lfa ^ CHESTNUT DEVELOPMENT ASSOCIATES

23 THE LEADER

The Abacus Group Total Service in Real Estate Finance

• One Newton Executive Park, Newton Lower Falls, MA 02162, (617) 965-5410

10 S. LaSalle St., Chicago 60603, (312) 346-9172 • 12700 Park Central Dr., Dallas 75251, (214) 387-9295

• 3300 N. Central Ave., Phoenix 85012, (602) 264-4410 • 410 17th St., Denver 80202, (303) 623-3161 • 5401 W. Kennedy Blvd., Tampa 33609, (813) 879-4252

• 1225 19th St. NW, Washington, DC 20036, (202) 331-1214

A Member of the Heller Family of Financial Services * Abacus Financial Group, Inc. in Colorado

24 —

happy result of this situation is that in our own time scholars have located many lost or unknown works by Haydn—or better manuscripts of known works—stashed away in the organ lofts of the old abbeys and forgotten for two centuries.*) It is even possible that some of Haydn's works were composed on commission from religious establishments including some of the symphonies.

The symphony conventionally identified as No. 26 (though the number has no significance in indicating chronology) was apparently composed late in 1768 or early in

1769. The composer's autograph, which might have a date of composition, is lost, but he kept his own personal catalogue of his works, entering major compositions as he completed them. Though these entries were usually not dated, we can often estimate the time from the works composed around them whose dates we know. In the case of Symphony No. 26, Haydn entered the work into his catalogue immediately after the overture to his opera Lo speziale, which was first performed in the autumn of 1768 at Eszterhaza, and two entries before the Symphony No. 48, which survives in a copy dated 1769. But we have no idea for whom he composed this unusual work.

*Haydn scholar H.C. Robbins Landon tells of visiting one such monastery years ago and asking if

they had any old music. When he was assured that they did not, he asked if he might, in any case, rummage around in the organ loft and the chamber in which the organ pipes were located, this being a place where music was often stored. When the monk opened the door of the chamber he found the room stacked practically floor-to-ceiling with eighteenth-century musical sources, including what turned out to be perhaps the single largest collection of unknown Haydn sources rediscovered in our time. When he confronted his informant with this material and commented,

"I thought you said you didn't have any old music," the man shrugged and said, "Oh, I thought

you meant old [i.e. Medieval] music we've got tons of this stuff!" ;

RT IN BLOOM: A Three Day Festival (April 27-29th) Heralding Spring. Walk through flower filled galleries. Enjoy luncheons, fashion shows, gardening talks and demonstrations. Plus a benefit drawing for valuable prizes.

ENRI CARTIER-BRESSON: PHOTOGRAPHER. February 16 through April 4. The "decisive moment" captured in 155 black and white photographs selected by the artist himself.

GYPT'S GOLDEN AGE: The Art of Living in the New Kingdom, 1558-1085 B.C. February 3 through May 2. Over 400 treasures representing everyday life in Egypt some 3,500 years ago.

PRIVATE VISION: ContemporaryArtfrom the Graham Gund Collection. February 9 through April 4. Abstract works, representational pieces and whimsical objects. Works by Frank Stella, Morris Louis, Robert Motherwell, Jules Ohtski, Alexander Calder and Jean Dubuffet among others.

o**,. Museum of Fine Arts, Boston We've got a whole new way of looking at things.

25 Singleness of Purpose

In most trust companies, commercial banking constitutes the

principal business, while the trust department is assigned a role of lesser importance.

Fiduciary Trust Company feels strongly that the problems of

trusteeship require full time, not part time, effort;

that they call for nothing less than complete attention.

Therefore, Fiduciary Trust Company, true to its name, devotes

all of its activities to its fiduciary obligations.

By thus restricting our activities, we are in a position to provide the constant care and undivided attention necessary for the successful management of trust funds.

FIDUCIARY BOSTON TRUSTEES

Fiduciary Trust Company 175 Federal Street, Boston, Massachusetts 02110 Telephone (617) 482-5270

26 We can, however, hypothesize— from the fact that each of the first two movements quotes melodic material from the repertory of Medieval plainsong— that the symphony may have been commissioned for performance in one of the monastic establishments with its own orchestra. Certainly many of the surviving copies of the music come from such establishments, suggesting that they found the work both useful and appropriate. But which one, and for what occasion, must remain matters of conjecture, though the fact that both quotations from the plainsong repertory make use of thematic materials connected with the liturgy of Holy Week—and especially Good Friday — is certainly suggestive.

The first movement is in the normal sonata form, though it has some unusual features. After a dark, syncopated passage in D minor, which serves as the opening thematic material, we might easily expect a modulation to F, the relative major, and a new theme. We do indeed go to F, but there is no modulation, simply a jump from one key to the other. And the new material that appears—in the oboe and second violin— is clearly a plainsong melody. A clue to the identity of this music is found in the manuscript second violin part that survives in the Herzogenburg Abbey (see the illustration on page 28), where someone has annotated the music with the words "Evang[elistj,"

We'll . . and do this with a smile and set you service by professionals. Where else can you see over

aglow 450 chandeliers all on display? with our Special purchase of finest quality Lightolier at Lightolier special prices. chandeliers Where? Standard Electric.

1339 MAIN STREET WALTHAM* 890-1050 From route 128, take exit 49. Follow the signs

to route 1 17 The people who light up route 128

standard Chandelier Sale ends May 1st. Open daily. Electric^ Wed.. Thurs.. Fri. Evenings 8:30 p.m.. Sat. 4 p.m. ^ SUPPLY COMPANY

17 "Christ[us]," and "Jud[en]." These terms traditionally refer to the participants (the Evangelist, or narrator,- Christ; and the chorus of Jews, usually identified by the Latin name "turba," or "crowd") in liturgical dramas for Good Friday, which have been sung to plainsong melodic formulas since the Middle Ages. The formulas not only survived in the eighteenth century, but were clearly used in performance, since the liturgical books were reprinted at that time (the illustration on page 29 shows an edition of 1761 that includes the formulas borrowed by Haydn). It seems likely, then, that this symphony was designed for performance at a time and place in which the formulas of the liturgical dramas would be familiar and recognizable to the audience— very likely as part of a Good

Friday service, even perhaps as a kind of overture to the liturgical drama, though this is pure speculation. In any case, the first movement of the symphony follows the normal sonata pattern. In the recapitulation, the plainsong melodies recur in D major highlighted even more by the addition of the first horn. Haydn was clearly determined that his audiences notice the quotation!

The Adagio draws upon another plainsong melody—the formula for reciting the Lamentations of Jeremiah, which begin (in the Latin liturgy) with the Hebrew letters of

the alphabet (aleph, beth. . . ) to identify each verse. These alphabetical references have traditionally been set to music in an extended lyrical phrase (polyphonic settings go back

JfA

g^f gf*-f tt r. 1 ft- yt fjg 1 ij£] wj :a

A manuscript second violin part of Symphony No. 26 from the monastery of Herzogen- burg in Lower Austria. An eighteenth-century hand has identified the traditional melodic formulas of plainsong liturgical drama as quoted by Haydn.: "EvangfelistJ" at the end of the third and fifth staves; "ChristfusJ" at the beginning of the fifth staff; and "JudfenJ' over the third measure of the sixth staff.

28 to the Renaissance,- one of the best known of more recent versions is by Francois Couperin, who wrote for solo voice and continuo in the early eighteenth century). Haydn's theme, again presented in the oboe and second violin (with varied elaboration in

the other parts), is one of these phrases, responsible for the nickname of the symphony

It is not entirely unknown for an early Haydn symphony to end with a minuet

movement. In this case, owing no doubt to the context, the minuet is one of rather severe character, though at least one monastic scribe, in the abbey at Melk, decided that a dance

should have no part of this score and left it off the symphony entirely. Still, he found the

music too attractive to discard entirely,- he copied it for use in a different context. We are not accustomed to hearing symphonies end with minuets, but the rather somber

colorations of this one, though softened by the charm of the Trio, seems to fit the

penitential tone of the whole as well as any such movement might be expected to.

The Seven Last Words of Our Saviour on the Cross is the title of no fewer than three compositions by Haydn—an orchestral work, a string quartet, and an oratorio (not to mention a piano reduction of the orchestral work which he approved for publication).

They all grew out of the first version, composed for orchestra in 1786 to fill an unusual

I PALMARUEDOMINICA

E. h& o Domini eeftn }d u Chrrfb kcauMWm&M vm.

•-jr ••"-~fMM|l~#-H§--r-v i

In | lo tempo re : <&zit Jefu* Mcipu lis fa i*. C$d $s^f«f *

. I . i o ll i W . ^J - , ^M. « igHi M mi'^kJmmm*'

f$ pOflbidaumPafcha ct s dt §. b us hommH tnuktutr %&cmdk %tfte»

—•»+-.»•' • «-» *• #• »' 53: 4 3^E E. Tunc coztgregt a tot principes f*ce»«fc>«ffi, & fe m ofls popts B* 6^±r^tg±f!^^^j!bp^

»« wrl ura prirtcipit ftcerdotum q<» dtab*i» C* iphxs : & canci M

J5Lil3~Jz"3^

fc cerunt, ut jefutn do Jo tencirtRS & oca

ft" 4

. T.Nonmdi c fcfto , ne forte camtit&us Me ret in po pulo.

: : $E*F fk5:^^"%<^^

E.Ctw*at«ne(fa: Jc&siolkthtR! «» m dam© Sasoais kpro fi» «c *tEf5

: Crffn »*] cup? nsu U c? , h&cn» * Wwftram -^ unguents pre ti o fi : 4k «p

il '.'..,. b. ...*- A .-.;. ., &Ot

first page o/ the Passion music from a 1761 edition of the traditional formulas. The singers are identified by the letters E (Evangelist), C (Christus), and T (Turba). The opening line is very similar to the "Evangelist" material in Haydn's theme, the phrase beginning after the letter C on the second line is close to the "Christus" material, and the seventh line, introduced by the letter T, is almost identical to the phrase identified as "Juden" in the Herzogenburg violin part.

29 commission for an orchestral work to be performed in Cadiz, Spain, on Good Friday. The commission had an unusual stipulation, designed to suit the music to the special service held on that day. Haydn himself described the requirements in a memoir that he dictated in 180L

About fifteen years ago I was requested by a canon of Cadiz to compose instrumental

music on The Seven Last Words of Our Saviour on the Cross. It was customary at the Cathedral of Cadiz to produce an oratorio every year during Lent, the effect of the

performance being not a little enhanced by the following circumstances. The walls, windows, and pillars of the church were hung with black cloth, and only one large lamp hanging from the center of the roof broke the solemn darkness. At midday, the doors were closed and the ceremony began. After a short service the bishop ascended

the pulpit, pronounced the first of the seven words (or sentences) and delivered a

discourse thereon. This ended, he left the pulpit, and prostrated himself before the

altar. The interval was filled with music. The bishop then in like manner pronounced the second word, then the third, and so on, the orchestra following on the

conclusion of each discourse. My composition was subject to these conditions, and it was no easy task to compose seven adagios lasting ten minutes each, and to succeed

one another without fatiguing the listeners; indeed, I found it quite impossible to

confine myself to the appointed limits.

Haydn wrote to the bishop to ask if he could not in a few movements exceed the ten minute limit. So great was his fame that the bishop acquiesced at once and said that he would shorten his sermons instead.

Actually the ceremony took place not in the cathedral, but in an underground grotto called Santa Cuerva. A Spanish priest had the idea of commissioning music from Haydn and asked a friend who was in touch with the composer to explain in detail the nature of the ceremony and the way the music was to fit it. When Haydn agreed to compose the score, he was in the middle of an incredibly busy year, during which he had to conduct

125 operatic performances at Eszterhaza and keep composing for many commissions (at least three of the Paris symphonies and a group of concertos for the King of Naples among them). The Seven Last Words came at the end of the year and was probably finished early in 1787.

Haydn expressed himself as satisfied with the way he solved the difficult problem of maintaining variety and interest through a series of seven slow movements, and over the years the score attracted considerable interest from connoisseurs, although—perhaps

jrinz y^EA&rijxn <^f\ug± of

A Distinctive Selection of Oriental Rugs and Wall Hangings

1643 Beacon Street, Waban Square

Hours: Tues-Sat 11-5, Thurs Evenings til 8 Phone (617) 964-2686

"Ok

30 '

that his symphonies or the inevitably— it did not attract the kind of popular attention regularly all over Europe. Haydn two late oratorios did. Still, they were performed quite himself oversaw the supervision of a manuscript copy for a performance in London in York). when 1791 (the manuscript is now in the Pierpont Morgan Library in New And in the returning from his last trip to London, late in 1795, he stopped for the night German border town of Passau where he chanced to hear an unusual arrangement of his parts the orchestral score. The local chapel master, Joseph Friebert, had overlaid choral on music and added words to make explicit the implied texts of the sonatas. Haydn expressed his satisfaction with the performance, but concerning the vocal parts he planted, and the idea was commented, "I think I could have written better." The seed was soon to grow to fruition. the Seven Upon his return to Vienna he immediately began to create a vocal version of Last Words by adding his own vocal parts, to which his friend Baron Gottfried van Swieten wrote a German text, apparently an adaptation of the one used by Friebert. The final movement ("Earthquake") was given a text drawn from K. W Ramler's Dei Tod Jesu ("The Death of Jesus").

Actually, Haydn did much more than simply add vocal lines to his older piece. He expanded the scoring considerably, adding flute, clarinets, trombones. Then he preceded each sonata movement of the score except the fifth with a very simple, unaccompanied choral setting of the Biblical text (in German) and composed a new, extended introducto- ry movement for wind band to preface the fifth sonata (perhaps to serve as a kind of overture to a second part in the event that a break or intermission was desired at performances). In order to accomplish this work, Haydn arranged to have Johann Elssler

r - 1 4 - \4 -^,iTl \4t r ^ % " 1^4 v -' IP pi

• £ #1 - T I r

? f i Hi ;3M3Srfs k* 7? -,

tlir -4 I 1 1 Hi

1 « ?** : If

^ **-* InI 1)4 i - Lli -

j;»» U/f «fff :| ii el ! m* m *rr* f ! III „*?« ^

"•* 44 feaii

Opening of the first sonata of The Seven Last Words in the manuscript that Haydn used to create the vocal version. Most of the page (staves 1-3, 6, 8-10, and 16) were copied in the fine professional hand of Johann Elssler, who left room for Haydn to add the vocal

parts as well as clarinets, flutes, and trombones (staves 4, 5, and 7).

31 This is a CoacK Belt

It is one of twenty belts I we make out of leather-trimmed wools 1 and linens in a wide range of colorful ^' stripes and solids in both men's and women's sizes. These belts, as well as our Glove Leather belts, are sold in selected storesthroughout the country. If you cannot find the Coach® Belt you want in a store near you, you can also order it directly from the Coach Factory in New York. For Catalogue and Store List write or call: Consumer Service, Coach Leatherware, 516 West 34th Street, New York City 10001. Tel: (212) 594-3914. YOU TOO CAN BE A GREAT DESIGNER WITH A LITTLE HELP FROM US.

Paine s interior design staff at your service free with every purchase.

PAINE FURNITURE Nursing and Retirement Homes

for those who appreciate the difference . . .

Four superb nursing and retirement homes where we cater to the individual personalities and preferences of our guests in a truly elegant fashion. Each home is professionally staffed to meet nursing care needs, yet feels and functions like a fine hotel.

Oakwood—601 Summer Street—rates from $85.00 per day Manchester, Mass. Cape Cod—Lewis Point Road—rates from $65.00 Bourne, Mass. Elmhurst—743 Main Street—rates from $70.00 Melrose, Mass. Norwood—767 Washington Street—rates from $70.00 Norwood, Mass.

Please feel free to visit or call for further information. Brochure on request. Owned and Managed by Astor & McGregor (617) 542-0573 AN IRISH MIST SETTLED OVER THE EVENING.

The hills roll forever. The lakes radiate light. The dew kisses each morning. The mist settles every evening. You can

taste it all, and more. Irish Mist is the legendary, centuries old drink made from all this and sweetened with just a wisp of heather honey. Irish Mist can be enjoyed anytime, or place, or way: on the rocks; neat; or mixed with anything you like. It's a pleasing land. Its a pleasing drink.

The site of the Boston Free Hospital For Women, Park- way Division, built in 1895, is now being developed as 86 condominium residences. The structures will preserve the original Victorian design and Frederick Law Olmsted's landscape.

Developers are The Parkway Development Company Inc., a joint venture between the Bay State Improvement Company, a subsidiary of the Provident Institution for Savings and the Raymond Cattle Company, a partner in the development of the Carlton House, the condominiums adjacent to the Ritz.

For information call: 267-6889.

The Parkway Brookline write out a fair copy of the score, leaving space for the voices and instruments to be added. The original manuscript shows very clearly the professional copyist's beautiful hand and the composer's insertions of new material.

The text of the vocal version (except of course for the Biblical passages set in the unaccompanied introductions) is fairly typical religious libretto material for the period, emphasizing personal emotional reactions to the events of the Crucifixion. Of course, since the text was created afterwards and added to Haydn's music (as opposed to the normal course, in which Haydn received a completed libretto and set it directly), it does not follow the poetic forms we might otherwise expect.

The original texts to which Haydn composed his orchestral music— the traditional "Seven Last Words" —are not single words but rather sayings of Jesus spoken on the cross and gathered in the four gospels, no one of which contains them all. Probably the grouping together of these sayings is in some way connected with the symbolic signifi-

cance of the number seven. The traditional Seven Words are :

Father, forgive them, for they know not what they do. —St Luke 23:34

Verily I say to thee, this day thou shalt be with me in paradise. —St. Luke 23:43

Woman, behold thy son,- and thou, behold thy mother. —St. John 19:26 My God, my God, why hast thou forsaken me?

—St. Mark 15=34,- St. Matthew 2746

I thirst. —St John 19:28

It is finished. —St. John 19:30

Father, into thy hands I commend my spirit. —St. Luke 23:46

Baccarat Full-lead crystal fashioned with exquisite artistry. Baccarat Lotus vase, $265.

34 Newbury St., Boston 536-3826. steps away from the Rltz-Carlton Hotel. & China, Class & Gifts (/ Since i860

33 Brewer &. Lord? Didn't they score the longest running Broadway Musical?

We're Brewer

MAIN OFFICE: 40 Broad Street, Boston, MA 02109 Tel. (617) 426-0830 BRANCHES: Acton, Framingham & Bedford (Gail Aviation Insurance)

Personal &. Business Fire/Casualty/Surety/Marine/Auto/Homeowners/Risk Management

Only at the very end— the Earthquake— does he write really fast music (and it is very loud, too, representing perhaps the first time in the history of music that a composer used the dynamic marking fff). In the slow movements he attempts to seize the character of each movement through all the devices that make music "expressive" as well as traditional elements of musical symbolism. The addition of the vocal parts, though, gave him another resource for varied sonority and formal articulation. Not surprisingly, the oratorio version turned out to be a key to the work for many people, a way to enter a musical composition that made severe demands on their attention and powers of memory. The oratorio was published early on and remained for a long time the most popular of the several versions. (Of course the fact that the orchestral score of the original version remained unpublished until the 1950s may have had something to do with its neglect; and Haydn had never really intended the string quartet arrangement to be anything other than a makeshift, to allow musicians to perform the music if they did not have the full orchestral resources available.) Today the situation is very different. Since publication of the orchestral score, the original version has been performed and recorded with some frequency, while Haydn's last version—and most commercially successful in his own day— is rarely heard. But it deserves to take its place in the Haydn canon (even if, in the end, we may choose to prefer the purely orchestral piece) as a moving musical commentary on those powerfully evocative images from the Crucifixion story as de- picted by a composer whose work overflowed with musical images of the greatest warmth and color.

—Steven Ledbetter

Texts for Haydn's Seven Last Words begin on page 36.

Handicapped kids have a lot to give

I A. and the Cotting School has a lot to give handicapped children. We offer a 12-year day school program for physically handicapped children with normal intellectual capability. Included in school services are both vocational and college

preparatory training, transportation (in Boston), medical, dental, and vision care, speech and physical therapy, social development programs, lunch, testing, recreation and summer camping. Without any cost whatsoever to parents. Right now. we have openings for handicapped children. Please pass the

word. Call or write William J. Carmichael, Superintendent. Cotting School for Handicapped Children. 241 St. BotOlph Street. Boston.

Massachusetts 021 1 5. (617) 536-9632.

Cotting School for Handicapped Children a private, non-profit, nonsectarian. Ch. 766-approved institution supported primarily by gifts, grants, legacies and bequests.

35 1NTRODUZIONE

NO.l Voter, vergib ihnen, denn sie wissen Father, forgive them, for they know nicht, was sie tun. not what they do. Vater im Himmel, o sieh hernieder Father in Heaven, o look down vom ewigen Thron! from your eternal throne. Vater der Liebe, dein Eingeborner, Father of Love, your only-begotten son

er fleht ftir Sunder, pleads for sinners, fur deine Kinder, erhore den Sohn! for thy children, hear thy son!

Ach, wir sind tief gefallen, Ah, we have fallen far,

wir siindigten schwer we have sinned greatly,- ; doch alien zum Heil, uns alien, but for the salvation of us all floss deines Sohnes Blut. thy son's blood flowed. Das Blut des Lamms schreit nicht um The blood of the Lamb does not cry for Radic- vengeance; es tilgt die Siinden. it cancels sin.

Vater der Liebe, lass uns Gnade finden, Father of Love, let us find grace, erhore den Sohn! hear thy son!

NO. 2

Furwahr, ich sag es dir.- Heute wiist du Verily, I say to thee: This day shah bei mil im Paradiese sein. thou be with me in paradise. Ganz Erbarmen, Gnad' und Liebe, All mercy, grace, and love bist du Mittler, Gotteslamm. art thou, intercessor, Lamb of God.

Kaum ruft jener reuig auf zu dir : No sooner does a penitent cry to thee : Wenn du kommest in dein Reich, ach, "When you come into your kingdom, oh, so denke mein! think of me!" so versprichst du ihm voll Milde= than you promise him, full of gentleness, Heut wirst du bei mir im Paradiese "Today shalt thou be with me in sein. paradise." Ganz Erbarmen, Gnad' und Liebe, All mercy, grace, and love bist du Mittler, Gotteslamm. art thou, intercessor, Lamb of God.

Herr und Gott! Blick auf uns! Lord God! Look upon us. Sieh an deines Kreuzes Fusse Behold at the foot of thy cross unsre wahre Reu' und Busse! our true repentance! Sieh, o Vater, unsre Reue! Behold, o Father, our repentance!

Herr und Gott! Blick auf uns! Lord God! Look upon us.

Gib uns auch zur letzten Stunde Give us, too, at our last hour,

Jenen Trost aus deinem Munde= the same consolation from thy lips: Heut wirst du bei mir im Paradiese Today shalt thou be with me in

sein. paradise.

36 NO. 3

Fiau, hier siehe deinen Sohn, und du, Woman, behold thy son; and thou, siehe deine Mutter! behold thy mother.

Mutter Jesu, die du trostlos, Mother of Jesus, inconsolable, weinend, seufzend bei dem Kreuze weeping, sighing, you stood by the standst cross, und die Qualen seines Leidens and the torments of his suffering, in der Stund des bittern Scheidens in the hour of bitter parting siebenfach in dir empfandst. sevenfold have you felt them. Kaum mehr fahig, dich zu fassen, Scarcely able to control yourself, und doch standhaft und gelassen, yet steadfast and reserved, nimmst als Sohn den treuen Jiinger you take the faithful disciple as son, und mit ihm auch uns als Kinder an. and with him, us as your children.

Mutter Jesu, o du Zuflucht aller Mother of Jesus, o refuge of all Sunder, sinners, hor das Flehen deiner Kinder. hear the prayers of your children. Hor! Hor! Hear! Hear! O du Zuflucht aller Sunder, O refuge of all sinners, steh uns bei im letzten Streit, stand by us in the last battle, Mutter voll der Zartlichkeit, mother, full of tenderness, o steh uns alien bei! stand by us all. Wenn wir mit dem Tode ringen When we wrestle with death und aus dem beklemmten Herzen and from our anxious hearts unsre Seufzer zu dir dringen, our sighs reach you, lass uns, Mutter, da nicht then, o mother, do not let us unterliegen! be undone!

Hilf uns dann den Feind besiegen! Help us conquer the foe!

Und steh uns bei im letzten Streit! and stand by us in the last battle! Wenn wir mit dem Tode ringen, When we wrestle with death, o da zeige dich als Mutter then show yourself as a mother und empfehl uns deinem Sohn, and recommend us to your son, o Mutter! o mother!

NO. 4

Mein Gott, mein Gott, warum hast du My God, my God, why hast thou mich verlassen? forsaken me? Warum hast du mich verlassen? Why have you betrayed me? Wer sieht hier der Gottheit Spur? Who sees here any trace of divinity? Wer? Wer? Who? Who? Wer kann fassen dies Geheimnis? Who can grasp this mystery? O Gott der Kraft, O God of power, O Gott der Macht und Starke, O God of might and strength, wir sind deiner Hande Werke, we are the works of your hands, und deine Lieb, o Herr, hat uns and thy love, O Lord, has erlost. redeemed us.

O Herr, wir danken dir von Herzen, O Lord, we thank thee with all our hearts, Unserwegen littst du Schmerzen, that for us you suffered pains, Spott, Verlassung, Angst und Pein. mockery, denial, anguish, and torment. Herr, wer sollte dich nicht lieben, Lord, who would not love thee, dich mit Sunden noch betriiben? who would yet sadden you with his sins? Wer kann deine Huld verkennen? Who can mistake your grace? Nein, nichts soil uns von dir trennen, No, nothing shall divide us from you, allhier und dort in Ewigkeit. whether here or through eternity.

Please turn the page quietly.

37 INTRODUZIONE

NO. 5

Jesus mfet: Ach, mich diXrstet! Jesus calls, "I thirst}." Hemmt nun die Rache, Restrain your vengeance,

stillt eure Wut! curb your wrath!

Menschen, lasset Mitleid euch All ye people, let yourselves yield erweichen, to compassion, hemmt nun die Rache, restrain your vengeance, ruft Erbarmung in das Herz! summon mercy to your hearts!

Jesus rufet: Ach, mich durstet! Jesus calls, "I thirst!"

Ihm reicht man Wein, He is given wine

den man mit Galle mischet. mixed with gall. So labt man ihn. Thus do they comfort him.

Kann Grausamkeit noch weiter gehn! Can horror go further than this! Nun kann er nicht mehr fassen No longer can he grasp den Schmerz, der ihn allmachtig driickt, the pain that seizes him mightily, nun kann er nicht mehr fassen no longer can he grasp den Schmerz, der Wohltun war. the pain that was a benefaction.

NO. 6

Es ist vollbracht. It is finished.

Es ist vollbracht! It is finished!

An das Opferholz geheftet, Nailed to the sacrificial wood, hanget Jesus in der Nacht,- Jesus hangs in the night; und dann ruft er laut: and then he cries aloud:

Es ist vollbracht! It is finished! Was uns jenes Holz geschadet, However that wood has injured us

wird durch dieses gut gemacht. becomes a blessing through this. Weh euch Bosen, weh euch Blinden, Woe to ye, evil and blind,

weh euch alien, die ihr Siinden woe to you all who continue

immer hauft auf Siinden! to heap sin upon sin! Menschen, denket nach! All ye people, consider! Werdet ihr Erbarmung finden, Will you obtain mercy wenn er kommt in seiner Herrlichkeit when he comes in his splendor und seiner Macht? and his might?

Rett uns, Mittler, vom Verderben! Save us, Redeemer, from destruction! Hore, Gottmensch, unser Schrein! Hear our cries, O God-Man! Lass dein Leiden und dein Sterben Let your sufferings and your death

Nicht an uns verloren sein. not be lost on us. Lass uns einst den Himmel erben, May we inherit heaven und mit dir uns ewig freun. and rejoice eternally with thee.

NO. 7

Vater, in deine Hdnde empfehle ich Father, into Thy hands I commend

meinen Geist. my spirit.

In deine Hand', o Herr, empfehl ich Into thy hands, o Lord, I commend

meinen Geist. my spirit. Nun steigt sein Leiden hoher nicht, Now his sufferings will increase no more, nun triumphiert er laut und spricht: now he triumphs and speaks: Nimm, Vater, meine Seele, "Take, o Father, my soul,

dir empfehl ich meinen Geist. to you I commend my spirit."

38 Und dann neigt er sein Haupt und stirbt. And he bows his head and dies. Vom ewigen Verderben hat uns sein From eternal destruction his Blut errettet; blood has saved us ; Aus Liebe fur uns Menschen, Out of love for us, aus Liebe starb er den Tod der Sunder. out of love he died a sinner's death.

Du gabst uns neues Leben You gave us new life,- ; was konnen wir dir geben? what can we give you?

Zu deinen Fiissen liegen wir, At thy feet we lie, o Jesu, tief geriihrt; o Jesus, deeply touched,- nimm unswer Herz als Opfer an! take our hearts as sacrifice!

IL TERREMOTO (THE EARTHQUAKE)

Er ist nicht mehr. "He is no more."

Der Erde Tiefen schallen wider : The depths of the earth reecho it:

Er ist nicht mehr. "He is no more."

Erzittre, Golgotha, erzittre! Tremble, Golgotha, tremble! Er starb auf deinen Hohen. He died on your heights.

O Sonne, fleuch O Sun, flee, und leuchte diesem Tage nicht! and do not shine upon this day!

Zerreisse, Land, worauf die Morder Split open, soil, upon which the stehen, murderers stand, Ihr Graber, tut euch auf, Graves, open wide, ihr Vater, steigt ans Licht! ye fathers, ascend to the light! Das Erdreich, das euch cleckt, The terrestrial ball that covers you ist ganz mit Blut befleckt. is utterly stained with blood.

-Translation by S.L.

his kLMlAES

AM 11 F- V Z V* .

*/f\ if///// /£/ '////// rk JPAH/rrrra.

39 Augment your investments lest you go baroque.

Fidelity Management & Research Co. Investment Advisor to the Fidelity Group of Funds 82 Devonshire Street, Boston, Massachusetts 02109, Tel. 523-1919

SS£3882te

Where the well-dressed woman shops.

Timeless clothing and personal service.

Talbc* Since 1947

458 Boylston Street, Boston, Tel 262-2981

For our free catalog write The Talbots, Dept. PB, Hingham, MA 02043, or call toll-free 800-225-8200, (in Massachusetts call 800-232-8181). J 40 .

More . .

Books on Haydn are either very large or very small. The best short introduction is Rosemary Hughes's Haydn in the Master Musicians series (Littlefield paperback); at the

opposite end of the scale is the mammoth five-volume study by H.C. Robbins Landon,

Haydn.- Chronology and Works (Indiana). Symphony No. 26 and 11 ritoino di Tobia are

discussed especially in vol. II; The Seven Last Words in all its various transformations

keeps popping up in vols. II, III, IV, and V! A highly recommended though much more technically detailed book has just appeared as Haydn Studies, edited by Jens Peter Larsen,

Howard Serwer, and James Webster (Norton),- it contains the scholarly papers and panel discussions held at an international festival-conference devoted to Haydn in Washington,

D.C., at which most of the burning issues of Haydn research were at least aired if not entirely resolved. And no consideration of Haydn should omit Charles Rosen's brilliant study The Classical Style (Viking; also a Norton paperback).

Antal Dorati's many Haydn recordings include a complete version of 71 ritorno di Tobia with the Royal Philharmonic Orchestra and soloists Barbara Hendricks, Linda Zoghby, Delia Jones, Philip Langridge, and Benjamin Luxon (London).

Dorati has also recorded the Symphony No. 26 as part of his massive series including

all of the Haydn symphonies with the Philharmonia Hungarica. The Lamentatione is part of the six-record set containing the symphonies numbered 20 to 35, supplemented with splendidly full and informative liner notes from H.C. Robbins Landon. The only

other recording currently available is that of Leslie Jones with the Little Orchestra of

London (Nonesuch, coupled with symphonies 12 and 83); it is rather rough-and-ready, but has the advantage of being available as a single.

Oddly enough, there are no currently available recordings of the vocal version of The Seven Last Words, though perhaps an import has eluded me. The only version known to

me is Hermann Scherchen's 1962 recording with the Vienna State Opera Orchestra, the Vienna Academy Chorus, and soloists Virginia Babikian, Ina Dressel, Eunice Alberts,

John van Kesteren, and Otto Wiener on the Music Guild line of Westminster, but it has been unavailable for some time, though a remainder outlet might turn up the occasional copy.

-S.L.

Cnir^ P/w^tr IK "2>osio»t at

9%e Jtaftati Cuisine u

u u

apGuiDPKs ease DavicS 62 Charles Street Boston. MA 02114 269 NEWBURY STREET (617)523-7181

Dinner/Sun - til Thurs 1 1 30/Fri & Sat til 1 2:30 Gallcru ' iyamvKCiVaHUKi ^ Valet parking 262 -48 1 41 People who are still making beautiful music together on their 100th anniversary deserve to be listened to.

Honeywell is proud to help sponsor the BSO's 100th anniversary, Friday evenings at 9:00 on WCRB 102.5 FM. Honeywell Antal Dorati

- ^M International Brahms Festival in 1980. The Wf Beethoven Festival resulted in a nine-part

television series, released nationwide on 160

public television affiliates and nominated for an Emmy. Mr. Dorati's recordings with the Detroit Symphony have also been particularly

successful, and he led that orchestra on its first

tour of Europe in the fall of 1979. Mr. Dorati is a highly regarded specialist in the music of i 1 1^ Franz Joseph Haydn, having recorded all of that composer's symphonies as well as numer- Hr j| 1 k, ous operas and other works. These are his first performances with the Boston Symphony in more than a decade: he appeared here in 1958, and at Tanglewood in 1970.

Antal Dorati is Conductor Laureate of the Detroit Symphony Orchestra, of which he was music director from 1977 to 1981. During his long and distinguished career he has appeared with virtually every major orchestra. Born in Budapest, Mr. Dorati trained as a composer, cellist, pianist, and conductor in that city's Academy of Music. He was immediately named coach and, soon after, conductor of the Royal Opera House in Budapest. From 1934 to 1941 he was music director of the Ballet Russe de Monte Carlo and, subse- quently, of the American Ballet Theatre. He left ABT in 1945 to organize the Dallas Sym- phony Orchestra, and following his success there he became music director of the Min- neapolis Symphony. His principal appointments since then have included the chief conductorships of the BBC Symphony, the Stockholm Philharmonic, and the Royal Phil- harmonic, and the music directorship of the National Symphony Orchestra in Wash- ington, D.C. Mr. Dorati was named Conduc- tor Laureate of the Royal Philharmonic in July 1978, and he continued his affiliation with the National Symphony as principal guest conductor through the spring of 1981.

In 1977, Mr. Dorati instituted a series of annual mid-season festivals in Detroit dedicated to one composer or group of composers.

Beethoven was the first, followed by a "Schubert and Vienna" festival in 1978 and an 43 a round of applause for the store in the heart of the square

HARVARD SQUARE M.I.T. STUDENT CENTER CHILDREN'S HOSPITAL MEDICAL CENTER ONE FEDERAL STREET IN BOSTON

Handsom recreate th* GOL

J. J. Hawes, circa 1870

44 Linda Zoghby

she has appeared at Carnegie Hall, the Metro- politan Opera, the Kennedy Center, and the White House. Recent seasons have included her Glyndebourne debut as Mimi in La bohtme, appearances with the Houston Grand

Opera in Faust and Don Giovanni, and fre- quent performances and recordings with conductor Antal Dorati, among them Haydn's

oratorio II ritomo di Tobia and opera L'isola disabitata. She has also appeared with the San Francisco Symphony, the Indianapolis Sym-

phony, the Israel Philharmonic, and the Royal Philharmonic, and she made her Hawaii State Opera Theatre debut as Donna Elvira in Don Giovanni. Recent career highlights have included an Orfeo ed Euridice with Marilyn

Home in Ottawa and at Carnegie Hall, a first

Soprano Linda Zoghby is equally at home in season at the Metropolitan Opera, Beethoven's opera, recital, and performance with orches- Ninth with the Detroit Symphony in Detroit,

tra. Since coming to prominence in 1972, at Carnegie Hall, and at the Kennedy Center, when she was chosen a member of the Wolf and Honegger's Le Roi David with the Handel Trap company and won first place in the & Haydn Society in Boston. These are Ms.

Young Artists Award competition of the Zoghby's first appearances with the Boston National Association of Teachers of Singing, Symphony Orchestra.

The Tradition is preserved.

t £ Traditional American Fare 'i/^iL- served in an elegant Back Bay Townhouse

Joseph's

279 Dartmouth St. Boston, MA 02116 (617) 542-3600

45 [*rtidteiiiiK THE SUITE SOLUTION.

We are interior designers of residential, commercial and office spaces. Our personalized services are what make us special. Call us for a free consultation. Portuguese Needlepoint Rugs We specialize in these elegant handmade wool rugs from Lisbon. Choose from our wide assortment or let us help you design Custom Quarters, Inc. your own. Please call (617) 523-2424 for an 6 Faneuil Hall Marketplace appointment. Cindy Lydon, Arkelyan Rugs, Boston, MA 02109 617/720-4114 67 Chestnut Street, Boston.

M^loAMO ^LWOs.

The dose-to-perfect evening.

There are restaurants, closer to Symphony Hall than the 57 Restaurant. But there are none closer to perfection.

The setting is unique and opulent. The cuisine, distinctively international:

prime beef, seafood, magnificent desserts. Prestigious Office Space in Park Plaza, Boston All perfectly prepared and served. Adjoining the Boston Park Plaza Hotel So even though it's closer to the Metropolitan Center than to Symphony Hall,

dinner at the 57 is the perfect prelude to an evening with the BSO. The

Restaurant Exclusive Leasing and Managing Agents dose to perfect Call (617) 426-5554 Anytime Christine R Kandrach, Leasing Manager 200 Stuart Street, Boston, Massachusetts Reservations: (617) 423-5700 All credit cards welcome. Sarah Walker

constant demand throughout the world: her engagements have included Bach in Germany with the late Karl Richter, Verdi in Stockholm with Antal Dorati, Mahler at the Promenade Concerts in London with Sir Colin Davis, and Handel at La Scala with Sir Charles Macker-

ras. She has toured Europe with ensembles such as the English Chamber Orchestra, the London Sinfonietta, the BBC Symphony, and

the Academy of St. Martin-in-the-Fields. Ms. Walker has numerous recordings to her credit, including two recital albums, one of gypsy and folk music by Brahms and Dvorak, the

other a collection of Schumann Lieder. She is scheduled to record the complete songs of Faure, and other recordings include Henze's Mezzo-soprano Sarah Walker's varied reperto- Voices with the London Sinfonietta con- ry includes works by British, German, French, ducted by the composer for Decca and Verdi's and Italian composers, Russian, Spanish, La traviata with Muti, Scotto, Kraus, Bruson, Czech, Norwegian, and Hungarian music in and the Philharmonia Orchestra for EMI. the original languages, and music ranging These are Ms. Walker's first appearances with from the Baroque to the avant-garde. Operatic the Boston Symphony Orchestra in Sym- appearances have included Glyndebourne, phony Hall,- she sang Beethoven's Ninth with English National Opera, Covent Garden, the the orchestra during the BSO's European tour

Vienna State Opera, and the Lyric Opera of in November 1981 under the direction of Seiji

Chicago. As a concert artist, Ms. Walker is in Ozawa.

decor iniernationa 171 newbury st. boston ^2-1529 South Boston Savings Bank "ALWAYS THE LEADER"

MAIN OFFICE: 460 West Broadway, South Boston

NEPONSET CIRCLE OFFICE: 740 Gallivan Boulevard handwoven ruq6 orientals • Kilims -dhurries QUINCY OFFICE: 690 Adams Street, Lakin Square £ related folk art

47 .

TABLE D'HOTE. On those evenings when you are rushing to

the symphony or the theatre, it is still possible to dine well. From 5:30 until 7 PM, you may order from our Table d'Hote menu at Zachary s and all evening at the Cafe Promenade. It has many of the selections from our evening menu. And all of them are served promptly. THE COLONNADE. BOSTON'S EUROPEAN GRAND HOTEL.

120 Huntington Avenue, Boston, MA 02116, Telephone: (617) 424-7000. The Preferred Hotel in Boston. Also represented by HRI, The Leading Hotels in the World.

The Boston Home, (formerly The Boston Home for Incurables)

"100 Years Young"

In June with The B.S.O We're proud of The Orchestra's Anniversary. Also, Our Own Centennial— 188 1 / 198 1

Write for Centennial Brochure: The Boston Home, IllC. David W. Lewis, Treasurer 2049-2061 Dorchester Avenue John Bigelow, Assistant Treasurer Boston, Massachusetts 02124 617/825-3905

48 Claes H. Ahnsjtt

and he has since been acclaimed with leading opera companies in a large and varied reperto-

ry. As a regular member of the Munich State Opera he has performed Mozart, Puccini, Rossini, Wagner, Beethoven, and Henze. Under the direction of Gunther Rennart, he has sung Tom Rakewell in Stavinsky's The Rake's Progress for Munich television, and he has been heard in Cologne in a Mozart opera cycle directed by Jean-Pierre Ponnelle. Munich performances have also included the role of Alea in Janacek's Totenhaus under Rafael Kubelik and the role of Fenton in Falstaff during the Munich Festival. Mr. Ahnsjo made his U.S. operatic debut in Sep- Born in Stockholm, tenor Claes-Haakan tember 1976 in the San Francisco Opera pro- Ahnsjo planned originally to become a teach- duction of Massenet's Thais, and he was a er and took his school examination for that guest artist with Antal Dorati and the purpose in 1963, but in 1966 he began to study National Symphony during that orchestra's voice at the High School of Music. He made Haydn Festival at the Kennedy Center. These his operatic debut in 1969 singing Tamino in are his first appearances with the Boston Sym- Die Zauberfl'dte with the Stockholm Opera, phony Orchestra.

We make it easy for you to hit the high notes.

45 Franklin St. Boston MA 02110 482-7530 969-7500 For Savings Member FDIC

49 AVOID The Boston Five Cents Savings Bank has a variety of retirement plans that shelter your FAYING income from taxation and help assure a financially secure retirement. The pension planning experts THE at The Boston Five will assist you with an Individual Retire- ment Account, Keogh plan or Simplified Employee Pension PIPER plan. They'll help you choose from a wide range of investment options. And show you how to build a retirement plan that's exactly right for you. NOW Give the Pension Trust Depart- ment a call at 742-6000, ext. 329, and find out howyou can

waltz through% retirement gracefully. SHMCIIMC FOR YOUR The M Boston SUPPER^ w Five Forgoodold Boston

LATER Member FDIC

50 Wolfgang Lenz

later studying with Tito Gobbi in Rome. He has sung in Germany and throughout Europe, and he has several television productions and operatic recordings to his credit. In 1980, Mr. Lenz participated in a concert tour with the Israel Philharmonic under the direction of Antal Dorati, and he made his United States

debut last year with Mr. Dorati and the Detroit Symphony Orchestra. His varied operatic repertory includes Pizarro in Fidelio, Arkel in Debussy's Pelleas et Melisande, Mephistopheles in Faust, Don Giovanni, Ver-

di roles such as Ramfis in Aida, the title role of Attila, and King Phillip in Don Carlo, the Born in Bonn, Germany, bass Wolfgang Lenz Walkuie Wotan, and Kaspar in Weber's holds a degree in economics and began his Freischiitz. These are his first appearances musical training at the Munich Hochschule, with the Boston Symphony Orchestra.

5t ^ototykJT^staurartt-' OF THE IJvefyJjflrts

July 11 through 25 at Williams College, Williamstown, Mass. or July 11 through August 8 at Skidmore College, Saratoga Springs, N.Y.

Choose your week or weekend! Program includes The Philadelphia Orchestra, New York City Ballet, Boston Symphony, Wil- A charming 19th Century Townhouse liamstown Theater and much more! Sem- serving superb continental cuisine inars in Music, Art History, Architecture, in contemporary informal elegance. Literature, Philosophy, Offering lunch and dinner with a variety Political Science, of fresh seafood specials daily, and our Dance, Drama. Workshops in art and cera- after theatre cafe menu till midnight. mics. Swimming, tennis, golf. Dormitory rooms, limited rooms with private baths, Serving - and apartments available. Fee includes 3 Lunch: 12:00-2:30 weekdays full meals daily, and transportation to all Dinner: 6:00-10:30 Sun.-Thurs. evening events where necessary. Write for 6:00-12:00 Fri.-Sat. brochure. Brunch: 11:00-3:00 Sat. & Sun. Aliens Lane Art Center (Dept. B)

reservations: 266-3030 Aliens Lane & McCallum St. 99 St. Botolph Street Philadelphia, PA. 19119 behind the Colonnade Hotel (215) 248-0546

51 Management Consultants Boston K.D. 267-2816 Keane ™J/ln&lncrSeaswv To delight the senses with fine dinners, special catering and Associates private lunches. Serving dinner 5:30-10:30 Mondaif thru Saturdm/.

97\lOVertwu§.

Executive Search to Industry

A successful performer since 1892.

The experienced professionals at Tucker Anthony can offer you expertise and knowledge in a wide range of financial products and services from the stock market to the money market. Whether your needs require personal financial planning, tax favored investments, oil and gas or real estate shelters, Tucker Anthony can give you an outstanding performance.

Tucker Anthony TUCKER, ANTHONY & R.L. DAY, INC.

One Beacon Street Member, New York Stock Exchange, Inc. Boston and Other Principal Securities Exchanges. Massachusetts Braintree, Lawrence, New Bedford, Providence, Peterborough, 617/725-2000 Manchester, Nashua, N.H. and 21 other offices in the U.S. and abroad.

52 Lorna Cooke deVaron

ensemble in Europe. Since then, she has conducted the chorus in tours throughout

Europe, the United States, and Israel.

Ms. de Varon was awarded the Radcliffe Col- lege Graduate Society Medal in 1972 and the Wellesley College Award of Distinction in 1978. In 1977 and 1979 she was one of the guest conductors at the Zimriya Festival of

Choruses in Israel; while there, she taught choral conducting workshops at the Univer-

sity of Jerusalem and received the Israeli Gov- ernment Medal. She and the New England Conservatory Chorus have also given concerts

in Israel as part of the State of Israel's thirtieth- anniversary celebrations in 1981.

Lorna Cooke deVaron, a graduate of Wellesley

College, received her M.A. in Music at Return to Victorian splendor Radcliffe College, where she was assistant con- To fine wines and attentive service. ductor of the Radcliffe Choral Society under To gracious, intimate dining, G. Wallace Woodworth. In 1945 she was To Delmonico's. appointed assistant professor of music at Bryn Mawr College. She came to the New England Conservatory in 1947 and joined the faculty of the Berkshire Music Center at Tanglewood in 1953 after having studied choral conducting there with Robert Shaw. At Tanglewood she taught choral conducting and repertoire, and she prepared the Festival Chorus for concerts with the Boston Symphony Orchestra.

As director of the Choral Department at the conservatory, Ms. deVaron teaches a graduate SE1M0JKC0S program in choral conducting, and she con- ducts both the Conservatory Chamber Singers and the New England Conservatory Chorus, which she regularly prepares for its annual performances with the Boston Symphony Continental classics expertly flamed Orchestra. Under her direction and in collab- at your table. Valet parking. oration with many world-famous conductors, Monday - Friday, 5- 10pm recordings by the chorus have won the Grand Saturday, 5-1 lpm Prix du Disque and awards from the National Sunday Brunch, 8am-3pm Academy of Recording Arts and Sciences. After successfully leading the chorus on tours of Spain and the Soviet Union in 1966, Ms. The Lenox Hotel deVaron received the City of Boston Medal for y~ Prudential Center at Copley Square ~r\ Distinguished Achievement as the first Amer- W Boston 536-2200 <^ ican ever woman to have conducted a mixed , ^vf

53 New England Conservatory Chorus

1982 marks the thirtieth consecutive year in Munch, Erich Leinsdorf, Leonard Bernstein, which the New England Conservatory Cho- Aaron Copland, Robert Shaw, Nadia Boir rus is performing in concert with the Boston langer, and Claudio Abbado. In the summer Symphony Orchestra. Founded in 1947 by of 1978, Lorna Cooke deVaron and the New director Lorna Cooke deVaron, the chorus was England Conservatory Chorus were invited by established to provide professional training for the Israeli government to participate in Israel's future singers, music educators, and conduc- thirtieth-anniversary festivities. While in Isra- tors, and has, in the thirty-five years since, el the chorus made a sixteen-day tour of the become one of the country's most distin- country with major concerts in Jerusalem, Tel guished choral ensembles. The chorus has Aviv, and Caesarea. Recent Boston Symphony made seventeen recordings with the Boston appearances have included Hoist's The Planets

Symphony for the RCA and Deutsche Gram- under the direction of Seiji Ozawa and mophon labels. Among their recent record- recorded for Philips, and John Knowles Paine's ings are Berlioz's Romeo and Juliet, which Mass in D under the direction of Gunther won the Grand Prix du Disque, and Paul Schuller last season. This fall, the chorus took Chihara's Missa brevis, which was recorded a principal part in a much-acclaimed by CRI. In addition, the chorus has been Stravinsky Centennial Celebration at the awarded six other Grand Prix du Disques, as New England Conservatory. well as many nominations for awards from John W Hugo, associate conductor of the the Academy of Recording Arts and Sciences. New England Conservatory Chorus, assisted The New England Conservatory Chorus in preparing the chorus for this week's perfor- has made extensive tours of the United States, mances of the Haydn Seven Last Words. the Soviet Union, and Europe, and it has performed under such distinguished conductors as Seiji Ozawa, Sir Colin Davis, Charles

IN THC usn, A VOLVOS UF€ CAN B€ 18 VCAAS ...OA €V€N LONGCA ^^^ IWi WITH €XP€RT ATT€NTION FROM F^Tiii I TH€ P€OPl€ WHO KNOW in 1 VOLVOS INSIDC AND OUT. !:•: I 1 CIND€R€UA CAAAIAGC COMPANY, A€UABl€, PAOMPTS€AVIC€, PROPERTY MANAGEMENT €XCIUSIV€IY FOR VOLVOS. RESIDENTIAL and COMMERCIAL GACATCA BOSTON'S INDCPCNDCNT VOLVO 1384 COMMONWEALTH AVENUE PAOFCSSIONALS, CINDCACUA CAAAIAGC COMPANY Allston, Massachusetts 47 SMITH PlACe CflMBRIDG6 02134

1 MINUT6 FROM FR65H POND CIRC16. Telephone: (617)738-5700 N€flR RT€. 2 Si the T - 876-1 781

54 New England Conservatory Chorus

Lorna Cooke deVaron, Conductor John W Hugo, Associate Conductor Betsy Burleigh, Assistant Conductor

Bart Folse, Assistant Conductor

Sopranos Roberta Scanlon Gregg Hershenson Deborah Bennett Kate Small Alan Jordan Jennifer Bodenweber Lisa Smith Robert Maher Meredith Borden Lisa J. Sheppard Joseph Manley Ellen Bosch Julie Soloway Frank Matto Rachel Bruhn Diane Spiotta Dan Moretti Stephanie Chimenti Fran Surkin William Nourse Joanne Colella Susan Trout Brian Ocock Elsa Coll Anne Watson Sebastian Salvo Michelle Creedon Ted Shure Kelly Demers Tenors Jonathan Simmons Michelle Disco Michael Conran Ron Spears Maria Freeman William Cotten Douglas Welty Nila Haik Bart Folse Ray Wilson Peggo Hodes Adam Ganz William Wright Gailanne Cummings Hubbard Alexander Henderson Anne Keaney John W Hugo Klaneski Jill Robert Ingari Elizabeth MacKenzie Roy S. Kelley Claudia Mackie Young Suck Kim Alice McDonald Kyung Lee Carol McKeen Adrian Luces Diane Pickering Robert McCauley Renee Poirier Bruce McClung Robin Rubendunst Walt McKibben Carla Smith Paul Picerno Jennifer Trimboli Andre Proctor Elizabeth Trueblood Alejandro Pulido Patricia Welsh Wendell S. Purrington Rene Willett James Sweet Lori Zoltick Richard Vallone Altos Anthony Vinson Stephanie Ancona Brian Wibecan Betsy Burleigh Patricia Christofaro Basses

Jackie Delcomyn Frank S. Albinder Laurie Frederick Manuel Berard Megan Henderson William Boublitz Elizabeth Hood Lawrence Chvany Judy Klein Jose Coronado Paula Kmetz Chad Crumm Allison Kurki Ken Diemer

Beth MacLeod Mark F. Dwyer Katherine McKee Campbell Ellsworth Juliana Nash Pedro Guevara Karyn Barry Nystedt Terry Halco Julie C. Peterson Michael Hamman

55 If Beethoven had needed help with his first note, we would have been there.

COMMONWEALTH BANK Main Office, 10 Post Office Square, Boston (617) 482-8300

Newbury's Steak House Rick Bay's oldest tmwurm&*

Embury's remembers why their first customers became regular customers — A congenial ambience, friendly efficient service, the choicest cuts of beef, fresh fish specials daily, generous sandwiches, an outstanding salad bar, homemade desserts as well as imported wines, beer, and cocktaib all at sensible prices.

Only io minutes from Symphony Hall, Neubury's is St. at Massachusetts Ave. on the corner of Newbury Free parking facilities are available before or after the symphony.

Open noon to midmgjkt seven dap a week. Q4 Massachusetts Ave, • 536-0184 The Boston Symphony Orchestra is grateful to the following corporations and professional organizations for their vital and generous contributions in the past or

current fiscal year.

Corporate Honor Roll ($10,000+)

Advanced Management Associates, Inc. Morse Shoe, Inc. BayBanks, Inc. New England Merchants National Bank Boston Broadcasters, Inc/WCVBTV New England Mutual Life Insurance Company Boston Edison Company New England Telephone Company Cahners Publishing Company Ocean Spray Cranberries, Inc. Charles River Broadcasting, Inc./WCRB Paine Webber Jackson &. Curtis, Inc. Commercial Union Assurance Company Polaroid Corporation Digital Equipment Corporation Prime Computer, Inc. Dynatech Corporation Prudential Insurance Company of America First National Bank of Boston Raytheon Company Gillette Company Shawmut Bank of Boston, N. A. Globe Newspaper Company Stop &. Shop Companies, Inc. John Hancock Mutual Life Insurance Company Stride Rite Corporation Heublein, Inc. Wm. Underwood Co. Kenyon & Eckhardt, Inc. Wang Laboratories, Inc. Liberty Mutual Insurance Company Wheelabrator-Frye, Inc. Mobil Oil Corporation Woodstock Corporation

Corporate Leaders ($1,000+)

Accountants Berkshire County Savings Bank

Arthur Andersen &. Co. Robert A. Wells Thomas A. Sampson Boston Five Cents Savings Bank Robert Spiller Coopers and Lybrand J. Vincent M. O'Reilly City Saving Bank of Pittsfield Peat Marwick Mitchell & Company Luke S. Hayden

Jordan L. Golding First Agricultural Bank of Berkshire County Selwyn Atherton Advertising First National Bank of Boston Kenyon &. Eckhardt, Inc. Kenneth R. Rossano Thomas Mahoney J. Lee Savings Bank Young Rubicam, Inc. & Richard Sitzer Edward N. Ney Lenox Savings Bank Aerospace Stanley T Ryba

Northrop Corporation Mutual Bank for Savings Thomas V Jones Keith G Willoughby Pneumo Corporation New England Merchants National Bank Gerard A. Fulham Roderick M. MacDougall Shawmut Bank of Boston, N. A. Banks John P. LaWare BankAmerica International State Street Bank and Trust Company Christopher S. Wilson William S. Edgerly BayBanks, Inc. Union Federal Savings and Loan

William M. Crozier, Jr. William H. McAlister, Jr. Berkshire Bank & Trust Co. D.R. Ekstrom Consultants Microsonics, Incorporated William Cook Advanced Management Associates, Inc. Harvey Chet Krentzman Polaroid Corporation William McCune, Stanley H. Kaplan Educational Center J. Jr. Susan Kaplan Prime Computer, Inc. John K. Buckner Arthur D. Little, Inc. Printed John F. Magee Circuit Corporation Peter Sarmanian Education Raytheon Company Stanley H. Kaplan Educational Center Thomas L. Phillips Susan B. Kaplan Technical Operations, Inc. Food Products Marvin G. Shorr

Adams Super Market Corporation Thermo Electron Corporation Howard Wineberg Dr. George N. Hatsopoulos Tyco Laboratories, Inc. Heublein, Inc. Joseph S. Gaziano Robert R. Weiss U.S. Components, Inc. Ocean Spray Cranberries, Inc. Harold Thorkilsen B.A. Jackson Wang Laboratories, Inc. Stop & Shop Companies, Inc. An Wang Avram J. Goldberg Western Electric Co., Inc. Wm. Underwood Co. Donald E. Procknow James D. Wells

High Technology/Computers Hotels

Analog Devices Red Lion Inn Ray Stata John H. Fitzpatrick Augat, Inc. Parker House Roger Wellington Dunfey Family

Automatic Data Processing, Inc. Frank R. Lautenberg Insurance

Bolt Beranek and Newman, Inc. Arkwright Boston Insurance

Stephen Levy Frederick J. Bumpus

Charles River Breeding Laboratories, Inc. Berkshire Life Insurance Company

Henry L. Foster Lawrence W Strattner, Jr.

Data Packaging Corporation Brewer &. Lord

Otto Morningstar Joseph G. Cook, Jr. Digital Equipment Corporation Commercial Union Insurance Companies Kenneth H. Olsen Howard H. Ward

Dynatech Corporation Deland, Gibson, Meade & Gale, Inc.

J.P Barger George W Gibson

The Foxboro Company Frank B. Hall Company

Bruce D. Hainsworth John B. Pepper

GenRad, Inc. John Hancock Mutual Life Insurance Company

William R. Thurston E. James Morton General Telephone & Electronics Corporation Liberty Mutual Life Insurance Company

Theodore F. Brophy Melvin B. Bradshaw

Honeywell Information Systems, Inc. Marsh & McLennan, Inc. Edson W Spencer Robert L. Peretti Instron Corporation New England Mutual Life Insurance Company

Harold Hindman Edward E. Phillips Itek Corporation Prudential Insurance Company of America

Robert P. Henderson Robert J. Scales

LFE Corporation Maurice H. Saval, Inc.

Herbert Roth, Jr. Maurice H. Saval

58 Sun Life Assurance Company of Canada Norton Company George Meltzer Robert Cushman Rising Paper Company Investments Robert E. O'Connor Amoskeag Company Systems Engineering &. Manufacturing Corp. Joseph B. Ely Jr. Steven Baker Moseley Hallgarten Estabrook & Weeden, Inc. Trina, Inc. Fred S. Moseley Arnold Rose Paine Webber, Inc. Wheelabrator-Frye, Inc. Donald B. Marron Michael H. Dingman Paine, Webber, Jackson &. Curtis Inc.

Francis P. Sears Media/Leisure Time

The Putnam Advisory Company, Inc. General Cinema Corporation Michael C. Hewitt Richard A. Smith Tucker, Anthony &. R.L. Day, Inc. WCRB/Charles River Broadcasting, Inc. R. Willis Leith, Jr. Theodore Jones Woodstock Corporation WCVBTV/Boston Broadcasters, Inc. Thomas Johnson Robert M. Bennett

Manufacturers Target Communications, Inc.

Thomas E. Knott Acushnet Company, Inc.

Robert L. Austin Oil Baldwin Piano and Organ Company Buckley &. Scott Company R.S. Harrison William H. Wildes Boston Showcase Company Mobil Chemical Corporation Jason E. Starr

Rawleigh Warner, Jr. Rudolph Beaver, Inc. Northeast Petroleum Corporation John R. Beaver John Kaneb Bell Manufacturing Company Yankee Oil &. Gas, Inc. Irving W Bell Graham E. Jones Bird &. Son, Inc.

Robert F. Jenkins Printing/Publishing Cabot Corporation Adco Publishing Company, Inc. Robert A. Charpie Samuel Gorfinkle College Town, Inc. Berkshire Eagle Arthur M. Sibley Lawrence K. Miller Corning Glass Works Cahners Publishing Company Amory Houghton, Jr. Norman Cahners Crane and Company Globe Newspaper Company Bruce Crane John I. Taylor AT. Cross Company Houghton Mifflin Company Russell A. Boss Harold T Miller Dennison Mfg. Company Label Art Nelson S. Gifford

Leonard J. Peterson Gillette Company

Colman M. Mockler, Jr. Real Estate Kimberly-Clark Corporation, Schweitzer Division Leggat, McCall & Werner, Inc. Ronald Gill Edward R. Werner Mead Corporation C.E. Burke Retail Stores

Millard Metal Service Center, Inc. England Brothers Donald Millard Andrew J. Blau National Distillers and Chemical Corporation Wm. Filene's Sons Co. John H. Stookey Merwin Kaminstein

59 Howard Johnson Company Spencer Companies, Inc. Howard B. Johnson C. Charles Marran

Jordan Marsh Company Stride Rite Corporation

Elliot J. Stone Arnold S. Hiatt King's Department Stores, Inc. Utilities Paul Kwasnick Berkshire Gas Company Mars Bargainland, Inc. Matthew Tatelbaum Joseph Kelley Boston Edison Company Marshall's Inc.

Thomas Galligan, Jr. Frank Brenton J. Eastern Gas and Fuel Associates Zayre Corporation William Pruyn Maurice Segall J. New England Telephone Company Shoes William C. Mercer

Jones &. Vining, Inc. Northeast Utilities

Sven Vaule, Jr. B.D. Barry Morse Shoe, Inc. L.R. Shindler J V

Boston Symphony Orchestra Fine Music Since 1881

Daniels Printing Company

Fine Printing Since 1 880 \ 40 Commercial Street, Everett MA 02149 /

60 .

Coining Concerts . .

Thursday, 8 April— 8-9:50 Thursday 'A' series Friday 9 April— 2-3:50 Saturday 10 April— 8-9:50

ANTAL DORATI conducting

All-Haydn Overture to Program L'isola disabitata

Symphony No. 83, The Hen Piano Concerto in D ILSEVONALPENHEIM

Symphony No. 82, The Bear

Wednesday, 14 April at 7:30 Open Rehearsal Steven Ledbetter will discuss the program at 645 in the Cohen Annex.

Thursday, 15 April— 8-9=30 Thursday '10' series Friday, 16 April—2-3:30 Saturday, 17 April— 8-9:30

SEIJI OZAWA conducting

'Apley's Restaurant. Stravinsky Oedipus Rex To me, its a new Boston classic Symphony of Psalms like a Longfellow poem JESSYE NORMAN, soprano KENNETH RIEGEL, tenor or fine Revere silver. JOHN CHEEK, bass-baritone It's traditional yet modern, AAGE HAUGLAND, bass fashionable but timeless. JOHN GILMORE, tenor It's the Boston I love." JOSEPH McKEE, bass-baritone TANGLEWOOD FESTIVAL CHORUS, JOHN OLIVER, conductor Stage direction by Peter Sellars

Tuesday, 27 April— 8-10 SERVING FROM 6 PM-1030 PM DAILY Tuesday 'C series

SEIJI OZAWA conducting Sheraton-Boston Vivaldi The Four Seasons Hotel JOSEPH SILVERSTEIN Beethoven Symphony No. 6, SHERATON HOTELS & INNS. WORLDWIDE PRUDENTIAL CENTER BOSTON MASSACHUSETTS 617 236-2000 Pastoral

61 "N ^DSS

Purchasers of antique, £$o&t&n/ t&noio~ one of estate and modern jewelry and silver. f*epion&.

Bordeaux. The Loire

Valley. Italy. California's Napa Valley. Germany. Un- HICHAM M.DANA.inc« deniably the world's great JEWELERS wine producing regions. And now, Boston can 43 Central Street match those great regions bottle for bottle. Wellesley, Massachusetts 02181 Because Boston has 237-2730 Brookline Liquor Mart, a ^ wine, liquor, and gourmet food store nearly large enough to qualify as a

region of its own. Brookline Liquor Mart offers a huge selection - of the highest quality wines

from France, Germany, Italy, and California. To help you make more intelligent and informed choices among our wines, our knowledge- able and experienced sales staff is at your service. And to give you the same sort of selection among liquors, Brookline Liquor Mart stocks shelves and shelves of single malt Scotches, French eaux de vie, rare cognacs and brandies, vodkas and gins from around the world, IINKW CASTER HOUSE and the best American bourbons. Plus a full comple- 41 Union St. - 227-2750 ment of domestic and imported beers. In addition, we've built a better Mouse- trap, expanding our All services are free old Mousetrap Cheese our Shop to provide more —no strings attached. gourmet cheeses and foods. And we offer such services as deliv- ery, complete yearly catalogs of our stock, and fully planned and furnished home wine cellars. perform veritable We a So for great wines, great liquors and gourmet foods, symphony of travel visit one of the world's great arrangements ... at wine regions. Brookline no extra charge to you. Liquor Mart.

Travel is our forte; Garberisourname Give us a call—734- 2100-and we'll 1354 Commonwealth Ave. get in tune with Allston, Mass. 02134 your travel needs. 617-734-7700

61 .

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"

THE BOSTON SYMPHONY performs ten months a year, in Symphony Hall and at Tanglewood. For information about any of the orchestra's activities, please call Sym- phony Hall, or write the Boston Symphony Orchestra, Symphony Hall, Boston, MA 02115.

THE EUNICE S. AND JULIAN COHEN ANNEX, adjacent to Symphony Hall on Huntington Avenue, may be entered by the Symphony Hall West Entrance on Hunt- ington Avenue.

FOR SYMPHONY HALL RENTAL INFORMATION, call (617) 266-1492, or write the Hall Manager, Symphony Hall, Boston, MA 021 15.

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 concerts go on sale twenty-eight days before a given concert once a series has begun, and phone reservations will be accepted. For outside events at Symphony Hall, tickets will be available three weeks before the concert. No phone orders will be accepted for these events.

TICKET RESALE: If for some reason you are unable to attend a Boston Symphony concert for which you hold a ticket, you may make your ticket available for resale by calling the switchboard. 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 Tickets available for the Friday afternoon and Saturday evening Boston Symphony concerts (subscription concerts only).

The continued low price of the Saturday tickets is assured through the generosity of two anonymous donors. The Rush Tickets are sold at $4.50 each, one to a customer, at the Symphony Hall West Entrance on Fridays beginning 9 a.m. and Saturdays beginning 5 p.m.

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.

SMOKING IS NOT PERMITTED in any part of the Symphony Hall auditorium or in the surrounding corridors. It is permitted only in the Cabot-Cahners and Hatch rooms, and in the main lobby on Massachusetts Avenue.

CAMERA AND RECORDING EQUIPMENT may not be brought into Symphony Hall during concerts.

FIRST AID FACILITIES for both men and women are available in the Cohen Annex near the Symphony Hall West Entrance on Huntington Avenue. On-call physicians attending concerts should leave their names and seat locations at the switchboard near the Massachusetts Avenue entrance.

WHEELCHAIR ACCESS to Symphony Hall is available at the West Entrance to the Cohen Annex. AN ELEVATOR is located outside the Hatch and Cabot-Cahners rooms on the Massachu- setts Avenue side of the building.

LADIES' ROOMS are located on the orchestra level, audience-left, at the stage end of the hall, and on the first-balcony level, audience-right, outside the Cabot-Cahners Room near the elevator.

MEN'S ROOMS are located on the orchestra level, audience-right, outside the Hatch Room near the elevator, and on the first-balcony level, audience-left, outside the Cabot- Cahners Room near the coatroom.

COATROOMS are located on the orchestra and first-balcony levels, audience-left, outside

the Hatch and Cabot-Cahners rooms. 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: Concerts of the Boston Symphony Orchestra are heard by delayed broadcast in many parts of the United States and Canada, as well as internationally, through the Boston Symphony Transcription Trust. In addition, Friday

afternoon concerts are broadcast live by WGBH-FM (Boston 89.7), WAMC-FM (Albany

90.3), WMEA-FM (Portland 90. 1), WMEH-FM (Bangor 90.9), WMEM-FM (Presque Isle

106. 1), WEVO-FM (Concord 89. 1), WVPR-FM (Windsor 89.5), and WVPS-FM (Burlington 107.9). Live Saturday evening broadcasts are carried by WGBH-FM and WAMC-FM, as well as by WCRB-FM (Boston 102.5), WFCR-FM (Amherst 88.5), and WPBH-FM

(Hartford 90.5). If Boston Symphony concerts are not heard regularly in your home area, and you would like them to be, please call WCRB Productions at (617) 893-7080. WCRB will be glad to work with you and try to get the BSO on the air in your area.

BSO FRIENDS: The Friends are supporters of the Boston Symphony, active in all of its endeavors. Friends receive BSO, the orchestra's newsletter, as well as priority ticket

information. For information, please call the Friends' Office at Symphony Hall weekdays

between 9 and 5. If you are already a Friend and would like to change your address, please send your new address with your newsletter label to the Development Office, Symphony Hall, Boston, MA 021 15. Including the mailing label will assure a quick and accurate

change of address in our files.

IS THERE AN ALCOHOLISM PROBLEM IN YOUR LIFE? MUSIC TO IN YOUR FAMILY? IN YOUR WORKPLACE? CONSIDER YOUR EYES. MOUNT PLEASANT HOSPITAL

• Modern equipment and treatment in a comprehensive facility.

• Professionals with expertise based on the management of over

30,000 patients in 15 years.

• Accredited by the Joint Commission on Accreditation of Hospitals. • Licensed by the '// / \ Wa Massachusetts Mount Pleasant Fine ceramic tiles showcased in complete room settings. Department of Health. 60 Granite St. • Member of the American Lynn, MA 01904 Metco Tile Showcase Hospital Association. (617)581-5600 291 Arsenal Street, Watertown. 926- 1010 Mon. & Fri., 8-4:30. Tues., Wed. & Thurs., 8-8. Sat. 8-4. ^

((fhXtf

The silent music that accompanies every intriguing woman

((ehiej Parfums Jacomo* Pans

More than words can ever sag

FILENE'S " w

,. and dine you.

% %

PASTENE

PasteneWine&Food, Somerville, MA 02143- «rcf 9.ste{* Good foodGood wine. Since 1874.