OSTON OYMPHONY URCHESTRA

SEIJI OZAWA, Music Director

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7 BOSTON % /symphony"! \ orchestra j ,\ SEIJI OZAWA. y: 103rd Season 1983-84 1 I Seiji Ozawa, Music Director

Sir Colin Davis, Principal Guest Conductor

Joseph Silverstein, Assistant Conductor

One Hundred and Third Season, 1983-84

Trustees of the Boston Symphony Orchestra, Inc.

Leo L. Beranek, Chairman Nelson J. Darling, Jr., President Mrs. Harris Fahnestock, Vice-President George H. Kidder, 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.

David B. Arnold, Jr. Mrs. John H. Fitzpatrick William J. Poorvu

J. P. Barger Mrs. John L. Grandin Irving W. Rabb Mrs. John M. Bradley E. James Morton Mrs. George R. Rowland Mrs. Norman L. Cahners David G. Mugar Mrs. George Lee Sargent

George H.A. Clowes, Jr. Albert L. Nickerson William A. Selke

Mrs. Lewis S. Dabney John Hoyt Stookey

Trustees Emeriti

Abram T. Collier, Chairman of the Board Emeritus

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

Richard P. Chapman Edward G. Murray John L. Thorndike John T. Noonan

Administration of the Boston Symphony Orchestra, Inc.

Thomas W. Morris - General Manager

William Bernell - Artistic Administrator

Daniel R. Gustin - Assistant Manager

B.J. Krintzman - Director of Planning

Anne H. Parsons - Orchestra Manager

Caroline Smedvig - Director of Promotion Theodore A. Vlahos - Director of Business Affairs

Arlene Germain - Financial Analyst Richard Ortner - Administrator of

Charles Gilroy - ChiefAccountant Berkshire Music Center

Vera Gold - Promotion Coordinator Charles Rawson - Manager ofBox Office

Patricia Halligan - Personnel Administrator Eric Sanders - Director of Corporate Development

Nancy A. Kay - Director ofSales Joyce M. Serwitz - Assistant Director ofDevelopment

Nancy Knutsen - Production Assistant Cheryl L. Silvia - Symphony Hall Function Manager

Anita R. Kurland - Administrator of James E. Whitaker - Hall Manager, Symphony Hall

Youth Activities Katherine Whitty - Coordinator ofBoston Council

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

Programs copyright ©1983 Boston Symphony Orchestra, Inc. Cover photo by Walter H. Scott Board of Overseers of the Boston Symphony Orchestra, Inc.

William J. Poorvu Chairman

William M. Crozier, Jr. Harvey C. Krentzman

I ice-Chairman Vice-Chairman

Mrs. Gordon F. Kingsley Secretary

John Q. Adams Avram J. Goldberg Mrs. Thomas Spurr Morse Mrs. Weston W. Adams Mrs. Ray A. Goldberg Mrs. Robert B. Newman Martin Allen Haskell R. Gordon Mrs. Hiroshi Nishino

Hazen H. Ayer Mrs. R. Douglas Hall III Vincent M. O'Reilly

Bruce A. Beal Mrs. Richard E. Hartwell Stephen Paine, Sr.

Mrs. Richard Bennink Francis W. Hatch, Jr. John A. Perkins

Mrs. Edward J. Bertozzi, Jr. Mrs. Richard D. Hill David R. Pokross Peter A. Brooke Ms. Susan M. Hilles Mrs. Curtis Prout William M. Bulger Mrs. Marilyn Brachman Hoffman Ms. Eleanor Radin

Mary Louise Cabot Mrs. Bela T. Kalman Peter C. Read

Julian Cohen Mrs. S. Charles Kasdon Mrs. Peter van S. Rice

Mrs. Nat King Cole Richard L. Kaye David Rockefeller, Jr.

Arthur P. Contas Mrs. F. Corning Kenly, Jr. Mrs. Jerome Rosenfeld Mrs. A. Werk Cook John Kittredge Mrs. William C. Rousseau

Phyllis Curtin Mrs. Carl Koch Mark L. Selkowitz

Victoria L. Danberg Robert K. Kraft Malcolm L. Sherman

A.V. d'Arbeloff Mrs. E. Anthony Kutten Donald B. Sinclair

D.V. d'Arbeloff John P. La Ware Richard A. Smith

Mrs. Michael H. Davis Mrs. James F. Lawrence Ralph Z. Sorenson

William S. Edgerly Laurence Lesser Peter J. Sprague

Mrs. Alexander Ellis, Jr. Mrs. Charles P. Lyman Ray Stata

Frank L. Farwell Mrs. Harry L. Marks Mrs. Arthur I. Strang John A. Fibiger C. Charles Marran Mrs. Richard H. Thompson

Kenneth G. Fisher Mrs. August R. Meyer Mark Tishler, Jr.

Gerhard M. Freche J. William Middendorf II Ms. Luise Vosgerchian Peter H.B. Frelinghuysen Paul M. Montrone Roger D. Wellington

Mrs. Thomas J. Galligan, Jr. Mrs. Hanae Mori Mrs. Donald B. Wilson

Mrs. Thomas Gardiner Mrs. Stephen V.C. Morris John J. Wilson

Mrs. James G. Garivaltis Richard P. Morse Nicholas T. Zervas

Overseers Emeriti Mrs. Frank G. Allen Paul Fromm

David W Bernstein Carlton P. Fuller Leonard Kaplan Giving is an art in itself

When you make financial contributions to the arts or to any other non-profit organi- zation, Bank of New England can bring important benefits to your philanthropy.

Bank of New England is an expert at financial planning for people who make substantial gifts to charity. We will show you how you can make con- tributions, save on taxes, and at the same time, continue to provide yourself with income from those gifts. There's an art to making the most of your contri- butions, for yourself as well as for your favorite charity. So when you want expert financial guid- ance in making charitable gifts, look to the light.

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Investment Services

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BANKOF NEW ENGLAND' i 28 State Street, Boston, MA 02109, (617) 973-1872

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Bank of New England Corporation, 1983 ' H ,T*9K .«, Hl-*ijWfl ^H 1 mmim

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^Hj PRESIDE^

Over 100 company sponsors wn join John Williams and the Boston Pops on June 12, 1984 for "Presidents at Pops" - a festive, exciting benefit saluting New England businesses. A very special program book is planned to commemorate the performance It will provide the opportunity for businesses to place an advertisement which will have high visibility among the business leaders present. Reserve space now for your business; an effective way to advertise and to help support the Boston Symphony. BSOSalutesBusitvess Contact Eric Sanders, BSO Director of Corporate The Development (617-266-1492); Lew Dabney, Yankee 12,1984 Publishing (542-8321); Chet Krentzman, Advanced June Management Associates (332-3141); Vin O'Reilly,

Coopers & Lybrand (574-5000) ; or Mai Sherman, Zayre Stores (620-5000).

1984 "Presidents at Pops" Sponsors

ABD Securities Corp. Filene's O'Donnell-Usen ADCO Publishing, Inc First Boston Corp. Fisheries Corp. Affiliated Publications Framingham Trust Co. Packaging Industries Analog Devices Frank B. Hall & Co. Parlex Corp. Augat, Inc. Gadsby & Hannah Peat-Marwick-Mitchell Bank of Boston General Cinema Corp. Plymouth Rubber Co. Bank of New England General Eastern Pneumo Corp. Barry Wright Corp. Instrument Corp. Prime Computer BayBanks, Inc. Gillette Company Printed Circuit Corp. Bell Manufacturing Co. GTE Products Corp. Rath & Strong Bentley College Guzovsky Electrical Corp. Raytheon Company Blyth-Eastman-Paine-Webber Haemonetics Corp. Shawmut Bank of Boston Bolt, Beranek and Newman HCW Oil & Gas Signal Technology Corp. Boston Consulting Group Helix Technology Corp. Signal Companies Boston Edison Co. Heritage Travel Simplex Time Recorder Co. Boston Park Plaza Herrick& Smith Sonesta International Hotels Buckley & Scott Hill & Knowlton Spencer Companies Burgess & Leith Honeywell Corp. State Street Bank Cameron & Colby Houghton Mifflin Co. Stop & Shop Co. Charles River Breeding Labs Howard Johnson Co. Stride Rite Corp. Citicorp (USA) IBM Corp. Systems Engineering Clark-Franklin-Kingston Press John Hancock Mutual TAD Technical Services Computer Partners Life Insurance Towle Manufacturing Coopers & Lybrand Johnson, O' Hare Co. Touche Ross & Co. Country Curtains Jones & Vining Trans Lease Group Creative Gourmets, Ltd. Kenyon & Eckhardt Trans National Group Services Cullinet Software, Inc. Knapp King Size Trina, Inc Daniels Printing Co. Label Art, Inc. Tucker, Anthony, & R. L. Day Data Packaging Leach & Garner Co. Wang Laboratories Digital Equipment Corp. Lee Shops WBZ-TV Dunkin' Donuts Liberty Mutual Insurance Co. WCIB-FM Dynatech Corp. Mercury International WNEV-TV E.F. Hutton& Co. Narragansett Capital Corp. Westin Hotel Eastern Gas & Fuel New England Business Service Woodstock Corp. Econocorp New England Mutual Yankee Oil & Gas Epsilon Data Life Insurance Zayre Corporation Ernst & Whinney New England Telephone Farrell, Healer & Co. Newsome & Company

4 BSO

irrhe Orchestra Book" Answers Your Questions

What BSO member is a former NASA research chemist? What current members played under Serge Koussevitzky? Who joined his father as an orchestra member this season? ""The Orchestra Book/' newly published by the Council of the Boston Symphony Orchestra, has the answers to these questions, as well as hundreds of interesting facts

about all 101 members of the orchestra and a photograph of each. A convenient stage-

seating diagram with the names of the players and their chair positions is also included.

To order a copy of "The Orchestra Book" by mail, please send $6 per book, plus $2 postage and handling (for one or two books; $3 for three or more books) to The Council Office, Boston Symphony Orchestra, Symphony Hall, Boston, MA 02115. Make your check payable to "Boston Symphony Orchestra," and act now to receive your copy of this

attractive, 72-page limited edition while the supply lasts!

Boston Symphony Chamber Players at Jordan Hall on 15 January

Some good seats still remain for the second program of the Boston Symphony Chamber Players twentieth-anniversary season. The concert takes place on Sunday afternoon,

15 January at 3 p.m. at Jordan Hall. Gilbert Kalish is guest pianist with the Chamber Players in a program including the Sonata for bassoon and piano of Camille Saint-Saens,

the C minor Trio for piano, violin, and cello of Bedrich Smetana, and Mozart's Quintet in A for clarinet and strings, K.581. Single tickets are available at $10, $7.50, and $5.50. For additional information, please call the Jordan Hall box office at 536-2412.

WGBH Intermission Features on the Air

WGBH radio personality Ron Delia Chiesa conducts interviews with Boston Symphony staff and orchestra members throughout the 1983-84 season. These interviews are aired as intermission features during the Friday-afternoon and Saturday-night BSO concerts broadcast live by WGBH-FM-89.7. Coming up: BSO chauffeur "Peppino" Natale on 13 and 14 January; BSO Director of Promotion Caroline Smedvig on 20 and 21 January; and

BSO violinist and Pops Associate Conductor Harry Ellis Dickson on 17 and 18 February.

Art Exhibits in the Cabot-Cahners Room

The Boston Symphony Orchestra is pleased that a variety of Boston-area schools, museums, non-profit artists' organizations, and commercial galleries are once again displaying their work in the Cabot-Cahners Room this season. During the next few months, the following organizations will be represented:

9 January-6 February Helen Schlien Gallery 6 February-5 March Arnold Arboretum 5 March-26 March Segal Gallery

5 A new tradition in Cambridge salutes the fine tradition of the Boston Symphony Orchestra.

THE RESIDENCES AT CHARLES SQUARE Harvard Square, Cambridge

86 riverview condominium residences Scheduled for occupancy late 1984 617-542-7500

ALL NEWTON MUSIC SCHOOL GALA BENEFIT CONCERT

Phyllis Curtin, soprano Boris Goldovsky, piano

and surprise guest artist Reminiscences and works by Mozart, Barber, Poulenc, Dohnanyi and others

SUNDAY, JANUARY 15, 8 P.M. at the Second Church in West Newton, 60 Highland Street. Tickets: $8.00, Telephone: 527-01 02 or 527-4553 The Mystic Valley Orchestra under its Music Director, BSO cellist Ronald Feldman, will give a concert to benefit Project Impact and International Adoptions Inc. on Sunday,

15 January at 3 p.m. at Sanders Theatre in Cambridge. The program will include Leopold Mozart's Toy Symphony, Prokofiev's Peter and the Wolf-with WBZ-TV's Bob Lobel as narrator, the Mendelssohn Violin Concerto with twelve-year-old soloist Scott Yoo, and Aaron Copland's Lincoln Portrait. Mystic Valley Orchestra Assistant Conductor Kay

George Roberts will conduct the Copland, which will feature WBZ's Liz Walker as narrator. Tickets are available at the door; for further information, please call 332-4210.

BSO violinist and Newton Symphony Orchestra Music Director Ronald Knudsen will conduct the Newton Symphony Orchestra on Sunday evening, January 22 at 8 p.m. at

Brown Junior High School auditorium in Newton. BSO principal flutist Doriot Anthony

Dwyer will be featured in the Nielsen Flute Concerto on a program also including Rimsky- Korsakov's Sheherazade. Tickets are $8 and may be reserved by calling 965-2555; they are also available at the door. Ms. Dwyer is the Newton Symphony Orchestra's Celebrated

Artist of 1983-84, and in that capacity she will also present a flute master class at the All

Newton Music School, 321 Chestnut Street in Newton, on Sunday, January 29 from 1 to

4 p.m. The class is open to auditors for a $3 admission fee at the door.

The contemporary music ensemble Collage gives the second program of its 1983-84 season on Monday evening, 30 January at 8 p.m. in Sanders Theatre, Cambridge. This program of world premieres with guest conductor Gunther Schuller and featured soprano Janice Felty includes music by Nicholas Thorne, Richard Busch, John Harbison, and Joan

Tower. For ticket prices and further information, please call 437-0231; tickets are available in advance at Bostix and at the door the day of the performance. Collage includes BSO members Joel Moerschel, cello, Frank Epstein, percussion, Ann Hobson Pilot, harp, and Joel Smirnoff, violin, as well as Robert Annis, clarinet, Randy Bowman, flute, Joan Heller, soprano, and Christoper Oldfather, piano.

Max Hobart leads the Civic Symphony Orchestra in its second of three programs this year at Jordon Hall on Sunday evening, 12 February at 8 p.m. The program includes

Stravinsky's Suite No. 2, the Glazunov Violin Concerto in A minor with soloist Stephanie Chase, and the Shostakovich Symphony No. 5. Single tickets are available at $6.50, $5, and $3.50 from the Jordan Hall Box Office, 536-2412.

Correction: Whose "Pictures"?

In last week's program note for Pictures at an Exhibition, reference was made twice to "Gorchakov's orchestration of Ravel's Pictures. " This should of course have read

"Gorchakov's orchestration of Mussorgsky's Pictures^ and only serves further to point up how closely Ravel's familiar orchestration has caused his name to be linked with Mussorgsky's work.

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. HEkjfI

Seiji Ozawa

The 1983-84 season is Seiji Ozawa's eleventh season. His first professional concert as music director of the Boston Symphony appearance in North America came in Janu-

Orchestra. In the fall of 1973 he became the ary 1962 with the San Francisco Symphony

orchestra's thirteenth music director since it Orchestra. He was music director of the was founded in 1881. Chicago Symphony's Ravinia Festival for five summers beginning in 1964, and music Born in 1935 in Shenyang, China, to director for four seasons of the Toronto Sym- Japanese parents, Mr. Ozawa studied both phony Orchestra, a post he relinquished at the Western and Oriental music as a child and end of the 1968-69 season. later graduated from Tokyo's Toho School of

Music with first prizes in composition and con- Seiji Ozawa first conducted the Boston Sym-

ducting. In the fall of 1959 he won first prize phony in Symphony Hall in January 1968; he

at the International Competition of Orchestra had previously appeared with the orchestra for Conductors, Besancon, France. Charles four summers at Tanglewood, where he Munch, then music director of the Boston became an artistic director in 1970. In Symphony and a judge at the competition, December 1970 he began his inaugural season invited him to Tanglewood for the summer as conductor and music director of the San following, and he there won the Berkshire Francisco Symphony Orchestra. The music Music Center's highest honor, the directorship of the Boston Symphony followed Koussevitzky Prize for outstanding student in 1973, and Mr. Ozawa resigned his San conductor. Francisco position in the spring of 1976, serv- ing as music advisor there for the 1976-77 While working with Herbert von Karajan in season. West Berlin, Mr. Ozawa came to the attention of Leonard Bernstein, whom he accompanied As music director of the Boston Symphony on the New York Philharmonic's spring 1961 Orchestra, Mr. Ozawa has strengthened the Japan tour, and he was made an assistant orchestra's reputation internationally as well conductor of that orchestra for the 1961-62 as at home, leading concerts on the BSO's

8

liT 1976 European tour and, in March 1978, on a Symphony" television series. His award-win- nine-city tour of Japan. At the invitation of the ning recordings include Berlioz's Romeo 'et Chinese government, Mr. Ozawa then spent a Juliette, Schoenberg's Gurrelieder, and the week working with the Peking Central Philhar- Berg and Stravinsky violin concertos with monic Orchestra; a year later, in March 1979, Itzhak Perlman. Other recordings with the he returned to China with the entire Boston orchestra include, for Philips, Richard Symphony for a significant musical and Strauss's Also sprach Zarathustra and Ein cultural exchange entailing coaching, study, Heldenleben, Stravinsky's Le Sacre du and discussion sessions with Chinese musi- printemps, Hoist's The Planets, and Mahler's cians, as well as concert performances. Also in Symphony No. 8, the Symphony ofa Thou-

1979, Mr. Ozawa led the orchestra on its first sand; for CBS, a Ravel collaboration with tour devoted exclusively to appearances at the mezzo-soprano Frederica von Stade and the major music festivals of Europe. Most Mendelssohn Violin Concerto with Isaac Stern; recently, Seiji Ozawa and the Boston Sym- and, for Telarc, Vivaldi's Four Seasons with phony celebrated the orchestra's one-hun- violin soloist Joseph Silverstein, and music of dredth birthday with a fourteen-city American Beethoven—the Fifth Symphony, the Egmont tour in March 1981 and an international tour Overture, and, with soloist Rudolf Serkin, the to Japan, France, Germany, Austria, and Eng- Third, Fourth, and Fifth piano concertos and land in October/November that same year. the Choral Fantasy. Mr. Ozawa has recorded Mr. Ozawa pursues an active international Roger Sessions's Pulitzer Prize-winning Con- career. He appears regularly with the Berlin certo for Orchestra and Andrzej Panufnik's Philharmonic, the Orchestre de Paris, the Sinfonia Votiva, both works commissioned by French National Radio Orchestra, the Vienna the Boston Symphony Orchestra for its cen- Philharmonic, the Philharmonia of London, tennial, for Hyperion records. He and the and the New Japan Philharmonic, and his orchestra have also recorded Stravinsky's operatic credits include Salzburg, London's Firebird and, with soloist Itzhak Perlman, the Covent Garden, La Scala in Milan, and the violin concertos of Earl Kim and Robert Starer Paris Opera, where he conducted the world for Angel/ EMI. Mr. Ozawa holds honorary premiere of Olivier Messiaen's opera St. Fran- Doctor of Music degrees from the University cis ofAssist in November 1983. Mr. Ozawa of Massachusetts and the New England Con- has won an Emmy for the BSO's "Evening at servatory of Music. 1

References furnished request

Aspen Music School and Festival Gilbert Kalish Dickran Atamian Ruth Laredo Burt Bacharach Liberace David Bar-Ulan Panayis Lyras Berkshire Music Center Marian McPartland and Festival at Tanglewood Zubin Mehta Leonard Bernstein Eugene Ormandy Jorge Bolet Seiji Ozawa Boston Pops Orchestra Philadelphia Orchestra Boston Symphony Orchestra Andre Previn Brevard Music Center Ravinia Festival Dave Brubeck Santiago Rodriguez 1 Chicago Symphony Orchestra George Shearing Cincinnati May Festival Abbey Simon Cincinnati Symphony Orchestra Georg Solti Aaron Copland Beveridge Webster Denver Symphony Orchestra Earl Wild Ferrante and Teicher John Williams Interlochen Arts Academy and Wolf Trap Foundation for the National Music Camp Performing Arts Byron Janis Yehudi Wyner Billy Joel Over 200 others Baldwin r- » 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 Ronald Wilkison E-flat Clarinet Robert Barnes Bass Clarinet Jerome Lipson Craig Nordstrom Bernard Kadinoff Joseph Pietropaolo Bassoons Music Directorship endowed by Michael Zaretsky Sherman Walt Edward John Moors Cabot Marc Jeanneret A. Taft chair Betty Benthin Roland Small BOSTON SYMPHONY * Lila Brown Matthew Ruggiero ORCHESTRA * Mark Ludwig Contrabassoon 1983/84 Richard Plaster Cellos First Violins Horns Jules Eskin Joseph Silverstein Charles Kavalovski Philip R. Allen chair Concertmaster Helen SagojJSlosberg chair Martha Babcock Charles Munch chair Richard Sebring Vernon and Marion Alden chair Emanuel Borok Daniel Katzen Assistant Concertmaster Mischa Nieland Esther Richard Mackey Helen Horner Mclntyre chair S. and Joseph M. Shapiro chair Jay Wadenpfuhl Max Hobart Jerome Patterson Robert L. Beal, and * Robert Ripley Trumpets Enid and Bruce A. Beal chair Luis Leguia Charles Schlueter Cecylia Arzewski Carol Procter Roger Louis Voisin chair Edward and Bertha C. Rose chair * Ronald Feldman Andre Come Bo Youp Hwang * Joel Moerschel Charles Daval John and Dorothy Wilson chair * Max Winder Jonathan Miller Timothy Morrison * Sato Knudsen Harry Dickson Trombones Forrest Foster Collier chair Ronald Barron Gottfried Wilfinger Basses J.P. and Mary B. Barger chair Fredy Ostrovsky Edwin Barker Norman Bolter Harold D. Hodgkinson Leo Panasevich chair Gordon Hallberg Lawrence Carolyn and George Rowland chair Wolfe Maria Stata chair Tuba Sheldon Rotenberg Joseph Hearne Chester Schmitz Alfred Schneider Margaret and Bela Wurtzler William C. Raymond Sird Rousseau chair Leslie Martin Ikuko Mizuno John Salkowski Timpani Amnon Levy John Barwicki Everett Firth Sylvia Shippen Second Violins * Robert Olson Wells chair Marylou Speaker Churchill * James Orleans Percussion Fahnestock chair Charles Smith Vyacheslav Uritsky Charlotte and Irving W Rabb chair Flutes Arthur Press Ronald Knudsen Doriot Anthony Dwyer Assistant Timpanist Walter Thomas Gauger Joseph McGauley Piston chair Frank Leonard Moss Fenwick Smith Epstein Myra and Robert Kraft chair Laszlo Nagy Harp Leone Buyse * Michael Vitale Ann Hobson Pilot * Harvey Seigel Willona Henderson Sinclair chair * Piccolo Jerome Rosen Personnel Lois Schaefer Managers * Sheila Fiekowsky Evelyn and C. Charles Marran chair William Moyer * Gerald Elias Harry Shapiro * Ronan Lefkowitz Oboes * Nancy Bracken Librarians Ralph Gomberg * Joel Smirnoff Victor Alpert Mildred B. Remis chair * Jennie Shames William Shisler Wayne Rapier * Nisanne Lowe James Harper Alfred Genovese * Aza Raykhtsaum Stage Manager * Nancy Mathis DiNovo Alfred Robison English Horn * Participating in a system ofrotated Laurence Thorstenberg Stage Coordinator seating within each string section. Phyllis Knight Beranek chair Cleveland Morrison J 1 Wmm 1

A Brief History of the Boston Symphony Orchestra

For many years, philanthropist, Civil War 1915, the orchestra made its first transconti- veteran, and amateur musician Henry Lee nental trip, playing thirteen concerts at the Higginson dreamed of founding a great and Panama- Pacific Exposition in San Francisco. permanent orchestra in his home town of Recording, begun with RCA in the pioneering Boston. His vision approached reality in the days of 1917, continued with increasing fre- spring of 1881, and on 22 October that year quency, as did radio broadcasts of concerts. the Boston Symphony Orchestra's inaugural The character of the Boston Symphony was concert took place under the direction of con- greatly changed in 1918, when Henri Rabaud ductor Georg Henschel. For nearly twenty was engaged as conductor; he was succeeded years, symphony concerts were held in the old the following season by Pierre Monteux. These Boston Music Hall; Symphony Hall, the appointments marked the beginning of a orchestra's present home, and one of the French-oriented tradition which would be world's most highly regarded concert halls, maintained, even during the Russian-born was opened in 1900. Henschel was succeeded Serge Koussevitzky's time, with the employ- by a series of German-born and -trained con- ment of many French-trained musicians. ductors Wilhelm Gericke, Arthur Nikisch, — The Koussevitzky era began in 1924. His Emil Paur, and Max Fiedler culminating in — extraordinary musicianship and electric per- the appointment of the legendary Karl Muck, sonality proved so enduring that he served an who served two tenures as music director, unprecedented term of twenty-five years. In 1906-08 and 1912-18. Meanwhile, in July 1936, Koussevitzky led the orchestra's first 1885, the musicians of the Boston Symphony concerts in the Berkshires, and a year later he had given their first "Promenade" concert, players took annual summer resi- and the up j offering both music and refreshments, and dence at Tanglewood. Koussevitzky passion- fulfilling Major Higginson's wish to give ately shared Major Higginson's dream of "a "concerts of a lighter kind of music." These good honest school for musicians," and in concerts, soon to be given in the springtime 1940 that dream was realized with the found- and renamed first "Popular" and then ing at Tanglewood of the Berkshire Music "Pops," fast became a tradition. Center, a unique summer music academy for

During the orchestra's first decades, there young artists. Expansion continued in other were striking moves toward expansion. In areas as well. In 1929 the free Esplanade concerts on the Charles River in Boston were

inaugurated by Arthur Fiedler, who had been a* I* 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 1980.

Charles Munch followed Koussevitzky as music director in 1949. Munch continued Koussevitzky's practice of supporting contem- porary 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*- Henry Lee Higginson began his seven-year term as music director in

12 —

1962. Leinsdorf presented numerous pre- Corigliano, Peter Maxwell Davies, John mieres, restored many forgotten and neglected Harbison, Leon Kirchner, Peter Lieberson, works to the repertory, and, like his two prede- Donald Martino, Andrzej Panufnik, Roger cessors, made many recordings for RCA; in Sessions, Sir Michael Tippett, and Oily addition, many concerts were televised under Wilson—on the occasion of the orchestra's his direction. Leinsdorf was also an energetic hundredth birthday has reaffirmed the orches- director of the Berkshire Music Center, and tra's commitment to new music. Under his under his leadership a full-tuition fellowship direction, the orchestra has also expanded its program was established. Also during these recording activities to include releases on the years, the Boston Symphony Chamber Players Philips, Telarc, CBS, and Hyperion labels. were founded, in 1964; they are the world's From its earliest days, the Boston Sym- only permanent chamber ensemble made up of phony Orchestra has stood for imagination, a major symphony orchestra's principal play- enterprise, and the highest attainable stand- ers. William Steinberg succeeded Leinsdorf in ards. Today, the Boston Symphony Orchestra, 1969. He conducted several American and Inc., presents more than 250 concerts world premieres, made recordings for annually. Attended by a live audience of near- Deutsche Grammophon and RCA, appeared ly 1.5 million, the orchestra's performances regularly on television, led the 1971 European are heard by a vast national and international tour, and directed concerts on the east coast, audience through the media of radio, tele- in the south, and in the mid-west. vision, and recordings. Its annual budget has

Seiji Ozawa, an artistic director of the grown from Higginson's projected $115,000

Berkshire Festival since 1970, became the to more than $16 million. Its preeminent posi- orchestra's thirteenth music director in the fall tion in the world of music is due not only to the of 1973, following a year as music advisor. support of its audiences but also to grants from Now in his eleventh year as music director, the federal and state governments, and to the Mr. Ozawa has continued to solidify the generosity of many foundations, businesses, orchestra's reputation at home and abroad, and individuals. It is an ensemble that has and his program of centennial commissions richly fulfilled Higginson's vision of a great from Sandor Balassa, Leonard Bernstein, John and permanent orchestra in Boston.

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

13 The new Continental Mark VII. Itore than a luxury cai; a premium automobile. HH

HUHill Get it together-buckle up..

rr- COME TO YOUR NEW ENGLAND LINCOLN-MERCURY DEALERS. 14 BOSTON SYMPHONY ORCHESTRA

Seiji Ozawa, Music Director

Sir Colin Davis, Principal Guest Conductor

Joseph Silverstein, Assistant Conductor

One Hundred and Third Season, 1983-84

Thursday, 12 January at 8 Friday, 13 January at 2 Saturday, 14 January at 8

KURT MASUR conducting

FRANCK Psyche, Symphonic poem with chorus Parti Psyche's Sleep Psyche Borne Aloft by the Zephyrs

Part II Cupid's Gardens Psyche and Cupid

Part HI The Chastisement — Sufferings and Lament of Psyche. Apotheosis TANGLEWOOD FESTIVAL CHORUS, JOHN OLIVER, conductor

INTERMISSION

RESPIGHI Brazilian Impressions

Tropical Night Butantan Song and Dance

RAVEL La lalse, Choreographic poem

Thursday's and Saturday's concerts will end about 9:55 and Friday's about 3:55.

Philips, Telarc, CBS, Deutsche Grammophon, Angel/EMI, Hyperion, and RCA records Baldwin piano

Please be sure the electronic signal on your watch or pager is switched off ^^^^*^ during the concert. &MME&&

The program books for the Friday series are given in loving memory of Mrs. Hugh Bancroft by her daughters Mrs. A. Werk Cook and the late Mrs. William C. Cox. Jm 15 Week 11 DIAMONDS ARE A SYMPHONY'S BEST FRIEND.

— WW^Hrr\X<-xj © JBLimited *o f

Gifts ofjewelry, works of art, antiques, and other items of personal property can be of enormous importance in supporting the music and the musicians of the Boston Symphony Orchestra.

If you have items such as these which you would consider contribut- ing to the Symphony and would like to learn more about the tax advantages of such a gift, please contact

Jane Bradley

Chairman, Planned Gifts Boston Symphony Orchestra

Telephone: (617) 266-1492 x 131

r *

16 Cesar Franck Psyche, Symphonic poem with chorus

Cesar Franck was born in Liege, Belgium, on 10 December 1822 and died in Paris on 8 November 1890. He actually began working on Psyche, a large, multi-sectional symphonic poem with chorus, in July 1886, writing out the short score between 9 August and 23 October of that year. The full score occupied him to the end of1887 and probably into 1888. The first perform- ance was given by the Societe Rationale in Paris under the composer's direction

on 10 March 1888. The work is divided into three parts: Part One comprises two orchestral numbers (Sommeil de Psyche, or "Psyche's Sleep,'' and

Psyche enlevee par les Zephyrs, or

"Psyche Borne Aloft by the Zephyrs") ; Part Two, two orchestral scenes (Les jardins d'Eros, or "Cupid's Gardens," and Psyche et Eros, "Psyche and Cupid") separated by a choral section; Part Three, two choral sections surrounding a lengthy orchestral passage (he Chatiment—Souffrances et plaintes de Psyche, or "The Chastisement- Sufferings and Laments ofPsyche") and an orchestral Apotheosis. In 1900four orchestral sections ofthe score— the four purely orchestral segments from Parts One and Two (and nothingfrom Part Three) — were published as a suite; the work is most often heard in this abbreviated form. The American premiere ofany of this music took place when the New York Philharmonic performed the first two movements on 31 January 1903. Vincent d'lndy introduced the score to Boston audiences, conduct-

ing Psyche et Eros on 1 and 2 December 1905, then taking it on tour with the orchestra to Philadelphia, Washington, New York, and Brooklyn. Wilhelm Gericke programmed Les Jardins d'Eros and Psyche et Eros later in the same season, on 6 and 7 April 1906. In the meantime, Wallace Goodrich had led the New England Conser- vatory Orchestra in the local premiere of Le Sommeil de Psyche on 9 March 1906. Pierre Monteux led the BSO's only previous encounter with any of the choral parts by programming Part Three on 31 March and 1 April 1922, with Laura Littlefield as soprano soloist and the Boston Symphony Chorus. All BSO performances since have

consisted of the four-movement orchestral suite or portions of it, led by Henri Rabaud, Monteux, and Serge Koussevitzky. Monteux led the most recent performances in Boston and on tour in January and February 1954. The score calls for a chorus of sopranos, altos, and divided tenors, two flutes and piccolo, two oboes and English horn, two clarinets and bass clarinet, four bassoons, four horns, two trumpets, two cornets-a-pistons, three trombones and tuba, timpani, two harps, and strings.

Cesar Franck spent most of his long life as a distinguished teacher of a group of unusually devoted (indeed, almost idolatrous) pupils and as one of the leading organists of France, the years-long incumbent at the organ bench of Ste. Clotilde. He was also

constantly involved in composition, though the works by which we remember him came,

almost without exception, from the last ten or fifteen years of his life. These include the

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piano quintet in F minor (1878-79), the symphonic poems he Chasseur maudit (1882) and Les Djinns (1884), the Variations symphoniques for piano and orchestra (1885), the Violin Sonata (1886), the Prelude, Aria, and Finale for piano (1886-87), the D minor symphony (1886-88), the string quartet (1889), and the three chorales for organ (1890).

Of the rest of his music, little is performed much these days— especially not the grandiose Biblical oratorios in which he put so much stock and which played a large part in earning him the nickname of pater seraphicus: Ruth (1843-46, revised 1871), Redemption

(1874 in its final version), Les Beatitudes (1869-79), and Rebecca (1880-81).

Psyche holds an ambivalent position in this list of works. It is one of Franck's last

scores, composed when he was at the height of his powers. It is full of richly imagined, sensuous music patently influenced by the modernisms of Wagner, dealing with a secular

subject. But it is less frequently performed even in part than any other large work of

Franck's last decade—and as a whole it is almost never heard. (So rarely is the full work given that the score has not yet been printed. The publisher simply sends out a manuscript copy made in 1892 from the composer's original autograph score!) Yet the

music is filled with those qualities that are characteristic of Franck at his best. I suspect the main reason for the infrequent performances (aside from the lack of easy-to-read

printed scores and parts, which can put off the most dedicated musicians!) is the curious

in-between genre into which Psyche falls. It is a symphonic work with an incidental chorus— neither purely orchestral on the one hand, nor a big oratorio on the other. The

choral part is nowhere so elaborate or gratifying for the singers as to induce choruses to

Cesar Franck 's father and mother

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20 >rt program Psyche on their own concerts. And the specific choral sound called for is odd, too — one without the weight of bass sound, but with a substantial tenor section, since the

tenor part is divided into two lines almost throughout. We are left, then, with a real rarity, a major composition by a major composer written in the fullness of his power, and almost never heard.

The origin of Psyche is connected to the mythological interests of the composer's son Georges, an anthropologist and teacher at the Lycee Lakanal and lecturer at the university. He was a freethinker who hoped to entice his father away from religious subject matter. Georges had already encouraged his father to write an opera —and in this he was seconded by Mme. Franck, who, tired of the respectable poverty that was a church

musicians lot, hoped that he might reach a lucrative musical market. The result was the

gigantic score of Hulda, which took Franck the better part of five years to write, only to

be refused performance. (When the work was finally put on the stage, several years after

the composer's death, it was all too clearly an old-fashioned opera by a man whose genius

simply did not lie in the theater.)

Georges tried again. According to d'lndy, he prepared another opera libretto, this time

on the classical myth of Cupid and Psyche. Franck liked the story, but refused to treat it

dramatically and asked Georges to convert his text into material for a program symphony.

Yet the situation is not as simple as d'lndy would have it. There is still considerable doubt

as to the authorship of the final text. The program of the first performance by the Societe

Nationale bore the credit line, "Poetry by Messrs. Sicard and Fourcaud." The manuscript

score and the printed vocal score provide no indication whatever. And, in any case, a scrap of paper inserted into the autograph short score with many revisions and corrections

to the text in Franck's own hand shows that he himself played a substantial role in

bringing the poetry to its final shape.

Active sketching must have been started by midsummer 1886. Franck began writing

out the short score on 9 August in Quincy, and he finished it in Paris on 23 October. The

fact that this score is clean and virtually without corrections bespeaks a good deal of

preliminary sketching beforehand. Only after reaching this stage did Franck conceive and

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compose the introductory chorus of Part Three. The orchestration took more than a year.

As late as December 1887 the Societe Nationale had not yet received the score; it must have been finished soon after that if the orchestral and choral parts were to be prepared in time for rehearsals for the first performance on 10 March 1888. The original manuscript bears no dedication, but the published vocal score and the separately published orchestral sections bear a dedication "A mon ami Vincent d'lndy."

For a short time around the turn of the century Psyche was performed all over Europe with great enthusiasm. Franck was then at the height of his international popularity, and Psyche was given often enough in different countries to justify the publication of choral parts in French, German, and English! But those days are long past. The earliest reviewers regarded the work as a great composition following in the line of Berlioz.

Indeed, the mixed genre of Psyche, involving chorus and orchestra, is very likely

Franck's homage to such Berliozian scores as Romeo and Juliet and L'elio. And Franck's original notion of having the chorus placed behind a curtain, out of sight of the audience, was surely inspired by L'elio. (In practice the idea proved to be unwieldy; its principal effect was to muffle the clarity of the words, and few performances have attempted to carry it out since.)

Cesar Franck in 1885 at the Ste. Clotilde organ

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%7 ,\„r .#«;* The "plot'' of Psyche is one of the favorite tales recounted by Apuleius. Psyche, a princess of incomparable beauty, arouses the admiration of all mankind and the envy of Venus. The goddess of love, determined to punish Pysche for her beauty, sends Cupid to cause her to fall ridiculously in love with an inappropriate partner, but in carrying out his mother's order, Cupid is himself smitten with Psyche's radiant beauty. He has the zephyrs carry her away to his palace, where he comes to visit her only in the dark of the night.

Their love is intense and passionate, but he warns her that she must never seek to find out who he is or to see his face in the light. Psyche's envious sisters arouse her curiosity as to the identity of this mysterious and unseen lover. One night, when Cupid has fallen asleep after their lovemaking, she observes him by the light of an oil lamp and recognizes him.

Cupid, awakened when a drop of the hot oil falls upon his naked skin, berates Psyche for her lack of trust in him and abandons her at once. In despair Psyche wanders through wild and twisting paths, seeking to find him again. With Nature's help, she accomplishes four

"impossible" tasks set for her by Venus (with the intention that she should perish in the attempt). Cupid, won over by her courage and steadfastness, intercedes with Jupiter to have Psyche received on Olympus, where the couple's wedding is celebrated.

Psyche was a familiar and popular subject in the artistic milieu of Franck's time, but influences on his work come more likely from Berlioz and Wagner than from any earlier treatment of the story of Cupid and Psyche. The section entitled Psyche et Eros, a purely orchestral love scene, is related in that sense to the love scene in Berlioz's Romeo and Juliet. Much of the score suggests parallels to Wagner, especially his Grail operas Lohengrin and Parsifal: Cupid's anonymity and Psyche's curiosity recall Lohengrin and

Elsa; the greeting offered to Psyche by the natural world in Cupid's garden suggests the

"Good Friday spell" of Parsifal; and Psyche's long wanderings in the middle of Part

Three are similar to the orchestral treatment of Parsifal's long years of wandering in the

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prelude to the third act of Wagner's music drama. The very theme of redemption by love, which appears so frequently in Wagner's work, lies at the heart of Psyche and links it as well to Christian theology (perhaps that is why Franck was so willing to accede to

Georges's suggestion of this theme for his work). Wagner's popularity in France was approaching its height at this time, and Franck, though temperamentally as different from Wagner as one can possibly imagine, nonetheless was captivated by his music. He was among the first French composers, in fact, to accept Wagner's music wholeheartedly and to pass on his enthusiasm to his students. Thus, in a certain sense, Psyche is Franck's erotic masterpiece, the Franckian equivalent of Tristan und Isolde to the German master.

It may seem odd to us, who are likely to find Psyche, for all its sensuous richness, as a remarkably chaste love story, that Franck's wife felt threatened by the work. In fact, she steadfastly refused to attend a performance. After staying away from the premiere, she was persuaded to attend the second performance in a Colonne concert on 23 February

1890, only to find upon arriving at the concert hall that she had left her ticket at home. Of course, arrangements could have been made to get the composer's wife into the hall for the performance, but she flatly refused again and left in the happy knowledge that she would not have to listen to so overtly secular and erotic a work. Mme. Franck's feelings about the piece can hardly fail to strike us as somewhat odd, since few listeners now are much exercised about the presumed eroticism of the score. In fact, most commentators have claimed the opposite: that Franck has taken a pagan subject and elevated it —even

Christianized it — with his emphasis on the redemptive power of love.

The chorus is commentator, not active participant; as in the Greek drama, the chorus simply reacts. The tale unfolds, rather, in the orchestra. As in so much of Franck's late work, the structure grows out of a limited number of thematic ideas which undergo repeated development, reworking, and rescoring (here again Wagner's influence is evident). In the case of Psyche the two most important themes appear right at the outset: a tentative, hovering little figure in the clarinet over gently supporting strings

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Franck's description of the story, section by section, allows the listener to pursue directly the unfolding of Psyche's experiences and emotions without further attempts to describe

the musical development. Francks own point of view in this story is perhaps most directly

symbolized (yet hidden from non-musicians) in his use of key relations. In a traditional symbolic gesture that goes back before the time of Bach, Franck writes the score predomi-

nantly in keys involving sharps (it begins in B major— five sharps —and ends in E major— four sharps) and carefully organizes the step-by-step relationship of keys from

one section to another throughout the score. Owing to the fact that the musical sharp is

formed by a criss-cross pair of lines and to the happenstance that in German the word for sharp, "kreuz" happens to be the same as the word for "cross," composers have

occasionally used sharps in their music to symbolize the Crucifixion and related ideas.

Franck's choice of sharp-related keys is almost certainly designed to heighten his

perception that the theme of Psyche— for all its being based on a pagan tale, for all its

sensuous surface and erotic overtones, for all of son Georges's desire to lead his father

away from sacred subjects — is still redemption. —Steven Ledbetter

The published vocal score contains the following "Legend" for the orchestral passages in the work (here given in translation), interspersed with the texts of the vocal sections. The ellipses in the prose sections are part of the original French text.

' ' ' :..' ' • :-.:;" . •. ,...;..;...:...... ' ;':' . >,:' .;' :, '.. ' : : ,.: " " ,

27 PART ONE Le Sommeil de Psyche (Psyche's Sleep)

Psyche has fallen asleep .... Gently rocked by her dream, her spirit perceives for a few moments an absolute happiness which is not of this world, but of which she has presentiments.

Psyche enlevee par les Zephyrs (Psyche Borne Aloft by the Zephyrs)

Suddenly the air shimmers, filled with strange noises .... Psyche, borne aloft by the

Zephyrs, is transported to the gardens of Cupid. PART TWO Les Jardins d'Eros (Cupid's Gardens)

Fairer than beauty itself, Psyche reposes in the midst of the flowers, hailed as a sovereign by Nature in its festive guise: Voices murmur in her ear of the power of Love .... She wakens, sweetly moved .... The Voices sing again, speak of the invisible Spouse who is approaching .... Ravished, she hears, she listens .... The Voices sing on, but more seriously: "Remember," they say, "that you may never see the face of your mysterious lover. Remember!"

Amour! source de toute vie! Love! Source of all life!

Dieu jeune et fort aux traits vainqueurs! young, strong god with winning features! Salut, 6 puissance benie, Hail, blessed power, Salut, o doux tyran des coeurs, Hail, sweet tyrant of hearts,

Tu remplis tout d'une sainte allegresse, You fill all with a divine joy,

Tes pas fecondent les sillons. Your steps make fruitful the fields. La terre maternelle enfante avec ivresse Mother earth gives birth drunkenly

Quand sur elle descend TinefFable caresse when upon her descends the ineffable caress

Du grand ciel, son epoux, inonde of the great sky, her spouse, bathed

de rayons. in light.

blanche soeur des lys, plus douce que white sister of the lily, softer than l'aurore the dawn

Et plus belle que la beaute, and fairer than Beauty itself,

Ne sens-tu pas un doux desir eclore do you not feel a sweet desire appear Dans ton sein agite? within your quivering breast?

Ecoute au loin les invisibles lyres Hear in the distance the unseen lyres

Soupirer doucement dans Fair sighing sweetly in the harmonious

harmonieux! air!

II va venir, l'epoux mysterieux, The mysterious spouse is coming Dans ton sein virginal verser de saints to pour holy delights into your virginal delires. bosom.

Vois pour toi s'entr'ouvrir les portes du Behold, for you the palace gates palais. open, Mais, Psyche, souviens-toi que tu ne But, Psyche, remember well that you must dois jamais never De ton mystique amant connaitre see the face of your mysterious

le visage; lover. Obeis sans comprendre, au destin Without understanding, obey destiny, which

toujours sage. is always wise. Psyche! Rappelle-toi, rappelle-toi. Psyche! Remember, remember.

Psyche et Eros (Psyche and Cupid)

The spirits are silent: now another voice speaks, sweet and penetrating: it is that of Cupid

himself. Psyche responds hesitantly . . . soon their souls are mingled ... All is passion, all is light, all is happiness . . . eternally, if Psyche can but remember!

PART THREE

Le Chatiment — Souffrances et plaintes de Psyche (The Chastisement— Sufferings and Laments ofPsyche)

Psyche has forgotten! "Let the chastisement commence!" declare the Voices . . . but she

weeps . . . perhaps Cupid will pardon her.

Psyche weeps; she suffers infinite torments, for she has known infinite pleasure; now she lives on earth only to suffer, consumed by powerless desires, to die in a grievous and

supreme urge for this ideal love that she has lost forever, but which she hopes . . .

Amour, elle a connu ton nom. , Cupid, she has learned your name!

Malheur sur elle! Woe to her!

Parmi le doux mystere, aux bonheurs In the midst of sweet mystery, of purest

epures, bliss

Le doute a pris le coeur de la jeune Doubt seized the heart of the young immortelle. immortal.

Son chatiment commence et sa peine est Her punishment begins, and her pain is cruelle, cruel,

Loin des jardins d'Eros et des parvis far from Cupid's gardens and the sacred sacres, precincts,

La voici maintenant errante sur la terre, there she is now, wandering upon the earth,

Et les sentiers sont durs a ses pieds And the footpaths are hard to her wounded

dechires. feet.

Amere voyageuse et partout solitaire, Bitter traveller, solitary everywhere,

Elle va sanglotant au regret de la mystere she goes sobbing, regretting the mystery Des bleus jardins d'Eros et des parvis of Cupid's azure gardens and the sacred sacres groves,

Et toujours s'agrandit la nuit interieure, the night within her deepens still more,

Et le vent seul entend ses cris desesperes! and only the wind hears her despairing cries!

Nul espoir ne descend sur elle et ne No hope descends to her or touches

l'effleure. her.

Amour, elle a connu ton nom, mais elle Love, she has known your name, but she pleure. weeps.

Rends-lui les bleus jardins et les parvis Give her back the azure gardens and the sacres. sacred groves.

Apotheose (Apotheosis)

Cupid has pardoned, the mysterious chorus announces, and the whole world thrills with joy . . . Rest, poor Psyche! Your desire, which survived your death, has risen to the god, and the god descends to you; his mouth speaks again of the same love, Nature sings the same celebration . . . And here in the arms of her immortal Spouse, Psyche quits the earth in the bosom of a triumphant glory!

Eros a pardonne. Tressaillez ciel et Cupid has pardoned. Thrill to it, heaven and terre! earth!

Releve, tu le peux, Psyche, ton front pali. Psyche, lift up your wan face. Souvenir douloureux de la faute Let the sad memory of your former premiere, transgression

Suis couvert, a jamais, d'un eternel oubli. be covered, forever, in eternal oblivion.

Et toi, couple divin, monte dans la lumiere: And you, divine couple, mount into light:

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30 Ottorino Respighi Brazilian Impressions

Ottorino Respighi was born in Bologna, Italy, on 9 July 1879 and died in Rome on 18 April 1936. He composed his Impressioni brasiliane (Brazilian Impres- sions) in late 1927, completing the scor- ing of the three existing movements in January 1928. Respighi himself con-

ducted the first performance in Rio de Janeiro in June 1928, during his second

tour of the country. These are the first performances by the Boston Symphony Orchestra. The score calls for three flutes (third doubling piccolo), two oboes and English horn, two clarinets and bass clarinet, two bassoons, four horns, three trumpets, two trombones and tuba, timpani, triangle, tambour- ine, side drum, cymbals, bass drum, celesta, tubular chimes, harp, piano, and strings.

Of Italian composers who came to their maturity near the beginning of this century, Respighi has long been the most successful on the international scene, though few would regard him as the most significant composer of that generation. He studied first in his native Bologna, then twice went to Russia for lessons with Rimsky-Korsakov, whose brilliance in handling the orchestra is evident in all of Respighi's scores. Finally a year in Berlin exposed Respighi to a potent musical environment, from which he no doubt profited, but he did not gain much from the few lectures by Max Bruch that he attended. Though he was a man of real culture, Respighi's musical reactions tended toward the vivid, the simple, even the childish. He was unusually receptive to visual impressions, and most of his music reflects a delight in the aural recreation of some particularly striking scene, whether in his earliest masterpiece, the Fountains ofRome, or in such later and less often performed works as the Botticelli triptych (Trittico botticelliano) or Church

Windows {Vetrate di chiesa). The same is true of his suite Brazilian Impressions, which are mementos of an actual tour of Brazil in 1927.

The Brazilian tour followed hard upon Respighi's second tour of North America, where he had enjoyed a tumultuous success during a visit the year before. The tour was timed virtually to the second by the composer's American impresario, and long before it was over he longed for the calm of his studio in the Palazzo Borghese in Rome. After a visit to

Washington for a chamber concert in the Coolidge Auditorium of the Library of Congress,

Respighi conceived a new work, inspired by three paintings of Botticelli, to be composed for small orchestra and dedicated to Mrs. Coolidge. He set to work on the score as soon as he was back in Rome in March.

On 12 May the Respighis sailed for Brazil on the Conte Verde. The composer was delighted with the beauty of the bay at Rio de Janeiro, and his two planned chamber music

concerts in Sao Paulo were so successful that six additional concerts were added! His two

orchestral concerts in Rio in early July required a great deal of work for Respighi, as

conductor, to bring an ensemble of middling and disparate musicianship to his perfor-

mance standard. But he left the country with the warmest of feelings. In fact, he left his

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promise to write a "Brazilian suite" for the Philharmonic Orchestra of Rio de Janeiro. His plan was to write five movements reflecting vivid impressions of his stay in Brazil. He quickly sketched three late in 1927 and scored them in January 1928, but he never got around to writing the other two. In the end he presented the work as complete in three movements, the way it stands today.

As we can expect from any of Respighi's music, the richness and variety of the scoring are a reflection of vivid visual impressions and experiences in what was to him an exotic place. He had been very interested in Brazilian folk music during his visit, and it is likely that the tunes and melodic fragments of the suite came from his notebook of actual popular melodies. The first movement, Tropical Night, is self-explanatory. Over and under a constantly reiterated Latin rhythm first heard in the violins at the outset, fragments of melody intertwine with wisps and great splashes of sound suggesting the mysterious tropics. The score provides a note explaining the title of the second movement.

Butantan is a garden near Sao Paolo with a scientific research station where poisonous snakes of every kind are gathered for the preparation of snakebite antitoxin: "a deadly entanglement in a beautiful landscape." Respighi was rather shaken by the visit, and it took him some time to get over the spectacle of so many deadly reptiles in such close proximity. His music is built up of a slow, cold figure in the strings and upper woodwinds, coming to bare, expressionless octaves. The bassoons and bass clarinet enter, one after the other, with a writhing, crawling theme suggesting the intertwining of the snakes. This vivid image—and the composer's shudder— is suggested in the music, which, not surprisingly, ends with a shivering quotation of the Dies irae melody before the snakes have the last, twisting word. The last movement, Song and Dance, is much more typical of a travel suite —a lively glimpse of local color in brilliant orchestral guise.

— S. L.

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33 " » ' r> M: " Maurice Ravel La False, Choreographic poem

Joseph Maurice Ravel was born in Ciboure near Saint-Jean-de-Luz, Basses-Pyrenees, in the Basque region ofFrance just a short distance from the Spanish border, on 7 March 1875 and

died in Paris on 28 December 1937. La Valse was composed in 1919 and 1920, based on sketches made before the war for a symphonic poem with the intended

title "Wien" ("Vienna") . Ravel and Alfredo Casella performed the two- piano version of La Valse at a concert of Arnold Schoenberg's Societyfor Private Musical Performances in November 1920. The orchestral version was given

its premiere by Camille Chevillard and the Lamoureux Orchestra ofParis on 12 December that year. Alfred Hertz gave the American premiere with the San

Francisco Symphony on 28 October 1921. Pierre Monteux introduced it to the Boston Symphony repertory on 13 and 14 January 1922; since then it has been conducted here by Serge Koussevitzky Ravel himself, Richard Burgin, Paul Paray, Leonard Bernstein, Charles Munch, Frnest Ansermet, Georges Pretre, Michael Tilson Thomas, and Seiji Ozawa, who led the most recent Symphony Hall performances in February 1978. Charles Dutoit conducted the most recent performance at Tanglewood in August

1982. La Valse is scored for two flutes and piccolo, two oboes and English horn, two clarinets and bass clarinet, two bassoons and contrabassoon, four horns, three trumpets, three trombones and tuba, timpani, triangle, tambourine, side drum, bass drum, cymbals, castanets, tam-tam, tambourine, crotales, two harps, and strings.

Ravel found it difficult to return to normal work after the ravages of the First World War. Quite aside from the long interruption in his compositional activity and the loss of many friends, he was suffering from a recurring insomnia that plagued him for the rest of his life and played a considerable role in the dramatic reduction of new works. He had already started sketching a symphonic poem that was intended to be a musical depiction of Vienna; naturally it was a foregone conclusion to cast the work as a grand orchestral waltz. Ravel had never yet visited the Austrian capital (he was to do so only in 1920, after having finished his big waltz composition), but he "knew" Vienna through the composers, going back to Schubert and continuing with the Strauss family and many others, who had added a special Viennese lilt to the waltz. (In this sense Ravel was as familiar with Vienna as Bizet and Debussy were with Spain when they composed what we still regard as the most convincing "Spanish" music ever written.)

The first sketches for Wien apparently date from 1907, when Ravel was completing another music travelogue, the Rapsodie espagnole. He began orchestrating the work during 1914 but ceased after the outbreak of hostilities; he complained in his letters that the times were not suitable for a work entitled Vienna. After the war, Ravel was slow to take up the composition again. Only a commission from Serge Diaghilev induced him to

finish it, with the new title La Valse, Poeme choreographique, and intended for

35 Week 11

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36 production by the Ballets Russes. When the score was finished, however, Diaghilev balked. He could see no balletic character in the music, for all its consistent exploitation of a dance meter, and he refused to produce the ballet after all. (Not surprisingly, this marked the end of good relations between the composer and the impresario.) La Valse was first heard in concert form; only in 1928 did Ida Rubenstein undertake a ballet production of the score, for which Ravel added a stage direction: "An Imperial Court, about 1855." The score bears a brief scenic description:

Clouds whirl about. Occasionally they part to allow a glimpse of waltzing couples. As

they gradually lift, one can discern a gigantic hall, filled by a crowd of dancers in motion. The stage gradually brightens. The glow of chandeliers breaks out fortissimo.

The hazy beginning of La Valse perfectly captures the vision of "clouds" that clear away to reveal the dancing couples. The piece grows in a long crescendo, interrupted and started again, finally carried to an energetic and irresistible climax whose violence hints at far more than a social dance.

Ravel's date of 1855 for the mise-en-scene was significant. It marked roughly the halfway point of the century of Vienna's domination by the waltz—the captivating, carefree, mind-numbing, seductive dance that filled the salons, the ballrooms, and the inns, while the whole of Austrian society was slowly crumbling under an intensely reactionary government, the absolutism of Emperor Franz Joseph, who was twenty-five in

1855 and reigned until the middle of the First World War. The social glitter of mindless whirling about concealed the volcano that was so soon to erupt. Ravel's La Valse has the captivating rhythms in full measure, but the music rises to an expressionistic level of violence, hinting at the concealed rot of the society. Would La Valse have been different if composed before the horrors of the war? Who can tell? In any case, consciously or not,

Ravel's brilliantly orchestrated score captures the glitter and the violence of a society that, even as he was composing, had passed away.

—S.L.

A*

The Emperor Franz Joseph, who domi- nated Vienna during the era ofthe waltz

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38 There are few books in English about Respighi. His wife Elsa wrote Ottorino Respighi, dad biografici ordinati, which was published by Ricordi in the original Italian with many photographs in 1954 and appeared in an English translation by Gwyn Morris (also

Ricordi) in 1962, but the English version was cut to less than half its length, with most documents omitted, and no photographs. The only other substantial work in English is to be found in an unpublished Oxford dissertation, The Emergence of Modern Italian Music

(up to 19 10) by John C.G. Waterhouse, who also wrote the Respighi article in The New Grove. Brazilian Impressions has received a colorful and atmospheric recording from Antal Dorati and the London Symphony (Mercury, with Respighi's The Birds).

Cesar Franck has had a number of worthy biographers over the years. The first and most enthusiastic was his pupil \ incenl dTndy, whose 1906 study Cesar Franck (Dover

paperback) verges on hagiograph) ; one must be cautious about taking 1) Indy s rather fanatic religiosity at face value when he is interpreting the work- ol his re\ered master. Later biographic- are more down-to-earth, among them shorl Studies available only in

French by Charles van den Borren and l>\ Norberl Dufourcq, and book- by Leon \allas and b\ Norman Demuth. The mosl recenl works on Franck are b) Laurence Davies, whose Cesai Franck and Ins Circle (Barrie & Jenkins) pro\ ides a particular!) rich stud) of the composer's milieu and the cadre ol students who did so much to spread his tame.

The same writer*- Cesai From I. is part ol the Master Musicians series I Littlefield paperback) ami as such concentrates more single-mindedl) on the life and work- ol

Franck himself. The most thorough treatmenl ol Psyi he and Franck'- other symphonic poem- 1- to be found in a German stud) b) Vngelus Seipt, Cesai Francks s) mphonische Djch tungetu published b) Gusta> Bosse Verlag ol Regensburg. The onl) recording ol

music I ton i P.svr/fpcurrentl) available consists ol the four instrumental excerpts, with Daniel Barenboim conducting the Orchestrede Paris (DC). There have been several complete recordings with chorus in the last three decades, but all have been deleted. The

( ^ (> rnost recent pf these, a colorful and sensuous reading once available as a 1 . American reissue <»n ( ionnoisseur Societ) from the French label Pathe Marconi, featured the

Orchestre de Liege conducted b) Paul Strauss with the chorus <»l the Belgian Radio.

\rbie Orenstein's Hai el: Man and Husit ian (Columbia) is a thorough study, il a trifle dull. Norman Demuth ha- contributed a useful short volume on Ravel to the Master

Musicians series (Littlefield paperback). \ sensitive discussion ol Ravel can be found in

Romanticism and the Twentieth Century, the final volume ol the four-volume stud) Man and His \Iiisk b) \\ illred \lcllcr- (Schocken). \n excellent brief discussion ol Ravel's orchestral music is to be found in the BBC Music Guide that Laurence Davies devotes to that subject (I niyersit) ol Washington paperback): Da\ ies has also written a fine book called The Qallic Muse with c--.i\- on Faure. Duparc. Debussy, Satie, Ravel, and Poulenc

(Barnes). Seiji Ozawa and the Boston Symphon) Orchestra have recorded La I alse with

Rolero and Rapsodie espagnole (DjG). Other excellent recording- ol La I alse include those b\ Herbert \ on Karajan and the Orchestre de Paris (Angel, with llhorada del grricioso, Rapsodie espagnole, and l.e tomheau de Couperin) and Charles Dutoil with the Montreal S\ rnphonv (London digital, with llhorada del gracioso, Rapsodie espag- note, and Bolero).

-S.L.

39 Week 11 oinTlie 2?oston Symphony §)§ ^FridaycAfternoons

The BSO offers new subscription options for the Friday Afternoon Series. You can now purchase by subscription five or six concerts. Featuring Music Director Seiji Ozawa and Principal Guest Conductor Sir Colin Davis, such leading guest soloists as pianist Maurizio Pollini, violinist Isaac Stern, and soprano Hildegard Behrens, with music by Brahms. Mozart, and Berlioz, these new options offer you the opportunity of enjoying the symphony for the remainder of this exciting season. "Two Series cAre cAvailable ^Beginning In January THE FRIDAY SPRING "5" or THE FRIDAY SPRING "6."

FOR FURTHER PROGRAM INFORMATION AND SEAT AVAILABILITY. PLEASE CALL THE SUBSCRIPTION OFFICE AT SYMPHONY HALL, 266-1492. FOR THOSE WHO HAVE THE MEANS, WE HAVE THE WAYS.

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Mr. Masur has appeared with leading orchestras throughout Europe and has toured

the Soviet Union and Japan. He is a regular guest conductor with the Royal Philharmonic, and he has participated in several international

music festivals, including "Prague Spring" and "Warsaw Autumn," the Salzburg Festival, the Edinburgh Festival, and the Beethoven

Festival in Rio de Janeiro. Mr. Masur has recorded nearly 100 albums, among which are included the Beethoven symphonies, Mozart piano concertos, Prokofiev piano concertos,

and all of the Mendelssohn, Schumann, Brahms, and Bruckner symphonies; he and the Leipzig Gewandhaus have recently recorded the Four Last Songs of Richard Strauss with soprano Jessye Norman. Mr.

Masur made his American debut while on tour with the Leipzig Gewandhaus Orchestra during Music director of the Leipzig Gewandhaus the 197 1-75 season; he returned to this coun- Orchestra since 1970, Kurt Masur was horn in try with the Leipzig Gewandhaus in the spring Brieg, Silesia, in 1927. After piano studies, he of 1981 and again in the fall of 1982. In the attended the German College of Muh<- m vear^ following his American debut, Mr. Mas- Leipzig from 1946 to 1948. studying conduct- ur appeared with the Toronto Symphony, the ing there under Heinz Bongartz. His first Dallas S) mphony, and the Cleveland Orches- engagement was as orchestra coach at the tra. Following his first Boston Symphony Halle County Theatre. From 1951 to 1953 lie appearances in February 1980, he went on to was Kapellmeister of the Erfurt Theatres, and conduct the San Francisco Symphony that he was subsequently engaged as tir-t conductor same season, and he made his New York of the Leipzig Theatres. In 1955 he became a Philharmonic debut during that orchestra's conductor of the Dresden Philharmonic, at the Romantic Music Festival in June 1981. In time headed by his former teacher Heinz recent seasons he has also appeared with the Bongartz. Mr. Masur returned to opera from Chicago Symphony and the Philadelphia 1958 to 1960 as general director of music of Orchestra. the Mecklenburg State Theatre of Schwerin; during the next four years he was senior In his numerous guest appearances with the director of music at the Komische Oper m Boston Symphony Orchestra at Symphony

Berlin, where he frequently collaborated with Hall and at Tanglewood, Mr. Masur's widely the noted stage director Walter Felsenstein. In varied programs have included music of 1967, Mr. Masur was appointed chief conduc- Mozart. Hindemith, Strauss, Tchaikovsky, tor of the Dresden Philharmonic, a position Beethoven, Britten, Prokofiev, Brahms, which he held until 1972. Mr. Masur was Paganini, Kodaly, Cimarosa, Liszt, Stravinsky, engaged by GDR Television for a presentation Haydn, Bartok, Weber, Schumann, and of all nine Beethoven symphonies with the Shostakovich. He led five concerts in 1982 at Staatskapelle Berlin and for a production of Tanglewood, including three all-Beethoven Fidelio as part of the Beethoven bicentennial programs for that summer's Beethoven week- commemorations in the German Democratic end; his most recent Symphony Hall appear-

Republic in 1970. In 1975 he was appointed ances prior to this season were for two professor at the Academy of Music in Leipzig. programs in January 1983.

41 For rates and information on m BOSTON advertising in the SYMPHONY Symphony, Boston ORCHESTRA Boston Pops, SEIJI OZAWA jfa and Music Dtrtctor ^f. Tanglewood program books please contact:

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42 Tanglewood Festival Chorus

John Oliver, conductor

verv different sort of discipline from perform-

ance with orchestra, and ranging in musical

content from Baroque to contemporary. In the spring of 1977. John Oliver and the chorus were extended an unprecedented invitation bv

Deutsche Grammophon to record a program of« cappella twentieth-centurv American choral music; this record received a Grammy

nomination for best choral performance in

1979. Hie latest recording bv Mr. Oliver and

the chorus has just been issued bv Nonesuch and includes music of Luigi Dallapiccola and

Kurt Weill. In addition, the chorus is featured m Debussy's Trois \octurnes with the Boston

Symphony Orchestra under Sir Colin Da\ i- on a recenl release by Philip-.

The Tanglewood Festival Chorus has collab-

Co-Sponsored b) t h«- Berk-lure Music (."enter orated with the Bo-ton Symphon) Orchestra and Boston I niversity, the tanglewood Fes- on numerous other recordings lor Deutsche tival Chorus was organized in the spring "I Crammophon, New World, and Philip-. For

1970 when John ()h\er became director "I the

Music Center. Originall) formed h»r perform- and Seiji Ozawa received a Crammy nomina- ances at the Boston Symphony Orchestra's tion for best choral performance of 1975. The summer home, the chorus was -non playing a langlewood Festival Chorus ma) be heard on major role m the orchestra - Symphon) Hall the Philip- releases ol Schoenberg's (riirrc- season as well. I nder the direction ol conduc- lieder, taped live during Boston Symphon) tor John Oliver, the langlewood Festival Cho- performances and named besl choral record-

pre--, ( >. ( rus is regarded b) conductors, and ing ol l Mi\ Gramophone magazine, and public as one of the greal <>rerlorm regu- orchestra include music ol Ravel, Liszt, and larly with the Boston Symphony Orchestra in Roger Sessions, and the chorus has also

Bo-ton. New V>rk. and at Tanglewood, work- recorded with John W illiams and the Boston ing with Music Director Seiji Ozawa, Principal Pop-.

( luesl ( Conductor Sir Colin Davis, John In addition to his work with the Tanglewood \\ illiams and the Bo-ton Bop-, and such prom- Festival Chorus, John Oliver is conductor of inent guests as Leonard Bernstein. Claudio the Ml I Choral Society, a senior lecturer in Abbado, Klaus Tennstedt. Mstislav Rostropo- music at MIT, and conductor of the John \ ich, \ndre Pre\ in. Eugene Ormand\. and Oliver Chorale, now m its seventh season, and ( runther Schuller. with which he has recorded Donald Martino's

I nlike most other orchestra choruses, the Seven Pums Pieces for New World records. Tanglewood Festival Chorus under John Oliver also includes regular performances ol a ( - pella repertory in its schedule, requiring a

43 1

WmjH

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Get your copy of THE BOSTON SYMPHONY COOKBOOK $18.95 at bookstores everywhere

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*Books may be picked up at Symphony Hall by arrangement with the Cookbook office, 266-1492 ext. 248 Check One Payment enclosed (please make check payable to Boston Symphony) Charge purchase to Master Charge Visa

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Signature

44 Tanglewood Festival Chorus

John Oliver, Conductor

Sopranos Kittv DuXernois John V Maclnnis. Jr.

Margaret Aquino Mary F. Ellis F. Brian McConville Ingrid Bartinique Evelyn M. Eshleman-Kern David E. Meharrv Christine F. VL Brigandi Dorrie Fuchs Dwight Porter Susan Cavalieri Irene Gilbride Barn Singer

Nancy H. Chittim Thelma Hayes Michael Yv. Spence Bonita Ciambotti Donna Hewitt-Didham Terence Stephenson

Joanne L. Colella Leah Jansizian Mark \\ ilson

Margo Connor Suzanne I). Link R. Spencer \\ right Lou Ann David \li~on Loeb Helen M. Eberle I broth) \\. Love Basses Susan Rose Edelman Vpril Merriam

Peter I . Anderson Rebecca Shellman Flewelling Vanessa \1. 0^ ian David J. Ashton (!<•( ilc Ann Ha-tie \nn I . Pinto J. Harrington Bates Lisa Heisterkamp I Deborah Vnn H\ ba Richard Bentle) Lisa J. Hoitsma Barbara S< hmid \ulire\ Rot-lord Mice Homier \\ hite Inula Ka\ Smith I laniel E. Brooks Cailanne Cummings Hubbard ( Ihristina St. I 'lair lame- \\. ( iourtemanche Paula J. Jacobson Judith I ierne) Douglas \. Dittman Christine Jaronski I orraine Walsh James ( Jreening France- \. Kadinofl Jo \iuie Warburton

Mark I . Haberman Ida McManis Natasha \1. Wei John Knowles Patricia Mitchell ( ,. Paul K( >wal Maureen I. \1. Monroe

I imoth) Lanagan Diana No) es Tenors

Keimt'tli I . Lawle) Fiimiku ( )hara Vntone Vquino

I ee l> I ea< h Christine M. Pat he< o E. Lawrence Baker Steven Ledbetter Nanc) Lee Patton Ralph \. Bassetl Sand) MacFarlane

Jennifer M. Pigg I fonato Hra> i o Roberl S. McLellan Charlotte C. Russell Priesl \\ illiam \. Bridges, Jr. Rene \. Mi\ ille Lisa Saunier PaulR.Cohill Stephen II. Owades Joan Pernice Sherman Dana Roberl Dicken Brian K. Patton I larole .1. Stevenson Reginald Didham Martin H. Pierce ( 'aniline \. Woodwell \\ illiam E. I lood \ ladimir Houdenko .1. Stephen < Irofl Kenneth Sallenger Dean Armstrong Hanson Robeii Schaffel Mezzo-sopranos ( leorge Harper Joel Wachman Mais) Bennetl \\a\ ne S. Henderson

Pieter < 'oiirad \\ lute Barbara \. Cooper John W Hickman

Ethel Crawford I- red C. Hoffman

\lar\ \. \. Crimmins Stanle\ Hudson

Catherine Diamond John ( !. Karris

Sara Dorfman Edward J. kiradjieff

Sarah Harrington, Manager

Susan Almasi, Rehearsal pianisl

15 The Boston Symphony Orchestra gratefully acknowledges the following corpora- tions and professional organizations for their generous and important support in the past or current fiscal year. (* denotes support of at least $2,500; capitalized names denote support of at least $5,000; underscored capitalized names within the Business Leaders' listing comprise the Business Honor Roll.)

1983-84 Business Honor Roll ($10,000+)

American Telephone & Telegraph Company Gillette Company

Charles L. Brown Colman M. Mockler, Jr.

Analog Devices, Inc. John Hancock Mutual Life Insurance Company Ray Stata E. James Morton Bank of Boston Liberty Mutual Insurance Company Kenneth R. Rossano Melvin B. Bradshaw Bank of New England Mobil Chemical Corporation

Roderick M. MacDougall Rawing!) Warner. Jr.

BayBanks, Inc. New England Mutual Life Insurance Company

William M. Crozier, Jr. Edward E. Phillips

Boston Consulting Group, Inc. New England Telephone Company

Arthur P. Contas Gerry Freche Boston Edison Company Raytheon Compam

Thomas J. Galligan, Jr. Thomas L. Phillips Boston Globe/Affiliated Publications Red Lion Inn William 0. Taylor John H. Fitzpatrick

Cahners Publishing Company, Inc. The Signal Companies Norman Cahners Michael H. Dingman

Commercial Union Assurance Companies \\ CRB Charles River Broadcasting, Inc. Howard H. Ward Richard L. Kaye Country Curtains WC\ B-T\ 5 Mrs. John Fitzpatrick S. James Coppersmith Devonshire Associates Wang Laboratories Weston Howland Dr. An Wang

Digital Equipment Corporation W m. 1 nderwood Company Kenneth H. Olsen James D. Wells Dynatech Corporation

J. P. Barger

Business Leaders ($1,000+)

Accountants Advertising/ RR.

COOPERS & LYBRAND *Giltspur Exhibits Boston

Vincent M. O'Reilly Thomas E. Knott, Jr. * Ernst & Whinney *Kenyon & Eckhardt

James G. Maguire Thomas J. Mahoney *Peat, Marwick, Mitchell & Company *Newsome & Company Herbert E. Morse Peter G. Osgood

TOUCHE ROSS & COMPANY Aerospace James T McBride Northrop Corporation Joseph Yamron

46 PNEUMO CORPORATION Electronics

Gerard A. Fulham *Parlex Corporation 1 Banking Herbert W. Pollack SIGNAL TECHNOLOGY CORPORATION BANK OF BOSTON W illiam Cook Kenneth R. Rossano BANK OF NEW ENGLAND Energy Roderick M. MacDougall ATLANTIC RICHFIELD COMPANY BAYBANKS, INC. Robert 0. Anderson William M. Crozier, Jr. * Buckley & Scott Boston Five Cents Savings Bank Charles H. Downey

Robert J. Spiller HatofTs *Citicorp/ Citibank Sidney Hatoff

Clarke Coggeshall HCW Oil & Gas Framingham Trust Company John M. Plukas William A. Anastos MOBIL CHEMICAL CORPORATION * Patriot Bancorporation Rawleigh Warner. Jr. Allyn L. Levy * Yankee Oil c\ Gas, Inc. SHAWMUT BANK OF BOSTON Graham E. Jones

William F. Craig Finance STATE STREET BANK & TRUST COMPANY

( !ha-e Ei onometrie Interactive William S. Edgerly Corporation CarlG. Wolf *United State I rusl Company *Farrell, Healer Company, Inc. James V. Sidell & Richard Farrell ('lot hum * I he Firsl Bo-ton Corporation *Knapp King-Size Corporation ( George I . Shinn W inthrop A. Short "Kaufman & ( lompan)

William Carter ( lompan) Sumner Kaufman

Leo J. Feuer " I eat li & I lamer

Philip lea! I, Computer/ High Technolog \ *Narraganset1 Capital Corporation Henco Software \rtlmr D. Henry Cochran Little

' I \ Associates Consulting Management Peter \. Brooke

* Advanced Management \»o< iates, Inc. Food ll<>trl Restaurant Harvev Chet Krenl/man

Boston Show< ase I lompan) BOSTON CONSULTING GROUP INC. Jason >tarr Arthur P. Contas DEVONSHIRE ASSOCIATES *Creative Gourmets Limited Stephen Weston Howland E. Elmonl *l)unkin" Donuts, Inc. * Forum Corporation Robert M. Rosenberg John Humphre)

*Howard I LEA Group Johnson lompan) Howard B. Johnson Eugene Eisenberg *Johnson, O'Hare Company, Inc. Arthur D. Little. Inc. Harry OHare John F Magee OCEAN SPR Vt CR WBERRIES, INC. Russell Reynolds Associates, Inc. Harold Ihorkilsen Jack Vernon *0'l)onnelirsen Fisheries. Corporation Education Irving I sen *Bentlev College REDLIOMNN Gregory H. Adamian John H. Fitzpatrick STANLEY H. KAPLAN EDUCATIONAL CENTER Shaw's Supermarkets Susan B. Kaplan Stanton Davis a *k_*

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Paul Sonnabend William J. McCune, Jr. THE STOP & SHOP COMPANIES, INC. * Prime Computer, Inc.

Avram J. Goldberg John K. Buckner WM. UNDERWOOD COMPANY *Printed Circuit Corporation James D. Wells Peter Sarmanian RAYTHEON COMPANY Furnishings / Housewares Thomas L. Phillips COUNTRY CURTAINS Systems Engineering & Manufacturing Corporation Jane P. Fitzpatrick Steven Baker Health Care/ Medicine Teledyne Engineering Services "Haemonetics Corporation Fred C. Bailey

Gordon F. Kingsley Thermo Electron Corporation Dr. George N. Hatsopoulos High Technology/ Computers Transitron Electric Corporation ANALOG DEVICES David Bakalar Ray Stata WANG LABORATORIES, INC. The Analytic Sciences Corporation Dr. An Wang Dr. Arthur Gelb * Western Electric Fund Analytical Systems Engineering Corporation Donald E. Procknow Michael B. Rukin Aritech In surance James A. Synk AUGAT, INC. \rkw right-Boston Insurance Roger Welllington Frederick J. Bumpus ASSURANCE COMPANIES *Bolt, Beranek & Newman, Inc. COMMERCIAL UNION Stephen Levy Howard H.Ward * Frank B. Hall of Massachusetts, Inc. *Computer Partners. Inc. & Company John B. Pepper Paul J. Crowley LIFE INSURANCE COMPANY *Cullinet Software, Inc. JOHN HAN COCK MUTUAL E. James Morton John J. Cullinane INSURANCE COMPANY *I)ata Packaging Corporation LIBERTY MUTUAL Otto Morningstar Melvin B. Bradshaw DIGITAL EQUIPMENT CORPORATION NEW ENGLAND MUTUAL LIFE INSURANCE COMPANY Kenneth H. Olsen Edward E. Phillips DYNATECH CORPORATION PRUDENTIAL INSl HANCE COMPANY OF AMERICA Robert Scales J.R Barger J. Life Assurance Company of Canada *Epsilon Data Management, Inc. Sun Thomas 0. Jones John I). McNeil The Foxboro Company Investments Bruce D. Hainsworth GTE ELECTRICAL PRODUCTS Amoskeag Company John C. Avallon Joseph B. Ely

*GenRad, Inc. *Blvthe Eastman Paine Webber Incorporated William R. Thurston James F Cleary * Honeywell Information Systems *Burr, Egan, Deleage & Company William R. Smart Craig L. Burr *IBM Corporation *E.F. Hutton & Company, Inc. Bradford Towle S. Paul Crabtree Instron Corporation Loomis Sayles & Company Harold Hindman Robert L. Kemp LFE Corporation Moseley, Hallgarten, Estabrook & Weeden, Inc.

Herbert Roth, Jr. Fred S. Moseley 49 SINCE 1792, FAMILIES HAVE PUT THEIR Bl V| N Thrift and foresight have been bringing families to State «« Street for generations. 5 iftl E Our services are sought out because we are more than a CTDECT discreet and attentive trustee. We also provide particularly ) I KEE • well-informed investment management. Whether your objective is the education of your children, a secure retirement, or preservation of capital, we will work closely with you and your lawyer to devise a suitable trust. Naturally, you are welcome to participate in all decisions, or you may choose to leave matters in our care. Whichever you decide, you will be kept regularly apprised of the pro- gress of your account. We invite you to put your trust in us.

Call S. Walker Merrill, Jr., Senior Vice President, Investment Management. (617) 786-3279. State Street Bank and Trust Company. Quality since 1792. -3 StateStreet

State Street Bank and Trust Company, wholly-owned subsidiary of State Street Boston Corporation. 225 Franklin Street. Boston, MA 02101. Offices in Boston, New York, San Francisco, London. Munich. Hong Kong. Singapore. Member FDIC. © Copyright State Street Boston Corporation 1983.

50 Northland Investment Corporation * Barry Wright Corporation Robert A. Danziger Ralph Z. Sorenson The Putnam Advisory Company, Inc. John A. Sommers Media Tl CKER, ANTHONY & R.L. DAY, INC. General Cinema Corporation

R. Willis Leith, Jr. Richard A. Smith Woodstock Corporation WBZ-TY 4 Frank B. Condon Thomas Goodgame

Legal WCRB CHARLES RIVER BROADCASTING. INC. Richard L. Kaye Cesari & McKenna WCVB-TV 5 Robert A. Cesari S. James Coppersmith Gadsby & Hannah WNEV-TV 7 NEW ENGLAND TELEVISION Harrv Hauser Seymour L. YanofT HERRICK & SMITH

Malcolm I). Perkins Musical Instruments I. Stephen Samuels. PC. Vvedis Zildjian Compan) I. Stephen Samuels Vrmand Zildjian Leisure BA1 DWIN PIANO & ORGAN COMPANY 'Heritage Travel R.S. Harrison Donald Sohn

Trans National (.roup Services, ln< . Printing Publishing Alan E. Lewis * \DCO Publishing Company, Inc. Manufacturing Samuel Gorfinkle

ALPHA INDl STRIES, INC. BOSTON GLOBE \ FF1L1ATED PUBLICATIONS

\\ ilium ( ). I.i\ lur Andrew S. k.irioti- Boston Herald Pell Manufacturing ( lompan) E. Irving W. Bell Robert Page CAHNERS PI PUSHING COMPANY, INC. Bird ( lompanies Joseph Ck. Breiteneicher Norman ( lahners CI \HKTKWK l.IN-kINGSTON PRESS Crane & ( lompan)

Bruce Crane Lawrence I )ress

Econocorp, Inc. •Daniels Printing ( lompan) Richard C. Lee Lee Daniels

I loughton Milllm ( lompan) Cans I ire ( lompany, Inc. David Cans Marlowe < I. leig GILLETTE COMPANY *I.abel Art. Inc. Leonard J. Peter-on Colman \1. Mockler, Jr. * *Marks International. Inc. Norton ( lompan) Harr) Marks Donald K. Melville

Millard Metal Service Center. Inc. Donald Millard Retailing

New England Millwork Distributors, Inc. Vrmen I fohanian Rugs Samuel H. Gurvitz \rmen Dohanian

*Plvmouth Rubber Company, Inc. *\\ m. Filene's & Sons Company

Maurice J. Hamilburg Merwin Kaminstein

TAD Technical Ser\ ices Corporation *Lee Shop-. Inc. David McCrath \rtliur Klein TOWLE MANUFACTURING COMPANY LINC0LN-MERC1 RY DEALERS ASSOCIATION

Leonard \ lorence \l Kalish

THE SIGNAL COMPANIES Marshall's Inc. Michael H. Dingman Frank H. Benton

51 m \ Inside N Stories i m V

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

a series of special intermission features with members of the Boston

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

Inside the BSO

Fridays at 2pm

Saturdays at 8pm

WGBH89.7FM

52 ZAYRE CORPORATION STRIDE RITE CORPORATION Maurice Segall Arnold S. Hiatt

Science Transportation

*Charles River Breeding Laboratories, Inc. The Trans-Lease Group

Henry L. Foster, D.V.M. John F. McCarthy, Jr. Damon Corporation Utilities Dr. David I. Kowosky AMERICAN TELEPHONE & TELEGRAPH Ionics, Inc. COMPANY Arthur L. Goldstein Charles L. Brown Shoes BOSTON EDISON COMPANY

*Jones & Vining, Inc. Thomas J. Galligan, Jr.

Sven Vaule, Jr. * Eastern Gas & Fuel Associates

*Mercury International Trading Corporation Vi illiam J. Pruyn Irving Wiseman NEW ENGLAND TELEPHONE THE SPENCER COMPANIES, INC. Gerrv Freche C. Charles Marran

The Boston Symphony Orchestra gratefully acknowledges the following founda-

tions for their generous support. These valuable gifts are greatly appreciated.

The Lassor & Fanny Agoos Chanty Fund Helen c\ Leo Mayer Charitable Trusl

Anthony Advocate Foundation W illiam Inglis Morse Trust

Frank M. Bernard Foundation. Inc. Mydans Foundation

Theodore H. Barth Foundation I he Nehemias Gorin Foundation The Adelaide Breed Bayrd Foundation Ilinma- \nthonv Pappas Charit\ Foundation

Bezalel Foundation, Inc. Parker Charitable Foundation

Cahot Family Charitable Trusl Permanent Charities Fund of Boston, Inc.

Calvert Trusl Olive lliggins Proutv Foundation

The Clowes Fund, Inc. A.C. Ratshesk) Foundation Eastman Charitable Foundation SasCO Foundation

Eaton Foundation Schraffl Charitable Trust

Orville W. Forte Charitable Foundation. Inc. George and Beatrice Sherman Family Charitable Foster Charitable Trust Trust

The Fuller Foundation, Inc. Sandra & Richard Silverman Foundation

George F. & Sybil H. Fuller Foundation The Seth Sprague Educational and Charitable The Charles Robert Gens Foundation Foundation

Kenneth J. Germeshausen Charitable Trust Stearns Charitable Trust

Elizabeth Grant Trust The Stone Charitable Foundation, Inc. Greylock Foundation Gertrude W. & Edward M. Swartz Charitable Reuben A. & Lizzie Grossman Foundation Trust

Hayden Charitable Trust Webster Charitable Foundation, Inc.

The Howard Johnson Foundation Edwin S. Webster Foundation Hunt Foundation Carl A. Weyerhaeuser Trust

The John A. and Ruth E. Long Foundation Albert 0. Wilson Foundation, Inc.

MacPherson Fund, Inc.

53

V& ; m Your insurance agent will always be there, but will you recognize him?

Can you remember the name of the person who handles your insurance?

Many of the people who sell business insurance change jobs quite often. You may be working with someone familiar one month, and then with a total stranger the next. At Brewer & Lord, we think continuity is an important part of the insurance relationship. Every

account is supervised by one of our partners. This gives you the advantage of working with some- one who understands your busi-

ness. Not just initially, but year after year. Since 1859, we've provided our clients with the consistent service they deserve. With Brewer & Lord, you'll not only recognize your insurance agent, you'll him know ^ as someone you can depend on.

Brewer & Lord New England finds security in our experience.

MAIN OFFICE: 40 Broad Street. Boston. MA 02109 Tel. (617)42«)830 BRANCHES: Acton. Framingham. Bedford (Gail Aviation Insurance) & Falmouth (Lawrence and Motta) Personal & Business Fire/Casualty/Surety/Marine/Auto/ Homeowners/ Risk Management & Engineering Services/Life & Employee Benefits m We are grateful to those who generously responded to the Youth Activities fundraising program during our fiscal year which ended August 31, 1983. Your for children. gifts are critical to the continuation of our music education program

Donors to the Youth Activities Program

$10,000 and over $500-$999 Miss Barbara Adams Mr. & Mrs. Nelson J. Darling, Jr. Abbot & Dorothy H. Stevens Foundation Clark Charitable Trust Mrs. John H. Fitzpatrick Cornelius A. and Muriel P. Wood Charity Fund Hon. & Mr. & Mrs. Carl Koch

Mrs. E. Anthony Kutten

Dr. & Mrs. Edwin H. Land Mr-. Vugusl K. Meyer $5,000-$9,999 Mr. ami Mr-. David R. Pokross and David Rockefeller. Jr. Cabot Corporation Foundation Mr. Mrs. and Mrs. George B. Thomas. Jr. Mr. & Mrs. Harry Remifl Mr. Mr. and Mr-. Ceorge R. Walker

S250-S199

\lr. & Mrs. taram J. Goldberg $1,000-82,499 Mr-. Joan Bennett Kennedy

Mrs. Donald L. Broun Mrs. Charles R Lyman

Clippership Foundation \lr. Dai id Mugar Donald Sinclair Mr. & Mrs. Eugene B. Doggetl Mr. & Mr-. B. Harvard Musical Association Dr. Frances II. Smith Mr. & Mr-. Benjamin Lac) Mr. & Mrs.Jeffre) Stahl Joseph Warren Soley Lodge Mr.Sherman M. Woll

S100-S249

\1 Richard Bruce \bram- Mr. Jolm W Calkins M & Mr>. Jack \del-on Mr-. Hugh \. Carney Mr-. Judith Brown Card \1 . John M. Alden M & Mrs. Stephen Allen Mr.fi Mrs. John B. Chaffee Mr. Mrs. Stephen Chiumenti M s. Charles Almv & Margaret Clark M & Mrs. Julian I). Anthony Miss Dr. & Mrs. Robert B. Clarke M . Paul T. Babson Sa ndra & David Bakalar Mr-. John W. Coffey Cohen M & Mrs. Allen G. Barry Mr. & Mrs. Bertram M & Mrs. Alan C. Benu- Mr. & Mrs. Cilbert Cohen Congdon M Clinton W. Bennett Mr. Johns H.

Arthur P. Contas M Leo L. Beranek Mr. Mr. & Mrs. W illiam Cook M . & Mrs. Donald J. Bertrand Miss Sarah Thorn Couch M . Leonce Bonnecaze Mr-. Stephen Crandall M & Mrs. John I). Brewer, Jr. Mrs. Bigelow Crocker M s. Alexander H. Bright Mrs. Louisa R. Cutler M . Walter Swan Burrage M & Mrs. Norman Cahners Mrs. Lewis S. Dabney

55 In concert with the people of Boston, our salute to the proud tradition of the Boston

Symphony Orchestra . . . and our best wishes for a triumphant hundred-and-third season. Jordan marsh w® %<& I

A Unit of Allied Stores Sheet music courtesy of Boston Music Company

56 Mrs. John M. Dacey Mrs. David S. McLellan

Mrs. Clarence A. Dauber Miss Nina L. Mc Master

Mrs. Panos S. Dukakis Mr. & Mrs. George H. Milton Mrs. Charles C. Eaton Mrs. Lovett Morse

Mrs. Charles F. Eaton, Jr. Mr. & Mrs. Henry A. Morss, Jr. Mr. & Mrs. H. Norman Eston Mr. & Mrs. Horace S. Nichols Mrs. Harris Fahnestock Mrs. Louiville Niles Mr. & Mrs. Benjamin Fisher Mrs. Hiroshi H. Nishino Mr. Joseph M. Flynn Mrs. Richard C. Paine

Mr. & Mrs. Stanley Ganz Mr. & Mrs. Stephen Paine. Sr.

Mrs. Fernand Gillet Mrs. A. Seymour Parker Ms. Margaretta M. Godley Mrs. Martha Patrick

Dr. & Mrs. Ray A. Goldberg Miss Katharine E. Peirce

Mr. & Mrs. Charles Goldman Mr. C. Marvin Pickett. Jr. Mr. Frederick Goldstein Mr. & Mr-. Leo M. Pistorino Mr. & Mrs. Haskell Gordon Mr. & Mrs. Richard Preston

Mrs. Harry N. Gorin Mr-. George Putnam. Sr.

Mr. & Mrs. John L. Grandin, Jr. Mr. v.\ Mr-. John C. Quinn Mr. & Mrs. James H. Grew Mr. & Mr-. Irving W Rabb

Mr. & Mrs. Wesley M. Hague Mr. & Mr-. Norman K Ramsey, Jr.

Mr. & Mrs. Christia Halby Mr- Ra\ mond \. Remick

Mrs. Edward E. Hale Mr-. ( George R. Rowland

Mr. & Mrs. G. Neil Harper Ms. \rmc ( lable Rubenstein

Mrs. Richard C. Hayes Mr. & Mr-. Robert Saltonslall

Mr. & Mrs. George F. Hodder Mr. \. Herbert Sandwen

Mrs. David H. Howie Mr. & Mr-. Maurii e Sa\ al

Miss Elizabeth B. Jackson Mr-. George \. Shaps

Mr. & Mrs. James Jackson, Jr. Mr-. Mired J. Shepherd

Mr. & Mrs. Bela T. kalrnun Mi-- Marion ( !. Shorle)

Mrs. Abraham A. Kate Mr. ^\ Mr-. Edward J. Sibleian

Dr. Custav G. kaulmann Mr. John S. Stone

Mr. & Mr-. Richard kave Mi-- Elizabeth B. Storer

Mr. & Mrs. F. Corning Kenly, jr. Mr-. Helen Streuli

\1r-v Prescoti I.. Kettell Dr. R Sii/man

\lrv J. Philip Kistler Mr-. Rosamond S. Taylor

Mr. & Mrs. Manuel Kurland Miss ( larolyn Thomas

Mrs. James Lawrence Dr. & Mr-. Richard Thompson

Mrs. Hart I). I.eavitl I nit rode Corporation

Dr. Philip M. LeCompte Mr. & Mr-. Jack II. \ernon

Ms. Janet Lombard Dr. & Mr-. Charles Weingarten

Mrs. Joseph W. Lund Mr. & Mrs. John P. Weitzel Mr. & Mrs. Ernest Lvnton Mr. & Mrs. Charles Werly Miss Ann E. Macdonald Mr. & Mrs. Maurice Wheeler Mrs. S. Lang Makrauer Miss Ruth H. Whitney

Mr. & Mrs. Donald M. Manzelli Mr. & Mrs. Ralph R. \\ illard Mrs. Edward E. Martin Ms. Mary Wolfson

Mr. Andrew J. Mazzella, Jr. Dr. & Mr-. Leonard Wolsky

Miss Margaret B. McCaffrey Mrs. \\ illiam S. Youngman

57

/•r . .

h/u& go/ chan^. .

&he seasons come andyo^/ces c/u/n

ideas are ex /ored, outer ones are rc-cxa/nine(/, /resA ft andtradition,? endnrc.

Alorninybro musicalandtAe QBoston < J//na'f//on// Orchestra

continue d/eir /ony-sta/a/iny association

t ' u>itA t/tx' /fo/fa/or/catarc ' uoe on/Jbro musu a c —a scries o/ cono€rsations toitn t/a's season s/ca/arcd

so/oists , ( emdut tors andc 'om/bosers

c Jdor/iina /fro musica\ untA ^/?o/ferr /. dartsc/na, c

is broadcast eotru daajro/a seoen unti/noon/

on stations oft/te ^Sti/die dladio . \ et/oor/i

andis /tea/din t/ir QBoston area an WmJCtyjJn.

58 Donors to the "Days in the Arts" Program

$10,000 and over $500-$999 Boston Safe Deposit & Trust for the Honeywell Foundation

Arthur F. Blanchard Trust Mrs. August R. Meyer Mr. & Mrs. Robert Saltonstall

$250-8499

$2,500-$4,999 Mrs. & Mrs. Bela T. Kalman The Stride Rite Corporation Mr. & Mrs. Carl Koch

Mr. & Mrs. Henry Lyman, Jr.

$100-$249 $l,000-$2,499 Mr. & Mrs. Eugene B. Doggett Cambridge Foundation Mrs. Harris Fahnestock

Clippership Foundation Junior Council of the Boston Symphony Orchestra

Alice Willard Dorr Foundation Ms. Diane E. Kaneb

The Arthur I). Little Foundation Mrs. Charles R l.vman

Mutual Bank for Savings Mr. & \lr-. James I. Mount/

NEBS Foundation Mr. \aron Nurick c\ Ms. Diane \ustm

Parker Brothers Mr-. Frank E. Remick Theodore Edson Parker Foundation Mr-. George K. Rowland s The Polaroid Corporation Mr v.\ Mr-. idiir\ Stoneman

The Schraffl Charitable Trust Mrs. Florence \\ hitney, Jr.

Charles Irwin Travelli Fund Dr. c\ Mr-. Leonard WuUk\

~^^^~. ^^^^0^1 Bm hi [' F! i Li litr M i »»J| I "* 1 V" ' 1 T~ " \ The Boston Home, ffcj^.y|p| (formerly The Boston Home u>r Incurables)

£5/. 1881

Seeks Your Support for Another Century

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

59 THE STATLER BUILDING 20 Park Plaza, Boston, MA 021 16

Prime office space offering first class amenities in a classic setting.

Saunders fir Associates, AMO SB Exclusive Leasing and Managing Agents (617) 426-0720 A Boston Tradition Real Estate Since 1898 41 UNION STREET 227-2750

MAKE SURE EVERY PERFORMANCE jc^v %P& YOU ATTEND ENDS ON A HIGH NOTE.

Two years ago Decorators' Clearing House ventured into a "Unique Concept for Fashionable Bostonians" discounting the posh furniture and accessories normally sold thru Interior End your evenings at one of Decorators and Architects. These selections were seasoned with Fine Art. the three restaurants at The THAT WAS GOOD! - One year ago Decorators' Clearing House moved. The Westin Hotel, Copley Place "Concept" was honed as was the quality of the offerings. DCH became the "In Place" for a sophisticated clientele who recognize the pieces from the pages of Architectural Digest The Brasserie, Turner Fisheries or from costly trips to New York Decorator Showrooms. The resources were expanded to include furniture from exclusive or Ten Huntington. Located collections not previously shown in this area. The discounts (and they are better than ever!)are secondary to the convenience close by in Boston's historical of not waiting months for delivery. The aware clientele appreciate the selectivity of the Fine Art and realize that really Fine Art can not and should not be discounted! Back Bay. For reservations THAT WAS BETTER! call 262-9600. This year Decorators' Clearing House, DCH, is adding more space and continues to hone "The Concept" with the introduction of DCH DESIGN LTD. in response to requests for design assistance, not only to incorporate DCH's fabulous offerings, but, also, to provide The Total Design Package. For information, call 965-6668. THAT IS BEST! Decorators' Clearing House 1029 Chestnut Street Newton Upper Falls, Ma. 965-6363 Mon. - Sat. 9:30 am - 5:30 pm MasterCard VISA, American Express THE WESTIN HOTEL Copley Place Boston

60 1 ™

Coming Concerts . . . A Uitterent Ooutheast- Asian Ipeat Wednesday. 18 January at 7:30 Open Rehearsal ?g\MANDALAY Steven Ledbetter will discuss the program T at 6:45 in the Cohen Annex. BURMESE RESTAURANT Thursday, 19 January — 8-10 Thursday 'A* series Friday. 20 January — 2-4 Top Ppe and Attep Saturday, 21 January — 8-10

I neatpe leasts Tuesday, 2 1 January—8-10 Tuesday *B series

SEIJ1 <)/\\\ \ conducting 329 Huntington Avenue, Boston. 247-2111 Berg 1 \ nc Suite Two Blocks West of Symphony Hall - Reservations Suggested Saint-Saens \ iolin Concerto No. 3 PIERRE VMOYAL

Mendelssohn S) mphon) No. 3, COACH Scottish

Thursday, 26 January — 8-9:25

l<»" Thursday ' series

I riday, 27 Januar) 2-3:25 Saturday, 28 January —8-9:25

SEIJ1 ()/\\\ \ conducting Mahler Das klagende Lied ESTHER HINDS, soprano

( I \\ [( IE I \^ I )\{. mezzo-soprano DAVID RENDALL, tenor JORMA HYNNINEN, baritone TANC1 EWOOD FESTIVAL CHORl S, N°9665-MarketingTote-Sl60 JOHN 01 IVER, conductor

All Coach Stores carry our full range of Bags, Belts Thursday, 16 Februar) H- ( ):.~><> and Accessories in every color k and size we make them tn. 1 hursda) B series

Friday, 1 7 Februar) 2-3:51 There are now Coach Stores Saturday, 18 Februar) 8-9:50 in New York City, Pans, Washington, DC., Boston, JOSEPH SILVERSTEIN conducting San Francisco and Seattle. Ravel Mother Goose Suite

( Douhlc We accept telephone and mail iarter Concerto for orders and will be happy to harpsichord, piano, and sendyou our catalogue. two chamber orchestras Mo/art Symphon) No. 10 The CoacK Store Programs subject to change. 75-B Newbury Street, Boston, Mass. 021 16 (617) 536-2777

61 HAPVAPD COOPERATIVE SOCIETY c& Harvard Square • MIT Student Center Children's Medical Center • One Federal Street I

Dine At Last. at the garden before or A superb steak and seafood house in the ciassicd tradition. after AfdL menufor pre-theatre symphony diners supplemented by a supper menufrom 10:30 to Our magnificently large 12featuring tighterfoods atrium garden of a for

restaurant for all seasons. It's later diners. Sunday brunch new and just a few steps from 11 to 3. Intimate bar away from Symphony Hall. Street Dinner. Light meals, pastries and (ounge. Berkeley or cocktails. We make music at Stuart. Cad 542-2255

from 7am to 1 1pm, daily. for reservations. Major credit Bqylston cards accepted.

Sheraton-Boston Hotel SHERATON HOTELS INNS & RESORTS WORLDWIDE PRUDENTIAL CENTER BOSTON MASSACHUSETTS 02199 • (61 7| 236 2000 E 62 I

Symphony Hall Information . . .

FOR SYMPHONY HALL CONCERT AND concerts (subscription concerts only). The TICKET INFORMATION, call (617) continued low price of the Saturday tickets is 266-1492. For Boston Symphony concert pro- assured through the generosity of two anony- gram information, call "C-O-N-C-E-R-T." mous donors. The Rush Tickets are sold at $4.50 each, one to a customer, at the Sym- THE BOSTON SYMPHONY performs ten phony Hall West Entrance on Fridays begin- months a year, in Symphony Hall and at ning 9 a.m. and Saturdays beginning 5 p.m. Tanglewood. For information about any of the

orchestra's activities, please call Symphony LATECOMERS will be seated by the ushers

Hall, or write the Boston Symphony Orches- during the first convenient pause in the pro-

tra, Symphony Hall, Boston, MA 02115. gram. Those who wish to leave before the end of the concert are asked to do so between THE EUNICE S. AND JULIAN COHEN program pieces in order not to disturb other ANNEX, adjacent to Symphony Hall on patrons. Huntington Avenue, may be entered by the Symphony Hall West Entrance on Huntington SMOKING IS NOT PERMITTED in any part Avenue. of the Symphony Hall auditorium or in the FOR SYMPHONY HALL RENTAL INFOR- surrounding corridor-.. It is permitted only in the Cabot-Cahner> and Hatch rooms, and in MATION, call (617) 266-1492, or write the the main lobby on Massachusetts Avenue. Hall Manager, Symphony Hall, Boston, MA 02115. C W1KKA AND RECORDING EQUIPMENT

ma\ not l>e brought into Symphony Hall dur- THE BOX OFFICE is open from K) a.m. until ing concerts. 6 p.m. Monday through Saturday; on concert

evenings, it remains open through intermission FIRST AID FACILITIES for both men and for BSO events or just pa>t starting-time for women are available in the Cohen Annex near

other events. In addition, the l>o\ office opens the Symphony Hall West Entrance on Hunt-

Sunday at 1 p.m. when there is a concert that ington Avenue. On-call physicians attending

afternoon or evening. Single tickets for all concerts should leave their names and seat Boston Symphony concerts go on sale twenty- locations at the switchboard near the Massa-

eight days before a given concert once a series i husetts Avenue entrance.

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-after- noon and Saturday-evening Boston Symphony

63 .

Ai

WHEELCHAIR ACCESS to Symphony Hall is BOSTON SYMPHONY BROADCASTS: Con- available at the West Entrance to the Cohen certs of the Boston Symphony Orchestra are M Annex. heard by delayed broadcast in many parts of the United States and Canada, as well as AN ELEVATOR is located outside the Hatch internationally, through the Boston Symphony

and Cabot-Cahners rooms on the Massachu- Transcription Trust. In addition, Friday after- j setts Avenue side of the building. noon concerts are broadcast live by WGBH- FM (Boston 89.7), WMEA-FM (Portland LADIES' ROOMS are located on the orches- 90.1), WAMC-FM (Albany 90.3), WMEH- level, audience-left, at the stage end of the tra FM (Bangor 90.9), and WMEM-FM (Presque hall, and on the first-balcony level, audience- Isle 106.1). Live Saturday-evening broadcasts I right, outside the Cabot-Cahners Room near are carried by WGBH-FM, WCRB-FM the elevator. (Boston 102.5), WFCR-FM (Amherst 88.5),

and WPBH-FM (Hartford 90.5). If Boston MEN'S ROOMS are located on the orchestra Symphony concerts are not heard regularly in J level, audience-right, outside the Hatch Room your home area and you would like them to I near the elevator, and on the first-balcony be, please call WCRB Productions at (617) level, audience-left, outside the Cabot-Cahners 893-7080. WCRB will be glad to work with Room near the coatroom. you and try to get the BSO on the air in your area. COATROOMS are located on the orchestra and first-balcony levels, audience-left, outside BSO FRIENDS: The Friends are supporters of the Hatch and Cabot-Cahners rooms. The the Boston Symphony, active in all of its en-

BSO is not responsible for personal apparel or deavors. Friends receive BSO, the orchestra's! other property of patrons. newsletter, as well as priority ticket informa- tion. For information, please call the Friends'

LOUNGES AND BAR SERVICE: There are Office at Symphony Hall weekdays between 9 1

two lounges in Symphony Hall. The Hatch and 5. If you are already a Friend and would

Room on the orchestra level and the Cabot- like to change your address, please send your I

Cahners Room on the first-balcony level serve new address with your newsletter label to the

J drinks starting one hour before each perfor- Development Office, Symphony Hall, Boston,

j mance. For the Friday-afternoon concerts, MA 02115. Including the mailing label will both rooms open at 12:15, with sandwiches assure a quick and accurate change of address

available until concert time. in our files.

You can commission a painting of the musical composition of your own choice. Paintings are already in collections in Sara- sota, Cleveland, New York, ^\pm ok c^te/t a Greenwich, North Hollywood \im pe/t^o/iwarice. .

! and Oslo, Helsinki, Munich, Basle. Send for colorful, descrip- tive literature. DwidS Box 315 Mllford, NH03055 269 NEWBURY STREET LUNCH / Mon. thru Sat DINNER / Sun.- Sat. til 11:00 FULL COCKTAIL SERVICE Valet parking 262-4810 All Major Credit Cards Accepted

( DAVtO'S / 1 Block from KYNES Auditorium t'^T*" ' '

JL /\ w

< f

. __ „ _.j for three deca me fair, foul, or worse, arbor Master Tait logged them and logged them out. s ow, every captain k V\V "; unts on safe berth in « '", :otland's Eyemouth . •in mi ;ood X . things in life stay that way.

White.

.