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TO SEND A GIFT OF B&B LIQUEUR ANYWHERE IN THE U S CALL 1-800-238-4373 VOID WHERE PROHIBITED Seiji Ozawa, Music Director

Carl St. Clair and Pascal Verrot, Assistant Conductors One Hundred and Sixth Season, 1986-87

Trustees of the Boston Symphony Orchestra, Inc. -Lfeoi. Beranek, Honorary Chairman George H. Kidder, President

Nelson J. Darling, Jr., Chairman J.P. Barger, Vice-Chairman

Mrs. John M. Bradley. Vice-Chairman William J. Poorni. Vlce-Chmmian and Trea^irer Mrs. George L. Sargent. Vice-Chairman

Vernon R. Alden Archie C. Epps Roderick M. MacDougall David B. Arnold, Jr. Mrs. John H. Fitzpatrick Mrs. August R. Meyer

Mrs. Norman L. Cahners A\Tam J. Goldberg E. James Morton George H.A. Clowes. Jr. Mrs. John L. Grandin DaA-id G. Mugar William M. Crozier. Jr. Francis W Hatch, Jr. Mrs. George R. Rowland Mrs. Lewis S. Dabney Har\'ey Chet Krentzman Richard A. Smith Mrs. Michael H. Da^•is John Ho\1; Stookev Trustees Emeriti

Philip K. Allen E. Morton Jennings. Jr. Thomas D. Perr;*-. Jr. Allen G. Barrv" Edward M. Kennedy Irving W. Rabb Richard P. Chapman Albert L. Niekerson Paul C. Reardon Abram T. Collier John T. Noonan Sidney Stoneman Mrs. Harris Fahnestock John L. Thomdike

Other Officers of the Corporation John Ex Rodgers. Assistant Treasurer Jay B. Wailes. Assistant Treasurer Daniel R. Gustin. Clerk

Administration of the Boston Symphony Orchestra, Inc. Kenneth Haas, Managing Director Daniel R. Gustin. Assistant Managing Director Anne H. Parsons, Orchestra Manager Costa Pilavachi, Ariistic Adm in istrator Caroline Smedvig, Director of Promotion Josiah Stevenson, Director of Development

Robert Bell, Data Processing Manager Steven Ledbetter, Musicologist d: Helen P. Bridge, Director of Volunteers Prog ra m A n n ota to r MadehTie Codola Cuddeback, Director Marc Mandel, Publications Coordinator of Corporate Development Richard Ortner. Administrator of Vera Gold, Assistant Director of Tangleivood Music Center Promotion Nancy E. Phillips. Media and Patricia Halligan. Personnel Administrator Production Manager, Nancy A. Kay, Director of Sales Boston Symphony Orchestra John M. Keenum, Director of Charles Rawson. Manager of Box Office Foundation Suppoti Joyce M. Serwitz, Assistant Director Anita R. Kuvland. Administrator of of Development Youth Activities Susan E. Tomlin, Director of Annual Giving

Programs copyright ^1987 Boston Sjinphony Orchestra, Inc. Cover photo by Christian Steiner/Design by Wondriska Associates Inc. Board of Overseers of the Boston Symphony Orchestra, Inc.

Avram J. Goldberg Chairman

Mrs. Carl Koch Ray Stata Mrs. Gordon F. Kingsley Vice-Chairman Vice-Chairman Secretary

John Q. Adams Gerhard M. Freche Richard P. Morse f Mrs. Weston W. Adams Dean Freed Mrs. Thomas S. Morse

Martin Allen Mrs. Thomas J. Galligan Mrs. Robert B. Newman Mrs. David Bakalar Mrs. Thomas Gardiner Mrs. Hiroshi Nishino Bruce A. Real Mrs. James G. Garivaltis Vincent M. O'Reilly Mrs. Richard Bennink Mrs. Ray A. Goldberg Stephen Paine, Sr. Peter A. Brooke Jordan L. Golding John A. Perkins William M. Bulger Haskell R. Gordon Brooks Prout Mary Louise Cabot Mrs. R.Douglas Hall HI Robert E. Remis Mrs. C. Thomas Clagett, Jr. Joseph M. Henson Mrs. Peter van S. Rice James F. Cleary Arnold Hiatt David Rockefeller, Jr. John F. Cogan, Jr. Mrs. Richard D. Hill John Ex Rodgers I Julian Cohen Glen H. Hiner Mrs. Jerome Rosenfeld William H. Congleton Mrs. Marilyn B. Hoffman Mrs. William C. Rousseau

Walter J. Connolly, Jr. Ronald A. Homer Mrs. William H. Ryan Mrs. A. Werk Cook H. Eugene Jones Mrs. Raymond H. Schneider Albert C. Cornelio Howard Kaufman Gene Shalit Phyllis Curtin Richard L. Kaye Mark L. Selkowitz A.V. d'Arbelofe Robert D. King Malcolm L. Sherman Mrs. Michael H. Davis Robert K. Kraft W Davies Sohier, Jr. Mrs. Eugene B. Doggett John P. LaWare Ralph Z. Sorenson Ms. Phyllis Dohanian Mrs. Hart D. Leavitt William F. Thompson Harriett Eckstein Laurence Lesser Mark Tishler, Jr. Mrs. Alexander Ellis R. Willis Leith, Jr. Mrs. An Wang Edward Eskandarian Frederick H. Lovejoy, Jr. Roger D. Wellington Katherine Fanning Mrs. Charles P. Lyman Mrs. Thomas H.P Whitney John A. Fibiger Mrs. Harry L. Marks Mrs. Donald B. Wilson Kenneth G. Fisher C. Charles Marran Brunetta Wolfman Peter M. Flanigan Nicholas T. Zervas

Overseers Emeriti

Mrs. Frank G. Allen Mrs. Louis L Kane Mrs. Stephen V.C. Morris Hazen H. Ayer Leonard Kaplan David R. Pokross Paul Fromm Benjamin H. Lacy Mrs. Richard H. Thompson

Symphony Hall Operations

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

Earl G. Buker, Chief Engineer Cleveland Morrison, Stage Manager Franklin Smith, Supervisor of House Crew

WilmothA. Griffiths, Assistant Supervisor of House Crew William D. McDonnell, Chief Steward Officers of the Boston Symphony Association of Volunteers

Mrs. Michael H. Davis Preside ni Mrs. R. Douglas Hall III Mrs. Harry F. Sweitzer, Jr. Executive Vice-President Secretary Mr. Goetz Eaton Mrs. Seabury T. Short, Jr. Treasurer Nominating Chairman

Vice-Presidents

Mrs. Eugene B. Doggett, Developmeni Services Mrs. James T. Jensen, Hall Services Ms. Phyllis Dohanian, Membership Mrs. Bela T. Kalman. Youth Activities Mrs. Eugene Leibowitz, Tanglewood and Adult Education Mrs. Robert L. Singleton, Tanglewood Mrs. Hart D. Leavitt, Regions Mrs. Ray A. Goldberg, Fundraising Projects Ms. Ellen M. Massey, Public Relations

Chairmen of Regions

Mrs. Thomas M. Berger Ms. Pi-udenee A. Law Mrs. F. T. Whitney Mrs. John T. Boatwright Mrs. Alfred F. Parisi Mrs. Thomas H.P. Whitney Mrs. Charles A. Hubbard Mrs. Thomas Walker Mrs. Richard W. Young

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Aspen Music Festival Liberace Burt Bacharach Marian McPartland Bolcom and Morris Metropolitan Jorge Bolet Mitchell-Ruff Duo Seiji Ozawa Boston Symphony Orchestra Luciano Pavarotti Brevard Music Center Dave Brubeck Andre Previn David Buechner Ravinia Festival Chicago Symphony Orchestra Santiago Rodriguez Cincinnati May Festival George Shearing Cincinnati Symphony Orchestra Abbey Simon Georg Solti Denver Symphony Orchestra Tanglewood Music Center Eastern Music Festival Michael Tilson Thomas Michael Feinstein Beveridge Webster Ferrante and Teicher Earl Wild Natalie Hinderas John Williams Dick Hyman Wolf Trap Foundation for Interlochen Arts Academy and the Performing Arts National Music Camp Yehudi Wyner Billy Joel Over 200 others M Baldwin Art Exhibits in the Cabot-Cahners Room

The Boston S^inphony Orchestra is pleased that, for the thirteenth season, various BSO Boston-area galleries, museums, schools, and non-profit artists" organizations have exhib- ited their work in the Cabot-Cahners Room on "Opening Night at Pops" 1987 the first-balcony level of Symphony Hall. On Conductor John Williams launches the 102nd display through 4 ]\Iay is an exhibit of textile season of the Boston Pops when he leads the art from Decor International of Boston, fea- orchestra in a gala opening-night concert on turing a variety of tapestries, wall hangings, Tuesday, 5 May at 8 p.m. The evening will and New England hand-hooked rugs. On dis- begin at 6:30 p.m. with a gourmet box dinner, play from 4 May through 1 June will be works and the concert will feature special guest art- from the Arnold Arboretum, to be followed ist Tony Bennett. Sponsored by D\^lateeh, through 12 July by works from the Gallery on 'Opening Xight 1987" is a project of the the Green. Boston S\nnphony Association of Volunteers; BSO Members in Concert Barbara Steiner is chairman of this year's

Opening Xight Committee. Remaining tickets BSO violinist Amnon Le\y is soloist in the are priced from $25 to $60 with dinner and Barber Violin Concerto with the Boston Bar I wine included. For more information, contact Association Orchestra, F. , con- the Volunteer Office at 266-1492. ext. 178. ductor, on Friday, 24 April at 7:30 p.m. at Faneuil Hall, on a concert celebrating the bicentennial of the Constitution of the United Friends Weekend at Tanglewood States. Also on the program are Copland's Friends of the BSO have the opportunity to Lincoln Portrait narrated by Arthur Miller, travel to Tanglewood by chartered bus for music of , and selections from three days of spectacular music the weekend Bernstein's West Side Story with the Boston of Friday. July 2-4 through Sunday. July 26. Bar Association Chorus. Tickets are $10 Performances include Neville Marriner con- ($5 for students and senior citizens). ducting the Academy of St. Martin-in-the- Ronald Feldman leads the final concerts of Fields and Charles Dutoit conducting the the Mystic Valley Orchestra's tenth-anniver- Boston S^^nphony Orchestra in music of sarv season on Sunday, 26 April at 5 p.m. at Roussel, Schubert. Wagner, and Stravinsky, Dwight Auditorium, 100 State Street, Fra- with solo appearances by violinist Midori in mingham State College, and on Sunday, 3 May

the Paganini Violin Concerto No. 1, and BSO at 8 p.m. in Paine Hall. Har\'ard University, principals Malcolm Lowe and Jules Eskin in Cambridge. The program includes Debussy's the Brahms Double Concerto. The Friends Prelude to "TJie Afternoon of a Faun," will stay at the Red Lion Inn. with transporta- Beethoven's S^Tuphony No. 8, and the New tion provided by Greyhound Bus. Dinner Fri- England premiere of Robert K^t's A Signal in day night will be at the Red Lion Inn, lunch on the Land, to texts of Nikki Giovanni and Martin Saturday at beautiful Seranak. and dinner Luther King, Jr. Tickets are $6 ($4 students, Saturday night at the Tanglewood Tent Club. seniors, and special needs); for further infor- Sunday luncheon at Blant\Te will precede the mation, call 924-4939 after 12 noon. 2:30 p.m. concert. Anticipated arrival time BSO principal trumpet Charles Schlueter is back in Boston on Sunday. July 26 is 8:00 p.m. soloist in concertos by Hummel and Vivaldi The weekend is open to Friends of the BSO with the Longwood SjTtiphony Orchestra, who have donated a minimum of $40; space is Aaron Dov Kula, music director, on Saturday. limited to 45 people on a first-come, first- 2 May at 8 p.m. at Jordan Hall, on a program ser\'ed basis. The cost of the weekend—$400 also including music of Schubert and per person, double occupancy ($515 per per- Stravinsky. Tickets at $8 and $6 are available son for single occupancy)—includes a $50 at the Jordan Hall box office; for further infor- tax-deductible contribution to the BSO and mation, call 327-2217. covers transportation, lodging, meals (exclud- The Civic S\Tnphony Orchestra of Boston. ing breakfasts), and concert tickets. For fur- Max Hobart, Music Director, closes its ther information please call the Volunteer 1986-87 season on Sunday, 3 May at 3 p.m. at Office at Symphony Hall 266-1492, ext. 177. Jordan Hall with a concert featuring duo- COPLEY CONCERTO

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®1260211 pianists Anthony and Joseph Paratore in Pianist David Deveau is featured in Richard Poulenc's Concerto for Two Pianos. The pro- Strauss's Burleske and the Franck S\Tnphonic gram also includes Debussy's Prelude to ''The Variations; the program also includes Afternoon of a Faun " and Bruckner's S^^n- Debussy's La Mer. Single tickets are $10; for phony No. 4, Romantic. Tickets are $10 and further information, call 965-2555. $7, with discounts for students and senior Harry Ellis Dickson conducts the Boston citizens. For further information, call 437- Classical Orchestra on Wednesday, 6 May and 0231. Friday 8 May at 8 p.m. in Faneuil" Hall. The BSO members Mark Ludwig, viola, Sato program includes Haydn's Symphony No. 94, Knudsen, cello, and Wajne Rapier, oboe, par- Surprise, Mozart's Musical Joke, and Haydn's ticipate in an afternoon of vocal and instru- S\inphony No. 45, Farewell. Tickets are $12 mental works by Vivaldi, Purcell, Bach, and and $18 ($8 students and senior citizens); for Handel on the Richmond Performance Series further information, call 426-2387. at Richmond Congregational Church in Rich- BSO principal bass Edwin Barker is soloist mond, Massachusetts, on Sunday, 3 May at in Gunther Schuller's Concerto for Double 3 p.m. No admission charge; donations Bass with the Pro Arte Chamber Orchestra accepted at the door. For further information, under the couiposer's direction on Sunday. 30 call (413) 698-3220. May at 8 p.m. at Sanders Theatre in Cam- The Melisande Trio—violist Burton Fine, bridge. The program also includes music of flutist Fenwick Smith, and Susan Miron, Haydn. Stravinsky, and Ravel. Tickets are harp—perform music of Ravel, Debussy, priced from $8 to $15. Nielsen, Devienne, and Jolivet on Sunday, 3 May at 7:30 p.m. at St. Michael's Church in With Thanks Marblehead. For further information, call 876-2422. We wish to give special thanks to the National Ronald Knudsen conducts the closing con- Endowment for the Arts and the Massachu- cert of the Newton S^Tnphony Orchestra's setts Council on the Arts and Humanities for twenty-first season on Sunday, 3 May at 8 p.m. their continued support of the Boston S^ttl- at Aquinas Junior College, Newton Corner. phony Orchestra.

James Stagliano the memory of this city's musical community, 7 January 1912-11 April 1987 which includes a number of his close friends in the BSO today. Born in Italy, James Stagliano was principal horn of the Boston Symphony Orchestra for twenty-five years, from 1946 to 1971. and Elizabeth Dunton appeared with the orchestra in solo music of 1 January 1911-13 April 1987 Mozart, Strauss, Britten, and Schuller. At age six, Mr. Stagliano went to Detroit, where he Elizabeth Dunton. Director of Sales for the studied with his uncle, who was principal horn Boston S\inphony Orchestra from October of the Detroit Symphony and later of the NBC 1975 until her retirement following the S\Tnphony under Toscanini. At sixteen, James orchestra's 1982-83 subscription season, died Stagliano himself joined the Detroit S\Tn- last week in Atlanta, Georgia, where she had phony, moving to the St. Louis S\Tnphony in been living since her retirement. A devoted 1934 and then to the Chicago S^Tnphony. He and much-loved member of the BSO staff, was principal horn in the Los Angeles Philhar- Liz gave her personal attention to countless monic from 1936 to 1944 and then spent a year S\Tnphony subscribers and handled advance with the under Erich bookings for Pops groups for nearly nine Leinsdorf before joining the BSO. Mr. years. Her forty-five years in business had also Stagliano was founder in 1951 of Boston included ten years in audience development Records, formed originally to record chamber for Boston Ballet. At the time of her retire- music performed by BSO members. In 1958, ment, Ms. Dunton described her work with the with Linda Cabot Black and Sarah Caldwell, BSO's audience as '"a great privilege and a he was co-founder of the Opera Company of great pleasure," and she regarded her years at Boston. His contributions to the BSO and to S\Tnphony Hall as the happiest of her career. the musical life of Boston ensure his place in She will be much missed. Seiji Ozawa

Francisco Symphony from 1970 to 1976, followed by a year as that orchestra's music adviser.

Seiji Ozawa made his first Symphony Hall appearance with the Boston Sym- phony Orchestra in January 1968; he had previously appeared with the orchestra for four summers at Tanglewood, where he became an artistic adviser in 1970. For the 1972-73 season he was the orchestra's music adviser. Since becoming music director of the Boston Symphony Orchestra in 1973, Mr. Ozawa has strengthened the orchestra's reputation internationally as well as at home, leading concerts in Europe, Japan, and throughout the United States. In March 1979 he and the orchestra traveled to China for a significant musical Seiji Ozawa became music director of the and cultural exchange entailing coaching, Boston Symphony Orchestra in the fall of study, and discussion sessions with Chinese 1973. Now in his fourteenth year as music musicians, as well as concert performances. director, he is the thirteenth conductor to That same year, the orchestra made its first hold that position since the orchestra's found- tour devoted exclusively to appearances at ing in 1881. Bom in 1935 in Shenyang, China, the major European music festivals. In to Japanese parents, ]VIr. Ozawa studied both 1981, Ozawa and the orchestra celebrated Western and Oriental music as a child, later the Boston Symphony's centennial with a graduating from Tok\'o's Toho School of fourteen-city American tour and an interna- Music with first prizes in composition and tional tour to Japan. France, Germany. conducting. In 1959 he won first prize at the Austria, and England. They returned to International Competition of Orchestra Con- Europe for an eleven-concert tour in the fall ductors held in Besangon, France, and was of 1984. and to Japan for a three-week tour imited to Tanglewood by Charles Munch, in February 1986. the orchestra's third visit then music director of the Boston Symphony to that country under Ozawa's direction. and a judge at the competition. In 1960 he Mr. Ozawa has also reaffirmed the orches- won the Tanglewood Music Center's highest tra's commitment to new music with the honor, the Kousse\atzky Prize for outstand- recent program of twelve centennial com- ing student conductor. missions, and with a new program, begin- ning this year, to include such composers as While working with Peter Lieberson and Hans Werner Henze. in West Berlin, Mr. Ozawa came to the attention of Leonard Bernstein. He accom- Mr. Ozawa pursues an active interna- panied Bernstein on the New York Philhar- tional career, appearing regularly ^vith the monic's 1961 tour of Japan and was made Berlin Philharmonic, the Orchestre de an assistant conductor of that orchestra for Paris, the French National Radio Orches- the 1961-62 season. In January 1962 he tra, the Vienna Philharmonic, the Philhar- made his first professional concert monia of London, and the New Japan Phil- appearance in North America, with the San harmonic. His operatic credits include Francisco S>Tnphony. Mr. Ozawa was music Salzburg, London's Royal Opera at Covent director of the Ravinia Festival for five Garden. in Milan, and the Paris summers beginning in 1964, music director Opera, where he conducted the world of the Toronto S>Tnphony Orchestra from premiere of Olivier Messiaen's opera 1965 to 1969, and music director of the San St. Fr-ancis ofAssisi in November 1983.

8 Mr. Ozawa led the American premiere of higs, on CBS, include music of Berlioz and excerpts from that work in Boston and Debussy with mezzo- Frederica von New York in April 1986. Stade, the Mendelssohn Violin Concerto \^'ith Isaac Stem, and Strauss's Don Quixote and Seiji Ozawa has recorded with the Boston the Schoenberg/Monn Cello Concerto \\-ith S^^nphony Orchestra for Philips, Telarc, Yo-Yo Ma. He has also recorded the complete CBS, Deutsche Grammophon, Angel "EMI, cycle of Beethoven piano concertos and the New World, H\-perion. Erato, and RCA Choral Fantasy with Rudolf Serkin for records. His award-^Wmiing recordings Telarc, orchestral works by Strauss, include Berlioz's Romeo et Juliette on DG, Stravinsky-, and Hoist, and BSO centemiial Mahler's S^Tiiphony No. 8. the Symphony of a connnissions by Roger Sessions, Andrzej Tlwusand. and Schoenberg's Gurrelicdcr, Panufnik, Peter Lieberson, John Harbison, both on Philips, and, also on DG, the Berg and Oily Wilson. and Stra\'insk\' \iolin concertos viith Itzhak Perlman, with whom he has also recorded the Mr Ozawa holds honorary doctor of \-iolin concertos of Earl Kim and Robert music degrees from the University of Mas- Starer for Angel EMI. With Mstislav sachusetts, ih^ New England Conservatory RostropoAich, he has recorded the Eh'ofak of Music, and Wheaton College in Norton, Cello Concerto and Tchaikovsk>-'s Variations Massachusetts. He has won an Emmy for on a Rococo Theme, newly available on a the Boston Symphony Orchestra's "Eve- single disc from Erato. Other recent record- ning at Sjinphony'" PBS television series.

"There's no passion in the human soul. But finds its food in music."

George Lillo

Join us before or after the Symphony at the Bristol Lounge, overlooking the Pubhc Garden at Four Seasons Hotel. Also serving lunch, dinner and afternoon tea. The encore is over, but the music plays on. For Four Seasons Place FourSeasons Hotel Condominium Sales Information, BOSTON please call 617-338-4444. 200 Boylston Street Boston, Massachusetts 02116 (617) 338-4400 Fredy Ostrovsky Dorothy Q. and David B. Arnold, Jr., chair, fully funded in perpetuity Leo Panasevich Carolyn and George Rowland chair Sheldon Rotenberg Muriel C. Kasdon and Marjorie C. Paley chair Alfred Schneider Raymond Sird Ikuko Mizuno Amnon Levy Music Directorship endowed by John Moors Cabot Second Violins Marylou Speaker Churchill BOSTON SYMPHONY Fahnestock chair ORCHESTRA Vyacheslav Uritsky Charlotte and Irving W. Rabb chair 1986-87 Ronald Knudsen Edgar and Shirley Grossman chair First Violins Joseph McGauley Malcolm Lowe Leonard Moss Concertmaster Charles Munch chair *Michael Vitale Tamara Smirnova-Sajfar fHarvey Seigel Associate Concertmaster *Jerome Rosen Helen Homer Mclntyre chair * Sheila Fiekowsky Max Hobart Gerald Elias Assistant Concertmaster Robert L. Beal, and Ronan Lefkowitz Enid L. and Bruce A. Beal chair *Nancy Bracken Cecylia Arzewski *Jennie Shames Assistant Concertmaster *Aza Raykhtsaum Edward and Bertha C. Rose chair * Lucia Lin Bo Youp Hwang *Valeria Vilker John and Dorothy Wilson chair, Kuchment fully funded in perpetuity * Bonnie Bewick Max Winder Harry Dickson Violas Forrest Foster Collier chair Burton Fine Gottfried Wilfinger Charles S. Dana chair Patricia McCarty * Participating in a system of rotated Anne Stoneman chair, seating within each string section. fully funded in perpetuity t On sabbatical leave. Ronald Wilkison

10 .J«£^*^ blm**^^MF ^^^V ^'*^<^H^ "^4* ^*"*'f* .«*# '* =i< f j»^'- ^• mK ^LJ^feL h'B Robert Barnes Piccolo Trumpets Jerome Lipson Lois Schaefer Charles Schlueter Bernard Kadinoff Evelyn and C. Charles Marran chair Roger Louis Voisin chair Joseph Pietropaolo Andre Come Ford H. Cooper chair Michael Zaretsky Oboes Charles Daval Marc Jeanneret Ralph Gomberg Peter Chapman Betty Benthin Mildred B. Remis chair *Mark Ludwig Wayne Rapier Trombones *Roberto Diaz Alfred Genovese Ronald Barron J.P. and Mary B. Barger chair, fully funded in perpetuity Cellos English Horn Norman Bolter Jules Eskin Philip R. Allen chair Laurence Thorstenberg Phyllis Knight Beranek chair, Bass Trombone fMartha Babcock fully funded in perpetuity Douglas Yeo Vernon and Marion Alden chair Mischa Nieland Tuba Esther S. and Joseph M. Shapiro chair Clarinets Joel Moerschel Chester Schmitz Harold Wright Margaret and William C. Sandra and David Bakalar chair Ann S.M. Banks chair Rousseau chair *Robert Ripley Thomas Martin Luis Leguia Peter Hadcock Timpani Robert Bradford Newman chair E-flat Clarinet Everett Firth Carol Procter Sylvia Shippen Wells chair Ronald Feldman *Jerome Patterson Bass Clarinet Percussion * Jonathan Miller Craig Nordstrom Charles Smith Farla and Harvey Chet Peter and Anne Brooke chair *Sato Knudsen Krentzman chair Arthur Press Assistant Timpanist Basses Bassoons Thomas Ganger Edwin Barker Harold D. Hodgkinson chair Sherman Walt Frank Epstein Edward A. Taft chair Lawrence Wolfe Maria Nistazos Statu chair, Roland Small Harp fully funded in perpetuity Matthew Ruggiero Ann Hobson Pilot Joseph Hearne Willona Henderson Sinclair chair Bela Wurtzler Leslie Martin Contrabassoon Personnel Managers John Salkowski Richard Plaster William Moyer John Barwicki Harry Shapiro *Robert Olson Horns Librarians *James Orleans Charles Kavalovski Marshall Burlingame chair Helen Sagoff Slosberg William Shisler Flutes Richard Sebring James Harper Margaret Andersen Congleton chair Doriot Anthony Dwyer Daniel Katzen Walter Piston chair Stage Manager Fenwick Smith Jay Wadenpfuhl Position endowed by Myra and Robert Kraft chair Richard Mackey Angelica Lloyd Clagett Leone Buyse Jonathan Menkis Alfred Robison

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12 —

A Brief History of the Boston Symphony Orchestra

Now in its one-hundred-and-sixth season, of Boston. His vision approached reality in the Boston S\Tnphony Orchestra continues the spring of 1881, and on 22 October that to uphold the vision of its founder Henry year the Boston S^Tiiphony Orchestra's Lee Higginson and to broaden the interna- inaugural concert took place under the tional reputation it has established in direction of conductor Georg Henschel. For recent decades. Under the leadership of nearly twenty years s\Tnphony concerts Music Director Seiji Ozawa, the orchestra were held in the Old Boston Music Hall; has performed throughout the United Symphony Hall, the orchestra's present States, as well as in Europe, Japan, and home, and one of the world's most highly China, and it reaches audiences numbering regarded concert halls, was opened in 1900. in the millions through its performances on Henschel was succeeded by a series of radio, television, and recordings. It plays German-born and -trained conductors an active role in commissioning new works Wilhelm Gericke, Arthur Xikisch, Emil from today's most important composers, Paur, and Max Fiedler—culminating in the and its summer season at Tanglewood is appointment of the legendary Karl Muck, regarded as one of the most important who sensed two tenures as music director, music festivals in the world. The orches- 1906-08 and 1912-18. Meanwhile, in July tra's virtuosity is reflected in the concert 1885, the musicians of the Boston S\Tn- and recording activities of the Boston S>Tn- phony had given their first "Promenade" phony Chamber Players—the world's only concert, offering both music and refresh- permanent chamber ensemble made up of a ments, and fulfilling Major Higginson's major s\Tnphony orchestra's principal play- wish to give "concerts of a lighter kind of ers—and the activities of the Boston Pops music." These concerts, soon to be given in have established an international standard the springtime and renamed first "Popu- for the performance of lighter kinds of lar" and then "Pops," fast became a music. In addition, during its summer sea- tradition. son at Tanglewood, the BSO sponsors one During the orchestra's first decades, of the world's most important training there were striking moves toward expan- grounds for young musicians, the Tangle- sion. In 1915, the orchestra made its first wood Music Center, which celebrates its transcontinental trip, playing thirteen con- fiftieth anniversary in 1990. certs at the Panama-Pacific Exposition in For many years, philanthropist. Civil San Francisco. Recording, begun with RCA War veteran, and amateur musician Henry in the pioneering days of 1917, continued Lee Higginson dreamed of founding a great with increasing frequency, as did radio and permanent orchestra in his home town broadcasts of concerts. The character of the

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

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60 Federal Street Boston, MA 02110 423-9190 Boston S^Tnphony was greatly changed in ership a full-tuition fellowship program was 1918. when Henri Rabaud was engaged as established. Also during these years, in conductor; he was succeeded the following 1964. the Boston Symphony Chamber Play- season by Pierre Monteux. These appoint- ers were founded. marked the beginning of a French- ments succeeded Leinsdorf oriented tradition which would be main- in 1969. He conducted several American tained, even during the Russian-born Serge and world premieres, made recordings for Koussevitzky's time, with the emplo^^nent Deutsche Grammophon and RCA, of many French-trained musicians. appeared regularly on television, led the The Koussevitzky era began in 1924. His 1971 European tour, and directed concerts extraordinary musicianship and electric on the east coast, in the south, and in the personality proved so enduring that he mid-west. ser\'ed an unprecedented term of twenty- Seiji Ozawa. an artistic director of the five ye ars^. Tanglewood Festival since 1970. became In 1936. Koussevitzky led the orchestra's the orchestra"^ thirteenth music director in first concerts in the Berkshires, and a year the fall of 1973, following a year as music later he and the players took up annual adviser. Now in his fourteenth year as summer residence at Tanglewood. music director, Mr. Ozawa has continued to Koussevitzky passionately shared Major solidify the orchestra"s reputation at home Higginson's dream of "a good honest and abroad, and his program of centennial school for musicians."" and in 1940 that commissions—from Sandor Balassa, dream was realized with the founding at Leonard Bernstein. John Corigliano, Peter Tanglewood of the Berkshire Music Center ^Maxwell Davies, John Harbison, Leon (now called the Tanglewood Music Center). Kirchner, Peter Lieberson, Donald Martino, Andrzej Panufnik. Roger Expansion continued in other areas as Sessions, Sir , and Oily well. In 1929 the free Esplanade concerts Wilson on the occasion of the orchestra's on the Charles River in Boston were inau- — hundredth birthday significantly reaffirmed gurated by Arthur Fiedler, who had been a the orchestra's commitment to new music. member of the orchestra since 1915 and Under his direction, the orchestra has also who in 1930 became the eighteenth conduc- expanded its recording activities to include tor of the Boston Pops, a post he would releases on the Philips, Telarc, CBS. Angel hold for half a century, to be succeeded by EMI. H\-perion, New World, and Erato John Williams in 1980. The Boston Pops labels. celebrated its hundredth birthday in 1985 under Mr. Williams's baton. From its earliest days, the Boston S\Tn- phony Orchestra has stood for imagination, Charles Munch followed Koussevitzky as enterprise, and the highest attainable stan- music director in 1949. Munch continued dards. Today, the Boston S^inphony Koussevitzky's practice of supporting con- Orchestra, Inc., presents more than 250 temporary composers and introduced much concerts amiually. Attended by a live audi- music from the French repertory' to this ence of nearly 1.5 million, the orchestra's country. During his tenure, the orchestra performances are heard by a vast national toured abroad for the first time, and its and international audience. Its annual bud- continuing series of Youth Concerts was ini- get has grown from Higginson's projected tiated. began his seven- $115,000 to more than $20 million, and its year term as music director in 1962. preeminent position in the world of music is Leinsdorf presented numerous premieres, due not only to the support of its audiences restored many forgotten and neglected but also to grants from the federal and works to the repertory, and, like his two state governments, and to the generosity of predecessors, made many recordings for many foundations, businesses, and individ- RCA; in addition, many concerts were tele- uals. It is an ensemble that has richly vised under his direction. Leinsdorf was fulfilled Higginson's vision of a great and also an energetic director of the Tangle- permanent orchestra in Boston. wood Music Center, and under his lead-

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16 FAREWELL AND THANKS

Cecylia Arzewski Johti Barwicki Harry Ellis Dickson

Lea\ang the Boston Symphony this year are six distinguished members whose cumulative ser\'ice to the orchestra totals 218 years. Bass player John Barwicki joined the orchestra in 1937 and retires after 50 years of membership. Harry Ellis Dickson—first violinist, Assistant and then Associate Conductor of the Boston Pops, and founder of the BSO's current series of Youth Concerts, which he initiated in 1959—retires from his position as a BSO violinist after 49 years, while remaining Associate Conductor Laureate of the Pops and Conductor Laureate of Youth Con- certs. Ralph Gomberg has been principal oboe of the orchestra since he joined in 1950; he retires after 37 years of ser\4ce. Bass player Leslie Martin joined the orchestra in 1957 and retires after 30 years of sendee. AVilliam Moyer, a BSO trombonist from 1952 to 1966 and its Personnel Manager since that year, has been a member of the BSO family for 35 years. Cecylia Arzewski, a first \iolinist since she joined the orchestra in 1970 and now an assistant concertmaster, leaves after 17 years to become associate concertmaster of the Cleveland Orchestra under its Music Director Christoph von Dohnanyi this September. Our sincerest thanks for their contributions to the BSO and to Boston's musical community, and our very best wishes to them all.

Ralph Gomberg Leslie Martin Willia)n Moyer

17 Deutsche Grammophon welcomes KryslianZimerman to the USA for hi$1982 tour

Krystian Zimerman's repertoire on Deutsche Grammophon Compact Discs includes:

Brahms: Piano Concerto No. 1 • 413 472-2 GH (Bernstein, Vienna Philharmonic)

Brahms: Piano Concerto No. 2 • 415 359-2 GH (Bernstein, Vienna Philharmonic)

Chopin: Piano Concertos Nos. 1 & 2 • 415 970-2 GH (Giulini, Los Angeles Philharmonic)

Grieg & Schumann: Piano Concertos • 410 021-2 GH (Karajan, Berlin Philharmonic)

Most selections also available on LP and cassette

© 1987 DG/PolyGram Records, Inc. BOSTON SYMPHONY ORCHESTRA

Seiji Ozawa, Music Director Carl St. Clair and Pascal Verrot, Assistant Conductors One Hundred and Sixth Season, 1986-87

Thursday, 23 April at 8

SEIJI OZAWA conducting

LISZT Piano Concerto No. 2 in A KRYSTIAN ZIMERMAN

INTERMISSION

BRUCKNER Symphony No. 2 in C minor Moderate Andante Massig schnell Finale. Mehr schnell

This concert will end about 9:55.

Philips, Telarc, CBS, Deutsche Grammophon, Angel/EMI, New World, Hyperion, Erato, and RCA records Baldwin piano Krystian Zimerman plays the Steinway piano.

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

19 Week 23 BOSTON SYMPHONY ORCHESTRA

Seiji Ozawa, Music Director Carl St. Clair and Pascal Verrot, Assistant Conductors One Hundred and Sixth Season, 1986-87

Friday, 24 April at 2

SEIJI OZAWA conducting

LISZT Totentanz, Paraphase on Dies irae, for piano and orchestra KRYSTIAN ZIMERMAN

INTERMISSION

BRUCKNER Symphony No. 2 in C minor Moderate Andante Massig schnell Finale. Mehr schnell

This concert will end about 3:50. Philips, Telarc, CBS, Deutsche Grammophon, Angel/EMI, New World, Hyperion, Erato, and RCA records Baldwin piano Krystian Zimerman plays the Steinway piano.

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

20 Week 23 —

BOSTON SYMPHONY ORCHESTRA

Seiji Ozawa, Music Director Carl St. Clair and Pascal Verrot, Assistant Conductors One Hundred and Sixth Season, 1986-87

Saturday, 25 April at 8

SEIJI OZAWA conducting

LISZT Piano Concerto No. 1 in E-flat Allegro maestoso—Quasi adagio- Allegretto vivace Allegro marziale animato. Presto KRYSTIAN ZIMERMAN

INTERMISSION

BRUCKNER Symphony No. 2 in C minor Moderato Andante Massig schnell Finale. Mehr schnell

This concert will end about 9:55.

Philips, Telarc, CBS, Deutsche Grammophon, Angel/EMI, New World, Hyperion, Erato, and RCA records Baldwin piano Krj'stian Zimerman plays the Steinway piano.

Please be sure the electronic signal on your watch or pager is switched oflF during the concert.

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22 Franz Liszt Piano Concerto No. 1 in E-flat Piano Concerto No. 2 in A Tofentanz, Paraphrase on Dies irae, for piano and orchestra

Franz (Ferenc in Hungarian) Liszt was horn in Raiding, near Sopron, Hungary, on 22 October 1811 and died in Bayreuth, Germany, on SlJuly 1886. Sketches for the First Concerto go back to 1830, though he evidently completed drafts of both concertos at roughly the same time in

1839. He seems to have worked on it fur- ther during the 1840s, making more revi-

sions in 1853 and 1856. The score is dedicated to Henry Litolff. Liszt himself

was the soloist in the first performance, which took place under the direction of at Weimar on 17 February 1855. Theodore Thomas's Symphony gave

the first American performance in New York on 2 December 1865, with Sebastian Bach Mills as the soloist. Alide Topp was the first pianist to perform the work in Boston, in a Handel and Haydn Society Festival on 12 May 1868, under the direction of Carl Zerrahn. Adele Margulies was soloist for the first Boston Symphony Orchestra performances, Wilhelm Gericke conducting, in October

1885. Since then it has been performed under conductors Arthur Nikisch, Emit Paur, Karl Muck, Carl Wendling, Max Fiedler, Henri Rabaud, Pierre Monteux, , Richard Burgin, Eleazar de Carvalho, Charles Munch, Jean Morel, Erich Leinsdorf, William Steinberg, Joseph Silverstein, and Seiji Ozawa, by soloists Julia Rive- King, Adele Aus der Ohe, Franz Rummel, Eugen d Albert, Bernhard Starenhagen, Ernst von Dohnanyi, Mark Hambourg, George W. Proctor, Rafael Joseffy, Vladimir de Pachmann, Ernest Schelling, Rudolph Ganz, Olga Samaroff, Moritz Rosenthal, Germaine Schnitzer, Elizabeth K. Howland, George C. Vieh, Josef Hofmann, Ferruccio Busoni, Max Pauer, Edward Morris, Winifred Christie, Rosita Renard, Sergei Rachmaninoff, Chiy Maier, Ignaz Friedman, Raymond Havens, Alexander Borovsky, Eunice Norton, George Siebling, Jose Iturbi, Gladys Heathcock, Jesus Maria Sanroma,

Robert Casadesus, Nicole Henriot, Leonard Pennario, Jorge Bolet, Byron Jan is. Van Cliburn, Jeanne-Marie Darre, Andre Watts, and Liu Shi-kun, who gave the most recent subscription performance, with Ozawa, in March 1979. Emanuel Ax played the most recent Tanglewood performance, with Leinsdorf, in July 1982. In addition to the solo pianist, the score calls for two flutes and piccolo, two each of oboes, clarinets, bassoons, horns, and trumpets, three trombones, triayigle, cymbals, timpani, and strings. The Second Concerto was apparently finished by October 1849, but Liszt continued to make small changes thereafter. The first performance took place at the Weimar Court Theater on 7 January 1857, with Liszt conducting and his pupil Hans von Bronsari as the piano soloist. Theodore Thomas led the first American performance at the Boston Music Hall on 5 October 1870 with Anna Mehlig as soloist. Georg Henschel conducted the first

Boston Symphony performances with pianist Carl Baermann in February 1884, and it has since been performed at BSO concerts by Rafael Joseffy, Arthur Friedheim, Richard Burtneister, and Ferruccio Busoni (Arthur Nikisch conducting); Joseffy with Emil Paur conducting; Baermann, Leopold Godowsky, Joseffy, and Waldemar Lutschg (Wilhelm Gericke conducting); Rudolf Ganz, Heinrich Gebhard, and Ernest Schelling (Karl Muck conducting); Ossip Gabrilowitsch, Yolanda Mer'6, Ganz, and Gebhard (Max Fiedler

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24 conducting); Erwin Nyiregyhazi, Marjorie Church, and Mitja Nikisch (Pierre Monteux conducting); Nadia Reisenberg and Mero with Serge Koussevitzky, Byron Janis with Charles Munch, Van Cliburn with Erich Leinsdorf, Andre Watts with Seiji Ozawa, and Russell Sherman with Sergiu Comissiona. Andre Watts gave the most recent subscription performances in January 1986 with Kurt Masur conducting. Erich Leinsdorf led the most recent Tanglewood performance, in July 1982, with pianist Emanuel Ax. In addition to the solo pianist, the score calls for three flutes (one doubling piccolo), two oboes, two clarinets, two bassoons, two horns, two trumpets, three trombones, tuba, timpani, cymbals, and strings.

Composition of "Totentanz'* occupied Liszt on and off from plans in 1838 to a first stage of creation in 1849 and revisions in 1853 and 1859. Ferruccio Busoni edited and published the 1849 version in 1919; Liszt published his definitive version in 1865, the year of the first performance, which took place in The Hague on 15 April; the soloist was Hans von Bulow, to whom the score is dedicated, and the conductor was J.J.H. Verhidst. The first Boston Symphony Orchestra performances took place in Cambridge and Boston in January 1902, with Harold Bauer as the soloist and Wilhelm Gericke conducting. Further performances were given by Ferruccio Busoni as soloist with Gericke and then with Max Fiedler, Alexander Siloti with Pierre Monteux, Ernst Levy with Richard Burgin (the most recent subscription performances, in February 1942!), and Jeanne- Marie Darre with Erich Leinsdorf. Andre Watts was the soloist at the most recent performance, at Tanglewood, in August 1973; Seiji Ozawa conducted. In addition to the piano solo, the score calls for two flutes and piccolo, two oboes, two clarinets, two bassoons, two horns, two trumpets, three trombones and tuba, timpani, cymbals, triangle, tam-tam, and strings.

For all his spectacular self-assurance at the piano, Liszt was astonishingly insecure as a composer. He would rework old compositions repeatedly, fussing with this detail or that, never quite sure if he had yet got it right. And, worse, he often took advice from random acquaintances, offered gratuitously, and then reworked pieces again. Almost everv" one of his major compositions went through stages of creation, and a number of works actually exist in two different "finished" forms. All of his large works for piano and orchestra—the First and Second concertos and the variations entitled Totentanz—^went through many stages of development.

During the early phase of his career, when he was knowTi primarily as a touring piano virtuoso of extraordinary^ attainments, Liszt sketched both of his piano concer- tos—almost simultaneously—in 1839 (and in the case of the E-flat concerto, he drew

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26 on a thematic sketch that went back to 1830, when he was himself only nineteen years old). Totentanz was inspired by a painting Liszt saw in 1838, though it did not take formal shape until later. At first the concertos were conceived as show^Dieces for his own talents. If he had finished and performed them then, they would no doubt be much different than they finally turned out. As it was, the pressure of touring caused him to put them aside for a decade until he had settled in Weimar and given up the vagabond life of the international concert star to devote himself to composition and conducting. Although he had written a great deal of music already (mostly brilliant display pieces for piano solo), he worked hard to improve his skills, especially in orchestration.

Liszt was surely not lacking totally in experience at orchestration, since he had already finished a score for the 1839 version of the A major concerto. But by 1849 he had to some extent put himself in the hands of Joachim Raff, who worked with him on his orchestration and even scored a few of the symphonic poems in preliminary versions that were later modified by Liszt himself.* It is hard to tell exactly how much influence Raff had on these scores, partly because most of the manuscripts are in the Liszt Museum in Weimar (East Germany), and only recently have scholars begun to undertake systematic study there. The sources for both the piano concertos are exceedingly complicated—it could well take a book-length study to disentangle the manuscripts, with their different versions and handwritings, and determine who was responsible for writing what (and even then we can never know the amount of oral instruction that Liszt gave to his amanuenses).

"Raff was an extremely fluent and prolific composer eleven years Liszt's junior; in 1875—the year before Brahms's First S^nnphony—he was widely regarded as the greatest living German s\Tnphonist. His compositions, running to some 200-plus opus numbers, are largely forgotten today, although his Third Symphony, entitled In the Forest, and Fifth S\Tnphony, Lenore, have been recorded, along w^th a \irtuosic but unbelievably bland piano concerto.

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28 Even after Liszt '"finished"* the concertos in 1849, he clearly was in no rush to present them to the public. Perhaps he still entertained lingering doubts about their effectiveness. In any case, he made adjustments to the scores during the ensuing years. Liszt wrote to Hans von Biilow on 12 May 1853, "I have just finished reworking my two concertos and the Totentanz in order to have them copied definitively."

The E-flat concerto underwent still another (quite minor) round of retouching after the first performances. A comparison of the various versions reveals that, in general, Liszt simplified the work for the performer—hard as that may be to believe when we hear its final shape. In his days as a traveling virtuoso, he was willing to risk all in compositions that approached the limits of human speed and endurance. Later on, he found ways of making the \'irtuosity less an end in itself and more a ser\'ant of poetic expression, which is not to sav that any of this music is ever easyl

The Piano Concerto No. 1 in E-flat has garnered a remarkable number of unplea- sant re^'iews over the years. The consen'ative critic Eduard Hanslick wrote scathingly dubbing Liszt's work the "Triangle Concerto" because the composer was so bold as to give that instrument a prominent role in the scherzo section. This was surely grasping at straws: Beethoven, after all, used the triangle for the '"Turkish music" in the finale of the Ninth S^Ttiphony, and Mozart before him had employed similar effects. Liszt's sin, e\'idently, was to use the triangle for a purely musical effect, not to suggest musical exoticism. As if to forestall criticism for this boldness, Liszt added to his score the cautionary note, ""The triangle is here not to be beaten clumsily, but in a delicately rhythmical manner \Wth resonant precision"—good advice for any percus- sion instrument!

Portrait by M. Stein of Liszt at fifty-two

29 Week 23 Liszt was not deterred from inventing new percussion effects by the attacks of such

as Hanslick; rather, lie vowed to "continue to make use of them, and I think I shall yet win for them some effects that are little known."

More daring and difficult for most audiences was that he cast his work in a large span that seemed to destroy the traditional fast-slow-fast relationship of movements within a concerto. Actually the "traditional" movements have been subsumed into the overall span of the entire work, which is unified by the transformation of themes into a well-organized whole, reworking the assertive opening figure in many ways and translating the poetic Adagio theme into the marchlike finale. No less a musician than Bela Bartok hailed the E-flat concerto as "the first perfect realization of cyclic sonata form."

The strain on audience expectations seems to have been intense until listeners grew accustomed to the work. In Boston the redoubtable Dwight's Journal of Music declared (in 1868) "anything more awful, whimsical, outre, and forced than this composition is unknown; anything more incoherent, uninspiring, frosty to the finer instincts we have hardly known under the name of music." Yet by the 1890s the Boston Symphony was regularly programming the work as a featured attraction when it toured, suggesting

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30 that audiences had long since come round and accepted the \dews of an English critic in 1903 that the E-flat concerto was "quite the most brilliant and entertaining of concertos." The same writer added, "No person genuinely fond of music was ever known to approach it with an unprejudiced mind and not like it."

Even more than the First Concerto, the Piano Concerto No. 2 in A is sui generis.

Though it is by no means lacking in opportunities for virtuoso display, it gives the impression of being quieter, more poetic, more introspective than the First Concerto, partly because of the ravishingly beautiful opening for wood\\dnds, in which the sweet song of the clarinet turns out to generate many of the musical ideas that follow. Among the diverse musical ideas to come, we shall hear a good bit of a march theme in a sharply marked rhythm and also of a galloping figure first heard in an orchestral tutti. These last two ideas generally return together, mth the galloping figure serving as a bass to the march.

The fusion of the usual three movements of a concerto into a single long movement that could be construed as a kind of sonata form: this is Liszt's response to the nineteenth-century composer's search for organic relationships throughout a composi- tion, as demonstrated in his transformations of thematic ideas—and not only the themes mentioned above, but all of the others in the piece as well. His reworking of the material produces melodies of strikingly diverse psychological tone. The range of moods is breathtaking, extending even to the one moment in the piece that might be considered banal, when the march-like "recapitulation" in the home key of A major converts the atmospheric opening theme into a brass-band display. But except for that one passage (which not everyone considers a lapse), Liszt's refinement of expressive harmony and poetic orchestration puts the Second Concerto high on the honor role of his finest compositions.

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Though there are brilliant passages galore throughout this concerto, Liszt is admi- rably restrained in his virtuoso display. Almost without exception the sparkling, cadenza-like passages are built on still new developments of the basic thematic material—especially on some of the characteristic little turns in the opening theme quoted above. Thus, rather than intruding, as \irtuosic elements so often do in romantic piano compositions, they contribute further to the unity of this remarkable score.

"Totentanz" germinated in 1838, during Liszt's years of travel and ^•irtuoso show- manship. While in Italy with his mistress, the Countess Mane d'Agoult, he \dsited Pisa and there saw the famous medieval painting of "The Triumph of Death" by

Orcagna. The work made a tremendous impression on him; it portrays the female figure of Death flying towards her\ictims carrying a sc\"the. Some souls are ascending to heaven, but many are dragged down to the flames of hell. Liszt decided to compose a work in his o%^ti medium on the subject of death, choosing the plainsong melody Dies irae, which is sung as part of the Requiem Mass. The Dies irae text is a horrific description of the terrors confronting mankind at the Last Judgment. As a counter- part to the visual imager^' of Orcagna, it offered to the composer a tune of striking profile that would have an immediate, dramatic effect.

Several years earlier Liszt had made a piano arrangement of Berlioz's Symphonie fantastique, which quotes the Dies irae melody both dramatically and satirically. Berlioz may thus be at least as responsible as Orcagna for suggesting the form of Liszt's response, a set of variations on the plainsong melody. Totentanz has been described sometimes as Liszt's "third piano concerto." Certainly it belongs \\*ith the two concertos in both brilliance and musical substance, yet it has never become so well-kno^^^l. Perhaps its relative brevity prevents it from being programmed more often. Nonetheless it remains one of Liszt's strongest works, both for the clarity of its structure (one of his few examples of variation form) and the poetic imagination he brings to the elaboration of the Dies irae, the various countermelodies, and the variety in the scoring. The work begins \Wth a darkly colored "dance of death," with dimin- ished harmonies underMng the first phrase of the plainsong melody sounded forth hea\aly in the bass instruments, like the most sombre of funeral processions. An electrifying splash of piano cadenza announces that this work will be a sho\^'piece of wtuosity despite its serious framework. Soon the full theme has been stated and we are off on a series of character variations in different tempi and moods, with striking touches of orchestration, fugal sections, and pianistic fireworks. Though some of Totentanz shows Liszt in his most diabolist mood, there are romantic touches as well. and the canny range of moods contributes to making this brief, concerto-like piece one of its creator's most dramatic works. —Steven Ledbetter

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34 Anton Bruckner Symphony No. 2 in C minor

Anton Bruckner was bom in Ansfelden, nearLinz, Upper Austria, on 4 September 1842 and died in Vienna on 11 October 1896. He composed the Second Symphony

in 1871 and 1872, and the work was first performed on 26 October 1873, with Bruckner himself conducting the Vienna Philharmonic. He made revisions in 1876 and 1877. The score published in 1892 had alterations far beyond Bruckner's own and is now regarded as inauthentic; the present performances will use the 1877 version in the edition of Leopold Nowak. The Second is the only Bruckner sym- phony to lack a dedication (the circum- stances that led to this fact are described below). The only previous performances by the Boston Symphony Orchestra were con- ducted by in March and April 1974. The score calls for two each of flutes, oboes, clarinets, and bassoons, four horns, two trumpets, three trombones, timpani, and strings.

The premieres of Bruckner's first two numbered symphonies present a startling study in contrasts. Symphony No. 1 in C minor was composed in Linz where the composer, then in his thirties and early forties, spent twelve years as the cathedral organist and where he also wrote his three mature Masses. The symphony was completed in 1866 and shown in Munich to the leading conductor and Wagner disciple, Hans von Biilow, who reacted with a mixture of astonished admiration and alarm. Bruckner could not pluck up the courage to show it to Wagner himself, but two years later he was rash enough to attempt a performance under his own direction. The event is thus described by his biographer, Erwin Doernberg:

The first performance took place in Linz in sadly unfavorable conditions. An inadequate orchestra was assembled, consisting of the theater orchestra, members of two regimental bands stationed in the town, and dilettantes; there were twelve violins, three violas, three violoncelli, and three double basses. Quite apart from this, neither the musicians nor the provincial audience could be expected to grasp the complexity of the vast and original work. In fact there was but a scanty audience, because on the day preceding the performance the bridge across the Danube had collapsed, and the people of Linz were much too thrilled by the disaster to be interested in a matinee concert. Bruckner's laconic comment was: "It cost me a lost of money to cover the deficit."

The same year, 1868, Bruckner moved permanently to Vienna, where he had been trying to secure an economic foothold during most of his tenure at Linz. He became a lecturer at the Vienna Conser\'atory—a decisive step, for he was thereafter to spend most of his life teaching, and composing symphonies. His earlier renown as an organ virtuoso took him, however, to Paris in 1869 and London in 1871, where he reported excitedly, "Everywhere my name appears in letters bigger than myself!" These were Bruckner's first and last trips abroad.

While in London he began composing his Symphony No. 2, again in C minor, and it was finished in Vienna the following year. It was submitted to the Vienna Philhar-

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36 monic and rehearsed under Otto Dessoff, who proclaimed it to be nonsense. After some fruitless discussion about cuts, the score was returned as "unplayable." It must have been a bitter joke to Bruckner that his Great Mass in F minor had been similarly refused a hearing in Vienna on the ground of being "unsingable."" Once again he was thrown back on his own resources: but this time, instead of using a scratch orchestra, he contrived to retain the Philharmonic itself. Doernberg describes the altered scene as follows:

Bruckner, however, did not give in. With the help of a substantial subvention from Prince Johann Liechtenstein, he engaged the orchestra at his own expense. When beginning the first rehearsal he made the announcement: "Well, gentlemen, we can rehearse as long as we like. I have got someone to pay for it." Most of the musicians were uncooperative, obstinate, and sar- castic during the first rehearsals under Bruckner's direction, but among the friendly members of the orchestra was a young violinist whose immediate admiration for Bruckner was to be of decisive importance later—Artur Xikisch.* The performance took place on October 26, 1873. Apart from conducting the symphony, Bruckner played Bach's Toccata and Fugue in D minor and a free organ improvisation. It was a tremendous success in the concert hall, and the s\Tnphony was reasonably well reviewed by the news- paper critics. The orchestra had warmed up to the difficult work and per- formed the "unplayable" s\Tnphony with so much enthusiasm that the following day Bruckner wrote them an exuberant letter.

One of the critics, Ludwig Speidel of the Fremdenblatt, had indeed written. "There is introduced in this s\Tnphony a composer whose very shoelaces his numer- ous enemies are not fit to tie." In his letter, Bruckner asked permission to dedicate his s\Tnphony to the Philharmonic, sa\ing that "your acceptance would give me great joy." Originally, the biography relates,

Bruckner had wished to dedicate the work to the Abbe Liszt, but the

*Nikiseh was to become conductor of the Boston S\Tnphony Orchestra, which he led during the

years 1889-93. Oddly enough, despite his enthusiasm for Bruckner, he did not see fit to conduct any of his music during his time in Boston. Wilhelm Gericke had conducted the Seventh S\TTiphony in 1887, but no other work of Bruckner's was heard in a BSO concert

before 1899, during Gericke's second term as conductor. [— S.L.I

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37 relation between the two composers never developed. Quite apart from the difference in their musical outlook, Liszt found Bruckner's personality positively annoying. On one occasion he told a friend that nothing made him more irritable than to hear himself addressed as "Your Grace, most rever- end Herr Canonicus." The Philharmonic orchestra failed to reply to his offer of dedication, and later, in 1884, Bnickner reverted to his original idea of inscribing the work to Liszt. The latter's reply was cool and formal. Soon afterwards, Liszt lost the score when leaving Vienna in haste. It found its

way back to Bruckner, who was offended; Liszt, it seems, never noticed the loss.

As a result, No. 2 became the only Bruckner symphony bearing no dedication.

The near-acceptance of the symphony on its first presentation did not, of course, end Bruckner's orchestra difficulties in Vienna. The long-delayed, self-conducted 1877 premiere of his monumental Third Symphony, previously dedicated to Wagner, was a disaster in its own right, and it was not until No. 4 was introduced by Hans Richter, in February 1881, that the musical capitals of Europe began to take Bruckner seriously. By that time the composer was fifty-six.

The "alarming" First Symphony, from Bruckner's Linz period, had differed from his still earlier symphonic attempts by its boldness, even wildness, of expression. It was a true "storm and stress" work, which he later dubbed "the impudent urchin" {""das kecke BeserV). The other C minor work, No. 2, was almost its complement: more sober, more lyrical, more restrained in expression. Meanwhile two other symphonic endeavors of that time were suppressed altogether by the composer himself with the comment: "They are no good; I dare not w^ite down a respectable theme." Attempting to write "more simply," as his friends urged him, he still could not bring himself to cut back on the rich proliferation of thematic material which was

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38 to be his personal trait in symphonic music. So he hit on the device of clarifying his expanded sonata constructions by sharp separation of their thematic groups. Thus he anticipated one increasingly important and significant feature of his mature style, so that the Second has much more of the characteristic look and sound of a Bruckner symphony than the First.

In his original score for this work, he also used such an inordinate number of general pauses, in order to mark off the sections, that a member of the Vienna Philharmonic itself dubbed it the "Rest Symphony." The expression, Erwin Doernberg writes, "soon found its way into the vocabulary of Bruckner's adver- saries, even when the work had been revised and most of the pauses had disappeared from the score." His frequent, often very pregnant, use of the general pause thereafter has sometimes been likened to an organist pausing to change his registra- tion, or to permit the echoes to die away in a large cathedral before resuming. To

Bruckner himself it was perfectly natural, like taking a deep breath, and in discus- sion he once exclaimed waggishly: "What's all the fuss about? Beethoven has a pause right at the beginning of his Fifth Symphony."

After the premiere of Symphony No. 2, Bruckner was persuaded by his friend Johann Herbeck and others to make a few cuts and changes in the score. He conducted the second version on 20 February 1876, at his own expense. He then made some further changes in 1877 and again in 1879. The work was not played by the Vienna Philharmonic under Richter himself until November 1894. The critical edition of the score prepared by Robert Haas is based on Bruckner's full-length 1872 version, and that by Leopold Nowak on his 1877 version. The first edition of 1892 is considered completely unauthentic, since it contains the usual quota of

Silhouette by Otto B'dhler of Bruckner at the organ

39 Week 23 .

alterations beyond any of Bruckner's own. The present performances are from the Nowak edition.

I. Moderato, C minor, 4/4 time. Many of the basic cfiaracteristics of a typical Bruckner first movement are already discernible in this one. For the first time, the music begins with a soft tremolo in the upper strings, which serves as an atmos- pheric background to the opening theme. The theme itself begins, in this case, with a soulful dialogue between cellos and horns. Already there are, as always, two well- defined groups of themes plus a closing group just as important as the first two. The second group (remarkably short in this movement) begins with a bucolic singing theme with a familiarly Upper Austrian folk-flavor, while the sturdier final group typically conceals a chorale-like strain. The very last idea, or codetta, which is introduced in the exposition (and again in the recapitulation), is a two-bar figure beginning with a melodic turn, which is delicately bandied about from the oboe to the other woodwinds. It shows a surprising resemblance to the closing music of the Christmas-party scene (No. 6) in Tchaikovsky's Nutcracker, composed twenty years later.

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40 The first part of the development section has just that mysterious sense of depth and space, of fantasy and wonder, which is also a Bruckner hallmark. And the beginning of the coda eerily evokes the corresponding point in Beethoven's Ninth Symphony. Doernberg comments on this: "Bruckner was long haunted by the Beethoven coda. In the S\Tnphony 'No. 0' [key of D minor] he adopted it literally

(and here it did not link up with his own themes), while in the Third S\Tnphony, which is again in the same key as Beethoven's Ninth, Bruckner restricted himself to using Beethoven's descending notes. Here, in the Second S\Tnphony, the similarity is veiled to a considerable extent by the difference of key and the speedier tempo, though it was certainly not Bruckner's intention to conceal it." So smitten is

Bruckner with this coda-opening that in the original 1872 version he begins it twice—after thirty-two bars, that is, the music dies out and begins again. In the 1877 version, it begins only once.

II.-Andante, A-flat major, 4/4 time. In the Haas edition this movement bears the title "Adagio," while the Nowak edition shows the title "Andante''; in both editions, however, the initial tempo indication is ""Feierlich, etwds bewegf (''Solemn, some- what agitated"). The form of the movement is a simple alternation of two subjects, with more elaborate embroidery and more d\Tiamic intensity in each of three succes- sive appearances of the first subject. The second subject is of a type peculiar to Bruckner, and especially familiar from the Fourth and Fifth s\Tnphonies. Here a harmonized chorale-like theme is plucked by the strings, while the horn plays a solo melody over it, coming in only at the second bar of each four-bar phrase. The first elaboration of this subject, following immediately on its initial statement, is omitted in the 1877 version. Just before the coda there is "a sudden hush, and a passage that anticipates amazingly the Adagio of Bruckner's Ninth S\Tnphony" (Doernberg). The

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41 coda itself begins with a literal quotation from his Great Mass in P minor. It is played by the strings, the first violins raising to a higher octave the melody sung by the bass soloist to the words ''Benedictus qui venit in nomine Domini.'' This segues into the opening bars of this movement's main theme. The haunting figure heard in the closing page is played by the horn in the 1872 version, and by the clarinet in the 1877 version.

III. Scherzo, C minor, 3/4. This is headed "Schnell" ("Fast") in the earlier version, and ""Mdssig schneW ("Moderately fast") in the later one. Also the repeat signs in the main scherzo and the middle (Trio) section are omitted in the 1877 version, though of course the scherzo proper is still repeated verbatim following the Trio, after Bruckner's custom; a special coda, in this case, follows the complete return. The main section, writes Deryck Cooke, "is of the stamping peasant-dance type characteristic of Bruckner's first three symphonies (after which he conceived a completely new type for each work)." This one begins with a bold flourish, and is also noteworthy for its boisterous chromatic scales which almost anticipate Mahler. The first four notes are identical in rhythm and melody to the famous Prelude from Bach's Violin Partita in E major. The Trio section (same tempo, C major) begins with another soft violin tremolo like the first movement's, introducing a viola theme in the style of an Austrian Landler, with an Alpine yodel built into it. The special coda is apt to startle the semi-aficionado by starting off with a timpani barrage, on one note, in the same rhythm as that unforgettable one in the scherzo of Bruckner's Ninth. It just happens to be the rhythm of our main theme here, which has already been given the one-note treatment by the unison trumpets—not quite the same thing.

42 IV Finale, C minor, 2/2. Instead of a simple rondo for a finale, we have another big sonata form with rondo elements added. Here Bruckner incorporates, for the first time, the unifying cyclic principle featured in all his later symphonies. But there is no dramatic piling-up of the earlier movements' themes in the coda, nor is there any rhetorical parading and dismissal of them one by one in an introduction. Instead there are the subtlest reminders of their basic elements, infused into the basic elements of this movement. The first running string figure, for example, neatly conceals the first four notes of the first movement, albeit without their distinctive rhythm that will come in the development section. The main fortissimo theme, toward which the running strings build up for thirty-two bars, begins with a triplet snap which is simply a more peremptory form of the flourish which launched the scherzo. Later this fast triplet acquires some small portion of the motor energy in the one which propels the finale of Schubert's great C major symphony.

The key-relationship with the second subject—again a bucolic Austrian one—is a shocker. Our third group builds up to a triple-/or^e and breaks off sharply, and the suddenly hushed codetta that follows brings another poignant quotation from the F minor Mass—this time taken from the final page of the Kyrie eleison. A later repetition of this quote, shortly before the coda, is omitted in the 1877 version. The coda itself is again a double statement, but this time it is the first statement that is the longer of the two: sixty-six bars ending with a gradually slowing-down alterna- tion of the symphony's first four melodic bars with the finale's bucolic theme. This first statement is deleted in toto in the later version of the score. The coda remains in the minor until just twenty-three bars from the end, when the triplet snap leads off the C major tutti with an exhilarating sense of exact timing and finality. —Jack Diether

Jack Diether, who died earlier this year, was the author of many articles on the lives and works of Bruckner and Mahler. In 1969 he became the editor of Chord and Discord, the journal of the Bruckner Society of America. His program note on the Bruckner Second appeared in the BSO's program book in 1974 for the orchestra's only previous perform- ances of this symphony.

43 Week 23 More . . .

Liszt still suffers from the lack of a fully reliable biography, one tiiat can tread the minefield of "reminiscences" and "authorized biographies," most of them with some axe to grind. An excellent short biography by the American author and composer Everett Helm is available only in German in the paperback monograph series published by Rowohlt. Ernest Newman's The Man Liszt (Taplinger) is fundamentally unsympathetic to Liszt, though written by a knowledgeable critic who is one of the foremost biographers of Wagner. Sacheverell Sitwell's large and elegantly written

Liszt is conveniently available as a Dover paperback, but it is mostly based on second-hand sources. Eleanor PerenW's Liszt (Atlantic-Little, Brov^-n) made some- thing of a splash a few years ago; it is certainly entertaining in a gossipy way. but there are serious questions about its accuracy. Fortunately Alan Walker's multi- volume Franz Liszt holds real promise to be an accurate, balanced, and carefully researched biography. So far only the first volume, Franz Liszt: The Virtuoso Years

(1811-1847), has appeared (Knopf), and it only just reaches the period of the first versions of the concertos. Ronald Taylor offers an attractive biography of more manageable length for the non-specialist, though with little to say about the music, in Franz Liszt: The Man and the Musician (L'niverse). We are better off. in some respects, with musical discussion. Alan Walker is the editor of a useful symposium, Franz Liszt: The Man and his Music (Taplinger). with some ver\' informative articles, including one on the orchestral music by British composer Humphrey Searle and one on the works for piano and orchestra by Robert Collet. Searle is the author of the best book emphasizing Liszts work, The Music of Liszt (Dover paperback), and of the Liszt article in The New Grove, which has just been published separately (along with the articles on Chopin and Schumann) in The New Grove Early Romantic Masters 1

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(Norton, available in paperback). Krystian Zimerman is recording both piano con- certos and Totentanz with Seiji Ozawa and the Boston S^Tnphony for Deutsche Grammophon this month. Meanwhile, recommended recordings of the two Liszt concertos (coupled together) include Alfred Brendel with and the London Philharmonic (Philips, also including the Totentanz), Claudio Arrau with Sir and the London S^inphony Orchestra (Philips), Sviatoslav Richter with Kiril Kondrashin and the London S\Tnphony Orchestra (Philips), Lazar Berman with Carlo Maria Giulini and the Vienna S^Tiiphony (DG), and Tamas Vasary with Felix Prohaska and the Bamberg S^Tuphony (DG). An important historical record- ing of the Second Concerto by Emil Sauer, a pupil of Liszt's, with Felix ^\eingartner conducting the orchestra of the Paris Conservatoire Concerts is also still available (Turnabout monaural). A particularly fiery version of Totentanz, available on com- pact disc, is by Jorge Bolet, with Ivan Fischer conducting the London S\Tnphony Orchestra (London, coupled with the Hungarian Fantasy and Malediction)

Hans-Hubert Schonzeler's Bruckner is a brief, nicely illustrated life-and-works (Calder). The most penetrating musical discussion of the s^NTnphonics is to be found in Robert Simpson's The Essence of Bruckner (Chilton). Philip Barford's Bruckner Symphonies in the BBC Music Guides gives a sympathetic introduction to these works (U. of Washington paperback). Dika Newlin's Bruckner, Mahler, Schoenberg is an interesting study that links the three composers as part of the great Viennese musical tradition (Norton). Though not dealing with every movement of each s\Tn- phony, Deryck Cooke's chapter on Bruckner in the first volume of the symposium The Symphony, edited by Robert Simpson, is s\Tnpathetic and enlightening (Pelican paperback). The complex series of scores, versions, and editions of Bruckner's music, brought on largely by the well-intentioned but misguided efforts of his disciples to spread performances of his work, have caused headaches for everyone performing, studying, or writing about this music. Deryck Cooke brought some order out of this chaos in a series of articles originally published in the Musical Times and later republished in this country by The Musical Newsletter as "'The Bruckner Problem Simplified" (available from The Musical Newsletter, 654 Madison Avenue, Suite 1703, New York, N.Y. 10021). Bruckner's Second has not yet been issued on compact disc, but there are two fine recordings on LP. Bernard Haitink conducts the Concertgebouw Orchestra in the fuller Haas version in a refreshingly unmannered and straightforward way that allows the piece to make its own points (Philips). Herbert von Karajan's reading with the Berlin Philharmonic is paced with

greater variety, though it uses the briefer Nowak version with some of the cuts opened a la Haas. —S.L.

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Romande. He also gives recitals in Madrid, Paris, Warsaw, Zurich, Vienna, Frankfurt, Berlin, London, Munich, and Amsterdam.

Born in Zabrze, Poland, in 1956, Mr. Zimerman started playing piano when he was five, beginning formal studies two years later with Andrezei Jasinski, who later became his teacher at the Katowice Conser- vatory. His early public appearances and successful participation in several eastern European piano competitions were followed by his first-prize victory in the Chopin Com- petition when he was nineteen. The youngest of all 118 entrants, he also won a special Gold Medal for his performances of Chopin's mazurkas and polonaises. Follow- ing his Warsaw success, Mr. Zimerman Since winning first prize in the 1975 Chopin accepted only a limited number of engage- International Competition at Warsaw, ments in order to develop and expand his Krystian Zimerman has emerged as one of repertoire. In 1976 he performed concerts in the outstanding pianists of his generation, Belgium, Germany, Holland, Scandinavia, concertizing extensively throughout eastern and Czechoslovakia. Two years later he and western Europe and Japan, appearing in made his first tour of Japan, then appeared recital in the major music capitals, and regu- with the under larly performing with prestigious orchestras Zubin Mehta and the Los Angeles Philhar- under the world's most eminent conductors. monic under Carlo Maria Giulini and An exclusive Deutsche Grammophon artist Michael Tilson Thomas. He also gave reci- since 1980, Mr. Zimerman has made eleven tals at Carnegie Hall and the Hollywood acclaimed recordings, highlighted by solo Bowl. He has by now performed with works and concertos of Brahms and Chopin. Europe's major orchestras, with such con- He is especially regarded for his interpreta- ductors as , Leonard tions of the Romantic repertoire, and also Bernstein, Sir Colin Davis, Bernard performs the works of Mozart and such Haitink, and Herbert von Karajan. His twentieth-century composers as Webem and Deutsche Grammophon recordings include Szymanowski. During the 1986-87 season, the Brahms, Chopin, Schumann, and Grieg Mr. Zimerman has undertaken the most concertos, and solo albums of Brahms, extensive United States tours of his career, Chopin, and Mozart. This month he records with recitals in Boston, New York, and the two Liszt concertos and Totentanz with Washington, among other cities, and orches- Seiji Ozawa and the Boston Symphony tral appearances with the Boston Symphony Orchestra. Mr. Zimerman previously under Seiji Ozawa, the Cleveland Orchestra appeared with the Boston Symphony under Christoph von Dohnanyi, the New Orchestra and Seiji Ozawa in March 1985, York Philharmonic under Stanislaw when he performed the Beethoven Fourth Skrowaczewski, and the St. Louis Sym- Piano Concerto. phony under Raymond Leppard. His European engagements include perform- ances with the Amsterdam Concertgebouw under Vladimir Ashkenazy, the Berlin Phil- harmonic under Seiji Ozawa, the London Symphony under Gary Bertini, the Bavarian Symphony of Munich under Esa-Pekka Salonen, and I'Orchestre de la Suisse

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48 1986-87 SEASON SUMMARY WORKS PERFORMED DURING THE BOSTON SYMPHONY ORCHESTRA'S 1986-87 SUBSCRIPTION SEASON Week BEETHOVEN Piano Concerto No. 3 in C minor, Opus 37 2 MITSUKO UCHIDA, piano Symphony No. 1 in C, Opus 21 15 Symphony No. 6 in F, Opus 68, Pastoral 12 S\Tnphony No. 7 in A, Opus 92 11 Symphony No. 8 in F, Opus 93 6 BERG Five Orchestral Songs to Picture-postcard Texts 13 of Peter Altenberg, Opus 4 ROBERTA ALEXANDER, soprano

Wozzeck, Opera in three acts (fifteen scenes), Opus 7, 22 after Georg Biichner BENJAMIN LUXON, C^Yozzeckj; HILDEGARD BEHRENS, soprano (Marie); JACQUE TRUSSEL, tenor (Drum Major); JON GARRISON, tenor (Andres); RAGNAR ULFUNG, tenor (Captain); SIEGFRIED \T)GEL, bass (Doctor); MARGARET YAUGER, mezzo- soprano (Margret); RICHARD KENNEDY, tenor (An Idiot); BRIAN MATTHEWS, bass (1st Apprentice); JAMES MADDALENA, baritone (2nd Apprentice); TIMOTHY LARSON, boy soprano (Marie's Child) ROCKLAND OSGOOD, tenor (A Soldier); TANGLEWOOD FESTIVAL CHORUS, JOHN OLIVER, conductor; YOUTH PRO MUSICA, ROBERTA HUMEZ, director BERLIOZ Overture to Benvenuto Cellini 14 BRAHMS-SCHOENBERG Piano Quartet in G minor. Opus 25 14 BOCCHERINI Concerto No. 2 in D for cello and string orchestra, G.479 17 MSTISLAVROSTROPOVICH, cello BRITTEN War Requiem, Opus 66, for soprano, tenor, and baritone 4 solos, mixed chorus, boys' choir, full orchestra, and chamber orchestra (AVords from the Missa pro defunctis and the poems of Wilfred Owen) ALISON HARGAN, soprano; DAVID RENDALL, tenor; HAKAN HAGEGARD, baritone; TANGLEWOOD FESTRAL CHORUS, JOHN OLIVER, conductor; BOSTON BOY CHOIR, THEODORE MARIER, director BRUCKNER Symphony No. 2 in C minor 23 COLGRASS Chaconne, for viola and orchestra (United States premiere) 21 RIVKA GOLANI, viola DEBUSSY La Mer, Three symphonic sketches 5, Tues 'B'/'C DVORAK Cello Concerto in B minor, Opus 104 17 MSTISLAVROSTROPOVICH, cello

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On-Site Sales Office (413)298-5186 (201)894-0132 r 50 Excerpts from the Slavonic Dances, 0pp. 46 and 72 21 Symphony No. 9 in E minor, Opus 95, From the New World 12 FAURE Dolly, Six pieces for piano. Opus 56, arranged 6 for orchestra by Henri Rabaud Masques ei Bergamasques, Suite for orchestra. Opus 112 6 Pavane, Opus 50 6 Pelleas et Melisande, Suite from the incidental music to Maeterlinck's tragedy. Opus 80 6 LORRAINE HUNT, soprano HANDEL Music for the Royal Fireworks 21 HAYDN S^Tnphony No. 70 in D 19 S\Tnphony No. 88 in G 16 Symphony No. 92 in G, Oxford 20 Symphony No. 100 in G, Military 7 HINDEMITH Nobilissinia Visione, Concert suite from the ballet St. Francis 9 HUMMEL Introduction, Theme, and Variations in F for 6 oboe and orchestra. Opus 102 RALPH GOMBERG, oboe LIEBERSON DraZa (world premiere; commissioned by the 2 Boston Symphony Orchestra) LISZT Piano Concerto No. 1 in E-flat 23 KRYSTIAN ZIMERMAN, piano Piano Concerto No. 2 in A 23 KRYSTIAN ZIMERMAN, piano Totentanz, for piano and orchestra 23 KRYSTIAN ZIMERMAN, piano LUTOSEAWSKI Concerto for Cello and Orchestra 17 MSTISLAV ROSTROPOA^ICH, cello MAHLER Symphony No. 2 in C minor Opening Night, 1,10 EDITH WIENS, soprano; ^lAUREEN FORRESTER, contralto; TANGLEWOOD FESTIVAL CHORUS, JOHN OLIVER, conductor Symphony No. 5 7 MENDELSSOHN Sinfonia No. I in C for strings 15 Symphony No. 4 in A, Opus 90, Italian 9 MOZART Aria, "Ruhe sanft, mein holdes Leben," from , K.344 13 ROBERTA ALEXANDER, soprano Overture to , K.527 11 Piano Concerto No. 9 in E-flat, K.271 11 EMANUEL AX, piano Piano Concerto No. 25 in C, K.503 15 RADU LUPU, piano

51 X H E FAR M At Chestnut Hill

Elegant urban living in a country setting. Custom condominium homes from five hundred and forty thousand dollars. Phase two available for Autumn harvest, To sow^ the seed, call 527- F-A-R-M.

^^T^he main reason ive loued the nine foot ceilings, ivas our eight and a halffoot Jackson Pollack."

52 S^Tnphony Xo. 31 in D, K.297(300a), Paris 13 S^-mphony Xo. 34 in C, K.338 8 PROKOFIEV Excerpts from the ballet Romeo and Juliet 3 S^Ttiphony-Concerto for cello and orchestra. Opus 125 17 MSflSLAV ROSTROPOVICH, cello RACHMAXIXOFF Sjinphony Xo. 2 in E minor. Opus 27 "19 RAVEL Piano Concerto in D for the left hand 3 LEOX FLEISHER. piano La Valse. Choreographic poem 2 Valses nobles et sentimeutales 2 REGKR Variations and Fugiie on a Merry Theme by Johann 8 Adam Hiller, Opus 100 SCHAFER Ko Wo Kiku {Listen to the License) 9 (United States premiere) SCHOEXBERG Chamber S\Tnphony X'^o. 2, Opus 38 5, Tues "B'/'C Five Orchestral Pieces. Opus 16 " 18 SCHUBERT Sj-mphony Xo. 3 in D, D.200 20 SCHUMAXX Cello Concerto in A minor, Opus 129 5, Tues 'B'/'C JULES ESKIX, cello O^'erture from the incidental music to B\Ton's Manfred, 5, Tues 'B'/'C Opus 38 SHOSTAKOVICH S>Tnphony X'o. 13. Opus 113, for bass solo, male chorus, and 16 s\^nphony orchestra, with words by Yevgeny Yevtushenko " SERGEI LEIFERKUS, baritone: MEX OF THE TAXGLEWOOD FESTRAL CHORUS. JOHX OLIVER, conductor SIBELIUS S;y'inphony Xo. 6, Opus 104 14 Violin Concerto in D minor, Opus 47 18 KYXXG WHA CHUXG. violin STRAUSS Don Quixote, Fantastic variations on a theme of knightly 17 character, Opus 35 MSTISLAV ROSTROPOVICH. cello Ein Heldenlehen {A Heroic Life), Tone poem, Opus 40 13 STRAVIXSKY Petrushka, Burlesque in four scenes (1947 version) 18 Suite from the ballet Pulcinella 20 THOMSOX Five Songs from AVilliam Blake 8 JOHX CHEEK, bass-baritone VIVALDI Concerto in G for cello, string orchestra, and continuo. RV 413 17 MSTISLAV ROSTROPOVICH, cello

53 WITHOUTYOUR HELP YOU COULD BE HEARING LESS FROM THE BSO

To keep the Boston Symphony a \'ibrant musical force, it needs vigorous support. Ticket sales, recordings and broadcast revenues generate only half the income we need. So, if you want to hear more from us, then we need to hear from you. r

Yes, I want to keep great music alive and become a Friend for the 1986-87 season. (Friends' benefits begin at $40.) Enclosed is my check for S to the Boston Symphony Annual Fund. _ •- '^-^Pl^^-

Name Tel

Address ^^i^ City State Zip . i;iJ=UTldl^ Please make check pavable to "Boston Symphony Annual Fund" and send to: ''•^'^^^^^^^^^C^ ''*- Sue Tomlin, Director of Annual Giving, Boston Svmphonv Orchestra, .; >^ ' j Svmphonv Hall, Boston, MA 02115. (617) 266-1492'. KEEP GREAT MUSIC ALI\E.

54 ^

Pension Fund Concert 9 December 1986 SEIJI OZAWA, conductor DANIEL BARENBOIM, piano BRAHMS Piano Concerto Xo. 1 in D minor. Opus 15 Piano Concerto No. 2 in B-flat, Opus 83

Special Non-Subscription Concert 8 April 1987 JOHN OLIVER, conductor TANGLEWOOD FESTIVAL CHORUS MEMBERS OF THE BOSTON SYMPHONY ORCHESTRA MARTINO The White Island, for mixed chorus and chamber orchestra (world premiere; commissioned by the Boston Symphony Orchestra for its centennial) BRUCKNER Mass No. 3 in F minor for soloists, chorus, and orchestra ROBERTA ALEXANDER, soprano; KATHERINE CIESINSKI. mezzo- soprano; JOHN ALER, tenor; JOHN CHEEK, bass-baritone; TANGLEWOOD FESTIVAL CHORUS, JOHN OLIVER, conductor

:-^-'

t-'y-.t^A' r-H,.

\^:t^ ^ :;,i:v>t:.fe,r=- ^^ '^.il':->^': 7^ suoik::. Audi ANNIS PORSCHE + AUDI, INC. LI New England's #1 Volume Dealer — Route 9, Natick i5k' ^.- TOGETHERI Bf - (617)237-5759

55 .

CONDUCTORS OF THE BOSTON SYMPHONY ORCHESTRA DURING THE 1986-87 SUBSCRIPTION SEASON Week

SEIJI OZAWA, Music Director Opening Night, 11,2 3,4, 6,7,9,10,17, 22, 23

DENNIS RUSSELL DAVIES 8 20,21 KlIRTMASUR 15,16 18,19 KLAUS TENNSTEDT 11,12 MICHAEL TILSON THOMAS 13,14 PASCAL VERROT, BSO Assistant Conductor 5

'S When only the Turn a dinner most elegant

in the city will do . . into a ^ star'-studded

of CONCORD occasion* 1296 Main Street west Concord MA 01742 (617)369-4030

furniture of distinction since I 920 Join us for dinner by starlight before or after the symphony. Come to The Bay Tower Room tonight. And make :^%TIgy^_^UL h;; i4J^ it an occasion.

Monday through Saturday from 4:30 PM. Reduced-rate parking in the building. Reservations suggested. 723'1666. US* 33rd floor atop 60 State Street, WITH [J at Faneuil Hall, Boston. Our performance will please you.

FORUM ASSOCIATES INC THV. REAL ESTATE OF DISTINCTION IN ^A^TDWER BROOKLINE AND NEWTON (617)232/0323

56 SOLOISTS WITH THE BOSTON SYMPHONY ORCHESTRA DURING THE 1986-87 SUBSCRIPTION SEASON Week ALEXANDER, ROBERTA, soprano 13 AX, EMANUEL, piano 11 BEHRENS, HILDEGARD, soprano 22 CHEEK, JOHN, bass-baritone 8 CHUNG, KYUNG WHA, violin 18 ESKIN, JULES, cello 5 FINE, BURTON, viola 17 FLEISHER, LEON, piano 3 FORRESTER, MAUREEN, contralto Opening Night/1/10 GARRISON, JON, tenor 22 GOLANI, RIVKA, viola 21 GOMBERG, RALPH, oboe 6 HAGEGARD, HAKAN, baritone 4 HARGAN, ALISON, soprano 4 HUNT, LORRAINE, soprano 6 KENNEDY, RICHARD, tenor 22 LARSON, TIMOTHY, boy soprano 22 LEIFERKUS, SERGEI, baritone 16 LUPU, RADU, piano 15 LUXON, BENJAMIN, baritone 22 MADDALENA, JAMES, baritone 22 MATTHEWS, BRIAN, bass 22

OSGOOD, ROCKLAND, tenor ^ 22 RENDALL, DAVID, tenor 4 ROSTROPOVICH, MSTISLAY cello 17 TRUSSEL, JACQUE, tenor 22 UCHIDA, MITSUKO, piano 2 ULFUNG, RAGNAR, tenor 22 VOGEL, SIEGFRIED, bass 22 WIENS, EDITH, soprano Opening Night/1/10 YAUGER, MARGARET, mezzo-soprano 22 ZIMERMAN, KRYSTIAN, piano 23

BOSTON BOY CHOIR, 4 THEODORE MARIER, director

TANGLEWOOD FESTIVAL CHORUS, Opening Night/1/10, 4, JOHN OLIVER, conductor 16,22 YOUTH PRO MUSICA, 22 ROBERTA HUMEZ, director

57 WORKS PERFORMED AT SYMPHONY HALL SUPPER CONCERTS DURING THE 1986-87 SUBSCRIPTION SEASON Week of BEETHOVEN Duo in E-flat for viola and cello, WoO 32 9 October Septet in E-flat for clarinet, horn, bassoon, violin, 9 October viola, cello, and double bass, Opus 20

Trio in G for violin, viola, and cello. Opus 9, No. 1 13 January DEBUSSY Sonata for flute, viola, and harp 30 October DVORAK Trio in F minor for piano, violin, and cello. Opus 65 15 January FAURE Quartet No. 1 in C minor for piano and strings, Opus 15 4 November HAYDN Trio in F for piano, flute, and cello, Hob. XV:17 26 March MENDELSSOHN String Quintet No. 1 in A, Opus 18 14 February MOZART Divertimento in E-flat for violin, viola, and cello, K.563 8 January Quartet in C for flute, violin, viola, and cello, K,285b 13 January Quartet in F for oboe and strings, K.370(368b) 14 February SCHUBERT Notturno in E-flat for piano, violin, and cello, D.897 15 January Trio No. 2 in E-flat for piano, violin, and cello, D. 929 26 March SCHUMANN Trio No. 1 in D minor for piano, violin, 30 October and cello, Opus 63 Quartet in E-flat for piano and strings. Opus 47 4 November

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58 35

SMETANA String Quartet No. 1 in E minor, From My Life 14 March STRAVINSKY Three Pieces for String Quartet 14 March WEBERN Movement for string trio (Ruhig fliessend) 8 January

SUPPER CONCERT PERFORMERS DURING THE 1986-87 SUBSCRIPTION SEASON Week of AMLIN, MARTIN, piano 26 March BARNES, ROBERT, viola 8 Jan, 17 Feb BENTHIN, BETTY, piano 30 October BUYSE, LEONE, flute 30 Oct, 13 Jan DIAZ, ROBERTO, viola 4 November ELIAS, GERALD, violin 26 March FELDMAN, RONALD, cello 8 January HADCOCK, PETER, clarinet 9 October HWANG, BO YOUP, violin 14 Feb, 14 Mar KADINOFF, BERNARD, viola 9 Oct, 14 Feb KNUDSEN, SATO, cello 13 Jan, 14 Mar LEFKOWITZ, RONAN, violin 14 March LEGUIA, LUIS, cello 30 October LEVY, AMNON, violin 9 October LIN, LUCIA, violin 4 November LUDWIG, MARK, viola 14 March McCARTY, PATRICIA, viola 1 January MILLER, JONATHAN, cello 4 Nov, 15 Jan MOERSCHEL, JOEL, cello 9 0ct, 14Feb, 26Mar OSTROVSKY, FREDY, violin 30 October PASTERNACK, BENJAMIN, piano 4 Nov, 15 Jan PILOT, ANN HOBSON, harp 30 October RAPIER, WAYNE, oboe 14 February ROSEN, JEROME, violin 1 January RUGGIERO, MATTHEW, bassoon 9 October SEBRING, RICHARD, horn 9 October SHAMES, JENNIE, violin 8 Jan, 13 Jan SMITH, FENWICK, flute 26 March URITSKY, VYACHESLAy violin 14 February WOLFE, LAWRENCE, double bass 9 October ZARETSKY, MICHAEL, viola 30 October

59 the 6th Annual PRESIDENTS

The BSO Salutes Business June 3, 1987

As the leader of your company, you can give your management team, your customers or clients, your vendors or possibly your other business friends a very special summer treat - and at the same time show your support of the Boston Symphony Orchestra.

Presidents at Pops 1987 is available to 108 businesses and professional organizations on a first-come, first-served basis. For $5,000 your company will receive 20 tickets to this event which includes pre-concert cocktails and hors d'oeuvres, a gourmet picnic supper and a special Boston Pops concert, conducted by Erich Kunzel, designed to delight the corporate guests on this evening. The President or CEO of each

sponsor company is also invited to attend a very special black-tie dinner/dance in May on the floor of Symphony Hall - a unique and elegant experience.

If you would like more information about Presidents at Pops June 3, 1987 Call Ira Stepanian, President, Bank of Boston (434-2200) Ray Stata, President, Analog Devices (329-4700) Harvey Chet Krentzman, President, Advanced Management Associates (332-3141)

Patrick J. Purcell, President, The Boston Herald (426-3000) Madelyne Cuddeback, BSO Corporate Development (266-1492, xl38)

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

1986-87 Business Honor RoU (S 10,000 + )

ADD Inc Architects General Electric Company L\T:in Philip M. Briggs Frank E. Pickering AT&T General Electric Plastics Business Group Robert C. Babbitt Glen H. Hiner Advanced Management Associates, Inc. The Gillette Company Har\-ey diet Krentzman Colman ^I. ^loekler, Jr American Express Company HBil Creamer Inc. James D. Robinson III Edward Eskandarian AnaTog De\-ices. Inc. IB]\I Corporation Ray Stata Paul J. Palmer Bank of Boston John Hancook Mutual Life Insurance William L. Bro'v^ii Company E. James Morton Bank of New England Peter H. McCormick Stanley H. Kaplan Educational Center Susan B. Kaplan BayBanks, Inc. Liberty Mutual Insurance Companies William M. Crozier. Jr. Meh'in B. Bradshaw Boston Edison Company ]\IcKinsey & Company, Inc. Stephen J. Sweeney Robert P. O'Block Boston Financial & Equity Corporation Moet-HemiessyF.S. Corporation Sonny Monosson Ambassador Evan G. Galbraith Affihated Publications Morse Shoe, Inc. William 0. Taylor Manuel Rosenberg Boston Park Plaza Hotel & Towers Neiman-Marcus Roger A. Saunders WiUiam D. Roddy Boston Safe Deposit & Trust Company New England Telephone Company James X. von Germeten Gerhard M. Freche Bozell, Jacobs, Kenyon & Eckhardt, Inc. The New England Thomas Mahoney Edward E. Phillips Cahners Publishing Company PaineWebber, Inc. In memorv of Norman L. Cahners James F. Clearj^ Carter Hawley Hale Stores, Inc. Raj1;heon Company Philip M. Hawley Thomas L. Phillips Coopers & Lybrand The Red Lion Inn Vincent M.b'Reilly John H. Fitzpatrick Countrv Curtains Shawmut Bank of Boston Jane P. Fitzpatrick William F Craig Creative Gourmets, Ltd. Signal Technolog}^ Corporation Stephen E. Elmont William E.Cook Daniels Printing Company State Street Bank & Trust Company Lee S. Daniels William S. Edgerly Digital Equipment Corporation Terad\Tie, Inc. Kenneth H. Olsen Alexander V. d'Arbeloff D\Tiateeh Corporation WCRB Charles River Broadcasting, Inc. J.P Barger Richard L. Kaye E.F. Hutton & Compam-, Inc. Wang Laboratories, Inc. S. Paul Crabtree An Wang Fidelity Investments WCVB-T\' 5 Samuel W. Bodman S. James Coppersmith Za^Te Corporation GTE Electrical Products Maurice Segall Dean T. Langford General Cinema Corporation Richard A. Smith

61 f-Ci^^p.JLT

Elegant suppers 5:30-12:00, Mon.-Thurs.; 5:30-8:00, Fri.andSat.

Boston's classic 4-star restaurant at the Dave McKenna, resident pianist . At the Copley Plaza Hotel. Valet parking. 267-5300. Copley Plaza Hotel. Valet parking. 26"-5300.

LA DIFFEREMCE THE ECLECTIC BOUTIQUE

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Specializing in imports from Italy, Turkey, Israel, Greece, Mexico, Germany, Scotland, Bali, England, Costa Rica, and Swaziland.

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62 lax-rree income rrom Nuveen. That's music to our ears."

• • •# W A ( X,

./

For more complete information on Nuveen Tax-Exempt Unit Trusts, including chdfges and expenses, call your broker or adviser for a prospectus. Read it carefully before you invest or send money Or call 800-221-4276. (In New York State, call 212-208-2350.)

John Nuveen & Co Incorporated MUVEEHI T^x-Exempt Unit TVusts Investment Bankers Carleton-Willard Village Is an exceptional continuing care retirement community. Gracious independent living accommodations and fully licensed, long-term health care facilities exist in a traditional New England environment. CARLEION'WILLARD VILLAGE 100 Old Billerica Rd. f i Bedford, MA 01730 (617) 275-8700

Owned and operated by Carleton-Willard Homes, Inc., a non-profit corporation The Boston Symphony Orchestra gratefully acknowledges the following corporations and professional organizations for their generous and valuable support totaling $1,000 + during the past fiscal year. Names which are both capitalized and underscored in the Business

Leaders listing comprise the Business Honor Roll denoting support of $10,000 + . Capitalization denotes support totaling $5,000-$9,999, and an asterisk indicates support totaling $2,500-$4,999.

Business Leaders ($1,000+) iccountants Aerospace SHAWMUT BANK OF BOSTON William F. Craig .\KTHUR ANDERSEN & COMPANY *Northrop Corporation William F. Meagher Thomas V Jones STATE STREET BANK & TRUST ARTHUR YOUNG & COMPANY PNEUMO CORPORATION COMPANY William S. Edgerly Thomas P. McDermott Norman J. Ryker 300PERS & LYBRAND UST CORPORATION James V Sidell Vincent M. O'Reilly Architecture/Design I!harles E. DiPesa & Company ADD INC ARCHITECTS Building/Contracting William F. DiPesa Philip M. Briggs *A.J. Lane & Company, Inc.. ERNST & WHINNEY LEA GROUP James G. Maguire Andrew J. Lane Eugene R. Eisenberg KMG Main Hurdman Chain Construction Corporation Howard Mintz William A. Larrenaga Banking Lee Kennedy Co., Inc. PEAT, MARWICK, MITCHELL & COMPANY BANK OF BOSTON Lee M. Kennedy William Robert D. Happ L. Brown National Lumber Company BANK OF Louis L. Kaitz Theodore S. Samet & Company NEW ENGLAND Peter H. McCormick Theodore S. Samet *Perini Corporation rOUCHE ROSS & COMPANY BAYBANKS, INC. David B. Perini James T. McBride William M. Crozier, Jr. * JF. White Contracting BOSTON SAFE DEPOSIT Thomas J White Advertising/Public Relations & TRUST COMPANY Arnold & Company, Inc. James N. von Germeten Displays/Flowers Gerald Broderiek Cambridge Trust Company *Giltspur Exhibits/Boston BMC STRATEGIES, INC. Lewis H. Clark Thomas E. Knott, Jr. Bruce M. McCarthy Chase Manhattan Corporation *Harbor Greenery 30ZELL, JACOBS, KENYON & Robert M. Jorgensen Diane Valle JICKHARDT, INC. CITICORP/CITIBANK Thomas Mahoney Education Walter E. Mercer Harold Cabot & Company, Inc. *Eastern Corporate Federal Credit BENTLEY COLLEGE William H. Monaghan Union Gregory H. Adamian JBM/CREAMER, INC. Jane M. Sansone STANLEY H. KAPLAN Edward Eskandarian First Mutual of Boston EDUCATIONAL CENTER >larke & Company, Inc. Keith G. Willoughby Susan B. Kaplan Terence M. Clarke *Framingham Trust Company "HE COMMUNIQUE GROUP, INC. William A. Anastos Electrical/HVAC James H. Kurland NeWorld Bank *p.h. mechanical corporation IILL AND KNOWLTON, INC. James M. Oates Paul A. Hayes Peter A. Farwell *Patriot Bancorporation R&D ELECTRICAL COMPANY, INC. Thomas R. Heaslip Richard D. Pedone iill, Holliday, Connors, ^osmopulos. Inc. *Provident Financial Services, Inc. Jack Connors, Jr. Robert W. Brady Electronics foung & Rubicam *Rockland Trust Company Alden Electronics, Inc. Mark Stroock John F. Spence, Jr. John M. Alden

63 1987-88 BSO Schedule

Add your name to our mailing list.

Receive a 1987-88 BSO concert schedule and order form, and enter a drawing to win a free

Friday Evening

Subscription Series for two!

Coupon will be entered in a drawing for a free pair of tickets

to the 1987-88 Friday Evening Subscription Series. Drawing

will be held on September 1, 1987. Only one entry per family

permitted. Employees ofthe Boston Symphony Orchestra, Inc.

are not eligible. Winner wiU be notified by mail in early

September. Please return coupon to:

1987-88 BSO Schedule c/o Development Office Symphony HaU Boston, MA 02115

YES, please send me your 1987-88 BSO schedule and enter my name in the drawing to win a Friday Evening Subscription Series.

Name

Address

City State Zip

Are you currendy a BSO subscriber?

Which series do you attend? ^Analytical Systems Engineering Food Service/Industry HITCHCOCK CHAIR COMPANY Thomas H. Glennon Corporation *Boston Showcase Company Michael B. Rukin Jason Starr The Jofran Group EPSCO Inc. CREATIVE GOURMETS, LTD. Robert D. Roy Wayne P. Coffin Stephen E. Elmont Corporation The Mitre daka Food Service Management, Inc. Graphic Design Robert R. Everett Terry Vince Clark/Linsky Design, Inc. PARLEX CORPORATION Dunkin' Donuts, Inc. Robert H. Linsky Herbert W. Pollack Robert M. Rosenberg Fader, Jones & Zarkades Design SIGNAL TECHNOLOGY *Federal Distillers, Inc. Associates CORPORATION Alfr^^d J. Balema Roger Jones William E.Cook Garelick Farms, Inc. *Gill Fishman and Associates Energy Peter M. Bemon Gill Fishman CABOT CORPORATION JOHNSON O'HARE COMPANY, INCfWeymouth Design, Inc. FOUNDATION, INC. Harry O'Hare Michael E. Weymouth Ruth C. Seheer MOET-HENNESSY YANKEE COMPANIES, INC. U.S. CORPORATION High Technology Ambassador Evan G. Galbraith Paul J. Montle Allied Corporation NATIONAL DISTILLERS AND Edward L. Hennessy, Jr. Engineering CORPORATION CHEMICAL ANALOG DEVICES, INC. Goldberg-Zoino & Associates, Inc. John Hoyt Stookey Ray Stata Donald T. Goldberg O'Donnell-Usen Fisheries Corporation a pqllq COMPUTER INC Stone & Webster Engineering Arnold S. Wolf Thomas A. Vanderslice Corporation *Roberts and Associates William F. Allen, Jr. *Aritech Corporation Richard J. Kunzig James A. Synk Entertainment/Media Ruby Wines AT&T Theodore Rubin GENERAL CINEMA Robert C. Babbitt CORPORATION Wines, Inc. *Silenus AUGAT, INC. Richard A. Smith James B. Hangstefer Roger D. Wellington ^lational Amusements, Inc. The Taylor Wine Company, Inc. Automatic Data Processing Sumner M. Redstone Michael J. Doyle Josh S. Weston ^^illiams/Gerard Productions, Inc. Shaws Supermarkets, Inc. BBF Corporation \ William J. Walsh Stanton W. Davis Boruch B. Frusztajer Finance/Venture Capital United Liquors, Ltd. BOLT BERANEK AND Michael Tye ^.MERICAN EXPRESS COMPANY NEWMAN INC. James D. Robinson III Stephen R. Levy Footwear i/arson Limited BOSTON FINANCIAL & EQUITY Herbert Carver * Jones & Vining, Inc. CORPORATION Sven A. Vaule, Jr. ARRELL, HEALER & COMPANY Sonny Monosson Richard Farrell MERCURY INTERNATIONAL *Compugraphic Corporation TRADING CORPORATION Carl E. Dantas ' 'HE FIRST BOSTON Irving A. Wiseman ' 'ORPORATION Computer Corporation of America Mark S. Ferber MORSE SHOE, INC. John Donnelly, Jr. Manuel Rosenberg LAMBRECHT & QUIST VENTURE COMPUTER PARTNERS ARTNERS The Rockport Corporation Paul J. Crowley Bruce Katz Robert M. Morrill Costar Corporation STRIDE RITE CORPORATION I aufman & Company Otto Momingstar Sumner Kaufman Arnold S. Hiatt DIGITAL EQUIPMENT [A ASSOCIATES CORPORATION

; Peter A. Brooke Furnishings/Housewares Kenneth H. Olsen

racy Financial, Inc. COUNTRY CURTAINS DYNATECH CORPORATION

Robert E. Tracy Jane P. Fitzpatrick J. P. Barger

i

65 NATHANIEL PULSIFER & ASSOCIATES

Family Ttustee and inuestment Aduisor

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for a life of leisure. The Catalina' bag and open toe pump in calf.

Copley Place 437-1910 welcome the American Express Card.

The difference between dressed, and well dressed. Higgins EG&G, Inc. *TASC *Johnson & Dean W. Freed Arthur Gelb Robert A. Cameron Encore Computer Corporation *Tech/Ops, Inc. Kendall Insurance, Inc. Kenneth G. Fisher Mar\'in G. Schorr Kennett ''Skip'" Kendall, Jr. General Eastern Instruments TERADYNE, INC. LIBERTl^ MUTUAL INSURANCE Corporation Alexander V d'Arbeloff COMPANIES Pieter R. Wiederhold *Thermo Electron Corporation Melvin B. Bradshaw GenRad Foundation George N. Hatsopoulos THE NEW ENGLAND Linda B. Smoker ^\ANG LABORATORIES, INC. Edward E. Phillips HELIX TECHNOLOGY An Wang Sullivan Risk Management Group CORPORATION *XRE Corporation John Herbert Sullivan Frank Gabron John K. Grady *Charles H. Watkins & Company, Inc. THE HENLEY GROUP Richard P. Nyquist Hotels/Restaurants Paul M. Montrone BOSTON PARK PLAZA Investments Company HOTEL Hewlett-Packard & TOWERS Alexander R. Rankin Amoskeag Company Roger A. Saunders Joseph B. Ely II HONEY\VELL *The Hampshire House Warren G. Sprague BEAR STEARNS & COMPANY Thomas A. Kershaw Keith H. Kretschmer Hycor, Inc. HOWARD JOHNSON COMPANY E.F. COMPANY, INC. Joseph Hyman HUTTON & G. Michael Hostage S. Paul Crabtree IBM CORPORATION Meridien Hotel Endowment Management & Research Paul J. Palmer Bernard Lambert Corporation nstron Corporation Mildred's Chowder House Stephen D. Cutler Harold Hindman James E. Mulcahy FIDELITY INVESTMENTS ' onics, Inc. THE RED LION INN Samuel W. Bodman Arthur L. Goldstein John H. Fitzpatrick *Fidelity Service Company ^ 1/A-COM, Inc. *Sonesta International Hotels Robert W. Blucke Vessarios G. Chigas Corporation Goldman, Sachs & Company lasscomp Paul Sonnabend Stephen B. Kay August P. Klein THE WESTIN HOTEL INVESTMENT High Technology KENSINGTON lassachusetts Bodo Lemke COMPANY ' ouncil, Inc. Alan E. Lewis Howard P. Foley Insurance KIDDER, PEABODY & : ATEC CORPORATION *A.I.M. Insurance Agency, Inc. COMPANY, INC. Ted Valpey, Jr. James A. Radley John G. Higgins : ILLIPORE CORPORATION *Allied Adjustment Ser\dce *Loomis Sayles & Company fohn A. Gilrnartin Charles A. Hubbard Robert L. Kemp 1 le Norton Company Arkwright Boston Insurance MORGAN STANLEY & COMPANT )onald R. Melville Frederick J. Bumpus Jack Wadsworth I -ion Research Incorporated CAMERON & COLBY CO., INC. Moseley, Hallgarten, Estabrook & .lexander Jenkins III Graves D. Hewitt Weeden, Inc. ^ laroid Corporation *Consolidated Group, Inc. Fred S. Moseley M. Booth Woolsey S. Conover PAINEWEBBER, INC. ' ilME COMPUTER, INC. FRANK B. HALL & COMPANY OF James F. Clear>' • )e M. Henson MASSACHUSETTS Colby Hewitt, Jr. *The Putnam Management • IINTED CIRCUIT Company, Inc. ' 'RPORATION Robert D. Gordon Adjusters, Inc. Lawrence J. Lasser 1 ?ter Sarmanian Robert D. Gordon SALOMON INC. YTHEON COMPANY JOHN HANCOCK MUTUAL LIFE Joseph P. Lombard 1 lomas L. Phillips INSURANCE COMPANY E. James Morton SMITH BARNEY, HARRIS UPHAM ( Tech, Inc. & COMPANY I istus Lowe, Jr. Fred S. James & Company of New Robert H. Hotz England, Inc. 1 ELLAR COMPUTER * State Street Development Company P. Joseph McCarthy ' William Poduska John R.Gallagher III

67 I A Private Psychiatric JCAH Accredited Facility For The Treatment Of Personality Problems, Psychoses, Alcohol and Drug Addiction

Set among 86 acres of peaceful meadows and wooded hills, Baldpate presents a relaxing, vacation-like atmosphere to the problem-beset patient. Its main quarters are located in an attractive building, originally a famous New England Inn. Its hospitable charm still permeates the cheery rooms and provides friendly warmth in a homelike environment.

Twenty-four hour admission service Baldpate Road Georgetown, MA 01833 (617) 352-2131

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• An available bed doesn't mean an appropriate and scife environment. • S.C.S. finds and recommends suitable nursing home accommodations after researching and assessing facilities. • A monthly report as to the resident's progress and well-being is also available.

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Irma S. Mann, Strategic Marketing GENERAL ELECTRIC COMPANY/ , egal Irma S. Mann LYNN Dana & Gould ] ingham, Frank E. Pickering Everett H. Parker McKINSEY& COMPANY, INC. Robert O'Block Law Offices P GENERAL LATEX & CHEMICAL ] ickerman CORPORATION Lola Diekerman William M. Mercer-Meidinger, Inc. Robert ¥7. Chester D. Clark MacPherson ] ish & Richardson THE GILLETTE COMPANY fohn N. Williams Mitchell & Company Colman M. Mockler, Jr. Carol B. Coles I adsby & Hannah GTE ELECTRICAL PRODUCTS feffrey P. Somers *Rath & Strong, Inc. Dean T. Langford Arnold 0. Putnam ( OLDSTEIN & MANELLO ilichard J. Snyder The Wyatt Company *Harvard Folding Box Company, Inc. Michael H. Davis Melvin A. Ross I ale & Dorr Hollingsworth & Vose Company ' !*aul Brountas Gordon W Moran ! intz, Levin, Cohn, Ferris, Glovsky Manufacturer's Representatives The Horn Corporation i id Popeo, PC. ^rancis X. Meaney Barton Brass Associates Robert H. Lang, Jr. Barton Brass Kendall [ issenbaum Law Offices The Company jerald L. Nissenbaum Paul K. O'Rourke, Inc. J. Dale Sherratt Paul K. O'Rourke I VLMER & DODGE The Kenett Corporation lobert E. Sullivan Julius Kendall

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73 Inside Stories

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

a series of special intermission features with members of the Boston

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

Inside the BSO

Fridays at 2pm

Saturdays at 8pm

WGBH897FM

74 Symphony Hall Information . . .

FOR SY^yiPHOXY HALL CONCERT AND make your ticket available for resale by call- TICKET INFOR^LYTION, caU (617) ing the switchboard. This helps bring 266-1492. For Boston S\TQphony concert needed revenue to the orchestra and makes program information, caU "C-0-N-C-E-R-T." your seat available to someone who wants to attend the concert. mailed receipt will THE BOSTON SY:\I PHONY performs ten A acknowledge your tax-deductible months a year, in SjTQphony Hall and at contribution. Tanglewood. For information about any of the orchestra's acti\'ities, please call S^Tn- RUSH SEATS: There are a limited number phony Hall, or write the Boston S\Tnphony of Rush Tickets available for the Friday- Orchestra, Symphony Hall, Boston, MA afternoon and Saturday-evening Boston 02115. Symphony concerts (subscription concerts only). The continued low price of the Satur- THE EUNICE S. AND JULIAN COHEN day tickets is assured through the gener- ANNEX, adjacent to S\T2iphony Hall on osity of two anomTiious donors. The Huntington Avenue, may be entered by the Rush Tickets are sold at $5.50 each, one to Symphony Hall AYest Entrance on Hunt- a customer, at the S^Tuphony Hall West ington Avenue. Entrance on Fridays beginning 9 a.m. and FOR sy:\iphony hall rental Saturdays beginning 5 p.m. INF0R:MATI0N, eall (617) 266-1492, or LATECOMERS will be seated by the write the Function Manager, Symphony ushers during the first convenient pause in Hall, Boston, MA 02115. the program. Those who wish to leave THE BOX OFFICE is open from 10 a.m. before the end of the concert are asked to until 6 p.m. Monday through Saturday; on do so between program pieces in order not concert evenings, it remains open through to disturb other patrons. intermission for BSO events or just past SMOKING IS NOT PERMITTED in any starting-time for other events. In addition. part of the S^Ttiphony Hall auditorium or in the box office opens Sunday at 1 p.m. when the surrounding corridors. It is permitted there is a concert that afternoon or evening. only in the Cabot-Cahners and Hatch Single tickets for all Boston Symphony rooms, and in the main lobby on Massachu- subscription concerts become available at setts Avenue. the box office once a series has begun. For outside events at S^Taphony Hall, tickets will be available three weeks before the con- cert. No phone orders will be accepted for these events. of THE SY:MPH0N^ shop is located in the A Vast Selection Huntington Avenue stairwell near the Arts, Scholarly & Cohen Annex and is open from one hour Literary Titles before each concert through intermission. Almost all discounted The shop carries all-new BSO and musical- motif merchandise and gift items such as 20% all the time calendars, appointment books, drinking $12.99 per disc on London. glasses, holiday ornaments, children's Deutsche Grammaphon,& books, and BSO and Pops recordings. All Philips Compact discs. proceeds benefit the Boston S\Tnphony Mail — Phone— Special orders welcome Orchestra. For merchandise information, 230 Elm St., Davis Sq. Somerville 02144 please call 267-2692. N. on Mass. past TICKET RESALE: If for some reason you Boston Book ..^ Pofter Sq. Right on lucecd Maf«houB« are unable to attend a Boston Symphony Day St. 3 blocks to Elm. Davis stop on Red Line 623-7766 concert for which vou hold a ticket, vou mav O

75 CAMERA AND RECORDING EQUIP- tra are heard by delayed broadcast in many MENT may not be brought into Symphony parts of the United States and Canada, as Hall during concerts. well as internationally, through the Boston Symphony Transcription Trust. In FIRST AID FACILITIES for both men addi- tion, P^riday-afternoon concerts are broad- and women are available in the Cohen cast live by (Boston Annex near the Symphony Hall West WGBH-FM 89.7); Saturday-evening concerts are Entrance on Huntington Avenue. On-call broadcast live by both and physicians attending concerts should leave WGBH-FM WCRB-FM (Boston 102.5). Live broadcasts may also be their names and seat locations at the heard on several other public radio switchboard near the Massachusetts Ave- stations throughout New England and nue entrance. New York. If Boston Symphony concerts are not heard WHEELCHAIR ACCESS to Symphony regularly in your home area and you would Hall is available at the West Entrance to like them to be, please call WCRB Produc- the Cohen Annex. tions at (617) 893-7080. WCRB will be glad to work with you and try to get the AN ELEVATOR is located outside the BSO on Hatch and Cabot-Cahners rooms on the the air in your area. Massachusetts Avenue side of the building. BSO FRIENDS: The Friends are annual LADIES' ROOMS are located on the donors to the Boston Symphony Orchestra. orchestra level, audience-left, at the stage Friends receive BSO, the orchestra's news- end of the hall, and on the first-balcony letter, as well as priority ticket information level, audience-right, outside the Cabot- and other benefits depending on their level Cahners Room near the elevator. of giving. For information, please call the Development Office at Symphony Hall are MEN'S ROOMS located on the orches- weekdays between 9 and 5. If you are tra level, audience-right, outside the Hatch already a Friend and you have changed Room near the elevator, and on the first- your address, please send your new address balcony level, audience-left, outside the with your newsletter label to the Develop- Cabot-Cahners Room near the coatroom. ment Office, Symphony Hall, Boston, MA COATROOMS are located on the orchestra 02115. Including the mailing label will and first-balcony levels, audience-left, out- assure a quick and accurate change of side the Hatch and Cabot-Cahners rooms. address in our files. The BSO is not responsible for personal BUSINESS FOR BSO: The BSO's Busi- apparel or other property of patrons. ness & Professional Leadership program makes it possible for businesses to partici- LOUNGES AND BAR SERVICE: There pate in the life of the Boston Symphony are two lounges in Symphony Hall. The Orchestra through a variety of original and Hatch Room on the orchestra level and the exciting programs, among them "Presi- Cabot-Cahners Room on the first-balcony dents at Pops," "A Company Christmas at level serve drinks starting one hour before Pops," and special-event underwriting. each performance. For the Friday-after- Benefits include corporate recognition in noon concerts, both rooms open at 12:15, the BSO program book, access to the with sandwiches available until concert Higginson Room reception lounge, and time. priority ticket ser\'ice7 For further informa- BOSTON SYMPHONY BROADCASTS: tion, please call the BSO Corporate Concerts of the Boston Symphony Orches- Development Office at (617) 266-1492.

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