Boston Symphony Orchestra

SEIJI OZAWA, Music Director

^0M^ 'boston * i symphony i \ orchestra i \ SEIJI OZAWAyJ 104th Season W ifA Music Dtrictor X V SHARE THE SENSE OF /Qfcf

EXCLUSIVELY FINE CHAMPAGNE COGNAC Proof Imported By Remy Martin Amerique, Inc . N Y . NY 80 Seiji Ozawa, Music Director One Hundred and Fourth Season, 1984-85

Trustees of the Boston Symphony Orchestra, Inc.

Leo L. Beranek, Chairman Nelson J. Darling, Jr., President J.R Barger, Vice-President George H. Kidder, Vice-President

Mrs. George L. Sargent, Vice-President William J. Poorvu, Treasurer

\ernon R. Alden Mrs. Michael H. Davis E. James Morton

David B. Arnold, Jr. Archie C. Epps David G. Mugar

Mrs. John M. Bradley Mrs. John H. Fitzpatrick Thomas D. Perry, Jr. Mrs. Norman L. Cahners Mrs. John L. Grandin Irving W Rabb

George H.A. Clowes, Jr. Harvey Chet Krentzman Mrs. George R. Rowland

William M. Crozier, Jr. Roderick M. MacDougall Richard A. Smith Mrs. Lewis S. Dabney John Hoyt Stookey Trustees Emeriti

Philip K. Allen E. Morton Jennings, Jr. John T. Noonan Allen G. Barry Edward M. Kennedy Mrs. James H. Perkins Richard P Chapman Edward G. Murray Paul C. Reardon Abram T. Collier Albert L. Nickerson Sidney Stoneman Mrs. Harris Fahnestock John L. Thorndike

Administration of the Boston Symphony Orchestra, Inc.

Thomas W. Morris, General Manager

William Bernell, Artistic Administrator Daniel R. Gustin, Assistant Manager Anne H. Parsons, Orchestra Manager Caroline Smedvig, Director of Promotion Josiah Stevenson, Director ofDevelopment Theodore A. Vlahos, Director ofBusiness Affairs

Charles S. Fox, Director ofAnnual Giving Anita R. Kurland, Administrator of Youth Activities Arlene Germain, Financial Analyst Richard Ortner, Administrator of Charles Gilroy, ChiefAccountant Tanglewood Music Center Vera Gold, Assistant Director ofPromotion Robert A. Pihlcrantz, Properties Manager Patricia Halligan, Personnel Administrator Charles Rawson, Manager ofBox Office Nancy A. Kay, Director ofSales Eric Sanders, Director of Corporate Development John M. Keenum, Director of Joyce M. Serwitz, Assistant Director of Development Foundation Support Diane Greer Smart, Director of Volunteers Nancy Knutsen, Production Manager Nancy E. Tanen, Media/ Special Projects Administrator

Steven Ledbetter Marc Mandel Jean Miller MacKenzie Musicologist & Publications Print Production Program Annotator Coordinator Coordinator

Programs copyright ®1985 Boston Symphony Orchestra, Inc. Cover photo by Walter H. Scott Board of Overseers of the Boston Symphony Orchestra, Inc.

Harvey Chet Krentzman Chairman

Avram J. Goldberg Mrs. August R. Meyer Vice-Chairman Vice-Chairman

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

Mrs. Weston W. Adams Mrs. Ray A. Goldberg Mrs. Hiroshi Nishino Martin Allen Jordan L. Golding Vincent M. O'Reilly

Bruce A. Beal Haskell R. Gordon Stephen Paine, Sr. Mrs. Richard Bennink Mrs. R. Douglas Hall III John A. Perkins

Peter A. Brooke Francis W Hatch, Jr. Mrs. Curtis Prout William M. Bulger Mrs. Richard D. Hill Peter C. Read Mary Louise Cabot Susan M. Hilles Robert E. Remis

James F. Cleary Glen H. Hiner Mrs. Peter van S. Rice

John F. Cogan, Jr. Mrs. Marilyn Brachman Hoffman David Rockefeller, Jr. Julian Cohen Mrs. Bela T. Kalman John Ex Rodgers Mrs. Nat King Cole Mrs. S. Charles Kasdon Mrs. Jerome Rosenfeld

Arthur P. Contas Richard L. Kaye Mrs. William C. Rousseau Mrs. A. Werk Cook John Kittredge Mrs. William H. Ryan Phyllis Curtin Mrs. Carl Koch Gene Shalit A.V. d'Arbeloff Mrs. E. Anthony Kutten Malcolm L. Sherman

D.V. d'Arbeloff John P. LaWare Donald B. Sinclair

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

Mrs. Otto Eckstein Laurence Lesser Mrs. Arthur I. Strang

William S. Edgerly Mrs. Charles P. Lyman Mrs. Richard H. Thompson

Mrs. Alexander Ellis Mrs. Harry L. Marks William F. Thompson

John A. Fibiger C. Charles Marran Mark Tishler, Jr.

Kenneth G. Fisher J. William Middendorf II Luise Vosgerchian Gerhard M. Freche Paul M. Montrone Mrs. An Wang Peter H.B. Frelinghuysen Hanae Mori Roger D. Wellington

Mrs. Thomas J. Galligan Richard P. Morse John J. Wilson Mrs. Thomas Gardiner Mrs. Robert B. Newman Brunetta Wolfman Mrs. James G. Garivaltis Nicholas T. Zervas

Overseers Emeriti

Mrs. Frank G. Allen Paul Fromm Benjamin H. Lacy

Hazen H. Ayer Mrs. Louis I. Kane Mrs. Stephen V.C. Morris David W. Bernstein Leonard Kaplan David R. Pokross Officers of the Boston Symphony Association of Volunteers

Mrs. Michael H. Davis President Mrs. Hart D. Leavitt Mrs. Carl Koch Executive Vice-President Treasurer Mrs. Barbara W. Steiner Mrs. August R. Meyer Secretary Nominating Chairman

Vice-Presidents

Mrs. Gilman W. Conant, Regions Mrs. Craig W. Fischer, Tanglewood Phyllis Dohanian, Fundraising Projects Mrs. Hiroshi Nishino, Youth Activities

Mrs. R. Douglas Hall III, Mrs. Mark Selkowitz, Tanglewood Development Services Mark Tishler, Public Relations

Chairmen of Regions

Mrs. Roman W. DeSanctis Mrs. Charles Hubbard Mrs. Frank E. Remick

Mrs. Russell J. Goodnow, Jr. Mrs. Herbert S. Judd, Jr. John H. Stookey

Mrs. Baron M. Hartley Mrs. Robert B. Newman Mrs. Arthur I. Strang

Symphony Hall Operations

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

Earl G. Buker, ChiefEngineer Morrison, Stage Manager Franklin Smith, Supervisor ofHouse Crew

Wilmoth A. Griffiths, Assistant Supervisor ofHouse Crew William D. McDonnell, ChiefSteward WE HELPED ED MILLER m. GET BY ON $125,000. LAST YEAR. •-

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TheA Cambridge Group 4 YOG SET THE GOALS WE HELP YOG REACH THEM BSO

Pops Celebrates Start of 100th Birthday Season with Special Opening Night Concert

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Vocalist Cleo Laine and flutist James Galway (pictured here) are John Williams's special guests at the Opening Night Concert of the Boston Pops' 100th Birthday Season on

Tuesday, 30 April. This once-in-a-century celebration will begin at 5:30 p.m., when all

concertgoers will be treated to an elegant cocktail reception in Symphony Hall. The

concert, beginning at 6:30 p.m., will feature Ms. Laine with the John Dankworth Quartet, plus the world premiere of P.D.Q. Bach's "1712 Overture," newly discovered by Professor Peter Schickele under a special Pops "research commission." To conclude

the evening, benefactors will remain for a dinner dance to be held in a tent adjacent to Symphony Hall and transformed into a springtime garden. Everyone who attends the

concert will be sent home with a surprise Pops birthday present.

Ticket prices include a tax-deductible contribution and range from $50 to $500.

Tickets are on sale now at the Symphony Hall box office. For further information, call (617)266-1492.

BSO Weekend at prior to that evening's Boston Symphony per- Tanglewood formance of Handel's Messiah under Christopher Hogwood; a chamber music concert The BSO Weekend at Tanglewood, a popular Sunday morning, followed by lunch at the Blan- tradition of sixteen years, will take place this tyre estate in Lenox; and a return to the Boston summer 26, 27, and 28 July. A comfortable bus area by 6 p.m. ride early Friday afternoon will transport you to

the Red Lion Inn in Stockbridge; the same bus The BSO Weekend at Tanglewood is offered at will provide door-to-door service for all events $400 (double occupancy, including a $50 tax-de- throughout the weekend, which will include a ductible contribution) to those who have contrib-

Saturday-morning Open Rehearsal with a picnic uted $75 or more to the orchestra. You may still

lunch following at Seranak, the former home of become eligible by making a contribution if you

Serge Koussevitzky; cocktails and dinner Satur- have not already done so. For more information, day night in the formal gardens at Tanglewood please call the Volunteer Office at (617) 266-1348. »

*

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1984 ANALOG & DIGITAL SYSTEMS INC. 1985-86 BSO Auditorium on Sunday, 5 May at 3 p.m. For

Subscription Information ticket information, call 1-631-6513.

Complete program and ticket information is now Ronald Feldman leads the Mystic Valley available for the Boston Symphony Orchestra's Orchestra in the premiere performances of

1985-86 subscription season. Major works fea- Robert Kyr's There is A River (Psalm 46) for

tured on Music Director Seiji Ozawa's programs orchestra, women's chorus, and soprano soloist include the Bach B minor , Mahler's Sym- on a program also including Debussy's Noc- phony No. 3, and the American premiere of turnes, the Vaughan Williams Magnificat, and scenes from Olivier Messiaen's St. Francis Haydn's Sinfonia concertante. Soprano Judith o/Assisi. Guest conductors sharing the podium Kellock and the A Cappella Singers of Fra- with Mr. Ozawa include Bernard Haitink, Pierre mingham will be featured. Tickets are $6 general Boulez, Giuseppe Sinopoli, Christoph Eschen- admission, $4 for students, senior citizens, and bach, Kurt Masur, Leonard Slatkin, and Jeffrey those with special needs. There will be three

Tate. Guest soloists with the orchestra include, performances: Saturday, 11 May at 8 p.m. at among others, violinists Itzhak Perlman and Cary Hall in Lexington, Sunday, 12 May at

Viktoria Mullova, pianists and 3 p.m. at Sanders Theatre in Cambridge, and Andre Watts, and soprano Hildegard Behrens. Sunday, 19 May at 3 p.m. at Dwight Hall, Fra-

Subscribers have already been mailed their re- mingham State College. For further information, newal information. Others may request a bro- call 924-4939 or, in Framingham, 620-1220. chure by writing "1985-86 Season," Symphony Ronald Knudsen conducts the Newton Sym- Hall, Boston, MA 02115 or by calling (617) phony Orchestra on Sunday, 12 May at 8 p.m. at 266-1492. Aquinas Junior College in Newton. The program features mezzo-soprano D'Anna Fortunato and BSO Members in Concert includes arias from Handel's opera Alcina, Mahler's Songs ofa Wayfarer, and music from BSO harpist Ann Hobson Pilot is the soloist in the Strauss's Der Rosenkavalier. Single tickets are world premiere of Thomas Oboe Lee's Concerto $8; for further information or reservations, call for Harp with the Pro Arte Chamber Orchestra 965-2555. conducted by Gunther Schuller on Sunday, 28 April at 3 p.m. at Sanders Theatre in Cambridge. Art Exhibits in the The program also includes Dvorak's D minor Cabot-Cahners Room , Mozart's Symphony No. 36, Linz, The Boston Symphony Orchestra expresses its and the overture to Rossini's Barber ofSeville. appreciation to those Boston-area galleries, For ticket information, call 661-7067. museums, schools, and non-profit artists' organi- Max Hobart conducts the Civic Symphony zations who have been exhibiting their work in Orchestra of Boston in Barber's Overture to The the Cabot-Cahners Room this season. The cur- Schoolfor Scandal, Mozart's Piano Concerto rent exhibit, on display until 20 May, is by the No. 21 in C, K.467, with soloist Randall Basement Gallery. Hodgkinson, and Mahler's Symphony No. 4, with soprano Susan Larson, on Sunday, 28 April With Thanks at 8 p.m. at Jordan Hall. Tickets are available at We wish to give special thanks to the National Bostix and the Jordan Hall box office, 536-2412. Endowment for the Arts and the Massachusetts Max Hobart conducts the North Shore Council on the Arts and Humanities for their Philharmonic Orchestra and the Paul Madore continued support of the Boston Symphony Chorale in the Verdi Requiem at Lynn City Hall Orchestra. Seiji Ozawa

The 1984-85 season is Seiji Ozawa's twelfth 1961 Japan tour, and he was made an assistant as music director of the Boston Symphony conductor of that orchestra for the 1961-62

Orchestra. In the fall of 1973 he became the season. His first professional concert orchestra's thirteenth music director since it appearance in North America came in was founded in 1881. January 1962 with the San Francisco

Born in 1935 in Shenyang, China, to Symphony Orchestra. He was music director Japanese parents, Mr. Ozawa studied both of the Ravinia Festival for five summers begin- Western and Oriental music as a child and ning in 1964, and music director for four later graduated from Tokyo's Toho School of seasons of the Toronto Symphony Orchestra, ^ Music with first prizes in composition and con- post he relinquished at the end of the ducting. In the fall of 1959 he won first prize 1968-69 season. at the International Competition of Orchestra Seiji Ozawa first conducted the Boston Sym Conductors, Besancon, France. Charles phony in Symphony Hall in January 1968; he Munch, then music director of the Boston had previously appeared with the orchestra for Symphony and a judge at the competition, four summers at Tanglewood, where he invited him to Tanglewood, in where 1960 he became an artistic director in 1970. In the Koussevitzky for won Prize outstanding December 1970 he began his inaugural season student conductor, the highest honor awarded as conductor and music director of the San by the Berkshire Music Center (now the Francisco Symphony Orchestra. The music Tanglewood Music Center). directorship of the Boston Symphony followed'

While working with Herbert von Karajan in in 1973, and Mr. Ozawa resigned his San West Berlin, Mr. Ozawa came to the attention Francisco position in the spring of 1976, serv- of , whom he accompanied ing as music advisor there for the 1976-77 on the New York Philharmonic's spring season.

8 As music director of the Boston Symphony the Grand Prix de la Critique 1984 in the Orchestra, Mr. Ozawa has strengthened the category of French world premieres. reputation internationally as well orchestra's Mr. Ozawa has won an Emmy for the as at home, beginning with concerts on the Boston Symphony Orchestra's "Evening at BSO's 1976 European tour and, in March Symphony" television series. His award- on a nine-city tour of Japan. At the 1978, winning recordings include Berlioz's Romeo et invitation of the Chinese government, Mr. Juliette, Schoenberg's Gurrelieder, and the Ozawa then spent a week working with the Berg and Stravinsky violin concertos with Peking Central Philharmonic Orchestra; a Itzhak Perlman. Other recordings with the year later, in March 1979, he returned to orchestra include, for Philips, Richard China with the entire Boston Symphony for Strauss's Also sprach Zarathustra and Ein significant musical and cultural exchange a Heldenleben, Stravinsky's Le Sacre du entailing coaching, study, and discussion ses- printemps, Hoist's The Planets, and Mahler's sions with Chinese musicians, as well as con- Symphony No. 8, the Symphony ofa Thou- cert performances. Also in 1979, Mr. Ozawa sand. For CBS, he has recorded music of led the orchestra on its first tour devoted Ravel, Berlioz, and Debussy with mezzo- M to appearances at the major music exclusively soprano Frederica von Stade and the Men- festivals of Europe. Seiji Ozawa and the Boston delssohn Violin Concerto with Isaac Stern; in Symphony celebrated the orchestra's one- addition, he has recorded the Schoenberg/ hundredth birthday with a fourteen- city Amer- Monn Cello Concerto and Strauss's Don Qui- ican tour in March 1981 and an international xote with cellist Yo-Yo Ma for future release. tour to Japan, France, Germany, Austria, and For Telarc, he has recorded the complete England in October/ November that same cycle of Beethoven piano concertos and the year. Most recently, in August/September Choral Fantasy with Rudolf Serkin. Mr. Ozawa 1984, Mr. Ozawa led the orchestra in a two- and the orchestra have recorded five of the and-one-half-week, eleven-concert tour which works commissioned by the BSO for its cen- w included appearances at the music festivals of tennial: Roger Sessions's Pulitzer Prize- Edinburgh, London, Salzburg, Lucerne, and winning Concerto for Orchestra and Andrzej Berlin, as well as performances in , Panufnik's Sinfonia Votiva are available on Hamburg, and Amsterdam. Hyperion; Peter Lieberson's Piano Concerto

Mr. Ozawa pursues an active international with soloist Peter Serkin, John Harbison's

career. He appears regularly with the Berlin Symphony No. 1, and Oily Wilson's Sinfonia Philharmonic, the Orchestre de , the have been taped for New World records. For French National Radio Orchestra, the Vienna Angel/EMI, he and the orchestra have Philharmonic, the Philharmonia of London, recorded Stravinsky's Firebird and, with so-

and the New Japan Philharmonic. His operatic loist Itzhak Perlman, the violin concertos of

Syr: i credits include Salzburg, London's Royal Earl Kim and Robert Starer. Mr. Ozawa holds Opera at Covent Garden, La Scala in Milan, honorary Doctor of Music degrees from the and the Paris Opera, where he conducted the University of Massachusetts, the New England world premiere of Olivier Messiaen's opera Conservatory of Music, and Wheaton College St. Francis ofAssist in November 1983. in Norton, Massachusetts. Messiaen's opera was subsequently awarded

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BALDWIN IS THE OFFICIAL PIANO OF THE BOSTON SYMPHONY AND TANGLEWOOD

PHOTOGRAPHER WILLIAM TAYLOR Violas Thomas Martin Burton Fine Peter Hadcock Charles S. Dana chair E-flat Clarinet McCarty Patricia Bass Clarinet Anne Stoneman chair Nordstrom Ronald Wilkison Craig Robert Barnes Bassoons Jerome Lipson Sherman Walt Bernard Kadinoff Edward A. Taft chair Joseph Pietropaolo Roland Small Michael Zaretsky Matthew Ruggiero Music Directorship endowed by Marc Jeanneret John Moors Cabot Contrabassoon Betty Benthin Richard Plaster BOSTON SYMPHONY Mark Ludwig Horns ORCHESTRA Cellos Charles Kavalovski 1984/85 Jules Eskin Helen SagoffSlosberg chair Philip R. Allen chair Richard Sebring First Violins Martha Babcock Daniel Katzen Malcolm Lowe Vernon and Marion Alden chair Concertmaster Wadenpfuhl Mischa Nieland Jay Charles Munch chair Esther S. and Joseph M. Shapiro chair Richard Mackey Emanuel Borok Jerome Patterson Jonathan Menkis Assistant Concertmaster * Helen Horner Mclntyre chair Robert Ripley Trumpets Luis Leguia Max Hobart Charles Schlueter Robert L. Beal, and Procter Carol Roger Louis Voisin chair Enid and Bruce A. Beal chair Ronald Feldman Andre Come Cecylia Arzewski * Joel Moerschel Ford H. Cooper chair Edward and Bertha C Rose chair Sandra and David Bakalar chair Charles Daval Bo Youp Hwang * Jonathan Miller John and Dorothy Wilson chair Peter Chapman * Sato Knudsen Max Winder Trombones Dickson Harry Ronald Barron Forrest Foster Collier chair Basses J. P. and Mary B. Barger chair Gottfried Wilfinger Edwin Barker Harold D. Hodgkinson chair Norman Bolter Fredv Ostrovsky Lawrence Wolfe Panasevich Tuba Leo Maria Stata chair Carolyn and George Rowland chair Chester Schmitz Joseph Hearne Sheldon Rotenberg Margaret and W illiam C. Wurtzler Muriel C Kasdon and Bela Rousseau chair Marjorie C Paler chair Leslie Martin Timpani Alfred Schneider John Salkowski Everett Firth Raymond Sird John Barwicki Sylvia Shippen Wells chair Ikuko Mizuno * Robert Olson Amnon Levy * James Orleans Percussion Charles Smith Second Violins Flutes Peter and Anne Brooke chair Marylou Speaker Churchill Doriot Anthony Dwyer Arthur Press Fahnestock chair Walter Piston chair Assistant Timpanist Vyacheslav Uritsky Fenwick Smith Thomas Gauger Charlotte and Irving W. Rabb chair Myra and Robert Kraft chair Frank Epstein Ronald Knudsen Leone Buyse Joseph McGauley Harp Leonard Moss Piccolo Ann Hobson Pilot Laszlo Nagy Lois Schaefer Willona Henderson Sinclair chair * Michael Vitale Evelyn and C Charles Marran chair * Harvey Seigel Oboes Personnel Managers * Jerome Rosen Ralph Gomberg William Moyer * Sheila Fiekowsky Mildred B. Remis chair Harry Shapiro * Gerald Elias Wayne Rapier * Librarians Ronan Lefkowitz Alfred Genovese * Nancy Bracken Marshall Burlingame * Joel Smirnoff English Horn William Shisler * Jennie Shames Laurence Thorstenberg James Harper Knight Beranek chair * Nisanne Lowe Phyllis Stage Manager * Raykhtsaum Aza Clarinets Position endowed by * DiNovo Clagett Nancy Mathis Harold Wright Angelica Lloyd Ann S.M. Banks chair Alfred Robison * Participating in a system of rotated seating within each string section. How to conduct yourself on Friday night.

Aficionados of classical music can enjoy the Boston Symphony Orchestra every Friday night at 9 o'clock on WCRB 102. 5 FM. Sponsored in part by Honeywell.

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60 Federal Street Boston, MA 02110 A Brief History of the Boston Symphony Orchestra

For many years, philanthropist, Civil War fulfilling Major Higginson's wish to give veteran, and amateur musician Henry Lee "concerts of a lighter kind of music." These Higginson dreamed of founding a great and concerts, soon to be given in the springtime permanent orchestra in his home town of and renamed first "Popular" and then Boston. His vision approached reality in the "Pops," fast became a tradition. spring of 1881, and on 22 October that year the Boston Symphony Orchestra's inaugural During the orchestra's first decades, there concert took place under the direction of con- were striking moves toward expansion. In ductor Georg Henschel. For nearly twenty 1915, the orchestra made its first transconti- years, symphony concerts were held in the old nental trip, playing thirteen concerts at the Boston Music Hall; Symphony Hall, the Panama -Pacific Exposition in San Francisco. orchestra's present home, and one of the Recording, begun with RCA in the pioneering world's most highly regarded concert halls, days of 1917, continued with increasing fre- was opened in 1900. Henschel was succeeded quency, as did radio broadcasts of concerts. by a series of German-born and -trained con- The character of the Boston Symphony was ductors—Wilhelm Gericke, Arthur Nikisch, greatly changed in 1918, when Henri Rabaud Emil Paur, and Max Fiedler—culminating in was engaged as conductor; he was succeeded the appointment of the legendary Karl Muck, the following season by Pierre Monteux. These who served two tenures as music director, appointments marked the beginning of a 1906-08 and 1912-18. Meanwhile, in July French-oriented tradition which would be 1885, the musicians of the Boston Symphony maintained, even during the Russian-born had given their first "Promenade" concert, Serge Koussevitzky's time, with the employ- offering both music and refreshments, and ment of many French -trained musicians.

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

13 The Koussevitzky era began in 1924. His extraordinary musicianship and electric per- sonality proved so enduring that he served an unprecedented term of twenty-five years. In

1936, Koussevitzky led the orchestra's first concerts in the Berkshires, and a year later he

and the players took up annual summer resi- dence at Tanglewood. Koussevitzky passion- ately shared Major Higginson's dream of "a good honest school for musicians," and in 1940 that dream was realized with the found- ing at Tanglewood of the Berkshire Music Center, a unique summer music academy for

young artists. To broaden public awareness of the Music Center's activities at Tanglewood, Henry Lee Higginson the Berkshire Music Center will be known as the Tanglewood Music Center beginning with the 1985 session.

Expansion continued in other areas as well. In 1929 the free Esplanade concerts on the Charles River in Boston were inaugurated by Arthur Fiedler, who had been a member of the orchestra since 1915 and who in 1930 became the eighteenth conductor of the Boston Pops, a post he would hold for half a century, to be succeeded by John Williams in 1980. The

Boston Pops will celebrate its hundredth birth- day in 1985 under Mr. Williams's baton.

Charles Munch followed Koussevitzky as music director in 1949. Munch continued Koussevitzky's practice of supporting contem- Georg Henschel porary composers and introduced much music

Karl Muck Serge Koussevitzky from the French repertory to this country. gram of centennial commissions—from JPuring his tenure, the orchestra toured abroad Sandor Balassa, Leonard Bernstein, John

for the first time, and its continuing series of Corigliano, Peter Maxwell Davies, John Youth Concerts was initiated. Erich Leinsdorf Harbison, Leon Kirchner, Peter Lieberson, began his seven-year term as music director in Donald Martino, Andrzej Panufnik, Roger 1962. Leinsdorf presented numerous pre- Sessions, Sir Michael Tippett, and Oily mieres, restored many forgotten and neglected Wilson—on the occasion of the orchestra's works to the repertory, and, like his two prede- hundredth birthday has reaffirmed the orches- cessors, made many recordings for RCA; in tra's commitment to new music. Under his addition, many concerts were televised under direction, the orchestra has also expanded its his direction. Leinsdorf was also an energetic recording activities to include releases on the director of the Berkshire Music Center, and Philips, Telarc, CBS, Angel/EMI, Hyperion,

under his leadership a full-tuition fellowship and New World labels. program was established. Also during these From its earliest days, the Boston Sym- years, the Boston Symphony Chamber Players phony Orchestra has stood for imagination, were founded, in 1964; they are the world's enterprise, and the highest attainable stan- "Bhly permanent chamber ensemble made up of dards. Today, the Boston Symphony Orches- a major symphony orchestra's principal play- tra, Inc., presents more than 250 concerts ers. William Steinberg succeeded Leinsdorf in annually. Attended by a live audience of nearly 1969. He conducted several American and 1.5 million, the orchestra's performances are world premieres, made recordings for heard by a vast national and international Deutsche Grammophon and RCA, appeared audience through the media of radio, tele- regularly on television, led the 1971 European vision, and recordings. Its annual budget has tour, and directed concerts on the east coast, grown from Higginson's projected $115,000 in the south, and in the mid-west. to more than $20 million. Its preeminent posi-

Seiji Ozawa, an artistic director of the tion in the world of music is due not only to the

Berkshire Festival since 1970, became the support of its audiences but also to grants from

orchestra's thirteenth music director in the fall the federal and state governments, and to the of 1973, following a year as music advisor. generosity of many foundations, businesses,

Now in his twelfth year as music director, Mr. and individuals. It is an ensemble that has

Ozawa has continued to solidify the orchestra's richly fulfilled Higginson's vision of a great

reputation at home and abroad, and his pro- and permanent orchestra in Boston.

M

Charles Munch Erich Leinsdorf William Steinberg

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16 FAREWELL AND THANKS

Three members of the Boston Symphony will be leaving at the end of this summer's Tangle- wood season. Emanuel Borok, assistant concertmaster of the BSO and concertmaster of the

Boston Pops since the 1974-75 season, is leaving to become concertmaster of the Dallas

Symphony Orchestra. Violinist Laszlo Nagy is retiring after forty-one years with the orchestra; he became a BSO member in 1944. Violinist Nancy Mathis DiNovo, who joined the orchestra

in 1983, will also leave at the end of this year. Our gratitude and best wishes to them all, as

well as to two other BSO members who left during the 1984-85 season: trombonist Gordon

Hallberg, who joined the orchestra in 1971, and violist Lila Brown, who joined the orchestra in 1982.

Emanuel Borok Laszlo Nagy Nancy Mathis DiNovo

Gordon Hallberg Lila Brown

17 LOCATION The Fairways at Chestnut Hill gives you downtown Boston from the perfect vantage point: within sight and within a 15- minute drive. You'll also have a bricked terrace and a balcony overlooking a golf course, where you can relax and look back on the day's accomplishments.

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18 BOSTON SYMPHONY ORCHESTRA

* Seiji Ozawa, Music Director

One Hundred and Fourth Season, 1984-85

Thursday, 25 April at 8 Friday, 26 April at 2 Saturday, 27 April at 8

SEIJI OZAWA conducting

STRAVINSKY Monumentum pro Gesualdo di Venosa ad CD Annum. Three Madrigals

I. "Asciugate i begli occhi," Madrigale XIV, Libro quinto

II. "Ma tu, cagion di quella" Madrigale XVIII, Libro quinto " III. "Belta poi che t'assenti, Madrigale II, Libro sesto

PROKOFIEV Piano Concerto No. 3 in C, Opus 26

Andante—Allegro Theme (Andantino) and Allegro ma non troppo ALEXANDER TORADZE

INTERMISSION

NIELSEN Symphony No. 3, Opus 27, Sinfonia espansiva

Allegro espansivo

Andante Allegretto un poco Finale: Allegro

ROBERTA GUMBEL, soprano S. MARK ALIAPOULIOS, baritone

Thursday's and Saturday's concerts will end about 9:50 and Friday's about 3:50.

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

Alexander Toradze 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.

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Igor Stravinsky was born at Oranien- baum, Russia, on 17 June 1882 and died in New York on 6 April 1971. Though Stravinsky first thought ofpre- paring instrumental versions ofsome "^^^^- Gesualdo madrigals as early as 1954, it was only in February 1960 that he actually chose three compositions by

Ijif A^ the sixteenth-century composer and pre- pared his versions, "recomposed for

instruments," with the title Monumen- tum pro Gesualdo di Venosa ad CD m Annum ("Monument for Gesualdo of Venosa in the 400th year of his birth").

The score is dated Hollywood, March

1960. The first performance took place "^ at the Venice Biennale on 27 September 1960 by the orchestra ofLa Fenice, with Stravinsky conducting. The present perform- ances are the first by the Boston Symphony Orchestra. Stravinsky's score calls for two oboes, two bassoons, four horns, two trumpets, three trombones, and strings without double basses.

Carlo Gesualdo of Venosa, a prince of the minor nobility in that southern Italian town near Naples, was also a composer with a reputation for extraordinary harmonic experi- mentation. He has attained the greatest notoriety, though, not from his compositions but from a tragedy that marked his life on the night of 26-27 October 1590, when, finding his wife in flagrante delicto with her lover, the Duke of Andria, he had them murdered on the spot. The public response was immediate: an inquest, gossip, and literary accounts, as

well as poems lamenting the incident (including sonnets by no less a poet than Tasso, who

knew all of the people involved). Carlo retired to his castle at Gesualdo for the better part of the next several years and began to build a Capuchin monastery to atone for his acts.

The chapel, S. Maria della Grazie, contains a painting depicting the prince, kneeling below an assembly of saints gathered around the figure of Christ, evidently imploring forgiveness

for his sin. By 1594 he was ready to marry again, and when he did so, he selected the

daughter of a man renowned as one of the greatest patrons of music in Italy, Duke Alfonso

II d'Este of Ferrara.

By this time Gesualdo was already very much interested in music. Although he had not

published anything as yet, he had certainly composed all the works that eventually made

up his first two books of madrigals. But in Ferrara he came in touch with the most advanced musical thought of the day. Many of the leading madrigal composers lived in Ferrara or visited to hear the polished performances of the duke's household musicians,

among the most renowned singers and instrumentalists in Italy. Experimentation was welcomed, especially the kind of experimentation that sought to increase the expressivity of the madrigal.

By the 1590s, the great Italian madrigal tradition, which had flourished for two thirds

of a century, was beginning to exhaust itself in excess. From the beginning composers had selected poems from the great lyric tradition of Petrarch and his imitators, and had set

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22 them to music for an ensemble of four, five, or more voices. Some popular texts were set over and over again, and each composer tried to find some way to outdo the previous

settings in translating an emotive poem into music. It was a hothouse atmosphere that

generated rapid stylistic change. In only two generations, composers were attempting

harmonic and contrapuntal refinements never dreamed of. Gesualdo was caught up in all the excitement, both among the great composers he met in Ferrara and the fine composers of Naples, who had already experimented with unusual chromatic harmonies.

By the time he composed the last of his six books of madrigals, Gesualdo had created chains of dissonance and unheard-of chordal connections. His music, like that of the rest

of the madrigalists, soon fell into oblivion, victim to drastically changed tastes with the development of Baroque style in the seventeenth century. The recapture of Renaissance polyphony in our time has led to the rediscovery in recent decades of such giants of vocal lyricism as Arcadelt, Rore, Wert, Marenzio, Gesualdo, and Monteverdi (who remained better known than the others because he had lived long enough to compose music

reflecting the change of taste). During this rediscovery, Gesualdo particularly aroused the interest of contemporary composers because of the image that his music gave of a daring n explorer charting unknown paths and willing to risk unusual sounds for his art. We now know enough of the context of music in the late 1500s to understand that Gesualdo was not alone in his extravagance. At the same time he remains a unique figure, one of the great virtuosos of musical expression in the setting of lyric poetry.

Stravinsky had discovered Gesualdo's music to some degree as early as 1952. In 1956, when he received photocopies of the part books (music books containing the individual

soprano, alto, tenor, or bass parts, from which the original performances were sung) of

Carlo Gesualdo: a detailfrom the painting in the chapel of S. Maria della Grazie

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24 some sacred music by Gesualdo, he decided to try completing one motet that lacked two parts. In September 1959 he did the same thing with two other motets from the collection. These were published in 1960 to celebrate the presumed four-hundredth birthday of the composer (his exact date of birth is unknown, but it seems to be somewhere in the years 1560-62).

In 1960 Stravinsky searched through Gesualdo's late madrigal books to find some pieces that seemed to him suitable for instrumental recomposition. He selected two madrigals from Gesualdo's Fifth Book (No. 14, Asciugate i begli occhi and No. 18, Ma tu, cagion di quella) and one from the Sixth Book (No. 2, Belta poi che t'assenti) and set to work.

Once the workable pieces were found, my first problem was to choose and block out the instrumental registers and tessituras. Instruments must move here and there and then again over here, and not keep to the same pasture of the five vocal parts. My second problem was concerned with the differences between the vocal and instru- mental palettes; the music could not simply be "written out for instruments," of

course, but it had to be imagined anew.

Stravinsky occasionally modified Gesualdo's phrase structure in the first madrigal, but added no rhythmic modifications or additional counterpoint in the last two. His general approach was to rotate instrumental combinations, changing the timbre and articulation.

In the final madrigal, a piece of remarkable chromaticism even today, Stravinsky found himself unwilling to tamper with the rhythmic structure already present but wishing to generate a greater sense of movement. He explained his solution thus:

I divided the orchestra into groups of strings, brasses, woodwinds, and horns

(hermaphrodites),* and hocketed the music from group to group. The hocket is a

rhythmic device, after all.

As with so many other Stravinsky works, choreographed the

Monumentum pro Gesualdo for the New York City . First performed by itself in

1960, it has been paired, since 1963, with the ballet based on Stravinsky's Movements. As a ballet or as a purely orchestral conception, the Monumentum commemorates the man whom Stravinsky called "one of the most personal and most original musicians ever born to my art (for Gesualdo is a natural, an involuntary composer)."

—Steven Ledbetter

*Stravinsky is jokingly refusing to categorize the horns as either woodwinds or brass; composers

have treated them both ways for centuries without ever quite making up their minds where they fit

best. "Hocketing" is a device frequently found in medieval music in which the instruments rapidly

alternate playing and resting, the rests in one part being filled in by sound in another. The term "hocket" seems to have been derived from the Latin for "hiccup"!

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nations in the greater Boston metropolitan area. (617) 542-567( Sergey Prokofiev

Piano Concerto No. 3 in C, Opus 26

Sergey Sergeyevich Prokofiev was born at Sontsovka, Ekaterinoslav district, in the Ukraine, on 23 April 1891 and died at Nikolina Gora near Moscow on 5 March 1953. He completed the Third Piano Concerto in 1921 and himself played the solo part in the premiere, which was given on 16 December that year by the Chicago Symphony Orches- tra conducted by Frederick Stock. The

composer was soloist at the first per- formance by the Boston Symphony Orchestra, on 29 January 1926; Serge Koussevitzky conducted. Other conduc- tors and soloists have included Koussevitzky with pianist Alexander Borovsky; Richard Burgin with William Kapell and Gary Graffman; Charles Munch and Burgin with ; Erich Leinsdorfwith Jorge Bolet and John Browning; Michael Tilson Thomas with Graffman and Maurizio Pollini; Seiji Ozawa with Pollini and Byron Janis; William Steinberg with Jeffrey Siegel; Aldo Ceccato with Browning; and Loren Maazel with Israela Margalit. The most recent Symphony Hall performances, in October 1979, were given by Ozawa with , the most recent Tangle- wood performance, in August 1982, by Joseph Silverstein with Margalit. Besides the piano soloist, the score calls for two flutes and piccolo, two each ofoboes, clarinets, and bassoons, four horns, two trumpets, three trombones, timpani, bass drum, castanets, tambourine, cymbals, and strings.

By definition the creator's art is less ephemeral than the interpreter's, and over the past half-century the music of Prokofiev has substantially insured him to posterity as a composer. But it is perhaps significant and certainly not untoward to note that, like several of the most hallowed figures in ages past, Prokofiev was the salesman par excellence of his own piano concertos. Specifically as to No. 3, he personally sold it to the United States.

Notwithstanding the lofty heights to which he attained as a symphonist, moreover, Prokofiev's innermost sentiments may be said to repose in the music he wrote for his own instrument—and originally for his own execution. In much the same fashion as Mozart, Beethoven, Brahms, Chopin, and other such tandem geniuses, Prokofiev's aesthetic unquestionably found its expressive way at the keyboard. It was to be a meandering way, but in retrospect it can be traced throughout its halting growth in a long list of piano works beginning, appropriately, with the sonata catalogued as Opus 1 (1907-09), and ending with the revised version of No. 5 (sometimes called the "Tenth Sonata"), which dates from the year of the composer's death.

In a study of the complete sonatas (Nos. 3 and 4 came just prior to the Opus 26

Concerto; No. 5 followed it by two years), the present writer once concluded of the earlier ones that they represent "the formative, reluctantly romantic Prokofiev ... a kind of

27 Week 22 .

would-be Schubert in whose music the typical extremes of yearning and exuberance were as omni-present, thinly disguised, as the malicious irony that bound them. Any political inferences as to the latter would be risky. Stylistic trademarks tend to be personal rather than proletarian, [no matter] the internal struggles of Russia during this seminal decade

... all of these works cry out 'Epater le bourgeois!' But the voice is unmistakably Prokofiev's own."

After some years of reflection the foregoing appraisal still seems to have a measure of validity, and it is cited with a view to putting into perspective as neatly as possible the crowded background of the first three concertos. (By extension it is relevant also to the later ones—although the Fourth, a special case, was not to follow for another decade.)

After graduating from the St. Petersburg Conservatory at eighteen, and already recognized as an enfant terrible of heroic pianistic talent if not yet as a composer worth taking seriously, Prokofiev had spent five post-graduate years in advanced study with the celebrated Annette Essipova, pedagogical heiress to Leschetizky, meantime completing further courses at the Conservatory and composing constantly. This interregnum ended in

1914, ominously coincident with the outbreak of World War I. (The ripples from Sarajevo soon enough reached Russia, but as the only son of a widow the composer was exempt

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28 from military service.) By this time Prokofiev had made a mark on musical St. Petersburg; he was not accepted, exactly, but he was certainly not ignored. His every appearance touched off further controversy.

Controversy escalated to scandale in 1913, when Prokofiev leaped to international notoriety with the introduction of his Second Piano Concerto at Pavlovsk (a suburb of St.

Petersburg—the latter, incidentally, was to become known as Petrograd a year later; it has been Leningrad since 1924). With one notable exception, the critics were aghast. The Peterburgskaya Gazeta described the new work as "a cacophony of sounds having nothing whatever in common with genuine music." But the reviewer of Rech got the message. With extraordinary prescience, Vyacheslav Karatygin reported the premiere in these prophetic words. "The public hissed. This means nothing. Ten years from now it will atone for last night's catcalls by unanimously applauding a new composer with a European reputation."

Of course Karatygin was wrong about the time this would take. By 1915 the Rech critic was vindicated. In the interim Prokofiev had won the powerful advocacy of Serge

Koussevitzky, of Alexander Siloti, of the impresario Diaghilev. "Only three years ago," Rech commented, "most of our music lovers saw in Prokofiev's compositions merely the excesses of a mischievous anarchism that threatened to upset the whole of Russian music.

Now they won't let him leave the stage before he has played innumerable encores." Even

The one-year-old Prokofiev with his parents at Sontsovka

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the arch-conservative Russian Musical Society performed the Second Concerto. No one hissed. By then Prokofiev was a force not to be denied, and his fame increased apace " until the Revolution of 1917 marked a turning point in his career as it did in the history of the world.

The Third Piano Concerto was sketched that fateful winter. Because the overthrow of

Tsarism and its immediate consequences marked a definite change in the direction of

Prokofiev's development, it behooves us to look (perforce superficially) at the influences to

which he was subject between 1917 and 1921, when he completed this score. To state it bluntly, the "change" was a sea change, and the influences were geographic.

Prokofiev was anything but a Marxist in those years. "Immersed as I was in art," he

wrote later, "I did not have a clear idea of the scope and significance of the October ." Revolution . . What he did know was that Russia had become an unhealthy place for

composers. He wanted out. And the country that appealed to him above all was America. When the People's Commissar of Education attended the premiere of the Classical Symphony (Petrograd, 21 April 1918) and sought out Prokofiev to express his admiration, the composer saw his opportunity and expressed in the strongest appropriate language his

desire to make an extended trip abroad. Under the circumstances there was no graceful

alternative for the commissar but to consent, and within days it was announced that the government had decided to send Prokofiev across the Pacific in connection with "matters pertaining to art." He departed via Vladivostock in May for Yokohama, whence he proceeded by slow boat and several stopovers to New York, arriving there in September

and making his first Manhattan appearance a fortnight after Armistice Day. Every last

seat in old Aeolian Hall was filled, and the debut (a solo recital) launched Prokofiev's

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31 Jordan Marsh — A Unit of Allied Stores. American career in sensational fashion. Even the critics who felt constrained to inveigh against him as an ambassador of Bolshevism concurred in the unanimous verdict on his pianistic ability; the consensus was an enthusiastic welcome for a veritable titan of the keyboard.

For the next few seasons Prokofiev concertized heavily, and no major work was forthcoming except The Love for Three Oranges. In the nature of artistic creation, however, it is inconceivable that the Third Piano Concerto sat untouched in the com- poser's luggage until the summer of 1921, when he is said to have completed the score during a sojourn at St. Brevin, on the coast of Brittany. This was in the wake of Prokofiev's second transcontinental tour of the United States. To what extent his experiences in the New World are reflected in the Opus 26 we have no way of knowing, and the answer could be not at all. But there is no gainsaying the fact that this music gestated during long, lonesome days of staring out train windows. Possibly this is rather too fanciful. What is not, by all accounts, is that the Third Concerto was a success from the beginning. The composer himself took part in the premiere, which was given not in his homeland but in Chicago, Illinois, on 16 December 1921. Americans did not take the piece to their hearts at once, as Europe did, but it was cordially received at the very least

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34 (Prokofiev remarked that we "did not quite understand" the work at the time), and its

place in the standard repertoire has grown more secure with each passing season.

Prokofiev himself having prepared an analysis of his Third Piano Concerto, it would be presumptuous not to reproduce the composer's own description:

The first movement opens quietly with a short introduction, andante, 4/4.

The theme is announced by an unaccompanied clarinet, and is continued by the violins for a few bars. Soon the tempo changes to allegro, the strings having a passage in sixteenths which leads to the statement of the principal subject by the

piano. Discussion of this theme is carried on in a lively manner, both the piano and the orchestra having a good deal to say on the matter. A passage in chords for the piano alone leads to the more expressive second subject, heard in the

oboe with a pizzicato accompaniment. This is taken up by the piano and

developed at some length, eventually giving way to a bravura passage in triplets. At the climax of this section, the tempo reverts to andante, and the orchestra

gives out the first theme, fortissimo. The piano joins in, and the theme is subjected to impressively broad treatment. On resuming the allegro, the chief theme and the second subject are developed with increased brilliance and the movement ends with an exciting crescendo.

The second movement consists of a theme with five variations. The theme is

announced by the orchestra alone, andantino. In the first variation, the piano treats the opening of the theme in quasi-sentimental fashion, and resolves into a

chain of trills as the orchestra repeats the closing phrase. The tempo changes to

allegro for the second and third variations, and the piano has brilliant figures,

while snatches of the theme are introduced here and there in the orchestra. In

variation four, the tempo is once again andante, and the piano and orchestra

discourse on the theme in a quiet and meditative fashion. Variation five is

energetic (allegro giusto). It leads without pause into a restatement of the theme by the orchestra, with delicate chordal embroidery on the piano. The finale begins (allegro ma non troppo, 3/4) with a staccato theme for

bassoons with pizzicato strings, which is interrupted by the blustering entry of the

piano. The orchestra holds its own with the opening theme, however, and there is a good deal of argument, with frequent differences of opinion as regards key.

Eventually the piano takes up the first theme, and develops it to a climax. With a

reduction of tone and slackening of tempo, an alternative theme is introduced in

the woodwind. The piano replies with a theme that is more in keeping with the

caustic humor of the work. This material is developed, and there is a brilliant coda.

—James Lyons ©1967

The late James Lyons, editor of The American Record Guide, won the Deems Taylor Award of the American Society of Composers, Authors, and Publishers for his Boston Symphony program notes.

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Symphony No. 3, Opus 27, Sinfonia espansiva

Carl August Nielsen was born in Sorte- lung, near Norre Lyndelse on Funen, Denmark, on 9 June 1865 and died in on 3 October 1931. (His father's name was Niels Jorgensen, but when Carl was baptized, his surname was taken from his father's Christian name— literally, ''son ofNiels""— in accordance with contemporary prac-

tice; this practice has been abandoned

in mainland Scandinavia but is still followed in Iceland.) He completed the Sinfonia espansiva on 30 April 1911 and conducted the premiere with the Royal Opera Orchestra of Copenhagen on 28 February 1912. The Boston premiere of the symphony took place at the only previous Boston Symphony performances, conducted by Henry Lewis on 28 and 29 March 1969. Joanna Bruno was the soprano soloist and Mark Pearson the baritone. The score calls for three flutes and piccolo, three oboes and English horn, three clarinets, three bassoons and contrabassoon, four horns, three trumpets, three trom- bones and tuba, timpani, and strings. The second movement calls also for solo soprano and baritone voices.

Carl Nielsen grew up in a rural environment, but his musical gift was discovered early because his father played violin and cornet as a much sought-after village musician. His mother sang him simple songs, and he learned to imitate them, at the age of six, on a small violin. By the age of nine he had become part of an amateur orchestra, thus extending his horizons to orchestral dance movements and a few symphonic excerpts from Haydn and Mozart. Yet he remained a product of the country, earning some of the family's income by looking after geese during school holidays and developing a realistic and utterly down-to- earth character. His first professional musical employment came from a military orchestra in Odense, which he joined at age fourteen, after having learned from his father how to play the cornet. He stayed in the ensemble for four years, picking up some formal music theory, teaching himself the piano, and playing classical string quartets with his friends. Generous friends in Odense enabled him to attend the Copenhagen Conservatory from

1884 to 1886, where he studied primarily violin, failing to distinguish himself especially. But after graduating from the Conservatory, he continued studying with his theory teacher Orla RosenhofF and turned seriously to composing.

His earliest works—two movements for string orchestra, a string quartet, and the Little

Suite, Opus 1, for string orchestra (his first major success), were publicly performed in 1887 and 1888. Meanwhile he had continued playing with various orchestras as a means of earning a livelihood. When he joined the royal chapel as second violinist in 1889, he became closely acquainted with the of Wagner, whose music at first captivated him

(though later he cooled toward it considerably, without ever denying its technical qualities). He went to Germany in 1890 specifically to study this music. Further travels to Paris in the spring of 1891 brought him into contact with the sculptress Anne Marie

37 Week 22 COPLEY PLACE Shopping, dining, entertainment and other fantasies. Brodersen; they soon married and traveled to Italy for several months, returning to

Denmark at the end of the summer.

Soon after, he completed his First Symphony, which was successfully premiered in 1894, revealing a strong Brahmsian influence. Within very few years his distinctive genius was widely recognized, resulting in an annual contract with the publisher Wilhelm Hansen and other benefits that allowed him to concentrate on his composing, though he remained a member of the royal chapel until 1905.

In the meantime he had composed a series of works that were particularly concerned, in one way or another, with characterization. Two of these were operas (Saul and David, 1898-1901, and Maskarade, 1904-06) in which, of course, one expects the composer to create personalities through his music. In between these stage works, he composed his Second Symphony, , which was program music of a specific, limited kind, not designed to tell a story, but simply to suggest a mood. The Straussian attempts at the utmost realism (such as the bleating sheep in ) were a world away from Nielsen's views. He wrote an essay on the subject of "Words, Music, and Programme Music" in which he told an amusing story about himself to indicate the very real limitations of music designed to tell a story.

It would be most interesting to see what different listeners got out of a piece of

programme music the key to which had been withheld. One thing is certain: not one

would guess correctly. And it would be found that most listeners —once the floodgates of imagination were opened—would imagine all sorts of nonsense, going much

further than the most poetical musician. The following occurrence is proof of this. A

Danish composer [Nielsen is referring to himself and his own First Symphony] had written a symphony of which the allegro movement was styled allegro orgoglioso

(orgoglioso = proud). After the first performance the composer was congratulated

by an elderly, cultured, and really intelligent lady who confessed that the first

movement had given her most delight, because throughout it she had clearly heard

the organ-like character the composer wished to express. The movement, it should be said, contained nothing resembling organ music, but the misunderstanding of the Italian word had given the old lady a rare treat—those who saw the composer's face

no doubt a still rarer one.

Nielsen was thus in a camp far from , whose series of elaborate, narrative tone poems then constituted avant-garde music. He did admit that a program could serve

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40 a suggestive purpose ("If we confine ourselves to a brief suggestion of a title, the music can from various angles and in many ways elucidate and emphasize it"), and in that respect he follows in the tradition of Beethoven's Pastoral Symphony, of which the

composer himself said that it was "more an expression of feelings than painting."

It was in precisely this vein that Nielsen gave "programmatic" titles to three of the four symphonies that he was yet to write. But the titles —translated as ''Expansive Sym- phony," "The Inextinguishable," and "Simple Symphony"— are obviously designed to suggest merely the general character, and not a particular narrative. For the most part, Nielsen's symphonies grow out of purely musical concerns, and they make their dramatic

and lyrical points with purely musical techniques. Most significant of these is his tendency to shape a symphony in what has been called "progressive tonality." In the simplest

terms, this means that the work ends in a key different from that in which it began. But, of course, the sheerest incompetent can manage to do that. What makes Nielsen's work so

striking is that his symphonies are written not so much in a key as toward it. The Third

Symphony, for example, begins undeniably in D minor, but it ends in A major; throughout

its entire course, Nielsen sets up conflicts of tonality that eventually resolve in the latter key.

The Sinfonia espansiva is Nielsen's last symphony to be cast in the traditional four movements. The "expansiveness" of the work comes not from particularly great length,

but rather from a powerful, driving energy that never flags, even in the relatively serene

passages. The symphony opens with a repeated pounding A in the strings and brass, first affirming, then concealing in syncopations the basic triple meter. The woodwinds enter with a wide-ranging D minor tune of basically waltz character—and how the moods of the

waltz dominate this opening movement! Throughout the movement the home key is never

so much established as sought. And no matter how often the triple pulse is reiterated, this

is clearly more than dance music, so tightly woven is the musical argument. A tranquil rocking figure in A-flat—harmonically at the opposite end of the universe from the opening D— appears in the clarinets and flute, to be joined by bassoons and oboe, for the

secondary theme of a movement that makes all the appropriate gestures toward sonata

form, though its tonal plan ranges far more widely than convention would allow. The

development grows out of all the ideas heard so far in a series of moods ranging from

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42 delicate to vigorous, climaxing in a "cosmic waltz" for the full orchestra, fortissimo. This dies away, leaving only a solo viola and cello to recall the past. The remainder of the

movement is rather a combination of recapitulation and coda. But where a classical symphony would firmly reestablish the home key, Nielsen is still making vain attempts to locate it. Finally a tutti crashes in unexpectedly in A major, the first really firm appearance of what will ultimately prove to be "home base" in the symphony. For the remainder of the movement, the principal contest comes between the major and minor forms of the key of A, and though the cadence actually comes in A major, it sounds a little

"forced," as if the issue were not quite settled. And, indeed, it is not. The question remains pertinent until the end of the fourth movement.

The second movement, Andante pastorale, opens in C major, a close relative of A minor, with a wonderfully gentle waltz of rural character over a series of long-sustained pedal notes that gradually rise throughout the movement. There is delicate contrast between the strings and the body of woodwinds, which Nielsen presents in elaborately ornamental lines. But the most wonderful coloristic stroke comes as a surprise near the end of the movement, when, suddenly, two new "wind" instruments appear in the orchestra—soprano and baritone solos, vocalizing wordlessly. Nielsen was so intent on the surprise at this point that he requested that the singers not be named in the program and that they sing from the background in unseen positions. Modern audiences would no doubt consider this arrangement unfair to the singers, but there is no question that, coming as a total surprise (as it does, say, on a record, where there is no visual hint that the singers are about to start), the sudden entry of the voices imparts a magical touch of warmth and humanity to a musical "scene" that has previously suggested a lush but inanimate nature.

It is also no accident that this passage, as well as the close of the second movement, comes in the key of E-flat, which is at the farthest remove from the final tonality of the symphony. We are as far from "home" as we are ever going to be.

The third movement is a vigorous (though not in the traditional shape of the classical symphony). It begins in C-sharp minor, a key closer to A than to E-flat, so it begins the return journey to our ultimate destination. Much of the movement is assertive or stormy, and it displays yet again Nielsen's particular mastery of the woodwinds. A climactic arrival at the key of D dissolves back to C-sharp for the conclusion, but the emphasis on D recalls the past (the symphony opened in D minor before starting its climb to A) and also foretells the future (the final movement will also open in D—but major this time —before climbing definitively to A).

The finale grows from an almost simpleminded duple-meter tune, but one that contains rich possibilities for development, which Nielsen uses contrapuntally and in other ways to move gradually but inexorably to a climactic arrival at A major, toward which all has been

pointing from the beginning, though the path was sometimes wayward. The journey is

ended, and its conclusion is as vibrant as it is satisfying.

—S.L.

43 Week 22 More . . .

Stravinsky is without any doubt the best-documented composer of the twentieth century. Eric Walter White has produced a catalogue of Stravinsky's output with analyses of every work, prefaced by a short biography, in Stravinsky: The Composer and His Works

(University of California). The most convenient brief survey of his life and works is the volume by Francis Routh in the Master Musicians series (Littlefield paperback), though it suffers from the standardized format of the series (which deals with the works by genre in individual chapters) since Stravinsky's development often involved work on several different types of music in close proximity. The most recent and large-scale study is an indispensable, incomplete, undigested, fascinating volume by Vera Stravinsky and Robert

Craft, Stravinsky in Pictures and Documents (Simon and Schuster). It is a cornucopia of material, but confusingly organized, with a wealth of detail about the composition of some works (often more than one can usefully assimilate) while skimming over others. Stravinsky's comments on Gesualdo and his treatment of the madrigals come from Expositions and Developments, one of his volumes of "conversations" with , which, along with the rest of the series, has just been reissued in paperback by the

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44 University of California Press. Glenn Watkins's Gesualdo (Oxford) is the standard study of that fascinating composer. Stravinsky's own recording with the Columbia Symphony

Orchestra of the Monumentum pro Gesualdo is still obtainable (Columbia Special Products, coupled with madrigals and sacred music of Gesualdo conducted by Robert

Craft).

Prokofiev has suffered from a lack of balanced critical evaluation both in Russia and in the West; Soviet historians tend to attack those works written while the composer was in the "decadent" West as "formalistic" and unmusical, while European and American critics tend to criticize the works of Prokofiev's later years, after he had returned to Russia, as responses to the pressure of "official" standards of musical style. A fundamen- tal and very reasonable book is Music and Musical Life in Soviet Russia, 1917-1970 by

Boris Schwarz (Norton paperback), which is filled with a broad range of fascinating material. An updated edition carries the story forward to 1980 (University of Indiana). The standard Soviet biography by Nestyev, Prokofiev (Standard), has much information but strong biases against the composer's pre-Soviet period. On the other hand, Victor SerofFs Sergei Prokofiev: A Soviet Tragedy is little more than a hatchet job from the opposite point of view and is by no means scrupulously accurate. Prokofiev's earliest years, through his conservatory days, are richly illuminated in his recently published memoir, Prokofiev by Prokofiev (Doubleday). Among the available recordings of the Third Piano Concerto, you might like to try Vladimir Ashkenazy's reading with Andre Previn and the London Symphony (Angel, coupled with the rarely recorded Fourth Concerto as part of a complete cycle), Gary GrafFman's with George Szell and the Cleveland Orchestra (CBS, coupled with Prokofiev's First Concerto and Piano Sonata

No. 3), or Martha Argerich's with Claudio Abbado and the Berlin Philharmonic (DG, coupled with the Ravel Concerto in G).

The best study of Nielsen's symphonic work is still Robert Simpson's Carl Nielsen, Symphonist 1865-1931 (originally published in 1952, now available in a 1979 revision from Taplinger). Hugh Ottaway's contribution on Nielsen to Simpson's symposium The

Symphony (Penguin paperback) is also worth looking at, though it emphasizes the last three symphonies and has only brief remarks about the first three. The composer himself wrote a biographical account of his early years. An English translation of his essay on

"Words, Music, and Programme Music" is to be found in the short collection Living Music published by the Danish music publisher Wilhelm Hansen Musik-Forlag. Record- ings of Nielsen's symphonies are rare these days. There is a complete recording of the six

symphonies on the imported Unicorn label (which has all six symphonies on separate discs

with Ole Schmidt conducting the London Symphony Orchestra). Though it is apparently now out of print in this country, the bargain-priced set containing Herbert Blomstedt's performance with the Danish Radio Symphony Orchestra in two boxes, each with three discs, containing Symphonies 1-3 (plus the Bohemian-Danish Folk Melody and the Helios Overture, Opus 17) and Symphonies 4-6 (plus Pan and Syrinx, Opus 49),

respectively, is worth looking out for. The only current single recording of the symphony

is Leonard Bernstein's reading with the Royal Danish Orchestra (CBS).

—S.L.

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46 Alexander Toradze

October 1984 with the London Philharmonia conducted by Vladimir Ashkenazy.

Born in Tbilisi, Georgia, in the USSR, Alex- ander Toradze attended the Paliashvili School of

Music and Tbilisi Conservatory before entering the in 1971. His profes- sors there were Yakov Zak, Boris Zemlyansky, and Lev Naumov. Encouraged by his father, composer David Toradze, and his mother, film

actress Liana Asatiani, he made his first profes-

sional public appearance at age nine and contin-

ued performing in recital and with orchestra throughout the USSR. Mr. Toradze received international attention after winning the silver

medal in the 1977 Van Qiburn International Competition. He has since appeared throughout

Thirty-two-year-old pianist Alexander Toradze the United States in highly acclaimed recitals has toured in the United States, France, Italy, and concerts, and he was the subject of a nation-

Yugoslavia, East Germany, Czechoslovakia, al PBS television documentary entitled "Lexo."

Rumania, Bulgaria, Mexico, the Philippines, and His performances this week are his first with the the USSR. His first three seasons in the United Boston Symphony Orchestra. States— 1977, 1978, and 1979—were high- lighted by performances in New York's Carnegie Hall and Washington D.C.'s Kennedy Center with the Moscow Philharmonic, as well as by performances with the Los Angeles Philhar- monic at the Hollywood Bowl and with the

Cleveland Orchestra at the Blossom Festival.

Since that time, his tours have included appear- ances with the Orchestre National de France in

Paris, the Leipzig Gewandhaus in East Germany, and the Leningrad Philharmonic in the Soviet Union. During November and December 1983,

Mr. Toradze toured with the Los Angeles Phil- harmonic and again performed at the Kennedy

Center, as well as in New York's Avery Fisher

Hall, in Boston, and in San Francisco. His 1983-84 season also included performances with the New York Philharmonic, the orchestras of Houston, Phoenix, and Minnesota, and another appearance with the Los Angeles Philharmonic opening the Hollywood Bowl. During the 1984-85 season, his United States touring schedule includes the orchestras of Los Angeles, Spokane, Des Moines, Fort Worth, Binghamton, A Boston Tradition Omaha, and Lubbock, as well as recitals from 41 UNION STREET 227-2750 coast to coast. He made his London debut in

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50 S. Mark Aliapoulios

sored by the National Association of Singers of Teaching. Now a faculty member at Boston University, Mr. Aliapoulios was baritone soloist

in Benjamin Britten's War Requiem with the Civic Symphony Orchestra under the direction of John Oliver at Symphony Hall last season. He appeared three times with the Boston Sym- phony Orchestra at Tanglewood in 1982, in Stravinsky's , the same composer's Mass, and the Beethoven Choral Fantasy. His most recent performances with the orchestra were on the closing concerts of

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1984-85 SEASON SUMMARY

WORKS PERFORMED DURING THE BOSTON SYMPHONY ORCHESTRA'S 1984-85 SUBSCRIPTION SEASON Week ADAMS Shaker Loops

BACH, J.S. No. 51, "Jauchzet Gott in alien Landen!" 11 KATHLEEN BATTLE, soprano Orchestral Suite No. 4 in D, BWV 1069 11

Prelude and Fugue in E-flat, BWV 552, arranged for large orchestra 1 by Arnold Schoenberg BARTOK Suite from the one-act Pantomime, The Miraculous Mandarin 16 Rumanian Folk Dances 16

4' BEETHOVEN C * >* *~ "2± T*i & r^ &h> o ** J fy ? p Symphony No. 7 in A, Op. 92 12 Piano Concerto No. 4 in G, Op. 58 16 , piano Overture to the ballet The Creatures ofPromethus, Op. 43 16 BERG Seven Early Songs 12 HAKAN HAGEGARD, baritone Symphonic Pieces from the opera Lulu 15 FAYE ROBINSON, soprano BERLIOZ Overture to Beatrice et Benedict Opening Night, 2 BRAHMS

Serenade No. 1 in D, Op. 1 2, Tues 'C Symphony No. 2 in D, Op. 73 10 BRUCKNER Symphony No. 3 in D minor (version of 1889) DELIUS

Sea Drift (Words by Walt Whitman), for baritone solo, mixed chorus, 19 and large orchestra RICHARD STILWELL, baritone DUTILLEUX Metaboles 20 ELGAR Cello Concerto in E minor, Op. 85 14 RALPH KIRSHBAUM, cello , Symphonic study, Op. 68 GRIEG Incidental music to Peer Gynt FRIEDHELM EBERLE, actor; SHARI SAUNDERS, soprano; SANDRA SHIPLEY, actress; TANGLEWOOD FESTIVAL CHORUS, JOHN OLIVER, conductor

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54 7

HANDEL Acis and Galatea, a Masque 13 MARGARET MARSHALL, soprano; MICHAEL MYERS, tenor; DAVID BRITTON, tenor; WILLARD WHITE, bass-baritone; TANGLEWOOD FESTIVAL CHORUS, JOHN OLIVER, conductor for St. Cecilia's Day 15 FAYE ROBINSON, soprano; VINSON COLE, tenor; TANGLEWOOD FESTIVAL CHORUS, JOHN OLIVER, conductor HAYDN Symphony No. 6 in D, Le Matin 3 Symphony No. 7 in C, Le Midi 6

Symphony No. 8, in G, Le Soir Tues 'CVThurs 'B', 8 HONEGGER Jeanne d'Arc au bucher, Dramatic oratorio to a text by Paul Claudel 8 MARTHE KELLER, actress; GEORGES WILSON, actor/director; VERNON DOBTCHEFF, actor; MARY BURGESS, soprano; MARY SHEARER, soprano; JOCELYNE TAILLON, mezzo-soprano; JOHN GILMORE, tenor; TERRY COOK, bass; TANGLEWOOD FESTIVAL CHORUS, JOHN OLIVER, conductor; BOSTON BOY CHOIR, THEODORE MARIER, director; YOUTH PRO MUSICA, ROBERTA HUMEZ, director KNUSSEN

Symphony No. 3, Op. 18 19 LALO Symphonie espagnole in D minor, Op. 21 21 ANNE-SOPHIE MUTTER, violin MAHLER Symphony No. 9 7 MENDELSSOHN Symphony No. 5 in D, Op. 107, Reformation 21

Piano Concerto No. 1 in G minor, Op. 25 4 MURRAY PERAHIA, piano MOZART Symphony No. 29 in A, K.201(186a) 5

Symphony No. 34 in C, K.338 1 Symphony No. 39 in E-flat, K.543 18

Piano Concerto No. 1 2 in A, K.4 1 4(385p) 1 MAURIZIO POLLINI, piano

Piano Concerto No. 1 7 in G, K.453 1 MAURIZIO POLLINI, piano Piano Concerto No. 24 in C minor, K.491 20 ANDRAS SCHIFF, piano

Flute Concerto No. 2 in D, K. 3 1 4(285d) Opening Night JAMES GALWAY, flute NIELSEN Symphony No. 3, Op. 27, Sinfonia espansiva 22 ROBERTA GUMBEL, soprano; S. MARK ALIAPOULIOS, baritone PONE Avanti! a

55 POULENC

Concerto in D minor for two pianos and orchestra Tues 'CV-Thurs 'B' KATIA & MARIELLE LABEQUE, duo-pianists Gloria, for soprano solo, mixed chorus, and orchestra 11 KATHLEEN BATTLE, soprano PROKOFIEV Symphony No. 6 in E-flat, Op. Ill 14 Piano Concerto No. 3 in C, Op. 26 22 ALEXANDER TORADZE, piano RAKHMANINOV Rhapsody on a Theme of Paganini, Op. 43 9 CECILLE OUSSET, piano Symphonic Dances, Op. 45 18 RAVEL Alborada del gracioso 21

RODRIGO * Fantasia para un gentilhombre Opening Night JAMES GALWAY, flute ROSSINI Overture to Uitaliana in Algeri 14 SCHOENBERG Concerto in D for cello and orchestra, freely adapted from the 2 harpsichord concerto of Matthias Georg Monn YO-YO MA SCHUMANN

Symphony No. 3 in E-flat, Op. 97, Rhenish 1 SHOSTAKOVICH

Symphony No. 1 in F minor, Op. 10 10

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STRAUSS Don Quixote, Fantastic variations on a theme of knightly Tues 'C, 3 character, Op. 35 YO-YO MA, ceUo BURTON FINE, viola STRAVINSKY Violin Concerto in D 18 CHO-LIANG LIN, violin Monumentum pro Gesualdo di lenosa ad CD Annum 22

Petrushka (version of 191 1) 20 TAKEMITSU

To the Edge ofDream , for guitar and orchestra MANUEL BARRUECO, guitar TCHAIKOVSKY Symphony No. 2 in C minor, Op. 17, Little Russian 6, Tues 'C'/Thurs 'B' Capriccio italien, Op. 45 Opening Night VAUGHAN WILLIAMS A London Symphony 19 WILSON Sinfonia (world premiere; commissioned by the Boston Symphony

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57 CONDUCTORS OF THE BOSTON SYMPHONY ORCHESTRA DURING THE 1984-85 SUBSCRIPTION SEASON

Week

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MYUNG-WHUN CHUNG 14 ANDREW DAVIS 18,19 CHARLES DUTOIT 20 ADAM FISCHER 16 RAYMOND LEPPARD 13 YOEL LEVI 5 KURT MASUR 9, 10, 15 KENT NAGANO 7

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58 SOLOISTS WITH THE BOSTON SYMPHONY ORCHESTRA DURING THE 1984-85 SUBSCRIPTION SEASON

Week

ALIAPOULIOS, S. MARK, baritone 22 BARRUECO, MANUEL, guitar 6 BATTLE, KATHLEEN, soprano 11 BRITTON, DAVID, tenor 13 BURGESS, MARY, soprano 8 COLE, VINSON, tenor 15 COOK, TERRY, bass 8 DOBTCHEFF, VERNON, actor 8 EBERLE, FRIEDHELM, actor 9 FINE, BURTON, viola Tues 'C, 3 GALWAY, JAMES, flute Opening Night GILMORE, JOHN, tenor 8 GUMBEL, ROBERTA, soprano 22 HAGEGARD, HAKAN, baritone 12 KELLER, MARTHE, actress 8 KIRSHBAUM, RALPH, cello 14 LIN, CHO-LIANG, violin 18

LABEQUE, KATIA & MARIELLE, duo-pianists Tues 'C'/Thurs 'B'

MA, YO-YO, cello 2, Tues 'C, 3 MARSHALL, MARGARET, soprano 13 MUTTER, ANNE-SOPHIE, violin 21 MYERS, MICHAEL, tenor 13 OUSSET, CECILE, piano 9 PERAHIA, MURRAY, piano 4 POLLINI, MAURIZIO, conductor/pianist 17 ROBINSON, FAYE, soprano 15 SAUNDERS, SHARI, soprano 9 SCHIFF, ANDRAS, piano 20 SHEARER, MARY, soprano 8 SHIPLEY, SANDRA, actress 9 STILWELL, RICHARD, baritone 19 TAILLON, JOCELYNE, mezzo-soprano 8 TORADZE, ALEXANDER, piano 22 WHITE, WILLARD, bass-baritone 13 WILSON, GEORGES, actor/director 8 ZIMERMAN, KRYSTIAN, piano 16

BOSTON BOY CHOIR, 8 THEODORE MARIER, director TANGLEWOOD FESTIVAL CHORUS, 8,9,11 JOHN OLIVER, conductor 13, 15, 19 YOUTH PRO MUSICA, 8 ROBERTA HUMEZ, director

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WORKS PERFORMED AT SYMPHONY HALL CHAMBER PRELUDES DURING THE 1984-85 SUBSCRIPTION SEASON Week

BACH, J.S.

Partita in B minor for solo violin, BWV 1002 1 Suite No. 5 in C minor for unaccompanied cello, BWV 1011 11 BRAHMS

Sonata in F minor for viola and piano, Op. 120, No. 1 2

Violin Sonata No. 1 in G, Op. 78 2 Violin Sonata No. 2 in A, Op. 100 10 DVORAK Sonatina in G for violin and piano, Op. 100 21 Trio in F minor for piano, violin, and cello, Op. 65 21 ELGAR Violin Sonata in E minor, Op. 82 MENDELSSOHN Quartet in B minor for piano and strings, Op. 3 MOZART Duo in G for violin and viola, K.423 18 Quartet in G minor for piano and strings, K.478 18 Quintet in E-flat for piano, oboe, clarinet, bassoon, and horn, K.452 17/18 Sonata in B-flat for violin and piano, K.378(317d) 18 Trio in E-flat for clarinet, viola, and piano, K.498, Kegelstatt 17/18 POULENC Sonata for flute and piano 11 Sonata for horn, trumpet, and trombone 11 PROKOFIEV Overture on Hebrew Themes, Op. 34 22 Sonata in D for flute and piano, Op. 94 14 Sonata in F minor for violin and piano, Op. 80 14 SCHUMANN

Quintet in E-flat for piano and strings, Op. 44 1 SHOSTAKOVICH String Quartet No. 13 in B-flat minor, Op. 138 10 STRAVINSKY for violin and piano 22 Three Pieces for clarinet solo 22

61 FIDUCIARY. Private Trustees in Corporate Form

For over 100 years we have devoted complete and undi- vided attention to the care and management of property for individuals and institu- tions. We maintain no co- mingled funds: all accounts are handled on an individual basis. We believe that con-

tinuity of administration is essential to the achievement of established objectives.

Thus, one officer is assigned to pay close attention to the client's needs and goals, and

look after all aspects of the client's affairs.

FIDUCIARY BOSTON TRUSTEES

Fiduciary Trust Company

175 Federal Street, Boston, Massachusetts 021 10 Telephone (617) 482-5270

62 CHAMBER PRELUDE PERFORMERS DURING THE 1984-85 SUBSCRIPTION SEASON Week

AMLIN, MARTIN, piano 4, 14,22 BABCOCK, MARTHA, cello 10 BARNES, ROBERT, viola 18 BOLTER, NORMAN, trombone 11 BRACKEN, NANCY, violin 2

BUYSE, LEONE, flute 11 CASSITY, GWINDALE, piano 17/18 CHAPMAN, PETER, trumpet 11 DEVEAU, DAVID, piano 18 DiNOVO, NANCY MATHIS, violin 4 ELLAS, GERALD, violin 22 FELDMAN, JONATHAN, piano 21 FELDMAN, RONALD, cello 21 FIEKOWSKY, SHEILA, violin 21 HADCOCK, PETER, clarinet 17/18 JEANNERET, MARC, viola 17/18 KADINOFF, BERNARD, viola 2 KATZEN, DANIEL, horn 11

KNUDSEN, SATO, ceUo 1 LEFKOWITZ, RONAN, violin 22 LEVY, AMNON, violin 14 LOWE, NISANNE, violin 18

LUDWIG, MARK, viola 1 McCARTY, PATRICIA, viola 22 MENKIS, JONATHAN, horn 17/18 MILLER, JONATHAN, cello 11 MOERSCHEL, JOEL, cello 4 NORDSTROM, CRAIG, clarinet 22 OSTROVSKY, FREDY, violin 21 PATTERSON, JEROME, cello 18 RAPIER, WAYNE, oboe 17/18

RAYKHTSAUM, AZA, violin 1 RIPLEY, ROBERT, cello 22 ROMANUL, MYRON, piano 11

ROSEN, JEROME, violin 1

ROSENBAUM, VICTOR, piano 1 SEIGEL, HARVEY, violin 10 SHEN, HSUEH-YUNG, piano 2 SMALL, ROLAND, bassoon 17/18 SMITH, FENWICK, flute 14 URITSKY, VYACHESLAV, violm 10 WILKISON, RONALD, viola 4 YAMPOLSKY, TATIANA, piano 10 ZARETSKY, MICHAEL, viola 10

63 .

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

Call S. Walker Merrill, Jr., Senior Vice President, Investment Management. (617) 786-3279. State Street Bank and Trust Company. Quality since 1792. 9 StateStneet

State Street Bank and Trust Company, wholly-owned subsidiary of State Street Boston Corporation, 225 Franklin Street, Boston, MA 02101. Offices in Boston, New York, San Francisco, London, Munich, Hong Kong, Singapore. Member FDIC. © Copyright State Street Boston Corporation 1982.

64 The Boston Symphony Orchestra gratefully acknowledges the following corporations and professional organizations for their generous and important support in the past or current fiscal year. (* denotes support of at least $2,500; capitalized names denote support of at least $5,000; underscored capitalized names within the Business

Leaders' listing comprise the Business Honor Roll.)

1984-85 Business Honor Roll ($10,000+ )

Advanced Management Associates, Inc. John Hancock Mutual Life Insurance Company Harvey Chet Krentzman E. James Morton

Analog Devices, Inc. Stanley H. Kaplan Educational Center Ray Stata Susan B. Kaplan

Bank of Boston Liberty Mutual Insurance Company William L. Brown Melvin B. Bradshaw

Bank of New England Mobil Chemical Corporation

Peter H. McCormick Rawleigh Warner, Jr.

BayBanks, Inc. New England Mutual Life Insurance Company

William M. Crozier, Jr. Edward E. Phillips

Boston Consulting Group, Inc. New England Telephone Company

Arthur P. Contas Gerry Freche

Boston Edison Company Raytheon Company

Thomas J. Galligan, Jr. Thomas L. Phillips

Boston Globe/Affiliated Publications Red Lion Inn William 0. Taylor John H. Fitzpatrick

Cahners Publishing Company, Inc. State Street Bank & Trust Company Norman Cahners William S. Edgerly

Country Curtains The Sheraton Corporation

Jane P. Fitzpatrick John Kapioltas

Digital Equipment Corporation The Signal Companies Kenneth H. Olsen Paul M. Montrone

Dynatech Corporation Teradyne Corporation

J. P. Barger Alexander V. d'Arbeloff

Exxon Corporation Urban Investment & Development Stephen Stamas Company/ Copley Place Wm. Filene's & Sons Company R.K. Umscheid Michael J. Babcock

GTE Electrical Products WCRB/Charles River Broadcasting, Inc. Dean T Langford Richard L. Kaye

General Cinema Corporation WCVB-TV 5 Richard A. Smith S. James Coppersmith Laboratories General Electric Company Wang An Wang John F. Welch, Jr.

Gillette Company

Colman M. Mockler, Jr.

65 Business Leaders ($1,000+)

Electronics Accountants BAYBANKS, INC. William M. Crozier, Jr. Mitre Corporation Arthur Andersen & Co. Corporation Robert R. Everett William F. Meagher Chase Manhattan M. Jorgensen COOPERS & LYBRAND Robert *Parlex Corporation Herbert Pollack Vincent M. O'Reilly * Citicorp (USA), Inc. W Walter E. Mercer * Signal Technology Corporation Charles DiPesa & Company Company William Cook William DiPesa Coolidge Bank & Trust Charles W Morash * Ernst & Whinney Employment Company James G. Maguire Framingham Trust * Emerson Personnel William A. Anastos PEAT, MARWICK, MITCHELL Rhoda Warren & COMPANY Mutual Bank Robert Kleven & Company, Inc. Herbert E. Morse Keith G. Willoughby Robert Kleven

*T0UCHE ROSS & COMPANY RocklandTrust Company Russell Reynolds Associates, Inc. James T. McBride John F. Spence, Jr. Jack H. Vernon * - * Arthur Young & Company SHAWMUTBANKOF *TAD Technical Services Corp.

P. McDermott Thomas BOSTON David J. McGrath, Jr. William F. Craig Advertising/ P. R. Energy United States Trust Company *Hill, Holliday, Connors, Buckley & Scott Company James V. Sidell Cosmopulos, Inc. Charles H. Downey Jack Connors, Jr. Building/Contracting CABOT CORPORATION Hill & Knowlton National Lumber Company FOUNDATION Butterfield Patricia Louis L. Kaitz Ruth C. Scheer *Kenyon & Eckhardt J.F. White Contracting Company EXXON CORPORATION

Thomas J. Mahoney Thomas J. White Stephen Stamas Company *Newsome & Gas Company, Inc. Consdting/ Management *HCW Oil & Peter Farwell John M. Plukas ADVANCED MANAGEMENT Aerospace ASSOCIATES, INC. Hatoffs Stanley Hatoff * Northrop Corporation Harvey Chet Krentzman Thomas V. Jones MOBIL CHEMICAL BLP Associates CORPORATION PNEUMO CORPORATION Bernard L. Plansky Gerard A. Fulham Rawleigh Warner, Jr. BOSTON CONSULTING Yankee Oil & Gas, Inc. Apparel GROUP, INC. Paul J. Montle Arthur P. Contas *Knapp King Size Corporation Winthrop A. Short Jason M. Cortell and Finance Inc. William Carter Company Associates, *Farrell, Healer & Company, Inc. Jason M. Cortell Farrell Leo J. Feuer Richard

Rath & Strong, Inc. *The First Boston Corporation Architecture/ Design Arnold 0. Putnam George L. Shinn Jung/Brannen Associates, Inc. Small Business Foundation of Kaufman & Company Yu Sing Jung America, Inc. Sumner Kaufman Selame Design Richard Giesser * Leach & Garner Selame Joe Leach Education Philip Banking *Narragansett Capital *Bentley College Corporation BANK OF BOSTON Gregory H. Adamian Arthur D. Little William L. Brown STANLEY H. KAPLAN TA ASSOCIATES BANK OF NEW ENGLAND EDUCATIONAL CENTER Peter A. Brooke Peter H. McCormick Susan B. Kaplan

66 Food I Hotel/ Restaurant *Computer Partners, Inc. Amoskeag Company

Paul J. Crowley Joseph B. Ely II «~A * Boston Park Plaza Hotel & Towers *Data Packaging Corporation BLYTH EASTMAN PAINE Roger A. Saunders Otto Morningstar WEBBER INC. Boston Showcase Company *Epsilon Data Management, Inc. James F Cleary Thomas 0. Jones Jason Starr *E.F. Hutton & Company, Inc. CREATIVE GOURMETS LTD. General Eastern Instruments S. Paul Crabtree Stephen E. Elmont Corporation Goldman, Sachs & Company Pieter R. Wiederhold Dunkin" Donuts, Inc. Stephen B. Kay * Helix Technology Robert M. Rosenberg Corporation Kensington Investment Frank Gabron *Howard Johnson Company Company G. Michael Hostage IBM CORPORATION Alan E. Lewis

Paul J. Palmer Inncorp, Ltd. *Loomis Sayles & Company Harrv Axelrod POLAROID CORPORATION Robert L. Kemp

William J. McCune, Jr. *Johnson, O'Hare Company, Inc. Moseley, Hallgarten, Estabrook .Inc. Harry O'Hare RAYTHEON COMPANY & Weeden, Inc. Thomas L. Phillips Fred S. Moseley £ ^O'Donnell-Usen Fisheries Corporation *Systems Engineering & *Tucker, Anthony & R.L. Day, Arnold Wolf Manufacturing Corporation Inc. RED LION INN Steven Baker Gerald Segel John H. Fitzpatrick *Transitron Electric Corporation * Woodstock Corporation David Bakalar Frank B. Condon Roberts and Associates Warren Pierce Insurance THE SHERATON Arkwright-Boston Legal CORPORATION Insurance Frederick J. Bumpus Gadsby & Hannah John Kapioltas * Cameron & Colby Co., Inc. Jeffrey P. Somers Silenus Wines, Inc. Graves D. Hewitt Goldstein & Manello James B. Hangstefer *Commercial Union Assurance Richard J. Snyder Sonesta International Hotels Companies *Herrick Smith Corporation & Howard H. Ward Malcolm D. Perkins Paul Sonnabend * Frank B. Hall & Company of Nissenbaum Law Offices THE STOP & SHOP Massachusetts, Inc. Gerald L. Nissenbaum COMPANIES, INC. Colby Hewitt, Jr. Avram Goldberg J. JOHN HANCOCK MUTUAL THE WESTIN HOTEL LIFE INSURANCE COMPANY Manufacturing Bodo Lemke E. James Morton Acushnet Company LIBERTY MUTUAL John T. Ludes Furnishings/ Housewares INSURANCE COMPANY Bell Manufacturing Company COUNTRY Melvin B. Bradshaw CURTAINS Irving W Bell Jane R Fitzpatrick NEW ENGLAND MUTUAL Checon Corporation LIFE INSURANCE COMPANY Donald E. Conaway High Technology/ Computers Edward E. Phillips Dennison Manufacturing AT&T PRUDENTIAL INSURANCE Company COMPANY OF AMERICA Charles R. Grafton Nelson S. Gifford Robert J. Scales Analytical Systems Engineering Econocorp, Inc. Sun Life Assurance Company of Corporation Richard G. Lee Michael B. Rukin Canada FLEXcon Company, Inc. John D. McNeil Aritech Corporation Mark R. Ungerer James A. Synk Investments GENERAL ELECTRIC Automatic Data Processing *ABD Securities Corporation COMPANY Josh Weston Theodor Schmidt-Scheuber John F. Welch, Jr.

67 GENERAL ELECTRIC Superior Pet Products. Inc. \Wstmghouse Broadcasting &

COMPANY/LYNN Richard J. Phelps Cable. Inc.

Lawrence P. James P Krebs *Towle Manufacturing Company Fraiberg GILLETTE COMPANY Leonard Florence Musical Instruments Colman M. Moekler, Jr. *Trina. Inc. * Baldwin Piano & Organ Guzovsky Electrical Corporation Thomas L. Easton Company Edward Guzovskv Webster Spring Company, Inc. R.S. Harrison Inland Steel- Ryerson A.M. Levine Avedis Zildjian Company Foundation. Inc. V^ellman. Inc. Armand Zildjian Robert L. Atkinson Arthur 0. bellman. Jr.

Kendall Company Printing Publishing

J. Dale Sherratt Media *ADC0 Publishing Company. Inc. L.E. Mason Company BOSTON GLOBE Samuel Gorrinkle Harvey B. Berman AFFILIATED PUBLICATIONS Bowne ot Boston Ludlow Corporation W illiam 0. Tavlor William Gallant Arthur Cohen * Boston Herald CAHNERS PUBLISHING Patrick PurcVll NEW ENGLAND BUSINESS J. COMPANY. INC. • SERVICE, INC. GENERAL CINEMA Norman L. Cahners Richard H. Rhoads CORPORATION CLARK-FRANKLIN- Norton Company Richard A. Smith KINGSTON PRESS Donald R. Melville *WBZ-TV 4 Lawrence Dress

* Packaging Industries. Inc. Thomas L. Goodgame Customforms. Inc. John D. Bambara WCIB-FM David A. Granoff

Parker Brothers Lawrence K. Justice * Daniels Printing Company Richard E. Stearns WCRB CHARLES RIVER Lee Daniels

* Plymouth Rubber Company. Inc. BROADCASTING. INC. HOUGHTON MIFFLIN Richard L. Kave Maurice J. Hamilburg COMPANY

Scully Signal Company WCVB-TV 5 Marlowe G. Teig

Robert G. Sculh S. James Coppersmith *Label Art. Inc.

* Simplex Time Recorder *WNE\-TY 7 New England J. \^ illiam Flynn

Company Television McGraw Hill. Inc. Glenn R. Peterson Seymour L. \anoff Joseph L. Dionne

A Ooutheast Asian Ipeat Real Estate Management Brokerage and Consulting Services Since 1898 T^MANDALAY BURMESE RESTAURANT

•(celebrates lenth Year* SAUNDERS & ASSOCIATES

20 Park Plaza Boston MA • 02116 329 Huntington Avenue, Boston. 247-2111

(617)426-0720 Two Blocks West of Symphony Hall - Reservations Suggested

68 Real Estate/ Development Kay Bee Toy & Hobby Shops, MORSE SHOE, INC. Inc. Combined Properties, Inc. Manuel Rosenberg Howard Kaufman Stanton L. Black THE SPENCER COMPANIES, Marshall's, Inc. Corcoran Mullins Jennison, Inc. INC. Joseph Corcoran Frank H. Brenton C. Charles Marran

Hilon Development Corporation *Saks Fifth Avenue STRIDE RITE CORPORATION Haim Eliachar Ronald J. Hoffman Arnold S. Hiatt Stuart's Department Northland Investment Stores, Inc. Paul Software/ Information Services Corporation Cammarano Robert A. Danziger *Zayre Corporation Henco Software, Inc. Maurice Segall Henry Cochran Stanmar, Inc. Interactive Data Stanley W. Snider Science/ Medical Corporation Carl G. Wolf URBAN INVESTMENT & *Charles River Breeding DEVELOPMENT COMPANY/ Laboratories, Inc. Travel/ Transportation COPLEY PLACE Henry L. Foster R.K. Umscheid * Heritage Travel Damon Corporation Donald Sohn 'Winthrop Securities Co., Inc. David I. Kosowsky *The Trans-Lease David C. Hewitt Group - Hospital Corporation of America John J. McCarthy, Jr. Retailing HCA Foundation Donald E. Strange WM. FILENE'S & SONS Utilities COMPANY Shoes BOSTON EDISON COMPANY

Michael J. Babcock Thomas J. Galligan, Jr. * Jones & Vining, Inc. Hills Department Stores * Eastern Gas Fuel Associates Sven Vaule, Jr. &

Stephen A. Goldberger William J. Pruyn * Mercury International Trading Jordan Marsh Company Corporation NEW ENGLAND TELEPHONE Elliot Stone Irving Wiseman Gerry Freche

T

**?

• ON ST., BOSTON, MASS. (£116 (617) 267-9100 THE MALL AT

69 I % The following Members of the Massa- MASSACHUSETTS chusetts High Technology Council HKH TECHNOLOGY COUNCt support the BSO through the BSO Business & Professional Leadership IPIK Program:

Alpha Industries, Inc. DYNATECH CORPORATION M/A-COM, INC.

George S. Kariotis J. P. Barger Vessarios G. Chigas EPSCO, Inc. Massachusetts High Technology ANALOG DEVICES, INC. Wayne P. Coffin Council, Inc. Ray Stata Foxboro Company Howard P. Foley The Analytic Sciences Earle W Pitt Millipore Corporation Corporation GCA Corporation Dimitri d'Arbeloff Arthur Gelb Milton Greenberg PRIME COMPUTER, INC. *Augat, Inc. GTE ELECTRICAL Joe M. Henson Roger D. Wellington PRODUCTS * Printed Circuit Corporation Barry Wright Corporation Dean T Langford Peter Sarmanian Ralph Z. Sorenson *GenRad Foundation SofTech, Inc. *Bolt Beranek and Newman Inc. Lynn Smoker Justus Lowe, Jr. Stephen Levy *Haemonetics, Inc. TERADYNE, INC. Computervision Corporation John F. White Alexander V. d'Arbeloff Martin Allen Honeywell Information Systems Thermo Electron Corporation *Cullinet Software, Inc. Warren G. Sprague George N. Hatsopoulos John J. Cullinane Instron Corporation Unitrode Corporation DIGITAL EQUIPMENT Harold Hindman George M. Berman CORPORATION Arthur D. Little, Inc. WANG LABORATORIES, INC. Kenneth H. Olsen John F Magee An Wang

•mm

ia~ . i CORP. *>"' REALTORS {ill - ,'' Houses • Condominiums • Apartments Sales Rentals Management

1412 B Beacon Street, Brookline, Massachusetts 02146 Telephone: (617) 738-5700 m MLS

70 .

Symphony Hall Information . .

FOR SYMPHONY HALL CONCERT AND each, one to a customer, at the Symphony Hall- TICKET INFORMATION, call (617) 266-1492. West Entrance on Fridays beginning 9 a.m. and For Boston Symphony concert program informa- Saturdays beginning 5 p.m.

tion, call "C-O-N-C-E-R-T." LATECOMERS will be seated by the ushers dur-

THE BOSTON SYMPHONY performs ten ing the first convenient pause in the program. months a year, in Symphony Hall and at Tangle- Those who wish to leave before the end of the wood. For information about any of the orches- concert are asked to do so between program

tra's activities, please call Symphony Hall, or pieces in order not to disturb other patrons. write the Boston Symphony Orchestra, Sym- SMOKING IS NOT PERMITTED in any part of phony Hall, Boston, MA 02115. the Symphony Hall auditorium or in the sur-

THE EUNICE S. AND JULIAN COHEN rounding corridors. It is permitted only in the ANNEX, adjacent to Symphony Hall on Hunt- Cabot-Cahners and Hatch rooms, and in the ington Avenue, may be entered by the Symphony main lobby on Massachusetts Avenue. p Hall West Entrance on Huntington Avenue. CAMERA AND RECORDING EQUIPMENT FOR SYMPHONY HALL RENTAL INFORMA- may not be brought into Symphony Hall during TION, call (617) 266-1492, or write the Func- concerts. tion Manager, Symphony Hall, Boston, MA FIRST AID FACILITIES for both men and 02115. women are available in the Cohen Annex near

THE BOX OFFICE is open from 10 a.m. until 6 the Symphony Hall West Entrance on Hunt- p.m. Monday through Saturday; on concert eve- ington Avenue. On-call physicians attending con-

nings, it remains open through intermission for certs should leave their names and seat locations BSO events or just past starting-time for other at the switchboard near the Massachusetts Ave- events. In addition, the box office opens Sunday nue entrance.

at 1 p.m. when there is a concert that afternoon WHEELCHAIR ACCESS to Symphony Hall is or evening. Single tickets for all Boston Sym- available at the West Entrance to the Cohen phony concerts go on sale twenty-eight days Annex. before a given concert once a series has begun,

and phone reservations will be accepted. For AN ELEVATOR is located outside the Hatch and

outside events at Symphony Hall, tickets will be Cabot-Cahners rooms on the Massachusetts Ave- available three weeks before the concert. No nue side of the building.

phone orders will be accepted for these events.

TICKET RESALE: If for some reason you are unable to attend a Boston Symphony concert for which you hold a ticket, you may make your ticket available for resale by calling the switch- board. This helps bring needed revenue to the orchestra and makes your seat available to some- one who wants to attend the concert. A mailed receipt will acknowledge your tax-deductible contribution.

RUSH SEATS: There are a limited number of Rush Tickets available for the Friday-afternoon and Saturday-evening Boston Symphony con- certs (subscription concerts only). The continued

low price of the Saturday tickets is assured through the generosity of two anonymous donors. The Rush Tickets are sold at $5.00

71 LADIES' ROOMS are located on the orchestra concerts are broadcast live by the following FM level, audience-left, at the stage end of the hall, stations: WGBH (Boston 89.7), WFCR (Amhers» and on the first-balcony level, audience-right, 88.5), and WAMC (Albany 90.3); in Maine by outside the Cabot-Cahners Room near the WMED (Calais 89.7), WMEA (Portland 90.1), elevator. WMEH (Bangor 90.9), WMEW (Waterville 91.3), and WMEM (Presque Isle 106.1); and in MEN'S ROOMS are located on the orchestra Connecticut by WMNR (Monroe 88.1), WNPR level, audience-right, outside the Hatch Room (Norwich 89.1), WPKT (Hartford 90.5), and near the elevator, and on the first-balcony level, WSLX (New Canaan 91.9). Live Saturday- audience-left, outside the Cabot-Cahners Room evening broadcasts are carried by WGBH and near the coatroom. WCRB (Boston 102.5). If Boston Symphony COATROOMS are located on the orchestra and concerts are not heard regularly in your home first-balcony levels, audience-left, outside the area and you would like them to be, please call

Hatch and Cabot-Cahners rooms. The BSO is not WCRB Productions at (617) 893-7080. WCRB responsible for personal apparel or other prop- will be glad to work with you and try to get the erty of patrons. BSO on the air in your area.

SERVICE: There are two LOUNGES AND BAR BSO FRIENDS: The Friends are annual donors lounges in Symphony Hall. The Hatch Room on to the Boston Symphony Orchestra. Friends the orchestra level and the Cabot-Cahners Room receive BSO, the orchestra's newsletter, as well on the first-balcony level serve drinks starting as priority ticket information and other benefits one hour before each performance. For the Fri- depending on their level of giving. For informa- day-afternoon concerts, both rooms open at tion, please call the Development Office at Sym- 12:15, with sandwiches available until concert phony Hall weekdays between 9 and 5. If you time. are already a Friend and you have changed your BOSTON SYMPHONY BROADCASTS: Con- address, please send your new address with your certs of the Boston Symphony Orchestra are newsletter label to the Development Office, heard by delayed broadcast in many parts of the Symphony Hall, Boston, MA 02115. Including United States and Canada, as well as interna- the mailing label will assure a quick and accurate tionally, through the Boston Symphony Tran- change of address in our files. scription Trust. In addition, Friday-afternoon

Rental apartments for people who'd For rates and rather near French horns information on than Car hornS. Enjoy easy living within of Symphony Hall. advertising in the easy reach New in-town apartments Boston Symphony, with doorman, harbor views, all luxuries, Boston Pops, health and club, land 2 Tanglewood program books >d \P^5l8^£^ jSSfeSr^K^^ bedrooms ar penthouse duplex please contact: P v^sL {S*3$M*V^ 1 apartments. STEVE GANAK AD REPS "V THE DEVONSHIRE

(617)-542-6913 O .^ One Devonshire Place. (Between Washington

_, fasif and Devonshire Streets, off State Street) Boston. £ Renting Office Open 7 Days. Tel: (617) 720-3410. 2 Park free in our indoor garage while inspecting models.

72 n 1640, moments before uaenaveirock castle fell, the L ad rery twelvemonth slncej

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